' ■'"■'' ;ll!li|!l|li|i!!l!'iiililN|iilii|ii|ii|liiiillli|iiililli.ii:.,: ii lilHiliilSIIK r ■;i m il lllli|!ipi' 'i I U liiliH : jii iiliil ii' llliiipii nia:N.:<^H>iilliiiiiiliilliill»|{{l!::'hiHi:!li,,.',llll!ii{liil!llliilii GIFT OF Prof, W.B. Rising THE AGAMEMNON OF .ESCHYLUS, WITH NOTES AND A METRICAL TABLE i NEW EDITION RETISED. By C. C. FELTON, LL.D., ELIOT PROFESSOR OF GREEK LITERATTEE IN THE LXIVERSITV AT CAMIUIIUGE BOSTON AND CAMBRIDGE: JAMES MUNROE AND COMPANY JI DCCC LIX. Entered according to Act of Conj^ress, in the year 1859, by C . C . F E L T O N , 111 the Clerk's Office of the District Court of the District of >'assachiisi>its. « r ( « C A M B R I d' G ']^ : ^' , r k II }♦ s t ?>ii ,♦ Iiff i i e s , a'n il *.P ritehett. P II I X T E K S PREFACE. -(iEscHTLUS was born at Eleusls in Attica, in the fourth year of the sixty-third Olympiad, B. C. 525. His father's name was Euphorion. He belonged to a distinguished family of the class of the Eupatridoe. As Bode re- marks,^' he probably may have traced his origin back to Codrus, the last king of Athens ; for, among the life- archons who succeeded in the royal line was an ^'Eschylus, in whose reign the Olympiads commenced, and who may have been an ancestor of the poet. In that case, he in- herited the proudest associations, both in the legendary and the historical traditions of his race. His father seems to have been connected with the worship of Demeter ; and so, from his earliest youth, he was accustomed to the spectacle of the solemn Eleusinian Mysteries, which, be- longed to the most ancient, imposing, and revered services of the Hellenic religion. There is no doubt that at the proper age he was initiated into those Mysteries, which, as Isocrates says, taught men to entertain " sweeter hopes " of a future life ; and that he continued to be a devout * Geschichte der Hellenischen Diclitkunst, B III., §§ 280, 2:9. 237479 IV PREFACE. believer in a superintending providence, and in a righteous retribution, — a judgment to come. He was early taught the severe and ascetic doctrine of Pythagoras. The effect of these associations upon a mind naturally grave, earnest, profound, and enthusiastic, could not fail to strengthen the moral tendencies, and to unfold the lofty characteristics of his genius. We find no difficulty in believing the story repeated by Pausanias, as told by ^schylus himself, '^' that in his boyhood he fell asleep one day in the field, as he was watching the vines, and that Dionysus, appearing in a vision, bade him " write tragedy." The voice of the dream came to him, as he brooded upon it in his waking hours, like a divine command. His imagination had doubtless been excited by the pomp and splendor of the Dionysiac worship which he had beheld at Athens. The lyric exaltation of the dithyrambs chanted by the choirs, as they moved in elaborate dances round the altar of the god, had made a deep impression on his enthusiastic spirit. The changes that were rapidly taking place in the form and tendencies of political composition, especially the new and almost dramatic character which the gay Thespis and the grave Phrynichus had just stamped upon the Dionysiac songs, giving to them an element of human interest, could not fail to appeal with irresistible effect to the creative energies stirring within him ; and what more natural than that, as he fell asleep in the vine- "Lib. I 21. 3. PEEFACE. V yard, while pondering these things, the vintage god, to whom all that dithyrambic and dramatic poetry, festal or solemn, was consecrated, should appear to summon him to his service ? The statement is universal, that he came forward, as soon as he had reached the legal age, and en- tered into competition with Choerilus and Pratinas, two poets who already stood high in the popular estimation. The judges decided in favor of his rivals. The times were full of excitements more stirring than the struggles of rival poets. In the very year of his first appearance as a dramatic poet commenced the Ionian war, the prelude to those gigantic struggles between Greece and Persia, which placed the former on the loftiest emi- nence among the nations of the earth. In the year B. C. 494, Miletus was taken ; an event which, when brought upon the stage by Phrynichus a few years after, so pain- fully affected the audience that they burst into tears, and, according to Herodotus,'^' fined the author a thousand drachmae " for reminding them of their domestic misfor- tunes." Soon afterwards, the great drama of the Persian inva- sion commenced. The thoughts, the passions, and the strenuous exertions of every Athenian citizen were now engaged to defend the country against the mighty armies and fleets of the invaders. The young Eleusinian did not remain behind from that brave muster. He fought with distinguished valor at Marathon, and was commemo- Lib. VI. 21. a* VI PREFACE. rated In the picture of this action mentioned by Pau- sanias in the passage already cited. His oldest brother, Cynsegeirus shared with him in the glory of that illus- trious day. The part he took in this achievement he regarded as the most memorable event in his life ; and when he felt that death was approaching, he wrote an epitaph, in which he recorded the victory of Marathon, but made no mention of those dramatic victories so eagerly sought after by his countrymen, and so highly prized by himself." In the sea-fights of Artemisium and Salamis, and in the battle of Plattiea, his bravery was equally conspicuous. In the battle of Salamis, his brother Ameinias was the trierarch who commenced the attack, and was the first to sink a hostile ship.'''' The deeds of these noble brothers, and especially of Cynsegeirus, whose hand was cut off as he attempted to lay hold of one of the ships to which the enemy fled for refuge from the field of Marathon, were favorite subjects for the Athenian poets and artists. It was not until his martial fame was established by his conduct at Marathon, that ^schylus was recognized as a tragic poet of a high order. Six years after this event he gained his first tragic prize, B. C. 484, when he was forty-one years of age. He had previously entered into competition with Simonides of Ceos for the prize for * Herodotus, VII. 84. Diodorus Sic, X[. 27. This action is cele- brated in the drama of the Persians. The name of the poet's brother is not, hoAvever, mentioned, lie merely says that a Grecian ship began the onset, i/^it d' tfi^iuXi]g "E/J.tjiy.!^ ruvg. PREFACE. VU the best elegy upon those who had fallen at Marathon, and was defeated. In the following year, iEschylus must have been actively engaged in dramatic composition ; for in the period from the commencement of the Persian wars until their termination by Cimon's victory at the Eurymedon in 470, nearly all of his thirteen tragic victories were gained. In B. C. 468, Sophocles made his first appearance, and bore away the prize from ^^schylus. In fact a new generation had sprung up, who did not fully sympathize with the lofty tone of the Marathonian times. The polished genius of Sophocles better pleased the more fastidious tastes of the new race, than the proud, daring, earnest, and austere spirit of the old hero- poet. " In their first conflict," says Bode,^^ " the elder was compelled to give way to the younger, just as The- mistocles had been forced to yield to Cimon. And in the history of tragic art, it is a very significant circumstance that in that contest Cimon was one of the judges. Sophocles, who flourished down to the brilliant period of the age of Pericles, remained faithful to the principle of his art, as ^schvlus did to his : but both could not exist together. The popular feeling, and the entire in- tellectual character of the beautiful but short-blooming period of Attic life, began to change so much, that the serious and earnest character of an ^-Eschylus could no longer keep on friendly terms w'ith it. There prevailed among the people no longer that devotion and enthusiasm * Geschichte der Hellenischen Dichtkuust, B IIL, p. 218. VUl PEEFACE. which had accompanied Themistocles and Aristeides in laying the foundation of youthfal freedom. In short, the first act of the great patriotic drama was over, and with it the influence of ^schylus, who is the purest rep- resentative of the ethical character of this brief period." In this state of affairs, ^schylus left his country and resorted to the splendid court of Hiero, the king of Syracuse, where other Greek poets were welcomed with honor. Some of the ancients attributed this removal to the mortification of his defeat by Sophocles in the dra- matic contest ; others, to disgust at being prosecuted on a charge of impiety for having, as was alleged, revealed the Elusinian secrets in one of his plays. On this accu- sation he appears to have been tried before the Areopagus and acquitted. These may, indeed, have co 'Operated with other causes of dissatisfaction in leading the poet to take the decisive step of banishing himself from his native land ; but there can be little doubt that the principal motive has been correctly indicated by Dr. Bode. Soon after his arrival in Sicily, he composed a piece called iEtna, or the ^Etnsean Woman, in celebration of the founding of the city of ^Etna by Hiero * a few years before. About this time h3 brought out, in the theatre of Syracuse, his Persians, with which he had gained his first victory at Athens, in B. C. 472. At what time he returned to Athens, or whether he returned * This same event is alluded to Ijy Pindar, Nemea, I., in the ode celebrating the victory of Chromius, -who, though a Syracusan by birth, was proclaimed an ^Etneean. PREFACE. IX at all, is unccrtam ; but it seems altogetlier probable that he must have superintended the representation of the greatest of all his dramatic works, the Trilogy called the Oresteia, consisting of the A^^amemnon, the Choephoroi, and the Eumenides. With this, at any rate, he gained the tragic prize in B. C. 458. The political aim with which one piece in this Trilogy (the Eumenides) was composed shows the opposition maintained by him against the ex- travagant democratic tendencies, which " Young Athens," with Pericles at the head of the party, was now giving to the constitution of Cleisthenes. He attempted to sus- tain the venerable Senate of the Areopagus against the innovating spirit of the times, but without success. He lived about three years after his representation, and died at Gela, in Sicily, B. C. 456, at the age of sixty- nine. It would be desirable to include in a college course of dramatic reading the whole Trilogy ; but with the lim- ited time usually assigned to Greek studies, that would perhaps be too large a proportion for any one author, however eminent. The present edition of the Agamem- non has been prepared for the purpose of placing in the hands of students, in a convenient form, the great masterpiece of the Grecian Shakespeare. Notwithstand- ing the inherent difficulties growing out of the peculiar genius of ^schylus, and the more unmanageable ones caused by the imperfect state of the Greek text, no one can read the Agamemnon without being sensible of the gigantic power of the poet. The Agamemnon is doubt'ess X PREFACE. one of the greatest of those " Attic tragedies of stateliest and most regal argument," from which the genius of Milton drew some of its best inspirations. Its sublimity and pathos, its solemn and lofty morality, the sense of justice, and the reverence for divine things, expressed in language of over-powering grandeur throughout the lyrical passages, remind us of the poetry of the Hebrew prophets. The masterly and terrible conception of the character of Clytaemnestra, its consistent development, not only in the general outlines, but down to the minutest details, deserves to be carefully studied by every lover of the great creations of antiquity. The text of this edition is in the main that of Klausen. In a few cases the editor has substituted from others different readings, where equally well supported, and where the sense Avould be rendered clearer by the altera- tion. The works of many commentators have been consulted. Among the more recent, the editor is most indebted to Wellauer, Klausen, Schneider, Blomfield, and Peile. Cambridge, March 1, 1847. Ix preparing the new edition of the Agamemnon, I have made a few changes in the text, but more in the notes. In these I have added some things, retrenched still more, and omitted from them all that experience proved PREFACE. XI to be useless. Every student of -^Eschylus, who knows enough of Greek to know that in the present state of the text there are some things in the Agamertmon which can- not be explained at all, and others only conjecturally, will see that in several instances I have had only a choice between probabilities, and that very likely my choice would not be that of himself or another. One thing I may claim to have settled, on independent and unassailable "ground, ilie place where ^schylus intend'- ed to Jay the scene. When I published the first edition, I was severely taken to task by a Reviewer, for asserting that the scene was laid in Argos, — the reviewer con- fidently affirming that the scene was laid in Mycenoe. In 1853 I made a careful examination of the Argolid, reading the Agamemnon both at Mycense and at Argos. I do not hesitate to say that hereafter no critic can call in question any conclusion that ^schylus laid the scene at Argos, and not at Mycenae. The reasons for this conclusion are given in the first note at the end of the volume. On other grounds more than one editor had placed the scene at Argos ; but the argument on which I now rest my demon- stration is entirely new, and cannot be overthrown. C. C. FELTON. Cambridge, Jan. 1859. AIZXTAOr ArAMEMNflN TA Tor JPAMATO:^ npo^firiA. ^TylAls:, ArAMEMyn.N. X OFo:^. ka:ian. ipa. KA ri \i IMNII^TPA. All V-iO 02. TAA0TBI02 KliPTZ. 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OLXcov if/Ss ^aoxdoaL ysgL 35 Td 5' dkka OLycJ' jSovs inl yXaootf fiiyag BlSvfXSv ' Oixog 8^ avios, el (pOoyy}]v XdSoi^ 2^a(peOTai^ dv ke^euv • ag ixcov ty cj MaQovatv av8cd, xov ixadovoi Xijdo^ac, XOPOZ. Jixaiov fisv £Tog t68\ iviel Ilgidixov 4U 3Isyag dvji8ixog, MsviXaog dva^ rj8^ ^ Ayaiiifxvcov, Aidgovov AidQev xal Sioxijnigov TLuijg, oyvgov ^svyog ^ATg8L8dy, ^ToXov 'Agysiov yiXiovaviav 45 T}io8^ dno ythgag Hgav, OTgaziaitv dgayjjv, JSUyav Ix d^vfiov xXd^ovieg "Agr^, TgoTiov atyv7iL(ov, Oii\ ix/iaiioLs dXyeac naiScoVf 60 ATAMEMNQiS^ 't ;,»>■ 'TTtaroL X^yjcov aTgocpodivovviai, JliL-gvycov igsT^LoZoLv igeooo^uevoiy Aef-ii^Lozi'iQr] riovov oQia/u/cov olioavies • "Tiraiog 8'' dtcov ij tls 'Anoklcov, 55 '^// iJocv, i) ZevSf olavodgoov Foov o^viSoav Tcovds (.leiotxcov^ 'ToTsgoTiotvov JJluTtSL nagaSoioLv ^ Egivvvv, Ovico d^ ^ATgea? natdas 6 y.guoacov 60 !£^7i:' 'AXs^duSgcp TiifiTTei ^ivios Zevg noXvdvogog ducpl yvvaixo?^ IloXXd TtakatouaTa xal yvioGagij^ I^ovaxog xovlulolv ioELSouivov. /lLaxvaLO^dvri<; i' iv ngoTEXsLOLS 65 Kdaaxos, &7Joav AavaoloLv Tgaoi &^ ouoicog' sgtl 5' o/ir^ vvv *'EaTi * TeXetiaL 5' is to nsngcoaivov • Ovd^ VKOxXaLCDV, ovQ^ V7CO?,£l6cOV, Outs Saxgvcov^ dnvgav Ugcov 70 " Ogydg disvsis nagaOeX^ct. 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ToLood^ 6 xoiino? rij? dAi^dsia? yEf.iav Ovx alctygos cos yvvaixl yEvvala XaxEtv. X PO ^. Avxri IJ.EV OVTCOS ELITE }.iavdd.VOVTL 001 Togolai 6' igfxi^vEvOLv EvngETia? Xoyov. J^v 8^ EiTiE, x-ijgv^, MeveXecdv di 7iEv6oi.iai, 575 JFJl voaiifAog yE xal oeocoouevos ndXiv °H^Et ^vv VLiLV, TTJods yi]s cpiXov xgdzog, K JIPTZ. Ovx egB'^ 071(09 Xs^aifiL id yEvdij xaXd £? Toy noXvv (ptXoioc xagnovoOai ygovov, X0P02. IJco? Siji^ dv EiTCav xE^vd TdXijOij tv/ols ; 580 2^^io6ivTa 5' ovx Evxgvma yiyvExai jdSs, KjfP r^. Avijg d(pavTog l| ^Ayaixov oigarov^ Avxog XE xal x6 nXolov • ov yjEvd?j Xiya, 28 AIZXTAOr X opo:i. IIoTSQOV dva/Oslg i^Kpavcos l^ " IXlox', ^^H yd^a^ xoLvov ay^dos^ ijgjiaos oT^aTOv ^ 585 K IIP TZ' '' Exvgaas^ Sots To|oT?^g dxgos, oxonov ' JMaxgov 8e nin^ia ^vvioi^ico? tcpijixtoco, X F02\ IIoTsga ydg avxov "Ccovjog, y teOvj^xoios, ^diLS ngos dXXcov vavitXav ix?^7J^eio ; Kiip rz. Ovx oi^sv ovSsi?, wax' djiayyuXai jogcos^ 590 nXrji \ dv jgicpovTos '^ Hklov ydovos cpvoLv, X0P02. IIco? ydg XsysL? ysLuava vavTLxa digazco ^I^XOhv, ceXevifiGat Tf , daifiovcov xoia ; KIIPTZ. Ev(pri^ov TJi^tccg ov ngsTtsi xaxayysXcp rXcoaor^ fiiaLveiv * ycoglg ?J jif^irj &£cjv, 595 "Oiav 8^ dn £v XT d Ttij^ aT^ dyysXo? noXsi 2Jivyvco TtgoacjTicp tttogii^iov czgaTOv cpsgjl, IIoksL fiiv aXxos IV TO drj^iov Tvyuv, IJoXXovg Si TioXXav a^ayiaOivTUS d6f.icov 'Avdgas SiTiXrj ^idoTiyi, rr^V ^'Agj]? (fiXH, 600 //tXoyyov dxyjv, cpoLviav ^vvagida ' Toicovde fisvTOt TTt^udiav osGayfxivov, JJgBTrsi Xtyaiv naidva Tovd^ ' EgivvvGV, J^coTTigicov Si TzgayaaTow evdyysXov "Ilxovza ngog yaigovoav svsotol noXtv, — 605 Ilcog xedvd joig xaxoict avfxi.u^o, Xiyav AFAMEMND-N. 29 Xstucjv^ ^AyaLcov ovx dinjvixov O^eot? ; Svi'couodav /a^, ovxs<; e/dioiot to ttqiv^ IJvg xal O^dkaooa. xal za tclgt^ idci^dr-qv^ fpOeigovTS lov dvoxijvov 'Aoyeiav orpaioV. 610 ^Ev wxrt dvoy.v^aavia 8"^ olgcoQ£L xaxd. i\ aJ? ^dg 7ig6<; dXXijlj^at GgfjxiaL nvoal ^' HgsLxov • at. Si xsgoivitovftsvaL /3fa Xeil-LCOVL TV(p(D OVV ^d?.l^ t' OU^gOXTVUG)^ " SIl/ovt' dcpavTOL, notfievog xaxov oigoiSop, 615 ^ Enel 5' dviiXOs XauTigov ip/iov cpd.og^ '^Ogcousv di'dovv iteXayog AlyaSov v^xgotg AvSgcou ^A/aiwv, vavjixav t' igSLiiicov, ' Hiids ya ^sv dfj, vavv t' dxqgazov oxdcpos^ ^ Htol Tig i^rxX'cxpsv, i] ''^z^Tyjaaio 620 6^50? Tig, ovx dvOgcDTiog, oiaxog d^tyiov, Tv)^ij 8i ccoTTJg vavv d^ikovo^ ifpl^STO * 'S2g f.uJT^ iv ogfAcp xvfiaiog l^d.Xyjv £/stv, 3f}ji^ i^oxeiXac ngog xgazaiXeav yQova., ^' Kkhtcl d^ adj^v tiovtlov nscpsvyoTeg, 625 Aevxov xar' i^uag, ov nsTtoiOoieg tv^^t^, " EbovxoXovLiEv cpgovTiOiv viov nddog, 2^Tgazov xafidvTog xal xaxcog Gnodovuivov, Kal vvv ixsLvcov h Tig ioziv iujivsav. 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'/A/w be TcrjSog ogdcovvfiov xeXeociLcpgav 3frjvig jjkaos, Tgaizs^ag dxl^aoLv voiigcp ygovo Kal ^vveOTiov Aiog JJgaoao^iva to vv^cpoiLiiov fxeXog ixcpdrog jiov- Tag, 655 'Tfiivatov, og roz^ iniggsnsv jrafx6goLOiv dsidetv, MeiafiuvOdvovoa d^ vpivov ATAMEMNnN. 31 ITgiduov tioXl? yegaid^ UoXvdg^vov ^iya nov orivst, 660 Kixhloxovaa IIolqlv jdx aiv6?.£XTgov IIdfZ7zgood\ y noXvOgi^vov Alav^ dfx(pl no?u7^idv 3Iiksov al^^ dvaxXdaa. ^'Edgexjjev 8i Xeovra 66." 2^iviv So^iOLS dydXaxTOv Oviois dvijg cpiko^aaiov, 'Ev pioTov 7igoie?.sioLs "A^iegov, eixptkoTiaida, Kai yegagoU ini^agiov, 670 JJoXia 3^ 80%^ iv dy/AXaiSy JVeoTg6(pov lixvov ^ixav^ C^atdgoRos noil^stga, aaivcov t£ yacrgos dvdyxais, XgovioQds 5' dnld&i^sv ^'EOos TO ngooQs loxi^av, 675 XdgLv Tgo(pdg ydg dfiSL6av, MijXocpovoiGtv dyaloLv JoXx^ dxiXsvGTog hsv^sv AiaaxL 3'' Oixos icpvgOrf, ^A^ayov dXyog olxszais 680 3Iiya otvog noXvxjovov, 'Ex deov 3^ Ugevs tls dia? 86^uols ngootdgicpdri, ndnavza 5' iXdetv ig* Ikiov 7t6?uv Aiyoifi^ dv, cpg6vijy.a fxev vtive^iov yaXdvai 32 JIZXTAOT "Axaa'Aaiov 5' ayaXtxa nXoviov^ 685 MaXOaxov ofifxaTov j^skos, jd)j^ldvfiov sgcoTO? avdos, UagaxXivao'^ Inixgayav 8b ^^d^ovjtixgdsTsXevidg, ^voedgo? xal dvoofiiXos, J^vfilva Ugia^uldaLCfL, 690 UouTTcl zftog ^eviov, Av^fpoxXavTOS 'JSgivvvs. AvriajQOCfri y . 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JixoL Si XduTTSi fisv Iv dvoxdnvois Ba^iacSiv • Tov 8^ ivatOLuov xhi fiiov, 7io Td yiQvoQTcaaia, 5' eS^dka ovv nivcp %egav Tcaliv- T go 71015 ^' OfiuaoL Xi7iovo\ oGioL Tcgooi6a^ SvvaiiLV ov 2^86ovoa ttXovjov nagdoijaov aivcp' Udv 5' Inl jioiia vaud» ^'Ays Sjj, j3aaiXsv, 7i5 Tgotag 7io?un:ogd\ ^Aigias yiveOXov^ IIu5 6s TtgoaetTico^ nS? as ceSi^a^ 3l}jd'* VTisgdgas, (.njd^ vizoxduipas Kaigov ^dgiiog j IIoXXol di l^QOTCOV TO 8ox£iv Hvat 720 IlgojiovGi, §LX7^v TTagaddvTes. Tco 8vaTtgayovvTi 5' ijiiojevdyeLv lids lis kzoif^ws ' dij/fia Si kvm^s OvSiv i(p^ i^jtag Ttgoor/.vstiat • Kai ^vyyaigovaiv oaoLongEnus 725 " AykXaoxa, ngoocona j^ca^ouevoc, ^ OaxLS S'' dyaOog ngoGoLToyvcoiicov^ Ovx SOIL XaOelv oa^iaia (pcojog, • Td. SoxovvT^ EVipgovos ex Stavoias 'YSagSL GULVSLV (piXoTl^Tt, 730 2^v Si f.iot TOTS f.iiv oiiXXcov GTgaitdv ^EXivjjg svsx\ OV ydg (?' imxsvGco^ KdgT^ duo^iovoag i)oOa ysygafxuiuos • Ov3^ sv TCganiSov oiaxa vi^icov, Ggdaos ixovOLOv 735 34 AIZXTAOT "" Av'bgdai dvjjcjycovai xof.ii^cov, Avv 8^ ovx an'' cixgag (pQSvos, ov8^ d(pilcos Evcfgov lis novo^ sv TsXiaaoL, TvloGH Si XQOvco Sia7i8v66u8vog Tov le BixaLog xal jov dxaiQcos 740 Uo/uv oixovgovvxa noXixooi^, A FA M k: MJyJl N. IJqgoiov fiiv 'Ag/os xal d^eovs i/^cogiovs Jix-q TzgoasiTtetv, lovg i^ol fxsTaiiLOvs JSoGTOv^ dixatcov i^' av inQa^dai^v noXiv Ilgiduov • dtxas ydg ovx duo ykaoGii^ &eoL 745 KlvovTsg, dvdgodviiiag ' IXiov (pOogdg ^ Kg ai^iajijgov lavyog ov Siyoggonag W}](povg Idtvjo' Tcp ^' evavTLG) xvrei ""KXnig 7Tgoo7J£i yfigog ov nXifgovfisvco. 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TijtTS (HOI To5' ii^iTisdcos /fn^a TTgoaTUTtjgiov KagSiag Tsgaaxoirov noiaTaiy MavTLTioXEL d^ dxiXsvoiog di-uodog doidd* 910 Ovd^ dTZOTiivoac dixav /fvoxgiKov ovEigdicov Odgaog cvjiidig I'Cet 0oev6g (piXov &g6vov ; Xgovog cB icl Trgvfxvi^aicov ^vv ifi6oXa''g 915 Waixulag dxdiag TzagySjfaeVf siO^ vti^ " IXlov ^Slgjo vavGdiag aigaiog. ATAMEMNflN. 41 AvrioTQOcpij a. UsvOouaL 5' a;r' ofxudiav NoOTOv^ aviofiagivs cov, Tdv 5' av^v Xvoas oucos vuvooSst 920 Ggijvov ^ Egivvvos avrodLdaxTos eocodev Gvjxog, ov TO Tidv e^cov "'EXntdos q)i?.ov ^gdao?, ^^TiXdyyvoL ^' ovtl f^iaidtsc JJqos ivdtxGi? (pgsalv 925 TsXsacpogoLg SivaLs xvyJ.ovasvov xiag. Ev/OLiai (5' azr' if^ids to ndv IXiiidos yjvdi^ nsaeiv 'Eg TO i^nj TsXsacpogov. MdXa ye tol 87} las noXXds v/tsias ''AxogsGTov Tsgua ' voaos ydg del, 930 Ebltov bi-ioTOLyoq igsiSsi, Kal TtoTfiog evOvjiogav ''AvBgos tnaiCfSv dcpavTOv eg^a. Kal TO (.liv Tigo ygrjuaTcov 935 KxriOLcov oTivog j3aXcov, 2^cp£v86vas drc^ evfj-STgov, Ovx sdv ngouas Souos III] novas yst.icov dyav • 01)5' ijiovTLCts oxdcpog. Oic IloXXd t' dv Soaig ix Jiog dficpiXa- (p-qg T£ xal i^ dXoxcov iiiSTStdv NrjoTLv oXbosv vooov, 4* 42 AIZXTAOT AmoTQOcprj fi' . To 5' int yoLV aua^ neoov &avoioLf.iov, 945 Ilgondgoid^ avbgos fdlav al^ua lis dv UdXiv dyxaXioaiT^ ijiaeldav ; Zevs di lov og&oSccfi T(Dv (pdifxevav dvdyEiv ertavdev. El 8 6 fiij TBiay^dvoL 950 Motga fLiOLQav ix d^sav ETgyB (.17] TiXeov (pegSLv, Ugocpddoaaa xagdiav E/iaaaa ndvx'' dv i^i^sL. Nvv d^ VTZO oxoTco jBgiixsL 955 Ov^iaXyij? T6, xal ovdiv iiceknofis- va Tiozi xaigiov ixioAvnevoeiv, Zconvgov^iivag (pgsvos. Kyt r TAIMN 112' TPA. Eloo) xoul^ov xal ov • Kaadvdgav Xeyo • 'Ett&l (j' sOtjxs Zevg durfJUTag Soaois 060 KoLvcovov uvai ^£gvi6cov, noXX^av fiSTa AovXcov, oiadtlaav xttiolov j3co(aov nsXas, ' ExSaiv'' dTtijvi^s xrjoBs ' fn^d^ vnsgcpgovaL, Kal natda ydg loi cpaaiv ^AXx^iijvr]? noii IlgaOsvTa iXijvaL, xal ^vyav d^Lyslv jSia, y65 El 8^ ovv dvdyxri T)jo8^ intggsnot iv^V^f ^ A gyaLonXovjov SscfJioicov rcoXXi] X^Q^'^* Ol 8^ ovTtOT^ iXTTiaavTsg yj^xijoav xaXcog, ^S2uoi T£ SovXois ndvza, xal nagd oidd^iriv, " E^sts nag' ri^iSv oldjiEg vo^u'C^iai, 9"0 ArAMEMNSlN. 43 X p :2. 2oL xoL }Ayovoa navexai oacpij Xoyov, *Kvi6? 5' av ovaa ^ogoii-icov ayQevudicov, IhldoC av, ei tiscOol^ • drteLdoujs d^ I'acos, K A TTAIM IS Ii:STP A. ^ AW HTtSQ soTL fxrj, %e?.i86vos dlXl^V, 'Ayvaxa (povTqv ^dg6agov xexiri^lvri, 975 '.Eaco cpgtvav Xsyovaa tzslOcj vlv Xoyco, X0P0 2. ^Eitov • jd Xcoaia xav nagsoTarav kiyei. UhOov^ XiTCOvoa xovd^ dfia^ijgri dgovov, KA TTAIBdN II2T PA. OvTOL d'vgalav xrjd^ iuol 0)^0X1] ndga TgiSeiv • xd ^sv ydg ioiias ^.tsooucpaXov 980 "EoT}]xsv ydi] injXa it go? otpaydi Tivgos, *J2? ovnox^ iXTCiOaOi X}jv8^ s|5tv ^dgiv. 2^v 5' £L Ti 8gda€ig xavds, fu^ ayoXiiv xiOst. El 5' d^vvjjuav ovaa jxiq Blyet Xoyov^ Hi) 5' dvTi (pcovijs (pgd'Cs xagSdvoj X^9^* ®^ X OPO y. 'EguT^vsag eoixfv 7) ^ivi^ xogov Aetodat ' xgoTZOS di &r^g6g cos vsaigaxov, KA TTAIMNITSrPA. H ^io.LvsxaL ys xal xaxav xXvei (pgsvcov, ''Hxig XiTTovaa (xiv noXiv veaigsxov "Hxst ' yaXivov 5' ovx iiiiajaiai cpigsiVf 9'JO Uglv aLf.iaxrfg6v i^acpgL^aadat fievo?, Ov 1.17JV rcXico gixpad' diiixco6}joo^uai. 44 AIUXTAOT X0P02. 'Eyo 8\ iTtoLXTuga ydg, ov &vf.i6(jOfxai, Eixovd* avd/xj^ Tijds xatvLOov ^vyov, 995 KA2AN/1 PA. ^TQOCprj « . ''OzOTOTOTOL TtOTtOi dd, "AnoXXov^ ^ AnolXov, X0P02. Ti TCf.vx' dvoTOTV^as dficpl Ao^iov ; Ov ydg tolovtos^ ciOXE &g7^vi^Tov tv^slv, KA2AN/1PA. AprioxQOcprj a. ^OlOTOTOTOi TlOTlot 8d. lOOO 'AitoXkov, ^AnoXXov. X0P02. H S* avis hvacprifxovaa tov Oeov xaXsi Ovdiv ngoaijxovT^ iv yoots nagaaxaxetv, KA2ANJPA. 2TQ0q)7l /?. ^'AtzoXXov, " AttoXXov, ^A/vLdi^ dnoXXav ifxog, 1005 ^ATiaXeaas ydg ov [xoXis to Ssvxsgov, X p o ^. XgrjCBLv eoixsv d^cpl tcov avjijs xaxcov, MivH TO d^HOv dovXia itagov cpgevL KA2ANA PA. AvTiaTQOcpr} ^. ^AuoXXov^ ^AnoXXov^ ATAMEMNnN. 45 ^AyvLcix' dnoXXcov iuos, loio ^'A not ttot' ijyayss fis ; ngos nolav cis/r^v ; xo Fo:^. Uqos T7/V 'Argsidav • el ov ^y] to5' Ivvoels^ ^Eyco ),eyco ool • y.al idd^ ovx igeis xpvOij, KA2A1S/I PA. -"A a. JMiaodeov ixsv ovv • noX/.d. ovviaicqa ioi5 AvTOcpova TS xaxd, xd^rdvai 'Avdgo? 0(paySLOv xal neSov gavzijgiov, xopo:i. ^'EoLxev evgig y ^ivr] xvv6<; 8tx7]v ElvaLy fiajsvec S' av dvavgijosi cpovov, K A 2: A y zJ PA. Ai'TiUTQoqrj y . MagTvgiOiOL ydg rotod^ aiiLTiiLdo^taL • ic^o lO.atdfieva jdde ^gitpri ocpayd?, ^OTZids TS cdgxas ngos Tiargog ^eSgaiiivas* X o p o :^. ^ H i-ujv xXios GOV uavTLxov 7re7tv(ji.iSvoi '^HiOi.av ' 7igo(piJTas 5' ovzLvas ^aGi8vo[.uv. KASANJ PA. ^tqoq^ri d'. ^IcO TtOTtOL, Tl 7T0TS fXTJSsxai 'y 1025 i TOJs vsov ayos (.isya Msy^ Iv SouoiGL tolgSs ^ijdsTat xaxov ^Acpsgxov cplkoLGL, AvGiajov ; dXxd 6^ ixds dnoGxajeu 46 AIZXTAOr X P 2. Tovlov ci'Cdgtg etf-U Tav fxavisvixdiav, io:io ""Exuva 5' eyvcov " ndoa ydg nohs ^oa, KAHANJPA. AvnaTQOQpi] d'. 'Icj Toikaiva^ toSs ydg zeXels ; Tov 6{,io8efivLov noOLv Aovzgoioii cpaidgyvaoa y ncos cpgddco ri Ao? ; Tdyos ydg to5' eazai, 1035 UgoiSLvet 8i yslg ix /sgos bgsyoi^iiva, xo P 2, OvTicj ^vvijxa • vvv ydg i^ aivLy^idTCOv * Etc agy 8^1010 i &EOq)diOLg d^ijyava, KA 2 AN J PA. 2rQocfi] £ . ^E^ I, TtajioiL, uanaT^ tl rods (paivETai ; ^H biXTVov Ti y " Ai8ov ; 1040 ^ AW dgxvg i) ^vvsvvog, ?) ^vvanlcx, fpovov ' (jidots 5' dxogsTos yivst KazoXoXv^dia &vfiazos Xeval^LOv, XO P 2. IJoiav "EgLvvvv zrjvSs dSf-iaoiv xeXst ^ Euogdid'Ceiv ; ov fis (patdgyvei ko/og. 1045 ^Enl di xagdiav s8ga^£ xgoxo6a(pijs j ^zaycov, dzs xaigla nzaai^iog i SwavvzeL ^lov 8vvzog avyalg, \ Ta^eta 8^ dza niXsi. } KA SANA PA. AVTiaTQOCpi] B . "^A d • l8ov, l8ov ' dnsx^ t^/? ^oog lono AT-AMEMNSIN. 47 Tov javQOv • iv nijiXotaL JMsXayxigav ka6ovaa (.u^^avij^aTL TvjixsL • TttTvet 8^ ivvdgco Tsv/et. zloXoifOvov }.i6i^Tog xvy^av col Aeyco. X PO 2. Ov y,ofi7ioi(jaLu^ av d^eocpdxcov yvcoucov dxgos 1055 Klvai, xay.c^ ds ico jigootr/cd^cj idde, ^ Atco 8s x^aacpdiav its dya&d (pdiis BgoTotg jiXXEJOii , xaxcov ydg 8ial HoXvsTtitg T^^vai d^£a7iLco8ol 066ov cpigovoiv {.ladeiv, lObO KA2AN/1PA. '/«, t6?, TaXalvas 'xax6/toji.iOL ivyai. To ydg 8^6v &gocD nddog ine^^/iaoa. IJoL 8)j i^is 8£vgo Ti^v rdXatvav i'^yaysg ; Ov8ev TioT^ el [.uj ^vvOavovidviiy • tl ydg ; X P 2. 0g£vofiavijs its £t &ao(p6griTOSy ducpl 8' avxdg &goug 1C65 Noaov dvofiov^ old rtg §ovdd "Axogexo? ^ods, ca. 1135 ArJMEMNnN. 51 'Ttt' aif fis SsLvo? o^dofiavTSia? novo? 2^Tgo6u^ xagdaocov cpgoif^iLOtg ^vacpgoi^uoLS, ^Ogdzs Tovade zovs 86uoi? i(pr]{.ievovg Nsov9, ovtigav ngocjcpsgetg ^logcpufxaciLV ; TIaidss d^avovxE? aajisgel ngos tcov (piXcov^ 1140 Xetga^ xgsav TilijOovisg olxetag [Sogois^ 2^vv ivTegois ts onXdy/v^^ inorxnojov ys^os, IJgsTiovo^ E/ovTsg, av naiyg eyevoajo, ^JSx ravds noivdg (fj^ut iSovXsvscv jivd udsovi^ dvaXxtv iv Af/ft ozgacpa^svov 1145 OtXOVQOV, OLflOt, T« fX0?i6l'TL dsOTtOTff "Ei.Lco ' cpegELv ydg ygrj to dovXiov ^vyov. JSecov t' STiag^og 'I?uov t' dvaojdujg OvK oidsv Ota yXcoooa uKji^Tijg xvvog yle^aoa, xdxisivaoa cpaiSgovovg^ dixijv 1150 ^' Aiijg Xadgaiov, Tev^eiat xaxrj Tvyr^. Totavia ToXad' &{f?.vg dgasvog cpovsvg " KaiLv ' TL viv xaXovaoL dvoq)iXeg 8dxog, Tv/oi^C dv • dfi(pio6aLvav, jf ^xv?J,av rivd Glxovoav iv nExgacGi^ volvtiXcdv j^XdSijv, 1155 Ovovaav "^idov i.u]Teg\ danovBov t' ^'^gj^ 0lXols Ttviovoav ; ag 8^ inaXoXv^aio '// TtavTOToXuog, Sa/rsg iv f^idyr^g jgonrj • z/oxst 8i yaigetv voojl^co acoiijgia. Kal Tav8'' ouoiov ei rt fiT] nsiOo • tl ydg ; 1160 To aeXXov ij^st * xal av a' iv id/Ei nagcov ^' Ayav 'f d?^ijd6.uavTiv, olxTSigag^ igetg, X o p o 2. Ti^v fiiv Bviazov 8aiTa TTacSeuov xgsav 52 AIZXTAOr Avvijxa xal netpQixa • xal cp66os fi^ ^X^^ Kkvovi'' ahf&cos oi/div e^rfxao{.iiva, 1165 Td 8^ dXk^ axovaas ix dgo^ov neocov jge^co, KA :^A IV J PA. 'Aya[ieixvov6s oi cp-q^^ InoxpiodaL fiogov, xopo :s. KA2 AN J P A, ^AXV ovit Uaiav tw5' iTzccfiaitL Ao/«. X p y;. Ovx, BLTiEg £(jiai y ' dXXd ^i] /evoLio ncos, 1170 K A^AN^ PA. 2^v i-iiv xaTEvvsL, TOi? d^ aTioxTetveiv fiiXst, xo POZ. Tlvog Ttgo? dv8gog rovi^ dyos Tcogovvezai ; KA2Aiyj PA. "^H xdgi^ dg^ av TtageaxoitSLg ^gj^(jf.icov s^cov. XOPO ^. Tov ydg xeXovvjos ov ^vvrjxa f.ir^^av7Jv, K A2 ANzl PA. Kal ^ijv dyav /' "EkXjjv^ aniaia^iai cpdiiv, 1175 X OPO:s. Kal ydg id nvdoxgavxa • dvofiadij 5' ojxas. K a2:a nj PA. Ilanat, oiov to nvg • ijisg^STat ds ^lou ^OxoTOi^ AvxiC ^'AtxoXXov, ol iyco, i/a. Avxri Sltxov? Xsaiva ovyxotf.tcouev7^ Avxcp^ ?Jovxos svysvovs dnovoia, IIRO Kxevtl lie xr^v xdXaivav • cos di (fdguaxov ATAMEMNSIN. 53 Tiv/ovaa ocduov f^itoOov ivd)ja£t xotoj Ensv)(cxaL, O'l'iyovoa (pcjil (pdayavov, 'J^Jari? dycoyiis dviLiioaodai cpovov. Ti Sijz^ iuavTfjs xaiayeAoT^ eyco jd^ds, iis3 Kal oxijitiga xal ^avxeia negl degif OTScpi^ ; J^s f.dv KQO fioigas iTJg i^.u'j? dtacpdeQcj ' '' Ii^ is (pQoQOv neoovia^ iyco 8^ dfi^ exposal • ^'AXXriv TLv^ diijv dvT^ ifAov nXovii^exe, 'Jdov d^ ^ yiuoXXcov avTQS ixSvcov aui ll'JO Xgijoii^QLav eadfiT\ iTzonrevoas ds (.is Kdv TOLoSe xoGfiOL? xaTaybkcoaivr}v aeycc 0iXcov vk' i^dgav ov di^oggoTtco? (idir^v • KaXov^iivq ds cpoLids, cos dyvgigia^ IIico/6s, TdXaiva, XtaodvTjs t^veo/ouj^v, 11L»5 Kal vvv f.idvTLs (idvTiv ixjigd^as ifii ^Anrcyay^ as Toidods Bavaoi^Lovs tv^ols, Bcouov naxgcoov 5' dvx^ ini^ijvov uevei, Gegua xoTtsioijS (poivup ngoocpdy^iaxt, Ov fUjv dxiuoL y ix Becov xedvij^ofASv, 1200 " H^ai ydg Vf^iav dXXos av xifidogos, Mijxgoxxovov (plxv/iia, noivdxcog jzaxgos ' 0vyds ^' dXijxijs XTJada yi'js dno^svos KdrsiOiv^ dxas xdads &gr/xa6(ov (ptkocs ' ^Ouauoxat ydg ogxos ix Beav fiiyas, 1205 '' y4^nv viv vjixtaoua xacuivov Txaxros. ^ lis Tl df/x^ iyo] iiixotxos ad^ dvaoxivco, ^Ercal x6 ngcoxov al8ov ^ Ikiov jxoXiv ngd';aoav os anga^av^ ot 8^ si/ov tzoXlv, Ovicos dnaXXdooovoLv iv &aav xgtaai, 1210 5* 54 AIZXTAOT lovGa TTgd^co^ jXijoofiai to xaxOaveiv, "y:Iidov jivAag di zdod^ tyco ngooevvenco • ^Knev/oiiaL 8i xatgias nXi^yils tv/slv, 'J2s aG(poi8aaiog, acudicov evdvr/OLucov ^^Tioggvivicov, o^i^a av^iSdka jode. 1215 X o p o i\ ^Sl TtoXXd fiiv idXaLva, noXld d^ av aocpj^ T'vvai^ f.ia'/(gdv eiEiva? ' et 5' in^ivucos Mogov Tov aviij? oioOa^ ticjs^ ^eyp^diov Bogs dtxi^v, ngos ^co^iov evxoX^ias najSLs; K A 2' AN J FA. Ojx iai^ oiXv^i?, ov, ^svoi, ygovov nXia. 1220 xopo:^. 'O 5' vGiaxos ys tov ^govov ngsoSevsicci. HAINAN J PA. " Hxsi To5' i^uag * Ofiixgd xegdauco cpvyrj. X o P i\ ^ AXV loOl iXiiucov ovo^ dn* evzokfiov (pgtvos, K AS^AJy^ PA. '^AA' avxleai zoi xaxOavuv ^dgig ^goio, X p y. OvSsi? dxovei lavia lav svSaiyovcov, 1225 K A 1 ANz) P A. */«, ndzig, cov xcov xe ysvvatav xlxvav, xopo:^. Tl (5' IcxL xgiil^ta, xls o' dnooigirpet cpdSog ; K AyANAPA, uiFAMEMNnN. 55 X P O 2. Ti Tovi* l' if ev^as ; si' tl fii) (pgevav azvyos* K A 2\l NzJ PA. 06vov douoL nviovaiu aiixaxoaiayrj, 1230 X o po :s. Kal 7103? ; To5' o^ft Ovi-idicov icpsaiicov, ka:saixjpa. "Oaoios ar^o?, SoTieg ix xdcpov, ngijiBL, xopo:^. Ov ZvQLov d/kdi'af^ia da^uaoLv Xiyiis, KA :s A?s'/I PA. ^ AW SLUi 7cdv 8d^lOLC X^9^^ dflCpLTOflCp ^eXs^IVCO, 1415 K A T TA IMN 112 T P A> Av/£L<; uvai rods zovgyov i^ov. Ml} 8' imksxOijg ''A/afis^voviav eivai ^' aXo^^ov, ^avza'Cof.iEvos Si yvvaLTcl vsxgov Tov8\ 6 7ia?,atds dgiuv? aXdojcog 1420 ^ArgEcos ^aXsnov d^otvaTrjgog, T6v8^ dneriasv, TeXeov vsagots Inidvoas. X P02. AvTiaiQ0(f7} y, *S2g 1.1 sv dvacTios iaoi ^ Tov8e cpovov^ lis 6 ^agivgijacov ; 1425 Z7«, Tia ; naigoOev 88 ovkkT^Tticog yivoLz* av dXdajcog. BLd^erai 8^ ouoonogoig iiriggoataLv al^dTCOV MiXas 'Agr^g • otiol 8i xal ngoSaivav JJdyva 7iOvgo66gco nagi^SL, AVTlOTQOCprj 5*. ^Ico, i(D, ^aaiXsv, paacXsv, 1430 Hag (js 8axgvGC) ; 0g£v6g ix cpiliag tl ttot' bltzco ; Keioai 8^ dgdyvrig iv vcpdoi.iaTL tco8^ "Aaadsl &avdT(p fiiov ixTtvicov, AvTiOTQO(fr] g , . *'JlfLOc fxoL^ xoLxav Tdv8^ dveXevdegov^ I43f5 /doXtca ^ogcp Sauslg 64 AIZXTAOT KA TTA TMN JI :s: T P A. Ovi^ dvsXsvdsQov olaat d^dvaxov Tcpds yeviodai Ovdi ydg ovios doXtav olttiv M40 Oi'xoioiv k'd7]x^ ; ^AW ifxov ix Tovd^ sgvos dsgOiv, Tr^v noXvxXavTov t' " Icpiyevuav ^A^ia dgdoa?, a|ta 7td(j/ov, MjiBbv iv ^Aidov fxsyaXav^£Lico^ i44-j Oavdzfp xioas drceg ^g^Bv. X0P0 2, *Af.irjxavS, cpgovjldcov oisgridels, EvndXa^iov fxigif.ivav, "On a TguTTco^uai, Ttirvovrog otxov. 1450 ^idotxa 5' ofi6gov xivnov dofiooq)OL}.rf Tov alfiarijgov • xpaxdg di Xijysi. Alxjjv 5' f tt' dl'AAo ngdy^xa d^-qyavH pXdSjjs, Ilgos dXXaig ^r^ydvaiat Molga, AvTiaTQOCpT] ^, i«, ya, ya, siO s^i so8§c), - l4ro Ilglv jovS^ ini^Hv dgyvgoTOi^ov zfgoLiag xaTS^ovia ^^a^ievvav, Tls 6 &dipG)v VLV ; Tig 6 d^grivriaav ; ri av t68^ eg^ai Thjasi, xTsivao^ dvSga tov avirjg, U6U Anoxcoxvaai iiJv^rjv, d^agiv Xdgiv dvx' egycov ATAMEMNSIN: 65 MsydXcov adixas iTTLxgdvuL ; 7Vg 5' i7iiivu6iov alvov fV dv^gl d^elco !zvv ddxgvGLV idnTav 1465 "^ Ahjdeia (pgsvav novijasL j Kyi TTAI niNTI 2TPA. Ov OS TtgoaijxsL to i^dh^ixa }JyHv TovTO ' Ttgog ijacov KduneoB^ xdiOavs, xat xaiaddipo^sv OvX VTCO xXavOflCDV TCDV f| OLXOV, 1470 "AW Affiykvud viv dGuaoLo? Gvydnjg^cjs xg^}^ llazeg^ dvzidGaaa ngos coxvuogov Ilogdfisvix^ dyjcov Jlsgl ^etga ^aXovaa cpiXijasL. 1475 X P02. AvTiaiQOKfri g. *'Ovst8og ijxsL T0(5' dvj'' oveidovg. Jvoj^iayoL 5' ioTi xgtvaL. 0eg£t (pigovT\ Ixtlvsl 5' 6 xatvcov. MuLVEt Si, (.d^ivovTog iv d^govcp Atos, Uaduv Tov eg^avxa • ^ea^iov ydg • 1480 Tig dv yovdv dgalov ixSdXoi 86(j.cov y KexoXXriiat yivog ngog dia, K A r TA IM1STI2 TPA. ^Eg Tov5' iviSijg ^vv dlTjdeia Xgria^ov eyco 8^ ovv ^ EdeXa^ datfiovL tw ID.sLadsviSdv 1485 ^ Ogxovg d'ef.isvi], idSe uiv axBgysiv^ dvaiXtizd Tisg ovd^ ' o 8i Xoinov, iovx* 6* ee AI2XTA0Y *Ex Tov8s boiicov^ olXXtjv ysvedv TgiSsLv davdioig avOeviacGt, Kteolvcov Tf ^ligog ^aiSv ixovdif i^*^0 J lav dTio/gr/ fxoi 7cdXh]Xo(p6vovs Alavias ^eXddgcov dcpekovarf, Airi:s e o:s. "^Sl cpeyyog svcpgov Jifiegag ^ixijcpogov, 0ai7iv dv rjdif vvv ^goiav Ttfiaogovs Gsovg dvcodev yij? inoTZTSveLv dyij^ 1495 ^I8(ov vcpavTocg Iv nknXoig 'Egtvvvcov Tov dv8ga lovds xeif^isvov cpiXag ifioi, Xegos TtaTgcoag ixiLvovia fxri^avdg, ^Aigivg ydg dgxav ji'jods yijg, lovxov Ttaxijgf Uaiiga OvsOT-qv tov i^xov, as rogag cpgdoai^ isoo ylvxov t' ddeXcpov^ diicpiXixTog «i/ ycgdzH^ ^Hvdg}]ldTrjosv ix nolscos xe xal Bofxcov. Kal ngoGigoTtaiog ioilag ^oXcov ndXiv TXyjaav Oveozijg, fioigav evgex^ docpakrj, To (.If) davcov naxgwov alad^ai neSov 1505 Avxov ' ^ivia di xovds dvodeog naxijg ^Axgsvg^ ngo&v(icog fxaXXov y cpiXcog, naxgl T6a(o, xgeovgyov yfAug ivdv^iag dyetv JoxaVf nageo/e datxa naideicDV xgecov, Td (dv 7io8ygy xal x^9^^ dxgovg xxivas i5io *'Exgv7ix^ dvsvOsv dvdgaxdg xady(iivoig "Aari(ia, o 5' avxav avxlx'' dyvoia Xa6(ov, *'Eo&£L jSogdv docoxov, cog ogdg, yivst, KaTtsix'' iniyvovg egyov ov xaxalaiov, *'J2LfXG)^£Vy dfiniJixei 8^ duo ocpay^g l(i6vy J515 ATAMEMN SIN. 67 J\I6gov 5' acpEQTOv IIs?,07iLdats inev^szai, Adxiiafia detitvov ^vvdtxoj? tiOsls dgdv, Ovicjg oXeodat Jidv x6 nkaodevov? yivog, Kk lavSs OOL Ttsadvia zovd^ ISetv ndga, Kdyco StxaLOS tov8s lov cpovov qacpevs* 1520 TgiTOv ydg ovia ^C Itcl §ex^ ddkicp jtaTgl 2^vvs^Ekavv£i Tvidov 6i/t' iv CTtagydvoLS* Tga(p8vTa S^ avdis i) Bixtj xaujyayev, Kal lOvSs jdvSgds i^ipduiiv d^vgalos ©V, ndoav ovvdxpa<; uri^aviiv 8va6ov?.ias. 1525 Ovia Tiakov 8)^ xal to xaiOaveiv ifiol, ^I86i'ia Toviov TTJg 8cxi^g iv k'gxsaiv. X p o 2. ALyLGd\ v6gi^siv iv xaxotoLv ov aiSo, 2Jv 8^ dv8goL t6v8£ cprjg ixav xataxiavstv, JSIovog 8^ STiotxzov jovSe jSovXevaat cpovov • 1530 Ov cprj^u^ dlv^eiv iv 8ixif to gov xdgoL ^rfuoggicpats, odcp^ I'oOt, kevotfiovs dgds* Airi:^eo:s. 2!v Tai;Ta cpavsts vegiega rrgoGrjusvos Kaiirf^ xgaTOvvTov jav inl ^vya 8ogd9 ; jTvaaei, yegav «i/, ag 8i8dGxso6aL ^agv 1535 7^u3 TifkcxovTcp, ococpgoveiv algTjalvov. /feouog 8i xal to yrjgag al xe v}J0Ti8es Aval SiSdoxsLv i^o^aiaTai (pgsvcov JargoudviSLg • ov/ bgdg ogav zdSs ; Jlgog xivrga fijj kdxzi^s, fi}} naioag fioyijg. 1540 X opo y. Fvvaiy av Tovs ijxovt ag ix fid^^rjg veov 68 AIUXTAOT Olxovgos, svvijv dvdgog alayyvovd^ aua, 'AvSqI ajgaTijyco lovd^ i6ovXevoas ^xogov ; Ai ri2 o :i\ Kai raiyra toltiyi xXavixdicov dg/r^ysvj^. ^Og(pei 8i yXaaaav iijv ivavilav eysLs. 1515 'O fxsv ydg yys Trotvz' oczro cpdoyyiis X^Q^t 2Jv 5' i^ogiva? vrjTtiotg vXdyiiaGiv ^A^u ' xgairidsLS 5' rnxsgcoiegos cpavu. xo P o 2. *i2g h] Gv ^loi Tvgavvos ^Ag/siav sGet, *'Os ovx, insidj] t«5' i6ovA£vaas (.logov^ ir»5o Agdoai lod^ egyov ovx I'tA?/? avxoxiovos ; Ai n 2 e 2. To ydg doXaaai ngog yvvaixos yv aacpcos ' ^Eyco 8'' vnoiXTOS s/Ogos i) naXaiysvrjg, ^Hx Tcov §8 Tovds ^gi]f.idicov neLgdao^ai ^Agysiv noXuav • toV be ^uj neiddvoga 1555 Zsv^a ^ageiaig ovtl (.itj asigacpogov Kgidcovza ncoXov • aAA' 6 dvG(piXi]s gx6t(0 AlLuos ^vvolxos ^laXdaxov Gcp^ iuoipsTac, X P 2. Ti Sij TOV dvdga t6v8^ dno \pv/ijg xaxijs Ovx amog TJvdgi^sgj dXXd vtv yvvyj 1560 Xcogag fxiaG^^ia xal d^scov syycoglcov '' JExrsiv^' ' OgsGir^g dgd tcov fikijiSL (pdos, ^' Onag xaTsXOcov devgo ngevf-iEvsl Tv/if, Aucpoiv yevqxaL joirds Trayxgajrjg cpovsvg ; AJ r [2 e 2. AkV ijiel doxatg Ta<5' egdeiv xal XsyLLv, yvojGy A FA ME MN£2 N. 69 xopo::^. Airi:^o 0^. Ela 8)] cplloL Xo^Lzaiy jovq/ov ov/ ixds rods, xo p o 2. Ela, 8}j, ^icpos ngoxonov nag rig evigeTrL^izcd, Airi2 o o:r. ^AXXd ^ijv xd/cj TigoxcoTios ovx dvatvoaaL d^avuv, X PO 2\ As^ofiivotg ?J/£i5 d'avELv as • tjJv Tvyijv 5' aigov' Kyi TTA1MNII2TPA. 3Ii^daucos, CO cpLXiax^ dvSgcoVj d?.Xa ^gdacousv xaxd. 1570 AlXd xal T0C(5' i^auTJauL noXXd dvonfi^ov dc-gog • Ili^uovjjg 5' dXig y^ vitdg/st • [.ir^d^ iO^ alaaiajuada. ^inye xal ov yhi yigovieg, vrgog do{,iovg Tieirgco' fiivovg, Jlglv TtaOecv eg^avxsg ' dgxeiv xgijv Tcld^ ag Ingd- ^aiav. El 5' ir' ov i^ioyOcov yivoixo tSvS^ dXig dsyouaO^ av, 1575 Aai^ovog yoXfj jSageia 8vGTvycog nuizXijy^dvoL. 'J28^ eyst Xdyog yvvaixog^ el itg d^ioi [laduv, Airis^o O-T. "AXXd Tovo8^ iaol fiaratav yXcoGoav a8^ dnavOtoat^ Kdy.SaXuv euij loiavia 8aLuovog Tisigcofxivovg, 2^(6(pgovog yvcopjg 8^ afxagiBLv, tov xgaxovvx^ iq)v6giaaL, 70 ATAMEMNnN. XOPOS. Ovx av 'AgysLcov zod^ sli^, (pma Ttgoooatveiv 7cax6v, Airi^e 02. jiXV iycj a' iv vozigaLOiv ii^egais i^dzei^^ eiu X O P 02. Ovx, lav ^al^icov "OgidTijv devg^ aTtevdvvrf ^loletv* Airise 2. Old'' lya (psvyovxas avdgag iknidas oltovusvovs* X OP 02. IIgdaas,7rLaivov,i.uaLvcov Tijv dixjjv iml ndga, i58r> A iri20 02. lode fiOL daocov anoLva zijade ixcogias ^dgiv. X o p 2. Ko^iTtaaov d-agaav, dXixTog aazs d^^i^ksLUS niXas. KJrTAIMNlI2TPA. Ml] TtgozifujdT^s uazalav zcov^'' vXay^idzav ' iyco Kal ov d^ijOo^Ev xgazovvze zcovds doixdzav y.akcog. NOTES. NOTES. The opening scene represents the palace of Agamem- non, at Argos. The Grecian armies have been absent nine years, and the announcement of the capture of Troy is nightly expected. A watchman has been placed by Clytaemnestra upon the house-top to look out for the signal, which, by a previous arrangement, shall bring the news of victory, through a line of fires kindled along the high points between Troy and Argos. The play com- mences with the Warder's soliloquy, complaining of the tediousness and hardship of his nightly task. Suddenly the flash of the signal-fire breaks upon his eye, and in it he joyfully beholds an end put to the watchings he has endured, year in and year out, as well as the restoration of the lost happiness of the royal house. My first edition of the Agamemnon was published in 1847. The above statement that the scene of the tragedy was laid at Argos, and not at Mycenae, was thought ■untenable by some, who declared that Mycenae, being the capital of the Homeric kingdom of Agamemnon, must also have been the scene of the play of ^-Eschylus. My reasons for stating the contrary were substantially the same as those assigned by Carl Ottfield Muller, and others ; but had nothing to do with the topographical relations of the place. At the time of my visit, in 1853, I read 7 74 AGAMEMNON. the Agamemnon carefully, under the Gate of Lions, and while ridmg over the Argolid ; and it occurred to me that perhaps there might be something in the natural scenery of this region — so interesting for its historical and poeti- cal associations — which would decide the question one way or the other, independently of the considerations which had influenced me in the study. I accordingly examined the features of the place, and the position of Mycenae and Argos, with particular care. Col. Leake's description of the situation of Mycenoe is very exact. It " was built upon a rugged height situated in a recess be- tween two commanding summits of the ran^e of moun- tains which border the eastern side of the Argolic plain." Now these summits are several hundred feet higher than the walls of Mycenae, and completely cut off the view from the north-east and south-east, but leave the southern view' unobstructed over the plain to Argos, wdiich is very striking and impressive. Curtius (Peloponnesus, IL, 400) justly says: " In contrast with the open situa- tion of the city of Argos, which, with its wide-command- ing Larissa, pushes boldly out into the middle of the plain, Mycenae is a concealed, invisible city, in a corner : the walled height vanishes beneath the mountain summits that lie behind it, and it slopes to the plain in gentle terraces." In the arrangement of the signal fires, w^hich were to an- nounce the fall of Troy, the light, after crossing the Saronic Gulf, reaches the Arachnaean height i^^QapHuov atTTog)^ and thence strikes upon the roof of 'the Atreidae. Now the Arachnaean mountain is perfectly ascertained from the clear account of Pausanias (Corinthlaca, Lib. II., c. xxv.) as lying above Lessa, and the modern village of Lygourio is near the ruins of Lessa, which again are clearly ascer- tained from the route of Pausanias. But one of the NOTES. 75 summits that to\vcrs above Myccnce lies directly between that city and Mount Arachnc, so that a signal fire placed on the latter could not possibly be seen from Mycenae. Between the " Arachntean height" and Argos nothing is interposed, and the height itself Avould be the natural position for the last beacon in a line of signals from Troy, across the Saronic Gulf to Argos. Of this I satisfied myself by a personal inspection of Mycenae, Argos, Mount Arachne, Lygourio and Lessa. If it should bo said that a poet is not bound by geographical and topographical niceties, I reply that the remark has no application to the Greek poets. I had constant occasion to admire the fidelity with which they adhere to the truth of nature. The geography of Sophocles in the tragic tale of CEdipus, for example, is in exact accordance with the features and relative positions of Corinth, Delphi, Thebes, Mount Cithaeron, and the " place where three ways meet ; " and one who visits those places, and reads the tragedy there as I did, can entertain no possible doubt that the poet had in his mind a very accurate picture of the country. Returning to Athens in December, I mentioned my observations in the Argolid to my learned friends there. So far as I know, it v/as the first time the examination had been made, with the purpose of illustrating the Agamemnon of ^Eschylus. 1. uiv has for its correlative y.ai, in v. 8, instead of de\ which, so far as concerns the sense, might have been used in its place, as rvv dt. — (dioj is the frequent Greek idiom by which an action continued from the past into the present is expressed by a present verb combined with an adverb or an equivalent phrase referring expressly to the past. I have been entreating and still entreat, and now I am watching the signal of the torch. Unless we prefer 5s in V. 20 as the proper correlative. 76 AGAMEMNON. 2 fir^y.og, accusative of duration of time, like xq6vop\ Pro. 449, and many other familiar instances. — j^v y.oiiJi(6(xevogf keeping loatch hy night. 3. 6Tr/aig, on the roof, dative of place where. — ay-Aadsv has been variously explained in this place. Linwood (Lexicon to ^schylus in verb.) considers it as a contract from dvt-AadcV, i. e. above, at the top, connecting it with orf/aig. Peile agrees substantially with this view, and compares it to v. 96, ^iv/oOev ^aaileicp. Schneider says, — ^' ayxaOizV, fro7n ahove, stands after Gzr/cug 'y^Toeidojif, as it were a part after the whole, more closely marking the lat- ter." But the editor of Schneider's posthumous edition .observes, that " uyxadcf can neither be immediately con- nected with y,droida, nor with y.oi^ico^ievog, nor taken according to Schneider's view. yoi(ic6^i8rog denotes not simply an actual lying down, but at the same time also the place of staying on the roof, ivhere being lodged ; or, on the bedstead dyxaOsp {fiexo cubitu) in this position, like a watchful dog fixing his attention on something, y.vrog diXTjv, observes the stars ; dyy.adev, therefore, I refer directly to yvvog dUijv, and so gain here a significant comparison, by which the y.vvog dUrjV acquires a far nobler meaning than in the common acceptation of the passage. In this view of the comparison it must be connected with ydroida. This observation was made on the battlement of the roof, where the couch Avas placed. But we must bear in mind that the signal-fire was expected only in the night, when it could clearly show itself, and not by day; wherefore we are not to imagine a day and night watch by alternate watchmen." The word dyy.adiv occurs in the Eumenides, V. 80, dyyadav Xa^cov, taking in your a7vus, = Iv dyydXcag. Klausen connects it with yotuod^mvog, and seems to think it describes the position of the watchman as he tries to rest. Cubito in cubando nititur cnstcs. But the manner NOTES. Tf it wliicli he applies the gloss tv dyxdh/jg, in the arms, is quite ambiguous. I am inclined to think, the true mean- ing is nearly that given by the editor of Schneider. Voss, in his German translation, passes the difficulty over by the general expression, Vom Dach der Atreionen her. Ken- nedy renders it, Aloft here on the roof of the AtreidcR^s. Even Humboldt escapes rather than meets the difficulty, by translating, Dem Himde gleich, gelagert auf der Atrei- den Dach, i. e. Like to the hound, lodging upon the Atreidce's roof 7. drroldg re tmi, and their risings. The article, by a frequent usage, stands for a pronoun. 9. avyi\v, in apposition with 6i>fi'^o).ov. 10. d)MOi[wr re ^dhv, and the announcement of capture. The adjective in Greek is often used in the sense of a noun in the genitive, as here = dlcoaeojg re ^dhv. — noarei ; either to be taken in the sense of ordering or directing, as Wellauer understands it, i. e. for thus the hoping manly -counselling heart of ivoman directs ; or, with Klausen, " to be joined with iXnuov : for thus superior is the manly heart of the queen in hoping. y.Qareiv rQtyona, [xa/6ueror, Tivy.revorru, designates superior strength shown in the race, in battle, in boxing ; t/.TZi^oi'ra, to be superior in hoping, to hope something greater than others. Then, the watchman, just as afterwards the chorus, fears lest the queen should put too much trust in her hope, and impose on him a troublesome labor without any advantage, think- ing those things to be very near which are most remote. This explanation seems to me more consistent than the other, both with the Greek language and with the lan- guage of poetry." 12- 19. Evr' dv . . . . diaTZavoi'i^ibvov, and ichen I take, or occupy, the night-icandering, i. e. sleep-banishing, and deio* "besprent couch, hy dreams not visited., em dv signifies a 7» 78 AGAMEMNON. particular and precise time when a thing is done ; here the time when the watchman takes his nightly post. rvAii- 7tXayy.xoi\ the epithet of the couch, does not admit of a precise and satisfactory explanation. Properly and natu- rally, it means restless at night, applied to a person ; or, disturbed at night. It may be considered as applied to the couch, instead of to him who vainly tries to rest upon it ; or one who lies upon a couch, not obtaining or intend- ing to obtain any sleep, as is the case with the watchman here. The couch is disturbed by night, and moistened with the dew. Unless we are to understand that the watchman's place on the house-top is called a couch, because he occupies it at night ; and then to show what sort of a couch it is, it is characterized as night-roaming and be- dewed ; meaning simply, that, instead of sleeping quietly in his bed, the Warder is a night-walker, and exposed to the chill and dew of the open air. Schneider however understands vv'ATL7t)Myxzov night- encompassed, i. e. with the night-breeze wandering about it. — To ^rj, &c. The article is here used with the infinitive, in the sense of Mats fiTj, so as not to. — "Orav 5' . . . . do'Aa, and whenever I take a fancy, oxclv differs from evx' av, by being indefinite. The latter is ichen, the former, zvhenever. — "Ttivov .... a'Aog, cutting up (a medical term, referring to the cutting up of herbs, or other simple antidotes, in the early medi- cal practice), i. e. preparing (as a remedy) a singing cure for sleep, i. e. singing or humming to while away my sleepless hours ; or perhaps, more exactly, to keep myself from dropping asleep. — xhda) tot', then I iceep ; roz corresponding both to zvz av and oxclv. The meaning is, When I keep my nightly watch, and even while I lighten the w^eary moments with snatches of song, my sad thoughts turn to the misfortunes of this house. — Ovy^ .... biano' vovfuvov. In these words there is an allusion to the con- NOTES. 79 duct of Clytsemnestra, in the absence of her lord, — her intercourse with ^gisthus. The word dta7tovov{.(tvov is usually translated administered. This is the general idea; but the specific idea must be somewhat different ; diuTZovtco signifies to labor, or work through. In Athens, besides many general applications, it meant especially to go through a course of gymnastic exercises ; to take care in that way of one's health and physical powers. So it might natu- rally be transferred to other things, and come to signify to take good care of; to he assiduous or laborious in caring for ov preserving ; as for instance the aff'airs of a house, a family, a state. Translate, then, in this passage, not as loell cared for as it was before. The welfare of the house was neglected while Clytsemnestra, indulged her guilty passion for her paramour. 22. A pause must be supposed at the close of the pre- ceding line. Suddenly the distant signal-light appears, and the watchman breaks out into exclamations of joy. 24. ov^cpOQccg, here event. The word is of ambiguous signification, generally meaning an unfortunate event. Perhaps it was chosen here purposely by the poet, as silently prefiguring the tragic issue of Agamemnon's return. 27. tnciVTEO.aaav, ace. agreeing with the understood subject of tTToodid^eiv. 28. " o^.oXi'j'jfiO!,*, Isetus et festivus ululatus." Kl. — svq)7](.wuvTa, joyous ; of propitious acclamation. — rjj^e la^i- TTadi, upon, i. e. on occasion of, or by reason of this torch. •31. avrog t r/coye, and I myself ivill dance a prelude. He has already spoken of the solemn dances by which the great event will be celebrated, as a matter of course. But his joy is too great to wait for that or for the chorus ; and he cannot abstain from expressing it. " Suiting the 80 AGAMEMNON. action, we may suppose," says Peile, " to tlie word, so far as to imitate at least one part of the functions of a Greek chorus." 32, 33. The phrases of this sentence are borrowed from dice-playing ; the allusion is naturally put into the mouth of the watchman, who must be understood to be a slave of the royal household, and as such in the habit of filling up his idle hours by dicing and the like, ev Ttsaovra is explained by TQtg t^ ^aXovatjg. I ivill set down my masters affairs as having fallen prosperously, this signal-Jire having throtvn the thrice-six. The gam's was played with xu^or, cubes, each of the sides of which were marked, numbering from one up to six, in such a way that the numbers on any two opposite sides amounted to seven. A great variety of these games might be played with these cubes, as with modern dice, and different numbers of dice might be used. (See Becker's Gallus, Excursus III., Scene X., English translation). A common game, judging from the frequency of allusions to it, and several proverbs founded on it (as, ''//" iQig f| ^ TQeTgxv^ovg ^dXXovtEg, Plato ; and, 2^6 ds yaiiEiv 6{iol6v tan rep ZQig f| // XQzTg xv^ovg ano rv^r^g ^aleiv, Epicharmus), was" played with three dice, the highest throw being that of the three sices, ZQTg t^, and the lowest that of the three aces, called roEig av^oi. In further illustration, a passage of Euripides fragments is cited by Peile, ^Ep.r^iC ^^nXkEvg dvo av^co y.ai rtaauQa, Achilles has thrown two aces and a quatre ; that is, he has thrown the three dice ; two have turned up aces and the third a four. 34. 5' ovp, and accordingly. * 35. " ^«(jT«(7a?, extollere blandiendo." Kl. 36. 37. ^ovg . . . ^^^qy.Ev, a great ox has trodden upon my tongue. " Imago sumpta de bove qui pondere pedi5 agilem serpentem proculcat." Kl. The expression seems pro- NOTES. 81 verbia'i, whatever may have been its origin. According to some, it alludes to an ancient coin bearing the image of an ox ; and the phrase means, to be silenced by a bribe. The- ognis (815) has, Bov^' tTii fioi j'Acocjct// y.narenri) TTodi ).a^ tmpaivcov, loyu y.bnuleiv y.aiTteQ tmazdu^vm; an ox treading upon my tongue icith strong foot^ restrains me from prating^ though knoiL'ing how. Probably the proverb combines both the allusion to the coin, and to the ox treading with his heavy foot upon the nimble serpent and stopping him, as Klausen supposes. This explanation would at any rate give a peculiar force to the saying. It is not, how- ever, necessary here to suppose that the watchman has been actually bribed to silence upon the infidelities of his mistress, but that he has strong inducements, out of con- sideration for his personal safety, to keep his tongue from running. 37, 38. oh.o^ .... IbSeiiv. The following lines have been cited as illustrations of the passage, — *' The castle of Petrella, Its dungeons underground, and its thick towers, JVcver told tales ; thoua;h they have heard and seen What might make dumb things speak.'' ^ Shelley's Cenci, Act II., Sc. L ** Its old itallSy ten times As old as I am, and I 'm v^ry old, Have served you, so have T, and I and they Could tell a tale; but I invoke them not." Byron's Foscari, Act V., So. I. 38, 39. r/.oh .... h]donai, for to those who know I wil- lingly speak, for those icho know not, I icilUngly forget. See Herod. IV. 43, roij tTtiardnEvog ro ovvo^ia, hav InO.r^- Oo^at, blowing the name I voluntarily pass it over, or o?nit to mention if. The Warder has in his character a touch of the humor- ous. This is quite common in the Attic Tragedy. The 82 AGAMEMNON. Guard in tlie Antigone of Sophocles is another example. This common character may be compared to the Motley or Fool of the Old English Drama, though not so promi- nent, or so full of quirks and quibbles. Having delivered the prologue, the Warder descends from his station, and enters the palace to inform the queen of the appearance of the signal-fire. The day dawns, and the chorus of ancient Arrives enters the orchestra. Their chant is the Parodos, or first choral song, sung probably by the whole chorus in a sort of recitative as they enter. This con- tinues from the beginning to v. 104. Then, after the members of the chorus have taken their positions, we have a strophe, an antistrophe, an epode ; second, a strophe, an antistrophe ; third, a strophe, an antistrophe ; fourth, a strophe, an antistrophe ; fifth, a strophe, an antistrophe ; sixth, a strophe, an antistrophe, — six strophes, and six antistrophes, with an epode after the first strophic pair. In the opening anapoests the chorus reverts to the time, ten years before, when the armament set out for Troy, to avenge the wrong done by Paris. They are sent by Zeus Xenios, — the God of Hospitality, — who destines both Greeks and Trojans to many a struggle, and many a bloody fray. They have been left behind from that brave muster, on account of their old age. " For when the young marrow that springs within the breast is grown old, and Ares is no more in place, then, over-old, already in the sere and yellow leaf, he walks over three-footed ways, and, no stronger than a child, he roams, a day- apparent vision." Meantime the queen has come upon the scene, and offers sacrifices on the altars. Beholding this, and seeing the flame of sacrifice arising, they turn and inquire of her what news has come. Then they describe the omen, which portended to the Greeks at the beginning that they NOTES. 83 should finally be victorious, though the wrath of Artemis threatened them with disaster. Xext, placing themselves in that point of time, the chorus deprecates the effects of the anger of the goddess, darkly hinting at the ominous sacrifice which will alone appease her and atone the wrong ; ominously hinting, too, at the tragic consequence which shall follow that fearful act. Zeus, who teaches mortals wisdom through suffering, is supreme over all. Whoever invokes him aright shall obtain the whole of his mind. When the adverse blasts came, with their disastrous hin- drance to the fleet, and no other remedy was found, the king bowed his head and " put on the collar of necessity," and dared to become the slayer of his daughter, " for the wretched madness of evil counsel, beginner of woe, em- boldens mortals."' The chorus describes in language of incomparable beauty and pathos, the scene that followed, ending with a prayer for a happy issue to all these events. 41. diTtdcAO^, adversary, lit. opponent in a suit at law. The language of the Athenian courts — so various, com- plicated, and constant was the business transacted there — not only passed into the speech of daily life, but into the language of every form of literature. Poets and philosophers, as well as orators and historians, adapted their expressions to the prevailing habits of the people. The war of Troy is a great trial, in which the parties are Menelaus and Priam, or the Greeks and the Trojans ; the argument is the sword, the court, the field of battle, and the gods are judges. 43, 44. /JiOqovov .... Siay./^JtTQOV rifATJg, of two-ilironed and tico-scepired lienor from Zeus, referring to Menelaus and Agamemnon, the former the king of Sparta, and the latter the king of Argos. According to the ideas of the Heroic age, in which the scene is laid, the great families 84 AGAMEMNON. traced their genealogies up to the gods, and all their king- ly powers were drawn from Zeus and by him sustained. 48. Meyav .... ''^Qt], screaming great Ares from the heart ; shouting for war ! war ! 49 - 54. This passage has been well illustrated by the following lines from Dryden's Annus Mirabilis : — '* And as an eagle, avIio, with pious care, Was beating idly on the wing for prey, To her now silent eyrie doth repair, And finds her callow infants forced away. Stung with her love, she stoops upon the plain. The broken air loud whistling as she flies ; She Stops and listens, and shoots forth again, And guides her pinions by her young ones' cries." hAirarioig alyeai. Ttai8coi\ " ingenti do! ore de liberis. t-ATtd- riov, quod sese continere nequit in itinere suo, quod hue illuc vagatur, itaque quicquid immodicum est et certis rationis finibus destitutum." Kl. According to this ex- planation, the sense is gi^eat sorrow, and this is the simplest explanation. But others understand an hypal- lage, tATtaTioig ulyeoi Ttmdarv, for ah/eoi madav t'ATtaxicov, sorrow for their young snatched aicay. " This hypaUage^" says Peile, " may perhaps be explained on the principle of attraction, which Matth., Gr. Gr. § 630. h, attributes in part to an ' endeavor to connect as closely as possible what is similar or nearly allied,' as, in the example before us, dXyeai is placed in close connection with the accompanying circumstance (expressed by IxTtariog) which first called it forth, and which accounts moreover for its continued ex- istence." — vTtaxoi le)rmv. Either the superlative has here the force of the comparative, above their nests; or ).eyj(}iv is the genitive of the object with respect to which the birds move on high. — tQer^oIoir tQaaaoixavoi., voicing with the oars of their wings, like Southey's NOTES. 85 "The green bird guided Thalaba, JVow oaring with slow wing her upward way." Thai., XL C. /ieiA.nor7]nrj .... oorcdr/cov, lit. the hed-icatcliing labor of (or for) the young ; i. e. the labor of icotching the nest of the young ; labor spent in guarding the nest of the young. Klausen, however, following Hesychius, understands it to refer to the callow state of the young birds, obliged to stay in the nest, not yet able to fly ; and Ttoio^^ to mean " res, in qua laborem consumit aliquis.*' Then the sense of the passage would be, having lost their young, their unfed ged care. 56, 57. oio3v6dnoov .... fieroi'y.cov. The general sense of this passage, viz. that it describes the screaming of the birds for the loss of their young, is obvious enough ; but it is not so easy to interpret the single expressions ; especi- ally the meaning and construction of raids ^lexof/.ojv. Klausen and Peile, following a Scholiast upon the (Edipus Coloneus, refer them to the parent- birds, who utter the cry, and who are called sojourners of the air, or of the high places. " Pullos vero minime dixisset ^iBtoUovg^^ says Klausen. " quos non modo abductos, sed devoratos esse consentaneum est." Another Scholiast interprets ravde f.i£toiy.a)v to mean rav {.leror/.iGdtircov veoaocoi'. Schneider so understands it, and connects the case with 'Eoivvvv, v. 59. Klausen's objection to this explanation, that the young birds were not only stolen away but eaten up, and therefore could not well be called finoixoi, will not hold, because there is no hint of the birds being eaten at all, any more than there is that Helen, whose abduction the robbery of the nest represents, was eaten up by the Trojans. Applying the remark made above — that the terms drawn from law and politics entered into the poetry of the Athenians, and gave it a strong local coloring — to 8 86 AGAMEMNON. these words, we shall see a confirmation of the sense that Schneider and the second Scholiast affix to f/eroi'/.cov. The (.itroMoi were aliens, who had left their homes and changed their residence. At Athens they were net allowed to liiie in houses of their own. These young hirds, in the same way, have left their proper dwelling ; are borne away to other places, as Helen was borne to Troy, where she too was a sojourner; are shut up perhaps in cages. As to the construction, the genitive on account of is better than the genitive depending on 'Eqivvvv ; the cry is uttered on account of these birds stolen from their home. G2. noXvdvoQog^ sought by many wooers, referring to the time before her marriage, when most of the princes of Greece were suitors for her hand. Some, with less propri- ety, refer it to Menelaus and Paris. But Klausen justly remarks, " Propter illos vero duos non poterat dici ttoIv- aiwo." Perhaps, however, it may still better be under- stood in a more general sense, as describing the attraction of Helen's beauty and her power over men, as shown by the various adventures of h.er life. Co, 66. /lia'Avaion(vi]g .... 'Aa^(v/.og, the spear-shaft being shivered in the onset. — Ttnort'hia, properly, preliminary sacrifices or gifts ; here applied figuratively to the first shock of battle. 68, 69. ion . . . . TteTTQCo^svov. The chorus is yet ignor- ant what is the present state of the case between Greece and Troy ; but whatever it may be, it is coming to the fated end. The guilty must be punished, though both alike will be afflicted in the dreadful struggle. 69-71. Oud' .... ncwadbl^m. The subject of this sen- tencG is rig, to be mentally inserted after the negative, no one.. The general idea is, No one shall avert the punish- ments which are destined to avenge the offended majesty of the gods. Justice must have its course, let ruin fall NOTES. 87 where it may. Neither sighs, nor libations, nor tears, shall appease the wrath of Heaven, dnvncov howv is un- derstood by Klausen to mean the sacred riles neglected ; i. e. the violation of the laws of hospitality by Paris. Peile, on the other hand, refers it to the Parcoe or Fates, the sacred personages to whom no offering is made hy Jire, Taking the first interpretation, the sentence is, JSo one shall appease by secret sobbing, nor by secret libations, nor by shedding of tears, the unyielding angers (of the gods) on account of the neglect of sacred things. The second is, No one shall appease the unyielding angers of the freless goddesses (the Furies) hy, &c. Schneider has still another explanation, No one shall appease the fixed desire (of Zeus and Destiny) for fircless sacrifices (for battle sacrifices, — who fall in war, and are not like victims, brought as burnt offerings to the altar). May not the words ciTtvoon leomv form an independent clause, a gen. absolute, the sacrifices being unoffered, the sense of the whole being, No one shall by sighs, or libations, or tears, appease the inflexible anger (of Zeus and Destiny) until the sacrifices shall have been burnt ; until full atonement shall have been made ; until all the destined victims shall have been offered up, including, in the silent thought of the poet, though not in the consciousness of the chorus, the awful tragedy of the death of Agamemnon, and the bloody retribution exacted by Orestes upon his mother. If this interpreta- tion is admissible, there should be a comma after lenav. 72—75. 'U^eu' .... o/.i]7iroo(g. But ice, on account of our unhonored, ancient fiesh (bodies enfeebled by age, and therefore of no account in war) being left behind the then array, remain, supporting on staffs our strength equal to a child's. Old age is a second childhood. Its strength is iaoTtaig, no better than childhood's. The phrase layyv v^'fmv, to manage strength, here means, from its connection, to support or guide it. 88 AGAMEMNON. 80. rQiTtodag luv odovg, three-footca ivai/a. 82. rjfiEQoqjavzov. " Quia pallidis interdiu apparent imagines nocturnae." Kl. " Pulcherrimum est epitheton illud i^fieQoqavTOv, non tantum ut metaphorani clarius de- iiniat, atqiie a vero somiiio, quod noctu apparere solet, distinguat ; sed quia senes, apricationis gratia, interdiu versus meridien in conspectum venire solent, ut ad mediam fere noctem dormientium oculis obversantur insomnia." Butler, quoted by Peile. 86, 87. Tivog .... Ovooxivhg ; By the persuasion of what announcement (induced by what news) dost thou kindle the sacrijices sent around ? Clytaemnestra must be supposed to have sent to various altars of the gods pre- pared offerings, which w^ere to be burnt as soon as news should be received through the preconcerted signals. The chorus observing her now to pass from altar to altar, and seeing the lamp-flames, blazing heaven-high, naturally suppose that some great event has been announced. 94-96. (JJaoficiGOOfAt'i'rj .... ^aoiXdo), literally, Drugged by the soft, not fraudulent, persuasions of the pure unguent, the royal oil from within the palace. This is an instance of the high-wrought phraseology in which the intense thoughts of iEschylus were often expressed. The chorus is describing the torch or lamp-light, by which the sacri- fices are performing. The lamp is drugged with the soft persuasions of pure oil ; these persuasions are not treacher- ous (like those addressed by demagogues to the populace), but free from fraud, kindling an honest flame. ddoXoiai, according to Peile, is a corrective epithet, for the full force and meaning of which, we must look abroad upon the moral and political constitution of the ancient communities of Greece." 100 -103. '^H vvv . . . .Xvm]g. Both the reading and construction of this passage are doubtful. The general NOTES. 89 idea is, that the anxiety of the chorus at one time troubles the mind with thoughts of ill, at another, soothing hope, drawn from the sacrifices the queen is offering, relieves the heart from its wasting cares, dixuvei averts or wards off. Xvnrfi is constructed with u7t).r,Gtov. ^cdvovaa^ shining forth. dyam, Dor. fern., soothing. Translate then literally, Which now at one moment is evil-thoughted (i. e, a suggester of thought of ill), and at another^ soothing hope., shilling forth from the sacrifices, averts the anxious thought insatiaUe of grief that wastes away the soul. 104. KvQiog ei^u, I have it in my power ; it belongs to me. The chorus speaks in the singular number. It re- fers to what has been said of having been unable to join in the military action ; but it is its province to speak of, &c. — '6810V '/.QUTog cd'aiov, the ominous power or propitious victory on the way, i. e. the omen of victory, or rather the power of destiny indicated by the dmen which met the army, and which is described in the lines that follow. 105-107. 'Evrels(ov, Klausen reads tx teXmv, and un- derstands rs/.T] to mean the gods, the magistrates, as it were, over the affairs of men. But the present reading makes a better sense, — th.Q finishing, i. e. avenging men, i. e. the Atreidse, or the Greeks. — hi .... altov. For still persuasion from the gods, and my age akin to my strength, inspires my strain. 108, 109. y.QUTog and raydv are in apposition, governed by ^F^Ttei. 112. ;ffoOi^ ix doQVTtdXrov, on the spear-hurling hand, i. e. the right. 113. nafiTTob'Ttroig tv idQcuGiv, in all- conspicuous seats, i. e. in places high in air, to be seen of all. 114. 115. Boay.o^ieroi .... dno^mv. There is some dif- ficulty in the construction of p^a^tncc, ytwav, to which it 8* ^0 AGAMEMNON. would seem to refer, being feminine, and the participle being either masculine singular ace, or neuter plural. But the birds are represented as devouring the female hare, young and all. The participle may, in the connec- tion of the thought, be referred to all together, and there- fore should be considered as a neuter plural. 116. aihvov. " Pro jflebili cantu qualis erat Lino mor- tuo cantatas, accipiendum esse nullus dubito. Hoc enim vult chorus. Omen illud partim infelix erat, quod longam belli moram praedixit ; partim felix, quod urbem Trojanam denuo captam iri ostendit. Igitur, quatenus infelix erat, aiXifOv athvov siTtt'; quatenus vcro felix, quod faustum sit, prsevaleat." Butler, cited by Peile. 117. Groarofiavrig, the army-soothsayer, i. e. Calchas. 121. ade yJlevdog, this march., this expedition. 122, 123. ndvra .... §iaiov. nnood?. is to be referred to TtvQi'MV, according to Kl. and P. In front of the toicers, i. e. the walls. " Bdna ex urbe, e mceniis erepta in castra ad naves portantur.'' KL Schneider, however, con- structs nvQjcov with yttrivrj, and Ttooads with xa dt]fi(07th]d7], the sense being, according to him, All the wealth of the city, formerly possessed in abundance by the people, fate shall violently destroy. 124, 125. Oiov .... (JTQarcjdt'v. The besieging army is a bit forged purposely for Troy. The expression is rather harsh. Translate, lit. Only may no anger on the part of the gods darken the great forged bit of Troy, encamped ; may no act draw down upon the encamped host, which constrains the Trojan city as a bit governs the steed, the anger of the gods. — o't'xo), the house, i. e. Agamemnon and Menelaus, who are also figured as the eagles in the next line, the winged hounds of Zeus. This expression is imitated by Shelley, Prometheus Unbound, Heaven^s winged hound, i. e. the vulture. NOTES. 91 130. Toaaov Tteo evqincov, so very kindly disposed. — a Kala, the Lovely. " Diana dniarrj y.al xal/.tart] Athenis et inter Arcades culta ; in poetis primo a Pampho hoc nomine appellata." Kl. 131. dooaoimv XeTtroTg, the tender young. 133. Temtrd, constructed like EvqQcov, and agreeing with "^nreing implied in Kah'c. 134. aheJ, supply rov naxina. — ^I'li^ola, omens. " ^vfApO' Xov res e qua conjicitur esse aliquid, vel quod futurum, vel quod absens, vel quod occultum est." Kl. 135. de^td (ibv, y,ardf.ioiJ.q:a ds q:d6fAara, propitious on the one hmid, but hlamahle (i. e. unpropitious, unfavorable) on the other ; propitious^ inasmuch, as final victory was portended ; but unfavorable on account of the wrath of Artemis. 137-141. Mt] .... tevhj., that she (Artemis) may not cause contrary-hlowing, long, ship-keeping detentions from the voyage. — dvaiav irt'oav, another sacrijice (euphemism for a sacrifice too fearful to be specified, i. e. the sacrifice of Iphigenia). — veixtosv rt'/.tova avfiq:vT0v, kindred worker of quarrels, i. e. according to one view, for worker of family quarrels. Peile suggests "a growing worker of strife ; avficfvrov expressing that this leaven of discord grows with the growth of the angry ferment which itself excites." — ov 8uoi]voQa, reverencing not, or causing to reverence not, the character of husband. Peile, religiosus. Kl. Perhaps the literal meaning not fearing man, not dreading the reproaches of men. 141, 142. [lifivei ydo .... TsxroTtotvog. These words of Calchas darkly forebode all the tragic consequences that are to flow from the sacrifice of Iphigenia. The descrip- tion of the retribution, the avenging spirit, springing up again, fearful, haunting the house, deceiving, unforgetting, is conceived in exact accordance with the events which are to realize it. 92 AGAMEMNON. 143. dntylayhv. This word, literally meaning screeched out, is to be understood as referring rather to the nature of the oracular communication, and its effect upon the hearers, than to the manner in which it was delivered. 147, seqq. The parts of the choral chant constitute what is technically called the first Stasimon. The chorus has taken its stand near the Thymele, and, as Miiller says, " before relating the story of the sacrifice of Iphigenia, turns to Zeus as the only god by whom the mind can be enlightened, and directed whether it is to abandon itself to further anxiety, or to dismiss all apprehension. This invocation to Zeus leads us to the natural supposition that there was a statue of Zeus on the altar of the Thymele. In this case, the commencement of the second Stasimon with an invocation to Zeus is doubly appropriate, as well as the general prevalence of the 'idea of Zeus throughout all the Stasima of this Tragedy." 147, 148. el ... . 'AExhjfin'q), if it he pleasing to him to he called hy this name. 151, 152. d . . . . trritvfxmg, if one icould truly cast from the mind the useless hurden ; the useless burden here is the burden of anxiety which oppresses the mind of the chorus; fj.drav with the article is used as an adjective. 153- 156. These lines refer to the predecessors of Zeus in the elder mythology ; oarig naQOidev j]v ^tjag, he who hefore was greats is Uranus ; oV 5' tTteir' e(pv, and he 2cho lived after, is Kronos. — Toia/ar^oog, a conqueror, properly, a victor in wrestling, lit. one who has thrice thrown his antagonist. The revolutions in the mythological powers are described in Milton's Paradise Lost, Book I. 157, 158. Z7^va .... Ttdv, But one, hy zealously shouting Zeus in songs of victory, shall ohtain all of his mind; by paying homage to Zeus as the supreme ruler of the world, shall receive the desire of his heart. NOTES. m 159-161. Tor .... r/^eiv, Wlio has put mortals on the road to wisdom, by ordaining as ajixed law that knowledge comes by suffering. The same idea is expressed in Miss Barrett's (now Mrs. Browning) Vision of Poets : — •' Glory to God, to God he saith, Knowledge by suffering entereth, And Life is perfected by Death." And by Byron in Manfred : — " Grief should be the instructor of the wise, Sorrow is knowledge." 162, 163. And in sleep, sorrow remembering anguish distils (or drops) before the heart, i. e. even in sleep the unforgotten anguish, of remore visits (as it were drop by drop) the heart ; and upon unicilling men icisdom (sound- ness of mind, literally, to be of sound mind) hath come, i. e. men are taught wisdom and sobriety by suffering, against their will. 164, 165. Jaiaovbdv .... j]^ti'(ov. This sentence is vari- ously explained. Deorum hcec est gratia^ potenter sublimi transtro insidentium. Wellauer. Deorum autem hoc est beneficium nempe ut malo suo moniti homines inviti dis- cant, sedem venerandam potenter insidentium. Butler. Blomfield, connecting it with the preceding line, trans- lates. For a respect for the gods seated on the icorshipful bench of justice is somehow or other driven into men. Schneider, Der Gotter aber wohl (vermuthlich) Gnade ist es, die gewaltig (mit Macht) can ehrwiirdigen Steuer sitzen (der hochster Gotter, namentlich des Zeus), i. e. but it is perhaps the favor of the gods who forcibly (with power) sit at the awful helm (of the highest gods, especially Zeus). If we look at the single words, and review them in con- nection with what precedes this passage, we shall see that 94 AGAMEMNON. /lailiovMv, tliough plural, refers, as Schneider says, to Zeus; idoi'^^ whatever it may mean specifically, refers generally to the supreme law that men are taught by suf- fering to be wise ; '^laia evidently is explained by the manner in which the favor of the high-seated gods is forced upon mortals; otl^ia is borrowed from nautical language, and here means the upjjer bench, ot^ia oefirov, the awful benrh, i. e. the scat of supreme power. 168, 167. 6 mno^vg = TtoEa^vreQog, or perhaps in the general sense of honored. 168. fidi'ttp outrva u>t'y(x)i\ hlamins; no soothsayer^ " which," says Peile, " we must understand with Klausen to mean, that the particular case of Agamemnon on the occasion alluded to, conspiring as he did icith external circumstances to bring about the apprehended result, cast no rejlection upon the prophetic oiRce, or (it is implied) upon the supremacy of Zeus, under whose permission the omen was to receive its accomplishment. Such appears to be the generalizing force of ovriva in this passage, to which we may apply the remark of Matthise, Gr. Gr. § 487, 4, that in all such cases " ti>; seems to temper the expres- sion by referring a person or thing to the whole class to which it belongs." 170—177. A striking description of the wasting delay to which the wrath of Artemis subjected the Grecian fleet. The ships were assembled in the harbor at iVulis, opposite to Chalcis in Bocotia. — Ttahonodoig, rcjluent. The chang- ing tides of the Euripus are described by many ancient authors. Strabo says that the tide changes seven times a day. See also Livy, XXVIII. 6 : Pliny, II. 100. The number of changes in the current is fabulous ; but that the current of the stream alternates frequently is confirmed by the testimony of travellers. Mr. Perdicaris (Greece of the Greeks, Vol. I., pp. 106, 107) says, — " The depth NOTES. 95 of the channel under the drawbridge (i. e. part of the stone-bridge previously described) is from eight to nine feet, and the alternate currents, which are said to change every three or four hours, are now, as in former days, a puzzle and a wonder both to the ignorant and the learned. The current was now setting in the opposite direction from that of the previous evening, and at both times not only ' with a difference of level between the two sides,' but with the tumult, with the rush and the roar, of a mountain torrent." — 7ta).i{jiu?/.t], douhly long; of twice the length, or, as we say, as long again, used, however, in the general sense of very long. 178, 179. Ttr/.oov yeifiurO';, the hitter storm, i. e. the tem- pest which detained the ships. — u).).o ^rjao, another remedy, i. e. the sacrifice of Iphigenia. 184. y.araayiJv depends on ojgts. 185- 196. The conflict in the father's mind is well ex- pressed in these fine lines. — dojicav uya^ia, the ornament of my house. — Ttandcvoaqdyotai. ondooig, with virgin- slaughtered streams ; i. e. with streams of the virgin s Hood. — Ti raids, which of these 7 i. e. of the two alter- natives, to obey, or not to obey. — hrtoiavg refers to the technical offence styled in Attic law /.eiTtovavaiov, deserting the ship, against which a public action youqr^ lay. — ytvcaficu, the subjunct. of doubting and deliberating. -^ — IJccndci'iov .... 6f-'(ng. The subject of tmdv^BiV is left uncertain ; explanations waver between Artemis and the Greeks. Taking the former, we have this meaning, — that she {Artemis) should desire the icind-stilling sacrifice., and the virgin-Hood, with passion over-passionately, is right. Klausen and Peile adopt this. On the word d^'fiig, the former remarks, and the latter agrees with him, that it is " omne jus quod dii hominibus obscrvandum im- ponunt ; duij, id, quod inter homines constituitur, quo suis 96 AGAMEMNON. unusquisque finibus continetur, neque quemqiiam kedit : 6t'^ig majus quoddam ab homine postulat, non solum nequem Itedat, set iit sint quos vcreatur, parentes, hos- pites, dii. Hoec ratio oraculis et vaticiniis declaratur. Minuerat Agamemno majestatem Dianae, trucidata bestia sacra; jus divinum Calchantis vaticinio enunciatum exigit mortem filiae. Itaque dtjAig de ipso vaticinio dictum." It is a little more natural to understand, with Schneider, the sentence to refer to the feelings of the army. They have been summoned by the Atreidae to undertake this long and laborious expedition, to avenge an insult to Menelaus. It is no wonder they should vehemently desire not to be thwarted ; that they should insist upon the sacrifice of a daughter of the family for whom their toils had been un- dertaken, — a sacrifice which will free them from their vexatious detention, and enable them to depart with hopes of victory, and prospects of plunder. 196. Ev yew e'l't]. These words convey a reluctant as- sent, with a prayer that the result of so direful an act may be propitious ; ydo here means then, or therefore. Per- haps it introduces a reason for some unexpressed feeling of the mind of the speaker, that there is hope or consola- tion still left. 197. edv XtTiudvov, 2^ut on the yoke, bowed his neck to the yoke. 198-200. (Ijq8vo>; .... fierr/rco. In these lines the chorus speaks with the natural horror of such a deed, irrespective of the supposed will of the gods, and of the necessity whose yoke was laid upon Agamemnon. The under-current of thought is, that Agamemnon would bet- ter have renounced the expedition, than have imbrued his hand in his daughter's blood ; the sailing of the fleet from Aulis is no sufficient justification for such a deed of horror. Translate literally, Ireathing an impious, shifting gale of NOTES. 97 tlie mind, unholy, unsacred, then he changed to resolving the all-daring act. TQOTtaiav, a'vQav understood, a shifting wind. — fiBxr/vco. ^lerd in composition gives the idea of a change of purpose, completely expressed in Ttai-xoxohwv qjQOveiv. 201. dnaovvH here means, gives courage or strength. The sentence is of the nature of a maxim. For base counselling, icretched madness, beginner of woe, emboldens mortals, i. e. the guilty thought, the source of woe, the prompter of base purposes, when once admitted to the mind of man, though at first regarded with horror, loses its repnlsiveness by familiarity, gains strength, and finally takes form in the guilty deed. 203. hla 5' ovv, and accordingly he dared ; i. e. in accordance with the sense of the general maxim in the preceding sentence. 204. dncoydv, in apposition with the preceding sentence. 205. Ttootileia, the first fruits, i. e. the offering or sacri- fice necessary to be made, before the ships could depart. 206. AiTcig .... natnoiovg, but her prayers and invoca- tions to her father ; y./.ridorag ^aromovg means either i7ivo- cations made by, or invocations addressed to, a father ; in this place the natural interpretation is that given above. 207. 208. JTao' ovdsv .... t^evzo, made no account of gave no heed to. 210-223. This passage describes the preparation for the sacrifice, and the appearance of the victim. In the midst of horrors, the lovely picture of Iphigenia shines out with affecting beauty. The father directs the officiat- ing ministers of sacrifice, after the prayer, which always preceded the slaying of the victim, to raise her aloft [Xa^sTv dt'Qdr^v) above the altar, like a kid, veiled in her robes, downcast in all her soul (the terror of her situation had paralyzed her strength and stupefied her, so that she must 9 98 AGAMEMNON. be lifted up and laid upon the altar, like a helpless and frightened kid) ; and to restrain by force a voice which would bring a curse upon the house, and to guard by the dumb force of gags her beautiful mouth. The idea is, not to restrain her from speaking and actually uttering imprecations upon her father's house, but to prevent any scream of terror or horror, which would be ominous of evil to those who were sla3'ing her. The construction of (fiiOMxav is a sort of apposition with the rest of the sentence. To restrain the voice, which (act) would be the guarding of, &c. — xqoxov ^aqd<,\ dies of saffron. There is a diversity of opinion among the critics and interpreters, "whether these words mean the blood, or the saffron-dyed robes. Klausen speaks doubtfully, but inclines to the opinion that the flowing of blood is intended ; blood is elsewhere described as iiQO-Ao^aq:?jg^ and ibovaa^ though applied by Homer to the letting fall of a flowing robe, more naturally means the pouring out of a liquid. Klau- sen cites many passages from the tragedies in confirmation of this. Blomfield and Peile explain it to mean, letting fall her sajfron-dyed garment. Schneider agrees with. Klausen. Haupt agrees with Blomfield and Peile. Schnei- dewin understands it to be the heart's blood. Humboldt, in his German version, shuns the difficulty by rendering literally, " Des Safrans Tunchung zum Boden giessend," Pourins: the saffron s tinting on the ground. Danz ren- ders the same, "Doch als die Safrangetauchten Infuln, Niederflossen zur Erde," Bat when the saffron-colored fil- lets flowed doicn to the ground. Voss gives it, '' Zur Erd* ihr safran Gewand nun senkend," To the earth her saffron robe now dropping. Symmons translates TrtjorcoTTtj, &c., — " And lay, with robes all covered round, Hushed in a swoon upon the ground " ; and, NOTES. 99 •* Now as she stood, and her descending veil. Let down in clouds of saffron, touched the ground " ; ^vhich he vindicates in a long note, in uhich he cannot conceive how " Abrcschius and Stanley could have so misconceived the passage as to render -aooaov ^ncfa,' yt'ovaa pouring out her blood, when it should be dropping her veil.''' To illustrate the passage, and to show ''how the same manners are still preserved in the East after such a lapse of time," he cites from Hughes's Travels a " de- scription of the execution of a young Turkish girl, who was brought out veiled, and unveiled just before the bar- barous execution (stoning) took place." Mr. Medwin translates, — " But see ! 0, see, along the ground The deep folds of the croceate veil In wild disorder float and trail. ' ' Kennedy, — " Meanwhile she glanced, Her saffron-djed attire In loose disorder streaming." I think, notwithstanding the numerous authorities the other way, that the natural order of the description favors the view of Klaussn. The priests lift her up and place her on the altar. Next of course comes the slaying, and the flowing of the victim's blood; the piteous sight of the maiden, thus dying, speechless, but, like a form in a picture, seeming to wish to speak while she gasps her life away, moves even the rude throng of warriors to com- passion. True, it may be said that lines 216-219 de- scribe what took place as they were lifting her from the ground ; that the falling of the robe was a natural incident to his act ; that the pity of the spectators was moved by the wild, despairing, but speechless look which she cast around her, as she was borne to her death ; nor can any 100 AGAMEMNON. conclusive objection be urged to this view, excepting that there is somethinof inconc^ruous in the mention of the color of the robes at such a moment, whereas, the epithet is perfectly natural, when applied to the blood. In either case the recollection of what she had formerly been in her father's hospitable halls, comes in here with exquisite effect, — for often had she sung in the well-tahled (hospi- table) halls of her father ; and she, a pure virgin (silently contrasted with the dancing and singing women, whom in later times it was the custom to employ at banquets), with her voice, lovingly honored the glorious and happy state of her dear father. — TQiroanovdov, having a third libation. " Jovi Servatori peculiaris est tertia libatio." Kl. The epithet, therefore, means happy, or fo?^tunate, placed as it were under the special protection of Zavg awrijQ, who was called TQnoGTtopdog. — Observe the force of the imperfect Irijia, describing continued or repeated action. 224-229. Ta d' evOev, what folloived, i. e. the general consequences of the sacrifice of Iphigenia. — Ttyvai, .... a-Aoavtoi., But the arts of Calchas (the predictions) icere not ineffectual. — z//x«. . . . n^)lov. Justice inclines (as in a scale) the knowing the future to those who have suffered ; i. e. in the natural order of things it needs no one to tell us what will happen, if we judge of the future by the past. — To TiQOxXvsiv 5' i]lv6iv. But to hear of its coming beforehand ; to be told of what is to happen ; what calamities are doomed to fall ; I'll none of it ; experience teaches all I wish to know. — "Joov .... Ttooartvaiv, It (the being told precisely beforehand) is equal to mourn- ing beforehand. — Toqqv .... avycdg, For it will come (whatever is doomed to come) dawning with the beams of the morn. 230. TItXoito . . . . ev Trna^ig == to 5' £v vi'/dtm. 231, 232. T0(5' uyiiaxov .... iQ'Aog. rods is demonstra- NOTES. dOi tive, the speaker indicating by a gesture that it is himself and his companions to \vhom the word refers ; ay/ioroi', nearest, as having some portion of Agamemnon's power delegated to them in his absence. — '^mag. In Homer, this is only an epithet of the Peloponnesus ; in the Attic writers it is used often as a proper name. — fxovoqonvQOv, only guarding. The- old men were the only protectors of the land, while the kings and the flower of the youth were in the war. The dialogue from v. 233 to 329, is technically called the first episode. Clytsemnestra relates to the chorus the mode by which the news of the destruction of Troy has been brought to the city. 235. lnr,uo3dtrTog anCEVog 6q6vov. " Et regi et reginee sua est sedes, ut Alciuoo a filiis, Aretse a puellis circum- dat£e. Hom. Od. VI., 305, seqq." Kl. The male throne heing deserted, Agamemnon's seat being vacant during his absence. 237. evayyt/,oi6iv tlmoir, icith hopes excited by good tidings, dative of cause. 238. ovd8 aiymari cpdovog. An expression implying that, though the chorus desires to know what has happened, it has no right to demand of Clytsemnestra that she should inform them ; hut no grudge to you, if silent ; we shall not take it ill if you do not tell us. 240. ''Eoig .... mioa. In their idea of the succession of time, the Greeks gave precedence to the night. The morning thus naturally became the child of the night ; hence the origin of the mcnot^iiu, the proverb, here applied by Clytaemnestra. 241. ycwua yJ.veiv. The infinitive depends on tlmSog, a joy greater than the hope to hear ; greater, that is, than you can hope to hear. The infinitive dependent on a sub- stantive is a frequent Greek construction. 9* 10^ AGxVMEMNON. 243. mcpEvys romog t^ aTtiariag, the word has escaped from incredulity ; what you said struck me as so incredi- ble, that I doubt whether I heard aright. 244. TqoUv 'Ayamv ovaav, (fr^ni understood. " An ex- pression," says Peile, "conveying more than the bare announcement of the fact, and at the same time indicating probably, by the self-satisfied tone in which it was deliv- ered, a little impatience of the chorus's exclamation and look of incredulity." 246. Ev yuQ .... xari^'OQei. I think we must suppose these Avords to be spoken in a tone of sarcasm. yuQ, as often elsewhere, introduces a reason for some suppressed thought. Thou sayest well (ironical) for thy look accuses thee of being well-disposed. y.art]yoQ£tv is sometimes used in the sense of to indicate, which is its general meaning here. But there seems, besides, to be a touch of bitter- ness in the expression. 247. Ti yao .... re'-AfiaQ ; ydo again introduces, in the form of a question, the reason for a suppressed thought. The chorus understands the sarcasm of Clytsemnestra, and, silently admitting her insinuation of its want of belief and of sincerity, says in effect. Yes, I do doubt for what is the credible proof of these things ? to has an empha- sizing force : the credible one ; that on which you so much rely, that on the strength of it you are offering sacrifices, as if you had no doubt the news were true. 248. "Ear IV, There is one. Clytsemnestra answers ab- ruptly, not to the question of the chorus, but to the doubt implied in the question. — /^t?/, the hypothetical negative, Supposing that not. 250. I would not take a fancy of a slumbering mind. 251. anrmog (pdtig, wingless word or thought. Unless a is to be considered as intensive. In the former case the words are to be rendered an unspoken word, that is, a NOTES. 103 thought or presage ; the opposite of the mEcc TtTEQoevra of Homer. In the latter, a sudden or sivift-Jlying rumor. 253. rioiov ynovov. Within what time 7 This relation of time takes the genitive. The meaning, Hoio long is it since ? 254. Tqg wr, &c. Construction same as the preceding. 255. To5' .... ra-iog. Adverbial, thus swiftly with this speed. 256-291. A magnificent description of the progress of the signal from Troy to Argos. In some places the reading is uncertain ; from a great variety, that selection has been made which seemed to give the most consistent sense. The fire is first lighted upon Ida; then in succes- sion, appears on the Hermseon, a hill of Lemnos ; then on Mount Athos ; whence it glances over the sea and is taken up by Macistos in Eubcna ; then, crossing the streams of the Euripus, it comes to Messapion, a mountain in Bceotia ; thence to Cithaeron ; thence, shooting across the Gorgopian lake, to ^^giplanctos in Megaris ; and thence, over the Saronic strait, reaches the Arachnsean height, in the neigh- borhood of Argos, whence it strikes upon the roof of the Atreidse. It was, therefore, a line of signals, running along the heights, on the islands and the main land, until it broke upon the towers of Argos. A parallel passage has been cited from Scott's Lay of the Last Minstrel : — *♦ A sheet of flame from the turret high Waved like a blood-flag on the skj, All flaring and uneven ; And soon a score of fires, I ween, From height, and hill, and cliff, were seen, Each with warlike tidings fraught; Each from each the signal caught; Each after each they glanced to sight. As stars arise upon the night. 104 . AGAMEMNON. They gleamed, Till high Dunedin the blazes saw, From Soltra and Dumpender Law." And another, a striking passage, from Milman's Samor : — " There 's yet another element, cried aloud Samor, and in the fire he cast a brand A moment, and up rushed the giant fire. Eastward far, anon . Another fire rose furious up, anon, Another, and another, all the hills. Each behind each, S3nt up its crest of flame. Along the heavens the bright and crimson hue O'erleaps black Tamar, and on Hey ton rock It waves a sanguine standard. Haldon burns, And the red city glows a deeper hue. And all the Southern rocks, the moorland downs. In those portentous characters of flame, Discourse and bear the glittering legend on." See also Macaulay's Ballad — the Armada. 260. alrtog Z7]v6g, the height of ZeuSy i. e. sacred to Zeus. 261-264. 'TTtEQtsXi^g .... cxortaig. la^vg and TtEvxrj are in apposition. Translate, And bounding over so as to hack (skim) the sea, the strength of the torch to he sent for joy, the pine went announcing, like a sun, the golden-beaming light to the look-out of Macistos ; i. e. and the blaze of the pine-torch which was to carry joy to Argos, bounding across the sea, bore its golden light, as if it were a sun, to the station of Macistos. There are several difficulties in connecting the Greek of this passage. The princi- pal are the construction of noog 7]8oviiV, which is rendered especially doubtful by the omission of a finite verb, and the meaning of 7tOQ2vtov. I incline to Klausen and Schneider's opinion, that TtQog i]dovyv indicates the result. noQEVTOv has I suppose the usual meaning of the verbal ; NOTES. 105 nonzvtog XcifiTtdg, then, is a torch to he passed on, to he forwarded ; this at least seems to me, on the whole, the best explanation. 265, 266. '0 d\ referring to Macistos, the hill being, as it were, personified. — Ttantixsv clyytKOV i-itoog. Either, connecting the verb with the negative ov in o'vzi {A.t%)M)v, he did not, (by) delaying, neglect the part of messenger ; or, taking mtoi-y.ev in a sense similar to that of TTuoayyei- ?M(Jcc, and he, neither delaying at edl, 7ior heedlessly over- come with sleep, passed on (sent along, sent forward) the part of messenger ; that is, neither loitering in his duty nor falling asleep, he took up and transmitted the signal fire. 270. fQCiiag .... tzvqi, having kindled a pile of gray heath. Some understand the epithet ynaiag to be derived from FQuia, the name of a city, and therefore Grcean heath ; but this is far-fetched. 276. Tt/.tor .... eloiiUH'cov, kindling more than those de- scribed, kindling with a brighter blaze than before. 281. fW.oyog fityav Ttcoycova, a great heard of fame, so called because the flame tapers off", like a pointed beard. 281 - 283. JEuoaiT/.ou .... (f)Jyovaav. Schneider, Klau- sen, and Peile read y.droTTToor ttqojv, understanding it to mean, the mirror surface of the strait ; on the ground that 7tQ(ov is not only a projection of the land into the sea, but an indentation or frith of the sea in the land ; and no doubt it does mean the latter, especially in ^Eschylus. But there is a difficulty in the apposition, with an adjective signifi- cation of y.dTOTzroov, a mirror. The examples of several substantives used together without a copula, designating the same notion, are not exactly to the point, as Klausen, referring to Bernhardy (Synt. Gr., p. 50), would have them. Canter's correction, adopted by Wallauer and generally received, is that of the text, 'y.(ho7trav Ttgcov, 106 AGAMEMNON. But I am. inclined to think TtQo^v here is the surface of the Saronic gulf; yuizoTztog means properly to he seen, or visi- hie from above ; in sight of one who looks down from. Hard. Here the flame, shooting from ^^giplanctos, streams from the height, over the strait or gulf, making it visible, lighting its surface, so as to render it y.droTtTOV to one who looked upon it from a neighboring hill ; i. e. he might have traced the path of light across the waters. Translate, then, to shoot onioard^ hlazing over the lighted surface of the Saronic strait. Schneidewin, however, understands by Ttoajv, the rocky shore springing vp from the sea, and connects the geni- tive Zaown-Aov TtonOiiov, with KdroTttov, like x(/.TOU'/Oi,* t//? yijg in Eurip. Hippolytus, 286. oijy. .... TtvQO^, nit undescended from the Mean fre. 287-289. Tome .... doat'.ojv. The allusion is to the la^TZadtjqjooia, a spectacle given at the festivals in many parts of Greece. At Athens the preparation for it was very costly, and it was reckoned among the burdensome offices, — the liturgies. (See Boeckh's Public Economy of Athens, Lamb's Tr., pp. 584-600.) Schneider says there were two kinds ; one, in which several persons ran. together, and the victor was he who first reached the goal with his torch still blazing ; the other, in wdiich the rivals stood at certain distances from each other. The first must run to the place of the second, the second to the place of the third. The victors were those who suc- ceeded in reaching their destination without extinguishing the torch, Herodotus compares the Persian arrangement of post-expresses to this species of torch-race (VHI. 98). Pausanias describes one of these races, starting from the altar of Prometheus in the Academy (I. 30). "In the Academy there is an altar of Prometheus, and they run NOTES. 107 from it to the city, holding burning torches. And the contest is to keep the torch burning while running. The fii'st loses the victory if his torch is extinguished, and the second takes his place ; and if his torch goes out, the third is the victor ; and if the torches of all are extinguished, the victory accrues to no one." Translate, Such are the ready stations of the torch- hearers, one filled up by succession from another ; one taking the torch from another in regular succession ; and the first wins, and the last, in the race. Schneider explains the first, because it gave the first announcement of the capture of Troy ; the last, because it brought the news to me. But Peile says, — " The fiery courier that set out from Ida, the fi.rst and last that ran, the same arrived at the victorious goal." The former is better. 296. ^oriv ('mi'ATOv, an unmingled cry, unharmonious, dis- cordant ; more nearly explained by the__ description of the taking of the city which follows. 298. ov ffO.cog is to be connected with drioararomta, separated in no friendly way. 299. 5/y«, explained by the correlative expressions 61 fXEV (301), and rovg 6V (305), the former introducing the description of the captured ; the latter of the captors. 301. 01 [ih .... TicTtzcoy.ureg. " Designantur hoc versu mulieres et puellee. Fcminae et pueri remanent, viri et juvenes caesi sunt. Genere masculino positum est ot 7tE7iro3y.6r£<; quia hoc utrosque comprehendit, et feminas, quae hoc versu, et pueros, qui sequent! designantur." Kl. 303. Ttaideg ysQorrcov. " davvdarihg additum, quia maxi- mam omnium haec imago movet miserationem." Kl. 305 — 307. rvy.Ti7zXayy.rng, causing to wander by night. — Ttorog Vi^axig, hungering toil; toil or hardship accom- panied by hunger. — Ttoog uoiGroiair, at the breakfasts. The scene, it must be remembered, is laid in the morning, 108 AGAMEMNOX. after tlie capture of the city, and the queen is describing what she imagines to be the state of things in Troy. The disorderly manner in which the victors, hungry and toil- worn, seize on whatever they can find in th3 city is well represented. — (ov f/st rtoh^, of ivhat the city has. — TtQog ovdsv tv fitQ8i t^'ApiQiov, accoTcling to no token (rule, or fixed order) in succession ; i. e. as Klausen explains it, the things were distributed without any certain order, and without having a larger portion distributed, as was at other times the custom, to the chiefs. 313. £vai^ovoi. This verb is constructed eitlier with or without a preposition, tibqi or e4'- 315. Ov'A . . , , (iv. The particle je gives emphasis to the particle av ; and the particle av qualifies the negative ov'A, the sense being. It is not likely that., having taken, they can afterwards he taken in turn. Clytaemnestra is communing with her own mind, and yet uttering her thoughts aloud, with a hidden allusion also to her own murderous purposes, to be executed on Agamemnon, when he shall return. 316, 317. "Eqcag .... vrAcofiswvg. fuj with the subjunc- tive does not here imply a wish that the thing may not happen, but rather a doubt, or a caution. Let them be- ware how they yield to a desire, &c., for they need, &c. — Ttodfiv a (A.TJ yo7j, to desire ivhat should not be, alluding to the robbing of temples and other sacrilegious acts, which an army in the flush of conquest is apt to commit. 318, 319. The allusion is to the race, in the ancient games. The course to the goal and back again was called diavlog ; the single course was avXog, lit. a flute ; both designations are drawn from the resemblance in figure to the flute and the double flute. The return from Troy is accurately compared to the return course in a race. The whole subject of the ancient games is fully illustrated by NOTES. 109 Kraiise, in the " Olympia," and the " Pythien, Nemeen, iind Isthmien." — or/.ovs' must bd constructed with vogti- juoi', a mfe return to their homes, which is further described by the apposition of the following lines. 320-325. This passage is somewhat obscure. Part of the obscurity seems to arise from the secret reference in the mind of Clytoemnestra to her own plans of vengeance and murder ; the expression being, however, so veiled, that the chorus can only understand her to allude to the probable or hypothetical vengeance of the god upon the Grecian army, in case they do not use moderation in their victory. Schneider, who adopts the common reading, dvau7Th'c/.)jro^\ explains. But if the army should come, loith' out having offended against the gods, the loss of the dead may he wakeful 'again called up, again brought to mem- ory), if the ills should- not chance to he fresh (freshly in the mind). Ciytaemnestra speaks vaguely, and means, that the loss of her daughter Iphigenia, even if it be not in fresh remembrance, yet will be called to mind by the arrival of Agamemnon, and will spur her on to vengeance. The chorus understands by nt^iia tmv olcolorcor, the loss of those who are slain in war. There is certainly, with either reading, a studied ambiguity. I incline to the reading in. the text. It may be constructed, I think, as follows : ei 5f arnazog fxoloi av auTtldy.tjtog deoi'^\ if the army should come having offended the gods, i. e. even if the army should reach home under such circumstances ; el TtQOonaia ^irj Tv/oi y.ay.d, should no sudden ills befall them ; i. e. such as might naturally be expected on the voyage home, from the anger of the offended deities ; ro nti^a rcor olalorcov dv yti'Oiro tyor^yono^, the icoe of the slain would be icatchful ; they will not yet have escaped the penalty, though the dangers of the voyage are over, but will still be pursued by an avenging spirit. Here, as Schneider says, the lan- 10 no AGA^ilEMNON. giiage conveys to the chorus the idea that she is speaking of those who are slain in war, the ambiguity being easily favored by the idiomatic use of the plural ; when she is all the time thinking of her slain daughter. The offence to the gods is a necessary part of the double meaning ; for, if the army should return without having offended the gods, what ground, intelligible to the chorus, would there be for Clytsemnestra's dark hints of vengeance ? The next line must be understood to be spoken in a tone of sarcasm and contempt, heightened by the use of the enclitic roi. She scoffs at the common notion of woman's inferiority, and gloats upon the thought of revenge. — To d' £v .... idtlv. " There is here," says Schneider, " a double meaning, since Clytaemnestra understands the successful issue of her plan, but the chorus thinks it is the happy re- turn of the hero. Lit. may the good prevail to see it in no doubtful halancing (of the scales), i. e. may the good pre- vail, so that it may be seen with certainty. — IlolXav .... eil6iJi)p>. This is also ambiguous. She refers men- tally to the delight of vengeance, and the undisturbed enjoyment of power, which she hopes for, with her para- mour ^^gisthus ; while the chorus again thinks only of the return of Agamemnon. Literally translate, For I have taken for myself the enjoyment of many blessings. Schnei- der, however, understands ri]}' = r/ivde, this, and translates, Of (before) many blessings, I have wished this happiness for myself Wellauer again refers the expression to firj dixOQQOTtcog idetr, translating, Multorum enim bonorumfruc- tiim, hoc dicens, mihi delegi. 326. O woman, like a wise man, ihou speakest kindly. The chorus meets her sarcasm, v. 323, by acknowledging that her speech, though full of kindness (so blinded to her real meaning are they), is yet such as a wise man (not a silly woman) might utter. notp:s. Ill 329. Xdnu .... TToi'Ojr. '/y-'ji's' means here the joy of the conquest now made certain, and for which the chorus will return thanks to the gods ; uti^wg, not worth the price, rifi( ; translate, For a triumph has been achieved not un- worthy of the toils. The choral passage here consists of an anapaestic pre- lude, followed by three pairs of strophes and antistrophes, in alternate succession. The prelude is a triumphant ad- dress to King Zeus, and the victorious night, in which the shaft has at length fallen upon Alexander and the Trojans. The first strophe, insolence against the gods has been pun- ished ; nor is power nor wealth any safeguard to him who has offended against the high altar of justice. First anti- strophe, the strain of thought continued ; the penalty of crime cannot be evaded. The wrong-doer is a child, chas- ing a winged bird. He cannot succeed in his pursuit. So Paris came to the home of the Atreidse, and dishonored the hospitable table by stealing the wife. Second strophe, her flight ; the arming of the Greeks ; the lamentations in the home of Menclaus, and the desolation of its lord. Second antistrophe, the fleeting visions of the night ; the sorrows that fall upon all the assembled hosts of the Greeks. Third strophe. Ares sends the dust and ashes of the heroes, praised and bewailed ; and secret hate grows up against the Atreidse from these sorrows. Third anti- strophe, some dire mishap, now veiled in night, is fore- boded ; for the gods are not regardless of the shedders of blood (the chorus here take up the words of Clytsemnes- tra, but with a different application). A moderate condi- tion in life is to be preferred, rather than greatness with its dangers of downfall. In the epode the chorus doubts again the truth of the announcement, and attributes to Clytsemnestra a too easy credulity. 333. (a; = coare, so as. C^^/S.-l^»i?J-j%^ 112 AGAMEMNON. 336. atr^^ Ttavalojrov, the calamity of universal captivity ^ constructed in apposition with dovleiug, unless, with. Schneider, we construct ydyyaf^wv with the double genitive, the enslaving net of all-capturing Ate. 338. Tov tads 7TQdhivz\ ivho has done these things^ or exacted this vengeance. 339. ruvovta. Butler has reirarra; the present is bet- ter, for it describes the continued steady aim of Zeus ; whereas the aorist would mean simply aimed. Translate, Who of old draws his hoio upon Paris, that the shaft might neither strike before the filing time, nor shoot above the stars. The use of the present tense, for an act that begins in the past and continues down to the moment of speak- ing, has a vivid effect, by setting, as it were, the past directly before the mind. Zeus is here sublimely repre- sented as holding his bow long drawn against the violator of hospitable rites, that the stroke may be sure and fatal. 342. E)[ovaiv, they (i. e. the Trojans) have the stroke of Zeus to speak of ; they must feel that their downfall is the work of Zeus, whose laws they have broken. 344. "ETtga^sv cog hoayzv. These words are quite ob- scure. Peile renders them, He (Zeus) has done as he decreed. Klausen, Perpessus est ut egit. Schneider, with a different reading, mg Ttod^^r, That he (Zeus) hath done it^ that he hath brought it to pass, i. e. the fatal stroke. Bothe, connecting it with t^r/jcmai. Hoc investigare, quomodo ea fecerit et perfeccrit. Schutz nearly the same. Blomfield, Perfecit quod decrevit. Of all the explana- tions, I prefer to consider the subject of the sentence, which is very elliptically worded, the icrong-doer, and tTCoa'^ev, he hath fared, b}g r/oarsr, as he hath done; the stroke of Zeus has inflicted punishment due for crime ; the wrong-doer is again referred to in the same line by the indefinite pronoun ng. KOTES. 113 346. ddixtcov '^oLot^, the honor of things not to he touched, sacred. 348-352. Construct, nt'cfunai 5' t'/.yovoig dzo/.u/jcov Ttreoi'Tcov '^4n^ ^lei^or f^ d(y.aico^\ dcoiidrar (fleoiTcop viCHjqev VTCEQ TO ^tlriGTOv, And it hath been slioicn (i. e. that Zeus punishes the wicked) to the descendants of intolerable men (doers of violence or wrong), breathing Ares more than is just (having a spirit of unjust violence and insolence, and exercising it upon others), their houses huhhling over ex- cessively, beyond ichat is best (running riot in the excess of wealth and power, and the fancied impunity of over- bearing and aggressive wickedness). The construction in the last clause is genitive absolute, unless, with Klausen, we refer all the epithets to d(a[iuTcoi\ which makes no material diflference in the sense. uTo).f.ujcor. " Power that dares, what none may dare." Conington. 352, 353. fCTTO) .... /.a/oita. Peile renders, But let a mail's lot be clear of misfortune, that it may also suffice a man of sense ; one that has obtained a fair share of un- derstanding ; Klausen, Sit res libera a calamitate, ita ut ei qui sance mentis est, sufficiat ; and for the construction of aQxeiv with the accusative, being usually with the da- tive, compares the occasional use of clotcxeiv with the ace. Schneider gives the sentence a different turn, Let there be a possession free from danger, so that it shall suffice to have drawn a fortunate lot in respect of understanding. That is, my lot be free from danger, content with having a sound mind, and being moderate in my desires, so as to escape the temptations of power and wealth that lead men astray and draw upon their heads the anger of the gods. May not the sense of it be. Let there le a lot free from harm (i. e. may my condition be a moderate one, and therefore free from calamity), so as to suffice (i. e. to re- main undisturbed, or to meet all th? contingencies of life 10* 114 AGAMEMNON. Avithout being led by insolence into wrong, to be enough for one's task or one's duty), having received a good po?'- tion of understanding ; or, more simply, May my lot he safe from the dangers of insolent wealth, so that I may remain secure in the possession of that wise moderation of desires which never provokes the anger of the gods. 354-356. Ov . . . . dq^dveiar, For there is in ivealth no defence against destruction for a man who, by way of insolence, has kicked against the great altar of justice. TtQog y.OQOv is like rtQog drdyxav, TZQog ^vav, &c., which fre- quently occur. TtQog implies motion to ; the idea seems to be, in all these phrases, that the actor is in the way to insolence, necessity, violence, &.c. 357, 358. Bidtai .... azag, literally. The ivretched persuasion, the intolerable, frst-advising child of wrong, forces : explained by Schneider, the unhappy Persuasion, the intolerable (irresistible) counsel-child (counselling child) of woe. (The wicked leads others also by persua- sion to ill, and plunges them, with himself, into destruc- tion, as Paris has the Trojans.) But Klausen understands by persuasion the internal persuasion of the mind, and translates TtQO^ovloTtaig flia curam gerens. The language is obscure, but I think it may be susceptible of this inter- pretation, arrj is the spirit of wrong, and the rteiOm here spoken of is the persuasion to do wrong which is produced by this spirit in the mind of man ; TtQopovXo in TtQO^ovXomug refers to the initiative step taken in the Tttjo^ovln'fia of the Athenian Senate ; combined with Ttalg it represents tiuOm as at once the child of Ate, and the originator of the wrong act ; the agency, as it were, by which the resolu- tion to do a bad deed is moulded into form, to be carried out afterwards by him in whose heart the thing is medi- tated, plural, forces, i. e. forces the man on in the career of wickedness. The idea of the whole sentence is some- NOTES. 11.5 tiling like that in vv. 201, 202. The sense is, then, Wretched persuasion, the child of Ate, the Jirst adviser of evil deeds, forces men forward in crime. 359, 360. Harm is not concealed, hut shines conspicu- ous, a baleful- gleaming light. The punishment is sure ; nothing can keep it oif or out of sight. 361-366. The subject of this sentence is the wrong- doer, who is compared to adulterated metal, the baseness of which is made evident when it is brought to the test; and then, by a metaphor, he is a child, pursuing idly a flying-bird ; the consequence of his madness and his guilt is ruin to his country. Under the form of general ex- pressions, Paris is, of course, intended here. 368. xaOaiQSi. The subject of this is to be inferred by contrast from o'vzi^ in the preceding line ; there, no one of the gods ; here, some god or gods. 374. dn:iq:envov .... cfOoodv, destruction for a dowry. 379. azi^oi (fildvoQea, paths of conjugal love. " The paths she used to walk in while she loved her ^husband." Conington. 380, 381. The uncertain reading of this passage makes it impossible to extract a satisfactory meaning from it. Perhaps, we may witness the dishonored silence, yet with no reproach for those who have most shamefully been lost. That is, the silence in the deserted and dishonored halls is broken by no reproaches against those who have so shamefully fled. 382, 383. In the sorrow and longing for her icho is beyond the sea, her image will seem to rule the house. Most of the translators, including Kennedy, Medwin, Yoss Danz, and Schiitz (cited by Danz), refer this to Menelaus ; the idea being that sorrow has reduced Mene- laus to a mere phantom. This is a soft and sentimental view of the case, neither consistent with the legends of 116 AGAMEMNON. t"he Heroic age, nor witli tlie mighty genius of ^scliylus. Whatever might have been the feelings of Menelaus on the flight of Helen, he set himself to the task of recov- ering her ; and after The Trojan war they lived tran- quilly together in Sparta. Menelaus did not pine away ; such a disconsolate proceeding would have been quite unintelligible to the sturdy warriors at Troy ; and ^schylus certainly was not the man to soften the strong characters of Homer, whose poems were his delight and Teverence. 384. iio).06 .... )JyEig ; The subject of the infinitive is T7/r5e yr^v, Say est thou this land desired an army desiring to return ? 504. diiavnag In qtQ^vog, from a darkened (despairing or gloomy) mind ; or perhaps, a covert mind, i. e. being obliged to keep their sorrow to themselves. 505. IIodEv .... Cfoevcov. From the preceding dialogue, the sense seems to be, or perhaps must be. Whence came this anguish of mind that you felt in our absence 7 509. Ev ydn mnna'/.Tai. ydo introduces a reason for some suppressed thought, for example, " that is all past 124 AGAMEMNON. now," ybr tilings have hee7i tcell accomplished. Let these evil thoughts and forebodings cease, for now is the time for triumph. 510, 511. Ta fitv . . . . ra d' avre. Some things, of the many which have happened in this long time have fallen out well ; hut others, on the other hand, &c. 513 — 515. dvaavXiag, hard bivouacs. — Hcty^oatocorovg, ill- couched ; landings where no provision was made for comfortable lodging. — i'^[A.arog ^i^Qog, as the day''s portion, day by day. 516. Ta d' uvze yjQCco. This refers to hardships en- dured after their arrival at Troy. • 517, 518. ydo. repeated in each line. The first gives the reason for TtXs'ov orvyog, and the second, for the general statement of the land hardships. 520. ndtvreg refers in sense to Sooaoi, though of a different gender. Klausen explains it, " quasi respiciens o^i^noi quod latet in dQoaoi.'^ It is not uncommon for participles and adjectives to be constructed with nouns, rather in accordance with the relations of ideas than the grammatical forms of the words. 523, 524. svrs .... Ttecwv, when the sea falling slept waveless in its midday, windless couch. 526. Toiai [ih. The correlative to this is i]^uv dt, v. 531. 527. To ... . ^itlsiv, = (oare iii]. So as never even to care to rise again. 528. Ti . . . . h'yeiv, WJiy take into the account those who have been expended ? ipTjcpog is used for an account, as well as for a vote, because it was employed in reckon- ings as a counter ; then dvaXcodt'vrag refers to the same idea, an account of expenditures, as we speak of expend- ing men and money in war. 529. rv)[r^g nah'f/.oxov, gen. of course or origin, on ac- count of cross or adverse fortune. NOTES. 125 530. K(u .... 'Maahw^ And I resoJre to hid a Jong farewell to misfortunes. 533, 534. '^Ig .... TtoToofibPOig, so that it is fitting for us^ flying over sea and land, to exult in this light of the sun. 535-538. These lines are the expression of the boast, hinted at in the preceding, that, namely, the armament of the Greeks, having taken Troy, have nailed up these spoils, in honor of the gods in Greece, an ancient glory to their dwellings. The herald anticipates in thought the time when the army shall have returned, and the spoils taken from Troy shall have been suspended, according to ancient custom, in the temples of the gods. 538-540. Toiuvra .... i/.Ttna^aaa, Hearing such things, it is fitting to praise the city and the generals, and the favor of Zeus, which has brought these things to pass, shall receive the honor due. 542. A sort of proverbial saying, like our " It is never too late to learn ; " literally, For to learn well is always young to the old. 544. |w 8l nlovri^eiv tixs, and that these things (these joyful tidings) should at the same time enrich me (should make me a sharer in the general happiness). Clytsemnestra refers sarcastically to the doubts and hesi- tation of the chorus ; to the imputation of credulity which had been cast upon her ; yet she persevered in sacrificing. She will now hear the rest from the lips of her returning lord, who shall find her the faithful guardian of his honor and his house. There is a concealed bitterness in these words, managed by the poet with exceeding art. 551. Aoyoiq . . . .tcfunvi^av. By such words I was made to seem insjne (wandering). The words are the words of the chorus which she has so scornfully repeated. 554, 555. £vcfr,novvrEg .... q:l6ya, acclaiming as they 11* 126 AGAMEMNON. hushed the offer -consuming^ odorous fame upon the altars of the gods. 558. oTtmg. Render, literally, But let me hasten to re- ceive in the lest icay my revered husband returning ; for ivhat siceeter light Jor a ivife to see than this, to open the gates when god has brought her lord in safety home from war 1 — bear this message to my husband. 563-570. The subject of ii\y.nv is Agamemnon; the infinitive depending on aTtdyyetlov. — svqoi. Peile re- marks upon this, that •' Far the best explanation is that proposed by Matthise, Gr. Gr. § 529. 3 ; to suppose an ellipsis, namely, of co^" or on, and to connect evqoi, as an opt. in the oratio obliqua, with tavr aTtdyyuXov., which is thus made to include both a direct message, a bidding, ll^^/Mv oTtojg rdyiora, and a report of what Clytsemnestra would have the messenger represent her to have said, whilst yet — so true to nature is the conception of the present scene — she dare not say it otherwise than indi- rectly. We may translate. Carry back this word to my husband, — to be here with all speed, object as he is of his people's love ; and that ivhen he is come he will find,"" &c. This is substantially correct ; but there seems to be a deeper meaning still. Clytoemnestra means to express what Agamemnon may be supposed to expect, and hopes (with scowling look and bitter tone) that he may find it so. The language betrays not so much a consciousness of guilt, as the Bishop of Litchfield (see Peile, p. 181, k.) imagines, as an inexorable resolve to carry her guilty and murderous purpose into effect. It is these touches of character which make the comparison between Clytaem- nestra and Lady Macbeth strikingly just. — omiavri]iHOV ovdtv, no seal, of any kind. — yalxoij ^acfd^, the staining of brass. Schneider understands, the staining the sword in blood. If he is correct, the passage means, / know no NOTES. 127 reproach, &;c., any more than I know of dipping the sword in Uood ; I am as innocent of any wrong to hi?n, as I am of murder. Perhaps it conveys also a covert taunt to Agamemnon, nho has slain his daughter ; on which the thoughts of Clytaemnestra are constantly turning. Klau- sen cites Welcker with approbation. " Recte hoc loco mentionem artis tunc temporis nuper inventae paucisque notae, qua color quidam aeri dabatur, videtur reperisse Welckerus, Addit. ad Tril. ^sch., p. 42, n. 6." He imagines Clytaemnestra to say, / know no more of infideli- ty to him than I knoio how to color brass, that being a new art of which she had just heard, but knew nothing. But I think Clytaemnestra has a double meaning ; the sense is purposely ambiguous. She wishes her hearer to understand the coloring of bronze — one of the forms of polychromy, and a difficult art — while she thinks of murder. 574. ToQoTaiv iQfirjVevoiv evTtoeTtag, in a manner befitting exact interpreters. Wellauer understands interpreters to be used for words, as exact interpreters of Clytaemnestra's meaning ; in words clearly interpreting her meaning. This, perhaps, is a little forced. Eather refer ooi to the herald ; and the exact interpreters to the members of the chorus. 578. 579. Ov-A .... yoovor, I cannot speak false good things for friends to reap the fruit of a long space of time ; i. e. If I were to relate a fair story, but false, for the sake of gratifying friends, they must of necessity soon find it out. A hint is conveyed that, so far as concerns Menelaus, he has no very encouraging accounts to give. 580, 581. Tlwg .... td8E. The question in the first line implores, as it were, the herald to say that all is well : How, indeed (pray tell me), canst thou chance to. tell the truth propitious 7 I hope there is some way in which the 12S • AGAMEMNON. two may be combined ; hut these (the true and favorable) when severed are not ivell hidden ; when the truth is dis- guised it is not easy to keep it so. 584. dvaiddg, having set sail. The question is, Did he leave you, having openly set sail from Troy, or did a storm., a common misfortune for all, snatch him from the army ? i. e. did you all set out together and get sepaiatcd in a storm ? 587. 7r/]/t«, calamity. The herald means to say it was a storm that separated them. 588, 589. riotSQa .... tuX'il^sro ; Peile renders this very strangely, Ha ! did you learn this from himself alive., or., he heing dead, was it a rumor spread by other navigators 7 But how could the herald have learned it from Menelaus himself, when he had been blown away, nobody could tell whither ? The true question is. Did the other navigators believe hi??! to be alive or dead 7 literally, Was a story rumored of hi?n, alive or dead, by the other sailors 7 591. nViV .... (fvGiv, Except the sun that nurtures the earth's groioth, 595. x^Qig rj rifjirj decor, The honors due to the gods — the deities above as the deities below — are dif'ere?it. They are to be honored on different occasions. The herald arrests himself in his narrative by the reflection that this joyful day, consecrated to the honor of the gods, must not be darkened by messages of ill. Then he proceeds to describe under what circumstances it is befitting to chant " such a pa3an of the Erinnyes." 598 -600. These are the particulars of the aTTsi'xra n?]- Haxa. — 71o)m ^u'v, that to the city on the o?ie hand ; nol- lov,- 8i-\ and on the other ha?id, ?nany from the divcllings, contrasting private and public sorrows. — dmlri fidariyi, with twofold lash, a lash with two strands ; i. e. the double calamity, both public and private. NOTES. 129 602. Toiavds .... ascayntvov. With such calamities in- deed overladen. 605. evearoT, in loell-heing. After nohv, the construc- tion changes. The herald, too, notwithstanding his reluctance to mar the happiness of the day by any word of evil, cannot help relating, in most vivid and powerful language, the incidents of the terrible storm, which the questions of the chorus have brought once more to mind. 607. oi'X dfijivirov OeoTg, sent not without icrath hy the gods ; which befell the Greeks in consequence of the anger of the gods. 609. ra niGx* tdsi^drr^r, shelved the pledges; showed that they had kept their faith by destroying the unhappy Argive host. 613-615. at de . . . . arno^co, and they, gored with violence hy the blast of the tempest and icith the shower- heating storm, vanished from sight, hy the whirling of an evil shepherd. Klausen remarks, " Improbus pastor dici- tur ventus, ut qui hue illuc dissipat naves, quae sibi du- cendae erant." A similar thought occurs in Longfellow's Wreck of the Hesperus : — *' She struck where the white and fleecy waves Looked soft as carded wool, But the cruel rocks, they gored her side Like the horns of an angry bull." ^617. dvdovv. By a bold figure, the sea is said to hlossom with the corpses. 618. eQeimoov. Genitive by a sort of attraction to ^Ayaimv, instead of dative. 619. d'At'iQarov a'Adq:og, undamaged in its hull. 623, 624. 'fig .... ydova. So as neither in a roadstead (anchoring-place) to feel the violence of the wave, nor to dash against a rockbound coast. The general idea is, the ship was saved from the storm and brought to a safe an- 130 AGAMEMNON. chorage, where it was neither exposed to the violence of the sea nor to the danger of running upon a rocky coast. 625. rcd>]v Ttovriov. Like the common English expres- sion, a icatery grave. 627. tpovAolovusr. This word means properly to tend flocks or herds ; to watch., take care of., Here soothed or solaced. — vtov Ttddog., fresh suffering. 628. yuvAw^ ojtodovfuvov, wretchedly brayed; literally, reduced to powder, or ashes ; broken up and scattered. 631. rai'T f/2/7', to he iti this condition. 632. ovr. Stephens, cited by Peile, says, " ovi' often expresses the state of mind which we are in during inquiry, whilst we are still searching after the truth, and our opin- ion is as yet undetermined." 636. ovTto). This differs from ft/^Ttoj, in expressing a confidence that Zeus does not desire the annihilation of the race ; ^i/^Ttco would only express it hypothetically. This chorus (the second stasimon), consisting of four strophes and four antistrophes, describes the joy with which Helen's arrival was greeted, and the sorrow into which it was in the end converted. The same moral re- flections, naturally springing out of these events, are uttered ; and, finally, in a series of anapaests, the arrival of the king is hailed, not however without some dark and boding words. 639. (oroiia'^ev. The object is WJiav, and the ques- tions turn upon the name of Helen. 640, 641. M'ij .... rtjicov. Was it some one ichom tve see not (some god remaining invisible), by foreknoicledge of what was fated, guiding the tongue in fortune (so as to hit the truth). The chorus uses this language, as if thinking that even the name of Helen portended the woes that were to spring from her career. 642. doQiya(i^noj\ spear-wedded ; whose marriage is at- tended by, or produces, war. NOTES. 131 644, 645. d^QOTificov 7TQ0/ta),v^^ur(oi\ luxurious hang- ings. 648 - 651. Kvvayol .... aliiaxo^aaav^ And many shield- hearing hunters in their track pursued, they (Paris and Helen) having driven the vanished oar (the oar which left no trace upon the waters) to the leaf-growing lanks of the Simois, for bloody strife. 653 — 655. TtQaGGoiit'ra takes two accusatives, rioiTag and dri^Koaiv ; ntlog is governed by riovrag. Punishing in after time those who honored ivith acclai?ns the nuptial strain (the song with which Paris and Helen were re- ceived in Troy) for the dishonoring of the table and of Xenian Zeus. 656, v^bvdiov, in apposition with rv^icfottjiov ^lAog. 658 - 664. And the aged city of Priam unlearning the strain (the strain of triumph with which Paris was wel- comed) icails out [jtov somewhere^ i. e, it is likely to be the case) a loud lament^ calling Paris the disastrously- wedded frst of all, yet having endured a ivoful time in the miserable blood of her citizens, d^iq:}, about, in connec- tion ivith, with regard to. I have rendered it here in, as expressing in this particular connection the meaning more exactly. In the second strophe, the presence of Helen in Troy is aptly compared to the ravages of a lion, brought up from a whelp in a household, and then returning to the savage instincts of his nature. 666. d'/d)Mxrov, without milk, brought up by hand and attempted to be tamed. 669. tvcfO.oTtaida, from Evqilomag, on friendly terms icith the children ; petted by them, as a house-dog would be. 670. Kai .... tTtr/^uotov, and rejoiced in by the old. 671. Tlolta d' io'A , and many a time and oft he teas ; the frequency expressed by noXia is redoubled as it were 132 AGAMEMNON. by 80^8, to express the constancy with which the incident occurred. \ 673. aaivojv .... dvdyy>aig,faivjiing for the necessities of the body, for daily food. 675. "EOog .... roxi^ojv, the character of his parents hefore him. 682. Uozvg rig drag ^ a priest of destruction ; the lion who has been heedlessly allowed to grow up in the house. 683 - 687. naoavrd 5' . . . . dvOog, And in the same way I might say there came to Troy a feeling of unruffled calm, aud a luxurious ornament of luealth, soft dart of the eyes, soul-piercing flower of love, i. e. Helen came, bring- ing with her these delights and soft transports, which were soon to be transformed to desolation, captivity, and despair. A similar contrast is drawn by Gray, in the Bard : — *' Fair laughs the morn and soft the zephyr blows. While proudly riding o'er the azure realm In gallant trim the gilded vessel goes, Youth on the prow and pleasure at the helm. Regardless of the sweeping whirlwind's sway. That, hushed the grim repose, expects his evening prey." 688 - 692. riaoaxlivaa' .... ^EQivvvg. These lines de- scribe the other side of the picture. Translate, But the hride -hew ailed Erinnys, changing all this, made the ends of the marriage bitter, having rushed to the Priamidoi (the Trojans) under the guidance of Xenian Zeus, seated for looe, mingling loith them for ivoe. It is not Helen, but the avenging Fury for violated hospitality, that speeds to Troy under the leading of the hospitable god. 693- 702. The sentiment in these lines is simply this ; that there is an ancient saying which declares that great prosperity is followed in the order of nature by adversity ; but the chorus thinks it is wickedness only which gives birth to calamity. NOTES. 133 699, 700. jUtV and 8t show the relation of nuiova and eiy.oia, more numerous indeed, hut like. 702. y,a)li7t(ng. This epithet, describing one particular in the good fortunes of the just, connects itself easily with the language before applied to the consequences of crime, as the natural offspring. 703-708. (I)i).eT . . . . roxevGiv. The general idea of this passage is, that insolence and overbearing injustice are sure to be followed by a progeny like themselves, by woe and crime. — qi).Ei, is ivont. — ved^ovaur, springing up anew. — to y.voiov, the appointed time. — cfaeay-orov, gleaming-dark ; i. e. the appointed day — the day of retribution — is dark but illuminated by baleful fires — like clouds with lightning ; i. e. wrathful, hateful light, like (fw^ ah'ohaml,;, v. 360. — lA^lairag ^t/MdooiGii' arag, of Mack calamity for houses. — tido^tncp agrees with v^oiv. 709-714, The thought expressed here, is, that justice honors the virtuous life, but looks with averted eyes away from guilty splendor. /liAa .... dafiuaiv. Translate, And justice shines, on the one hand {^itv), in ill-smoking houses ^the " lowly sheds and smoky rafters " of Milton, or "the smoky cribs" of Shakspeare), a?id honors the virtuous life ; hut, leaving gilded halls with flth of hands (rich halls polluted by wickedness) with averted eyes, she hath gone to pious things (she takes the side of goodness), not reverencing the power of icealth, falsely stamped hy praise (the power of wealth, which, being un- just, is stamped with a counterfeit impression of good- ness, by the flatteries of man). 715- 741. The chorus welcoming the king. 719. 'Aaioov y/wnog, the measure of praise, or compli- ment. 720. TO doxdv sh'Ui, the seeming to he, or seeming, out- side show. 12 134 AGAMEMNON. 725, 726. Ka) .... [:iiaj^i8voi, And they rejoice icifh them that rejoice, seeming like thein, forcing their lack- laughter faces. 727. TtQO^arop'co^cov, literally, a judge of sheep; an ex- pression drawn from pastoral life, and used for a judge of men, upon the same principle as a king is called Ttoiju^v hmv, a shepherd of the people. 731 — 738. TOTS ni\v corresponds with vvv dt', v. 737, and the two branches of the antithesis describe the different feelings with which the chorus regarded the expedition when it was first undertaken, and now, when it is success- fully ended. — yeyQUi-i^tvog, painted. uTtofiovGcog, uJisiiit- ahly, improperly. — an'' u-Aoag (fa8v6^\fro?n the surface of the mind. The chorus means to say that the former opinion is recanted, not from the surface of the mind, but deeply and sincerely. — Evq'Qcoj' ri^ novo^ sv raltaaai., a toil (or suffer- ing) is gladsome to those who have icell ended (what they had begun). That is, though we censured you at the beginning, your final triumph shows our censure to be groundless, and even the hardships endured bring only gratulations for your victories. The arrival of Agamemnon introduces the third episode. 744, 745. dr/.aiwv .... noidfAOv, the rights ivhich 1 have enforced upon the city of Priam, i. e. the vengeance which. I have exacted. 745 - 749. br/.a-; .... nhiQOVuH'O). This whole passage is made up of the language of the Athenian courts, — ov'A (iTtb ylodoari';, not from the tongue ; not hearing causes argued by the advocates, but judging of their justice by the knowledge they possess as divine beings. — is; ai^ta- T//Ooy revyog, into the bloody urn ; the urn of condemna- tion, alluding to the two urns used in the courts for the dicasts to deposit their votes in it. — ov diyooooTtag, not ivilh double inclination, unanimously. The gods cast into the NOTES. 135 urn of conviction the fatal ruin of Troy as tlicir unanimous vote; this thought is amplified in the next sentence, — ivavrlo)^ the opposite^ the urn of acquittal. — ^Ekjii^ nnooin^ Hope approached. — /ffooV should be constructed with Ttlrioovfitvcp, not filled by a hand, having not a single vote deposited therein. It is evident, that the Hope here is the hope of the opposite party in the trial ; the hope of Troy ; and that when Hope approached the urn, no vote for Troy was there to be found. 751, 752. 6vvdv^G-/,ovGa .... Ttvodg, and the ashes dying with them (the burning ashes becoming extinguished at the same time with the " storms ") sends forth rich Masts of wealth ; sends forth blasts which scatter in air the wealth of the captured city. 754, 755. trtuUBQ .... IqoahinEoda, since ice have set the snares of victorious vengeance, vmoy.oroi Klatisen ex- plains, " quarum vis infensa vim defensorum superavit." 757. irCTtov v^oaao^, the young of the horse, referring, of coitrse, to the stratagem by which a band of Grecian war- riors was introduced into the unsuspecting cit}'. 762. Ta 5' 4* to gov cfQavr^fia, as to that idea of yours. 764 - 767. Gvyyevt'',', born iciih ; innate ; natural. — roj .... voaov, to him who has got the disease. 769. TOP dvQaJov ol^or, the prosperity of another. 770 - 772. ev yao .... tfiot, for J icell know of persons seeming very ivell disposed to me, icho are a mirror of friendly converse, an image of a shade. 776-778. xa 8' aUM .... ^ovlevaoneaOu. Butler, " in- telligo de ludis, solemn! more ob felicem reditura Diis instituendis, de quibus in concione (ty Ttavr^vnei) agendum erat.'' Klausen, Peile, Wellauer, and Schneidewin, Having instituted a general debate, or contest of opinion, in full assembly ; Kennedy, Having appointed public meetings, we ivill in full assembly consult. But dym', especially 136 aga:memnon. when connected with Ttar/j'/vnig^ means a contest^ a game , and the latter word signifies a general assembly for festal purposes. The great assemblies at Olympia, for instance, were so called. This makes it possible that the words refer to the rejoicings to be instituted in thanksgiving to the gods for Agamemnon's safe return, immediately after which a deliberation is to be held upon the present condi- tion of public affairs, and what should be done to remedy the disorders that may have crept into the state during the long absence of the king. Translate, then, And having appointed public games (or rejoicings), in the festal gather- ing of all the people, we will deliberate on jmblic affairs. 780. "Oreo .... TtaiojvLOJV, And to whatsoever there is also need of healing remedies. 784. dm6i TtQwxa dehcocojAat, I will first raise my right hand to the gods; I iv ill first pay my devotions to the gods of my household. 795. yihfioi'ag TtaXiyxotovg, adverse reports. 796, 797. K(u .... do^wig. The first clause is elliptical. Translate, And that one should come with a rumor, and another should bring another rumor of calamity worse than the first evil, a?inowicing them to the house. 801 - 805. ^Ei fi0Q(f,(6i^iari, And if he had died, as the rumors abounded, he, a second three-bodied Geryon, might have boasted of having received many a triple cloak of earth above — for I speak not of that below — having died once in each form. The meaning — though the metaphor is confused and obscure — is, that had Agamemnon died as often as rumors of his death arrived, he must have reappeared on earth alive, many a time, and each time, like another triple-bodied Geryon, with three lives. The allusion to the cloak below — t7^v x«rca yao ov Xb'yoj — is, on the outside, a disclaiming of an ill-omened expression, but in thought, a covert hint of the fated NOTES. 137 cloak in which Agamemnon is to be entangled, as in a net, — Tzolltjv, many a one. 806-808. Toiojid' .... leXr^fiiAH'rjg. The high- wrought expressions which the poet places in the mouth of Cly- tcemnestra are in strict accordance with her fierce, but most dissembling and simulating character. 809. 'Ex raids, in consequence of these ; i. e. of these ill-omened rumors. 813, 814. duqilsxTU .... 7tnoq:(ovcov, alleging discordant troulles, i. e. calamities that would befall Orestes in his father's absence, or in case of his death, from the discords that might grow up, which made it suitable that he should be placed under the guardianship of a powerful and kind protector. 816. ^ov/J-v xataQQiWcisv. Two interpretations have been given to these words ; should form a desperate scheme, Blomfield, Schneider, and others ; and, to overthrow the senate ; i. e. the council of elders, who may be supjDosed to have been invested with the powers of government during the absence of the king. The latter is the veiw of Shiitz, Butler, Wellauer, Klausen, Schneidewin, and Paley. Perhaps •AaTanoi-TZTSiv ^ovh]v means, to cast down counsel; to reject authority and scorn deliberation ; just what an excited mob is likely to do. 821-826. She decribes here her nightly sufferings. oWr/.oiTOi^ ov^a6n\ late closing eyes. — /.auTtrr^oovyiu^' dxr^u- £/.?^'toiv, the neglected signal-fires, the appearance of which she have impatiently waited for, and wept that they did not come. — th;yef(>niu^v, I was continually aroused ; imperfect describing continued action. — xov hn'evdojTog XQovov, the time that passes in one's sleep. Literally, the time that sleeps with one. 827. aTTerd/jr,) qoeri. There is here an intentional am- biguity ; with mind now free from sorrow. The accumu- 12* 138 AGAMEMNON. lation of metaphors in the following lines is another instance of the poet's artful development of Clytaemnes- tra's character. Their exquisite beauty heightens the effect of the demoniac malice which they conceal in adorning. 834. TsQTtov .... artav, It is siveet to have escaped from all that is grievous. 840. rtlog, the task, or duty. 843^r 'Eg .... dixt]. That justice may lead him into an unexpected house. An intentional ambiguity. To Aga- memnon it meant, That he might be led, as he deserved to be, but had not hoped, into his royal house ; in Clytaemnes- tra's mind it meant, That justice (i. e. the justice which shall bring vengeance upon his head for the sacrifice of Iphigenia) may lead him to a house not expected^ i. e. the house of death, the house of Hades. There is the same kind of covert allusion to Agamem- non's murder in the next two lines. 846-849. Agamemnon does not receive with joy the exaggerated praises of his wife. Her speech is long, cor- responding to the length of his absence ; but it is not lvfU(Jificog — suitably expressed. Such eulogies should not come from one's own wife. If spoken at all, they should be spoken by others. 852. XcmaiTtEZsg .... ffzoi. A bold metaphor ; literally, Mouth an earth-creeping clamor ; do not welcome me with such expressions of servility. They beseem a barbarian, but not a Greek. 855, 856. 'Ev .... cpo^ov, But for a mere mortal to walk on variegated, splendors (rich and beautiful carpets) — to me indeed is by no means free from fear . The seem- ing arrogance of such an act he fears will bring upon him the displeasure of the gods. 858-861. Xmqig .... g;fl?j, Without foot-rugs (this NOTES. 139 word, 7to8oxljii6rQcoi\ is applied, with a touch of irony, to the purple carpets, on which Clytsemnestra will have him walk) and these gawds, fame speaks aloud ; and not to think unwisely is God's greatest^ gift ; we should deem him happy icho has ended life in fair well-being. This moralizino: vein is very characteristic of the Greek mind. 862. El ... . tyoj. And if ice thus may fare in all things, I should he well-cheered. His thoughts are upon that moderate state of mind which is the best gift of God ; and he means to say, either that if he can always fare so (i. e. may always have that moderation which he has described), so as to be pronounced happy after death, he shall be of good cheer ; or, if in all things I may act as discreetly as in this, I have no fear. 863. iiTj TtdQa yvoj(ir^i> efxoi, not against my purpose. 864. rv(6iii]v .... l^i. Be assured that I will not enfeeble my purpose, my principle. 865. Hv^o} .... Tuds ; There is irony in the tone of this question. It conveys a taunt of cowardice. Didst thou, through fear of some one, vow to the gods that thou wouldst do these things 7 866. Tt).o,\ resolve, or determination. 870. j'£ [iti'toi, yet indeed. "This and the following lines," says Peile, " afford a good specimen of that sprightly repartee, which here and there enlivens the stately march of Grecian tragedy." 872. OiToi yvvaimg laxiv. It is by no means a woman's part. 873. yiai to vr/.aadai, even to be conquered. The infini- tive used as a substantive and the subject of TCQinn. 874. vi/.riv xryv^t refers to to Vi'/.aadai, dost than not, too, value this kind of victory in strife ? 877. Ttoodnvlnv m'^aaiv. " The servile instep of my foot ; i. e. the things into which my foot steps, and which as shoes perform a servile office." Peile. 140 AGAMEMNON. 879. Ml] .... q)x)6vo^\ I fear lest some envy of the eye of the gods strike me from afar. B}^ envy of the eye is meant displeasure caused by the sight of arrogance or pre- sumption. Agamemnon dreads lest his walking on rich purple carpets may be so regarded by the watchful eye of the powers above, 880. do3^aroq){yoQeiv TZooir, to waste the household wealth by trampling on it with my feet. 882. TovTOJv lilv ovzoy, Enough indeed of this. — rijv ^8V7]V refers to Cassandra. 888. 'Etzu .... Tuds, And since I am compelled to hear these things from you, i. e. to yield the point. 892. Ttay'AainoTov, ever to be had anew ; the supplies of which never fail. 893, 894. Ohog .... f/ftr, And the house, king, is in a condition to have enough of these, under favor of the gods, rco'pds is the partitive genitive. 895 - 897. IIoXlcov .... [At]][av(x)iJ.tPf], I would have vowed the trampling of many carpets, devising the wages for bringing of your life (you alive), hod it been proposed to the house, in oracles ; i. e. had the oracles so replied to my inquiries, I should have offered many rich and precious cloths, were that the condition of your safe return. 899. 21-Aiav .... xvvog. Spreading over a shadoiv as a protection against the Sirian dog, the dog-star. 900-906. And you, having returned to your domestic, hearth, — you signify, on the one hand, heat coming in winter ; and again, when Zeus is preparing wine from the bitter^ unripe grape, then now there is coolness in the house, the lord and master moving about it ; Zeus, Zeus, Zeus, the lord and master, fulfl my prayers ; and mayst thou care for these things which thou art about to fulfl- This is another example of the dissembling exaggerations of Clytaemnestra. As long as he remains, there is foliage NOTES. 141 to guard the house against the heats of the dog-star. His return is likened to warmth in winter, and refreshing cool- ness in summer. — L^y;;() rsXtio^ is tJie husband, or master of the household. The same epithet applied to Zeus has a double meaning, which Clytoemnestra avails herself of. Zeus the all-ruler — and in connection with xbhi — the accomplisher. This chorus is the third stasimon. It consists of two strophes and two antistrophes. The chorus gives utter- ance to forebodings of evil which it cannot banish. The fairest- seeming fortune often strikes, in the voyage of life, upon an unseen rock. Famine may be removed by the abundant harvests from the " annual furrows " ; but who can restore the life of a man when once his blood has been shed. The chorus darkly broods over the fearful coming of a bloody retribution ; but the power of fate restrains the full announcement of these presages of evil. 908. JeJ'ua 7tooaTarTjQioi>, haunting terTor. 910. MaiTiTtohi . . . . doidd, And an unbidden, unhired strain for eicarns. 911-914. Ovd\ . . . d-novor ; The question continues: Nor does confident courage sit upon the dear throne of my heart, to reject them like undislinguishable dreams ? Com- pare Shakspeare, Romeo and Juliet, Act V., Sc. 1 : — "My bosom's lord sits lightly on his throne." 915-917. Xonro^^ .... (TTof/.roV. It is not easy to con- struct this sentence in a satisfactory manner. Taking it in connection with the first part of the antistrophe, how- ever, the chorus is reflecting upon the length of time since the expedition was undertaken ; then it is an eyewitness of Agamemnon's safe return ; and yet an overmastering fear takes possession of it. The time has passed, with the laying of the cables in the sand of the shore when the naval 142 AGAMEMNON. host hastened to Troy ; i. e. the time of the war (ten years), since the fleet was anchored on the coast of Troy, is past and gone. 920. uvcv lvQa^\ icithout the lyre. 924-926. OTtldyyva has yJag in apposition with it. The inwards, put, by a Avell-known usage of the Greek, for the soul, or the thoughts. Translate, And iny soul is not deluded — my heart tossed about hy currents leading to some fulfilment, upon thoughts fixed on justice. — tj'dt/.o^' means literally, in justice, or accordant with justice. tvbiAOi (fi)bve; .... eTtavoev, Zeus stopped him who knew aright to raise from the dead. The allusion is to the legend of ^^sculapius, avIio was killed by the thunderbolt of Zeus for restoring Hippolytus to life. The genitive cfd^tnti(x)r is the gen. of separation, to raise from the dead. 950- 954. £{ 88 . . . . tir/ei, Did not the fixed decree of the gods prevent the fate (of mortals} from drawing ad- vantage (from forebodings) viy tongue outrunning my heart, icoidd have poured out the whole. The passage is quite obscure, owing partly to the different senses of |uo/Y'« Texay^t'rr,, and ixoTiju, the former appearing to mean the fixed, unalterable decree of the Powers of Heaven, and the latter, the destiny of mortals. The idea is appar- ently that, since there is a fixed, unalterable decree, it ■will make no change in the result if I give utterance to my suspicions. What is to be will be. I forebode the death of Agamemnon. If I could prevent it, my tongue -would run before my heart, and all my feelings would be outpoured. 955. ^Q^'fi^i, subject y.aodia. The dialogue that follows is the fourth episode. 965. TtoaOtrra T)S,vai, like our English idiom, endured being sold. 966. 967. El ... . yy-Qi^, If th^n the necessity of this fortune (slavery) inclined (as in a scale, i. e. befell one), great is the blessing of masters wealthy of old ; i. e. it is a great blessinor to fall into the hands of masters of ancient and powerful lineage. 969. Ttana 6Tdxyfu;r, beyo7id just ?neasure. 144 AGAMEMNON. 970. oiaTZeo rofuX^zcu, such things (i. e. by way of wel- come), or treatment^ as is customary. 976. " Eai)3 .... P.oj'Q), Speaking within her comprehen- sion, I persuade her hy my speech ; i. e. slie knows well enough what I mean. We suppose Clytasmnestra to use a menacing tone in uttering these words. 979. {yvQcuav, here at the door. The accusatives agree with 1^18 understood, referring to Clytsemnestra. 980-982. Translate, For already now the victims of the central hearth) the victims to be offered on the family altar) are standing for slaughter of the fire (ready to be slain and then burned), as hy oy for those icho never hoped that they should have this joy. 988. -Aa'/MV .... cpQevMi', listens to evil thoughts. 991. TIqIv .... ^m'og, Before she foams her rage aivay in Mood. The expression alludes, of course, to curbing the spirit of an unruly horse, by using a sharp bit, which wounds his mouth, and mingles blood with the froth. There is also a covert threat of violence to Cassandra herself. 995. 'Aaii'iGov ^vyor, hear the neio yoke. The lyrical dialogue that now ensues has some passages of terrible effect. The reader must remember that Cas- sandra, though gifted with the power of prophecy, is deprived of the power to make others understand and believe her. As she approaches the entrance to Agamem- non's palace, she is not only conscious that her master's death is plotting there, and that her own blood is to be shed, but she sees in the mind's eye all the past crimes which have been perpetrated within its fearful walls ; the domestic murders, hangings, children whose flesh was devoured by their feather, that "• Thyestean banquet " which made the sun, at the horror of the sight, turn back his course. Thgn, she describes, i^ language incompre-i NOTES. . 145 hensible to the chorus, the murder of Agamemnon, en- tangled in the fatal robe by his wife ; her own death, sadder than the fate of the plaintive nightingale, finishes this lyric wail of mystery and woe. 999. 03GTE . . . .TvyeTv. " Xempe Apollinem jucundis tantum rebus interesse, nee aliis quam Isetis carminibus celebrari, a luctu autem et lamentatione abhorrere crede- bant.*' Shijtz. 1003. Ovdh' .... Ttcinaarrmh', Not belonging at all to attending upon lamentations ; having nothing to do with wails and dirges. 1008 Mti'Ei . . . . q'oei'i. The divine (the prophetic in- spiration) remains present in the mind enslaved. 1015-1017. ^ia6\}eoi' refers to Grt)i;i\ In the remain- der of the sentence the crimes of the house are wildly enumerated, ten must be supplied, the substantives being all in the nominative case. Translate, Many kindred- murdering icoes are icit?iess to it (to the house being ab- horred of the gods), kindred-murdering crimes and hang- ings., a slaughter house of a man, and a dripping jloor (i. e. soaked with blood). 1019. uarn'Si .... cfovnr, and she searches for those whose murder she shall discover ; the chorus alludes to the murders in the past history of the house, with which they are all familiar. 1025. ri . . . . ^a^dezai. Cassandra, by her divinely given power, sees the murderous scheme of Clytaemnestra. 1029. dl/.u . . . . drtoarareT, and help stands afar off. The Scholiast refers this to Orestes. Klausen thinks the poet adheres to the Homeric form of the legend, accor- ding to w^hich Orestes was still a child when Agamemnon was slain, and that help was not therefore to be expected from him ; that Menelaus was in the poet's mind. But there is no need of supposing any person to be specially 13 UG AGAMEMNOX. referred to. Agamemnon was beyond the reach, of any help, being alone, entangled in the folds of the garment, and at the mercy of his inexorable wife. 1030, 1031. rovrojv, these, of which Cassandra now speaks. — t-AeTru, those, the former events of which she had just before been speaking. 1036. nQOTEivH .... OQEyofieva, Hand after hand ex- tends, reaching forth ; i. e. she is busily employed in per- forming seemingly friendly offices for her husband while he is taking the bath. 1037, 1038. vvv . . . . (iffri][av(a, for now I am peiylexed hy divinations, oiscured by riddles. The singular penalty whereby Cassandra was deprived of the power of making others understand her vaticinations must be kept in mind through the whole of this scene. 1042, 1043. cxdoig .... Xevoiiiov. Klausen understands by ardaig the discord of the Atreidce, " quam tam saevam esse judicat, ut finem non sit adeptura, nisi toto genera deleto : id quod expectari potest ab ira populi, qui non amplius piaculum terrse Lariumque iterum iterumque per caedes doraesticas contractum permissurus, solito more, tumultu moto, lapidatione omnes necaturus sit." Peile, however translates, But let tie sisterhood (of Furies), un- sated iciih the family (of Atreus), shout over the sacrifice (of Clytcemnestra) hy stoning. This interpretation of Gtdaig is supported by Butler. Schneider renders it, Let the insatiable band (of the Erinnyes) howl a woe to the race of the Atreidse) upo7i the sacrifice of stoning (upon Clyteemnestra, who deserves to be stoned to death). Kennedy translates : — *' Let now the broorl, unsated of such horrors By nfiture, then- infuriate cries Yell furth the sacrifice Beholding, which to aA'enge the pavement-missile flies." NOTES. 147 1046-1048. 'Em . . . .avyaT^^ And hack to my heart hath run the saffron-tinted drop of Mood ichich, falling at the fatal moment, fnishes with the rays of setting life. It is evident that the chorus is filled ^vith a vague and mysterious horror, by the to them unintelligible exclama- tions of Cassandra. The terror drives the current of the blood back to the heart. The remainder, is a description of the ebbing of the blood from a fatal wound, until the light of life has departed ; meaning, perhaps, that the blood rushes, in this mortal affright, back to the heart, as it rushes from a mortal wound until life is extinct. Perhaps there is here, too, a secret allusion intended by the poet to the murder of Agamemnon. The blood of the speaker is flowing back to his heart, while the mortal blood of the victim is to ebb out as his life passes away. 1054. do/.ocfovov )J^^rogj the hath of treacherous assas- sination. 1056. rm =tivi. 1062. tTteyx^'uaa, pouring hesides my sorrow into the cup ; i. e. in addition to that of Agamemnon. 1063, 1064. TIol . . . . ivvO^avoi'iitvriv. These words are addressed to Agamemnon, whom in imagination she be- holds : To what end hast thou led me icretched hither ? — ?ione, indeed^ except to die tcith thee. 1066. voyov uro^ioi'. These verbal contradictions are frequent in Greek poetry, especially in ^schylus ; a?i un- melodious melody, a strain of horrid import. 1068, 1069. d{iq:i&a).rj -/.axoTg .... ^lov, life encompassed with ills. 1074 - 1078. {laxatovg, idle, i. e. insane, the chorus not understanding her wild lament. — dvGCfdrq) xlayya ^sXorv- mU, you strike a melody with ill-spoken cry. — ooOioig tv vojxoi,;, in high strains, referring to the loud and violent tones in which Cassandra spoke. — FIo&sv .... 'Aay.OQQi]no- 14S AGAMEMNON. va^', literally, Whence hast thou the evil-ioorded hounda- ries of the prophetic path ? i. e. Whence hast thou learned these ill-boding, prophetic strains ? 1079. oXe&Qioi cpiXcov, destructive of friends. Matth., Gr. Gr. 344, explains the genitive with " adjectives whica have an active sense, and are mostly derived from active verbs, or correspond to them. In the case of these, their relation to an object, which with the verbs would be in the accusative, is expressed by the genitive." 1081. TJvvroixav = riv^opjv. 1085. JVsoyvog .... iiaxfoi. A sort of proverbial expres- sion, Ecen a neic-horn child might understand ; like the Homeric QB/^O'h dii rs vi'ftiog tyvco. 1086 6;?&)3* .... (poii'iM, as by a murderous stab. 1087. {yoEOiihag^ gen. absolute with aoij understood. 1088. Qaviiciz tfio] •aIvsiv, Wonders for me to hear ; in- finitive, constructed with a substantive. 1090, 1091. '/oo . . . .Ttoiovo^coi', Alas! sacrifices of my father for the toicers (i. e. for the safety of the city) slaughtering many pasturing cattle. The sacrifices to Avin the favor of the gods ; the word jtQOTtVQyoi designating the object of the sacrifices. For the construction of |3orcoj', see note on v. 1079. 1091, 1092. a'Aog . . . . Ttad^arv, but they, (the sacrifices) afforded no help so that the city should not suffer the fate it now has ; the last clause is in a sort of apposition with (i'Aog. 1093. 'Ej'co .... ^aXm. But 1 ivith heated mind (mind excited by the prophetic visions and intuitions) shall soon cast myself upon the ground. 1096. vmo'^aoijg tiiTtirvoctv, falling over-heavily upon thee. Adjective used adverbially. 1101-1 104. yia^iTtoog .... fiH^or. The general idea is obvious. The dark forewarnin<2;s, like a veiled bride NOTES. 149 hitherto, and not understood by the chorus, will soon come to light. The oracle will no longer look out from behind a veil. The death of Agamemnon will make all clear as the risen day. A greater calamity than my own will soon rise, like a wave, into the morning sunlight. The poet represents the forehoding {yoi]6ii6^') as a sea-wave, which during night is dark, but when the sun rises (the rising of the sun is the sudden blaze of light which the assassination on the eve of taking place in the house will shed upon the XQr^a^o^) the wave sweeps up into the light, the sunbeam striking upon its crest. Translate, then, literally. And it seems about to rush dear, like a wind {nvtmv) against the rising of the sun, so as to foam into the rays much more than this calamity ; i. e. the predicted calamity, which you fail now to comprehend, Avill soon, wave-like, rise with the morning wind, from the darkness of night into the light of the rising sun, so that you shall see it more plain- ly than you behold my present calamity. 1107. '/ono^, i. e. the chorus of Furies. 1110. y.couog, a revelling hand. 1113. noanao'/ov arr^v, primeval woe; the original sin which had introduced all the woes of the race. 1114. Evvag . . . .dvafievcTg, The hrothefs bed, hostile to him who trampled it. The allusion is to the legend ac- cording to which Thyestes corrupted Aerope, the wife of Atreus his brother, w^ho avenged himself by slaying the children of Thyestes, and placing them as food before their father. 1117, 1118. 'Ey.^aQTVQr^(yov . . . . dofxav, Testify with an oath that I knoio the crimes of these halls, ancient in story ; i. e. the story of the ancient crimes of this house ; unless, with Klausen, we refer 7.6yM to Cassandra's words, ly my speechy i. e. as appears from what I have said. 18 ♦ 150 AGAMEMNON. 1122. ojOTteQ Et TtaoeoTCiTsig, as if you were native here. 1123. rcpd' .... Tt'lsi, this function ; this office. 1126. '^^Qvvsrca . . . . 7t)Jov, Yes, for each one, when prosperous, is more delicate ; in allusion to what she has just said about her former hesitation to speak of this affair. 1127. TCakai(jTi]g, a suitor. 1131. bd^tamtov, 1 was icont to predict. 1132. n(£)g d?y .... 'Aorq) ; d^ita expresses surprise on the part of the speaker, — How indeed were you unharmed hy the Loxian's icrath ? 1133. cog rdd' 'i^nTtXayiov, since (because) I had leen guilty of this ojfence ; i. e. the offence of deceiving Apollo. 1136. V7t\ within me. 1137. TtQotjimg doGq:QOijiiotg — ill-preluding preludes. 1139. A^tovg. The children of Thyestes, whom she beholds in imagination, like the forms of dreams. 1140. waTZEQEl 7t(jog rav cfLlwv. Ironically — as ifhy friends. The visions look like children slain by their own kindred. 1141. ol'AEiag ^OQag,food of their oicn, i. e. flesh; their own flesh, which had been ussd as food. 1145. /Jt'ovr' aval'Aiv, referring to ^gisthus. 1153. dvaq}illg dd'Aog, odious monster. 1156, 1157. aoTtovbov .... Ttviovaav, breathing inexor- ahle war upon those connected ivith her. 1157, 1158. Mg d\ . . .rQOTtrj. This is sometimes re- ferred to Clytaemnestra's shout of triumph for the murder of Agamemnon ; but the connection makes it better to understand it as said of the simulated joy and triumph with which she had received Agamemnon on his return. 1154, 1165. y.al .... Ihjxaoiiiva. The chorus un- derstands the allusion to the Thyestean banquet, and / NOTES. 151 knowing what Cassandra has said upon this point to be true, listens with terror to the incomprehensible forewarn- ings of evil. The language of Cassandra accumulates image upon image of horror, and fills the mind of the chorus with ill-defined dread. Translate, Terror holds me as I hear truly things in no respect exampled ; i. e. Terror seizes me as I hear you describing truly the unexampled deeds that have been perpetrated in this house. 1166. Ta 5' u)l\ hut the rest ; what Cassandra has said of the horror yet to come. 1168. Eucpyjiinv .... Gxoiia. evqr^^ov indicates the effect of xoiurjcjov = coate evqjrjuov yzv^ad^ca. 1169. 'J}X .... l6y' 'AQIG81 ; Why sure should I, sojourner as I am, lament, since first 1 have seen the city of Ilium faring as it has fared, and they ivho were holding the city, are ending thus in the judgment of the gods ? There is some difficulty with adtoixog, which, says Klausen, " Nihil est nisi >c«t' Oi>iovg, per sedes, in sedibus. Versatur enim in exteriore aula, quae modo sedium pars dici potest." 1214,1215. ai^diojv . . . . aTtoQQvsvzav, the streams of blood fiowing out and bringing an easy death. 1217-1219. d. . . .Ttarelg; but if thou truly knowest thine own fate, how, like a victim driven by the gods, dost NOTES. 153 tho\i tread daringly towards the altar 7 " Qci'^laTOv ^ovv dixit, quae se ultro ofFert ad immolandum, quales memorant bistorici plus semel/' Stanley. " Victimas igitur, ut volantariam sui oblationem significarent, non contento sed laxo fune ad aras ducebant. Cf. Juv., Sat. XII. 5.'' But- ler, cited by Peile. 1220. Ova .... Tth'co, There is no escape for a longer time. 1221. '05' varaxog .... TtQeapeverai. Klaiisen remarks, *' Est lusus aliquis in hac sententia : quum alioquin is, qui ultimus adest, minimo colatur honore, in temporis ratione hoc prorsus contrarie se habet." Schneider says, " d' vGzuTO^ Tov '/Qoi'ov, for 6 5' vCTCiTog yooyo^,'' i. e. the longest (latest) delay is best. But Peile, No ! but he that goes last has the advantage in respect of the delay. Matth. Gr. Gr. § 338. The language will admit of either con- struction : but the connection seems to require us to translate the last has the advantage in time. 1225. Ovde^g .... evdat^orcor. But no one of the pros- perous hears or understands these things (has such things said of him about dying). 1227. Ti . . . . qopo^, Cassandra, turning from the chorus to enter the palace where she knows she is to meet her death, hesitates a moment at the threshold, as if struck with some sudden horror, and unwilling to proceed. The chorus, noticing this, and not even yet fully comprehend- ing the purport of her language, asks what terror turns her back. 1229. eqev^ag. The verb grarwco is formed from (yeiJ. — ei . . . . OTvyog, unless it be some horror of the mind. 1230- 1233. The chorus perceives the smell of sacrifi- ces which have been offered in the house ; but Cassandra is struck with horror by the scent of murder which the house breathes upon her. — Kcu Tta^^ ; Translate, And 154 AGAMEMNON. how ? this scent comes from sacrijices at the domestic altar ; sacrifices which all can perceive, and which the chorus supposes Cassandra to mistake for the scent of blood. 1237. Ovroi-. . . . (jpo^co, I at?i not screaming with terror^ as a bird twitters alout a thicket^ where she has built her nest, to which she sees some danger approaching. — ■&dlAVOv ace. is constructed with a verb understood. 1238 - 1241. Mg -O^avovGij, as for one dead. — "Orav .... Ttt'aij, When a woman shall die for me a ivojjian, and a man shall fall for an ill-tcedded man ; referring to the slaying of ^Egisthus and Clytaemnestra by Orestes. — 'Eiti^cvovfiai .... OarovjitP)], I ask thus much of hospitality^ as being about to die. 1244-1247. rpJo) .... i^iQa^iazog. I pray to Helios^ turning towards the last light (last for me) that the king's avengers may repay my hated murderers^ 7, a slave having died, an easy capture. 1248-1251. 7co . . . . TtoXv. Translate literally, Alas for mortal affairs ! if prosperous, a shadow may turn them ; but if they are adverse, a moist sponge with its touches destroys the picture ; and this I bemoan much more than that. "• The train of thought,'' says Peile, " suggested by the previous reflection n^iaQOvg '/^eiQWfiaxog is, that 'man, at his best estate, is altogether vanity,' and that, easy as is his fall from prosperous to adverse circumstances, a yet more fatal change hangs over him. ' There is but a step between him and death ' ; from a state of adversity the work of a moment is sufficient to reduce him to a state of absolute nothingness ; and this last change, the speaker adds, / deplore much more than that.''' 1254. day.tvlod^rATcoi'. Both Klausen and Peile have this reading in the text, but explain it in their notes as if it were 8a/.xvlo8uA'Zcov, agreeing with [ialddi)cov. But the word, at least as here accented, is a participle of NOTES. 155 day.Tv).od8iy.Tt(o, agreeing with t/s,% And no. one, pointing with his fnger. Schneider agrees with Klausen and Peile's interpretation, and has the reading ba-AXVLodcUxaiVy which that interpretation requires. 1260-1264. nnoTbnwv cdf.i\ the hlood of former men; i. e. the blood formerly shed by Atreus. — roioi {yavovai, ■Oarcoy, dying for the dead (by his death atoning for the death of the children of Thyestes). — u/lcov .... davaTCxw refers also to the crime of Atreus, — And shall pay the penalty for other deaths, and finish the calamity. — Ti^ .... (l/.ovcoi ; Who of mortals would pray, hearing these things, to have been horn to a distinguished lot 1 or icho of mortals can ioast to have been born to an unharmed fate ? The cry of Agamemnon breaks upon the reflections of the chorus with startling dramatic effect. In regard to the arrangement of this singular scene, MiJller makes the following remarks : — " The chorus in the Agamemnon represents a supreme council, left by the prince in administration of the realm during his absence. Suspicious of Clytcemnestra's evil disposition and deeply affected by Cassandra's predictions, this company of elders is filled with an anxious presenti- ment of the horrible event so nearly impending. On a sudden the death-cry of Agamemnon is heard from the interior of the palace (v. 1316 Well.); first of all one of the elders draws the attention of the others to it ; a second declares it is the very perpetration of the deed they dreaded ; a third proposes that they should hold a con- sultation upon it. Young men would instantly have hastened to the spot and forced their way in ; but these old men, who with all their integrity of sentiment betray throughout the tragedy a degree of weakness and irreso- lution, proceed to debate on the course they ought to 156 AGAMEMNON. pursue, and the question with them is, whether they should summon the citizens to their assistance (v. 1321 seqq.), or should endeavor to prevent the crime by forcing their way into the palace (v. 1323 seqq.); or, lastly, as they would most probably arrive too late to prevent the deed, whether they should not rather inform against the murderer (v. 1341 seqq.). The suffrages are given in twe/i-e iambic distiehs. The second proposal is carried by a con- siderable majority, and is confirmed by the last voter, probably the same person who moved the debate, for the offices of Irtixpiiql'Cuv and InmvQovv usually fell to the same individual. The next moment the Gerontes are inside the palace ; that is, the interior of the palace — the apart- ment containing the silver laver, the corpse of Agamem- non enveloped in the fatal garment, and Clytsemnestra still standing, with the bloody weapon in her hand, on the spot where she struck the blow — is wheeled upon the stage by means of the machine called ty.'AV'/J.rifia. The expression, ior^'Aci d' m9-' ETtaiGa, shows that Clytsemnestra, although wheeled out by means of this machinery, is still to be imagined within the apartment ; of course, there- fore, the poet would have us conceive the chorus to have forced its Avay in, although, in fact, it was still outside. Hence it is evident that the debate was over, and had been closed in due form ; and hence again it follows that all the elders have given their votes. For, indeed, so well acquainted were the Athenians with the mode of proceed- ing in the debates of a BovXij, that they would not have been very well satisfied, had ^schylus suffered three of the Gerontes to remain quite silent. " Thus in the above transaction there are evidently twelve choreutoe ; and the same number also appears in other parts of the tragedy. For instance, the chorus in their conversation with Clytsemnestra and Cassandra NOTES. 157 preceding that transaction speak twelve times in iambic? (beginning at v. 1017); and afterwards, \vhen the Ger- ontes become excited by prophetic frenzy in proportion as the prophetess returns to her self-possession, they sing (perhaps in pairs) six odes replete with emotion of a lyric character, in continuation of those sung by Cassandra, at first with and afterwards without iambics (beginning at V, 1090). Thereupon each of the three principal choreutae holds a dialogue with Cassandra on her gift of prophecy, and on the purport of her predictions, each dialogue regu- larly commencing with four iambic verses, and proceeding in sinijle verses. And asrain, after the murder, the chorus in dispute with ClytEemncstra sings six strophes and anti- strophes, which are apparently portioned out to the indi- vidual members of it." 1269. ^A)la. . . . povXn'fiaTa, But let iis concert among ourselves, in some icay, safe counsels. Then each of the twelve choreutae gives his opinion. 1271. TJoO:; .... poi^v, To proclaim to the citizens to bring help hither to the house. — x/^oi'crcrfn' Soi\v, '•'■ to cry. To the rescue ! — to cry. Help ! " Peile. 1273. vEOQnvrcp ^iifEi, ivith newly-dripping sicord ; i. e. while the sword of the assassin is still dripping with his victim's blood. Wellauer and Schneider (the latter ob- serving that the chorus is armed with swords) understand it of the sword of the chorus ; ivitli just drawn sword. But this meaning is hardly possible. 1275. TO ... . ami], and it is high time not to delay. 1278, 1279. 01 dt . . . . ysni, hut they, treading to the earth the fame of delay, sleep not upon their hand ; scorn- ing delay, waste no time in inaction. 1281. Tov .... Tt^oa, It is the part of the doer also far- ther to deliberate. That is, he who is to do a deed should wisely deliberate upon its consequences. Deliberation 14 158 AGAMEMNON. should precede action. The view taken by this choreutes is wavering and irresolute ; and the next has the same nncertainty, since, by words, he knows not how to raise the dead. 1284, 1285. ^H .... ijovf^trou' ; This choreutes takes up the subject with more spirit, and is followed in the same vein by another. Shall we thus yield, in order to jjrolong our life, to the leading of these polluters of the house J 1288, 1289. This and the following choreutes throw doubt upon the matter. 1291. To ... . dr/^a. For to guess and to know certain- ly are very different matters. 1292, 1293. Tavxriv .... OTtmg, I am full from every side., to praise this opinio?!., to know exactly how Atreides is ; i. e. the majority of us decide that this is the best course to take. Clytaemnestra now appears, the fatal deed being accom- plished, and, throwing off all disguise, exhibits, with fiendish frankness, her character, purposes, and motives. 1294. xaioicog, to suit the occasion. She refers to the long speeches with which she welcomed Agamemnon. 1296-1298. ZIcos' .... r/.Trrid/^fiarog ; For hoiv can one^ preparing hostilities for his enemies, hedge up calamity, net-set, in height too great for overleaping ? 1300. 6VV yoovn ye ni]v, hut, indeed, ivith time ; i. e. the crisis long since meditated has arrived at last, in the ma- turity of time. 1301. 'Eaj^y.ci .... t^eiQyaGfjLfvoig, I stand where I struck the blow, upon the full completion. The sense is, " Here have I struck the meditated blow, and all is over." 1302,1303. Orrco . . . . fwnnr. And I so contrived, — and this I will not deny, — that he should neither escape nor defend himself from fate {death). Upon the use of ^OTES. 159 different tenses in this sentence, Klausen remarks, " Ap- tissima est hasc codicum lectio, quia yropuhatio erat sim- plex actio, ereptio securis et ictus Clytgemnestrae inflictus ; Cpi^vym' vero bene tempore proescnti positum, quia longius patet heec notio." 1306- 1309. xdi' dvoTp oifKoyfiaoi, and with two groans, having uttered two groans. — }i80?^y,£i\ he relaxed, or his limbs relaxed. — Tqit)-p .... yjk^if\ -^^id I give lesidcs a third (blow), a votive offering to him helow the earth. Hades, the Saviour of the Dead. " Acerba ironia," says Klausen, " quum Orcum dicat mortuorum servatorem, quia vivorum servator est Jupiter superus (v. 222), ter- tium ictum hinc servatori devovet, sicut tertia libatio Jovi servatori sacra habetur." 1310. OJtw .... momv. According to Klausen, Ita iram corriiens emittit. Peile, Thus having fallen, he is left to the loorkings of his oivn mind. Kennedy, Then falling so, in his indignant spirit ferae passion he con- ceives. Symmons, Thus falling, his own life he renders vp, sighing and sobbing such a mighty gush, &c. Schnei- der, So he rouses up Ids life-power, after he has fallen. The line evidently describes the struggles of the dyino- man, after he had fallen mortally wounded. Translate, Thus having fallen, he gasps out his life. 1311 - 1314. K(VA(fVGmv .... loyevfiacjiv, And panting out a sharp gush of blood, he strikes me icith the dark drop of bloody dew, rejoicing no less than the harvest f eld rejoices with beauty in the south ivind of Zeus (the south wind bringing fertilizing showers) in the birth of the fower cup ; i. e, the striking of the blood upon me was as refreshing as the warm shower is to the harvest field, when the flowers are ripening into fruit. 1317, 1318. El . . . .ovv. And if it icere a seemly thing (of seemly or befitting things) to pour libations upon the 160 AGAMEMNON. corpse^ it would he justly done, — nay, over -justly. Sym- mons renders the 2:)assage in this sense, — *' I am so full of joy, that if 't were seemly To pour libations on a corpse, I would do it : And just it were, ay, most exceeding just." The idea clearly is, that the death of Agamemnon is a just cause of rejoicing to her ; but that it would not be, seemly, though just, to make libations over his corpse. 1319, 1320. ToGarde . . . .iwlwv. Having filed the cup vnlli so many evils accursed in the house, he drinks it off himself, on his return. For a parallel passage, see Mac- beth, Act I., scene 7 : — " Even-handed justice Commends the ingredients of the poisoned chalice To our own lips." 1327, 1328. VE-/.Q0^ de . . . . e^yov. And a corpse, the work of this right hand. 1331. Tob' .... (iQCig, Hast thou placed upon thyself this sacrifice, and curses uttered by the people 7 i. e. as Peile explains it, Hast thou crowned thyself for sacrifice with the people's curses. Klausen says, " 'O^vog de statu animi Clytsemnestrse, aQa^ de exsecrationibus populi.'' Schneider explains it, " By what means hast thou taken upon thyself this wild fury, and thereby drawn upon thy- self the curses of the people ? " 1332, 1333. 'Jm'drA8g .... daroTg, Thou hast cast dotvn, thou hast cut off; and thou shalt he an exile (or outcast), a mighty hatred to the citizens. The verb aTtedixeg de- scribes the prostration of the victim before slaughtering him. Butler, cited by Peile, suggests that it may be equivalent to the av Iqveiv of Homer ; the drawing back the heads of the victims. 1336. Ovdh .... g:/oo3r. Bringing nothing of this against this man, i. e. Agamemnon. NOTES. 161 1337-1310. % .... (lr,fidro3r. Who, esteeiniiig it (the death of Iphigonia) no more than the death of a least, — though sheep abounded in fleecy focks, — sacrificed his own daughter, the dearest pang to me (the dearest of my off- spring), as a charm of the Thracian blasts (to appease the storms from Thrace sent by Artemis upon the Grecian fleet). 1343 - 1346. h)'(o .... ao/eiv. The most natural con- struction of the words seem to be, And I say to thee, — for I am alike prepared to utter such threats (such as you have just thrown out against me), — that who governs me must first have conquered me by force. The word to be supplied with ny.i^aaiTa is the subject of aoyetr, which governs t^ov. / 1348. Meycdo^riTig .... i-lay.eg, Thou art of large pur- pose and hast uttered haughty things. neQiq^ora = vmtjqQ- ova. 1349. ' fiartEQ .... eTtifiaiveTui, Thy mind raves as (ovv therefore, i. e. as was to be expected) with Uood-shedding fortune ; i. e. thy mind is maddened by the bloody deed thou hast committed. 1350. 1351. AiTiog . . . . uzierov, A clot of blood upon thy face unatoned is conspicuous. The bloody drop, in which she rejoiced, as it fell upon her from her gasping husband. 1352. Ti'fAfxa .... zioca, To pay bloic for blow, or To pay blow with blow. 1353. Kai .... d^t^nv. And thou hearest this justice of my oaths, i. e. this solemnly sanctioned affirmation of mine. " o'ox^oi' jusjurandum, 00x0^% id quod jurisjurandi auctoritatem conservat. — {fb^ig, quicquid divina auctori- tate constitutum est. Jusjurandum constituit humana volantas, confirmat divina auctoritas. Ceterum hgec OQ'Moyv &s(jug nihil est nisi sollemnis affirmatio." U* 162 AGAMEMNON. 1354 1358. Ma. . . . tixot, By the avenging justice of my daughter (i. e. by that justice which has avenged her in slaying her slayer), Ate, and Erinnys, to ichoni I slaugh- tered this man, I have no expectation to tread the house of fear, as Jong as ^gisthus kindles a fire upon my hearth, devoted as heretofore to me. — tlm^, expectation in gen- eral ; most commonly, Aojye. — ari>f/. "Sacra in sedibus fiunt a domino ; itaque his verbis futurum dominum sedi- iim ^igisthum designat regina." Kl. 1360. yvvcwAo^ zT^ade, this icoman, meamng Clytsdmnestra. herself, derAtixag. 1361. XQva)]'ido3V . . . .'DJq), the darling (literally, the sweeting) of the Chryseises at Ilium. 1364, 1365. vavziXcov .... laotQi^i'ig, the equal presser of the sailor s lenches ; a contemptuous description of Cassan- dra as the companion and concubine of Agamemnon on his homeward voyage. — atijia d' ova InQahlxriv, and they have done things not unestimated ; i. e. the acts have been noted, and the proper penalty has been affixed to them ; or, and they have not fared undeservedly ; they have re- ceived the punishment they deserved. 1368, 1369. tiioi .... iXidJjg. — " Evvi], cubitus, dictum de jacente Cassandra, quee quasi concubat cum Agamem- none, mortua pariter ac viva : yishai Cfih^rcoQ rovda .... De sepulchro cogitari nequit, quia nondum sepulta est Cassandra. Optime hsec sententia concinit cum moribus ClytaemnestrBB. Ut vivorum concubitu offendebatur, ita mortuis concubantibus Isetatur et gloriatur : evvtjg, geniti- vus rei, unde altera proficiscitur, ex hoc cuhitu auctas mihi attulit delicias IcetiticB mea^."" Kl. The sense is, that to see her lying side by side with Agamemnon in death gives me an additional luxury of enjoyment beyond what I should experience in merely having put him to death. The lyrical passage which follows is spoken partly by NOTES. 163 the chorus, and partly by Clytaemnestra. It is the fourth stasimon. The chorus bewails the death of Aijamemnoii, the madness of Helen, the origin of these calamities, and the discord of the royal house, wishing at the same time for death. Clytcemncstra throws the guilt off from her- self, and attributes these sad events to the haunting demon that pursues the race of Tantalus. This the chorus can- not deny, adding that all things finally are brought to pass by Zeus. Then in three more strophes and three anti- strophes, the lament for Agamemnon, and the reproaches against Clytaemnestra, with her answers, in four anapestic systems, are continued. 1370, 1371. r4" .... fi6).0(. A wish expressed inter- rogatively, with the optative mode and the particle dv. — (pE()Ova Iv Tjdv hringing ^upon us, with the accompanying notion to abide with us. Peile. Klausen, however, gives a different construction, "t'r i]i.uv, nom. a q)8uova' pendens, sed pertinens ad tor aisl drEXsi'Tor, sors afferens somnum eum, qui nobis semper sit infinitus.'' 1379- 1383. Ai'P .... dvmxor. Of this much disputed and perhaps incurably corrupted passage, the explanation given by Linwood seems to me the best. " The chorus is ignorantly assigning to Helen the blame of all the mis- chief that had happened ; first, as having destroyed so many souls at Troy, and lastly, [rvv dt) as having caused hy the inexpiahle murder of Agamemnon (5^' «/ju' iiviirxov) a renewal and consummation {teXeiav t7rtiv\}i6co) of that memorable succession of strife {tQig toiduurog ) which for- merly (rore) existed in the hou^e (of the Atreidae), a cause of sorrow to its present master (drdoo^' o/^is*). rf/.eiav t7tri}{yiao3 is the same as t7tr^v\}i(jco {cocis) rsleiav eirai. tTtuiOueaO^ui is as Klausen translates it, perficere ut for eat aliquid.'" Schneider translates, But now hast thou (Clytsemnestra), 164 AGAMEMNON. Jlowered for thyself (colored, stained ) a much-famed as excellent (i. e. the soul of Agamemnon) hy Hood that can- not he icashed away (inexpiable), — the strong-built strife that icas then in the house is the destruction of the man (the strife between Agamemnon and Clytsemnestra was the destruction of Agamemnon). Pcile discussing the passage at great length, translates, — " And now thou hast occasioned the shedding of a croicning, much to be remem- bered life, sc. U'vyfv ; lEleiuv denoting at once by way of finish, to crown the whole, and pointing to that precious life {dvdQog X£).£wv), without which a Grecian family was held to be but a zJo^og i]^iTth\g (Ang. half a house)."" fmg tQid^axog, he renders, strife upon strife ; contention raised by contention. 1391, 1392. KQckog .... 'AQarvvug, literally, And strengthenest an equal-souled might on the part of women, heart-stinging to me ; that is, the demon of the house ex- hibits on the part of the women, Clytsemnestra and Helen, a strength and audacity in crime equal to that displayed of old by the men of the race ; by Tantalus and Atreus. 1393. oco^arog, the body ; i. e. of the murdered Aga- memnon. 1394. txro^cog, lawlessly, or inharmoniously , like the hoarse croaking of a raven. 1400. Ndcta TQi'cpeTai is nourished in the inner parts, i. e. of those w'ho belong to the race of Tantalus. The pas- sion for blood is deeply implanted in the race. 1403. alrsrg, " you speak of, a sense which properly be- longs only to the radical verb al'vco, I say ; whence ahog, a speech, narration, or meritiony Peile. 1413. xoiTuv. This accusative depends on xsTaaiy v. 1411. 1417. Mrj 5' Imlziy^lg, Do not consider^ do not make your account that. NOTKS. 165 1419 - 1423. (jHu'T(f.'Z(>im-og .... t7TiOv6u^\ But the an- cient, bitter, unf or getting demon of Atreus, the cruel feaster, likening himselj to the icifc of this slain man, hath paid him, having sacrificed one full-groicn to the young ; i.e. has punished him, a man, by sacrificing him in retribution for the murder of Thyestes's children. Words of opposite meaning are often placed together like Ttlsov veaQoT^: This, indeed, is one of the most frequent artifices of the tragic style. 1426. J7co, Tta. Schneidewin says, jEschylus has adopted this form from the Sicilian Doric, which forms the adverbs [unde ?) in oj, an old dative. 1427- 1429. BiaLetai .... naob^zi. The general sense seems to be, that the dark spirit of vengeance and destruc- tion, in the family of Atreus, goes on from bloodshed to bloodshed, exulting in the crimes that have followed and are to follow in the train of the children's murder. Translate, literally. And black Ares is rampant in kindred streams of blood ; and whithersoever still (even '/.ai) ad- vancing, he icill give a passage to the gore of the devoured children (will cause more and more blood to be poured out in atonement for the children's blood). 1440. do).iav dxr^v, a treacherous icoe ; a woe inflicted upon his household by the false pretences through which Agamemnon drew his daughter to the Grecian camp ; i. e. the pretext of a marriage with Achilles, as Euripides has embodied the legend in his Iphigenia in Aulis. 1444. "^ha .... Tzdaymv, Having done worthy things, now suffering worthy things ; i. e. having sacrificed Iphi- genia, a deed worthy of death, and now suffering death, a punishment deserved for his deed. 1447. Qaidrcp . . .i](>^sr. Having paid by his death for what he first did. 1449. Evrcdlafiov ^eQijirca'. Constructed with d^irfiava^ 166 AGAMEMNON. I am at a loss for a ready thought ; i. e. I am so confound- ed by what has happened that I cannot easily make out which way to turn myself. 1453, 1454. /Jixtjv .' . . . Moioa^ And Fate is ichetting Justice for another business of harm, i. e. Fate is sharpen- ing the sword of just vengeance on other whetstones for another blow ; — alluding to the return of Orestes, and the vengeance to be by him inflicted. 1456. r6v8\ this one, i. e Agamemnon. 1459. x68' has^in apposition with it dno'/.oi-Avoai \pv'/r]v. 1461-1463. ayciniv . . . . tTZVAodvai, to render unjustly an unwelcome service of love for (as an atonement for) guilty deeds; i. e. to bestow the last rites — a service of love to be performed by those who are nearest and dear- est, which, coming from Clyta3mnestra, the murderess, must be odious — upon Agamemnon, as if that could atone for the violent deeds (fxeydXcov eQymv, " facta quie justos fines excedunt.*' KL). 1464-1466. T4' .... 7top/j6£i ; " alvog laTtrcov tit' dvdQi, laus viro injiciens telum dicti, ro^n'fia vel ^tlog Intav, so- lita metaphora. Omissum est id quod conjicitur, ut quod facile subaudiatur."' Kl. Translate, What funeral praise (or discourse), pointing with tears at the godlike man, shall mourn in truth of soul ? The funeral oration put for the person who pronounces it. 1469- 1475. ncu .... qilijasi, and we will bury him, not amidst the wails of those from the house, but Iphigenia, his daughter, joyfully meeting her father, as should be, at the swift-f owing passage of sorrows, throwing her arms about him shall kiss him. ;rooi>^ui'^u' dyjcov is the Acheron. The bitterness of this terrible scoffiing heightens the effect of the poet's delineation of the character. It is in unrelent- ing consistency with her deeply seated hate and long cherished purpose of revenge. NOTES. 1G7 1476-1482. The language of the chorus is general; but has, at the same time, a special bearing upon the retribution of Agamemnon. Reproach comes from re- proach ; some power destroys the destroyer ; the killer expiates his deed ; it is a fixed law of Zeus, that the guilty- must suffer ; who can expel from the house the accursed line, the succession of guilt and punishment ? a race (the race of the Tantalidse), thus involved, is stuck fast to woe. — /JvGnaya 5' lax) 'Aohai. Peile translates (agreeing substantially with Schneider and Klausen), And it is dif- Jicult. to decide between the two cases. But does not dva^ia'/^a allude to the wretchedness of the strife, as w-ell as the difficulty of deciding ? and may we not translate, They are wretchedly -fighting things to judge ahout ; i. e. the strife between Clytsemnestra and Agamemnon is a woful one to judge? — (Dt'oei qwovT. The subject is to be supplied." *' There is that d^poileth a man laden with spoil.'' Peile. — x}t6^uov belongs to yovuv, an ordained brood oj offspring. 1483, 1484. ^E-; . . . .ym]6^6v. Thou hast entered with truth into this oracle. Thou hast hit the meaning of it. 1484-1487. lyM .... oVO', And I accordingly wish^ having made a sworn treaty {oqhov^' refers to the ancient mode of ratifying a treaty by an interchange of oaths be- tween the parties) ivith the demon of the Pleisthenidce (so called from Pleisthenes, one of the ancestors of the race), to he content with these, though hard to hear. Her ven- geance being now satisfied, she desires a truce w-ith mur- der, and is willing to content herself with the past, though in it many things are hard to bear. — iovt agrees with dvTOv understood, referring to dai'tAOvi, that he. going, &c. 1491. ndv oujtoyor^ fiot, It is quite enough for me. The passage from v. 1493 is called technically the Exo- dus, or Exode. ^Ilgisthus, for the first time, appears upon IGS AGAMEMNOX. the stage, exulting in the murder of Agamemnon. The chorus threatens him with the wrath of the people, and reproaches him with the cowardly manner in which he had accomplished his murderous purpose. ^5i^gisthus is re- strained by Clytaemnestra from punishing the chorus for its boldness of speech. 1497. cfilag t^oc^ delightfully to me. 1498. XeQog .... ^irj'iavag. Expiating the devices of the paternal hand ; paying the penalty of his father's violent deeds. 1500. cog rooojg rfomai, to sjjeak exactly. 1501. d^icpileyaog mv yiodtu, being disputed in power; holding power by a disputed title. 1506- 1509. h'j'ia .... xofcor, and his father Atreus, accursed of the gods, hy icay of hospitality, with more eagerness than friendship, seeming joyously to keep a day of flesh feasting, set before my father a banquet of his children's flesh. — 'AoeovQyov i]fiaQ. "• Die in quo carnis multitudo est paranda, idem fere quod ^ov&vtov r^iaQ Ch. 261." Klausen. 1510- 1512. Tci .... d(J7]{ia, He concealed the extremi- ties — placing them apart — so as to be unrecognized by the guests, sitting man by man. This view of the meaning of a much disputed passage, is in accordance with the Homeric custom of feasting — the guests sitting, each at a separate table. 1515. duTtiTttei. .... tjMooy, he falls bark from the slaughter (from the banquet of murder) vomiting. 1516-1518. MoQOv .... yt'vog, and he imprecates upon the PelojndcE an intolerable fate, making the desecration of the feast, with equal justice, a curse — that thus should perish the whole race of Pleisthenes. 1524. d^vQalog (oy, being abroad. 1528. v^oi^Eiv tv 'Aa'Aolaiv, to be insolent in evils; to ex- ult and triumph in the crimes that one has committed. NOTES. 169 1533, 1534. 2^v . . . . dooOi' ; Do you say this, sitting on the Jo ice?' bench, when those command the ship who are upon the upjier bench ? In the arrangement of the trireme, the zugitcB (o/ tni ^vyo) apparently) were those who sat upon the middle bench ; the lowest were thalamita>, and the highest thranitce. Blomfield, applying this to the present passage, says, " Erant igitur senes Oahifiioi, ^Egisthus et Clytsemnestra, ^vyhai, Agamemnon {>nuvixrig." I am in- clined to think that the parallel is not so nicely observed here, and that rcop tm Lvyo) is used in a general way for those who are above the common rowers in the ship ot state, or, as Schneider explains it, those who sit at the helm. 1535, 1536. Prolan .... eior^^m'ov. The participle is nom. absolute, being impersonal ; it being hidden. Tran- late. Thou shalt know, being old, how hard it is for one of such an age to be taught, it being bidden him to be wise. The meaning of the threat is. Thou shalt know in thine old age how bitter a thing it is to learn wisdom by suffer- ing at another's command. 1538, 1539. (fosiwv lUTooiiccvrEig, inspired physicians of the mind. 1541 - 1543. rvvca .... fiooov ; There is a break in the construction here. The chorus turns in agitation to Cly- tsemnestra, and in the disturbance of the moment begins to ask a question in a general form, and ends by limiting it to the murder of Aoramemnon, chansrinor the case also from the accusative with some word intended to be uttered, to a construction with the dative. O woman, hast thou, staying at home, — those just returned from the fight, — dishonoring thy husband's bed at the same time, — hast thou deinsed this murder against the chieftain ? 1546-1548. '0 ph' . . . . u^ct. The contrast between Orpheus and the chorus is, that he captured all things by 15 170 AGAMEMNON. his dulcet strain ; but the chorus \vill get itself captured by its foolish barkings ; opposite means and opposite re- sults. Translate, then, For he led all things by the de- lights of Ids strain ; hut thou having irritated all hy thy Jeeble barkings shalt thyself he led aicny. 1549. X^s" dtj Gv, As if you, forsooth! An expression of contempt for the haughtiness of ^Egisthus. 1555- 1557. TOP .... TtoJXov, and him who is not obedi- ent I will yoke with heary eollars {^nioeua^ agrees with LevyXca,', or some such word, understood), — not in any way to be a rampant colt in harness. The force of the expression is explained by the ancient mode of harnessing horses to the chariots ; — those at the pole had the hard- est part of the burden ; those attached to the side, and abreast with the pole-horses, the oeioaqofjoi^ were less M'orked. 1561. liiaafAU. " Athenis lege cautum erat, ne publica templa ingrederetur adaltera. (Demos. Neaer., p. 174.) Cui crimini in Clytsemnestra accedebat scelus csedis." Kl. 1566. qi/.oi )M)[hai, friends and comrades. jEgisthus, calls for his armed attendants. 1569. Je/o^it'i'oig . . . . «(V>oi'|M£i>«. The chorus takes up the word \}ar£h> in the speech of .Egisthus as an ominous expression. You speak of your dying to those who take the omen ; and we accept the fortune. 1573, 1574. ^rsi/E .... tn8dhip]v. Clytcemnestra has interposed to prevent bloodshed. She has spoken to -^_w_w 134. 135. 1 ^ 136. ^ 137. JL ^ _ J^ ^ _ . 138. 139. 140. J Lww— w_ 141. 142. 143. J ^,, .^JLw. ^ J. ^ ^ w«^.^.i-J^^i._^>^ 144. 145. . 1 . . ^ ■ 146. METRES. 175 Strophe 147— 152 = Antistrophe 153 147. — 158. ■1. X 1 • _ 148. 149. _L ^ ::::^ ^ _ ^ _ 150. j_^_^_^ L^_ 151. 152. Strophe 159 — 165 = Antistrophe 1 66 159. J. w _ w _ >^ 160. -L w _ ^ _ w 161. j_ ^ _ 162. ^ 1 163. J.^ _ _ ^ ^ L^_ 164. -L w _ ^ 165. w_L — JL^ __, _^ _ Strophe 173 — 184 = Antistroj^he 185 173. ^_L^ L ^ ^ ^ _ ^ 174. ^ J_ ^ Lw_^_^ 175. ^_L^ L<_ L^_^ 176. ^j Ls^_,^ 177. ^_L^ Lw_. w__ 178. ^ J. ^ j^ , 179. _L ^ . v^ _ ^ 180. -L w ^ _ w _ ^ 181. J_ ^ ^ ^ ^ __ 182. J, ^ ^,*_» 183. J_ ^ ^ ^^» 184. -L^ ^ ^ ^ Strophe 197 — 205 = Antistrophe 205 197. — 172. = 196. 214. 176 AGAMEMNON. 198. ^_L„_J.^_^_^ 199. ^-L^c:^^ 200. _ ' ^ ' ^ 201. ^_L L ^ 202. ^j-^c:^^- 203. ' ^ ^ ' ^ ^ 204. ' ^ ^ ^ ^ ' ^ ^ . Strophe 215 —223 — Antistrophe 224 215. ^ ±. L, ^ _ — 232. 216. ^ J., L^ -^ _^ 217. ^ 1 ^ 1 ^ 1 ^ s.'^^ 219. ^ -1^ __L^ - 220. ^J. L^_^__ 221. ^±. L^__^_«^_ 222. ^_L^__L^_^_ 223. ^_L^^_. First Epeisodion". 233 — 329 Iambic Trim. Acat. Chorus. Second Stasimon. 330 zz: 341 Anapsestic systems. Strophe 342, 356 = Antistrophe 357 — 371. 342. ^-l_J. 343. ^-L^J. 344. ^-L = 345 L L 346. ^ J. L ^ - 847 L ^ L ^ _ METRES. 177 848. ^ J L w — 349. ^ J i_ ^ — 350. ^ J [_ ^ _ ^ 351. ^ -I !_ ^ w 352. ^ _L / _ J. ^ _ .^ _- c 353. -L ^^ ,_, ^^ . _ s_^ 354. ^:^ -L w ^ — — 355. ii^-L _ ^ — ^ 356. ±^.L - - — ^ ■ _-_L _ ^ _ w Strophe 372 O *70 • ■ — 386 = Antistrophe 387 o72. ^ _ 373. ^ _ X _ 1 ^ i_ ^ 374. ^_ ~_ ^_ s^ _ >^ .^ __ 375. ^ _ i_ ^ cTTi ^ - 376. ^ _ 377 378. ^_ 879. ^_ 380. ^ _ 381. __ _ ^ (_ 1 w _ w - - 1 ) 1 w _ 382. ^ __ ( 383. _L. L , .^ .^^ _ 384. _L_J . ^ w 385. J-^J . ^ >^ — >^ 386. Strop JL ^ _ __^ L ^ >^ . he 402 417 = r Antistrophe 418 402 ^ _L w — 403. 404. - 405. ^ J. ^ _ J- s_ — 406. — 407. _ — 401. 433. 178 AGAMEMNON. 408. J. w _ w _ - _ 409. ^ J.^_^_^_^_L, ^_^_ 410. ^ _£.^_^J L^>^_^_w_ 411. j_^^_^_____ 412. 413. _L ^ ^ _ ^ 414. ^ L ^ _ _ ^ 415. ^ L__ - 416. ± L^^_^- J-^^_^ Epodos 434 — 446. 434. ^ j_ ^ L ^ _ 435. ^ j_ ^ L ^ _ 436. 487. ^ JL w _ s^ _ ^ _ 438. ^ 439. ^ 440. ^ 441 j_ ^ L w _ 1 ) ^_L_Lw_^_^_ 442. ^ 443. ^ 444. ^ j_ ^ L w _ f 1 1 _ 445. ^ 1 446. ^ _(_^ Lw_w_w_ Second Epeisodion. 447 — 638 Iambic Trim. Acat. Chorus. Third Stasimon. Strophe 639. _L^ _ 639 — 651 = Antistrophe 652 640. J. ^ ^ 641. J. ^ _ ^ _ ^ [_^ L^_^_ w >_ — 664. METRES. 179 642. ±^ 643. ^ 644. 645. ^ 646. ^ 647. ^ 648. 649. 650. _ 651. J i_ J (_ [_ I Strophe 665 — 573 = Antistrophe 674 665. ^ J- -L ^ 666. ^J.^^ ^ 667. ^ J. ^ _L ^ ^ _ ^ 668. _L ^ . 668. _l^^_^ ^ 670. J.. ^ . 671. ^^ ^_ 672. ^^ 673. J. L ,_L^. 682. Strophe 683 — 692 = Antistrophe 693 — 702. 683. ^_L. L^_^_^ 684. ^_L_L^ L 685. ^ J- 686. 687. J. 688. "^^-L ^J-^J- 689. . L_^^ ( ) 690. 691. 692. J- w -L / I 180 AGAMEMXOX. Strophe 703 — 708 = Antistrophe 709 — 713. 703. ^_L L, , 704. _L^_^_^ 705. ^ ±^ :^^ . . - ^ ±^^^ - ^ - 707. ^ Tl _ J-^T-^ 708. -L^. 714 — 741. Anapaestic systems. Third Epeisodion. 742 — 906. Iambic Trim. Acat. Chorus. Fourth Stasimon. Strophe 707 — 717 = Antistrophe 918 — 928. 907. 908. 909. 910. 911. 912. 913. J.^ _L^ ^ _ 914. ^± 915. ^ J- 916. _L^ _L^ 917. J-^ Strophe 929 — 943 z=z Antistrophe 944 — 958. 929. ^J-^-i--^::r_Lj;^^_ 93). ^^_L__^^_L^^_ 931. ^ ^ ± , METRES. 932. 933. 934. _Lw^_v^^_^_ — 935. 936. 937. 938. 939. 940. 941. 942. 943. 181 Fourth Epeisodion". 959 — 995. Iambic Trim. Acat. KOMMOS. Strophe 996, 997 = Antistrophe 1000, 1001. 996. ^i:^^ -Ik -i- 997 L^llj.^ Strophe 1003 — 1006 =: Antistrophe 1009 — 1011. 1004. ^ JL^II^ _L^ 1005. ^ J.±. 1006. ^.L. Strophe 1015 — 1017 =r Antistrophe 1020 — 1022. 1015. _:^_L^ __^_L^ _ 1016. - c^ ^ C^^ _ ^ _ 1017. _-l^ _ ^-L^ _ :=:_L^ _ Strophe 1025 — 1029 = Antistrophe 1032 — 1036. 1025. ^ ±^ ^^ ^^±^ _ 1026. 16 182 AGAMEMNON. 1027. :3_L ^_L^ L^ 1028. ^ _L_L^ _ ^ 1029. ^ ±±. c::^:^w_ Strophe 1039 — 1043 = Antistrophe 1050 — 1054. 1039. ^_L^_^_^^J.^_ 1040 L - 1041 L^_^_^_^_^_ 1042. ^J.^_^_:-^_Lc;_ 1043. ^C^J- ^ - Chorus 1044 — 1049 z= Chorus 1055 — 1060. 1044. _-L L^_^J.^_ 1045. :r_L ^_L. L^_ 1046. ^c::^±^-^c:^l--^- 1047. ^±-L. L_L^_ 1048. ^^±^^.±. 1049. ^ J- ^ _ Strophe 1061 — 1064 r= Antistrophe 1070 — 1073. 1061. ^-L^ J-^^_^_ 1003 L^_^J-^_^J_^_ 1064 L. L^_c^J.^_ Chorus 1065 — 1069 = Chorus 1074 — 1078. 1065. ^c:^_L^_^c^-l^_^J.-L^- 1066. ^^c::i_^_iL_ 1067. ^ i^-L^ L^_-L^- 1068. ^ c:::±. c::^±^ ^ 1C69. ^ J._ ^ _ Strophe 1079 — 1083 = Antistrophe 1089 = 1093. METRES. 183 1080. ^_L^_y>^_L^_ 1081. ^ ^_L^ L(_ c::; j-^ 1082. ^J.^_-JL L 1083. -J.^-^±^--± Chorus 1084 — 1088 = Chorus 1094 — 1038. 1084. ^ -^-^ 1085. ^ J. ^ _- -i.^ _ 10^6. ^_L L^_-1-_L^_ 1087. ^-L_L -_i-^^C^^_ 1088. _ i::^ ^^ _ 1099 — 1251. Iambic Trim. Acat. Chorus. 1252 — 1264. Anapaestic systems. 1265, 1267. Iambic Trim. Acat. 1266, 1268, 1269. Trochaic Tetram. Acat. 1270, 1328. Iambic Trim. Acat. Stropbe 1029 — 1033 = Antistropbe 1348 — 1352. 1329. .i-j- cpc:,^^ 1331. 1332. 1333. _L^_L^^__ 1334 — 1347. Iambic Trim. Acat. 1353 — 1369. Iambic Trim. Acat. Chorus. Strophe 1370 — 1383 zn Antistrophe 1890 — 1395. 1370. ±^ ^ -■ L^ ^ - 1 ^ ±^ ^ - — s _L 184 AGAMEMNON. 1371. 1372. 1373. 1374. 1375. 1376. 1377. 1378. 1379. 1380. 1381. 1382. 1383. f I _[_ ^ i_ I [_ Anapaests 1384 — 1389 = Anapgets 1396 — 1401. Strophe 1402 — 1407 = Antistrophe 1424 — 1429. 1402. ±^. ^ 1403. J- ^ ^ — . w ^ — . ^ 1404. _ — W N^ — . ^, _ . - ^ _L ^ ^ . 1405. ^ _L w s_ , ^ _ . w _L w _ w _ <^ _ 1406. ^ 1 1407.3 J L w y_ _ ^ _ - Strophe 1408 — .1412 =. Antistrophe 1430- - 1434. 1408. I ( 1409. 1 __ 1410. ^ 1 1411. I 1412. ^ >_ _L .^ s. , _ w w Strophe 1413 - -1415 = Antistrophe 1435- -1437 1413. _L r ; i METRES. 186 1414. L^_^_ 1415. _L Anapoests 1416 — 1423. Anapaests 1438 — 1447. Strophe 1448 — 1454 = Antistrophe 1476 — 1482. 1448. ^ J.^ _ 1449. 1450. ^ _L^ _ 1451. ^_L. L^_, 1452. ^ _L^ _ 1453. ^_L^ L L^_ 1454. ^J.__L, Anapaests 1445 — 1463. 1464. -L^-^_^, 1465. ^__L^, 1466. ^-L__^^_^ Anapaests 1467 — 1475. Anapaests 1483 — 1492. EXODOS. 1493 — 1564. Iambic Trim. Acat. 1565 — 1589. Trochaic Tetram. 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