5E, 
 
|3Ut IJnss Scries 
 
 EYPiniAOY 
 lOirENEIA H EN AYAIAI 
 
 THE 
 
 IPHIGENEIA AT AULIS 
 OF EURIPIDES 
 
 WITH INTRODUCTION AND NOTES 
 
 BY 
 
 CLINTON E. S. HEADLAM, B.A 
 
 FELLOW OF TRINITY HALL, CAMBRIDGE 
 
 EDITED FOR THE SYNDICS OF THE UNIVERSITY PRESS 
 
 CAMBRIDGE 
 
 AT THE UNIVERSITY PRESS 
 
 1889 
 
 [.'/// Rights reserved^ 
 
"■i$^£c^(yu^ ^^^ff 
 
 » • * • » 
 
 PRINTED BY C. J. CLAY, M.A. AND SONS 
 AT THE UNIVERSITY VRESS. 
 
^^4 
 
 PREFACE. 
 
 THE previous editions to which my indebtedness is 
 greatest are those of Hopfner (Halae, 1795); Hermann 
 (Lipsiae, 1831); Monk (Cantabr., 1857); Klotz (Gothae, 
 1858); Weil (Paris, 1879); Paley (London, 1880). I have 
 also consulted with benefit the analysis and criticism of the 
 play by Gruppe Ariad?ie xiii, xiv ; and H. Hennig's disser- 
 tation de Iphigeniae Aididensis forma ac condicione (Berol. 
 1870). Other obligations which relate to particular points 
 are acknowledged in the notes. 
 
 The text is based generally upon that of Adolph 
 Kirchhoff (1867), which follows closely the authority of the 
 MSS. A hst of all the deviations from his text which occur 
 in the present edition will be found in the Appendix. 
 
 I wish to take this opportunity of expressing my thanks 
 to Mr A. W. W. Dale of this College for his kind assistance 
 and advice. 
 
 C. E. S. H. 
 
 Trinity Hall, 
 
 October 17th, 1889. 
 
 79H2S/1 
 
INTRODUCTION. 
 
 I. 
 
 THE Iphigeneia at Aulis of Euripides deals with a tragic 
 episode in the history of the house of the Pelopidac, 
 the ddifia noXvcjidopov whose fortunes furnished to the creative 
 imagination of the Greek tragedians a theme so fertile in the 
 intricate and awful problems of crime and retribution, of sin 
 visited upon the children's children, of heavenly ordinance to 
 men, and the mysterious guiding of fate. One of the last 
 works of Euripides, the play itself in its conception and execu- 
 tion is worthy of the poet at his best. We feel as we read that 
 we are in touch with one who knew the heart of man, and has 
 from his sympathy with its varying moods received the power to 
 arouse in us the quick emotions of pity, indignation, admiration, 
 and awe. His characters live before us ; compelling our interest, 
 as they unfold through the changing scenes the workings of the 
 human soul. There is here no trace of failing power or 
 enfeebled judgment. The calm and matured reflexion of the 
 philosophic mind is illumined by the seeing eye of the poet^; 
 and in the handhng of pathos — wherein resides the most delicate 
 test of the artistic spirit — rarely, if ever, has the mingled tendor- 
 
 ^ Cf. Anth. P. vii 44 ar^es/>. (of Euripides) rbv ao<plri yUvaiuv 
 
viii INTR OD UCTION. 
 
 ness and dignity of Euripides secured him a more splendid 
 triumph. 
 
 The legend of Iphigeneia daughter of Agamemnon, who 
 was brought to the Grecian camp at Aulis, there to be offered 
 upon the altar to appease offended Artemis, who would not 
 suffer the fleet to sail to Troy on its mission of vengeance against 
 Paris and the faithless Helen, is already sufficiently familiar in 
 its main outline to render a detailed account unnecessary. We 
 shall therefore pass on to institute a brief comparison between 
 the story as adopted by Euripides and its treatment by other 
 writers in whom it appears. We shall thus be in a position to 
 judge more conveniently of the construction of the plot of the 
 Iphigeneia at Aulis, and the comparison will be itself not 
 without interest as illustrating several of the dramatic motives 
 on which the development of Euripides' play depends. 
 
 The story of Iphigeneia as we meet with it in Greek tragedy 
 is post-Homeric in its origin. We find in Homer no mention 
 either of the detention of the fleet at Aulis, or of the sacrifice of 
 Agamemnon's daughter. Iphigeneia herself is not named : nor 
 was she apparently known to Homer as a daughter of Agamem- 
 non, who is made to say in Iliad ix 144 : — "Three daughters have 
 I in my stately palace, Chrysothemis, Laodike and Iphianassa^." 
 
 ^ It has been held that Iphianassa in this' passage stands for 
 Iphigeneia, as is the case in Lucret. i 84 Trivial virginis aram | Iphia- 
 nassai turparunt sanguine foede | duct ores Danaum. They are however 
 distinguished by Sophokles, vide EI. 157 ol'a XpvcrbdeixLs ^wei /cat 
 Icpidpacraa, cf. 547 cpairj 5' av ij davovad 7' (i.e. Iphigeneia) el (pwurjv 
 Xd/3ot: and by the author of the Kypria, sc/wl. ad Soph. El. 157 77 ws 6 
 TO, KvTrpia iroirjaas T^aaapds (prjcnv, 'IcpLyivetav Kal'Icpiduaaaav, i.e. 'four 
 daughters, counting Iphigeneia and Iphianassa' (for the punctuation &c. 
 here see Monro Jonrn. of Hellen. Studies v p. 8). Euripides in this 
 play speaks explicitly of th7-ee daughters (tLktco iwl Tpial irapdevoLai 
 iraldd aoL \ rovde), cf. also Orest. 22 f. Iphigeneia however appears in 
 El. 1023 as 'l(pLy6vq\ a secondary form which is matched by similar 
 examples of an alternative termination in the case of some other proper 
 names. In I. T. 562 ff. allusion is made to two daughters only — 
 Elektra and Iphigeneia, as also in Aesch. Cho. 252 ff. 
 
INTRODUCTION ix 
 
 The source of the story appears to be the Kypria, a poem of 
 the epic cycle attributed to Stasinus (2rao-ii/of), who flourished 
 about 776 B.C. There we are told of a gathering of the Greek 
 fleet under Menelaus and Agamemnon at Aulis, where take place 
 both the sign of the sparrows (cf. II. ii 300 ff.), and the prophecy 
 of Kalchas ; after which the host starts on its voyage but lands 
 by mistake at Teuthrania. They assemble a second time at 
 Aulis, on which occasion comes about the leading of Iphigeneia 
 to the altar as a victim to Artemis, and her rescue by the goddess\ 
 who snatches her from the jaws of death, and carries her off to 
 the Tauri, leaving a hind at the altar in her stead. 
 
 An allusion to the detention of the fleet is made by Hesiod 
 op. 65 1 (a passage which some critics reject) in which he speaks 
 of "Aulis, where on a time the Achaeans, biding a stress of 
 weather, gathered out of Hellas a goodly company bound for 
 Troy the home of fair women." 
 
 In the Agamevinon of Aeschylus we have a graphic descrip- 
 tion of the scene at the altar, and it further appears that in the 
 belief of the persons in the play Iphigeneia has really been slain. 
 In fact Klytaemnestra afterwards (cf. Ag. 1017) justifies her 
 murder of Agamemnon as no more than a righteous avenging 
 of her daughter, slain by her father " as a charm to lull the gales 
 from Thrace." Again, it is not, as in this play of Euripides, a 
 calm^ but contrary winds blowing from the Strymon that keep 
 the host inactive at Aulis. (We find later the hindrance to the 
 voyage declared to be a calm by Kallimachus, in his hymn to 
 Artemis 230 f. : — "when thou (Artemis) didst bind fast the winds, 
 what time the Achaean ships sought to make their voyage to 
 vex the Teukrians' town "). 
 
 The motive which Klytaemnestra in the Agcwiemnofi^ alleges 
 
 ^ 'Aprefiis S^ avrrjv i^apiraaaaa et'j Tavpovs fxeraKOiii^ei, Kal adavaTov 
 iroiei' l\a<pou dk olvtI ttjs Koprjs irapiaTrjaL ti^ ^ui/iu}. Proklus irepl TWf 
 Kvirpluv (p. 455 a/>. Gaisf. Hephaest.). 
 
 ^ In this play (1183 f., 1456) Klytaemnestra throws out a dark hint 
 of the vengeance that she will wreak upon Agamemnon if he lets her 
 daughter die. 
 
X INTRODUCTION. 
 
 for her crime had already been hinted at by Pindar, Pyth. xi 
 22 fif : — " Was it then the slaying of Iphigeneia far from the land 
 of her birth that stung the mother to an arousal of wrath 
 dangerous in deed?"; and in tYiQ Elektra of Sophokles Klytaem- 
 nestra, who believes that Iphigeneia has been done to death, 
 defends her murder of the king as a merited retribution for the 
 part he took in bringing it about. " 'Twas justice took him off, 
 not I alone\" Unlike Aeschylus, Sophokles agrees with Euri- 
 pides in making a calm the obstacle to the sailing of the fleet : — 
 ''Ask," says Elektra, "the huntress Artemis in quittance for 
 what guilt she stayed those thronging winds at Auhs" (563). 
 She goes on to mention what Agamemnon's transgression had 
 been : after a successful shot at a stag, he had uttered a boasting 
 speech^ which had aroused the anger of the goddess. In our 
 play the cause of the wrath of Artemis is not stated ; Kalchas 
 simply announces the sacrifice which she requires. In an earlier 
 work, the Iphigeneia auiong the Taztri, the maiden is demanded 
 in fulfilment of a vow made by her father 2, that he would devote 
 to Artemis the fairest of a year's produce. 
 
 Without considering at length minor differences of detail in 
 the various accounts, or following the story as it is found in later 
 Roman writers, we may return for a moment to the miraculous 
 rescue of the heroine as set forth in the poem of Stasinus, and 
 adopted in this play by Euripides. We have already seen that 
 in Aeschylus and Sophokles Iphigeneia was in the opinion of her 
 friends actually slain. This point is important in the dramatic 
 situation as conceived by these two poets, because it furnishes 
 Klytaemnestra with just enough excuse for her crime to prevent 
 our sympathies from being wholly alienated from her as an 
 entirely abandoned and heartless woman. It is evident however 
 that there is nothing so far to contradict the fact of the rescue 
 having taken place : it is only assumed that the spectators of 
 the sacrifice were not aware of it. Similarly, in the Orestes of 
 
 1 El. 528 ■J7 yap AIkt] viv elXev, oiiK iyC) povr]. 
 
 " He said, we are told, ovdk i] "Aprefxis. Tzetzes ad Lykophr. 183. 
 
 3 So Cic, de off. iii 25. 
 
INTR OD UCTION. xi 
 
 Euripides, Orestes believes that his sister died at Aulis^ ; a 
 behef which is only dissipated when, going on a quest signified 
 to him by Apollo, he finds his sister alive among the Tauri as 
 priestess of Artemis. In our play the case is different. Kly- 
 taemnestra is informed by a messenger (1540 ff.) of Iphigeneia's 
 disappearance at the critical moment and the substitution of 
 a hind as the victim ; an interposition of heaven of which 
 Agamemnon has been an eye-witness (1621 fF.) in common with 
 the Grecian army. 
 
 II. 
 
 EURIPIDES' PLAY. 
 
 The plot of the Iphigeneia at Aidis is remarkable for the 
 sustained interest which is maintained to the end, and the draw- 
 ing of character is also exceptionally clear and brilliant. The 
 dramatic story received from older tradition by Euripides loses 
 in his hands none of its pathetic charm. Summoned to meet a 
 bridegroom, the youthful daughter of the great chief of Greece 
 finds awaiting her the knife of Kalchas and her father powerless 
 to aid. The agony of the king in his wrestling with fate, the 
 queen's distress and resentment at her daughter's wrong, the 
 softening of INIenelaus' heart at his brother's grief, have each 
 their share in heightening the tragic effect, and throwing into 
 bolder relief the simple courage of the heroine. 
 
 Agamemnon is the type of a man called upon to act in a 
 crisis of great difficulty without the resoluteness and strength 
 of will to cope with the perils around him. In the vain 
 endeavour to extricate himself he has recourse to deception ; 
 but he is not the stuff of which intriguers are made. His 
 consent to sacrifice his daughter is wrung from him. chiefly 
 because he feels a keen sense of responsibility to the army of 
 
 ^ a 5' Ai'Xts AajSe ccpayC ifj.rjs 6,uo<nr6pov kt\. 
 
 2 
 
xii INTR on UCTION. 
 
 Greece^; and the disingenuous part which he plays towards 
 Klytaemnestra is due rather to weakness, which induces him to 
 catch at any expedient for deferring the evil day, than to brutal 
 indifference to aught but the accompHshment of his own schemes. 
 
 Menelaus appears at first in a very unfavourable light. 
 Persons and institutions connected with Sparta usually find in 
 Euripides an unsympathetic exponent. He is overbearing in 
 pressing the advantage which circumstances have given him, 
 and so heedless of all but his private interests as to demand 
 the death of his own niece in order to forward them. His 
 selfishness is however not the egoism of a cold and calculating 
 nature. It arises from his impetuous and hasty temper which 
 does not easily brook opposition from others (cf. 311, 413, 
 519). It is not till his brother breaks down in complete despair 
 that he fully realises the odious part he has been playing ; not 
 till then does the meaning of the sacrifice he requires come 
 home to him (492). This revulsion of feeling on the part of 
 Menelaus is finely conceived. It is surely a false estimate of 
 Euripides' sense of dramatic effect to suppose, as some critics 
 have done, that Menelaus in offering to forego his prospects of 
 success merely airs a cheap generosity, knowing that after 
 the messenger's arrival the doom of Iphigeneia is sealed. 
 
 Achilles' character is that of a high-minded and honourable 
 soldier. Intrigue and finesse are repugnant to his nature, and 
 he is proportionately indignant when he discovers the use which 
 has been made of his name by the crooked policy of Agamemnon 
 (936 ff). In spite of the false position in which he finds himself 
 his chivalrous feeling leads him to espouse at once Klytaemnes- 
 tra's cause. It is no more, he declares, than his own honour 
 demands (961). His greatest dread is a 'scene,' and he is 
 anxious that nothing should be left untried to avoid it (tW to 
 Trpayii exj) KaXas 1009), but when all fails he is ready to take his 
 life in his hand to protect the defenceless. 
 
 The maternal solicitude of Klytaemnestra and the anxiety she 
 displays for her daughter's welfare enhance the pathos of Iphi- 
 
 ^ Cf. esp. 1012, 1258 ff. 
 
INTROD UCTION. xiii 
 
 geneia's fate, and suggest at the same time a striking contrast 
 with the conduct of Agamemnon. But withal she leaves upon 
 us the impression that, when other passions than a mother's 
 tenderness assert their sway, the Klytaemnestra of the Agcwicm- 
 non will not be far to seek. Force and determination mark her 
 uncompromising refusal to return to Argos at Agamemnon's 
 request, and leave him to manage the wedding ceremony; 
 whilst allusion has been made above (see p. ix n. (2)) to the 
 foreshadowing of her vengeance for Iphigeneia's death. 
 
 The character of Iphigeneia herself exhibits the hand of a 
 master. The poet has conceived the effect of a terrible and 
 unexpected demand made upon the fortitude of a pure and noble 
 girl, whose affections and feeling of duty give her strength in the 
 end to taste unfalteringly the bitterness of death at a moment 
 when life is sweetest. With supreme art he secures our sym- 
 pathy by frankly showing us the human weakness which only 
 human heroism can successfully overcome. Like the Antigone 
 of Sophokles, Iphigeneia displays no indifference to death : her 
 courage is not the outcome of insensibility to the horrors of her 
 doom. When first she hears of what awaits her, the emotion 
 she feels is that of agonised terror at her untimely fate (m?? m' 
 anoXearjs acopov). She pleads that life is sweet (ijbv yap to (^co? 
 Xfiicradv), and shrinks in horror from beholding the dread 
 things of the underworld (12 19). With a cry of despair like 
 one drowning in deep waters she ends her piteous appeal : life 
 on any terms is better than the noblest death (1252). 
 
 But her father can give no hope of escape. A necessity too 
 strong to resist is laid upon him {tovto yap npa^ai ^e 5ft), and 
 the word of the gods none shall withstand. Then in a lyric cry 
 of passionate intensity Iphigeneia makes her moan for the cruel 
 destiny that visits upon her the sin of others. Priam's exposure 
 of his infant son, Paris and the judgment of the goddesses, the 
 flight of Helen, and the gathering at Aulis of the avenging host : 
 thus, link by link, is forged the adamantine chain of fate that 
 holds at last the innocent girl in bonds that death alone can 
 loose. Throughout the play is suggested the idea of an inexor- 
 able fate bringing upon the guiltless punishment for the wrong 
 
xiv INTRODUCTION. 
 
 doing of others^ Behind the perplexities of the hour, behind 
 the human actors with their hopes and fears, their devices and 
 ambitions, stands ever the shrouded form of Necessity guiding 
 all things to their appointed end, and exacting for sin a late but 
 certain expiation. Of this idea the culminating expression is 
 reached in the monody of Iphigeneia (1279 — 1335). The crisis 
 of the play now approaches : the army clamour for her death, 
 Achilles is ready to resist them with the sword. But Iphigeneia 
 has had time to conquer her first terror, and reflect calmly on 
 the situation. Her words fall with quietness and decision on 
 the excited hearing of her listeners. The eyes of Hellas are 
 upon her : the opportunity offers of saving her country and 
 winning deathless renown. When the goddess bids, when vie- 
 tory is in the balance, and national honour at stake, it is a 
 craven spirit that still clings to life. She surrenders herself a 
 willing victim. 
 
 '£5 
 
 ...once again she raised her voice, 
 "O father! if the ships are now detain'd, 
 and all your vows move not the gods above, 
 when the knife strikes me there will be one prayer 
 the less to them: and purer can there be 
 any, or more fei-vent than a daughter's prayer 
 for her dear father's safety and success?" 
 A groan that shook him shook not his resolve. 
 An aged man now enter'd, and without 
 one word stept slowly on, and took the wrist 
 of the pale maiden. She lookt up and saw 
 the fillet of the priest and calm cold eyes. 
 Then turn'd she where her parent stood, and cried 
 "O father! grieve no more, the ships can sail." 
 
 Landor Iphigeneia Hellen. xi. 
 1 See vv. 467, 680, 793, 1235, 1253. 
 
INTRODUCTION. j:v 
 
 III. 
 
 craTiciSMS on EURIPIDES' ipiiigexeia. 
 
 It is worth while to observe before we take leave of the 
 subject that fault was found in ancient times with the character 
 of Iphigeneia as conceived by Euripides. In the Poetics 
 of Aristotle (xv p. 1454* 31) we meet with a remark that, 
 as here depicted, the character offends against the canon of 
 consistency {to o\i.aK6v)\ "for," continues Aristotle, 'Mphige- 
 neia pleading for her life bears no resemblance {ovh\v eoiKev) to 
 Iphigeneia as she afterwards appears. ' To understand the bear- 
 ing of this criticism we must glance for a moment at the con- 
 text in which it occurs. Consistency having been mentioned as 
 one of the cardinal principles connected with character-drawing, 
 Aristotle adds that if the poet has occasion to represent incon- 
 sistency, the character must be cojisistently inconsistent {ofiaXws 
 avoofiakov, 27). He does not then condemn inconsistency as such, 
 but only when inartistically handled ; just as, in the same 
 chapter, having laid especial stress on goodness of character^, he 
 proceeds to censure the character of Menelaus in the Orestes 
 not as being bad, but as being tinnecessarily bad-. In the same 
 way with regard to Iphigeneia, since change of attitude is not 
 (as we have seen) to be considered in itself a fault, Aristotle 
 means that the defect lies in the abruptness with which the 
 change is executed. The criticism therefore which he makes is 
 less sweeping and, it may be fairly added, less removed from ap- 
 preciation of poetic excellence, than would at first sight appear. 
 Whether we agree with Aristotle, or not, it is plain that there 
 is a great difference between blaming the transition through 
 which Iphigeneia is made to pass, and maintaining that the 
 
 ^ The difference of reading which the MSS. here exhibit does not 
 affect the present argument. 
 
X vi INTR OD UCTION. 
 
 motives for it are not adequately suggested. The question can 
 only be satisfactorily decided for each individual after a careful 
 and unprejudiced reading of the play as a whole. Still, when all 
 objections have been allowed their weight, the opinion of the 
 critic can hardly be otherwise than favourable to Euripides, in 
 an attempt where not to greatly succeed must be to greatly 
 fail. Of modern judgments which have been passed upon this 
 interesting point we will quote only, in conclusion, that expressed 
 by Schiller 1, in whom the insight of a poet was combined with 
 a keen sense of dramatic fitness. He says: — "a faithful and 
 "charming portrait of nature is presented by this union of 
 "weakness and strength, of fearfulness and heroic courage. 
 "The passage from the one mood to its opposite, led up 
 "to by natural steps, is effected without undue abruptness." 
 
 IV. 
 
 TREATMENT IN ART. 
 
 A few words may be added on the treatment in ancient art 
 of the episode of the sacrifice of Iphigeneia. A situation so 
 strikingly suited to call forth the highest powers of the artist 
 was not likely, among the Greeks, to be wholly resigned for its 
 illustration to the province of literature, and we hear of a cele- 
 brated picture with this subject which was painted by Timanthes 
 of Sikyon {circ. 400 B.C.). Of the composition of his picture we 
 know something from allusions found in ancient writers, and we 
 shall presently have occasion to consider more particularly 
 certain points connected with it. 
 
 It will be convenient however to notice first three other 
 representations of the scene. We have in the first place (i) an 
 antique painted vase (Rochette Mon. ined. d'Aiitiqidte pi. xxvi 
 b), on which the sacrifice is represented. The painting consists 
 
 ^ In a note appended to his translation of the play. 
 
INTRODUCTION. xvli 
 
 of a group of six figures. The demeanour of Iphigcneia is calm 
 and resigned. Partly visible behind her is a hind, in such a 
 position that it must receive the blow of the sacrificial knife 
 which Kalchas raises. 
 
 Secondly (il) the marble altar of Kleomenes (Baumeister 
 Denkni. des klass. A I tertians Abb. 806) at Florence : where, on 
 a relief which encircles the stone, Kalchas is seen approaching 
 Iphigeneia, whom Achilles is leading to her doom, in order to 
 begin the ceremonial of sacrifice. Agamemnon stands by the 
 altar overwhelmed by grief, holding his robe so as to conceal his 
 features^. Iphigeneia stands erect and firm, prepared to meet 
 her fate with dignity and resignation- (avec une fermete noble 
 et tranauille. Roch.). 
 
 Thirdly (ill) a mural painting at Pompeii (Baum. Abb. 807), 
 in which Agamemnon is standing by a pillar on which is an 
 antique figure of Artemis carrying a torch in each hand. [The 
 goddess here appears in her character of "Apre/ii? aixcpinvpos, vide 
 Note C] Plis attitude is similar to that in (il), and, veiled by 
 his robe, he is holding his hand before his eyes. Iphigeneia, 
 clothed in a yellow robe (kpokcotus), is being raised from the 
 ground and carried to the altar in an attitude of piteous and 
 despairing supplication. 
 
 Fuller details of these works of art will be found in the 
 authorities mentioned. The descriptions just given are con- 
 cerned mainly with two points — the figure of Agamemnon and 
 the demeanour of Iphigeneia. The veiled figure of the father 
 was a feature in the picture of Timanthes, as we learn from 
 several sources. It was the opinion of ancient critics that the 
 artist's reason for concealing Agamemnon's face was that he had 
 
 ^ Cf. ifi/f. 1550 d/jL/uLaTuv -rriirXov irpodeis. But the picture of 
 Timanthes, from which the attitude of Agamemnon here and in (ill) 
 seems to have been copied, was probably painted before the appearance 
 of Euripides' play. 
 
 " Overbeck Gricch. Plastik ii p. 379 thinks it not improbable that 
 the figure of Iphigeneia on this relief is also derived, like that of 
 Agamemnon, from the picture of Timanthes. 
 
xviii INTR OD UCTION. 
 
 already expended upon the rest of the group his utmost power 
 of expressing grief; or, that he thought it impossible to paint 
 the agony of a father upon such an occasion : cf. Cicero Or. xxii 
 (74) pictor ille vidit cum immolanda Iphigeneia tristis Calchas 
 esset, maestior Ulixes, maereret Menelaus, obvolvendum caput 
 Agamemnonis esse qiioiiiani sinnminn illiini luctuni penicillo 7toji 
 potest imitari. But a loftier motive, based on a truer recognition 
 of the essential nature of art, was assigned by Lessing* for this 
 concealment. Timanthes felt that to depict the countenance of 
 Agamemnon convulsed with the terrible anguish which at such 
 a moment must have racked a father's soul, would be to excite 
 in all who looked upon it a feeling of repulsion at the distorted 
 features, that must inevitably weaken their sympathy with the 
 king's distress. " In short," he says, " the artist here has made 
 "a sacrifice to beauty; and it is an instance not how expression 
 "may exceed the capacity of art, but how it should be subjected 
 " to art's first law, beauty." 
 
 In the bearing of Iphigeneia herself a distinct difference will 
 already have been observed, which corresponds to a remarkable 
 variation in the literary treatment of her demeanour at the 
 supreme and terrible moment. 
 
 In (ill) we have before us the scene described with such 
 splendid pathos by Aeschylus, Ag. 226 ff., where the attendants 
 are bid to raise aloft above the altar the drooping maiden, her 
 fair mouth stopped with gags, whilst her robe of saffron dipping 
 flows from her to the ground^, and her sad eyes move the slayers 
 to compassion. This is the victim whom Lucretius has described, 
 i 85 ff., speechless with fear, and sinking with failing limbs to 
 the earth, as she is led all quaking to the altar. Of another 
 mould is the Iphigeneia who stands before us in the two 
 remaining scenes (l, ll). We recognize the character as 
 conceived in this play by Euripides. The struggle is over : the 
 terror of death subdued by noble resolve : and Iphigeneia goes 
 with unshrinking step to lay down her life for Hellas. 
 
 ^ Laokoon ch. ii. 
 
INTR OD UCTION. xix 
 
 V. 
 
 EXNIUS. SCHILLER. RACINE. 
 
 Versions and imitations of the Iphigeneia at Aidis have been 
 attempted by different hands at various intervals since Euripides 
 gave it to the world. We propose to notice here the work of 
 three famous poets only, one of ancient, and two of modern 
 times. The play was translated by the Roman poet Ennius, 
 a few lines (some 25 in all) of whose Iphigatia are still extant. 
 We are able to infer from what survives that Ennius dealt with 
 his original in the free style ^ which he elsewhere displays in 
 adapting Greek tragedies to his own purpose. One or two 
 fragments of his translation are quoted in the notes ; see Index. 
 Coming to modern times, we have a version made by Schiller 
 in 1788. Schiller's iphigoiie^ undertaken, according to his own 
 account, as an exercise in dramatic writing, by which he hoped 
 at the same time to enter into the Greek spirit, is an admirable 
 piece of work. In the choric parts especially, he is highly 
 successful in rendering the movement and rhythm of the original. 
 The translation ends with the final exit of Iphigeneia (1. 1509}. 
 
 There remains the celebrated Iphigenie a Aidide of Racine. 
 This play, which appeared in 1675, was received by the public 
 with great favour. Voltaire praised it enthusiastically as "the 
 tragedy of tragedies," "a thing of beauty for all ages and all 
 peoples." Racine's plot differs from that of Euripides in several 
 important respects. He introduces into the piece another 
 Iphigeneia (daughter of Theseus and Helen) who appears as 
 Eriphile (Eriphyle) a captive of Achilles, and is in the end 
 sacrificed instead of the daughter of Agamemnon. Eriphile 
 is in love with Achilles, and jealous of Iphigeneia, her rival in 
 his affections. Hence when the latter attempts to escape from 
 her doom, Eriphile prevents her by disclosing the purposed 
 flight to Kalchas. Iphigeneia is led to the altar, where Achilles 
 
 ' See 1. 164 n. (end). 
 
XX INTR OD UCTION, 
 
 comes forward as her champion, and a conflict is imminent, 
 when Kalchas declares that Eriphile herself is the victim de- 
 manded by the gods. 
 
 Un autre sang d'llelene, une autre Iphigenie, 
 
 sur ce bord immolee y doit laisser sa vie. 
 
 Ainsi parle Calchas. Tout le camp immobile 
 
 I'ecoute avec frayeur et regarde £riphile^. (Act V so. 6.) 
 
 An obvious criticism is suggested by this interweaving of 
 love-intrigues with the plot. In order to secure the approbation 
 of his audience Racine, no doubt, was obliged to bring in some- 
 thing of the kind. Still, in spite of the opinion of a French 
 critic that by means of Eriphile occasion is given for "beautiful 
 developments in Iphigeneia's character," we cannot but feel 
 that the importation into the region of classic drama of ideas so 
 thoroughly modern is unfortunate. Again, as compared with 
 the Agamemnon whom Euripides has portrayed, Racine's 
 conception of the king involves a sacrifice of dramatic effect. 
 Odysseus (to whom Racine assigns the part of Menelaus) 
 induces Agamemnon to consent to the sacrifice by working on 
 his ambition ; and to this motive Agamemnon himself con- 
 fesses frankly, though with a touch of shame (avec quelque 
 pudeur), that his yielding is due. As to the character of 
 Iphigenie herself, it wall be evident from what has been already 
 said of the play that it diverges considerably from that of the 
 Greek heroine, nor would a comparison brief enough to be in 
 place here be a fair treatment of the more elaborate study of 
 the French poet. It is enough to say that here at any rate 
 Euripides has no cause to fear the rivalry of his modern 
 competitor. 
 
 1 The introduction of this character {V hew'eux personnage d^ Eriphile) 
 Racine, in his preface, says was suggested by Pausanias; who speaks 
 (ii 2 2, 7 ff.) of a daughter born to Helen before her marriage with 
 Menelaus, and mentions the lyric poet Stesichorus [c. 6oo B.C.) according 
 to whom and others Iphigeneia is daughter of Theseus. 
 
INTR on UCTION. xxi 
 
 VI. 
 
 DATE OF THE PLAY. 
 
 A few years before the end of his hfe Euripides quitted 
 Athens. Whether the relentless satire of Aristophanes and 
 domestic troubles of his own were immediately connected with 
 this step, is not known for certain ; possibly one or both of 
 these reasons may have contributed to the poet's final decision 
 to bid farewell to his native country. Not long afterwards he 
 went by invitation of Archelaus to reside at the Macedonian 
 court ; and it was there he composed this play. The exact 
 year of its representation is unknown. We are informed^ that 
 it was brought out at Athens by the younger Euripides, son (or, 
 according to another account, nephew) of the poet, after the 
 death (B.C. 406) of Euripides himself. With it were produced 
 the Bacchae and the Alkmeo7t iti Corinth^ and it was in all 
 probability to this trilogy that the prize was given which Suidas 
 mentions as having been awarded to Euripides after his death. 
 
 VI I. 
 
 MANUSCRIPTS, ETC. 
 
 The authorities on which depend the text of the Iphigcneia 
 at Aiilis are two mss. of the second family, both without scholia : 
 (i) cod. Laurcntiatius plut. n. 32, 2 in the Lauren tian library at 
 Florence, written on paper in the xivth century (sometimes 
 known as L), referred to as C. 
 
 (2) cod. Palatinus n. 287 in the Vatican library at Rome, 
 written on parchment also in the xivth century (Kirchhoff's B)^ 
 referred to as P. 
 
 Both these mss. in the opinion of Wilamowitz-Mollcndorff 
 {anal. Euripidea p. 3 (Sec.) are copies from the same archetype, 
 
 ^ Schol. ad Ar. Ran. 67 in Bekker's Aristotle p. 1573 (584). 
 
xxii INTR OD UCTION. 
 
 a ms. (*) which was in existence, he supposes, about 1300 in a 
 Byzantine library. Of C there are 5 copies dating from the 
 xvth century, which were used by Kirchhofif (see his preface 
 p. x) in ascertaining the readings of C for his edition of 1855 ; 
 since the ms, itself had then been collated only by de Furia, 
 who undertook the task for Matthiae's Leipzig edition, but 
 executed it in a very untrustworthy manner {ut solebaf, neglegeii- 
 tissime. Kirchh.) The new collation of both mss. which was 
 published in 1875 ^X Wilamowitz /. c. shows C to be a better 
 ms. than was formerly supposed ; as the readings which the above 
 mentioned copies exhibit as those of C prove in many cases to 
 be due to a later corrector (c), who allowed himself an extremely 
 free hand in his alterations. The play was first printed in the 
 Aldine edition of Euripides (containing all the plays except the 
 Elektrd) published in February 1503 at Venice. 
 
 VIII. 
 
 STRUCTURE OF THE PLAY. 
 
 The following division of the play into acts and scenes, in 
 which I follow Arnoldt^, presents a summary view of the part in 
 the dramatic action assigned to the different characters. 
 
 Prologos, in one scene (i — 163), Agamemnon and Slave. 
 
 Parodos (164 — 302). 
 
 Epeisodion I, in 4 scenes (303 — 54'2): — 
 
 Scene i (303 — 316) Menelaus and Slave. 
 
 Scene % {^i"^ — 414) Menelaus and Agamemnon. (During their 
 colloquy the Slave retires to reappear (414) in the character 
 of Messenger.) 
 
 Scene 3 (414 — 441) Agamemnon and Messenger. (Menelaus re- 
 mains on the stage as a vutta pei'sona.) 
 
 Scene 4 (442 — 542) Agamemnon and Menelaus. 
 
 ^ Die chorische Technik des Euripides p. 25 f. 
 
INTRODUCTION, xxiii 
 
 Stasimon I (543— 6oj). 
 
 Epeisodion II, in 3 scenes (607 — 750) : — 
 
 Scene i (607 — 630) Klytaeaiincstra. (Iphigeneia is present as a 
 
 miita persona.) 
 Scene 2 (631 — 685) Klytaemnestra, Iphigeneia, Agamemnon. 
 Scefie 3 (685 — 750) Klytaemnestra and Agamemnon. 
 
 Stasimon II (751— Soo). 
 
 Epeisodion III, in 4 scenes (801 — 1035) :^ 
 
 Scene i (801—818) Achilles. 
 Scetie 2 (819 — 854) Achilles and Klytaemnestra. 
 Scene 3 (855 — 895) Achilles, Klytaemnestra, Servant. 
 Scenes (S96 — 1035) Achilles, Klytaemnestra. 
 
 Stasimon III (1036 — 1097). 
 
 ExoDOS, in 10 scenes (1098 — end) : — 
 
 Scene i {109S — 1105) Klytaemnestra. 
 
 Scene 2 (i 106 — 1119) Klytaemnestra and Agamemnon. 
 
 Scene ^ (1120 — 1275) Klytaemnestra, Agamemnon, Iphigeneia. 
 
 (Orestes is also present (cf. 1165, 145 1) on the stage.) 
 Scene 4 (1276 — 1344) Klytaemnestra and Iphigeneia. 
 Scene 5 (1345 — 1433) Klytaemnestra, Iphigeneia, Achilles. 
 Sce^ie 6 (1434 — 14^7) Klytaemnestra and Iphigeneia. 
 Scene 7 (1467 — 1509) Iphigeneia. 
 Sce^te 8 (1510 — 1531) a short ode sung by the chorus^ as Iphigeneia 
 
 goes to her doom. 
 Sccfie 9 (1532 — 1620) Messenger and Klytaemnestra. 
 Scene 10 (1624 — 1629) Agamemnon. (Klytaemnestra and Orestes 
 
 (cf. 1623) present as inutae personae.) 
 
 ^ Arnoldt ib. p. 296 f. argues on technical grounds against the 
 genuineness of this ode. 
 
CHRONOLOGICAL TABLE. 
 
 Ol. B.C. 
 
 Art and Literature. 
 
 Political Events. 
 
 73. 4 485 
 
 74, I 
 
 484 
 
 74> 2 
 
 483 
 
 75> I 
 
 480 
 
 75. I 479 
 
 75' 2 479 
 
 76. I 476 
 
 77. I 472 
 
 77. 2 471 
 
 78, I 468 
 
 Aeschylus (b. 525) gains his 
 
 first dramatic victory. 
 Herodotus born. 
 
 Birth of Euripides (on the 
 day, it is said, of the battle 
 of Salamis — the 20th of 
 Boedromion). 
 
 Pindar circ. 40 years old. 
 
 (About this time Gorgias, the 
 rhetorician, born. Prodikus, 
 of whom Euripides was a 
 pupil, was a few years junior 
 to Gorgias). 
 
 Anaxagoras goes to Athens. 
 
 Phrynichus wins the prize for 
 
 tragedy. 
 Aeschylus' Il^po-at. 
 Birth of Thukydides (?). 
 Sophokles (b. circ. 496) wins 
 
 his first tragic prize. 
 Death of Simonides of Keos, 
 
 the lyric poet (b. 556). 
 Birth of Sokrates. 
 
 Aristeides ostracised. 
 
 Battles of Thermopylae and 
 
 Salamis. 
 Gelon defeats the Karthagi- 
 
 nians at Himera. 
 
 Battles of Plataeae and My- 
 
 kale. 
 Siege and capture of Sestos. 
 
 Banishment of Themistokles. 
 Perikles' influence begins to 
 make itself felt. 
 
CHRONOLOGICAL TABLE. 
 
 XXV 
 
 Ol. 
 
 B.C. 
 
 Art and Literature. 
 
 Political Events. 
 
 78, 3 466 Korax begins to teach rhetoric 
 at Syracuse. 
 
 80, 3 458 
 
 81, I 456 
 81, 2 455 
 
 Aeschylus' 'Opeareia, 
 
 Death of Aeschylus. 
 
 Euripides produces his first 
 play, UeXiades. 
 
 About this time Protagoras 
 (b. ct'rc. 485) begins to visit 
 the towns of Greece, teach- 
 ing and giving lectures. 
 
 8j» 3 454 
 
 82,-2 451 Ion of Chios begins to exhibit 
 
 tragedies. 
 82, 3 450 Anaxagoras leaves Athens. 
 
 82,4 449 Krates and Kratinus, the comic 
 poets, _/f(?r. 
 
 83> 2 447 
 83* 4 445 
 
 The sculptors Pheidias of 
 Athens (b. circ. 500) and 
 Polykleitus of Sikyon. 
 
 84, 4 441 
 
 Euripides gains the first prize 
 
 in tragedy. 
 About this time Andokides 
 bom. 
 85, I 440 
 85, 3 438 EuRIPIDES"'AX/c7;(Ttis. 
 
 Completion of the Parthenon. 
 
 H. I. 
 
 Victory of Kimon over the 
 Persians at the Eurymedon. 
 
 Power of the Areiopagus cur- 
 tailed by the attacks ol 
 Periklcs and Ephialtcs. 
 
 Enterprise of Perikles in the 
 Krissaean Gulf. 
 
 Five years truce between A- 
 
 thens and Sparta. 
 Athenians renew the war with 
 
 Persia and win a victory by 
 
 land and sea at Salamis in 
 
 Kyprus. 
 Treaty of Kallias with Persia. 
 Athenians defeated by the 
 
 Boeotians at Koroneia. 
 Euboea and Megara revolt 
 
 from Athenian alliance. 
 Thirty Years Peace between 
 
 Athens and Sparta. 
 
 Revolt of Samos. 
 
XXVI 
 
 
 LUK UlMUl. ULrl^Al. 
 
 Ol. 
 
 B.C. 
 
 Art and Literature. 
 
 85,4 
 
 4.37 
 
 
 86, 2 
 
 435 
 
 Polygnotus, the painter, y?(7?'. 
 
 87, I 
 
 4.32 
 
 Anaxagoras prosecuted for 
 impiety. He retires to 
 Lampsakus. 
 
 Death of Pheidias. 
 
 87,2 
 
 431 
 
 Euripides' M-)75eta. 
 Perikles' funeral oration over 
 
 those who fell in the first 
 
 year of the war. 
 
 87» 3 430 
 
 87, 4 429 
 
 88, I 428 
 88, 2 427 
 88, 3 426 
 
 88, 4 4^5 
 
 Birth of Plato. 
 
 Eupolis, the comic poet, begins 
 
 to exhibit. 
 Euripides' 'IttttoXutos. 
 
 Aristophanes' AatraX^s. 
 
 Gorgias at Athens as Ambas- 
 sador from Leontini. 
 
 Aristophanes' Ba/SvXwi'tot, in 
 which he begins his attack 
 on Kleon. 
 
 Zeuxis, the painter, 7?(3r. 
 
 Aristophanes' 'Axapj'^s* 
 
 Political Events. 
 
 Amphipolis founded by the 
 Athenians. 
 
 Outbreak of war between 
 Corinth and Kerkyra on 
 account of Epidamnus. 
 
 Potidaea revolts and is block- 
 aded. 
 
 Outbreak of Peloponnesian 
 
 War. 
 Peloponnesians invade Attica. 
 
 Plague at Athens. 
 
 Perikles loses the popular 
 
 favour and is fined, but is 
 
 re-elected strategus. 
 Fall of Potidaea. 
 Death of Perikles. 
 
 All Lesbos except Methymna 
 
 revolts. 
 Mytilene blockaded. 
 Fall of Mytilene. 
 Plataeae taken and destroyed 
 
 by the Peloponnesians. 
 
 Demosthenes at Pylos. 420 
 Spartan hoplites including 
 a number of distinguished 
 Spartiates blockaded in 
 Sphakteria. Kleon takes the 
 island and carries the sur- 
 viving Spartans as prisoners 
 to Athens. 
 
CHRONOLOGICAL TABLE, 
 
 XXVll 
 
 OL. B.C. 
 
 Art and Literature. 
 
 Political Events. 
 
 89, I 424 Aristophanes' 'Itttt^s. 
 
 89, 2 423 
 
 89, I 422 
 
 89, 4 421 
 
 90, I 420 
 
 Aristophanes' Ne0e'Xat (first 
 
 edition). 
 Aristophanes' S^^/ces. 
 
 Aristophanes' YApr\vt]. 
 Euripides' 'I/ce'nSes. 
 
 90, 3 418 
 90, 4 417 
 
 91,1 416 Agathon, the tragic poet, 7?^r. 
 
 91, 2 415 Euripides' TpwaSes. 
 
 91, 3 414 Aristophanes' "OpvtOes. 
 
 91. 4 413 
 
 92, I 412 
 
 Euripides' 'EX^urj, 'Avdpo- 
 
 fiida. 
 
 Athenian defeat at Delium. 
 
 Brasidas brings about the re- 
 volt of Amphipolis and other 
 towns in Chalkidike. 
 
 Kleon and Brasidas killed at 
 Amphipolis. 
 
 Peace of Nikias. 
 
 Alliance between Sparta and 
 Thebes. 
 
 Alkibiades negotiates a counter 
 alliance between Athens, 
 Argos, Elis, and Mantineia. 
 
 Spartan victory at Mantineia. 
 
 Hyperbolus ostracised — the 
 last exercise of ostracism. 
 
 Envoys from Egesta ask help 
 from Athens against Selinus 
 and Syracuse. 
 
 Mutilation of the Hermae. 
 
 Sicilian expedition under Ni- 
 kias Lamachus and Alkibi- 
 ades. 
 
 Alkibiades recalled. 
 
 Gylippus enters Syracuse and 
 captures the fort of Lab- 
 dalon. 
 
 Nikias sends for reinforcements 
 to Athens. 
 
 Destruction of Athenian force 
 in Sicily. 
 
 Death of Nikias and Demo- 
 sthenes. 
 
 Athenian fleet at Samos. 
 
 1 — 2 
 
XXVIU 
 
 CHRONOLOGICAL TABLE. 
 
 Ol. 
 
 B.C. 
 
 Art and Literature. 
 
 Political Events. 
 
 92, 2 41 1 Aristophanes' AvaLarpdrT], 
 Qea/xo(popi.dlovcraL. 
 
 92, 3 
 
 410 
 
 
 92, 4 
 
 409 
 
 Sophokles' ^iKoKTTjTrjs. 
 
 93. I 
 
 408 
 
 Euripides' 'Op^aTrjs. 
 
 93. 2 
 
 407 
 
 Euripides' 'I<piyiv€ia i} ev 
 AvXidi probably written 
 during this year. 
 
 93> 3 406 Death of Euripides at Pella. 
 Death of Sophokles. 
 
 Oligarchic council of 400 es- 
 tablished at Athens. 
 
 Alkibiades recalled by the 
 fleet. 
 
 Overthrow of the 400. 
 
 Victory of the Athenians under 
 Alkibiades at Kyzikus. 
 
 Alkibiades chosen aTparriyhs 
 
 aVTOKpOLTCOp. 
 
 Lysander defeats the Athenian j 
 fleet at Notium in the ab- 
 sence of Alkibiades, who is 
 thereupon superseded in his 
 command by Konon. 
 
 Athenian naval victory at Ar- 
 ginusae: death of the Spartan 
 admiral Kallikratidas. 
 
 I 
 
|(t)irENEIA H EN AYAIAI. 
 
Ta Tov SpdfjLaTo<; TrpocrcoTra' 
 
 XIpco-pvTTjs. 
 
 Xopos. 
 
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EYPiniAOY 
 l0irENEIA H EN AYAIAI. 
 
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4- 
 
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l4)|rENEIA H EN AYAIAI 5 
 
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 Kafie aTpaTTjyelv Trdpra, yiei/eXeco ^^'piv, 
 
6 EYPiniAOY 
 
 elXovrOf crv'yyovov ye. rd^lo)/jLa Se 85 
 
 aXX.09 Tt? w^eV dvT ifjLov Xa^elv roBe. 
 7]6poL(T/jLevov Se Kal ^vv6aT(t)To<i arparov, ^ 
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|cJ)|rENEIA H EN AYAIAI 7 
 
 avvrova tol<^ aoL<; ypd/jUfMacnv avoa). ii8 
 
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 TIT. Setvd lye To\/jLa<;, ^ Aydfjue/jLvov ara^, 
 
 09 Tco T179 Oea<; crrjv iralh d\o-)(ov 
 
 (f)aTL(Ta<^ rjy€<; a(f)dyiov A.avaoL<;. 135 
 
 AFA. ol'fioi, yva)/jia<; i^eaTo y, 
 
 alal, ttItttco 5 et? drav. 
 
 aW Lu epeaacop aov Trooa, yyipa 
 (^fiTjSev vTreiKcov. HP. airevSco, ^acrCkev. 140 
 
 AFA. fiT] vvv pbTjr dXa(joBei<; i^ov 
 
 Kpyjva^, fjL7]6' vTTVcp deX^Orji^. 
 nP. €V(f)r)fia 6 poetry "^-^^ 
 
 AFA. Trdvrrj Se iropov a')(^taT6v d/iel/Scov 
 
 Xevaae, ^vXdacrwv /x?; rt? ae XdOy 145 
 
 rpo^aXolcTLV 6-)(0L^ TrapafMet^jrafxeprj 
 
 iralha KOf/tl^ova iv6dB^ aTrrjpr] 
 
8 EYPiniAOY 
 
 Aavacop TT/Do? vav<;. 
 nP. earai. AFA. KXrjOpwv 8' e^op/xrocraL'; 
 
 rjv VLV 7rofjL7ral<i dvrr]crr)<;, 150 
 
 TTokiv i^opfia, crele ')(aXivov^, 
 
 nP. TTLdTO'^ he ^pd(Ta<; rdSe ttoo^; eaofxat, 
 
 Xeye, iraihl creOev rfj ay r ako-^w ; 
 AFA, crcfypaylSa (^vkaacr rjv iirl BeXrco 155 
 
 TTjvhe fco/jLL^ei^;. Wi. XevKaivet 
 
 Tohe (^ft)9 ijhr] XdfjbTTOVcr 'Jjco^ 
 
 TTup T6 reOpiTTirwv rcov 'AeX/ou' 
 
 avWa/Se fji6')(^9(ov. 160 
 
 OvrjToov S' oXpLo^ eh Te\o<; ovSel<i 
 
 ovS' evhalfX(ov' 
 
 OVTTCO yap ecpv tl^ aXuTTO?. 
 
 I 
 
 3 
 
 XO. e/jLoXov a/jL(f>v irapaKTiav crp 
 
 y^afiaOov Av\iBo<; eva\ia<^f 16 
 
 EuptTTOf hid ')(ev jjbdrwv / 
 
 Ke\craaa, CTTevoiropO fiov 
 HaXKiSa ttoXlv ifidv irpoX.tirovcr, 
 ay^LaXcov vBdrcov rpoc^ov 
 rd^ K\eivd<^ 'ApeOovaa^;, 170 
 
 A^atwj/ arpandv co? KartSoL/Jiav 
 
 A'^atcov re irXdra^i vavcrLiropov^ 
 rjiJbiUewv, ov<; eiri Ipoi- 
 av ekdrat's ')(^iKL6vav(Tiv 
 
 Tov ^avOov ^leveXaov 175 
 
 dfieTepoi, 7r6aeL<i ' 
 ivETTOva- Aya/jLefivovd r evTrarplBav 
 areWetv iirl rdv 'KXivav, dir 
 
I^IFENEIA H EN AYAIAI 9 
 
 ^vpcora Soi>aKorp6(f)ou 
 
 IldpL<; 6 I3ovk6\o<; av eXa/Se, iSo 
 
 Bwpov Ta? 'A^poS/ra?, 
 or eTnrKprjvctLaLaL Sp6aoi<i 
 iripa HaXKaSc r epiv epiv 
 liop(^(i^ a Kv7rpL<; e(T)^6y. 
 
 iToXvBvTOV Zk Si* a\cro<; 'Ap- avT. 185 
 
 t€/jLiSo^ ij\v0ov opofiiva, 
 
 (poivtacToucra TrapfjS' i/xav 
 
 aia')(yva veoOaXel, 
 
 daTriho<i epvfxa kol fcXicria^ 
 
 oifXo^opov^ Aavacou OeXoucr 190 
 
 KarelZov Se hv Wavre auvedpco 
 
 Tov OiXeoL)? TeXa/xrvpo^; re yovov, 
 
 ra? ^aXa/jLLi^o<i aT6(f)avov, 
 
 Tip COT ecriXaou r iir\ daKoi<; 195 
 
 Trecrawv "qho^evov^ H'Op- 
 
 (palai TToXvTrXoKot^;, 
 
 TlaXa/jLyjEed 6\ ov t6K€ Trat? o HocrsL- 
 
 Bdvo<i, ^LOfir'ihed 6 7780- 
 
 vaL<; Blctkov /ce^^^aprjfievoi^, 200 
 
 Trapd Be yirjpcovrjv, "Apeo? 
 
 o^ov, OavfjLa ^'poroLcn, 
 
 TOV dirb vrjaaiwv r operov 
 
 AaepTa tokov, dp,a Be Nt- 
 
 pr], KaXXiaTOV 'A^^atcov* fl05 
 
 TOV ladve^ov t€ ttoBolv tVwS. 
 
 XaLyjrrjpoBpo/jLov W-^iXyja, 
 
 / 
 
lO • EYPiniAOY 
 
 70V d ©exi? Te/ce /cat 
 
 ^elpcov i^eirovaaev, 
 
 euhov alyLaXoLcTL ixo 
 
 irapd re KpoKaXaL<^ Spofiov e^ovra crvv oir\oi<i' 
 
 a/jLiX\av 8' iiTovei iroholv 
 
 TT/oo? apfia rerpcopov 
 
 kXiaacDV ire pi vUa^;. 215 
 
 o Se SL(f)p7]XdTa<^ i^odr 
 
 FjVfjL7]Xo(i ^€p7jTtdSa<;, 
 
 ft) KaXXL(TTOv<; ISofiav 
 
 '^pvcroSaiSaXrov'^ aro/j,LOL<; 
 
 irwXov^ KevTpcp OeLvofievov^, 220 
 
 Toi;? fjLev fiiaov; ^vyLov<i, 
 
 XeVKOCTTLKTCp Tpi')(l ^aXLOV<i, 
 
 T0U9 S' e^co a€Lpo(f)6pov<;, 
 
 dvTrjpet^ Ka/JLTratcn Sp6p.(ov, 
 
 '7rvpa6TpL')^a<;, fxov6')(aXa 8' vtto cr(f)vpd 225 
 
 7roi,KiXoBep/iova<;' ol? TrapeiraXXero 
 
 TiriXeiha<^ avv OTrXoicn Trap" avrvya 
 
 KoX <7vpi'y<ya<; app^areiov^. 230 
 
 / 
 vawv 8' et9 dptOfiov rjXvdov err p. 
 
 Kol 6eav d6ea(f)aTov, 
 rdv yvvaiKeiov o-^lv opbfJLdrwv 
 ft)? 7rX7j(TaL/jbt, fiiXivov dBovdv. 
 fcal Kepa<; fjuev rfv 235 
 
 Be^Lov TrXara? €^(ov 
 ^6i(oTa<^ 6 Mvp/jiiBwv "Ap?^? 
 TrevTTjKovTa vavcrl 6ovpiaL<^. 
 ^/3u<j£at9 8' eiKocTiv Kar aKpa Nt;- 
 pfjhe^ earaaav Oeal, 240 
 
101 TENEIA H EN AYAIAI 
 
 II 
 
 TrpvfMvaL'^ crfjfj,^ W'^iWeiov orparou. 
 
 ^Apyeiwp 3e rala-^' IcrripeTfiot 
 va6<i earaaav 7re\<x?' 
 dv 6 ^l7]KLaTeco<; aTpaT7]\dTa<; 
 TraU rjv, Ta\a6<; op rpecpet iraTi^p* 
 KaTrai^e'ct)? re 7rat9 
 
 e^i'lKOvra vav<i 6 Qijaeo)^ 
 TraU e^fj^ evau\6)(^6L Oeav 
 TlaXkdh' iv fMCOvuxot^ ^X^^ Trrepw- 
 Tolaiv dpfjuacTLv Oerbv 
 evcrrj/jLov re cpda/jLa vav/Sarai^y. 
 
 l^oicoTCov 8* oTrXiafxa Trovria^; 
 TrevrrjKOVTa vrja^ elSo/jLav 
 orj^eioiaLv iaToXiafxeva^' 
 TOi? oe Kao/xo9 tjv 
 ypvaeov hpaKOvr e-^coi^ 
 d/i(f)l vawv Kopv/i/Sa' 
 ArjiTO<^ 8' 6 yT]y€pr}<i 
 opX^ ^cL^ou cnparov' 
 ^coKLBo^i 8' diro ■)(6ouo(;, 
 AoKpd<; Se rutah' Laa<; dycov 
 r)v vav<; OiXe'oj? t6ko<; KXvidv 
 ^povidK eKkLTTwv ttoXlv. 
 
 avT. 
 
 245 
 
 2fO 
 
 arp. 
 255 
 
 260 
 
 Mv/tryi^a? Se Td<^ l^vKkwiria^; 
 TraU 'Arpect)? e7re/X7re vav^dra^ 
 vawv eKarov rjOpolaixevov^. 
 avv 8' "AS/jaaro? r}v 
 
 avT. 26: 
 
k^/VS' 
 
 12 EYPiniAOY 
 
 rd<; (f)vyovo-a<i fieXadpa 270 
 
 /Sap^dpcov 'xapLv ydjxwv 
 
 Trpa^LV 'EX,Xa? w? Xd/3oL 
 
 €K UvXov Se NecTTo/jo? 
 
 TeprjvLov KfLreiSo/jiav 
 
 ir^vy^va^ ^rj/jua ravpoTTOvv opdi/, 275 
 
 Tov irdpoLKov ^A\(f)e6v. 
 
 AiVLavcof 06 ScoBe/cdcTToXoi, eVwS. 
 
 vde^ r)<7av, cov dva^ Vovvev<; 
 
 d.p')(e' rSvSe 5' av 7reA,a9 
 
 ' HXi8o? hvvdaTope<^, 280 
 
 ov<s ^Treiov^ covo/jua^e ird^ Xeo)?' 
 
 ^vpvTo<; 8' avaacre rcovSe' 
 
 X€VK7]peT/jL0P S' "Aprj 
 
 lidcpiov rjyev, wv Mey?;? avaacre 
 
 ^fXeo)? \6')(^ev[xa, 285 
 
 Ta9 'E;;(;t^'<x9 Xittcov, 
 
 vrjaovs vavlBdrat'^ dirpo(T(^6pov<^. 
 
 Aia<; S' o ^aXa/biLVo<i evrpo^os. 
 
 Be^Lov Kepa<^ 7rpd<; to Xaiov ^vvaye, 290 
 
 rcov^ acrcrov copfxeL ifXaTaLaiv 
 
 ia')(^dTaiaL av/jLTrXeKcov 
 
 BcoSe/c evo-Tpocfxordratai, vavaiv' cJ? 
 
 diov /cat vav /Sdr av 
 
 elSofiav Xecov' ) 295 
 
 CO Ti9 61 irpocrdpfioaei 
 
 l3ap/3dpov<i ^dpLha<^, 
 
 voaTov ovK aTroLcreTat, 
 
 €vuao oiov eLoojjLav 
 
|ct)|rENEIA H EN AYAIAI 13 
 
 vdiov/iropevfia, 300 
 
 TCL oh Karr olkov<; Kkvovaa av^i KkrjToj j ^ 
 
 — re -, ' ^^nVovoy 
 
 fivjj/jir]v (Tcpl^ofia^^jrpaT€Vfjiaro<;. 1 
 
 nP. 'MeveXae, To\//a9 SetV, a a ou roXjiav XP^^^- 
 
 ME. ciTTeXde' Xiav oeaTToraicn ttlctto^; €l. 
 
 IIP. KoXov ji fioi tovv6lSo^ i^(ov€i8iaa<;. 305 
 
 ^lE. Kkaioi^ civ, el irpdaaoL^ a [xi) irpcicrcreiv ae hel. 
 
 IIP. 01) XP''!^ ^^ \ucraL SeXroi', i]V iyco 'cpepou. 
 
 ME. ovSi ye (^epeiv ere Trdaiv "^XXrjcnv KaKa. 
 
 nP. dXXoi<; d/jLiXXw ravr' ac^e? 3e Tr;VS' i/xoL. 
 
 ME. ovK dv fieOeiiJuriv. HP. ovK eycoy a^ijaofiaL 310 
 
 ^lE. (TKi]iTTpw Tci^ dpa aov KaOai/xd^co Kapa. 
 
 nP. a\X' evKXee<; roc heairoToov OvfjaKeiv virep. 
 
 ME. /jL6de<;' /laKpoix; Se SovXo<i wv XeyeL<; X6yov<;. 
 
 nP. a> BiaTTOT, dhiKOVfJieaOa. era? 8 iiriaToXa<; 
 
 e^apirdaa^ oS' eic x^poJv ifiwv jSia, 315 
 
 * Ay dp,€fMvov, ovSeu rfj Blkj] ^PW^^^ deXei. 
 
 AFA. ea- 
 
 r/? iroT eV irvXaicrL dopv/So^; kul Xoycov aKoafna ; 
 
 ME. ovfi6<; ovx o Tovhe piv6o<^ KvpLwrepo^^ XeyeLV. 
 
 AFA. av Be TL TcGS' eV eptv dcpl^at, Mez^eXeo)?, /S/a r* 
 
 07649 ; 
 ME. ^Xiyjrov eh rjfJid^, iV dp^d'^ twv Xoycov rai/ra? 
 
 Xd^co. 320 
 
 AFA. /Ltc3^' Tpeaa<^ ov/c dvaKaXvylrco /3Xe(f)apov, Arpecw? 
 
 y€y(jo<^ ; 
 ME. T/ji^S' o/^a? heXrov, KaKLCTCOP ypa/ifiaTcop vttt)- 
 
 pertv ; 
 AFA. eiaopd), Kol Trpcora ravrrju ocvu dirdXXa^ov 
 
 X^pdji"' 
 II. I. 2 
 
14 EYPiniAOY 
 
 ME. oVfirplp ai> Sel^o) ye Aavao2<i iracn Ta<y'yeypaiJLiJjeva* 
 
 AFA. r) jap olaO^ a /jlt] ae Kaipo<; elBevac, crrjiiavrp' 
 
 dvei<; ; 325 
 
 Mhi. cocTTe (T aXyvvau 7 , avoL^a<;, a av kuk eipjaaco 
 
 XaOpa. ^ 
 AFA. TToO he KaXa^e<; vlv ; co 6eo[, afj<; dvaLcrj(vvTOV 
 
 (f)pevo<;. 
 ME. irpoahoKwv crrjv 7ralh\ cltt^ 'A/370U9 el arpdrevfM* 
 
 d^L^eTai. 
 AFA. Tt Se ae rdfia Bet (pvXdacreLV ; ov/c dvaia^vvrov 
 
 ToBe ; 
 ME. ore TO /3ov\ecr6aL fi eKvi^e' (to<^ he BovXo^; ovk 
 e(f)vu. 330 
 
 AFA. ov')(l Seivd; tov ifidv oiKetv oIkov ovk edcro/uiai; 
 ME. TrXdyia yap (^povel<^, rd fiev vvv, rd he irdXat, 
 
 ra o avTLKa. 
 AFA. ev KeKOfiyfrevG-aL Trovrjpd' yXcocrcr irfrL(f)6ovov ao<^rjjL^ 
 ME. voi)^ he y ov /3e/3ato^ dhiKov KTrjfjLa kov oacph 
 (j)l\oc<;. 334 
 
 ^ovXofjiat he a i^eXey^at, Kal av /jltjt opyrji; vivo 
 dirorpeTTOv rdXrjde^;, ovre Kararevw Xiav iyco. 
 otau or ea7rovoa^e<; ap'^ecv Havaioai^i nrpo^i 
 
 ^IXlov, 
 Tc3 hoKelv jiev of^l XPV^^^> "^^ ^^ /3ovXea6aL 
 
 OeXcov, 
 C09 Ta7reLvo<; -^aOa, irdarj^; he^La<; TTpoaOiyya- 
 vwv 339 
 
 KoX 6vpa<i e')((ov d/cXyaT0v<; tm OeXovn hyfjLorcoPf 
 KaL hihov<i irpoaprjaiv e^rj<i irdai, Kel firj rt? OeXot,, 
 T0i9 rpoTTOL'; ^T]Tcov irpiaadaL to (pcXoTCfiov e'/c 
 fxeaov ; 
 
I^ITENEIA H EN AYAIAI I5 
 
 KUT, errel Karecr^^e^ "Vx''^^^ fxera/SaXwp uXKov<; 
 
 rpoTTOv^ 
 Tol<^ (j)i\oL<TLV ovKer TjaQa rot? 'i7p\v &J9 irpoadev 
 
 cvaTrp6aiT0<; ecrco re K\^6pwv ciravLO^J avZpa V 
 
 ov xpec^v ^ 345 
 
 rup ayaOov TrpdaaovTa [leyaXa rov^ rpoTTov; 
 
 [leOicrrdvaL, 
 (iXXa Koi PejSaiov elvai rore fidXiara roL<i (j)iXoi<; 
 uxA^^^^ rjvLK GJcpeXecu fidXtara Sviuro^ ecmv evrvx^v.^ 
 ravra fiep ae TrpcZr iirrjXdop, ha ae irpojO' 
 
 rjvpop KaKop. 
 a;9 h" €9 AvXlp r}\^e9 av6t^ n^w IIav€XXi]pcop 
 
 aTparl<^ 3-0 
 
 ovoep rjcru , dXX^ i^eTrXyjcraov rfj rvvrj ry tcLp 
 
 Oewp 
 ovpia<^ 7rofM7rr]<; cnrapi^wp, AavatSai 8' dcfitepac 
 pai)^ Bir/yyeXXop, fjudr'^p he fjurj iropeip ip AvXlBc. 
 C09 apoX[3op etj>^e9 cfifia avy-yj-^aip re yu-r) peQiP 
 XI'Xlwp dpx(op TO Upcdfiov TreBiop ifiTrXyjaa^; 
 
 Bopo^. ^ ^ 355 
 
 Kafie irapeKaXeL^' tl hpdaw ; ripa Be iropop eipco 
 
 iroOep, 
 iuare fii) arepepra^ ap-^rj^i diroXeaaL KaXop KXeo^ ; 
 KcW eVet KaX^a^ ip iepo2^ elire <jr]p Ovaai 
 
 Koprjv 
 
 Xpreiith Koi ttXovp eaeaOaL Aapal'Sac^, rjaOeU 
 
 (f)p6Pa<; 
 aafi€PO(; 6v<T€ip viriaTrj^ iralBa' Kal ireinrei^ 
 
 eKwp, 360 
 
 ov IBla, ^y] TovTO Xe^7]<;, ajj Sufxaprc, TralSa arjp 
 
 2 — 2 
 
l6 EYPiniAOY 
 
 Bevp* aTToareXkeiV, ^A)(^tXX,€L Trpo^acnv ce;? <ya- 
 
 jjLovfjuevTjv. V 
 Kad^ virocTTpe'dra'^ XeXrjy^ai fiera/SaXcov aXka<; \ 
 
 ypa(t)d<;, 363 ^ 
 
 w? (povev^i ovKert Ovyarpo'^ crij<i eaei. /jLaXia-ra ry6y^\X^ 
 ovTO<; avro<; eanv aWr/p 09 ra8' rj/covaev aeOev. 
 fivpiOL heTOLTreTTOvOacr avro Trpos^d Trpdyfxara' 
 eKTTOvova e^oi^re?, elra 8' i^\')(^(£) prior av KaK.(o<^, 
 Ta fiep VTTO jva)fi7]<i ttoXltwv aavuerov, ra o 
 
 dhvvaroL jeyooT6<; avrol Scacj^vXa^aaOac iroXcv.i}'^^ 
 'EXXa^o? iidXicTT eyooye T179 raXaiiToopov 
 
 crrevcD 
 y OeXoi^aa Spdv re Keovov^ /3ap^dpov<; tou<; ov- 
 
 KaTayeXcovra^ i^avrjaet Bid ae kol rrjv arjv Koprjv. 
 firjSev dpa yevov<^ eKai^i TrpoardTrju OeipLrjv ^(Oovo^, 
 /jLTjB^ ottXcov dp')(^ovTa' yovv ^(pr} tov arparyXdr^ 
 
 TToXeo ? ft)9 dpycDV av^ p ira^, ^vvecriv rjv e')((iiv tvxV- 
 XO. Seivov KacnyviiTOLCTi ylyvecOau Ad'Y0i;9 -, 376-. 
 
 fjia^af; u , orav ttot epLTrecrcoatv^et'^ epvv. V- \ii.r\ivru>. 
 AFA. ^ovXofial a elirelv KaKoo'^ av, (Bpa')(^ea, firj XiavzW^ 'rr-<^ 
 
 pXe(j)afia irpo^ ravaLoe'^ ayayoov, aXXa acocppove- 
 
 0)9 dBeX(j)6v OVT. dvrjp yap ^p?;crT09 alheiadat, 
 
 €i7re fjiot, TL Beivd <pv(Ta<i ai/jLarvpov ofifi ^X^^jLjit, 
 Ti^ aOiKet ere; tov Ke)^£ ^o'aL ; XeKTpa XPV^'^ eyoa9 
 Xa^elv ; 
 
l4>irENEIA H EN AYAIAI 1/ 
 
 OUK €-)(OifM dv aoL 7rapaa-^€LU' wv <^^ap eKrrjaco,^^^} 
 
 j' ^;^\ .^^jJ^uA' ''Z oaKvet ere to (pLXorifxov rovfiov ; aW ev a'^/Ka- 
 
 evrrpein] '^{vvaiKa y^prfLjkis, to XeXoyicrfMevov 7rap €L<^ 
 
 \ \ ■\ ' " c«>»^*^ rO.«*s« ,^*''^*^\ (-(s \ / 
 
 Kau TO fcaXop, e-^etv ; irovripov <pcoTo^ rjoovai Kaicai. 
 
 €L 8' eyco yi'ov<; irpoaOev ovk ev fjLereTedrjv ev- 
 
 ^ovXia, 
 
 fiaLvo/iac ; crv fidWov, ocrTL<; diroXecra^; kukov 
 
 avoKa^elv OeXei^, Oeov crot ttjv tv)(7]v Sl^6vto<; ev, 
 
 ofiVL'^i (h/jLocrav tov TvvSdpeiov opKov ol Ka/cocppove^i 391 
 
 (piXo'^fafiot piVT)GTTJpe'^. rj Si y eX-TTiV, ol/iai fjukv 
 
 6e6^, 
 Ka^eirpa^ev avTo fidWov rj av Kal to aov aOevo'^. 
 oi'9 XajScov aTpaTev' eroifjLOL S' elal fiwpia (j^pe- 
 
 ov yap davveTov to Oelov, aW* eyei avviivav ^c)±' 
 701/9 KaKa)<; irayeuTa^ opKov<; kul KaTTjvayKaafie- 
 
 vov^. ^ ^ ^ 395 
 
 Tci/ia 8 OVK airoKTev<2 '700 TeKva' kov to aov 
 
 fiev ev 
 irapd Slktjv ecTTat KaKLaTrj^ evviSo'^ Ti/icopLa, 
 e/xe Be awTTj^ovac vvKTe<; rjfjLepai re 8aKpvoL<;, 
 dvofia hpojvTa kov BiKata iralBa^ oi)? eyeLvdfnju. 
 TavTa croc /3pa-)(^ea \e\eKTai Kal cra(f)r} Kal pd- 
 
 Bca ' ^00 
 
 el he fir) /SovXec (Ppovelv ev, Tafji eyco Orjaoy 
 
 Ka\cio<;. 
 aO. Old av Suijpopoc Twv 7rdpo<i XeXeyfieucov 
 
 / 
 
iS EYPiniAOY 
 
 luLv6cov, Ka\co<; 8' exovcri, (^eiheaOai reKVcov. 
 ME. alal, cj)iXou<i ap oiJ')(l /ceKrrjfiTjv raXa?. 
 AFA. el Tov<i (^tXof? 76 fjirj ^eXei? diroWvvai. 405 
 ME. B€L^6i<; 8e irov fxoi Trarpb^ iic ravrou jeycos jy' 
 AFA. avvaccK^povelv <yap ov)(l avvvoaelv €<^vv. 
 ME. €9 KOLVOV dXjelv toI<=; (^IXolctl ')(pr] (^tXoi;?, 
 AFA. ei^ Bpcov TrapaKakei /jl\ dWd jjbrj Xvttojv ifie. 
 ME. ovK dpa SoKel croi rdSe nrovelv avv 'EXXaSt; 410 
 AFA. 'EXXa? he gvu aol Kara Oeov vocrel Tiva.^^ 
 ME. aKTiTTTpcd vvv av')(ei, aov Kaalyvrjrou 7rpoSov<i. 
 iyo) 8' eV dX\a<; el/jn /irj^^apd^; TLva<;, 
 (piXovi T eir aXXov<^» AFF. coYlaveWrjvcov di/a^, 
 ^Ayd/jLe/iivov, tjkco TralBd aoi rr/v arjv dycov, 415 
 r]v ^l(f)Ljeveiav cJz'Oyu-a^e? ev So/z-oi?. ^Z* 
 -^firjTrjp 8' ofiaprel, (tt)^ KXvTaifjiV7jarpa<; oifia<;, 
 Kol 7rat9 ^OpeaT7]<;, (ware repcf^Oeir]^ IBcov^ 
 'Xpovov TraXaccv hco/jbarcov €k87]ixo<; (jov. 
 dXX! w? jxaKpav ereivov, evpvTOV irapa 420 
 
 Kpr]V7]v dva'y^V')(ovaL OrfXyirovv ^aaiv^y^ 
 avral re iraoXoi r' eh he Xetficovcov xXorjv 
 KaOeifiev avrd^, w? ^opd<^ yeyaaiaTo. 
 ^^ iy(o he irpohpoixo'^ arj<; 7rapacrKevfj<; x^P^^ 
 
 r]K(i^ TreTTvarat yap aTpaT6<^, (raxeia yap 425 
 hirj^e (f)7]fjL7],) TralSa ar/v d^iyijLevr]v. 
 iTd<i 8' eU Oeav o/ilXo^ epx^rat Bpoficp, 
 arjv TratS' otto)? lScoctlv ol 8' evhaiiiove<^ 
 ev irdai KXeivol Kal Trepl/SXeTrrot, fiporol^^ 
 XeyovcTi 8' * " vfievaio'^ rt? r) n TrpaaaejaL ; 430 
 97 TToOov ex'^v Ovyarpo'^; ^Kyafxeixvcov dua^ 
 eKOfxiae Tratha;" rwv 8' dv 7JK0uaa<; rdSe' 
 " ^AprefiLhi TTporeXl^ovaL Trjv vedviSa, 
 
>■ to 
 
 I^ITENEIA H EN AYAIAI IQ 
 
 Av\iSo<; avdaarj. t/> vlv a^erai ttot^^^ 
 aXX eZa, raTrl tolulS' i^dp^^ov Kavci, 435 
 
 a'T€(f)avovaO€ Kpdra kul av, Mei^fX-eo)? dia^, 
 Vfievaiov evrpeiTL^e Kal Kara ariya^ 
 XcoTo^ /3oua0co Kal ttoScvp earcj acti/tto?* 
 (fxjo^ yap Tod^ yK€t fMaKcipiov rjj irapOevw. 
 AFA. €Trr)vea\ dXXci arel-^^e Sco/idrcov eaco • 440 
 
 Ta S' a\V loia7)<; J?;? TV')(^rj<; eorau Ka\(2<i. 
 otfioi, TL (jiw 8v<TT7}vo<; ; dp^ofiat iroOev ; 
 et? QUI dvdyK-q^ ^evyfiar ifi7re7rrcoKa/jL€v. 
 VTrrfKOe SaifMCOv, ware rwv ao(piafidTCOi' 
 TToWoj yeveaOai rwv ejxcov aocpcorepo^;. \^ 445 
 77 Bucryeveta 8' qj? ^'x^t tl ')(^p}}aifiou. 
 Kal yap haKpvaai pahL(D<^ avToU e%ei, 
 dro\/3a r elirelv. tu> he yevvaL(p-<^v(JLV 
 diravTa ravrd' TrpoardrTju Se rod ^lov 
 Tov oyKOv eyojiev rS r o-^Xm Bov\€uo/jL€V. 450 
 iyo) yap eK^aXelv fiev alBov/iai hdKpv, 
 TO fiTJ haKpvcrai 8' avOi^; alBovfiai TdXa<;, 
 €19 Ta? fieyiara'^ crvfKpopd^ a(f)cy/ievo<;. 
 eiev, TL (pyjao) tt^o? hdjiapTa Trjv ifujv ; 
 TTCiJ? Bc^ofial viv ; ttoIov o/x/ia av/jLfSdXo) ; 455 
 Kai yap /jl avrajXecr eVl KaKoU d fioi irdpa 
 eXOova dKXrjTo^i. €lk6tco<; 8' d/jL eairero 
 OvyaTpl vvfKJievaovcra Kal Ta (^iXTaTa 
 Boocrova, IV 7//X6/9 6vTa<^ evpyjaet KaKOv^. 
 Trjv 3' av TaXawav TrapSevov {tl irapOevov ; 460 
 Wibrj^ VLV CO? eoLKe vvfJL^evaei Ta^^a), 
 CO? oiKTLcr' ol/jLaL yap vlv iKerevcraL TdBe' 
 CO TraTep, diroKTevei'^ fxe ; tolovtov^ yd/jiov<; 
 yrjjjLeia<i avTo<; -^coaTLf; iaTL aoL (/)i\o?. 
 
20 EYPiniAOY 
 
 irapwv S' 'Opecrr?;? €771)? dia^orja-erai • 465 
 01) (Tvvera o-vvera)^' eri, yap iari vrjino';. 
 alat, Tov 'Fj\ev7)<; 0^9 yu- airwXeaev ydfiov 
 ry7]fia<; 6 YIpLajjiOV ITapt?, 09 ecpyaaraL rdSe. 
 
 XO. Kaydo KaTa>KT€ip\ ftJ9 yvvaiKa Bel ^evqv 
 
 virep Tvpavvcov av/x<popd(; KaracrreveLv.'^^'^ 470 
 
 ME. dSeXcpe, 809 /jLOL Be^idt; t7]<^ arj'^ Ocyelv. 
 
 AFA. BlSco/jLI' gov yap to Kpdro'^, dd\Lo<i 8' iyoo. j 
 
 ME. ne\o7r<x Karoixw^Jb , 09 Trarrjp tov/jlov iraTpo^; 
 TOV (TOV r iKKrjOr], tov TemvTa t 'Arpea, 
 ri jxrjv ipelv <tol tutto Kaphla'^ cra<pco<; 475 
 
 Kal fJLT] '7rtT?/Se9 fJLrjhev dXX! ocrov (^povw. 
 eyco a air ocrcrcov €fcpa\ovT tdcov oaKpv 
 wKTeipa KavTo^ dvTacprJKa aoL TrdXiv 
 Kal Toov TraXatcov €^a(f)L(rTafiaL Xoycov, 
 ovK 619 ere BeLv6<;' el fit 8' ovTrep el av vvv' 480 
 Kai croi irapaivw [iyjt diroKTelveuv TeKvov 
 li-fjT dv6e\ea0at tov/jlov^Jov yap evSiKov 
 ae [lev aTevd^etv, Ta/jua rjBeco^ ^X^^^' 
 OvrjaKeLv re toi)9 crov<^, tov<; 8' ejjLOvs opdv <^do<^.^ 
 tI ^ovXo/jLaL yap ; ov ydjjuov^ e^aipeTOV^ 485 
 aXXoL'9 \d/3oLfi dvy el yd/icov i/jLelpo/jLai ; 
 aW a7roXe(Ta<i aO€\(f>6v, ov fju ij/cLaT eypr]v, 
 EXevTjv eXcofiat, to kukov uvtI TayaOov ; 
 d(j)p(ov veo<; t tj, irplv ra irpdyjxaT eyyvOev 
 (TKOTTwv eaelBov olov rjv KTeiveiv TeKva. 490 
 
 dW(0(; Te fJu eXeo9 T179 TaXatirwpov K6pr]<i 
 eiarjXOe, avyyeveiav evvoovfJLevw, 
 7] Twv ifjiwv e/caTL dveaOai yd^iwv 
 fieWec. t£ 8' 'EXevT]'^ irapOevcp t Tj crfj fxera : 
 LTco aTpaTeia BioXvOela ef AuX/809. 495 
 
|ct)|rENEIA H EN AYAIAI 21 
 
 Gv 5' o/j,fia iravaai BaKpvoL<; reyycov to crov, 
 aSeXcpe, Kci/ie TrapaKoXaiv 6t9 BaKpva. 
 el Be re K6prj<^ cr;;? Oeacjidrwy f iereg-jL crot, 
 /IT] *fiol /i€Te<TT(o' aol ve/jLCi) tov/jlov /xepo?. 
 «XX' etV /iieTa/3o\d<; rjXOov ciiro Beivwv Xoywv ; 500 
 euco^TreTTovda' tgv ofiodev irecfiVKora 
 arepycop /lereTreo-ov. dvBpo<; ov kukov rpoiroL 
 V TOLoihe, ;yp/]c r^at toI(tl ^eXriaTOi^ deL\ 
 
 XO. yevvaC eXe^a? Tai^TaXw re rw Afo? 
 
 TTpeTrovra^ 7rpoy6vov<; ov KaTaLa')(vpet<; creOev. 505 
 
 AFA. alvw ae, ^XeveXew^, on irapd yv(£)ixT)v efir^v 
 VTTeOr^Ka'^ 6p6a)<; tov<^ X6yov<; gov t d^ico^;. 
 rapax^] B dBeX(pa)v Bid r epcora ylyverat 
 irXeove^iav re Bco/jbdrcov' direinvGa 
 ToidvBe Gvyyeveuav dXXrjXoiv irtKpdv. 510 
 
 dXX! i'jKo/jiev yap eh dvayKala^ rvx^i^, 
 uvyarpo^ alfjLajrjpou eKirpd^ai (f)6vov. 
 
 ME. TTcG? ; Tt9 S' civayKaGei Ge ryv ye gtjv Kravelv ; 
 
 AFA. a7ra9 A^aic3i/ GvWoyo<^ Grparevfiaro^;. 
 
 ME. ovK, rjv VLV et? "Apyo^ y diroGTeiXrj^; rrdXiv. 515 
 \\ AFA. XaOoi/jit Tovr dv. dXX! eiceZv ov XrjGOfJLev.J^ 
 
 ME. TO iTolov ; qvTO i ■)^pr} Xiav rap/Secv 6-)(Xov. 
 
 AFA. KaX;^a? epel /lavrevfxar ^Apyeicov Grparco. 
 
 AlE. oiiK, rjv ddvrj ye irpoGOe' rovro B^ ^iV^^A^?- 
 II 1 1 AFA. TO fiavTLKov irdv Girepfia (piXoTi/jiov kukov. 520 |\l 
 
 ME. KovBev ye '^priGrou ovBe ')(^pj]Gi/jLou irapov. 
 
 AFA. JKelvo B\ ov BeB oLKas _ ovjA^_£Gepy£X£u. ; 
 
 ME. ov ji-q GV (f>pdl^eL^, ttw? viroXdlSoifji dv Xoyov ; 
 
 AFA. TO ^iGV(f)eiov Girepfia Trdvr ^.olBev rdBe. 
 
 ME. ovK eGT 'OBvGGev^ n gI /cdfie iniiiavel. 525 
 
 AFA. ttolklXo's del iric^vKe rov t 6)(Xov fiera. 
 
22 EYPiniAOY 
 
 ME. <j)i\oTi[JiLa fiev ive^erai, SeiVM KaKco. 
 
 AFA. ovKovv Bo/cet vlv aravr ev 'ApyeLot^^ fiiaoL<; 
 Xe^etv a KaA-^a? 6€<7(f)aT i^rjyjjcraTO, 
 Kcifi (ji)9 VTrecrrrjv Ovfjua, Kara ■ylrevSo/jiai, 530 
 
 Apre/ithc Ovaeiv' 09 ^vvap7raaa<; arparov, 
 (76, KufM aiT0KT6LvavTa'i ^Apjeiovi Koprjv 
 cr ^a^ai Ke\eva£ L. kciv irpo'^ "Ap^o? eKcfyvyco, 
 
 ^vvapiraaovai Kai KaTaaKo.'^ovcn yrjv. 535 
 
 Totavra ra/jua 7rr]iJLaT. w raXa^ ^yco, 
 (L<; TjiTopTiLiat TTOo^ Oeoov ra vvv raSe. 
 eV /jLOL (f)v\a^ov, MeyeXeo)?, dvci arparbv 
 ekOwv, OTTO)? av fjurj KXvTahjJiVTqaTpa rdSe 
 fiaOr], irplv' Aihrj TralK ifirjv irpoaOw Xa^cov, 540 
 tw9 eV eka')(^Lajoi<^ BaKpvoL<; irpdaaoi KaK(ti<;. 
 vfiel'^ T€ cnyr)v, w ^evat, (puXdaaere. 
 
 XO. fxaKape'^ o'l p,€/pLa<; Oeov arp. 
 
 fxerd re aco<ppoavi^a<^ fieri' 
 
 CT'^ov XeKrpcop 'Ac^poStVa?, 545 
 
 yaXavela ^(^pricrdfMevoL 
 f^avcdScov oicrrpcov, Wi Srj 
 SlBv/Lb "E/3ft)9 o y^pvaokojJLa'^ 
 t6^^ ivrelverat 'y^aplrcov, 
 
 TO aeiL. eir evaiwvi ttotllo). 550 
 
 TOy^_ iirl avy^vGei ^LOTd<^. 
 anreveirw Viv djuuerepcov, 
 ls.v7rpL KaXkiara, OaXd/Kov . 
 elrj he pbot [lerpia fiev 
 
 '^dpi'i, TToOoL h oaioLy 555 
 
 KOI /jLere^oLjiiL Td<; ^Acppohu- 
 
I4>irENEIA H EN AYAIAI 23 
 
 Ta<;, TToWdp B uTTodeifiai^. 
 
 Bidcl)opo(, Se ^v(jeL<; ^porcov, avr. 
 
 BicKpopoL Be rpoTTOc' to 5' op^ 
 6cu<i eaOXov cra^e9 del' 5*50 
 
 ' Tpo(f)ai 6 ai TraiSevo/jLevac 
 jieya (pepoiia et? rdu d perdu* 
 TO re jdp alhelaBai ao(^ia, 
 Tav r ePaXXdaaovaav €)^€i, 
 
 Xdpiv viTo yvwfia^ eaopdv 555 
 
 TO hkoVy ev6a Su^a (pepec 
 
 /cXe'o? ^wiSJ^iZB}L /3tora. 
 
 fieya re Oijpeveiv aperdv, 
 
 ryuvai^lp fxev Kara }s.v7rpLV 
 
 KpvTTrdv, iv avBpd(TL 5' av 570 
 
 Koafio^ evwv 6 fMupcoTrXr)- 
 
 6))<; jiel^ ttoXlv av^ec. 
 
 €fjLoXe<;, (V ■TIdpL<;, fjre au ye eVcoS. 
 
 ^ovk6Xo<; ap^/evvat^ erpdcfiT]^ 
 
 'ISa/at9 TTapd fxoa-^oi'^, 575 
 
 ^dpjBapa avpi^a)v, ^pvyicou 
 
 avXaJv ^OXvjiiTov KaXd/j.ot<i 
 
 fJUfjLy'ilJLara rrpeoiv. 
 
 evOrjXoL Be rpecpovro /Soe^, 
 
 06 L ae KpiaL^ e/iepe OeuVy 580 
 
 a a 'KXXdBa 7re'/t7ret 
 
 iXecj^avroBercou irapoi- 
 
 Bev Boficov, 09 rd'i 'EXeVa? 
 
 iv dvrwTTol'^ ^XecpdpocaLv 
 
 epcora r eCcoKa^, 585 
 
24 EYPiniAOY 
 
 epwTL S' avTO<^ eTTToaOr]^. 
 
 ot/ei^ ept? epLv 
 
 'EXXaSa o-i)z^ 5opl vavai r clyei 
 
 e? Trepya/Jia Tpoia<^. 
 
 l(o l(o' /jLeyaXdi fxeydXcov 590 
 
 evSacfJLoviaL' frjv rod ^aaiXeco'^ 
 
 cBer ^I(f)Ly6U€tav avaacrav 
 
 TTjv TvvSapiov re KXvTai/iv^aTpav, 
 
 tw9 ifc fxeyakwp e/SXacTTyKaa 
 
 iiri T ev^iJK6i<i rjKovcn ru^j^a?. 595 
 
 6eoi y OL KpeiaaoVi ol r oK(3o<^opoi 
 
 Toh ov/c evBal/jLOcn Ovarojv. 
 
 [(TToifjiev, XaXATtSo? eKyova OpefM/xara, 
 
 Tr)v ^aaiKeLCtv Se^oofMeO^ o^cov 
 
 chro firj cr^aXepw? eVt yalav, 600 
 
 Qyaycoi he '^epolv fidXaKrj yvcofirj, 
 
 fit) rap^ijar] to vecoari fioXov 
 
 TO Kkeivov T6/CV0V ^ Ay a/jL6/jLv6vLov, 
 
 fxr) Srj Oopvpoy fMTjS' eKifKrj^iV 
 
 Tat? 'Apyetac^i ^ — -. 605 
 
 ^elvai ^elvaL<^ Trapi^^cojiiev.^ 
 
 KA. opviOa fjikv TovK alaiov iroLovjieOa, 
 
 TO (TOV T€ ')(^pr)aTOV KoX \6yC0V €V(f)r]/jLLav' 
 
 eXTTi'Sa 8' e^Q) tlv o)? iir ecrdXolcnv yd/ioif; 
 
 irdpetfii vv/JL(paycoy6<;. aXX 6-)(r)iJbdT(Dv 6\o 
 
 e^co TTopeveO' a? (f)epco <j)€pvd(; Koprj, 
 
 Kol Tre/jLTrer et? fieXaOpov evXajBov jievoi. 
 
 (TV B\ w T6KV0V fioi, XecTre 7ra)\tKov<i o^ov^^, 
 
 d^pov Tidelaa kwXov daOev6<i 6* a/jua. 
 
 vfielf; Be, vedvcBii, viv dyKd\ai<; eirc 615 
 
I^IFENEIA H EN AYAIAI 25 
 
 Be^aaOe /cal Tropevaar i^ o^rjfidrcov. 
 
 Kal fjLOt x^P^^ '^'*» ^J^^oTco aTTjpLy/JLara, 
 
 OaKov^ d7n]vri<; w? dv eKXtTTW Ka\(i><;. 
 
 at h et? TO irpoaOev (rrfjre ttwXlkojV ^vycijv, 
 
 (f>o/3€p6v yap dirapapLvOov o/i/ia ttcoXikov 620 
 
 Kal TralSa rov^e rov Wya/i6/jLvovo<; yovov 
 
 Xd^ua6\ ^Opear-qv' en yap eVrt vrjirto^. 
 
 reKvov, Ka9evheL<^ ttcoXiko) Sayitet? o^w ; 
 
 eyeip d^eX^rj^ ec/)' vjievaiov euTU^^o;?' 
 
 dvhpl'^ yap dyaOov Kyjho^ avro^ iaOXo<; (hv 625 
 
 Xr)-^eLy TO Trj<; ^rjpfjho^ laoOeov yevo^. 
 
 €^P]<i KdOrjao Sevpo fiou ttoSo?, reKvov 
 
 7r/3o? fn]T6p\ 'Icj^iyeveta, fiaKaplav Se fie 
 
 ^evaiat, ralaSe TrXTjala aradelaa 809, 
 
 Kal Sevpo Srj irarepa irpoaeiire aov (fylXov. 630 
 
 1$. CO /jLTJrep, VTToBpafiovcrd a (opyLaBrj^ Be /Jbrj) 
 
 Trpo? crrepva 7TaTpb<^ crrepva rd/jid Trpoa/SaXcu. 
 
 KA. ft) aei3a<; i/iol fieytarov, ^Aya/jbe/jLvcov dva^, 
 yKo/iev, i(f)6rfjLal<i ovk aTria-Tovaai aeOev. 
 
 I<l>. eyw he ^o'uXofiaL rd ad arepv , w irdrep, 635 
 VTToSpa/jLOvcra irpoa^aXelv Scd xpoi'ov. 
 iroOw yap ofi/ia Sr) aov. opyiaO^^ he fxr). 
 
 KA. dX'}C , w TeKvov, XP^' ^i-XoTrdrcop 3' dei itot el 
 fidXiara iraihwv T6l>S' oaov<^ eyco "reKov. 
 
 1$. cJ Trdrep, iaelSov a aafievrj ttoXXm xP^vw. 640 
 
 AFA. Kal yap irarrip ae' roh' Xaov virep dfi^olv Xeyei<^. 
 
 I<I>. X^^^P ^^ ^^ Z^' «7^7wi^ 77/30? cr* eTTOLTjaa^, Trdrep. 
 
 AFA. OVK olB OTTO)? (f)(i) TOVTO Kul fly) (f)Ci}, TEKVOV, 
 
 I^. fa- 
 
 CO? ov /SXevrei? eKrjXov, aafiev6<; fM IScov. 
 AFA. TToXX' dvhpl ^aatXec Kal arpaTT^Xdrrj fieXeL. 645 
 
26 " EYPiniAOY 
 
 1^. Trap' i/xol fyevov vvv, firj 'ttI (ppovrlha^ rpiwov. 
 
 AFA. a\V el/jbl IT a pa aol vvv aira^; koi}k oXKoOl. 
 
 I<J>. yLt€^e9 vvv 6(f>pvv ofi/jLa r e/creivov (piXov. 
 
 AFA. ISov ryeyrjOd a ftj9 'yeyijO^ opoov, reKvov. 
 
 I4>. KcLireira \ei^ei<^ Bd/cpv^ dir ofifxarcDv aeOev ; 650 
 
 AFA. fiaKpd yap rjpuv r) ''inova aTTOvcria. 
 
 I<l>. "fovK oiS' o Tt ^^9, ovK olSa, (plXrar i/xol irdrep.'f 
 
 AFA. (Tvverd Xeyovaa fidXXov et9 ol/crov fju dy6i<;. ! 
 
 I<J>. aavvera vvv ipov/xev, el ae y evcj^pavco. .K, 
 
 AFA. irairal. to aiydv ov aOevco' ere S' yvecra. 655 
 
 I<l>. fiev\ CO rrrdrep, Kar oIkov iirl t6Kvol^ aeOev. 
 
 AFA. 6eX(o ye' to OeXeiv S' ovk 6^ft)z^ dXyvvofiai. 
 
 I<S>. oXoLVTO Xoy^aL Kal rd M.6veX€co KaKa. 
 
 AFA. dXXov<i oXel nTpoaO" dfie BioXecravT eyei. 
 
 I^. 0J9 TToXvv aTrrjaOa y^povov iv AvXlSo<; fivyoU. 660 
 
 AFA. /cal vvv ye yu-' to-;^et Srj tl fJbrj areXXetv arparov. 
 
 1<I>. TTOv Tov<; ^pvya<; Xeyovaiv (pKiaOai, irdrep ; 
 
 AFA. ov fJLy]7roT oiKelv ci'^eX' 6 Upcd/iov Udpi'^. 
 
 I<J>. [laKpdv diratpeL^, cS irdrep, Xlttcov ifie ; _^ «* J 
 
 AFA. "feh ravTov, w dvyarep, r]Kei<; aw Trarpl.'f 66^' ' 
 
 I^. ^€v- 
 
 etO '^v KaXov fiot aol t ayeiv (tvjJjTtXovv ifiL 
 
 AFA. eTrecTTL Kal aol 77X01)9, tva fivrjaec Trarpo^;. 
 
 I<J>. aw fiTjrpi TrXevaaa* rj /hovtj iropevaofiai ; 
 
 AFA. fJLOvrj, fiovcoOela' diro irarpo'^ Kal fiTjrepo^.)^ 
 
 I^. ov irov [L 69 dXXa Bco/xar^ olKi^eL<^, irdrep ; 670 
 
 AFA. eaaov. ov ')(prj Toidh' elSevat K6pa<^. 
 
 10. CTTreOS' eK ^pvycov fioi, 6€fievo<; ev raKel, irdrep. 
 
 AFA. Ovaal jxe Ovalav irpoora Bel riv ivddhe. 
 
 I<J>. aXXd ^vv lepoL<; 'y^prj to y evaejSh aKoirelv. 
 
 AFA. etaei av' yepvl^itiv yap eaTt]^ei^ ireXa^. 675 
 
l45|rENEIA H EN AYAIAI 27 
 
 1<5>. (TTrjaoiiev ap d/j.(f)l jScofiov, c3 irarep, X'^P^^^i,^ 
 
 AFA. t^rfkoo at fidWov i) 'fie rov /nrjoev (f)pov€Lif." 
 ywpei S(£ fieXaOpwv €VT6<i d(p9f}i'aL Kopai'^, 
 TTLKpov (f)L\'r]/jLa hovaa Ee^tdv r €/j.ot, 
 fxeKXovaa hapov iTarp6<; (iTTOiKyjcreiv xpoiov. 680 
 CO crrepva Kal 7rapfiS€<=;, (o ^avOai KOfiaLj 
 CD? a')(6o<; v/jLlp ijeved' r; ^pvycov 7r6\i<; 
 KXevT] re' iravcd rot? \cyov<i' ra^^la yap 
 voTi^ SicoKet fjL ojjLjidTwv y^avaavrd aov. 
 id' ei9 fieXadpa. ae Se irapaLTOVjiai rdSe, 685 
 A^;Sa? yeveOXov, el Karq^KTiadriv ayav, 
 fieWcDv 'A^fXXet Ovyarep' eKdcoaecv e'/x^^V^ 
 aTToaroXal yap /laKaptai, fiev, aW' o/io^s^ 
 huKvovai Toi<; TeK6i/Ta<;, orav aWot^ S6/j.oi<; 
 TratSa? TrapaSiSd) ttoWo. fio-^Orjaa'^ Trart'jp. 690 
 
 KA. oi'X f^^' ciavpeTO^ el/it, ireLcreaOai Be fie 
 Kavri]v BoKeL rdS\ ware firj ere vovOerecu, 
 orav crvv vfievaioLcnv e^dyco Koprjv' 
 aW vofio<; avra rco ■^povrp crvvtcrxvciveL. 
 roi'vofia fiev ovv rralo olh' orw Karr^veaa^, 695 
 yevov<^ he ttolov ^ceJTro^e^', fiaOelv OeXco. 
 
 AFA. A'lyiva Ovydrrjp eyever 'Aatoirov 7rarp6<;. 
 
 KA. ravrrfv Ze Ovrjrcov y Oewv e^ev^e rL<s ; 
 
 AFA. ZeL'?' AlaKov 8' e(})uaev, Olvwvr]<^ irpofiov. 
 
 ^^.A. rov 8' Alaxov rral'^ rL<^ Karea^ye hwfiara ; 700 
 
 AFA. TlrjXev^' 6 Tlrfkev^ K e<J%e ^rjpe(D<i Koprfv. 
 
 KA. 6eov hihovrc^, rj ^la 6ewv XajBwv ; 
 
 AFA. Zei)? vf^jyvrfcje koI BlEcoct' 6 Kipio<;. 
 
 KA. yafiel he rrov vlv ; y Kar oihfia irovriov ; 
 
 AFA. Keipcov %v OLKel ae/ivd TIj]\iov /3d0pa. 705 
 
 KA. 01; (paal Keuravpeiov wKicrOac yevo^ ; 
 
28 EYPiniAOY 
 
 AFA. ivravO' eSaicrav IlrjXea)^; 'yd/iov<; Oeoi. 
 
 KA. %eTL<i S' eOpe-ylrev rj iraTrjp 'A;)^iXXea ; \^ 
 
 AFA. Xeipwv, Xv rjdrj fxrj [xdOoL KaKcav ^porwv. 
 
 KA. <i>ev- 
 
 cro^o? 7 o dpeyfra'i ^w BcSov<; ao(^(£)Tepo<;. 710 
 
 AFA. TOLocrSe TraiSo? o"/;? dvrjp earat Trocrt?. 
 
 KA. ov fiefMirro^. oUel S' daru nrolov 'KkXdho^ ; 
 
 AFA. ^AiriBavdv dfKpl irorajjuov iv ^6la<; opoi<;. 
 
 KA. iKelcr aird^ei^ arjp i/jiyjv re irapOevov ; 
 
 AFA. K€iv(p jiekrjaei ravra tw KeicTrjixevcp. 715 
 
 KA. aW evTvxolnjv. rlvt B' iv i^fiepa ya/juel ; 
 
 AFA. orav ore\r]vr]<^ evrv'x/j'i €\0r] KU/c\o<i. 
 
 KA. TTporeXeia B' rjBr) 7ratSo9 €a<f>a^a<; Bed ; 
 
 AFA. fieWco' TTL ravrrj koI KaOearafiev TV')(r). 
 
 KA. KaTTeiTa Bai(T€i<; tov<; rydfiov<; e? varepov ; 720 
 
 AFA. 6vaa<^ ye 6vfia6^ d/ne y^pr) Ovaac Oeol^. 
 
 KA. ?7yLtet9 Be 6olvr]v irov yvvac^l Orjaofxev ; 
 
 AFA. evOdBe Trap' evTrpvfjLvoLaLv ^Apyelcov rrrXdraii;. 
 
 KA. KaXw<; avajKaLO)'; re' avveveyKOL S* o/aw?. 
 
 AFA. otad ovv o Bpdaov, co yvvai ; ttcOov Be /jloo. 725 
 
 KA. Ti 'x^prj/jua ; ireiOeaOai yap eXOuaixav aedev. 
 
 AFA. ?7yLtet9 jJLev ev9dB\ ovirep eaO' 6 vvfi<f)io^, 
 
 KA. ixrjrpo^ Ti %6)/3t9 Bpdae6\ dfie Bpdv X/aewV ; 
 
 AFA. iKB(v(ro/jbev arjv iralBa AavalBcop /aera. 
 
 KA. ?7yLta9 Be irov 'x^prj rrjVLKavTa Tvy^dveiv ; 730 
 
 AFA. %&j/3efc 7rp6<; "Apyo<; irapOevav^ re rrjfiekeL 
 
 KA. XiTTOvaa iralBa ; tl<; 8' dvaayrjaei <p\6ya ; 
 
 AFA. 6700 Trape^co <f>S<i o vvfi(^ioL^ TrpeireL, 
 
 KA. ov^ o v6fjLo<; ovTO<i' ^ av (f)avX rjyel rdBe ; 
 
 AFA. ov KoXbv ev o^Xw a e^ofxiXeladai arparov. 735 
 
 KA. KoXbv TeKovaav rdfid /jl eKBovvai reKva, 
 
l0irENEIAHENAYAIAI 29 
 
 AFA. Kal Trt? y ^1/ oI'km fit) [lova'^ elvat Kopa^. 
 
 KA. oxvpolac TrapOevwaL (f^povpovvrat Ka\(Z<^. 
 
 AFA. ttlOov. KA. p,d rrjv uvaaaav 'Apyeiau 6eav. 
 eXOwv av ra^co irpdaae, rap 86fioi<; 8' iyco 740 
 [a 'xpij rrrapelvat vv/jL(f)Loiai rrapOevoK;]. 
 
 AFA. ol'fioL- fiaTTjv y^\ cXtt/So? 8' direacfxiXrjp, 
 ej ofi/iuTcop hdfiapr ciTroaTelXac OeXcov. 
 ao(j)il^o/iac Se kuttl rolat (pLXrdroL'i 
 re^va^ Tropica), iravra-^fi vLKW^evo^. 745 
 
 0/^0)9 3e avv KaXxavrt toj OvrjiroXcp 
 
 KOLvfj TO T^? 6eOV cfiiXov, ifJLol 8' OVK €tTu;^e?, 
 
 i^taroprjacDV etfii, pLoxOov 'EXXdSo^. 
 
 XOV ^' eV So/ioiaiv dvSpa top aocf)6v Tpe(f)6iv 
 
 yvvalKa XPV^^ri^p KaryaOyjp, rj jm^ rpicpeiv. 750 
 
 crrp. 
 
 XO. ?;fet Srj 'S.ip.oevra Kal 
 BLpa<; dp!yupoeLheh 
 dyvpL^ 'EXXdpoop (TTpaTi.d<; 
 dpd re pavalp icdX avp ZitXol^ 
 "IXiop eh ro TpoLa^ „.. 
 
 ^oL^r'jiop BdjreSop, 
 rap KaadpSpirv^ lp^ d/covco 
 piTrreip ^ap6ou<; irXoKapLov^ 
 XXcopOKo/xcp GTj^dpw Bd(f)pa^ 
 
 Koa/n]66Laap orap Oeov ^(;^ 
 
 fxapToavvoL 7rp€vacoa dpdyKac, 
 
 ardaoPTcu^S' eVt frepydpLcop dpr. 
 
 TpOLa<; dpL(f)L T€ TELXV / 
 
 T/3&J6?, orap ;^aXA:ao-7r^? "Apr/? 
 
 TTOPTLo^ evirpojpoiac irXdrai^ ^c- 
 
 3 '' 
 
30 
 
 EYPiniAOY 
 
 elpecria TreXa^rj 
 
 Tav TOdV iv aWepu hia-awv 
 ^CoxTKovpwv '^E'Xevav 
 CK TlpLdfiov KOfLicrat OeXcov 
 eh yav EXXaSo- SopL7r6voL<; 
 daTTLcri fcal Xoy^ac'; 'A^ataJz^. 
 
 Hepya/Jiov Se ^pvyoov iroXiv 
 
 Xatvov; irepX irvpyov^ 
 
 KVKX(iocra<i "Apet (f)oi'ia), 
 
 Xai/jLor6fiov<; (Tiraaa'^ K6^aXd<^f 
 
 irepcra'^ iroXicrixa Kar dKpa<i 
 
 Gycrec Kopa^; iToXvKXavTOv<i 
 
 hdfiaprd re Tlpidfiov. 
 
 a Be Aio? 'FjXeva Kopa \7roXvKXavTO<;~\ 
 
 eXaerai iroaiv irpoXiTrovaa. 
 
 fjLTjr ifiol fi7}r e/LLoto-L reKvcov TeKvoc<^ 
 
 eXirU ciSe ttot eXdoi, 
 
 otav at TToXv^pvcroi 
 
 AvSal /cat ^pvycov dXo^^ot 
 
 <jTr)aov(TL irap [ar6l<^ 
 
 IxvOevaai rdK e? dXXr)Xa<^* 
 
 TL<i dpa fjb evTrXofcdfiov KOfia^ 
 
 pvfia SaKpvoev ravuaa<^ 
 
 irarpiho'^ 6XXviieva<^ aTroXcoriel ; 
 
 Bid ere, Tav kvkvov hoXi')(^av')(evo^ yovov, 
 
 el Brj cf)dTC<i erv/jLO^, 
 
 €0<i ereKev Arjha a 
 
 opvidi TTTafievcp / 
 
 At6<; or dXXdyOrj Se//-a<?, 
 
 770 
 
 €7rft)( 
 
 / /5 
 
 780 
 
 785 
 
 790 
 
 795 
 
I^ITENEIA H EN AYAIAI 3I 
 
 err eu SeXrac^; Hieplcyip 
 
 fivOoL ToB^ e? avOpwirov; 
 
 TjveyKav Trapd Kaipov aXXw<^. 800 
 
 AX. TTOv Tu>v A^atcov ivOc'iK o aTpaTr)\(iT7]<; ; 
 Ti9 av cf)p(i(T€L€ irpoairoXwv rou IlT^Xect)? 
 ^rjrovi>Td vlv iralh^ iv 7rv\aL<^ 'A^tXXea ; 
 ovK €^ I'aov yap fievofiev KvpiTTOu TreXa^;. 
 o'i fiev yap rjjJLWv ovTe<^ d^uye<; yd/icov 805 
 
 oI'kov<; €pr]/iov<; eKXiTrovre^ evOdhe 
 Odacrova eV d/CTat<;, ot S' e)(^ovTe<; evviha^ 
 Koi 7raLda<;' ovrco Secvofi ifjLTreirrwK epw^ 
 rijcrhe arpareia^; 'EWaS' ovk civev decou. 
 Tovfiov fikv ovv htKaiov i/ie Xeyetv '^pecov' 810 
 ciXXcov S' o XPV^^^ avTo<^ virep avrov (ppdaet. 
 yrjv yap Xlttcov ^dpaaXov r)he TirjXea 
 fiev(o Vt XeTrrat? raid IK ^vpiirov irvoal^;, 
 ^lvp/jLtS6va<i 'lo-^fov' o'i 8' del TrpocrKeifievot 814 
 Xeyova' 'A^iXXeu, ri fievofjuev ; ttoIov ')(^p6vov ■ 
 €T eKfierprjaat '^(prj Trpo? ^IXlov aroXov ; 
 (f)pa^\ et Ti Bpda6L<;, 7} d'Kay oiKahe arparov, 
 rd Twv ^ArpetSojv /irj p^evcov fieXXy^/xara. 
 
 KA. 0) Tral 6ed^ ^ijpfjSog, evhoOev Xoycou 
 
 Twv cu>v dKovaaa i^e^-qv irpo Scofidrcov. 820 
 
 AX. ft) iroTVi al8co<^, rrjvhe riva Xevaaco irore 
 yvvalKa, p,op(f)r]v evTrpeTrrj KeKTrjfievrjv ; 
 
 KA. ov Oav/xd a r;/ia<? dyvoelv, oh p,i) 7rdpo<i 
 
 irpoayJKe'i' atVto 8' on crepeL<; to awcfipove'lv. 1^ 
 
 AX. Tt? 8' el; ri 8' ifxQe^ Aava'iBMV et<? ayXXoyov, 825 
 yvvY] Trpo? dvSpa<; daTriaiv 7re(j)payixevov<^ ; 
 
 KA. ArjBa(; fiiv elfic irah, KXvratp,if7]crTpa Be jjlol 
 
32 EYPiniAOY 
 
 ovofia, 7r6at<^ Be ixovarlv ^ A'yajieixvcdv ava^. 
 AX. KaXo}'=; e\e^a<^ ev I3pa-)(el rd Kacpia. 
 
 al(T')(pov Si fJLoi, jvvaL^L av/jL/SdWetv Xoyov;. 830 
 KA. fxelvov' TL (f)6vy6t<; ; he^tdv r ijiy %e/3t 
 
 crvvaylrov, dp')(rjv pbaKaplcov vvp^cj^ev/iidTcov. 
 AX. Ti <pr']^ ; iyco aoL Se^idv ; alholpieO' dv 
 
 Kyapbiixvov, el yfravot/juev wv pur) pLoc OepLtg. 
 KA. 6epLL<; pbaXiara, tyjv ipLrjv iirel ryapL€L<; 835 
 
 iracB', fw ^ea? ttul 7rovTLa<i N77p7;t3o?. 
 AX. iroLov; ydpLov; <j&?;? ; dcfyacrta pH e^ei, yvvai. 
 
 el pLT) TL TTapavoovaa Kaivovpyel'^ Xoyov. 
 KA. TrdcTLV roB epbirecpUKev, alBelcrOaL (plXov^; 
 
 Kauvov^ cpajat koI ydpuov puepLvrjpLevov;. 840 
 
 AX. ouTTooTTOT epLvrjCTTevaa iralBa crr}v, yvvai, 
 
 ouS' e^ ^ArpetBcov rjXOe pbot X070? ydpucov. 
 JvA. n orjT av eirj ; av iraKiv av Aoyov<; e/xou? 
 
 Oavpba^^' epLol ydp OavpLar earl Tciiro aov. 
 AX. ecKa^e' kolvov iartv eltcd^etv rdBe' 845 
 
 dpi(f)(o ydp ov 'y^evBopLeda rol^ \6yoL<; i<7co<;. 
 KA. aXV rj TreirovOa Beivd ; pLvrjcrrevoi ydpLou<i 
 
 ovK bvTa<;, w? et^aacv' alBovpLai rdBe. 
 AX. tcra)? eKepropLTjo-e Kapue kol ae rt?. 
 
 aW apLeXia Bo<; avrd koL <pav\co<; (fiepe. 850 
 KA. X^^P ^^ y^P opuoL'^ opLpLaaiv cr er eicropo), 
 
 '^/reuS?)? yevopbevrj kul TraOova avd^ua. 
 AA. Kai croL too ecrnv e^ epiou ttocflv be aov 
 
 GTei')((j} pLaTevcrcov tcovBe Bcopbdrcov ecrco. 854 
 
 IIP. <w ^ev, AlaKov yeveOXov, pbelvov, (o ae tol Xeyco, 
 
 Tov Oed'^ yeycora TralBa, kol ae tt]v AijBa'; Koprji/. 
 AX. Tt? 6 KoXwv TTvXa'i Trapoi^a^ ; a;? TerapjBt-jKW'i 
 KoKet. 
 
l4>irENEIA H EN AYAIAI 33 
 
 nP. BovXo^, ovx d^pvvofiat rcoS'" y rvxv J^^tp ovk ia. 
 AX. TLVO^ ; e>o? fiev ovx^' X^P'^ "^"/^^^ Kaya/ieiJ,- 
 
 VOVO<s. 
 
 nP. Trjahe t^;? irapoiOev oI'kcov, Tvp^dpeo) B6vto<; 
 
 irarpo'^. 860 
 
 AX. ea-Tafieu' (l)p(i^\ el' re XP/7?et?, c^^ /^* iireaxe^ 
 
 ovvcKa. 
 nP. 7; /xorw Trapovre Syjra ralah' i(j)earaTOV irvXai^ ; 
 AX. w? /AOi'Oi? \e70f9 (iv, e^o) 3' eX^e /SaacXtKoov Soficov^ 
 UP. CO Tu;^?; irpovoid O' rjfiri, crwcraO' 0O9 670; ^fXo). 
 AX. o X070? et? fjLeXXovra aoocrec xpoi'ov ex^t S' ojkov 
 
 TLvd. 865 
 
 KA. Sefrn? eKan ftr) /liXX', et r/ fiot XPV^^^^ Xiyecv. 
 nP. olo-^a Bfjrd ^' ocJTt? oji' o-ot Kal reKvoi^ evvov^ 
 
 KA. olSd <j ovT iyoj TraXadv Say/idrcov ifiojv Xdrpiv. 
 IIP. X^'''^ ^^' ^^ ''"^^^ (xato-i (f>epvah eXa/Sev 'Ay a /lefMvcov 
 
 KA. 17X^69 et9 "Ap709 Ate^' tJ/xo)!^ /cdfjL6<; rjcrO' del irore. 
 nP. w8' ex^L. KOI aol /16V evvov^ elfil, crcG 8' 7](Taou 
 
 iToaeL. 871 
 
 KA. eKKaXvirre vvv iroO' ^)fiLV ovartva'^ Xey6i^Xoyov<;. 
 UP. rrraiSa ariv irari/p 6 (pvaa<; avrox^^p /leXXec fcra- 
 
 velv. 
 KA. 7ra)9 ; direTTTva^ w ye pate, jjlvOov' ov yap ev 
 
 (f)povel^. 
 nP. ^a(iy(ii'(pXevKy)v (f)Oi'evcov rij<; TaXaiircopov Zep-qv. 
 KA. oJ ToXaiv eyw. /jLefi7]V(o^ dpa rvyxdvet 7r6(Tt<; ; 876 
 nP. dpTL(f>p(ov, TTXyjp 619 ere Kal ai]v iralha' touto o 
 
 ov cf)poveL. 
 ' KA. eK T1V09 Xoyov ; tl<; avrov ovTvdywv aXaaropcov ; 
 
34 EYPiniAOY 
 
 nP. 6ea(f)ad\ w? fye (prjai, KaX^a?, iva iropevrjrao 
 
 (TTpar6<;. 
 KA. irol ; rdXaiv iyoo, raXaiva 8' rjv Trarrjp fieWec 
 
 KTevelv. 880 
 
 IIP. AapSdvou TT/DO? ^oofiaO', '^Xevrjv Mei^eXeo)? otto)? 
 
 \d/3rj. 
 KA. el^ dp l(f)t<yev6tav K\6vr]<; vcaTo<^ yv 7r€7rpco/j,evo<; ; 
 IIP. irdvT e^6t9' ^Apre/jLcSc dvaeiv TralSa crrjv /JbeXket 
 
 Trarr/p. 
 KA. o Se jd/jLo<; tIv el^e 7rp6<pacnv, rj /jL eKOfxiGev etc 
 
 Sofiwv ; 
 nP. LV djdyoi<i ')(^obipov(T 'A;^tXXet iralha vv/Jicf)€v- 
 
 aovaa crijv. 885 
 
 KA. (o Ovjarep, 7]K€t<i i^r oXeOpw kol crv kol fiyrrjp 
 
 aeOev. 
 nP. oLKTpd, Trda^erov Bv^ ovcrar Betvd 8' ^Ayafjbi/xvcov 
 
 erXfj. 
 KA. oXy^ojJiai ToXaiva, hdKpvov r ofMfiar ovKeri areyei. 
 IIP. eiirep dX\\ €t/co9 to tSkixop arepo/jievrjv SaKpvp- 
 
 poelv. 
 KA. av he Tdh\ CO yepov, irodev ^rj^ elBevac Treirv- 
 
 (TfjL6vo<; ; 890 
 
 nP. BeXrov (Lyopj^v cpepcov aoL Trpo? to, irplv ye- 
 
 ypap^fxeva. 
 KA. ovK €(t)v rj ^vyKeXevcov TralS' dyeiv Oavovfievrjv ; 
 IIP. /xy fjuev ovM-dyecp' (ppovaiv yap eTV)(6 a6<^ iri<Ji<^ 
 
 /ka. 
 
 TOT ev. 
 
 Kara itw<s (j^epcov ye SeXrov ovfc epbol SlSco^; Xa/Selv ; 
 
 nP. Mez/eX,ea>? dcpelXed^ Vf^d<;, o? KaKcov rcovS* aLTLo<i. 
 
 KA. 0) TeKvov N7]pfjBo<;, co iral TlrjXeco^, K\vei<; rdSe ; 
 
 AX, exXvov ovcrav ddXlav ae, to 3' ip^ou ov (pavXco'i 
 
 <j>€po)» 897 
 
|c|5|rENEIA H EN AYAIAI 35 
 
 KA. Traldd fiov KaraKTevovai aol'^ hoXwaavre^ ya/jLOi^. 
 
 AX. fieficpofiai Kuyw iroaei gw, Kovy^ aTrXw? ouro) (/)epa). 
 
 KA. ovK. iiraLheadrido^eada Trpoaireaelv to abv 'yovv, ^ -ro 
 dvqro^ €K ^e«9 yeycura' ri yap iyco aefivuvofiat ; 
 irepl TLV0<; airovhaareov fioi /jlciWov 17 rejcyov irepj^r 
 aXX ajjivvov, w 6ed<^ iral, rrj r i/jLJj hvairpa^ia 
 rrj T€ XeyOeicrrj Sa/jLapn af], /jLuttjv /jlev, aW ojxw^. 
 ooL Karaareylraa eyco viv rjyov a><; ya/xovfievqv, 905 
 vvv 3' eVt <T^aya<^ KOfil^co' aol 8' oVet8o9 i^erai, 
 oari<; ovk 7]/xui'a<;' el yap /ir) yd/iotatv i^vyrj^, 
 dX)C €K\r/67j<; yovv TdkaLvr)<; irapdevov <^i\o<i i09r 
 
 TTOaL'i. 
 
 7rp6<s y€V€idSo<; Be, tt/do? crrj^ he^ua^, 7r/30? fi-qrepo^;' 
 ovojia yap to aov \l dirciiXecr , (o a gjj/vvaSj^ 
 y^peoov. 910 
 
 o-uK e')((jd /ScofjLOv Kara<j)vyeLv dWov rj to aov yovv, 
 ovBe (f)L\o<; ovBel<i 7reXa<; fioL' ra 8' Ayafie/ivovo^; 
 
 K\vei<i 
 cofia Kal 7rdvTo\/jL' dc^lyfiai h\ cocnrep elaopa<^, 
 
 yvvTj 
 vavTLKov (JTpdTevfjL avapyov kuttI Toh KaKoT^ 
 
 Opacrv, 
 ')(pj]aifiov 8 , oTav OeXwaiv, rjv he To\/jLy']arj<; 
 av fjLOv 915 
 
 X^'^P VTrepTelvai, aeacoafieO'' el Se jMrj, ov aeaw- 
 cTfieda. 
 XO. heivov TO TLKTecv Kal ^epei ^i\Tpov fJieya, ^\ 
 
 irdaLv Te kolvov waO' vTrepKafiveiv TeKvcov. 
 AX. J v-yjryjXocPpcDv fioi 6v/jl6<; a'ipeTai irpoaco' 
 
 I eTTiaTaTai Be rot? KUKolai t dayaXdu i 920 
 '] fjL€TpLco<i Te ')(^aipeiv Tolaiv e^wyKCt)fJLevoL<f. 
 
'> 
 
 6 ^ EYPiniAOY 
 
 XeXoyicrfMevoc yap ol tololS^ elcrlv jBpoTwv 
 
 6pdco<^ 8La^t]i> rov (Biov 'yv(jtJiJbr]<^ /juera. 
 
 euTiv [xev ovv tV rjhv firj \lav (j^povelv, 
 
 eanv he '^(^coTrov ')(^pTJac/bLov jvcofjLTjv e^eiv. 925 
 
 e<y(o 8' iv avhp6<; evcre/Seo-rdrov rpacpelf; 
 
 ^€Lpcovo9, eixaOov roi)^ Tp6irov<; aiTXov<^ ^X^^^' i' 
 
 Kol Tol(; 'Ar/Qe/Sai?, rjv jxev riywvTai Kokco'^, 
 
 nreiaofieO' ' orav he fjur) KaXw'^, ov Trelaofjiai. 
 
 aX)C evOdK iv Tpola r iXevOepav (pvcrtv 930 
 
 'jTape')((ov, ^'Aprj to Kar ifie fcocrpirjcrcL) ho pi. 
 
 a^ h\ w TvaOovcra a^erXca irpo^ rcou ^CkTcncov, 
 
 a hrj Kar dvhpa yiyveiai veaviav, 
 
 ToaovTov oIktov Trepi^aXoov KaraareXw, 
 
 KOVTTore Koprj arj 7rp6<; irarpo'^ crcpayrjcreTai,, 935 
 
 e/jLT) (paTLcrOela' ou yap epbirXeiceiv irXoicd'i 
 
 iyco irape^a) aw iroaeu tov/jLov hefia^;. j^'-^^^- 
 
 TOvvofjLa yap, el koI fir) Gihrjpov TJparo, 
 
 Tovjiov (f>ov€vaec nralha ai^v. to 8' atTiov 
 
 TTOcrt? (t6<;' dyvov h' ovfceT 6(JtI awfi ifiov, 940 
 
 el hi efJb oXelTai hid re tov<; e'yLtoi)? yd/jLovi 
 
 T] heivd TXdcra kovk dveKTo, irapOevo^, 
 
 OavjuacTTa 8' w? dvd^i rfTLfiao-pLevrj. 
 
 iyco KdKL<TTo<; 7]p ap ^ Kpyelwv dvrjpy 
 
 iyco TO ii7]hev, Mez^eXeo)? 8' iv dvhpacnv, 945 
 
 (w? ou^l Yir]Xe(o<^, dXX! dXdcTTopo'^ 767009, 
 
 etirep <povevaei tov/jLov ovopua crat iroaeL 
 
 p^d Tov hi vypwv KvpudTwv TeOpapbpbevov 
 
 N7]peay (pvTovpyov &eTLho<; y pj iyelvaTO, 
 
 ov)(^ dyjreTai crrj<i OuyaTpd<i ^AyapLepLvwv dva^y 950 
 
 ovh^ eh aKpav xelp\ waTe irpocr^aXelv 7re7rXot<;' 
 
 rj XiTrvXo'i ecTTat, vroXi?, (opicrpa ^ap/^dpcov, 
 
I0irENEIA H EN AYAIAI Z7 
 
 oOev 7r€(f>vKaa ol crrpaTTjXdraL yevo^;,) 
 ^dLa<; 8e rovvo^ ovSafiov K€K\rj(T€TaL 
 7rcKpov<; de 7rpo)(^vTa^ ^epiY/3a9 t' evap^erai 955 
 Ka\;^a? 6 fiavrL^. ri^ he jjlcivtl^ ear dvt'jp, 
 o? 6X17' d\7]0fj, TToWd Se ^fr6vBfj Xiyec 
 Tv^^i/' oiav he. jmi) tvxiJ, hioixerac; 
 ov T03V ydjjLwv eKart, fivptai Kopat 
 drjpwcTL XeKTpou tov/xcv, el'prjTai roBe' 960 
 
 aXV v^pLV €9 7//X(/9 viSpia 'Xyapieiivwv dva^- 
 XP^^ ^' civTov alrelv tov/jlov ovo/jl efiov irapa, 
 6}']pafia Tratho^' y KXyraifivrjcrTpa 3' ejiol 
 fidXiar eireLaOrj Ovyarep eKhovvau iroaei. 
 eScoKd rdv "YXKijcnv, el 7rpo<; "iXiov C)6s 
 
 ev rd)6 eKa/jbve voctto^' ovk, rjpvovfieO av 
 TO KOLvov av^eiv (Lv fier eaTpaTevojjLrjv. 
 vvv S' ovhev elfJLL irapd ye to?<; o-Tparr/XaraL^, 
 ev evfiapel re hpdv re Kal jMr) hpdv KaXw^. 
 rdx e'laerat alS-qpo^, ov Trplv et9 ^pvya<i 970 
 eXdelv, (f)6vou KrjXlcnv ai/xaro^ ^pai/&), 
 €L TL^ /xe rrjv crrjv dvyarep' e^aip7]creTai,. 
 aW' 7;cru;^a^e' 6e6^ eyco irec^rjva aoL 
 /jLeyiaro'^, ovk wp' aXX^ '6fi(o^ yevrjaofxai. 
 
 XO. eXefa9, cJ Tral lirjXeo}^, crov r d^ia 975 
 
 Kol TJ79 evaXia^ hatfiovo^, aefjLvrj<i deov. 
 
 KA. (f)ev' 
 
 7rc39 civ a eiraivecrai^t firj Xlav X6yoL<;, 
 
 fiTjB' 6VSea;9 rovB' diroXecrai/j-L Tf}v ^apti^; 
 
 alvovfievoi yap ayaOol rpoirov tlvu 
 
 fiLaoiKTL TOL'9 alvovvTa<s, 't]V alvwa dyav. 980 
 
 alaxvi^o/iat he iTapa<^epovcr olKTpov<i X6yov(;, 
 
 Idla loaovcra' av S' dpocro<; KaKwv y ip.(Lv. 
 
3S EYPiniAOY 
 
 aX)C ovv €')(£L TOi a')(^)]fxa, kclv airwOev y 
 dvfjp 6 y^prjaro'sf SucrTv^ovvTa<; wc^eXelv. 
 oiKreipe 8' ^J/^a?* ol/crpa 'yap TreirovOaixev. 985 
 ?) Trpoora fxev ere yafi/Spov OLT^dela e^eiv, 
 K€vrjv Karecr^ov iXirlS ' elrd aoi rd^a 
 
 OpVL<^ 'ykvOlT dv TolcTL JxeXXoVCTLV 'yd/jLOL'^ 
 
 Oavova efJUTj iral^, b ere (^vXd^aaOav ')^peu>v. 
 dXX' €v fiev dp'^a'i eiira^;, ev Be koL reXrj' 990 
 crov <ydp OeXovro'^ Trat? ejirj acoOrjaeTai. 
 jBovXei viv LKeTLV gov TrepLTTTv^at yovv ; 
 dirapdevevra fiev rdh^' el Be <jol BoKec, 
 7]^ei, ot aibovs ofjbjjb e^ova eXevuepov 
 el 3' ov 7rapovcn]<; ravrd rev^o/jLai aeOev, 995 
 jjLeverw Kar oXkov<^' aepuvd yap aepLvuveTac. 
 ofjLco(i B' oaov ye Bwarov alBelaOac '^(^pewv. 
 AX. (TV /jLTJre arjv iraio e^ay 0^0' €69 €fir)V, 
 firjT et? ovecBof; d/ia6e<; eXOayjiiev, yvvai' 
 arparof; yap adp6o<; dpy6<i wv twv oiKodev 1000 
 Xea^a'^ irovrjpd^ Kal KaKoarojuLov; (fitXet. 
 nrdvToy^ Be p! iKeTevovTe^ rj^er eh Icfqv, 
 el T dvLKeTevT(o<^' el? ifiol yap ear ay(hv 
 ybkyiGTO'^ vpid^ e^airdXXa^ai KaKcov. 
 ftj? ev y aKovaaa ccrdi, firj yjreuBcu'i pb ipelv' 1005 
 ^|revBrj Xeycov Be Kal p^drrjv eyKepTopbWv 
 0dvoLp,L' prj Odvoipbi B\ rjv crojcro) Koprjv. 
 KA. ovaLo crvve)^oi}<; Bv<JTV^ovvTa<i cocjieXcov, 
 AX. (ZKOve Bf] vvv, liva to it pay p.^ e')(r] KaXw^. 
 KA. Ti TOVT eXe^a?; cJ? aKovareov ye crov. loio 
 AX. irelOcopev avOt^i irarepa (SeXriov ^povelv. 
 KA. Kaic6(; Tt9 earu Kal Xiav rap^el arparov. 
 
 AX. dXX ol XoyoL ye KarairaXaiovaLv X6yov<i. 
 
 \ 
 
 \ 
 
-Axx 
 
 l4)|rENEIA H EN AYAIAI 39 
 
 KA. "^v^pd fiev e\'irL<;' o n he XPV'^ A*"^ Spav (ppdaou. 
 
 AX. IK6T6V iKelvOV TTpWTa /ir) KT61V6LV T€KVa' IOI5 
 
 iju 6' civTi^aivrj, irpo'^ ifie gov iropevreov. 
 fj yap TO ')f^pf]^ou eirlOeT, ov rov/Jiov '^peaju 
 j^wpelv' e;^€t yap tovto rrjv acoTTjpiav. 
 Kayco T a/xeU'cov irpo^ (j)i\ov yevrjcrofiaL, 
 GTpaT6<^ T dv ov /JLefi-yp^airo jjl , el ra Trpay/iara 
 Xe\oyicrfi€U(D<; Trpdcrcroifit fidWov rj aOevel, 1021 
 KoXoj^ he Kpav6evT(ov, irpo^ rjOovrjv (f)i,Xot<; 
 aoi r dv yevoiro Kav e/xov x^P'^^ rdSe. 
 
 KA. ftj? accx^pov eiTra?. Spacrreov 8' a aoi EoKet. 
 
 TjV 8' av Tfc fir) rrpdaawfiev wv iyco Oekw, 1025 
 TTov (T avdi'^ oyfro/jLeaOa ; irol ')(^prj /jl aOXtau 
 eXOovaav evpelv arjv y^ep* eiTLKOvpov KaKcov ; 
 
 AX. 7]fieU ere cjivXake^ ov ^pewi^ (pyXdacrofieu, 
 fJLY] Ti? o" rS/7 arei'^ovaav eTrrorj/jLevrjp 
 Aavaoijv hi o-)(\.ov' firjhe irarpcoov hofiov 1030 
 aia^vv ' yap rot ^vvhdpew^ ovk d^io^ 
 KaK(jo<; aKoveiv' ev ydp "KWrjaiv /u-eya?. 
 
 KA. earai rdK. dp-)(e' aoi fie SovXeveiv '^pecov. 
 €L ecai ueoiy OLKaLO<^ cov autjp 
 eaOXoJv Kvpi']aei<;' el he firj, tl hel irovelv ; 10 ■ 
 
 XO. Tt9 dp vfievaLo^ hid Xwtov AZ/Suo? arp. 
 
 fierd r€^tptko-)(opov Kiddpa^ 
 (Tvpiyywv 6' VTTO KaXafioea- 
 adv ecTTaaev la^dv, 
 
 or ava Yii^Xiov al KaXXiTrXoKafioc 1040 
 
 Uieplhe'^ nrapd hacrl Oewv 
 y^pvaeoadvhccTCov \')(yo<i 
 ev yd Kpovovaai 
 
40 EYPiniAOY 
 
 fjLe\(p8oL<^'S6TLV a-)(r)ixaai rov r AlaKiBav 1045 
 liLevTavpayv dv* 6po<; Kkeovaai 
 Ji'^Luha KfiO^ v\av. 
 6 Be AapCaviSa^;, Aio? 
 
 XeKTpcov Tpvcf)7]/jLa <Pl\ov, 1050 
 
 '^pvaeoLcriv a^vaae \oi(3av 
 0ev KpaTr]pw}/ yudXoi<;, 
 o ^pvyio? Tavv/jL7]Br]<;. 
 irapd 8e^X£yK0(f)ay '\^dpia6ov 
 el\i(Tcr6iJievai\KVK\ia\ 1055 
 
 irevT'qKovTa jcopai ryd/jbovi 
 N?7pe&J9 i'^opevaav. 
 
 dvd 8' iXarat^iyrvv aT€(f)av(i)Bec re X^oa dvT. 
 6iaao<i efJLoXev iinTo[3dTa<; 
 
 J^evrav pcov eTrl Balra rav 1060 
 
 Oecijp Kparrjpd re Ba/c;)^Of. 
 fieja S' dviKkayav' '' (v lS^7]prjl Kopa, 
 iralBa ae (deaaa^ia fxe'ycL ^cti? " 
 fidvrL<i 6 cf)Ot^dBa fjiovaav 
 
 etSoj? ''' <yevvd(jeiv" 106$ 
 
 l^elpcov i^ovofia^ev, 
 
 *' 09 ^;^et \Oova Xo'^yjipecri avv "Mvp/jLcBopcov 
 dainaTal'^ YlpLdfiOLo Kkeivdv 
 
 'yalav eKirvpooawv, 1070 
 
 nrepl crco/jiarL '^pvaewv 
 ottXcov 'H.cpaLaTO'rrovcov 
 KeKopv6fM6vo^ evBvT, eK 6ed<^ 
 /j,aTp6<; Bcopij/iar ix^^ 
 ercoo'^, a viv erLKjev. 1075 
 
IcMTENEIA H EN AY/MAI 41 
 
 fiaKcipLov rare Bal^ove'^ 
 Tu<; evTrdrpiSo^; ^ 
 
 Ilr]\ea)<; 6' vfxevaiovi, 
 
 ae B\ w /copky^are-^oucn KaWiKOjxav lircpZ. loSo 
 
 TrXoKajJiov Apyelot, ^aXidv 
 
 toare irerpaiwv djp^ dv- 
 
 rpwv eXOovaav^opeiav 
 
 fxocr-xov dKyjparov, 
 
 jSporeiov ai/juaaaovre'^ Xaijjiov' 
 
 ov avpiy^L rpacpelaav, ovd 10S5 
 
 eu poi^hrjaeai i3ovk6\cov, 
 
 irapa he fiafepi vufjicpoKOfMOV 
 
 irov TO ra? atSou? ere, irov 
 
 rd^ aperd<; aOivet re TrpoacoTTOV ; 1090 
 
 oTTore 'rb^-jyk^v ucreirTov €)(^€0 
 
 hvvacriv, d 8' dperd KaroTTC- 
 
 aOev Ovarol^ dfieXelrai, 
 
 avofiia hk vofioiv Kparel, IC95 
 
 Kal /jbrj K0Lv6<^ dycov jBpoTol<^y 
 
 fiyj Tt9 6€(i)i> (^96vo<=; e\6r]. 
 
 KA. e^rjXdov oI'kcov TrpocrKOTTovfxevT] Troaiv, 
 ')(^povLov dTTovra KdKXeXotTTora areya^;. 
 ev haupvoLai S' rj rdXaiva Trat? 6/a/;, iioo 
 
 TToWa? lelcra /x6Ta^o\d<; oBvp/xdrayv, 
 Odvarov aicovaaa, ov Trarijp jSovXeveraL 
 /jlv}']IjLT]v S* dp' elxov irXrjaiov (3€/3r,K6TO<; 
 *Aya/jL€iJLvoi/o^ Toud\ 09 iirl Tot<; avrov T6Ki'0t<i 
 
42. EYPiniAOY 
 
 avbaia irpdaacov avTi'^ evpe6r]aeTai. 1105 
 
 AFA. Arjha<i yeueOXov, iv koXw a e^co So/xcov 
 v'^PVXi tV etTTco irapOevov '^wpX^ \6yov<^ 
 ov'^ ovK CLKOveiv Ta<; yapbovyikva^ irpkirei. 
 
 KA. tL 8' earcv, ou aoL Kaupo'^ dvTiXd^vrac ; '^ 
 
 ATA. eKirefiire TralSa Scopbdrcov Trarpo^; p^era' mo 
 
 o)? ')(epvi^e<^ Trdpetacv TjurpeTriap^evaL, . 
 irpoyvTCiL T6 ^dWeuv irvp KaOdpcnov yepolv, 
 pb'o&yoi re, irpo r^dpbwv a? 6ea irecrelv ')(^pewv 
 ^ApT6p,iSc, fi€\avo<i atparo'^ (f)vcr^p,ara. 
 
 KA. Tot? ovopbaaiv puev ev Xiyec^, rd 3' epya aov 11 15 
 OVK otS' OTTO)? ')^pr] pb ovopudaaaav ev \ey6LV. 
 yoypei he Ovyarep iKr6(;, olaOa ydp irarpo^ 
 iravrax; d pieWei, 'yyiro tol<; TreTrXoi? dye 
 \a^ov(T ^Opeajriv aov KaaiyvrjTOV, reKvov. 
 ISov irdpeanv rjhe 'Trei6ap')(ov(7d aoL. 1120 
 
 rd 8' dX\! eyco irpo rrjcrSe Kapiavrrjf; (fypaaco. 
 
 AFA. TeKvov, tl /cXa/ei?, ouS* ed' rjSeco'? opd^, 
 
 et? yrjv 8' ipelaaa opLpua irpoaB' e^^ei? TreirXov^ ; 
 
 KA. <l)ev' 
 
 Tiv dv 'XdpoipLL Twv epbwv dp')(rjv KaKwv; 
 cLTracn ydp irpooroicn ')(^pr)craa6ai irdpa 1125 
 
 \^fcdv vardTOLG-i Kdv pLecroLcn Travra'^ov^. 
 
 AFA. TL 8' ecTTLv; w? llol -rrdyre^^^l^i ev i^jKere, 
 crvyyvaiv ey^ovre'^ Kai rapayp^ov opupiaTcov, 
 
 KA. el(^ dv ep(OTi]aco ae yevvaiw<^, iroai. 
 
 AFA. ovZev KeXevcrp^ov 8et pb ' epwrdaOai OeXco. 11 30 
 
 KA. rrjv TralSa rrjv crrjv rrjv r epurjv pLeWei^ Kravelv ; 
 
 AFA. ea- 
 
 rXr/povd y e\e|a?, virovoeU 6' d puij ae XP^' 
 
 KA. ex yavxo'i, 
 
l4>irENEIA H EN AYAIAI 43 
 
 K(lK€Lv6 /jLOC to TTpCOTOV aiTOKplVai TToXlV. 
 
 ATA. av 3' iju y €po)Ta<i eiKor, eUor av k\vol<;. 
 
 KA. ov/c aXX' epcoTO), Kal au firj Xey' dWa fioc. 1135 
 
 A FA. w iTOTi'ia piotparKal rvxv ^at/xo)!/ t ifio^. 
 
 KA. Kafjio^ ye Kal Trjah\ eh rptcov BvaBai/jLovcov. 
 
 AFA. TtV 7]SLK7]cra; KA. tout efiov TrevOei irdpa; 
 6 vov^ oK avTO^ vovv eywv ov Tvy\avei. 
 
 AFA. di70)\6p.6a6a. TTpoSeBoraL rd Kpuirrd fiov. 1140 
 
 KxV. TTuvT olda Kal ireirvapieO' d av /xeWeK; fie hpdv 
 avTo he TO CTLydv ofxoXoyovvTO'^ ccttl crov 
 Kal TO aTevd^etv TroWd. firj Ka/irj^; \eywv, 
 
 AFA. Ihov (TLCoTTco' TO <ydp dvaLcr')(yvTov tl Sec 
 
 yfrevhr} XeyovTa irpocrXa/SeLV tj} crv/jL(f>opa ; T145 
 
 KA. aKOve Br] vW dvaKaXv-^w yap Xoyov^, 
 KovKeTi TrapwBoh XPV^ofLecr6' alviyfiaaiv. 
 irpcoTOV fiev, iva <jol irpitiTa tovt oveiBicrco, 
 eyrj/ma^ aKOvadv fie KoXape^ ^ia, 
 Tov irpoaOev dvBpa TdvraXov KaraKTavcov, 1150 
 j3pe<^o<; re Tovfibv ad) 7rpo(TcvpLaa<; iraXcOy 
 1 fiaaTUiV l3caLco<; t(3v i/idjv d7roa77a.aa<;. 
 -,^^ Kal TO) Ato? T6 TralB' ifico re avyyovo) 
 LTTTTOLCTL fiapiialpovT eireaTpaTevaaTrjv' 
 iraT-qp Be TrpeV/Su? TvvBdpedc)<^ a eppvaaTO 1155 
 LKeTTiv yevopLevov, Tap^d 3' e<T;>^e? av Xe-)(r]. 
 ov aoc KaTaXXa')(^del(Ta irepl ae Kal Bofiovi 
 avp,pLapTvpri<T€i,<; w? dfiefiTrTO^ rj yvvyj, 
 el? T ^A(f)poBLTr]V a(o(f)povovcra Kav to crov 
 fieXaOpov av^ova, wcrre a elcnovTa re 1160 
 
 yaipeiv Ovpa^e t c^lovt evBaifiovelu. 
 airdvLov Be 6t]pev/Jb dvBpl TOiavTrjv Xa(Belv 
 BdfiapTa' (jiXavpav B' ov crirdvi<i yvvalK ex^iv. 
 
44 EYPiniAOY 
 
 TLKTCO S' eVl rpial irapOevoLai TralBd croi 
 t6vB\ (Lv /uLia<; (TV T\r]fi6voj<; fju airoaTepel^. 1165 
 Kcxv TL<; (J eprjrai, tlvo<^ e/carl vlv KTevel<^, 
 Xe^ov, rl (f)ij(T6i<^ ; rj '/ue ')^prj Xeyeiv ra ad; 
 '^XevTjv Me^'eX,e&)? Xva Xd/Sjj. KaXov <ye tol 
 KaKrj^ yvvaiKo^ paaOov dirorlcrai reicva. 
 TayQidTa toIcfl cf)LXrdTOt<; (ovovfxeOa. 11 70 
 
 . a'y\ el o-rparevaei KaraXtTrcov fx iv Sa)fiacnv, 
 Kafcel yevrjcreL Bed fia/cpa^i dirouaia'^, 
 TLV iv B6fjiOL<; /jL6 Kapolav e^etv SoKec'?, 
 orav Opovovs TrjaS* elalSco Trdvra^; k6vov<;, 
 Kevov^ he irapOevwva.'^, eVl Se Bafcpvoc^; 1175 
 
 fjbovT] Ka6cojjLaL, TTjvBe Oprjvwhova' del' 
 aTTcoXecrev cr\ w reKvov, 6 (pVTevaa^ Trarrjp, 
 avro'^ fCTavwv, ovk dXXo<; ovB' dXXr) X^P^> 
 [roiovBe (JLiaOov KaraXtTrcov Trpo? rov<; So/Ltof?.] 
 I eVet ^pa')(eLa<; 7rpo(f)daea)<; eSet /lovov, 1180 
 
 e^' rj a iyco koX 7ralSe<; at XeXetpbi^Levai 
 he^ofieOa he^LV i]V ae he^ao-Qai 'X^pecev. 
 fjLT] hrjTa irpb^ Oewv jir^r dvayKdarji^ efxe 
 KaKYju yeveaOat irepl ae, [xrjr avro'^ y^vrj. 
 eiev' 
 
 6vaet<; Se rrjv TratS'' elra rlva^ 6u%a9 epeU ; 1185 
 Tt (TOt Karev^ec rdyaOov, acf)d^(j)v re/cvou ; 
 vocTTov irovTjpov, oXicoOev <y alaxp^'^ tcov ; 
 dXX^ 6/xe hiKaiov dyaOov evx^crOal n croi; 
 ?7 Tap' davveroU^ ,TOV<; 6eov<; riyoLtieO dv, 
 eu TOLcrtv avuevTaiaiv ev (ppovrjcro/xev. 1190 
 
 ^K(ov S' 69 "Ap709 irpoaTrecrel reKVOLcri, cro2<; ; 
 dXX' ov 6efjLL<^ aoL. Tt9 he koI Trpoa^Xeyjrerat 
 TTaihcov (T , edv a^wv irpoeixevo'^ Krdvr}<; nvd; 
 
 % 
 
j l4>irENEIA H EN AYAIAI 45 
 
 jJLOVOV Stacfyepetv kol arpaTriXareiv ae hel ; if 95 
 ov XP^l^ SiKatov Xoyou ev \\py6L0i<; XiyeiW 
 I3ov\ea0\ 'A'^aioi, rrXelv ^pvycou eirl yQova; 
 KKripov TtOeaOe Tracd^ orou Oavetv ^^pecov. 
 ev Lp-(p yap i)v T6h\ dX\d firj a i^acperou 
 aqxiyiop Trapao-^i^LU AauatSatac iralha crrjv, 1200 
 17 ^leueXecov irpo ixrjrpo^; 'Kp/jLtovrjv Kravelv, 
 ovirep TO nrpdyfji rjv, vvv S' iyw fxev tj to cov 
 aw^ovaa Xeicrpov Traihp<; icTTeprjcro/iaL, 
 r] 8' i^afxapTova, v7r6pbq)ov vedviha 
 ATrdpTT] KOfjLL^oua, evTV^rjf; yevr/creTac. 1205 
 
 TovTWV dfMeL-y\rai pH et rt yu,?) f<:aXdj<; Xeyco' 
 el 8 ev XeXeKTac, jjieTavoei Srj firj Kravelv 
 T7JV ay')v Te Ka/jL))v iralta, kol aaxppcov eaet. 
 
 XO. TTidov. TO yap TOi TeKva crvvcrwl^eLV KaXov, 
 
 Aya/xe/jLvov' ovBeU rotcrS' dv dvTetTroc ^poTWv. 
 
 I4>. el fiev Tov 'O/J^eoj? ^^I'X^^^ ^ iraTep, Xoyov, 121 1 
 TzelOeLV eTrdSova, coaO' ojjLapTecv jjlol 7reTpa<^, 
 KTjXelv Te T069 Xoyoiaiv 0O9 €/3ouX6/xi]v, 
 evravd dv -^XOov. vvv Be ravr' e/jLOu aocjid, 
 SaKpva irape^co' Taura yap Swai/xeO' dv. 1215 
 iKeTTjpiav Se yovaaiv e^diTTco aeOev 
 TO (Twp.a TovfjLov, oTTEp eTiKTev r]he aoL, 
 fjL7] fJb d'jroXear]<^ aoipov' rjhv yap to (p(t)<; 
 Xevaaeiv' Ta 8' vtto 779 [ii] p! IBelv dvayKaarj^. 
 TTpooTTj a eKdXeaa Trarepa Kal av TralS' ifii' 1220 
 TTpcoTTj Se yovaai aolai awjia hova e/xov 
 (j)LXa<; 'x^pLTa<i eowKa KdvTehe^dfjL'qv. 
 X070? 8' 6 pLev G-o^ rjv oS'* dpd a\ w Te/cvov, 
 €voaip,ov dvop6<; ev SopLocacv oy\rop.ai^ 
 
 II. I. 4 
 
>; 
 
 4^ EYPiniAOY 
 
 ^coadv re kol OaXkovaav a^t«9 ifiov ; 1225 
 
 ovjiib<; S' 08' ^i^ ay Trepl aov i^apTa>/jievr]<i 
 jiveiov, ou vvv avriXd^v/jLac %6pt* 
 Tt o ap e'ycu ere, nrpeapw ap eicrbe^ojiai 
 ificov (ptXacaLv uTToSo^^at? SofKov, ircnep, 
 TTcvcov TL6r]vov<; aiTohihovaa aoL Tpo<pd<^ ; 1230 
 TovTcov iyw fjuev twv Xoycov /jivt]/jb7)v e^(o, 
 (TV 8' €71 LXiXycT at, Kal fi aTfOKTelvab 6eXeL<;. 
 /jLTJ 77/309 ere TleXoTTo? Koi Trpo? 'Aryoeo)? irarpo^; 
 Kol rrja^e /JL7]Tp6<;, y irplv coBivova e/ne 
 vvv Bevripav coSha r/jvBe \a/JLl3dv€i. 1235 
 
 Ti fJLOL fieTeart tmv AXe^dvhpov ydficov 
 'Ej\6vr}<; re; nroOev rjX6' eV oXeOpro TWfxco^ irdrep; 
 P\e^\rov 7rp6<^ ^/u-a?, ofifia 809 (piXij/jud re, 
 LV aXXd TOVTO Kardavova e^co aedev 
 /jLV7]fjL€L0v, jEL fXTJ TOL^ iixol'^ TTetaOfj^; \ 6<yoL<i. 1240 
 dSeXcpe, fiL/cp6<; fiev av y iiTLKOvpo^ (f)LXoL<;, 
 ofjb(i}<; Be (TvvSdKpvcrov, iKerevaov Trarpo^ 
 rrjv crrjv aBeX<pr)v /jurj Oavelv' aLcrOrj/jbd rot 
 Kav vrjiTLOLat rcov kukcov iyyuyveraL 
 iSov atcoTTOov Xiaaerai a oB\ w irdrep. 1245 
 
 aW' alheaal fie Kal KaTOitcTeipov jSiov. 
 vaiy 7rpo<; yeveiov a avrojieaOa 8vo (piXco' 
 b /jL€V V6oaao<i iariv, i] 8' rjv^rj/xevr]. 
 6V avvrTfiovcra irdvra VLKrjacd Xoyov' 
 TO 0W9 ToS' dv6p(t)iT0i(Tiv TjScarov /SXeTretv. 1250 
 ra vepOe 3' ovhev' fiaiverai, 8' 09 ev')(eTai 
 Oavelv. KaKw^ ^tjv Kpelacrov rj kuXco^; Oavelv. j-' 
 XO. w rXrj/jLov EiXevT], Slu ae Kal toi)9 (701)9 'Yd/jLOx;^^ 
 dycov 'AT/3et8ai9 Kal reKvoa r]Kei fxeya<^. j:^ V 
 V\ AFA. iyw rd r oiKrpd (TvveT6<; elfit Kal rd fiy, 1255 
 
I^IFENEIA H EN AYAIAI 47 
 
 (f)i\(t)i' €/jLavTOU TeKva' fiatvoLfxr]v yap av. 
 8ea&)9 S* e;^6t /xot ravra roXfirjaaL, yvi>aL, 
 Beivco^ Be Kol /xry tovto yap irpa^ai fie Set. 
 opaO' oaov arpdrev/JLO^ vavcppaKTOV roSe, 
 '^a\K6u>v 6' ottXcov aiaKTe<; 'EWrfvcov ocroi, 1260 
 ol? v6aT0<; ovK ear ^Wiov irvpyov^; cttl, 
 el iiy] ere dvao), fiavrL^; w? KaA,;^a? Xeyet, 
 ol'8' ecTTi Tpoia^ e^eXelv KXeivov ^aOpov. 
 /jie/j.rjve 8' WcfypoBLTTj^ri^ 'KXXtjvcov arpa-rcp 
 TrXelv W9 T«;\^/o"Ta jBapfidpwv iirl '^Ooi^a, 1265 
 iravaal re XeKrpcov dp7raya<; E^XXrjvLKaf;' 
 OL ra? r ev "Apyet irapdivou^ Krelyovai fxov 
 i'fid<; re Ka^ie, 6€(T(f)ar el Xvaco 6ed^. 
 01) Mei^eXeo)? fxe Ka-ahehovXcorat, reKvov, 
 ovB' eVl TO Keivov /SouXo/nevov eXrjXvda, 1270 
 dXX! 'EWa?, f) Bee, Kav OeXw Kav firj OiXw, 
 Ovcrai ae' tovtov 8' rjacrove^ Kadearafiev. 
 iXevOepav yelp Bel vtv oaov ev aoi, reKvov, 
 Kci/iol yevecrOai, iirjBe ^ap/3apo)v viro 
 "KXXT]va<; ovra^ XeKrpa auXacrdac /Sia. 1275 
 
 KA. (o reKvov, w ^evac, 
 
 at ^yd) davdrov rod aov fieXea. 
 (pevyet ae Traryjp '^AiBrj 7rapaBov<;. 
 
 I<l>. ot '7ft), fidrep' ravTov yap Brj 
 
 fieXo<i etV a/Kpo) ireirrwKe TV)(^ric, 1280 
 
 KovKeri /jlol (pd)<; 
 
 ovB^ deXiov roBe (f)eyyo<i. 
 
 iCO 10). 
 
 vi(j)6^oXov ^pvycov vdiro'^ "ISa? r 
 opea, Y[pLa/jLO<; oOc irore ^pecpo^ diraXov e,3aXe 
 
 4—2 
 
48 EYPiniAOY 
 
 /uLarpof; dTroirpb vocr(j)i(Ta^ 1286 
 
 eVl /jbopw OavaroevTi 
 Tidpiv, 09 'ISaio? 
 
 'ISato9 iXeyer iXeyer iv ^pvycov iroXei. 1290 
 fjbr] iror wipeXev rov d/jL(f)l 
 
 /Sovcrl ^ovKoXov rpacj^epra 1292 
 
 OLKLcrat, d/ji(f)l to Xeu/cov v8u)p, o9l 1294 
 
 Kprjvai lSlv/ji(f)dv Kelvrai 1295 
 
 XetfjLoov T avdeau OdWcov ^ 
 
 ')(\copo2^, Koi pohoevra 
 dvOe vaKLvOivd re Oealai hpeiretv' 
 €v6a TTore IlaWa? efioXe 1300 
 
 KOL SoXio^pcov Ki;7r/3i9 
 "H.pa 0^ *Ejp/jLd<; 0\ 
 6 Ato9 ciryyeXo<;, 
 a jiev iirl iroOw Tpv(f)coaa 
 
 Ki^Vy3t9, a Be Sovpl JlaXXd<^, 1305 
 
 Upa T€ A109 dvaicro^ 
 evvalai ^aacXicTiv, 
 Kplaiv eirl arvyvdv kpcv re 
 KaXXovd'^, ifjbol Be OdvaroV 
 
 ovojJLa fidv ^epovra AavatBaL<i, (TLVog Kopa, 1310 
 / irpoOvixar eXajSev "AprefiL<; 7rpo9 "IXlop. 
 6 Be reKoov /xe rdv rdXacvav, 
 (ti fiarep cw fjbdrep, 
 oi'^erai 77^0801)9 epij/jiov. 
 
 CO BvardXaiv eyco, iriKpav 1315 
 
 iTLKpdv ihovaa BvaeXevav, 
 (povevofiat BtoXXufMai 
 ccpayalcrcv dvocrioLcnv dvocriou 7raTpo9. 
 firj fioL vaoov '^^^aXKefi^oXaScov 
 
l4)|rENEIA H EN AYAIAI 49 
 
 7rpv/jLva<i a8' AO\t? Be^aaOac 1320 
 
 TovaS' 66? op/jLOV<; et? Tpotav 
 
 ojcpeXep iXdrav Tro/jLTraiav, 
 
 /X77S' dvraiav l^vpLiro) 
 
 irvevaai irojjbTTav Zey?, fietXicracoy 
 
 avpav dWoc<; dWav dvarwv 1325 
 
 \aL(pecri ')(aLpeiv, 
 
 Tolcn he Xvirav, rolai 8' dvd'yKav, 
 
 rol<; 8' €^op/j.di>, rot? he areWeiVy 
 
 Tolai he /jbiWeiv. 
 
 y iroXvfio-xpov dp* rjv jevo^, y '7To\vfio-)(6ov 1330 
 
 dfjLepiOJv, TO '^pewv he ri hvairoTfJiov 
 
 dvhpdauv dvevpelv. 
 ■> \ ■) I 
 
 tOJ tft), 
 
 fieydXa irdOea, fieydXa h d-)(ea 
 
 Aapathat<i TiOelcra Tvvhapl'^ Kopa. 1335 
 
 XO. €70) jjLev OLKreipco ere av/Ji^opd(; KaKrj<^ 
 
 Tv^ovaav, oia<^ firjiror ct}<^eXe9 TV')(elv.'^ 
 \^. CO reKovaa /jLTJrep, dvhpwv 6^(Xov elcropo) TreXa?. 
 KA. TOP 76 T^/? 6ed<; iralha, TeKvov, w av hevp 
 
 eX7]Xv6a<;. 1339 
 
 1^. hLa')(aXdTe fJLOi fieXaOpa, h/xcoe^^, &5? Kpvyjro) 8e/xa?. 
 KA. TL he, TeKvov, <j>evyei^ ; 1^. 'A-^iXXea Tovh' 
 
 Ihelv ala-^^^vpofxat. 
 KA. 0J9 TL hr) ; 1^1^. TO hvaTV^e<; ixot toop yd/jLCOP 
 
 alhw ^epet. 
 KA. ovK ip d^poTTjTC Kelaat 7rpo9 ra pvp TreiTTcoKOTa. 
 dXXd ixijjLp'' ov aefjLPOTijTOf; epyop, rjp hvpco/jueOa — 
 AX. cJ yvpac TdXaLPa, A/;8a? dvyaTep, KA. ov yjrevhy} 
 
 Opoeh. 1346 
 
50 EYPiniAOY 
 
 AX. Belv iv ^ApyeLOL^ ^oarai KA. Tiva (Sorjv ; err}- 
 
 jjLaive fJLOL. 
 AX. afJi^L arj<i TraiSo?, KA. irovqpov elira^ olwvov 
 
 Xoycov. 
 AX. (W9 XP^^^ cr(f)d^aL crcpe, KA. /couSeW TolaS* 
 
 ivavTiov Xeyei; 
 AX. eU Oopv^ov eycoye KavTO^i rjXvdov, KA. tlp\ w 
 
 AX. aw/jLa Xevadrjvab Trerpoicn. KA. /icou Kop-qv 
 
 acp^cov i/jirjv ; 1350 
 
 AX. avTo Tovro. KxV. rt? B av erXr) (Tco/iaTO'^ tov 
 
 aov diyelv ; 
 AX. iravre^ EWT^z^e?. KA. crTpaT6<i 3e ^IvpfMcScau ov 
 
 aoL iraprjv ; \ 
 
 AX. TrpajTOf; rjv i/cetvo'i i^6p6<;. KA. Bi' up" oXojXa/jLev, ''^'''"' \ 
 
 reKvov. 
 AX. oX pue TOV ydp^wv direKokovv rjacrov. KA. vireK- 
 
 pLvo) be TL ; 
 AX. TTJv ep.r]v jxeXXovaav evvrjv pLrj Kravelv, KA. Bi- 
 
 Kaia yap. jf/ff f,% w<~^ 1355 
 
 AX. Tjv i<j)r}/jLicrev irarrjp fioL KA. KapyoOev y iire/JL- 
 
 ^\raTO, L * 
 
 AX. dXX ivLfccopLTjv KeKpaypLov. KA. to ttoXu yap 
 
 Beuvbv KaKov. 
 aXX ofjLco<; aprj^op^ev dot. KA. Kal p^a^el ttoX- 
 
 Xolaiv el? ; 
 
 AX. eLcropa<i "^^^XV <p^povTa<; rovaS* ; KA. ovaio toov 
 , (^pevwv. 
 
 AX, aXK 6if7]o-6/jL€a6a. ^K.Tral'^dp' ovKeria^ayrjaerai; 
 AX. ovK, ip^ov y e/coz^TO?. KA. rj^et K ocrTL<i dyjreTai 
 
 Koprj^ ; . 1361 
 
 f AX. 
 
 
l0irENEIA H EN AYAIAl 5^ 
 
 AX. fivploiy' (i^eiK 'Ohvaaev^. KA. dp' 6 'liavcpov 
 
 70^09 ; 
 AX. avTo^; ouro?. KA. tSia Trpacrcrcov, rj arparov ra- 
 
 xde\<^ VTTO ; 
 AX. aipedeU e/ccou. KA. Trovijpdv y atpeaiv, fiiac- 
 
 AX. a\V eyaj (tx^W^ ^^^- ^-^ "f^^ ^' ^^X e/coOo-ai/ 
 
 opirnaa^ ; 1363 -^ 
 
 AX. BjjXaB}] fai/^/y? idtipa^. KA. ey^e St rt XPV ^P"^ 
 Tore ; 
 
 AX. az/Te;^©^ 6uyaTp6<;. KxV. aJ9 rovS' oui'e/c ov acpa- 
 
 AX. aWa fMrjv et? touto 7' 7;f et. I<^. f^yjrep, elcraKOv- 
 
 aare 
 Twv i/jioji^ eTTcoV /jidrTjv yap a elaopw 6ufiou/j.evr)v 
 <jco TToaef rd S' ciBuvaO' rjjjilv Kaprepelv ov pa- 
 
 Siov. 1370 
 
 rov fiev ovv ^evov hiKaiov alvecrai irpoOvfua'^' 
 dWd Kal ae rovd' opdv XPV^ M Bial3\r]6rj arparoj, 
 Kol irXeov Trpd^co/jLev ovhev, ohe Be avfj,(f)opci^ "^^'XV- 
 ola K elafjXdiv [i\ aKovarov, fitJTep, evvooviievrjv' 
 KarOavelv fiev p,0L BeBofcrau' tovto 8' avTO /3ov- 
 
 Xo/iai 1375 
 
 euVXew? TTpd^at Trapelad y eKiroBwv to Zvayevh. 
 Bevpo Brj aKe^lraL fieO' TjfJiwv, /i/JTep, co? KaX(Jo<; 
 
 Xeyco' 
 eh e/x 'EXXd<; t) iieyiarrj irdaa vvv aTTo^XeireLy 
 Kav ifiol TTopOfio^ re vaUv Kal ^pv^wv Kara- 
 
 (TKa<j>ai, 1379 
 
 Ta? re iieXXovaa^ yvvoLKa^ rjv re Bpcoai, fidp^apoi, 
 /jLTjKed' dpTrdl^eip idv rdah' oX^ia^ e^ 'EXXdBo<;, 
 
 N 
 
52 EYPiniAOY 
 
 rov 'E\ez/?7? Tiaavra^ oXeOpu) yd/juov, ov rjpira- 
 
 crev Ilapt?. 
 ravra iravja KarOavovcra pvaojJiai, Kai fiov kXeo^;, 
 'EXXaB CO? riXevOepwaay fxaicdpLOV tyevrjaerai. 
 Koi 'yap ovBe tol tl XLavifie (piXoylrvy^elv^pecoV 1385 
 irdai <yap pi, ''^Wrjac kolvov eT6K€<;, ov^^l aol p^ovrj. 
 aWa pvploi pbev avhpe<^ dairicnv 7r6(f)pay/jievoL, 
 pbvploi, 8' eperpu e^oz^re?, irarpiSo^ rjhiKrjpbevr}^, 
 Bpdv Tl To\pL7](Tov(TLv i')(6pov^ ')(V7rep 'EXXa8o9 
 
 Oavelv' 
 Tj 8' epbTj 'v/ru^77 pbi* ovcra irdvTa KcoXvcret rdSe ; ,1390 
 TL TO hiKaiov TOVT ; e^otpLev dp* dv dvT^tiTelv 
 
 €7ro9 ; 
 Kdir eKelv eXOoypiev. ov Bel TovSe Bid pid^rj^^ 
 
 pLoXelv 
 Trdcriv Apy€Loi<; «yvvaiKb<^ ovveic ovBe KaTQaveiv. 
 et? 7 avr]p Kpelaawv <yvvaiKoov pLvpicov opdv (j)do<;. 
 el B' e(3ovXr]6ri to cwpia Tovpuov "ApTepi<; Xa/Seiv, 
 epLTToBoop yevrjcrop.ai^yct) 0v7]t6(; ovaa tj} dew; i^g6 
 aXX apuri'^avov' BiBwpbi aw pa Tovpiov 'KXXdBi. 
 6v€T , eKiropOeiTe Tpoiav. tuvtu yap puvripbeld puov 
 Bia pLaKpov, Kol TratSe? ovtoi koX ydpuoi koX Bu^^ 
 
 ip^rj. 
 ^ap/3apQ)v B ''EWT^z/a? dp'yeiv eiKo^;, dXX^ ov 
 
 ^ap^dpov^, 1400 
 
 pirjTep, 'KXXrjvcov' to piev yap BovXov, 01 8' iXev- 
 
 Oepoi. 
 XO. TO piev crov, do vedvi, y6vvaia)<; e^ei* 
 
 TO T579 ti/^t;? Be Kal to Trj<i 6eov voael. 
 AX. AyapL€pvovo<; iral, pLaKdpiov pie ti^ Oewv 1405 
 epieXXe dtjaeiv, el Tvj^oipn awv ydpLcov. 
 
I^ITENEIA H EN AYAIAI 53 
 
 ^7]\(o Be aov /xev 'K\Xdb\ 'EWaSo? Se ae, 
 €v yap ToS' etTra? d^Lco<; re TrarpiSo?' 
 TO deofiay^tilv yap dirokiTrova y o aov Kparet, 
 i^eXoyiaco ra -^prjara rava'^/Kala re. 1410 
 
 fidWov Be Xe/CTpcJV awv iroOo^ /ju eVe/j^erat 
 e<9 T?;!^ (jyvaiv (SXeylravra' fyevvaia <ydp et. 
 opa 8'* eyw 'yap /SovXofiai a evepyerelv 
 Xa/3eLu r eV olkov^' d-)(^6o/j,ai r\ Laro) Seri^, 
 el /jL7] ae acocro) Aavatdaiac Bid /xa^T/? 1415 
 
 eXOcov' dOprjcrov, o 6avaTo<^ BeLvov KaKOV. Vr- 
 
 I<l>. Xeyo) rd^ 
 
 7) 'YvvBap\<^ '7TaL<; Bed to aa^fju dpKel fjLd-)(^a^ 
 avBpwv TiOelaa koI <p6vov^' cru B\ (o ^eve, 
 firj dv^cTKe Bl ifie /jLtjB^ diroKreivr)'^ rcvd. 1420 
 ea Be aayaau fju 'EXXdB\ rjv Buvco/jieOa. 
 
 AX. (1) Xrjfi dpLGTOV, ovfc €)(^co 7rpo9 TOVT ert 
 Xeyecv, eirei aoL rdBe BoKel' yevvala ydp 
 <f)pov€L<i' TL yap rdXr]de<; ovk e'tTTOt tl<^ dv ; 
 OfjLO)<; B\ t(T&)9 ydp Kav iieTayvoLrj<^ raSe, 1425 
 &)? ovv av elBfj<^ rdif efiov^ XeXeyfieva' 
 eXOwv rdB oirXa Orjaofiat ^Mfiov 7reXa9, 
 0)9 ovfC iaacov a aXXd KcoXvacov Oavelv. 
 'Xprjcrei Be fcal av Tot9 e/xot9 X6yot,(; rd)(^a, 
 orav 7re\a9 arj^; ^aayavov Beprj^ lBtj^;. 1430 
 
 ovKovv eaaco a ac^poavvrj ttj arj Oavelv' 
 eXdcov Be aw o7rXoi9 rolaBe 7rpo9 vaov 6ed^ 
 KapaBoKrjao) arjv eKel irapovaiav. 
 
 1^. fJ'TJrep, TL aiyrj BaKpvoL<^ Teyyei<^ Kopa^; ; 
 
 • ^X^ TdXaiva 7rp6<^aaiv coaT dXyelv (ppeva. 1435 
 
 }^. 7ravaaL,fie p,r) KdKi^e' TdBe S' ep.o\ ttlOov. 
 
 KA. Xey , ux; irap' rjfMcov ovoev dBiKrjaei, tckvov. 
 
54 EYPiniAOY 
 
 I*P. fJLTjT ovv (TV Tov aov irXoKafJiOv €Kre/jL7j(; rpiYOf;, 
 [yLt?;T dfi6l o-wfjia /juiXava^: afiiTLaj^^r) TreTrXou?.] 
 
 KA. t/ hi) ToS' eliTa<^, reKvov ; aTToXeaaad ere 1440 
 
 I<S>. ov av ye' aeawa/jLUL, Kar ifie B' evKXerj^; ecret. 
 
 Kx\. TTo)? eliTa<^ ; ov TrevOelv fie arjv "yjrv^^rjv ypecov; 
 
 1^. rjKiar, iirel /jlol rvfi/So^ ov 'x^coaOrjaeraL 
 
 KA. TL hr) ; TO OvijaKetv ov Td(f)o<i vo/jLL^erai ; 
 
 I<J>. /3cofji6(; Bed'; fJLoi /ivrj/jia Trj<; Ato? Kopr]'^. 1445 
 
 KA, aX)C CO TeKvov, (toI ireLaojJLai' Xeyei^ jdp ev. 
 
 I<I>. CO? evTv^ovcrd y 'EXXaSo? r €V€pyeTi<i. 
 
 KA. TL Bt} Kaatyvr)Taiaiv dyyeXd) aeOev ; 
 
 I^. iirjh d/xcpl Kelvai^; fJueXava^ ^'^<^"^?7? TreirXov;. 
 
 KA, eXirw Be irapd aov (piXov eVo? ri, irapOevoi'^ ; 1450 
 
 I<I>. '^aipeiv y\ 'OpecTTTjv r eKrpecj) dvBpa Tovhe fjLoi. 
 
 KA. TrpoaeXKvcrai vlv vcrrarov Oewfxevr]. 
 
 \^. (o (^[Xrar, eireKovprjcra^ oaov el^e? (j)iXoi<;. 
 
 KA, €(70 b TL KaT "Apyo<; Spwad crot ')^dpLV cj^epco ; 
 
 I^. nraTepa tov dfiov firj crTvyet itoctlv re aov. 1455 
 
 KA. SeLvov'i dy6)va<^ Bid ae Bel Kelvov Bpafjcecv. 
 
 10. aKcov fjb virep 7^9 'EWaSo? BiooXeaev. 
 
 KA. BoXcp B\ dy€vvw<; ^ A.Tpew<i t ovk d^Lco<^. 
 
 I^, t/? fM elatv d^cov irplv airapdaaeaOai K6fJLr]<^ ; 
 
 KA. eycoye jxeTd aov lO. [irj av y' ov KaXw^ Xeyet<;. 
 
 KA. TreTrXcov e')(^ofi€V7] ad)v lO. e'/xot, /t^rep, Trt^oi), 1451 
 fiev*' oj? ifiol re aol re kuXXlov ToBe. 
 iraTpo^ S' o'jraBwv TcovBe rt? fie irefiTreTco 
 'ApT6fitBo<; eh Xeificov, oirov a(f)ay7]aofiaL, 
 
 KA. O) TeKvov, olyei ; lO. kuI ttoXlv 7' ov firj fioXw. 1465 
 
 KA. XiTTOvaa firjTep' ; lO. cej? opa<^ y\ ovk d^Lw<^. 
 
 KA. o-%e?, /x?7 yLte irpoXLiTr)<;. I^. ouat ec5 aTa^eiv BaKpv. 
 vjieh 8' iirevcpijfit'jaaT, w vedvtBe<i, 
 
l<}5irENEIA H EN AYAIAI 55 
 
 irauiva rr^fiij av/i(f)opa Ato? Koprjv 
 "Aprefiip' iTO) Be ^avat6ai<; €v<f)r]/jiia.i, 1470 
 
 ^ ^ Kavci 8' erap^ecrdo) tl<^, aWeaOw he irvp 
 TTpo-^vraL'^ KaOapaloiai, Koi irari^p efJi6<i 
 ivhe^iovadco /3(o/x6v' co<; acorrjpLav 
 * KWrjat, hciiaova €p)(^o/iaL piKTjcpopoy. 
 
 -r 
 
 ayere /xe rav ^\\lov 1475 
 
 Kal ^pvycov eXeTrroXiv. "^ 
 €rTe(f)€a 7repl/3o\a StSoref ^epere' 
 irXoKafjLO'^ ohe Karaarec^eLV 
 '^epvi/3cov re Tra^a?. 
 
 eXiaaer ci/x(f)l vaov 14S0 
 
 ajK^l ^cofj,6p "Apre/iiLV 
 rav avaaaav 'Aprefiiv, 
 Oeav ficLKacpav oj? efiolcnv, el y^pewv, 
 ai^iaai Ovfiacrl re 1485 
 
 Oea(f)ar e^aXelylrco. 
 
 CO iTorvia irorvia fiuTep, a;? Sd/cpud ye aoL 
 Boocrofiev dfxerepa ' 
 
 irap lepoU yap ov TrpeireL, 1490 
 
 Ico l(o veavLSe<;, 
 avveTTaelher "Apre/jLtv 
 XaX,/ct8o? avriTTopop, 
 
 Xva re Sopara fiefiove Saa 1495 
 
 OL efiov opo/x ev AvXloo<; 
 arevoTTopoLaiv op[ioL<^. 
 ifi) yd fidrep cJ UeXacryLa, 
 ^IvKrjvalal r e/jLal Oepdirvac. 
 XO. KaXet^ TToXiafia Ylepaeco<;, Ku- 1503 
 
 kXcotticov ttovov ^(^epwv ; 
 
56 EYPiniAOY 
 
 lO. €0p6yfra<; 'EWaSt fjue <j)do<;' 6a- 
 
 vovaa 8' ovK dvaivofiai. 
 XO. K\eo<; yap ov ae firj Xiirrjy 
 1<J>. l(a Iw. 1505 
 
 XafjL7raSov')(^o<^ dfjuepa Al- 
 
 09 T6 (^€7709, erepov erepov 1 
 
 alwva KaX fxolpav ol- 
 
 Hrjcrofxev. %<xt/>e /i-oi, ^ 
 
 (f)i\ov (f)do<;. Ico Iw. 
 
 XO. IhecrOe rdv 'IXtou 15 10 
 
 /fal ^pvjcov e\e7TTo\iv crrei- 
 ')(^ov(rav, eVt fcdpa (tt6(J>7] 
 ^aXofjLeyciVy 'X^epvi^cov re irayd'^, 
 ^(OfjLov Biatfiovo^; 6ed^ 
 
 paviGLV aifjLaToppvTOL<s 1515 
 
 pavovaav evcf^vrj re Seprjv <7<pay6icrav. 
 ev^pocroL irayal Trarpwai, 
 fievovaL ')(€pvL^e<; re ore 
 <jT/)aT09 r ^A.'^aLwv OeXcov 
 
 'iX/ou TToXtv^ jJioiXelv. 1520 
 
 dWd TOLv b^io^ Kopav 
 KXrjawiJbev "Apre/jLcv, Oewv avaaaaVy 
 ft)9 ctt' evTV)^£l-ir6riJL(p. 
 t» TTOTVLa, Ov/JLacTLV ^poTrjaLOt<; 
 '^apeccra, ireix'^ov eh ^pvyoou 1525 
 
 yalav 'lEiWdvcov^aTparov 
 Kol hoXoevra TpoLa<s eBrj, 
 ^AyafiefjLVovd re Xo7^at9 
 'EWacTi KXetvorarov <7Te<^avov 
 ho<i dfi^l xdpa 6' kov 1530 
 
I^ITENEIA H EN AYAIAI 57 
 
 -'^ 
 
 KXeo<$ deLjjLVTicrrov da^LOtivai. 
 
 ATT. (V TvvSapeia irac, KXvTaifivyjarpa, Bofiwv 
 e^co irepaaov, oj? K\vr]^ ifiwv \oycov. 
 
 KA. (p6oyy)]<; KXvovaa hevpo aPj^ d<f)tKO/j,T]V, 
 
 TaplBovaa rXrfficov KdtcjreirXriyfjLevr} (f)6l3(p, 1535 
 /IT] fiOL TLV dWrjv ^v/jL(f)Opav 7]K€L<; (f)epa)v 
 Trpo? rfj irapovar]. AFF. c^? pikv ovv Traiho^ 
 
 irepi 
 Oavfiacnd <tol koX heivd crrjfiyjvaL 6e\(i). 
 
 KA. /ir) fieWe TOLvvv, dWci (ppd^ oaov Ta')(0'^. 
 
 AFF. dX\! (V (f)i\T] SecTTroLva, nrdv irevaei, cracpco'^. 1540 
 Xe^co 8' dir^ dp-^rj^, rjv n /xr) o-cpaXetaa /lov 
 yvco/jLT] rapa^r) yX^joacrav iv \6yoi<^ ifJirjv. 
 err el yap iKO/xeada t/]? At 09 K6p-q<^ 
 ^AprefiiSo^ d\ao<; XeifiaKa^ r dvdea(f)6pov^, 
 IV rjv ^A^aiwv avWoyo^ crTpaTev/jLaTOf;, 1545 
 arjv iralK dyovTe<^, ev6v<^ ^ Apyeicdv b^\o<; 
 r]6poL^€d\ 009 8' ecrelEeu W.y a ixefivcov dva^ 
 iirl a(f)ayd<; aTei')(^ovaav eh d\cro<i Kop-qv, 
 dveareva^e, KciiiTraXtv crrpey^a'^ Kapa 
 haKpva irporjKev, op^/idrcov ireirXov TrpoOei^. 1550 
 77 he araOelaa tm reKovn TrXrjcnov 
 eXe^e roidh^' (o Trdjep, TrdpeLfii aoi, 
 TovfjLov Be crcvfiOi T^9i e/jt^9 VTrep irdfpa'i 
 Kol Tr)<; aTrda-iT^ 'EWa8o9 7ctm9 vTrepi 
 dvcrau BlScofM cKOvaa 77/309 /Sco/iov 6ed<^ 1555 
 
 dyovra<i, eXirep earl Oeac^arov rohe. 
 
 Kol TOVTT €fl eVTV)(0lTe, KOi VLKT](f)OpOV 
 
 8opo9 Tv-)(^otTe TrarpiSa t i^iKOtaOe yrjv. 
 7rpo<; ravra firj y^avar) tl<; ^Apyeicov ifiov' 
 
53 EYPiniAOY 
 
 criyy Trape^o) jdp Bipijv evKaphlay^. 1560 
 
 Toaavr eXe^e' 7ra<^ 8' ida/JL/Brjcrev kXvcov 
 
 evyjrvxLav re Kdperrjv r^? irapOevov. 
 
 crrdf; 8' eV fieaq) Ta\6u^to<;, w roB' ^v fieXov, 
 
 €V(pr]fjLLav avelire koL ai'yrjv arparc^^ 
 
 ]LaX')(^a<^ S' [jLdvTL<; e/? Kavovv ')(^pvcrr}\aTOV 1565 
 
 edrjKev o^u %efpl (pdayavov cnrdaa<^ 
 
 Kokewv e<T(x)6ev, Kpdrd r eare-^^ev Koprjf}. 
 
 6 Trat? 8' 6 Tl7]\e(0<; iv kvkXm ^cofiov Oed^i 
 
 Xa/Sciov Kavovv eOpe^e ')(^epvi^d'^ & opuov, 
 
 eXe^e 8'* <w irat 7iriv6<^, w OrfpoKTove, 1570 
 
 TO Xa/jL7rp6v elXiacrova iv 6V(f>pcvr] (j)do<i, 
 
 Be^aL TO Ovfia toK o ye aot BwpovfieOa 
 
 GTpaTO'^ T 'A^atcGi^ ddp6o<; ^ Aya/jLe/jUVcov t dva^, 
 
 d^pavTOv alfia KaXXLirapOevov hepr]^, 
 
 Kol 3o9 yeveaOai rrrXovv vecov diryj/jLOva 1575 
 
 Tpota? re irepyafju i^eXelv r}fid<^ BopL 
 
 eh yyjv 3' ^ATpelBat Tra? aTpaT6<; t ecrTT] jBXeiTWV. 
 
 ip€V<i Se pdayavov Xa/Scov irrrjv^aTO, 
 
 XaLfiov T i7re(TK07rel6\ Iva TrXtj^eiev dv' 
 
 ifiol 8' icryeL t dXyo<i ov fiLKpov (ppevl, 1580 
 
 Kacnrjv vevevKco^' Oavfia 8' '^v aLcf)vr]'^ opdv^ 
 
 irX7]yrj<=; cracf)ot)<i yap 7rd<; rt? ijaOeTO ktvttov, 
 
 TYjv irapOevov 8' ovk olSev ov 7379 elaiBv. 
 
 l3oa 8' dp* lepev^;, 7ra? 8' eir-qyTjae aTpaTo<;, 
 
 deXiTTov €lcnS6vT6<; i/c Oecov tlvo<^ 1585 
 
 (^dajji, ov ye jjltjK 6pcop,€vov ttlcttl^ nTapyjv' 
 
 eXac^os yap dairaipova eKeiT iirl '^Oovl 
 
 ISelv [leyiaTT] ScaTrpeTTTj'i re Trjv 6eav, 
 
 "f*i79 alpiaTi I3(o'/jl6<^ i pai veT tiphrjv Trj<^ 6eov.'f' 
 
 Kav TcoBe KaX^a? ttco? 8o/cet9 'X^alpwv ecprj' 1590 
 
l4>irENEIA H EN AYAIAI 59 
 
 CO TovS* ^A'^atwv KOipavoL kolvov crrparov, 
 
 opdre iSwfxiav, rjv 77 ^eo? 
 
 7rpov6i]Ke dvaiav, rijvB^ eXac^ov opeiSpo/jLov ; 
 TavTTjV <yap avr\ r?/? KopTj^i daTrd^eraL, 
 w? fii) /jLUivrj jBwixov evfyevel (f)6v(p. 1595 
 
 •f*?;St'w9 T6 TOVT iSe^aro, koX irXovv ovpiovf" 
 ^iScoaiv 7]/jLiV 'iXiov 77^09 i7riSpofjL(i<;. 
 7rpo9 ravra 7rd<; Ti9 Odpao^ alpe fav^drr]^, 
 ^wpet re 7rp6<; vavV r)fJLepa<^ qj9 rfjaSe oel 
 XL7r6vra<; rj[id<; KvXiho<; kolXov^ jJLV'Xpy'i i(5oo 
 Aiyacov olS/jia SiaTrepdv. eVet S airav 
 KaTrjvOpaKwOrj 6v/x iv 'VL^aiarov (pXoyi, 
 TO, iTp6a(f)op' 7]v^ad\ &J9 Tvxoi' voarov (7TpaT0<;. 
 7re/JL7reL 8' Wyafxe/xvcou fi ware col (f)pdcraL race, 
 Xeyeiv 6' 67roia<; etc Oecov fioipa<; Kvpel 1605 
 
 Koi ho^av ecr^^^eu dcf)6iT0P Kad' KXXdBa. 
 iyco Trapcov 8e kol to irpaypu opwv XeyW 
 7) 7ra.t9 aacpoj'^ aoi 7rpo9 6eov<^ aTreirraro. 
 Xv7r7]<; 8' dcf)aip€L kol irocrec irdpe^ ')(^oXov' 
 dirpoaBoKrjTa Brj jSporol'^ rd twv Oeoov, 1610 
 
 aw^oval 0' 01)9 ^iXovaiv. VP'Cip yap Tohe 
 Oavovcrav eI3e kol ^Xeirovaav TralSa cn)v. 
 
 XO. a; 9 ijSofial rot ravr dxovaaa dyyiXoV 
 ^wv 8' ev OeolcTi aov /xeveiv (ppd^et reKO<^. 
 
 KA. (o iral, 6ewv tov KXepLfia yeyova^ ; 1615 
 
 7rcC9 ae nrpoaeiirco ; ttw^ 8' ov (f>u> 
 irapafJLvdelddac rovcrSe pLdrrjv fivdov<;, 
 0J9 aov irevOov^ Xvypou iravaaLpiav ; 
 
 XO. Kol fjLTjv ^Ayafie/jLVCov ava^ aref^ei, 
 
 TovcrS' avTov<; e-^o^v aoc (f)pa^eLu jjlvOov;. 1G20 
 
 AFA. yvvai, duyarpof; ovu€k oX/Si^oL/jLeO dv' 
 
6o l<firENEIA H EN AYAIAI 
 
 I 
 
 €)(^et <yap 6vtco<; iv deol^ 6/jLt\lav. \ 
 
 yprj he ae \aj3ovaav rovSe /loa'^^^ov evyevfj ' 
 
 G-rel^eiv tt/oo? oXkov<^' oj? (TTpaTo<; 7rp6^ ttXovv 
 
 Kol ')(^alpe' ')(p6via rd/jLa croc 7rpo(T^6e<yiiaTa 1625 
 TpoirjOev ecnai. koI fyevocro ctol KaXco^;, 
 XO. y^aipwv, 'ArpelSrj, ryrjv Ikov <t>pyyiaVj 
 '^alpcov 8' eTTOLvrj/ce, "' ^ 
 fcaXXLO-rd /xol aKvX cltto Tpoia^ eXcou, 
 
NOTES. 
 
 {Gr. Gr. stands for Goodwin'' s Greek Grammar to which reference 
 
 is viade by the pages.) 
 
 The Prologue II. i — 163. Contrary to the usual custom of Euripides 
 the play opens with an anapaestic dialogue instead of with a speech by 
 one of the characters descriptive of the situation of affairs at the moment 
 when the dramatic action begins. In the present case this explanation 
 is postponed until the speech delivered by Agamemnon 1. 49 ff. 
 
 There is however no reason for suspecting the genuineness of the 
 text. Aeschylus has an anapaestic opening both in the StippUces and 
 Fcrsae, and that Euripides himself did not invariably begin his plays 
 with a prologue in iambics is plain from the Andromeda (Eur. frag. 
 114), the first lines of which are : — ■ 
 
 AXAPOMEAA w vij^ lepd, 
 
 us fiaKpou tinrevixa Stw/cety kt\. 
 
 Here too, it will be noticed, as in the Iphigeneia, the opening 
 anapaestic verses introduce a night scene. To modern taste the 
 dialogue which stands foremost in this play is stronger in effect 
 than a piece of continuous narrative — a form of introduction in which 
 Euripides according to an ancient criticism was apt to become tiresome 
 {kv Tois irpoXoyois dx^vpos). The colloquy of the king and his old 
 servant beneath the silent stars of the night stirs the imagination, and 
 awakens from the outset both interest in the situation, and sympathy 
 with the crossings of motives passions and events, in which the actors 
 are soon to find themselves involved. 
 
 Euripides has shown in this introductory dialogue much the same 
 power of employing the influence of the hour and the scene to draw the 
 minds of his audience into the mood of tragedy, which Shakspeare has 
 
 II. I. 5 
 
62 IPHIGENEIA AT AULIS. 
 
 so strikingly displayed at the beginning of Hamlet. In both poets 
 every detail tells : in both the result is achieved by right selection, 
 which discards all that is superfluous, and leaves what is retained 
 clear simple and necessary. 
 
 11. 1 — 48. Agamemnon, restless from anxiety, talks with the old 
 servant in front of his tent at Aulis. This dialogue is followed (49 — 
 114) by the prologue in the stricter sense, in which Agamemnon 
 reviews the situation, confides his own painful position to the old 
 servant, and entrusts him with a letter to Klytaemnestra at Argos 
 contradicting a former message from Agamemnon to the effect that 
 she was to send to Aulis her daughter Iphigeneia. Then succeeds a 
 dialogue in spondaic anapaests (115 — 163) in which Agamemnon 
 acquaints the old man with the contents of this letter, and bids him use 
 all speed in conveying it to Klytaemnestra. 
 
 I. 86|xa)v i.e. the general's tent; so ^v 56fji.oi.s Hek. 995 (of 
 Polymestor's tent). Cf. in/r. 863. ruude here helps the sense, having 
 with dofxcji' the force of "this which serves as my house". 
 
 3. irevo-et pronounced by Agamemnon in a tone of impatience — • 
 you shall hear wAen you come within talking distance. Porson's con- 
 jecture (TTTeOSe is therefore not necessary. 
 
 4 f. (JidXa Toi kt\. 'my age is full wakeful and alert upon mine 
 eyes', d^u implies that his faculties are not dulled by sleep, and are 
 therefore atteJttive, (cf. Soph. El. 30 o^eiaj' d/coTji' roh ejxoh \oyoL% 
 StSoJs 'lively attention'), or alert to the king's behests. The usage in 
 English of 'keen' is very similar. 
 
 6. iropSiievci intransit. Cf. I. T. 1445. 
 
 7 ff. "Sirius still high in heaven speeding his course near the 
 Pleiades as they fare on their seven paths". Scaliger noticed an 
 astronomical error ift the placing of Sirius near the Pleiades, and 
 several editors have followed Bremius in assigning these lines to 
 Agamemnon, (thus making his speech extend 11. 6 — 11), taking <re/ptos 
 as an adjective with d(Tr7?p, 'what star with blazing light &c.' But we 
 need not press the meaning of the phrases ^771)? t. IlXetdS.and fxeaarjpTjs 
 too strictly. Ennius paraphrases the lines as follows : — 
 Ag. quid nocti' uidetur in altisono 
 
 caeli clipeo? Senex superat temo 
 Stellas cogens etiam atque etiam 
 sublime [noctis] iter... 
 
 Ennius Jphigenia i (p. 94 ed. Miiller) 
 
AOTES. 63 
 
 and Varro's comment on Ennius (ling. lat. vii 73 p. 146 Spengel-) hie 
 multam noctem ostemicre volt a temonis motii may very well be applied 
 to the present passage; that is to say, the poet merely intends by the 
 mention of these well-known constellations to suggest the idea of a 
 late hour in the night, cirrairopou cf. Aesch. frag. 304 NelXos IvQ' 
 ivTappoos I yaiav KvXivdeL 'flowing in seven channels'. 
 
 10 f. o-i"yal dv. an effective poetic plural: cf. Lucret. iv 460 severa 
 sileiitia noctis \ undiqite cum constcnt. Kar' — i'xov<riv tmesis; cf. 
 Bacch. 80 ayd dvpcrov re tlvoxtctuiv. This is more common when only a 
 particle (usually 5^, cf. Aesch. P. V. 133 quoted infra 188) intervenes 
 between the prep, and verb. Here. fur. 53 ^/c 7a/) i(X<ppayLaix^voi. 
 Hippol. 342 ?/c TOi iriTrXTjyfiai. 
 
 12. a-v emphatic, as always; *'why are you astir (when all else is at 
 rest)?" dur<r€is the trisyllabic form is Ionic. It occurs in tragedy, in 
 lyrics, and (rarely) in trimeters, cf. Hek. 31 virkp firjrpb^ (piXrjs | 'Eko^tjs 
 dtaau}. Cf. the form aetSw (for Attic ^Sw) Eur. Antiope frag. 18S 
 ToiavT^ deide kt\. 
 
 15. ^v\aKaC = <f>v\aK€^ ("the watch"), the abstract for the concrete; 
 cf. Here. fur. 83 <f/v\aKal yap rj^iQv Kpeicaoves Kar' i^odovs. Cf. the use 
 of (ppovpai, CKoirai. 
 
 18. d-yvws dKX€"iis. Cf. Ovid trist. iii 4 25 crede mihi bene qui 
 latuit bene vixit tSrc. Barnes. 
 
 20. Kttl HTJv 'and yet'; so freq. e.g. Troad. 72 Kal firju iirepaau y' 
 "IXiov T(^ aif} adevei. IvrauSa sc. iv ri/xais. ^i-ov is partit. genit. after ivT, 
 as in the phrases Xva. KaKov, ov 7^5 infr. 1583, &.c. 
 
 21. Se -ye 'yes, but...' These particles (in juxtaposition, or some- 
 times with a word or words standing between them) are employed in 
 correcting or extending a previous statement (cf. Porson Or. 1236): 
 hence they not unfrequently introduce a retort, Here. fur. 1249 au 5' 
 iKTb% (jiv ye av/Kpopas /xe vovdereii. Cf. infr. 334. 
 
 22 fif. MSS. t6 (pi\6ri/JLov—\v7r€i. Markland omitted to, (which was 
 perhaps inserted in ignorance of the quantity of (piXon/xov, a possibility 
 attested by 1. 151 q. v.). I have written Xi'ttt; for Xvwei, retaining 
 Klotz's punctuation. "But this Honour is perilous in its longing for 
 glory; sweet indeed, but nigh unto sorrow everywhere". Honour (rd 
 KuXov) is apt to be a danger owing to the noble ardour for fame which 
 attends upon it (xai (piXorifiov). The line yXvKv fiiv ktX. is explanatory 
 of these two aspects of to KaXov, (i) the joy of pursuing fame, (2) the 
 rbk which that pursuit involves, (rd ydp 5rj /leyiXa iravra iTn(X<paX7j 
 
 5-2 
 
64 JPHIGENEIA AT A ULIS. 
 
 Plat, republ. 497 d). In the burlesque allusion to this passage by the 
 comic poet Machon, (Athenaeus bk. vi pp. 243, 4), the same correc- 
 tion, Xuttt; for Xi^Tre?, should, I think, be made. Chaerephon, who is 
 marketing, objects to a certain very bony joint. The butcher [ixd-yeLpos) 
 replies aXKa /jltju icTTi yXvKv. Chaerephon retorts yXvKv /xev, Trpoa-iard/xe- 
 i>ov deXvirrj wavTaxn i.e. "(the proverb 'the nearer the bone the sweeter 
 the meat' may be true), but in this case the sweet is everywhere close 
 to the sour". With the expression Xuttt; TrpoaLCFTCLix. cf. Soph. O. C. 
 I2l5 \vTTa$ (gen.) iyyvr^po). 
 
 24 fF. TO. 0€»v ' the service of the gods' ; cf. I. T. 467 rd, r^s deou. 
 dv€Tp€v|/€, 8i€KV. guomic aorists (Gr. Gr. 252) as Solon xii 18 ave/j-os 
 ve(pe\as alxpa. diecTK^Saaep, and often in tragedy. SiaKvaietv is a strong 
 word, 'to shatter'; cf. Aesch. P.V. 93 where the bound Prometheus 
 speaks of himself as aiKiaLaLv biaKvaiofievo^. 
 
 28 f. The genitive dpicrrews depends upon ravra, not upon ayafxai. 
 *I admire not this in one who is a chief. The same construction is 
 common with davp-d^ui. em irdo-i 'to the enjoyment of &c. ', iiri 
 expressing the ter7?is or conditions', cf. (with Monk) Hippol. 459 XP^^ 
 a' iiri prjTois dpa | irarepa ^vreveiv. With the following lines should 
 be compared in particular Soph. Trach. 126 — 140, where the same 
 thought is expressed with great beauty of language. 
 
 32 f. The emphatic <n5 opposed to 6e(2u helps the contrast between 
 divine and human purpose. For rd Pov\. cf. in/r. 386, 1270, and 
 Orest. 210 T(^ \lav irap€Lp.iv(^ ('by his excessive languor'). The neut. 
 article with a participle is often used as the equivalent of an abstract 
 substantive by Sophokles and Thukydides. It is found less commonly 
 in Aeschylus as Eumen. 699 to pltjt^ dvapxov firjre SeairoTovpievov. Cf. 
 with the expression here Thukyd. i 90 to ^ov\6/j.evov...Trjs yvw/xrjs. 
 
 34. X. <|). d|XTreTd<ras 'having kindled'. This is better than to 
 suppose that (pdos cl/jltt. means 'increase the flame' as Bothe, Klotz 
 take it. To 'unfold the light' is a poetical equivalent for making it 
 visible; as in Hippol. 6or (compared by Weil) 97X101; dvairrvxai, the 
 unfoldings of the sun, mean "the sun's unclouded orb". 
 
 35. Ss'Xtov for the accus., [ypd<peLv 'mark', 'scratch'), cf. I. T. 
 
 5S4 f- 
 
 36. irpo x«P"V Mn your hands'; cf. [Eur.] Rhesus 274 /xdxas Trpb 
 
 X^i-P'^v Kol 86pr] /Sacrrdfo/xej'. 
 
 37. Suidas cri'7X"' dcpavi^ec, (rvfip-iyviei., see following note. 
 
 39. Schiller renders by *'die Lampe''\ but irevKrjv here is the 
 
NOTES. 65 
 
 tablet {oi\Tov, 35) made of pinewood. These were prepared for 
 writing by a covering of wax ; cf. Herod, vii 239 (0 ArjfidprjTos) deXriou 
 diirTi'xov \a^u)v rbv KTjpbv avroO (^^KPrjcre, (i.e. "scraped out its wax", 
 which was kept in place by a raised border), koI ^retra iv ti^ ^vXi^ toO 
 SeXrtoii iypa\p€ rrjv /SacrtVos yvu/j-rju ' irotT/cras 5^ ravra, ottiVw (vide 
 1. 38) iirirrj^e tov KT}pbv iirl to. ypd/x/xaTa kt\. Two (or more, cf. iroXO- 
 dvpos) of these tablets were often joined together so as to open and 
 shut like a book, with the prepared surfaces inside, vide 1. 98 cf 8(\tov 
 TTTi'xars (and so, probably, Hom. II. vi 169 ypd^as ev trlvaKi. tttvktc^). 
 The writing was done upon the wax with a sharp-pointed instrument 
 called ypa<p(iou (cf. also Plato Protag. 326 D vwoypd^avres ypafJLfj,ds ry 
 ypacpidi) like the Roman stilus. ircSw 'on the ground'; cf. Orest. 1433 
 vriixa 6' tero 7re5<f>. Aesch. Eum. 479 Treou} Treawv (Tr^Sot Dind.). This 
 is a locatival dative denoting the p/ace of action, more common in epic 
 poetry; e.g. Hom. II. v 82 alfMaroeaaa 5i x^'P ^reStoj neae. 
 
 40. Kara — x^'^^ ^'" ^^ ^' ^^' "^^^ phrase is Homeric, cf. Od. iv 
 556 daXepbu Kara 5dKpv x^ovra. 
 
 41 f. tUv d-TTopuiv depends upon ovSevos: the following firj ov /xaiv. 
 (Gr. Gr. 295) adding a further explanation. Sometimes in this constr. 
 the art. precedes the infinitive, e.g. Soph. O. T. 1232 Xeiirei fxh 
 ovd' d irpoadev -^deL/xeu t6 p.r] ov \ ^apvarov ehac, ' faU not in being'. For 
 the oil see Gr. Gr. 309. 
 
 46 ff. t6t€ the time ("at her marriage") to which totc refers is 
 gathered from the context, as in Med. 1401 vuu daird^ei, tot dirucrdfjievos. 
 Dem. de fals, leg. 355 ciXX' Sttw? TOTt /xr} irpo(nroLr,c€i (don't put in a 
 claim when the promises are fulfilled). irepiTret the present tense (his- 
 toric or descriptive present) in relating past events is common. It is 
 found in tragedy in interrogations, as infr. 894 *f^ra 1:2%... ovk ifiol 
 5t5ws ; with adverbs referring to past time, cf. Herakl. 967 ovs dpn 
 Kaivecs: or even in combination with a past tense, cf. Hek. 266 Kelur) yap 
 wXeaiv viv is Tpoiav r &yei. In some cases however the present 
 is intended to describe, not a past event, but a continued character 
 or state, as Ion 1560 ijSe tIktcl ae 'this is your mother'. 
 
 <|>€pvTjv i.e. as a part (v. iufr. 869) of the bride's portion. So 
 depairovTida (pepvi'jv 'a dowry of handmaids', Aesch. Suppl. 967. 
 In the heroic age it was the bridegroom who brought gifts to the 
 father of the bride; but see Med. 232 where Medea says, in language 
 appropriate to the later custom of the father giving his daughter a 
 dowry on marriage, 5d xpT/Mctrwy vvepiSoX^ | ir6<nv nplaadxi. 
 
66 IPHIGENEIA AT AULIS. 
 
 S^Kaiov for the meaning here cf. Soph. Ant. 671 hiKaiov Ko.'yadov 
 TrapaaraTTju '/oya/ and brave'. 
 
 49 f. Leda is called the daughter of Thestius also in Hel. 133. Ovid 
 Heroid. viii 75 (quoted by Klotz) agrees vv^ith Eur. in making Phoebe a 
 daughter of Leda; the usual accounts mention only Helen and Kly- 
 taemnestra. 
 
 51. TO, irpcdT* «Xp. 'counted the foremost in fortune of the land of 
 Hellas'; cf. Orest. 1246 Mi'K7;;'i'5es, c3 ^iXiai, to, irpQra Kara IleXacrybv 
 eSos 'Apyeioiv. Herod, vi 100 Aicrxt;'?;s 6 'Noduvos iuv tQv 'BpeTpieu}}' 
 TO. trpuTa. 
 
 53 f. 8. ctirciXal Kal...4>6vos an instance of hendiadys : ^'■threats of 
 death from each one to the rest should he not win the maid " — i. e. each 
 threatened that, if he did not win her, he would kill his successful rival. 
 ^vvlcrraTo is here 'took shape', 'arose'; and the phrase is equivalent to 
 a verb of threatening, to which ^/cacTos tis, the antecedent to dans 
 gathered from the sense of the clause, forms the nominative, rjirelXei 
 eKaffTos Tis Sn, ei fiij Xd^oi, ^oveOcroi tov Xa^ovra. The anteced. to 
 oaTis is often left to be supplied when it can be easily inferred from the 
 context ; cf. Troad. 400 (peijyeiv p.kv ovv XPV irbXeixov oarLS ev (ppovet. 
 
 56. Cf. Thukyd. i 25 ei* airopu) eixovTo deaOai to irapov. The in- 
 finitives joined by re — re are explanatory of to irpdyfia air. cTx^* Iii 
 translating, English requires the disjunctive particles 'whether... or'; 
 cf. Aesch. Suppl. 379 dfi-qxo-vQ) 5k Kal (po^os fi ^x^t. (pphas | dpdaai re 
 jj,r] dpdaai re. ifi/r. 969. 
 
 57 fF. 6loT]\9€v 'came into his mind', as iji/r. 1374. Cf. Aesch. 
 P. V. 1002 eiaekdeTO} ae firjirore kt\. Here. fur. 302. Scalds the cus- 
 tomary pledge of faith, cf. Hom. II. ii 341 a-irovdai r &KprjToi. Kal denial, 
 Xis eiriindixev 'the hand-plights wherein we trusted'. Cf. Soph, Trach. 
 1 181. 8t e|Jiirvpi>>v 'with burnt-sacrifice'; cf. Bacch. 441 Si' aldovs 
 'with respect'. Soph. Ant. 394 5i' ^pKojv. 
 
 63. TOV ^x°VTa the husband, as tc^ KeKTrjfjLevcp infr. 715. 
 
 (i(). TTWs lends an ironical force to eiJ, 'a fine trick in its way'. For 
 the combination cf. Hel. 712 ey 5e Trws kt\. The same ironical colour 
 may be observed in Plato laws x 886 E Xayoici. hk Tavra ev ttwj ets to 
 TTidavov TrepLTreirep.fieva. 
 
 69. oTov irvoal (|>^poiev kt\. 'whose breathings of love should guide 
 her with fond constraining', otov genit. depending on 'A(ppo8. irvoaiy 
 for which phrase cf. Aesch. Ag. 1206, where Kassandra says of her 
 lover Apollo dXK -rjv iraXaiaTTjs Kapr' ifAoi irvkwv xapt"- (pepeiv, 'carry 
 
NOTES. 67 
 
 away', is used in Aesch. Cho. 10^3 of strong emotion overpowering the 
 judgment (pepovcri yap vl.K^h^levov \ (ppeues 5v(rapKToi, and 0t\at here 
 seems by its position intended to qualify the idiomatic sense of (pepeiv : 
 see Androm. 479. [Several conjectures have been proposed for otov. 
 Weil adopts Lenting's oiroi : Monk Boissonade's orip, translating *' to 
 whomsoever the fond gales of love might carry her".] 
 
 72. '4\n. intransil. cf. Aesch. Ag. 1661 w5' Ix^' ^070^ yvuaLKos. 
 
 73 f. For fjL^v answered by t^ cf. Soph. Phil. 1426 UdpLu fikv... 
 voacpLeh piov \ iripceLs re Tpoiap. Hippol. 996. PapPapo) x^'-S- The 
 florid taste of the orientals in personal decoration is often alluded to by 
 Greek and Roman poets; cf. with this passage Hor. Carm. iii 3 25 
 iam nee Lacaenae splendet adulterae | famosus hospes. 
 
 76. ?k8. Xap«v Mev. 'when he found Men. from home'. Menelaus 
 had gone to Crete for the purpose of offering sacrifice to Zeus. 
 
 78. opKovs TvvS. 'the oath of Tyndareus', i.e. exacted by him. For 
 this use of the attrib. genit. cf. Orest. 618 oueipaT ayyeXXovaa rayafj-efi- 
 vovos, 'sent by the shade of Agamemnon '. (Distinguish 0/3/cos deuiu 'an 
 oath by the gods', object, genit.) Thukydides (i 9) is sceptical, from 
 the point of view of a historian, about the story of the opKos Tvudapeo). 
 In his opinion the expedition against Troy was organized by Aga- 
 memnon and commanded by him in virtue of his ascendancy in Greece 
 at the time {tuv t6t€ dwap-ei Tr/souxojj'). 
 
 80. Quoted by Aristotle rhet. iii 11, p. 1411^ 29, except that the 
 best MSS. give iroclv for 8opi. This is of course no ground for dis- 
 turbing the reading here, since Aristotle, in common with other 
 ancient writers, is often not verbally exact in his citations. The fact 
 that the line was known to Ar. furnishes a strong argument in favour of 
 this speech of Agamemnon, the genuineness of which has been ques- 
 tioned by some critics. 
 
 84. iravTa is F. W. Schmidt's correction of MSS. Kara — which may 
 have arisen from a gloss Kara on the phrase Me^Aew x^-P'-^- Cf. Soph. 
 O. T. 904 ZeD, Trdir' dvdaaujv. [Several other readings Kdpra iracri 
 elra Sec have also been suggested.] 
 
 88 ff. [See Introd. p. ix.] AvXCSa J7//r. 14 Au\i.v: for similar double 
 forms in the accus. Barnes cites Qe/uda, Qijiip &c. dvtlXcv 'announced 
 the divine will', said both of the god himself, as Thukyd. i 25 6 5^ (sc. 6 
 dibs) airrois ovetXe irapaSovvai, or, as here, of his trpocpyfris. Observe 
 that the force of the verb varies somewhat with the following infinitives; 
 with eicai the sense of 'bidding', with ^aeaOai, eu-ai that of 'predicting' 
 
6S IPHIGENEIA AT AULIS. 
 
 is most prominent; cf. I. T. 85 cii 5' etTras e\6f.'LV...Kal raCra dpd(TavT' 
 dfxvoas ^^€Lv TTufuv. The present tense {eTuai.) is not unusual after such 
 verbs as ^XPV^^^^ avelXe, elwe &c. ; cf. Aesch. Cho. 1030 xP'n<^^^T^ ifxol... 
 etvai. (Compare the use of the present in the direct utterance of a 
 prophecy, Aesch. Ag. 125 etTre Tepq.^wv' \ XP^^V M^" ay peT kt\.) 
 For the combination ^aeadaL — eluat see i/i/r. 358. dirXoia xp- cf. /;?/r. 
 546 yaXavela xPV<^aiii€voi ' having (experiencing) a season of quiet '. 
 Simonid. 100 xP^/^^^ot eiiXoyirj. In 1. 89 Kexpvf^^^ois is, I think, best 
 taken with cu'. in the sense of ' having obtained an oracuLar reply ', as in 
 the disputed passage Aesch. Pers. 829 aucppopeiv /cexp7?/zeVot. " Kalchas 
 the seer announced a word revealed to us from heaven in our distress ". 
 On the other hand air. Kexp- might be taken as a poetical equivalent of 
 the cognate verb {airopovaL) ' at our wit's end ' ; cf. Med. 347 crvp.(popa 
 KexpvP-^vov^. Herod, vii 134 &c. The fact of cittX. xp- having been 
 just used is scarcely an objection to this view, as the Greeks do not go 
 out of their way to avoid such recurrences, but the former interpretation 
 appears on the whole more natural. 
 
 91. Trj t65' oiKovo-Ti TTc'Sov. Divinitics were imagined as inhabit- 
 ing a place where honours and rites were paid to them ; thus the 
 Eumenides, signifying their contentment with the cult offered to them 
 at Athens, say de^ofiac UaWados ^vuoiKiav (Aesch. Eum. 916). 
 
 96. ovTTOT* av tXcis represents oik dv TXalrju of direct discourse 
 (Gr. Gr. 255); cf. Med. 781 ovx ws X^rrova' av. Plato Gorgias ^61 D 
 vvv M 7' 6 axjTos oItos (paiveraL, 6 prjropLKOS, ovk dv ttotc ddiKifjaas. 
 
 97 ff. ov 'when', at which juncture ; cf. I. T. 320 o5 5t] to deivbv 
 TrapaK^Xeva/x riKovaafj-ev where, as here, 5?? adds emphasis ; " then it was 
 that..." SeXrov ttt. v. on stipr. 39. ws ^ajiovp-evTiv : (Gr. Gr. 301) "in 
 the belief that she is to marry..." (cf. infr. 362). 
 
 102. ovv€K(a) 'that', on. So odovveKa, Soph. O. T. 1271, &c. 
 
 103. Xe'xos 'bride'; often in Eurip. cf. infr. 389 KaKov Xexos. So 
 evuri infr, 1355. Sophokles has vvjxcpda (sc. Upd) meaning 'affianced 
 
 bride' Ant. 568. 
 
 104. irttOw 'means of persuasion ' ; cf. Hel. 796 rts rov^e ireidbj', 
 108. avQis 'afterwards', )[tLt€. irdXiv not here pleonastic with 
 
 addLS, but in the sense of reversal with ii^r. KaXCs. Cf. Soph. Phil. 
 1270 /xerayvQvaL ttoXlv. 
 
 112 f. So in I. T. 760 Iphigeneia tells Pylades the contents of the 
 tablet which she entrusts to him— rdvovra Kayyey pap.fj.ev' iv d^Xrov 
 TTTvxais 1 Xo7aj (ppdau aoL — in order that if it were lost through perils of 
 
NOTES. .69 
 
 the sea, he might still give the message by word of mouth. In modern 
 plays, when it is necessary for the audience to be aware of the purport 
 of a letter, dramatists are often content with the rather clumsy device 
 of making the actor read aloud the words as he writes. 
 
 iiS. o-vvTova usually 'intense', 'vehement', here=**in harmony 
 with" (criyyu^a-j/a). These lines were transposed by Reiske. 
 
 115. Trc'jXTra) (sc. SAroi-s) constructed as in siipr. 98, infr. 360. 
 irpos Tttis "irp. 8. ' in addition to my former missive '. 
 
 120. iTTfpvY* EvPouas kt\. Grammatically kZ\ip d/cX. may be (r) 
 in apposition to -nrip. Ei)^., or, (2) as Hermann takes it, in the accus. 
 governed by o-TAXeic (cf. Here. fur. 109 fxiXadpa iardXriv, infr. 751 fi.) 
 defining the place, AvXis, which was less accurately described by a 
 neighbouring district, Trripvy' EL'/3otay— which phrase Herm. interprets 
 as '■'■ p7-ominens angiiliis Eiiboeae'\ It seems on the whole better to 
 construe as (i); the poet possibly chose the expression -kt. Ei'/3. 
 because the nearness of Euboea, owing to the narrowness of the Euri- 
 pus (40 yards) at this point, suggested the conception of the bay of Aulis 
 as a projectioti from Euboea which stretches its length so close along- 
 side, received into and nearly encircled by the coast-line of the opposite 
 continent; "an embosomed wing". 
 
 121. aKXvoTav because Aulis was defended by its position from the 
 rapid and changeable currents of the Euripus (cf. I. T. 6 6.p.(pX 5ivais as 
 6dfi' EC'piiros TrvKvah \ avpats eXta-aojv Kvaviav aXa aTpe(p€i). Ancient 
 writers often allude to the turbulence of the waters in this strait which 
 rendered navigation dangerous, cf. Plato Phaedo 90 C a.TexvCi% oj(nrep 
 it' EvpcTTip dpoj Kal Karu) arpicpeTai. Aesch. Ag. 191. 
 
 123. 8ai(rop.€v vjiev. Cf. ifi/r. 707 idataau ya/xovs. vfxivaio$ is 
 properly the song which was sung by the procession that attended the 
 bride and bridegroom to their home (cf. itt/ra 1036), but denotes 
 sometimes the iiriea\d/j.iov, as Find. Pyth. iii 17 {{. Here it is used 
 generally for the marriage festivities, "wedding", as also in /;//>. 430. 
 For the metrical form of the line cf. Hek. 97 iriixxpaTe, 5aifxoves, iKerevcjj. 
 The dactyl preceding an anapaest, causing a sequence of 4 short 
 syllables, is in ordinary or hgitimatc anapaests generally avoided, though 
 not altogether unknown, cf. Troad. 10 r fiera^aWo/j.^i'ov 5ai/xovos 
 dv^XO"- (There however the metre passes into spondaic anapaests 
 1. 122 (Sec.) 
 
 124 f. Kal ircSs introduces an objection, as the English "And 
 how...?" cf. I'hoen. 1347 Kai iruiS y^i^cir' dv rwi^de bvairoTpuJjTeija ; so 
 
70 
 
 IPHIGENEIA AT A ULIS. 
 
 Kal tIs, and similarly Kq.Ta (Orest. 443), Kdweira. For the force of Kal 
 when it follows the interrogative see z'ft/r. 327, n. H^'ya <})vcrwv cf. 
 Bacch. 640 Kciu irvioiv i\6rj fieya, and mf7'. 381 deLva ^vaq.s. 
 
 127. t68€ Kal 8€iv6v 'this is a danger indeed'. A reference to 
 Agamemnon's words 97 — 107 makes it evident that the old man's 
 question here is not to the point, because Achilles knows nothing of the 
 plot. On the other hand there is nothing incongruous in the fact that 
 the old man, whose readiness of apprehension is something impaired by 
 years, should fail to grasp at once the whole situation. He does not 
 realize that the marriage-engagement, which formed the pretext for 
 bringing Iphigeneia to Aulis, has never been broached to Achilles, 
 although it is to marry him that she is now on her way from Argos. 
 But in order to appreciate his action later in the play it is well that the 
 audience should bear in mind that Achilles himself is entirely guiltless 
 of all this intrigue ; accordingly, the poet by the old man's question 
 avails himself of an artistic device for re-stating a fact on which he 
 wishes to lay especial stress. [In Racine's Iphigenie a question of a 
 similar form to that of the old man at this point is put by Areas : — 
 "Verra-t-il (Achille) a ses yeux son amante immolee?" There is 
 however a difference in the situation. Achilles was already in love 
 with Iphigeneia, but at the time when Ag., yielding to Odysseus' appeal 
 to his ambition, consented to the sacrifice, he was absent Irom the 
 camp with his father Peleus, "d'un ennemi voisin redoutant les efforts". 
 He found himself able to return sooner than had been anticipated, 
 and therefore his opposition, as Areas reminds the king, is a fresh 
 difficulty that will certainly have to be encountered.] ; 
 
 128. ovop.' ovK ^p-yov cf. Hel. iioo roOvo/xa irapaaxovcr^ oi rb (rdfi', 
 €v ^ap^dpoLs (of the phantom-Helen). For the antithesis between 61'ofj.a 
 and Ipyov v. z'n/r. 1115, n. 
 
 132. XeKTpois added after the verb, when the expression is already 
 complete to the ear, as is often the case in Greek. It defines in a more 
 concrete way the previous phrase vv/xip. els dyK. evuds. Cf. zn/r. 543 
 ot fierpias 6€ov...iieTi(Txov XeKTpiov 'Acppodiras, eK8w<r€iv 'give in mar- 
 riage ', cf. in/r. 729, 736. 
 
 133. Sciva 76 ToXfias kt\. 'Bold in fearful wise art thou, king 
 Agamemnon, who by promise of thy daughter to the goddess' son as his 
 bride didst purpose to bring (?;7es) her to be offered for the Danaans '. 
 The "promise" to which (pariaas alludes was not of course made to 
 Achilles in person, but summarises the contents of Agamemnon's letter 
 
NOTES. 71 
 
 to Klytaemnestra. She would naturally conclude that it had been so 
 made. The words, if they stood alone, would certainly be ambiguous, 
 but are clear enough after what Agamemnon has said 128 — 131. Cf. 
 in/r. 936 where Achilles speaks of Iphigeneia as ifir] (par La dell a a. It is 
 not necessary to write deivd 7' irdX/xas with Markland. The old 
 man, who is Klytaemnestra's slave and devoted to her interests through- 
 out, is greatly shocked by the project disclosed to him. The fact that 
 Agamemnon has abandoned that project makes it possible for him to 
 speak his mind more freely than would otherwise be proper from a slave 
 to his master, and he intends his words not merely as a criticism of 
 the discarded plan, but also as a warning against the element of 
 recklessness in Agamemnon's character betrayed by the confession he 
 has just made. Hence he designedly uses the present roX/xas. 
 
 136 f. The words atpdyiov Aauaols bring before Agamemnon's mind 
 all the difficulties of his position. He feels his resolution fail him. If 
 Iphigeneia should arrive, how can he baulk the army of the victim, 
 whose death will secure their success? He will be sure to yield to 
 their pressure, cost him what it may (TriTrrw 5' els arav). There is yet a 
 chance that his daughter may be stayed from coming, if the old man 
 will but hasten with the letter. i^(a-rav aor. referring to a moment just 
 past, cf. Hel. 330 \6yovs ide^d/xai' ' I accept your proposal '. Androm. 
 919 ^vvTJKa 'I understand'. This tense is very common with verbs 
 expressing emotion, cf. diriirTvaa infr. 509, i^ktkjo. 462, ewTJi/ea-a 440. 
 In these cases the aorist is used because the access of feeling expressed 
 by the verb has already taken place before the speaker can describe in 
 words the change in his mental attitude. 
 
 139. €p€'o-crwv a-ov iroSa. The verb ipeffau * to ply an oar ' is used 
 by the tragedians in the general sense of " putting in quick motion ". 
 Thus Sophokles can say rotas ipicraovaiv dTretXds ' such the threats they 
 ply'. In Eur. Ion 161 it has a neut. sense, ci5e irpos dv/xeXas \ dXXos 
 epiaaei kvkvos. Metaphors taken from nautical affairs are frequently 
 employed by Eur. e.g. Orest. 607 (shortening sail); Med. 524 (running 
 before a gale); Here. fur. 837 (shaking out reefs); ib. 478 (anchoring). 
 
 141 f. tjou Kp-rjvas. The simple accus. after such words as ddaauv, 
 t^eadai is poetical ; cf. Soph. O. T. 161 dpouov Odaaei. Eur. Hel. 1573 
 fiWot 5^ Toixov%...^^ovTo. The prose construction of 'i^eadai is the dat 
 with iy, or accus. with eis or ewi. l'tov...0€Xx0T]S for the change of 
 mood cf. ifi/r. 998. 
 
 143. t{J<|)Ti|xa 0p6€i 'hush!'; so Here. fur. 1184 eCtprjfia <pu>vei. 
 
72 IPHIGENEIA AT AULIS. 
 
 Ilippol. 724 eu(p-r]/jLos HaOi. The old man feels hurt by a suggestion that 
 he would so much fail in his duty as to loiter unduly by the way. 
 
 144. iropov crxwTTov ajieipwv 'as you pass a spot where ways 
 diverge' ; cf. Soph. O. T. 733 crx'-O'Tr] odjs ' branching roads '. 
 
 146. irapaiictxI/aiievT). In metaph. sense Soph. O. T. 501 (jocplq. 3' 
 tv (xocpiav Trapafxeitl/eieu avqp. rpox.. o'x^ois ' with its rolling wheels ' ; cf. 
 Phoen. 1 190 apfJLOLTWv ^xofs. oxoi.'i is a dat. of accompaniinent (Gr. Gr. 
 235), cf, Androm. loio Kva.vea.i.% I'ttttois 5i.<f)p€vojp. 
 
 149 ff. MSS. i^opfxa, Wecklein e^op/xdicrai^. In 1. 151 e^opfxa, cele 
 XaXtj/oys is Blomfield's corr. of i^opfxdcrijs x^^i-^o^^ PC ; i^op/ndaecs tous 
 XaXiPovs P-C^, where roi^s was clearly inserted to mend the metre by 
 some one with views of his own as to the scansion of x^^i-^ovi. 
 kXt]6p(ov refers to the women's apartments in the palace at Argos ; see 
 in/f. 738 oxvpoTcTL vapdevQci. Cf. K^Wim. fra^. xvi Ernest. (=118 
 Schn.) d TTttiS d Kara/cXftcrTos ' the girl in her maiden bower '. KvkXco- 
 T«v Gv^xtXas i.e. built by the Cyclopes; cf. z'n/r. 534 reixecriv KvkXu}- 
 iriots, (cf. Hom. II. ii 559 TipwOd re reiX'Ofco'ai'), so in Here. fur. 15 
 Mykenae is called KvKXwTria ttoXls. It was the belief of antiquity that 
 the massive architecture of these cities, Mykenae, Tiiyns &c. was the 
 work of the Cyclopes, cf. ?';?/r. T500 KoXets irbXiaixa Ilepcr^ws, Ki/zcAwTrtoJi' 
 TTovov x^P^'" ) -A-S to the appearance of the different styles in the 
 Cyclopean architecture, see Schliemann Mycenae pp. 29, 30, and the 
 illustration which follows (p. 32) of the imposing Gate of the Lions at 
 Mykenae. A general idea of the various styles &c. can also be formed 
 from the wood- cuts in Guhl and Koner p. 59 f. 6v|X€Xas not here 
 probably 'altars', but 'homes', (as k(TTi(x), cf. [Eur.] Rhesus 235 
 Kafx^eie noKiv 6vfjii\as olkcov irarpos 'IXtdSas, with I. T. 845 tw KvkXuttIs 
 earLa, ICj Trarpis, MvK-^va (piXa. 'uCs intransit. 
 
 153. irio-To's cf. Thukyd. iii 43 \pevadpLevov Tio-rbv yeviadai 'to win 
 belief by falsehoods '. Compare also the use of diriaTos, ' discredited ', 
 Herod, viii 22 Lva...dTricrTovs Troi-^a-r] rovs'Iwvas. 
 
 157 f. t68€ <j>c3s 'yonder light'; i.e. the breaking dawn, cf. El. 102 
 "Ews ydp XevKou op.pi' dvaiperat. rd^e deictic (v. infr. 1341). 0us 
 cognate accus. to XevKatveL ; to "whiten a light" meaning to "cause a 
 white light to appear"; (cf. iti/?'. 298). Klotz less well makes (pQs an 
 accus. after Xdfnrovcra in transit, sense. Greverus proposed to place a 
 colon after tj'St;, continuing XdfXTrova\t.) ijus ktX. TeSpiirirwv. The 
 chariot and horses of the Sun are familiar images ; see, on the growth 
 of the idea, Cox I\lylholp^y of the Aryan nations p. 425 f. Cf. with this 
 
NOTES. 73 
 
 passage Ion 82 ff. apiiara iikv rdde Xa/xvpa TeOplinrojv' | ijXios TjCrjXainrei 
 Kara yrjv, \ currpa C€ (pevyei irvpl tu5' ald^pos. 
 
 164 — 302. Parodos. The old man having set out with his letter, 
 the chorus, consisting of women from Chalkis in Euboea (cf. 168 
 XaX^-t5a ir6\iv (fxav TpoXnrovaa) enter, and explain the reason of their 
 appearance in the Grecian camp. Curiosity to see the host under 
 Agamemnon and Menelaus, report of which has gone out far and wide, 
 brings them from their retirement to feast their eyes on the imposing 
 military and naval array at Aulis. They name some of the chiefs whom 
 they have seen there, and then proceed in the second part of the 
 Parodos to tell the number of the ships brought by difierent leaders. 
 Their statements agree generally with the account given in the Cata- 
 logue, Iliad ii, but exhibit some variation in the details. [In the 
 J^higcnia of Ennius the chorus is composed, not of women, but of 
 Greek soldiers, a fragment of whose words, in which they express their 
 disgust at long continued inaction, is quoted on infr. 815. In this 
 deviation from Euripides it is not unlikely that Ennius took as his 
 model a soldier-chorus in the Iphigeneia of Sophokles.] 
 
 "I came to the sandy shores of Aulis by the sea, I sped my bark 
 through the pouring waters of Euripus, and left behind me Chalkis on 
 the narrow strait, my city, nurse of the ocean-neighbouring streams of 
 Arethusa's famous fountain ". 
 
 170. 'Ap€0ovo-as the most famous Arethusa was in Sicily, but 
 there were several other fountains so named, cf. Eustath. p. 1 746, 58 
 loTL Se, (paaLv, 'Apedovaa Kal eu "ZixvpvQ, kuI iv XaXKidt rf /card Ev^oiai', 
 Kai iv ZvpaKovaais, 97 /cat pLiXiara Iv iaToplais TedpvXrjTai. 
 
 172. 'Axaiwv T€ with a word so repeated 5i, not re, is usually 
 found, cf. Med. 131 ^kXvov (pwvav, ^kXvov 5e ^oav. infr. 1334. Monk 
 accordingly edits oi in this passage. The chorus however in their 
 expression are coupling together two things, botli of which they wish 
 to see, the fleet and army of the Achaeans. TrXdras vavo-iirdp. see 
 in/r. 236, n. 
 
 173. 7]|ii0€cov cf. Hesiod op. 160 ai>5pu>v ijpuuv Oelov -yivos, ot 
 KaXiovrai r]fj.ieeoi. So Jason's crew are called Tjfueeoi by Pindar, 
 Tiiudioiaiv 'Idaovos vavTais (Pyth. iv 12). 
 
 174. eXdrats X'-^'-ovaucriv 'with a fleet of a thousand vessels'; cf. 
 I. T. 140 avv Kuirg. xiXicz/ai/r?. In poetry we naturally enough find the 
 size of the fleet given in round numbers, cf. Aesch. Ag. 45 aT6Xov 'Apyeiuv 
 XiXiOfavTuv, and /«/r. 3=4. Thukyd. i lo 4 speaks of a fleet of 1:00 
 
74 IPHIGENEIA AT AULIS. 
 
 sail, TrerrolrjKe yap {sc."0 /xripos) x^^^^" 'f'^' dirjKoa-iojv veQv. The number 
 exactly, reckoned according to the Catalogue (II. ii), was 1186. 
 
 1 78. €irl T. 'EX^vav ' in quest of Helen ' ; for this meaning of iiri of. 
 Herod, vii 193 iirl rb Kwas ^irXeov es Alav T7)V KoXxtSa i.e. 'on the 
 quest of the golden fleece '. rav cf. tn/r. 757. 
 
 180. 6 PovKoXos. Paris after his birth had been exposed on Mt 
 Ida, owing to a dream of his mother Hecuba that she had brought forth 
 a firebrand. The shepherd by whom the infant had been exposed, 
 happening to return to the spot some days afterwards, and finding it 
 still alive, took it to his home and reared it in his own family. Cf. 
 Tennyson, Oenone " Paris, to thee king-born, | a shepherd all thy life, 
 but yet king-born" &c. Cf. also in/r. 1285 fF. 
 
 182. Cf. ht/r. 1294 f. 
 
 185. The term dXaos is used of places consecrated by the presence 
 of a divinity (cf. sz/pr. 91, n.) without implying necessarily that they 
 were grown with trees. 
 
 186. 6po|X€va 'in haste', aor. partic. Spvvfxi. In lyric passages 
 we have also the form 6p/jLevoSf Soph. O. T. 177. Cf. Aesch. Ag. 429 
 ^vP'opfiepoLS. 
 
 187 f. <|>oivC<r<rou<ra ktX. 'my cheek with blushes dyed'. Eng- 
 lish does not permit a literal rendering ('reddening') of this and 
 many similar expressions in which the Greeks speak of the effects of 
 emotion as due to the action of the person in whom they appear ; cf. 
 infr. 1434 5a/c/3i5ois Te'77eis Kdpas. The same idiom is seen in such 
 phrases as airoppri^ai Trvev/ma &c. alcrxvva bashfulness at thus appear- 
 ing in public exposed to the gaze of the soldiers in the Grecian 
 camp (v. in/r. 1341). So in Aesch. P. V. 132 ff. the shyness of the 
 Ocean nymphs is overcome by their curiosity to learn the meaning 
 of the unwonted sounds that have reached their ears, kt^ttov yap dxw 
 XaXv^os I dlri^ev avrpuiv /j.vx6v, €K 5' 'iirXr}^^ /xov \ rav dep-epQiinv aidQ. 
 V€o6a\6i Doric form of veodrjXei. Cf. evdaXel r' evKapirdq. Troad. 
 217. 
 
 189. do-iriSos 2pv[itt ktX. 'the strong place of the shield-bearing 
 Danaans and tents of the armed host '. acrirU, equivalent here to acrTna- 
 ral (cf. Phoen. 78 iroXXrjv ddpoiaas dcnrlb' 'Apyeiwp), is the sign of the 
 men-at-arms (cf. Aesch. Ag. 825 d(nn5o<TTp6(pos Xecis) as opposed to the 
 sailors, and distinguishes the ipvfj.a of the army from the fortified line of 
 ships (v. 171, 2). It was usual when the ships were hauled up on shore 
 to dispose them in a line capable of defence in case of attack, cf. 
 
NOTES. 75 
 
 Tliukyd. viii 55 Trpocr/SaXwi' t^J Trf.pl rets vaSj'i epviiari,. Paley under- 
 stands OLffTT. fpvfxa as arparbv dairlaiv ireippay/xiuov. 
 
 192. o-vve'Spw 'sitting in council together'; cf. Soph. Aias 749 iK 
 yap avvidpov Kai TvpawiKou kvkXov \ KdXxas fieraffTds (Klotz). 
 
 194. Tas 2. a-Ti^avov 'the son of Telamon, a crown of glory to 
 Salamis'; cf. Find. Nem. iv 47 dra/j Aias ZaXa/iiv' ^x^' irarp'Jsav. infr. 
 289. For this metaphorical use of cr^cpavos cf. Meleager Anth. Pal. v 
 143 6 (rT(<pavos irepl Kparl /jLapaiverai 'IlXio8<J:pas' \ avTT] d' iKXa/xirei rod 
 (TTe(f)a.vov (jTecpavos. Soph. Phil. 841 TouSe yap 6 crr^cpauos 'his is the 
 glory'. 
 
 196 ff. 'qSo}jL€vous is in agreement with both npwTc<r. and ITa- 
 \a/j.rj5., though placed between them. This is an instance of the o'X'jMa 
 'AXKfxauiKdv, so called because Alkman used it, we are told, with a 
 rather wearisome frequency {KaraKopecTepov) ; see Valcknaer on Lesbonax 
 p. 79. The construction is found also in Homer, (as Od. x 513 ivda 
 fikv eh 'Ax^povra livpicpXeyidwv re peovcTLv \ Kw/ci;t6s re); in Pindar; and 
 in the fragments of Alkman, Kdcrwp re ttwXuv uKewv d/jLarripes, 'nriroTat 
 ao(f>oi, I Kai HuXvdevKrjs Kvdpos, frag. 9 Bergk'*. Palamedes, the son of 
 Nauplius and Klymene, is not mentioned by Homer. He appears 
 first in the Ki^Trpta, a poem of the Epic cycle attributed to Stasinus, 
 where he is the author of the stratagem by which is detected the feigned 
 madness of Odysseus {ecpwpaaav, liaXa/jL-qdovs inrodeix^vov Proklus). He 
 is said to have invented the game of iricaoi, which seems to have been 
 played on somewhat similar principles to our draughts, cf. Soph. 
 Palamedes frag. 380 i<f>'r}vp€...iria<rovs kv^ovs re, Tepirvbv dpyias d/cos. 
 A number of other inventions are also ascribed to him by different 
 writers, and we find his name used almost as a proverb for ingenuity of 
 this kind; cf. Eupolis inc. fab. 2 UdXafiTjdiKdv ye touto Tov^evprj/xa /cat 
 0-0001' Tov. }iop4)aicri iroXvirXoK. the 'mazy figures' formed by the 
 varying arrangement of the draught-men as the game proceeded. In 
 Od. i 107 the suitors of Penelope are discovered killing time in the 
 same way, ireaaoiai irpoTdpoide dvpduiv Ovfibv irepirov. Of this earlier 
 form of the game no definite account can be given ; for what is known 
 of the later varieties see Becker Charikks p. 252 ff. 
 
 199. T|8ovais Sio-Kou K€x.' cf. Hom. II. ii 773 \aol Ik irapa p-qyixtvi 
 da\daaT]s \ oiaKotaiv repirovTo. For the form KexapT/M^^'C cf. Hom. 
 hymn, vi 10 Kexaprjfi^uoL ^rop. The partic. k^x'^PI^^^^ occurs Orest. 
 1122. See Gr. Gr. 359. 
 
 203. VT]o-aiwv optwv refers of course to Ithaka; cf. II. iii 200 
 
76 IPHIGENEIA AT AULIS. 
 
 TroXi'jurjTis ^OSvaaevs, | 5s rpdcpT] ev bqixi^ 'I^d/cTjs Kpava7,s. t€ is ir- 
 regularly placed, cf. Soph. El. 249 ^ppoi t av alouis \ airdvTuv r eva^^eia 
 dvarCjp. 
 
 205. KciXXio-TOv 'Ax- So Nireus "the goodliest man of all the 
 Danaans " has a word of notice II. ii 673 (Ntpei^s, 6s koXKicttos dvrjp 
 vtto'IXlop rfKdev \ tG)v 6.\\wu Aavau>v [xer afxij/mova IlrjXeiujva), though he 
 was of small account as a warrior, and his following scanty, nor does 
 Homer find occasion to mention him again. See Mr Gladstone's 
 remarks on the passage. Studies an Homer iii 406. "We are not surprised 
 therefore to find that the ladies of Chalkis do not pass over Nireus 
 quite unregarded. These last words KoXkiaTov^ Kx^-^^v form a beautiful 
 harmony with the closing line of the strophe; on the one side the 
 deathless goddess Aphrodite in her triumphant loveliness, on the 
 other the mortal Greek in his manly beauty the fairest of the Achaean 
 host. 
 
 "205. lo-aV6[xov cf. the Homeric description of fleetness, aixa irvcLys 
 aviixoio (Od. v 46). 
 
 209. e^cirovacrcv 'trained'; cf. Theokr. xiii 14 cis avrt^ Kara dv/nbv 
 6 irah irewova/xeuos e'LTj. Xen. Hipparch. viii 2 eKir€irov7]tx€voL rrj eXdaei 
 {lttol Kal dpdpes). In 1. 367 eKTrovovff'' occurs without any technical 
 meaning. 
 
 211. KpoKaXais 'shingle'; cf. Eustath. p. 855, 51 rots alyiaXiTLdas 
 afijxovs, at Xiyovrai Kal KpoKoXaL. (rvv oirXois 'in full armour'; cf. 
 Plato laws vii 833 A irptlros de daeLaip 6 rb ardSioy a/XLXKTjadjxevos axjv 
 TOis OTrXots, cf. infr. 227. , 
 
 214. irpos dpfJia i.e. racing against a chariot. 
 
 217 ff. Eumelus, grandson of Pheres, and son of Admetus and 
 Alkestis {Iliad ii 714) is mentioned II. ii 765. In that place his mares 
 are celebrated as the fleetest steeds in the host, Ittttol ixh fi^y apiaTai 
 tffav ^eprjTLdbao \ ras 'Ei'/xtjXos D^avve kt\. w..,eeivop,€vovs cf. Hom. 
 II. xvii 430 fjidaTiyi dorj eTrefiaieTO 6<sli'ojv. The dative of the agent is 
 not often found with a present tense of the passive, though common 
 with the perfect (Gr. Gr. 234, 3). Cf. Soph. Aias 539 TrpocrTroXois 
 ^vXaaaerai. 
 
 222 fif. PaXiovs cf. [Eur.] Rhesus. 356. /SaXmicri ttloXols 'with 
 dappled fillies'. <r€ipo<})6povs To the apfia T^rpwpov (1. 213) four horses 
 were harnessed abreast, of which the two in the middle were under the 
 yoke {'gvylov% 1. 221). The two outside horses drew only by the trace 
 {(xeipd) and were hence called ceipatoi 'ltttoi, ceipacpopoL (aeipocpopoi.). 
 
NOTES. 77 
 
 Each time during the race that the turning-post {Ka/xirTrjp) had to be 
 rounded for the backward journey (5iaiXov Odrepov kQXou Aesch. Ag. 
 344), the charioteer, — whose object was to make as close a turn as 
 possible, both to save distance, and to avoid losing the inside place — , 
 would rein in his near aeipacpSpos Tiinros, and bring round his off horse 
 on a curve over against ike titrnmg of the dp6/xos {avTripeLS Kafxiraiai 
 Spotxwv). That is to say, the turn at the Kafiirr-^p being regarded as 
 forming a small curve at the end of the course, the larger curve which 
 is described by the off horse lies outside it at an equal distance at all 
 points from it. Cf. Soph. El. 720 Keivos 5' l-tf' avTrjv iaxarrju aTTJXrju 
 ^uv I ^XP'/^^''"' Qf^ (TopLyya, Se^tdu r' duels | aeipaiou 'iirirov, elpye rbv 
 irpoaKeifXfvov, where the charioteer is described as making this close 
 turn round the distance-post {eaxo-TV (jTrfKiq) during the race. 
 
 229 f. "Keeping alongside the chariot-rail by the wheels of the 
 car". dvTv| is the rail running round the top part of the body 
 of the chariot. Kal onupiyyas here /cat is explanatory, introducing a 
 more exact definition of Achilles' position. The avpiy^ was the hole in 
 the nave {irX-qfiv-q) of the wheel to receive the axle (d'^wj/), which was 
 then secured in its place by the linch-pins {iv'qXaTa), (cf. Hippol. 
 1234). In Parmenides 18 (Mullach) the d^wv and crvpiy^ have a differ- 
 ent meaning, denoting respectively the pin and pipe of a hinge, ttoXv- 
 Xo-Xkovs I a^oi'as ip avpiy^i-v dfx.oi(3ad6v eiXi^acrai, but they occupy the 
 same relative position. 
 
 231 — 302. The chorus now pass on to the ships and their leaders. 
 To these are devoted two strophes and antistrophes followed by an 
 epode, which form the second part of the Parodos. Hermann, who 
 arranges 11. 277—302 as a third strophe and antistrophe (277—288 = 
 289 — 302), supposes the text to have suffered severe mutilation, and 
 gives in his edition a conjectural restoration of this strophe and anti- 
 strophe, supplying the lacunae by aid of II. ii 748 ff. 
 
 232 f. d0£o-<})aTov 'marvellous'; only here in Tragedy. Buttmann 
 /ext/. 66 p. 359, following Hesychius, explains the word as an excessive 
 hyperbole, — 5<tov ou5' av debs (pariaeieu 5i' virep^oXrjv ttXtjOovs — , but 
 this derivation is scarcely convincing, and does not seem natural in the 
 Homeric application of d6^a(p. to such words as 6/x^pos, ohos (Sec. 
 Hesiod has it of v/ivos, op. 660; cf. theog. 830 <pu}vai...iravToir]v 6ir^ 
 Ulffai, d9e<7(paTov (of the monster Typhoeus). 
 
 YwafKciov is in agreement with 6\l/iv — 6/j.fidTuv, which form a single 
 notion; cf. I. T. 1167 6\fiy 0* o/j.fj.drui' ^vvrjpfxoaev. 
 H. I. 
 
78 JPHIGENEIA AT AULIS. 
 
 234. MSS. /neiXivov adovdv 'pleasure, honey-sweet'; the expression 
 is strange in itself, while /xeiXivov both in form and meaning is open to 
 suspicion. I have printed Bothe's ixiXivov, which suits the antistrophic 
 verse, although it does not remove the other difficulties. 
 
 adovav is an accus. in apposition to the idea contained in the 
 preceding clause, cf. Bacch. 1099 dvpaovs Uaav 8l' aldipos \ UeuOeus, 
 CTbxov bv<jTT}vov, cf. infr. 831 f. 
 
 236 f. TrXdras genit. 'of the fleet' ; the part for the whole. irXaTi} 
 (lit. the blade of an oar) can be used for (i) the oar itself (cf. KihTrrj)', 
 (2) the whole ship (TrXdras vavaiTopovs 172, cf. zn/r. 723), or a collection 
 of ships, as here; (3) the voyaging of the ship, cf. Eur. frag. 229 
 pavriXcp irXdrri | "Apyos Karaax^'^' Soph. Phil. 335 ovplcp TrXdrp, 6 
 Mvp|jLi8(ov"Apiis i.e. the force of Myrmidons from Phthia ; cf. Androm.. 
 106 6 xiXt6j'ai^s 'EXXdSos "Aprjs. The number (50) of ships agrees with 
 the Homeric account II. ii 684 f. where, speaking of the Thessalian 
 tribes, he says : — Mvp/xiddves 5' iKoXevvro kuI "EXX7]i/es Kal 'Axatot, | 
 Tuv aff irevT-qKovra veQp ^v dpxos 'AxiXXei;?. 
 
 239. XP^°'^°'''S S' €iK. 'with their presentments in gold'. ehoaLV 
 dat. of accompaniment, cf. Soph. El. 704 f. This dative is usually 
 found with a verb implying motion, cf. supr. 146. Kar d'Kpa at the 
 extremities ; i.e. at the sterns, where an image of the tutelary deity of 
 the vessel was often placed. Cf. infr. 275. 
 
 242 ff. to-tjp€T|JLot V. *a like number of oared ships'. This appears 
 to be the meaning of ia-qp. (not "ships similarly oared", i.e. "similar 
 ships"), though the number in II. ii 568 of the Argive contingent is 80 
 — 6y ddcKovra iJLeXuLP ai vrjes. 6 Mt]Ki(rT€a)s i.e. Euryalus. rpi<^i\. cf. suj>r. 
 47, n. 
 
 248. Here again the account in II. ii is somewhat different, since 
 there (1. 552) Meuecxdevs son of ITerews is the leader oi fifty Athenian 
 ships. IItjs next, that is, to the vessels of Sthenelus. 
 
 250 f. irTtpwToio-iv dp|x. I1WVVX01.S i.e. 'set in a winged car drawn 
 by steeds with uncloven hoof, apiia. includes both the chariot and the 
 horses, and can therefore have the two epithets inep. and ixuivvX' 
 applied to it ; cf. also Eur. Phaethon Kpomas 5^ TrXevpa Trrepocpopojp 
 oXfiP^TiJiv. ^<avv\o'i = jxCjvv^ (Suidas /xuvvxa. ^V^- E. and S. in their 
 latest edition do not notice this form). For the winged chariot assigned 
 to deities cf. Plato Phaedrus 246 E 6 }xkv dr] fxiyas iiyefiuv iv ovpavip 
 Zeus, eXavvuv Tnrjvov apfia, irpu>Tos iropeveTai. BtTos is usually of three 
 terminations ; possibly it is here neuter owing to the influence of eij<T. 
 
NOTES. 79 
 
 <f>a<Tfia. It may however have been originally a gloss, which has ousted 
 some other word from the text. 
 
 252. tv(rr]\i6v T€ 4>a,(r[xa in apposition to UaWdoa, cf. t'n/r. 345, n. 
 
 254. TrtvTi'jKovxa. So in II. ii there are 50 ships, each manned 
 with 120 Kovpoi Boiwrwj' (1. 50Q f.). 
 
 258 f. dfi4)l vatov Kopup-Pa. The ornamented part of the stern 
 that rose in a curve above the helmsman's seat was known as the 
 a0\acrroc or Kopv/x^os: cf. Horn. II. ix 241 ffTevrai -yap vrjwv airoKoxpeLP 
 aKpa Kopvfi^a, and supr. 239. 6 yirycviis This title was assumed by the 
 Thebans in virtue of their claim to be descended from the offspring of 
 the dragon's teeth sown by Kadmus at Thebes (^f ^' 6 yrjyevrjs \ aTraprQv 
 ardxi's ?j3\a<TTe kt\. Here. fur. 3). 
 
 261. "And there were vessels from the land of Phokis, and there 
 too the son of Oileus with ships of Lokris equal to them in number". 
 1. 261 begins as though pdes r^aav Sec. were to follow in the next line, 
 but the construction is slightly changed as the sentence proceeds. 
 Toio-St 'them' for 'their ships' by a brachylogy common in Greek 
 and English, cf. Hom. Od. ii 121 rdoju oH rts o/iota voijixaTaHriveko- 
 veirj I tjiStj i.e. vorjfxaai Ilr]V€\oireLi)<i. Find. 01. in. 
 
 265. RvKXcuirfas cf. stipr. 152, n. 
 
 268 f. For the MSS. ddpaaros Markl. proposed dd€\(f)6s, but, as 
 Hennig observes, it is improbable that Menelaus would have been 
 introduced in so curt a fashion, with no mention of his name or allusion 
 to the number of his ships. He concludes that we have here the work 
 of an interpolator, who, in compiling from Iliad ii, found Adrastus 
 mentioned (572) near Agamemnon (576), and took him for one of the 
 Greek leaders in the war against Troy. It appears at least equally 
 probable that the word is due to a copyist who corrected something he 
 did not understand from his own imperfect recollection of Homer. As 
 the matter stands, it seems on the whole best to retain the MSS. read- 
 ing. We should no doubt expect a priori to find Menelaus mentioned 
 by the chorus, but so brief an allusion as would be given by admitting 
 aSeX^oj into the text would be even more surprising than complete omis- 
 sion. [Mr Palmer Herttiath. xiv p. 297 ingeniously suggests arpeaTos: 
 comparing ifi/r. 321 q. v.] ra-yds 'chieftain'; only here in Euripides. 
 
 272. ■irpd^iv...Xdpoi. 'take righteous vengeance on the one who 
 forsook her home'; irpd^is, irpdaau are often used of recovering a debt. 
 For the metaphorical use here cf. Aesch. Eum. 624 rbv irarpos (povov 
 Trpd^avTa, 'vengeance for his father's murder '. 
 
 6—2 
 
8o IPHIGENEIA AT AULIS. 
 
 275. The Alpheus, represented under the image of a bull, was the 
 sign at the stern of the vessel {7rpvfj.vas genit.). The bull is often the 
 form under which a river is typified, cf. Ion 1261 (3 Tavp6fj.op(pov 6fifj.a 
 Krjcpia-ov irarpos. Cf. also Verg. Georg. iv 371 (of the Eridanus) et 
 semina auratus taurine cornua voltu. 
 277. Alvidvwv cf. Soph. El. 706. 
 
 280 fF. In Homer II. ii 620 Thalpius, son of Eurytus, is named as 
 one of the leaders of the 'ETretoi. wvofJiatc the imperf. is idiomatic since 
 a repeated action is implied, cf. Herakl. 86 Bvo/xa rl ae, yipov, \ Mvkt]- 
 vaios (Jopofxa^ev Xews ; m/r, 416. Cf. also Aesch. Ag. 681 ris ttot 
 (hvofia^ev c3S' j is t6 ttcLv eTrjTvixitiS kt\. 
 
 283 ff. X€VKiip€T|JLOV 8' "ApT] kt\. i.e. ' (Eurytus) was leader too of 
 the force of Taphians, of whom Meges was king'. "Aprj as in stipr. 
 237. These people inhabited the Echinades, the largest of which was 
 called Taphos (Od. i 417). The meaning here is that they joined the 
 contingent from Elis, and the combined force was under the command 
 of the Elean leader. It is singular that we find in Homer the islands 
 themselves described as lying off Elis (though in fact they are ofif 
 Akarnania) 'Ex'i'awj' Q' lepdcav \ vrjacou, al valovcrL ir^priv d\6s, "HXiSos 
 dvra (II. ii 625). vavpdrais dirp. The Taphians had a reputation for 
 piracy, cf. Od. xv 427 TacpcoL ^yftaropes dvdpes. 
 
 289. Cf. Soph. Aias 134 TeXafJubvte irai, ttjs dfM(pLp}jTOv XaXafuvos 
 ^XWi' ^dOpov dyx^oXov. 
 
 290 fif. 8€|t6v K€pas irp. t. \ai6v ^uvave kt\. ' united his right wing 
 to the left wing of those near whom he was stationed, making the 
 junction with his vessels posted at the end of the line, a fleet of twelve 
 handy ships '. So Weil. The two extremities of the line of ships were 
 occupied by Achilles on the right wing, (cf. sup: 235); and Aias on the 
 left, cf. Soph. Aias 3 errl aK-rjuals ere vavTLKOis bpQ} \ MavTo%, hda rd^iv 
 i(xx'^T7]v ^xet. Hence therefore Aias' right wing rested on the contingent 
 next but one to the end, with whom he kept in touch {(jvfnr\iKo:v), but 
 his left was without support. For this reason the extremities of the 
 line were the posts of danger and honour. €v<rTpo<|). answering the 
 helm readily, and therefore easily handled in manoeuvres. 
 
 296 ff. " Wherewith if one engage his foreign crafts he shall not 
 win a safe return". upoo-ap|xd(rei in hostile sense, like irpoa/xiywfiL: 
 cf. Herod, vi 112 irpoaefxi^au rdtai. ^ap^dpoiai. pdpts was the name 
 given to a species of boat used in Egypt; cf. Herod, ii 96, where the 
 construction of these craft, and the mode of working them on the Nile 
 
NOTES. 8 1 
 
 is described. In Aesch. Suppl. 882 the epithet d/x(pi(TTpo(pos (in the 
 sense of evjTpocpos siipr. 293) is applied to them. airoio-CTai cf. Phoen. 
 1 161 ol'5' aTTOiaeTat ^lov \ ry KaWiTd^ip /J-r]Tpi, 'shall not relurn alive to 
 his mother '. 
 
 301, 2. "But some things I heard at home about the gathered 
 host, and keep them in mind ". KXvovcra though present in form has 
 the force of a perfect, "know by hearsay"; cf. Troad. 682 ypacp-^ 6' 
 i5ov<xa Kal k\vov<t' iTricrTafjuii. ctvykXtJtov crrpaT. gen. of connexion 
 with KXvovaa, cf. Hel. 665 'r]8u toc ^xox^^v kXvciv * to hear a tale of 
 trouble '. (XiryK\r]Tos is a technical term for an extraordinary meeting 
 of the eKKXrjcia. The ordinary meetings [KvpLai, yS/j-L/xoi) took place 
 four times during the presidency (irpvTaveia) of each <pv\i^. Hence the 
 word here has the connotation, " gathered ybr a special purpose" ; cf. 
 Soph. Ant. 159 avyK\r)Tou X^axVi with Prof. Jebb's note. In in/r. 514 
 the word avWoyos expresses simply the fact that there was an "assem- 
 blage of armed Achaeans ", and goes no further. In these two lines 
 the chorus explain how it is that they are so well posted in their 
 information about the army. Their alcxxvpa i>€o6a\rj$ would not have 
 suffered them to acquire it all by detailed questioning in the camp. 
 
 303 — 542. First Epeisodion. Menelaus, who has been watching 
 the road to Argos for any signs of the approach of Iphigeneia (cf. 32S), 
 has met and stopped Agamemnon's messenger with the second letter, 
 and taken it from him. The old man attempts to make Menelaus 
 restore the letter, and some sharp words are exchanged between the 
 pair. Agamemnon enters (317) and an animated scene ensues. 
 
 304. diTtkQi 'stand back!' The old man is trying to wrest the 
 letter from Menelaus' hands. This is clear from what follows {v. 
 309 ff.)- Sto-TTOTaio-i ' your master ' ; cf. 309, n. 
 
 305. "The reproach you bring is an honour to me"; cf. Bacch. 
 652 uveiSKTas Stj tovto Siovvau} koKov. 
 
 306. P"or the form of the threat cf. Aesch. Suppl. 925 /cXdots av, d 
 rpavaeias. 
 
 307. TJv ry«"<|>€pov For the prodelision of the augment at the same 
 place in the line cf. in/r. 639 daovs iyd "tckov, 
 
 308. "No, nor was it right for you to be carrying..." i.e. my 
 action is in the present case justified by the circumstances. 
 
 309. dXXois i.e. Agamemnon, — the generalising plural, though a 
 single person only is meant, as tn/r. 490 Kretveiv r^Kva (cf. 396, 736, 
 1 104). For the euphemism (the old man not caring to put his meaning 
 
82 IPHIGENEIA AT AULIS. 
 
 too bluntly) cf. Androra. 577 x**^^" fe^f^w Sfcr/iA trpiv KXaeip riva (i.e. 
 ai), cf. also iu/r. 659; El. 222 (aWoKs). 
 
 310. ovK civ |JL€0€ip,'tiv 'I will Hot leave go'. An object expressed 
 would have stood in the genit. case, depending on the idea of separa- 
 tion. After the active (fxedes 313) the object would be in the accus. 
 The optat. with du here expresses a settled determination, as in Alkest. 
 1 1 14 HP. is /xh ovv 'eyiaye drjcrofxai x^pas. AA. ovk du diyoifiL. 
 
 311. rayja. Ka0atjjtd|a». The future with Taxa is an idiomatic 
 formula in threats, (as in yvthcra rdxa- like the colloquial English 'you'll 
 soon see', see in/r. 970, Phoen. 254), cf. Androm. 263 i^avaaTTjcrct} 
 rdxa, Phoen. 625 (quoted on ?«/r. 1367). Soph. O. C. 820 rdx' ^^ft$ 
 fxdXXou oiixw^eiv rdbe. Aesch. Eum. 597 d'XX' epeh Taxa, ib. 729. Ar. 
 Thesm. 853 '6\}/ei rdxa- 
 
 313. (laKpovs has the force here of 'over long' (long, considering 
 your position); in the same way 6X4705 may mean 'too few', cf. 
 Thukyd. i 50 oXiyai dfivveiv. Cf. also in/r. 557 iroWav. 
 
 314. At this juncture Agamemnon appears in sight, and the old 
 man appeals to him for help. With Agamemnon's first words (317) 
 the metre changes to trochaic tetrameters catalectic, whose livelier 
 movement suits his hurried entry (5ta rb fierd dpofiov e^ekdetv top 'A7a- 
 /xi/ivova schol. ad 317, Matth.). In Orest. 729 the hasty entrance of 
 Pylades is marked by a similar change in the metre. 
 
 316. ov8€v 'no whit'. Gr. Gr. 215. (Cf. XPV<^^(^'^ ". 'to use in a 
 certain way'; rode xpv<^<^f^^d(^ Plat. Phil. 36 c &c.) The adverbial 
 oidip is freely used as a more emphatic form of the simple negative, 
 cf. Soph. Ant. 935 ovdev TrapaiJ.vdoviJ.ai. Alkest. 310 exi^v-qs ovdev 
 ijTiuiTipa. 
 
 318. Kvpi«T€pos X€'y€iv ' has a better right to utterance'. Aga- 
 memnon's question was addressed to the old man, who had appealed to 
 him, but Menelaus asserts his right to be heard first ; cf. 320 ^\i\pov 
 els i]fj.ds, where ijiids is emphatic. Xeyeiv is an epexegetical in fin.; cf. 
 Orest. 1153 TraVais yvuaL^iu d^ta (XTvyeip ' worthy of detestation '. Soph. 
 
 O. T. 1204. 
 
 321. The point of the question (as Vater observed) lies in the play 
 on the name 'Arpeijs {Kara to &t pea top opdCjs ai>T(^ (Atreus is meant) 
 TO Spofia /celrai. Plato Kratylus 395 b) ; cf. Aesch. P. V. 85 ^\Jev^^apv^^.m 
 ae Saiixopes UpofXTjdia \ KaXovaiP' avrop yap ck bet Trpop-Tjdiws. To a 
 modern reader this etymologizing is apt at first sight to appear 
 incongruous, and beneath the dignity of tragedy. But there is in it 
 
NOTES. 83 
 
 nothing of the "ill-conceal'd delight of the punster". To Greek 
 feeling the cry of Aias, alaX- ris dv Kod' ifed' u5' iTLbw/xov \ rovfibv 
 ^vvoiaeiu dvofxa to'is i/Mois KaKoh; (Soph. Aias 430), was no frivolous 
 play on similar sounds, but a recognition that for the bearer of the 
 name there had been set a sign and a warning, could he but have read 
 it, from some mysterious source {npovoiaLai. tou -rreirpujixdvov), of his own 
 relation to the things that were to be. For those who believed that 
 language, "invented by a god or by one like unto them", was bound 
 to thought by so close and mysterious a tie, the affinities of words had a 
 significance that has disappeared from the later world. 
 
 324. 76 is frequently added after vpiu in negative sentences, cf. 
 Soph. Trach. 415 ov, irpiv 7' dv diriQs kt\. (Cf. Aesch. P. V. 481, Theb. 
 J 048, Ar. Frogs 78.) 
 
 325. 11 "ydp in surprised enquiry, cf. Orest. 739. Aesch. P. V. 757. 
 Soph. Ant. 44. 
 
 326. "Yes (7e) I opened it and know to your sorrow the mischief 
 you wrought by stealth". The accus. KaKo. is governed by olSa supplied 
 from olada in the line preceding. For uxJTe in stichomuthia where the 
 speaker is answering the thought implicit in a previous remark, cf. 
 Hek. 249 EK. iaucra difrd <j , e^e7re/i;//d re x^oi'os; OA. u)Vr' eiaopdv ye 
 (peyyos r]\iov rode. (i.e. yes, but for you I should not have been alive to- 
 day). El. 273. 
 
 327. irou Se KaXaP^s koX emphasizes the verb; "where did you 
 catch him?" \Vhen /cat follows an interrogative, the speaker expresses 
 no incredulity as to the fact expressed by the verb ; his enquiry relates 
 to further details concerning it; cf. Hippol. 1171 7r(is fcai Zi.^\eT \ dirk. 
 <})p€v6s causal genit. (Gr. Gr. 225, 3), used in exclamations either with 
 the article (cf. Ar. Ach. 64 CtK^drava. rov (JxrnxaTQ%. "City of Ekba- 
 tana! What a get-up!"), or without, cf. Or. 412 ot>oi Siory/icDj'. 
 Compare with the phrase here Troad. 624 aiaX, t4kvov, <t^v dvoaiojv 
 irpoffc^a'yfj.dTUJv. 
 
 330. "Because the whim provoked me"; kvL^hv usually of painful 
 irritation, " to gall". 
 
 331. Tov e|i.6v oIkciv oIkov like the English "be master in my own 
 house" means "manage my own affairs"; cf. (with Monk) Androm. 
 58 r T(i$; ^ rbv dfibv oIkov olK-qaeis jmoXuiv \ devp' ; ovx d\LS ctol tCjv Kara 
 "Lirdpnjv Kparelv ; tdcronai passive. This form of the future can have 
 in tragedy either a middle or passive sense. Other exx. of the passive 
 meaning are Orest. 440 ofcrerat. Alkest. 322 Xe'^oyuat. Hcl. 1426 
 
84 IPHIGENEIA AT AULIS. 
 
 Sida^dfjLeada. Herakl. 334 ixvyjixoveiaerai. (Cf. also Find. 01. viii 45 
 
 332. irXctYia (f>pov6is 'crooked is thy dealing' &c. The allite- 
 ration of the repeated article adds bitterness to the taunts cf. Aesch. 
 P. V. 941. Soph. O.T. 371. So with a similar effect, Orestes, sneering 
 at the uxoriousness of Menelaus, says ovk eKeivos dXX' eKeivr) Ketvov iudad' 
 ijyayev (Eur. Orest. 742). vvv of the time just past, avr^Ka of the 
 near future; as "just now" and "presently". Cf. in/r. 11 05 auTi'x' 
 evpedrjaeraL. For pvf referring to the immediate past, cf. I. T. 327, rb 
 vvv vireLKOv. 
 
 333. MSS. iKK€K6fi^f/€v<xaL' TTovrjpbvyXuxja iiricpOovov cro(pr]. Ruhnken 
 (Tim. p. 154) gave e5 KeKo/xxJ/evaai. Hermann remarked on Matthiae's 
 iKKeKS/xxpevaai irovqpbv that Euripides would have said irovrjpd. 
 "Thou hast urged evil counsel with subtle skill; hateful is a clever 
 tongue". To M.'s accusation of shifty conduct Agamemnon retorts 
 that Menelaus had induced him by skilful sophistry (cf. 97 irdvTa 
 Trpo<X(p^pwv \6yov | ^ireiae rXijvat beLvd) to consent against his better 
 feelings to a desperate remedy. For the meaning of aocpbs here cf. 
 Med. 580 bans ddiKos wv ao<pbs \iyet.v \ 'jr€(pvKe kt\. Bacch. 393 to 
 cocpbv d' ov cro(pia. This distinction between "cleverness" and "wis- 
 dom" had in Euripides' time been very clearly exemplified by some of 
 the later sophists, who, after the degenerate turn taken by the sophistic 
 movement, devoted themselves to making a reputation by the cultiva- 
 tion of a style of discourse whose aim was merely controversial success. 
 To non-plus an opponent by evading the issue or catching at words 
 constituted the triumphs of the "eristic" rhetoric. Its novelty and 
 superficial effectiveness attracted considerable attention, as we might 
 infer from the frequent allusions in the writings of Euripides, whose 
 interest in philosophy disposed him to view the eristics with little 
 favour. 
 
 334. "True, but a mind inconstant..." vom is emphatic, opposed 
 to yXQiaao. in the preceding line. 8e "yc for these particles in retort cf. 
 snp7-. 21, n. (ra4>€S cf. Orest. 1155 0t\os o-a0^s 'a true friend'. Here. 
 
 fur. 55. 
 
 335 f. MSS. ovToi Karaiva} \iav a' iyu>. Bockh and Hermann ovre 
 Kararevu}. "Seek not thou to turn from the truth, nor for my part will 
 I insist too far". In Plato Timaeus 63 C KaraTeLvbfievov occurs with the 
 meaning "offering resistance" (cf. Eur. Hek. 132), but there seems 
 nothing exactly parallel to the active signification here. }i.i^t€ ovt€ 
 
NOTES. 85 
 
 have each their proper force ; for the combination cf. Soph. Ant. 686 
 oxir^ 0.V 5vuaifj.r}u fJ.r]T' (irtaTaiiuL-qv X^7eiv. 
 
 337. dp\tiv AavaiiSais 'to be the leader of the Greeks against 
 Ilion'. This passage has been cited as an instance of fipx^'" '" the 
 sense of "to rule" governing a dative, a construction found (though 
 rarely) in tragedy, cf. Androm..,a^^EX\7;(rti' &p^ov<XL : and twice in 
 Homer (Ebeling). The addition of Trpds TXtoi' clearly shows the usual 
 meaning to be proper here. 
 
 338. If a distinction between OiXeiv and ^ovKeadai is intended here 
 (fiovXo/j.evos with conscious purpose; deXoju with no disinclination), we 
 must suppose Men. to be speaking with caustic irony: — "as to appear- 
 ances not desiring it, but as to intentions ready enough" i.e. as to really 
 wishing it, well — you had no scruples to overcome. But more prob- 
 ably the poet in this place treats the words practically as synonyms. 
 In fact d^Xeiv often occurs in tragedy where only by a strained inter- 
 pretation can it be distinguished from ^ovXeaOai. The latter word 
 Aeschylus seldom uses at all, while in Eur. it is particularly common. 
 Yet in many places Euripides has deXwv where purpose is evidently 
 implied, cf. zn/r. 770. Androm. 1095. See also note on 1. 340. For 
 the dat. tc^ doKelp *in respect of, cf. I. T. 850 yevec ^xh €vtv- 
 
 340. T<3 OeXovTi 8t]|jlotc5v drjfxoTuju is a partit. genit. In prose 
 the whole phrase would be ri^ ^ovXa/xevu) tCov ttoXitCjv (cf. Plato laws 
 viii 850 A to);' ^ev(j}v rep ^ovXofxhij}) : with the expression here compare 
 Soph. Aias 1145 d\\' i/0' et/xaros Kpvcpels \ Tareiu irapexx^ ^y deXovTi 
 vavTiXcov. 
 
 342, 3. irpfacrGai t6 <|)i\. kt\. *to bid for popularity against all 
 comers'. iK fieaov is explained by Brodaeus as equivalent to the Lat. in 
 medio positiivi, of a prize for which all may contend. These lines give a 
 lively and effective sketch of the policy and conduct of a candidate foe 
 popular favour. Nor have the methods of courting t6 <PlX6tl^j.ov greatly 
 altered since Agamemnon's time. |i€TaPaXcov with accus. in sense of 
 'taking in exchange', as Lat. nmto) cf. infr. 363. The Greek fulness 
 of expression inserts 6.XXovs, though it is already implied in the verb of 
 exchanging, and therefore not necessary to the sense. 
 
 345. 2cr« T€ kXt]9p«v (nrdvios is explanatory of SucrTrpicriTos, •'diffi- 
 cult of access, because you kept at home and were rarely seen"; cf. the 
 account given of Nikias by Plutarch Svcrirpoco'o^ rju kuI dvffivTiVKTo% 
 oiKuvpujf /cat KaraKCKXei.afj.ii'os (Nik. v 526, ij. For re in explanatory 
 
86 IPHIGENEIA AT AULIS. 
 
 apposition cf. Troad. 1034 KacpeXoO \p6yov to OrfKv re, 'the reproach of 
 effeminacy'; cL supr. 252. 
 
 346. irp. p.£7aXa so El. 1359 evdai/xova irpdacrei. 
 
 347. pcPaiov cf. 334. This is Menelaus' first point in his case 
 against Agamemnon. He complains that there is no depending 
 on him. 
 
 349. *' This is the first point in which I reprove you, the first in 
 which I found you fail", ha, where; cf. infr. 459. 
 
 ?)i'^ f' X" Hav. o-TpaTos sc. rjXde, cf. Troad. 863 6 yap 5r) woWa 
 fji.oxOM<^^ ^y^ I Mej'eXa6s ei/Jii Kai arpaTev/x 'AxaiKOv. ovSkv r\a-Qa cf. 
 Androm. 641 av 5' ovdev el. hifr. 968. 
 
 354 f. fii] ..efiirXiia-as the participle with /x.77 is equivalent to a 
 protasis (Gr. Gr. 271) el fir) e/xirXrjaeLas, 'you were in distress at the 
 thought of not occupying &c.' x^^^^v cf. I. T. 10 x^^^''"' ''ck^j' 
 arjXou I 'EWrjuLKOP (rvvr}yay"AyaiJ.^iJLV(jov ava^, and v. stt/>r. 174, n. 
 
 356. rCva 8^ iropov kt\. di is in both Mss. inserted by the second 
 hand. Nauck conjectures tLv' dwopuiv [airopwv Weil) evp(j} iropov, 
 
 In Greek a double question is not uncommon; cf. Hel. 1270 tC di] 
 t65' 'EWds vopLifJLov €K tLvos aejSft; &.C. 
 
 358 f. 0{io-at...^(r£<r0at. For the present and future following etTre 
 see st(/)r. 90 ff. Cf. also Aesch. Cho. 279 — 284. 
 
 359. (j>pevas accus. oi specification or respect (Gr. Gr. 215); cf. 
 Hom. II. ix 559 ykyt]de hk re (ppiva iroLfx-qv. 
 
 360 f. d<rn€VOS Menelaus in his vexation is unjust to Agamemnon, — 
 the manner of whose yielding is described by Aeschylus thus (Ag. 217) 
 itrel 5' dvdyKas 'i5v Xeiraduov . . JrXa 5' ovv dvrrjp yeveadai dvyarpos, 
 and we have had in this play Agamemnon's own account of the matter 
 st(pr. 97 &c. But it is quite in keeping with Agamemnon's character, as 
 drawn by Euripides, that he should have given his consent to a course 
 of action proposed to him as a way out of a difficulty without fully 
 considering all that was implied in that action. (This is perhaps 
 illustrated by what Klytaemn. says of Agamemnon's sacrifice of his 
 daughter (Soph. El. 546), ov ravr d^o^Xov /cat KaKou yuib/xrju irarpos ;) 
 So "you welcomed the means of deliverance", says Men., "shut your 
 eyes to the price that bought it, and shuffle out of the payment now", 
 ov Pia is not added pleonastically to eKibv, as in such phrases as Trpbs 
 XdpLV re kov ^la Soph. frag. 26, and the like, but is an answer to an 
 exclamation or gesture of dissent on the part of Agamemnon at the 
 word UJ^v. Cf. ix r/o'i'XoSj i^f^• i^S^* 
 
NOTES. 87 
 
 362. 'irpo<|)ao-iv cf. Bacch. 224 (Gr. Gr. 215. 2). 
 
 363. X^T]\|/ai, kt\, "you are caught sencling a different message 
 to the effect that, &c." /^era/SaXaJv supplementary partic. in agreement 
 with the subject of the verb, cf. infr. 406 Sei^eis 767015. 
 
 364. p.dXto-Td Y€ 'just so'. [It is possible that L. Dindorfs conj. 
 /cdXXto-rd 76 may be right, since the two words are frequently confused 
 by copyists : see Porson Phoen. 878.] 
 
 365. "This very sky above us was witness to your conduct then". 
 Ta5e, i.e. ir^/jLireis (360) — ya/xov/i^uTju. But the expression is awkward; 
 rdde often enough refers to what precedes, but not to anything so 
 remote as in this case it must. It is not an objection to rJKovaei' that 
 the message was written, since a similar looseness of phrase is some- 
 times found, cf. Aesch. P. V. 21 oure (puurju ovre tov fjLop<pqv ^po- 
 rCiv I oi/'ei. 
 
 367. ^x°v'^*S sc. TO. Tpdy/jLaTa, cf. Thukyd. iii 72, i. Wecklein's 
 conj. eyKovovai. for iKirovovai, is tempting, but there is perhaps hardly 
 sufficient reason for altering the text. 
 
 368 f. rd 8' cvSCkws kt\. ' but some as they deserve (sc. i^. /ca^wj), 
 being of themselves unable to keep their city safe '. evSiKOJS because 
 their misfortunes arise from their own feebleness, not from external 
 troubles {yfu/uL-ris ttoX. davif^rov). 
 
 370. 'EXXdSos causal genit. cf. z'n/r. S-j-j. 
 
 371. Tovs ovSivas cf. Androm. 700 ovres ovSeves, "nobodies". 
 
 373. fji.Tjd^u cLu xP^^ovs PC. fj.7)5ev hv xP^ov$ P-'C", which is obviously 
 corrupt, nor has the reading yet been satisfactorily restored. I have 
 adopted &pa (Nauck) and 76^01;$ (Monk) in default of anything better. 
 
 374. "Mind must the general have, since any man with shrewd- 
 ness is governor of a state". To direct an army, according to Menelaus, 
 requires greater ability than to manage political affairs. 
 
 376. Kao-iYvrJTOwri is emphatic. 
 
 378. \iri XCav dvw kt\. cf. Eur. Alkm. /rag. 82 ^s 6yKov !i* ovk Avu 
 ^^ireiy tvxv^- With the form cruicppoveffTepois in the comparative cf. 
 /Se^aiOT^pws, KaWibvus (Plat. Theaet. 169 E, &c.). 
 
 381 f Seivd 4>v<ras cf. rupr. 125. aljiar. op.fjia 'face flushed with 
 anger'. K€xpT](rat "want"; cf. Ion 1199 Trw/iaros Kexp^l^vai. So 
 Kallim. hymn to Zeus 12 KexPVP-^^o" EiXet^ia?;?. 
 
 383. tSv for iKfivufv, d (Gr. Gr. 210 f.). Attraction in relative sen- 
 tences is employed more freely by Aeschylus and Sophokles than by 
 Euripides. His use of it is moreover restricted to the simple forms wv 
 
88 IPHIGENEIA AT AULIS. 
 
 179 oh (not offiav ujvirep &c.), nor does he employ it in clauses where the 
 verb is in the subj. or optat. (cf. Soph. Trach. 399 subj.); see Forster 
 quaest. de attract, p. 70 f. It is doubtful whether there is any instance 
 of this attraction in ?Iomer. In the passage which Kiihner cites for it 
 {aiisfiihrl. Gramm. § 555, 2) II. v 265 t'^s 7a/) toi ^ev^r]% tjs Tpwi Trep 
 evpydira Zeus \ ScD/ce ktX. tjs is better explained as an ablatival genit. 
 expressing the source or origin. 
 
 384. 6 |ii] (r4>a\cCs iii] is generic, *one who has not, &c.' 
 386. TO XcXoYwrp.. -irapeis 'casting discretion to the winds'. Thomp- 
 son on Plato Phaedrus 246 E points out that neither e^ hhs \6yov XeXo- 
 yKT/xeuov ('on any principle of sound reason') there, nor XeX. here need 
 be taken as passives. Cf. in/r. 922 XeXoyicr/xevoi. 
 
 388. Monk's conj. /jLeTedefMrju ev^ovXiav (in support of which he 
 cites Or. 254 raxi^s 5^ [lereOov Xicraav, dpri aw(ppov(Jov) would involve 
 but a very slight change, but the MSS. reading is possible Greek, and 
 does not seem to call for alteration. 
 
 389. KaKov Xe'xos 'a bad wife'; c^.supr. 103. 
 
 390. Cf. Med. 879 deCbv iropi^ovTwv /caXws. Or. 667. 
 
 391 fF. KaK6<}>pov€S 'misguided'; so Ka/cws (ppovovvres ('mistaken') 
 Med, 250. Cf. Aesch. Theb. 874 bvacppoves. For the o lengthened be- 
 fore <t>p cf. Suppl. 744 {KaK6<pp(x}v), and see on in/?'. 636. 
 
 The suitors "swore the oath in their zeal to win the bride, but it was 
 Hope — a god, I think — that e'en brought it to pass, rather than you or 
 strength of yours". Ag. is protesting against the assumption of 
 Menelaus that his interests are entitled to rank before everything — 
 even the reluctance of a parent to sacrifice his child. "You push", he 
 says, " your claims too far. You may demand from the suitors the strict 
 fulfilment of their bond {ovs XajSwj/ CTpareve, 393), but not my daughter's 
 life". If we understand the passage thus, the objections which have 
 been taken by critics to its logical coherence appear to be avoided. ol|J.aL 
 He'v an answering clause with 5e, 'but you may not agree ' or the like, is 
 left to be understood. The effect is to lay a certain emphasis on the 
 verb, cf. Or, 8 ws p.kv Xkyovai. infr. 859. ©cos cf. Theognis 1135 
 eXTTis €v avdpbiiroLcn fibvv ^eas (v. id. 637 f.). Monk cites Verg. Aen. ix 
 185 an sua cuique d ens fit dira ciipido? 
 
 395. ira-yevras cf. Aesch. Ag. 1198 (si ver. lect.) op/cos, irriyixo. 
 yevvaiios wayev. 
 
 396. Koif Lenting (Androm. 307), MSS. Kal. "And your fortunes 
 shall not prosper in despite of justice by vengeance wrought by you 
 
NOTES. 89 
 
 on a worthless wife, while me days and nights consume with tears, 
 &c." Retaining Kai the same sense would be given if we suppose the 
 negative force of the preceding ovk to be carried on, but the very slight 
 change to kov makes the sentence much easier and more natural, to 
 <r6v "your interest"; cf. Plat. Gorg. 455 C. Soph. El. 251 t6 abv 
 CTTivdovff a/J.a \ Kal rov/xbu avrrjs r^Xdov. Cf. infr. 482 Tou/xdv. 
 
 400 f. For pq.5ia Stadtmiiller (Fleck. Jahrb. Bd. 133 p. 472) pro- 
 poses Kalpia: but the sense " easy to understand " seems defensible and 
 appropriate. Brjo-w koXcSs a common formula, cf. Or. 511. Aesch. Ag. 
 173. SiC. V. z'n/r. 672. 
 
 404 f. K€KTTJjj.T]v. There is no evidence in Attic inscriptions of a 
 pluperf. without the syllabic augment (see Meisterhans Grammat. d. 
 att. Inschriften^p. 135); cf. however /ca^:7(rroBacch. 1 102, and/ca^Tj/ie^a 
 Soph. Ant. 411 with Prof. Jebb's note. In meaning kckt. has the force 
 of an imperfect, and the tense is here used, as often, to express what the 
 speaker now recognizes to be the fact. In these cases apa is often 
 added, cf. in/r. 882, 944. M. "Ah me! I find, poor wretch, that I 
 have no friends". A. "Yes, you have, when you do not seek your 
 friends' (roi)s (piXovs) destruction". 
 
 406. 'Yt'yws cf. si//>r. 363, n. Orest. 802. 
 
 407. MSS. (Tvvffwcppovelv aoi. ^ovXofx dXX' ov avvvoae'ip. text Plutarch 
 de discr. adulat. et amic. p. 64 C. Cf. Soph. Ant. 523 oItol (xwexdelv 
 dXXd <Tvp.(pCKi1v i(pw. It has been held that the form of the line in 
 Plutarch is due merely to a confused reminiscence of this verse of the 
 Antigone, but we find more than once distinct echoes of Sophoklean 
 expressions in Euripides, cf. Here. fur. loi — 104. El. 379. <rvvvo<r€iv 
 of "frenzy" as opposed to cucppove'Lv "sober sense" (cf. voael 411). 
 
 409. For ifjii following fie without special emphasis, cf. Soph. 
 O.C. 811 fiTj^^ fJ.e I <pv\aa(f icpopfxQv ?vda XPV t'o.^c-" f^^* 
 
 411. For 84 in stating an objection cf. tn/r. 1458. 
 
 414. It is a general rule in tragedy that a line is not divided be- 
 tween a person already on the stage and a fresh arrival. In this case 
 the hurried entry of the messenger with tidings of the near approach of 
 Klytaemn. and her suite excuses his interruption of Menelaus while still 
 speaking. Similarly Odysseus in Soph. Phil. 974 excitedly interrupts 
 Neoptolemus. Cf. also Hel. 15 14, where the messenger (though not 
 with his first words) exhibits his impatience to tell his news by striking 
 in before Theoklymenus has time to complete his line. 
 
 416. «v6jia^£S cf. su/>r. 281. 
 
90 IPHIGENEIA AT AULIS. 
 
 418. at<rT€ T€p(|>9€£T]s I8«v. The edd. generally adopt some correction 
 of dare (Co% ri Herm. wcrr' ojv rjadeirjs Hennig) and make the clause 
 dependent upon o/xaprei. It seems preferable to take uicrre as merely 
 prefacing a parenthetical remark, "therefore, may'st thou have joy 
 when thou seest him " ; nor is this unsuited to the somewhat stiff and 
 involved style in which the messenger expresses himself. 
 
 419. 8ft>|xaT<»)v ^kStihos cf. m/r. 805, 982 (Gr. Gr. 228 N. 2). Cf. 
 Aesch. Eum, 893 irdaris dir-qfxov oi^vos. 
 
 420 ff. "But, as they were on a long journey, now beside a 
 fountain's gracious stream they are easing their delicate feet, ladies and 
 steeds alike". dvatpuxovat is a general term for the refreshment 
 afforded to the travellers after a long drive by walking on the grass 
 round a spring (cf. 422), and to the horses by standing in its waters. 
 cas = e7r€^, in causal sense. (laKpdv ^t. the more usual meaning of the 
 phrase is 'making a long speech' (Aesch. Ag. 1297, &c.). 
 
 423. 7€v<raCaTo an Ionic form not rare in tragedy, cf. Hel. 159 
 avTidioprja-aLaTo. For exx. from Aesch. and Soph, see Rutherf. JVew 
 Phryn. p. 431. 
 
 429. €V irdo-t kXeivoC should I think be taken together, "judged 
 
 famous with one consent, and the observed of all observers", h irdai, 
 
 'in the opinion of all men', cf. Hipp. 9^ oi ev cocpoXs <pav\oL. Eur. 
 
 fra^. 349. irepipXeirTot like aTrojSXeTrTos Hek. 355: cf. also Phoen. 551. 
 
 433. irpoTikClova-i cf. in/r. 718 irporfKeia. Artemis was one of the 
 divinities to whom offering was made before marriage (cf. 11 14). On 
 the audience who are in possession of the situation the tragic irony of 
 the phrase would not be lost. 
 
 435. Tctirl T0i<r(8(€) id quod proxinium est, cf. Ar. Plut. 56 oWis el 
 (ppdaop, I rj Tairi toOtols 5pc3; e^apx. Kavd is to "make a beginning of 
 the sacrificial rites with the baskets" (cf. dirapxcadac rpi'xas), i.e. by 
 taking from the basket (t6 kuvovv oXds txov Ar. Peace 948) the barley- 
 meal, which was then sprinkled over the victim and altar. 
 
 436. arT€<j>avov<r06 the plural though following e^dpxov since the 
 messenger is including both Ag. and Men. in his address (cf. m/r. 
 1368 /J.rJTep, elaaKova-are), while at evTpiirL^e he turns to Menelaus. 
 
 438. X-wTos cf. in/r. 1036, 576. 
 
 440 f. €Tr'^v€o-(a) cf. supr. 136. iov<rt]s Ttis tvxtjs "as fate moves on 
 its course ". At this point the messenger retires leaving the brothers alone. 
 
 442 f. <j>w...dp|opiai cf. infr. 455. dvaYKTis \iv>l^. cf. the metaph. 
 in Aesch. Ag. 217 quoted on supr. 360. 
 
NOTES. 91 
 
 444. vi-irf^XBc cf. supr, 67. <ro(|)icr|xdTU)v cf. infr. 744. 
 
 447 ff. avTois sc. roi% Svayeviai. The vulgar can "weep, and tell 
 their unhappiness ; while to the man of noble birth come miseries none 
 the less, but we" (the high-born) "have dignity to rule our lives and are 
 in bondage to the mob ". Writing Tavra for the usual ravra we have a 
 clear and pointed sense, 'the yevuaioi <f>v<nv are as much the prey of 
 avoK^a as the low-born, but must hide their sorrow from the public 
 gaze'. jVod/esse oblige. Most edd. follow Musgrave in transposing 
 av.XiSa airavra. Monk retaining the MSS. order makes airavTa ravra 
 refer to the following clause irpocrrarT^v — 8ov\evoix€v. In 1. 450 both MSS. 
 give S^fxop, Plutarch Nikias v p. 526, 4 has oyKov, which is probably the 
 true reading, since its likeness of sound to 6x\v makes the coupling of 
 the two words strongly ironical. Cf. Ennius //>/i. viii plebes hoc regi 
 antestat : in luctii licet | lacrumare honeste plebi, regi non licet. 
 
 455. orvp.pdXa) PC. An easy correction would be av/x^aXu), which 
 some edd. adopt, but the change of mood is not uncommon, cf. S2i/>r. 
 442. Soph. Trach. 973 ri wado}; ri be fMrjaofxai', 
 
 456. €iri KttKois tX.9. 'coming in the midst of the troubles, &c.' 
 ^Trt with dat. of the attendant circumstances, cf. in/r. 541. 
 
 459. I'va (where) 'a matter wherein.' 
 
 461. "Ai8r|s...vvp.({)€v(r€i Antigone in a similar case says of herself, 
 'AxtpovTi vvfjL(p€vau} (Soph. Ant. 816, cf. id. 654); and, since wfKpevHv 
 can be said also of the man, diicere uxorem (Ion 819 vv/x(p€vaas, &.C.), 
 it might here be used of Death as the bridegroom. Cf. Shaksp. Rom. 
 and Jul. iv 5 dcai/i is my heir ; I my daughter he hath ivedded. But the 
 meaning appears rather to be "attend her marriage" {v. 458); cf. Meleager 
 Anlh. P. vii 182 ov Yafiov, a'XX' 'Atdav eTrivv/xcpidiov KXea/jtVra [ de^aro, 
 kt\. The idea which is thus conceived of the presence of the god of 
 death also finds expression in ancient art. On a fragment of a relief 
 which deals with the story of Medea, Hymen the god of marriage, who 
 presides over the nuptials of Jason and Glauke, bears in his hand 
 the symbols of Death, signifying the approaching fate of the bride. See 
 Wecklein, Medea Einleit. p. 20. 
 
 462. iK€T€v<rai.. For the aor. infin. after o'/iat cf. Plato Protag. 
 316 C TouTo ok oierai oi /jAXicrra yevecrdai, et aoi (Tfyyevoiro. 
 
 466. ou o-uverd is explained by in yap actX., avverus being pathet- 
 ically added to imply that the child's manner when his sister was taken 
 from him would be eloquent enough to his father; cf. iir/r. 1245 
 amnrQv Xiaaerai, with 1243. 
 
92 IPHIGENEIA AT AULIS. 
 
 472. KpaTos 'victory'. So in the plur. KpaTT} Soph. Ant. 485. 
 
 476. eTr£TT]8€S 'to serve a purpose', i.e. 'deceitfully'. (Cf. /caiptws 
 Aesch. Ag. 1 372.) / 
 
 478. dvTa<|>TiKa sc. SaKpvov. 
 
 480. ovK d<s a-l 8. kt\. 'not one to cause thee dread, nay, I will 
 place myself in thy position now '. 
 
 482 f. dv0. Tov|i6v 'prefer my interest to your own' (cf. supr. 396). 
 TCL/^d in the next line balancing ae hardly differs from ifxe, cf. Androm. 
 235 cos drj (TV <T(J}(ppo}v, Tafxa 5' ouxt awcppova. 
 
 486. €t — lfj.€£pop,ai. For the indicative in the protasis followed by 
 dp with optat. in the apodosis, see Gr. Gr. 273 f. 
 
 487. d8€X<|)6v, ov |i TjKio-T €XpTJv. With this should be compared 
 the remarkable passage in Soph. Ant. 904 ff. (cf. Herod, iii 119). See 
 Patin Eurip. i p. 21. . 
 
 489. T] is the older Attic form of the ist sing, imperf. of diii : 7\v is 
 however required by the metre in several places in Euripides, as infr. 
 944, Hippol. 1012; cf. Rutherf. /. c. p. 242 f. In Aesch. and Soph, the 
 verse always admits ^. 
 
 490. olov r\y KTtCveiv cf. Med. 35 oXov irarpc^as fir] dTroKeiireadai 
 
 492. IvvoovjJievo) the dative as though elayjXdi fxoL had preceded; cf. 
 Med. 57 uiad' 'ifxepis /ul vTr7]\6e...\i^aL /xoXoijcrri deupo ktX. 
 
 498. "Whatever is thy concern in the oracles about thy daughter, 
 let them not concern me; I make over to thee my part therein". 
 Tovfibv /x€pos = my claims. Men. says that any rights which he has as 
 the person on whose behalf the expedition started he will resign, and 
 Ag. may consider only himself and his own interest in deciding what to 
 do. 0€'<r4>aTa Kopris object, genit. cf. tn/r. 842. Med. 541. 
 
 500. I have followed Weil in placing a question mark after \6yuv. 
 dXkd = af enim, cf. Hippol. 966, 7. 
 
 502. Tpoirot 'ways'; with a suggestion of TpiireaOai in the sense 
 " turns ". 
 
 503. (BcXtCo-tois seems best taken as neut. "adopt the best course 
 as occasion arises" (det). 
 
 504 f. Compare with these two lines Ion 735 — 7. 
 
 507 ff. vir. Tovs X6"yovs 'the course which you advise'; ■uir^OrjKas 
 •suggest', a sense commoner in the middle. In the following words, 
 rapaxn d\..irLKpdv Ag.'s thoughts carry him back to the stormy passions 
 by which ere now in the history of his family brothers had been 
 
NOTES. 93 
 
 estranged. At 511 he reverts abruptly to the crisis of the moment. 
 d-ir€'irTv<ra kt\. ' I loathe this nature of kinsman's bond with its bitter- 
 ness to both', i.e. a.\\r}\oiv iriKpav ov<jav. 
 
 511. dXXd...Yap ' But vain thy words, for we are come &c.' aWa 
 is used elliptically, introducing a sudden turn of thought. 
 
 515. viv i.e. Iphigeneia. 
 
 516. TQVTo 'in that point' (Gr. Gr. ■214 X. 2). iKUPo refers, as 
 often (cf. 522, 1 133), to what follows. 
 
 517. TO iroiov; For the art. cf. Aesch. P. V. 249. Soph. O. C. 
 893- 
 
 519 fT. 0dvT] It is not surprising that Men., who in order to further 
 his own plans could require the life of his own niece, should speak 
 lightly of making away with the seer. Ag. (520) does not reply 
 directly to this proposal, but relieves his feelings by a bitter reflexion 
 on the person who stands in the way of his schemes. So Oedipus 
 (Soph. O. T. 387) in his irritation at the words of Teiresias flings at 
 him an insinuation of corrupt motives ; and Kreon in a like situation 
 (Ant. 1055) says t6 fiavTLKov yap irav (piXdpyvpoi' yevos. Menelaus (521) 
 while agreeing (ye) with Ag.'s strictures, by the addition of irapov 
 presents again his suggestion that matters would be simplified if 
 Kalchas were pa out of the way. "Yes, and good for nought and 
 profitless — when with us". 
 
 523. ov |iTJ a conditional relative with indefinite antecedent. For 
 the optat. in the apodosis after the indie, {^pa^eis) in the protasis, cf. 
 su/>r. 486. 
 
 524. 2to-v(|)€iov Odysseus' mother, Antikleia, had been married to 
 Sisyphus before she was taken to wife by Laertes; cf. Soph. Phil. 417 
 ovfxiroXrjTos Ziav<pov Aaeprlci}, 'the son of S. foisted upon Laertes'. 
 
 526. iroLKtXos 'subtle in device'; so Hesiod (fr. xxxii 4) calls 
 Sisyphus aioXofirrnj^. ©xXou |i€Ta 'on the side of the mob', a parte 
 pubis, a prose expression. It is a peculiarity of Euripides' style (espe- 
 cially evident in this play and the Bacchae) to use the prosaic ixera., c. 
 genit., instead of the poetic <jvv^ with much greater frequency than the 
 other tragedians. (Tycho Mommsen.) The two prepositions are used 
 as synonyms by Soph, in the parodosof the^;//7>^;/^(ii5 f.) inconsecu- 
 tive lines. In Aesch. the preference for <xvv is very decided. 
 
 527. <|>iXoTinfa yXy €v. '■Ambition he is enslaved by', i.e. so far, I 
 agree with you. Yox this use o{ p-iv see on sitpr, 392. 
 
 530. K(jTa ij/«v8onai inserted parenthetically, with the effect of 
 H. I. /, 
 
94 IPHIGENEIA AT AULIS, 
 
 marking more clearly the antithesis viriaT-qv )( ^evboixaL. Observe in 
 this line the exception to Porson's canon. The same occurs in two 
 other passages of similar rhythm, Hek. 724 ov5k \j/avoixev. Androm. 
 346 aXXd ^J/evaerai. (Cf. also Ion i.) 
 
 531. OS |vv. trrparov 'and he carrying away all judgment of the 
 army, &c.' Cf. Kallim. ej>. 47 { — inc. v Schn.) elwa, /cat a Ne/xeais /xe 
 awdpTratre. 
 
 534 f. It is a question whether we should understand tjhoLs with 
 ^vvapiraaovcn. I think it on the whole best to take both it and KaraaK. 
 with yrju, which in tragedy often = 7r6\tv (cf. Valckn. Phoen. 6 and 
 Kuster's note there cited): — "will destroy and raze to earth the city, 
 Cyclopean walls and all"; cf. Med. 164 avroh /xeXadpois diaKuaLo/j-^vovs. 
 
 537. iJ7r6pT]|JLak an unusual use of the perf. pass, of diropeu in the 
 sense of the active. 
 
 538 f. <}>vXa|ov...oir«s av (Gr. Gr. 261 N. i) cf. Hel. 742 (jipovpetv 
 OTTios dv...a(i}dwixev. 
 
 541. €irt'with'. In 7r/)ao-crw /cavws the same double sense which is 
 sometimes found with eS TrparreLv, 'doing well', and 'faring well' 
 (Plat. Gorgias 507 C, &c.). is perhaps suggested. 
 
 542. vp.€is T€ o-iyrjv ktK. The chorus of Chalkidian women have, as 
 mere strangers, no interest in not informing Klytaemn., but their silence 
 is necessary to the progress of the play. 
 
 y^\Z — 606^ First Stasimon. "Love", sing the chorus, "makes glad 
 ^rTuie life of m" , but lawless excess brings sorrow in its train. Mine be 
 it to keep the golden mean. Some are by nature prone to err, but the 
 path of duty is clear, leading men to virtue and a glory that grows not 
 old. Thus it is that states are preserved (571). Of sin none can see 
 the end. Paris (573), a shepherd on lonely Ida, was distracted by mad 
 longings, and lured Helen from her husband's home. Hence the arm- 
 ing of heroes and beginning of strife." 
 
 In the strophe (543 — 557) we have an exact description of the 
 thoroughly Greek conception of (xo}(t>poa{jvirj and to fxerpiov — the reason- 
 able mean between joyless asceticism and abandoned license. Compare 
 Med. 627 ff. a passage which exhibits a striking parallelism both in 
 thought and expression. 
 
 543 ff. " Blessed are they who in measure due have their share in 
 marriage bliss when Aphrodite's sway is mild, and enjoy a quietness un- 
 ruffled by mad desires ; for, where desire is, there does Love bend his 
 bow with arrows twain of charm, and one is for fate of happy days, and 
 
.VOTES. 95 
 
 one for life's undoing." -yaXavcCcj. xp, see on stt/>r. 88. Cf. Plato 
 Phaedo 84 A {r\hovQiv koX "IwivCiv) 'ya\r)vriv wapaaKeva^ovaa. (urpCas 0€ou 
 cf. Hippol. 443 Kvirpis yap ov (pop-qros, rjv ttoWtj puy. infr. 557. As to 
 the construction Q^ov — XiKrpwv 'k<pp. see on supr. 132. 
 
 552. viv neut. referring to rb di, not to'Epws as the sense of the 
 passage shows. Cf. Schiller ; Jener bringt selige Freuden, | dieser 
 mordet das Gliick : | reizende Gottin, den zweiten | wehre vom Herzen 
 zurlick ! 
 
 557. iroWdv cf. supr. 313 n. In Ar. Frogs 1046 Aeschylus is 
 made to say to Euripides, in allusion to the supposed matrimonial 
 infelicities of the latter, d\\' eirl tol <toI koI tois aolaiv ttoWt] iroWov 
 '■n-LKadrjTO (sc. i) 'Acppodirr]). 
 
 563. TO T€ ^dp kt\. ' A modest temper is itself wisdom, and has 
 the rare grace of discerning by reflexion where duty lies'. 
 
 569. Kara Kvirpiv Kp. with regard to secret amours, i.e. by 
 shunning them. 
 
 571. 6 iJtvpioirXiiOTJs 'discipline (/cocr/ios) in its countless forms' in 
 the case of men is opposed to the single virtue of chastity in which is 
 comprised the dperr) of women. This distinction is in harmony with 
 the Greek view which considered the province and duties of women to 
 be properly confined within a very limited sphere. 
 
 572. (JLcC^ta) proleptic 
 
 573. "Thou didst come, O Paris, to the place where thou wast 
 reared a herdsman among white heifers on Ida's mount W yre epic form. 
 
 576. "Breathing on reeds an imitation of the Phrygian pipe of 
 Olympus". The Olympus to whom was ascribed the invention of the 
 pipe was a mythical personage, who lived (according to one account) in 
 Mysia before the Trojan war. The Olympus who invented the 
 enharmonic scale {ivapfidviov y^voi) and established the auXos by the 
 side of the Ki.d6.pa in Greek music (v. infr. 1036, 7 where both instru- 
 ments are mentioned), was a real musician of Phrygian family who 
 flourished circ. 650 B.C. He was thus a little later than Terpander, 
 who won the prize in a musical contest circ. 676 B.C. In Greek literature 
 the historical and legendary Olympus are often not clearly distinguished. 
 As to the Phrygiayi mode itself, we find many allusions to the extra- 
 ordinary effect produced on the mind by its mournful and passionate 
 strains; cf. Aristot. Pol. 1340*9 5ia rdv '0\v/xirov /juXQi'- ravra yap 
 ofioXoyovfiivui Trout rds xj/vxas ivdovataariKas. Plato's criticism, rf 
 
 /ud/ic 398 C ff., is well known. 
 
 7 T 
 
96 IPHIGENEIA AT AULIS. 
 
 579. cv6t]Xoi 'with teeming udders'; cf. Bacch. 737 evdrfKov irupiv. 
 
 581. OL — Tr^}nr€i cf. in/r. 884. 
 
 582. e\€<|>avTo8. 86jx«v the palace of Menelaus at Sparta. There 
 is in Homer an allusion to this palace, wherein one might see the 
 flashing of bronze and of gold ifK^KTpov re Kal dpyijpov rjd' iXecpauros 
 (Od. iv 72 ff.). 
 
 584. Iv pX€4>apoioriv ^SwKas cf. Aesch. Ag. 1450 (pipova{a) iu rj/xTf 
 
 585. For re answered by c^ cf. Plato Euthyphro 3 E <n5 re d7w- 
 vui TTjf biK7]v, otfiaL 8^ Kal e[xk ttjv e/xrju. Soph. Ant. 1096. 
 
 588. *EXXd8a as adj. in agreement with epiu. 
 
 590. At this point the chariot conveying Klytaemn., Iphigeneia, 
 Orestes, and their attendant suite come into sight, entering probably by 
 the Trdpodos. The chorus prepare to salute them on their arrival. 
 
 595. evftiJKCis cf. Empedokl. 15 e^ otrjs rifxrjs re Kal ohv ^^/ceoj 
 
 597. Tois ovK 6v8. 'in the eyes of; cf. Med. 509 iroWais /xa- 
 Kapiav. 
 
 598 — 606. I follow the opinion of several editors in regarding these 
 lines as an interpolation. The metre (as presented by the mss.) is bad, 
 and the synapheia of the system is interrupted after eirl yaTau. The 
 sense, moreover, which is in itself hardly appropriate to the position of 
 the chorus, is awkwardly expressed. A reference to the Appendix will 
 show the readings of the mss. 
 
 607 — 750. Second Epeisodion. Amval of the party from Argos. 
 They alight from the travelling chariot, and Agamemnon has to endure 
 (640 — 685) and parry as best he may the questions prompted by the 
 affection of Iphigeneia on meeting her father; and the enquiries (695 — 
 730) which a mother's solicitude impels Klytaemn. to urge with refer- 
 ence to her daughter's marriage. After a vain endeavour to persuade 
 (731 — 741) Klytaemn. to return to Argos, Agamemnon is left alone to 
 lament the failure of his schemes. 
 
 607. opviOa 'omen'; cf. Hel. 105 1 KaKos fiev 6pvLS (v. z3. 748). 
 The birds from whose flight omens were taken, were called strictly 
 oioofoi (see m/r. 1347), but the distinction is not always observed; cf. 
 Aesch. Ag. 157 dr' opvidwv 65iW. Hes. <?/. 826 opuidas Kpivujv 'reading 
 the signs of birds'; so Theokr. xvii 72 [xeyas alerbs ataLos opvis. tovSc 
 is explained by the line following, being assimilated, as usual, in gender 
 to oppida. 
 
KOTES. 97 
 
 612. cv\a(3ov[i€voi addressed, not to the chorus, but to Klytaemn.'s 
 attendants. 
 
 614. The delicacy and feminine weakness of Iphigeneia thus inci- 
 dentally dwelt on heighten the effect of the noble fortitude which she 
 displays at the end. 
 
 615. vedviSes veai'tSes by synizesis. 
 
 620. dirapdfj.v0ov when not reassured, 'when none is by to soothe'. 
 
 623. irwXiKw 5ap.{is oyjji i.e. overcome by the motion of the chariot. 
 
 624. ^"yctpe 'awake!' the active used for the regular mid. iyeipov. 
 In Or. 294 Euripides similarly uses avaKaXvirre 'unveil thyself. 
 
 627. c^-qs p.ov iro86s = i^rjs e/MoO, cf. Here. fur. 336 bfiapreW dOXicp 
 fj.r)Tpbs TTooi. 
 
 631—6. Iphigeneia throws herself into her father's embrace (631 — 
 2). Klytaemn. in a less demonstrative manner greets her lord (633 — 4), 
 and as he turns to respond to the queen's greeting Iphigeneia would 
 have him yet spare all his attention to herself [eyw 8^ kt\.), asking 
 pardon for the importunity of her affection {opyicrdys 8^ /ulti). The 
 repetition of words has caused this passage to be held unsound, but 
 it is in the situation a very natural and pathetic touch. 
 
 636. Notice in this line the vowels lengthened before 8p and XP. 
 which is contrary to the usual practice in tragedy. A vowel is generally 
 made long before y/j. yv, 8/x 8v, y\ ^\, but before other combinations of 
 a mute and liquid it remains short, especially if in the final syllable 
 of a word. The exceptions in the latter case are few; in El. 1058 the 
 MSS. give dpa K\vov(xa kt\. Cf. Alkest. 542. Aesch. Pers. 682. For 
 statistics on this question, see Kopp Rhdn. Mus. 1886 pp. 247 ff. 
 
 638 f. XPT ^<^- TTpocTySaXeri'. "t€kov cf. stipr. 307 n. 
 
 640 — 676. The dialogue which follows is a masterly example of 
 tragic irony. It will be observed that Agamemnon attempts to satisfy 
 his daughter's more pressing enquiries by answers that may be am- 
 biguously understood either of her marriage or sacrifice. 
 
 642. €u...eiro£Ti(ras 'thou didst well to bring', i.e. 'I thank thee for 
 bringing me'; cf. Med. 472 eD 5' eTroirjiras /loXuiu. 
 
 643. TovTo i.e. fi'. 
 
 644. pXe'-rreis '€'kt]\ov as (refivou fiXeireiv, &c. do-jxtvos cf. sn/r. 
 641 {kuI yap iraTT)p ai). 
 
 648. " Smooth to kindly aspect the furrows of thy brow". 6|J■^la, 
 countenance, corresponds here to our word "expression". p.€0£s 6<j)pvv 
 cf. Alkest. 777 Trpoaitiirtf ^ivw^pi/w/i^fy. 
 
98 IPHIGENEIA AT AULIS. 
 
 649. "Lo! I have the joy I have in seeing thee, my child". A 
 euphemistic expression, where more is meant than meets the ear. Cf. 
 Med. lOil ^yyeiXas of TJyyeCKas. Soph. O. C. 336. &c. 
 
 651 f. diTova-ia. By this Ag. may intend Iph. to understand either 
 his voyage to Troy or her own marriage ; more probably, perhaps, the 
 former. The next line is corrupt as it stands, but the general sense is 
 preserved. Ag. cannot command his voice as he pronounces the words 
 imovd cLTTovaia, and Iph. with a vague feeUng of alarm says "I cannot 
 tell whereof you speak &c." 
 
 654. €v<|>pav» v. on infr. 834. 
 
 655. TO cri-ydv ov cr0€vw cf. Soph. Ant. 78 to bp3.v...a}J.y]X^vo's. 
 
 656. cirl TCKVois Svith your children'. 
 
 657. "That is my wish ; but my grief is that I cannot wish it ". 
 659. aXXovs a studied ambiguity, cf. Med. 10 16. (v. siipr. 309.) 
 
 8ioX€<ravT' ^X'l the periphrasis with ^xw denotes a continuance of the 
 state whose beginning is expressed by the aor. partic. (Cf. Shaksp. 
 Rom. and Jul. iv 3 poison... which the friar | subtly hath minister'd to 
 have me dead.) Often however the force is merely that of a perfect. 
 
 664. diraipeis the present as in Med. 938 diraipo,u€v, cf. in/?-. 670, 
 and on 1028. 
 
 665. The line is corrupt, as the two metrical solecisms show. 
 Weil's correction els ravrov avdis, (3 dvyarep, rj^eis Trarpi, "thou shalt 
 meet thy father, O my daughter, once again" (i.e. in the realms of 
 Hades), though not itself a very melodious line gives what was pro- 
 bably the sense of the original. 
 
 667. irXovs i.e. across the River of Death to the underworld, 
 where she will remember how her father delivered her over to the 
 altar. 
 
 670. ov TTOV 'can it be that...?' an affirmative answer is expected, 
 though the question formally implies incredulity. So too, occasionally, 
 in the stronger form ov tL ttov, cf. Hel. 541. 
 
 672. 0€|i€vos €v cf. Here. fur. 605 ed diadat, Bacch. 49. Cf. also 
 st{J>r. 401. 
 
 674. |vv icpois 'with help of holy rites'; cf. suj>r. 358. 
 
 675. Icmi^eis fut. perf. formed from perf. act., as Tedvq^w from 
 TedvrjKa. Aesch. Ag. 1279 [Tedvr^^oiiev). 
 
 677. Tov y.v^\v <f>pov€iv cf. stcpr. 370. 
 
 Racine in his Iphigenie (ii 2) has a scene in which he imitates 
 with considerable success the fine irony of the foregoing dialogue :— 
 
NOTES. 99 
 
 Ag. Les dieux depuis un temps me sont cruels et sourds. | Iph. Calchas, 
 dit-on, prepare un pompeux sacritice? | Ag. Puisse-je auparavant 
 flechir leur injustice! | Iph. L'ofTrira-t-on bientot? Ag. Plus tot que je 
 ne veux. ] Iph. Me sera-t-il permis de me joindre a vos voeux? | Verra-t- 
 on a I'autel son heureuse famille? ] Ag. HelasI Ij>h. Vous vous taisez? 
 Ag. Vous y serez, ma fille. Adieu. 
 
 67S. d4>9-fivai Kopais by maidens only, i.e. and not by men. Greek 
 feeling was opposed to girls appearing much in public ; cf. Herakl. 43 
 vias yap irapOivovs aloovfxeda | ^xX^fJ ireXa^eiv, and on S!//>r. 1S8. 
 
 6S0. d-iroiKTJo-etv 'dwell far from', as in Here. fur. 557. 
 
 6S5. Exit Iphigeneia leaving Ag. and Klytaemn. alone. creSeirap. 
 raZe, *1 entreat you to bear with me in this thing', i.e. el Kar. &yav 
 kt\. Sorrow and tears were inauspicious on a fiaKapiov r^jxap. (Cf. 
 Aesch. Ag. 636 f.) 
 
 690. iroXXd p.ox0T](ras ^ioxOClv is often used of the loving care of 
 parents for their children; thus Megara says (Here fur. 280) ttws yap ou 
 <pi\Co I driKTOv, d/zox^T/cra ; cf. Med. 1030. 
 
 694. T« XP°^*{* o~uvi<rx.vavei 'will join with time in assuaging' 
 (v. Aesch. P. V. 380); cf. El. 73 avyeKKOfJu^eip col irbvovs. 
 
 695 f. "As to the name, I know to whom it is that you betrothed 
 our child, but of what lineage and whence he comes, &c." KaTaLvdv = 
 iyyvav, 703. 
 
 699. OlvwvTis Aegina, mother of Aeacus, gave her name to the 
 island, formerly known as Oenone, of which Aeacus was the first king. 
 
 700. KaT€(rx€ 'occupied', 'dwelt in'; so the dead are said d-qKas 
 Karix^iv Aesch. Ag. 451. 
 
 703. T]'y'yuii<re cf Or. 1079 xo-T-nyyvriaa. At Athens iyyinjais (for- 
 mal betrothal) of the bride by her guardian {Kvpios) was a necessary 
 preliminary to a legal marriage. The natural Kvpios was the father; 
 in case of his death or absence the duty devolved upon the brother of 
 the bride, or her grandfather on the father's side. 
 
 710. X" Si-Sovis <ro<j). i.e. and wiser still was the father who entrust- 
 ed his son to so wise a trainer. 
 
 713. d\i^i cL infr. 1294. 
 
 717. The time of the full moon was auspicious for weddings; cf 
 Pindar Isthm. vii 44 (the marriage of Peleus and Thetis) iv bLxoy.y]vihe<j- 
 Giv ecrWpotj. 
 
 7 1 8. irpoTtXcia the sacrificial rites preliminary to a marriage, which 
 was regarded as a tAos (cf. Aesch. Eum. 835). Lcfore the wedding 
 
loo IPHIGENEIA AT AULIS. 
 
 ceremony the favour was sought not only of Hera (as patron goddess of 
 marriage, reXda), but also of Artemis (v. sz(J>r. 433), and the Fates. 
 Hence deg. is ambiguous, and Agamemnon's answer, though literally 
 true, still conceals his real meaning. 
 
 721. For the form of the expression cf. infr. 1182. 
 
 722. At marriages an exception was made to the custom which ex- 
 cluded women from being present at feasts. It would seem however 
 from this passage that they were to some extent separated from the men. 
 
 724. KaXws dva-yKaCws tc * 'tis well — as it must be so', i.e. we can- 
 not do better under the circumstances. Cf. i;t/r. 1409. 
 
 725. oto-0' ovv o Spaorov 'do thou what I advise'; a colloquialism, 
 which seems best explained, like the English "I'll tell you what do", 
 as arising from the speaker's eagerness leading him to end his sentence 
 with an imperative, in place of continuing the construction olad^ odv 6 — 
 SpSf a^ 5eT. Cf. Herakl. 451 dW oTcr9' 6 fxoi av/XTrpa^ov. 
 
 726. In reply to Ag.'s wLdou 'obey me (in this)', Klyt. says 'In 
 what? I am accustomed to be persuaded (on all occasions) by you'. 
 Cf. Plato Gorgias 462 D povkei odv, iireidri rifias to x^P^^^'^^^-h 
 cfiLKpbv ri fxoi x^P<-<^^'^^°-'-'i o"e0€V the genit. after ireldeadaL is an 
 lonicism, found in Herodotus (vi 12 &c.), but not in Attic prose. 
 In Thukyd. vii 73 [iravTa fxaXkov iXiri^av av crcpwv ireldeadaL avTO^us) the 
 gen. (xcpCiv depends upon iravTa, which is governed by ireideadat (cf. 
 Soph. Aias 529), 'obey any command of theirs'. 
 
 730. For the omission of the participle with rvyxo-voi cf. Soph. 
 El. 313, Ar. Ekkles. 1141 ei' rts evvovs Tvyx'^^^'-' 
 
 732. tCs 8' a,va<ryj\(ri\. <|)\d"ya; It was customary for the mother 
 of the bride to carry a torch in the procession which conducted her 
 {baWwv inro \aixiroixevawv, Hom.) to the bridegroom's house ; cf. Troad. 
 308 (ivex^, Trapexe (see id. 733), (pCos 0e/)e. Se in objection, cf. in/r. 
 1458. 
 
 733. vv|i<f>LOis the bridal pair; cf. Aesch. Theb. 'j ^'j vvfxcpiovs (Laius 
 and lokasta). 
 
 735. e|o[JLi\€t(r0ai kt\. 'to be away from home (cf. airoLK-qaeiv, 680) 
 in the midst of a crowd of soldiers'. 
 
 737. Kal Tcts "i kt\. 'yes, and (it is Ka\6v) that the maidens at home 
 should not be unprotected'. 
 
 740. Klytaemn. quits the stage abruptly in indignation at Aga- 
 memnon's cavalier treatment of her maternal feelings. The next line 
 (741) has all the appearance of an interpolation designed to smooth 
 
NOTES, 10 1 
 
 over this abruptness. Klotz attempts to defend vvficp. irapOeuoi^ as 
 •'virgins at their wedding", but this meaning cannot be got out of the 
 Greek. 
 
 742. 'Q^a {aL<r<ru}) cf. Ion 572 6 5' ^^as 6p9<2s, tovto Koifx ^x^i iroOos. 
 cXttiSos (Gr. Gr. 222) cf. Med. loio. Ar. Thesm. 870. 
 
 744. o-oc^CtoK-ai *I am making clever plans'; cf. the term (To<picrTri$ 
 applied to Prometheus in Aesch. P. V. 62. Eur. uses the word in one 
 other place in Bacch. 200 in the sense of making clever reasonings 
 (rationalizing) about the gods, c-irl toio-i 4>i\t. 'against those I love 
 best'. 
 
 748. e^LO-Top-qcrwv kt\. *to enquire the end of the goddess' wish, — 
 for me no happy chance, and grievous to the land of Hellas'. The 
 words fjidxOov 'E. are added by Agamemnon in a tone of despair : a 
 goddess to whom such an offeiing was (piXov could not be really kindly 
 disposed to the Greeks. 
 
 750. TJ [AT] Tp€<j)£tv 'or (if shc be not XPV'^'''^ Kdyadrj) not to have a 
 wife at air. Hermann and others read yufxeh for rpecpeiv^ but the change 
 does not appear necessary. 
 
 751 — 800. Second Stasimon. The chorus presage the success of 
 the Greek expedition to Troy ; and picture the Trojans viewing from 
 their walls the enemy's approach, and the dismay of the women at the 
 prospect of captivity. They too must suffer for the transgression of 
 Helen. 
 
 751 ff. " Now to Simois and the whirl of silvery waters will come 
 the gathered host of Hellas on ship-board and in arms, — to Ilion, the 
 plain of Troy where Phoebus wrought, where Kassandra, as I hear, 
 decked with a garland of green-leaved bay, tosses loose her yellow 
 tresses, whene'er the throes of prophecy breathe from the god upon 
 her". ^oi^riCov cf. Hel. 1509 ff. See Diet. Biogr. s.v. Laomedon; Hor. 
 Carm. iii 321. 
 
 757. Tav Kao". the famed Kassandra, cf. siipr. 178. 
 
 760 f. Kassandra is called /xaivaS' ^vdeov Koprjv El. 1032. \\ ith 
 the above description of the prophetic influence cf. Verg. Aen. vi 50 ff. 
 Aesch. Ag. 1 2 15. 
 
 768. Tciv Tt3v Aioo-K. * the (sister) of the «S:c.' 
 
 771. Sopi-rrdvois for the agreement of the adj. v. on supr. 233. 
 
 775. KVKXwo-as sc. "ApTys, who is said kvk\. irb\i.v'Xpei, as QavaTO'i 
 is said davarov i/jL^aXeiv Alkest. 50 (Paley). Cf. also Choeph. 32 ff. 
 in/r. 1036 ff. The lines which follow (776—783) have suffered cor- 
 
102 IPHIGENE2A AT AULIS. 
 
 ruption. The mss. readings as printed by Kirchhofif (who regards the 
 passage as spurious) will be found in the Appendix. 
 
 776. Xaip.oT6}jLovs 'severed'; cf. EI. 459 (of Perseus) Xai/MOTofxcLv 
 KopV(pav Topydpos i'crxeii/. 
 
 782. cio-€Tai kt\. 'shall know that she deserted her husband', i.e. 
 her crime shall come home to her by suffering. 
 
 785. cXiris 'boding' may be of good or evil, or undetermined, 
 according to the context. Cf. with this passage Statius Theb. 129 
 d'um spes nulla necis. 
 
 788 f. o-Ti](rovori cf. vSoph. O. T. 698 ixT)viv...cTr}(Tas ^"5- irap* 
 lOTTOis |iv9. 'as they converse at the loom'. For the Ionic contraction 
 ^vOedcrai cf. Hippol. 167 avrevv (lyr.) ; Med. 422 I'^u.i'ei/crat (lyr.) ; Aesch. 
 P.V. 122 eicroLX^evcnv (an.), ib. 645 TrcxjXev fie vai. (iamb.). 
 
 790 ff. " What man then, tightening amid my tears his grasp of my 
 abundant tresses, will pluck me, as a flower is plucked, from my perish- 
 ing country?" p{l|ia cogn. ace. to ravvaas, cf. szipr. 157. diroXoTiek cf. 
 XwTicr/xo, XctiTi^o/iiaL. 
 
 793. rdv... ^ovov sc. odaav. 
 
 795 f. Cf. Hel. 214 ore ae t€K€to /iarpoOev \ Zei>5 TrpeTuiv 5t' 
 aidepos \ x'0i'6x/3ws kvkvov Trrepi^. 
 
 798 f. €v SeXrois IIicp. 'in the pages of the poets'. (ivOoi 'fables'. 
 
 800. irapd Kaipov aXXus cf. Hek. 489 d\\ojs...iJ.aTr)v. 
 
 801 — 1035. Third Epeisodion. Achilles going in search of the 
 king to acquaint him with the impatience of the army meets Klytaemn. 
 She addresses him as the bridegroom elect of her daughter ; and the 
 natural surprise of Achilles at this has led them already to suspect a 
 trick, when the old man interrupts their conversation (855), and 
 informs them of Agamemnon's treachery. Klyt. throws herself on 
 Achilles' generosity (900 — 916), and he promises to aid her (919 — 974). 
 
 804. ovK €| I'o-ov because the delay was a more serious matter to 
 those who had wives and children at home than to the unmarried. 
 a^vyes yd\ioiv cf. su/>r. 419. 
 
 809. *EXXd8(a) the ace. as in Soph. O. C. 942 avToijs...av 
 
 810. Achilles, being himself a^i^^ yaficav, explains what the griev- 
 ance is which in his own case warrants his urging upon Agamemnon 
 that something ought to be done. This justification {dUaiov) of his 
 insistence is introduced by yap, 812. 
 
 813. nev« 'irl Xcirrais kt\. ' 'mid the faint breezes of the Euripus' j 
 
NOTES. 103 
 
 he refers to the calm (cf. 10 atyal ope/xiop), during which only light airs, 
 useless for sailing purposes, were playing over the water. It is not 
 therefore necessary to emend TrvoaU {podis Blomf. irvXais Ilcrm.)- 
 
 815 f. TToiov xp<5vov cf. Aesch. Ag. 278. CK[t€TpT]<rai of time, like 
 emetiri, cf. Tac. II. i 49 {Galba) qiiinque principes cnicnsits. " How long 
 the measure of our waiting for the voyage to Ilion?" Cf. the complaint 
 of the soldier-chorus in Ennius Iphig. iii em, neque domi nunc nos nee 
 militiae sumus; | imus hue, nunc lUuc : cum illuc ventumst, ire illinc 
 lubet ; I incerte errat animus : praeter propter vita vivitur. 
 
 821. w iroTvi* aiStis these words occur also in Eur. '\inroKv7o% 
 Ka\virT6/j.€vos (fr. 439). 
 
 823. ols Jit] kt\. 'persons whom you have not met', cf. supr. 384. 
 
 832. cipxT]V the ace. as in supr. 234. 
 
 834. 4/avoi|ji€v wv \i.ri |ioi Btp-is the interchange of plur. and sing, 
 often occurs with equal abruptness; cf. Troad. 904 -^u ddvo} davovfxeda, 
 infr. 1 141, 1 146. 
 
 842. Xo-yos "ydjxwv 'talk of marriage', object, genit. v. supr. 498. 
 Cf. also Plato laws 11^ B AtO^os "ydfiov. 
 
 846. ov \|/£-u86p.£0a 'both of us are perhaps not mistaken in what 
 we say', i.e. we may be at cross purposes, and may help each other 
 (KOLvbv) to clear up the misunderstanding. 
 
 847. ^vryrrivfa -yajiovs fxvrjjTeveiv is properly said of the man *to 
 court', but the word is here used with intention by Klytaemnestra to 
 emphasize the strangeness of the position in which she finds herself. So 
 when Medea replies to Jason (Med. 606) ri dpQaa; nuiv yafiovaa Kai 
 irpobovcrd ere ; the wording of her question is a pointed reflexion upon 
 the conduct of her faithless husband. 
 
 851. opGois o}i}JLa<riv 'with unshrinking gaze', rcctis ociilis. Cf. 
 also Soph. O. T. 1371 ovk oZ5' o/xfiaaiv ttolois ^Xiiruv kt\. 
 
 853. ToSc sc. TO xa'pff. 
 
 855. At this moment the old man is heard calling through the 
 half-opened door (cf. 857 Trapot^as) of the king's tent, while remaining 
 himself inside (cf. 863). <a <ri rot Xe'-yo) cf. Ar. Av. 274 oSros, c3 ci toi. 
 Aesch. Cho. 456 a-i toi X^7aj. 
 
 859. €|ios [iiv ov\i 'not viiue'' ; cf. supr. 392. The following 
 words need not imply that Achilles is already possessed by a feeling of 
 hostility to Agamemnon, but merely that since the slave is speaking 
 from inside Agamemnon's tent, he cannot be one of Achilles' retainers. 
 
 861. ovvtKa Wecklein cur. epigraph, p. 36 holds that ovveKa (as a 
 
I04 IPHIGENEIA AT AULIS. 
 
 preposition) is due to copyists, and that the form eiVe/ca should be 
 restored in tragedy. There is however enough evidence from verse- 
 inscriptions (see Meisterhans- p. 177) to justify the orthography ovveKa. 
 
 864. The phrase ovs (ci?, a) e7w OeKw often occurs when the speaker's 
 vi'ish is obvious from the context (v. iiifr. 1025), or where (as here) he 
 prefers not to be explicit. 
 
 865. awcrei Monk for the MSS. av oicrr]. (Markland and Bockh pro- 
 pose dvotcrei, ovrjaei.) Achilles refers to the old man's rather high-flown 
 invocation u tvxv f^'''^- " Your speech will save them — in the distant 
 future". o"yKov i.e. 'there is a certain pompousness about it'. 
 
 866. 8€|tds ^KttTi 'as to my right hand', i.e. as to the assurance of 
 my protection; cf sztpr. 58. 
 
 870. |i€9' r][iiav cf. S7{j>r. 46 ff. dei itotc 'for many a day', like our 
 ' ever so long'. 
 
 872. vvv iroG' ii|xtv TTore here emphasizes vvv, 'now pray'; cf. 
 Soph. Phil. 816 N, wot /xeduj; 4>. fx^des irore. 
 
 873. The aor. (instead of pres. or fut. ) after ueXXw is a rare but not 
 unknown construction ; cf. ]\Ied. 342 ku ixeWw Oaveiv. In Soph. O. T. 
 967 there is a possible example, Kraveiv being the reading of the best 
 MSS.; and a certain instance in Aesch. P. V. 625 {iraOelv). [In i7ifr» 
 880 KTevup is the reading of both P and C] 
 
 874. dire'iTTvo-a cf stipr. 136. 
 
 877. toCto cf. supr. 516. 
 
 878. €K Tivos Xoyov; 'for what reason?'; cf. Androm. 548. The 
 order is rts oKaaropwv [earlv] 6 eiraywu avrbv ; 
 
 882. els '!<}>. ' against Iphigeneia'; ei's is used with almost the same 
 meaning which it bears in the phrase \eyet.v ei's riva, 'to talk a^ a 
 person', El. 329. &c. r]V cf j-z//r. 404. 
 
 884. Tiv* d\i irp, 'what was the meaning of its pretext which 
 brought me &c.' The pretext itself is said Koixi^etv the person affected 
 by it, as stipr. 581 the KpiaLS is said ireixireLv Paris to Hellas. 
 
 886. cir' 6Xe'9pa) 'to meet destruction'. 
 
 889. cl'irep dXXo si quid aliud. See Append. 
 
 892. ovK €wv as bearer of the letter Kl. identifies him with its 
 contents. |vyK€X€ti«v i.e. bidding me as the former message did. 
 
 894. Kara irws. These particles are combined in Androm. 339 
 Kara, ttws 'no.Tif\p...a.vi^^rai. Cf also Plato Krito 43 B. y^ belongs to 
 (pspuv, since you were (actually) the bearer. 
 
 897. TO 8' e|J.6v kt\. 'my own part therein I take not lightly'. 
 
NOTES. I OS 
 
 Ach. perceives of course from 1. 885 that his name has been trifled 
 with. 
 
 899. dirXws ovT« 'quite indifferently'. 
 
 900 f. For the plur. followed by the sing. nom. 6vt]t6s cf. on 
 sitpr. 834. "ye-yoiTa the masc. as though ai, instead of to aov ybvv, had 
 preceded. Compare Racine (iii 5) une mere a vos pieds peut tomber 
 sans rougir. 
 
 904. fiartiv 'falsely'; cf. Soph. El. 1298 ary t^ fidrrju \e\eyiJ.iu7]. 
 dXX' op.ws so. \exOdcrr]. 
 
 907 f. ocrns ovK T||ivvas 'inasmuch as you did not defend her'. 
 Klytaemn. is pulling the case as though it had already arisen; cf. tn/r. 
 940. dXXd "yovv 'yet at any rate'; so Aristot. rhet. p. 1398'' 21 
 fidXicTTa fxev irdm-es, ei 5^ fj.7j, aW 0*1 76 TrXerorot : cf. Plato Phacdo 71 B 
 (ei p.T] — oXKa. '^ovv) : laiijs x 8S5 E (dXX' ovv 76). ^Vith this force of 
 aXKo. after d ixrj cf. in/?: 1239. 
 
 914 f. eirl T. KaKois 'bold for deeds of evil', orav GeXwo-iv 'when 
 they will', i.e. when their sympathies are enlisted ; and, Kl. implies, in 
 this matter they will follow your lead, our safety is therefore in your 
 hands riv 5e ToXfirjo-ijs kt\. 
 
 916. X*^P' vTTipr. jJLOv cf. Theognis 757 Zeus fxev rrjade ir6\rjos 
 vireLpexoi X^'^P'^- 
 
 917. Seuvov TO TiKTtiv ' woudrous it is to be a mother'. So Soph. 
 El. 770 deivov TO tIktciv ia-riv. Cf. also Aesch. Theb. 1031. 
 
 918. For w<tt€ added after an adj. which could be followed by the 
 simple infm. see Gr. Gr. 297 N. 5. 
 
 919. v\};t]X. |i. 0. al'perai. The meaning would seem to be "my 
 mind is excited", the emphasis falling on the first part of the compound 
 v\pi)\6(Ppij3v. (Thus in Aesch. ol6(ppu)i/ 7re'r/)a = "a lonely rock"; cf. 
 also opOoirovs Trdyos Soph.) The expression will then be like that in 
 Soph. O. T. 914 v\l/oO ■)dp aipei 6vp.bv Oi5t7roi/s, and gives a better sense 
 than the usual interpretation "is raised aloft to noble thoughts". 
 Achilles says his soul is stirred by Klytaemn. 's appeal, but his training, 
 (he goes on to explain), has been such as to deter him from giving 
 way to emotion before looking well how the matter lies in all its 
 bearings. On either view the addition of irpocio is difficult. It is 
 perhaps not intended to do more than emphasize the idea of motion 
 in cuperai ' is lifted high\ cf. Aesch. Ag. 853 irpoau irip.\pavT€i 'sent us 
 
 9:0 f. KaKOicri neut. ' misfortune' ; cf. Aesch. P. V. 303 ift'ocrxaXu;!' 
 
io6 IPHIGENEIA AT AULIS. 
 
 KaKoh. (So Archil. 66 x^-PTo'ccriv re xatpe Kal KUKoia-iv acrxaXa | fj-rj XlriP.) 
 (icrpCwS qualifies both acrxaAai' and x^'^P^'-^' 
 
 922. XeXo-yio-jJi^voi •Ydp...8iatT]V 'have a reasoned hope of going 
 through life &c.' (not 'are calculated to'), of. stipr. 386. Yv«|it]s H-e'ra 
 ' wisely'; of. jz//r. 544 /xera (rw0po(ri5i'a5 = O'w0p6i'ws. 
 
 924. |xi] XCav <|)pov€iv * not to be over wise' ; cf. Soph. O. T. 316 f. 
 
 933 f. a 8t] kt\. 'as far as a young man may (i.e. with my sword 
 in the last resort) I will see thee righted, with thus much of pity 
 investing thee ' i.e. I pity thee enough to do all I may in aid ; tocovtov — 
 Trept/SaXwj' being a parenthetical reference to the /xeTpioTrjs to which he 
 has just alluded. TrepL^aXelu oXktov is a curious phrase ; cf. however -jrepi- 
 ^aXetv au3Tripiav Here. fur. 304, dovXoavpav afj.4>t^a\e7v Andr. no. The 
 word irepL^dWeLv itself is a favourite with Eur., a feature in his style 
 which evidently did not escape Aristophanes, cf. Frogs 1322, Thesm. 914. 
 
 936 f. eixirXcKeiv irXoKcCs 'to play tricks with'; for the infin. cf. 
 Soph. Atas quoted on sup'. 340. tov|i6v Sc'iias ' myself; difxas is often 
 thus used periphrastically, cf. Ion 563. 
 
 943. 0av|JLa<rTd 8* ia<i = dav[xa(Tlm (Is, cf. Soph. fr. 963 Oaviiaarh yhp 
 TO To^ov ojs oXiaddpei., 
 
 944 ff. ifv dpa — el'irep <|)OV€vo-€i i.e. if the 0oVos shall take place 
 then at once am I proved &c. cf. suj>r. 404. Iv dv8pd<riv in 7ttifHero 
 viroriim 'counted a man'. <rw irocrci dat. of the person interested — 
 if he shall use my name to achieve her death. 
 
 946. dXdoTTopos ■yc'yws cf. Troad. 767 (of Helen) -rroWCv dk iraripoiv 
 <f>'n/xi ff iKirecpvKhaif \ 'A\d(XTopos fikv irpwrou, elra 8^ ^dovov, \ ^ouov 
 
 T€ Kt\. 
 
 951. Lit. "no, not so far as a finger of his, so as to touch her 
 robes". aKpav x- and WirXots are both emphatic; and irpoa^aXelv is 
 best taken as intransitive. 
 
 952 f. iroXis a city indeed, i.e. worthy of the name (as dv-qp is 
 often used, ottws dvrjp ^aei Cycl. &c.), cf. Soph. O. C. 879 rdpS" dp 
 ovK^TL vefiu TToXiv. -y^vos Gr. Gr. 215. Cf. also Soph. Trach. 380. 
 
 955. irpoxvTas, €vdp|€Tai cf. tnfr. 1470 f., supr. 435. Cf. Racine 
 (iii 7) Achille. Votre fille vivra, je puis vous le predire... | les dieux 
 auront en vain ordonne son trepas : | cet oracle est plus sur que celui de 
 
 Calchas. 
 
 056 ff. "Who is your seer,— a man who tells a few truths with 
 much that is false when fortune favours, but whene'er she fails him his 
 vogue is gone at once — ?" 
 
NOTES. 107 
 
 960. 6T]pu)<ri XtKTpov T. 'seek to be my bride'. With similar 
 confidence Achilles says in Homer II. ix 395 voWaX 'Ax^'^^^s etVij' tkv 
 EXXctSa re <^dir}v Te...Ta.(jjv tjv k tdtXcj/xt. (piXrjv iron^ao/x' aKOiTiv. 
 
 963. "Kl. was influenced most of all by me to give her daughter 
 to me in marriage", e/xoi, i.e. by my rank and fame, cf. suj>r. 101. 
 
 965 f. t StoKo, TOi dtv sc. Tovfxov opofia. €v ToiSc kt\. ' if here were the 
 hitch'. Cf. I. T. lOiS T-gde yap voaei voaroi. foaros, journey, as i/2/r, 
 1201. I. T. 1 1 12 {^axpocrov 5e 5t' efjLiro\ds \ uoarov ^ap^apov rfKdov. 
 
 967. ^<rTpaT€vdfjiT]v cf. su/^r. 834 n. to koivo'v the common interest. 
 
 968 f. vvv 8€ 'but, as it is,' «S:c. ev €vi|xap€i ktX. 'they trouble 
 not themselves whether they treat me well or ill ' ; cf. supr. 56. 
 
 970 f. Tax t'^CTtti cf. on supr. 311. 4)ovou K7]Xicruv aijiaros 
 ' murder — stains of blood '. 
 
 974. (i€Y<rTos 'strong to save'; cf. Med. 549 yue'vas 0t\os. 
 Heimsoeth would read 0iXos here for debi, but Achilles alludes to 
 Klytaemnestra's supplication 900, i, made as though to a superior 
 being. 
 
 977. Hi) Xiav. It was a current notion that excessive praise was 
 unpropitious as being likely to provoke the <p66vos deCov, v. Orest. 1161. 
 Herakl. 202. Cf. also Verg. Eel. vii 27 aut, si ultra placitum laudarit, 
 baccare frontem \ cingite, ne vati noceat mala lingua futuro. 
 
 978. €v8€«s...xdpiv, cf. Aesch. Ag. 785 ttwj o-e ■npQ(jdTrui...ix.iiQi' 
 xjirepapai yji]&' xj-KOKo.fx^a.'i Kaipbv X'^P'^OJ* 
 
 981. irapa4)tpov<ra 'intruding' a sorrowful story; cf. irapaavpeiv 
 ?iros Aesch. P. V. 1065 (cited by Paley). For the sense of Trapd in 
 compos. ' inopportunely', cf. also Plato Timacus 50 E tt\v avroO vapifi- 
 (paivou 6-^ IV. dvo<ros KaKwv cf. supr. 419. 
 
 983. ^x" TOt o-xt\\ux 'it shows well'; cf. Troad. 470. This 
 appeal of Klytaemnestra to "good form" is adapted to the line taken 
 up by Achilles in his answer to her request. Kciv dira)0€v -g 'far 
 removed though he be ', i.e. iKrbs wv Tni/xaTos, cf. El. 290 aLcrOrjais yap 
 o5i» I k6.k tQ)v dvpaiuv irrjfMdTuv doKPei ^porovs. 
 
 987. <roi...'ydfJiois for the two datives { = aoh yd/xois) cf. [Eur.] 
 Iv/iesus 266 fj TToW dypu)(XTaLS aKaid irpoaKeirai (ppevi. opvis ' omen ' ; 
 cf. on supr. 607. 
 
 994. " She shall come, with modesty in her frank regard ". 
 
 995 f. ov irapovo-qs 'in her absence '. — dTroucTT/s. arcp,vd ^dp <r€}i- 
 vvvcTtti a fine phrase, which can hardly be adequately rendered la 
 English ; " dignified is her proud reserve " gives the general sense. 
 
loS IPHIGENEIA AT AULIS. 
 
 997. oo-ov \6 Svvarov 'only so far as is admissible', i.e. reserve 
 should give way when circumstances require. Cf. infr. 1344. 
 
 999. ov€i8os d|ia0€S 'the reproach of the vulgar', i.e. of those who 
 have not learnt (by education) consideration for the feelings of others ; 
 cf. El. 294 'iveari 5' oXkto% aiJuOlq. fxh ovdajmod. 
 
 1000 f. ap-yos T<3v oiKoOev 'free from domestic duties'. XcVxas 
 * gossip '. 
 
 1003. dviKerevTus ' els kt\. Nauck for the MSS. dviK^revTos ys' 
 ifiot kt\. ' shall attain a like result as if no prayer were made'. 
 
 1005. "Be assured that you have heard one thing", i.e. /xt] xJ/. /x 
 ipelv. 
 
 1008. cri^fexaJs qualifies CocfyeKdv. 
 
 loii. avGis with /3. (f>povdv ' to come to a better mind'. 
 
 1012. KaKos t£s lo"Ti ' he is something of a coward '. 
 
 1013. KaTaira\aCov<rtv a metaphor from wrestling. In Med. 585 
 ^v yap cKTeveX a 'iiros the metaphor is of the same origin; cf. also 
 Bacch. 202. With the whole line cf. Aesch. Suppl. 447 yevoiro /xvdou 
 fivBos dv OeKKTTjpios. 
 
 1014. ^vxpa cf. Shaksp. AWs Well iii i oft it hits | where 
 hope is coldest, and despair most fits. Cf. also Alkest. 353 xj/vxpo-u ixh 
 olfiac repxpLV. 
 
 1017. ij 704) TO xpfj^ov l'ir£9€T6 'for in case (lit. where) you 
 persuaded him to grant your desire &c.' 
 
 1022. KpavfievTwv neut. sc. Trpay/xdruv : so Soph. El. 1344 reXov- 
 [livwv e'LTTOLfi dv. Cf. Thukyd. iv 20 ^i 6vtci3v dKpinov. 
 
 1024 f. o-(o<{>pova ' controlled '. «v iyu) 6e\« u,v for cKebcov, B. kt\. 
 see on stij>r. 383. For the phrase itself cf. st{J>r. 864 n. 
 
 1028. <J)vXd<r(ro(Ji€v for this use of the tense implying the speaker's 
 assurance of a future event by representing it as already present, cf. in/r. 
 1267. Cf. also Thukyd. iv 10 {toO xa>/)tou to dva^/x^arov) ^v/xfxaxov 
 yiyverai. 
 
 1035. co-0\(3v sc. 6eu!u. rl hti irovciv; cf. the common formula tL 
 del X^yeLV] quid opus est verbis? Similarly El. 1017 tI dec aTvyetu ; 
 
 1036 — 1097. Third Stasimon. Joyful music and the presence of 
 the gods graced the marriage-feast of Peleus and Thetis : and to them 
 was prophesied a son famous at home and in war. Alas for Iphi- 
 geneia: dirges are her wedding-chant, dirges for a stricken victim. 
 -Unholy deeds are rife, unregarded is the jealousy of the gods. 
 
 1036 ff. v)JLevaios...^(rTa(r6V laxdv 'raised its shout'; cf. si/^r. 
 
NOTES. 109 
 
 775 n. XojTou Ai'Pvos The Libyan lotus was often used for making 
 pipes. [The epithet, according to Eustathius, arose from the inventor 
 of ai'\riTLKri being Xi^vs vo^ids rts.] (rvpiyywv viro K. *to the strains 
 of; observe the use here of the three preps. Sia fieravird expressing 
 the idea of musical accompaniment. 
 
 1041 f. irapd SaiTi Gtwv. The gods sang the nuptial hymn at the 
 marriage of Peleus and Thetis. x.pv(r€o<rav8aXov \.\vo^ 'the print of 
 golden-sandalled feet'; the adj. being poetically in agreement with 
 txvos itself, cf. Phoen. 135 1 Xei'KOTrT/xetJ ktvttovs x^P°-^' 
 
 1049. " ■'^"^ ^^ o^ ^^^ Dardan line, Phrygian Ganymede, the 
 darling pride of Zeus, was there to draw libation from wine mixed in 
 the depths of golden bowls ". 
 
 1055. €lXio-o-6}i£vai KVKXia *in the circling mazes of the dance'; 
 cf. El. 180 etXi/cTov Kpovaio 7r65a, with I. T. 427 — 429. I have however 
 followed Weil in bracketing k^kXlu here as a gloss, when the line will 
 correspond with 1077 of the antistrophe. 
 
 1056 f. Y'^H'^^S i\6piva-av ' celebrated the nuptials with the 
 dance'. 
 
 1058. dvd 8' IXdrais kt\. Meaning on silver firs, with fresh leaves 
 wreathed about their heads '. These iXdrai, (or stone pines irevKai), 
 formed the traditional weapons of the Centaurs. Hesiod scut. Here. 
 187 calls them nei'/cet5as...eXdTas kv X'epaXv ^x^*'"'"^^' dvd...<rvv cf. 
 supr. 754. 
 
 1062 ff. (uya 8* dveKXayov 'and loud they cried' (i.e. the 
 Centaurs) ; iJ.i'ya = [j.i'y6.\ri (poivrj, cf. Hesiod scut. Here. 379 ^li^a. k^kKt]- 
 yovres. So too, in the Niiptiae Pelei et Thetidos of Catullus, the Parcae 
 elarisona...voee \ talia divino fuderunt carmine fata | ...nascetur vobis 
 expers terroris Achilles &c. In the following sentence the construction 
 is /xafTts 6 0. fJL. eiSus X. i^ovbfxa^tv (announced) ak iracda yevvaceiv fxiya 
 0. 9. CL El. 449 (of Achilles' father) Tpi<pev 'EXXdSt <pQis, and v. also 
 infr. 1502. 
 
 1073. K€Kopv0fi€vos IvSvrd otrXwv 'furnished with a suit of mail'; 
 the accus. instead of the more usual dat. after KeKopv6fiivo$. 
 
 1050. KaWiKbfj-av (KaWiKd/xas) agrees with nXoKafjLov. 
 
 1085. (Tvptyyi the shepherd's pipe ; cf. Anth. P. vi 177 (Theokr.?) 
 Ad<pvis...6 AcaX^ avpiyyi fie.\i<j5(j3v \ ^ovKoXiKOVi vfMVOvs. 
 
 1086. poipST^o-to-i p. ' the whistling of the herdsmen '. 
 
 1087. wp.<|)6Kojiov ktX. ' but reared by thy mother's side to be one 
 day decked as a bride at the wedding of one of the sons of Inachus '. 
 
 II. I. 8 
 
no JPHIGENEIA AT AULIS. 
 
 vvix(})bKoixo% in pass, sense, in which the verb pvfXfpoKOfie^v also occurs, 
 cf. Med. 985. 'Ivax^Sais the Argives, cf. Hor. Carm. iii 19, i. 
 
 1090. irpoo-wirov cf. (with Firnhaber) Ar. Av. 1321 to rrjs dyavS- 
 ^povos 'Havxias evdfxepov irpbaojirov. Compare also Shaksp. Rich. III. 
 V 6 enrich the time to come with smooth-fac'd peace. 
 
 1098 — 1629. Exodos. Klytaemnestra, who now knows the real 
 intentions of Agamemnon and has informed Iphigeneia, comes to 
 upbraid her husband with his treachery. Her speech of vehement 
 reproach (1146 — 1208) is followed by an appeal of Iphigeneia (1211 — 
 1252) to the paternal feelings of Agamemnon, and his reply (1255 
 — 1275) that he is powerless to refuse what the national interest 
 
 requires. 
 
 iioi. |i€TaPoXas o8vp|x. In music p.eTa^o\ri is a transition effected 
 gradually from one mode to another, one '^ho's to another, &c. "As 
 she sounds in many a key the modulations of despair " will perhaps 
 render the metaphor, though it fails of the beauty of form which 
 makes the original a memorable line. 
 
 1 102. PovX€v€Tat 'is resolved upon'. 
 
 1 103. Klytaemnestra here catches sight of Agamemnon. The 
 meaning of her next words is: — "It seems {apa) I was speaking of 
 Agamemnon who, as I now perceive {jov^e deictic)^ is close by" 
 fxv-qixrjv etxov = eixv'qad7}v. 
 
 1 105. dv6<ria irpdo-crwv kt\. ' wickedly practising against his own 
 child '. 
 
 1 106. Iv KoXw 'opportunely'; cf. Soph. EL 384 vvu yap iv koXi^) 
 
 {sc. earl) (ppovdv. 
 
 mo. irarpos |X€Ta proleptic, *to join her father'. 
 
 nil f. xcpviPes, irpoxvrat cf. I. T. 244 x^P*/5fs "re koI Kar- 
 dpyfiara. "And in their hands the barley meal to cast upon the 
 cleansing fire"; see on «//r. 435. The ceremony was one of pre- 
 liminary purification; cf. Demosth. /card 'Neaipas, p. 1371, 17 orav 
 i^opKOL rds yepapds iv Kavoi% irpos ri^ pw/iy, irplv dirTeadai tQv lepuy. 
 
 1113 f. }i'°<'^°"' cf- ^^P^- loSS' The word would of course in the 
 minds of the spectators point to Iphigeneia. 'ApTc'jiiSi cf. suj>r. 718. 
 <j>u<jTJ|iaTa in appos. with the idea of slaughter conveyed by as ■Kt(jdv 
 XpewJ'. Cf. supr. 234. 
 
 1 1 15. 6vo|Jta<riv = X670ts, the frequent antithesis of word and deed. 
 Cf. also Aesch. P. V. Ip7y /coOx^rt /ty^y. Soph. El. 59 Uyoii )( ^/J-you. 
 O. C. 873 'ipyoi% )( pT]iia.<ji. (v. I. T. 36, Troad. 1233). 
 
NOTES. 1 1 1 
 
 1116. €ii X^"Y€iv 'praise' or 'approve'. 
 
 1117. olo-0a iraTpis a fx^XXci lit. 'thou knowest concerning thy 
 father what he intends (to do)', irarpb^ is genit. of connexion, cf. a 
 /zAXft sc. irpd^dv, which is readily suggested by the context, cf. Med. 
 758 irpd^aa' a yue'XXw. Soph. O. C. 1634. 
 
 1 1 20. Iphigeneia in obedience to her mother's summons comes 
 out from the tent with Orestes, who is present upon the stage during 
 the following scenes, v. hi/r. 1165, 1241 ff., 1451. 
 
 1 122. ijSt'ws optjs = ^5^wj ^Xiireiv, cf. Hesiod scu^. Here. 426 
 hiivhv bpCiv. 
 
 1121). "I may treat them all as foremost", i.e. I know not with 
 which to begin. The next line Monk seems right in rejecting as an 
 interpolation. 
 
 1127. els iv i\KiTi * agree' (are at one); cf. Hippol. 273 eis ravrbv 
 
 TJKeiS. 
 
 1 1 29. •yjvvafws ' frankly '. 
 
 1 130. 8€i |jl(€) the accus. for the more usual dat. cf. Here. fur. 1170, 
 Aesch. P. V. 86 (quoted on st//>r. 321). 
 
 1 131. njv t' €|i7Jv 'and ?nme'; the art. repeated because Klytaem- 
 nestra adds ifxriu as a fresh point for Agamemnon's consideration. 
 
 1 132. rXiifJiova 'cruel are thy words'; cf. z;;/r. 1165 rXri/xdvui. 
 
 1 1 35. dXXa...aXXa Klytaemnestra's bitterness of feeling shows 
 itself in the manner in which she assimilates her answer to the 
 antithetical form of Agamemnon's sentence. Cf. Soph. O. T. 547 
 
 —552- 
 
 1139. o vovs kt\. *This very thought is at the present crisis 
 (riryxai'f thoughtless '. She refers to Agamemnon's assumption of 
 ignorance. 
 
 1 143. \Lr] KdjiTis Xe'Ycov ironical, 'be not aweary of speech': cf. 
 Aesch. Eum. 881. 
 
 1 144 f. TO -ydp dv. ktX. 'What need is there for me by falsehood to 
 add effrontery to my evil hap?' 
 
 1 147. Cf. Aesch. Ag. 1183 <pp€v<J:au) 3' ovk^t* e^ alviy/xdruu. 
 
 1 1 50. TdvraXov this Tantalus was the son of Thyestes. Homer 
 says nothing of the previous marriage to which Klytaemnestra here 
 alludes. 
 
 n5i. crai Trpo<rcopi<ras irdXo) 'didst add {irpoaopl^-eLv) my babe to 
 the sTiare which the lot assigned thee when the captives were divided'. 
 The Mss. reading irpoaovplaas {Trpoaovp-qcras V) might be understood as 
 
 8—2 
 
112 IPHIGENEIA AT AULIS. 
 
 " having driven ", the metaphor being from a favouring wind as in 
 eirovpi^eiu (cf. Androm. 6io), KUTovpii^eLv, but Klytaemnestra would 
 scarcely have chosen the word on this occasion. I have therefore 
 adopted Hartung's correction. An ingenious suggestion is ^Qv (Mus- 
 grave) Trpoaovdicras iridip (Scaliger), 'dashed living to the ground', in 
 defence of which it is urged that the cruelty of killing the innocent 
 children of a formidable enemy was not unknown in those violent 
 times ; cf. e.g. the reasoning of Menelaus in Androm. 519 ff. Still had 
 this been what Klytaemnestra said, would she not inevitably have gone 
 on to draw in some way a comparison between Agamemnon's action 
 then and the deed which he now meditates? 
 
 1 1 53. Aios T€ iraiS' €|xw re <r. cf. Soph. Trach. 406 (OiV^ws) Kop-qv, 
 dd/xaprd 6^ 'UpaKkeovs . . .oea-rrbrLV re tt]v iixrf]V. 
 
 1 1 56. " Thou next (ai5) hadst me to wife". 
 ' 1 157. ov ' in which estate ' ; cf. j^z/r. 97. 
 
 1 164. Tpi(r{ As to the number see Introd. p. viii. 
 
 1169. |Jii<r96v *to pay for'; the accus. as vasupr. 234: v. El. 231. 
 Cf. also I. T. 566 (Orestes says of his sister's death) /ca/c^s ^vva.iK.h'i 
 X^9^v ^XctpiJ' aTTccXero. 
 
 1 172. €K€i i.e. before Troy. 8id here 'during'; in supr. 636 
 5ia xp^^o^ th^ prep, signifies the completion of an interval, 'after 'a 
 time. 
 
 1 179. This line was rejected by Monk. It appears ineptly made 
 up from what precedes, Hermann proposed irpb <xoO 86/j.ois as a 
 remedy. 
 
 1 180 ff. "There was need but of some slight pretext for me and 
 your daughters left at home to receive you as it is fitting you should be 
 received". iinC, as often, is used elliptically, '(I do well to be angry) 
 since &c.' ?8€i...8£|6|i€8a i.e. all that you had to do (to prevent the 
 sacrifice) was to invent some easy excuse, and we shall receive you (if 
 you save Iphigeneia) on your return with loyalty and affection. ^Set 
 refers to what she has already said — dTrwXetreV ae ktX., while 5e^. is 
 taken up by what follows — fiij drjTa kt\. Si^iv the addition of the cogn. 
 accus. increases the emphasis, cf. Ar. Plut. 10 fii/xxj/iv diKalau {x^ixcpoixai 
 TavT-qv. These words of Klytaemnestra call up before us the return 
 of Agamemnon from Troy to the fearful doom which awaited him 
 at home, and the vision of Klytaemnestra receiving him, in the tragic 
 phrase of Aeschylus, after years of absence, fortunate at last, and 
 triumphant, — es Sw/t aek-KTov. 
 
NOTES. 113 
 
 1 1 86. tC <roi kt\. • What is the good that you will ask for yourself 
 from heaven when you are butchering your child?' 
 
 iiSpf. i]"yoifi€9' av...<})poxnrj<rojiev see Gr. Gr. 273 f. eD (Ppovdv 
 here = ' be loyal to '. 
 
 1 192. Kai emphasizes the verb. 
 
 1 194. TaviT i^X9€s KT\. = TavT ^jdi} SieXoytacj ; 'did you stay to 
 consider this?* Cf. Med. 872 i/xavr-^ 5td \6ytjv d(piK6/j.7]v. For the 
 constr. of ravra cf. Ion 572 tovto Kafx ^et tto^os. 
 
 1195. 8ia4)€p€iv 'parade' your sceptre; the word has a tinge of 
 contempt. 
 
 1 199. ijv see Gr. Gr. 26S N. i. Aesch. Suppl. 244 bUcnov tjv 
 aequuni erat. 
 
 1 2 10. MSS. oi'Sets 7rp6s Tci5' Lvrdiroi. Text Burges. The dat. 
 (TotaSe) after dvreiTrer;' generally denotes the peison contradicted, and 
 irpb'i rdSe may therefore have been written as a gloss over roto-Se. If it 
 then found its way into the text, displacing T0icr5', the disappearance of 
 dv would be nearly inevitable. 
 
 1 2 12 f. ireTpas, ktiXcuv kt\. Cf. Shaksp. Merck, of Ven. v i 
 Therefore, the poet | did feign that Orpheus drew trees, stones, and 
 floods ; I since naught so stockish, hard, and full of rage, | but music 
 for the time doth change his nature. 
 
 1 2 14. evT. av i^XSov ' I would have had recourse to '; ii'Tavda = iirl 
 ravra, cf. Or. 495 ^Xdeu iirl tov KOivov'^W-qvuiv vofJLOV. 
 
 1 2 16. iK€TT]piav the branch of olive carried by suppliants, called 
 also Ikttjp 6a\\6s (Suppl. 10), K\d8ot. iKTrfpioi (Soph. O. T. 3). Round 
 it fillets of wool were twined (not tied, cf. Suppl. 32 decr/xov ddecr/xov 
 <pvWddos), which were termed o-W^t; (Aesch. Cho. 1035) or a-T€/j./j.aTa. 
 The latter word is used in Androm. 894 as UeTT^pla is here — aT€p.p.a.T(j}v 
 5' ovx "tjcraovai aois irpoaTidrjiJii yovacrtv uX^vas ipAs. The allusion in 
 both passages is to the custom of placing the suppliant-branches on the 
 altar (cf. su/>r. 911), for which see Aesch. Suppl. 481 ff. ^ovao-iv the 
 dat. for the more usual genit. as in Troad. 1208. Cf. also in/r. 1449. 
 
 1220. irpwTT] (T* €KdX€<ra iraWpa kt\. Cf. Lucret. i 93 tiec tnisa-ae 
 prodesse in tali tempore qiiibat \ quod fatrio princeps donarat Jtomine 
 regem. So Racine (iv 4) Fille d'Agamemnon c'est moi, qui, la 
 premiere, | seigneur, vous appelai de ce doux nom de pcre. 
 
 1228. tI 8' dp* e-yw vi sc. 6\poiJ.aL Trpaaaovra. 
 
 1230. irdvuv cf. supr. 690 TroWd /loxdrjcras irar-qp. El. 1 1 45* 
 
 1233. irpos fTt IleXoiros sc. iKerevu. Cf. Phoen. 1665. 
 
114 IPHIGENEIA AT AULIS. 
 
 1234. ») irpCv ktK. 'who in time past didst bring me forth with 
 pangs of travail'. Klytaemnestra in Aesch. Ag. 1417 speaks of 
 Iphigeneia as <pCKr6.T-r\v iixol ib5iva. 
 
 1237. -fiKQi sc. Paris. The sense is, as Hermann gives it, cur, quod 
 ilk Spartam venit, inihi est pereundiun ? 
 
 1239 f. 6.W6. TovTo kt\. 'this at least, as a memorial of you', 
 sc. el /XT] Tt. aWo. So Soph. El. 415 \ey dXKa tovto. Herakl. 331, 
 see on supr. 907, 8. ei...ir6io-0^s The subj. with el, an epic usage, is 
 found occasionally in Attic poetry; cf. Soph. O. C. 1443, and perhaps 
 [Eur.] Rhesus 829. 
 
 1242. iKCT. irarpos ktK. ' entreat of thy father that thy sister may 
 not die'; cf. Med. 1154 irapalT-qaeL Trarpos \ (pvyas d<pe?vai. 
 
 1249. "Summing all in one I will carry the argument", crvvre- 
 fjiovaa = (yvPT6/xojs avWa^ovaa, cf. Hek. 11 So. plkEv \byov (like vi.Kdv 
 ixaxnv &c.) stands here for the usual viKav Xo7y, Herakl. 253 &c. 
 
 1251. Cf. Hel. 1 42 1 TO. Twv davovTwv ovdev. 
 
 1253 f. In order to estimate justly the part which the chorus plays 
 in scenes of lively emotion it is important to bear in mind that the 
 Greek tragedies were written to be acUd, not, primarily, to be read. 
 Now it may be observed that, when an actor has been able to excite 
 and maintain the keen interest of his audience during a speech of any 
 length, there follows upon its close a slight restless movement through 
 the house as people recover themselves from the sustained effort of 
 attention. There is therefore a brief interval in which the effect of any 
 weighty utterance would be weakened or lost. It is by the help of the 
 chorus that this interval is bridged ; and the modes of expression which 
 they adopt, together with the range of sentiments to which they 
 generally confine themselves, are therefore worthy of remark. We 
 find them at these critical moments interposing a short sentence, which 
 designedly contributes nothing either striking or novel or essential to 
 the development of the action, but is, on the other hand, not wholly 
 disconnected with the matters of which they are witnesses. Often, 
 as here, they simply repeat in a quiet manner the "note" of the 
 situation ; or they touch upon the moral issues at stake, viewing them 
 however, as suits their character of spectators of the action, not so 
 much with reference to the individual case as in connexion with the 
 abiding principles by which the world is ordered. We thus perceive 
 that on both the artistic and moral ^des their position is in living 
 accord with the aims of the drama ; and so far from being offended by 
 
NOTES. 115 
 
 "the common-places of the chorus" we should in this very characteristic 
 recognize an economy of the most discerning and effective nature. It 
 is interesting to note that Shakspeare in his use of comic scenes to 
 relieve the intense strain of tragedy works on a theory essentially 
 similar to that of the Attic dramatists. 
 
 1255 f. " Loving my own children, I understand what moves com- 
 passion, and what does not. I were mad else "; i.e. (xaLvolfi-qv dv el fiyj 
 avveTb% drjv { = ^x°^l^'- (^vviivai, supr. 394) to. t oUrpd kt\. For the 
 accus. following the adjective cf. Soph. Ant. 786. Hippol. 574 (ppiuas 
 iiriffavTos. 
 
 1257 f. Seivtos.fiT cf. Aesch. Ag, 206 ^apela iikv nrip to fxi] 
 TTideffdaf I ^apeia 5' d riKvov Sai'^oj. 
 
 1260. oirXwv avaKT€s = 67r\rrai as distinguished from the vavruh^ 
 arparbs. Cf. Aesch. Pers. 378 ttSs dv7]p Kdnnjs di>a^ | ^$ vavv eX'^P"> 
 Tras 0' dirXuiw iTriaraT-qs. 
 
 1264. "There rages I know not what passion in the Hellenic 
 host". It seems highly probable that 'AcppodiTTj is meant to suggest 
 d(ppo<Tvv7]. The Goddess of Love is regarded as responsible for the 
 evils which followed the judgment of Paris; and the same fanciful 
 connexion between the words is made explicitly by Hecuba (Troad. 
 990), who says of Aphrodite that her name opdus d(ppoavP7]$ dpxei. 
 (Cf. Aristot. rhet. p. 1400'' 22.) 
 
 1266. Tra{io-ai...dp7ra'yds kt\. i.e. dpirayds 'EWtjvlkCov XiKrpwv 
 *the rape of Grecian wives'. The phrase is like that used by Helen 
 of herself, Hel. 50, (Mej^Aaos) rds ^^ds dvaptra-yds \ dripq.. 
 
 1267. KTcCvovo-u cf. siipr. 1028. 
 
 1268. Xv<rw. Though jxavTeta X^xrofieu in Soph. O. T. 409 means 
 to discharge or fulfil the divine commands, the contrary sense "make of 
 none effect", which is required here, may be justified by such phrases 
 as XoeLy vd/xov, Xveiv i^rjixias (Thukyd. VIII 15), since Agamemnon's 
 meaning is plain from the context, and no confusion would be created. 
 
 1270. "Nor am I guided by his desire"; cf. supr. 12 14. For the 
 phrase rb /Soi/X. see on supr. 33. 
 
 1 27 1 f. 'EXXds sc. KaradedovXojTai. tovtov i.e. the necessity just 
 stated. 
 
 1273. oo-ov ev o-oC 'as far as in thee lies'; cf. Alkest. 278. 
 
 1279 — 1335. When her mother's indignation and her own pleading 
 fail to move Agamemnon, Iphigeneia bursts forth into a lyric cry of 
 despair. To the hardness of her lot is added the bitterness of the 
 
ii6 IPHIGENEIA AT AULIS. 
 
 thought (1291) that all the suffering which she must undergo is nothing 
 but the avenging stroke which the sin of others has drawn down upon 
 the innocent (cf. Introd. p. xiii). Then w4th passionate intensity as 
 she concludes, — iiA] ixoi vaQv xa^«'f/fi/3oXd5aji/ kt\. — she gives utterance 
 to the wish that the Greeks had never sailed. Fate has nothing but 
 sorrows in store for the race of men. 
 
 1279 f. TavTov |ieXos kt\. 'the same strain of fortune hath fallen to 
 us both' i.e. my fate harmonizes with thine in unhappiness. The meta- 
 phor is the same as in avvg.8eLU, awuidSs. 
 
 1288. *I8aios 'was called the child of Ida', i.e. because he was 
 exposed there. 
 
 1 29 1. «<j)€X€V sc. Ilpia/xos. 
 
 1292. After this line there follows in the mss. 'AX^^aj/Spoj/, which 
 was recognized as a gloss by Monk. 
 
 1299. 0€ai<rt 8p€'ir€iv 'for goddesses to cull'; the mid. dpiireaOai is 
 more common, cf. Hel. 244 (Helen) dpeirofxivav law tt^tt'Kwv poSea iriToXa. 
 
 1304. cirl iroGo) Tpu4>wo-a 'vain of the love which she inspires'. 
 irbdos is used here in the sense of xcipis sttpr. 555. 
 
 1308. Kp£<riv kt\. In Androm. 279 it is called ipi^L crvyepq. 
 €{)fiop(pia^ : V. zho suj>r. 183. 
 
 1309 ff. edvarov is governed by eTrl. ovo^a [ictv kt\, 'Fraught 
 truly with a maiden's bane though with glory to the sons of Danaus is 
 the offering which Artemis received before the voyage to Ilion'. 6pofj.a 
 because the taking of Troy is looked upon as sure to follow the release 
 of the fleet. By K6pg, Iphigeneia means herself. The word cipos, 
 though not found elsewhere in Euripides, is used by Aeschylus with 
 reference to Helen, Ag. 734. The reading of these lines must however 
 be regarded as uncertain ; see append. 
 
 1 3 16. 8v(r€\€vav after the analogy of Homer's Sijarapis II. ill 39. 
 Cf. Or. 1387 Arjdas bvaeKhav crKij/xvov. 
 
 1319 ff. "I would that never had Aulis here received into these 
 her havens the sterns of bronze-beaked ships, the fleet that sped the 
 host toward Troy; and O that Zeus' breathings on the Euripus had 
 not been adverse to the voyage, Zeus who doth so temper the winds to 
 men that some have joy in the drawing sails, whilst for some there is 
 sorrow, and for some constraint : here they are speeding on their way, 
 and there they are furling sail, and there again they wait ". 
 
 1320. irpvjJtvas because ships were drawn up and anchored by the 
 stern, cf. El. 1022 irpv/xvoOxov AdXiv. 
 
NOTES. 117 
 
 1323. The words here need not be held to contradict the view 
 taken in this play (cf. supr. 10 f. Introd. pp. ix, x) that the cause of the 
 fleet's detention was a caltn. avTalau irofxirdv expresses the opposite 
 idea to ovpla Tro/nr-q (v. su/>r. 352) by a kind of oxymoron. 
 
 1326. rots /i^;/ is understood before Xat0eo-i X- Cf. Soph. Trach. 11 
 where a similar ellipse of dWore occurs. 
 
 1328. oTcXXciv sc. TO. larla. 
 
 1330. ap' Tjv cf. j///r. 404. 
 
 1342. tos Ti 8TJ; = 'why?'; cf. Ion 525 wj ri Srj (pevyeis fxe; 
 
 1343 f. ovK €v dPp6TT]TL K£i<rai kt\. ' It is no time,' says Klytaem- 
 nestra, 'for false delicacy {a^pdrrjTt) in view of what has now befallen us: 
 there is no use in reserve, if we can but persuade him ' — to save your 
 life, she was about to conclude, but Achilles breaks in while her 
 sentence is still unfinished. The metaphor in ra TreirruKdra is from 
 the fall of the dice; cf. El. 639 irpos rb ttItttov. 
 
 1346. In order to avoid the use of the cogn. accus. §oriv with the 
 passive ^odrai, Weil reads rtVa ^oriv jxoi arjfxaveis ; but, as criixaLvi fxoi 
 follows, it is not harsh to take jSotjV as the accus. to Xe'7eis; (or some 
 such verb), understood. 
 
 1347. "Thou hast begun with words that presage ill"; cf. supr. 
 
 607 n. 
 
 1350 f. orw?a)v 'trying to save'; cf. El. 1024 ttoXcws oKwaiv 
 i^iuifievos V 8u)fJL dv-qawv kt\. For the orthography ac^^uv (not aui'uiv), 
 from a present form (xm^o:, cf. Curtius Grce/: Verb p. 523. 'iT\r\ 
 observe the e lengthened before tX (see on supr. 636), making the first 
 syllable of ItXtj long, which is very unusual. 
 
 1354. "Who taunted me as the slave to my hopes of marriage". 
 With a like sneer does the Kreon of Sophokles retort to the pleading of 
 Haemon in favour of Antigone yvvanKb^ uiv Soij\€Vfj.a, fj.r] kutlW^ fxe 
 (Ant. 756). The article {tSv) with the predicate recals the actual words 
 (6 ydfxuv ij<r(T(jJv) of the taunt; cf. Herakl. 978 Trpos raura ttju 
 dpaaelav Scttls av di\ri...\^^€i. See also Bacch. 725. 
 
 1355. evvqv cf. si/pr. 103 n. 
 
 1359 f. Touo-8€ i.e. the attendants carrying Achilles' arms, ^pevuv 
 of. S7ipr. 327. Klytaemn. ' Blessings on you for your generous feeling !' 
 Ach. • Well, I shall have my reward ', i.e. a chivalrous action is its 
 own reward. 
 
 1361. Cf. Hel. 1639 (Tvyyovov 0^ arjv \ ov Kreveis 7]fj.u)v iK6uTUU. 
 Nauck for ifioO 7' iKdvroi here conj. ifioO ye i^ui^ros. 
 
ii8 IPHIGENEIA AT AULIS. 
 
 1364. aiptOtls Ikojv 'chosen — a willing servant '. By the sarcastic 
 addition of e/cwj/ Ach. implies that the alternatives in Kl.'s question do 
 not exclude each other. With the form of this line cf. Hel. 1633 
 eEOK. ri fxe 7rpov5u}K€U XO. KaX-qu ye Trpodoaiav, SiKaia 8pdv. 
 
 1366. iQiCpas for the genit. cf. m/r. 1459. ti xpi] see on supr. 636. 
 
 1367. «s Tov8* ovviK{a) kt\. 'Be sure that as far as that goes 
 (i.e. holding her fast) she shall not &c.' In this constr. ws is elHp- 
 tically used for 'dadi, us kt\., cf. Hek. 400 ws rrjad' eKovcra TraiSos oii 
 lJi.edricroiJ.ai. Phoen. 625 ws ra-x' ovkIO' alfxar-qpov rovfxbu dpytjaei ^icpos. 
 
 1368. dXXoL TJ|€i. 'But indeed it will come to this' i.e. to an 
 actual struggle. cl(raKov(raT€ the plural because here Iphigeneia 
 addresses herself to Achilles as well ; cf. suj>r. 436 f. n. 
 
 At this crisis Iphigeneia declares herself willing to die. The 
 natural shrinking from the horrors of death which found relief in the 
 lyric outburst 1279 ff. has given way before a courageous resolve 
 sustained by the feelings and considerations inspired by a generous spirit. 
 Like Makaria, the heroine of the Heraklidae, she has recognized that 
 duty bids her suffer, and henceforward to quit life with dignity is her 
 chief desire evprj/xa yap rot /xr) ^L\o\pvxova' iyd} | KaXkiaTou 7)vp7}K ei'/cXews 
 XtTTCij' ^iov (Herakl. 533) ; unlike Makaria, she reaches this sublime 
 decision, not immediately upon hearing of the dread ordeal through 
 which she is required to pass, but only after a struggle with less heroic 
 feelings. On this point in the character of Iphigeneia something has 
 been already said in the Introduction. 
 
 1370. tA 8* d8. KapT€p€iv ' to none of us is it easy to resist where 
 resistance is vain'. She intends these words, in which delicacy of feel- 
 ing prompts her to use the general ijfuv in preference to anything more 
 definite, as an excuse for Agamemnon's behaviour. 
 
 1372 f. jtTJ 8iap\Ti0f| o-Tparw cf. Herakl. 420 6'7rws...7roXtTats n^ 
 
 5La^\r]drjcroiJLai i.e. have my conduct unfavourably represented to them. 
 irXc'ov irpdlwucv ovSc'v 'be no better off'; cf. irXiov iroirjcai Plato 
 
 Apol. 19 A, ttX^oi' (p^pecdai. Or. 661, ir\iov Xa^e^u Alkest. 72; see zd. 
 
 744 f. Cf. also Herod, vii 211 ov8eu irXiov e^epovro t7]S aTparirjs Tr}s 
 
 Mt/Si/c^j, dXXa ra avrd. 
 
 1378. 'EXXds 11 \iiyC<rTr\ kt\. 'Hellas the great all looks to me'. 
 
 fieyicTT-rf is here used as fieydXrj, cf. Aesch. Eum. 44 X'^j^et fieyiaTij}. Cf. 
 
 also Med. 439 ov5' ^r' ai'Scbj | 'EXXdSt ra fieydXq. fiivei. 
 
 1379 ff. "On me depends the passage of the ships across the sea, 
 
 and the overthrow of the Phrygians; with me it rests to check the bar- 
 
NOTES. 119 
 
 barians, should tliey make any attempt upon our women in the future, 
 from carr)ing off these any more from prospering Hellas, when once 
 by death they have made atonement for Helen's marriage-tie which 
 Paris violated ". The reading however of 11. 1381, 2 is far from certain 
 (see append.); with the general tenor cf. Androm. 103 'IXty alweivq. 
 Ildpts ov ydfiov dWa Tiv' drav \ dydyer^ evvalav is 6a\dfj.ovs 'EXevav. 
 KoLv l\ioi cf. Soph. Phil. 963 iv col Kal t6 TrXeti' V^s, S.va^, \ VOtj 
 Vn kt\. 
 
 1392. 8id fictx"ns fJLoX€tv...'Ap\€iois cf. /;(/>'. 1415 f. 
 
 1394. Kptio-o-wv opdv cf. Orest. 805 dv^p...fxvpiu}v Kpela-ffcju 
 6fj.aipLuv dv5pi K€KT7]<TdaL 0i\oj. Nauck and Weil accept Dobree's 
 correction optvv. 
 
 1398 f. Compare Herakl. 590 — 592. 
 
 1400 f. pap(3dp«v 8' "EXX-qvas...«lKos. These w^ords are quoted 
 by Aristotle polit. i 2 p. I252*'7 8l6 (paaiv ol iroLrjral ' ^ap^apu3v...dKbs\ 
 ws ravTo <pv<T€i ^ap3apov /cat 5ov\ov 6v. Cf. also Androm. 665 f. The 
 Greek view, of which Iphigeneia is here made the mouth-piece, that 
 the ' barbarians ' were (f>v(X€(. 8ov\oi, in contrast to Hellas the upholder 
 and exponent of the vital principle of liberty, was the foundation of that 
 contemptuous superiority felt by the Greeks themselves to external 
 nations as they knew them : — ovd^v t6 SovXov 7rp6s to fir} dov'Kov yivoi. 
 Orest. 1 1 15. (The whole passage will repay reference.) 
 
 1404. TO TT|s Tvx*ns see Gr. Gr. 201 N. 4. vocrei 'is at fault'. 
 
 1406. ^fJLcXXe, tl Tvxoi|Jit ' meant to make me happy, — were I but 
 to gain thee for my wife'; cf. Horn. Od. xviii 138 Kal yap iyu ttot' 
 i/jLcWov iv dvdpdcriu 6X/3ios ehai, \ iroWd 5' drdcr^aV Ipe^a (i.e. was 
 meant to prosper, had I not done wickedly). 
 
 1 409 f. TO 0€ojJLax€iv -Ydp kt\. 'abandoning strife against the will 
 of heaven, which is too strong for thee, thou hast reckoned fairly the 
 good that fate has left to choose'. The antecedent to 6 is the notion 
 t6 ddov implicit in deofxaxdv. This verb occurs also thrice in the 
 Bacchae : not elsewhere in Euripides. xPV<^t°'- and rdvayKala are 
 coupled by re as koKws and dvayKaiuis supr. 724 meaning 'the best 
 course, where choice is limited perforce'; i.e. to yield with a good 
 grace (cf. infr. 1502 Qavovca. 5' oxjk dvaivo/xaL). Most edd. follow 
 Monk in bracketing these two lines. But it is characteristic of both 
 speeches of Achilles (1405— 1416 and 1422— 1433) that admiration of 
 Iphigeneia's splendid devotion conflicts in his mind with a natural 
 distress that it should actually be required. At once attracted and 
 
120 IPHIGENEIA AT AULIS. 
 
 repelled by the noble act which the heroine meditates, he approves the 
 sublime conception, but cannot stifle a protest against the peculiar 
 horrors of the stern fulfilment. Hence the almost indignant tone of 1. 
 1431 — a(f>poHvri TTJ ay davelv. Why then does he speak of her death as 
 TavayKola (1410) ? It is natural, if we consider the fearful odds against 
 any effort of his doing more than momentarily delay it. He can hardly 
 expect single-handed to avert the ultimate accomplishment of the 
 sacrifice desired by Artemis, to which Agamemnon has consented, and 
 the army — including even his own personal following (1352 f.) — are 
 determined to exact. It is the effect of these various reflexions which 
 occasions the want of logical arrangement noticeable in these two 
 speeches of Achilles, and accounts for the obvious difference in style 
 from that of 919 — 974. 
 
 141 7. In both MSS. a lacuna after X^yu rdd' is indicated (k^yu 
 T-aS'Aet'n-et PC) ; the second hand has added the words oi/deu ovdev 
 evXa^ovfxiuT] (P^C^) in order to complete a line of which no probable 
 restoration can now be made. 
 
 1418 f. dpKci Tt0€i(ra cf. Soph. Aias 'j6 ivdov apKeiro} fiiuojv. The 
 word Tideiaa here was perhaps suggested by the phrase ridevai ayuva : 
 it has therefore a different force from that in Ion 1225 ^bvov Tide'taav 
 (equiv. to <povevovaav 'committing murder'), where tLOtjim has its 
 common poet, meaning 'cause' or 'make'; cf. Med. 384 6^<to} yiXuv. 
 
 1425. o|i«s 8(e) sc. X^^w. ncTtt^votiis rdSe cf. Med. 64. 
 
 1426. " So then that thou mayest be assured of my intentions, they 
 are spoken now ". rdir Ijxou cf. stepr. 844 Td7r6 aov ' what I hear from 
 you'. For XeXey/xiva Weil reads XeX^^erat. 
 
 1430. The predominance of <t in this line mars its euphony. The 
 same fault occurs in several other verses of Euripides (see I. T. 765. 
 Med. 476), and was laughed at by the comic poets ; cf. Eubulus 26 and 
 27 (ed. Kock). 
 
 1436. irava-aC |j.£ |jii] KaKi^e 'forbear, make me not a coward'; i.e. 
 by your tears. Hermann explains this singular phrase as a mixture of 
 two constructions iravaai fie /ca/ct^wi' and firj fie KaKi^e. The mid. 
 Kad^ecrdaL^'to turn coward', Med. 1246. Ion 984. The act. in prose 
 means to 'abuse'; for exx. see L. and S. s.v. KaKi^ca. 
 
 1437. Trap* -qjiwv ovStv ctSiKiia-ei ' of my dealing thou shalt take no 
 wrong', irpbs rj/xuf would have been more usual. r]\i<av is emphatic, 
 so. however thy /a.*/ier may treat thee. On the form d8iKTJ<r€i see suj>r. 
 331 n. 
 
NOTES. 121 
 
 T438 f. irXoKaiiOv €KT6'}j.Tis cf. x'*^^<^ Toiioio^ Alkest. ror. She 
 refers to the ir\6Ka/xos TeuBrjr-npios (Aesch. Cho. 7) laid in token of 
 sorrow upon the grave. p-fXavas dii-n-io-XT] tt. see in/r. 1449. For the 
 custom cf. Alkest. 818 f. (cf. also Ar. Ach. 1024 etro XevKbf d^Wx" ; 
 i.e. how is it you are not in mourning?). It is very probable that this 
 line (1439), which violates the rule of stichomuthia that generally 
 preserves equality in the number of lines of each reply to that of the 
 speech preceding it, was made up by some one from 1499 and inappro- 
 priately inserted here. 
 
 1441. ov a-v yi so. aTruXea-as /xe. (Distinguish the deprecatory /ivj 
 Gv 76 i/i/r. 1460.) Kar €(xe = T6 Kar ifx^ supr. 931. 
 
 1443. No barrow will be raised to her, because she is to be burned 
 upon the altar. Compare I. T. 821 (Iphigeneia is speaking of the lock 
 of hair sent to her mother) \xvy]iiv.a 7' avrl auifiaros tov/mov Tacpcf: 
 where by ra^oj a cenotaph at Argos is meant. 
 
 1444. TL 8tj; kt\. i.e. is not the mere fact of a person's death con- 
 sidered (as regards the displaying by the survivors of the outward signs 
 of mourning) as equivalent to their burial? Klytaemn. asks why, 
 though she cannot lay a lock of hair upon the grave, she should refrain 
 from cutting it when her daughter is dead — the icovpa Trivdifio^ Orest. 
 458 — as a last symbol of affection and grief. 
 
 1451. x°'^P«''V 7(€) 'yes, bid them farewell; and see that thou rear 
 up Orestes here to man's estate'; cf. Androm. 723 iv ^dlq. <r' iyudp^\pu) 
 fieyav ro'iad^ ex^pov. 
 
 1455. irdo-iv T€ crov cf. supr. 1153 "• 
 
 1456. See Introd. p. ix Jin. a-yoivas so Medea, meditating the 
 destruction of her rival, says ^t' eio-' dyQvei rols pewarl vv/xcpioi^ (Med. 
 
 366). 
 
 1458. 86\a) 8(€') *Lut it was by treachery' Sec. 5^ introduces an 
 
 objection to Iphigeneia's plea for Agamemnon. Cf. sttpr. 732, 153. 
 
 1459. k6|it]S cf. Androm. 402 Kdfirfs ein<nra(jddaa. supr. 1366. 
 
 1465. ov Jill [jLoXw. On ov fj-r} with the subj., expressing emphatic 
 negation, see Gr. Gr. 292. 
 
 1466. ovK d|iws ad aras \ dcdiictast, non ttt sollemni more sacro- 
 rum I perfecto posset claro coinitari I/ymcfiaeo, \ scd casta hiceste nubcndi 
 tempore in ipso \ hostia concidcret mactatii viaesta parentis. Lucr. i 95. 
 
 1467. ovK c« *I forbid'; cf. ov (prj/jLi. 
 
 1 468. The accus. Kdp-qv is governed by iirevcp-ijfx^aaTe iraLava which 
 in sense = 7rata;j'if ere. Cf. Troad. 335 /Soare Tbv iifiivaiov — uvp-cpav. 
 
122 IPHIGENEIA AT AULIS. 
 
 Soph. Trach. 50. 1't« iv^r\i^lo. 'let the command go forth for silence'; 
 of. infr. 1564. 
 
 1471 f. See stipr. 955 n. 11 12. 
 
 1473- cv8€|iovcr6ci) ptop-ov i.e. let him make the circuit of the altar 
 from left to right ; cf. eniU^Los. Hartung cites in illustration of this 
 passage Ar. Peace 956 aye drj, to Kavovv Xa^ibv av Kal Trfv x^P^'^a I 
 irepudi Tov ^ojfxbv Tax^(^^ eTriSe^ta. 
 
 1477 f* o"'"e<|)eci cf. Lucr. i 87 an simtd inftda virgineos circumdata 
 comptus Sec. irXoKajJios 08c KaTa(rT€'<|)€iv 'here is my lock of hair to lay 
 upon the altar'; this clause is parenthetic. For the infin. following 
 ode cf. Hippol. 294 yvvoLKei aide avyKadiaTavaL voaov. 
 
 1480. cX£o-(r£T€— "ApT6|Jiiv cf. Hcrc. fur. 688 ff. tov AaTOvs eijTraida 
 y6vov elXiaaovaaL KoXXixopou. eXiaaeiv, like xopei/eiv (cf. tlf. 686), can 
 take an accus. of the person in whose honour the dance is performed. 
 
 i486. Qia-^CLT €|a\€tx|/ft) a fine and graphic phrase, led up to by 
 the preceding words aifxacxL dv/xaai re : the oracle is thought of as a 
 written behest at once fulfilled and washed away as the blood of the 
 
 victim flows. 
 
 1487 ff. *5s SaKpvd yi kt\. *my tears shall be for thee— and I will 
 give them now, for at the altar is no place for tears' ; cf. in/r. 1560 0-1777 
 irape^(j3 ycLp Upriv evKapdiios. ye emphasizes the whole phrase daKpvd aot 
 duaonev, my tears flow, no longer for my own fate but for the grief it 
 will cause to you. 
 
 1492 ff. "Join with me in singing the praise of Artemis who hath 
 worship in the land over against Chalkis, where now in the strait- 
 mouthed haven of Aulis by reason of me the angry spearmen are 
 impatient for the end". "ApTcjjiiv avrtiropov. The name of the 
 goddess, as Paley remarks, is put here for her temple &c., cf. Aesch. 
 Theb. 582 deoifs toi)s e77ej'ers | Tropdelv. The allusion to Chalkis is 
 natural in an appeal to the chorus of Chalkidian women. Sopara the 
 weapons put for the men who use them; cf. stipr. 189 n. {aairls)'. infr. 
 1528 XoYxais 'EXXdtri. Iphigeneia perhaps uses 5i' ep.ov 6vop.a in place 
 of 5i' eixi because she is thinking of the terms in which Kalchas' fatal 
 announcement was made [dvelXev 'IcpLyiveiav— Aprifitdi. dCffai., 90); and 
 we are reminded of the thrilling dread with which the name of the 
 victim was awaited from the lips of Kalchas on a similar occasion: — 
 gelidusque per ima cucurrit \ ossa tremor, cut fata parent, quern poscat 
 Apollo. Verg. Aen. ii 120. The meaning of iikfiove will then be that 
 the army, knowing now whose death will release them, are eager to 
 
NOTES. 123 
 
 give Artemis her victim and make sail for Troy ( — quae sibi qiiisqne 
 timcbat \ iiniiis in viiscri exitiiim conversa tulere). 
 
 1498. IleXao-^ia Argolis, cf. Aesch. P.V. 860 TleXaayla 5^ oi^erat 
 kt\. 
 
 1499. Gepdirvai 'home' ; cf. Here. fur. 370 UrjXidSei ^epairvat ' home- 
 steads on rdion'. 
 
 1500 f. iroX. Iltpo-e'ws cf. Strabo viii p. 377 al fih oZv '^ivK-qvai vvv 
 ovK€Ti €i(jlv' €KTicre 5' auras Uepaevs. KvkX. — xepuiv cf. su/'r. 152 n. 
 
 1502 f. <}>aos cf. su/>r. 1063 n. 0avovi<ra 8' ovk avaivonai *I do 
 not chafe at leaving life'; cf. Aesch. Ag. 583 vtKufxevos Xoyoiaiv ovk 
 avaivoixai.. 
 
 1507 ff. iVcpov — oUrfo-oiiev *a different life, a different state will be 
 mine', 'erepov is euphemistic, as in oai/xuiv ^repos &.C., contrasting the 
 free vigorous life beneath the sun with the feeble shadowy existence in 
 the underworld {to. v^pde S' ov8ev, 1251). With this last farewell to the 
 light of day Iphigeneia is led away to the altar, and Klytaemnestra 
 retires within the general's tent (whence she is summoned by the mes- 
 senger 1532), leaving the stage free for the chorus, who thereupon sing 
 two KOfjL/xoi (15 10 — 1 531). During this interval the events which are 
 presently narrated 1532 ff. are supposed to be taking place. 
 
 15 12 ff. Iirl Kapa (rT€<|)T] PoXop-evav kt\. *w'ith garlands cast upon 
 her head and sprinklings of lustral water, as she goes to bedew with the 
 dews of flowing blood the altar of the murderous goddess and her own 
 fair throat at the moment of slaughter'. 
 
 1522. KXT]<rfc)|A€v 'let us celebrate' (/cX^^w) : cf. Ar. Birds 950 
 k\^(TOV, w xP^'<^odpov€, TOLV Tpo/nepcw, Kpvepai/. 
 
 1524 ff. *'0 Lady, by the death of a human victim made propitious, 
 send thou on its way to the Phrygians' land the Hellenic host, and 
 grant that Agamemnon may encircle the Grecian lances with a crown 
 of fame, and his own brows with a glory that shall never pass out of 
 mind". 
 
 1532 — 161 2. A messenger now enters bringing to Klytaemnestra 
 tidings of the strange denouement which has taken place at the altar of 
 Artemis. The narration (1540 ff.) of the scene before the ceremony, the 
 terrible preparations of the priest, and the miraculous disappearance of 
 the victim, is powerful in its clearness and simplicity. The messenger 
 concludes by declaring to Klytaemnestra that her daughter has been 
 rescued by the gods, who 'preser\-c those whom they love'. (See further 
 Note B.) 
 
124 IPHIGENEIA AT AULIS. 
 
 153^' V-'\ — 'HKCis 'lest thou art here with tidings for me of some 
 fresh mishap &c.' For the indie. 17/cets of. Thukyd. iii. 53 (po^ovfieda fxi] 
 dix(pOT€pwv TjixapT-qKafiev. 
 
 1549 f. The averted head and features veiled by the robe were 
 characteristic of the figure of Agamemnon in Timanthes' picture of the 
 Sacrifice of Iphigeneia ; see Introd. p. xvi f. 
 
 1556. aYovras i.e. 5id(afjt.i dvaai v/xas Hyovras ktS.., the participle 
 being in agreement with the subject of the infinitive dvaai. Cf. Hek. 539 f. 
 "XvaaL re 7rpviJ.vas...8bs rjfuu, irpevfievods t' (xtt' 'lAioy | vbaTOV rux^iras 
 Travras els irarpav fioKeiv. 
 
 1559. irpos TavTtt with imperatives is always more or less defiant 
 in tone, Aesch. P. V. 992 &c. 
 
 1567. KoXewv ^(TwGtv 'from (within) the scabbard'. Musgrave 
 proposed to read 6\Cjv iaudev (which is adopted by Weil) depending 
 upon idriKev, 'iauOev being then equivalent to ^crw. In support of this 
 reading is cited schol. Ar. Peace 948 which mentions the concealment 
 of a sacrificial knife among the meal (rals oKah) in the basket {h r^ 
 
 KOivQi). 
 
 1569. ?9p£^e old Attic aorist of rpex^^ see instances in L. and S. s.v. 
 Tpex(^- The accus. ^oj/jlov is perhaps to be explained as governed by 
 the phrase iv kvk\({} — 'idpe^e, having the force of irepUdpaixe. It has 
 been objected that edpe^e (for which Weil reads ^^pe^e ' sprinkled ') is 
 out of place here, since 'running' is not appropriate in the performance 
 of a sacred function. It appears however that the circuit of the altar 
 on these occasions was made at a quick pace, cf. Ar. Feace 956 (quoted 
 szi/>r. 1473) TrepUOi rax^wj. 
 
 1570 f. Gr^poKTove cf. Ar. Lysis fr. 1262 (dor.) arjpoKTove. Anacr. i 
 yovvovfiaL <t\ iXacprj^oXe, | ^avdrj irai Ato's, dypiuv | biairoiv "Aprefxi, 
 d-qpuju. On the combination of the titles appropriate to the Light- 
 Goddess and Goddess of the Chase by which Artemis is here invoked 
 see Note C. 
 
 1579. Xva ttXt'i^cicv civ iVa is local, 'where he should plant his 
 blow ' in order to deliver a irXrjyT] Kaipia. For rrXri^euv dv we should 
 perhaps adopt Markland's TrXrj^eii vlv. 
 
 1 58 1, a'icpvri'i { = d(pvui) is a late form. Hence Weil reads opciu d<ppcj, 
 supposing aicpvrjs to have been a gloss upon d(pvw. 
 
 1583. ou -yr^s eloreSv 'whither it was she disappeared'; a slightly 
 colloquial mode of expression, which is appropriate enough to a man 
 of the messenger's position in extreme bewilderment. Cf. infr, 1590. 
 
NOTES. 12 
 
 
 
 1586. jiijS' 6pa>|X€'vov fi-qU is out of place here. It is probable that 
 the line is considerably corrupted. 
 
 1588 f. Hermann reads dtairpeinqs d\ :7s oi.uari ] 6 ^(Vfxos ap5r]v rrjs 
 ^eos ippaLvero. 
 
 1590. iru)s SoKcis xatpwv a colloquialism {'with you can't think what 
 joy'), ffcjs doKeis; is often thus used by Aristophanes, and occasionally 
 by Euripides, cf. Hippol. 446 irtos Sokcis Ka6i'^pi<T€v. Hek. 1160. 
 
 1592 f. See append. The reading of this passage has been partially 
 corrected by Musgrave. Before opare Weil inserts \aoi d\ 
 
 1594. MSS. /jLaXiara. Herwerden 70^ clvtI. If right, /xaXiffra rrjs 
 xSp-qs must be explained as equivalent to fxaWov rj ttjv Kdp-rjv kuI fxa\i(TTa. 
 It is however very questionable whether this use of fMiXiaTa, though 
 occasionally found in epic poetry, is admissible in tragedy. 
 
 1596. Again an evidently corrupt line. For 7;5e'a>s Egger with 
 some probability proposed I'Xecjs : and other attempts have been made 
 to restore the remainder of this verse, but none seems plausible enough 
 to warrant its insertion in the text. 
 
 1598 f. Gdpcros alpi cf. Soph. Aias 75 ou a2y dvi^et fxrjd^ deiXLav 
 dpeis; For the 2nd pers. sing, of the imperatives {alpe, x^P^'-) 
 following Tras Tts, — a usage probably colloquial in its origin — cf. Ar. 
 Birds 1 186 X'^'P" ^evpo Tras vir-qpeTrjs' ro^eve Tras rts (Trate Dind.). 
 Bacch. 173 frcj rts, elcrdyyeWe kt\. 
 
 1615 — 1620. These lines as given in the MSS. are unmetrical. 
 Weil, writing rovad' oXXws for rovcrde fidr-qv, arranges 11. 1617, 8 as 
 spondaic anapaests, but Dindorf seems right in objecting that this 
 metre is inappropriate to this place. I have thought it best on the 
 whole to give 11. 1615 — 1629 as exhibited by the MSS., with the 
 exception of Person's correction evyevrj for j'ea7ev77 1623, Barnes' 
 Xpovta Tafid for XP^^'-'^ 7^ Tajxa 162^, and in 162 1, a line which in the 
 MSS. has seven feet, Hermann's dX^i^oified' av for 6\^loi. yepoc/ied' dv. 
 
 irtDs <r€ irpoo-eiiTft) ; kt\. *By what name am I to address thee? 
 What is my assurance that this story is not falsely told to soothe me, in 
 order that I may cease from my bitter grief for thee?* So strange is 
 the tale of the messenger that Klytaemnestra fears that a pious fraud 
 is being practised upon her to hide the terrible reality. But at this 
 moment Agamemnon is seen approaching, and he presently confirms 
 the messenger's report that Iphigeneia has been rescued by heaven, and 
 announces that his troops are on the eve of departure for Troy. 
 
 1623. \i.6<r\ov Orestes. 
 
 II. I. 9 
 
126 IPHIGENEIA AT AULIS. 
 
 NOTE A. 
 11. 919—974. 
 
 The latest contribution to the study of this speech of Achilles as a 
 whole is a somewhat minute discussion by H. Stadtmiiller in Fleckeisen^s 
 Jahrb. 1888 pp. 665 ff. The results at which the author arrives are 
 briefly as follows. He considers that the first 15 lines of the speech 
 (919 — 931) are sound, and that they have a special appropriateness as 
 pointing the distinction between the Euripidean Achilles, — in whose 
 character we are shown heroic ardour tempered and controlled by 
 ffco^poavvT] — , and the Achilles of Homer with his fiery and ungoverned 
 nature. In dealing with the remainder of the speech Herr Stadtmiiller 
 thinks a somewhat drastic handling necessary in order to restore what 
 he supposes to have been the original text ; and his method involves a 
 free transposition of lines combined with several excisions. In 11. 973, 4 
 he would read dX\' ijavxai^e, <piXos iyu oii iricprjvd col \ 7evei 
 irpoa'^KUfVy dW ofMOJS <t' dvyjao/xev. 
 
 NOTE B. 
 11. 1532 — 1629. 
 
 The lines which folloM' the final exit of Iphigeneia have been the 
 subject of much critical discussion since Porson declared his opinion that 
 the whole of this concluding portion of the play was a late interpolation 
 (certe post Aeliani tempora suppositam. praef. ad Hecub. p. xxii). 
 There are two and a half verses cited from this play, as was first 
 pointed out by Musgrave {1761), by Aelian {de nat, animal, vii 39) 6 
 5^ Ei)/)t7rt5?;s kv ry 'IcpLyeveiq.' 
 
 iXacpov 8' 'AxaicDv xeptrii' ivdriaco 0i\ats 
 Kepouaaav, riv crcpa^ovTes a^XTjcrovcrt <jt]v 
 acpOL^eiv dvyar^pa, 
 
 which verses are not found in our MSS. Different opinions have been 
 formed as to the proper inference to be drawn from this circumstance. 
 
NOTES. 127 
 
 It has been held (i) that the concluding portion of the play was 
 altogether different from that which we now possess, and that in the 
 original the goddess Artemis was introduced by the poet to justify the 
 ways of heaven to men by foretelling the rescue of the heroine, and the 
 manner in which it would be accomplished. Or, that (2) the lines 
 quoted by Aelian come from a lost prologue to the play spoken by 
 Artemis before the entrance of Agamemnon. Or again, (3) that they 
 belong, as Weil thinks, not to the prologue itself but to a kind of 
 introduction composed by some one after the time of Euripides. Part 
 of a similar false prologue to the Rhesus is preserved in the argument to 
 the play which bears that name. It is possible (4) that Aelian was 
 himself mistaken, and cited as belonging to the Iphigeneia of Euripides 
 verses which in fact came from a tragedy by some other poet. It must 
 be acknowledged that many lines occur in this part of the play (especially 
 from 1572 onwards) which, as given in the MSS., are not such as Euripides 
 could possibly have written. On the other hand, the sgeeclj^of the 
 messenger is well-conceived; the style of his narrative throughout is 
 clear; and, in particular, the description of the scene at the altar seems- 
 far too terse and graphic to have been the work of an interpolator. In 
 the absence of decisive evidence, we may perhaps be justified in 
 believing that we have left to us the remains, sorely corrupted it is 
 true, of the genuine work of Euripides. 
 
 NOTE C. 
 
 11. 1570 — I. 
 
 c3 Trat Zt^j-oj, o) drjpoKrSve, | t6 Xa/xirpov eiXiacrova ev eiKppovri 0a'os. 
 We have in this invocation an evident identification of Artemis goddess 
 of the chase {dypor^pa dTjpocpovos iXacpa^oXos) with the moon-goddess 
 2EAHNH. This identification is however merely a return to a much 
 earlier conception, not a confusion of two deities at first distinct. 
 Artemis was originally goddess of the moon ; and in that character she 
 is properly equipped with bow and arrows, which are symbolical of the 
 moon's rays. Thus we find later that the terms (xeX-qvo^Xrrro^ and 
 'ApTefiibo^XrjTos were used synonymously of those who were supposed 
 to be suffering from the effect of these rays striking upon them. From 
 the fact of her being represented with a bow Artemis was then by a 
 natural step imagined as a huntress (cf. Theognis 11 "Apre/xt 6r]po<pou7], 
 
 9—3 
 
128 IPHIGENEIA AT AULIS. 
 
 dijyaTep Aids, -qv 'kyaixifiviav \ daaff, 6t es Tpotriv ^irXee pr)v<xl doris); 
 and — by the usual mythological extension — as guardian of wild 
 animals (cf. Aesch. Kg. 140 ff.)« The tendency soon became to 
 distinguish Artemis the huntress from 2EAHXH, in whom the Moon 
 was worshipped as a divinity but without especial reference to any 
 attributes or powers. The distinction appears to have clearly estab- 
 lished itself, and was maintained for a while, but in the time of the 
 tragedians the divergent aspects under which the goddess gradually 
 came to be regarded had been already re- united, and Artemis appears 
 again in her primitive function. (See Welcker Griech. Gotterlehre ii 
 pp. 398 f.) The first instance of this reconciliation occurs in Aeschylus, 
 frag. 169, as o^re wefKpL^ ■qXiov irpoabepKerai \ ovt daTepwirov ofx/j-a ArjTi^as 
 Kop-qs. Compare also Soph. Trach. 2i^"KpTefxiv — eXacpa^oXov, aixcpiirvpov 
 where the epithets are combined in a similar fashion to that which we 
 find in the passage under discussion; the adjective which designates the 
 huntress being followed by one appropriate to the moon as the giver of 
 light by night {ajx^iirvpos 'with a torch in each hand', as Artemis was 
 sometimes represented in ancient art ; cf. Introd. p. xvii). It is with 
 reference to this latter office that Artemis the Light-Goddess obtained 
 her titles (pwa(p6pos (pLXoXap-Trados &c. There is also mention made in 
 Pausanias I 31, 4 of an altar in Attica to "Apre/xis aeXa<T(f>6pos : the 
 epithet being descriptive of the radiant light of the moon. We may ob- 
 serve in conclusion that Iphigeneia is made by Aeschylus Sophokles and 
 Euripides alike the victim of Artemis. But, on the one hand, in Sophokles 
 El. 566 ff. it is the huntress whose anger and wounded pride must be 
 pacified, — and in the same connexion, though the reference in this case 
 is to an omen which concerns the protectress of wild animals, Kalchas 
 in the Agame77inon of Aeschylus announces that Artemis {'Trpocpepojv 
 "kprepLLv, 202) requires the sacrifice of the maiden's life. On the other 
 hand, in the Tauric Iphigeneia of Euripides it is the goddess of light 
 {<p(joa(p6pcj} deq., 21) to whom Agamemnon, according to the account of 
 the affair at Aulis given in the prologue by the heroine, has devoted his 
 daughter ; while in the Iphigeneia at Aulis both attributes of the one 
 divinity are combined in the titles by which Artemis is implored to 
 receive the Grecian offering. 
 
APPENDIX. 
 
 Table of deviations from Kinh/ioff's text. 
 
 The following is a list of those passages in which the text of this 
 edition departs from that exhibited by Kirchhoff in his edition of 1867. 
 In several cases the alterations admitted have been already mentioned 
 or discussed in the notes; with regard to the rest, I have thought it 
 advisable in view of the general scope of the book merely to record 
 them here in tabular form for the convenience of the reader. A few 
 places in which the orthography or punctuation differs from that 
 adopted by Kirchhoff have not been set down; where the variation 
 is otherwise than trifling it has been previously noticed in the com- 
 mentary. In cases where the account of the Mss. reading given below 
 differs from that in Kirchhoff's critical note, the information is derived 
 from the collation of Wilamowitz-Mollendorff : see Introd. vii, p. xxi. 
 
 . 
 
 
 
 Kirchhoff. 
 
 
 The present edition. 
 
 v. 
 
 7 
 
 nP. et V. 9 AFA. 
 Bremio del. 
 
 hoffius 
 
 auctore 
 Kirch- 
 
 
 v. 
 
 22 
 
 Kal rb (piXdrifiov 
 
 
 t6 del. Marklandus 
 
 v. 
 
 23 
 
 \vireT 
 
 
 XvTrri editor 
 
 V. 
 
 42 
 
 rl TToveh'f 
 
 
 del. c deinde Blomfieldius 
 
 V. 
 
 72 
 
 Kpivuu 
 
 
 Kpivas PC 
 
 v. 
 
 77 
 
 fxdpif) 
 
 
 dpofiif) Markl. 
 
 v. 
 
 84 
 
 Kara 
 
 
 irdvTa F. W. Schmidtius {krit. 
 stud. II. p. 244) 
 
 v. 
 
 149 
 
 nP. ?(rrai rdde. 
 
 AFA. 
 
 om. rdde PC manus pr. i^opfiuiaais 
 
 
 
 KXySpoju 5' 
 
 i^op/xa. 
 
 Weckleinus 
 
 
 
 hunc versum post 152 
 
 
 
 
 auctore Hermanno po- 
 
 
 
 
 suit K, 
 
 
 
 V. 
 
 150 
 
 rjp yap viv 
 
 
 iju VLV PC 
 
 V. 
 
 171 
 
 (l}i...i8ol/xap 
 
 
 ws Kariboiixav G. Dindorfius 
 
 V. 
 
 194 
 
 TOIJ 
 
 
 tSs Brodaeus (r^s) 
 
 V. 
 
 ^34 
 
 fj-eiXivov 
 
 
 fi^Xivov Bothius 
 
130 
 
 IPHIGENEIA AT AULIS. 
 
 V. 284 Td(pLOV Tjyeixwv M^7i7S 
 
 V. 286 post \LTrCjv lacunae sig- 
 
 num posuit K. 
 V. 317 post hunc versum deesse 
 
 alterum, item Aga- 
 
 inemnonis,auct. Herm. 
 
 significavit K. 
 ^' 333 ^^ KeK6/j.\pev(xaL ' irovrjpbv 
 V. 336 oijToi 
 
 V. 356 TLPa TTOpOU 
 
 V. 367 eKdvTes 
 
 V. 373 fiTiMv' dv xp^ovs 
 
 V. 407 (Tvvacocppoveiu aoi j3o\j\o/j.\ 
 
 dXX' OV (TVVVOGUV. 
 
 V. 416 uvd/xa^as 
 
 vv. 448, 449 aTravrd t' et &voK^a 
 
 (Musgravius) 
 V. 445 avjUL^aXQ 
 V. 510 aXKrjXuu 
 
 V. 515 "-^pyos 
 
 V. 521 Kovoeu y' axpV^TOV 
 
 V. 531 oh 
 
 V. 547 /xaivofiev 
 
 V. 580 6tl 
 
 V. 585 8^5wKas 
 
 V. 587 ^piv 
 
 V. 589 Tpoiai iripyafxa. 
 
 V. 592 e'/Lirjj' dubitans servat K. 
 
 V. 602 vewtrTL /jLot fioXbv 
 
 V. 603 kXclvov riKvov 'Aya/x^fi- 
 
 vovos 
 
 V. 604 fitjd^ 
 
 V. 626 TO 'Nrjprjidos 
 
 V. 632 TrcptjSaXcD 
 
 V. 664 fiaKpav y 
 
 V. 667 ^r' ^o-rt 
 V. 675 eaT-q^ei 
 
 V. 694 avviax^^^^' 
 
 V. 724 avvev^ysai 
 
 V. 734 (Tl) 5^ 
 
 V. 776 ff. Xai fjiOTofxovs Ke(paXai \ 
 airdaas, irbXiaixa Tpoia% 
 I iripaas /card/cpas irb- 
 Xi.v. 
 
 V. 781 iroXi^/cXai/Tos 
 
 V. 782 iaeirai. 
 
 rjyeVf uv MSS. 
 
 TTovrjpa' Monkius 
 oijTe Herm. 
 8e inserit P^C'^ 
 
 ^XOVT€S PC 
 
 li-qUv' dpa (Nauckius) yevovs 
 
 (Monk.) 
 <r. ycip, ovx^ crvvvocrdu 'icpvv. e Plut. 
 
 de discr. adulat. ei atn. p. 64 c 
 (bvo/xai^es Markl. 
 dvoX^d T et diravTa MSS. 
 
 crvfxlSdXa) PC 
 
 dXXTjXotJ/ Markl. 
 
 7' addit P2C2 
 
 KovMv ye xpv<^tov Canterus 
 
 6s MSS. 
 
 fj.aui.d8<j}v Weckl. 
 
 odi Hartungius 
 
 T ^d(i}Kas Blomf. 
 
 ^pis exempl. Hervag. altera 
 
 transposuit Blomf. 
 
 del. Herm. 
 
 TO veojarl fxoXov Herm. 
 
 rb KXeivbu (P^C^) riKvov 'Xyap-ep.- 
 
 vovLov Herm. 
 fiT] bri Heathius 
 TO TTjS l^Tqprjbos Portus 
 Trpocr^aXu) Porsonus 
 [laKpdu PC (7' add. manus inter- 
 
 polatrix) 
 '^T€<TTi Nauck. 
 earrj^eis Elmsleius 
 
 avvio'x^'^^^^- Anglus 
 
 crvveueyKOL L. Dindorf. 
 
 rj av Herm. 
 
 (nrdcras Ke^aXds Weilius ; del. idem 
 
 Tpoias et TroXti' turn iripaas tto- 
 
 XLO-fia transposuit. 
 
 seclusit Weil, 
 el'crerat Herm. 
 
APPENDIX. 
 
 131 
 
 V. 795 ?Tuxe«' 
 
 V. 
 
 796 
 
 6pvi.d' lirraixivi^ 
 
 V. 
 
 811 
 
 &\\o^ 
 
 V. 
 
 817 
 
 5pd 5' 
 
 V. 
 
 840 
 
 neixvy^fjAvoi.^ • 
 
 V. 
 
 844 
 
 TO. irapd (jov 
 
 V. 
 
 863 
 
 Klytaemnestrae tribuit 
 K. 
 
 V. 
 
 865 
 
 ei's /xeWovr' av ukttj 
 
 V. 
 
 880 
 
 KTavelv 
 
 V. 
 
 889 
 
 etwep dXyeLvbu 
 
 V. 
 
 900 
 
 iiraideadrjcrofxcu ye 
 
 V. 
 
 902 
 
 iiri tLvos 
 
 V. 
 
 909 
 
 (xe 
 
 V. 
 
 911 
 
 ye\$ 
 
 V. 
 
 IOI4 
 
 TL 8i XPV 
 
 V. 
 
 1017 
 
 el 
 
 V. 
 
 1025 
 
 avTo. /JLT] irpdacufiev du 
 
 V. 
 
 1028 
 
 <pv\d^OIX€V 
 
 V. 
 
 I04I 
 
 h 
 
 V. 
 
 1055 
 
 KVK\ia 
 
 V. 
 
 1056 f. Xiypfws 7d/iovs 
 
 V. 
 
 1058 
 
 eXaraicn 
 
 V. 
 
 1063 
 
 Tratoes at 6eo"(7aXaf 
 
 V. 
 
 1065 
 
 yevvdcreis 
 
 V. 
 
 1066 
 
 i^cijvo/xaxrev 
 
 V. 
 
 10765. ra.% evTrdrpidos ydfMov | 
 
 
 
 Nt/ptjSwv ^deaav irpu:- 
 
 
 
 ras 
 
 V. 
 
 1073 
 
 ivSvT 
 
 V. 
 
 loSo 
 
 eirl Kdpa 
 
 V. 
 
 1081 
 
 y d\idv 
 
 V. 
 
 1087 
 
 VVfl<pOK6flOV 
 
 V. 
 
 1089I 
 
 T. aidovs 1 77 t6 rds dperai 
 dvvaaiv ex^i adevet-v tl 
 irpoaojirov ; 
 
 V. 
 
 1093 
 
 5vvafj.Lv 
 
 V. 
 
 1 1 30 
 
 y, , , , 
 
 V. 
 
 1138 
 
 TL fi -fidLK-rjaas ; 
 
 V. 
 
 1 146 
 
 &vaKa\v\pofi€V 
 
 V. 
 
 1151 
 
 IT pocrov picas 
 
 V. 
 
 1 153 
 
 Aios ye 
 
 V. 
 
 1 168 
 
 y^voi 
 
 V. 
 
 1171 
 
 f. Tjv <TTpaT€vaTj...yevT^a-rj 
 
 V. 
 
 1 176 
 
 KuOufiai 
 
 ireKev Musgr. cr' post Arjda add. 
 
 Elmsl. 
 Bpvidi TTTap-ivi^ Markl. 
 aXXwv e Kirch, coniect. 
 <Ppd^' Nauck. 
 fjLefivrjfjLivovs Herm. 
 Td7r6 (Tov Dobraeus 
 restituit Achillei Herm. ('id quod 
 
 codices exhibent'. Wilamowilz- 
 
 ^acnXiKii'v Matthiae 
 
 eis jj^dWovra atccreL Monk. 
 
 KTeveiv PC 
 
 eiTrep dW, clKbs Weckl. 
 
 iTraLdeadrjffoixeada Herm. 
 
 Tcpi tIpos Schaeferus 
 
 di Hensius 
 
 TreXas Markl. 
 
 TL 5^ (Reiskius) XPV^ ^ 
 
 y Weil. 
 
 av TL fiT) irpdacrufiev cjv Monk. 
 
 (pvXiacrofjLev PC 
 
 irapd coniecit Kirchh. 
 
 seclusit Weil. 
 
 transposuit Weil. 
 
 Adrats ai'V Weil. 
 
 TrarSa (Kirchh.) cr^ (Weil.) Qeaaa- 
 
 Xicf. (Kirchh.) 
 yevvdaeiv Weil. 
 i^ovo/xa^ev Fimhaberus 
 rdy evirdTpidos \ y-rjpridjs t' iOecav 
 
 yd/xou Weil. Nr/p^Sos PC t 
 
 add, Herm. 
 hbvT Dind. 
 w Kopa Herm. 
 /SaXidi' Scaliger 
 vv/KpoKOfJLov Reisk. 
 aiSoCs Itl, ttov \ tSj dperas cOevei 
 
 TL irpdaojirov ; X\ eil. 
 
 SvvaaLv Both. 
 
 m' Markl, 
 
 TLv TjdiKiqffa ; Herm, 
 
 dvaKaXv^pu) yap CP^ 
 
 TT po(Tu:pLcr as Hartung. 
 
 Al6s t€ Markl. 
 
 yi TOL Fixius 
 
 el (TTpaTevaeL . . .yevqceL Elmsl. 
 
 KadwfjiaL Elmsl. 
 
132 
 
 IPHIGENEIA AT AULIS. 
 
 V. 1 185 hda 
 
 V. 1 189 ov rap 
 
 V. 1 193 Xv avTU}v trpoBiiJ.evoi 
 
 V. 1207 vQ fj.7] 5-^ ye Krdvrjs 
 
 eXra Monk. 
 
 ^ Tap' Musgr. 
 
 eau (X(pQv (Mehlhornus) irpoifj-evos 
 
 (Elmsl.) 
 fieravbet /xi] 5r] KraveZv Heim- 
 
 soethius 
 
 V. I2IO 
 
 irpbs rdd^ avTeliroL 
 
 T0?a8' dv dvTeiiroL Burgesius 
 
 
 V. 1244 
 
 VTjirioLs ye 
 
 PTjirioLCTL Monk. 
 
 
 V. 1267 
 
 Tas...Kr€vovcn 
 
 rds t' Herm. Kreivovai PC 
 
 
 V. 1293 
 
 'AX^^avdpov dubitans ser- 
 vat K. 
 
 del. Monk. 
 
 
 V. 1297 
 
 oi) 
 
 Kal PC 
 
 
 V. 1309 
 
 TttS KaWovd? 
 
 ras del. Matthiae 
 
 
 V. 1310 
 
 ovofia fiev (pepovra Aavat- 
 
 Ofo/JLa jxdv (pepovra (PC) Aai/a'/'Sats, 
 
 
 daicTLv, w Kdpat, 
 
 clvos Kbpa ^editor) 
 
 
 V. 1311 
 
 TrpSdvfxd cr' 
 
 TTpodvixar Elmsl. 
 
 
 V. 1339 
 
 Tov re T7]S deas 'Ax'X- 
 (peijyeis, t^kvov 
 
 rbv ye t^s 6ea% irdlda Herm. 
 
 
 V. 1341 
 
 transposuit Lentingius 
 
 
 V. 1348 
 
 VLV. II KovbeU ivavria 
 
 ff(pe. (Herm.) || Kovdeis toi<x8' 
 
 TLOV (p) 
 
 hav- 
 
 V. 1349 
 
 iyii Ti 
 
 ^7^76 Markl. 
 
 
 V. 1372 
 
 8La^\r]6ys 
 
 bi.a^\rjd^ Monk. 
 
 
 V. 1381 
 
 ras 
 
 ToicrS' Pors. 
 
 
 V. 1382 
 
 oKedpov, 7]v 
 
 6\^dp(i) ydfiov, 6v Herm. 
 
 
 V. 1391 
 
 diKaLov TOVT^ ap' ^x^'-f^^^ 
 
 diKaiou TOVT^ ; '4xoi-iJ.ev ap av 
 tung._ 
 
 Har- 
 
 V. 1395 
 
 i^ovXifidr] aQ/xa 
 
 rh inserit p 
 
 
 V. 1425 
 
 ye 
 
 yap Herm. 
 
 
 V. 1438 
 
 ye 
 
 o-i> Elmsl. 
 
 
 V. 1444 
 
 tI dk rb 6vr)<XKeLV 
 
 TL 8rj ; rb duricTKeiv [drj PC 5^ 
 
 ps) 
 
 V. 1460 
 
 iyu:, fxerd ye 
 
 l7W7e yuera Markl. 
 
 
 V. 1479 
 
 TT ay aca I 
 
 vayds Reisk. 
 
 
 V. 1491 
 
 w vedvides, 
 
 loj tcb vedvides, Herm. 
 
 
 V. 1496 
 
 ovofxa rdcrd* 
 
 ovofM ev H. Schmidt. 
 
 
 V. 1502 
 
 fi^ya 
 
 [xe Elmsl. 
 
 
 V. 1509 
 
 
 tw icj. cum Nauckio Iphigeniae 
 
 
 
 tribui ds 
 
 
 V. 1513 
 
 ^aWo/j-ipau, — 7ra7a£S 
 
 ^aXo/xivau, (Markl.) — 7ra7als 
 
 ■c 
 
 V. 1514 
 
 ye halfxovos 
 
 diaifiovos Markl. 
 
 
 V. 1516 
 
 davovaav evcpvrj re au/xa- 
 
 pavovaav Markl. del. ad 
 
 '}JjLaTOS 
 
 
 ros 
 
 Schmidt. 
 
 
 V. 1518 
 
 fjL^fovai ce x^pvi.pk% re 
 
 ce post re posuit Seidlerus 
 
 
 V. 1529 
 
 'EXXci5t 
 
 'EWdo-t Markl. 
 
 
 V. 1530 
 
 Kdpa ehv 
 
 6' inserit Scaliger 
 
 
 V. 1536 
 
 TJKrjS^ 
 
 riKeis PC 
 
 
 V. 1550 
 
 TrpoTjyev 
 
 irporJKep Dindorf. 
 
 
 V. 1557 
 
 evTVxeiTe 
 
 evTvxoire Aldus 
 
 
 V. 1558 
 
 diopov 
 
 bopbs Piersonus 
 
 
V. 
 
 I570 
 
 cJ irai Zr)vb^ 'Apre/xts dij- 
 poKTove, 
 
 V. 
 
 1573 
 
 
 V. 
 
 1580 
 
 ifiol 5^ t' dXyos ov /xiKpbv 
 
 V. 
 
 1582 
 
 KTvtrov yap iras tis yader^ 
 df aa(pu}s, 
 
 V. 
 
 1584 
 
 ^oq. 5' If/seiyj, aVas 
 
 V. 
 
 1592 
 
 opdre TT}vbe dva'iav, tjv 7/ 
 debs irpovOr)K€ lSu}/j.iav, 
 f\a<poi' dpeLOpdfxou ; 
 
 V. 
 
 1594 
 
 fidXiaTa 
 
 V. 
 
 1595 
 
 fuaiuoi 
 
 V. 
 
 ^-97 
 
 IXiov T 
 
 V. 
 
 1599 
 
 ws r]fi4pq. T^3e 
 
 V. 
 
 i6o8 
 
 d<pLTrTaTO. 
 
 V. 
 
 1610 
 
 dj 
 
 V. 
 
 1621 
 
 oX^ioi yeuoifjLed' dv • 
 
 V. 
 
 1623 
 
 veayevT) 
 
 V. 
 
 1625 
 
 Xpbvid ye rdfxd 
 
 APPENDIX. 133 
 
 Ci -KoX Zr)v6i, w drjpoKTove, Nauck. 
 
 ddpoos ^k.yapAtiv(j}v r' dua^ Weil. 
 
 ifioi 5' iayei t' 01X705 Herm. 
 
 cfa<pu)s yap was tij rjcrdeTO ktvttov, 
 ^ Weil. 
 5' dp' 'upeiL>s, Tras Weil. 
 ^(Vfxiau et dvalau transposuit Mus^. 
 Tr)v5' ante i\a(poi^ posuit Weil. 
 
 yap diTL Herwerdenus 
 /xLavg apogr. Paris. 
 'IXiov irpbs Herm. 
 ijfi^pas ws TTJcroe Matthiae 
 dTreTTTaro. 
 5/? Bremius 
 dX^Li'oi/jLed' dv Herm. 
 eiyevrj Pors. 
 om. 76 Barnesius 
 
INDEX I. 
 
 a^pSrr)?, 1343 
 
 dyaaOat ri tlvos, 28 
 
 d€i/iivri<TTos, 1531 
 
 ad^dcpaTos, 232 
 
 adprjcrov, 14 16 
 
 "A.L5r]S, 461 
 
 aijLiaTdppvros, 15 1 5 
 
 di'aaeiv, 12 
 
 a'C<pvr]s, 1 58 1 
 
 dKTjpaTOS, 1083 
 
 dK\6(XTav, 121 
 
 dXdcrrcop, 878, 946 
 
 d\Xd «/ enitfi, 500 
 
 dXXd — ydp, 511 
 
 dXXd 701/1', go8 
 
 dXX' '^, 847 
 
 dXcros, 185 
 
 dfxadrjs, 999 
 
 djxei^eLV, 144 
 
 di' omitted, 1199 
 
 dvaivofxaL, 1503 
 
 dvelXe with pres. and future, 90 
 
 dvd€(T(f)6pos. 1544 
 
 dvLKerevTWS, 1003 
 
 dvoaos KaKiiv, 982 
 
 dj'WTropos, 1494 
 
 dvTV^, 229 
 
 dirapdfivdos, 620 
 
 direkde, 304 
 
 diry^jxwv, 1575 
 
 diro^X^Treiu, 1378 
 
 dTTOLK-^creiv, 680 
 
 aTToicreTat vdarov, 298 
 
 dTTOKaXeiJ', 1 354 
 
 aVoXajrie?, 792 
 
 diroTTpd, 1286 
 
 dirpocrdoKrjTos, 16 10 
 
 dp577i/, 1589 
 
 'Ap^dovaa, fountains so named, 1 70 
 
 "Apr/s M-vpfMidibv, troops, 237 
 
 ,, Td^ios, 284 
 dpx^i-v, with dat., 337 n. 
 dcnraipeiu, 1587 
 d(T7rt5os ^pv/xa, 189 
 dcrxc-Xdv, 920 
 'Arpeus (dVpecTTOs), 321 
 AvXiSa and Af'Xti', 88 
 ^AcppodiTTj {dcppoavvTJ), 1264 
 'Acppodirrjs irvoal, 69 
 dxpcLVTos, 1574 
 
 ^oKlSs, 222 
 /SdptSes, 297 
 ^ovKoXo^, of Paris, 180 
 ^ov\€adaL){e^\€LV, 338 
 
 7e after Trp^i', 324 
 yevaalaro, 423 
 7^, city, 535 
 yrjyevTjS, 259 
 
 8al(T0fi€v vfievaiovs, 123 
 
 daKpvppoelv, 889 
 
 5^, objecting, 153, 732, 1458 
 
 5^ 76, 21, 334 
 
 Seyoas, periphrastic, 937, 417 
 
INDEX I. 
 
 OD 
 
 
 i 
 
 oe^tat, 58 
 
 SiaLfjLOvos deas, 15 14 
 
 BiaKvaUiv, 2j 
 
 dia iJuixv^ /xoXeTv {tivl), 1392 
 
 SiaxaXai', 134O 
 
 dUaios, loyal, 48 
 
 do\i.6(ppit}v, 1 30 1 
 
 SvcreXevav, 1316 
 
 8u3IJUXT(j}v iKdrj/xos, 419 
 
 e before tX, 1351 
 
 idaofiaL, 331 
 
 {iyyvTjffis), 703 
 
 iy€ip€ = iy€ipov, 624 
 
 lOpe^e, 1569 
 
 et with subj., 1240 
 
 elaeXdeiv riva, ' come into his mind', 
 
 57' 1374 
 iKdovuai, 132, 729, 736 
 
 iK\oyi^o/xai, 14 10 
 €K fjUcrov, 342 
 (KfieTpvcrai., of time, 816 
 e/cTTO^'er;', train, 209 
 iKTrvpJ^cru}v, 1070 
 eXfTTToXts, 1476, 15 1 1 
 eXe0ai'r65eTos, 582 
 6Xi(7(r6ij' (Ttva), 1480 
 6/i^ following p-e, 409 
 ip-irX^Keiv ttXckcis, 936 
 ^v, of person judging, 429 
 iv aoi, penes U, 1273 
 eva.px^(^do.L Kavd, 1471 
 ivapx^<yQo.L x^p^if3es, 955 
 eVSe^ioi^cr^w j3u}pu)v, I473 
 ei* Ka\(2, 1 106 
 i^a\ei<peLU {dicr(paTa), 14S6 
 e|aXXdcrcrov(Ta X'^P'^j 5*^4 
 i^apx^cdaL Kavd, 435 
 i^ofuXeladai, 735 
 i7r€V<pr)fxeiv, 1468 
 
 eTTTjxeo', 1584 
 
 c'xi, of the terms, 29 ; in quest of, 
 
 178 ; with, 541 
 4ti5 popxii, 1597 
 ^iriTTjSes, 476 
 
 e'TTTdTTOpOS, 8 
 
 ip^aaeiv, 139 
 ecTTTj^w, 675 
 eiSpoaos, 1 5 17 
 
 evKapSiojs, 1560 
 eiJ^T/Xos, 579 
 
 €VfJL7)K€I.S TVXai, 595 
 
 ev<pr]/jLa dp6ei, 1 43 
 
 ^X^, with aor. partic, 659 
 
 ^ ist sing. impf. ei>/, 469 
 
 ^ Tap. 3^5 
 rjpLideoi, 173 
 
 7)Tr6pv/J.ai, 537 
 
 ^ai-aToety, 1287 
 ^eXetJ' )( ^ovXe<Tdai, 338 
 deofxax^lv, 1 409 
 depdirvat, 1499 
 drjpOKTbve, 1 5 70 
 
 c before XP> 1366 
 LK(TT]piav, 1216 
 lovcrrjs ttJs tvxV^i 44l 
 i7r7rO;3dras, 1059 
 ladue/xov, 206 
 
 /cci, explanatory, 230 ; following 
 
 interrogatives, 327 
 /cat /i?);', 20 
 Kaivovp^/elv, 2, 838 
 K^at TTuis, 124 
 KaKi^eiv, 1436 
 KUKocppoves, misguided, 391 
 /caXXtKo'/icti' TrXoKafxov, xoSo 
 KaXXLTTapdepos, 1574 
 KapaboK€~LV, 1433 
 KaTaSeSoi/Xorrai, 1269 
 /caraiferj' = 677^51', 695 
 KarairaXaieLv, 1 01 3 
 K^ra TTcDs, 894 
 KaTa(TKa<pai, 1379 
 /carareti'eti', 336 
 KaT7]vdpaKU)6r), i6o2 
 K€Kpayims, 1357 
 K€KT-qu.y)V, 4O4 
 
 K€X'^PV/^^OV, 200 
 
 Kexpvi^'^oi.s, having obtained an 
 
 oracular reply, 89 
 KXrjdpa, women's apartments, 149 
 /cXi)oi'(ra, with perf. force, 301 
 Ki/iffti/, provoke, 330 
 Kopvfi^a, 258 
 
136 
 
 INDEX L 
 
 Kpdros, victory, 472 
 KpoKoXai, 211 
 Ki'/cXwTrwj' Ov/JLeXas, 152 
 
 KJjpiOS, 703 . 
 
 "Xa/xiradovxos, 1505 
 
 XeXoyLcr/x^voiy 922 
 
 XeXoyLcr /ji^v(jos, 102 1 
 
 X^Xos, bride, 103, 389 
 
 Xi^eti' {diacpara), neglect, 1268 
 
 XWTOS, 438, 1036 
 
 fxaKpav rebeLv, of a journey, 420 
 
 fiaKpos, over long, 313 
 
 [xaXiaTa and KoXXicrTa confused, 
 
 364 
 fjLaPTccrvvot dvayKai, 'joi 
 
 fxe followed by e/x^, 409 
 
 fjL€v, no Be following, 392, 859; 
 
 answered by re, 73 
 
 fieTa, Euripides' use of, 526 
 
 /xera^oXds dbvp/naTCJU, iioi 
 
 firi, generic, 384 
 
 /jLT) ov, with inf., 42 
 
 fiLULcpove'iv, 1364 
 
 fivdoL, fables, 799 
 
 /xvpLOTrXridrjs, 571 
 
 /jnhvvxos, 250 
 
 vav(ppaKT0S, 1259 
 veodaXrjS, 188 
 vi(p6j3o\os, 1284 
 vvix^evuv, 458, 461 
 yOj', just now, 332 
 
 ^ui'txopos, «;r(?r, 50 
 IwapTTafetJ', 531, 535 
 
 d before 0p, 391 
 
 o5e, with infinitive, 1478 
 
 ota"^' 8 dpacrov, 725 
 
 oVoMCi )( ^PTOi', 128, II 15 
 
 ottXoiv dVa/cres, 1260 
 
 OTTOJS ai/, in final sentences, 539 
 
 opeidpoixos, 1593 
 
 6pi'ts, omen, 607 
 
 opofx^va [opwixi), 186 
 
 ov /XT], with subj., J 465, 1504 
 
 ov irov, 670 
 
 Trayevras, of oaths, 395 
 TrapajULei\l/a<xdai, 146 
 irapacp^peLv, intrude, 981 
 Treidd), means of persuasion, 104 
 irepL^aXXeLv, use of by Eur., 934 
 Trepi^oXo's, 1477 
 iriaaoL, 196 
 TrevKT}, tablet, 39 
 ■7rAa7ia (ppovelv, 332 
 irXiov Trpdaaeii', 1373 
 ttolklXos, of persons, 526 
 ttoXtup-oxOos, 1330 
 wopd/j-eijeiv, intransit. , 6 
 TTous, periphrastic, 627 
 wpaaaeiv fxeyaXa, 346 
 Trpoaapfxo^eLV, 296 
 Trpoa^XKvcrai, 1452 
 TrpoaTaTTjs, 449 
 Trpos raura, 1559 
 Trpocr cup t eras, 1151 
 TTporeXeta, 718 
 irpoTeXl^eLV, 433 
 irpotpacTLP, 362 
 
 7rp6 xf/3<2"' (in your hands), 36 
 irpoxvrai, 955, 11 12, I472 
 TTTepvy Ei)/3otas, 120 
 TTws, ironical, 65 
 TTws 5o/ceis ; 1590 
 
 C€ipo<p6po$, 223 
 
 ae/JLvd ae/xvuveraL, 996 
 
 ce/xvoTrjs, 1344 
 
 (rt7at dve/xwp, 10 
 
 (TKvXa, 1629 
 
 co<pL^o/xai., 744 
 
 (To^icr/xaTa, 444 
 
 cocpos, in bad sense, 333 
 
 crecpavos, metaphorical, 194 
 
 CTecpavihdrjs, 1058 
 
 (TvyKXrjTOS, 301 
 
 ai^t-eSpos, in council, 192 
 
 cvveTraeiSeiv, 1492 
 
 (7i'«'tcrx''a''er, 694 
 
 ci/j'i'oo'eiJ', 407 
 
 (XVVPVfXCpOKOfXOS, 48 
 
 cvv(rio<ppovelv, 407 
 
 (Tui'roj'a, in harmony with, 118 
 
 crL'pt77es, 230 
 
 a^^eiv (and crw^et;'), 1350 n. 
 
INDEX I. 
 
 m 
 
 rayds, 269 
 
 rdiri rolaSe, 435 
 
 TO. irpCJT (jjX^Kjfx^voi, 51 
 
 To-xo., with kit. in threats, 311 
 
 re answered by 5^, 585 ; explana- 
 tory, 345 ; irregularly placed, 203 
 
 T£ — re, where English requires 
 disjunctive particles, 56 
 
 Tid^vai KaXQs, 401 
 
 Tideodai. ev, 672 
 
 TO TTolov ; 517 
 
 t6 aov, 396 
 
 Tore, deteiTiiined by context, 46 
 
 rb TT)% Tvxv^) 1404 
 
 Toiifjjov, 482 
 
 {laKivdwos, 1298 
 
 Vfji€paio$, 123, 430, 437, 624, 1036 
 
 ifired-qKas, suggest, 507 
 
 vireXdeip, 67, 444 
 
 virepKa/xveTt', 918 
 
 VTr6po(pos, I 204 
 
 v\p7]\G<ppu}v, 919 
 
 0aos a/JLireTaaaL, 34 
 0au\a>s (pipeiv, 897 
 4>ipeLv, carry away, 69 
 
 ^fP"^, 47 
 (pL\o\pvx^~LV, 1385 
 
 <poi^a5a /JLovaav, 1064 
 
 (poiuiaaeiv irapyda, 187 
 
 (pvXaKai, 15 
 
 <pv<T-^fji.aTa, 1 1 14 
 
 Xo.\K€fji.^o\as, 1319 
 Xpv<^dat. (experience), 88, 546 
 Xpi'creocrdySaXos, 1042 
 Xpi/CTT^Xaros, 1565 
 Xpv<xo5ai8a\Tos, 219 
 
 (jj5iv€iy, 1234 
 
 tiSts, 1235 
 
 ws, elliptic constr. with, 1367; 
 
 causal, 420 
 wcrre. in stichomuthia, 326 ; w^here 
 
 simple infin. could stand, 918 
 
 
INDEX II. 
 
 abstract for concrete, 15 
 
 accus. cognate, 157, 791; after Se?, 
 1 1 30; after ddaaeiv &c., 141; 
 in apposition to sentence, 234, 
 832,1114; of specification, 359; 
 following adjective, i'255; fol- 
 lowing verb and its accus., 1468 ; 
 followed irreg. by dat., 492 
 
 adjective, agreeing with compound 
 phrase, 233; proleptic, 572 
 
 anapaests, spondaic, 115 ff . ; cf. 
 123 
 
 aorist, gnomic, 25 ; infin. after 
 olAtai, 462; after /xeWeiv, 873; 
 of moment just past, 136 
 
 assimilation, 607 
 
 attraction, Euripides' use of, 383 
 
 betrothal, ceremony of, 703 
 brachylogy, 262 
 
 chariot and horses of the Sun, 
 
 159 
 chorus, remarks upon, 1253 
 
 construction, changed as the sen- 
 tence proceeds, 261 ; confusion 
 of two, 1436; eUiptic with wj, 
 1367 
 
 Cyclopean architecture, 152 
 
 dative, of accompaniment, 146 cf. 
 239; of agent with pres. partic. 
 
 passive, 218; irreg. following 
 accus., 492; locatival, 39; of 
 person judging, 597 
 
 divinities, habitation of, 91 
 
 double question, 356 
 
 driving, in the chariot race, 223 
 
 Ennius (quoted), 7, 447, 815 
 eristic rhetoric, 333 
 euphemism, 309, 519, 649, 1507 
 
 florid taste of the orientals in 
 
 dress, 74 
 future, combined with delib. subj., 
 
 442, 455; mid. as pass., 331; 
 
 with Taxa in threats, 311 
 
 genitive, attributive, 78 ; causal, 
 327, 370, 1277; of connexion, 
 302; objective, 842; partitive, 
 20, 340; after 7rei^e<T^at, 726 
 
 gnomic aorist, 25 
 
 Greek view of aucppoavvi], 543 
 
 hendiadys, 53 
 
 historic present, 47, 245 
 
 imperative, 2nd sing, following 
 
 Tras Ttj, 1598 
 imperf., of fact just realized, 404 
 infin., without article, 490; epexe- 
 
 getical, 275, 318 
 
INDEX II. 
 
 139 
 
 Ionic forms, 12, 423, 789 
 
 line divided between two charac- 
 ters, 414 
 
 metaphors, from nautical affairs, 
 139; from dice-playing, 1343; 
 from music, iioi; from wrest- 
 ling, 1013 
 
 mute and liquid, quantity of vowel 
 before, 636 
 
 optative, with av following indie, in 
 protasis, 486 ; with 6.v of settled 
 resolve, 310 
 
 participle, with a.v equiv, to an 
 apodosis, 96 ; with ^x■r] equiv. to 
 a protasis, 355 ; accus. where 
 dat. might have been expected, 
 i^ld', aor. with ^xw, 659; neut. 
 with art. for abstract subs., 33, 
 386, 1270; omitted with tv^- 
 Xdvw, 730; supplementary, 363 
 
 play upon w^ords, 321 
 
 pluperf. without syll. augm., 404 
 
 plural, generalising, 304, 309; 
 poet, use of, 10 
 
 Porson's canon, exception to, 530 
 present, historic, 47, 245; imply- 
 ing certainty, 1028, 1267 
 prodelision, 307, 639 
 
 Racine's Iphighiie (quoted), 126, 
 677, 900, 955, 1220 
 
 relative attraction, 383; condi- 
 tional, 523 
 
 rivers, the bull as a type of, 275 
 
 schema Alcmanictim, 196 
 
 sing, and plur., interchange of, 
 834, 929, 967, 1368 
 
 Sophokles, echoes of, 407 
 
 subj. with e^, 1240; dclib., com- 
 bined with future, 442, 455 
 
 synizesis, 615 
 
 tmesis, 11, 40 
 
 torch, carried by mother of the 
 
 bride, 732 
 tragic irony, 640, 677 
 
 winged chariot of deities, 250 
 women, Greek views concerning, 
 
 57r, 678 
 writing materials, 39 
 
INDEX III. 
 
 Adrastus, 268 
 
 Aegina, 697 
 
 Aias, 192; son of Telamon, 2(5. 
 
 Ainianes, 277 
 
 Alpheus, 276 
 
 Arethusa, 170 
 
 Asopus, 697 
 
 Chiron, 208 
 
 Diomedes, 199 
 Dioskuri, 769 
 
 Echinades, 285 
 Epeioi, 281 
 Eumelus, 217 
 Eurotas, 179 
 Eurytus, 282 
 
 Ganymede, 1053 
 Gouneus, 278 
 
 Hermes, 1302 
 Hermione, 1201 
 
 Ida, 1284 
 Inachidae, io83 
 
 Kadmus, 256 
 Kapaneus, 246 
 Kassandra, 757 
 
 Laertes, 204 
 
 Leda (Thestias), 49 
 Leitus, 259 
 
 Meges, 284 
 Mekisteus, 244 
 Meriones, 201 
 
 Nestor, 273 
 Nireus, 204 
 
 Oenone, 699 
 
 Olympus (the musician), 577 
 
 Orpheus, 121 1 
 
 Palamedes, 198 
 Pelion, 705 
 Perseus, 1500 
 Phoebe, 50 
 Phyleus, 285 
 Pleiades, 8 
 Protesilaus, 195 
 
 Salamis, 194 
 Simois, 751 
 
 Sirius, 7 
 Sisyphus. 524 
 Sthenelus, 247 
 
 Talaus, 245 
 
 Talthybius, 1563 
 
 Tantalus (son of Thyestes), 11 50 
 
 Taphioi, 284 
 
 Thronium, 264 
 
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