Human life, which is above all the mystery of undeserved suffering.  (Edith Hamilton)
OLYMPIAS

ACT I

SCENE 1

(NOTE: For supplementary information about this play, its cast details, etc., start here.)

Bacchantes and Satyrs
AT RISE: The throne room in the palace.

TIME: 319 B.C. Four years after the death of Alexander. Mid-summer, mid-morning.

PLACE: Dodona, the capitol of Epirus.

(Olympias sits pensive on the throne. The gentlemen of her court, ATTALUS, TIMAEUS, EUXENIPPUS, GORGATUS, GORGIAS, and HECATAEUS, and the ladies of her court, THESSALONKIKE, DEMARETE, DEÏDAMEIA, SOPHIA, POTHOS, and EPHTHALIA, enter conversing joyfully and loudly, dressed in their plain cloaks. They bow to the queen.)

CHORUS LADIES AND GENTLEMEN

Out of Night seduced by Light stepped Chaos
with fiery hair to steam Oceanus, breeding Æther.
The world-egg split into heaven and earth
and Eros arose to bring from tender frictions
the mighty passions of the gods.
Zeus, sovereign of earth and heaven,
ordered Poseidon to the waters
and Hades to the nether regions.
Gæa, mother of all in the beginning!
Mother Earth and the gods
commanding all the world's forces conspired
to beget the generations of Homer's heroes.
We mortals scatter with the winds
to waters and woods, mountains and plains,
to seek and find where human hearts and minds
guide bodies toward wise, far-seeing acts.
There we feed to make our essence bright.
Now we gather here to shine on one our ancient
Lore exalts, to choose for greatness.
With time all came together in one accord
with this one,
that shapely son of earth, water and fire
who breathed the gas of life, Alexander!
King of Macedon! Pharaoh of Egypt! King of Babylon!
Great King of Asia!
Son of Queen Olympias, rests revered in Alexandria.
Olympias, the mother!

(Timaeus steps forward.)

TIMAEUS

Hail, renowned mother of the Great King of Asia! Beautiful queen of the beautiful land of Epirus!

OLYMPIAS

Hail, Timaeus! Son of Timaeus, your father, of distinguished valor who died in India shielding the body of my son!

TIMAEUS

We, the people of your court in this wondrous palace at Dodona delight each day in greeting your royal majesty. Now begins another day of play, to celebrate our lives with you, to entertain you and serve your needs for endless bright and happy hours which those who rule deserve. Hail, again, for all of us, most gracious Queen Olympias!

OLYMPIAS

(before she sits)

Hail, Attalus, Alexander's decoy, deflecting the enemy, at the battle at Hydaspes, because you have the stature and look of my son, Alexander--

(Breaks off, moves to the side, in reverie.)

OLYMPIAS

(continuing; aside)

Great King. Pharoah. Hegemon. King, of Macedon, of Babylon. Dear son, most dead, and mourned beyond reason these four years. And I, yet aggrieved out of my senses. I am mad with it.

OLYMPIAS

(continuing; returning abruptly)

Hail, Euxenippus, Gorgatus, Gorgias, Hecataeus, companions and heroes, all, of Alexander's campaigns to avenge the Persian's wars against all Hellas. I have reclaimed you from the conscription that first took you from my court. Hail, my radiant ladies, companions, tender kinswoman Thessalonike, divine Deïdameia, sagacious Sophia, far-seeing, impassioned Pothos, and my nightingale Demarete, singing and playing so artfully, all, my special dears. You are my people, men and women of Epirus, my loyal and trusted friends! I celebrate your youth, your vigor, your charm! Welcome to another day at this court!

(growling earthily, gutterally)

Now, doff the drab!

(Timaeus fills her goblet. She is drinking throughout, intoxication ever increasing. Ephthalia drumming and Demarete strumming as the Ladies and Gentlemen dance freely, doffing their cloaks. The women reveal colorful, diaphanous costumes, and the men, the brief chiton fit for the dance. They start from a wide circle. All moves are free, energetic, athletic, boisterous, sassy, spirited.)

OLYMPIAS

Beautiful, my friends! But those amusements do not sprout my mood, my temper, my feeling, my desire as I need and wish. I crave theatre. I need representations to spur my thought for affairs of state. I want the frenzy of coming events to be portrayed here and now, as I foresee.

(Goes to a chest, opening it. )

OLYMPIAS

Here are the parts for our theatre laid out in dress to don for my players' characters. See what you can find.

(They all crowd around the chest, pulling out pieces of costume, wigs, and props.)

SOPHIA

I am a Satyr.

DEÏDAMEIA

And I, too.

(Olympias helps Hecateaus with the costumes to become Philip One-Eye, Euxenippus become Antipater, and Gorgatus, Aristotle.)

GORGIAS

What is this? A serpent?

OLYMPIAS

Put on the serpent, Gorgias, for my tale.

(He puts on the serpent costume.)

OLYMPIAS

This is the story. Thessalonike, lie here. You shall be Olympias. One night, as I lay at rest, I awoke to see above me the sinuous weaving -- Weave, Gorgias! Over her! --

OLYMPIAS

The weaving of a serpent's head. But I was not frightened, for I knew who it was.

(Gorgias follows the cues Olympias gives in the narrative.)

OLYMPIAS

I thought it was the king. But then I heard the serpent as hissing sweet words he coiled about my young form, revealing himself as the divine Olympian Father. I trembled and from that passionate toil, begot a prince. But in the wall of the room was a chink.

(She maneuvers Sophia and Deïdameia to pretend to be a bedroom wall with a chink.)

OLYMPIAS

And Philip spying on me! --Hecataeus, peep!-- But Zeus shot a bolt into the offending eye.

(Hecataeus as Philip peeps. Gorgias pokes a finger through the chink, with a howl of agony from Hecataeus on the other side.)

OLYMPIAS

Ha-a-a-a-a! And Philip lost his eye, gouged by Zeus. Behold! Philip One-Eye.

(Olympias laughs lustily at her pretend revenge as Hecataeus adjusts the patch over his eye.)

(As the preceding scene breaks up, the characters remain as they are costumed when they go back to the chorus group. Eventually the full array of costumed characters will be on display in the chorus.)

DEMARETE

Come, Olympias. Your friends have gone too far in your game. Need we regret we enticed you there?

THESSALONIKE

Zeus was not the parent. Nor was Heracles through Neoptolemus to you. And do not you wish too vainly that a battle scar was one that you had delivered?

OLYMPIAS

I was avenged! This, my retribution!

POTHOS

This is your story. Your contrivance. But you have forgotten--

DEÏDAMEIA

Or have you ignored--

SOPHIA

not the Olympian gods!--

THESSALONIKE

But the Moirae!

POTHOS

The Fates! Clotho has spun the thread of your life, as for us all.

SOPHIA

Lachesis has tied the knots of circumstance in your thread. Inescapable events. You were born a woman, high-born, a descendent of gods, a daughter of kings, a wife of kings, a queen, mother of a king--

OLYMPIAS

--always subject to kings! Simply a woman under a man! Capricious male monarchs! If I were... If...

SOPHIA

Fate, beyond your control.

DEMARETE

Atropos will cut the thread at the ordained moment. The Three Fates. Moira. Your share. Your portion. Your lot.

SOPHIA

Your life is, and can only be perfect in its completeness, at that moment when the thread is cut.

OLYMPIAS

That is my inheritance.

(She pets the Serpent/Gorgias.)

OLYMPIAS

(continuing)

It is good the way you indulge me in my Dionysian vanities.
AH! Who is this imitation I see coming along?

(Euxenippus turns slowly from the wardrobe chest, dressed as Antipater, with the great dignity of age and status, haughty, going toward her. He stumbles slightly, regains his dignity, catches a sudden twitch of pain in his back, regains his superiority. )

OLYMPIAS

My lord regent Antipater! You still among the living? How are affairs in Macedonia? You appear somewhat creaky to be carrying around that heavy load of arrogance. But the Fates must be hovering near to cut your string at any moment.

EUXENIPPUS/ANTIPATER

My dear Olympias--

OLYMPIAS

--Not your dear Olympias!

EUXENIPPUS/ANTIPATER

My "dear" queen--

OLYMPIAS

Not your dear!

EUXENIPPUS/ANTIPATER

My honored queen Olympias, I would slobber your hand with a buss, but there is too much blood there. My lips would drop off with such poison. I would prefer to kiss one of your many snakes.

OLYMPIAS

(rushing to his side)

Thank you, my dear Euxenippus, for that artful cue.

(retreating, resuming arch attitude)

Poison? You have the effrontery to give breath to the word poison? You, whose three rats you call sons delivered their foul bite to my Alexander in Babylon, depriving earth of its greatest hero? You should stay far away from that subject, old weed. Would you now please die for me, sir creaky? DIE!

(Euxenippus makes a showy demise with an abrupt collapse into a heap. Gorgatus enters.)

OLYMPIAS

Ah-h-h, that was good!

(turning to Gorgatus)

What now! There comes old Aristotle, close friend of Antipater, tutor to my young Alexander, and perhaps also complicit in my son's murder. Should you not be counting and classifying the tree roots invading your grave?

(Gorgatus turns from the wardrobe chest, costumed as Aristotle, making a show of examining everything in sight up close and making notations on a scroll.)

GORGATUS/ARISTOTLE

Appointed by the lord Zeus himself, after my recent death. I am conducting post-mortem investigations of the constitution of the soul, for that is the only matter of substance surviving death.

OLYMPIAS

Then how are you presently constituted?

GORGATAS/ARISTOTLE

I am but a creation of your hatred, ordered into the body of Gorgatus. Do with me as you will.

OLYMPIAS

(rushing to Gorgatus' side, squeezing his hand)

Come, my sweet Gorgatus, can you not be a bit more creative with your impersonation of old Ari? Take your cue from me!

(resuming arch attitude)

Then you are my prisoner, and I will slay you by removing from the earth all your works. But you can save your tomes, if you can, in a trial. Answer my questions with pertinence. Your friend here, Antipater, will be your judge. Antipater! Arise!

(kicking Euxenippus, who jumps up)

In character, Euxenippus!! You are old.

(resuming)

Judge this learned friend of yours as to the pertinence of his answers to my questions. If his answers are judged pertinent, he will live and you, Antipater, will die, by the power I have to command it, and I am eager to do that. If he be judged not to the point, his works will be destroyed, because I cannot kill him twice--and I am eager to do that--so you shall live.

(aside)

I know Theophrastus is hoarding his volumes; they are not safe from my spies.

(building venom)

Furthermore, they are works based mostly on what Alexander had sent him from all the lands in the east; I can rightfully claim them as my own. You see, you are hostage to my whims because you, alongside Antipater and his foul brood, conspired against Alexander through your nephew Callisthenes, whom Alexander found it necessary to execute.

(catching herself)

Now your trial begins. Which are the most numerous, the living or the dead?

GORGATAS/ARISTOTLE

The living because the dead are not at all.

OLYMPIAS

O what good sophistry! Does the earth or the sea produce the largest beasts?

GORGATAS/ARISTOTLE

The earth, for the sea is but a part of it.

OLYMPIAS

The sophistry of geography. Which is the cunningest of beasts?

GORGATAS/ARISTOTLE

That which men have not yet found out.

OLYMPIAS

The sophistry of evasion. Which is the eldest, night or day?

GORGATAS/ARISTOTLE

You prejudice my judge with your opinions.

(Olympias rolls her head and eyes up.)

GORGATAS/ARISTOTLE

You should not wonder if strange questions should receive strange answers. Day is eldest by one day at least.

OLYMPIAS

You should not wonder if a stranger to practical knowledge hears useful questions as strange. What should a man do to be exceedingly beloved?

GORGATAS/ARISTOTLE

He must be very powerful without making himself too much feared.

OLYMPIAS

What argument do you use to support your idea that the courage and justice of a man is shown in commanding, of a woman in obeying?

GORGATAS/ARISTOTLE

My queen, I know the direction where you have pointed your question to go, but I am not prepared to go there.

OLYMPIAS

Silence! Answer!

EUXENIPPUS/ANTIPATER

Let me try, Olympias.

OLYMPIAS

(to Euxenippus:)

Antipater would answer a question that only Aristotle has begged?--No!

(to Gorgatus:)

And furthermore, why is silence the glory of a woman, but not equally the glory of a man? The man commanding, the women obeying? ANSWER!

GORGATAS/ARISTOTLE

(anxious puzzling out the answer)

The final cause, for the good of man, we value it, it is the essence of life, and it is the rule. It is an enthymeme rooted in the people, needing no further proof.

OLYMPIAS

(smiling surprised satisfaction)

How might a man become a god?

GORGATAS/ARISTOTLE

By doing that which is impossible for men to do.

OLYMPIAS

Is life stronger than death?

GORGATAS/ARISTOTLE

Life is stronger than death because it supports so many miseries.

OLYMPIAS

How long do you think it decent for a man to live?

GORGATAS/ARISTOTLE

'Til death appears more desirable than life.

OLYMPIAS

What is the meaning of life?

GORGATAS/ARISTOTLE

Now this is not Aristotle.

(catching her glare; a "brilliant!" gesture)

In the style of Aristotle. Without knowing it, we worship the meaning of life. The meaning is in what one does with it, one, create; two, destroy; three, destroy in order to create, or four, in the middle ground, watch others create or destroy. Destroyers are worshipers of evil, and give pain. Creators are worshipers of good, and give pleasure. The meaning of life is in what one does with life. The assessment must be made. How would you assess Olympias?

OLYMPIAS

(waving him off)

Do ants have life?

GORGATAS/ARISTOTLE

Certainly, as do all insects and other creatures.

OLYMPIAS

Then does an ant's life have meaning?

GORGATAS/ARISTOTLE

My concern is man. Meaning is up to the ant. However, I have seen it waggle its head as if to choose right or left. Does it ponder right on the right or wrong on the left? Right, and wrong. But it does meander much, which I ascribe to indecision.

OLYMPIAS

(taking him aside, digressing)

As a child, I would look down and see one. When it sensed my thundering step shaking its earth, it would suddenly scurry to save itself. What is the meaning of life to the lowly ant? Its meaning of life in that instant?

(No answer is forthcomiong.)

OLYMPIAS

(continuing; they all gather around)

One day, as I lay on the earth studying the ant, I knew the answer: preservation. To get safely out of my way. It behaved as if it had a life worthy of saving. A past and a future. Tasks undone. An obligation to avoid my step. To flee to the comfort of those others of its kind. The ant is diligent and industrious, eager to gain and tenacious in holding gains. Thus they were worthy to become the Myrmidons, the army of Achilles.

GORGATAS/ARISTOTLE

Then your ancestors consorted with the ants.

OLYMPIAS

So have I studied them. But what of the bee, old Ari? I shall be a gadfly, of sorts, and shall demand you answer why the bee bites. Is it to get itself swatted and killed? Does the bee think that when it stings that it could be provoking a killing response? Does the bee know that when it stings it will die? Is the bee stinging out of vengeance? anger? a misguided self-preservation? Does the bee act to protect the hive? Is that altruism? Does the bee sting, knowing that the act is more important than continuing to gather honey? Do the answers apply to human predators? You see, I am no stranger to empirical science.

(He is desperately confounded.)

GORGATAS/ARISTOTLE

I have studied Aristotle, my eagle-eyed queen, but your animals do not have deliberative imagination and are not calculative, as you have assumed they are. Thus Aristotle would remark.

(She turns to Euxenippus. At her gesture, all retreat from her. )

OLYMPIAS

Your judgment, Antipater.

EUXENIPPUS/ANTIPATER

All that I can determine is that each answer was less pertinent than another.

OLYMPIAS

Sufficiently vague and circular, sir, to avoid your responsibility, Antipater, and have it both ways. You say good of your friend and you are condemned. You put yourself up and your friend goes down. For giving such a verdict, you shall die.

EUXENIPPUS/ANTIPATER

Not so, Queen Olympias, unless you said that he should die if all his answers were impertinent. You should be unmistakable.

OLYMPIAS

(to Gorgatus)

My dear Ari, tutor to the world THROUGH my son. Your mind is a knife, but no matter how sharp, it will not cut water, which is the substance of your tomes. Aristotle cannot be made to die twice, so Antipater who still lives, will die. Antipater, DIE!

(Euxenippus again crumples to the floor in a comically abrupt manner. Hecataeus enters dressed as Philip II, patch over one eye, false-bearded, etc. He wears a robe covering all. )

OLYMPIAS

oh HO ho! What comes here! Philip, the king! Great general of Macedon. Creator of the indomitable phalanx and fierce lightning attack that conquered Asia, revenging our losses to Xerxes. My shade of a husband, the king, escaped from Hades, I see. Make way for the king!

(Hecataeus is led on two leather leashes attached to something under his robe. The Satyrs (Sophia, Deïdameia), tug at him, pulling him forward. Hecataeus makes the guttural sounds of a caged beast. His hands are bound; the Satyrs unbind the hands, and he starts flailing about to reach the Ladies who may come teasingly near.)

OLYMPIAS

Let us see who this king really is, as I knew him.

(She goes to him and rips off his cloak, revealing a binding for a sort of chastity belt, showing a very large phallic-shaped protuberance made of leather. The Ladies false-swoon. He begins prancing about with herky-jerky pelvic thrusts. )

OLYMPIAS

The king with his pet lion, a smallish cat, if I remember right, suitably caged.

(Hecataeus goes to one of the women squirming on the ground in mock ecstasy.)

HECATAEUS/PHILIP II

I love this part!

OLYMPIAS

Hecataeus!

(He does an "ooops!' Then he hovers thrusting doggedly over the squirmer a moment, yawns and turns away to go to the next.)

OLYMPIAS

(continuing; explaining to all)

Courtesan.

(At the next woman, he becomes a bit more interested, the thrusting a bit more affectionate before taking a tender departure to go on to the next.)

OLYMPIAS

Concubine.

(On his way to the next, he makes, for joy, a leaping step in the air. Looks over the next, admiring her allure, with furtive glances all around to see if he has been detected by anyone, and takes her hand and pulls her to him, standing, thrusting and suspiciously glancing away at moments. Then he pulls away from her acting guilty but searching again.)

OLYMPIAS

Wife. Now we have him in all his gore-y. Watch him waggle!

(He wiggles the leather pouch as a divining rod at all the women left.)

OLYMPIAS

See how he flares his nostrils! Prances and paws around like a stallion in a sweat to relieve his agony in the more challenging battle for conquest. He is-- He has-- The Virgin Seeker!

(He gives a great thrust at last at one who appears young, virginal. She quickly confronts him, in his face.)

OLYMPIAS

I know you looked into the eyes of Pausanias, who murdered you, as he ran his blade into your heartless heart, your false heart, a heart not ever for me, my dear, dear Philip. Did you not see me there in his eyes? Divorce me? Never. Get an heir to displace Alexander? Never! You could breed only girls anyway. Breed with one younger even than Alexander? Never! You made good wars for Macedon, until you made a bad war against me and your son. Show us your manhood, Philip!

(The Satyrs (Sophia, Deïdameia) yank Hecataeus back between them. She beckons the Bacchantes (Demarete, Thessalonika, Pothos, and Ephthalia) to tease him.)

OLYMPIAS

Now, promiscuous lord of the underworld, pray to the ivy-crowned one.

(Demarete, Thessalonika, Pothos, and Ephthalia become the Bacchantes dancing around Hecataeus.)

EPHTHALIA

(drumming)

The god of wine and snakes and dance,--

POTHOS

--god of joy, release of the spirit!

THESSALONIKE

The lot of the favored.

DEMARETE

Hear it now, the lyre and drum!

(The Bacchantes dance in the orchestra. Olympias mimes dancing with the Bacchantes as she drinks. The Bacchantes drink with her, swaying all the time. They go to the statue of Dionysus and pour a goblet at the sacrificial altar.)

THESSALONIKE

Waving the cone-tipped thyrsus in blood-eyed praise to the wine-god who ever calls forth from worshippers raptures divine and deathless.

POTHOS

I take my place in the stately march and twirl my gossamer robes Until my skin glistens, my cheeks glow.

(They begin to dance nearer and nearer to Hecataeus. He, reaching out to grab a dancer, is held in check by the leashes. His frustration mounts. As Olympias chants, she teases Hecataeus shamelessly. )

OLYMPIAS

My auburn hair flows, freed from the tight furl, and I dance, posture, twirl, and step to a prayer to god for a deep, elevating, transcendent passion.

(Olympias confronts Hecataeus again and gives a whack to the phallus as Ephthalia whacks the drum. Hecataeus howls with pain. The dance ends. Olympias then huddles with the three women, Thessalonike, Demarete, and Pothos, instructing them to prepare themselves from the costume chest to play the three Furies. Olympias prances around, pumped up by her performance in her little playlets. She experiences the reverberations of the dance in ever smaller movements, and savors her moments of satisfaction in a trance-like dance. Then she waves the whole cast aside. They retreat and open the circle.)

OLYMPIAS

These vain pleasures of retribution are nearly ended.

(She begins the attack on her villains, Serpent, Philip, Antipater, Aristotle, and the Satyrs, by calling forth the Furies. As she does so, Thessalonike, Demarete, and Pothos dance down with horrible leaps. They hold the masks of The Furies, each carrying one of these, a whip, a torch, and a serpent. One foot of each is fitted with a claw, which they raise at Euxenippus, Gorgatus, and Hecataeus, threateningly.)

OLYMPIAS

Come, Furies, scourge the smell of sulfur out of these scoundrels and bash their crooked forms from my eyes. O villainous weeds that clogged the garden of my love, choking it with brambles of pain and anger! Hasten, Furies three, to soothe my ears with your vengeful screech against these outlaw seducers, oligarchs, murderers, and plotters. Ho! Furies! Descend! Avenge this mother!

(As she speaks, the three women screech at their victims and chase them all around, they gradually shedding their playlet accouterments. Thessalonike, Demarete, and Pothos return quietly along with Hecataeus, Euxenippus, Gorgatus, and Gorgias. Olympias surveys her friends. )

OLYMPIAS

Do you hear this moment of peace at dawn after the tumult in the dark of rage? Do you feel healed of the evil sores of infection? Has a burden been laid on the earth that makes us free and light? Has a hunger been sated, a thirst quenched? A desire fulfilled? Come up, Attalus. A love must yet be requited.

(Attalus steps ascends to her Level 2a.)

OLYMPIAS

Stand there, my friend. Strip, Attalus!

OLYMPIAS

(continuing; to her friends)

This is my gift for you. This is my son, the King of Macedon, re-born, Alexander!

(Attalus takes off all except a loin cloth. She goes through the dressing of Attalus from the bottom up, one article at a time. Her gentlemen companions rush to the chest and return each with an item of the costume.)

OLYMPIAS

Cavalry boots!

(A soft leather lining "sock" held in place by a strap-work over-boot with sole and heel. See: Nick Sekunda and Angus McBride, The Army of Alexander the Great. Great Britain: Osprey, 1984.)

OLYMPIAS

Tunic!

(Long-sleeved of medium purple.)

OLYMPIAS

Cuirass!

(White, not the muscle type.)

OLYMPIAS

Cloak!

(Medium purple with golden-yellow border, folded Macedonian style.)

OLYMPIAS

Helmet!

(Silvered with gold wreath and horsehair tail fixed on the crown.)

OLYMPIAS

Xyston!

(The long cavalry spear with two ends fitted with spearheads.)

OLYMPIAS

Timaeus! Hold the spear! Sword

!

(A straight, highly decorated sword slung under the left arm.)

OLYMPIAS

Shield bearer!

(Hecataeus comes forward bearing a shield of the kind Alexander collected at Troy, the Shield of Achilles. She stands back to inspect the effect. She moves to tilt his head slightly up. Then she shifts the head slightly to the left.)

OLYMPIAS

Eyes up into the distant frontier, his pothos! Mouth open just a little! Now walk around with grace and strength! His arretê!

(She teaches him the walk as she imagines it, but finally comes around to the manner as Attalus remembers it.)

OLYMPIAS

Alexander! My creation! As he set out, at twenty years, King of Macedon. To avenge the atrocities of Xerxes and the Persians against the Hellenes. I never saw him in a Persian robe.

(She goes to him and slowly embraces him. Attalus holds his pose. She backs off, goes to a table, takes up a scroll, and goes to hand it to Attalus.)

OLYMPIAS

Read!

ATTALUS/ALEXANDER

"My dear mother Olympias--"

OLYMPIAS

Higher. The voice higher.

(She goes to embrace him again, from behind, looking over his shoulder as he reads.)

ATTALUS/ALEXANDER

"Today--"

OLYMPIAS

From the beginning. His sophos!

ATTALUS/ALEXANDER

"My dear mother Olympias--"

(At which, Olympias hugs him harder, bids him pause a moment as she savors the moment, then bids him resume.)

ATTALUS/ALEXANDER

"Today I was on the hot sands of Egypt. Apollo's chariot crossing overhead, I heard him shout courage to our train below. With little water to feed the sweat, we marched on. I was in a trance of the greatest joy. My thirst was quenched at the oasis of Siwah by the knowledge I had sought there from the oracle of Zeus Ammon. No one shall know, but you, dear mother, shall be the only one I tell when I see you again. I heard what will bear me through any fortune or misfortune.

(He pauses to look at her. She waves him on. )

ATTALUS/ALEXANDER

"In the evening, I rode out alone away from the train. The heavens were falling into the warm and cooling sand. All was silence. In the desert are no beings. No needs. Only the stars were alive, and cool turned to cold. Bucephalus knew, too, and stood in silence. A horse's head is pointed mostly down and ahead, but this evening, he tried to look up, after I shared with him the secret of my life. I did not sleep and welcomed again the fair order and harmony of golden Apollo as he arose in the east.

(Again he pauses to look at her. Again, she waves him on.)

ATTALUS/ALEXANDER

"I am amused that the frenzies of your Dionysian mysteries do not provide you with a philosophy of moderation to guide you through your quarrels with Antipater, which give me much pain. You charge a high rent for the nine months you housed me before I was born. Your loving son."

(Olympias speaks to Attalus as if he were really Alexander. During the following, members of the chorus begin one by one to crowd behind Attalus, where they face Olympias, Attalus on the point. Her other friends circle behind her.)

OLYMPIAS

You never returned, my son. I never learned your secret. But I know you, and I know what it is. It is the source of your honor. Your invincibility. Your aretê. The gods are like men, and you are one who became god-like.

(With an abrupt change in tone.)

OLYMPIAS

I will have my esteem!

(She notices the reaction of the chorus.)

OLYMPIAS

I have begged the question I see in your eyes and in the twirl of your heads. Esteem for what, you ask.

(She addresses herself now to Attalus.)

OLYMPIAS

I am sad my friends cannot see it. I was highborn, given the wealth and privilege of rulers. I was given the customs and practices of male monarchs in a patriarchy. I received the heritage of a descendant of the gods. Thus have I lain in a dream and stitched together, from the skein of the spinster, Clotho, the fabric of my fate ordained by the Goddesses. I know the given. I know my lot. But did the goddesses decree a horny husband, as well? Did they predestine his witless bastards crawling everywhere into the pattern?

(Thessalonike moves quickly, sprite-like, with a ballet step, from the chorus closer to Olympias, into her direct line of sight, in confrontation. Her head and eyes are averted, down, hands clasped straight down. Olympias stares a moment at Thessalonike, then starts to move to the side to get around her. However, Thessalonike does a quick side-step to get in front of Olympias and continue the confrontation, impeding her movement, but maintaining the dramatic contrast in silence, modesty and respect of head and eyes. Olympias moves again, but again comes Thessalonike's ballet-like step to the front of Olympias, preventing the move. This is almost comical, but the aggressiveness of Thessalonike betrays a seriousness of purpose. Olympias is perturbed, but then the meaning begins to dawn on Olympias. Her stern look changes.)

OLYMPIAS

Thessalonike!

THESSALONIKE

Am I not his bastard, Olympias?

OLYMPIAS

Yes. --well-- Not a bastard, my child. Not a bastard in that tone I save for others.

THESSALONIKE

Daughter of your King Philip?

OLYMPIAS

Yes. One of many. Each one a threat to the birthright of Alexander. You are a woman. A woman is not a threat to any throne. Your mother was a minor wife of his. But I find you more than tolerable. Unlike the other issue of my goatish husband.

(She touches her affectionately. Thesalonike dances demurely back to the chorus, without lifting her head or eyes.)

OLYMPIAS

(continuing; resuming with Attalus)

Did the Fates spin the whole tapestry of circumstances where I have no presence and occasion to rule? Alexander, you loved to throw the dice and stake a sum on the chance. Tell me, are the Fates attentive to every fortune or misfortune of every throw? Do they hover and pounce on the result they ordain? Are you toying with the Fates in your game? Do not they always win? No, my son. That is a diversion in which you learn from them what they have in store for you. I will never play that game. I will let the Fates know what I have in store for my friends and enemies, and they can draw the picture from that. That is the man's game. I have learned from all your letters that when you made war, you did not throw the dice and stake the fate of your army on the result. I have determined what your secret is, the word of the gods through the oracles you consulted at Dodona and Siwah, the words you promised to disclose only to me. Your words hiss like the flicking tongue of Zeus Ammon in my ear. Our secret, Alexander. Our secret. I know. I know.

DEÏDAMEIA

My queen, you challenge the gods. You draw your fate upon yourself.

OLYMPIAS

(to Attalus)

Your regent overvalues himself in wealth and political power, Alexander.

DEMARETE

Be content with God's will, Olympias. It is the joy of your life.

(Ignoring them and continuing with Attalus.)

OLYMPIAS

Antipater has usurped, in your absence, your power at home, and converted your democracy to an oligarchy of his friends, where citizens suffer a measure of wealth to belong. The anguish of my struggle with him is no less than yours for the battles you enter. I will redress those wrongs. I have your ideal for this, my Alexander.

OLYMPIAS

(continuing; waving off Attalus)

Leave me, Alexander!

(Attalus goes off half way. He turns around and gazes at her. )

OLYMPIAS

Farewell, my dear son.

(He backs away, but does not exit.)

DEMARETE, EPHTHALIA

Hear it now, the lyre and drum! I hear the Bacchantes dancing near!

(Thessalonike, Pothos, Demarete, Ephthalia, Sophia and Deïdameia begin humming with strumming and drumming. )

THE BACCHANTES

(Olympias mimes dancing with the Bacchantes as she drinks. She goes to the statue of Dionysus and pours a goblet at the sacrificial altar. Only phrases from the total text are spoken. )

THE BACCHANTES

...the cone-tipped thyrsus
...praise to the wine-god
...raptures divine
...and deathless
...the stately march
...and twirl
...my skin glistens
...my cheeks glow.

OLYMPIAS

My auburn hair flows
...I dance
...a prayer to god
...a passion.

(As the ladies and gentlemen exit, Olympias, again with the accompaniment of the lyre, from Demarete who has remained, remembrance and reverie. She stops the strumming, and Demarete is waved off. She begins pacing in the throne area in front of the skene, increasingly furiously now, the mood returning to that before the dancing. Attalus has continued to gaze at her. Attalus raises an arm to her, which she does not see until he speaks. )

ATTALUS/ALEXANDER

Mother.

OLYMPIAS

No, Attalus. I am not your mother.

(He turns to exit. She stops him. )

OLYMPIAS

I am not Olympias. I was called Polyxena. On the day of Alexander's birth, the king had won an Olympic victory in a race of chariots at Olympia and a great victory in war. At Philip's request, I became Olympias, who sprang Minerva-like from the head of Philip. Olympias was not born. She was born Myrtale. The Fates were caught off guard. You must know me as Polyxena. As Olympias, I am Alexander's mother. And you. You were Alexander's counterfeit!

ATTALUS

As a strategy against the enemy, at the Hydaspis.

OLYMPIAS

Shape-shifting Attalus.

ATTALUS

It has made my fortune. All people have likenesses, I believe. The Fates gave me one that was the most glorious. And that is why you recalled me when he died.

OLYMPIAS

You will be Alexander to my Olympias. And I will be Polyxena to your Attalus. Come now, Attalus. Come with me. I will be the maiden Myrtale.

(As she leads him slowly off.)

OLYMPIAS

Shape-shifting Olympias. Shape-shifting Attalus. What you see may not be who I am. Like water that starts as rain, slides into a stream, fills a pond, and trickles into a torrent and joins the river, floods into the lake, empties into the Great Ocean circling all life, filling the heavens with mist, shrouding Olympus in clouds--but always water, always ready to fill the form given by circumstance. Like earth. Like fire. Like air. We are all many shapes where another form lies just below the surface, but at the heart we are of one character.-- Come, Attalus.-- And bring Alexander with you.

(She lays her head on his shoulder as she holds his hand with both hands and they exit.)

END SCENE ONE


Act I,    Scene 1 - Bacchantes & Satyrs

Act I,    Scene 2 - Antipater

Act I,    Scene 3 - Love

Act I,    Scene 4 - Murderous Olympias

Act II,   Scene 5 - Under Siege

Act II,   Scene 6 - Siege Is Broken

Act II,   Scene 7 - Death

Act II,   Scene 8 - Epilogos

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