From Bulfinch's Mythology: Ibycus - anthology.

From Bulfinch's Mythology: Ibycus - anthology. The wrongful death of Ibycus, a poet of ancient Greece, was avenged in an unusually dramatic manner. When two thieves attacked Ibycus on his way to a festival in Corinth, the poet, aware that he was dying, appealed to a flock of cranes flying overhead to take up his cause. The cranes' unexpected appearance during a theater performance in Corinth shocked the poet's murderers, who were sitting in the audience, and they revealed themselves. American writer and mythologist Thomas Bulfinch enriched his retelling of the tale with a description of a Greek amphitheater. From Bulfinch's Mythology: Ibycus By Thomas Bulfinch In order to understand the story of Ibycus which follows it is necessary to remember, first, that the theatres of the ancients were immense fabrics [structures] capable of containing from ten to thirty thousand spectators, and as they were used only on festal occasions, and admission was free to all, they were usually filled. They were without roofs and open to the sky, and the performances were in the daytime. Secondly, the appalling representation of the Furies [the three avenging deities of Greek mythology] is not exaggerated in the story. It is recorded that Æschylus, the tragic poet, having on one occasion represented the Furies in a chorus of fifty performers, the terror of the spectators was such that many fainted and were thrown into convulsions, and the magistrates forbade a like representation for the future. Ibycus, the pious poet, was on his way to the chariot races and musical competitions held at the Isthmus of Corinth, which attracted all of Grecian lineage. Apollo [Greek god of prophecy, music, and poetry] had bestowed on him the gift of song, the honeyed lips of the poet, and he pursued his way with lightsome step, full of the god. Already the towers of Corinth crowning the height appeared in view, and he had entered with pious awe the sacred grove of Neptune [in Roman mythology, god of the sea]. No living object was in sight, only a flock of cranes flew overhead taking the same course as himself in their migration to a southern clime. 'Good luck to you, ye friendly squadrons,' he exclaimed, 'my companions from across the sea. I take your company for a good omen. We come from far and fly in search of hospitality. May both of us meet that kind reception which shields the stranger guest from harm!' He paced briskly on, and soon was in the middle of the wood. There suddenly, at a narrow pass, two robbers stepped forth and barred his way. He must yield or fight. But his hand, accustomed to the lyre, and not to the strife of arms, sank powerless. He called for help on men and gods, but his cry reached no defender's ear. 'Then here must I die,' said he, 'in a strange land, unlamented, cut off by the hand of outlaws, and see none to avenge my cause.' Sore wounded, he sank to the earth, when hoarse screamed the cranes overhead. 'Take up my cause, ye cranes,' he said, 'since no voice but yours answers to my cry.' So saying he closed his eyes in death. The body, despoiled and mangled, was found, and though disfigured with wounds, was recognized by the friend in Corinth who had expected him as a guest. 'Is it thus I find you restored to me?' he exclaimed. 'I who hoped to entwine your temples with the wreath of triumph in the strife of song!' The guests assembled at the festival heard the tidings with dismay. All Greece felt the wound, every heart owned its loss. They crowded round the tribunal of the magistrates, and demanded vengeance on the murderers and expiation with their blood. But what trace or mark shall point out the perpetrator from amidst the vast multitude attracted by the splendour of the feast? Did he fall by the hands of robbers or did some private enemy slay him? The all-discerning sun alone can tell, for no other eye beheld it. Yet not improbably the murderer even now walks in the midst of the throng, and enjoys the fruits of his crime, while vengeance seeks for him in vain. Perhaps in their own temple's enclosure he defies the gods, mingling freely in this throng of men that now presses into the amphitheatre. For now crowded together, row on row, the multitude fills the seats till it seems as if the very fabric would give way. The murmur of voices sounds like the roar of the sea, while the circles widening in their ascent rise tier on tier, as if they would reach the sky. And now the vast assemblage listens to the awful voice of the chorus personating the Furies, which in solemn guise advances with measured step, and moves around the circuit of the theatre. Can they be mortal women who compose that awful group, and can that vast concourse of silent forms be living beings? The choristers, clad in black, bore in their fleshless hands torches blazing with a pitchy flame. Their cheeks were bloodless, and in place of hair writhing and swelling serpents curled around their brows. Forming a circle, these awful beings sang their hymns, rending the hearts of the guilty, and enchaining all their faculties. It rose and swelled, overpowering the sound of the instruments, stealing the judgment, palsying the heart, curdling the blood. 'Happy the man who keeps his heart pure from guilt and crime! Him we avengers touch not; he treads the path of life secure from us. But woe! woe! to him who has done the deed of secret murder. We, the fearful family of Night, fasten ourselves upon his whole being. Thinks he by flight to escape us? We fly still faster in pursuit, twine our snakes around his feet, and bring him to the ground. Unwearied we pursue; no pity checks our course; still on and on, to the end of life, we give him no peace nor rest.' Thus the Eumenides [the Furies] sang, and moved in solemn cadence, while stillness like the stillness of death sat over the whole assembly as if in the presence of superhuman beings; and then in solemn march completing the circuit of the theatre, they passed out at the back of the stage. Every heart fluttered between illusion and reality, and every breast panted with undefined terror, quailing before the awful power that watches secret crimes and winds unseen the skein of destiny. At that moment a cry burst forth from one of the uppermost benches--'Look! look! comrade, yonder are the cranes of Ibycus!' And suddenly there appeared sailing across the sky a dark object which a moment's inspection showed to be a flock of cranes flying directly over the theatre. 'Of Ibycus! did he say?' The beloved name revived the sorrow in every breast. As wave follows wave over the face of the sea, so ran from mouth to mouth the words, 'Of Ibycus! him whom we all lament, whom some murderer's hand laid low! What have the cranes to do with him?' And louder grew the swell of voices, while like a lightning's flash the thought sped through every heart, 'Observe the power of the Eumenides! The pious poet shall be avenged! [T]he murderer has informed against himself. Seize the man who uttered that cry and the other to whom he spoke!' The culprit would gladly have recalled his words, but it was too late. The faces of the murderers, pale with terror, betrayed their guilt. The people took them before the judge, they confessed their crime, and suffered the punishment they deserved. Source: Bulfinch, Thomas. Bulfinch's Mythology: The Age of Fable, The Age of Chivalry, Legends of Charlemagne. New York: Random House, 1934.