' Hi^SB^ nil ι A / Classical Series THE ELEKTRA OF SOPHOKLES αοΦοκΛΕοτα ήλεκτρα THE ELEKTEA OF SOPHOKLES WITH IXTRODUCTIOX, XOTES, ΑΧΌ APPEXDICES BY M. A. BAYEIELD, M.A. LATE HEADMASTER OF EASTBOURNE COLLEGE ILonton MACMILLAN AND CO., Limited V NEW YORK : THE MACMILLAN COMPANY 1901 All ricjhts reserved PEEFACE In preparing this edition of the EleJdra I have consulted, and am in varying degrees indebted to, those of Wunder, Wecklein, Jahn-Michaehs, and Campbell ; but as will, I suppose, be the case with all future editors of Sophokles, my chief debt is due to Prof. Jebb's incomparable editions of the poet's works. Even where I have ventured to offe-r interpretations differing both from his and those of others, it has been in the exercise of a judgment which he has done much to form. Kaibel's interesting edition of the play came into my hands only after this book had gone to press. It was, however, a satisfaction to be able to note that his inter- pretations of vv. 86 f. and 610 f. were in agreement with those that had been given of these lines. The explanation of the vexed pass- age 1085 ff. is that which (right or wrong) I vi ELEKTRA have given to pupils for many years, — whence. derived, I cannot say ; but so far as is known to me, Kaibel's is the only edition in which it is to be found. In the arrangement of the lyrics the schemes of J. H. H. Schmidt {JDu antike Compositions- lehre) have been followed. M. A. B. Cambridge, A2ml 1901. CONTENTS PAGE xi XV . xxvi . xxvii xxviii Inteoductiox — The story Analysis of the Play Date of the Play Structure of the Play Description of the Plates . Text 1 XoTES 57 Appendices— I. On some Particles ...... 139 II. On some Epic Idioms found in Tragedy . . 142 III. Metrical Analysis of the Lyric portions of the Play 146 Index I. — English ....... 159 Index II.— Greek 161 ILLUSTRATIONS Plate I. Okestes consults the Okacle at Delphi Frontispiece Plate II. The Slaying of Aigistho.s . To face ixuje 1 Plate III. The Slaying of Aigistho.s . To face page b1 INTRODUCTION The Story ΛΥηεν Agamemnon had gathered his great armada at Aulis, and was about to sail for Troy, he was detained by a calm, Avhich prevailed for many days. Upon being consulted as to the meaning and cause of this unlooked-for manifestation of the divine pleasure, Kalchas the seer declared that the absence of a favourable wind was due to the Avrath of Artemis. Agamemnon, he said, Λvhile waiting at Aulis for the assembling of the host, had incurred the heavy displeasure of the goddess by killing a stag in her sacred demesne (cp. vv. 566 ff.); and before she Avould grant him a prosperous voyage he must slay one of his own virgin daughters in compensation for the life of the beast (oNTicTaejuoN του eHpoc, 571). Agamemnon thereupon sent messengers to Mykenai, Avho brought back his daughter Iphigeneia, and he sacrificed her at Aulis to the offended goddess. Artemis ηοΛν permitted favourable winds to blow, and the fleet sailed. The siege of Troy lasted ten years. During the king's long absence his wiie, Klytaimnestra, listened to the love-making of her husband's first cousin, xii ELEKTRA Aigisthos, son of Tbyestes ; and the two plotted to murder Agamemnon upon his return. The crime Avas committed on the very day that he reached his home;^ and the fatal blow Λνα8 struck by Klytaimnestra herself, Aigisthos assisting. As the king sat at meat in his own hall (according to the version of the story followed by Sophokles), she clove his skull with an axe. The Odyssey also (11. 408 fi') makes the uέΓαpoN the scene of the crime ; but the actual murderer is Aigisthos : — οϋτε ju' ONapcioi awdpec έδΗλΗοαΝτ' επί χερςου, άλλα λίοι AYriceoc reuzac θάΝατοΝ τε JuopoN τε έκτα CUN ούλοΑλέΝΗ όλόχω, οΤκοΝδε καλέεεαε, δειπΝίεοαε, ώο τίε τε κατέκτακε βουΝ έπί φάτΝΗ. According to Aischylos, Klytaimnestra murdered Agamemnon in a l^ath, after flinging over him a large robe {Ag. 1382 fF., where she herself describes the deed) : — απειροΝ άJUφίβλHcτpoN, οόεπερ ίχθύοοΝ, περιετιχίζω, πλοΰτοΝ εΥϋαατοε κακοΝ. παίο) de νιν die κάΝ BuoTn oiucbrjuaci χιεθΗκεΝ αύτοΟ κώλα • και πεπτοοκότι τρίτΗΝ έπεΝΒίδω^ι, του κατά χθθΝΟε "Αιδου ΝεκρώΝ cwTfipoc εύκταίαΝ χάρίΝ. At the time of his death Agamemnon had living (as appears from vv. 157 fF. of our play) three daughters, Elektra,^ Chrysothemis, and Iphianassa, ^ According to Piiul. P. ii. 32 θάνβν . . 'Arpei'Sas | ϊκων χρόνφ kXvtols έν Άμύκ\αΐ5. And so Stesichoros. "According to 0. Miiller, Amyklai was the old capital of the Pelopidai, and the same city that Homer calls Lakedairaon " (Gildersleeve). Homer and the tragedians make Mykenai the place of the murder. Orestes became king of Lakedaimon : hence Αάκωνο$ Ό ρέστα. Find. P. ii. 16. '•^ Homer knows nothing of Elektra ; in 11. 9. 145 the daughter? are Χρνσ6θ€μί$ καΐ Ααοδίκη καΐ Ίφιάυασσα. According to Aelian (circ. A.D. 130), a lyric poet Xanthos, who preceded Stesichoros INTRODUCTION xiii and a son, Orestes, who must have l^een more than ten years old. Since the boy's life was no doubt in immediate danger (for usurpation of the throne formed part of Aigisthos' project), Elektra ^ at once and secretly dispatched him, under the care of a trusted servant,^ to the court of Strophios, king of Krisa, near Delphi, who \vas a faithful friend of the dead king. The sisters remain at Mykenai. As Sophokles tells the story, Chrysothemis and Iphi- anassa, though their better nature rebels, accept the situation, and live happily enough in the favour of their mother and Aigisthos. Elektra's character is w^hoUy different. Such a compromise is to her un- intelligible. A deep and ineffaceable love for her murdered father makes it impossible for her to live amicably with the guilty pair, whom she loads with reproaches ; and a no less strong sense of the demands of justice has centred every hope of her lonely life on the dream of vengeance. Isolated in her clevotion to the dead, and her sorrow-burdened heart daily wounded by the insolent joy of triumphant wickedness, she has nothing left to live for but the coming of Orestes, who will exact from the faithless wife and her coivardly companion the full penalty of blood for blood. For seven joyless years this one hope braces her to endure both the horrors of the stated that the Argives changed Laodike's name to Elektra because she remained unmarried {dXeKrpos). This is, of course, absurd. The word means ' shining ' (cp. ηλέκτωρ). But the statement points to a Doric origin for the name (Άλέκτρα), and consequently for the important part in the story Λvhich Elektra assumes in the 5th century (see on v. 10). Xanthos may have been right in identify- ing Elektra with Laodike. ^ Elektra was some years older than Orestes. - Agamemnon's herald, Talthylnos, in the older versions of the story ; the Paidagogos of our play. xiv ELEKTRA household of Avhich she has no choice hut to form a part, and also an accumulation of contumelies and outrages under which a less heroic nature must have been crushed. Her out -spoken reproaches, deliA^ered with no effort at self-control and without disguise of the loathing and contempt which embitter her heart, have provoked retaliation. She has been made practically a prisoner in the palace, and though a king's daughter, is compelled to perform the offices of a menial. In respect of lodging, food, and clothing, her lot is indistinguishable from that of a slave indeed. Aigisthos treats her with the brutality of the hourreau that he is, and her mother's violence has proceeded even to blows. Our play (which justly bears Elektra's name, since the sorrows of Elektra are its real subject) opens with the dawning of the day which, though for one dark hour it plunges her into the very abyss of despair, is to crown her constancy with its long looked-for reward.^ If we would derive the fullest enjoyment possible from this fine drama, we must feel complete sym- pathy with Elektra. It has been objected by some that she is hard and unamiable. But it should be , remembered that we have not here the normal Elektra, but Elektra embittered and unhinged by years of unshared sorrow and cruel treatment, and exasperated by continual conflict. Under the stress of her overwhelming sufferings she has well-nigh lost her reason. For such an one we have no severe ^ We may suppose Elektra to have been about twenty- five years of age at the time of the action of the play. INTRODUOTION xv word ; we are moved to pity. We can βλ^βιι forgive her the fierce cry, naTcoN, el ceeweic, διπλΗΝ (1415). That the true Elektra was gentle, tender-hearted, loving, and loveable, appears sufficiently from the play. Her seeming hardness is due to the very streno-th of her affections. Analysis of the Play 1-120. Prologos. — The scene is laid before the royal palace at Mykenai. Orestes enters, accompanied by his friend Pylades, the son of Strophios, and the Paidagogos. The latter is the faithful servant into whose hands Elektra had given the boy Orestes on the day of Agamemnon's murder. The old man points out to Orestes the chief features of the scene, and then urges him to arrange his plan of action with Pylades at once, for there is no time for delay. Orestes sets forth his plan, which is as follows. The Paidagogos is to go to the palace pretending that he bears a certain message from the Phokian prince Phanoteus, Λνΐιο is a friend of Aigisthos and Klytaimnestra. The message is that Orestes has been killed in a chariot-race at the Pythian games in the plain of Krisa. After a space Orestes and Pylades will present themselves, declaring that they are Phokians sent by Strophios, and bearing an urn supposed to contain the ashes of the dead Orestes, which they are bringing home for burial. A woman's voice in lamentation is now heard from within the palace. Orestes wonders whether it may be Elektra's, and would wait and listen. The old man, however, will hear of no delay. He bids the other two proceed at once to make offerings at Agamemnon's tomb (which is in the neighbourhood), in order to secure success in their enterprise. All three then leave the scene. xvi ELEKTRA At V. 86 Elektra comes out of the palace and delivers a epHNoc άπο ckhnhc. ' Ο pure sun -light and free- blowing air, how often, when the dark night has passed, have ye listened to my lamentations. In what misery I spend my nights, my couch knows ; — how I ever mourn ray ill-fated father, killed, not by the foeman in a foreign land, but by my mother and her paramour, who felled him with an axe as wood-cutters fell an oak. And no syllable of sorrow for his piteous end breaks from any lips save mine. But I will never cease my plaints. So long as I look on the tingling stars by night or the light of day, like the nightingale that bemoans her lost darling, here, before the palace doors, will I cry aloud for all to hear. all ye powers of the underworld, whose office it is to punish the murderer and the adulterer, come and avenge my father's slaying ; and send to me my brother, for the burden of my grief is heavier than I can bear alone ! ' 121-250. Parodos. — The Chorus, consisting of Myke- nean women who symphathise with Elektra, now enter. They sing alternately with Elektra, so that the Parodos takes the form of a kojujuoc (see p. xxvii.). Cho. Wilt thou never cease to mourn for thy cruelly murdered sire ? My curse upon the murderer ! ΈΙ. I thank you for your sympathy ; but I can never hold my peace. Pray, leave me to my ravings. Cho. Thou canst not bring back the dead, and thou art killing thvself for naught. EL 'Ύ is fools forget their dead. My heart approves the bird that ever bewails the lost Itys, and Niobe, whose grief turned her into stone. Cho. Thou art not the only sufferer. Think of thy sisters and Orestes. El. My tearful days are spent in waiting for his return. But he forgets ; he promises to come, but he comes not. Cho. Have couracje. Zeus doth not forget ; thou must IXTRODUCTION xvii bide his time. And thy brother forgets not ; nor the god that reigns bv Acheron. El. Despair kills me. 1 pine away, lonely and friend- less : and they treat m 2 like a slave. Cho. Piteous was Kassandra's cry, and piteous thy father's at his slaying. 'T was the work of Guile and Lust, whether god or man contrived it. El. day of all most hateful ! night and banquet horrible ! Those murdering hands took mv life too. May the curse of heaven be on them ! Cho. Hush ; thou dost but make fresh misery for thyself. 'T is ill warring with the strong. El. There is the cause, the horrible cause. I know my unforgiving spirit ; but I will not hold my peace until I die. Would any whose heart is right approve my silence ? Nay, leave me to my laments, for my sorrows are past all healing. Cho. Nay, I spoke in kindness. I would not have thee breed trouble upon trouble. El. Is it good to neglect the dead ? If any say that, I would not have their praise. I will never clip my sorrow's wings. For if he is to lie in his grave mere dust and nothingness, and they are not to pay the price for this, good-bye to reverence for god or man. 251-471. First Episode. — The Chorus repeat that they spoke but for Elektra's good, and add that they \vill follow her guidance. Elektra then asks their indulgence ; for the state of things in the house is more than any true-hearted daughter could endure. Her mother is her bitter foe ; she must live with her father's murderers, and submit to their domination. She must see Aigisthos sitting in her father's place, arrayed in her father's robes, and living with her father's wife, who triumphs in her own infamy. She herself may not even weep for all this, save in secret, lest the sight of her grief call forth abuse and cursing from her mother. At times Klytaimnestra hears a rumour of Orestes' return, and then reviles her h xviii ELEKTRA for Laving saved her brotlier's life. In all this the coward Aigisthos bears his part ; and still Orestes does not return to punish and revenge. The Chorus, after being assured that Aigisthos is away from the palace, ask what news Elektra has of Orestes. Elektra replies that he is ever promising to come, but still delays. They bid her still hope. Chrysothemis now enters, bearing funeral offerings in her hands. She expresses surprise to find Elektra again publishing her griefs abroad and unable to learn wisdom by experience. She admits that she herself is distressed by the state of things at home, and that Elektra has right on her side ; but adds that if a silent tongue is the price of freedom, she prefers to pay that price. Elektra retorts that it is strange Chrysothemis should forget her father and heed her mother. She bids her openly choose one side or the other, and abandon a behaviour that is as cowardly as it is wrong. She herself would gain nothing by submission, and at least she honours the dead. Chrj^sothemis may keep her luxuries ; her own sole stay shall be that she does not yield. ' Do thou be known as thy mother's daughter ; it will give thee an evil name abroad.' The Chorus advise concession on both sides. Chryso- themis declares that she is accustomed to Elektra's moods, and would not have addressed her at all, had she not some terrible news to communicate. If Elektra will not mend her ways, Aigisthos and Klytaimnestra are about to deliver her to a living death, by imprisonment in a sunless dungeon at a distance from the palace. Elektra hails departure from such a household as a relief. ' Then I will go upon my errand,' replies Chrysothemis. Upon inquiry as to the nature of this errand, it appears that the offerings are for Agamemnon's tomb, sent by Klytaimnestra, who has been alarmed by a dream con- cerning him. Chrysothemis does not know all the cir- cumstances, but she knows thus much : — Klytaimnestra INTRODUCTION xix lias dreamed that Agamenmoii came from his grave and visited her again. He planted his sceptre in the ground by the hearth, and from it sprang a tree which over- shadowed all the land of Argos. Upon hearing this dream, Elektra is filled with fresh and confident hope, and her manner toAvards Chrysothemis becomes at once gentle and affectionate. She implores her to fling away or hide offerings Avhich, coming from Klytuimnestra, can only be a shocking insult to the dead. ' Take, rather, a tress of thy hair and mine, and this my poor girdle, and offer them ; and fall down and pray that our father will come and help us, and that Orestes may return to achieve his vengeance. Thus, sister, Avilt thou serve thyself and me, and the dear father of us both ! ' Chrysothemis is touched, and yields. She at once departs upon her mission, only begging the Chorus to say nothing of what they have heard. Elektra still remains upon the scene. 472-515. First Stasimon. — ' If my heart is a true seer, Justice will come to work vengeance, and that soon, my child. Agamemnon doth not forget ; the axe that struck him doth not forget. The Fury, in stealthy might and Avith many hands to help, will punish the guilty lovers. Surely this dream will be fulfilled, or visions and divinations are naught. Ah, chariot-race of Pelops of long ago, the curse sprung of thee has never ceased to brood upon the land. For since Myrtilos was flung into the sea, trouble and violence have never departed from this house ! ' 516-1057. Second Einsode. 1. {First Scene, 517-659.) — Klytaimnestra enters from the palace to make offerings and a prayer to Apollo, whose statue stands before the house. She is annoyed to find Elektra out of doors, and her greeting recalls that of Chrysothemis: — 'Again, it seems, thou art ranging abroad, because Aigisthos is not here to restrain thee from public discrediting of thine own house.' Elektra's XX ELEKTRA perpetual reproaches, she declares, are unfair ; the killing of Agamemnon was a simple act of justice, — a deserved retribution for the sacrifice of her daughter Iphigeneia. Why could not one of Menelaos' children have been offered, seeing that Helen Λvas the prime cause of the great enterprise ? ' No, it was the act of an unfeeling and heartless father, and I glory in what we did.' Elektra replies, ' To-day, at least, it is not I who have begun the quarrel. May I speak in my father's defence % ' Klytaimnestra gives permission, and Elektra proceeds. ' Thou confessest to murdering my father : could any admission be more shameful 1 And the motive was not justice, but passion for Aigisthos. The sacrifice at Aulis was made unwillingly and under dire compulsion. My father chanced to start a stag in the demesne of Artemis ; uttering some boastful expression he shot an arrow, and killed the animal. The goddess was angered, and demanded in compensation from my father his daughter's life. He had no choice but to comply. Thou hadst no right to murder him for this ; or, if thou iiadst, thy j^lea recoils upon thyself. Thou, in thy turn, owest blood for blood. Bat the plea is false ; else why dost thou live with thy fellow-murderer, and become the mother of his children, driving out thy lawful offspring ? My life is one of misery ; Orestes is an exile. Thou hast often accused me that I am rearing him to avenge thy crime ; that is my wish. Proclaim me, then, if thou wilt, as disloyal and petulant and shameless ; for if I am all this, I am indeed my mother's daughter.' The Chorus remark that Elektra has lost her temper, and that Klytaimnestra is unjust to her. Klytaim- nestra asks what consideration Elektra deserves. The scene proceeds with mutual recriminations, until at last Klytaimnestra asks whether Elektra will not be silent and allow her mother to offer her prayer to Apollo in peace. Elektra replies that she ΛνΙΙΙ not utter another word. The queen then, in vague terms, prays Apollo to INTRODUCTION xxi avert from her any evil issue of her dream, and that the course of her present happiness and prosperity may con- tinue. 2. {Second Scene, 660-803.) — The Paidagogos now enters. He represents himself as an envoy from Phanoteus, who has sent him with Λvhat he supposes will be welcome news, viz. that Orestes has been killed in a chariot- race at the Pythian games. Others, lie says, foUoAV him, bringing the young man's ashes home for interment. The queen hears the message with a joy that is only for one instant clouded by a pang of natural grief. She at once recovers herself, and openly expresses satisfaction that at last she is secure from the vengeance threatened by this unnatural son, and that 'this girl's threats' will trouble her no more. (There is no situation in the play more affecting and more truly tragic than this, when Elektra's hopes, which have just been raised to the highest pitch by the hearing of Klytaimnestra's dream, are, with a cruel suddenness, dashed to the ground and, as she believes, slain once for all. For the fate of Aigisthos \ve have no compassion, and little for Klytaimnestra's, while we are spared the horror of witnessing the actual deed of matricide ; but in the tragedy of Elektra's soul, as this sharjD sword pierces her to the heart, there is that which might move to tears.) Elektra utters a cry of anguish, and calls upon Nemesis to punish her mother's words. After some cruel taunting, Klytaimnestra withdraws with the messenger into the palace. 3. {Third Scene, 804-870.) — Elektra bids the Chorus mark her mother's exultation, and then gives utterance to the despair that now fills her heart. ' Orestes, my dearest, thy death is death to me ; for thou hast plucked from me my last hope. Whither can I go ? ]\Iy father is gone, and thou art gone, and I am left alone. Once more must I be the menial of my father's murderers. Nay, I will live with them no more ; I will lay me down xxii ELEKTRA here at their gates, and if it mislikes them, let them kill me. Death would be a grace, for I have no wish to live.' With these words she sinks to the ground. In the Kouuoc which follows (823-870), the Chorus endeavour to comfort Elektra, but she tells them they do but trample on her grief. ' Did not Amphiaraos perish,' they urge, ' through the treachery of a faithless wife ? ' ' Yea,' replies Elektra, ' but his son lived to avenge him, and Orestes has perished.' 'All men must die,' 'Yei^, but do they die, entangled in reins that drag them, amid racing horse-hoofs, and that in a foreign land, far from the tears and last offices of a sister's love '] ' 4. {Fourth Scene, 871-105 7.) — Chrysothemis enters with a hurried step, and radiant with delight. On Agamemnon's grave she had found flowers, fresh-poured offerings of milk, and a lock of hair ; she is convinced that they were placed there by the hand of Orestes, and that he has at last returned. Elektra tells her the sad truth : Orestes is dead, and those offerings must be memorials of him, set there by the hand of some mourning friend. A bold resolve, half-formed in days gone by, but now matured in Elektra's desperate heart, is then dis- closed. If Chrysothemis will assist, they will together kill Aigisthos with their own hands. She appeals affectionately to her sister to help in the praiseworthy deed ; it will bring them honour and renown, while it is their only means of escape from the murderers' oppression. Chrysothemis regards the project as a fresh proof that her sister has lost her reason. They would only perish in the attempt, or be condemned to a life-long imprison- ment worse than death. She implores Elektra to abandon her frantic purj^ose, but in" vain ; Elektra declares that, since it must be so, she will do the deed unaided. After a discussion marked by bitterness on both sides, Chrysothemis, with a last word of Avarning, enters the house. INTRODUCTION xxiii 1058-1097. Second Stasimon. ' The birds of the air forget not those to whom they owe their life and nurturing ; why do we mortals forget ? But Λve go not long unpunished. Ο voice that piercest to the dead, cry out to Agamemnon the piteous dishonours of his house. ' All is amiss in the home, and the two sisters are at stril'e. Elektra braves the storm alone, ready to perisli, noble maid, if she might but slay her house's double curse. ' The noble-born have noble hearts, and scorn dishonour. And such art thou my child, who, choosing sorrow lor thy portion, so usest misery as to win for thyself twofold praise, as wise, and the noblest of daughters. ' May I yet see thee triumphant o'er thy foes ; for out of suffering thou hast reajoed glory by thy pious heart. ' 1098-1383. Third Episode. 1. {Tlie Recocjnition, 1 098-1 287.) — Orestes and Pylades enter, followed by attendants, one of whom carries an urn covered by a veil. Orestes inquires for the house of Aigisthos, and asks whether one of those before him will announce tbe arrival of his company. The Chorus point to Elektra as the most fitting person to do this. Orestes begs her to announce the arrival of strangers from Phokis. ' Ah,' she cries, ' ye bring the proofs of what we heard ! ' Orestes replies ' We bring in an urn the ashes of Orestes.' Elektra asks that the urn may be given to her, and Orestes bids the attendants to comply ; adding, 'no doubt she is a friend or relative.' Elektra then breaks out into bitter lamentation over her lost brother. She wishes she had died before she sent him forth in his radiant boyhood, only to receive him back like this. If he had died with his father, at least she would have been near, and her hands would have prepared his body for the pyre. She recalls her early care for him, and the closeness of their affection ; he was always her darling rather than his mother's, and for him ' sister ' alwavs meant Elektra. xxiv ELEKTRA And now a single day has killed all tlie bright promise of his boyiiood, — has killed the hope that he would one day avenge his sire. She concludes with a passionate outburst of great beauty and most touching pathos. Ό my dearest, thou hast slain me! Thou hast slain me, my brother ! Therefore receive me then into this thy house ; take unto thy nothingness the nothing that I am, that henceforth I may dwell with thee in the world below. For indeed when thou wast on earth we shared alike ; and now I long to die and share thy tomb.' Orestes can no longer restrain himself. He asks if it is possible that she is the princess Elektra ; and when she assents, surprises her by an expression of his sorrow for her trouble. The dialogue which follows, and which leads up, step by step, to the recognition, is constructed with rare skill, and is work of exceptional artistic beauty. Orestes asks many questions concerning his sister's condition and sufferings, until at last she is led to exclaim, ' Thou art the first that ever pitied me.' ' I am the only one,' he replies, ' whom thy sorrows grieved even ere I came.' These words startle her into asking whether he is some kinsman. He asks if the Chorus may be trusted ; if so, he will answer. Assured of their loyalty, he requests Elektra to give him back the urn. She will not ; but he insists, and at last gently takes it from her. She cries, ' Oh, Λvoe is me for thee, Orestes, if I am not to give thee burial ! ' To her amazement, he tells her that these are not fitting words for her to utter ; and at last, in answer to further questions, declares that the urn does not contain Orestes' ashes. ' Where is his tomb ? ' she asks. * He has none. The living have no tomb.' ' What sayest thou, boy ? ' ' Nothing but what is true.' ' What, the man lives V 'If I have life in me.' Doubt is no longer possible, and Elektra folds her brother in her arms in a transport of the wildest joy. 2. (A ueXoc άπ6 ckhnhc, 1232-1287.) — Elektra gives expression to her enraptured delight with an extravagance INTRODUCTION xxv which her brother endeavours to control, lest she be overheard. 3. {Last Preparations for the Vengeance, 1288-1383.) — Orestes forl)ids all talk irrelevant to their great purpose, and warns Elektra that she must be careful lest Klytaimnestra read her secret in her radiant face. She promises obedience, and adds that, for very joy, she must present a tearful face before her mother. The Paidagogos now comes out of the house, and sharply rebukes their reckless behaviour. He bids Orestes and Pylades enter the house at once, assuring them that all within is well. The old man is made known to Elektra, who recognises and welcomes with delight the faithful servant Avhose loyalty has preserved their house. Orestes and Pylades, with the Paidogogos, now enter the palace for the slaying of Klytaimnestra. Elektra, after a brief prayer to Apollo Lykeios, follows them. 1384-1397. Third Stasimon. — 'Behold, Ares moves stealthily forward to vengeance. The Fury-hounds have 2:>assed within the doors. Not long will the vision of my soul remain unfulfilled. ' The champion of the underworld enters his father's house, bearing death in his hands. The son of Maia guides him to his goal,' 1398-1510, Exodos. 1, (The Slaying of Klytaimnestra, 1398-1441, a Kojuuuoc.) — Elektra rushes out from the palace to inform the Chorus that the two avengers are about to do their work : the Queen is decking the urn for burial, and the two are standing by her side. Immediately Klytaim- nestra's shrieks are heard from within ; she calls for Aigisthos, and pleads to her son for mercy. Then all is silence. Orestes and Pylades now come forth, and in answer to Elektra's question, Orestes tells her that her mother's overbearing spirit will insult her no more. At this moment Aigisthos appears in sight, and the two rush back into the house. xxvi ELEKTRA 2. {The Slaying of Avjisthos, 1442-1510.) — Aigisthos enters, and Λνίίΐι characteristic brutality asks Elektra vvliere are the Phokians who have announced Orestes' death. She answers that they are Λvithin, 'for they have found a Λvay to their hostess' heart.' He asks if he can see the body, and Elektra tells him that he can, and that it is no enviable sight. He bids her hold her peace and throw open the palace-doors. This she does, and the interior is disclosed. The two Phokians are seen standing one on each side of a corpse which is covered with a pall. Aigisthos bids a servant summon Klytaimnestra ; Orestes answers, ' She is here.' Aigisthos now lifts the face- cloth, and, at the sight of Klytaimnestra, utters a cry of horror. He then recognises Orestes, and knows that his own end has come. A recjuest for permission to speak is refused ; and Orestes and Pylades drive him before them into the interior of the palace, that he may die in the liall where he slew Agamemnon. The Chorus, oppressed by a sense of the cost at which the house has at last bought peace, conclude the play with these words : — ' house of Atreus, how many liave been thy sufferings, and how hardly hast thou come forth of them in freedom, made happy by the doings of this day ! ' Date of the Play The Elektra is one of Sophokles' later compositions, and may be assigned to a date between 420 and 414 B.C. The Elektra of Euripides Λvas probably produced in 413 B.C. It has been argued by v. Wilamowitz that the Euripidean play is the elder ; but most critics hold the opposite view. The priority of the Sophoklean Elektra is convincingly maintained by Jebb in his Introduction, pp. lii. if. INTRODUCTION xxvii Structure of the Play 1. npoXoroc, vv. 1-120 (with epiiNOC άπο ckhnkc, 86-120). 2. πσροδοο, in the form of a kojlajuloc, 121-250. 3. eneicodiON πρώτοΝ, 251-471. 4. CTaciJUON πρώτοΝ, 472-515. 5. cn€icodioN δεύτεροΝ, 516-1057 (with a kojujaoc, 823-870). 6. CTciciJULON δεύτεροΝ, 1058-1097. 7. επειςόδιΟΝ τρίτοΝ, 1098-1383 (with a JUieXoc άπο CKHNHC, 1232-1286). 8. CTaciULON τρίτοΝ, 1384-1397. 9. ε'Ξοδος, 1398-1510 (with a kojuljuloc, 1398-1441). These parts of a tragedy are defined by Aristotle as follows : — npoXoroc : //-e/30? oXov τραγω8ίας το ττρο )^opov τταρόδου, all that precedes the entrance of the Chorus. napodoc : η πρώτΊ] Aegt? oXov "χορον^ the first utter- ance of tlie whole Chorus (their 'entrance-song'). Ιπεΐ€ΟδΐθΝ : μ€ρο<ζ όλον τ/)αγωδια? το /χβτα^υ δλων χορικών //€λώΐ', all that stands between complete choric songs. • CTOciuon : /le/Yog γ^ορον, το av€v αναπαίστου καΐ τρογαίον, a song of the Chorus employing neither anapaestic nor trochaic measures. (The name is in contrast to τταροδο?, the στάσιμον being sung by the Chorus when at their station in the ορχήστρα.) KOJULJUOC: dp'Tjvos kolvo^ χορού κα.Ι άπο σι<Ί]νη<ί, a dirge in which the Chorus in the orchestra and the actors on the stage botli bear their part (contributing alternate portions). εΞθδθ€ : μ€ρο•ζ όλον τραγωδίας μβθ' ο ονκ ecrrt χορού μίλο'ζ, all that follows the last στάσιμον. xxviii ELEKTBA Description of the Plates Plate I. From a Greek amphora found in Lucania, and now in tlie Naples Museum. Orestes, accompanied by Py lades, lias come to consult the oracle at Delphi (cp. vv. 32 ff.). Ajjollo seated on the omphalos, which is decked with fillets (οτέηχιιατα), consecrates the sword of Orestes to its work by touching it Λvith the stem of a branch of laurel. Orestes' left hand touches Apollo's knee in supplication. The bending of his own left knee is perhaps intended to suggest the posture of kneeling, an actual kneeling position having been regarded as unsuitable on artistic grounds. On the right is the Pythia, seated on the tripod. She wears a laurel-wreath, and holds in her hands a diadem which is to bind Orestes' victorious brows when he has performed his task. The rich ornamentation on the peplos of the female figure on the left, the bracelets, and the κεκρύ- φαλοε on the head, sliow that this is Elektra ; not, as some have thought, a handmaid of the priestess. Plate II. From a red-figured Attic vase of the first half of the 5th century B.C., found at Cervetri (Caere) in Italy, and now in the Vienna Museum. Orestes, who wears a corslet, is in the act of slaying Aigisthos, who is slipping from his throne — that throne of Agamemnon on which it maddened Elektra to see the usurper seated (cp. V. 267). A warning cry from Chrysothemis (the artist has given the name), who stands at his side witli hands uplifted in alarm, has caused him to turn his head. He sees Klytaimnestra about to attack him with an axe, the axe that had slain Agamemnon (cp. Cho. 889 Sot?/ Tts άνδροκμητα ireXeKw ώ? raxos-, ' the axe that slew my lord'). Her purpose, however, is frustrated by Tal- thybios, Agamemnon's trusty herald, who had saved Orestes in his boyhood, and has now returned with him INTRODUCTION xxix to assist ill the deed of vengeance. He is the original of Sophokles' Paidagogos. Plate III, From a red-figured Attic vase of the 5th century B.C. (but of later date than the preceding), found at Volci in Etruria, and now in the Berlin Museum. It depicts the same scene as the preceding ; but for some reason the artist has omitted the figure of Talthybios. The result is unfortunate ; for though the dramatic effect is fine, it seems as though nothing could save Orestes from the blow which Klytaimnestra aims at him. The drawing here is distinctly superior to that of the Cervetri vase. These two vases exhibit a version of the story older than that of Aischylos. It was probably, as Jebb shows, that adopted by Stesichoros, the lyric poet of Himera in Sicily (circ. 630-556 B.C.). One of his most famous poems was an Oresteia. Note that on the Cervetri vase the name of Chryso- themis is spelt backwards, as also those of Aigisthos and K]ytaim[n]estra on the Volci vase. Note, too, the antique forms of the letters and the absence of a separate letter for e (h). ΤΑ TOT APAMATOC ΠΡΟ€ΩΠΑ ΠΑΙΔΑΓΩΓΟα OPECTHC ΗΛΕΚΤΡΑ XOPOC XPTCOGEMIC KATTAIMNHCTPA Ainceoc The parts were played as follows : — Elektra by the Protagonist. Tr ' ' >l»y the Deuteraeronist Klytaimnestra } "^ ^ Paidagogos ) Chrysothemis 'by the Tritagonist. AlGISTHOS ) Pylades is a κωφοΝ πρόςωποΝ. ία 9 αοΦοκΛΕΟτα ήλεκτρα [Scene : an open place on the citadel of Mijkenai, in front of the palace of the Pelojddai. There are images of Apollo Lykeios and other gods. Time: sunrise. From the side on the spectators^ left {indicating arrival from a distance) enter Orestes, Pylades, and the Paidagogos. The first tiuo wear -χ^ίτών and χλαμν?, with a ττίτασο? {either ivorn on the head or slung behind the back). The PIlDAGOGOS wears a χιτώι/ and Ιμάτων.'] ΠΑ. Ώ του στρατη^ησαντος iv Τροία ττοτε \\.^αμ€μνονο<ζ τταΐ, νυν εκείν β^βστί σου τταρόντί Χεύσσείν, ων ττροθυμος ησθ^ aeu. το yap τταΧαιον "Α/ογο? ούττοθβΐ'ζ ToSe, της οΙστροττΧή'γοζ αλσο<ζ λνάγου κόρης* 5 αΰτη Κ, ^Ορίστα, του Χυκοκτονου θεού ayopa Αύκείος' ούζ αριστεράς ο' οοε ' ΐίρας 6 κΧεονος ναός• οι δ ίκάνομεν, φάσκευν ^Ιυκηνας τας ττοΧυ'χ^ρυσους οραν. ΤΓοΧνφθορόν τε Βωμα ΤΙεΧοττίΒών το^ε, 10 όθεν σε ιτατρος εκ φονών εγώ ττοτε Ίτρος σης ομαίμου καΐ κασί^νητης Χαβών ηνε^κα κάξεσωσα κάξεθρεψάμην τοσον^ ες ήβης, ττατρί τιμωρον φόνου. Έ Β 2 COOOKAEOTC ΐ'ϋ^ υνν, Ορβστα καΐ συ φιΚτατε ^βνων 15 ΐΙυΧά^η, τι -χρη Βράν iv τάγευ βουΧβυτάον ώ? ήμίν ηΒη Χαμττρον ηΧιον σβΧας €ωα KLvei φθβΎματ ορνίθων σαφή μέΧαονά τ άστρων βκΧβΧοίττβν βύφρονη. ττρίν ονν τιν* άνΒρών βξοΒοίττορβΐν στεγτ^ς, ζυνάτΓτετον Χ6<γοίσιν, ώς Ινταυθ^ ή'εμβν, 21 IV ούκ€τ oKvelv καιρός, άΧΧ' βρ'γων άκμη. ΟΡ. ώ φίΧτατ άνΒρων ττροσττοΧων, ώς μοί σαφή σημεία φαίνεις εσθΧος εΙς ημάς <γε'γώς. ώσττερ yap ϊττττος ευγενής, καν y αγέρων, 25 εν τοΐσι Βεινοΐς θυμον ουκ άττώΧεσεν, αλλ' ορθόν ους ϊστησιν, ωσαύτως δε συ ημάς τ οτρύνεις καυτός εν ττρώτοίς εττει. TOiyap τα μεν Βοξαντα ΒηΧώσω' συ δε οζείαν άκοην τοις εμοΐς Χο<γοίς ΒίΒούς, 30 εΐ μη τι καιρόν τυγχάνω, μεθάρμοσον. ε'γω yap ήνί'χ^ Ικομην το ΐΐυθικον μαντεΐον, ώς μάθοιμ οτω τροττω ττατρος Βίκας άροίμην των φονευσάντων ττάρα, γ^ρτ} μοι τοιαυθ" ό Φοίβος ων ττεύσει τάγα' άσκευον αύτον άσττίΒων τε και στρατού 36 ΒοΧοισι κΧβψαι "χειρός ενΒικους σφayάς. οτ ουν ToiovBe χρησμον εισηκούσαμεν, συ μεν μοΧων, όταν σε καιρός εισάγτ], Βομων εσω τώνΒ\ ϊσθι τταν το Βρώμενον, 40 'όττως αν εΙΒώς ήμίν άyyειXr)ς σαφή. ου yap σε μη yrjpci τε και χρονω μακρφ γνωσ , ουδ' υιτοιττεύσουσιν ώδ* ήνθισμενον. Xoyip δε χρω τοιωΒ , οτι ξένος μεν ει ΗΛΕΚΤΡΑ 3 Φωκβν^;, Trap' άνΒρος Φανοτβως ηκων ο yap με^γιστος αντοΐς rvy^avec Βορυζένων. 46 ayyeWe δ' όρκον ττροστιθβΐ'ζ όθούνβκα τεθνηκ ^Ορέστης βξ avayKaia<:; '^^XV'^» αθΧοισι ΐίνθικοΐσίν €Κ τρο^ηΚάτων Βίφρων κυλίσθβίς' ώδ' ο μύθος βστάτω. 50 ημβίς he ττατρος τύμβον, ως βφυβτο, Χοφαΐσί ττρωτον καΐ καρατομοις 'χλ.ιΒαΐς στβψαντβς, elr άψορρον ηξομβν τταλιν, τύπωμα 'χ^αΧκοττΧευρον ηρμένοι 'χεροΐν, ο καϊ συ θάμνους οίσθά ττου κεκρυμμενον, οττως λόγω κΧβτττοντες rjhelav φάτιν 56 φβρωμβν αντοΐς, τονμον ως eppet Βεμας φ\oyίστbv ηΒη καΐ κατηνθρακωμβνον. τι yap μ€ Xvirel τοΰθ\ όταν \oyω θανών epyoiai σωθώ κάζeveyκωμaL κΧεος ; 60 Βοκώ μεν, ονΒεν ρήμα συν κερΒει κακόν. ηΒη yap elBov ττοΧλάκίς καϊ τους σοφούς \όyω μάτην θνησκοντας' είθ όταν Βομους εΧθωσιν αύθις, εκτετιμηνται ττΧεον. ως κάμ ειτανγω τήσΒε της φ7]μης άττο 65 ΒεΒορκοτ εγ^θροίς άστρον ως ΧάμΛ^ειν ετι. άΧΧ\ ώ ιτατρωα yrj θεοί τ iyycopLOL, Βεζασθε μ εύτυ-χ^οΰντα ταΐσΒε ταΐς οΒοΐς, συ τ, ώ ττατρωον Βώμα' σου yap ερ'χομαί Βί,κτ] καθαρτης ττρος θεών ώρμημενος' 70 καϊ μη μ* άτίμον τήσΒ άττοστείΧητε yής, αλΧ' άργεττΧουτον καϊ καταστάτην Βομων. εϊρηκα μεν νυν ταύτα' σοΧ Β ήΒη, ykpov, το σον μεΧέσθω βάντι φρουρήσαι γ^ρεος. 4 COOOKAEOTC νω δ' βξίμβν καίρο<; yap, οσττβρ άν^ράσιν μ6<γίστος epyov τταντοζ ear €7ηστατη<ζ. 76 ΗΛ. {within) Ιώ μοί μοί Βύστηνοζ. ΠΑ. καΐ μην θυρών βΒοξα πτροσπόΧων τίνοζ ύ7Γοστ6νονση<ζ evhov αίσθέσθαι, τεκνον. ΟΡ. αρ^ βστίν ή Βύστηνος ^ΉΧβκτρα ; θβλβις 80 μείνωμεν αυτού κάιτακούσωμεν ^οων ; ΠΑ. ηκιστα. μηΒεν ττροσθβν η τα Αοξίου ΊΓβίρώμεθ^ epBetv κάττο τώνΒ^ άρ'χτ)<γ€Τ€ίν, ττατρο'ζ 'χ^βοντβς Χουτρά' ταύτα yap φερβί νίκην τ εή) ημΐν καΐ κράτος των Βρωμενων. [Exeunt severally; the Paidagogos to the spectators^ left, Orestes and Pylades to their right. Enter Elektra from the palace. She wears a ττέττλο? πο8Ίΐρη<ς, confined at the ivaist by a common girdle. Her clothing is poor and of a dark colour. She ivalks wearily; arid her form is wasted, and her face pale and ivorn, as by years of misery.'] cucTHua HA. ώ φάος ayvov 86 καΐ yή<ζ Ισομοιρ' άηρ, ώ? μοί τΓοΧλας μεν θρήνων ωΒάς, 7ΓοΧλα<ζ Β άντηρείς γσθου στέρνων TrXr}ya<^ αίμασσομενων, 90 ΟΊΓΟταν Βνοφερα νυζ ύτΓοΧειφθτ)' τα Βε τταννυγίΒων ηΒη στυyεpal ξυνίσασ εύναί μoyεpώv οίκων, οσα τον Βύστηνον εμον θρηνώ ττατερ" , ον κατά μεν βάρβαρον αίαν 95 φοίνίος "Αρη^ ουκ εζενυσεν, ΗΛΕΚΤΡΑ 5 μητηρ δ 7)μη yoo κοινόΧβ'χτί'ζ Αϊ^οσθος, οττως Βρϋν υλοτόμοι, σγίζουσί κάρα φονίω ireXeKei' κού^βΐς τούτων οικτο'ζ αττ άΧΧης 100 η μου φέρεται, σου, ιτάτβρ, ούτως αΙκώ<ζ οΙκτρω<^ τβ θανόντος. aNTicucT. άΧλ' ου μεν δ>; Χηζω θρήνων στυ'γερών Τ6 <γοων, €9 Τ άν τταμφε^^βΐς άστρων 105 ριττάς, Χβύσσω δε το8 ημαρ, μη ου τβκνοΧίτβιρ' ώ? τις άη^ών 67γΙ κωκυτω τών^ε ττατρωων 'προ θυρών ήχω ττάσι ττροφωνβΐν. ώ Βώμ* Άίδου καΐ ΤΙβρσβφονης, 110 ω 'χυονι ί^ρμη και ιτοτνι Άρα, σεμναί τβ θεών τταΐΒες ^Ερινύες, at τους άΒίκως θν^ίσκοντας οράθ , αΐ τους εύνάς ύττοκλειττ ο μένους, εΧθετ, άρηξατε, τείσασθε ττατρος 115 φόνον ημετέρου, και μοι τον εμον ττέμ^ψατ άΒεΧφον μούνη yap ά'γείν ούκέτί σωκώ Χύττης άντίρροττον άγθος. 120 \^Α com.'pany of women, icho form the Chorus, fifteen in number, enter the ορχήστρα from the sjjedators' right (as indicating arrival from the neighbourhood). They are women of Mykenai. They wear ττεττλοι 77ο8ηρ€ίς of various colours.'] f f\> 6 COOOKAEOTC CTp. a' XO. ω irai, iral 8νστανοτάτα<ζ ΐίΧβκτρα ματρος, τίν aeX τάκ€ί<ζ coB ακορβστον ουμω>γαν τον τταλαί i/c Βολερά'ζ άθεώτατα ματροζ άλοντ άττάταίζ ^Ayaμeμvova 125 κακά τ€ χειρί ττροΒοτον ; ώς ο τάδβ ττορών ολοίτ , €ί μοί σ€μί<ζ ταο ανοαν. ΗΛ. ώ jeveOXa γενναίων, ηκετ εμών καμάτων τταραμυθιον. 130 οΐΒά Τ€ καΐ ζννίημί τάΒ\ ου τί μβ φνγγάνβί' ούδ' βθβλω ττροΧίττβϊν τόδβ, μη^ού τον βμον στβνά^βιν ιτατερ άθΧιον. αλλ' ώ Ίταντοία'^ φί\οτητο<ζ άμβίβομεναυ χάριν, ^ €άτ6 μ' ώδ' άλυβιν, 135 αίαΐ, ίκνονμαί. άΝτ. α' ΧΟ. αλλ ούτοι τον γ ίζ A.tha Tray κοινού Χίμνα*^ Ίτατερ άνστάσ€ί,<; ούτε i"7oot? ούτε Χίταΐσίν αλλ' άτΓΟ των μετρίων εττ άμη'χανον 140 οίλγο? άε\ στενά^ονσα ΒίοΧΧνσαι, εν ot9 άνάΧνσι^ εστίν ούΒεμία κακών, τί μοί των Βυσφορων εφίει ; ΗΛ. νήτΓίΟζ δ? των οίκτρώς 145 οίγρμενων γονέων ετηΧάθεται. αλλ' εμε γ ά στονοεσσ άραρεν φρενα<ζ^ α ιτυν, αίεν ντυν οΧοφυρεται, ΗΛΕΚΤΡΑ 7 opvi<; άτνζομένα, Αίο<ζ άγγελος. Ιώ τταντΧάμων Ι^ωβα, σβ δ' έγωγε νέμω θβόν, 150 ατ iv τάφω ττετραίφ αίαΐ Βακρνβίς. CTp. 6' ΧΟ. οντοί σοΙ μούνα, τβκνον, ά%09 βφάνη βροτών, ττροζ 6 τί συ των evBov el ττβρι,σσά, 155 049 ομοθεν el καΧ ηονα ζύναίμο<ζ, οία ^ρνσοθεμί<ζ ζώβι και ^Ιφιάνασσα, κρυτΓτα τ αγβων ev ήβα 6Χβίθ<ζ, ορ α Kkeiva 160 γα ΤΓΟτε Μ,νκηναίων Ββξβταί εύττατρίΒαν, ήΆώς ενφρονι βηματί μολοντα τάνΒβ yav ^Ορεσταν. ΗΛ. '6ν γ εγώ ακάματα ιτροσμενουσ , άτ€κνο<;, TokaLv ανύμφευτος αΐεν οΐ'χνώ, 165 Βάκρυσι μυ^αΧεα, τον άνηνυτον οίτον εγουσα κακών ο δε Χάθεταΰ ων τ ετταυ ων τ εοαη. tl yap ουκ εμοι εργ^εταί αγγελία? άττατώμενον ; 170 άεΐ μεν yap ττοθεΐ, ΤΓοΘών δ' ουκ ά^ίοΐ φανηναι, άΝΤ. β' ΧΟ. θάρσει μοι, θάρσεί, τεκνον ετί //.εγα? ούρανω Ζευ9, 09 εφορα ττάντα καΐ κρατύνεΐ' 175 ω τον ύτrεpa\yη 'χοΚον νεμουσα 8 COOOKAEOTC μηθ οϊ<; β'χ^θαίρεις υιτερά'χθβο μητ έττίλάθον. 'χ^ρονος yap βύμαρης θβος. οντ€ yap ο ταν Ι^ρΙσαν 180 βούνομον e^^cov άκταν τταΐ^; Ay αμ€μνονίΒα<; άττερίτροττος οΰθ ο τταρα τον Κγ^εροντα 6eo<^ άνάσσων. ΗΛ. ίΐλλ βμβ μεν ο ττοΧνς άττοΧβΧοιττβν ηΒη βίοτος άνέΧτΓίστος, ούΒ er αρκώ' 186 ατ£9 avev τεκεων κατατάκομαι, α? φίΧο<; οντίς άνηρ υττερισταται, αλλ άττερευ τι<ζ εττοίκος άναζία οικονομώ θαΧάμους ττατρος, ώδε μεν 190 άβίκεΐ συν στοΧα, • κεναΐς δ άμφίσταμαι τραττεζαις. CTp. γ' ΧΟ. οΙκτρα μεν νόστοι'^ avSa, οΙκτρα δ' εν κοίταις ττατρωαίς οτε οΐ irayyaXK^v άνταία 195 yevυωv ώρμάθη ττλαγά. 8οΧο<ζ ην ο φράσα<ζ, ερος 6 κτείναζ, Βειναν Βείνώ<ζ τΓροφντενσαντε^; μορφαν, εϊτ ουν θεο<ζ εϊτε βροτών ην ο ταύτα ττράσσων. 200 ΗΛ. ώ ττασαν κείνα ττΧεον άμερα εΧθοΰσ εγθίστα 8η μον ώ νυξ, ώ Βειττνων άρρητων eKirayX' α'χθη, του? εμο<; ϊΒε ττατηρ 205 θάνατον^ αικεΐ^ ΒίΒνμαιν γ^ειροΐν, ΗΛΕΚΤΡΑ 9 CLi τον βμον elXov βίον irpoSoTov, αι μ άττώΧβσαν οΓ? ^€09 6 μ€^α<ζ ΟΧνμτΓίος ΤΓΟίνιμα ττάθ^α ιταθεϊν ττοροί,, 210 μη^β 7Γ0Τ ayXata^ άττοναίατο Touah^ άνύσαντ6<ζ ep^a. οντ. γ' φράζον μη ττορσω φωνεΐν. ου '^νώμαν Ϊσγ6ί<=; i^ οίων τα τταροντ οίκβιας βις άτας 215 βμττίτΓτβίς οΰτω'^ αΙκω<ζ ; ΤΓοΧν yap TL κακών υττερεκτησω, σα Βυσθυμω τίκτουσ' ael ι^νχα τΓοΧβμον^' τα Be τοις Βυνατοΐς ουκ ίριστα ττΧάθβίν. 220 Ββίνοΐ^ί ηνα^κάσθην, Ββινοΐς• €ζθίθ , ου Xauec μ opya. αλλ' iv yap δεί-ζ^οί? ου σ'χ7]σω ταύτας άτας, οφρα μ€ βίος €'χΎ]. 225 TLVL yap ΐΓοτ αν, ω φιΧία yeveOXa, ττροσφορον άκουσαίμ' βττος, TLVL φρονουντί καίρια ; άνετε μ άνβτε, Trapayopoi. τάδε yap άΧυτα κβκΧησβταί, 230 ουδέ ΤΓΟΤ €κ καμάτων άττοτταύσομαι άνάριθ μος ώδε θρήνων. αλλ ουν εύνοια y αύδώ, 10 COOOKAEOTC μάτηρ ωσβί ης ττίστά, μη TLKTeLV σ άταν αταίς. 235 ΗΛ. καΐ τι μετρον κακοτατος βφυ ; φβρε, ττώ? eVt τοις φθίμενοί<ζ άμεΚεΐν καλόν ; iv TLVL τοΰτ ββΧαστ άνθ ρώττων ; μητ βϊην €ντίμος τούτοις μητ , el τω Ίτροσκβίμαί 'χ^ρηστω, 240 ζννναίοίμ εΰκηΧος, γονέων έκτιμους ϊσγουσα Ίττερυηας οξυτονων 'γόων. 243 €1 yap ο μεν θανών γα Τ6 κα\ ovhev ων κβισβται ταλας, ο Ι Be μη ττάλίν Βωσουσ* άντιφονους Βίκας, hppoL τ αν αΙΒως άττάντων τ ευσέβεια θνατων. 250 ΧΟ. βγω μεν, ω τταΐ, καΐ το σον στΓεύΒουσ αμα καΐ τούμόν αυτής ηλθον εΐ Βε μη καΧώς λέγω, συ νίκα. σοΙ y/)//s of fine texture and bright colour, and wears a richly ornamented ζοΜ'η, a golden necklace luith pendant, and. rings o?i her fingers.'\ XP. τίν αν συ τηνΒβ tt/do? θυρωνο<; e^oBoi; μ' εκΒίΒασκε τοις φίΧοις είναι κακήν. 395 ΧΡ. αλλ ου ΒίΒάσκω' τοις κρατουσυ δ είκαθεΐν. ΗΛ. συ ταύτα θώττευ ' ουκ εμους τροττους \eyείς. ΧΡ. κα\ον yε μεντοι μη ζ άβουΧίας ττεσεΐν. ΗΛ. ττεσούμεθ , εΐ χρη, ττατρί τιμωρούμενοι. ΧΡ. ττατηρ δε τούτων, οίΒα, συyyvώμηv έχει. 400 ΗΛ. ταυτ εστί τάιτη ττρος κακών ετταίνεσαι. ΧΡ. σι; δ ούγΐ Ίτείσεί καΐ συναινέσεις εμοί ; ΗΛ. ου Βήτα. μη ττω νου τοσονΒ εΐην κενή. ΧΡ. γωρησομαι τάρ' οϊττερ εσταΚην οΒοΰ. ΗΛ. ΤΓοΐ δ εμτΓορεύει ; τω φέρεις τάδ' εμττυρα ; ΧΡ. μητηρ με ττέμττεί ττατρΙ τυμβεΰσαι χοάς. 406 16 COOOKAEOTC ΗΛ. ττώζ eiira^ ; η τω Ζυσμβνβστάτίρ βροτών ; ΧΡ. ον €κταν αύττ)' τόυτο yap \εζαι θβΧβί'ζ. ΗΛ. €Κ του φιΧων ττβίσθείσα ; τω τοντ ηρβσεν ; ΧΡ. εκ Βείματος τον νυκτίρου, Βοκβΐν βμοί. 410 ΗΛ. ώ θεοί ττατρωοί, avyyeveade y^ άΧΧα νυν. ΧΡ. e^^6L<; τί θάρσο<ζ TovSe του τάρβους irepi ; ΗΛ. el μοι λεγοί? την ολΙην, βϊττοι,μ αν τοτβ. ΧΡ. αΧΧ ου κατοίΒα ττΧην ΙττΙ σμικρόν φράσαι. ΗΛ. Xey αΧΧα τούτο. ττοΧΧά του σμικροί Xoyoi βσφηΧαν ηΒη και κατώρθωσαν βροτού<ζ. 416 ΧΡ. Xoyo<; τις αυτήν βστιν βισιΒβΐν ττατρος του σου τβ κάμοΰ Ββυτάραν ομιΧίαν βΧθοντος 69 φως' βίτα τόνΒ' βφίστιον ττηζαι Χαβοντα σκητττρον, ούφορβι ττοτε 420 αυτός, τανυν δ A.iy ισθος' βκ he τοΟδ' άνω βΧαστεΐν βρύοντα θαΧΧον, ω κατάσκιον ττασαν yeveσθaι την ^Ιυκηναιων 'χθονα. τοιαύτα του τταροντος, ηνί'χ^ Ηλί-ω Βείκνυσι τοϋναρ, €κΧυον eξηyoυμevoυ. 425 ττΧειω Be τούτων ου κάτοιΒα, ττΧην οτι ττεμττει μ' εκείνη τουΒε του φόβου 'χάριν, ττρος νυν θέων σε Χ'ισσομαι των iyyevoiyv εμοί τΓίθεσθαι μηΚ άβουΧία ττεσεΐν el yap μ' άττώσει, συν κακω μετει τταλιν. 430 ΗΛ. άΧΧ\ ω φίΧη, τούτων μεν ων έχεις χεροΐν ■τύμβω τΓροσάψγς μηΒεν ου yap σοι θέμις ουδ' οσιον έχθρας άττο yυvaικoς ιστάναι κτερίσματ ούΒε Χουτρα ττροσφερειν ττατρι- άΧΧ^ η ΊτνοαΙσιν η βαθυσκαφεΐ κονει 43δ κρύ^^ον νιν, ένθα μη ττοτ εις ευνην ττατρος ΗΛΕΚΤΡΑ 17 • τούτων ττρόσείσί μηΒβν αλλ' όταν θάνττ], κβίμηΚί αντ[] ταντα σωζεσθω κάτω. άργτ^ν δ άν, el μη τ\ημον€στάτη yvvy ττασών ββΧαστβ, τάσ^ε 8νσμ6ν€Ϊ<; χοάς 440 ουκ άν 7Γθθ\ ον γ έκτεινε, τωδ εττεστεφε. σκεψαί yap εϊ σοι ττροσφιλώ^; avTrj όοκεΐ 'γέρα τάΒ ούν τάφοίσί Εε^εσθαι νεκν<;, νφ^ η<ζ θανών άτιμοζ ώστε 8νσμενη<ζ εμασ'χ^αΧίσθη, κάττΐ Χοντροΐσιν κάρα 445 κηΧΐΒας εζεμαζεν. άρα μη 8οκεΐ<ζ Χυτηρυ αύττ} ταύτα του φόνου φερειν ; ουκ εστίν. άΧλά ταύτα μεν μεθεζ' συ 8ε τεμουσα κράτος βοστρύχων άκρα<ζ φοβα<; κάμοΰ ταΧαίνης, σμικρά μεν τάΒ\ αλλ' όμως άγω, δο? αύτω, τηνΒ^ "^άΧιτταρή τρίχα 451 καΐ ζώμα τούμον ου χλί-δαΐ? ησκημενον. \Gives α tress of her hair and her girdle, αϊτού δε ττροσττίτνουσα ^ηθεν ευμενή ημίν άρω^ον αύτον ei9 εχθρούς μοΧεΐν, καΐ ττα^δ' ^Ορέστην εξ ύττερτερας χερος 455 εχθροΐσιν αυτού ζώντ εττεμβήναι ττοδι, οττως το Xolitov αύτον άφνεωτεραις χερσί στεφωμεν η τανύν Βωρουμεθα. οΐμαί μεν ούν, οΐμαι τι κακεινω μεΧον ιτεμ'ψαί τάΚ αύτη ΖυσίΓροσοτΓΤ ονειρατα• 460 6μο)ς δ', άΒεΧφή, σοι θ' ύτούρ^ησον τάΒε εμοί τ άρω'γά, τω τε φίΧτατω βροτών 'πάντων, εν " ΧιΒου κειμενω κοινω ιτατρί. ΧΟ. 7Γ009 εύσεβείαν ή κόρη Xέyεί• συ δε, εΐ σωφρονησεις, ω φίΧη, Βράσεις τάΒε. 465 C 18 COOOKAEOTC XP. Βράσω' το yap Βίκαοον ουκ β'χβί \6yov Βυοΐν βρίζβίν, <χλλ' βτΓίσττεύΒβίν το Spdv. ΤΓ€ίρωμενΎ) he τώνΒβ των epyωv βμοί aiyrj τταρ υμών ττρος θβών βστω, φίΧαί- ώ? el ταδ ή TeKOvaa TrevaeTai, ττίκραν 470 Βοκώ μ€ irelpav Trjvhe τo\μησeLV eTi. \Exit to the spectators^ right. CTp. XO. et μη 'γώ τταράφρων μάντις evv καΐ ^νώμας \eL7Γoμeva σοφά<ζ, etaiv ά 7Γρομαντί<ζ 475 Αίκα, Βίκαία φ€ρομίνα ^epolv κράτη' μeτeLσiv, ώ τέκνον, ου μακρού γ^ρόνου. υττεστί, μοί θράσος, άΒυττνοων κΧύουσαν 480 άρτιως 6ν€ίράτων. ου yap ττοτ άμναστ€Ϊ y ο φυσάς σ ΈΐΚΚανων άναζ, θϊ)δ' ά τταΧαια ^αΧκοττΧακτος άμφάκης yevυς, 485 ά VLV κaτe7Γeφvev αίσ'χ^ίσταις ev αΐκίαίς. ΟΝΤ. y^et καΐ ττοΧυττους καΐ ττοΧύγβίρ ά SecvoL^ κρυ7Γτομ€να Χο'χ^οίς 'χαΧκόττους ^Έρίνύς. 491 αΧέκτρ άνυμφα yap e7re/3a μιαιφονων yaμωv άμιΧΚημαθ οίσιν ου θίμις. ττρο τώνΒέ ή'τοϋ μ e'^et μη7Γ0τe μηττοθ^ ημίν 496 a-yjreye^ ireXav τέρας ΗΛΕΚΤΡΑ 19 τοις Βρώσι και συνΖρωσιν. η τον μαντβΐαί βροτών ουκ βίσΐν iv Ββινοΐς ονείροί'^ ουδ' ev θβσ- φάτοι<ζ, 500 el μη roSe φάσμα νυκτός ευ κατασ'χ^ησβι. έποοδ. ω ΤΙέΧοτΓος α ττροσθεν ττοΧύττονος ίττ- ireia, 505 ώ? e/AoXe? αίανης ταΒε -Α TL^ αν τούτου \oyo^ yevoir^ αν αίσγίων en, €ίτ ουν Βίκαιως βιτβ μη; Χβξω δε σοι 560 ώς• 01' Blkt} y βκτβίνας, άΧλά σ βσττασβ 7Γ€ΐθώ κακόν ττρος άνΒρος, ω ταννν ζύνβι. βρού δε T7]v Kvvayhv "Αρτεμη' τίνος ττοινα^ τα ττοΧλα ττνβύματ βσγεν ΑύΧίΒί' η 7<^ φράσω, κείνης yap ου θέμις μαθεΐν. ττατηρ ΤΓοθ^ ουμος, ώς ε'γώ κΧύω, θεάς 566 Ίταίζων κατ άΧσος εζεκίνησεν ττοΒοΐν στικτον κεράστην εΧαφον, ου κατά σφayaς εκκομττασας εττος τι τυy'γάvef βαΧών. κάκ τοϋΒε μηνισασα Αητωα κόρη 570 κατεΐχ^ \^.■χ^aιoύς, ώς ττατηρ άντίσταθμον του θηρος εκθύσειε την αυτοί) κορην. ώδ' ην τα κείνης θύματ • ου yap ην Χύσις άΧΧη στρατω ττρος οίκον ού8 εις "ΙΧιον. άνθ ών βιασθείς ττοΧΧα κάντιβας μόΧις 575 εθυσεν αύτην, ούχΙ Μεζ^ελ,εω γ^άριν. ει δ ουν, ερώ yap και το σον, κεΐνον θεΧων εττωφεΧήσαι ταΰτ έδρα, τούτου θανεΐν χρήν αντον οΰνεκ εκ σεθεν ; ττοίω νόμω ; ορα τιθεΐσα τονΒε τον νομον βροτοίς 5S0 μη ττημα σαυτη και μετάyvoLav τιθης. €1 yap κτενουμεν άΧΧον άντ άΧΧον, συ τοι ττρωτη θάνοις αν, εΙ ^ίκης yε τυγχ^άνοις. αΧΧ εισορα μη σκήψιν ουκ οΰσαν τίθης. ει yap θεΧεις, 8ί8αξον άνθ' ότου τανΰν 5S5 αϊσχ^ιστα ττάντων epya Βρώσα τυyχ^άvεις, 22 COOOKAEOTC ήτις ξυνβύΒβις τω ττάλαμναίω, μβθ ου ττατερα τον άμον ττροσθβν βξαττώΧβσας, και 7ΓαίΒθ7Γθί€Ϊζ' τού<ί δε ττρόσθβν εύσβββΐς κάξ βύσεβων βΧαστοντας έκβαΧονσ e^eu^. ττώ? ταντ ετταινεσαιμ άν ; ή και ταντ €ρ6Ϊζ 591 ώ? τήζ θν^ατρο^ αντίποινα Χαμβάνβΐζ ; αισ'χ^ρώς, eav irep καϊ Xeyrj^' ου yap καΧον €'χθρο'ί<ζ ^αμβΐσθαι της θυ^ατρο<; οΰνβκα. άΧΧ^ ου yap ούδε νουθετβίν βζβστί σε, 595 η ττάσαν Ιη<; yXfaaaav ως την μητέρα κακοστομουμεν. και σ έγωγε Βεσιτοτιν η μητέρα ουκ βΧασσον εις ημάς νέμω, η ζώ βίον μογθηρόν, εκ τε σου κακοΐς ΤΓοΧΧοΐς άεΐ ξυνοΰσα του τε σύννομου. 600 ο δ* άΧΧος εζω, χείρα σην μοΧις φυyώv, τΧημων ^Ορέστης δυστυχή τρίβει βίον ον ΊΓοΧΧα 8η με σοι τρέφειν μιάστορα εττητίάσω' και τόδ', εϊττερ εσθενον, 604 εόρων αν, ευ τουτ ισσι. τουοε y ουνεκα κήρυσσε μ εις άτταντας, εϊτε χρης κακήν εϊτε στoμapyov εϊτ άναώείας ττΧεαν. εΐ yap ττεφυκα τώνΒε των εpyωv ϊΒρις, σχεδόν τι την σην ου καταισχύνω φύσιν. ΧΟ. ορώ μένος ττνεουσαν ει δε συν ^ίκη 610 ξύνεστι, τοΟδε φροντίΚ ούκετ είσορώ. Κλ. ΊΓοίας δε μοι Βεΐ ττρος yε την^ε φροντίΒος, ήτις τοιαύτα την τεκοΰσαν ΰβρισεν, και ταύτα τηΧικούτος ; αρά σοι Ζοκεΐ χωρεΐν άν ες τταν εpyov αισχύνης άτερ ; 615 ΗΛΕΚΤΡΑ 23 ΗΛ. ev νυν βττίστω τωνΒβ μ αίαγυνην ^'χβίν, κβΐ μη Βοκώ σοΐ' μανθάνω δ' όθούνεκα βξωρα ττράσσω κονκ βμοί ητροσβίκοτα. αλλ η yap έκ σου δυσμένεια καΐ τα σα €p ΧΟ. ο2δα yap άνακτ Αμφιάρβων 'χ^ρυσοΒβτοί'ζ βρκβσι κρυφθάντα «γυναικών καΐ νυν υιτο yaia'^ — ΗΛ. Ι €• Ιω. 840 ΧΟ. ττάμψυ'χοίί άνάσσβι. ΗΛΕΚΤΡΑ 31 HA. φβν. ΧΟ. φβν 8ήτ ' ολοα yap — HA. βΒάμη. ΧΟ. ναί. 845 ΗΑ. οΙ8\ οϊΒ' ' βφάνη yap μβΧβτωρ αμψί τον ev Trevuec εμοι ο ουτί^ βτ 6σσ ' ος• yap er ην, φρονΒοζ άναρττασθβίς. crp. β' ΧΟ. Ββίλαία Ββίλαίων κυρεΐ^ζ. ΗΑ. Kayo) τονΒ' ϊστωρ, νττβριστωρ, 850 ττανσύρτω τταμμηνω ττόλΧων BeLvdiv arvyvoyv τ αιωνί. ΧΟ. €ΪΒομ€ν ^άθρηνεί<ζ. ΗΑ. μη μ€. νυν μηκβτί irapayayr]^, 1ν ου — ΧΟ. τι φη<; ; 856 ΗΑ. ττάρβίσιν βλττ^δωζ/ €Τί κοίνοτοκων βύττατριΒάν dpωyaί. dNT. β' ΧΟ. ιτασί θνατοΐς βφυ μορος. 860 ΗΑ. η καΐ '■^aXapyol's ev άμίΧ\αί<ζ οντω<ζ ώ? κβίνω Βνστάνω τμητοΐ<; όΧκοΐς ey/cOpaat ; ΧΟ. άσκοτΓος ά Χώβα. ΗΑ. ττώς yap ουκ ; el feVo? 865 arep έμαν γβρών — ΧΟ. ττατταΐ. ΗΑ. κβκβυθεν, ούτβ του τάφου άντιασα'ζ ούτε yoωv τταρ^ ημών. 870 [Enter Chrysothemis from the siKctators' right.] 32 COOOKAEOTC XP. νφ r}8ovrjε ττρος θεούς εζεστ άκΧαυστω τήσΒ άττοστηναι στε<γης. ίίλΧ' ούΒε μεν δ?; μητρός ούθ' ο νους φιΧεΐ τοιαύτα ττράσσειν ούτε δρώσ' εΧάνθανεν αΧΧ^ εστ ^Ορεστου ταύτα τάττίτύμβυα. 915 άΧΧ\ ώ φίΧη, θάρσυνε. τοις αύτοΐσυ tol ού'χ^ αύτος άεΐ Βαιμονων τταραστατεΐ. νων δ' ην τα ιτρόσθεν στυγνός' η δβ νυν ϊσως ΤΓοΧΧών ύιτάρζεί κύρος ήμερα καΧών, ΗΛ. φευ, τ?^ς άνοιας ως σ εττοίκτιρω ττάΧαί. 920 ΧΡ. TL δ' εστίν ; ου Ίτρος ήΒονην Xεyω τάδε ; ΗΛ. ουκ οΊσθ oiroL ^ης ούΚ ottol γνώμης φέρει. ΑΓ. ττως ο ουκ εγω κατοίο α ΟΊτα τοις evepO^ Wrpeu- δαί-ς, ά-χόρβυτα φίρονσ ονείδη' ΟΝτ. α οτί σφιν ?)δ'>; τα ραυ e'/c ^υμων voael 1070 <δ?;, > τα he 7Γρο<ί τάκ,νωρ htirXi) φυλοτΓΐ'ς ουκ e'r e^iauO- ται φίλοτασι,ω Βίαί- τα. ττροδοτο? δβ μονά σαΧευβί "f'HXcKTpa, TOP άεΐ :τατρος 1075 BetXaLa στενά-χονσ , όττως α ττάνΒυρτοζ άηΒών, οντ€ τι. του θανείν ιτρομη- θη<ζ το re μη βΧεττειν έτοι- μα, Βι^υμαΐ' εΧοΰσ Έρ'- νύν. τίς αν βύττατρο'ζ ώδε βΧάστοι ; 1081 CTp. β' ού^€ΐ<ζ των άβαθων ^'yap> ζών κακώς evKXeiav αίσ'χυναι OeXeu νώνυμος, ω τταΧ, τταΐ' 1084 ώς• και συ ττω^κΧαυτοι' αιώνα κοινον elXov, το pJ] καΧον καθοττΧίσασα Βύο φέρειν ev €vl Χο^ω, 1088 σοφά τ άριστα τβ τταίς κβκΧήσθαί. οντ. β' ζώης μοι καθύττβρθ^ν 1090 'Χβίρι 'οθ , ήτις εστί, ττροσφβροντβς. ου yap ώ? ev Βνσμβνβία y ουσ eirairelraL roSe, 1124 αΧλ' '^7 φί-λωζ/ τις η 7Γρο<ζ αίματος φυσιν. [One of the Attendants uncovers the urn, and gives it to Elektra.I HA. ώ φίλτάτου μνημβίον άνθρώττων βμοί ψν^ή<; Όρεστον \oLirov, ώ? σ αττ εΧττιΒων ονχ^ οντΓβρ εζείΓβμίΓον εΙσβΒεξάμην. νυν μεν yap ούΕεν οντά βαστάζω 'χεροΐν, Βομων 8έ σ , ω ιταΐ, Χαμττρον εξεττεμΛίτ εγώ. ω<ζ ώφεΧον ττάροίθεν εκΧί,ττεΐν βιον, 1131 ΊτρΙν ες ζενην σε yalav εκιτεμψαι 'χεροϊν κλεψασα τοΐν^ε κάνασώσασθαι φόνου, οττως θανών εκεισο Trj τοθ^ ήμερα, τύμβου ττατρωου κοίνον ειΧη^ώς μέρος. 1135 νυν δ' έκτος οΐκων κάττΐ yής αΧλης φυyaς κακώς άττώΧου, σης κaσL•yvήτης δί,χα• κοΰτ εν φΐΧαισι 'χερσίν ή τάλαιν^ εyω \ουτροΐς σ εκοσμησ^ οΰτε τταμφΧέκτου ττυρος άνείΧομην, ό^ς εΙκος, άθΧιον βάρος. 1140 άλΧ' εν ζεναισι χ^ρσί κ7]ΒευθεΙς τάΧας σμικρός ιτροσηκεις 6yκoς εν σμίκρω κύτεί. οϊμοί τάΧαινα της εμης ττάΧαι τροφής άνωφεΧητου, την εyω θάμ άμφί σοι ΤΓονω yXυκεΐ ιταρεσ'χον. οΰτε yap ττοτε 1145 μητρός συ y ήσθα μάΧΧον ή κάμου φοΧος, 42 €ΟΦΟΚλΕΟΤ€ οϋθ οΐ κατ οίκον ήσαν, ά\\ βγω τροφο<ζ, eyco δ ά^βΧφη σοΙ ττροσηυ^ωμ.ην aei. νυν δ €κ\€\οί7Γ€ ταΰτ iv ήμερα μία 1149 θανοντί συν σοι. ττάντα yap συναρττάσας θυβΧΧ οττω? βββηκας. οΧγβται ΐΓατηρ* τβθνηκ. εγώ σοι' φροΰ^ο^ί αύτο'ζ el θανών y€\ώσc δ' έ'χθροί• μαίνεται δ υφ ήΒονή'ζ μητηρ άμ7]τωρ, ης εμοί συ 7ΓθΧλάκι<ζ 1154 φημας Χάθρα ιτροΰ'πεμττε'ς ώ? φανού μένος τιμωρός αύτος. άΧΧα ταΰθ ο Ζυστυγι^ς Βαίμων ο σος τε κάμος εζαφείΧετο, ος σ ώδε μοί τΓρούττεμ-ψεν άντΙ φίΧτατης μορφής σττοΒον τε καΐ σκιάν άνωφεΧή. οϊμοι μοι. 1160 ώ Βέμας οίκτρον. φευ φευ. ώ ^εινοτατας, οϊμοι μοι, ττεμφθεϊς κεΧεύθους, φιΧταθ , ως μ άιτώ- Χεσας • άττώΧεσας 8ήτ , ώ κaσίyvητov κάρα, 1164 Toiyap συ 8ε^αι μ ες το σον το8ε στεyoς, την μηΒεν εΙς το μη8εν, ως συν σοι κάτω ναιω το Χοιττον. και yap ηνικ ησθ άνω, ζυν σοι μετεΐ'χ^ον των ϊσων και νυν ττοθώ του σου θανούσα μη άτίοΧείττεσθαι τάφου, τους yap θανοντας ού'χ^ ορώ Χυττου- μενους. 1170 ΧΟ. θνητού Ίτεφυκας ττατρος, ϊίΧεκτρα, φρονεί' θνητός δ' Ορέστης' ώστε μη Χίαν στενέ. Ίτάσιν yap ήμΐν τοϋτ οφείΧεται τταθεΐν. ΟΡ. φευ φβΰ, τι Χέζω ; ττοί X6yωv άμηγ^ίΐνών ΗΛΕΚΤΡΑ 43 βλθω ; κρατβΐν yap ουκ en ^Χώσσης σθβνω. 1175 ΗΛ. TL Β €σχ€9 αλγο9 ; ττρος τι τουτ είττων KvpeW ; OP. η σον το k\€LVov 6ί8ο<ζ ΗΧβκτρας ToBe ; ΗΛ. Tob'' tar ifctlvo, κ.αΙ μάΧ' άθΧυως '^χον, ΟΡ. οϊμοί ταΧαίνης αρα τήσΒβ συμφορά<;. ΗΛ. Τί Βη ητοτ , ω ζβν , άμφ βμοί στβνβί^ τάΒε; 1180 ΟΡ. ώ σωμ άτίμως κάθβως βφθαρμβνον. ΗΛ. οντοί ΤΓΟτ άΧλην ή μβ Βυσφημεϊ<^, ξενβ. ΟΡ. φευ της άννμφου Βνσμορου τε σης τροφής. ΗΛ. TL Bi] ΤΓΟΤ , ώ ^ev , ώΒ βίΓίσκοττων στενευς ; ΟΡ. ως ουκ άρ fjBy των εμών ούΒεν κακών. Ιΐδδ Η Λ. εν τω Βιε<γνως τοντο των είρημενων ; ΟΡ ορών σε ττοΧλοΐς εμΊτρεττουσαν αΚτ^εσίν. ΗΛ. καυ μην οράς γε τταΰρα τών εμών κακών. ΟΡ. καΐ ττώς ηενοιτ αν τώνΚ ετ εχθίω βΧέττειν ; ΗΛ. οθούνεκ εΙμΙ τοις φονευσι σύντροφος. 1190 ΟΡ. τοις του ; ττόθεν τουτ εζεση μήνας κακόν ; ΗΛ. τοϊς ττατρος. είτα τοΐσΒε ΒουΧευω βια. ΟΡ. τις yap σ' avayKj] TyBe ττροτρεττεο βροτών ; ΗΛ. μητηρ καΧεΐταΐ' μητρί Β ούΒεν εζισοί. ΟΡ. TL Βρώσα ; ττοτερα χερσυν, i) Χύμτ) βίου ; 1195 ΗΛ. καΐ χ€ρσΙ καΐ Χύμαισυ καΐ ττάσιν κακοΐς. ΟΡ. ούΒ ουτταρηζων ούΒ ο κωΧυσων ττάρα; ΗΛ. ου ΒΡ]Θ\ ος ην yap μοι συ ττρονθηκας στΓοΒυν. ΟΡ. ώ ΒύστΓοτμ', ώς ορών σ εττοίκτίρω ττάΧαι. ΗΛ. μονός βροτών νυν ϊσθ εττοικτίρας ττοτε. 1200 44 COOOKAEOTC OP. μονός jap ηκω τοΐσι σοΐς aXycov κακοΐς. HA. ου 8η ΤΓοθ' ήμΐν ^vyyepv^ ηκβίς "πόθεν; ΟΡ. εγώ φράσαιμ αν, el το τώνΒ βΰνουν 'πάρα. ΗΛ. αλλ εστίν εννουν, ώστε ττρος ττιστας ερείς. ΟΡ. μεθες το8 αγγος νυν, οττως το ττάν μάθ-ρς. 1205 [Lays his hands on the urn, to ivhich, however, Elektra still clings.'\ ΗΛ. μη Βήτα ττροζ θεών τούτο μ ερ^άση, ξένε. ΟΡ. ΤΓίθοΰ Χέ'γοντί κούχ^ αμαρτήσει ττοτε. ΗΛ. μη ττρος ^ενείου, μη ζε\η τα φίΧτατα. ΟΡ. ου φημ εάσειν. ΗΛ. ώ Tokaiv εγώ σεθεν, ^ Ο ρέστα, της σης εΐ στερησομαι ταφής. 1210 ΟΡ. εύφημα φώνεί. ττρος Βίκης yap ου στένεις. ΗΛ. ιτώς τον θανόντ άΒεΧφον ου Ζίκη στ εν ω ; ΟΡ. ου σοί 7Γροσ7]κεί τήν^ε ττροσφωνεΐν φάτιν. ΗΛ. όντως άτιμος είμυ του τεθνηκοτος ; ΟΡ. άτιμος ούΒενος σύ• τούτο δ' ουγϊ σον. 1215 ΗΛ. είττερ y ^Ορεστου σώμα βαστάζω τοΒε. Ο Ρ. αλλ ουκ Ο ρέστου, ττΧην λόγω γ ήσκη- μένον. [Elektra releases the urn, which Orestes takes and gives to one of the Attendants.] ΗΛ. ΤΓοΰ δ' εστ εκείνου του ταΧαιττωρου τάφος; ΟΡ. ουκ εστί. του yap ζώντος ουκ εστίν τάφος. 1219 Ηλ. ττώς εϊττας, ώ τταΐ ; ΟΡ. ψεΰΒος ούΒεν ών λέγω. ΗΛΕΚΤΡΑ 45 Ηλ. η ζβ yap άνήρ ; ΟΡ. eiirep βμ.-^^νχο'^ η,χτΓίσ avcav. βσγον " ορμαν avavhov ovSe συν βοα κΆ.υουσα, τάλαινα' νυν δ ep^o) σ€' ττρούφάνης δέ 1285 φίΧτάταν έχων Ίτρυσοψίν, ας eyco ούδ' αν iv κακοίς Χαθοίμαν. ΟΡ. τα μεν ττερισσενοντα των Χό^ων άφες, καΐ μήτε μητηρ ώ? κακή ΒιΒασκε με μηθ ώ? ττατρωαν κτήσιν Αϊ'γισθος Βομων άντΧεΐ, τα δ' εκ'χεΐ, τα δε Βίασττείρεί μάτην. Xoyov yap αν σου καιρόν εζείρ^ου ■χρόνος, α δ' αρμόσει μοι τω τταροντι νυν γ^ρονω σημαιν , οττον φανέντες η κεκρυμμενοι 129. ^εΧωντας ε-χθρονς ττανσομεν ττ} νυν ο8ω. οΰτω δ οΊτως μητηρ σε μη ττιηνωσεται φαιΒρω Ίτροσώττω νων εττεΧθοντοιν Βομυυς• αλλ' ώς ειτ άτη τη μάτην ΧεΧε/μενη 48 COOOKAEOTC στέναζα' όταν yap βυτνχτησωμεν, Tore j(aipeLV Ίταρβσται καΐ jeXdv έΧβυθβρω^;. 1300 ΗΛ. άΧλ , ω κασί^νηθ , ώδ' οττως καΐ σοΙ φυλον καΐ τονμον εσται τ^δ • iirel τα<ζ ήΒονα^ ΤΓ^ο? σου Χαβοΰσα κούκ βμας €κτησαμην. KOvS' αν σβ Χυττησασα Ββξαυμην βράχων αύτη μ€Ύ evpelv κβρΒος. ου yap αν καΧώ<ζ ύττηρετοίην τω τταροντί Ζαυμονί. 1306 αλλ' οΐσθα μβν τάνθεΐ'Βε, ττώς yap ου ; κΧυων οθούνβκ ΑΙγί-σ^ο? μβν ου κατά στεγα?, μητηρ δ' iv οϊκοί<^' ην συ μη Ββίσης ττοθ ως yeXωτL• τούμον φαιΒρον οψβταί κάρα' 1310 μισός Τ6 yap τταΧαίον βντβτηκε μοί, κάττεί σ βσβιΒον, ου ττοτ €κΧηζω χαρά Βακρυρροοΰσα. ττώς yap αν Χηζαιμ βγω, ήτις μια σβ tjjS^ οδω θανόντα τ€ 1314 καΐ ζώντ έσβΐΒον ; 6ΪpyaσaL δε μ ασκοττα' ωστ el ιτατηρ μου ζών Ικοιτο, μηκβτ αν τέρας νομίζβιν αύτο, ττιστβύείν δ οράν. οτ οΰν τοίαύτην ημίν εζηκβίς οΒον, αρχ αύτος ώς σοι θυμός. ως iyω μονή ουκ αν Βυοΐν ήμαρτον η yap αν καΧώς 1320 βσωσ εμαυτην, η καΧως αττωΧομην. ΧΟ. σLydv εττγνβσ * ως eV ε^οδω κΧυω των βνΒοθβν χωρουντος. ΗΛ. €ίσίτ , ω ξένου, άΧΧως τε καΐ φέροντες οΓ αν ούτε τις Βόμων άττώσαίτ ούτ αν ήσθευη Χαβων. 1325 [Enter the Pawagogos from the palace.] ΗΛΕΚΤΡΑ 49 ΠΑ. ώ irXelara μώρού καΐ φρβνών τητώμβνοι, ττότβρα 7Γ<χρ' ouSev του βίου κη^εσθ^ έ'τί-, η νοΰ^ eveaTLV ούτίς ύμίν εγγει^?;?, οτ ου τταρ αύτοΐς, αλλ eV αύτοΐσιν κακοΐς τοίσίν μ6<^ίστοί<ζ οντβς ου yiyvcaaKere ; 1330 αλλ' ei σταθμοΐσι τοΐσΒβ μη κυρουν εγω irakai φυΧάσσων, ην αν υμίν iv Βομοί<ζ ' τα Βρώμ6ν υμών ττροσθβν ή τα σώματα' νυν δ βύλάββιαν τών^β ιτρούΘβμην iyoo. καΐ νυν άτΓ αΧλα'χ^θέντβ των μακρών λογωζν κα\ τή<ζ άττΧηστου τήσ^β συν χαρ^ βοή<ζ βϊσω τταρελθβθ , ώ? το μβν μεΧλβίν κακόν εν τοις τοίουτοί<=; βστ , αττηΧλάγθαι δ άκμη. ΟΡ. ττώ? ούν €χ€ί τάντεΰθβν είσιοντι μοι ; ΠΑ. καΧώς. υττάργβί yap σε μη ^νώναί τίνα. ΟΡ. ηγγειΧας, ώς εοίκεν, ώς τεθνηκοτα. 1341 ΠΑ. et9 τών εν '^\\ώου μάνθαν ivOah^ ων άνηρ. ΟΡ. γαίρουσιν ούν τούτοισυν ; i) τίνε<^ Xoyoc ; ΠΑ. τεΧου μένων εΧιτοιμϋ αν ώ<ς 8ε νυν εχεί, καΧώς τα κείνων ττάντα, και τα μη καΧώς. Ηλ. τ/? ουτός εστ, άΒεΧφέ ; ττρος θεών φρασον. ΟΡ. ούχΙ ζυνίης ; Ηλ. ούΒέ y 69 θυμον φέρω. ΟΡ. ουκ οίσθ' οτω μ ε8ωκας e? %e/3a.9 ττοτε ; Ηλ. τΓοίω ; τί φωνεΐ<; ; ΟΡ. ου το Φωκίων ττεΒον ύττεξεττεμφθην ση ττρομηθία γεροΐν. 1350 Ηλ. η κείνος ούτος 6ν ττοτ εκ ττοΧΧών εyω μόνον ΊΓροσηΰρον τηστον εν ττατρος φονω ; ΟΡ. οδ' εστί' μη μ εXεyχε ττΧείοσιν Xoyot^. Ε 50 COOOKAEOTC Ηλ. ώ φίΧτατον φως, ω μονός σωτηρ ^ομων ^ Α-^αμεμνονος, ττώς ηΧθ€<; ; η συ κείνος el, ος rovhe κάμ έσωσα? εκ ττοΧλών ττονων ; ω φίΧταταί μεν γείρες, ήδιστον δ' ε-χων 1357 ΤΓοΒών ύττηρετημα, ττώ? ούτω ircCkai ξυνών μ εΧηθες ούδ' έφαινες, άΧλά με \GyoL•ς άττώΧλυς, epν δύο εΐδη θωμεν τνείθου^ ; 83, άρχΗΓετεΪΝ "(a verb which occurs only here) not merely = αρχεσθαι, but rather ' to make an ausjncious beginning' (Lat. auspicari), as άρχη-/έτη$ denoted the god or hero to whom a city or family traced its origin. This title was especially given to Apollo " (Jebb ; who transl. ' make a fair beginning '). 84. λουτρά: "the λοιβαί of v. 52, the ττη-γαΐ yakaKTos of 895, regarded as ofterings demanded by purity " (Jebb). NOTES 65 φέρει . . έφ' hjuTn : lit. brings {and j^loccs) in our potver. NiKHN : actual victory ; κράτοα tcon dpcuJueNUN : superiority, 'the best of it,' during the struggle. Transl. ' places victory in our hands and the mastery as we contend.' 86-120. A eprjvos airb σκηνψ. Aigisthos being in the country on this day (313), Elektra is emboldened to break her prison. As she comes forth from the polluted house, whose moral atmosphere stifles her, she naturally greets the fresh air of heaven and the pure light of the just-risen sun. 87. rftc icojuoip' άύρ, ' air, that breathest o'er all the earth ' ; lit. having an equal share (of space) v:ith the earth, i.e. co- extensive vnth. So Jebb and others. The objections to this are (1) that elsewhere the gen. with Ισομοιρο% denotes the thing shared, the partner being in the dat. ; (2) the thing shared (space) is not expressed ; (3) Elektra Λvould hardly be made to conceive of space as distinct from άήρ or αίθ-ηρ. I believe the construction to be αηρ 777s ίσόμοίρβ τφ φάβι, ' air that pervadest the earth equally with the sunlight.' This suits Hceou below ; for the sing, there shows that in Elektra's thought ' light and air' form practically one idea, sun-illumined air. Transl., 'and thou air. diffused no less o'er all the earth.' Cp. P.V. 88 If. ώ 5ios αίθηρ /cat ταχύπτβροι ττνοαί, ΤΓΟταμών re ττηΎαί, ποντίων re κυμάτων άν-ήρίθμον Ύβλασμα, τταμμητόρ re yi], καΐ τον ττανότττην κύκΧον ηΧίον καλώ • ϊδβσθέ μ! οία ττροί θέων ττάσχω debs. Since writing this note, I find that Kaibel takes the same view. 88. epHNcoN φδάο, 'the strains of my lamentations.' 89. ONTHpeic . . aijuaccojueNWN, ' blows striking my breast, Avhich they made bleed.' 91. ύπολειφθΗ : note subjunct. following Hceou. The opt. would obviously have implied that her laments were ηολν a thing of the past. 92. τά "bk παΝΝυχίδωΝ, In such phrases the neut. art. with gen. of substantive is not a mere periphrasis for the subst. alone. The meaning here is ' the circumstances, conditions of my ττανννχίζβί.^ Similarly το σον means not simply σύ but thy circumstances, behaviour, feelings, etc. Cp. 261, 522 n. The ττανννχίί (sc. εορτή) was a joyous festival held at night (cp. Ar. iian. 445 ("γώ 5e συν ταΐσιν KOpais βΊμι καΐ yvvai^iv, ου 66 ELEKTRA ττανννχίζουσίν θβα, \ φβ'γ'/οζ ipbv οϊσων), so there is a pathetic irony in tlie use of tlie word here. Transl. ' and with wliat festival I cheer the night, the hateful hours that I spend on my bed in this miserable house by this time know full well.' The pi. euNQi seems to denote times spent in bed rather than the bed itself. 94. oca epHNW κτλ. : epexegetic of τά παΝΝυχΟοοΝ. 95. ON . . έϊέΝίςεΝ, ' for whom not the \Var-god in the foreign -land made feast.' The feast of Ares is death in battle. By the use of the word here the poet clearly suggests a con- trast with the banquet prepared for Agamemnon by his wife and Aigisthos, at which they killed him. Aiscliylos represents Agamemnon as killed by Klj^taimnestra alone, %vhen in a bath ; cp. Ag. 1382 if. aweipov άμφίβΧηστρον, ώσττερ ιχθύων, I ΤΓερίστιχίΙ'ω, ττΧουτον β'ίματο$ κακόν, τταίω δέ νιν δί$' κάν δυοίν οίμώΎμασί | μ^θηκβν αύτοΰ κώλα• καΐ ττεπτωκότι | τρίτην iirev- δίδωμί. Sophokles follows the version of the Odyssey, 11. 409-11 — άλλα μοι Aiyiados rev^as θάνατον re μόρον re 'έκτα συν ούΧομέντ] άΧόχφ, οΐκόνδβ καΧβσσαζ, δεί7Γνίσσα$, ώ$ τί$ τβ κατέκτανε βουν βττΐ φάτνχι. 98. Sncuc dpuN uXoTOJULoi : not ' Avith as little pity ' (some edd.) ; the War-god would have been pitiless. The purjiose of the simile rather seems to emphasise the banalite oi the great Agamemnon's end, as contrasted with the noble death which might liave been his on the battle-field. This idea is not absent from the Homeric simile, (bs t'ls re κατέκτανε βουν ewl φάτνΎ] ; though the obvious point of that lies in the comparison of the king at his table with the ox feeding at the manger. 99. ON (v. 95) has been taken as the obj. of οχίζουα, and κάρα as ace. defining the part ; but it seems more natural to take κάρα as the obj. 100. κούδειο . . oTktoc κτλ., 'and no cry of lamentation for these things rises from any lips save mine.' 105. acTpwN pinac : exactly what Tennyson calls, the 'tingling stars.' The construction is pLiras (μεν) ^μαρ δέ Χεύσσω, but it is slightly obscured by the writing of λεύοοω before Hjuap, and the omission of μβν, which in such cases is commonly inserted. Similar instances are very common, but often puzzling to young students. Cp. Hor. sed idem \ pads eras mediusque belli, for hellique medius. 108. έπι κωκυτω : Jebb well remarks that the " prep, is not merely = 'with,' but imi)lies 'with coiUinual wailing.'" He NOTES 67 cp. Ant. 759 ού . . χαίρων έιτί xpoyoLai devuaaeis έμΑ, and Tro. 315 eiri δάκρνσί καΐ | γόοίσι τον θανόντα πατέρα . . καταστένονσ' exeis. 109. Ηχώ . . προφωΝεΪΝ, 'lift up my voice.' 111. χθΟΝί' 'EpjuH : addressed as ψυχοττομ-πό^, and as the god who (cp. 1396) δολον Kpi>\pas Avill guide Orestes to his vengeance. In the opening λυοιτΙβ of the Clioeph. Orestes addresses him, 'Ep/x?? χθόνια, ττατρφ' εττοτττβύων κράτη. πότΝΐ* Άρά, Ό mighty Curse' ; Agamemnon's curse on his murderers personified. Cp. Theb. 70 άρά τ' 'Eptvvs -πατρόν -η μβ-γασθβνψ, where, however, the curse is identified with the avenging Erinys. In Eu7n. 417 the Erinyes say that they are called Άραί in the underworld. 112. cejuiNai : an epithet specially associated with the Erinyes at Athens. They Avere sometimes called simply Σεμναί, the Dread Ones. θεώΝ παΐδεο : "in the general sense that they are called into existence and activity by the resolve of the gods to punish guilt ; cp. Ant. 1075 "Αώου καΐ θεών 'Epivves. Mythologically the Erinyes are Τψ re καΐ Σκότον Kopat, O.C. 40" (Jebb). 114. Toiic cuNdc unoKXenTOJueNOuc, ' Avhose beds are secretly dishonoured.' The construction is the common one of verbs of depriving when used in the pass., as αφαιρούμαι τι. 115. Teicacee : this, rather than τίσασθε, is ηοΛν established as the correct spelling for the oth cent. B.C. On the other hand οικτίρω, not οίκτείρω should be written. The first syllable οϊ.τΓοιέω should, if the metre permits, be written πο- when an e ox 7] follows. Thus we write iroeiv, ττοήσω, but ττοιοΰμεν. 116. For the combination of Hjuexeppu, — 'my,' and ixoi Jebb cp. A7if. 734 ttOXls yap ημΐν αμέ χρη τάσσει,ν epel ; 119. areiN : a synonym of εΚκω in the sense draw wp, said of that Λvhich in one pan of the scales draws up the weight in the other, \vhile itself sinks down, ρέ-πει (cp. άΝτίρροποΝ, v. 120). Thus ayeiv (ελκειν) τάΧαντον means 'to weigh a talent.' Transl. ' For alone I have no longer strength to counterpoise the weight of sorrow that sinks the scale against me.' ccuKU) : the root is very rare, occurring, apparently, only here and JSum. 36 in the verb, and in an adj. σώ /fos, ' strong,' used as an epithet of Hermes 11. 20. 72, and as a proper name II. 11. 427. 120-250. Parodos. See Introduction. 123. For Taxerc oiuicoraN — ' pour out (lit. make liquid) a lamentation ' see on v. 37. 'ArajuejuiNONa (125) is obj. of 68 ELEKTRA TaKeic-oijucoraN together as equivalent to οΙμώΙ'€ί$. Cp. 556, 710 ; Theb. 277 ξ'ωττνροΰσί τάρβο^ \ τον άμφίτβίχη λβών = avay- κάζονσί μβ ταρβεΐν, ' compel mg to feel dread of the host that com{)asseth the wall ' ; Med. 205 \iyvpa δ' άχεα . . βog. τον . . ττροδόταν, ' with wailing of her woes, cries out upon the traitor.' Transl. ' why dost thou ever thus pour forth un- satisfied lament for Agamemnon, long ago most impiously- enmeshed in thy crafty mother's wiles and treacherously slain by a coward's hand ? ' 126. cbc κτλ., ' perish the purveyor of that deed !' Aigisthos alone is not I'eferred to ; the Chorus mean both or either, who- ever contrived the crime. el eeuic κτλ. : since they are speaking of their rulers. Cp. 3iecL 83 δλοιτο μεν — μή• δεσπότη? yap €στ' έμ6$. 129. ώ ΓΕΝέθλα rewNaicoN, 'ah, loyal hearts, ' lit. offspring of loyal parents. 130. παραΛλύθίΟΝ might be a nora. in apposition to νμεΐ$ the subject of Ηκετε, but is better taken as an adverbial ace. ('to comfort,' lit. hy way of consolation) M^.e'WKev-qv κτάνωμεν Μενελέφ λύπην ττικράν. The grammars and edd. all regard such accusatives as ' in apposition to the sentence ' ; but I venture to think that the existence of so unlikely a con- struction has yet to be proved. On the other hand, a very free adverbial use of the ace. of substantives (especially in Homer) is one of the most characteristic features of the Greek language, and it is difficult to understand why accusatives like the present should not belong to the same category. Could anything be more flat and tasteless than to transl. ρίψει χειρό? ελών άττό TTUpyov Xvypov ολεθρον, 'shall fling him from the wall, a miserable death ' ? Cp. Ag. 224 'έτ\α δ' odv θυτηρ yεvέσθaL OvyaTpos yυvaLKO■πoίvωv ττολέμων apwyav : AlJc. 6 και με θητεύει,ν . . τώνδ' ατΓΟίν' ■ηvάyκaσεv : and v. 564 below. The impossibility of the apposition view is clearly seen in the case of a question, e.g. P. V. 563 t'lvos άμττλακία? iroLvas όλέκει ; ' in punishment for what crime art thou being tortured ? ' Words in apposition always make an independent statement ; they could be replaced by a rel. clause, and the construction of the sentence is complete without the apposition. Here, then, the meaning would be 'Art thou being tortured? ΛVhich thing is a punishment for what ? ' But the Nymphs know he is being tortured ; they want to know why ; and t'lvos . . ttolvus is this adverb ' why ' in another form. 132 f. ούδ' for αλλ' ουκ, προλιπεΐΝ τόδε, ' desert this duty.' uk ou κτλ. is epexegetic of these words, μη ov can be used for the simple μή with inf. or part, in a subordinate NOTES 69 clause, when tlie verb of the principal clause is neg. or quasi- neg. For the predicative position of the attributive adj. αθλιΟΝ cp. 11-43 ttjs έμψ πάλαι τροφψ, \ άνωφζΧήτον. The epithet is in fact a predicate, and we should transl. " my father so ill-fated' ; in 1144 'so unavailing.' 134. αλλ' ώ κτλ., ' nay, for your love answers mine in completest sympathy ' ; lit. ye who rediirocatc the Tcindliness of affection in its every phase. 137. ouTOi : TOL is especially appropriate where the person addressed is not expected to deny the statement it prefaces. Transl. 'but, as thou knowest,' etc. ton γ' κτλ. for τον έν Άίδα ουκ έξ Άΐδα άναστήσβί?. 139. The concluding syllables -τε λιταΤοΝ should correspond to οίμω^άν of the strophic verse 123, but no plausible correction has been suggested. 140. άλλ' άπό κτλ. : the connexion of this sentence with the preceding is as follows : ' Your laments Avill not restore your father to life, and yott know it ; but refusing to control your feeliugs, you still give yourself up to the indulgence of your grief, useless as this course is.' άπό and έπΊ can be projierly used Λνΐΐΐι διόλλυοαι, because οΚΧνμι properly means to lose, and its middle voice to pass aioay out of sight, Lat. per-eo. Transl. ' but moderation scorned, with perpetual lamenting thou givest thyself, to thy undoing, to a grief that will not be cured.' The meaning is that she is killing herself by obstinately nursing her grief. 142. έΝ oTc : en quoi, ' in which course,' 'wherein.' 144. τί juoi κτλ., ' why, tell me, this passion to bear an evil burden ? ' 145. τώΝ with οίχολίέΝωΝ, not with roNecoN : ' those who have piteously perished, his parents.' In lyrics των -γονέων would mean 'those parents.' 146. έπιλάθεται. To Elektra's passionate nature to cease to mourn is to forget. 147. The general sense is 'i sympathise with the temper of the nightingale.' Transl. '']so,my heart approves the bird of sorrow.' Note the ace. (instead of the usual dat.) Avith opecKco. There are other instances both in prose and verse. 148. Mark the variation in the quantity in "Ιτΰν . . "Itvu. "The reiterated "Itw was found in the nightingale's note" (Jebb). 149. αΓΓ€λοο : as heralding the spring. 70 ELEKTRA 150. For the position of δέ cp. Or. 622 Με?Άαβ, σοΙ 5e τάδε \έyω. eeoN, 'divine,' something more than a mere \voman. In Elektra's view she is ennobled by the persistence of her mourning. 151. τάφω πετραίω. After the death of her children, Niobe sat grieving on Mt. Sipylos in Lydia. She gradually turned into stone, and became part of the rock on which slie was seated. The process of her petrifaction is expressed by Soph, in Ant. 826 b}^ Trerpaia βλάστα δάμασεν, ' the growth of stone made an end of her.' The story is told //. 24. 602 ft". dre (ητε) is fem. of the epic 6s re. 153 ft". The connexion of thought seems to be: 'Whatever may be the special cause Avhich rouses you to these transports, remember that there are other suff"erers in the world besides yourself, seeing how unhappy are the lives of your sisters and brother.' Transl. 'not to thee alone in the world, daughter, as thou knowest (coi, see on 137), . . whatever be that which moves thee to wilder transports than those within, thy kin by blood and very sisters, seeing how Chrysothemis and Iphianassa live, and he who spends his banished youth in sorrow, though happ}•, in that some day,' etc. The gen. τώΝ eN^oN as after words of comparison. οΥα κτλ. : an exclamatory clause used subordinately ; see on 751. The Chorus suggest that Chrysothemis and Iphianassa are not really happy. άχέωΝ is the participle of άχέω. 158. Sophokles, according to the Schol., follows the Kypria (a lost epic) in giving the daughters of Agamemnon as four. In //. 9. 145 they are Χρνσόθ€μι$ καΐ Ααοδίκη καΐ Ίφιάνασσα. If, as is natural, the Homeric Iphianassa is to be identified with Iphigeneia, it follows that the story of the sacrifice at Aulis is unknown to Homer, since she is still alive during the siege of Troy. See note on 10 ad fin. There is no hiatus in καί ΊφιάΝαςςα, as ίψι is for Ριφι. 160. oXBioc, ON : the simple rel. instead of the more usual bs ye or oVrts, introducing a causal clause : as often. Cp. 261, 959. 162. εύπατρίδαΝ : proleptic ; shall receive so that he recovers his status as €νπατρ'ώη3, a noble of the land. Transl., 'shall receiA^e and make a prince again.' 163. BhijuaTi, if genuine, must have the transitive sense of τΓομτΓΎ], ' by Zeus' sending,' which Jebb thinks is not too bold for Sophokles. But the use is unexampled and highly improbable. It is more likely that Διόο is corrupt, and that Λνβ should read NOTES 71 ποδόο (Haupt). ΌρέοταΝ, which is reserved to the end for emphasis, is naturally drawn into the case of on. 165. οίχΝώ, 'go about.' 166. ton: demonstrative, 'this my never-ending doom of trouble.' oTton βχουοα : one of many echoes of Homer which earned for Sophokles the name φϊΚόμηρο^. Cp. //. 9. 563 άΧκνόνο^ iroXinrevdeos οΐτον βχονσα. 169. ωΝ τ' tban : her messages sent to Pliokis, informing Orestes of the full meaning of the crime that had necessitated his flight (when he was too young to understand it all) and of the subsequent developments. 170. onaTcojueNON : the construction seems to me to be the I^assive form of that described in the note on v. 37. As άπαταν ά•γγε\ίαν would mean to send a deceiving message, so a77eXia άτταταταί will mean a deceiving message is sent. ' What message comes that is not deceiving ? ' It is difficult to see how the word could mean belied by the result, as it is generally taken. See on 1071. 171. noeeT, ποθοον δ': cp. 319 φ-ησίν ye- φάσκων δ' ούδ^ ών \eyeL Troet. 174. ούραΝω : for the omission of eV cp. 313 vvu δ' ay ροΐσι Tvyxavei, 747, 1331. 176, For the demonstr. ton see on 166. Transl. 'leaving that exceeding bitter wrath of thine to Zeus ' ; since vengeance is his prerogative. 177. oTc : by attraction for ovs. juht' έπιλάθου : we must translate, ' and yet forget not.' For a similar co-ordination of clauses logically opposed cp. Ion 72 [ws] γάμοι re Αοξίον \ κρυπτοί yevwvraL irals τ βχτ] τα ττρόσφορα, 'and yet the child mav have his own.' The Chorus, while deprecating extravagance of behaviour on Elektra's part, cannot counsel her to forget. 179. eojuapHC ©eoc, 'a divinity that soothes.' For the title of deos applied to xpouos cp. 0. T. 27, where the pestilence is called ό πυρφόροι debs. 180. KpTcaN : the region as well as the town, okton is in apposition to KpTcaN. " Crisa was the earliest seat of trade on the western sea; Delphi, when first founded, was merely a sanctuary in its territory. . . Cirrha, a town of much later date, was the port of Crisa on the gulf. About 585 B.C. the Delphians, aided by Cleisthenes of Sicyon and his allies, succeeded, after a long struggle, in humbling Crisa and destroying Cirrha. The 72 ELEKTEA Crisaean plain was then devoted to Apollo, whose domain was thus extended from his temple to the coast. When Sophocles wrote, that ground was still a βούνομ.ο% ακτή, inviolable by plough or spade. It was not till the middle of the next century that the alleged encroachments of Amphissa on the iepa χώρα gave a pretext for war to the Amphiktyons (355 B.C.) " (Jebb). 184. ό . . eebc onoccwn : the god is Hades, to whom as an avenger Elektra has ap[)ealed in 110. For the predicative position of ONacccoN cp. 283 n. 186. ONeXnicToc : predicative, 'and hope has gone.' 187. τ€κέωΝ : a certain correction οι τοκέων of the mss. 189. ^noiKOc, 'alien.' 190. oiKONOJuoi), 'I order.' She performed menial duties in the house. 192. KENaTc : hyperbolical for 'poorly furnished.' But άκφίαταηαι is apparently literal ; she must take her food standing, eating the remains of the meals served at Aigisthos' table. 193. οικτρά κτλ., ' piteous was the cry at the returning, and piteous the cry from thy father's couch (at the table) when swift upon him fell the unerring blow of the axe of bronze.' The NocToic clause refers (so Jebb) to the cries uttered by Kassandra when she approached the palace ; see the whole of the fine scene, Ag. 1080 if. and Introd. p. xii. 195. OTe oi : there is no hiatus, as oi had the digamma. The weapon was a double-bladed TreXeKvs (i.e. having a blade on each side of the haft) ; hence the pi. τεΝύωΝ. Cp. 485 άμφάκη5 7είΊ'ϊ. 197. δόλοο κτλ.: 'Guile was the plotter. Lust the slayer' (Jebb). epoc : the epic form of έ'ρω?. 198. δείΝάΝ deiNCoc κτλ., 'Avith dread engendering of a dreadful shape.' " The Chorus doubt whether the agenc}' in the terrible crime was merely human. Perchance an evil δαίμων Avas there, working out the curse on the line of Pelops (504-515). The δβίνή μορφή, offspring of doXos and ^pos, is the act of murder, embodied in tlie image of a supernatural άλάστωρ " (Jebb). 202. πλέοΝ . . έχθ^τα, 'more utterly horrible,' lit. onost horrible to a greater degree. Cp. Ant. 1210 μάλλον ασσον. 203. deinNWN κτλ., ' Ο shocking crime of feast unspeakable, NOTES 73 the shameful death-strokes which my father saw from the hands of two.' The clause touc ejuoc κτλ. (on which see below) is explanatory of αχοΗ (poetic pi. for οίχθοί, calamity), by which Avord she desic,niates the murder in its relation to herself. diBujuaiN χειροΪΝ : of Klytaimnestra and Aigisthos. as is shown by the pi. ok in 209. touc ( = ouc) . . oaNOTOUc : for θάνατοι, ovs Oavarovs eTde ττατήρ,- the antecedent θάνατοι being omitted. A complete rel. sentence contains the antecedent repeated in the rel. clause, e.g. θάνατοι ovs θανάτον$ eI5e. As a rule the subst. is not repeated in the rel. clause, and we get θάνατοι ovs eide. If the antecedent is omitted, and the subst. retained in the rel. clause, we get ovs θάνατον; eWe. Kot in- frequently in such a case Ave find the subst. and rel. transposed, as in urbem quain statuo vestra est (for quavi ii7'bem). This is commonly explained as an ' attraction of the antecedent into the case of the relative,' a view which the account given above is intended to controvert. Cp. Theb. 400 και νύκτα ταύτην ην Xe7fts έττ' άσττίδι, \ τάχ hv '^/ένοιτο μάντι^ η άνοια τινί ; Plaut. 3iost. 2δ0 '))iulier quae se suamque aetatem s'pernit, specula ci usus est, for quae inulier. 207. εΐλοΝ κτλ., ' with treachery made my life a captive's life, and ruined it.' 209. oic : the two murderers, implied in διδνμαιν χβφοΊν, 206. 210. For the alliteration cp. O.T. 371 TvcpXbs τά τ ώτα τόν Te νονν τά r' δμματ' et : 3Ied. 476 'έσωσα σ\ ώ$ ϊσασιν Ελλήνων όσοι (Meclea hisses out the words to Jason). There are many alliterations in Homer which do not appear to be intentional. 211. άποΝαίατο^άτΓ-όΐ'αίί'το. The form (which is Ionic) is common in Homer and fairly frequent in Attic, both in prose and verse. arXaiac, 'their triumph.' For the uses of the word, which originally means brightness, splendour, see Lex. 213. φράζου κτλ., 'beware, and say no more.' The inf. is epexegetic. Cp. φρά^βν κύνα, ' beware of the dog,' Ar. Eq. 1030 ; φράζ€θ δη μή . . μΛρψη, Pax 1065. In Eum. 130 one of the Furies, hunting Orestes in her dreams, cries out Xa/3e, \αβέ, λαβε, λαβε, φράξου, 'mark him.' In the sense of beware, the word does not appear to be used elsewhere with an inf. 214. es οΥωΝ : in consequence of what conduct. 215. okeiac, 'self-inflicted.' Cp. O.C. 765 olkgiois κακοΐ$ I νοσοννθ' (Oidipous speaks of himself) ; Ai. 260 οίκεΐα πάθη \ μηδ€vόs άλλου τταραιτράξαντο^. τά παροΝτ', ' e'en now, ' as it is ' ; lit. with regard to 2)resent circumstances. ^«■iO 74 ELEKTRA 217. πολϋ rap κτλ., 'for thou hast reaped much needless trouble ' ; lit. least acquired much trouble in ej'cess (of what was inevitable). 218. Buceujuco . . ψυχα, Obstinate spirit.' 219. τά δέ κτλ., ' but such battle may not be fought in engagement with the strong.' πλάθείΝ (epexegetic) amplifies epicTO, lit. so as to conflict with them. 221. BeiNOic, 'horrors.' 222. oprd : the δύσθνμο$ ψυχή with which the Chorus reproached her in 218. βΞοιδα governs opyav understood : ' I know my passionate nature, it escapes me not.' 223. άλλα . . rap : there is an ellipse, ' but your rebukes are vain, for,' etc. See Appendix I. 224 f. brae : in its orig. sense, infatuation. Cp. II. 16. 805 rov δ' άτη φρέρα$ elXe. The pi. denotes exhibitions of infatua- tion : 'these mad lamentings.' Cp. 92 n. ad fin. οχΗοω, 'stifle.' <^leasure is felt there' (in Hades). χάριε Mi. =gr at ification ; et rots έκβί χαρίξ'βσθαί έστί. 357. HJULiN : ethic dat. 359. ouN, 'now.' usn is answered by δε in 361. 0\\ μ^ν ovv in combination see Appendix I. 82 ELEKTRA 362. nepippeiTco Bioc, 'live in affluence.' βίο^ and βίοτο^ were both commonly used in the sense oi wealth, substance : cp. Eur. Su'pp. 861 φ βίο$ μ^ν ην ττολύί ; Plut. 751 βίον €χοντβ$ oXiyop. 363. έuoi rap κτλ.: Jebb translates, 'For me let it be food enough that I do not pain myself (by a base compliance with the murderers).' If we accept this interpretation, we must suppose that the context sufficiently deiines the nature of the λύπη. In Cycl. 338 Xvireiu 5e μηδέν αυτόν means 'not to worry one's self, put one's self out.' Some ecld. read XunouN, but that Avould |ioint to indigestion. There are many emendations, all unsatisfactory. For έ:ηέ = €μαντήν cp. 363. If we are to correct (and the passage is certainly not above suspicion), I should suggest τούχι,έ juh ύφεΪΝαι, ^not to sub- mit' ; cp. 361 ύτΓβΐ!:άθοίμί, and 335 ύφείμένη. That the synizesis is easy is shown by words like ηϋρον. 364. τυχεϊΝ : epexegetic. 366. KexXficeai: cp. 64 n., 230 n. 368. φίλουα : Elektra and Orestes. 369. juhBsn : sc. ecTrys. The extreme bitterness of Elektra's last words calls forth a protest from the Chorus. 370. ά^φοΐΝ is better taken as dat. than geu. ; ' for both of you.' 372. nooc modifies ueac = '})iore or less. Transl. 'have some experience of her language.' 373. kuMHCQHti, 'should not have broached the matter,' i.e. Elektra's behaviour. 376. 9h, temporal : 'now,' 'at once.' See Appendix I. 377. JueTzoN, 'worse.' Cp. Dido's quae me ad maiora reservo? άΝτείπουυιι, 'argue.' 378. άλλα, 'nay.' 379. rap : the prefatory yap which in Greek almost invari- ably introduces a narrative. 380. ^Νθα JUH : ^νθα ου might have been used, xxh makes the clause consecutive, =m locum uhi {talem ut ibi) nan sis visura. 3S1. κατΗρεφεΤ CTerw, 'a close-roofed prison.' Aigisthos and Klytaimnestra perhaps intend nothing short of Elektra's death. If so, it is to be brouglit about in the same manner as Antigone's ; she is to be immured alive. A wide-spread NOTES 83 law among primitive peoples forbade the shedding of tribal, and esp. of royal blood ; and Greek legend affords several instances of an endeavour to avoid the pollution consequent upon such an act by the burial of royal persons alive. They were placed in a cell-like tomb, together with a small quantity of food, and then securely shut in. Since the victim might, and probably would, commit suicide, those who inflicted the punishment could argue that there was no proof that they had caused the actual death. Antigone in fact did put an end to herself. Unfaithful A^estals (who were regarded as royal persons) were treated in the same Avay, and doubtless for the same reason. Cp. my note on Ant. 775. XeoNOc THcB' έκτόα seems to imply a fear of rescue by sympathising Mykeneans. 384. fiN καλώ, ' now tkou mayst be wise in time ' ; lit. ηοιυ is a good time to be icise. 385. H. . "^ύ — Ύΐοη, 'at last.' καί emphasises βεβονλβννται. ' Have they indeed at last resolved ? ' 386. οταΝ nep, 'the very moment that.' 387. τοΟδέ γ' ounek', 'for aught I care' ; jj)??• me licet. 388. ' perverse one ! What Avas that awful prayer 1 ' Chrysothemis cannot believe her ears. For τάλαΐΝα see on 275. 391. Xote the bitterness of ujucon, by Avhich Elektra now classes Chrysothemis definitely Avith her enemies. npocco- τατα ('for the regular Attic form προσωτάτω) does not occur elsewhere. 393. KaXbc rap, ' ah, yes, my life is pleasant beyond belief ! ' 397. ' Be thine this fawning ! ' ταΟτα : adA^erbial. 399. TiJucopou-ueNoi : when a woman uses the pi. in speaking of herself she uses the masc. Instances are numerous. 400. TouTCON, 'what I do.' The excuse is characteristic of a weak natui'c. 401. 'Such sayings are for the coward to ap])rove. ' For npoc = befifting cp. Ag. 1636 ^ κάρτα irpos yvvaiKos έσην, ''tis like a Avoman.' 403. ΛλΗ nco, ' not yet.' The addition of πω, like the yet in the English, gives a slightly sarcastic touch ; cp. O.T. 594 ονττω τοσούτον ήτΓατημ4νο5 κνρω. 404. όδου : partitive with oTnep, like ottol yrjs, 922. ecraXHN, 'set forth.' 84 ELEKTRA 405. ejunupa "probably refers to some articles of food, per- haps cakes, which she (or a handmaid) was cairying to be burned at the grave. Thus Lucian, speaking of offerings to the dead, s,a.yu {Charon 22), καίονσί re τά ττόλυτελη δεΐττνα, καΐ is τά ορύγματα όΐνον καΐ μεΧίκρατον, ώ? youv βΐκάσαι, έκχ^ουσίν. Chrysothemis in her reply naturally speaks of the χοαί, since they formed tlie most characteristic part of the rite. But it seems impossible that the word βμπυρα should directly denote the libations, as was supposed by the schol. . . There is nothing to show that the term εμττνρα, 'burnt -offerings,' Λ^\α3 ever extended to offerings generally, or that ^μττνρα could mean ' offerings at a ττυρά ' (as the grave is called in 901) " (Jebb). 406. TUJuBeOcai : the verb means (1) 'to put in a grave,' (2) * to put 0)1 a grave,' as here, (3) ' to be in a grave' {Ant. 888 }^ώσα τνμββν€ΐν). For χοάο see on 269. 410. δοκεΐΝ euoi. The inf. is the dat. of a verbal noun, so that its independent use in such expressions as this {for, as regards, seeming, 'as it seems'), ώ? eiTreu>, 'so to speak,' εκών eXvai, 'willingly,' and the like, is quite natural. So the epexegetic inf. is to be explained. 411. άλλα, 'at any rate' ; cp. 41.5, Med. 912 άλλα τω χρόνω. In this sense αλλά must precede the word it emphasises. The news that Klytaimnestra has had a terrifying dream is hailed by Elektra as a hopeful omen. 414. πλίΗΝ κτλ. : lit. except to a small extent, for telling ; i.e. Ί know but little that I can tell thee.' 419. έφέοτιΟΝ : apparently by the hearth in the μί-γαρον. the floor of which was mere earth. 420. ούφόρει κτλ. : cp. 268. This οκΗπτροΝ had a history, as we learn from Jl. 2. 101 ff. Hephaistos made it for Zeus, from whom it passed successively to Hermes, Pelops, Atreus, Thyestes, Agamemnon. 422. φ . . reweceai : by a fairly common anacoluthon relative clauses in reported speech in Greek have a tendency to be constructed with the inf. instead of the regular opt. ; cp. Thuc. 2. 102 Xeyerai de καΐ ΆλκμαίωΡί . ., ore δη άλασ θ a l avrbv μετά τον φόνον ttjs μητρό';, τον ΆττόΧλω ταντην την yijv χρησαί οίκεΐν. 424. του : some servant, who overheard Klytaimnestra at a moment when she thought she had no listeners. Ήλίω : τοΓ? yap τταλαιοΓ? βθοΐ ην άττοτροτηαζομένον^ (in an endeavour to avert any evil foreboded) τω ήλίφ όίη^εΐσθαι. τά όνείρατα NOTES 85 (Schol.)• The sun Avas selected, as being the dispeller of moral as Avell as physical darkness. 428-30. The Mss. with one exceptiuii give the verses to Elektra, to whom they are quite unsuitable. The mistake seems to have arisen from an inability to see their connexion with Avhat precedes, if they are given to Chrysothemis. The con- nexion is not quite clear, but seems to be this. ' I have already ^varned you that, if you will not moderate your behaviour, you are to be imprisoned ; and now I tell you of a dream which has so thoroughly alarmed your mother that she is less likely than ever to show you indulgence. I make, then, one last appeal to you not to rush upon your doom. ' Some edd. reject the verses. έΓΓ€Νθ2>Ν, 'of our race.' 430. cuN κακω, 'in the hour of trouble.' 431. άλλ', ώ φίλΗ, 'nay, dear one.' This sudden change in Elektra's feeling and manner is a fine and natural touch. Filled Avith fresh hope by the dream which so clearly forebodes evil to Klytaimnestra, she loses all the bitterness born of her despair ; and, confident of victory, can address Chrysothemis once more as a sister who will share in it. 432. ού . . eejuic, 'forbidden by usage' ; ούδ' ocion, 'impious.' Transl. ''twere an unlawful and unholy act.' 434. KTepicuara : the βμττνρα of 405. λουτρά : the χοαί. 435. πΝοαΤοΐΝ, 'to the winds Avith them.' To the Greeks there was no difficulty in supplying the suitable verb in either member of such a sentence as this : cp. F. V. 21 iV οϋτβ φωνην ovre τον μορφηρ βροτων | 'όψζί ; 726 infra. The suggestion ροαΐσιν for τΓΐΌαΐσιν needs to be mentioned only to be self-condemned by its tastelessness ; besides it could never have generated τΓΡοαΐσίν. Even this, however, pales before the brilliance of ττόαισίν, "in the grass.' βαουεκαφεϊ konci, 'deep -dug earth.' 436. εΝθα juh : see on 3S0. 437. άλλ' οταΝ θάΝΗ κτλ., Met them lie in the earth, stored treasures for her Avhen she shall die.' 439. άρχΗΝ . . ουκ, 'never at all'; omnino mi/i. Ογ). Ant. 92 άρχην δέ θ-ηραν ού τρέπει τάμ^ήχαρα. τλHJUONecτάτH : see on 275. 440. 3ucxi.eNeTc χοάε, ' oiferings of an enemy.' 441. έπέςτεφε : the impf. denotes attempt; 'have sought to grace.' X^^c . . τωδε : this is the primary con- struction of στέφω, xoals τόνοβ being secondary. The orig. 86 ELEKTRA notion of στέφω is to stuff, 'pack ; hence to set, place ; cp. //. 18. 205 6.μφΙ δβ oi κβψαλ^ v€(pos €στεφ€ δια θβάων. For the meaning 'to grace, adorn' cp. Od. 8. 170 αλλά debs μορφηρ ^TreaL στέφει, ' bnt tlie gods grace his (unpleasing) form witli (pleasing) speech.' 442. αύτΗ (Klytaimnestra) is in relation both to προοφιλώα and dezeceai (cjx Od. 16. 40 ώ$ άρα φωνήσα^ oi έδέξατο χάλκεο}^ iyxos). ' Ask th3'self Avhether the buried dead is likely to receive these honours Avitli kindly feeling from her by whose hand he was brutally slain.' For qtijuoc cp. 11 SI n. 445. έααοχαλίοθΗ, 'was arm- pitted,' from μασχάλη, tlic armpit. The corpse was buried with the extremities cut oil" and ])acked under the armpits. It was an almost universal l)rimitive belief that mutilation of the dead prevented them taking vengeance on their slayers. The stabbing of Hektor's body by the Achaians (//. 22. 371) is no doubt to be assigned to this cause. To this day AVest African tribes cut off and preserve a finger or toe or hand or foot of their dead, to prevent the ghost from visiting them ; and we ourselves until not very long ago used to bury suicides Avith a stake driven through the body, retaining a practice the purpose of which had no doubt been forgotten. The statement in the text is made about Agamemnon by the Chorus in Cho. 439 έμασχαλίσθη δέ y, ώ$ τόδ' €Ϊδψ. κάπί λούτροιςίΝ κτλ., 'and for ablution she wiped the blood -stains off (the axe) upon his head.' The purpose of this act was to transfer the guilt from herself to Agamemnon, Klytaimnestra's plea being that by sacrificing ] phigeneia he had brought his fate ηγιοη himself. For έπί cp. έφ' ϋβρ€ί, Or. 1581 ; έττΐ δόρπω, 'for supper' {Od.). The subject of ezeuazeN should strictly be η δέ ('and Λνΐιο ') ; but a succession of rel. clauses was distasteful to the Greek ear, and substitution of the pers. pron. ('and she') is normal. Cp. Io7l 628 φ Tovs TTOv-qpovs -ηδονή φίλον? ^X^"'; έσθλού$ δέ μισεί, 'to whom it is a pleasure . . and he hates.' 448. cu δέ : this employment of the emphatic pronoun when the contrast is not between different persons, but between two acts of the same person, is common in Homer ; cp. 11. 4. 491 τον μέι> αμαρθ\ ό δέ Αευκον . . βεβληκα : ib. 530 έρύσσατο δέ ξίφο5 οξύ, Ι τω 6 yε yaστέpa τύφε μέσην : ib. 22. 9 ουδέ νύ ττώ με | ^7'''*'5ι <^5 θεό$ ειμί, συ δ' άσττερχέ^ μενεαίνεΐζ ; 451. ΤΗΝδ" faXinapfl τρίχα: so the Mss. Everything points to Tt^N^e t' άλιπαροΝ, 'this neglected {unanointed) hair,' as the true reading. The Schol. explains άλιπαρΑ by ,αύχμ-ηραν, and an adj. with this meaning is no doubt what is required ; NOTES 87 a disparaging epithet with τρίχα will balance ού χλιδαΤο HCKHueNON with ζωΛΛα. But Χίπαρψ means importuning, suppliant, and άλΓτταρη? (only found here) could only mean oiot importuning. On the other hand, Χΐτταρόζ, oily, sleek, glossy (from λίττ, fat) is a familiar epithet for the skin and hair, and its neg. form aXiwapos would be a natural compound for the poet to make. The r may be said to be almost required by τάδε preceding, re . . και, or μέν . . δέ, being demanded by Greek idiom Avhen the two component parts of a whole are enumerated after the whole ; e.g. Jl. 3. 236 δοιώ δ' ού δύι/αμαί ίδ€€ίν κοσμητορβ \ai2u. Κάστορα θ' Ιτητόδαμον καΙ ττύξ ayadbv ΐίολνδβνκέα : Thuc. 1. 8 οί νησιωται, Kdpes re opres καΐ ΦoίuLK€S. The source of the corruption probably lay in the omission of τ'. As the ι of αλιτταρόν must then be scanned long, an assimilation of the ending to that of the familiar λιτταρήζ Avould naturall}' follow, though a tradition of the true meaning survived. 452. zcojua : used here for Ι'ώνη, girdle. In Homer it means a loin-cloth, and probably also in Ay. fr. 309. Aisch. //•. 240 7refo0opots ζώμασιν seems to mean ' girdles that hold up the hem ' of a robe. The Avord does not occur elsewhere. χλιδαΤα : such as gold and jeAvels. 454. αύτοΝ, 'himself.' 455. es of mere circumstance, 'u'lth. conquering hand,' as in numerous adverbial phrases ; e.g. έκ του ιτροφανον^, έξ άέλτττον, βξ ϊσου. Cp. 742. 456. έπεΛχβΗΝαι, 'trample on.' 459. ouN (not with ucn ; see Appendix I.), 'now,' Ti . . JueXoN seems to be an adverbial ace. like βξόν, -παρόν, and the construction to be οΐμαί, κάκβίνφ tl μέΧον, CKelvov ττέμψαι. This in good Greek would be oT/xat eKeivov, μέΧον tl καΐ αύτω, ττέμψαί, but if the μέΧον clause precedes ττέμψαι, it must include the emphatic pronoun, Λvhich need not. and indeed cannot, then be repeated as subject of ττέμ-^αί. Ί think that Jie, because he forgets us not, sent.' Jelib would read JueXeiN, and tliinks that, if the text is correct, oinai is parenthetic, and that JueXoN is for μέΧον -ην. He admits this to be harsh. 460. BucnpoconTo, 'evil-showing.' 461. ouwc : although I think he is actiA'e in our behalf, still pray him, etc. coi = aeavTri : cp. 363. 464. npbc eOceBeiaN, 'piously.' Cp. ZQ^ μηδβρ trphs ορ^ήν. 466 f. TO rap δίκαιΟΝ κτλ. : lit. for vjith regard to vliat is rigid, it is unreasonahlc for two to contend, hut (on the contrary S8 ELEKTEA one ought) to hasten on the doing of it (the right). Tr, * for Avhen duty is plain to disjmte is folly, rather must one hasten to its doing.' τ6 δίκαιοΝ : adverbial ace. εχει λοΓΟΝ is common as an impersonal expression, =it is reasonable. 9uoTn, Elektra and Chrysotliemis. AVith άλλ' έπι- cncuBeiN a Λ -erb conti'ary in sense to ουκ εχει Χογον must be supplied. The ellipse is common : cp. 72. τ6 δραΝ, for the simple inf., as often. AVith the art. the inf. becomes strictly an adverbial ace. 470. πικράΝ : in its common meaning, 'to my sorrow.' Cp. Ai. 1240 TTLKpous 'έοι^μ^ν των" ΚχύκΚ^Ιων οττΧων \ ayijuva'i 'ApyeioiaL κηρνξαί Tore. 472-51."). First Stasimon. See Introduction. 474. XeinojueNo, 'wanting in.' 475. ά npouQNTic Δίκα, 'Justice, who hath given the omen,' i.e. sent the dream. 476. δίκαια 9epoueNa κράτΗ, 'Avinning a just triumph of her might.' 477. JueTeiciN. 'sheAvill come on her quest'; i.e. to punish the murderers. uaKpoO χρΟΝου = δίά μ. χρ., 'in no long time. Cp. Al/. 278 ποίον χρόνον Se καΐ ττΐπύρθηταί ττόλυ / ' within how long V 480. κλύουοαΝ : ace. as though υττηλθέ /xe had preceded. Cp. Me(t. 57 ωσθ' i'/xe/jos //,' νττηΧθβ yrj re κοί'ρανω \ Xe^at μοΧούστι oevpo δξστΓοίν-η'; τνχα^. The irregularity is common. 484. χαλκόπλακτοο, 'smiting with bronze'; ηοΙ = χα\κ7}\ατο';, as Wecklein. A^erbals in -tos are frequently transitiΛ'e ; cp. 851 ; Tr. 446 ωστ e'i tl τώμω τ' άνδρΐ . . μβμτΓτό$ ζΐμί, 'if I blame.' By a bold conception the axe itself, resenting the foul use to Avhich it Avas put, is represented as sharing Agamemnon's desire for vengeance. 487. Note tliat the ι of αίκία is long. 488. και noXunouc και πολύχειρ : predicative ; " will come with many Avhose feet follow and whose hands strike.' For the use of the adj. see 37 n, ad fin. 489. ά KpunroueNa, ' who liideth herself (habitually) in ambush dread,' in order to surprise her victims. χαλκό- nouc, 'strong-footed.' In Horn, the word is applied to horses. 492. The construction is "γάμων άμιλλήματα ξττέβη tovtols ots οι'' θeμLS ην έττιβηναί, a poetic way of saying ήμίλλήθησαν irpos -γαμον, ' they passionately strove to reach. ' ciJuiXXHuaTa follows I NOTES 89 the sense of αμιΧλάομαι, from which it is derived, as (e.g.) in Plato JU'p. 490 a itpos το op . . άμιλλασθαί, 'passionately strive to attain Reality.' There is no idea of οονψβΗίίοη. For the obj. gen. rauwN cf. Ai. 1240 οττΧων a-yCovas, 'competition for arms. ' έπέβα : came upon, attacked, like a passion or a disease, Transl. ' For two whom I'ight forbade engaged in mad pursuit of a blood-polluted marriage, where the bed was unblest and the bride accursed.' 495. np6 tconBc, 'on account of.' This sense of ττρό is almost unexampled, but seems to be established by Tr. 505 κατέβαν ττρο "γάμων, ' entered the contest for the marriage,' Avhich Jebb quotes. The two Homeric examples quoted are not so certain. In 11. 17. 666 if ττρο φόβοω means 'for fear,' we must depart from the canon of Aristarchos, a.ccording to which φόβο^ in Horn, always means flight. In II. 24. 734 άθλβύων ττρο avaKTos the meaning may be 'before the face of.' In Avhat follows L reads έχει juh ποθ' AuTn, without any indication of the deficiency in the metre. Several Mss. read έχει yxu ποτέ jui^ ποθ' huTn, as in the text. This can hardly be right, since, in the absence of any parallel, it is difficult to believe that €χα με could mean 'a conviction possesses me.' The proposed corrections are numerous. Jebb suggests Ju' έχει epacoc τι unnoe' or μ' έ'χβι ξύρνοία (cp. Ant. 279) μ-ήττοθ', either of which would of course do admirably. Something, however, is wanted, I think, which would have been fairly likely to be corrupted, such as ττρό τώνδ' €τνμορ βχω μή irore μή τγοΘ\ The construction would then be ^τνμορ 'έχω repas, μή ττοτβ a^J/eyes ττελαρ, the clause μη . . ττελαι/ explaining 'έτνμορ : ' I regard the portent as genuine, (I mean) that it will come near (as a reality) in no wise unblamed by the doers,' etc. Or, in better English, ' For this I deem the portent true ; sure that we shall see it come to pass and fail not to bring dismay upon those that did and those that helped to do the deed.' However the text be corrected, ποτέ is not temporal, but merely adds force to the negative ('in no wise') ; cp. Ag. 1139 ovMp ttot' ei μή ξννθανον- μέρηρ, ' for nothing, nothing but to die with him ' ; Ai. 183 οϋ TTore yap φρενόθβρ y\ 'surely not of thine OAvn heart.' So ris TTore ; ' Avho in the world ? ' huTn is ethic dat., 'we shall see.' πελαΝ : fut. of ττελάξω. toTc δρώα και cuwdp. : Klytaimnestra and Aigisthos. 498. ΛχαΝτεΤαι . . ουκ εΐείΝ : 'there is no divining from dreams for mortals. ' 503. ευ καταοχΗοει, lit., shall come safely into harbour, tr. ■'shall make prosperous voyage.' 504. ώ Πέλοποο κτλ., Ό trouble- fraught chariot-race of 90 ELEKTRA Pelops in the days gone by, a cnrse that dies not didst thou bring upon this land ! ' ejuoXec aioNHC (' everlasting ') is equivalent to βμολβζ atavQs ττοΧύττονοζ. The story is as follows : Oinoraaos, King of Pisa in Elis, promised his daughter Hippodameia in marriage to the man λυΙιο should defeat him in a chariot -race. The penalty for failure was death. Pelops competed, but first bribed Myrtilos, the charioteer of Oinomaos, to leave out the linch-pins from the wheels of the latter's chariot. Oinomaos' wheels came off, and Pelops Avon his bride. On his departure from the court of Oinomaos with Hippodameia, Pelops took Myrtilos with him ; but, on the journey, Myrtilos endeavoured to kiss Hippodameia, for which Pelops threw him into the sea. The scene of the crime Avas Geraistos, the southern promontory of Euboia. According to another form of the legend, apparently followed here by Sopliokles (see on 510), Pelops won the race without treachery, having obtained Avinged horses from Poseidon. In the Orestes (988 if.) Elektra dates the curse upon her house from this murder ; for Hermes, Avhose son Myrtilos was, in order to punish the crime, caused the golden ram to be born, which became a source of quarrel between Atreus and Thyestes. In the Helen (386 if. ) Menelaos, referring to the chariot-race, expresses a wish that Pelops had died before he became the father of Atreus and progenitor of a posterity whose heritage Avas trouble. 508 if. eUTe = ^^ οΰ, 'since.' eTret and ore are both sometimes used in the same sense. ' For since the sea Avrapped Myrtilos in the sleep of death, when with cruel violence he was flung to destruction from the golden car, trouble and Adolence have never left this house.' 510. παΓχρύαεωΝ : the Ionic form is required by the metre. The mss. give the Attic form ττα-γχ^ρνσων. Ionic forms are by no means unknown in the lyrics of Tragedy ; cp. Med. 421 ϋμν^υσαι {ύμνοΰσαι) ; Hipp. 168 aUTevu (imperf. of άντέω) ; Tr. 1099 χρυσέων. In Thch. 948 διοσδότω^ άρχέων should probably be restored for the meaningless άχίων of the MSS. The golden car was that given to Pelops by Poseidon ; see on 504. 512. npoppizoc is a mere metaphor, as we say 'to perish, root and branch.' Cp. Ean. 587 ττρόρρι'ςο^ avros, η yvprj, τα παίδια, \ κάκιστ άττολοίμην : Hipp. 684 Zeus σ' ό Ύ^νν-ήτωρ ίμόί \ νρόρρίξΌν έκτρίψβίεν. 515. The words πολύποΝΟο αίκία seem to be an intentional echo of τΓολντΓοίΌί in 505 and ai/ctacs in 510. NOTES 91 516-1057. Second Episode. See Introduction. 516. aNeiJueNH . . οτρέφει, 'thou rangest abroad.' julcn emphasises. As often, there is no answering de. 518. θυραίαΝ bears the emphasis (r'). It was bad enough that she χισχννβ tovs φί\ovs indoors before the serA'^ants. 520. καίτοι, ' you do not obey me, and yet complain of my harshness.' 5h with πολλούο. .For Jue . . έπεΐπαο cp. 332, 552. 521. cbc epaceTa κτλ., '' that I am brutal, and govern with injustice.' 522. KaeuSptzouca, 'insulting.' τά ca : Elektra's feelings, her grief and pious remembrance of Agamemnon, etc. See on 92. 524. Xerco : emphatic. ' I do not insult you, but I do revile you, because you revile me. ' 525. rap, not ratiocinative, but explanatory. The constr. is ττατηρ, ώ$ τέθι>ηκ€, 7Γρ!)σχημά σοι έστί, ' that thy father died . . is thy pretext. ' ' Thy father, that he died by my hand, — that, and that alone, is thy one pretext.' The point of ούδέΝ άλλο is that Elektra's conduct is without justification, since her only excuse is one that Klytaimnestra can demolish. 528, rap, 'yes, I did the deed, /or Justice demanded its doing.' Cp. Find. F. 11. 22 ττότβρόν vlu dp' ΊφΐΎένβί' βττ' Έιύρίττφ I σφαχθβΐσατηλβ Trarpas βκνισεν βαρυπάλαμον δρσαί χόλοι/ ; 531. Jebb takes juoOnoc to mean 'he of all men — the father of the maiden,' referring to his note on 0. T. 304 ; but I venture to think the sentence is, rather, a compressed form of t7]v σην δμαίμον 'έτ\-η θϋσαι μόνο$ 'Έι\\ΐι]νων epyov τοιούτο τλά?. The deed was unexampled in Hellenic story. For €τλΗ, 'had the heart,' see on 275. 532. ούκ YcoN κτλ., ' though he, being (but) her father, had suflfeied not for her the mother-pangs that were mine.' That is, 'though she was more mine than his, so that he had no right so to dispose of her.' Cp. την 7' έμ-ήν 536, and τάμα 538. In the Eumenides Athene, pleading on behalf of Orestes, argues that the child is rather the father's tlian the mother's. λύπΗΟ is a partitive gen. wcnep . . έπώ should in strict grammar have been ώσττβρ iya) qt 'έτζκον. 534. του χάρίΝ, tincon ; ' for what ? for whom ? ' 537. κταΝΟΰΝ, 'if he slew,' ont' άδελφοΟ, 'in his brother's stead,' i.e. rather than that Mcnelaos should sacrifice a child of his own. αντί cannot mean /or the sake of. 92 ELEKTRA 539. naT9ec . . διπλοί : Homer knows only a dau,c;hter, Hermioiie ; but Sophokles, the Schol. says, here follows IJesiod 7) τ€Κ€θ' Έρμίόνην δουρικΧβιτφ Mei/eXat^, | οττΧότατον δ' ereKev Ήικόστρατον, 'όζον Άρηο$. 541. fie, rather than ων, because Helen was the prime cause of the expedition. 543. €οχε : mark the aor. ; ' was Hades seized tciih some desire?' Baicaceai : epexegetic. See on 410. 544. παΝοόλει : a very strong word ; 'accursed.' 545. noeoc παρεΐτο, ' had he lost affection ? ' Lit. had affection been let (jo'i παρεΐτο, as the impf. enhn shows, is plupf., not aor. MeweXeco : supply παίδων, ' while Meuelaos' children were still dear.' 546. ού ταΟτ' κτλ., 'does not this show an imfeeling and evil-heavted father ? ' άβουλου has here a sense in which άμαθης was more commonly used, denoting not mental, but moral defect. So Tr. 139 rts ώδε | τέκνοισι Ζην' άβουλον elSev ; For άμαθ'ή$ cp. Io7i 916 ό δ' έμό$ yeveras καΐ aos 7', άμαθιρ, \ . . ^ppei, ' my child, aye and thine, unfeeling god, has perished ' : H.F. 347 άμαθψ TLS et θεό$. The purely intellectual sense of άμαθήζ, stupid, is rare. 547. ei και . . Xerco, ' though I do speak differing from thy judgment.' For ei καί and juen oun (in v. 549) see Appendix I. 549. nenparJueNOic : causal. ' On uvij heart, then, what I have done laj^s no weight.' 551. rNcoJUHN . . οχοΟοα κτλ., 'get judgment (a just judg- ment on the situation) iirst, and blame thy neighbour after.' For the form of the sentence cp. Theokr. 15. 90 ττασάμβνοί . . βττίτασσβ, ' when you have bought us (and not till then) order us about ' ; and see on 310. So the next sentence, ώο apsaca . . είτα . . esHKouca, where είτα makes the meaning clearer. 552. wc apsaca tj λυπΗροΝ, ' that I first gave offence before ' etc For έρεΐο ju' cbc cp. 332, 520. 556. και JUHN eαί ένπλέκτφ eui δίφρω 7]κ έπ' αριστερά τοαν άτάρ τον δεξιόν ϊτητον κένσαι όμοκ\Ύ]σα3, εΐξαί τέ οί ■ηνία χερσίν. έν νύσστι δέ τοι Ϊτγτγο? αριστεροί έΎχριμφθήτω, ώ? αν TOL πλήμνη ye δοάσσεται άκρον ίκέσθαι κνκ\ον ΤΓΟίητοϊο• λίθου δ' άλέασθαι iiravpeiv, μη ττω? Ι'τγτγοι'ϊ re τρώσης κατά θ' άρματα &ξη3. cupirra. "Α scholiast in Μ gives an explanation of this use of the Avord [i.e. as applied to a Avheel] which may be taken as corvect. The wheel in its archaic form, he says, was not made with radiating spokes, but with two sets of cross-hars at right- angles to each other. Such a Avheel is the first departure from the solid, and far easier for a rude workman to make than that with spokes. The intervals of the cross-pieces being equal, the lengths of them diminish regularly from the central one, so that each set resembles the double σΰρΐ'γξ with its diminishing pipes, and the entire structure is called σύρΐ'γγ€$, or less accur- ately, as in Soph. ΈΙ. 721, συρι-γξ. Though no longer appro- priate, the name was retained for the improved spoke- wheel. The interpretation ' axle-box ' or ' axle-pipe ' is Avholly Avithout evidence, and contrary to the passage in the Electra, where as elsewhere the axle-box is χνόη." This is Verrall's note on Theb. 205 εδεισ' άκον-\σασα τον αρματόκτυττον οτοβον οτοβον, \ oTe re (π^ρίγτ^^ εκλα^ζαν. In this passage and Aisch. Sup]). 181 σι'ρΐ77€9 ου σι^ωσιν άξονήλατοί, a point is made of the noise of the σύρι-γ-γεί, — surely not tliat of ungreased axles! Cp. Hipp. 123-4 συρι^Ύέ^ τ άνω \ τροχών έπήδων αξόνων τ' ένή'λατα, ' the spokes of the Avheels and the axle-pins flew up.' 722. ceipaToN Υππον. The horses were driven four abreast. The two middle ones only (ζύποι) were under the yoke, which was firmly attached to the pole. The two outside ones were not under the yoke, but were attached to the car by traces (σειραί), and hence were called σβιραΐοι or σείραφόροι. The turns were ahvays made to the left, so that the right-hand horse had far more ground to travel over at each turn than the inside one. For this reason the strongest horse had this place. t6n npocKeiueNON, sc. ttj στήλτι, 'the near one,' the one on the inside. 724. acTouoi, 'hard-mouthed.' ΛΥβ speak of such horses as having 'no mouth.' 725. βία φέρουείΝ, 'bolt.' έκ δ' ύποοτροφΗΟ, 'swerv- ing.' They went otf to the right instead of completing the proper curve round the νύσσα. Without a serious checking of 104 ELEKTRA the speed, it would be impossible to keep close to the νύσσα all the way round it ; it must be taken wide either before or after the turn. Here the Barkan had apparently taken it wide after the turn, and the Ainian had taken it wide before. He would thus be approaching the Barkan chariot at an angle, and if his horses were going faster, and would not keep in or slacken speed, a collision was inevitable. But for his horses, the Ainian would, I fancy, have gained an advantage, since after the turn he Avould have been going across the Barkan slightly in front, and the Barkan would have had to draw out or slacken to avoid a foul for which he would have been respon- sible. 726. TeXouNTec κτλ., 'finishing the sixth and now (begin- ing) the seventh round.' For the omission of the second verb see on 435. δχοιο : pi. for sing. 728 if. The Barkan and Ainian were apparently leading, and the others dashed into the Avreck one after the other, unable either to drive clear of it or to pull up in time. ' And then, from this one disaster, chariot ujion chariot dashed and crashed pell-mell,' κάκέπιπτε : from εμπίπτω. 732. ezco napacng κτλ., ' he pulls aside and goes easy, letting the sea of chariots surging in the middle go past.' The Schol. says that άΝΟκοοχεύω is properly used of going under shortened sail in a storm. 734. εχοοΝ : causal, 'for he was keeping his team back, relying on the finish. ' 736. NiN : the Athenian. 738. πώλοιο with έΝοείααο κάπιοώοαΝτε zura, ' and with teams abreast.' 740. κάρα προβάλλοοΝ, ' showing his head in front of (both) the racing cars.' Campbell, not so well, takes κάρα όχΗΛχάτωΝ together, and the meaning to be that the team, chariot, and man are regarded as one entity showing its head in front. 741. άοφαλεΤο is predicative, and Bpououc is misplaced. See on 695. Transl. ' And all the other rounds, erect and with car erect, the unhappy man completed safely.' touc άλλους : the whole race consisted of twelve rounds at Olympia, so that the course would be 2f miles long. No doubt we are to understand that Orestes' accident happened in the last round. έΞ as in 455. 743 f. eneiTa λύοοΝ κτλ., 'then, holding loose his horse's left rein at the turn,, unawares he just (ακρακ, the surface of) NOTES 105 strikes the pillar.' The KOjunxoNTOC Ynnou is the 'near' one, ό ττροσκείμβνοζ. The passaffe lias caused much difficulty, and several edd. would change Xucon into a word meaning ' tight- ening.' But to hold in the near horse would be the surest way to prevent the wheel striking the pillar, though the horse himself might be forced against it by the rest of the team. On the other hand, if the τΓροσκ€ίμζνο$ is driven with a loose rein at the turn, the accident becomes the easiest thing in the world. In some works of art all lour horses are represented as being under the yoke, but it is clear from 722 that this is not the case here ; there Avere σεφαφόροι. Now, the σβίραφόροι were, as the term implies, attached to the car by traces (see 722), and so far as I can discover, this formed tJici?' sole attach- ment either to the car or to the other horses. If this is so, clearly a σ€ίραφ6ροζ could deviate at a very wide angle from the line taken hj his fellows ; and such a deviation seems to have been the cause of the accident described. The axle of the car (according to Smith's Oict. Ant.) was 7 ft. long. The Avidth of the four horses, which were small (say 13^ or 14 hands), would be at most 10 ft., if we allow 22 in. for the actual width of each horse, and the rest for the Avidth of the pole and spacing between the horses, — perhaps an over-liberal allowance. They would therefore project on each side not more than 18 inches beyond the end of the axle. If at any point in the turn the near horse Avent off at an angle from the others, he might easily pull the car sideways, so that the wheel (probably the back of it) would strike the pillar. If the chariot were at the moment clean off the ground, as it was from moment to moment, the feat would be all the easier. There must have been some good reason for not attaching the σβιραψόροι to the ^i>yioL at the collar, since this would render any such accident impossible. It seems clear that the horse himself is not supposed to have run into the pillar. Some take Xucon to mean ichile in the act of slacl:ening for the straight, just as the turn was being completed. This Avould be an instantaneous act ; and if that were the meaning, I think it would be more natural to say λύσα?, ' as he slackened.' In Buenos Ayres, at the present time, carts are driven with teams of as many as eleven horses. Of these, one is in the shafts and one is harnessed in front of him as a leader. These two only are driven Avith reins. The rest, abreast of the leader, are attached to the body of the cart, the axle, or the shafts, by traces ; and these traces form their sole attachment either to the cart or to one another. 745. xxicac, ill the middle, across, 'in two.' 106 ELEKTRA 746. QNTUH denotes jiroperl}^ the rail which ran round the top of the car, but was used of the whole car (not, however, in Homer). The pi. here is a poetic use for the sing, (when Homer speaks of avrvyes he is thinking of the rail on each side, not of two rails running all round). (SoXicee : he Avas naturally leaning over the left rail at the turn. cun . . έλίοο€ται : tmesis, 'becomes entangled.' The reins were sometimes passed round the driver's waist, to give greater command over the horses. 747. TJUHToTc : Homer's έντμητοΐσιν ίμάσίν, ' straight -cut.' For πέδω Avithout prep. cp. 174. 748. diecnapHcaN κτλ., 'w^ere scattered into the middle of the course.' juecoN is not to be pressed. It means, as often, out in the open ; i.e. in this case, away from the actual line of the racing. SiecnapHcaN : the attachment of the near σαραφόροί Avould almost certainly be snapped at the instant of collision, and very probably that of the δε^ιόσβψο? when the chariot broke up. AVe may take it that Orestes was dragged by the two ^vyLOL, who would remain attached to each other by the yoke and to the broken pole. 751. οΐ' epra κτλ. : an exclamatory sentence used (as often) subordinately. We may translate as though there were an ellipse ; e.g. here ' (crying) what a piteous end for one who had done so gloriously.' Cp. IL 6. 108 φαν δέ tlv' αθανάτων έξ ούρανοΰ aarepoevros \ ΎρωσΙν άΧεξήσοντα κατελθέμΐν ώ$ έλέλιχθεν, 'seeing how they rallied.' The following passages will repay examination: Hipp. 845, 878; /o?i 799 ; Ai. 945; ΛΊώ. 1157; P. V. 908. For the doubled olos cp. Track. 1044 κλύονσ^ βφρίξα τάσδ€ συμφοράς, φίΧαί, \ άνακτο?, oias ofos ών έΧαύνβται. 752. 9opoUJueNOC : supply aWore from άλλοτε following ; ' now dashed to the ground, now flinging his legs up to the sky.' Orestes is first dashed to the ground from his chariot, then (like a football player who has had a fall) for an instant he stands on his head ; then he is dragged to the ground again, and so on. The people's exclamation ends at κακά, but by a natural irregularity the participles are made to agree with the subject of λαΓχοΝει, instead of NeaNiaN. 753. ec TG : constructed with φορούλλΕΝΟο . . προφαίΝωΝ, of course ; not with the main verb. διφρΗλάται : some of the other competitors. 757. The reference of KeoNTec must not be confined merely to tlie bearers of the ashes (άνδρβ^, 759) ; of course others would have assisted. NOTES 107 758. juencTON κτλ,, 'and in a narrow urn of bronze certain men of Phokis, thereto appointed, bring the poor dust that was his mighty form.' Lit., viighty body consisting of poor dust; cp. 682 πρόσχημ ayQvos. The turn of the phrase, though eminently Sophoklean, has provoked emendation ; but it woukl have required a literary artist of no mean order to evolve the text out of μεγίστου σώματος beCKriv σττοδόν, or μέ^ίστον σώμα, δβίλείάν στΓοδόν, and the like, which have been proposed. And what could have been a corrector's motive, except that the text is better than the suggested originals ? 761. τοιαύτα coi (ethic dat.) κτλ., 'thus, lady, this thing befell, — a story it is pain to hear, but to us who saw, the greatest liorror that my eyes ha\'e looked upon.' Is there ειρωνεία in the use of aoL ? For the limitative cbc cp. ώ$ eiirelv, and beivhs \eyeLv, ώ$ λακεδαίμ6νω5, 'a, good speaker, for a Lakedaimonian.' 766, τί ταύτα; sc. λέγω: ' wJiat can I to call these things?' She rejoices at the news, for she has always feared Orestes' vengeance, and, but for Elektra's action, would have killed him witli his father (cp. 296 f.) ; yet δεινόν τό τίκτει,ν, and her gladness is mingled with just one transient pang of maternal regret. 770 f. BeiNON τ6 τίκτείΝ, 'wondrous is the mother-tie!' SeiNON implies both strange and strong. πάοχοΝτι : masc. because the statement is general ; cp. 145, and Track. 151 τότ 6.V TLs είσίδοίτο την αντοΰ σκοπών | ττροίξίν, where Deianeira is referring solely to women. wn τέκΗ : for τέκνων d tls TeKTj. See Appendix II., and cp. 1059. 772, " The old man speaks as if disappointed and aggrieved. Thus a cue is skilfully given for the change in Clytaemnestra's tone " (Jebb). 774. ei . . πpocHλθec, with the preceding. ' How canst thou say in vain, if thou hast come . . ? ' 776. JuacTcoN anocTOc κτλ., 'deserting the breast he had sucked and the hand that had reared him, made himself an exile and an alien.' 777. έπεί, since ; cp. Jg. 40 δέκατον μεν ^tos τόδ' iirel . . Ψΐραν. 779. φοΝουο : for the pi. cp. 206 θανάτους. 780. Note the departure from the ordinary rule by which cocre with the infin. requires μή. 781. ό προοτατώΝ xpONOc κτλ., 'the coming hour kept me ever in dread of death.' She felt no security beyond the present 108 ELEKTRA moment. Lit., tlie time in front of me kept me living as about to die. 784. jueizcoN : because she lived under the same roof. βλάβΗ is predicative. 787. ουΝεκα as in 387. 790. ap' έχει καλώσ ; ironical, 'is it not well ? ' Cp. 816. For αρα see Appendix I., and cp. 614. 791. cu : supply έ'χβίϊ koKQis. The meaning is "it is not well with yoii, and will not be until you are dead like Orestes. " 795. ouKOUN κτλ. The meaning is, ' you Avish to check what you call my ΰβρί$ : will not you and Orestes, then, put an end to my haj)j)incss, wliich you have just hinted is the cause of it ? ' τάδε : ro evrvxeiv έμέ, ' my happiness.' The taunt is clever, though brutal ; but mark the είρωνίία. Some translate, ' Will not Orestes and thou silence me ? ' But this seems to afford not so good a connexion with Elektra's words. 796. ουχ bncoc : i.e. ού λέγω οττω?, 7iot to speak of ; Lat. ne dicam or iiedum. Translate, ' There is an end of us ; so far we from making an end for thee.' 797. fiKoic 3n . . ε! επαυεαε. There is no general necessity for the moods (any more than there is for the tenses) oi protasis and apodosis to be identical. The selection of the mood in each case depends solely on the time to which it is intended to refer, and these may be different. As the following example shows, assumption of the truth of the 2}rotasis has nothing to do with the matter: 'Should you blame him, whether he had done it or not ?' €Ϊτ€ έτΓοίησεν ehe μή, \peyoLS αν ; (the opt. refers to the future). The meaning of the text is ' Thou ivilt prove to have deserved large reward for thy coming, if thou hast checked.' Cp. O.T. 118 ioh Ιού' τα ττάντ hv έξήκοι σαφή, 'all (that was prophesied) will be clearly shown to have been fulfilled ' ; Ai. 186 TjKOL yap av deia voaos, 'some heaven-sent frenzy may prove to have visited thee ' ; Thuc. 3. 40 et yap opdQs άττέστησαν (the Mytileneans), v^eh hv ού χρεών άρχοιτε, ' if they Avere justified in revolting, you v:ill prove to have no warrant for governing them.' πολλώΝ with csioc : τυχεΪΝ is epexegetic. 799. τάδε : Orestes' death. Cp. 791. 801. πράΞειαε. Supply av from άττοστείχοιμ' αν. It is un- necessary to alter the text so as to insert dv. s^nou : Phauoteus. 804. αρα for the regular Sp' ού. Cp. 614, 790, 816. 814. Elektra says δουλεύείΝ πάλΐΝ, because the new hope NOTES 109 she had derived from hearing of Klytaimnestra's dream had made lier feel that she had at last escaped from her servitude. Now slie must be a slave again. 816. apa as in 804. 817. XpONOu : locative. 818. eYceiu' is Herm.'s correction of 'έσομαι of the mss. 819. napeic' έλίαυτΗΝ κτλ., ' I will lay me down, and my friendless life shall wither to its end.' 820. TIC means Aigisthos or Kly taimnestra. Transl. ' Let those within, if they are angered, slay me. ' 826. κρύπτουοΝ : instead of exposing and punishing. εκκλοι, 'indifferent.' 830. φεΟ is an expression of impatience or indignation, as well as of grief. The tone in which Elektra has here uttered the word, and some accompanying gesture, make the Chorus fear that she is about to reproach the gods. We may translate simply ' Ah ! ' or ' Ou't upon it ! ' juhB^n jmer' ouchc, 'let no violent word break from thy lips.' μέ^α είττβΐν was familiar in the sense of impious language. Cp. Ai. 386 μηδέν 832. φακερώα : Orestes' ashes are proof [>ositive. 834. κατ' duoO κτλ., 'thou wilt bruise my sorrowing heart yet more.' enejuSocei, 'wilt trample on.' The verb usually takes the dative. 836. rap: there is an ellipse. "(There is hope) for, like Amphiaraos, who was murdered by his wife, Agamemnon may be held in honour in the world below." Translate, 'Nay, for I know of the chain of gold and the woman's snare, and how the prince Amphiaraos was engulfed.' Lit. Iknoio of Amjjhiaraos being himed by reason of a snare set for him by a woman, oiving to the toearing of a golden chain. ruNaiKcoN is the "allusive plural." ερκεα means the fatal snare Eriphyle set for Amphiaraos in persuading him to join the expedition against Thebes. χρυεοΒέτοιε is used like the adjectives mentioned in the note on 37. In the case of verbals the subst. repre- sents an ace. governed by the verb cognate to the adj. Thus, being able to say ρίτττω μόρον, 'I cause death by flinging,' a Greek can also say pltttos Ίφίτον μόpos {Tr. 357), 'the death caused by flinging.' Similarly χρυσόδβτον epKos pre-supposes χρνσόν-δέω epKos, 'through wearing gold I contrive a snare'; 1394 ν^ακόνητον αίμα pre-supposes άκοναν αίμα, 'to cause blood- shed through whetting ' (a sword). 110 ELEKTRA Amphiaraos (who bears the title αναξ like Teiresias, 0. T. 284) was an Argive seer. He had married Eriphyle, sister of Adrastos, king of Argos. AVhen Polyneikes persuaded Adrastos to undertake the exjiedition against Thebes, Amjdiiaraos opposed it, because he foresaw that it must end in disaster, Polyneikes then bribed Eriphyle with a golden necklace to persuade her husband to take part in the enterprise. The Argives were repulsed ; and in the rout that followed, Amphiaraos was suddenly swallowed up in a chasm Avhich opened in the earth beneath his feet, near the river Ismenos. 841. naijupuxoc, 'with all his powers.' He enjoys full possession of his ψυχΗ, which the ordinary dead did not. Teiresias was a similar exception ; cp. Od. 10. 494 τω καΐ τεθναωτί νόον ττόρβ ΪΙερσβφόρβία \ οΐο} -πβ-πνυσθαι. Amphiaraos was worshipped as a divine being λνΐιο gave oracles and sent dreams. 842. φευ δΑτα, ' Alas, indeed ! ' δ?7τα is commonly used when a word of the previous speaker (sometimes even a word of the speaker's own, cp. 1164) is repeated: e.g. Pers. 1071 3E. ί'ώ δτ) κατ άστυ. ΧΟ. ί'ώ δητα. The connexion here is well given by Jebb. " Elektra's cry, φβΰ, is drawn from her by the thought that, Avhile Amphiaraus has honour, her father's spirit is unhonoured. The Chorus suppose her to mean, 'Alas for Eriphyle's wickedness,' and respond φβΰ δήτ, ' alas indeed ! ' Then they say όλοά rap, 'for the murderess ,' intending to add, 'betrayed her husband's life.' But Electra, still thinking of the difference and not of the likeness between the case of Amphiaraus and that of Agamemnon, quickly gives a diff'erent turn to the un- finished sentence by interjecting £dauH, 'was laid low.' " 846. ueλeτωp άηφί κτλ., ' one that cared for him Λνΐιο was mourning,' i.e. for the dead man, who mourned till he was avenged. This was Amphiaraos' son Alkmaion, who avenged his father by killing Eriphyle. 851 f. a!coNi (Herm.'s correction of the mss. άχέων) is causal, by my life. There is a choice between two inter- pretations of the sentence. (1) naNcupTco is passive, and πολλούΝ depends on it, following the construction yviih adjectives implying fulness ; a life heaped full, through all Us inonths, of many sorrows dread and hateful. (2) παΝούρτω is transitive (cp. χα\κόΐΓ\ακτο$, 484, and note), and governs πολλώΝ, = πάντα σύροντί τα κακά (schol.), that sweeps on with it, etc. The metaphor is then from a torrent: 'a life that through all its months is a turbid torrent of sorrows dread and horrible.' NOTES 111 This view, as Jebb remarks, gives naujuHNco a special point, since the literal χβίμάρρουί flows only in winter. 854. eYSojucN aepHNeic, 'we saw thy sorrowing.' This is the best correction of α opoeTc of the mss. 855 ff". UH jue NUN κτλ., 'then, woo me from it no longer, when {lit.' in a case tchere) now I can no more take strength from hope in that true scion of the house, my brother.' Lit. hel}) consisting of hojKS in brothers of nohle birth. εύπατριδαΝ (here used as subst. ) is from ζνττατρίδψ, a word applied to Orestes in 162. For the obj. gen. with eXiris cp. Thuc. 2. 89 ΥΙξΧοτΓοννησίων έΧττίδα του ναυτικού, and 1460 iufr. ei.' tis έΧττίσίν wapbs \ έξτιρβτ avbpbs Tovoe. * 860. For εφυ, of that Avhich is in the nature of things, cp. 236. 861. Η καί : see Appendix I. 'All men must die. — Yea, even, like that unhappy one, amid racing horse-hoofs, and dragged by entangling reins?' The construction is ^ καΐ βφυ, ώ$ κάνφ €φυ, eyKUpaaL''o\Ko?s κτλ. Is it one of the dooms aiypointecl for men, to meet tvith reins etc. .? oXkoc is any- thing Avhich €\k€l or eX/cerat, and commonly means (1) a haul- ing engine, (2) a, furrow. Here Sophokles appears to have chosen to use it as a synonym of ρυ-τήρ {rein or trace) because it also suggests the dragging of Orestes. In Ion 143 δάφνα^ qXkoIs means a ' broom {thing dragged) of laurel.' 864. ScKonoc ά λώβα, 'unimaginable was that shocking fate.' Cp. 1315. 865. HeNoc, ' in a strange land.' 866. ατερ cjuSn χερωΝ : cp. 1138. 871. διώκοηαι : the idea of pursuit is not original in διώκω, which properly means to move quickly ; cp. Od. 12. 182 ρίμφα διώκοντ€ί (sc. νηα), of rowers ; Theb. 358 σττονδτ) διώκων ■π-ομιτΊμου^ χνοα^ ττοδών. 'Transl., ''Tis pleasure makes my haste.' 872. t6 kocjuion ηεθεΐςα, •' and I abandon decency that I may be cpiickly back again. ' ΐΛ,ολεΪΝ, of returning, as often. The Athenians regarded fast walking as " disorderly." 878. έΝαρΓώο, visibly, 'in bodily presence.' Cp. Tr. 11 ivapyrjs Taupos, of one of the shapes assumed by the river-god Acheloos. 879. Η emphasises the question. ' But art thou mad ?' 881. lib. ΤΗΝ πατροοαΝ έοτίαΝ : because the hearth was 112 ELEKTRA the symbol of family life : cp. our " hearth and home. " Thus Ion 1464 δ2μ έστίοΰταί, 'the house becomes a home' (now that the heir is found). The first αλλά, meaning no or nay, is post- poned, as often ; e.g. I.2\ 645 oTktos yap ov ταΰτ\ άλλα χαίρ€τ\ ώ ξεναί, 'Nay, rejoice, for . .' Transl. 'No, by our father's hearth, I speak not in mockery, but I say that we have him here.' The postponement seems to have been regular in the case of oaths Avith μά : cp. lian. 173 XE. δύο δραχμαί μισθον TeKeis ; \ ΔΙ. μα ΔΓ, akX 'έΧαττον, 'By Zeus, no ; not so much.' cbc before παροΝτα is pleonastic, as frequently with the participle ; cp. Ag. 672 Xeyovacu ήμάί ώ$ όλωλ6τα$. 889. cbc juaeouca κτλ.,^ ' that thou mayst learn my story before thou call me hencpforth ' etc. See on 310. 891. oUN : sim])]y then. Be is added to the pron. by the common idiom, and cannot be translated. For δ' odv in combination see Appendix I. 892. και &H : see Appendix I. 894. Rhythm favours taking κολ.'έΞ ακραο with NeoppuTouc, though the meaning might be 'I see on the mound,' es being used as in έξ apLarepas, on the left. 896. άΝθέοοΝ : the gen. depends on the notion οι fulness in περιοτεφβ. 897. εςχοΝ eaujua (mark the aor.), Ί was struck with wonderment.' 899, έΝ ΓαλΗΝΗ : sc. 6ντα. Cp. 61. 901. nupac : the local gen. so common in Homer ; e.g. ονκ "Apyeos ijeu, ' he was not in Argos ' ; Trvpbs ττρησαι : Koviovres τΓ€δίοω : τοίχου του έτέροω, 'against the other wall.' NecopH : su[»]ilementary j^i'e^icate with TexJUHJueNON, ' newly severed.' 902. τάλαΐΝα expresses her agitation at the sight. Transl. 'Ah me.' eunaiei κτλ., 'there strikes upon my soul a familiar image, (which tells me) that I see in this a token.' The inf. όραΝ depends on ejunaiei ojujua as implying Ί had an idea that.' The oujua is the form or aspect of Orestes, which presents itself to her rnind. The degree to which the Greeks extended the meaning of concrete substantives is one of the most striking features of the language. The uses of 8μμα, 6φθα\μό$, and βΚέφαρον {eyelid) are an interesting exemplification of this, όμμα (besides more natural metaphorical uses) means (1) i\iQ face, form, or aspect of a person ot a thing personified : e.g. clj ταυρόμορφορ όμμα Κηφίσοΰ NOTES 113 ■πατρόν, Ion 1261 ; ώ φιΚτατ Mas, ώ ξύναιμον ομμ έμοί, Αϊ. 977 ; ώ δνσθέατον 'όμμα, 'Ο form piteous to look upon,' ib. 1004 ; το δ' άμφίνβίκητον όμμα νύμφα$, Tr. 527 ; όταν δέ vvktos Ομμα (^ = ι/νξ) XvyaLas μόλγι, Ι. Τ. 110; έ'ω? κελαιρψ vvktos ομμ' άφ€ί\€το {την μάχην), Pers. 428 {όμμα vvktos seems never to be used of the moon, though we have vvktos υφθaλμόs of the moon in Pindar and Aischylos). In 0. T. 987 /xe'7as y όφθα\μο5 oi iraTpos τάφοί, 6φθa\μόs means comfort, a much bolder use than that in Andr. 406 els irah 6δ' ijv μα Xolttos όφθa\μbs βίου. βλέώαρον means eye in Ant. 104 αμέραζ βλέφαρον, of the sun ; cp. Ai. 85 σκοτώσω βλέφαρα καΐ δεδορκοτα. In Phoen. 543 VVKTOS τ άφeyyes βλέφαρον, it means /ace. And in Ion 188 we have δίδυμων προσώ-\πων κάλλιβλέφαρον φώs, 'the fair-faced brightness of twin facades ' (of a temple). όμμα cannot mean simply a, thing seen, sight, as L, & S. state. 908. Note Jji»^ (not ov), as commonly after οίδα, ττέττοίθα, δμννμι, έλττίξ'ω, όμoλoyώ, μαρτνρω. orXaicJua, 'ornament.' The same Avord is used of Orestes' liair by Elektra in Aisch. Cho. 193 είναι τόδ' άyλάισμά μοί τον φιλτάτον \ βροτών Όρέστον. 909. τώ rap npocHKCi, ' whose care should this be ? ' Who would naturally make such an offering ? . 911, ncjbc rap; sc. 'έδρασα% av. η τε : qnifiie cui. 913. άλλ' ού9έ xikn Bh, 'but neither, again, assuredly, does our mother's nature love . .' 914. οϋτε dpcbc' eXONeaweN, ' nor, had she done it, could we have failed to know ' ; lit. she was not by way of escajying notice, was not likely to escape notice. There is no "omission of af " in this construction; the impf. has the literal meaning just given. Nor is ελάΝθαΝ* qn (Jebb) necessary here : cp. Lysias, Or. 7. 32 ταντα δέ 7Γpάξas . . έκέρδαίνον μεν ουδέν, ' if I had done this, I was not likely to gain ' ; Dem. contr. Onet. 22 TOVTOV μεν yap τον τροττον irpa^as 'όλον του ^Γpάyμaτos άπηλλάττετο, ' if he had acted in this way.' 915. TdniTUjuBia is Dindorf's certain correction of τάπιτί- uia, which would here have no meaning. See Lex. 916. θάρευΝε : the verb is elsewhere always transitive. 919. ύπάρΞει κΟροε, ' will prove to be the pledge of many- happinesses.' kQ poc = confrmation, sanction. For the separation of ή . . ημέρα see on 1349. 920. έποικτίρω: for the spelling see on 115. 114 ELEKTRA 922. ΟΠΟΙ rfic κτλ., ' how far abroad, and mid what fantasies, thou art wandering.' 924. τάκεΐΝου . . ccoTi^pia, ' hope of deliverance by him ' ; lit. means of deliverance coming from him. For the gen. see note on 855 ad fin. 930. rap, tohy, as often with questions : ' Why, Avhose were those many ofterings ? ' 932. oTjuai κτλ., ' to me it seems most likely that some one placed these things as memorials. ' 939. λύςειο, ' put an end to,' as often. 943. τλΗΝαί ce dpcocaN, ' have the courage to do. ' 945. Toi, ' thou knowest.' See on 1469. 946. ΞυΝοίοω, ' I will help.' 948. και cii που : as in 55. 950. λελείηηεθΟΝ : cp. Ph. 1079 όρμώμεθον. These, with II. 23. 485 ττεριδώμεθορ (where, however, Leaf reads ττερώώμεθα) are the only instances in classical Greek of a 1st pers. of the dual. Jebb, on Ph. I.e., defends the Sophoklean instances as genuine. 954. 9h : in its original sense, noio. 955. Sncoc . . JUH KaTOKNHceic, 'not to shrink.' Th 3 clause depends on esc ch "bk βλέποα, as equivalent to αιτώ σε. 957. ck. . . κρύπτείΝ, ' hide from thee,' te celare. 958. noi, to what point ? ' how long ? ' quousque. 960. KTHCiN is preferably taken as obj. of εστερημέντι. So Jebb, who cp. for this use of the simple verb (instead of the usual άτΓοστβρεΐσθαή Hel. 95 ttws ; ου τι ττον σφ φασ^άνφ βίον crepels ; 963. JueNTOi emphasises ; it has here no adversative sense. 965. CON . . reNoc, 'off'spring from thee or me.' 967. enicnw : έφέττομαι. 971. καλεί: note the fut. mid. used for the usual κεκλη- σομαί. 972. τά xpHCTO : she means ras χρτ^στά?, 'the good.' 973. λοΓωΝ re juhn εϋκλειαΝ κτλ., ' see, Avith what glorious fame, again (uhn), thou wilt invest.' τε emphasises λόροοΝ, and ΛλΗΝ is used as in καΐ μήν (see Appendix I.), drawing atten- tion to a new point. NOTES 115 979. eu βεβΗκόα, 'firm set.' The word is used here in its original sense of ta]x:e a stride ; cp. II. 1. 221 η δ' Ούλυμττύνδβ β€βήκ€ί, '.she was going' (not had gone), lit. had taken a stride ; and the phrase ev 5ia/3as. 980. npoucTHTHN φοΝου : "lit., ' became ministers of blood- shed.' τΓροστψαί tlvos is propei'ly to place one's self ' in front of,' or 'at tlie head of,' — a general sense which yields several shades of meaning ; thus Eur. Andr. 220 χείρον' άρσένων νόσον I ταύτην νοσουμεν, άλλα ττροϋστημβν κα\ώ$, 'we are WOnt to control it well ' : Ai. 803 ττρόστητ άνα~γκαία^ τύχη?, ' shelter it ' : Aeschin. or. 2 § 161 τον ττροστάντα. τη$ eiprjvris, ' the champion of it.' Here, the presence of the dat. έχβροΐο serves to blend the sense of ' administering ' rec^uired by φόκου with that of 'standing forth' to confront an adversary ; cp. Ai. 1133 η σοΙ yap A'las ΐΓθ\€μω3 ττρονστη ττοτέ ; " (Jebb). φΟΝου is, of course, the murder of Aigisthos. 982. naN^HJuco πόλει, ' whenever the townsfolk come to- gether* ; lit. i)i the city ivith all its people. 986. cujunoNei . . curKajUNc: the words are synonymous. For the A-ariation cp. 0. T. 54 ώ?, eiVep a.pt,ei% τησδε yrjs ώσιτερ Kpareis : Ion 363 ΙΩ. οΐσθ' οΰν δ κάμνει του λόγοι» μάλιστα σοι; \ ΚΡ. τι δ' ουκ έκείντι ττ? ταλαιττώρο} νοσεί ; 989. ToTc καλώο πεφυκόοΐΝ : the phrase combines the ideas of noble by birth and noble by nature. Cp. 1081 n. 991. τω . . κλύοΝτι. For omission of the art. with κλύ- ONTi cp. 1198 n. Here the group formed by 'those Avho speak and those who hear ' is oi βονλενόμενοι. 993. ecwzcT* Sn | την eOXaSeiaN, ' she would have re- membered ]^rudence.' This meaning of σφί'ω was common : cp. Tr. 682 τταρηκα θεσμών ουδέν, αλλ' έσω'ζόμην : Plat. Rep. 455 Β μηδ' α έμαθε σφξοίτο. 998. ceeNeic . . χερί refers to armed assistance, of which Elektra has none. 999. 5aijucoN, ' fortune.' 1000. άπορρεΤ, 'ebbs.' 1001. έλεΪΝ, 'sla}-,' as often. 1005. λύει rap Hufic ούδεΝ, 'it serves us not,' \\i. frees not, i.e. does not deliver us from trouble. 1007. άλλ' OTQN θαΝεΪΝ κτλ. She fears perpetual imprison- ment. See on 381. 1010. κάϊερΗϋαώεαι τεΝοε, ' and leave our house desolate ' 116 ELEKTJIA i.e. 'catwie the extiri';tJon of the family/ Cp. Dfitn. <τλ 43 % 73 iwif^y^ctav /.τηΛΎΐ'ίάμ.ην rod οΐκου τοΟ ' Ayvioii '"ttojv μ:η (fffrq- 1012. Kbr^kU, ' witliout cotmequeitce/ i.e. auch liarmiul con- gequiiiiCi; »M fJi<;y would have for Khiktra if they were diviilged. 1013. uouu c-x^c, * get wisdom. ' άλλα, uiiu 111. lOH, eiKuoe'iN (epexegetie) depends on noun c/ec : '/ί^;/. ■" TrariHJ. 'a \e HO (in t') ykld. Trarifil. 'and yield.' 1018. όπHΓΓ'■;λλόuHN : ύ '■«//•/-/'Λ/νό//.//*/, 'my oiler.' 1021 . The me.Aning i«, "It is a pity you \vere not «o minded at the time of the murder; nothing would have been impohssible for you— ού§ί σ' oiuj \ δη(ώι> tr' άναχ^μίσΟαι,, Od. 11. ί37Γ» και κ€Ρ έι ?)ώ δίαν άι/ατχοίμψ, 'ore μοι <τύ | τ\αίηι έν μ^Ύάρφ τά σά. κήδ^α μυΟή<τα.σθΊ.ί.. I02'J. TObt: : t.li;i,l, ι ;, ' '• I ■,1ι;ι11 ii<;v<|• f/fai.•^!'; you." lOiJO. iLUKp/jc κτλ,, 'llr• fiiliir•• v/ill ,ίΙΙ'ογΗ I ιπμ• 'iioiifdi to «ettlo that, ' I /it, i,li,n j lUv/rc lUtMi in lonfj {f/n.oiMk) for Uw il.tw.vlaui. Koi nuian», "the matter need not be settled now; there is rt/,w the future." Κκγ τό κρΪΝαι insteaA tli'• ι Miniliucl.iou of anfihc in loyr;. NOTES 117 1037. τω ceo δικαίω, ' tliy view ofii^lit.' 1039. Η deiNON κτλ., ''tis pity tbat one vlio spoak.s wisidom shoiil"! .s[i(';ik astiay.' ΊΊκιί is, " Your words (10.38) set forlli a souikI |)riiii;ii>l(', ; it i.s a i)ity that you miss the a[)i)lica- tioii, rftfusiiig the f^uidaiico of one wlio eD φρονίΊ." Cp. yiiit. 323 ij deLubu φ δοκεΐ ye καΐ ψζυδη δοκεΐν. 1010. ω κακΔ: for κακ6ν ω κακά, «οο note on 203 ad Γιη. — Chry.sotlicniis ictorts, "It i.s you who tu X^yovaa (^αμαρτάΐ'^ι^ : no doubt Vfnjfeance uliould he taken on Ai.^i.sthos, liut youi• pro- j)().sal tliat ire shouhl att(!in{it it i.s folly." lull, ταΰτα : t hi• mui dcr of Ai;,dstlio.s. 10 if». καΙ UHN, 'oil, I sliiill (h) it.' See Ajipendi.x I. lOUj. BouXcucei πάλΐΝ : decide conlrariwise, 'change tliy pui'jiose. ' Cp. y'/u'h. Ί()1()μηδέτωδ6ξϊ]πάλίΐ'. 10 lit. ταΟτα : the resolve to kill Ai^isthos lier.sidf, if Orestes hIioiiM Ι';ιί1 Ιιΐ'Γ. 10Γ>1. ToXu^c, ' canst not hi'in^' thyself. ' See on 27.^j. 1051. Kai TO θΗραοθαι Κ€Νά : " cp. Aiii. 92 άρχην δέ Ο-ηραν οΰ wpineL τάμ:ί]χανα ; and for καί, Plat. Prot. j). 31 7 A ττολΧη μωρία καΐ του (πίχβιρηματοί (' the very attempt is ridiculous '). KCNO, vain dieains that her sister could ever feel and act with her; ip. 1031 aol'yap ώφ^λησίί οΰκ ?ul" (Jehh). 10Γ)(λ δτοΝ rap κτλ. : the schol. cp. //. 17. Z1 ρεχΟΐν δι rt vi'iTTLos cyiO). j'or BcShkhc, 'art set,' see on 979. 10Γ)8-97. S''i'j)'ii