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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,
so 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
AGAMEMNON
OF
AESCHYLUS
WITH VERSE TRANSLATION, INTRODUCTION
AND NOTES
BY
EDITED BY
A. C. PEARSON, M.A.
Cambridge:
at the University Press
1910
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 conclusions 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
EDITOR'S
PREFACE
ix
EDITOR'S
PREFACE
CONTENTS
PAGES
INTRODUCTION
T E X T AND TRANSLATION
138
39175
NOTES
176262
INDEXES
263266
ERRATUM
p. 181, note on 1. 76 ff. for iirepyripas read v
INTRODUCTION.
THE STORY.
vv. 15831606.
3
H. A.
2
vv. 4244, 40928, 5379>
vv. 7282, 2702, 7905, etc.
etc
INTR OD UCTION
vv. 11363.
THE STORY
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
INTRODUCTION
THE DRAMA.
THE DRAMA
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 (270366).
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 (367507).
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
]vas TJKOVTCLS.
THE DRAMA
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 whatever 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 combustible 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
2v
2gu
THE DRAMA
feast for the occasion1. When the herald arrives, and is interviewed by the queen, she remarks that she made the first
celebration 'long ago 2 ', on receipt of the fiery message; whereupon 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 circumscription 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 designed 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
v. 592.
12
INTRODUCTION
v. 293.
v. 593.
THE DRAMA
13
i4
INTRODUCTION
THE DRAMA
15
16
INTRODUCTION
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 (14491576).
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 instrument 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 (15771673).
H. A.
18
INTRODUCTION
REMARKS ON THE STORY.
REMARKS
ON THE STORY
19
a certain territory, where Aegisthus had his residence in succession to his father Thyestes. Luckily the wind changed, and
Agamemnon reached his native land in safety. Upon disembarking, 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
20
INTRODUCTION
REMARKS
ON THE STORY
21
Od. 3. 267.
22
JNTR OD UCT10N
REMARKS
ON THE
STORY
23
Thuc. 1. 2, 3.
24
INTRODUCTION
2
v. 1668.
Thuc. 1. 12, 13.
The character of this sovereignty is defined by Cho. 5460 and Cho. 863
vv. 45264.
5.
REMARKS
ON THE STORY
25
26
INTRODUCTION
IDEAS
27
v. 170.
4
2
v. 1487.
See frags. 236 and 34 (Diels).
v. 773.
28
INTRODUCTION
2
vv. 1707.
Suppl. 97102.
6
Eum. 650 1.
vv. 1838, -2612.
See Solon, frag. 4. 3370 (Bergk).
3 vv. 1923.
vv. i s 6 2 _ 3 .
8 Theb. 74=,.
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
VV. 228
31.
4
frag. 4. 1726.
VV. 18991.
5
/ / . 4. l60
frag. 4. 2732.
2.
30
INTRODUCTION
IDEAS
31
acquiesced in the belief, rooted in an earlier notion of responsibility, 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 dissatisfaction 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
vv. 15089.
vv. 15103.
vv. 75566.
32
INTRODUCTION
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
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
H. A.
v. 919.
34
INTRODUCTION
v. 941.
THE CHARACTERS
35
v. 1502 f.
32
36
INTRODUCTION
effective contrast to the daring hypocrisy and ubiquitous supervision 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
38
INTRODUCTION
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 /xTaTrefjiTrTai irtpl rovi Trvpcrov Ipovaa- u>v
5 Kal 6 xopos (rucwrTaTai* orTtves <xoijcravTes 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' aui 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, TTTroiT]Kev TC Aiyio^ov Kai J.XvTaifji.ijo~Tpav exaTcpov Sno'^vpi^oyu.Ej'oi'
p ^ dvatpcrea)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.
42
AIZXYAOY
<&TAAH.
eous [i.ev alrco ra>v8' aTraWayr/v
novwv
KVVO<;
s Swdaras,
a Ka
' ^Z 1 0 ? fipoTols
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 /3aiv
y
dvhpofiov\ov
10
Keap.
VTTVCOL
15
Siairovovfjievov.
dnaWayrj
itovuiv
2 TJV f g h : S' ^i M .
20
ATAMEMNQN
43
44
AIIXYAOY
ci Xa^P
XajXTTTijp, VVKTOS rj
KaracrTaaiv
yapiv.
2
LOV LOV
'IXiov
ev
ireaovra
avaKTOs
rrJiSe ySacrracrat
w?
KCQV
XOPOS.
Setcarov
fjxv
40
Kal SlCTKijlTTpOV
2 9 iTropdi&friv f g h : Iirop6pi&!;eii> M.
4 O IIpta/Aou f g h : irpiafio] AT.
3 O d77^\Xa' g h : d.77Au' M .
ATAMEMNQN
45
[The Beacon presently shines out upon the top of Mount Arachnaeus.
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.
CHORUS.
46
AI2XYA0Y
crroXov 'Apyeicov
^iXiouavTTQV
45
iperyuoicTLV ipecrcrofievov
TTOVOV 6pTa\i)((i)v
vTTaTos
S' dicjv
o
17 T(,5 'ATTOXXOJV
55
yoov 6$v/36av
rrapa^acnv '
OVTO)
60
TraXaLcr/jLaTa
yovaros KOV'KXKJIV
KCU
yvLofiapr)
ipeiSofievov
65
O/XOICOS.
CCTTl O
OTTTJt
OUC7
VTTOKaiWV
* >
OVT
anvpcov lepwv
opyas
5O uirarijAex^"" H . : uTraroi \e\ioiv M.
M | ofr' iiriXdpiav Schuetz: ouS' viroKeipwv M.
del. Bamberger.
>jO
6 9 iiiroKataiv Casaubon: inroKKalav
7O oilre daKpvuv ante diripuv M,
ArAMEMNQN
Fast-coupled, one joint rank to share
Of throne and sceptresince 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.
47
48
AIIXYAOY
17/xets 8' OLTITCU crapKi TraXcucu
TTJS TOT' apcoyrjs
75
8' ov&ev a
Ovyarep, /Sao"i\eia
^e0I/ /
85
dyyeXias
treidoi
VTTOiT(x)v,
rutv Te dvpaiow
90
ol SdpoLcri (f>\eyovTau'
8' aWoOev ovpavo{j.7]Kr)<s
ayvov
d8dXoto-t Traprjyopiate,
veXdvcoi, jxvxodev
95
/ScuxiXeuoi.
/cal ^
7 9 TlBnrepytym M, T&diirepyjpus a f, T<5 S' vvipy^pav h .
8 2 wtpb^avTov
T)/j,epo<t>aTov M.
8 7 tfucxrras Turnebus : tfuooweis (i in rasura scr.) M.
ffvpalwu E n g e r : T' oipapiwv M.
h:
9O re
ATAMEMNfiN
49
SO
AIZXYAOY
traiwv re yevov
rrjirhe fie
reXeOa,
I0
eXms dfjivvei.
iv oSiov
rip
I0
al<riov dvSpcov
akudv,
crvfi(f>VTOs altow
oVws 'Axaiwi'
no
opvvs TevKpCS" eV
alau,
olojvav ySacrtXeus
115
ySacriXeucrt vewv,
6 Kekcuvos, 6 S' I^OTTIV
dpydis,
iv eSpauriv,
ySocr/co/ievot
120
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 Karairvi*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 xpi Ar. .ff3. 1288: 5ka<r m.
117 dpyais Thiersch: dpylas M.
119 dopirdXTOv Turnebus.
1 2 2 (pip/iara Hartung: (pipimn M.
ArAMEMNQN
51
I 1.
The assuring sign will I tell forthto me by right belong
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,
42
Strophe.
52
AIIXYAOY
/SXcijSeWa \oicrdio)V
aikwov
alXivov
hpoficop.
eirre,
TO
8' ev
VLKO-TCO.
I2
KCSVOS
\rjjj.a.cn, Stcrcrous
eSaij XayoSatras
7roju,7rous T'
OVTO)
ap^asr
TO. hr]fiionXr]drj
fxolpa Xavd^ei
irpbs TO
fitaiov
135
jJLrj Tts a y a
CT
KVCTI
avroroKov
vpb Ko-^ov
[loyepav
irTaKa
TraTpb<;
9vo{j.evoL(riv
crrvyei 8e Szlwvov
atkivov
TOCTOV
alXivov
140
alerSv."
hpocroicri kenrols
ixaK.po)i>
XCOVTCJV
145
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.
falls;
Epode.
54
AISXYAOY
T
dypovojjiejv <
Tivd,
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
Aavaots xpovias
eyeinJiSas a7rXoia-
Tei^rji
o"Trevhofj.iva dvcriav
irdpav
VLKttt)V TfKTOVa
55
(TVfl-
cf)VTOv, ov Sei,crrji>opa.
fiLfivei
160
165
OIKOIS
y8a<riXetoi5
eiire, TO S' eu
170
VLV TrpocrevveTTO)
ArAMEMNQN
55
II 1.
Zeus, whosoe'er indeed he be,
'
ist
strophe.
56
AIIXYAOY
irdvT
i) /3aXeu> erijTu/Aws.
a.
0SX09 n s ndpoiOev
rjv
8e T15 TTpO(f>p6v(o<;
(f>pevu>v TO TTO.I'.
or/). /3'.
TOV (frpovelv
185
ySpOTOU? 6S(U-
VTTVMI
irpb KrapStas
(j,vr]o~iin]iJ.a)v TTWOS 1
190
l Trap' a/covTas
cre/xvov
0.
'A^CLUKWV,
195
ovTiva rpya>i>,
' dirkoiai
Kevay-
ATAMEMNQN
57
II 2.
One was that ruled the ring of yore,
fa
istantistrophe.
2nd
strophe.
md anti-
AIIXYAOY
58
a-Tp. y.
fJ.ok.OVO'ai
^povov
2O
Tidelcrai
iirel 8e KCU
8dicpv jJir)
8' 6 TrpicrfSvs roS' et7re
air. y'.
tet' / c ^ TO /AT)
215
indiaOai
fiapela 8', et
TCKVOV
Sat^co,
$6JJLG)V
ayaX/JLa,
pocus
Tie'Xas
TL TCOVS'
avev
yevco/xai
APAMEMNQN
59
IV I.
For gales continually from Strymon bore
3rd
strophe.
IV 2.
At last the elder uttered voice and cried:
60
AIZXYAOY
Travaave/xov yap
lrapdeviov 0' ai/Aaros opyat
22
eu y a p ei.77.
e7ret o avayKas
eov
kenaovov
aviepov,
TO0ev
TO TravTOToX/xov (jipouelv
fiporoix;
Opacrvvei yap
atc
TaAxuj'a TrapaKOTra.
erXa S' ovv
rjp yeveardai
Ovyarpos,
yvvaiKonoivuv
235
u apcoyav
/cat TrporeXeia
aw. 8'.
vawv.
Xtras 8e /cat KX
irap
ovSev ala>va
vapdiveiov
240
<f>pdcrei> 8" d d
SCKUV
^L/JiaLpas vnepffe yS
245
otwois,
2 3 2 pporoi)s Spanheim:ftx>To?sM.
Blomfield: tj>v\a.Kav M.
2 3 9 olu re O. Mueller.
2 4 6 fpv\aKai
ATAMEMNQN
61
V i.
But under that sore stroke
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.
4th
V 2.
Her supplications all,
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 signbade 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
4th anti-
62
AIIXYAOY
r
avavScoi
KpoKovfia<f>a<;8' es irihov
e)8aXX' eKacnov
y4ovo~a
2
dvjiqpoiv
an' o
d 0' &>
9kov(T, eVet 7roA.\a/as
os /car' avSpcovas
ayvai
evrpairdCovs
255
evnorfiov
Trcuava <f>iX(os
Ta o evc/ei' our
Teyvai
etooi' our CV
260
iradovcnv
<8'>
CTrei yevoLT', av
KXUOIS"
265
auyai?.
evnpa-
rt
<^<uros dpy^rjyov
iprjfjbCiudevTos apaevos
Kpa.To<s-
270
jiziv
dpovov.
ATAMEMNQN
63
VI 1.
Curse on his house.Then, letting raiment fall
0
5th
strophe.
Unsullied maiden,
VI 2.
What further was I neither saw nor tell;
5 th a.nt1'
strophe.
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,
275
KATTAIMH2TPA.
evdyyeXos
[ikv, cocnrep rj
ev<f>povr]s irapa.
i\iriho<;
irapoifxia,
'A^aiftiv ovcrav
'Apyeioi
TOUTTOS
ef d7ncrTias.
280
17 Topws Xeyco;
iKKaXovfievrj.
Karrjyopel.
TL 8' ovyi;
285
cre'/3ei9 ;
TTOLOV
^povov
typiv&s.
8e /cai TTeiropdrjTau
290
TTOXIS;
av dyyekwv
rd\o<;;
A.eVas
Trvpos
295
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
CLYT.
65
66
AIIXYAOY
re,
TTOVTOV
(ocrre
Ma/ao~TOU o"/co7ras'
a(f>pao~iJi6vco<; VTTVGIL
jite/aos'
p'oas
35
o'ddvovaa
fiavpovfjievr],
irvpos.
eaKrjijiev <f>do<;,
i^iKvov/xevov
AlyiTrXayKTOV
315
nvpos.
KaroTrrqv nposv
(f)Xeyovaav
elr
^apoyvucov
virepftaXXeiv
npoa-w
320
is ToSe
O-KTJWTL
nvpos.
crTeyos
3 1 9 naTbirT-qv H . : Kdroirrpov M.
ATAMEMNQN
From the island thrown in turn.
67
Then towering high
68
AIZXYAOY
rototSe TOL fjioi \ajxnaSr}(f)6pa)V vofioi,,
325
irapayyeiXavTos
33
335
<TTL
crvfKpopd1
OVK4T
ef iXevdepov
34
e/c
Y\07),
r u ^ s naXov,
T<av VTraidpiwv
r dwaXXa^devTe^-
345
ttdywv
as 8' euSat/u.ot-es
evfipovnv.
3 3 1 \4yois f h
c o r r '.
( r w codd.:
ArAMEMNQN
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.
Lady, the gods
I will adore hereafter; now I am fain
To satisfy my wonder, might it please you
Discourse again at large.
ELDER.
CLYT.
69
70
AI2XYA0Y
ei 8' evcrefiovcn
TOUS
ov
TOVS TTOXICTO-OV^OUS
TOLV
eXovT5 aWis
epws Se
JU,^ TL<S
Ttopdelv
TO.
Set yo.p
TT/OOS
av.
rrpoTepov ifnmTTTji
VIKO>H4VOV<;.
ddrepov
KOJXOV
yivoiT
TO
irrjixa
av,et
TS>V
355
traXiv.
crrparcot
KajL\\iai SiavXov
35
IBpvfiaTa,
dv0a\olev
6eov<;
arpaTos,
6\<O\6T(I)V
/ca/ca.
36
7roX\fi)i' y a p crd\5)v
XO. y w a i , / c a / dvSpa
365
TTOVOIV.
SCKTVOV,
veapa>v
a>s
TLV
ef3a\es
/A^TC
iniyav
370
virepTekiarai
fte'ya SouXetas
ydyyafxov,
aTrjs Travakcorov.
3 6 2 otf TSJ- tX6vTs 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
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!
71
72
AIIXYAOY
Aia rot iviov
ixeyav
aiSov/xai
TT ^Akegdvopwi
TO^OV,
OTTCJS
375
av
<rrp. a.
"Aios irkayav
e-^ovcriv"
elireiv
38
fiekeiv
IKT'LVOVCT
385
aroXfiiJTOiv dprj
TTVCOVTOiV fiel^OV
rj
(j>\e6vTO)v Scj/JLaTcov
iuep
TO /SeXxtcrrov.
fiavTov
WCTT' dirapKelv
390
cS TrpaTrC8(i)v
ov ydp icrTLV
TrXoUTOl/ 7T/3O5 KOpOV
XaKTtcravTL peyav
dv8pl
Ai/cas
is d<f>dvLav\
395
ArAMEMNQN
73
I 1.
"Struck by the hand of Zeus!" ay, truth indeed,
Strophe.
I 2.
Child of designing Ate's deadly womb,
Antistrophe.
74
AI2XYA0Y
irpeirei Se, <ws alvo\a/j.TTe<;, <rti>osKaKov Se
jpoirov
^OKKOV
re Kat vrpocr/SoXat?
a)s 7reXet
Et?
(CTTCt
Trats 7TOTaj/ov
vpocrTpififia
opviv),
dels d<f>epTOV
45
otos *cal
4ID
Tpdire-
415
420
crtyas drt//.ous
4 1 2 KXOJTCUS f.
H. L. Ahrens.
4 1 7 7roXi> S' Avtarevov f.
4 2 1 <ri7as an/ios dXo(5opos codd.: corr. Hermann.
( d ^
Didf)
ATAMEMNQN
Then cure is all in vain.
75
II 1.
To Argos hurrying tumult, thronging power
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!
indignity:
strophe.
AIIXYAOY
76
8'
U7T/D7TOVTtaS
o\pu<; ov
fiaralav
SOKU>V
43
opav
fjiedvarepov
fxev
KOLT OLKOVS
TWI^S'
i<f>' ecTTta?
435
vT
440
v, avTL oe
aX
OSO
CTTTOSO?
ets
CTTOV SO/AOUS
e/ca-
d^)t/cvetrai.
445
al xaXavTov^os e
ATAMEMNQN
yy
II 2.
" Dream-shown, in flattering shape, come phantasies,
JIr.
^nd antistrophe.
III i.
Ares, the Changerof the Body's coin,
With scales poisedwhere the spears in battle join,
strophe.
78
AIIXYAOY
TTVpcodev ef 'iXiou
<f>i\ouri 7re/A7rei
fiapi)
t,<av Xe^SijTas
45
evOerovs.
fiaxys
455
460
465
470
ATAMEMNQN
79
I l l 2.
A people's talk is dangerous when it storms;
3rd antistrophe.
80
AIZXYAOY
nakivTir^d
Tpifiai /8iou
OUTIS ClX/CCl.
TO 8' virepKoirajs
KKXH.IV ev
475
Aio0ei> Kapava.
Kpivca o acpvovov
T
o\pov
ZlTjV
480
pagts*
ei o
CT^TU/AOS,
485
<j>\oyb<; 7ra/3ayyeXju.ao"iv
veois TTvpoidevra KapSCav
aXXayai Xoyou
^vvawicrai.
490
oWvrai
4 7 4 vwepKdirws Grotius :
4BO a W u i H . : aXXwv
ATAMEMNQN
81
H. A.
82
AIZXYAOY
XafnrdSav (f>aeo-<f>6pcoi>
<j)pvKTa>pt,a)v r e Kal nvpb<; wapaXXayas,
495
aKTrjs
opw
cXaias* iiaprvpei
KorcdcrKiov
he /xot Kacrts
500
505
OO"TIS
uTo
KHPTH.
iw Trarponov oSSas 'Apyetas
ere <^>eyye(,
payeidtov
ou y a p
TWL8'
iXmScov /Aias
TTOT' T)X>XOVV
510
rrji.8' iv 'Apyciat ^ ^ o ^ i
TV^COV
rd(f)ov ^icpos.
a
& r/XCov ^
515
dvdpcrws'
ArAMEMNQN
83
[ELDER (who has been looking out over the plain towards the sea).
84
AIIXYAOY
dvaf; * AnoXXov.
rifidopov
52
hiyecrdai
icj fxeXadpa
aefivoi
TOV Xekeifjufievoi'
fiaaiXeav,
Sopos.
<f>CXcu trreyai,
re Oaicoi, Saifioves
r avTiqXioL,
52S
VJXIV
KOIVOV
'AyafjLefJLvajv
/cat ydp
ovv
Atos /jiaKeXXrji,
TTJL
530
KareCpyao-Tai trihov,
-%0ov6<;.
531
533
^evKTrjpiov
evSai/jLwv dvrjp
535
vvv'
Yldpts ydp
e^eu^erai
Spdfjia
TO
d<f>Xcbv ydp
ovre <rWTeXr)<;
TOV
dpirayfjs
irdOovs
re Kal
TOV pvo-iov
0' rjfiapre
avToydovov
TraTpSiiov Wpio~z.v
KH. ^aipoi-
Te0vaCr)v S
>-
TTXCOV
JCXOTT^S SCKTJV
Kal iravcoXeOpov
TTOXLS
540
S6{JLOV,
dd/xdpTia.
T5>V dnb
ou/ceV dvTepw
ArAMEMNQN
85
86
AIIXYAOY
545
vocrou.
TTTT\7]y^VOI,.
55
dvao-Teveiv.
555
VOil
>
56
8' ou
5^5
rpiya.
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.
ArAMEMNQN
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.
ELDER.
HERALD.
YOU
Ay, for it is
87
88
AIIXYAOY
fj ddXTTO*;, evre TTOVTOS h> jjLe<rr)ii.fipwcu<;
57
TTOVOS*
/xeXetv.
575
crrpaTov
Kal x ^ ^ ?
580
nora/ievcHS'
dp^aiotv
ydvos."
01
iravr'
315
ex
585
Ti/xijcreTaL
ets
Xoyoi'.
rjfiai Tots
yepovcriv
590
viro,
vvv irenopBr\(j6a.i
avdcTTacnv.
595
So/cets;
ArAMEMNQN
89
90
AIIXYAOY
rt Kapra TT/OO? yvvaiKos
Xoyois
TOIOVTOLS
atpeaOaL
Kal yvvaiKeioa
vofiwt,
TTTOXLV
Xeyew;
8' apicrTa
ifjiov alBolov
TOP
TTOCTLV
6O
0I
ri yap
TOVT
dirdyyeiXov Trocrec
epacrfitov TToAei*
yvvalxa
TTLCTT^V
olavvep
/JLOXCOV
TOI? 8va(f>pocriv,
iyr]p.avTr)piov
615
croi,
TTjcrSe y ^ 5 (j>iXov
620
ATAMEMNQN
91
92
KH.
AIIXYAOY
OVK
i<5
ecr#'
OTTOS
XeijaifiL
\fievSrj KaXa
TO.
625
(f>C\oicri Kapirovo-Oai
TOV TTOXVV
a^icrdivTa
yiyverai
crrpaTov,
auro? re /cat
TO TTXOIOV.
xjjevSrj Xeyo).
OU
'IXiov,
TO6TT)<;
crrpaTov;
aKpos
fJLCiKpbv 8e Trrjfia
CTWTO/AW?
irorepa yap
^aJvros -^ TeOvrjKoTos
avrov
630
635
eKXift^eTo ;
vavTiKai
KOTGJL
64
^wpts 17
TI/ZT) OZUV.
avSpas
SiXoy^ov
TO
S^tov
(ftepr/i,
TUX ^>
45
SITTXTJI,
/xacrTiyi
T^V
Aprj<; (fnXet,
650
ATAMEMNQN
93
TO
Or was 't
94
AIZXYAOY
TjKovTa Trpos )(aipov(rav
tvecrTol
TTOKLV,
is OVK d/JujvLTOv
dew;
y a p , cWes eydidToi
vvp
KOX
ddkaa-aa,
Xeywv
TO nptv,
655
ih
VVKTI
KOLKO..
TTVOOI
ai Se Keporw7roujU,ei/a(, ySiat
660
weXayos Alycuov
ve/cpois
T epet7riots.
665
o~Kd(f>os
T I S , OUK av6poiiros,
Se o~u)Trjp vavv
ota/cos
Qvyoiv.
Oekovcr' i<f>e,TO,
,d\r)v
)(eiv
670
r/fiap
ov
(f>povTCo~LV viov
675
17)110,5 ws 6Xa>XoTas, Tt
6KeCvov<s TOJVT
ATAMEMNQN
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
95
96
AIIXYAOY
yevoLTO S' d>s dpcara'
MeviXtcw
yap ovv
irpooSoKa
fjuoyeiv
680
iXnCs n s auTW
roaavT
TT/305 SO/AOUS
tf^fLv irdXtv.
KXVWV.
685
yxi/
TIS OVTIV
ov\\
opco/xev npovou-
dfx-<f)i,veL-
iirel irpeTTOVTcas
690
TCOV a/3poTCjjbwv
TTpoKaXvjjLfjLa.TO)v eirXevcrev
Ze<f>vpov yiyavros
695
avpai,
TToXvavhpoi
T <f>epd<TTTL$<5 KVVayol
KCLT' U\VO<; 7rXaTai'
KeXcrdvTwv
d(f>avTov
XL/xoevTos d/<-
ras in deft^uXXous
8t' eptv
700
aljxaToecrcrav.
ATAMEMNQN
97
CHORUS.
I 1.
Who named her all so truly ?
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.
1st
strophe.
98
a.
AIIXYAOY
'iXiou Se KTJSOS op-
dcovvfiov TeXecra-tffipcov
{ifjuLs rjvvcrev, rpane^as
dri-
75
TIOVTCLS,
os TOT' ineppenev
710
detSetv.
vo-a
XIS
8' V/JLVOV
yepaia
irokvdpiqvov
fjieya TTOV crreuet,, KLKXTJCTKOV-
Tapirpocrff
alvokeKTpov,
r) Trokvdprjvov ai-
715
al/x
. 13'.
dvarXdcra.
flov720
iv /3torou TrporeXetois
Kal
yepapois
ArAMEMNQN
99
I 2.
But unbent Wrath abiding
1st antistrophe.
II 1.
A young babe Lion, still at breast,
J
&
2nd
strophe.
ioo
AIZXYAOY
woXea 8' eery/ iv dy/caXais
veoTpo<f>ov
T4KVOV
fyaiopwirov
TTOTI ^ e i p a c
725
StKai/
ypovio"c7ets o aTreoetgev
TO
73
erevtjev
crtvo? TTOXUKTO^OV
735
<rrp. y-
ndpavTa
8' iX6eiv
es 'iXtou
TTXOUTOU,
74
/Se'Xos,
TrapaKXivacr'
eireKpavev
Se ydfjiov TrLKpa
SucreSpos Kat Sfcrd/AtXos
745
ATAMEMNQN
101
II 2.
But age grown ripe, his humour showed
2nd antistrophe.
Ill I.
Likewise, arriving once in Ilium town
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 !
3rci
rop
102
y.
AIIXYAOY
iraXatyaTOS 8' iv fipoTols yipcov
jxeyav reXeo-^eVra
TCTVKTCU,
TeKvovadai
Xoyos
^>WTOS
okfiov
75
/j.r)8' a m u S a 9vrjio-Ke.iv,
4K 8' ayadas
ru^ 0 1 ?
yevti
755
8' eifcdra
efcdr
yevvaiyap
evdvh'iKcov
atet.
0pdo~o<; fiekai-,
765
TOKevauv.
TTCVOIL
ytpwv
TTaXlVTpOTTOL'i
ov o-ef3ovo~a
770
TTXOV-
ArAMEMNQN
103
III 2.
There is an ancient proverb men will preach
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.
3rd anii'
strophe
IV 1.
Old Insolence in the evil sort of men
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.
4th
strop
IV 2.
But Righteousness to the upright heart inclines ;
Bright beneath smoky rafters her light shines :
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.
4th
antistrophe.
IO4
AIIXYAOY
aye S77, jSacriXet), Tpoias
'Arpews
TTTokltropd,
yevedXov,
775
Kaipov
7To\Xoi Se fSpoTcav TO So/ceti' etvat
vpoTiovcrL
SLKTJV
78
TTapaftdvTes.
785
Trpoa-cona ^la^ofievoi,
TO. SOKOVVT'
vSapei
(JHOTOS,
aaivei <f>ik6rrr)Ti.
79
795
6VTJL(TKOV<TL KOJJLI,(I)V.
vvv o OVK aw
a<piA.ojs
ev TeXecracriv."
ATAMEMNQN
105
106
AIIXYAOY
yvoio"r\i Se ypdvwt 8ia7reu#djU,evos
TOV re SiKaiws /cai rov d/caipws
olKOvpovvra
8 O
TTOXLTCOV.
AFAMEMNON.
irpwrov jxev "kpyos
Kal dcovs e
KXuoires avSpodvrJTas
e aifi.a.Tr)pbv
'IXCov <f>0opa<;
S
TZV)(O<; OV
xl)rj<f>ov<; edevro'
rat
805
8'
ivavriwu
eX7Tis 7rpoo~rji.L y e t p o s ou
KO.7TVO>L 8 '
dXovcra
vCv e r '
CUCTTJ/AOS TTOXIS.
iriova^
TTXOVTOV
810
Trvod<;.
6eo1cri
Kal yvvaiKos
TTOXIV
hirnxadwev
'Kpyeiov
SaKO?,
ITTTTOV
815
8e vvpyov
oiyurjo'Trj'; Xecov
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
Thy question in due time shall tell
Among this people which doth well
In stewardship, which errs.
AGAMEMNON.
107
108
AIIXYAOY
6eol<; jxev i^ereiva
(f>poL[jLiov roBe'
820
dvSpwv
icrri o'vyyeves
TOOC,
vpocnjixevos
825
elo~opa>v crreVet.
e|:e7rio"Ta/xai
CKCOV CTTXCI,
Kal
TO /JLCV
/caXais
ev (juevel jSovXevTeov
iraLoviaiv,
840
TTOXIV.
845
ATAMEMNQN
109
May Victory
no
AIIXYAOY
TOUS
'Apyetcov
rode,
fyiXdvopas
iv ^povon
TO rapySos av0pa>TTOLO'Li'.
Tponovs
8' airocfrdivet
OVK aXXwv
ocrowep
fiiov
850
TO fiev y w a i x a irpSiTov
apaevos
irapa
KO.KOV,
855
KOLKIOV
ervy)(avev
860
Sevrepos
KCLTM
yap ov Xeyw
TpCfJLOipov yXaivav
ef^u^et
Xaficov,
865
apTdvas ifJ
TTLO~T(i)fJidTO)l',
870
Sopv
s 6 Oco/cevs, d[X(f>iXeKTa
8 5 4 KXTJSOKOS Auratus: ^Sovds codd.
codd.
8 6 7 \(\iixiJ.tvr)s Blomfield:
Xekrililitvys codd.
8 6 9 7rTTO/xdrwc Spanheim: TnoTeUjtidTWPCodd.
habet M in C/5o. 675 : Srpdc/nos codd.
8 7 2 2,Tpo<plos
ATAMEMNQN
CLYTAEMNESTRA.
in
ii2
AIZXYAOY
ifjiol Trpo<f)O)V(t)vrov ff vn' 'iXion creuev
KIVSVVOV,
et re Brjfjiodpovs
dvap^ia
TOV TTCO-OfTa
875
XaKTiaaL
S6\ov
crraywu.
OfJLfJLaCTIV p A t t p a ?
^X^i
iv 8'
oveipacriv
TTXCIOI TOV
crol vddr)
^weuSovros \povov.
885
av dvhpa
TOVS^
iyw
<TTa6[i5>v
KVVCL,
woSrjpi-), fxovoyeves
T4KVOV
varpl
890
894
TTOXXOL yap
895
TTOS',
a>va, 'IXCov
nopdrJTopa.
reXos
crTpwvvvvcu TTeTdcryia(7tv;
900
ATAMEMNQN
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,
H. A
113
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<7I
AT.
A-^Sas yiveOXov,
airovcriai
8vfjidpfJiva.
95
iv
afipvve,
H7)?> /3ap/3dpov
^ ' ep^ecrOaL
T^OTTOIS
yepas.
e/^e
9IQ
(f)Ci)TO<; SLKTJV
kirl^Oovov
nopov
TTOlKtXotS
S e dvTjTOV OVTOL
TToSo^fnjcTTpWV
V avrel'
0ov
915
T KCU Tftil'
TTOlKlkdiV
fjLeytcTTOv Swpow
oXyStcrat Se ^ p ^
920
AF. yvdjfxrjv
yvcofjbrjv,
Sia^depovvT'
iyco.
i/xoi
ifie.
925
115
n6
AF.
AIIXYAOY
ev TTOI/CIXOIS av Koipra /tot /3r)vai, oo/cet.
Tre'Xet.
93
OVK imijrjkos
TJ
OX/SCOLS
Kal av
ye /cat
VLKYJV
TO
vLKacrOac irpenei.
Trjvhe Syjpios r i e i s ;
KA. mOov-
AF.
SOKCI
aXX.' el
Xuoi r a ^ o s ,
935
efx/SaaLv 7ro8os,
TT/XDSOIAOJ;
dkovpyecrLV deu>v
<f>deipovTa
jxev
TTXOVTOV
OVTW
apyvpcovTJTovs ff u^>a.
940
ev~qv he
TTJV
ovSels
SOVXLCOL
ifxol
945
^wecnreTO.
es So/xwi' fieXadpa
nopfivpas TTCLTCOV.
TrayKaCvicTTov,
950
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
AGAM.
117
Oh,
he
Cassandra.
n8
AIZXYAOY
ot/cos 8' virdpx^i- Tuivhe crvv Oeols,
e^etv
r)vdfj,r)v,
Trpovve')(devTo<; iv \p-q(TTr)piotti
KOfiLCTTpa TrjcrSe
fnq-^avafxiviqi.
955
IKCT'
creiptov
e's
8O/AOUS,
KVVOS.
9^
965
Set/na irpoo-TaTrfpLov
KapSCas Tepao-Koirov
jxavTiiroXei 8' aKeXewcrros afJLt.o~6os d
oi>8' d7ro7rruora? SCicav
970
8vo~KpiT(t)v oveipdrcov,
6dpo~o<; evTreidks i'^et
975
*IXIOV
o~TpaTo<;.
ATAMEMNQN
119
I 1.
Still not shifting:wherefore yet
1st
strophe.
AIIXYAOY
TTevOofACU S' O.TT bfXjx6.T(x)V
vodTov,
avTOfiaprv? a>v
9^
ov TO irav eyjav
8pdcro<s.
S' OVTOL /jbaTOLL^ei,
985
xfjvdr) necrelv
es TO /A^ reXecrcjiopov.
p. /3'.
vdcros
6JJ.6TOL-^O<S
/cal 7TOT)U.OS
99
epeiSei"
evdinropcov
ep/xa.
995
cr<f>v$6i>a.<s air'
evfLerpov
ayav,
ArAMEMNQN
121
I 2.
Now by mine own eyes I learn,
Mine own witness, their return;
1st anti-
strophe.
2nd
strophe.
122
AIIXYAOY
ouS' lirovTLcre
I00
CTKCU^OS1
davdcrifJiov
irpoirap
r t s au
irakiv
i5
iiraeiScDv;
etpye ju/r)
TTKEOV
Trpo(j)6daacra
IOIO
<f>4peiv,
Kaphia
yKcocrcrav av r a o ege^et*
8' V7TO O"/COT(UI {Spinel,
1015
re KOL ovSev
va.
ITOT
Kaipiov
<f>pevo<;.
KA. eto-w
KO/AI^OU
TTOXXCOV
KTT)<JLOV
fim/xov
vnepfypovei.
1025
ATAMEMNQN
123
II 2.
Aye, but on the earth let mortal fall
CLYT.
2nd anti-
strophe.
i24
AIIXYAOY
ei 8' ovv dvdyKT]
imppeiroi,
TTJOS'
ot 8'
OVTTOT
eXirio-avT^ rj/xTjcrav
i T SovXois irdvra
KOX irapa
iraverai
1030
a-a<j>yj \6yov.
/XT)
^eXtSovos
SLKTQV
1035
Xwicrra
ZTTOV
TOL
TTLOOV
kiTTOvcra
TCOV
TOVS'
TrapecrTMTav Xeyei.
djxa^iqprj
Opovov.
<j)(okrjv irdpa
earrta? jxea-Ofx^yakov
1040
OWTTOT'
iXnicraaL
Trjvh' e^eiv
yjipiv.
JJLT}
S e ^ i Xoyoi',
veaipeTov
1050
AfAMEMNQN
125
CLYT.
ELDER. GO with her; 'tis well as may be, what she saith;
Be ruled, and leave thy session in this carriage.
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.
CLYT.
ELDER.
An interpreter,
Methinks, the lady needs; her ways are as
A wild creature's made captive.
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.
CLYT.
126
AIIXYAOY
a> Takaiva,
TOVS' ip
KOXVKJOV
IO
tyyov.
55
KASANAPA.
<rrp. a.
OTOTOTOToi
TTOTTOl 8 t t .
TOIOOTOS
Aoiov;
tocrre Opr^vrjrov
I6o
irapacrTaTelv.
. j3'. KA.
a y v i a r ' a7rdXXcu^ ejU,os*
1065
ATTOXXOV
d y u i a r ' (XTTOXXCOV C/AOS.
a. Trot
TTOT'
rjyayes
1070
pe;
irpbs iroiav
crTeyrjv;
et
KA. [a 5]
XO55 etKOiw' Robortellus: eKoCir' M.
1O74 a a omittunt f h.
ATAMEMNQN
127
ELDER.
I 1.
CASS. O woe, woe, woe, O Earth!
1st
strophe.
Apollo, O Apollo!
ELDER.
HOW now ?
His nature
I 2.
CASS.
..
1st antistrophe.
Apollo, O Apollo!
ELDER. There again,
Crying upon Apollo thus, when grief
Is profanation to his presence.
II 1.
Apollo, O Apollo!
Thou God of Ways, Apollo mine, Destroying name,
CASS.
2nd
strophe.
ELDER.
II 2.
CASS. Apollo, O Apollo !
2nd antiThou 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
"V- y-
AISXYAOY
jJLicroOeov /lev ovv, nokXa
crvvicrTopa
IO
75
1080
ySe/S^ow/^eVas.
1085
OKKO.
S'
e/xs aTTOorarer.
1090
1095
opeyofjiiva.
vvv yap
alviypaTtav
1100
ArAMEMNQN
129
III 1.
CASS. Nay, 'tis abominable! 't hath known within it
Murder unnatural, butchery, limbs dissevered
A human shambles, floor with horror spersing!
3rd
ELDER.
III 2.
CASS. Ha!
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.
3rd anti-
IV 1.
CASS. O God, what is this thing!
What awful, horrible thing!
Designed within these walls, what heinous act!
No art shall cure, nor love endure . . . .
4th
4* antistrophe.
130
AIIXYAOY
"AiSou;
II0
Xevcrifiov.
XO. TToiav 'Epivvv
eSpa/xe KpoKofia(f>rjS
SVVTOS auyat9.
a S' a r a ireXei.
IJI
/3oos"
ravpov iv
i Xa^ovcra
TUTTTCf TTlTVeu S' < iv > ivvSpCOL TV\L.
<f)drLs
1125
decnruoiSbv (f>6/3ov
(f>povcrt,v fiadeiv.
11O5 aKdperos Bothe : andpeeTos M.
1 1 1 1 5opi TTOXTI/JLOLS C a s a u b o n : Sopia
u(nfM>9 M .
1119 ei< addidit Schuetz.
1 1 2 5 r^Werai Emperius:
^Werai I\l I 5iat Hermann.
ArAMEMNQN
131
V 1.
CASS. O Heavens, what should this be ? Some devilish net ? 5,th ,
strophe.
in cloak
5th
anti-
strophe.
132
AIIXYAOY
/A
Bevpo
TTJV
TaXaivav
tfyayes;
TC
yap;
113S
OL/JL-
upoeis
*\TVV
IX
1145
KkavybOLTaiv a/rep
eVtcrcruTous 0eo<f>6pov<; ex
fiaraiov^
Suas,
hvo-tfxiTaii /fXayyat
1150
T'
1 1 3 2 lireYXiiiSay H . : iireyxtatra M .
1 1 3 8 d6peT0S A i d . : d/c6pcffros M .
1 1 4 3 ^t6poc d^Sovos H e r m a n n : OTJSOTOS juApoi' M .
1 1 4 4 TreptfiaXdv yt oi Enger:
TrepePaXovTo yap oi M .
1 1 4 6 oicDva >p. m : dyfiea M .
1 1 4 8 9eo<p6povs T' M :
corr. Hermann.
ArAMEMNQN
133
VII 1.
CASS.
6th
O sorrowful doom of me
strophe.
VIII 1.
CHORUS.
VII 2.
CASS.
6 t h an
ti-
strophe.
VIII 2.
CHORUS.
134
AIZXYAOY
vvv
o^Oov;
coma
55
TTOTOV
rakaiv
re
deo'TronSijcreLv rd^a.
ayav
IJ
1160
7ro i(f>r)fJLicra);
dvdp(i)Trutv fxddoi.
jjnvvpa
iw Trpoirvpyoi
dverieu
aKos 8'
ovSev hrr\pKf.<ra.v
TO /xr/ <OVK e\iv>
ifiireXS) fio\a>i
TaS'
9avaTO(j)6pa'
H75
8'
KA.
v6[i<f>rjs SLKTJV,
ATAMEMNQN
135
I X 1.
CASS.
7th
strophe.
7th antistrophe.
136
AIIXYAOY
Xafnrpb<; 8' eou<ev rjXiov 7rpb<s
Trvecov iaai&iv,
ware
7T/DOS avyas
I I 8
KU/AOTOS SLKT/JV
<f>peva>cr(t> 8'
it;
OVKCT'
(rvvBpojxcos i x v o s
/cat fiapTvpelre
OXITTOT
e/cXeiTret yppos
1185
irXeov,
VJJLVOV h(t)fjLa(riv
irpatTapyov
aTrjv
TTpocrrjjxevai
1190
TL TO6TT)S
Svcrfievel?.
TIS W S ;
1195
TTOVTOV
KA. ju-avTts
0avixdC,o) Se crov,
Tpafyelcrav dXXodpovv
KVpeiv Xiyovcrav,
7raykv
TTOXLV
axrirep el TrapecrTaTei?.
1200
iiricrTrjcrev TeXet.
ATAMEMNQN
137
Nay,
138
AIIXYAOY
1205
rjiprjfjievrj;
idecnn^ov
ITOVT
irddrj.
TTWS
KOTGJL;
I2I
decnritfiiv
Sonets.
rapdcrcrcov
Tr6vo<s
(^pot/xtoi . . . .
1215
otKeia?
fiopas,
iiroLKTocrTov ye/xo?,
1220
OLKOVpoV,
iv Xe^et crTpo
Ot/XCU, TWl
)XoX6vTl
1225
dvacrTdrrj^
reu^erat KaKrji
ATAMEMNftN
CASS.
139
O but he strove
AIIXYAOY
ToiaSe ToXjLia* OrjXvs apaevos
I2
(jiovevs
av;
a^LcrfiaLvav;
rj 2,Kv\\av
/3\
^>t\ots irviovcravOJS
*cai rcovS'
VOCTTIJLICUI
35
TpOTTrji1
/XOl^S
craiTyjptai.
TO jiteXXov i^fet.
ayav
I2
S' eirtuXoXu^aro,
f) TTOLVTOTOX/JLOS, UXTTTep Iv
So/cet Se j(aipeLv
TIVOL
yo-p;
1240
akrjdo)<; ovSeu
efjyiKacrjLieva1
necrav
1245
KoCfjurjcrov arTofxa.
OUK,
/AT)
yeVotro
TTWS.
TOUT'
ayos iropcrvverat;
TrapeKOTrrj? ^prjcrfiiov
KA. /cat
JU,T)V
1250
ificiv.
(JXXTLV.
ATAMEMNQN
141
I cannot see
H2
AIZXYAOY
rd irvdoKpavra-
Svo-jjiadrj S'
Se /not.
1255
iyej.
crvyKoificofjiivr)
Xe'ovTOS evyevovs
TTJV Takawav
airovo-iai
cos Se (ftapjAaKov
KOTOJL
1260
(fxorl <f>dcryavou,
1265
'ATTOXXGJV
iyuov irXov
auro? eVSucov
1270
dyvprpia
es TOiacrSe davao-Lfiovs r u y a s .
I2
75
ydp
CK 6ea>v
TTOTyOOS'
1280
ATAMEMNQN
143
ELDER.
\_Groaning.
144
AIIXYAOY
8'
(XXTJT^S
rrjcrSe yrjs
STJT'
Keifxivov
Trarpo?.
ws ivpa^ev,
I2
%5
'iXtou TroXit'
ot 8' eiXo^
TTO\IV
TrXijy/js
w TToXXa ju,ei
yvva.i,
129
Takaiva,
jjiaKpav Ireii'as.
et 8' iTrjTvfiais
1295
77/DOS
fito/iov euToXj
^povcot
irpe<rfieveTcu.
1300
CUKXCWS TOI
KA. tw irarep
Kardavziv
X^P^ fipoTa>i,.
ATAMEMNQN
145
Sirs,
10
146
XO.
AIIXYAOY
TL 8' ecrri -^prjfjia; TIS cr' airocrTpe<f>ei (d/3os;
i35
K A . <eu <f>ev.
XO.
KA. ojuoios
XO.
alyi.arocrTa.yrj.
OIT/AOS
ou Sv/)ioi' ayXaicrjxa
!310
Swjaacrtv
KCOKVCTOVCT'
'Aya/i.e)u,vovds r e fiotpav
apKetTO) y8ios.
iw gevoi,
OUTOt SuOTOl^O) ddflVOV ft>S O/3VIS <])6f3(i)l.
aXXo)5* davovarrji fiaprvpelre
p.0L rdSe,
r)\Ca>L S' eV
TO2<; e/
TOV<; i/jt.ov<; Ttveii/ 6{JLOV,
ev[xapovs
XO.
tw ySyodreta TrpdyjxaT
TIS ai' irpexpeiev
^eipwjaaTos.
325
evTV^ovvra
el Be
ATAMEMNQN
147
ELDER.
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.
ELDER.
102
148
AIIXYAOY
TO fxev ev wpdcro-eiv d/cdpecrTW e(f)v
33
fipoTolcrw Sa/cnAoSei/cr&w o
a.Tre.Liru)v eipyeu
er ecreAC'iyts,
pekdOpav,
raoe <pa)vo)v.
Ti.pidp.ov
335
OLKOVCOV ;
likrjyrjv eo~u>.
/ccupuus
XO. Tovpyov
elpydo-0cu
dXXa Koiv<a<ia>p.zff eS
a', eycu jnev
V/AIV T^Z/
nTr\r)ypevo<;.
TTWS
ao~cf>a\rj j3ov\evp,aTa.
1346
OTTCOS
Kai npayp
y'. /cdyct)
r a ^ t c r r a y ' iprrecrelv
SOKCI
TOIOUTOV
xprj^i^opLaC r t Spav
npdo'crovTei TrdXet.
ATAMEMNQN
149
CHORUS.
FIRST ELDER.
SECOND.
ISO
AIIXYAOY
TreSot, iraTovvTes
ov KaOevSovaiv
355
X P*"
Svafirj^avw
X
36o
w8' vire
1. rj yap
yap
KaT0avelv
TeKfi7)pLoio~tv e f olficDy/xaTcov
trepi'
Kaipiats
OTTCOS.
137
elpr)fi4vcov
Tropo~6vo)v, <f)(,Xoi<;
ye
\i/r\v
1375
ATAMEMNQN
151
FIFTH.
SEVENTH.
EIGHTH.
NINTH.
TENTH.
ELEVENTH.
TWELFTH.
[As THE ELDERS are about to enter the palace, the bodies of Agamemnon
and Cassandra are exposed, with CLYTAEMNESTRA standing over them.
CLYT.
AlIXYAOY
ws fJLTjTe <f>evyeiv yi/qr
direipov
dfxvvecrdai
ap.^>L^iki)<JTpov, a>o~irep
i,
nXoVTOV
KO>\O.'
3%
l^dvcov,
olfiay/JiacrLv
/cat TTCTTTCOKOTL
Cl/AO/TO? KOLKOV.
popov.
T 8
3 5
yapiv.
ireaciiv
atyxaros o~<f)ayr)v
t//a/caSi (f>oiva<; Spocrov,
^aipovcrav
!39 O
1395
crov yXStaaav,
TJTI<; TOLOVS'
KA. ireipaade
1400
45
APAMEMNQN
153
154
AI2XYA0Y
<TTp. X O . T I KOLKOV, eu
yvvai,
\6OVOTpe<f>es ihavbv
iraaafxeva
T68'
eiridov
aneSiKes,
fj TTOTOV
dvos rj[xodpoovs T
dpds;
14 1 0
14T5
EVITOKOIS
edvaev
avrov
aStv', iiroiihbv p
ov TOVTOV eK yfj<;
Xeyw Se crot
Xit', &>s
K TUiV OfloCcov,
1420
61 3
X / ^ VLKTjCrCLVT' iflOV
iav Se Tov^irakiv
Kpaivt]i
deos,
TO o-aMppoveLV.
1425
(Zcnrep ovv
arierov
TTpeneiv
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.
CLYT.
CHORUS.
Antistrophe.
156
AIIXYAOY
OiynV
Epivuv v, atcrt
ov fiou Qofiov
TOVO
/xeXadpov
AIKTJV,
ecrfpag
'EXTTIS
eycj,
ifiTrarei,
435
TO
Trpoo~9ev ev (f>pova)V
ywaiKos
EJU.OI.
dpacrovs.
rrjcrSe \vp,avTrjpio%,
I
w ' 'iXtaii,
44
vavTikoiv
8e creXjuaTaJv
OVTO)?-
17 8e
TOI, KVKVOV
SLKT/V
1445
TOOS',
dreXevTov VTTVOV,
<j)vXa.Ko<; evixeveo~Ta,Tov,
TToXXd rXdvTos yvvaiKos
Siat"
1455
ATAMEMNQN
157
CLYT.
CHORUS.
I 1.
O for a Fate might bring me swift,
.,.. .
1st
strophe.
158
AISXYAOY
< la
l > irapdvovs
[iia r a s iroWds, Tas trdvv 7roXXas
i/w^a? oXecracr' VTTO Tpotai.
vvv Se rekeiav
Si
alfJL
iroXv/JLvacrTov eT
aVLTTTOV, Ct TIS ^
TTOT', iv
SofJLOlS
fiapvvOeCs'
1465
1470
v/xveiv e V e u ^ e r a t . . . .
1475
Tpnrdyyvrov
haifiova
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
CHORUS.
I 2.
O Spirit of haunting Doom that bears
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.
1st anti'
s rop e
160
AIZXYAOY
4K TOV yap
epws at/i,aroXot^os
irplv
TO vakaLov
XO. -q fiiyav
d^o?,
OLKOLS
vios
TotcrSe
iravairiov
navepyera.
ICTTIV
;
H90
o~e haKpvcrai;
os eK <f>iXia<;
TL TTOT'
elnw;
TCOLS'
1495
1500
TOVS'
aTrer
reXeov veapois
irrL0vcra<;.
1505
a
ArAMEMNQN
161
II i.
Huge of a truth his bloated mass
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 ?
2nd
sr p
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.
162
XO.
AIIXYAOY
<Ls [AW avatrios et
roCSe <f>6vov Tts 6
TT(x> TTU>;
TTdTpodeV
TTTOip yivoiT
jiid^eTai
av dXdcrTcop.
I
8' ojxocnTopois
iinppoolerLV
510
al^arav
Trpofii
Kovpofiopou Trape$ei.
J l
ere SaKpvcro);
55
enrw;
iv v<f>dcrjj.aTi TWIS'
dvekevOepov
1520
4K X e P s
KA. ovSe yap ouros SoXiav arqv
oiKOicriv WTJK ;
1525
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
r r
"
strophe.
AI2XYA0Y
164
.
y. XO. a
<f>povTi,8os
OTTGU, TpOLTTOfiai,
Tri'TVOVTO'i
KTVTTOV
OLKOV.
Sojxocr(j>akrj
1535
i//e/cas Se Xi^yei.
apyvpoToi^ov
i54
Spoirr/s K
Tis 6 ddrpcov viv ; Tts 6
7) cri) rdS' epcu T\rj<jrji, KTeivacr'
dv8pa
^(dptv dvT
ipycov
avopi
ldiTTO)V
1545
77-po?
akiye.Lv
1550
^ w ^
e, Kardave, KOU
r>v
OIKCJV,
ATAMEMNQN
165
CHORUS.
I l l 1.
Thought fails me ; in a maze I grope
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.
3 rd
3r p
166
AIIXYAOY
dXX.' 'l(/>iyeveia vtv dcrTracruus
ws X/37?'
dvyaTrjp,
15 6 0
Oicrpiov
TL<S av yovav
ii<f3d\oL Soficov;
apalov
yap.
i565
7r/)6s arat.
KA.
e TOI^S'
ev4
ov.
haifJiovi TO>I
KOITTOV, IOVT'
5'1
OavaTOLS avOivraio-iv.
iy(ovo-t]i
TravenapKes
a\\7)\o(f)6vov<;
1575
d<^eKovo~'qi.
ATAMEMNQN
167
CHORUS.
I l l 2.
Thrust by counterthrust is foiled ;
3 rd anti strophe.
168
AIIXYAOY
AinseoS.
co <f)yyo$ ev<f>pov rjfiepas
(fxxirjv av rj$r) vvv
8iKr)(f)6pov.
fipoTtov
Tifiaopovs
TTTT\OLS
ayq,
T 8
'Epwvtov
TOVTOV
iraTrjp,
5^5
TcbjjicoL, Kpeovpybv
SOKCOV,
nioov
159
rj <f>l\<o<;, Trarpi
rjfiap evdv/xos
dyew
Ka.drjfj.evos
ipyov
ov
1595
kapcov
yivei.
K<XTO1<TIOV
1600
ATAMEMNQN
169
170
AISXYAOY
XaKTia/xa
Seinvov
Tidels
^WSIKOJS
dpdi,
SIKCUOS
Tpirov yap
rovSe
OVTO.
avvetjeXavveL
TOV
TOVS'
ndpa,
TVTOOV
OVT(O
ISeiv
(f>6vov pa<f>ev<;h>
OVT
yeVos.
1005
cnrapyavoisKartjyayev.
vjipit,eiv
Kardavetv
TO
e/xoi,
1610
iv pKO~lV.
SLKT)?
iv KaKolo-iv ov crefia).
Toi'Se <f>r)<;
KaraKTavclv,
CKCOV
LO-QL,
TbiV
1615
Xeucri/i,ovs apd<s.
irpocnj/Aevos
771 t,Vy5)L
8o/3OS;
1620
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
1625
aio~^yv<av a/ixa
i/3ovXevcra<; fi-opov;
ATAMEMNQN
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!
171
172
AI.
AIIXYAOY
/cat r a u r a raiTf) Kkavp,dTO)V a
'Op(j>i Se ykaxrcrav
TTJV
1630
iXdy/xaaiv
TCSIS'
Ivavriav
'ApyeCcov ecrrji,
eySovXeucras
fiopov,
1635
#
veipdaofxai
dp-^evu
vetddvopa
rov Se
TTOXITIOV
/AT)
XO.
TI ST) TOI/
dXX' 6 Suo-^tXei
1640
CTKOTCOL
jJiakOaKov <T
avBpa
TOVS'
aTro
dXXa j
1645
; "Opecrnys a p a TTOUfiXeiret,<j>do<s,
KareXOojv Sevpo
dfJL(j)oiv yivrjTai
AI.
TOII^SC
irpevpevel
7ray/cpaT7)s
yvuxrrji
1650
dXXa /cdy&)
JLITJI/
irpoKOiiros
OVK
dva.ivop.ai
0ave2v.
8'
ArAMEMNQN
173
AEGISTH.
174
AIZXYAOY
aXXa hpdcroifxev
SOJUOUS,
^'
yXcoaaav
<SS' aTravOicrcu
Treipoiixdvovs,
AI.
d<pvov-
KCIKOV.
rjfxipacs /u,eVet/i' e n .
1666
dnzvQvvqi
inel
irdpa.
1670
TWI^S'
vXayjxdTotv
TCOVSC
iya>
Sw/xaTcov
ATAMEMNQN
175
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.
CLYTAEMNESTRA,
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 yearnot 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 eSa ras re Sva-Kptrov; SvVtis), and the Watchman has had time
to learn the signs of Winter or Storm-seasonthe same word expresses
both in Greekfor 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>iKa-$at.Swooras is an astrological word : see Proclus on Plat.
Rep. in Schoell and Studemund Anecdota ii. p. 2 6 ; in sense, synonymous 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 description. 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-vvoiKOS, 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 contented 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, expressing what your superiority or predominance enables you to do,
cf. T h u c . iv. 104 Kpa.T0VVTS 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 resumptive 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...,
K.T.X.
15.
rb |i*|...<rtj|jipaXiv d e p e n d s o n $o'/3os irapao-TaTeia 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 Xeai (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 comparison 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(Ti7rdvTas 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
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
lap(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 practiceno one, perhaps, but
Pindar had his powerof pursuing a similitude, of carrying a figure
through. This passage is a very fine example. Eagles always represented Kings, but the Kings herefor 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,
As the
Kings launch forth in ships, so fly the eagles irrepvywv iperfiola-iv iptcro-djuei/oithis 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 loftiestdwelling 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 Kingsall Kings, though the more aVpoo-iToi they were, the more
marked was the resemblance: Horapoll. Hieroglyph, ii. 56 (HacriXia
ISid^ovra
50. aXyto-i TraiSmv {nraTiiXex6''0V, ' m exceeding anguish for their loftycradled 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,
a S
yt\-, yafxai-.
dirCipO-,
CV-, 17T7TO-,
6pL-,
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
TifLOKXrjs,
IKUVOV;,
65. v irpoT\ois, before the issue is decided. TrporeXeia, as representing the ceremonies previous to the consummation of marriage, was
metaphorically used for preliminaries to the completion, perfection,
accomplishment of anythingof 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 worshipper 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 7rayto 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
NOTES
181
71.
aTifxov.
of means.'
7 6 ff.
I T( ydp veapbs (iveXbs errepvwv CVTOS dvdo-o-iov Uroirpea-pvs ... T 0'
inrspYijpws; ...iraiSis ovSkv dpUv : 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' iirpYiip<s; KTL For the question cf. Pind. P. viii. 95
eTrd/xepoi TI Si Tis; TI 8' ov TIS ; 0"/aas ovap avOptmros.
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,
113.
See cr. n.
alav
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<TK6ficvoi 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
Menelaus
ff.
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 pentathlete, and a runner come to find out from a fnavris which will win.
fiovov pvq TI.5 <T\ wapikOvji, /ecu ere KaTarpifrji,
x
Kal
184
NOTES
1/j.aOev.
other examples see Blomfield on inf. 503 (525 W.) el' iron iraXat,
<^atSpoi<rt Toio-t8' ofi/Aao-iv Seacr#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.
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 admonition, 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 combatTpiaKrrjpos 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. oSe 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 jeV, ci Trarpl<; 'IXias, TWV atrop0i]T<i>v TT6\I<; OVKTL 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
186
NOTES
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 iay6fievo<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;/iis ayicvpav KaOUjXiv. Plat.
Phaedr.
254 B Kal Trpos T' avrwi iyevovro Kal elSov TTJV O>]/IV KTLoraei
IS
<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'oswhom he loveth he chastenethto 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.
1217, 30. 1517, Wisdom of Solomon 17 and 18. 1719); and such
fears, in the Greek vieiv, came by the agency of 8a.ifi.oves, black spirits
{e.g. Cho. 2828): thus were theologised the twinges of a guilty conscience, which Plato in Rep. 330 DE 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' ISoe 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.
TraTpauous K.T.X.
See cr. n.
through TO e>7s, i.e. the tendency of the scribes to simplify the order of
the words, with pe6poi<; substituted for pools.
228
ff.
rel
8'
avd-yxas iSv
Xe'iroSvov... T60V
TJ> TravTOToXpiov
<(>poveiv
fikdirTOvo-'
iv
aTTJOeaat <peVas
Kpartprji;
vir'
aWyK-^s,
as
NOTES
189
same way as "ATJ /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-avToTOXJIIOS 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
I t was p r o -
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 /xovoKpyjiriSa 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 describes 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
282.
283.
ap7]yLv...
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.
TOL <rvvo\a
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. 3945), 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 indicated, 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
NOTES
191
tation of or for; as \a/3ei,v alrtav, hraivov, ij/oyov, oveiSos, evi<\eiav, 81afioXrjv, <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
iru(TfJ.ivrj areveis
P l u t . Mor.
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' aueiv ifipevas avSpo's (sc. irAovros).
So eX-n-t'Si Tpcf>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
193
NOTES
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. irpTos 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 starting 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
TroXXas jaa^as
Kal dpiorttas
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.
Med.
1012.
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<jJ3ov<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.
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.eacra
Ka.KTuva.cra. <^at8pdi/ous...Tij^eTai; which is what the Chorus hint to
Agamemnon in 779 800, and what he understands, 821831.
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 bereavements (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
(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-Keudo|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,
132
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 righteousness.'
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
773
Oeol 6eol
T(jt>v
KOU
aSiKbiv
T<J>V CHTltOV
6 xpvcrbs a T evrv^ta
<j>pevwv /JpoToiis i^dyerai
Svvacriv aStKOV i<j}i\Kmv,
r/ 8vo"yfi' avaKTwv,
a vvv icropwvTi cpaivti
i<f>r](f>opij>v cs dywviav
a/JuWav
el TO SIKCUOV
NOTES
197
very
198
NOTES
rive.iv
fxvero's \pova>i
KXDTO. f3vcrcro<f>p<tiv E p i v v ? ,
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
NOTES
199
Upton's index. So ' By the waters of Babylon we sat down and wept,
remembering Zion.'
424.
8da. 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, lovesense, 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 : 7Tt^^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
^
ov Xeyerai rav Kvirpw 6 /SOUKOAO? ; Lucian i. 242 iya> Se 178)7 TTOTZ TTJV
'Atf>po8iTi]vd\\' 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)TposavSwv dvocri ovSi prjTtx ju.01,
L u c i a n iii. 296 TTO\V TO ' iav 6 iraTijpKOL Kvpio<; yeV<D/xai T&V Trarpwitov,
[KOI] TTOLVTCL ad,' Ov. Heroid. xiii. 164. Cf. inf. 503 (as Ar. Lys. 33, 37),
NOTES
TOA.JU.JJS evvoiav X&)V)-
201
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;
The consequence of discontent at home formed the subject of wellknown stories referred to by Plat. Legg. 682 D : OVKOVV iv TOVTWI TIZL
vpOVOX, OVTt 8eKTl, OV TO "IXlOV iiroXlOpKflTO,
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
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
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 8ias
00A.10V.
T(uv 'ldaovos
Med.
dyyeXel KaK6v.
Christ. Pat. 98, 125, 1858. Lucian ii. 681 aXXa TI'S d
2o 4
NOTES
Cf. Eum.
Ann.
iv. 50 etc.).
516. iijX8s (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.Vls 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.
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.
Rhod. iv. 757 vvv, tt TTOT /uas ireXtco-a'; i<j>eTp.ds, t 8' ay.
Apoll.
Sappho i. 5
NOTES
205
530 ff. There are certain images in Isaiah which this passage
recalls: 14. 23 ' I will sweep it (Babylon) with the besom of destruction, 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
2 o6
NOTES
time, could have put this statement as a proud boast in the mouth
of a religious herald? See also Eur. Hec. 8025.
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 deliberately 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-
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.
NOTES
207
XeyoDf.
Koi/juafievov1;.
208
NOTES
1206
\p6vos
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(iuvTs 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.
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.
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 6189 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 corruptwhich is improbable, for corruption would
rather be the other wayour explanation must allow it its due meaning.
Iiv9dvw 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 \piiv.
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
XPYS. pavOdveK.
A.
The person
14
2io
NOTES
C h r y S . ll. p .
2 6 7 R. BpifXVV <fJLV>
KO.I SdAtOI'
thinking perhaps that there is some indecency in her saying 'that I may
give my honoured lord the best and soonest welcomefor 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
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 interpretation, '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.
i
S77
KAWOS,
623.
Or. 1 7 0
KKZIVOS,
"Aya/xetivcov.
owuiiivos.
ff>
if<f>Tj|j.ov
Ti|if| 6div.-.(653)
\ u p l s i\
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 othervenom from the Gorgon's serpents
deadly, and is asked ES %V SE Kpa&ivr airbv rj x^pls <^>pis; 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 BE, 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 ceremony is apart from the Gods of Heaven': see Plat. Legg. 828 c eri Si
Kal TO Taiv x$ 0 I '' f t ) 1 /
Kal
Alcman fr. 22 ; praise and honour are the fitting tributes (irpeiru) to a
142
NOTES
212
conqueror or benefactor, sup. 437, 529, Pind. fr. 121, O. ri. 50, 111. 9,
P. v. 4 3 , N.
also is the fitting memorial of the dead, only in their case it takes the
form of lamentationirpiiru kiyuv iraiava TOI'S' '~Epivv(j>v.
645 ff. ' News of the double wound inflicted by the double scourge
that Ares usesone 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
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.
NOTES
213
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
yap
2t 4
NOTES
e n Se.
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.|IOYVV : 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 aiovo~iv, (us <f>r]o~iv Evpuros 6 Aa/ceSaijixovios o ^,eXo7roio's- apXrat 8e OWTOJS- ' ayXao/ti8s''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
for S / X
NOTES
215
216
NOTES
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).
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.
NOTES
217
Meleager, A. P. v. 156 :
TravTas ipunoTrXotiv.
epu>Tt<; vatas
s vfipiv,
<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 wealthsplendid
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 Setat,
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 aveu)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^aTt' [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^eu8s ^6os, finrpoarjyopov 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
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
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,
pi] vdos apnos rji, but in Theogn. 153 the lines are altered to rUrei
TOI Kopos vjipiv,
orav
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 <rpou<ra irXoiiTOD irapd(ri)^.ov otvui. The best illustration 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 xprjatovTi /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 insincerity 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<;
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
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
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
77Vts
avSpbs
Xadrji
rji
222
NOTES
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,
TO ' xpijai/jiov.'
Theb. 906 irdpeo-riv elirtlv iir' a.0\ioi(Tiv ok... sup. 379.c{lif>puv means
e Trj% oiKouptas.
NOTES
802.
Pausanias
806.
honey pot
807 f.
22 3
The
other urn saw Hope of the hand which was to drop a vote in it continually 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.
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 wealththe cause of her damnationis 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 xPlv- 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 7r7ra/*,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, continues 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, consuetudo, converse or conversation, association, companionship, familiarity,
holds up, the glass in which the associate's true character is shown :
KaTO-KTpoii fj.lv jU.<avieTai -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
Eur.
224
El.
8
NOTES
3 8 3 ov fn.rj d<t>povt}<reff, 01 Ktvuiv So^aoYiaTwv \ irXypets
Ofxikiai
ftporovs
I /cpiveiTf
SiSatrxaXos.
irXavairOt,
Andr.
Aesch. Supp,
rrji
683
1004
KOX jiiuiv
a S
rvxr/i,
irpoOeh
KaroirTpov
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 ) ,
NOTES
Homer
225
872 fT.
[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, 166in 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
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
<^aivo)VTat,...Hom. h. Dem.
NOTES
KaWtuTov
rj/iap tlaiBtlv
68onr6pu>
8t/'<5i'Tt Tnqydiov
Ttpirvov
227
IK \e.ijxaTo%,
pe'os,
ok To.va.yK0.10v iKtpvyttv
(nniv.
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
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. Damascius 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)
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. 43 " r w ^ K a '
irpiv, OVK avev &i)fn.ov Ta8e irpdaifi.' av.
Cho. 6 8 4 ToaavT
ctKOWas eliroi:
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 rp5o> ZP8uv could only mean ' you vowed
that you were performing.'ZpSeiv was probably the alteration of a
scribe who thought that av and tpeiv 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 willnot 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
935.
vimu TI.S...XUOI :
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 <))8epovTa TTXOVTOV dpYupwv^JTovs
9' 6<pds: this is the scruple that Clytaemnestra scornfully replies to in
v. 949 ff. S(o/iaTo<^)^opti/ 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\eLOTL 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.
230
NOTES
Acts 19. 38
954 ff. Perhaps the thought in her mind is ' If you sacrificed
Iphigeneia to recover Helen (KO/JLIUV 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
en et. TrpocrTanqpiov KapStas is ' set stubbornly before my consciousness,' 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.
dvOiaraTai.For
Cf. Pers.
St'os ira\ai6v
crol <f>ptv<i>v
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
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^>pv
v8a>p.
Plat.
Cratyl.
KVK&VTat,
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/IVI)V,
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
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
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
thwartedor 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
All.
EYM.
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
'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.
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
'
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 Andromache 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 travellingcarriage: 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
(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
KCLI davvtra
NOTES
Tr/v E/\XIJI/O)V <j)(uvriv tjvviaaiv
afiuvov
237
ovv, olfiai, rrji ^eipi (rrjjxaivuv KaX
tjvyov : cf.
E u r . Or.
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 elsewhere 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.
rvxpifiev;
with the previous question: Cho. 992 TI a-oi SOKCI; fxvpaiva. y etr' e^Sv
e<f>v...;
Theb.
ir6vu>v 86fuav
i(jii<TTioi;
6v(ji.aTos
Xevo-i'nov:
'abominable
sacrifice'i.e.
' stonable,'
O. T.
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
238
NOTES
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 WOVVTI (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<rj>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)vifjiavTrjv 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 7ry^eWa is metrically impossible; but
if it would only scan, we feel that it gives just the sense required.
ejrey^D'Sarfollowing the analogy of x^'o1'?'', Kara^ySrjv, a/x^n^u'Sjji/seems
to me the most probable correction, because such adverbs are commonly 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
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.
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 pdXi 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.
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' e7raias, Soph. Ai. 358
at^as 6v<; 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>7pai> fio^6oi TaXav9 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 understand 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 TOOT7S
(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 d8vai. 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 oSa. \6ytoi often implies ' in word only': Eur. fr. 5 7 ai TO
SovXov ov Xdytoi (not only in word) ?x0I/TS! <*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.
TrayivroM opKOVS (cat KaTJjva'yKacr/xti/ous.
1205.
242
NOTES
1224.
1225.
1193
1227 ff. OVK otSev ota...Trfrai. 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
' 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):
TTtt>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.
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)8rjdvdcrcrwv;
yo.p (TtxivovTO irpwrov Trapayei
is apKvas
'
And Soph. fr. 519 illustrates the same connexion of thought: -q 8' dp'
iv (TKOTtai XtjOovad (j.t
In Pind. ^
ii.
1233.
(ix 231).
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. irapKdin]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
1
KaK
">v pivrjXaTovarii.
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
di'TiTi'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
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 KarayeAwfi.evrjv fiar-qv <f>i\wv vif
1274.
NOTES
245
or stroke;
mean
246
NOTES
1286 ff. lire! rb irpTov KTI. NOW that the capture (etXov : cr. n.) of
Troy is avenged, I go gladly to meet death. Cassandra's speech in
Eur. Tro. 353405 is in effect an expansion of this passage, if read in
connexion with ib. 455461.
In Sen. Again. 1005-1011 Cassandra speaks to Clytaemnestra:
' You need not drag me to my death; I willinglynay, 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.
iKX5s. 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 iraTp o-oO o-wv T ytwaCav T^KVWV is a fine answer to their
Be merry, man :
Here's to thy better fortune and good stars [Drinks.
In all humility, I thank your grace.
Remember who thou art; speak like thyself:
Humility belongs to common grooms.
And who so miserable as Aeneas is?
Lies it in Dido's hands to make thee blest?
Then be assur'd thou art not miserable.
O Priamus, O Troy, O Hecuba!
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.
Brut.
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.
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 unsubstantial, 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 XPVOV
avOtaw
rjfirjs Tepiro/MeOa, M i m n e r m u s
(fr. 2) says.
iTxovTo \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 jeV- 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"
dKopeo-Tov. So it is said of Wealth in Ar. Plut. 188 iSoV
1330.
ouSc ;u.e(rTOS croS yiyov ov8U TTiairoTt. T<ov jxiv yap aXXtov i<TTi iravTiav
wXrjarjxovq KTL
1331.
SttKTuXoStfKTiov, that is, 'admired and gorgeous palaces,' show
places.
1333y.i\Ker o-e\e-r]i.s. The entrance of Wealth into men's houses is
described in Ar. Plut. 234244.
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> cvaiTo 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 TTio~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 UCUTO, 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.
7roAiTei'as
NOTES
249
1346. eS irs: 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- MX\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
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 twpaa . 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 4irv88(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.
NOTES
25
alpa
iritTai
rpiTrjv Tr6(rw,
' 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 irpairl&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.
NOTES
251
Ov. /art. v. 243 omnia temptabo latis medicamina tern's et freta Tartareos
excutiamque sinus.
1409.
T<>8' irf'8oi) 8os 8ri(.o8p(5os 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]
(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 aouis 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.iraTl, ' 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
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 XaKiouer' iv <povai<; ij/v)(p6v
Sffta
Spctfcaira Sii^ds, Kd.TTif3a.o~' eir'
Xj
f^^
SU
pj
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
xxi. 27 <j>ikqTopi
K6\irtoi,
loan, xviii. 55
NOTES
253
X
Metaphorically, therefore, these words mean a mere slight toy or byplay 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"/xvos.
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 itor 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
of EI 7TO^EV in Philoct.
1204
a/xipu)
fiaraiw
KacrTopds T OVK afi'o). | 17 fi&v yap apirao'Oiio-' EKODO"' air<uixTO, o~v 8' a'v8p'
a'pio-Tov 'EXXaSoj 8io)Xo-a9.
Similarly in Orest.
249 eirio-vfixav ETEKE
TucSapEois EIS rbv tpoyov | yi/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^/AtS^s 'A<poSiT77
6 ES t&vXija., tfitXov fx.anap(ro~i 6eoio~w j (iis ok YLXvTa.ifjLvrjo'TpT] TrpoXnrova' '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
exclaim :
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,
256
NOTES
Eur.
ytviffOat.
iopyev.
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>jyTai...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. divq: 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
HaveWijvuiv.
OppWIXtVOl
TTldaVWS
KO.I TOVI
V "ALBOV
VOfXL^Ofi.VOVS
TTOTafi.OV';
258
iirtl
NOTES
KCU h.lKVjX.Vl6% <f>7](Tl (fr. I ) '
fivpiaii
re
ppvei
Anon. ap. Suid. IlaAa/MySijs : urj p.01 fiioros 7rav7rap/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
'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$iws Tifimpovfitvwv i<j> oh
NOTES
259
Cf. Ov. Met. vi. 656 ipse sedens solio Tereus sublimis auito. The kicking
over of the table is also told of Tereus by Ovid in 661.
I
597- &<TOV, spendthrift, prodigal; usually meaning one who
wastes his substance in riotous living, and applied with bitter irony to
the banquet of Thyestes.
1601 f. VV8CKUS is either simply 'jointly, together with' for which
sense P i n d . P. I. I vpv(ria <f>6pfi,ty$, 'AiroWayvos KO.1 ioir\oi<a(j.o>v CTVVBLKOV
Motcrav xreavov is quoted; or else ' in support ofso 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.
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.
Enger
1630 ff. Orpheus tamed (i^e'pou) the savage breast with persuasive
charm (vetOo!): you shall find your own savagery tamed by compulsion (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 Alexandrians, 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 O8 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-KorpiTrofiat 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.
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 metaphorical use of (Tupatfaopos and Seuxreipos 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' aei-'
8d/*.ous, (TKoruii hi SIOO-ET', Ivff tto-iTicus iphv S//,as yipaibv
6
1645.
(iao-|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' oS' e'yu) fXtVTOi 7TO-O)V
ye Kro;u.ai Ar. _/VK$. 126, fio At" ovS' yw yap Zjtf. 130.
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$7)6ivTe.<i aXXrjXov^, <j}6ao~aifiovXajxtvoiirplv iraQilv KT. It is Clytaemnestra's plea that she was the executor of Doom, 1434, 1471 ff.,
1498 fif., Cho. 909 "q MoTpa TOVTIOV, <3 TIKVOV, Trapatri'a.
The
MSS.
!73
262
NOTES
' trying one's l u c k ' ; it means ' putting one's predestined fortune to the
touch.' l^i<jToprjcrai /jLolpav n ^ s in Theb. 493 is the same thing.
1664. cra<J>povos yvwiii^s 8' ap.apTEiv T&V KpaToOvr' apvov^vovs, dominutn
recusantes (Ov. Met. viii. 848): yvw/j,r]<; ajxapTuv is ' to be ill-advised,'
'mistaken' (Hdt. i. 207, yvioft,f]<s XprjcrTrjs ix. 79, rrjs dpurrqs iii. 81);
Tiv^rai <f>pevu>v in 185 is the opposite, 'shall be well-advised.' ' T o be
well-advised or ill-advised in doing so and s o ' is expressed by a
participle, as 183 K\a'a>v Ttv^trai <peiw, 793 ovS' <EU 7rpa7R<W otaKa
vifx<j)v...KOfii<tii>, E u r . Bacch. 329 TL/XWV re Hpopiov o-axppovth, H d t . vii. 15
O5K i(f>poveov a7ras, i. 116 OVK ev /3ovXevt(r0ai'. fxtv t<prj iiriOv/jieovTa....
To
T o deny
their master is exactly what the Elders have been doing, 1633 etc., and
that was proverbially impolitic: Walz, Rhet. Gr. i. 281, Soph. El.
3947> 34> I 0 I 4 . i 4 6 5 ; E u r -fr-337. 93- 6 4i Hec. 404. This leads to
their retort, which is the same as in Soph. El. 397 <JV ravra Oumtv- OVK
e/Aoi)S rpdiroDS Ae'yets, P.V. 969 crifiov, irpocrcir^ou, OWTTTC TW Kparovvr au.
1669. Cf. Soph. El. 794 v/3pic, vvv yap firvxpycra ruy^aj-ets, Cho. 57
^>o/3ciTat Si Tts- TO 8' evTV\elv,
i.e. ' they (Aegisthus and Clytaemnestra) may hold their reign of terror
while their luck endures !'
1670. X P ^ " 1 : s e e c r n - The usual idiom is SiSoVai a^rotra followed
by the genitive without the addition of x"-Plv- For the corruption
cf. 316.
INDEXES.
I. GREEK.
d
7 a > 975
dd\a, 718ft
, 740
iiyKvpa, 510
dydivtoi Beol, 518
"AiSou y.'fiTTip, 1234
aipoiWes rjiprjtxdai, 352
d/cacr/ccuos, 740
01X70$ (>6s), 50
aiiaprtiv yvii/i-ijs, 1664
d/xaup6<r, 469
dvdyKfj, 228 ff.
4ft' dffo*, 1528
d^6
SX
68
d7T?ji?;, 1023
durb (TTpaTov, 543, 608
d7ro<TT^p70), 5 0 4
dwdxpn, 1574
airrepos cpdrLs, 288
airvpa, 70
<W, 385
dp/, 1574
dpvelaBm, 1664
aa"iuros, 1597
arep, 1146
dri;, 726, 1228 ff.
drirrii, 72
"t/cdp5ios, 437 ff.
kv,
421
&(p$ovos, 477
/3 and 0 confused, 435, 762
pdtravos, 415
3 i X i o s , 96
?xei>', 880
fafiiTa,
c , gen. 121 ff.
(3(iXo5, 1171
ft6<TKe<rdcu, c. a c e , 121 ff.
fiov'Xri, 872 ff.
/3CHST(IS,
718
ff.
yaXifiPTJ, 7 3 9
70P
782
INDEXES
264
tariv OdXatrja, 949
ev (ppovetv, 1437
ev-qyopov, 357 (if.
eiSfferos, 445 ff.
evXoyeiv, 585
eifiaSeiv, 589
evGefieiv, 350
eiS<ppajv, 797
ei5xoic, c. fut. inf., 924
Zeus SwTrjp, 1385 ff.
Ze0upos, 696
fr>, 810
fu7W, 1055, 1618
rj...ye; 1103
tfvvtrtv, 702 ff.
MeXXc6, 1355
JU^P, position of, 8 ff., 592
/j.4v...Si, after 5i7rXoCs e t c . , 645 ff.
/* 01)7-105, 6 1 8 ff.
1476
^vvdlKois, 1601 f.
i'a7r, 1547
iX<*p a n d ix"P> 1481
194
48, 165
KO/ilfav, 795
/COJ-IS, 500
K6<TIJ.OI, 3 6 8
/mH, 134
KVKW[LCVOV K^ap, 9 8 4 ff.
(CWMOS, 1 1 8 7 ff.
O(, I I44
oT-os (or O(KOI) vwdpxet, 952
olKovpetv, 8 0 0 , 1625 f.
oTov /XT), 1 3 6 ff.
OKVQS, 9 9 6
dXoXL'7Jtt6s) 2 8
bfx^pos, 661
6/iiXas Karoirrpov, 830
Bfxfpal;, 961
6Va>' after (pii\daveu>, 4 ff.
01), negativing single word, 1311
oiiS^ = 01) rai, 1007 ff.
ouXos, 178
oJic, 676 ff.
r ab>,
257 f.
TraiSiov, 1077
iraieiv Trpds, 994
7ra\at(TT?Js, 1205
irweirapmjs, 1574
Xa/XTrpos, 1 1 7 9
TreatTot, 32 f.
jrijy/j.a ttpfcov, 1197
7r?7Mct voaov, 841
TT7}/j,ovd, 999
irtalvta, 288
7rXa7a/ ^x ety 379
7r\^oj> <f>4ptv, 1 0 1 2
7.
Tpo/WyinW, 786
irpo6\jn<as, 1591
irpbirvpyoi duffiai, 1167
irpoaenrttv, 365, 1290
irpoaijKuiv, 1063
irp6au$ev, 938
irpoTiXeia, 0 5 , 237
irpo(pipeivt 211, 955
irpotp-rfrrit, 418
irpur/iv T Kai /xdXiffra, 676 ff.
irp&TOS Spanuv, 326
iri5Xas d^o?fat, 609
7TU 7TUJ;
I508
lrdiywv, 318
265
GREEK
r& abv, 555
r65e corrupted to Tiye, 322
, 374 ff.
r6\/xa, 228 ff.
TodfjJ>v p.tv O^TW, 9 4 1
Tptfi'/j, 4 7 I
uSopiis, 789
v/iivaiot, changed to Oprjvos, 707 f.
UTrarijXex^s, 50
UTrarot X6x^ w|/ j 50
0 and j8 confused, 435
<pQ,LOpoVOVS. 1 2 2 8 ff.
<j>alvuv (ayavi.),
aalveiv, 726, 1228 ff.
(7ftpa06pos, 1640
ffeirw/ieVos, 623
ffixos, 398 f.
ir^tci r& 6vr)Tdv, 1326 ff.
101 ff.
0dp/GtKCt, I4O7 f.
(pikTJTOJp, I 4 4 7
<pi"ev<ns, 1323
0uXa/(ai icaTairxe''', 246
O-7TOI;ST7, 500
Xalpei^
2r/)o<^ios, 872
ffi 5^, 1045
avy-Tcvtiav, 197 ff.
rarajiu,
577
X</KS /3iaios,
fftifXipVTOS, 1 5 9
XeXiSuv, 1034
<n/KT\i)s, 537
XXISTJ,
ff<pvSov7]* QQ7
XP^os, 464
rd irpis, 835
re, in anacoluthon, 99
re...Ka, i89ff.
TeXos, 925
r( ('what" of...?'), 79
rideffOat, 32 f.
TIS, omitted, 71
, = ' perhaps,' 55
rXav, 228 ff.
r i UI), c. inf., 15
1448
<(/eKds, 1 5 3 6
uipav, 1657 f.
us, 921
us, with limiting force, 618 ff.
us 5t\ 348
ucrre, after JirriJ', 1394 ff.
ro{6r7js, 1193
II.
ENGLISH.