MASTER Ν EGA Τ IV Ε NO. 91-80315 MICROFILMED 1991 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK as part of the Foundations of Western Civilization Preservation Project Funded by the NAHONAL ENDOWMENT FOR THE HUMANITIES Reproductions may not be made without permission from Columbia University Library COPYRIGHT STATEMENT The copyright law of the United States - Title 17, United States Code - concerns the making of photocopies or other reproductions of copyrighted material... Columbia University Library reserves the right to refuse to accept a copy order if, in its judgement, fulfillment of the order would involve violation of the copyright law. AUTHOR: AESCHYLUS TITLE: AGAMEMNON OF AESCHYLUS ... PLACE: CAMBRIDGE DA Τ Ε : 1878 COLUMBIA UNIVERSITY LIBRARIES PRESERVATION DEPARTMENT BIBLIOGRAPHIC MICROFORM TARHFT Master Negative # Original Material as Filmed - Existing Bibliographic Record 8θΛθ7 0E78 Agamemnon. 1878. Gr. & Eng. Aeschylus. The Agamemnon of Aeschylus, with a metrical translation and notes critical and illustrative, by Benjamin Hall Kennedy ... Cambridge, Univer- sity press, 1878. XX, 212 p. 19 cm. Edited for the syndics of the University press. Restrictions on Use: V FILM SIZE: '^j^__P^ IMAGE PLACEMENT: lA ^L TECHNICAL MICROFORM DATA REDUCTION RATIO: _/j^. ιινίΛί^ϋ I'LALibMHN T: lA VJIA//IB /IIB DATE FILMED: Μ/ί-^ΐ1ΐ__ INITIALS M($^ FILMED BY: RESEARCH PUBLICATIONS. INC WOOnBRIDGE7rT BIBLIOGRAPHIC IRREGULARITIES MAIN yy ENTRY; ng^cW^lOS. Bibliograp hic IrrcgulariHcs in the Original Document list volumes and pages affected; include name of institution if fikning borrowed text. Page(s) missing/ not available: yolumes(s) missing/not available:. .Illegible and/or damaged page(s):. 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EDITED Ρ F^E ibJ^^sT/kuds Of^ τίψ uit^veesity PEESS. \ \ ^ w . \, Γ ffiambrftge : AT THE UNIVERSITY PRESS. LonUon: CAMBRIDGE WAREHOUSE, 17, Paternoster Row. CambriUge: DEIGHTON, BELL, AND CO. Iripjifl; F. A. BROCKHAUS.^. Τ 878 \^ΑΙΙ Rights re^terved.] C HONORI . ET . MERITIS ALMAE . MATRIS • CANTABRIGIAE CVI . QVANTVM • IPSE • DEBEAT TESTES • SVNT . ANN ALES • ACADEMICI HOC . OPVSCVLVM • QVALECVMQVE • SIT VERECVNDE • DEDICARE . VELIT • EDITOR INEVNTE . ANNO • AETATIS • SVAE • SEPTVAGESIMO • QVINTO A.D. VIII. ID. NOVEMB. A.S. MDCCCLXXVIIL ' 1 tl c K. A. 8689 Cv. i y 4 I |f ί /.. I ) INTRODUCTION. * I. I. The Agamemnon is the first play in the Tri- logy called Όp€στ.6ώjp,^^cted B.C. 458, OL 80, 2, in the archonship of Philoclps, three years before the death of Aeschylus. The other two tragedies which follow it are the Choephoroe and Eumenides: with them was acted the Satyric drama Proteus^ probably at the great Dio- nysia (τά κατ άστυ) ; and the prize was awarded to our poet. He had a patriotic motive, arising from his strong conservative opinions, for the constitution of the plot of the third play. The authority of the ancient Court of Areopagus was menaced with diminution, if not extinc- tion, by a law which Ephialtes brought forward, on the instigation of Pericles, who led the democratic party in opposition to Kimon, the son of Miltiades. Aeschylus, a stern aristocrat, desired by his Eumenides to support the dignity and power of this venerable institution, which he there represents as holding a solemn trial of Orestes under the presidency of Pallas Athene, the tutelar of Athens. 2. These three tragedies must be regarded as con- stituting one great whole ; three acts, as it were, of one plot. In the first play, the Agamemnon, is *the Crime.* The victorious king, returning from Troy, is murdered by his wicked wife Clytaemnestra with the help of her b2 > ν VIU INTRODUCTION, INTRODUCTION IX paramour Aegisthus. In the second, the Choephoroey is * the Vengeance/ Orestes returns from his retreat in Phokis, circumvents Clytaemnestra and Aegisthus, and puts both to death : but, having thus contracted the guilt of matricide, he becomes a victim to the haunting torture of the Furies (Erinyes or Eumenides). In the third — the Eumenides — we have 'the Avenger's Trial/ Orestes flies to Delphi, there obtains the protection of Apollo, who procures for him a trial before the ancient court of Areopagus, under the presidency of Pallas. The Furies plead against him, Apollo speaks for the defence : at the close Orestes is acquitted by the casting vote of the goddess, restored to his civil rights, and freed from the persecuting power of the Furies, whom Pallas con- soles with the promise of a grove and sacred rites at Colonus near Athens. II. I. Aeschylus, like his contemporary Pindar, is a strictly religious pagan. But his religion is of a sterner and gloomier cast than Pindar's ; probably chequered by his philosophic studies in the schools of Sicily and Italy. He may well be called a pessimist, nay, the very patriarch and first preacher of pessimism. Look at his Prometheus. In that drama, man born to trouble, as the sparks fly upwards (450 &c., τάν βροτοΐ^ Be ττήματα /f.T.X.), has gained through Prometheus all that is to raise him from his low estate ; natural science, letters, numbers, medicine, arts, with their ministers, fire and metals : βραχ€7 Be μνθω πάντα σνλληβΒην μαθ(, πασαι τίχναί βροτοίσιν €κ Προμηθίως, And with what issue ? For these benefactions to men the benefactor is expelled from heaven, chained on Cau- casus, and tormented by command of the divine ruler Zeus. True it is, a hope is held out of better things (521 &c.), but a very distant, a ver)'' indefinite one. Art, says Prometheus, is weaker than Necessity. Who, asks the Chorus, guides the rudder of Necessity ? — The Fates and the Furies. — Is Zeus then weaker than these ? — He cannot escape Destiny. — What is destined for him, but to reign for ever.*^ To this question Prometheus refuses a reply : the season is not come. The Προμηθεύς Χνόμενος is lost, and we cannot take the answer from the modem voice of Shelley. 2. The supreme power then, according to Aeschy- lus, in human affairs, is Μοίρα, το ττεπρωμένον. Fate or Destiny. In the Prometheus he expands this power into that mythic trinity (MoZ/oat τρίμορφοι, Clotho, Lachesis and Atropos) which Rome adopted with the title of Parcae, but also with that of Fata, afterwards Fatae, from whom we get our Fays or Fairies. Again, he recognises them in the ChoepJioroe^ ω μβηάΚαι Μοΐραι (304); and thrice in the Eumenides^ where he calls them half-sisters of the Furies : and makes the latter reproach Apollo with having ruined or destroyed {φθίσα<;) the antique Fates by receiving Orestes at Delphi (1165), and again with having persuaded the Fates to make mortals im- mortal by the restoration to life of Alcestis (694). But, in the Agamemnon, Fate {Molpa or το ΐΓβτΓρωμίνον) is spoken of only in the singular, except perhaps, in one remarkable passage (951), which will be considered when we reach it. See 68. In short, Aeschylus believes in predestination as strongly as the author of the Koran or the great Genevese interpreter of the Bible. 3. But, as the Furies, avengers of Crime, are so near akin to the Fates, and co-operate with these, Aeschylus lii Χ INTRODUCTION. has a theory too on this subject, which acts an Impor- tant part in this play, being often brought forward, especially in the choral ode which begins 664, and again in the scenes with Cassandra, and in the conclusion of the drama. The most pregnant word in Aeschylus on the subject is "Κτη, We can cite no place in which αττ\ simply means a crime (this is rather αμαρτία) or even wickedness in the abstract (this is rather Βνσσέββια or iiffpLs;) : but it often means the madness attending crime, as in Homer (ΑΧβξάρ^ρου evcK άτης) and, oftener, the woe and the curse consequent on crime, and propagating it. This sense we see repeatedly in the AgamemfWfi, Again, "An; is deified as being, along with the Furies, an avenger of crime : that is, while the Erinyes torment the criminal by the horrors of conscience, Ate drives him on to add crime to crime, thus intensifying his guilt and his punish- ment And so his ττρώταργο^ ατη (ii6s) entails upon him a νστβρόττοινος^Άτη {Choeph, 377). See Ag, 1498, 4. And this "At?; attaches herself not only to th£ individual, but also to a family, to a house, which by the guilt of one progenitor may contract a clinging Woe, a Familiar Curse, pursuing it from generation to genera- tion. Such is the Woe of Oedipus and his race, shown in the three plays of Sophocles, and finding its climax in the Antigone, Such, in the Oresteia of Aeschylus, is the Curse attaching to the Atreidan house, whether we are to derive it from the earliest sinner Tantalus (which may fairly be argued from A gam, 1402 &c.) or refer it only to the later deeds of Atreus and Thyestes, as Aegisthus does in his speech, 15 17 &c.* See 1435 &c-> * The revolting legends on this subject vary considerably in their details. See Schliemann's Mycenae and Tiryns^ ch. iii. INTR OD UCTION » where we read also of that demon or evil genius, the άΧάστωρ (unforgetting one), who dogs the guilty house as the abettor and agent of "At?;. To him corresponds the Lemur of Roman mythology. 5. But neither does Aeschylus represent Agamem- non as free from personal guilt. He too has inherited the Family Curse of criminal conduct, though in a less heinous degree. He has led a great host of Achaeans to Troy, there to whiten with their bones the coast of Asia, or leave them beneath the waters of Scamander and Simois. Nor was he permitted to sail on that great expedition until he had expiated an affront to Artemis by shedding at Aulis the blood of his daughter Iphi- geneia. Thus had he contracted the guilt of kindred bloodshed : and this deed is made by Clytaemnestra the apology for her own crime, as it might be, in part at least, the motive. See the choral ode, 640, and the ana- paests following: also 1343 &c. III. We may here observe that the murder of Aga- memnon is several times introduced in the Odyssey, and in each place ascribed to the treachery of Aegisthus. In I. 33 &c. Zeus mentions it to Athene, and declares that men impute their evils to the gods, but incur them really by their own fault, as Aegisthus, whom he had warned by the mouth of Hermes not to consort with Clytaem- nestra and kill Agamemnon: yet he committed these crimes and was slain in consequence by Orestes. Again, III. 253 &c., Nestor gives Telemachus a detailed account of the murder, which Aegisthus accomplished by an am- bush. And in IV. 512 &c. Proteus tells a similar story to Menelaus. Neither of these narratives ascribes to Cly- taemnestra a direct share in the deed, but her guilt is Xll INTRODUCTION. INTRODUCTION XIU / implied in the fact that she marries Aegisthus, and so conveys to him the throne of Argos. But in IV. 92, Menelaus imputes the crime to her treachery : Tfiwff /xot αδβλφίοι/ αλλοί €7Γ€φν€ν Χαθρη^ άρωιστί, δόλω οΰΧομ^νης ά\ό)^οιο. Virgil, a careful student of Greek dramatic poetry, adopts the Aeschylean story : Ipse Mycenaeus magnorum ductor Achivom coniugis infandae prima inter limina dextra oppetiit : devictam Asiam subsedit adulter. A en. XI. 266. This version of the legend Aeschylus must have drawn from post-Homeric poetry, probably from Stesi- chorus. IV. I. In the earliest age of the Greek drama, the Chorus was all in all. Thespis is said to have added a monologue by a single actor; which was improved and dignified by Phrynichus. To Aeschylus is ascribed the introduction of dialogue. But in his plays, as might be expected, the Chorus continues to occupy a more important place than in those of Sophocles and Eu- ripides. In the Siipplices and Eumenides it consists of persons directly and prominently concerned in the story. In the Profuethens and the Septem contra Thebas, as in the Choephoroe, the choral maidens have the position of sympathizers only, but the action of the two " former plays is so slight as hardly to deserve the name of a dramatic plot. This is true of the Persae also : but in that play the members of the Chorus hold the important rank described by themselves in the opening lines : and they have, consequently, a prominent interest in the events that follow. Analogous to their position is that of the aged men (ττρεσ^ο? "Κρηνών) who form the Chorus of the Agamemnon. K. Ottfried MuUer justly saw that they (twelve in number) represent a council of state appointed to cooperate with Clytaemnestra during the absence of Agamemnon. Hence the patriotic solicitude which they exhibit throughout; hence the anxious doubts they hint to the herald and to Agamemnon ; hence their brief and hurried consultation at the moment when they realize the assassination of the king (a passage which almost seems meant to caricature the * strenuous inertness * of political assemblies) : hence the menacing indignation with which in the close of the play they reproach the guilty queen, and a^iy the regicide Aegisthus. 2. Outlines of the choral songs, and of the suc- cessive dialogues in which the plot is developed, will be found m the Notes accompanying the English Trans- lation. 3. As to the characters introduced : — (i) The Watchman (Φι;λα|), who speaks the Pro- logue and then disappears, is a servant of the royal household, a somewhat grumbling sprnch-sprecher^ but staunchly loyal to his absent lord. (2) The herald Talthybius, in the second Epeiso- dion, after saluting his country and its deities, an- nounces in a pompous tone the approaching arrival of Agamemnon, then details with doleful emphasis the sufferings of the army on its outward voyage, and at Troy ; and afterwards describes the violent tempest by which the returning fleet was scattered. Aeschylus has assigned to this personage, in his two latter speeches, a tedious and disjointed style, for which it is not easy to discover a reason. λ XIV INTRO D UCTION, INTRODUCTION. rs I -is (3) Of Agamemnon's character, as it appears in the third Epeisodion, there is not much to be said. His tone and language are dignified ; his sentiments religious, sage, and suitable to a constitutional βασι- Xei;9 : he disapproves the oriental honours prepared for him, and declines to accept them : but a few sophistries of his treacherous wife prevail against his better judg- ment, and she leads him, walking on purple tapestries, to the chamber of death. (4) Aegisthus is merely a contemptible and loath- some coward, gloating over the success of his stealthy vengeance. (5) It is to the delineation of Clytaemnestra and Cassandra, and to the choral songs, that Aeschylus has devoted the highest powers of his genius in this drama. The Agamemnon is often compared with the Macbeth of Shakespeare. But in any such comparison the Choephoroe must be taken with the Agamemnon; for Macbeth contains the retribution as well as the crime; and these are distributed by Aeschylus into the first two dramas of the Orestean trilogy. In these great works of Greek and English genius there are mdeed several striking parallels. In each, the plot is founded on the murder of a king : but in the one, re- venge and hatred prompt the crime ; in the other, ambi- tion only. In each, a woman is the principal agent : but in Aeschylus, Clytaemnestra both plans and perpetrates and exults in the perpetration ; she has a dastard for her accomplice; she is 'a lioness that cohabits with a wolf.' Shakespeare's heroine is a lioness who breathes her own spirit into a lion less resolute than herself• she instigates to the deed, she prepares, she would even have done it, had not Duncan looked like her father as he slept. In both plots, punishment follows crime ; but, in the pagan poet, the criminals merely die by the hand of one avenger : in the modern drama, re- morse is not omitted ; the wife, more daring at first, breaks down first, and dies in phrensied anguish ; the husband rushes to the battle-field, and falls despairing. Aeschylus has no parallel to Macbeth himself; and, were it for this cause only, he must yield the palm in the present comparison to our * myriad-minded ' poet. Rut his choral odes abound in maxims strikingly ap- plicable to the story of Macbeth, to his crimes and his fate. Such are βιαται δ' ά ταΧαινα π€ΐθω ττρόβονΧος^ παΙς αφ€ρτο: aras* ακος δ€ πάν μάταιον. Ag. 360 βροτονς θρασννα. yap αϊσχρόμητις ταΧαινα παρακοπα πρωτοπήμων. 200 το δυσσ€β€ς γαρ tpyov μ€τα μ€ν π\€ίονα τίκτα σφ(τίρα δ' (Ικότα yevvq, 696 των ΐΓολνκτονων yap ουκ άσκοποι θίοί' κίλαιναι δ* *Ερινύ€ς χρόνω τνχηρορ οντ av€V dUas παλιντνχΰ τριβα βίου KTiQova αμανρον^ €v ο at- στοις τίΚίθοντος ουτις άλκά, 4^4 (6) Α supernatural element enters into the Aes- chylean and into the Shakesperian plot. Cassandra re- presents it in the former, the Witches in the latter ; but the representations are widely different in most respects. The Witches are creatures of mediaeval credulity, satanic agents human and feminine, who tempt the innocent to sin, and lead them by fraudulent arts from crime to crime. eL-"^-^-•^ '-■■'^ "*^^'^^f^~ ~-"*^-'^^^^*---^-- • - ιιϋ^ΕΰΜιΙΜΙΐ Mto^' I' yy XVI IJVTJ^ OD UCTION. INTROD UCTION. xvii «■■« I ending in destruction. In Shakgspeare's plot they are im- portant characters, on account of the influence they ex- ercise on the feelings and actions of Macbeth. Cassandra,^ tl^e. fran tic prophetcss.avhos_Q_prcdict ions. ήης^^ a personage well known in the legend of Troy ; and her interview with the Chorus, forming the fourth episode of the Agamemnon, is executed with a beauty and passionate power to which we know no parallel in the same kind. But, while she serves to heighten, we may almost say to constitute, the pathos of the play, she has no signal in- fluence in the development of the plot. Her arrival at"" Argos as the prize, and, according to Greek custom, the assumed paramour of Agamemnon, supplies Clytaemii.'|H nestra with a further excusje for her bloody deed, and \ enhances the luxury of its commission : but her rnptivcs were ample enough Avithout it: they are, primarily, hatred and_vcn geance ; sec ojidarily,^ut. as we think, in a very minor degree, ambition and guiitylove. Lady Mac^ beth's crime is committed without hatred, without having a wrong to avenge, against a generous benefactor and a good sovereign. Ambition, high-soaring, all-grasping, is the one §ole motive : ambition ^r a husband whom she i loves, and, in that husband, for herself. Clytaemnestra ^ is a mother robbed of her darling child and deserted by a husband whom she also knows to be unfaithful. As a wronged woman, she feels none of the repentant horror and anguish which kill Lady Macbeth: she is remorse- less to her last moments. And so we recognise a just aesthesis in the delineation of both these women (so like in some respects, so different in others) by two great poets whom twenty centuries, with all the contrasts of ancient and modern thought, divide from one another. V. The Scene of the Agamemnon is laid at Argos : see 11. 24, 462, 741. Yet the royal seat of Agamemnon, described as such througliout the Homeric poems, was not Argos itself, but Mycenae, which lay among the mountains in the north of the Argive plain, between five and six miles from Argos : and there its ruins have re- mained ever since its capture and destruction by the' Argives B.C. 468, OL 7^, i, ten years before the Oresteia was produced. Yet Mycenae is not so much as men- tioned in the Agavumnon. Dr Schliemann, the inde- fatigable explorer of its site, m his elaborate work en- titled Mycenae and Tiryns, p. 36, says : " Strabo justly observes that, on account of the close vicinity of Argos and Mycenae, the tragic poets have made a confusion regarding their names, continually substituting the one for the other. But this is to be excused, because in antiquity travelling was both difficult and very unsafe. Besides, people were not archaeologists, &c." Mr W. G. Clark writes more fully to the same effect in defence of Aeschylus for thus neglecting to distinguish the two neiglibouring cities {Peloponnesus, p. 70). "Rigorous exactness," he says, " is quite alien from the spirit of Aeschylus and of all the old poets, The.scene of. the Aganumnon is befo jft the palace of the Atreidae, and I question whether he wasted a second thought upon its site. There is not in all the play the faintest allusion to the scenery of the Argive plain, or the relative position of its cities. Aeschylus had evidently been a diligent reader or hearer'of Homer— his characters, language, and allusions prove this... .He could not,' therefore, have been ignorant that Mycenae was constantly spoken of by Homer as the city and abode of the Atreidae, and yet throughout the play there is no mention of Mycenae.... No doubt the citizens of Argos, as they transported the f^* XVIU INTRODUCTION. INTRODUCTION. XIX f people of Mycenae and incorporated them with their own body, were anxious also to appropriate their an- cient legends and heroic fame. The Aganumnon ^^:i^ represented ten years after this final destruction of the ancient capital of the Atreidac. The fact that the poet does not mention the city seems to indicate that its fate excited little or no sympathy in contemporary Greece If the Argive topography of Aeschylus is thus indefinite and negative, that of Sophocles is elaborately wrong. In the opening scene of the Electra, the Pacda- co-ue, addressing Orestes, says : ' Here is the ancient Argos you were longing for, and this the Lyccan agora of the wolf-slaying god (to wit, the market-place of the town of Argos), and this on the left is the renowned temple of Hera; and, at the place we arc come to. believe that you have before your eyes Mycenae rich ii> gold and here the blood-stained house of the Pclopidae. No one reading this description would infer that Argos was between five and six miles distant, and the Hcracum nearly two. The truth is, that neither Sophocles nor his Paedagogue thought of administering a lecture on topography under the guise of a dramatic entertainment, as Milton or Ben Jonson might have done ; so far from it he held the entertainment to be all in all. and made topo<^raphy and everything else give way to it He Avant^'ed to produce an effect by bringing Argos, Mycenae, and the Heracum within the compass of a single coup d'cetl, and I warrant that not one of the spectators was pedantic enough to quarrel with him for it." VI. The Translation which follows our Text was written to be read from time to time in lectures delivered at Cambridge during the months of February and March, 1878. It is not an attempt to poetise Aeschylus in English, but merely to supply students with a close rendering somewhat more agreeable than a prose ver- sion. Its dialogue metre is that of the Greek origmal, which in English is called Alexandrine. The lyric hnes do not imitate Greek rhythm, but the antistrophic verses correspond to those of the strophe. The principles on which the text is formed are stated at p. I55. and fol- lowed by outlines of the textual corrections, and of the choric metres. The Addenda at the close should be carefully read, as they will be found here and there to amend previous notes as well as to supplement them Vn Mr Paley's Aeschylus was always m use while we prepared our lectures and the present volume. : Hermann's notes kept company with it; and he edi- tions of Blomfield. Pcile and Davies lent much ass. - tance. We have also consulted Butler (to us > 42, 60, 63, (^, 68, 78. 89, 90» 93, 96, 113, 118, I4«» CORRIGENDA. LINE 978, for ttrov τά read ένά τα 1030, replace vulg. αφ^ρτον φίλοισιν I055, for KTeLveif replace vulg. τύπτει 1 263, place comma before τάδε, not after it 2 from foot, omit * young* I, i9t yi^ *Mesode' read 'Fro-Ode ' (and so elsewhere) 169, for *tell, long while' read * profit, long' 195, for *Argos' read *Argives,' and omit''Ap70U$ in note 350, for 'this' read 'the * 569, for 'to us indeed' read *but unto us ' 608, for * steel' read 'brass ' 646, read 'the storm to Achaeans not unrous'd ' 705, for 'with' read 'for' 7 from foot, for ' 988 ' read ' 984 ' mo, /i>r 'killeth'r^oi/'striketh' first note, for ' ατα^ \€y6μ€vov ' read 'Aeschylean word ' / *».--.- -j;»^ < ./ / Ν. ΤΠ0ΘΕΣΙ2 Αγαμέμνονος. Λ 1 ^ 1 Η ν ι α ' / 'ΑΓΑΜΕΜΝΩΝ fit ^Ιλιοι/ άπιών ττ} "Κλυταιμνήστρα, el πορθήσοί το lXtoi/| νπίσχίτο της αυτής ημέρας σημαίν€ΐν δια ττυρσοΰ. oOev σκοττον €κάθισ€ν cVl μισθψ Κλυταιμνήστρα, Ινα τηροίη τον ττυρσόν. κα\ ο μ€ν Ιδών άττήγγΈΐΧίν* αΰτη de τον των πρ€σβυτών υχΚον μ^ταη^μπ^ται, 7Γ€ρ\ του πυρσού €ροΰσα' €ξ ων κα\ ο χορός συνίσταταχ' οίτινίς άκού- σαντ€ς παιανίζουσι, μ(τ ου πολν de κα\ ΎαΧθύβιος napayivcTat, και τα κατά τον πλουν Βιη'γ/ίται. *Αγαμ€μνων δ* eVi αττήνης €ρχ€ται' «ττβτο δ* αΰτω €Τ€ρα απήνη, Ζνβα ην τα Χάφυρα καΧ ή Κασάν8ρα. αΰτος μίν ουν προ€ΐσ€ρχ€ται €ΐς τον οίκον συν τ^ Κλυταιμνήστρα. Κασάνδρα δ* προμαντεύίται, πριν etff τα βασιλ€ΐα (Ισ€\θαν, τον εαυτής κα\ του *Αγαμ€μνονος θάνατον, και την ίξ *Ορ€στου μητροκτονίαν, κύ (ϊσπηδα ως θανουμίνη^ ρί'^ασα τα στέμματα, τοΰτο δβ το μίρος του δράματος βαυμάζίται^ ώς €κπ\ηξιν €χον κα\ οικτον ικανόν. 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ISOI 1505 Ι5Ι0 ι so ΑΙΣΧΤΛΟΤ θβονς ανωθ€Ρ yr]9 eTTOineveiv αχη, Ιδών νφαντοϊς iv ττεττλοί? ^Έ^ριννων τον άρΒρα TOvBe κβίμ^νον φΙΧως €μοί, '5^5 χ€ρ6ς ττατρωα^ €κτίνοντα μηχανας, ^Ατρ€ν<ζ yap άρχων τησΒε yfj^, τούτου πατήρ, ττατέρα Θυεσττ/ι^ τον €μόν, ώ ϊσθι, Χευσίμους αράς, ΑΙ. συ ταύτα φωνεΐς νερτερα προση μένος κωττυ, κρατούντων των εττΐ ζιτ/ω Βοράς; yvώσεlf yεpωv ων, ώς ΒιΒάσκεσθαι βαρύ τω τηΧικούτω, σωφρονεΐν ειρημενον. Βεσμος Βε και το yήpaς αί τε νήστιΒες Βύαι ΒιΒάσκειν iζoχώτaτaι φρενών Ιατρομάντεις, ούχ οράς ορών τάΒε\ προς κέντρα μη Χάκτιζε, μη *πταίσας Αίογ^?. yυvaly συ *τοι)δ' ηκοντος* iK μάχης νέον οικουρος εύνήν ανΒρος αισχύνουσ άμα ανΒρΧ στραττ^^ω τόνΚ iβoύXευσaς μόρον, ΑΙ. και ταύτα τάπη κΧαυμάτων άpχηyεvη. Ορφεΐ Βε yXώσσav την ivavTiav έχεις' ο μεν yap ηyε πάντ άπο φθoyyής χαρά, σύ δ' iξopίvaς *νηπΙοις ύXάyμaσιv αξει* κρατηθείς δ* ημερώτερος φανεΐ. ΧΟ. ώς Βή σύ μοι τύραννος *Apyείωv εσει, ος Φουο* iπειBη τώδ' iβoύXευσaς μόρον Βράσαι τόδ' ^pyov ουκ ετΧης αύτοκτόνως. ΑΙ. το yap ΒοΧώσαι προς yυvaικ6ς ην σαφώς' €yω δ' ύποπτος iχθpbς η παΧαν^ενης, iK τών Βε τούΒε χρημάτων πειράσομαι άρχειν ποΧιτών τον Βε μη πειθάνορα ζεύξω βαρείαις ούτι μη σειραφόρον κριθώντα πώΧον' αλλ' 6 ΒυσφιΧης ^σκΙ/τω 1 575 Χιμος ξύνοικος μαΧθακόν σή> iπό^|rετaι. ΧΟ. τί Βη τον άνΒρα τόι/δ' από ψυχής κακής ουκ αυτός ήνάριζες, άΧΧά συν yυvη, 4—2 I56S 1570 \l 52 ΑΙΣΧΤΛΟΤ ΑΓΑΜΕΜΝΩΝ. χύρας μίασμα καΐ θέων εγχωρίων, €ΚΤ€ΐν* ; Όρεστϊ?? αρά ττου βλύττεί φάο^, 1ζ8θ οττω? κατέΚθών Sevpo ττρευμενεΐ τύχυ άμφοΐν yiin)TaL• TolvSe TrayKparrj^ φονενς. ΑΙ. αλλ' iirel BokcIs τάδ' epheiv *κού \uyeiv, γνώσει τάχα. • • • • • ΑΙ. €ΐα δι}, φίλοΰ Χογΐται, rovpyov ονχ ίκάς τόδβ. ΧΟ. ela Βή, ξίφο^ ττρόκωπορ ττάς τις εύτρεττιζέτω, 15^5 ΑΙ. aWa μην /ίαγώ ιτρόκωττο^ ουκ άναίνομαι θανείν, ΧΟ. Βεγομένοις Xeyet^ θανύν σε' την τύχην δ' *αίρούμ€θα, ΚΛ. μηΒαμώ<;, ώ φίλτατ άνΒρών, άΧΚα Βράσωμεν κακά' α\Κά καΐ τα δ' ζζαμησαυ ττολλά Βύστηνον Oepo^' ττημονή^ α\ί<ζ y νττάργβι' μηΒΙν αιματώμβθα, στ€Ϊχ€ *καΙ συ χοί* yepovre^i irpo^ Βόμου^ ττεΊτρω- μένους, 1 59 1 TTpw τταθβΐν €ρζαντ€<;' *άρκεΐν χρήν τάδ' ώ? έττράξ- αμβν. el Be TOt μόχθων yevoiro τωνΒ^ αλις, *Β€χοίμεθ' αν, Βαίμονος χηΚχι βαρεία Βυστυχως 'πe'π\ηyμevoί, ώδ' exei λόγο? yυvaικός, et τί>ς άξιοι μαθεΐν, 1595 ΑΙ. αΧΚά τούσδ' εμοί ματαίαν y\ωσσav ώδ' άττανθίσαι, κακβαΧεΙν ίττη τοιαύτα *Βαίμονος ττειρωμένους, σώφρονος yvώμη<; S* *άμαρτ€Ϊν τίν κρατούντα *$* νβρίσαι* ΧΟ. ουκ αν ^Apyeίωv τόδ' εϊη^ φώτα ττροσσαίνειν κακόν. ΑΙ. αλλ eyω σ ev υστεραισιν ημέραις μίτευμ ίτι. ΧΟ. ουκ, iav Βαίμων^Ορβστην BeOp^ άττευθύντ) μο\€Ϊν, ΐ6θΙ ΑΙ. 61^ iyco φeύyovτaς ανΒρας ελττ/δα? σιτουμενους. ΧΟ. ττράσσβ, τηαίνου, μιαίνων την Βίκην* iirel ττάρα. ΑΙ. ϊσθι μου Βώσων άττοινα τησΒε μωρίας χάριν. ΧΟ. κόμττασον θαρσών, άκίκτωρ *ωστ€ θηΧβίας ττβλας. ΚΛ. μηττροτιμηστβ ματαίων τώνΒ^ ύΧ^ν^μάτων' Φεγώ ΐ6θ6 και» συ θήσομεν κρατοΰντβ τώνΒζ Βωμάτων *κα\ώς. 4 TRANSLATION WITH NOTES EXPLANATORY AND ILLUSTRATIVE. ψ" TRANSLATION. .1. AGAMEMNON. [Scene : (λ^ royal palace at Argos: opposite to the central door is the altar of Apollo Aguitus: near it^ on each side^ altars of other deities. On the flat roof of the palace^ or, perhaps, on a toiver reared above it, is seen ' a Watchman, in recumbent posture, with head resting on his hands, gazing towards the east. The time is night, but near to morning,^ PROLOGOS. Watchman. Still have I ask'd the gods deliverance from these toils thrgughoiit m>Ljong Jiear^s_^ whereto I lay me down upon the Atreidae's roof, arm-rested, like a dog, Prologos. In this prologue the poet has three chief objects in view : a. to announce the capture of Troy by the beacon-blaze and the watchman's outcry Γ ^• to bring Clytacmncstra to the notice of his audience as α woman ofmascuiine character and strong will (lo); 7. to prepare them for future "eyil-by'hinting the misconduct of those who rule the palace^ the absence of^gamcmnon (18, 19, 36—39). ^. still have I asked. Such is the force of the Present alrS» here, as in Latin with iam pridem : past action continued to the present moment. The μΐι^ waits for an apodosis till v. «o, vxiv δέ, 1, μηκοί, accus. of duration, Pal. Some would have it to depend on htiai, taking φρονρά$ in apposition to χ^ων. Others read μηχοί, remedy, in appos. to άπάΚλαγηκ whereto &c. ^v κοιμώμ€νο% a construction {κοιμασθαι φρουράή of the cognate or contained accus. The verb has the meaning of κ€Ϊσθαι only. 3. upon the... roof Slc. or^atj, dat. of * place where.' arm-rested, άτγκαθιν, Hesychius and another grammarian, followed by some editors, consider this to be α form of άι^έκαβ^ν, aloft. Some place 56 AGAMEMNON, 57 and know by heart the congress of the nightly stars, with those \vhich bring to men winter and summer-tide, bright potentates, that in the sky conspicuous shine [stars, whcnsoe'er they wane, and all their rising-times], and* now_I*m watching for the signal of a torch, the blaze of fire, that bringeth a report from Troy, a voice announcing capture; for e'en so commands 5 10 άν4καθ€ν in the text. We agree with Cod. Far. and Paley in regarding it I as = Homeric έπ άγκωνο^^ Iganitigon the elbows, like a dog^ «uvds ΙίκΎ\ν. Pal. says, *of course the simile of the dog refen only to the close watching, not to the half-recumbent posture.* We do not feel so sure of this. We fancy we have now and then seen a dog lie with the head resting between the fore legs. 4• knonu by hearty κ^ύοκ^λ, Kara compounded with verbs of sense expresses the distinctness of the perception. So καταχούω, καθοράω, 5, 6. The watchman, reclining on the palace-roof nightly through tht year, and looking eastward, would (as Professor Adams kindly tells us have the opportunity of studying all the constellations lying not far fron. the Equator: the most conspicuous being, — among the zodiacal, Taurus, Gemini, Leo, Virgo, Scorpio, — among the extra-zodiacal, Andromeda, , Orion, Canis Major and Minor, Aquila. As the constellations so^seen would vary according to the seasons, a poet might say that they brinj^ summer and winter. This would not apply to the planets Jupiter, Venui and Mars, Λvhich would also become conspicuous in liie course of the year, but not as connected with particular seasons. Some stars more distant from the Equator would also engage the observer's attention, as Capclla in Auriga, Arclurus in Bootes, and Vega in Lyra. 6, ^imiaies^ δι/νάσται. Pal. seems to explain this of the sun and moon. But the sun would not be seen in the night, and the moon has nothing to do with the change of seasons. (It is however not impossible that Aesch., thinking most of the sun, may have meant to say that the watch, beginning at sunset, and ending at sunrise, would teach the various hours at whici these took place. If so, 1. 7 may possibly be genuine. Weil keeps it, with Ιιχτμαι^ for daripas.) Others refer δυνάσται to larger fixed stars which would in the course of the year come within the field of view of the watch« man, as he lay down with his face towards the east See these recounted in the last note. . 7, See Conspectus L•ct^onum. 10. so commands i ώδ€ ^pare?, Ilerm., to which version we see no valid objection. 15 20 PROLOGOS. a woman*s man ly-planninfr heart in hopeful mood. :hut whensoe'er I keep this nightly-restless couch ^ of mine, all drenched with dew, by dreams unvisited— for terror in the stead of sleep beside me stands, sojhat in sleep I may not soundly close mine eyes — or when I think at times to sing or hum a tune, ,f. providing this one music-antidote to sleep, then do I wail with groans the evils of this house, not, as of yore, in noblest wise administered, but now may't come, my fortunate release from toils, when through the dark with joyous message gleams the fire, (The beacon-blau is descried on Mt. Arachnaeus: the WcUchman starts to his feet, and cries.) Hail, Ο thou shiner of the night, exhibiting a day-light splendour, and in Argos garniture 14. terror, φ6βοί, i. e. fear of punishment for sleeping on his watch. 16. dcidrtr, to sing words ; μινύρ€σθαι, to hum a tune without words. 17. A» τέμνω» ίχο%. We print this conjecture for the vulg. έντέμνων dxof with a strong belief that it is Λvhat Aeschylus wrote. The compound verb is taken to mean shredding in ^ i.e. mingling^ and would be an οτα| Xey6/i» άντΙ τοΟ ίύρέσΟαι' and in Pindar Pyth, IV. 394, we find φαρμακώσαισ — άντίτομα rrtpta» 6δυ»α», The use of ir is a well-known idiom. The two modes of chanting (deWity η /uw- ρισθαι) form one musie-antidote to sleep {h &Kot ά»τίμο\το» utioi;), dis- tinguished from others not musical, such as walking up and down. Sec £um, 559, t» μΐ» τό3* ifiri των τριω» ναλαισμάτων. '-~-• w K i O^Wii.^^ ,^#rf^#«s*i^.: 58 AGAMEMNON. of many a dancing choir, to honour this event. hurrah ! hurrah ! to Agamemnon's wife clear token do I give that from her couch she rise with earliest speed, and lift, 5 for all the house to hear, a happy-omened cry this torchlight loudly greeting, since that Ilion's town is taken, as the beacon-message plainly tells, and I myself too will perform a prelude-dance ; for lucky shall I count the fortunes of our lords, now that this beacon-watch has thrown me triple sice, and so, when he, the king who rules the palace, comes, my lot be with this hand to hold his well-loved hand, of all the rest I'm silent : on my tongue hath stepped 24. συμφορίί is used in its original sense, occurrence^ eventt which henj^ is a happy one. But, by a well-known Greek euphemism, it most fre- quently means a calamitous events a misfortutu^ as above, 18. ' 35. Some think that the watchman now descends by an unseen stair to!^ the proscenium, and there ends his speech, afterwards entering the palace by one of the lesser doors. We do not take this view. If he had been > watching on a turret, he descends/rom it and perhaps shouts through a trap•.^ door in the roof to the queen And family, then, concluding his speech oq the roof, he quits it by an unseen stair. a8. λαμττάδι depends on the lirX in iirop9i6XtWy to shout aloud on, t 30. plainly tclls^ άγγΑλων xp^irct, distinctly announces, vpiwn» tt*^ presses distinctness in what is seen or heard. See itirpiirovTax above, 6. 31. Here the watchman performs some steps of a dance. 32. θήσομαι, /shall reckon or (as Pal.) score, lucky f it τίσόντα, U? have had a lucky cast: see the metaphor continued in the next verse. 33• IripU sice, τ pit (ζ. The dice {κύβοχ) of the Greeks were like our own ; and, when they played with three,, the best throw was three sixes, which the Romans called Venus.. The Ipwest was r/xa κύβοι (three aces), J in Latin, Canis. 35. to holdf βαστάσαι, lit. to lift or bear up. The use of this verb] seems to show that the inferior greeted his lord by laying his hand under^ that of the latter, and respectfully pressing it upward. 36. • on my tongue &c. The origin of this metaphor, an ox treading Oft* the tongue, which expresses enforced silence, is unknown* PARODOS: 59 a mighty ox; the house itself;. iLvoice it found, 'would_^e,the clearest evidence; since I by choice speak to the knowing, to the unknowing I forget. PARODOS. ^ ]Jhe Watchman leaves the palace roof. An interval of time is now supposed. Daylight has arrived, Clytaemnestra, acquainted with the tidings of the beacon^ has sent messengers commanding incense to be burnt before all the shrines of Argos^ in token of thanksgiving. The Chorus, consisting of the chief councillors of the state, attend at the palace to learn the news. Each xop€VT^t carries a staff {βακτηρία). They enter the orchestra by the passage between the stage and the spectators' seats [θέατρορ) on the right-hand of the latter, and, moving on the circumference of a quadrant ^ ascend the choral platform, which extends from the central thymele {altar of Bacchus) to the proscenium. There, standing in their usual order^ they chant their opening song. The passage by which they enter is called Parodos, and the song then sung receives the same technical name. In this drama it has three parts, i. Anapaests; i. Mesode; 3. 0Λ.] Chorus. ^^. I. Anapaests. Now is the tenth year on its passage^ 40 since Priam's great opponent, , 37. the house &Ct See Luke xix. 40 : * I tell you that, if these should hold their peace, the stones would immediately cry out.* 39. J forget, \^θομαι, Ital. non mi ricordo; which, since a famous occasion in i%20, has almost passed into a proverb for convenient silence. It might be rendered hold my peace here. 40. In the anapaestic system (or series of systems, if a versus paroe• 'miacus be regarded as the terminus of a system) with which the Parodos t commences, the Chorus says : that tea years have passed since the expedi- tion against Troy sailed out under Agamemnon and Menelaus, whose ^ wrath for the loss of Helen was like that of a pair of vultures robbed of ^ their young: that an avenging deity espoused their cause: that war and bloodshed ensu«d, of which the end was not reached, but punishment could not fail to visit the unholy union of Paris and Helen». The old age of the Chorus, which had detained its members at home, is described as a second ichildhood. Finally they address Clytaemnestra (who, during their recita• Ltive, has probably come out of the palace and begun to light the altars [before it), inquiring why the order for burning incense is gone forth, and ; begging her to relieve the anxiety with which their minds are disturbed. 41. opponent^ ijrriimot, properly in a suit {j^kji). This is specially MHi 60 AGAMEMNON. king Menelaus with king Agamemnon, — a stalwart yoke-pair, sons of Atreus, holding from Zeus the honour of two thrones, two sceptres, — an Argive armament of thousand vessels 45 from out this country despatch'd, a militant reprisal, a mighty war-cry shouting in their fury, in mood like vultures, which, with sorrows excessive for their children, high o'er their eyrie whirl in circles with oary pinions rowing, ^mce they have lost their labour^ the couch-observing labour of their nestlings. but hearing from on high, perchance Apollo, * or Pan or Zeus, the shrilly-crying bird-wail of these sad outcasts scndeth unto transgressors an after-punishing Erinys. applicable to Menelaus, who had been robbed of his wife, and whose name is first mentioned. Agamemnon is tlien added, as his brother espousing his cause, and as commander-in-chief; but the two continue to be men• tioned as forming one yoke-pair, feD70f 'Arpftioi», in apposition with which gen. stands Tt/i^$ and its epithets. The construction is remarkable. 45. of thousand vessels^ xtXtoi'aJTijv, boldly used for χκΚώνο,υψ. 47• ripav. ^tQ Sttppl. 2, /Vrj. 791. reprisal, άρύτ/ήν, lit. stucaur, i. e. the forces sent to obtain redress. 48. in their fury, έκ θυμού, or, from their heart, with all thdr heart. 49. in mood like, rpbro» {κα,τα) in the manner oC So ^ίκτ,ρ, 50. excessive, ίκνάτιοί. This is Variously explained: by some(^ic τάτον) lonely. The meaning we adopt seems probable. 51. high der, ΰνατοι, for νν€μθ€, an unusual expression, iwapu has been proposed for it; not improbably, as vtraros follows, 55. 55. perchance, rti. Pal. says : * the same in point of sense as if he had said v-waxU ris άίων, i^ 'AroXXwr 17 κ.τ.λ.' It has been suggested, that Apollo favours the vultures as augural birds; Pan, as birds that hunt; Zeus, as birds of royal nature. 57. outcasts, μίτ οίκων, used of those who are removed to a strange home : here of the young vultures. -.59• after-punishing. So Hor. pede Poena claudo. 61 60 65 70 75 PARODOS. e'en so thejni ghtier Zeus, of guest-law_guardian, sends Atreus' sons to war on Alexander, preparing many limb-subduing struggles alike for Trojans and for Danaans, when in the dust the knee is planted, and snaps the spearshaft in the onsets waged for a many-suitorcd woman. asjh ings ar e now, so are they, and fulfilled shall be as D estiny hath^iljed. ^. he shall not soothe aside by burnt-oblation, or wine-libation or tear-shedding lamentation, of fireless rites the strong-set indignation, ^but we, by aged frames exempted, 'left of the force behind which then was mustered, I remain, on staves supporting our child-like strength. for the young marrow leaping upward |.within the bosom, ere martial vigour holds its place, is eld-like; and far-gone eld, what time the foliage withers, ways triple-footed walketh, 60. the mightier, h κρύσσων, i. e. Zcvi llviot (of guest-law guardian). who is assumed, in that character, to be still mightier than the Zeus (rtf) who favoured the vultures. 65. onsets, rpoT€\€lott. Hesychius has: τροτίΚ€ΐα, al rph του -γάμου τ(\ούμ€ναι θυσίαι. Hence the word is used here metaphorically for a skirmish beginning a battle: in 204, for a sacrifice before a voyage. 66. many-suitored, τοΧυάν opos. Helen had many suitors: and, after the death of Paris, she married Dciphobus. 71. fireless rites. The meaning of άτνρων Upwv has been much dis- puted. Scholefield supposed the Fates to be meant. But there seems to be no safer explanation than this, that the poet thus designates the I marriage-rites of Paris and Helen, which, being hasty and illegal, tpok t place without the usual burnt-offerings. The wrath of these will mean I.' the wrath of the deities to whom such offerings were due. 7a. exempted, drirai. This word dWriyt (ά, τίω) is explained to mean, not liable to pay a due; here, 'not fit for military service.' 80. triplefooted, rpiroiat. An allusion to the riddle of the Sphinx, 80 ifc-.*!)»•^"- -"β,-ί--?*^••.• 6z AGAMEMNON. Κ 9^^ 95 and, than a child no stronger, a day-seen dream, he wanders, but thou, Tyndareus* daughter, 'queen Clytacmncstra, what is this occasion? \vhat new thing has befallen ? what hast thou noted, trusted in what tidings, that thus thou sendest round an incense-stirring message 1 for now of all the gods that hold the city, supernal, infernal, heaven-abiding, mart-residing, the altars are ablaze with offerings: the torch on this side and on that upliftcth . its skyward-reaching stature, drugged with the soft and guileless suasions of holy ointment, the clot from out the royal store-room. of these things what thou canst, be pleased to tell us, and what to speak is lawful: and of this care become a healer, which now is sometimes evil-boding, •but soon again from sacrifices - hope blandly shines, and chases from the bosom insatiate thought, th at soul- devoimng sorro w. solved by Oedipus, ίση δ/ιτουί Μ 7^1 καΧ τ4τραιτο$...κα1 rplrou The biped | man, when he crawls as an infant, is four-footed; when he lakes a crutd^^ in old age, three-footed. 83. Τυνδάρεω. Gen. of Τυνδάρ^ωί, a by-form of Tvviapoi, 94. ^/Wm, άδόλοίσι. We think the true contrast implied by this epithet has been generally overlooked. Some render it ^λιι/ιλ^: others suppose the guile of orators to be glanced at. In our opinion (looking at | φαρμ. xp: aypov) Aeschylus refers to the φάρμακα δόλια of sorceresses (φαρ^* • μακ€ντρίαι). See Theocr. Id, ll. Verg. £c/. vill. 96. cioi, TiXavoi, a soft essential substance, such as butter (in a tub} or lard (in a pan). r i. 1 u u store-room, μυχόθίν, from the μνχ6% interior of the palace, where the pantry, larder &c. were, near the έστΙα: lit «the royal clot from the lOQ. no (108) PARODOS, 63 ^. Me s ode, iij. Empowered am I to sing aloud Strophe, the lucky strength of men illustrious, 105 h boded by a wayside omen, Κ (for still my life, with strength connurtured, by heavenly favour upon me breathes the confidence of song), how the twin-tteon^d kingship of the Achaeans, of Hellad youth a government harmonious, with spear and hand exacting vengeance ' a fiery bird to Teucrian land conducts, the king of birds to kings of ships —the black one and the white-tailed — manifest 115 i nigh to the tents, upon the hand that wields the spear, ^ in a station seen of all, * 104. Why Cl3rtaemnestra at this moment makes no reply to the Chorus, is left to conjecture. Engaged with 4he altars, she may be supposed to have moved during the recitation of the anapaests, and to be out of sight behind * the right-hand Periacte. The Mesode of the Parodos now sung describes a wayside omen which occurred to Agamemnon and Menelaus on their [march to Chalcis, and its interpretation by the army-seer Calchas, who, kqcwing by his skill that Artemis was displeased with the Atreidae, invoked the aid of Apollo to pacify her, and prevent the evil consequences hinted at in the concluding lines. The omen was that of two eagles (who represent the Atreidae) devouring a pregnant Imrc. On wayside omens (/νόδια σχιμβοΚα) see Theophrast. Char. (6 ^ασΛαΙμων) and Hor, C, III. 27• 106. boded by a wayside omen^ δδιον. 107• for still &c L e. for, old as I am, yet am I still strong enough to sing with boldness. 110(8). kingship, «τ/κ£τοί (abstract for concrete) =/3o6). forcUrickcn. Some, as Van Heusde. expla.n 'A^''" Th^host of Agamemnon. ' To eloud a bit ' is a harsh and confused meU- phor but iniagedy the language of soothsayers is often studiously dark. 34 Ϊ8) ^led hounds, ,rra.s Stive of her anger against Agamemnon for some offence which Aeschylus dtr^ot expressly mention, but Sophocles (£/. 566) describes as the slaughter of a doe in hunting." The eagle is called the dog or hound of Zeus, as h s constant attendant ; and 'winged hound > (by a well-known trag.c .d.om) to distinguish the metaphorical from the real dog. ^^ Prom. ,041. Δώ. « TO. ^τψ^ κύω, ίαφο,νΐ,, αΙ«•ί«. Soph. fr. 815. 4 «.ρΓΤοΡα,..- akri,, «« Διίί. Clytaemnestra is called Sirow λίοικο, 1187. PARODOS. 65 Epode, 140 (34) ^^' 145 ere birth : and hates the meal of eagles. sing woe ! sing woe ! but be the good victorious ! So kindly though she be, the Beauteous one, to dewdrops small of furious lions, and to the udder-loving cubs of all land-roaming beasts, she beggeth the pleasing signs of these birds to fulfil, visions of happy omen, but not blameless. I call for aid from healing Paean, that she may frame no stormful breezes against the Danaans blowing, long time the ships detaining, th? while a second sacrifice she speedeth, a lawless one, unbanquetable, kindred artificer of quarrels, ^husband not rcspcctin f]^ : for there waitcth a terrible recoiling anger, house-guarding, treacherous, mindful, child-avenging.'^^ such things did Calchas shouting utter with mighty blessings mingled, 155 as from the wayside birds predestined unto the royal houses, with these in concert sing woe 1 sing woe ! but be the good victorious I 150 (41) ^' 3. Ode. Zeus, whosoe'er he is, if by this title Str, I. 160 (48) 138—144 (31—38). See Consp. Led. Tepnyh. in 135 may possibly be a gloss, but we lean to a belief in its genuineness. What there is of good in the ambiguouir tokens Artemis asks (of the Fates and Zeus) pei mission to accomplish. Στρουθων is certainly wrong where it stands : whether it should take the place of τούτων in 136, or be struck out as a gloss, cannot be settled with assurance. We should prefer its removal, if we could venture to read ^ώ 3* our as suggested in the C. L• 160 (48). The Chorus begin this ode with a profession of their religious faith in Zeus as the supreme ruler. Uranus and Kronos (they say) are i ,i If AGAMEMNON. 66 to be called himself delighteth, even thus do I address him. ^ other can I not conjecture, in the balance weighing all, save Zeus, if from my thought the idle burden • 165 I may reject with true decision. For neither one, who formerly was mighty, , ^^u . with all-battling prowess teeming, aught shall tell, long while departed; 1 Tt U wise to sine the praise of Zeus the conqueror, past and powerless JUs wi e « ^J"S Ρ ^^^^^ ^ ^,^,^πβ. One. ""r ^^!^:;::r^tnt SJSiu^^e wih if forced on reluctantmindsj instance of this is seen in mai γ viewed as a blessing vi by the stings of '^'^^ζ ^^^^^^^^ΙΤΖ^ ZT^ ^^^ when t' from the gods. /" h .s »he <^ of Ag ^.^^ ^.^ ^^ ^^^.^ ^^^ ''T^Z^ZxMi^^^^^-''^^'^''- the dread demands of Artemis.- ^ and when Calchas .""'"'« ° . ^ ^oice between disoljedience uid .- Agamemnon exclaimed: «"""' " '^'^ ^ to their fate? how the murder of a ch.ld : f°' ''««X ^,^;,,",' and demand?' Tl.us did can I refuse to my all.es the »^"/'" «'^ j*^^' j hter. The dire fact i. Λ' n^' ''Xth ':re; eV h^s : and ^he mfxim repeated, that the fthen described with picturesq e i .^ ^^^^ p^^^^^ fruit of suffering . ;-™e;,,f,":J^:Tor knowing ; till then. lamentation fsTerir tU r "L be pros^ou. in accordance with the wishes °-:j;t:3rX^2^"S%XrconsUucted: the mcani. ^ * βΓ ν,'ΐί"^" .'' The conjecture H.p^X is adopted to take the place ,67-171 (ISS 'ST) ^ suspect there is yet deeper corruption °' tt ρίΓ I Ϊ 1 -ton after ,j Σύχτήρ, it is also called* etfroT^ios, happy-fated. ' I EPEISODION L 71 'tis quite as good as sorrowing ere the time; for clear 'twill come with day-break : but of these things the issue be success ! so wisheth 255 of Apia's land this nearest and sole-guarding bulwark. EPEISODION I. {There is some difficulty in accounting for the silence of Clytaemnestra when addressed in the anapaests of the Parodos 83—103. Some think that she had not left th€ palace at that time; others that she was on the proscenium at I. 83, but quitted it before 103 without staying to reply^ which is perhaps the truer view. At all events she now comes forward to the logeion, and is addressed by the Coryphaeus in the words with which the First Epeisodion begins. ^ Chorus. Thy power revering, Clytaemnestra, I am come : for 'tis but justice to respect a ruler's wife when the male throne is left without an occupant. 260(36) but, whether thou hast learnt some good, or, learning nought, in hope of happy tidings incense offerest, fain would I hear: yet shall thy silence not offend. Clytaemnestra. With happy tidings, as the proverb is, indeed «57 (33)• hulwark, (ρκ(κ. It is very doubtful whether this expression is applied by the Chorus to themselves as the Council of State or to Cly- taemnestra, who now appears on the proscenium. We lean to the latter view. 258 (34). In this Epeisodion, Clytaemnestra, replying to the questions of the Chorus, first describes the succession of beacons by which the news of the capture of Troy has been transmitted to Argos ; and then draws an imaginary picture of the condition of things in the captured city Her concluding words, like those of the watchman, are designed by the poet to prepare the minds of the hearers for evil impending, which here is ascribed to the possibly aroused displeasure of the deities. 161 (37). tAou hast learnt, lit. having learnt, τ^τυσμένη. The Chorus ask whether the incense is oflfered in thanksgiving or in supplication. I 72 AGAMEMNON. I may Morning from its mother Night arrive to birth ! 265 but thou wilt hear a joy too great for hearer's hope; the Argive troops have taken Priam's capital. Chorus. What sayest thou ? the word is lost for lack of faith. Clytaemnestra. That Troy belongs to the Achaeans :— speak I plain ? Chorus. Joy steals upon my senses, calling forth a tear. 270(46) Clytaemnestra. Tis true: thine eye declares thy loyal sentiment. Chorus. What is't thou trustest ? hast thou proof of this event ? Clytaemnestra. I have : why should I not, unless a god deceived ? Chorus. Do phantoms seen in dreams convince thy reverent soul? Clytaemnestra. I would not earn the credit of a sleepy mind. 275 Chorus. Has then some wingless voice enriched thee with the news t -i^S (41). The name Εύφρόνι^ (which stands to Νύξ in some such re- lation as Eύμ€vίδ€s to 'EptviJes) suggests €ύayyέ\ιa, 112 (48). This verse is usually printed as one question : what trust• worthy proof &c. ? Others place a first interrogation after yap ; how then ? hast thou &c. ? Clytaemnestra's reply suggests the punctuation in our text. I have a τέκμαρ/ she says, and ends her speech by saying τέκααρ τοιουτορ ξύμβολόν re σοί \4yeninsula Acte, westward: (4) M. Ma- kistus in Euboea, southward : (5) M. Messapius in Boeotia, south of west : (6) M. Cithaeron in Boeotia, south of west : (7) M. Aegiplanctus in Megaris, west of south : (8) M. Arachnaeus in Argolis, west of south : (9) the palace-roof at Argos, westward. 287 (64). lay full. Our conjecture τροΰκατο for ms. ιτίύκη τό is pro- posed with a strong belief in its truth. For (i) the place {262 — 165) is manifestly in want of a finite verb, and deformed• by the presence of the worse than useless noun τ€ύκη. Here then a verb must take the place of the noun, clearing up the sense^ and supp>orted by the adverbial phrase xpbi ηδονήν. We had thought of τροΰβη, but further consideration showed the idleness of the article τό, and led to the perception of τροϋκατο, as the true word, (a) Palaeographic critics will at once see that the * ductus litteranun* in uncial writing shows almost exact correspondence. (3) It has been 74 AGAMEMNON, ίίΙ before the gladdened view, transmitting, like some sun, a golden-beaming blaze unto Makistus' towers. nor did he, dallying, or by heedless sleep o'ercome, 290(66) forego the duty that beseems a messenger : but to Euripus' streams far flies the beacon flame and makes its signal to Messapius* sentinels. they, answering blaze with blaze, the tidings forwarded by lighting up with fire a pile of aged heath. 295 so in its vigour still the torch, not yet bedimm'd, across the plain of the Asopus took its leap, like the bright moon, unto Cithaeron's cliff", and there awoke another new relay of missive flame. nor did that watch-post disallow the far-sent light, 300 (275) kindling a larger blaze than any named before. forthwith beyond the lake Gorgopis shot the light, and coming to its point on Aegiplanctus' mount suggested to us in objection, that a verb of motion is wanted. We think not. But let us first translate the lines. High-reaching^ so as to skim the sea^ the strength of the travelling torch lay forth to full delight^ and transmitted^ like sotne sun^ a blaze of golden light to the watchmen of Makistus. The site of this Euboean mountain is not clearly known : but it must have been somewhere near Cape Koumi, from which point a great beacon lighted on Mt. Athos (Monte Santo) might possibly be descried in a direction due north, at a distance of 90 miles. The word ^xe/weXiJs, and still more the simile ώϊ rtj ^7X40$, distinctly prove that in the ί<Γχύ$ TopeuToO λαμτΓάδοϊ Aesch. meant to include the source of liglit, the beacon on Athos itself. Whoever, like ourselves, has spent the autumn and winter months on a western beach, and faced, morning after morning, the golden path of rays streaming over the sea between his own eyes and the newly risen sun, will understand the perfect fitness and beauty of the verb irpoUKeiro here. The fitness derives further force from the application of the verb νροκ€Ϊσθαί to headlands such as Athos (ip •TQ θαΚάτττι Ίτροκίίμίνον χωρίον^ Xen. An. VI. 4), and to arranged signals, as τροκ€ίμ€να σημήια in Herod. (See Soph. O. T. 865, ν^μοκ πρόκίΐνται.) * To full delight'' is a neutral rendering of τρ05 iihoviiv. It is open to question whether this phrase refers to the light itself {at its own sweet vnll) or means (as we suggest) to the delight of beholders^ especially the watchmen of Makistus. So Prom. 503, δαίμοσιρ Tpbs ηδονή». EPEISODION I. 75 'twas urgent that the law of fire be well supplied. so up they lit, and send with unbegrudging strength 305 , a mighty beard of flame : and in its forward course the headland this surmounts, that gazeth down upon the gulf Saronic, and shot upward; then it reach'd mount Arachnaeus, city-neighbouring beacon-site: and last unto this roof of the Atreidae shoots 310 (286) this light, not undescended from Idaean fire. such are the well-adapted laws of torch-bearers, 305 — 308 (281 — 284). With most editors we adopt Canter's conjecture κάτοΊΓτον for κατότττρον in 283 : and with Schiitz, iwepjSaXXet for ύττζρβάΧΚειν^ but, in 284, instead of reading, as Schutz does, φΧέΎουσα, κατ' ^σκηψεν, we edit a conjecture of our own, φ\έyoυσ^ άνω τ' (σκηψ€ν, which is closer to the * ductus litterarum' of the ms. text φΚέ-^ουσαν cir' (ίσκηψεν. (i) We cannot believe that Aeschylus used so harsh a construction as κού, ύτ€ρ• βά\\€ΐν for ωστβ καΐ νττ. (2) The reading άνω implies that the flame, shooting from the beacon of Aegiplanctus, encounters some headland, which it surmounts by glancing angularly upwards, and then directing its course over the Saronic gulph to the Argive Mt. Arachnaeus. (3) To suppose that σκήπτω in this sense contains the idea of downward direction, becausp it is so often used of thunderbolts striking the earth, is a mere delusion. The verb itself includes three qualities, straightness, speed, and strength, which may be exerted in any direction, though chiefly applied where speed and strength are directed by the force of gravity to strike the earth. Here, however (if άνω be not read), no downward direction is implied, but rather the reverse, as in 1. 278, \1μνψ δ' ύν^ρ Τορτ^ωνιν Ιίσκηψεν φάοί, while, in 1. $42, ύΗρ άστρων σκήψαεν is used of upward motion. (4) This correction has the advantage of eliminating one βΓτα, the repetition of which is merely displeasing. Paley's reading, e&r' άψΐκίτο, which he ascribes to Hermann, assumes clr' ΙΙσκηψεν to mean, t/ien it stopped or alighted. Such a sense would require to be supported by examples, but none are cited : and, after the use of ίσκηψεν above, 1. 278, in the sense of motion only, we regard it as quite untenable in this place. In 1. 286, we again render σκήτΓτα shoots, observing that, although the direction of the flame from the beacon on Arachnaeus to the roof of the Argive palace is downward, and it finds a terminus there, yet these are accidents due to the circumstances of the case, and not implied in the meaning of the verb. 312 (288). laws of torch-bearers, λαμχαδηφόρων ιώμ(Λ, The arrange• 76 AGAMEMNON. from one to other in succession due fulfilled, and the first winneth, though 'tis hindmost in the race, such is to you the proof and token that I tell, 3 1 5 a message by my husband sent from Troy to me. Chorus. The gods hereafter, lady, shall receive my prayers, but this tale would I hear and marvel at again told to the very close in thy continued speech. ments of the famous torch-race at Athens present some difficulties. We know two things, (i> that the winner must reach the goal with his torch alight: (2) that racers handed over their lighted torches to other racers under some law of succession, as here διοδοχαΤί, and in Lucretius, et quasi cursores, vitai lampada tradunt. The contending tribes, therefore, must have provided at least two runners each; the second of whom should receive the lighted tor.ch from the first, perhaps to carry it back to the starting place, if the course was like that of the δίαυλο? δρό/χοί. Or there might be several successive runners on parallel straight courses divided at equal intervals. 314 (290)• and the first winneth, though 'tis hindmost in the race. This, we doubt not, means that the besipon of Ida. which looks down on the captured city, is on that account the winner. The victory is there. 319 (295). ws λ^70ί$ -koXlv. Paley, reading ώ$ Xi?7ety, gives the fol- lowing note. " All the codd. but one give m X^ots, which Peile and Klausen explain, after Wellauer, *as pray tell me again.» Dindorf and Hermann give ous X^^cts after Bothe. But ώί X^ets gives a good sense; eik(j» άκοΟσοί ^ιψζκΟ}% τούσδ€ λόγουι ττάλιν XeyoM^uovs, otws λ /air forms, εΰμορφοι. The word certainly stands in contradistinction to the burnt ashes of other slain : and this leads us to suspect that Aesch. wrote (μμορφοι in their own forms, i. e. unbumt. That word is only cited from very late Greek: but it may have been drawn from our poet. 456 (31). people-sanctioned curse, δημοκράντου apai. Paley says : "the custom of execrating the public enemies of the Athenians in their as- semblies is well known. Demost. 270 ούχ ων ίτυχεν ην, άλλ' ots 6 δημο9 καταραται" 466 (3θ) dy the eyes of Zeus, 6σσοΐί δώθ€ν. So we render with Paley. Others make δσσοί$ = against the eyes (of the many-slaying). 6—2 i 84 AGAMEMNON. EPEJSODION II. 8S yet ΛνΗο so childish or so shorn of sense, as, by the new-sent beacon-message 475 inflamed in heart, through variant news to be dejected afterward? it suits a woman's eager mind instead of visible assurance to welcome a delight. 480 (44) the female nature over-credulous is open to encroachment swift-coming; but swift-fated too a woman-bruited glory perisheth. EPEISODION II. Chorus. Soon shall we know the things by torches carrying light 485 478 (43)• eager mind, α/χ/χςΤ. Of this word Paley says on Prom. 412, * In Aesch. it appears to signify indoles , from άίσσω, like Θ\}μ6% from θύ(ύ, in both the notion of impulse prevailing, according to the natural temperament of the Greeks.' 479 (44)• tfp^ του K.T.X. Paley renders *to acquiesce in what is pleasant in preference to what is certain.' 482 {45). is open to encroachment, ^Ttv/^erat. Pal. says : * the true meaning of έττιρέμ^ται was first pointed out by Dr Donaldson (JVew Crat. p. ιφ) the word being, as he has proved by several examples, technically used of trespassing on a neighbour's land.' The metaphor is preserved in the word 5/)oy, bottndary, used here for character, 4^5 (49)• III this Epeisodion the Chorus notices the arrival of the herald Talthybius, who, on entering, salutes his native city, its deities, edifices and statues. He notifies the approaching return of Agamemnon, and extols the greatness of his victory. A conversation {σηχομυθία, line for line) ensues between him and the Chorus, in which they hint the dis- quietude of feeling in Argos. The herald then recounts the sufferings of the army at Troy during the war, which are now compensated by brilliant results, for which thanksgivings are due to the gods. Clytaemnestra then approaches and claims credit for the confidence she placed in the beacon- message. She sends a hypocritical greeting to Agamemnon, declaring her own fidelity during his absence : and then probably retires. The Chorus enquire about Menelaus. In his replies, Talthybius is obliged to confess w transmitted, and by beacon-watches and by fire, , whether indeed they're true, or whether dream-like came this blaze, and with its pleasantness beguiled our minds. yon herald I behold approaching from the shore with oHve-boughs o'ershaded, while the thirsty dust, 490 (53) brother of mud, and closely bordering, attests that neither mute, nor lighting flame of mountain wood, will he give signal unto thee by smoke of fire j but rather, he will either speak and utter joy, or — but the word opposed to this my soul abhors : 495 for to the good displayed be each addition good ! who for this city offers prayer of other kind, be his, himself to reap the error of his heart. Herald. Ο thou paternal threshold of the Argive land, to thee in this tenth light of summer I am come, 500 (463) now, after many hopes were wreck'd, of one possess'd. for ne'er was I expecting in this Argive land to be in death the sharer of a blessbd tomb. now do I give thee greeting, land, now, sunlight, thee, and Zeus the country's highest, and the Pythian king, 505 no longer aiming arrows at us with his bow. enough upon Scamander's banks wast thou unkind : in other mood a saviour now and healer be, Ο king Apollo; and the gods address I all o'er games presiding: Hermes too, my champion, 510 (473) that the Grecian fleet has been shattered and dispersed by a storm, and that the ship of Menelaus has disappeared. He speaks, however, with confident hope of his safe return ere long ; and now goes into the palace. 489 (5^). from the shore. The herald comes in therefore by the entrance of the stage' to the left of the spectators. 490 (53)• ^^^ thirsty dust, brother of mud, and closely bordering &^c,' A strange mode of intimating that the herald's boots &c. are covered with mud, and his other garments with dust. S6 AGAMEMNON: EPEISODION IL 87 'i dear herald, and by heralds all a name revered, and heroes who despatched us, that in kindliness they will receive the host surviving from the war. ο thou the dwelling of our kings, beloved roof, and holy seats, and ye, sun-facing deities, 515 if e'er of old, with these your eyes of happy cheer in order due receive ye the long absent king. for, bringing light in darkness equally to you and to all present here, king Agamemnon's come. salute him duly then, for so it well beseems, 520 (483) since with the spade of justice-righting Zeus— whereby the champaign hath been tilled— he has uprooted Troy. the altars are extinct, and shrines of deities, and perisheth at once the seed of all the land. on Troy's neck has he thrown such yoke, and now he's come— the royal elder-son of Atreus, happy man; 526 and worthiest to be honoured of all mortals he that live : for neither Paris nor his citizens can boast their doing greater than their suffering. for, worsted in a suit of rapine and of theft, 530 (493) he lost his ravished pledge, and mowed unto the ground his father's house in utter ruin, land and all. doubly did Priam's children pay the price of sin. Chorus. Joy to thee, herald of the Achaeans from the host. 528 (491). συντελεί t6\ls seems to mean no more than iAe city to which he belonged, i.e. his fellow-citizens. 531 (494). ravished pledge, ^σιον, what is violently taken, properly as a pledge, to be restored on conditions. Here it can only mean a booty wrongfully taken, i.e. Helen and her wealth. mo7vedf ίθρισεν for έθέρισεν from θερί^. 534 (497)• /^om the host, των άιτό στρατού, an extremely daring *praegnans locutio,' for των h στρατψ, airros arb στρατού μοΧών, 535 (498). now may the gods &c. τεθνάναι δ' ούκέτ άμτίρω ^eoTj, a bold expression, incapable of literal rendering in a few words : " (as to) dying I) * Herald. I do rejoice: now may the gods decree my death. 535 Chorus. Desire of this thy fatherland hath harassed thee ? Herald. Ay, so that tears are in mine eyes from this delight. Chorus. Then ye too were infected with that sweet disease. Herald. How so? by teaching I shall master this thy speech. Chorus. Smitten with love of those who answered you with love. Herald. This land, you mean, was longing for the longing host. 541 (504) Chorus. Yea! so that oft I groaned aloud in gloom of heart. Herald. Whence came that sullen gloom upon the citizens? Chorus. Silence I long have held an antidote to harm. Herald. How? were there any that you feared, the kings away? 545 Chorus. As you were saying, e'en to die were great delight. I will no longer debate against it with the gods:" i.e. if the gods will that I should now die, I will not gainsay their pleasure. 543 (506). upon the citizens, roXet. This, it is true, is a conjecture of our own. But the ms. word στρατί^ gives no reasonable sense, and appears undoubtedly corrupt. Here, therefore, conjecture is the only remedy, if remedy must be sought, and we far prefer τόλει to Hermann's φρ€νων. It gives to έττψ^ what it seems to want, a case, and clears the 88 AGAMEMNON, Herald. Yes, we have been successful : but in length of time of these things one might say some fell out happily, while others were not free from fault; but who, save gods, is unafflicted through a whole eternity? 550 (12) our labours were we to recite, and lodgings vile, our scanty spaces, evil-bedded — when were we not groaning, any fraction of a day exempt? then to our land-life even more disgust attached: for near the foemen's fortress- walls our couches lay, 555 and rains from heaven, and meadow-dews that rose from earth, were drenching us, a constant mischief of our clothes, our hair like that of wild-beasts making : and if one should tell the tale of bird-destroying winter-time, like that which Ida's snow made unendurable, 560 (23) or heat, what time upon the windless couch of noon the sea without a billow sank and went to sleep — these things what boots it to lament? 'tis past and gone, the labour, and for those who've died is past and gone the very caring yet again to come to life. 565 why need one make a calculation of the slain? why should the living grieve for adverse fortune's chance? verse from all difficulty. Στρατφ we regard as an excrescence from arparbp in 504, foisted in by the misapprehension of a marginal commentator. 548 (11). one mi^^^i say. We cannot concur with Pal. in retaining eu \έξ€ί€ν instead of reading dv λ. The examples cited by him are probably corrupt. 551 (14) &c. In this speech of the herald the construction is several times broken ; statement being suddenly interrupted by question. Aeschylus seems partly to have wished to express the emotion of the speaker in re- calling the manifold afflictions of the army, partly to avoid long details at this point. 552 (15)• spaces, ιταρ-ήζίΐί, which, Pal. says, "seem to mean the narrow passages along the deck between the rowers." 55^ (19)• rains, understood from δρόσοι by zeugma. 566 (29). make a calculation, iv ψήφφ Xiytw, lit. (0 tell on the pebble (calculus), i. e. by counters. EPEISODION IL 89 so to these accidents I bid a long farewell. to us indeed, survivors of the Argive host, gain hath the vantage, loss presents no counterpoise. 570 (33) so to this present sunlight may we fitly boast, while over sea and over land our flight we take : "Troy having captured now at length, the Argive host these spoils unto the gods that are adored in Greece nailed in their temples, to remain an antique joy." 57S our city and its captains ought you to extol, such actions hearing, and the grace of Zeus that wrought these things shall have its honour. All my words are said. Chorus. Defeat by force of argument I . do not grudge : for useful learning to the old is ever young. 580 (43) but justly for this house and Clytaemnestra chief these things have interest, and impart to me their joy. Clytaemnestra. Long since indeed I shouted loud a joyous cry, when the first nightly messenger of fire arrived, telling of Ilion's capture and its ruined fate. 585 and some one spake and censured me : — * now trustest thou to beacon-watchers, and believest Troy is sacked? 568 (31). We do not agree with Mr Paley's interpretation of this verse, as expressing joy. See our version, which agrees with Hermann's view. 574 (37)• adored in Greece. On their way home, and after their return, the several chiefs would dedicate spoils to the gods with inscriptions of this nature. Probably Virgil, a student of the Greek drama, had this passage in view when he makes Aeneas dedicate Grecian spoils at Actium with the inscription, ' Aeneas haec de Danais victoribus arma,' Aen. ill. 288. 583 (45). and impart to me their joy; lit. "and (it is fit) that along with them (ίύι/) they {^(χ.\πα) should enrich ( = gladden) me." Such is Klausen's view of the construction, which seems correct. 583 (46). Here Clytaenmestra advances to the λογεωΐ' and takes part in the dialogue. 90 AGAMEMNON. EPEISODION IL 91 !^ elation of the heart is truly woman-like.' such words were used to show that I was led astray : yet sacrifice I rendered, and by female law 590 (53) one here, one there a shout of joy the city through with pious words uplifted, while they lulled to rest in shrines of gods the incense-preying odorous flame. and now why needest thou prolong to me thy tale? from the king's self I shall obtain a full account 595 but that I may with every honour possible haste to receive my noble lord on his return, (for what light can a woman see more sweet than this, when heaven has brought her husband safe from his campaign, the gates to open ?) take this message to my lord, 600 (563) that with all speed he come, the city's fond desire; and coming may he find at home a faithful wife, such as he left her, watch-dog of his royal house, gentle to him, a foe to such as wish him ill, and in all other points alike, no sacred seal 605 having in this long time attempted to destroy. pleasure from other man, nay, scandalous report I know no more of than the art of dyeing steel. 59^ (55)• lulled to rest^ i. e. extinguished by pouring wine on them, Paley says, though nothing is known of the custom. Vain attempts have been made to correct the verb. 595 (58). from the king's sel/SiC. Thus again the poet escapes tedious repetition, giving the first touch of that hypocrisy which the queen carries on to the full in the next lines. 59^ (59)• With Paley, we take ίτωί as a final conjunction before στει/σω, making τι yiip...ayoi^ai parenthetic. 602 (565). may he βηά, evpoi. Again we fully agree with Pal. in placing this opt. in the mouth of Clyt., as if for a moment she shrank from that falsehood, which she nerves herself to utter in the lines that follow. ^8 (570). ούδ'.,.ούδ'. It would seem as if oih'...oih'* would be more correct. But the second ovSi must be rendered nβτώ$. Rhythmically this might stand : thus does the lady make indeed her speech to you, with clear interpreters to teach you — speciously. O16 — 17 (579 — 80). / cou/d not possibly y ουκ Ιίσθ^ 6τωί Χέξαιμχ, Paley cites appositely : ούκ itrriv δτψ μίί^να μοΐραν ν€ίμαιμ* η σοι Prom. 299• ούκ ίστιν δστίί ττλην ^μοΰ Κ€ίραιτ6 viv, Cho. 164. Peile justly ascribes this idiom of the opt. to * indefinite generality,* and Paley with equal justice observes that this character especially belongs to negative propositions. The constructions τά ^cu5^ καλά in 6i6 and Ktlvh. roXy\By\ in 618 claim particular attention. Here we think Mr Paley mistaken when he says ** there is no grammatical objection to taking Kthvh. rb. άλϊ7^^ = «αλά τά μΊ\ φ€υδη (όντα) opposed to τά φ€υδη καλά preceding (which he has rendered * good news which is false'): * would then you could tell us good news which is true.'" We admit that τά ψευδή καλά is capable of being rendered * false good-news,' treating καλά as a subst. and ψευδή as its attribute : and if 1. 618 did not follow (with κίδνά. τάληθη)^ we might well be satisfied with that rendering. But the parallel of κ€δyd τάληθή is a trait of light, proving 92 AGAMEMNON. Λ 625 Chorus. ?η?Τ"'\^• '''''' y°"'^P^^^h could make true tidings good, bnt these things severed are not easily concealed. Herald. The chief hath disappear-d from the Achaean fleet, 620 (c8i) his vessel and himself; I tell you no untruth. Chorus. Had he set sail from Ilion in your sight, or did a storm, a common trouble, snatch him from the host ? Herald. E'en as a first-rate archer, you have hit the mark, and of a long woe given a concise report. Chorus. Was it as living or as dead there went about a rumour of him by the other mariners? Herald. None knoweth so as clearly to declare the fact save him-the Sun-that nourisheth the growths of earth. Chorus. Will you then tell me, to the naval host how came 630 (503) a storm by rancour of the gods, and ended how? Herald. A day for words well-omened it beseemeth not to desecrate by tongue that telleth evil news : adverbial (or proleptic) Tn J"n^! w ^^ ^"^ pred.cat.ve in position and 618 by Herm. Pe Wei l^T^ We d.sapprove also the view taken of Our view is 6.6 „&*!■«; Γ wJ ' "^^'^ "'"'' ^''λ'*' -■^^»" <'''-'^) ; speak false' news ΐΓβ.^? "^^Z. t *""' /"' ""^ *"'"• ' ' ^°""• -' succeedinspeakin«.ruenews(a:);L.Tii'; Xr;^^^^^^^^ EPEISODION IL 93 divided is the honour of the deities. but when a sad-faced messenger to any town 635 brings of a smitten host abhorr'd calamities- saying that one, the public wound, hath struck the state, while many men from many a home are victhns gone devoted by the two-thong'd scourge, that Ares loves,— a double-spearM curse, a bloody pair of ills ;— 640 (602) when woes, I say, like these are each on other piled, tis fit to smg this paean of the Erinyes, but when a joyful bearer of victorious news has reach'd a city gladdened with felicity— how shall I mingle good with ill, the while I tell 645 the Achaeans' storm not unarous'd by ^Tath of gods ? for Fire and Sea, the greatest enemies before, conspired together, and showed pledges of their faith by the destruction of the hapless Argive host ills of a billowy sea had risen in the night, 650 (12) for Thracian storm-blasts still against each other crushed the vessels, and they, butted with this violence by furious hurricane and rush of beating rain, had gone, by evil shepherd driven, out of view but, when the sun's bright light returned, the Aegean deep 6ςς we see with corpses blooming of Achaean men 634 (596). 4 riMi, β.ΰ, for ή τώ, β,ύ, „μή. This is a rare license • *vnarfdis.rt"^ '^" " '^^ "^ '" "-"■'^-S -<• -«'^P- In the passage which follows 635 &c. the constructions are again often very d.sjomted, as ,η the former speech 547 &c. It is difficult tfi" what mofve Aesch. had for assigning this peculiar style of speech to TalThyWus unless we suppose that, as one accustomed by his office to mere fonnd d.ctated proc amafons. he is now to be represent as incapable S riWng a narrative of distressing events in calm and fluent language ««S? (599). 'Ai public. To ίήμ,ον. Aesch. here dwells on the distinction ^STThe-piuUrZi^^•^ '^^ "^ ^°-'-^' ^^^ "^ *« S-' ^-"ies- 94 AGAMEMNON, % s and naval wrecks : ourselves however and our ship, an unscathed hull, did some one stealthily withdraw, or beg us off, some god, not man, that grasp'd the helm. and saviour Fortune on the ship perch'd willingly: 660 (23) that neither did we feel the beating of the surge at anchor, nor were stranded on a rock-bound coast. but after we had thus escaped a watery grave, in the white daylight, little confident of fate, we in our thoughts were brooding o'er the late mishap 665 of our afflicted and unkindly shattered fleet. and now if any one of them is breathing still, they speak of us as having perish'd : for why not ? and we imagine them to suffer the same fate. but may things issue for the best ! yea, first of all 670 {n) and chief, expect that Menelaus will arrive. at least if any sunbeam knoweth aught of him living and seeing light by the design of Zeus, whose will it is not yet to extirpate the race, some hope there is that he will reach his home again. 675 so much you've heard, and be assured you hear the truth. STASIMON II. Chorus. I. 0(U, Who was it that with truth so perfect — Str, i. was it not one we do not see, <557 (19)• ^a'val wrecks, ναυτικών ipetirttap, Paley approves, but has not placed in the text, Schutz's emendation vavriKois r' ipenrlois] adopted by Dmd. Herm. If the gen. is left, it must be explained by a zeugma in the word ve/cpots ( = fragments). 659 (32). Paley confines the application of otaKos eiyov (that grasped the helm) to Mpunros (man). He may be right, but it is not certain : the Homeric gods sometimes interfere by human acts. Stas. II. Ode. The greater part of this Ode treats of Helen Her name (suggesting Actr, to capture) bespeaks her nature and story: through STASIMON If. with thoughts forecasting destiny the tongue directing happily? — gave name to her, the war-bride, the debated, the captivating Helen? since verily ship-captivating, men-captivating, city-captivating, from forth her richly-sumptuous curtains she with the breeze of land-bom Zephyr sailed, and many shield-accoutred huntsmen were on the track of those who brought to land the disappearing oar upon the coast of Simois leaf-bestrown, for her, the cause of bloody strife. But wrath accomplishing its purpose on Ilion a marriage forced of name too true, in after time exacting vengeance for the scorn 95 680 (42) 685 690 (51) Ant, I. 695 her were captured ships and men and a city. Her marriage with Paris marred Wit city of Priam and the lives of its citizens. As a young lion '^Tul ''^^^°"^^' t^"^e a^d gentle at first, becomes afterwards ravenous and bloodthirsty, such was Helen at Troy, lovely and charming Avhen she came at the last a curse and a destroying fury. The ode concludes with moral reflections probably suggested by the chequered character and for- tunes of the race of Pelops. Excessive wealth, it is said, results in woe : but the Chorus deems it more important to observe that one crime is wont to produce another: insolence grows out of insolence, and engenders arro- gance and audacity. Justice abhors the mansions of vicious wealth, and loves to dwell with the pious poor. 682(44). the captivating Z,^^/^. The epithet ' captivating ' (not in the Greek) is mtroduced to favour the rendering of the adjectives drawn from the name Ελ^ιο/. Our learned and ingenious friend Miss Swanwick, in her able translation, has employed the same artifice : * Helen, the captor.» A play upon names and words is adopted often by the tragic poets : Atas m Soph. Aj. : W^vdt^^ in Eurip. Bacch. (also in Theocritus) are among the instances. In this drama we find /c^"3ot όρθώνυμον 653; 'AirbWov ia6,, ατωλΐσατ yap loi r. 688 (50). before κατ txvot und. (irXevaav. 693 (54). κηδοί has two meanings, (i) affinity by marriage, (2) woe. i 96 AGAMEMNON. done to the table and to Zeus hearth-sharing, from them that honoured loudly the spousal-celebrating music, that novel hymen, which for bridesmen the moment then was drawing on to sing. but, learning a new dirgeful hymn, Priam's old town, I ween, with groanings loud its Paris ill-wived calls, yea, having first a dirgeful life endured with the sad blood of citizens. E'en so some man hath nourished in his house reft of its mother's milk an udder-loving lion's cub, in life's primeval season tame, unto the children kindly, and to the aged an amusement. so in the arms it oft was carried, like to a new-rear'd infant child, smiling upon the hand, and fawning in stress of appetite. But in the course of time the character from parent stock derived 700 (659) 705 Str, 2. 710 (670) 715 A7lt. 2. ^99 (57)• We have, with some boldness, ventured to read vkov ΙμΑν' for νμέναιορ^ in order to lengthen the final syllable in rlovras, to which corre- sponds rpcTrovTws in the strophe. The words ύμ^ν and ύμέναιο^ are equally good for the song and for the deity ; and the quantity of ύ (in the former at least) is * doubtful,' 'Τμην ω 'l>^vate. The epithet yiop is suitable to a second wedding. Some may prefer νμνον to ύμ4ν\ 705 (664). ΆμφΙ in the ms. text leaves a syllable wanting to the metre, which Pal. is satisfied to supply by ων (suorum) before it. But as the strophe has the short syllable iir\ it does not satisfy us. Nor are we sure that (\6yos) άμφΐ κόσμον Suppl. 742^ {μέριμνα) άμφΐ ΐΓτ6\ιν Sept. 839 suffice to justify άί'ατλάσα τΐοΚύΒρψον αιών' άμφΐ ττοΧιταν αΤμα. We have therefore adopted for αμφΐ the conjecture άμα και. See Consp. Z. 710 (670). The addition of re here, with kv corresponding in the antistrophe, improves metre and construction in each place, without altering the sense. See £ur. El. 11 72, μ-φ-ρο^ »€oφ6voιt iv αίμασι τ€φυρμέν(κ. \ [ V '( I I STASIMON IL It showed; for paying nurture-fees by truculent sheep-slaughter, it procured a feast unbidden ; and all the house with blood was spattered, mdomitable grief to servants, a many-slaying mischief huge. and thus 'twas bred within the mansion a priest of bale divine. These things resembling I should say there came to Ilion's city a temper of unruffled calm, a gentle ornament of wealth, a softly-darted eye-glance, a flower of love heart-stinging. but swerving from such state she wrought a bitter end of marriage, sent forth to be for Priam's race ill-seated, ill-associated, by mission of the guestlaw-guarding Zeus a bride-deplored Erinys. From ancient lore among mankind is framed an aged maxim : that, grown to fulness, a man's wealth begets, and does not childless die; but from good fortune sprouteth woe to the race, unsated. but I from others differing am lone in my opinion. 97 720 (678) 725 Str, 3. 730 {(y^l) 735 Ant. 740 (692) 745 719 (^77). Our conj. Baviroiav is very near the -ti» S.raLau> of codd. « 'V\ al: u ^'^ convinced on metrical grounds that Aesch. did not wnte U θ€ον but, as he might have written many things in its stead, we cannot say that Oda, ώδ', our emendation, is certainly true. Yet it is in sense equivalent to i. Oeov δ\ for Beia dra would be not less Aeschylean ΙΙιαηθ^ο,φνθο^ 488: and a few lines later, Helen, a vvμφ6κλavτos ^Ερινύ,, IS said to have come among the Priamidae τομπξ. Aids ^evlov. K. A, 7 r 98 AGAMEMNON. ι an impious deed engenders more succeeding, and their stock resembling: but righteous families at all times have a happy fate in children. And Insolence when old is wont to bear Str, 4. 75^ (Τ^ο) a youthful Insolence in evil men displayed at this or that time whene'er the destined season comes. '^ the young one genders Arrogance, and that uncombated, unwarr'd, ) unholy fiend Audacity, black curses both for dwellings, like their parents. But Justice shines in houses dark with smoke. Ant. 4. and honours virtuous life : while gold-bespangled seats, where hands are filthy, 760 (709) she leaveth with averted eyes, and unto pious homes repairs, revering not the power of wealth with spurious commendation stamp'd : and each thing to its proper end she guideth. 765 [At the close of this ode^ Agamemnon and his suite enter the orchestra through the Parados on the left of the spectators. He is seated on a mule-car ^ in which is also his prisoner Cassandra. The car approaches the steps which on that side connect the orchestra with the proscenium ; and the coryphaeus then addresses the king in the anapaests which follow.'^ a. Anapaests. Now tell me, king, Troy's sacker, son of Atreus, how am I to address thee, how revere thee, not overstepping nor yet resting short of 750 (700). On strophe and antistrophe 4 see Conspect. Led. 766 (14). These Anapaests introduce the Third Epeisodion, and might almost be said to form a part of it. The Chorus march on their platform towards the left-hand Parodos to greet the king and his train. In welcom- ing him they express a fear lest they should say too much in the way of flattery, or too little in the direction of joyful commendation. The pros- perous have many insincere flatterers : but a good judge of character will STASIMON II. 99 the proper line of commendation? many there are of mortals who to being 770 (19) prefer the seeming; so transgress they justice. to give a groan of pity to the ill-fated each one is ready : but the sting of sorrow in no case penetrateth to the heart-core; and to the semblance of congratulators 775 suiting themselves, they strain unsmiUng faces. but whoso is a clever judge of cattle, from such a person's eyes can ne'er be hidden the natures that with water-mingled friendship appear to fawn in loyalty of spirit. 780 (29) and in those former days, when thou wast launching an expedition for the sake of Helen, by me thou wast depicted, I'll not hide it, in colours most unpleasant, as not wielding the mental rudder well, from sacrifices 785 for men to death devoted obtaining courage. now therefore, with no superficial feeling nor any lack of friendship, but with a cheerful heart / welcome 790 (37) the men who well their toil have ended. in time thou wilt distinguish by inquiry the citizen who guards the city justly, and one of inconvenient conduct. distinguish the true from the false. They own that their feelings were once unfavourable to Agamemnon, when he led so many forth to die, and sought to embolden them by the expedient of a cruel sacrifice. Now, as all seems to have ended well, they congratulate. In time (they add by way of warning, which the king does not comprehend) he will find out who among the citizens are good patriots, and who are dangerous persons. 770(19). to being prefer the seeming^ rb doKtiv elvai irporlovfft. Ehai for ToO elvai is a daring construction. On 775 — 6, see Consp. Led. 785 (34). from sacrifices^ έκ θυσιών, i.e. of Iphigeneia. This conjecture, for ms. έκούσιον^ has been accepted with some hesitation. See Consp. L. 7—2 W ft \ lOO AGAMEMNON. EPEISODION III. EPEISODION III. lOI Agamemnon. Argos in first place and the country's deities 'tis right that I salute, who help'd to win for me 795 Epeisodion III. In reply to the anapaestic address of the Chorus, Agamemnon begins by saluting his royal city and the gods who had given him victory: next, referring to what the coryphaeus had said, he dwells on the doubtful affection of friends, naming Ulixes as the only comrade on whose support he could always rely : thirdly, he declares his intention to settle affairs of state in a public council ; and then prepares to leave the car, enter the palace, and worship his domestic deities : concluding with a prayer for continued success. Clytaemnestra, now advancing to the logeion, and addressing the Chorus, states at some length * the painful tenour of her life * during Agamemnon's absence. She had been disturbed by evil rumours. She had sent the young Orestes away to Phokis from fear of popular com- motion: she had suffered in health from watching for the beacons, and from restless and anxious nights. She welcomes lier husband's return in a series of far-fetched similes : inviting him to descend from the chariot and enter the palace on a pathway laid down with purple embroideries. Re- plying to her, Agamemnon deprecates any such slavish homage and osten- tatious splendour as Eastern despots were accustomed to: this, he says, will displease the gods. Fame speaks for itself: prudence is man's best endowment : and no man can be declared happy before the hour of death. For himself, he would be of good cheer if he could always prosper as now. A dialogue (in στιχομνθία) follows, in which Clytaemnestra, by dexterous cross-examination, prevails on the king to accept the honour of a tapestried pathway: *Give me a sincere answer' (she says) * to one question.' — * My answer shall certainly be sincere.' * In any fearful crisis, would you have made a vow to do what I now ask ? ' — * Yes, no man knew better than myself the time to announce that purpose.' — 'And what do you think Priam would have done if he had achieved such success? ' — * I am very sure he would have walked on embroideries.' — *Then do not dread public cen- sure.* Agamemnon yields to his wife's insidious persuasion, and after recommending Cassandra to her care, stripping off his sandals he prepares to descend from the chariot, and walk over the purple carpets to tho palace. The queen meanwhile says to him, that the sea is large enough to supply any quantity of purple dye, and the royal house is rich enough to buy it. She would have vowed tapestry without stint, at the suggestion of an oracle, to obtain the assurance of his safety. A husband's return was like warmth in the frosts of winter, or cool in the heats of the vintage-time. \ return, and such reprisals as I justly took from Priam's city: for the gods our process heard not by tongue-witness, but into a bloody urn cast votes awarding ruin and the death of men, 800 (747) with no dissent, to Ilion, while the opposing rim hope of a hand drew ever near, but filled it not. by smoke e'en yet the captured town is signalized: ahve are Ate's altar-steams ; the dying ash commingled with them sendeth forth fat reek of wealth. 805 unto the gods for these things it behoves to pay thanks long remembered ; since in fact we fortified snares of relentless hate, and for a woman's sake an Argive monster laid their city in the dust, foal of a horse, a troop shield-brandishing, that took its leap about the setting of the Pleiades: 811 (757) yea, 'twas a bloody lion, that o'ersprang the wall, and lapp'd to full content a draught of royal blood. unto the gods my lengthened prelude is address'd: but, for your feelings— all you said I bear in mind, 815 and now repeat it, and your views I advocate. few men indeed have this implanted quality, unenviously to regard a prosperous friend. for suriy venom, taking at the heart its seat, doubleth his load who suffers from some fell disease : sore laden is he with his own calamities, 821 (767) and groaneth when he sees a neighbour's happiness. from knowledge I can speak, for well indeed I know She ends with an ambiguous prayer to Zeus, the all-fulfiller, that he will fulfil her present vows. 800 (747). casi votes awarding ruin etc., ^ij^ous IQ^vro ή>θορΚ% for ^^77- φίσαντο φ. : see Sepi. α 80, Su/>/>/. 627. Pal. 802 (748). Aope of a hand. We have kept ms. xetpos, but Paley defends Casaubon's emendation xetXos in an ingenious and instructive note, to which we must be content with referring the reader. Blomfield joins X«/)os with ιτΧηρουμένφ, which is a harsh construction; for why not χερσίν} 8ii (757)• ^^oii( the setting of the Pleiades: the end of autumn, a stormy time, which, as Klausen says, accounts for the tempest I02 AGAMEMNOK ί EPEISOniON IIL 103 Γ I: how mere a glass of friendship, shadow of a shade, were they who towards me seem'd to be of friendliest mind. Ulixes only, who was voyaging against his will, 826 when yoked was wont to be my ready seconder, whether I speak of one that's dead or living yet. for all things else belonging to the state and gods, in common council we shall institute debates, 830 (776) and so determine, and the policy that's good, how it may long last happily, we must advise: but whatsoe'er has need of healing remedies, by caustic or by kind appliance of the knife we shall endeavour to avert diseaseful harm. 835 now to my palace and domestic hearth I'll go, and first pay greeting homage to the deities, who sent me forth and now have brought me home again. may victory, since it followed me, for aye remain ! Clytaemnestra. Men of the city, Argive elders present here, 840 (786) my husband-loving habits it will shame me not to speak before you; for in time fear fades away from human natures : taught of none besides myself, I shall avow the painful tenour of my life as long as under Ilion's walls this pnnce abode. 845 first, for a woman, from her husband separate, lone in the house to sit, is an enormous ill, untoward rumours manifold compelled to hear; now 'tis — that one man has arrived with evil news — and next another, bearer of a worse account, 850 (796) 827 (773). Σ€ίραφ6ροί properly means a horse attached by a rope to help the yoked horses. But as Ulixes is spoken of as fcux^cis, yoked, it is used merely to express a staunch assistant, as our paraphrase expresses. 840 (786). Paley justly says that the whole of this speech of Clytaem- nestra ' is elaborated with admirable skill in the delineation of character.* 849 (79^). καΐ rbv μ^ν ijKetv. Paley rightly says that * the context suggests φέροντα, rt κακόν. But upon what does the infin. clause itself I) ί o'er all the palace publishing : and if indeed this man had been receiver of as many wounds as by report were ever dribbling to his house, more numerous are his wounds than meshes of a net. or had he died as many times as stories told, 855 a Geryon the Second he, three-bodied man, a triple cloak of earth had boasted to obtain [full large above him, not to speak of that below], if in each form he had endured a single death. by reason of untoward rumours such as these, 860 (805) have others taken hold of me by violence, and loosened many a halter fastened o'er my neck. hence comes it that our son is not beside us here, pledge of the mutual troth betwixt myself and thee, Orestes, as was fit: and wonder not at this: 865 a war-friend well-affected to us nurtures him, Strophius of Phokis, doubtful mischiefs unto me foretelUng, first thy peril under Ilion's walls, and then the chance, if people-shouted anarchy should hurl the council down, so natural it is 870 (15) in men to give the fallen one a further spurn. these reasons, trust me, carry with them no deceit to me however all the gushing founts of tears are dried up at the source, and not a drop remains. mine eyes, retiring late to bed, have taken harm, 875 the while I wept the beacon-watches set for thee continually neglected : ever in my dreams by the light buzzings of the swiftly-darting gnat depend?' We think, on fKTayXov κακ^ν understood, though it is just possi- ble that it may depend on Μσκονταί^ and this on κΧύουσαν, ' hearing persons proclaiming through the house that ' &c. 867 (12). άμφ(Χ€κτα^ i.e. questionable ; they might be this or that, 870. As at Paris in September, 1870, after the disaster of Sedan. 877 (22). neglected^ I e. never lighted. 878(23). by the light &c , lit. by the mosquito darting with its light buttings. I04 AGAMEMNON. EPEISODION IlL 105 was I awakened, seeing still concerning thee more woes than all the minutes of my sleeping time. 88o (25) all this I bore : and now with sorrow-lightened mind I can pronounce this man a watchdog of the stall, a vessel's saving forestay, of a lofty roof a strong-based pillar, of a father only child, and land beyond their hope to mariners disclosed, 885 after a storm a day most beautiful to view, to wayfarer athirst a fountain's gushing flow. delightful is it to escape from any stress. such greetings is he worthy of in my esteem : and far be envy : many are the former woes 890 (35) we were enduring, now at my desire, dear lord, step from this mule-car forth, not setting on the earth this foot, ο king, that devastated Ilion. why lag ye, maids, to whom the ofiice is assigned of strewing all the pathway's floor with tapestries ? 895 a road forthwith be made with purple carpeting, that Justice to his home unhoped may guide his steps. what next ensues shall thought, not overcome by sleep, as destined with the blessing of the gods, arrange. Agamemnon. Daughter of Leda, guardian of my royal house, 900 (845) in keeping with my absence hast thou made thy speech : for long was it extended ; but in manner just to praise, this meed from others it befits to come, and, for the rest, with luxury do not pamper me in woman's fashion, nor fall down, and open-mouth'd 905 salute me with a shout, as some barbarian chief: nor make my path, by strewing it with tapestries, invidious: so *tis right to venerate the gods; 882 (27). Tuv σταθμών κύνα. On the article see Paley's note, and ή τψ^ θζΰν above, 889, viv άζιώ τροσφθέΎμΛσιν, An unusual idiom. See Paley. Ϊ but that a mortal upon splendid broideries should walk, is in my judgment not exempt from fear. 910 (855) as man I bid you do me reverence, not as god. without foot-scraping carpets and embroidered shows Fame cries aloud, and not to be unwise of heart is God's chief gift : but happy must we call a man who hath attain'd the close of life in blissful state. 915 if thus in all things I shall fare, my cheer is strong. Clytaemnestra. Well now: thy true thought not evading, answer me. Agamemnon. My true thought be assured I shall not falsify. Clytaemnestra. Would'st thou in fear have vowed unto the gods such act ? Agamemnon. Yes: skilled as well as any man to speak this vow. 920 (865) Clytaemnestra. What think'st thou Priam would have done, had he prevailed ? 916 (861). Whether πράσσοιμ' αν or ιτράσσοιμεν (Dind. Franz.) is the true reading may be questionable. Paley takes τράσσοιμι in the sense of acting — if in all things I shall act as discreetly as in this. Perhaps he is right ; and we leave this to the reader's judgment. Yet there is no impropriety in supposing that, having said ' no man can be deemed happy till after death,' Agamemnon might add, * if in all respects I were to fare (i.e. suc- ceed) as I have done in this instance, I should have good reason to confide in the continuance of prosperity to the hour of death.' And this sentiment of confidence would be more telling in its dramatic effect at a moment when his death was immediately to ensue. 917 — 920 (862 — 865). Our view of these lines is widely different from that in Mr Paley's notes. We have given reasons at large in the Journal of Philology^ and we must in candour say that they are fully convincing to us. Our view is supported by the entire context, especially by comparison of 864 (Greek text) with 894. We believe ^^etiretv to be the true reading in 865, but the change does not affect our general interpretation. 921 (866), had he prevailed ; lit. had he achieved these things. -*MW «M io6 AGAMEMNON. STASIMON III. 107 ♦ 925 Agamemnon. I think he surely would have walk'd on broideries. Clytaemnestra. Then do not stand in any dread of human blame. Agamemnon. And yet a people's loud report has mighty strength. Clytaemnestra. Ay, but the unenvied is unemulated too. Agamemnon. To covet war is not a woman's attribute. •' Clytaemnestra. But such as prosper may with grace accept defeat Agamemnon. And dost thou really care for conquest in this strife? Clytaemnestra. Give way; consent at least to leave the power with me. Agamemnon. If such thy pleasure, then let some one instantly 930 (875) pull off the sandals trodden slave-like by the foot : lest, while with these I walk upon the seagrown dyes, some envious eye of gods should strike me from afar. for to waste substance is a grievous shame, with feet destroying wealth and woven work of sumptuous price. 935 of this enough : — yon stranger woman kindly bring within our house: the merciful in victory with favouring eye the god beholdeth from afar: for none with willing mind accepts a slavish yoke, but she, the very flower select of mighty wealth, 940 (885) the army's present, came a follower in my train. now, since in this I'm subjugate to thy behest, into the palace I shall walk on purple floor. Clytaemnestra. There is a sea— and who shall ^er extinguish it?— producing plenteous puφle ooze for dyeing cloth, 945 precious as silver, constantly renewable. of such things by the favour of the gods, ο king, our house hath ample store : it knows not penury, the trampling of full many a cloth would I have vowed, had this been to our house proposed in oracles, 950 (895) contriving of this life the ransom requisite. for foliage, while the root exists, comes to a house, spreading a shade against the dogstar Seirius. and so, when thou returnest to thy palace hearth, thou signifiest warmth is come in winter-time: 955 and from the bitter grape when Zeus createth wine, then cool existeth in a house, and not till then, when to his home returns an all-fulfilling man. Zeus, Zeus the all-fulfiller, ο fulfil my vows, and be thy care the things thou meanest to fulfil. 960 (905) [Agamemnon enters the palace, followed by the queen.] STASIMON III. Chorus. Why doth this horror evermore *$■//-. i. flit o'er my boding heart, a present power? and song is prophesying Stasimon in. In the first strophe and antistrophe the Chorus avow that an unconquerable presentiment of coming evil disturbs their minds. In spite of the return of the army from Troy they cannot overcome their terror. In the next passages they say that, although the danger attending excessive prosperity may be averted by wise sacrifice of wealth, lifeblood once shed cannot be recalled: Zeus smote Asclepios, to hinder him from raising the dead. In the concluding lines they declare that their tongues are tied : they are not free to utter the alarm which afflicts their hearts. 961 (907). horror, δ«μα. so in one cod.; but in most δ€tyμΛy phantom; which Paley and some others prefer. iammmmmimmtmtmt>- ri V io8 AGAMEMNOK ^STASIMON IV, 109 \^ unbidden, unrewarded : while these, like undecyphered dreams, to spurn persuasive boldness hath no seat upon the dear throne of my heart. time long hath left behind its youthfuln^ss, since cables from each ship together were flung upon the sand, as 'neath ihe walls of I lion arrived the naval army. And now, from teaching of the eyes, I know, myself a witness, their return. but still my soul within me self-taught is chanting lyreless the dirge of an Erinys, having not hope's happy courage to the full. my inmost feeHngs are not vain, my heart, that on its truthful circlet beats 965 970(15) Ant. I. 975 980 (25) 964 (909). unrewarded, Αμισθοι, lit. unhired, in allusion to the fees which poets like Pindar, the contemporary of Aeschylus, received for epi- nician odes, and those which dramatic poets, like himself, or dithyrambic like Simonides, obtained from the tribes competing in the Dionysiac con- tests. The meaning of the passage is that, when the return of Agamemnon and the army seems to call for a strain of jubilee, which would deserve reward, they find themselves enforced to sing a song of evil foreboding, which no one calls for {άκέΧζυστοή and no one will reward (άμισθοι). 965—967 (lo— 12). These words, simply rendered, mean : * I have not the courage to dismiss this feeling, as if it were a vague dream.* 968 (13) itme &c. In this strangely expressed passage (χρ. τταρήβησε» time has outgone its youth, έπΙ ζννεμβοΧαΐί after the castings-together, ττρυμ- νησιών of the cables, ψαμμία^ d/cdras of the vessel on the sands) we may sus- pect some corruption : but there is nothing to suggest emendation unless it be ψαμμιαν άκατάν for ^α/ι/Αίαί άκάτας, which is not essential. irly after; see 1308 Ιττ' έζ€ΐρτγασμένοΐί, 231 τάνΐ το&τοισιν, 972 (ι 7). See Consp. Led. 976 (20). ύμνφδ€Ϊ. We have not ventured to change the reading here, though the shortening of the first syllable is suspicious. Dav. r. μονψδέί. 980—81 (25—26). We have a strong confidence that the order of words adopted in our text is that of Aeschylus. The concurrence of the in eddies that suggest fulfilment. yet do I pray such cares may turn out false beyond my hope, and come not to completion. The limit of excessive health is truly most unsatisfied: and still disease against it leaneth, a neighbour with a party- wall: and a man's fate, a straight course making, upon a hidden rock hath often struck. yet if in fear a house overboard from sling well-measured Sir. 2. 985 990 (35) four dative cases is neither elegant nor perspicuous, but just what a mis- judging transcriber would be likely to favour. See 1253—4. φρ€σΙν. φρην or φρέν€%, physically means the midriff {διάφραγμα), the muscle which separates the heart and lungs from the abdominal viscera. The three lines imply : ' the beating of my heart is not unmeaning : it bodes something, against which I must pray.* 985 (30). health (meaning here prosperity), vyeta for ίτγίαα or υγεία. 987 (3i). and still, lit. for still. Paley says: " the yap depends (as is so often the case) on some suppressed sentiment Men never think they have prosperity enough (regardless of the danger they incur): for &c." 9^ J (36)_996 (^i). The ms. reading of the first four lines is— καϊ TO μ^ vpb χρημάτων κτησίων 6κνοί βαΧων σφίνδόνα^ άτΓ* €νμέτρου ουκ ίδυ πρόπαί δόμοί κ.τ.\. where Pal. says of 6κνοί βα\ών, * this must be regarded as a nominativus pendens as regards ουκ «u δό /xoj, though it forms the regular subject to iirbvrice, 941.' To us it seems most unlikely that Aesch. should have here adopteda construction so painfully harsh, when by writing 6κνφ we get one free from all objection. We therefore read 6κνφ, and at the same time transpose the words ίκνι^ βαλών and άτ' €ύμέτρου. To μίν means some part. Jlpi, βαλών is a tmesis for προβολών. This casting overboard of a por- tion of the freight to lighten a vessel in time of peril was called in Latin iactura. * The house,' 5o>toj, is spoken of in the character of a vessel, as iror/ios in 933. The metaphor is pushed very far, when in 943 the house is $aid not to sink its hull {σκάφοή within the deep. But the epithet κτησίων shows that no other word (as στ6λos) must here take the place of δόμο^. •I AGAMEMNOif. 99Si 110 has flung a portion of its hoarded wealth, it hath not wholly sunk, though laden deep with woe, nor whclm'd its hull beneath the sea. and truly gifts abundant from Zeus and year-supplying furrows have brought diseaseful famine to an end. But the black life-blood that has once Ant. 2. 1000 (945) before a man upon the earth been spilt, by many an incantation who shall recover? did not Zeus strike down and silence for precaution him who was skill'd aright to raise from death? 1005 if now a pre-establish'd fate looi-s (948-50). See Comp. Lect. This passafie (which we 1^« taken i an imerrogation) must be compared with '»>« «mperfect pUcem the strophe. That place might (by conjecture) be completed m «,me »d form as . . .« « KoX χ&τμοί €υθυΐΓορωΡ av^pbs xnrkp βιότου κύμΛΤ* άφαντον Ιίρμ^ ίτοισίκ. Το which might correspond ούχΙ τ6ν opOoSaij των φΘιμένων ά»'ά7ί»>' Zeui κατέτΓαυσ€» €ύ\αβηθ(1^; iir' €ύ\αβ€ί9, may have been a gloss for €ύ\αβηθ€ίί, Hermann would r«id here Zeut δέ rhv όρΘοδαη | των φθψένων ij^aytip Uavaiy, and m the sUophe, καΐ π6ταο5 ^ύθνιτορων \ άνδρόί (ταισ€Ρ a^arror Ιρμα, without supposmg any lacuna. Respecting Asclepios struck by the bolt of Zeu», Pal. atcs Ov._ Fast. VI. 780, luppiter exemplum veritus dbexit hi ilium fulmina, qui nimiae moverat artis openu 1006 (051) &c. We cannot adopt Paley's version 'If the appointed law of fate did not hinder fate from getting further assistance from the gods &c ' By rtra-ytUvd μοίρα we understand, as he docs, that * superior destiny which even gods obey,' but we take ίκ BtQp as dependent on μοΧροΜ, and understand the *fate from the gods* to imply the 3«Α*α spoken of in the beginning of this song (see note there) and regarded as a Wpas sent byj divine power. irUov φέρ€ΐν means to prevail, to get tlu better. ■■A 1010 (954) EPEISODION IV. 11 1 (had not forbidden a fate arising from the gods to gain the larger power, my heart LWould have outstript my tongue, ..nd these things 'twould be pouring forth. but darkly now it mutters, soul-vex*d, and not expecting ever aught to unravel from a breast on fire. EPEISODION IV. }\Cassandra remains in the mule-ear while the Chorus were singing the last Stasimon, Νΰτω the qtuen comes forth again f and summons Cas' Sandra to the palace, 7 he prophetess keeps her seat in obstinate silence : and Clytaemnestray full of indignation^ after /. 1048 (997) leaves the stage* Cassafuira, now complying with the advice of the coryphaeus^ passes from the car to the proscenium ; and her interview with the C/uh rusnlls up the remainder of this £peisodion.} Clytaemnestra. -Thou too (Cassandra 'tis I mean) convey thyself 1015 within: since Zeus hath made thee by a gentle doom to be a sharer in our home of lustral bowls, I'standing with many slaves, the household altar nigh. come from this mule-car forth, and be not overproud. they say, d'ye mind, in old days even Akmena's son 1020 (965) tvbore to be sold, and underwent the yoke peifbrce. ' iLto such lot the stress of fortune's scale incline, great blessing will be found in lords of antique wealth. but they that reap rich harvest miexpectedly 1016 (961). by a gentle doom, άμψίτωί, lit. without wrath. 1017 (9(h). lustral bowls, χερνίβων, "The χ^ρηψ {Bum. 6a8) was ^the consecrated water dispensed to all " (Pal.) before the sacrifice to Z«>f ^KrV^oti the guardian of the family κτ-ίιματα, among which slaves are in• ^tluded. Virtually, therefore, as Paley observes, a taunt is conveyed in mentioning this privilege of Cassandra. 1020 (965). even Alcmend's son, Heracles, sold as a slave to Omphale^ Tqueen of Lydia. 112 AGAMEMNON. are ever cruel to their slaves and out of rule: 1025 from us thou gettest all the customary dues. Chorus. To thee it is she thus hath spoken a clear speech : and since thou art within the toils of destiny, obey thou wilt, if such thy will : perchance 'tis not. Clytaemnestra. Nay, if she doth not, swallow-like, possess a tongue 1030 (975) barbarian, knowing none beside^ I speak within her comprehension, trying to prevail on her. Chorus. Since she suggesteth what is best in present case, do as she bids, and leave this seat within the car. Clytaemnestra. No longer can I waste, you see, this leisure-time 1035 outside: for at the central hearth-fire even now 1027 (972). To ihee &c., lit. * to thee indeed she ceases to speak a clear word,* i.e. the speech she has made is clear. 1029 (974) perchance His not: lit. * perchance thou wilt disobey.* hf is carried on to ΙττίίθοΙψ from η-ίίθοί &v. ,030 (975). mall(rw-like, xfXtSoVos ^κψ. The Greeks found a resem- blance between the oriental (barbarian) speech and the twittering of swal- lows. The allusion occurs repeatedly. See Herod. Ii. 57, Aristoph. Ran. 93, 678, Soph. Antig. 1002 β€βαρβαρωμίνψ. 1032 (977). trying to prevail on her, ττ^ίθω vιv\6yφ, lit. *(try to) per- suade her by speech.' The verb does not express effectual persuasion, but the endeavour to gain over by argument. On r. in 978 see Consp. L. 1035 (980). Those who have sought to clear up this corrupt place by reading BvpoXft. τψ for the ms. Bvpalav τήνδ\ as Paley and others, have, in our belief, taken a wrong course. With Weil we read σχολή!» for σχολή (see 988). and we also change ifxol, which is worse than useless, into ^rt, which is highly suitable. Πάρα for vapeari, it is posnbUt frequently stands without a case: Agam. 1602 ird πάρα. Pers. 279 μ€μνησθαί τοι τάρα. Sometimes with a case : Prom. 762, Ag. 1537. But in this place, after τοι^ we are glad to dispense with έμοί, 1036—8 (981—3). Here too we believe in the existence of corrup- tion : rd μ4ρ, followed by /χήλα, cannot be the protasis of σύ Si in 984, EPEISODION IV. 113 the sheep are standing to be slaughtered on our part, as those who ne'er expected to receive this joy. if aught I tell thee thou wilt do, make no delay. but if, for lack of knowledge, thou repliest not, 1040(985) give sign at least with foreign hand, instead of voice. Chorus. This stranger seems to need a clear interpreter: as of a newly-taken wild-beast, such her mood. Clytaemnestra. Sure she is mad, and hearkens to an evil mind, who from a lately captured town is hither come, 1045 and knows not how to bear the necessary curb, until her bloody violence be foam'd away, howbeit I will not waste more words, and thus be scom'd. [Exit Clytaemnestra. Chorus. But I will not be angry, for I pity her. come, ο unhappy woinan^ leave this chariot; 1050 (995) which wants no preceding μίν. Yet more untenable is the version which Paley approves: " as regards the things belonging to the family altar;" for thus μ^ is used without a shadow of ground. For these reasons we have adopted ravvv for τά μίν (they might easily have been confused), and, as this renders ι/δτ; superfluous, we have substituted ^/uv, which greatly im- proves the Greek construction. If, however, a line has been lost (which seems to us not improbable) the vulgate readings τά μλν and •ηΙτ\ may be correct. Let it be assumed, for instance, that Aesch. wrote τα μ^ν yap iarlas μ€σομφά\ου ^ισμέν ^μ2ν έστι, ποιμνίων δ* άτο ϊστηκ€ν ηδη μήλα κ. τ. λ., this would give an excellent sense : our holy preparation of the central hearth is completed^ and sheep from the flocks already stand &c. See Soph. Oed. Col. 1495, τυγχάνβΐί βούθντον έστίαν ά,^Ιζων. It must be observed in regard to 1. 983, that, as the news of the fall of Troy came in the night and took the palace by suφrise, they would not have had sheep ready to bt slaughtered, but must have sent out to the shepherds for them. 104 1 (986). at iMstf αλλά. On this conjecture see Consp. Z. K. A. 8 114 AGAMEMNON, yield to the present stress and bear the novel yoke. Cassandra. Alas, alas, ye gods and earth ! Sir. i. ο Apollo, ο Apollo ! Chorus. Why dost thou cry Alas concerning Loxias? he is not one to need the chanter of a dirge. 1055 Cassandra. Alas, alas, ye gods and earth ! Ant. i. ο Apollo, ο Apollo ! Chorus. Again with evil cries she calleth on the god, who is not suited to attend at wailing times. Cassandra. Apollo, Apollo ! Sir, 2. 1060 (1005) ο street-god, my Apollo ! not scantly hast thou ruined me, the second time. Chorus. Of her own woes she seems about to prophesy, the power divine abides, though in a mind enslaved. 1052 (997)• After (as we surmise) reaching the logeion, Cassandra bursts forth into a series of wild outcries, partly prophetic, partly lamentative. She first invokes Apollo with shrieks of horror, then sketches her dreadful visions of the crimes heretofore perpetrated, and of those which now impend in the palace of the Atreidae. Especially she foresees and in a series of dark outlines describes the murder of Agamemnon by his cruel wife. She next foretells her own coming death, bewails her sad fate, and with it that of her family and fatherland. Alternately with the cries of the prophetess, the Chorus utter their own feelings of terrified astonishment and sympathy. The metres are for the most part lyric, but sometimes iambic. 1054 (999)• ^ry Alas, άνωτότ-υ^οί. This is one of the many verbs derived from interjections: like ώ^ω, ο/^ώ^ω, αΜ^, φ^ΰ^ω (1237), ^\okb^u», and others. Loxias is the title of Apollo as the god of prophecy. 1061— 2 (1006—7). άττόλλων ^μ05• I άτώλ^σαί ^b.p κ.τ.λ. This play on the name Apollo cannot be maintained in translation. See above 644. On the quantity of the final syllable in iμb%, see Consp. L. EPEISODION IV, 115 Ani, 2. 1065 Cassandra. Apollo, Apollo! ο street-god, my Apollo ! ο whither is it thou hast brought me? to what roof? Chorus. To that of the Atreidae : if thou know'st it not, I tell thee this, nor wilt thou say 'tis falsity. Cassandra. Woe, woe ! Sir, 3. 1070 (15) to a god-hating one : conscious are many foul family murders and halters and a slaughter-house that sprinkles blood of men. Chorus. Keen-scented as a hound the stranger woman seems to be : she searches those, whose blood she will detect. 1075 Cassandra. Woe, woe ! ay ! for the evidence which I believe is this : babes for their slaughter who weep and wail and roasted flesh on which a father feeds. Chorus. Verily we had heard thy fame oracular: but we are not in quest of any soothsayers. Cassandra. Alas, ye gods ! what doth she meditate ? what is this novel sorrow now? Ani. 3. 1080 (25) Sir. 4. 107 1 — 3 (16 — 18). For the corrections which we have ventured to make here and in 1023, see Cottsp. Led, 1078 {1023). βρέφη. The disjointed construction is due to the speaker^s phrensy. 1083 (28). The codd. have τί τόδβ νέον αχός μέΎα, — μέy' κ.τ.Χ. The antistr. L (35) is τόν όμοδέμνων Ίτόσιν — λουτροΐσι κ.τ.λ., shewing the strophic 1. to be corrupt. The induction by which we emend it is: (i) for 8—2 ii6 AGAMEMNON. EPEISODION IV. 117 she meditates a mighty evil in this house, to friends unbearable, and hard to cure : and help stands far aloof. Chori Nought know I of these oracles : tfiKformer fads I recognised : for with them all the cit] 1085 nnsfs. Arii. 4. T090 (35) 1095 Cassandra. Ah, wretched one ! so wilt thou finish it ? the lord, the partner of thy bed, with bath-streams cheering — how relate the end? for speedily 'twill come : hand after hand extends its stretchings forth. Chorus. As yet I comprehend not : after riddling hints I'm now perplexed by prophecies of import dark. Cassandra. Ah, ah ! alas, alas ! what is this thing that appears ? Str, 5. full sure some net of Hades. nay, but the bed-mate is the snare, the accomplice of destruction : let a gang insatiate to the clan pvv was written by error ϊ^^οι/, which follows after one %vord : (2) this error was sought to be corrected by taking /^^γα from the μ^/ of the next 1., the critic who did so not observing that (while the repetition adds nothing to the effect here) a short final is made to correspond with a long one, and two short syllables with one long one. 1099 (44). Codd. have φ6νου, and in antistr. (55) rvirrei, which is sus- picious, as not supporting the Γ of the preceding line. Hermann, seeking for ap iambus, reads θέν€ΐ for τύΊΓΤ€ΐ, but what authority is there for that form ? We believe both words to be corrupt, but a spondaic word to be right, and that word in 1055 to be ktuvh, which lengthens the ι of μηχαιτήματι] and supplies that close to the scenes depicted by Cassandra which their succession and the words ίγΙτρ€ι and δολοφόνου require. Φόνου in 1044 would be used too soon. We therefore read λ«7οί;, which two parallel passages signalise as the just word in that place : Sup/>I. 663, μηδέ ris άρδροκμ^ί Xoiyos έΐΓ€\θέτω, and CAo. 396, βο^ yap XoiyOP 'Eptyyj. Thus the Λ loud o'er a victim shout Λ? de avenged by stoning. 1 100 (1045) Chorus. What dire Erinys this thou biddest o'er the house Sir, 6. to cry aloud? not cheering is the speech to me. it rushes to my heart, the drop of ruddy dye, which welling from a mortal wound ends with the rays of sinking life. 1105 speedily cometh woe. Cassandra. Ah, ah ! behold, behold ! keep from the heifer apart Ant, 5. the bull ! in rob^d raiment scenes depicted (from 1015) are (i) Cassandra scents the blood shed in the palace: (2) she beholds in vision the murderous banquet of Atreus: (3) she views Clytaemnestra meditating and preparing her crime : (4) she sees her busied with the bath for Agamemnon: (5) she sees her en- veloping him with a treacherous ensnaring robe : horror-stricken she calls the wife herself the snare, the accomplice of destruction (λοίγοΟ), and invokes the Furies to raise their howl of exultation over a sacrifice fit to be expiated by stoning (language anticipating a murder but not yet expressly declaring it) : (6) she beholds the perpetration of the bloody deed, describ- ing it under the image of a bull gored by an enraged cow. The /χβλάγ- κ^ρων μηχάνημα means the ' bipennis,' the double axe, of which the two edges answer to the horns : with this she now kills him (Kreivei) and he falls within the rim of a bath filled with water. This she declares to be. a δοΧοφόνο^ X^rjs. That the Chorus do not yet fully understand a picture thus vividly exhibited must be ascribed to Cassandra's destiny — not to be believed. Their doubts they politely veil in generalities : and she goes on to foretell her own fate. 1 103 — 5 (1048—50). This sentence, which appears to mean generally 'the life-blood rushes to my heart,' is in literal expression, * and to my heart rushed the saffron-dyed drop, which falling with mortal effect {καφία ΊΓτώσιμο%) comes to its close together with the rays of setting life.' From the terrible presentiment thus inspired by Cassandra's pictures (see 906, Tirre K.T.\.f and 924 σπλάγχνα /c.r.X.) the Chorus is led to say that 'woe cometh swifL* 1 108 — 1110(1053 — 1055). It is questionable whether λα/3ουσα should have for its object τον ταΰρον^ which gives a rendering having caught him in his robe-dress she &c., or μηχά^ημα^ which will be she takes a dark- ii8 AGAMEMNON. EPEISODION IV. 119 she taketh, and with black-hom'd cunning instrument she killeth: he in water-holding vessel falls. mo (1055) a treacherously-slaying laver's hap I tell thee. Chorus. A first-rate judge of oracles I cannot boast to be : but, this I liken to some evil thing. for when is any good report from oracles to mortals sent? through ills it is such wordy lore to learner brings terrors of boding song. Arit. 6. 1115 Cassandra. Alas, alas ! a wretched woman's ill-starred lot ! * Str, 7. for my own woe, commingling, tell I loud: ο wherefore didst thou bring me wretched hither? 11 20 (1065) for nought, except to die with thee : what else ? Chorus. Soul-maddened one god-rapt thou art, • and on thyself thou singest music unmusical, most like some nightingale, of delicate voice unsated. Sir, 8. 1125 homed instrument and slays him with it in his robe-dress. The latter is favoured by the position of λα^οΟσα, the former by the superior sense acquired, and the idleness of h viirXoiatv unsustained by λαλούσα. This therefore we adopt as logically better, though grammatically less probable. 1 125 (1069). ξουθα^. Codd. have ξουθά. But as there is no doubt that this adj sometimes signifies clear-voiced or melodious^ we venture to write ^ou^as. For /Soos, used of the nightingale's voice, needs a qualifying epithet much more than the distant word ά7;δώΐ' itself, and in such a posi- tion it seems poor to place an epithet merely calling the nightingale * yellowish-brown.' The first meanings, out of many, assigned to ^ovdbt by Photius are Xorros, άταλό?. And when Aristophanes makes the Bird- chorus say (Av. 726) 5t' ίμη^ y4vvos ξουθψ μέλέων ΙΙανΙ νόμονί Upoits άνα- φαίνω, we cannot believe that he meant to ascribe one and the same colour to the 7^^;;$ of all birds, but rather a delicate utterance of notes. \ that with sad heart, alas, moans Itys, Itys, through a life in woes abounding. Cassandra. Alas, alas ! the fate of tuneful nightingale ! A;il. 7. for with a wingbd body did the gods enwrap her, and a sweet life void of weeping: 1130 (1075) me waiteth rending with a two-edged spear. Chorus. Whence on thee rushing hast thou these Anf. 8. vain griefs of inspiration ? and thy terrific melodies framest in dismal shriek with loud notes blending? 11 35 whence gainest thou the evil-worded limits of a strain divinely guided? Sir. 9. 1 140 (1085) Cassandra. Alas, ο spousals, spousals of Paris, the destruction of friends ! alas, ο thou paternal water of Scamander ! then on thy brink indeed, unhappy maiden, in nurture I was reared: now near Cocytus and the shores of Acheron eftsoons, it seemeth, I shall sing my fateful lays. Chorus. AVhat is this too clear word which thou hast uttered now? Sfr. 10. 1 1 45 even one new-bom might learn the meaning. stricken am I beneath with bloody sting, while in distressful case thou mutterest low heart-breaking words for me to hear. 1 131 (1076). άμφηκίΐδορί. Δόρυ generally means a spear; but here it seems to be used for an axe. See 1206 — 7. 120 AGAMEMNON, EPEISODION IK 121 I Cassandra. Alas, ο troubles, troubles that wholly Ani, 9. 1150 (1095) whelm in ruin a town ! alas, before the towers a father's sacrifices, slayers of numerous herbage-grazing cattle ! yet they supplied no cure to save the city from enduring all it doth: 1155 and I my glowing ear on earth shall quickly lay. 1156(1101). glowing ear, θερμίν o5s. This emendation for θ€ρμόνου9 is mentioned by Wellauer as that of some scholar Avhose name he does not give. But, though it retains all the letters of the vulg. reading, it has found favour with no editor, and we have heard it named only to be laughed at. It has had the same fate as the prophetess herself — κατα-γέΧωμένη ου διχορρόττωί. What if the second adverb also may be applied to this scoffing ? What if it be indeed μάτψ^ irrational ? We are ready to use the language of the Chorus, ημΐν ye μ^ δη ιτιστα θεσττίξΐΐν SoKeis. Let us then see what is to be said for it ? First, what is the character of the vulgate lection θ€ρμ6νους? It would be in itself an excellent compound adj. (as φαιδρ6νου$ 1158), and admirably suited to Cassandra, a prophetess of inspired mind. And there can be little doubt that these intrinsic merits of that epithet (in contrast with the strange term * an inspired ear,* and the still more strange notion of 'flinging on the ground an inspired ear') have done more than anything else to keep θ^ρμ6νου% in the text, and to induce editors to make the best of the interpretation according to that text. But let us ask any competent scholar ; "can you believe that Aesch. wrote βα\ω= βα\ώ έμαυτ-ήν ? Can you believe that θερμάνουν βάλω, signifying * I the in- spired one will throw,* is good Greek ? Or could Aesch. have written * I in a fit of inspiration will throw myself/ when she is to be slain by the blow of an axe, against her will ?*' Each of these questions we should answer in the negative : and such answers, if just, will unseat θβρμόνους from the verse. But while there is no room in this construction for the epithet θερμορονί, applied to ^ώ, the subject of /3αλύ), there would be room for deppjbv νουν, * my heated or inspired mind ' as object, if it were possible to speak of laying έν ττέδφ (on the ground) an * inspired mind.' But this is impossible. There would be room for θερμόν 6μμα, ' my inspired eye,' if instead of iv ττέδφ βαλώ Aesch. had written iv τάχει δ' 4-γώ κοττεϊσα θβρμόν δμμα συμ- βάλω, 'soon smitten I shall close my glowing eye.* Now, what is the relation of θερμόν oUs to θερμδν Ομμα and θερμός νοΰί ? Let us hear what Oedipus says in reproach to the seer Teiresias : τυφλοί τά τ' ώτα τόν re νουν τά τ* δμματ' cI. Soph. Oed. Τ, 'you are blind in ears, in mind, in eyes.* , 4 t; Chorus. Suited to those before are thy new-spoken words: Ani. 10. an evil-minded demon makes thee, heavily falling on thee from above, to set to music doleful deadly woes, 1160(1105) the bounds of which I cannot guess. Cassandra. Now shall the oracle no more from out a veil i.e. in ears and in mind as well as in eyes. As the mind and the eye, so also the ear of the inspired one is amenable to the influence of the god, and an organ of his inspiration. The inspired one can say : ** I hear a voice ye cannot hear, that says I must not stay; I see a hand ye cannot see, that beckons me away ; there sits within my heart a power I dare not disobey." And such is Cassandra's case. All her senses are supematurally possessed by Apollo. She sees the past, the present, and the future. She hears also the 'concordant unmelodious chorus* (1115), *the hymn of the Erinyes' (1120), the triumphant shout of the murderous wife (1165). She can therefore make her θερμών oh — her inspired ear— an object, representing, by such synecdoche, her very self. She can say, * I (cut down by the axe) shall lay on the ground my glowing ear.' As a frantic prophetess, she may use wild language, which would not be assigned to a sane character. Such is our long-considered opinion in regard to this reading*. We would not say καΧ τΟινδ' δμοίον et tl μτ} ττείθω. On the contrary, we hope that our view may seem to many scholars that of an άληθόμαντις. ιι6ο—βι (ii05 — 6). On the reading here see Consp. Lect. 1 162 (1107). Cassandra, now becoming calmer, tells the Chorus that her oracle shall be declared to them in plainer terms. She does not, how- ever, speak with distinctness before 1. 1229 (11 75)• She says now that a choir of Furies, drunk vaih. human blood, inhabit the Ai^ve palace, and point with abhorrence to the crime committed against a brother's marriage- bed. Judging that this allusion to the feud of Atreus and Thyestes would be understood by the Chorus, she challenges them to say whether she is familiar or not with the legendary lore of Argos. When they admit her knowledge with surprise, she tells them in a brief dialogue [στιχομυθία] how she came to be endowed with the power of prophecy by Apollo, and to * Called by Herm. ' lenissima,' and ascribed to Canter : see Consp. L. 122 AGAMEMNON. be looking, in the manner of a new-wed bride. but, as it seems, to greet the rising of the sun 'twill come a brisk gale blowing, so that like a wave 1165 a woe still greater than this woe shall roll at dawn. but I will teach your mind no more in riddling words. and bear ye witness running by my side that I scent out the trail of ills enacted long ago. this roof there never quitteth an harmonious choir 1 170 (15) but not melodious; for its words are far from sweet. and after quaffing human blood, so as to be the more audacious, in the halls a revelling troop of sister Furies, hard to be expelled, abides : who crouching in the mansion chant a song that speaks 1 175 a curse original, and each in turn abhors a brother's couches hostile to the trampler's guUt, erred I, or, like some archer, do I hit the mark? or am I some door-rapping cheat predicting lies? bear witness with a previous oath that not by word 1180 (25) alone I know this dwelling's ancient deeds of sin. utter predictions which obtained no credit from the hearers. The Chorus express their own belief in her veracity. Her first words 1162 — d^ (ΐίθ7 — ii) say that the oracle shall no longer peep from behind a veil, but shall be like a strong morning wind, blowing in upon their minds brightly, and rolling onward billows of woe ever greater and greater : meaning that the murder of Agamemnon would surpass all their previous experience of melancholy crime. 1 1 78 (1123). erred II The reason why Cassandra is made to put these questions, and to desire an oath from the Chorus testifying the truth of her allusions to past history, is this. Apollo had, as a punishment, con- demned her to public discredit. She seeks therefore to bind the Chorus down by a solemn declaration to receive what she says as the very truth. They avoid such a pledge, asking what service it could do, while they recognise the accuracy of her information. 1180(25). έκμαρτύρησον νρούμόσαί. This expression in some degree resembles that in English law, * testify on affidavit.' noi by word alone I know. We have deferred to the high concurrent authority of Dobree, Hermann and Paley by reading rh /a9j tihhon. for the ms. TO μ! eldivat, and rendering as in our version. But not without much EPEISODION IV. 123 Μ li % Chorus. What virtue could an oath, a pledge that honour gives, possess? but thee I marvel at, that, bred o'er sea, yet of a town that speaks another tongue thou dost as truly talk, as if thou hadst been present there. 11 85 Cassandra. The seer Apollo made me mistress of this skill. Chorus. Was it that he with love was smitten, though a god? Cassandra. Of these things 'twas a shame to me before to speak. Chorus. Yes, every one while prospering is more delicate. Cassandra. He was a suitor, and he made strong love to me. 119° (35) Chorus. And to his wishes didst thou yield in lawful wise? Cassandra. Consent I promised, but defrauded Loxias. Chorus. Already with the arts of inspiration seized? Cassandra. All woes I was foretelling to the citizens. doubt. The want of iiovov and the want of μβ form together a serious obstacle to this view. Can λόγψ be taken so closely with ταλαιά? as to constitute one epithet to αμαρτίας, * the old-traditional sins' ? or could we read τό /χ' eldivat λόγοι/, taking αμαρτίας as gen. sing., meaning the crime of ♦ Thyestes? Davies explains τό /a' €ΐδέναί λόγψ, 'that I truly state.* 1 186. In codd. the lines marked in our Greek text 1 131 and 11 33 are continuously placed in the mouth of Cassandra, and 1132 and 1 134 are similarly assigned to the Chorus. Hermann rightly distributed them. 124 AGAMEMNON. EPEISODION IV, Chorus. How then? wast thou unscathed by wrath of Loxias? 1195 Cassandra. I gained belief from no one, after sinning thus. Chorus. ' ' To us however seem thy bodings credible. Cassandra, Alas, alas : oh, oh, ye miseries ! again the dreadful labour of true prophecy whirls and disturbs my soul with preludes [rushing on]. 1200 (1145) • ^ do ye behold these infants seated at the house like dream-discovered figures, children as it were » who by their friends were murdered? and their hands seem full of their own flesh for viands, while a piteous load 1195 (40). Paley, taking the ms. αρακτο^, and (from Wieseler) ^σθα (as for "^δεισθα) and κότον, reads irtDs δητ^ άνακτο^ ^σθα Αοξίου κότον ; ' how, pray, didst thou come to know the resentment of king Loxias?' We cannot concur, doubting the word ζσθα, and thinking the form of the ques- tion not such as might be looked for. We have therefore preferred the reception of Canter's oMaros for dvaKTos. 1 1 96 (4 1 ) . ώί = ex quo, β-οτη the time when, 1 198 (43) &c. Cassandra is again rapt with prophetic inspiration. She sees in vision the monstrous crime of Atreus, the stealthy vengeance of Aegisthus, the approaching perpetration of Agamemnon's murder. The first of these facts is recognized by the Chorus, the two latter are not understood. Then Cassandra plainly says they will behold the death of Agamemnon. Horrorstruck, they withhold belief, yet ask about the sup- posed perpetrator. Cassandra taunts them with their slow comprehension of her language ; and then, once more subject to Apollo's influence, she breaks forth into a wild disjointed speech of many lines, anticipating her own death at the hands of Clytaemnestra. Apollo, she says, is preparing her for it : she sees him in vision stripping off her official decorations. The Chorus behold this done by her own hands alone. She looks forward to a day when her murder will be avenged. And now (she says) she will enter the palace and die there : for why should she survive her ruined country ? only she prays for a rapid and easy death. 125 1205 . \ they carry, vitals mixed with entrails, upon which a father feasted, consequent on these events, I say some dastard lion tossing in a bed, house-guarding, plots revenge, alas, on him that's come, my master, for one must abide the slavish yoke. he, the fleet's captain, Ilion's wasting conqueror, 1210 (115 6) knows not what things a vile detested womaris tongue, that spake in cheerful mood a long oration, like some secret Ate, shall achieve with foul success. such deeds she dareth : murderess of a male is she, a female — what abominable monster shall 12 15 I fitly call her? ugly snake or one that dwells in rocks, a Scylla, mischievous to mariners. Death's raging mother, one that breathes a truceless war to friends ? how loud a shout she raised, the all-daring one, 1205 (1150). vitals mixed with entrails, air\ayxva are the heart, liver and lungs, ivrepa the bowels &c. ♦ 121 1 (1157). z///' as if 'twere in the crisis of the battle's rout. 1220 (1166) she seems to be rejoicing at the safe return. 'tis all the same, if none of this convince ; for why ! the future will arrive: and, witnessing ere long, you'll say in pity that I am too true a seer. Chorus. The banquet of Thyestes on his children's flesh 1225 I understood and shudder at, with terror thrill'd to hear the tale told in its dread reality, but, like a racer oif the course, I heard the rest Cassandra. I say that you will look on Agamemnon's death. Chorus. To words well-omened, wretched woman, lull thy tongue. 1230 (1176) Cassandra. Ah, but no healing god presideth o'er this speech. * Chorus. Not if it is to come : but may it ne'er befall ! Cassandra. You turn to praying : but their business is to kill. is that to be raised after the coming murder, and ' the rejoicing in the return' is the delight of having to kill one whom she hated from the very depths of her ferocious heart. If more were wanting to confirm what is already manifest, it would be found in the three next lines with which Cassandra concludes this speech. 1227 (11 73). in its dread reality ^ ονδ^ν ί^τβκασμένα^ lit. not in mere resemblances. 1228(1174). like a racer οβ the course ^ Ik δρόμου irea^v τρ^χω, lit. having heard the rest I run as a strayer from the course : that is, I heard the words but missed the sense, like a racer who has run off the course — has lost the right track. 1250(1176). €ΰψημον. Proleptic use of adj. EPEISODION IV, 127 I Chorus. What is the man by whom this grief is brought to pass ? Cassandra. You must have missed the purport of my oracles. 1235 Chorus. The worker's plan it is I do not understand. Cassandra. Yet I am well acquainted with the Hellenic tongue. Chorus. So are the Pythian oracles, yet hard to guess. Cassandra. Alas, what fire there is ! and 'tis approaching me. woe, woe ! Apollo, God of Lycia ! ah me, me ! 1 240 (1 186) this lioness, two-footed one, cohabiting, in absence of the noble lion, with a wolf, will slay me wretched-, as a woman who prepares a poison, she will mingle too my recompense in her resentment : whetting for a man the sword, 1 245 she vows with murder to revenge his bringing me. why wear I these things still, a mockery of myself? 1235 (1181). We are disposed to think, with Conington, that av may be defended here, though a rare instance, d μη τοντ' iaKOiras, rrapeaKOireii au χρησμών έμων, you must have missed, as we say in English. In any case, we have seen no emendation at all satisfactory to our mmd. 1243—46 (1189-92). We agree with Pal. that this place contams corruption: but we are disposed to find it in 1191 rather than in 1190 with Cod. Fam. (i. e. Demetrius Triclinius) and Paley. We suggest ^ireiJxerat δέ, φωτΐ θήγουσα ^ίφο^, but (as the translation will be much the same) we have not placed this emendation in the text. The reading of Auratus, τοτφ for κότφ, specious as it is, we do not adopt, deeming it less suitable to the place Φόνον is the contained accus. with άντίτίσ€σθαι, the object avrbp (0ώτα) being understood. See Eurip. Med, 259 ττόσιν δίκηρ άΜτιτίσασθαι, Heracl. 852 άττοτίσασθαι δίκην έχθρούί. 128 AGAMEMNON, this staff, this chaplet round my throat oracular? before my own fate them will I destroy, lie there to ruin fallen: I shall follow close behind; 1250(1196) some other in my stead enrich with cursed woes. lo, here ! Apollo's self is stripping off from me the dress prophetic : yet even in these ornaments he bore to look upon me ridiculed by friends and foes with undivided mt'ndsy yet erringly. 1255 like to some female conjuror, such terms I bore as tramper, beggar, miserable half-starved wretch. and now the seer-god, after making me a seer, has led me forth to meet the fate of such a death. yea, for the altar of my native home, a block 1260 (1206) 1250 (1196). Paley's suggested α•γ ώδ', as addressed to an imaginary executioner, seems to us impossible here. He asks how the comipt reading of codd. ά^αθώ δ' is to be accounted for. The state of these codd. hardly justifies such a challenge : yet here it seems evident that the antecedent in corruption of ayad^ must have been αγί^' in imaginary sequence to fre. We follow Hermann's emendation. • 1252 (1197). On the reading arais for ατην see Consp. Led. 1254 — 56 (1199 — 1 201). In this corrupt place we have been bold enough to adopt 5' ^μω% for δ^ /te in 1199, m' ΙτΚ-η for /ttera in 1200, and to supply t' in 1201. Our apology must be found (i) in the slightness of these changes ; (2) in their adaptation to the wants of the passage, and in the perfect sense resulting. Though έΐΓοπτ€ΰσαι would also be a very slight change, yet as the participle with τληναι, though less usual than the infin., is yet quite admissible, we have kept iiroTreoaas, See above 966 ιτραθέντα. τΧψαι, Sept. 751 aveipas ίτλα, Soph. £L 943 τλψαί ae δρωσαν, Phil. 537 Χαβόντα tXtjvou. 1258 (1204). a/ifer making, έκτράζΜ. So Liddell and Scott's Lex. with ample authority. Paley's startling version, * after wreaking his ven- geance on me as a prophetess,' is untenable. This verb, when meaning /o take vengeance, never has a personal object. 1260(1206). altar of my native home, βωμοΰ τατρφον. Aesch. here has in view the common worship of Άτρόλλων ΐΓατρφο$ by the phratriai at Athens, as the bond of their citizenship. See Aristoph. Av. 1527: ού yap dai βάρβαροι Ιίθ€τ i νατρψό$ iarty *Εξηκ€στίδιυ; EPEISODION IV. 129 ί awaits me, smitten down with hot blood-spilling stroke. yet shall I die not unregarded of the gods. another in his turn shall come, redressing me, a matricidal shoot, avenger of a sire. an exiled wanderer, from this land a distant guest, 1265 he shall return to crown these cursed woes for friends : for of the deities is sworn a mighty oath, that his slain father s prostrate form shall bring him back. why am I groaning thus aloud in piteous wise, since Ilion's city in the first place I beheld 1270 (16) faring as it did fare, and they who took the town are in the judgment of the gods thus coming off? I go to meet my fate, I will abide my death. these as the gates of Hades greet I now by name. and my petition is to meet a mortal stroke, 1275 that without palpitating struggle, while the blood streams forth to easy dying, I may close this eye. Chorus. Ο woman greatly wretched, also greatly wise, thy speech hath been a long one: but if thine own fate thou truly knowest, to the altar how canst thou, 1280 (26) like an ox driven by a god, thus boldly walk ? Cassandra. Escape is none, ο strangers, for a longer time. 1278 (24). The Chorus express their astonishment that Cassandra, looking for immediate death, could Avalk to meet it with so much deter- mination. She says that delay is useless. After a brief dialogue, she starts with horror from the palace door, through which comes the scent of blood. Then resuming courage, and about to enter, she bids them remember her words when later events occur. She prays before her last sunlight, that the avengers, whose advent she looks for, may require atonement for her blood with that of others. Finally, before departure, she speaks of the instability of human life. Prosperity is easily changed to adversity: and this is wiped out by death. K. A. Λ 128 AGAMEMNON, Ε ΡΕ I SO DION IV. 129 this staff, this chaplet round my throat oracular? before my own fate them will I destroy, lie there to ruin fallen: I shall follow close behind; 1250(1196) some other in my stead enrich with cursed \voes. lo, here ! Apollo's self is stripping off from me the dress prophetic : yet even in these ornaments he bore to look upon me ridiculed by friends and foes with undivided mitids^ yet erringly. 1255 like to some female conjuror, such terms I bore as tramper, beggar, miserable half-starved wretch. and now the seer-god, after making me a seer, has led me forth to meet the fate of such a death. yea, for the altar of my native home, a block 1260 (1206) 1250 (1196). Paley's suggested (£7' ώδ', as addressed to an imaginary executioner, seems to us impossible here. He asks how the corrupt reading of codd. άγα^ώ 3' is to be accounted for. The state of these codd. hardly justifies such a challenge : yet here it seems evident that the antecedent in corruption of ά7αβ' must have been άγί^' in imaginary sequence to tn. We follow Hermann's emendation. 1252 (1197). On the reading άτο« for irt\v see Consp. Led. Ϊ254 — 56 (1199 — 1201). In this corrupt place we have been bold enough to adopt δ' 6μω^ for δ^ μ€ in 1 199, /*' ίτ\η for /xfra in 1200, and to supply t' in 1201. Our apology must be found (i) in the slightness of these changes; (2) in their adaptation to the wants of the passage, and in the perfect sense resulting. Though iiroTrevaai would also be a very slight change, yet as the participle with rXijuai, though less usual than the infin., is yet quite admissible, we have kept ^τοιττεύσαϊ. See above 966 πραθέντα τληναί, Se/>i. 751 axelpas ίτλα. Soph. £/. 943 τΧψαί σ€ δρωσαν, Phil, 537 Χαβόντα τΧηναχ. 1258 (ΐ2θ4). αβετ making, έκτράζαί. So Liddell and Scott's Lex, with ample authority. Paley's startling version, * after wreaking his ven- geance on me as a prophetess,' is untenable. This verb, when meaning ίο take vengeance^ never has a personal object. 1260(1206). altar of my native homey βωμον τατρφον. Aesch. here has in view the common worship of Άτόλλωι/ τατρφον by the phratriai at Athens, as the bond of their citizenship. See Aristoph. Av, 1527: ού yap elci βάρβαροι tetv b Ίτατρφός έστιρ ^Εξηκ€στίδιι\ ι awaits me, smitten down with hot blood-spilling stroke. yet shall I die not unregarded of the gods. another in his turn shall come, redressing me, a matricidal shoot, avenger of a sire. an exiled wanderer, from this land a distant guest, 1265 he shall return to crown these cursed woes for friends : for of the deities is sworn a mighty oath, that his slain father s prostrate form shall bring him back. why am I groaning thus aloud in piteous wise, since Ilion's city in the first place I beheld 1270 (16) faring as it did fare, and they who took the town are in the judgment of the gods thus coming off? I go to meet my fate, I will abide my death. these as the gates of Hades greet I now by name. and my petition is to meet a mortal stroke, 1275 ^ that without palpitating struggle, while the blood streams forth to easy dying, I may close this eye. Chorus. Ο woman greatly wretched, also greatly wise, thy speech hath been a long one: but if thine own fate thou truly knowest, to the altar how canst thou, 1280 (26) like an ox driven by a god, thus boldly walk? Cassandra. Escape is none, ο strangers, for a longer time. 1278 (24). The Chorus express their astonishment that Cassandra, looking for immediate death, could walk to meet it with so much deter- mination. She says that delay is useless. After a brief dialogue, she starts with horror from the palace door, through which comes the scent of blood. Then resuming courage, and about to enter, she bids them remember her words when later events occur. She prays before her last sunlight, that the avengers, whose advent she looks for, may require atonement for her blood with that of others. Finally, before departure, she speaks of the instability of human life. Prosperity is easily changed to adversity : and this is wiped out by death. K. A. Q I30 AGAMEMNON, EPEISODION IV. 131 Chorus. But the last moments left of time are valued most Cassandra. The day is come : 'tis little I shall gain by flight. ; Chorus. * Well may we call thee patient and brave-spirited. 1285 Cassandra. This commendation none of them that prosper hear. Chorus. Yet glorious dying gratifies a mortal heart. 1 Cassandra. Woe for thee, father, and thy noble progeny ! Chorus. What is the matter? what the alarm that makes thee shrink? Cassandra. Alas, alas! 1290 (36) Chorus. Whence came that sob ? 'twas sure some horror of the heart Cassandra. Blood-dripping murder from the house is steaming out. Chorus. How Cometh such a smell from incense on the hearth? Cassandra. It showeth even as a vapour from a tomb. ϊ«93 (39)• We have placed the question at the close of the line, which gives good sense. But the reading which places the question after καΐ ttws ; may perhaps be true: 'how so? the smell is that of sacrifices at the hearth.* Chorus. Thou claimest for the house no Syrian luxury. 1295 Cassandra. Well, I will go and mourn within the palace too my own and Agamemnon's fate ; enough of life ! alas, ο strangers ! not with vain terror do I shudder, as a bird doth at a bush : such witness bear this death of mine 1300(1246) whene'er a woman shall for me a woman die, and for a man ill-wived another man shall fall, this friendly part in dying hour I claim from you. Chorus. bad sufferer, for thy fate foretold I pity thee. Cassandra. One saying more, no dirge of mine, I wish to speak. 1305 unto the sun, in presence of his final light, I pray, that to the friend-avenging murderers foes at the same time may with blood the blood atone 1307 — 8 (1253 — 4). Our emendation of this passage is founded on a logical process, which to our own mind is conclusive. Assuming the corruptness (which is obvious), and then looking for the words in which this lies, our attention is first drawn to the pronouns έμοΐ^ and τού^ έμού$, and we see that the scribes, misled by dwelling altogether on 1. 1255, imagined that Cassandra speaks throughout of Aer own murderers and her own avengers. Hence they thrust in the pronouns, and then, having obscured the meaning of έχθρού$, they changed it into ίχ^/χκ s, as an epithet of φον€ΰσι. Thus they succeeded in depriving τίναν of an object, δμοΰ and ν the gen. δοΰλψ of all propriety, and the whole passage of a construction. When we come to the work of restoration, we observe these things: (i) the presence of ομοΰ and of L 1255 prove that the avengers are, in the /rsl instance, those of Agamemnon, in the second only, of Cassandra: (2) we see that tLvhv must have a subject, and that the only way to give it one is to take εχθρούς for that purpose, instead of using the adj. as a stupid epithet to φορεΰσι. (3) We see that rlveiv must have an object, and that this object must take the place of rws έμοί$, while the nature of the x (i.e. Clytaemnestra and Aegisthus) may at the same time atone for the murder of a female slave who died an easy coLust: 131 1 (1257). liken, τρέφ,,,ρ, Photiushas, ^ιτρέψαι, τό 6μο^ώσα, Aesch.* Comngton explained this passage of a sketch (σ.*<£): the sense, says Paley IS hat prosperity is as easily changed as the outline or cartoon of a picture while adversity may be wiped out by one stroke, i. e. by death.» 1313(1259). Cassandra pities «the change from prosperity to adver- • ^tXil P^' '"''T r'"^'°" of misery by death.' Pal.' Here (as Ast, cited by Paley, says) oJros refers to the more distant object, ^.«.0. to the nearer. This, though contrary to the general rule, is not infrequen ) EPEISODION V. EPEISODION 5. ni {The cry of Agamemnon, murderously wounded l>y Clytaemnestra, is heard in the orc/iestra once and again. The coryphaeus calls on tlie chorcutae for tlicir opinions on the course to be taken: these are delivered, and by him briefly summed up. At this moment, by means of the stage-machine called eccyclema, the palace is opcfied and Clytaemnestra is disclosed staiui- ing beside the veiled bodies of Aganumnon and Cassandra. She addresses the Chorus, declares her deed, describes, and exults in it. The remainder of this Epeisodion consists of the reproaches, complaints and lametUations of the Chorus on the one side, and the self -justifying replies of the queen on the other, partly in iambic metre but chiefly in lyric rhythms. At the close Clytaemnestra expresses a desire to makepeace zvith t/ie Council.] • Agamemnon {from within), Alas me ! smitten am I by a mortal blow. Chorus (Coryphaeus). Silence ! who is this that crieth, wounded by a mortal stroke ? Agamemnon. Alas once more! Fm smitten by a second blow. 1326 (1272). blow. We have not rendered the word ίσω which codd. place at the close of this line, being displeased with each of the interpreta- tions given to it. That Aesch. should make Agamemnon say, *I am mortally wounded inside the house,' or * I am mortally wounded inside my body,' seems hardly credible, though Schneidewin defends the latter, taking ^σω= «ictu valido, deeply.' Conjectures are : (i) (χω for (σω, with comma after τέΊΓ\ηyμaι, but we have not placed this in the text, as we would rather hare the single verb τένλττγμαι for evident reasons : (2) ^^ώ for ίσω. We think this might be defended as an emphatic pronoun, loudly uttered to draw attention. See Aristoph. Ach. 406, AikouovoXis xaXei σ€ Χό\\ίδη5, 1327 (1273). Hermann and K. O. Muller were at issue respecting the number of choreutae in this play : and the controversy turned chiefly on the distribution of speeches to the several members in this scene. Her- mann considered the whole number to be 15, assigning one trochaic line to each of the first three speakers, and two iambic lines to each of the others, the last being the coryphaeus. The other view (which we follow) assigns to the coryphaeus all the trochaic lines and the two last iambic : he is therefore the Xo. ιβ' of our text, as well as the Xo. of 1273, 1275— (J. '34 AGAMEMNON. Chorus (Coryphaeus). I suppose the deed is ended from the outcry of the king. - but let us by common counsel settle whatsoe'er is safe. 1330 (1276) Choreutes I. I tell you my advice : that hither to the house ' we notify the citizens to come with aid. Choreutes 2. I think that with our utmost fpeed we should rush in, and sift the matter while the sword is reeking fresh. Choreutes 3. And I, too, sharing an opinion of this kind, 1335 vote we do something: 'tis no crisis for delay. Choreutes 4. Tis clear to see : the prelude of their action shows they are preparing for the town a tyranny. Choreutes 5. Ay, we are lingering : they the credit of delay tread to the ground, and slumber not with busy hand. 1340 (1286) 1330 (1276). whatsoeer &c. The reading we take, αμ τω? for α &v τωί (^), whatever may ^i•— and the other, av τω$ {κοιν^ασώμαθα.), if we possibly γλ»— express much the same sense. 1332 (1278). noiify...to come with aid, κηρύσσειρ βοήν, lit. to proclaim a cry, the word βο -iiv, cry, having here the force of βοΊ^θ^ιαν, i. e. a cry for ai(i—^s in English, help ! murder ! &c. ; in French, au voleur ! k I'as- sassin ! 1334 (1280). Jifhi/e the srvord is reeking fresh, ξύν ν€ορρότφ ξίφ^ι, lit. 7vith (the help of) the fresh streaming sword, taking the criminal red-hand, as it was once said. 1337 (1283). 'tis clear to see: 6pav vaperri, lit. t/ is possible to see. See rdpUf 980. 13s EPEISODION F. Choreutes 6. \Vhat happy counsel I can give I do not know, the doer should have also plann'd the thing to do. Choreutes 7. Such is my mind too, since I lack ability to bring a dead man back again to life by words. Choreutes 8. And shall we thus 'then, eking out our lives, submit 1345 to these for leaders, who pollute the family? Choreutes 9. No, that is not to be endured : 'twere best to die : t/ie stroke of fate is milder than a tyranny. Choreutes 10. And shall we upon evidence derived from groans prophetically certify the man is dead? 1350(1296) Choreutes ii. From thorough knowledge of the facts we ought to speak : for guessing and assurance are two different things. Choreutes 12 (Coryphaeus). Most votes from all sides bid me recommend this course^ clearly to learn the present case of Atreus' son. [Clytaemnestra and the two veiled corpses are now disclosed by the eccyclema. 1341 (1288). the doer &c. lit. the doet^s part is also the advising about (the thing to be done). 1345 (129O• eking out our lives, βίον relpovres, i. e. in the endeavour to extend our lives— for the sake of lengthened life. 1348 (1294). milder, τητταιτέρα, lit. ' softer,* τένων expressing the soft- ness of ripe fruit. 1353 (1299)• ^ost votes &c., lit. * I am supplied with numbers {τΚηθύ- νομαι) from all sides to commend this {^νώμψ opinion)' : i. e. * \Yit majority of opinions from every side bid me ' &c. 1354 (1300)• lo team the present case of Atreus* soft, ^λτρ€ίδψ tldivai 136 AGAMEMNON. Clytaemnestra. Much though I said erewhile adapted to the time, ι.ςς the contrary I shall not be ashamed to say. for how, preparing hostile things for hostile men, who seem as friends, shall any one erect a snare of harm unto a height that cannot be o'erleapt ? , not without ancient pondering of former strife 1360 (1306) this -contest, though long afterward, arrived to me now where I struck I stand, upon a finished work, so did I manage, and the fact I'll not deny, that he should neither flee, nor guard himself from fate a castmg-net, as that of fishes, issueless, 1365 I fasten round him, evil wealthiness of dress, twice do I strike him; he with groaning outcries twain his limbs relaxed ; and on him, prostrate as he lay yet a third stroke I add, the votive gift of thanks' to Hades under earth, the saviour of the dead. 1370 (16) Zil'""/"!"" rf*• '^•"^ Ρ"=ε"«"' brachylogy results from the Idiomatic construction of oTJo with participles. on, nv?J' ■'"'",' "" f 'Γ "Ρ""' ^^ "'^ ="="°" °f 'he eccyclema, bringing That Λ'βΓΓ'ί 'he two copses. I, is thought by some scholar! orcLstL ηΐΓ Γ . ""' "■""• ""'* ^'•""""δ "^^ -^P"-'^- left the orchestral platform for the proscenium, and that on Clytaemnestra's appear- ance they group themselves in two semicircles, as though about to sur^und her. These scholars hold that choral anapaests are always accompanied by a marching evo ution of the chores. If this be true in tragedy, which was preceded by a choral movement, it was chanted by a coryphaeus in station, addressing the spectators. He may be^light'^'' '"^" "'""' "" "' '^' <""P'^'"S• "^^ -^^• '^' ""ee '). editors for A.a«„ read Δ.6, with much plausibility. As the thTd libaZ at a banquet was sacred to Zeij ,ωτ^ίρ, Clytaemnestra, with horrible ironv says that the third blow of the axe dealt by her to Agamemnon ΙΓώ^ EPEISODION V. 137 ' thus having fallen, pants he forth his fretting soul, and, breathing out of blood a rapid slaughter-tide, he strikes me with a darksome drop of gory dew, nor gladdens less than when, parturient of the bud, the seed rejoiceth in the sky-descending rain. 1375 so stands the case ; and ye, old men of Argos here, be joyful, if ye will be joyful : I exulL had it been fit to pour libation o'er the dead, ^ this had been justly, yea, 'twere more than justly, done : so large a cup of cursed evils for his house 1380 (26) had this man filled, and drains it, coming home, himself. Chorus. We marvel at thy tongue, so daring-mouth'd it is, that o'er a husband utterest this vaunting speech. Clytaemnestra. My powers yeVe trying, as a woman's void of sense : but I with heart undaunted say to knowing men: 1385 whether your pleasure be to praise me or to blame, it is no matter: this is Agamemnon, who lies here, my husband, and the corpse of this right-hand, work of a just artificer. The facts are so. Chorus. Woman, what baleful edible earth-nourish'd, Str, 1390 (36) votive honour of him (Hades or Ze«J$ ?) who beneath the earth is ' the saviour of the dead. ' «371 (17). pants he forth his fretting soul, rhw αύτοΰ Θυμίίν 6ρμαΙρ€ΐ, Mr Paley's rendering, * he chafes in his mind,' is not commendable, βνμόί, meaning /ife, is frequent in the Homeric poems. ν 1378 (24). We have retained the ms. reading πρετόντων. But Stanley's emendation τρενόντως, edited by Paley, is not improbable. Γ 388 (34). The punctuation which connects xepbs with vcKpos, not with ^pyou, is by far the more vigorous and Aeschylean. Mr Paley adopts it in his latest edition. 1390 (1236). The horrified Chorus ask Clytaemnestra, what baleful 138 AGAMEMNON, or drink that issued from the liquid sea hast tasted, that upon thyself thou placedst this incense, with loud curses of the people ? pitiless didst thou fling and cleave: and citiless thou shalt be, to citizens a hateful monster. 1395 Clytaemnestra. Now from the city thou adjudgest banishment and hatred of the citizens for me to bear, and execrations of the public voice ; although thou didst not then make opposition to this man, 1400 (1345) who—caring for her fate as little as a beast's, where sheep are most abundant in their fleecy flocks— his own child, dearest offspring of my mother-throes, did sacrifice, to disenchant the winds of Thrace, ought you not this man to have banish'd from the land 1405 in payment of his foul misdeeds ? but hearing of my acts, thou art a stern judge : well— I bid thee speak such threats, as deeming me prepared on equal terms drug she has eaten or drunk, that she has committed a crime which is only to be expiated by her death as a murderess, with incense laid on her as on an atoning sacrifice, accompanied by a form of public execration. 139^ (39)• i-^iQov. Middle voice in double sense, (i) of indirect agency ; (2) reflexive ; didst cause to be laid on thyself. 1394 (40). ατέδίκ€ς. Some (as Pal.) place the question here, making apas object of diniSues (didst set at nought). We cannot concur : the three compounds with άττό are, we think, connected, the first two sug- gesting the third, as a jeu de mots. This we have tried to represent by introducing the word pitiless, to precede citUess. The verbs express Clytaemnestra's murderous deed : having enveloped Agamemnon in the cul-de-sac bath-dress, she suddenly flings him from her, seizes the axe, and cleaves him down (άτοτ^ /xvet) with two blows. 1397 (43). Clyt. in reply reproaches the Chorus with their indifference to the guilt of Agamemnon in sacrificing his daughter, and answers their menace with a counter-threat. 1408 (1353). as deeming ar'c. ώί κ.τ.λ. The construction is somewhat involved: έμου, coming last, seems to have a triple power; (i) as EPEISODION V, 139 for thee to govern when by force thou hast vanquished me. but if the god should bring the contrary to pass, 1410 (1355) thou'lt learn discretion, though the lesson be too late. Chorus. Mighty art thou of counsel : haughty language Ant. is this which thou hast uttered (since indeed thy heart as with blood-dripping fortune raves distraught), that o*er thine eyes conspicuous showeth 141 5 a smear of blood still unavenged. yet must thou stroke with stroke atone, of all thy friends forsaken. Clytaemnestra. This righteous sanction of my oaths thou too must hear : I swear by the fulfilling Justice of my child, 1420 (1365) by Ate and Erinys, unto whom I slew this man, I ne'er expect to tread the hall of Fear, so long as on my hearth Aegisthus burneth fire, absolute with 'ΐΓαρ€σκ€υασμέρηί ; [i) as suggesting the object of νικήσαντα (^A«) ; (3) as indicating the object of άρχ€ΐν (έμου) : i. e. «s {έμου) xape- σκ€υασμένψ έκ των όμοιων {σέ) νικήσαντα {ίμέ) άρχαν iuoO. The words έκ των ομοίων suggest κοά έμ^ νικήσασάν σε άρχειν σοΰ, to express τοΰμ-α-αλιν (the converse) in 1. 1359. 1413— 16 (1358— 1361). See Consp. Led. The Chorus notice the blood-stain acknowledged by the queen, and renew their threat. She (14 1 9) defies them, expressing her reliance on Aegisthus. Again she exults in the death of Agamemnon, also in that of Cassandra, whom she loads with the most revolting imputations. 1422 (1367). This is a difficult line to interpret. Codd. have 4μτατ€Ϊ, which Dind. and Franz keep : * my hope treads not in the hall of fear,' i.e. is not mingled with fear. Paley makes φόβου depend on At/s, meaning, ' I have no expectation of fear, that it tread my hall': too harshly, we think. Hermann reads οΰ μοι φόβον μίΧαθρ' αν iXirU έμνατ€ΐν, *1 have no expectation that fear will tread in my halls.' With some hesi- tation, reading ^μττατ^ΐν^ we render * I have no expectation of setting my foot in the hall of Fear,' a very bold metaphor certainly : but we see nothing better. 138 AGAMEMNON, or drink that issued from the liquid sea hast tasted, that upon thyself thou placedst this incense, with loud curses of the people ? pitiless didst thou fling and cleave: and citiless thou shalt be, to citizens a hateful monster. , 1395 Clytaemnestra. Now from the city thou adjudgest banishment and hatred of the citizens for me to bear, and execrations of the public voice; although thou didst not then make opposition to this man, 1400 (1345) who — caring for her fate as little as a beast's, where sheep are most abundant in their fleecy flocks — his own child, dearest off'spring of my mother-throes, did sacrifice, to disenchant the winds of Thrace, ought you not this man to have banish'd from the land 1405 in payment of his foul misdeeds ? but hearing of my acts, thou art a stem judge: well— I bid thee speak such threats, as deeming me prepared on equal terms drug she has eaten or drunk, that she has committed a crime which is only to be expiated by her death as a murderess, with incense laid on her as on an atoning sacrifice, accompanied by a form of public execration. 139^ (39)• ^τ^^ου. Middle voice in double sense, (i) of indirect agency ; (2) reflexive ; didst cause to be laid on thyself, 1394 (40)• driSiKcs. Some (as Pal.) place the question here, making άρά,ί object of aW5t/ccs (didst set at nought). We cannot concur : the three compounds with άττό are, we think, connected, the first two sug- gesting the third, as a jeu de mots. This we have tried to represent by introducing the word pitilesSy to precede citiless. The verbs express Clytaemnestra's murderous deed : having enveloped Agamemnon in the ctd'de-sac bath-dress, she suddenly flings him from her, seizes the axe, and cleaves him down (άτοτ^ /Ai/et) with two blows. 1397 (43)• Clyt. in reply reproaches the Chorus with their indifference to the guilt of Agamemnon in sacrificing his daughter, and answers their menace with a counter-threat. 1408(1353). as deeming ^^c, wi K.T,\, The construction is somewhat involved: Ιμ,ου^ coming last, seems to have a triple power; (i) as EPEISODION V, 139 for thee to govern when by force thou hast vanquished me. but if the god should bring the contrary to pass, 1410 (1355) thou'lt learn discretion, though the lesson be too late. Chorus. Mighty art thou of counsel : haughty language Ant. is this which thou hast uttered (since indeed thy heart as with blood-dripping fortune raves distraught), that o'er thine eyes conspicuous showeth 141 5 a smear of blood still unavenged. yet must thou stroke with stroke atone, of all thy friends forsaken. Clytaemnestra. This righteous sanction of my oaths thou too must hear : I swear by the fulfilling Justice of my child, 1420 (1365) by Ate and Erinys, unto whom I slew this man, I ne'er expect to tread the hall of Fear, so. long as on my hearth Aegisthus burneth fire, absolute with 7Γαρ€σκ€υασμένηί ; (2) as suggesting the object of νικήσαντα (^/xc) ; (3) as indicating the object of άρχειν (έμοΰ) : i.e. ώί [έμου) vape- σκ€νασμένψ έκ των όμάων {σέ) νικήσαντα {έμ^) άρχ€ΐν iuoO. The words έκ των ομοίων suggest καΐ έμέ νικήσασάν σ€ άρχ€ΐν σου, to express τοϋμνάΚιν (the converse) in 1. 1359. 1413 — 16 (1358 — 1 36 ι). See Consp, Led. The Chorus notice the blood- stain acknowledged by the queen, and renew their threat. She (14 19) defies them, expressing her reliance on Aegisthus. Again she exults in the death of Agamemnon, also in that of Cassandra, whom she loads with the most revolting imputations. 1422 (1367). This is a difficult line to interpret. Codd. have έμτατεΐ^ which Dind. and Franz keep : * my hope treads not in the hall of fear,' i.e. is not mingled with fear. Paley makes φόβου depend on Air/s, meaning, * I have no expectation of fear, that it tread my hall': too harshly, we think. Hermann reads οϋ μοι φόβον μίΚαθρ^ αν iXvU έμΐΓατ€ΐν^ *1 have no expectation that fear will tread in my halls.* With some hesi- tation, reading ίμττατΐίν^ we render * I have no expectation of setting my foot in the hall of Fear,' a very bold metaphor certainly : but we see nothing better. 1 140 AGAMEMNON, loyal in feeling to myself, as heretofore. for he is no slight shield of confidence to me. 1425 low lies this woman's wronger, he the fondling pet of those Chryseis-girls in Ilion's neighbourhood : and she, this captive woman, sign-interpreter and paramour of this man, telling oracles in faithful converse, wearing out in company 1430 (1375) with him the naval benches, worthy their reward : for he is — what ye see : she— mark me— like a swan, after that she had sung her last funereal dirge, his sweetheart here is laid, and by this union brings an added relish to my feast of luxury. i435 Chorus. Alas ! I would some fate not over-painful Str. i, 1430 (1375)• We have not adopted the reading vavrC\oi^, though Paley and others (with great speciousness) prefer it to the ναυτίλων of codd. We would not wish to assign to Clytaemnestra the vile and cruel coarseness which that reading implies. Ναυτίλοί as an adj. is certainly rare, but we would rather accept ναυηκων than vavr'CKoi^, Scholefield refers to Juv. VI. 10 1. '432 (1377) like a sivan. On the 'cycnus musicus' as distinct from the common swan, see Paley's note. 1434 (»379)• Hermann takes φιΚητωρ as an adj. and reads τφδ' for τουδ' of codd. We follow him, as Paley has done. 1 435 (1380). Here too by reading evmij, we are glad to rescue Clytaemnestra from the opprobrium of applying r^y ^/α^ϊ χ\ώη% to her own union with Aegisthus. Wicked as she is, we have no right to ascribe to a proud queen language from which the lowest and worst of her sex would refrain. The 'luxury 'she vaunts is that of gratified revenge and ambition, though it includes the legal recognition of her second marriage. 1436 (1381)• The Chorus declare their wish to die: and apostrophise Helen as the fatal cause of many woes. Clytaemnestra finds fault with these sentiments. They address the demon of the house of Tantalus^ and she agrees with them in ascribing the blood shed in the family to his influence. The Chorus suggest however that this influence is directed by Zeu.s (1473) without whom nothing is fulfilled. Then they break into a new lamentation of Agamemnon (1477 &c.), which they repeat at 1501 &c. Clytaemnestra says (1485 &c.) that the evil genius of Atreus has , EPEISODION V, nor couch-confining would arrive and bring with speed amongst us the everlasting endless sleep, our kindest guardian being slain, who through a woman much endured, and by a woman lost his life, ah, woe to thee, distracted Helen ! who singly didst those many, those very many lives 'neath Trojan walls destroy. ♦ # # ♦ # [thou broughtest to full blossom a memorable thing, that in the house for blood indelible was then abidinir, death-striving strife, a husband's sorrow.] 141 1440 (1385) Str, 2. 1445 iSir, 3.] taken her form to execute vengeance for the murdered children. The Chorus will only admit to her that this evil spirit might be her aider and abettor. Kindred bloodshed would excite Ares to inflict vengeance. Clyt. declares (151 1 &c.) that Agamemnon has expiated the crime com- muted by him against his daughter Iphigeneia. The Chorus (1517 &c.) express fresh doubts and anticipate greater calamities. Wishing they had died before seeing this deed, they ask Avho shall bury and lament Aga- memnon. Will she, the murderous wife, dare to do this? Who will pronounce the eulogy over his tomb ? The queen tells them not to trouble themselves with these matters (1537 &c.) : they who slew will bury him without domestic lamentation : his daughter Iphigeneia will meet and embrace him on the shores of Acheron. The Chorus draw moral in- ferences from these sad events (1546), and declare that the family is linked to woe by an irretrievable destiny. Clytaemnestra concludes the dialogue by an expression of desire for peace (1554 &c.). She begs the evil genius to quit their house in search of other victims, and would gladly resign much of her wealth to escape future miseries of kindred murder. 1446—9 (1392—5). Paley justly says: "the text here is so corrupt that it seems quite a vain attempt to explain or restore it." We do not know the tenour of the lines lost, which may have been four or five in number : and the lines given as antistrophic (Greek 1481) shew very inexact correspondence. We are thus in the dark, and while we give a version Avithout relying on it as representing the poet's mind, we place within brackets the original and the translated lines. They seem to say that the guilt of Helen finds its climax in the murder of Agamemnon. 142 AGAMEMNON. r Str, 4. 1450 (1396) 1455 Ant. I. 1460 (1406) ^ Clytaemnestra. The fate of death be not invoking, distressed by these things; nor yet on Helen turn thine anger; that she, a manslayer, that she singly destroying lives of many Danaans, wrought unexampled anguish. Chorus. Ο demon, who art perching on the mansion and double-raced Tantalidae, and power of equal spirit through women stablishest, to me heart-piercing ! on the body stationed she boasteth, like some odious crow, to chant a strain unmusical. Clytaemnestra. Thy mouth's intent thou now correctest, that thrice-huge monster the demon of this race invoking, yea, 'tis from him a thirst blood-lapping preys on the belly, gore renewing ere the old grief is ended. 1455 (1401) unexampled, άξύστατο^, an όίπαξ \ey6μepop of which the sense is rather guessed from the context than ascertained from authority. M57 (1402). double^raced, δίφυω$, Hermann's reading. The word is a rare one. ** ' '/58 (1404). o/,^uaI spirU, ίσόι^ι/χοί, i.e. with that of men. See ανόρόβουΚον^ ii. 1460 (1407). σταθ,ΐσ^ (Herm. Dind. Blomf.) applied to Clytaemnestra, seems a more probable reading here than σταθεί, applied to the demom In support of this it may be observed that she first adopts a lyric strain in her speech at 1450 (1396), to which the Chorus probably allude. 1464 (1410). ihrtce huge, τριτάχυιο?, another ατταζ \€you€vov Peile explains, over-gorged or overgrown, which Paley approves. 1467 (13). belly, vdp^, Casaubon's restoration for codd. re/pet. It is for Ρ€ί€φα = ν€ατη {y αστήρ). Ant. 4. 1465 EPEISODION V, 143 Chorus. Ay, thou art citing a great demon, house-ruling one, whose WTath is heavy: alas, alas ! an ill citation of fortune cursed and insatiate, woe, woe ! through Zeus all-causing, all-effecting : for what without Zeus is fulfilled to mortals? which of these things is not by rule divine accomplished? Alas, alas ! ο king, ο king, how shall I weep thee? what can I say with friendly spirit? within this spider's web thou liest, by impious death thy life exhaling, (o me, me for this couch illiberal !) by treacherous fate laid low with two-edged wielded weapon. Str, 5. 1470 (16) Clytaemnestra. That this is my deed thou maintainest : but ne'er imagine that I'm the wife of Agamemnon : not so ! this dead man's spouse resembling the old and bitter evil genius of Atreus, cruel feast-provider, paid this man off by sacrificing his full-grown life to infants. Chorus. That of this murder thou art guiltless who is it that shall bear thee witness? 1475 Str, 6. 1480 (26) ' Str. 7. Str. 8. 1485 1490 (36) Ant. 5. 1470 (15). house-ruling, οίκονόμον, an emendation for the corrupt olvots τοΓσδβ of codd. See 1 43. i486 (32). imagine, ΙττίΚέχθχΐί { = iirCKlr^iaaC) a rare aorist form from ΙΐΓΐΚί^ομαί, ίο cokulate, assume. 1489 (35). evil genius, αλάστωρ. See Introduction. 142 AGAMEMNON. \\ \ Sir, 4. 1450 (1396) 1455 Ant. I. 1460 (1406) * Clytaemnestra. The fate of death be not invoking, distressed by these things; nor yet on Helen turn thine anger ; that she, a manslayer, that she singly destroying lives of many Danaans, wrought unexampled anguish. Chorus. Ο demon, who art perching on the mansion and double-raced Tantalidae, and power of equal spirit through women stablishest, to me heart-piercing ! on the body stationed she boasteth, like some odious crow, to chant a strain unmusical. Clytaemnestra. Thy mouth's intent thou now correctest, that thrice-huge monster the demon of this race invoking, yea, ^tis from him a thirst blood-lapping preys on the belly, gore renewing ere the old grief is ended. 1455 (1401) unexampled, άξύστατο^, an άιταξ Xeyo^evop of which the sense is rather guessed from the context than ascertained from authority. 1457 (1402). double-raced, δίφνιοί, Hermann's reading. The word is a rare one. ^ 1458 (1404). o/egua/ spirU, Ισ6ψυχο,, i.e. with that of men. See ανΟρόβούλον^ II. 1460 (I407). σταθ^ΐσ^ (Herm. Dind. Blomf.) applied to Clytaemnestra. seems a more probable reading here than σrα^eis applied to the demon! In support of this it may be observed that she first adopts a lyric strain m her speech at 1450 (1396), to which the Chorus probably allude. 1464 (1410). thrice huge, τρ*τάχυιο5, another aVa^ \€y6uevop Peile explains, over-gorged or overgrown, which Paley approves. 1467 (13). i>elly, ydp9, Casaubon's restoration for codd. vdpec. It is for ν€ί€φα = ν€ατη {y αστήρ). Ant. 4. 1465 EPEISODION V. 143 Chorus. Ay, thou art citing a great demon, house-ruling one, whose wTath is heavy: alas, alas ! an ill citation of fortune cursed and insatiate, woe, woe ί through Zeus all-causing, all-effecting : for what without Zeus is fulfilled to mortals? which of these things is not by rule divine accomplished ? Alas, alas ! ο king, ο king, how shall I weep thee? what can I say with friendly spirit? within this spider's web thou liest, by impious death thy life exhaling, (o me, me for this couch illiberal !) by treacherous fate laid low with two-edged wielded weapon. Str. 5. 1470 (16) Clytaemnestra. That this is my deed thou maintainest : but ne'er imagine that I'm the wife of Agamemnon : not so ! this dead man's spouse resembling the old and bitter evil genius of Atreus, cruel feast-provider, paid this man off by sacrificing his full-grown life to infants. Chorus. That of this murder thou art guiltless who is it that shall bear thee witness? 1475 Str. 6. 1480 (26) Str. 7. Str, 8. 1485 1490 (36) Ant. 5. 1470 (15). house-ruling, οίκονόμον, an emendation for the corrupt olKots τοΓσδε of codd. See 143. i486 (32). imagine, Ιιη\έχθτβ% { = έττίΚίτγισαί) a rare aorist form from ΙΐΓίΚέ^ομαι, ίο cokidate, assume. 1 489 (35). evil genius, οίλάστωρ. See Introduction. 144 AGAMEMNON, ah, who? but from thy sires might come an evil spirit thine abettor. by streaming gore of kindred is black Ares forc'd thither, where advancing he to blood congealed of eaten children shall grant a righteous vengeance. .^ ^r,,, Alas, alas ! ο king, ο king, how shall I weep thee? what can I say with friendly spirit? within this spider's web thou liest, r . by impious death thy life exhaling. . (o me, me for this couch illiberal !) • . by treacherous fate laid low , • with two-edged wielded weapon. 1495 1500 (1446) AnL 6. f «. 1505 Ant. 7. Clytaemnestra. And brought not this man to the dwelling Afit 8. deceitful mischief? icjq (1458) suffering the worthy fruit of acts unworthy 1498 (44). On the reading here and also in lines 1457, I460— 61, 1466, 1470, 1481, I486, 1499, 1510— II, see Consp.Lediomim. 151 1 Ac. (1459 &c.). Mr Paleysays that in the vuIgate reading the word ανάξιο, renders the sense weak and the metre intolerable. He there- fore reads : τ-ην ΤΓοΚνκΚαύτην ^Ιφι-^έν^ιάν τ* a^ta ζράσα^ άξια τάσχων satisfied with giving to re "a merely exegetical sense (nempe)," and with saying of άξια δράσαι (evidently meaning o^ta δράσαί difta χάσχωρ) "it is explained to mean a^ta άξίωι> δραμάτων Ίτάσχων, suffering worthy punish- ment for deeds deserving it.' We have little faith in an 'epexegetic re' attached to a proper name in apposition : but still less welcome is the subsequent construction, in which the adj. άξω$ is supposed to stand in two distinct senses: (i) άξια δράσα^, having done things worthy (= de- serving of punishment) : (2) d|ta ττάσχων, suffering things worthy ( = de- served punishments). That Aeschylus wrote in this fashion, we are not willing to believe. We have therefore (provisionally) adopted a trans- position which avoids the three difficulties, (i) ττοΚικΚαίττην ίοτ ιτολνκλαντον, (2) the short final -ay of '^ly^reiav, (3) the clashing senses of d^ios. When «HH ■WP MS 1515 EPEISODION F. done to a scion that from him I nurtured, the much-bewailed Iphigeneia, let him not highly vaunt in Hades, by sword-inflicted death atoning the deeds he first ensampled. Chorus. Perplexed am I— bereft of thought^s s/r ο ingenious speculations— * which way to turn myself, while sinks the dwelling I shudder at the bloody clattering shower 1.20 (1468) that shaketh the foundation : j \ ^ / for now the soft drip ceaseth; and for another deed of mischief on other whetstones Fate is shaφening Justice. ο earth, earth, would thou hadst received me Anf, 2. Mr Paley speaks of ανάξια as giving an * intolerable metre/ he may perhaps allude to the form ' ^ την ΊΓθ\νκ\αύτψ ^Ιφί-γένζίαν αν- άξια δράσαί^ which certainly, we should be unwilling to accept. And we must confess that the line m our text tV To\iK\avToy άι/άζια dpaaat is a rhythm which (among the numerous instances of purely dactylic Iin« occumng m anapaestic systems) has not, so far as we know, any e^« parallel. Whether this fact is decisive against it in such anap;ests as rtU scene contams seems a doubtful question. We do not fed it to be to'Zt th^V ^-t" *"' '" "f '"' '"'' ^"^■'• "^ '''^^ be incHne^ to thmk the first of v Sopl Kcd χερΙ ιτράκτορι in Mediceo ceterisque codicibus, ccssit alteri huic aiv δορί δίκα? πράκτορι, quae aperte glossema olet. »«♦♦♦♦♦♦ Lacunae in Agamemnone, me judice, aliquant© pauciores sunt quam multi crediderunt ; contra plures versus insititii, iique partim ex aliis fabulis deprompti, quos grammaticus aliquis ob similitudinem adscripsisset, partim a vei-sificatore conflati, qui adsuendo aliquo panno sententiam clariorem amplioremve facere vellet. Singula haec quae dixi vitiorum genera latius patent quam adhuc animadversum est ; quare non parca relicta est errorum messis, quae resecanda et evellenda est, ut pristinus pottae nitor reddatur. Ad hoc ^5» TEXT OF THE AGAMEMNON. nutem, ut dixi, parum suppetit librorum auxilium ; in comiptissimis prae- sertim et obscurissimis locis hi plerumque ita vel concinunt inter se vel discrepant, ut parum inde lucri ad poetae manum restituendam emergat. Nee Scholia Vetera, ad Agamemnonem certc, quidquam, mejudice, aiferunt quod alicujus pretii sit. Unde igitur auxilium petendum? Ubi libri deficiunt, confugiendum ad ingenium, et conjectura resarciendum quod scriptura nobis negavit. Haec ratio si neque ita certa et firma est, ut codicum auctoritatem aequi• paret, at neque ita est incertaet dubia ut vocabulum ipsum indicare videtur. Immo si quis ut prudens medicus, cognitis vitiorum causis perspectoque scriptoris ingenio, colore, habitu, procul a timida cunctatione aeque atque a temeraria festinatione operam adhibeat, plerumque eveniet ut sententia ipsa velut bona natura latentem sub ulcere sanam lectionem efferat et emendationem monstret tam verisimilem, ut scripturae testimonio paene par sit. Principium autem et fundamentum critices est justa interpretatio, qua in re minim est quam saepe Aeschyli interpretes a recta et simplici via deflexerint. Causa ejus rei partim posita est in ipsa lectionis depra- vatione, cujus emendandae difficultate fatigati qualicumque modo corrupta aeque ac sana explicare maluerunt quam vitiosa fateri ; accessit vero Aeschyleae audaciae et obscuritatis fama, unde nonnullis opinio nata, nihil tam insolite, tam licenter dictum esse, quin Aeschyleo cothurno dignum sit habendum ; nihil tam obscure et intricate, quin exquisita aliqua cogitatio aut abditum aliquod sapientiae eflfatum inde excudi posse videatur. Ita factum ut Aeschylum interpretari quibusdam, ut Paleius dicit, nihil aliud videretur quam grande aliquod et quasi continuum aenigma enucleare. Quodsi multi recentiorum interpretum ingenia tam acuissent ad verum inveniendum quam ad prava explicanda, jam pridem aliquanto puriorem, credo, et illustriorem banc tragoediam haberemus. Verum non raro vitium hoc cadit in doctissimos et acutissimos homines, quibus ipsa ingenii acies interdum fraudem facit, ut occulta et involuta sectentur, aperta et prompta non videant aut spemant. Perlege Klauseni et Hermann! commentarios, etsi ambos multum inter se dissimiles : admirere licet eorum eruditionem et acumen, non raro tamen te ceterosque conso- labere quos natura coegit mediocri supellectile esse contentos. Verum hunc scopulum quum vites, ne in alterum offendas cavendum est; ne, simulatque sententia, constructio, verbum parum clarum et aperta vide- antur, statim scalpellum adhibeas antequam singula accurate et diligenter exploraveris, aut, quum manifestum apparuerit vitium, semotis codicibus et spretis scripturae indiciis, solo ingenio utare et confidenter expromas conjecturas, per se fortasse non culpandas, tamen aut inutiles aut a veterum TEXT OF THE AGAMEMNON ^59 cxemplarium ductu et a verisimilitudine plane recedentes. Ab hac audacia si ita cavisset Hartungius ut est acutus et doctus et ingeniosus, multo etiam melius quam nunc fecit de Aeschylo et de tragoedia vetere esset promeritus. Equidem, si mihi contigerit in Aeschylo explicando aliquanto plus interdum videre aliis quibus doctrinae et ingenii palmam facile con- cedo, id eo me assecutum sentio, quod in difficili opere non festinandum censui nee in locis obscuris aut corruptis prius aliquid tentandum quam omnia rerum momenta accurate perpendissem. Ideo etiam in Commentario non ita studui brevitati, ut non primo loco ponerem perspicuitatem, nee defugi laborem redarguendi quae prava, illustrandi quae recta putarem : quod baud scio an in re critica et difficillimum saepe sit et ad judicium acuendum juventuti praesertim utilissimum. Ne vero quis credat me, quum alios reprehendam, me ipsum vitiis immunem putare, optime scio quam in omnes quadret illud 'decipimur recti specie,* atque multum gaudebo, si peccavero fortasse minora. Sed nee critici acuminis gloriolam mihi quaero, nee reformido doctorum reprehensionem ; immo nihil mihi erit acceptius quam, si erraverim, peccata mea corrigi, et censoribus gratiam habebo, si mea opera casti- ganda simul ad pulcherrimum musae tragicae opus castigandum et li- mandum aliquid contulerint." We wish that the principles, thus wisely laid down, had been practically applied by Karsten with equal wisdom in his construction of the text. But the rashness and lack of judgment, which his emendations too often show, are soberness itself, compared with the extravagant audacity displayed in Keek's edition. III. As regards the text of our own work, in every case where an emendation has been received which departs impor- tantly from therms, text or texts, we have thought it right to indi- cate (to the best of our knowledge) the original emender, and to place the ms. text (a) side by side with the correction adopted (jS), subjoining our reasons when they seem to be needed. Mere misspellings and false accents or stops, of which the correction is obvious (as dyycXwv miswritten for άγγβλλων 30, /χολπαι/ for μοΚ-πον ιο6), or ms. readings manifestly inferior, corrected by some other ms. or mss. (as μ.Ύ)κο% Β* Μ. corrected by μήκος without δ€ in Fl. Fam. 2, vvv φως in Ven. Fl. Farn. corrected by φάο^ Μ. 23), we have seldom thought it necessary to record. i6o TEXT OF THE AGAMEMNON. TEXT OF THE AGAMEMNON i6i Corrections made by our own judgment, and not to our knowledge anticipated by any other scholar, are noted in the conspectus by asterisks. They have grown upon us, during our editorial labours, in larger number than we expected when we began the work of editing. Though the reasons on which they are severally based appear in their proper places, we may use- fully premise certain general principles, which have gone far to guide and determine our treatment of many passages, especially in the lyric parts of the drama. The few extant mss. of the Agamemnon have, as Karsten says, come down to us laden with a heap of corruption ; with miswritings, glosses intruded on the text, lacunae, dis- locations of words and lines,— errors of careless or ignorant transcribers and inadequate commentators accumulated from generation to generation. We may be thankful that the results affecting this magnificent work of a noble genius have not been more ruinous than we find them. That the purer mind of Aeschylus in this play has emerged from the corruptions with which it was overiaid, we owe to the learning, skill and judg- ment of a host of Greek Scholars from the Revival of Letters to the present day, beginning with Vettori, Auratus and Canter, and ending with Hermann and Paley. Among these, piety and friendship induce us to specialise the names of Butler and Peile. The rest— magna doctorum manus— will be seen in our conspectus and notes. In some places, certainty in restoring the text is out of the range of possibility, and the exact wording of the poet's mind is matter of guesswork. Such are (Greek text) 103, 136 (144), 157 (167), 166 (182), 227 (250), 280 (304), 321 (345), 349 (374), 383 (412), 703 (767), 1199 (1270), 1253 (1324), and a few more. Yet we believe that in such places the emendations which we have adopted, partly from other scholars, sometimes on our own responsibility, do approach very closely to the mean- ing designed by Aeschylus, where we cannot venture to say that they certainly restore his precise words. ^ It > The commentators, and perhaps most of the scribes, who dealt with the codices of Aeschylus before the invention of printing, had a fair knowledge of the laws of the iambic senarius m dialogue, and of those which govern anapaestic systems. But we believe them to have had very imperfect ideas of the metrical principles observed in the lyric strophe and anti- strophe : and through this ignorance we are convinced that much corruption has been introduced into the choral portions of the Agamemnon, which has hitherto not been detected, at all events not removed. A careful study of the lyric composition of Aeschylus leads us to think that, in general, (i) he made his strophic and antistrophic lines correspond exactly ; and this not only in the character of the metres, but, for the most part, in the number and quantity of the syllables also : (2) that he was unwilling to allow a short vowel at the close of a line to remain unelided before a vowel beginning the next; or (3) a short syllable at the close of a line to count as a long one by virtue of that station ; except (a) when the vowel or syllable ends a strophe, antistrophe or epode ; see 404, 434, 665 : {β) when it precedes a speech ; «•ροφιέται 380: (γ) when the construction is interjectional; 381, 1006, loii. In most places where these laws are transgressed in the vulgate text, we believe that emendation is required, and that the fitness of such emendation will be found in every case to be supported by concurring reasons of great force. See 189—90, 215, 356—8, 388—9, 397, 402, 651, 681. Moreover we think that the probability of corruption existing in such places is not a little strengthened by the facilities which they afford in almost every instance to emendation without impairing sense or construction, without obliterating or distorting what we may reasonably suppose to have been the true expression of the poet's mind : though we grant that a few dark and doubtful passages occur, on which opinions may fairly differ. Even a long vowel or a diphthong ending a line before a vowel beginning the next (except in cases a, ^, γ) we view PI m K. A. II l62 TEXT OF THE AGAMEMNON. with some suspicion, though we would not correct on this ground alone. See 371. Laws (2) (3) apply, as is well known, to anapaestic as well as lyric rhythms in dramatic poetry, but not to the iambic senarius. Hence we find short syllables sometimes treated as long at the close of even those iambic senarii, which occur in commatic passages mixed with lyric metres. See 1065, 1075. The apparent violation of these laws in the vulgate text of Aeschylus occurs chiefly in older plays, especially in Suppl. Pers. Sept. j in Prometheus hardly ever. And in Agamemnon, corrupt as the mss. are, we can only point to the following instances in our text: 188; 215; 355—8; 388—9; 397; 40T— 2; 657; 668—670; 680; 680—1; 916; 926; 1016; 1070; 1340; 1508. On these places see Notes on Tr. and Consp. Led. As to our other corrections, they are chiefly founded on the doctrine stated by Karsten : * principium et fundamentum enti- ces est justa interpretatio:* and in changes of the text we have tried to bear in mind his needful warning *ne solo ingenio utare, et confidenter expromas conjecturas, per se fortasse non culpandas, tamen aut inutiles aut a veterum exemplarium ductu et a verisimilitudine plane recedentes.' In the places where we depart from the guidance of codd. we have based our deci- sion on strong grounds of internal probability. On these see Addenda at the close of the volume. % CONSPECTUS LECTIONUM. 7 (a) 17 (a) 25 (a) 26 (a) 40 (a) acTTcpas όταν φθίνωσιν αίντολάς re των, bracketed, as by Paley. €ντ€μνων Μ. Fam., €κτ€μνων Fl. V. (β) * tv τψνων lov iov. (β) lov lov. Hermann. σημάνω Ven. FL Farn. Bess, (β) σημαίνω Μ. cVct Πριά/χω Μ., cVt ΊΙριάμω Aid. Turn., cVci Πριάμω Rob. (β) cTTcl Πρίαμου Ven. Fl. Fam. 64 (a) cptSo/AcVov M., €ρ€ΐπομ€νου Farn. FI. p. m. (β) cpctSo/icVov Bess. G. Aid. Rob. Turn. Fl. s. m. 69 (a) νποκλαίων (β) νποκαίων Casaubon. 7. This I. was first noted as spurious by Valckenaer (ad Phoen. 506), then by Person. It is retained by Hermann and others. Against it we see not only the unusual initial dactyl, but a construction hardly defensible: for either we expect ά,ντίΚΧωσΙ re after 6τα» φθίνωσιν^ or we require ore φθίνουσα before di^roXds re των, ΙΟ, II. Elmsley supports κματ€ΐν..Α\ΊΓίζ(ύ, the rr. of Aid. Turn. The ms. rr. κρατεί... ί\τί^ον (but ελπίδων Μ.) are kept by Hermann, Peile, Paley &c. rightly: H.'s rendering of κρατεί, commands, we prefer to that of Pal., prevails, 14. The emphatic position of ^/iV does not displease us, as it did Auratus, who reads Ιμά, and Hermann, who gives τί μ-ήν ; 17• See Notes on Translation for our defence of the emend, ^p τέμνων. The variety in the mss. proves that no special meaning attached to the older reading έντέμνων, while the passages cited by us show the peculiar fitness of the simple form τέμνων. 19. Enger's conj. δεσιτοτουμένου for διαττονουμένου is ingenious and possible, but not convincing. «5. TO lov έττΐ xapas, Suidas, cited by Herm. who transposes this L to follow 1. 21. 45. With Dind. we read χιλιοναύτψ here and dp;po)S Μ., το^ιπ€ργτ/ρως Fl. (β) r6& νπίργηρων Farn., το ff νπίργηρων Vict. 97 (α) λ€ίασ (/3) λί^αις Hartung. ΙΟΙ (α) αγανά φαινβις Μ., άγανα φαίνονσ F1. Farn. (β) αγανα φαΐνονσ 103 W 'Γ^»' θνμοφθόρον λνττης φρίνα Μ., τ>}ν θυμοβόρον λνπψ φρίνα F1., Tijv θνμοβόρον λν7ΓΟφρ€να Farn. (/3) nji' θνμ,οβόρον ψρβνι λυτπ^ν. Pauw. Ϊ07 (α) αλκαν ()8) αλκα Hermann. 71. άτίτα* and άτίτ^ι in point of fonn are identical: but the former seems distinctly preferable. - λ» . / 79. From this confusion of the mss. Paley and others elicit ο θ υπέο- 77;/)ω5, which even on account of the hiatus we dislike. Martin, followed by Dav. τι Θ' υπέργηρων ; where the absence of the article displeases. We follow Vict. Blomf. and Peile in reading τό ff ύττέργηρων. The masc. άρ€ίωρ is *per synesin' referred to yiptav, 84. For τί νέον τι δ' Karsten conj. τι νέον τ6δ\ which is ingenious and possible. 87. All mss. have πβι^οΓ, except Fl. νυθοΐ, whence Dind. Blomf. Pal. edit Treveot, which is good in itself: but we agree with Peile and Herm. in keeping ret^ot : for see 11. 248, 250, 328, 445. evoaKiveUy is the r. of mss.; but in Schol. Farn. Triclinius says evpjrai καΐ θυοσκο€Ϊ$, ώ: avb του θυοσκ6ο%. Hence Enger edits θυοσκ€Ϊί, not, we think, justifiably: Dav. θυοσκνίίί, while Pal. suspects, but does not edit, θ€οσκν€^. go. ουρανίων codd. Weil, Pal. r. άyopalωVy Enger, Dav. των re θυραίων. W^ith Herm. we keep the ms. r. There may have been a special distinction between ayopauoi and ούράηοι θΐοΐ, unexplained to us. 96. βασιΚ^Ιφ codd. Pal. reads βασΐΚύων, but we do not see the need. 97. λ^|ασ', though followed by ταΐων τ€ yevov, has the support of many good names, Herm. Peile, Conington, Paley &c. Blomf. edited \έξον θ' too boldly. Hartung's conj. X^|ats is adopted by Dind. Eng. Dav. Weil. An opt. for an imperative verb, as in Latin, may be used in addressing a superior. We have seen the conj. ylyvov for re yevov. loi. ayava φαίνουσ' Herm. Peile, whom we follow, άγανά σαίνονσ Butler. Paley, using M., reads dyavTjv φαινεΐί έλνίδ" άμύν€ΐν, I03. Pauw's conj., which we edit, is approved by Pors. and Pal., while Herm. conj. t^s θνμοβόρου φρ€νο\ύχψ. ιο5. έκτέΧέων codd. Auratus conj. ίντίλέων, and so Blomf. and Eng. Paley takes έκτ€λέων as a participle, but we cannot concur with him. CONSPECTUS LECTIONUM. 165 108 (a) 109 (a) 1 10 (a) 112 (a) 114 (a) 115 («) {β) 124 (α) 120 (α) /χαλαρών Fl. 138 w ^ΐβαν (β) ηβας (ex Aristoph. Ran. 1284). τάν γαΐ' Μ., ταγάν Fl. (β) τάγαν Hermann. δικας (β) καΧ χερΙ (ex Aristoph. Ran. 1289). αργίας (β) αργας Dindorf. Tra/XTTpciTOis Μ (β) ναμηρίτηοι^ Bess. Ιρικν ματα φίρματι Μ., Ιρικυμονα φίρβοντο F1. Fam. Ιρικνμονα φίρματι recepit Paley. 8ημίοπληθη (β) Βημωπληθία Κ. Ο. Miiller. άτα (β) αγα Hermann. δρόσοισιν αελτττοις μα\€ρων όντων Μ., δρ. aenroii (β) Βρόσοισι λίπτοΐς Wellauer, λ€6ντων Stanley. δ€ καλεω (β) δ' Ικκαλίω Keck. 112. Dindorfs apyq.i is for dpy-^ets. Some r. d/ryaj. 1 18. We, with Paley, think it probable that otc should take the place of 5i here, but we also think that ϊδεν should be read for Ιδών, We have not changed the vulgate text. δισσούί codd. δισσοΐί Aurat. Cant. Blomf. Lobeck conj. ιηστούς, others tjovs* A difference of character in the two brothers is noted. 120. άρχάί Μ. which we read with Herm. Blomf. Peile, Pal.; Αρχούί Fl. Fam. Vict. HI. Tepapap codd. Peile, Pal. rtpi^tav Herm. referring to Etym. M. 122. άγρβί codd., which we keep with Hermann, Peile; alpel Elmsl. Blomf. Paley. 125. άλατ<ί^6* Μ. Fl. which we accept with Peile and Pal. But Fam. has λατά|«, adopted by Elmsl. Blomf. Herm., perhaps rightly. 126. Hermann's Ay a for 4τα is generally accepted. 132—138. These lines are among the corrupt passages of this play; and some of the corrections do not inspire perfect confidence. In 132 M. has καλά, Fl. ά καλά, which at least is metrical. In 133 Wellauer's XtTrroU and Stanley's \^6ντων (from Etym. M.) are justly received. In 135 TepTvh. is by some referred to Artemis; but more probably to ξύμβολα. In 137 (Γτρουθων, which cannot follow a dactyl, is certainly bad. If we assume that Aesch. used this strange word to signify 'large birds,' i.e. the eagles, it may properly belong to 136, and the text may have been, στρονθων αΙτ€Ϊ ξύμβο\α τούτωρ δεξιά, ph κατάμομφα δέ φάσματα Kpdvau We would willingly suppose, had we sufficient authority, that Aesch. WTote ΐρ ,1 χ66 TEXT OF THE AGAMEMNON. 155 (α) ονδ• ψ) ovff Karsten. Xc^at {β) αν Xcyoi τω (β) τον SchiitZ. βίαιων {β) t )3ιαια Hermann. • ναωψ και (/?) ν€ών τ€ και Porson. τρίβω κατ€ζαίνον avOos *Αργ€ΐων. * κατίζαίγον άνθος 'ApyctW τρίβω, (α) /ζιαινων τταρθίνοσφά-γοισιν piiOpois ιτατρωονς χ^ρο.^ βωμού πέλας. Μ. * ρ€€θροίς παρβενοσφάγοισίν μ,ιαίνων πατρός χ^ρ^^ βωμόν π€λας. 157 (-) 102 (») ι66 (») 177 (α) 179 (») ()3) 1 89, 190 08) τούτων alret ξύμβοΚα κραναι, de^ih μέν κατάμομφα de φάσματ' ί^ύ δ' <Λρ Ίήων έκκαΚέω Uoudva, See Soph. Oed. Τ, 154, where the same healing god (Paean) is addressed with the same epithet, ΊήΊ« Δάλιβ Παιάν. ^κκά\4ω (which we had conjectured before we found it in Keck*s text) is used by Soph. Oed. T. 597, in)v o2 aiQev xpyj^oirres έκκαλοΰσί μ€, 155 — 157. The reading ^ξ€ρ€Ϊ had been suggested by us provisionally to take the place of \4ζαι. Later on we thought the ovSe V^crat of Ahrens, adopted by Weil and Davies, a more feasible correction. The middle future of λ^ω is used passively in several places, cited by Liddell and Scott. We now prefer ουδέν αν \4yoi. As the previous ουδέ becomes untenable, we have in 1. 155 edited οΰθ\ in 158 οϊ τ with Karsten. 162. Porson and Blomf. accept τόκ with Schiitz. Wellauer, Peile and Hermann take the τφ of codd. 166. On the reading here see JVofes on Tr. p. 67. 172. iraXippoeois codd. The conj. of Ahrens, ττοΚφρ^χθοι^^ has been received by many editors, for the sake of correspondence with βιχύωζ^ 1. i66. 1 79. 'Apyeibfv is unmetrical where it stands : we have therefore trans- posed τ(Λβ{ιρ, which scribes may have displaced from the false view that it depends on τιθύσαι. Thus we justify βωμού xikat in 190. On the rhythm see Conspectus Metronim Choricorum. 188 — 190. This (with the strophic 1. 179) is one of those places in which unquestionably corruption exists : the precise mode of restoring the true text is doubtful ; yet, whatever mode be adopted, the sense will remain the sam^ and the version itself will not vary. Corruption is shown (i) by I 200 (a) 206 (a) 215 W 221 (a) 222 (a) CONSPECTUS LECTIONUM. βροτοις (β) βροτονς Schiitz. irap6iv€kov (β) icapOivuov τ Porson. \€ονσα (β) * \€ουσ* αδ' αγνά (β) dyva SchutZ. 167 αιώνα (β) παιάνα Hartung. the short final vowel in Λγαλ/Αα, compared with the strophic word άφ€ΐδ€Ϊ$ : (ϊ) by the use of the word τατρφοί in a sense which it does not bear, viz. fatherly οτ of me a father: whereas in all other places it has the relative sense ^belonging to my {pury his, her, their ^cj) father οτ fathers^ — as appears from the references found in lexica and indices. How is this cor- ruption to be removed? Here codd. help us by showing peidpois, an un• contracted form which we find again Pers. 489, ftiedpov ayvoO Στρυμόνος. This enables us to write Ι^έθροις τΓαρΘΐνοσφ&^οισίψ, which not only by its initial ρ supports the final α in Αγαλ/χα, btit gives a superior construction by placing the subst. before its epithet and the instrument before the verb. Next, by writing μι,αΐνων Tarpbs we get the rhythm of the strophic line 179 shown above : the correspondence being 179 κατέζαινον Ανθος ^λρτ^^ίων τρίβφ, 190 μιαίνων irarpbs χέρας βωμοΰ χίΚας, Of the corruption all we can say is that somebody thought he was improving the text by placing the participle earlier, and by writing νατρφους for τατρός, 195• ^Ρ7ί codd. plur. αύδ^ Fam. adopted by Herm. 200. Blomf. Herm. Dind. also read βροτούς, 21^. φυΧακαν codd. φυΧακ^ Blomf. See Notes on Tr. 215. Here the α of χέουσα is doubly objectionable, as a vowel follows in ΚβαλΧ. While Paley and others treat this matter with silent indifference, Hermann says with our full accordance *non credam isto hiatu Aeschylum non abstinuisse.* Hence he proposes χέουσ ώδ'. We rather prefer άδ'. As Iphigeneia, hitherto passive, here first becomes an agent, the pronoun is not unfitting. Yet we should better like χέουσα δ' αδ* is ττέδον κρ6κου βαφοΛ and in antistrophe τέχνα δέ ΚάλχαηΌί ουκ άχραντος ην. See άψευδΐΐ τέχνχι Sept 26. But there is another possibility, to our mind highly probable. Χέουσα may have been brought into the text by some commentator who took κρόκου βαφας to mean blood; and the participle used by Aeschylus may have had the form -'---', as μ€θΐ£ίσ\ See 1314 μ€θηκ€ν αύτοΰ κωλα. 221. Pal. Eng. Dav. accept Hartung's correction. ϊ68 227 — 8 (β) Bamberger. 230 (α) (β) (») 231 (ο) 237 («) 248 (α) (β) 25» (α) 200 (α) 204 (α) 265 (α) 28ο (α) (β) τι: Χ Τ OF THE AGAMEMNON. (α) see ms. corruptions below. TO fieXXov δ* I eirct yeVotr αν κλνοις* νροχαφίτω' συνορθον Μ., συναρΘρον F1. Fam. ίννορΘρον Wellauer. αυταΓς. (β) ανγαΓς. Hermann. €νπραζΐζ, (β) €v ιτραζις Enger. *' » ctT€ ()8) €? Tt Auratus. Tt γαρ το χιστόν Ιστι τώνδε σο£ τ€κμαρ ; * τι γαρ το πιστόν ; €στι TduvBc σοι τίκμαρ ; αγγ€λου (^) άγγάρον Schiitz ex Etym. Μ. φανον (β) ιτανον Casaubon ex Athenaeo. Ίτευκη το (β) * προνκ€ΐτο σκοπας ()8) σκοτταις Turn. Vict. μη χαριζίσθαι but δι; χαρίζ^σθαι Fam. μηχαρίζ€σθαί Wellauer. 217 — 8. μαθέιν ivipp^TCi τό μΑλο»'• τό δέ τροκλύειμ (these three words in different hand) iiriyivoiT av κΚύοι^ ττροχαιρέτω Μ. The same in Fl., but itrei yivoiT*. Fam. omits to δέ ττροκλύίΐν. Aid. has άρηλύοΐί. Fam. Vict, have άν ή λύσΐί. Most editors rightly punctuate after iirtppiTct, (i) TO μ^λΧορ δ\ iwel ου y^voix αν λύσΐί, τροχαχρέτω Elmsl. Blomf. Pal.: but the crasis is not pleasing. (1) μαθ€ΐν ixtppiiret ro μίΚλον τό di τροκ\ύ€ΐν, Trplf y^yoiTOy χαίρ€τω Heimsoeth, Dav., where we do not think vpiv yivoiTo good Greek. Hermann also punctuates after μίΚΚορ^ then reading το τροκλύίΐν δ' ηΧυσιν τροχαίρβτω. Bamberger's reading, which we follow, is adopted also by Dind. Weil, Schneid. Ahr. Eng. 231. We suspect some corruption in «υ x/>a$ts, but have no emen- dation to suggest. 237. Paley says nothing in support of νετνσμέτη κΐδνον for r. κ^δνά, 264. Our emend. χροΰκ€ΐτο for ττεύκη τό is defended in the JVoies to Tr» p. 73. The * ductus litterarum' is complete. 277. τλ^οι» καίουσα των €ΐρημένων codd., where των ^Ιρημένων may possibly mean * than the prescribed quantity of fuel ' (see σ<ι)φρον€ϊν €ΐρη• μένον 1554): but Paley agrees with our translation 'than those before mentioned.' Dindorf instead of this clause edits one which he found in Hesychius, ιτροσαίθρί^ουσα χόμνιμον φ\6ya. Heimsoeth inserts these words after Αήμνου 260, adding Τ€ύκηί to begin the next 1. 280. Corruption here has been assailed by many conjectures : μηχαρ ϊί^^σθαι Stanl. Klaus, μ^ι χατίζΐσθΛΐ Heath, Herm. Blomf. Dind. μ^ I 283 (a) (a) 284 (a) 298 (a) 299 (a) 312 («) 316 (a) (a) 321 w {β) 322 (α) 324 W 344 (α) (β) 345 W 349 W 350 («) CONSPECTUS LECTIONUM, Ko-TOtrrpov (β) κάτοΊΓτον Canter. νπ€ρβα\λ€ΐν (β) ντΓ€ρβαλλ€ΐ Schiitz. φλί-γουσαν cTt (β) * φλίγονσ ανω τ €κχ€ας (β) €γχ€ας Canter. φιλως (β) ψιλω Stanley. νηστις F1. (β) νήαΎ€ίς Fam. ως δυσδαψιον€5 (β) ω5 δ' 6υδαι/χον€9 Stanley. ονκ αν y (β) οντάν Hermann. ου θάνοΐ€ν F1. Fam. Vict., αν θάνοιεν Bess. avOaXottv Auratus. θ€θΐς δ' αίναμπλάκητος Bess. Fam. Vict. θ€θίς δ' άν άμπλάκητο': F1. lyprjyopov (β) iyprjyopo^ Porson. κλνοις. (β) κλν€ίς, Bess. ττάρεστι τουτ' £ίιχνβυσαι F1. (τουτό γ' Farn.) * πάρ€στιν τουτό γ' Ιζιχνίνσαί τ . ώς errpa$€v (β) hrpa^av Hermann. €γνόΐΌυς (β) €κγ6νοις Hermann. άτολμητων (β) ατολ/χι/τως Hermann. 169 χρονίξΐσθαι Martin, Franz. Pal. We, with Well., Scholefield and Peile, suppose an Aeschylean form μνχαρίξ•^ supply : whether with infin. here middle or passive is doubtful : we have chosen the latter. 282—284. The corrections adopted in this passage are discussed in Notes to Tr, p. 75. For Λτ' &φίκ€το Stanley reads h τ άφίκ€το, which is not bad, but hardly required. 295. \iyoii codd. which we distinctly prefer to the conj. \έy€ιs, See Notes on Tr. p. 76. 321. Paley follows Fl. as we do. θΐόισι δ' άμτΓλάκητοί, Stanl. Herm. which might be adopted in the same sense. 324. With Bess. Pal. Karst we prefer icXuctj to icXi/ots. See 97. 243 4. W^e punctuate after ίχουσιν with Blomf., not, as Herm. and PaL, after elxeiv. We read Ίτάρ^στιν, and insert r' at the close of 344, improving sense and metre thereby. 349—358. Strophe α is much corrupted, especially in these lines. We have taken Hermann's corrections to the close of 352. In 353, inrkp ro βίΚτισταν must be corrupt, being a mere and a poor expansion of ύτέρφ€ν. Yet βΟ^ηστον may be the right word. Έστω δ' άτημαντον can ft Ί li 170 TEXT OF THE AGAMEMNON. CONSPECTUS LECTJONUM. 171 354 — 5 (tt) ωστ* απαρκ€ΐν Fl. ωστ€ κα.παρκ€Ϊν Fam. (β) ωστ απαρκ€Ϊν αν Weil. 350 — 8 (α) ου γαρ iariv ίτταλ^ι? νλοντου ττρος κόρον ανδρΐ | λακτισαντι /icyaXa (but ίκλακτισαντι Fam.) (β) * πλοντου γαρ τις ίπαλ^ις ^ϋ)τι Trpos κόρον ίξω | λακτισαντι /χ€γαν 36ο (α) ττροβονλόπαις (β) πρόβουλος, τταΓς Weil. hardly be correct. There is no sufficient clue to the restoration of the text here. We may suggest as possible what we dare not fully edit, as \αθ€ΐρ Si β4\τιστ6ρ έσθ' ώδ' άπη- μαντον ωστ άταρκ- ύν &¥ (or Ttp) ev τρατίδωρ λαχόντα (or \αχ6ντ όν). •Μ^ 6esi thing is to live ntind, so free from harm thai a man well endmved with wisdom of heart may be content: In the next three lines we have made changes which may seem orerbold. Yet these changes, made on metrical grounds, leave the general sense unaltered, and its expression only modified by substituting an interrogation for a negation. We wish to avoid (I) the hiatus λαχόι^α— ού, (ί) the short Γ of or8p2 at the close of 357, as compared with the antistrophic word Ato, (3) the non^correspondence of quantity between 356—7—8, and the antistrophic 373-3-4. It is true that Greek poetry allows (what Horace in Latin avoids) an initial trochee for a spondee in Pherecratean and Glyconian verses : therefore Aesch. might use one or the other at discretion, as in 371, 373. And in his earliest play he has not scrupled to answer trochees with spondees, and vice versa : see Suppl. 571, 581, and the last lines in each str. and ant. from 619 to 676 (ed. Pal.): also Sept. 284—307. But we find in the Oresteia, his last work, a severer taste and a general stricter correspondence. See pp. 161— 2. When we begin by desiring to remove the initial vowel ού, we instantly perceive that irXoiJrov ^b.p should replace it, and then the interrogative rif naturally follows. This gives us a line corresponding to the anti- strophic, and, as ω,ΙρΧ following would not support the Ts of liraXfij we remember that 0«f and aviip are only distinguished by Aesch. when he has to use the latter in the sense husband. And now we might end 1 5^7 with iarlp, were it not that, by seeing «?<λα/ττ/σαντ* in Cod. Fam. we are led to believe that the U represents a lost ί^ω. As to Xo/cri^am, which gives a trochee where antistr. has a spondee, we propose \ακτίΙοντ,, believing that a commentator would prefer, where he dared, the softer form as afterwards (389) he would prefer ομμάτων to οφθαλμών. Finally we at once (with aU critics) substitute μέ^αι^ for that /Αίγάλα of codd./ which u 361 (a) ΊταμμάτοΛον. (β) παν μάταιον Klausen. 367 (ρ) ΤΓτανον {β) ποτανον Schutz. 376 (α) λογχι/χονς τ€ και {β) τ€ και λογχι/υιου? Ahrens. 383 — 4 (ρ) σιγάς αη/Αος άλοιδορος | αδιστος αψερ,ενων Ihtiv. (β) *σιγ' art/ios ώ?, αλοιδορος δ* | αδιοτ' o^atpc^cts ιδ€Γν. 388 — 9 (**) ανδρί, Ι ομμάτων δ* β ν άγΎ)νίαι<ί lppf.1. (β) * ipp€i δ* Ι ο/Α/ϋΐάτων ev a;^vtais ανδρΐ 392 (α) όραν, (β) όρ^, Prienius. 395 (*) όιταδοΓς (β) οπαδονσ* Dobree. alone would suffice to demonstrate the metrical ignorance and frequent dulness of the old commentators and transcribers. Thus we obtain •κΚοΰτου yap rit iiroK^is φωτΐ np6s κόρον ίξω λακτίΐ^οντι μΙ^Λψ bUai βωμον els αφάν€ΐαν ; in perfect correspondence with the uncorrected ms. text of the antistrophe : oCo% kqX XldpLS ίλθών €ls δόμον τον 'λτρ€ΐδαν •gaxwe ^€vicaf τράτε^Όν κΧοναΐσι yvvaiKOs. But we leave XaKTiacun-t (and ομμάτων below) in our text for the present. 371. καθαιρεί. We do not correct this; but καθαιροΰσ' might be written with equal fitness. 383 — 384. Editors have emulously striven to restore or explain this corrupt place, or to do both ; no two, we believe, agreeing. We refrain from examining these variant * tentamina.' In adding one to the number, we do not presume to offisr it as a restoration of Aesch., but as representing our view of what he might possibly have designed to express. How some editors could suppose Helen to be the subject here, we cannot understand. The whole context, and the Greek words, point to Menelaus. As to the reading άτιμοι ws, which improves the sense greatly, we suppose it first altered to ώ$ ατψος, whence σΓγ' ws άτιμοι became σίγα? άτιμος. If we might reject Ιδ€Ϊν as a gloss, we should like to read άδισ^' 6σ^ ην άφ€ΐμ4ρο5^ after parting with all that was siveetest. 388—9. The principle of our emendation here, transposing tppu and ανδρ2, and suggesting οφθαλμών for ομμάτων, is the same as that in 356 — 8 : we avoid the short final and hiatus at the close of 388, and we obtain correspondence with the antistrophic lines 403 — 4. 392. Hermann, keeping opdv, explains by supposing opqi to be under- stood from the infin. We wish he had been able to cite any illustrative examples of so peculiar a construction. 172 TEXT OF THE AGAMEMNON. €φ* cWtas (β) €φ€σΎωνς Stanley. αφ" Ελλάδος aias (β) άπ αιας Ελλάδος Paley. ους μίν γαρ circ/xi/rcv (β) * χους μίν yap Τ4ς ο ττίμψας δια (β) διαι Hermann. 7Γαλιντνχτ7 (β) «•αλιη•υχ€Γ Scaliger. νττ€ρκ6τως (β) νπ€ρκ67Γως Grotius. : , κaτ€8oψL (β) κατιΒοιμι Valckenaer. η rot (β) ctTcAhrens. μη (β) * τι. ηλθ€ς (^λ6>• F1. ρ. m.). ησθ* Blomfield fr. marg. Askew. #cat τταγωνιος (κάιταγωνιος Farn.). και ποαωνιος Dobree. ήττον (β) ct τΓον Auratus. ν€ΊΓληγμ€νος, (β) lrvτ\ηyμivOL Tyrwhitt στρατω. {β) ♦ττο'λΜ. και ττώς άττοΊαων {β) και 7Γ<3ς ; απόντων Stanley. 39<5. Hermann says of oUol 4φ4σηα, 'appellatur ita domus, quae cuique sua et propria est.' He, with Halm, reads &xr τά δ' iarl {and others there are). 397. We would read {ητ,ρβατώηβ- i, ro rav to avoid the short final a. See Eumen 510, i, ro ταν δέ σα λ^γω βωμόι^ α».σαι AUas. We have, however, left the vnlg. reading in our text. 402. That this 1. is corrupt we know not only from the short finals of riirap and ^ιτεμψ^., answering to long strophic syllables, but from the want of τ«, supplied by Porson. We add another strong reason. Two classes of slam are mentioned, one those who were burnt on pyres and sent home as ashes in urns : the other those who were buried near Trov without being burnt. These latter are named at 417 ol 6' αύτον κτ\ which convinces us that for ous μ^ we should read here rods μέρ, distin^ guishing the former class. And this necessitates the reading r« ό ιτέμφαί for Tts ίτεμψεν. Cod. Farn. has Ίτέμψ^ρ. ^ 421. τιθ€ΐσ\ A spondee being desirable, we conj. κτί^ουσ\ 438. Our emend, ri is grounded on the supposition that this pronoun fell out after iarl, and that μ^ came in as a gloss to fill the gap. 470. Hermann, whom Paley follows, reads ^θα for η^σθα, pluo of cr/u.^ to account for the corrupt ^Ί^^«. But perhaps a mistaken view of vapa ζκάμαρΰρον caused the gloss. 396 (a) 398 (a) 402 (a) 413 («) 420 (a) 429 (a) 434 (a) 438 (a) (-) 470 (a) (β) 471 W (β) 479 W 503 (a) 506 (0) 508 (a) CONSPECTUS LECTIONUM. 173 5" («) 572—3 577 W 581 W 583 (a) 608 (a) 615 (a) 664 (a) 666 (a) 668 (a) 670 (a) 674 (a) 675 W 676 (a) 677 («) {β) 678 (α) 68 1 (α) 697 (α; 70I (α) €υ λ€ί€ΐ€ν (β) αν \ki^itv Auratus. (α) assigned to herald : (/5) to Clyt. by Hermann. γ€ (β) Tc Hermann. ττχι?ς. (β) τυχοις Porson. ανηρ (β) άνηρ Hermann. * Αχαιών... Θ €OLS. (β) *Αχαιοΐς...θ€ων Dobree. τνφώ β) * τνφω. αΙών αμφΐ β) αιώνα διαι Davies. λίοντα σίνιν β) λίοντος Ίνιν Conington. φιλόμαστον β) * φιλόμαστον δ*, €υφιλ07Γαιδα β) * «ύφιλότταιδά Τ€ €θος β) ήθος Conington. τοκηων F1. Vict, β) τοκίων Farn. yap τροφας F1. Vict, β) yap τροφ^νσιν Farn. μηλοφόνοισιν άταις F1., μ. άταισιν Farn. * μηλοφόνοις βανατοισιν αι/χατι δ' β) * €V αίμασι δ' Ίτροσίτράφη, β) προσεθρίφθη Heath. /χ€τά β) μετά Hermann. iv κακοίς β) ^ εν y€ τοις κακοΓς 575• For τοροΐσιν we conjecture τοροΐσι δ*. 6ο8. Herm. Franz. Pal. receive Dobree's emend, here. 636. Toup, Hermann, Weil and others read χλωρόν re for καΐ ^^ώντα from Hesychius. 664. For this we now abandon our conjecture αΙων αμα καΧ. 676. Another possible conjecture is τα$ τροφα$ ycLp, but we cannot, with Hermann and Peile, reject the fine reading τροφεΰσιν, because it is probably due to one who often errs, Demetrius Trielinius. 677. Paley reads μηΧοφόνοισίν ίίίταισυ' with Conington. ayaurip Herm. σύν arais Ahr. Franz. We prefer to any of these our own emend, as above, \vith bloody deaths of sheep, 681. Our emendation here, and those in 11. 668, 670, 678, have the common object of avoiding short finals and other syllables not agreeing with those in the verses which correspond. See Notes on Tr. Though in 681 we doubt iK θ€θΰ, we have left it in the text. See 349. 701. The reading of codd. iv κακοίι βροτύν has led editors to regard 174 702 (α) 703 (α) 704 (α) (β) 7θ6 (α) 709 (α) 710—71 (β) 725 (α) 731 (α) 734 (α) Τ£ΧΤ OF THE AGAMEMNON. όταν {β) ζτ€ Klausen. V€apa φάον^ κότον (β) via δ" ^νσεν Κόρον Paley. δαι/χονα τ€ τον afia;(ov δαι/Λονά τ* αμ,αχον Paley. €ΐ8ομ€ναν (β) * €ΐ8ομ€νας iaOXa (β) Igc^a Auratus. ϊ (α) παλ»τρό«Όΐ5 ομμασιν | λιττουσ τταλιντροτΓοισιν λιιτουσ' | ο/Α/^ασιν (α) προσήψα του (^) ηροσ^μολε Hermann. βιαζ6μ€νοι, (β) βι^νται, AVeil. ού ycip «νιχευ'σω, {β) oi γάρ σ* €νικο;σω Musgrave. €κουσιον (β) iK θνσιων Franz. ξο. ιη the antistrophic line 708 as spurious. We take the opposite view. Behev^ng β.ο. to be genuine, we look for corruption here : and are therefor; wivl? T' ''" "f'T''' ^/>-^.»^°nsidering that Aesch. mean, iH evil men, not in mortal evils, .JJ'TT^''^' ^"^ ^^'' l^^ *'''"^P' P^'^^ ^^ ^^ve received Paley's clever emendations, except the dual accusatives MeXa/.a--Ara. dloJa which cUes'o J r 'f 'T f " ""'"'^1""• '" ^^^ P^^^^^ °^ Soph, which he δ ο cn^i; Γ ^^'' • ^'^' ^' ^"^ ^'^' '^"«^ '«^^ ^' '^^«» ^he presence of 5uo constitutmg an important difference. Hence for ms. .ilojav we read moiUva^ agreemg with "Aray, and avoiding the hiatus. 721. With Herm. we prefer TV δυσΐΓ/>α7οΟντ/ r'. Codd. give 3» 725. We read ^ιώ,^αί for βι^^6μ^νοκ with Dav., who ascribes this correction to Weil The paroemiac verse so acquired justifies^ hatu" «"TaoiiMwi'ls dat. participle. See Transl. r,,"*'. J°' ^Γ"'"'"' °'' '°^^• ^^"''"^ reads iKoi^iov, and many have followed him. ίκ βυσ,ύ,. Pal. from Franz. ^ 735- 9»^«ο.σ.] If this is the true word, we do not take it to mean We should be glad if we could venture to read i^,;«o.«, «.pji^us ^i adj ip,«os IS not found in classical Greek, but in the epistle of Vames UL.tt'iLXir''•''" ""°^°'- «-^=»'- iains it'^r I "^7• ."^i;^ '''"^"^'' °^ "** '^''S"^* here leads us to suspect some loss. After a^«s we might wish for some such expression as thfsT ί^χομαί σ βνφρων τόίσιν τ6νο¥ ευ τελ^σασ», 748• See Notes on Tr. CONSPECTUS LECTIONUM. 175 750 (a) ΒνίΧΚα,ι (β) θνηλαΐ Hermann. 754 (α) Ιιτραζάμ^σθα (β) €ψραζάμ€σθα Hermann. 756 (α) άστΓώηστρόψος ¥1 (β) άσιτώοστρόφος Farn. 762 (α) ταΟτα (β) ταύτα AuratuS. 781 (α) ττηματος τρ^ψαι νόσον, (β) 'Γ^/** αίΓοστρό/ται νόσον, Porson. 794 (α) ηΒονάς (β) κλγβόνα^ Auratus. 800 (α) cTrXiJ^uvov (β) ένληθνον Porson. 802 (α) ΊΓοΧλην κ.τΧ (β) uncinis inclusus. 803 (α) λαβών (β) * λαβ€ίν (probante Paleio). ^34 («) Totvw (β) Tot vtv Schiitz. 861 (α) ττράσσοιμ αν (β) ττράσσοιμεν Ώ'ιηάοτί, 865 (α) cictTrOV (β) *i$€LW€LV 879 (α) σωματοφθορίΐν (β) ^ωματοφθορείν SchntZ. 890 (α) €ts αργνρον (β) ixrapyvpov Salmasius. 901 (α) Ζευς τ ατΓ* (β) Ζευς ατΓ* Hermann. 907 (α) δεΓγ/ϋΐα F1. V. (β) ^εΐμα Farn. 910 (α) ατΓοτΓτυσας F1. V. (β) οτΓΟΤττυσαι Fam. 913 (α) cVcl (β) eVlFarn. 914 (α) ζνν€μβ6λοις (β) ξνν€μβολαΐς Schneidewin. 916 — 9^7 (*) €υ^* ύ7Γ"Ίλιον ι ωρτο νανβάτας (β) * €ίτ€ νανβάτας \ Ζρθ' ίπ "Ιλων • 920 (α) όπως (β) όμως Stanley. 924 (α) ούτοι (β) οντι Casaubon. 925 — 926 (α) τελεσψόροις | διναις κυκλου/χενον κεαρ, (β) * κνκλονμ(νον Ι διναις κεαρ τ€λ€σ<^όροις. 927 (α) €$ €μας F1., ατΓ^ c /Αας τοι Fam. (j8) * ατΓ^ €/Λας τοιαυτ* 879• ^τρωματοφθορ€Ϊν^ Aurat. Pal. ^Ιματοφθοράν^ Dind. Franz. The correction of Schiitz δωματοφθορβΐν is taken by Herm. Blomf. 907. δέΐΎμα Klausen, Peile, Pal., δ€ΐμα Herm. Blomf. Dind. Enger, Weil, Dav. 916 — 17. By a facile transposition the short final is avoided: but possibly Aesch. wrote πλεΟσε, and some comm. chose to substitute au aug- mented form. f I: u fj 176 TEXT OF THE AGAMEMNON. li 930 (a) μχίΧαγάρ τοι τας πολλάς vyi€ias Fl. Vict. μάλα yi rot Βή τ. ir. v. Fam. (β) μάλα y€ τοι τό /Χ€γαλας vyita^ Paley. (α) νόσο^ yap {β) νόσος yap del Blomfield. — 938 (α) OKVos βαλων \ σφεν^νας αττ' €νμ€τρου (β) * αττ' €νμ€τρον j σφεντόνας οκνω βαλων (α) ττάλιν dyκaλ€σaιτ^ F1. [β) * π^λλ' αγκαλ€σαιτ ουδέ (β) * ουχί 931 937 947 948 950 978 98ο 981 982 986 1009 ιοι6- ιοι8 (α) W (α) (-) («) W (α) ιΖτ' €7Γαυσ€ν (^) κατ€7Γαυσ€ΐ' €7Γου• τα (β) €7Γ€ΐ τα Heimsoeth. €μοΙ (β) * CTt σχολ>; (β) σχολην Wieseler. τα μ€ν (β) * ταννν •' ηΒη (β) * ημίν σύ δ' (β) *άλλ' ναρίν F1., παρ' cv Μ., τταρον Fam. (β) ΤΓ€ρ CV Schiitz. —ΙΟΙ 7 (α) συνι'στορα | αντοφονα κακά κάρτάναι (β) * σννίστορ* αν- | το/ττόνα κακά τ άρτάναι τ (α) ανδρός σφάγιον (β) άvBpoσφay€iov Dobree. (α) και π€Βον ραντηριον (Μ. ρ. ΠΙ. ττεΒορραντηριαν). (β) * ^' αιμάτων ραντηριον* 930 — 50• Oil the corrections adopted in this corrupt strophe and anti- strophe see Noies on Tr. pp. 109 — 10. 978. Heimsoeth's conjecture seems to us convincingly true, though Paley has not even cited it. The two imperatives are inelegant and weak : and as the queen has not yet announced her departure, ?irou is premature. •• 980 — 83. On the corruption and proposed corrections in these lines see Notes on Tr. pp. 112 — 13. 986. Assuming σύ δ' to be an erroneous gloss, άλλ' is the obvious sub- stitute : and we cannot persuade ourselves that Aesch. wrote σύ 5' when tlie two preceding lines begin σύ δ', d δ'. ιοι6 — 17. The emendation here has the advantage of obviating the hiatus at the close of both lines without any change of sense. 10 1 8. Our correction clears up a dark place. The corruption of θαιματων (uncially written) into καιττίδον would not be very improbable ; or the latter may be the product of a gloss which supplanted Θ* αΙμάτων, CONSPECTUS LECTIONUM 177 1020 (a) (») {β) («) 08) («) 1023 I028 1038 (α) {β) μΛντΐύαν Μ. {β) ματ€ν(ΐ F1. Farn. γ iv ευιήστ, Μ. Fam., iy ίφευρησίΐ Fl. ωΐ' dvtvpij only varying Tt iioi. eepfxbpoi^, Since writing our defence nf fl,;» j- we learn from Hermann's note th.f f. ? '^ ""^"^'"S^ ^^ P• "o^ scholar who deservTd Tel of L^ ΙΓη ^"^^^^^^^ ^^ ^^"^-> a Dutch though he has not rece e^ it^af we do ^^^^^^^ """Γ ^^ ^'^^ ^^-'^ poeta ut Cantero visum, locut Js e7ut t^s -Γ^^Ι ^f '^^ ^^^^^^ tfiw i< τόσα. «ώ^ο<Γ«. Trapti^hai , ? i' 'e"*' ''^^""^ '^' τ«ν -^^ρα «/q; ραλουσαι σωφρόνων ' substUuted, constUute ouTda„c"e' ^/^^^,^ X''. ,"^'^"" ^ ^- 1123- «Ρώ Ahrens, Franz, Dav. '«»'>*'»"378. Π.5. 0°'Wsplace.a„donx,40.«8r,x,<„_,.3„^^,,„^^^ 1.^ 1 1 40 (a) "41 (a) "45 (a) 1 156 (a) "53 (a) (β) Ιίδο (α) 1104 (α) 1 169 (α) II 7ο (α) "71 (α) Ιΐδι (α) (α) Ιΐ84 (α) 1x87 (α) "92 (α) "95 (α) 1 196 (α) (β) ^^97 (α) "99 («) Ι200 (α) Ι20Ι (α) CONSJ>ECTas LECTIONUM. νως^Βητ ανακτος '^s 8ήτ ; ένατος Canter. ovShr oiScV (/?) oiSeV ο^δ^ Canter φροιμιοις 4φημ{οις *defeto ίψ,;«Ό., conidmus i.«.^Vo Greek hnes. We think a colon (if nZ ΙΖ^,^Τΐ^ ?Γ"^ """^ =«<> good after ,„ir,., and again after τύχα" "^ ''•°"''' "=P'»^ ">« Period /rf»«. ""* P'*'«'^ «•«i'Tfc removing comma after X2 — i I I So TEXT OF THE AGAMEMNON, w 1215 (a) 1217 (a) 1220 (a) 1228 (a) 1238 (a) 1246 (a) 1251 (o) 1253 («) 1254 (o) (β) 1257 (α) Ψ) («) 1 26 1 (α) («) 1203 (α) Ψ) 1269 (α) 1270 (α) (β) 1276 (α) 1297 (α) 1304 (α) κάτοικο? (β) KOToiKTOs Scaliger. cTxov ()8) €tXov Musgrave. Tcis λέγω ψ) τάσδ' €γώ Canter, Auratus. χρόνω πλέω. (β) χρονον πλέω. Hermann. φοβον {β) φονον Canter, Auratus. αλλ' ius θανονσγ) άλλως• θανονστι Hermann. η {β) ον Hermann. c/AOis (β) * φίλων €\θροίς — T04S ψοίς * €χθρθνζ τον φόνον σκιά τις άντρέι /'Cicv, σκιά τις αν πρέψ€ΐ€ν, Conington. δυστυχή, (β) * δυστνχ^, βρ(ποΐς, (β) βροτοΐσιν, Pauw. δακτυλοδ€ΐκτών (β) δακτυλοδ€ΐκτωΓ Schiitz. μηκίτι δ' €ίσέλ^ς μηκ€τ έσέλ^ι^ς Hermann. ΙΐΓίκρανίί F1., άγαν έπικραν€Γ Fam, €7ηκραίν€ΐ Hermann. τις άν €υίαιτο βροτων τις άν cv^aiTo βροτ6<: ων Paley. αν πως (β) αν πως Hermann, Paley. μνθονσθαι (β) μνΰ€ίσθαί Paley. ττημονην αρκνστατον νημονης Auratus, άρκνστατ αν Elmsley. CONSPECTUS LECTIONUM. iSr 1228. Among the numerous conjectures >Ve, with Paley, prefer that of Hermann, xpbvov ττλέω, any longer. That of Weil, adopted by Dav., is ingenious, χρόνοι τλ^ψ, the times areftill, 1 1 32 — 3. Conington and Paley are undoubtedly right in keeping the ms. order of these II. See Paley's note. 1253 — 4. Our emendation here is fully explained in NOteson Tr, p. 13*• 1257. See -Μ?/^ίί?« Tr. p. 132. 1272. ίσω: st^ Notes on Tr,-^. 133. 1304 (/3). Herm. and Dind. adopt these readings. Paley retain» that of codd. . 1307 (») I3I0 («) I3I2 («) ^m («) I3I4 («) 1320 — I 1326 w 1340 («) I34I (a) 1345 («) 1349 («) (β) 1350 («) 1360- — I v., CV 1 n^z («) (β) 1367 (a) 1376 (a) 1379 («) 1380 («) 1386 (a) 1388 (a) (i8) 1402 («) (a) νίκης (β) ν€ίκης Heath. α/ιυναο -dat {β) άμνν€σθαι Vict π€ριστοιχιζων, Fl. (j3) π€ρκΓηχιζω, Fam. οίμωγμασιν (β) οίμωγμάτοιν Elmsley. αυτού (β) αντου Schiitz (?). (α) Διός νοτω | γαν €ΐ (β) διοσδο'τω | ycivct Porson. τ<κΓώνδ€ (β) τοσονδ€ Blomfield. απέτα/χ€ς (β) * άπέτα/χές τ απολις (/3) απόπολις Seidler. τοδ* (β) τοΥ VOSS. θρΎ)κίων τ€ λημμάτων. θρυκιων α•>7/ι,άτων. Canter. XPV (^) ΧΡί»' Porson. (α) €υ Ίτρ^πα | άντΐ€τον FL, €ΰπ/)έπααν | rUrov €υ «υ irpirr^L | ατύτον Fam. ()3) €/ιπρέπ€ΐν | ατύτον Hermann al. τνμμα τνμμα τισαι. τύμμα τύμματι τισαι. Voss, Porson. €/Απατ€ΐ ()8) €/υιπατ€ΐν Vict Ιστοτρίβης. (β) Ισοτρφη^. Pauw. τουδ* (/3) τωδ* Hermann. €ΰν^ς (/3) *€υναις και πολλά {β) *και πολύ γ€ ιώ παράνομους ιω ιω παράνους Hermann. €/Απιπτ€ΐς (/ί) €ρ.πίτν€ΐς Canter. Βιφν€Ϊσι. (β) διφυιοισι Hermann. 1307. Here too Paley keeps riici/i. But we find it hard to suppose that Clyt. should thus vaguely speak of the sacrifice of Iphigeneia as *a victory' gained by Agamemnon. A painful victory indeed I See it described in the Parodos. 1376. Pauw*s correction is adopted generally. 1380. On the various interpretations of this v. and of evvTJs especially, also on other proposed corrections, see Paley's note. In our emendation fvvcus we find the only solution satisfactory to us. l82 TEXT OF THE AGAMEMNON, 1404 1405 1407 1413 1415 1444 1445 β) ) α α) α) «) κράτος Ισόψυχον κράτος τ ίσοι/α;;(ον Hermann, κάρδια δτ/κτον (jS) καφΒωΒηκτον Abresch. cvvo/xos Fl. V. (β) €κν6μως Fam. Vict. v€tp€t (β) v€Lpa Casaubon. oiKois τοΓσδ€ (β) * οίκονόμον δ€ και (β) Βίκαν Butler. ττροσβαίνων (β) ιτροβαίνων Canter. 1460 — Ι (α) την ΤΓολνκλαντόν τ 'I^tvcvciav ανάξια δρασας (β) την πολνκλαντον ανάξια Βρασας *liy€V€iav Weise. α^ια πάσχων (β) * πάσχων αζια €υ7Γαλαμνον μίριμναν €νΊΓθΧαμων μεριμναν Enger. φ€χάς (β) ψαχάς Blomfield. δικτ; (δικά) (β) Βίκψ (Βίκαν) Blomfield. θτγγ€ί (β) 6rjyav€i Hermann. Ινιτνμβιοζ aiJOS Ιτητνμβιον αΐνον Stanley. κά7ΠΓ€σ€, κάτΘαν€ (β) κ(1ππ€σ€ν, ημ€ίς Paley. 'I^iyo'ciai' ιν (β) 'I^iycVcia vlv Jacob. Xcipa (β) χ€Ϊρ€ Porson. paov (β) άραχον Hermann. προσάι/^αι. (β) ιτρος ατ^. Blomfield. €ν€βη (β) ΙνΙβτγ; Canter. 1508 — ΙΟ (α) ^01 δ* ι ά\ληΚοφ6νον<: \ μανίας μελάθρων. (β) μοι Ι ftavias μ^λάθρων \ αλλ. Erfurdt. 1519(a) αυτοΰ τ (/8) αυτού δ' Elmsley. Ιθρντττ (β) ΙκρντΓτ Tynvhitt αν. πΐ7ΓΤ€ΐ (β) άμττίτΓτα Canter. €ρών, (β) €/χών, Auratus. Ι 46 Ι (ο) 1466 (α) (β) 1469 (α) Ι470 (α) 1481 (α) (β) I486 (α) 1488 (α) 1492 (α) 1498 (α) 1499 («) Ϊ500 (α) 1529 W 1533 W (-) '539• Believing έτΙ δέκ here to be corrupt, and due to the gloss of an erring commentator, we conjecture that, instead of ixl Si κ άθλίω varpi, Aesch. wrote ά^λίφ ταίδωρ τατρί. tl CONSPECTUS LECTIO NOM, 183 δίσ/χον Fl. Ven. (β) δίσ/ιος Fam. Vict. ττησας (β) ττταισας Butler. ητΓίΟίς (β) νηττίοις Jacob. ουκ (β) ουδ* Paley. η (β) η Porson. νότα) (β) σκότω AuratUS. και (β) κου Hermann. #C χγώ μην (β) μην κάγώ PorsOn. €ρονμ£θα (β) αΙρονμ€.θα AuratUS. 8ράσομ€ν (^β) 8ράσωμ€ν Vict. ό €ρος (β) ΘΙρος Schiitz. δ αλις γ {β) *αλις y υπαρχ€ — ΐβματωμ^θοί, νπάρχ€ΐ — αΙματωμ€θα AuratUS. στ€ΐ;(€Τ€ δ* οι γ€ροντ€ς στ€ίχ€ και ση; χοΐ \€ροντ€ς Franz. πριν 7Γα^€ΐν cpjavrcs καιρόν χρην πριν πα^€Γν €ρζαντ€ς' αρκ€Ϊν χρην Hermann. των Ο αλις γ €χοιμευ αν τώνδ* αλΐ5, Β€χοίμ€θ* αν Martin. δαίμονας (β) δαίμονος Casaubon. αμαρτητον κρατούντα, α/χαρτ€ΐν, τον κρατούντα Casaubon. θ* νβρίσαι add. Blomfield. θαρρών (β) βαρσων Porson. ωστΓ€ρ (β) ώστ€ Scaliger. deest pes in fine, (β) €γώ suppl. Heath. deest pes in fine, (β) καλώς suppl. Canter. 1558. Perhaps iraiVos, Herm. Pal. from Schol. Find., is preferable. 1559 &c. See JVo/es on Tr, 1555 ία) 1558 [α) 1565 a) 1568 [a) I57I [a) 1575 [a) 1583 [a) 1586 [a) 1587 [a) 1588 [a) 1589 [a) 1590 [u) [a) Ψ) I59I [a) (β) 1592 (α) (β) 1593 [a) {β) 1597 [α) 1598 [α) (β) 1605 [α) [α) 1606 (α) 1607 («) * ι « >■ «IK» ■ CONSPECTUS METRORUM CHORICORUM. I. For general information on this subject, the student is referred to Linwood's « Greek Tragic Metres.' There, or in any equivalent treatise on the subject, he will find an explana- Uon of the names of the so-called ^Feet,' the laws of Arsis, Thesis and Ictus, as constituting the Rhythm of Verse, those of Metre m general, and of the particular metres used in Greek' tragic composition. With this knowledge, he will have no difficulty in reading and comprehending the subjoined metrical exposition of the choric verses in the Agamemnon, with their appended names. 2. As the terms Anacrusis and Basis (Base) often occur, let it be observed that Anacrusis is a syllable, usually short (^) prefixed to a rhythm of which it does not constitute a part! Anacrusis may also be a long syllable or resolved into two short (vA^) ; but either instance is comparatively rare. In *|ω y€V€al β ρότων t is an anacrusis. A Base is a disyllabic foot, spondee (--), iambus (v.-) or trochee (^o), prefixed to a rhythm of which it does not consti- me a part. Two feet so prefixed are called a double base. The long syllable of a base may be resolved into two short : thus m ot c/oiv I αΙματο€σσαι^ δι; Hpiv is a trochaic base with first syllable resolved. CONSPECTUS METRORUM CHORICORUM, 185 A verse may have anacrusis and base. \j I — I — v/ — w — πα I \ψμ.Ύΐ \ κη χρόνον τιθ^ίσαι, 3. Trihemimeris (trihem.) means i J foot (3 half feet). Penthemimeris (penthem.) „ 2 J feet (5 „ ). Hephthemimeris (hephthem.) „ 3J „ (7 ,, ), The trochaic hephthemimer is a verse of frequent occurrence in this play. The Cretic foot (- ^ -) is a trochaic trihemimer. 4. Dipodia (2 feet), tripodia (3 feet), pentapodia (5 feet), are used to express recurrence of the same foot : thus penta- pod. troch. means a sequence of 5 trochees. 5. A spondee at the close of a line is treated as equivalent to a trochee in verses to which the latter foot properly belongs. 6. Conspectus. I 2 3 4 5 6 7 8 9 10 PARODOS. Anapaestorum systemata novem; 40 — 103. Mesode, 104. στροφή, 104—17. άντιστρ, 1 18—31. — — J — vy νχ — — . mm yj yj .... w S-» — — ^- s/ v/ — w w — w—j— s/»-> — W \^ " \J \J — — !l ^ 1 86 CONSPECTUS METRORUM CHORICORUM. II. — |-v^w — 12. — v^v-f — wv^ -^v-f — wvy -wv^ 13• ^^ — "^ — v^ — vy — 14. -wv^ -v^^ -v^vy 1 (12). dact. hexam. • • i. dact. pentam. 3. spond. dim. 4 (11). bas. spond. t dact. c. troch. 5 (10). bas. dupl. iamb, f dact. tetram. 6. dact. dim. 7. dact. tetram. 8. dact. tetram. cat. 9. bini dact. tetram. 13. iamb. dim. 14. dact. pentam. Not. I. versus 4. 1 1 bas. (spond. v. troch.) f dact. c. troch. appellatur versus ' pherecrateus.' Idem versus, si augetur syllaba post troch. ad finem, appellatur glyconeus. Ita latine ap. Horat. et te I saepe vocanti (pherecr.) duram | difficilis mane (glycon.) Not. 2. V. 13 disponi potest ut sit anacr. br. f troch. hephthem. " β\&\βέιη•α λοίσθιων δρόμων, €7r— w— w — 3• — v^— vy— ^y.— .-•■ 2» — w— v^— v./ — J^ — V-f — v./ — N^ — ζ, — vy — vy — vy — 6. -wvy -WW -^W -WW -- 7•— v^^w— v.» — I. bas. spond. + troch. hephthem. ^ (3» 4> 5» 7)• troch. hephthem. 6. dact. pentam. στροφή β', 102 — 7• dvTLorp, β, 1 68 — 73. I. — w— w— vy— Ι— w— w— w — 2, ^w— w— v->— 3. |— v-r— v/- w— ' 4. — N-'— — v-r— — W— I— \y — W ^Vy — 5. -^ -^ -^ .^ .^ • 0. ^W— >-'— \-» — if < . 1 88 CONSPECTUS METRO RUM CHORICORUM, I. bini troch. hephthem. 2 (6). troch. hephthem. 3. bas. spond. f troch. hephthem. 4- trini troch. trihem. f troch. hephthem. 5. pentapodia troch. ίττροφη y\ 174 — 84. αντιστρ. y\ 185 -95- 1. v/ — vy— — jvy — v^— — 2. w — w— — jv/ — v^— — 3. w— v^ — 4. <^ — w— — jv^ — v/— — 5. ^I — I""'-' •~^ — 6. w— — v/I— w — — — Vf — 7. >./ — w — vy — (or v^ I — w O. — v^v/ — v^ — — 9• ~-vyv^ — v/ — — 10, — v/v/— I— v/v^— . -.-) II. -v^v/- -WW- -WW- -ww- 1 (2, 4,). dochm. dupl, (ex bin. iamb, penthem.) 3. dipod. iamb. 5. anacr. br. f bas. sp. f tripod, troch. 6. antispastus + troch. hephthem. 7. tripod, iamb. ( = anacr. br. t troch. penthem.) 8 (9). dact. c. dipod. troch. 10, choriamb, dim. 11. choriamb, tetram. +dact. c. dipod. troch. Not. in V. 6. antispastus exemplo rariori basis duplex est. στροφή δ', 196 — 204. αντιστρ. 205 — rj. 1. w — w— — I w — w— — . 2. w — w— — jw^w^ — 3. v-'j— wwww— w— ^ 4* w— V— — jw— w— — 5• s/— w— — jw— w— — 0. vj— w www — |— w — — 7,8,9. v/- I -w-v/- I -WW -w-w -| 10. ^ww — w — — I («• 4, 5)• dochm. dupl. (ex bin. iamb, penthem.) 3. anacr. br. t troch. hephthem. (secund. p. solut.) w w — ν> CONSPECTUS METRORUM CHORICORUM. 189 6. anacr. br. + troch. penthem. f dipod. troch. 7 t 8 t 9. bas. iamb, t troch. penthem. f dact. c. troch. penthem. t dact. c. dipod. troch. 10. dact. c. dipod. troch. Not. 7, 8, 9, 10 ita disponi placet, Ιτλα δ' ovv θντ^ρ yeui- cdai evyarposj yvvaiKOKol" ρων ΊΓοΚέμων apojydv καΧ irporiXeM ναών, στροφή c', 214 — 23. avTurrp. 224 — 33. 1. w j — v/ — ^^ — ^v/ — 2. v/ — w— — jw — w— — 3. w— w— j— w— — 4* w— w— w— w— — 5• w— w.— — w — w — w •* 6. w|— w— — W— ' 7• w — w— — jw — w— — 8» v/l— W— — v/— ^v/— ..^_ 9. ^- ^ — j ^. ^ — 10. — WW — w — ^ I . anacr. br. f trini troch. trihem. 2 (7, 9). dochm. dupl. (ex bin. iamb, penthem.) 3. dipod. iamb. + dipod. troch. (qui versus periodicus est). 4. anacr. br. f troch. dim. 5. bas. dupl. iamb. + troch. hephth• 6. anacr. br. + bini troch. trihem. 8. anacr. br. t quaterni troch. trihem• 10. dact. c. dipod. troch. Anapaestonim systemata tria, 331 — 42. STASIMON I. στροφή a, 343 — 359. αντιστρ. α, 360—376. 1, wj— — j— w— w— — 2, wj— — |— w — w — — 3, wj— w — w — V — w— — 4, wj— w— — w— — w — ! I \i κ i mSS 90 CONSPECTUS METRORUM CHORICORUM, 5. 6. 7. 8. 9. 10. II. 12. 13• 14. 15• 16. — s^ — — vy - — ■ \y — — ο - vy — V-» — — v^ — vy — . — — v-r — — s^ v^ — w — w I — vy vy v-' I — w v^ ^^ — V^ W \J — _ -— 1-v.I- W — — I (2, 9» 10). anacr. br. t bas. spond. t tripod, troch. 3. anacr. br. f pentapodia troch. 4 (11). anacr. br. f trini troch. trihem. . 5 (6). anacr. br. f bini troch. trihem. 7 (8). anacr. br. f bas. spond. f troch. trihem. 12. troch. penthem. 13• bas. troch. f dact. c. dipod. troch. 14. bas. spond. f dact. c. troch. \ 15. bas. troch. f dact. c. troch. { P^ erecr. tot ^:1 ^T ^• '^^i•:^"^^"^• + bas. troch. + dact. c. troch. JNot. V. i6=gIyconeustpherecrateus. Tribus his w 1a le τ Λ citv,;u sunt tres ultimi in stroph. ^ et y. ^' ^\ '^ ^"*^^^* 1. w I -^ ^-. i^_ . . 2. ^1 I 3. w- w- ^- ^- s^- ,^- 4• ^1 |— WV/V-fV^ — 5. W- v.- ^-. ^. ^_ 6. w — ^ — 7. -- -- 10. .-Ι-νζ-ν^-ν^- v./ — \J v^ — w C^iKSi-^CT-W, ^^Zff^^c^^ CHORICORUM. xp. ) II. 12. 13. 14. IS• I ~ vy— — v^ — -^- I -v-r -vy ^ — V-» v/ W V/ — — -^ I -v^w -,^^ i -v^ I - \J \J — — I. anacr. br. f trini troch. trihem. / (8). bas. dupl. iamb, f troch. hephthem. 10. anacr. I. t troch. hephthem. 11. anacr. br. t bini troch. trihem. ". troch. trihem. f tripod, troch. 13• bas. sp. t dact. c. troch. 1 14• bas. tr. t dact. c. troch ( Pberecr. '5. bas. + dact. c. troch. trihem. + bas. tr. t dact. c. troch. 1. 2. 3. 4. 5• 6. 7. 8. 9. 10. II. 12. 13• 14. 15. --Ροφν r, 405-419. amorp. /, 420-434. — vy — — ^ -s. -V. -V. -|_„ _^ _^ _ vy v/ ~" v./ "~ V-' — v/ — vy — ~ ^ — v^ — ^ — ~ V-' — — — ^_ 12. — w-.— ^ _^ __ 13• -- I -WW -- 14. — w I — w w — — 15• -^|-v^^^-vy-|-w|-ww-- I. anacr. br. + trini troch. trihem. 5. anacr. br. f bini troch. trihem. f tripod, troch. 3 (9)• iamb. trim. (puri). 4. anacr. br. + bas. sp. f troch. penthem. 5. pentapodia iamb. 6. dochm. dupl. (ex bin. iamb, penthem.) r (8). bas. dupl. iamb, f troch. hephthem. 10. anacr. I. f troch. hephthem. II. anacr. br. f bini troch. trihem. troch. trihem. f tripod, troch. bas. sp. t dact. c. troch. 1 bas. tr. t dact. c. troch. { P^erecr. bas. t dact. c. troch. trihem. + bas. tr. f dact. c. troch. 14. 14. '5• στροψν γ, 405—419. a'mcrrp. γ', 420 1. w|— w— — w— — w — 2. — v/— J— w — w — w — 3. w|— w— — w — 4• w|— w— — w — 5. -V. I „ 0. vyj— w — w — v/ — 7. N^|— w— w— w — O. — J— vy— vy— vy — —434. j — W — w w — • 9. 10. II. 12. 13• 14. ""•wvy — \j — \j — — v/wj— w — W WW — w — w — — w w \J — — WW — — WW — — w w -.-1-^1- WW — — I. anacr. br. f trini troch. trihem. 4. troch. trihem. f troch. hephthem. 192 CONSPECTUS METRORUM CHORICORUM, 3 (4). anacr. br. + bini troch. trihem. 5. trini troch. hephthem. 6 (7, 8). anacr. f troch. hephthem. 9. dact. c. tripod, troch. 10(11). anacr. soluta t tripod, troch. * • 13. anacr. soluta t dipod. troch. 13 (14). bas. spond. f dact. c. troch. 15. bas. t dact. c. troch. trihem. t bas. tr. f dact. c. troch. ' €7Γωδο'9, 435—447. 2. v/j— v-/— — s^ — 5- -- -- -- -- -- -- O. v/J— sy— — \J ^' 7• v./— V-'— [— vy — \j — v^ — O. ^' \J — ^^ — \j — 9. v-»j— w— — \^ — 10. v/— '*/— |— ^ — vy — vy — II• S/V/V^W— W— v^v-'v^V./^W^ — 12. \j \j \j \j ■— \j \j \^ v^ — 13» ^"" v.^— J— s^ — sy — s^ — I (2, 6, 9). anacr. br. f bini troch. trihtm. 3 (8). troch. hephthem. 4 (5). iamb. trim. (puri). 7 (lo, 13). bas. dupl. iamb, f troch. hephthem. 1 1, iamb. trim, (tribus ped. solutis). 13. iamb, dim. (duob. ped. solutis). STASIMON II. 640. στρο<^^ α, 640—652. άντιστρ. α, 653—665. 1. 2. ν/ — W — ν./ — Ν./ — W — ν,/ Ι 3• — 'ta/— ν^— >./ — Π ι Α ! Ι / Ι ν i ι1 ) CONSPECTUS METRORUM CHORICORUM. 193 5• ν-'ν.» — vy — ν^ — — Ο. ν/ν^— ν^Ι— v^yy — 7. Ι ν^ W ο. \J ^^ — \J ^ yj ^ — 9. >-/ν/ — vy "— \j — — ΙΟ. v^vy ww-vy-y 11. ν/ν/ — vy — ν/ — — 12. ~*— |— ν/ν/ — ν/ — 13» ν/ν/ν/— ν/ν^ — ν/ ν/ ν/ ν/ ν^ — . ν^ — ^ ^ !| Ι. bin. troch. hephthem. 2. troch. hephthem. f troch. trihem. + troch. hephthem. 3. troch. hephthem. 4. anacr. 1. f ion. a min. dim. (cum anaclasi). .*> (8, 9, 11). ion. a min. dim. (cum anaclasi). 6. anacr. sol. t bas. tr. f dact. dim. 7. bas. sp. t ion. a min. mon. 10. ion. a min. trim, (cum anaclasi). 1 2. bas. sp. t dact. c. troch. trihem. f dact. c. dipod. troch. 13. bas. tr. soluta f dact. c. troch. Not. w. 1 1 2 ita fieri possunt quattuor : I a. troch. hephthem. I β, troch. hephthem. 1 a. troch. hephthem. 2 β, troch. trihem. f troch. hephthem. : ύ στροφή /?', 666 — 672. άντιστρ. β", 673 — 68ι. Ι. 2. 3• φ 5• 6. 7. 8. v-r — — ν/ ^ ν/ — ν/ ν/ ν/ ν/ — ν-' ν/ — ν/ v-f — — ν/ ν/ - ν/ ν/ ν/ν/ν/ — ν/ — ν/~" ν/ν^ν^— ν/— ν/^ — — |— ν/ν/ — ν^— |— ν/| — \/ %• — — Ι. bas. iamb. + dact. c. troch. trihem. 3. bas. troch. f dact. c. troch. trihem. K. A. 13 94 CONSPECTUS METRORUM CHORICORUM, 3. bas. troch. t dact. c. troch. 4. dact. trim. 5. dact. hexam. 6 (7). troch. hepthem. (prim, pede soluto). 8. bas. t dact. c. troch. trihem. t bas. troch. + dact. c. troch. στροφή γ', 682 — 690. αντιστρ. γ', όρι — 699. Ι 2 3 4 6 7 8 ν— ν/— ι— ν^ — ν/ W— <«»— J— ν^ — \^ ν/|— — |— ν^ — SJ — ν^ ν^ — \j — .— \J — \J y^ \ — \J \J — 9• — v-'j— s^<^— — I. bas. dupl. iamb, t pentapodia troch. «. bas. dupl. iamb, f tripod, troch. 3. anacr. br. t bas. sp. f tripod, troch. 4. dact. c. dipod. troch. 5. bas. tr. t dact. c. dipod. troch. 6. ion. a min. tetram. (cum anaclasi). 7. ion. a min. tetram. 8. anacr. 1. f bas. tr. f dact. c. syll. 9. bas. tr. t dact. c. troch. Not. De άνακΚάσ€ΐ in Ion. a min. rhythmo vid. Lin wood (Trag. M.) p. 87. στροφή δ', 700-— 706. αντιστρ. δ', 707 — 7^3- w — 3 4 5 6 7 ν/ "~ >»f — wwvy -ν^ ~ν^-|-ν/ν^ -vy \^ \J — W — — Ι. bas. dupl. iamb, f trini troch. trihem. 1. bas. tr. t troch. hepth. '♦ \ CONSPECTUS METRORUM CHORICORUM. 195 3. iamb. trim. (tert. pede soluto). 4. anacr. br. f bini troch. trihem. 5. anacr. 1. 1 tres troch. soluti. 6. troch. hephthem. (pr. p. sol.) f dact. c. dipod. troch. 7. dact. c. dipod. troch. Anapaestorum systemata septem, 714 — 740. STASIMON III. 906. στροφή α', 9o6 — 917. αντιστρ. α, 918 — 929. 1, — ν-' — ν^ — W — 2. — \J — \J — ν-ί — 3• 4- 5• — vy — vy — w — v.* V-» — \y — \J — •— v^ \^ 6. — ν-^ — V^ \J — 7. — \j — v^ v^ — ^ 8. 9- - 1 - v-/ — \J \J '— \ */ — ι — v^ v^ v^ ~- 10. "- \y — v^ v^ — v-» — II. — ν^ — ^ — w — 12. — ν./ — «w» — vy — * (2» 5> <5, II, 12). troch. hephthem. 3. pentapod. troch. 4. dact. pentam. 7. bas. tr. t dact. c. troch. 8. pentapod. iamb. 9. anacr. 1. f troch. hephthem. 10. bas. tr. t dact. c. troch. trihem. στροφή β, 930 — 944. άντιστρ. β, 945—959• τ. 2. 3• 4. - 5- - 6. - \J \y — — — ν>ν^— V^^y- — -^ v^v-»— \^ \^ — — 7. — Ni^ V^ — S-» — 13—2 196 CONSPECTUS METRO RUM CHORICORUM, O. — v— v/— >^ — II• ~-vy — \u — \j — 12• — V^ — Vi^ — yy — 13• — V^ V^ 14• -v^^-v^v^-v^s^-x^v^-^^-- 15» — v^ — w — \^ — 1• paeon, trim. 1. anapaest, dim. ,» 3• anapaest, dim. cat. 4 (5). dact. penthem• 6• bin. dact. c. bin. troch. * • 7 (8, 9, 10, II, 12, 15). troch. hephthem. 13• dact. dim. (pr. p. spond.) 14• dact. hexam• Commatica, 997• στροφή a, 997 — 8. αντιστρ. a, looi — 2. 1, \^\y\j— \^ — — ■■ 2. ^ — v^ — 1. bacchiac. dim. (pr. p. solut.) 2. palimbacchiac. dim. στροφή /?', 1005 — 7• ο,ντιστρ. β, ιοιο-— 12. Ι• ν^ — — ν^ — — 2• \j — — W — — \y — 1. bacchiac. dim. 2. bacchiac. trim. cat. 3. iamb. trim, (purus)• στροφή y\ 10 1 5 — 18. άντιστρ. y, 102 1—4. I. 2. — wv. — V. — [— wv./ — <^ — 3• — V. >./v.v. — v.— 4• — — v.— w— — — w — \ ί h ! CONSPECTUS METRORUM CHORICORUM. 197 1. spondeus. 2. dochm. dupl. (syll. secund. solut.) 3• troch. hephthem• (ped. sec solut.) 4. iamb. trim. στροφή δ', I027 — 31. άντιστρ, δ', 1034 — 8. I. s/ — v^— ls./v-»v. — v^ — 2. v^vyv. — v^ — v.— 4* ^ ζ, ν/ v. N^ — S. — 1. bas. iamb, t troch. penthem. (pr. p. solut) 2. troch. hephthem. (pr. p. solut. ) 3. iamb. trim. 4. bacchiac. tetram. 5. troch. penthem. (pr. p. solut.) στροφή €, 1041 — 5• άντιστρ. c', 1052 — 6. I. V/V.V. — v^ — |v.v.v./ — w 2. vy— v.— — 4. — — w— IV.V.V. — vy 5. v.v.v^ V. — I• dochm. dupl. (ex duob. troch. penthem.) 2. iamb, hephthem. 3. iamb. trim. (pr. spond.) 4. bas. dupl. t dochm. (troch. penthem.) 5. dochm. (troch. penthem.) t bini troch. trihem. στροφή στ', 1046 — 51. άντιστρ. στ, 1057 — 62. I (2). iambici trimetri non respondentes antistrophicis. 3• 4. 5• 6. \y \^ SJ — sy w — — v^ - ^^ V. vy sy v./ V. ^yy/V.— \j ■-^ — v.— ^ w I — s/ — — i.^ — 1 98 CONSPECTUS METRORUM CHORICORUM. 3. dochm. dupl. (strophico κρυκο- respondet antistr. θά), 4. dochm. dupl. 5. bacchiac. trim. (pr. p. solut.) 6. anacr. br. f bini troch. trihem. στροφτ/ ζ\ 1063 — 6. αντιστρ. ζ\ 1073 — 7^• 1, ν/— ν-» — ν-»— — v/w\-f — w — Ι. bas. iamb, t dochm. dupl. 1. dochm. dupl. 3 (4). iamb. trim, (non respondent antistrophici). στροφή η\ 1067 — 7. αντιστρ. η, 1077 — ^2. 3 4 5 6 \^ \^ \j — ν./ "~ν^ν^ν-» — V-» — ν/ν^ν.^ν^>./ — ν^ — — — ν-» \J ν> — ν-^ — ! — >^ — ν^ ν^ >^ — s-^ ν/ — — ν^ - \J — — ν/ — ν/ ν^— W — Ι. dochm. dupl. Ί (6). dochm. 3. anacr. sol. t troch. hephthem. 4. dochm. t bini troch. trihem. 5. dochm. dupl. στροφή θ\ 1083 — 9. αντιστρ. θ", 1095 — HOi, I, \^ — \j 2 3 4 5 — v^ ^ \^ \J — \^ V/ v-f v^ — vy S./ V-» ~- v-» v./ >»> 1. tripod, iamb. 2. troch. hephthem. 3. bas. iamb, t dochm, 4. dochm. dupl. 5. dochm. ' I • > ;i CONSPECTUS METRORUM CHORICORUM 199 στροφή L, 1090 — 4. αντιστρ. ι', 1102 — 6. 2, v/v^s^v/— v/-^ 3. w v.r — |— wv/ — Ny — φ v^ s^ — v^wv/wv^v/ — 5» ~" v^ ^ "~ ^^ ~" 1. dochm. dupL 2. iamb. dim. 3. dochm. dupl. 4. dochm. dupl. 5. dochm. Anapaestorum systemata tria, 1260. Commatica, 1336. στροφή, 1336 — 42. άντί,στρ. 1 35 7 — 63. I. vy vy vy — vy — vy v^ sy ^ >./ vr v.^ — v^ vy v^ v> — \^ 3 4. \j \^ \^ — yy — |^\y — v> 5 6 7- — vyj— v^w — — I. dochm. 1. anacr. br. + troch. hephthem. 3 (4). dochm. dupl. 5. anacr. br. t troch. penthem. 6. dochm. 7. bas. tr. t dact. c. troch- στροφή α, 1 38 1 — 7. ακτιστρ. α', 1402 — 8. I. 2. — s^ I — \y sy — Sd* — s.» v^ — v/ 200 CONSPECTUS METRORUM CHORICORUM. 3• 4. 5• 6. 7. \j \j \j — v^ — vy — ' ^. V I. dochm. dupl. a. bas. tr. t dact. c. troch. * • 3. dochm. dupl. 4. bin. dact. c. dipod. troch. 5. troch. hephthem. 6. dochm. dupl. 7. troch. trihem. f troch. hephthem. στροφή py 1 3 18. αντιστρ. β, 1472 — 8o faciunt anapaest, system, duo, sed in stropha perienint w. aliqui. στροφή γ', 1392, ακτιστρ. γ', 1 48 1, corniptae sunt. στροφή δ', 1396 — 1 4© Ι. αντιστρ, δ', 1409 — 14 faciunt anapaestonim systema. στροφή c', 141 5 — 22• οίντιστρ. c', 1 43 9 — 4^• I. 2. 3• 4. 5• 6. 7. 8. ν/ ν/ — Ν/ ν/ -• vy ν^ ^ ν/ ν/ — \^ ^ Vi/ ν^ ^ <»/ — ν<^— ν/— ^^— ν/ — Vi/— ν/^ w— w^ ν/ — — ^ — — ν^ vy — W ^ — — J— S^j— V/Si/ — — I. dact. penthem. Q. bin. dact. c. dipod. troch. 3. anacr. 1. f dact. c. dipod. troch. t bas. tr. + dact. c. troch. 4 (5, 6). iamb. dim. (puri). 7. dochm. 8. dact. c. dipod. troch. CONSPECTUS METRORUM CHORICORUM 201 στροφή στ', 1423 — 7. αντιστρ, στ', 1447 — 54 faciunt anapaestorum systemata duo. στροφή ζ', 1428 — 30. αντιστρ. ζ\ 1452 — 4• 3• — ν/ν/— syvy— vy— ^ •> I. dochm. dupl. Ί. anacr. sol. f troch. penthem. 3. bin. dact. c. dipod. troch. στροφή η% 1 43 1 — 38. αντιστρ, η, 1457 — 64 faciunt anapaestorum systema. στροφή &, 1465 — 71. άκτιστρ. ^, 1493 — 9. I 2 3 4 5 6 — ν vy — ν/ — — ν-' — ν/— — ν/ — Ni/^ " ν/ — ν/— — ν/ — ^ — ν^ SU — yj — — Ι ν/ — ν/— • vy — \J — — I (3> δ)• dochm. dupl. (ex bin. iamb, penthem.) a. dact. c. dipod. troch. 4. bas. dupl. iamb. + troch. penthem. 6. iamb. trim, (purus). 7. anacr. br. f bas. sp. t tripod, troch. στροφή t', 1484. ακτιστρ. ι', 1500 — ίο faciunt anapaestorum systema : in stropha perierunt duo w. I ADDENDA. 203 ADDENDA. ' V (The numerals are those of the Greek text.) 2. If μ9ίκο% is a gloss on krdoL^, brought into the text, Aesch. may have wntten r^vrtp ^γκοίμώ/χ«.ο5, Karsten's reading, which would give irHyais a better construction. x^Tc ^^^^^^' ^^ ^^v« comprised in this term, which Aristotle {Pcef. n) defines as τρώτη \^s όλον χορον, the Anapaests and the two Odes which follow them, because all these are recited and sung by the Chorus after their entrance to the orchestra before the first Epeisodion or dialogue scene. Most editors confine the term * parodos ' here to the anapaests and former ode (which we speak of as ' a mesode ' or intervening ode) and have called the subsequent ode «the ist Stasimon.' If this is the more correct view, then those which we have numbered as ist, and, 3rd stasimon will become respectively 2nd, 3rd, 4th. On the evolutions of the Chorus after entering, and the places in which these anapaests and odes were severally recited and sung, see Muller's Eumenides, quoted in Peile's note here and on 155. That the anapaests were not fully recited before the platform was reached is evident; for the Chorus could not have addressed Clytaemnestra from the floor of the orchestra. The truth is, we have no means of settling all questions of ancient theatric arrangement with minute accuracy. 57• It is questionable whether the gen. μετοίκων depends on ybop or on 'Έ,μρύν. We have allowed the ambiguity to remain by removing commas from text and translation. But when, in our note, we referred this word to the nestlings, we thereby accepted the dependence on 'Ερ^νύν for the 7O0S can only be that of the parent birds. We took μ^τάκωρ to signify removed from their habitation. But this very term might suit the old birds, who, having lost their δβμνίΟΓ^'ρ,,, rbvo,, had therefore abandoned the nest. And it must be owned that, if ^Y.p,vbv seems more applicable to the brood, the pronoun rdvl•^ points rather to the old ones. Moreover the presence of οίωνόθροον makes the dependence of μ^τοίκωρ on 700V less probable. As our judgment may be desired on this very disputable place, we think it now safer on the whole to connect rQ^i^ μετοίκων with Έρινύν, and also to refer it to the wailing parents. 64, 65. If the genitives ywarot^ κάμoucos are not absolute, but, as Hermann wishes, dependent on ταλα/σ/^ιατα, our translation will become * of knee that in the dust is planted and spear-shaft snapping in the onsets &c.' loi. 'Est φαίν€ΐρ lucere^^ Herm. who cites Eur. El. 1233. 104 — 147. The lyrics which here intervene (strophe, antistrophe and epode, describing the omen of the two eagles, with its interpretation by Calchas) we have ventured to call a Mesode ; though this term is generally used, in a narrower sense, of lines occurring in a strophe without anti- strophic correspondence. Pro-ode might be a fitter term here. 14 1. Ρ€ΐκίων τίκτονα σνμφυτον ίοτ v. τ. σύμφυτων, 'artificer of kindred quarrels,' as in Soph. Antig. 791 νύκο% ανδρών ξύναιμον for v. ο. ξυναίμων. 157. The reading now given in our text, av \kyoi, is suggested by Hermann, who cites instances of the phrase ονδ^ν Xe^eif, to be of no import- ance. If it be received, the two negatives do not cancel one another. Our version of 169, p. 66, would become * aught can profit, long departed.* But see note there. 190. In note at p. 166 — 7, some may think we should have gone a step farther by reading -κΛ-τηρ instead of varpos. Perhaps so: but examples are not wanting to justify the form adopted. See Soph. £/. 546. 195. Linwood explains eu yap €Ϊη yes^ that (they say) were welly making «ft; opt. in oratio obliqua. Vkp favours this view. 248. Our division and version here seem to us probable : but some may prefer ri yap; το ιτιστόν Κάτι κ.τ.Χ, 'how then? hast thou the trusty proof of this event ?* 309. We prefer the full punctuation at the close of this 1., connecting it with that which precedes. 316. This 1. is somewhat difficult : but we incline to keep την rather than to accept τήνδ' from Hermann. In the aorist €ΐ\6μην, Clyt. seems to refer to the prayer she has just offered, using the Greek idiom of tense in such reference: * Yes! in so praying, / chose the enjoyment of many blessings.^ She is probably meant to allude to her own projects, as after- wards at 904. In transl. (p. 76) for * this delight ' read * the delight.^ 389. Our translation here supposes that by ομμάτων άχηνίαι is meant ih^ want which the eyes of Menelaus feel by the absence of Helen. With Butler and Blomfield, we prefer this view to that of many commentators (Hermann, Paley, Peile, Klausen, &c.), who in this description understand the statues of Helen, which * by the want of living eyes ' lose all loveliness. 395. Paley renders ου μ^θύστ^ρον forthwith, and connects it with βίβακατ. We take it with ότταδονσ*, as rendered in our version. 469. μηκέτί is written, not ούκ€τί, because the verb in the sentence {χαΐρ€) is imperative. See 717. 498. Hermann ends a long note on τεθναναι by rejecting it as an 204 ADDENDA, \ intolerable substitute for itQva.vai^ and suggests one or two corrections which are not satisfactory. Probably he thought it necessary to keep τβ^ί'άϊ'αί, or he would have proposed θ^όίσι 6' οΰκΐτ avrepd θανέΐι^, Paley, without noticing Hermann's anathema, is satisfied with referring to τεθνηώί for τ€θνηκώ3^ suggesting that τ^θνηέναι. may have been similarly formed, and made by contraction Tedvdvat. He cites this word in Theognis i8i ; but Hermann insists that τ^θνάμεναί must be read there. As, however, H. admits 'memorare grammaticos τεθνάναι,* we have not ventured to ex- tirpate this form, deeming it unlikely that any commentator or spribe would have introduced such a word to the exclusion of θανεΐν. 521. TidivTiS. The words ii ουρανού contain in sense 6μβροι^ and Aesch. uses a masc. participle agreeing with this, not with the following δρόσοι. 527 — 32. τοΐσι μ^ρ,.,'ίιμΐν δέ are here the protasis and apodosis. Therefore the translation of ημίν δέ (p. 89) should be ' but unto us.' 571. (p. 90.) iAe art of dyeing steel: for steel read brass. Χαλκοί here must have its strict sense, copper or brass^ as in 363 (Gr.). In the Homeric poems it is freely used for σίδηροι, iron or steel: the Scholiast on this place writes τα$ βαφά^ του σίδηρου, and Hermann would understand χαλκού βαφά% to mean blood-shedding (the dyeing of steel in blood). Probably these comments led us to write steel, which now (sero sapientes) we regard as an oversight 659. 664. We have not printed in our final text the readings men- tioned in our notes on these verses at p. 96. We leave ύμίναιον, though still suspecting that it is corrupt, and for άμφΐ we accept διαΐ from Davies. This will make our version in 1. 'joftfor the sad blood. 667. We have, with Paley, taken ουηύ% to be the adv. of comparison so, not, with Peile, merely: but ά-^αΚακτον φιλόμαστον δε we interpret, weaned from its mother's milk but still teat-loving, i. e. not old enough to be carnivorous, 681. We have retained U θεοΰ in the text, though still dissatisfied with it and wishing for delas ώδ\ The version may be : *So from some god within the dwelling a priest of bale 'twas bred.* The rpos in ττροσεθρέφθη suggests a possibility that Aesch. wrote irpbi θεοΰ δ'.,.δόμοισίν έθρέφθη (or even δόμοι% ιτροσεθρεφθη). 717. The negatives μήτε.,.μητβ are determined by the imperative dye before. 719. Hermann renders τό δο /cety ehai, the seeming to be; but τροτίουσι suggests a doubt. Could Aesch. have written τολλο* δ' cfpa του 7* elvat τό δοκεΐν χροτίουσι} 737 — 8. In this place, which we hold to be corrupt, our translation assumes a reading τοκοί' for tovos. See note in Consp. Lict, ί ■ 4/ ■ / l7 i ADDENDA, 205 Λ 745. This place may be suspected of corruption (i) on account of the harsh construction φθοράί.,.ψτίφουί (θεντο and (2) because it is strange to say that the gods, without hearing tongue-witness, proceeded to vote. The struggle at Ilium went on for ten years, during which the gods, divided in feeling, as the Iliad tells, heard much tongue-witness (or tongue-plead- ing) on both sides. It seems more proper to say that at the last, when a final decision took place, the gods did not pronounce with the tongue (aro -γλώσσηί) their sentence of ruin and massacre against Ilium, but proceeded to vote this without one negative ballot. If Aesch. wrote κρίνοντες instead of κ\ύοντε$, construction and sense would be improved : *for the gods our process judged not by tongue-sentence— ruin with the deaths of men to Ilium — but cast votes into the bloody urn without dissension, while unto the opposing rim hope of a hand came ever near, yet filled it not.' 973• *^^ o^<^a here is very suspicious, as οδσα is not hypothetic but causal. We had surmised ολοΰσα, which we now find conjectured by Haupt, and adopted by Enger and Karsten. Hermann reads έκτο^ δ' 6iy ούσα, and so Dav. This gives good Greek, but weak sense. 985. Αέχεσθαι \6yov is the correlative of διδόνα* \oyov. The latter means 'to offer or commence a discussion or conversation,' the former, 'to accept it by replying.' Aeschylus does not make Clytaemnestra suggest that Cassandra is unacquainted with the Greek language. This would be to stultify himself, as the queen speaks in Greek, and in Greek bids Cas- sandra give sign with her hand. What is meant is this ; that Cassandra, though understanding Greek when spoken to her, may not know it well enough {άξυνημων οβσα) to speak freely in reply {δέχεσθαι \oyov). 1069. The use of Ιουθό% as applied to sound is defended by Butler in Peile's note. He says : ' non incommode haec vox in utroque sensu de lusciniis dici potest. De sono certe usurpatur in duobus locis a Blomfieldio laudatis; altero ex Anthol. iv. 200, οϋρεσι καΐ σκιεραΐ$ ξονθά λαλενντα vairais, altero ex Athen. xiii. p. 608 D. ξουθοΐσιν άνεμοι^. Huic interpretationi fidem faciunt quae sequuntur \ιyείa^ άηδόνο^ et opeioit iv νόμοί^: We alone are responsible for the reading ξουθα^ instead of ^ουθά, but the foregoing note added to what we have said at p. 118, shows that the epithet is not limited to colour, nor to the nightingale. 1190. έμου μισθόν. It is useless to seek a minute interpretation of a phrase, which, as Paley justly observes, is ambiguous, and, we think, designedly so. We may note that Clytaemnestra will pay ρ ; IJHRAHY ! >■ YOEK. »*••« «M«»11«U*4 iA^ y INDEX. [Numerals refer to our pages. B. Blomfield's glossary. L. Linwood's Lexicon. LS. Liddell and Scott's Lexicon.] Άγάλα^τοί 96 L. LS. 1 Λτ^αΚμα 68 L. dyyapos 168 B. αγη 165 Β. L. &^καθ€ν 55 LS. I αγλάισμα 131 luxury L. άγτώ^ ignorant 1 1 2 ayopoLOi Beol 164 aypeiv 165 L. dyoprpia female conjurer 128 B. mendicant L. Α.δ6Κο% {raprjyopla) 62 α€ίδ€α> rj μινύρ€σθαι 57 "Αιδου μητηρ 125 Β. L. aTKtvos 64 alvetv speak 62, 143; praise 104 atpeiv στόΧον 6o B. αΐχμ^ temper 83 B. L. άκέΧευστο^^ αμίσθου, io8 β.κρο% first-rate 92, 118; superficial 99 B. * αΚατά,^κν or Xairo^ti' 165 αΚάστωρ xi. 143 L. aXeTros65, 165 B. dfXi; 68 B. άλλα 113, '7^ αΚοίδορο^ 8 1, 171 αμαρτία χ. αμαρτία wages of sin 86 άμηνιτος 93 Β. άμηνίτως 1 1 1 άμτΧάκητοί jS άμφΐ 96 L. αμφί\€κτο^ 103 Β. άμφιν€ΐκ^ΐί liebated 95 άμφίσβακνα 125 Β. Κ. Α. αν 205 L. άνφσσ€ίν 164 ανατοί 124 άνδροσφα'γςίον 115, 176 ανδρών 7θ άνοτοτύ^€ΐν 114 ai^i7^to$ 86 Β. αντηνωρ 82 Β. αντιδίκου 59 άντίμολίΓος 57 ^' άντιτί€σθαι 127 άντοΧ^ 5^ L. who defends line 7 άνω 75 ef^et 150 άξιοΰν Ι04 άξννημων Ι13 L. άξύστατοί 142 L. οταττοί 75 άΐΓαρκ€Ϊν 8ο, 1 70 Άτ/α yaia (Peloponnesus) 71 Ι>• άτλοία 65 L. LS. άποδικ€Ϊν 138 Β. L. Άτόλλων 114 άΐΓθτέμν€ΐν 138 airrepoi η 2 dwpa Ιΐρά 6 1 Β. L. αρά. δημόκραντοί 83 apy^i or apyas 165 άρκνστατα 136 Β. άpωy^ 6θ ατη χ. 128 &C., Β. L. LS. άτιμοι 8ι, 171 άτίτΎΐ% 6 1, 163 άτοΚμητω^ 8θ αύτοκτ6νο% 115 14 2IO INDEX. INDEX. 211 υΛ)τ(ηοκο% 64 Β. L. αύτου 83 αύτί>χθονο^ 86 ά,χέων Ίτόρθμευμα 146 άχηνία 8ι, αο3 Β. L. take our view Aegisthus xi. xiv. 147 Agamemnon xi. xiv. 100 &c. Argos xvi. — xviii. Article 93, 104 Atreus 148 Bapeiais (i"eU7Xats) 51 L. βαστάζΐΐν 58 βίοίωί 6j βίώνται 99, 174 /3\a/3cis with gen. 64 βοτ^ν κ-ηρύσσ^ίν 134 Β. /JoCs kvl ΎλώσσΌ $S Β. βρί^ΐύ 72 Β. βωμbs δίκηί 8θ, 171 Beacons 73 Τάγγαμον αίτη$ net 79 ^• 7άίΌ5 89. 137» ί8ι L. who in 1. 1 32 1 prefers Hermann's em. διόί yd.p 109 Τηρυων 103 Β. 7ί7α$ Ζέφυροι 95 Β• 7pata (de re), 74 Β. ypa^ 70, 132 Β. Αάημι 64 Β. δβι/Αα or δ€Ϊ'γμα 107, 1 75 δέχίσθαι \6yov 113, ^05 δ^μίθΐΓλ•>7^ήί 64, 165 Β. 5iav\os 78 Β. δικαωυν 8ο Β. δίκην 55 Β• δ(σσό$ 64, 165 δίφνιοί 142, ι8ι δοκών 6ρ9 (or όραι/) 82, 171, 2θ8 δορίταλτο5 63 Β. δο/9(; Ι ΙΟ Β. L. δρόσοί 05 Β. L. δυνάστης φ Β. L. who takes it to mean planets and greater stars διίσβδροδ 97 Β. δωματοφθορ€Ϊν io6, 165 Β. 'Ε7ώ 133 ^δρο 63 €ΐ\όμψ 203 κ δρόμου 126 Β. L. κ θυμού 69 Β. κ θυσιών 99» 1 74 /cicaXcti' 65» 165 κμαρτυρ€ΐν Ι22 κττάτίοϊ 6ο Β. L. κΐΓράσσ€ΐρ 128, 205 KTcX^s 63, 164 L. κφάτωί g6 Β. L. Ελ^ί/τ; 95 'μβασί$ io6 Β. ν αϊμασι 96, 1 73 ναίσιμο$ 88 Β. ν /i^pei 77 β• tv τέμνων or έντέμνων 57» '63 vrepa 125 μ ^Τ70ν λ^7**'' 88 Β. ^ayii;etv 93 Β• L. τΓα€ίδ€ΐν Ι ΙΟ Β. Ίτε^ιχέασα 1 1 8, 177 Tci ^jc ^Μί? 55» quoniam 112, 176 τηθέσθαι 138 ΐΓΐλ^€σ^αι 143 ιηνέμειν 84 Β. ττίστ ροφοί 8 1 Β. ■κορθιά,ξΐΐΜ 58 Β. μκύμων 64, 165 Β. L. (under λ07**Ό5) ptvi)s 202 'p/cos 71 Β• 'ρ/χα 109, ''^ ^' σω 133 €υ 7λρ ^^"f) 195 εΰμορφοί 83 L• e^vcus 140 eu τασΐΐν 83 Β. fu χρα^υ 91» ι68 Β. €ύσ€β€Ϊν 78 €ΰφημος 126 Β. €ύφρόνη 72 Β. ίϋφρων 99> 1 74 ^* έφέστιο% 172 Β. Erinyes, Eumenides viii. ix. Zeiryos 60 Β. Ζεύί ^^ίΊ05 6 1 ; σωτηρ 136 firycp, οΐ έιτι (firytrai) 1 49 Zeugma 88, 94 "H^atiTTos 73 θανάσιμος 1 2 1, 178 ί ) θΐρίξίίν 86 θ€ρμόν o\)S 120 ^οοσκίί'ίΓΐ' 164 θυραΐοί 112, 164 Thyestes, 148 "lm96, 173 Ιου 163 Ισοτριβ^ί ι8ι ; Ιστοτριβηί Β. L. "Itus 178 Β. Καίριοί 117, 133» ΐ77 Β• κάΧλίιτρωρο^; 7© Β. κάσΐί ζύνουρο$ 85 κατά in compos. 56 κάτοττος 75 β• κ^δοϊ 95 β• «fXdi'co' ίπ-ιν/κια 67 κλύοντβ? 205 κοιμοίν φ\6ya 9© κοίμασθαι φρουρά 55 KOpos 80, ο8 Β. κρατ€Ϊν ξ,Ό L. κρόκου βαφαΐ 70, 167 Β. L. Κρόνο; 64 κτήσιοί Ι09 L• κύκνος 140 κύριος 63 Β. L. κυροΰνθ* δττωί 136 L. κύων ττανόί 64; κύων 125 Cassandra xvi. Clytaemnestra xi. xvi. λάκτισμα δίίτνου 149 L. λαμπαδηφόρων νόμοι 75 β• \iyoit 76 X^^ais 164 λ^ίΓοδνοί' 69 Β. Χήθομαι 59 Β• Xot70s 116, 177 Μ€Χαμ7Γα7ή5 8ο Β. μ^—δέ 55 L. /icra in compos. 69 pLCTayiyvuiaKtiv 69 μέτοικος 6θ, 202 M^«oy 55» 202 μηχάνημα Ιΐ; μηχαρίζ^σθαι ιΐ7 μισθός 129, ^05 ΜοΓρα, Motpat ix. μυχόθ€ν, μυχός 02 Β. Macbeth xiv. — xvi. Mycenae xvii. NauriXos 140 νείκη i8i L. veipa 142 B. L. νηκρών σωτ^ρ 136 Hou^os 118, 205 "Οδιοί 63 Β. L. οικονόμος 65, 143 όμοιΟΊτρετης 99 β• όμότοιχος 109 Β. 6p€yμa ι77 L. όρμαίνειν θυμόν 137 L. differs ορός 84 L. differs ^Ορφ€ύς 150 όσσοις διόθεν 83 ούδ^ν X^etv 66, 166, 203 ούκ ίστιν δτως with opt. gi ού μεθύστερον 82, 263 οΰτως 204 Odyssey xi Oresteia vii. χ. Παιάν 7ο, ι66 τταίσαδ or ιτταΐσας 150, 183 Ίταιώνιος 172 Β. ττάΚιμμ-ήκης 194 Β• ταλίρροθος 68, 1 66 Β. iravos 73» 168 Β. irdpa 112 L. ναράσημος 98 Β. τταρασκονεΐν Ι37 ^• τταρηβαν ιο8 Β. L. Ίτάρηξις 88 Β. τταρ' ούδ^ν as nought 69 Β. τταροψώνημα further relish 140 Β. ττατρφος 128, 1 66 L. explains /3ω^ιοί πατρφος the altar at which my father was slain 1Γ€ίθ€ΐν 112 WXoiOS 62 B. πίΐταίτερος 135 Β. irX^ov φέρει»' no Β. τνεΐν'Άρη 8θ Β. ΊΓoδ■fιpηςy 2θ6 τοίου χρόνου 78 Β. ToXet read for στρατφ 87, 2θ8 νοΧυάνωρ 6 1 Β. Ίτράκτωρ 63 Β. 212 INDEX. yrpaaacw 105, 129 Ίτράσσ^σΟαι ιοί Β. χρέτΓΐΐν 58, 132 rpiv ων 66 τροβάΧΚΐΐρ Ι ©9 τρόβον\ο$ 8ο, 1 7© Tpoducos 83 Tpos ηδοι^ν 74 Β. Trpbs κέντρα Χακτί^πν 150 Β. irpos Afo/wj/ 80, 1 70 Β. τ/)όϊ τό /9/ato»' 64 Β. «■porAeta 61 Β. frpcrrLeiv 99 L. Tpd roO φανέντο^ 84 irpOTxnreU 64 Β. TpoUKeiTo 73 τρώι» headland 75 ττώ^ 64 Β. TvdOKpavTos 137 Β. Parodos 202 Play on words 95, 114 Pleisthenes 149 Pro-Ode, 203 "PavT^piot 1 76 L. βέ€θρον i6y βόσιον 86 I.. Σ€ΐραφ6ροί 102 Β. σκήχτ€ΐν 75 στλαγχι/α 125 στρουθόί 165 Β. L. συμφορά. 58 σννδίκ<ϋ$ 149 σύΐ' ν€ορρύτψ ξΙφ(ΐ j^^ σύνορθροί 71 Β. L. σϋΐτΓ6λΐ75 τόλ(ί 86 L. ο^ολτ; 112 Spurious Verse (?) 163 Strymon 68 Τάχα 63 τά ψίνδή καλά, κ€δνά. τάληθή ο ι Τ€θνάναι 86, 204 Τ€ίν€ΙΜβΙθν 135, 2θ6 τέκμαρ 71 τβλβυτοΓοί 75 L., with whom we do not agree τέμν€υβ φάρμακον (ακοή 57 T€p4^ew 165 τιθέσθαι 58 Tt/iop irouava 70 rti 60, 82 L. τΧηναι with participle 1 28 TO δοκ€Ϊν eTvai 99, 204 L. r6 μη€ΐδ4ναί (?) I22 L. τρίΛκτηρ 6 J τρίβαν σχολην ii2 (as Weil; we think all others wrone) τρίβοί 68 ^ Tpiwaxvios 142 (BI. with Klausen r. TptraXatov) τρίπουί 6i τρίί (ξ 58 τριτόσπονδοί ηο Β. L. τροτταΐα 6g Β. τρύτΓΟί 6ο Τυνδάρ€ως 62 τώι* dird στρατού 86 i57«*fa 109 νμέναια ιο8 ιί/χΐ'ψδαϊ» ιο8 vtraTos 60 νιτέρ άστρων 79 ύτΓέρτγηρω^ 6ι, 164 L. UTf/jreXi/y 73 L• See τροΰκβιτο νχ4ρφ€ν ιηο Uranus 66 Φαίν€ΐν 164, 203 φίΧ-ήτωρ 1 4© φρην φρονεί 109 0υλα/ί<ίι/ κατασχεΐν 70 ΧαλίτοΟ βαφαΐ 93» 204 χα/>ίί' συναινέσαι 84 χβ XiSdiOs ii/fi;!/ 1 1 2 χ^ουσα 70, 167 χέρνιφ Β. 1 1 1 Choreutae, number of, 133 Chorus xii. "ί^ηφους ίθεντο ι ο ι, 205 'ilt since (of time) 124 ws €ύδαίμονεί 77 CAMBRIDGE: PRINTED BY C. Τ CLAV ma λ ^ ^T »-. J. CLAY, Μ.Λ AT THK UN IVEKSITY FRKSs. y Aescliv'lus Aoavnev/iT/ioV] 0E7g 'Jia«^.-.t-. οέ^^^ y;^^ L '^.ί,'« i^iS;^ .,A-.Oi!.i. ifr -.5* v^i m mi \ i '-%^m^