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The Agamemnon of Aeschylus

Published posthumously in 1910, this is the last great work of the eminent
classical scholar Walter Headlam (1866–1908), who devoted most of his
short life to the study of Aeschylus. On Headlam’s death, Alfred Pearson
was commissioned to finish the project, and the care and precision of both
scholars are evident in this well-edited text. Pearson added a commentary
and explanatory notes to Headlam’s translation and introduction, both of
which were nearly complete when the author died. The text is set out with the
English translation facing the original Greek, making them easy to compare.
The substantial introduction includes background about the House of Atreus
as well as a detailed plot summary, a discussion of the moral and religious
content of the play and a description of the characters. Pearson’s commentary
and notes are equally comprehensive and informative.
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The Agamemnon
of Aeschylus
With Verse Translation,
Introduction and Notes

E dited by W. Headl am
and A.C. P earson
Aeschylus
 C A m b R i D G E U N i v E R si T y P R E s s

Cambridge, New york, melbourne, madrid, Cape Town, singapore,

são Paolo, Delhi, Dubai, Tokyo

Published in the United states of America by Cambridge University Press, New york

www.cambridge.org
information on this title: www.cambridge.org/9781108012096

© in this compilation Cambridge University Press 2009

This edition first published 1910

This digitally printed version 2009

isbN 978-1-108-01209-6 Paperback

This book reproduces the text of the original edition. The content and language reflect
the beliefs, practices and terminology of their time, and have not been updated.

Cambridge University Press wishes to make clear that the book, unless originally published
by Cambridge, is not being republished by, in association or collaboration with, or
with the endorsement or approval of, the original publisher or its successors in title.
AGAMEMNON
OF

AESCHYLUS
CAMBRIDGE UNIVERSITY PRESS
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All rights reserved

 AGAMEMNON
OF

AESCHYLUS
WITH VERSE TRANSLATION, INTRODUCTION
AND NOTES

BY

WALTER HEADLAM, LITT.D.

LATE FELLOW AND LECTURER OF KING'S COLLEGE, CAMBRIDGE

EDITED BY

A. C. PEARSON, M.A.

Cambridge:
at the University Press
1910
 " I am honoured and gratified by your
proposal to dedicate to me your version of
the Agamemnon. I regard the Oresteia as
probably on the whole the greatest spiritual
work of man."

Extract from a letter to

Walter Headlam from A. C. Swinburne.
October 2nd, 1900.

a
3
 EDITOR'S PREFACE

AT the time of his death in 1908 Dr Walter Headlam had been

1\. for some years under engagement to prepare an edition of
the Agamemnon for the Syndics of the Cambridge University
Press. Unfortunately he was not able to complete it; but the
Syndics were nevertheless desirous that a book the preparation
of which had engrossed long periods of enthusiastic labour, should
if possible be published.
With this end in view the existing material was entrusted to
me to be sifted and arranged for the Press. The various parts
of the work proved on investigation to be in different stages of
progress ; for, whereas the Introduction and Verse Translation
were nearly complete, and had undergone considerable revision
at the hands of their author, the recension of the text had
not been carried through, there were no critical notes, and the
commentary only existed in fragments. The deficiencies were
however less serious than might appear from this statement.
Dr Headlam had devoted himself for twenty years to the study
of Aeschylus ; he had ransacked the whole of the extant Greek
literature in order to equip himself for the task of emending,
explaining, and illustrating his favourite author; he had
published from time to time in the philological periodicals
critical studies on most of the difficulties which the text of the
Agamemnon presents; and, when repeatedly working through
the play, he had collected in note-books and in the margins of
his printed copies abundant stores of evidence, which though
not in their final shape were available in support of the con-
clusions he had reached.
I must now endeavour briefly to explain how I have dealt
with this material.
So far as it went, the Introduction was finished, with the
exception of the opening pages; but there can be no doubt that
viii EDITOR'S PREFACE

at least a section bearing on the textual criticism of the play

would have been added. In order to make the critical notes
intelligible, I have added a short account of the most important
MSS., taken principally from Wecklein. The Verse Translation
had undergone constant revision, as will be apparent from a
comparison of such extracts as have appeared in the occasional
contributions with the complete text as now printed. The
author was a severe critic of his own productions, and finality
was not easily reached. The manuscript bears many indications
that the text had not been definitely settled ; and I have some-
times been compelled to choose between alternatives, neither of
which was considered entirely satisfactory. The number of
cases where the addition of a word or words was necessary
is fortunately so small as to be negligible.
In constituting the text I have been guided mainly by the
evidence contained in an interleaved copy of Wecklein's
Aeschylus (1885). This book was intended by Dr Headlam to
be the basis of his own recension, and here he was accustomed
to enter such textual corrections as he considered final. Further
assistance has been derived from the notes to the prose trans-
lation written for Messrs Bell's Classical Translations (London,
1904), in which he professed to record such of the readings
adopted as were likely to be unfamiliar. In the few cases where
these notes conflicted with the ' final' Wecklein, the testimony
of the latter was taken as conclusive. There remained a number
of passages where the editor had not made up his mind on the
reading to be printed; but in most of these either the translation,
verse or prose, or the notes show what he considered to be
probable, and the actually doubtful points are both few and
unimportant.
For the convenience of readers I have added below the page
a brief record of the MS. evidence, wherever the text departs
from it. For the most part this is taken from Wecklein's
apparatus, whose authority I have generally followed in attri-
buting to their authors such conjectures as it was necessary or
desirable to mention.
The material available for the commentary was as follows :
(1) note-books and loose sheets containing notes in course of
 EDITOR'S PREFACE ix
preparation ; (2) notes and references written in the margin of
printed copies of the play, the most important of which were in
the interleaved copy of Wecklein already mentioned; (3) printed
contributions to the Classical Review and Journal of Philology,
and the notes to the prose translation. Dr Headlam had
planned his commentary on an elaborate scale, seeking by
illustrations drawn from every age of Greek literature to rest his
criticism and interpretation upon the secure foundation of estab-
lished usage. The complete design was never realised: the written
notes which remain are intermittent and generally incomplete,
and so far as they exist cover only a small portion of the text.
On the other hand, many of the notes previously published
required modification before they could be suitably incorporated
in a commentary; and many others being superseded by later
views had ceased to be of importance. In spite of these diffi-
culties, it was thought better not to miss the opportunity of
collecting the permanent results of Dr Headlam's criticism on
the Agamemnon ; and it is hoped that the new matter will be
welcomed by those who are already familiar with his published
work. It must be understood that, though in many instances I am
responsible for the outward form which the note has ultimately
assumed, the substance is in every case taken from one or more
of the sources indicated above. No attempt has been made to
work up rough material unless the design of the author in
collecting it was established beyond reasonable doubt. Those
who have endeavoured to sift numbers of references not always
easy to find with the object of discovering the clue which holds the
secret of their connexion will realise that the task I have under-
taken is not without difficulty. I can only say that I have acted
according to the best of my judgment, and if the result is to
preserve for students some valuable fruits of the labours of one
who has illuminated so many dark places in Greek poetry, I
shall be more than satisfied. In the few cases where I have
made additions to the notes I have distinguished them by square
brackets
For the principles by which the translator was guided in
composing his version readers must be referred to the Preface
to the Book of Greek Verse (Cambridge University Press, 1907) ;
x EDITOR'S PREFACE
but I am permitted to quote the following extract from a
letter written to Miss J. E. Harrison on Feb. 3rd, 1903, which
has a peculiar interest as referring to the translation of the
Agamemnon:
" The blank verse seemed to me to require the large language
of the dramatists and Milton (without the slang of the
dramatists)...The trouble comes with the Lyrics. They had to
be in the same language to harmonise with the rest. That
limits you very much in metre; you must forgo in the first
place anapaestic rhythm. And whatever metre you use, there is
one condition that prevents them ever being done to satisfaction.
In the Greek they were the words written for music, to be sung;
and in English there is nothing corresponds. English un-
happily is not a singing language, as Italian is, or German ; and
the moment you try to write in English what is singable—which
is hard in itself—you get for our ears too much tune. English
'lyrics' such as Shelley wrote are capable of the loveliest and
subtlest effects, but they are effects for reading; and the lovelier
and subtler they are, the less they can be sung."
I desire to thank the proprietors of the Classical Review and
of the Journal of Philology for permission to make use of the
various articles which have appeared in those periodicals;
Messrs George Bell and Sons for a similar liberty in respect
of the notes to the prose translation; Mr J. T. Sheppard, who
not only lent me a series of notes taken in 1904, when he was
reading the play with Dr Headlam, but also looked over some
of the proof-sheets; Mr H. H. Sills for sending me several
Lecture-Room papers containing passages from the Agamemnon;
and Mr L. W. Haward for information on sundry points of detail.

A. C. P.
23rd July 1910.
 CONTENTS
PAGES

INTRODUCTION 1—38

T E X T AND TRANSLATION 39—175

NOTES 176—262

INDEXES 263—266
 ERRATUM

p. 181, note on 1. 76 ff. for iirepyripas read v

 INTRODUCTION.
THE STORY.
ATREUS son of Pelops son of Tantalus, reigning in Argos,
banished his brother Thyestes, who had corrupted his wife
Aerope and disputed his rule. When Thyestes returned in
the guise of a suppliant, his life was spared by Atreus but only
that he might suffer a more horrible injury. Pretending to
celebrate his home-coming by a special feast, Atreus slew and
served up to him his two young children. The father, misled
for the moment, with a cry of agony kicked over the table and
uttered a curse 'that so might perish all the race of Pleisthenes.'
He was afterwards banished a second time together with his
third son Aegisthus, then a mere infant1.
Of Atreus we hear no more, but he was succeeded on the
throne by Agamemnon and Menelaus, who ruled conjointly in
Argos. The two brothers married two sisters, Clytaemnestra
and Helen the daughters of Tyndareus and Leda. In the course
of their reign they were visited by Paris or Alexander, son of
King Priam, of the famous and opulent town of Troy, whom
they hospitably entertained. He repaid their kindness by
seducing Helen, the wife of Menelaus, and carrying her off with
a quantity of treasure on board his ship to Troy, leaving the
husband disconsolate and speechless2.
Agamemnon, against the wish of his oldest advisers, espoused
his brother's quarrel, and assembled a vast fleet of a thousand
vessels to avenge the rape and recover Helen. The male
population of Argos, except those too old for military service
and those too young, embarked on the enterprise. The govern-
ment was left in the hands of Clytaemnestra assisted by a body
of elders who remained behind3. At the moment of setting out
1 2 etc
vv. 1583—1606. vv. 42—44, 409—28, 537—9> -
3
vv. 72—82, 270—2, 790—5, etc.
H. A. I
2 INTR OD UCTION
the attitude of Heaven was declared by a significant omen.
Two eagles differently marked were observed preying together
on a pregnant hare. From this omen the prophet Calchas
drew a twofold conclusion partly favourable, partly the reverse.
Recognising in the two birds the two kings different in nature
but now unanimous for war, he foretold from their action that
Troy should one day fall and her gathered riches be despoiled.
But as the fate of the hare and her unborn young must of
necessity be displeasing to Artemis, the protectress of such
creatures, he saw reason to dread the displeasure of the goddess
against the army when assembled at her own port of Aulis1,
which had been assigned as the point of departure for the fleet.
Then, taking leave of the sign, in language vague but ominous,
he deprecated the occurrence of a storm which must lead to
a monstrous sacrifice, breeding enmity between a husband and
a wife, and entailing vengeance for a child2.
As the prophet had feared, so it fell out. The fleet was
detained by foul weather at Aulis; the ships began to go to
pieces; provisions were running short; and every resource
suggested by the diviners proved vain. Agamemnon himself
was impatient under these trials and would perhaps have seized
the excuse for abandoning his design, leaving it to Heaven to
punish the seducer of his brother's wife. Before taking this
step, however, he was informed of a remedy which would prove
efficacious. This was nothing less than the sacrifice of his own
daughter Iphigeneia to Artemis. The cruel alternative now lay
before him, either of killing his child, or of refusing a personal
sacrifice on behalf of the allies whom he had summoned to take
part in a personal quarrel. After weighing the motives on
either side, his calculating head got the better of his heart.
In a moment of moral obliquity he consented to the sacrifice,
and the fleet sailed. Ten years of labour and privation awaited
him at Troy. The allies, for whose sake he had resigned so
much, proved half-hearted in the end. By the loss of life abroad,
he forfeited the sympathy of all but a scanty remnant of those
who had been left behind. He made of his wife a concealed
but implacable enemy; and he gave his bitterest foe the chance
1 2
See Pausan. ix. 19, 6—8. vv. 113—63.
 THE STORY 3
to cut him off in the very hour of his triumph over his great
rival of the East1.
For there was one person who had not sailed with the sailing
of the fleet. Aegisthus2, son of Thyestes, had grown up in exile,
nursing projects of revenge, and not forgetful of his unhappy
father's claim to the crown. In the absence of the kings and
their force, he found means of access to Clytaemnestra, herself
burning to revenge the death of her daughter Iphigeneia. He
obtained her love, and (more fortunate than his father) might
enjoy it in peace, together with the reality, if not the semblance,
of power in Argos. The adultery was not openly avowed; but
enough was known for those who remained faithful to the absent
king to shake their heads and hold their peace. Orestes, the
lawful heir to the throne, was sent away to be brought up by
Strophius of Phocis, a friend of the family3.
This state of things could only last so long as Agamemnon
was abroad; and accordingly the guilty pair took measures to
provide against the day of his return. It had been arranged
between the king and his consort that the fall of Troy should
be communicated by a series of beacons extending from mount
Ida in the Troad to mount Arachnaeus in the neighbourhood
of Argos; and a watchman had been stationed to look out for
the signal for a year before the city fell. This appointment, no
doubt innocently devised to communicate the important event
as soon as possible, resulted in giving the conspirators ample
warning of the king's approach. Aegisthus had got together
a body of troops, either companions of his exile or drawn from
the disaffected generation which had by this time grown up at
Argos. He now arranged that, on the king's arrival, the cunning
and capable queen should receive her husband with all appearance
of affection, should conduct him to the bath previous to the usual
sacrifice, should there drop the valance or canopy over him, and
1
vv. 194—233, 452—64, 560—71, 829—33, etc.
2
The importance of the part played by Aegisthus, in the version of the story
which Aeschylus followed, was first emphasised by Dr Verrall, to whom here, as
elsewhere, I am much indebted. While I cannot agree with Dr Verrall (as will be
seen later) about the precise nature of Aegisthus' plot, I think it clear from v. 1609
that a plot of some considerable kind is presupposed.
3 v
v- 553—5. 871—2, 1585, 1608, 1625—7, etc.
I 2
4 INTRODUCTION
despatch him thus entangled; while he himself, being precluded
from appearing in public, should lurk in the vicinity, and, upon
a signal of Clytaemnestra's action in the palace1, should over-
power with his partisans the following of the king, and join hands
with his accomplice before the royal castle. From this stronghold
he meant to govern Argos with absolute power, bribing some
and coercing others. In the event the plan was much simplified
by the fact that Agamemnon's fleet was utterly dispersed by
a storm on the way home, so that the conqueror of Troy landed
with the crew of a single ship, and fell an easy victim2. The
return of the king, his murder by Clytaemnestra, and the
usurpation of Aegisthus, form the subject of the Agamemnon.

THE DRAMA.
This action, of which the preliminaries (so far as they are
stated or seen to be implied in the play itself) have been
narrated above, is disposed by the poet into four broad chapters.
The first is taken up with the announcement of the fall of Troy;
the second with the return of the king; the third with his murder;
the fourth with the immediate sequel of the murder. Each of
the first three divisions is subdivided, on a rough principle of
symmetry, into two parts. The reception of the news from Troy
precedes by a considerable interval its public declaration at
Argos; the entrance of Agamemnon's herald precedes the
entrance of the king himself; and the prediction of his murder
by the prophetess Cassandra (whom he brings in his train)
precedes, by a very short interval, its actual execution. The
last division likewise falls into two parts, the first of which
consists of Clytaemnestra's open justification of her act, and the
second of Aegisthus' exposition of his conspiracy; the whole
accompanied by recriminations between each of these persons
and the body of faithful elders who compose the Chorus of the
play. We will now trace the course of the action down to the
entrance of the herald, at which point a question of some
importance arises.
1
This detail is doubtful, but see v. 1354.
2
vv. 327—8, 666—8, 1636—40, 1650, etc.
 THE DRAMA 5
The scene, which is laid before the royal palace, opens at
night. A watchman is discerned on the roof. He explains
that his business is to look out for the beacon, complains of his
hardships, utters a few dark hints about the state of affairs within,
and expresses a forlorn wish for the conclusion of his watch.
While the word is yet in his mouth, the fire appears. He greets
it with a cry of joy, raises a shout to apprise Clytaemnestra,
executes a dance, adds a few more hints of a dubious nature,
and disappears (i-—39).
By the queen's orders offerings are despatched to all the
neighbouring shrines, and flames arise through the darkness.
A group of elders, ignorant of the news, assembles to inquire
the reason. In despondent tones they observe that the kings
and their army have been absent at Troy for close on ten years,
yet the war still continues. They comment on their own
feebleness, which caused them to be left behind. The queen
enters to kindle the altars near the palace, and they question
her in the hope of some comforting news. For the present
she does not answer, but goes off, apparently to complete the
ceremony by leading the sacrificial chant to which she alludes
later (40—103).
The Chorus, left alone, relate the omen which attended the
departure of the kings, its exposition by Calchas, his prophecy
of good and evil, and yet of further evil. Then, after a preface
justifying the ways of Zeus to men, they proceed to the sacrifice
of Iphigeneia. The father's tears, hesitation and eventual sub-
mission are depicted." The sacrifice itself is partly described;
but they stop short of the fatal stroke, and pray that the good
foretold by Calchas may now come about, as then the evil,
dismissing his prediction of further evil as so much premature
sorrow. On this note of uncertainty the ode concludes (104—
269).
The night is far spent, when the queen reappears and
announces the fall of .Troy. The elders, with tears in their
eyes, question her as to the proof and period of the capture.
Pointing to the dawn, which ushers in her glad news, she informs
them that it occurred in the night just past. They ask how she
could learn so quickly, and in reply she narrates the transmission
6 INTRODUCTION
of the fiery signal from hill to hill, over sea and plain, by means
of successive beacons. At the end of her rapid narrative the
elders invite her to repeat it for their fuller comprehension. She
contents herself with restating the chief fact, and goes on to
draw a picture of the captured city, with its medley of victors
and vanquished; deprecates any wanton sacrilege on the part
of the former, who have still to get home with the blood of the
dead upon their hands; and concludes by excusing her fears
as natural to a woman, and praying that all may be well in no
doubtful sense. The elders, having had leisure to reflect during
this speech, accept her evidence as certain, and turn to praise
Heaven for its mercy (270—366).
They begin by celebrating the power of Zeus, and his
unerring chastisement of guilt, as seen in the case of Paris.
This judgment refutes the saying that Heaven is indifferent
to human sin, a doctrine traceable to the temper engendered
by a sudden plethora of riches. Wealth without righteousness
insures a man's ruin, his children's ruin, his nation's irreparable
harm. It brings him to a bloody end, unregarded of God or
man. The crime of Paris, the flight of Helen, the desolation
of the Argive home, are then described in verses famous for
their tender beauty. But instead of reverting to the theme of
divine justice, the Chorus passes, by an easy but remarkable
transition, to the general grief at Argos, caused by the death
of kinsmen at Troy. The private quarrel of the Atridae has
made them hateful at home. They may have conquered, but
they have slain many; the gods take note of that. They may
have won great glory; let not their hearts be lifted up, or Zeus
will blast them. A middle station between conquest and
captivity is the best. The tone of triumph with which the
ode began has relapsed into one of dark foreboding. At the
very close they call in question the truth of the fiery message
which prompted them to sing. With a short lyric colloquy
to this effect the music dies away. In the next scene
Agamemnon's herald is observed approaching (367—507).
Here, then, we must pause to touch on a matter which has
caused some discussion in recent times. An ancient commentator
remarks: 'Some find fault with the poet that he represents the
 THE DRAMA 7
Greeks as returning from Troy on the same day1.' A modern
commentator, Mr Sidgwick, remarks2: 'Observe that the herald
arrives from Troy, announcing the return of Agamemnon,
immediately after the beacon fires, on the morning after the
capture. Such violations of possibility were held quite allowable
by the licence of dramatic poetry.' Dr Verrall, justly objecting
that neither the theory nor the practice of the Athenian drama
bears out the last assertion, founds on this apparent discrepancy
of times a new interpretation of the play. On a certain night
a fiery signal announces the capture of Troy. In the course
of the next morning the victorious king arrives, after having
demolished Troy and traversed the whole length of the Aegaean
Sea. One or other of these statements must be false. But, as
it is certain that the king does arrive in the latter part of the
play, while it is equally certain that a fiery signal is received
in the first part, it would seem to follow that this signal cannot
announce the capture of Troy. From the entrance of Agamemnon
to the close of the play it is never mentioned. The story told
by Clytaemnestra, of the chain of beacons extending from Ida
to Arachnaeus, is improbable in itself; still more so if, as we
learn later, a violent storm was raging in the Aegaean at the
time of transmission. What, then, was the meaning of the signal ?
According to Dr Verrall, there was but one beacon altogether,
and it was kindled on Arachnaeus by the conspirator Aegisthus,
who there kept watch for the return of the king; and it was
intended to warn Clytaemnestra in the city, and his adherents
elsewhere, of Agamemnon's approach, that all their plans might
be ready for the murder of the king and the seizure of the citadel
which commanded the country. A watchman had been set on
the palace roof to look out for its appearance. To avoid suspicion,
he was chosen from among the loyal servants of the house; to
account for his task, he was told that a beacon was expected,
announcing his master's success at Troy; and 'his vigilance and
silence were secured by threats and bribes.' On the night of
Agamemnon's return, when the signal was fired, the queen,

1
Schol. v. 509 nvki jx(ix<poVTai TQIL TrontTrji Sri avdti/xepbv e/c Tpoiat Trine? robs
]vas TJKOVTCLS.
- Note to v. 504 (509).
8 INTR 01) UCTION
desirous to secure the persons of her principal opponents, sent
for the elders to the palace, and informed them that Troy had
fallen that very night. In reply to their inevitable question
as to the receipt of the news, she swept them off their legs with
a graphic but fictitious narrative of the transmission of the light
from Troy to Argos. Left to themselves, the elders naturally
began to entertain doubts as to the truth of the story, when
Agamemnon's herald appeared, confirming indeed the fall of
Troy, but, by the very fact of his arrival, showing the queen's
relation to be false. By a train of accidents, however, the elders
allowed the herald to depart without advising him of their
suspicions. Meanwhile the plot grew ripe for execution, and
was subsequently carried out.
Such, in brief outline, is Dr Verrall's account of the story,
presumed as familiar at Athens, which Aeschylus undertook
to illustrate. By reducing the circuit of the action it does at
least avoid the absurdity of supposing that events which must
necessarily take several days happen within the course of a few
hours. Although it is itself open to several objections of detail,
chief among which is the astounding falsehood in which the
queen involves herself, without apparent necessity, by choosing
to impart to the elders her secret information of the capture
of Troy, I do not propose to follow these out. A graver
objection is that, by making the business of the watchman a
blind and the plurality of the beacons imaginary, the first
part of the play is reduced from a substantial to a factitious
transaction, and the massive structure of the drama, with its
three broad chapters of the announcement, the return, and the
murder, seriously undermined. I will therefore state the reasons
which, in my opinion, make it needless to resort to this new
interpretation.
It is buttressed by various arguments, but it rests on the
assumption that the time of the action is continuous from start
to finish; or rather, that it is contained 'within the early hours
of one morning.' Now, if, in the first part of the play, a fiery
signal purports to announce the capture of Troy; and if, in the
second part, the destroyer of Ilion himself appears, the first and
most natural supposition is that the events of the play are
 THE DRAMA g
not closely consecutive in time, but are divided by an interval
sufficient to permit of this happening. Is there anything in the
play which absolutely forbids such a supposition? I venture to
assert that there is nothing at all; that there is not a single
circumstance which compels us to suppose that the events which
follow v. 493 occur on the same day, or within the same week,
as those which precede; that the criticism mentioned by the
old commentator is unfounded; that Mr Sidgwick's observation
falls to the ground; and that Dr Verrall has taken hold of the
wrong limb of the difficulty. Instead of inferring that the beacon
cannot announce the capture of Troy, we ought to infer that the
king does not arrive in the course of the next morning. How
this interval was conveyed to the audience, we can only guess;
but Blomfield's suggestion is probable, that the Chorus leaves
the theatre for a short space after v. 493.
On what arguments does the supposed circumscription of
the time depend? Dr Verrall says, 'Language could not be
clearer than that in which we are told that the herald arrives
while the queen's announcement of the beacon-message is passing
from lip to lip.' This is quite true; but it would be a nine days'
wonder, if not more. While the report of the great event was
still unconfirmed, nothing else would be talked about at Argos.
Is it surprising, then, that the topic of discourse on either side
of v. 493 is the same? And is it anything but the mere sequence
of verses in the page, which prevents our imagining the requisite
interval of time between that verse and the next? The break is
not so directly patent as at Euin. 235 and again at Eutn. 566,
because at both these places the scene is changed as well; but
if the language is closely scanned, the fact betrays itself sufficiently.
The elders have been discussing with one another the probability
of the fiery message being true. Suppose the time perfectly
continuous. One of them catches sight of a herald, and expresses
himself thus:
Ba \ap.ird8aiv (f>aecr(p6pa>i>
KppVKrcopLcov re Kal nvpos 7rapa\\ayds,
fir' ovv akrjdfis eix' oveipdrav SI'KIJV
TGpnvov rod' e\06u ~(f)a>s e<pr}\co<rev cppivas.

Would anyone, who had just the moment before been keenly
io INTRODUCTION
discussing the fire, and who now saw his chance of settling the
truth at once, stop to talk about 'successions of light-bearing
torches, of beacon-watches, and of fire'? He would simply say
'the fire.' It is fairly clear that an interval has elapsed, probably
marked by the departure of the Chorus from the scene, and that
this recapitulation is designed to fix the attention of the audience
on the resumption of the subject. The poetical excuse for it is
no doubt, as Dr Verrall remarks, that a certain tone of contempt
is here in place; but this contempt is even more appropriate
after the lapse of an interval than when the fiery message is
still recent.
But the herald upon entering salutes the risen sun, addresses
the gods whose statues face it, observes that the king has
returned ' bringing a light in darkness,' and narrates the fierce
gale which befell the Greek fleet one night upon the sea1. The
expressions are suitable to a morning hour. However, there are
more mornings in the year than one, and the language would be
equally pointed on any morning that the king's vessel happened
to arrive. Indeed, for the expression ' a light in darkness' to
receive its full force, the herald should be conceived as arriving
shortly after dawn. But if the action all takes place on one day,
the dawn is long since past2. The greater part of one episode,
and a complete choric ode of a hundred lines, have intervened,
which means much in a Greek play. If the action is continued
on a different day, we can imagine the herald's entrance at what-
ever hour we like.
On receiving the news of the capture, the queen institutes a
sacrifice. On the return of the king a sacrifice is also got ready.
Dr Verrall identifies these two, or supposes the one to be the
completion of the other, both alike occurring on the same day.
I see no reason for this view. So far as can be determined, the
first appears to be an offering of oil and incense, or other com-
bustible substances, hastily made to celebrate the glad news3.
The other is a grand and elaborate affair, in which sheep are to
be slaughtered, prepared to express thanksgiving for the king's
safe and unexpected arrival, and to provide the household with a
1 vv
- 5'3> 524> 527. 658. 2v 2gu
3
vv. 83—96, 599—602.
 THE DRAMA n
feast for the occasion1. When the herald arrives, and is inter-
viewed by the queen, she remarks that she made the first
celebration 'long ago 2 ', on receipt of the fiery message; where-
upon she excuses the herald from reciting the complete story,
and goes off to make preparation for a second.
These, so far as I can discover, are the sole grounds for
asserting that the time of the drama is limited to a single day,
and for ascribing to the poet either a plain absurdity or a design
which does not appear on the face of the text. The Agamemnon,
like the Eumenides, does not conform to the ' unity of time'; nor
is there any objection to this, which is founded on reason.
Aristotle tells us that Tragedy at first obeyed the circumscrip-
tion of time no more than Epic poetry. Manifestly not; for the
passages of action and declamation were brought into it to give
relief to a choir between its separate songs; and there was no
reason why the subjects of the choral songs should be more
restricted in their range than the incidents of Homer's epic.
But with the progress of the art, when the dancing and singing
element united with the speaking and acting element to embody
one connected and consistent action, Tragedy ' endeavoured, as
far as possible, to confine itself to a single revolution of the sun3.'
The reason of this was clearly stated by Lessing. It was de-
signed to preserve the identity of the Chorus. It was improbable,
if the action extended over a long time, or was removed to a
great distance, that the same group of persons would throughout
be present as interested spectators; and since the Chorus was
still regarded as the foundation of the drama, a different Chorus
meant a different play. But when this restriction could be eluded,
a Greek dramatist had few further scruples either about identity
of place or continuity of time. In the Eumenides the Chorus
consists of supernatural beings, who can be present in any place
at any time; therefore the time is severed and the scene is
changed. In the Agamemnon the Chorus is conceived as a
corporate body, or council of state, who would naturally assemble
all together, from time to time, in a definite place. Therefore
the time is broken, but the scene remains unchanged.
As regards the further difficulty, that the story of the beacons,
2 3
v. 592. Poet. 1449 b 12.
12 INTRODUCTION
if presented as a substantial occurrence, violates probability, the
gravest (because the most gratuitous) part of it vanishes with the
separation of the events in time. We are relieved from supposing
that the message was transmitted in the midst of a howling
storm. For what remains, that the distances are too great, the
poet himself has frankly acknowledged as much in the first word
of the description1. If the reader feels, or thinks an Athenian
audience would feel, that Aeschylus has taken an inexcusable
liberty, it must be set down as a fault in his economy. The
greater number, I am sure, will consider that he was justified in
calling in a god to defend the minor probabilities, and delighting
his hearers with a splendid poetic narrative.
Lastly, in reply to the objection, that the beacons are never
once mentioned after the entrance of the king, three things may
be urged. First, a dramatist cannot always advert to matters
which have gone before, especially when they have taken place
' long ago,' and when there are more pressing matters to be con-
sidered. Secondly, the beacons are mentioned as a matter of
course in the presence of the herald2, which is sufficient evidence
of good faith. Thirdly, it is equally remarkable that, if the
events are all supposed to happen on the same day, not a
syllable should escape one of the characters after v. 493, which
makes it absolutely certain that this is the case.
We may now resume the thread of the action from v. 493 to
the end of the play, after which some remarks will be offered on
the whole.
The herald enters, and after saluting the gods in a rapture of
joy, announces the return of the king and the utter destruction
of Troy. The Chorus, with veiled meaning, inform him that
their desire for the army's return was as great as the army's
desire to get home. The herald betrays some surprise at their
words, but instead of pressing his inquiries, embarks on a
description of the hardships of the campaign, the sufferings of
the army on land and sea, by night and day, and ends
by asserting that all is compensated by the happy issue.
Clytaemnestra now appears. She remarks that the event has
1 2
v. 293. v. 593.
 THE DRAMA 13
justified her belief in the beacon message, but declines to hear
the complete account from any but her husband, to whom she
sends back the herald with a message to come quickly and an
assurance of her unshaken fidelity. Before the herald departs,
the Chorus affectionately inquire after Menelaus. The herald,
who prides himself on telling the truth, confesses that Menelaus
is lost; at the same time, being a scrupulous observer of form, he
shows some reluctance to mix bad news with good, but at length
avows that the Greek fleet was partly destroyed, and partly dis-
persed, by a terrible storm on the way home, from which the
king's vessel escaped by miraculous aid. After consoling his
auditors with the hope that Menelaus may yet return, he goes
on his way (494—685).
In the lovely ode which follows, the theme of divine justice
left incomplete in the last, while the report of the capture was
still unconfirmed, is once more resumed. As the former ode
dealt with the mischief wrought by Paris at Argos, the latter
treats of the ruin brought by Helen on Troy. Her name and
her action alike marked her out as the instrument of divine
vengeance against the city. She reached the foreign shore in
safety, but a host of enemies followed in her train. She was
received with hymns of joy; but even before the foemen came,
those hymns were turned to lamentation. Peace, luxury, and
love were suggested by her advent; in the end she proved a
curse. Was it the prosperity of Priam which provoked this
judgment from Heaven ? No, but an old taint of wickedness
in the race, which in the fulness of time brought forth fresh
wickedness, and with it the punishment of the whole. The
upright house is prosperous for ever; but Justice loves the
smoky cottage better than the guilty palace. Hardly have the
solemn words been uttered, when Agamemnon enters in a chariot,
followed (it is said1) by another chariot containing Cassandra
and the spoils of Troy (686—773).
The Chorus accost him with honest warmth, not omitting to
observe the prevalence and success of more interested friendship.
They had never approved of the war for Helen's sake, but they

1
In the Greek argument.
i4 INTRODUCTION
heartily rejoice at its conclusion, and look to the king to decide
between true loyalty and false (774—800).
The king begins by acknowledging his debt of gratitude to
Heaven for its aid in the punishment and destruction of Troy.
He proceeds to corroborate the sentiment of the Chorus from his
own experience of simulated zeal. He ends by announcing his
intention of taking salutary measures for the better government
of Argos. The queen enters, and in a long address, remarkable
alike for its poetic expression and its dramatic irony, describes
her afflictions caused by the king's absence, by the frequent
rumours of his death, by the fears of a popular rising. She hails
his return in a series of beautiful but extravagant images, and
invites him to enter. At a given word, her women spread the
king's path with purple tapestries. The king, taken aback by
this display, severely reproves her extravagant laudation and
her extravagant action, as more suited to an eastern despot than
to one who entertains a proper fear of God and man. After
a brief altercation, however, he is prevailed upon to tread the
purple carpets, but not before he has evinced his humility by
removing his shoes and commending the captive Cassandra to
merciful treatment. The queen defends her prodigal action by
reminding him of the wealth of the house, and the propriety of
expense on such an auspicious occasion as the return of its lord.
After expressing a prayer for the accomplishment of her vows,
she follows her husband into the palace (801—965).
During the foregoing scene, what with the king's scruples and
the queen's ambiguous language, an indefinable feeling of alarm
has been created, which receives explicit utterance in the following
choric ode. Despite the visible evidence of the army's return,
the elders cannot enter into the full joy of the occasion, cannot
banish the obstinate forebodings which have taken possession of
their breasts, and yet cannot explain them at all. They reflect
on the near neighbourhood of great prosperity to imminent
decay. Loss of wealth may be repaired ; a plentiful harvest
may obliterate a famine ; but when blood has been shed, nothing
can remedy that. They suppose it to be the will of Heaven
that joy shall not run to excess, but always be limited by some
admixture of sorrow (966—1018).
 THE DRAMA 15
Clytaemnestra returns, and hastily orders Cassandra within.
As she remains obstinately silent, the elders gently urge her to
comply. The queen impatiently repeats her command, observing
that the business of the sacrifice will not suffer her to wait.
Still receiving no response, she contemptuously remarks that
Cassandra is mad, and leaves her and the compassionate elders
alone (1019—1055).
Cassandra now breaks silence. Wildly calling on Apollo, who
had begun her ruin before and has completed it now, in a series
of rapt prophetic cries she touches on the previous crimes of
the house, the new crime—the murder of a husband by his wife—
which is about to follow, the horrible manner of its execution, and
her own miserable end, following on the destruction of her city.
The elders, here and there perceiving her drift, but for the most
part utterly bewildered, answer her cries with expressions of
reproof, amazement, perplexity, alarm, incredulity, and pity.
The vision then becomes distinct, and she commands the credit
of the Chorus by dwelling in a more coherent fashion on the
ancient misdeeds of the house of Atreus. The elders are sur-
prised at her knowledge, and she informs them that she received
the gift of prophecy from Apollo, but that she was doomed to
disbelief because she foiled his love. In a second burst of
inspiration she mentions the feast of Thyestes, and all but
reveals the plot of Aegisthus and Clytaemnestra against the
newly returned king. The Chorus, convinced by the first fact,
are puzzled and terrified by her intimation of the second. She
then explicitly foretells the death of Agamemnon; but before
she can calmly make all clear, a third access of frenzy seizes her,
in which she forecasts her own death, reproaches Apollo for his
cruelty, but predicts the vengeance of Orestes, and resigns her-
self to die. The Chorus, falling in with her humour, seek to
console her. She waves aside their consolation, and approaches
the doors, but recoils (as she says) at the smell of blood. She
then invites the elders to witness the truth of her prediction in
the day of vengeance ; prays to the sun for its fulfilment; utters
a general lament over the state of man, and enters the house
(1056—1329).
Reflecting on her words, the Chorus observe that, if they
16 INTRODUCTION
come true, if Agamemnon must atone for former bloodshed,
prosperity is a fickle thing indeed. In the midst of their reflec-
tions the cry of the king is heard twice within. The elders
hastily take counsel as to the best way of proceeding, and each
in turn delivers his opinion. They are about to enter the palace,
when the bodies of Agamemnon and Cassandra are exposed,
with Clytaemnestra standing over them (1330—1370).
The queen now makes a clean breast of her duplicity and of
her long cherished purpose of revenge. She dwells on the
details of the murder, and openly glories in her action as a just
retribution. To the elders, who reprove her effrontery, she
expresses her indifference. They predict her cutting-off as
a public pollution; but she retorts the former impurity of
Agamemnon, who sacrificed his own daughter. They ascribe
her defiant language to the maddening effect of bloodshed, and
threaten her with retaliation. She rejoins that she has no fears;
the love of Aegisthus and the infidelities of Agamemnon are her
defence. She remarks that Cassandra keeps the latter's company
even in death, adding a relish to her own passion for the former
(1371 — 1448)-
The Chorus, unequal to this audacity, pray for death to take
them after their beloved master. They exclaim against Helen,
who began the mortal work which her sister has completed.
The queen reproves their desire for death and their denunciation
of Helen. They allege the evil genius of the race, who, incarnate
in the two sisters, has wrought by each an equal havoc ; a change
of statement which the queen approves. After deploring the
fierceness of the demon and appealing to Zeus, by whose will all
must have happened, they turn to bewail the king slain by a
violent end. Clytaemnestra protests that the deed is none of
hers, but of the avenging spirit in her semblance, atoning for the
crime of Atreus. The Chorus will not exculpate her, but admit
that an avenger raised by Atreus may have cooperated to the
destruction of his son. Once more they bewail the end of the
king slain by craft. Clytaemnestra retorts the crafty death of
Iphigeneia. The elders, in utter perplexity, know not what to
think or do. They forecast the swamping of the house in blood •
for justice now demands fresh bloodshed. They would fain
 THE DRAMA 17
have died before seeing their king ignobly killed, with none
to bury, none to weep, none to praise. The queen bids them
dismiss these cares; she will bury him, and Iphigeneia will
welcome him below. To this scoff the elders have no reply.
They can only assert the eternal law, that the guilty must suffer.
When a house is accurst, there is no remedy until it perish. The
queen assents, but professes herself satisfied, for her part, if the
evil spirit will now remove to some other family; she will be
content to resign much of the house's wealth, if only bloodshed
may now cease (1449—1576).
Hereupon Aegisthus enters with his soldiers. Pointing to
the dead Agamemnon, he congratulates himself on the justice of
his punishment for the crime of his father Atreus. He then
narrates the story of the Thyestean feast, and the curse uttered
upon the race; remarks on the propriety of his being the in-
strument of its fulfilment, as being the author of the whole
conspiracy; and professes himself ready to die. The elders
assure him that his death is certain. He turns savagely upon
them, and threatens them with imprisonment or worse. They
taunt him with his cowardice in laying this treacherous plot for
a brave and heroic king. He replies that only thus could he
compass his revenge, and intimates his resolve to make Argos
submit to his power. The Chorus reproach him with polluting
the land by joining the wife in the murder, and invoke Orestes
to slay them both. Aegisthus, furious at this, directs his soldiers
to take action. The elders on their side prepare for defence;
but before the parties come to blows, the queen interposes,
dissuades any further bloodshed, and advises both antagonists to
depart to their several homes. Aegisthus continues to protest
against the language of the Chorus, and threatens them with
ultimate vengeance. The elders reply with spirit, threatening
him with the return of Orestes. A few contemptuous words
from the queen close the altercation ; and so the first part of the
trilogy of the Oresteia concludes (1577—1673).

H. A.
 18 INTRODUCTION

REMARKS ON THE STORY.

That this account of the return and death of Agamemnon
differs in several important respects from the story as it appears
in Homer, has often been observed. There are four chief
passages of the Odyssey which allude to the matter. From the
first two of these1, which are quite consistent with each other,
we learn that Aegisthus, for some reason, did not join the muster
of the Greek fleet, but remained behind ' in the nook of horse-
feeding Argos'; that he was divinely warned against the
temptation of conspiracy against the absent king and of making
overtures to his wife; that he nevertheless prevailed upon the
latter, after much entreaty and contrary to his own expectation,
to leave the house of Agamemnon for his own ; that he slew
Agamemnon on his return, reigned seven years in Mycenae, and
in the eighth was slain by Orestes. We further learn that his
enterprise was aided by the dispersion of Menelaus' fleet by
a storni, as he was rounding Cape Malea on his way to Sparta,
so that he could not come to his brother's assistance. Of the
sixty ships which Menelaus- led to Troy, all but five were
wrecked off Crete. With these five he was carried away to
Egypt, and only returned seven years later, just in time for the
funeral feast which Orestes made after the slaying of Aegisthus
and his mother. From this account we should" infer that
Agamemnon, returning to Mycenae with a remnant of his host,
found himself involved in a conflict with a rebellious subject,
who had taken means to strengthen himself in his absence ; and
that, deprived of the succours which he might have expected
from his brother, he was overwhelmed and slain.
But this version of the matter was evidently not the only one
current; for in the third passage of the Odyssey'* we find a more
minute account of the death of Agamemnon, which is inconsistent
with the foregoing. From this we learn that Agamemnon, thanks
to the aid of Hera, escaped the storm which befell Menelaus ;
but that, as he was doubling Cape Malea, he himself encountered
a gale which drove him on to a part of the coast which bounded
1
Qd- i. 35—43 a nd 3. 262—312. -' Od. 4. 512—47.
 REMARKS ON THE STORY 19
a certain territory, where Aegisthus had his residence in suc-
cession to his father Thyestes. Luckily the wind changed, and
Agamemnon reached his native land in safety. Upon dis-
embarking, however, he was espied by a watchman, whom
Aegisthus had set to look out for his return, fearing that he
might get past unobserved and subsequently engage in hostilities.
Upon receiving the intelligence, Aegisthus placed a hundred men
in ambush, and went with chariots and horses to fetch the
king and his followers to a banquet at his house. In the midst
of the feast he fell upon his guests, and slew them all, though all
his own men perished in the conflict. In this account nothing
is said of Clytaemnestra, but there is an allusion to the vengeance
of Orestes and the arrival of Menelaus in time for the funeral of
Aegisthus. The fourth passage of the Odyssey1 agrees with the
third in representing Agamemnon as slain at a banquet in the
house of Aegisthus, but assigns a prominent share in the plot to
Clytaemnestra. It is alone in making mention of Cassandra,
who is declared to have been slain at the same time by
Clytaemnestra herself. Indeed there is a verse in this passage,
and another in a later book, to which we may perhaps trace the
germ of the story that Clytaemnestra despatched her husband
with her own hands 2 .
Now, taking these two versions together as the sum of
Homer's contribution to the legend, we may notice that nothing
is said in either of the enmity of Atreus and Thyestes, of the
banishment of Aegisthus, or of the sacrifice of Iphigeneia, which
form the chief springs of the dramatic action. On the other
hand, we collect the hostility of Aegisthus and Agamemnon ;
the infidelity of Clytaemnestra and her share in the enterprise of
Agamemnon's death ; the death of Cassandra by her hand ; and
the dispersion of Menelaus' ships by a • storm, from which
Agamemnon himself escapes by divine aid, only to fall a victim
to treachery on land. So much a later poet could consistently
put together from the separate accounts. But in one particular
the two versions are inconsistent. The .statement in the second
1
Od. 11. 405—53.
2
Od. 11. 453 Trapos Si fie Tri(pve Kal airdv, and 24. 200 KovplSwu KTdvaaa •wbsi.v (the
subject in both places is Clyt ).
20 INTRODUCTION
that Agamemnon, on his return voyage, had got safely as far as
Cape Malea, assumes that his home is not at Mycenae, as in the
Iliad, but at Sparta; therein agreeing with the view of the lyric
poets, Stesichorus, Simonides, and Pindar. To suit this version
we must apparently conceive of Aegisthus as a prince whose
hereditary domain lies in the peninsula which terminates in
Cape Malea. Agamemnon is first carried to the east coast of
this territory. He escapes thence, doubles the cape, and dis-
embarks on his own territory of Sparta. But in order to reach
his inland fortress, he is still obliged to pass along the western
border of Aegisthus' land, where a watchman had been stationed
for a year to give notice of his progress up the valley of the
Eurotas. He is directed to the castle of Aegisthus, whither
Clytaemnestra had previously removed, and is treacherously
murdered at a banquet.
This conception of the matter differs considerably from that of
the first version, in which the centre of interest is Mycenae. The
difference is not without interest, for it marks the first stage in
the passage of the legend to the form in which we find it in
Aeschylus. It can hardly be doubted that the second version,
which places the seat of Agamemnon's rule at Sparta, is the
older of the two. First, it is conformable to what we know of
the earliest kingships that Agamemnon should be represented as
reigning, not at Mycenae, like his father Atreus, nor at Pisa, like
his grandfather Pelops, but on the other hand, like his grand-
father, his father, and his brother, at the home of his wife, that
is, at Sparta1. Secondly, this version presupposes an archaic
state of society, in which two chieftains dwelling on adjacent
territories are at feud with each other, and one may get the
better of his rival by the simple device of inviting him to a
banquet at his castle. The whole relation smacks of something
primitive, as indeed do those portions of the Odyssey from which
it is extracted. But even before the Trojan war, as Thucydides
tells us2, this state of society had become antiquated by the
growth of commerce and maritime intercourse, and the congre-
1
Frazer, Early History of the Kingship, p. 240, where the reason of this is
explained.
2
Thuc. 1. 7, 8.
 REMARKS ON THE STORY 21
gation of men into walled cities. Now that expedition itself
was by all accounts due to the concentration of naval power in
the hands of Agamemnon. Hence it was a plausible conception,
doubtless resting on some basis of fact, to shift the seat of
Agamemnon's power from the poor and backward country of
Laconia to the fortified town of Mycenae, with its dependencies
of Argos and Tiryns, right in the trading area of Corinth,
Cleonae, Sicyon, Troezen, and Epidaurus. Therefore Mycenae
appears as his capital throughout the Iliad. To these altered
conditions the poet of the Odyssey had to adapt the story of
Aegisthus' feat, which is nothing else than a variation on 'the
immemorial theme of the Odyssey itself. Clytaemnestra is a
more pliable Penelope, who is left at home in the charge of
a minstrel1, while her husband is absent on a distant war.
Aegisthus is a successful Antinous, who persuades the queen to
remove to his own residence. Agamemnon is a less fortunate
Odysseus, who, upon returning home with the remnant of his
followers, is promptly murdered by his rival. Orestes is a
retributive Telemachus. But by the time that Mycenae has
become prominent, the conception of two rival chieftains living
each on his several estate has sunk into the background; and
how, in the new circumstances, Aegisthus might execute his
project, the poet of the Odyssey did not know. Therefore, when
he places the scene of the exploit at Mycenae, he is obliged to
leave the details of Agamemnon's murder vague, covering up his
ignorance by saying that Menelaus was not at hand to help his
brother. But when, in a later book, he wishes to give the details
of the plot, he simply has recourse to the primitive version, and
is thus compelled to leave the scene in the open and uncentralised
country of Laconia.
Perhaps it was a perception of this inconsistency which led
Stesichorus and Simonides to adopt the older account, which
placed Agamemnon's residence near Lacedaemon2; and the
same thing is implied in Pindar. According to the eleventh
Pythian, the murder of Agamemnon took place at Amyclae, that
is, about two and a half miles below Sparta in the vale of Eurotas.
It is natural to suppose that Pindar, who calls Orestes a Laconian,
1 2
Od. 3. 267. Schol. Eur. Or. 46.
22 JNTR OD UCT10N
regards Lacedaemon as the seat of Agamemnon's power; that
Amyclae, a town long independent of Sparta, represents to a
later age, familiar with cities, what the primitive version broadly
calls the territory of Thyestes and Aegisthus; and that here the
stratagem took place by which Agamemnon was slain. In other
respects Pindar agrees with Homer in leaving the actual slayer
of Agamemnon vague, while affirming that Cassandra was slain
at the same time by Clytaemnestra. Two alternative motives
are assigned for her act. The one on which the poet lays most
stress is her passion for Aegisthus, which could not be kept dark;
but he mentions another, traceable in part to the Cypria of
Stasinus, her anger at the sacrifice of Iphigeneia.
For Pindar, a lyric poet, whose chief purpose it was to adorn
a naked theme with a romantic incident, such a conception was
still admissible. He was not obliged to give the details of
Agamemnon's death, and his auditors might suppose it to have
happened in much the same way as Homer describes. But for
Aeschylus, a dramatic poet, whose business it was to present
this same transaction to the eyes of a fifth-century audience, and
to interest them in it for its own sake, the details of the epic
narrative were unsuitable. The primitive Homeric version was
out of relation to life as actually lived at the moment; and
without an effort, of historical imagination, which is rather a
modern gift, those circumstances could not be reproduced at
once faithfully and probably. He was faced by the same
difficulty as the poet of the Odyssey, when, to suit the story to
changed historical conditions, he shifted the scene from the
neighbourhood of Lacedaemon to the great capital of Mycenae.
Ten years before the date of our play Mycenae had been
destroyed by Argos; and Argos is the name which Aeschylus,
apparently for the sake of some political allusions in the last act
of the trilogy, chooses to give to Agamemnon's realm. But the
problem, though slightly intensified by this greater air of
historical reality, was in its essence the same for both poets.
That problem was to substitute for the ancient version, in which
one border chieftain with his retainers cuts off by stratagem
another border chieftain with his retainers, an account of the
enterprise of Aegisthus conformable to a more settled and
 REMARKS ON THE STORY 23
political state of society. As we have seen, the poet of the
Odyssey, who evidently felt the difficulty1, did not take the pains
to construct, perhaps could not even imagine a train of incidents
by which the king of men, the lineal sovereign of a strong and
wealthy town, the suzerain of a number of petty states, might
himself be murdered, and his throne usurped, by a rebellious
subject of no great personal courage. He takes refuge in the
statement, that the revolution occurred when Menelaus was
away.
But Aeschylus, or some predecessor whom Aeschylus
followed, had a better idea of how such an attempt as that
of Aegisthus might come about. With the growth of wealth
and commerce in Greece, and the collection of its inhabitants
into fortified cities, it became evident to political experience that
freedom from external aggression was more than compensated
by the danger of dissension within. The enterprise of Aegisthus
is conceived as an incident of stasis or party faction, a feature
of Greek politics whose beginning was traced by Attic thought
to the influx of wealth which occurred a little before the Trojan
War 2 . That this mature political conception of the matter has
governed the shaping of the story between Homer and Aeschylus,
is tolerably plain. In the drama, of course, it does not assume
any great prominence; but enough details are given to show
that it underlies the presentation, and is used to make it
intelligible to a fifth-century audience. The scene is removed
from an outlying tract of country to the heart of a city state.
The origin of the dissension is ascribed to a personal quarrel
between two members of the reigning family. Thyestes disputes
the power of his brother Atreus, and is banished from the city.
Even such uncouth incidents as the seduction of Aerope and the
feast of Thyestes find some historical warrant in what was related
of Gyges in Sardis and of Harpagus in Persia 3 . The feud
continues into the next generation, and the hopes of the inferior
faction centre on Aegisthus. He is to be conceived as hanging
about in exile, intriguing with his adherents in the city, and
waiting for a favourable moment for taking vengeance on his
1 2
See Od. 3. 148—52. Thuc. 1. 2, 3.
3
Her. 1. 11; 1. 119.
24 INTRODUCTION

enemies 1 . His opportunity came with the Trojan War.

Thucydides informs us that the protracted nature of that
expedition gave a great chance to the malcontents in the
Greek cities to overthrow the government, in the midst of which
commotions most of the old hereditary monarchies went down,
and were replaced by tyrannies 2 . The temporary eclipse of one
such monarchy is depicted in the Agamemnon3. The disaffection
against the royal house of Argos is ascribed by the poet to the
prolonged, costly, and selfish enterprise against Troy 4 , which
may be regarded as swelling the number of Aegisthus' partisans,
and thus making the success of his attempt conceivable. A
principal element in his plan, as in that of most Greek seditions,
was to occupy the citadel which commanded the township.
This might easily have been done in the absence of the kings,
but it would have been a more difficult matter to retain it on
their return. Besides, so long as the regent Clytaemnestra was
his friend, there was nothing to be gained by premature action.
His policy was to lie low until the day of Agamemnon's return,
exciting as little suspicion as possible, and to overpower his
enemies by a surprise; a thing manifestly impossible if he had
already seized the fortress. But it was necessary for himself to
be prepared against the surprise of their return, and to be ready
for instant action. To such necessity we may perhaps attribute
the introduction into the story of the beacon signal, which, while
plausibly designed to announce the fall of Troy, has the secondary
effect of giving the conspirators timely notice of their enemy's
approach. On the day of the king's arrival, the conspirator who
could draw nearest to his person, with the least suspicion, would
be his wife; and to this circumstance we may naturally ascribe
the bold invention which represents Agamemnon as overtaken
in his privacy and murdered by his queen. In the interval
between the murder and the appearance of Aegisthus on the
stage, we may suppose the latter to have executed his part
of the plan, originally a difficult part, but vastly simplified by
the storm, that of overpowering the followers of the king.
1 2
v. 1668. Thuc. 1. 12, 13.
3
The character of this sovereignty is defined by Cho. 54—60 and Cho. 863 5.
4
vv. 452—64.
 REMARKS ON THE STORY 25
This is the basis on which the drama rests. But as that
part of it which is assigned to Clytaemnestra—the public inter-
course with the elders, the reception of the king at his own
home, and above all his actual murder—is obviously the part
best fitted for dramatic treatment on the Greek stage, almost
the whole interest of the presentation centres upon her; while
Aegisthus, who cannot even openly appear, is relegated to the
background. It is only from the last scene that we gather that
he is at the bottom of the whole conspiracy. There remains
one minor circumstance, for which the reason is not at once
evident. Why does Aeschylus represent Agamemnon and
Menelaus as reigning jointly at Argos?
It may be said that the concentration of interest which
results—the desolation of the house at Argos by the wicked
act of Paris, set off against the destruction of the house of Priam
by the act of Helen—greatly increases the force and symmetry
of the picture; and that the interest imparted to Menelaus
provides several effective passages in the drama, such as the
description of the storm. All this is true; but it may be doubted
whether Aeschylus would have taken this liberty with history,
simply for these reasons, if he had not found some warrant for
it in the works of his predecessors. In the earliest version, as we
have seen, both Agamemnon and Menelaus live in Laconia.
There Agamemnon is murdered by Aegisthus, who in his turn
is slain by Orestes, the latter exploit being regarded as just
as simple an affair as the former1. But when the murder was
transferred to Mycenae, the execution of Orestes' feat became
an equally difficult matter with that of Aegisthus. How could
he escape the consequence of his attack on the master of a
fortified town ? Again the poet of the Odyssey passes over the
details, but he is careful to retain, and to emphasise, the fact
that Menelaus arrived from Egypt on the very day of the funeral
feast of Aegisthus2. The purpose of this retention is plain; the
arrival of Menelaus accounts for the immunity of Orestes. But
it involves the startling novelty that the home of Menelaus,

1 Od. 4. 5 4 6 - 7 .
2
Od. 3. 31 r. It will be remembered what use Euripides makes of this synchronism
in the Orestes.
26 INTRODUCTION
no less than that of Agamemnon, is at Mycenae. W h y else
should Menelaus, sailing from Egypt, go there at all? Of course
the poet does not intend this inference; everywhere else he
assumes that Menelaus lives at Sparta. But, having transferred
the scene of Agamemnon's death to Mycenae, he is obliged by
the sequel of this particular story to bring Menelaus thither also.
Now later writers, such perhaps as Agias of Troezen (author
of the Nosti), having to explain in detail the achievement of
Orestes, could by no means give up the opportune advent of
Menelaus from Egypt; and having to account for his landing
at Mycenae, they would incline to assert that Mycenae was his
home. Hence the two brothers would be represented, in post-
Homeric versions, as reigning together at Mycenae, just as in
the earliest version they had reigned together at Lacedaemon.
The seat of their joint government is merely transferred by
Aeschylus, in conformity with his whole design, from the locality
of Mycenae to the neighbouring locality of Argos.

MORAL AND RELIGIOUS IDEAS.

The riper political experience, which had befallen the Greek
world since the time of Homer, is one of the chief causes which
impart to the poet's treatment of the legend a seriousness and
weight that are not felt to belong to it in the epic. Throughout
the drama we are conscious that his eye is not really fixed on
a remote antiquity, but that his sentiments and reflexions are
drawn from that impressive age of Greek politics, which lies
between the date of Peisistratus and the date of Pausanias;
a period of wealth, commerce, and maritime adventure, in which
parties fought in the several states, in which a combination of
the states miraculously repulsed the national foe, in which
individuals rose to power, yielded to their passions, and fell.
Troy is the typical city of Asia Minor, a seat of wealth and
luxury, where the decay of moral principle leads directly to
political ruin. Argos is the scene of civic disunion terminating
in tyranny. Another source of profound difference is the
application to the story of certain theological ideas, some of
 MORAL AND RELIGIOUS IDEAS 27
which seem in their origin to lie behind Homer, others to be
the fruit of more refined speculation working on the simple
and careless religion of Olympus. The first class of ideas,
.those which are concerned with the ritual of the tomb, the
powers of the underworld, the peculiar effects of bloodshed,
and the like, are less prominent in the Agamemnon than in
the Choephori, where the religion of the grave is presented
in all its sombre and mystic power, or in the Eumenides, where
part of the poet's object is to fuse the system of Olympus with
the conflicting system of the "Earth and of the dead. After
Aeschylus these' ideas appear to have become antiquated, so
far as literature was concerned, and to have died a natural death.
Interesting as they are in themselves, they do not directly
concern us here.
The second class of ideas, which, though modified by the
transition of the Greek mind from theology to philosophy,
continued to provide the staple of later thought, figures more
largely in our play. The questions which exercise the poet
are the old pair. What is the nature of the Power which governs
the order of events? Does this Power interfere to punish the
successful sinner? First of all, that there is such a Power, the
poet does not doubt. He calls it by the traditional name of Zeus;
but what sort of a Being corresponds to this name, he does not
profess to know1. To Zeus he ascribes the universal succession
of causes and effects2; his contact with the temporal order is
one of spiritual direction; the principle of his operation is justice3;
the smoothness and ease of it is a sign of his power. In these
matters the poet is the pupil of Xenophanes. When Xenophanes
says4, 'Among gods and men there is one greatest God, neither
in body nor mind resembling mortal man....He is all eye, all
ear, all thought....He sways all things without exertion by the
notion of his mind He remains always in the selfsame place,
not moved at all, nor does it become him to travel hither and
thither There never was, nor ever will be, any man that
knew the certain truth about the Gods, and what I affirm abbut
all things; for although he might chance to state the fact as
1 2 3
v. 170. v. 1487. v. 773.
4
See frags. 23—6 and 34 (Diels).
28 INTRODUCTION

nearly as possible, yet he knows it not himself; but opinion

is formed upon all things'—the substance of his language is
reproduced by Aeschylus: 'Zeus, whosoever he is, if so it
please himself to be called, by this name I address him. When
I ponder all things, I can make no guess to fill the gap, except
Zeus, if I must cast off, to the very name, the vain obsession
of the mind1....Zeus employs no violence; (every act of Deity
is without exertion); throned aloft, his thought somehow effects
its end, even from where it is, on its holy seat2....What merit
has a Deity who should use violence on his awful throne3....
The Father disposes all things, turning them upside down, panting
not at all in his might4.' In his dealings with men, the justice
of Zeus is embodied in two laws, which distinguish his reign
from that of those who might claim to have preceded him. The
first law is, that moral wisdom is reward of painful experience5.
The second is, that the guilty must suffer6.
As regards the first, the point of interest is to observe
how the religious soul of Aeschylus converts to its own use
a circumstance which had discouraged less elevated minds.
Other writers, such as Solon, had contrasted the complacent
hopes of man, his ardent pursuit of various ends, with his utter
ignorance of the future and his liability to complete and un-
expected disaster: 'Hazard is annexed to every work, nor does
any man know, when a business is beginning, where it will end7.'
The purpose of Aeschylus is not to lament this inferiority of
human constitution, but to justify and even applaud it. This
he does by considering it in the light of a nobler object, not
that of a man's practical success, but that of his moral perfection.
He regards the suffering in which the 'blind hopes' of men so
often terminate as a necessary discipline of human character.
Even if a man had complete foreknowledge, nothing would
ensure his acting right. Laius was thrice divinely warned of the
consequences of committing a certain action, but he committed
it none the less8. Agamemnon was divinely warned of the
consequences of sacrificing his daughter, but he did not repent
1 2
vv. 170—7. Suppl. 97—102. 3 vv. 192—3.
4 6
Eum. 650— 1. vv. 183—8, -261—2. « vv. i s 6 2 _ 3 .
7
See Solon, frag. 4. 33—70 (Bergk). 8 Theb. 74=,.
 MORAL AND RELIGIOUS IDEAS 29
till it was too late1. But if men will sin with their eyes open,
instead of deploring the fact that a man's aims miscarry through
his ignorance of the future, we ought rather to be thankful that,
when suffering comes, it operates to man's amendment. Hence
it is not as a matter of complaint, but as part of a solemn hymn
of praise, that he enunciates the maxim irddei /j,d6os. In some
remarkable lines he touches on the stealthy and unconscious
transformation of character by pain2. It is an instance of the
gentle but thorough process by which the Deity effects all
change.
But it is the devout assertion of the second law which is
the test of a truly religious mind, inasmuch as it appears to
conflict with the evident facts of life. Long before Aeschylus
there had been misgivings about the continued impunity of the
wicked, and various attempts had been made to account for it.
The view of Homer, if it can be called a view, was that Zeus
suffered men to trade on their wickedness, that he might take
it out in fuller measure later on: 'Although the Olympian
punishes not at once, yet he does so at the last, and they pay
with heavy interest, with their persons, and with their wives, and
with their children3.' The wise Solon, having an eye on these
words, gave a somewhat different explanation. Zeus surveys
the end of all things; therefore he does not flare up, like an
irascible man, at each particular sin. He waits till all has
mounted up, and then he makes a clean sweep, as a vernal wind
scatters the clouds, and restores the naked purity of sky4. But
how if the sinner dies in prosperity, before the clearance comes?
The answer of Solon is unsatisfactory but interesting: 'None
that has a guilty mind escapes His notice for ever and ever,
but in all case is shown up at the last. Only, while one pays
forthwith, another pays later on; or if they themselves get off,
before the visitation of Heaven catches them, it comes afterwards
in any case: their deeds are paid for by the innocent, either by
their children or by their posterity after them5.' We see here
that the ends of justice are equally supposed to be satisfied,
whether the punishment falls upon the sinner himself, or upon
1 2 3
VV. 228 31. VV. 189—91. / / . 4. l60 2.
4 5
frag. 4. 17—26. frag. 4. 27—32.
30 INTRODUCTION

his innocent children or descendants. Theories of divine justice

have usually been modelled on the scheme of human justice
prevailing at the time; and it is well known that in early times
the unit of which the law took cognisance was not the individual,
but the family. If one member of a family did wrong, he was
not himself directly punished, but indirectly, as a limb of the
system of blood-relationship, on which as a whole the forfeit
fell. But this community of interest embraced not only the
members of the family living at the time; it extended also to the
dead, between whom and the living the mere fact of dissolution
made no essential rupture. The ancestor who committed a crime
might at any time be penalised in the person of his descendant,
on whom he depended for vital nourishment and his degree of
honour among the dead. If the descendants were extinguished
altogether, the fate of the ancestors would be miserable indeed.
It was important to perpetuate the race and to keep it clear
of guilt; but once the fatal act had been committed, once the
curse had been entailed, it was not felt to be unfair that the
living should be involved in the punishment of the dead. The
divine retribution, like the human retribution, was assessed upon
the whole; and the life which was subjected to justice was that
which began with the earliest forefather and terminated with
the last descendant.
The advantage of this collective view of responsibility was
that, by giving the Deity an indefinite space of time in which
to operate, it might at least be maintained that guilt was certain
sooner or later to meet with its reward. But when the importance
of the individual eclipsed that of the family, the dilatory character
of divine justice assumed a new and perplexing aspect. What
had hitherto been regarded as a deferred payment on the part
of the family, now took the offensive shape of a vicarious
punishment inflicted on the innocent. And yet to surrender
this latitude of action on the part of Heaven was to give up
the most plausible ground of experience on which it could
be asserted that sin was always punished. Impressed with the
conviction that compensation must somehow be made, but faced
with the fact that the original sinner often ended his days in
peace, it is perhaps not surprising that the moral sense of men
 MORAL AND RELIGIOUS IDEAS 31
acquiesced in the belief, rooted in an earlier notion of respon-
sibility, that if the fathers had eaten sour grapes, the children's
teeth should be set on edge. Such is the opinion of Solon in
the passage quoted above. We perceive a slight trace of dis-
satisfaction with it in his use of the word 'innocent';'though
this is perhaps designed to excite indignation against the sinner
rather than to impugn the fairness of the divine execution.
In the Oresteia there is a general inclination to reconcile
beliefs surviving from a rude past with the conscience of a more
humane and enlightened age. Thus, while in the Choephori the
old law of reviling for reviling, blood for blood, is asserted in all
its stern rigour, because it seems just that Clytaemnestra and
Aegisthus should suffer for their crime, in the Eumenides, where
the conscience instinctively takes sides with Orestes, the severity
of the law is relaxed in obedience to a higher claim. The court
of Areopagus is instituted to inquire into cases of justifiable
homicide. In the Agamemnon there is a like attempt, on the
one hand to uphold the just principle that guilt must be paid
for, and on the other, to mitigate the conclusion by which alone
this principle could be shown to have a sure basis in fact. The
poet does not deny that the sins of the fathers are visited on
the children. He admits that the crime of Atreus may have
contributed to the destruction of his son1. Nay, he points out
how this might happen, through the physical link of blood
connecting the two, which, in the control of a supernatural
minister, fatally constrained Agamemnon to his doom2. The
same blood which had sinned higher up in Atreus was punished
lower down in Agamemnon. But the physical connexion which
enabled the retribution to be made, even after the original
sinner had escaped, might also be used to palliate its injustice.
The continuity' in blood might import a transmission of moral
qualities also. Hence the poet asserts that, if an ancestor sins,
he bequeaths' to his descendant a tendency to sin himself3.
The ancient crime of Laomedon came to birth again in the
wicked act of Paris; then followed the punishment. The guilt
of Atreus propagated itself afresh in the guilt of Agamemnon.
It is the poet's cue, so to speak, to exhibit the personal culpability
1 3 3
vv. 1508—9. vv. 1510—3. vv. 755—66.
 32 INTRODUCTION

of the latter. This is why, in the forefront of his drama, he lays

so much emphasis on the sacrifice of Iphigeneia It is important
to observe that this act does not take in Aeschylus, as it does
in Sophocles, the form of restitution to Heaven, wiping out
a previous offence. It is merely imposed on Agamemnon as
the condition of completing a certain design. It is a temptation
indeed, but one which might have been resisted. Agamemnon
might have broken up his armament and left Troy to divine
vengeance; and the poet several times hints that this would have
been the proper course to adopt. But the fatal taint was in his
blood, and when the temptation to iniquity came, he fell. From
that moment his personal responsibility began. It was increased
by his conjugal infidelities in regard to Chryseis and Cassandra,
and by the bloodthirsty character of his vengeance upon Troy1.
Once a man has sinned, then, the mischief tends to propagate
itself in his descendants, until in the fulness of time some
outrageous act produces the ruin of his race. But to what
agency are we to ascribe the first sin of all? In Homeric times
it was sufficient to say that 'Zeus took a man's wits away,' or
the like. Later ages, seeking for some motive on the part of
the Gods, ascribed the fall of princes to a divine jealousy of their
prosperity. There was a certain limit of success which no human
king might pass with safety, any more than he might journey
to the Hyperboreans or sail beyond the pillars of Heracles.
This limitation of human capacity was what made a man a man;
without it he would have been a God; and the Gods were
naturally jealous of their prerogative2. Traces of this way of
thinking appear in Aeschylus; but where he is speaking most
in earnest, where he professes himself at variance with the
majority, such a view is evidently repugnant to him3. Prosperity
by itself, he says, is not sufficient to ruin a race; it is wicked and
impious actions which are fatal4. But prosperity is dangerous
because it affords the temptation and occasion to sin5. Similarly
great renown is dangerous because it is likely to exalt the heart
to presumptuous thoughts and reckless language6. From this
1
vv. 467, 1004, etc.
2
So Pind. 01. 5. fin. /«; imrevarn Oeos -yeviadai. (advice to a fortunate man), etc.
3 5
vv. 749-54- " vv. 755—9- vv. 385—97. 6 vv_ 4 7 4 _ 6 .
 MORAL AND RELIGIOUS IDEAS 33
danger nothing can save a man but a naturally sober mind, the
greatest gift of God1.' A mind naturally liable to be spoiled by
success is presumably the gift of God also, but the poet does not
make this statement with the cheerful indifference of Homer.
He loves to trace the misfortunes of a family back to some wild
mental impulse in an ancestor, which brings an evil strain into
the race, which entails a curse on it, which raises a supernatural
avenger to see to its execution. The completion of the train of
misfortunes he ascribes to divine agency. But the first inclination
to sin appears to arise by itself in the man's own heart; only,
like everything which a Greek could not go behind, it tends to
be represented as a supernatural possessing power (irapaicoira,
•7rpa)TOTn]fi<ov, irpoorapxo'i art], o\/3o<i ayav iraxwOek)2. How this
power is related to the general originating power of Zeus, we are
not informed. All that is said is, that Zeus sooner or later visits
the wicked act with justice. Without sin there could be no
justice. But why this or that individual should be destined
to be the sinner, upon whom or upon whose race justice is
exercised, remains a mystery.

THE CHARACTERS.
In the light of these moral ideas the principal characters
of the play are drawn. The fate of Agamemnon, as we have
seen, is partly a compensation for his father's crime, partly a
punishment for his own. There is an element of misfortune
in it, and an element of deserved retribution; and in the presence
of these two our reprobation and our sympathy are almost
equally divided. He embarks on a selfish and misguided
enterprise; but he acts under a natural concern for the wounded
honour of his family. He commits an odious crime in pursuit
of his end; but he commits it under strong provocation, for the
sake of his allies. He is merciless in his vengeance; but the
offence was wanton, and the labour of execution prolonged and
severe. His language is proud; but his pride is a natural
weakness at the moment of his triumph. He is harsh, and
1 2
v. 919. vv. 233, 1191, Theb. 756.
H. A. 3
34 INTRODUCTION
suspicious; but he has suffered from the insincerity of his friends
abroad, and has more than a glimpse of treachery at home.
He is suspicious of Heaven also, he is feebly superstitious; but
he knows that he is a man, the greatest in the world, the most
liable to change. He is an unfaithful husband; but the fault,
even when we find it most repugnant1, is relieved by our
knowledge of the infidelity of his wife. In his dignity and his
weakness he is every inch a king. While it is impossible to call
him an amiable character, we can share in some degree the
loyalty which he inspires in the simpler natures of the play,
the watchman, the herald, and the elders. When we observe
him moving unconsciously to his doom, above all when we see
him cut off in the midst of his glory by an ignominious end, our
sense of the justice of his fate leaves room for the pity which
the bewildered exclamations of his faithful counsellors claim.
To compass the chastisement of the guilty race, the Gods
raised up two figures of strange and fearful power, the sisters
Helen and Clytaemnestra. The former moves through the
background of the drama as a beautiful but fatal presence,
the embodiment of wanton sin, the instrument of Heaven for
the ruin of the house of Priam, the remoter cause of the
catastrophe of the house of Atreus. The latter, who is the
direct agent of Agamemnon's fall, presents the same reckless
nature armed with the terrible motives of suppressed resentment
and vindictive hate. On the portrayal of this grand and appalling
figure the poet has concentrated his utmost skill. The two traits
which he marks most firmly are her masculine capacity and her
unerring duplicity. The first of these, besides being given by
the testimony of the other characters, is immediately evident
from the situation, in which she appears as adequate to great
affairs of state; from the deference with which she is treated
by the council of Elders, and from the almost contemptuous
manner in which she deals with them; from the tenacity with
which she pursues her end, and the promptness and energy with
which she executes it. To accomplish her purpose she is ready
to defy both Gods and men2. The second trait, which cannot
of course be directly revealed until the murder is done, is
1
v. 941. - vv. 965, 1401, etc.
 THE CHARACTERS 35
nevertheless conveyed by the prophetic hints of Calchas and
Cassandra, and still more by the perpetual irony of her language,
which is instinct with the very spirit of deceit. Of the motives
which are expressly assigned to her, the most sincerely felt is
her anger at the death of Iphigeneia, which has rankled in her
bosom for ten long years. She is the lurking avengeress of
Agamemnon's crime. Her union with Aegisthus is subordinate;
it is a necessary means to her end, a measure for her own
protection. Her sense of her husband's infidelities is confined
to a passing scoff. But no mere accumulation of motives is
sufficient to account for the total effect of her action, its certitude,
its self-reliance, its unflagging zest. Only when she declares
that she is not Agamemnon's wife, but the incarnation of the
'ancient, bitter Avenger of the cruel feast of Atreus1,' do we begin
to grasp the lines on which her character is conceived. There
is something in her beyond the natural capacity of man or
woman, something preternatural and daemonic. But if she
is not solely sustained by common human motives, neither is
she the impassive instrument of justice. She has a cordial relish
of wickedness, as appears by the extraordinary gusto with which
she dwells on her crime, and by her utter absence of remorse.
At the end of the play, what puzzles the Chorus is not the
justice of Agamemnon's doom, but the fact that so much
wickedness should be allowed to triumph. It is this margin
of positive evil which calls for the vengeance of Orestes, a
vengeance executed by divine command, and almost contrary
to the inclination of the principal actor himself.
In the character of Aegisthus, on the other hand, all is plain.
It is not in him that the curse of Thyestes reveals its mystic
force. He acts through the natural motives of revenge and
ambition. The circumstances of the case compel him to reach
his end by treachery; and for all that is said to the contrary,
it would appear that this method was itself the most congenial
to his nature. By good fortune or by divine decree, he found
in Clytaemnestra a nature suited to his purpose; without her
he would have been nothing. His ignoble type of cunning, his
absence from the scene at the supreme moment, furnish an
1
v. 1502 f.
3—2
36 INTRODUCTION

effective contrast to the daring hypocrisy and ubiquitous super-

vision of the queen; as does his overbearing petulance in the
hour of success to the few unimpassioned words in which she
acknowledges that the work of her life is done.
Cassandra, as Mr Sidgwick observes, is not truly a study of
character at all, the interest lies in her situation. She is the
victim of events which she clearly foresees, but which, by the
condition of her estate, she is powerless to influence. Such a
figure, having something improbable in it, requires more than
ordinary power for its successful handling; but if successful,
none can be more deeply impressive. Aeschylus has omitted
no circumstance which could contribute to sink criticism in a
flood of absorbing interest. The very silence of Cassandra
provokes a disposition to hear her speak. From the first
moment that she opens her mouth, curiosity is superseded by
sympathy and awe. She is a princess tenderly reared, who,
by a fatal mischance, has become an object of derisive contempt
to her friends. Her family and her nation are ruined, but she
is not permitted to share their fate, being reserved for slavery
and death among her foes. She is a prophetess who has a
horrible consciousness of the destination to which she has been
brought, and an equally horrible prescience of the doom which
there awaits her. Her one gleam of consolation is afforded
by the fact that she can foresee the vengeance of Orestes.
A peculiar poignancy is added to her story by the circumstance
that we learn it all from her own lips. At each instant our
sensibility to her misery is but the reflexion of her own.
The watchman and the herald are simple characters, such
as never fail of effect when mixed up with events, intrigues,
and passions greater than themselves. The simplicity of the
former is that of the peasant, which includes fidelity to his
masters without excluding a shrewd regard for his own safety
and interest. The simplicity of the latter is of a different type.
It is that of an honest man who has acquired some notion of
great affairs by bearing a humble part in them, but whose view
is limited to their formal and external side. The transparency
of his nature is shown by the uncontrollable vehemence with
which he expresses his joys and sorrows. But he does not forget
 THE CHARACTERS 37
that he is a public officer, and he is almost absurdly anxious to
discharge his own particular part in the most becoming manner.
His personal delight at the success of the Trojan enterprise is
increased by thinking of the high consideration which his master
will enjoy in the world. H e consoles himself for the sufferings
and loss of life at Troy by reflecting what a fine position the
army will hold in the esteem of future ages. While he feels it
to be his duty to tell the strict truth, he is concerned about
the impropriety of joining good and bad news together. The
succession or conflict of these various feelings in his simple
breast makes his language alternately impetuous, abrupt and
circuitous. He is certainly one of the most original and lifelike
characters in Tragedy.

[The following MSS. containing the Agamemnon either in whole or

in part are referred to by their respective symbols in the critical notes:—
M denotes the codex Mediceus (or Laurentianus) XXXII. 9, a parchment
MS. of the tenth or eleventh century containing besides the plays
of Sophocles and Aeschylus the Argonantica of Apollonius. Owing
however to the loss of fourteen leaves in the part containing the
Agamemnon, its evidence is only available for vv. 1—322, 1051 —
1158. Readings due to the second hand are recorded as m.
a denotes the codex Marcianus 468 (xci. 4), sometimes known as
Ven. 2, and belonging to the thirteenth or fourteenth century. It
was formerly owned by Cardinal Bessarion, and in Hermann's
edition is distinguished by the compendium Bess. It contains
only the first 360 lines of the Agamemnon; Franz thought that
it was copied from M when that MS. was still entire.
f denotes the codex Florentinus (or Laurentianus) xxxi. 8, a paper MS.
written in the earlier part of the fourteenth century. Besides other
plays of Aeschylus it contains the Agamemnon entire.
g denotes the codex Venetus (or Marcianus) 616 (xci. 5), a parchment
MS. formerly assigned to the thirteenth but now to the fifteenth
century. It contains the same plays of Aeschylus as f, but owing
to the loss of several leaves is without vv. 46—1079 of the
A zamemnon.
38 INTRODUCTION
h denotes the codex Farnesianus (or Neapolitanus) I. E. 5, written in
the latter part of the fourteenth century, as is generally believed,
by Demetrius Triclinius. It contains the same plays of Aeschylus
as f and g, and the Agamemnon is complete.
It will be seen that f and h alone contain the whole of the Agamemnon,
with the support of g in the latter part of the play. Only about a
quarter of the text is extant in M.
Corrections due to the editor are denoted by the symbol H.]
 AISXYAOY
ATAMEMNQN
 ArAMEMNONOS TIIO0E2I2.
' Ay afxifwtav ets "lXiov amo)V rrji KXiiTat/x^orpai, £i TvopBrjcroi TO IXLOV,
^ 5 avT^? ij/iepas (rrjfJLaCvtiv Sia TO? 7rupo"o55. o#€v CTKOTTOI' (.KavMTtv
wi K.XvTai[xrjo~Tpa, Iva. TTjpoi-q TOV trvpaov. xai 6 fiiv I8wv dTnfiyyfiXev,
avrrj 8e T(£v irpeo~[3vTU)v o^Xov /x€TaTrefjiTr€Tai irtpl rovi Trvpcrov Ipovaa- ££ u>v
5 Kal 6 xopos (rucwrTaTai* orTtves <x«oijcravTes iraiavi'^ODcrti/. fXiT ov TTOXV 8e
/cat TaA^v/Jtos irapaytVcrai Ktti Ta Karoi rov TrXoSv StijytiTOi. 'Aya/x.efji,v(DV
8' £TTI <X7r);i'7js 'ep^erai- il-RtTO 8' au™i kripa aTrrjvi], ZvOa r/v Ta Xdfpvpa KO.1 r\
KatrdVSpa. avros |U.€V o5^ TTpoeurip^tTai ets TOC OIKOV O~VV TTJI KXuTaijUj^orpai,
Kaadi/Spa 8e irpofjLavTtvtTaL, irplv eis Ta fiao-LXua. do-eXdelv, TOV cavTtjs Kal
1O TOC 'Aya/j.ifxvovo'i 0d.va.Tov Kai TTJV i£ 'Opearov /xrjTpOKTOviav, Kal dcrTriqhai a5s
Oavovfxevrj, pupaaa ra a-T^fiaTa.. TOVTO 8e TO jitepos TOV 8pap.aT0S OavfuA^eTcu
(Js <£KirXr)£iv «x°" K a l °*K''"O'/ 'KavoV. i8tws 8e Aicr^uXos TOV 'Ayafi-i/xvova iirl
o-Krjvrj% dva.Lpeio~Oai TTOUI, TOV Se KacrafSpas O"ta)7r'^o"as dai/arof vtKpav avrrjv
v, TT€TroiT]Kev TC Aiyio^ov Kai J£.XvTaifji.ijo~Tpav exaTcpov Sno'^vpi^oyu.Ej'oi'
p ^ dvatp€crea)s evi Ke<f>aXaio>L, T^V jiiev T171 ava.ipio~ei 'I^i/yevetas, T6V 8C
Tais TOV 7raTpos OpicrTov i£ 'ATpetos
'ESt8a'x#i7 TO 8pa/*a tiri ap
-jrpioTo? Ato-^vXos 'Ayafji.efj.vovt., Xorjcfropois, JZv/jLtvtcn, Upwrei
i^oprjyei.

16 'OpiffTov M: e^ffTou Victorius. 17 q M : i-ySo^icooTTji Meursius.

TA TOT APAMATO2 IIPOSmiA

XOPO2.
[AITEAOS.]
KAYTAIMHSTPA.
[TAA0YBIO2] KHPYH.
ArAMEMNftN.
KA2ANAPA.
Airi2®os.

ArrEAOS et TAA9TBIOS del. Stanley.

42 AIZXYAOY

<&TAAH.

©eous [i.ev alrco ra>v8' aTraWayr/v novwv

<f>povpas ereias ^TJKO?, 17V Kotixcofie
crreyats 'Ar/aetSaiv ayKadev, KVVO<;

dcrrpcov /caroiSa WKTepcov ofxyj-yvpiv,

e a Ka
Kal TOVS cjiipovras x ^ ' ^Z 1 0 ? fipoTols
s Swdaras, e/ATT/oeVoj/Tas
orav (jtdivucriv, avroXas r e
<f>v\da-(TO) Xa/AT7a8os TO
vyrju irvpo<i <j>epov<rav £K Tpot
re /3a£iv eSSe ya/) Kparel 10
y dvhpofiov\ov ikni^eiv Keap.
€vr' av 8e vvKTiirXayKTou evhpoaov T
evvfjv ovtipoLS OVK

TO /A>) /3e/3atws j3X4<f>apa (rv^aXdv VTTVCOL— 15

oral' 8' aeiSeii' ^ [/.ivvpecrdaL 8OKW,
VTTVOV rdS' avTC/xoXirov ivTijxvoiV a/cos,
/cXatw TOT' OIKOV TouSe crv(jL<f>opav crrdvcov,
ovx (t<; TO. Trpocrff apiara Siairovovfjievov.
vvv 8' e u T f ^ s yivoiT dnaWayrj itovuiv 20
evayydXov (faavevros bp(f>valov

2 TJV f g h : S' ^i» M . 11 iXirl^eiv anon.: iXirl^v M.

 ATAMEMNQN 43

SCENE: The palace of Agamemnon at Argos.

T I M E : Night in the first scene; in the second (v. 266 sqq.) dawn. After
an interval at v. 493 the action is continued on a different day.
The watchman is discovered on the flat roof of the palace. During the
tenth year of the war, in which it had been prophesied that Troy should fall,
he had been set to watch for the beacon to be passed from Troy by Agamemnon
as the sign of victory. It is now about the setting of the Pleiads (v. 817),
which marked the winter or storm-season {^eifiitv, x"/*01) v - 5)-

WATCHMAN.
A whole year's length have I been asking Heaven
Deliverance from this vigil, in the which
Upon the Atridae's roof aloft here stretched
On elbows, watch-dog-fashion, I have learnt
With general congress of the nightly stars
The waning seasons and the rising-times
Of those bright eminent splendid potentates
That bring men storm and summer.
So am I now
Still watching for the signal of a torch,
A fiery gleam with message out of Troy—
News of her fall, her capture—such the faith
Held by the man's mind in a woman's heart.
But while I spend
This restless time of rest abroad by night,
Free to the dews, unvisited by dreams,—
No sleep for me,
I warrant! sentry by my pillow stands
Fear, and forbids
The eyelid closing fast—nay, but as oft
As I would medicine sleep
With antidote of music,—hum a stave
Or whistle,—my voice breaks, my singing turns
To moaning for the fortunes of this House,
Not now so admirably administered
As once it was.—But now at length shine out
The fire with his fair tidings in the gloom
And bring me sweet release!
44 AIIXYAOY
ci Xa^P€ XajXTTTijp, VVKTOS rj
<j>do<; TncfxtvcrKcov Kal ^opa>v KaracrTaaiv
TTOXXWV iv "ApyeL, rrJcrSe o-v^opas yapiv.
2
LOV LOV 5

yvuau<l crrjixaCva) Top5i<z,

tvvrjs iiravTeCXacrav o>s
oXoXvy/jibv evcf>r)iJLOvvTa
enopdia.t,ei.v, eiirep 'IXiov
edXa)K€v, ai? 6 <j>pvKTo<; dyyeXXcov Trpenei. 3°
avrds r' eyaiye <f>poi[JLi.ov
To. SeanroTwv yap ev ireaovra
rpls ef /3aA.oucn;s rrjcrSe /JLOI
yivono S' ovv /JLOXOVTOS eixpiXrj
avaKTOs OLKCOV rrJiSe ySacrracrat
ret 8' aXXa criyco, /Sou? e7rt yXcjcrar/L
OTKOS S' auros, et (f>6oyyr)v Xa'/Sot,
ai> Xegeiev w? €KCQV i
avSco KOV fiadovcri,

XOPOS.
Setcarov fjxv e r o s r d S ' CTTCI Ylpud/JLOV 40

dvaj; r/S' '

Al60eV Kal SlCTKijlTTpOV

2 9 iTropdi&friv f g h : Iirop6pi&!;eii> M. 3 O d77^\Xa»' g h : d.77Au»' M .

4 O IIpta/Aou f g h : irpiafio] AT.
 ATAMEMNQN 45
[The Beacon presently shines out upon the top of Mount Arachnaeus.

Hail, O thou blessed Lantern, uttering forth

A daylight in the darkness, to be sign
For many a dance in merry Argos now !
{calling to CLYTAEMNESTRA within.
Oho! Oho!
Let Agamemnon's consort have clear call
To arise up from her couch and lift up voice
Of jubilant thanksgiving, for as it shows
Plain by the beacon's telling, Troy is taken!
[Her jubilant cry is heard presently within.
—I'll lead off with a measure first myself;
My master's fortune will advantage me;
This lucky torch has thrown me sixes three.

[Dances.—During the interval of time supposed to pass now, sacrifices

are lit up throughout the city at the Quee?i's command and the Elders
of the city summoned to her presence.

Ah well at least God send

The master come safe home, to let me grasp
His friendly hand in mine! Beyond that, I'll
Keep silence; there's an ox
Weighs heavy on my tongue:—only, the house
Itself here, had it but a voice, could tell
Plain tale enough:—I, for my part, keep tales
For those instructed; else,—my memory fails.

[Exit.—Etiter CHORUS of ELDERS opening with a chant preliminary to

their lyric song.

CHORUS.

Now is here the tenth year

Since Priam's great accusing peer
Prince Menelaus,—and
Prince Agamemnon—brothers twain
And by divine right both to reign
46 AI2XYA0Y

crroXov 'Apyeicov ^iXiouavTTQV 45

TrjcrB' airb -^a>pa<;
rjpav, (TTpaTiSiTLV dpwyrjv,
fieyav e/c Oxifxov KXct^ovres Apr),
rpoiTov alyvTricov, OLT e/CTrartots
7raiS<wv vnaTrfXe^ecov 5°

mtpvyatv iperyuoicTLV ipecrcrofievov

TTOVOV 6pTa\i)((i)v o
vTTaTos S' dicjv 17 T(,5 'ATTOXXOJV 55

•^ Uav rj Zevs olcovodpoov

yoov 6$v/36av

rrapa^acnv '
OVTO) 8' 'Arpeajs 7raISas 6 Kpeicrcrwv 60
eV 'AXefaj/Spau Tre/ATrei feVios
Zevs, TToXvdvopos dfjLcfL yvvaiKos
TTOXXOL TraXaLcr/jLaTa KCU yvLofiapr)
yovaros KOV'KXKJIV ipeiSofievov
8iaKva.LOfj.evr)s T' ev TrporeXeCoLS 65
/ccijLtaKOS Orjcroiv Aavaoicriv
ipOXTL U O/XOICOS. CCTTl O OTTTJt

ecrTf reXetrai 8' es TO

v ni e / * >

OUC7 VTTOKaiWV OVT

anvpcov lepwv >jO

opyas
5O uirarijAex^"" H . : uTraroi \e\ioiv M. 6 9 iiiroKataiv Casaubon: inroKKalav
M | ofr' iiriXdpiav Schuetz: ouS' viroKeipwv M. 7O oilre daKpvuv ante diripuv M,
del. Bamberger.
 ArAMEMNQN 47
Fast-coupled, one joint rank to share
Of throne and sceptre—since that pair
Launched from Argive land
A thousand ships in battle-train
By troops of Argos manned.
With loud War shouted harsh in cries
Of passionate anger in the wise
Of eagles out they sped,
That lone in solitary woe
For lofty-nested children go
Wheeling round, around, in air
As their beating pinions row,
Lost now all that loving care
About their infants' bed.
Yet shall there One Above defend
Those in his region denizen'd:
Pan, Zeus, Apollo, from on high
That hears their shrill complaining cry
Shall send his Vengeance by-and-bye
Upon the felon's head.
The Atridae so doth greater Lord,—
Zeus Guardian of the Stranger's Board,—
On Alexander send;
For one too common, each man's woman,
Sore fatiguing bouts in common—
Down in dust the knee bowed under
And the spear-shaft knapped asunder
First before the final day—
Meaning both on Troy to lay
And Greece alike:—the matter still
Is where it is, and where Fate's will
Appoints it, there shall end:—
Unburnt sacrifice will spurn
All softening of a temper stern ;
Both oils to pour and coals to burn
In vain a man shall spend.
48 AIIXYAOY

17/xets 8' OLTITCU crapKi TraXcucu

TTJS TOT' apcoyrjs

l o w c u S a ve/xovres iirl crKyjirTpois. 75

o Te y a p veapbs fiveXbs crrepvcov
C T O S avdcrcroiv
s, "Apr)<; S' OUK eVl y^copac
TL ff vTrepyr)pG)s, (fivWdBos 77017
8o
KaTaKap<])Ofievr)<;; T/aiVoSas /AC^ oSous
(TTei^ei, naiSbs 8' ov&ev a
ovap 7)fjuep6(j)avTov dXaivei.
cri) 8e, TvvSdpea)
Ovyarep, /Sao"i\eia
™ ^e0I/ / T
'' §' iTraicrdofxivt], 85
dyyeXias
treidoi

VTTOiT(x)v,

rutv Te dvpaiow rwv T' dyopaCwv, 90

ol SdpoLcri (f>\eyovTau'
8' aWoOev ovpavo{j.7]Kr)<s

ayvov
d8dXoto-t Traprjyopiate, 95
veXdvcoi, jxvxodev /ScuxiXeuoi.
TOUTWV X e f a a ' o T I /ecu
/cal ^
7 9 TlBnrepytym M, T&diirepyjpus a f, T<5 S' vvipy^pav h . 8 2 wtpb^avTov h:
T)/j,epo<t>aTov M. 8 7 tfucxrras Turnebus : tfuooweis (i in rasura scr.) M. 9O re
ffvpalwu E n g e r : T' oipapiwv M.
 ATAMEMNfiN 49
But we, that aged sinews made
Defaulters in the task of aid—
Here on staves at home support
Strength of such a feeble sort
As infant's may be styled :—•
The regent marrow, while his throne
Is youthful in the breast ungrown,
Is but in ancient senior's case,—
Ares lacking from his place:
With Age then, when the green leaf seres,
How is it? Forth abroad his way
Takes he on three feet, yet appears
Wandering like a dream astray,
As weak as any child.

But thou, our soveran Lady Queen,

What is it thou hast heard or seen,
What stir, event, or new advice
To cause thee raise up sacrifice
With couriers all our streets around ?
Each God that in the township sways,—
God supernal, God infernal,
House-door, market-place or waysy—
Each beholds his altar blaze
With fresh oblations crowned :
And here and there, anointed well
With all-pure smooth bewitching spell
Of unguent from the royal cell
The high torch heaven-aspiring towers:—
Resolve me now, so much unfold
As may be or as can be told,
H. A. 4
SO AIZXYAOY

traiwv re yevov rrjirhe fie

I0
rj vvv Tore fiev KaKo^pwv reXeOa, °
Tore 8' e/c dvcriwv TT)V dvfiofiopov
<f>povTih' dir\r}CTTov
<j>aCi>ovcr' dydv eXms dfjivvei.

€iv oSiov rip

I0
al<riov dvSpcov S
e/creX.eW • ert yap
deodev
TTeL$(O,

akudv, crvfi(f>VTOs altow

oVws 'Axaiwi' no
SCOpovov /cpaTos, 'EXXaSos rfficLs
£v/jL<f>pova raydv,
TrejuTrei crvv Sopl /cal ~)(epl irpaKTopi
dovpios opvvs TevKpCS" eV alau,
olojvav ySacrtXeus 115
ySacriXeucrt vewv,
6 Kekcuvos, 6 S' I^OTTIV dpydis,

iv eSpauriv, 120
ySocr/co/ievot Xayivav,
yevvav,

1 O 1 s q q . TOTC 5' IK OVCIGIV Ayavh </>o^eu | ^\7ris a/ulvei <PPOVTL&' O.T\U<TTOV | TT\V
6viio<j>0opov \ii7Djs tjtpiva M : corr. H . 1O4 rtpas Francken: Kparos M. 1O7 Kara-
irvi*a (fort, e xaTaTr^uei) M : Karairfeiia af h. I l l jj/fas Ar. ^?a«. 1285 : Vpar
(corr. ex Tj/Sav) M. 1 1 2 — 1 1 4 omiserat M, add. m. 1 1 2 rayav a f h : T&V 7a!- m.
1 1 3 KO.1 x«pi Ar. .ff3». 1288: 5ka<r m. 117 dpyais Thiersch: dpylas M.
119 dopirdXTOv Turnebus. 1 2 2 (pip/iara Hartung: (pipimn M.
 ArAMEMNQN 51
And medicine for my thoughts declare,
That still malignant aspect wear,
Save that with radiant face benign
From altars Hope doth somewhile shine
And bids avaunt this eating care
That my soul devours.

I 1.
The assuring sign will I tell forth—to me by right belong Strophe.
The warbling measures; vigorous yet the moving spirit strong
Divine force live within me stirs, with valiancy for song—
The sign that on their path befell those twain united Kings,
Joint leaders of the youth of Greece, the sign of warrior wings
That sped them for the Trojan land with fierce avenging spear,—
Shown in a quarter near
Pavilion royal,—sable this, that argent in the rear,—
To Lord of ships the Lord of birds, remarked in place of pride,
Upon the spear-arm side,
On quivering hare's-flesh feeding both, young leverets quick
in womb,

4—2
 52 AIIXYAOY

/SXcijSeWa \oicrdio)V hpoficop.

aikwov alXivov eirre, TO 8' ev VLKO-TCO.

I2
KCSVOS Se UTpcLTOfxavris iSa>i> Suo 5
\rjjj.a.cn, Stcrcrous

eSaij XayoSatras
7roju,7rous T' ap^as-
r
OVTO) 8' etTre Ttpditfliv 3°

7rdX.iv a8e K.c\ev0o<;,

TrdvTa he irvpycuv
KTTjvq npoade TO. hr]fiionXr]drj
fxolpa Xavd^ei irpbs TO fitaiov 135
t jJLrj Tts a y a

•npOTVirkv crTOfuov jxeya T

OLKTCOV JOLp CT
v
<f)0ovos ApTe/At§ dyva 140
TTTavoicnv KVCTI TraTpb<;
avroroKov vpb Ko-^ov
[loyepav irTaKa 9vo{j.evoL(riv
crrvyei 8e Szlwvov alerSv."
atkivov alXivov eiire, TO S' eu viKarw. 145

TOCTOV irep ev<f>pcov, KaXd,

hpocroicri kenrols ixaK.€po)i> XCOVTCJV

136 aya Hermann: Sro M. 139 O?KTO>I Scaliger: ohun M. 146

f h : ToVffciH/ M. 1 4 7 Spoaowi XeTrrois Wellauer: 8p6<rounv dAirrots M |
Stanley ex Etym. M. p. 377, 39: OCTWC M.
 ArAMEMNQN S3
Prevented ere the safe last course that might outrun the doom.
Let Sorrow, Sorrow, a burden sound,—
In Joy prevailing drowned !

I 2.

Their sage diviner marking well how twain the tempers were Anti-
strophe.
Of those two brother soldiers, knew the feasters on the hare
For those same captains of the war; and thus did he declare:

" A prey before this force in time the town of Priam falls;
When all the general common herd before the castle-walls
Shall be with violent fate consumed:—so be no jealous frow)i
Above come louring down
And strike the great curb forged to hold the mouth of Ilium town
In tented field,—for pity-struck displeasure sore-, I wis,
Hath pure Maid A rlemis ;
Wroth with her Fathers winged hounds; foul sacrificers t/iey,
Poor timorous weak enchilded thing, with unborn young to slay!
Let Sorrow, Sorrow, a burden sound,—
In Joy prevailing drowned!

" Yet 0 thou Beatiteous One, for all Epode.

So tender is thy loving care
To young dew dropping weak and small
In ravenous lion's teeming lair,
54 AISXYAOY

T dypovojjiejv <
6rjpo>v o^SptKaXots, etirep Tivd,
I
rovroiv alvei £uja/3oXa Kpavai, 5°
S e f i d jueV, KaTOL[JLOiJL<f>a
Se [^acr/xaTa] crTpovdcHv.
irjiov Se (caXe'ai I l a i a v a ,
ju/rj r t r a s OLVTITTVOOVS
J
Aavaots xpovias eyeinJiSas a7rXoia§- 55
Tei^rji o"Trevhofj.iva dvcriav
irdpav dvo/xov TLV', aBaurov,
V€LKttt)V TfKTOVa (TVfl-

cf)VTOv, ov Sei,crrji>opa. fiLfivei 160

ya/3 <f)o(3epa 7rakivopTO<;
SoXia,

ToiaSe
jiteyaXois a y a ^ o l s aTre/cXayfev 165
fjiopcniA d-n bpvWwv
ohicov OIKOIS y8a<riXetoi5
TOIS §' 6fJLQ(f>a)VOV
aVkivov al\ivov eiire, TO S' eu

Zeus, ocrns TTOT icrTLV,—ei TOS' a u - 170

TGH <f)i\ov Kei<\r)fjLevci)i,
TOVTO VLV TrpocrevveTTO)—

OVK e%a> Trpoo-eucdo-aL

1 4 9 <5/8piKa\ois, eiVe/) Tica H . : 6/3piKd\oi<ri Te/jTrra M . I S O aiWi G i l b e r t :

aiVei M. 1 5 2 ipaaixara del. H . 1 6 5 <MrlKXay£6i< a f h : dW/fXaiJec M .
 ArAMEMNQN 55
And for the suckling whelps of all
Wild creatures of the wood or field,—
Yet now at our most urgent call
Vouchsafe to yield;
Yield, and ftilfil this feathered sign,
The most part good, yet part malign !
Yea and also I pray,
O Healer Apollo, prevent her and stay !
So that she send no contrary wind
With untimely delay
The Greek navy to fetter and bind,
Out of zeal for a sacrifice other and strange,
Without custom or law,
To the feaster unknown,
Bitter enmity working
Betwixt flesh and bone,
Without man-fearing awe,—
For a danger is lurking
In house that abides,
That in subtilty hides
To recoil again, Wrath ever-mindful, a Child will avenge!"

Such fortune for the royal House by sign of omen stored,

Much bane to mix with more of boon, the pealing prophet
poured;
Wherewith in just accord
Let Sorrow, Sorrow, a burden sound,—
In Joy prevailing drowned !

II 1.
ist
Zeus, whosoe'er indeed he be,— ,
' strophe.
In that name so it please him hear,—
Zeus, for my help is none but he;—
Conjecture through creation free
 56 AIIXYAOY

irdvT
r/v Aios, et TO fidrav
<xiro
o (f>povTiBo<; aydo<s
i) /3aXeu> erijTu/Aws.

a. 0SX09 n s ndpoiOev rjv

7ra/AjU.a^(wt dpdo~€L {5pva>v,
l8
ovSe Xe^erat, Trptv w v °
os o e?reiT e^u, r p t a -
KTrjpos oi^erat T U ^ W V
Zrjva 8e T15 TTpO(f>p6v(o<;

(f>pevu>v TO TTO.I'. 185

or/). /3'. TOV (frpovelv ySpOTOU? 6S(U-

cravTa, TOV trdBei, jjiddos;

a^et 8' ev #' VTTVMI irpb KrapStas

(j,vr]o~iin]iJ.a)v TTWOS 1 190

l Trap' a/covTas

cre/xvov

0. Kal TOO" rj-ye/xajv 6 npi-

c/Sus vect)v 'A^CLUKWV, 195
ovTiva rp£ya>i>,

' dirkoiai Kevay-

175 TO Pauw: rd5e M. 1 7 8 oSXds TI? H.: oi55' Sffns M. 18O oi53e X^erai
H. L. Ahrens: oiiS^ W£ai M. 1 8 7 TAV Schuetz: ra M. 1 9 2 j3(aios Turnebus:
fliafws M.
 ATAMEMNQN 57

I cast, and cannot find his peer;

With this strange load upon my mind
So burdening, only Zeus I find
To lift and fling it sheer.

II 2.
One was that ruled the ring of yore,— istanti-
fa }
strophe.
With boisterous challenge big and blown;
Him tell we not, his date is o'er;—
Nay, the next comer is no more,—
Found his outwrestler, and was thrown:—
But Zeus, with.heart and voice acclaim
Victorious his triumphal name,
And wisdom is thine own !

I l l 1.
2nd
Sing praise : ' Tis lie hath guided, say.
J
° strophe.
Metis feet in wisdom s way,
Stablishing fast Instruction s rule
That Suffering be her school:—
The heart in time of sleep renews
Aching remembrance of her bruise,
And chastening wisdom enters wills that most refuse;
Stern is the grace and forced mercy kind
By Spirits upon their awful bench assigned.

I l l 2.
Thus with the elder captain then :— md anti-
When all his league of men
Lay weltering in the narrow Sound
Between shores, weatherbound,
 58 AIIXYAOY

XaX/a'Sos irepav i^cou naXtppo-

TO7TO19"

a-Tp. y. TTVOCU 8 ' aTTO %TpVflOVOS fJ.ok.OVO'ai

KaKocr^oXoi, j^crriSes, Sucro/3ju,ot,

fipQTOiv aXat,
2O
l < re > wai ireuTfiaiTcoi' d^eioet?, 5
iJ) ^povov Tidelcrai
TpC/3a)i. Kare^aLvov av-
9o<; 'Apyeiwv iirel 8e KCU
iriKpov ^ei/xaros aXXo

v
KpTep.iv, wcrre yQova. fia.KTpoi<i

8dicpv jJir)

air. y'. 8' 6 TrpicrfSvs roS' et7re 215

tet' / c ^ TO /AT) indiaOai

fiapela 8', et
TCKVOV Sat^co, $6JJLG)V ayaX/JLa,

pocus
Tie'Xas . TL TCOVS' avev
yevco/xai

2OO sq. TaKippoxffois H. L. Ahrens: iraKippbdws M. 2O5 yeas- Pauw:

ra™ M I re add. Porson. 2 1 0 irieiaBai Turnebus: itdBiaBcu M. 219 sqq.
fualvuv irap0evo(T(payoi.tnv | pettpois irarpiicovi x^pas | /3WMOC jr^Xas M : corr. H . (pOtus
Schoemann, 7r<?\as /3w/noO Blomfield). 2 2 2 7raii XITTOTOUS h : T( I W XiTroxauffTe M .
 APAMEMNQN 59
With body and spirit well-nigh spent,
Empty, in hard imprisonment
Amid those famed resorbing tides of Aulis pent,—
Without one doubt on prophet cast,
He bowed and drifted with the violent blast.

IV I.
For gales continually from Strymon bore 3rd
strophe.
Lean fast and leisure curst, mooring unstable,
Wildness of wits and waste of ship and cable,
Till the endless weary while with fretting sore
The flower of Argos wore:—
Whereat their prophet, pealing
The dread name Artemis,
Cried means of help and healing,—
Such cruel healing this
As heavier still the princes found
Than tempest; hard upon the ground
They beat the sceptre, mute with pain,
Nor tears could they restrain.

IV 2.
At last the elder uttered voice and cried: 3rd ant '-
strophe.
"Hard cruel fate refusal! Hard and cruel
The butchery of my child, my own homes jewel!
Father's own hands at the altar crimson dyed
In young pure stricken tide!
Whichever path be taken,
'Tis evil still to choose;
What can I, left forsaken?
 60 AIZXYAOY

Travaave/xov yap
22
lrapdeviov 0' ai/Aaros opyat 5

eu y a p ei.77.

e7ret o avayKas eov kenaovov

<f>pevb<; irvioiv Svcrcre/Syj rpoiraiav
2
avayvov, aviepov, TO0ev 3°
TO TravTOToX/xov (jipouelv
fiporoix; Opacrvvei yap atc
TaAxuj'a TrapaKOTra.
erXa S' ovv
rjp yeveardai Ovyarpos, yvvaiKonoivuv 235
u apcoyav
/cat TrporeXeia vawv.

aw. 8'. Xtras 8e /cat KX

irap ovSev ala>va vapdiveiov
edevTO (j>ikoixa^oi /SpayS^?. 240
<f>pdcrei> 8" d d
SCKUV ^L/JiaLpas vnepffe yS
ireVXotcrt nepLTrerrj Travrl
irpovamrj
XafieZv aephrjv, crrd/xaTos re KaWnrpaapov 245

<f)06yyoi> apaiov otwois,

2 3 2 pporoi)s Spanheim:ftx>To?sM. 2 3 9 olu re O. Mueller. 2 4 6 fpv\aKai

Blomfield: tj>v\a.Kav M.
 ATAMEMNQN 61
My league how can I lose?
They press me, furious with desire
For what 'tis lawful to require,
A virgins blood for calming-spell;—
God send it may be well!"

V i.
But under that sore stroke 4th

Once donned the grievous yoke

Of Need compelling, all his thought within
To another quarter veered, set full for sin
And desperate action, to the utmost stretch
Resolved. It is that foul-suggesting wretch
Distraction! With her men's hearts at first
Grow reckless, hence their fatal harms begin,
Ruinous.—Alas, he steeled him to that worst,
Slaying of his child, in sacrifice to speed
War for a woman, sanction to let ships proceed.

V 2.
Her supplications all, 4th anti-

Her oft appealing call

On Father, her fresh years of maidenhood,
With umpires clamouring war for nothing stood.
To his ministers her father, after prayer,
Gave the sign—bade them seize her and upbear
Above the altar,—huddling where she lay
Wrapped in her robes, aloft with courage good
Kidwise to hold her, drooping,—and to stay
Those lovely lips with forced impediment,
Bridles with dumb curb muffling utterance, to prevent
62 AIIXYAOY

r avavScoi
KpoKovfia<f>a<;8' es irihov y4ovo~a
2
e)8aXX' eKacnov dvjiqpoiv 5°
an' o

d 0' &>
9£kov(T, eVet 7roA.\a/as
os /car' avSpcovas evrpairdCovs 255
ayvai 8' draupairos auSai
7raT/Dos (ftCXov TpiTocnrovSov evnorfiov
Trcuava <f>iX(os

Ta o evc/ei' our etooi' our CV

Teyvai Se KaX^ai'ros OVK aKpavroi. 260
Ai«a Se rois pep iradovcnv

ro jjieWov <8'>
CTrei yevoLT', av KXUOIS"

tcrov Se TWI irpoaTevtw 265

Topov yap rj^et crvvopdpov auyai?.
Tre'Xotro 8' oui/ ra7rl rouroio-ti' evnpa-
^t5, <ws deXei rdS' a y ^ i c r o
y a t a s fiouo<f>povpou epxos.

refiLl,<j)v crov, KXvraifjiyja-Tpa, Kpa.To<s- 270

3 rt
81/07 T"^/ ^ ° " <^<uros dpy^rjyov jiziv
yvvaiK iprjfjbCiudevTos apaevos dpovov.

2 5 8 fl-cHapa Enger (TraiiSi'a Hartung): al&va. M. 2 6 3 5' add. Elmsley

2 6 4 ifxei 7 ^ o i r ' a f h : iTnytvoir' M. 2 6 6 ovvopdpov Wellauer: ovpop6bv M | 01/7015
Hermann: avrah M.
 ATAMEMNQN 63

VI 1.
5th
Curse on his house.—Then, letting raiment fall ,
0
strophe.
In saffron to the ground, her slayers all
With eye she smote, the dumb eye's piteous dart
Aimed at each several heart,
Showing as a pictured form, that fain would speak—
How many a time in her dear father's hall
When boards were laden
She had sung before his guests! Unsullied maiden,
Joined in his joyous antheming
At grace with pure note blithe his loving child would sing.

VI 2.

What further was I neither saw nor tell; 5 th a.nt1'

strophe.
Only, not vain is Calchas' oracle.—
Justice hath willed that knowledge fall inclined
On the tried sufferer's mind,
Learned in the proof: what shall be you may hear
Soon as it is; before that, fare it well!
'Twere but fore sorrow;
Plain shall it come with the early rays of morrow
Yet good speed now the sequel be,
As here the realm's immediate sole Defence would see.
\_Meaning CLYTAEMNESTRA who now approaches.
ELDER. I am here, O Queen,
In deference to thy rule; when the male Prince
Hath left a vacant throne, due homage then
Belongs unto his consort.—Keep thy counsel now
64 AISXYAOY
(rv S' etre KeSvbp etre /XT) TreTTV<Tjx4vr}
evayyeXoLCTLV ikiricriv Ovr/voXels,
av ev<j)p(ov ovBe criydxTTji <j)06vo<;. 275

KATTAIMH2TPA.
evdyyeXos [ikv, cocnrep rj irapoifxia,
ea)§ yevoiTO firjrpbs ev<f>povr]s irapa.
TTevcrrjt 8e -^dpfia fieilpv i\iriho<;
TJpidfjLov yo.p rjiprJKao-Lv 'Apyeioi
XO. TToi? (f>rj<;; ire(f>evye TOUTTOS ef d7ncrTias. 280
KA. Tpolav 'A^aiftiv ovcrav 17 Topws Xeyco;
XO. yapd. JU,' v(f>epvei SaKpvov iKKaXovfievrj.
KA. eu y a p (fypovovvros o/jifjua crov Karrjyopel.
XO. TI yd/3 TO T7tcrrdv; ecrn T&vSd croi reKfjLap;
KA. eaTiw TL 8' ovyi; fj.7) SoXcixravTos 0eov. 285
XO. iroTepa S' oveipwv ^)dcr/xar' evnidrj cre'/3ei9 ;
KA. ou So^ai" di' XaKOuyn ^pitpva"q<i <f)p€i>6<;.
XU. aAA 7j cr tTTiavev r i s avrrepos ( p a n s ;
KA. 77"ai,8os veas ws /cdpr' e/Aw/x^crai typiv&s.
XO. TTOLOV ^povov 8e /cai TTeiropdrjTau TTOXIS; 290
KA. r ^ s ^vi' T€Kova"q<; ^)ais TOS' e.v<$>p6vrj<s keyw.
XO. Kai rt's rdS' i^iKotT av dyyekwv rd\o<;;
KA. 'H^aicrros, "iS^s Xa^Trpov iKTre/xTrau creXas.
<f)pvKTO<; Se (ftpvKTov Sevp' air dyydpov Trvpos
"\hr] yukv npos ^pfxalov A.eVas 295
u- jxeyav Se iravov e/c vrjcrov rp'nov
'A0wi.ov

2 8 6 einneij Blomfield: evirecOij (ex etiiratfe?) M. 2 8 7 Xa.Koi.fu Karsten :

Xd/3oi/x.i M. 2 9 4 cr^dpou Canter ex Etym. M. p. 7: dyy^Xou M. 2 9 6 Travox
Casaubon ex Athen. XV. p. 700 E : <pai>bv M.
 ArAMEMNQN 65
With all good will;
But I would learn most gladly whether it be
Good news that sets afoot these offerings, or
But happy-tiding hopes.

CLYT. With happy tidings, as the proverb runs,

Come Dawn from Night his Mother! but here is joy
Goes quite beyond all hope,—the Argive arms
Have taken Priam's town.
ELDER. What was this?
It passed believing and escaped me.
CLYT. Troy
In the hands of the Achaeans: am I plain ?
ELDER. Such joy steals over me as calls forth tears.
CLYT. The truthful eye bewrays thy sympathy.
ELDER. What warrant is there? Hast thou any proof?
CLYT. Aye surely; unless Heaven hath played us false.
ELDER. IS it the flattering vision of a dream
Hath won thy credence ?
CLYT. I should not come crying
The imagination of a drowsing brain.
ELDER. Can it then be some light-winged rumour
Hath fed conceit so high ?
CLYT. YOU rate my wits
As light as a green girl's.
ELDER. What season then
Hath seen the capture made?
CLYT. The self-same night
That now hath given the dawn before us birth.
ELDER. What courier could arrive thus rapidly?
CLYT. Hephaestus ; his bright flame from Ida sprang,
And fast in fiery post the beacons flew,
As one dispatched another: Ida first
To Hermes' hill in Lemnos; third the mount
Of Zeus in Athos caught the mighty brand
H. A. 5
66 AIIXYAOY

re, TTOVTOV (ocrre

ICT^VS 7TOp€VTOV Xa/ZTTClSoS VpOS 7)8ovr)V
irevK-q TO yjpvo-o<f>eyyi<5, a>5 TIS 17X10$, 3°°
creXas napayyeCXaaa Ma/ao~TOU o"/co7ras'
o 8' OUTI [AeXXwv ovS' a(f>pao~iJi6vco<; VTTVGIL
viK(t>[Ji€i>o<s TTaprJK€v ayyeXov jite/aos'
e/cas Se <f>pvKTOv ^>a)s eV Evpiirov p'oas
Meao-awiov <j)vXa^L o-rjixaivet, fioXov 3°5
ot 8' avTeXafJujjav /cal TrapijyyeiXav Trpoo~(o
ypaias iptLKrjs dcafibv axfjavre'S irvpi.
o'ddvovaa Xa/^7ras 8' ovSeirco fiavpovfjievr],
VTrep6opovo~a TTZSLOV 'Ao~a)irov, SiK-qv
<reXiqvT)S, irpos Kidcup<x>vo<s XeVas 310
aXXrjv e/cSo^v irofnrov irvpos.
<j)do<; 8e TTjXeirofJiTTOu OVK -qvaivero
(j>povpd, irXiov Ka£ovo~a TWV elprjfjuevcav
XifLvrjv 8' virep TopySttriv eaKrjijiev <f>do<;,
opos T' in' AlyiTrXayKTOV i^iKvov/xevov 315
deo-fibv /AT) ^povit,€(rdat nvpos.
8' avSaCovTes a,<j>d6va}L fxevei
(jyXoybs /xeyav natycova, /cat ^apoyvucov
irop0fiov KaroTrrqv nposv virepftaXXeiv npoa-w
(f)Xeyovaav elr eaKrjxpev, evr' d^i/ceTo 320
' A p a ^ a i o j / alvros, do-TuyeiVofas crKOTrd<s-
Ka.TTf.iT 'ArpeihSiv is ToSe O-KTJWT€L crTeyos
<f>do<> TOS' OVK aTraTTirov 'iSatou nvpos.

298 sqq. vitiosa esse liquet. 3O0 iredlov 'Xawirov f h : TTCUSIOC &WOV M.
3 1 6 xpovi^Bai. Casaubon: xaplfaBai M. 3 1 9 naTbirT-qv H . : Kdroirrpov M.
32O eur' Hermann: etr' M. 322 To5e fh: 7676 M.
 ATAMEMNQN 67
From the island thrown in turn. Then towering high
To clear the broad sea's back, the travelling torch
Shot up to the very sky the courier flame,
In golden glory, like another Sun,
Fame to the far Makistos messaging:
Whose fiery office no defaulting sleep
Or tarrying sloth let fail; his ensign flying
Over the Sound Euripos made aware
Messapion's watchmen of his advent; they
With answering countersign, a kindled stack
Of old gray heather, passed the word along:
Which vigorous lamp with unabated force
Did shining as the bright Moon overleap
Asopus even to Cithaeron's ridge,
There to wake new dispatch; nor being aroused
That watch denied the far-sent missioner;
They burned above their bidding1, and their light
Went sailing- far beyond Gorgopis lake
To the heights of Aegiplanctus, urging still
No dallying in the breathless ordinance.
Whereat with liberal heart aloft they sent
Flame in a great beard streaming, that his flight
Should clean beyond the foreland pass, that looks
O'er the Saronic gulf; nor ever stooped
His pinion ere he gained our neighbouring height,
Arachnae's vigilant peak: alighting thence
Upon the Atridae's roof a gleam there came,
That Ida's fire his ancestor may claim.
1
Or'beyond the aforesaid.'
5—2
68 AIZXYAOY

rototSe TOL fjioi \ajxnaSr}(f)6pa)V vofioi,,

ctXXos Trap' dXXov StaSoxai? irX-qpov^vof 325
8' 6 Trpwros /cat TeXeuratos Spa^icov.
TOIOVTOV <rvfifio\6v re o"ot Xeyw
irapayyeiXavTos e/c Tpotas e/tot.
XO. ^eots /aei' av^ts, w y w a i , npocrev^OfiaL'
Xoyovs 8' dfcoucrat roucrSe Kairodavpacrai 33°
Si7]V£K(a<; deXoLfJu dv, ws Xe'yei?, iraXii/.
KA. TpoCav 'A^atot T^iS' £)(ov<r iv rjfiepai..
otfiai fiorjp dfieiKTOv iv TrdXet 7rp€TT€LV.
o^os T' aXei^>a T' ey^eas raurait Kuret
St^ocrTarowr' a^ ou ^n'Xws Trpocrevve7roi,<;' 335
/cal rwi/ dXdfTWv KGU KpaTrjcrdvTcov
<f>6oyyas aKoveiv €<TTL crvfKpopd1
ot ytx.et' ya/3 dja^)l cr(t>fiacnv iremoi/cores
dvSpwv KacriyvijTcov re /cat (fyvraXfjuoi
yepovTts OVK4T ef iXevdepov 34°

8' auTe WKTLTrXayKTOs e/c

7T/3OS dplcTTOUriV (t)V
rdcro-et, 71/309 ouSei; ei' /te/)et
dXX' a>s e/cao-TO? eavao-ev r u ^ s naXov, 345

vaxovuiv Y\07), T<av VTraidpiwv ttdywv

hpoaov r dwaXXa^devTe^- a»s 8' euSat/u.ot-es
d<f)vXaKTov evS^o-oucri vracrav evfipovnv.

3 2 4 roiolSe TOI fioi Schuetz: rmolS' iroiixoi ah, roio(5' ^ru/toi f. 3 3 1 \4yois f h
3 3 4 iyXt«s Canter: 4KXtas a f h. 3 3 9 sqq. 0 w a V W ffa?5es W i ( r w codd.: c o r r '.
Weil. 3 4 8 <is S' eiSal/j.oi>(s Stanley: us SvorSal/xoves a f h .
 ArAMEMNQN 69
This was the ordering of my torchmen's race,
One from another in succession still
Supplied and plenished ; and he that won
Was he ran first, though last in all this run.
Here is the proof and warrant of my joy,
Pass'd onward for me by my lord from Troy.
ELDER. Lady, the gods
I will adore hereafter; now I am fain
To satisfy my wonder, might it please you
Discourse again at large.
CLYT. This day the Greeks
Hold Ilium in their hand. O, well I guess
Most ill-according noise is rife within her!
Pour in the same cruse oil and vinegar,
And you shall call them quarrellers, unkind;
Thus differing as their fortunes may be heard
Cries of the vanquish'd and the vanquishers.
Vanquish'd,—upon the several corpses flung
Of children, husbands, brothers,—aged sire,
Wife, sister, from a throat no longer free
Wail for their dear ones dead. The vanquishers
Their after-battle forage
And ranging in the night sets hungry down
Before such breakfasts as the town affords,
By no nice turn of ordered billeting,
But Luck's own lottery has them lodged ere this
In captur'd homes of Troy: there now at length
Delivered from the frosts and from the dews
Of the bleak sky they shelter, and how blest
Shall sleep at ease the whole unguarded night.
70 AI2XYA0Y
ei 8' evcrefiovcn TOVS TTOXICTO-OV^OUS 6eov<; 35°
TOUS rfjs aXovcrrjs yrjs 6eo)v & IBpvfiaTa,
ov TOLV eXovT€5 aWis dv0a\olev av.
epws Se JU,^ TL<S rrpoTepov ifnmTTTji crrparcot
Ttopdelv TO. fXTj XPV KepBecrLV VIKO>H4VOV<;.

Set yo.p TT/OOS ot/cous vocrTLfiov (ramj/oia?, 355

KajL\\iai SiavXov ddrepov KOJXOV traXiv.
^eots S' avafnrkd.KriTo<; el fx.6\oi arpaTos,
tvijyopov TO irrjixa TS>V 6\<O\6T(I)V

yivoiT av,—et Trpoanraia fir/ rvypi /ca/ca.

TOtavra rot ywat/cos e'^ ijxov <c\uets. 36°
TO 8 ' CV KpaTOlT), [XT]

7roX\fi)i' y a p £crd\5)v
XO. y w a i , / c a / dvSpa <r<a$pov eu^povfus Xeyets.
eyw 8' ctKOucras TncrTa orou TeKfXTJpia
0eoi><; irpocreLTreiv av vapaa-Kevd^ofjiaL • 365
y a p ov/c aTtftos etpyao"Tat TTOVOIV.

Zeu ftaaikev, /cat

TJT' eVt Tpotas vvpyois ef3a\es

crreyavov SCKTVOV, a>s /A^TC iniyav 370
JLIT^T' OUV veapa>v TLV virepTekiarai
fte'ya SouXetas
ydyyafxov, aTrjs Travakcorov.

3 6 2 otf TSJ- tX6vT€s Hermann: owe dveXii/Tes a, oii/c fly 7' AwTei fh | di/flaXoiei'
Auratus: SK Sdi'oiei' a, a5 Sdcoiej/ f h. 3 5 8 eb-qyopov H.: typ^yopov codd. 3 6 6 au
Paley: eu codd.
 ArAMEMNQN 71
If now they are showing reverence to the Gods
O' the fallen country and their holy shrines,
They shall not spoil then only to be spoiled:
But let no lust be falling on them first
From covetousness to plunder that they should not:—
The backward of the double course is yet
To measure; they must win safe passage home.
But let them only come without offence
Toward Heaven, the grievance of the perished well
May learn fair language,—if no sudden stroke
Of casualty befall.—These are my thoughts,
A woman's; but I pray
Good speed prevail without all counterpoise !
Great are my blessings; I would taste their joys.
ELDER. Thy woman's words, my Lady,
Have all a wise man's judgment: now having heard
Good warrant from thee, I'll address me next
To the praise of Heaven, since to us is given
Ample reward for all that labour done.

O Zeus the king of Heaven! O Night,

With so great splendour and so bright
Possessed, O friendly Night!
On Troy's renowned high towers was cast
Thy snare, a net so close and fast
As neither great nor small
Should leap the immense enslaving woof:
Doom's divine drag-net, huge and proof,
At one sweep took them all!
 72 AIIXYAOY

Aia rot £iviov ixeyav aiSov/xai

TOI/ raSe rrpd^avT, £TT ^Akegdvopwi 375
TeLvovTa TraXat TO^OV, OTTCJS av
JJLTJT£ npo Koupov firjO' virep

<rrp. a. "Aios irkayav e-^ovcriv" elireiv

Trdpeo-TLv, TOVTO r i£i)(i>evo-a.f 38°
eirpatjev w? eKpaveu. OVK i(f>a Tts
deovs fipoTOiv d^iovcrdai fiekeiv
ocrots dO'iKTOiv yjxpis
iraroiu • o o ou/c eucrep^s*
TT€<l>avTCU 8' IKT'LVOVCT 385

aroXfiiJTOiv dprj
TTVCOVTOiV fiel^OV rj

(j>\e6vTO)v Scj/JLaTcov
iuep TO /SeXxtcrrov. ecrrco 8' dv"q-
fiavTov WCTT' dirapKelv 390
cS TrpaTrC8(i)v
ov ydp icrTLV
TrXoUTOl/ 7T/3O5 KOpOV dv8pl
XaKTtcravTL peyav Ai/cas
is d<f>dv£Lav\ 395

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Trpofiovkov

3 7 0 Ixow'corr. ex fx"W«>'f- 3 8 O vapeaTiv Hartung: Tra^fcrn codd. \ TOVTO T'

Boissonade: TODT' f, TODTO 7' h. 3 8 1 lirpafrv Hermann: ibs iTrpa^ev codd.

3 8 5 tKThova' Hartung: iyybvovs f, iyybvovs h. 3 8 0 dpi, H . : a/»? codd.

3 9 4 ixiyau Canter: 'fieydXa codd. 3 9 7 wpo^oiXov raU Hartung: rpopovUicais codd.
 ArAMEMNQN 73
Be Lord Zeus of the Stranger's board
For author of this act adored :
His bolt on Alexander bent
Was aimed so long as neither sent
Over the stars nor early spent
To light with idle fall.

I 1.

"Struck by the hand of Zeus!" ay, truth indeed, Strophe.

And traceable : 'tis the act of will decreed
And purpose. Under foot when mortals tread
Fair lovely Sanctities, the Gods, one said,
The easy Gods are careless :—'twas profane!
Here are sin's wages manifest and plain,
The sword's work on that swelled presumptuousness,
With affluent mansions teeming in excess,
Beyond Best Measure:—best, and sorrow-free,
The wise well-dowered mind's unharmed Sufficiency!
The Rich man hath no tower,
Whose Pride, in Surfeit's hour,
Kicks against high-enthroned Right
And spurns her from his sight.

I 2.

Child of designing Ate's deadly womb, Anti-

strophe.
The wretch Temptation drives him to his doom.
 74 AI2XYA0Y

irpeirei Se, <£ws alvo\a/j.TTe<;, <rti>os-

KaKov Se ^OKKOV jpoirov 4°°
re Kat vrpocr/SoXat?
a)s 7reXet
Et? (CTTCt

Trats 7TOTaj/ov opviv),

vpocrTpififia dels d<f>epTOV 4°5
rav 8' aKOvet /Aev ourts 0eS>v,
enicrTpo<f>ov TWV
Kadaipel.
otos *cal
i<S 86/iov TOV 'ArpeiSav 4ID
'^icr^vi'C $eviav Tpdire-
tfxv Kkoiralcri yvvaiKO<s.

p. p'. XiTToucra 8' dcrToiatv dcrmcrro/aas

ayovcrd T ' dvTL(j)epvov 'iXtwt <f>6opdv, 415

p'CfJL<f>a Sia. TTUXSI',
rXacra* TroXXa 8' ecrrevov
r a S ' evviirovTes So/xcav irpo(f>rJTaL'
i&» ia» ocj/xa owjota /cat npo/xoi,
i&t Xe^os Kat <TTt)8ot <f>i\dvope<;. 420
irdpecm crtyas drt//.ous

4O1 irpoff^oXats J. Pearson: irpof}o\a.U codd. 4 O 4 TOTavbv Schuetz: irravov f.

4OS &<j>eprov dels f (tV0e/s h): corr. Wilamowitz. 4 O 7 TWK Klausen : TucSe codd.
4 1 O TWI/ f. 4 1 2 KXOJTCUS f. 4 1 4 KXACOUS re icoi Xo7x(|«oi/s vavfidras 6'
H. L. Ahrens. 4 1 7 7roXi> S' Avtarevov f. 4 1 8 TtiS' Auratus: TO'S' codd.
4 2 1 <ri7as an/ios dXo(5opos codd.: corr. Hermann. 4 2 2 aSicrros a.<f>eiiivwv codd.:
( d ^ Didf)
 ATAMEMNQN 75
Then cure is all in vain. The vice he wears
He cannot hide; sinister gleam declares
His mischief; as base metal at the touch
And trial of the stone, he showeth smutch
(This fond man like a child a-chase of wings),
And the awful taint on all his people brings:
To prayers is not an ea-r- in Heaven-; one frown-
All conversant with such calls guilty and pulls down.
Such Paris was, that ate
Within the Atridae's gate,
And then disgraced the Stranger's bread
By theft of woman wed.

II 1.

To Argos hurrying tumult, thronging power strophe.

Of men-at-arms and men-at-oars bequeathing,—
To Ilium bringing death for her sole dower,—
Ah, tripping it through her gate she's flown,
A crime done!—Then did voices moan,
The secrets of the house in sorrow breathing:

"The Home, woe, woe, the Home! The Princes, woe!

The impress where the wedded limbs yet show!
There yonder abject sits, where all may see,
Shamed, unreviling, silent, bowed indignity:
76 AIIXYAOY

8' U7T€/D7TOVTtaS

Sofei So/xtov dvdo~creiv.

v Se

8' et-
eppei Tracr'

6v€ip6(j)avTOL 8e Treidrj[loves
ira.pe.icri Sofat <j)epovcrai fiaralav 43°
yd.p, €VT' av iar
iarOXd SOKU>V opav

o\pu<; ov fjiedvarepov
oTraSots virvov KeXevOwv."
TO. fxev KOLT OLKOVS i<f>' ecTTta? 435
TaS' ecrrt Kat TWI^S' vT
TO Traf 8' d^>' 'EXXavo? aia? <Tvvop[xevoL<;

TroXXa. yovi' diyydvet, irpos 440

ovs /ACV yap < TIS >

v, avTL oe
«aX OSO
CTTTOSO? ets e/ca-

CTTOV SO/AOUS d^)t/cvetrai.

6 xpucra//,oi)8os 8' *Apr)<; 445

al xaXavTov^os e

4 2 9 Tt-ei6-i)ixoves Housman : irevBruioiies codd. 4 3 4 KckeiBav Karsten: (te\ei50ois.

4 3 7 KXXoi-os Bamberger : 'EXXciSos codd. 4 3 8 irivBtna T~Kr]atKa.p5i.oi c o d d . :
corr. H. 4 4 1 TIS add. Porson.
 ATAMEMNQN yy
Pined so with his beyond-sea dream
Afar, so lovesick he shall seem
The pale faint ghost of proud authority.

Fair shapely marbles white

Vex the distasting sight,—
Lost in the lack of eyes that shone,
The warm love dead and gone.

II 2.
" Dream-shown, in flattering shape, come phantasies, ^nd anti-
JIr. . . strophe.
With joy—nay, fond illusion all their bringing!
Blissful in vision there when heaven is his—
Ah, vanishing through his arms away
'Tis gone, with never pause or stay,
Fast on the fickle paths where Sleep is winging!''
These are the one forlorn home's miseries,
And more exceeding bitter yet than these.
And what at large for all that host of war
Far hence, the general legion sped from Hellas' shore?
Theirs in their several houses due
Is mourning and heart-broken rue—
Cause enough, sure, keen-touching to the core!
From each home once there went
A man forth: him it sent
Each knows; but what are these return ?
A little dust, an urn.

III i.

Ares, the Changer—of the Body's coin, strophe.

With scales poised—where the spears in battle join,
78 AIIXYAOY

TTVpcodev ef 'iXiou
<f>i\ouri 7re/A7rei fiapi)
xa SvcrStxKpvTov av-
CTTToSoG y€fli- 45°
t,<av Xe^SijTas evOerovs.
(TTeVoucrt S' eu XeyovTes ai/-
Spa TOI' [lev ws fiaxys
TOV 8' eV <f>ovai<s /caXcSs
" dX\oT/3ias Sial ywatKos," 455
raSe o-tya TIS jSav^a,
(fydovepbv S' U7r' aXyos e/O7ret

ot S' aurou 7re/ol

0y]Kas 'IXiaSos y a s 460

Spa 8' e^ovras e

S' d/covcrat ri //.ou 465

TTOXVKTOVCJV yap OVK

ao-Koiroi 6eoC, /ceXai-

val 8' 'Epivues \p6vwi
7vyr)pov OVT avtv St/cas 470

4 5 1 €V0(TOVS Auratus: eidirov codd. 4 6 5 5iai Hermann ex Cramer

W. I p . 119: foot f. 4 5 8 irpo5iK(H<ni' {. 4 6 4 Sri/xoKpavTov P o r s o n : S^
codd. 4 6 8 avoGKOTOi f.
 ATAMEMNQN 79

Fined in the furnace home from Ilium sends

Dust, heavy dust and sore to weeping friends,—
A live man's worth of ash, full-measured load
In small jars' compass decently bestowed!

Then wail the sorrowing kinsmen, and belaud each man,

This for a perfect soldier, how that fell
Glorious amid the carnage, fighting well—
"For anothers wife!" the growl comes low,
And sores against their Princes grow,
This process that began.

Others possess their tomb

There, in their beauty's bloom—
Troy's holders, in the land they hold
Graved, beneath hated mould !

I l l 2.

A people's talk is dangerous when it storms; 3rd anti-

strophe.
The effect of public curse their wrath performs.
For something cloaked within the night my mind
Stands listening:—the divine eyes are not blind
To men of blood : the man of mere success,
Luck's thriver in defect of Righteousness,
80 AIZXYAOY

nakivTir^d Tpifiai /8iou

rweicr ap-avpov, ev o cu-
CTTOIS TeXtOoVTOS OUTIS ClX/CCl.

TO 8' virepKoirajs KKXH.IV ev

/8a/3ir ^SaXXerat ya/) ocrcrois 475
Aio0ei> Kapava.
Kpivca o acpvovov o\pov
T ZlTjV
auros aA.ous UTT aA-
Xtui jSiov /cariSot/Ai. 480

irvpbs 8' U7r' euayye'Xou

TTOXIJ' Si/^/cei, ^oa.
pagts* ei o CT^TU/AOS,
rt9 oTSev;—et r t ^101* ecrri /A17 xjjvdos.

OS ^ <f}peva>v /ce/co/u,/j,eVos, 485

<j>\oyb<; 7ra/3ayyeXju.ao"iv
veois TTvpoidevra KapSCav
aXXayai Xoyou

vpb TOV <f>avdvTO<; ^dpiv ^vvawicrai. 490

'os aycw 6 6T)\V<; epos iirivi

dXXa
yvvaiKoyyjpvTov oWvrai

4 7 1 TraXwrvxei Scaliger: jraXi^ruxi) (vel -?ji) codd. 4 7 4 vwepKdirws Grotius :

codd. 4 7 6 (cdpoca Tucker: Kepawis codd. 4BO a W u i H . : aXXwv
codd. 4 8 3 iTijTVixos Auratus: iTT)T\i/j.a)s codd. 4 8 4 ij (, ij h \ n Hermann: TOI
codd. 4 8 9 7wo«6s Scaliger: iv yvvaiKos codd. 4 9 1 Ipos Blomfield:
o/)0! codd.
 ATAMEMNQN 81

Doomed by the dark Avengers, wanes again at last,

Dwindling, until he fades out where the dim
Lost shadows are; and there, no help for him.—
And Fame, too loudly when she cries,
Is dangerous also ; flashing eyes
Of Zeus the proud height blast.

Mine be the happy state

That moves no jealous hate;
No conquest, neither let me see
My own captivity.

A N ELDER. Swift rumour through the city goes

At glorious message blazed in fiery sign:
But whether it tell truth, who knows ?
Nay, whether it be not but some guile divine?

ANOTHER. What man so childish or so crazed of wit

To let the tinder of his brain be lit
By news in fire,—and then expire
Extinct at the reverse of it?
ANOTHER. Right woman's giddiness, to a tempting lure
The yielding ' yes' ere present proof assure.
ANOTHER. Feminine assenting, where her wishing lies,
Makes fiery way; with fire's decay
In chaff, so perisheth fame a woman cries!

[At this point there is an interval lasting some days (see Introduction,
p. 9). At the opening of the new scene the Chorus are alone in
the orchestra.

H. A.
82 AIZXYAOY

XafnrdSav (f>aeo-<f>6pcoi>
<j)pvKTa>pt,a)v r e Kal nvpb<; wapaXXayas, 495
etr' ovv dXrjdels eir' oveipdrwv hlicqv
TOO i\06l> (f>a><S i<j)T]\.(i)O'£V <pp€VCLS'
air' aKTrjs TOVS' opw KorcdcrKiov

cXaias* iiaprvpei he /xot Kacrts

£vvovpos 8n/»ia icons raSe, 500
owr' cu'ai'o'os oure o"ot haiwv (f>X6ya
opcias crrjfiavei Kanrvwi iruyods,
' ^ TO ~)(aCpeiv fiaXXov c/c^a^ei Xeywi'—
OLVTIOV Se Tota"S' aTTOCTepya) Xoyov
eu y a p 7rpos eS (fxivelcri, irpocrdTJKyj irekoL. 505

OO"TIS

uTo <f>peva)v Kapirolro TTJV

KHPTH.
iw Trarponov oSSas 'Apyetas
ere <^>eyye(, TWL8'

payeidtov iXmScov /Aias TV^COV • 510

ou y a p TTOT' T)X>XOVV rrji.8' iv 'Apyciat ^ ^ o ^ i
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D ^P M^" X@^ > X ^Pe
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idiTTcov IA7)K4T eis T7/xas /3e'X^- 515
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vvv 8' auVe crwTrjp ucrdt Kal Trat,d)vi,o<s,

6O9 Sexdrou Iacob: SeKiirai codd. 5 1 6 ^o-0' margo Askewi: i;X0' f, iJXges h.
5 1 7 /ecu iraiiirios Dobree: xoi ira.ywvi.os f, (cdxo7aii'ios h.
 ArAMEMNQN 83

[ELDER (who has been looking out over the plain towards the sea).

Now presently we shall know

The sober truth of all this cresseting,
Blazing of beacons, handing-on of fire,
Whether it be fact indeed or only some
Delightful dream that flatters and befools:—
A herald yonder from the shore in sight!
Umbraged with olive-branches,—ay, and further,
Mire's consorting sister, thirsty Dust,
Gives me good surety this advertisement
Shall not be voiceless, not a bonfire burned
With smoke of timber on a mountain-top ;
His plain word shall establish either joy—
Nay, with aught else I cannot rest content;
Be glad proof present crowned with glad event!
ANOTHER. The man that in that prayer will take no part
Reap the reward of his misguided heart!

[Enter HERALD, worn and broken by ten years' exposure before Troy.

HERALD.
O Fatherland of mine, sweet home of Argos,
Ten years after on this blessed day
Arrived again at last! One hope hath held,—
One anchor after all those many broken,—
Never could I dream these bones would have
Their own dear Argive soil to rest in happy!
Now hail to thee, O Land, and hail to thee,
Thou bright Sun, and the land's high paramount,
Zeus; and the Lord of Pytho, blest be he,
And shoot his arrows upon us no more!
Scamander showed thee in thy wrath enough;
Preserver be thou, be thou Healer now,

6—2
84 AIIXYAOY

dvaf; * AnoXXov. TOUS T dycoviovs 0eoi><;

irpocravSco, TOV T' tfxov rifidopov
(fcCkov KTjpvKa, KTjpvKwv cre/8as, 52°
re TOUS Trejx\jJavTa<;, evfxeveZs irakiv
crrparov hiyecrdai TOV Xekeifjufievoi' Sopos.
icj fxeXadpa fiaaiXeav, <f>CXcu trreyai,
aefivoi re Oaicoi, Saifioves r avTiqXioL,
el troy ndXaL, (^atSpoicrt roicri'S' ofji/Jbacnv 52S
8e£a<r0e Kocrfxcob /SacnXea TTOXXML -^povcoL.
yjKei yap VJXIV <^<3s iv ev<j>p6vr)t, <f>epa)v
Kal roicrS' diracrL KOIVOV 'AyafjLefJLvajv
dXX' ev viv dcnrdcracrde, /cat ydp ovv
Tpoiav KaTao-Kaxfjavra TOV 8iKrj(popov 530
Atos /jiaKeXXrji, TTJL KareCpyao-Tai trihov, 531
Kal cnrep/xa irdo-rjs itjairoXXvTai -%0ov6<;. 533
roiovSe Tpoiat TrepifiaXajv ^evKTrjpiov
'ArpeiS^s irpeafivs evSai/jLwv dvrjp 535
i, Tieo~6ai 8' d^KUTaTos fipoTaiv
TO)V vvv' Yldpts ydp ovre <rWTeXr)<; TTOXLS

e^eu^erai TO Spdfjia TOV irdOovs TTXCOV

d<f>Xcbv ydp dpirayfjs re Kal JCXOTT^S SCKTJV

TOV pvo-iov 0' rjfiapre Kal iravcoXeOpov 540

avToydovov TraTpSiiov Wpio~z.v S6{JLOV,

SLTTXO. 8' ereicrcw IlptayatSat dd/xdpTia.

XO. Krjpvi ^A^aiSiv xaipe T5>V dnb
>-
KH. ^aipoi- Te0vaCr)v S ou/ceV dvTepw

5 2 5 d TOV Auratus: rJTrou codd. 5 3 2 (iafiol 5' cuirroi Kal 0euv ISpi/iara del.
Salzmann. 5 3 4 rowvde {. 5 4 4 TeBvalyp H . : redvavai. codd. | oiWr' h et
schol. 555 : OVK f.
 ArAMEMNQN 85
O Lord Apollo! Greeting unto you,
Ye Gods of Gathering all, with mine own patron,
Hermes, the sweet Herald, that homage hath
From heralds; and O ye Heroes in the earth,
Kind as of old you sped us, now receive
These relics of the spear....
Awake, beloved halls of royalty!
Hail to you! Hail, ye stately judgment-seats !
And hail, ye orient-facing Deities!
If e'er aforetime, O with bright eyes now
Beam after all these days upon the King!
For bringing light in darkness unto you
And all this people, Prince Agamemnon comes.
O give him welcome! 'Tis indeed his due;
He hath digged up Troy with mattock;
Yea, with the mattock of Zeus Justicer
Hath left the whole soil overturned and broke
And her seed rooted out of all the land.
So sore the yoke laid on her caitiff neck
By the elder lord Atrides, who now comes
Blest among men, the worthiest in the world
To be received with honour; for Trojan Paris
Nor all his liable city now can boast
Their trespass to outweigh their punishment:
Convicted both of rape and thievery,
He hath lost his pillage and of House been shorn
With all the land pertaining; he and his
Amerced for crime in twofold penalties!

ELDER. O Herald of the Achaeans from the field,

Best greeting and all joy!
HERALD. I thank you; let me die now! At God's pleasure,
I'll not oppose it longer.
86 AIIXYAOY

XO. epws Trarpwta? rrjoSe yrjs <r' iyvfivacrev. 545

KH. <JJO~T' ivha.Kpve.Lv y ofifiao'Lv ^ a p a ? VTTO.
XO. TepTrvrjs dp' TJTC TTJCTS' iirtffioXot vocrou.
KH. mas Sif; S i S a ^ e l s TOVSE SecrTrdcra) Xdyov.
XO. Tfcif aVT€p(OVTCi)V LjJL€p(i)i TT€TT\7]y^VOI,.

KH. TTodelv TrodovvTa r^fSe yiji' arparbv Xeyets; 55°

XO. ws TTOXX' djaaupas eV <f)p€v6s <y> dvao-Teveiv.
KH. Trodev TO Sucr^poi' TOVT' eTT'^i' o~Tvyoo~Tpa.TO)L;
XO. TraXai TO crtyav tydpfxaKov ^\dj3r)<;
KH. /cat irws; aTrovrwi' Kotpdvwv erpets
XO. ws vuv, TO o"oy 817, Kal davelv 7roWr) ^apis. 555
VOil
KH. ev yap TreVpa/cTai. TauTa 8' iv TTOWWL xP^
TO. {lev TIS av \{i;€i,€V evirtTax; e^eiv,
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y a p ei Xeyoi/Ai Kal Svo"avXtas, 56°
o-irapva<s Trapeifeis Kal KaKoo-rpwTovs,—TI 8' ou
(rrevovTes ov Xa^dvTes i^/LiaTOS ju.epos; "f"
TO. 8' auTe -)(£po~a)L K01-''- Tpoo~rjv trXeov crTuyos*
l y a p ijcrav STJLCJV Trpos Teixecrt.v
ovpavov Se—Kairb yrjs XeijLtwviat 5^5
L—KarexpeKa^ov, e/xTrehov o~lvo<i,
i^eWes evOiqpov rpiya.
8' et Xe'yoi Tts OICOVOKTOVOV,
olov irapeix d<f>epTov "iSaia

8 4 7 f<jTC f. 5 4 9 Teir\riynivoL Tyrwhitt: ireirKi)yiUvos codd. S S I 7' add.

Heath. 5 5 2 aTvyotrrpaTui M. Schmidt (ffru76<TTpoTOi' Pauw): arvyos urpaTuit
codd. 6 6 4 Tvpavvinv f. 666 JjsScaliger: wv codd. 657 deAuratus: eu
codd. 6 6 1 Tapel(eis H. L. Ahrens: irapijfeis codd. 566 S^J. Pearson : 7&p codd.
 ArAMEMNQN 87
ELDER. YOU have been tried
By sickness for your fatherland ?
HERALD. Ay truly;
Mine eyes fill with tears for happiness.
ELDER. Then there was pleasure in the sickness.
HERALD. Pleasure?
Pray you, instruct me.
ELDER. 'Twas a love returned
With love again.
HERALD. For us then your heart yearned
As ours did yearn for home ?
ELDER. SO much I grieved
That many a sigh my clouded heart hath heaved.
HERALD. What cloudy gloom was this that overhung
Mislikers of our war ?
ELDER. A silent tongue
Hath long been my best amulet.
HERALD. Amulet?
In absence of our princes were there any
You stood in fear of, then ?
ELDER. Indeed 'twere now,—
Your own phrase,—joy to die.
HERALD. Ay, for it is
A brave success! Though, take the time in all,
With much to cause contentment, there were matters
Also for discontent—-but Gods alone
May live unscathed of harm perpetually:—
Troth, were I to recount our miseries,
The toil, the wretched lodging—seldom respite
Snatched on a sorry couch—and all our groans
In the hour of daytime! Then again on shore;
Why there 'twas yet worse hardship; for we lay
Before the enemy's walls, and from the sky,
And from the damp fen, dews with damage dripped
Abiding, that our woolly garments made
All verminous:—or tell again of cold ;
How bitter was the snow on Ida made,
88 AIIXYAOY
fj ddXTTO*;, evre TTOVTOS h> jjLe<rr)ii.fipwcu<; 57°
/comus a.Kijfj.o)v vrjvejAOLS euSot necrctiv—
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TO JH^TTOT' aS^t? )^>?8' draorfjixu /xeXetv.
Tt TOVS avaX<odevTa<z iv xjjrjfjxoi Xeyeti', 575
TOV £aWa 8' dXyeti/ X/
/cat TroXXa ^alpeiv <rvfx<^opa<;
rj/juv 8e TOIS Xoi7rotcri!> 'Apyeicw crrpaTov
VLKOLL TO KepSoS, TTT^jXa S' OUK dvTlpp4iT€l.
a>5 KOfiTrdcrai TtotS' et/c6s y^Xiov <£aei 580
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UTrep 6aXdacn]s Kal x ^ ^ ? nora/ievcHS'
" TpoCav eXwTes S^TTOT' 'ApyeCwv o"ToXos
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XO. vLKcofievos Xoyo ucnv OVK d
del ydp rjfiai Tots yepovcriv
So/AOts Se TawTa /cat KXvTaLfirjcrTpcu fjieXeiv 590
et/cos ftdXtcTTa, o"uv 8e TrXouTt^etv
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6T rjXd' 6 TT/)WTO5 w x i o s dyyeXos
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ireicrdeicra Tpoiav vvv irenopBr\(j6a.i So/cets;

677 av/upopas Blomfield: avfupopdis codd. 6 8 4 Sbfuwv.. ,a,pxaluv Hartung :

MOIS...dpx c "<"' codd.
 ArAMEMNQN 89
Killing the birds ; or sweltering summer's heat,
When slumbering in his noonday drowsiness
Lay without stir the sunk unruffled sea
What boots it to repine ? The pain is past;
Unto the dead so past that no more now
They have any thought or care to rise again :—
Why make, with telling all the lost expense,
The live heart sore at Fate's malevolence?
' Adieu, cross Fortune, fare you well!' say I.
For us, the remnant of the host, our gain
Outweighs the utmost counterpoise of pain:
On Fame's wings flying over land and sea
This glorious day proud boasters we may be:
By the troops of Argos, having taken Troy,
Memorials to the Gods in thankful joy
Throughout all Greece their mansions to adorn
Were pinned these trophies from the Trojans torn.
All those that hear this blazon should applaud
The country and her captains ; honour due
Being also done to Zeus, whose hand it is!
You have my tale in full.
ELDER. I am overborne
No more contending; age is never old
For young Instruction.—
\Turning to CLYTAEMNESTRA who enters.

There should be rich news here,

For me too, but methinks most nearly touching
The House and Clytaemnestra.
CLYT. Some while since
I lifted up my jubilee, already,
When the first messenger, at night, by fire,
Told me the capture and the wrack of Troy.
They chid me then with scorn : Persuaded so
By beacons to believe that Troy is taken ?
90 AIIXYAOY

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8[jLa)<s 8' edvov Kal yvvaiKeioa vofiwt,
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iXacrKov tiffyrj/jiovvTes iv Oecitv eSpcus

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avaKTOS avTOv irdvTa. Trevcro/xaL Xoyov.
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enrevcroi rrdXw fioXovra hi^acrdai- ri yap

yvvaiKi TOVTOV <f>eyyo<; TJSLOV SpaKeiv,
OTTO or/jaTeias dvSpa crcoaavTo<i 0eov
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yvvalxa TTLCTT^V 8' iv Sojaots evpoi /JLOXCOV

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OVK atcr^/305 o»s yu^at/cl yei'fatai Xa/cet^;
XO. avrrj [lev ovrats etTre, [Lavddvovri croi, 620
TopoLcriv ipfj.rjvevcri.v evTrpeTroJs Xoyov.
crii 8' etTre', Krjpvg, McviXecov Se
et VO(TTI/XO'S r e /cat crecro)/i,eVos TTOXLV

TJ$€L crvv vfjlv, TTjcrSe y ^ 5 (j>iXov

6 2 3 re Hermann: 7c codd. | aeauu/j.ivos codd.

 ATAMEMNQN 91
0 the right woman's credulous heart on wings!
With such derision was I argued fool:
Yet still kept offering; and throughout the town
Aloud they shouted—after woman's use—
Their jubilant anthem, lulling in the shrines
The hunger of the spice-fed odorous flame.
So now, what need we further circumstance
From thee? The King's own mouth shall render us
The tale in full:—but I must give my own
Dear honoured lord the best and soonest welcome—
Soonest and best, for to a woman's eyes
What hour is dearer than the hour when Heaven
Hath saved her husband from the wars, and she
Unbars her gates for him ?—Go bid him, then,
Come hither with all speed, the country's darling,
Come with all speed, a faithful wife to find,
Even as he left her, a true hound within,
Still to his foes a foe, to him still kind ;
Alike at all parts, every whit the same,
That all this while hath never broke one seal;
Of joys from other—nay, the whispered blame—
1 have no more knowledge than of plunging steel!
[Exit
HERALD. Valiant protest; with truth in every syllable,
True honest lady need not blush to cry it?
ELDER. We have heard her story,—as you apprehend,
In the ear of judgment, excellent, most plausible.—
But tell me, Herald, our beloved prince
Menelaus, shall we see him safe back with you ?
92 AIIXYAOY

KH. OVK ecr#' OTTOS XeijaifiL TO. \fievSrj KaXa 625

i<5 TOV TTOXVV (f>C\oicri Kapirovo-Oai
XO. TT&JS STJT' av elrroiv KeSva TaXrjOrj
a^icrdivTa 8' ou/c evKpvma yiyverai
KH. dvrjp acfxivTOS i£ 'A^auKOV crrpaTov,
auro? re /cat TO TTXOIOV. OU xjjevSrj Xeyo). 630
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r) ^eijiia, KOt^w ax#os, t)pTracrt crrpaTov;
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TrXrjv TOV Tpe<f)OvTos 'HXtou y^dovos
XO. 7TW5 y a p Xeyets ^(evjxwva vavTiKai
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TrpeTreL Xdyeiv Tratava TOVS' 'Epu/u&>i> • 650
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627 sq. et sequentia disticha Clytaemnestrae dant codd.: corr. Stanley

Porson: ryx^s codd. 649 aecrayfiini/ Schuetz: aeaayphav codd.
 ATAMEMNQN 93

HERALD. I have no art to colour falsehood fair

And lend the painting gloss for lasting wear.
ELDER. O might then colour fair be joined with true!
'Tis vain to cloke disjunction of the two.
HERALD. TO speak no falsehood then, the prince is vanished
From his companions, together with his ship.
ELDER. Loosing from Ilium in full sight? Or was 't
A general storm that tore him from the rest?
HERALD. YOU have hit the target with a perfect aim ;
And briefly phrased a long sad chronicle.
ELDER. HOW was his name in current rumour bruited
By the other crews ? As yet alive or dead ?
HERALD. None can aver by knowledge, save that one
That breeds the increase of the Earth, the Sun.
ELDER. What is your story of the storm ? How rose,
And how did close, this angry visitation ?
HERALD. It fits not to profane with dolorous tongue
A day of praise: that service and the Gods'
Are twain and separate. When the messenger
Brings gloomy visage and disastrous hap,
An armed host's overthrow—one general wound
Lashed on the country, and her several men
From private home on home driven out with scourge
By curse of Ares with his double thong
Twinned thus for ruin and for slaughter leashed—
When such the load upon the bearer's back,
Why, then 'tis fitting that his anthem sound
The Avengers' tone; but when he comes with news
94 AIZXYAOY
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Tv<f)a> o~vv t,dkr}L T ' ofjLfipoKTVTrcoi
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iirel 8' di'TjX.^e Xa/XTrpbv rjXlov <f)do<;,
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TjTOl TIS ££4l<k&\l£V Tj '^TjlTijo-aTO
deos T I S , OUK av6poiiros, ota/cos Qvyoiv.
Se o~u)Trjp vavv Oekovcr' i<f>e£,€TO,
/X17T' eV opjawt KVjxaTos £,d\r)v €)(eiv 670
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T 6KeCvov<s TOJVT

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66O KepuTVTroi/J.epa.1. codd.: corr. Wasse. 6 6 5 VO.VTI.KSIV T' ipnr'ujv codd.: corr.
Auratus. 6 7 7 r( /HIJK; Linwood: ri/xr/; codd.
 ATAMEMNQN 95

Of preservation to a country blest

With ease and welfare, how then should I mix
The good with evil, and relate a storm
That ne'er came surely but from angry Gods!
Fire and sea, worst enemies before,
Now sware a covenant, and displayed their pledge
By wrecking all the luckless Argive host.
Trouble of the ocean in the night-time wrought;
The Northern wind grew boisterous, and our ships
Dashed one against the other; which, being rammed
With blast of the hurricane and battering sleet,
By that wild shepherding were lost and vanished.
And when the bright light of the Sun rose up,
Our eyes beheld
The vast Aegean like a field in bloom
With floating carcases of drowned men
And tattered wrecks of ships. We, with a hull
Still sound, were brought off safe, either by sleight
Or pleading of some Power, had other, sure,
Than human hand, our pilot. Fortune too
Sat Saviour on our deck, vouchsafing us
Neither at mooring in the roads to suffer
Strain of a swelling surge, nor driving split
Upon a rock-bound coast. Then, being at length
From ocean graves delivered, with fair dawn,
The fact scarce crediting, we let our thoughts
Dwell musing on our strange reverse, our fleet
So bruised and buffeted
Well, they likewise now,
If any be that breathes yet, speak of us,
Doubtless, as perished, we meanwhile supposing
Them in the same case:—let us hope the best
 96 AIIXYAOY

yevoLTO S' d>s dpcara' MeviXtcw yap ovv

irpwrov r e zeal /xaXiara irpooSoKa fjuoyeiv 680
el S' ovv TIS d/crts rjXiov viv icrTopel
Kal £aJvTa KCU fikdirovTa, /A^^avai? Aids,
OVTTO) deXovTOS itjavaXwo-cu yeVos,
iXnCs n s auTW TT/305 SO/AOUS tf^fLv irdXtv.
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a'. X O . r t s TTOT' oivo^aQev cob'

€S 70

yxi/ TIS OVTIV ov\\ opco/xev npovou-

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yXcocrcrav iu Tu^ai ve/xwv;— 690
TOLV 8opiyafx.^pov dfx-<f)i,veL-
K7] 6' 'EXeVav; iirel irpeTTOVTcas
iXe'vav;, eXavSpos, eXeVroXis,
hi TCOV a/3poTCjjbwv

TTpoKaXvjjLfjLa.TO)v eirXevcrev 695

Ze<f>vpov yiyavros avpai,
TToXvavhpoi
T£ <f>epd<TTTL$€<5 KVVayol
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8t' eptv aljxaToecrcrav.

6 8 O ,11076^ Sonny: /j.o\e!v codd. 6 8 8 sq. irpovolaiai Pauw: Tpovolais codd.

6 9 3 eXivavs Blomfield : eXhas codd.
 ATAMEMNQN 97
That may be! Menelaus,—in sore plight
Presume him needs you must; yet if the Sun
With any ray descries him hale and quick,
By help of Zeus, then, being loth to see
The race quite blotted out, some hope there is
He yet may come safe home.—You have my story,
And rest assured 'tis absolute verity.
[Exit.

CHORUS.

I 1.
Who named her all so truly ? 1st
strophe.
—Was t One beyond our vision,
By glimpse of Order fated
His happy lips who moved ?—
This Prize debate-environed,
This Bride with spear to kinsman,
This Helena ? Most perfect Helena ?
'Twas Hell enow she proved,
When amorous from the silken-tissued
Veils before her bower emerging
Forth to Eastward sail she issued,
Spirit of Earth-born Zephyrus urging—
Forth to Eastward sail,
After her, men with ardour shipped,
Myriads of hunters, all equipped
In arms that harrier-like pursued
Fast on a printless trail of oars
Abeach on Simois' leafy shores,
Full cry, in bloody feud !

H. A.
 98 AIIXYAOY

a. 'iXiou Se KTJSOS op-

dcovvfiov TeXecra-tffipcov
{ifjuLs rjvvcrev, rpane^as dri-
/Jbcocriv va-repcoL xpovcui 7°5
/ecu ^vvecrTLOv Aios
Trpacrcyo^iiva TO vvjxcjiOTL-
JJLOV yiteXos e/c^xzrws TIOVTCLS,

os TOT' ineppenev
detSetv. 710
vo-a 8' V/JLVOV

XIS yepaia
irokvdpiqvov
fjieya TTOV crreuet,, KLKXTJCTKOV-
era Tldpuv rbv alvokeKTpov,
1
Tapirpocrff r) Trokvdprjvov ai- 715
oli'' dficjA TTOXLTOLV
al/x dvarXdcra.

. 13'. eOp&pev Se XeovTOs I-

VLV So/Aots dydXaKTa flov-
r a s dvrjp (^iXdjaao-Tov, 720
iv /3torou TrporeXetois

Kal yepapois

7O4 sq. ijvva-cv H . : ifkaae codd. ] arifjiuiriii Canter: drl/xoit IV f, drl^ws h.

7 1 5 T&fnrpo<rS' fj (wafnrpotxd' r/ Hermann) H.: Tra,/J.irp6<r6ri codd. 7 1 8 sq. \iovroi
lvi.v Conington: \iovra trlvir codd. 7 1 9 sq. ayd\aKTa fiovTas Wecklein: dydXanrov
OUTOS (vel OVTWS) codd,
 ArAMEMNQN 99

I 2.

But unbent Wrath abiding 1st anti-

strophe.
Works her will to render
That so dear alliance
All too dear for Troy;
That scorn of high Zeus guarding
The shared Home's friendly Table
Wrath in her season visits
On all that uttered joy,—
All that once in gay carousal
Bride with Hymen fain would honour,
Hymen, when the time of spousal
Bade them heap their praise upon her—•
Ah, but at this time,
Though late the lesson, wiser grown
With age-long suffering of her own
Sons' blood so lamentably shed,
That ancient City loud, I ween,
Laments with practice-perfect Threne,
' 0 Paris evil-wed !'

II 1.
2nd
A young babe Lion, still at breast,
J &
strophe.
Was home once by a Herdsman borne,
Housed beneath roof among the rest
And reared there; in his early morn
And first of age, all gentle, mild,
Youth's darling, the delight of Eld ;
 ioo AIZXYAOY

woXea 8' eery/ iv dy/caXais

veoTpo<f>ov T4KVOV StKai/ 725
fyaiopwirov TTOTI ^ e i p a c
vovra yacrTpos avayKai<i

avr.p. ypovio"c7ets o aTreoetgev

TO

yap Tpo(j)as ayiei^wv 73°

8atT' d«:eXevo-Tos erevtjev

8' ot/cos i(f>vp07),
aXyos otKeVats,
jxeya crtvo? TTOXUKTO^OV 735
e/< ^eou 8' tepevs TI? "A-
Tas Sdyitots TTpocre0p4<j)6y].

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av (f>p6v7]fj.a fxkv vrjvijJLOV yaXavas,
< 8' > ayaX/j.a TTXOUTOU, 74°
/Se'Xos,

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Se ydfjiov TrLKpa
SucreSpos Kat Sfcrd/AtXos 745

TTOfi,irat Atos fevtou,

7 2 6 sq. (paidpwirbv...aaboi'Ta Auratus : <j>aiSpuw6s...(raii'u>v re codd. 7 2 8 sq.

os Conington: ^os codd. 7 3 4 &/iaxov d' f. 7 3 7 irpoaedpicpB-i) Heath:
codd. 7 4 0 8' add. Porson.
 ATAMEMNQN 101

And ofttimes, like a nursling child,

In arms with happy love was held,
While the weak flesh, demure and bland,
With fawning wooed the fostering hand.

II 2.
But age grown ripe, his humour showed 2nd anti-
strophe.
The born touch that his parents had ;
Thank-offering when his nurture owed,
A banquet, ere the master bade,
With such wild slaughter he prepared,
It sluiced the dwelling foul with gore,
While helpless, all aghast, they stared
Upon that bloody mischief sore :—
Divine Will there had found him room,
Housed, to be Priest of slaughtering Doom.

Ill I.
Likewise, arriving once in Ilium town 3rci
rop
What languorous gentleness was seen ! °
Tranquillest Pearl to shine in Riches' crown,
With Calm's own soul serene ;
Eyes to send arrowy softness winging fire ;
Loveliness torturing with the heart's desire.
Then from that Heaven away she fell,
Transformed into a Fiend of Hell:
Launched upon Priam's house to bring
Curse with her sweet companioning;
God's Vengeance, in his conduct led
With ruth about her bridal bed
And tears for widowed wives to shed !
 102 AIIXYAOY

y. iraXatyaTOS 8' iv fipoTols yipcov Xoyos

TCTVKTCU, jxeyav reXeo-^eVra ^>WTOS okfiov 75°
TeKvovadai /j.r)8' a m u S a 9vrjio-Ke.iv,
4K 8' ayadas ru^ 0 1 ? yevti
f3ka.o~Ta.veiv a.Kopeo~Tov olCvv.
8' aXXaiv fji.ov6(f)pa)v et-
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8' eifcdra
efcdr yevvai-
yap evdvh'iKcov
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ei Se TLKTCIV 0/T/3pi5 /i.ev TraXata vea-

^ t1 Ka/cots /BpoTwv
'Tfipiv TOT rj TO6\ ore TO nvpiov

TiTav a/xa^ov, aTroXe/xov,

aviepov 0pdo~o<; fiekai-,
vas [jLekddpoicrLv aras, 765
elSo/xevav TOKevauv.

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rov 8' kvm.ari\hov Tiet*
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 ArAMEMNQN 103

III 2.
There is an ancient proverb men will preach 3rd anii-
strophe
As framed by wisdom of old time, '
That prosperous Fortune, let him only reach
To full estate and prime,
Hath issue, dies not childless ; waxen so,
Weal for his heir begets unsated Woe.
But single in the world I hold
A doctrine different from the old :
Not Weal it is, but Sinful Deed
More sinners after him doth breed
Formed in his image; none the less
Doth lovely offspring always bless
The house that follows Righteousness.

IV 1.
Old Insolence in the evil sort of men 4th
strop
Young Insolence will gender, then or then,
When dawns the appointed hour, a Fiend of gloom
For penance, violent, unwithstood,
Flushed with such reckless Hardihood
That sin's dark ruinous Doom
In black storm on the roof shall rage,—
The latter offspring like his parentage.

IV 2.
But Righteousness to the upright heart inclines ; 4th anti-
Bright beneath smoky rafters her light shines : strophe.
Gilt-spangled halls, where hands guilt-spotted are,
Swift with averted eyes forsakes,
Thence to the pure her blessing takes,
To that false lauded star,
The Power of Riches, will not bend,
But guideth all things to their proper end.
IO4 AIIXYAOY

aye S77, jSacriXet), Tpoias TTTokltropd,

'Arpews yevedXov, 775
7T<Ss ere npocreiTro); TTWS cre crefiLtfii

Kaipov
7To\Xoi Se fSpoTcav TO So/ceti' etvat
vpoTiovcrL SLKTJV TTapaftdvTes. 78°
T&it SucTTrpayowri S' eTncrTevdye.LV
Tra? TIS eroi/xos* S^yyxa Se Xu7n7§
ouSei/ e<£' i^Tj-ap TrpocriKveiTai •
/cat ^vy^aipovenv 6[x.oLOTrpeTrel<;,
dyekacrTa Trpoa-cona ^la^ofievoi, 785

ocrrts S' dya^o? Trpoj3aToyva>fjL(ov,

OVK ecrri XaOelv 0/i.ju.ara (JHOTOS,

TO. SOKOVVT' ev(f>povo<s e/c Stai/otas

vSapei aaivei <f>ik6rrr)Ti.
(TV he jjuoi Tore fj.ev crTeKXav (TTpaTidv 79°
' E X e ^ s eveK, OVK eiriKevcroi,
tcdpr' dTrojJLOvcrcos rjcrda yeypajxp,evo<i
ovh' ev TrpavuSav ouaica vefj.wv,
6dp<ro<; eKovcriov
dvBpdcn 6VTJL(TKOV<TL KOJJLI£,(I)V. 795
vvv o OVK aw aKpas (ppevos ovo a<piA.ojs
< eo~Tiv ineLTrelv >
" ev(j)p(ov vovos ev TeXecracriv."

7 7 4 TToXliropB' Blomfield : iro\iirop0' codd. 7 8 2 5^7/ta Stob. _/?. i l l , 12

et h: Sely/ia f. 7 8 S post hunc versum lacunam indicavit Hermann. 7 8 9 (ralvei
Casaubon: aalvetv codd. 7 9 1 oy/c iiriKeiaa Hermann: ov yap (mKeiaui codd.
7 9 4 dpaaos f. 7 9 7 %<XTIV eTrenrelv supplevit H.
 ATAMEMNQN 105

[Enter AGAMEMNO.N in a four-wheeled travelling-waggon drawn by

mules; followed presently by another containing, among other
spoils, CASSANDRA ; who throughout this scene and through the
chorus following it continues motionless and silent but in view.

CHORUS.
Come O thou conqueror, my King,
What praise, what homage can I bring
Not to be scanty nor outwing
Thy pleasure with my style ?
Too many in this world, we know,
Practise rather outward show,
Dishonest arts of guile :
All men for a man's distress
Have apt sighs ready,—never smart
Of sorrow going near the heart;
And as rejoiced in happiness
With formal fashion they constrain
The lips into a smile:—
But him that can discern his flock
The eyes that flatter shall not mock,
Fond affection when they feign
That lukewarm is the while.
Thou, when levying armament
In cause of Helen, didst present—
I will not cloke it—then
A picture to these aged eyes
Deformed in most unlovely guise,—
The handling of thy helm not wise,
Recovery at such dear expense
To purchase—willing Impudence
At cost of dying men:—
But now no glozer or false friend
Am I, pronouncing Happy end
Makes happy labourers.
106 AIIXYAOY

yvoio"r\i Se ypdvwt 8ia7reu#djU,evos

TOV re SiKaiws /cai rov d/caipws
8 O
olKOvpovvra TTOXLTCOV. °

AFAMEMNON.
irpwrov jxev "kpyos Kal dcovs e
TTpocreLireiv, TOUS e/iot /xeratrtous
vdcrrou SiKaCcov 6' 3>v iirpa£diJL7)v 7r0X.iv
Ilpta/xov Sucas y a p OUK a,7ro yXwcrcrr^?
KXuoires avSpodvrJTas 'IXCov <f>0opa<; 805
e§ aifi.a.Tr)pbv TZV)(O<; OV S
xl)rj<f>ov<; edevro' rat 8' ivavriwu
eX7Tis 7rpoo~rji.€L y e t p o s ou
KO.7TVO>L 8 ' dXovcra vCv e r ' CUCTTJ/AOS TTOXIS.

aTTjs ^ueXXai ^wcri* o~vvQvr)io'KOV<ya. 8e 810

CTTTOSOS 7rpo7re)u.7ret iriova^ TTXOVTOV Trvod<;.

TOVTCOV 6eo1cri

Kal yvvaiKos
TTOXIV hirnxadwev 'Kpyeiov SaKO?, 815
ITTTTOV veocrcrds, do-TTiZiq<^6po<; Xews,
TnjSr]fi opoucras dfjujn TLXeidScov hvcriv •
virepdopajv 8e vvpyov oiyurjo'Trj'; Xecov
dSrjv eXeitjev at^iaros TvpavviKov.

8 O 5 tpBopas D o b r e e . 8 1 O tfwjXai H e r m a n n . 8 1 3 xa/"™7&s T y r w h i t t :

Kal irdyas codd. | vTepKdirovs H e a t h : vircpudTOVs codd. 8 1 4 ollvetcd codd.
8 1 G a<nri5i}4>6po5 Blomfield: a<Tin.5Ti(rTp6<pos f, dff7ri5o<7rpo'0os h .
 ATAMEMNQN 107
Thy question in due time shall tell
Among this people which doth well
In stewardship, which errs.

AGAMEMNON.

To Argos first and to the country's Gods

Belongs my duty, that have aided me
To my return and justice we have done
Upon the town of Priam: when they heard
The unvoiced cause in heaven, with one consent
They cast into the urn of blood their votes
For perishing waste of Troy: to the other urn
Hope of the filling hand came ever nigh,—
Unfilled. The city's capture even now
Shows manifest by the smoke; death vigorous yet
In Doom's fierce hurricane1, the expiring ash
Pants forth his opulent breath in puffs of Wealth.
Behoves us therefore render unto Heaven
Most memorable return, since we have wreaked
Our ample vengeance for an arrogant rape;
A whole town for a woman's sake hath been
Laid desolate in the dust by our fierce brood,
Hatched of a Horse in armed swarm, that sprang
About the sinking of the Pleiades,
And o'er the ramparts like a ravening Lion
Salient hath lapped his fill of soveran blood.

Or ' life smouldering yet,

In Doom's burnt sacrifice, . . . .'
108 AIIXYAOY

6eol<; jxev i^ereiva (f>poL[jLiov roBe' 820

T<X S' es TO aov (frpovrjiia fxijxviqiJLai K\VOJV,
/cat ^jLtl TavTa KOX crvvrjyopov fjb
Travpoi,<s yap dvSpwv icrri o'vyyeves TOOC,

<f>(,Xov TOV evTvxpvvT avev <f>0ovov ere/Sew

Bvcr<f>pa>v yap lbs KapSiav vpocnjixevos 825
run TT€Trafxivon vocrov
rots T' awros auToO mjfiao-iv /
Kal TOV Ovpalov o\/3ov elo~opa>v crreVet.
etSws XeyoLjA av, ev yap e|:e7rio"Ta/xai
6/AtXia§ KaTOTTTpov, HBcokov cnaa?
SoKowTa? eu>ai Kapra Trpe.vfx.ev€L<; e/xoi.
/ji.6vos 8' 'OSuo~o-ev5, oenrep ovy^ CKCOV CTTXCI,
6
^ e u ^ ^ ^ eVoi/xo9 TJV e/i,ol aeipa<j)6po<;'
etr' o w 6av6vTo<s etre /cat ^wz/ros 7re/3t
Xeyw—TO, 8' aWa 7rpos TrdXtv re /cai
KOLVOVS dyw^a.9 de'vres iv Travrjyupet.
/SovXevao/xecrda- Kal TO /JLCV /caXais
oVws \povltpv ev (juevel jSovXevTeov
OTOJL Se (cat Set (fiap/jidKov iraLoviaiv,
TJTOL KtavTes 77 Te/jiovTes ev<j)p6va)<; 840
TTeLpacrofiecrda Trrjfji' dirocrTpexjjai vocrov.
vvv 8' es /xeXaOpa Kal 86(xovs i<f>ecrTLov<s
i\6ci)v deolcri Trpajra Se^Lcoaofxau,
omep TTpocroj Tre/Ai/zavre? rjyayov TTOXIV.

8' iveCwep ecnreT, e/A7re'S&>s /aeVot. 845

8 2 2 Tatrra Auratus : rauTa codd. 8 2 4 <p$6vov h : QBovuv {: \poyov Stob. _/?.

38, 28. 8 2 6 TreTrafifievw (-ui) codd. 8 4 1 7r^,a' dwoaTpi\f/ai voaov Porson:
iry/xaros rp^at voaov codd.
 ATAMEMNQN 109
To Heaven this lengthened preface.—For your thought
(Remembered in my ear), I say the same;
You have me of your counsel; few indeed
Are they with whom 'tis nature to admire
A friend's good fortune with unjealous eyes:
Malignant venom settling at the heart
Distempers, and the sick man's burden makes
Twice heavy; labouring with his own distress
He groans the more for others' blessedness.
By knowledge, proven in companionship's
True mirror, ghost of a shadow I can term
Some seeming-absolute devotion to me:—
Only Odysseus, that was loth to sail,
Being harnessed, pulled beside me loyally ;
Whether alive he be or whether dead
The while I speak
For the rest, as touching
Affairs of policy and of religion,
A congress we shall summon, and debate
In full assemblage. Our debate must be
How what is healthy may persist in health;
Where need appears of wholesome remedies,
We shall endeavour to remove the mischief
By sage employ of knife or cautery.
Now to our palace hearth and home we pass,
First to give salutation to the Gods
That sent us and returned. May Victory
Our firm adherent rest in constancy !
 no AIIXYAOY

KA. ai/Spes TTOXITCLI, vpecrfios 'Apyetcov rode,

OVK alaxwoviiai TOUS fyiXdvopas Tponovs
1
Xefai TT/Oo? u/^as iv ^povon 8' airocfrdivet
TO rapySos av0pa>TTOLO'Li'. OVK aXXwv irapa
1
IAa6ovo~' i/xavTrj ; Svo~(f>opov Xe^a) fiiov 850
TOCTOVS' ocrowep OVTOS TJV VTT 'I

TO fiev y w a i x a irpSiTov apaevos

rfo~9a.L Sojuoi? eprjjjLov cKirayXov KO.KOV,
TroXXas Kkvovo-av /cXr^Sovas 7raXiyKOTOus "
Kai roi' (lev TJKCIV, TOP 8' irreio-fydpeiv KO.KOV 855
KOLKIOV aXXo Trrjfxa \do~K0VTa<; So/xots.
/cat TpavfJ-OLTcov fj.ev el TOO~(OV ervy)(avev
avr/p 08', ws Trpo? OTKOV wyereueTo
(JXITLS, T€Tpr)Tcu BLKTVOV TtXeco XeyeLV.
el S" r)v Ti.0vf]Ku>%, &>5 iirXrjOvov Xoyoi, 860
aTos Tcb> Yrjpvoiv 6 Sevrepos
avoiOeu—TT)V KCLTM yap ov Xeyw—
TpCfJLOipov yXaivav ef^u^et Xaficov,
airat; e/cacrrwi KdTdavcov [xop<f>cjfjLaTt,.
TOlOivh" €K(LTL K\rjS6v(x)V TToXiyKOTCDV 865
TroXXas avadev apTdvas ifJ
e\vo~av aXXot Trpos ySiav
£K Twvhi Tot Trais ivddb" ov
T€ Kdl 0~0>V KVpLOS TTLO~T(i)fJidTO)l',
V
ais XPV > 'Opeo~Tr/<;' fJiffSe 6avfxdo"rji<; ToSe. 870
Tpi(f>eL yo.p avTov evfievrj^ Sopv
s 6 Oco/cevs, d[X(f>iXeKTa

8 5 4 KXTJSOKOS Auratus: ^Sovds codd. 8S9 T^rprjTat H. L. Ahrens: rirpoirtu

codd. 86O iTr\i)8vov Porson: iir\ijBvvov codd. 8 6 7 \(\iixiJ.tvr)s Blomfield:
Xekrililitvys codd. 8 6 9 7r«TTO/xdrwc Spanheim: TnoTeUjtidTWPCodd. 8 7 2 2,Tpo<plos
habet M in C/5o. 675 : Srpdc/nos codd.
 ATAMEMNQN in

CLYTAEMNESTRA.

My reverend Elders, worthy citizens,

I shall not blush now to confess before you
My amorous fondness ; fear and diffidence
Fade from us all in time. O 'tis not from
Instruction I can tell
The story of my own unhappy life
All the long while my lord lay under Ilium.
First for a woman 'tis a passing trial
To sit forlorn at home with no man present,
Always malignant rumours in her ears,
One bawler tumbling on another's heels
With cruel blows each heavier than the last:—
Wounds! if my lord had got as many wounds
As rumour channelling to us homeward gave him,
He had been more riddled than a net with holes.
Or had his deaths but tallied with all tales!
He might have been a second Geryon,
Three-bodied, with a triple coverture
Of earth above to boast him—never speak
Of that beneath—one for each several corpse.
By reason of
These cross malignant rumours, other hands
Full many a time have set my desperate neck
Free from the hanging noose, recovering me
Against my dearest will.—Hence too it is
We see not present by our side this day
The child, Orestes, in whose person dwell
The pledges of our love; nor wonder at it;
He rests in keeping of our trusty cousin,
Strophius the Phocian, my forewarner oft
 ii2 AIZXYAOY

ifjiol Trpo<f)O)V(t)v—rov ff vn' 'iXion creuev

KIVSVVOV, et re Brjfjiodpovs dvap^ia
ftovXrjv KarappaxjieLev, cucrre crvyyovov 875
/3pOT0l(TL TOV TTCO-OfTa XaKTiaaL

TOidSe fj.evTOi cr/cfyi/zts ov S6\ov

epoiye fxkv Srj KXav/jLarcav
Trrjyal KaTe<rf3i]Ka<Tii', ouS' evt crraywu.
€l> OXpLKOlTOLS O OfJLfJLaCTIV p A t t p a ? ^X^i °°°

r a s afi<]H crol KXdiovcra Xafx,7rrr]pov)^ta<;

d.Tr}[ieXyJTOVi; alev. iv 8' oveipacriv
XeTrrais viral Kavwiros i^r}yeLp6fMr]v
piiroucri do)vo-<TovT<yi, d^l crol vddr)
opctxra, TTXCIOI TOV ^weuSovros \povov. 885
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Xeyoifi av dvhpa TOVS^ iyw <TTa6[i5>v KVVCL,

crcoTrjpa vaos irpoTovov, v\jjr)Xrj<; crrey^s

(TTVXOV woSrjpi-), fxovoyeves T4KVOV varpl
/cat yrjv (f)avelcrav vaimXois Trap' iXniSa. 890
roiotcrSe TOL VLV d f t w Trpo<T<$>Q£yp.a,<Tiv. 894
<f>66vo<; S' diricrTU)' TTOXXOL yap TO, vrpiv Ka/ca. 895
vvv hi /xot,, <f>[Xov Kapa,
r^jcrSe, /x-17 xa/uai Ti^eis
crov TTOS', a>va£, 'IXCov nopdrJTopa.
8/i,ctiiat, r t jJieXXeO', ai? inetrTaXTai reXos
wihov KtXevdov crTpwvvvvcu TTeTdcryia(7tv; 900

8 7 5 Karappa.\f/ei€v Scaliger : Karapplxf/euv codd. 88O (cXa^at f. 8 9 1 sqq.

oi' ?7/Aap elatdetv iK xe/^uaxos, | 65oi7ropwt 5ii//w^ri irrjyaiov p^os' repirvbv $£
ravayKcuov tK(pvye?v airav delevil H., vv. 886—893 eiecerat Dindorf. 8 9 4 roi
cic Schuetz: rolvvv codd. 8 9 8 araj f | wop6i]ropa% Valckenaer ad Eur.
Phoen. 1518.
 ATAMEMNQN 113
Of danger on two scores,—thy jeopardy
At Troy, and fear of popular tumult hatching
Plots in the lack of master, as 'tis common
When the man's down the more to trample on him:
Under which showing lies no trace of guile.
For me, the gushing fountains of my tears
Are e'en dried up, there's not a drop now left;
And my late-rested eyes have suffered hurt
From weeping o'er the lanterns lit for thee
That still were unregarded. If I slept,
The puniest whining of a pulsing gnat
Would rouse me from beholding in my dreams
More accidents to thee than could befall
Within the time that was my bedfellow.
Now, after all this borne, with heart unpined
I hail my lord, safe watchdog of the fold,
Main forestay of the ship, firm-footed pillar
Bearing the roof up, sole-born child vouchsafed
To father, to the wave-tossed seaman, land!
From these my honouring words of courtesy
Envy keep far! The sorrows formerly
Are plenty we have suffered.—Now, dear my lord,
Descend,—-but set not on the humble ground
Thy princely foot, this trampler upon Troy.—
Come, women, your best haste, perform your office;
Pave the triumphal path with tapestry!

H. A
U4 AIIXYAOY

evdiis yevia-doi Trop<f>vp6(TTp(oTos iropos,

is Scojx aekiTTOV a>s av rjyrJTai SLKT).
TO, 8' aXXa (fapovrls ov^ virvoi vLK(op.evr]
6TJ<7€I BiKaiws, avv deols, 8vfjidpfJi€va.
AT. A-^Sas yiveOXov, ScofxaTcov i/xcav (f>v\a£, 9°5
airovcriai jxkv eliras ei/cdra>s
yap efereii'as* aW iv
T
alveiv, Trap' aXXcov XPV ° ^ ' ep^ecrOaL yepas.
Kal raXXa fxrj yvvaiKos iv T^OTTOIS e/^e
afipvve, H7)?>€ /3ap/3dpov (f)Ci)TO<; SLKTJV 9IQ
^a^at7reres /Sda/Aa Trpooyavrjis CJJLOI,
firjB' etjLtacrt crrpuxracr kirl^Oovov nopov
ridei.' ^eous TOL TolcrSe
iv TTOlKtXotS S e dvTjTOV OVTOL

ySatVeiv e/u,ot ^lev ouSaju-ws at'eu <f>6f3ov. 915

Keyo) /car' avhpa, fir/ deov, crefieiv i[j.e.
TToSo^fnjcTTpWV T€ KCU Tftil' TTOlKlkdiV

V avrel' Kal TO fir) /ca./cais <f)pov€LV

0€ov fjLeytcTTOv Swpow oXyStcrat Se ^ p ^
/SIOJ' TeXeuTTjo-avT' eV evecrror <f>[\r)L. 920
1
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K A . KCU /XTJV T O 8 ' eiTre, /A17 vapoi yvcofjbrjv, i/xoi—
AF. yvdjfxrjv (JLCV 1(T0L JAY) Sia^depovvT' ifie.
KA. r)v£a) deois Setcras o.v &»S' ep£eiv TaSe ;
AI\ euirep TIS eiSws y ' e5 r d S ' itjelirev TeXos. 925
KA. TI S' ai/ SOKCI (Tot Ilyata^os, ei r a S ' yjvvcrev;

9O4 $v/xdpfj.eva H . : d,uap/«?ea codd. 9 2 1 efcroi' T(i5' (is Weil: ei ird^ra 5' c3s
codd. 9 2 4 fyfeii/H.: ^8eo/codd. 9 2 5 ^etirei/Auratus: i£elirov codd.
9 2 6 Jo/cet Stanley: 6o(c^ (So/oji) codd.
 115
Straight let a purple road be laid, and so
Let Justice lead him to his undreamed home!
The rest in fashion just with Heaven's consent
Vigilance awake shall order to content.

AGAMEMNON.

Offspring of Leda, guardian of my house,

Thy speech befits our absence,—its proportion
Having been lengthened; but becoming praise,
That is a tribute should proceed from others.
Moreover, womanize me thus no more,
Nor fawn me, as I were an Eastern wight,
With grovelling Oes and clamour; neither strew
Robes on the earth, to call down jealousy.
These are the glorious honours that belong
To Gods; but human feet on broideries—
'Tis in my conscience fearful. Let your homage
Yield to me not the measure of a God,
But of a man ; the sound on Rumour's tongue
Rings different far of mats and broideries.
A modest mind's the greatest gift of Heaven.
The name felicity's to keep till men
Have made an end in blessing.—I have said
How I will act herein to feel no dread.
CLYT. Tell me now, of your honest mind,—
AGAM. My mind
Is fixed, and shall not shake.
CLYT. —in hour of peril
Would you have made performance of this act
A promised vow to Heaven ?
AGAM. Aye, had advised
Authority prescribed that holy service.
CLYT. S O ; and what think you Priamus had done
If this achievement had been his?

i—2
n6 AIIXYAOY
AF. ev TTOI/CIXOIS av Koipra /tot /3r)vai, oo/cet.
KA. \ir\ vvv TOV dvOpanreiov alSeaOrji,? \\ioyov.
AF. (frypV 7 e ptvTOL SrjjxoOpovs \hiya. crBevei.
KA. 6 8' a<f>06vr)T6<; y OVK imijrjkos Tre'Xet. 93°
AT. OVTO6 yvvcuKO? eVriv tfieCpeiv j u a ^ S -
KA. rots 8' OX/SCOLS ye /cat TO vLKacrOac irpenei.
AT. TJ Kal av VLKYJV Trjvhe Syjpios r i e i s ;
KA. mOov- Kparels /xeWoi Trapets eK-ftii" e/Ltot.
AF. aXX.' el SOKCI croi ravd*, virai n s dp/SuXas 935
Xuoi r a ^ o s , TT/XDSOIAOJ; efx/SaaLv 7ro8os,
/cat TOtcrSe /A' ifi/3aLvov0' dkovpyecrLV deu>v
fnj Tts irpocroidev o/t/xaro? ySaXot (ffOovos-
TTOWT) yo.p atows oa)[xaTO(j>0opeLV iroaXv
<f>deipovTa TTXOVTOV apyvpcovTJTovs ff u^>a§. 940
jxev OVTW TTJV £ev~qv he
a-KOfjLL^e- TOV KpaTovvTa
6eo<; irpoaoidev evfj,evco<s
yap ovSels SOVXLCOL

Se noXXaiv ^prj/JLaTcov i^aipeTov 945

crTpaTOv hwprjfi, ifxol ^wecnreTO.
eVet S' d/covetv croC KaTeaTpafjLfjLai rdSe,
et/i' es So/xwi' fieXadpa nopfivpas TTCLTCOV.
KA. ecrrtv dakacro-a, rts Se vtv /caTacrySecrei ;
Tpe<f>ovo~a TTOXXTJS Trop<f>vpa<; Icrdpyvpov 950
S TrayKaCvicTTov, el/JLaTcov /3a<^>dY

9 2 8 alSeaBeh f, aiSea$ijs h. 9 3 4 KparA...irapeh 7 ' Weil, 7' del. Wecklein:

xpcb-os...ffdpes 7' codd. 9 3 9 duiixa.To<t>dopeiv S c h u e t z : cranaTO(p8opeiv codd.
9 4 1 TQifibv Emperius ; roirav codd. 95O la&pyvpov Salmasius: eis Apyvpov
codd.
 ATAMEMNQN 117
AGAM. Oh, he
Had marched upon embroidered tapestry,
I make no doubt.
CLYT. For human censure then
Have never a scruple.
AGAM. Yet the tongues of men
Are potent.
CLYT. He that moves no jealousy
Lies beneath envying.
AGAM. Tis not womanly
To thirst for contest!
CLYT. But felicity
Is graced in being conquered.
AGAM. And thine eyes,
Do they account such ' conquest' as a prize ?
CLYT. O waive the right and yield ! Of your own will
Choose to be vanquished, you are victor still.
AGAM. Well, if you must, let presently be loosed
The shoes that do the service of my feet.
\A slave unlooses his shoes.
And as they tread these purple things, I pray,
No jealous eye may strike me from afar!
I have much conscience to be prodigal
In squandering Wealth of silver-purchased woofs.
Thus much for me:—now lead this damsel in
[Showing Cassandra.
With kindliness; the eye of Heaven regards
A gentle master with benignity:
None wears the slave's yoke of his will, and she
Comes by the army's tribute in my train
As rarest blossom out of all our spoil,
—So then, being bound and subject to thy pleasure,
Trampling upon purples I will go.
\He proceeds slowly on the purple path towards the palace.
CLYT. There is the sea—shall any stanch it up?—
Still breeding, for its worth of silver weight,
Abundant stain, freshly renewable,
 n8 AIZXYAOY

ot/cos 8' virdpx^i- Tuivhe crvv Oeols,

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{nrepTtivacra creiptov KVVOS.
KOL aov /JLOXOVTOS ScofiarlrLU kcrTiav,
0dX7ro<; fxeu iv yeifiaivL crrjiiaivei fioXov' 9^°
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niv-qs codd. 96O <rr)ixaivei Karsten: trimalvas codd. | no\6v H. Vo?s: fioKtiiv codd.
9 6 1 7' da-' Stanley: rdTr' f, T' air' h. 9 6 3 ijnaTpuQu/j.frov Victorius: <?7n<rT/>e0«-
fiivovf, tTnorpoipwixti/ov'h. 9 6 7 de'iy/j.a f. 9 7 2 eireWh Jacob.- etiiriffts codd. I
i'f" Scaliger: Zf« vel rf« codd. 9 7 4 |we/ijSoXas H . : fwe/ij36Xois codd. 9 7 5 sq.
faunas H. ('pa/ifiis H. L. Ahrens): i/'a/x/iiai codd. | d/tra (vel 07a) H. L. Ahrens:
OLKdra f, dsdras h | irap-fitp-qaev H . : -ira.fyq[}i]tj£V codd.
 ATAMEMNQN 119
For purpling robes withal: nay, Heaven be praised,
The house, my lord, affords us plenty such;
"Pis not acquainted yet with penury.
I had vowed the trampling of a thousand robes,
Had the oracles enjoined it when I sought
Means for recovery of a life so precious!
Still from the living root the mantling green
Against the Dog-star spreads a leafy screen,—
So thou returning to thine hearth and home,
Warmth as in winter cries Behold me come!
Aye and when mellowing Zeus makes ripe and sweet
Wine from the young grape's bitter, cool in heat
Reigns within walls where moves the man complete :—
[As Agamemnon goes in.
O Zeus Completer, now complete my prayer,
Completion of thy plans be now thy care!
{Exit

CHORUS.
I 1.
Still not shifting:—wherefore yet 1st
strophe.
Hovereth so persistent set
Before my boding heart this haunting fear ?
While ever in mine ear
Music unbid sounds a prophetic drone:
What ails me that I cannot say,
As to a riddling dream, 'Away!'
And seat Assurance firm upon my bosom's throne?
The time is past, and fully past,
When seaward from the sandy shore
Came following home with furrowed score
The long ropes' mooring-cast,
When from the land our gathered host
Loosed for the war and Ilium's coast.
 AIIXYAOY

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S' OVTOL /jbaTOLL^ei,

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ayav,

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9 9 1 7dp <dcl>- Blomfield. 9 9 4 d0yu 7roX\d/« Si; Tr^iis postea a$i>u> Sv
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 ArAMEMNQN 121

I 2.
Now by mine own eyes I learn, 1st anti-
strophe.
Mine own witness, their return;
Yet none the less my soul within me still
With all-unprompted skill
Dolorous her descant endless doth intone,
Murmuring in the dismal gloom
Dirge of angry Spirits' doom,
And cannot call sweet Hope's fair confidence her own.
And Truth is in this troubled sea;
The heart within my bosom whirled
Is tossed with Omen, dashes hurled
Ashore on Verity !—-
God send that all may false my thought
And be to unfulfilment brought!

II 1.
Health, to largeness growing, will not rest 2nd
strophe.
Safe within limit; yet the verge is pressed
By neighbour Sickness, one thin wall between :
Ships in full career and fates alike
In prosperous weather unawares will strike
Upon a reef unseen.
Yet if but Caution scrupulous fling
Wealth by the board with timely swing
Of Measure's tempered sling,—
With harm-fraught overcharge unfilled,
No foundering of the fabric's build ;
122 AIIXYAOY
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BovXcov aradelcrav KTT)<JLOV fim/xov

eK/3cuv' dvyjvT]^ TrjaSe, /J.TJS' vnepfypovei.
KOX TTatSa, ya|O rot <^acr\v 'AXK/XT^^S TTOTC
TXrjvai SouXias j a a ^ ? ^Stat. 1025

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1OO9 awivavaiv Hartung: ai/r' ?7rai><r' codd. | f7r' aiXafieicu f, ^7r' d(3\a/3eiai 7c h.
1O25 5oi'Xe(as.../3i'a f (Kai fi^fip S£7e»' ^iai h).
 ATAMEMNQN 123
The walls ride out the perilous d a y ;
Largess of Heaven with ample yield
From one year's furrowing of the field
Shall forthwith drive the fasting plague away.

II 2.

Aye, but on the earth let mortal fall 2nd anti-

strophe.
A man's red lifeblood, who shall then recall
With art of warbling verse the life once dropt?
One there was that had that proper skill
To raise up from the dead, but hindered will
Of Zeus the wizard stopped.
Appointed portions God-ordained
Curb each other, each refrained
From undue vantage gained ;
Else to the light, outstripping tongue,
Heart of her own self all had flung,
That now frets passioning in the dark,
Frenzied, without all hope to find
In mazes of the fevered mind
One thread of help, one clew to reach her mark.

Enter CLYTAEMNESTRA.

CLYT. Get thee within, thou also, thou, Cassandra:

Since God hath mercifully appointed thee
To take thy place among our troop of slaves
By the altar of Possession, there to stand
Partaker in our holy laving-water,
Come step down from the wain and be not proud ;
Alcmena's own son condescended once,
They say, to bondage, spite of the slave's fare.
i24 AIIXYAOY

ei 8' ovv dvdyKT] TTJOS' imppeiroi,

dp-^aLOTrXovTwv heo-noTcov TTOXXTJ
ot 8' OVTTOT eXirio-avT^ rj/xTjcrav
i T€ SovXois irdvra KOX irapa
Trap' rjfjiwv oidirep vofxitfiTai. 1030
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eVros 8' av ovcra fMopo-L/jLoyv dypevpdTatv
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dyvcora <j>o)i>r)v fidpfSapov KeKT7)[JLevr], 1035

ecrco (fypevwv Xeyovcra Treidoy viv Xoywi.
XO. ZTTOV TOL Xwicrra TCOV TrapecrTMTav Xeyei.
TTLOOV kiTTOvcra TOVS' djxa^iqprj Opovov.
KA. ovrot Ovpaiav T7]v$' ifiol <j)(okrjv irdpa
rd fx.hu yap earrta? jxea-Ofx^yakov 1040
178^ jjL-rjXa irpos c r ^ a y a s 7rapO9,
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17x15 XtTroucra /Liet" TTOXIV veaipeTov
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1O38 7rt^oS Blomfield: 7reWou codd. 1O39 ffxoXV Dobree: crxoX?; codd.
1O41 ir&pos Musgrave: irvpbs codd.
 AfAMEMNQN 125
And should that portion be assigned by force,
At least there is much comfort in a master
Whose wealth is ancient heritage; your sudden harvesters
Are still excessive to their slaves and harsh.
Expect from us our usage customary.
ELDER to CASSANDRA.
She pauses for thee:—damsel, it was plain,
To thee.—Being taken in the toils of Fate,
Be swayed an if thou wilt; perhaps thou wilt not.
CLYT. Well, if she be not, like a cheeping swallow,
Possessed of some unknown outlandish tongue,
My words must penetrate and speak persuasion.
ELDER. GO with her; 'tis well as may be, what she saith;
Be ruled, and leave thy session in this carriage.
CLYT. I have no leisure to be tarrying here
Abroad ; already by the central hearth
The beasts are waiting for the sacrifice,
Thank-offering for our so unhoped-for joy:
Thou then, if aught herein
Thou wilt, make no delays; or if thou hast
No speech or understanding, then let e'en
Thine uncouth hand make signal.
ELDER. An interpreter,
Methinks, the lady needs; her ways are as
A wild creature's made captive.
CLYT. Sooth, she is mad,
And swayed by some curst mood, when she hath left
A land made captive thus, yet cannot brook
To endure the bridle till she first foam off
Her passionate rage in blood.—But I'll not waste
More words to be disdained.
[She flings in.
 126 AIIXYAOY

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1O74 a a omittunt f h.
 ATAMEMNQN 127
ELDER. And I feel rather
Pity and will not be anger'd : come, sad lady,
Leave thy carnage void; yield to necessity
And take this yoke upon thee.

I 1.
CASS. O woe, woe, woe, O Earth! 1st
strophe.
Apollo, O Apollo!
ELDER. HOW now ?
What means this in Apollo's case? His nature
Is not to have dirges for him.
I 2.
CASS. O woe, woe, woe, O Earth ! 1st anti-
„ . .. strophe.
v
Apollo, O Apollo!
ELDER. There again,
Crying upon Apollo thus, when grief
Is profanation to his presence.

II 1.
CASS. Apollo, O Apollo!
Thou God of Ways, Apollo mine, Destroying name, 2nd
strophe.
Proved on me in verity this second time!
ELDER. She will be prophesying of her own distresses ;
The spirit abides yet though the mind be slaved.

II 2.
CASS. Apollo, O Apollo ! 2nd anti-
Thou God of Ways, Apollo mine, Destroying name,
Whither hast thou made my way! what House is this!
ELDER. The Atridae's; if you understand not that,
Learn it of m e ; you shall not find it false.
 128 AISXYAOY
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^ev - .
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 ArAMEMNQN 129

III 1.
CASS. Nay, 'tis abominable! 't hath known within it 3rd
Murder unnatural, butchery, limbs dissevered—
A human shambles, floor with horror spersing!
ELDER. 'Tis a keen-scented hound; she hunts, she hunts,
And on this track will presently see killing.

III 2.
CASS. Ha! 3rd anti-
There are the witnesses I build my trust on—
Yonder, behold there, babes for slaughter plaining,
Plaining for roasted flesh, a father's eating!
ELDER. Truly, we were acquainted with your fame
In soothsaying, but we seek no prophets here.

IV 1.
CASS. O God, what is this thing! 4th

What awful, horrible thing!

Designed within these walls, what heinous act!
No art shall cure, nor love endure . . . .
And all help far aloof.
ELDER. What she divines now is unknown to me;
The first I saw, because the whole city rings it.

IV 2.
CASS. O monster, wilt thou SO! 4* anti-
strophe.
The partner of thy bed,
After his laving—How declare the end ?
'Tis near—apace with hurrying reach
Hand upon hand, it comes!
ELDER. Beyond me still; dark riddle enough before;
Now 'tis obscure and purblind oracle.
H. A. 9
 130 AIIXYAOY

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 ArAMEMNQN 131

V 1.
CASS. O Heavens, what should this be ? Some devilish net ? 5,th ,
strophe.
—But she's a net that shares the bed, that shares
Murder! Uplift, ye ravenous haunting Pack,
Your jubilant hymn for sacrifice, O damnable!
ELDER. Avenging Spirit to raise her triumph-shout
Over this House? The words appal my cheer.

VI i.
The ruddy drops run yellow back to my heart,
Such pallor as when
Men faint of a mortal stroke, such pallor as times
With the sunset rays of life when the fatal end is nigh.

V 2.
CASS. Ah ware, beware, away ! Keep clear of the Cow ! 5th anti-
strophe.
The Bull in cloak with horned engine, see,
Felled! In a vessel of water prone he falls
This is the tale of a Caldron's murderous treachery!
ELDER. I cannot boast to be a master-judge
Of oracles, but I spell some mischief here.

VI 2.
But when from divinations ever hath come
One message of good ?
'Tis matter of evil still, some lesson of fear
Is ever the drift of all their multitudinous words.

9—2
 132 AIIXYAOY

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 ArAMEMNQN 133
VII 1.
6th
CASS. O sorrowful doom of me— ,
strophe.
Aye, me, for the bowl I crown
With mine own fate—Ah whither hast brought me, then,
Only to share, yes, only to share in death!

VIII 1.
CHORUS. Thou art brainsick, heaven-distraught,
For thine own case lamenting
In lawless measures, like the brown sad nightingale,
That Ityn, Ityn calleth still-unhushed through all
Her sorrow-plenished life.

VII 2.
6 t h an
CASS. Ah fate of the nightingale ; ti-
strophe.
Sweet singer, the Gods round her
Put wings, put life, save only for wailing, sweet;
For me 'tis cleaving soon with a two-edged blade!

VIII 2.
CHORUS. These wild and passionate throes,
Whence rush they on thee thronging ?
Such terrors wherefore shape in uncouth dismal song,
Yet clarion-high? What is it guides thy boding lips
On their ill-uttering path ?
 134 AIZXYAOY
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vvv 8' d[ji(f)l KOJKVTOV re

o^Oov; coma deo'TronSijcreLv rd^a. 1160
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vtoyvos dvdp(i)Trutv fxddoi.
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SucraXyei ru^at jjnvvpa

('. KA. to) Trdi'ot Trd^ot TroXeo? o

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ovSev hrr\pKf.<ra.v
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8'
KA. /cai jjbiqv 6 ^prjcrfJLO? OVK4T' £K

ecrrat SeSopKrws veoydfiov v6[i<f>rjs SLKTJV,

1 1 6 2 ceo7>/os SP d(wi» Karsten. 1 1 6 3 airep Franz: ii-n-6 f g, viral h | Sdsei

Hermann: Brry/MTi codd. 1 1 6 4 Su<raX7et Canter: 5wra7>ei codd. | jtui/upA
Schuetz: /xivipa Kara codd. 1 1 7 O owe ?x«" addidit Stadtmueller | (x^-v TraSeiv
f g, ^x« iraSew h. 1 1 7 1 (fiTeKCb /3AXwi H . : ^7r^Suii /3a\w codd., ^^ TT^WI
Casaubon. 1 1 7 2 iire(priiJ.l(Tui Paley. 1 1 7 3 KaKO(ppovdv Schuetz: Ka/co0poceic
codd.
 ATAMEMNQN 135

I X 1.
CASS. O bridal, bridal of Paris, ruin of home ! 7th
strophe.
Scamander river whereof my people drank !
By thy dear beaches once was I nursed and throve, but now
My place of prophecy is like to be
Cocytus and the shores of Acheron.

X 1.
CHORUS. Ah, what is this thou hast uttered all too plain !
A babe might understand
Compassion wounds me in the flesh with fangs
At thy sore agonizing plaintive wail,
Harrowing my soul to hear.

IX 2.
CASS. O labour, labour of Ilium utterly lost! 7th anti-
strophe.
O slaughter lavish of kine my father made
For her proud rampired walls ! Yet it would not serve—
no cure;
Her case is even as it is, and I
Shall in a fever soon dash into the snare.

X 2.
CHORUS. Still in the former strain thine utterance goes;
It is some Spirit malign
Whose heavy spite upon thee tunes thy song
To things of dole and sorrow, telling of death;
And the end I cannot see.

CASS. N O more now with a newly-wedded bride's

Dim vision from a veil shall peep my oracle—
136 AIIXYAOY
Xafnrpb<; 8' eou<ev rjXiov 7rpb<s
I I 8
Trvecov iaai&iv, ware KU/AOTOS SLKT/JV °

7T/DOS avyas ToOSe TTT^uaTos TTOXV

<f>peva>cr(t> 8' OVKCT' it;
/cat fiapTvpelre (rvvBpojxcos i x v o s
pivqXa.Tovcrr)i TWV TraXai
rrjv yap crriy-qv Tr\vS OXITTOT e/cXeiTret yppos 1185
£vf]L(f>0oyyo<; OVK ev(f>covo's- ov yap ev Xdyeu.
/cat firfv 7re7ra)Kaj§ y ' , <us BpacrvvecrOat irXeov,
fipoTeuov alfjua KW/XOS iv Sdjaois
Swcr77e/A77Tos e^w, (Tuyyo
vfjivovcrL 8' VJJLVOV h(t)fjLa(riv TTpocrrjjxevai 1190
irpatTapyov aTrjv iv jjuipei 8' aTTCTTTverav
euvas dSeX<^ou, Tail irarovvTi Svcrfievel?.
v, f/ 0r)p£> TL TO£6TT)S TIS W S ;

rC^ elfju dvpoKOTros <^>XeSaii>;

iK/xapTvp-qcrov 7r/>ouju,ocras TO /X' eiSeVat 1195
Xdywt TraXaias TW^S' aixapria? SofLOiv.
XO. KCU TTOIS av optcov TTTjyfxa yevvaiojs 7raykv
iraioiviov yivono; 0avixdC,o) Se crov,
TTOVTOV nepav Tpafyelcrav dXXodpovv TTOXLV

KVpeiv Xiyovcrav, axrirep el TrapecrTaTei?. 1200

KA. ju-avTts /A' 'ATTOXXWV TWIS' iiricrTrjcrev TeXet.
XO. ju.aii' /<at ^eds 7re/3 lyiipoii T7e7rXr)yjji€vo<;;
KA. npoTov [iev aiScis iji' e^iol Xe'yetv TaSe.
XO. afipvveTat, yap 770,9 Tts eS irpdcro-oiv rrXiov.

118O fffdifeic Bothe : ^s fteif code]. 1 1 8 1 KXi)f«i» Auratus: KKWIV codd.

1 1 9 3 Sijpw Canter: T7jpii codd., /cupfi H. L. Ahrens. 1 1 9 7 iipKov irriyna Auratus:
&pK<n irriixa c o d d . 12O2, 12O3 inverso ordine praebent codd., transposuit
Hermann.
 ATAMEMNQN 137
I feel the spirit
Upon me rushing, like a mighty wind
To the sunrise blowing clear: now presently
Rolled up against the orient light shall wash
Disaster huger far! I'll monish you
No more in riddles; come, attest me, run
My pace now while I scent the traces out
Of acts done long ago.
Within these walls
There haunts a Quiring Band, that sings one tune,
But not sounds tuneful—'tis not sweet, their theme.
Aye, to more riotous courage well caroused
With human blood, within this House abides,
And will not be sent forth, a Rout of wassailers,
Kindred-Avengers, that besetting keep
Fast by the chambers, chanting; and their chant
Is Deadly Primal Sin :—anon they sicken,-—•
A Brother's bed their fierce abhorrence, cursing
The abuser—Have I missed the target now,
Or will you cry me aim ? Am I indeed
Mere babbler, knocker at the doors with lies
And trickery ? On your oath, confess the long
Bad history of this House my knowledge!
ELDER. Nay,
Let oath be ne'er so well and truly plighted,
It cannot medicine:—but I marvel at thee,
To have lived thy life beyond the seas, and yet
Of alien people to speak sure as though
Thou hadst been a witness present.
CASS. It was the seer
Apollo made me mistress of this power.
ELDER. His Godhead smitten with love ?
CASS. I was ashamed,
The time was, to speak of it.
ELDER. Aye, brighter days
Make daintier niceness ever.
138 AIIXYAOY

KA. dXX' TJV TrctXcucrr^s Kapr' eyaot irvioiv yapiv. 1205

XO. r KOX TeKvcav et5 epyov r/XOerr^v VO\LOH;
KA. tjvvawecracra. Ao^Cav ixpevcrdfJLrjv.
XO. 77877 re^vatcriv ivdeois rjiprjfjievrj;
KA. rySi^ TroXirat? ITOVT idecnn^ov irddrj.
I2I
XO. TTWS S^r' avaros rjcrOa Ao$Cov KOTGJL; °
KA. eireiOov ovhiv ovSev, cJ? r a 8 ' ^jx-rrkaKov.
XO. -^/Atv ye /-lev 817 inaTa decnritfiiv Sonets.
JvA. tou tou, CD w /ca/ca.
UTT' a u /A£ Setvos opdofJiavTeias Tr6vo<s
crTpofiel rapdcrcrcov (^pot/xtoi§ . . . . 1215
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?, oveipiov Trpocr<f>€peL<;
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12O6 •qXdiT-iji' Elmsley : ffK9eTov codd. 121O axaros Canter: &I>O.KTOS codd.
1 2 1 1 oiWe' Canter : ou5£j< codd. 1 2 1 5 i<printvovs post (ppoi/iioi1! habent codd.,
eiecit Butler. 1 2 2 4 ofyxcu Paley : oi'^oi codd. 1 2 2 6 ^eui1 5' G. Voss [
lirapxos Canter. 1 2 2 8 KaKTeivaaa Canter: Kai KTetvaaa codd.
 ATAMEMNftN 139
CASS. O but he strove
Ardent with favour for me.
ELDER. And so in course
Came you to the act of kind?
CASS. I did consent
With Loxias, and then failed him.
ELDER. Being possessed
Already with divining spirit ?
CASS. Already
I showed my own folk all that should befall them.
ELDER. Yet without suffering from Apollo's wrath ?
CASS. After that sin I never might have credit.
ELDER. T h y art seems credible enough to us.

CASSANDRA moaning.
Oh, oh, oh, my pain again comes on me
The agony of clear vision, racks me at first
With dizzying whirl anguish
There, see now
Those yonder, seated at the House young forms
Like phantoms of a dream children, as 'twere,
Slain by their own kindred their hands filled
With flesh, familiar meat aye, they show now
Visible,—the inward parts, a rueful burden,
Tasted of by their father!
For these things
Vengeance is plotted by a faint soft Lion,
Wallowing the while in bed,—forsooth to keep it
Warm and safe against the Master's coming!
My master—the slave's yoke must be endured.
High admiral, proud vanquisher of Troy,
He dreams not, he,
After the fawning speeches long drawn out
By lecherous hound's false tongue, what act it is
With smiling Ate's treachery she designs
 AIIXYAOY
I2
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TL viv /caXoucra Sucr<£(,\es Sa/cos
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•f) TTOLVTOTOX/JLOS, UXTTTep Iv /XOl^S TpOTTrji1

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*cai rcovS' O[JLOLOV et T I /ATJ neWco • TL yo-p;
TO jiteXXov i^fet. /cal o-u /t' ev r a ^ e t Trapaiv
ayav aXrjdo/jLavTLV oiKTipas ipels. 1240
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KA. 'Aya/iejai'ovo? ere ^ / A * iworftecrdaL popov. 1245
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XO. TOU yap TeXovvros ov £vvf)Ka fJLrj^aviQV.
KA. /cat JU,T)V a y a v y ' "EXX^v' imcrTa^ai (JXXTLV.

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anon. ap. Blomfield): apki> codd. 1 2 3 9 /J.' iv Auratus: ^Kcodd. 124O
Bothe: ayav 7' codd. 1 2 4 1 iraiUwv codd.: corr. Schuetz. 1 2 4 8 eiVep
Schuetz: el irapiarai codd. 12SO 0705 Auratus: oixos codd. 1 2 S 1 K&pr' dp'
av irapeoK&Treis (7ra/)f<r/c67r?)s) codd., K&pra T&pa Trapeic6ir-qs H a r t u n g .
 ATAMEMNQN 141
For deed in cursed hour! Such monstrous doing,—
The female slayer of the male! What beast
Most loathsome shall I call her? Amphisbaena?
—Or rather Scylla, dweller in the rocks,
Housed there for seaman's ruin! A Mother wild
With Hell's own bacchanal rage, whose heart breathes war
To the death against her own! With jubilant cry
The monster, how she shouted, as men's triumph
Shouts when the battle breaks,—while safe return
Would seem her gladness
Credit me now or not,
'Tis all o n e ; for what skills it ? What must be
Will b e ; and you shall soon behold, and pity,
And call me all too true a prophetess.
ELDER. Thyestes' banquet on his children's flesh
I understand and shudder,—nothing feigned,
No fable, terrible t r u t h ; but for the rest
I lose the track and wander.
CASS. Y O U shall see
The death of Agamemnon.
ELDER. Hush, good words !
Calm thine unhappy lips.
CASS. Nay, what offence?
There is none in presence here with Healing office,
In the case I tell of!
ELDER. Not if it is to be,
But Heaven avert it!
CASS. While you stand and pray
They are busy there with killing.
ELDER. What man's hand
Must bring this crime about?
CASS. O wide then truly
You have wandered from my warning !
ELDER. I cannot see
The means whereby the doer should compass it.
CASS. Yet am I well instructed in the tongue
Of Hellas,—all too well.
H2 AIZXYAOY
XO. Kal yap rd irvdoKpavra- Svo-jjiadrj S'
KA. iraval, olov TO irvp- kiripy^Tai Se /not. 1255
OTOTOZ, AxiKeC AiroXXov, ot iyo) iyej.
avrr) SCTTOVS Xtaiva crvyKoificofjiivr)
XVKOM Xe'ovTOS evyevovs airovo-iai
TTJV Takawav cos Se (ftapjAaKov
Kajxov [ucrdov ivdrjcrei KOTOJL 1260
i, 6r\yovcra (fxorl <f>dcryavou,
dycoyrjs dvTLTeio~ao~dai <f>6vov.
C ST}T' ifxavTrj<; KarayeXcor' e^<w raSe,
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ere /Jiev irpo /xolpas Trj<; i/irjs &ia<f>6ep5>. 1265
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rotcrSe fcocr^aots KaTayeXoyfjukviqv fierd 1270
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TJ^I ydp rjjAcov aXX.os av TL/xdopos,
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1 2 5 4 bvafxadr} Stephanus: 5uo"7ratf^ codd. 1 2 5 7 5t7rous Victoi'ius: SivrXo^s

codd. 126O ivdrjaeiv (v finali post adscripto) h | TTOTUI Auratus. 1 2 6 6 iyia 5'
Heath, a'/ii' fi/'ofiai Hermann: d7a(?cb S' d/xei^/o/aai codd., 7re<rocTa S' w5' d/iei^o/iai
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Koirevros H . : Koweiaris codd.
 ATAMEMNQN 143
ELDER. Why, so are the oracles
From Pytho, yet they are hard enough withal.
CASS. Ah! the fire, coming upon me how it burns,
O Slayer Apollo, O!
\_Groaning.
This human Lioness yonder couching with
A Wolf in absence of the generous Lion,
Will take my wretched life—as 'twere a poison
She were compounding, to the venomous brew
Vows she will add my wages,—while she whets
Her blade for man, vows for my bringing here
To take revenge in blood.
Why keep I then,
Only to be mockery of myself, these baubles—
Wands and prophetic wreaths about my neck ?
You shall perish first before my hour:
\Sheflingsoff the sacred symbols of her office and then tramples
on them,—-fillet and golden wa?id and gold-embroidered robe.
So:
Lie there; go to perdition,—I shall follow:
Endow some other with your fatal Wealth!
—Why, 'tis Apollo that himself now strips
My prophet's raiment off—that even in this,
His livery, let his eyes behold me laughed,
By friends and foes indifferently, to scorn:
—I suffered, like a vagrant mountebank,
Like some poor starveling wretch, the name of Wanderer,—
And now the Seer hath made a seer of me
To bring me to this bloody end! Here waits,
Here for my father's altar waits a block,
Hot with the red stream from another's neck.
Yet shall we fall
Not unavenged of Heaven, for there shall come
A Champion of our cause, an Offspring born
To Mother's death and Father's recompense ;
144 AIIXYAOY

8' (XXTJT^S rrjcrSe yrjs

v, a/ras TacrSe dpiyKOicroiv
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lovcra Trpd£(i), T\rjcrofxai TO KarOavelv.
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1 2 9 4 5^ (TocpT] f g. 13O4 <rw>'Auratus; TUP codd.
 ATAMEMNQN 145
An exile and a stranger from the land,
A wanderer shall return
To set the last crown on this pile of doom:
In Heaven above there is a great oath sworn
His father's outstretched corpse shall bring him home.
Why stand I then lamenting? Once I have seen
My town of Ilium in her present case,
While those that led her captive, under God's
High judgment, so come off,—I will go too
Forthwith and face my fortune—to my death.
[She goes up to the palace-gates.
The Gates of Death, I hail you ! I pray only
To get a mortal wound, that I may close
These eyes without a struggle, my life's blood
Ebbing to an easy death.
ELDER. Sad lady,
Of so much sorrow and withal so wise,
Thou art long in thy discoursing:
But if thou verily knowest thine own fate,
What means it, like the heaven-appointed ox,
Moving so patiently to the altar ?
CASS. Sirs,
There is no avoidance, none, by time deferred.
ELDER. Yet latest is the best.
CASS. The day is come;
Little shall I gain by flight.
ELDER. Well, thou hast truly
A fortitude in sufferance.
CASS. Those are terms
Bright fortune never hears.
ELDER. Well, there is comfort
In death that comes with honour.
CASS. O my father,
Thou and thy noble children !
[In entering the palace-doors she suddenly recoils with horror,
H. A. 10
146 AIIXYAOY

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TOI)S ^oi)s J. Pearson, (povewni/ Bothe : ^xdpoU <t>oi>fvcn rois ^ois codd. 1 3 2 6 sqq.
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 ATAMEMNQN 147
ELDER. What is the matter? what is it affrights thee ?
CASS. Faugh, faugh!
E L D E R . Faugh, faugh? Wherefore so?
Unless it be some sickening in the spirit.
CASS. Blood ! the air is full of weltering blood !
ELDER. Nay, n a y ; it is nothing but the smell of sacrifice
Offering upon the hearth.
CASS. T i s such a reek
As issues from a tomb.
ELDER. Well, truly that
Were most un-Syrian odour.
CASS. I will go in
To finish there my wailing for my own
And Agamemnon's fate: life, content m e !
—O think not, sirs,
I am as a bird that startles at a bush
In idle terror: when I am dead, confirm me,
When for this woman here a woman dies,
And slain a man for man ill-mated lies:—
I crave this of you as at point of death.
ELDER. Poor soul, with death foreknown, I pity thee.
CASS. Yet once more will I speak, one speech, or dirge
Over my own death:—O thou Sun in heaven,
I pray to thee, before thy latest light,
That, when my champion comes, my enemies
May pay the same time then for murdering this
Poor slave, an easy victim!
[She passes into the palace.

ELDER. O sad vanity

Of human fortunes ! Their best happiness
Faint as a pencil'd shadow; once unhappy,—
Dashed with a wet sponge at a sweep clean out!
This, to my thinking, pitiable far more.

10—2
 148 AIIXYAOY
:
TO fxev ev wpdcro-eiv d/cdpecrTW e(f)v 33°
fipoTolcrw Sa/cnAoSei/cr&w o
a.Tre.Liru)v eipyeu pekdOpav,
er ecreAC'iyts, raoe <pa)vo)v.
e T7oXiv ju,ev eXer^ eSocrav
J
Ti.pidp.ov 335
0€OTLfl7]TOS S' Ol/CaS' IKav
vvv 8' el vporepcov alp.'
Kal rolcri Oavovcri Savwv aXkaiv
Troiva? 6avdr<ov iinKpavel,
TIS av i^ev^airo ftporwv do-ivel !34 O
8a£p.ovi (jivvai r a S ' OLKOVCOV ;

AT. wjuoi, TT€Tr\r)ypJcu Kaipiav likrjyrjv eo~u>.

XO. crtya.' T15 Trkrjyr^v dvrel /ccupuus
AT. w/x.01 /xaX' av6i<;, hevripav n€Tr\r)ypevo<;.
XO. Tovpyov elpydo-0cu So/cet /xot /3acri,Xea)s
dXXa Koiv<a<ia>p.zff eS TTWS ao~cf>a\rj j3ov\evp,aTa. 1346
a', eycu jnev V/AIV T^Z/ e/A^f yvd>p.iQv Xeyco,
Trpos hcopa Sevp' do~Tolo~i Krfpvo~o~eLv fioyjv.
/3'. e/u.ol S' OTTCOS r a ^ t c r r a y ' iprrecrelv SOKCI

Kai npayp eXey^etv cruv veoppvrcoL

y'. /cdyct) TOIOUTOV y^wjaaTOS KOLVwvbs div
xprj^i^opLaC r t Spav TO p,rj //.e'XXeiv 8' a-
8'. opav TrapecTTf (^poipadtflVTai yap ws
TvpavvCbos arjptLa •npdo'crovTei TrdXet.

1 3 3 1 PpoToiaw Pauw: /3poro?s codd. 1 3 3 3 JUTJK^T' iaiXBriis Hermann:

5' elat\8-r)S codd. 1 3 3 9 fort. iinKpa.vti.ev. 1 3 4 O c^eiyfaiTO Schneidewin:
efl^atTO codd. 1 3 4 6 eu Donaldson: a,!< codd.
 ATAMEMNQN 149

CHORUS.
With all on earth insatiate is
Good Fortune; while she wooes the door
Of gazed and gorgeous palaces,
None warns her from it, bars ingress
With Enter here no more!
Here is a man the Gods let burn
The town of Priam ; safe return
He finds, with Heaven-awarded bliss:—
If now for others' blood-guilt he
Must pay the forfeit, his death be
For deaths of old the crowning fee,—
Who may boast harmless destiny
His birthright, hearing this?
AGAMEMNON within the palace.
O I am hurt! wounded, a mortal wound.
ELDER. Peace, hark ! Whose voice is that cries out a hurt, a
mortal wound ?
AGAM. O God! wounded again, another.
ELDER. TO judge by groaning of the king, the deed should
e'en be done;
Come let us join debate and take safe counsel as we may.
FIRST ELDER. I give you my opinion,—sound alarm
And summon rescue to the palace hither.
SECOND. And I say, burst in now immediately
And prove the matter with the naked sword.
THIRD. Holding the same opinion, I would vote
For acting somehow; there's no tarrying here.
FOURTH. 'Tis gross and palpable; their opening act
Shows ominous of usurping tyranny.
ISO AIIXYAOY
f
e'. ^povt^Ojiiev yap- o% Se TTJS MeXXou? KXCOS 355
€
TreSot, iraTovvTes ov KaOevSovaiv X P*"
S~'. OUK oI8a /SouXrJs i7O"Ti^os TV^WV Xeyco.
TOV SpaivTos icTTL Kal TO fiovXevcrau Tripi.
£'. ffdyw rotourds ei/x', e7ret Svafirj^avw
X
\6yoio~t TOV QavovT d^tcrravai iraXiv. 36o
17'. 7} /cai jSiW TZIVOVTZS w8' vire
Sdjitftiv KaTaLO~^vvTrjpo~i TOICTS' ri
ff. dXX' ou/c dveKTOv, dXXa KaT0avelv
treaanipa. yap jJ-olpa Tr)<; Tvpavviho<;.
1. rj yap TeKfi7)pLoio~tv e f olficDy/xaTcov
fjLavT€vo~6fieo~9a rdfSpo? w? oXtuXoros;
ia'. crd<^)5 eiSora? ^ 1 7 raii'Se 6V\LOVO~9O.I trepi'
TO y a p TOTrd^eu' TOU o"d<^)' etSeVai S t ^ a .
t ^ ' . TaxiTrjv iTTaiveiv iravTodev Trk~q6vvofJLai,
Tpavws 'ATpeCS-qv etSevai Kvpovvff OTTCOS. 137°

KA. TTOXXWV Trapoidtv Kaipiats elpr)fi4vcov

vT'i elTrtiv oi)K i7raLO")(yvdi]o~ofiaL.
y a p Tts i)(0poLS eydpa Tropo~6vo)v, <f)(,Xoi<;
hoKOvo~ui> etvat, TrrjfjLovrjv o.pK.vo'TaTov
<j)pd^eiev v\fio<; Kpe1o~o~ov eKTrr)Sy]fjbaTO?; 1375
ifiol 8' dy<x)v 08' OVK d<f>p6vTLO~Tos vrdXat
veLKrjs vraXatas rjXde., o~vv ^pova)i ye \i/r\v
ecTTij/ca 8' «>#' evraicr' eV e^eipyao-jaeVois.
8' €irpa£a, Kal TaS' OUK d.pvr\o~o\Kai,

1 3 5 5 ,aeXXoCs Trypho (Rhet. VIII p. 741 Waltz, i n p. 196 Spengel):

codd. 1 3 5 6 W001 Hermann: ?r^5oy codd. 1 3 6 1 reuwres Canter: K
codd. 1 3 6 7 Bvixouadai E. A. I. Ahrens: fivBovcrDat codd. 1374
Auratus | apKicrrar' tin Elmsley. 1 3 7 7 veU^ Heath: VIKT)S codd.
 ATAMEMNQN 151
FIFTH. Because we dally! while the lauded name
Of Tarrying is as dirt beneath their feet.
SIXTH. I have no counsel or advice to give ;
Counsel is Action's own prerogative.
SEVENTH. I am of that same mind ; it passes me
To raise the dead again with only words.
EIGHTH. Even to prolong our lives shall we bow down
Under these foul disgracers of the House?
NINTH. It is not to be borne, 'twere better die;
Death were a milder lot than tyranny!
TENTH. What, shall we then conjecture of his death
By divination of mysterious groans?
ELEVENTH. We should be certified before we passion ;
Surmise is one thing, certitude another.
TWELFTH. I am multiplied on all sides for that course,
Plainly to assure us of the King's condition.

[As THE ELDERS are about to enter the palace, the bodies of Agamemnon
and Cassandra are exposed, with CLYTAEMNESTRA standing over them.
CLYT. All my politic speeches heretofore
Shall nowise make me blush now to confess
The truth and contrary:—how else indeed
Wrhen studying hate's act for a hated foe
Supposed friend—how else pitch the toils of Doom
To a height beyond o'erleaping ? 'Twas not sudden ;
For me, 'twas but
The test and trial of an ancient feud,
Long thought on, and at last in time arrived:—
I stand here now triumphant, where I struck !
And so contrived it also—I'll avow it—
 AlIXYAOY
I
ws fJLTjTe <f>evyeiv yi/qr dfxvvecrdai popov. 3%°

direipov ap.^>L^iki)<JTpov, a>o~irep l^dvcov,

i, nXoVTOV Cl/AO/TO? KOLKOV.
Se viv Sis' xav Svolv olfiay/JiacrLv
avrov KO>\O.' /cat TTCTTTCOKOTL
T 8
7p'iTf]v eVevStSwjtu, TOV Kara ^Oovo? 3 5
Atos veKpS)v ^(orrjpo'i evKTaiav yapiv.
OVTCO TOV avTov dvjxov opfnaLvei ireaciiv
atyxaros o~<f)ayr)v
t//a/caSi (f>oiv£a<; Spocrov,
^aipovcrav ovBev rjcrcrov rj StocrSdratt !39 O
yai/ei cnr6pr)T0<; /caXu/co? iv \o^ev/x,a(Tii'.
o)S wb' i^ouTcov, Trpecrfios ''hpyt'iwv rdSe,
yaipoiT av, el ^aipoiT, iya> 8'
el S' r)v TTpeirovTatv aicrr' evrtcrTreVSeiv
raS' at' St/caiws •jyt', virepSiKcas fJ<ev ovv 1395
rocraivSe KpaTrjp' iv 8d/x,ois KCLKCOV oSe
TrXiycras apaiwv avros eKirivei jxoXa>v.
XO. davfidtpjiev crov yXStaaav, ws dpacrvo-TO/JLO'S,
TJTI<; TOLOVS' eV dvS/al /coju,7ra^eis Xdyov.
KA. ireipaade fiov yi/^ai/cos a»s atypao-jjiovos' 1400
ey<w 8' a,Tpeo-TO)L /capSiai TT/OOS eiSdrag
Xeyw—crii 8' alvetv eire /xe xpeyeiv 6e\ei<;
OJJLOLOV—OVTOS eo~Tiv ''AyafjiiyLVdiv, e/xos
S, veKpbs Se T^crSe Seftas
epyov, Si/mias T4KTOVO<;. raS' wS' exe(" T
4°5

138O d/xi'i'ea'Sai \ictorius: d ^ a i r S a i codd. X382 7re/x<m>ix£fwj' f, ?re/3(-

ffTixlfaiJ'g. 1 3 8 6 Aios Enger: ai5ou codd. 1 3 8 7 o/jirydufi Hermann.
139O sq. oto(j56TW£ 7avet Por&on : 5ios J>6TCJ 7ap ei codd.
 APAMEMNQN 153
As neither should he scape me nor resist:
I wreathed around him, like a fishing-net,
Swathing in a blind maze,—deadly Wealth of robe,—
And struck two blows; and with a groan for each
His limbs beneath him slacked; and as he lay,
I gave him yet a third, for grace of prayer
To God Safe-keeper—of the dead below.
With that he lay still, panting his own life out:
And as the gory jets he blasted forth,
Rain of the sanguine drench bespattered me,
Rejoicing, as in balm of heaven rejoices
Cornland when the teeming ear gives birth!
The case then standing thus,
My reverend Elders, you may find herein
What gladness you may find,—but I do glory !
Yea, and upon the body could we pour
Drink-offerings of the proper substance, then
Those offerings had been just, past measure just!
Drink-offering from the bowl of harm and bane
Brimmed for his home, which here his own lips drain !
ELDER. We are astonished at thy tongue's audacity,
Such glorying over thine own wedded man.
CLYT. YOU practise on me
As I were a thoughtless woman:
With heart unshook I tell you what you know,—
And praise me or dispraise me as you please,
'Tis all one,—this is Agamemnon; my
Husband ; a corpse; the work of this right hand,
Whose workmanship was just. That is the case.
 154 AI2XYA0Y

<TTp. X O . T I KOLKOV, eu yvvai,

•\6OVOTpe<f>es ihavbv fj TTOTOV

iraaafxeva pvTa% i$ dXos op/xevov
T68' eiridov dvos §rj[xodpoovs T dpds;
aneSiKes, d7rera/i,es—aTrdVoXts S' eo"7/i— 14 1 0
jU,l(TOS ofipiflOV dcTTOtS.

KA. i/£!v fxkv St/ca{ets e/c TrdXew? <f>vyr)v e/AOi

/cat jLito-os acrTOiv ^Tjfjbodpovs T €%eiv dpa?,
ouSev TOT' dvSpi TWIS' evavnov (f>epa)v
os ou TrpoTLfi-cov, aHnrepel fiorov fxopov, 14T5
EVITOKOIS

edvaev avrov TraTSa, <f>ihTaTr)v ijxol

a»Stv', iiroiihbv ®p
ov TOVTOV eK yfj<;
airoiv ; iirrJKoos S' e'jawi' 1420
epycov SiKacTTrjs Tpa^us et. Xeyw Se crot
' Xit', &>s d
61 3
€K TUiV OfloCcov, X / ^ VLKTjCrCLVT' iflOV

iav Se Tov^irakiv Kpaivt]i deos,

yvaicrrji. SiSa^^ei? 6i/»e yovv TO o-aMppoveLV. 1425

air. XO. /AeyaXd/AijTis et,

TrepCcf>pova 8' eXa/ces. (Zcnrep ovv

Xt7ros CTT' o/JL/xdrcov atjU,a.Tos eS TTpeneiv

arierov ETI ere ^ 7 ) crTepo/Jievav (j>[\o)v 1430
Telcrat.
14O8 puras Stanley: piVas vel pwiras codd. | op/j.erov Abresch: optb/Mcvov (dp- h)
codd. 141O aTToTroXis Seidler: a7roXtscodd. 1 4 1 1 8/j.^pifiop codd. 1 4 1 4 TOT'
I. Voss: TO5' codd. 1 4 1 8 d^aTwi/ Canter: Te \r)/j.naTwv codd. 1419
Porson : XP^ codd. 1 4 2 9 irpiireiv E. A. I. Ahrens: irpiirei. codd. 1 4 3 1 ri/i
I. Voss: Tifyi/ta codd.
 APAMEMNQN 155

CHORUS clamouring.
Woman, what poisonous herb of the earth hast eaten Strophe.
Or sorcerous liquor sprung from the running sea
To bring this slaughter upon thee and curse of the land?
Having stricken off, shorn off, cut off thyself shalt be,
With general hatred banned!

CLYT. Your sentence now is hanishment for me

And execration and the people's curse,
Though never did you then the least advance
Objection against him, that never recked
No more than a beast's death, one lost from all
The abundance of the fleecy multitude,
But slaughtered his own child, my dearest travail,
To charm a wind from Thracia! Was't not right
In recompense of that polluted act
To banish him the land ? Yet now you hear
My doing, you are a harsh judge. But I warn you,
If thus you mean to menace, be advised
That I am well prepared, conditions equal,
If you shall vanquish me by force, to own
Your rule;—but if God will the contrary,
Then lessoning you shall have, though late, in wisdom !

CHORUS.

Lofty in arrogant vaunt as wicked of spirit! Anti-

strophe.
Mind being then so mad with shedding of gore,
On the eye should answering gore in a blood-fleck show;
Disgraced, abhorred, unowned, thou hast yet thy doom in
store,
To pay with blow for a blow!
 156 AIIXYAOY

KA. KOL rijvS' aKovets opKicov ifiatv OiynV

fid rrjv TeXecov Trjs ifArjs TraiSos AIKTJV,

ATIJI' Epivuv v, atcrt TOVO ecrfpag eycj,

J
ov fiou Qofiov /xeXadpov 'EXTTIS ifiTrarei, 435
ceo? av a t p ^ t 7Tu/> €9 e a r i a s e^xrjs
Aiyicr^os, ais TO Trpoo~9ev ev (f>pova)V EJU.OI.

0UT05 yap rj/juv dcrirt? ov a/jLiKpa dpacrovs.

ywaiKos rrjcrSe \vp,avTrjpio%,
I
w ' 'iXtaii, 44°
17 T' at^jaaX&iTos ^Se /ecu
deo-(f>a.T7)\6yo<;
rj £vvevvos, vavTikoiv 8e creXjuaTaJv
io~OTpi/37]s.—aTLfia o' OVK iTrpaga.TT)v.
o ju.ei' y a p OVTO)?- 17 8e TOI, KVKVOV SLKT/V 1445
TOV vo"TaTov /xeXxjjao'a d<xva.o-i\x,ov yoov,
KtLTau, (juXiJToip TOOS', ifjuol S' iirri
evvr)<; j

<rrp. a'. X O . <j)ev, TiS O.V il

TOV atel <j>epovo-' of

Molp' dreXevTov VTTVOV,
<j)vXa.Ko<; evixeveo~Ta,Tov,
TToXXd rXdvTos yvvaiKos Siat"
os yui'ai/cos S' dn4(f)9i(rev fiLov. 1455

1 4 3 2 fort, dndrnji 7'. 1 4 3 6 e/rijs Porson: ^ a s codd. 1 4 4 4 IVOT/3(|8IJS

Pauw: isTOTpifS-qs codd. 1 4 4 7 0I\T}TUS f. 1 4 4 8 x^'^i)" Auratus: x ^ ' ^ s codd.
1 4 5 1 6/iiXciv H.: ^e ^ju?c codd. 1 4 5 3 KO! post €i5/tcveffTaTou habent codd.,
delevit Franz.
 ATAMEMNQN 157
CLYT. Hear then the sanction of my solemn oath:—
By Justice, taken in fulness for my child,
By Ate, and Erinys, unto whom
I slew that sacrifice, in the House of Fear
My spirit sets no foot! so long as fire
Is kindled on my hearth by my good friend
Aegisthus, true and kind as heretofore:
Him find we no slight shield of confidence.
Low lies the wronger of his wedded wife,
Solace of every Chryseid under Troy,—
With her, his bondservant and soothsayer,
His fortune-telling concubine, his true
Bedfellow, practised equally with him
In lore of the bench on shipboard.—But the pair
Have got their merits: his condition, thus;
While she, after her swan's last dying wail,
This lover of him, lies there; to me this slight
Side-morsel to the wedded feast, this toy,
To me brings only the dear sweet of triumph !

CHORUS.

I 1.
O for a Fate might bring me swift, 1st
.,.. . . . . strophe.
Without sore-agonizing pain
Or lingering bed, her blessed gift
Of sleep, that world-without-end sleep,
Converse with me still to keep,
That would not wake again!
My kind Protector, he that bore
In woman's cause a toil so sore,
By woman's hand extinguished !
 158 AISXYAOY

< la
l > irapdvovs
[iia r a s iroWds, Tas trdvv 7roXXas
i/w^a? oXecracr' VTTO Tpotai.
vvv Se rekeiav iroXv/JLvacrTov eT
Si alfJL aVLTTTOV, Ct TIS ^ TTOT', iv SofJLOlS

epts epiOjaaros, avopos OLQVS.

KA. [xrjhev Oavdrov fxoipav eTreu

o"Se fiapvvOeCs'
S' eis 'EXe'vip KOTOV iKrpexfjrjL?, 1465

dvhpcov \fjv)(a<> Aavacov oXecracr'

aXyos

dvr. a. XO. 8al[X0V, OS €/A7TtTVeiS 8w/AaO"t Kal Sl.<f>vC-

oicri, TavraXtSatcriv, 1470
dros < T > Icro^pv^ov ex yvvaiKoiv

hri Se crw/Aaros SiKav

KopaKos i\Opov crTadeicr' ivvof
vpsvov v/xveiv e V e u ^ e r a t . . . . 1475

KA. i w a>p9ai(Ta<i crTO/xaros yvw/jLrjv,

TOV Tpnrdyyvrov
haifiova yevvr/s rrjcrhe KLKXTJCTKWV.

1 4 5 6 iu! addidit Blomfield | Trapwous Hermann: wapav6/j.ovs codd. 1 4 6 O sq.

« TIS ^K ITOT' H. (ci' TIS TOT' Karsten) : T/TIS TJJ' TOT' codd. 1 4 6 5 eKTptxv* f-
1 4 6 7 oAecrcu' f g. 1 4 6 9 sq. ^ixiriTvas Canter: iixirlTTTeis codd. | dupvtouri Hermann :
5i0ueicri codd. 1 4 7 1 r add. Hermann. 1 4 7 2 KapdioSijKTov Abresch : KapSia
bi)KTOv codd. 1 4 7 3 jioi post St/car habent codd., del. Dindorf. 1 4 7 4 invoices h :
fort. (KfOfJiOiS. 1 4 7 5 fort, eircvxerai VO/J-OLS. 1 4 7 6 ruj/ 5' codd.: corr. H.
1 4 7 7 rpiiraxyvTov Bamberger: Tpiiraxvi-ov codd.
 ATAMEMNQN 159

O Helena, thou cause insane

That all those many lives hath lost,
Lives untold for thy sole cost
Upon the Trojan plain!
But now thou hast crowned complete that hecatomb
In blood past all remission
With one full-perfect, memorable indeed
As e'er the world hath seen,—thou bitter seed
Of enmity, firm-planted in man's home
To man's perdition!

CLYTAEMNESTRA.

Nay sink not so, be not so broke

Death for your portion to invoke,
Nor yet your wrath divert
On Helena, that her sole guilt
All those many lives hath spilt
With such deep yawning hurt.

CHORUS.

I 2.
O Spirit of haunting Doom that bears 1st anti-
s rop e
The House down, O how sore thou art '
On Tantalus' twain soveran heirs!
In woman too twain weapon, steel'd
Of equal temper, thy hands wield,—
A poignard in my heart!
Feet planted on his corse, the proud
Foul raven, uttering harsh and loud
His chant of joy triumphant!

CLYTAEMNESTRA.

Ah, now you set your verdict right;—

The Spirit of all our race indite,
So gross with o'ergrown flesh !
160 AIZXYAOY

4K TOV yap epws at/i,aroXot^os

irplv
TO vakaLov d^o?, vios

XO. -q fiiyav OLKOLS TotcrSe

<f>€V, KCLKOV aivou d.T7]-

Tildas anopecTTOV'
to) Irj, Siat Aios
iravairiov navepyera.
TL yap /3/Dorois avev Atos
Tt rwi'S' ov deoKpavrov ICTTIV ;

la) ia> ySao-tXeu /8ao-tXeu, H90

l o~e haKpvcrai;
os eK <f>iXia<; TL TTOT' elnw;
KelcraL S' dpd-^vq<; iv ix^dajxaTL TCOLS'

KOLTav TavB' dveXevdepov 1495

SoXiait {jLopcoi 8a/Aels

KA. au^ets etvai roSe Tovpyov

AyafiefivovCav elval fx,' d\o\ov 1500

<f>avTal6fA€vos Se yui'aiKt veKpov
TOVO 6 7raXatos 8y3ijU,us d\.d<JTU>p

TOVS' aTrer
reXeov veapois irrL0vcra<;. 1505
a
148O vupiTpocj>eiTai H . : reipa rp^erai codd. 148X Ix P H.: ix^P codd.
1 4 8 2 roiffSe corruptum. 1 4 8 7 iravepyarav f g.
 ArAMEMNQN 161
'Tis he still fosters in the maw
This bloodthirst hungering for the raw,
With lickerish craving, ere last bite
Have well ceased aching, fresh!

CHORUS.
II i.
Huge of a truth his bloated mass 2nd
sr p
And fierce wrath never-bated: °
Story of ruthless Doom, alas,
With harm unsated.
By will of Zeus did this befall,
Sole author and sole cause of all;
Can aught without him come to pass ?
Herein was aught not fated ?
0 my King, my King,
Tears enough I cannot bring,
Words enough I cannot find
To voice my loving mind :
Thus to lie by murderous death
In that spider-web entangled,
Gasping out thy breath,
On so churlish bed, ay me,
With slaughtering weapon slain and mangled
By the hand of treachery!

CLYTAEMNESTRA.
Suppose you it was mine, this act ?
Conceive not e'en that here in fact
'Tis Agamemnon's wife you see!
Mere semblance of her, she:
The fierce ancestral Ghost of him
That Atreus made a feast so grim
Hath made this man the price;
Heaped him this man upon his own
Young firstlings offered yet ungrown,
Full perfect sacrifice!
H. A. n
162 AIIXYAOY

XO. <Ls [AW avatrios et

roCSe <f>6vov Tts 6
TT(x> TTU>; TTdTpodeV

TTTOip yivoiT av dXdcrTcop.

I
jiid^eTai 8' ojxocnTopois 510
iinppoolerLV al^arav
Ap^s, OTTOI 8t/cas Trpofii
Kovpofiopou Trape$ei.

J l
ere SaKpvcro); 55
(f>pevo<; e/c (f>t\ias TL TTOT enrw;
Kelcrau 8' apayyrjs iv v<f>dcrjj.aTi TWIS'
davdrcDi fiiov iKirvecov.
IMOL Koirav rdvS' dvekevOepov
SOXLCOL /jLopwi Sa/xets 1520
4K X e P ° s

KA. ovSe yap ouros SoXiav arqv

oiKOicriv WTJK ; 1525
aAA. e^u,ov EK TOUO epvos aepuev,
TroXvKXavrrjv 'l<f>t,yiveiav,
a^xa Spao"as afia irdc
iv ''AiSou

1530
Qavdjoii retcas avrep

1512 5iK<xs Martin («kij» Butler): 5^ /ecu codd. | Trpofialvuv Canter: Trpo<r(3a.hav
codd. 1 5 2 2 sq. OL!T' &pe\eidepov ol^ai ^dcaroi' | raiiSe yevtadcu damnavit Seidler.
1 5 2 7 T V irdkiKKavrbv T' codd., T^V delevit Meineke, Tro\vK\aiTr)v coniecit Porson.
1 5 2 8 dvd^ia Spaaas codd.: corr. Hermann. 1 5 3 1 'ipfyv Spanheim.
 ATAMEMNQN 163

CHORUS.

II 2.
2 n d anti
' Not guilty' ? Then support that plea : "
J r r r
° strophe.
Whose witness can be cited ?
Go to:—yet such a Ghost might be
In aid united ;
Onward it rolls in kindred blood,
Red Slaughter's torrent, flood on flood,
Till Babes' flesh fed-upon shall see
Its firm stain full requited!
O my King, my King,
Tears enough I cannot bring,
Words enough I cannot find
To voice my loving mind:
Thus to lie by murderous death
In that spider-web entangled,
Gasping out thy breath,
On so churlish bed, ay me,
With slaughtering weapon slain and mangled
By the hand of treachery!

CLYTAEMN ESTRA.

Of treachery! Dealt not he then too

This House a treacherous blow ?
But what he wrought that branch that grew
From me, that he made grow,
My sore-wept own beloved maid,
With equal penance hath he paid ;
Slain for it even as he slew,
He need not boast below!
11—2
 164 AI2XYA0Y

. y. XO. a <f>povTi,8os

OTTGU, TpOLTTOfiai, Tri'TVOVTO'i OLKOV.

Se'Souca §' opfipov KTVTTOV Sojxocr(j>akrj 1535

TOZ> alfxaTr]pov • i//e/cas Se Xi^yei.

8' e7r' aXXo irpay^ia drf

aos aXXais Qf]y6.v<xi<Ji jxo'ipa.

tw ya ya,
Trpiv roVS' eViSetv apyvpoToi^ov i54°
Spoirr/s K
Tis 6 ddrpcov viv ; Tts 6
7) cri) rdS' ep£cu T\rj<jrji, KTeivacr'
dv8pa TOP avTrjs aTro/cwKUcrat
T d^apiv ^(dptv dvT ipycov 1545

rt§ o e7riTUjU,pios atvos evr avopi

(TVV ldiTTO)V

KA. ou ere TrpocnJKa. TO jxikrjix akiye.Lv 1550

1
TOVTO 77-po? ^ w ^

e, Kardave, KOU
r£>v OIKCJV,

]
1 5 3 3 einriXaixvov codd.: corr. Porson.
1 5 3 7 Sinr) f, 5(/ta g | dr/yeTcu
Empeiius: 6riyei codd. 1 5 3 8 6T)ydvais codd.
1 5 4 5 ^i^X'5'T' E - A . I. Ahrens:
ipvxw codd. 155O /ifti)fi' dXeYeii' Karsten :
a \iyeiv codd.
 ATAMEMNQN 165

CHORUS.

I l l 1.
Thought fails me ; in a maze I grope 3 rd
3r p
And find no means of help or hope, °
While the very House is quaking :
Under this crashing rain of gore
'Twill sink—'tis early drip no more.
—Yet other whetstones rest, whereon
Justice for other work undone
Her weapon sharp is making!
O Earth, O Earth, would thou hadst been
My shroud, ere I my lord had seen
Here in a silvern coffer spread,
That kingly head
Laid on such a lowly bed !
Who shall bury him ? who make moan ?
Wilt thou add sin to sin,—thine own
Man's blood upon thy hands, proceed
Then with a mockery to atone,—
With funeral dole for his dead soul
To salve thy heinous deed ?
And how should mourning o'er him dart
The hero's praise with tears of ruth ?
How should it bear that heavy part
With heart-felt sorrow's truth ?

CLVTAEMNESTRA.

That care is no concern for thee;

Beneath our hand he fell,
Down beneath us lay dead ; and we
Beneath will speed him well:—
But not with household from his gates
To wail behind his bier—•
 166 AIIXYAOY

dXX.' 'l(/>iyeveia vtv dcrTracruus

dvyaTrjp, ws X/37?'
varep' dvrtacracra vrpos wKviropov

ivr. y. XO. Ol'etSo? 1JK€(, ToS' dvr' 6l/€lSoUS,

SvaiJia^a 8' ecrri Kplvai. 15 6 0
(^epet (f>ipovr\ e'/mVei 8' 6 Kaivoiv.
ju.evei Se fx.ifjuvovTO'i iv dpovon Atos
TradeLv TOU ep^avra' Oicrpiov yap.
TL<S av yovav apalov ii<f3d\oL Soficov;
7r/)6s arat. i565

KA. e§ TOI^S' ev4

ov. iycb 8' ovv

haifJiovi TO>I
opKow; 0e[jLev7) rdSe /xev crrep
1
BvaT\r}Toi rrep 6v6\ b Se KOITTOV, IOVT' 5'1°
e'/c Tftii'Se Sdju.coi' oiXkyjv yeveav
rpifieiv OavaTOLS avOivraio-iv.

iy(ovo-t]i TravenapKes
a\\7)\o(f)6vov<; 1575
d<^eKovo~'qi.

1 5 6 4 )I0i7^i'e(ii yif Auratus: 'IQrytvetav IV codd. 1 5 5 8 i/>i\i}(rci Stanley:

<f>iXrta-qi c o d d . 1 5 6 2 0p6cwi Schuetz: xpofw (xp^wi) codd. 1 5 6 4 dpcuoi'
Hermann: paoi'codd. 1 5 6 5 7rpos drcu Blumfield: irpotratpai codd. 1 5 6 6 iviSys
Canter: &^/3T/ codd. 1 5 7 4 waveirapids Ifioiy' H . : TTOI' airSxpv A«" 5' codd.
 ATAMEMNQN 167

His daughter at the Doleful Straits

Below stands waiting near:
Her love, her duty she shall bring,
Her arms about his neck shall fling.
And kiss her Father dear\

CHORUS.
I l l 2.
Thrust by counterthrust is foiled ; 3 rd anti -
strophe.
Judgment is hard,—the spoiler spoiled,
The price for bloodshed yielded.
While Zeus upon his throne shall reign,
For wrong done, penance must remain
Commandment:—How shall forth be cast
The seed of Curse ? To Ruin fast
The race is glued and welded.

CLYTAEMNESTRA.
Ah, justly now you leave your taunts
For God's most firm decrees.—
I say now to the Spirit that haunts
The House of Pleisthenes:
" I am ready—let an oath be sworn—
To bear, though heavy to be borne,
Thus much: but now begin
New order ; quit this House outworn ;
Henceforth some other race be torn
By own blood shed within.
If such within these halls the price,
For me small riches will suffice
Once having rid them of their vice,
The frenzy murdering kin ! "
168 AIIXYAOY

AinseoS.
co <f)€yyo$ ev<f>pov rjfiepas 8iKr)(f)6pov.
(fxxirjv av rj$r) vvv fipoTtov Tifiaopovs
deovs dvcoOev yrjs eVoTrreuetv ayq,
T 8
iScov vcpavTois iv TT€TT\OLS 'Epwvtov 5 °
TOV av8pa rdvSe Ke(.fiepov (^tXws e/xoi,
^epos TTarpdnas kKTivovra. ixr)\ava<;.
'Arpev? y a p ap^ciiv TTjaSe yrj?, TOVTOV iraTrjp,
Trarepa ©vearrjv TOV ifjiov, ws Topws (fipacrcu,
avTov S' dSe\(j)6v, a/A^tXe/cros wt1 Kparet, I
5^5
r)v8p7]\a.Tr)crev IK TrdXews re KCU oopoiv.
Koi TrpocTTpoiraio^ ecrTias fxoXcov Trakw
T\y]fj.cov ©uecrr^s fjLoZpav t]vpeT d<T<f>a\r},
TO fir) Qavbiv iraTpSiiov alfjudijcu nioov
avTov' $evia Se rovSe 8vo~0eo<; TraTrjp 159°
'ATpevs, TTpoOvfxoi'i fiaXkov rj <f>l\<o<;, Trarpi
TcbjjicoL, Kpeovpybv rjfiap evdv/xos dyew
SOKCOV, Trapecr^e S a t r a TratSetwi/ Kpecov.
TO. fiev TTohrjprf KCU ~)(epcoi> a/cpous /creVas

edpviTT dvcoOav dvSpaKas Ka.drjfj.evos 1595

acrr/fji • o o OLVTCOV OLVTLK aryvoiai kapcov
ecr^ei fiopav dcrcoTov cos opats yivei.
KaTTtLT iiriyvovs ipyov ov K<XTO1<TIOV

coLfico^ev, afiTTiTTTet, 8' (XTTO <r(f>a.yr)v eputv,

fiopov S' dcj)epTov IleXoTriSais eTreu^eTai, 1600

1 5 7 9 a//?? Auratus: fix1? codd. 1 5 8 5 avTov 5' Elmsley: OI5TOO T' codd.
Post 1 5 9 4 lacunam indicavit Hermann. 1 5 9 5 fort. hBpvwr'. 1 5 9 6 (SOT/M' •
6 5' Dindorf: fi(n;/to S' codd. 1 5 9 9 aixTrLirTui Canter: #>•• TriTrrei codd. | a<ftayi]v
Auratus: o-fayrjs codd.
 ATAMEMNQN 169

[Enter AEGISTHUS attended by a body-guard of spearmen.

AEGISTHUS.
O welcome dawning of the day of judgment!
Now will I say the Gods above look down
With eyes of justice on the sins of earth,
When I behold this man, to my dear pleasure,
In woven raiment from the loom of Vengeance
Paying for the foul craft of his father's hands.
Atreus was his father, reigning here
In Argos ; and his right being questioned by
Thyestes—understand,
My father and his brother—he drove out
Thyestes from the house and from the land.
Returning then
Suppliant in sacred form petitionary,
Safety so far did poor Thyestes find
As not to perish there upon the spot
And spill his life-blood where his fathers trod:
But mark what entertainment this dead man's
Ungodly father makes the sacred guest;
With welcoming
Most hearty but scarce kind, feigning a day
Of cheer and sacrifice and flesh-killing,
He served a feast up of his children's flesh.
The foot-parts and the fringes of the hands
He kept aside concealed; the rest in messes
Gave him to eat, obscure; he straightway took of it
Unwitting, and made banquet, as you see,
Most thriftless for this House! Then being aware
Of that enormous deed, he groaned, he reeled
Backward, spewing up the butchery, and invoked
An awful doom upon the House of Pelops,
170 AISXYAOY

XaKTia/xa Seinvov ^WSIKOJS Tidels dpdi,

ovrws okicrOai irav TO HXeicrddvovs yeVos.
€K rwvSe croi iretrovTa TOVS' ISeiv ndpa,
Kay at SIKCUOS rovSe TOV (f>6vov pa<f>ev<;-
Tpirov yap OVTO. ju, eirt ov aukia>i irarpi 1005
avvetjeXavveL TVTOOV OVT h> cnrapyavois-
Tpa<j)evra S' avOis rj §LKr) Kartjyayev.
Kal TOvSe ravSpbs rj^jdfirjv dvpcuos <x>v,
nacrav (rvvdxfjas /xr)^ai>rjv SucrySovXias.
OVT(O KaXbv Brj /cat TO Kardavetv e/xoi, 1610
ihoVTO. TOVTOV Trj<S SLKT)? iv €pK€O~lV.
XO. Alyiaff', vjipit,eiv iv KaKolo-iv ov crefia).
o~i> 8' avSpa Toi'Se <f>r)<; CKCOV KaraKTavclv,
fxovo<i 8' hroiKTov rov&e f3ovXevo~ai, (j>6i>ov
ov ^17/x.' aXv^euv iv 81/071. TO o~bv Kapa 1615
Sy)[jLoppi<f>ei<;, <rd<f>' LO-QL, Xeucri/i,ovs apd<s.
1
hi. o~v r a v r a ^xovei ; vepTepau irpocnj/Aevos
KCOTTTjl, KpaTOVVTOiV TbiV €771 t,Vy5)L 8o/3OS;

yvoiO-(]i yepcav u>v ws St8ao"Kecr^ai /3apv

TWI TijXtKOUTiDt o-axftpopetv elpr)iJLevov. 1620
Secr/i,os Se Kal TO yrjpas a i Te i^crriSes
r a r a i <f>pev£)v
opens optav raSe ;
77/365 KevTpa fxrj XaKTi£,e, fxr/ Trrcucras /xoyrjis.
XO. y w a i , cru TOUS rjnovras e/< /^a^Tj? i>eW 1625
OLKOvpbs evvr)v dvSpbs aio~^yv<av a/ixa
TOVS' i/3ovXevcra<; fi-opov;
16O2 oXeaBac Tzetzes: 6M<xBrj codd. 16O5 ^7ri Stf' Emperius: £vl 8{K' codd.
1 6 1 3 rovSe <pTjs P a u w : TOI>5' l<pvi codd. 1 6 2 4 wraiaat Butler: Ti}<ras codd.,
iraltxas schol. Pind. / ' y ^ . II 173. 1 6 2 6 oltrxvvwv Keck: alaxvvova' codd.
 ATAMEMNQN 171
Thus, with a kick to aid his curse, and dashing
The table down,
Thus perish all the seed of Pleisthenes !
Hence comes it in your sight a corpse lies he,
And I the just contriver of his death.
A third-born living child, a third last hope,
In my unhappy father's banishment
He drave me out a babe in swaddling-clothes,
And Justice now hath brought the grown man back.
While yet without I touched him, hit my man,
For this dark subtle train was all my plan.
My hour is ripe for death now when he lies
In toils of Justice caught before these eyes.
ELDER. Aegisthus, to insult upon distress
I like not.—So thou sayest that wilfully
Thou hast compassed the man's death, alone devised
This woful tragedy? Thine own head then,
I say, shall not scape justice; thou shalt feel
The pelting volleys of a people's curse!
AEGISTH. Thou talk so, sirrah, from the lower bench,
When on the main thwart sits authority!
The task is wisdom, and grey hairs will find
At these years how 'tis grievous to be put
To school; but prison and the pangs of hunger
Are your most excellent doctors to instruct
The hoariest head in wisdom. Hast thou eyes
And seest not ? Kick not thus
Against the goad or thou mayst hurt thy feet.
ELDER. Vile woman, thou to deal with soldiers thus
Come newly from the field! Home-keeping, and
Dishonouring the man's bed, to plot this death
Against a man and captain of the war!
172 AIIXYAOY

AI. /cat r a u r a raiTf) Kkavp,dTO)V a

'Op(j>€i Se ykaxrcrav TTJV Ivavriav
o [iev yap rjye iravr diro <f>0oyyr)S ^apcu, 1630
(TV 8' efopiVas vrjnioLS iXdy/xaaiv
atjrji- KparrjOels 8' rjfjiepaiTepo? <f>avrji.
XO. w? Sr) crv /AOt Tvpavvos 'ApyeCcov ecrrji,
os ou/c, eTreiS^ TCSIS' eySovXeucras fiopov,
Spacrat rdS' epyov OVK erXr^s avroKTOvcos; 1635
#
AI. TO y a p SoXwo-ai 7rpos ywai/cos 17^ cra<^a)s
eyw 8' v7TO7rTO? i^6pb<s 17 TraXatyevTjs.—
e/c TWI' Se roCSe ^pyjixdroyv veipdaofxai
dp-^evu TTOXITIOV rov Se /AT) vetddvopa
tfiv^a) /Sapeiais—-ourt /A^ (Tttpa^opov 1640
KpL0aJvTa iraXov dXX' 6 Suo-^tXei CTKOTCOL

XI/AOS ^VVOLKOS jJiakOaKov <T

XO. TI ST) TOI/ avBpa TOVS' aTro
OVK auTos r/vdpi^es, dXXa j
ftcao-ju-a /cat ^ewi/ iy^copCou, 1645
; "Opecrnys a p a TTOUfiXeiret,<j>do<s,
KareXOojv Sevpo irpevpevel
dfJL(j)oiv yivrjTai TOII^SC 7ray/cpaT7)s
AI. aXX' eTrei So/cel? r a 8 ' epSeuv KOX \eyew, yvuxrrji
eta 817, <]?>tXoi Xo^iTai, rovpyov oi>x e/^as ToSe. 1650
XO. eta 817, £i(f>o<; irpoKcoirov Tras TIS evrpeTnitTO).
AI. dXXa /cdy&) JLITJI/ irpoKOiiros OVK dva.ivop.ai 0ave2v.
XO. Sexo/zeVois Xeyeis davelv o~e- TTJV Tv^qv 8'

1 6 3 1 i/i)7Tiois Jacob : TJIROIS codd. 1 6 3 7 ^ Porson: ij codd. 1 6 3 8 <•*

TtDi'Se codd. : corr. Jacob. 1 6 4 1 5ucr0i\ei O-KO'TMI Scaliger: 5u<T0i\r;s/corui codd.
1 6 4 4 MJ/ Spanheim: O-OJ/ codd. 165O choro dant codd.: corr. Stanley.
1 6 5 3 aipov/j.e6a Auratus: ipoi/xeOa codd.
 ArAMEMNQN 173
AEGISTH. Progenitors of tears are these words too:—
The very counter thine to Orpheus' tongue!
He with his ravishing voice did all things hale;
Thou, with a foolish yelp exasperating,
Shalt see thyself
Haled, and thine own breast by compulsion tamed.
ELDER. Thou to be despot over Argive men !
When after plotting murder of this one
Thou durst not venture thine own hand to do it.
AEGISTH. The cozening clearly was the woman's part;
I was a suspect foe hereditary.
—However,
With help of this man's treasure I will essay
To rule here, and the disobedient colt
With heavy yoke will break—no courser running
In traces, crammed with corn ! 'tis hunger lodged
In loathsome darkness that shall humble his flesh.
ELDER. Ah, why then didst thou with a craven's heart
Not slay the man thyself, but take a woman,
Stain to her country and her country's Gods,
To do the killing ? O doth somewhere look
Orestes on the light, that Fortune's grace
May give him good speed home again to be
Victorious executioner of these both!
AEGISTH. O well then, sirrah,
If thus you mean with act and word, you soon shall under-
stand—
What ho! my trusty men-at-arms! Your work lies here
to hand.
\The Guard advance.
ELDER. What ho! let each his sword well-gripped be now
prepared to ply.
AEGISTH. Well, I too with my sword well-gripped will not
refuse to die.
ELDER. TO die! An omen ! Be it so ; content, content, am I.
174 AIZXYAOY

KA. ju/^Sa/Aft)?, w (fyiXrar' dvSpwv, aXXa hpdcroifxev

aXXa Kal r a S ' i^a[xrjcraL iroXXa, 8vcrT7}vov
TrrjiJ.ovr}s S' aXis y' virdpxei fji7]Bki>
crret^er' aiSoiot yepovTes irpos SOJUOUS,
vplv Ttadeiv, et^ai/re? u>pai XPVV m T
^'
ei Se TOI [Loy6(x>v yivoiro TWVS' aXts, BexoCfied' cuv,
L
SaijLtovos XV^-V ySapetai Sucrru^ws TrerrkrjyiJiivoi. 1660
w8' e^et Xoyos ywvatKos, ei Tt5 d^toX fjuaOeiv.
AI. aXXa roucrS' e'/AOt fjiaraiav yXcoaaav <SS' aTravOicrcu
Ka/cySaXeii' 67T^ TotaOra Sai/xovos Treipoiixdvovs,
ad(j}povo<; yvdjfj.rj's 0' dfjuapTelv TOP Kparovvr d<pvov-

X O . OUK cb> 'ApyeCwv T O S ' etTy, <f)<ora Trpocrcralvew KCIKOV.

AI. dXX' eyw cr' ei' v<nipai<jiv rjfxipacs /u,eVet/i' e n . 1666

XO. OUK, eav SaCfJLcov 'OptcrTTqv Sevp" dnzvQvvqi
AI. oIS' eyw (frevyovTas avSpas iXiriSas
XO. irpafrcre, TTLCLIVOV, [Liaivoiv TTJV BIKTJV inel irdpa.
AI. Icrdi fjioi SOXTOV dirowa TTjcrSe jxcopCa? ^povwi. 1670
XO. KOfXTracrov dapcrcav, dkeKTap uxxre ^ X e t a s 7reXa?.
KA. /ai7 TrpoTLjJ.rjarjL'i ^araloyv TWI^S' vXayjxdTotv iya>
l crv dnjo-o/xev KparovvTe TCOVSC Sw/xaTcov

1 6 5 4 SpaiTw/xev Victorius: Spaao/xev codd. 1655 dipos Schuetz: 6fyaiscodd.

1 6 5 6 iijrapx" Scaliger: virapxe codd. | iji./iaTwf^i'ois Hermann: rnxarihixeda. codd.
1657 sq. oreix"'' aiSoioi H. L. Ahrens: areixere 6' oi codd. | 7re7r/)a)/4^ois...ei?oi'Tes
Madvig: ireirpunivovs Toiade...ip£avTes (Ip^ai/ra gh) codd. | uyaai H. (aipai' Housman):
Kaipov codd. 1 6 5 9 S4x»tf.e6' Martin: 7' exoi/J-eB' codd. 1 6 6 3 Saipovos
Casaubon: daifwvas codd. 1 6 6 4 0' Stanley: 5'f h | aixapruv rbv Casaubon :
afiapriJTov fh, om. g | dpvovfx.il/ovs supplevit H. 167O Xi"o'"wi Wecklein: x&P"'
codd. 1 6 7 1 8appG>v codd.: corr. Porson ] wWe Scaliger: wavep codd. 1 6 7 2 sq.
e7w et xaXus om. codd., ex schol. suppleverunt Canter et Auratus.
 ATAMEMNQN 175

CLYTAEMNESTRA, interposing.
Nay nay forbear, my dearest lord, let us no mischief more;
The harvest here already reaped is plenty and full sore;
We have surely suffered harms enough without the waste
of gore.—
Most reverend Elders, get you home; yield now to Fate's
decree,
Betimes, before you suffer; Fate's executor were we.
But should this heavy chastening prove enough, we will
submit,
So hard by our familiar Spirit with his fierce talon smit:
A woman's counsel here you have, will any stoop to it.
AEGISTHUS, fuming still.
But these to let their tongue run wild and wanton at this
rate,
And fling such whirling words abroad in tempting of their
fate,
And be so reft of all advice, their master thus to brave!
ELDER. 'Twas never yet the Argive way to cringe before a
knave.
AEGISTH. Ah well, I'll have my vengeance of you yet in days
to come!
ELDER. Thou shalt not, if but Heaven direct Orestes' footsteps
home.
AEGISTH. O, well I know how banished men will feed on
husks of hope.
ELDER. DO, do; with fatness gross defile God's law; 'tis in
thy scope.
AEGISTH. The day will come; I warn thee, thou shalt rue
this folly then!
ELDER. O bravely now the cock may crow and strut beside
his hen!
CLYTAEM. These idle yelpings prithee hold in slight regard ;
we two
Will be the masters in this House, and our dispose will do.
 NOTES
4 ff. The Watchman has been watching for the greater part of a
whole year—not longer, because according to God's prophecy through
Calchas Troy was only to fall in the tenth year and not before: see
Homer B 329. The aorepes are of course the constellations whose
risings and settings were the signs of seasons (P. V. 473 f. dvToXds iyi>
ao-Tpiav eS«£a ras re Sva-Kptrov; SvVtis), and the Watchman has had time
to learn the signs of Winter or Storm-season—the same word expresses
both in Greek—for it is now past the autumnal equinox, the time when
Xeijuepiai 8vvov<ri IleXaaSes (Hes. fr. 44), and the setting of the Pleiades
proverbially marked the season most dangerous of all at sea. In this
allusion therefore an ominous note is heard at once; and presently
confirmed, for the capture, as we are duly informed in v. 817, has taken
place ' about the sinking of the Pleiades,' and Agamemnon has set
sail for home immediately, committing the rash act against which
Neoptolemus in Quint. 7. 298-311 is expressly warned by Lycomedes.
His rashness was followed by the disastrous storm in the Aegean.—The
construction Srav cj>6iva>cnv in v. 7 is idiomatic for watching, observing,
marking (d>v\a.TTiw, r-qpelv) the time when ; Herodas 3. 55 is an example,
vocvvO' oirijjuos Traiyvi-qv dyivrJTe. Dem. 4. 31 4>iAi7T7ros <£u\a|as rotis
iryja-ia's rj TOV ^£t/u.J5va iTTi^eipel -qvLK av vJ/Atis /xr) Suvat^e^a e/ceure
d(j>iK€a-$at.—Swooras is an astrological word : see Proclus on Plat.
Rep. in Schoell and Studemund Anecdota ii. p. 2 6 ; in sense, synony-
mous with more familiar terms such as Kparyrmp, 8f(nr6t,eiv, oiKoSecnroTeiv,
tyrannus Hesperiae Capricornus vndae (Hor. C. ii. 17. 19).
do-T^pas repeats in plain words the preceding metaphorical descrip-
tion. This is a common feature of Tragic style, and as such is
burlesqued by Xenarchus (Ath. 63 f) KOVTC (iva-avx^v OeS.<s Arjovs o-vvoi-
KOS, yrjyevrjs /?dA/?os. Further Aeschylean examples will be found inf.
500, 816, Pers. 615, Theb. 191, 476, 717, 926, P. V. 7, 374, 829, 956,
1054, Supp. 231.
8. Kal vOv answers to fx.lv in v. 1, which is itself intended to qualify
ifipovpas treias /J.7JKOS : as throughout the year...so now. Similarly inf. 592
dv<o\6X.v$a ju,tv Tra/Vai (for 7rdAai fxiv duo)X6\v$a)...6o^ Kal vvv, Theb. 21
Kal vvv fj.iv i<s TOS' yi^o-p (for Kal vvv es /J.\v rdS' 17/nap) iv pzirti Oeos • vvv 8e
 NOTES 177
K.T.X., S o p h . Phil. 6 1 7 OIOITO fxtv p.aXio-6' (for OIOITO fiaXia-ra fi.lv)
cKovcnov Xa/3w, et /«.») 0eXoi 8', aKOVTa, Ant. 327 dXX' cvpeOetr) fi\v /laXurr,
ear 8e Tot XrjtpOfji r e Kai/107... Aesch. fr. 36 evoSi'av ju,€v irpwrov, Soph. fr. 8 0 7 .
10 f. ' For so a woman's manlike spirit is sanguine to expect,' ita
enim sperare valet. The MS. gives Ikiritfav with o written above <D,
meaning €Xmt,ov, an obvious conjecture which naturally has not con-
tented scholars. The correction IXiri^eiv I find from Wecklein had
been proposed before by an anonymous critic in 1834, but I have
never seen it even mentioned. For the infinitive after Kparelv, ex-
pressing what your superiority or predominance enables you to do,
cf. T h u c . iv. 104 Kpa.T0VVT€S TWI -rrXijOei wore /JLTJ avTiKa rb.s 7njXas
dvoiyeadai. vi. 74 iv oVXois 6 V T « eirfKpaVow fJLrj he.\eo-6ai, T0*>S 'AOr/vatovs.
E u r . jFfel. 1639 ®E. ap^o/xecrS' ap, ov Kpa.TOvfj.ev. X O . otria Spav, ra 8'
IKSIK' OV. F o r dvSpoftovXov cf. S o p h . fr. 8 5 7 KOT' 6p(f>avbv yap OIKOV
dv8p6<f>pwv yvvrj.
12 ff. «ST* oiv SJ is resumed by Shav 8' (16) after the interruption
caused by the explanatory yap-clause. For similar instances of a re-
sumptive 8e cf. Cho. 988, 1024, Plat. Apol. 34 D ti S77 TIS {yxwi' OVTCOS
?X e i !—°^ K afic3 juev y a p tfyajye- €i 8' o3i/ K.T.X., Gorg. 4 8 0 E tav piovov firf
avTO? aStK^Tat V7ro TOV e^$pov' TOVTO fiiv yap ev\a)3r]Teov iav 8e a'XXoi'
C1S1K171 d e^^pos...Pausan V. 2 5 . 8, 9 T W Se iirl TWI "Exropt K.\rjpovfx.ivij>v
apiOjxbv oyTW OKTW, TOI/ y a p ivarov..., T&V 8e OKTW TOVTIDV K.T.X.
15. rb |i*|...<rtj|jipaX«iv d e p e n d s o n $o'/3os irapao-TaTei—a favourite
c o n s t r u c t i o n in Aeschylus. Cf. Pers. 2 9 4 vTrsppdXXei yap rjSe a-vfx<f>opa.
TO fxyjTe Xe£ai (XIJT' ipiorrjaai wdQ-q, P. V. 8 9 1 fxiav 8e iral8<av ifjiepos OiX^ei
TO /JLY) KTCtl'ai (TU1/€WOI/.
16. liivupiijeiv : cf. M a x . T y r . 7. 7 ^8?j T15 Kat v7rb avXrjfiaTwv dvrjp
a/aovcros SteTe'^Tj /XOUCTIKOOS, Kal TO coTa evauXo? <ov Biafxifivr/Tai TOV ^OICXODS,
«ai fXivvpL^ei Trpos aurdv.
27. evvi)s en-avTeCXacrav is a reverent phrase, suggested by a com-
parison with the rising of the sun or stars. Lucian i. 474 applies it in
the same way to a great man dawning on the clients waiting in his
ante-chambers till he rises: 6 8c /tdyis av TTOTZ draTctXas avrois Trop<f>vpov<;
TIS rj irept^pi/cros rj oiatroiKiXo's' ev8ai/xova<s (uieTo «at fjiaKapiovs airocjiaivfiv
TOVS •7rpo(T€i7rdvTas rjv TO O-TT}6O<; rj TTJV Se^iav irpOTelvwv 8OIT] KaTa<f>i\eiv.
In the Bacchae 747 a messenger wishes to say ' the flesh was torn from
their limbs before you could wink' (7rpiv fxvo-ai, irplv Karaixvo-ai), but
feeling this is too familiar to a king, he turns it Oaa-aov Se Sie^opowTo
o-apKOS ivSvra rj av ivvdipaii f3Xe<f>apa ySacriXetois Kopai? ' t h a n y o u could
close your eyelids on your royal eyes.' ou'8' ev -n-pamSwv olaKa vifuwv,
applied by the Chorus to the King in v. 793, is another such respectful
phrase.
H. A. 13
178 NOTES

28. 6X.o\iry|ios is the 'lulu', 'ullaloo', familiar to us now from

Africa, the shrill cry of women either for joy and triumph, or in
sorrow and mourning. For its association with the iraidv cf. Bacchyl.
xvi. 124 ff. dyXaoOpovoi TC Kovpai avv evOv/xiai VCOKTLTUII w\6\.v£av...iji0eoi
8' iyyvOev veoi iraidvt^av, Aesch. Theb. 254 SXoXvyfxbv lepbv ev/xevi]
•n-atwvtcrov. For the dative \a/j,Trd8i cf. Eur. / . A. 1467 VyUeis 8' iirtvcpr)-
fxriGaT, <S veaViSfs, iratava Trji^rji (TVjJ.^>opdi.
32 f. TO. 8«o-woT<3v...4>pvKTa)pCas. T h e metaphor is taken from the
game of weo-aoi, Tables or Backgammon, in which the moves of the
pieces were determined or limited by the throws (/3aAAeiv, ySo'Xos), or
falls (TTUTZIV, TTTWO-WS) of the dice. Ti6ea$ai is applied to the skill of the
player, whose opportunities are so conditioned: cf. Soph. fr. 861
CTTtpyetv T£ TaKTrecrovra Kal 6ea8ai irpiwzi | <ro<frbv KvftevTijv, dAAa /rq
CTTeVetv TX>)(T)V. P l a t . Rep. 6 0 4 C wanrep iv irTiitrti Kv/iuiv, 5rp6s rd ire-
TTTWKora riOtaOai TO. avrov irpdy[j.aTa. T h i s is referred t o b y P l u t . Mor.
467 A where h e says nvfidai yap 6 TLXdrmv rbv /JiW aTretKaa-ev, iv <5t /cai
ySa'AXttv Set TO. 7rp6(r(l>opa, Kal ySaXovra -^prjaOai KaAtos TOIS Treaovcri.
S t o b . Flor. 124. 41 7T€TT€tai TIVI toiK€v 6 /Jios, Kai SEI, wo-irep ij/r]<f>6v Ttva,
Ti6e<r6a.i TO (rvfifialvov. oi yap e<TTLv dvwOev f3a\eiv, ovh' dvaOe&dai TTJV ij/ij<j>ov
('to make another throw or withdraw the move'). [Plat.J Hipparch.
2 2Q E U)O"JT€p 7T€TT£V<lJV, iOtXd) (TOl kv TOt? XoVOtS ava&€<TU(ll OTl f3ovX.€l TWV
eiprjfjL€vo}v. Plut. Pyrrh. 26 oOtv diruKa^ev avrbv 6 'Avrtyovos KvfievTrjt.
TToAAot jidWovTL Kai KaXa, xpijaOai 8e OVK ziri<TTa,fi.lvu>i Tots TrecrovfTi, H o r .
C. i- 9- 14 quern sors dierum cunque dabit, lucro appone. Hence
expressions like D e m . 2 3 . 134 Trpbs TO KOAIOS t^ov rlOeaOai., E u r . fr. 287
aAA.' ovvTvyxdviav rd Trpdyp-ar op^ws av Tt^^t, -irpd<Tcrei KaXcus. B u t that €v
b e l o n g s t o Trwovra is shown by E u r . Or. 6 0 3 , El. n o r , e t c .
4 3 f. SicndprTpov Ti|iijs: Eum. 6 2 9 SIOO-SO'TOIS (JKr\trrpoi<yi Tt/u.aA^>oi5yu.€vov,
H o r n . A 2 7 8 firei ov iro^' 6/x.otijs ifufxopt Tt/xvjs O"K7J7TTO{!^OS /8ao"iA€vs.
48. KXaJovTes introduces the following simile : Horn. II 428 ot 8'
war alyvrnol ya/xt/'ajvu^ES ayKiiAo^aXai TreTprjt £</>' vij/rjXrji /xtydXa nkd^
//.a^mi/Tai, H e s . & « / . 4 0 5 , E u r . Tro. 146 [idT-qp 8' coo-et Tts TTTai/ois xX
O/DVtO"lV, O7T0DS l£ap£(D.
4g. iKiraTCois. Criticism here has wavered between the MS. t
and £K7rayXois the conjecture of Blomfield. eK7rayAots aAyto-t ' exceeding
anguish' would of course be perfectly natural in language ; but eViraTibis
is better rhythmically, and better sustains the figure. Other poets are
content with transitory metaphors, and that is one way of writing; no
one but Aeschylus has his habitual practice—no one, perhaps, but
Pindar had his power—of pursuing a similitude, of carrying a figure
through. This passage is a very fine example. Eagles always re-
presented Kings, but the Kings here—for the two are closely coupled,
 NOTES 179
and one's quarrel is the other's (vv. 42-44)—whose high bed has been
robbed are compared to eagles whose high bed has been robbed,
aAyecri irai8a)v viraTt)\t\iwv, SefJ.VLOTijpy] irovov oXccravre?. As the
Kings launch forth in ships, so fly the eagles irrepvywv iperfiola-iv iptcr-
o-djuei/oi—this need not be pressed, but still it happily maintains the
parallel. And then the likeness is pursued; the eagles in their lofty
haunts are conceived as denizens (JUC'TOIKOI) in the region of the loftiest-
dwelling Gods,—Apollo, Pan, or Zeus; and as /xei-oiKoi when wronged
appealed at Athens to their Trpoa-Tarai or 'patrons,' so the eagles will
appeal to these; One above will surely hear their cry and will defend
their right. ' And thus,' continues Aeschylus, ' the Atridae are sent by
a greater lord, Zeus £<-Vios, against Alexander.'
It is in the manner of Aeschylus, then, to choose an epithet which
will bear out his comparison. Now eagles and vultures were notoriously
remote and solitary; so of course, from the nature of their high degree i
were Kings—all Kings, though the more aVpoo-iToi they were, the more
marked was the resemblance: Horapoll. Hieroglyph, ii. 56 (HacriXia
ISid^ovra KCU [AT] iXeovvra iv rots Tnai<jp.o.<ri, /3ov\6fj.evoi a~qixrjvaL, dtrov
v • OUTOS yap €v TOLS ep^/xots TOTTOLS ^X€t ^V^ veofrcriav Kat
TrdvTtav TWV irers.ivwv IirraTaL.
50. aXyto-i TraiSmv {nraTiiXex6''0V, ' m exceeding anguish for their lofty-
cradled children.' As you could say dXyelv TII/OS {inf. 576, Eur.
Hec. 1256), so you could say aXyos nv6<s: Pers. 837, Eur. Hel. 202,
Suppl. 807, 1117 mxiSooi/ ii7ro TrkvQovi, Phoen. 1578 ax e t Se reKvmv.—Mr
Housman (Jonrn. Phil. xvi. 247) first pointed out that VTTO.TOI ACX<W
(see cr. n.) could not mean ' high above their eyries.' inraTos means
v\pi<TTo%, and is always a superlative: vTrare Kp(.iovru>v Horn. © 31, vbv Si
Kparos irdvrwv ia6' virarov Theogn. 376, 8emv virarov Ap. Rhod. iv. 146,
Ata TOV TrdvTwv xnraTOv, hymn. ap. Aristid. i. 452, vmnov iraiSwv
Pind. P. x. 9. The genitive is of the partitive nature, as in dvrv£ rj
Trv/j-drrj diev a(T7ri8os H o r n . Z 118, rov 8' WTCITOI' t&ptv bjxiXov itrraora
N 459, oi'axos va-Tarov vecos Aesch. Supp. 725, 6 8' wraros ye TOV -^povov
inf. 1299, laxdr-r) yOovos P- V. 872, rfi-q yap e'Spai Zeiis iv fo-^aTTjt OaSv;
Soph. fr. 821 : so irn-aTos Te x^'pas Zews inf. 514 means 'supreme in the
land,' as Pind. O. xiii. 24 V-KCLT evpvavdaa-oiv 'O\vfnrLa<s, and in Tim. Locr.
100 A cos TaWa fjitpea inrrjpeTeZv TOVTWI KaOdirep virdrwi T<£ (jKaveoi airavrot,
translate it as you may, it will be seen that vTrdrun is still superlative,
and no o-Kai/eos a partitive genitive; and this is the sense which is
impossible in v-n-aroi Xe^wv. I believe that the MS. reading is the
corruption of a compound, to be added to the many adjectives in
a S
-A.£X?;S, TTpCDToA.eX'JS! /J-OVVO-, K01VO-, O.IVO-, 8ttVO-, dirCipO-, CV-, 17T7TO-, 6p€L-,
yt\-, yafxai-. T h e formation would first be uVa/roXexeW, and in Epic the
12—3
180 NOTES
A. m i g h t m e r e l y b e d o u b l e d in p r o n u n c i a t i o n , a s iroXv'XAurnre H o r n . ,
ix.ov6WvKo% Arat. 1 1 2 4 ; b u t t h e u s u a l p l a n for m e t r i c a l p u r p o s e s or for
e u p h o n y was to s u b s t i t u t e 17 for o, as 6avariq<^6po%, aip,aT?7<£opos, 6eo-<j>a.Tr)-
Xo'yos, cXa^rtj/SdAos, TroAe/^SoKOS, ^EI'TJSOKOS, yAai)Kr;7ropos, dfi.<j>a\r]ToiAOS,
ve>f<£aTos, vei)6a.\rj's, a n d countless others, t o which I will only a d d
6<}>ir)/3o(riri from the Inscriptions of Cos, p. 113. The whole subject is
treated with his unique learning by Lobeck, Phryn. p. 633-713.
55. €t TIS 'ATTOWWV would be easier to support than the MS. rj TIS :
see on 149, 1461.—For ns ('Apollo, it may be') cf. Antiphanes fr. 129
(ii. 63 K . ) OaXa.TTi.ov fj.tv OUTOS ov&kv irrBUi | ir\r)v TWV Trapa yrjv, yoyypov
TIV rj vapKTjv TLV rj KTL, Alexis fr. 108 (ii. 3 3 4 K . ) 6 /ACV O W E/AOS UIOS...
TotovTos ye'yovei', Olvoiriwv TIS rj Mapajv TIS r) KaTTjjXos ^ <ns> TifLOKXrjs,
L u c i a n iii. p . 14 aAA' d TIS i) Tn-uds, rj ' O T O S , ^ ' E ^ I O I X T ^ S , vn\p IKUVOV;,
ii. p . 6 0 fj-r) irpos €1/ /xe'pO9 bpdr(a...el fir) Bpao-i'Sas TI? €117 irpoTrrjSwv rj

65. «v irpoT«\€£ois, before the issue is decided. TrporeXeia, as repre-

senting the ceremonies previous to the consummation of marriage, was
metaphorically used for preliminaries to the completion, perfection,
accomplishment of anything—of a voyage in v. 237, of mature age in
v. 721, and often in later authors.
70. dinipwv Ecpuv. aTrvpa, far from being abnormal, were a distinct
class of offerings, roughly parallel with'ifx-n-vpaand \01fiai, but not
needing dedication by fire, as when in an ordinary sacrifice the wor-
shipper shared his meal with the gods. They might be offered to the
Olympians as a means of propitiation; but as a rule these deities were
invited to fire-sacrifices. The mistake of the Rhodians in Pind. O. vii.
88 was that they established a worship of Athena with aTrvpa, whereas,
being an Olympian, she should have been honoured with fire. The
regular offerings to the subterranean powers were airvpa, partly because
intended to sink into the earth instead of ascending to Heaven, and
partly because their worship in general involves propitiation rather than
communion. The scholiast rightly recognises the customary character
of such offerings : T&V Ovtrimv tZv Moipw K<XI TISV 'Epivijcov, a Kal vr](f>dAia
So Eur. fr. 904 mentions the offering of Ova-iav om-upov 7ray-
to a deity who may be either Zeus or Hades : Zeus eir' 'At'Siys
6voixa.tflfi.ivo>; o-repyeis. Other instances of aTrvpa, given in Gardner and
Jevons' Manual of Antiquities, p. 238, are coins, locks of hair, horses
driven into the sea and so forth. Of course neither the kindling of fire
nor the pouring of libations would make a-n-vpa effective; and the
Chorus cannot mean by vitoKaimv and l-rnkufiixiv (Apoll. Rhod. i. 1132
TroAAa Se T-qvyt XiTrjiatv aVo(TTpei//ai eptwXas | Aicrovi'Sijs yowaJsT im\.\uf3wv
Upo'io-i.v I aiOofizvoi?) that somebody might seek so to appease divine anger
 NOTES 181
aroused by another regular kind. It is clearly their intention to express
that by no sort of offering, neither by e/xirvpa nor by Aoi/W nor by
a-rrvpa will anyone appease the stubborn anger of Zeus (or of Motpa Atos
implied in T6 iren-puifx.ivov, which comes to the same thing), whose intention
is to cause many woes to Greeks and Trojans alike. Thus, 'the stern
temper of unburnt sacrifices' represents the fixed mood of Fate, in
relation to which all sacrifice is useless : Verg. Aen. vi. 376 desine fata
deum flecti sperare precando. Moschion fr. 2 (F. T. G. p. 812) <S KCU
8ewv Kparovaa Kal OVTJTWV /xovr) | /iotp', (S AITOUS aTptirre. (see Class. Rev.
xviii. p. 430) Svo-TtjvttivfiporQv, | iravroXfi dvdyKTj. Manetho p. 92 Koechly
TtVre ixa.T7)v, dvOpunrt, Ovr]Tro\£et,'i paKapeaaLv; rime ^.aTqv TpiccAiKTOS
dv ovpavbv r/\v8e KvZtra; | ta\£o, ov yap oveiap iv ddavdroio OvqXals (ev
ddavdroicn 9vr]\rjs). | ov yap T I S S w a r a t ykvvjiv fx.€Tarpnjjijxtv av
7]0' a/ia vr]Tridypis uvyyiyvtrai dvdptiiroicnv, \ etdv T€ M o i p d w v
a/x<j>i. fjLiToiuiv, I KAcocr^.aa'iv apptjKToi<7L <Ti8rjptto
touri
71. wapa8«X^«i without TIS is strange : perhaps we should read irapa-

72. &T6T<U means 'insolvent,' 'defaulters,' 'bankrupt,' unable to pay

the debt of military service to the State (xpe'os ro&e Theb. 20). Hesych.
d.TLTqv: ajropov. aTifxov. TOP fi-q c^ovTa. a7roTtcrai, a n d Tirai: eviropoi, ' m e n
of means.'
7 6 ff. I T( •ydp veapbs (iveXbs errepvwv CVTOS dvdo-o-iov Uroirpea-pvs •... T£ 0'
inrspYijpws; ...iraiSis ovSkv dp«Uv : as t h e marrow in its n o n a g e is as feeble
and unfit for war as in old age, so conversely in extreme old age it is as
feeble and unwarlike as a child's,—a pathetic expansion of the saying
Sis TraiSes ot yepovTes, 'old age is second childhood.' The marrow is the
measure of the whole bodily vigour: in fact a familiar name for it was
almv, 'the life,' as in Pind. fr. III alaov Se oY oarimv ipaicrdrj. dvdcrcriov is
appropriate to the marrow, regent in its frame of bone and dominating
vital functions (Tim. Locr. 100 A, Plat. Tim. 73 B), and should not
be changed to dvao-o-iov, shooting up like a beanstalk ! See also Plin.
N. H. xi. 37, 67.—These lines prepare us for the /JovAat ytpovrtav which
we find instead of tpya at the crisis. Euripides would have apologised
at the crisis itself.
79. T£ 9' iir€pYiip<»s; KTL For the question cf. Pind. P. viii. 95
eTrd/xepoi • TI Si Tis; TI 8' ov TIS ; 0"/aas ovap avOptmros.
87. See cr. n. The corruption is due to the tendency of the
copyists to remove paroemiacs.
go. i w T« 6upaW TWV T d-yopauov appears to be the right antithesis,
viz. that of the shrines of all deities in the public places of the town and
of those in each several and private place,—at the street-door of each
house. The title Ovpalos is assigned to Apollo in Macrob. Sat. i. 9. 6.
i8 2 NOTES
For the similar practice of the Jews see Isaiah 57. 8 'Behind the doors
also and the posts hast thou set up thy remembrance.' 1 Maccabees 1. 55
'And at the doors of the houses and in the streets they burnt incense.'
96. pao-iXcUi. The appellation 'royal'often connotes choiceness
of quality : Athen. 64 b (/3oX/3ot) 01fiao-tkiKolAeyo/x^oi, 01 KOL KpeiWovts
Tt3e akkoiv ticrt, id. 54 b, 76 f.
97 f. o TI Kal SvvaTov Kal 6€>is atvftv. Cf. Eur. Ion 233 iravra
OeS.o-8' o n /cat Oif/us oft.fj.acri,
99. T€ -yevov. The sentence begins as though another TC were to
follow, but it never does, because the intervening relative clauses are
supposed to have put it out of mind; a parenthesis usurps the place of
the main sentence. Cf. Supp. 490 xAdSous T« TOVTOVS all//' eV dyxaXais
XajSiiv KTI It is studied carelessness to resemble the irregularity of
actual speech, like the 'nominativus pendens,' which Aeschylus is so
fond of using.
101 ff. See cr. n. The words, I think, were transposed to show
the construction, i.e. in order to bring IK 8vo-imv—ayava <j>aCvovo-' together,
a n d Trjv 6vfio<j>96pov XVTTTJS fypiva was a n e x p l a n a t i o n of T>)V 6v/xo/36pov
(jypovriSa. In reading ^aivovcr I follow f and Triclinius. dyocva (jyaivovo-a
is like Theocr. ii. 10 dAAa SeAdva, <palve KOXOV: so now the reason is
apparent why we find dyuva, not ayavrj: it was not feminine but neuter
plural.
106. iKreXeW, ' m e n of prime': which, however, would be more
naturally contrasted with immaturity than with the aged Elders' own
decay. ZvTtkiwv (Hermann al.) would be ' men in power.'
108. ireiOu should possibly be irti6ol (Heller), 'inspires me by
divine impulse with puissance in song.' The general sense is ' though I
am now too weak to fight, I am still strong enough to sing,' as the old
shepherd says in A. P. vi. 73 do-in yap o-vpvyyi (UtAccrSo/xai, do-hi cjxwa
arpofj.os iv rpofxepwi croifxan vaierdu. The passage has echoes of Pind. O.
i. 104—112, and seems to me to be itself echoed in Eur. Phaethon fr.
774- 4 4 Koo-fibv 8 ifx.evat<j>v Secnroo-vvdn' | e/u.e Kal TO SiKaiov ayei Kal tpws
vfxveLV 8/J.uyo-lv yap avaKTWv | evafxeptai Trpocnovcrai | fioXtrav dpdcros
alpova I ETTI xdpfiacriv (as I e m e n d )(dpixaT).
113. See cr. n. Stras was a gloss on irpaKTopi, and Kal xePc was
no doubt lost owing to the recurring final syllable.
121 ff. The kings subduing Troy with her teeming multitude inside
are typified by eagles. Aeschylus, I suspect, was thinking of that
remarkable passage—Hesiodic or Orphic in character rather than Ionic
—about ''Art] and the AITCU: Horn. I 505 r\ 8' "ATT; o-Qtvaprj re Kal
dpTuros, ovviKa irdcras troXkbv VTreKirpodeei, <j>6dvei Se re iracrav eir alav
-' avdpumowi, with /JAa^eis in 512. So inf. 406, when "Arr;
 NOTES 183
has her way, XITSV axovei oiSels 6(.wv. For the significance of
XourBmv Sp6fjLu>v, ' prevented from her final course,' as applied to the
hare, see Platt in Class. Rev. xi. p. 94. For the accusative after /3O<TK6-
ficvoi cf. Eur. Med. 826 <j>epf36iJ.evoi KkeLvorarav <ro<l>La.v, Cratinus (i. 57 K.)
ap. Athen. 99 f. ycrOe iravqixepioi xopra^ofievoi ydka ktvKOV. The order
of the words (\a.y!,vav...y£vvav), common in Latin, is rare in Greek,
although Lucian has it.
125 f. The principle that in Greek the emphatic words are placed
first, and the unemphatic follow after, is the key to the understanding
of this sentence. All critics have assumed that kijfuaa-i Sio-o-ous go
together; then, seeing that Suro-cws is unsuitable, some have substituted
other words, as Lobeck TTLOTOVS, Dindorf urous. The truth is that the
words which go together are Svo Xry'/xatri: ' seeing the twain warrior sons
of Atreus two in temper.' What enables the sage prophet to identify
the pair of eagles with the pair of princes is that the birds are royal
warriors, but one KtAaivos and the other Z£6TTLV dpyas—in common
language jueXavaeros and irvyapyos (Arist. 618 b 18). These represent
characters which correspond to those of Agamemnon and Menelaus.
The taunt of spiritlessness or Ka/aa so often aimed at Menelaus (largely
based, one may suppose, on the lost Epic and Lyric literature) seems
to be hinted at in v. 420—424; ov yap eticos, says Pindar fr. 81, i w
lovTUiv apTra^ofjLevwv -rrapa 8' lariat KaOrjcrOai KCU Kanbv tjj.fi.ev. Menelaus
is called by Apollo in the guise of Asiades (Horn. P 588)
cu'xjujjTjfs, and of him Orestes says (Eur. Or. 754) ov yap
<f>VKtv, kv ywo.1^1 8' aXia//.os, Electra (Or. 1201) ovrt yap dpaavs OVT'
Tre'c^VKev, Helen (Colluthus 314) otcrOa yap oSs MtveXaos dvaXfaSd?
Add Quint, vi. 30—43. SUTO-<H 'ArptlSai is the common
phrase, Eur. Bee. 510, Or. 818, Soph. At. 57, 947, and similarly 390,
960, Phil. 793, 1024, sup. 43.
131. a-ypet recalls the aypa of the eagles.
134. KW|VII is not KTijfLaTa, but means 'beasts, cattle.' There is a
double meaning, as the language suggests to the audience the herd
of the Greek forces.
136 ff. otov |iij•.• Kv«|>aon]i m e a n s JXOVOV <f>pa£tcr6at or cf>v\aKTeov fi,rj...
and this is the saving clause which it appears from some amusing
parodies was proper to a prophecy: A. P. xi. 163 a wrestler, a pent-
athlete, and a runner come to find out from a fnavris which will win.
fiovov pvq TI.5 <T\ wapikOvji, /ecu ere KaTarpifrji, Kal
x
i- 3^5 a farmer consults an astrologer on his
prospects. ' If it rains enough,' is the response, 'and not too much, and
the furrows are not spoilt by frost, nor young shoots crushed by hail,
nor the crop devoured by deer, and nothing else unfavourable befalls
184 NOTES
from earth or air, I foretell you a good harvest—p.o-iva.%
axptSas.'—o-TO|u.ov...<rrpaT(i)e^v, ' t h e great embattled bit that should hold
the mouth of Troy.' arp. is an epithet ' limiting' the metaphor, irpo-
TuireV, as by lightning.
139. OI'KTWI: cf. Philipp. Thess. A. P. ix. 22 r/ 0eos wSiVw yap iiri-
o-/<07ros, oiS' eSiKa£ev TiKTOixra? KT^IVZIV, as iXeelv 1/j.aOev.
143. 9uo|i6voio-i,v glances at Iphigeneia.
146. -We should probably read rocrov irep ev<f>pa>v <8£>, Ka\d, or
TOO-OV irep ev<f>ptav, a.Ka\d, ' thou gentle o n e ' (so Platt in C.R. xi. 95).
That at any rate should be the metre. Ka\d, if sound, is the well-known
epithet of Artemis [more often KaAAwmj: but see Ar. Ran. 1359 and
other evidence quoted by Gruppe, Gr. Myth. p. 1271, n. 1], used here
after the usual custom to flatter and conciliate the goddess, TOO-O-OJV of
M is an epicism, due to the familiarity of Homer to the copyists.
147. X.€OVTWV. T h e lion, which is common on Lydian coins and
still extant on the ancient gates of Mycenae, was probably the badge of
the Lydian dynasty of Pelops. That seems to be the reason why the
term is applied to various members of that family, Agamemnon in
v. 1258, him or his army in v. 818, Clytaemnestra in v. 1257, Aegisthus
in v. 1223 ; and as the lion's offspring is a type of Helen in v. 718, so
it appears here to mean Iphigeneia.
I4g. oPpiKaXois, etircp n v d : see crit. n. ' Consent to ratify, if ever
any, the portents of these fowls.' The alteration involves the writing
of OBPIKAAOICITTEPTINA for OBPIKAAOICITEPFTNA, by which
means we obtain the usual formula of invocation, justifying (as in no
other way it can be justified) the emphatic place of TOVTWV, and abolish-
ing the superfluous and inappropriate Ttpirvd which had been already
bracketed by Paley. The form of appeal is ' if ever before, so now,'
that is ' n o occasion was ever more urgent than the present'; e.g. Dem.
32. 3 Seo/xai S' VJXSIV iravriav, etTrep aAAoi rivt Trunrore Trpd.yfjLa.TL roc vovv
c, KCU TOVTIOL Trpocre)(ei.V. Isae. 8. 5 ci TLVI OVV KOU aWrji iriairoTe
7rpO(TeVx«Te rbv vovv, Sio/xai Vfiiav KOI Tavrr/i irpoai^av o/xouo;: for
other examples see Blomfield on inf. 503 (525 W.) el' iron iraXat,
<^atSpoi<rt Toio-t8' ofi/Aao-iv Se£acr#e, ' with bright eyes now,' Blaydes on
Ar. Nub. 356, T/iesm. 1157, Leaf on Horn. O 704, Stat. Achill. 1. 509 si
quando, auidissimus hauri.
151. KordiiojujHi: since after all they are not wholly favourable to
us, not satisfactory altogether (d^ey^, Soph. El. 496), but with elements
in them which portend us evil too.
159. <™|I4>VTOV, ' cleaving,' is used in the same way as £U'/A(£IITOS
aliav (v. 109).
165. dire'icXa-yf-tv, like EKA.ay|ev inf. 211, expresses the loud and
 NOTES 185
excited tone of voice which marked the spiritual exaltation of the pAv-ns.
This is the explanation of other words applied to the delivery of oracles,
as I6.ye.iv and Ke'XaSos and those which are technical of them, XaKeiv,
dpOidfav. Xaxeiv does not mean ' to say,' or, as L. and S. suppose,
' to noise abroad,' but ' to utter with a wild, confused, and half-articulate
cry,' such as comes from the victims of a nightmare. Compare for
instance Cho. 35, 533, inf. 287.
170 ff. How could Agamemnon, so plainly warned, commit this
fatal crime? Because he is an example of the general law laid down by
Zeus that man shall learn wisdom, not by foresight or prophetic admoni-
tion, but after the event by experience and reflexion on his own past
actions. Experience teaches by memory revisiting us in dreams or by
unnoticed working.
I
75 > ("""ay, 'causeless,' 'unaccountable,' 'unwarranted.' pdrav, as
often, is used like the adjective /u.<muos.
178. oSXcSs TIS : see cr. n. I am aware that 6'OTIS may be argued
for, but probability is very much against it, and when we find the
sentence beginning with oib" ocms, suspicion is considerably increased.
For what is certain is that oiS' ocrris TrdpoiOev or ovo" os rots Trdpoidev
could only mean ' not even he that was great aforetime,' the stress being
on Tro.poi.0tv. That is pointless here. The only plausible conjecture
I have seen is oIS' do-ris (Pauw). For OYAOCTIC I write OYAOCTIC,
'a violent one was great of old, swelling with boisterous puissance.'
The metaphor throughout is of a combat—TpiaKrrjpos and Trap.p.dx<M, a
word which it will be seen in the Thesaurus was properly used of the
pancratiast ov\o<s, the epithet applied by Homer to Ares and Achilles,
is eminently suitable to this turbulent swasher.
180. o«Se Xcjerou: ' but shall not be reckoned, being one of the
past.' Cf. Eur. Ale. 322 dXX' avriK £v TOIS p^xer' ovai Ae^o/itu, Hec. 905
orv j«eV, ci Trarpl<; 'IXias, TWV atrop0i]T<i>v TT6\I<; OVK£TL Xef^i. F o r the Sense
cf. Timotheus ap. Athen. 122 d (fr. 21 Wil.) vios 6 Zebs /3ao-t.\evei- TO
•77-aA.ai 8' rjv Kpovos apxu>v. diriTO) fiovaa TraAcua.
181. TpuaKTTjpos: an allusion to the myth, probably of Orphic
origin, of the wrestling-match between Cronos and Zeus at Olympia.
Pausanias, in his account of Olympia (v. 7. 10) refers to it: "Some say
that Zeus here wrestled with Cronos himself; others that he held the
games in honour of his victory over Cronos." See also viii. 2. 2.
185. Tri£«Tai. <j>p€vuv TO irdv IS the Opposite of afiapTTjo-erai (frptvoov.
186 ff. It was in this way, I believe, that Prometheus became
reconciled to Zeus. For the proverb Instruction by Suffering see
H o m . P 32 pe^Oev Se re. vr)trio<i eyvui, H e s . Op. 218 iraOuiv Si re v^Vios
eyvco, H d t . i. 207 TO. Se fxoi Tra.0Tqp.ara kovro. d^dpiTa p.a8rjixaTa iyeyovee,
Plat. Sytnp. 222 B Kara, rrjv irapoi/Aiav t&o-irtp VIJTTLOV TcaOovra, yvusveu.
 186 NOTES

189 ff. iv 9" iiirvui...Kal is an instance of the common idiom,

according to which Tc.Kai serve rather to subordinate than to co-
ordinate: ' when...then...' Cf. Soph. fr. 234. 5 elr' rjfiap ai!£ei fiicraov
ofi<j>aKO<; Tvirov, \ Kal /cXiVerai re Ka.TTO7repKOVTaLfioTpvs,' a n d as it declines
the grape reddens.' Antig. 1186. Hdt. iv. 181, 199, ii. 93, vi. 41
Stein. Xen. Anab. iv. 2. 12, vii. 4. 12, Eq. 5. 10 oi <j)0dvei re i£ay6fievo<s
6 IITTTOS Kal.... Aristid. i. 492, 511. Lucian ii. 584. Timocles (Ath.
407 d) Kal TavTci T£ \ etpfjTO ( P o r s o n for elprp-ai) Kal.... H e l i o d . viii. 8,
V. 18 aXX" a fa' ijXids re aVi'cr^£ Kal r;/i£is ayicvpav KaOUjXiv. Plat. Phaedr.
254 B Kal Trpos T' avrwi iyevovro Kal elSov TTJV O>]/IV KTL—ora£ei IS
rightly explained by Dr Verrall: ' The admonitory recollection of
experience is compared to a wound which long afterwards will ache
at times and even break out again, reminding the sufferer of the original
hurt.' I cannot go with him further in his reading and explanation;
but the root of the idea is a sore that oozes, bleeds, breaks out again.
And Iv virvwL is a most important part of it. Bodily disease may be
unfelt in the activity of day, but will disturb the sick man's rest upon
his b e d : D i o Chrys. ii. p. 169 R . ov&i yap voayffLa oiSiv OVTOJS a.vaio-0-qTOv
TOIS txpvcnv cJs firjSeTrore /3kdij/aL fxrj8k if/.Tro&iiv yevtorOai jU.r7Seyu.ias 7rpafea)s,
aXXa K&v iypr/yopon Kal j3a^it,0VTL fxrj (T<f>68pa ivo^Arji, EIS y€ rrjv KOLTYJV
amfvTTjcre Kai Siacnrai Kal 8ia<f>6ei'peL TOV VTTVOV. A n d as it is with bodily
diseases, so it is with the sufferings of a wounded spirit, which are
eloquently described by Achilles Tatius i. 6 ok 8' eU TO
•jrapTj\6ov, Zvda /J.OI KaOev&etv Wos r/v, ovK VTTVOV TV\^IV y}8vvdfj.7)v.
yap <j>v<rtt. Kal TaAAa voarjixaTa Kal TO. TOV cra>yuaTOS TpaiJ/xara iv VVKTI
Kal tTravciTTaTat /j.SXXoi' rffuv -q<rv)(a.£,ov(n. Kal eped^ec Tas
orav yap avairavrjTai TO (ru>/j.a, TOT€ o"^oXa^et TO IXKOS VOCEIV
TO. Se T^s t(/v)0S Tpa.vfA.aTa far) Ki.vovfj.ivov TOV owjxaTos iroAv fiaXkov ooWai.
Iv rffiepaL fiiv yap 6<f>6a.\fj.ol Kal SiTa 7roXX»js yifm^ofieva Trepitpycas eiri-
KOV(j>L^€i T^S vocrov TTJV aKfinjv, avTiTrepiayovra Ttjv ijjv^rjv TIJS eis TO Troviiv
tr^oX^s • lav b" ijcv^iai TO crtu/xa •Ktb'-qOrji, Ka6' eavrrjv rj ^v\r] yevofiivr] T<3I
KaK(3i KVfJLaiVtTai- irdvTa yap i^eyuptTai TOTC TO, TCIOS KOLfi.iafj.eva- TOIS
TTiv6ovo~iv al Xvirai, Tots /xepi/tvaJcrti' at cppovTiBes, Tot's Kiv8vvevovo~tv 01
<f>6(3oi, TOI'S e'pwo-i TO wvp. Conscience also ' chastens in the night-season,'
as they say in the Old Testament, from which many illustrations could
be drawn; the best, perhaps, are Job 33. 14. For God speaketh once,
yea twice, in a dream, in a vision of the night, when deep sleep falleth
upon men, in slumberings upon the bed; then he openeth the ears of men,
and sealeth their instruction, that he may withdraw man from his purpose,
and hide pride from man; he keepeth back man from the pit, and his life
from perishing by the sword. He is chastened also with pain upon his
bed, and with continual strife in his bones: and so on ; such act of God
is a x^P1^ /2'a'os—whom he loveth he chasteneth—to make man repent
 NOTES 187
and deliver his soul from going into the pit: 5. 17 Happy is the man
who7n God correcteth; therefore despise not thou the chastening of the
Almighty: for he maketh sore, and bindeth up: he woundeth, and his
hands make whole. Psalm 16. 7 / will bless the Lord who hath given
me counsel: yea, my reins instruct me in the night seasons. av/x(f>epei, as
we are told in the Eumenides v. 523, cria^povelv vwo arrevei, under the
deterrent influence of fear; and when fear was sent divinely to a man,
it was commonly in the time of rest upon his bed, in dreams (Job 4.
12—17, 30. 15—17, Wisdom of Solomon 17 and 18. 17—19); and such
fears, in the Greek vieiv, came by the agency of 8a.ifi.oves, black spirits
{e.g. Cho. 282—8): thus were theologised the twinges of a guilty con-
science, which Plato in Rep. 330 D—E describes as torturing a man
upon his death-bed with the fear of Hell, and causing him to start up,
like a frightened child, from sleep : he had ridiculed such myths before,
but now they rack him with the apprehension that they may be true—
whether it be merely from the weakness of old age, or because he really
sees those terrors plainer, being nearer to them. It was in dream that
the divine part of us waked and saw; euSct S<r, says Pindar in fr. 231,
Trpao-aovTiov /xeA.<W, it lies dormant while the limbs are active, but
becomes prophetic while we are asleep. Aeschylus can hardly not have
shared in the Pythagorean doctrine, and must, I think, include allusion
to it here ; it is his brevity in allusion to familiar doctrine that makes
his lyrics difficult, /XVIJO-ITT^OUV, like ixv-qo-io-retjiavo^ dydtv in Pindar,
means 'putting in mind of suffering,' and could mean both 'reminding
of the past' and ' warning of the future.'—irpo xapSCas is ' at the seat of
consciousness,' cf. 967, Cho. 390, Eum. 103.
192 f. 8tti|iovwv 8« irov x^Pls K-T.X. The particles Se irov ('and I
suppose,' P. V. 848, Plat. Phaedr. 270 E, Legg. 650 B) are often used of
some presumption that may be entertained about divinities. See Pers.
726 yvoj/x^s Be irov TIS Saj.fn.6vwv ^wijiparo. Bacchyl. v. 91 ra Se iron
IlaXXaSi £a.v9at. fieXet. Plat. Rep. 517 B #cos Se irov olStv el dXrjOrjs ovo-a
rvy^dvei. Soph. Ai. 489 Oeois yap <5S' ISo£e irov.—It might, however,
be suggested that the purpose of the lines is to contrast the gentle and
spiritual mode of correction existing under the reign of Zeus with the
turbulent rule of Ouranos and Cronos. For how, the poet would then
conclude, should man be grateful to and adore a deity who ruled the
world by main force ? Thus, with TTOV and fiiaiws retained, ' whereas
where is there any joy of deities who sit upon their awful seat
violently ?'
194. Kal TOT« means 'so it was then,' as KOX VVV means 'so it is on
this occasion'; in other words, both phrases are employed to mark
a particular example of a general principle: Pind. P. iii. 29 KXeirret re
188 NOTES

vi,v ov #eos ov /?poros fpyots oure /8ov\ais. Kat Tore yvous "I<r)(uos EtXari'Sa
£ewLav Kohav.... Agamemnon acted hastily, yielding without critical
enquiry (7ra#<W lyva) gives the contrast to fmvTiv ij/iytov), and so is
described as C/MTCUOIS ru'xato-t o-v/xirvioiv, ' letting his spirit yield to violent
circumstance,' which is the same thing as <ppevbs izviwv Svo-o-efirj rpoiraiav
in v. 229.
197 ff. oT)(j.irveW. Cf. Schol. Pind. JV. vi. 90 (55) •»/ IOLKOTOV (pW1
Kara ^tcTowt'av TOV <pepovTO<; /cat avrb (rvfnrviov rqi opyrji aivo TUIV trap
'0/j.tjpttii (A 573 f.).—The lyric method is to begin at the crisis and to
jot in points of description or narrative without regard to their logical
sequence.—Ktvayyci, famishing, is a Hippocratean word : lit. emptying
the vessel of the stomach. [Cf. ayyetov as used by Empedocles (A 74
Diels).]
211. irpo^pwv : cf. inf. 955 80/AOicrt irpovvexOlvTOS iv XprjarrjpLOKS.
212 f. xfl(5va PaKTpois «iriKpovo-avTas. T h e action shows their emo-
tion: see Horn. A 245, fi 80.
219. TraTpauous K.T.X. See cr. n. The reading of the MS. arises
through TO e£>7s, i.e. the tendency of the scribes to simplify the order of
the words, with pe£6poi<; substituted for pools.
228 ff. «rel 8' avd-yxas iSv Xe'iroSvov... T60«V TJ> TravTOToXpiov <(>poveiv
ptriyva: once he had persuaded himself that he was yielding to
Necessity, from that point he abandoned himself in desperation and
resolved to stick at nothing. This was a familiar idea, that ci.vd.yK-q
(of poverty or love, for instance) drives a man to do or suffer anything:
TheogniS 195 lirii Kparepij faiv avdyKrj ivrvei, f) T dvSpos rXi;//,ova 8rJKe
voov. 384 Trevlrjv jx-qrip' d/xij^ai/ujs e\a/3ov, r a StKata <pi\€vvre<;, rj T'
dvSp<av Trapdyei Ovfibv is dfnr\a.Kir)v, fiXdinovcr iv (jTr\Q(.<y<n dypiva.% Kpareprjs
OT dvdyKTjS' To\./JiS.i 8' OVK i6i\uiv aicr^ea TTOXXO. <f>epuv, xprjfxoavvrji eiKav, y
8r] KaKa iroXAa SISCUTKCI, ij/evSed T e^a7raras T' ovkoj/.iva'; T tptSas, dvSpa /cai
OVK iOekovra. A n t i p h o n 121. 12, P. V. 16, S a p p h o 2. 17. Hence
iravTo\/xos b e c a m e a regular epithet of dvdyia]: A. P. ix. 11 irdvra 81
ravr i8i8a£e TriKp-q irdvToXfAOs dvdyK-q. xvi. 15. 7 acr^/ia)v cvScta Kat
d 7rai/ToX/xo; aVayxa. M o s c h i o n , Telephus fr. 2 N . <3 xal ^eoj]/ Kpa.Tovo-a
Kat 8vr)Twv \h6vt] Motp', <3 Atrats drpeTm 8vcrTt]v<i)v fipOTUiv TrdvTokjx'
dvdyKtj, crjvyvbv 17 KO.T av^ivmv •qjxwv ipeihws Trjo~8t Xarpeias t,vyov. The
parenthesis /Jporois Opacrvva yap alcr^pOfi.TjTL's TaXauva TrapaKOira irpuiro-
•n-rjfjMiv describes the process by which dvdyK-r) produces this state of
mind: he is at his wits' end; dwxavi-q drives him to distraction
(irapaK07ra), fikdirTOvo-' iv aTTJOeaat <£peVas Kpartprji; vir' aWyK-^s, as
Theognis says; he abandons the restraint (o-axppoo-vvrj) which had hitherto
kept him in check, and gives himself up wholly to Opd<ro<s, the spirit of
bad audacity, bold recklessness and sin. Avdyn-q, therefore, acts in the
 NOTES 189

same way as "AT»J /SXaiptyptw, who makes a man <f>pevo/3Xa/3rj and leads
him astray into dviepbv 6pd<ros (v. 764).
The words Svao-efirj, dvayvov, dvcepov mean 'wicked,' 'sinful against
G o d ' : avayvos or Swrayvos always means ' polluted' by sacrilege or
bloodshed.
When used in a bad sense, roX/xa is much the same as flpcuros, and
expresses ' criminal wickedness ' or ' crime' in general; and -n-avTo-
TOXJIIOS or TravToXjxos is the strongest term of condemnation that can
be applied to man or woman, 'ready to commit any crime without
restraint of conscience.' This is the meaning of virepToX/xov <j>povr]ixa
and iravroXfiovs Ipwras in Cho. 591, 595 and aroX/xov ib. 628 is the
opposite. T\5.V and rXyjfxwv are sometimes used to the same effect,
as rXa/iovi Kal Travovpyiai X e 'P' ' n Cho. 3 8 3 : just as droXfiijTutv in V. 385
implies a 'wicked sin,' so arXijTa rXaa-a in v. 417 means in English
'committing a crime.' Similarly h-Xa in v. 234 is equivalent to ITOX-
ixyja-(.v in the sense indicated.
230. T<S9«V, ' from that moment,' might also be relative, picked up
by trXa S' ovv after the parenthesis ; but in any case it refers to avayKas,
as has been shown in the previous note.
232. See cr. n. The copyist assumed that yap must be the second
word, and therefore punctuated after /Spoi-ou's, the explanation offered in
t h e schol. b e i n g odtv eyvu> irai/Tos TOVS a.v6p<oirov<s roXfiav. I t was p r o -
bably another groping at a sense that produced the reading of M.
Similarly, the right reading (Heath) in Eur. H. F. 1126 is dpKei cnunrrj
yap jxadfTiv o fiovXofjLai; but ydp was assumed to be the second word;
a stop accordingly was placed after dpKti, and then to get a sense the
o was c h a n g e d t o ov : SO t h a t we find dpKel' o-ianrrj (or o-MDirrj) yap
ov f3ovXo/Aai.
237. •n-poT&.em. It is possible that, as in Eur. I. A. 433 '
TrpoTtXLtpvai TTJV vidviSa, there is an allusion to the pretended marriage
with Achilles.
239. [Mueller's correction was provisionally adopted. For the
form see the commentators on Cho. 349.]
243. irepiircTi): the adj. is passive corresponding to irepif3dXX<o riva.
ireTrXois. ' Where she lay, wrapt in her robes.'
246. <j>vX.aKcu. If the MS. reading is kept, it should be treated as
subject to KaTacrxciv. I n E u r . TrO. 194 rav irapa irpoOvpoi*; <f>vXai<a.v
Karixovcr t h e sense is ' t o k e e p watch.' Cf. P i n d . P. iv. 75 rbv /xovo-
KpyjiriSa rrdvTWi iv cpvXaKai o-^f^e/^cv ptyaXai.
257 f. TpiTdo-irov8ov...lirai.dva. Cf. HarmodlUS iv TCOI trepi TS>V Kara
QiydXeiav vo[i.ijiMiv, a p . A t h e n . iv. 149 C /ACTO, 8e TO SCITTVOV
eirotowTO...a7ro 8e TCOV <nrov$u>v 7ratav aioerat.
r9o NOTES
265. t<rov. So Eur. Or. 426 TO \xk\\ov 8' icrov airpa|iai Xeyco.—TO <Se
TrpoKXvetv added by m to 263 was a gloss on this word.
266. <rwop6pov atyais, ' full clear with the rays of morning'—a vague
but ominous reference.
268 f. TI58' &y\urrov K.T.X. refers to Clytaemnestra. ayxwrov de-
scribes her relation to the throne, which is expressly stated in the verses
following (Schuetz). It was the almost invariable practice of the Greek
stage for a character on the first appearance to be announced and
described for the information of the audience. So inf. 590.
is used several times in Homer of persons : so cpv/m (Eum. 704),
<fp/xa and the like.
276. eudyyeXos \i4v. The tenor of the answer with its repetition
of tvayyeXos from the previous speech corresponds exactly to Supp. 381
a y o s ^JXV...VfjLiv o ap7]y€Lv...
282. Cf. Plut. Catnill. 30 SaKpvovTes airiariai rrj% irapovcrT/s 770W17?.
283. «S -yap <(>povoOvTos 8(i(ia o-ov KaTq-yoptf. F o r a n e x p l a n a t i o n of
the full force contained in these words we must look to the records
of Physiognomy. In that science, so much studied in the East, it is
the eyes that give the most important signs and are the windows of the
soul : Script. Physiogn. i. p. 305 F o e r s t e r TO Si TTOXXO. TIOV ar]fj.€L<i>v KCU
TOL <rvvo\a Tots 6<f)0(xXfj<.ois ivLopvTai /cat u>o"irtp 010. irvXinv TOVToyv y] XJ/V^TJ
8ta<f>a.LveTai. ib. ii. 17, 409. 1 Samuel 16. 7 'for man looketh on the
outward appearance, but the Lord looketh on the eyes,' that is ; ' the
heart.' Leon. Tar. A. P. vii. 661 <f>v<riyvwfjnov 6 o-o^to-Trf?, Savos dtr'
6(j)6a.Xjji.ov Kal TO vorj/xa jxaOtlv. Eur. Med. 215. There are other passages
in this play which are explained by the same notion; see notes on 786
and 1427. KaTTryopetv, 'to argue,' 'prove,' belongs to the physiognomical
vocabulary (see Foerster's Index ii. p. 394—5), having been used,
doubtless, by old Ionic writers on the subject and retained as technical;
hence it appears in other writers often when they speak of what is indi-
cated, whether good or evil, by such outward signs. See Eur. fr. 690 TO
y «t8es avro crov Karyjyopti oiywvTos cos enjs ai/..., Philostr. Iinag. 29
(x>KVTr)Ta KaT-qyopzi TOV KWOS, Vit. Soph. i. 17 TTCI^O) Kar-qyopd TOV
dvSpos (ii. p. 19 and p. 380 Kayser), Heroic, p. 303 = 698, Aelian
N. A. i. 5, Heliod. iii. 5, Plut. Mor. 695 D, Schol. Theb. 109 : there are
also some examples in the Dictionaries which should be classed under
this head.
287. XdKoi|ii is Karsten's correction of the MS. kafioifju, which
cannot bear the sense attributed to it here—' I would not accept the
mere fancy of a slumbering mind'; that would be ov8' av Sexo'/"?" Sofav
evSovo-iys <t>pw6s. But &6£av Xafielv is used only in the following senses :
(1) to get reputation, with or without an epithet, or with a genitive repu-
 NOTES 191

tation of or for; as \a/3ei,v alrtav, hraivov, ij/oyov, oveiSos, evi<\eiav, 81a-

fioXrjv, <f>96vov, O.I(T)(VVT)V, yeAwTa etc., (2) to conceive a notion {of), entertain
a conception {of), as Xafiuv evvoiav, (fiavTaacav, vo-q<riv. But Sofav or
86K7]<TIV Xeyeiv is to state mere opinion as opposed to knowledge (Eur.
/. T. 1164, Bacch. 628, Heracl. 395, Soph. Track. 426, Hdt. vii. 185) :
XaKoi/xt is a stronger synonym of Xeyoifu (see on 619), and now the
emphasis falls where it should, on 86£av.
• 288. The old men assume that she has only ordinary woman's
reasons, dream or rumour, as in Eur. Hel. 1190 irorepov ivr-v^ois ?re-
iru(TfJ.ivrj areveis ovetpois -q (jidrti/ TIV O'IKOOCV K\VOV<TO. ;—iiriovev is a
heightened synonym of t8p<n[/ev: Bacchyl. iii. 67 ocrrts fxrj CJ>$6V<M wiai-
vtrai, P l u t . Mor. 516 D -q ifyvyrj.. .fiou-KOvcra. Kal iriaivovcra TO KaKorjBvs.
Similar is the use of av^uv : Ath. 782 d av^ti yap KOX Tpe'^et fieyaXvvei. re
TTJV ij/vxyv rj kv Tots TroTois ScaTptfirj, Pind. N. iii. 58 iv dp/xeVoio-i iraai
6vf/.bv av£<ov, Bacchyl. i. 52 iOe\ei 8' au£eiv ifipevas avSpo's (sc. irAovros).
So eX-n-t'Si Tp€cf>€a-6at is varied by /Soo-Kecr^ai, o-LTtitrBai {inf. 1668), <f>ep-
(3eo-8ai: see Class. Rev. xv. p. 102.—airrepos <J>dTi.s, of which fantastic
explanations have been given, means a ivinged, or metaphorically a
wing-swift rumour. $»;'^, fama, was a thing that flew : Hdt. ix. 100,
101, Telestes (Ath. 616 f), Orph. Arg. 596 ; fama uolat. It should be
observed that when the phrase rrji 8' a-Tnepos hrXtro /xC^os occurs in the
Odyssey, it seems always to denote a certain obscurity in the speaker's
words, which causes them to fall short of the hearer's intelligence. Thus
in Od. 17. 57, when Penelope has questioned Telemachus about the
result of his voyage to Pylus, and Telemachus, who has just recognised
his father at the swineherd's hut and been commanded to keep silence,
has made an evasive reply, the meaning is that the full intention of his
speech was hidden from her. In Od. 19. 29 Telemachus makes no
direct answer to Eurycleia's question about the torch-bearer who would
be required, and it is implied that his words had a hidden import in
reference to his father which failed to reach her. In Od. 21. 386
Eurycleia failed to understand that the slaying of the suitors was
implied in the speech of the swineherd. In Od. 22. 398 Eurycleia,
when invited to enter, beholds to her joyful amazement the bloody
corpses of the suitors lying on the ground.
However this may be, the old poetical word a-m-cpos was used by
later writers of things which though wingless are swift as with wings,
wing-swift, like the Flying Dutchman. And in this sense dirreptot rdxa
was a favourite phrase (fully illustrated by Nauck, F. T. G.2 p. 922):
we find -KTf)v5>i rdxei sometimes used instead. In the same sense—the
usual explanation of the grammarians is T<XX«OS or <U<£M§MOS—was used
the adverb d;rr<:pu>s, or d,7TT£pe(os (lengthened like di//o<^eous for the
193 NOTES
purpose of dactylic verse), a-m-epos or airrepov; should probably be read
in P. V. 707 : see/ourn. Phil. xx. p. 296, where further illustrations are
quoted.
298. iro'vTov <i'o-T€ vuTto-ai may be either ' t o put the ocean at his
back ' o r ' t o skim the broad back of ocean.' The passage is incom-
plete, and the line which follows cannot be explained with any certainty.
[The translation favours Weil's view that the gloss of Hesychius,
pa-a TrojUTrifiov <f>\6ya, which Dindorf wished to substitute for
Kaiovcra. TISV eip^tVcuv in 313, formed part of a passage which has
been lost here.J
299. It is possible that there is an allusion to Ischys, the son of
Elatus (pitch-pine), who intrigued with Coronis, daughter of Phlegyas,
when she was with child by Apollo.
305. <rr)|ia£v«i |ioX<Sv may mean 'signified his arrival,' as translated
(cf. 960); or simply 'arrived, giving signal,' [as in Soph. Ant. 1208.]
316. [it[ xpoviieo-Qa.1: see cr. n. So in 1670 xpovcoi a n d x°-PLV are

confused.
318. iru-yiDva : so Troyiovt'as in familiar use of a comet.
319. KaToirTT)v : see cr. n. This is the form which analogy supports:
cf. fr. 304 TOVTOV 8' iTroirrqv tTrojra TCOI' avrov KCIKCOV, sup. 299 7ropevTov
Xa//.7raSos, Ar. Au. 57 TOV TTOTTJV \V\VOV. See also Stat. Silu. ii. 2. 3 celsa
Dicarchei speculatrix uilla profundi. In Theb. 631 cod. Viteb. has d'vSpa.
T(.V)(I(TTOV for avSpa Ten^a-r^v, and in Anacreont. 40. 10 <f>06vov ova olSa
SCUKTOP Pauw restored SatKTijV.
320. io-KXftycv: turn demum terrae incubnit cum ad Arachnaeum montem
uenit.
321. For mt. Arachnaeus see Pausan. ii. 25. 10, Steph. Byzant.
p. 11 o, 4 'kpayyalov • opos "Apyovs.
322. es T(S8e: see cr. n. In Eum. 755 M has oy where 08' is
preserved by the other copies, and in Soph. O. C. 860 F has TOV y for
TOVS'.
326. irp»Tos Sparely, though it could mean ' to start first,' usually
meant ' to finish first,' and the play of words (which may have been
familiar in the case of torch-running) depends upon this ambiguity.
The light from Ida ran both first and last, as starting first and ending
last; the light from Mount Arachnaeus ran both first and last, as start-
ing last and ending first.
331. is Xfyevs, 'your version of this t a l e ' : see cr. n. Perhaps we
should read tms Acyots (the optative following OiXoi^ av), as CODS ay
is now read for cos av in Soph. Phil. 1330, Ai. 1117, O. C. 1361 : this
would be 'so long as you should speak.' For the optative see Goodw.
M. T. § 531, who quotes Plat. Theaet. 155 A.
 NOTES 193

335. oti ef>C\ws might appear to belong to Trpoo-evviirois (Soph. El.

1471 vpo<T7)yopuv <£i'X(os, O. C. 758 Trjvhe. TTJV TTOXIV (piXws el-rrdv, Eur.
Hipp. 793 evcj>povw! irpoo-evvcVeiv), but sense requires that it should be
joined to Sixoo-TaroiWc ' unfriendly separated.' Many editors accept
Auratus' Si^oo-TaTovvT av, ov <f>i\(o ' separated, and not friends,' which
may well be right.
348. &iraX\ax8&T6s is corrupted to d7raXXay«VTes f h. So for Kpv<p8ek
we get Kpv<f>€is and even K/DV/JCIS. See also on 737.—cis 8' riSa£|ioves,
'and how blest!' exclamatory, as in 1235 ok S' ZiruXoXv£a.To. This use
of ok and ocro;, in combination with Se, is very common in Greek verse,
but sometimes escapes critics because Greek does not use the note
of exclamation. Cf. Ar. Eq. 269 ok 8' 6Xa'(,u>v, uk S« fjLdaOXrjs, Dem.
21. 209 TOV 8e f3a.<TK<xvov, Toy SC oXtBpov, TOVTOV 8e vfiSpi^uv avaTrvciv
8e, Lucian i. 5S 2 °<JOV &£ K a ' a^OTrvci fLvptov, uk Si Kal ar<f>aXepbv /SaSt^ti.
So the text is quite sound in Eur. Supp. 901 iroXXovs 8' epao-ras nairo
6r]Xiiu>v o<ra<s ixwv> typovpn firfilv i^ajxaprdvuv, where Canter con-
jectured To-as, which would be correct if instead of TTOXXOVS a definite
number had been named. Liban. iv. 116. n //.era TOVS TroXXovs TTOXC-
/JLOVS, jOteTa r a s TroXXas jaa^as Kal dpiorttas Kal TpoTraia, KOI OdXarrav
oo~r]v, 'and all that sea!' Tzetzes, Chil. vii. 39 hnrmv re TOIS apScv/iao-i
TOVS ffora/ious £r]pdvas aXXa re noaa f3dpftapa. Spdaas eh iirnrXyt;eis.
Damoxenus fr. 3 (iii. 353 K.) -q 8' cvpvd/xia TO T ^ O S y ra^is ff 00-17.
It was a commonplace in praise of Peace that you could sleep the
whole night long and were not wakened by the trumpet in the morning
just when sleep is sweetest: Bacchylides fr. 2. 9 J.
XaXKcav 8' OVK COTI uaXiriyyiav KTVTTOS,
o&8i (rvXarat [/.eXitf>pu)V tnrvos a7ro f3Xecpdpo>v
duJios 6s OdXwei Ktap.

Polyb. iii. 433, Schweigbauser Suv avap.vr](rOijvai rows avvtSpovs Sto'rt

TOV opdpov €v fjikv ™ TroXefiLio 8ieyeipovcrLV al caXiriyyes, Kara 8c
01 opviOts, a saying quoted by Plut. Nic. 9. So d<f>vXaKTov =
'without a watch to keep.'
350. tva-tpova-i. need not be altered to eS o-efiovo-i (Scaliger). In
Lyric you would say t3 o-e/3fiv (eicrefiovvTes in Eum. 1020 is perhaps an
exception), ev Xiyuv, ev dapo-uv: elsewhere tuXoyciv etc. The edd.
unnecessarily restore ev 8apo-ciTt in Theb. 34, and Cobet wrongly rejects
Karrjfpus in Eur. Med. 1012.
352. oiiTOV«X.(5VTCS a«6is avflaXotev &v : the combination is proverbial.
Zenob. i. 35, Diogen. i. 33 alpovvres rup-qfi-ea-Oa, Suid. S.V. alpijo-u> d
Ael. N. H. i. 29 alptl TOVS opviOoOripai rjiprj[t.iv7), Opp. Hal. ii. 133 oX
8' oXiKovai KOI ovs iricpvovcn (povrjas, Xen. Cyr. vi. 3. 20 & ol K
H. A. 13
i94 NOTES

KvuXwOdw, A. P. ix. 14 ETAE 3' dXov's, Soph. O. C. 1025 txwv *Xtl> K<u' "•'
eTXe 6ijpmvff rj ™'XT? : such phrases for ' t h e biter bit,' 'turning the tables,'
or ' catching a Tartar' are favourite in Greek and Latin.
353 f. She is still imagining the scene. H-^I «Htir''lrTTlt could not
refer to the future; we must have had /XT) ifxirea-rji, as in Pers. 128. So
above d tv<j£J3ov<n can only mean ' if they are reverencing.'
357 ff. Oeois 8' dva|nrXdKi]TOS «l |i<5\oi orpards,
eiij-yopov TO Trfjjia TOV OXWXOTIOV
yivon' a v , — e l •n-pdViraia |A^ TU\OI KaKa.

This is somewhat darkly worded for the sake of double meanings.

To their intelligence she says: ' The only danger to be apprehended
now is that they may commit some sacrilege, which would bring the
vengeance of the gods upon them; otherwise, if they arrive without
having offended against Heaven, the human discontent at home caused
by the losses in an unpopular war is likely to be reconciled, to hush its
murmuring voice and welcome the returning Princes with good words;
there is nothing to be apprehended here, unless some accident should
happen to them.' 1-0 7rrjfji.a w 6A<DA.6VW, 'the grievance of the lost'—•
the wound that each home suffers for the loss of its dead kinsman, the
growls under the breath at the unworthiness of the cause, the festering
resentment against the Princes growing under the surface like a spread-
ing gangrene, and the grave danger that the angry murmurs of the
people may result in insurrection, are the theme on which the Elders
dwell in the succeeding chorus (455 ff.):
' dXXoTpi'as Siai -yuvatKOS,'
TaSe criya TIS f3av£et,
(f>6ovfpov 8' vir' a\yos
S i s 'ArpeiSats.

/Sapaa S acrrwy <£cms (rvv KOTIM,

Srj/AOKpdvTov 8' d p a s TiVei XP e 0 S >
However, as Clytaemnestra anticipates, this bitter feeling has abated
by the time the King arrives; evcf>pd>v 7701-05 ei> reXe'crao-ti/ is the note of
his reception, 'good ends make all amends' (v. 797).
But the covert meaning for herself is that her own sore Trrjfxa—the
word she uses with the same concealed significance in v. 856—her own
grievance for the loss of Iphigeneia will know how to put on fawning and
effusive welcome, as of course it does when the time comes; her
daughter's death she does not even mention—but a 'sudden stroke' may
fall upon him unawares !
It is for the sake of this that she selects the word elijyopov (Eubul.
'08. 1), a synonym of ev<prniov, as evayopia. (Callim. Lau. Pall. 139)
 NOTES 195

of ei^ijfiia. She anticipates her own long-drawn smiling welcome

and laudation, ev<j}poo~w Several Adyois, inf. 1227 ola yAuxro-a... A.e£acra
Ka.KTuva.cra. <^at8pdi/ous...T€ij^eTai; which is what the Chorus hint to
Agamemnon in 779 — 800, and what he understands, 821—831.
The MS. reading is supposed to mean ' And (even) if they came
without offence towards Heaven, (yet) the soreness of the slain might
become wide-awake, even supposing no sudden accident befel them';
except that eyp-qyopos yevoir av is usually slurred over and taken as
though it were eypjjyopos elrj, ' would be on the watch.' But some
word of favourable sense appears to be demanded by the order of
the words. iTrriyopov...yivoiT av, if we read it, would be 'might turn
accuser'; the <p9ovepbv aAyos of the Argives on account of their be-
reavements (457) might give its discontentment voice; but my objection
to that sense is still the same, that the Greek should then have been
ei 8e Kol 6eoi<s ava/XTrAaKijTOS jU.0A.0t o-Tpards, aAAa TWV y 6\OIX6TWV eirr/yopov
(or eypijyo/Dos) ye'von-' av TO Tr-rjfxa.—The last clause is added like an
afterthought, correcting a too confident expression, as Horn. A 60,
Soph. O. T. 969, O. C. 1450, Track. 586.
361. TJ> 8' ei KpaToCi] : Supp. 985 eh) he ra X&uora, Dem. 4. 51
viKioir) b" o Tt 7rao"tv vfilv fj.lX.Xu (jvvoLauv.
362. T?|V 8vii<riv, ' t h e due fruit.' Cf. Soph. fr. 533 a'AAA i w
•jroAAaiv Ka\<Sv TIS x"P t s > ' The blessings are many: what I want is
their enjoyment.'
365. 06ois irpoo-enretv ai Trapaa-Keud£o|j.cu: SO Ar. Au. 226 OVTTOIJ/
/JUXIDBCLV av •Kapo.<jKeva.£1ZTa.i, Thesm. 99 criya.- fxtXiaSelv av
They never said dtovs ev Trpoauirelv, but used the verb alone,
irpoaavSav, irpoatjxDVUv, irpoirevveTruv, Trpo&ayoptvetv. O b s e r v e that in
Soph. Track. 229 dAA' ev /ACV ly/xeO', ev 8e irpoo-tfxovovfiieOa. t h e r e is a
special reason for the addition of the adverb. In Eur. H.F. 599 Paley
was wrong in taking KOAJJS with irpoaenre.
368. Kd(j-(j.a>v. The Pythagoreans called the stars KOO-^OI [Aet. ii.
13. 15, Diels, Doxogr., p. 343, 7].
374 ff. hha. TOI |«viov: ' It is Zeus Hospitable, I say, who is the
author of this act; if the vengeance has been long in coming, let that
cause no doubt; it has only been deferred in _order that the stroke
might fall the surer.' Such is the connexion with the following lyric,
where the sentiment is taken up and developed: eivpa^ev uk eKpavev.
There is a strong stress on Ala TOI as there is with <rv TOI, <re TOI,
which is only one case of a more general use. TOI makes an appeal
to the knowledge or conscience of the hearer and so is often used in
assertion, as ovrot, in negation, to lay stress upon the word it goes with.
Examples are inf. 913, 1031, 1039, Cho. 913, Supp. 375, 545, Eum. 758,
13—2
i96 NOTES
Soph. El. 582, 624, 773, Phil. 1095, Pind. P. v. 122: so in e« twvU
TOI ' / t o is the reason,' z'»/ 867, 1603, Cho. 1054.
379. 'Aibs irX.<ryav ?Xo^t"-v' K.T.A.. The lyric takes up the preceding
declaration and confirms it: ' It is the stroke of Zeus that they have felt
may safely be pronounced, and if we follow out the sequence of events,
the act and its motive can be traced to him. It was his act, and his
act was the execution of a determined purpose. It has been said that
the gods do not concern themselves to visit sin: an irreligious lie!
Here is a manifest proof that they do visit it; for the destruction of
Troy is evidently punishment for the presumptuous sin of Paris. This
is the reward of those who are made insolent with riches and righteous-
ness.'
There is a chorus in the Hercules Furens of Euripides precisely to
the same effect as this passage, and closely resembling it in language.
It is sung after the triumph of Heracles over the murderous usurper
Lycus : his dying cry is heard within, w nacra KaSpov yaT,
SO'AUH : and then the Chorus rejoin :
747 KOLL yap SuJAAvs* avriiroiva 8' eKTivtav
ToX/ua, 8180W ye T<J>V SeSpafieuwv 8iKrjv.—
Tts #eoi>s dvofJLiaL \paivuiv OvqTos &v
a<j>pova Xoyov ovpaviwv //.andpaiv
Karif3a)C <Js ap' ov aQivovcnv Oeoi;—
yepovTes, ovKer t o r i Svmrifirjs avtjp.
773 Oeol 6eol T(jt>v aSiKbiv
KOU T<J>V CHTltOV i

6 xpvcrbs a T evrv^ta
<j>pevwv /JpoToiis i^dyerai
Svvacriv aStKOV i<j}i\Kmv,
but Justice shatters them in time.
802 TTUTTOV JXOL TO na\aibv rj&y]
Xe^os, ih Zev, TO <JOV OVK
iir eAiri'Si tfrdvOrj,
Xa/jLTrpav 8'
rav
809 Kpucr<T(ov /u.01 rvpavvos <i<f>v<;
r/ 8vo"y€f€i' avaKTwv,
a vvv icropwvTi cpaivti
£i<f>r](f>opij>v cs dywviav
a/JuWav el TO SIKCUOV
6eols I T ' dpiax.li.

'The base-born usurper affords manifest proof, when you regard

the issue of the contest, that Righteousness is still pleasing in the sight
of Heaven.'
 NOTES 197
Blomfield pointed out that irXayav Ixovviv must be taken together:
but few have heeded. irX-qyriv, IXKOS (Herod, iv. 60), rpavfia, l^uv are
regular expressions for 'to be wounded,' lx*lv serving to form a passive as
in airia.v l\w, etc. cliretv irdpeariv is ' that judgment may be pronounced
indeed'; as in Theb. 906 irapicrTi S' ciireu/ iir' adXioiaiv (us ipidr-qv... and
Philemon, fr. 108 ' KaXbv TO dvijio-Ktiv ecrrtv iurt TOVTWI Xeyeiv.'—-For
IfiXvevo-ai cf. Supp. 89 At6s i/A€jOos OVK iidijpaTOi irv^Orj.
381. See cr. n. The first ok was inserted to explain the con-
struction. Cf. Schol. Supp. 441 XeiVei TO on.—OVK fya. TIS. It has
been supposed (Jebb on Soph. Ant. 620) that Diagoras of Melos is
referred to, and the allusion suits the reason for his atheism given in
Sext. Emp. Math. ix. 53, that the guilty are not punished : dSuoyfleis vim
Ttvos iTTLopKijaavTOs KOL /jLfjSkv "kvtKa. TOVTOV wa86vTO<s. [But it is very
doubtful if he can be placed so early: see e.g. Gomperz. Greek Thinkers,
E. tr. i. p. 577.J
385 f. The MS. reading (see cr. n.) is meaningless. We can
quickly clear the ground; for a little reflection will admit what Karsten
and Weil have pointed out, that there is no place here either for cfcyoVov?
or for "Apr) wveovTtav: Paris, who is the sinner (v. 409), has paid for his
sin in his own person; and the subject of the passage is the retribution
following sin that comes through a spirit made insolent with riches;
whereas "Aprj TTV(.6VT<DV /x.el£ov' 7} SIKOUUS would condemn him for a spirit
over-bellicose! Hartung's reading therefore, IKTIVOVO-O. ToX/xa T W "Ap-q
•n-veovTuiv KTI., besides giving an unparalleled caesura, is untenable for
sense: nevertheless the chief part of the credit is due to him for tKrivovo-a..
For aprj I merely restore apfy havoc, destruction by the sword, a word used
by Aeschylus in Supp. 86. No accusative is now required with IKTIVOVO-CL,
because aptj is itself the penalty—a turn of phrase exactly paralleled
in v. 1512 "Ap^s SIKCCS Trd\yat KovpojBopwt Trape^et. There is the same
conception in 760—6 (Sa.iju.oya •nrai>) and in Cho. 643 (rivtiv /iucos).
389 ff. virJp T6 PCXTLO-TOV, i.e. ' beyond due Measure' (virep TO p.erpov).
But it is not necessary to read with Weil /xcVpov TO (HXTMTTOV, though that
is in any case the meaning: see Paroem. ii. p. 80—2 Leutsch, for the
proverb irdvTuiv fxirpov apuTTov, Lucian 1. 756, and Aristotle, Index s.v.
p.io-0% for fit\.Tto-Tov. The reference to Troy is illustrated by Homer N
621 Tp(3e? V7rep<f>ia\oi, Bacchyl. xii. 158 rj /icyaXats (.Xiricnv TTVUOVTK
v7rep<j>iaXov...Tpm€^ linrevTai. In the following words the definition of
TO p.erpov is laid down as 'Sufficience, clear of harm, with an ample
endowment of understanding (o-vvecri's),' as Pythagoras p.r]Kio-Tov Trpam'Su)!'
iKTijo-aTo TVXOVTOV according to Empedocles (fr. 129, 2 Diels); or
'sufficience for one well-endowed with sense.' dir?i|iavTov dirapKctv
means £X£tI' °<J°v diro^ijv a/3Xa^3<3s (Theognis 1153), as i^apniuiv KT€O.TVJO-I.
198 NOTES
in Pind. O. v. 24, twew T' OV ot/ceiW ex" Bacchyl. i. 57, Solon 5. 1
8rjfxu>L p-tv yap eSoDxa rotrov KpaTOS, ocrcrov eTrapKei.
3 9 5 . els dcjxiveuiv: that is orav T77V StKiyv TIS dtjtavurqi. Cf. Trag. fr.
in Stob. .Ef/. i. 3. 45 (fr. adesp. 418 N . ) dcf>poves 8' onoo-oi TO 8Uaiov
ayova-' vvb ras d S t W floras a g a v e ' s . Max. Tyr. 3 1 . 2 6/xoXoyiav eirai
Sei epyov Kai Xo'you, Kai /xrjre TO. cpya eis d<j>dvuav KO//.1S771 {jweXyXao-dai KTL
3 9 6 . piarai 8' a rdXauva n6i6<i: [for the significance of Persuasion in
connexion with v/?pis, arrj, and ik^is, see Cambridge Praelections,
p. n S ff.].
397. The reading of the MS. (see cr. n.) is not a metrical line at
all, apart from strophic correspondence. irpopoilXov irats (Hartung) is
right: Soph. fr. 533 iroiKtXo^VtScs arai, Cho. 645 TCKVOV 8' eiretcr<pepei
8dp.ots alfj.d.T(i)V Tra\aiT€p(i)V rive.iv fxvero's \pova>i KXDTO. f3vcrcro<f>p<tiv E p i v v ? ,
like H e c a t e in Macbeth, ' the close contriver of all harms.' irp6(Sov\o<r
irala- was probably t h e first stage in the error.
398 f. &KOS recalls Hesiod's vrjueo-Tov dacrOrji quoted on v. 469.—•
o-Cvos, mischief, is a synonym of arr] or /3Xd/3rj: for "ATTJ ySXdirTovo-'
dvOpwTrovs see Horn. I 505, T 9 1 .
404. iroTavbv <ipvi.v is an allusion t o IX-H-fa: wTijvas SKOKEIS, <3 TCKVOV,
TOIS cA-n-i'Sas Eur. fr. 271. In Soph. Ant. 615 l\ir'i<i is a iroX-uTrXayKTOs.
H o p e of wrongful gain, Ambition, is a stage on the road to ruin:
T h u c . iii. 45 ij re eXiris xal 6 epw<s eirl iravrl irXelcrra (SXaTrrovcri,
V. 103 IXTTIS Se, KIVSVVWL TrapafxvOtov ovira,, rovs fiiv airo irepiovcrias )(pm-
/«.€VODS avrrji Kav /3Xaip7]L, ov Ka^ciXc • TOIS 8c es a7rav TO inrdp^ov avappuirrovui
(SaTravos yap <f>vcrei) djxa re yiyvtotr/cerat a<f>aXivT(iiv, KOU ev O'TOH £Tt <f>vXd£era.L
Tts avrr/v yv<Dpt.cr&ei<Ta.v, OVK iXXecTrei. Plut. Pyrrh. 26 oirra ynev e^hretre
T<Sv 'IraXiKiSv Kai SIK^XIKCUV 6 IIvppos eX^i'Saw, I'O/xicr^ets a Tats irpd{;e<Tiv
eKro.ro Tais eXiricriv airoXXvvai, 81 epcoTa. T(3v a7rdi/T(ov oiSei/ £is o Sti
6eo-6aiTwv vrrap^ovrtav (f>9do-a's. Pind. P. iii. 19 dXXa TOI | ypa.ro rwv a7redvT0)V
01a Kai TTOXXOI TTOLVOV eo~rt oe <f>vXov ev av9pu)7roio~i fxarcxtoraxov, ocTts
aicrxwcov ein)(<opLa iratTraivei ra. Tropcra), | fxerafxtavia Orjpevwv a'/cpdvTots
eXirto-iv. I €O-^e roiavrav /xeydXav avdrav \ KaXXnreTrXov Xijfxa Kopwvi'Sos.
T h u c . IV. 17 p-7 TraOeiv oirep 01 diy^oDs TI dya^ov Xa/xfidvovres r<Sv dvBpunrwv •
aei yap TOD TrXeovos tXiri'St opeyovrai Sia TO Kai Ta TrapdvTa a'SoKijTus
evrv)(rjo-ai.
405. See cr. n. What the MS. gives is merely a case of simplex
ordo, as explained in my paper on Transposition of Words, Class. Rev.
xvi. p. 243.—Trpdo-Tpi.(j.(ia suggests f3do-avo<; ( 4 0 1 ) : Max. Tyr. 20. 3 rbv
jxlv yap xpva-bv f3aoa.vi£,ei Xfflos -n-potrrpifio^evov airfji.
418. 8o[uov TrpoctnjTai. ' s p o k e s m e n of the h o u s e ' are m e m b e r s of
Menelaus' household whose gossip voiced abroad the condition of
affairs within ; gave whispered utterance to the private and domestic
 NOTES 199

grief of the deserted husband. These revelations they convey in

guarded language like the Chorus in the Choephori, 45—82, not
mentioning names, but saying 71-po/ioi, d<f>rnj.evuyv, uVepirovTias, dvSpt, TIS.
For trp. with the genitive cf. Athen. 187 b, 6 8' "EmKovpos'diravra.%eicrr/yaye
d
421. See cr. nn. The reading of the MSS. is neither sense nor
metre: with o-i-yas ompoiis dXoiSdpous Hermann restored both. The
corruption was introduced by some scribe who failed to perceive the
construction of irdpea-Tiv I8uv—thought that it required a nominative.
Just the same thing happened in Eur. Tro. 36 -n)v 8' dOXCav rrjvS' el n s
tirropav 6t\ti, TrdptaTiv, 'E/caySiji' Keijxivqv irvXwv 7rapos: where inferior
MSS. give irdpea-Tiv 'EKOI/3^ Kuiilvq. What aSicn-os should be is uncertain.
d<f»i|ji6/a)v, 'sitting apart': of Achilles sulking in his tent in Horn. O 106
0 8' a^/aevos OVK a\cyi£ei ov8' oOzrai (with which Leaf compares ® 207,
A 81). Add Hdt. iv. 66 ^ri/Moyneeoi diroKaTearai. Mourners are
constantly said to sit moping, e.g. Horn, K 497, £ 41, IT 145, Epictet.
ii. 16. 33 KAaiKTtis Ka6ij/J.evo's (us TO, 7raiSia; SO il. 24. 25 Tt ovv iKelvov
(Achilles) to^eXei ravra, oVav KaOrj/xevos «Xan/i Sia TO KOpaaiBiov; iii. 13. 9
fj.e\\(D Ka0^fj.€vo<; KXaUiv, o n fnovos aTrcAete^^ijv Ka'i iprjfios j iii. 24. 8
av S« TIS awoSruxTJcrrji rmv arvvtfOw, KaOrj/xivoi K\aLti)/j.w \ see Ka07)jJ.ai. in
Upton's index. So ' By the waters of Babylon we sat down and wept,
remembering Zion.'
424. 8d£a. Attic puts Sdfctec av where the Ionic writers say cpeis or
the like: so Herodas, e.g. iv. 31.
427. 6(i(j.ttTwv 8" kv dxivfais 2ppei irdo-' "A^poSCra is precisely like an
Orphic line quoted by Lobeck, Aglaophamus, p. 951 x^P^v 8' 6\Xvfi.€v<av
Zpptv -jro/Wpyos 'AOijvt], ' with the destruction of hands, Athena, the
goddess of handicraft, was clean g o n e ' : and so all spirit of love, love-
sense, is departed in the lack of eyes, which are the channels of desire
(i/iepos), and were created, according to Empedocles, by Aphrodite
(frs. 86, 87 Diels).
429. ir6vflifj|ii.ov6s of the MSS. is contrary to the sense : 7T£t^^oves
Housman ('si dicerentur 7rei^/xoi/£s, intelligerem' Karsten) rightly:
v. 286 ovupuiv ^atr/tar' eviriOrj. Tryphiod. 456 (Aphrodite) irpoa-i^r}
irtiOrj/xov1 <f}<tivrji.
431. This line has caused much trouble because the sentence has
no finite verb; yet 8OKU>V opdi, the most plausible of the conjectures,
cannot be right, because Greek never said SOKWV opm, always 8OK<£
opav. The verb is in fact omitted, with dramatic effect: ' For oft, as
dreaming that he beholds his joy, he would embrace.' This is quite
common in Greek writing : Semon. Amorg. 7. n o K€^r;i OTOS yap dvSpos—
01 8\ yeiroves xaipova' opuSvTts, Philem. 126 ju.Cs AEUKOS, orav avTijv TIS—-
200 NOTES

^ Xeyuv—KeKpaye... 4. 15, Xenarch. 4. 16, Theocr. i. 105

ov Xeyerai rav Kvirpw 6 /SOUKOAO?— ; Lucian i. 242 iya> Se 178)7 TTOTZ TTJV
'Atf>po8iTi]v—d\\' ov xpv a-ix^v, iii- 178, i. 232, 274, A.P. v. 34, 184. 5,
128, Priap. 82. 6, Verg. Eel. iii. 8, Ar. Vesp. 1178 Blaydes. Soph.
O.T. 1288 TOV irarpoKTOvov, TOV tx.r)Tpos—avSwv dvocri ovSi prjTtx ju.01,
L u c i a n iii. 296 TTO\V TO ' iav 6 iraTijp—KOL Kvpio<; yeV<D/xai T&V Trarpwitov,
[KOI] TTOLVTCL ad,' Ov. Heroid. xiii. 164. Cf. inf. 503 (as Ar. Lys. 33, 37),
1095, Cho. 193, 1030, Eur. Tro. 713.
To the passages already cited in general illustration may be added
Lycophr. 112—4, Eur. Hel. 35, Meleag. A.P. xii. 125, Hor. C. iv. 1. 37,
Theocr. xxx. 22, Eur. Ak. 348—356.
«<r9Xd here and elsewhere = the Attic dyatid.
434. KtAeij&Hs of the MSS. was an easy error for K«X«tiflii>v (see
cr. n . ) : when there was the choice, Aeschylus can hardly have preferred
to make the sense less lucid by an assonance less pleasant to the ear.
For the sense cf. Lucian ii. 711 (of the Dream) irT-qvoi wV, d!s <f>aa-L, KO.1
opoi/ exwv riji wrr/creus TOV VTTVOV.—Milton must have been thinking of
this passage, when he wrote ( / / Penseroso, 6—10) :
And fancies fond with gaudy shapes possess
As thick and numberless
As the gay motes that people the sunbeams,
Or likest hovering dreams,
The fickle pensioners of Morpheus1 train.
436. iireppai-wTepa, or vir£p4>a.T<i>Tepa as Herwerden proposed. It is
an extremely easy alteration, and so would be 6 iroXvcfiaTos T dytav
fZpoTuiv in Theb. 759, if not in Pind. fr. 75 : cf. P. xi. 47. Horn. /? 50
and the oracle in H d t v. 78.—inrtpfiapTov in Aesch. fr. 99. 21 may be
for vireprfxiTOv or vwip/3aTov.
437 ff. TO Trap 8' d(f>' "EAAaSos atas crui/op/xeVots of the MSS. is
impossible rhythm here: it would be a single unrepeated logaoedic
figure in a stanza of quite different rhythm. See cr. n. From the
private grief of Menelaus while he sat at home we pass now to the
general multitude at large, the warriors across the sea at Troy and
their kinsmen, whom they left at home in Greece: what of the warriors ?
In their homes too the due and fitting behaviour towards them is
mourning, irpeim governs the dative o-uvop|i«vois: for a victor, acclama-
tion is the proper tribute, Pind. N. iii. 67 jioa. <Se viKa<$>6pu>i o-vv 'Apioro-
KAet&u 71-peVei; the proper tribute to the dead is (also praise, but in the
shape of) regretful lamentation. And -yow depends on irpeiriL: well,
they may, there is reason enough, surely, why their houses should
behave so.
'broken-hearted,' as drXrjatypwv (Hesych. dT\7)<ri<f>po>v:
 NOTES 201

TOA.JU.JJS evvoiav «X&)V)- T h e MSS. give •KtvOtia T\ijo-iKapSios, t h e

opposite of the sense, and a contradiction in terms: P.V. 169 TIS J>8e
TX-qo-iKapSios 9e.tZ>v OTOJI TaS' iTTiyap-rj; Tts OIJ o-uvacr)(aXai xa/cots Teoi<7i;
' who is so hard-hearted as to feel no grief or indignation ?' But
Hesychius also records rXaat^poi/a: vn-ofiovrp-iKov, '•patient' 'long-
suffering,1 ' stout-hearted.' Horn. I 3 -rrivOti 8' drXyTwi fitfioXrjaTO
(T 367 arXrjTov a-xos, Apoll. Rhod. ii. 858 KrjSos), E 382 TeT\a8i...Ka\
avacr^eo KrjSo/j.€vr] irtp, Y 18 TeVXa#i Sryj, KpaSirj- KCU nvvrtpov aXXo TTOT'
erXr^s, Q 4 8 aXX' r) TOI xXawas Kai oSvpa/xevos /j.e6er]Ktv TXT/TOV yap fnoipai
0vfi.bv Oetrav dvBpiinroiui. inf. 8 8 6 rXaa' aTrcvOijTU) <f>pevi. A.P. vii. 335
rXrjdi TrcvOos, tvvaa-ov. Archilochus 9. 5—10 ending TXIJTC,

443. T«ixi rnay mean 'arms.'

445 ff. o xPvo"al*olP^s ^' "A-piis KTI. This is a fine example of the
power that Aeschylus has of developing an image and sustaining it:
The God of War is like a money-changer who gives gold for bulkier
metal; but his dealing is in flesh and blood; he has his scales like the
money-changer, but they are the scales of battle; he receives a human
body, a man's bulk, and what he gives back for it in exchange is like
the merchant's gold-dust (ij/rj-yixa),finedin the fire (irvpwOiv), and heavy,
for it causes heaviness; and packed in vessels which are evOeroi, a word
covering two senses,—' handy,' habiles, and ' decently disposed,' bene
compositi, applied to a corpse: Bekker Anecd. 40. 23 evOerelv veKpov. TO
£V KOCTfJLiiv €V T<X<£oiS VZKpOV.
455. In a similar spirit, as reported by Eur. Tro. 374 ff., Cassandra
argues that the sorrows of Argos were worse than those of Troy:
£7T€t S' hr a.KTo.% rjXvdov %Kafx.av8plov<;,
Wvr)i<TKOv, ov yrj1; opt a7roo"Tcpov/xei'Ot
ovK vij/LTrvpyov iraTptf)' ovs 8' "Api^s ?Xoi,
oi> TraiSas ttSov, ov 8a^.apT0s iv xep°w
o-weoraXijcaj', iv ^ivtji 8i yrji
Ta 8 O'LKOI T0ta"0 ofxoi eytyveTO *
Xp-i "t eOvrjiiTKOv, 01 8' d^raiScs iv 86/J.OLS
aXXws T£KV iKOpiipavTe's, ovSc 7rpos Ta.<poi<s
€(TO' oo~Tts avrtov ai/xa yrji SwpijcreTai.

The consequence of discontent at home formed the subject of well-

known stories referred to by Plat. Legg. 682 D : OVKOVV iv TOVTWI TIZL
vpOVOX, OVTt 8eK£T£l, OV TO "IXlOV iiroXlOpKflTO, TO. TIOV 7ToXlOpKOUVT(OV £KaO"T0)V
oiKOt KaKa 7roXXa £vve/3cuve yiyvo/j.eva irtpl Tots o"Tao~cis T(ov vaav, 01 K.0.1
d<f>iKOix.evovi TOVS 0"TpaTiujTas tis Tas aimov iro'Xets TE KO.1 oiKt'as ov KaXuJs ovS'
iv St/ojt weSc^avTO, aXX' OJO-TC 6a.va.T0vs re KOI cr^ayas Kai <pvya<s
7ra/x7roXXas;
 202 NOTES

461 rf(i.op<j>oi. So Homer X 370 (the Greeks gathering round the

corpse of Hector) o* KCU Brfr\(T0.VTO <f>vr)v Kal tTSos dyrjTov °EKTO/3OS.
463. papaa, dangerous, is answered by fiapv in 475.
464. 8i)|i,oKpd.vTov: popular indignation is as effectual as a curse
officially pronounced (Dem. 18. 130 ovSk yap <Sv trvxev rjv, aAX' ols 6
&//U.OS Ka.Tapa.rai, id. 19. 70): it may lead to a rising and the stoning of
its object.—XP6OS is anything required; in prose confined to a debt of
money, but in poetry any function, service, obligation. aTraiTf.lv is to
demand, TIVVM to fulfil the requirement.
469. Another image, developed out of the word dpavpov. Hesiod
had said that when a man is prosperous unrighteously, his estate is
minished and brought low: Op. 321
£i yap TIS /cat \epo-i f$ir)L ju.eyav o\/3ov tXrp-ai,
YJ oy' a?ro y\<XHT<Ty}<5 Xrj'i(r(T€Tai, o t a T€ 7roXAa
yiyverai, evr' av 8rj KEOSOS VOOV i£airaTrj<rr]L
dvOpumiav, atSw Se r dvaiSurj KaTOTrdtfli-
peia Se p.iv fxavpovai Otoi, fx.wvdovcri Se O'IKOI
dvipi T(3t, Travpou Si T im )(povov oX^os oir^Set.
and again 282:
K£ fiapTVpi1]L(TLV €KU)V i p /
i, kv 8k 8IKI)V /SXai/'as vq/cecrrov daaOrji,
TOV 8e T dfiavporepr) ytvtr] /AeToVicr^t XiXenrTaC
avSpos 8' evopKov yevd] jAtTOTrurOev d/j.eivwv.
471. iraXivTux" Tpipdi pCou has not been understood : Tpifiat. means
attrition; as Fortune caused him to wax great unrighteously, so the
Erinyes cause him eventually to wane again and dwindle, minishing
him to a faint shadow, till at last he disappears in Hell. The working
of a curse, of which the Erinyes are the embodiment, upon the
conscience of the victim is more fully pictured in the Eumenides: they
suck his blood, until they have worn him away to a shadow (264-7,
302, 360, 371, 938), and then drag him down to Hell (267), from which
there is no escape (175, 341)-
476. Kdpava. The construction of the sentence corresponds to
Athen. 523 b c£ ovpavov /SaXXo/x.cvoi Trvpl Kal ^aXKut.
The MS. reading /JaXXeTai yap oo-o-ots AwOev Kepaupos has received
the following interpretations: (1) 'for a thunderbolt is hurled from Zeus
upon the eyes (of the too-famous man).' Even if the construction be
allowed to pass, this is excluded, because Greek never spoke of hurling a
thunderbolt on a man's eyes; it would convey no meaning. The eyes
are plainly the jealous eyes of Zeus. (2) 'for a thunderbolt is hurled
by the eyes of Zeus (upon the too-famous man).' But though lightning
may be flashed from his eyes, the thunderbolt was always wielded in his
 NOTES 203
hand. On these grounds I am convinced that Prof. Tucker (Class.
Rev. vii. p. 340) is right in regarding Ktpawos as an error and in
substituting Kapava: that is precisely what the sentence wants.
477. &4>9ovos 8Xpos: there is a pun on the double meaning of
a<j>8ovoi, of which some early moralist must have taken advantage.
484. et TI...\|/«9OS is added as an afterthought: see on 359.
4^7 ff- The phrases of the Chorus are mockingly borrowed from
t h e fire, irvpa&vTa KapStav a n d in 4 9 1 iridavbs ayav 6 OrjXvi epos i-TTivip-eTai
—for there were two things iTrivepeo-Oai was so commonly applied to
that the original metaphor from grazing cattle was forgotten in their
case and became appropriated to themselves,—the ravages of fire or of
disease (Thuc. ii. 54, 58). There is a playful application of the word in
Plut. Mor. 415 F optS TTJV %TOiiKr)v iKTrvpwo~iv dio-irep TO. 'HpcucXaVou Kal
Op<f>e<o<; itnve)x.ofx.evr)v hnq OVT<J> Kal TO. 'HcrioSou Kal crvve^dirTovcrav : a n d
what the Elders mean (with an undercurrent of allusion to her amorous
intrigue and protestations) is that a woman is ready to accept good
news upon the slightest warrant (quo rumorem reconciliationis afficeret,
acciperetque Agrippina, facili feminarum credulitate ad gaudia, Tac. Ann.
xiv. 4), without waiting for proof visible and palpable, itpb TOU <t>avevTos:
such premature rejoicing is presently apt to be extinct as the fire among
the thorns.—The MS. reading 6'pos lirivefxeTai cannot be interpreted as
' the boundaries of a woman's mind are encroached upon' (mve/iaai
passive). To cross a limit was virepflaiveiv (xnveprnqZav, virepOopelv)
opov : but no Greek ever said eTnvep.eo-6ai opov.— For the general sense
cf. Plut. Artox. 28 /<a#o'Aoi) jxkv ovv "UTUK, TO 2O<£OKA«OV, ' Ta^tia TveiOw
TWV KaKwv 68onropei- ' (fr. 7 r 4 ) X-6'01 yap TIS rj iropeia Kai Karavnys £iri TO
fiovXofxevov. For x°-PLV $vvaiveo-ai, ' to yield assent to pleasure,' cf. Pind.
P. iv. 139 f. evTi /xh # f a i w tppeves wKvTepai KepSos alvrj<rat irpo 8i«as
00A.10V.
500. KOVIS. The dust is an indication of speed: Theb. 60 \uipel
KOVUI. L u c i a n i. 6 2 3 ov^ dpais Se KOL TOP Epju^j/ avTCiv iSptort peo/j.ivov /ecu
TOI Tro'Se KeKovtft.ivov Kal Tvvevo-TiwvTa; /xecrTov yovv acr^/naTos av™ TO
(TTO/xa. TL TavTa, u> "Ejppvrj, rj o-rrovSi]; T h e s p e e d of t h e H e r a l d shows
that he comes with a definite message : Pers. 249 d\\', Z/xol SOKCIV, m^'
eio-rji iravTa vafxtpTrj Xoyov rovSe yap 8pd/J.rjij.a <J>WTO<S TlcpaiKov Trpeirei
fmOelv Kal (pepei craves TI irpayos iaOXbv -^ naKov KXVUV. Theb. 356 o TOL
KaTOirTrji;, OJS i/xol &OKeit o-TpaTOv Trevdia Tiv I//AIV, CU (f>i\aL, veav (pepeL,
rJL &U£K(I>V Tro/XTTi/xous ^voas 7ro8alv. E u r . ffec. 216 Kal priv 'OSvcrtreiis
px airovhrji TTOSO'S, 'EKaySi;, veov TL TT/DOS (re ar/fiaviov €7ros. Hel. 602
Xey, cos <pipei<s Tl T^ISC TTJI {TTTOVSTJL veov. Med. 1118 Kal 8r] 8e8opKa TOVSE
T(uv 'ldaovos (TTeixovT OTraScoi/1 Trvev/jid T ypeOio-fiivov SeiKVvariv u)S Tt Kaivbv
dyyeXel KaK6v. Christ. Pat. 98, 125, 1858. Lucian ii. 681 aXXa TI'S d
2o 4 NOTES

(nrovSrJL Trpo<no>v OUTOS « m v ; rj TTOV TL £K y^s vtwrepov

EPM. vircpju-eya, <S Zcv, xal /wvpias njs OTTOUS^S Seo/u.ej'Oi'.
501. 0-01. T h e dative belongs to both clauses, and must be taken
after ar]p.avel. Cf. Eum. 36 <Js /J-rjTe cnuKelv /JLIJTC //.' aKTaiVeiv /3d<riv,
Theb. 651, Soph. a ? l 1455.
504. diroerre'p7ci> always means ' I fall out of love with,' ' I cease to
care for': thus here the thought implied is that anything less than glad
news explicitly told will leave the speaker dissatisfied. Hence yap in
v. 505 : what has appeared is so good that any addition which is other-
wise will be disappointing. For the force of airo in composition cf.
avea-duLv = to leave off eating, as illustrated in Athen. 649 b. So d.7raXyrj-
cravTw; TO. l&ia in Thuc. ii. 61.
509. 8€K4TOV: see cr. n. Some modern editors retain the MS.
error SEKCITWI, as though the Herald said he had returned on the tenth
day of the year, for it could not mean anything else.
510. pa-ycuruv: hopes were anchors or cables to a Greek: Eur.
Hel. 277 ayKVpa 8' rj p.01 ras Ti^as <i>X€' H-^Vt Toaw irod' rj^iv KO.I JX
airaXXa^civ KCLKWV, OVTOS Tk&vf)Ktv, OVTO'; OVK£T' to-ri Srj. H e l i o d . V. 19
XaptxAeta /u.01 ^3ios rjv, CXTTI? Kal BiaSo^rj TOV yeVovs • Xapi/cXcia fjLOvr] irapa-
Ka
^XV '> ^ tlirciv, ayKVpa. Kal Tavr-qv vTrcri^iTO Kal TraprjvtyKev ort TTOT'
icrrl TO €1X17^09 /x£ Sai/xoviov. F o r payeiawv cf. spent abrumpere ( T a c .
Ann. iv. 50 etc.).
516. iijX8€s (see cr. n.) was perhaps an explanation of a false
reading rjurOa.
518. d^wv^ous: gods of assembly, as in Supp. 195, where Zeus,
Apollo, Poseidon, and Hermes are subsequently singled out for
mention: so ib. 248. Probably they were the twelve chief gods of
the tribes who worshipped at the games. As gods of meeting they
are also dyopalot: Schol. Horn. Q I 7rapa Se BoicoTOts aywv r} dyopa...
oOev Kal dywvlovs 8tovs AIO"^IJAOS TOUS ayopaiovs.
521. T(P<I)S : cf. Xen. Cyr. ii. 1. 1 •7rpotra>£d;u.ei'oi 0eois Kal rjpuxn TOIS
T-qv IlfpcriSa yrjv Karlypvcnv ?A.£ft>s Kal £u/i.£V£ls Trip.ire.iv <r<£as, Plut. Arist. 11
ot fj.lv yap ^p<»£S, oh eKt\eve Oveiv, dp^yirat IIXaTat£<ov rjaav.
525. & irou, ' if perchance' {puta).... Cf. Ar. Eq. 347 « TOD SIKI'SIOV
£iiras £v Kara £ivov /XETOI'KOU, Supp. 4 0 5 e't irov Tl fx-q TOZOV TV^OL. The
prayer is of the same form as Horn. E 116 u irori fioi Kal -n-arpl <pl\a
(jipoviovara irapECTTijs STJIUI iv Tro\£p.wi, vvv avr' ep.e cftlXai, AOijvrj. Apoll.
Rhod. iv. 757 vvv, tt TTOT £/uas ireXtco-a'; i<j>eTp.ds, £t 8' ay£. Sappho i. 5
dAXa TUTS' e\6\ aliroTa Karipwra...IKXVES. 25 £'A#£ /xoi. Kal vvv. Ar. Ach.
405 iiraKOVcrov, elwep TTWTTOT' dvOpiairuiv TLVL. W e e x p e c t Kal vvv, b u t t h a t
is here expressed by ToicriSe, which has been a great puzzle to critics :
' with bright eyes now.' Else we should only have had roicnv (which
 NOTES 205

h writes), as A l c i p h r o n i. 38 rj Se OVKSTI <j>aihpofc TOIS ofj-fiao-tv 6\f/trai

530 ff. There are certain images in Isaiah which this passage
recalls: 14. 23 ' I will sweep it (Babylon) with the besom of destruc-
tion, saith the Lord of hosts.' 30. 28 The breath of the Lord shall
reach 'to sift the nations with the sieve of vanity.' Aeschylus in his
characteristic way sustains his image. In the MSS. however it is
interrupted by a line interpolated from the margin (Pers. 813) /Jw/uoi
8 aiaroi SaifjLovtov 8' l8pv/j.a.Ta, which had been quoted to illustrate the
devastation of the land. In the Persae the verse is spoken by the
ghost of King Darius, who has been raised from the dead to give
advice to the Persians after their defeat at Salamis : on being informed
of Xerxes' expedition he condemns it, and prophesies the crowning
disaster of Plataea, v. 809
ov <T^>IV KO.KWV V\J/KTT' iTrafj.fj.lvei iraOiiv,
ri/?pe<i)S cnroiva KaOfiav <j>povr]iJ.dT<0V
ot yrjv ;U.O\OVT€S 'EAAaS' ov Otiov {Spiri)
yjioovvTO crvXav o&oz irip.irpo.va.1 vcws,
/3(O/JLOI 8' ai'oroi, Baifwvatv 8' ISpv/xara
Trpoppi^a {j>vp$r]v c£aveorpa7TTai /3ddpwv.
roiyap KaKoGs SpatravTes OVK eXacrcroi/a
7rao"^ov(Tt, TO. Se /Ae\A.ovcrt, KOU8€7TO) KO.KWV
Kprjvls dire<rfBrfK dXX.' cV

There in store abides

The crown of all their ills, in recompense
For their presumptuous and ungodly sin,
That in the land of Hellas made no conscience
Either to spoil the images of the gods
Or burn the temples; the altars are clean gone,
The shrines of deities torn up by the roots
And overturned and swept from their foundations.
Therefore for their ill-doing, ills no less
They have in suffering, and yet more shall have;
The fount of sorrow is not stanched yet
But still comes welling forth.
That is his denunciation of those barbarous and irreligious acts of
desecration which Herodotus records (viii. 33, 53, 109, ix. 42) and
which had impressed the Greek imagination with such deep and lasting
horror (see e.g. Isocr. 4. 155). The passage in the Persae must have
been familiar to all that heard the Agamemnon, and the acts them-
selves including the burning of the temples on the Acropolis at
Athens—must have been within the memory of many. Is it con-
ceivable that Aeschylus before this audience, or any Greek at any
2 o6 NOTES
time, could have put this statement as a proud boast in the mouth
of a religious herald? See also Eur. Hec. 802—5.
The destruction of sacred buildings had no significance in the story
of the Sack of Troy. If it happened, it was because in the burning of
the town it was inevitable.
Quint, xiii. 432 speaks of the fire raging round: 6/xov Kaiovro Se
mivTa 'Avn/ia^oto fiiXaBpa, KaTaiOeTO 8' ao-irf.TO's aKprj Hepyapov afx<j>
iparrjv irepi 6' lepov 'AiroXXaivos vrjov Te ^ddeov TptTioi'tSos afiifii TE fitafiov
EpKetov ddXa/xoi Se KaTeirprjOovT' epareivol vliavwv Ylpid.fx.oLo' TTOXLS 8'
d/xadiWro mxa-a: and in Seneca, Agam. 653 the Chorus lament templa
deos super usta suos. But this is nowhere mentioned as having brought
them retribution; and indeed for the Greeks to commit this act de-
liberately would have been impossible; there was no religious enmity;
the Trojan gods were their gods. This is quite a different matter from
the particular acts of sacrilege that were committed by individuals :
Eur. Tro. 15 Poseidon complains eprjfaa S' dXo-r] Kai OeJUv dvdxTopa <f>6v<ni
Karapptl- Trpos St KprjiriStuv ftddpois TrtTrrwKe Tlpia.fj.o's : a n d in describing
the massacre Tryphiodorus 598 says : oiSe 6tu>v OTTIV et^ov d^ecr/AOTdriys
viro pnrfj'i, aOavdruyv 8' e^paivov direi'^cas a'l/xaTL fStofx.ov'S. olKTporaTot Sc
yipovTts aTi/xoTaTOLO-i <j>6voio~iv ovb" opdoi KTUVOVTO, ^afial 8' i/ctTiytria yuta
TeLvd/jLtvoi TTOXIOIO'I. KO.TIK\IVOVTO Kapijcrtv.

537. <rwreXif|s, sharing the same privileges and so involved in the

same liabilities.
539. KXOITTJS : Hdt. ii. 114 TJKU ^CTT/OS, yeVos fjikv TevKpos, Zpyov 8e
avoo-iov hi rrji 'EXXdSt i^ipyao-fn.e.vo'i' (eivov yap TOV ituvrov e£a7rom;o"as
TY\v yvvaiKa, avrf\v Te Tavr-qv aymv 7Ji<ei Kai TTOXXO. Kapra. yp-qfj.a.Ta,
ib. 118, 119.
543. TUV oiro o-TpaTov, returned from the field'= ATTO arparda^ (608).
544. The form TtOvavai was long ago rejected by Hermann.
Against all such conjectures as retain reOvdvai OVK di/rcpco it is sufficient
to point out that 6.vTiX(yu> Oaviiv could not possibly mean ' I refuse to
d i e ' ; still less could avTiXeya> TiGvdvai. Hartung's ^at'pw Oavelv av 8'
OVK(.T direpco 6(.o1% would mean ' I will not urge against the gods that
I would d i e ' ; and Kayser's x^'p 10 ' Savfiv Se' fi' OVK€T avrepw Otois ' I will
not urge against the gods that I died.' The only conjecture that
approaches the meaning aimed at is Schneidewin's xaWw' ™ reOvdvai
8' ovKiT avTtpH) deols, if rendered, ' as to dying, I will no more oppose
the gods.' The general idea is doubtless the same as that in Horn.
77 225 (first cited by Butler) ws K ip,e TOV 8VO-TI]VOV l^s eVi^o-e
KaiTrep 7roXXa iraBovTa- LSOVTO. fxe Kai Xiiroi aiiov | KTTJO-W €fir)v 8/xaids
t^epe<£es /u.€ya SSfta. A d d h. Aphrod. 154 fSovXoLfjirjv Kev hrevra, yvvai
e't-Kvla Oerjiaiv, o~rjs evvijs €7ri/3ds, Swat 8o/xov"Ai8os uo-(o. Aesch. Cho. 437
 NOTES 207
T iyw vo<r<j>i<ras oXot/Aav. Callim. fr. 219 reOvalrjv or' exetvov aT
Trv6oin.r)v. Eur. .£/. 281 Odvoifii /x^rpos ai/u.' eirtcr^alatr'
£V. 1116 Kai /iiji/ TOO" cpfas Sis Oavelv ov^ atflfiai. Musaeus 79 avriKa
TeOvairjv Ae^e'cov e7ri^'/n€vos 'Hpovs. Plat. ^4/<?/. 28 D, Synes. Epist. 107,
Plut. it/tfr. IO94 A oiS' evfaTO TIS ifJ.irXrjcrOei.'S otjjutv rj Tre^drav /Jao-iXi/cuJv
ro^aveiv, Aristid. i. p. 709. 20 Dind., inf. 1610. Cic. 2 Phil. 119
uero, patres conscripti, iam etiam-optanda mors estt perfuncto rebus
Us, etc. Guided by these passages I read as in the text. Cf. Othello
ii. 1. 187 If it were now to die, | 'Twere now to be most happy; for
I fear, | My soul hath her content so absolute | That not another
comfort like to this | Succeeds in unknown fate.
Xcupu> -y«, read by Enger and others, cannot be right, as this is the
answer to -xaipw; not to xa^Pf-
551. When it is seen that this line is the answer to a question
(as Heath took it), it is plain that the natural supplement is y\ ' Aye,'
which is besides most easily omitted. For similar instances see Eur.
Or. 1122, Phoen. 1344, Cycl. 217, El. 667, Ar. Nub. 469.
552. o-wyoo-TpaTOH: see cr. n. The corruption is an example of a
very common form of error, which has been illustrated in Class. Rev.
xv. p. 17 f.
555. Tb o-bv refers to his TeOvmrjv in v. 544. Cf. Strabo, p. 793
wore vvv, TO TOV ITOIIJTOC, ' e£ kreptav'irep'1<TTIV.' Aristid. ii. 164, Dind.
KaXws y e TTOICOI/, CO e r a i p e , TO O W 8r) TOVTO, /cot roikfjOrj XeyoDf.
561. irapet^is (from TrapuKto as elfis from eifcw), 'opportunities/ or
' relaxations.' See cr. n. The schol. has o-jraviovs. KOU TOVTOV yap ov
cuve^cos a.Trr)\avo/Ji.€v.—KaKoorpaiTovs: Chionides lypwes fr. I (l. 4 K.)
7roAAovs eyaliSa KOV Kara o"£ veavias cppovpovvras aTe^vais (? artves K..)
Kav (ra.fx.aia Koi/juafievov1;.
562 is corrupt. For ov Xa^o'i/Tcs, ov Xd^oi T« might be suggested.
Margoliouth's ao-^aXXovTas would require a second negative.
563. Kal irpo<rijv irXe'ov OTIIYOS is perhaps a case of simplex ordo
(see Class. Rev. xvi. p. 244), and we should read KOL trkiov wpovrjv
orvyos.
565. 8e. For the corruption into yap see Porson on Med. 34,
1083, On editing Aeschylus, p. 119.—The words Kairb.. .8p6o-oi are
parenthetic, which accounts for the gender of riOivm (Verrall). Cf.
616 f. o£8' otSa Ttptyiv—oiS' iiriij/oyov <f>a.Tiv—aXXou irpos avSpo's.
566 f. ' Causing mildew and making the hair or wool of our
garments verminous,' ZvOrjpov,—for d-qpiov was applied in more or less
humorous horror to the smallest creatures. No one who has served
a campaign—in South Africa or elsewhere—will dispute the truth of
the description. Plut. Mor. 352 F, speaking of the linen garments
208 NOTES
worn by the Egyptian priests, remarks that linen is TJKHTTO. <£0eipo;roioV,
IDS Xiyovcn.
This in any case is the meaning of ZvOrjpov, which is applied to
a festering wound in Soph. Phil. 698; and the rhythm is in favour
of the punctuation adopted in the text. The usual arrangement
Spo'croi KaTeif/eKafcov, I/O-ESOV CTI'VOS
itrOrj/xaToyv, Tidevres <kvdi)pov Tpi'^a,
moves haltingly and throws the unemphatic TI^EVTES into an abnormal
place at the beginning of a clause. Sophocles, however, would appear
to have read it so and taken tpixa to mean the hair of the head : in the
Ajax he makes his sailors before Troy complain as follows :—
600 eyw 8' 6 rXafnodv 7raXaios d<j>' ov \p6vos
'iSata fxifivwv XtifjLwvi airoiva
dvt)pi9fji.ols aliv €vvi2/J.ai.
1206 Ku/xai 8' a/tept/nvos OUTO>S
aei TrvKivols Spdcrois T£yyo//.£vos
Xvypas [jbvTj/iaTa Tpoias.

577. The sense is Zpper dvlai A. P. v. 72, ualete curae.

KttTa|i<3 is .merely one of the many variations of the phrase \aipeiv Xe'yto
or xeXemo, which meant ' I say to you xa'Pe>' ' I bid y ° u hail,' or ' I bid
farewell to you,' ' I say good-bye to you.' Instead of these words
poetical or humorous language indulged in a great variety of sub-
stitutes : x a 'P e irpotrdiras Kaibel, Epig. 256. irpoo-euras \alpuv 781.
aiSj/craVTes \aipav 205. Zvveire ^aipuv 103. cveVot Kkaieiv fia/cpa. Arche-
stratus (Ath. 117 a), yaiptw Trpovwiirw Soph. Track. 227. \aipcw
i^iifiai Ai. 112. apn §€ yaipuv TOICTI rcots irpoOvpois en-treXXo/xat Theocr.
xix. 26. aei'cras \aipeiv Kaibel, Epig. 237. yaipzw Ke\tvo>v iroWd Ar.
Ach. 200. iroXXct \aipeiv <f>pd<Tas : dtroTa^dfievo'; Hesych. /naKpa ^cuptiv
Xeytov Lucian ii. 614, «3i> i. 714, <^>pa(ravres ii. 820. ippwo-Oai Xc'ycov
Antiphanes 88. ippoia6ai <f>pdaa.<; iroXXa Dem. 19. 248, Lucian ii. 861.
KXCUCLV avojya Eur. Cycl. 340, 701. K\O.UW dyoptvu) Plat. Com. 173.
ol/Awi^uv 7rapayy£i'XavTes Lucian i. 422.
583. 860ts...ToCs KO.6' 'EXXdSa : Soph. fr. 871 vij TOVS iv "Apyet rat
K a r a %TrdpT7)V Oeovs.
585. tiXo-yetv : see on 350.
589. «i|iafl«iv, 'teachableness,' as 8uo-^a0eiv (Cho. 224) from SvvimOrjs,
6\pif>.a6ilv, (ptko/uiOeiv. ' It is never too late to learn.'
591. <rvv 8« Tr\ovrlt,a.v ipl: Cho. 820 TrXei rdS' ev- e^bv i/xov n£p8o<;
av£cTcu TO8' - are- 8' a7rooraTEi <J>LXWV.
5 9 2 . dv<oX<5XvJa |i£v irdXai is equivalent t o iraXat (U.£V aVajXo'Xv|a (see
n o t e o n v. 8), a n d wdXai p,\v is t a k e n u p by KOI VVV in 6 0 3 .
 NOTES 209

595. KttC TIS n" Mvruv reproduces the language of the Elders in
vv. 481 ff., which Clytaemnestra had not heard. But the Chorus merely
expressed the general sense of Argos, and the queen must have become
acquainted with this in the interval implied in irdkai (592).
602. Koi(iuvT«s perhaps means ' extinguishing with wine at the end
of the rite.'
609. irvXas dvoifjai. Similarly Eur. Cyd. 502 dvpav TIS oifa p.01;
E u p o l i s fr. 220 rjv OVK aveonfa TTWTTOT dvOpiuTroi'i eyw. Ar. Ecd. 962, 990.
Nicet Eugen. 4. 245, 268, 6. 528.
614. o-^iiavT^piov. Oppian Hal. iii. 361 KTrjaiv ael KtipovTts darj-
JJAVTOLO Sd/xoio—an orphan's unprotected home. It was the common
practice to seal up store-rooms and other treasuries, e.g. Eur. Or. 1108,
Plat. Legg. 954 AB, Ar. Thesm. 414 ff., Lys. 1199, Diog. L. iv. 59, Hdt.
ii. 121 (3, Plain. Cas. 144, Amphitr. 773, Stob. Flor. 6. 33 (so here
at]fj.avTr]piov includes the seal of chastity).
616 f. aXKov irpbs dvSpbs belongs to T^>I|H.V and has no connexion
with the intervening words 0A8' iizfyoyov 4>d«v. So Theogn. 461 ^ -KOT
£7T airprjKTOLcn voov e^€, fj.r)8i fxzvoiva., ^ptjfjLaai., ruiv d'vuo-<,s yivirai ovSe/tta.
[For fuller discussions of this idiom, which Bergk (P. L. G. ii. p. 159)
unnecessarily doubts, see Tyrrell in C. R- ii. p. 140 f., Kaibel on Soph.
El. 1358 (p. 2791).]—It is most natural to understand xa^K0* P<«t>as
(with the schol.) as poetical for cnSrjpov /Java's, which is often mentioned,
the tempering of iron, to harden it or to soften it. The illustration is
chosen of course for the double meaning.
618 ff. The MS. gives 618—9 to the Herald; most critics follow
Hermann now in giving them to Clytaemnestra; Dr Verrall thinks they
are spoken by a ' Conspirator.' Many commentators render Toi<5<rS' 6
Kdjnros, ' talis quidem sui iactatioj ' a boast like this,' ' that sort of boast,'
as though it were rotdo-Se K6/JLTTO<; ; but it can only mean ' such is the
boast,' and unless it is corrupt—which is improbable, for corruption would
rather be the other way—our explanation must allow it its due meaning.
I«iv9dvw means intellego, ' I see,' ' I understand,' 'Itake your meaning';
fjLa.v9dvei<i, 'do you see?' Examples are abundant in Comedy and Plato:
Eur. Or. I I 2 9 IIY. elr avrb STJXOI rovpyov 01 Ttweiv \p€iiv. OP. "E,\ivqv
cpoveveiv fj.av06.vw TO <Tvfj.f$o\ov. IIY. eyvuK. Ar. Ran. 64 AI. ap ix&i,-
TO <ra(j>is, rj \ipai <j>pd<T<x>; H P . /xij Srjra 7repl irvovs ye- Trdvv yap
vu). A n d jxavOdvus accordingly m e a n s '•you understand] rem tenes,
as L u c i a n i. 564 A F O . OVKOVV...SrjXov o n //.OFOS o o-wovSauos JAUTSOV iirl
rrjt. aptriji. Xjfi/reT<u; XPYS. pavOdveK. This is implied by a participle
in Cho. 112 HA. ifioi re KOX croi rap' iirev£<ofji,ai. rdSe; XO. avrrj av Tavra
fjLa.v9dvovcr' TjSrj <j>pdo-<u, i.e. jxavOavtis: a n d the s a m e is implied here by
rC tro\.: ' Her speech is thus, as you understand.' The person
H. A. 14
2io NOTES
addressed, therefore, must have shown the Elder that he understands;
and it follows that the previous remark cannot have been made by
Clytaemnestra : seeing no reason to believe in Dr Verrall's Conspirator,
I conclude that the MS. is right in assigning 618—9 to the Herald.
afrrn (ih- OCTIOS clirc is a formula dismissing her case, as 941 rovfxov fiiv
OVTO), Eum. 556, Theb. 409, 1003, Snpp. 513 ; they jot in fxavBdvovri 001,
and add a plainer explanation in the following line, of which the natural
interpretation is 'in the judgment of good critics—those who can read
between the lines—only very specious words.' Then rrv S' cure, Krjpv^, is
the antithesis to airrj fi.lv oimos, 'now for your story further.' Xaiteiv is
an invidious word ; it means ' to scream ' or ' cry aloud without reserve
or self-control' (av£iv, AaKa£eiv, (ro><f>p6v<i>v fi.La-rjfi.aTa Theb. 169, Supp. 884):
it is used contemptuously by Clytaemnestra of the bawling news-bringers
in 856, and her ywaiKciwi VOJXIM 6\o\vyfxbv tXao-Kov in 601 is a retort,
quoting the contemptuous judgments passed on her supposed impetuous
behaviour; in 1427 Trtpifypova eAa/cts is used of her by the Chorus (as
K0/u.7ra£«s in 1399) to rebuke her vaunting menaces, but a woman of her
character would never, I think, apply it to herself: see n. on 287.—
But the most important phrase is <os -ywaiKl -yewaiai, in which 109 after
an adjective should have a limiting or qualifying force; not, as Peile
takes it, 'particularly for a noble lady,' but 'for such a person as a
noble lady,' ' considering that a noble lady is the speaker.' Examples
are familiar, as Soph. O. T. 1118 TTIO-TO? uk vofxevs dvijp, 'trusty as any,
in his shepherd's place,' O. C. 20 fxaxpav yap <os yepon-i irpowTaAjjs
6S6v, 'a long way for an old man,' At. 395 tpe/Jos (3 ^atrvoraTov, uk
i/j-oi, Plat. Sophist. 226 c Ta^ctav, ok ifnot, (TKeif/iv cViTaTTcts, 'a rapid
process of thought for such as I am,' Parmen. 136 D TTOXV Jpyov irpo<r-
TClTTflS UJS Tr)\lKU)l&€, D l O C h r y S . ll. p . 2 6 7 R. BpifXVV <fJL£V> KO.I SdAtOI'
ws iv TOIS T0T6, TTOXV Se a7T£^ovTa TTJ% VVV KaKorfOeLas, T h u c . V. 43 -qXiKiai
fKtv m TOT« (3v V€os <u9 iv d\.\r]L iroAei, iv. 8 4 rjv Si ovSi aSjjvaros, u)S
AaKtSai^tdi/tos, e'nruv. The meaning then should be that such unabashed
avowals, though brim-full of truth, are surely indecorous, unbecoming a
true gentlewoman. If the punctuation is made interrogative, this is
exactly what the Herald says.—The Chorus are well aware of Clytaem-
nestra's hypocrisy ; therefore I do not think 618—9 would be said by
one of them; but the Herald, who knows nothing, is surprised and un-
favourably impressed, thinking that noble ladies do not usually proclaim
their fidelity and affection in such terms (cf. Plut. Mor. 768 B ?; 8i ycwaCa
yui/r; 7rpos dv&pa vofUfiov (TvyKpadeicra 81 "Epcuros apKTiav av VTrofiuveie KOL
SpaKovruiv 7repi/3oAas fiaWov rj xf/avcrLV di/8pos dWorpiov Kal cruyKaTaKA«rii');
thinking perhaps that there is some indecency in her saying 'that I may
give my honoured lord the best and soonest welcome—for to a woman's
 NOTES 211

eyes what hour is dearer than aVo orpaTcias dvSpi, O-UWVTOS Beov,
civoi^at (v. 608 f., where see n.)?' Clytaemnestra here of course is
merely overacting; but in Sophocles her true behaviour is such that
Electra refuses her the character of yewaia yvvrj: El. 287 avrrj yap 17
Ao'yoicri ytvvata yvvrj <j>u)vov<ra TOiaS' i£oveih%u KaKd- w BvaBeov /xi'crijita,
o-oi iiovr)L TraTrjp TeOvrjKev; KTL It is true that Sir R. Jebb renders,
'this woman, in professions so noble'; but I incline to the other inter-
pretation, 'this so-called noble lady,' as in Eur. El. 326 Aegisthus is to
E l e c t r a r ^ s lp,y\% iiiyTpos TTOCTIS 6 K A C I V O S , o k \i.yovuiv. Or. 1 7 0 KKZIVOS,
£i S77 KAWOS, "Aya/xetivcov.

623. owuiiivos. [In support of this form Wecklein, Curae epigr.

p. 6 0 q u o t e s P h o t i u s , p . 5 0 7 , 22 o-io-wrai Kal o-£o-(0/u,£i/os 01 mxAaioi dv£u
TOV 5-...oi 8E v£WT£poi o-eo-aKr/iai, a n d Suid. s.v. o-eo-a>Tai, a n d c o n c l u d e s
' librarios peccauisse addendo <r ex posteriore dicendi consuetudine.']
631. dvaxfltU €|x<|>avws e£ 'TKlov points to the form of the legend
according to which Menelaus quarrelled with Agamemnon after the
sack of Troy, and set sail before him: see Horn, y 136 ff., Soph,
fr. 479, Pausan. x. 25. 3.
64I ff> £if<f>Tj|j.ov ^p>ap ov TTp^Trci KdKayyc'Xoi •yXwccijL |naCveiv' \ u p l s i\
Ti|if| 6«div.-.(653) -irws KeSva Tots KaKoio-i. <rv|j.fi.6£gw; T h e s e a r e all religious
phrases. In the Ion 1017 Creusa has two drugs with different virtues,
one wholesome and the other—venom from the Gorgon's serpents—
deadly, and is asked E£S %V SE Kpa&ivr airbv rj x^pls <^>£p£is; She
replies x^P's* KaKwi. yap io-6\bv ov avfufx-eiyvvTai. See further Paley's
note on Ion 246, and compare Plat. legg. 800 B—E, Plut. Aem. Paul.
35 Ty\v (UfioTifra rrji Tvxqs, o)S OVK ^tSecraTO TrivBos TOCTOVTOV £is oWiav
tyjXov Kal x<*pas Kal OvaitSv yip.ovo~av clo~dyovo-a Kal Kara/jLiyvvovo-a Bprjvovs
Kal 8aKpva iraiao'iv imviKiois Kal Opid/x/ioi's. T h e words x^pli yj TI/JLTJ
6ewv are a brief proverbial expression of familiar doctrine—'that cere-
mony is apart from the Gods of Heaven': see Plat. Legg. 828 c eri Si
Kal TO Taiv x$ 0 I '' f t ) 1 / Kal
oarovi av Biovs oupavious firovo/xacrrtov Kai TO TUV
T0W701S iirOfieVOif Oil ^V/tll£lKT£OV, dAAa \UipiO-TtOV KT£., Tim. 6 9 D <T€pOfX.ZVOl
Hialvciv TO ^£101^, o TI iw) nao-a rjv dvdyKrj, X(aPls CKfiVou KaToiKitpvoiv £is
akX-qv TOV o-aj/xaTos OIKT)O-I.V TO BvrjTOV, Plut. Mor. 361 B ^£oi a n d dOdvaroi
are often used in discrimination from the \86vwi. Sai'iiovcs : Apollodor.
i. 33 Wagner, Persephone was compelled to remain the third part of
the year tiera IIAmrrcDi'os, TO Se Aoiiroi' irapa TOIS ^COIS : frequently by
Aeschylus in the Eumenides, 109, 352, 363, 414, who have Aa'xr? B^v
SiXoo-TaToiWa 389. But each form of worship is fitting in its proper
place, and irpiira is the word habitually used: the true paean should
b e sung a t b a n q u e t s , dvSpeiwv iraph. SaiTu/xoVfo-cri TrpfVei 7raiava KaTa'pxfii'
Alcman fr. 22 ; praise and honour are the fitting tributes (irpeiru) to a
14—2
212 NOTES
conqueror or benefactor, sup. 437, 529, Pind. fr. 121, O. ri. 50, 111. 9,
P. v. 4 3 , N. iii. 67 fioa Se viKa<fi6p<Di (TVV 'Api(TTOK\ei8ai Trpiwm : praise
also is the fitting memorial of the dead, only in their case it takes the
form of lamentation—irpiiru kiyuv iraiava TOI'S' '~Epivv(j>v.
645 ff. ' News of the double wound inflicted by the double scourge
that Ares uses—one the general public wound felt by the whole country,
the other that felt severally by each home in private for the loss of a
loved man.' The notion of a wound suggests a scourge; the notion of
a scourge leads Aeschylus to conceive these lost men as driven out
from their houses banned and excommunicate beneath the curse of
War; because polluted men banned by the people's execration were
expelled a.yt]\a.ru>i juxa-riyL as Lycophron calls it, v. 436, which would
seem to have been the original reading in Cho. 288 8iwKe<r8ai iro'Ata)? |
<Lyy)\aT<M jxatrTiyi \vfxav6iv St/x,as where t h e M S . has xa\Kr}\a.T<oi TrAaortyyt.
This one may suppose was the reason why Christ used a scourge in
driving out the money-changers from the Temple (John 2. 15) as
defilers and polluters of it. See also Cho. 374 6.W0. S1.7rA.77s yap rrjcrSe
fiapdyvqs | SotSrros IKI'€IT<XC TOT fx\v aputyoi | Kara yrjs rjSrj- T<SV Si Kpa-
Tovvrtov I \<ip(.s ovx ocriai, where, as in the present passage, the two
lashes are the clauses marked by //.eV and Se. Both passages have been
misinterpreted, but would not have been if critics had remembered
that when the items signified by Greek words meaning two or double
are specifically named, it was regular to indicate them by the particles
ixiv and Se, or TC and re, or re and K<U : examples near at hand are
v. 337, 826, 872, Supp. 1020, Pers. 168, T/ieb. 769, Eur. Andr. 516.
Here, instead of preceding as is usual, the word SnrXrji follows the two
items, as in Pind. N. v. 52, Eur. Supp. 332, Soph. El. 1078, A. P. ix.
40. 5, Ov. Trist. iii. 8. 33. Zl\oyypv arqv and <j>oiviav £vvo>pi8a introduce
new metaphors, and SiXoyxov no more refers to the /xa<rri£ than
£w(i>pC8a: it is derived from the common practice of carrying a pair
of spears.
654. OVK d^viT-ov OedSv refers to the crime and punishment of Aias
the Locrian : see Schol. AD on Horn. N 66.
656. -Trxip Kal 6a\ao-<ra. This in the usual story was regarded as a
compact struck between Poseidon and Athena (privileged to employ
her father's lightning : Ei/m. 830), who had previously been on opposite
sides. The opening of the Troades of Euripides shows them making
this agreement.
659. See cr. n. It is impossible to say whether f's reading is an
epicism introduced by the copyists or whether the Attic poets really
used such forms; nor do inscriptions give any help.
661. o-vv \L\-x\s. T" OUPPOKIWOH. In descriptions of storms at sea
 NOTES 213

rain, is a constant detail. [Thus Eur. Tro. 78 (referring to

this particular Storm) rat Zcis jxiv 6fi./3pov KOI ^dXa^av ao-n-erov Tre/Ai/rei. ]
Greek ships, we must remember, were undecked and had no bilge-
pumps ; all the baling must be done by hand.
667 f. -ijTot TI,S «^K\«>|/€V f| '^iriio-aTo, KTI. ' We were either spirited
away Oitiv KAoTrats (Eur. Or. 1497) or saved by the intercession of some
divinity who begged us off,' i£VLTij<rcno, as Apollo, for example, i£qiTrj-
o-aro "A8p.r]Tov from the Fates, schol. Eur. Ak. 12. Travpoi Si <j>vyov
fj.6pov oi)s Icrataatv rj Oebs r) Sai/Awv, says Quintus of this, xiv. 627. Gods
often save from shipwreck: Apoll. Rhod. iii. 323 8eb<s Se n s d/x//
i&auxrev, 328 Zrjvbs voo<s rji ris alcra. iv. 930 Thetis steers the Argo
between the Shifting Rocks, rj S' oiriOev 7rr<Fpuyos 6iye TrrjSaXioto. Val.
Place, il. 48. Ach. Tat. iii. 5 SaifjMiv TIS dya#os 7rept€(X<oo"ei' rj/juv rfjs
7rptuipas fi.epo<;. Lucian i. 652 sailors narrate TOVS \ioa-Kovpovs iivL^aivo-
fx.ivov% -i) nv' ak\ov e/c jxr]\avrji Otbv iwl T(2L Kap^-rjaitot KaOe^Ofievov rj irpbs
Tots irrjoaXtots €<TTO)TGL /cat Trpos Ttva rjiovtx y.aXaKr)v <XTT£VOVVOVT(I TTJV va.vv.
670. 4v 8p|iuL refers to the danger of a rising swell when the ship is
at anchor. Cf. Supp. 774 oiS' iv dyKvpov^iais Oapaovai vow 7roi,ueVes
7rapauTtKa, aXA.a)s re Kctt yxoXoi/re? dXt/xevov ^Oova e? vv/cr', sup. 203 Trt'oat
Svaopfioi. Such was the position of the Athenians at Pylos: Thuc.
IV. 2 6 TiltV VtWV OVK i^OVfTiSv OpfXOV. . . OL O€ /X€T€(JipOl WpfiXOVV. . .pCLLOV Vttp TYJV
<f>v\a.Kr)v T(Zv Tpirjpwv iXdvdavov, 6TT6T£ TrveS/ia ix TTOYTOV tlrj- airopov yap
eyiyvfTo Trepiop/jidv. The correction apfuwt should mean in compagibus—
in the seams or frame of the ship. But that would be iv dp/iots.
676 ff. KCU vvv (Kdvav. he endeavours to suggest grounds for hoping
the best. The connexion of thought is as follows :—' All we know for
certain is that Menelaus and the rest have disappeared; but after all,
we do not know that they have perished: we conjecture it; but they,
no doubt—if there are any among them that survive—are now con-
jecturing the same of its; and it is possible that our conjecture may be
equally mistaken. So we need not quite despair. Let us hope for the
best in a bad business. For the truth is you must expect that Menelaus
is most probably in great distress ; but still, wherever he may be, if only
he is alive, there is some hope yet that he may manage to get home
again.'—-ye'voiTo 8' <isttpiora: 'as well as may be.'—irpu>T<$v TC Kal |idXwrTa
is opposed to d $ ovv ('if, however') in the same way as the ordinary
phrase /laWra p-iv may be followed by £7rttTa (e.g. Heliod. i. 15 /*d/Wra
fxxv CIKOS (j^oXao-eij/ rbv epMra- ct S' ivairofJLtiveuv,...), Trpwrov being neuter
and adverbial: Plut. Mor. 574E /xa'Ato-ra /xlv KOL irpwTov..., Stvrepov Se'....
Isaeus ii. 20 jxakLtrra jj.lv viro rrji iprjulai hrwyQy\, Stvrtpov Se Sia So
Iambi, ii. 416. Diog. Laert. ix. 66 Siayiavi^ea-Oat 8' cos 0I0V re irpaiTov
ulv Tots £pyoi? 7rpos TO. Trpdyfiara, el Se /xrj, ™i Xoyu«. ' Though your
2t 4 NOTES
first and chiefest expectation—the great probability—must be that he
is in sore straits, still there is some hope.' Aristid. i. 810 pakuna. \>.\v
S>) KOX izpQnov..., e n Se. H d t . ii. 59 /uaAicrra ftXv «ai TrpoOvfiOTara...,
SevT€pa.... irpuTov might also be masculine, although that is less likely
here: Ath. S24d p.dXiara Srj KOI irpuroi. Plat. Amat. 136 D /ii) poi,
(xirov eyw, ajx<j>oT€pov^ Xc'yt, dXX' oTrorepov jxaXXov Tt /cat Trporepov. ouotts
av, t<f>r], TOVTO y a./jL<f>L(rf$7]Ti](r6tev, ok ou^i TOV larpbv KOX /xaXXov /cat irpo-
repov. D i o Chrys. i. 180 irpiarwi xat pAXia-Ta avTwi.—oiv merely a d d s
emphasis to the other particles it is combined with : O. T. 834 tj/xlv
jucv, (Sva£, TavT OKvqp • co)S S' av ovv TT/DO? TOV irapoiros eK/xaOTji^, c^
i\iri8a, ' fe/ j - / / / / have hope.' 8' ow is a more emphatic Se. d 8' ovv is
the same as d Si, but a little stronger. It introduces the alternative,
to which irpwrov re KOLL //.aAifrra is opposed.—|IOY€VV : see cr. n. Tzetz.
Ailtehom. 140 Ktlvoi yap T€ /neya Tre'Xayos Tvptov Trepotavres | aaTV Tpiutov
i'Sov, oAov XvKoifiavTa fioyevvTes.
696. Z«)>upo\) ^yavTos aiipai.: the reason for this epithet is to suggest
that Zephyrus, the Spring-wind, lent his influence as the wind of Love;
because according to one legend the father of vEpa>s was Ze<£upos yiyas:
L y d u s de mens. p . 117, de ostent. p . 282 6/x.otws 8e /cat Tv\rji. i<f>6p(j)i
(YJV^OVTO)~%<i>tf>poo-vvqiTC /cat *Epa)Ti, ov 01 /JLVOIKOI Zecjivpov TOV yiyavros
ftvai TraJSa a£iovo~iv, (us <f>r]o~iv Evpuros 6 Aa/ceSaijixovios o ^,eXo7roio's- ap-
X«rat 8e OWTOJS- ' ayXao/t€i8€s''Epa)s.' See Bergk, Poet. Lyr. Gr. iii. p . 639.
[Alcaeus fr. 13 calls E r o s oWoVaToy 6 t w < r o i ' > yivvar tvTreBiWo's
T
Ipis xpvcroKo/J-ai Zecfavpwi ^iiytTcra.]
697. iro\vav8poi : she is always Trokvavwp yvvrj (v. 62), but the
swarms of men pursuing her in hot quest now are in a different temper.
702 ff. KijSos 6p8wvv(iov T«Xeo-<r(<j>pG)v (i^vis V\wtriv (that is, cTe'Xco-fv,
iTtXeiaxrev, i£eirpa£ev): ' thought-executing Wrath brought the K^SOS to
fulfilment in the true meaning of the term,' as Antig. 1178 <3
TOU7ros cos ap opBbv rjVV<Ta<s. Cf. O. C. 4 5 4 ira.\ai<f>a6' d/not <I>oi/3o9
Trore, O. T. 166 Tjvvo-ar IKTOTTLO-V <f>\6ya, H o r n , -r 567 o" p trvfia
Kpaivovo-iv, Theb. 870 a\rjdrj...iTreKpavev. T h i s t r a n s f o r m a t i o n is the
subject of the following passage to v. 717, which describes how the
Doom of Zev% |eVios was at last effected, how Helen irapa/cXiWo-'
eVc'/cpavei' ya.ji.ov Trizcpas TeXcuras, and how joy was changed to sorrow.
K-ijSos means both ' relationship by marriage' and ' mourning' (the due
office of relations); and there is no single word in English that will
cover the two senses. Cf. Eur. Andr. 103 'IX«»i alirewHi Ilapis oi yd/xov
d\kd TW arav dyaycr" tivaiav ii 8a\dfiov; 'EXevav. The MS. reading
/0780s ^Xao-e would mean ' drove away,' ' dispelled,' as in Orph. hymn.
73. 7 iroXuVrova /070Y cXao-o-as. In Eur. Herad. 788 Reiske substituted
8 for S / X
 NOTES 215
707 f. TJ> w|i(f><5Tijxov (M'XOS lK<(>iiTws Tfevras: Troy, in the person of
the bridegroom's kinsmen (yap./3pot), to whom fell the singing of the
wedding-chorus, honoured (that is, celebrated, as eviroT/xov izaiava. <£i'Aa>s
hip.a in v. 258) the Hymenaeus sung in honour of the guilty bride and
bridegroom, slighting and dishonouring thereby the Stranger's Table.
But if it was all joy and merry-making then, it is all sorrow now and
lamentation ; vp.kva.10% has been changed to Oprjvos.—That being an
ev<prjp.o<; vfivos changed to a Swr</>r//ios, it is very likely that tutpaTon; is a
mistake for evu^ariDs meaning ei<j>i)p.a>s, as Suo-^aTwi «\ayyai in v. 1150
means 8v<j<j>rfna>i. If tK^dTtos is sound, it means 'outspokenly,' in loud
and bold avowal. The sentence is turned artificially in order to make
all these antithetical points in a brief compass with the telling words in
telling places. The change of the vpivaios to the Oprjvos was a common-
place : Eur. Ak. 922 vvv 8' Vfx.ivo.iw yoos avTiirakos, Soph. O. T. 420 ff.
fiorjs Se TTJS OT/S. ..orav KaraiaOrji TOV vfxivacov, ov 80/xots avopp.ov elatTrXevcras,
evTr\oia<; Tvf^uiv.
7 1 2 . Yepcua, t.e. all t o o l a t e : inf. 1425 yvdcrrji S i S a ^ e i s oi//€ y o w TO
criticppovtiv. I t m u s t b e j o i n e d with fxerafiavOdvova-a. (cf. oi/a//.a#>;s).
7 1 8 ff. £8pe\|sev 8£ Xeoyros tviv Sofiois d^aXaKTa povTas dvf|p <)>iXo|ia<rTov :
throughout this simile we must remember that the Lion-cub means
Helen and the Herdsman Paris, and observe how carefully the touches
are designed to correspond. It does not seem unlikely that XeWro?
Iviv would be specially appropriate to Helen as a member by marriage
of the Pelopid House; see my note on v. 147 : but Paris who carried
her off and kept her in his house was of course habitually called /3ovra<;
avrjp (Eur. Hec. 646) or (3OVK6\O<; or pastor,—which confirms the truth
of the corrected reading. As Wecklein has pointed out, without this
word we should not know what ju/>?A.o<£6Voi<n (v. 731) meant. For the
evidence of the wider sense of fi.rj\ov see On editing Aeschylus, p. 137.
Yet Wilamowitz in C. R- xx. 446 speaks as if nt]\o<f>6voi(n were fatal
to /Join-as, and had been overlooked. ayaXaKra (from dyaA.a£) means
6p.oyaX.aKTa, ' foster-brother'; for as yet it is an unweaned suckling,
<pi\6p,aaTO<s.
723. -yepapots lirCxapTov calls to mind the famous passage in the
Iliad, T 149 ff., where the aged councillors at the Scaean gate are
entranced by the sight of Helen's beauty. The late Epic writers
describe the spell of her beauty in similar terms: Quint, xiv. 58,
Tzetz. Antehom. 141.
724 ff. iroXda 8' i<rx «v a-yKoXcus •. ,<|>ai8pa)irJ>s TOTI X"P a <"*'v«v T«
"yaorpbs dviyKais (see cr. n.) could only mean, as Dr Verrall takes it,
the young lion ' got many a thing, when embraced it wooed the hand
with radiant visage under stress of appetite'; but as iv dyxaXais i\eiv
216 NOTES
was the regular phrase for holding a child or a pet-creature in one's
arms, I incline to read with Auratus what I have translated, cjxuSpanrbv
TTOTI xeva o-atvovra yaorpos avdyKcus. Which we take of these two
readings matters little, but if we read aaivovra we must also read
(jxutipunrov—whether masculine or neuter used adverbially with <rcu-
IWTU—because both these words belong to the description of the
lion-cub. The point is that he, or Helen whom he typifies, began
by fawning with a smile like treacherous Ale, who craiW §Ch.6$p<M> or
0aiSpdj/ous as I shall show on v. 1226. This is clear when we com-
pare the corresponding final lines of the antistrophe, IK Oeov 8' iepevs
TIS "A|TCIS 86fXOL<i TrpOtJi6p€(j}8y].
729. x^Ptv- ' As grace to his maintainers o w e d ' : because it was
the custom for children on coming of age to make their parents and
nurses a symbolic thank-offering (Operrrpa Horn. A 478, Bperrrqpia.,
Tpo<t>*ia) in return for their bringing-up.— By the slaughter of the cattle
we are to imagine the carnage in the streets of Troy.
731. |ir)X.o4>dvouriv &T<HS. As a point is elsewhere reinforced by the
insistent repetition of a word, by iro\v8pr)vov for example in vv. 7x3,
715, and by aras following aVais in v. 736, so, when the comparison
is expounded, the conclusion is that Helen proved a i/v/*</>oKAavros
'Epivus (748). This recalls the language of Soph. fr. 519 rj S' ap iv
aKOTWt XrjOovad p.i ecraiv 'EpipiJs. For the words cf. Pers. 655 ovre yap
avopas iroT* dirutXXv 7roXef^o(f>06potfXtv arats.
737. Trpoo-«flp6'c()9T): see cr. n. In Eur. Uec. 600 for 6pe<f>8r}va.i L. has
Tpa<f>rjvai: and in MSS. generally the heavier first aorist forms tend to
be wrongly ousted by the weaker second aorists (On editing Aeschylus,
p. 104 ff.).—IK 6«>{r = OtoOev, 'by the will of the g o d s ' (Theb. 311 vw
aVSpos 'A^aiov BeoOev Trtp^o/xcvav). So Theb. 23 «aA.(us Ta irA.€«u 7ro'A.e/Aos
IK Oeuv Kvpti, and see the examples quoted in On editing Aeschylus, p. 107.
739- <j>povt](ia piiv vr]ve'(ioii -yaXdvas : the idea this would suggest is
smiling and seductive Calm, who tempts men to embark, but in
seeming innocence treacherously lures them to disaster,—just as "ATIJ
does, whose wrath is elsewhere likened to a storm (v. 810). A. P.
Vll. 6 6 8 ov& el /not yeXocoaa Karaaropiaue yaKr^vq KvfjLara,.. .vqofSdrrjv fi
oiptcrOt. Lucian iii. 197 6V1 p.kv yap «ai rj #aA.a.TTa iKavi) irpOKaXiaaadai
Ka\ eh iindvfj.iav eTriawda-aaOaL ev yaXyvrji rfjavelua, icrre, Kav fxr) et7rw me
tl Kat TvavTairaaiv r/wetpunrii Kai aTreipoirXovs r t s wq, 7ravTa>s av I8e\.rjveie
Kal avrbi e / i ^ v a i Kal TrepnrXeixrai Kai iroXv dirb Trjs yrjs dnoa-irdvai.
Lucret. ii. 556: wrecks are a warning to mankind
infidi marts insidias uirisque dolumque
ut uitare uelint, neue ullo tempore credant,
subdola cum ridet placidi pellacia ponti
 NOTES 217
and again, v. 1004
nee poterat quemquam placidi pellacia ponli
subdola pellicere in fraudem ridentibus undis,
improba naucleri ratio cum caeca iacebat,
Meleager, A. P. v. 156 :

TravTas ipunoTrXotiv.
Such glittering Calm of sunlit weather
In her bright eyes hath she,
Fair Amoret! all men's hearts together
Launch upon Love's alluring sea.
Simonides quoted by Plut. Mor. 798 D (where I adopt Hermann's
for the MS.
Aeuxas Ka6v7rcp6t yaXdvas
evTrpoaunroi (rfpai irapeTreLaav epu>Tt<; vatas
KACUSOS ^apa^LTTOvrov Saifioviav «s vfipiv,
the result of which is oke8po<s or arrj.
yaXrjvr) calm and yiXws smile are in fact the same in origin,
and ytXavrji merely different forms of the same word : yeXav<uo-a? Ovfiov
Bacchyl. V. 80, StayaAijvto-us Trpocromov Ar. Eq. 646, yaX-qvov (U.eiSta//.aT05
Themist. 282 A, fnuSiai TTJS OaXda-o-qq ya\rjvni(n)S xapieo-Tcpov Alciphr.
iii. 1. Aristotle, Physiogn. p. 811 b 37 ol KVVK tVciSaf dcDTrevwcri,
TO irptytjijiTrov £^ovdiv. €7reio?7 ovv t] T€ (rvvvccpTJS €£is avoaoetav
i rj T€ ya\i]vrj K o X a x t t a v , r\ ft.ia~q av TOVTWV e'^is (
Philostratus, /mag. ii. r says of the vn.v^Tpia.1 singing before Aphrodite
that their gestures prove that they have risen from the sea, TO fjLei8ia.fj.a
0 avTtZv yo.Xr/vrj'i €<TTLV aivtyfACL.
740. aKao-Kcuov 8" &Ya\|ia ITXOVTOU, ' a jewel in the crown of Wealth.'
In P. V. 482 he applies the phrase to horses, bred by the wealthy
for the race-course, lir-n-ovs, aya\/xa TTJ<; virepirXovTOV ^XtSi^s, ' the lustre
of luxurious affluence'; and Meredith in Beauchamp's Career c. 15,
doubtless with both these passages in mind, very happily makes a
double application of i t : ' As the yacht, so the mistress : things of
wealth, owing their graces to wealth, devoting them to wealth—splendid
achievements of art both !...Did Beauchamp at all desire to have those
idly lovely adornments of riches, the Yacht and the Lady, swept away?'
Thucyd. vi. 41 speaks of IVirois KOX OVXOIS fat TOI.% aAXois ols 6 TTOAC^UOS
dya'AAerai, 'all the pride and pomp of war,' and in Philostr. Heroic.
p. 791 Ajax, for his strength and beauty, is called ayaA//.a iroXtjxov. In
Thuc. ii. 44 Pericles asks the Athenians to regard their houses and
their lands as KTJTTIOV KCU iyKaWwirurfia TTXOVTOV, the mere pleasance
218 NOTES

for wealth to display its graces in. ayXd'io-p\a is used in the same way:
Achill. Tat. ii. I of the rose, yijs tort K6O-/JLOS, <f>VT<i>v dyXdi'tryta, 6</>$aXp.b<;
Heliod. ili. 6 EISES TO dyXaio~/u.a e/tov TE Kal AcX^xuc, Xapi/cXetaj'.
, 'gentle,' expresses 'languid, delicate': Hesych..
Cratinus ap. Bekk. Anecd. p. 371, 1

This passage affords a remarkable instance of a common formula

of description, in which the details are accumulated without any
connecting particles. The mannerism has been imitated by Milton,
Paradise Regained ii. 156 More like to goddesses | Than mortal
creatures, graceful and discreet, [ Expert in amorous arts, enchanting
tongues I Persuasive, virgin majesty with mild | And sweet allayed,
yet terrible to approach, | Skilled to retire, and in retiring draw |
Hearts after them, tangled in amorous nets. So Ach. Tat. i. 3
e<£«7TOTat Se p,06 yvvr] (pofiepa. Kal [it-ydXr], TO Trpoaunrov aypia, 6(j>6aXp>bq
iv ai/xaTi, fSXo&vpat irapeiai, o<£as at KOJAOU- apir-qv eKparei Trjt Se£tat,
SaiSa Trji Xatai. i. 4 TOiavrqv tTSov cyco TTOT iirl ravpwi yeypa/ib/xefrji'
~%tXrjvqv op-jxa yopyov iv rjSovrjL- KOjX-q £av6rj, TO £av6ov ovXov 6(j>pv<;
/xeXaiva, TO /j.iXav aKpaTOV XevKrj Trapeid, TO Xevxov ets fiiaov €<j>oiviar<TtTo
Kal e/ni/AEiTO Tropfjivpav, olav €ts TOV iXi^avTa AuSta fiaTTTei yvvrf TO CTTo//.a
po'Swv av6o<; fjv, OTav apxrlTat To poSov avoiyuv T<SV <f>vXXo)V TOL ^ei'X?y. <us
8' ctSov, ev6v<s ainoXiiXuv • KaXXos yap o^vrepov TiTpwo-Kei yScXovs Kal 81a
T W 6<t>6aXfji.ij}V €is TT]V tj/v^yiv Karapptl • 6<f>6a-Xfi,6s yap 6Sos tpwTiKcoi
Tpavfiari. v m . 12 Trap04vo'; rjv tvuh'yjs, ovopa 'Po8(i)7ris, Kvvtfyuav ip<So-a
Kal 6rjpa'S- 7roSes ra)(cis, evtrTo^oi ^ctpes, £a>vr) Kal fniTpa Kal ave£u)o~f*.£io<;
fis yoVv ^iraiv, Kal KCIT* a^Spas Kovpa. Tpi^wv. A n t i p h a n e s 'AVT. ft". 3 3
(11. 23 K . ) A. (o rav, KaTavoEis TIS TOT IO~TIV OVTOCTI | 6 yipwv; B. airb
Trj<; p-iv oxptuis 'EXXrjviKO1;- XtVKr) ^Xavi's, ^>aios \ITIOVIO-KOS KaXos, | TTtXiBiov
airaXov, €vpv6p.o<; [iaKTrjpLa, | (3t(3aia Tpdirt^a—Tt' [naKpa Set Xeyeip; oA(os
avrrjv bpav yap TTJV *AKa8r]p.iav SOKW. T e r . Phorm. 104 uidemus: uirgo
pulchra: et quo magis diceres, \ nil aderat adiumenti ad pulchritudinem: \
capillus passus, nudus pes, ipsa horrida, | lacrumae, uestitus turpis.
Aesch. Theb. 6 1 1 ycpovra TOV VOW, crdpKa S" rjfitticrav <pvei, | iroSwKt?
op./ia, x ^ P " 8' °" fipaSvveTai. Eur. 6 « / / . 867 (piXois T dXrjOiii rjv foXos
irapovcrl Tt | Kal p.rj irapovaiv • <Lv a'pt^/ios oi iroXvs' | a'i^eu8«s ^6os, finrpoa-
rjyopov crTO/xa, j aKpavToc ov&tv OVT' CS OIKC'TOS ex a " / | °^T* *S 7ro\iVas.
z^. 9 0 4 oi/c e>/ Xo'yois ijv Xa/ATrpos dXX' Iv do~!rt8i | Seivbs CTO^IIO-T^S iroXXa
T' iijevpwv cro<j>d, \ yv<op.rji 8' d8iX(f>ov MeXcaypov
ovo/xa 8ta Te^i'iJS Sopo's, | twpwi/ aKpiftrj p.ovcriKrjv iv | p
rjOos TTXOVCTIOV, (ppovrjp,a 8e ev roio"4v Ipyois, ov^' 'rots Xoyois ev<ov. Verg.
^4««. xi. 338 /ar^wj <^«»/ et lingua melior, sed frigida bello \ dextera,
consiliis habitus non futilis auctor, | seditione potens. So in Aesch.
 NOTES 219

Supp. 577 fiorbv icropwvTes S w i p e s jU,£i£d//./}poToi/, |TO/xevfioos,TOO"

av ywaixds, he might have said TO /xiv /3ovv,TO8e yvvaTiKO. or ra plv
/Joos Zxovo-av,TO8c ywaiKo's, but it was as easy and more elegant to
introduce TO, filv /Jods without construction. The earliest example is
Semonid. Amorg. 7. 71 TT)V 8' iK TTW^KOV TOVTO Sij 8«x/<piSoi> | Zd«;
avopaa-iv fiiyicrTov wirao-ev Ka/cov. | ataxio-ra jxtv 7rpdcrco7ra- TOIOVTY) yvvrj
turiv Si aoreos irao-ii' avflpcoirois •ye'A.ios- | CTT' ai»^€i/a /^pa^eia, KivciTat
fioyis, I a-n-uyos, avroKwXos. In this passage the word KIVCITCU enables
me to see that the Physiognomic writers were the source from which
this manner of description was derived.
748. vu|/4<5K\auTos 'Epivis. So in describing Hecuba's dream of the
birth of Paris, Pind. fr. Paean, viii. 30 (Ox. Pap. v. p. 65) cSo^t Si
TtKiZv irvptjiopov 'Epivvv. According to Stasinus, the author of the
Cyprta, Helen was the daughter of Zeus and Nemesis : Athen. viii.
334 c d, Eratosth. Catast. 25.
749 ff. There is an important passage in an earlier and remarkable
writer with which this, I believe, has not been brought into comparison :
Ezekiel 18. 1 The word of the Lord came unto me again, saying, What
mean ye, that ye use this proverb concerning the land of Israel, saying,
The fathers have eaten sour grapes, and the children's teeth are set on
edge ? As I live, saith the Lord God, ye shall not have occasion to use
this proverb any more in Israel. Behold, all souls are mine; as the
soul of the father, so also the soul of the son is mine: the soul that
sinneth, it shall die. But if a man be just, and do that which is lawful
and right,...he is just, he shall surely live saith the Lord God. See the
remainder of the chapter, and Jeremiah 31. 29. That is a general
repudiation of inherited guilt, the doctrine of the Decalogue; an
assertion of individual responsibility, the Buddhist doctrine. For the
doctrine of Aeschylus see Introduction p. 31.
761. iv KaKots. There are two forms of the proverb. Solon fr. 7
has TiKTei yap Kopos vftpiv, orav TTOA.II? OX/JOS lirryraL avdpunroicriv oaocs
pi] vdos apnos rji, but in Theogn. 153 the lines are altered to rUrei
TOI Kopos vjipiv, orav KCLKWI OA./?OS €irr)Tai avOpumtai, Kail OTOJI (XTJ VOO%
apTtos r/i.
762. The correction /3a0van<oTov (see cr. n.) implies the common
confusion of 4> and (3 (cf. 436, 770) and of o and 6. Somewhat similar
is Bentley's rtjXia-KOTrov for rijiSe O-KOTIW in Soph. fr. 314.
771 f. 8vva|Aiv ov <r«pou<ra irXoiiTOD irapd(ri)^.ov otvui. The best illustra-
tion is Plat. Legg. 870 A—-c. T h e coining of money often marked the
first assumption of absolute power.—When Bacchylides ix. 49 says 618a
KOU TTXOVTOV peyaXav hvvaaiv a KOX TOV a^puov TtBrjcn xprjatov—Ti /Aaxpav
I0v<ro.<; IXavvw i/cros b8ov; I suppose that a passage on the
2?o NOTES
power of wealth must have followed in the poem of Solon (fr. 13) part
of which (v. 33 sqq.) he has been paraphrasing for his young Athenian.
The examples of iravroioi epo)T« became a commonplace; see Hor. C.
i. 1. 3 sqq. with Orelli-Hirschfelder's note on v. 18.
774 ff. In this address to Agamemnon the Chorus have two
objects: first, as representatives of the people, to assure him of a
favourable reception; secondly, to warn him of Clytaemnestra's in-
sincerity and unfaithful stewardship. The latter object they attain by
using phrases which appear to point at her obliquely: 784 ^vyxaipovo-iv
o/jLoiOTrpenels, 788 8OKOVVT' ev<f>povo^ «K Siai/oias, 796 OVK d x ' aKpas cppevb<;
ovS' d<£tAo)s and 799 roe ctKaiptos 0'iKovpovvTo.. Agamemnon, when he
refers to their welcome (v. 821 ff.) replies in the same manner (v. 831),
showing that he fully understands them.
7 7 7 . Cf. Eur. / . A. 977 7T(i)5 av <r iTraiveo-aL/xi /xr] Xiav Xoyois, p.rj8'
ei'SeoJS TOV8' aTroXeo-ai/xi Tt]v ^apiv;—xcupbv )(api.TOS = ' t h e d u e m e a s u r e of
thy content.'
779. T{> SoKttv etvai, or TO SoKtlv eZvoi as read by Weil. The latter
phrase is used by Lucian iii. 274 where he is reminding Samippus, who
had wished to be a king, what the drawbacks of the position would
h a v e b e e n : iirifiovXal /jivpCai KCU <f>66vo<s jra/oa TIOV (TvvovTttiv KOU )J1(TO% xai
KoXaKua, (f>iko'; $i oiScis OLXTJOTJ'S, dA.Aa Trpos TO SCOS airavTvi rj Trpo? TT)V
IXTrCSa ewoi SOKOVVTCS elvai.
782. 8i)-y(ia...X<lTri)s, pang of grief, resembles 742 §f)£L6vpov cpwros
av#o?, 1472 Kap8i68rjKTov, Soph. fr. 757 tpwros 8rjyp.a. The metaphorical
use of &d.Kva>, as applied to pain, grief, annoyance and the like, is very
common : see the examples collected in On editing Aeschylus, p. 102.
SaKvu>, 8rjyfj.a are merely equivalent to Xv-rnH, XVTTT), the words regularly
given as their synonyms in lexicons and scholia. 8rjyfia AuVr/s is a
periphrasis for Xvirrj just as S-^y/na epwTos (quoted above) is a periphrasis
for epws. The same MS. error (see cr. n.) is found in Lucian i. 24 oirre
KLvrjo'i'S o/xoia irpocrco-TLV oirre \\/V)(fj<i 8uyjxd. TL, aXXa Tepij/is aXXws Kai
TraiSia TO irpay/ia, where Cobet ( V. L. p. 142) shows that Srjy/xa is to
be read.
784 ff. Two things indicate that at least a line—probably a
paroemiac—is missing, the metrical hiatus between /3ia£o'/xevot and
oo-ns, and the sense; for ^uy^alpovaiv, if taken as a verb ' they sym-
pathise in gladness,' is not true; they only feign to sympathise; it is
the dative, 'in the guise of sympathisers,' Lucian i. 838 Trpoowres ovv
l8e£iovvTo Kal 8av/j.d.£,ovo-iv lwiKto-av (see for the idiom Cobet, JV. L.,
p. 341), and the verb followed in the missing line. The purport almost
certainly was 'they smile a forced smile only with the lips; but their
eyes bewray them': Heliod. ii. 19 Trpos TaSr' ifitiSiaa-cv oXiyov KO.1
 NOTES 221

teal fiovoit TOIS \eiKecnv l-rriTpsypv. H o r n . O 101 -q 8k

y€\a<r<T€v ^ctAttriv, ov 8c fifTOnrov }TT' o<f>pvai Kvaverjicriv ldv$t]. Lucian
lu
- T 5 3 TpoaUrai fx.lv KOX Trpoo-fiuSiai TOIS xe^i0"lv <*Kpois, fJ-icrei 81 Kal
XaOpa TOVS 6&6VTO.<; Sunrpiu. Plaut. Capt. 484 nemo ridet. sciui extemplo
rem de confedo geri. tie canem quidem inritatam uoluit quisquam
imitarier, saltern, si non adriderent, dentis ut restringerent. Fronto,
p . 2 4 3 N a b e r o TOI ye'Aws, OVTCDS TO TTOII' aSo\os tivat ire<£uKa>s <os Kal
Toil's oSovTas T<5V ytXdvTtDV iTri&eiKvvtiv, cis TOCTOVTOV rjSrj Ka/co/xj^^avias Kal
eveSpas cos Kal Ta Xe^V KpviTTnv TWV cf iTri/3ov\rjs TrpoaytkwvTwv. Schol.
Plat. Rep. 337 A, p- 9 2 6 fxr)-noT(. ovv TO 'OfJLYjpiKov, o&ev Kal rj irapoi.ft.ia
tcrwi ippvr), 'ft.tib\)(re Se OvfxiSi craphaviov fxaXa roiov' TOV a7r' avrcoi'
TWV ^eiXcoi' yeKmra Kai fJ-^XP1 T°v crto-ffptvai yiyvofitvov arffxaivti.—irpo-
: he uses lTnroyvu>)i.wv in the same connexion in fr. 243:

yeas yuvaiKos ov ft€ /JLT] Xadrji

0$#aA.ju6s 77Vts avSpbs rji y y q
tXwv ^i TOVTUIV Bvfibv iiriroyv<i>fi.ova...

which, as I learn from Burton, is the regular metaphor in Arabic;

firasah, their word for physiognomy, means properly 'skill in judging
the points of a mare (faras),' an eye for horseflesh : and the metaphor
in Greek was derived, I suppose, from a common Oriental source. In
that science, as I have shown in the note on v. 283, it was the eye that
told the truth.—vSapet, 'watery,' is the opposite of aiepdroH, 'neat' or
' undiluted' as applied to wine and metaphorically ' absolute,' ' un-
mitigated.' Ar. Pol. ii. 4, p. 1262 b 614 iv Se TJ/I irokei Trjv <f>i\iav
avayKaiov ISaprj yiveaOai Slot Tr]v KOivaivlav TrfV TOLavrrjv (i.e. of women
and children), Kal rfKia-Ta \iyeiv TOV ifibv rj vlbv naripa rj Trarepa v'tov.
For the description of the false friend cf. Max. Tyr. vi. 7 TO Se u8o>\ov
avrov 7rpo'^€tpov Kal TTavToSaTTOv, KoXaKiov icr/nol Kal 6iao-oi, aeo~rjpoT(av
Kal craivovTwv, Kal err aKpai Trji yXcoTT»?t TO <f>t,\.uv i\6vTiav ovx w *
tuvotas ayofj.£v<ov KTI.
791. OVK eiriKevo-w: see cr. n. yap may have been inserted merely
for sense: see On editing Aeschylus, p. 121.
794 f. fldpo-os IKOUO-IOV avSpdo-i. BvijiorKovcri. KO(j.Ci>v, ' in seeking to re-
cover a consenting wanton by means of the lives of men.' KOfni^nv is
used of the quest for Helen by Find. O. xiii. 59 TOI fj.lv yeVci (f>ikwi o-vv
ATpeos 'EXivav KO/xt^ovTCS, ol 8' enro Tra'fiurav dpyovTa, a n d JV. vii. 28
£av8wi Mci/e'Xai 8a.fj.apTa KOJLUO-CU and in the Tebtunis Papyri, vol. i., p. 3
(fr. I, 1) (o <j>av(l:; xap/ua ft,oi cpiXov ore ft! Tjyairas ore oopaTi iroXi/AuM
Tav $puy<3i' TT6X.LV eTropOeis jxova, Tafia. KOjxicrai OiXuiv Ae^ta iraXiv eis
iraTpav.—(9ap<ros IKOVQ-LOV is, as Dr Verrall takes it, a description of
Helen herself, rather than 'the willing wantonness of Helen,' as
222 NOTES
Weil explained i t : Opdo-os is used in a personal sense in Theb. 172
Kparovaa /xkv yap (yvvrj) ovx 6/XIXTJTOV Opdaos (tori), Eur. Andr. 261
(3 ftdpftapov <TV Ope/a/xa KCLI a-KXrjpov 6pd<xo%, and many other neuter
words like o-Tvyos, plaoi, KAcyxos, oveiSos, ftiaaiia, dXrj/xa, TranrdXrjp.a,
Trapoif/mvriixa (v. 1448) were used to describe persons not only in
addressing them but in speaking of them (Class. Rev. xiv. p. 117).
This view of Helen's conduct would be familiar to a Greek audience
so that they would not experience the least difficulty in understanding
what was meant, especially after the introduction of. Helen's name in
v. 791. Stesichorus (before his Recantation) had declared that 'EAeV?/
tKovcra aTnjpt (Bergk, p. 215); and her conduct was a ground of dis-
contentment both at home and in the camp. It was bad enough that
men's blood should be shed for a woman's sake at all (sup. 62, cf.
Supp. 486), especially when that woman was another's wife (sup. 455,
Achilles in Horn. A 154, I 327, 339); but for a woman who went off
with her lover of her own accord (see also Eur. Andr. 592ff.),this was in-
deed a thing intolerable. Herodotus i. 4 presents the Asiatic view of this
very matter; when women were carried off, it was folly to make exertions
for revenge, 8rjX.a yap 8rj OTI, el fir) avral ifiovXovro, OVK av tjpTrd^ovTO.
796 f. If d<£tA«>s is sound, a supplement such as 'ia~nv eirairctv seems
to be required. A short line was often written at the side and after-
wards omitted. iwiXtyeiv is to pronounce a judgment, censure, eulogy
or epitaph: Plut. Mor. 704 E TavTats prais TO ' KaXuis' liriXiytadcu.
Arist. 1 3 2 3 b I I ft Set Kal TOVTOIS CTriXtyeiv fi.r] fiovov TO ' KCtAoV' dAXa /cat
TO ' xpijai/jiov.' Philem. 128 «aA.6v TO Ovrjuritw ZCTTLV iirl TOVTWI Ae'yeiv.
Theb. 906 irdpeo-riv elirtlv iir' a.0\ioi(Tiv ok... sup. 379.—c{lif>puv means
pleasant, agreeable, welcome, = valvti, irpoo-ytXai, arridet: as in 1577,
Supp. 19, 383, 543, 983, Pind. O. ii. 40, N. vii. 67. For the sentiment
see Cope on Ar. Rhet. i. 11. 8.
800. otxovpovvTa. If nothing else had told Agamemnon that the
Chorus are alluding to Clytaemnestra, this word could not fail to tell
him. oiKovptiv, to keep house, was the duty of the faithful housewife.
Eur. Hec. 1277 KTEVEI VW ij TOVS' aAo^os, otKOvpos irixpa. Or. 928 ci
TavSov OLKOvprjixaff ol AeA£i/x/t«'oi <j>9eipovcnv, avSpuiv ewiSas A.a>/Ju!jtt€i/oi.
Lycophr. 1107 Xvirpav AeaiVjjs do-L&ova oiKovpiav. Liban. iv. 115:
Agamemnon on departing for the Trojan expedition is supposed to
have charged his wife in these terms:—6 fxlv wXovs, <3 yvvai, /xaxpo^,
at 8i iripi rov £rjv iXTriSei aSr^Aof Set yap, r/J' Birji, ndvra iraOelv oirws
<ru)<f>pov<j)(nv rfjjlv at ywaiKts. TauTt o-ot TrapaKaraTiOefiai TO. iraiSia.
o'lKovpei, Kai (f>vXa( T17S otKt'as Z<ro TTUTTTJ Kal p\.tlvov aTrovn irdXiv yvvrj
Kal TOIS 7rato-i MT-qp, Kal iraTrjp dvr ip.ov. to"c«s Itravrj^u) Kal liraivi-
i e Trj% oiKouptas.
 NOTES 22 3

802. Tois 4|iol |UTCUT(OUS recalls the arrogant inscriptions set up by

Pausanias at Delphi and Byzantium : Thuc. i. 132, Athen. 536 a.
806. ai.(j.aTT)pbv TCVXOS : an urn of blood, like p.t\iTY]pbv ayyos—a
honey pot (Ar. fr. 440) : Ktpdp.iov 6£t)p6v—a vinegar jar (ib. 511).
807 f. TWI 8' tvaVTlwi KVT«I IXirls irpocr>]i«i. xeipbs ov irXr)pov|i6vwi. The
other urn saw Hope of the hand which was to drop a vote in it con-
tinually coming nigh, but never saw it quite arrive : for when a hope
arrived, it was a hope realised : Eur. Or. 859 olpioi- irpo<Tyj\.Otv iXirl% -QV
<f>of3ov/Aevr) Here. Fur. 771 SoK-ujfidriov CKTOS rj\6tv cA/n-i's. Hopes far
from realisation were called /xaKpal ikiriSes, distant hopes; when realised,
or nearly, they were e/Wi8« irapovo-ai: Cho. 694 vvv 8' rjnep rjv So/xoia-i
ySaK^et'as KaK^s tarpos €A.7ri's, rjv irapov(rav iyypd<f>nv.
809. Kairvooi 8' aXoOo-a KTC. : ' the capture of the city now remains
still manifest by the smoke.' Dio Chrys. i. p. 72 R. KCU VVV CTI TOVTO
8pai, Menander fr. 113 (iii. 34 K.) xai vvv I n enroi^Ta Tra/iMroAA' CO-TIV
rj/uv.
810. See cr. n. If Hermann's reading is taken, Troy with all her
insolent wealth—the cause of her damnation—is conceived as a burnt
sacrifice to'AT?; {inf. 1434, Theb. 938 «rra/ce 8' "k.ra.% TpoTralov iv 77-uAai.s).
Helen, who fired Troy (Achill. Tat. i. 8 TO fxkv yap 'EAe'njs TWV yd/A<oi>
irvp dvijij/e Kara. rrj<; Tpoi'as dWo trip), has been already likened to a
sacrificial minister of "ATJ? in v. 736. £rjv, which appears in ^uwvpuv,
is a proper word of fire in Greek as uiuere and uiuus are in Latin:-
Eur. Bacch. 8, Ar. Lys. 306, avOpam £o)oim Arat. 1041. The wind fans
the flame into life, which is contrasted with the dying ash: Quint, iii.
712 ff. Cf. Horn. fj. 68 wupos T' 6A.0010 OveXXai.
812. iroXvl|iviio-Tov x»Plv- Max. Tyr. xxx. 4 speaks of Pausanias and
Lysander sacrificing or dedicating a tithe of their spoils.
826. Tzetzes on Lycophr. 354 pointed out that 7r£7ra/*,eVos should
be written with a single ^. TUH •Kt-Kap.ivmi is the Aeschylean substitute
where poetry would generally give riot KtKT^jxivioi, prose ™t I^OVTI.
829 ff. By the vague SOKOVVTOS, 'certain ones in appearance,' he
conveys to them that he is quite aware of Clytaemnestra's insincerity ;
and then, as though he were thinking only of the Greeks at Troy, con-
tinues with |idvos 8" "08vo-o-«vs, just as they had continued with <rv Se /xoi
in v. 790.—6|iiX(as Kdi-oii-Tpov here means the mirror which 6/xtA.ia, con-
suetudo, converse or conversation, association, companionship, familiarity,
holds up, the glass in which the associate's true character is shown :
KaTO-KTpoii fj.lv £jU.<£avi£eTai -njTros Trjs /xop^>^s TOV <T<OjU,aTos, 6/x<AuHS Se Kal
Xo'yois TO rrj<s l/'i'X'1?9 rjOos ^apaKTr;pt^€Tai Stobaeus, Flor. IV. p . 4 3 0 ,
Gaisford. iv ficv TOIS eo-oVTpois 6 rrjs oi//€oos, iv 81 Tais 6/xiAta6S 6 T^S
\apaKTr)p flXeiriTai. is the form in Antonius and Maximus. Eur.
224 NOTES

El. 3 8 3 ov fn.rj d<t>povt}<reff, 01 Ktvuiv So^aoYiaTwv \ irXypets irXavairOt, rrji

8 Ofxikiai ftporovs I /cpiveiTf *cu TOIS rjOecriv TOVS cvyevtis; Andr. 683
•q S' 6/xiAi'a I TrdvTiov PpoTolai yiyvfrai SiSatrxaXos. Aesch. Supp, 1004
ayv<26' o/u\oi> w ZXeyxcaBai xpoVau. In Pint. J/<?r. 53 A the flatterer
is compared to a mirror, which only reflects foreign images :
Kwro-TTTpov, iraBuiv oBvtiwv KOX jiiuiv KOI Kivr]fA,dTO)v cixoVas a S
But that is a different comparison. It is certain that 6/xiAia does not
mean friendship (<£iA.ia), nor is Kwrompov ever used of a mere reflexion
((TKid or aSioAov). See fr. 393 KaToiTTpov a8ous x a ^ K O S ^""T', olvo% 8i vov,
E u r . Z ^ / . 4 2 8 KdKovs 8t ^VIJTCSI' e£e<pr]v', orav rvxr/i, irpoOeh KaroirTpov
ucrrt Trap9evu)t. veai xpovos.
8 3 5 . TO 8" &\\a irpbs Otoils. T h i s u s e of TO. irpo's, ' w i t h regard t o , '
is not of the commonest and occurs chiefly with Oeovs and TTOXIV : Soph.
Phil. 1441 evo-cftelv TO. irpbs Oeovs, O. C. 617 TO. irpbs ere, Track. 879
O-XCTAUIH TO, 7rpos y6 Trpa^iv ( H e r m a n n ) , E u r . Or. 4 2 7 TO, irpos
TTOJS €XCtS; I 6 6 4 TO, TVpO% TToXlV St T<Sl8' £yO) 6i](T(J> KaAuS, X e
13. n , Dem. 3. 26, Aeschin. 3. 120. In later prose the idiom is
employed freely.
841. See cr. n. and for the form of expression cf. Soph. Phil. 765
TO •wrjjxo. TOVTO Trjs VO<TOV TO vvv wapov, At. 3 6 3 TO vrjjxa Trjs a.Trj'S, Apoll.
R h o d . IV. 4 <XT7js irrjixa Svcrifxepov.
845. V£KT) 8'.... But in his contest presently with Clytaemnestra
(v. 933) he quickly yields the victory to her, and before long her
triumph is complete.
855 f. Ford, The Broken Heart v. 3
When one news straight came huddling on another
Of death ! and death ! and death !
In KCIKOB KCIKIOVfi.XX.0iri)|j.a she means him to understand disasters
happening to him, his wounds or d e a t h ; she herself has in mind
dpala. Kami (v. 13 96) inflicted by Agamemnon on his wife at home,
the slaughter of her child (TO irrjixa TS>V 6\<D\6T<I>V V. 358) and his un-
faithfulness (v. 1440).
859. TeVpijTai, which H. L. Ahrens gave for the MS. TcVpwTiu, is
the right verb; a net is not full of wounds, but of holes : 8LKTVOV
•n-oXvTprjTov Babr. iv. 4.
860. A 8' i]v Te6vr]Kws. • • A shade of intonation in the Greek as in the
English would make a wish of this, ' If only he had been killed !' and I
fancy this is the suggestion, that he deserved to die three limes over,
a£ios rjais Ttdvdvai in the common phrase : Eur. Or. 1512 OP. EJ/SI'KWS
rj TuvSapeios apa 7raTs SIOJACTO; | <3>P. ei/StKcoTar', el y£ Xai/xovs ei^e
i Qavuv like some three-headed monster.
The 'coverlet' of earth or stones was a familiar metaphor from
 NOTES 225

Homer d o w n w a r d s : T 5 7 rj T£ Ktv rj8r] Xdivov eVcro ^iToVa (caxai

ocrcra Zopyas. See the passages collected by Blomfield.
868. «K ™v8t TOI. The real reason of course was that she might
carry on her intrigue with Aegisthus undisturbed; that was the ' price '
for which she ' s o l d ' Orestes, Cho. 132 7re7rpa.ju.eV01 yap vvv ye 7ra>s
aA<Djti£0a irpos TT7S T£KOV<J»;S, avSpa h" dvTT]XXdt;a.TO kl-yuxdov, ib. 914.
872 fT. STPO<()£OS is so accented by M in Cho. 675. [Blass (Choeph.
p. 24) says : ' Ferner accentuire ich mit M v. 679 ~%Tpo§'ws gemass der
Regel wonach diese Namen auf -tos hei kurzer erster Silbe Paroxytona
sind: 'E^ios Irpario-i unddoch 4>»;ju.ios.' See also Cobet's remarks to the
same effect in V. L. p. 59.]
dfji<t>(\EKra inrj|i.aTa. Two things might happen: Agamemnon first
might fall at Troy; and then the people might revolt and frame a plot
to murder the young heir, and so destroy the dynasty entirely. Lucian's
Tyi-annicide ii. 151, who has killed the tyrant's son, argues that TO VTT
i/j-ov yfytvrjfjLevov ov <f>vyq, ovBe Sevrepas cVavacrTao'tios CXTTIS, dAAa TravTeXvJs
Ka0aipeo~i9j KCU TravwXeOpia. 7ravTo5 TOV yeyous, Kat pi^oOev TO Seivbv aTrav
v.—For povX<|v KaToppd\|/««v cf. Alexis ii. 329 K. (Athen. 568 a)
8i I ira.<riv €7ri/8ovXd;. Ael. JV. A. vii. 10 tVi/JouAas pairrovTes
(v.l. pi7TTOi'Tes), Eunt. 26 xaTappai/'as popov, inf. 1604 <f>6vov pat^eus.
Similarly pdirretv is c o m b i n e d with Kami, <f>6vov, B6.VO.TOV : a d d t h e
c o m p o u n d s 8o\oppd<f)O'S, /jUJxai/oppa^os, 8iKoppd^)o5. fSovXr/v KaTapplxpeitv
c o u l d n o t m e a n ' h a z a r d a plot,' because Greek said dvappiVrcti/, or
avafidXXeiv, Kvfiov f}6\ov or KIV8VVOV, never Ka.To.ppiTTTf.lv, If, on the
other hand, the meaning were ' overthrow the Council,' we should at
least have had TTJVfiovXijv,but Tragedy never uses this technical
Athenian term to describe a body of councillors in the heroic age.
Observe moreover that she is speaking of a danger to Orestes' life.
880 ff. I take it that Clytaemnestra here is feigning just what
Imogen says honestly in Cymbeline iii. 4. 38
False to his bed! What is it to be false ?
To lie in watch there, and to think on him ?
To weep 'twixt clock and clock ? if sleep charge nature,
To break it with a fearful dream of him,
And cry myself awake ?

Night after night, she means, the lamp has been burning in her
chamber and she waiting to receive him there, and weeping because he,
like a faithless lover, never heeded it: A nth. Pal. v. 190. 3
apd ye trjv 4>tXda<jiTOv e.T Iv KOiTaiviv aO
aypVTrvov, Xv\vwi TTOXX' dirooaof).ivqv t
diroSvpofievrjv J a c o b s , diroicXao/xeVjjv H u s c h k e )

H. A.
226 NOTES
Ah, shall I find the unthrift still awake
And sorrowing to her lamp for my dear sake?

ib. 279, 263, 150. Pint. Mor. 759 F Aais ris fj Tva.6ai.viov 'i^io
Saioticra Xa/nTrrrjpu)v (re'Xas' €K8ex°/u-c'l'r?- But ill truth the lamp has been
alight in expectation of Aegisthus, or in Aegisthus' company, for the
lamp was always witness, Heliod. i. 12, Anth. Pal. v. 4, 5, 7, 8, 128,
165, 166—in Lucian i. 648 it is cited as a witness, and in amatory
language plays a large part as a sentimental symbol: lovers, says Plut.
j\For. 513 F, KCLV fxrj Trpos a\>6pcoVovs, 7rpos ai/ofX" TTfpi avruiv SiaXeyovrai,
'w <f>t\Ta.TY] KXLVI],' KCU ' BaK^is @€°v "•' ivo/uarev, evSaifiov Xv^ve,' a saying
Asclepiades alludes to in A. P. v. 7 Xvyyt, <rv 8', el #eos tl, rrjv SoXir/v
airdfivvov. And if a gnat's least whining woke her in alarm, it was
alarm about Aegisthus; that is why in 881 and 884 she repeats the
dyii</>i crot, which for that reason I have thought should be a little stressed.
In the ears of the audience the words TOW £W<.V§OVTO% would suggest
another bed-fellow than the time she speaks of. For fSXdpas (or /3Xd/3i]v)
i\(iv, to suffer injury, see Eum. 802 cos ravr' Opea-Tijv Bpiovra fx,rj fiXdflas
«X«"'j Soph. At. 1325 TI yd-p <r" eSpaC€V, W<TT( KOLI j3Xd/3v]v tyew; schol. Ellr.
Or. 542 on ixrj 'irunf/iovs' i^arepas f3Xd(3a<; eXafie, schol. Flor. on Ag. 72
PXd/^Tjv e\ovrK aTrb (1. for avrl) TOV yyjptDS.
887 ff. These are familiar examples of a single eXiri's, a saving hope
or stay, existing or afforded, to rely upon : but critics since Blomfield
have been offended by the Kat in v. 890; and rightly, on their view
of the construction : some therefore would read yalav for «ai yrjv, while
others take the KOU to begin a new series of comparisons. Yet KO.1 yrjv
I am sure is sound, for fiovoyevis TtKvov Trarpl (TIJO' iXiriSa <j>avev) xai yrjv
<f>a.vei<rav vavTiXoi<s vap' iXiriSa is the meaning. So Pindar O. x. 86
speaks of his late-appearing ode as coming dearly welcomed like a
long-desired child granted to a father late in life: TO Trap' evKXei. Aipnai
Xpovcot jxiv <f>dvev dXX' line, TTOUS i£ dXo^uv narpl Tro9f.ivb<; IKOVTL vtoTaTOS
TO 7rd\iv rjBr]. L i b a n . iv. 6 5 1 . 19 JTOCTOUS €7rt8et5<i) croi TOJI/ TTOXITWV yvvalxai
fx.lv avrwv exovras thviiv Trarepas 8' ov KtKXf]fnivov%, avOpw-vovs eh eo-xarov
r)8ri yrjpMS r\KOvra% xal rr)v iXnt'Sa TOC TrpdyjxaTos irpocracf>rjipr]fA.€vovs; av
ovv tycu fxiv croi ravra TreWw/iai yvvaiov Se eVSov rji. 7rai8€s 8e
<^aivo)VTat,...Hom. h. Dem. 219 7rai8a 8e fi.01 rpetfx: TOV$€, Toy 6\pl.yovov
Kal aeXirrov wiraaav dOdvaroi.
Trap <!A7rt8a with its double meaning (vv. 278, 1042) comes with
telling irony at the end: but the effect of it is weakened by three
lines which follow in the MSS., and which I have omitted, believing
them to have been merely an illustration quoted in the margin (see
cr. n.) :
 NOTES 227

KaWtuTov rj/iap tlaiBtlv IK \e.ijxaTo%,

68onr6pu> 8t«/'<5i'Tt Tnqydiov pe'os,
Ttpirvov ok To.va.yK0.10v iKtpvyttv (nniv.
Fair is the clear day viewed after the storm,
Spring-water to the parching wayfarer,
Dear the deliverance from all hard constraints.
That is the construction of them, as in Theognis 255 KaWivrov TO
SiKaioTotroi', XMUTTOV 8' vyiaivuv, TTpoiyfxa 8k Tf.p1rv07a.T0v TOS TLS epai TO
TU^CII', S o p h . fr. 3 2 9 KOLWKTTOV c o n TOVVSIKOV TT€cf>VKevai, \I2L<TTOV 8k TO
£fjv avoaov, rj8io-Tov b" OTUK Traptori Xrjifns c5v tpai KO.6' rjfiepav, A. P. v. 169
rjov Otpovs 8n/'(oi'Ti ^icov TOTOV, y8v Se yavTais IK ^U/JLWVOS ISuv elapabv
o-Tiij>avov rj&io-Tov 8' OTrdrai' Kpvtfj-qi /xia roiis (f>i\tovT<xs ^Xat>/a KOU alvfjTai
Kvirpis VTT d/xi^oTepwi',—this epigram repeating the same commonplace.
I need only add Eur. Andr. 870 (3 vavriXoio-i ^ei/naTos Xt/i^v <£aveis and
Or. 7 1 9 rjheiav b\j/iv Trtoros iv KOKOIS avrip Kpuo~aoiv yaXrjvrjs vavTiAoicrtv
fhropav t o show t h a t K<ik\io-Tov ^jnap t!o"i8civ «K ^eijuaTOs would b e little
m o r e t h a n tautology with yrjv (fraviio-av vavTiXois. Besides, TOIOIO-SE rot
viv d£iu> Trpoom<j>6fyfia.cnv should follow t h e Trpo&<t>f)iyp.aTa. immediately.
904. See cr. n. An alternative reading is o-vv Oeoio-iv, ap/nei/a.
905 ff. Agamemnon answers coldly, and Sa>//.aT«»> ifxwv cf>v\a£
would have made another woman wince. His first remark is a severe
snub, and his next, that praise should come from others, is at least
ambiguous.
914. KOXXWIV : a technical term of worship. Cf. Eupol. fr. 333
(i. 346 K . ) fiaTrreiv TO, KaWr) ra TrepCaefLva riji 6e<5i.
917. This line was explained by Blass Melanges Henri Weil, 1898,
p. 1 3 : to walk merely over TroSdi/ajcrTpa would be dveTrtydovov; but it
would have a very different sound if rumour said that he had walked
upon TO. iroiKika, which belong to the service of the gods. Cf. Da-
mascius ap. Suid. S.V. xwPL<i T ^ Mvao3i'...j(o)/0(s yap TO. TWV <£<Aoo"d<£coi> KO.1
T<Sv Upcwv bpicrfxaTa, ovSkv TJTTOV fj TO. keyofieva MVO-UJI' Kai Qpvyiov. S o xmP^
is predicative, followed b y r e W , in Soph. O.C. 8 0 8 , Plat. Prot. 336 B.
918 f. TO (i.*| KaKws <j>poveiv 06ofi lie'-yicTTOV 8wpov : E u r . Med. 635 crrepyoi 8c
/u.6 o-GMjbpoowa, &<j)p7][jLa KaXkio-Tov OetSv. I n t h e allusion t o felicity (oA/3i'crai)
which follows there appears to be a side-reference to the proverbial
Theb. 612 6eov 8k Swpov io-Tiv ivTv^v jipoTovs, Cho. 57 TO 8' zvTvxdv, TOS'
iv pporoh 0eo's TE Kai Oeov wktov. Jebb on Soph. O. T. 1529 remarks
that this is the first allusion in literature to the famous adage attributed
to Solon. Cf. Dio Chrys. xxviii. 13 (ii. 535 R.) OO-TIS 8k TOIS
owairepxtTai TO. apiara 7rpafas, OUTOS eiSat^oyeaTaTa
921. See cr. n. T h e reading of the MSS. could only mean 'if it
is the case that (supposing certain conditions) I should a c t ' (or ' fare')
228 NOTES
'in all things thus, I have no misgivings.' This can hardly be called
a meaning; nor is S>% so used in Tragedy. Cf. Supp. 4°3 £ " r w ^ K a '
irpiv, OVK avev &i)fn.ov Ta8e irpd£aifi.' av. Cho. 6 8 4 ToaavT ctKOWas eliroi:
Eum. 641 T7]V b" av TOlaxnrfv etirov.
922. Kal |i<|v TOS' elir^...£|ib£ is the preface to a question: Hdt. vii.
47, Ar. Nub. 500, 748, Thesm. 740, Plut. 902, Plat. O a / y / . 385 B, Rep.
351 D, Lucian i. 297. Everyday language would say Kal firjv TO'SC /XOI
dire. Tragic style habitually uses eym, av superfluously: if emphasis
were desired it would have been secured by the position of the word,
Kal /xr/v ifiol TO'8' elire. Nevertheless in the use of «y<o, ifxoi, ipi at
the end of three successive lines we hear an undertone of strife between
two wills. Thus, prf| irapa -yvwunv is interposed, as in the following
examples: Soph. Ant. 446 av <$' flirt fioi, /xrj //.TJKOS dXXa O-WTO/HWS,
ijiSrjaOa... ; Track. 1117, E u r . Med. 7 6 8 firj Trpbs ySovrfv, sup. 515,
897, Theb. 266 /xrj ^)tXoo-TOVO)s. Ar. fr. 4 7 3 Kal Kplvov avr-q jxr) fx-er
o^vipcyjuias. Plat. C o m . 86 (Ath. n o d) KOLIT dprovs-.^Ke trpia.fi.evos, firj
TUV Ka6apvX.\(Dv (where ix-ij shows ^«t to mean ' return '—it is often used
in the imperative—not, as the editors take it, ' he came back'). diruv
•n-apa. yvu>ii.-qv is ' to speak contrary to one's own yvwfirj, deliberate
opinion, conviction, advised judgement.' Cf. Thuc. vi. 9 ovre eV T<TH
irpoTtpiM xp6vioL...elirov irapa yvv>firjv ovrt vvv, ill. 42 ovTia yap r/KKTTa av
irapa yviajxr^v n Kal Trpos \apiv Xeyot. P l u t . Mor. 986 B eyol) 8' e/cor^Vo/xat
vfi.lv, p.rf Kai irapa. yymfxijv ifi.01 $OKrji ^api^o'/tei'os StaXcyecr^ai ' against his
conviction, to please m e . ' D e m . 1 4 5 1 . 16 TO \ap!.t,c.<r6al. TI 7rapa yv<i/i.rjv
o p p o s e d to -ra SoKovvrd fJ-oi f3i\.TUTTa irapatveiv. Plut. Phoc. 9 ifxx.. Xkytiv
a fi.r] Bel irapa yvii>fi.r)v OVK avayKacrtTe. Tib. Gracch. 2 aio-T€ Kal irapa
yvhifi.t\v iv TWL Xe'ycii/ tK(pep6p.evov vir 6pyrj<;...f3\ao-<f>yffielv. Philop. 6 ais
irapa yviojxrfv jBiacrdeltv eh xe^Pa^ eXOelv. S o irapa S6£av OX TO. SoKOvvra
elirelv: Plat. Laches 178 B OVK av ehroiev a voovaw, dXXa...aXXa Xc'yowi
irapa TXJV avTaJv So'^ai/. Bep. 3 4 6 A eirel rocrovSe e'nre- ov^6 <pafi£v'...; Kal 3>
lw.KO.pu. fxrj irapa So£av diroKpivov. Gorg. 5 0 0 h furj^e irapa ra SoKowra
airoKplvov. 495 A elirep irapa TO. SoKovvra epels. I n E u r . Med. 577 ofim1;
b" efioiyt, K€t irapa yvia/xrjv ipui, 8OK€IS irpoSovs orrjv d\o\ov ov SUaia Spav
the meaning is ' unadvisedly,' as in Thuc. i. 70 n-apa ypcu/x^v Kiv&vvevrai,
Soph. Track. 389 OVK aV6 yvw'/xjjs Xc'yas. Liban. i. 291 irpoijKaro pfjfxa
irapa yvutfirfv, KtkevovTos TOV 6vfi.ov, i.e. opyrji f3iao-0tv (JLSLWOV rj yvu>fxi\i
<f>pevwv Soph. O. T. 524, 'more upon humour than advised respect.'
Pkiloct. 1191 X O . ri pQovTf.% a'XXoKoruu yviafLai. TWV irdpos, (Sv irpovcfraivis;
4>I. OVTOL ve/xeo-ijTOv dXvovra xei/uepiwi XvVai Kal irapa vovv Opoelv. ' Con-
trary to my opinion' would be rapa y v a ^ v ifirjv, as Eur. I. A. 502 on
Trapa yv^p-yfv efxrfv viredtjKas 6p6wi TOVS Xoyovs, where the sense is
' expectation,' as in Aesch. Supp. 463 ykvono S' el wapa. yv^fx-qv e^v
Eur. H. F. 5 9 4 fx.r\ irapa. yvii>fx-qv ireo-r)is.
 NOTES 229

924. ?p(jeiv: see cr. n. tvxojmi in the sense ' / vow that I will'
always takes the future. Greek never said -qvtw ep&eiv av for 'you
vowed that you would,' and rp5£o> ZP8uv could only mean ' you vowed
that you were performing.'—ZpSeiv was probably the alteration of a
scribe who thought that av and tp£eiv belonged together. The editors
strangely imagine that w8' tpSuv raSe means ' to refrain from treading on
dyed robes'; having forgotten that when you made a vow to the gods
you did not say ov Ovcrw, ' save me, and I will—not sacrifice !' Vows
were made in times of fear or danger (Plat. Legg. 909 E, Anth. Pal.
ix. 7); you said, Deliver me from this danger, and I vow to sacrifice
so much. Similarly in v. 954 Clytaemnestra says iroWwv Trarrja/jibv
eifidriav av ^v^a^-qv, ' I would readily have vowed the sacrifice of many
robes to ransom Agamemnon's life.'—Agamemnon would have obeyed
Calchas as he had done in the matter of Iphigeneia.
925. 'Yes, supposing the authority on ritual (the priest, el eiSus
/uavreuoyuevos Horn. /? 170: cf. Z 438) had prescribed (Trufravo-Kiov elire
or i^-qyrjdaTo) this holy service' (TOSC TCXO?, which now has a proper
sense).—Qtiirov of the MSS. is the alteration of a scribe who mistook
the construction of tnrep TIS.—If enrep TIS had really meant 'if anyone
ever did,' we should have had no yt with ci&os tv: yet ye must be
genuine, for it was never inserted by scribes except metri gratia : uirep
.. .ye is siquidem ; in answer to a question, ' yes; that is, if...' (O. T. 369).
933- 'h Ka^ ""* i s tu quoque, and could not mean anything else.
934. See cr. n. and cf. Soph. Ai. 1353 Kparels TOI T W <f>i\u>v
MK(o/jei'os. In v. 932 Clyt. has forced him to accept the ominous 'felici-
tation' of v. 919 (see Solon in Hdt. i. 32), and now contrives to make
him yield of his own accord (EKOJF).
935. vimu TI.S...XUOI : Horn. | 496 dAAct TIS ei/17 thrtiv '

938. irpoo-wflev marks the connexion with 6*<av: Ettm. 297 KXVU Si
Kal 7rp6(T<i>0ev wv 8eos, ib. 4 0 0 irpoa-diOev l^qKovaa, Cho. 690, Blomf. on
P. V. 320.
939 f. iro\\^| •yop cuSws 8u)(iaTO<f>8opetv iroo-lv <))8e£povTa TTXOVTOV dpYupwv^JTovs
9' 6<pds: this is the scruple that Clytaemnestra scornfully replies to in
v. 949 ff. S(o/iaTo<^)^op€ti/ is a synonym of the usual word oiKocf>6opuv,
to squander one's substance, ruin one's estate by spendthrift prodigality.
(uXeo-iWos and diroiXco-toiKos were used humorously in the same sense.
94I. Tovjibv |iiv oiha: SO Max. Tyr. xxii. 3 xat TO, fx.iv e/na Tauriji t\eL-
OTL 8« Kal Trepl v/iai KTL Lucian ii. 729 aXXa Tavra p.iv ixavcos- TO.
UvOayopov 8i r/Sr] Xc'ye, ii. 872. Either rovrutv fxh aXis or ravra ft.lv OVTO>
would be Greek, but not TOVTWV /xlv OVTW (see cr. n.).
944. She, therefore, being a delicately-nurtured princess, will feel
230 NOTES
the condition of slavery with peculiar keenness. At the same time
Agamemnon wishes to convey that she has only been assigned to him
according to the common practice as the choicest flower of all the spoil,
and that he has no personal interest in her beyond that. A comma is
substituted for the full-stop which is commonly but wrongly placed at
the end of v. 944. The formula iravT« (or ov8ii's)...avTr) Se is extremely
common. The predicate comes first in Greek, and the stress here is
On iroWwv xpr)iAa.T(ov e^aiperov avOoi.
949 ff. Clytaemnestra utters not a word about Cassandra, but
replies 'You talk of squandering wealth and ruining the house; surely
there is the whole sea to draw from, with as good purple-fish in it as
ever came out of it; purple only costs its weight in silver, and we
can afford to pay for it. Besides, thank Heaven! there is a store of
purple garments in the house already; we are not quite paupers;
the house is surely not going to be ruined by the sacrificing of a few
dyed robes.' Thus JOTIV edXao-o-a not 'there is a sea,' but 'the sea is
in existence ': cf. Ach. Tat. vii. 9 ei Be TaDra ycyovfi' OVTWS, t'ya) fniv OVK
olSa, fiaOiiv 8' ifJLiv i^iuraf t\eTe TOV SeStyiteVov etxrlv at Oepairawai- ear 11/
6 2<iKr#€V77<;. Alexis 15. 14 6 Tapi^otrutXr/'i icrriv IKOuiv TtvvOavov (you
can go and ask him whether I didn't pay him as much). Acts 19. 38
dyopuioi ayovrai, KOX avOvwaroi ei&iv • iyKaXetTUHTav dAAi^Aois. Soph.
O. C. 506 ear eVoi/cos os 4>pafTti.—OIKOS 8" far&pxci KT£. ' T h e house
affords us store of t h e s e . ' Cf. T h e o c r . 2 2 . 222 Aiyew fj.eiXtyix.aTa
M-Ovaioiv, 01' avral trapi\ov<Ti Kal <os t;u.os OTKOS inrdp^et., E u r . El. 359
ievlwv Kvprj<je.B\ O'L t/tos KtvOei Sdyuos, ib. 8 7 0 <j>lp ota 8^ €\oi Kal SSftoi
KevOovo-i fiov KOfir/*; dyaAjuar' l^tviyKUifxai. If any alteration is to be made,
I think it should be OIKOI, giving the construction virapyii (ij/uv) %xuv
T<uv8e: i n t h a t case cf. Rhes. 170 dAX' t<TT ev OIKOLS- OV /Hov <nta.vltfi\x.(.v,
178 Ka\ TrpovOfV tXirov Ian xpvo'os iv 86/J.OIS. Alexis 127 A. Xd/3' i\8i)V
a-ijaafxa. B. oAA' 1<TTIV evSov. Ar. Pac. 522 iroOev av Xafioiiii... ; ov yap
el^ov oiKoOtv.
954 ff. Perhaps the thought in her mind is ' If you sacrificed
Iphigeneia to recover Helen (KO/JLI£UV V. 795), I would have sacrificed
more than a few robes to recover the life of my dear daughter !'
957 ff- These lines appropriate certain familiar Oriental images,
which may be illustrated from a well-known Arabic poem1, speaking
of a friend,
Sunshine he in wintry season;
When the dog-star burned, a shadow.

1
Translated by Dr II. M. Posnett, Comparative Literature (1886) p. 135, a book
full of interesting and fruitful ideas.
 NOTES 231
But these figures are so manipulated by Clytaemnestra as to allow
herself an ironical side-reference to her real intention.
' Aye and when Zeus is maturing bitter vengeance for an unripe
virgin, then there is coolness in the house!' ofi<t>a£ was used in that
sense, 7riKpo's often means ' bitter' in resentment, and Cassandra in
v. 1229 foresees ola revierai, the deed that Clytaemnestra's workman-
ship designs for execution. The yt in orav Se rei/j^i Zeus ye gives a
meaning intonation to the sentence. Then echoing dvSpos TCWOU—
' complete ' or ' perfect' of a full-grown man as being married and head
of a household—she appeals to Zeus himself, as God of TtAos, con-
summation in all senses, to complete, fulfil, perfect her prayer.—o-t)(ia£v€i
|io\dv : see cr. n. ' Warmth...signifies its coming' is the literal render-
ing : see v. 305.
967 f. 8«i(i.a irpocrrcmjpiov KapSias iroTaTcu is a metaphor from wind,
such as is often employed in poetry to describe emotions of the spirit:
Sup. 229 <f>ptvo<; irvitDV 8DO"O'£/ST/ rpoiraiav, Theb. 692 eVei Sat//.a>v A^/iaTOS
av TporroLiai xpoviai /xeraAAoiKTOs i<rcos av i\0oi ^eyuepcoTepcoi Ttv(.vp.aTi • vvv 8'
en £et. TrpocrTanqpiov KapStas is ' set stubbornly before my conscious-
ness,' like Trapoidev Se Trpuiipas 8pifi.vs arjTai KpaStas Ovfios in Cho. 390,
where the preceding words TI yap Kfvdw <£peV o atlov e/Mrag iroTarai;
illustrate TroraraL here. The allusion is to the phrases technically used
of wind; o-rao-is, properly its setting in a certain quarter, ia-Ta/xeuos,
£v<jTa$tjs, ai/TiooTareiv : so oiptoCTTarav vofiov in Cho. 817 is an allusion
to t h e oSpos vfivu>v. Cf. Pers. 705 aAA hrti St'os ira\ai6v crol <f>ptv<i>v
dvOiaraTai.—For the confusion of Seip.a and Setyjua (see cr. n.) see
On editing Aeschylus p. 101.
970 ff. oiS' airoirriicras...8dpo-os %a. The construction is slightly
varied from o£S' d-n-oTTTva-ai;.. .Oaptrw, as in Eitm. 100. Cf. Eur. Ale. 604
irpos 8' ipai tf/v^at Odpaos fjcrTai.
973 ff« XP° VOS 8> "™>l K " - ' Time has passed since the sandy shore
chafed ' (or ' grazed' from -n-ap-a^dui, related to irapafydaaroi) ' the cables
cast out together from the stern when the sea-borne host sped for the
walls of T r o y . ' Cf. sup. 40 htKarov ITOS TOS' (irei Tr;cr8' a7ro ^ajpas rjpav,
437 d<j> "EAXavos aia? <jvvopfx.ivoi<;, E u r . / . A. I 3 J 9 /*>?' poi vawv
Trpu/xvas AiAis 8e'fa<r6at TOXHTS CIS opfj-ovs ai^tA.ei' ikdrav
tav, El. 1022 Trpu/xvolx0'' AviXiv, Ov. Trist. iii. 9. 13 dum soluitiir
aggere funis, Val. Flacc. ii. 4 2 8 . T h u s irpv|i.vT)o-iuv |uv«(ipo\as is equivalent
to Trpvfivtjcna ^vfefn^efi\y]fji&a: Eum. 751 IK^OKO.% ij/rj(j>t»v. S o m e may
prefer dyd, the alternative suggestion of Ahrens; for, though dyij is not
glossed by a/exj;, the two words appear sometimes to be confused. Thus
in Pind. /. ii. 42 Nei'Aov irpo<s a/craV Schneidewin reads ayas and Bury
dydv from the schol. 7rpo? aiya's: see also Jacobs Anlh. xii. p. 96.
232 NOTES
Schneidewin also restored 7rpos ayas in Anth. Pal. v. 82 and dyijv in
Arat. Phaen. 668. Numenius ap. Ath. 305 a birrcori Trirpai d/A/*(o8eis
KXV^COVTCLI eV aVpr)( Kv/aaTos ayrji. >|/a|i|ias is taken in preference to
\j/a/jifx.L<; in view of the copious collection of adjectives belonging to
this type which are brought together by Lobeck, Path. Proll. p. 442 f.
984 ff. <rir\d-yxva 8' ofrroi (uvrdiga, Tos 4V8£KOIS <|>p«riv T«\«<r<j>dpois 8£vais
KDKio(itvov K«ap: In simple terms the meaning is ' My heart too is
beating violently, and I know its agitation is not idle but warranted
by apprehensions that will surely come to pass,' as Hecuba says in
Eur. Hec. 83 torai TI veov yj£ei TI p-iXos yotpbv yoepeus- OVTTOT i/ia <pprjv
<SS' aXtao-ros </>p«ro-£i, rap/let. T h e metaphor is built up out of the
phrase KVKOJ/ACI'OF Ktap ' a troubled h e a r t ' : Archilochus 66 Ovpt, Ovp
afxij^dvoLiTL tajStcnv KVKWjXivi, Tragic fragment in Clem. Alex. p. 486
OVTOL yap OVTOI Kal 8IU <nr\a.y)(V(DV e<T&) ^topovcrL Kal KVKWCTLV avOponruiv Keap.
As KVKw/Atvos was usually said of tossing waves, the heart dashing against
the midriff (xpaSia Se 4>6(3(M 4>peva \a.KTi&i P. V. 881) can be spoken of
as a boat tossed in swirling eddies on a troubled sea and dashed upon
a shore. These considerations support the conjecture StVais KVKW^VOV
(see cr. n.), as Apoll. Rhod. i. 1327 dp.<f>l Se 01 Bivrjia-i KVKti/xevov <i^>p€€v
v8a>p. Plat. Cratyl. 4 3 9 C uxrirep £is Ttva SLVT/V ifiirtaovTts KVK&VTat,
[Arist.J Mirabil. cxxx. p. 46, 16 Westermann TOTC S^ TTOXIV ™ iroXkdi
i jixeyaAats Se KOX Ta^tiais S i V a i s TTJV 6d\a(T(rav dva^tiv Kal
KVKtofiivqv IK (3V6U>V, w h e r e t h e r e a r e v a r i a n t s KVK\<O/I£VI)V,
The same error is illustrated by Tryphiod. 325 laxt KOX
%dv6ov irorafxov KVK\ovp,evov vSo>p, w h e r e KVKo<ofj.tvov s h o u l d b e read
(KVK\6[I.£VOV, KVKwfjLtvov a n d KVKo<i>jxf.vov zx& q u o t e d as variants), a n d
by N o r m . Dionys. XX. 336 a<^vu> 8' IK (TKO-rreXoio ^v^7! KVK\OVIX.ZVOV v8(»p
(al. KVKOU>JJ.£VOV). S o KVKuivTes ( R e i s k e ) s h o u l d b e r e s t o r e d for KUKXOWTCS
in Polyb. xi. 29. 10. The MS. reading could not mean anything but
' circling round,' not ' eddying'; for KVKXovadai can only be applied
to a river which encircles or to the surrounding stream of Ocean
(Nonn. Dionys. i. 495 etc.).
990 ff. are corrupted, but the sense is clear; probably we should
begin with \xd\a. TL TOL... The language recalls Solon 13. 71 ff. (=Theogn.
227 ff.) TTXOVTOV S oiSci/ ripfia Tre<f>acrfnivov dv6punroi<riv...Tl.% av Kopeatiev
aVavras; cf. inf. 1330. The idea of Health as a Mean appears in Max.
Tyr. xxxix. 2 ov^( •q /xiv vyeta fxirpov Tt £<TTI rrj% TWV (Toifj.dTuiv evapyu.oo"Tias ;
...eariv ovv OTTCOS TTOIKIXOV TI aol rj vyeia hrrai, KOX 7ravTo8airov, ov^i 8k
CLTTXOVV Kai infnoXoyrjixivov;
994. It is generally agreed that something has been lost here.
The supplement adopted and its insertion in this particular place are
advocated on the ground that ai'Spo? should not be separated far from
 NOTES 233

7roT/i.os, and muW wpo's is the usage in such cases. In Aesch. fr. 99. 23
Blass restored p.rj irdvra Tratb-ao-' ex^eio irpos ip/xan, a reading which is
made certain by Plat. A^S. 553 B TTTaiuavTa wirtp Trpos ip/ian TIJI iroA.ei
Kai tK^eavra Ttt Te airoi! /cat eauToV KTI. Com. adesp. fr. 391, 2 (iii. 482 K.)
firj iroWa/as 7rpos TOV a&TOi' XlOov inaUiv e^ovra Kaipbv bfJioXoyovfievov.
995 ff. SKVOS (nearly the same as eiXdpeia) is the opposite of dpavos,
and irr)(j.ovas is a synonym of aVas, so that the whole means: ' Now let
but timid caution cast beforehand some of the possession overboard
from the derrick of Proportion ' or ' Due Measure, the whole fabric
does not founder through being loaded with surcharge of Harm'—the
Too Much that causes OLTT/V. For the contrast see Plat. Defin. ©a'pcros
aVpoo-So/aa Kaxov, EvAa/Jeia fyvXata] KaKov, X e n . Ages. \\. 2 Oappiov wXuova
Wvtv rj OKVWV TJV)(£TO, T h u c . U. 40 8ta</)«pdvTcos yap Sr/ KCLI TOSC exojj.(v,
(O(TT£ ToXfiav T£ oi avTol jxaXiaTa, Kai irtpl wv £iri^eip7fo-o/!iEi' lKkoyi£,ea6af
o TOLS aXXon d/xaOla filv 8pduos, Xoyi<r/Aos 8i OKVOV 0f'pei: which is
illustrated by Xerxes' speech in Hdt. vii. 49—50 with Opao-vs and
oKviova-L opposed, tj 8" ivXafitia KO.\ TO p.rj8iv dyav apiorov, as Plut.
Catnill. 6 says of believing or disbelieving miracles. Horace (C. ii.
10. 13 ff.) after the famous passage on the Golden Mean continues thus:
sperat tnfestis, metuit secundis alterant sortem bene praeparatum pectus.
The grammatical construction of the MS. reading is far from clear : irpb
|Uv TI (see cr. n.) is probably right. p.kv marks the antithesis with
V. 1004 TO 8' ejri yav TTCCTOV, as in Supp. 452 K<U ^pyjxaanv /*£)'...458 OTTWS
8' o/jLaifiov alfj.a.—(r<p(v§6vr], as is proved by an inscription discovered by
the French at Delphi (see Wyse in Class. Rev. xiv. p. 5), was the
technical term for the derrick used in discharging cargo.
1002. T« couples aju.<£i\a</>i7s to iroXXd, and /cai must be taken with
what follows ('even from the annual ploughing of the fields').
1007 ff. owS* is equivalent to ov Kai ' not even the one who knew...':
SO 1524 ovSi yap OUTOS = ov Kai OVTOS yap, Soph. O. T. 325 iL% ovv fJ.r]S
iyto ravTov TrdOu) - Kai eya> fxrj.—In reference to the death of Asclepius
the Chorus say in Eur. Ale. 124 /xoVos 3' av d <^xus T68' rjv
8«8op/<u)s I "tW/itov Trats, irpoXwroCo-' | rjXOtv ISpas, o-Kortas | "AtSa TE
TOIIS I Synaflerras yap dvio-Ti) \ Trplv avrbv etXe Ato/3o\ov | TrXrJKTpov 7rupos
Ktpawiov. So Pindar (P. iii. 1 ff.) says ' I would that Cheiron, who
brought up Asclepius, best of physicians, were still alive'—d xp^y T°VO'
d/xtTtpas dnb yXwo-cras KOIVOV tv$acrOai tiros. But Asclepius was stopped
by Zeus, when he was tempted to restore the dead to life (ib. 55 ff.), as
Aeschylus says here, «r* dfiXafteuu to prevent his arrangements being
thwarted—or tV eiXafiuai (Plat. Rep. 539 c) as a precautionary measure
to that end; either would do. (For a possible instance of confusion
between d/3Xa/3e'cus and eiXafieus see H. Herm. 83.) Apollodorus iii. 122
234 NOTES

says Zeus 8c <t>ofir)du<s fJ.rj Aa/3oi>Tcs avOponroi Oepamlav Trap' avrov

d\Xrj\oi<;, enepavvuxrev avrov. Ov. Fast. vi. 759 Juppiter exemplum ueritus
direxit in ilium fulmina. Then, • according to the ancient story which
he himself narrates at the beginning of the Alcestis, Apollo, in anger at
the killing of his son, destroyed the Cyclopes who had forged the
thunderbolt. Zeus thereupon condemned him to a year's penal
servitude in the house of Admetus son of Pheres; and while there,
Apollo saved Admetus from death by tricking the Fates (Moipas
SoAwo-as Ak. 12) whom he had made drunk with wine. In Aesch.
Eum. 726 the Eumenides refer to this :
EYM. T010.VT eSpacras nal <f>£pr)To<s iv SctyiOis-
Motpas eVcio-as atf>6iTOV<> Oeivai /SporoiJS.
All. OVKOVV SIKCUOV rbv aej3ovT evepytreiv
aAA(!)9 T6 TTaVTlOS )(WT€ ScOyltCVOS TV)(OL;
EYM. av TOI 7raXaias Siaro/ias Ka.ra<j)Bi(ja^
o'lvui iraprjiTaTrjaaii ap^atas

These are the same terms in which they had reprehended the dealings of
Apollo with Orestes, V. 172 f. Trapa vo/xov Oewv /3p6rea fniv TIO>V 7raXaiycvas
8e /xotjoas 4>6i<ja';. The Motpat are personifications of these /iotpai or
Biavofiai ' apportionments' or ' dispensations,' provinces allotted to
the various divinities and severally administered by them. In the same
play, the Eumenides complain that Athena, by her decision in the
case of Orestes, is robbing them of their TI/ACU 8a.va.iai (848), rights
assigned to them in perpetuity by Motpa (335 f.). Hades has his
fnolpa: mortal men have theirs; not to live for ever, but to fall one
day within the power of Death. Hippolytus therefore was restored
to life Dite indignante Ov. Met. xv. 535, dis indignaniibus ii. 645 : at
Clymenus (Hades) Clothoque dolent, haec fila reneri, hie fieri regni iura
minora sui by being baffled of their prey, Fast. vi. 757. And so, as
Spenser says, Faerie Queene Bk. 1. v. 40:
Such wondrous science in man's wit to reign
When Jove avised, that could the dead revive
And fates expired could renew again,

he put an end to it. The exact force of iv d^Xa/8ftat therefore would

be ' to prevent the appointed /xoipai being hindered by the interference
of Asclepius.' From this we conclude that there exist in the system
over which Zeus presides certain 'vested interests' or 'spheres of
influence' assigned by Dispensation (Moipa). With a polytheistic
system it is evident that they will often be in opposition ; just as
human destinies may be : see Conington's note pn Verg. Aen. vii. 293
fatis contraria nostris fata Phrygum. For, to take a particular instance,
 NOTES 235
there is no reconciling the interests of Ceres and of Famine, neque
enim Ccreremque Famemque fata coire sinunt, Ov. Met. viii. 785 ; or of
Artemis and Aphrodite. But each must be content to abide within his
own sphere and not seek to encroach upon another's, or the balance of
power will be upset, which Molpa. regulates, whose dispensations are
upheld and administered by Zeus. There is a good illustration in
Ov. Met. ix. 427, where the Gods murmur and complain that they
should not be allowed to confer the gift of youth as Hebe does :
cui studeat deus omnis habet; crescitque fauore
turbida seditio: donee sua Iuppiter ora
soluit, et ' O nostri si qua est reuerentiaj dixit;
' quo ruitis ? tantnmne aliquis sibi posse uidetur
Fata quoque ut supereti Fatis Iolaus in annos
quos egit rediit; Fatis iuueneseere debent
Callirhoe geniti, non ambitione nee armis.
uos etiam, quoque hoc animo tne/iore feratis,
me quoque Fata, regunt: quae si mutare ua/erem,
nee nostrum seri curuarent Aeacon a/i/ii,' etc.

And in Eur. Hippol. 1327 Artemis explains why she has not interfered
to save her votary from the wrath of Aphrodite :
Ki)7rpts y a p jj0t\* wore ytyvfcrOai
ir\-qpov<ra Qvfxnv • Oeoiai 8' <S8' %X
oiStis airavrav fiovXerai irpoOvfLiai
rrji TOS Oekovroi, aXX' d<£i<rra/A€0-0' aci'.
iirti, cracf)' I<T8L, Zrjva fir] <f>o/3ov/x€vri
OVK av TTOT rj\6ov is TOS' al<ry(yv7)% lyui
WCTT' aySpa iravruiv fjiiXxarov fSporwv
Oavelv iauai.

'Aphrodite's heart was set upon it; and an such a case we none of us
offer opposition to the desire of any of our fellows : otherwise, but for
fear of Zeus (who upholds this system of spheres of influence with its
rule of give and take), I would never have suffered him to perish.'—For
irXiov (j>epeiv cf. S o p h . O. T. 1 1 9 0 Tts dv-rjp TrXeov r a s ev8cu.fi.ovia.ii (ptptt rj
TOaOVTOV OtTOV KT€.
1022. KTT]<T£OU p«|j.ov, in the open court-yard in front of the palace.
A t h e n . 189 e"O/nijpos Se rr)v av\y)v del Tarrci iirl TO>V viraiOpoiv TOWHIV, Iv6a
r)v 6 TOC epKttov ZT^VO? ySo>/i.ds.
1023. dirVl* : tn swas
' four-wheeled (rerpaKuxXos Horn, fi 324) and
usually drawn by mules. In Eur. El. 998 it may be that the Trojan
slaves of Clytaemnestra are in the car with her. In Tro. 573 Andro-
mache is placed among the spoil, which is being removed in the dirr/vrj
(when Tcrpa/Ja/xovos aTr^s is used of the Wooden Horse, it is compared
236 NOTES

to a four-wheeled carriage). It was commonly used as a travelling-

carriage: Eur. / A. 147, 618, Soph. O. T. 753, 803. So Tryphiod. 241,
where the old men accompanying Priam come down from the TOXIS in
airrjvai. It may be that Agamemnon came back in a car suited to an
oriental monarch: thus the car of the King of Babylon is said to be
3.Tro.v iXtcfxivros elpyaa-fjLivov, iyyvTOLTO. dirr}vr)<; 'EXXT/WK^S (Walz, Rhet.
Gr. i. p. 531).
1024 f. This was the Greek commonplace of consolation, that even
heroes half-divine (Tj/xWeoi) had not been free from human sorrows, and
had submitted to the like themselves. One of the earliest examples is
in the Heradea of Panyasis (fr. 16 Kinkel):

TA?J pXv Arjfj.ijT7]p, rXr) 8e / ^ y y

TXIJ Se HoaciBdaiv, rXrj 8' apyupoVo|os 'ATTOXXCUI'
dvSpl Trapa 6vr]Twi 6r]Ttvefi.ev eiS iviavrov,
TX?7 Se KCU 6/?pi/*o#v/xos "Aprj<; v-rrb

where no doubt he was speaking of the servitude of Heracles to

Omphale in Lydia.
IO34 f. Hesych. xtXtSovos 81/071/: TOVS fiapftdpovs ^cXiSocrtv dirtiKa-
£ouo-<. 81a T-qv davvOerov XaXtav (read davverov). Just below we have
XeXiSovwv ixovcreiov: cos (idpfiapa KCLI davvtra TTOIOVVTWV T<SV TpayiKuv, with
reference to Ar. Ran. 93. Thus /3ap^3apos is practically the equivalent
of dcrvviTos, and here merely strengthens dyvioTa. (fxiivrjv: Hesych. /3ap-
jSapa -. da-vvera, arcucra. One of the tests for admission to the Eleusinian
mysteries was that the candidate should not be <£<i>vijs a^weros; in other
words, he must be "EXA.r;va rijv <p<avijv (see Cobet, Misc. Crit. p. 165).
1041. irdpos: see cr. n. 7rpos tr^ayas 7rupos could only mean that
fire was to cut the victims' throats or that the victims were to cut the
throat of fire; and there would be no construction for the genitive
eort'as. Musgrave's correction removes both these blemishes and gives
precisely what we want: Eur. H. F. 922 Upa fiiv r\v TrdpoiBtv ecrxapas
Atos I Kaddpai OIKWV. Ion 376 7rpo/3u)ju.iois <7</>ayai(ri fvq\wv. Ak. 162
irpocrvev icrrias Ka.Trjvtja.TO. Andr. 1112 o5s irdpos XprjaTrjpitDV tv£ouTO.—
7ra'pos usually follows its case immediately, or with a word intervening
as in Track. 724, and may surely have as much intervening as other
prepositions; see Fritsche on Theocr. 16. 109: so sup. 133 iravra §1
TTvpyuv KTtjvrj TTpoo-Oe TO. 8r)/i.ioTr\r)9rj. There is the same corruption in Eur.
Hel. 870 Kpovo-ov S« iriVKr]v, iva SiefcA^w, ira'pos (Reiske for irupos), and as
I believe in Eum. 1050 i-i/mre KOI TO ^cy-yos bpfido-Om irdpos (codd. 7rvpos).
1045. <rv Sk ' marks an antithesis, not of persons, but of clauses, and
serves merely to emphasise the second c l a u s e ' : Jebb on Soph. El. 448,
who quotes several parallels. Cf. Lucian ii. p. 656 oix diravrfs, <3 Ztv,
 NOTES 237
Tr/v E/\XIJI/O)V <j)(uvriv tjvviaaiv afiuvov ovv, olfiai, rrji ^eipi (rrjjxaivuv KaX
TrapaKtXtvta-Oai o-Liowav. [But this passage, so far from supporting the
ordinary interpretation, rather favours Wecklein's view that <TV is ad-
dressed to the Chorus. Since, however, /cap/Savon cannot be separated
from xtpi, Prof. Mackail suggests (C. R. xix. 197) that Kap/iWos x^P
alludes to the forcible removal of Cassandra from the car.]
1053. *iroiKT£pw from the Chorus strikes the note which is meant to
be in our thoughts throughout this scene. It is repeated in v. 1320, and
again in 1329—their last word as it is their first. Agamemnon partly
brings his own doom on himself, and we are not to feel that he is
altogether to be pitied; so by heightening our pity for Cassandra
Aeschylus has weakened it for Agamemnon.
1055" tjvyov : cf. E u r . Or. 1330 dvdyKrjt; 8' €S £vybv Ka.6icrTa.fiev,
sup. 228.
I O 6 3 . irpooTJKOVT1 : cf. Soph. fr. 592 /xrj OTretpe 7roXXois TOV wapovTa
Saijuova" criya)p.ei/os yap t o r i 6pi]vei(r6a.i irpiirdiv.
1OJJ. Kai ire8oppa.VTiipi.ov. D r Verrall would r e a d iraiBioppavTijpiov
' a place for sprinkling (with the blood of) babes.' mxiS/ov is not else-
where used in Tragedy, but the sense suits admirably if it can be got
out of the word.
I O 9 5 . XovTpoto-i <JKuSpvvao-a : Apoll. R h o d . lii. 3 0 0 avroi T€ Xiapoicriv
i<pai8pvvavro Xoerpols.
1103. ^...74 is used in a question, as in Cho. 417 TI 8" S.v <£dvres
rvxpifiev; rj Twxtp -rradofxtv a \ « a irpds ye Ttav TtKO/xevtov; ye serves as a link
with the previous question: Cho. 992 TI a-oi SOKCI; fxvpaiva. y etr' e^Sv
e<f>v...; Theb. 8 3 6 T I <j>u>; TL 8' aXXo y ' 1} irovoi ir6vu>v 86fuav i(jii<TTioi;
[Eur. Cyd. 2 0 7 ] , D i o Chrys. ix. 20 p . 294 R . rl Sc; d x«Xol wdvTe's ya-av 01
rpi)(pvT£s, ixPVv 7 £ /"'y 01 <f>poveiv, o n ^wXous ^OJXOS e^>^r;s; M a x . T y r . xvi. 3
apa yc /j.d6r](Tiv (sc. ovofia^oifitv av), rj IIXaTcovt 6/AO<^OJV<I)S dvajxyqaiv;
1107. 6v(ji.aTos Xevo-i'nov: 'abominable sacrifice'—i.e. ' stonable,'
'deserving stoning' (that is 'lynching'), as KaraXewi/xos (Suid. Phot.
S.V.), apao-t/xos, jLtacrTiyuo-i/iOS, aKcmo-i/nos Soph. fr. 8 2 3 , t7rdi/fi/xos O. T.
1312. See inf. 1409, 1413.
1109. Cf. Eur. Ion 685 ov yap /xe craivti 6e(T<j>aTa /xrj TIV' (-xfji 86kov.
1110. KpoKoPa<j>i]s. T h e h u e of p a l l o r — w h i t e in N o r t h e r n e r s , a n d
ashy in the Negro—is in Greeks and Indians green or yellow. Hence
xXupbv 8e'os was the regular expression, describing the effect of fear upon
the countenance. Both in Greek and Latin paleness is spoken of as
'greener than the grass' (Sappho fr. 2. 14, Longus i. 17), or 'yellow as
the saffron crocus,' or 'as boxwood,' or 'as gold.'
Strictly the blood runs to the heart leaving the complexion sallow,
which Aeschylus understood as well as Aristotle p. 1520 Sta TI ol /ikv
238 NOTES

ala\vv6[iL€voi tpvOpiutaiv, ot Se ifiofiovfJLtvoi w^piwaiv, irapaTtXTJCTUDV TWV

TraOuiv OVTWV ; o n TIHV fniv alayyvofLivwv Bia^drai TO aifia tK TTJ<S Kapmas eis
airavTO. TO. fiepr) TOV (To^otaTos, COOTC lirvrro\d.£,iiv • TOIS Se tpofitjOtifTi (rvvrpi^ti
tis riji' xapStav, W T ' ticXciVtiv «K Tioi' aXXa>v fitpiov. C A true account,'
says Gellius xix. 6, who quotes this, 'but why is it that fear has that
effect ?' a question to which fanciful answers are suggested by Macrob.
vii. I I . ) Cf. The Emperor of the East iv. 5. What an earthquake I
feel in me! | And on a sudden my whole fabric totters; ] My blood
within me turns, and through my veins, | Parting with natural redness, I
discern it | Changed to a fatal yellow. Others prefer to explain Kpoxo-
{3a(f>r]'; (rrayu)i> as ' the drop of red blood,' like irop^vpai fSajtyji in Pers.
320, on the ground that the dye called saffron was made from a, purple
crocus and is termed ruber, rubens, puniceus by the Romans. [Yet
another view, that /cpoKo/3a^s orayujV is the gall, is taken by Tucker on
Cho. 183.J
1111 ff. a-re ical Sopl ITTCIXT^OIS £WOVVT«I (whose arrival synchronises,
coincides with) pCo\> Svvros aiyals, the very pallor that is seen in wounded
men when life is ending in a yellow sunset. Thus Sopi 7TTWCTI/XOS =

I I I 6 . [The common punctuation, corrected by H., places a colon

after ravpov instead of after /3oos.J
1124. onrb 84 9e<r«j>a.T<i)v. From Soph. Track. 1131, repas TOI Sia
KOKIUV iOeanruras, this would appear to be an allusion to some proverbial
phrase.
1131 ff. rb -yap l|xbv 9po« ird6os eire-yxi'Sav. The parenthesis is an
explanation of TaXcuVas. Hitherto she has seen Agamemnon's fate;
now she sees that her own death is to be added to his. Cf. Eur. Hec.
736 EK. hv<Jti)v—ifjiavTrjv yap Xc'yo) Xeyoutra <ji—'EKCI/JIJ, TI Spcuno;
Not unlike are Tro. 869, Soph. O. T. 1071, Oppian Hal. iv. 345 : see
also on 1225. It is evident, therefore, that Opom is right, and that
Hermann's 0poeis cVeyxeas will not stand, imyxiai, another suggestion,
is not Greek. The MS. reading £7r€y^eWa is metrically impossible; but
if it would only scan, we feel that it gives just the sense required.
ejrey^D'Sar—following the analogy of x^'o1'?'', Kara^ySrjv, a/x^n^u'Sjji/—seems
to me the most probable correction, because such adverbs are com-
monly explained by participles, e.g. Cho. 65 ov SiappuSav] <XVT\ TOV ot
Siappiwv, En 111. 55^ i"€pai/3aSai'] irapajitpyjKOTO., Hesych. C77rep^vXXa8rji'
KtKpayas : ayavaKTr/cras {iXa/crcis ayav, Schol. Lycophr. 1425 ^avSoV •

1140 f. "ITW...PIOV. The grammatical relation of the accusatives

is not certain. A possible alternative rendering would be : ' With (cry
of) 'Ityn,' 'Ityn,' plaining for a life luxuriant in misery.'
 NOTES 239
1142 f. The exclamatory accusative in Greek is almost unknown
to the grammarians. It became much more common in Roman times,
but was always introduced by some such word as atai or tcJ.
1144- irept'paXdv Y« ot. This correction (partly anticipated by Enger)
explains the origin of irepe/JaAoi/To, while the meaningless yap is an
interpolation. When Sophocles uses ot, he also follows the practice of
the lyric poets, Track. 650 d §<•' 01, El. 196 on 01 (Hermann for 001),
and so does Cratinus in a burlesque lyric verse, fr. 241, "Hpav re ot. Iff
our passage ye is equivalent to jxiv, in opposition to £/x,ot 8e'.
1146. yKvKvv r atoiiva KXavpaTuv flr«p. 'A sweet life except for
lamentation,' otherwise the conditions are all pleasant. I have never
been able to see that KXavfidruv arep can have any other meaning here
than that which Schneidewin also had suggested: the nightingale in
Greek poetry from the earliest to the latest was the type of unconsolable
lamentation, artp, like dvev, and many other words meaning ' without,'
' apart from,' is used elsewhere in the sense ' except.' For the general
sense cf. Aphthonius Progym. n (Walz Rhet. Gr. i. p. 103) Niobe is
speaking ctAAa TL raCra oBvpofiai, irapov alrrjo-ai, Oeovs irtpav aAAa'£ao-#cu
<f>v<riv, jxlav TtSv a.TV)(7]iJLa.T<av TfOca/xai \V<TLV, p,eTao"T^vat 717JOS TO. fj.rjSkv
ala6av6fi(.va • dXXa. fidXXov Se'SotKa fir) Kat TOVTO fyaviiara /xtLvto 8aKpvov(ra.
For the nightingale see Dio Chrys. ix. 19 p. 293 R. OVKOVV, e<j>i] 6 AtoyeViys,
etTrep TO ra^vrarov elvai xpaTMTTav ion, iroXv fifXnov KopvBov €iyai cr^Sbv 17
avOpoiTrov' toore Tas dr]86vas ovScv Tt Set o'lKTipeiv ovSe Toils hroTrai, on opuses
iytvovTo i£ dvdpioirwv, uSs virb TOV fiv$ov XeXexrat.
1159. There is considerable similarity to Eur. Tro. 460 f., where
Cassandra says, addressing her country, her dead father and brothers :
ov /xaKpav di£eo~9e /x ' 17^0) 8' cs vtKpovs viKT)<j>6po% [ «ai 86/xovi Tripcraa?
ArpeiSiSv, (Sv airwXofieo-O' viro.
1167. irpdirvpYoi might also mean 'before his walls.' Cf. Max.
Tyr. xi. 2 KOU TWI fxkv Hptd/Awi tv^o/jnvuiL virip Trjs ot/ceias yiJS, /Sous
Hal 01s oar/'/xepat TO3I Att Kara^voi/Ti, dreXrj TTJV f.i)(r}v ridr}o-i (sc. 0 Zeus).
1170 f. See cr. nn. and cf. P. V. 950 oiSev yap airat ravr e-TrapKe'cei
TO p.}] ov Treo-etf aTt'/iiu?. T h e text was first corrupted to T6 ^ iroXiv piv
(Mtm-tp ovv exet exuv' Ta.6<iiv being merely an insertion to patch the metre.
Constantly, finding /JLTJ OV, scribes omitted the ov as Treptcrcro^ (seejourn.
Phil, xxiii. p. 296), and it should always be written in texts, at any rate
where there is any trace of it.—ejnreXu pdX«i describes exactly what she
does in v. 1290 ff. For the metaphor, see the oracle in Hdt. i. 62
epptTTat 8' p jSdAos, TO 8e SLKTVOV eKTreTreVao-Tai, BVVVOL 8' oi/i?;croucri o-eAiji/atV/s
8ta VUKTO'S, Opp. Hal. iii. 465, Cyn. iv. 141, Eur. Bacch. 847 avrjp es
fioXov KaOio-Tarai, Rhes. 730, Herod, vii. 75.—For 6>ep/*oVous cf. A. P. vi.
173 (of a votary of Cybele) Oep/x-bv eWt Au'o-<n?s <58' dveiravo-e TroSa.
24o NOTES

1179. Xa(iirpos. The metaphor shifts by means of this word, which

covers the meaning ' fresh' applied to wind. As irvelv and -n-vtvua.,
spiritus, meant not only wind but inspiration, the spirit of prophecy is
spoken of in terms belonging to a rushing mighty wind, which will wash
the unseen horror to the light, as though it were a wave rolled up against
the Orient rays. The wind is dp-yeorrjs Zeffavpos )( an^Xiam;?.
1180. w-aifjav : see cr. n. difai is often used of wind : Horn. B 146
TO. ((oj/taTa) \t.iv T* Evpoi re Kal NOTOS T« mpop' e7rai£as, Soph. Ai. 358
at^as 6£v<; VOTOS (us Xijytt.
1181. If trfj/xa is the subject (cf. Horn. * 61 061 Kvfiar cV j/'ioVos
KXvlto-Kov), perhaps K\v<reiv may be right.—For the image Catull. Ixiv.
269 is quoted : hie qualis fiuctu pladdum mare matutino j horrificans
Zephyrus procliuis incitat undas \ Aurora exoriente uagi sub limina
so/is, I quae tarde primum dementi flamine pulsae \ procedunt leuiterque
sonant plangore cachinni, \ post uento crescente magis magis increbrescunt.
1187 ff. The KW/XOS, drunken well with human blood, refusing to
be sent away, sit fast against the chamber singing; and their song is
deadly Primal Sin (Trpwrapxov arrjv), the first act of Kin-murder when
Atreus slew the children of Thyestes : Cho. 1066 iraiSofiopoi /iiv -KpSnov
V7r>7p£ai> fio^6oi TaXav«9 T£ ©ueoTov. For Sto/xatriv irpoo~i]fLevat, cf. Verg. A.
vii. 342 Allecto Laurentis tecta tyranni \ celsa petit, tadtumque obsedit
limen Amatae, iv. 471 Orestes \ armatam fadbus matrem et serpentibus
atris I cum fugit, ultricesque sedent in limine Dirae. So they sit guarding
the vestibule of Hell: vi. 563 (with Conington's note), 279, 555, 574,
Ov. Met. iv. 453.
1191 f. iv X | EpEi 8' atriimxrav Kik. is part of the Image of the K<SJU.OS
explained above: Jeremiah 25. 27, Lucian i. 750.—The words admit of
various constructions. Svo-ixtvei.'; may be either nominative or accusative
(belonging to cwas); or we might take aTti-KTva-av absolutely and under-
stand the rest to mean Svtr/u.ei'ew TIUI «was aSeX^ou TTOLTOVVTI.—For iv
' each in turn ' cf. Cho. 331 K\V6I VVV, U> irdrtp, Iv fxipti 7roXu8aKpvra

1193. <i 6T|pu TI. To|dTt)s TIS ws; ' O r have I brought my quarry
down ?' Greek often adds to metaphors such phrases as wore TO£OT»7S
(Soph. Ant. 1084), vavTiXuiv SUriv (Cho. 201), which we should not express.
50 Eur. Hipp. 872 Trpos yap TWOS olwvov (o(TT£ judi/ris dcropta KO.KOV.
1196. Xd-yioi iraXaias, ' storied,' 'historic': Soph. O. T. 1394
51 IIOXV/JE KO.1 KopivOe Kal TO. Trdrpia j Xoywi 7raXata Soj/xara (where,
however, the editors of Sophocles, neglecting this parallel, connect
Xoyioi with Trarpia against the natural order). Hermann and Dobree,
followed by Paley and others, substituted TO ^ uSevai in 1195, to be
joined with Xoyioi in the sense 'that I know not merely by hearsay.'
 NOTES 241

Apart from other objections, this is contrary to the order of the words :
since the point in that case would consist in Xdy<oi, which must have
preceded eiSerou, i.e. TO /xij Xdy<oi d8£vai. See Eur. Heracl. 5 oTSa 8' oi
\oyo>t //.aOiav. Antiphon 5' 75 a.iro\oytL(r6a.i wv TTOXXJH vtajrepos ci/xt
KOX Xdyau o«Sa. \6ytoi often implies ' in word only': Eur. fr. 5 7 «ai TO
SovXov ov Xdytoi (not only in word) ?x0I/T£S! <*AAa TVL ^XV1- Theb. 832
^A0€ 8' aluKTa TnjfjiaT ov Xdyau. Soph. Track. 1046, El. 1453, -Ai. 813.
[For eKjuapTvpcir, which has nothing to do with the technical iKfxapTvpU
but signifies ' t o testify openly,' see Wyse on Isae. iii. 77.J
1197. 8pK<«> irf)Y|ia, an oath's plight: Eur. / . A. 395 TOI>S KO.KG>%
TrayivroM opKOVS (cat KaTJjva'yKacr/xti/ous.
1205. a \ V i]v iraXaioT-fis KApT i\u>l irveW \apw : i.e. ' h e c o n t e n d e d
for me strenuously' (iirdXauv as u/Jptcm;?). Similarly Eur. Supp. 704
A.o^os S' OSOVTO>V O</>COS i^rjvSpoiiievos 8tiv6s 7raXaio"T^s ^v. Cf. generally
the speech of Lady Faulconbridge in King John i. 1. 2 5 3 :
King Richard Coeur-de-lion was thy father:
By long and vehement suit I was seduced
To make room for him in my husband's b e d :
Heaven lay not my transgression to my charge !
Thou art the issue of my dear offence,
Which was so strongly urged past my defence.

So in Ovid Heroid. 5. 139 Oenone says of Apollo :

Me fide conspicuus Troiae munitor amauit :
ille meae spolium uirginitatis habet.
id quoque luctando. rupi tamen icngue capillos
oraque sunt digitis aspera facta meis.

Oenone too, according to Ovid, received her gift of medicine from

Apollo (ib. 145).
1206. v<5p>i, they say, to make it easy for her to confess what was
SO natural : cf. Hom. i/f 296 acnraaioi XcKrpoto irakaiov Oea-jxbv LKOVTO.—
For T|\&TTIV see Cobet, Misc. Crit. p. 279.
1210. ttvaTos: see cr. n. There is a similar confusion in Lycophr.
1172.
1215. See cr. n. An adjective has been lost.
1216. TOIPS 8O|«HS t<f>ri(j.€vous, 'seated against the house'—like the
Furies, who personify their vengeance (see n. on 1187 f.),—rather than
' seated on the roof.' She sees the figures, vague and shadowy at first;
as they grow plainer, gradually she discerns the details one by one; at
last they show distinct, irp«'irowo-i (v. 12 21).
1223. JUovr : he was a Pelopid like the rest, but avaXias: see
on 147.
H. A. 16
242 NOTES

1224. o!|iai, credo, ' n o d o u b t ' : see on 800.

1225. (JHpeiv -yap KTL, explaining SCOTTO'T^I t/Acut: Eur. Hel. 1193
(Helen to Theoclymenus) <3 SIO-TTOT—r^t\ yap T6B' 6vo/xd£<o o-' oros—oAwAa,
Ar. Vesp. 1297 (with Starkie's note), Ach. Tat. v. 17 (in the address of
a letter) AevKiTnrri K\a.TO<t><i)VTi TWL ScaTrorrji /nov—TOVTO yap <re Set KaXuv.
AristaenetUS ii. 5 <rv roivuv 'ApTreSovrj (irpos <re yap eff7irr»/Ses OJS €^<u
irdOovs dV^yyeiAa TTJV viroTTiKpov T(Sv fieXwv •qhovqv).
1227 ff. OVK otSev ota...Trf£«rai. The text, which is correct except
that we must read Xiiaaa KaKreivaaa (Plat. Prot. 329 A UHTirip rot x<n^Ki'a
TrX-qylvTa fxaKpbv i^ti «at aTroTttVci), has suffered grievous treatment at
the hand of many critics, ola is understood with \e£acra as well as
with T£v£o-<u as though it were ola Ac'fao-a ola TCI^ETOU. The general
meaning is :—' He little dreams what accursed act all her protracted
words of smiling blandishment are but the treacherous cloak and
prelude to.' In the speech which opens at v. 846 we have had a
sample of her treacherous speech, and Agamemnon feels the hollow-
ness enough to make the significant answer (v. 905) d-jrovaiai fiiv eiTras
dKorws ifirjt fxanpav yap e^ereivas. In the Eumenides Apollo describes
her ( 6 3 4 ff.) :—dirb o-rpartias yap VLV, yjft.iroX'rjKOTa | r a 7rA«o-r' a/xeivoc,
ev<f>po(TLV SeSey/xeKiy | < r a 7rpdyra fivOois, 57 KaTaVnjoros, yvvr) | Trapiurar
auruii 6ep/x iv dpyvprjXa.Tu)i> | SpoiTJjt Treptuvri Xovrpd, Kairl rep/ian | <^>apos
Trep£<TKT]V(i)(rev, iv 8' dripjxovi | KOTTTCI TreStjaao-' avhpa SaiSdXtai ireVAwt.
' After receiving him with kindly words of welcome, she stood by while
he was performing his ablutions in the bath, and at the conclusion
trammelled him in a cunning robe and hewed him down.' YXWO-O-O, is
of course the false-speaking tongue, as in the proverbial warning against
' the smyler with the knyf under the cloke' attributed to Solon
(fr. 42):
TT€tt>vXay/j.evo<; av&pa eVacrTOi/ opa
fjurj xpviTTOv i^iM ty\os KpaSiat
(^aiSpaii (re 7rpoo"evviTrrji irpoaunruiL
yXi5(r<ra 8c ol 8i)(6fxv8os EK peXaivas (fiptvos yeywvrji.

And <|>cu8pdvo\js m e a n s ' w i t h smiling c h e e r f u l n e s s ' in her greeting (v. 525

(^aiSpouri Tourio" 6'/xiJ.a&iv &e.£acr6e, C/lO. 563 <^at8pat <f>pevl Si^atr' o.v) ',
here, like cj>iX6<j>pa)v in Pers. 98 (a passage to be quoted presently),
merely describing the appearance worn by simulated cheerfulness.
To flatter with such sinister intention was to behave like a KW>V
XaWapyos, which treacherously fawns and bites at the same time; a
proverbial verse said o-aivovaa SaVvtis KCU KVUV XaiOapyos el (Soph. fr. 800
Nauck). This must be part of the suggestion in KWOS here, though the
epithet |ii<rr)Tf|s introduces another quality.
And like the treachery of a KVWV XaMapyos is the deceitfulness
 NOTES 243

of "ATYJ : with smiling blandishment she lures men into her nets:
Pers. 94
So\6fnrjTiv 8' dirdrav Oeov
TIS dvrjp Ovaros dXv^et,;
TI'S 6 Kpanrvwt iroSl Tn)8rj-
dvdcrcrwv;
yo.p (Ttxivov-
TO irpwrov Trapayei
«is apKvas '

And Soph. fr. 519 illustrates the same connexion of thought: -q 8' dp'
iv (TKOTtai XtjOovad (j.t Icraii'' 'Epiyvs ^Sofais ti^euaytcvoi'. In Pind. ^ ii.
83 a-aivotv drav SiairAeW the metaphor is applied to a treacherous
person. And Helen too, as we have seen in the n. on 724ff., is a
minister of "Arrj, just as the Lion-cub that typifies her is called Upevs TIS
"Aras. In the corresponding line of the previous strophe he had been
described as cpaiSpoiro's, TTOTI X e 'P a W-LVWV re or (f>aiBpu>ir6v iTori \iipa.
cratvovra : that implies fawning with the fatal blandishment of Ate,
"ATIJS haOpaiov.
1233. oUovo-av «v ir^Tpauri corresponds to Homer's %KvX\rjv
(ix 231).
1234. 8xiouo-av "Ai8ou ^Tt'pa is not ' Mother of Hell' or 'Dam of
Death] but ' raging, infernal, hellish mother,' exactly as Eur. Cycl. 396
rat deoa-Tvytl "Ai8ou /nayelpuH, Aristias Trag. fr. 3 /Aa^aypcVas "AiSov
Tpaire^evs, 'damned,' 'devilish? The genitive is equivalent to an
adjective such as these, or 'deadly,' 'fatal': Eur. Or. 1399 ^ecriv
ari&aptOMTiv "AiSa, Andr. 1046 crraAdcro-ujv "AiSa <$>6vov. 'EpiviW, '
are used just in the same way: Ach. Tat. v. 5 iSunvrjcrev 6
Stiirvov 'Epivvwv ' of retribution,' 'avenging.' Both genitives serve as
limiting epithets to a metaphor: SIKTHOI/ TI "AISOV Ag. 1103 = 1580 = 1 6 1 1 ,
Soph. Track. 1051, explained by Ai. 1034: 7%<?<5. 853, Ag. 650, 980,
Eur. Supp. 773= C/z<?. 151, Eur. /^/<r. 4 2 4 : fiaKxcus "AiSou Eur. Hec.
1077, ^/. i^ 1119, Hipp. 550 (Musgrave): /• T. 286 'AiSov SpaKawav,
Hec. 483 "Ai8a OaXd/xovs EvpwTras Bepanvav. See also Lobeck on Soph.
^//. 802, Blaydes on Ar. Thesm. 1041.
1251. irap€Kdin]s, in answer to the question ' b y what man's hand.'
Quite failing to see that TOIS 8' in v. 1249 may refer to a woman, the
chorus assume that a man is meant (as in Soph. Ant. 248 Creon, never
dreaming that the culprit is Antigone, asks: TI <£>;?; n's dfSpcSv 771/ 6
TaSe;). Cassandra's reply refers to the confession IK Spofwv
px in v. 1244, which corresponds to her request at v. 1183
Kcu fiaprvpuTe owSpo/A"'? iX v 0 S KaK
">v pivrjXaTovarii. diroKOTrrjvaL TWV t^vcui'

1
eis apKvcrTaTa MSS.
16—2
244 NOTES
was used in the same way of hounds being thrown off the trail: Bekk.
Anccd. 4 2 8 . 25 diroKOTrrjvai T W Ixywv TTJV KVVO. Xiyuvcnv orav ft.rjKen
tvpi<TK7]i ra i\vrj. H e s y c h . OMOKOTrrjvai: iirl rav l)(Vtv6vT<j>v Xtytrai OTav pr)
evpwaiv. The true reading is doubtful, but it is possible that the scribes
have tampered with the order of the words, putting apa too soon, and
t h a t we should restore 17 Kapra xprjo-ft.u>v apa irapfKOTr-qs i/j.<j>v. Similarly
in Soph. O. C. 534 o-ai T CUT' ap avoyovol T« Kal (Jebb) has become
o-at T ap turlv or aai r ap' ela anoyovoi re Kal.
1254. TO irvfloKpavra : set'/. 'EUt/v' «7rtcrTaTat <pdnv. Cf. Eur. / . A.
640 f. 1$. (o irdrep, ecrciSdV (f a<rfi.evr] TTOWWI xpdi'ioi. AF. Kai yap Trarrjp ai.
For the confusion of Svo-iraOrj and 8vo-/xa^ see Cobet, Misc. Crit. p. 432.
1256. AvKti', in his character of Destroyer, as ' Wolf-slayer.'
1259 ff. us & KTL The construction of this sentence is uncertain.
iirtv)(iTO.i avTLTeitraar&ai would b e ' p r a y s t o . . . , ' «revx«Tai di'TiT€i'crecr6ai
' vows that she will....' K<JT<»I should not be changed although it is figured
as 71-OTOV. [The translation suggests the acceptance of the Triclinian
ivOrjaeiv, with avmuiraaOai. explaining fiurOov. But no final solution was
approved.]
1266. See cr. n. If the reading is TUIS' d/xeti/fo/ncu or irtaovTa 6' w8'
a/iti\l/o/juxi, the meaning is 'thus I'll requite you.'
1269 ff. «iroirTexi(ras...(j.dTi)v, 'having regarded me even in this
raiment laughed to scorn by foes and friends alike without distinction.'
The form of phrase, which from its unfamiliarity has occasioned a good
deal of doubt and alteration, may be illustrated by the proverbial
sayings ippiro) <£i'\os avv i\6pioi. (Plut. Mor. 50 F, Macar. iv. 12),
<r<f>d\\eiv avv I\6p6is Kal <£i'Aoi>s KtpSos <f>£pti a n d SLTTOXOITO Kal <f>i\os avv
°ts (Macar. vii. 95). Bergk's reading in Pind. P. viii. 74 iroWok
IS (for (TO<£OS) SoKei 7re8' acf>p6va)v jSt'ov KOpv&aefJLtv 6p8oj3ov\.oi(Ti
val'i would be just such another phrase, 'is thought not only by
fools but by many wise men also.' If the original had been KarayeAw-
fi.evrjv fiar-qv <f>i\wv vif l)(t)p<i>v ov Si^oppo7ro)S ft-ira, to t a k e this for iw'
mv would have been a natural error, and to transpose p-ira and
a ready expedient for making a construction; but the MS., which
throws the stress on ly(6p™v> has a very obvious meaning, 'laughed at
now in Argos as before at Troy.' That would have been as well
expressed by <j>L\u>v /«V, ixPp<^v oi St^oppoTro)? VTTO.
1272. Cf. Dio Chrys. xiii. p. 422 R., oi Se ZvTvyxdvovTcs avdpunroi
opiovTes oi jiiv aXijryjv ol 8t irToi)(ov €KaXovv, ol Se Tiyes Kat <j>iX6(ro<l)OV.
P h r y n i c h u s fr. 33 (i. 379 K . ) <o Kairpaiva Kal TrepiTroXn Kal Spo^ias.
M e n a n d e r fr. 546 (iii. 166 K . ) TO 8' eTriSiwKctv ci? T€ rrjv 68ov Tpe^itv hi
AoiSopov/uevr/v Ktivo'5 iar 'ipyov, 'Pd8»;.
1274. JK-irpagas - dvvo-as (704): postquam reddidit me uakm.
 NOTES 245
1276. pujiov iraTpuiov, the altar of Zevs"EpK«os at which Priam was
slain.—CIVT' : so long as a preposition can follow its case, there is no
objection to its elision or even to a pause after it. Examples in iambic
verse are Eur. Bacch. 732 B-^pu'ifntO' dv8pwv iwo" vtr'- d\\' lirtoOi fioi,
Tro. 1021 KOX TrpocrKvvei<r6ai papfidpuv vir iJ^eAts, Ar. Lys. 1146 (tragic
Style) x<"Pav V* viS ev ireir6v6a.Tf, Eur. /. A. 967 <Sv /ieV toTpaTcvo'/x^v,
Aesch. Supp. 260 aTav 175 8" dyvos epxeTat (rightly corrected for aioV-qs
Here dvri follows its case as in Lycophr. 94 oa-rpt/xuiv /xev
365 €vo5 SI \.oif3r]<s dvTi, but does not suffer anastrophe.
1277. See cr. n. The construction cannot be Koiru<n)<s (or Ko-n-elaav
or KOTreio-rji) Oepfiuii </>oiviwi Trpocr^Myfuan ' b u t c h e r e d with a hot bloody
stroke,' for two reasons; even if it were possible to speak of a hot
stroke, irp6<r4>ayixa. does not mean (as some have wished it to mean), a
blow or stroke; a n d /Aevei /u.€ KOTrttxrav or KOTreiaiji could not mean
' awaits me, about to be beheaded,' Ko$dr)<roixivqv ; it could only mean
'awaits me after I have been beheaded.'
The construction, therefore, must in part be •Kpoutpdyii.a.Ti Koirda-qt;
'the sacrifice' or 'slaughtered body of me butchered.' The dative,
then, if Otpfj-mi Koirf.ia-q<; (j>oivt<oi is sound, depends on //.eWi, 'a block is
in store for the slaughter of me butchered'; more probably, as is
generally thought, it depends either on Otpftov (Schuetz' conjecture), ' a
block is in store for me hot with the bloody slaughter of me butchered';
or on 4>oivwv (Haupt), 'a block is in store for me, bloody with the hot
slaughter of me butchered.'
The difficulty is in KOTreia-r/s. Cassandra, as a prophetess, might of
course visualise a block streaming with the slaughter of herself, fore-
seeing the future as though it had already happened, as she does in
1080-1119. But fttvti is not the language of visualisation; it is the
language merely of prediction ; and my feeling is that in conjunction
with //.eWi we ought to have, not Koim'o-^s, but Ko<f>0r]<TOfiei>r)<;. Consider
now two passages : Plut. Mor. 597 F TOV Aeovrihrjv e7r€<r(£a£e Otpfnui
•nut K-^icroSoTcoi ' slew Leontides while the body of Cephisodotus was yet
warm.' Philostratus KaaavSpa, Imag. 10, describing a picture of these
very murders; after slaying Agamemnon, 17 K\vTai/j.v)j(TTpa r»ji/ TOV
UpLdfj.ov Koprjv aVoKTetW 6tpfj.<i>i TI5I TreXe'fcei 'with her axe yet warm.'
And then consider whether you would not like to read KOTTCVTO? : either
Oep/J-bv KoirivTos cpoiviwi irpocKpay/JiaTi ' there waits for me a block, hot
with the bloody sacrifice of a butchered man,' or Ocp/j-wi KOITCVTO? (polviov
irpocrcpdy/xaTL 'bloody with the still warm slaughter of a butchered man.'
See now how well the plurals follow, Teflvj^o/xei/ and TJ/JLUV.
I have little doubt about the answer,—if only it could be shown how
came to be altered to Kotrda-qs. Well, it was a deliberate
246 NOTES
alteration made by a half-intelligent corrector, who took the participle
as referring to Cassandra, and therefore made it feminine. In this same
play there are at least two other passages which have been subjected to
precisely the same treatment: in v. 275, KXVO^L av fw/ipw oiSe
4>0ovo<;, f a n d h give oiywvn; a n d again in 283, ev yap <f>povovvTo<s
<rov Karrfyopel, they give (f>povovar)s.
1286 ff. lire! rb irp«Tov KTI. NOW that the capture (etXov : cr. n.) of
Troy is avenged, I go gladly to meet death. Cassandra's speech in
Eur. Tro. 353—405 is in effect an expansion of this passage, if read in
connexion with ib. 455—461.
In Sen. Again. 1005-1011 Cassandra speaks to Clytaemnestra:
' You need not drag me to my death; I willingly—nay, gladly follow.'
Perferre prima nuntium Phrygibus meis
propero; repletmn ratibus euersis mare;
captas Mycenas; milk ductorem diuum,
nt paria fata Troicis lueret malis,
perisse dotio feminae, stupro, dolo.
nihil moramur: rapite. quin grates ago :
iam, iam iuuat uixisse post Troia?n, hiuat.
But irpdf-w in v. 1289 is doubtful.
I2go. irpoo-Eweirco: see n. on 365.
1303. «iKX«5s. Honour is a medicine even against death: Pind.
P. iv. 187 dAA.' eirt KCL\ OavaTiDt (pdpfaaKov KaAAicrTOv eas dpeTas aXi^iv
(vptcrOcLL avv a'A.A.015. Theb. 670 uirep KUKOV (fiepoi TIS, al(T)(yviji artp OTTO1
fj.6vov yap KipBos iv TtOvrjKo&iv, See Class. Rev. xvii. 290.
1304. lu iraT€p o-oO o-wv T« ytwaCav T^KVWV is a fine answer to their
empty consolations. There is a stroke remarkably like this in Marlowe's
Tragedy of Dido, ii. 2, where the queen is endeavouring to cheer
Aeneas, son of Priam and Hecuba :
Dido. Be merry, man :
Here's to thy better fortune and good stars [Drinks.
Aen. In all humility, I thank your grace.
Dido. Remember who thou art; speak like thyself:
Humility belongs to common grooms.
Aen. And who so miserable as Aeneas is?
Dido. Lies it in Dido's hands to make thee blest?
Then be assur'd thou art not miserable.
Aen. O Priamus, O Troy, O Hecuba!
When Antigone is doomed to death, the Chorus attempt to console
her with somewhat similar praise (Soph. Ant. 817 ff.); but she rejects
the mockery of their words, and appeals to Thebes and Dirce (ib. 839 ff.).
1311. oi Siipiov must be taken closely together, «ar' d
 NOTES 247

Cf. Ar. Ran. 1150 TTIVEIS oivov OVK avOoo-fiiav, Plut. 703 ov XifiavtoTOV yap
/38ea), S o p h . fr. 140 KOLTayvvraL TO TEC^OS OV pvpov wviov. Similarly S o p h .
El. 1500 a\X' oil irarpioiav ryjv rexvrjv £KO/X7racras, E u r . Ale. 8 1 4 08' ov
Ovpaiwv Trrjixdrwi' ap\ei A.dyos, Plat. Phaedr. 242 B ov iro\efj.6v ye dyyeMeis.
I 3 2 3 f- See cr. n. ' I pray...that to ray champions my enemies
may pay for the slaying of a murdered slave.' This is on the whole the
best remedy, although <£6Veuo-n> is a strange word for tragedy to use.
[See Housman in Jonrn. Phil. xvi. p. 210.] An alternative would be
TOT c/xots Tifj.aopoL's i^Opow <j>aveuriv TOUS epovs are. Cf. Plut. Dio et Brut.
comp. 5 *ai AtWos /Aev TI/X.O)JO6S oASeis e<j>dvr] 7recroVTOs.
1325. F o r t h e loosely a d d e d genitive, cf. Eur. El. 1195 n's £<;Vo<;...
lfioi> Kapa Trpocro\peTaL fi.r]Tepa KTOLVOVTO<; ; Cycl. 244 TrXijcrovcri vr)8w r-qv
ijxr)v air av6paKos Bepfxyjv CSOVTOS Saira rait Kptavofuni.
1326 ff. These lines contain an Aeschylean figure developed out
of the phrase O-KIO. TO dvqTwv (Nauck F. T. G., p. 783, Eur. Med. 1224,
Soph. Ai. 125, Ar. Au. 683 etc.), 'All is Vanity,' empty and unsub-
stantial, and not real or solid : ' every man at his best state is altogether
vanity,' Psalms 39. 5, Soph. O.T. n86ff. lu> yf.ve.aX (3poT<Si>, «k v/xas i'o-a
Koi TO fi-q^iu ^aio-a? ivapid/xw. Aeschylus makes his ' shadow' that of
o-Kiaypa<f>la, as Iamblichus, Protrept. 8 ei Otwpijo-utv inr' aiyas rbv
avOpwTTivov /81'ov (.vprfcrei. yap TO. SOKOVVTO. tlvai /xcyaXa TOIS av9pa>iroLS
iravra ovra o"Kiaypa</)iav KTL irpe'i|/«iev implies that life, ivhen seemifig
most vivid, is only a pencilled sketch: cf. v. 253 irpkirovo-a 6' u>% lv ypa<£ats.
I formerly preferred Ttpif/tuv, which was proposed by an anonymous
critic: pleasure of this life (TO TC^I/OV) is short-lived and faint like a
deceptive imitation : Xen. Symp. 4. 22 77 /xiv airov ot/a<; eixfrpaiveiv
SvvaTOU, rj 8i TOV flBwXov reptf/iv fJ-iv ov Trapi^et irodov 8t e/i7roiei. Cf. Ar.
Poet. 6. 1 4 5 0 b I TrapairXrjo-iov yap io-riv KCU iirl TIJS ypa<j!>iK»/s" el yap TL<;
evaXetyeie TOIS KaA\io"TOis ^>ap/xciKOis xlJ'^r?1/' °^K * v o/ioi<os ev<j>pdveiev Kal
kevKoypa<f>r)O-a<; ecKOva. S t o b . Flor. 14. 24 (Socrates) eoiKev rj KokaKela
ypaTTTV)i iravoirXLai. 810 Tepif/LV /xiv e\ei, ^peiav 8e ov8e/xiav wape^eTai This
train of thought led Greeks to the conclusion /A?) 4>vvai apiarov, and the
chorus in Soph. O. C. 1211 ff. is only a versification of an ancient and
familiar commonplace. Thus we have TO Tepirovra b° OVK av i'Sot? O7TOD,
and in Pind. P. viii. 88 endu-epoc TI 8e TIS, TI 8' oi! TIS; O-KI5S ovap
avdpwiros (an hyperbole like a'SojXoi' O-KISS, KaTri^oS o-Kia) is led up to by
the reflection ev 8' 6Xiy<oi TO rep-n-vbv avitrai, OVTO) Se «ai irirvei ^a/tat.
Pleasure is like the grass that withereth and the flower that fadeth;
TOIS IKIEXOI T r e m o r eiri XP°VOV avOtaw rjfirjs Tepiro/MeOa, M i m n e r m u s
(fr. 2) says.
«iT«xo«vTo \Uv applies to Agamemnon's fortunes, «l 8e SUOTVXOI to
Cassandra's: Kvpiunepa 8' iv OIKTOK TO. T^S Kao-av8pas, says Philostratus,
248 NOTES

/mag. KaadvSpa., and that is what Aeschylus takes care to stress. But
it is hardly for Cassandra to pronounce that her own case is far more
pitiable than Agamemnon's; and I think with Weil that this final
comment is as usual by the Chorus: ' vaticinatur Cassandra, non
philosophatur.' For the opposition of the j«eV- and Se-clauses, expressing
the contrast of the bad to the worse, cf. Theb. 172 Kparova-a piv yap oi^
bfuXrjrbv Opdaos, SciVacra 8' OIKUI xat iroXei irXiov KOLKOV. Achill. T a t . i. 7
•n-ovrjpbv fxev yap yvvrj, Kav ev/Aopfpos rjf iav Se Kal afiopcplav Svarvxfji,
SnrXovv TO KaKov. L u c i a n iii. 232 irodeivrj fi.lv ovv Kai veois irarpi^- TOIS
Sc i^Sr; yeyr/paKOCTi irXeltov iyyiverai 6 iroOos. Cho. 7 4 ° <"? A10' Ta f>Xv
7raAaia...-^Ayi)i'€j' iv (rrepvoii <f>peua, dXA* OVTL ira) Toioi/Se trrjl^ dvetr^d//,iyv.
For the pity which is due to Cassandra cf. Antiphanes ap. Stob. Flor.
97. I KaAtus irlvidOai fiaWov TJ TrXovriiv Kaxuls' TO /xev yap iXtov TO O"

1330. dKopeo-Tov. So it is said of Wealth in Ar. Plut. 188 iSoV

ouSc ;u.e(rTOS croS yiyov ov8«U TTiairoTt. T<ov jxiv yap aXXtov i<TTi iravTiav
•wXrjarjxovq KTL
1331. SttKTuXoStfKTiov, that is, 'admired and gorgeous palaces,' show
places.
1333- y.i\Ker «o-e\e-r]i.s. The entrance of Wealth into men's houses is
described in Ar. Plut. 234—244.
1339. oriKpavet: so the MSS., and the future is the natural tense
here, but it is hardly credible that it could be scanned hriKpavu, and a
paroemiac at this point is unusual. Perhaps iiriicpdvutv 'should he
complete....'
1340. Tts uv <OVK> cv£aiTo Canter, but the sense required is 'who
can boast that his lot is free from h a r m ? ' (cf. Menand. 355 ovh' IO-TIV
e'nreiv £d!vTa ' ravr oil TT£io~o/j.ai'). TI'S av < ovv > Porson, but ovv cannot
stand so in apodosi. n's T&V Weil, TIS <TTOT'> av E. A. Ahrens, TI'S
< T I V > av Verrall, alii alia, all but Schneidewin retaining eufan-o. This
cannot be. rk av tvfatro; has only one meaning in Greek, 'who would
wish ?' {e.g. Antiphon 6. 1 tvxofxevo's av TIS TaOra £U£CUTO, Dem. in
Hermog. Rhet. p. 179 ^ra a 4>iA.i7r7ros eu^aiT* av TOIS Otois, ravra VJJ.O>V
ivddSe TToiovcnv). In ordinary language it is very common, e.g. Isocr.
3. 16 Kairot Tts OVK av ev^aiTo TWV ev <f>povovvTh>v Totavrrjs 7roAiTei'as
l>.eT€\tiv...; (where G has 8c£aiTo which is equally common, but means
'be content to'), Ar. Ran. 283 iyu> M y ev^ai/xrjv av... and occurs also
in Soph. fr. 327 ovre yap yd/xov, <S ^t'Aai, OUT' av o\y8ov iKptTpov h/hov
ev$ai/xav €\uv cj>6ovepai yap 6801. I thought once of Tt's av ai^i;cr£i«,
but though Hesych. gives av^cw : evxo^ai, that is the only place I have
ever found it so explained, and probably the true reading is Schneidewin's
rejected i£cv£aiTo,
 NOTES 249
1346. eS ir«s: see cr. n. Cf. Eur. Phoen. 1466 ev 8e irtos irpo/Aij0au
KaOrjuTo KaS/nou Xaos doTriSaw iiri. The converse error occurred in v. 557.
I
355- M«X\ovs. The word should be written so, not /acXXovs, to
indicate that it is a personification or idealisation of a quality. These
were formed in Greek as easily by a termination in w as in English by
a capital letter. Tryphon (Mus. Crit. i. 49), quoting this word as an
example of ovo/xaToiroda Kara Trapovo/xauiav, gives ...rfjs MeXXovs X°-Plv
no doubt by defect of memory. The phrase TJ?S MtXXoSs KXCOS gives
me the impression that it refers to some proverbial commendation of
Deliberation, and in this I am supported by an epigram of Antiphilus
A. P. xvi. 136 ''ApKet 8' a. /xtk\r](TL<s' (Intention) e<f>a <ro<j>6<;. T h i s may
have been the very proverb, from an early gnomic poet. They, the
speaker ironically remarks, are paying singularly little respect to
'•that same lauded name' Delay. Cf. Eur. /. T. 905 oras TO nXtivov
OVO/JLO. TJJS <ju>T-qpia<; XafiovTc; KTL, OV. Trist. i. 8. 15 illud amicitiae
sanctum et uenerabile nomen \ re tibi pro uili est sub pedibusque iacet.
I
373 f- <t>^ois SOKOVO-IV etvai, ' passing as beloved,' and therefore to
be treated with dissimulation.— See cr. nn. The corrections assume
that the scribe took apKuoTarav to be an adjective and altered ir-^it-ov^
accordingly.
1379- I formerly punctuated after rdSe (C. R. xii. 247), joining it
with twpa£a •. but there is no need for the pronoun to be emphatic
1382. ITXOSTOV e?|iaTos KOIKOV is taken to be merely a fine phrase for
abundance of material; surely it implies that the silver-purchased
raiment which he trampled in his pride of wealth has now itself, as it
were, become the instrument of his undoing, changed into the net of
Ate. See vv. 383, 940, 951, 1580.
1385 f. Tptrr\v 4ir«v8£8«(j.i KTL The third libation was offered to
Zevs 2a)T)?p : Aesch. fr. 55 Tpirov Aios 2<DTI7(OO9 tvKTaiav Xijia. See also
note on V. 257 TpiTocnrovSov Tratava and cf. 650 iraiava. TOV8' 'Epivvu>v.
' My third blow was added as a prayer-offering to the subterranean
Zeus'—as Hades may be called, for in the Underworld his position
corresponds to that of Zeus among the Olympian powers above; and
so in Supp. 160 ff. the Danaids from Egypt say, 'If Zeus Petitionary
will not hear our prayer, our swarthy company will perish by the noose
and make their supplication to the dark Zeus of the Earth, that Zeus
most Hospitable—to all that seek rest from their labours with him,
who grants entertainment freely to the dead,' TOV yaiov, TOV TroXv^evwrarov
Zrjva riav KiKjj.-qKOT0>v, w h e r e t h e Schol. h a s TOV Kara^Oovcov "Ai&rjv.
There is something of the same irony in the words o-a>i£eo-0ou KOLTW in
Soph. El. 438 and O-WI^OVTOJV KOLTU> Ai. 660 : and there is a precisely
similar implication in the mention of a third libation in Cho. 576
25° NOTES
<f>6vov 8' 'Epivvs ov)( VTT((nravi(Tjxivri aKparov alpa iritTai rpiTrjv Tr6(rw,
i.e. 'as her third and crowning draught.'
1390 f. recall Horn. * 597 TOIO 8e Ov/xos | idvOrj, <os « TE Trepi
(TTa^ijco-o-ti' iipo-yjt | Arjtou a\S??a-Koi>TOS, OTC cppCatrovo-iv apovpai, ' His
heart was gladdened as the heart of growing corn is gladdened with the
dew upon the ears when the fields are bristling' (Leaf).
1394 ff. irps-n-ovTwv was formerly taken as a partitive genitive with
yjv (as though = tv i w IT.) 'had it been among things fitting,' and
Wecklein still takes it so. But Wellauer and Blomfield truly observed
that in such phrases the article is used; we must have had w ir.
Dr Verrall accordingly takes it as a genitive absolute ' under fit
circumstances, with good cause,' interpreting ' Could there be a fit case
for a libation over the dead, justly and more than justly this would be
that case.' The natural construction, as van Heusde saw, is -rrptwovTwv
iiri(T77ev8(Lv, ' to pour a libation of what is fit,' <nrev8etv being often used
with a genitive, e.g. Longus ii. 31 eiricrirao-avrts oifyov, 22, iii. 12.
Phllostr. Apoll. V. 15, Epist. 39 OVK OIVOU o-irevSovre'; aircSi dXXa SaKpvon'.
Heliod. vii. 15 diroo-!rev8u> T W i/xavTris SaKpvwv, iv. 16. Plut. Mor. 655 E
Herodian v. 5. 12. In the sense 'it is possible to,' «rnv WOT« is
common enough : sup. 389 OTTO) 8' aTnij/jLavrov OVT airapKiiv tv irpa-
irl&wv Aa^ovra, Soph. Phil. 656, Eur. Hipp. 701 dk\' tort K&K TG^S' WCTTE
autdrjvai. eirio-irevSeiv is properly used of pouring a libation upon a
sacrifice: Hdt. ii. 39 hrura Si lir avrov (the altar) olvov Kara TOV iprjiov
ewio-Tr., as iv. 62 iirtav yap olvov eirto-jreio-ajtrt Kara TCOV Ke^aXtcoi', iv. 60,
vii. 167. Nicand. Thyat. (Ath. 486 a), Plut. Rom. 4, Xen. Ephes. i. 5.
Here the whole point lies in -n-petrovrwv, for of course, to pour libations
on a corpse was to give him the due rite of burial: Anth. Append.
Cougny ii. 485, Nicet. Eugen. ix. 4 TO o-uyta o-vyKaiovo-iv, 'EXKTJVWV VOJJLW,
Xoas iirLo-ireLo-avTt*;. By raSe, which is explained by Toow8e...dpaiW in
the following lines, Clytaemnestra means that the proper libations for
Agamemnon would be taken from the dpala Kara (that is, @\a/3fpd) that
he has himself inflicted on his own house. Such metaphors from
libations are common in later Greek and Latin; e.g. in Achilles Tatius,
iii. 16, a lover about to cut his throat upon his mistress' grave says Xa/3e
ovv, KtVKiTTTrt], r a s 7rpe7routras o~oi ^oas Trap' ifj.ov.
1400. mipaa-Bt KT*. may be a reminiscence of Hector's words to
Ajax in H o r n . H 235 /J.TJTI /xtv, yvre 7rcu§os dcpavpov 7r€iprJTi^e | J;C
ywaiKo's, ij OVK otStv TroXefxrjia tpyo-' avrap iyi> tv 018a juavas T

1406 f. TI KaKov...x9ovoTpt()){s 48avJ>v r\ iroTov...puTas «£ aXbs

'what 4>dpixaKov, solid or liquid?' Horn. A 741 fj r6o-a
oo-a Tpc'^et ivpela x^<"v. Apoll. Rhod. ii. 530 <f>dp/j.ax ocr' rjirt-tpos re
 NOTES 251

<f>vei KCU vyxVT0V u8wp. L o n g u s ii. 7 ov&tv </>a'p/u.a/«>v, ov irivoft-ivov, OVK

i(ruiofji.evov, OVK iv coiScus Xa\ovfx.evov. P. V. 495 OVK r\v d\e£r)jj.' ovSiv OVT«
Ppiuaijxov, ov ^ p i o - T o v ovSk -jncrTov. E u r . Supp. I I I O /JpcoTotcri Kal iroTOicri.
Ov. /art. v. 243 omnia temptabo latis medicamina tern's et freta Tartareos
excutiamque sinus.
1409. T<>8' €irf'8oi) 8«os 8ri(».o8p(5o«s T* dpds; I take this to mean TOSC
XtvVtju.ov dvpa (v. 1107). Other views are that 6vo<s here means ' frenzy,'
either ' this maddened rage of thine' or ' this fury of the clamouring
people.'
1418. See cr. n. Perhaps we should read %>IJIKIW 7' drj/xdrmv:
but Tt may have been merely a metrical addition, after the corruption
of A to A.
1423. 4K TWV 6|IOUDV, ' conditions equal.' So Plat. Phaedr. 243 D
crv/xySovAevo) 8t KOX Avtricu cm Ta^icrra ypdipai (us xpr] ipafrrrji fiaWov r) fj.r]
ip<Svn IK rtiJv bfjioioiv xaP^€<T^al7 where the plirase is equivalent to ceteris
paribus.
1429- Xiiros eir1 0(j.|idT<ov aVjiaros tS irpe'ireiv : t h e eye shows the heart
(see nn. on 283, 784 ff., 1 Samuel 16. 7 But the Lord said unto Samuel,
Look not on his countenance or on the height of his stature). Therefore
bloody heart should have a bloody eye to match. The blood will
come from public stoning.
1432. Kal TijvS' axovcis opxCwv e|«3v 8«(iiv can hardly be correct, for
ctKou'eis would mean 'you hear,' 'you have heard n o w ' : it is after the
law has been recited that the orator says aKovas TOV VO/XOV, and the
same is the case invariably with a«ou«is or xAijeis. Greek would be Kal
TJ7V8' OLKOVO-OV (Casaubon), as Cho. 498, or o.Kovk y (Hervverden), or as
I suggest aKovo-T]i y, Eum. 306, Soph. Ai. 1141.
I
435- 0<i V-01 *of}<>u picXaOpov 'EXirls «(j.iraT€l, ' m y confident spirit sets
no foot within the house of Fear.' For the metaphor cf. Ecclesiastes
7. 4 ' The heart of the wise is in the house of mourning; but the heart
of fools is in the house of mirth.' [Quint, xiv. 168 d\\a TO. p.kv irov
•ndvTo. jiieAas Sd/xos IVTO% iipyei A)f^r/s.] fx.i\adpov is used in the singular
of the cave of Philoctetes (Soph. Phil. 1453), and of the temple of
Artemis (Eur. / . T. 1216). For the combination of fyofios and IXms
see T h u c . vii. 61 01 TOLS TrptoTOis ayiocri trc^aAeVrts tirura 8ta Tra^TOS TTJV
iXiriBa TOV <f>6/3ov 6/noiav Tais fvjLK^opais Zxovo~lv-
1437. ti <j>povuv i|j.o£: 'sympathetic' is the nearest equivalent, as
in other places, e.g. sup. 283, Cho. 770.
1439 ff. This is the scene that Cassandra foretells in Lycophron,
1108:
eyw Be SpoiV^s <*yXl K^o~o)t,aL irtoiai
o-vvTe6pava/J.£vr]'
252 NOTES
i fxt, TrtVKTjS Trptfivov rj O-TWTOS Spvos
OTTCOS Tts vXoKovpbs epyanjs opevi,
pt)£u TTXCLTVV TtVovra KO.L fj.cTa<f>pcvov
Kai Tra.v XaKi£ouer' iv <povai<; ij/v)(p6v Sffta
Spctfcaira Sii^ds, Kd.TTif3a.o~' eir'
Xj yefiovra Ovfxbv aypias
f^^ SU
pj y
do~Tifji.f3a.KTa. rifi.topovfii.ivrj.

KctTai in this sense often begins a sentence: Horn. E 467, II 541, 558,
2 20 KeiTai ITaTpoKXos. Theb. 779 TrorTtoKtv ai'SpdJv 6j3pifX.ti>v
y^. .f. xil. 48 Ktifxai- Xa^ lirifSaive KO.T

1445 ff. ^
Kctrai, if>i.XifJT<op TOBS'* l|xol S*
irapot|<uvT||i.a TT|S

The antithetical sentence (shaped in the figure called Chiasmus) puts

in a brief and telling way the relations of Cassandra to Agamemnon
and to Clytaemnestra, and the results of them in each case: ' she was
the lover of him,—and is laid low by his side; she dared to trespass on
the rights of marriage that were mine,—and all that she has thereby
brought to me is the delight of triumph.'
By the words <£iA?fr<i)p roCSe she implies at least two things: that
Cassandra had chosen to side with Agamemnon against herself; and
that she now lies, as a lover should, beside him. Hereafter she herself
and Aegisthus are to fall, as Cassandra had foretold, woman for woman,
man for man (v. 1317); and in Cho. 893 Orestes says to her c^iActs TOV
avSpa; roiyap kv Tavrwi rdifxDi Keiarji. Perhaps by the active word she
wishes to imply that the woman was the seducer; in Sen. Agatn. 1001
she says:
at ista poenas capite persoluet sno,
captiua coniunx, regii paelex tori.
trahite, ut sequatur coniugem ereptum mihi,
' that she may follow the husband she has stolen from me.' The
associations of the word are likely to have lent a special sting to it; the
Cretans, says Strabo 484, TOV /xev iptofaevov KaXovai KXCLVOV, TOV 8' epao~Tr]v
<pi\rJTopa. H e s y c h . gives (f>L^VTU>P '• tpa-vrqs, a n d N o n n u s uses it as an
adjective, ' l o v i n g ' : Dion. xxi. 27 <j>ikqTopi K6\irtoi, loan, xviii. 55
'lrjo-ovs b" av€KO\j/i fyikrfTopi IleVpov larqi.-—TrapotyU Or irapo^navrffia m e a n a
trivial extra morsel, Pollux x. 87 ras 8k •7rapoi/'t8as...«rt /adf^s yj ^wfnov
TIVOS ^ cStc/AciTos ruTfAovs o t o r i TTapoxj/rjo'ao'Oai., vi. 56 Traporf/ib'a.- t o r i 8c
Kal TOVTO £utfji.ov TI fISos, rj ok TIVK, /xd^ij?, ^7 TrapivOrfKrf TIS mpov, o 01 vvv
And when used metaphorically they were a
 NOTES 253

synonym for a irdpepyov, as opposed to an ipyov or o-Trou'oW/xa (Galen

i. 227 ipyov 8' avTois cor! KOX o-irov8ao-fia.... Plat. Euthydem. 273 D
OVTOI e n r a l r a CT7rov8a£o|U.€i', dXXa irapkpyoi% axnol% xpaijucda...'
' KaXov av n TO y ipyov V/AWV £117, et TijAiKaOra irpdyfiara irdptpya v)M,v
Tvyxa-ViL o v r a ' ) : S o t a d e s ( A t h . 368 a) irapoxph elvai <£atVo/xcu T(SL
Kp<i)/3v\a)i- TOCTOC fia.o-S.Tcu, TrapaKaTtcrdUi h" ifne. M a g n e s (id. 367 f) KCU
TavTa fiiv /xoi TISV KCLKUIV irapotl/i&es. Philostr. Heroic. 284 = 662 <f>vTtva>
8c avTa (these o t h e r fruits) olov Trapo\f/rjfx.aTa TWV d/j-TriXiov. Clem. Alex.
695 Kal T17S 'EXXr/vtK^s iffxxvTiTai <f>i\oo-o<t>ia<; ola. TpioyaXiov TI €7rt T<UI
SeiVvox irapo\j/w/jitvo';. H i m e r i u s Or. xiv. 24 TOVS SC Ilvppaji'o? Tpoivovi KOX
TTJV fKeWev Ipw ovy^ 10s jxiya. o"irov8ao-/ML olov Se TI irap6ij/r]/ji,a Trjs d!X\r;s
£ X £
Metaphorically, therefore, these words mean a mere slight toy or by-
play beside the serious business or main action; and thus izapo^U is
applied in Aristophanes AaiS. fr. 236 to a married woman's lover:
7ra<r<us yvvai£\v i£ kvo% yi TOU Tpoirov wo-irtp irapoxj/li fioi)(bs €O"«€uao"/x£vos.
It is in precisely the same way that civ-ifs Trapoi^wij^a T^S c/i-^s is applied
by Clytaemnestra to her husband's paramour.
The metaphorical meaning of these words has not been grasped;
irapoij/<avr)/ji.a here has hitherto been taken as though it were •tjSva-fia, a
seasoning to enhance the appetite, evvrj<; Trapoif/wvrjfx.a something that
gives a zest and gusto to the pleasures of the bed; and the usual
interpretation has represented Clytaemnestra as proclaiming to the
public, ' Cassandra by her death has added a relish to the enjoyment
of my commerce with Aegisthus.' How that would be possible is not
easy to imagine; still less easy to imagine any woman making such a
profession, hraytw is used by Pindar thus, like iinSovvai: P. viii. 64 to
Apollo, TO pjkv f/.eyio-Tov T66I ~xo.pixd.Twv wTrao-as, oiVoi Si irpocrQev apwaXiav
86o-tv...iirdya.yes: cf. O. ii. 10, 4 1 , Soph. Ai. 1189. T h e phrase (.vvrjs
irapotpiivrnxa T^S efirjs is not the accusative and object to iwqyayev, but
the nominative and subject of it—or better, perhaps, it is in apposition
to the previous nominative 17 Sc TOI. It follows that the object must be
xXtStjv: see cr. n. The schol. has Trjv CK Trepiovo-ias Tpwfnjv, which
Blomfield took to be an explanation of irapoij/wvrjfjia merely. It must
have included x ^ * ? 5 ' f° r °f 'hat word Tpv<fnj is the grammarians'regular
equivalent (see Ruhnken Tim. 276 = 230, Moeris 408 = 370): thus (to
quote passages some of which will at the same time illustrate the sense
of luxuriating triumph) Aesch. Supp. 925 "EXXijaiv iyxh'tis, 242 xXtovTa,
schol. Tpv<f>wvTa, Cho. 137 iv...Trovoio-i xXi'owii', schol. Tpv<j><j)o-tv. Hesych.
iyxXiti: ivTpvrf>ai. x^fL: OpvTTTet, P. V. 1003 xXiSav lowas Tots irapovai.
irpdy/xao-i, schol. Tpv<j>av, dvUaOai. Soph. Track. 281 virtpxXiovTK, schol.

1451. <{>cpov(r' ojiiXetv (see cr. n.) is exactly like Soph. Ai. 1201
254 NOTES

velfiev ifiol T€p\j/iv bfuXuv : cf. Pind. N. x. 7 2 x a ^ £ 7 r a 8' «P's a>|/

bfuXtiv Kpeaaovtov, I. ii. 37 aiSoios /IEV 17V aorots b/AiXtlv.
1456. irapavous. Cf. Eur. Or. 79 (Helen speaks) firXevo-a Ototxavu
640 (S 8eofx.avi';...OISITTOV yivos, ib. 741 irapavoia crvvayt

1461. e£ TIS •qv UOT' : see cr. 11. This use of EI TIS is not so well
recognised as it should b e ; it means 'any that there may be] 'some or
other] and is declinable, as in the other well-known use TTXOUTWI
o-fleVoiros EI TIFOS. I believe it should be read with Elmsley in Soph.
Ai. 179 f) xaA/<o0u)paf a TLV 'Ei/ua'Xios fnoiujsav eywv 'some complaint or
other] 'possibly] 'perchance] for 57 TLV, and in Aesch. Cho. 752 with
Buttmann {Griech. Sprachl. i. 142) EI XIJUOS r\ Sty' EI TIS rj Xuj/ovpia e?xa
' or thirst, may b e ' (like fjv rvxvh « ™xot> TVX°l'> sl' forte Munro on
Lucr. v. 720) for Zajn/j TIS. Exactly similar is the use of EI VO6I in
Ai. 885 ei TTOQI TrXatpfx.tvov Xevo-<ra>v, a n d of EI 7TO^EV in Philoct. 1204
£i<f>os EI TTOOIV 7} yiwv i) jitXitav TL TrpowefxtfraTt. I t s h o u l d b e considered
w h e t h e r Tro. 705 lv EI TTOTE CK O-OV yev6/x.evo<, iraiSfs "IXiov iroXiv KCLTOI-
Kiauav may not be explained in the same way.
1463 ff. EtrEvxou...£KTp6'<pT)i.s i for the change from present to aorist in
prohibitions cf. sup. 909 ff. For the distinction in meaning see C. R.
xix. p. 30.
1465. «KTpe\|rt]is: for illustrations of this word see On editing
Aeschylus, p. 100.
1468. afjvorarov &Vyos, uulnus incompositum, ' a hurt unhealable ' ;
referring to their description of Helen as kv Sd/uois Epts spi'Sp-aTos.
1471 f. Kpdros T l<r<S\|n>x<>v EK YwaiKwv KpaTweis : Helen and Cly-
tacmnestra are both instruments to execute the purpose of the haunting
Spirit. Schol. KXvTai/u.i/);o-Tpav «ai 'EXivr/v Xfyfi, at Kara fyavXoTtfTa t'o-as
Tas i/'wxa? l\ovo-i. The infatuation of the daughters of Tyndareus was
an old tradition: see Horn. X 436—9, Eur. El. 1062 TO fx.lv yap EISOS
aii'oi' a£iov (j>epeL 'EXEVJJS TE KOL crov, 8vo 8' k'<j>vTe o~vyy6vu>, a/xipu) fiaraiw
KacrTopds T OVK afi'o). | 17 fi&v yap apirao'Oiio-' EKODO"' air<uix«TO, o~v 8' a'v8p'
a'pio-Tov 'EXXaSoj 8io)X£o-a9. Similarly in Orest. 249 eirio-vfixav ETEKE
TucSapEois EIS rbv tpoyov | y£i/os Ovyartpiov 8UO"KXEE'S T' av' 'EXXaSa, where
we learn from the scholiast that Hesiod (fr. 117) had said that both she
and Helen (and Timandra, a third sister,) had received from Aphrodite
the gift of beauty but the curse of ill-fame with it; all deserted their
h u s b a n d s : TT^KTIV be <^iXo^/A€tS^s 'A<£poSiT77 yjya.a'Orj 7rpoo~i8ovcai KaKyjv &t

6 ES t&vXija., tfitXov fx.anap€(ro~i 6eoio~w j (iis ok YLXvTa.ifjLvrjo'TpT] Trpo-

Xnrova' 'Ayafj.efx.vova Blov | AlyioSioi vapiXcKTo KO! elXfro \fipov' a-KoirrfV |
cos 8' EiAevr] rjio~xyv€ XE^OS £avdov MsvEXaov. This was followed by
Stesichorus (fr. 26) who assigned a reason for the curse :
 NOTES 255
ovviKO. TW8apeo>s pitfav TTOTE irdui Oeois
/uowas Aa^ei-' rjirwhwpui
KwrpiSos' KeiVa 8e TWSapeto Kopais
XoAu>eraju.eVa Siya/tovs T£ KOU rpcydfiovs TWTJCTLV
Kai Xnrtvavopa.'i.

Nicolaus in Walz, Rhet. i. 385 makes Agamemnon, when struck down,

exclaim : <os iin Sv(TTV\iaL TWV >ATpei8<oi' KaTt<rrrj Trarrjp 6 TwSapos
yoi/ais T<HS 'ATpc'ws eVt <TU/i<£opais. xai 7rA€i jute 8t' 'EAei/?7i>
s, eytb 8c 8ta KAvTai/jU/^crTpai' dvijiprjfj.aL- Mtre'Aaos /xev'EAeVv^v T^S
EAXaSos aAAoTpiot, KAuTat/xv^o-Tpa 8e TOV fiuSvai (TWV /SIO)V MS.) i/xi' KO.1
KaKoirpayovfitv hi t/carepas dfjL<j>OTfpoi.
1474 f. The ending of these two lines is doubtful: see cr. n. But,
if the two words required are lnvo^ou; and vo/xois (like vop-ov dvoji.ov 1137),
it is plain how easily vo'^.ois might be omitted; and the omission would
lead naturally to writing eWd/u-ws.
1476. vvv in the sense of ' now at last,' and not vvv 8' (see cr. n.),
is required. Cf. Ar. Eccl. 204 vvv KOKG>% iir^wea-a^, Plat. Gorg. 452 E
vvv fi.01 SOKEIS 8rj\w<rai KT£. Similarly in Theocr. i. 132 vvv la piv <f>opzont
/?arot several copies have vvv 8\
1480. v6iptTPoc|)€iTai. The MSS. reading may be, I think, a
corruption of a compound veipiTpo^elrai, like (TKia.Tpo<$>u.<r6ai: cf.
wKT-riyopeio-Oou Theb. 29. To write it as we find it would be the natural
tendency of a copyist; thus we get in MSS. aytt Kvyfioiv schol. Pind.
p. 312 (fr. 82) for dyxl-Kp-qp.vov, ovqa-a 7r0A.iv Simonides in Plat. Prot.
346 c for ovq<riiro\iv, Kafiij/ei 8iav\ov Telestes in Ath. 637 a for
Ka/ii/ftSiauA.oi'; while for the strengthened form of the verb they tend to
write the simple form; thus (to take a case in which this often happens)
in Eur. fr. 1063. 5 for dvao-Tpu><f><j>/j.tvr] (Gesner) the MSS. of Stobaeus
and Choricius vary between dvaa-Tpo<j>wfx.ivrj and dvao-Tpufaojievq.
The form might also be veipiTpa^eiTai, as aKLaTpa^elrai. This word
too supplies an example of the tendency to break up compounds : in
Stob. Flor. 97. 17 (Eur. fr. 546. 8) there is a v.l. cr/aa Tpo</>cay/.evos.
1481. vlos lxaP 'fresh in appetite' (TTJV <bn#i;/«W). l\ap is to
) as /jurj^ap t o /J.rj\avd<j>, AciS^ap to Aax^aoo, /xdJ/xap to /iw/xdojiaL,
to Av/xaiVo/iai. There is no such word as t\ap (Dind. Lex. Aesck.)-t
Supp. 863 is corrupt. The intestine murders in the House that follow
in such swift succession are conceived as wounds made by a devouring
monster, whose thirst for blood revives again before the last wound has
had time to heal. l\u>p of the MSS. is taken to mean 'gore, bloodshed'—
a sense incredible. Its proper sense is a humour, lymph, serum; never
blood, that it should be extended (like al/xa) to mean a deed of blood.
And the phrase should naturally be a further account of £p<us.
256 NOTES
1482. Tot<r8« is probably a gloss: cf. 1657. Perhaps we should
read 17 pkyav <fj /x«'yav> OIKOIS with Weil: see on 1506.
1488. fiveu Albs : Soph. Track. I 278 KOV8IV TOVTWV O TL JU.^ Ztvs.
1506. The addition of <rv after et for metrical reasons was first
suggested by Schuetz. Perhaps yo-Oa or airra should take the place of
t l : see on 1482.
1508. iru iru; is Doric. Cf. irwuaXa, not at all. [See Shilleto
cr. n. to Dem. F. L. § 56.] iroOiv and irov are used with the same
force—' go to !'
1510 ff. pid&Tcu 8'... The blood of the slain children of Thyestes
lies congealed upon the earth (jne\a/i7rayes aT^a <f>oiviov Theb. 724)>
demanding vengeance (rtVas <f>6vo>s Triimyyiv ov SiappuSW Cho. 65), and is
not to be washed away until sufficient blood of kindred has been shed
by murder to atone for it: <j>6vwi. <f>6vov Xvuv is the principle. Soph.
El. 1384 "8t6' O7rov TrpovefUfTtu I TO 8v<repurTov alfna (pvawv "Aprjs. Eur.
Or. 811 7raAat iraXatas cbro (7VjH</)opaS S6ft.0)v | 07r0T£ Xl° v0 " £as I
TavTaXiSais, | oWrpoTara Ooivd/xaTa Kal | tr<j>dyia yevvaiuiv
f>6vwL <f>6vo% i^a/xei/iayv | 81 atjuaros ou wpoXetVci | SMTCTOICTI
Tra^vat Kovpoftoptoi (tf>6vov) 8i«as irapi^iov, feud-murder serving as
t h e price for b l o o d s h e d , is just like dpr/ aToAjiufron' eKTivov<ra in v. 385,
havoc and destruction paying the penalty for sin.
1524. She takes up their words SoXimi fiopwi with the retort oi&e
yap ovro<s SoXtav drrjv OLKOHTIV WrjK ; A n ellipse s u c h as is implied here
by -yap was often explained by scholiasts, see e.g. scholia on P. V. 1015,
Pers. 237, Eur. Or. 794, Ar. Nub. 1366: and the explanation was
liable to be incorporated in the text, as ovKtn in Rhesus 17. Cobet,
Misc. Crit. p. 323, condemns Horn, K 190 on similar grounds. So here
the lines which precede oi&k yap were a scholiast's explanation, OUT'
avtXtvOtpov 01/j.ai Odvarov TcotSe ytviffOat.
1527. Porson on Med. 822 (826) restored -KokvKkavT-^v on the
ground that the less common form of the feminine is liable to corruption,
and that T was a subsequent addition. Meineke rejected rijv, which
he thought to have been inserted with the object of avoiding a
paroemiac. Errors due to the last-named cause will also be found in
87, 783 (7rpoo-e<£t/<v€tT<u h), and 791.
1528. &£ia 8poo-as &£m ird<rx»v corresponds to a£i d$L<av, digna
dignis, a common use. [Eur. Supp. 813 o-^ayevTas OVK a£i' OVK VTT'
afuoi/, Ion 735 a£i' d£itov ytvvrjTOptav rjOi] <£vAao-o-£is.]
I53I- ^pl«v, 'what he wrought' (see cr. n.), is equally possible.
Horn. F 351 Zeii dva, 86s TU<ra<r6ai 0 fie irpoTcpos KaK iopyev.
I 5 3 2 ff- 1'he construction is (VTrdXa/xov (f>povTi8o<s fxipifnvav <TTepr)8tis,
ii oVai Tpdirm/Aai. So Soph. O. T. 170 0118' hi <£povTi'8os
 NOTES 257

Tt? aAeferai, Opp. Hal. iii. 571 oiSe 01 OTTXOV ivl (ppt&lv olov apr/pnv e«
ytvvtav. ' I find in thought no ready weapon to my hand and know not
where to turn.'
Z
536. +«Kas 8* \i\yti: ' it is no longer early drizzle.' The phrase is
based upon the word dorayc's or ao-ram-i ' in torrents': aif/tKao-Ti might
have been used in the same sense.
J
537 f- 'Yet there are other whetstones whereon destined hurt is
being whetted for the hand of Justice to another end.' In Cho. 643
AiVo; 8 iptiSerai Trv6fjt.ijv, 7rpo^aXK6vet 8' Atcra <£acryavoi>pyos Destiny is
the armourer who forges the weapon for Justice to employ, and here,
with language very similar, we expect to find the same image. It
seems probable, therefore, that Triclinius was correct in writing SI'KCU,
which will mean ' for the hand of Justice.' In face of Ala-a it would be
rash to alter fioipa: otherwise, modifying a suggestion by Prof.
Robinson Ellis, we might perhaps read 0>jy€Tai...0r]ydvaia-iv alpa:—
supposing that could mean a chopping instrument requiring to be
sharpened. It is usually explained by <r<f>vpat and in a fragment of
Callimachus, the only place where it occurs in literature, alpdmv epya
stands for ' blacksmith's work.' Hesychius, however, and Bekk. Anecd.
359. 19 give dxpa. • (r<j>vpa. d£ivq: and might not fia.x-a.ipa mean
originally a battle-axe ? But one of the sign-posts to the sentence is the
genitive /3\d/3rjs, which according to my ear should be dependent
neither on trpayfia nor on Orfyd.vax% but on the final substantive, OrjyeTau
fiXa./3rj's fnoipa, as you have Oavdrov /xoipa (Pers. 919, sup. 1463). The
only other possibility I see is that /JXa/ifys is an error for an accusative,
Orjydvft ($\d/3as or j3\dji-qv. The drjydvai are the incentives urging
Orestes to revenge.
1546. aSCKws, dishonestly, like SLK-TJV 7rapa/3ai/Tcs in v. 780. Cf.
Schol. on Soph. El. 270 a-itev8ovTa Aot/8as- TO T17S ao-tfitias Aiyi(r6ov
Ka.Tr)y6pi)fxa, el cnrei/Sei Oeois, OTTOV aSixos <f)6vos eipyaarai.
1547. TCS 8" EITI,TV|JLPIOS KTC. : i.e. and if you do, what praise of yours
could be genuine? idnTotv is intransitive, as in Supp. 556 idirTei h"
'Acri'Sos &L aias.—dvSpl StCioi: Cratinus, fr. 1 (i. p. n K.), of Cimon, avv
avhpi 6et(0i K<xi <f>i\o£eva>TdT(iH KOI irdvT apicntai. TWV HaveWijvuiv.
I
557- ir(5p8p.ev|i,' axeW. Schuetz was the first to quote in illustration
of this phrase Stob. Ed. i. 49. 50 (p. 418 Wachs.), containing an
extract from Apollodorus ircpl T&V 6twv (E H. G. i. p. 429) €K yap
TOlOVTUiV OppWIXtVOl TTldaVWS KO.I TOVI €V "ALBOV VOfXL^Ofi.€VOVS TTOTafi.OV';
'A\^povTa ft.lv 81a TO. a ^ , « KOI MeXavnnrio'r]'; iv
(fr. 3)
/caXeirai 8" <tiveK> iv KoknoLtn yaias
a^e' dcriv -rrpox^v 'Axtpw
H. A.
258 NOTES
iirtl KCU h.lKVjX.Vl6% <f>7](Tl (fr. I ) '

fivpiaii Trayais 8aKpvoH> a^imv re ppvei

KCU TraXiv (fr. 2) •

1568. nXtio-eeviSwv. It is difficult to find a place for Pleisthenes

in the genealogy Zeus, Tantalus, Pelops, Atreus, Agamemnon. Later
writers, to meet the difficulty, assert that Pleisthenes was son of Atreus
and father of Agamemnon, but died young, so that Agamemnon was
commonly called the son of Atreus (Schol. Eur. Or. 4). There is no
warrant for this in Homer, but some faint indication that Aeschylus had
heard of it: see vv. 775, 1602.
1574. iravorapK^s 8(1017' is assumed to have been the original text
which with diroxpri superscript ultimately produced the MSS. reading.
The first step was TTCLV diroxpy V ot y': but since tvav diroxpy cannot be
construed together, irav was taken to be a predicate; and that necessi-
tated a connecting particle in the following clause : and so we get
KTedvwv re /itpos fiaiov ixovarji irav, diroxpy P-OL 8'.... The rhythm alone
is enough to show that this cannot be genuine; but to confirm my view
that such was supposed to be the construction, cod. f has actually that
punctuation, a comma after wav. I had long looked with suspicion
upon airoxpy), for it is a prose word, not a poetical, and neither in Epic,
Lyric, nor Tragedy is ever used at all. Thus it would be a natural
synonym for explanatory purposes: Moeris p. 262 OVK ainjpKei &VT\ TOV
r
OVK airixp i> 'AptcrTo^ai'^s IIOXVISOH. But poetry uses apKto and com-
pounds, verbs and adjectives, as v. 390 a-rnjfiavTov war awapKuv,
Pers. 240 TTXOVTOS l£apKys, A. P. x. 76 TTXOVTOV $xetv ^OeX.w TOV iirdpKLOV,
Anon. ap. Suid. IlaAa/MySijs : urj p.01 fiioros 7rav€7rap/aos. See also
Cho. 68 TravapneTas voaov fipvtiv. Aeschylus has also Tramp/ceis Theb. 152.
The copyist, after the habit of such with unexpected compounds, made
two words of it. In Iambi. Vit. Pyth. § 147 Cobet {Coll. Crit. p. 378)
for TO kiyofxtvov TTOLV aXrjOis restored -rravaX-qOf.'s, and the tendency is seen
in Theb. 709 where iravakriOA was the first attempt at IIANAAH®H.
Zfjioiye is quite suitable : Plat. Prot. 346 C iyw, <3 XltrraKe, ov 8m, ravrd
art i//e'yu) on djM <f>i\6\poyo%, eirel e/xotye ££apKei os... Pherecrat. 145. 17
dkX' ovv c/xoiyt x°«"°s yv airoxpwv dvrjp.—For the general sense cf. the
words of Menelaus in Horn. 8 97 wv o<f><:\ov rpirdryv ntp £X<oi/ iv SW/MKTI
[/.oipav vaiuv, 01 8 dv&pes (root 'dfXfj,evai..
!579- ^VI: 'This shows you are above, | You justicers, that these
our nether crimes ( So speedily can venge,' King Lear iv. 2. 79. Cf.
Diogen. vi. 88 vvv 6eoi fidi<ape<;: Im TWV a$iws Tifimpovfitvwv i<j> oh
 NOTES 259
1591. irpo8v|i.(i>$ (idXXov rj <j>(Xus : he plays bitterly on two words
commonly applied to welcome, irpo&j/xw; Sexevdai, eager, zealous, hearty,
and </>(Ao<£po'vG)? or c^i'Acos, kind. Effusive rather than sincere this
welcome was.
*594 f- This passage is mutilated and corrupt, but there can be
little doubt what happened (see Prof. Platt's article in Class. Rev. xi.
p. 96), because the story is told elsewhere not only of Thyestes but of
Tereus and of Clymenus and in Hdt. i. 119 of Harpagus, and when the
details are described they are the same. The toes and fingers (and the
head), which would have been recognised as human, were concealed
apart (Senec. Thyest. 764, Hdt. I.e., Achill. Tat. v. 3 and 5) and after-
wards displayed in proof (Zenob. ii. 234, Senec. 1038, Hygin. fab. 88,
Hdt., Ach. Tat., Ov. Met. vi. 658); the rest, including the evrepa and
o-TrXayx1"11 (sup. 1220), was broken small (Senec. Thyest. 1059) and
served as meat. The separate table made it easy for the fated guest
alone to have the special mess (Hdt, cf. Ov. Met. vi. 648—50). The
general shape of the sentence therefore would appear to have been
something like this :
Ta ft,kv iro&ijpr] /ecu ^fpcuv axpovs Kre'vas
tKpvrrT avevOtv, raAAa 8'...
evOpvTrr' avw8ev dvSpaKas KaOqfxevo1;.
Cf. Ov. Met. vi. 656 ipse sedens solio Tereus sublimis auito. The kicking
over of the table is also told of Tereus by Ovid in 661.
I
597- &<™TOV, spendthrift, prodigal; usually meaning one who
wastes his substance in riotous living, and applied with bitter irony to
the banquet of Thyestes.
1601 f. £VV8CKUS is either simply 'jointly, together with' for which
sense P i n d . P. I. I vpv(ria <f>6pfi,ty$, 'AiroWayvos KO.1 ioir\oi<a(j.o>v CTVVBLKOV
Motcrav xreavov is quoted; or else ' in support of—so that the act is
symbolic. In the latter sense it has been suggested to read CTVVSIKOV
(Karsten), as in Pind. O. ix. 98 UWSIKOS 8' avrun 'loXdov TV/X/3OS dva\ia
T 'EAevo-is ayXaiaurw.—OCTWS is part of the curse : 'go perish... !'
1605. Tpii-ov -yop OVTO, |i lirl StV of the MSS. is ridiculous, i-n-l &v
' in addition to two others' would make sense and may be right; but
I suspect the original was TPITTJV yap ovra p.' iX-rrih'/l who was my
father's third-last hope.' Cf. Cho. 235, 695, 772, Aeschines ii. 179,
A. P. viii. 389, Epigr. Kaibel 116, Thuc. iii. 57, Pers. ii. 35.
1610. See on 544. Aristid. i. 709 AaKcSat/xoi/ioi 8' 17810-/ av
Te.6vai.tv airavTes, (1 Xyjij/ovrat SiKrjv irapa ©jj/JaiW- OVTU) SI' opyfj's airoiis

1613. Cf- E u r . Tro. 427 cru TTJV l^v <^>r/s /x-qrep' th 'OSwo-cios
260 NOTES
1618. iiri Ivyai, ' When on the main thwart sits authority.' \_£,vy6v
denotes here a bench at the stern: see Torr, Ancient Ships, p. 57, n. 131,
and cf. Eur. Ion 595, Phoen. 74.J
1619 f. Cf. SUp. 1425 yvcocnji 8i8a%8u<; dij/k yovv TO <rio(f>pov€iv.
1625 ff. •ywai, <ru...av8pl <rTpaTi]-yaJi is addressed to Aegisthus. There
is the same contrast in Cho. 624 yvvaiKo/3ovX.ovs re /^ViSas <ppcv<ov lif
dvSpi Tev)(£<r<l>6p<M, which is so framed that it might include Aegisthus.
See also Eum. 628—40. For oUovpbs cf. Eur. Herad. 700 alo^xpov yap
o'lKOvprj/jLa yiyvtTOii rdSe, TOIIS [liv fJid)(€adai Toiis Sc SaAuu fj.iveiv, Enger
points out that Cassandra had already so described Aegisthus: sup.
1224.
1630 ff. Orpheus tamed (i^e'pou) the savage breast with persuasive
charm (vetOo!): you shall find your own savagery tamed by com-
pulsion (jSi'ai): 'EptuTos Oerr/xov, <Si 7rcio-0tis lyio, ovirta KparrjOeis Aristarchus
fr. 2 (F. T. G. p. 728). Cf. Dio Chrys. xxxii. 61 f. p. 683 to the Alex-
andrians, speaking of their degenerate popular musicians : TOVTW JJAV
yap €<TTIV oiScts 'A/i<£iu>y ovSe Op<f>€vs- 0 /xev yap DIOS -rjv M.ovar]<;, 01 Se
€K T175 'A//.ov<rias avTTJ1; yeyovaai.. .TOtyapovv OVK 0.776 KVKVIDV O£8« d^8oj/<oi'
0 ^rjX.o's avrwv aiVd/xacrTai 7rap' vy.iv avrois, dXA (u? IOIK€, KVvt,rjO/J.OLi nal
vA.ay/xot5 £iKa^€T«....Kai ^ v 0 yt 'Opipevs ra drjpta rjfiipov Kal /xoiOTiica
ITTOUI 8ta Try? OHS»/S- OIJTOI 8c v/xas, dv#p<o7roi;s ovras, aypiov; Treiroi.r]Ka(n

1638. 4K TWV 8J TOOSC xP1lli^Ta)v• • • H e leaves that awkward topic

hastily and cuts the matter short: Theb. 1052 aAXa </>o/3oii/mt Ka-Korpi-
Trofiat Selfxa ITOXITWV (the Chorus with reference to the burial of
Polynices).—For the sense cf. Eur. EL 939, where Electra is addressing
the corpse of Aegisthus : r;v^«ts u s t'vai rotcri ^pij^aai crOiviov.
1640. O<JTI (i-f| <rapacj>opov KpiBuvTa TTWXOV. T h e tracer ((TeLpacpopos or
Se^ido-eipos) had light work, as compared with the horses running under
the yoke. Kpidwvra expresses the effect of his generous diet. H e was
called upon to make a special effort at the corners of the race-course,
when he was thrown wide to the off (Soph. El. 721), and had to pull
the chariot round on the pivot of the near wheel. Hence the meta-
phorical use of (Tupatfaopos and Se£uxreipos of one who gives assistance in
the time of need {sup. 833, Soph. Ant. 140).
1641 f. Cf. Eur. Supp. 1104 ovx ws Ta'xto-Ta Sijra yn' a£ei-' «
8d/*.ous, (TKoruii hi SIOO-ET', Ivff tto-iTicus iphv S«//,as yipaibv
6
1645. (i£ao-|ia. Cf. Cho. 1026 (of Clytaemnestra) irarpoKTovov
6
xat 6ewv
1650. XoxtTtu. Aegisthus is attended by Aoxu-ai or 8opv(j>6poi
{Cho. 764 f., Eur. El. 616), the characteristic retinue of a rvpawos.
 NOTES 261

1652. dXXa Ka7<u (if|v. Porson substituted dXXa pJqv *ayu> and has
been generally followed, but the change is unnecessary; for (1) a
similar rhythm is found elsewhere: Eur. / . A. 908 a'AA' UX-q'6-qs yovv
Takawqs, Ion 557 T<SI #eau yovv OVK diuo-Teiv, and (2) the order of the
words, i.e. the occurrence of /j.rjv after the pronoun, is not uncommon :
Kayw fnav Kvitfn Theocr. v. 22, Kai iv ifioi jx-qv Plat. Legg. 644 D, aAA' ovK
iyu> fx-qv Eur. Hec. 401, Or. II17, Attdr. 256, dAA' o£S' e'yu) fXtVTOi 7T€O-O)V
ye K€«ro;u.ai Ar. _/VK$. 126, fio At" ovS' £yw yap Zjtf. 130.
1656. |ir]8«v 4ji|ta<r(i>|Uvois. See cr. n. : most editors read fx-q8iv
alpaTwufOa, ' let us not spill any of our blood.'
1657 f. See cr. nn. T h e true reading of these obscure lines I
believe to be that printed in the text, or something closely resembling
it. rowSe, given by the MSS. at the end of v. 1657, was a marginal
note, just as on Eur. Hipp. 1152 7rpos So'//,ous 6p/xw/u.£i<ov there is a schol.
Tovo-Se, and on Andr. 141 ?/xo\cs OIKOVS, though SC.O-TTOTWV ifxwv follows, a
schol. ek TOWS ifiovs OIKOVS STJXOVOTI. Kaipov was a gloss on (upai or uipav,
as was first pointed out by Prof. Housman in Journ. Phil. xvi. p. 289.
If uipav is right, it is used as Kaipov Soph. Ai. 34, 1316, du>p[av Ar.
Ach. 23.—For irplv iraBeiv cf. Horn. P 30 dXXa cr' fyco y' dva)(<i>prjo-avTa
KeXtvw £s irXriOvv livai, ...irpiv TI KaKov iraOeeiv, Y 196, ApolloniuS ap. Stob.
Flor. 58. 12 KaXov irplv Tra6e2v Sih'a)(6rjvai irrjXiKov iaTiv -qav^ia, Eur.
Med. 289 TavT ow Trplv iraQeiv <i>v\a^oixaL, Xen. Anab. ii. 5. 5 ot
<f>of$7)6ivTe.<i aXXrjXov^, <j}6ao~aifiovXajxtvoiirplv iraQilv KT£. — It is Cly-
taemnestra's plea that she was the executor of Doom, 1434, 1471 ff.,
1498 fif., Cho. 909 "q MoTpa TOVTIOV, <3 TIKVOV, Trapatri'a. The MSS.
reading, 7rpos 86/xovs Trcirpiajj.ivovg ' t o your predestined houses,' is absurd.
Thus xpijv ™8' WS lirpd|a|i£v is 'it was fated we should act herein as we
have acted.' Cf. Ter. Eun. 95 ne crucia te, obsecro, anime mi, mi
Phaedria. \ non pol quo quemquam plus aniem aut plus diligam \ eo fed:
sed ita erat res ; faciundum fuit. Eur. H. F. 311 o ^p-t] yap ouSets fx-q
Xptwv 6-qo-ti TTOTL Ar. Ach. 540 epa Tts, ov \prjv dWa TL l\PVv ei7raT£.
Quint, ix. 493 (Agamemnon says to Philoctetes) ^ 8 " -qjAv yoXov alv6i
ivl <j>peo-l o-qio-i fiaXeaOaL, ov yap avtv fiaKapuiv r a S epc'^a/xei'.
1660. S a l v o s : cf. 1568 f. The metaphor has nothing to do with
the spur (irX-qKTpov) of a fighting-cock : the phrase /fopus Sai^wv (f3apv-
Sat/xovi'a) or /Japeta TVXV was developed into the conception of a bird
of prey that souses down, or swoops down, heavily : e.g. sup. 1174, 1469,
Pers. 518, Soph. Ant. 1272, 1346, O.T. 263, 1300, 1311. The same
figure is made out of /?api>s KOTOS Zero's in Supp. 654.
1662. a\Xa...dirav6£o-ai is like the exclamatory use of the inf. with
84 in Dem. 21. 209 (quoted on v. 348). Cobet, Misc. Crit. p. 147.
1663. 8at|iovos ir6i(xo(ievous here and in Cho. 511 means more than
!7—3
262 NOTES
' trying one's l u c k ' ; it means ' putting one's predestined fortune to the
touch.' l^i<jToprjcrai /jLolpav n ^ s in Theb. 493 is the same thing.
1664. cra<J>povos •yvwiii^s 8' ap.apTEiv T&V KpaToOvr' apvov^vovs, dominutn
recusantes (Ov. Met. viii. 848): yvw/j,r]<; ajxapTuv is ' to be ill-advised,'
'mistaken' (Hdt. i. 207, yvioft,f]<s XprjcrTrjs ix. 79, rrjs dpurrqs iii. 81);
Tiv^rai <f>pevu>v in 185 is the opposite, 'shall be well-advised.' ' T o be
well-advised or ill-advised in doing so and s o ' is expressed by a
participle, as 183 K\a'£a>v Ttv^trai <£peiw, 793 ovS' <EU 7rpa7R<W otaKa
vifx<j)v...KOfii£<tii>, E u r . Bacch. 329 TL/XWV re Hpopiov o-axppovth, H d t . vii. 15
O5K i(f>poveov a7ras, i. 116 OVK ev /3ovXevt(r0ai'. fxtv t<prj iiriOv/jieovTa.... To
be metrical here, the participle must be deponent, and I know no other
which will give the sense required except apvovpevov;: for which see
H e l i o d . lli. 3 1/ t7T7ros TOV )(a.\i.v6v, ocra /xiv SeaTrorrjv, rjpv&ro. T o deny
their master is exactly what the Elders have been doing, 1633 etc., and
that was proverbially impolitic: Walz, Rhet. Gr. i. 281, Soph. El.
394—7> 34°> I 0 I 4 . i 4 6 5 ; E u r -fr-337. 93- 6 °4i Hec. 404. This leads to
their retort, which is the same as in Soph. El. 397 <JV ravra Oumtv- OVK
e/Aoi)S rpdiroDS Ae'yets, P.V. 969 crifiov, irpocrcir^ou, OWTTTC TW Kparovvr au.
1669. Cf. Soph. El. 794 v/3pi£c, vvv yap firvxpycra ruy^aj-ets, Cho. 57
^>o/3ciTat Si Tts- TO 8' evTV\elv, T08' iv fipOTolai Otoi re KCU 6tov irXcov,
i.e. ' they (Aegisthus and Clytaemnestra) may hold their reign of terror
while their luck endures !'
1670. X P ^ " 1 : s e e c r n - The usual idiom is SiSoVai a^rotra followed
by the genitive without the addition of x"-Plv- For the corruption
cf. 316.
 INDEXES.
I. GREEK.
d
7 a > 975 7<ip wrongly inserted, 790
dd\a£, 718ft ye=yes, 551
, 740 — for ntv, 1144
iiyKvpa, 510 yevvaia yvvr/, 618 ff.
dydivtoi Beol, 518
"AiSou y.'fiTTip, 1234 Saifioiv, 1660, 1663
aipoiWes rjiprjtxdai, 352 Si confused with 7ap, 565
d/cacr/ccuos, 740 — resumptive, 12 ff.
01X70$ (™>6s), 50 — irov, 192 f.
aiiaprtiv yvii/i-ijs, 1664 dety/xa and det/xa confused, 967
d/xaup6<r, 469 drjyfxa, 782
dvdyKfj, 228 ff. SLTTXTJ [ICI<TTL%, 6 4 5 ff<
4ft' dffo*, 1528 Sivaoi 'Arpc?5at, 125 f.
d^6 SX 68
d7T?ji?;, 1023 56£et )( 86i;eiev dv, 424
durb (TTpaTov, 543, 608
d7ro<TT^p70), 5 0 4 butr/iadi) a n d 5v(nra6ii confused, 1254
dwdxpn, 1574
airrepos cpdrLs, 288 dwpov deed, 918 f.
airvpa, 70
<W, 385 el wov, 525
dp/™, 1574 et res, 55, 149, 1461
dpvelaBm, 1664 eiirtlv irdpeortv, 379
aa"iuros, 1597 etirep...yz, 925
arep, 1146 els d<t>dvuav, 396
dri;, 726, 1228 ff. ex 9eoO, 737
drirrii, 72
"t/cdp5ios, 437 ff. <!K7rpd£as, 1274
kv, 421 iKTelvetv, 1228 ff.
&(p$ovos, 477 {tCTe\TIS, I06
{KTpiiruv, 1465
/3 and 0 confused, 435, 762 iK<pdras, 707 f.
pdtravos, 415 e'XTrii, 404, 510, 807 f., 1605
3 i X i o s , 96 — </>avei(ra^ 887 ff.
?xei>', 880 ^y M^PCt, 1191
fafiiTa, c , gen. 121 ff. is, 566
(3(iXo5, 1171 1447
ft6<TKe<rdcu, c. a c e , 121 ff. 27
fiov'Xri, 872 ff. yxi55a><, 1132
/3CHST(IS, 718 ff. \tyeu>, 796
'4/j.arOai., 487 ff.
yaXifiPTJ, 7 3 9 TvivSew, 1394 ff.
70P corrupted from 5^, 565 , ^ s , 748
— in parenthetic explanation, 1225 is, 268 ff.
— position of, 232 i£<rie, 1180
— with ellipse, 1524 431
264 INDEXES
tariv OdXatrja, 949 MeXXc6, 1355
ev (ppovetv, 1437 JU^P, position of, 8 ff., 592
ev-qyopov, 357 (if. /j.4v...Si, after 5i7rXoCs e t c . , 645 ff.
eiSfferos, 445 ff. /*£» 01)7-105, 6 1 8 ff.
evXoyeiv, 585 litrpov, 389 ff.
eifiaSeiv, 589 /i^, in parenthesis, 922
evGefieiv, 350 ,iu) oty, corrupted, 1170
eiS<ppajv, 797 fiijKov, 718 ff.
ei5xo£ic«, c. fut. inf., 924 )ii]v, follows pronoun, 1652
luvvpl^tiv, 16
Zeus SwTrjp, 1385 ff. /xvi}<nw^/j.o!v irdvos, 189 ff.
Ze0upos, 696 fioyelv, 676 ff.
fr>, 810 Moipa (ixoipa), 1007 ff.
fu7W, 1055, 1618

rj...ye; 1103
tfvvtrtv, 702 ff. J/OJ/= ' n o w at last,' 1476
Kvv In, 809
8 and 0 confused, 762
8dpaos {dpd&os), 794 ^vvdlKois, 1601 f.
dprjvos, v. vp.4vaios
8vos, 1409 O(, I I44
8vpcuus, 90 oT«-os (or O(KOI) vwdpxet, 952
olKovpetv, 8 0 0 , 1625 f.
i'a7r™, 1547 ol/tai, 800, 1224
iX<*p a n d ix"P> 1481 oTov /XT), 1 3 6 ff.
OKVQS, 9 9 6
xai HTJV T65' diri, 922 dXoXL'7Jtt6s) 2 8
Kal vvv corresponds to fxlv, 8, 592 bfx^pos, 661
Kal T6T€, 194 6/iiX£as Karoirrpov, 830
Katpbv x"p'7"os, 777 Bfxfpal;, 961
KaXd, epithet of Artemis, 146 6Va>' after (pii\daveu>, 4 ff.
KdWrj, 914 01), negativing single word, 1311
Kapava, 476 oiiS^ = 01) rai, 1007 ff.
Karappdirreiv, 872 ff. ouXos, 178
KaT-rjyope'iv, 283 oJic, 676 ff.

(ceiT-ai, 1439 r a«b>, 257 f.

Keva.yyf}S, 197 ff. TraiSiov, 1077
KTJSOS, 702 ff. iraieiv Trpds, 994
K Xdf6^, 48, 165 7ra\at(TT?Js, 1205
KO/ilfav, 795 irweirapmjs, 1574
/COJ-IS, 500 irdvTo\fxoSy 228 ff.
K6<TIJ.OI, 3 6 8 irapa yvibfx^Vi 922
Kparetv, c. inf., 1 of. TrapaKoirTjvai, 1251
Kpiddv, 1640 7rapa0aw, 975
KpOKO/3a07)S, I I 10 irapd^eis, 56 r
/mH, 134 w&pos, 1041
KVKW[LCVOV K^ap, 9 8 4 ff. Trapoif/wvvjfAa, 1448
(CWMOS, 1 1 8 7 ff. TrewcLfji^vos, 820
7re/>t7T€T?7S, 2 4 3
Xa/XTrpos, 1 1 7 9 TreatTot, 32 f.
Xdcr/teti', 165, 287, 618 ff. •jrijy/j.a ttpfcov, 1197
Xe'£e7-cu, 180 7r?7Mct voaov, 841
Xeuffi/tios, 1107 TT7}/j,ovd, 999
X67W1 TraXaios, 1196 irtalvta, 288
7rXa7a»/ ^x ety » 379
jxavddvu), 618 ff. 7r\^oj> <f>4p€tv, 1 0 1 2
lxd<XTi£, 645 ff. trpiiruv, 427 ff., 641 ff., 1326 ff,
[xarav, 175 TTptf TraBeiv, 1657 f.
fii\a8pov <i>6^ou, 1435 7rpo fcapSLas, 189 ff.
 7. GREEK 265

Tpo/WyinW, 786 r& abv, 555

irpo6\jn<as, 1591 r65e corrupted to Tiye, 322
irpbirvpyoi duffiai, 1167 ™ , 374 ff.
irpoaenrttv, 365, 1290 r6\/xa, 228 ff.
irpoaijKuiv, 1063 TodfjJ>v p.tv O^TW, 9 4 1
irp6au$ev, 938 Tptfi'/j, 4 7 I
irpoTiXeia, 0 5 , 237
irpo(pipeivt 211, 955 uSopiis, 789
irpotp-rfrrit, 418 v/iivaiot, changed to Oprjvos, 707 f.
irpur/iv T€ Kai /xdXiffra, 676 ff. UTrarijXex^s, 50
irp&TOS Spanuv, 326 UTrarot X6x^ w|/ j 50
iri5Xas d^o?fat, 609
7TU 7TUJ; I508 0 and j8 confused, 435
lrdiywv, 318 <pQ,LOpoVOVS. 1 2 2 8 ff.
<j>alvuv (ayavi.), 101 ff.
aalveiv, 726, 1228 ff. 0dp/£GtKCt, I4O7 f.
(7ftpa06pos, 1640 (pikTJTOJp, I 4 4 7
ffeirw/ieVos, 623 <pi"ev<ns, 1323
ffixos, 398 f. 0uXa/(ai icaTairxe''', 246
ir^tci r& 6vr)Tdv, 1326 ff.
O-7TOI;ST7, 500 Xalpei^ rarajiu, 577
2r/)o<^ios, 872 X^XKOD 8a<p&s, 617
ffi 5^, 1045 vctpt** cuytticttroi, 407 n.
avy-Tcvtiav, 197 ff. X<£/KS /3iaios, 1 8 9 ff.
fftifXipVTOS, 1 5 9 XeXiSuv, 1034
<n/KT£\i)s, 537 XXISTJ, 1448
ff<p€vSov7]* QQ7 XP^os, 464

rd irpis, 835 X^pU ^7 rt/i^ dedv, 641 ff.

re, in anacoluthon, 99
re...Ka£, i89ff. <(/eKds, 1 5 3 6
TeXos, 925
r( ('what" of...?'), 79 uipav, 1657 f.
rideffOat, 32 f. us, 921
TIS, omitted, 71 us, with limiting force, 618 ff.
— , = ' perhaps,' 55 us 5t\ 348
rXav, 228 ff. ucrre, after JirriJ', 1394 ff.
r i UI), c. inf., 15 — ro{6r7js, 1193
 II. ENGLISH.
accusative, after p6aKe<i0cu, 121 ff. infinitive, exclamatory, 1662
—• exclamatory, 1142 Ischys, 299
Acheron, 1557
Aegisthus, 1625, 1650 kings, compared to eagles, 49, 121 ff.
Aeschylus, religious ideas, 749 ff., p. 28 ff.
— style, explains metaphor, 4 ff. lamp, in lovers' chamber, 880 ff.
— — studied carelessness, 99 lion, of Pelopids, 147, 718 ff., 1223
— — sustained figure, 49, 44s ff.,
530 ff. Menelaus, cowardice of, 125 f.
after-thought, in conditional clause, 3S9, — leaves Troy, 631
484 metaphor (from wind), 967 f.
Aias the Locrian, 654
anacoluthon, 970 ff. nightingale, 1146
anchorage, danger in open, 670
Arachnaeus, 321 old age, 76 ff., 108
Artemis, pitying child-labour, 139 optative, in commands, 935
article, force of, 361 — with lus, 331
Asclepius, 1007 order of words, 125 f., 357 ff., 1197
asyndeton, in descriptions, 740 — simplified by scribes, 219, 415, 563
Orpheus, i63off.
blood-feud of kinsmen, ijioff.
pain disturbs sleep, 189 ff.
compounds, liable to corruption, 50, 552, paleness, m o
1480, 1574 parenthesis, or 5ta fi^crov construction,
conscience, awakes at night, rSg ff. 6i6f.
'coverlet' of earth, 860 paroemiac verse, corrupted, 1527
participles, corruption of aorist, 348, 737
dative, after tvtp-qjxeiv, 28 Persuasion, 396
— plural, form of, 659 Pleiads, setting of, 4 ff.
death, prayed for on attainment of de- Pleisthenes, 1568
sire, 544, 1610 Poseidon ani Athena, 655
Diagoras of Melos, 381 preposition following case elided, 1276
dual termination, 1206 prohibitions, tenses in, 1463
proverbs (cnro BeafyaTuv KO,K6V), 1124
ellipse of verb (euphemistic), 431 — (irdflei fiaffos), 187
eyes, abode of love, 427 provinces of gods distinct, 1007 ff.
— in physiognomy, 283, 784 ff, 1429
sacrilege of Greeks at Troy, 530 ff.
Fate, sacrifices to, 70 sealing-up of store rooms, 614
forced laughter, 784 ff. shipwreck, safety in, 667 f.
Solon's adage, 918 f.
genitive, after 01X70?, jo
— of participle, after possessive pro- third libation, 1385 f.
noun, 1325 Thyestes, 1594 f.
— partitive after S7TO.TO?, 50 Tyndareus, daughters of, I47if.
Health as a Mean, 990 ff. vows made to gods, 924
Helen, 718 ff., 723, 794
heroes, sorrows of, 1024 f. wealth, power of, 771, 1330
hyperbaton, v. parenthesis winged dreams, 434
infinitive, after Kparelv, 10 f. Zeus wrestles with Cronos, 181
— epexegetic, 1451