EX BIBLIOTHECA 
 FRANCES A. YATES 
 
THE 
 
 IPHIGENEIA AT AULIS 
 OF EURIPIDES. 
 
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ΕΥΡΙΠΙΔΟΥ 
 ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 
 
 THE 
 
 IPHIGENEIA AT AULIS 
 OF EURIPIDES 
 
 WITH INTRODUCTION AND NOTES 
 
 BY 
 
 CLINTON E. S. HEADLAM, M.A. 
 
 FELLOW OF TRINITY HALL, CAMBRIDGE 
 EDITED FOR THE SYNDICS OF THE UNIVERSITY PRESS 
 STEREOTYPED EDITION. 
 
 CAMBRIDGE 
 
 AT THE UNIVERSITY PRESS 
 
 1896 
 
 [All Rights reserved.] 
 
J 
 
 First Edition, 1889. Reprinted 1896. 
 
 ©ambrfoge: 
 
 PRINTED BY J. & C. F. CLAY, 
 AT THE UNIVERSITY PRESS. 
 
PREFACE. 
 
 HE previous editions to which my indebtedness is 
 
 J- greatest are those of Hopfner (Halae, 1795); Hermann 
 (Lipsiae, 1831); Monk (Cantabr., 1857); Klotz (Gothae, 
 1858); Weil (Paris, 1879); Paley (London, 1880). I have 
 also consulted with benefit the analysis and criticism of the 
 play by Gruppe Ariadne xiii, xiv ; and H. Hennig's disser- 
 tation de Iphigeniae Aulidensis forma ac condicione (Berol. 
 1870). Other obligations which relate to particular points 
 are acknowledged in the notes. 
 
 The text is based generally upon that of Adolph. 
 Kirchhoff (1867), which follows closely the authority of the 
 MSS. A list of all the deviations from his text which occur 
 in the present edition will be found in the Appendix. 
 
 I wish to take this opportunity of expressing my thanks 
 to Mr A. W. W. Dale of this College for his kind assistance 
 and advice. 
 
 C» E. S. H. 
 
 Trinity Hall, 
 
 October 17th, 1889. 
 
INTRODUCTION. 
 
 Ι. 
 
 THE Iphigeneia at Aulis of Euripides deals with a tragic 
 episode in the history of the house of the Pelopidae, 
 the δώ/χα ποΚνφθορον whose fortunes furnished to the creative 
 imagination of the Greek tragedians a theme so fertile in the 
 intricate and awful problems of crime and retribution, of sin 
 visited upon the children's children, of heavenly ordinance to 
 men, and the mysterious guiding of fate. One of the last 
 works of Euripides, the play itself in its conception and execu- 
 tion is worthy of the poet at his best. We feel as we read that 
 we are in touch with one who knew the heart of man, and has 
 from his sympathy with its varying moods received the power to 
 arouse in us the quick emotions of pity, indignation, admiration, 
 and awe. His characters live before us ; compelling our interest, 
 as they unfold through the changing scenes the workings of the 
 human soul. There is here no trace of failing power or 
 enfeebled judgment. The calm and matured reflexion of the 
 philosophic mind is illumined by the seeing eye of the poet 1 ; 
 and in the handling of pathos — wherein resides the most delicate 
 test of the artistic spirit — rarely, if ever, has the mingled tender- 
 
 1 Cf. Anth. P. vii 44 adesp. (of Euripides) τον σοφή Μονσέων 
 μιξάμζνον χάριτα. 
 
viii 
 
 INTRO D UCTION. 
 
 ness and dignity of Euripides secured him a more splendid 
 triumph. 
 
 The legend of Iphigeneia daughter of Agamemnon, who 
 was brought to the Grecian camp at Aulis, there to be offered 
 upon the altar to appease offended Artemis, who would not 
 suffer the fleet to sail to Troy on its mission of vengeance against 
 Paris and the faithless Helen, is already sufficiently familiar in 
 its main outline to render a detailed account unnecessary. We 
 shall therefore pass on to institute a brief comparison between 
 the story as adopted by Euripides and its treatment by other 
 writers in whom it appears. We shall thus be in a position to 
 judge more conveniently of the construction of the plot of the 
 Iphigeneia at Aulis , and the comparison will be itself not 
 without interest as illustrating several of the dramatic motives 
 on which the development of Euripides' play depends. 
 
 The story of Iphigeneia as we meet with it in Greek tragedy 
 is post-Homeric in its origin. We find in Homer no mention 
 either of the detention of the fleet at Aulis, or of the sacrifice of 
 Agamemnon's daughter. Iphigeneia herself is not named : nor 
 was she apparently known to Homer as a daughter of Agamem- 
 non, who is made to say in Iliad ix 144 : — "Three daughters have 
 I in my stately palace, Chrysothernis, Laodike and Iphianassa 1 ." 
 
 1 It has been held that Iphianassa in this passage stands for 
 Iphigeneia, as is the case in Lucret. i 84 Trivial virginis aram | Iphia- 
 nassai turparunt sanguine foede | ductores Danaum. They are however 
 distinguished by Sophokles, vide El. 157 ota Χρυσόθεμίς £ώει καϊ 
 Ίφιάνασσα, cf. 547 Φ α ^ & & ν V θανοΰσά y 1 (i.e. Iphigeneia) el φωνην 
 λάβοί: and by the author of the Kypria, schol. ad Soph. El. 157 ή ώ* 6 
 τά Κύπρια ποιήσα* τέσσαρα,* φησι,ν, 'fyLyivetav καΐΊφι,άνασσαν, i.e. 'four 
 daughters, counting Iphigeneia and Iphianassa' (for the punctuation &c. 
 here see Monro Journ. of Hellen. Studies ν p. 8). Euripides in this 
 play speaks explicitly of three daughters (τίκτω έπί τρισϊ παρθένοισι 
 παΐδά σοι. \ τόνδβ), cf. also Orest. 22 f. Iphigeneia however appears in 
 El. 1023 as Ίφνγόνη : a secondary form which is matched by similar 
 examples of an alternative termination in the case of some other proper 
 names. In I. T. 562 ff. allusion is made to two daughters only — 
 Elektra and Iphigeneia, as also in Aesch. Cho. 252 ff. 
 
INTRODUCTION. ίχ 
 
 The source of the story appears to be the Kypria, a. poem of 
 the epic cycle attributed to Stasinus (Στασινοή, who flourished 
 about 776 B.C. There we are told of a gathering of the Greek 
 fleet under Menelaus and Agamemnon at Aulis, where take place 
 both the sign of the sparrows (cf. II. ii 300 ff.), and the prophecy 
 of Kalchas ; after which the host starts on its voyage but lands 
 by mistake at Teuthrania. They assemble α second time at 
 Aulis, on which occasion comes about the leading of Iphigeneia 
 to the altar as a victim to Artemis, and her rescue by the goddess 1 , 
 who snatches her from the jaws of death, and carries her off to 
 the Tauri, leaving a hind at the altar in her stead. 
 
 An allusion to the detention of the fleet is made by Hesiod 
 op. 65 1 (a passage which some critics reject) in which he speaks 
 of "Aulis, where on a time the Achaeans, biding a stress of 
 weather, gathered out of Hellas a goodly company bound for 
 Troy the home of fair women." 
 
 In the Agamemnon of Aeschylus we have a graphic descrip- 
 tion of the scene at the altar, and it further appears that in the 
 belief of the persons in the play Iphigeneia has really been slain. 
 In fact Klytaemnestra afterwards (cf. Ag. 1017) justifies her 
 murder of Agamemnon as no more than a righteous avenging 
 of her daughter, slain by her father " as a charm to lull the gales 
 from Thrace." Again, it is not, as in this play of Euripides, a 
 calm, but contrary winds blowing from the Strymon that keep 
 the host inactive at Aulis. (We find later the hindrance to the 
 voyage declared to be a calm by Kallimachus, in his hymn to 
 Artemis 230 f. :— " when thou (Artemis) didst bind fast the winds, 
 what time the Achaean ships sought to make their voyage to 
 vex the Teukrians' town "). 
 
 The motive which Klytaemnestra in the Agamemnon'' alleges 
 
 1 * 
 
 "Αρτ€μα U αϋφ έξαρπάσασα ds Taupovs μετακόμιζα και άθάνατορ 
 r<K«t- ϊλαφον δέ άντϊ φ κόρη* τταρίστησι τφ βωμφ. Proklus irepl των 
 Κυπρίων (ρ. 455 α Ρ- Gaisf. Hephaest.). 
 
 2 In this play (1183 f., 1456) Klytaemnestra throws out a dark hint 
 of the vengeance that she will wreak upon Agamemnon if he lets her 
 daughter die. 
 
 Η. I. 
 
χ 
 
 INTR 01) U C ΤΙ Ο Ν. 
 
 for her crime had already been hinted at by Pindar, Pyth. xi 
 22 ff : — " Was it then the slaying of Iphigeneia far from the land 
 of her birth that stung the mother to an arousal of wrath 
 dangerous in deed ? " ; and in the Elektra of Sophokles Klytaem- 
 nestra, who believes that Iphigeneia has been done to death, 
 defends her murder of the king as a merited retribution for the 
 part he took in bringing it about. " 'Twas justice took him off, 
 not I alone 1 ." Unlike Aeschylus, Sophokles agrees with Euri- 
 pides in making a calm the obstacle to the sailing of the fleet : — 
 "Ask," says Elektra, "the huntress Artemis in quittance for 
 what guilt she stayed those thronging winds at Aulis" (563). 
 She goes on to mention what Agamemnon's transgression had 
 been : after a successful shot at a stag, he had uttered a boasting 
 speech 2 which had aroused the anger of the goddess. In our 
 play the cause of the wrath of Artemis is not stated; Kalchas 
 simply announces the sacrifice which she requires. In an earlier 
 work, the Iphigeneia among the Tauri, the maiden is demanded 
 in fulfilment of a vow made by her father 3 , that he would devote 
 to Artemis the fairest of a year's produce. 
 
 Without considering at length minor differences of detail in 
 the various accounts, or following the story as it is found in later 
 Roman writers, we may return for a moment to the miraculous 
 rescue of the heroine as set forth in the poem of Stasinus, and 
 adopted in this play by Euripides. We have already seen that 
 in Aeschylus and Sophokles Iphigeneia was in the opinion of her 
 friends actually slain. This point is important in the dramatic 
 situation as conceived by these two poets, because it furnishes 
 Klytaemnestra with just enough excuse for her crime to prevent 
 our sympathies from being wholly alienated from her as an 
 entirely abandoned and heartless woman 4 . It is evident however 
 that there is nothing so far to contradict the fact of the rescue 
 having taken place : it is only assumed that the spectators of 
 the sacrifice were not aware of it. Similarly, in the Orestes of 
 
 1 El. 528 17 yap Αίκη νιν e2Aez>, ουκ eyk μόνη. 
 
 2 He said, we are told, ουδέ ή "Apre/us. Tzetzes ad Lykophr. 183. 
 
 3 So Cic, de off. iii 25. * Cf. Eur. El. 29. 
 
INTRODUCTION. 
 
 χι 
 
 Euripides, Orestes believes that his sister died at Aulis 1 ; a 
 belief which is only dissipated when, going on a quest signified 
 to him by Apollo, he finds his sister alive among the Tauri as 
 priestess of Artemis. In our play the case is different. Kly- 
 taemnestra is informed by a messenger (1540 if.) of Iphigeneia's 
 disappearance at the critical moment and the substitution of 
 a hind as the victim ; an interposition of heaven of which 
 Agamemnon has been an eye-witness (1621 if.) in common with 
 the Grecian army. 
 
 II. 
 
 EURIPIDES' PLAY. 
 
 The plot of the Iphtgeneia at Aulis is remarkable for the 
 sustained interest which is preserved to the end, and the draw- 
 ing of character is also exceptionally clear and brilliant. The 
 dramatic story received from older tradition by Euripides loses 
 in his hands none of its pathetic charm. Summoned to meet a 
 bridegroom, the youthful daughter of the great chief of Greece 
 finds awaiting her the knife of Kalchas and her father powerless 
 to aid. The agony of the king in his wrestling with fate, the 
 queen's distress and resentment at her daughter's wrong, the 
 softening of Menelaus' heart at his brother's grief, have each 
 their share in heightening the tragic effect, and throwing into 
 bolder relief the simple courage of the heroine. 
 
 Agamemnon is the type of a man called upon to act in a 
 crisis of great difficulty without the resoluteness and strength 
 of will to cope with the perils around him. In the vain 
 endeavour to extricate himself he has recourse to deception ; 
 but he is not the stuff of which intriguers are made. His 
 consent to sacrifice his daughter is wrung from him chiefly 
 because he feels a keen sense of responsibility to the army of 
 
 1 α δ' Αΰλις Act/3e σφότγΐ έμψ όμοσπόρον κτλ, 
 
 b 2 
 
INTR OD UCTION. 
 
 Greece 1 ; and the disingenuous part which he plays towards 
 Klytaemnestra is due rather to weakness, which induces him to 
 catch at any expedient for deferring the evil day, than to brutal 
 indifference to aught but the accomplishment of his own schemes. 
 
 Menelaus appears at first in a very unfavourable light. 
 Persons and institutions connected with Sparta usually find in 
 Euripides an unsympathetic exponent. He is overbearing in 
 pressing the advantage which circumstances have given him, 
 and so heedless of all but his private interests as to demand 
 the death of his own niece in order to forward them. His 
 selfishness is however not the egoism of a cold and calculating 
 nature. It arises from his impetuous and hasty temper which 
 does not easily brook opposition from others (cf. 311, 413, 
 519). It is not till his brother breaks down in complete despair 
 that he fully realises the odious part he has been playing ; not 
 till then does the meaning of the sacrifice he requires come 
 home to him (492). This revulsion of feeling on the part of 
 Menelaus is finely conceived. It is surely a false estimate of 
 Euripides' sense of dramatic effect to suppose, as some critics 
 have done, that Menelaus in offering to forego his prospects of 
 success merely airs a cheap generosity, knowing that after 
 the messenger's arrival the doom of Iphigeneia is sealed. 
 
 Achilles' character is that of a high-minded and honourable 
 soldier. Intrigue and finesse are repugnant to his nature, and 
 he is proportionately indignant when he discovers the use which 
 has been made of his name by the crooked policy of Agamemnon 
 (936 if.). In spite of the false position in which he finds himself 
 his chivalrous feeling leads him to espouse at once Klytaemnes- 
 tra's cause. It is no more, he declares, than his own honour 
 demands (961). His greatest dread is a 'scene,' and he is 
 anxious that nothing should be left untried to avoid it (2W to 
 π pay μ ςχη καλώς 1009), but when all fails he is ready to take his 
 life in his hand to protect the defenceless. 
 
 The maternal solicitude of Klytaemnestra and the anxiety she 
 displays for her daughter's welfare enhance the pathos of Iphi- 
 
 Cf. esp. iot2, 1258 ff. 
 
INTRODUCTION. 
 
 geneia's fate, and suggest at the same time a striking contrast 
 with the conduct of Agamemnon. But withal she leaves upon 
 us the impression that, when other passions than a mother's 
 tenderness assert their sway, the Klytaemnestra of the Agamem- 
 no7i will not be far to seek. Force and determination mark her 
 uncompromising refusal to return to Argos at Agamemnon's 
 request, and leave him to manage the wedding ceremony; 
 whilst allusion has been made above (see p. ix n. (2)) to the 
 foreshadowing of her vengeance for Iphigeneia's death. 
 
 The character of Iphigeneia herself exhibits the hand of a 
 master. The poet has conceived the effect of a terrible and 
 unexpected demand made upon the fortitude of a pure and noble 
 girl, whose affections and feeling of duty give her strength in the 
 end to taste unfalteringly the bitterness of death at a moment 
 when life is sweetest. With supreme art he secures our sym- 
 pathy by frankly showing us the human weakness which only 
 human heroism can successfully overcome. Like the Antigone 
 of Sophokles, Iphigeneia displays no indifference to death : her 
 courage is not the outcome of insensibility to the horrors of her 
 doom. When first she hears of what awaits her, the emotion 
 she feels is that of agonised terror at her untimely fate {μη μ 
 anoKearjs αωρον). She pleads that life is sweet (ηδύ yap το φως 
 XeiWeii/), and shrinks in horror from beholding the dread 
 things of the underworld (12 19). With a cry of despair like 
 one drowning in deep waters she ends her piteous appeal: life 
 on any terms is better than the noblest death (1252). 
 
 But her father can give no hope of escape. A necessity too 
 strong to resist is laid upon him (τοντο yap πράξαί p,e Set), and 
 the word of the gods none shall withstand. Then in a lyric cry 
 of passionate intensity Iphigeneia makes her moan for the cruel 
 destiny that visits upon her the sin of others. Priam's exposure 
 of his infant son, Paris and the judgment of the goddesses, the 
 flight of Helen, and the gathering at Aulis of the avenging host: 
 thus, link by link, is forged the adamantine chain of fate that 
 holds at last the innocent girl in bonds that death alone can 
 loose. Throughout the play is suggested the idea of an inexor- 
 able fate bringing upon the guiltless punishment for the wrong 
 
xiv 
 
 INTR 0Ό UCTION. 
 
 doing of others 1 . Behind the perplexities of the hour, behind 
 the human actors with their hopes and fears, their devices and 
 ambitions, stands ever the shrouded form of Necessity guiding 
 all things to their appointed end, and exacting for sin a late but 
 certain expiation. Of this idea the culminating expression is 
 reached in the monody of Iphigeneia (1279 — 1335). The crisis 
 of the play now approaches : the army clamour for her death, 
 Achilles is ready to resist them with the sword. But Iphigeneia 
 has had time to conquer her first terror, and reflect calmly on 
 the situation. Her words fall with quietness and decision on 
 the excited hearing of her listeners. The eyes of Hellas are 
 upon her : the opportunity offers of saving her country and 
 winning deathless renown. When the goddess bids, when vic- 
 tory is in the balance, and national honour at stake, it is a 
 craven spirit that still clings to life. She surrenders herself a 
 willing victim. 
 
 ...once again she raised her voice, 
 "O father! if the ships are now detain'd, 
 and all your vows move not the gods above, 
 when the knife strikes me there will be one prayer 
 the less to them: and purer can there be 
 any, or more fervent than a daughter's prayer 
 for her dear father's safety and success?" 
 A groan that shook him shook not his resolve. 
 An aged man now enter'd, and without 
 one word stept slowly on, and took the wrist 
 of the pale maiden. She lookt up and saw 
 the fillet of the priest and calm cold eyes. 
 Then turn'd she where her parent stood, and cried 
 "O father! grieve no more, the ships can sail" 
 
 Landor Iphigeneia Hellen. xi. 
 1 See vv. 467, 680, 793, 1236, 1253. 
 
INTRO Ό UCTION. 
 
 III. 
 
 CRITICISMS ON EURIPIDES' IPHIGENEIA. 
 
 It is worth while to observe before we take leave of the 
 subject that fault was found in ancient times with the character 
 of Iphigeneia as conceived by Euripides. In the Poetics 
 of Aristotle (xv p. I454 a 31) we meet with a remark that, 
 as here depicted, the character offends against the canon of 
 coftsistency (το ομάΚόν) : " for," continues Aristotle, u Iphige- 
 neia pleading for her life bears no resemblance (ovdev coikzv) to 
 Iphigeneia as she afterwards appears." To understand the bear- 
 ing of this criticism we must glance for a moment at the con- 
 text in which it occurs. Consistency having been mentioned as 
 one of the cardinal principles connected with character- drawing, 
 Aristotle adds that if the poet has occasion to represent incon- 
 sistency, the character must be consistently inconsistent (ομαλώς 
 άνώμαλον, 27). He does not then condemn inconsistency as such, 
 but only when inartistically handled ; just as, in the same 
 chapter, having laid especial stress on goodness of character 1 , he 
 proceeds to censure the character of Menelaus in the Orestes 
 not as being bad, but as being unnecessarily bad 2 . In the same 
 way with regard to Iphigeneia, since change of attitude is not 
 (as we have seen) to be considered in itself a fault, Aristotle 
 means that the defect lies in the abruptness with which the- 
 change is executed. The criticism therefore which he makes is 
 less sweeping and, it may be fairly added, less removed from ap- 
 preciation of poetic excellence, than would at first sight appear. 
 Whether we agree with Aristotle, or not, it is plain that there 
 is a great difference between blaming the transition through 
 which Iphigeneia is made to pass, and maintaining that the 
 
 1 £v μέι> καΐ πρώτον, βπως χρηστά 
 
 2 The difference of reading which the MSS. here exhibit does not 
 affect the present argument. 
 
xvi 
 
 INTR OD UCTION. 
 
 motives for it are not adequately suggested. The question can 
 only be satisfactorily decided for each individual after a careful 
 and unprejudiced reading of the play as a whole. Still, when all 
 objections have been allowed their weight, the opinion of the 
 critic can hardly be otherwise than favourable to Euripides, in 
 an attempt where not to greatly succeed must be to greatly 
 fail. Of modern judgments which have been passed upon this 
 interesting point we will quote only, in conclusion, that expressed 
 by Schiller 1 , in whom the insight of a poet was combined with 
 a keen sense of dramatic fitness. He says : — " a faithful and 
 "charming portrait of nature is presented by this union of 
 "weakness and strength, of fearfulness and heroic courage. 
 "The passage from the one mood to its opposite, led up 
 "to by natural steps, is effected without undue abruptness." 
 
 IV. 
 
 TREATMENT IN ART. 
 
 A few words may be added on the treatment in ancient art 
 of the episode of the sacrifice of Iphigeneia. A situation so 
 strikingly suited to call forth the highest powers of the artist 
 was not likely, among the Greeks, to be wholly resigned for its 
 illustration to the province of literature, and we hear of a cele- 
 brated picture with this subject which was painted by Timanthes 
 of Sikyon {fire, 400 B.C.). Of the composition of his picture we 
 know something from allusions found in ancient writers, and we 
 shall presently have occasion to consider more particularly 
 certain points connected with it. 
 
 It will be convenient however to notice first three other 
 representations of the scene. We have in the first place (1) an 
 antique painted vase (Rochette Mon. ined. d'Antiquite pi. xxvi 
 B), on which the sacrifice is represented. The painting consists 
 
 1 In a note appended to his translation of the play. 
 
INTROD UCTION. 
 
 xvii 
 
 of a group of six figures. The demeanour of Iphigeneia is calm 
 and resigned. Partly visible behind her is a hind, in such a 
 position that it must receive the blow of the sacrificial knife 
 which Kalchas raises. 
 
 Secondly (π) the marble altar of Kleomenes (Baumeister 
 Denkm. des klass. Altertwns Abb. 806) at Florence : where, on 
 a relief which encircles the stone, Kalchas is seen approaching 
 Iphigeneia, whom Achilles is leading to her doom, in order to 
 begin the ceremonial of sacrifice. Agamemnon stands by the 
 altar overwhelmed by grief, holding his robe so as to conceal his 
 features 1 . Iphigeneia stands erect and firm, prepared to meet 
 her fate with dignity and resignation 2 (avec une fermetd noble 
 et tranquille. Roch.). 
 
 Thirdly (πι) a mural painting at Pompeii (Baum. Abb. 807), 
 in which Agamemnon is standing by a pillar on which is an 
 antique figure of Artemis carrying a torch in each hand. [The 
 goddess here appears in her character of "Αρτεμις άμφίπνρος, vide 
 Note C] His attitude is similar to that in (11), and, veiled by 
 his robe, he is holding his hand before his eyes. Iphigeneia, 
 clothed in a yellow robe (κροκωτός), is being raised from the 
 ground and carried to the altar in an attitude of piteous and 
 despairing supplication. 
 
 Fuller details of these works of art will be found in the 
 authorities mentioned. The descriptions just given are con- 
 cerned mainly with two points — the figure of Agamemnon and 
 the demeanour of Iphigeneia. The veiled figure of the father 
 was a feature in the picture of Timanthes, as we learn from 
 several sources. It was the opinion of ancient critics that the 
 artist's reason for concealing Agamemnon's face was that he had 
 
 1 Cf. infr. 1550 ομμάτων πέπ\ον προβείς. But the picture of 
 Timanthes, from which the attitude of Agamemnon here and in (in) 
 seems to have been copied, was probably painted before the appearance 
 of Euripides' play. 
 
 2 Overbeck Griech. Plastik ii p. 379 thinks it not improbable that 
 the figure of Iphigeneia on this relief is also derived, like that of 
 Agamemnon, from the picture of Timanthes. 
 
INTR OD UCTION. 
 
 already expended upon the rest of the group his utmost power 
 of expressing grief ; or, that he thought it impossible to paint 
 the agony of a father upon such an occasion : cf. Cicero Or, xxii 
 (74) pictor ille vidit cum immolanda Iphigeneia tristis Calchas 
 esset, maestior Ulixes, maereret Menelaus, obvolvendum caput 
 Agamemnonis esse quoniam summum ilium hictum penicillo non 
 potest imitari. But a loftier motive, based on a truer recognition 
 of the essential nature of art, was assigned by Lessing 1 for this 
 concealment. Timanthes felt that to depict the countenance of 
 Agamemnon convulsed with the terrible anguish which at such 
 a moment must have racked a father's soul, would be to excite 
 in all who looked upon it a feeling of repulsion at the distorted 
 features, that must inevitably weaken their sympathy with the 
 king's distress. " In short," he says, " the artist here has made 
 "a sacrifice to beauty; and it is an instance not how expression 
 " may exceed the capacity of art, but how it should be subjected 
 " to art's first law, beauty." 
 
 In the bearing of Iphigeneia herself a distinct difference will 
 already have been observed, which corresponds to a remarkable 
 variation in the literary treatment of her demeanour at the 
 supreme and terrible moment. 
 
 In (in) we have before us the scene described with such 
 splendid pathos by Aeschylus, Ag. 226 if., where the attendants 
 are bid to raise aloft above the altar the drooping maiden, her 
 fair mouth stopped with gags, whilst her robe of saffron dipping 
 flows from her to the ground 2 , and her sad eyes move the slayers 
 to compassion. This is the victim whom Lucretius has described, 
 i 85 if., speechless with fear, and sinking with failing limbs to 
 the earth, as she is led all quaking to the altar. Of another 
 mould is the Iphigeneia who stands before us in the two 
 remaining scenes (1, 11). We recognize the character as 
 conceived in this play by Euripides. The struggle is over : the 
 terror of death subdued by noble resolve : and Iphigeneia goes 
 with unshrinking step to lay down her life for Hellas. 
 
 1 Laokoon ch. ii. 
 
 2 κρόκου βαφατ δ' es πέδον χέονσα. 
 
INTR OD UCTION. 
 
 xix 
 
 V. 
 
 ENNIUS. SCHILLER. RACINE. 
 
 Versions and imitations of the Iphige7ieia at Aulis have been 
 attempted by different hands at various intervals since Euripides 
 gave it to the world. We propose to notice here the work of 
 three famous poets only, one of ancient, and two of modern 
 times. The play was translated by the Roman poet Ennius, 
 a few lines (some 25 in all) of whose Iphigenia are still extant. 
 We are able to infer from what survives that Ennius dealt with 
 his original in the free style 1 which he elsewhere displays in 
 adapting Greek tragedies to his own purpose. One or two 
 fragments of his translation are quoted in the notes ; see Index. 
 Coming to modern times, we have a version made by Schiller 
 in 1788. Schiller's Iphigenie, undertaken, according to his own 
 account, as an exercise in dramatic writing, by which he hoped 
 at the same time to enter into the Greek spirit, is an admirable 
 piece of work. In the choric parts especially, he is highly 
 successful in rendering the movement and rhythm of the original. 
 The translation ends with the final exit of Iphigeneia (1. 1509). 
 
 There remains the celebrated Iphigenie a Aulide of Racine. 
 This play, which appeared in 1675, was received by the public 
 with great favour. Voltaire praised it enthusiastically as "the 
 tragedy of tragedies," " a thing of beauty for all ages and all 
 peoples." Racine's plot differs from that of Euripides in several 
 important respects. He introduces into the piece another 
 Iphigeneia (daughter of Theseus and Helen) who appears as 
 Eriphile (Eriphyle) a captive of Achilles, and is in the end 
 sacrificed instead of the daughter of Agamemnon. Eriphile 
 is in love with Achilles, and jealous of Iphigeneia, her rival in 
 his affections. Hence when the latter attempts to escape from 
 her doom, Eriphile prevents her by disclosing the purposed 
 flight to Kalchas. Iphigeneia is led to the altar, where Achilles 
 
 See 1. 164 n. (end) 
 
XX 
 
 INTR Ο D U C ΤΙ Ο Ν. 
 
 comes forward as her champion, and a conflict is imminent, 
 when Kalchas declares that Eriphile herself is the victim de- 
 manded by the gods. 
 
 Un autre sang d'Helene, une autre Iphigenie, 
 
 sur ce bord immolee y doit laisser sa vie. 
 
 Ainsi parle Calchas. Tout le camp immobile 
 
 Tecoute avec frayeur et regarde firiphile 1 . (Act ν sc. 6.) 
 
 An obvious criticism is suggested by this interweaving of 
 love-intrigues with the plot. In order to secure the approbation 
 of his audience Racine, no doubt, was obliged to bring in some- 
 thing of the kind. Still, in spite of the opinion of a French 
 critic that by means of Eriphile occasion is given for " beautiful 
 developments in Iphigeneia's character," we cannot but feel 
 that the importation into the region of classic drama of ideas so 
 thoroughly modern is unfortunate. Again, as compared with 
 the Agamemnon whom Euripides has portrayed, Racine's 
 conception of the king involves a sacrifice of dramatic effect. 
 Odysseus (to whom Racine assigns the part of Menelaus) 
 induces Agamemnon to consent to the sacrifice by working on 
 his ambition ; and to this motive Agamemnon himself con- 
 fesses frankly, though with a touch of shame (avec quelque 
 pudeur), that his yielding is due. As to the character of 
 Iphige'nie herself, it will be evident from what has been already 
 said of the play that it diverges considerably from that of the 
 Greek heroine, nor would a comparison brief enough to be in 
 place here be a fair treatment of the more elaborate study of 
 the French poet. It is enough to say that here at any rate 
 Euripides has no cause to fear the rivalry of his modern 
 competitor. 
 
 1 The introduction of this character (Pheureux personnage d'£riphile) 
 Racine, in his preface, says was suggested by Pausanias; who speaks 
 (ii 22, 7 fF.) of a daughter born to Helen before her marriage with 
 Menelaus, and mentions the lyric poet Stesichorus (c. 6oo B.C.) according 
 to whom and others Iphigeneia is daughter of Theseus. 
 
INTRO D UCTION. 
 
 xxi 
 
 VI. 
 
 DATE OF THE PLAY. 
 
 A few years before the end of his life Euripides quitted 
 Athens. Whether the relentless satire of Aristophanes and 
 domestic troubles of his own were immediately connected with 
 this step, is not known for certain; possibly one or both of 
 these reasons may have contributed to the poet's final decision 
 to bid farewell to his native country. Not long afterwards he 
 went by invitation of Archelaus to reside at the Macedonian 
 court ; and it was there he composed this play. The exact 
 year of its representation is unknown. We are informed 1 that 
 it was brought out at Athens by the younger Euripides, son (or, 
 according to another account, nephew) of the poet, after the 
 death (B.C. 406) of Euripides himself. With it were produced 
 the Bacchae and the Alkmeon in Corinth, and it was in all 
 probability to this trilogy that the prize was given which Suidas 
 mentions as having been awarded to Euripides after his death. 
 
 VII. 
 
 MANUSCRIPTS, ETC. 
 
 The authorities on which depends the text of the Iphigeneia 
 at Aulis are two mss. of the second family, both without scholia : 
 (1) cod. Laurentianus plut. 32. 2 in the Laurentian library at 
 Florence, written on paper in the Xivth century (sometimes 
 known as L), referred to as C. 
 
 (2) cod. Palatinus n. 287 in the Vatican library at Rome, 
 written on parchment also in the xivth century (KirchhofFs B\ 
 
 referred to as P. 
 
 Both these mss. in the opinion of Wilamowitz-Mollendorff 
 {anal. Euripidea p. 3 &c.) are copies from the same archetype, 
 
 1 Schol. ad Ar. Ran. 67 in Bekker's Aristotle p. 1573 (584). 
 
xxii 
 
 INTR Ο Ό U C ΤΙ Ο Ν. 
 
 a ms. (Φ) which was in existence, he supposes, about 1300 in a 
 Byzantine library. Of C there are 5 copies dating from the 
 xvth century, which were used by Kirchhoff (see his preface 
 p. x) in ascertaining the readings of C for his edition of 1855 ; 
 since the ms. itself had then been collated only by de Furia, 
 who undertook the task for Matthiae's Leipzig edition, but 
 executed it in a very untrustworthy manner {ut solebat^ neglegen- 
 tissime. Kirchh.) The new collation of both mss. which was 
 published in 1875 by Wilamowitz /. c. shows C to be a better 
 ms. than was formerly supposed ; as the readings which the above 
 mentioned copies exhibit as those of C prove in many cases to 
 be due to a later corrector (c), who allowed himself an extremely 
 free hand in his alterations. The play was first printed in the 
 Aldine edition of Euripides (containing all the plays except the 
 Elektrd) published in February 1 503 at Venice. 
 
 VIII. 
 
 STRUCTURE OF THE PLAY. 
 
 The following division of the play into acts and scenes, in 
 which I follow Arnoldt 1 , presents a summary view of the part in 
 the dramatic action assigned to the different characters. 
 
 Prologos, in one scene (1 — 163), Agamemnon and Slave. 
 
 Parodos (164 — 302). 
 
 Epeisodion I, in 4 scenes (303 — 542) : — 
 Scene 1 (303 — 316) Menelaus and Slave. 
 
 Scene 2 (317 — 414) Menelaus and Agamemnon. (During their 
 colloquy the Slave retires to reappear (414) in the character 
 of Messenger.) 
 
 Scene 3 (414 — 441) Agamemnon and Messenger. (Menelaus re- 
 mains on the stage as a muta persona.) 
 Scene 4 (442 — 542) Agamemnon and Menelaus. 
 
 Die chorische Technik des Euripides p. 25 f. 
 
INTR OD UCTION. 
 Stasimon I (543—606). 
 
 xxiii 
 
 Epeisodion II, in 3 scenes (607—750) :— 
 
 Scene 1 (607—630) Klytaemnestra. (Iphigeneia is present 
 muta personal) 
 
 Scene 2 (631—685) Klytaemnestra, Iphigeneia, Agamemnon. 
 Scene 3 (685—750) Klytaemnestra and Agamemnon. 
 
 Stasimon II (751—800). 
 
 Epeisodion III, in 4 scenes (801—1035) *— 
 Scene 1 (801 — 818) Achilles. 
 Scene 2 (819—854) Achilles and Klytaemnestra. 
 Scene 3 (855—895) Achilles, Klytaemnestra, Servant. 
 Scene 4 (896 — 1035) Achilles, Klytaemnestra. 
 
 Stasimon III (1036 — 1097). 
 
 Exodos, in 10 scenes (1098 — end): — 
 
 Scene 1 (1098 — 1105) Klytaemnestra. 
 
 Scene 2 (1 106 — 11 19) Klytaemnestra and Agamemnon. 
 
 Scene$ (1120 — 1275) Klytaemnestra, Agamemnon, Iphigeneia. 
 
 (Orestes is also present (cf. 1165, 145 1) on the stage.) 
 Scene 4 (1276 — 1344) Klytaemnestra and Iphigeneia. 
 Scene 5 (1345 — 1433) Klytaemnestra, Iphigeneia, Achilles. 
 Scene 6 (1434 — 1467) Klytaemnestra and Iphigeneia. 
 Scene 7 (1467 — 1509) Iphigeneia. 
 
 Scene 8 (15 10 — 1531) a short ode sung by the chorus 1 as Iphigeneia 
 
 goes to her doom. 
 Scene 9 (1532 — 1620) Messenger and Klytaemnestra. 
 Scene 10 (1624 — 1629) Agamemnon. (Klytaemnestra and Orestes 
 
 (cf. 1623) present as mulae personae.) 
 
 1 Arnoldt ib. p. 296 f. argues on technical grounds against the 
 genuineness of this ode. 
 
CHRONOLOGICAL TABLE. 
 
 OL. B.C. 
 
 Art and Literature. 
 
 Political Events. 
 
 73, 4 485 
 
 484 
 
 483 
 480 
 
 75, 1 479 
 
 75, ^ 479 
 
 76, 1 476 
 
 77, 1 472 
 
 77, 2 471 
 
 78, 1 468 
 
 Aeschylus (b. 525) gains his 
 
 first dramatic victory. 
 Herodotus born. 
 
 Birth of Euripides (on the 
 day, it is said, of the battle 
 of Salamis — the 20th of 
 Boedromion). 
 
 Pindar circ. 40 years old. 
 
 (About this time Gorgias, the 
 rhetorician, born. Prodikus, 
 of whom Euripides was a 
 pupil, was a few years junior 
 to Gorgias). . 
 
 Anaxagoras goes to Athens. 
 
 Phrynichus wins the prize for 
 
 tragedy. 
 Aeschylus' ΤΙέρσαι. 
 Birth of Thukydides (?). 
 Sophokles (b. circ. 496) wins 
 
 his first tragic prize. 
 Death of Simonides of Keos, 
 
 the lyric poet (b. 556). 
 Birth of Sokrates. 
 
 Aristeides ostracised. 
 
 Battles of Thermopylae and 
 
 Salamis. 
 Gelon defeats the Karthagi- 
 
 nians at Himera. 
 
 Battles of Plataeae and My- 
 kale. 
 
 Siege and capture of Sestos. 
 
 Banishment of Themistokles. 
 Perikles* influence begins to 
 make itself felt. 
 
CHRONOLOGICAL TABLE. 
 
 XXV 
 
 Ol. 
 
 B.C. 
 
 Art and Literature. 
 
 Political Events. 
 
 78, 3 
 
 80, 3 
 
 81, 1 
 81, 2 
 
 81, 3 
 
 82, 2 
 
 82, 3 
 82, 4 
 
 83, ^ 
 83, 4 
 
 85, 1 
 85, 3 
 
 466 Korax begins to teach rhetoric 
 at Syracuse. 
 
 458 
 45 6 
 455 
 
 454 
 451 
 45° 
 449 
 
 447 
 
 445 
 
 84, 4 441 
 
 440 
 
 Aeschylus' Όρεστεία. 
 
 Death of Aeschylus. 
 
 Euripides produces his first 
 play, UeXiddes. 
 
 About this time Protagoras 
 (b. dir. 485) begins to visit 
 the towns of Greece, teach- 
 ing and giving lectures. 
 
 Ion of Chios begins to exhibit 
 
 tragedies. 
 Anaxagoras leaves Athens. 
 
 Kirates and Kratinus, the comic 
 poets, flor. 
 
 The sculptors Pheidias of 
 Athens (b. circ. 500) and 
 Polykleitus of S iky on. 
 
 Euripides gains the first prize 
 
 in tragedy. 
 About this time Andokides 
 
 born. 
 
 438 Euripides Αλκηστη. 
 
 Completion of the Parthenon. 
 
 Victory of Kimon over the 
 Persians at the Eurymedon. 
 
 Power of the Areiopagus cur- 
 tailed by the attacks of 
 Perikles and Ephialtes. 
 
 Enterprise of Perikles in the 
 Krissaean Gulf. 
 
 Five years truce between A- 
 
 thens and Sparta. 
 Athenians renew the war with 
 
 Persia and win a victory by 
 
 land and sea at Salamis in 
 
 Kyprus. 
 Treaty of Kallias with Persia. 
 Athenians defeated by the 
 
 Boeotians at Koroneia. 
 Euboea and Megara revolt 
 
 from Athenian alliance. 
 Thirty Years Peace between 
 
 Athens and Sparta. 
 
 Revolt of Samos. 
 
 H. 1. 
 
xxvi CHRONOLOGICAL TABLE. 
 
 Ol. b.c. Art and Literature. Political Events. 
 
 85, 4 437 
 
 86, 2 435 
 
 87, 1 432 
 
 87, 2 431 
 
 87, 3 43° 
 
 87, 4 429 
 
 88, 1 428 
 
 88, 2 427 
 
 88, 3 426 
 
 88, 4 425 
 
 Polygnotus, the painter, flor. 
 
 Anaxagoras prosecuted for 
 
 impiety. He retires to 
 
 Lampsakus. 
 Death of Pheidias. 
 Euripides' Μή&τια. 
 Perikles' funeral oration over 
 
 those who fell in the first 
 
 year of the war. 
 
 Birth of Plato. 
 
 Eupolis, the comic poet, begins 
 
 to exhibit. 
 Euripides' Ίππό\υτος. 
 
 Aristophanes' Ααιτάλής. 
 
 Gorgias at Athens as Ambas- 
 sador from Leontini. 
 
 Aristophanes' Βαβυλώνιοι, in 
 which he begins his attack 
 on Kleon. 
 
 Zeuxis, the painter, flor, 
 
 Aristophanes' *Κ.χαρνψ, 
 
 Amphipolis founded by the 
 Athenians. 
 
 Outbreak of war between 
 Corinth and Kerkyra on 
 account of Epidamnus. 
 
 Potidaea revolts and is block- 
 aded. 
 
 Outbreak of Peloponnesian 
 War. 
 
 Peloponnesians invade Attica. 
 
 Plague at Athens. 
 
 Perikles loses the popular 
 
 favour and is fined, but is 
 
 re-elected strategus. 
 Fall of Potidaea. 
 Death of Perikles. 
 
 All Lesbos except Methymna 
 
 revolts. 
 Mytilene blockaded. 
 Fall of Mytilene. 
 Plataeae taken and destroyed 
 
 by the Peloponnesians. 
 
 Demosthenes at Pylos. 420 
 Spartan hoplites including 
 a number of distinguished 
 Spartiates blockaded in 
 Sphakteria. Kleon takes the 
 island and carries the sur- 
 viving Spartans as prisoners 
 to Athens. 
 
OL. B.C. 
 
 89, 1 
 
 89, 3 
 
 89, 4 
 
 90, I 
 
 90> 3 
 90, 4 
 
 CHR ONOL Ο GICAL 
 Art and Literature. 
 
 89, 1 424 Aristophanes' 'Iiririjj. 
 
 4 2 3 
 422 
 
 421 
 420 
 
 Aristophanes' Ne0A<u (first 
 
 edition). 
 Aristophanes' Σφήκες. 
 
 Aristophanes' ΕΙρψη. 
 Euripides' Ίκέτιδες. 
 
 4 i8 
 417 
 
 91, 1 416 Agathon, the tragic poet,y&?r. 
 
 91, 2 415 Euripides' Τρωάδες. 
 
 9i, 3 414 Aristophanes' "Oppides. 
 
 9 1 » 4 4*3 
 
 92, 1 412 
 
 Euripides' 'ΕΚένη, Ανδρο- 
 μέδα. 
 
 TABLE. χχνϋ 
 Political Events. 
 
 Athenian defeat at Delium. 
 
 Brasidas brings about the re- 
 volt of Amphipolis and other 
 towns in Chalkidike. 
 
 Kleon and Brasidas killed at 
 Amphipolis. 
 
 Peace of Nikias. 
 
 Alliance between Sparta and 
 Thebes. 
 
 Alkibiades negotiates a counter 
 alliance between Athens, 
 Argos, Elis, and Mantineia. 
 
 Spartan victory at Mantineia. 
 
 Hyperbolus ostracised — the 
 last exercise of ostracism. 
 
 Envoys from Egesta ask help 
 from Athens against Selinus 
 and Syracuse. 
 
 Mutilation of the Hermae. 
 
 Sicilian expedition under Ni- 
 kias Lamachus and Alkibi- 
 ades. 
 
 Alkibiades recalled. 
 Gylippus enters Syracuse and 
 
 captures the fort of Lab- 
 
 dalon. 
 
 Nikias sends for reinforcements 
 to Athens. 
 
 Destruction of Athenian force 
 in Sicily. 
 
 Death of Nikias and Demo- 
 sthenes. 
 
 Athenian fleet at Samos. 
 
xxviii CHRONOLOGICAL TABLE. 
 
 Ol. b.c. Art and Literature. Political Events 
 
 92, 2 411 
 
 92, 3 410 
 
 92, 4 409 
 
 93, 1 408 
 93» * 407 
 
 93> 3 406 
 
 Aristophanes' Ανσίστράτη, 
 θεσμοφορι,άζουσαί. 
 
 Sophokles' Φιλοκτήτης. 
 Euripides' Όρέστης. 
 Euripides' Ίφιτ/ένβια ή iv 
 
 Αύλίδι. probably written 
 
 during this year. 
 
 Death of Euripides at Pella. 
 Death of Sophokles. 
 
 Oligarchic council of 400 es- 
 tablished at Athens. 
 
 Alkibiades recalled by the 
 fleet. 
 
 Overthrow of the 400. 
 Victory of the Athenians under 
 Alkibiades at Kyzikus. 
 
 Alkibiades chosen arpaTTjybs 
 αυτοκράτωρ. 
 
 Lysander defeats the Athenian 
 fleet at Notium in the ab- 
 sence of Alkibiades, who is 
 thereupon superseded in his 
 command by Konon. 
 
 Athenian naval victory at Ar- 
 ginusae: death of the Spartan 
 admiral Kallikratidas. 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ. 
 
 * 
 
Τα τον δράματος πρόσωπα 
 
 Αγαμέμνων. 
 Πρ€<τβύτη5. 
 Χορός* 
 McvlXaos. 
 
 Κλυταιμνήστρα. 
 Ίφιγέν€ΐα. 
 
ΕΥΡΙΤΤΙΔΟΥ 
 ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ. 
 
 ΑΓΑ. *Ω πρέσβυ, δόμων τώζ/δε ττάροιθεν 
 
 στεΖχε. Π Ρ. στε^χω. τί δε καινού pyeis, 
 
 5 Αγάμβμνον άναξ ; ΑΓΑ. πεύσβί. ΠΡ. σπευδ 
 
 μάλα tol γήρας τονμον αυπνον 
 
 κα\ eV όφθαΧμοΐς οξύ ττάρεστιν. 
 ΑΓΑ. τίς ποτ άρ αστήρ οδε ττορθμεύει; 
 ΠΡ. Σείριος εγγύς της εττταττόρου 
 
 Πλ€^άδθ9 άσσων ετι μεσσήρης. 
 ΑΓΑ. οΰκουν φθόγγος y οΰτ ορνίθων 
 
 ούτε θαΧάσσης' σιγαΐ δ' ανέμων 
 
 τόνδε κατ Έίΰριττον εγρυσιν. 
 ΠΡ. τί δε σύ σκηνής εκτός άίσσεις, 
 
 1 Αγάμεμνον αναζ ; 
 
 ετυ δ' ησυχία ττ)δε κατ ΑΰΧιν, 
 
 κ αϊ ακίνητοι φυΧακαι τειγεων. 
 
 στείχωμεν έσω. ΑΓΑ. ζηΧώ σε, γέρον, 
 
 ζηΧώ δ' ανδρών ος άκίνδυνον 
 
 βίον έξεπερασ άγνώς άκΧεής' 
 
 τους δ' εν τιμαΐς ήσσον ζηΧω. 
 ΠΡ. καΐ μην το καΧόν y ενταύθα βίου. 
 ΑΓΑ. τοΰτο δε γ έστϊν το καΧόν σφαΧερόν, 
 
 και φιΧότιμον, 
 
 γΧυκύ μεν, Χύπτ) δε ττροσιστάμενον. 
 
4 ΕΥΡΙΤΤΙΔΟΥ 
 
 τοτε μεν τά θεών ουκ όρθωθέντ 
 ανέτρεψε βίον, τοτε δ' ανθρώπων 25 
 ηνώμαι πολλαι 
 και Βυσάρβστοί διέκναισαν. 
 ΠΡ. ουκ άηαμαι ταυτ ανδρός άριστέως' 
 ουκ επι πάσίν σ εφύτευσ άγαθοΐς, 
 
 * Κηάμεμνον, Άτρενς. 3° 
 δει δε σε γαίρειν καϊ λνπεΐσθαι' 
 
 θνητός yap εφυς. καν μή σν θέλτ)ς } 
 
 τά θεών οντω βονλόμεν εσται. 
 
 σν δε λαμπτήρος φάος άμπετάσας 
 
 δέλτον Τ€ γράφεις 35 
 
 τήνδ' ην προ χερών ετι βαστάζεις, 
 
 καϊ ταύτα πάλιν γράμματα σνγχεΐς 
 
 και σφραγίζεις λύεις τ οπίσω 
 
 ρίπτεις Τ6 πέδω πεύκην, θαλερόν 
 
 κατά δάκρυ χέων, 4° 
 
 και των απόρων ονδενός ενδεΐς 
 
 μή ου μαίνεσθαι. 
 
 τί πονεΐς; τι νέον περι σοι, βασιλεν ; 
 
 φέρε κοίνωσον μΰθον ες ημάς. 
 
 προς S* ανδρ αγαθόν πιστόν τ€ φράσεις* 45 
 
 σ ϋ Ί^Ρ A 6 ' άλόχφ τότε Ύννδάρεως 
 
 πέμπει φερνήν 
 
 σννννμφοκόμον τ€ δίκαιον. 
 
 ΑΓΑ. έηένοντο Αήδα ®εστιάδι τρεις παρθένοι, 
 
 Φοίβη Κλυταιμνήστρα τ εμή ξυνάορος 50 
 
 * Ελένη Τ€' ταύτης οί τά πρωτ ώλβισμένοι 
 μνηστήρες ήλθον Ελλάδος νεανίαι. 
 
 δειναι δ' άπειλαι και κατ αλλήλων φόνος 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 
 
 5 
 
 ξυνίσταθ\ όστις μή Χάβοι την παρθένον. 
 το πράγμα δ' άπόρως βΐχβ Ύυνδάρβω πατρί, 55 
 δούναι Τ6 μή δούναι τ€, της τύχης οπως 
 αψαιτ άριστα, και νιν βισήΧθβν τάδε, 
 όρκους συνάψαι δβξίάς τβ συμβαΧβΐν 
 μνηστήρας άΧΧήΧοισι και δι ίμπύρων 
 σπονδάς καθβϊναι κάπαράσασθαι ταδε, 6ο 
 ότου γυνή γένοιτο Ύυνδαρϊς κόρη, 
 τούτω συναμυνβΐν, el τις €Κ δόμων Χαβών 
 οϊχοιτο τον τ βχοντ άπωθοίη Χέχους, 
 κάπιστρατβύσβιν καϊ κατασκάψβιν πόΧιν 
 "ΈΧΧην ομοίως βάρβαρου θ* οπΧων μέτα. 65 
 eVel δ' έπιστώθησαν, ev δε πως γέρων 
 ύπήΧθβν αυτούς Ύυνδάρβως πυκνή φρβνί, 
 δίδωσ ίΧέσθαι θυγατρϊ μνηστήρων eva, 
 οτου πνοαϊ φεροιβν Αφροδίτης φίΧαι. 
 η δ' €ίΧ€θ\ ος σφβ μήποτ ωφβΧβν Χαββΐν, 7° 
 MeveXaov. έΧθών δ' Ικ Φρυγών 6 τάς θβάς 
 κρίνας όδ\ ώς 6 μύθος ανθρώπων έχε*, 
 Κακβδαίμον, ανθηρός μβν βΐμάτων στοΧτ) 
 χρυσω τε Χαμπρός βαρβάρω χΧιδήματι, 
 €ρών Ιρώσαν ωχετ' έξαναρπάσας 75 
 'ΕΧένην προς "Ιδης βούσταθμ\ βκδημον Χαβών 
 MeviXaoV ό δε καθ" Έλλάδ' οίστρήσας δρόμφ 
 όρκους παλαιούς Ύυνδάρεω μαρτύρβται, 
 ώς χρή βοηθαϊν τοϊσιν ήδικημένοις. 
 τούντβύθβν συν "ΕΧληνβς αξαντβς δορί, 8ο 
 τεύχη Χαβόντβς στβνόπορ ΑυΧίδος βάθρα 
 ηκουσι τήσδβ, ναυσιν άσπίσιν & ομοΰ 
 ΐπποις τε ποΧΧοΐς άρμασίν τ ήσκημένοι. 
 κάμβ στρατηγών πάντα, ΜβνέΧβω χάριν, 
 
6 
 
 ΕΥΡΙΤΤΙΔΟΥ 
 
 ειΧοντο, avyyovov ye. τάξίωμα δε 85 
 αΧΧος τις ώ'φελ,' άντ εμού Χαβεϊν τόδε. 
 ηθροισμενου δε και ξυνεστώτος στρατού, 
 ήμεσθ* άπΧοία χρώμενοι κατ ΑυΧίδα. 
 Καλχα? δ' ό μάντις απορία κεχρημένοις 
 άνεΐΧεν Ίφ^ένειαν ην εσπειρ' eyco go 
 Άρτέμιδι θύσαι ττ) τόδ' οίκούστ) πέδον, 
 και πΧούν τ εσεσθαι καϊ κατασκαφάς <S>pvy<jt>v 
 θύσασι, μη θύσασι δ' ουκ είναι τάδε. 
 κΧυων δ' εγώ ταΰτ \ ορθίω κηρ^ματι 
 ΎαΧθύβιον ειπον πάντ άφιεναι στρατόν, 95 
 ώς οΰποτ αν τΧάς OvyaTepa KTavelv έμήν. 
 ου δή μ αδεΧφος πάντα προσφερων Xoyov 
 έπεισε τΧήναι δεινά, καν δεΧτου πτυχαΐς 
 ypa-^τας έπεμψα προς δάμαρτα τήν εμήν 
 στέΧΧειν ΆχιΧΧεΐ θυyaτεp ώς yaμoυμέvηv ) ιοο 
 τό τ αξίωμα τάνδρος έ^αυρού μένος, 
 συμπΧεΐν τ Άχαιοϊς ούνεκ ού θέΧοι Xeywv, 
 el μη παρ ημών εισιν εις Φθίαν Χεχος' 
 π€ίθώ yap ειχρν τήνδε προς δάμαρτ εμήν, 
 ψευδή συνάψας άμφϊ παρθένου y^ov. 105 
 μόνοι δ' Αχαιών ϊσμεν ώς έχει τάδε 
 Κάλχα? Όδυσσεύς Μ,ενέΧεώς θ\ ά δ' ού καΧώς 
 ετγνων τότ\ αύθις μeτaypάφω καΧώς πάΧιν 
 εις τήνδε δέΧτον, ήν κατ εύφρόνης σκιάν 
 Χύοντα και συνδοΰντά μ! είσεϊδες, yepov. 110 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 7 
 
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 Ααναών προς ναυς. 
 
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 πολύθυτον δε δ^' άλσος Άρ- άντ. 185 
 
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 καϊ σύριγγας άρματβίους. 230 
 
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 Φθιωτας 6 Μνρμιδών "Αρης 
 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ II 
 
 πρύμναις σήμ Άχ^λλε/ου στρατού. 
 
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 σημβίοισιν έστοΧισμένας' 255 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 13 
 
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 ΠΡ. καΧόν γε μοι τούνειδος έζωνείδισας. 3°5 
 
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 Π Ρ. ώ δεσποτ 9 άδικούμεσθα. σας δ' επιστοΧάς 
 
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 εφυν. 330 
 
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 μεν ευ 
 
 παρά δίκην εσται κάκιστης εΰνιδος τιμωρία, 
 εμε δε συντηξουσι νύκτες ημέραι τε δακρύοις, 
 άνομα δρώντα κόύ δίκαια παϊδας ους ^εινάμην. 
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 δια · 4°ο 
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 καΧώς. 
 
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ι8 
 
 ΕΥΡΙΤΤΙΔΟΥ 
 
 μύθων, καλώς δ' εχουσι, φείδεσθαι τέκνων. 
 
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 ΜΕ. δείξεις δε που μοι πατρός εκ ταύτοΰ γε<γώς ; 
 
 ΑΓΑ. συνσωφρονεΐν yap ούχϊ συννοσεΐν εφυν. 
 
 ΜΕ. €9 κοινόν αλγβίζ/ τοΐς φίλοισι χρή φίλους. 
 
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 φίλους τ 67γ' άλλους. ΑΓΓ. ω ΠανεΧλήνων άναζ ) 
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 ην Ίφ^ένειαν ώνό μάζες εν δόμοις. 
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 και παις Όρέστης, (ώστε τερφθείης ίδών,) 
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 εν πάσι κλεινοί και περίβλεπτοι βροτοϊς. 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 19 
 
 ΑύΧίδος άνάσση. τίς νιν άξεταί ποτε;" 
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 οϊμοι, τί φώ δύστηνος ; άρξομαι πόθεν ; 
 εις οΓ άνάηκης ζεύηματ εμπεπτώκαμεν. 
 ύπήΧθε δαίμων, ώστε των σοφισμάτων 
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 καϊ yap δακρΰσαι ραδίως αντοΐς εγει, 
 ανοΧβα τ ειπείν, τω δέ <γενναίω φύσιν 
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 πώς δέξομαί νιν ; ποιον ομμα συμβάΧω ; 455 
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20 
 
 ΕΥΡΙΤΤΙΔΟΥ 
 
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 , υπέρ τυράννων συμφοράς καταστενειν. 47° 
 
 ΜΕ. άδεΧφέ, δός μοι δεξιάς της σης diynv. 
 
 ΑΓΑ. δίδωμι' σον yap το κράτος, άθΧιος δ' &γώ. 
 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 21 
 
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 θυ Γ γατρός αιματηρού εκπράξαι φόνον. 
 
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 ΑΓΑ. εκείνο δ' ού δέδοικας ου μ εσέρχεται ; 
 
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 ΑΓΑ. ποικίΧος άει πέφυκε του τ οχΧου μέτα. 
 
22 
 
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 ΑΓΑ. ούκουν δόκει νιν στάντ εν 'Apyeiots μεσοις 
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 κάμ ώς ύπέστην θϋμα, κατα ψεύδομαι, 53° 
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 ώς ηπόρημαι προς θεών τα νυν τάδε. 
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 το% εντείνεται χαρίτων, 
 
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 εϊη δε μοι μετρία μεν 
 
 χάρις, πόθοι δ' όσιοι, 555 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 
 
 33 
 
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 Η Λ V V 
 
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 ιώ Ιώ' μβηαΚαι μβηαΚων 59° 
 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 25 
 
 δέξασθε και πορεύσατ εξ οχημάτων. 
 
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 προς στέρνα πατρός στέρνα τάμα προσβάλω. 
 
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26 
 
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 ΙΦ. οΧοιντο λογχα^ και τά ^ΑενέΧεω κακά. 
 
 ΑΓΑ. αΧΧους όΧεΐ πρόσθ* άμε διοΧέσαντ εγει. 
 
 ΙΦ. ως ποΧύν άπησθα χρόνον iv ΑυΧίδος μυχοϊς. 66ο 
 
 ΑΓΑ. καϊ νυν yέ μ ϊσγει δη τι μη στέΧΧειν στρατό ν. 
 
 ΙΦ. Ίτοΰ τους Φpύyaς Xέyoυσιv ωκίσθαι, πάτερ ; 
 
 ΑΓΑ. ου μηποτ οικεΐν ωφεΧ' 6 ΤΙριάμου ΤΙάρις. 
 
 ΙΦ. μακράν άπαίρεις, ω πάτερ, Χιπών εμέ ; 
 
 ΑΓΑ. ή"εις ταύτόν, ώ θ^ατερ, ηκεις σω πατρί.ή' 665 
 
 ΙΦ. φευ' 
 
 εϊθ* ην καΧόν μοι σοι τ ayeiv σύμπΧουν εμέ. 
 ΑΓΑ. επεστι και σοι πΧοΰς, ίνα μνήσει πατρός. 
 ΙΦ. συν μητρι πΧενσασ ή μόνη πορεύσομαι ; 
 ΑΓΑ. μόνη, μονωθεΐσ από πατρός και μητέρος. 
 ΙΦ. oil πού μ ες αΧΧα δώματ οίκίζεις, πάτερ ; 670 
 ΑΓΑ. εασον. ου χρή τοιάδ* είδέναι κόρας. 
 ΙΦ. σπεύδ' εκ Φpυyώv μοι, θέμενος ευ τάκεϊ, πάτερ. 
 ΑΓΑ. θΰσαί με θυσίαν πρώτα δει τιν ενθάδε. 
 ΙΦ. αλλά ξύν ιεροϊς χρή τό y ευσεβές σκοπεΐν. 
 ΑΓΑ. εϊσει σύ' γερνιβων yap εστήξεις πέΧας. 675 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 27 
 
 1Φ. στησομεν αρ άμφϊ βωμόν, ώ πάτερ, χορούς ; 
 
 ΑΓΑ. ζηΧώ σε μάΧΧον η 'μ€ τον μηδέν φρονεΐν. 
 χωρεί δε μεΧάθρων εντός οφθηναι κόραις, 
 πικρον φίλημα δονσα δεξιάν τ εμοί, 
 μέΧΧονσα δαρον πατρός άποικήσειν χρονοικ 680 
 ώ στέρνα καϊ παράδες, ώ ξανθαΐ κόμαι, 
 ως άχθος νμΐν iyiveff* η Φρυγων πόλις 
 *ΈίΧένη τ€' παύω τους Χόγονς' ταχεία yap 
 νοτϊς διώκει μΐ ομμάτων ψαύσαντά σον. 
 ϊθ* εις μεΧαθρα. σε δε παραιτούμαι τάδε, 685 
 Αήδας γένβθΧον, εί κατωκτίσθην ayav, 
 μέΧΧων ΆχιΧΧεΐ θνηατέρ εκδώσειν εμην. 
 άποστοΧαϊ yap μακάριαι μεν, άΧΧ' ομως 
 δάκνονσι τους τεκόντας, οταν άΧΧοις δόμοις 
 παΐδας παραδίδω ποΧΧά μοχθήσας πατήρ. 6ρο 
 
 ΚΑ. ονχ ωδ' ασύνετος el μι, πείσεσθαι δε με 
 καντην δόκει τάδ\ ώστε μη σε νονθετεΐν, 
 οταν συν νμεναίοισιν εζάηω κόρην' 
 αλλ' ο νόμος αντά τω χρόνω σννίσχνανεΐ. 
 τοΰνομα μεν ουν παϊδ' οΖδ' οτω κατήνεσας, 6g$ 
 γενονς δε ποίον χώπόθεν, μαθεϊν θεΧω. 
 
 ΑΓΑ. Aiy ινα Ovya^p iyever Άσωπον πατρός. 
 
 ΚΑ. ταύτην δε θνητών η θεών εζενξε τις ; 
 
 ΑΓΑ. Zeu?* Αίακόν δ' εφνσεν, ΟΙνώνης προμον. 
 . ΚΑ. τον δ' ΚΙακον παις τις κατεσχε δώματα ; ηοο 
 
 ΑΓΑ. ΤίηΧεύς' 6 ΥΙηΧενς δ' εσχε Νηρέως κορην. 
 
 ΚΑ. θεοί) δίδοντος, η βία θεών Χαβών ; 
 
 ΑΓΑ. Zeu9 ηyyύησε καϊ δ/δωσ' 6 κύριος. 
 
 ΚΑ. yaμεΐ δε πον vw ; η κατ οίδμα πόντιον ; 
 
 ΑΓΑ. Χείραιν ϊν οικεί σεμνά ΙίηΧίον βάθρα. 705 
 
 ΚΑ. ον φασϊ Κεντανρειον ωκίσθαι yεvoς ; 
 
28 
 
 ΕΥΡΙΤΤΙΔΟΥ 
 
 ΑΓΑ. ένταυθ* βδαισαν ΤΙηΧέως γάμους θβοί. 
 
 ΚΑ. Θετ£9 δ' βθρβψβν ή πατήρ ΆχίΧλέα ; 
 
 ΑΓΑ. Χ,βίρων, ϊν ήθη μή μάθοι κακών βροτών. 
 
 ΚΛ. φβν' 
 
 σοφός y 6 θρέψας χω διδονς σοφωτβρος. η\ο 
 
 ΑΓΑ. τοιόσδβ παίδός σης άνήρ βσται πόσις. 
 
 ΚΛ. ου μβμπτός. οίκβί δ' άστυ ποίον Έλλάδο<? ; 
 
 ΑΓΑ. Άπίδανόν άμφϊ ποταμόν iv Φθίας 'όροις. 
 
 ΚΛ. €Κ€Ϊσ άπάξβις σήν έμήν re παρθένον ; 
 
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 ΑΓΑ. οταν σέΚηνης Ευτυχής €\θη κύκλος. 
 
 ΚΛ. προτέΧβια δ' 97877 παιδός βσφαζας Oea ; 
 
 ΛΓΑ. μέΧλω' VI ταύτη καϊ καθέσταμβν τύχη. 
 
 ΚΛ. καπβίτα δαίσβις τους γάμους ές ύστερον ; jio 
 
 ΑΓΑ. θύσας ye θύμαθ* άμε χρή θυσαι θεοϊς. 
 
 ΚΛ. ήμβϊς δέ θοίνην που yυvaιξ\ θήσομεν ; 
 
 ΑΓΑ. ενθάδε παρ εύπρύμνοισιν *&pyείωv πλάταίς. 
 
 ΚΛ. καΧως άvayκaίως τε' συνενε^κοι δ' όμως. 
 
 ΑΓΑ. οίσθ* ουν ο δράσον, ω yύvac' πίθου δέ μου. 7^5 
 
 ΚΛ. τί χρήμα ; πείθεσθαι yap εϊθισμαι σέθεν. 
 
 ΑΓΑ. ήμεΐς μεν ενθάδ\ οΰπέρ εσθ* 6 νυμφίος, 
 
 ΚΛ. μητρός τί χωρίς δράσεθ\ άμε δράν χρεών ; 
 
 ΑΓΑ. εκδωσομεν σήν παϊδα Δαναΐδων μέτα. 
 
 ΚΛ. ημάς δέ που χρή τηνικαυτα wyxavew ; 73° 
 
 ΑΓΑ. χωρεί προς , Άpyoς παρθένους τ€ τη μέλει. 
 
 ΚΛ. λιποΰσα παϊδα ; τις δ' άνασχήσει φλόya ; 
 
 ΑΓΑ. iyco παρέξω φως ο νυμφίοις πρέπει. 
 
 ΚΛ. ούχ ό νόμος οΰτος' ή συ φαυλ' ήyεΐ τάδε; 
 
 ΑΓΑ. ου καλόν iv οχλω σ εξομιλεϊσθαι στρατού. 735 
 
 ΚΛ. καΧόν τεκοΰσαν τάμα μ εκδουναι τέκνα. 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 
 
 2 9 
 
 ΑΓΑ. και τάς y iv οίκω μη μόνας elvai κόρας. 
 
 ΚΑ. όχυροΐσι παρθενώσι φρουρούνται καΧώς. 
 
 ΑΓΑ. πίθου. ΚΑ. μά την άνασσαν 'Apyeiav θβάν. 
 
 €λ,σων συ ταξω πρασσβ, τ αν οομοις ο eyω 74° 
 [α χρή παρβΐναι νυμφίοισι παρθένοι*;]. 
 
 ΑΓΑ. οϊμοι' μάτην ηξ\ ελπίδος δ' άπεσφάΧην, 
 εξ ομμάτων δάμαρτ άποστεΐλαι θέλων. 
 σοφίζομαι δε κάπι τοΐσι φιλτάτοις 
 τέχνας πορίζω, πανταχη νικώμενος. 745 
 ομως δε συν ΚάΧχαντι τω θυηπόλω 
 κοινγι το της θεού φιλον, εμοι δ' ουκ ευτυχές, 
 εξιστορήσων ειμι, μόχθον Ελλάδος. 
 χρή δ' iv δόμοισιν άνδρα τον σοφον τρεφειν 
 ηυναϊκα χρηστην κάτ/αθήν, η μη τρεφειν. 75° 
 
 ι 
 
 ΧΟ. ηξει δή ^ιμόεντα και στρ. 
 δίνας άρ^υροβιδεϊς 
 ay υ ρις *ΈλΧανων στρατιάς 
 ανά τ€ ναυσιν και συν οττΑ,οις 
 "Wiov είς το Τροίας 755 
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 τάν Ίίασάνδραν ΐν ακούω 
 ρίπτειν ξανθούς πλοκάμους 
 χΚωροκόμω στεφάνω δάφνας 
 κοσμηθεΐσαν, οταν θεού 7^° 
 μαντόσυνοι πνεύσωσ avayKai. 
 
 στάσονται δ' επι πεpyάμωv αντ. 
 Τροίας άμφί τ€ τείχη 
 Τρώες, όταν χαΚκασπις "Apr/9 
 πόντιος εύπρωροισι πλάταις 7^5 
 ιι. τ. 3 
 
3θ ΕΥΡΙΤΤΙΔΟΥ 
 
 el pea ία 7Γ€\άζτ) 
 %ιμονντιοις οχετό ΐς, 
 τάν των ev αίθέρι Κισσών 
 Δωσκονρων *Ελέναν 
 
 etc ΤΙριάμον κόμισα ι θέ\ων 77° 
 6t9 ηάν Ελλάδα δοριπόνοις 
 άσττίσι καϊ Χόγχαις Άχαιων. 
 
 Τίέρηαμον he Φρνγών ττόΧιν έττωδ. 
 Χαϊνονς irepl ττύρηους 
 
 κνκλωσας "Apev <f>ovi(p y 775 
 Χαιμοτόμους σττάσας Κ€φα\άς, 
 ττέρσας πόΧισμα κατ άκρας 
 θήσ€ί κόρας ττόΧυκΚαύτους 
 
 δάμαρτά τ€ ΐίριάμου. 7 8 ° 
 
 α δέ Διός Έλει/α κόρα \ττο\νκ\αυτος\ 
 
 €Ϊσ€ταί ττόσιν ΊτροΧιπουσα. 
 
 μητ έμοϊ μητ έμοϊσι τέκνων τέκνοις 
 
 έΧττϊς αδε ττοτ βΧθοι, 7 8 5 
 
 οΐαν αί ττο\ύγ^ρνσοι 
 
 ΑνδαΙ καϊ Φρυηων άλογοι 
 
 στησουσι τταρ ίστοϊς 
 
 μνθ€ΰσαι τάδ' ές ά\\ή\ας· 
 
 τις άρα μ €ν7τλοκάμον κόμας 79° 
 
 ρνμα δακρυο€ν τανύσας 
 
 πατρίδος όΧΧνμένας άττό\ωτΐ€Ϊ ; 
 
 δια σε, τ αν κύκνου δο\ιχαύχ€νος γόνον, 
 
 ei οη φατις €τνμος, 
 
 ώς €Τ€Κ€ν Αήδα σ 795 
 
 ορνιθί ττταμένω 
 
 Διός οτ αλΧάχθη δέμας. 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 31 
 
 €Ϊτ εν δέΧτοις ΙΙιερίσιν 
 μύθοι ταδ' €9 ανθρώπους 
 
 ήνβηκαν παρά καιρόν άΧΧως. 8οο 
 
 ΑΧ. πον των Αχαιών ενθάδ* 6 στρατηΧάτης ; 
 τις αν φράσβιβ προσπόΧων τον ΤΙηΧέως 
 ζητουντά νιν παΐδ' iv πυΧαις ' Αχιλλέα ; 
 ουκ εξ ϊσου yap μένομεν Έιύρίπου πέΧας. 
 οΐ μεν yap ημών οντες άζυyες yάμωv 805 
 οϊκους έρημους εκΧιπόντες ενθάδε 
 θάσσουσ επ* άκταΐς, οΐ δ' έχοντες εΰνιδας 
 καϊ παϊδας' ούτω δεινός εμπέπτωκ ερως 
 τήσδε στρατείας Έλλάδ' ουκ άνευ θεών. 
 τούμον μβν ου ν δίκαιον ε με Xeyeiv χρεών* 810 
 αΧΧων δ' ο χρήζων αύτος υπέρ αύτοΰ φράσει. 
 yfjv yap Χιπών ΦάρσαΧον ήδέ ΤΙηΧέα 
 μένω VI Χεπταΐς ταισίΰ* Ευρίπου πνοαΐς, 
 Μυρμιδόνας ϊσχων' οΐ δ' άει προσκείμενοι 814 
 Χ^ουσ' ΆχιΧΧεϋ, τί μένομεν ; ποιον χρόνον 
 €Τ εκμετρήσαι χρή προς 'ΙΧίου στόΧον ; 
 φράζ\ el τι δράσεις, ή ατταγ' οϊκαδε στρατόν, 
 τα των 1 Ατρειδών μη μένων μεΧΧηματα. 
 
 ΚΛ. ώ παϊ θεάς Νηρβδος, ενδοθεν X6yωv 
 
 των σών άκούσασ εξέβην προ δωμάτων. 820 
 
 ΑΧ. ώ ποτνι αιδώς, τήνδε τίνα Χεύσσω ποτέ 
 yυvaΐκa f μορφή ν ευπρεπή κεκτημένην ; 
 
 Κ Λ. ου θαΰμά σ ή μας άyvoεΐv, οΐς μή πάρος 
 
 προσήκες* αινώ δ' οτι σεβεις το σωφρονεΐν. 
 
 ΑΧ. τις δ' ει; τί δ' ήΧθες Δαναϊδών εις σύXXoyov, 825 
 yυvή προς άνδρας άσπίσιν πεφpay μένους ; 
 
 ΚΛ. Λτ;δα9 μέν είμι παις, ΚΧυταιμνήστρα δε μοι 
 
 3- -2 
 
32 ΕΥΡΙΤΤΙΔΟΥ 
 
 όνομα, πόσις δε μούστϊν Αγαμέμνων αναξ. 
 ΑΧ. καΧώς εΧεξας iv βραχεί τά καίρια, Τ 
 
 αίσχρον δέ μοι γυναιξί συμβάΧΧειν λόγοι/5. 83° 
 ΚΛ. μεϊνον' τί φεύγεις ; δεξιάν τ έμχι χέρι 
 
 σύναψον, αρχήν μακαρίων νυμφευμάτων. 
 ΑΧ. τί φής ; εγώ σοι δεξιάν ; αΐδοίμεθ* αν 
 
 Άγαμέμνον \ εΐ ψαύοιμεν ων μή μοι θέμις. 
 ΚΛ. θέμις μάλιστα, την έμήν εττει γαμεΐς 835 
 
 παΐδ', ω θεάς τταΐ ττοντίας Νηρηίδος. 
 ΑΧ. Ίτοίους γάμους φής ; αφασία μ! εχει, γύναι. 
 
 el μή τι πταρανοοΰσα καινουργεϊς Χόγον. 
 ΚΛ. ττάσιν τόδ' εμττέφυκεν, αΐδεΐσθαι φίΧους 
 
 καινούς ορώσι και γάμου μεμνημένους. 840 
 ΑΧ. ούττώττοτ εμνήστευσα τταΐδα σήν, γύναι, 
 
 οι)δ' εξ Ατρειδών ήΧθέ μοι Χόγος γάμων. 
 ΚΛ. τί δήτ άν εϊη ; συ ττάΧιν αΰ Χόγους εμούς 
 
 σαυμαζ εμοι γαρ σαυματ €στι ταττο σου. 
 ΑΧ. εϊκαζε' κοινόν εστίν εΐκάζειν τάδε* 845 
 
 άμφω γαρ ου ψευδόμεθα τοις Χόγοις ϊσως. 
 ΚΛ. αλλ* ή πέττονθα δεινά ; μνηστεύω γάμους 
 
 ουκ οντάς, ως εϊξασιν' αιδούμαι τάδε. 
 ΑΧ. ίσως εκερτόμησε κάμε και σέ τις. 
 
 αλλ,* άμεΧία δος αυτά και φαυΧως φέρε. 850 
 ΚΛ. χαφ ου γαρ ορσοις ομμασιν σ ετ εισορω, 
 
 ψευδής γενομένη και τταθοΰσ ανάξια. 
 ΑΧ. και σοι τόδ' εστίν εξ εμού* ττόσιν δε σον 
 
 στείχω ματεύσων τώνδε δωμάτων εσω. 854 
 ΠΡ. ω ξέν , ΑΙακοΰ γένεθΧον, μεΐνον, ώ σέ τον Χέγω, 
 
 τον θεάς γεγώτα τταΐδα, και σε την Αήδας κόρην. 
 ΑΧ. τις 6 καΧών ττύΧας τταροίξας; ως τεταρβηκώς 
 καΧεΐ. 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 33 
 
 Π Ρ. δοΰΧος } ούχ άβρύνομαι τώδ'· ή τύχη yap ουκ εα. 
 ΑΧ. τίνος; εμός μεν ουχί* χωρίς τάμα κάγαμέμ- 
 νονος. 
 
 Π Ρ. τήσδε της πάροιθεν οίκων, Ύυνδάρεω δόντος 
 πατρός. 86ο 
 ΑΧ. εσταμεν' φράζ\ ει τι χρ'ρζβις, ων μ* επεσχες 
 
 ούνεκα. 
 
 ΠΡ. η μονω παρόντε Βήτα ταΐσδ' εφέστατον ττνΧαις ; 
 ΑΧ. ώς μόνοις \eyoi<; αν, %ξω δ' ek6e βασιΧικων δόμων. 
 ΠΡ. ώ τύχη πρόνοια θ' ήμή, σώσαθ* ους εyώ θεΧω. 
 ΑΧ. ό \ό<γος εις μέΧΧοντα σώσει χρόνον' εχει δ' oytcov 
 
 τινά. 865 
 ΚΛ. δεξιάς εκατι μη μέΧΧ\ εΐ τι μοι χρήζβις Xiyeiv. 
 II Jr. οισυα οητα μ όστις ων σοι και τέκνοις εννους 
 
 εφυν. 
 
 ΚΛ. οϊδά σ οντ βγω παΧαιόν δωμάτων εμών Χάτριν. 
 ΠΡ. χωτι μ εν ταϊς σαΐσι φερναΐς εΧαβεν 1 Αγαμέμνων 
 αναξ. 
 
 ΚΛ. ηΧθες εις i, Apyoς μεθ* ημών κάμός ήσθ* άεί ποτε. 
 llJr. ωό εχει. και σοι μεν ευνους ειμι, σω ο ησσον 
 
 πόσει. 871 
 ΚΛ. εκκάΧυπτε νυν ποθ* ήμΐν ουστινας XέyειςXόyoυς. 
 Π Ρ. παΐδα σην πατήρ 6 φυσάς αύτόχεφ μέΧΧει κτα- 
 
 νεΐν. 
 
 ΚΛ. πώς ; άπέπτυσ\ ώ yepaU, μΰθον' ου yap ευ 
 φρονείς. 
 
 ΠΡ. φaσyάvω Χευκήν φονεύων της ταΧαιπώρου δέρην. 
 ΚΛ. ώ τάΧαιν iyco. μεμηνώς άρα τυyχάvει πόσις; 876 
 ΠΡ. άρτίφρων, πΧήν εις σε και σήν παΐδα' τοΰτο δ' 
 ου φρονεί. 
 
 ΚΛ. εκ τίνος Xόyoυ ; τις αύτον ούπά^ων άΧαστόρων ; 
 
34 ΕΥΡΙΤΤΙΔΟΥ 
 
 Π Ρ. θέσφαθ', ως <ye φησι Κάλχας ίνα πορεύηται 
 στρατός. 
 
 ΚΛ. ποΐ ; τάΧαιν iyco, ταΚαινα δ' ην πατήρ μέΧΧβι 
 
 KT6V61V. 88ο 
 
 ΠΡ. Ααρδάνου προς δώμαθ\ 'Έλένην Μ,βνέΧεως οπως 
 Χάβτ). 
 
 ΚΛ. els άρ Ίφιγένβιαν * Ελένης νόστος ήν πεπρωμένος ; 
 ΠΡ. πάντ €%€ΐς' Άρτέμιδι θύσβίν παϊδα σήν μέΧΧει 
 πατήρ. 
 
 ΚΛ. ο Be γάμος τίν el%e πρόφασιν, ή μ έκόμισβν etc 
 δόμων ; 
 
 ΠΡ. ϊν άηάηοις γαίρουσ * kyCKXei παϊδα νυμφεν- 
 σουσα σήν. 885 
 
 ΚΛ. ώ θύγατβρ, ήκβίς έπ* οΧέθρω καϊ σύ κ αϊ μήτηρ 
 σέθβν. 
 
 ΠΡ. οικτρά πάσχ€τον δν* ουσαι* δεινά δ' Αγαμέμνων 
 βτΧη. 
 
 ΚΛ. οϊ'χομαι τάλαινα, δάκρνον τ ομματ ονκέτι στβηβι. 
 ΠΡ. €Ϊπβρ αλλ', βίκος τό τέκνων στβρομένην δακρνρ- 
 ρο€Ϊν. 
 
 ΚΛ. σύ δβ τάδ\ ώ γέρον, πόθεν φής βιδέναι πβπυ- 
 σ μένος ; 890 
 
 ΠΡ. δέΧτον ωχόμην φέρων σοι πρυς τά πρίν ye- 
 ηραμμένα. 
 
 ΚΛ. ουκ έών ή ζυηκβΧζύων παϊΚ ayeiv θ αν ου μένη ν ; 
 ΠΡ. μη μέν ονν ayeiv φρονών yap βτνχβ σος πόσις 
 
 TOT €V. 
 
 ΚΛ. κατα πώς φέρων ye δέΧτον ουκ έμοϊ δίδως Χαβεΐν ; 
 Π Ρ. Μ,βνέΧεως άφείΧεθ* ή μας, ος κακών τώζ/δ' αίτιος. 
 ΚΛ. ώ τέκνον Νηρβδος, ώ παΐ ΤΙηΧέως, κΧν€ΐς τάδβ; 
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 φέρω. 897 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 35 
 
 ΚΛ. παΐδά μου κατακτενοΰσι σοΐς δοΧώσαντες yάμotς. 
 
 ΑΧ. μέμφομαι κάγώ πόσει σω, κούχ άπΧώς ούτω φέρω. 
 
 ΚΛ. ουκ επαιδεσθησομεσθα προσπεσεΐν το σον γόνυ, 
 θνητός εκ θεάς <γ€<γώτα* τί yap iyco σεμνύνομαι ; 
 7T€pl τίνος σπουδαστέον μοι μάΧΧον η τέκνου πέρι; 
 αλλ* άμυνον, ώ θεάς παΐ, τη τ εμη δυσπραγία 
 τη Τ6 Χεγθείση δάμαρτι στ}, μάτην μέν, άΧΧ' ομως. 
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 αλλ/ εκΧηθης yoiv ταΧαίνης παρθένου φίλος 
 πόσις. 
 
 προς yεvειάδoς δε, προς σης δεξιάς, προς μητέρος· 
 όνομα yap το σον μ άπώΧεσ, ω σ άμυναθεϊν 
 
 χρεών, gio 
 ουκ έχω βωμον κaτaφυyεΐv άΧΧον ή το σον yόvυ, 
 ουδέ φίΧος ουδείς πέΧας μοι' τα δ' i Ayaμέμvovoς 
 
 κΧύεις 
 
 ωμά καϊ παντοΧμ* άφ^μαι δ\ ωσπερ εισορας, 
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 θρασύ, 
 
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 χειρ* ύπερτεΐναι, σεσώσμεθ* ' ει δέ μη, ου σεσώ- 
 σμεθα. 
 
 ΧΟ. δεινον το τίκτειν καϊ φέρει φίΧτρον με^α, 
 πάσίν τ€ κοινον ωσθ* ύπερκάμνειν τέκνων. 
 
 ΑΧ. ύψηΧόφρων μοι θυμός αίρεται πρόσω* 
 
 επίσταται δέ τοις κακοϊσί τ άσχαΧάν 9 20 
 μετρίως τε χαίρειν τοισιν έξωyκωμέvoις. 
 
ΕΥΡΙΤΤΙΔΟΥ 
 
 ΧεΧογισμένοι γάρ oi tololK εισιν β ρότων 
 ορθώς διαζήν τον βίον γνώμης μέτα. 
 εστίν μεν οΰν ϊν ηδύ μη Χίαν φρονεΐν, 
 εστίν δε γωπου χρήσιμον γνώμην εγειν. 9 2 5 
 εγώ δ' iv ανδρός εύσεβεστάτου τραφείς 
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 κα\ τοις Άτρείδαις, ή ν μεν ήγώνται καΧώς, 
 πεισόμεθ' οταν δε μη καΧώς, ου πείσομαι. 
 αλλ* ενθάΰ iv Ύροία τ εΧευθέραν φύσιν 93° 
 παρέχων, "Αρη τό κατ εμε κοσμήσω δορί. 
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 τοσούτον οΐκτον περιβαΧών καταστεΧώ, 
 κοΰποτβ κόρη σή προς πατρός σφαγήσεται, 935 
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 εγώ το μηδέν, ΜενέΧεως δ' iv άνδράσιν, 945 
 ώς ουχί ΏηΧέως, αλλ' άΧάστορος γεγώς, 
 €Ϊπ€ρ φονεύσει τούμόν όνομα σω πόσει. 
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 ή ΧίπυΧος εσται πόΧις, (όρισμα βαρβάρων, 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 37 
 
 οθβν πεφύκασ οι στρατηΧάται yivos,) 
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 ΚΛ. φβΰ' ^ 
 
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38 
 
 ΕΥΡΙΠΙΔΟΥ 
 
 αλλ/ ου ν εχει τοι σχήμα, καν απωθεν η 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 39 
 
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 χωρβΐν' %χβι yap τούτο την σωτηρίαν. 
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 \€\ο<γίσμένως πράσσοιμι μάΧΧον η σθένβί. 1021 
 καΧώς he κρανθέντων, προς ηδονή ν φίΧοις 
 σοι τ αν yevoLTO καν έμοΰ χωρίς τάδε. 
 
 ΚΛ. ως σώφρον* €ΐπας, δραστβον δ' α σοι δοκβΐ. 
 
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 άσττισταϊς ΤΙριάμοιο κΧβινάν 
 
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 iv ροιβδήσβσι βονκόΧων, 
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 πού το τάς αΐδούς €τι, που 
 
 τάς άρβτάς σθένβι τι πρόσωπον ; 1090 
 6πότ€ το μβν άσβπτον €%€ΐ 
 δύνασιν, ά δ' άρβτά κατόπι- 
 σθβν θνατοϊς άμβΧβΐται, 
 
 ανομία δβ νόμων κρατβΐ, 1095 
 κα\ μη κοινός ά<γών βροτοΐς, 
 μή τις θβών φθόνος eXOrj. 
 
 βξήΧθον οϊκων προσκοπονμένη πόσιν, 
 χρόνιον απόντα κάκΧβΧοιπότα στέ ( γας. 
 έν δακρύοισι δ* ή τάΧαινα παις €μή, 1100 
 ποΧΧάς ιβϊσα μβταβοΧας όδυρμάτων, 
 θάνατον άκονσασ, ον πατήρ βονΧβνεται. 
 μνήμην δ' άρ €ΐχον πΧησίον βββηκότος 
 Αγαμέμνονος τούδ\ ος έπϊ τοις αυτού τέκνοις 
 
42 
 
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 ανόσια πράσσων αύτίχ βύρεθήσβται. 1105 
 
 ΑΓΑ. Λτ;δα9 γένεθΧον, iv καλω σ βξω δόμων 
 ηυρηχ, ϊν βϊπω παρθένου χωρίς λόγοι/5 
 ους ουκ άκούβιν τάς γαμονμένας πρέπει. 
 
 ΚΑ. τι δ' βστιν, ου σοι καιρός άντιλάζυται ; 
 
 ΑΓΑ. Ζκπβμπβ παϊδα δωμάτων πατρός μέτα' mo 
 ώς χέρνιββς πάρβισιν ηύτρβπισμέναι, 
 προχύται re βάλλβιν πυρ καθάρσιον χβροϊν, 
 μόσχοι τ€, προ ηάμων ας 0ea πβσβϊν χρεών 
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 ΚΑ. τοις όνόμασιν μϊν €υ Xeyeis, τα δ' epya σου 1115 
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 Χαβοΰσ Όρέστην σον κaσίyvητov, τέκνον. 
 ιδού πάρβστιν ήδβ πβιθαρχουσά σοι. nso 
 τα δ' αλλ' εγώ προ τήσδβ κάμαυτης φράσω. 
 
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 ΚΑ. φεΰ' 
 
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 άπασι yap πρωτοισι χρήσασθαι πάρα 1125 
 [καν ύστάτοισι καν μέσοισι πανταχού], 
 
 ΑΓΑ. τί δ' εστίν; ως μοι πάντες βίς εν ηκετε, 
 σύyχυσιv έχοντες και τapayμov ομμάτων. 
 
 ΚΑ. εϊή> αν ερωτήσω σε yεvvaίως, πόσι. 
 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 43 
 
 κάκεϊνό μοι το πρώτον άπόκριναι πάΧιν. 
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 ΚΛ. ουκ αλλ' ερωτώ, και συ μη Xέy' άΧΧα μοι. 1135 
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 ΑΓΑ. άπωΧόμεσθα. προδέδοται τα κρυπτά μου. 1140 
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 αυτό Be το aiydv όμoXoyoύvτός εστί σου 
 καϊ το στενάζειν ποΧΧά. μη κάμης Xέyωv. 
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 ψευδή λέγοντα προσΧαβεΐν τη συμφορά; 1145 
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 κονκέτι παρωδοϊς χρησόμεσθ' αιν^μασιν. 
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 τον πρόσθεν άνδρα ΎάνταΧον κατακτανών, ιι^ο 
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 ϊπποισι μαρμαίροντ έπεστρατευσάτην' 
 πατήρ δε πρέσβυς Ύυνδάρεώς σ έρρνσατο 1155 
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 νυν δευτέραν ώδϊνα τήνδε Χαμβάνει. 1235 
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 *ΈιΧένης τβ; πόθεν ήΧθ* επ* όΧέθρω τώμω, πάτερ; 
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 ϊν άΧΧά τούτο κατθανονσ έχω σέθεν 
 μνη μεΐον, ει μή τοις εμοΐς πεισθβς Χόγοις. 1240 
 άδεΧφέ, μικρός μεν σύ y επίκουρος φίΧοις, 
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 καν νηπίοισι των κακών έγγίγνατα.!.. 
 ιδού σιωπών Χίσσεταί σ οδ\ ώ πάτερ. 1245 
 άλλ' αϊδεσαί με και κατοίκτειρον βίον. 
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 εν συντεμοΰσα πάντα νικήσω Χόγον' 
 τό φως τόδ' άνθρώποισιν ήδιστον βΧέπειν. 1250 
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 \θανεϊν. κακώς ζην κρεΐσσον ή καΧώς θανεΐν. 
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 bpaff οσον στράτευμα ναύφρακτον τόδε, 
 γαΧκέων θ* οττΧων ανακτά 'ΚΧΧηνων οσοι, 1260 
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 ονδ' εστι Τροίας εξεΧεΐν κΧεινον βάθρον. 
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 "ΈίΧΧηνας οντάς Χέκτρα συΧάσθαι βία. 1275 
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ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 49 
 
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 αΰραν άΧΧοις αΧΧαν θνατών 1325 
 
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 τοις δ 1 έξορμαν, τοις δε στέΧΧβιν, 
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 η ττοΧυμογβον αρ ή ν γένος, η ττοΧύμοχθον 1330 
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 θροβΐς. 1345 
 
50 ΕΥΡΙΠΙΔΟΥ 
 
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 μα we μοι. 
 
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 Χόγων. 
 
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 σώζων εμήν ; 1350 
 
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 σου θιγεΐν ; 
 
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 τέκνον. 
 
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 ρ^ω be τι ; 
 
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 κόρης ; ι 3 6ι 
 
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 των €μών €7τών' μάτην yap σ είσορώ θυμουμένην 
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 διον. 1370 
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 σκαφαί, 1379 
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52 ΕΥΡΙΠΙΔΟΥ 
 
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 σεν ΤΙάρις. 
 
 ταύτα πάντα κατθανούσα ρύσομαι, και μου κλέος, 
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 αΧΧά μύριοι μεν άνδρες άσπίσιν π εφ ραγμένοι, 
 μύριοι δ' ερέτμ έχοντες, πατρίδος ήδικημένης, 
 δράν τι τοΧμήσουσιν εχθρούς χύπερ Έλλάδο? 
 θανεΐν' 
 
 ή δ' εμή ψυχή μι ούσα πάντα κωΧύσει τάδε; 139° 
 τί το δίκαιον τουτ ; εχοιμεν άρ αν άντ€ΐπ€Ϊν 
 επος ; 
 
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 εις γ άνήρ κρείσσων γυναικών μυρίων οραν φάος. 
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 εμποδών γενήσομαι *γώ θνητός ούσα ττ} θεώ; 1396 
 \ ι αλλ' αμήχανου* δίδωμι σώμα τούμον Ελλάδα 
 θύετ, εκπορθείτε Ύροίαν. ταύτα yap μνημεία μου 
 δια μακρού, κα\ παίδες ούτοι και γάμοι και δό£' 
 €μη. 
 
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 βαρβάρους, 1400 
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 θεροι. 
 
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 τό της τύχης δε και τό της θεού νοσεί. 
 
 ΑΧ. Αγαμέμνονος π αϊ, μακάριον με τις θεών 1405 
 έμελλε θήσειν, ει τύχοιμι σών γάμων. 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 
 
 ζηΧώ δε σου μβν Έλλάδ', Ελλάδος δε σε. 
 ev yap τόδ' βϊπας άξίως τε πατρίδος* 
 το θβομαχβΐν yap άποΧιπουσ ', ο σου κρατβϊ, 
 βξέλογίσω τα χρηστά τάναηκαιά τε. 1410 
 μάΧΧον δε Χέκτρων σων πόθος μ βσ&ρχβται 
 €69 την φύσιν βΧέψαντα' yevvaia yap el. 
 ορα δ'* εγώ yap βούΧομαί σ evepyeTeiv 
 Χαββΐν τ ε'9 οϊκους' άχθομαί τ\ ϊστω Θέτ£9, 
 el μη σε σώσω Δαναΐδαισι Sea μάχης 1415 
 βΧθών' άθρησον, 6 θάνατος heuvbv κακόν. 
 
 ΙΦ. λέγω τάδ' ..... 
 
 η Ύυνδαρϊς παις δίά το σώμ άρκβΐ μάχας 
 ανορων τιυζισα και φόνους συ ο , ω ξβνβ, 
 μή θντ)σκ€ δΰ έμ€ μηδ* άποκτβίνης τινά. 1420 
 εα οε σωσαι μ tiXXao , τ)* 7 ουνωμβυα. 
 
 ΑΧ. ώ λ^μ,' άριστον, ουκ βγω προς τουτ βτι 
 Xiyecv, ίπβί σον τάδε δοκβί' yevvaia yap 
 φρονβΐς' τί yap τάΧηθίς ουκ βϊποί τις αν; 
 όμως δ', ϊσως yάp καν μeτayvoίης τάδε. 1425 
 ώς οΰν αν βίΒής τάπ βμοΰ, XeXeyμeva* 
 ίΧθών τάδ' οπΧα θησομαι βωμού πέΧας, 
 ώς ουκ Ιάσων σ άλλα κωΧύσων θανείν. 
 χρήσει δε καϊ συ τοΐς βμοΐς Xόyocς τάχα, 
 οταν πέΧας σης φάσyavov δβρης ϊδης. ΐ43° 
 ονκουν έάσω σ άφροσύντ) τί) στ) θανεϊν' 
 έΧθών δε συν οπΧοις τοΐσδε προς ναόν θεάς 
 καραδοκήσω σήν €Κ€Ϊ παρουσίαν. 
 
 ΙΦ. μητ€ρ, τί σLyf) δακρύοις τeyyeLς κόρας; 
 
 ΚΛ. εχω τάΧαινα πρόφασιν ωστ aXyeiv φρένα. 1435 
 
 ΙΦ. παΰσαί μβ μη κάκίζβ' τάδε δ' βμοί πίθου. 
 
 ΚΛ. λεγ', ω9 παρ* ημών ούδβν άδίκήσει, τέκνον. 
 
54 ΕΥΡΙΠΙΔΟΥ 
 
 ΙΦ. μητ ούν σύ τον σον πλόκαμον εκτέμης τριχός, 
 [μητ άμφϊ σώμα μέλανας άμπίσχη πέπλονς.] 
 
 ΚΛ. τί δτ) τοδ' ειπας, τέκνον ; άπολέσασά σε 144° 
 
 ΙΦ. ου σύ ye' σέσωσμαι, κατ ε με δ' εύκλεής εσει. 
 
 ΚΛ. πώς είπας ; ού πενθεϊν με σην ψνχήν χρεών; 
 
 ΙΦ. ηκιστ, έπεί μοι τύμβος ον χωσθήσεται. 
 
 ΚΛ. τί δη; το θνησκειν ού τάφος νομίζεται; 
 
 ΙΦ. βωμός θεάς μου μνήμα της Διός κόρης, 1445 
 
 ΚΛ. αλλ,* ω τέκνον, σοϊ πείσομαι' \&γ6ΐς yap ευ. 
 
 ΙΦ. ώς εύτυχοΰσά y Ελλάδος τ evepyeTW. 
 
 ΚΛ. τί δη κασνγνηταισιν ayyeXS σέθεν ; 
 
 ΙΦ. μηδ' άμφϊ κείναις μέλανας εξάψης πέπλους. 
 
 ΚΛ. βϊπω δε παρά σον φίλον επος τι παρθένοις ; 1450 
 
 ΙΦ. χαίρειν y. 'Ορέστην τ εκτρεφ' άνδρα τόνδε μοι. 
 
 ΚΛ. προσέλκυσαί νυν ΰστατον θεωμένη. 
 
 ΙΦ. ώ φίλτατ, επεκούρησας οσον είχες φίλοις. 
 
 ΚΛ. εσθ* ο τι κατ "Αργός δρώσά σου χάριν φέρω; 
 
 ΙΦ. πατέρα τον άμον μη στύyει πόσιν τ€ σον. 1455 
 
 ΚΛ. δεινούς άyώvaς διά σε δει κβΐνον δραμεΐν. 
 
 ΙΦ. άκων μ ύπερ γ^ς Ελλάδος διώλεσεν. 
 
 ΚΛ. δόλω δ\ ayevv^ Άτρεως τ ουκ άζίως. 
 
 ΙΦ. τις μ εισιν άξων πρίν σπαράσσεσθαι κόμης; 
 
 ΚΛ. εyωyε μετά σον ΙΦ. μή σύ y' ού καλώς λέyεις. 
 
 ΚΛ. πέπλων έχο μένη σών ΙΦ. εμοί,μήτερ, πιθού, ι φι 
 μέν' ώς έμοί τε σοι τ€ κάλλιον τόδε. 
 πατρός δ' οπαδών τώνδέ τις με πεμπέτω 
 9 Αρτέμιδος είς λειμών, οπον σφayήσoμaι. 
 
 ΚΛ. ώ τέκνον, οϊχει ; ΙΦ. και πάλιν y ού μη μόλω. 1465 
 
 ΚΛ. λιπονσα μητέρ ; ΙΦ. ώς οράς y\ ούκ άξίως. 
 
 ΚΛ. σχές, μη με προλίπτ)ς. ΙΦ. ούκ εώ στάζειν δάκρυ, 
 ύμεϊς δ' επενφημήσατ, ώ νεάνιδες, 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 55 
 
 παιάνα τημτ} συμφορά Διός κόρην 
 "Αρτεμιν' ϊτω δβ Δαναιδαις ευφημία. 1470 
 κανα δ' εναργβσθω τις, αίθέσθω δε πυρ 
 προγυταις καθαρσίοισι, καΐ πατήρ εμός 
 ενδεξιούσθω βωμόν' ώς σωτηρίαν 
 "ΕλΧησι δώσουσ* έρχομαι νικηφόρον. 
 
 ayere με τάν 'ΪΧίου ΐ475 
 
 και Φρυηών εΧεπτοΧιν. 
 
 στέφεα περίβοΧα δίδοτε, φέρετε* 
 
 πλόκαμος οδε καταστέφειν' 
 
 γερνίβων τε πayάς. 
 
 εΧίσσετ άμφΐ ναό ν 1480 
 
 άμφϊ βωμόν "Αρτεμιν 
 
 τάν άνασσαν * Αρτεμιν, 
 
 θ εάν μάκαιραν ώς εμοΐσιν, ει χρεών, 
 
 αΐμασι θύμασί τε ΐ4 δ 5 
 
 θέσφατ έξαΧείψω. 
 
 ώ πότνια πότνια ματερ, ώς δάκρυα <γέ σοι 
 δωσομεν άμέτερα* 
 
 παρ ίεροΐς yap ου πρέπει. Η9° 
 ιω ιω νεανίδες, 
 συνεπαείδετ "Αρτεμιν 
 Χαλ/αδο? άντίπορον, 
 
 ΐνα τε δόρατα μέμονε δαα *495 
 δ^' εμόν ονομ εν ΑύΧίδος 
 στενοπόροισιν ορμοις. 
 ίώ ya μάτερ ώ ΊlεXaσyίa, 
 Μυκηναΐαί τ εμαι θεράπναι. 
 Χ®. καΧεΐς πόΧισμα ΐίερσέως, Κυ- ι$°ο 
 κΧωπίων πόνον χερών; 
 
56 ΕΥΡΙΤΤΙΔΟΥ 
 
 ΙΦ. βθρβψας Ελλάδα με φάος' θα- 
 νούσα δ' ουκ άναίνομαι, 
 ΧΟ. κλέος yap οΰ σε μη Xltttj. 
 
 ΙΦ. ίώ ίώ. 1505 
 Χαμτταΰοΰγρς άμέρα Δ^- 
 ο? re φeyyoς y erepov erepov 
 αιώνα teal μοΐραν οί- 
 κήσομβν. χαΐρέ μοι, 
 φιΧον φάος. ίώ ίώ. 
 
 ΧΟ. Ι'δεσ#ε τον 'ϊλίου 1510 
 #αΙ Φρνηών βλέτττοΧίν στβί- 
 γουσαν, βπί κάρα στέφη 
 βαΧομέναν, γζρνιβων τε Trayas, 
 βωμον δι,αίμονος θβας 
 
 ρανίσιν αίματορρντοις 151 5 
 
 ρανονσαν βνφνή τε δέρην σφayeϊσav. 
 evhpoaou irayal ττατρωαι 
 μένονσι χερνφές τε σε 
 στρατός τ ^Αχαιών θέλων 
 
 Ίλ/ον 7t6\lv μοΧεΐν. ι$2ο 
 
 άΧλ,ά τάν Διός κόραν 
 
 κλ^σωμβν "Αρτβμιν, θεών ανασσαν, 
 
 ώς €ΊΓ βύτνχα, ττότμω. 
 
 ώ ττότνια, θνμασιν βροτησίοις 
 
 γαρέίσα, ττέμψον βίς Φpvyώv 1525 
 
 yalav *ΈΐΚΚάνων στρατον 
 
 κα\ δοΧόβντα Ύροίας εδϊ;, 
 
 i Ayaμeμvovά τε λόγχα^9 
 
 Έλλάσ6 κΚβινότατον στέφανον 
 
 δθ9 άμφϊ κάρα θ* ebv 153° 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 57 
 
 κλέος άείμνηστον άμφιθεΐναι. 
 
 ΑΓΓ. ω Ύυνδαρεία π αϊ, Κλυταιμνήστρα, δόμων 
 εξω πέρασον, ως κλύης εμών λό^ων. 
 
 ΚΛ. φθο<γ<γή<; κλύουσα δεύρο σης άφικόμην, 
 
 ταρβοΰσα τλήμων κάκπεπληημένη φόβω, 1535 
 μή μοί τιν άλλην ζυμφοράν ήκεις φέρων 
 προς Trj παρούστ). ΑΓΓ. ση ς μεν ούν παιδός 
 πέρι 
 
 θαυμαστά σοι και δεινά σημήναι θέλω. 
 
 ΚΛ. μη jLteWe τοίνυν, άλλα φράζ' ο σον τάχος. 
 
 ΑΓΓ. αλλ' ώ φίΧη δέσποινα, πάν πεύσει σαφώς. 1540 
 λέζω δ' άττ αρχής, ην τι μή σφαλεΐσά μου 
 ηνώμη ταράξτ) ηλώσσαν iv λό<γοις εμήν. 
 επεϊ yap ίκόμεσθα της Αιός κόρης 
 9 Αρτέμιδος άλσος Χείμακάς τ άνθεσφόρους, 
 ϊν ήν ' Αχαιών σύλλο^γος στρατεύματος, 1545 
 σήν παιδ* άγοντες, ευθύς * Αρχείων όχλος 
 ήθροίζεθ\ ώς δ' εσεΐδεν Αγαμέμνων αναξ 
 επι σφαλάς στείχουσαν εις άλσος κόρην, 
 άνεστέναζε, καμπαλιν στ ρέντας κάρα 
 δάκρυα προήκεν, ομμάτων πέπλον προθείς. 1550 
 ή δε σταθεΐσα τω τεκόντι πλησίον 
 ελεξε τοιάδ^' ώ πάτερ, πάρειμί σοι, 
 τούμον δε σώμα της εμής ύπερ πάτρας 
 και της άπάσης Έλλάδο? ηαίας ύπερ 
 θΰσαι δίδωμ έκοΰσα προς βωμόν θεάς 1555 
 άδοντας, εϊπερ εστί θέσφατον τόδε. 
 και τούπ* εμ εύτυχοΐτε, και νικηφόρου 
 δορός τύχοιτε πατρίδα τ εξίκοισθε ηήν. 
 προς ταύτα μή ψαύστ) τις * Αρχείων εμού* 
 
ΕΥΡΙΤΤΙΔΟΥ 
 
 ciyf) π αρέζω yap δέρην €υκαρδίως. ι$6ο 
 
 τοσαύτ βΧβξβ' πάς δ' βθάμβησβν κλύων 
 
 βύψυχίαν Τ6 κάρβτήν της παρθένου. 
 
 στάς δ' ev μέσω Ύαλθύβιος, ω τόδ' ην μέλον, 
 
 €νφημίαν άνβΐπβ καϊ σιηήν στρατω' 
 
 Κάλχας δ' ο μάντις €ΐς κάνουν χρυσήλατον 1565 
 
 €0ηκ€ν οξύ χ€ΐρΙ φάσηανον σπάσας 
 
 κολβών βσωθβν, κράτα τ βστεψβν κόρης. 
 
 ο παις δ' ο ΤΙηλέως ev κύκλω βωμόν θβάς 
 
 λαβών κάνουν βθρβξβ χέρνιβάς θ* όμοΰ, 
 
 eXefe δ'* ω παΐ Ζηνός, ω θηροκτόνβ, 1570 
 
 το λαμπρόν βίλίσσουσ ev €ύφρόντ) φάος, 
 
 δέξαι το θύμα τοδ' ο yέ σοι δωρούμ€0α 
 
 στρατός τ ^Αχαιών αθρόος ' * Κηαμέμνων τ άναξ, 
 
 αχραντον αίμα καλλιπαρθένου δέρης, 
 
 καϊ δός <γ€νέσθαί πλουν ve&v άπήμονα 1575 
 
 Ύροίας Τ€ πέρηαμ! €%€λ€Ϊν ημάς δορί. 
 
 €ίς yrjv δ' ' krrpelBai πάς στρατός τ 'έστη βλέπων. 
 
 ίρ€υς δέ φάση αν ον λαβών έπηύξατο, 
 
 λαιμόν τ 4π€σκοπ€Ϊθ\ ΐνα πλήξ€ΐ€ν άν' 
 
 €μοΙ δ' €στ}€ΰ τ άλyoς ού μικρόν φρ€νί, 1580 
 
 κάστην ν€ν€υκώς' θαύμα δ' ην αίφνης όράν' 
 
 πληηής σαφώς yap πάς τις $σθ€Τ0 κτύπον, 
 
 την παρθένον δ' ουκ olBev ου γης €ΐσέδυ. 
 
 ροα ο αρ ΐ€ρ€υς } πας ο €πηχησ€ στρατός, 
 
 άέλπτον €ΐσώόντ€ς 4κ 0€ων τίνος 1585 
 
 φάσμ\ ού ye μηδ' όρωμένου πίστις παρην' 
 
 €λαφος yap άσπαίρουσ eKeiT έπϊ χθονι 
 
 Ιδ€Ϊν μeyiστη διαπρ€πής τε την θέαν, 
 
 ή"ης αϊματι βωμός epaiveT άρδην της OeoO.'f 
 
 καν τώδβ Κάλχας πώς δοκ€Ϊς χαίρων €φη' 1590 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 59 
 
 ώ τουδ' Αχαιών κοίρανοι κοινού στρατού, 
 
 οράτε βωμίαν, ην η θεός 
 
 προύθηκε θνσίαν, τήνδ* εΧαφον όρειδρόμον ; 
 ταύτην yap άντ\ της κόρης ασπάζεται, 
 ώς μη μιάνη βωμόν εύγενεϊ φόνω. 1595 
 ή"ηδέως τε τοΰτ εδέξατο, και πΧούν ovpiovf 
 δίδωσιν ημΐν 'ΪΧίου προς επιδρομάς. 
 προς ταύτα πας τις θάρσος alpe νανβάτης, 
 χώρει τε προς ναύν' ημέρας ώς τησδε δει 
 Χιπόντας ημάς ΑυΧίδος κοίΧους μυχούς ι6οο 
 ΚΙηαιον οιδμα διαπεράν. επει δ' απ αν 
 κατηνθρακώθη θυμ εν Ηφαίστου φΧογί, 
 τα πρόσφορ' ηΰξαθ\ ώς τύχοι νόστου στρατός, 
 πέμπει δ' Αγαμέμνων μ ώστ€ σοι φράσαι τάδε, 
 Χέγειν θ* οποίας εκ θεών μοίρας κυρεΐ 1605 
 και δόξαν εσχεν άφθιτον καθ* Ελλάδα, 
 εγώ παρών δε και το πράγμ ορών λέγω* 
 η παις σαφώς σοι προς θεούς άπέπτατο. 
 Χύπης δ' άφαίρει και πόσει πάρες χόΧον' 
 απροσδόκητα δη βροτοΐς τα τών θεών, ι6ιο 
 σφζουσί θ* ους φίΧοΰσιν, ημαρ yap τόδε 
 θανοΰσαν ειδε και βΧέπουσαν παΐδα σην. 
 
 ΧΟ. ώς ηδομαί τοι ταυτ άκούσασ αγγέλου* 
 ζών δ' εν θεοΐσι σον μένειν φράζει τέκος. 
 
 ΚΑ. ω παΐ, θεών του κΧέμμα γέγονας; 1615 
 πώς σε προσείπω ; πώς δ' ου φώ 
 παραμυθεϊσθαι τούσδε μάτην μύθους, 
 ώς σου πένθους Χυγροΰ παυσαίμαν ; 
 
 ΧΟ. και μην Αγαμέμνων αναξ στείγει, 
 
 τούσδ* αυτούς €%ων σοι φράζειν μύθους. 1620 
 
 ΑΓΑ. γύναι, θυγατρός ούνεκ οΧβιζοίμεθ* αν' 
 
ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ 
 
 e%ei yap όντως iv θβοϊς ομιΧίαν. 
 χρή δε σε Χαβονσαν τόνδβ μόσγρν evyevrj 
 στβίχειν προς οϊκονς' ώς στρατός προς πΧονν 
 ο ρ a. 
 
 και χαίρε 9 χρόνια τάμά σοι προσφθέγματα 1625 
 Ύροίηθβν βσται. και γένοιτο σοι καΧώς. 
 χαίρων, Άτρβίδη, yrjv ικου Φρυγίαν, 
 χαίρων δ' έπάνηκβ, 
 
 κάΧΧιστά μοι σκΰΧ' από Ύροίας έΧων. 
 
NOTES. 
 
 (Gr. Gr. stands for Goodwin's Greek Grammar to which reference 
 
 is made by the pages.) 
 
 The Prologue 11. ι — 163. Contrary to the usual custom of Euripides 
 the play opens with an anapaestic dialogue instead of with a speech by 
 one of the characters descriptive of the situation of affairs at the moment 
 when the dramatic action begins. In the present case this explanation 
 is postponed until the speech delivered by Agamemnon 1. 49 ff. 
 
 There is however no reason for suspecting the genuineness of the 
 text. Aeschylus has an anapaestic opening both in the Supplices and 
 Persae, and that Euripides himself did not invariably begin his plays 
 with a prologue in iambics is plain from the Andromeda (Eur. frag. 
 114), the first lines of which are : — 
 
 ΑΝΔΡΟΜΕΔΑ ω νύξ iepa, 
 
 ws μακρόν ϊππενμα διώ/cets κτλ. 
 
 Here too, it will be noticed, as in the fphigeneia, the opening 
 anapaestic verses introduce a night scene. To modern taste the 
 dialogue which stands foremost in this play is stronger in effect 
 than a piece of continuous narrative — a form of introduction in which 
 Euripides according to an ancient criticism was apt to become tiresome 
 (iu tols wpoXoyoLS όχ\ηρό$). The colloquy of the king and his old 
 servant beneath the silent stars of the night stirs the imagination, and 
 awakens from the outset both interest in the situation, and sympathy 
 with the crossings of motives passions and events, in which the actors 
 are soon to find themselves involved. 
 
 Euripides has shown in this introductory dialogue much the same 
 power of employing the influence of the hour and the scene to draw the 
 minds of his audience into the mood of tragedy, which Shakspeare has 
 
 H. 1. 5 
 
62 
 
 IPHIGENEIA AT AULIS. 
 
 so strikingly displayed at the beginning of Hamlet. In both poets 
 eveiy detail tells : in both the result is achieved by right selection, 
 which discards all that is superfluous, and leaves what is retained 
 clear simple and necessary. 
 
 11. ι — 48. Agamemnon, restless from anxiety, talks with the old 
 servant in front of his tent at Aulis. This dialogue is followed (49 — 
 114) by the prologue in the stricter sense, in which Agamemnon 
 reviews the situation, confides his own painful position to the old 
 servant, and entrusts him with a letter to Klytaemnestra at Argos 
 contradicting a former message from Agamemnon to the effect that 
 she was to send to Aulis her daughter Iphigeneia. Then succeeds a 
 dialogue in spondaic anapaests (115 — 163) in which Agamemnon 
 acquaints the old man with the contents of this letter, and bids him use 
 all speed in conveying it to Klytaemnestra. 
 
 1. δόμων i.e. the general's tent; so kv δόμοι* Hek. 995 (of 
 Polymestor's tent). Cf. infr. 863. τωνδε here helps the sense, having 
 with δόμων the force of "this which serves as my house". 
 
 3. ir€v<T€i pronounced by Agamemnon in a tone of impatience — 
 you shall hear when you come within talking distance. Porson's con- 
 jecture σπεύδε is therefore not necessary. 
 
 4 f. μάλα τοι κτλ. 'my age is full wakeful and alert upon mine 
 eyes'. d£ii implies that his faculties are not dulled by sleep, and are 
 therefore attentive, (cf. Soph. El. 30 όζείαν άκοήν rots e/xo?s Xoyots 
 διδονϊ 'lively attention'), or alert to the king's behests. The usage in 
 English of 'keen' is very similar. 
 
 6. ΐΓθρθμ€υ€ΐ intransit. Cf. I. T. 1445. 
 
 7 ff. "Sirius still high in heaven speeding his course near the 
 Pleiades as they fare on their seven paths". Scaliger noticed an 
 astronomical error in the placing of Sirius near the Pleiades, and 
 several editors have followed Bremius in assigning these lines to 
 Agamemnon, (thus making his speech extend 11. 6 — 11), taking aelpios 
 as an adjective with άστήρ, 'what star with blazing light &c.' But we 
 need not press the meaning of the phrases έ-/-γύ$ τ. Ιΐλειάδ. and μεσσηρη* 
 too strictly. Ennius paraphrases the lines as follows : — 
 
 Ag. quid nocti' uidetur in altisono 
 
 caeli clipeo? Senex superat temo 
 Stellas cogens etiam atque etiam 
 sublime [noctis] iter... 
 
 Ennius Iphigenia i (p. 94 ed. Miiller) 
 
notes, 63 
 
 and Varro's comment on Ennius (ling. lat. vii 73 p. 146 Spengel 2 ) hie 
 multam ttoctem ostendere volt a temonis motu may very well be applied 
 to the present passage ; that is to say, the poet merely intends by the 
 mention of these well-known constellations to suggest the idea of a 
 late hour in the night, «τταττόρου cf. Aesch. frag. 304 NetXos tvP 
 έπτάρροος I yaiav κυλίνδει 1 flowing in seven channels '. 
 
 10 f. σιγαι άν. an effective poetic plural : cf. Lucret. iv 460 severa 
 silentia nod is \ undique cum constent. κατ* — Αχούσαν tmesis; cf. 
 Bacch. 80 ανά Θύρσον τε τινάσσων. This is more common when only a 
 particle (usually δ^, cf. Aesch. P. V. 133 quoted infra 188) intervenes 
 between the prep, and verb. Here. fur. 53 έκ yap iσφpayLσμέvoι. 
 Hippol. 342 ξκ Toi πέπλτγγμαι. 
 
 12. trv emphatic, as always ; " why are you astir (when all else is at 
 rest)?" αισ-σ-eis the trisyllabic form is Ionic. It occurs in tragedy, in 
 lyrics, and (rarely) in trimeters, cf. Hek. 31 υπερ μητρός φίλης | Εκάβη* 
 άίσσω. Cf. the form αείδω (for Attic ρδω) Eur. Antiope frag. 188 
 TOtaOr' άειδε κτλ. 
 
 15. φυλακαί = φύλακες ("the watch"), the abstract for the concrete; 
 cf. Here. fur. 83 φνλακαΐ yap ημων κρείσσονες κατ έξόδους. Cf. the use 
 of φρουραί, σκοποί. 
 
 i8. dyvcos άκλ€η$· Cf. Ovid trist. iii 4 25 crede mihi bene qui 
 latuit bene vixit &c. Barnes. 
 
 20. και μήν 'and yet'; so freq. e.g. Troad. 72 καϊ μην ξπερσάν y* 
 "Ιλωι> τφ σφ σθένει. Ενταύθα sc. έν τιμαΐς. βίου is partit. genit. after έντ, 
 as in the phrases ϊνα κακού, ου γης infr. 1583, &c. 
 
 21. Si γ€ 4 yes, but...' These particles (in juxtaposition, or some- 
 times with a word or words standing between them) are employed in 
 correcting or extending a previous statement (cf. Porson Or. 1236): 
 hence they not unfrequently introduce a retort, Here. fur. 1249 σύ δ' 
 εκτός ών ye συμφοράς με νουθετείς. Cf. infr. 334. 
 
 22 ff. MSS. τό φίλότιμον—\υπεΐ. Markland omitted to, (which was 
 perhaps inserted in ignorance of the quantity of φιλότιμον, a possibility 
 attested by 1. 151 q. v.). I have written λνπτ] for λι»7τε?, retaining 
 Klotz's punctuation. "But this Honour is perilous in its longing for 
 glory; sweet indeed, but nigh unto sorrow everywhere". Honour (to 
 καλόν) is apt to be a danger owing to the noble ardour for fame which 
 attends upon it (καϊ φιλότιμον). The line γλι/κι> μέν κτλ. is explanatory 
 of these two aspects of το καλόν, (ι) the joy of pursuing fame, (2) the 
 risk which that pursuit involves, (τα yap δη μ^άλα πάντα έπισφαλή 
 
64 1PHIGENEIA AT AULIS. 
 
 Plat, republ. 497 d). In the burlesque allusion to this passage by the 
 comic poet Machon, (Athenaeus bk. vi pp. 243, 4), the same correc- 
 tion, λύπτ} for λυπεί, should, I think, be made. Chaerephon, who is 
 marketing, objects to a certain very bony joint. The butcher (μάγειρο*) 
 replies άλλα μήν έστι γλυκύ. Chaerephon retorts yλυκύ μεν, προσιστάμε- 
 νον δέλύπχ) πανταχη i.e. " (the proverb 'the nearer the bone the sweeter 
 the meat' may be true), but in this case the sweet is everywhere close 
 to the sour". With the expression λύπτ) προσιστάμ. cf. Soph. O. C. 
 1 216 λυ7τα$ (gen.) iyyvripoj. 
 
 24 ff. τά 0€(3v 'the service of the gods' ; cf. L T. 467 τά της θεου. 
 άν£τρ€\|/€, Slckv. gnomic aorists (Gr. Gr. 252) as Solon xii 18 άνεμο* 
 νεφελάς αΐψα δίεσκέδασεν, and often in tragedy, διακναίείν is a strong 
 word, 'to shatter'; cf. Aesch. P.V. 93 where the bound Prometheus 
 speaks of himself as αίκίαισιν δι.ακναιόμενο$. 
 
 28 f. The genitive api<TT€a>s depends upon ταύτα, not upon αγαμαι. 
 Ί admire not this in one who is a chief. The same construction is 
 common with θαυμάζω. €irt πα.<τι 'to the enjoyment of &c.\ επί 
 expressing the terms or conditions', cf. (with Monk) Hippol. 459 χρην 
 σ* έπί ρητοί* άρα \ πατέρα φυτεύειν. With the following lines should 
 be compared in particular Soph. Trach. 126 — 140, where the same 
 thought is expressed with great beauty' of language. 
 
 32 f. The emphatic συ opposed to θεων helps the contrast between 
 divine and human purpose. For τά βουλ. cf. infr. 386, 1270, and 
 Orest. 210 τφ λίαν παρεψένω ('by his excessive languor'). The neut. 
 article with a participle is often used as the equivalent of an abstract 
 substantive by Sophokles and Thukydides. It is found less commonly 
 in Aeschylus as Eumen. 699 το μήτ' άναρχον μήτε δεσποτονμενον. Cf. 
 with the expression here Thukyd. i 90 το βουλόμενον.,.τψ Ύνώμης. 
 
 34· λ. φ. άμ/πΈτάσαδ 'having kindled'. This is better than to 
 suppose that φάο$ άμπ, means 'increase the flame' as Bothe, Klotz 
 take it. To 'unfold the light* is a poetical equivalent for making it 
 visible; as in Hippol. 601 (compared by Weil) ηλίου άναπτυχαί, the 
 unfoldings of the sun, mean "the sun's unclouded orb". 
 
 35. δέλτον for the accus., (γράφει 'mark', 'scratch'), cf. I. T. 
 584 f. 
 
 36. ιτρό χ€ρών 'in your hands'; cf. [Eur.] Rhesus 274 μάχας πρό 
 χάρων καϊ δδρη βαστάξομεν. 
 
 37· Suidas συyχεΐ^ αφανίζει, συμμνγνύει, see following note. 
 
 39· Schiller renders by "die Lampe", but πεύκψ here is the 
 
NOTES. 65 
 
 tablet (δέλτον, 35) made of pinewood. These were prepared for 
 writing by a covering of wax ; cf. Herod, vii 239 (ο Δημάρητοή δελτίον 
 δίπτυχον λαβών τόν κηρδν αύτοΰ έξέκνησε, (i.e. "scraped out its wax", 
 which was kept in place by a raised border), και 'έπειτα εν τφ ξύλω του 
 δελτίου ^ypax/ζε την βασιλέο* ^νώμψ · ποίησα* δε ταύτα, οπίσω (vide 
 L 38) Μτηίζ€ τόν κηρδν επί τα y ράμματα κτλ. Two (or more, cf. πόλύ- 
 θυρο$) of these tablets were often joined together so as to open and 
 shut like a book, with the prepared surfaces inside, vide 1. 98 εν δέλτου 
 πτυχαΐς (and so, probably, Horn. II. vi 169 ypaxpas iv πινάκι πτυκτφ). 
 The writing was done upon the wax with a sharp-pointed instrument 
 called ypa<peiov (cf. also Plato Protag. 326 D tooypa\pavTes Ύραμμάς τη 
 Ίραφϊδι) like the Roman stilus. ιτ€δω 'on the ground'; cf. Orest. 1433 
 νήμα θ' ϊετο πέδφ. Aesch. Eum. 479 πέδφ πεσών (πέδοι Dind.). This 
 is a locatival dative denoting the place of action, more common in epic 
 poetry; e.g. Horn. II. ν 82 αϊματόεσσα δέ χειρ πεδίω πέσε. 
 
 4θ. κατά — χέων v. on 1. 11. The phrase is Homeric, cf. Od. iv 
 556 θαλερόν κατα δάκρυ χεοντα. 
 
 41 f. των απόρων depends upon ούδενός: the following μτ/ ου μαίν. 
 (Gr. Gr. 295) adding a further explanation. Sometimes in this constr. 
 the art. precedes the infinitive, e.g. Soph. Ο. T. 1232 λείπει μεν 
 ούδ' ά πρόσθεν ηδειμεν τό μη ου \ βαρύστον εΐναι, ' fail not in being'. For 
 the ού see Gr. Gr. 309. 
 
 46 ff. τότ€ the time ("at her marriage") to which τότε refers is 
 gathered from the context, as in Med. 140 1 νυν άσπά'ζει, τότ άπωσάμενος. 
 Dem. de fals. leg. 355 άλλ' ό'7τω$ τότε μτ] προσποιήσει (don't put in a 
 claim when the promises are fulfilled), ircfi/irei the present tense (his- 
 toric or descriptive present) in relating past events is common. It is 
 found in tragedy in interrogations, as infr. 894 κψτα πω$...ούκ έμοϊ 
 δίδω* ; with adverbs referring to past time, cf. Herakl. 967 ous άρτι 
 καίνεις: or even in combination with a past tense, cf. Hek. 266 κείνη yap 
 ώλεσεν νιν is Ύροίαν τ άγα. In some cases however the present 
 is intended to describe, not a past event, but a continued character 
 or state, as Ion 1560 ηδε τίκτει σε 'this is your mother'. 
 
 φ€ρνην i.e. as a part (v. infr. 869) of the bride's portion. So 
 θεραποντίδα φερνην 'a dowry of handmaids', Aesch. Suppl. 967. 
 In the heroic age it was the bridegroom who brought gifts to the 
 father of the bride; but see Med. 232 where Medea says, in language 
 appropriate to the later custom of the father giving his daughter a 
 dowry on marriage, δει χρημάτων υπερβολή | πόσιν πρίασθαι. 
 
66 
 
 IPHIGENEIA AT AULIS. 
 
 δίκαιον for the meaning here cf. Soph. Ant. 671 δίκαιον κά~γαθδν 
 παραστάτην 'loyal and brave'. 
 
 49 f. Leda is called the daughter of Thestius also in Hel. 133. Ovid 
 Heroid. viii 75 (quoted by Klotz) agrees with Eur. in making Phoebe a 
 daughter of Leda; the usual accounts mention only Helen and Kly- 
 taemnestra. Lucilius 15. 
 
 51. τά ιτρώτ ώλβ. 'counted the foremost in fortune of the land of 
 Hellas'; cf. Orest. 1246 Μυκηνίδες, ώ φίλιαι, τά πρώτα κατά HeXaaybv 
 %δο$ 'Apyeioov. Herod, vi 100 Αισχίνης 6 Νόθωνος έών των Έρετριεων 
 τά πρώτα. 
 
 53 f» δ. άττ€ΐλαΙ καΐ... φόνος an instance of hendiadys : "threats of 
 death from each one to the rest should he not win the maid " — i. e. each 
 threatened that, if he did not win her, he would kill his successful rival. 
 ξυνιστατο is here 'took shape', 'arose'; and the phrase is equivalent to 
 a verb of threatening, to which έκαστο s tis, the antecedent to όστις 
 gathered from the sense of the clause, forms the nominative, ήπείλει 
 έκαστος tls ότι, ει μη λάβοι, φονεύσοι τδν λαβόντα. The anteced. to 
 όστις is often left to be supplied when it can be easily inferred from the 
 context; cf. Troad. 400 φε^ειν μεν ουν χρη πόλεμον όστις εΰ φρονεί. 
 
 56. Cf. Thukyd. i 25 εν άπόρω εϊχοντο θέσθαι το παρόν. The in- 
 finitives joined by τε — τε are explanatory of το π pay μα απ. είχε. In 
 translating, English requires the disjunctive particles 'whether... or'; 
 cf. Aesch. Suppl. 379 άμηχανώ δε καΐ φόβος μ 'έχει φρενας | δρασαί re 
 μη δρασαί τε. infr. 969. 
 
 57 ff. €ΐσ·ήλθ€ν 'came into his mind', as infr. 1374. Cf. Aesch. 
 P. V. 1002 είσελθέτω ae μήποτε κτλ. Here. fur. 302. δ€ξιάς the cus- 
 tomary pledge of faith, cf. Horn. II. ii 341 σπονδαί τ άκρητοι καΐ δεξιαί, 
 ης επέπιθμεν 'the hand-plights wherein we trusted'. Cf. Soph. Trach. 
 1 181. δι ψττυρων 'with burnt-sacrifice' ; cf. Bacch. 441 δι' αίδοΰς 
 'with respect'. Soph. Ant. 394 δΥ όρκων. 
 
 63. τον έχοντα the husband, as τφ κεκτημενω infr. 715. 
 
 66. πως lends an ironical force to eu, 'a fine trick in its way'. For 
 the combination cf. Hel. 712 eu δε πως κτλ. The same ironical colour 
 may be observed in Plato laws χ 886 Ε λόyoισι δέ ταύτα εΰ πως είς το 
 πιθανόν περιπεπεμμενα. 
 
 6$. ότου ιτνοαΐ φέρουν κτλ. ' whose breathings of love should guide 
 her with fond constraining', οτου genit. depending on Άφροδ. πνοαί, 
 for which phrase cf. Aesch. Ag. 1206, where Kassandra says of her 
 lover Apollo αλλ* ην παλαιστής κό,ρτ* εμοϊ πνέων χάριν, φέρειν, 'carry 
 
NOTES. 
 
 67 
 
 away', is used in Aesch. Cho. 1023 of strong emotion overpowering the 
 judgment φέρουσι yap νικώμενον \ <pphes δύσαρκτοι, and φίλαι here 
 seems by its position intended to qualify the idiomatic sense of <pepeiv : 
 see Androm. 479. [Several conjectures have been proposed for ότου. 
 Weil adopts Lenting's όποι : Monk Boissonade's οτφ, translating " to 
 whomsoever the fond gales of love might carry her".] 
 
 72. Κχ€ΐ intransit. cf. Aesch. Ag. 1661 ώδ' 2χει Xoyos γυναικός. 
 
 73 f. For μέν answered by τέ cf. Soph. Phil. 1426 ΣΙάριν μ£ν... 
 νοσφΐ€Ϊ$ βίου \ πέρσας re Ύροίαν. Hippol. 996. βαρβάρω χλιδ. The 
 florid taste of the orientals in personal decoration is often alluded to by 
 Greek and Roman poets; cf. with this passage Hor. Carm. iii 3 25 
 iam nec Lacaenae splendet adulterae | famosus hospes. 
 
 76. 2κδ. λαβών Mev. * when he found Men. from home \ Menelaus 
 had gone to Crete for the purpose of offering sacrifice to Zeus. 
 
 78. 8pKovs Τυνδ. ' the oath of Tyndareus', i.e. exacted by him. For 
 this use of the attrib. genit. cf. Orest. 618 ονάρατ ayyiWovaa ταηαμέμ· 
 vovos, 'sent by the shade of Agamemnon'. (Distinguish όρκος Θεών 4 an 
 oath by the gods', object, genit.) Thukydides (i 9) is sceptical, from 
 the point of view of a historian, about the story of the όρκος Τυνδάρεω. 
 In his opinion the expedition against Troy was organized by Aga- 
 memnon and commanded by him in virtue of his ascendancy in Greece 
 at the time (των τότε δυνάμει προϋχων). 
 
 8ο. Quoted by Aristotle rhet. iii n, p. 141 i b 29, except that the 
 best MSS. give ττοσίν for δορί. This is of course no ground for dis- 
 turbing the reading here, since Aristotle, in common with other 
 ancient writers, is often not verbally exact in his citations. The fact 
 that the line was known to Ar. furnishes a strong argument in favour of 
 this speech of Agamemnon, the genuineness of which has been ques- 
 tioned by some critics. 
 
 84. πάντα is F. W. Schmidt's correction of MSS. κατα — which may 
 have arisen from a gloss κατά on the phrase MevtXeco χάριν, Cf. Soph. 
 Ο. T. 904 ZeO, πάντ' άνάσσων. [Several other readings κάρτα πασι 
 εΐτα &c. have also been suggested.] 
 
 88 ff. [See Introd. p. ix.] Αυλίδα supr. 14 Αΰλιν: for similar double 
 forms in the accus. Barnes cites Οβμίδα, θέμιν &c. άν€ΐλ€ν ' announced 
 the divine will', said both of the god himself, as Thukyd. i 25 ό δέ (sc. 0 
 debs) avTots avelXe παραδοΰναι, or, as here, of his προφήτης. Observe 
 that the force of the verb varies somewhat with the following infinitives; 
 with θυσαι the sense of 'bidding', with 'έσβσθαι., dvai that of 'predicting* 
 
68 
 
 IPHIGENEIA AT AULIS. 
 
 is most prominent; cf. I. T. 85 σύ δ' εΧπας έλθεΐν.,.καϊ ταύτα δράσαντ' 
 άμνοα* Ζξειν πόνων. The present tense {etvai) is not unusual after such 
 verbs as 'έχρησε, άνειλε, εΧπε &c. ; cf. Aesch. Cho. 1030 χρήσαντ' έμοΐ... 
 eXvai. (Compare the use of the present in the direct utterance of a 
 prophecy, Aesch. Ag. 125 εΧπε τερ^ζων \ χρόνω μεν ay ρει κτλ.) 
 For the combination 'έσεσθαι — εΧναι see infr. 358. άιτλοία χρ. cf. infr. 
 546 ya\aveia χρησάμενοι 'having (experiencing) a season of quiet '. 
 Simonid. 100 χρώμενοι euXoyiy. In 1. 89 κεχρημένοις is, I think, best 
 taken with άν. in the sense of ' having obtained an oracular reply ', as in 
 the disputed passage Aesch. Pers. 829 σωφρονειν κεχρημένοι. " Kalchas 
 the seer announced a word revealed to us from heaven in our distress ". 
 On the other hand air. κεχρ. might be taken as a poetical equivalent of 
 the cognate verb (άπορουσι) 1 at our wit's end ' ; cf. Med. 347 συμφορφ 
 κεχρη μένους. Herod, vii 134 &c. The fact of άπλ. χρ. having been 
 just used is scarcely an objection to this view, as the Greeks do not go 
 out of their way to avoid such recurrences, but the former interpretation 
 appears on the whole more natural. 
 
 91. ttj τόδ' οίκουσ-η ΐΓ€δον. Divinities were imagined as inhabit- 
 ing a place where honours and rites were paid to them ; thus the 
 Eumenides, signifying their contentment with the cult offered to them 
 at Athens, say δέξομαι ΪΙαλλάδος ξυνοικίαν (Aesch. Eum. 916). 
 
 96. οΰττοτ' άν tXcis represents ουκ άν τλαίην of direct discourse 
 (Gr. Gr. 255); cf. Med. 781 ούχ <bs λιπουσ' &v. Plato Gorgias 461 D 
 νυν δέ y* δ αύτδϊ οΰτος φαίνεται, δ ρητορικός, ουκ άν ποτε άδικήσας. 
 
 97 ff« °ι5 ' when ', at which juncture ; cf. I. T. 320 οΰ δη τδ δεινδν 
 παρακέλευσμ' ήκούσαμεν where, as here, δή adds emphasis ; "then it was 
 that..." δ^λτου ιττ. v. on supr. 39. ώς γαμ.ουμ,€νην : (Gr. Gr. 301) "in 
 the belief that she is to marry. .." (cf. infr. 362). 
 
 102. οΰν€κ(α) 'that', ότι. So όθούνεκα, Soph. Ο. T. 1271, &c. 
 
 103. Xfyos 'bride'; often in Eurip. cf. infr. 389 κακόν λέχος. So 
 βύνη infr. 1355. Sophokles has νυμφεία (sc. iepd) meaning 'affianced 
 bride' Ant. 568. 
 
 104. ιτ€ΐθώ ' means of persuasion ' ; cf. Hel. 796 tIs τοΰδε πειθώ ; 
 io8. avQis 'afterwards', )(τότε. πάλιν not here pleonastic with 
 
 addis, but in the sense of reversal with μετ. καλώς. Cf. Soph. Phil. 
 1270 μετα^νώναι πάλιν. 
 
 ii2 f. So in I. T. 760 Iphigeneia tells Pylades the contents of the 
 tablet which she entrusts to him — τάνόντα κάyyεypaμμέv i εν δέλτου 
 πτυχαΐς \ λόyω φράσω σοι — in order that if it were lost through perils of 
 
NOTES. 
 
 69 
 
 the sea, he might still give the message by word of mouth. In modern 
 plays, when it is necessary for the audience to be aware of the purport 
 of a letter, dramatists are often content with the rather clumsy device 
 of making the actor read aloud the words as he writes. 
 
 118. <π5ντονα usually 'intense*, 'vehement', here="in harmony 
 with" (σύμφωνα). These lines were transposed by Reiske. 
 
 115. πψπω (sc. δέλτους) constructed as in supr. 98, infr. 360. 
 irpos ταϊ$ up. 8. ' in addition to my former missive 
 
 120. ΐΓΤ€ρυγ' Εύβοίαδ κτλ. Grammatically Αΰλιν άκλ. may be (1) 
 in apposition to πτερ. Εύβ., or, (2) as Hermann takes it, in the accus. 
 governed by στέλλειν (cf. Here. fur. 109 μέλαθρα έστάλην, infr. 751 ff.) 
 defining the place, Αύλίς, which was less accurately described by a 
 neighbouring district, πτέρυ-y 1 Ευβοίας — which phrase Herm. interprets 
 as " prominens angulus Euboeae". It seems on the whole better to 
 construe as (1) ; the poet possibly chose the expression πτ. Εύβ. 
 because the nearness of Euboea, owing to the narrowness of the Euri- 
 pus (40 yards) at this point, suggested the conception of the bay of Aulis 
 as a projection from Euboea which stretches its length so close along- 
 side, received into and nearly encircled by the coast-line of the opposite 
 continent; "an embosomed wing". 
 
 191. άκλΰσ-ταν because Aulis was defended by its position from the 
 rapid and changeable currents of the Euripus (cf. I. T. 6 άμφΐ δίναις as 
 θάμ' Εύριπος πυκναΐς \ αϋραις έλίσσων κυανέαν αΚα στρέφει). Ancient 
 writers often allude to the turbulence of the waters in this strait which 
 rendered navigation dangerous, cf. Plato Phaedo 90 C άτεχνως ώσπερ 
 iv Ενρίπω ανω καϊ κάτω στρέφεται. Aesch. Ag. 191. 
 
 123· δαί<τομ€ν ύμ€ν. Cf. infr. 707 'έδαισαν αγάμους, ύμέναιος is 
 properly the song which was sung by the procession that attended the 
 bride and bridegroom to their home (cf. infra 1036), but denotes 
 sometimes the έπιθαΚάμων, as Pind. Pyth. iii 17 ff. Here it is used 
 generally for the marriage festivities, "wedding", as also in infr. 430. 
 For the metrical form of the line cf. Hek. 97 πέμψατβ, δαίμονες, Ικετεύω. 
 The " dactyl preceding an anapaest, causing a sequence of 4 short 
 syllables, is in ordinary or legiti?nate anapaests generally avoided, though 
 not altogether unknown, cf. Troad. 10 1 μεταβάΚΚομένου δαίμονος 
 άνέχου. (There however the metre passes into spondaic anapaests 
 1. 122 &c.) 
 
 124 f. καϊ irc3s introduces an objection, as the English "And 
 how...?" cf. Phoen. 1347 καϊ πώς "γένοιτ' αν τωνδε δυσποτμώτεμα ; so 
 
7o 
 
 IPHIGENEIA AT AULIS. 
 
 και τ/s, and similarly κφτα (Orest. 443), καπβιτα. For the force of καϊ 
 when it follows the interrogative see infr. 327, η. μέγα φυ<τών cf. 
 Bacch. 640 καν πνέων £\6y μεγα, and infr, 381 Seiva φυσφς, 
 
 12 J. τόδ€ καϊ Seivov 'this is a danger indeed*. A reference to 
 Agamemnon's words 97 — 107 makes it evident that the old man's 
 question here is not to the point, because Achilles knows nothing of the 
 plot. On the other hand there is nothing incongruous in the fact that 
 the old man, whose readiness of apprehension is something impaired by 
 years, should fail to grasp at once the whole situation. He does not 
 realize that the marriage -engagement, which formed the pretext for 
 bringing Iphigeneia to Aulis, has never been broached to Achilles, 
 although it is to marry him that she is now on her way from Argos. 
 But in order to appreciate his action later in the play it is well that the 
 audience should bear in mind that Achilles himself is entirely guiltless 
 of all this intrigue; accordingly, the poet by the old man's question 
 avails himself of an artistic device for re-stating a fact on which he 
 wishes to lay especial stress. [In Racine's Iphigenie a question of a 
 similar form to that of the old man at this point is put by Areas : — 
 "Verra-t-il (Achille) a ses yeux son amante immolee?" There is 
 however a difference in the situation. Achilles was already in love 
 with Iphigeneia, but at the time when Ag., yielding to Odysseus' appeal 
 to his ambition, consented to the sacrifice, he was absent from the 
 camp with his father Peleus, "d'un ennemi voisin redoutant les efforts". 
 He found himself able to return sooner than had been anticipated, 
 and therefore his opposition, as Areas reminds the king, is a fresh 
 difficulty that will certainly have to be encountered.] 
 
 128. 6νομ.' ουκ fyyyov cf. Hel. 1100 τοϋνομα παρασχοΰσ 1 , ού τό σώμ\ 
 έν βαρβάρου (of the phantom- Helen). For the antithesis between όνομα 
 and Zpyov v. infr, 11 15, n. 
 
 132. XeKTpois added after the verb, when the expression is already 
 complete to the ear, as is often the case in Greek. It defines in a more 
 concrete way the previous phrase νυμφ. els ayK, ewds. Cf. infr, 543 
 ol μετρίας θβοϋ.,.μετέσχον λέκτρων Άφροδίτας, €κδώ<Γ€ΐν ' give in mar- 
 riage', cf. infr, 729, 736. 
 
 133. δεινά -ye τολμα$ κτλ. ' Bold in fearful wise art thou, king 
 Agamemnon, who by promise of thy daughter to the goddess' son as his 
 bride didst purpose to bring (7776s) her to be offered for the Danaans '. 
 The ''promise" to which φατίσα* alludes was not of course made to 
 Achilles in person, but summarises the contents of Agamemnon's letter 
 
NOTES. 
 
 7i 
 
 to Klytaemnestra. She would naturally conclude that it had been so 
 made. The words, if they stood alone, would certainly be ambiguous, 
 but are clear enough after what Agamemnon has said 128 — 131. Cf. 
 infr. 936 where Achilles speaks of Iphigeneia as έμη φατισθεΐσα. It is 
 not necessary to write dewd γ έτόλμας with Markland. The old 
 man, who is Klytaemnestra's slave and devoted to her interests through- 
 out, is greatly shocked by the project disclosed to him. The fact that 
 Agamemnon has abandoned that project makes it possible for him to 
 speak his mind more freely than would otherwise be proper from a slave 
 to his master, and he intends his words not merely as a criticism of 
 the discarded plan, but also as a warning against the element of 
 recklessness in Agamemnon's character betrayed by the confession he 
 has just made. Hence he designedly uses the present τολμά*. 
 
 136 f. The words σφά^γων Aavaols bring before Agamemnon's mind 
 all the difficulties of his position. He feels his resolution fail him. If 
 Iphigeneia should arrive, how can he baulk the army of the victim, 
 whose death will secure their success? He will be sure to yield to 
 their pressure, cost him what it may (πίπτω δ' els αταν). There is yet a 
 chance that his daughter may be stayed from coming, if the old man 
 will but hasten with the letter. 4ξ€σταν aor. referring to a moment just 
 past, cf. Hel. 330 \6yovs έδβξάμαν ' I accept your proposal \ Androm. 
 919 ξυρήκα 1 1 understand '. This tense is very common with verbs 
 expressing emotion, cf. άπέπτυσα infr. 509, φκτισα 462, frrjveaa 440. 
 In these cases the aorist is used because the access of feeling expressed 
 by the verb has already taken place before the speaker can describe in 
 words the change in his mental attitude. 
 
 1 39. epccro- ω ν <rov πόδα. The verb έρίσσω ' to ply an oar ' is used 
 by the tragedians in the general sense of "putting in quick motion". 
 Thus Sophokles can say roias έρέσσουσιν άπαλάς i such the threats they 
 ply'. In Eur. Ion 161 it has a neut. sense, 6de προ* θυμέ\α$ \ dWos 
 έρέσσει κύκνο*. Metaphors taken from nautical affairs are frequently 
 employed by Eur. e.g. Orest. 607 (shortening sail); Med. 524 (running 
 before a gale) ; Here. fur. 837 (shaking out reefs); id. 478 (anchoring). 
 
 141 f. %ov κρήνας. The simple accus. after such words as θάσσειν, 
 ϊζβσθαι is poetical; cf. Soph. Ο. T. 161 θρόνον θάσσει. Eur. Hel. 1573 
 άλλοι δέ τοίχους... Ζζοντο. The prose construction of ϊ^σθαι is the dat 
 with iv, or accus. with cis or eiri. t£ov...0€X\0fjs for the change of 
 mood cf. infr. 998. 
 
 143. €^φη|χα Opo€t 'hush!'; so Here. fur. 1184 εϋφημα φώνα. 
 
72 
 
 IPHIGENEIA AT AULIS. 
 
 Hippol. 724 εύφημος ϊσθι. The old man feels hurt by a suggestion that 
 he would so much fail in his duty as to loiter unduly by the way. 
 
 144. ιτόρον σχισ-τόν αμείβων * as you pass a spot where ways 
 diverge ' ; cf. Soph. Ο. T. 733 σχιστή οδός ' branching roads '. 
 
 146. ιταραμ€ΐψαμ€νη. In metaph. sense Soph. Ο. T. 501 σοφία δ' 
 αν σοφίαν παραμείψειεν άνήρ. τροχ. o\ois ' with its rolling wheels ' ; cf. 
 Phoen. 11 90 αρμάτων βχους. 'όχοις is a dat. of accompaniment (Gr. Gr. 
 235), cf. Androm. 1010 κυανέαις ϊπποις διφρεύων. 
 
 149 MSS * ^£ό/>μα, Wecklein εξορμώσαις. In 1. 151 εξόρμα, σείε 
 χαλινούς is Blomfield's corr. of έξορμάσης χαλινούς PC ; έξορμάσεις τούς 
 χαλινούς P 2 C 2 , where τούς was clearly inserted to mend the metre by 
 some one with views of his own as to the scansion of χαλινού*. 
 κληθρων refers to the women's apartments in the palace at Argos ; see 
 infr. 738 όχυροΐσι παρθενωσι. Cf. Kallim. frag, xvi Ernest. (=118 
 Schn.) ά παις α κατάκλειστος ' the girl in her maiden bower '. Κυκλώ- 
 πων θυμ^λαε i.e. built by the Cyclopes; cf. infr. 534 τείχεσιν Κύκλω- 
 πίοις, (cf. Horn. II. ii 559 Τίρυνθα τε τειχιόεσσαν), so in Here. fur. 15 
 Mykenae is called Κυκλωπία πόλις. It was the belief of antiquity that 
 the massive architecture of these cities, Mykenae, Tiryns &c. was the 
 work of the Cyclopes, cf. infr. 1500 καλείς πόλισμα Ιίερσέως, Κυκλωπίων 
 πόνον χερών ; As to the appearance of the different styles in the 
 Cyclopean architecture, see Schliemann Mycenae pp. 29, 30, and the 
 illustration which follows (p. 32) of the imposing Gate of the Lions at 
 Mykenae. A general idea of the various styles &c. can also be formed 
 from the wood-cuts in Guhl and Koner p. 59 f. θυμΑαβ not here 
 probably 'altars', but 'homes', (as εστία), cf. [Eur.] Rhesus 235 
 κάμψειε πάλιν θυμέλας οϊκων πατρός Ίλιάδας, with I. Τ. 845 Κνκλωπίς 
 εστία, Ιώ πατρίς, Μνκήνα φίλα. UCs intransit. 
 
 153· wwttos cf. Thukyd. iii 43 ψευσάμενον πιστον γενέσθαι 'to win 
 belief by falsehoods '. Compare also the use of άπιστος, ' discredited ', 
 Herod, viii 22 ϊνα... απίστους ποιήση τούς "Ιωνας. 
 
 157 f* τόδ€ φώ$ 'yonder light'; i.e. the breaking dawn, cf. El. 102 
 "Εως yap λευκον βμμ' άναίρεται. τόδε deictic (v. infr. 1341). φως 
 cognate accus. to λευκαίνει ; to "whiten a light" meaning to "cause a 
 white light to appear"; (cf. infr. 298). Klotz less well makes φως an 
 accus. after λάμπουσα in transit, sense. Greverus proposed to place a 
 colon after ηδη, continuing λάμπουσ\ι) ηώς κτλ. τεβρίππων. The 
 chariot and horses of the Sun are familiar images ; see, on the growth 
 of the idea, Cox Mythology of the Aryan nations p. 425 f. Cf. with this 
 
NOTES. 
 
 73 
 
 passage Ion 82 fT. άρματα μεν τάδε λαμπρά τεθρίππων \ ήλιος ήδη λάμπει 
 κατά yijv, | άστρα δέ <pwyei πνρί τφδ' αιθέρος. 
 
 164 — 3° 2 · Parodos. The old man having set out with his letter, 
 the chorus, consisting of women from Chalkis in Euboea (cf. 168 
 Χαλκίδα πάλιν έμάν προλιπουσα) enter, and explain the reason of their 
 appearance in the Grecian camp. Curiosity to see the host under 
 Agamemnon and Menelaus, report of which has gone out far and wide, 
 brings them from their retirement to feast their eyes on the imposing 
 military and naval array at Aulis. They name some of the chiefs whom 
 they have seen there, and then proceed in the second part of the 
 Parodos to tell the number of the ships brought by different leaders. 
 Their statements agree generally with the account given in the Cata- 
 logue, Iliad ii, but exhibit some variation in the details. [In the 
 Jphigenia of Ennius the chorus is composed, not of women, but of 
 Greek soldiers, a fragment of whose words, in which they express their 
 disgust at long continued inaction, is quoted on infr. 815. In this 
 deviation from Euripides it is not unlikely that Ennius took as his 
 model a soldier-chorus in the Iphigeneia of Sophokles.] 
 
 "I came to the sandy shores of Aulis by the sea, I sped my bark 
 through the pouring waters of Euripus, and left behind me Chalkis on 
 the narrow strait, my city, nurse of the ocean-neighbouring streams of 
 Arethusa's famous fountain 
 
 170. 'Ap€0ov(ras the most famous Arethusa was in Sicily, but 
 there were several other fountains so named, cf. Eustath. p. 1746, 58 
 ΐστι δέ, φασιν, Αρέθουσα καΐ έν Σμύρνη, καϊ έν Χαλκίδι τ$ κατά Εϋβοιαν, 
 καί έν Συρακούσαις, ή καϊ μάλιστα έν Ίστορίαις τεθρύληται. 
 
 17 2. Αχαιών τ€ with a word so repeated δέ, not re, is usually 
 found, cf. Med. 131 2κλυον φωνάν, έκλυον δέ βοάν. infr. 1334· Monk 
 accordingly edits δέ in this passage. The chorus however in their 
 expression are coupling together two things, both of which they wish 
 to see, the fleet and army of the Achaeans. ιτλάταε ναυσιιτόρ. see 
 infr. 236, n. 
 
 173. ημιθέων cf. Hesiod op. 160 ανδρών ηρώων θείον "γένος, ot 
 καλέονται ημίθεοι. So Jason's crew are called ημίθεοι by Pindar, 
 ημιθέοισιν Ιάσονος ναύταις (Pyth. iv 12). 
 
 174. cXaTcus χιλιόναυσ-tv 'with a fleet of a thousand vessels'; cf. 
 I. T. 140 συν κώπα χιλιοναύτα. In poetry we naturally enough find the 
 size of the fleet given in round numbers, cf. Aesch. Ag. 45 στόλον Άpyείωv 
 χιλιοναύταν, and infr. 354. Thukyd. i 10 4 speaks of a fleet of 1200 
 
74 
 
 IPHIGENEIA AT AULIS. 
 
 sail, πεποίηκε yap (sc." Ομηρος) χιλίων καϊ διηκοσίων νεών. The number 
 exactly, reckoned according to the Catalogue (II. ii), was 1186. 
 
 178. eirl τ. Έλέναν * in quest of Helen ' ; for this meaning of επί cf. 
 Herod, vii 193 Μ τό κώας 'έπλεον hs ΚΧαν ttjv Κολχίδα i.e. 'on the 
 quest of the golden fleece '. τάν cf. infr. 757. 
 
 ε 80. 6 βουκόλοΞ. Paris after his birth had been exposed on Mt 
 Ida, owing to a dream of his mother Hecuba that she had brought forth 
 a firebrand. The shepherd by whom the infant had been exposed, 
 happening to return to the spot some days afterwards, and finding it 
 still alive, took it to his home and reared it in his own family. Cf. 
 Tennyson, Oenone " Paris, to thee king-born, | a shepherd all thy life, 
 but yet king-born" &c. Cf. also infr. 1285 ^ 
 
 1 82. Cf. infr. 1294 f. 
 
 185. The term άλσος is used of places consecrated by the presence 
 of a divinity (cf. supr. 91, n.) without implying necessarily that they 
 were grown with trees. 
 
 186. opojicva 'in haste', aor. partic. 6ρνυμι. In lyric passages 
 we have also the form βρμενος, Soph. Ο. T. 177. Cf. Aesch. Ag. 429 
 ζυνορμένοις. 
 
 187 f. φοινίσ-<Γου<τα κτλ. 'my cheek with blushes dyed'. Eng- 
 lish does not permit a literal rendering ('reddening') of this and 
 many similar expressions in which the Greeks speak of the effects of 
 emotion as due to the action of the person in whom they appear ; cf. 
 infr. 1434 δακρύοις τέyyεLς κόρας. The same idiom is seen in such 
 phrases as άπορρήξαι, πνεύμα &c. al<r\wci bashfulness at thus appear- 
 ing in public exposed to the gaze of the soldiers in the Grecian 
 camp (v. infr. 1341). So in Aesch. P. V. 132 if. the shyness of the 
 Ocean nymphs is overcome by their curiosity to learn the meaning 
 of the unwonted sounds that have reached their ears, κτύπου yap άχώ 
 χάλυβος \ δίγξεν άντρων μυχόν, εκ δ' ε'πληξέ μου \ ταν θεμερωπιν αίδώ. 
 ν€οθαλ€ΐ Doric form of νεοθηλεϊ. Cf. εύθαλεΐ τ' εύκαρπεία Troad. 
 217. 
 
 189· a<rirC8os £ρυμα κτλ. 'the strong place of the shield-bearing 
 Danaans and tents of the armed host '. άσπίς, equivalent here to άσπισ* 
 ταί (cf. Phoen. 78 πολλην άθροίσας άσπίδ' Άpyεlωv) i is the sign of the 
 men-at-arms (cf. Aesch. Ag. 825 άσπιδοστρόφος λεώς) as opposed to the 
 sailors, and distinguishes the Ζρυμα of the army from the fortified line of 
 ships (v. 171, 2). It was usual when the ships were hauled up on shore 
 to dispose them in a line capable of defence in case of attack, cf. 
 
NOTES. 
 
 75 
 
 Thukyd. viii 55 προσβολών τφ περί τά$ ναΰς έρύματι. Paley under- 
 stands άσπ. έρυμα as στρατόν άσπίσιν ττεφρα^μένον, 
 
 192. <τυν€δρω 4 sitting in council together'; cf. Soph. Aias 749 έκ 
 yap συνέδρου καϊ τυραννικού κύκλου \ Κάλχας μεταστάς (Klotz). 
 
 194· tcls Σ. (Γτέφανον 'the son of Telamon, a crown of glory to 
 Salamis'; cf. Pind. Nem. iv 47 άταρ Mas Σαλαμΐν έχει πατρφαν. infr. 
 289. For this metaphorical use of στέφανος cf. Meleager Anth. Pal. ν 
 143 ό στέφανο* περί κρατϊ μαραίνεται *Ήλιοδώρας' \ αύτη δ' έκλάμπει του 
 στεφάνου στέφανος. Soph. Phil. 841 τούδε yap δ στέφανος 'his is the 
 glory '. 
 
 196 fF. ήδομ^νουδ is in agreement with both ΤΙρωτεσ. and Πα- 
 λαμηδ., though placed between them. This is an instance of the σχήμα 
 'Αλκμανικόν, so called because Alkman used it, we are told, with a 
 rather wearisome frequency (κατακορέστερον) ; see Valcknaer on Lesbonax 
 p. 79. The construction is found also in Homer, (as Od. x 513 ένθα 
 μεν είς Αχέροντα ΐlυpιφλεyέθωv re ρέουσιν \ Κώκυτός τε); in Pindar; and 
 in the fragments of Alkman, Κάστωρ τε πώλων ώκέων δματηρες, ίππόται 
 σοφοί, | καϊ Τίωλυδεύκης κυδρός, frag. 9 Bergk 4 . Palamedes, the son of 
 Nauplius and Klymene, is not mentioned by Homer. He appears 
 first in the Κύπρια, a poem of the Epic cycle attributed to Stasinus, 
 where he is the author of the stratagem by which is detected the feigned 
 madness of Odysseus (έφώρασαν, ΊΙαλαμήδους ύποθεμένου Proklus). He 
 is said to have invented the game of πεσσοί, which seems to have been 
 played on somewhat similar principles to our draughts, cf. Soph. 
 Palamedes frag. 380 έφηϋρε... πεσσούς κύβους τε, τερπνόν αργίας άκος. 
 A number of other inventions are also ascribed to him by different 
 writers, and we find his name used almost as a proverb for ingenuity of 
 this kind ; cf. Eupolis inc. fab. 2 ΊΙαλαμηδικόν yε τούτο τούζεύρημα καϊ 
 σοφόν του, μορφαίσι ΐΓολυττλόκ. the *mazy figures' formed by the 
 varying arrangement of the draught-men as the game proceeded. In 
 Od. i 107 the suitors of Penelope are discovered killing time in the 
 same way, πεσσοΐσι προπάροιθε θυράων θυμδν 'έτερπον. Of this earlier 
 form of the game no definite account can be given ; for what is known 
 of the later varieties see Becker Charikles p. 252 ff. 
 
 199. ήδοναις δίσκου Κ€\. cf. Horn. II. ii 773 λαοί παρα ρ^μϊνι 
 θαλάσσης \ δίσκοισιν τέρποντο. For the form κεχαρημένον cf. Horn, 
 hymn, vi 10 κεχαρημένοι ητορ. The partic. κεχαρμένην occurs Orest. 
 1 1 22. See Gr. Gr. 359. 
 
 203. νησ-αίων ορίων refers of course to Ithaka; c*. II. iii 200 
 
7 6 
 
 IPHIGENEIA AT AULIS. 
 
 πολύμητις Όδυσσβύς, \ δς τράφη kv δήμω Ιθάκης κραναής. τ€ is ir- 
 regularly placed, cf. Soph. El. 249 ZppoL τ αν αιδώς \ απάντων τ ευσέβεια 
 θ ν ατών. 
 
 205. κάλλισ-τον Άχ. So Nireus "the goodliest man of all the 
 Danaans" has a word of notice II. ii 673 (Νιρεύς, 6s κάλλιστος άνηρ 
 ύπό "ΐλιον ηλθεν | των άλλων Ααναων μετ άμύμονα ΙΙηλείωνα), though he 
 was of small account as a warrior, and his following scanty, nor does 
 Homer find occasion to mention him again. See Mr Gladstone's 
 remarks on the passage, Stztdies on Homer iii 406. We are not surprised 
 therefore to find that the ladies of Chalkis do not pass over Nireus 
 quite unregarded. These last words κάλλιστον ' Αχαιών form a beautiful 
 harmony with the closing line of the strophe; on the one side the 
 deathless goddess Aphrodite in her triumphant loveliness, on the 
 other the mortal Greek in his manly beauty the fairest of the Achaean 
 host. 
 
 206. 1<τάν€μον cf. the Homeric description of fleetness, άμα πνοιής 
 άνέμοιο (Od. ν 46). 
 
 209. Ι|€7τόνα<Γ€ν 'trained'; cf. Theokr. xiii 14 ως αύτφ κατά θυμδν 
 6 παϊς πεποναμένος εϊη. Xen. Hipparch. viii 2 έκπεπονημένοι ττ} έλάσει 
 (ΐπποι καϊ άνδρες). In 1. 367 εκπονούν occurs without any technical 
 meaning. 
 
 211. κροκάλαις 'shingle'; cf. Eustath. p. 855, 51 τάς αΐ-γΐάλίτιδας 
 άμμους, at λέΎονται και κροκάλαι. crvv o*irXoi$ 'in full armour'; cf. 
 Plato laws vii 833 Α πρώτος δέ εϊσεισιν ό το στάδιον άμιλλησόμενος σύν 
 τοις δπλοις, cf. infr. 227· 
 
 214· irpos άρμα i.e. racing against a chariot. 
 
 217 ff. Eumelus, grandson of Pheres, and son of Admetus and 
 Alkestis (Iliad ii 714) is mentioned II. ii 763. In that place his mares 
 are celebrated as the fleetest steeds in the host, Ϊπποι μϊν μέ*γ άρισται 
 'έσαν Φερητιάδαο \ τάς Έύμηλος 'έλαυνε κτλ. ω.. . θ€ΐνομ.€νους cf. Horn. 
 II. xvii 43° μάστιγ* Θού) έπεμαίετο Θάνων. The dative of the agent is 
 not often found with a present tense of the passive, though common 
 with the perfect (Gr. Gr. 234, 3). Cf. Soph. Aias 539 προσπόλοις 
 φυλάσσεται. 
 
 222 ff. βαλιοΰ$ cf. [Eur.] Rhesus 356. βαλιαϊσι πώλοις 'with 
 dappled fillies'. <r€ipo<|>0povs To the άρμα τέτρωρον (1. 213) four horses 
 were harnessed abreast, of which the two in the middle were under the 
 yoke (ζυ*γίους 1. 221). The two outside horses drew only by the trace 
 (σειρά) and were hence called σειραΐοι Ϊπποι, σειραφόροι (σειροφόροι). 
 
NOTES. 
 
 77 
 
 Each time during the race that the turning-post (καμπτήρ) had to be 
 rounded for the backward journey (δίαυλου θάτερον κωλον Aesch. Ag. 
 344), the charioteer, — whose object was to make as close a turn as 
 possible, both to save distance, and to avoid losing the inside place — , 
 would rein in his near σειραφόρος ϊππος, and bring round his off horse 
 on a curve over against the turning of the δρόμος (άντήρεπ καμπαΐσι 
 δρόμων). That is to say, the turn at the καμπτήρ being regarded as 
 forming a small curve at the end of the course, the larger curve which 
 is described by the off horse lies outside it at an equal distance at all 
 points from it. Cf. Soph. El. 720 kcivos δ' ύπ' αυτήν έσχάτην στήλην 
 (■χων | 'έχριμπτ* del σήοΐ77 α » δεξιόν τ* duels \ σαραΐον ΐππον, dpye τόν 
 προσκείμενον, where the charioteer is described as making this close 
 turn round the distance-post [έσχατη στήλη) during the race. 
 
 229 f. " Keeping alongside the chariot-rail by the wheels of the 
 car", άντυξ is the rail running round the top part of the body 
 of the chariot, καΐ <rvpiyyas here καΐ is explanatory, introducing a 
 more exact definition of Achilles' position. The συρηξ was the hole in 
 the nave (πλήμνη) of the wheel to receive the axle (αξων), which was 
 then secured in its place by the linch-pins (ένήλατα), (cf. Hippol. 
 1234). In Parmenides 18 (Mullach) the άξων and συρηζ have a differ- 
 ent meaning, denoting respectively the pin and pipe of a hinge, πολύ- 
 χάλκους \ άξονας iv σΰρι^ξιν άμοιβαδον είλίξασαι, but they occupy the 
 same relative position. 
 
 231 — 302. The chorus now pass on to the ships and their leaders. 
 To these are devoted two strophes and antistrophes followed by an 
 epode, which form the second part of the Parodos. Hermann, who 
 arranges 11. 277 — 302 as a third strophe and antistrophe (277 — 288 = 
 289 — 302), supposes the text to have suffered severe mutilation, and 
 gives in his edition a conjectural restoration of this strophe and anti- 
 strophe, supplying the lacunae by aid of II. ii 748 ff. 
 
 232 f. άθ&τφατον 'marvellous'; only here in Tragedy. Buttmann 
 lexil. 66 p. 359, following Hesychius, explains the word as an excessive 
 hyperbole, — όσον ούδ* αν 0ebs φατίσεπν δι* ύπβρβολην πλήθους — , but 
 this derivation is scarcely convincing, and does not seem natural in the 
 Homeric application of άθέσφ. to such words as όμβρος, oTvos &c. 
 Hesiod has it of ϋμνος, op. 660; cf. theog. 830 φωναΐ.,.παντοίην δπ' 
 ΐ€Ϊσαι, άθέσφατον (of the monster Typhoeus). 
 
 ■γυναίκ€ΐον is in agreement with 6ψιν — όμμάτων, which form a single 
 notion; cf. I. T. 1167 6ψι? δ' όμμάτων ξυνήρμοσεν. 
 
 Η. ι. 6 
 
78 
 
 IPHIGENEIA AT AULIS. 
 
 234. MSS. μείλιρορ άδοράρ * pleasure, honey-sweet'; the expression 
 is strange in itself, while μείλιρορ both in form and meaning is open to 
 suspicion. I have printed Bothe's μέλιρορ, which suits the antistrophic 
 verse, although it does not remove the other difficulties. 
 
 άδονάρ is an accus. in apposition to the idea contained in the 
 preceding clause, cf. Bacch. 1099 θύρσους ΐεσαρ δι' αιθέρος \ ΊΙερθέως, 
 στόχορ δνστηρορ, cf. infr. 831 f. 
 
 236 f. irXciTas genit. Of the fleet' ; the part for the whole, πλάτη 
 (lit. the blade of an oar) can be used for (1) the oar itself (cf. κώπη); 
 (2) the whole ship (πλάτας ραυσιπόρους 172, cf. infr. 723), or a collection 
 of ships, as here; (3) the voyaging of the ship, cf. Eur. frag. 229 
 ραντίλω πλάττ) \ "Apyos κατασχώρ. Soph. Phil. 335 ούρίφ πλάττ}. 6 
 Μυρμιδών , 'Αρη$ i.e. the force of Myrmidons from Phthia ; cf. Androm. 
 106 ό χιλιόρανς Έλλάδο* "Αρης. The number (50) of ships agrees with 
 the Homeric account II. ii 684 f. where, speaking of the Thessalian 
 tribes, he says : — Μνρμι,δόρες δ' έκαλενρτο καΐ "EXX^es και Άχαωί, \ 
 τώρ αΰ περτήκορτα ρεώρ άρχδ$ Άχιλλεύς. 
 
 239· Xpvcrcais 8' die. 'with their presentments in gold', εΐκόσιρ 
 dat. of accompaniment, cf. Soph. El. 704 f. This dative is usually 
 found with a verb implying motion, cf. supr. 146. κατ άκρα at the 
 extremities ; i.e. at the sterns, where an image of the tutelary deity of 
 the vessel was often placed. Cf. infr. 275. 
 
 242 if. Ισηρ€τμ.οι v. 'a like number of oared ships'. This appears 
 to be the meaning of ίσήρ. (not "ships similarly oared", i.e. "similar 
 ships"), though the number in II. ii 568 of the Argive contingent is 80 
 — ό'γδώκορτα μέλαιραί prjes. 6 Μηκισ-Τ€ω$ i.e. Euryalus. τρέφέΐ cf. supr. 
 47» n. 
 
 248. Here again the account in II. ii is somewhat different, since 
 there (1. 552) Μερεσθβύ* son of Πετβώ* is the leader of fifty Athenian 
 ships. Ifrjs next, that is, to the vessels of Sthenelus. 
 
 250 f. ιττ€ρωτοΐ<Γΐν άρα. μ,ωνύχοις i.e. 'set in a winged car drawn 
 by steeds with uncloven hoof, αρμα includes both the chariot and the 
 horses, and can therefore have the two epithets irrep. and μωρύχ. 
 applied to it ; cf. also Eur. Phaethon κρούσ as δ£ πλευρά πτεροφόρωρ 
 όχημάτωρ. μ,ώνυχο$ = μωρυξ (Suidas μώρνχα £ψα. L. and S. in their 
 latest edition do not notice this form). For the winged chariot assigned 
 to deities cf. Plato Phaedrus 246 Ε δ μέρ δτ) μέΎα* τγγεμώρ έρ ούραρφ 
 Zeus, έλανρωρ πτηρορ αρμα, πρώτος πορεύεται. 0€T0s is usually of three 
 terminations ; possibly it is here neuter owing to the influence of εϋσ. 
 
NOTES. 79 
 
 φάσμα. It may however have been originally a gloss, which has ousted 
 some other word from the text. 
 
 252. €υσημόν τ€ φάσ-μα in apposition to Παλλάδα, cf. infr. 345, n. 
 
 254. ΐΓ€ντήκοντα. So in IL ii there are 50 ships, each manned 
 with 120 κούροι Βοιωτών (1. 509 f.). 
 
 258 f. άμφΐ ναών κόρυμβα. The ornamented part of the stern 
 that rose in a curve above the helmsman's seat was known as the 
 αφλαστον or κόρνμβο*: cf. Horn. II. ix 241 στβϋται yap νηων άποκόψειν 
 ακρα κόρνμβα, and supr. 239. ό γηγ€νήδ This title was assumed by the 
 Thebans in virtue of their claim to be descended from the offspring of 
 the dragon's teeth sown by Kadmus at Thebes (&>0' 6 yqyevris \ σπάρτων 
 στάχυ* 'έβΧαστι- κτλ. Here. fur. 3). 
 
 261. "And there were vessels from the land of Phokis, and there 
 too the son of Oiileus with ships of Lokris equal to them in number 
 1. 261 begins as though vaes %σαν &c. were to follow in the next line, 
 but the construction is slightly changed as the sentence proceeds. 
 τοίσ8€ 'them' for 'their ships' by a brachylogy common in Greek 
 and English, cf. Horn. Od. ii 121 τάων οϋ τις όμοια νοήματα Πηνελο- 
 Treiy I ήδη i.e. νοήμασι ΙΙηνελοπείης. Pind. 01. i ir. 
 
 265. Κυκλωττίαβ cf. supr. 152, n. 
 
 268 f. For the mss. άδραστος Markl. proposed άδελ0ό?, but, as 
 Hennig observes, it is improbable that Menelaus would have been 
 introduced in so curt a fashion, with no mention of his name or allusion 
 to the number of his ships. He concludes that we have here the work 
 of an interpolator, who, in compiling from Iliad ii, found Adrastus 
 mentioned (572) near Agamemnon (576), and took him for one of the 
 Greek leaders in the war against Troy. It appears at least equally 
 probable that the word is due to a copyist who corrected something he 
 did not understand from his own imperfect recollection of Homer. As 
 the matter stands, it seems on the whole best to retain the mss. read- 
 ing. We should no doubt expect a priori to find Menelaus mentioned 
 by the chorus, but so brief an allusion as would be given by admitting 
 αδελφό* into the text would be even more surprising than complete omis- 
 sion. [Mr Palmer Hermath. xiv p. 297 ingeniously suggests ατρεστος: 
 comparing infr. 321 q. v.] Ta-yos 'chieftain'; only here in Euripides. 
 
 272. ΐΓράξιν...λάβοι 'take righteous vengeance on the one who 
 forsook her home'; πραί-is, πράσσω are often used of recovering a debt. 
 For the metaphorical use here cf. Aesch. Eum. 624 τόν πατρός φόνον 
 πράξαντα, 1 vengeance for his father's murder '. 
 
 6—2 
 
8o 
 
 IPHIGENEIA AT AULIS. 
 
 275. The Alpheus, represented under the image of a bull, was the 
 sign at the stern of the vessel (πρύμνας genit.). The bull is often the 
 form under which a river is typified, cf. Ion 1261 ώ ταυρόμορφον 6μμα 
 Κηφίσον πατρός. Cf. also Verg. Georg. iv 371 (of the Eridanus) et 
 gemina auratus taurino cornua voltu. 
 
 277. Αίνιάνων cf. Soph. El. 706. 
 
 280 ff. In Homer II. ii 620 Thalpius, son of Eurytus, is named as 
 one of the leaders of the 'ΈΙπβωί. ώνόμαζ€ the imperf. is idiomatic since 
 a repeated action is implied, cf. Herakl. 86 'όνομα τί ere, yipov, \ Μυκη- 
 ναίος ώνόμαζεν Xec6s ; infr, 416. Cf. also Aesch. Ag. 681 τις ποτ 
 ώνόμαξβν ώδ' j is τό παν έτητύμως κτ\. Eur. Antiope 181. 
 
 283 ff. λ€υκήρ€Τ(χον δ' "Αρη κτλ. i.e. * (Eurytus) was leader too of 
 the force of Taphians, of whom Meges was king'. "Αρη as in supr. 
 
 These people inhabited the Echinades, the largest of which was 
 called Taphos (Od. i 417). The meaning here is that they joined the 
 contingent from Elis, and the combined force was under the command 
 of the Elean leader. It is singular that we find in Homer the islands 
 themselves described as lying off Elis (though in fact they are off 
 Akarnania) Έχιράωρ θ* Ιβράων \ νήσων, ai ναίουσί πέρην άλόί, "HXtSos 
 αντα (II. ii 625). ναυβάταις άιτρ. The Taphians had a reputation for 
 piracy, cf. Od. xv 427 Ύάφωι ληΐστορβς άνδρες. 
 
 289. Cf. Soph. Aias 134 Τελαμώνιβ παΐ, της άμφιρύτου Σαλαμίνος 
 'έχων βάθρον (τνχιάλον. 
 
 290 ff. Seijiov κέρας ιτρ. τ. λαιόν ξύναγ€ κτλ. ' united his right wing 
 to the left wing of those near whom he was stationed, making the 
 junction with his vessels posted at the end of the line, a fleet of twelve 
 handy ships \ So Weil. The two extremities of the line of ships were 
 occupied by Achilles on the right wing, (cf. supi'. 235); and Aias on the 
 left, cf. Soph. Aias 3 £π\ σκηνοίς σ€ ναντικαΐς ορώ \ Αϊαντος, Ζνθα ταΊζΐν 
 έσχάτην £%ei. Hence therefore Aias' right wing rested on the contingent 
 next but one to the end, with whom he kept in touch (σνμπλέκων), but 
 his left was without support. For this reason the extremities of the 
 line were the posts of danger and honour. €υ<ττροφ. answering the 
 helm readily, and therefore easily handled in manoeuvres. 
 
 296 ff. " Wherewith if one engage his foreign crafts he shall not 
 win a safe return ". irpo<rapu0cr€i in hostile sense, like προσμΙ*γννμι : 
 cf. Herod, vi 112 προσέμιξαν τόίσι βαρβάροίσι. βάρις was the name 
 given to a species of boat used in Egypt ; cf. Herod, ii 96, where the 
 construction of these craft, and the mode of working them on the Nile 
 
NOTES. 
 
 δι 
 
 is described. In Aesch. Suppl. 882 the epithet άμφίστροφος (in the 
 sense of βϋστροφο* supr. 293) is applied to them. <χ7τοίσ€ται cf. Phoen. 
 1 161 ούδ' άποίσεται βίον | ry καλλιτόξω μητρί, 'shall not return alive to 
 his mother '. 
 
 301, 2. "But some things I heard at home about the gathered 
 host, and keep them in mind κλύουσα though present in form has 
 the force of a perfect, "know by hearsay"; cf. Troad. 682 *γραφτ) δ' 
 ίδοΰσα καϊ κλύονσ έπίσταμαι. συγκλήτου στρατ. gen. of connexion 
 with κλύουσα, cf. Hel. 665 ηδύ τοι μόχθων kXvclv ' to hear a tale of 
 trouble '. σύγκλητο* is a technical term for an extraordinary meeting 
 of the έκκλησία. The ordinary meetings (κυρίαι, νόμιμοι) took place 
 four times during the presidency (πρυτανεία) of each φυλή. Hence the 
 word here has the connotation, "gathered for a special purpose" ; cf. 
 Soph. Ant. 159 σύ^κλητονλέσχην, with Prof. Jebb's note. In infr. 514 
 the word σύλλογο* expresses simply the fact that there was an "assem- 
 blage of armed Achaeans ", and goes no further. In these two lines 
 the chorus explain how it is that they are so well posted in their 
 information about the army. Their αίσχύνα νβοθαλψ would not have 
 suffered them to acquire it all by detailed questioning in the camp. 
 
 303 — 542. First Epeisodion. Menelaus, who has been watching 
 the road to Argos for any signs of the approach of Iphigeneia (cf. 328), 
 has met and stopped Agamemnon's messenger with the second letter, 
 and taken it from him. The old man attempts to make Menelaus 
 restore the letter, and some sharp words are exchanged between the 
 pair. Agamemnon enters (317) and an animated scene ensues. 
 
 304. ά·ΐΓ€λθ€ 1 stand back ! ' The old man is trying to wrest the 
 letter from Menelaus' hands. This is clear from what follows (v. 
 309 if.). δ€σιτόταισι ' your master ' ; cf. 309, n. 
 
 305. "The reproach you bring is an honour to me"; cf. Bacch. 
 652 ώνείδισας δη τοΰτο Αωνύσω καλόν. 
 
 306. For the form of the threat cf. Aesch. Suppl. 925 κλάοι* αν, el 
 ψαύσ€ΐας. 
 
 307. ήν €γώ"φ€ρον For the prodelision of the augment at the same 
 place in the line cf. infr. 639 όσου* iyCo\eKov. 
 
 308. "No, nor was it right for you to be carrying..." i.e. my 
 action is in the present case justified by the circumstances. 
 
 309. άλλοι$ i.e. Agamemnon, — the generalising plural, though a 
 single person only is meant, as infr. 490 KTelvecv τέκνα (cf. 396, 736, 
 1 104). For the euphemism (the old man not caring to put his meaning 
 
IPHIGENEIA AT AUL1S. 
 
 too bluntly) cf. Androm. 577 χαλάν κελεύω δεσμά πριν κλάειν τινά (i.e. 
 σ^), cf. also infr. 659; El. 222 (άλλoυs). 
 
 3ΐο. ουκ άν |λ€0€ί|χην 'Ι will not let go\ An object expressed 
 would have stood in the genit. case, depending on the idea of separa- 
 tion. After the active (μεθές 313) the object would be in the accus. 
 The optat. with dv here expresses a settled determination, as in Alkest. 
 1 1 14 HP. is μ£ν οΰν £yarye θησομαι χέρα$. ΑΔ. ούκ άν θ^οιμι. 
 
 3H. τάχα καθαιμάξω. The future with τάχα is an idiomatic 
 formula in threats (as in γνώσει τάχα like the colloquial English ' you'll 
 soon see', see infr. 970, Phoen. 254) cf. Androm. 263 εξαναστήσω 
 τάχα, Phoen. 625 (quoted on infr. 1367). Soph. O. C. 820 τάχ 2£eis 
 μάλλον οΐμώξειν τάδε. Aesch. Eum. 597 άλλ' ipeis τάχα, id. 729. Ar. 
 Thesm. 853 δψει τάχα. 
 
 313. μακρούβ has the force here of 'over long' (long, considering 
 your position); in the same way ολίγο* may mean 'too few', cf. 
 Thukyd. i 50 όλί-γαι άμύνειν. Cf. also infr. 557 πολλάν. 
 
 314. At this juncture Agamemnon appears in sight, and the old 
 man appeals to him for help. With Agamemnon's first words (317) 
 the metre changes to trochaic tetrameters catalectic, whose livelier 
 movement suits his hurried entry (διά τό μετά δρόμου ii-ελθεΐν τον Αγα- 
 μέμνονα schol. ad 317» Matth.). In Orest. 729 the hasty entrance of 
 Pylades is marked by a similar change in the metre. 
 
 316. ουδέν 'no whit'. Gr. Gr. 215. (Cf. χρήσθαί τι, 'to use in a 
 certain way ' ; τόδε χρησώμεθα Plat. Phil. 36 c &c.) The adverbial 
 ουδέν is freely used as a more emphatic form of the simple negative, 
 cf. Soph. Ant. 935 ούδεν παραμυθοϋμαι. Alkest. 310 έχίδνψ ούδέν 
 ήπιωτέρα. 
 
 3ΐ8. KvpicaT€pos X£y€iv 'has a better right to utterance'. Aga- 
 memnon's question was addressed to the old man, who had appealed to 
 him, but Menelaus asserts his right to be heard first ; cf. 320 βλέψον 
 els Ύ}μάs i where ημάs is emphatic. λέ*γειν is an epexegetical infin.; cf. 
 Orest. 1153 wdaais ΎυναιξΙν αξία στυγεΐν ' worthy of detestation '. Soph. 
 Ο. T. 1204. 
 
 321. The point of the question (as Vater observed) lies in the play 
 on the name 1 Aτpεύs (κατά τό άτ ρε στον dpdQs αύτφ (Atreus is meant) 
 τό δνομα κείται. Plato Kratylus 395 β) ; cf. Aesch. P. V. 85 ψευδωvύμωs 
 σε δaίμovεs ΙΙρομηθέα \ καλοΰσιν αύτόν yap σέ δει πρoμηθέωs. To a 
 modern reader this etymologizing is apt at first sight to appear 
 incongruous, and beneath the dignity of tragedy. But there is in it 
 
NOTES. 
 
 *3 
 
 nothing of the "ill-conceal'd delight of the punster". To Greek 
 feeling the cry of Aias, alac τι* &v ποθ' φεθ' ώδ' έπώννμον \ τούμόν 
 ξυνοίσειν όνομα tols έμοΐ* kclkols; (Soph. Aias 430), was no frivolous 
 play on similar sounds, but a recognition that for the bearer of the 
 name there had been set a sign and a warning, could he but have read 
 it, from some mysterious source (προνοίαισι του πεπρωμένου), of his own 
 relation to the things that were to be. For those who believed that 
 language, "invented by a god or by one like unto them", was bound 
 to thought by so close and mysterious a tie, the affinities of words had a 
 significance that has disappeared from the later world. 
 
 324. ye is frequently added after πριν in negative sentences, cf. 
 Soph. Trach. 415 ou, πρίν γ 6iv etwys κτλ. (Cf. Aesch. P. V. 481, Theb. 
 j 048, Ar. Frogs 78.) 
 
 325. η γάρ in surprised enquiry, cf. Orest. 739. Aesch. P. V. 757. 
 Soph. Ant. 44. 
 
 326. "Yes (ye) I opened it and know to your sorrow the mischief 
 you wrought by stealth". The accus. κακά is governed by οΐδα supplied 
 from οίσθα in the line preceding. For ώστε in stichomuthia where the 
 speaker is answering the thought implicit in a previous remark, cf. 
 Hec. 249 ΕΚ. Ζσωσα δήτά σ\ έζέπεμψά re χθονός; OA. ώστ είσοραν ye 
 <piyyos ηλίου τόδε. (i.e. yes, but for you I should not have been alive to- 
 day). El. 273. 
 
 327. ιτοΰ δ£ καλαβ€ς και emphasizes the verb; "where did you 
 catch him?" When και follows an interrogative, the speaker expresses 
 no incredulity as to the fact expressed by the verb ; his enquiry relates 
 to further details concerning it; cf. Hippol. 1 171 πώς καϊ διώλετ'; €ΐπέ. 
 <f>p€vo$ causal genit. (Gr. Gr. 225, 3), used in exclamations either with 
 the article (cf. Ar. Ach. 64 ώκβάτανα του σχήματος. "City of Ekba- 
 tana ! What a get-up!"), or without, cf. Or. 412 οϊμοι διωyμωv. 
 Compare with the phrase here Troad. 624 alai, τέκνον, σων ανοσιών 
 πpoσφayμάτωv. 
 
 330. "Because the whim provoked me"; Kvlfav usually of painful 
 irritation, u to gall". 
 
 331. τον €μόν οΙκ€ΐν οϊκον like the English "be master in my own 
 house" means "manage my own affairs"; cf. (with Monk) Androm. 
 58 r 7rtos; η τόν άμόν οίκον οΙκήσεις μολών \ δευρ 1 ; ούχ άλί$ σοι των κατά. 
 Σπάρτην κρατεΐν ; ea<rofxai passive. This form of the future can have 
 in tragedy either a middle or passive sense. Other exx. of the passive 
 meaning are Orest. 440 οΐσβται. Alkest. 322 λέξομαι. Hel. 1426 
 
84 
 
 IPHIGENEIA AT AULIS. 
 
 διδαξόμεσθα. Herakl. 334 μνημονεύσβταί. (Cf. also Pind. Ol. viii 45 
 
 332. ιτλάγια φρον€ΐς * crooked is thy dealing' &c. The allite- 
 ration of the repeated article adds bitterness to the taunt, cf. Aesch. 
 P. V. 941. Soph. Ο. T. 371. So with a similar effect, Orestes, sneering 
 at the uxoriousness of Menelaus, says ουκ iKelvos άλΧ έκβίνη κβΐνον ένθάδ' 
 rjyayev (Eur. Orest. 74 2 )· ν ^ ν °f the time just past, αύτίκα of the 
 near future; as "just now" and "presently". Cf. infr. 1105 αυτίχ' 
 €ύρ€θήσ€ται. For νυν referring to the immediate past, cf. I. T. 327, to 
 νυν ύπεΐκον. 
 
 333· MSS. έκκεκό μψβυσαι· πονηρδνγλώσσ έπίφθονον σοφή. Ruhnken 
 (Tim. p. 154) gave ed κβκόμψευσαι. Hermann remarked on Matthiae's 
 έκκ€κ6μψ€υσαι, πονηρόν that Euripides would have said πονηρά. 
 "Thou hast urged evil counsel with subtle skill; hateful is a clever 
 tongue". To M.'s accusation of shifty conduct Agamemnon retorts 
 that Menelaus had induced him by skilful sophistry (cf. 97 πάντα 
 προσφέρων \6yov \ Ζπβισβ τληναι δανά) to consent against his better 
 feelings to a desperate remedy. For the meaning of σοφ6$ here cf. 
 Med. 580 oVris άδικος ών σοφός \iyeiv \ πέφυκε κτλ. Bacch. 393 το 
 σοφον δ' ου σοφία. This distinction between "cleverness" and "wis- 
 dom" had in Euripides* time been very clearly exemplified by some of 
 the later sophists, who, after the degenerate turn taken by the sophistic 
 movement, devoted themselves to making a reputation by the cultiva- 
 tion of a style of discourse whose aim was merely controversial success. 
 To non-plus an opponent by evading the issue or catching at words 
 constituted the triumphs of the "eristic" rhetoric. Its novelty and 
 superficial effectiveness attracted considerable attention, as we might 
 infer from the frequent allusions in the writings of Euripides, whose 
 interest in philosophy disposed him to view the eristics with little 
 favour. 
 
 334. "True, but a mind inconstant..." voOs is emphatic, opposed 
 to yλωσσa in the preceding line. δ€ γ€ for these particles in retort cf. 
 supr. 21 f η. <ταφέ$ cf. Orest. 1155 Φ&οϊ σαφή* 'a true friend*. Here, 
 fur. 55. 
 
 335 f. MSS. οϋτοι καταινω λίαν σ iy<a. Bockh and Hermann ουτβ 
 κατατενω. "Seek not thou to turn from the truth, nor for my part 
 will I insist too far". In Plato Timaeus 63 c κατατανδμενον occurs 
 with the meaning "offering resistance": cf. Eur. Hek. 132. There 
 seems no instance to support σ', which Bockh deleted. |λήτ€ οντ€ 
 
NOTES. 8 5 
 
 have each their proper force ; for the combination cf. Soph. Ant. 686 
 our' αν δνναίμην μήτ' έπισταίμην λέ*γαν. 
 
 337· αρχ€ΐν Δαναΐδα^ 'to be the leader of the Greeks against 
 Ilion'. This passage has been cited as an instance of άρχβιν in the 
 sense of "to rule" governing a dative, a construction found (though 
 rarely) in tragedy, cf. Androm. 266 "Ελλησιν άρξονσι : and twice in 
 Homer (Ebeling). The addition of irpos "IKlov clearly shows the usual 
 meaning to be proper here. 
 
 338. If a distinction between θέλαιν and βοΰΚεσθαι is intended here 
 (βονλόμενο* with conscious purpose; θέλων with no disinclination), we 
 must suppose Men. to be speaking with caustic irony:— "as to appear- 
 ances not desiring it, but as to intentions ready enough" i.e. as to really 
 wishing it, well — you had no scruples to overcome. But more prob- 
 ably the poet in this place treats the words practically as synonyms. 
 In fact θέλαν often occurs in tragedy where only by a strained inter- 
 pretation can it be distinguished from βούλεσθαι. The latter word 
 Aeschylus seldom uses at all, while in Eur. it is particularly common. 
 Yet in many places Euripides has θέλων where purpose is evidently 
 implied, cf. infr. 770. Androm. 1095. See also note on 1. 340. For 
 the dat. τφ δοκέιν 'in respect of, cf. I. T. 850 yevei μέν €ντν~ 
 χονμεν. 
 
 340. τω θ^λοντι δημοτών δημοτών is a partit. genit. In prose 
 the whole phrase would be τφ βονλομένφ των πολιτών (cf. Plato laws 
 viii 850 Α των ξένων τφ βονΚομένω) : with the expression here compare 
 Soph. Aias 1145 άλλ' ύφ* electros κρνφβϊϊ \ πατβΐν παρεΐχβ τφ θέλοντι 
 ναυτίλων. 
 
 342, 3· ττρίασ-θαι τό φιλ. κτλ. 'to bid for popularity against all 
 comers*, έκ μέσον is explained by Brodaeus as equivalent to the Lat. in 
 medio positum, of a prize for which all may contend. These lines give a 
 lively and effective sketch of the policy and conduct of a candidate for 
 popular favour. Nor have the methods of courting τό φιλότιμον greatly 
 altered since Agamemnon's time, μεταβολών with accus. in sense of 
 'taking in exchange', as Lat. muto; cf. infr. 363. The Greek fulness 
 of expression inserts βλλοι/s, though it is already implied in the verb of 
 exchanging, and therefore not necessary to the sense. 
 
 345. &τω τ€ κληθρων (nrcivios is explanatory of δνσπρόσιτος, "dim- 
 cult of access, because you kept at home and were rarely seen"; cf. the 
 account given of Nikias by Plutarch δνσπρόσοΰος ην καϊ δυσέντενκτο* 
 οίκονρών και κατακεκλβισμένος (Nik. ν 526, ι). For re in explanatory 
 
.86 
 
 IPHIGENEIA AT AULIS, 
 
 apposition cf. Troad. 1034 κάφελοϋ \p6yov το θήλύ re, 'the reproach of 
 effeminacy'; cf. supr. 252. 
 
 346. ιτρ. μεγάλα so El. 1359 εύδαίμονα πράσσ€ΐ. 
 
 347· βέβαιον cf. 334. This is Menelaus' first point in his case 
 against Agamemnon. He complains that there is no depending 
 on him. 
 
 349. " This is the first point in which I reprove you, the first in 
 which I found you fail", tva, where; cf. infr. 459. 
 
 350 f. χώ Παν. σ-τρατόε sc. ηλθβ, cf. Troad. 863 0 yap δη πολλά 
 μοχθήσα* έγώ | Μβνέλαόϊ είμι καϊ στράτβυμ Άχαϊκόν. ουδέν ήσθα cf. 
 Androm. 641 σύ δ' ουδέν el. infr. 968. 
 
 354 f- R ..^ττλήσαΞ the participle with μή is equivalent to a 
 protasis (Gr. Gr. 271) el μη έμπλήσπας, 'you were in distress at the 
 thought of not occupying &c.' χιλίων cf. I. T. 10 χιλίων ναών 
 στδλον I 'Έλληνικον avvrjyay Αγαμέμνων &ναξ, and v. supr. 174, n. 
 
 356. τίνα ττόρον κτλ. δέ is in both MSS. inserted by the second 
 hand. Nauck conjectures τίν άπορων (απόρων Weil) €υρω πόρον; 
 
 In Greek a double question is not uncommon; cf. Hel. 1270 τί δη 
 τόδ' Έλλά$ νόμιμον έκ τίνο$ σέβ€ΐ; &c. [Cf. Eur. Phoen. 1. Aristoph. 
 Thesm. 1100. Anth. Pal. ν 25.] 
 
 358 f. θΰ<ται...&Γ€<τθαι.. For the present and future following €Ϊ7Γ€ 
 see supr. 90 ff. Cf. also Aesch. Cho. 279 — 284. 
 
 359. φρένας accus. of specification or respect (Gr. Gr. 215); cf. 
 Horn. II. ix 559 yέyηθe δέ re φρένα ποιμήν. 
 
 360 f. d(r|X€vos Menelaus in his vexation is unjust to Agamemnon, — 
 the manner of whose yielding is described by Aeschylus thus (Ag. 217) 
 έπ€Ϊ ό° avdyicas 2δυ λέπαδνον...€τλα δ' ουν θυτηρ yevέσθaι 6vyaTp6s, 
 and we have had in this play Agamemnon's own account of the matter 
 supr. g*j &c. But it is quite in keeping with Agamemnon's character, as 
 drawn by Euripides, that he should have given his consent to a course 
 of action proposed to him as a way out of a difficulty without fully 
 considering all that was implied in that action. (This is perhaps 
 illustrated by what Klytaemn. says of Agamemnon's sacrifice of his 
 daughter (Soph. El. 546), ού ταΰτ άβούλον καϊ κάκου yvώμηv πατρός;) 
 So "you welcomed the means of deliverance", says Men., "shut your 
 eyes to the price that bought it, and shuffle out of the payment now", 
 ου βία is not added pleonastically to έκών, as in such phrases as npbs 
 χάριν re κού βία Soph. frag. 26, and the like, but is an answer to an 
 exclamation or gesture of dissent on the part of Agamemnon at the 
 word έκών, Cf. 'έχ ήσυχος, infr, 1132. 
 
NOTES. 87 
 
 362. ττροφασ-ιν cf. Bacch. 224 (Gr. Gr. 215. 2). 
 
 363. λ&ηψαι, κτλ. "you are caught sending a different message 
 to the effect that, &c." μεταβολών supplementary partic. in agreement 
 with the subject of the verb, cf. infr. 406 δείξεις yey0s t 
 
 364. ^ μάλιστα γ € 'just so\ [It is possible that L. Dindorfs conj. 
 κάλλιστα ye may be right, since the two words are frequently confused 
 by copyists : see Porson Phoen. 878.] 
 
 365. ' ' This very sky above us was witness to your conduct then". 
 ταδε } i.e. πέμπεις (360) — γαμουμένην. But the expression is awkward; 
 τάδε often enough refers to what precedes, but not to anything so 
 remote as in this case it must. It is not an objection to ηκουσεν that 
 the message was written , since a similar looseness of phrase is some- 
 times found, cf. Aesch. P. V. 21 ούτε φωνην οϋτε του μορφην βρο- 
 τών | όψει. 
 
 367. 2\ovt€S sc. τα π pay ματα, cf. Thukyd. iii 72, 1. Wecklein's 
 conj. iytcovovaL for έκπονοΰσι, is tempting, but there is perhaps hardly 
 sufficient reason for altering the text. 
 
 368 f. τά δ' €v8£ko>s κτλ. ' but some as they deserve (sc. έξ. κακώς), 
 being of themselves unable to keep their city safe', ένδίκως because 
 their misfortunes arise from their own feebleness, not from external 
 troubles {γνώμης πολ. άσυνέτου). 
 
 37θ. Ελλάδος causal genit. cf. infr. 677. 
 
 371. tovs ούδ^νας cf. Androm. 700 βντες ούδένες, "nobodies". 
 
 373· μηδέν αν χρείους PC. μηδέν αν χρέους P 2 C 2 , which is obviously 
 corrupt, nor has the reading yet been satisfactorily restored. I have 
 adopted άρα (Nauck) and yέvoυs (Monk) in default of anything better. 
 
 374. "Mind must the general have, since any man with shrewd- 
 ness is governor of a state". To direct an army, according to Menelaus, 
 requires greater ability than to manage political affairs. 
 
 376. κασ-ιγνήτοιο-ι is emphatic. 
 
 378. μή λίαν άνω κτλ. cf. Eur. Alkm. frag. 82 is SyKov δ } ουκ άνω 
 βλέπειν τύχης. With the form σωφρονεστέρως in the comparative cf. 
 βεβαιοτέρως, καλλώνως (Plat. Theaet. 169 E, &c). 
 
 381 f. δ€ΐνά cf. supr. 125. αίματ. δμμα 'face flushed with 
 
 anger'. κ£χρη<ται "want"; cf. Ion 1199 πώματος κεχρημέναι. So 
 Kallim. hymn to Zeus 12 κεχρημένον ΜλειθυΙης. 
 
 383. ών for έκείνων, α (Gr. Gr. 210 f.). Attraction in relative sen- 
 tences is employed more freely by Aeschylus and Sophokles than by 
 Euripides. His use of it is moreover restricted to the simple forms ών 
 
88 
 
 IPHIGENEIA AT AULIS. 
 
 ψ cits (not οσων ώνπερ &c), nor does he employ it in clauses where the 
 verb is in the subj. or optat. (cf. Soph. Trach. 399 subj.); see Forster 
 quaest. de attract, p. 70 f. It is doubtful whether there is any instance 
 of this attraction in Homer. In the passage which Kuhner cites for it 
 (ausfuhrl. Gramm. § 555, 2) II. ν 265 τψ yap τοι yeverjs rjs Τρωί irep 
 εύρυόπα Zeds \ δώκε κτλ. rjs is better explained as an ablatival genit. 
 expressing the source or origin. 
 
 384. ό μ,ή <r<f>aXeCs μή is generic, One who has not, &c.' 
 
 386. το λελογισ-μ. irapcCs ' casting discretion to the winds '. Thomp- 
 son on Plato Phaedrus 246 Ε points out that neither έξ ivbs λόγου λελο- 
 *γισμ£νου ('on any principle of sound reason') there, nor λελ. here need 
 be taken as passives. Cf. infr. 922 Xekoywpevoi. 
 
 388. Monk's conj. μετεθεμψ εύβουλίαν (in support of which he 
 cites Or. 254 ταχΜ δε μετέθου λύσσαν, άρτι σωφρόνων) would involve 
 but a very slight change, but the MSS. reading is possible Greek, and 
 does not seem to call for alteration. 
 
 389. κακόν X€\os 'a bad wife'; cf. supr. 103. 
 
 390. Cf. Med. 879 θέων ποριζόντων kclXQs. Or. 667. 
 
 391 if. κακόφρονες 'misguided'; so kclk£s φρονοΰντε5 ('mistaken') 
 Med. 250. Cf. Aesch. Theb. 874 δύσψρονει. For the 0 lengthened be- 
 fore φρ cf. Suppl. 744 (κακόφρων), and see on infr. 636. 
 
 The suitors "swore the oath in their zeal to win the bride, but it was 
 Hope — a god, I think — that e'en brought it to pass, rather than you or 
 strength of yours". Ag. is protesting against the assumption of 
 Menelaus that his interests are entitled to rank before everything — 
 even the reluctance of a parent to sacrifice his child. "You push", he 
 says, " your claims too far. You may demand from the suitors the strict 
 fulfilment of their bond {ovs λαβών στράτευε, 393), but not my daughter's 
 life". If we understand the passage thus, the objections which have 
 been taken by critics to its logical coherence appear to be avoided, οΐμαι 
 μεν an answering clause with δέ, 'but you may not agree ' or the like, is 
 left to be understood. The effect is to lay a certain emphasis on the 
 verb, cf. Or. 8 ώ$ μεν λέγουσα infr. 859. θεόβ cf. Theognis 1135 
 έλπ'π έν άνθρώποισι μόνη θεόs (v. id. 637 f«)« Monk cites Verg. Aen. ix 
 185 a n sua cuique deus fit dira cupido? 
 
 395. 7ταγε'ντα$ cf. Aesch. Ag. 1198 (si ver. lect.) opKos, ττ^μα 
 yεvvalωs Tay4v. 
 
 396. κού Lenting (Androm. 307), MSS. καΐ. "And your fortunes 
 shall not prosper in despite of justice by vengeance wrought by you 
 
NOTES. 
 
 89 
 
 on a worthless wife, while me days and nights consume with tears, 
 &c." Retaining και the same sense would be given if we suppose the 
 negative force of the preceding ούκ to be carried on, but the very slight 
 change to κού makes the sentence much easier and more natural, to 
 σ-όν "your interest''; cf. Plat. Gorg. 455 c. Soph. El. 251 το σον 
 σπβύδουσ' αμα \ καΐ τούμδν αύτής ήλθον. Cf. infr. 482 τούμόν. 
 
 4θο f. For ρ^δια Stadtmiiller (Fleck. Jahrb. Bd. 133 p. 472) pro- 
 poses καίρια : but the sense ''easy to understand " seems defensible and 
 appropriate. θή<τω καλώς a common formula, cf. Or. 511. Aesch. Ag. 
 173. &c. v. infr. 672. 
 
 404 f. κ€κτήμην. There is no evidence in Attic inscriptions of a 
 pluperf. without the syllabic augment (see Meisterhans Grammat. d. 
 att. Inschriften 2 p. 135) ; cf. however καθήστο Bacch. 1102, and καθήμβθα 
 Soph. Ant. 411 with Prof. Jebb's note. In meaning κεκτ. has the force 
 of an imperfect, and the tense is here used, as often, to express what the 
 speaker now recognizes to be the fact. In these cases apa is often 
 added, cf. infr. 882, 944. M. "Ah me! I find, poor wretch, that I 
 have no friends". A. "Yes, you have, when you do not seek your 
 friends' (roi)s φί\ου<ή destruction". 
 
 406. γ€γώ$ cf. supr. 363, n. Orest. 802. 
 
 407. MSS. σννσωφρονύν σοι βούλομ άλλ' ού συννοσεΐν. text Plutarch 
 de discr. adulat. et amic. p. 64 C. Cf. Soph. Ant. 523 οϋτοι σννεχθύν 
 άλλα συμφίλβΐν 'έφυν. It has been held that the form of the line in 
 Plutarch is due merely to a confused reminiscence of this verse of the 
 Antigone, but we find more than once distinct echoes of Sophoklean 
 expressions in Euripides, cf. Here. fur. 101 — 104. El. 379. <τυννοσ€ίν 
 of "frenzy" as opposed to σωφρονέΐν "sober sense" (cf. νοσεί 411). 
 
 409. For έμέ following μ€ without special emphasis, cf. Soph. 
 O.C. 811 μηδέ μβ \ φύλασσ έφορμων <ένθα χρη valeiv έμέ. 
 
 4ΐι. For δέ in stating an objection cf. infr. 1458. 
 
 414. It is a general rule in tragedy that a line is not divided be- 
 tween a person already on the stage and a fresh arrival. In this case 
 the hurried entry of the messenger with tidings of the near approach of 
 Klytaemn. and her suite excuses his interruption of Menelaus while still 
 speaking. Similarly Odysseus in Soph. Phil. 974 excitedly interrupts 
 Neoptolemus. Cf. also Hel. 15 14, where the messenger (though not 
 with his first words) exhibits his impatience to tell his news by striking 
 in before Theoklymenus has time to complete his line. 
 
 416. ώνόμαζ€$ cf. supr. 281. 
 
9° 
 
 IPHIGENEIA AT AULIS. 
 
 418. ώοττ€ T€p<j>0e£qs Ιδών. The edd. generally adopt some correction 
 of ώστβ (<as τι Herm. ωστ αν ήσθβίης Hennig) and make the clause 
 dependent upon δμαρτέΐ. It seems preferable to take ώστε as merely 
 prefacing a parenthetical remark, "therefore, may'st thou have joy 
 when thou seest him " ; nor is this unsuited to the somewhat stiff and 
 involved style in which the messenger expresses himself. 
 
 419. δωμάτων £κδημ<>8 cf. infr. 805, 982 (Gr. Gr. 228 N. 2). Cf. 
 Aesch. Eum. 893 πάσης άπήμον olfyos. 
 
 42o ff. "But, as they were on a long journey, now beside a 
 fountain's gracious stream they are easing their delicate feet, ladies and 
 steeds alike", άναψύχονσι is a general term for the refreshment 
 afforded to the travellers after a long drive by walking on the grass 
 round a spring (cf. 422), and to the horses by standing in its waters. 
 ώς = έπ€ί, in causal sense, μακράν ετ. the more usual meaning of the 
 phrase is 'making a long speech' (Aesch. Ag. 1297, &c). 
 
 423. γευοταίατο an Ionic form not rare in tragedy, cf. Hel. 159 
 άντιδωρησαίατο. For exx. from Aesch. and Soph, see Rutherf. New 
 Phryn. p. 431. 
 
 429. €V ιτάσ-ι κλεινοί should I think be taken together, "judged 
 famous with one consent, and the observed of all observers", έν πασι, 
 'in the opinion of all men', cf. Hipp. 988 oi 4v σοφοΐς φαύλοι, Eur. 
 frag. 349. ΊΓ€ρφλ€7ΓΤ<>ι like άπόβλεπτος Hek. 355; cf. also Phoen. 551. 
 
 433· ΐΓροτ€λί£ου<τι cf. infr. 718 προτέλεια. Artemis was one of the 
 divinities to whom offering was made before marriage (cf. 11 14). On 
 the audience who are in possession of the situation the tragic irony of 
 the phrase would not be lost. 
 
 435· τάττΐ τοισ(δ(€) id quod proximum est, cf. Ar. Plut. 56 όστις el 
 φράσον, I rj ταπί τούτοις δρω ; έξάρχ. κανά is to " make a beginning of 
 the sacrificial rites with the baskets" (cf. άπάρχεσθαι τρίχας), i.e. by 
 taking from the basket (τό κάνουν o\as Ζχον Ar. Peace 948) the barley- 
 meal, which was then sprinkled over the victim and altar. 
 
 436. αττίφανοΰσ-θε the plural though following έί-άρχου since the 
 messenger is including both Ag. and Men. in his address (cf. infr. 
 1368 μητερ, €ΐσακούσατ€) ) while at ςύτρέπιζε he turns to Menelaus. 
 
 438. Xo>tos cf. infr. 1036, 576. 
 
 440 f. €irrjv€<r(a) cf. supr. 136. ίούση$ τήβ τυχηδ "as fate moves on 
 its course ". At this point the messenger retires leaving the brothers alone. 
 
 442 f. φώ...&ρξομαι cf. infr. 455. ανάγκη s Ϊ€νγμ. cf. the metaph. 
 in Aesch. Ag. 217 quoted on supr. 360. 
 
NOTES. 
 
 9* 
 
 444. ύττηλθ€ cf. supr. 67. σοφισμάτων cf. infr. 744. 
 
 447 ff. avrois sc. rots δυσ^ενέσι. The vulgar can "weep, and tell 
 their unhappiness ; while to the man of noble birth come miseries none 
 the less, but we" (the high-born) "have dignity to rule our lives and are 
 in bondage to the mob ". Writing ταύτα for the usual ταύτα we have a 
 clear and pointed sense, 'the "γενναίοι φύσιν are as much the prey of 
 άνολβα as the low-born, but must hide their sorrow from the public 
 gaze'. Noblesse oblige. Most edd. follow Musgrave in transposing 
 ανολβα άπαντα. Monk retaining the mss. order makes άπαντα ταύτα 
 refer to the following clause προστάτην — δονλ€ύομ€ν. In 1. 450 both mss. 
 give δήμον, Plutarch Nikias ν p. 526, 4 has ojkov, which is probably the 
 true reading, since its likeness of sound to όχλω makes the coupling of 
 the two words strongly ironical. Cf. Ennius Iph. viii plebes hoc regi 
 antestat : in luctu licet | lacrumare honeste plebi, regi ηόη licet. 
 
 455· συμβάλω PC. An easy correction would be συμβάλω, which 
 some edd. adopt, but the change of mood is not uncommon, cf. supr. 
 442. Soph. Trach. 973 τί πάθω; τί δέ μησομαι; 
 
 456. errl KaKots €λθ. 'coming in the midst of the troubles, &c.' 
 επί with dat. of the attendant circumstances, cf. infr. 541. 
 
 459. ϊνα (where) 'a matter wherein.' 
 
 461. "Αι8η$...νυμφ€υσ€ΐ Antigone in a similar case says of herself, 
 *Αχέροντι νυμφεύσω (Soph. Ant. 816, cf. ib. 654); and, since νυμφεύειν 
 can be said also of the man, ducere uxor em (Ion 819 νυμφεύσας, &c), 
 it might here be used of Death as the bridegroom. Cf. Shaksp. Rom. 
 and Jul. iv 5 death is my heir ; | my daughter he hath wedded. But the 
 meaning appears rather to be "attend her marriage" (v. 458); cf. Meleager 
 Anth. P. vii 182 ου Τάμον, α'λλ' Άΐδαν έπινυμφίδιον Κλεαρίστα | δέκατο, 
 κτλ. The idea which is thus cbnceived of the presence of the god of 
 death also finds expression in ancient art. On a fragment of a relief 
 which deals with the story of Medea, Hymen the god of marriage, who 
 presides over the nuptials of Jason and Glauke, bears in his hand 
 the symbols of Death, signifying the approaching fate of the bride. See 
 Wecklein, Medea Einleit. p. 20. 
 
 462. Ικ€Τ€υσαι. For the aor. infin. after οΧμαι cf. Plato Protag. 
 316 C τούτο δέ οϊεταί ol μάλιστα "γενέσθαι, εΐ σοϊ σχτγ^ένοιτο. 
 
 466. ού συν€τά is explained by έτι yap κτλ., συνετώς being pathet- 
 ically added to imply that the child's manner when his sister was taken 
 from him would be eloquent enough to his father; cf. infr, 1245 
 σιωπών λίσσεται, with 1243. 
 
9 2 
 
 IPHIGENEIA AT AULIS. 
 
 472. KpaTos 'victory'. So in the plur. κράτη Soph. Ant. 485. 
 476. €*ιτίτηδ€$ 'to serve a purpose', i.e. ' deceitfully \ (Cf. καιρίως 
 Aesch. Ag. 1372.) 
 
 478. άνταφήκα sc. δάκρνον. 
 
 480. ουκ ds <rk δ. κτλ. 'not one to cause thee dread, nay, I will 
 place myself in thy position now'. 
 
 482 f. άνθ. τούμ,όν 'prefer my interest to your own' (cf. supr. 396). 
 τάμά in the next line balancing ae hardly differs from e/*e, cf. Androm. 
 235 cus δη σύ σώφρων, τάμα δ' ουχί σώφρονα. 
 
 486. €ΐ — Ιμ€ΐρο|χαι. For the indicative in the protasis followed by 
 dv with optat. in the apodosis, see Gr. Gr. 273 f. 
 
 487. αδελφό ν, ov |i ήκιστ' «χρήν. With this should be compared 
 the remarkable passage in Soph. Ant. 904 if. (cf. Herod, iii 119). See 
 Patin Eurip. i p. 21. 
 
 489. η is the older Attic form of the 1st sing, imperf. of βΐμί : ην is 
 however required by the metre in several places in Euripides, as infr. 
 944, Hippol. 1012; cf. Rutherf. /. c. p. 242 f. In Aesch. and Soph, the 
 verse always admits 9). 
 
 490. οίον ήν κτ€ίν€ΐν cf. Med. 35 οίον πατρφας άπολζίπξσθαι 
 χθονόϊ. 
 
 492. Ιννοονμένω the dative as though είσήλθέ μοί had preceded; cf. 
 Med. 57 ώσθ' ϊμερβϊ μ ύπήλθ€...λέξαί μοΧούσ-η δ€υρο κτλ. 
 
 498. "Whatever is thy concern in the oracles about thy daughter, 
 let them not concern me; I make over to thee my part therein". 
 τούμδν /^po$ = my claims. Men. says that any rights which he has as 
 the person on whose behalf the expedition started he will resign, and 
 Ag. may consider only himself and his own interest in deciding what to 
 do. θέσφατα κόρη$ object, genit. cf. infr. 842. Med. 541. 
 
 500. I have followed Weil in placing a question mark after λό'γων. 
 άλλά = Λ/ enim, cf. Hippol. 966, 7. 
 
 502. τρόττοι 'ways'; with a suggestion of τρέπεσθαι in the sense 
 "turns ". 
 
 503. β€λτ£<ττοι$ seems best taken as neut. "adopt the best course 
 as occasion arises" (aei). 
 
 504 f. Compare with these two lines Ion 735 — 7. 
 
 507 if. vtr. tovs λόγου$ 'the course which you advise'; ύπέθηκας 
 1 suggest a sense commoner in the middle. In the following words, 
 ταραχή δ\..πικράν Ag.'s thoughts carry him back to the stormy passions 
 by which ere now in the history of his family brothers had been 
 
NOTES. 
 
 93 
 
 estranged. At 511 he reverts abruptly to the crisis of the moment. 
 ά-πΈΐΓτυσ-α κτλ. ' I loathe this nature of kinsman's bond with its bitter- 
 ness to both', i.e. άλλήλοίν πικράν οΰσαν. 
 
 5ΐι. άλλά...γάρ 'But vain thy words, for we are come &c.' άλλά 
 is used elliptically, introducing a sudden turn of thought. 
 
 515. viv i.e. Iphigeneia. 
 
 516. τούτο 'in that point' (Gr. Gr. 214 N. 2). έκεΐνο refers, as 
 often (cf. 522, 1133)1 *° wnat follows. 
 
 517. το Ίτοϊον; For the art. cf. Aesch. P. V. 249. Soph. O. C. 
 
 893. 
 
 519 ff. θάνη It is not surprising that Men., who in order to further 
 his own plans could require the life of his own niece, should speak 
 lightly of making away with the seer. Ag. (520) does not reply 
 directly to this proposal, but relieves his feelings by a bitter reflexion 
 on the person who stands in the way of his schemes. So Oedipus 
 (Soph. Ο. T. 387) in his irritation at the words of Teiresias flings at 
 him an insinuation of corrupt motives ; and Kreon in a like situation 
 (Ant. 1055) savs τ0 μ&ντικόν yap παν φίλάρ-γυρον yevos. Menelaus (521) 
 while agreeing (ye) with Ag. 's strictures, by the addition of παρόν 
 presents again his suggestion that matters would be simplified if 
 Kalchas were put out of the way. "Yes, and good for nought and 
 profitless — when with us ". 
 
 523. ov μή a conditional relative with indefinite antecedent. For 
 the optat. in the apodosis after the indie, (φράζει) in the protasis, cf. 
 supr. 486. 
 
 524. Σισΰφ€ΐον Odysseus' mother, Antikleia, had been married to 
 Sisyphus before she was taken to wife by Laertes; cf. Soph. Phil. 417 
 ούμπδλητο* Σισύφου Ααερτίφ, ' the son of S. foisted upon Laertes \ 
 
 526. iroiKiXos 'subtle in device'; so Hesiod (fr. xxxii 4) calls 
 Sisyphus αίολομήτης. όχλου μέτα 'on the side of the mob', a parte 
 plebis, a prose expression. It is a peculiarity of Euripides' style (espe- 
 cially evident in this play and the Bacchae) to use the prosaic μετά, c. 
 genit., instead of the poetic συν, with much greater frequency than the 
 other tragedians. (Tycho Mommsen.) The two prepositions are used 
 as synonyms by Soph, in the parodosof the Antigone (115 f.) inconsecu- 
 tive lines. In Aesch. the preference for συν is very decided. 
 
 527. φιλοτιμία μ^ν €v. 'Ambition he is enslaved by', i.e. so far, I 
 agree with you. For this use of μεν see on supr. 392. 
 
 530. κ<£τα ψ€ύδομαι inserted parenthetically, with the effect of 
 
 H. I. 7 
 
94 
 
 IPHIGENEIA AT AULIS. 
 
 marking more clearly the antithesis ϋπέστην )( ψεύδομαι. Observe in 
 this line the exception to Porson's canon. The same occurs in two 
 other passages of similar rhythm, Hek. 724 ούδϊ ψαύομεν. Androm. 
 346 αλλά ψεύσεται. (Cf. also Ion 1.) 
 
 531. os ξνν. στρατόν 'and he carrying away all judgment of the 
 army, &c* Cf. Kallim. ep, 47 (=inc. ν Schn.) είπα, καϊ α Νέμεσίς με 
 συνάρττασε. 
 
 534 f- It 1S a question whether we should understand ήμα$ with 
 ξυναρπάσονσι. I think it on the whole best to take both it and κατασκ. 
 with yrjv, which in tragedy often = πόλιν (cf. Valckn. Phoen. 6 and 
 Kuster's note there cited): — "will destroy and raze to earth the city, 
 Cyclopean walls and all"; cf. Med. 164 αύτοΐς μελάθροις δι,ακναιο μένους. 
 
 537* ήιΐΌρημαι an unusual use of the perf. pass, of άπορέω in the 
 sense of the active. 
 
 538 f. φύλαξαι»...δ7τω5 άν (Gr. Gr. 261 N. 1) cf. Hel. 742 φρονρεΐν 
 οπως άν.,.σωθώμεν. 
 
 541. lir^'with'. In πράσσω κακώς the same double sense which is 
 sometimes found with εΰ πράτταν, * doing well', and 'faring well' 
 (Plat. Gorgias 507 C, &c), is perhaps suggested. 
 
 542. v^eis Τ€ σ-ιγην κτλ. The chorus of Chalkidian women have, as 
 mere strangers, no interest in not informing Klytaemn. , but their silence 
 is necessary to the progress of the play. 
 
 543 — 606. First Stasimon. "Love", sing the chorus, "makes glad 
 the life of man, but lawless excess brings sorrow in its train. Mine be 
 it to keep the golden mean. Some are by nature prone to err, but the 
 path of duty is clear, leading men to virtue and a glory that grows not 
 old. Thus it is that states are preserved (571). [Of sin none can see 
 the end.] Paris (573), a shepherd on lonely Ida, was distracted by mad 
 longings, and lured Helen from her husband's home. Hence the arm- 
 ing of heroes and beginning of strife." 
 
 In the strophe (543 — 557) we have an exact description of the 
 thoroughly Greek conception of σωφροσύνη and τό μέτρων — the reason- 
 able mean between joyless asceticism and abandoned license. Compare 
 Med. 627 if. a passage which exhibits a striking parallelism both in 
 thought and expression. 
 
 543 if. u Blessed are they who in measure due have their share in 
 marriage bliss when Aphrodite's sway is mild, and enjoy a quietness un- 
 ruffled by mad desires ; for, where desire is, there does Love bend his 
 bow with arrows twain of charm, and one is for fate of happy days, and 
 
NOTES. 95 
 
 one for life's undoing." γαλαξία χρ. see on supr. 88. Cf. Plato 
 Phaedo 84 Α (ηδονών καΐ λυπών) ^αληνην παρασκευάζουσα. jwrptas θ€θΰ 
 cf. Hippol. 443 yap ού φορητός, ήν πολλή pvrj. infr. 557, As to 
 
 the construction θεου—λέκτρων Άφρ. see on supr. 132. 
 
 552. vtv neut. referring to τό M, not to"Epus as the sense of the 
 passage shows. Cf. Schiller ; Jener bringt selige Freuden, | dieser 
 mordet das Gliick : | reizende Gottin, den zweiten | wehre vom Herzen 
 zuriick ! 
 
 557. ιτολλάν cf. supr. '313 n. In Ar. Frogs 1046 Aeschylus is 
 made to say to Euripides, in allusion to the supposed matrimonial 
 infelicities of the latter, άλλ' έττί tol σοι καϊ rots σοΐσιν πολλή πολλού 
 'πικάθητο (sc. η Αφροδίτη). 
 
 563. τό τ€ γαρ κτλ. ' A modest temper is itself wisdom, and has 
 the rare grace of discerning by reflexion where duty lies '. 
 
 569. κατά Κύττριν κρ. with regard to secret amours, i.e. by 
 shunning them. 
 
 571. ό μυριο-ιτληθηε 'discipline (κόσμος) in its countless forms' in 
 the case of men is opposed to the single virtue of chastity in which is 
 comprised the αρετή of women. This distinction is in harmony with 
 the Greek view which considered the province and duties of women to 
 be properly confined within a very limited sphere. 
 
 572. |Α€ΐζω proleptic. 
 
 573. "Thou didst come, Ο Paris, to the place where thou wast 
 reared a herdsman among white heifers on Ida's mount". ητε epic form. 
 
 576. "Breathing on reeds an imitation of the Phrygian pipe of 
 Olympus". The Olympus to whom was ascribed the invention of the 
 pipe was a mythical personage, who lived (according to one account) in 
 Mysia before the Trojan war. The Olympus who invented the 
 enharmonic scale (έναρμόνιον ytvos) and established the auXos by the 
 side of the κιθάρα in Greek music (v. infr. 1036, 7 where both instru- 
 ments are mentioned), was a real musician of Phrygian family who 
 flourished circ. 650 B.C. He was thus a little later than Terpander, 
 who won the prize in a musical contest circ. 676 B.C. In Greek literature 
 the historical and legendary Olympus are often not clearly distinguished. 
 As to the Phrygian mode itself, we find many allusions to the extra- 
 ordinary effect produced on the mind by its mournful and passionate 
 strains; cf. Aristot. Pol. 1340*9 δια των Όλύμπου μελών ταΰτα yap 
 όμoλoyoυμέvωs ποιεί tcls ψνχα$ ενθουσιαστικά*. Plato's criticism, re* 
 public 398 c if., is well known. 
 
 7—2 
 
9 6 IPHIGENEIA AT AULIS. 
 
 579. έϋθηλοι 'with teeming udders'; cf. Bacch. 737 εϋθηλον πόριν. 
 
 581. α — πέμ,πίΐ cf. infr. 884. 
 
 582. Ιλ€φαντοδ. δόμων the palace of Menelaus at Sparta. There 
 is in Homer an allusion to this palace, wherein one might see the 
 flashing of bronze and of gold ήλέκτρου re και αργύρου ήδ' έλέφαντος 
 (Od. iv 72 if.). 
 
 584. €V βλ€φάροι<τιν 28o>Kas cf. Aesch. Ag. 1450 φέρουσ(α) έν ημΐν 
 ϋπνον. 
 
 585. For re answered by δέ cf. Plato Euthyphro 3 Ε σύ re άγω- 
 viet την δίκην, οϊμαι δέ καϊ έμέ την έμήν. Soph. Ant. 1096. 
 
 588. Ελλάδα as adj. in agreement with 'έριν. 
 
 59o. At this point the chariot conveying Klytaemn., Iphigeneia, 
 Orestes, and their attendant suite come into sight, entering probably by 
 the πάροδο*. The chorus prepare to salute them on their arrival. 
 
 595· €υμήκ€ΐ$ cf. Empedokl. 15 e£ οΐης τιμής τ€ καϊ οϊου μήκεος 
 βλβον. 
 
 597· T °te € ^δ· * m * ne eves Med. 509 πολλοίς μα- 
 
 καρίαν. 
 
 598—606. I follow the opinion of several editors in regarding these 
 lines as an interpolation. The metre (as presented by the mss.) is bad, 
 and the synapheia of the system is interrupted after έπϊ yaiav. The 
 sense, moreover, which is in itself hardly appropriate to the position of 
 the chorus, is awkwardly expressed. A reference to the Appendix will 
 show the readings of the MSS. 
 
 607 — 750. Second Epeisodion. Arrival of the party from Argos. 
 They alight from the travelling chariot, and Agamemnon has to endure 
 (640 — 685) and parry as best he may the questions prompted by the 
 affection of Iphigeneia on meeting her father; and the enquiries (695 — 
 730) which a mother's solicitude impels Klytaemn. to urge with refer- 
 ence to her daughter's marriage. After a vain endeavour to persuade 
 (731 — 741) Klytaemn. to return to Argos, Agamemnon is left alone to 
 lament the failure of his schemes. 
 
 607. όρνιθα 'omen'; cf. Hel. 105 1 κακός μ£ν δρνις (v. ib. 748). 
 The birds from whose flight omens were taken, were called strictly 
 οίωνοί (see infr. 1347), but the distinction is not always observed; cf. 
 Aesch. Ag. 157 ά7τ' ορνίθων δδίων. Hes. op. 826 όρνιθας κρίνων * reading 
 the signs of birds'; so Theokr. xvii 72 μέ^ας alcTos αίσιος όρνις. τόνδ€ 
 is explained by the line following, being assimilated, as usual, in gender 
 to όρνιθα. 
 
NOTES. 
 
 97 
 
 612. €υλαβοΰμ.€νοι addressed, not to the chorus, but to Klytaemn.'s 
 attendants. 
 
 614. The delicacy and feminine weakness of Iphigeneia thus inci- 
 dentally dwelt on heighten the effect of the noble fortitude which she 
 displays at the end. 
 
 615. vedviSes peapufes by synizesis. 
 
 620. άτταράμυθον when not reassured, 'when none is by to soothe'. 
 
 623. ττωλικω δαμ.€ΐς οχω i.e. overcome by the motion of the chariot. 
 
 624. £ycip€ 'awake!' the active used for the regular mid. iyeipov. 
 In Or. 294 Euripides similarly uses άνακάλυπτβ 'unveil thyself. 
 
 627. €ξή$ μου 7ro86s = e£i)s έμου, cf. Here. fur. 336 όμαρτ€Ϊτ άθλίφ 
 μητρός ποδί. 
 
 631 — 6. Iphigeneia throws herself into her father's embrace (631 — 
 2). Klytaemn. in a less demonstrative manner greets her lord (633 — 4), 
 and as he turns to respond to the queen's greeting Iphigeneia would 
 have him yet spare all his attention to herself (^γώ δ£ κτλ.), asking 
 pardon for the importunity of her affection (dpyiadys δ£ μή). The 
 repetition of words has caused this passage to be held unsound, but 
 it is in the situation a very natural and pathetic touch. 
 
 636. Notice in this line the vowels lengthened before dp and χρ, 
 which is contrary to the usual practice in tragedy. A vowel is generally 
 made long before yμ yi>, δμ δν, y\ βλ, but before other combinations of 
 a mute and liquid it remains short, especially if in the final syllable 
 of a word. The exceptions in the latter case are few; in El. 1058 the 
 MSS. give αρα κλύουσα κτλ. Cf. Alkest. 542. Aesch. Pers. 682. For 
 statistics on this question, see Kopp Rhein. Mus. 1886 pp. 247 ff. 
 
 638 f. χρή sc. προσβαλέίν. v T€KOV cf. supr. 307 n. 
 
 640 — 676. The dialogue which follows is a masterly example of 
 tragic irony. It will be observed that Agamemnon attempts to satisfy 
 his daughter's more pressing enquiries by answers that may be am- 
 biguously understood either of her marriage or sacrifice. 
 
 642. €v...€iro^^as 'thou didst well to bring', i.e. Ί thank thee for 
 bringing me' ; cf. Med. 472 eD δ' έποίησας μολών. 
 
 643. τοΰτο i.e. ed. 
 
 644. pXcircis ίίκηλον as σεμνον βλέπων, &c. curpevos cf. supr. 
 641 (καΐ yct,p πατήρ σέ). 
 
 648. *' Smooth to kindly aspect the furrows of thy brow", όμμα, 
 countenance, corresponds here to our word "expression". jxcOes όφρύν 
 cf. Alkest. 777 προσώπφ ξυνωφρνωμένφ. 
 
9 δ 
 
 IPHIGENEIA AT AULIS. 
 
 649. "Lo! I have the joy I have in seeing thee, my child". A 
 euphemistic expression, where more is meant than meets the ear. Cf. 
 Med. ion rjyyeiXas of riyyeCkas. Soph. O. C. 336. &c. 
 
 651 f. άιτουατία. By this Ag. may intend Iph. to understand either 
 his voyage to Troy or her own marriage ; more probably, perhaps, the 
 former. The next line is corrupt as it stands, but the general sense is 
 preserved. Ag. cannot command his voice as he pronounces the words 
 έπωυσ άπονσία, and Iph. with a vague feeling of alarm says "I cannot 
 tell whereof you speak &c." 
 
 656. eirl T€KVois 'with your children'. 
 
 657. " That is my wish ; but my grief is that I cannot wish it ". 
 659. aXXovs a studied ambiguity, cf. Med. 10 16. (v. supr. 309.) 
 
 διολ&ταντ' 2χ€ΐ the periphrasis with 'έχω denotes a continuance of the 
 state whose beginning is expressed by the aor. partic. (Cf. Shaksp. 
 Rom. and Jul. iv 3 poison... which the friar | subtly hath minister'd to 
 have me dead.) Often however the force is merely that of a perfect. 
 
 664. airaip€Ls the present as in Med. 938 άπαίρομεν, cf. infr. 670, 
 and on 1028. 
 
 665. The line is corrupt, as the two metrical solecisms show. 
 Weil's correction els ταντον αΰθί$, ώ 60yar€p i rj^ets πατρί, "thou shalt 
 meet thy father, Ο my daughter, once again" (i.e. in the realms of 
 Hades), though not itself a very melodious line gives what was pro- 
 bably the sense of the original. 
 
 667. irXovs i.e. across the River of Death to the underworld, 
 where she will remember how her father delivered her over to the 
 altar. 
 
 670. οΰ ττου 'can it be that...?' an affirmative answer is expected, 
 though the question formally implies incredulity. So too, occasionally, 
 in the stronger form οϋ τί που, cf. Hel. 541. 
 
 672. 6€p.€vos €υ cf. Here. fur. 605 ed θέσθαι, Bacch. 49. Cf. also 
 supr. 401. 
 
 674. ξύν Upocs 'with help of holy rites'; cf. supr. 358. 
 
 675. €0·τήξ€ΐ5 fut. perf. formed from perf. act., as τεθνήζω from 
 τέθνηκα. Aesch. Ag. 1279 (τβθνήξομβν). 
 
 67 "j. του μηδέν <j>pov€tv cf. supr. 370. 
 
 Racine in his Iphigenie (ii 2) has a scene in which he imitates 
 with considerable success the fine irony of the foregoing dialogue 
 
NOTES, 
 
 99 
 
 Ag. Les dieux depuis un temps me sont cruels et sourds. | Iph. Calchas, 
 dit-on, prepare un pompeux sacrifice? | Ag. Puisse-je auparavant 
 flechir leur injustice! | Iph. L'ofFrira-t-on bientot? Ag. Plus tot que je 
 ne veux. | Iph. Me sera-t-il permis de me joindre a vos vceux? | Verra-t- 
 on a l'autel son heureuse famille? | Ag. Helas! Iph. Vous vous taisez? 
 Ag. Vous y serez, ma fille. Adieu. 
 
 678. όφθήναι Kopcus by maidens only, i.e. and not by men. Greek 
 feeling was opposed to girls appearing much in public ; cf. Herakl. 43 
 νέας yap παρθένους α'ώούμεθα \ 6χλφ πβλάζβιν, and on supr. 188. 
 
 680. άτΓοική(Γ€ΐν 'dwell far from', as in Here. fur. 557. 
 
 685. Exit Iphigeneia leaving Ag. and Klytaemn. alone. <rk Zlirap. 
 τάδ€, ' 1 entreat you to bear with me in this thing', i.e. el κατ. &yav 
 κτλ. Sorrow and tears were inauspicious on a μακάριον ημαρ. (Cf. 
 Aesch. Ag. 636 f.) 
 
 690. ιτολλά μοχθησ-α^ μοχθ&ν is often used of the loving care of 
 parents for their children; thus Megara says (Here fur. 280) πώς yap ού 
 φιλώ I άτικτον, άμόχθησα; cf. Med. 1030. 
 
 694. τω χρόνω <τυνισ-χναν€ΐ 'will join with time in assuaging' 
 (v. Aesch. P. V. 380) ; cf. El. 73 συνβκκομί^ιι/ σοι. πόνους. 
 
 695 f. " As to the name, I know to whom it is that you betrothed 
 our child, but of what lineage and whence he comes, &c." καταιν€Ϊν = 
 έ^υαν, 703. 
 
 699. ΟΙνώνηδ Aegina, mother of Aeacus, gave her name to the 
 island, formerly known as Oenone, of which Aeacus was the first king. 
 
 700. κατ&τχ€ 'occupied', 'acquired'; so the dead are said θήκας 
 κατέχ€ΐν Aesch. Ag. 451. 
 
 703. ήγγύησ€ cf. Or. 1079 καττ^γγύησα. At Athens έγγύησι,ς (for- 
 mal betrothal) of the bride by her guardian (κύριος) was a necessary 
 preliminary to a legal marriage. The natural κύριος was the father; 
 in case of his death or absence the duty devolved upon the brother of 
 the bride, or her grandfather on the father's side. 
 
 710. χώ διδοΰς σοφ. i.e. and wiser still was the father who entrust- 
 ed his son to so wise a trainer. 
 
 713. άμφί cf. infr. 1294. 
 
 717. The time of the full moon was auspicious for weddings; cf. 
 Pindar Isthm. vii 44 (the marriage of Peleus and Thetis) έν διχομψίδεσ- 
 σιν έσπέραις. 
 
 7 1 8. irpoT&.cia the sacrificial rites preliminary to a marriage, which 
 was regarded as a τέλος (cf. Aesch. Eum. 835). Before the wedding 
 
ΙΟΟ 
 
 IPHIGENEIA AT AULIS. 
 
 ceremony the favour was sought not only of Hera (as patron goddess of 
 marriage, reXe/a), but also of Artemis (v. supr. 433), and the Fates. 
 Hence θ eg. is ambiguous, and Agamemnon's answer, though literally 
 true, still conceals his real meaning. 
 
 721. For the form of the expression cf. infr, 1182. 
 
 722. At marriages an exception was made to the custom which ex- 
 cluded women from being present at feasts. It would seem however 
 from this passage that they were to some extent separated from the men. 
 
 724. καλώς αναγκαίας τ€ ' 'tis well — as it must be so', i.e. we can- 
 not do better under the circumstances. Cf. infr. 1409. 
 
 725. οΐσ-θ' οΰν δ δράσ-ον 'do thou what I advise'; a colloquialism, 
 which seems best explained, like the English " I'll tell you what do", 
 as arising from the speaker's eagerness leading him to end his sentence 
 with an imperative, in place of continuing the construction οΐσθ' οΰν ο — 
 δράν ch δέΐ. Cf. Herakl. 451 άλλ' οΐσθ' δ μοι σύμπραξον. 
 
 726. In reply to Ag.'s πίθου 'obey me (in this)', Klyt. says 'In 
 what? I am accustomed to be persuaded (on all occasions) by you'. 
 Cf. Plato Gorgias 462 D βού\€ΐ οΰν, έπ€ίδτ] τιμξ,ς το χαρίξεσθαι, 
 σμικρόν τί μοι χαρίσασθαι ; <r€0€V the genit. after πβίθβσθαι is an 
 Ionicism, found in Herodotus (vi τ 2 &c), but not in Attic prose. 
 In Thukyd. vii 73 (πάντα μάλλον έλπίζειν άν σφών πύθ^σθαι αύτούς) the 
 gen. σφων depends upon πάντα, which is governed by πείθεσθαι (cf. 
 Soph. Aias 529), Obey any command of theirs'. 
 
 730. For the omission of the participle with τιτγχάνω cf. Soph. 
 El. 313, Ar. Ekkles. 1141 eif ns €ϋνον$ τυγχάνει. 
 
 732. tCs 8* άναοτχή<τ€ΐ φλόγα; It was customary for the mother 
 of the bride to carry a torch in the procession which conducted her 
 (δαΐδων ΰπο λαμπομ€νάων, Horn.) to the bridegroom's house ; cf. Troad. 
 308 άνεχε, πάρ€χ€ (see ib. 733), 0ώ$ φέρ€. hi in objection, cf. infr, 
 1458. 
 
 733· νυμφίοι^ the bridal pair; cf. Aesch. Theb. 757 ννμφίον% (Laius 
 and Iokasta). 
 
 735. €ξομ.ιλ€ί<τθαι κτλ. 'to be away from home (cf. αποίκησαν, 68o) 
 in the midst of a crowd of soldiers'. 
 
 737. καΐ ras 7' κτλ. 'yes, and (it is καλόν) that the maidens at home 
 should not be unprotected'. 
 
 740. Klytaemn. quits the stage abruptly in indignation at Aga- 
 memnon's cavalier treatment of her maternal feelings. The next line 
 (741) has all the appearance of an interpolation designed to smooth 
 
NOTES. 
 
 ΙΟΙ 
 
 over this abruptness. Klotz attempts to defend ννμφ. παρθβνοις as 
 "virgins at their wedding", but this meaning cannot be got out of the 
 Greek. 
 
 74 2 · Τΐί α (άισσω) cf. Ion 572 6 δ* rji-as όρθως, τοΰτο κάμ 2%ec πόθος, 
 έλττίδος (Gr. Gr. 222) cf. Med. 1010. Ar. Thesm. 870. 
 
 744. σοφίζομαι 1 1 am making clever plans 1 ; cf. the term σοφιστής 
 applied to Prometheus in Aesch. P. V. 62. Eur. uses the word in one 
 other place in Bacch. 200 in the sense of making clever reasonings 
 (rationalizing) about the gods. €irl τοίσ-ι φιλτ. 'against those I love 
 best'. 
 
 748. €ξιο-τορήσ-ων κτλ. 'to enquire the end of the goddess' wish, — 
 for me no happy chance, and grievous to the land of Hellas'. The 
 words μδχθον Έ. are added by Agamemnon in a tone of despair : a 
 goddess to whom such an offering was φίλον could not be really kindly 
 disposed to the Greeks. 
 
 750. ή μή τρ«|>€ΐν 'or (if she be not χρήστη κά~γαθή) not to have a 
 wife at all'. Hermann and others read ^αμάν for τρέφειν, but the change 
 does not appear necessary. 
 
 751 — 800. Second Stasimon. The chorus presage the success of 
 the Greek expedition to Troy ; and picture the Trojans viewing from 
 their walls the enemy's approach, and the dismay of the women at the 
 prospect of captivity. They too must suffer for the transgression of 
 Helen. 
 
 751 if. " Now to Simois and the whirl of silvery waters will come 
 the gathered host of Hellas on ship-board and in arms,— to Ilion, the 
 plain of Troy where Phoebus wrought, where Kassandra, as I hear, 
 decked with a garland of green-leaved bay, tosses loose her yellow 
 tresses, whene'er the throes of prophecy breathe from the god upon 
 her". Φοφηίον cf. Hel. 1509 ff. See Diet. Biogr. s.v. Laomedon ; Hor. 
 Carm. iii 3 21. 
 
 757. τάν Κασ". the famed Kassandra, cf. supr. 178. 
 
 760 f. Kassandra is called μαινάδ' Meov κόρψ El. 1032. With 
 the above description of the prophetic influence cf. Verg. Aen. vi 50 ff. 
 Aesch. Ag. 1 215. 
 
 768. τάν των Διοσ-κ. ' the (sister) of the &c* 
 
 771. Sopwrovois for the agreement of the adj. v. on supr. 233. 
 
 775. κυκλώσ-ας sc.'A/^?, who is said κνκλ. it6\lv "A/>ei, as θάνατος 
 is said θάνατον έμβαλβΐν Alkest. 50 (Paley). Cf. also Choeph. 32 if. 
 injr. 1036 ff. The lines which follow (776— 7 8 3) have suffered cor- 
 
I02 
 
 IPHIGENEIA AT AULIS. 
 
 ruption. The MSS. readings as printed by Kirchhoff (who regards the 
 passage as spurious) will be found in the Appendix. 
 
 776. λαιμοτόμουε * severed'; cf. El. 459 (of Perseus) λαιμοτόμαν 
 κορυφάν Topydvos ϊσχειν. 
 
 782. €Ϊ<Γ€ται κτλ. * shall know that she deserted her husband', i.e. 
 her crime shall come home to her by suffering. 
 
 785. cXiris 'boding' may be of good or evil, or undetermined, 
 according to the context. Cf. with this passage Statius Theb. 129 
 dum spes nulla necis. 
 
 7.88 f. σ-τησ-οικτι cf. Soph. Ο. T. 698 μψίν...στησα$ £χα*. imp' 
 ttrrois μυθ. 'as they converse at the loom'. For the Ionic contraction 
 μυθεΰσαι cf. Hippol. 167 άύτευν (lyr.); Med. 422 ύμνευσαι (lyr.) ; Aesch. 
 P.V. 122 ύσοιχνενσιν (an.), ib. 645 πωλβυμίναι, (iamb.). 
 
 790 if. " What man then, tightening amid my tears his grasp of my 
 abundant tresses, will pluck me, as a flower is plucked, from my perish- 
 ing country?" ρυμα cogn. acc. to τανύσαϊ, cf. supr. 157. oiroXamci cf. 
 λώτισμα, λωτίζομαι. 
 
 793· τάν.,.γόνον sc. οΰσάν. 
 
 795 f. Cf. Hel. 214 6re σε tckcto ματρόθεν | Ze£s πρετων 6V 
 αιθέρος \ χωνόχρως κύκνου πτβρφ. 
 
 798 f. 4v ScXtois Iliep. 'in the pages of the poets', μύθοι 'fables'. 
 
 800. τταρά καιρόν άλλως cf. Hek. 489 αλλω$... μάτην. 
 
 8οι — 1035. Third Epeisodion. Achilles going in search of the 
 king to acquaint him with the impatience of the army meets Klytaemn. 
 She addresses him as the bridegroom elect of her daughter ; and the 
 natural surprise of Achilles at this has led them already to suspect a 
 trick, when the old man interrupts their conversation (855), and 
 informs them of Agamemnon's treachery. Klyt. throws herself on 
 Achilles' generosity (900 — 916), and he promises to aid her (919 — 974). 
 
 804. ουκ 4| ϊσ-ου because the delay was a more serious matter to 
 those who had wives and children at home than to the unmarried. 
 a£iry€S γάμων cf. supr. 419. 
 
 809. Έλλάδ(α) the acc. as in Soph. O. C. 942 αύτούς...άν 
 έμπέσοί \ ζήλο*. 
 
 8 ίο. Achilles, being himself aft/£ -γάμων, explains what the griev- 
 ance is which in his own case warrants his urging upon Agamemnon 
 that something ought to be done. This justification (δίκαιον) of his 
 insistence is introduced by yap t 812. 
 
 813. μένω 'π\ λ€ΤΓταΐ$ κτ\. ' 'mid the faint breezes of the Euripus 1 ; 
 
NOTES, 103 
 
 he refers to the calm (cf. 10 aiyal άνεμων), during which only light airs, 
 useless for sailing purposes, were playing over the water. It is not 
 therefore necessary to emend wool* (ροαΐς Blomf. πύλαι* Herm.). 
 
 815 f. irotov χρόνον cf. Aesch. Ag. 278. €κμ€τρή<ται of time, like 
 emetiri, cf. Tac. H. i 49 (Galba) quinque principes emensus. " How long 
 the measure of our waiting for the voyage to Ilion?" Cf. the complaint 
 of the soldier-chorus in Ennius Iphig. iii em, neque domi nunc nos nec 
 militiae sumus; | imus hue, nunc illuc : cum illuc ventumst, ire illinc 
 lubet ; | incerte errat animus : praeter propter vita vivitur. 
 
 821. ώ ττότνι' cuSws these words occur also in Eur. Ιππόλυτος 
 καλυπτόμενος (fr. 439). 
 
 823. ots μή κτλ. 'persons whom you have not met', cf. supr. 384. 
 
 832. αρχήν the acc. as in supr. 234. 
 
 834. ψαύοιμ€ν ών μή μοι Qipis the interchange of plur. and sing, 
 often occurs with equal abruptness; cf. Troad. 904 ην θάνω θανούμεθα, 
 infr. 1 141, 1 1 46. 
 
 842. λόγος γάμων 'talk of marriage', object, genit. v. supr. 498. 
 Cf. also Plato laws 773 Β μυθο$ "γάμου. 
 
 846. ού ψ€υδόμ€θα 'both of us are perhaps not mistaken in what 
 we say', i.e. we may be at cross purposes, and may help each other 
 (κοινόν) to clear up the misunderstanding. 
 
 847. μνη<ττ€υω γάμους μνηστεύαν is properly said of the man 'to 
 court', but the word is here used with intention by Klytaemnestra to 
 emphasize the strangeness of the position in which she finds herself. So 
 when Medea replies to Jason (Med. 606) τί δρωσα] μών y α μου σα καϊ 
 προδοΰσά σε ; the wording of her question is a pointed reflexion upon 
 the conduct of her faithless husband. 
 
 851. ορθοϊβ δμμα<τιν 'with unshrinking gaze', rectis oculis. Cf. 
 also Soph. Ο. T. 1371 ούκ οϊδ' ομμασιν ποίοι* βλέπων κτλ. 
 853· τόδ€ sc. το χαίρειν. 
 
 855· At this moment the old man is heard calling through the 
 half-opened door (cf. 857 παροίξας) of the king's tent, while remaining 
 himself inside (cf. 863). ώ <τέ τοι λ£γω cf. Ar. Av. 274 οϋτος, ω σέ τοι. 
 Aesch. Cho. 456 σέ τοι λέyω. 
 
 859· ^H-os μ^ ν °^Χ^ <n °t mine* \ cf. supr. 392. The following 
 words need not imply that Achilles is already possessed by a feeling of 
 hostility to Agamemnon, but merely that since the slave is speaking 
 from inside Agamemnon's tent, he cannot be one of Achilles' retainers. 
 
 861. ουν€κα Wecklein cur. epigraph, p. 36 holds that οϋνεκα (as a 
 
io4 
 
 IPHIGENEIA AT AULIS. 
 
 preposition) is due to copyists, and that the form uveica should be 
 restored in tragedy. There is however enough evidence from verse- 
 inscriptions (see Meisterhans 2 p. 177) to justify the orthography οΰνεκα. 
 
 864. The phrase ovs (ώ?, ά) εγώ θέλω often occurs when the speaker's 
 wish is obvious from the context (v. infr. 1025), or where (as here) he 
 prefers not to be explicit. 
 
 865. σώσει Monk for the MSS. αν ώση. (Markland and Bockh pro- 
 pose άνοίσει, όνήσα.) Achilles refers to the old man's rather high-flown 
 invocation ώ τύχη κτλ. " Your speech will save them — in the distant 
 future", δγκον i.e. 'there is a certain pompousness about it'. 
 
 866. Scgias 2κατι 'as to my right hand', i.e. as to the assurance of 
 my protection ; cf. supr. 58. 
 
 870. μ€0' ημών cf. supr. 46 if. atl irore 'for many a day', like our 
 ' ever so long'. 
 
 872. νυν ίγοΘ' ήμίν wore here emphasizes νυν, 'now pray'; cf. 
 Soph. Phil. 816 Ν. ποΐ μεθω; Φ. μέθ€$ ποτέ. 
 
 873· The aor. (instead of pres. or fut.) after μέλλω is a rare but not 
 unknown construction ; cf. Med. 342 kcl μέλλω Baveiv. In Soph. Ο. T. 
 967 there is a possible example, κτανεΐν being the reading of the best 
 MSS.; and a certain instance in Aesch. P. V. 625 (παθεΐν). [In infr. 
 880 ktcvuv is the reading of both Ρ and C] 
 
 874. air£irru<ra cf. supr. 136. 
 
 877. τοΰτο cf. supr. 516. 
 
 878. €K tivos λόγου; 'for what reason?'; cf. Androm. 548. The 
 order is tLs άλαστόρων (έστϊν) 6 έττά-γων αυτόν ; 
 
 882. €ls Ίφ. 1 against Iphigeneia'; els is used with almost the same 
 meaning which it bears in the phrase λέγειν e'is rtva, 'to talk at a 
 person', El. 329. &c. ην cf. supr. 404. 
 
 884. τίν €Ϊχ€ irp. 'what was the meaning of its pretext which 
 brought me &c. ' The pretext itself is said κομίζ€ΐν the person affected 
 by it, as supr. 581 the κρίσπ is said πέμπειν Paris to Hellas. 
 
 886. cV όλέΌρω ' to meet destruction '. 
 
 889. €Ϊπ€ρ άλλο si quid aliud. See Append. 
 
 892. ουκ €ων as bearer of the letter Kl. identifies him with its 
 contents. ξυγκ€λ€υων i.e. bidding me as the former message did. 
 
 894. κφτα ireos. These particles are combined in Androm. 339 
 κφτα 7τώ? πατήρ... άνέξεται. Cf. also Plato Krito 43 Β. γ€ belongs to 
 φέρων, since you were (actually) the bearer. 
 
 897. το δ' €|M>v κτλ. 'my own part therein I take not lightly'. 
 
NOTES. 105 
 
 Ach. perceives of course from 1. 885 that his name has been trifled 
 with. 
 
 899. απλώς οΰτω ' quite indifferently 
 
 900 f. For the plur. followed by the sing. nom. θνητό* cf. on 
 supr. 834. γ€γώτα the masc. as though σέ, instead of to σον ydvv, had 
 preceded. Compare Racine (iii 5) une mere a vos pieds peut tomber 
 sans rougir. 
 
 904. μάτην 'falsely'; cf. Soph. El. 1298 arrj rrj μάτην λελε Ύ μένη. 
 άλλ' ομω$ sc. λεχθείση. 
 
 907 f. So-Tts ουκ ήμυνο^ 'inasmuch as you did not defend her'. 
 Klytaemn. is putting the case as though it had already arisen ; cf. infr. 
 940. άλλα γοΰν 'yet at any rate'; so Aristot. rhet. p. 1398*21 
 μάλιστα μεν πάντες, εΐ δέ μη, άλλ' otye πλείστοι: cf. Plato Phaedo 71 Β 
 (el μη — άλλα yovv) : laws χ 885 Ε (άλλ' ουν ye). With this force of 
 άλλα after el μη cf. infr. 1239. 
 
 914 f. €irl τ. kcikois 'bold for deeds of evil', οταν θ€'λω<πν 'when 
 they will ', i.e. when their sympathies are enlisted ; and, Kl. implies, in 
 this matter they will follow your lead, our safety is therefore in your 
 hands ην το\μηση% κτλ. 
 
 9 1 6. \€tp' ύττ€ρτ. μου cf. Theognis 757 Zevs μεν τησδε πόληος 
 νπειρέχοι Χ^Γρα. 
 
 917· δ€ΐνον τό tCktciv 4 wondrous it is to be a mother'. So Soph. 
 El. 770 δεινόν το τίκτειν έστίν. Cf. also Aesch. Theb. 1031. 
 
 918. For ώστε added after an adj. which could be followed by the 
 simple infin. see Gr. Gr. 297 N. 5. 
 
 919. ύψηλ. μ. θ. at'perai. The meaning would seem to be "my 
 mind is excited", the emphasis falling on the first part of the compound 
 υψηλόφρων. (Thus in Aesch. οίόφρων πέτρα = " a lonely rock"; cf. 
 also όρθόπους πάyos Soph.) The expression will then be like that in 
 Soph. Ο. T. 914 ύψοϋ yap αϊρει θυμόν Οίδίπουΐ, and gives a better sense 
 than the usual interpretation "is raised aloft to noble thoughts". 
 Achilles says his soul is stirred by Klytaemn. 's appeal, but his training, 
 (he goes on to explain), has been such as to deter him from giving 
 way to emotion before looking well how the matter lies in all its 
 bearings. On either view the addition of πρόσω is difficult. It is 
 perhaps not intended to do more than emphasize the idea of motion 
 in αίρεται 'is lifted high\ cf. Aesch. Ag. 853 πρόσω πέμψαντε$ 'sent us 
 forth'. 
 
 920 f. κακοισ-ι neut. ' misfortune' ; cf. Aesch. P. V. 303 ξυνασχαλωρ 
 
ιο6 
 
 IPHIGENEIA AT AUL1S. 
 
 κακοΐς. (So Archil. 66 χαρτοΐσίν re χαΐρβ καΐ κακοΐσιν ασχάλα \ μη λίην.) 
 μετρίως qualifies both άσχαλαν and χαίρειν. 
 
 922. λ€λογι<τμ€νοι γάρ...δια£ήν 'have a reasoned hope of going 
 through life &c.' (not 'are calculated to'), cf. supr. 386. γνώμη$ μ.€τα 
 'wisely'; cf. supr. 544 μετά σωφροσύνας = σωφρόνων. 
 
 924. μ.ή λίαν φρον€Ϊν * not to be over wise' ; cf. Soph. Ο. T. 316 f. 
 
 933 f. α δη κτλ. * as far as a young man may (i.e. with my sword 
 in the last resort) I will see thee righted, with . thus much of pity 
 investing thee ' i.e. I pity thee enough to do all I may in aid ; τοσούτον — · 
 περιβαλών being a parenthetical reference to the μετρώτης to which he 
 has just alluded. περιβαλεΐν οϊκτον is a curious phrase ; cf. however περι- 
 βαλβΐν σωτηρίαν Here. fur. 304, δουλοσύναν άμφιβαλβΐν Andr. no. The 
 word περιβάλλειν itself is a favourite with Eur., a feature in his style 
 which evidently did not escape Aristophanes, cf. Frogs 1322, Thesm. 914. 
 
 936 f. €μ.ιτλ€Κ€ΐν irXoKcts ' to play tricks with'; for the infin. cf. 
 Soph. Aias quoted on supr. 340. τούμόν 8€ji.as 'myself; S^uas is often 
 thus used periphrastically, cf. Ion 563. 
 
 943. θαυμαστά 8* <&% = Ό Λ νλ)μο\σίω% o>s, cf. Soph. fr. 963 θαυμαστά yap 
 τό τ'οζον ώ$ όλισθάνβι. 
 
 944 ff. ην άρα — clVep φον€υ<τ€ΐ i.e. if the 0oVos shall take place 
 then at once am I proved &c. cf. supr. 404. kv άνδρά(τιν in numero 
 virorum 'counted a man'. <τω 7τό<Γ€ΐ dat. of the person interested — 
 if he shall use my name to achieve her death. 
 
 946. άλάσ-TOpos γδγώδ cf. Troad. 767 (of Helen) πολλών πατέρων 
 φημί σ έκπεφυκέναι, \ Άλάστορο* μ£ν πρώτον, €Ϊτα δέ Φθόνου, | Φόνου 
 
 Τ€ ΚΤλ. 
 
 95 1 · Lit. "no, not so far as a finger of his, so as to touch her 
 robes άκραν χ. and πέπλοις are both emphatic; and προσβαλβΐν is 
 best taken as intransitive. 
 
 952 f. iroXis a city indeed, i.e. worthy of the name (as άνήρ is 
 often used, δπω$ άνηρ &rei Cycl. &c), cf. Soph. O. C. 879 τάνδ 7 ap 
 ούκέτί νέμω πάλιν, yivos Gr. Gr. 215. Cf. also Soph. Trach. 380. 
 
 955· irpo\vTas, Ινάρξεται cf. infr. 1470 f., supr. 435. Cf. Racine 
 (iii 7) Achille. Votre fille vivra, je puis vous le predire... | les dieux 
 auront en vain ordonne son trepas : | cet oracle est plus sur que celui de 
 Calchas. 
 
 956 if. "Who is your seer, — a man who tells a few truths with 
 much that is false when fortune favours, but whene'er she fails him his 
 vogue is gone at once — ?" Cf. Thukyd. iii 82, 8. 
 
NOTES. 
 
 960. θηρώοη λ€Κτρον τ. 'seek to be my bride'. With similar 
 confidence Achilles says in Homer II. ix 395 πολλαί Άχαιΐδεί είσίν άν 
 Ελλάδα re Φθίην τ€...τάωρ ην κ έθέλωμι φίλην ποιησομ άκοιτιν. 
 
 963. "ΚΙ. was influenced most of all by me to give her daughter 
 to me in marriage", έμοι, i.e. by my rank and fame, cf. supr. 101. 
 
 965 f. e δωκά τοι αν sc. τούμόν όνομα. 4v τωδε κτλ. ' if here were the 
 hitch \ Cf. I. T. 1018 rrjde yap νοσεί νόστος, νόστος, journey, as infr. 
 1261. I. Τ. 1 1 12 ζαχρψσου δέ δι έμπολας \ νόστον βάρβαρον ηλθον. 
 
 967. €<ττρατ€υόμην cf. supr. 834 η. το κοινον the common interest. 
 
 968 f. νυν Si 'but, as it is,' &c. €V €υμαρ€ΐ κτλ. 'they trouble 
 not themselves whether they treat me well or ill ' ; cf. supr. 56. 
 
 970 f. τάχ' €Ϊσ-€ται cf. on supr. 311. φόνου κηλΐσιν a%aros 
 ' murder — stains of blood \ 
 
 974. μ€*γισ-το$ 'strong to save'; cf. Med. 549 μέ-γα* φίλος. 
 Heimsoeth would read φίλος here for θεός, but Achilles alludes to 
 Klytaemnestra's supplication 900, 1, made as though to a superior 
 being. 
 
 977. μή λίαν. It was a current notion that excessive praise was 
 unpropitious as being likely to provoke the φθόνος θεων, v. Orest. 1161. 
 Herakl. 202. Cf. also Verg. Eel. vii 27 aut, si ultra placitum laudarit, 
 baccare frontem | cingite, ne vati noceat mala lingua futuro. 
 
 978. €v8€cos... χάριν, cf. Aesch. Ag. 785 πως σε προσείπω.,.μήθ' 
 νπεράρας μήθ' ύποκάμψας καιρόν χάριτος. 
 
 98 τ. ιταραφφουσ-α 'intruding* a sorrowful story; cf. παράσυραν 
 έπος Aesch. P. V. 1065 (cited by Paley). For the sense of παρά in 
 compos. ' inopportunely cf. also Plato Timaeus 50 Ε την αύτοϋ παρέμ- 
 φαινον όψιν. dvooros κακών cf. supr. 419· 
 
 983. 2\€i τοι σ-χήμα 'it shows well'; cf. Troad. 470. This 
 appeal of Klytaemnestra to "good form" is adapted to the line taken 
 up by Achilles in his answer to her request, κάν αιτω0€ν η 'far 
 removed though he be i.e. έκτός ων πήματος, cf. El. 290 αϊσθησις yap 
 οΰν I κάκ των Ουραίων πημάτων δάκνει βροτούς. 
 
 987. ο-οι...γάμοι$ for the two datives ( = σοΐς yάμoις) cf. [Eur.] 
 Rhesus 266 i) πόλλ' άyρώστaLς σκαιά πρόσκειται φρενί. opvis ' omen ' ; 
 cf. on supr. 607. 
 
 994. " She shall come, with modesty in her frank regard ". 
 
 995 f. ου παρουσ-ης 'in her absence άπου ση ς. σ^μνά ya.p σ«μ- 
 νΰνεται a fine phrase, which can hardly be adequately rendered in 
 English ; " dignified is her proud reserve " gives the general sense. 
 
ioS 
 
 IPHIGENEIA AT AULIS. 
 
 997. δσ-ον γ€ δυνατόν 'only so far as is admissible \ i.e. reserve 
 should give way when circumstances require. Cf. infr. 1344. 
 
 999. ov€i8os άααθ& ' the reproach of the vulgar i.e. of those who 
 have not learnt (by education) consideration for the feelings of others ; 
 cf. El. 294 Ζνεστι δ* oTktos άμ,αθία μεν ούδαμοΰ. 
 
 iooo f. dp'yos των οϊκο0€ν 'free from domestic duties'. λ&τχας 
 ' gossip \ 
 
 1003. άνικετεύτως * els κτλ. Nauck for the MSS. άνικέτευτοϊ fjs m 
 έμοί κτλ. ' shall attain a like result as if no prayer were made'. 
 
 1005. "Be assured that you have heard one thing", i.e. μ$ ψ. μ 
 
 €p€LV. 
 
 1008. συνεχώς qualifies ώφελων. 
 
 ιοί ι. αΰθις with β. φρονεΐν ' to come to a better mind'. 
 
 1012. κακός tCs €<γτι 1 he is something of a coward 
 
 1013. κατατταλαίουσ-ιν a metaphor from wrestling. In Med. 585 
 tv yap εκτενεΐ σ έπο* the metaphor is of the same origin; cf. also 
 Bacch. 202. With the whole line cf. Aesch. Suppl. 447 yivowo μύθου 
 μύθος αν θελκτηριοί. 
 
 1014. ψνχρά cf. Shaksp. Airs Well iii 1 oft it hits | where 
 hope is coldest, and despair most fits. Cf. also Alkest. 353 ψυχραν μεν 
 οΧμαι τέρψιν. 
 
 ιοι7· η γαρ τό χρηζον 4irC0€T€ 'for in case (lit. where) νομ 
 
 persuaded him to grant your desire &c.' 
 
 1022. κρανθέντων neut. sc. πραΎμάτων: so Soph. El. 1344 reXou- 
 μένων εϊποιμ' αν. Cf. Thukyd. iv 20 ετι όντων άκριτων. 
 
 1024 f. σώφρονα * controlled \ ών έγώ θ^λω ων for εκείνων, α κτ\. 
 see on supr. 383. For the phrase itself cf. supr. 864 n. 
 
 1028. φυλά<τσομ€ν for this use of the tense implying the speaker's 
 assurance of a future event by representing it as already present, cf. infr. 
 1267. Cf. also Thukyd. iv 10 (του χωρίου τό δυσέμβατον) ξύμμαχον 
 yiyveraL. 
 
 1035· €σ"θλών sc. θεων. τι Set irovelv; cf. the common formula τί 
 δεΐ \iyeiv\ quid opus est verbis? Similarly El. 1017 τί δεΐ στυ-γεΐν ; 
 
 1036 — 1097. Third Stasimon. Joyful music and the presence of 
 the gods graced the marriage-feast of Peleus and Thetis : and to them 
 was prophesied a son famous at home and in war. Alas for Iphi- 
 geneia: dirges are her wedding- chant, dirges for a stricken victim. 
 Unholy deeds are rife, unregarded is the jealousy of the gods. 
 
 1036 if. vu€vaios...&TTa<r€V Ιαχάν 'raised its shout'; cf. supr. 
 
NOTES. 
 
 775 η. λωτοΰ Λφυοβ The Libyan lotus was often used for making 
 pipes. [The epithet, according to Eustathius, arose from the inventor 
 of αύλητική being Αίβυς νομάς τις.] συριγγών ύττό κ. 'to the strains 
 of; observe the use here of the three preps, διά μβτάύπό expressing 
 the idea of musical accompaniment. 
 
 1 04 1 f. παρά 8αιτΙ 0€<3v. The gods sang the nuptial hymn at the 
 marriage of Peleus and Thetis. χρυσ€οσάνδαλον fyvos 'the print of 
 golden-sandalled feet'; the adj. being poetically in agreement with 
 ίχνος itself, cf. Phoen. 135 1 λευκοπήχβις κτύπους χβροΐν. 
 
 1049. " And he of the Dardan line, Phrygian Ganymede, the 
 darling pride of Zeus, was there to draw libation from wine mixed in 
 the depths of golden bowls ". 
 
 !θ55· €ΐλισσόμ€ναι κύκλια 'in the circling mazes of the dance'; 
 cf. El. 180 είλικτόν κρούσω πόδα, with I. T. 427 — 429. I have however 
 followed Weil in bracketing κύκλια here as a gloss, when the line will 
 correspond with 1077 of the antistrophe. 
 
 1056 f. γάμουβ €\όρ€υσαν ' celebrated the nuptials with the 
 dance'. 
 
 1058. ανά 8' IXaTais κτλ. 'leaning on silver firs, with fresh leaves 
 wreathed about their heads'. These έλάται, (or stone pines πβΰκαή, 
 formed the traditional weapons of the Centaurs. Hesiod scut. Here, 
 187 calls them Πενκέιδας.,.έλάτας kv χερσίν 'έχοντβς. ανά... συν cf. 
 supr. 754. 
 
 1062 if. 8* άνΙκλαγον 'and loud they cried' (i.e. the 
 
 Centaurs); μέ^α = μεγάλη φωνϊ}, cf. Hesiod scut. Here. 379 μέγα κεκλψ 
 yovTes. So too, in the Nuptiae Pelei et Thetidos of Catullus, the Parcae 
 clarisona...voce \ talia divino fuderunt carmine fata | ...nascetur vobis 
 expers terroris Achilles &c. In the following sentence the construction 
 is μάντις 6 φ. μ. είδώς Χ. έξονόμαζβν (announced) σέ παΐδα yevvdaeiv μ^α 
 φ. θ. Cf. El. 449 ( of Achilles' father) τρέφεν Ελλάδι φως, and v. also 
 infr. 1502. 
 
 1073. κ€κορυθμ.€νο5 Ινδυτά οττλων 'furnished with a suit of mail'; 
 the accus. instead of the more usual dat. after κεκορυθ μένος. 
 
 ιο8ο. καλλικόμαν (κάλλικόμας) agrees with πλόκαμον. 
 
 1085. σύριγγι the shepherd's pipe ; cf. Anth. P. vi 177 (Theokr.?) 
 Αάφνις.,.ό καλχ) σύριγγι μβλίσδων \ βουκολικούς ύμνους. 
 
 ιο86. ροιβδήσ€σι β. ' the whistling of the herdsmen 
 
 1087. νυμφόκομον κτλ. ' but reared by thy mother's side to be one 
 day decked as a bride at the wedding of one of the sons of Inachus '. 
 
 Η. I. 8 
 
I ΙΟ 
 
 IPHIGENEIA AT AULIS. 
 
 νυμφόκομο* in pass, sense, in which the verb νυμφοκομβΐν also occurs, 
 cf. Med. 985. Ίναχίδαπ the Argives, cf. Hor. Carm. iii 19, r. 
 
 1090. irpocrtoirov cf. (with Firnhaber) Ar. Av. 1321 τό ttjs dyavd- 
 φρονος Ησυχίας (ύάμβρον πρόσωπον. Compare also Shaksp. Rich. Ill, 
 ν 6 enrich the time to come with smooth-fac'd peace. 
 
 1098 — 1629. Exodos. Klytaemnestra, who now knows the real 
 intentions of Agamemnon and has informed Iphigeneia, comes to 
 upbraid her husband with his treachery. Her speech of vehement 
 reproach (1146 — 1208) is followed by an appeal of Iphigeneia (121 1 — 
 1252) to the paternal feelings of Agamemnon, and his reply (1255 
 — 1275) that he is powerless to refuse what the national interest 
 requires. 
 
 1101. μ^ταβολάβ όδυρμ. In music μεταβολή is a transition effected 
 gradually from one mode to another, one yfros to another, &c. "As 
 she sounds in many a key the modulations of despair" will perhaps 
 render the metaphor, though it fails of the beauty of form which 
 makes the original a memorable line. 
 
 1 102. βουλ€υ€ται 1 is resolved upon \ 
 
 1 103. Klytaemnestra here catches sight of Agamemnon. The 
 meaning of her next words is: — "It seems (αρα) I was speaking of 
 Agamemnon who, as I now perceive (τοΰδε deictic), is close by" 
 μνήμην €Ϊχον = έμνήσθην. 
 
 ιιο5· ανόσια ιτράσσων κτλ. * wickedly practising against his own 
 child \ 
 
 1 106. Iv καλώ 'opportunely'; cf. Soph. El. 384 νυν yap kv καλφ 
 (sc. έστϊ) φρονεΐν. 
 
 1 1 ίο. TTdTpos |Α€τα proleptic, 'to join her father*. 
 
 11 1 1 f. X€pviP€S, ιτροχυται cf. I. T. 244 χέρνίβές re καΐ κατ» 
 άpyμaτa. "And in their hands the barley meal to cast upon the 
 cleansing fire"; see on supr. 435. The ceremony was one of pre- 
 liminary purification; cf. Demosth. κατά Neatpas, p. 1371, 17 οταν 
 έξορκοΐ ras yepapas έν κανοΐ$ προς τφ βωμφ, π pi ν άπτεσθ at των ίερων. 
 
 ιι 13 f« μόσχοι cf. supr. 1083· The word would of course in the 
 minds of the spectators point to Iphigeneia. Άρτέμιδι cf. supr. 718. 
 φυσήματα in appos. with the idea of slaughter conveyed by as πεσάν 
 χρεών. Cf. supr. 234. 
 
 1 1 15. όνόμ,ασιν=λ070ΐ5, the frequent antithesis of word and deed. 
 Cf. also Aesch. P. V. 2ρ7ψ κούκέτι. μύθφ. Soph. El. 59 Xdyois )( tpyois. 
 O. C. 873 ZpyoLs )( ρήμασι (v. I. T. 36, Troad. 1233). 
 
NOTES, 
 
 III 
 
 1 1 1 6. €υ X£y€iv ' praise * or ' approve '. 
 
 1 1 17. οΐ<τθα ττατρό$ d μίλλ€ΐ lit. 'thou knowest concerning thy 
 father what he intends (to do)\ πατρός is genit. of connexion : ά 
 μέλλει sc. πρά&ιν, which is readily suggested by the context, cf. Med. 
 758 πράξασ' α μέλλω. Soph. O. C. 1634. 
 
 1 1 20. Iphigeneia in obedience to her mother's summons comes 
 out from the tent with Orestes, who is present upon the stage during 
 the following scenes, v. infr. 1165, 1241 ff., 1451. 
 
 1 122. rfiivs όρα$ = ήδέωϊ βλέπειν, cf. Hesiod scut. Here. 426 
 Beivbv όρων. 
 
 1 125. "I may treat them all as foremost", i.e. I know not with 
 which to begin. The next line Monk seems right in rejecting as an 
 interpolation. 
 
 1 127. €is cv ήκ€Τ€ ' agree' (are at one); cf. Hippol. 273 eis ταύτον 
 
 7}K€IS. 
 
 1 1 29. -yevvcuos 1 frankly '. 
 
 1 130. δ€ϊ μ(ε) the accus. for the more usual dat. cf. Here. fur. 11 70, 
 Aesch. P. V. 86 (quoted on supr. 321). 
 
 1 131. την τ' Ιμήν 'and mine*; the art. repeated because Klytaem- 
 nestra adds έμήν as a fresh point for Agamemnon's consideration. 
 
 1 132. τλημονα 'cruel are thy words'; cf. infr. 1165 τλημόνως. 
 
 1 1 35· αλλα.,.οίλλα Klytaemnestra's bitterness of feeling shows 
 itself in the manner in which she assimilates her answer to the 
 antithetical form of Agamemnon's sentence. Cf. Soph. Ο. T. 547 
 
 —552. 
 
 1 139. 6 vovs κτλ. 'This very thought is at the present crisis 
 (τυγχάνει) thoughtless'. She refers to Agamemnon's assumption of 
 ignorance. 
 
 1 143. μ.ή KafiTjs λέγων ironical, 'be not aweary of speech': cf. 
 Aesch. Eum. 881. 
 
 1 144 f. το γαρ άν. κτλ. 'What need is there for me by falsehood to 
 add effrontery to my evil hap?' 
 
 1 147. Cf. Aesch. Ag. 1183 φρενώσω δ' ούκέτ έζ αίνι^μάτων. 
 
 1150. Τάνταλον this Tantalus was the son of Thyestes. Homer 
 says nothing of the previous marriage to which Klytaemnestra here 
 alludes. 
 
 1 151. σω ιτροσώρισ-as ττάλω 'didst add (τροσορί^ν) my babe to 
 the share which the lot assigned thee when the captives were divided 
 The MSS. reading προσουρίσας (προσουρήσας Ρ) might be understood as 
 
 8—2 
 
1 12 
 
 IPHIGENEIA AT AULIS. 
 
 "having driven the metaphor being from a favouring wind as in 
 έπουρίζβιν (cf. Androm. 610), κατουρίζειν, but Klytaemnestra would 
 scarcely have chosen the word on this occasion. I have therefore 
 adopted Hartung's correction. An ingenious suggestion is ξων (Mus- 
 grave) προσουδίσας πέδψ (Scaliger), 'dashed living to the ground', in 
 defence of which it is urged that the cruelty of killing the innocent 
 children of a formidable enemy was not unknown in those violent 
 times ; cf. e.g. the reasoning of Menelaus in Androm. 519 if. Still had 
 this been what Klytaemnestra said, would she not inevitably have gone 
 on to draw in some way a comparison between Agamemnon's action 
 then and the deed which he now meditates? 
 
 1 153. Aios Τ€ τταϊΒ' 4μώ τ€ <r. cf. Soph. Trach. 406 (Οίνέως) κάρην, 
 δάμαρτά θ 1 ' Ηρακλέους... δ βσπότιν re ττ^νέμην. 
 
 ιι 56. u Thou next {αΰ) hadst me to wife ". 
 
 1 157. ου 1 in which estate '; cf. supr, 97. 
 
 1 164. τρκτί As to the number see Introd. p. viii. 
 
 1169. μιοτθόν 'to pay for'; the accus. as in supr. 234: v. El. 231. 
 Cf. also I. T. 566 (Orestes says of his sister's death) κακής yvvaiubs 
 χάριν &χαριρ άπώλετο. 
 
 1172. €K€i i.e. before Troy. 8ιά here 'during'; in supr. 636 
 δια χρόνου the prep, signifies the completion of an interval, 'after' a 
 time. 
 
 1 179. This line was rejected by Monk. It appears ineptly made 
 up from what precedes. Hermann proposed irpb σου δόμοι* as a 
 remedy. 
 
 1 180 if. "There was need but of some slight pretext for me and 
 your daughters left at home to receive you as it is fitting you should be 
 received €irei, as often, is used elliptically, ' (I do well to be angry) 
 since &c.' £δ€ΐ...δ€ξόμ,€θα i.e. all that you had to do (to prevent the 
 sacrifice) was to invent some easy excuse, and we shall receive you (if 
 you save Iphigeneia) on your return with loyalty and affection. £6ei 
 refers to what she has already said — άπώλεσέν σε κτλ., while 5e£. is 
 taken up by what follows — μη δήτα κτλ. Se'jjiv the addition of the cogn. 
 accus. increases the emphasis, cf. Ar. Plut. 10 μέμψιν δικαίαν μέμφομαι 
 ταύτην. These words of Klytaemnestra call up before us the return 
 of Agamemnon from Troy to the fearful doom which awaited him 
 at home, and the vision of Klytaemnestra receiving him, in the tragic 
 phrase of Aeschylus, after years of absence, fortunate at last, and 
 triumphant, — is δώμ αελπτον. 
 
NOTES. it3 
 
 1 1 86. ri σ-οι κτλ. 1 What is the good that you will ask for yourself 
 from heaven when you are butchering your child?' 
 
 n89f. ήγοψ.€θ' civ... φρονήσουν see Gr. Gr. 273 f. εΰ φρονεϊν 
 here =' be loyal to '. 
 
 1 192. και emphasizes the verb. 
 
 1 194. ταΰτ τ]λθ€$ κτλ. = ταΰτ ήδη δίβλογατω ; 'did you stay to 
 consider this?' Cf. Med. 872 έμαντη δια λόyωv άφικόμψ. For the 
 constr. of ταύτα cf. Ion 572 τούτο καμ 'έχει πόθο*. 
 
 ιΐ95· διαφ€ρ€ΐν 'parade* your sceptre; the word has a tinge of 
 contempt. 
 
 1 199. ήν see Gr. Gr. 268 N. 1. Aesch. Suppl. 244 δίκαιον ήν 
 aequitm erat. 
 
 12 10. MSS. οϋδει* προ* τάδ" άντείποι. Text Burges. The dat. 
 (τοΐσδε) after άντειπεΐν generally denotes the person contradicted, and 
 irpbs τάδε may therefore have been written as a gloss over τοΐσδε. If it 
 then found its way into the text, displacing τοΐσδ', the disappearance of 
 dv would be nearly inevitable. 
 
 1 21 2 f. irerpas, κηλ€ΐν κτλ. Cf. Shaksp. Merch. of Ven. ν ι 
 Therefore, the poet | did feign that Orpheus drew trees, stones, and 
 floods ; I since naught so stockish, hard, and full of rage, | but music 
 for the time doth change his nature. 
 
 1 2 14. €VT. άν ήλθον ' I would have had recourse to '; ενταύθα — επί 
 ταΰτα, cf. Or. 495 ήλθεν επί τον κοινόν Ελλήνων νόμον. 
 
 Ι2ΐ6. ίκ€τηρ£αν the branch of olive carried by suppliants, called 
 also Ικτηρ 0aXXos (Suppl. 10), κλάδοι ίκτήρωι (Soph. Ο. Τ. 3). Round 
 it fillets of wool were twined (not tied, cf. Suppl. 32 δεσμόν άδεσμον 
 φυλλάδος), which were termed στέφη (Aesch. Cho. 1035) or στέμματα. 
 The latter word is used in Androm. 894 as Ικετηρία is here— στεμμάτων 
 δ 1 ούχ ήσσονας σοΐς προστίθημι ^όνασιν ωλενα* έμά$. The allusion in 
 both passages is to the custom of placing the suppliant-branches on the 
 altar (cf. supr. 911), for which see Aesch. Suppl. 481 ff. γόνασ-ιν the 
 dat. for the more usual genit. as in Troad. 1208. Cf. also infr. 1449. 
 
 1220. πρώτη cr €κάλ€(τα irarepa κτλ. Cf. Lucret. i 93 nec miserae 
 prodesse in tali tempore quibat \ quod patrio princeps donarat nomine 
 regem. So Racine (iv 4) Fille d'Agamemnon c'est moi, qui, la 
 premiere, | seigneur, vous appelai de ce doux nom de pere. 
 
 1228. rC 8' dp* eyoo <ri sc. βψομαι πράσσοντα. 
 
 1230. πόνων cf. supr. 690 πολλά μόχθησα* πατήρ. El. 1145· 
 
 1233· irpos <Γ€ IlcXoiros sc. ικετεύω. Cf. Phoen. 1665. 
 
ιΐ4 
 
 IP JUG Ε NE I A AT AULIS. 
 
 1 234. ή irptv κτλ. * who in time past didst bring me forth with 
 pangs of travail'. Klytaemnestra in Aesch. Ag. 1417 speaks of 
 Iphigeneia as φιλτάτην έμοϊ ώδΐνα. 
 
 1237. i]X0€ sc. Paris. The sense is, as Hermann gives it, cur, quod 
 We Spartam venit, mihi est pereundum ? 
 
 1239 f. άλλα τούτο κτλ. 'this at least, as a memorial of you', 
 sc. el μη τι άλλο. So Soph. El. 415 \iy άλλα τούτο. Herakl. 331, 
 see on supr. 907, 8. €l...ir€ur0fjs The subj. with el, an epic usage, is 
 found occasionally in Attic poetry; cf. Soph. O. C. 1443, and perhaps 
 [Eur.] Rhesus 829. 
 
 1242. ίκ€τ. iraTpos κτλ. 1 entreat of thy father that thy sister may 
 not die'; cf. Med. 1154 παραίτησα, πατρός \ <j>vyas άφεΐναι. 
 
 1249. "Summing all in one I will carry the argument". σνντε- 
 μουσα = συντόμως συΧΚαβοΰσα, cf. Hek. 1180. νικαν \0yov (like νικαν 
 μαχην &c.) stands here for the usual νικαν λόγ^, Herakl. 253 &c. 
 
 125 1. Cf. Hel. 1 42 1 τα των θανόντων ούδέν. 
 
 1253 f» I R order to estimate justly the part which the chorus plays 
 in scenes of lively emotion it is important to bear in mind that the 
 Greek tragedies were written to be acted, not, primarily, to be read. 
 Now it may be observed that, when an actor has been able to excite 
 and maintain the keen interest of his audience during a speech of any 
 length, there follows upon its close a slight restless movement through 
 the house as people recover themselves from the sustained effort of 
 attention. There is therefore a brief interval in which the effect of any 
 weighty utterance would be weakened or lost. It is by the help of the 
 chorus that this interval is bridged ; and the modes of expression which 
 they adopt, together with the range of sentiments to which they 
 generally confine themselves, are therefore worthy of remark. We 
 find them at these critical moments interposing a short sentence, which 
 designedly contributes nothing either striking or novel or essential to 
 the development of the action, but is, on the other hand, not wholly 
 disconnected with the matters of which they are witnesses. Often, 
 as here, they simply repeat in a quiet manner the "note" of the 
 situation ; or they touch upon the moral issues at stake, viewing them 
 however, as suits their character of spectators of the action, not so 
 much with reference to the individual case as in connexion with the 
 abiding principles by which the world is ordered. We thus perceive 
 that on both the artistic and moral sides their position is in living 
 accord with the aims of the drama ; and so far from being offended by 
 
NOTES. 
 
 "5 
 
 "the common- places of the chorus" we should in this very characteristic 
 recognize an economy of the most discerning and effective nature. It 
 is interesting to note that Shakspeare in his use of comic scenes to 
 relieve the intense strain of tragedy works on a theory essentially 
 similar to that of the Attic dramatists. 
 
 1255 f. " Loving my own children, I understand what moves com- 
 passion, and what does not. I were mad else "; i.e. μαινοίμην αν el μτ) 
 συνετός εϊην ( = ε*χοιμι συνιέναι, supr. 394) τά τ οίκτρά κτλ. For the 
 accus. following the adjective cf. Soph. Ant. 786. Hippol. 574 φρένα* 
 έπίσσντος. 
 
 1257 f- δ€ΐν<ο$...μ.ή cf. Aesch. Ag. 206 βαρεία μεν κ^ρ το μη 
 πιθέσθαι* \ βαρεία δ' εΐ τέκνον δαΐξω. 
 
 120ο. δττλων avaKTcs = όπλΐται as distinguished from the ναυτικός 
 στρατός. Cf. Aesch. Pers. 378 7ras άνηρ κώττης άναξ \ ες ναυν εχώρει, 
 was 0' δπλων έπιστάτης. 
 
 1264. "There rages I know not what passion in the Hellenic 
 host". It seems highly probable that Αφροδίτη is meant to suggest 
 αφροσύνη. The Goddess of Love is regarded as responsible for the 
 evils which followed the judgment of Paris; and the same fanciful 
 connexion between the words is made explicitly by Hecuba (Troad. 
 990), who says of Aphrodite that her name ορθώς αφροσύνης άρχει. 
 (Cf. Aristot. rhet. p. i40o b 22.) 
 
 1266. irav<rai...ap , iravas κτλ. i.e. apirayas Ελληνικών λέκτρων 
 * the rape of Grecian wives The phrase is like that used by Helen 
 of herself, Hel. 50, (Μενέλαος) τας έμας άναρπα^γάς \ θηρξ,. 
 
 1267. κτ€ίνου<τι cf. supr. 1028. 
 
 1268. λύσω. Though μαντεία λύσομεν in Soph. Ο. Τ. 4°9 means 
 to discharge or fulfil the divine commands, the contrary sense "make of 
 none effect", which is required here, may be justified by such phrases 
 as λύειν νόμον, λύειν ζημίας (Thukyd. VIII 15), since Agamemnon's 
 meaning is plain from the context, and no confusion would be created. 
 
 1270. "Nor am I guided by his desire"; cf. supr. 12 14. For the 
 phrase τό βουλ. see on supr. 33. 
 
 1 27 1 f. 'EXXas sc. καταδεδούλωται. τούτου i.e. the necessity just 
 stated. 
 
 1273. oVov €v <roC 'as far as in thee lies'; cf. Alkest. 278. 
 
 1279—1335. When her mother's indignation and her own pleading 
 fail to move Agamemnon, Iphigeneia bursts forth into a lyric cry of 
 despair. To the hardness of her lot is added the bitterness of the 
 
ιι6 
 
 IPHIGENEIA AT AULIS. 
 
 thought (1291) that all the suffering "which she must undergo is nothing 
 but the avenging stroke which the sin of others has drawn down upon 
 the innocent (cf. Introd. p. xiii). Then with passionate intensity as 
 she concludes, — μή μοι ναων χαλκβμβολάδων κτλ. — she gives utterance 
 to the wish that the Greeks had never sailed. Fate has nothing but 
 sorrows in store for the race of men. 
 
 1279 f. ταύτόν μέλος κτλ. 'the same strain of fortune hath fallen to 
 us both ' i.e. my fate harmonizes with thine in unhappiness. The meta- 
 phor is the same as in σννφδβιν, σννψδός. 
 
 1288. Ίδαΐο$ 'was called the child of Ida', i.e. because he was 
 exposed there. 
 
 1 291. ώφ€λ€ν sc. "Πρίαμος. 
 
 1292. After this line there follows in the MSS. Άλέξανδρον, which 
 was recognized as a gloss by Monk. 
 
 1299. 0€ai<ri Spen-eiv 'for goddesses to cull'; the mid. δρέπβσθαι is 
 more common, cf. Hel. 244 (Helen) δρεπομέναν έσω πέπλων ρόδβα πέταλα. 
 
 1304. €7rl «ιτόθω τρυφώσ-α 'vain of the love which she inspires'. 
 πόθος is used here in the sense of χάρις supr. 555. 
 
 1308. κρίσιν κτλ. In Androm. 279 it is called 'έριδι aTvyepq, 
 ενμορφίας: v. also supr. 183. 
 
 1309 if. θάνατον is governed by έπί. όνομα μάν κτλ. 'Fraught 
 truly with a maiden's bane though with glory to the sons of Danaus is 
 the offering which Artemis received before the voyage to Ilion '. όνομα 
 because the taking of Troy is looked upon as sure to follow the release 
 of the fleet. By κόρα Iphigeneia means herself. The word aivos, 
 though not found elsewhere in Euripides, is used by Aeschylus with 
 reference to Helen, Ag. 734. The reading of these lines must however 
 be regarded as uncertain; see append. 
 
 1 3 16. δυοτ€λέναν after the analogy of Homer's δύσπαρις II. in 39. 
 Cf. Or. 1387 Αήδας δυσβλέναν σκύμνον. 
 
 13 19 if. "I would that never had Aulis here received into these 
 her havens the sterns of bronze-beaked ships, the fleet that sped the 
 host toward Troy; and Ο that Zeus' breathings on the Euripus had 
 not been adverse to the voyage, Zeus who doth so temper the winds to 
 men that some have joy in the drawing sails, whilst for some there is 
 sorrow, and for some constraint : here they are speeding on their way, 
 and there they are furling sail, and there again they wait". 
 
 1 320. πρΰμνας because ships were drawn up and anchored by the 
 stern, cf. El. 1022 πρνμνοΰχον Αΰλιν. 
 
NOTES. 
 
 117 
 
 1323. The words here need not be held to contradict the view 
 taken in this play (cf. supr. 10 f. Introd. pp. ix, x) that the cause of the 
 fleet's detention was a calm, άνταίαν πομπάν expresses the opposite 
 idea to ούρια πομπή (v. supr. 352) by a kind of oxymoron. 
 
 1326. toU μέν is understood before λαίφεσι χ. Cf. Soph. Trach. 1 1 
 where a similar ellipse of άλλοτε occurs. 
 
 1328. (TTeXXeiv sc. τα ιστία. 
 
 1330. άρ' ην cf. supr. 404. 
 
 1342. ώ$ ri Stf^'why?'; cf. Ion 525 ως τί δη φεύyεις με; 
 
 1343 f. ουκ kv άβρότητι kcictcu κτλ. 1 It is no time,' says Klytaem- 
 nestra, 'for false delicacy {άβρότητι) in view of what has now befallen us: 
 there is no use in reserve, if we can but persuade him ' — to save your 
 life, she was about to conclude, but Achilles breaks in while her 
 sentence is still unfinished. The metaphor in τα πεπτωκότα is from 
 the fall of the dice; cf. El. 639 προς το πίπτον. 
 
 1346. In order to avoid the use of the cogn. accus. βοήν with the 
 passive βοαται Weil reads τίνα βοήν μοι σημάνεις ; but, as σήμαινέ μου 
 follows, it is not harsh to take βοψ as the accus. to Xeyeis; (or some 
 such verb), understood. 
 
 1347. "Thou hast begun with words that presage ill"; cf. supr. 
 607 n. 
 
 1350 f. σώζων * trying to save'; cf. El. 1024 πόλεως αλωσιν 
 έξιώμενος ή δωμ όνήσων κτλ. For the orthography σφζων (not σώζων), 
 from a present form σω'ιζω, cf. Curtius Greek Verb p. 523. &τλη 
 observe the e lengthened before τλ (see on supr. 636), making the first 
 syllable of Ζτλη long, which is very unusual. 
 
 1354. " Who taunted me as the slave to my hopes of marriage". 
 With a like sneer does the Kreon of Sophokles retort to the pleading of 
 Haemon in favour of Antigone yvvaiKos ων δούλευμα, μη κώτιλλέ με 
 (Ant. 756). The article (τόν) with the predicate recals the actual words 
 (6 *γάμων ησσων) of the taunt ; cf. Herakl. 978 προς ταύτα την 
 θ ρασειαν όστις αν θ έλη... λέξει. See also Bacch. 725· 
 
 1355· «ννην cf. supr. 103 η. 
 
 1359 f. τού<τδ€ i.e. the attendants carrying Achilles' arms. φρ6νών 
 cf. supr. 327. Klytaemn. 'Blessings on you for your generous feeling!' 
 Ach. 1 Well, I shall have my reward ', i.e. a chivalrous action is its 
 own reward. 
 
 1361. Cf. Hel. 1639 σνγγονον δε σην \ ού κτενεΐς ημών έκόντων. 
 Nauck for έμου y έκόντος here conj . έμοΰ yε ζώντος. 
 
ιιδ 
 
 IPHIGENEIA AT AULIS. 
 
 1364. cup€0€is Ικών 'chosen — a willing servant '. By the sarcastic 
 addition of εκών Ach. implies that the alternatives in Kl.'s question do 
 not exclude each other. With the form of this line cf. Hel. 1633 
 ΘΕΟΚ. η με προύδωκεν XO. καλην ye προδοσίαν, δίκαια δραν. 
 
 1366. eOcCpas for the genit. cf. infr. 1459. ™ XPT see onsii P r ' 636. 
 
 1367. cos τουδ' ουν€κ(α) κτλ. 'Be sure that as far as that goes 
 (i.e. holding her fast) she shall not &c.' In this constr. cos is ellip- 
 tically used for ΐσθι, ώ$ κτλ., cf. Hek. 400 <bs τήσδ' έκοΰσα παιδό* ού 
 μεθησομαι. Phoen. 625 cos τάχ' ούκέθ 1 αίματηρον τούμόν dpyijaei ξίφος. 
 
 1368. αλλά ή|€ΐ. ' But indeed it will come to this' i.e. to an 
 actual struggle. €ί<τακοΰσ·ατ€ the plural because here Iphigeneia 
 addresses herself to Achilles as well ; cf. supr. 436 f. n. 
 
 At this crisis Iphigeneia declares herself willing to die. The 
 natural shrinking from the horrors of death which found relief in the 
 lyric outburst 1279 if. has given way before a courageous resolve 
 sustained by the feelings and considerations inspired by a generous spirit. 
 Like Makaria, the heroine of the Heraklidae, she has recognized that 
 duty bids her suffer, and henceforward to quit life with dignity is her 
 chief desire εύρημα yap tol μη φι,λοψυχοΰσ' iy& \ κάλλιστον ηΰρηκ ευκλεώ* 
 λιπεΐν βίον (Herakl. 533) > un hke Makaria, she reaches this sublime 
 decision, not immediately upon hearing of the dread ordeal through 
 which she is required to pass, but only after a struggle with less heroic 
 feelings. On this point in the character of Iphigeneia something has 
 been already said in the Introduction. 
 
 1370. τά δ' άδ. καρτ€θ€Ϊν 'to none of us is it easy to resist where 
 resistance is vain '. She intends these words, in which delicacy of feel- 
 ing prompts her to use the general ημΐν in preference to anything more 
 definite, as an excuse for Agamemnon's behaviour. 
 
 1372 f. |ΐή διαβληθη <ττρατω cf. Herakl. 420 δπως . . .πολίταπ μ^ 
 διαβληθησομαι i.e. have my conduct unfavourably represented to them. 
 ιτλ€ον ιτρά|ωμ.€ν ουδέν ' be no better off ' ; cf. πλέον ποιήσαι Plato 
 Apol. 19 Α, πλέον φέρεσθαι Or. 661, πλέον λαβείν Alkest. 72; see ib. 
 744 f. Cf. also Herod, vii 211 ουδέν πλέον έφέροντο τη* στρατιήϊ τη$ 
 Μηδικής, άλλα τα αύτά. 
 
 1378. Έλλα8 ή μ€νίστη κτλ. 'Hellas the great all looks to me'. 
 μ^ίστη is here used as μεγάλη, cf. Aesch. Eum. 44 λήνει μεyίστφ. Cf. 
 also Med. 439 ούδ' 2t' αιδώς | Ελλάδι rci μεyάλa μένει. 
 
 1379 fF. "On me depends the passage of the ships across the sea, 
 and the overthrow of the Phrygians; with me it rests to check the bar- 
 
NOTES. 
 
 119 
 
 barians, should they make any attempt upon our women in the future, 
 from carrying off these any more from prospering Hellas, when once 
 by death they have made atonement for Helen's marriage-tie which 
 Paris violated The reading however of 11. 1381, 2 is far from certain 
 (see append.); with the general tenor cf. Androm. 103 Ί\ίφ αίπανξ. 
 UdpLS ου Ύαμον άλλά τιν' αταν | άγάγετ' εύναίαν is θαλάμου* *Ελέναν. 
 καν Ιμο£ cf. Soph. Phil. 963 & vol καϊ τό πλεΐν ημάς, άναξ, \ η δη 
 'στί κτ\. 
 
 Ι39 2 · δια μάχηε μ.ολ€ίν...Άρν€£οι$ cf. infr. 14 15 f. 
 
 1394. Kpdo-ο-ων όράν cf. Orest. 805 άνήρ... μυρίων κρείσσων 
 δμαίμων άνδρί κεκτήσθαι φίλος. Nauck and Weil accept Dobree's 
 correction ορών. 
 
 1398 f. Compare Herald. 590 — 592. 
 
 1400 f. βαρβάρων 8' "EX\T]vas...€iK(>s. These words are quoted 
 by Aristotle polit. i 2 p. 1 252*7 διό φασιν oi ποίηταϊ ' βαρβάρων... eU6$\ 
 cos ταύτό φύσει βάρβαρον καϊ δουλον 6ν. Cf. also Androm. 665 f. The 
 Greek view, of which Iphigeneia is here made the mouth-piece, that 
 the ' barbarians 9 were φύσει, δοΟλοι, in contrast to Hellas the upholder 
 and exponent of the vital principle of liberty, was the foundation of that 
 contemptuous superiority felt by the Greeks themselves to external 
 nations as they knew them : — ουδέν τό δουλον Tpbs το μη δοΰλον yevos. 
 Orest. 1 1 15· (The whole passage will repay reference.) 
 
 1404. το rrjs τύχη$ see Gr. Gr. 201 N. 4. vo<r€i 'is at fault \ 
 
 1406. 2μ€λλ€, €i τύχοψ,ι i meant to make me happy, — were I but 
 to gain thee for my wife'; cf. Horn. Od. xviii 138 καϊ yap εγώ 7τοτ' 
 ε'μελλον έν άνδράσιν 6λβιο$ εΐναι, | πολλά δ' άτάσ0αλ' gpefc (i.e. was 
 meant to prosper, had I not done wickedly). 
 
 1409 f. το θίομαχ€Ϊν γαρ κτλ. 'abandoning strife against the will 
 of heaven, which is too strong for thee, thou hast reckoned fairly the 
 good that fate has left to choose'. The antecedent to ό' is the notion 
 τό θείον implicit in θεομαχεΐν. This verb occurs also thrice in the 
 Bacchae: not elsewhere in Euripides. χρηστά and TavayKata are 
 coupled by τε as καλώ* and avayKa^s supr. 724 meaning * the best 
 course, where choice is limited perforce'; i.e. to yield with a good 
 grace (cf. infr. 1502 θανούσα δ' ουκ άναίνομαϊ). Most edd. follow 
 Monk in bracketing these two lines. But it is characteristic of both 
 speeches of Achilles (1405 — 1416 and 1422 — 1433) that admiration of 
 Iphigeneia's splendid devotion conflicts in his mind with a natural 
 distress that it should actually be required. At once attracted and 
 
I20 
 
 IPHIGENEIA AT AULIS. 
 
 repelled by the noble act which the heroine meditates, he approves the 
 sublime conception, but cannot stifle a protest against the peculiar 
 horrors of the stern fulfilment. Hence the almost indignant tone of 1. 
 143 1 — αφροσύνη rrj ay θανεΐν. Why then does he speak of her death as 
 τάνα~/κάϊα (1410) ? It is natural, if we consider the fearful odds against 
 any eifort of his doing more than momentarily delay it. He can hardly 
 expect single-handed to avert the ultimate accomplishment of the 
 sacrifice desired by Artemis, to which Agamemnon has consented, and 
 the army — including even his own personal following (1352 f.) — are 
 determined to exact. It is the effect of these various reflexions which 
 occasions the want of logical arrangement noticeable in these two 
 speeches of Achilles, and accounts for the obvious difference in style 
 from that of 919 — 974. 
 
 141 7. In both MSS. a lacuna after λ£γω τάδ' is indicated (λέγω 
 τάδ'λει'πει PC) ; the second hand has added the words ovbev ουδέν 
 βύλαβουμένη (P 2 C 2 ) in order to complete a line of which no probable 
 restoration can now be made. 
 
 1418 f. άρκ€ΐ τιθ€ΐσ*α cf. Soph. Aias 76 hoov άρκείτω μένων. The 
 word τίθάσα here was perhaps suggested by the phrase τιθέναι <xy<2va : 
 it has therefore a different force from that in Ion 1225 φόνον τιθεΐσαν 
 (equiv. to φονεύουσαν 'committing murder'), where τίθημι has its 
 common poet, meaning 'cause* or 'make'; cf. Med. 384 θησω 'γέλων. 
 
 1425. o^uos 8(e) sc. λέξω. μ€ταγνο£η$ τάδ€ cf. Med. 64. 
 
 1426. " So then that thou mayest be assured of my intentions, they 
 are spoken now ". ταιτ Ιμοΰ cf. supr. 844 τάπό σου ' what I hear from 
 you'. For λέ\€'γμένα Weil reads λελέξεται. 
 
 1430. The predominance of σ in this line mars its euphony. The 
 same fault occurs in several other verses of Euripides (see I. T. 765. 
 Med. 476), and was laughed at by the comic poets ; cf. Eubulus 26 and 
 27 (ed. Kock). 
 
 1436. irav<raC μ€ μή κάκιζί 'forbear, make me not a coward'; i.e. 
 by your tears. Hermann explains this singular phrase as a mixture of 
 two constructions παυσαί με κακίζων and μη μ€ κάκίζ€. The mid. 
 κα/α£εσ0£Η= ' to turn coward', Med. 1246. Ion 984. The act. in prose 
 means to 'abuse'; for exx. see L. and S. s.v. κακίζω. 
 
 Ι 437· ιταρ' ημών ουδέν άδική<Γ€ΐ ' of my dealing thou shalt take no 
 wrong'. 7rpos ημών would have been more usual, ήμών is emphatic, 
 sc. however thy father may treat thee. On the form άδικη <r€i see supr, 
 331 n. 
 
NOTES. 
 
 121 
 
 1438 f. ΐΓλόκαμ,ον €κτφ.ηδ cf. χαίτα τομαΐος Alkest. 10 1. She 
 refers to the πλόκαμο* πβνθητήρως (Aesch. Cho. 7) laid in token of 
 sorrow upon the grave. (icXavas άμιτισχη it. see infr, 1449. For the 
 custom cf. Alkest. 818 f. (cf. also Ar. Ach. 1024 etra λευκόν άμπέχβι; 
 i.e. how is it you are not in mourning ?). It is very probable that this 
 line (1439), which violates the rule of stichomuthia that generally 
 preserves equality in the number of lines of each reply to that of the 
 speech preceding it, was made up by some one from 1499 and inappro- 
 priately inserted here. 
 
 144 1. ού <τύ -ye sc. άπώλβσάς μζ. (Distinguish the deprecatory μη 
 σύ ye infr. 1460.) κατ €μ.€* = τό κατ έμέ supr. 931· 
 
 1443· No barrow will be raised to her, because she is to be burned 
 upon the altar. Compare I. T. 821 (Iphigeneia is speaking of the lock 
 of hair sent to her mother) μνημύα y' αντί σώματος του μου τάφφ: 
 where by τάφος a cenotaph at Argos is meant. 
 
 1444. rC δη; κτλ. i.e. is not the mere fact of a person's death con- 
 sidered (as regards the displaying by the survivors of the outward signs 
 of mourning) as equivalent to their burial? Klytaemn. asks why, 
 though she cannot lay a lock of hair upon the grave, she should refrain 
 from cutting it when her daughter is dead — the κούρα πένθιμος Orest. 
 458 — as a last symbol of affection and grief. 
 
 1451. χαίρ€ΐν γ(€) 'yes, bid them farewell; and see that thou rear 
 up Orestes here to man's estate'; cf. Androm. 723 έν Φθία σ' έγώ θρέψω 
 μέ^αν τοΐσδ' έχθρόν. 
 
 1455· irocriv τ€ <τόν cf. supr. 1 153 η · 
 
 1456. See Introd. p. ix fin. oVyuivas so Medea, meditating the 
 destruction of her rival, says ex' eicr' άγω yes rots νβωστί νυμφίοις (Med. 
 366). 
 
 1458. δόλω δ(έ) 'But it was by treachery' &c. δέ introduces an 
 objection to Iphigeneia's plea for Agamemnon. Cf. supr. 732, 153. 
 
 1459. k6\li\s cf. Androm. 402 κόμης έπισπασθεΐσα. supr. 1366. 
 
 1465. ού μή μόλω. On ού μη with the subj., expressing emphatic 
 negation, see Gr. Gr. 292. 
 
 1466. ουκ άξίω$ ad aras \ deductast, non ut sollemni more sacro- 
 rum I perfecto posset claro comitari Hyme?taeo, \ sed casta incest e nubendi 
 tempore in ipso \ hostia concideret mactatu maesta parentis. Lucr. i 95. 
 
 1467. ουκ c<S *I forbid'; cf. ου φημι. 
 
 1468. The accus. κόρην is governed by έπευφημήσατβ παιάνα which 
 in sense = παιωνίζ€Τ€. Cf. Troad. 335 βοάτε τόν ύμέναων — νύμφαν. 
 
122 
 
 IPHIGENEIA AT AULIS. 
 
 Soph. Trach. 50. ϊτω ευφημία 'let the command go forth for silence'; 
 cf. infr. 1564. 
 
 1471 f. See supr. 955 n. 1112. 
 
 1473. Ινδεξιούσ-θω βωμ,όν i.e. let him make the circuit of the altar 
 from left to right ; cf. έπιδέξιος. Hartung cites in illustration of this 
 passage Ar. Peace 956 aye δή, τό κάνουν λαβών σύ καϊ την χέρνιβα \ 
 περίιθι τον βωμον ταχέως επιδέξια. 
 
 1477 £ ο^φεα cf. Lucr. i 87 cut simul infula virgineos circumdata 
 comptus &c. irXoKajJtos δδ€ καταστεφειν 1 here is my lock of hair to lay 
 upon the altar'; this clause is parenthetic. For the infin. following 
 6δε cf. Hippol. 294 yvvaiKes αΐδε συ^καθιστάναι νόσον. 
 
 1480. e\C<r<rere — "Αρτεμ,ιν cf. Here. fur. 688 if. τον AaroOs εϋπαιδα 
 ybvov είλίσσονσαι καλλίχορον. έλισσαν, like χορεύειν (cf. ib. 686), can 
 take an accus. of the person in whose honour the dance is performed. 
 
 i486, θεσ-φατ' εξαλείψω a fine and graphic phrase, led up to by 
 the preceding words αϊμασι θύμασί re: the oracle is thought of as a 
 written behest at once fulfilled and washed away as the blood of the 
 victim flows. 
 
 1487 ff. «s δάκρυα ye κτλ. 1 my tears shall be for thee — and I will 
 give them now, for at the altar is no place for tears' ; cf. infr. 1560 σι 7$ 
 παρέξω yap δέρην ενκαρδίως. ye emphasizes the whole phrase δάκρνά σοι 
 δώσομβν, my tears flow, no longer for my own fate but for the grief it 
 will cause to you. 
 
 1492 if. i ' Join with me in singing the praise of Artemis who hath 
 worship in the land over against Chalkis, where now in the strait- 
 mouthed haven of Aulis by reason of me the angry spearmen are 
 impatient for the end". "Αρτε|ΐιν άντίττορον. The name of the 
 goddess, as Paley remarks, is put here for her temple &c, cf. Aesch. 
 Theb. 582 θεούς τούς eyyeveis | πορθεϊν. The allusion to Chalkis is 
 natural in an appeal to the chorus of Chalkidian women, δόρατα the 
 weapons put for the men who use them; cf. stipr. 189 η. (άσπίς) : infr. 
 1528 λ6yχaιs Έλλάσι. Iphigeneia perhaps uses δι' έμον όνομα in place 
 of δι' έμέ because she is thinking of the terms in which Kalchas' fatal 
 announcement was made (άνεΐλεν Ίφν^ένείαν — 1 Άρτέμιδι θΰσαι, go) ; and 
 we are reminded of the thrilling dread with which the name of the 
 victim was awaited from the lips of Kalchas on a similar occasion: — 
 gelidusque per ima cucurrit \ ossa tremor, cut fata parent, quern poscat 
 Apollo. Verg. Aen. ii 120. The meaning of μέμον€ will then be that 
 the army, knowing now whose death will release them, are eager to 
 
NOTES. 
 
 123 
 
 give Artemis her victim and make sail for Troy ( — quae sibi quisque 
 titnebat \ unius in miseri exitium conversa tulere). 
 
 1498. Π€λαο-γία Argolis, cf. Aesch. P.V. 860 Πελασγία U U&rai 
 κτλ. 
 
 1499- fopcurvai ' home ' ; cf. Here. fur. 370 Ιίηλίάδ€$ θεράπναι 1 home- 
 steads on Pelion 
 
 1500 f. ιτόλ. Il€pa€a>s cf. Strabo viii p. 377 at μβν ουν Μυκήναι νυν 
 ούκέτι €ίσίν ϊκτισε δ' auras Ιίερσεύς. Κυκλ. — χ€ρών cf. supr. 152 η. 
 
 1502 f. φάθ5 cf. supr. 1063 η. θανουσ-α 8* ουκ άναίνομαι Ί do 
 not chafe at leaving life'; cf. Aesch. Ag. 583 νι,κώμενοϊ Xoyowiv ουκ 
 άναίνομαι. 
 
 1507 ff. 2τ€ρον — οΙκτ{<Γομ€ν 'a different life, a different state will be 
 mine '. frepov is euphemistic, as in δαίμων Zrepos &c, contrasting the 
 free vigorous life beneath the sun with the feeble shadowy existence in 
 the underworld (τά νέρθβ δ' ουδέν, 1251)· With this last farewell to the 
 light of day Iphigeneia is led away to the altar, and Klytaemnestra 
 retires within the general's tent (whence she is summoned by the mes- 
 senger 1532), leaving the stage free for the chorus, who thereupon sing 
 two κομμοί (1510 — 1531). During this interval the events which are 
 presently narrated 1532 ff. are supposed to be taking place. 
 
 1 5 1 2 ff. eirl κάρα <ττ€φη βοΛομ6ναν κτλ. * with garlands cast upon 
 her head and sprinklings of lustral water, as she goes to bedew with the 
 dews of flowing blood the altar of the murderous goddess and her own 
 fair throat at the moment of slaughter*. 
 
 1522. κλτ}<τωμ€ν 'let us celebrate' (κλήξω) : cf. Ar. Birds 950 
 κλχισον, ώ χρυσόθρον€, tclv τρομβράν, κρυεράν. 
 
 1524 ff- "Ο Lady, by the death of a human victim made propitious, 
 send thou on its way to the Phrygians' land the Hellenic host, and 
 grant that Agamemnon may encircle the Grecian lances with a crown 
 of fame, and his own brows with a glory that shall never pass out of 
 mind ". 
 
 !532 — 1612. A messenger now enters bringing to Klytaemnestra 
 tidings of the strange denouement which has taken place at the altar of 
 Artemis. The narration (1540 ff.) of the scene before the ceremony, the 
 terrible preparations of the priest, and the miraculous disappearance of 
 the victim, is powerful in its clearness and simplicity. The messenger 
 concludes by declaring to Klytaemnestra that her daughter has been 
 rescued by the gods, who 1 preserve those whom they love \ (See further 
 Note B.) 
 
124 
 
 IPHIGENEIA AT AULTS. 
 
 1536. μή — ήκ€ΐ$ 'lest thou art here with tidings for me of some 
 fresh mishap &c.' For the indie. ηκζις cf. Thukyd. iii. 53 φοβούμεθα μτ) 
 αμφοτέρων ημαρτήκαμεν. 
 
 1549 The averted head and features veiled by the robe were 
 characteristic of the figure of Agamemnon in Timanthes' picture of the 
 Sacrifice of Iphigeneia ; see Introd. p. xvi f. 
 
 1556. άγοντα^ i.e. δίδω μι θΰσαι υμάς dyovras κτλ., the participle 
 being in agreement with the subject of the infinitive θΰσαι. Cf. Hek. 539 f. 
 λΰσαί re πρύμνας.,.δός ήμΐν, πρευμενοΰς τ' air* Ιλίου \ νόστου τυχόντα* 
 πάντας els πάτραν μολεΐν. 
 
 1559· ^pos ταΰτα with imperatives is always more or less defiant 
 in tone, Aesch. P. V. 992 &c. 
 
 1567. KoXecov 2<rco0€V 'from (within) the scabbard'. Musgrave 
 proposed to read όλων 'έσωθεν (which is adopted by Weil) depending 
 upon 'έθηκεν, 'έσωθεν being then equivalent to 'έσω. In support of this 
 reading is cited schol. Ar. Peace 948 which mentions the concealment 
 of a sacrificial knife among the meal (reus όλαΐς) in the basket (iv τφ 
 κανφ). 
 
 1 569. £θρ€$;€ old Attic aorist of τρέχω, see instances in L. and S. s.v. 
 τρέχω. The accus. βωμον is perhaps to be explained as governed by 
 the phrase h κύκλω — £0pe£e, having the force of περιέδραμβ. It has 
 been objected that 'έθρβζε (for which Weil reads 'έβρεζε 1 sprinkled ') is 
 out of place here, since 'running' is not appropriate in the performance 
 of a sacred function. It appears however that the circuit of the altar 
 on these occasions was made at a quick pace, cf. Ar. Peace 956 (quoted 
 supr. 1473) πβρίιθι ταχέως. 
 
 1570 f. θηροκτόν€ cf. Ar. Lysistr. 1262 (dor.) σηροκτόνε. Anacr. 1 
 Ύοννοΰμαί σ\ έλαφηβόλε, \ ξανθτ] τταΐ Δω$, ά^γρίων \ δέσττοιν "Αρτεμι 
 θηρών. On the combination of the titles appropriate to the Light- 
 Goddess and Goddess of the Chase by which Artemis is here invoked 
 see Note C. 
 
 1579. ^ va i r M? €t€V i pa * s l° ca l> * where he should plant his 
 blow ' in order to deliver a χλ^γή καίρια. For πλήξβιεν αν we should 
 perhaps adopt Markland's πλήζειέ νιν. 
 
 1 581. αίφνης ( = άφνω) is a late form. Hence Weil reads όρανάφνω, 
 supposing αίφνης to have been a gloss upon άφνω. 
 
 1583. οΰ yffi €ΐ<τέδυ 'whither it was she disappeared'; a slightly 
 colloquial mode of expression, which is appropriate enough to a man 
 of the messenger's position in extreme bewilderment. Cf. infr. 1590. 
 
NOTES. 
 
 "5 
 
 1586. μ,ηΒ' δρωμένου μηδέ is out of place here. It is probable that 
 the line is considerably corrupted. 
 
 1588 f. Hermann reads διαπρεπή 0\ rjs αϊματι \ 6 βωμό* άρδψ τψ 
 Beds έρραίνετο. 
 
 1590. ircos 8ok€is χαίρων a colloquialism ('with you can't think what 
 joy'). 7τώ$ δοκ€Ϊ$; is often thus used by Aristophanes, and occasionally 
 by Euripides, cf. Hippol. 446 πως δοκέΐς καθύβρισεν. Hek. 1160. 
 
 1592 f. See append. The reading of this passage has been partially 
 corrected by Musgrave. Before Spare Weil inserts λαοί θ\ 
 
 1594. MSS. μάλιστα. Herwerden yap άντϊ. If right, μάλιστα τη$ 
 κόρης must be explained as equivalent to μάλλον η την κόρην καϊ μάλιστα. 
 It is however very questionable whether this use of μάλιστα, though 
 occasionally found in epic poetry, is admissible in tragedy. 
 
 1596. Again an evidently corrupt line. For ήδέως Egger with 
 some probability proposed tXeus : and other attempts have been made 
 to restore the remainder of this verse, but none seems plausible enough 
 to warrant its insertion in the text. 
 
 1598 f. θάρσ-os αΐρ€ cf. Soph. Aias 75 ού σίγ άνέξει μηδ£ δειλίαν 
 άρεις; For the 2nd pers. sing, of the imperatives (αΐρε, χώρει) 
 following πα* tis, — a usage probably colloquial in its origin — cf. Ar. 
 Birds 1 1 86 χώρει δενρο πάς ύπηρέτης* τόξευε was tis [πάίε Dind.). 
 Bacch. 173 It ω tis, εiσάyyελλε κτλ. 
 
 1613—1620. These lines as given in the mss. are unmetrical. 
 Weil, writing τούσδ' άλλως for τούσδε μάτην, arranges 11. 161 7, 8 as 
 spondaic anapaests, but Dindorf seems right in objecting that this 
 metre is inappropriate to this place. I have thought it best on the 
 whole to give 11. 16 13— 1629 as exhibited by the mss., with the 
 exception of Porson's correction εύ-γενη for νεα^ενη 1623, Barnes' 
 χρόνια τάμά for χρονιά γε τάμα 1625, and in 1621, a line which in the 
 MSS. has seven feet, Hermann's όλβιζοίμεθ' αν for όλβιοι ^ενοίμεθ' αν. 
 
 ιτώ$ <τ€ Ίτροσ-είττω ; κτλ. 'By what name am I to address thee? 
 What is my assurance that this story is not falsely told to soothe me, in 
 order that I may cease from my bitter grief for thee?' So strange is 
 the tale of the messenger that Klytaemnestra fears that a pious fraud 
 is being practised upon her to hide the terrible reality. But at this 
 moment Agamemnon is seen approaching, and he presently confirms 
 the messenger's report that Iphigeneia has been rescued by heaven, and 
 announces that his troops are on the eve of departure for Troy. 
 
 1623. μ.ό<τχον Orestes. 
 
 Η. I. 9 
 
120 
 
 IPHIGENEIA AT AULIS. 
 
 NOTE A. 
 11. 919—974. 
 
 The latest contribution to the study of this speech of Achilles as a 
 whole is a somewhat minute discussion by H. Stadtmuller in Fleckeisen* s 
 Jahrb. 1888 pp. 665 ff. The results at which the author arrives are 
 briefly as follows. He considers that the first 15 lines of the speech 
 (919 — 931) are sound, and that they have a special appropriateness as 
 pointing the distinction between the Euripidean Achilles, — in whose 
 character we are shown heroic ardour tempered and controlled by 
 σωφροσύνη — , and the Achilles of Homer with his fiery and ungoverned 
 nature. In dealing with the remainder of the speech Herr Stadtmuller 
 thinks a somewhat drastic handling necessary in order to restore what 
 he supposes to have been the original text ; and his method involves a 
 free transposition of lines combined with several excisions. In 11. 973, 4 
 he would read άλλ' ήσύχαζβ, <pi\os iyia ού πέφηνά σοι | γ eye ι 
 προσήκων, άλλ' δμως σ 1 όνήσομ€ν. 
 
 ΝΟΤΕ Β. 
 11. 1532 — 1629. 
 
 The lines which follow the final exit of Iphigeneia have been the 
 subject of much critical discussion since Porson declared his opinion that 
 the whole of this concluding portion of the play was a late interpolation 
 (certe post Aeliani tempora suppositam. praef. ad Hecub. p. xxii). 
 There are two and a half verses cited from this play, as was first 
 pointed out by Musgrave (1761), by Aelian (de nat. animal, vii 39) 0 
 δέ Ευριπίδης έν τη 'tyiyeveia ' 
 
 Πλαφόν δ' Αχαιών χβρσιν ένθήσω φίλαις 
 κβροΰσσαν, ην σφάζοντβϊ αύχήσονσι σήν 
 σφάζβιν θυγατέρα, 
 
 which verses are not found in our mss. Different opinions have been 
 formed as to the proper inference to be drawn from this circumstance. 
 
NOTES. 
 
 127 
 
 It has been held (1) that the concluding portion of the play was 
 altogether different from that which we now possess, and that in the 
 original the goddess Artemis was introduced by the poet to justify the 
 ways of heaven to men by foretelling the rescue of the heroine, and the 
 manner in which it would be accomplished. Or, that (2) the lines 
 quoted by Aelian come from a lost prologue to the play spoken by 
 Artemis before the entrance of Agamemnon. Or again, (3) that they 
 belong, as Weil thinks, not to the prologue itself but to a kind of 
 introduction composed by some one after the time of Euripides. Part 
 of a similar false prologue to the Rhesus is preserved in the argument to 
 the play which bears that name. It is possible (4) that Aelian was 
 himself mistaken, and cited as belonging to the Iphigeneia of Euripides 
 verses which in fact came from a tragedy by some other poet. It must 
 be acknowledged that many lines occur in this part of the play (especially 
 from 1 572 onwards) which, as given in the mss., are not such as Euripides 
 could possibly have written. On the other hand, the speech of the 
 messenger is well-conceived ; the style of his narrative throughout is 
 clear; and, in particular, the description of the scene at the altar seems 
 far too terse and graphic to have been the work of an interpolator. In 
 the absence of decisive evidence, we may perhaps be justified in 
 believing that we have left to us the remains, sorely corrupted it is 
 true, of the genuine work of Euripides. 
 
 NOTE C. 
 
 11. 1570 — 1. 
 
 ώ τταί 7iT)v6s, ώ θηροκτόνε, \ τό λαμπρορ βιλίσσονσ h ευφρόνχι φάος. 
 We have in this invocation an evident identification of Artemis goddess 
 of the chase (ayportpa θηροφόνο* έλαφαβόλος) with the moon-goddess 
 ΣΕΛΗΝΗ. This identification is however merely a return to a much 
 earlier conception, not a confusion of two deities at first distinct. 
 Artemis was originally goddess of the moon ; and in that character she 
 is properly equipped with bow and arrows, which are symbolical of the 
 moon's rays. Thus we find later that the terms σεληνόβλητο* and 
 Άρτεμώόβλητοϊ were used synonymously of those who were supposed 
 to be suffering from the effect of these rays striking upon them. From 
 the fact of her being represented with a bow Artemis was then by a 
 natural step imagined as a huntress (cf. Theognis 11 "Αρτεμι θψοφονη, 
 
 9—2 
 
128 
 
 IPHIGENEIA AT AULIS, 
 
 θύ~/ατ€ρ Alos, ψ 'Ατγαμέμνων \ βΐσαθ\ or is Ίροίην frrXee νηνσϊ Boys); 
 and — by the usual mythological extension — as guardian of wild 
 animals (cf. Aesch. Ag. 140 ff.). The tendency soon became to 
 distinguish Artemis the huntress from ΣΕΛΗΝΗ, in whom the Moon 
 was worshipped as a divinity but without especial reference to any 
 attributes or powers. The distinction appears to have clearly estab- 
 lished itself, and was maintained for a while, but in the time of the 
 tragedians the divergent aspects under which the goddess gradually 
 came to be regarded had been already re- united, and Artemis appears 
 again in her primitive function. (See Welcker Griech. Gotterlehre II 
 pp. 398 f.) The first instance of this reconciliation occurs in Aeschylus, 
 frag. 169, as otfre πέμφιξ ηλίου προσδέρκβται \ ούτ άστβρωπόν ομμα Αητφας 
 κόρης. Compare also Soph. Trach. 214* 'Αρτβμιν — έ\αφαβ6\ον, άμφίπυρον 
 where the epithets are combined in a similar fashion to that which we 
 find in the passage under discussion; the adjective which designates the 
 huntress being followed by one appropriate to the moon as the giver of 
 light by night (άμφίπυρος ' with a torch in each hand ', as Artemis was 
 sometimes represented in ancient art; cf. Introd. p. xvii). It is with 
 reference to this latter ofhce that Artemis the Light-Goddess obtained 
 her titles φωσφόρος φιλοΧάμπαδος &c. There is also mention made in 
 Pausanias I 31, 4 of an altar in Attica to "Αρτβμις σεΧασφόρος : the 
 epithet being descriptive of the radiant light of the moon. We may ob- 
 serve in conclusion that Iphigeneia is made by Aeschylus Sophokles and 
 Euripides alike the victim of Artemis. But, on the one hand, in Sophokles 
 El. 566 ff. it is the huntress whose anger and wounded pride must be 
 pacified, — and in the same connexion, though the reference in this case 
 is to an omen which concerns the protectress of wild animals, Kalchas 
 in the Agamemnon of Aeschylus announces that Artemis (προφέρων 
 "Αρτ€μιν, 202) requires the sacrifice of the maiden's life. On the other 
 hand, in the Tauric Iphigeneia of Euripides it is the goddess of light 
 (φωσφόρω Oeq., 21) to whom Agamemnon, according to the account of 
 the affair at Aulis given in the prologue by the heroine, has devoted his 
 daughter ; while in the Iphigeneia at Aulis both attributes of the one 
 divinity are combined in the titles by which Artemis is implored to 
 receive the Grecian offering. 
 
APPENDIX. 
 
 Table of deviations from Kirchhoffs text. 
 
 The following is a list of those passages in which the text of this 
 edition departs from that exhibited by Kirchhoff in his edition of 1867. 
 In several cases the alterations admitted have been already mentioned 
 or discussed in the notes; with regard to the rest, I have thought it 
 advisable in view of the general scope of the book merely to record 
 them here in tabular form for the convenience of the reader. A few 
 places in which the orthography or punctuation differs from that 
 adopted by Kirchhoff have not been set down; where the variation 
 is otherwise than trifling it has been previously noticed in the com- 
 mentary. In cases where the account of the MSS. reading given below 
 differs from that in Kirchhoff's critical note, the information is derived 
 from the collation of Wilamowitz-Mollendorff : see Introd. vii, p. xxi. 
 
 v. 
 
 v. 
 
 V. 
 V. 
 V. 
 V. 
 V. 
 
 V. 
 V. 
 V. 
 V. 
 
 22 
 
 42 
 
 77 
 8 4 
 
 v. 149 
 
 150 
 171 
 194 
 
 ^34 
 
 Kirchhcff. 
 
 ΠΡ. et v. 9 ΑΓΑ. auctore 
 Bremio del. Kirch- 
 hoffius 
 
 καΐ τό φιλότιμοι* 
 
 Xvwet 
 
 τί TToveiSf 
 
 κρίνων 
 
 μόρψ 
 
 κάτα 
 
 ΠΡ. 'έσται τάδε. ΑΓΑ. 
 
 κΚχιθρων δ' έξόρμα. 
 
 hunc versum post 152 
 
 auctore Hermanno po- 
 
 suit K. 
 rjv yap viv 
 ώς...ίδοίμαν 
 tols 
 
 μείΧινον 
 
 The present edition. 
 
 τό del. Marklandus 
 Miry editor 
 
 del. c deinde Blomfieldius 
 Kpivas PC 
 δρόμω Markl. 
 
 πάντα F. W. Schmidtius (krit. 
 
 stud. 11. p. 244) 
 om. τάδβ PC manus pr. έξορμώσαις 
 
 Weckleinus 
 
 ijv vlv PC 
 
 us κατιδοίμαν G. Dindorfius 
 ras Brodaeus (tt}s) 
 μέλίνον Bothius 
 
13° 
 
 IPHIGENEIA AT AULIS. 
 
 v. 284 Τάφων ήγεμώρ Mέyηs 
 άνασσβ 
 
 v. 286 post λίπών lacunae sig- . 
 
 num posuit K. 
 v. 317 post hunc versum deesse 
 
 alterum, item Aga- 
 
 memnonis, auct. Herm. 
 
 significavit K. 
 ν · 333 e ^ κ€κόμψ€υσαι ' πονηρον 
 v. 336 οϋτοι 
 v. 356 τίνα πόρον €νρω 
 
 V. 3^7 €K0VT€S 
 
 ν. 373 & ν Xpeovs 
 
 ν. 4°7 σννσωφρονείν σοι βούλομ, 
 άλλ' ου σνννοσέιν 
 
 ν. ώνόμαξας 
 
 νν. 44^ > 449 άναφτα τ et άνολβα 
 (Musgravius) 
 
 ν. 445 συμβάλω 
 
 v. 5 10 αλλήλων 
 
 ν. 5 χ 5 "A/>7os 
 
 v. 5 21 κούδέν y άχρηστον 
 
 ν. 53 1 °^ 
 
 ν. 53^ φύλαζον Κ. 
 
 ν. 547 μαινδμζν 
 
 ν. 58° 
 
 ν. 5^5 δέδωκας 
 ν. 5^7 ^P 11 ' 
 ν. 5^9 Tpoias πέρ-γαμα. 
 v. 59 2 dubitans servat Κ. 
 
 ν. 6θ2 νεωστί μοι μολόν 
 v. 6ο3 κλεινόν τέκνον Αγαμέμ- 
 νονος 
 ν. 604 μηδέ 
 
 ν. 626 τό Έηρηίδο* 
 ν. 632 περιβάλω 
 ν. 664 μακράν y 
 
 ν. 667 £τ' &γτι 
 ν. 675 έστήξει 
 ν. 694 συνισχανεΐ. 
 v. 7 2 4 evveveynaL 
 ν. 734 δ£ 
 
 V. 77*5 ^· λαιμοτδμονς κεφαλάς \ 
 σπάσας, πόλισμα Τροίας 
 I πέρσας κατάκρας πά- 
 λιν. 
 
 v. jSi πολύκλαυτος 
 V. 7^ 2 έσεΐται 
 
 yjyev, ών MSS. 
 
 πονηρά* Monkius 
 οϋτ€ Herm. 
 
 τέμω e Kirch, coniect. 
 έχοντες PC 
 
 μηδέν* άρα (Nauckius) yέvovs 
 (Monk.) 
 
 σ. 7^/), ούχϊ συννοσεΐν 'έφυν e Plut. 
 
 de discr. adulat. et am. p. 64 c 
 ώι>όμ,α^65 Markl. 
 ανολβά τ et άπαντα MSS. 
 
 συμβάλω PC 
 άλλήλοιν Markl. 
 7 addit P 2 C 2 
 
 κούδέν ye χρηστόν Canterus 
 6s MSS. 
 
 φύλαξαι W. Headlam 
 
 μανιάδων Weckl. 
 
 ό'0ι Hartungius 
 
 τ 'έδωκας Blomf. 
 
 £/hs exempl. Hervag. altera 
 
 transposuit Blomf. 
 
 del. Herm. 
 
 τό νεωστϊ μολον Herm. 
 
 τό κλεινόν (P 2 C 2 ) τέκνον Άyaμεμ- 
 
 νόνιον Herm. 
 μη δη Heathius 
 τό της ΊΧηρηδος Portus 
 προσβάλω Porsonus 
 μακράν PC (7* add. manus inter- 
 
 polatrix) 
 'έπεστι Nauck. 
 έστήξεις Elmsleius 
 συνισχνανεί. Anglus 
 σvvevέyκoL L. Dindorf. 
 η σύ Herm. 
 
 σπάσας κεφάλας Weilius ; del. idem 
 Τροίας et πολιν turn πέρσας πό· 
 λισμα transposuit 
 
 seclusit Weil. 
 εϊσεται Herm. 
 
APPENDIX. 
 
 795 ίτνχεν 
 
 796 δρνιθ' ίπταμενφ 
 8ιι &\\os 
 
 817 δρα δ' 
 840 μεμνημένοις 
 844 τ ^ πάρα σοΟ 
 863 Klytaemnestrae tribuit 
 Κ. 
 
 βασιλείων 
 
 865 efc μέλλοντ' αν ώση 
 
 88ο κτανεΐν 
 
 8Sg €Ϊπβρ aXyeivbv 
 
 900 έπαιδεσθήσομαί ye 
 
 902 eVi riiOS 
 
 909 <re 
 
 9n yeXqi* 
 
 10 1 4 ^ δ£ Χρή 
 
 ιοί 7 ei 
 
 1025 αι)τά μη πράσσωμεν αν 
 
 1028 φυλάξόμεν 
 
 1035 δίκαιος ων άνηρ Κ. 
 
 1041 <=" 
 
 1055 κύκλια 
 
 1056 f. Νηρέωϊ yάμov$ 
 1058 έλάταισι 
 
 1063 iratSes at θεσσαλαί 
 
 1065 yεvvάσειs 
 
 ιο66 εξωνόμασεν 
 
 1076 f. ras εύπάτριδος yάμov \ 
 
 Νηρηδων έθεσαν πρώ- 
 
 ras 
 
 1073 £νδυτ 
 
 ιο8ο eVi κάρα 
 
 ιο8 1 7* άλια> 
 
 1087 νυμφοκδμον 
 
 io89ff- αίδοΟ* I η τό ras aperas 
 
 δύνασιν 'έχει \ σθένειν τι 
 
 πρόσωπον ; 
 1093 δύναμιν 
 1130 V , 
 1138 τί μ, ήδίκησας ; 
 1 1 46 άνακαλύψομεν 
 1 1 5 1 προσούρισας 
 ιι 53 Διό* 7 6 
 ιι68 7^ 0S 
 
 11 71 f« στρατεύσε .. ^ενήστ} 
 II 76 κάθωμαι 
 
 'έτεκεν Musgr. σ' post Αήδα add. 
 
 Elmsl. 
 δρνιθι πταμένω Markl. 
 άλλων e Kirch, coniect. 
 φράζ' Nauck. 
 μεμνημένους Herm. 
 τάττδ σου Dobraeus 
 restituit Achillei Herm. ('id quod 
 
 codices exhibent'. Wilamowitz- 
 
 M.) 
 
 βασιλικών Matthiae 
 
 eis μέλλοντα σώσει Monk. 
 
 κτενείν PC 
 
 εΐπερ άλλ', εικός Weckl. 
 
 έπαιδεσθησόμεσθα Herm. 
 
 7rept τίνος Schaeferus 
 
 δε Hensius 
 
 πέλας Markl. 
 
 δ τι δέ (Reiskius) xprjs C 
 
 77 Weil. 
 
 ad τι μτ) πράσσωμεν ων Monk. 
 
 φυλάσσομεν PC 
 
 παρά coniecit Kirchh. 
 
 θεών add. Vitelli 
 
 seclusit Weil. 
 
 transposuit Weil. 
 
 έλάταις συν Weil. 
 
 παιδα (Kirchh.) σε (Weil.) Θεσσα- 
 λία (Kirchh.) 
 
 yevvdcreiv Weil. 
 
 έξονόμαζεν Firnhaberus 
 
 ras εύπάτριδος \ N^p^os τ' 'έθεσαν^ 
 yάμov Weil. N^ptffos PC τ 
 add. Herm. 
 
 ένδύτ' Dind. 
 
 ώ κόρα Herm. 
 
 βαλιαν Scaliger 
 
 νυμφόκομον Reisk. 
 
 αιδους 'έτι, που | τα? άρετας σθένα 
 τι πρόσωπον ; Weil. 
 
 δύνασιν Both. 
 μ Markl. 
 
 τίν ηδίκησα ; Herm. 
 ανακαλύψω yap CP 2 
 προσώρισας Hartung. 
 Aids re Markl. 
 yi rot Fixius 
 
 εί στρατεύσει .. ^ενησει Elmsl. 
 καθώμαι Elmsl. 
 
132 
 
 V. 
 
 ιι85 
 
 V. 
 
 1189 
 
 V. 
 
 1 193 
 
 v. 
 
 1207 
 
 ν. 
 
 Ι2ΙΟ 
 
 V. 
 
 1244 
 
 V. 
 
 1207 
 
 V. 
 
 I2Q3 
 
 V. 
 
 Γ297 
 
 V. 
 
 1309 
 
 v. 
 
 I3IO 
 
 V. 
 
 1311 
 
 v. 
 
 I 3 3Q 
 
 * DO? 
 
 V. 
 
 1341 
 
 V. 
 
 
 v. 
 
 
 V. 
 
 1*72 
 
 V. 
 
 1381 
 
 V. 
 
 1382 
 
 V. 
 
 
 V. 
 
 
 v. 
 
 I J. 2 ζ 
 
 V. 
 
 14^8 
 
 V. 
 
 1444 
 
 v. 
 
 Ι46θ 
 
 v. 
 
 1470 
 
 v. 
 
 I4QI 
 
 V. 
 
 1496 
 
 V. 
 
 1502 
 
 v. 
 
 I50Q 
 
 V. 
 
 ΐ5ΐ3 
 
 V. 
 
 
 v. 
 
 ι ς ι6 
 
 v. 
 
 1*18 
 
 V. 
 
 1*20 
 
 v. 
 
 
 v. 
 
 ι ζ ^6 
 
 V. 
 
 1**0 
 
 Of 
 
 V. 
 
 1557 
 
 v. 
 
 1558 
 
 IPHIGENEIA AT AULIS. 
 
 Μα 
 
 » >t » 
 01/ τα/) 
 
 αυτών ττροθέμενος 
 νφ μτ] δή ye κτάνης 
 
 πρός τάδ' άντείποι 
 νηπίοις ye 
 τας.,.κτενοΰσι 
 Άλέξανδρον dubitans ser- 
 vat K. 
 
 ου 
 
 ras καΚΚονας 
 
 όνομα μεν φέροντα Ααναΐ- 
 
 δαισιν, ώ κόραι 
 πρόθυμά σ' 
 
 τόν τε της θεας 7 Αχιλ- 
 λέα 
 
 φεύyεLς t τέκνον 
 
 vlv. || κούδείς έναντία 
 
 iyd) τι 
 
 έβουλήθη σώμα 
 
 ye 
 
 ye 
 
 τί δε τό θνήσκειν 
 iyw, μετά ye 
 παγαϊσι 
 ω νεάνιδες, 
 όνομα τασδ' 
 μέγα 
 
 βα\\ομέναν, — παγαΐς 
 ye δαίμονος 
 
 θανοΰσαν εύφυή τε σώμα- 
 τος 
 
 μένουσί σε χέρνιβές τε 
 
 Ελλάδι 
 
 κάρα έόν 
 
 ηκτ}ς 
 
 Trpoijyev 
 
 εύτυχεΐτε 
 
 δώρου 
 
 είτα Monk. 
 η ταρ Musgr. 
 
 έάν σφών (Mehlhornus) προέμενος 
 (Elmsl.) 
 
 μετανόει κτανεΐν Heim- 
 
 soethius 
 τοΐσδ' αν άντείποι Burgesius 
 νηπίοισι Monk. 
 τάς τ' Herm. κτείνουσι PC 
 del. Monk. 
 
 καΐ PC 
 
 ras del. Matthiae 
 
 όνομα μάν φέροντα (PC) Δαναΐδαις, 
 
 σίνος κόρα ^editor) 
 προθύματ Elmsl. 
 τόν της θέας παΐδα Herm. 
 
 transposuit Lentingius 
 
 σφε. (Herm.) || κούδεϊς τοΐσδ' έναν- 
 
 τίον (ρ) 
 #γωγε Markl. 
 δίαβληθη Monk. 
 τάσδ 1 Pors. 
 
 όλέθρφ γάμον^ δν Herm. 
 
 δίκαιον tout' ; 'έχοιμεν αρ αν Har- 
 
 tung. 
 τό inserit ρ 
 yap Herm. 
 σύ Elmsl. 
 
 τί δή ; τό θνχισκειν (όή PC δε Ρ 2 ) 
 
 (yuye μετά Markl. 
 
 παγάς Reisk. 
 
 Ιώ ίώ νεάνιδες, Herm. 
 
 όνομ' εν Η. Schmidt. 
 
 με Elmsl. 
 
 Ιώ ίώ. cum Nauckio Iphigeniae 
 
 tribui άς 
 βαλομέναν, (Markl.) — irayah C 
 διαίμονος Markl. 
 
 ρανοϋσαν Markl. del. σώματος 
 
 Schmidt. 
 σε post τ€ posuit Seidlerus 
 Έλλάσι Markl. 
 θ' inserit Scaliger 
 ήκει,ς PC 
 ττροηκεν Dindorf. 
 εύτυχοΐτε Aldus 
 δορός Piersonus 
 
157° & παΐ Ζηνδς "Αρτεμις θη- 
 
 pOKT0V€f 
 
 1573 'Α.~γαμέμρων αναξ θ' ο- 
 μού, 
 
 1 580 έμοί δέ τ 1 aλyoς ού μικρόν 
 e'wfaei 
 
 1582 κτύπον yap πας τις τ}σθ€τ* 
 
 αν σαφώς, 
 1584 βο$ δ' ιερεύς, dVas 
 159 2 δρατε τήνδε θυσίαν, ην η 
 debs I προύθηκε βωμίαν, 
 Ρλαφον όρειδρόμον ; 
 
 1594 μάλιστα 
 
 1595 μι&'ινοι 
 1597 Ιλίου τ 
 
 1599 ( * ,s νμέρο- T V$ € 
 
 1 6ο8 άφίπτατο. 
 ιόιο δ£ 
 
 1021 όλβιοι -γβνοίμεθ ' αν ' 
 
 1623 pecry^^ 
 
 1625 χρόνια ye τάμα 
 
 APPENDIX. 133 
 
 ώ 7ταΓ Zt/^oSj ώ θηροκτόνε, Nauck. 
 αθρόος 'Ayap.fyvu)v τ' αναξ Weil. 
 έμοι δ' εσηει τ' άλγοχ Herm. 
 
 σαφώς yap πας τις ησθετο κτύπον, 
 ^ Weil, 
 δ' ά/ο' tepees, πάς Weil. 
 βωμίαν et θυσ'ιαν transposuit Musgr. 
 τήνδ' ante Πλαφόν posuit Weil. 
 
 yap άντϊ Herwerdenus 
 μιάν-Q apogr. Paris. 
 Ιλίου προς Herm. 
 ημέρας ώς τησδε Matthiae 
 άπέπτατο (vid. Pors. Med. 1) 
 δη Bremius 
 όλβιζοίμεθ' αν ■ Herm 
 e0y€vi) Pors. 
 om. ye Bamesius 
 
INDEX I. 
 
 αβρ6της, 1343 
 &~γασθαί τί twos, 28 
 αείμνηστος, 153 1 
 άθέσφατος, 232 
 άθρησον, 1416 
 "Αιδης, 461 
 αίματόρρυτος, 151 5 
 άΐσσ&,ν, 12 
 αίφνης, 1581 
 ακήρατος, 1083 
 άκλύσταν, Ι2ΐ 
 άλάστωρ, 878, 94^ 
 άλλά λ/ enim, 500 
 άλλα — 7^/>> 5 11 
 άλλά, 7<>^j 9° ^ 
 άλλ' 847 
 άλσος, 185 
 άμαθης, ggg 
 άμείβειν, 144 
 dp omitted, 1 199 
 άναίνομαι, 1503 
 
 ai>ei\e with pres. and future, 90 
 
 άνθεσφόρος. 1544 
 
 άνικετεύτως, 1003 
 
 άνοσος κακών, 982 
 
 άντίπορος, 1494 
 
 αντυξ, 229 
 
 άπαράμυθος, 620 
 
 άπελθε, 304 
 
 άπήμων, 1575 
 
 άποβλέπειν, 1378 
 
 άποικήσειν, 68ο 
 
 α7τοίσ€ται νόστον, 298 
 
 αποκαλεί^, 1354 
 άπολωτιέΐ, 79 2 
 άποπρό, 1280 
 απροσδόκητος, ι6ιο 
 άρδην, 1589 
 
 Αρέθουσα, fountains so named, 
 "A/)?ys Μυρμιδών, troops, 237 
 
 ,, Ta0ios, 284 
 άρχειν, with dat., 337 η. 
 άσπαίρειν, 1587 
 άσπίδος Ζρυμα, i8g 
 άσχαλαν, 920 
 Άτρεύς (άτ ρέστος), %2ΐ 
 Αυλίδα and Αΰλίν, 88 
 ' Αφροδίτη (αφροσύνη), 1264 
 ' Αφροδίτης πνοαί, 6g 
 άχραντος, 1574 
 
 βαλιός, 22 2 
 βάριδες, 2QJ 
 βουκόλος, of Paris, 180 
 βούλεσθαί)(θέλειν, 338 
 
 7« after 7τρ£ϊ/, 324 
 yeυσaίaτo, 423 
 
 7ί> cit y» 535 
 Ίη~/ενής, 259 
 
 δαίσομεν ύμεναίους, 12$ 
 
 δάκρυ ρροείν, 889 
 
 δέ, objecting, 153, 73^, 1458 
 
 7«?, 334 
 δέμας, periphrastic, 937> 4 Χ 7 
 
INDEX Ι. 
 
 135 
 
 δεζιαί, 58 
 
 διαίμονος 0eas, 15 14 
 διακναίειν, 27 
 
 δια μάχης μοΧεΐν (τινι), 1392 
 διαχαΧάν, 134° 
 δίκαιος, loyal, 48 
 δοΧώφρων, 1301 
 δυσεΧέναν, ι$ί6 
 δωμάτων Ζκδημος, 419 
 
 e before τλ, 1 35 1 
 έάσομαι, 33 1 
 (e77^^s), 703 
 Zyeipe = iyeipov, 624 
 1569 
 
 el with subj., 1240 
 
 εΙσεΧθειν τινα, 1 come into his mind', 
 
 57^ 1374 
 έκδουναι, 132, 729, 736 
 έκXoyίζoμaι, 1410 
 έκ μέσου, 342 
 έκμετρησαι, of time, 8x6 
 έκττονείν, train, 209 
 έκπυρώσων, iojo 
 έΧέπτοΧις, 1 476, 1511 
 έΧεφαντόδετος, 582 
 έΧίσσειν (τινά), 1480 
 βμέ following με, 409 
 έμττΧέκειν πΧοκάς, 936 
 
 of person judging, 429 
 ^ σοί, /tew^y te, 1273 
 ενάρχεσθαι κανά, 147 1 
 ενάρχεσθαι χέρνιβες, 955 
 ενδεξιούσθω βωμόν, 1473 
 
 καΧφ, ι ιο6 
 έζαΧείφειν [θέσφατα), γ 486 
 έξαΧΧάσσονσα χάρις, 564 
 ενάρχεσθαι κανα, 435 
 έξομιΧεΐσθαι, 735 
 έττευφημειν, 1468 
 έπηχεϊν, 1584 
 
 επί, of the terms, 29 ; in quest of, 
 
 178; with, 541 
 έπιδρομαί, 1597 
 έπίτηδες, 476 
 έπτάπορος, 8 
 έρέσσειν, 139 
 έστήξω, 675 
 €ϋδροσος, 151 7 
 
 εύκαρδίως, τ 5 6ο 
 
 €ϋθηΧος, 579 
 
 εύμήκεις τύχαι, 595 
 
 εύφημα θρόει, 143 
 
 έχω, with aor. partic., 659 
 
 ^ ι st sing. impf. είμί, 4S9 
 
 ^ 7<*/>, 3^5 
 ημίθεοι, 173 
 ήπόρημαι, 537 
 
 θανατόεις, 1287 
 0e\etp )( βούΧεσθαι, 338 
 θεομαχείν, 1409 
 θεράττναι, 1499 
 θηροκτόνε, 15 /Ο 
 
 Γ before χρ, 1366 
 Ίκετηρίαν, Ι2ΐ6 
 ίούσης της τύχης, 441 
 Ιπποβάτας, 1059 
 ισάνεμον, 2θ6 
 
 /cat, explanatory, 230 ; following 
 
 interrogatives, 327 
 /cat μ?7ϊ>, 2 ο 
 Kaivovpy€iv, 2, 838 
 /cat 7τώ?, 124 
 κακίζειν, 1436 
 κακόφρονες, misguided, 39 1 
 καΧλικόμαν πΧόκαμον, ιο8ο 
 καΧΧιπάρθενος, 1574 
 καραδοκεΐν, 1433 
 καταδεδοι^λωται, 1269 
 κaτaιvεΐv = έyyυάv, 695 
 καταπαΧαίειν, 1013 
 /cara 7τώ$, 894 
 κατασκαφαί, 1 379 
 κατατείνειν, 
 κατηνθρακώθη, ι6θ2 
 ^Kpaypx>s, 1357 
 κεκτήμην, 4Ο4 
 κεχαρημένον, 200 
 
 κεχρημένοις, having obtained an 
 
 oracular reply, 89 
 κΧηθρα, women's apartments, 149 
 κΧύουσα, with perf. force, 301 
 κνίζειν, provoke, 330 
 κόρνμβα, 258 
 
136 
 
 INDEX I 
 
 κράτος, victory, 472 
 κροκάλαι, 2ΐι 
 Κυκλώπων θυμέλας, 152 
 κύριος, 7°3 
 
 λαμπαδοΰχος, ι*>θ$ 
 λελο'γισμένοι, 922 
 λελογισμένα^, io2i 
 λέχος, bride, 103, 389 
 λύειν (θέσφατα), neglect, 1268 
 λωτός, 43^> Ι0 3^ 
 
 μακράν τείνειν, of a journey, 420 
 
 μακρός, over long, 313 
 
 μάλιστα and κάλλιστα confused, 
 
 μαντόσυνοι άνα^και, 701 
 μ€ followed by εμέ, 409 
 μέν, no δέ following, 39 2 > 859*» 
 
 answered by re, 73 
 μετά, Euripides' use of, 526 
 μεταβολάς όδυρμάτων, ιιοι 
 μι}, generic, 384 
 μή ού, with inf., 42 
 μιαιφονείν, 1364 
 μύθοι, fables, 799 
 μυριοπληθής, 571 
 μώνυχος, 250 
 
 ναύφρακτος, 1259 
 ρεο^αλι^, ι88 
 νιφόβολος, 1284 
 νυμφεύειν, 45$> 4^1 
 χ>0ζ>, just now, 332 
 
 ζυνάορος, uxor, 50 
 ζυναρπάζειν, 53 1 » 535 
 
 d before <£ρ, 39 1 
 
 δδε, with infinitive, 1478 
 
 οΤσ0' δ δρασον, 725 
 
 όνομα )( 'έρηον, 128, 11 15 
 
 οπλών άνακτες, 12 60 
 
 #7τω$ dV, in final sentences, 539 
 
 όρειδρόμος, 1593 
 
 opm, omen, 607 
 
 όρομένα (ορνυμι), ι86 
 
 ου μή, with subj., 1465» !5°4 
 
 οϋ που, 670 
 
 πατέντας, of oaths, 395 
 παραμείψασθαι, 146 
 παραφέρειν, intrude, 981 
 πειθώ, means of persuasion, 104 
 περιβάλλειν, use of by Eur., 934 
 περίβολος, 1477 
 πέσσοι, 196 
 πεύκη, tablet, 39 
 πλα*για φρονύν, 33 2 
 πλέον πράσσειν, 1373 
 ποικίλος, of persons, 526 
 πολύμοχθος, 133° 
 πορθμεύειν, intransit. , 6 
 7rotfs, periphrastic, 627 
 πράσσειν μεγάλα, 346 
 προσαρμόζειν, 296 
 προσέλκνσαι, 1452 
 προστάτης, 449 
 7rpos ταύτα, 1559 
 προσώρισας, 1 151 
 προτέλεια, Ji8 
 προτελίζειν, 433 
 πρόφασιν, 362 
 
 7τρό χερών (in your hands), 36 
 προχύται, 955» "I2» Η72 
 πτέρνγ' Ευβοίας, ΐ2θ 
 7rws, ironical, 65 
 7τώ$ δοκείϊ; τ 59° 
 
 σειροφόρος, 223 
 
 σεμνά σεμνύνεται, 996 
 
 σεμνότης, 1344 
 
 σ*7αί ανέμων, ίο 
 
 σκύλα, 1629 
 
 σοφίζομαι, 744 
 
 σοφίσματα, 444 
 
 σοφός, in bad sense, 333 
 
 στέφανος, metaphorical, 194 
 
 στεφανώδης, 1058 
 
 σύ-γκλητος, 301 
 
 σύνεδρος, in council, 192 
 
 σννεπαείδειν, 1492 
 
 σννισχνανεΐ, 694 
 
 συννοσεΐν, 407 
 
 σννννμφοκόμος, 48 
 
 σννσωφρονεΐν, 407 
 
 σύντονα, in harmony with, 118 
 
 σύριγγα, 230 
 
 σψζειν (and σώ^εα/), 135° η · 
 
INDEX I 
 
 137 
 
 rayds, 269 
 
 ταπί τοΐσδε, 435 
 
 τα πρωτ ωΚβισμένοι, 51 
 
 τάχα, with fut. in threats, 311 
 
 re answered by δέ, 585 ; explana- 
 tory, 345 ; irregularly placed, 203 
 
 re — re, where English requires 
 disjunctive particles, 56 
 
 ηθέναι kclXQs, 401 
 
 τίθβοθαι εΰ, 672 
 
 τό 7ro?or ; 517 
 
 τό σον, 39^ 
 
 rore, determined by context, 46 
 to t^s τύχψ, 1404 
 τούμόν, 482 
 
 ύακίνθινο*, 1298 
 
 ύμέναως, 123, 43°' 437» 6 2 4> 1036 
 ύπέθηκας, suggest, 507 
 ύπέλθύν, 07» 444 
 ύπζρκαμνύν, giS 
 ύπόροφοζ, ι 204 
 υψηλόφρων, gig 
 
 φάο$ άμπετάσαι, 34 
 0αυλω$ φέρζΐν, 897 
 φέρειν, carry away, 69 
 0ep^, 47 
 φιλοψυχεΐν, 1385 
 φοιβάδα μοΰσαν, 1064 
 φοίνίσσβιν παρτ)δα, 1S7 
 φυΧακαί, 15 
 φυσήματα, 1 1 1 4 
 
 χαλκβμβολάς, 13 19 
 χρησθαι (experience), 88, 546 
 χρυσβοσά^δαλθ5, 1042 
 χρυσήλατος, 1 5 6 5 
 χρυσοδαίδαλτος, 2ig 
 
 ώδίνειν, 1234 
 ώδίί, 1235 
 
 ώ*, elliptic constr. with, 1367; 
 
 causal, 420 
 ώστε, in stichomuthia, 326 ; where 
 
 simple iniin. could stand, 918 
 
INDEX II. 
 
 abstract for concrete, 1 5 
 
 accus. cognate, 157, 791; after δε?, 
 1130; after θάσσβιν &c, 141 ; 
 in apposition to sentence, 234, 
 832, 1 1 14; of specification, 359; 
 following adjective, 1255; fol- 
 lowing verb and its accus., 1468 ; 
 followed irreg. by dat., 492 
 
 adjective, agreeing with compound 
 phrase, 233 ; proleptic, 572 
 
 anapaests, spondaic, 115 ff. ; cf. 
 123 
 
 aorist, gnomic, 25 ; infin. after 
 οΐμαι, 462; after μέλλαν, 873; 
 of moment just past, 136 
 
 assimilation, 607 
 
 attraction, Euripides' use of, 383 
 
 betrothal, ceremony of, 703 
 brachylogy, 262 
 
 chariot and horses of the Sun, 
 
 chorus, remarks upon, 1253 
 construction, changed as the sen- 
 tence proceeds, 261 ; confusion 
 of two, 1436; elliptic with u>s, 
 
 1367 
 
 Cyclopean architecture, 152 
 
 dative, of accompaniment, 146 cf. 
 239 ; of agent with pres. partic. 
 
 passive, 218; irreg. following 
 accus., 492; locatival, 39; of 
 person judging, 597 
 
 divinities, habitation of, 91 
 
 double question, 356 
 
 driving, in the chariot race, 223 
 
 Ennuis (quoted), 7, 447, 815 
 eristic rhetoric, 333 
 euphemism, 309, 519, 649, 1507 
 
 florid taste of the orientals in 
 
 dress, 74 
 future, combined with delib. subj., 
 
 442, 455; mid. as pass., 331; 
 
 with τάχα in threats, 311 
 
 genitive, attributive, 78 ; causal, 
 327, 370, 1277; of connexion, 
 302 ; objective, 842 ; partitive, 
 20, 340; after πείθβσθαι, 726 
 
 gnomic aorist, 25 
 
 Greek view of σωφροσύνη, 543 
 
 hendiadys, 53 
 
 historic present, 47, 245 
 
 imperative, 2nd sing, following 
 
 7ras rty, 1598 
 imperf., of fact just realized, 404 
 infin., without article, 490; epexe- 
 
 getical, 275, 318 
 
Ionic forms, 12, 423, 789 
 
 line divided between two charac- 
 ters, 414 
 
 metaphors, from nautical affairs, 
 139; from dice-playing, 1343; 
 from music, 1 toi ; from wrest- 
 ling, 1013 
 
 mute and liquid, quantity of vowel 
 before, 636 
 
 optative, with dv following indie, in 
 protasis, 486 ; with dv of settled 
 resolve, 310 
 
 participle, with dv equiv. to an 
 apodosis, 96 ; with μή equiv. to 
 a protasis, 355; accus. where 
 dat. might have been expected, 
 1556; aor. with £χω, 659; neut. 
 with art. for abstract subs., 33, 
 386, 1270; omitted with rvy- 
 χάνω, 730; supplementary, 363 
 
 play upon words, 321 
 
 pluperf. without syll. augm., 404 
 
 plural, generalising, 304, 309; 
 poet, use of, 10 
 
 r // 139 
 
 Porson's canon, exception to, 530 
 present, historic, 47, 245; imply- 
 ing certainty, 1028, 1267 
 prodelision, 307, 639 
 
 Racine's Iphigenie (quoted), 126, 
 677, 900, 955, 1220 
 
 relative attraction, 383; condi- 
 tional, 523 
 
 rivers, the bull as a type of, 275 
 
 schema Alcmanictcm, 196 
 
 sing, and plur., interchange of, 
 834, 929, 967, 1368 
 
 Sophokles, echoes of, 407 
 
 subj. with el, 1240; delib., com- 
 bined with future, 442, 455 
 
 synizesis, 615 
 
 tmesis, 11, 40 
 
 torch, carried by mother of the 
 
 bride, 732 
 tragic irony, 640, 677 
 
 winged chariot of deities, 250 
 women, Greek views concerning, 
 
 57'» 678 
 writing materials, 39 
 
INDEX III. 
 
 Adrastus, 268 
 Aegina, 697 
 
 Aias, 192; son of Telamon, ib. 
 Ainianes, 277 
 Alpheus, 276 
 Arethusa, 170 
 Asopus, 697 
 
 Chiron, 208 
 
 Diomedes, 199 
 Dioskuri, 769 
 
 Echinades, 286 
 Epeioi, 281 
 Eumelus, 217 
 Eurotas, 179 
 Eurytus, 282 
 
 Ganymede, 1053 
 Gouneus, 278 
 
 Hermes, 1302 
 Hermione, 1201 
 
 Ida, 1284 
 Inachidae, 1088 
 
 Kadmus, 256 
 Kapaneus, 246 
 Kassandra, 757 
 
 Laertes, 204 
 
 Leda (Thestias), 49 
 Leitus, 259 
 
 Meges, 284 
 Mekisteus, 244 
 Meriones, 201 
 
 Nestor, 273 
 Nireus, 204 
 
 Oenone, 699 
 
 Olympus (the musician), 577 
 Orpheus, 121 1 
 
 Palamedes, 198 
 Pelion, 705 
 Perseus, 1500 
 Phoebe, 50 
 Phyleus, 285 
 Pleiades, 8 
 Protesilaus, 195 
 
 Salamis, 194 
 Simois, 751 
 Sirius, 7 
 Sisyphus, 524 
 Sthenelus, 247 
 
 Talaus, 245 
 
 Talthybius, 1563 
 
 Tantalus (son of Thyestes), 1 
 
 Taphioi, 284 
 
 Thronium, 264 
 
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