94 Q QtHsJlMrO 4 ♦ r *' I ί .( IPHIGENIA, From a wall-painting at Pompeii. LOWER LIBRARY •kOSTojr f /ΐΓτ cheSut & ,?S ICS}Ra jojuTN Ττηπ fr 7 - 4 4 c * COLLEGE SERIES OF GREEK AUTHORS L 1 HI‘LL, MASS EDITED UNDER THE SUPERVISION OP JOHN WILLIAMS WHITE and THOMAS D. SEYMOUR. EURIPIDES f BOSTON COLLEGE LIBRARY CHESTNUT HILL. MASS. IPHIGENIA AMONG THE TAURIANS EDITED BY ISAAC FLAGG i'p-im κατάντη? συμφορά irpos τάγαθά PUBLISHED BY GINN & COMPANY 1891 Pfi 'ym ,rt Entered at Stationers’ Hale. Copyright, 1889, by John Williams White and Thomas I)= Seymour. All Rights Reserved. Typography by J. S. Cushing & Co., Boston, U.S.A. Presswork'by Ginn & Co., Boston, U.S.A. το MY FRIEND AND FORMER COLLEAGUE Eracg 3|rck YALE UNIVERSITY SYNOPSIS OF THE INTRODUCTION. Age and Celebrity of the Play. Iphigenia Tciurica and Iphigenia Aulidensis — The Tauric situation a hit of Euripides — Dramatized by other playwrights, Greek and Roman — Depicted upon gems, amphorae, sarcophagi, etc. — The most faultless Euripidean tragedy. The Legend and its Growth. Argument of the play of Euripides — Growth of the legend partly literary, partly popular — Its form in Homer — In lyric poetry — Pindar —In tragedy — Local myths in the Attic drama—Euripides modifies the tradition of Orestes’ sojourn at Athens — Attic cults the nucleus of the play — Halae and Brauron — The dramatic representation brought home to the spectator — A mytho¬ logical tangle. Plot and Scenic Adjustment. The plot not simple, but complicated — avayvcapiais and Trepnrereta — Sus¬ pense — Irony — Both effects present early in the play — Intensified as the action proceeds — The spectator at an advantage as regards all the draviatis personae — Method of the avayvtiptats — Seats and Xvats — Irony of equivoke — Stage requirements — Distribution of the parts — Entrances and exits. Artistic Structure. Critical theories won by induction from Greek models — Instructiveness of Euripides’ irregularities — Euripidean prologue — dens ex machina — A double interference — Three motives for the celestial intervention — Apollo’s oracles not fulfilled through human deceit — Sympathy for the chorus as persons — Gratification of local.sentiment — Epic element — The prjats ayy eXiK -η — Con¬ spicuous in Euripides — Messenger for both Seats and Xvats — First narration — Artistic advantage of the narrative form — Second narration — Ancient spectators not ‘ closet critics ’ — Function of the chorus in tragedy — Atten¬ uated in Euripides — Chorus of captives — Pertinence of the several choral performances — The parodos — The stasima — Second comraos, etc. Metres and Technique. Abruptness of the learner’s step from epos to drama — Greek drama a musical performance — The accompanying music has been lost — Wholesome curbs to poetic genius — Iambic trimeter — Relaxed severity of its form — After about 420 b.c. — Trochaic tetrameter — Revived by Euripides — Ethos of the trochaic rhythm — ανπΧαβαί — στιχομυθία — Enlarged in scope by Euripides — The anapaestic system — eir -η and μέλη — Distinguished by the dialect — Free anapaests — Parodos — Prelude to the dirge — Prosodiac and paroemiac verses — Commos (dprjvos) — Logaoedic strophes — Variety and flexibility of the logaoedic rhythm — First stasimon, metrical scheme — Sec¬ ond stasimon, metrical scheme — Third stasimon, metrical scheme — Docli- miaes — The characteristic tragic measure — Second commos, metrical scheme — Scene of recognition (μέχ os airb aKvvrjs'), metrical scheme. INTRODUCTION. Λακ and Celebrity of the Play. Euripides’ Ipliigenia among the Taurians is certainly one of the poet’s later works, although the year of its representa- /phigenia tion is unknown. A quotation in the Frogs of Aristo- Taurica and phanes 1 shows that it preceded the Iphiqenia at Aulis. Iphlgenia which was first brought out after the author’s death by his son, the younger Euripides. The earlier play is thus the dram¬ atization of a passage in the legendary history subsequent to that which forms the theme of the later play. This order of composi¬ tion might be inferred from the treatment of the subject in the two dramas severally considered. To make the heroine resign herself as a voluntary sacrifice for Hellas, as is done in the scene at Aulis, was an afterthought of Euripides. Had this idea been already presented to the public, the poet would hardly have reverted to the traditional conception of the event, which is preserved in the Tauric play — where the daughter of Agamemnon, ministering in a sav¬ age land to the goddess who has spirited her away out of the hands of her slayers, deplores, with grave reproach upon her father’s name, the cruel destiny that reared her as a victim to the sacrificial knife. 1 Euripides. 1232 Π e\o\p ό Ταντάλειος fls Πίΐ σαν μόλων θοαίσιν h t-kols Aeschylus. λ ηκΰθίον απώλ^σΐν. The Frogs was represented 40o n.c., the year after the death of Euripides, but the quotation implies an acquaintance with the tragedy on the part of the Athenian public, and shows that it must have been brought out during the life of the poet. Some conjectures that have been made as to the year of repre¬ sentation are mentioned in foot-note 31. 4 INTRODUCTION. It was a moment of the happiest inspiration, when Euripides m . was led so to combine the offshoots of the legend as to I he 1 auric ° situation a bring Orestes and Pylades into the presence of Iphi- hit of Eun- genia, to be sacrificed under her auspices at the altar of pides. the Taurian Artemis. The world could not be slow to applaud the singular felicity of the dramatic situation thus pro¬ duced and the masterly skill with which it was portrayed. The subject became a favorite in literature and in graphic art, and maintained a lasting popularity. The Pyladea amicitia was an ineffaceable type. One Polyidus, 4 the sophist,’ is named b} T Aris¬ totle as the author of an Ipliigenia in which the recognition between brother and sister was cleverly brought about. Even Dr&iniitized - by other the aged Sophocles, it would appear, deigned to be a fol- play wrights, lower with a tragedy entitled Chryses — a sort of sequel Greek and Roman. to the adventures of the three friends fleeing from the Taurian land ; depicting once more the generous rivalry of the two cousins in the face of impending death at the hands of King Thoas, who had overtaken them in Chryses’ realm. The Sophoclean work furnished a model to Pacuvius, whose version (as Cicero relates) won vociferous applause in the theatre at Rome . 2 Numerous antique pictorial designs taken from this theme are Depicted still in existence, the most of them in accord with the upon gems, drama of Euripides. The subject appears to have been amphorae, sarcophagi, esteemed for the decoration of sarcophagi, whose ex- etc · tended reliefs could depict the successive stages of the - Laelius. qui clam ores tota cavea n u p e r in hospitis et amici mei M. Pacuvii nova fabula! cum ignorante rege uter esset Orestes, Pylades Orestem se esse diceret, ut proillo necaretur, Orestes autem, ita ut erat, Orestem se esse perse- veraret Cic. De amicitia vii. 24. qui clam ores vulgi atque imperitorum excitantur in the- atris, quum ilia dicuntur: Ego sum Orestes, contraque ab altero: Immo enimvero ego sum, inquam, Orestes! cum autem etiam exitus abutroque datur conturbato e r - rantique regi: Ambo ergo una ne carter precamur, quotiens hoc agitur, ecquandone nisi admirationibus maxi mis? id. De finibus V. xxii. 63. — See also ib. II. xxiv. 70. CELEBRITY OF THE PLAY . event, from the frenzy of Orestes at the shore to the embarkation with the priestess and the idol. Vase-paintings show selected moments, notably that when Ipliigenia delivers her letter into the hands of Pylades. Upon a cameo preserved at Florence, the three are seen in an attitude of repose near the altar. A Pompeian wall-painting of exquisite grace and dignity represents them at the close of their undertaking —Orestes and Pylades armed with sword and spear on either side of Ipliigenia, who bears the effigy of the goddess . 3 4 Negatively considered, the Tauric Ipliigenia is the most fault¬ less of Euripides’ extant tragedies. There remains not lhe most another one that is marred by so few of those grave lapses faultless from dramatic propriety and universal good taste to Euripidean tragedy. which the poet’s mind was subject. It lias the rare merit of a complete and effective harmony of the parts, and the portraiture is remarkable for a wholesome consistency and balance, together with a pervading suggestion of reserved power. In truth the pla}’ is by all means one of the most charming of dramas, and especialh’ well fitted, with its spirited adventure, thrilling sus¬ pense, and delightful happy ending, to captivate the minds of young and ingenuous readers. The clever Ipliigenia is not soon forgotten, nor the noble friendship of the^outhful pair — qui duo corporibus , mentibns unus erant A And not only are the persons 3 Convenient references for investigating this interesting branch of the subject may be found in Kinkel Euripides und die bildende Kunst , and Vogel Scenen Euripideischer Tragoedien in griecliischen Vasengemdlden. 4 The site of the Taurian temple is the modern Balaclava of warlike renown in the Crimea. Thence westward, also on the coast of the Euxine, was Tomi, the modern Kustendji, where the Roman poet Ovid ended his days in melan¬ choly exile. Twice in the poems there written he relates the story of Orestes, with his usual felicity of expression, and for the most part closely following Euripides. nec procul a nobis locus est, ubi Taurica dira caede pharetratae spargitur ara deae. 65 haec prius, ut memorant, non invidiosa nefandis nec cupienda bonis regna Thoantis erant. hie pro supposita virgo Pelopei'a cerva sacra deae coluit qualiacumque suae, quo postquam, dubium, pius an sceleratus, Orestes 70 exactus furiis venerat ipse suis, c INTRODUCTION. winsome, but the scenes in which they move are touched with the romantic picturesqueness that adorns Euripidean song. Every¬ where we catch the fragrance of the salt spray of the ocean. In the foreground lies the weird and barren shore of the 4 Inhospi- et comes exemplum veri Plioeeus amoris, qui duo corporibus, mentibus unus erant, protinus evincti tristem ducuntur ad aram, quae stabat gemiuas ante cruenta fores. 75 nec tamen hunc sua mors, nec mors sua terruit ilium; alter ab alterius funere maestus erat. et iam constiterat stricto mucrone sacerdos·, cinxerat et Graias barbara vitta comas, cum vice sermonis fratrem cognovit, et illi 80 pro nece complexus Ipliigenia dedit. laeta deae signum, crudelia sacra perosae, transtulit ex illis in meliora locis. Tristia iv. 4. The following passage is the supposed narrative of an old man of Scythia: nos quoque amicitiae nomen, bone, novimus, hospes, quos procul a vobis ultimus orbis habet. 45 est locus in Scythia, — Tauros dixere priores, — qui Getica longe non ita distat humo. liac ego sum terra (patriae nec paenitet) ortus: consortem Phoebi gens colit ilia deam. templa manent liodie vastis innixa columnis, 50 perque quater denos itur in ilia gradus. fama refert illic signum caeleste fuisse: quoque minu^dubites, stat basis orba dea: araque quae fuerat natura Candida saxi, decolor adfuso tincta cruore rubet. 55 femina sacra facit taedae non nota iugali, quae superat Scythicas nobilitate nurus, sacrifici genus est, — sic instituere priores, — advena virgineo caesus ut ense cadat. regna Thoans liabuit Maeotide clarus in ora, GO nec fuit Euxinis notior alter aquis. sceptra tenente illo liquidas fecisse per auras nescio quam dicunt Iphigenian iter, quam levibus ventis sub nube per aera vectam creditur his Phoebe deposuisse locis. 65 praefuerat templo multos ea rite per annos, invita peragens tristia sacra manu: cum duo velifera iuvenes venere carina, presseruntque suo litora nostra pede. par fuit his aetas et amor, quorum alter Orestes, 70 alter erat Pylades. nomina fama tenet. protinus inmitem Triviae ducuntur ad aram, evincti geminas ad sua terga manus. spargit aqua captos lustrali Graia sacerdos, ambiat ut fulvas infula longa comas. THE LEGEND. 7 table Sea,’ but the radiant distance behind its waves is never lost to sight. There shine the ‘ city towers of equestrian Hellas,’ the ‘ fair waters of the Eurotas green with reeds,’ the ‘ many-folded glens of Pliocis,’ dear to the huntsman and his dogs. Thither the yearning voices of exile and captive are breathed forth, thither at last the heaven-sped vessel turns her prow, and Pan’s music is in the piping breeze that wafts her homeward through the ‘ dark blue Symplegades .’ 5 The Legend and its Growth. Orestes, the son of Agamemnon and Clytaemnestra, saved by friendly hands at the time of his father’s murder , 6 and Argument harbored until his majority at the home of his cousin of the play Pvlades, the son of Strophius the Phocian, had slain his °* ΕπΓ *Ρ^ θ8, 75 dumque parat sacrum, dum velat tempora vittis, dum tardae causas invenit ipsa morae, ‘non ego crudelis, iuvenes. ignoscite! ’ dixit ‘ sacra suo facio barbariora loco, ritus is est gentis. qua vos tamen urbe venitis ? 80 quove parum fausta puppe petistis iter? ’ dixit, et audito patriae pia nomine virgo consortes urbis comperit esse suae. ‘ alteruter votis ’ inquit ‘ cadat hostia sacris: ad patrias sedes nuntius alter eat.’ 85 ire iubet Pylades carum periturus Oresten : hie negat. inque vicem pugnat uterque mori. extitit hoc unum, quod non couvenerit illis: cetera par concors et sine lite fuit. dum peragunt pulcliri iuvenes eertamen amoris, 90 ad fratrem scriptas exarat ilia notas. ad fratrem mandata dabat. cuique ilia dabantur (humanos casus aspice !) frater erat. nec mora. de templo rapiunt simulacra Dianae, clamque per inmensas puppe feruntur aquas. 95 mirus amor iuyenum, quamvis abiere tot anni, in Scythia magnum nunc quoque nomen liabet. Ex Ponto iii. 2. 6 Once familiar with the antique play, the student will find himself pre¬ pared to relish perfectly the fine contrast served up by Goethe in his Iphigenie auf Tauris, and will be enabled to estimate for himself the exact degree of spiritual amelioration that three children of nature can take on in three thou¬ sand years of development. 6 According to Pindar the boy was rescued by his nurse, see foot-note 7 . In Aeschylus Ag. 877 ff. Clytaemnestra herself sends him away before his 8 INTRODUCTION. mother in obedience to an oracle of Apollo. Pursued by the Furies in consequence of this deed, a second oracle had directed him to Athens to be tried before the court of the Areopagus. Though acquitted by a tie vote, Orestes is still pursued by those Furies who do not acquiesce in the decision of the tribunal, and for the third time has recourse to the Delphian god. By a third oracle he is bidden to convey to Attica from the land of the Taurians the image of Artemis worshipped there, with the promise that his suf¬ ferings shall then cease. The priestess of the Taurian Artemis, unwillingly in charge of the human sacrifices offered at her shrine, is Orestes’ sister Iphigenia, whom the world believed slain by her father as he set sail for Troy — ignorant of her miraculous deliv¬ erance by the goddess to whom she was devoted as a victim. Orestes and Pylades, arriving at the Taurian land in furtherance of their mission, are captured by the inhabitants, and in accord¬ ance with the barbaric custom are consigned as victims to the priestess of the temple. Orestes is saved from sacrifice at his sis¬ ter’s hands by a timely discovery of their relationship, and together the three friends concert a plan of escaping to Hellas with the divine image. father’s return from Troy. In the Electra of Sophocles he is saved by an old and trusty serving-man with Electra’s aid, and similarly in Euripides’ Electra. In the present play naturally nothing is said on this point, but Iphigenia speaks of her brother as an infant in arms at the time of her leaving home for Aulis. The name of Pylades’ mother, the sister of Agamemnon, was Anaxibia according to Pausanias ii. 294, see v. 918 of the play. The following is the tree of Tantalus: Τάνταλος Νιόβη Π6λοψ -f Ιπποδάμεια ’Α ερόπη -f- Άτρεύς Θυέστης \ — Κλυταιμνήστρα + ’ Ρς^αμεμνων Μ ενελαος ’Αναξιβία + Ι,τρόφιος Ίφιγί'νίΐα ’Ηλεκτρα Χρυσόθεμις Όρ/στηδ ΙΙνΧάδη$ THE LEGEND. 0 Such are the outlines of the myth as shaped in the tragedy before us. A glance at the antecedent literature will reveal some Growth of of the steps by which it has reached this form, while cer- tain other phases of a popular and local character will be ary, partly brought to view by looking more closely into the play itself. P°P ular · Both the sacrifice of Iphigenia and the matricide and remorse of Orestes, the two branches of the legend that unite in Euripides, are unknown to the Homeric poems. In the Odyssey , of the Its form in vengeance of Orestes we read that 4 he came back from Homer. Athens and slew his father’s murderer, the crafty-minded Aegisthus, who killed his illustrious sire.’ That Clytacmnestra met her death at the same time for her complicity in Aegisthus’ deed, is made clear in the same passage, but not that she fell by the hand of Orestes him¬ self. 4 Having slain him,’ it continues, 4 he served a funeral-feast to the Argives over his hateful mother and the cowardl}' Aegisthus.’ It remained for the lyric poetry to give utterance to that In lyric spirit of doubting scrupulous reflection which suggests a poetry, conflict of duties in Orestes’ position, and by making him the slayer of his mother, as well as of Aegisthus, and delivering him over to the Furies, prepares the subject for dramatic treatment. Thus the Oresteia of Stesichorus of Himera was the precursor of Aeschylus’ great trilogy. The sacrifice at Aulis first appeared in literature in the Cyprian Lays , an epic of the Trojan cycle. We next find it in Pindar, who propounds the query whether the daughter’s death may have incited the wife to her crime, as in the tragedies the murderess herself is made to plead. Moreover the refuge of Orestes is now Pliocis, nigh to the Delphian temple, and no longer Athens, as in Homer. The same Pindaric ode speaks of the Pythian victor whom it celebrates as conquering 4 in the rich lands of Pylades, friend of Laconian Orestes,’ and names the aged Strophius 4 dwelling at Parnassus’ foot,’ to whom the child of Aga¬ memnon came, saved bv his nurse Arsinoe 4 from the stern hands of Clytaemnestra and her guile.’ Then in due time he 4 slew his mother and left Aegisthus’ bod}' in its blood .’ 7 Pindar, 7 The Homeric passage quoted is y 306-310. Aegisthus ruled Mycenae seven years , T /Τ' 7J* * * * * * ι ό δ' άρα y0povra ξένον Στρόφων έξίκετο, νέα κεφαλά, 55 Π αρνασου πόδα ναίοντ' · αλλά χρονίψ συν ''Αρει πέφνεν τε ματέρα θήκέ τ' Αμισθον εν φοναΊε. 8 In the parodos of the Agamemnon : Calchas has declared that Artemis de¬ mands the maiden’s blood, and the mental struggles of the king have been described. έτλα δ' ούν θυτήρ 225 yεvέσθάι 6oy ατρός, y υναικοποίνων πολέμων apwy0v, κα\ προτέλεια ναών. λιτάς δε καί κλήδονας πατρφους παρ' ουδέν αΙώνα παρθένειόν τ' 230 εθεντο φιλόμαχοι βραβής. φράσεν δ' άόζοις πατήρ μετ' εύχάν δικαν χίμαιρας ΰπερθε βωμού πέπλοισι περιπετή παντϊ θυμφ προνωπή λαβεΊν THE LEGEND. 11 plea that she has been prompted to kill her husband to avenge her daughter’s death appears in both Aeschylus and Sophocles, and furnishes a link of connection between Iphigenia’s fate and the struggles of Orestes that is drawn closer in the Euripidean work. 235 αόρδην, στόματός re καλλιπρωρου φύλακαν κατασχΗν φθοΎΎον αραιόν οϊκοις, βία χαλινών τ' αναύδφ μόνει. κρόκου βαφάς δ’ is πόδον χόουσα e βαλλ' 'όκαστον θυτήρων 240 απ ομματος βόλ(ΐ φιλοίκτω , πρόπουσά θ' ώς eV y ραφαίς, Trpoaevvineiv θόλουσ', eVel πολλά /as ττατρός κατ' ανδρώνας βυτραπόζους (ίμελψβν, ayva δ’ άταύρωτος αυδα πατρδς 245 φίλον τριτόσπονδον εϋποτμον παιανα φίλως ότίμα. The Iphigenias of Aeschylus and Sophocles have been lost, but the passage above quoted must have had its share of influence upon Lucretius in his fine lines of Book i. Iphigenia is here identified with Homer’s Iphianassa, I 145. religio peperit scelerosa atque impia facta, Aulide quo pacto Trivial virginis aram 85 Iphianassai turparunt sanguine foede ductores Danaum delecti, prima virorum. cui simul infula virgineos circum data comptus ex utraque pari malarum parte profusast, et maestum simul ante aras adstare parentem 90 sensit, et liunc propter ferrum celare ministros, aspectuque suo lacrimas effundere civis, muta metu terrain genibus summissa petebat: nec miserae prodesse in tali tempore quibat quod patrio princeps donarat nomine regem: 95 11 am sublata virum manibus tremibundaque ad aras deductast, non ut sollemni more sacrorum perfecto posset claro comitari Hymenaeo, sed casta inceste, liubendi tempore in ipso, hostia concideret mactatu maesta parentis, 100 exitus ut classi felix faustusque daretur. Cf. Tennyson A Dream of Fair Women : — * and turning [from the vision of Helen] I appeal’d To one that stood beside. But she, with sick and scornful looks averse, To her full height her stately stature draws; “ My youth,” she said, “ was blasted with a curse: This woman was the cause. 12 INTRODUCTION. The story of the maiden’s deliverance by the goddess through the substitution of a hind, and her transportation to the Taurian land, there to live an immortal life, was contained in the Cyprian Lays and the Hesiodic Catalogue of Heroic Women; but in tragedy, so far at least as existing plays are concerned, it is employed only by Euripides. The vengeance of the son, again, the holy crime, clu- bium pins an sceleratus Orestes , exhibits an instructive variation of treatment in the tragic poets, as may be seen from a comparison of the Choephoroe with the two Electras. For our present purpose we have to compare, as regards this part of the subject, only the Eumenicles and the Tauric Iphigenia. More than one noteworthy illustration of the tendency to adapt _ , , dramatic themes to the local Attic variations of legend- Local myths σ in the Attic ary matter may be cited from the extant tragedies. Such drama. j s the Oedipus at Colonus of Sophocles, that solemn and touching drama, the sightless Theban king finding in the evening of his life a refuge and a grave c where the Attic bird trills her thick-warbled notes,’ —to become for all time a source of blessings to the dwellers in the land. So the Ion of Euripides ends in the exaltation of Athens, — Creusa, daughter of King Erechtlieus, dis¬ covering her own child in the servitor of the Delphian temple, the youthful Ion, destined to be the founder of the Attic tribes and the Ionic race. But an eminent example, drawn from the myth we are now studying, is found in the Eumenides , the trial of Orestes by Athenian citizens on the Hill of Ares, the conciliation of the Furies and their enshrinement hard by the judgment-seat as the ‘ Awful Goddesses,’ ‘ well-wishers ’ to the folk of Pallas. “ I was cut off from hope in that sad place, Which yet to name my spirit loathes and fears : My father held his hand upon his face; I, blinded with my tears, “ Still strove to speak: my voice was thick with sighs As in a dream. Dimly I could descry The stern black-bearded kings with wolfish eyes, Waiting to see me die. “The high masts flicker’d as they lay afloat; The crowds, the temples, waver’d, and the shore; The bright death quiver’d at the victim’s throat; Touch’d ; and I knew no more.” ’ THE LEGEND. 13 Euripides in liis play touches upon some special features of the local myth that are not mentioned by Aeschylus, while at the same time he is forced to enlarge and modif} r the current tradition for the purposes of his plot. Thus we learn that the origin of a custom observed at the Dionysiac festival Anthesteria, a drink¬ ing-match in which each contestant drained off his one sepa¬ rate measure of wine in the midst of perfect silence, was referred to Orestes’ sojourn in Attica, when his hosts scrupled to spurn their suppliant entirely, but might not have speech of him nor serve him from a common wassail-bowl, by reason of his blood- guiltiness. So too the Athenian practice of interpreting a tie vote as an acquittal in cases of bloodshed is ascribed in this play to the precedent of Orestes, saved by Athena’s casting-vote of divine grace (calculus misericordiae). In the divided ^ „ ° v 7 Euripides sentiments of the Furies, however, in the refusal of a modifies the certain number of the sisters to abide by the decision tradition of J Orestes’ of the tribunal, and the consequent further persecu- S 0 j 0 urn at tion of their victim, we probably have an innovation of Athens. Euripides’ own devising, in order to supply a motive for the mission which Orestes was popularly believed to have undertaken to the Taurian land . 9 There is still other local legendary matter of an interesting nature underlying the Tauric Iphigenia — a group of . AltlC CUltS Attic traditions and observances, the contemplation of the nucleus which may have first prompted Euripides to compose the of the play, play. They relate to an existing cult of Iphigenia, and her original association or identification with the goddess Artemis herself, and 9 The silent entertainment, vs. 947 ff. Cf εστι δβ και εορτή Άθήνησιν oi χόες. κεκληται δε από τοιαύτης αιτίας. Όρεστης μετά την της μητρδς αναίρεσιν ήλθεν εις τάς Αθήνας τταρα τόν Π ανδίονα, auyyevi] καθεστηκότα, hs ετυχε τότε βασιλεύων των 'Αθηναίων, κατεΑαβε δε αυτόν ευωχίαν τινα δημοτελη ποιοΰντα. δ τοίνυν Πανδίων παραπεμφασθαι μεν τδν Όρεστην αίδούμενος, κοινωνησαι δε ποτού καί τραπεζης ασεβες ηΎούμενος μτ) καθαρθεντος αύτοΰ rbv φόνον, ως αν μτ] από τον αυτού κρατηρος πίνοι, ενα εκάστιρ των κεκΑημενων παρεθηκε χοΰν. Scliol. Ar. Eq. 95. The division of the Erinnyes, vs. 9G8 ff. The number of the sisters is not limited to three earlier than Euripides, nor by him in the present play. The conventional number appears in the Troades and the Orestes. The tie vote for acquittal, vs. 14G9 ff. 14 INTRODUCTION. to certain religious rites pertaining to the sinister and sanguinary functions of the moon-deity. ‘ There is a place in Attica,’ says the goddess Athena to Orestes Halae and ^ ie c l° se °f the drama, as she speeds him and his Brauron. companions on their homeward voyage, 4 a sacred place called Halae by my people, on the borders of the land, neighbor¬ ing to the Carystian ridge. There do thou build a temple and establish this image, with a name commemorative of the Taurian land and thine own toils, which thou didst suffer by the Erinnyes’ mad chase round and round through Hellas. For men shall hence¬ forth celebrate her as Artemis TauropolosN And do thou also institute this rite: when the people hold her festival, let the knife be put to the neck of a man and blood drawn, to make good thine own sacrifice — for religion’s sake, and that the goddess may have honor due.’ Turning to the sister, Athena continues : 4 But thy destiny, Iphigenia, is to be warder of the goddess’ temple by the holy terraces of Brauron. There shalt thou be buried when thou art dead, and offering shall be made to thee of the fine garments that women expiring in childbed leave in their homes .’ * 11 The attention of the Athenian spectator is thus turned at the The last upon familiar scenes, and he is made to feel that dramatic the exciting drama he has just witnessed was in truth representa- ] 3U ^ an episode in his own national and religious life, tion Drought home to the To the modern reader the passage is historically signifi-. spectator. cant. It attests the existence of an ancient temple of 10 επώνυμ ον yi)s T αυ ρ tKrj s πόνων τε σών, 1455 ovs έξεμόχθεις π e ρ ιπ ο λ ω ν καθ’’ Ελλάδα οϊστροις Έρινύων. " Αρτεμιν δ4 νιν βροτοϊ τό λοιπόν υμνησουσι Τ αν ρ ο π ό λ ο ν θεάν. Artemis Tauropolos, “goddess of the kine” (cf. Soph. Aj. 172) was in fact distinct from the sanguinary moon-goddess of the Taurian people, but the two came to be identified, by one of the pranks of * language gone mad.’ Euripides in the passage quoted is not responsible for the confusion, but only for the precise form into which he here throws the play upon words. 11 The whole passage vs. 1446-1467. The Halae meant is Άλαι Άραφηνίδες, so named as belonging to the deme of Araphen, in distinction from 'A λαΐ Αΐξω- νίδες on the SW. coast near Athens. The former place is not far south of Marathon, on the coast opposite the southern extremity of Euboea, as indicated THE LEGEND. 15 Artemis Tauropolos at Halae Araphenides, containing an image of the goddess supposed to have been taken from the Taurians by Orestes, together with a symbolical rite indicative of an early custom of human sacrifice. It also notices a cult of Iphigenia at Brauron, the peculiar character of which points clearly to her iden¬ tification with the goddess of the moon. B}’ the puzzling Amytho but not unfamiliar processes of mythology, the distinct logical divinities Artemis and Iphigenia become first identified tan £ le · or combined, and then separated in such wise that the latter is viewed as ministrant to the former, one or another of these phases attaining prominence in this or that locality. Again, the sacrificing maiden becomes the maiden sacrificed, the divine or semi-divine is transformed into the human, Artemis-Iphi- genia appears as Iphigenia the daughter of Agamemnon, the usual Greek version of the Tauric legend exhibiting a fusion of both views . 12 by the words 76 ίτων δεφάδος K αρυστίας v. 1451. Brauron lies a little further south, away from the sea. It is enumerated by Strabo ix. 897 among the twelve ancient communities into which the Attic population is said to have been apportioned by Cecrops. 12 Venturing further into this labyrinth of aetiology, Agamemnon himself, the ‘ red slayer’ who thought he slew, vanishes in a sun-myth — the inevitable Minotaur of mythological research. See Wecklein’s Einleitung, p. 5. Herodotus iv. 103 calls the Taurian deity ‘the Maiden’ simply, and says the Taurians themselves declared that the goddess to whom they sacrificed shipwrecked Greeks, was Iphigenia the daughter of Agamemnon. The barba¬ rians must have derived this story from the Greeks. It is as the goddess of the moon ( φώσφοροί θεά v. 21), with her menstrual influence, that Artemis or Hecate comes to be the deity of childbirth ("A ρτεμις λοχεία). The original name of the Brauronian divinity was doubtless * Αρτέμιέ Ιφιγένεια, an appellation known in other parts of Hellas, cf Paus. II. xxxv. 1. Perhaps the etymology of ίφι-^εν-εια should be interpreted with reference to the function alluded to, v. 14G0. Pausanias III. xvi. 7 speaks of the image at Brauron as that supposed to have been brought to Attica by Orestes and his sister. He relates that the Per¬ sians carried off the Brauronian effigy to Susa. Had Xerxes only got hold of the right ξόανον, the one that fell down from the sky among barbarians and was filched from them by enterprising Greeks, there would have been a cer¬ tain poetic justice in its recovery. 16 INTRODUCTION. Plot and Scenic Adjustment. Greek plays, as a rule, are characterized b} T extreme simplicity 1 of design. The present tragedy is comparatively elabo- ηο^ simple, r ate and complex in respect of the plot. To its finished but compli- intricacy of plan the play owes largely its unfailing charm; and some of the secrets of the spell may be detected by the help of the pertinent observations in Aristotle’s Treatise on Poetry. There are two essential features, bv one or both of which the more 4 complicated ’ tragic plots, as defined by avayvwpL- Aristotle, are invariably marked. The περιπέτεια is a σις and sudden and unexpected change from good to bad for- περιπετεια. tune, or the reverse. The αναγνώρισή is a change from ignorance to knowledge, generally as regards persons, for worse or for better. Intensity of interest, the philosopher maintains, depends upon these elements more than upon anything else in tragedy. Such plays as the Oedipus Tyrannus of Sophocles and the Iphigenia Taurica of Euripides, with their combined and inter¬ woven αναγνώρισή and περιπέτεια, are, he would say, ceteris paribus, the most fascinating of dramas , 13 — the one with its woeful, the other with its joyous, issue, but both equally 4 tragedies ’ in the ancient sense: the Theban ruler, hurled to infamy and despair from the very pinnacle of lordly power and magnificence, through 13 τα μέγιστα ois ψυχαγωγεί ή τραγφδία του μύθου μέρη εστιν, α'ί τε περιπέτειαι και αναγνωρίσεις Arist. Poet. vi. The μύθος or “ plot ” is defined by Aristotle for this connexion as η των πραγμάτων σύστασσ or σύνθεσις. To the μύθος he gives the first rank in importance in the composition of a tragedy, assigning a secondary place to the ήθη (“ character”). This dictum seems remarkable in view of the strongly inductive method of the Poetic on the one hand, and on the other hand the comparatively small number of ‘complicated ’ plots among the tragedies that we possess. It explains the critic’s predilection for the Oedipus and the Iphigenia as illustrative examples — and yet these are the most modern of dramas in design. Aristotle, however, does not undervalue ethical portraiture; a characterless fiction was as odious to him as to us. He merely insists that the tragic poet starts to dramatize an event, not to repre¬ sent character. If the event be dramatized with genius, the appropriate char¬ acters are evolved as a matter of course. Nothing could be truer. Persons created for the sake of talking, and not because there is something for them to do, are wearisome on any stage. PLOT. 17 the discovery of his own parentage and of the shocking unnatural crimes he has allowed himself in ignorance to commit; and, on the other hand, the much-tried son of Agamemnon, weary of life, and resigning himself to a cruel death, only to recognize a long- lost sister in the priestess at the blood-stained altar, and thus finally to crown with peace the sorrows of Pelops’ wretched line. Those tragedies in which an avayv /ώρισις is to be expected are naturally the most powerful to enhance the attention of the spec¬ tator. In the first place, a condition of suspense is gen¬ erated in his mind, as he anxiously awaits the approach- Suspense ' iug inevitable discovery of the truth, and the consequent change of fortune ; while, again, he is placed at an advantage as regards the persons of the play, knowing that of which they are ignorant, and looking pitifully down upon the groping victims of fate and circumstance. The poet will aim to prolong and gradually to inten¬ sify the suspense of his auditors, by means of a steady convergence of the lines of action toward the point of dm γνώρισα, its actual consummation being deferred until the latest possible moment. At the same time he will bring the various kinds of dramatic irony to bear upon their thoughts. In our play the spec¬ tator is introduced first to Iphigenia. He learns of her office as ministrant to the barbaric deity, of her loathing for the inhuman rites over which she is constrained to preside, and he hears from her lips the recital of her dream. A dream has convinced her that her brother Orestes — he upon whom so many of her yearn¬ ing thoughts and vague hopes have been centred — is no longer among the living, and she lias summoned her attendants to assist in pouring a libation to his shade. The spectator’s knowledge of Iphigenia’s delusion in supposing her brother dead illustrates the simplest form of dramatic irony; and one of its first effects is to modify in a singular way the pathos of the ceremony that presently follows, — the mortuary offering, with the dirge chanted by Iphigenia and her maidens for Orestes’ soul. The same irony is at work again when Orestes and Pylades are , , , . ' , Both effects seen reconnoitring the temple, not dreaming who is p reS ent priestess there. Their entrance institutes the second of early in the convergent lines of dramatic action, — parallel lines tbeplay ' Irony. 18 INTRODUCTION. at the outset, we should perhaps call them, but productive of sus¬ pense, as pointing, however vaguely, to an ultimate recognition and reverse. A second stage in the development of these spiritual impressions It 'fid ° n ^ ie P ar ^ ^ ie s P ec totor is reached when the capture as the °f the youths is reported to Iphigenia, and she muses action 0 n their impending fate, presently to be fulfilled through proceeds. p er own instrumentality. 4 Poor heart! once wast thou toward victims ever unruffled and compassionate, meting out to kindred race the bounty of a tear, so oft as men of Hellas fell into thy hands. But now, such is the dream that has embittered me, telling me that Orestes lives no more, hard-hearted will ye find me, ye new-comers, whoever ye may be! ’ Thus on the one occa¬ sion of sorest need for the humane sympathies of the priestess, she misinterprets the dream, which, if read aright, would have been a warning to her ; 14 and her generous impulses seem to be deadened by the intensity of her regret for the very person who is immediately to require them, and who properly should, above all other men, call forth their exercise. The spectator is stirred with apprehension in view of the possible results of Iphigenia’s attitude. There is a heightened stress of both suspense and irony. Tragic irony of the sort just considered is a privilege of the poet and his auditors at the expense of all the personages of the drama without exception. It is illustrated even in the choral ode that fills the interval before the expected vic¬ tims are led into the presence of the priestess. The specta¬ tor might answer well the question , 4 What Greeks are they who have come to the Unapproachable Land?’ And he is thrilled with a hope that to the chorus themselves is but a hope¬ less fancy, as they sing, 4 How sweet the tidings, had but some mari¬ ner from Hellas come, to end the weary servitude of miserable me ! ’ The above remarks will serve to guide the student in tracing further effects of suspense and irony in the masterly scene of The spec¬ tator at an advantage as regards all the dramatis personae. 14 The spectator naturally interprets the dream vs. 44-55 of the impending event, not (like Iphigenia) of something supposed to have already occurred. — The passage quoted is vs. 344-350, the lines paraphrased in the next para¬ graph, vs. 399 ff., 447 ff. PLOT. 19 Orestes and Pylades as doomed victims before Iphigenia. The αναγνώρισή contained in this scene must now be considered, form¬ ing as it does the most significant feature of the passage, and, indeed, the turning-point of the whole drama. With the Method of utmost dexterity and naturalness, the recognition between the ava- brotlier and sister, repeatedly brought to the verge of ^ V 0 } P l(XiS · consummation, is repeatedly withheld and prevented, and yet is steadily approached by irretrievable steps. The discovery of Iphigenia to Orestes is of the sort pronounced by Aristotle the most artistic, as being a direct outcome of the dramatic action, producing its startling effects through a series of wholly probable occurrences . 15 It is the comely presence of the youthful pair, whom she takes for brothers, that recalls Iphigenia to her wonted sympathy and tenderness of heart. The singular mood and bear¬ ing of Orestes, — him of whose delirium she has heard so strange a tale ; the demeanor manifested by the life-weary, remorseful man, in his response to her expressions of pity,—this it is that arouses her curiosity, brings out the fact that he is a native of Argos, and leads to the conversation upon affairs in Greece, whereby she learns the deplorable deaths of father and mother, yet that Orestes lives ! ‘ False dreams, farewell! ’ Then follows the proposal of the letter which Iphigenia has long wished to despatch to Argos, as now it may indeed be conveyed by one of the captives before her, his life to be spared in compensa¬ tion for the errand. And next, after the contest of friendship, ending in Orestes’ victory, comes the exquisite moment when Pylades, doomed to live and bear the missive, demanding an oral statement of its contents against the possible loss of the tablet in the waves, hears the astounding revelation, and redeems on the spot his happy pledge of faithful messenger, — ‘Orestes, a letter from thy sister here ! ’ 1δ πασών Se βεΚτίστη αναγνώρισις η e| αυτών των πραγμάτων, της εκπΚηξεως Ί^νομένης Zl e Ικότων, οΐον εν τφ Ι,οφοκλεους Οίδιπόδί καϊ τη 'Icpiyeveia · είκδς yap βούλεσθαι έπιθεϊναι y ράμματα. Arist. Poet. xvi. — It is to illustrate one of the methods of avayvdipiais, the sort by ‘reasoning’ (εκ συλλoyισμoυ), that the work of Polyidus ‘ the sophist ’ is cited, where the discovery of Orestes to Iphigenia resulted from the natural reflection by the former that ‘ his sister had been sacrificed, and now it was his own fate to be sacrificed likewise.’ 20 INTRODUCTION. Through the mutual recognition of the friends, the ττεριπίταα is clearly instituted. A single turn of the wheel of fortune has shifted 5^ the whole vista before the sad eyes of the Pelopidae. Their and new joy half blinds them to the common-place trials that Xvais. still beset their path. Thus far, the threads of the drama have been steadily drawn closer and closer, but now the time has come for the reversed process, the untying of the knot. There is a brief neutral period, occupied by the spontaneous outflow of feel¬ ing natural to the occasion ; the transition to the denouement is marked by the intervention of Pylades, who recalls his rapt com¬ panions to their senses, and reminds them of the grave task that awaits their hands . 10 All danger is indeed not over, though the horrors be past that were to be apprehended from the nearly fatal misunderstanding among the loved ones themselves. In the solu- tion of the impending difficulties the poet has contrived so to retard the action that the spectator’s suspense is not suddenly relaxed, though modified in quality. Moreover, the stratagem directed by the wily Greeks against the unsophisticated foreign king affords an opportunity for a new phase of dramatic irony. The plain but deeply effective irony that consists in the superior knowledge of 16 Pylades’ words, vs. 902-908. — The terms δεσις (or πλοκή) and λύσις are employed by Aristotle, λέγω δε δεσιν μεν είναι την απ' αρχής μέχρι τούτου τού μέρους δ έσχατόν εστιν, εξ ου μεταβαίνειν είς ευτυχίαν . . . , λύσιν δε τήν από τής αρχής τής μεταβάσεως μέχρι τέλους Poet. xvi. — Interesting is a remark in the same chapter to the effect that many poets tie their knot with success, but make a failure in the untying, πολλοί δε πλεξαντες ευ λύουσι κακώς, i.e. as we should say, they do not show themselves capable of sustained work. The Iplii- genia is admirably sustained, considering the height that is reached in the scene of recognition. Patin Etudes sur les Tragiques Grecs iii. 298 finds fault with the poet for letting the spectators into the secret of the plan of escape beforehand, instead of surprising them by the representation of its execution only. He also deems it too certain of success to command interest. The plan, however, is proved by the sequel to have been hazardous enough, and as for the credulity of Thoas, I find it well-grounded, as it is certainly delectable. As the play stands, the spectator has the satisfaction of identifying himself from the first with the framers of the stratagem: he seems to be helping them to think it out, as he hears it unfolded ; he shares their anxiety for its safe issue; enjoys with them (probably more than they) the first successful trial of it upon the king; and finally is left in suspense during the stasimon that follows, until the messenger arrives with his story of the finish. PLOT. 21 the spectator to that of all the personages, is necessarily present to some extent in every dramatic work. There is also a Irony . of subtle verbal manifestation of the same principle, which equivoke, was relished with high zest by a Greek audience. It is exercised by the persons represented, at the expense of each other, as one set plays upon the ignorance of a second by means of equivocal utterances, whose ambiguous meaning is apparent to the spectator, but not to the party for whose hearing it is intended. Or some¬ times the victim is himself the unconscious mouthpiece of this irony of the double tongue, letting fall words that knell ominously to initiated ears. ‘A clever child of Hellas thou ! ’ exclaims Thoas, when apprised by Iphigenia of her alleged means of discovering a source of pollution to the goddess and her temple. And as the priestess bearing the idol passes forth, followed by the veiled cap¬ tives, to perform, as Thoas supposes, the solemn rite of lustration, but in reality to take ship and transport the divine image to a Grecian home, Iphigenia thus prays in the hearing of the Taurians : 4 Thou daughter of Zeus and* Leto, virgin queen, if indeed these guilty stains I wash away and do sacrifice where it is meet, pure shall be thy dwelling-place and happy mine own lot.’ What the barbarian understands of the priestess and her charge, duly rein¬ stated in the purged temple, means to the spectators of the scene Athens and the deliverance of Iphigenia. The prayer concludes : ‘ The rest, though I say it not, I betoken clear to Heaven that knoweth the unsaid, O Goddess, and to thee .’ 17 Here, the gods, 17 Vs. 1230 ft’.; the exclamation of Thoas v. 1180. Attention is called in the notes to the other equivocal expressions in the scene. — The term irony , as employed in this Introduction, was perhaps first systematically applied to dra¬ matic matters by Bishop Thirlwall On the Irony of Sophocles, in the Philological Museum, 1833, vol. ii. No better word could be found to connote the various phenomena through which this deep-seated principle of dramatic and indeed all artistic fiction manifests itself. The propriety of its application is seen from Aristotle’s plain definition, προσποίησις η per end rb μεΊζον αλαζονεία καϊ δ εχων αυτ^ν αλαζων, η δ’ eirl τ b ελατ tow ειρωνεία και €Ϊρων Eth. Ν. II. νϋ. 12. Thus ειρωνεία is the attitude of him who knows more than lie will say, the attitude appropriate to superior knowledge and the power vested in superior knowledge. We speak of the ‘irony of fate/ implying the existence of some possessor of a prescience competent to save us from our now inevitable ills. Irony is a feature of primitive religious conceptions, and its most incisive exemplification 22 INTRODUCTION. the Greeks, and the spectator stand on a common vantage-ground, over against the Scythian wrecker with his sacrifices of men. Aristotle has a word to say of the care to be exercised by the tragic poet in adjusting the details of his plot to the exigencies of „ the stage. In truth the ancient playwright labored under Stage ° . . , require- restrictions which, at times, must have seriously liam- ments. pered him in the work of composition. The number of regular actors being limited to three, with strict gradation as to rank, the poet was forced to suit this circumstance as best he could in distributing the parts and arranging the succession of dia¬ logues. One cannot but admire the tact often displayed in meet¬ ing these requirements. In the present tragedy, the 2^'otagonist Distribu performed the parts of Iphigenia, who appears in every tionofthe scene but two, and Athena. The deuteragonist had the P ar ts. parts of Orestes, the herdsman who relates the story of the capture to Iphigenia, and the messenger who reports to Thoas the escape. The tritagonist , finally, played Pylades and Thoas. The poet was also obliged to adapt his work to certain traditions of the theatre regarding scenery, entrances and exits, and the like, necessary for the guidance of the spectator. A disregard of these simple conventionalities, in any essential point, might produce the effect of inconsistenc} r or impossibility ; as for example, the Athe¬ nians are said to have hissed a tragedy of Carcinus, because his Ampliiaraus was found to have gone out of the temple which he had entered, without being seen by the spectator to leave it . 18 Our is found behind Greek literature, in the Greek oracles. The Delphian god knew perfectly well who were the real parents of Oedipus, and in what direc¬ tion the anxious inquirer ought to have turned his steps as he departed from the shrine, in order to avoid the fearful consequences of which he was warned. So in admonishing Croesus that by crossing the Halys he would destroy a great empire, Apollo with irony left it to Croesus in person to find out by trying, which great empire — his own or that of Cyrus — he should destroy. Thirlwall well describes the dramatic poet as so working * that a faithful image of human existence may be concentrated in his mimic sphere. From this sphere he himself stands aloof. The eye with which he views his microcosm . . . will be that with which he imagines that the invisible power who orders the destiny of man might regard the world and its doings/ δβ τούς μύθους συνιστάναι κα\ rfj λ e|et συναττερΎάζ^σθαί οτι μάλιστα πρύ ομμάτων τιθέμενου· οΰτω yap ivapyiaTaTa δ όρων, ώσπερ παρ’ αύτοις γινόμενος PLOT. 23 present knowledge, however, of the details of ancient stage arrange¬ ment is very imperfect, and we are left largely to conjecture as to their flexibility of adaptation to plays of peculiar and unusual design. In the Ipliigenia , the back-scene represents the ^ temple of the Taurian Artemis, with the high altar in front. Iphigenia, who as priestess occupies apartments in the temple, enters and withdraws by the main door appropriate to the protagonist. The chorus enters the orchestra bv the Entrances parodos on the right of the spectator, that is, from the and exits, home-side. The other entrances and exits are uncertain, but we incline to the view that Orestes and Pylades, foreigners on a fur¬ tive errand, approach the scene from the left, and go out the same way, after reconnoitering the temple. The herdsman who announces their capture also enters from the left, from that side the victims are led in to the priestess, and on that side the lustral procession departs for the remote and lonety shore desired for the ceremony — where the ship of Orestes is moored in concealment. ButThoas το7ς πραττομένοις, ebp'wKOi rb irpeirov, καϊ ήκιστα άν λανθάνοι τά virevavTia. σημεΐον be τούτου ΐ> 4ττ€τιμάτο Καρκίνφ · ό yap Ά μφιάραος 4ξ lepov avrfei, b μή δρώντα άν τδν θβατήν έλάνθανεν, 4π\ 8e τής σκηνής ^feVecre, άυσχερανάντων τούτο των θεα· τών. Poet. χνϋ. The arrangement of entrances and exits assumed above implies a possibility of communication imagined between the right and left sides, in the rear of the temple, since the prisoners are taken directly to the king, without first crossing the stage, and the herdsman comes at one and the same time both from the king and from the scene of capture (cf vs. 236, 333 f.). Such communication is not precluded by the fact that the sea flow’s up to the temple (v. 1196) ; it is pedantical to press that circumstance so closely. Schoenborn, Skene der Hel- lenen, however, is led by this consideration to place nearly all the stage-entran¬ ces on the left, while Wecklein places them all on the right, giving the further reason that persons coming from abroad by sea regularly enter on that side. Even if the evidence on these matters were fuller and clearer than it now is, I should hesitate to believe that in a tragedy like the Iphiyenia a completely one-sided arrangement of entrances w r ould have been tolerated by the spec¬ tators. In this play the sea is everywhere, it lies on the left as well as on the right, but the parts of it with which the action is most concerned are remote and hidden. A regular city port (τά 4κ πόλεως, μάλιστα τά 4κ λιμενος') is not to be thought of, at least on the side whence the two interlopers make their appear¬ ance. Probably the shore was not represented at all in the scenery. That Orestes and Pylades have come by ship is made known at once (v. 70) ; the spectator is not left to infer that from the direction of their entrance. 24 INTRODUCTION. enters on the right, the home-side, on which his residence is con¬ ceived as lying. The temple should be regarded as so placed that its votaries might approach it from either side. Artistic Structure. Critical theories won by induction from Greek models. The Greeks have furnished the instruments for probing and dismembering the productions of their own genius. Greek tragedy, in particular, after giving to the world a perfect model, in the most tangible form, of what is essential to a highly composite work of art, called forth among the ancients themselves the exuberant satire and the incisive logical analysis from which modern criticism has been Instructive- learned. The works of Euripides form a most instruc- ness of tive body of concrete material for the test and illustra- kregulaTi- tion of critical theory. Reflecting as they do the move- ties, ments of a transitional period not only in matters of art, but in the history of human thought; and emanating from a mind in which the synthetic impulses of the poet were liable to frequent disturbance by conscious speculative ratiocination; unequal in themselves and among themselves, yet bearing the common im¬ press of an unmistakable individuality, they alternately delight and repel the reader, as they furnish the very contrasts whereby their faults and merits are most vividly revealed. It is a pleasant task to scrutinize, as we have to do at present, the structure of a play marked b} T the minimum of defect; in which the best and truest, if not the most strongly characteristic, side of the author’s genius is turned outward. If the study of the Greek drama were to be historically conducted, that some familiarity with Aeschylus and Sophocles might be ac¬ quired before passing to Euripides, the learner’s attention would be arrested on first taking up a work of the younger poet by the Euripidean s t ran g en ess of its beginning. Paradoxically stated, the prologue, spectator of a Euripidean tragedy has to sit out a portion vs. 1-66. 0 f £j ie performance before the performance begins. The first forty-one lines of the Iphigenia form no part of the dramatic proceedings. They assume an audience, and are addressed imme- Λ R ΤΙ STIC STR UCTURE. 25 diately to the spectator, for the purpose of instructing him in regard to the antecedent legendary history and the situation of affairs at the opening of the play. The remainder of Iphigenia’s speech, containing the recital of her dream, is less open to censure, because the dream with its influence is directly concerned with the action, and moves the priestess to unburden her mind under the open sky. There is also a motive for her appearance in the sum¬ mons that has been issued to her attendants, whose coming she expects. But the whole passage is inorganic. The better part of it might have been thrown into the form of a dialogue, like that between the two sisters at the beginning of Sophocles’ Antigone; or else the play should have opened where its action really begins now — leaving the information which lias been thus explicitly prof¬ fered in advance to be conveyed indirectly through the progress of the drama itself. Implicitness is the very soul and conscience of serious dramatic workmanship; 19 and the Euripidean prologue is none the less flagrant an offence against principle and good taste because it came to be tolerated as a convenient trouble- saving device. Loose innovations of this character soon be¬ come settled habits. Except for the habit, the present tragedy would hardly have taken on such a gratuitous appendage. The play is so finely constructed that with but the slightest further 19 The business of tragedy is serious representation (μίμησις πρά^ως σπου¬ δαίας). Comedy, which is not serious — however much in earnest the comic poet maybe — is always conscious of an audience, and may at any moment deliberately interrupt the illusion of the scene to address the spectator, for the sake of ludicrous effect or for any other reason. But we do not find the Greek comedies beginning with an explicit address to the audience, before any scenic illusion has been started, because that would produce no incon¬ gruity, and, unless a distinct parody, would not be funny, but only flat. It is this flat tastelessness at which Aristophanes really aims when he opens fire upon the monotonous genealogical detail in the prologues of Euripides (t6 7 ivos τοΰ δράματος Ran. 94G) Ach. 47 ff., Ran. 1177-1247. The lekgthion passage has nothing to do with any peculiarity in Euripides’ verse; the ληκύθων άπώλς- aev would apply just as well to Aeschylus or Sophocles, as far as the metre is concerned; but, as it happens, it does not fit on to the beginning of one of their extant plays, because not one of them begins with the name of a man, woman, or child in the nominative case. 26 INTRODUCTION. elaboration the idle preface might have been replaced by an organic scene. 20 All things are particularly exposed to corruption at their extremi- Deus ex ties. Of a piece with the otiose prologue is the interven- machina. j n g god, who is prone to intrude himself under one form or another at the close of a Euripidean tragedj’. The comment of Aristotle is simply that the solution of a plot ought to be an out¬ come of the plot itself and should not be effected by stage- machinery. But recourse may be fairly had to supernatural agency, he goes on to say, in regard to matters either anterior or subsequent to the action of the drama. 21 The intervention in the Iphigenia is due in but slight measure, as was remarked of the prologue, to want of elaboration or poverty of invention. There 20 The passage criticised forms only a part of the trp0\oyos, which includes the dialogue of Orestes and Pylades. The technical divisions of the play are exhibited in the table below. The names are derived from Arist. Poet, xii., and it is to be noted that they all have reference to the chorus, the original nucleus of tragedy. The parodos is its first song on entering the orchestra; the other odes of the entire chorus are called stasima. The prologos is all that precedes the parodos, the epeisodia are the acts that intervene between the stasima, and the exodos is what follows the last stasimon. A ‘ commos ’ is a lamentation in the form of a lyrical dialogue between actor and chorus. Lyri¬ cal passages of actors only are called ‘songs from the actor’s station.’ Nine is the normal number of main divisions of a tragedy. I. Tvp6\oyos, vs. 1—122. II. πάροδοί, vs. 123—235. ( κόμμος , vs. 143-235.) III. επεισόδιον πρώτον, vs. 236-391. IV. στάσιμον πρώτον, VS. 392-455. V. επεισόδιον δεύτερον, V s. 456-1088. ί ανάπαιστοι κορυφαίου, vs. 456-466. κόμμος, VS. 643-656. μέλος από σκηνής, VS. 827-899. VI. στάσιμον δεύτερον, vs. 1089—1152. VII. επεισόδιον τρίτον, vs. 1153-1233. VIII. στάσιμον τρίτον, vs. 1234-1283. IX. έξοδος, vs. 1284-end. 21 φανερόν ούν ότι και τάς λύσεις τών μύθων εξ αυτού δε7 τού μύθου συμβαίνειν, καί μή ώσπερ εν τή Μήδεια από μηχανής . . . άλλα μηχανή χρηστεον επί τα εξω τού δράματος ή όσα πρδ τού yey ονεν, ά ούχ οΐόν τε άνθρωπον είδεναι, ή οσα ύστερον, BIBRAR? rmsric structure Λ 27 are, however, in reality two resolving agencies extraneous to the plot. Besides Athena, who is introduced to check interfer- the vengeance of Thoas, save the captive women, speed enc ®· the heroes on their return, and foretell the sacred honors that await them on Athenian soil — besides the gracious divinity of the formal close, there is the ‘refluent billow’ (v. 1397) that tosses back the flying ship with its brave crew into the very hands of the baffled Taurians, who thank Poseidon, the enemy of Troy’s con¬ querors, for their luck. It jars the intent and sympathizing spec¬ tator, who has watched the shrewd manoeuvres of Iphigenia, and has seen the youths through their unequal fight at the shore and their spirited embarkation and start, to be thus rudely put about by such a perfectly unexpected gratuitous dash of wind and water. For this secondary deits, however, the Goddess in chief is responsi¬ ble. Poseidon is here in the service of Athena, and the motives of the concluding scene must be severally examined, in order to judge of it rightly as a whole. The poet appears to have been influenced by three considera¬ tions : first, a feeling that the oracle of Apollo, ordaining Three the removal of the image, ought not to seem fulfilled motives for ° 0 the celes- through stratagem and theft; second, a regard for the tia j inter _ promise made to the captive women, that they should be vention. restored to Hellas and freedom ; third, the desire to introduce the prophecy concerning Attic institutions, whose origin is traced to the events of the drama. That the first-mentioned consideration was sensibly felt, is clear from the doubts expressed by Iphigenia herself (vs. 995, Apollo , g 1400). Orestes’ answer to his sister’s scruples is sincere oracles not (vs. 1012 ff.), and, naturally, satisfactory to himself and trough Pylades ; but it is highly creditable to Euripides that he human should not have allowed the priestess summarily to dis- deceit. & SetTai npoayoptvffecos και ayye\las. άπαντα yap άποδίδομβν ro7s 6eo7s δράν. Poet. xv. Cf. Horace’s celebrated epigrammatic statement of the principle : nec deus inter sit, nisi dignus \ in dice nodus inciderit. De arte poet. 191. The last part of Aristotle’s remark applies exactly to the third motive treated above. 28 IN TR OD UC 77 OX. miss the scruple from her mind, and likewise that he should have deemed the barbarian ruler entitled to the satisfaction of hearing the divine sanction. Indeed, the enlightenment of Thoas is even artistically required. Barbarian or Greek,— and Thoas was, after all, created only half a Taurian, — the spectator would like the man brought to see that something higher than mere human trick¬ ery had been put upon him. Yet nothing short of a celestial man¬ date could ever have convinced the king. 22 Sympathy for the chorus as persons. As regards the second motive, again, the necessity of delivering the chorus, it is hard to see how that end could have been reached by human agency within the lines of the plot. And yet, even apart from the rash promise of Iphigenia (v. 1068), to abandon the faithful creatures to their fate would have been intolerable. The knot must be untied, and only a god is competent to untie it. It were hyper¬ critical to censure this, for tho fault, if it be one, is the result of a certain organic excellence. "We faucy that Euripides himself must have been touched with surprise as often as he found a chorus upon his hands for whose fate the most humane of audiences would feel the least concern. The desire to gratify local patriotic and religious sentiment is „ ... the leading motive for the entrance of Pallas Athena. Gratmca- ° tion of local The motive is also characteristic of the poet, and nowise sentiment, reprehensible as the result of any shortcomings of artistic construction. The modern reader cannot adequately reproduce the feelings stirred by this final scene in the Athenian spectator’s breast. We may, however, so far sympathize with the poet who indulged them, as not to find distasteful the local flavoring which is here and elsewhere so perceptible in Attic tragedy, with all its splendid universality. Even on the score of unity, the three mo- 22 The situation at the end of the Philoctetes of Sophocles is similar, if by any effort Thoas and Philoctetes can be thought of at the same moment. There, however, it is shown naturally by the course of the drama itself that the oracle is not to be fulfilled by the help of human deceit, since one of the participants in the theft is led to repent, after successfully achieving it, and makes amends by giving back the bow to its owner. Here, the interruption to the final success of the stratagem is extraneous and violent, as we have seen. a nri stic srn ucture. 20 tives are so closely interwoven, and the whole ending is so firmly knitted on to the body of the play, that we forget Poseidon’s rude¬ ness and enter genuinely into the refined and beneficent spirit of the conclusion. 23 i Narratives of messengers, the most familiar embodiment of the strongly marked epic element in all Greek pla}*s, assume Epic renewed importance in Euripides. How high a place in element, the dramatic economy was originally held by mere narration, is indicated by the earliest tragedy of known date which The we possess, the Persians of Aeschylus (472 n.c.), with αγγελική. its scene laid at the Persian capital, and Hellas for the background of events. The epic element exhibits great variety both in form and extent, as we compare the extant tragedies with one another, until we find a fixed type in the later works of Euripides. Incom¬ parable specimens, it is true, may be cited from the Soph- 0onspicil oclean drama, yet the pr /σα? αγγελικαι of the younger 0 ns in poet were admired in proportion as they were character- EQri P 1(i es. istic and plainly the result of a strong predilection and aptitude. Besides the rapidity, naturalness, and graphic energy of the de¬ scriptions, the admirable clearness of the Euripidean style helped them to a deserved popularity. The performances in the orchestra had shrunk to such narrow dimensions as to leave room for any sort of amplification on the actor’s part. The tendency towards realism also would naturally enlarge the function of the messenger in the drama. The ancient theatre, with its burden of conven¬ tional and mechanical restrictions, afforded slight opportunity for the scenic representation of any complicated action, however wel¬ come such spectacles might have been to the public. Their place must be supplied by spirited narration. Hence, in passing from the ηθοποιία of Sophocles to the scenes of romantic adventure of which our poet latterly became so fond, we find the discourse that mirrors each performer’s whole inner play of thought and impulse dividing the ground with vivid recitals of their deeds. 23 A deus ex machina for the sake of Thoas and the chorus only, would have seemed highly crude and forced. It is better that the first two motives should be merged as they are in the third and inoffensive one. It is pleasant to see Athena with her hands so full of really important business. 30 INTRODUCTION. Messenger for both SeVts and λύσις. The messenger’s narrative in most tragedies concerns the events of the catastrophe, less commonly the earlier part of the action. In the Tauric Iphigenia , as likewise in the Helen and the Bacchantes , there is a messenger both before and after the περί πεταα. The first of the two narrations occurs in the first epeisodion — the event with which it is concerned, the capture of First narra- ... tion, vs. Orestes and Pylades by the Taurians, forming a sequel 260-339. the movements of the two youths exhibited in the prologos, and coinciding in time with the performance of the mort¬ uary ceremony in the parodos of the play. Inasmuch as the mes¬ senger sent by the king to order preparation for the sacrifice is one of the herdsmen who effected the capture, his account is not only that of an eyewitness, but of a participant who recalls with zest the smallest particular of the exciting affair. The impres¬ sions left upon his senses by the spectacle of the strange delirium of the Fury-haunted youth, by the gentle services of the devoted Pylades, by the stout defence of the pair against overwhelming numbers, — these impressions the rustic conveys to Iphigenia and the astounded chorus with such naive force that the story seems to be the deed itself. Rapid epic recital is in truth artis¬ tically more effective, as regards the outlying portions and more distant motives of a drama, than prolonged scenic representation can ever be. By its obliqueness a sense of perspective is produced, a grouping that is helpful to unity of comprehension; the light is not dissipated, but accumu¬ lated and thrown in upon the focal point of the whole play — here upon the centralized action of the second epeisodion. Equally appropriate is the narrative form to the details of the „ , escape after the pretended ceremonv of lustration. The ration, vs. centre of gravity of the play lies inside the second and 1327-1419. third epeisodia. Symmetry and balance call for indi¬ rectness and rapidity in the exodos, where the facts are related to Tlioas by one of his men who had attended on the party and labored to frustrate the attempt at flight. Constructively, the sec¬ ond narration presented a difficulty which the poet was not obliged to meet in the first. The demeanor of the present messenger sug- Artistic advantage of the nar¬ rative form. lib rar> mass A R rrs TIC S TR UCTURE. 31 gests the utmost haste in pursuing the fugitives (he must not yet rec¬ ollect that their escape has been miraculously interfered with); nev¬ ertheless he is allowed to stand there and bring his long story to an end. By the strictest theory, such an inconsistency would be repre¬ hensible. Practically, however, a certain amount of license , . Ancient in this direction was conceded and overlooked. It was the spectators Athenian spectator who ultimately determined the canons not ' closet ** critics.* of dramatic art, and his sensibilities were not of the sort to evolve a law so rigid as to prove destructive of the art itself. 24 In a tragedy genuinely antique, in Aeschylus and Sophocles, we expect to find a chorus that bears its part in the dramatic ^ „ action from first to last, the burden of its songs lending the chorus weight and impulse to the movement of the play. 25 If in tra g® d y· organic unity be essential to a composite work of art, it might be fiairly demanded that any tragedy, by whomsoever written, pro¬ vided it have a chorus at all, should have a chorus that can rea¬ sonably explain why it is there, and, being there, can offer word and deed compatible with its continued presence on the scene. Of the soft and facile grace, the tender pathos of Euripides’ choral odes, 24 It is curious to note liow conscious the poets are apt to be of this theo¬ retical defect, often letting fall some word intended to allay any critical sensi¬ tiveness on the part of the spectator. Here we have Thoas’ remark * they have too long a voyage before them ever to escape my spear,’ v. 1325, cf. vs. 43, 912 ff. One of the numerous examples is et τ φ καί λο^ιζεσθαι σχολή Soph. Aj. 816, at the beginning of the hero’s long soliloquy when about to fall upon his sword. Euripides, who himself found occasion often enough to take advantage of this generous and reasonable indulgence, had the bad taste to slur Aeschylus for availing himself of the same privilege. The remark όνομα δ’ έκαστου διατριβήν πο\\ην εχει | έχθρών ύπ αύτοΊς τείχεσιν καθημενων Phoen. 751, is aimed against the second epeisodion of the Seven against Thebes, which is filled with the messenger’s descriptions of the hostile chiefs, on the eve of battle. But Aeschylus was not unconscious of the dramatic license, and is at pains to help it Septem 379, where the seer is said to have declared the omens unfavorable for an immediate attack. 2a καί τ bv χορον δε eVa δε? ύπολαβε?ν των υποκριτών καί μόριυν είναι του όλου, κα\ συνα'/ωνίζεσθαι μτ) ώσπερ Ευριπίδρ άλλ’ ώσπερ ^,οψοκλε?. Poet XVlii. So again Horace: actoris partes chorus officiumque virile defendat, neu quid medius intercinat actus quod non proposito conducat et haereat apte. De arte poet. 193. Boston college chestnut hill. m INTRODUCTION . considered apart merely as lyrical compositions, this is not the place to speak. Nor can we stop now to give expression to any sympa¬ thy we may feel for a poet who toils reluctantly under the inherited irksome load of a chorus in tragedy. We fortunately have to deal at present with one of the poet’s better choruses, as regards organic excellence. But the doings of no Euripidean chorus call Bi .LbGiniRLGCl e in for extended comment. Its attenuated functions do not Euripides, invite the lingering inquiiy that is inspired by this noble constituent of tragedy before the beginnings of decline. Slavery was not an institution that the thoughtful and humane Euripides could contemplate with indifference. It supplied him, however, with more than one chorus which might have proved Chorus of difficult to levy without its aid. The circumstances are captives. happily brought into play in the tragedy before us. The Greeks whom the Taurians offer up to their sanguinary deity are men ; the women are spared for a life of servitude, and, as the goddess has her virgin priestess in the Grecian Iphigenia, so has the priestess her Grecian maidens serving at the temple. Their hearts can be only with their mistress, their thoughts like hers are away in the paternal land, in dreams they tread once more with merry feet the dancing-lawns of Hellas. There is not a move¬ ment in the drama but appeals to their sympathies and awakens in their minds a genuine and vital interest. The motive for the first appearance of the chorus, the summons Pertinence from the priestess to attend her in pouring the libation of the sev- to Orestes’ shade, is ample and excellent, furnishing as eral choral 1 0 perform- it does the occasion for entering in solemn procession, ances. and for impressive action as well as song in concert with Iphigenia. In short, the parodos, as far as it goes, has the merit The of pertinence and dramatic force. Of Euripides, we have parodos. no right to ask that it should have gone farther, or that more should have been made of it. It has filled the time supposed to be occupied by the capture of the men, and, being commatic, 26 it has given to Iphigenia her first real dramatic opportunity. 26 The parodos is termed * commatic ’ when it consists wholly or in part of a conwios, the performance being divided between chorus and actor. Such ARTISTIC STRUCTURE . 33 The first and second stasima are strictly apposite to the theme; the first looking backward to the venturesome expedition The which has brought the two voyagers to grief, the second stasima. forward to the expected journey of deliverance. In both, the expressions of personal feeling are prompted by the events, and win from the spectator a portion of his sympathy. The third stasimon is remarkable. At the crisis with which it coincides, when the priestess and the victims have passed from the temple, bent on effecting their escape with the image, an ode relating to the action in progress would have been inconsistent with the secrecy promised by the chorus. On the other hand, the subject of the hymn springs directly from the circumstances of the play as a whole. The spectator, who has heard the oracle of Phoebus re¬ proached and discredited by the desponding, sceptical Orestes, listens with renewed reverence to the sacred story of its origin and renown. The brief commos between the chorus and the two friends, immediately after Iphigenia has withdrawn to fetch her gecond letter, is very apt. It affords a needed pause and breath- commos, ing spell, and reflects perfectly the rare pathos of the etc ‘ situation. Finally, the chorus is helped to seem life-like and real, by a touch at the close of the second epeisodion, as Iphigenia implores their secrecy, promising them their own deliverance in return for the favor, and addressing her appeal successively to individual members of the band. 27 parodoi are always impressive and powerful, as may be seen in the fine exam¬ ples afforded by the Prometheus of Aeschylus, and the Electra and Philoctetes of Sophocles. In the parodos of the Tauric Iphigenia , as elsewhere in the tragedy, there are faint echoes of Sophocles’ Electra. 27 Vs. 1068 if. Patin objects to this, as inconsistent with the unity of a chorus in itself. Here the critic commits the common error of attributing to a dramatic personage a consciousness of artistic theory. How is Iphigenia to know that her servants will prove a unit in loyalty, without any exertion on her own part to secure it 7 Moreover, the best choruses betray the human in¬ dividualities of which they are composed, as in the Agamemnon the ehoreutae deliver their several opinions when the king has been struck, and the cory¬ phaeus declares the vote. The unity of a tragic chorus is not like that of the Siamese twins, but of an organized fraternity. The single voices in the paro¬ dos of the Seven against Thebes, and the colloquies of ehoreutae (generally 34 JNTRODUCTTON. Metres and Technique. The learner who at one step passes to tragedy from Homer’s Abruptness s t ea( ty-flowing lines, is at first view bewildered b}’ the of the learner’s step from epos to drama. variety of new metrical forms with which he is con¬ fronted. The verse of the dialogue will not be wholly strange; he is familiar with its analogues in modern poetry; but the lyric measures will seem meaningless, until he finds the key to unlock their secret. He has had no opportunity as yet of examining even the few remains that have been preserved of the intermediate poetic growth which led to the bloom of the Attic drama, through the grafting of epos upon a lyric stock. Nevertheless, if he has wandered well with Homer, and truly learned to know that never-forgotten voice, he will listen most intently for the new tones that tragedy has to utter; nor will his highest imaginings of their beauty and grandeur be disappointed in the end. A perfect insight into the technical composition of the Greek Greek musical drama is impossible, because the data are not drama a complete. The satire of Aristophanes, so far as it perform- relates to technique, is instructive enough, but conveys auce. on iy a general notion of the innovating tendencies which he deprecates. The ancient metrical treatises of a later period are defective and obscure, though they have transmitted a ter¬ minology and the partial basis of a system of rules. Modern investigation has supplemented and perfected the knowledge of recited rhythms and of the several metres and forms of verse in which these are represented. But as regards the lyrical and choral attributed in the editions to hemichoria) in the Ajax, and near the beginning of the Alcestis and the Ion, are instances in point. It has also been urged that the chorus ought not to be present during the scene following the short commos (vs. 657-724), and yet fail to be enlightened by what passes between the two men. The criticism is not sound. Pylades’ name is spoken, as before, but not that of Orestes, nor that of Electra, who is alluded to as ‘ sister.’ There is enough to lead the chorus to attend with heightened curiosity and interest, but there is nothing to help them distinctly to an avayvufnais. METRES AND TECHNIQUE. 35 portions of tragedy and comedy, the learned are not wholly at one in their views, and in this direction a thoroughgoing scientific knowledge is unattainable. The musical notes which . . The accom- were written to accompany the words have been entirely panying lost. We cannot reproduce the melodies nor the orches- music has • · · · 1)6611 lost/· tic movements, nor form a distinct idea of their charac¬ ter. Nevertheless, the rhythmical structure of the lyric texts lies before us, in shapes analogous to those of the recited verse, impres¬ sive to the ear and the feelings, and to the analytic sense per¬ spicuous enough to indicate unmistakably the restraint of law in their creation. The phenomena of strophe and antistrophe alone suffice to prove the thorough inter-adaptation of orchestic, musical, and poetic form, and to attest the conscientious elabo- m , L Wholesome ration that was demanded of the poet. There was cur b s to scope for all true and noble enthusiasm, but not for P oetic the wild saltation of unfettered genius. We can under- genius ‘ stand perfectly why a proneness to replace antistrophic composi¬ tion by lyrical warbling ad libitum should have manifested itself at a period of artistic innovation and decline — why the monodies or arias, which the comic poet visits with unsparing ridicule, grow more numerous and more lengthy, side by side with increasing laxity in other technical matters. To us, the severe precision of rhythmical form compensates largely for the loss of the accom¬ panying music. The choral odes of tragedy were meant, in the first instance, to be sung, but they can still be read , with an effect differing rather in degree than in kind from that with which they were originally chanted; and it is only by the aid of voice and ear that a right appreciation, or, indeed, any honest enjoyment of them, is possible. 28 28 To master the rhythms (the art rather than the science) is the student’s first and most serious business on beginning tragedy, but the dialogue must be recited with skill and fluency before any of the choruses can be successfully tried. A systematic treatment of the whole subject, involving an application of the rhythmical principles of modern music to ancient verse, is Dr. J. H. Heinrich Schmidt’s Introduction to the Rhythmic and Metric of the Classical Lan¬ guages, translated by Professor John Williams White. Schmidt’s method is followed to a considerable extent in Goodwin’s and Hadley and Allen’s Gram- 3 G INTRODUCTION. The Tauric Iphigenia was composed at a time when the regular Iambic verse of the tragic dialogue, the iambic trimeter, received trimeter. less care in the finishing than had been given to it in the earlier days of the drama. Severity of form in the tragic trimeter Relaxed depends largely on the avoidance of frequently recurring severity of trisyllabic feet. Tribrachs are familiar and intrusive, its form. an d they must be worked off by the tragic poet through the same painstaking elaboration that enabled Demosthenes to dignify his prose-rhythm by clearing it of accumulated short sylla¬ bles. If the dialogue of tragedy was to be distinguished from that of comedy by stateliness of movement not less than by seri¬ ousness of contents,—for the comic trimeter verges closely upon voluble inartistic speech, — if Tragedy hoped to walk at the side of her easy-going relative with undiminished claim to deference, she was bound to pay strict attention to this matter. The deteriora¬ tion which actually set in begins to make its appearance not many After about y ears after the beginning of the Peloponnesian War. 420 B.C. Minor variations are, of course, exhibited by the extant tragedies in regard to rigorous treatment of the verse, independ¬ ently of the date of their composition ; a marked laxit}*, however, appears in those composed as late as the second half of the war, and, in the main, this degeneracy is found increasing toward the last, down to the death of Euripides. The ratio of trisyllabic feet in the trimeters of Aeschylus and Sophocles has been estimated as about one to every twenty-five verses. In the earlier plays of Euripides ( Alcestis , Medea , Hippolytus ), the verse approaches the same degree of finish, the Hippolytus , 428 b.c., being the latest of known date that shows this severity of form. But in our tragedy, and in others known to be late, the average is as high as one resolved foot to every five verses. The Philoctetes of Sophocles, 409 b.c., exhibits a free treatment of the verse, but nothing like the looseness found in the Euripidean work of the mars. The remarks on metre in this Introduction are not meant to take the place of anything that is in the grammars; accompanying study of all that can be learned from the Grammar is taken for granted. For a sketch of the prevailing tendencies in the musical arts at the time of Euripides, see Curtius’ History of Greece, Book v., c. ii. METRES AND TECHNIQUE. 37 same period. Naturally, the rhythmical disturbances are not evenly distributed, but tend to accumulate in single verses and groups of verses. 29 The presence of the trochaic tetrameter is another distinguish¬ ing mark of the Iphigenia , as regards technique and time Trochaic of composition. This brisk and tripping measure is said tetrameter * to have been the original verse of the dramatic dialogue, lief ore tragedy and satyr-play became distinct species, when it naturally 29 Numerous passages of similar rhythm to the following might he collected. The first has 6 resolutions to G verses, the second 8, the third 7. άλλ’ άγετε φερετε βίπτετ', el ρίπτειν δοκεΊ· 775 δαίνυσθε τούδε σάρκας. εκ τε yap θεών διολλύμεσθα παιδί τ' ον δυναίμεθ' άν θάνατον άρηξαι. κρύπτετ άθλιον δέμας καί βίπτετ' els ναυς * όπ'ι καλάν yap έρχομαι υμέναιον, άπολεσασα τούμαυτης τεκνον. Troades, 415 n.c. 470 που που θυγατράς της έμης Ίδω πόσιν, Μενέλαον; έπ\ yap τω Κλυταιμνήστρας τάφω χοάς χεόμενος εκλυον ώς εις Ναυπλίαν ήκοι συν άλόχφ πολυετής σεσωσμενος. άγετε με ° πράς yap δεξιάν αυτού θέλω 475 στάς άσπάσασθαι, χρόνιος είσιδών φίλον. Orestes, 408 n.c. 55 άλλ’ & λιπούσαι Τ μωλον, ερυμα Λυδίας, θίασος εμάς y υναΊκες, άς εκ βαρβάρων εκόμισα παρεδρους κα\ ξυνεμπόρους έμοί, αΧρεσθε τάπιχώρι εν πόλει Φρυγών τύμπανα, 'Ρέας τε μητράς εμά θ' ευρήματα, G0 βασίλειά τ' άμφί δώματ έλθούσαι τάδε κτυπεΊτε Πενθεως. Bacchantes, posthumous. The proper names of tragedy, mostly an inheritance from the dactylic epic poetry, present insuperable difficulties in the composition of the strict iambic trimeter. With so much the more care should resolved feet made up of other words be excluded from the same verse with a proper name, and from con¬ tiguous verses. Such passages as those quoted above are difficult to pronounce well, because they call for great fluency and precision of utterance, to pre¬ serve the rhythm. For the same reason the comic trimeter is almost as hard to recite as prose, but a good recitation shows it to be an instrument perfectly adapted to its purpose. 38 INTRODUCTION. came to be displaced by the graver iambic. 30 The persistence of the type is indicated by the Persians , the ratio of trochaics to 30 το τ 6 μετρον εκ τετράμετρου ιαμβε'ιον ε~γενετο · τδ μεν yap πρώτον τετράμετρά εχρώντο διά τδ σατυρικήν καί όρχηστικωτεραν είναι τήν ποίησιν , λεξεως δε yεvoμεvης αύτή ή φύσις τδ οίκεΊον μετρον εύρεν · μάλιστα yap λεκτικδν των μέτρων τδ ΙαμβεΊόν εστιν. σημε?ον τούτου , πλεΐστα yap ίαμβεΐα λεγομεν εν τη διαλεκτψ τη πρδς άλλήλους, εξάμετρα δε όλιγάκις καί εκβαίνοντες της λεκτικής αρμονίας. Arist. Poet. iv. εν 5e τοίς ίαμβειοις, διά τδ οτι μάλιστα λεξιν μιμεισθαι, κτλ. ib. ΧΧΧΐ.βη. The iambic is λεκτικόν (“ adapted to speaking ”), partly because it is a ris¬ ing rhythm with anacrusis: i.e. the ictus is preceded by a preparatory sylla¬ ble or syllables, which lends the gravity of discourse, and links the members with less abruptness. But the trochaic is a falling rhythm; it begins with the beat and has a singing effect. Furthermore, the iambic trimeter verse has the wider scope needed for rhetorical purposes, because it may be employed as a rhythmical unit ( στίχος μονόκωλος), whereas the trochaic tetrameter is invaria¬ bly a period of two members ( δίκωλος ), each member only a dimeter. This double structure is generally emphasized in modern poetry by a rhyme at the end of the first colon, before the diaeresis, thus: — ‘ Lives of great men all remind us We cau make our lives sublime, And, departing, leave behind us Footprints on the sands of time.’ The rhythmical structure is precisely the same, however, when there are no such rhymes and the stanza is printed in two lines: — ‘ Not in vain the distance beacons. || Forward, forward let us range : Let the great world spin forever || down the ringing grooves of change.’ The only difference is that the scope of the verse seems greater when its com¬ posite character is not emphasized by rhyming. Therefore in comparing the iambic trimeter and the trochaic tetrameter as to length, two trimeters must be counted against one tetrameter, i.e. twelve feet against eight. Since the tri¬ meter may or may not be musically divided, it has both the energy and the elasticity of discourse, affording large and weighty rhythmical (and rhetori¬ cal) masses, if needed, with the utmost variety in their distribution (‘pause melody’). The following passage from the Iphigenia illustrates the flexibility of the verse: ώ 7 τότνι, ήπερ μ’ Α υλίδος κατά πτυχάς δεινής εσωσας εκ πατροκτόνου χερός, \ σώσόν με καϊ νυν τούσδε τ’ · | γ) τδ Λοξίου 1085 ουκετι βροτοΐσι διά σ’ ετητυμον στόμα. | άλλ’ ευμενής εκβηθι βαρβάρου χθονδς εις τάς ’Αθήνας · | κα\ y άρ ένθάδ’ ου πρεττει ναίειν, | παρόν σοι πόλιν εχειν ευδαίμονα. The revival of the trochaic tetrameter was a distinct gain to tragedy, pro¬ vided it could be used with moderation, without displacing too largely the ME TR ES A ND TE CHNIQ HE. 39 iambics in that somewhat archaic tragedy being nearly one to three. For the space of half a century, however, it is very spar¬ ingly employed, until effectually revived by Euripides. Revived by The earliest of his plays of known date in which this Euripides, verse appears is the Troades , 415 b.c. ; but since it is extensively used in the probabty older Ion , its revival may be thought of as contemporaneous with the degeneration and heightened rapidity of the iambic trimeter. 31 anapaestic system, or bringing with it a hobbling rapidity of the iambic tri¬ meter. There is no reason in the nature of things why its presence should have been accompanied by these losses and defects, although they seem to have been due in some degree to the same popular tendencies which brought the tetrameter into favor again. Nothing but a strong reactionary feeling could ever have forced this verse so far into the background as it appears to have gone for fifty years. It could not be dispossessed altogether, and the closing scene of the Agamemnon affords a capital illustration of its value, and of the poet’s sense that at certain junctures it was the one appropriate meas¬ ure. The other examples in tragedy outside of Euripides are at the close of the Oedipus Tijrannus (coryphaeus), and near the end of the Philoctetes. In the Oedipus at Colonus there is a single quatrain, pronounced by Theseus as he comes speedily to the rescue: — Tts π οθ' η βο-η ; τί Totipyov; e/c t'ivos φόβου ποτέ βουθυτουντά μ * άμφϊ βωμόν εσχετ ένάλίφ θεφ τουδ' επιστάτη ίολωνοΰ ; λ εξαθ', ώς είδώ τό παν, 890 ού χάριν δευρ' ρ|α θασσον ί) καθ' ηδονήν ποδός. The passage illustrates an ancient notice that trochaic tetrameters were em¬ ployed to accompany entrances on the * double quick,’ tVa δ \6yos συντρεχγ τ φ δράματι (trochee, τ ρεχειν). It is noteworthy that in the Persians the iambic trimeter is employed chiefly for narration, while almost all of the colloquy is trochaic. 81 While the Tauric Iphigenia is proved by its versification to belong to the late Euripidean period, the year of its representation can only be conjectured. No notice touching the date has been preserved, no comment or parody occurs earlier than the passage of the Frogs already mentioned, and it is one of the merits of the play that in itself it contains no definite allusion to current events. The striking similarity of its plot to that of the Helen, 412 b.c., has furnished reason for supposing that the two tragedies stood not far apart in time of composition, though they clearly cannot have belonged to the same tetralogy. Bergk Griechische Literaturgeschichte iii. 552 argues that the Iphi¬ genia must have been later than the Electra, and assigns the Electra (which must have preceded the Helen ) to the year 414, the Iphigenia to 413. Weil, however, Sept Tragedies d'Euripide (Notice sur Electre) assumes 413 as the year of the Electra, and the Iphigenia cannot have been in the same tetralogy 40 INTRODUCTION. The transition to trochaic rhythm in the third epcisodion occurs Ethos of a momen t when Thoas has been completely won over the trochaic by Iphigenia to the supposed religious exigency (v. rhythm. 1202). It marks an acceleration of the proceedings and a heightened excitement, as the king is bidden to perform his part in the ceremony, and the hazardous plot is now actually set , _ , in motion. The liveliness of movement is increased by αντιλα,βαι. the division of each line between the two interlocutors, the division occurring for the most part at the regular diaeresis of the verse, although a monotonous uniformity is avoided, by a different severance in about one-third of the whole number of lines. Such partition — here quite appropriate as a climax after the iam¬ bic stichomythia that precedes — seems even more natural to the tetrameter, owing to its double musical structure, than to the trime¬ ter, although Aeschylus has allowed it in neither. In Sophocles, άντιλαβαί of both measures occur, of trochaics Phil. 1402 ff. Here the divided dialogue is followed by twelve verses of Iphigenia, which fall into three quatrains in respect of the sense, accompany¬ ing the retreat from the temple and off the scene. At an earlier period a similar march would have been accompanied by anapaests, but the trochaic movement is better suited to the suspense and flutter of the present situation. The stichomythia, or dialogue in alternate single verses, gener- στιχομυ- ally understood of iambic passages, but equall} 7 appli- θία. cable to trochaics, is employed by Euripides with the with it. The discrepancy shows how unstable are the grounds of calculation. The argument that the carping at oracles in the play points to the time of the Sicilian Expedition, would amount to little or nothing, even if the passages meant were not thoroughly dramatic. Bergk thinks that such a work as our tragedy is, could not have been composed by Euripides, sensitive as the poet was to impressions from without, in the troubled times immediately after that great disaster. Wecklein, on the other hand, finds a pathetic allusion to the Sicilian catastrophe in the closing words της σορζομίνης μοίρας ευδαίμον^ς ovtgs, see on vs. 1490 f. We should really be glad to know whether the Iphi¬ genia came before or after the Helen. Did a happy inspiration and success¬ ful spontaneous effort lead to an inferior attempt on the same lines ? Or was Euripides able, after giving himself free rein in the semi-comic Helen, to find in it a model for such restraint and single-mindedness as were needed to produce a Tauric Iphigenia ? 41 METRES AND TECHNIQUE. utmost freedom in all respects. The poet’s fondness for dia¬ lectics and set debate, ‘words wrestling down words,’ 32 found one of its outlets in this form of dialogue. Sharpness of repartee and an exquisite subtlety are characteristic of the stichomythia in all three of the tragic masters. Euripides extended its Enlarged jn compass as the vehicle of matter-of-fact conversations scope by intended chieflv to elicit information or to interchange Eurl P ldes · counsel. The long stichomythia between Iphigenia and Orestes in the second epeisodion (vs. 492-569) is a conversation that ad¬ mirably serves its purpose in the gradual approach to the crisis of discovery. The βουλευσις, or council of war (vs. 1017-1051), takes the same form. In the colloquy w r ith Thoas, which, as we have seen, finally passes into trochaic rhythm, the interlocutors are at cross-purposes, as often happens in the stichomythia. A\ r ith the other examples that occur, the play affords a study of nearly the whole range of this species of dialogue. The anapaestic system is employed in the tragedy before us only to a very limited extent. Although the lyrical anapaests, Th presently to be described, may be regarded as partially anapaestic supplying its place, still we cannot fail to note that with system ' Euripides, as time advanced, the anapaestic system, pure and sim¬ ple, came to forfeit a portion of its earlier dignity and importance. The passages that occur in this play, brief as they are, serve to illustrate the original and most common function of the metre. Being a march-rhythm, 33 it regularly accompanies formal entrances 32 άλλ’ ούν \6yoi ye καταπαλαίουσιν Aoyovs Iph. Aul. 1013. The longest stichomythia in Aeschylus, Suppl. 291-323, consists of thirty- three lines, including two distichs at the beginning, and one at the end. In Pr. 36-81 there is a similar dialogue extended to the length of forty-five lines, but one interlocutor speaks in distichs. The longest example in Sophocles is probably Oed. Tyr. 1000-1050, fifty-one lines, including two distichs near the beginning and a quatrain at the end. In the Ion, 264-3G8, a stichomythia is prolonged to one hundred and five lines without a distich, and others of similar extent might be cited from our author. The attempt to find a thoroughgoing numerical symmetry (groups) in the long stichomythiae, has not proved suc¬ cessful, but a tendency to general symmetry and balance is often discernible, see the notes on vs. 69 f., 1027. 33 In reciting anapaests there is danger of the same error that is often com¬ mitted in reading Homer — the error of not taking the time rightly. Since it 42 INTRODUCTION. and exits, whether of chorus or of persons of the drama. At the beginning of the second epeisodion, the approach of the chained and guarded victims is announced in two anapaestic systems by the coryphaeus. Again, there are three systems by the coryphaeus is customary to read English poetry of all sorts in f time, the student finds himself at home, so far as the time is concerned, with Greek iambic, trochaic, and logaoedic verse. But lie is apt to go wrong in reciting the anapaestic system, although its character is destroyed and its spirit lost if the true time (J) be not observed with precision. Mark the time with your feet, left foot to the ictus of the first, and right foot to the ictus of the second anapaest in the metre, until you find that such help can be dispensed with. Take care and give all the quantities their exact value. Never clip a long syllable because the ictus happens to fall on the succeeding short (_ ^ w). Finally, think of nothing but the sense. As the Iphigenia affords but slight material for practice in anapaests, the four systems that form the prelude to the temple-song of Ion are here printed. The youth, who dwells in the temple at Delphi as its servitor, marks the first beam of morning : — 'άρματα μεν τάδε λαμπρά τεθρίππων Ύ]λι os ήδη κάμπτει κατά "γην, άστρα δε φεύγει πυρ τόδ’ απ’ αίθερος 85 els νύχθ' ίεράν, Π αρνησιάδες δ' άβατοι κορυφαί καταλαμπόμεναι την ήμερίαν άψιδα βροτοίσι δέχονται, σμύρνης δ* άνύδρου καπνάς εις ορόφους 90 Φοίβου πετεται · θάσσει δε -γυνή τρίποδα ζάθεον Αελφίς, άείδουσ ’ "Ελλησι βοάς, άς άν ’Απόλλων κελαδήση. άλλ’ ώ Φοίβου ΑελφοΙ θεραπες, 95 τάς Κασταλίας άρ'γυροειδε'ίς βαίνετε δίνας, καθαραΊς δε δρόσοις άφυδρανάμενοι στείχετε ναούς · στόμα τ’ εύφημείν φρουρείτ' άγαθδν φήμας τ’ άγαθάς 100 τοίς έθελουσιν μαντεύεσθαι Ύλωσσης ιδίας άποφαίνειν. ημείς δε, πόνους ούς εκ παιδδς μοχθουμεν αεί, πτόρθοισι δάφνης στεφεσίν θ' ίεροΊς έσόδους Φοίβου 105 καθαράς θήσομεν ύγραΤί τε πεδον ρανίσιν νοτερόν , πτηνών τ’ ά~γελας, αΐ βλάπτουσιν σεμν αναθήματα, τόξοισιν εμοίς φυ~γάδας θήσομεν · 13 METRES AND TECHNIQUE . at the end of the piece, forming the exodos proper: the first is an apostrophe to the happy voyagers ; the second is addressed to Athena; while the third, a concluding formula found at the end of two other tragedies, is a short pra}’er for victory in the dramatic contest on the part of poet and choregus. The iambic trimeter, the trochaic tetrameter, and the anapaestic system are the only metres that were employed in tragedy for recitation or declamation by a single voice. The 67 ™ ?and mode of delivering them was doubtless subject to varia¬ tion according to times and circumstances ; even iambic passages, we are told, were occasionally melodramatic with flute accompani¬ ment, while the trochaics and the anapaestics must have been still oftener performed as chant or recitative. Nevertheless, these three are to be classed together as distinct from the numerous and varied lyrical measures in which those passages are written that were set to music and sung by the chorus in the orchestra or by an actor (από σκηνής) . The distinction between the Distin two classes is brought to view in the language itself, guishedby not merely by the style of expression, but even by the the dialect · dialectic form. In melic passages the old Attic dialect, adhered to with tolerable strictness in the other parts of tragedy, becomes modified by foreign elements, which are admitted not only con¬ ventionally, as the common inheritance of lyric song, but for the desired effects of poetic elevation and transfigurement. The promi¬ nent dialectic variation is the Doric (archaic) ά replacing Attic η in terminations and sometimes in stems. The dialect is at times strikingly helpful as a key to the vocal character of a passage. The ως yap άμήτωρ απάτωρ re yeyws 110 τους θρέψαντας Φοίβου ναούς depanevw. Mrs. Browning pays her respects to this noble verse in Wine of Cyprus : — ‘ Then, what golden hours were for us ! — While we sat together there, How the white vests of the chorus Seemed to wave up a live air ! How the cothurns trod majestic Down the deep iambic lines, And the rolling anapaestic Curled like incense over shrines! * 44 INTRODUCTION. transition, for example, from the regular anapaestic system, which is always purely Attic, to lyrical anapaests will occasionally be sooner revealed by the language than by any departure from the metrical norm. In the exodos of the Persians Xerxes leads off the commos with a regular system of nine verses. The coryphaeus re¬ sponds with another of four verses, which is immediately followed bv one that we recognize as melos bv the change of dialect: — οτοτοΓ, βασιλεύ, στρατιάς αγαθής και ΐίερσονόμον τιμής μεγάλης, 920 κόσμον τ άνόρων, ονς ννν όαίμοη/ ειτεκειρεν. γά δ’ αΐάξει τάν Ιγγαίαν ή'βαν W€p|a κταμεναν "Αιδου σάκτορι Ilcpcrav κτ\. Lyrical or free anapaests are mostly used to express deep sorrow, j> ree as in dirges for the dead. They are sometimes corn- anapaests. bined in systems which differ but slightly from the regu¬ lar system in respect of metrical form ; and sometimes, on the other hand, they convey the very opposite effect of such a com¬ plex by a succession of catalectic verses. Besides the usual cata- lectic tetrapody or dimeter (paroemiac verse), catalectic dipodies and tripodies occasionally occur. The character of the movement varies between the extremes of a purely spondaic flow (_ j_) and accumulated proceleusmatics The spondaic move¬ ment largely predominates, as the expression of resigned grief, while the other extreme, the proceleusmatic, indicates the rebel¬ lious agitation that will at times intrude itself. The proper caesura of the dimeter verse is sometimes wanting. All of these peculiari¬ ties find illustration in the parodos of the Iphigenia. The composition, as usual, is not antistrophic, and it will not be necessary to lay out a metrical scheme for the whole passage. Vs. 123-136 accompany the entrance of the chorus, and form the parodos proper. Ordinarily, the regular anapaestic the dirge, system would have been here employed, but an occasion vs. 123- of religious solemnit} T — the approach to a temple — calls for spondaic rhythm. The first three lines, enjoining a holy silence, are acatalectic, the third without caesura. Parodos. METRES AND TECHNIQUE. 45 J I <1 » f ενφαμειτ , ω πόντον δισσά? συγχωρούσα? 125 πέτρας Ένξείνον ναίοντες. In singing, the first verse was perhaps made to occupy the same time as each of the others, thus: — I_II_I I_I I_I / · / The address to the goddess, immediately following, begins with two prosodiac (processional verses), catalectic tripodies : — ^ Prosodiac ω παΐ τα? Λατου?, and Δικτυνν ονρεια. paroemiao , , verses. These are followed by eight dimeters, of which all but two (vs. 130, 133) are paroemiacs : 34 — Finally, when the chorus has come to a stand at the thymele of the orchestra, the priestess is addressed in a system (vs. 137-142) peculiar only in the spondaic character of three of the verses, including the paroemiac at the close. The remainder of the parodos is at once commos and dirge,— two monodies of Iphigenia, with response by the chorus Commos to the first monody. The words ύμνον ’Ασι^ταν, βάρβαρον (dpyvos), αχάν (v. 180) are an indication of the musical mode of vs. 143- /v v nog the whole composition, Lydian or Phrygian with fiutes (σπονδειακοί αυλοί) . No verses occur that are essentially different from those mentioned above. V. 143 may have been prolonged in the same way as v. 123. Proceleusmatics appear in several lines. 34 Precisely the same form, a succession of paroemiacs, is seen in an εμβατήριον or marching-song of Tyrtaeus that has been preserved. Hence the name πα ροιμιακός, “on the road ” (o?/ios). fryer , ώ Σπάρτα! εύάνδρου κούροι πάτερων πολιατάν, Χαια μεν ϊτυν προβάλεσθε, δόρυ δ' εύτόλμως πάλλον τε5 μ}] ψείδεσθαι τας ζ was · ού yap πάτριον τα Σπάρτα. 46 INTRODUCTION. Vs. 197, 220, 232 contain no long syllables : AAA AAA AAA AAA AAA AAA . In others the movement is not uniform : v. 21 3 , AAA AAA AAA _J__ _ j v. 215, AAA S _ AAA ΆΑΑ ’ _ j V. 231, _ AAA AAA AAA AAA / AAA J_, SC6 the note. The pouring of the drink-offering is accompanied by a system (vs. 170-177) which, again, is nearly regular, but yet remains true to the character of the whole composition, the paroe- miac at the close being purely spondaic. The predominant rhythm for choral songs in the logaoedic. In Logaoedic Sophocles and Euripides, the presumption is that any Btrophes. given ode will be found composed in logaoedic verses. If a different measure is employed, some special reason therefor will be discernible ; as, for example, in the parodos discussed above, free anapaests were chosen for the voice of mourning, and as later in the play dochmiacs will be called for. Logaoedic verse has Variety and n0 special application or distinct ethical character. Its flexibility variations of form and shades of mood are so manifold, of* the * logaoedic that, wherever any sort of lively movement is admissible, rhythm. the rhythm adapts itself to the thought with a subtle harmony which is instinctive to the poet, and recognizable, even when it cannot be formulated in set terms, by the hearer. We may form a conception of the infinite variety of which this rhythm is capable, by reflecting that the odes of Horace are nearly all of them logaoedic : the Horatian stanzas cover a good range of ethi¬ cal expression ; yet not one of them has either the compass or the flexibility of an ordinary strophe of tragedy, while at the same time no two strophes exactly alike are to be found in the whole body of tragic literature. The three stasima of the Iphigenia are logaoedic, the first and second consisting each of two pairs of strophes, the third of one pair. The metrical schemes for them are as follows : 35 — 35 The metrical schemes are transcribed, with the necessary adaptation to the text of this edition, and some other changes (especially in the last scheme printed), from the third volume of Schmidt’s Kanstformen, Monodien und Wech- selgesange cccxix.-cccxxxix. The sign ]] marks the end of a period; the sign || separates the cola. Two short syllables pronounced in the time of one (six¬ teenth notes) are designated by ω. The other symbols are explained in the Grammars. The Roman numerals below the schemes designate the several METRES AND TECHNIQUE. 47 Ys. 392-400 = 407-420. I. —W KJ I | I —w w I —W W I W | w II w : I_ | υ υ u | —o' w | _w | — Λ II > : w w w | _o' | υ υυ | υ | I— I — Λ II ω : —w w I _ w I _ > I o' o' | I— I _ Λ U y ο ο i v - A r y o' I — λ ii _Λ II _ Λ II _o' | _o' |_o' II — A l w • _w 1 1 WO w \y l _w 1 1 _ 1 1_ > • —w 1 _w 1 1_ w • w 1 - w 1 _w 1 _ 1 1_ 1 1 _ First stasimon, metrical schemes. Strophe 1. III. _>|-^o|_o|l_II_>|-^o|l_|_AI] I. 6.5.6. I 6. II. 6.4.4.Ο. |4. III. 4 4. Ys. 421-438 = 439-455. I. _> |_>| —o' o' |_ Λ II Strophe 2. > : -oo | _ o | i— |_AH II. > : — ο» o' 11_| _o | o/ o' o' | —o' o/ |_ Λ II o : — o' | i— | —o' o' I — o | i— I — AH hi. e · i_ i _ y ι i _ a 11 >:_> | ο» o' o' | _ Λ II periods, while the Arabic numerals give the number of bars (feet) in each colon, and show the symmetry of the period, according to Dr. Schmidt’s con¬ stitution of it. The epodes, which are external to the symmetry, are marked off with a vertical line before the numeral; the mesodes will be easily recog¬ nized. Thus in the first period of the first scheme (6.5.6 . | 6 .) there is a pentapody as mesode, and a hexapody as epode, while the first and third cola, hexapodies, balance each other. The schemes are not only of interest as exhibiting the theory of musical structure, but also practically useful as a guide in reading. They show the quantities, help to a right placing of the ictus when this might not be readily found by ear, and are especially needed to indicate the syncopated feet (i_). In lines whose rhythm is not readily caught, the student will sometimes find it worth while to place dots under certain syllables in the text to indicate syn¬ copation or ictus, as %π\ευσαν eVl πόντια κύματα, and δρόμους καλλισταδίους i£et- vov κατά πόντον. * ' Accurate rhythmical recitation of choral odes, so far from being incon¬ sistent with due expressiveness, helps to reveal the effective harmony between sense and form. A fluent and distinct enunciation is needed, and careful practice, until the rhythm takes care of itself, or becomes only a sub-conscious¬ ness, while the mind of the reader dwells upon the thought, the imagery, and the feeling. 48 INTRODUCTION. > > > IV. > £ _ > _> _ > >;_£ |- V. -V, w 1 y: _y 1 VI. £ : l_ | L_ | £ J w w I w | w I -A I i— _A II _A II -A3 1-^ w _ Λ II — AH _w II -A3 I. 4.4. II. 6.G. w | L_ II _ > I -w w III. 4.3.3.4. I 4. I i— I — AH IV. 3.3.3. V. 4.4. VI. 44. Strophe 2 has a somewhat more tripping movement than 1, the cola being shorter and more uniform in length. There is a rather fanciful and imaginative turn of the thought in the second pair, after the questioning and reflective spirit of the first. Observe the close similarity of the final periods. Second stasimon, metrical schemes. Strophe 1. I. _> w — > w w w — W w WWW ii. w : i_ w i_ —w w > i _> > i _> WWW Vs. 1089-1105 = 1106-1122. -All ^ w I . ^ | . ^ | ,W I - ^ I . — > —w w ω w w / w w _ Λ II _AII _A II w J w w > ω > w w > _A3 II _> w — > w ' w > w w w w / w w _A — A — A — A _A _A3 I. 4.4.4.4. I 6. II. 44.44.44.44.44.44. Vs. 1123-1136 = 1137-1151. Strophe 2. I. _ w | —w w | _> |_ Λ II — > | —w w | — w |_w II > : i— | w | —w w |_ Λ II w w w | _> | —> |_ Λ II > : —w w | i— | i_ |_A3 II· w : i— |_w | —w w | i— II —w w | —w w | _w [_ Λ II ^yi_>i-^w|L_n _ w | _y i-ww|_a3 METRES AND TECHNIQUE. 49 III. ω! i_ | -^ w I _ S | i _ II -vul l_ | _ w I _ Λ II —w w | — w w I — w w | —w w II —w w | —w w | —w w | — Λ II — υ I — υ I I— I — Λ 1 I. 4.4.4.4. I 4. II. 44.44. III. 44.44. | 4. The responsion is imperfect in Ινθα τας iXa φοκτόνου, v. 1113. The sentiment is still present that found utterance at the close of the first stasimon, the captives’ regret and vain imaginings. The rhythm of the two odes is very similar. The movement here is quite uniform. Both the uniformity and the lack of anacrusis in the first period of strophe 1 add to the plaintive singing effect. There is some recovery from this steadfast plaint at the close of strophe 2, where the uninterrupted flow of cyclic dactyls is to be noted in the last verse but one. Observe the resemblance in sound between tAeyov and Ιπζσον, μολπαΐς and λόγχαι?, which occupy corre¬ sponding positions in strophe and antistrophe 1. The recurrence of the same strain of music and the same dance-figure enforces such verbal correspondences, which occur frequently and cannot be regarded as accidental. Vs. 1234-1258 = 1259-1283. I. IV. w > ii. >: _ ω w w > > i _ III. ω ω w w ' w w w w w > w ' w / w ' \J ' \J > \J > | -WW I -W I -> I WWW WWW w w w / w > w _A _A _A _A —w w I _> W | — AII w -W W i W I _A 1 _> I I. -> I -w |. — W W I —w w | —W w | _A 1 _> 1 - _ Λ II -All -All WWW WWW _w _ ω — > w w > w w Third stasimon, metrical scheme. w w w w w w w _ w -A3 V. WWW > : -w > : i__ _w ■vul - A II _> | _W I_ Λ II _w | _ Λ II _w | _A II 4 50 INTRODUCTION . ω : —W w | —V-/ w | —w w | — Λ II >: — w | i— | — | —w 11— | — Λ ]] I. 4. | 33. II. 3 . 44.3.3.44.3. III. 5.5.5. | 4. IV. 44.44. V. 3.4.3.3.4. | 6. Dochmiacs. Ια subject the third stasimon stands quite by itself. It is a chapter in sacred histor} 7 , and the one long strophe has a certain tranquillity of rhythm, with a single pointed departure therefrom in the fourth period ; see the note on vs. 1274 f. fin. It is a passage well in keeping with the name λογαοιδικός, “song (dodhj) blended with discourse (λόγο?).” Of dochmii, K. O. Muller says, 4 they are admirably fitted, by their rapid movement and the apparent antipathy of their elements, to depict the most violent excitement of the human mind, while the great variety of form which may be devel¬ oped from them lends itself equally to the expression of strong pas- ^ sion and of deep melancholy. Tragedy has no form teristic more peculiarly her own, nor more characteristic of her tragic entire being and essence.’ 36 Such being the nature of the dochmius, we are prepared to find it a favorite meas¬ ure with the ‘ most tragic of the poets.’ 37 Since in Euripides the chorus has lost much of its earlier intensity of feeling as a dramatic participant, the dochmiacs fall largely to the share of the persons of the play, in monody or in lyrical dialogue. In the Iphigenia they are first met when sung by the chorus in the short commos of the second epeisodion, afterwards in the scene of recognition. Second commos, metrical scheme. Vs. 643-657. Chorus. I. w : ww_w | _w II_ \j |_ Λ II w:wwwww|_u II υ υ _> |_ Λ II 645 36 History of Greek Literature, c. xxii., § 13. By * the antipathy of their elements * the change of tempo (f, f) that occurs inside the colon (w :_ w | _ w II) is meant, the hitching, “slantwise” ( δόχμων ) movement from which the metre gets its name. In the phraseology of mechanics the doch¬ mius might he said to work on an eccentric. 37 κα\ & Ευριπίδης, el καί τα άλλα μή ev οίκονομβ?, άλλα τρα^ικωτατός 7 € τ ^ ρ ποιητών φαίνεται Arist. Poet. xiii. METRES AND TECHNIQUE. 51 Orestes. >: — w |_> | — w |_w I_w | — Λ II Chorus. w i w w_ υ | υ υ w II_w | Λ 11 w : w w_ υ | _w II w w_>| — Λ II Pylades. > :_w I_w |_w |_>·]_w | — AH 650 Chorus. II· !>: w w_>| — > II w w — w | — AH HI. > i i_ | u_ |_ Λ II u : w υ υ | I— I — Aj IV. | w w ^Ι^υυΙΙνυυυυ! All 655 w : w w w | w II_w | A]] I. del. dtl. tr. dd. dd. tr. II. dd. III. 3.3. IV. dd. dd. d. stands for dochmius, tr. for iambic trimeter, νεανία in v. 647 is pronounced with synizesis. The trimeters of Orestes and Pylades, as opposed to the dochmiacs of the chorus, indicate self-control; but they were doubtless chanted, not recited, in these responses. The choral parts may well have been performed by hemichoria. Vs. 827-890. Iphir/enia. I. > _ w | - W | - W 1 - W | - W 1 _ Λ II w • _ W 1 -W l-w - W I _ Λ II w WWW w w | _ Λ II > • w w _ -w 1 _ A H 830 Orestes. II. > • _w 1 -w 1 A 1 :> 1 1 _W | _ Λ II w • WWW | W W W 1 w w w 1 w w w 1 w w. w I_ Λ II w • _w 1 _> 1 W W W 1 _ > 1 c 1 > Scene of recognition (^e \os a7 rb σκηνής), metrical scheme. Iphigenia. HI· w:wwwww|wwwllww_ υ | _w II w υ _ υ | _w II w w _ w | _ Λ II 835 >: — w ] — w | — w | — w | — w | — A II w :_w |_w II_w |_ Λ II w: — w w w | — AH 840 52 INTRODUCTION, Orestes. IV. w: — w Uul _w 1- _> 1 c Γ > II Iphigenia. w : w w -vl. _wll w w _ 1 c 1 > w: 1 _ w I_w I _w 1- _ w 1 c 1 > II >; : w w -vl. -AD V. w I-WW 1 -W w 1- c Γ > 845 w : -w |_ -All w : ; w w -w|_ -wll w w _ 1 c 1 > ω · /W 1- -wl _ All >: w w -W |_ -wll — F=1 < 1 :> 1 Orestes. VI. w : _ w l_w I _w 1- _ w 1 — w I _ Λ II 850 >: _ w l_> 1 __ w 1- _ w l_w |_Λ II Iphigenia. w : . _w w w | _ .>11 w w _ W I _A . II w : — -W |_ . W II w w — w I — A bd Orestes. - VII. > • — W 1 _ w l-w 1- - w 1 - w | . Λ ]] 855 Iphigenia. w : w W _ W 1 _> II w w_w | _ A II > : w w_> | _w II w w_w I _ A II w : w w_w | _w II w W _ W 1 _ A II > • — w | __ __ w 1 i—i A 33 Orestes. VIII. >;_w|_>|_w|_w|_w|_AII Iphigenia. WWW I WWW I WWW | WWW II _ W I _ > I _ W I _ >11 Orestes. >: — w | — w | — w | _w | _ w | _ Λ II Iphigenia. _W | — w |_w I-AJ] IX. >: ww — > | — > II -w | _A II >: — — > I _> II w w w w w | w w Λ II w:wwwww|wwwll ww_w | _AH w :-w | — AH 865 870 METRES AND TECHNIQUE. 53 X. XI. ω w w ω w w ω > ω _w | > I w | kj II _w | > | — w I — w II —w w | —w kj | — Λ II W W W W W I_W II W W - > I — Λ W W_> | _ Λ II —w w I —w u | — Λ II _w | u u > II υ u_>| — Λ II -> I - AM 875 880 w w w w _ XII. w c 1 c Γ V w \_v w i_ | ω -W W 1 w _ ω i_ | ω w w w | —W W I — _w | II w _ _ W I _A I _w I _^ | _w II > I — Λ II —W \J | —W W I _ \J -υυ| _> II —w w W W _ V_y w w w II > _A _A _A _w _A All 885 Λ1 890 895 I. tr. 4 . d. d. (A trimeter is balanced by two dochmii, 4. is mesode). II. tr. tr. tr. III. dddd. tr. dd. | d. IV. tr. dd. tr. | d. V. 5 . d. | dd. 3 . dd. (5 . d. is proude). VI. tr. tr. dd. dd. VII. tr. | dd. dd. dd. | 3 baccliics. VIII. tr.44.tr. | 4. IX. dd. dd. dd. | d. X. 4.4 | 3. dd.d. 3 . dd.d. XI. 4.d.4. 33 . ddd. XII. 3.4. | 3.3. dd. | d. The passage illustrates the facilit}· with which melic trimeters may be combined with dochmiacs. The part of Orestes is entirely in trimeters ; see the note on v. 832. Similarly in the recognition scene of Sophocles’ Electra (1232-1287) Orestes maintains the restraint of trimeters against dochmiacs of his sister. The Sopho- clean composition, however, is antistrophic. ΕΤΡΙΠΙΔΟΤ ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΤΑΥΡΟΙ2. ΤΑ TOT ΔΡΑΜΑΤΟΣ ΠΡΟΣΩΠΑ. ΙΦΙΓΕΝΕΙΑ. ΟΡΕ2ΤΗ2. ΠΥΛΑΔΗ5. ΒΟΥΚΟΛΟΙ. ΘΟΑ2. ΑΓΓΕΑ02. ΑΘΗΝΑ. XOPOS ΕΛΛΗΝΙΑΩΝ ΓΥΝΑΙΚΩΝ. •Λ c) ΕΤΡΤΠΙΔΟΤ ΙΦΙΓΕΝΕΙΑ Η ΕΝ TAYP0I2 ΙΦΙΓΕΝΕΙΑ. Πελοψ 6 Ύαντάλειος εις ΤΙΐσαν μόλων Θοαισιν ϊπποις Οίνομάου γαμει κόρην, εζ ης *Α τρευς έβλαστεν · ’Α τρέως δ’ απο Μεζ'εΑαος 'Αγαμέμνων τε · τον δ* έφυν εγώ, 5 της Ύυνδαρείας θυγατρος 'Ιφιγένεια τταις, ι\ 5 I \ £ / Λ /) / » αμψι οιναις, ας υαμ I. Prologos, vs. 1-122. The scene represents the temple of Artemis of the Taurians. Iphigenia enters from the temple in the garb of priestess, unattended. 1 f. Oenomaus, a son of Ares, and king of Pisa in Elis, had been warned by an oracle that the spouse of his daughter Hippodamia should slay him. He accordingly challenged every suitor for her hand to a chariot- race, the prize of victory to be the maid, but death the condition of de¬ feat. Pelops won by bribing Myr- tilus, the charioteer of Oenomaus, who secretly removed the lineli-pin of his master’s chariot. The car broke down, Pelops slew Oenomaus with his lance, and carried off Hippo¬ damia. As they drove home, Pelops hurled Myrtilus over the cliffs into the sea, to avoid redeeming his pledges. This crime is mentioned Or. 990,1548, Soph. El. 509, but not in the present play. See vs. 824 f. — θοαϊσ-ιν : the E υριπος πυκναΐς Greeks said <5 »mi but generally a I 'ίπποι, cf. v. 192. — ϊτπτοις : const, with μόλων. The first pause in reciting comes after ‘ίππ ois, cf. the quotation and travesty by Aristophanes, Introd. p. 3, ib. p. 25, foot-note. The steeds were naturally a prominent feature in the legend, the gift of Poseidon according to Pindar, cf. εδωκεν δίφρον re χρύσεον πτίροισίν τ’ ακάμαντα* ‘ίππους 01. i. 140. 5. τής Τυνδαρίίας θυγατρος: cf. vs. 800 f. and see the family tree, Introd. p. 8. For the adj. instead of a gen. of the proper name, cf. vs. 1,170, 1115, 1290, & Τυνδαρεία παΐ Κλυταιμνήστρα Iph. Aul. 1532. 6 f. Whom hard by the eddying waters that Euripus with incessant gusts sets whirling as he rolls the blue sea back, etc. Cf. Livy’s description of the spot: baud facile alia infes- tior classi statio est. nam et venti ab utriusque terrae praealtis montibus (c /', iv πτυ- 58 ΕΥΡΙΠ1Δ0Υ ΙΦΙΓΕΝΕΙΑ. ανραις ελίσσων κνανεαν άλα στρεφει, εσφαζεν Έ λενης είνεχ, ώς δοκέ ι, πατήρ 'Αρτεμιδι κλειναίς πτνχαΐσιν Ανλίδος. 10 ενταύθα yap δη γιλίων ναών στόλον 'Κλληνικον σννηγαγ' 'Αγαμέμνων άναζ, τον καλλίνικον στέφανον ’Ιλίου θελων λαβεΐν 'Αχαιούς, τους θ' νβρισθεντας γάμονς *Ελένης μετελθεΐν Μενελεω χάριν φερων. 15 δεινής δ' άπλοιας, πνευμάτων ον τνγχάνων, εις εμπνρ' ήλθε, καί λεγει Κάλχας τάδε · ώ τησδ' άνάσσων Ελλάδος στρατηγίας, * Αγάμεμνον, ον μη νανς άφορμίση χθονός, χαισιν V. 9, κατά 7 ττυχάς ν. 1082) subiti ac procellosi se deici- unt, et fretum ipsura Euripi non septiens die, sicut fama fert, temporibus statis reci¬ procal, sed temere in modum venti nunc hue nunc illuc verso mari velut monte prae- cipiti devolutus torrens rapi- tur. ita nec nocte nec die quies navibus datur. xxviii. 6. 8 f. Έλε'νη? €Ϊν€κα: said bitterly, indicating Helen as the cause of the war and all the troubles that grew out of it, cf. vs. 356, 439 ff., 521-526. — ώ§ δοκ€Ϊ: as he supposed, cf. v. 785; most naturally interpreted as hist, pres. The seeming separation of δοκεΐ from πατήρ (by punctuation) is modern, not antique; there is no pause in reciting. — κλειναΐς : see on ιερός v. 1452. 10. Ενταύθα yap δη : for there it was, etc. — χιλίων ναών: thus constantly in round numbers of the armament against Troy, cf v. 141. 12. τον . . . Ιλίου: the illustrious crown of conquered Troy. Poetic phrase, the relation of Ιλίου being objec¬ tive. 14. μ€Τ€λθ£ΐν: vindicate, reverts to θελων v. 12 for its subject. — χάριν φέρων : to gratify, answers to the Ho¬ meric ήρα φερων. For the pres, par¬ ticiple, see on ανξοντες v. 412. 15. dn-Xoias: may be const, as tem¬ poral gen., although the text is un¬ certain. The “ dire delay ” is here apparently occasioned by lack of wind, so Soph. El. 564. In Aeschylus Ag. 192 the trouble is aggravated by contrary winds. Euripides merely says Ϋ)μεσθ' απλοία χρώμενοι κατ ΑυλΙδα Iph. Aul. 88. 16 if. In order to learn the will of heaven in the matter, Agamemnon resorts to burnt offerings ( έμπυρα , ignispicium), and these are inter¬ preted to him by the seer Calchas VS. 17-24 (ώ τησδε . . . θυσαι). The parenthesis v. 23 is interjected by Iphigenia. 18 f. ου μη . . . άφορμίση κτλ. : thou wilt surely never get thy ships of' from the shore, until, etc. For the const., see G. 257, H. 1032. IPHIGENIA AMONG THE TAUlilANS. 59 πριν αν κόρην σην 'Ιφιγένειαν V A ρτεμις 20 λάβη σφαγείσαν · ο τι γάρ ενιαυτός τέκοι κάλλιστον , ευ£ω φωσφόρω θυσειν θεα. παίδ * ow ευ οίκοις ση Κλυταιμνήστρα δάμαρ τικτει (το καΚΚιστειον εις εμ αναφερων), ην χρη σε θυσαι. καί μ Όδυσσέως τέχναι 25 μητρός παρείλοντ επί γάμοις ’ Αχιλλέως. εΚυουσα ο Αυλιο η ταλαιν υπέρ πυράς μεταρσία ληφθέισ * εκαινόμην ζίφει · άλλ’ εζέκλεφεν έλαφον άντιδουσά μου *Αρτεμις * Αχαιοΐς , διά δβ λαμπρόν αιθέρα 30 πέμφασά μ εις τηνδ' ωκισεν Ταύρων χθόνα , ου avacrcrei βαρβάροισι βάρβαρος Θοας, δς ώκυν πόδα τιθείς ίσον πτεροίς 20 f . Cy. Agamemnon c u m d e- vovisset Dianae quod in suo regno pulcherrimum n atum esset illo anno, immolavit Iphigeniam, qua nihil erat eo quidem anno pulchrius Cic. De offic. iii. 25. — καλλισ-τον : for the position, see on v. 979, and cf. the arrangement in the Ciceronian pas¬ sage.— φωςτφορω : Luciferae, so called as goddess of the moon. Arte¬ mis and Hecate were identified, al¬ though originally distinct divinities. 22. τταΐδα : emphatically placed. Agamemnon had used tck€?v figura¬ tively in his vow, of the fruitful year, but in the fulfilment the word is pressed upon him literally. 23. The words in parenth. are adapted grammatically to \4yei Κάλ¬ χα* v. 16. — το καλλιστεΐον : said with irony, referring to κάλλιστον v. 21. The meed of beauty was death. She was born with ‘ the fatal gift.’ 24 f. The pretended marriage was a device of Odysseus in order to in¬ veigle Iphigenia from her home. 27. Note the halting rhythm of this line. — μ€ταρσ-£α ληφθίί<τα : a graphic expression, answering to λα- 0e χερνιβες βάλωσ * ε/χαί. 61 zw oul·' άδελφω βούλομαι δούναι χοάς παρουσ άπόντι , ταυτα yap δυναίμεθ ’ αζ>, 45 f . ΐΓαρθί'νοκτι . . . cvStiv : so in Homer £ 18 f., when Athena comes in a dream to the sleeping Nausicaa, the princess’ maids are with her. — σάλω : properly of the tossing of waves, cf v. 262. 47. κάξω : καί e£a>. 48 f. And the whole building cast in ruins to the ground from its topmost beams. — e| άκρων σταθμών: equiv. to uaraxpas. 50. μονος . . . στύλος : but there was a pillar left standing alone. 51 f. c ΐΓΪκράνων : a syllable long by position before a smooth or rough mute and a liquid beginning the sec¬ ond part of a compound word, is very rare in tragedy. — κο'μας : obj. of καθέίναι. We should be rather in¬ clined to say “hair flowed down.” It is dreamlike to make the capital of a column become the head of a man. 52-54. The infinitives depend on e5o|ev, e5o£a, implied in the parenthe¬ tic ώ$ e5o|e μοι V. 50. — τιμώσα : in due observance of. 55 if. The dream was intended as a warning to Iphigenia of the coming event. She makes the mistake of in¬ terpreting it with reference to the past instead of the future. Her mis¬ take complicates matters in the play, see Introd. p. 18. 56. ού κατηρξάμην ίγώ: he it was whom I consecrated. 62. 7ταρούσ άιτοντι : see on v. 621. Cf. roLyap θξ\ουσ &κοντ t κοινώνει κακών, I ψυχή, θανόντι ζωσα avy- 7 6νψ κατθανόντων γ' άκροθίνια ξένων. άλλ' έγκυκλουντ οφθαλμόν ευ σκοπειν χρεών. ΟΡΕ2ΤΗ2. . ω ΦοΓβε, ποι μ’ αυ τηνδ' ες άρκυν ήγαγες ϊ ς\ \ \ ?> V 5 / χρησας, επειοη πατρος αιμ ετιεταμήν μητέρα κατακτάς; διαδ οχαις δ’ 'Κρίνύων 80 ηλαυνομεσθα φυγάδες , έξεδροι χθονός , Λ ίϋ*<*+< \ \ \ Ϊ/-/ \ · ορομους τε πολλούς εςεπλησα καμπιμους. ελθων δέ σ' ηρώτησα πως τροχηλάτου μανίας αν έλθοιμ * εις τέλος πόνων τ εμων. 73. θριγκωματα: i’.e. the coping of the altar, which was doubtless a con¬ spicuous object in front of the temple. 74. υιτ avrots : the intensive pron. specifies the θριγκωματα (θριγκοί') apart from the βωμός. “And under that.” 75. : ay.— άκροθίνια ξί'νων : per¬ haps the heads of the victims are meant. It was said of the Taurians, caesorum capita fani parieti- bus praefigebant. tV δε κεφα¬ λήν ανασταύρουσι Ildt. iv. 103. 76. Suggestive of the by-play of Pylades during the following apos¬ trophe of Orestes. 77. “ Whither again into this snare ? ” Orestes had already been twice de¬ luded (as he believed) by the oracle, see Introd. pp. 7 f. The significance of aZ is helped by επειδή κτλ. v. 78. 79. διαδοχαις : by relays of Furies, cf. v. 941. A metaphor from the chase, cf. ούκ ήν λαβεύν [tovs όνους’], εί μη διαστάντες οί Ιππείς θηρφεν δια¬ δεχόμενοι Xen. An. i. 5. 80. ήλαυνο'μίίτθα: pi. for sing., cf. vs. 30, 02, and see on v. 348. — «ξίδροι χθονο'ς : poetic expansion of εκ or e|a> χθονός, cf. ούκ εξεδρος, άλλ’ εντοπος ανήρ, “ our man is not gone, but here,” Soph. Phil. 211. 81. And ran many doubling stretches to the end. A metaphor from the δρόμος δίαυλος, or foot-race of the double course. — καμιτίμους : said with reference to turning the post ( κάμπτειν ) in the race, cf. v. 815. 82. €λθών : i.e. to the Delphian shrine, see vs. 972 if. — τροχηλάτου: whirling. The poet elsewhere uses the verb τ ροχη\ατεΐν of the maddened Orestes, cf. δειναΐ δε K ήρες σ’ αί κυνώπι- δες θεαΐ | τ ροχηλατήσουσ' έμμανή πλα- νωμενον ΕΙ. 1252, τδ μητρδς δ’ αΐμά νιν τ ροχηλατει \ μανίασιν Or. 30. 64 ΕΥΡΙΠΙΛΟΥ ΙΦΙΓΕΝΕΙΑ. 85 90 95 σύ δ’ ειπας ελθειν Τα νρικης μ' ορούς χθονός, ενθ' 'Αρτεμίς σοι σνγγονος βωμούς εχει, λαβεΐν τ άγαλμα θεάς , ο φασίν ενθάδε είς τονσδε ναούς ουρανού πεσείν άπο · λαβόντα δ’ η τεχναισιν η τυχτ) tlvl, κίνδυνον εκπλησαντ , 'Αθηναίων χθονί ο ^ »ο \ » //) / οουναι · το ο ενσενο ουοεν ερρηυη πέρα · καί ταντα δράσαντ άμπνοάς εζειν πόνων, ηκω δε πεισθείς σοΐς λόγοισιν ενθάδε άγνωστον είς γην, άζενον. — ere δ’ ιστορώ, ΐΐυλάδη, σν yap ρ,οι τονδε σνλληπτωρ πόνον, τί δρωμεν; άμφίβληστρα γάρ τοίχων όρας ύφηλά · πότερα κλιμάκων προσαμβάσεις εκβησόμεσθα; πως άν ονν λάθοιμεν άν; 85. «liras : of the divine command. Hence followed by the inf., GMT. 15, 2, n. 3. 86. "Αρτίμίδ 0\ V * Ο» Ϊ > /\ 100 ων ονοεν ισμεν; ην ο ανοιγοντες πυλας ληφθωμεν εισβάσεις τε μηγανωμενοι, θανονμεθ \ άλλα 7τγ)ΐυ θανείν, νεως επι φενγωμεν, ηττερ δενρ * ενανστολησαμεν. ΠΤΛΑΔΗ2. X φενγειν μεν ούκ ανεκτόν ούδ’ ειωθαμεν, 105 του του #€ου re γρησμον ον κακιστεον · υαοΰ δ’ άπαλλα γθεντε,κρνφωμεν δέμας κατ αντρ * ά πουτος νδτίδι διακλνζει μελας, νεως άπωθεν, μη τις είσιδων σκάφος βασιλενσιν €ΐπη κατα ληφθώμεν βία. 110 όταν δε νυκτος δμμα λνγαίας μόλη, τολμητεον τοι ζεστόν εκ ναόν λαβεΐν άγαλμα πάσας προσφεροντε μηγανάς. used of coming to the end sought, as in έξήκειν, (ξίκν^Ίσθαι. Cf. also vs. 81, 90, κλίμακ’ έκπίρα ττοδί Phoen. 100. 99 f. Forcing the bolted doors with crowbars is suggested as a second way of effecting an entrance. — ών ούδέν ϊσμεν : these words do not yield a satis¬ factory sense in the connexion, al¬ though there is nothing objectionable in the ellipse of the principal verb after ή. Great uncertainty attaches to the text of the whole passage vs. 97-100. 102 f. αλλά: nay; see on v. 999. The suggestion to relinquish an ap¬ parently desperate undertaking is perfectly natural in Orestes, despond¬ ent and sceptical as his experiences have made him. He is not wanting in courage, but needs the support and stimulus of another spirit un¬ shaken by guilt and persecution. Moreover, this dangerous enterprise is wholly for Orestes’ sake; hence, in view of the unselfishness which later in the play is seen to mark both the friends, it is natural that Pylades should be the more forward here, and that Orestes should shrink from the fatal consequences that are likely to overtake his companion. 104 f. ούδ* ίΐώθαμέν: nor is it our wont. — χρησμόν : obj. of the verbal, see G. 281, 2; H. 990. — κακιστί'ον: κακίζΐΐν is here clearly equiv. to κακώς \eyeiv, as Orestes had spoken v. 77. 109. βασιλ€ύσιν: generalizing pi., as we say the ‘authorities,’ see II. 036 b. — κάτα : κα\ Ρίτα “ and so.” x 110-112. vuktos ομμα λυγα(α$ : eye of dusky night, poetic phrase for night itself, cf. KeXaivys uvKrbs ομμα, Aesch. Pers. 428. τολμητίον τοι . we must dare, I say. — ττάσας . . . μηχανάδ : bringing all possible contrivances to bear. The participle agrees with the agent, sc. νώ, see the ref. on v. 105. 66 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 115 120 όρα Se γ εισω τρίγλυφων οποί κενόν δέμας καθεΐναι. τους πόνους yap αγαθοί τολμωσι, δειλοί ο εισιν ουόεν ουοαμου. οϋτοί μακρόν μεν ηλθομεν κωπη πόρον , εκ τερμάτων δε νόστον άρουμεν πάλιν. ΟΡΕ2ΤΗ2. άλλ* ευ γάρ ειπας , πειστέον · χωρειν χρεών οποί χθονός κρυφαντε λησομεν δέμας, ου γάρ το τουδέ γ ’ αίτιον γενήσεται πεσειν άχρηστον θέσφατον · τολμητέον · μόχθος γάρ ουδεις τοις νέοις σκηφιν φέρει. XOPOS. 5 / Λ > Τ ευψαμειτ , ω πόντου δισσάς συγχωρουσας 125 πέτρας Έυξεινου ναίοντες. 113 f. ορα δ€ γε : on/y see / Pylades calls attention to the fact that there is opening enough in the frieze for a man to let himself down inside ( οποί — by assimilation for οπού — κενόν έστιν ώστε δέμας εϊσω τριγλύφων κα- θείναι), thus taking up with Orestes’ suggestion of ladders v. 97. In the oldest Doric temples, between the ends of the cross-beams (later repre¬ sented by the τρίγλυφοι in the stone construction) there were open spaces (later panels μετόπαι). Cf. Or. 1371, where a slave escapes from the palace between the triglyphs, Αωρικας τριγλύ¬ φους. — αγαθοί : οϊ αγαθοί. 116 f. We certainly have not rowed this long voyage, only to take up our departure home again from the very goal. This is in reply to vs. 102 f. The neg. οΰτοι logically modifies the sent, as a whole, but the second clause receives the emphasis of the negation. “ After we have come all this way, we won’t go back empty-handed.” 118. άλλα . . . γάρ: at enim. H. 1050, 4 d, cf. v. 646 and the note. 119. ottoi χθονο'δ : for έκείσε οπού χθονός by assimilation, cf. v. 113. — κρυψαντε λησομεν : denotes purpose, as regularly with rel., G. 236, H. 911: for the participle, G. 279, 4; H. 984: “may hide ourselves unobserved,” 120 f. “ It shall certainly be no fault of mine if the oracle prove vain.” — το τούδε : equiv. to τούμόν, i.e. εγώ. 122. Exeunt amho. II. Parodos, vs. 123-235. The chorus enters the orchestra in solemn procession. Of whom it con- IPHIGENIA AMONG THE TAURIANS. 67 ω παι τας Λα τους, Alktvvv’ ουρεί α, προς σαν αυλάν, εύστυλων ναών χρυσηρεις θριγκούς, 130 δσίας οοηον πόδα παρθενίου κλτ)δουχου δούλα πέμπω, Έλλαδος εύίππου πυργους ' / ip ty- 1 ’ * > ο / ο. καί τείχη χόρτων τ ευοενορων 135 εζαλλάξασ’ Έιύρώπαν, πατρώων οίκων έδρας. sists, and the purpose of its coming, has already been seen, vs. 63 if. See also Introd. p. 32, and for the metre ib. pp. 44 ff. 123-125. Admonitory prelude, ad¬ dressed to the public. — εύφαμεΐτε : favete linguis. — ττοντου . . . ναί- ovtcs: the Taurians are with poetic freedom termed dwellers of the double clashing rocks, etc. The Symplegades, the mythical key to the Euxine waters, are continually named in speaking of these regions by Euripides, with his impressible fancy for the picturesque in nature. See vs. 241, 260, 355,1389. — συγχωρούσα^ ireVpas : cf. v. 422, συνδρόμων . . . πέτραν Find. Pgth. iv. 370. Pindar, l.c., briefly relates what the Symplegades were, δίδυμαι yap εσαν ζωαί, κυλινδεσκοντό re κραιπνότεραι. | ή βαρυγδουπών ανόμων στίχες. 126-136. Addressed to the goddess. 126. tcLs Aon-ovs : της Αητούς. For the dialectic form, see Introd. p. 43. So above, εύφαμεΊτε for εύφημεΐτε, be¬ low σαν αυλάν for σην αυλήν, δούλα for δούλη, Εύρώπαν for Ευρώπην, etc. 127. Dictynna of the mountains, a Cretan name of Artemis, as goddess of the chase ( δίκτυον “ hunting-net ”), cf. τ αν πολύθηρον Αίκτυνναν Hipp. 145. 128 f. εύστυλων . . . θριγκού$ : the gilded cornice of thy pillared fane; part for the whole, grammatically in app. to αυλάν. This poetic phrase brings to view the most striking characteristic features of a temple, cf. αύδώ μή χρίμ- πτειν dpiyuois | μηδ' εις χρυσηρεις οίκους Ion. 156, of the temple at Delphi; * Built like a temple, where pilasters round | Were set, and Doric pillars overlaid | With golden architrave ’ Milton P. L. i. 713. 130 f. A holy guardian's slave, my holy virgin foot I guide. — πόδα πεμπειν is a most appropriate expression for a solemn march (πομπή). — κληδού- χου : of Iphigenia as warder of the temple. In some of the antique pictorial designs taken from the present legend, the priestess is to be recognized by the key which she carries. Similarly she is termed πυ¬ λωρός v. 1153, cf. v. 1463. 132-135. The accusatives are the direct objects of e ξαλλά|ασα, cf. ιερόν Τμώλον άμείφασα Bacch. 65, said of themselves by the chorus who have passed from Asia into Europe. — χόρ¬ των: gen. of property with Εύρώπαν, a const, the reverse of ‘Ελλάδος πύρ- yovs καί τείχη. Obs. the chiastic ar- 68 L·*- ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. _ ' X J L,[ , εμολον · τί viov; τίνα φροντί& εχει? ; τι μ,€ π^ος ναούς αγαγες αγαγες , ω παι του τας Τροίας πνργονς 140 ελθόντος κλεινα συν κώπα L L γιΧιοναντα μνριοτενγεί, σπέρμ 'Ατρβίδαν των κΧεινων; »\ ιω * ■ 145 ΙΦΙΓΕΝΕΙΑ. δμ,ωαι, δναθρηνητοις ώς θρήνους ν ν , y ey/ce ιμαι, ταν ονκ ευμουσον μεΧπουσα βοαν άΧνρους εΧεγους, αίαΐ, κη$είους οίκτους , Λ λ- * ί-’ Λ Τ' / η ' > τ οιαι μ,οι σνμ/οαυνονσ αται, σνγγονον άμον κατακΧαυομενα ζωας άπΧακόνθ\ rangement (a b, b a) in these lines. — The land of the Taurians is thought of as Asiatic, and Europe with its woody tracts is regretfully contrasted with the barrenness that here pre¬ vails, cf. vs. 218 f. 137-142. Addressed to Iphigenia, who enters from the temple, with an attendant bearing the drink-offering in a golden urn. — Metrically, the pas¬ sage approaches nearly to a regular anapaestic system, but the Dorisms show that the lyrical character is maintained : ayayes for iiyayes, ras for τής, κλανα κω -irq, χιλιοναΰτς, for κλεινή κωιττ) χιλιοναύττ ;, ’ArpeiSav for ’Ατρει¬ δών. 139 ff. ώ τταϊ κτλ. : cf. S> του στρα- τ ?7 γήσαντος εν Τροία νότε | ’ Ayap. εμ- vovos ναΐ Soph. El. 1. — κώττα : here for armament , just as δόρυ often for army. — μυριοτίυχίϊ : of the number of men, τεύχος being a poetic equiva¬ lent of ονλον, as re υχηστής, Aesch. Sept. 644, is of οπλίτη?. 143-151. Both phraseology and structure are highly characteristic of the lyrical style of tragedy, δυσθρτ,- ν-ητοι θρήνοι, ουκ ευμουσος βοή, αλυρα e\eyot are similar expressions and vir¬ tual repetitions of one thought. The rel. clauses introduced by oicu and ο'ίαν are causal and exclamatory, like ώ? at the beginning. How am I plunged in lamentations deep, chanting the cry unmusical, with dirges meet not for the lyre — wailings, alas, for kindred gene, such are the afflictions that befall me! 146. aXvpois : funereal hymns called for an accompaniment by the Phry¬ gian flute, not the lyre. Cf. rbv S’ άνευ λύρας . . . θρήνον Έρινύος Aesch. Ag. 990, ού νάβλα. κωκυτοΐσιν, ου λύρα, φίλα Soph. Frag. 728. 149. άμον: εμόν. — κατακλαιομί'νά: adapted grammatically to ^κείμαι ν. IPHIGENIA AMONG TIIE TAURIANS. 69 150 ololv ιόόμαν όφιν ονήίρων- νυκτός, τάς εζηλθ’ όρφ να. όλόμαν όλόμαν · S /vWT r\ ονκ εισ οίκοι πατρώου · οιμοι φρονοος γέννα. )< 155 φευ φευ των * Αργεί μόχθων. » \ » \ Ο / c\ ν ιω ιω δαίμων, ος τον Ml·- μουνον με κασιγνητον (τυλας Αιοα πεμψας, ω τασοε χο ας 160 μέλλω κρατήρα τε τον φθυμένων < / / j /-·<“·'··' "‘G .* e νοραινειν γαιας εν νωτοι\ πηγάς τ ονρείων εκ μόσχων Βάκχον τ οινηράς λοιβάς 165 ζονθάν τε πόνημα μέλισσαν , α νεκροΐς θελκτηρια κεΐται. 145. — άπλακόντα: τββ; from άμπλα- κίσκειν, equiv. to άμαρτάνειν. 151. TAis njgrAi icAose gloom has just departed. — τάς : τής relative. 152 ff. The passage is a δυσθρήνη- ros θρήνος, to apply the term used by Iphigenia herself. 154. φρούδος : pred., sc. 4στί. See H. 611 a. With the death of the only son the family is extinct. 156. δαίμων : no particular divinity, but the evil genius of the race, the personified calamitous destiny of the Tantalidae. Cf. vs. 202 ff., 987 f. 160. κρατήρα φθιμί'νων : howl of the deceased. The libatory urn is to the dead what the wassail bowl is to the living, cf. λοιβάν "Αιδα v. 169. 162-166. The particles are correla¬ tive.— The ingredients of the χοαί are milk, wine, and honey. Water, which is usually named, is not mentioned here. Olive oil and flowers might be added. Cf. χοήν χεόμην πάσιν νεκΰεσ- σιν, | πρώτα μελικρήτερ (Jioney and milk), μετεπειτα δε ήδει οϊνιρ, | τ h τρί¬ τον αύθ ’ ΰδατι · έπϊ δ’ άλφιτα λευκά πά- λυνον Horn, λ 26; πρευμενείς χοάς | φε- ρουσ', cure/) νεκροΐσι μειλικτήρια, \ βοός τ άφ' αγνής λευκδν εϋποτον γόλα, | τής τ άνθεμονργου στάγμα, παμφαες μέλι, \ λιβάσιν ύδρηλα Is παρθένου πηγής μετά, | άκήρατόν τε μητρδς άγριας άπο | ποτδν παλαιάς αμπέλου γάνος τόδε · \ τής τ αιεν εν φύλλοισι θαλλούσης "ίσον | ξανθής ελαίας καρπδς ευωδής πάρα, | άνθη τε πλεκτά, παμφδρου γαίας τέκνα Aesch. Pers. 609 ίϊ. 162. ούρίίων : mountain - ranging, hence not subject to the yoke, and suited for sacrificial purposes, cf. βοός τ άφ ’ αγνής Aesch. l.c. 164 f. Bacchus' wing food and the gathered toil of yellow bees; cf vs. 634 f. 166. Gifts that are laid to charm and soothe the dead ; cf. άπερ νεκροΤσι μειλικ - 70 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. άλλ’ ενδος μοι πάγχρνσον τεύχος και λοιβάν ''Αιδα. 170 ω κατά γαίας 9 Αγαμεμνόνιον θάλος , ώς φθιμενω τάδε c τοι πέμπω · δεζαι δ’ · ου yap προς τύμβον σοι ξανθάν χαιταν , ού δάκρυ * οΐσω. 175 τηλοσε yap οή σας απενασυην πατρίδος καί εμάς , ένθα δοκημασι κευμαι σφαχοεισ α τΚαμων. XOPOS. άντιφάλμονς ωδάς ύμνον τ 180 *Ασιηταν σοι, βάρβαρον άχάυ, V%' ·( J 5 >- Ο. / οεσποιν , αντεςαυοασω , ταυ ευ θρήνο ισιν μούσαν ri]pia Aesch. Z.c. — κείται : for the more specific crTreVSercu, but approaching the sense of νομίζεται. Cf νόμος κέιται. 167 f. Said to the attendant who bears the urn. — €v8os μοι: Aamf ;«e. — "Αιδα : Doric genitive. 170-177. These words accompany the pouring, and are addressed to the shade of Orestes. In form, the pas¬ sage, like vs. 137-142, approximates to a regular system, but with Dorisms and spondaic paroemiac as before. 171. 0ct\os: scion. — ως : Iphigenia speaks of her brother’s death as a conviction, not a certainty, and the particle is especially significant to the spectator of the play. 172 f. Cf. v. 703. A lock of hair, freshly shorn from the mourner’s head, was laid upon the grave. 175 if. άττίνάσθην : from avovaleiu. — δοκημασι: in the belie f o f men. — κ€ΐ- μαι : lie low , as often κΦΐσθαι of death. — ά τλάμων : emphatically placed, with the effect of an interjection. 179-185. Prelude, an echo to that of Iphigenia, vs. 143-151. Observe the similarity of the two passages in thought and phrase. 179. άντιψάλμουδ : responsive; said here without regard to the strict sense of ψάλΑαν, which means to pick the string. Cf. Tois 184 f. ν«κυ<η μελομε'ναν : dear to the dead. Cf. βοα βαρβάρψ ιαχάν στενακ- τάν μελομεναν νεκροΊς δάκρυσι θρηνήσω Phoen. 1301. — τάν: rel., as ν. 151.— δίχα παιάνων: const, with εν μολπαΊς, and cf. αλύροίς iKeyois v. 146. The paean is joyful like the music of the lyre. 186-202. This is the ύμνος Άσιήτης, the βάρβαρος ήχή, in response to Iplii- genia, vs. 152 ff. 186 f. οΐκων : limits <ρώς σκήπτρων. — c'ppei φως σκήπτρων : the light of its sceptre is departed. But φως is said esp. with ref. to a person. Cf. the words of Atossa, on being informed that her son Xerxes lives: δώμασιν φάος μέγα Aesch. Pers. 299, δμμα yap δόμων νομίζω δεσπότου παρουσίαν ib. 169. Cf. ν. 848 f. 190. βασιλέων : trisyllable, see on v. 270. 191 if. Sorroio after sorrow springs apace , ever since (οπότε) the sun with circling winged steeds changed his heav¬ enly station and moved his sacred eye of radiance away. The chorus looks back to the original crime in the chain of evils. A lamb with golden fleece, a token of the sovereignty, made its appearance among the flocks of Atreus. His brother Thyestes, with the help of Atreus’ wife Aerope, whose affections he had alienated from her husband, secured the prize and banished Atreus. This led to a miserable feud between the brothers, and in due time to the famous * Thy- estean meal,’ whence the curse of Thyestes against Atreus and his race, and the miracle of the sun-god turn¬ ing back in horror. See vs. 812 f., 816; also El. 718, Or. 812, 996, where the story is told in lyrical language. 192. δινευοΰσαις : δίνη (eddy, vor¬ tex) was a current word of the move¬ ments of the heavenly bodies, cf. ούράνιαί τε δΐναι νεφελας δρομαίου Ale. 245; ridiculed by Aristophanes, ΔΓ- νος βασιλεύει, τδν ΔΓ εξεληλακώς Aub. 828. 193 f. άλλάξα$ «ξ έ'δρας: cf. the prosaic expression for an eclipse, 4κλι- 7Γ cvv την έκ του ουρανού εδρην Hdt. vii. 37. Here the participle governs όμμα. — μ€Τ€βασ€: μετεβησε, cf. ν. 215. 72 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 195 άλως · άλλοτε δ’ αλλα προσεβα χρυσέ ας αρνος μεΚαοροις οουνα, φόνος επί φόνω άχεά τ άγεσιν · ενθεν των πρόσθεν δ/χα θεντων 200 εκβαίνει ποινά Ύανταλιδάν εις οίκους · σπεύδει δ’ άσπουδαστ* επί ετοι δαίμων. ΙΦΙΓΕΝΕΙΑ. ε’^ άρχάς μοι δυσδαίμων δαίμων τάς ματρος ζωνας 205 και νυκτος κείνας · ε’^ άρχάς λδχιαι στερράν παιδείαν Μοιραι συντείνουσιν Θεαί, „ αν πρωτόγονον θάλος εν θαλάμοις 210 Αηδας ά τλάμων κουρά 195 ff. 2Voa> one and now another misery from the golden lamb to the man¬ sion came, murder on murder, woes on ivoes; whence is wreaked upon the house vengeance for the Tantalidae formerly laid low, and at last the demon visits his awful zeal on thee ! — των irpoVGev δμαθί'ντων : first in the series were the slaughtered children of Thyestes, as the chorus reckons. — έκβαίνει: for eK in comp, see on v. 98. — σ-ιτίυδίΐ δ’ ώτίΓΟυδαστα : cf δυσθρηνητοις θρ-ηνοις v. 144, δυσδαίμων δαίμων ν. 203, νΰμφαν δΰσνυμφον ν. 216, χάριν άχαριν ν. 566, δδους ανόδους ν. 888. — coi: is em¬ phatic by antithesis, but δαίμων is so placed as to receive the musical em¬ phasis. See on Όρόσταν v. 235. 203-205. δυσδαίμων δαίμων : adapt¬ ed to the last words of the chorus, the key-note of the strain. — £u>vas : alludes to the symbolical ζώνην λΰσαι , zonam solvere.— vdktos Kcivas: i.e. her mother’s wedding night. By the vow of Agamemnon (vs. 20 f.) an evil destiny attended the very conception of his first-born child. 205-207. if· άρχας : repeated from v. 203. The anaphora is effective, cf vs. 227 f., and see on v. 480. — λοχιαι κτλ . : have the Fates divine of my natal hour drawn hard for me a stern training, auvreiveiv properly denotes any tight strain, here of the threads spun by the Parcae. — θ«αί : monosyllabic. See on v. 270. The verse is catalectic. 209-217. Me, the first-born scion in her halls, whom Leda’s wretched daugh¬ ter bore and bred a victim to cruel out¬ rage at a father’s hand, a joyless sacri¬ fice — me whom, doomed by the vow, they brought with horses and chariots to Aulis’ sandy shore, a bride, alas, that was no bride , for the son of Nereus’ daughter, IPHIGENIA AMONG THE TAURIANS. 73 σφάγιον πατρώα λώβα /cat uva ovk ευγασητον ετεκεν ετρεφεν, ευκταιαν αν ιππείοις εν ΰίφροισι 215 φαμάθων Αύλιδος επεβασαν νυμφαν, οΐμοι, δυσνυμφον τω τάς Ντ ηρεως κουράς, αίαι . iw δ* ' Αζείνου πόντου ζεινα ΰυσχόρτους οίκους ναίω 220 άγαμος άτεκνος άπολις άφιλος, ' ά μναστευθείσ εζ ‘ΈΧλάνων, ου τάν * Αργεί μελπουσ 'Yipav ου& Ιστοϊς εν καλλιφθόγγοις κερκιδι ΐίαλλάόος ’Α τθ&ος είκώ και Τιτάνων ποικίλλουετ , άλλ* Μ.Όβ is me/ Note the alliteration (pa¬ ronomasia) in this passage : θά \os iv θαλάμοις, θυμ ούκ εύ'/άθητον , etc. — οτφά-γιον, θύμα: pred. nouns, the same idea being again expressed in e ύκταίαν (votivam). — «ύγάθητον : ynQelv .— (ύκταίαν : emphasized by its position before the rel., cf, v. 72. — ψαμάθων : the gen. is due to 4πί in comp. Cf. ως κ 4με τ bv δύστηνον 4μης επιβησετε ττάτρης Horn, η 223. —νύμφαν : pred. noun. — Νηρ('ω$ κούραδ : Thetis. 218 f. Cf. τ bv δε Πόντον κατ' 4κεί- vous τούς χρόνους (the times of the Argonauts), ττεριοίκούμενον ΰπύ εθνών βαρβάρων κα\ παντε\ώς άγριων, άξενον προσαΎορεύεσθαι, ξενοκτονούντων των έγχωρίων τούς καταπλεοντας Diod. Sic. iv. 40; συν Νάτον δ’ αϋραις επ' Ά ξείνου στόμα πεμπόμενοι Pind. Pytli. iv. 361. Note the play on the words Άξείνου ξείνα. — ττοντου : const, with οΊκους. Cf. v. 125. — δυ<τχορτου 5 : barren; the op¬ posite of χόρτων εύδενδρων, see on v. 134. The whole passage, vs. 218-228, teems with contrasts. 220 f. The point of the second line is in its contrast with the first. — «ξ: equiv. in sense to ύπό, as often in tragedy. The supposed suit of Achil¬ les is here meant. 221-224. Ilera was the patron god¬ dess at Argos, as Pallas at Athens. Obs. that Iphigenia dwells upon the thought of Pallas, as if she were her¬ self an Athenian woman. — ούδί . . . ττοικίΧλουσ-α : upon the peplus, which was woven by high-born Athenian dames and maidens for the Panathe- naic festival, exploits of the goddess were represented, such as her partici¬ pation in the battle of the gods and giants. — καλλιφθογγοι$ : the pleas¬ ant hum of the comb ( κερκίς ) in weav¬ ing (cf. arguto coniunx percur- rit pectine telas Verg. Geor. i. 74 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 225 αίμόρραντον δνσφόρμιγγ a j- / if' > »t( ςευνων αυμασσονσ arav, οίκτράν τ αίαζόντων ανΰαν οίκτρον τ εκβαλλόντων δά κρνον. και νυν κείνων μεν μου λάθα, 230 τον δ’ ν Αργευ 8μαθέντα κλαίω σνγγονον, ον ελιττον ετημαστιοίον A €ΤΙ βρέφος, ετί νεον, ετυ θάλος 235 γερσίν ματρος προς στερνούς τ V . Λ 5^ / Αργευ σκηπτούχον Ορεσταν. Χ0Ρ02. \ V ί\ \ /)\ / και μην οο ακτας εκλυπων υαΚασσυονς ρονφορβος ηκευ σημανων τι <τοι Feoi\ 294) is remembered in contrast with the voice of lamentation mentioned below. — ττοικίλλουσ-α : equiv. to iror κίΧη ν ύφαίνουσα. 225-228. Leading guests to their blood-besprinkled, sad-sounding doom, whilst theg wail with piteous voice and let fall a piteous tear. — δυσ-φο'ρμιγγα : equiv. to άλυρον, see on v. 146. The text of v. 226 is uncertain, although such phrases as αΐμάσσουσ 'άταν (free cognate acc.) are not uncommon in lyrical language. — οίκτράν τ€ . . . οίκτρο'ν τ£: anaphora. 229-235. κίίνων: of all that; neut. plural. — δμαθε'ντα: the lengthening of the final syllable by position before κλαίω is very exceptional, cf on v. 51. — ίΐτιμασ-τίδιον : metrically defective, as the synaphea requires a consonant at the beginning of v. 232 to lengthen the final syllable of this word. The syllaba anceps is allowed only at the end of the paroemiac, see G. 286, 5; H. 1074 b.—For the reminiscence here, cf vs. 372 ff., 834 f. — ’Opc'o-Tav: the name of Orestes, with its epithets of honor, is saved up to the end of the whole passage for the sake of emphasis and pathos. A lyric strain often thus ends with a proper name, cf. μοΧόντα ravSe yav 'Opearav Soph. El. 163. III. First Epeisodion, vs. 236-391. 236 f. Lo, here comes, etc. Spoken by the coryphaeus, as are all iambic trimeters attributed to the chorus in the dialogue of tragedy. From his position in the orchestra, facing the scene, the leader of a chorus is gen¬ erally the first to observe the ap¬ proach of persons from without. — καί μην : often used in calling atten- IPHIGENIA AMONG THE TAURIANS. 75 Β0ΤΚ0Λ02. Άγα μεμνονός re και Κλυταιμνήστρας τεκνον , ακούε καινών εξ εμού κηρυγμάτων. ΙΦΙΓΕΝΕΙΑ. 240 τί δ* εστι του παρόντος εκπλήσσον λόγου; Β0ΤΚ0Λ02. ήκουσιν εις γήν , κυανεαν Συμπληγάδα πλάτη φυγόντες , δίπτυγοι νεανίας θεα φίλον πρόσφαγμα καί θυτήριον Α ρτεμιοι. γερνιρας οε και καταργματα 1 245 ούκ άυ φθάνοις αν εύτρεπή ποιούμενη . ποδαποί; ΙΦΙΓΕΝΕΙΑ. τιυος yrjs όνομ εγουσιν οι ξένοι; e/ Ελληνες * ευ τουτ’ BOTKOAOS. οιδα κού περαιτέρω. tion to the entrance of a new person ; logically, to a new head or subject of discourse. — οδε : deictic, cf. vs. 268, 285, 456, 460, 724, 727, 1156, 1157, 1222 . 238 f. Obs. the formal and impor¬ tant air of the address. For the part which the herdsman plays in the dramatic economy, see Introd. p. 30. 240. What is it interrupts us in our colloquy? — λο'γου : gen. after eu in composition, δ παριχν λ oyos “ the pre¬ sent discourse,” “our musings,” which had been suddenly disturbed by the entrance of the messenger. See on \6yov v. 578. 241. κυανεαν: ornamental epithet, suiting anything that pertains to the ‘ dark blue ocean/ — Συμττλη-γάδα : the sing, of this word is comparatively rare, cf. vs. 746, 889 f ., ποντίαν ζ,υμπλψ ya5a Andr. 794. 242. δίτττυχοι: poetically for δυο, cf. vs. 474, 1289, 264 (δισσοιίϊ), 456 (δίδυμοι). Apt phrases for the insep¬ arable pair , the ‘ Damon and Pliintias ’ of the legend. 243. ττροσ-φαγμα καί θυτήριον : couplet of synonymous words, cf. atyayiov . . . καί θύμα vs. 211 f., πώς . . . τρόπψ θ' δποίφ VS. 256 f ., χρϊ) . . . καί νομίζςται ν. 471, έπιστάμβσθα καί yiyvdr- σκομβν ν. 491. 244 f. χε'ρνιβα$ δε και καταργματα: another couplet ; the herdsman is full and running over. See on v. 40. — ούκ άν φθάνοΐδ κτλ. : you cannot he too soon in yetting ready. See GMT. 112, 2, n. 3. 76 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΙΦΙΓΕΝΕΙΑ. ούδ’ όνομ ακουσας οισθα των ξένων φράσ at; Β0ΤΚ0Λ02. ΐΙυΧά8ης εκΧηζεθ' ατερος προς θατέρου. ΙΦΙΓΕΝΕΙΑ. 250 του ξυζυγου 8ε του ξένου τί τουνομ ην; ΒΟΤΚΟΛ02. r, , ού8είς τ68' ο18εν · ου yap εισηκουσαμεν. ΙΦΙΓΕΝΕΙΑ. πως δ’ εϊ8ετ αύτους καί τυγόντες εϊΧετε; .λ** ΒΟΤΚΟΛ02. ακραις επί ρηγμισιν άξένου πόρου. L ΙΦΙΓΕΝΕΙΑ. \ / Λ \ / . Ο /\ J '/ και τις υαλασσης ρουκοΚοις κοινωνία; y ΒΟΤΚΟΛ02. ^ t/XW , Γ >■ 255 /3οί)ς ηΧθομεν νίφοντες εναΧία 8ρόσω. ΙΦΙΓΕΝΕΙΑ. εκεισε 8η * πάνεΧθε , πώς υιυ εΐΧετε τρόπω θ’ όποίω · τούτο 248. ούδί : is due to ev τούτο κτλ. ν. 247 ; ονομα in ν. 246 is probably wrong. — οΐσ-θα : superfluous to the Eng. idiom. “ Didn’t you even hear one of their names to tell us ? ” — 4>pcurcu: ωστ e φράσ at. 249. See v. 285. Iphigenia knows nothing of Pylades, see vs. 916-920. — ατερος : δ (repos. — θάτε'ρου: του δτέρου . — προς: for υπό, as εξ v. 221, cf. vs. 365, 368, 692. 250. του ξυζυγου του ξε'νου: of the stranger who was his mate. The const, seems to be like δ άν^ρ δ αγαθός, treat¬ ing ξένου as an adjective. yap μαθέιν ΘέΧω. 252. τυχο'ντες εΐλετε : much the same as k\0vres ετυχετε, cf ·ήν κυρών (i.e. ών έκυρει) Soph. Phil. 371, ib. 544. 253. επί : a syllable may be long by position before initial p in the iamb. trim. Cf. σώματος μέγα βάκος | Aesch. Pr. 1023. — άξενου πο'ρου : the sea is a πόρος ( [thoroughfare ) of ships, as Aeschylus calls the sky πόρον οιω¬ νών Pr. 281. Cf. v. 1388, AlyaTov πόρον Troad. 82, Εύξίίνου πόρου Andr. 1262. 256. The herdsman had begun to tell his story at v. 253, but Iphigenia interrupted him with a new question. She now bids him resume his narra- IPHIGENIA AMONG THE TAURIANS. 77 Λ f * . Λ jL- n / \ V Ϊ i V ο \ Λ χρονιοι yap ηκονσ οιο βπ€ΐ ρωμος t/eas Έλλ'^ζΊκαίσιζ' εξεφοινίχθη ροαϊς. Β0ΤΚ0Λ02. 260 e7rei rol·» είσρεοντα διά Σνμπληγάδων βονς νλοφορβους πόντον είσεβάλλομεν, ην τις δια ρρωζ κυμάτων πολλω σάλω κοιλωπος αγρός, πορψυρευτίκαι στετγ at. ενταύθα δισσους eI8e τις νεανίας 265 βονφορβος ημών, κάνεχωρησεν πάλιν άκροισι δακτνλοισι πορθμευων ίχνος, ελεζε δ* · ούχ ορατέ; δαίμονες τινες θάσσουσιν οίδε. θεοσεβής δ’ ημών τις άνεσχε χείρε και προσενζατ εισιδών · 270 ώ πόντιας π οι Αευκοθεας, νέων φνλαζ, . · δέσποτα Παλαι μον, ϊλεως ημϊν γενον, * ωζ^ tive from the beginning.— ε’-π-άνελθε : for the aphaeresis, see G. 11, 2, n. 4; H. 83. — viv: G. 79, n. 4; H. 261 d a. 258 f. χρονιοι : the familiar use of a pred. adj. instead of an adv., or a prep, with its case. See on v. 1284; G. 138, n. 7; H. 619. — ε’ττεί: equiv. in sense to άφ ου, referring to χρόνιοι. The difficulty in translating this pas¬ sage is chiefly owing to ηκουσι, which is superfluous to the Eng. idiom, cf. v. 42. We should simply say, “it is a long time since the goddess had a sacrifice,” or “ it is a long time since any foreigners have come, as these have, to be sacrificed.” The Greek manages to express both ideas at once. 261. νλοφορβους : cf. fiobs b\o(payoio Kpeas Hes. Works 589. — ttovtov : acc. after els in comp. — είσεβάλλομεν : had bec/un to drive in; note the tense. 262 f. ην: instead of έστι, by assim¬ ilation to the time of the events narrated. — διαρρώξ: frpyvvvai. —dy- μο'ς : ayvvvai. — ττορφυρευτικαί στε'γαι : a shelter for purple-fshers fnop^vpeis, irop / /Ί νυν ο ες ονείρων οισιν ηγριωμεσα, δοκουσ 2 Ο ρεστην μηκεθ' ήλιον βλεπειν, 350 δυσνουν με ληφεσθ\ οϊτινες ποθ ’ ηκετε. /cat τουτ αρ ην αλησες, ησυομην, φιΚαι 340 f. At the end of any long {>ήσις in tragedy there is regularly a di¬ stich of the coryphaeus, to prevent abruptness of transition, cf. vs. 987 f., 1420 f. — τον φανί'ντα : sing., because the account of the strange behavior of Orestes, in his madness, has partic¬ ularly struck the chorus. — orris irorc ηλ0€ν : whoever he may he that has come ; cf. o'lrtves ποθ ’ 7//cere V. 350, η tls el ποτ\ di yvvai v. 483, οστις ποτ 1 el v. G28; ‘ Wer sie aucli imnier sei/ ‘Wer du auch seist’ (Goethe). Exclamations of this sort are artistically calculated to emphasize the irony of the situa¬ tion, since they bring to clearer view than ever the speaker’s ignorance of important truths known to the spec¬ tator. At the same time, they are dramatically natural, being prompted by a growing interest and quickened curiosity. 342 f. Said to the herdsman, who withdraws as bidden. — οΐα : sc. *σται, if the text is right. 344 ff. Iphigenia is alone with the chorus. For her reflections here, see on vs. 55 ff. 344-346. ώ καρδία τάλαινα : self- apostrophizing; cf. v. 881, τέτλαθι δή, κραδίη Horn, υ 18, also the passage quoted from Aeschylus, on v. 62.— γαληνο'δ : the sympathetic, compas¬ sionate heart is likened to the calm, unruffled surface of the waters. — θοΰ- μοφυλον : rb όαόφυλον, abstract for concrete, expanded in the foil, line; cf. αμαθίαν V. 386. 348 f. η-γριώμεθα, δοκοί<τα: cf.^f|κoμev . . . σπ€\>δουσα vs. 578 f., t>v κατύμοσ ’ έμπβδώσομβν V. 790, aπa.λλάξcuμeι' | σώσαιμί re vs. 994 f. The sing, and pi. of the first person are interchanged with great freedom in tragedy. 351. This is a true saying after all , as I have come to perceive, dear friends. 84 ΕΥΡΙΙΤΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ol δυστυχείς yap τοΊσιν ευτυχέστεροι αυτοί κακώς πράξαντες ου φρονουσίν ευ. άλλ’ ούτε πνεύμα Διόθεν ήλθε πώποτε, 355 ου 7 τορθμίς, ητις διά πέτρας Συμπληγάδας ωλένην απηγαγ ενσαο , η μ απωΚεσεν , /Τ' . " ■ ■ Λ '? f?i Μευελεωυ ί7 , ιυ αυτους αντετιμωρησαμην , ττ)υ ενσαο Αυλιν αντισεισα της εκε ι, ου /λ* ώστε μόσχον Δαναΐδαι χειρουμενοι 360 εσφαζον, ιερευς δ’ ό γεννησας πατήρ. οιμοι (κακών yap τών τότ ουκ άμνημονώ ), «/ / <■» »> / οσας γενειου χειρας εςηκοντισα y ■ ι <5^- Ί ■- *y γονάτων τε του τεκόντος εζαρτωμενη , ‘ λεγουσα τοιάδ’ * ώ πάτερ , νυμφεύομαι L — ην: the impf . with tipct, to express a truth tardily recognized; cf. vs. 369, 1310, GMT. 11, n. 6.— ήσθο'μην : an aor. strictly referring to the moment immediately previous to the time of speaking, usually represented by the pres, in English. This is a very com¬ mon idiom in dramatic language; see GMT. 19, n. 5; H. 842. 352 f. γάρ : namely. — The text and the exact interpretation of these two lines are uncertain. In general, the maxim touches the jealousy excited by superior good fortune and the con¬ sequent gratification felt in witness¬ ing its reversal. 354f. αλλά: yet; elliptical. ‘‘Such a feeling would be reasonable enough,” reflects Iphigenia, “if the victims thrown into my hands were really my enemies. But, etc .” — ούτε πνεύμα, ού •π-ορθμίξ : not a breeze, no bark (vj ns). For the negative particles here, cf. τέ ουκ . . . ου VS. 373 f., οϋτ€ . . . καί VS. 591 f., μήτε . . . τε VS. 1017 f., ού . . . ού vs. 173 f. 355-357. tjtis άπή-γαγε : assimilated in time to ήλθε v, but in sense nearly equiv. to ώστε cnrayayuv, see GMT. 65, n. 5. The verb itself is suggestive of Athenian legal language, evl θανάτω airayayeiv. — η μ* άτΓ<ύλεσεν : see on v. 8. — Μενε'λεων : forms an anapaest, see on v. 270. — ϊνα κτλ. : for a past tense of the indicative in a final clause, G. 216, 3; H. 884. 359 f. ού : the rel. links the descrip¬ tion of the scene to the phrase of which it is an expansion ( της έκβΐ), with force and without abruptness; see on vs. 320, 1366. — ώστε μο'σχον: δίκαν χίμαιρας Aesch. Ag. 232, see p. 10. — Δαναίδαι : ductores Danaum delecti Lucr. i. 86, see p. 11.— εσφαζον : note the tense. — ο' γέννησα? πατήρ : see on v. 499. 361-363. Ah me! I cannot forget the horrors of that hour — how oft did I fling my arms wildly forth, to touch his cheek , and to the knees of my parent clinging ! — οσαδ χεΐραξ : οσάκις τω χεΓρε. — γε- νείου: gen. of the part aimed at. 85 IPHIGENIA AMONG THE TAURIANS. ,jU& _ I. 365 νυμφευματ αίσχρά προς σεθεν · μητηρ δ’ ε’/χε σεθεν κατακτείνοντος *Αργεΐαί re νυν υμνουσιν υμέναίοισιν, αύλεΐται δε παν μέλαθρον * ημεΐς δ ’ όλλυμεσθα προς σεθεν. 'Άίδης ’Αχιλλευς 77 U άρ’, ουχ ό Πτ^λεως, 370 oV /χοι προτείνας πόσιν εν αρμάτων οχοις είς αίματηρον γάμον επόρθμευσας δόλω. — εγώ δε λεπτών δμμα διά καλυμμάτων εγουσ\ αδελφόν τ ουκ άνευλόμην γεροΐν, ο? νυν ολωλεζ/, ου κασυγνητΎ) στόμα 375 συνηχ\ί υπ * αίδους, ώς ιουσ είς Τίηλεως 364-371. Observe the repetitions and alliterations in this passage of contrasts. 366-368. Cf. Pacuvius’ imitation : h y ni e n a e u m f r e m u n t | a e q u a- les, aula resonit crepitu mu¬ sic o ( Dulorestes Frag. i.).— νϋν: at this moment; emphatic by its position at the end of the verse. — αύλείται : rings with flutes; passive in Greek; see II. 819, and cf. θυηπολεΐται δ' άστυ μάντεων viro Heracl. 401. 369-371. Hades, it seems, not the son of Peleus, was the Achilles whom thou didst hold out to me as husband, and, with chariots, to nuptials of murder didst transport me treacherously. The ironi¬ cal fancy, ‘bride of Death,’ is fami¬ liar; cf. Αιδης viv cl>s εοικε νυμφεύσει τάχα Ipll. Aul. 461, ου τ’ επινύμφειός πω μέ tls ΰμνος ύμνησήν, άλλ’ Άχέροντι νυμφεύσω Soph. Ant. 815. — ε’ν άρμα των οχοι$ : cf ίππείοις έν δίφροεσι ν. 214. In both passages the reminiscence is prompted by the contrast between the show and the reality. For the periphrasis αρμάτων οχοι, cf. μορφής σχήματα ν. 292, πέΧα'/ος ά\6ς V. 300, πέπλων ύφάς ν. 312. 372-379. The words addressed to the father are at an end. Iphigenia remembers the hour of her parting from the family at Argos. The pas¬ sage is very Euripidean and very mod¬ ern, and it is beautifully expressed. 372-375. εγώ Be κτλ. : the reminis¬ cence here is suggested by the anti¬ thesis of έπόρθμευσας δόλιρ. “ Such was my.father’s cruel deceit, b.ut 1 all un¬ suspecting, etc.” — λειττών . . . εχουσ-α: looking through the gauzy veil; i.e. not drawing it aside, so as to fondle the infant Orestes, and kiss her sister Electra, but retaining it before her face to hide her blushes (i<7r’ αίδούς'). Iphigenia comes from her apartments, to start on her journey, wearing the bridal veil; cf. ούκέτ ’ έι< καλυμμάτων \ (σται δεδορκώς νεοΎαμου νύμφης δίκην Aeseh. Ag. 1178. — ομμα εχουσα : equiv. to βλέπουσα, and like the Eng. ‘keep’ an eye. — αδελφόν κτλ.: see vs. 231 ff. — τε οΰκ : instead of ούτε, in order to leave αδελφόν at the begin¬ ning of the clause, and likewise to join the simple neg. particle directly to the verb, for the sake of emphasis. Similarly, ού in v. 374 is more forcible 86 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. y.-r λ ' > μελαθρα · πολλά ο* άπεθεμην άσπάσματα είσανθίς, ώς ηξονσ ες 'Αργος αν πάλιν, ω τλημον , εί τεθντηκας, εξ οϊων καλών ερρείς, Ορεστα, καί πατρος ζηΚωμάτων . 380 τά 7779 θεόν 8ε μεμφομ at σοφίσματα , 77719 βροτων μεν ην Τίς άφηταί φόνον , τ) καυ λοχείας η νεκρόν uiyrj χεροίν , Ο/-'» / \ce / ρωμων απείργεί , μνσαρον ως ήγονμενη , S \ Λ\ /) : / «/Ο. /-) / ■'*-<*„_ _ / 0.77777 oe σνσίαίς ηοεταί ρροτοκτονοίς. 385 οά /c εσ#’ όπως άι^ ετεκεν η Αίος 8άμαρ Αητω τοσαντην άμαθίαν. εγω μεν ονν τά Ύαντάλον θεοίσίν εστίάματα than otfre would have been; c /', v. 355. — κασνγνητη : see vs. 912 ff.— vir αίδοΰς : construe with all that pre¬ cedes in the sentence. 376 f. Ίτολλά δ€ κτλ. : but many fond caresses I laid up for by-and-by, think¬ ing that I should come to Argos yet again. — ώς ή£ονσα: like cos Ιουσα v. 375. cbs brings to view the deception that was put upon her. Note the sig- matism in these lines, and see on v. 765. 378 f. The apostrophe follows nat¬ urally upon the thought is ‘'Apyos αυ πάλιν, and recalls the speaker once more to her present situation, and to her wonted attitude of humane senti¬ ment, and loathing for an unworthy office. — «ξ οΐων . . . ζηλωμάτων : from what splendor and envied state of our father, Orestes, art thou gone ! Iphige- nia is ignorant of the fate of Aga¬ memnon; see v. 549. — ira/rpos : const, with both substantives ; see on v. 298. 380. σοφίσματα : i.e. inconsistency, explained by vs. 381-384, and desig¬ nated as άμαθία V. 386. 381 f. ητις : ci deity who. For the indef. rel. characterizing a def. ante¬ cedent, see H. 699 a. — βροτών μ«'ν : “ where mortals are concerned; ” note the strength of the antithesis with αυτή Si v. 384. — η καί: or even. 383. cos: there is a touch of sar¬ casm in the particle: “ the goddess would have us believe that she deems such a person polluted.” 385 f. ούκ . . . άμαθίαν : it is impos¬ sible that Leto, the spouse of Zeus, should have given birth to a being of such un¬ wisdom. 386-388. Iphigenia takes the story of Tantalus’ banquet to the gods, and the boiling of his child Pelops, as her illustration of the shocking and in¬ credible in theology, because it is a part of the family history. Pindar 01. i. 82 rejects the same tale as un¬ worthy of belief, saying ipo\ δ’ άπορα yaarpipapyov μακάρων τιν eiVeiV: cf. v. 391. — t -γώ μ«'ν ονν : nay, for my part, I. "While piv enforces the pers. pron., as often, it also belongs to the clause, and serves with Si (v. 389) to offset the two parallel examples — the preparatory one, τά Ταντάλου κτλ., and the present illustration in the IPHIGENIA AMONG THE TAURIANS. 87 άπιστα κρίνω, παιδός ησθηναι βορά , τους δ* ενθάδ\ αντους όντας άνθρωποκτόνους, 390 εις την θεόν το φαυλον άναφερειν δοκω · ονδενα yap οιμαι δαιμόνων είναι κακόν. XOPOS. κυάνεαι κυάνεαι συνοδοί θαλάσσας , στροφή α'. 1ν οίστρος ό ποτώμενος ’Α ργόθεν 395 άζενον επ' οΐδμα διεπερασε πόρτιν 9 Ασιητίδα ya'iav Εύρώπας διαμείφας. τίνες ποτ* άρα τον ευνδρον δονακόχλοα case of the Taurians. — θεοΐσιν ε'στιά- ματα: dat. with noun, instead of an obj. gen.; see H. 765 a. — ήσθήναι: takes its subject from βεοΓσιν. 389 ff. το φαυλον άναφε'ρειν : attrib¬ ute their vileness. The reflection here comes very near the truth of perceiv¬ ing that the Taurian and Grecian goddesses are not identical, or, in other words, that supernatural beings are gifted with purely subjective at¬ tributes. There is nothing like the study of comparative mythology to clear away superstition. IV. First Stasimon, vs. 392-455. Choral ode with dance, while the priestess remains upon the scene busy¬ ing herself at the altar. The burden of the song is a wondering inquiry from what part of Hellas the victors have come (first strophe), and what may have been the purpose of their journey (first antistrophe) ; a glance in fancy at the strange and venturesome voyage (second stro¬ phe), and regretful personal reflec¬ tions stirred by the event (second antistrophe). For the metre, see Introd. p. 47. (First Strophe.) 393. By the “ Dark blue straits of the sea,” the Thracian Bosphorus is meant, here apostrophized as the pass from Europe to Asia, and poetically distinguished by an allusion to the legend of Io. 394 if. Transformed into a heifer (πόρτις), and stung by a pursuing gad¬ fly (οίστρο*), Io started on her wander- - ings from her home in Argos, and the Strait owed its name to her crossing, according to a popular etymology. Cf. Ζσται δε θνητούς eiaael Xoyos μ(Ύας\της σης πορβίας, B άσπορος δ’ επώνυμο* | κε- κλήσεται. λιπουσα 8' Ευρώπης πόδον, | ήπειρον ηξβις Άσιάδα. Aesch. Pr. 732. 395. διε-π-ε'ρασε ττορτιν: the verb is transitive, and the phrase suggestive of the word Βόσπορος (cf. Ox-ford). 396. The const, is different from v. 135, and like saepe Lucretilem | mutat Lyaeo Faunus Hor. Carm. i. 17. 399-401. τον εΰυδρον δονακο'χλοα 88 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 400 λιπόντες Έιύρώταν η ρεύματα σεμνά Δίρκας εβασαν εβασαν άμικτον αίαν , ένθα κουρά Δία τεγγει 405 βωμούς καί περικίονας ναούς αίμα βρότειον; 410 η ροθίοις είλατίνας δ ικρότοισι κωπας έπλευσαν επί πόντια κύματα νάίον οχημα λινοπόροισί τ αυραις φιλόπλουτον άμιλλαν αυζοντες μελάθρ αντιστροφή α'. οισιν; Ενρώταν: cf. rbv υδρόεντα δόνα κι χλω¬ ρόν Ε υρώταν Hel. 349. — ρευ'ματα σεμνά ( revered ) Λίρκας: cf. ή Πεφήνας ΰδρευ- σομενα ( πρόττολος σεμνών ύδ άτ ων εσομαι Troad. 205. — The Eurotas and Dirce respectively designate Sparta and Thebes, as often in poetry the celebrated stream or fount is named instead of the city itself (‘Pirene’for ‘ Corinth ’ in the above quotation from the Troades). 402 if. εβασαν εβασαν % this sort of repetition became a mannerism with Euripides, cf. vs. 138, 152, 392, 864, 893 : ridiculed Ar. Ban. 1352 ff. (see the quotation on vs. 843 f.).— άμικτον αίαν : the unapproachable land, the same thought as άξενον οίδμα ( in¬ hospitable billow ) ; cf (pevysiv 'άμικτον άνδρα (Polyphemus) Cycl. 429.— κουρά Δία : in honor of the Heavenly Maid, i.e. the daughter of Zeus, Artemis.— Notice the quantities in the adj A7os and the noun Aios, Αία. — περικίονας vaoiis: cf. ένστολων ναών v. 128, άμφι- Kiovas vaovs Soph. Ant. 285, and ob¬ serve the poetic plural (pluralis ma- iestatis'). (First Antistrophe.) 407-411. ή . . . μελάθροισιν: the gist of the question lies in the closing words ( φιλόπλουτον κτλ .) ; all the rest is graphic and introductory. The Greek order is natural and effective, but can hardly be preserved in Eng¬ lish. — Was it to heap up fondly-vying riches for their homes, that they, with double-plashing stroke of oars of fir, and canvas-wafting breezes, sailed their ocean-car over the waves of the deep? — po0iois: ρόθων “plash,” “ripple”; cf. vs. 425, 1133, 1387. — 8ικρο'τοισι : κρότε 7v. See on δίτταλτα v. 323. — νάιον όχημα: periphrasis for ναυν cf. ναυτίλων οχήματα Aesch. Pr. 468. — φιλο'ττλουτον άμιλλαν κτλ. : po¬ etic phrasing, perfectly intelligible, though not amenable to the ordi¬ nary processes of translation. Logi¬ cally, it is the άμιλλώμενοι themselves who are φιλόπλουτοι, but here the epith. is transferred to the emula¬ tion which they exhibit. Similarly the emulation, instead of the wealth, is said to be increased. For illus¬ trations of this kind of language, see all the great poets, ancient and modern.— αϋξοντεδ : “trying to in¬ crease”; thus even the pres, partici¬ ple may express purpose, see H. 969 c; cf v. 1440. IPHIGENIA AMONG THE TAURIANS. 89 φίλα yap ελπίς εγενετ επ ι πημασι βροτων 415 άπληστος a νθρωποις, ολβου βάρος οι φέρονται πλανήτες επ' οιδ/χα πόλεις τε βαρβάρους περώντες κείνα 8όζα. 420 γνώμα δ’ οΓς μεν άκαιρος ολβου , τοις δ’ εις μέσον ηκε ι. πώς πέτρας τάς συν8ρο^ ιάδας, πώς Φι^εί'δας α ύπνους άκτάς επερασαν παρ' αλί ον αίγιαλον στροφή β. 414 f. φίλα: fond; adapted to ψι- λόπ\ουτον. — «γί'νίτ €*πΙ πη'μασι: re¬ sults in troubles ; cf. 1 come to grief.’ The aor. is gnomic ; G. 205, 2; II. 840. — άπληστος άνθρώποις : insatiate as it is in man. Dat. of reference ; G. 184, 5; H. 771. Both ανθρώπου and βρο¬ των are meant to emphasize the gen¬ eral (universal) character of the state¬ ment. 416. ολβου βάρος : for the position before the relative, cf. vs. 72, 213. — φί'ρονται : seek to win. Obs. the mid., and the pres, of attempted ac¬ tion. 417 f. As wanderers over the sea, and crossing to foreign states, with ex¬ pectation vain. — πλάνητ«ς : adj. with the force of a participle. — κανά: κενή, κεινός Ionic for κενός, as ξεΐνος for ξένος. 419 f. γνώμα κτλ. : some men have thoughts untimely as to wealth, to others they moderately come. — The strophe ends with a sententious eulogy of moderation in the quest of gain.— άκαιρος: here with a meaning similar to άπληστος v. 415, as the antitheton els μέσον shows. — είς μί'σον ή'κει : equiv. to μεσως (μετρίως') εχει. Tor the impers. use of ήκειν, cf. καλώς μεν αύτοίς κατθανεΐν η κ ο ν (acc. abso¬ lute) βίου Ale. 291; very common in Hdt., e.g. τ rjs πόλιος ευ ηκούσης i. 30. — οΐς μεν . . . ·Λίς 8e : equiv. to τοΊς μεν ... τ οΐς δε : a rare use of the rel. ; see H. G54 d. An example occurs in the celebrated epigram of Phocylides on the people of Leros: κα) τόδε Φ ωκυλί- δεω. Λ εριοι κακοί · ουχ ΐ> μεν, ι ος δ' οΰ · | πάντες πλην Προκλεους · κα\ Π ρο- κλεης Αέριος. (‘ All except Hermann — and Hermann’s a German.’) (Second Strophe.) 421-423. πώς . . . επε'ραοταν: as they entered the Euxine, the adven¬ turers had to run the gauntlet, first of the Symplegades and then of the stormy shores of Salmydessus, the realm of King Phineus; cf παρά δε κυανεων σπιλάδων διδύμας άλός \ άκταί Β οσπορίαι ίδ’ ό Θρηκών άξενος | ’ϊ,αλμυ- δησσός Soph. Ant. 966. — άυπνους : the restless waters of this region ^ere in bad repute with mariners; hence Aeschylus calls the coast ‘stepmother of ships,’ τραχεία πόντου Ί,αλμυδησσία ' γνάθος, \ έχθρόξενος ναύταισι, μητρυιά νεώνΡτ.726; cf. visam gementis litora Bospori Hor. Carm. ii. 20 . 14, insanientem ...Bosporum ib. iii. 4 . 30. 424 f. παρ’ άλιον . . . δραμοντες : 90 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 425 επ Άμφυτρίτας ροθίω δραμόντες, οπού πεντηκοντα κόραν Ν ηρηδων nocrl -χοροί μελπουσιν εγκυκλίους, 430 iv πλησυστίοισυ πνοαίς, σνριζόντων κατα πρυμναν ενναίων πηδαλίων ανραισιν νοτίαις * η πνενμασυ Ζέφυρον, 435 ταν πολυδρνιθον επ αίαν, λεύκαν άκτάν, *Α χιληος δρόμους· καλλυσταδίους, αξεινον κατα πόντον ; by the sea-beach coursing, on Amphitrite’s rippling tide. —The Greek navigator hugged the shore. — Amphitrite (for the etym. cf. ‘Triton’) is the female personification of the great deep; cf. iv πελayει μετά κύμασιν ’Αμφιτρίτης Horn. 7 91. 426-429. ττοσιν εγκυκλίου: to the tread of circling feet; i.e. in κύκλιοι χοροί, ‘ ring-around ’ dances, ever popular with the mermaidens. Cf πα¬ ρά Τ€ λευκοφαη φάμαθον | είλισσόμεναι κύκλια I πεντηκοντα κόραι | N? ψεως ya- μους εχόρευσαν Iph. Aul. 1054. — με'Χ- ιτουσ-ιν: implies dancing, together with the singing; cf μετά μελπομενη- σιν iv χορφ Horn. Π 182, νύμφαι ορε- στιάδες λ^ύμολποι\φοιτώσαι πύκα ποσ- σϊν έπ\ κρηνη μελανύδρψ \ μέλπονται Horn. Ily. xix. 19. 430. Cf. λινοπόροισί τ’ αύραις ν. 410. — t ν: ’mid. 431-434. Whilst the well-shipped, rud¬ der creaks abaft, by stress of breezes from the south, or breathings of Zephyrus. SSW. winds were about what was needed for the main course.— «ύναίων: adjective, proba¬ bly to indicate the ‘ sockets * ( εύναί ) in which the steering-oars ( πηδάλια ) rested. 435 if. Leuce, now Phidonisi or ‘ Snake Island/ an uninhabited islet near the mouth of the Danube, fre¬ quented by sea-birds, was known as the Isle of Achilles, or Race-course of Achilles, although according to some accounts the δρόμοι Άχιλλεως lay on the mainland. It contained a shrine of the hero, and was haunted by his ghost. Cf. Aias Έ,αλαμιν εχει πατρφαν \ εν δ’ Εύξείνψ πελάyει φαεν- νάν Άχιλεύς νάσον Pind. Nem. iv. 79, τύν φίλτατόν σοι παίδ’ εμοί τ’ Άχιλλεα | όφει δόμους ναίοντα νησιωτικούς | Αευ- κτ]ν κατ’ ακτήν εντύς Ε ύξείνου πόρου Androm. 1260. — επ αίαν: const, with έπερασαν ν. 424. — The style of this strophe, one long sentence, with shift¬ ing and suspended rhetorical struc¬ ture, and an ending suggestive of vague distance ( άξεινον κατά πόντον ), is happily suited to the subject- matter. IPH1GENIA AMONG THE TAURIANS. 91 eW' εύχαΐσίν δεσποσυνοίς αντιστροφή β'. 440 Αήδας 'Έλενα φίλα παΐς ελθουσα τυχοί ταν Τρωάδα λιπονσα ττόλιν> ίν άμφί χαίτα δρόσον αίματηραν είλίχθεΐσα λα ίμοτόμω 445 δέσποινας χζρΐ θάνοι ποίνας δουσ*’ αντίπαλους, ηόίστ αν τηνο αγγελίαν δεξαίμεσθ\ Ελλάδος εκ γας πλωτήρων ει Τις εβα , 450 δουλείας εμεθεν δείλαίας παυσίπονος · καί γαρ δνείροίσί συνείην (Second Antistrophe.) 439. εύχαϊσιν δεσποσ-υνοις: in ac¬ cordance with our mistress’ prayer; vs. 354 ff. The adj. is equiv. to a posses¬ sive gen.; cf. πορφυρευτικαί areycu v. 263. 441. ελθουσα τυχοι λπτοΰσα: i.e. ίκθοι Κιττουσα. The first participle is contemporaneous with the verb, see G. 204, n. 2; H. 856 b. The chorus knows nothing of the issue of the Trojan war. 442 f. άμφί χαίτα . . . είλίχθεΐσα : her hair with deadly coronet of lustral loafers wound; cf. v. 622. An ironical metaphor (ελίσσειν for στ^φανονν), made clear as such by αίματηράν, the crowning of the hair being usually a ceremony of festal joy. — δρο'σον εί- λιχθεΐσα : corresponds to an act. const, with two accusatives, ελίσσω (άμφιόν- νομί) aiiTT)u δρόσον, the acc. of the thing being retained when the verb becomes passive. H. 724 a. 444-446. λαιμοτο'μω χερί : a very free representation of Iphigenia's function as priestess; but Helen’s case would be a special one, and the chorus takes the will for the deed in imagin¬ ing it. — δέσποινας χερί θάνοι: note the close similarity to the antistrophic line Νηρτ/δων ποσ\ χοροί (ν. 427), and see p. 49, Rem. on e\eyov — αντιπά¬ λους : defined by v. 358. 447 if. Transition to wishes of a pleasanter sort, dear to the hearts of the captive women themselves. — ήδισ-τα : most gladly of all things. 449-451. ITad but some mariner come , to end the sorrows of my poor servitude. — εΐ tus βεα: defines τ·ηνδ ’ ayyeXiav V. 447, like on ns e/3g, but the condi¬ tional form adds pathos; see p. 18. For the mixed const, see GMT. 54, 1 (a). — δείλαίας: const, with έμόθεν (έμ ου). Note the assonance (δονλεία? . . . δειλαίαϊ) of words at the begin¬ ning of successive lines; cf dea-rroivas . . . ποίνας VS. 445 f. 452 ff. Though it be only in dreams, would that, etc. — καί : even; const, with oveipoiai. 92 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. δόμους πδλει τε πατρώα, 455 τερπνών ύμνων άπολαυευν , κουνάν χαρυν ολβω. ηΤ α 0, ^ άλλ’ οιδε χέρας δεσμοίς δίδυμου συνερευσθεντες γωρουσυ , ΐ'ε'οζ' πρόσφαγμα θεάς · criyare, φίλαυ. τά yap Έλλτρ'ωζ^ άκροθυνυα δη 460 ναοίσι πελας τάδε βαίνει * ούδ’ αγγελίας φενδεΐς ελακεν βονφορβος άνηρ. ώ πότνι, ευ croc τάδ ’ άρεσκόντως πόλυς ηδε τελεί , δεζαυ θυσίας , 465 ας ό παρ’ ημίν νόμος ούχ όσιας άναφαίνευ. ΙΦΙΓΕΝΕΙΑ. τ €1€Ι^ * τά τ^ς #εοί) μεν πρώτον ώς καλώς εχη 455. τερπνών ύμνων: glacl song. To Greeks a characteristic privilege of a blest state of existence; c/I μόλπουσ' "Ηραν vs. 221, 1143 ff. — άπολαυειν: denotes purpose or result.— χάριν: in apposition to the preceding clause, ολβω : όλβος includes all the means and conditions of happiness. V. Second Epeisodion, vs. 456-1088. 456-466. Two anapaestic systems of the coryphaeus, accompanying the entrance of Orestes and Pylades as prisoners, manacled and guarded by attendants. 456-462. Addressed to the cho- reutae. 456. οϊδε : cf. τάδε v. 460, and see on v. 236. 458. σιγάτε : the hush appropriate to the impending rite, and to feelings of mingled awe and compassion. 459. Cf. T ΰριον οΊδμα λιπονσ’ (βαν | άκροθίνια Λοξία | Φοινίσσας από νάσου Phoen. 202 (said by the captive Phoe¬ nician women of themselves). — δη: joined to ακροθίνια, as to a sup. adj., for emphasis ( choice offerings truly ). The whole expression is confirmatory of the herdsman’s description; see on v. 272. 461. ελακεν: λάσκαν is one of the poetic synonyms of \4yeiv. 463-466. Addressed to the goddess. — άρεσκόντως : acceptably. — ιταρ’ ημιν : i.e. παρά to7s "E λλ-ησιν : contrasted with πόλις Vibe .— οΰχ οσίας άναφαίνει : de¬ clares unholy. 467. εΐεν : an interjection not in¬ cluded in the verse indicates a pause IPHIGENIA AMONG THE TAURIANS. 93 φροντιστεον μοι. μεθετε των ξένων χέρας, ώς όντες Ιεροί μηκετ ώσι δέσμιοι. 470 ναόν δ’ εσω στείχοντες εντρεπίζετε α χρη *πί τοίς παρουσι καί νομίζεται. φευ · τις άρα μήτηρ η τεκονσ υμάς ποτέ πατήρ τ αδελφή τ\ εί γεγωσα τυγχάνει; οίων στερείσα διπτυχων νεανίων 475 ανάδελφος εσται. τάς τυχας τις οίδ’ οτω tol αίδ’ εσονται; πάντα γάρ τα των Θεών εις αφανές ερπει , κονοεν οιο ουοεις σαφώς · η γάρ τύχη παρηγαγ * είς το δνσμαθές, πόθεν ποθ' ηκετ, ω ταλαίπωροι ξένοι; 480 ως διά μακρον μεν τηνδ ’ επλευσατε χθόνα , μακρον δ’ άπ οίκων χρόνον εσεσθε δη κάτω. in the delivery ; cf. vs. 472, 627, 742, 1157.— ιτρώτον: i.e. before question¬ ing the prisoners, as she presently means to do. No particles correlative to μ4ν and πρώτον are expressed. 468-471. με'θετε κτλ. : said to the servants of the temple who have led in the victims. 469. The dramatic and artistic mo¬ tives happily coincide: the victims of a god must approach his altar with¬ out constraint (cf. on v. 328), while for the purposes of the coming scene the persons need to he free-handed, and Greeks alone with Greeks. 472 if. Said to the prisoners after the guards have withdrawn. — Iphi- genia takes the youths for brothers ; see v. 497. 472-475. άρα: for &pa, as freq. in tragedy. The inferential particle re¬ fers elliptically to φευ, and is like Eng. indeed, with falling inflection.— αδελφή κτλ. : Iphigenia dwells on the sisterly relation, because her mind is occupied with thoughts of her brother. — γεγώσ-α : equiv. to ονσα. — οϊων : ex¬ clamatory : bereft of what a pair ! 475 ff. Tas τΰχα$ . . . εσονται : tls olbev φτινι τοιαίδε τόχαι εσονται; i.e. “ Who knows whether such a fate may not be his own lot ? ” The anticipa¬ tion (prolepsis, H. 878) and the arti¬ cle rets have a generalizing effect, “ Who knows the ways of Fortune 7 ” 476-478. ιτάντα κτλ.: cf. ‘God moves in a mysterious way, | His wonders to perform.’ — ερπει: epneiv is one of the poetic synonyms of Uvcu. — ή γάρ τύχη κτλ.: for chance mis¬ leads and baffles human understanding. — παρήγαγε: gnomic aorist. 480 f. ws: causal, as in v. 487. — διά μακρού μεν . . . μακρον δε χρο'νον: anaphora should invariably be pre¬ served in translating; here the main 94 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. OPE2THS. τι ταυτ οδυρει, κάπι τοΐς μελλουσι νων κακοίσι λυπείς, ητις ει ποτ, ώ γυναι; ουτοι νομίζω σοφόν, ός αν μελλων θανεΐν 485 οικτω το δεΐμα τουλεθρου νικάν θελη, ούχ όστις 'Αιδην εγγύς όντ οι κτίζεται σωτηρίας άνελπις · ώς δυ’ ε^ ενός κακω συνάπτει , μωρίαν τ οφλισκάνει θνήσκει θ' ομοίως^) την τύχην δ’ εάν χρεών . 490 ημάς δε μη θρηνεί συ * τάς γάρ ενθάδε θυσίας επιστάμεσθα και γιγνώσκομεν. ΙΦΙΓΕΝΕΙΑ. πότερος άρ * υμών ενθάδ * ώνομ ασμενος force of the passage lies in the figure. Long is the voyage ye have made to this land, and long indeed is the time ye will be away, in the world below. — ά,-ιτ οϊκων : uneraphatic, and to be construed with both clauses; see on v. 298. — κάτω : i.e. ev a Aibov. 482 f. κάττί : καί έπί. The prep, has a temporal force, as in the common phrase eV’ έζζ^ασμένοις, and the thought ‘over and above’ is also con¬ tained in it. “ Why worry us when our fate is already sealed “? ” — νων : const, with μέλλουσι : τα μέλλοντα νφν κακά. — λυττίϊς: \vire?v may be used absolutely; cf. &yav ye \vive7s Soph. Aj. 589, \virAs yap id. Ant. 1084. — ήτις et iroTe: see on vs. 340 f. 485. Will overcome by lamentation the terror of his end. 486. ούχ οστις : not him ivho. The clause is a repetition, in slightly dif¬ ferent terms, of the thought just ex¬ pressed in vs. 484 f. For ούκ, see on vs. 354 f. 488 f. σ-υναιττα : we should say simply makes. — t€ . . . rt : the parti¬ cles are correlative, and the two verbs together explain the preceding clause, with asyndeton. Translate namely, etc. — ομοίως: all the same. — «αν: cf. v. 927. 490 f. ημάς. . . ) Λ η ~ οο , et tl οη croc τουτ εν ηοονη μαυειν. ΙΦΙΓΕΝΕΙΑ. 495 ποιας πολίτης πατρίδος 'Έλληνος γεγώς; ΟΡΕ2ΤΗ2. Οι/ν}? τί δ* αν μαθονσα τδδε πλέον λάβοίς , γυναί; ΙΦΙΓΕΝΕΙΑ. πότερον άδελφω μητρός εστον εκ μίας; ΟΡΕ2ΤΗ2. φίλότητί y εσμεν , ού κασιγνητω γενει. σοϊ δ’ ΙΦΙΓΕΝΕΙΑ. ονομα ποιον εθεθ * ό γεννησας πατήρ; ΟΡΕ2ΤΗ2. 500 τδ 8ίκαιον 8νστυγεϊς καλοίμεθ * αι/. with a distich; c /', vs. 1157 ff.— cv- θάδί . .. κίκληται: is called P glades, as the name was reported here (v. 249).— toSc . . . θί'λω: Iphigenia is thinking of her letter that she wants to send to Argos. The name of Pylades, which she has already learned, furnishes her with a good starting-point for inqui¬ ries, in order to test the feasibility of despatching the missive; obs. her next question v. 495, and see vs. 588 f. 494. o8t: indicating his compan¬ ion with a gesture. — cl' τι δη: cf. V. 43. — cv ηδονη : ήδύ (sc. c \ η λ τ £ / » φ '*'/] / προς (7€ωι/ α\ηυως, ω ςεν , ει κειυεν γεγως; ΟΡΕ2ΤΗ2. 510 εκ των Μυκηνών γ\ at ποτ’ ησαν όλβιαι. ΙΦΙΓΕΝΕΙΑ. J/ */» . £.\<- φυγας δ’ άπηρας πατρίδος, η ποια τύχη; ΟΡΕ2ΤΗ2. φεύγω τρόπον γε δη τιν ούχ εκων εκών. , ΙΦΙΓΕΝΕΙΑ. /cat μην ποθεινός γ ήλθες εζ ν Αργους μόλων. ΟΡΕ2ΤΗ2. ουκουν εμαυτω γ * · €t δε crot, cru του#’ όρα. ΙΦΙΓΕΝΕΙΑ. 515 dp’ α^ rt μ,οι φράσειας ων εγω θέλω; 510. γ*': designates Μυκηνών as the specific name (the city), after the generic ("A pyos the district, v. 508). — αΐ ttotc kt\. : said with the bitter¬ ness that pervades all the utterances of Orestes. 511. φυγάς : nom. sing. — οπτήρα* : cf. v. 117, where the origin of the in¬ transitive usage is discernible. 512. φίΰγω: equiv. to (pvyas e Ιμι. — ov\ €κών €κών : cf. (κων άόκοντί ye θυμφ Horn. Δ 43. Here the oxymoron well suits the guarded reticence of the speaker, and is softened by τρόπον ye hi] τινα (in a manner'). Euripides’ fondness for this figure is ridiculed by Aristophanes, Ach. 396 if. 513. iroGeivos ήλ0€*: you are more than welcome. The Greek adjective is stronger than the English. 514. <τύ τοΰθ’ ορα: i.e. “settle that with your own conscience.” Orestes, not knowing what is in the priestess’ mind, interprets π ode. 6 «■ of a welcome victim , instead of a welcome visitor. 515. τΐ ών kt\. : idiomatic for & eyio θόλω, here like the colloquial ‘a thing or two’; cf. i)v δ’ αυ τι μή πpάσσωμev ων iy ώ θόλω Iph. Aul. 1025, συ δ’ elf rt dpaaeis τ ώ ν δ e, μή σχολήν rldei Aesch. Ay. 1059. Iphigenia takes the opportunity of Orestes’ improved com¬ plaisance, to extend her inquiries re¬ garding affairs at home. 98 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΟΡΕ2ΤΗ2. ώς y εν παρεργω της εμης δυσπραζίας. ΙΦΙΓΕΝΕΙΑ. Τροίαν ίσως οισθ\ ης άπανταγον λόγος. ΟΡΕ2ΤΗ2. e / * V ι \ ✓ Ο» \ ν ως μηποτ ωφεΚον γε μηο ιοων οναρ. ΙΦΙΓΕΝΕΙΑ. φασίν νιν ούκετ ουσαν οιγεσθαι δορί. ΟΡΕ2ΤΗ2. 520 εστιν yap όντως , οΰδ* άκραντ ηκονσατε. C ΙΦΙΓΕΝΕΙΑ. 'Έιλενη δ’ άφΐκται λεκτρα Μενελεω πάλιν; ΟΡΕ2ΤΗ2. ηκει, κακώς y ελθονσα των εμων τινί. ΙΦΙΓΕΝΕΙΑ. και που ’στι ; κάμοί γάρ τι προνφείλει κακόν. 516. Ay, trifle as it is beside my fate. — ώς €V ιταρί'ργω: sc. φράσω τί σοι. A common phrase is iv irapipycp θόσθαι τι, “ to treat something as of secondary importance.” — τής €μής: the weight of this expression is probably caused by a feeling of antithesis. “ What seems so highly to gratify you, is after all but a comparatively slight annoyance to me (in this bad busi¬ ness of mine)” — Cf. irapepya τοι τάδ’ ίστ ΐμων κακών Here. Fur. 1340. 518. Ay, and would I never had, even in a dream! — μή-ττοτ* ώφελον: sc. et- Sevai. For the const., see G. 251, 2, with n. 2; H. 871 a. 519. ol'\€cr0cn δορί : cf. οϊχεται σφα- yeis v. 552. δορί is a formula signify¬ ing “ by the fate of war,” as we say ‘ by the sword/ 520. ού 8 * ακραντα κτλ. : litotes; cf v. 461; often with άκραντος, cf. ούδ ’ άκραντ ’ ηκοόσαμεν JBacch. 1231. 522. ή'κίΐ . . . «λθονσ-α: pointed repetition; cf ήλθβς . . . μόλων v. 513. — κακώς *y€ κτλ. : “ and to the sorrow of one of us she came.” — των «μών τιν£: Orestes means his father, whose return (voVros) — the result of the successful ending of the war — was fatal to him. 523. κάμοί κτλ. : we should say “ I owe her a grudge too.” Cf i£bv yap αντφ . . . άπο\όσαι iuelvov, tfaep ττροω- φείλετο αυτω κακόν Antiph. V. 61.— ττρουφίίλα: πρό in comp., of old. IPHIGENIA AMONG THE TAURIANS. 99 Σπάρτη ζυνοικει τώ OPE2TH2. I / if f » < f Λ παρος ςυνευνετη. ΙΦΙΓΕΝΕΙΑ. 525 ω μίσος els 'Έλληνας, ονκ εμοι μόνη. ΟΡΕ2ΤΗ2. Ας-./ .· - i .-O' -.λ’'*? ; ... ■ ■■ ^ ' απόλαυσα κάγώ δη τι των κείνης γάμων. ΙΦΙΓΕΝΕΙΑ. . νόστος δ’ *Κγαιών εγενεθ\ ώς κηρύσσεται; ΟΡΕ2ΤΗ2. ώς πάνθ* ατταζ με συλλαβονσ άνιστορεις. ΙΦΙΓΕΝΕΙΑ. πριν yap θανειν σε , τουτ επανρεσθαι θέλω. ΟΡΕ2ΤΗ2. 530 ελεγχ, επειδή τοΰδ’ ερας · λεζω δ’ εγώ. ΙΦΙΓΕΝΕΙΑ. Κάλχας τις ήλθε μάντις εκ Τροίας πάλιν; ΟΡΕ2ΤΗ2. όλωλεν, ώς ην εν Μυκηναιοις λόγος. ΙΦΙΓΕΝΕΙΑ. ώ πότνι, ώς εν. τί γάρ ό Λα ερτου γόνος; 525. ώ μΐσ-ος : meaning Helen. Ab¬ stract for concrete, as often μ?σο*. 526. άπί'λαυσ-α : απολαύαν is very often used ironically. 528. How you do ash me about every¬ thing at once 1 The νόστοι of the Trojan heroes were too various in their char¬ acter to be described in an answer as concise as the question in v. 527. 529. Dead men tell no tales, and Iphigenia thinks she must get all the information she wants now or not at all. 532. Calchas was believed to have died on his way home from Troy, in the grave of the Clarian Apollo near Colophon, after being defeated by the seer Mopsus in a contest of inantic art. Strabo xiv. 642. 533. losev- sc. υλωλ ev : how good! or ίοο ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΟΡΕ2ΤΗ2. οΰπω νενόστηκ οίκον, εστι δ’, ώς λόγος . ΙΦΙΓΕΝΕΙΑ. 535 δλοιτο, νόστον μηποτ εις πάτραν τυχών. ΟΡΕ2ΤΗ2. μηΰεν κατενχου · πάντα τάκείνον νοσεί. ΙΦΙΓΕΝΕΙΑ. Θετιδος δε της Ν ηρηΰος εστι παίς ετι; ΟΡΕ2ΤΗ2. > ν ν \\ \ / »ν »> Α >\ /£ ονκ εστιν · άλλως λεκτρ εγημ ev Αυλιοι. ΙΦΙΓΕΝΕΙΑ. δόλια yap, ώς ίσασιν οι πεπονθότες. ΟΡΕ2ΤΗ2. 540 τις €ΐ 7ΓΟ0*; ώς eS πυνθάνει τάφ * Ελλάδος. ^ ΙΦΙΓΕΝΕΙΑ. εκεισεν ειμι · παις ετ ουσ απωΚομην. “ how glad I am! ” we should say. — τί γάρ κτλ. : how about Laertes’ son ? The ellipse of πράσσα is regular; cf. vs. 543, 576. Obs. that Iphigenia in¬ quires after her enemies — first of all, Helen of course, then Calchas, finally Odysseus (see v. 24)—before she asks about her friends. 536. “ Pronounce no imprecations upon one who is already plunged in misfortune.” — voΡι / S <·> / ορυως ποοεις αρ ειοεναι τακει, γυναι. ΙΦΙΓΕΝΕΙΑ. τι S’ ό στρατηγός, όν λέγουσ ευδαιμονεϊν; ΟΡΕ2ΤΗ2. τις; ου yap όν y έγωδα των ευδαιμόνων. ΙΦΙΓΕΝΕΙΑ. 545 Άτρεως έλεγετο δτ; τις ’Αγαμέμνων αναζ. ΟΡΕ2ΤΗ2. OVK οίδ’ · άπελθε του λόγου τουτου , γυναί. ΙΦΙΓΕΝΕΙΑ. μ,ή προς #εώυ, άλλ’ ειφ’, IV εύφρανθω , fa /ε. ΟΡΕ2ΤΗ2. / τέθνηχ 6 τλημων , προς δ* άπωλεσέν τινα. ΙΦΙΓΕΝΕΙΑ. //I / Λ τεθνηκε; ποια συμφορά; ταλαιν εγω. ΟΡΕ2ΤΗ2. 550 τί δ’ εστεναξας τούτο; μων προσηκέ σοι; ΙΦΙΓΕΝΕΙΑ. του όλβον αυτου τον πάροιθ’ ■ wO * ' αναστενω. ing with the active voice: eVei yue yas | πατρψας air ώ λ e σ e v | έξφκισεν τ’ οίκων "yafjLOS ού yapos Hec. 940, said by Trojan captives of the union of Paris and Helen. 544. ού γάρ κτλ. : e/ceiWs ye tv iy ω οΊδα ούκ v των €υδαιμόνων. 545. iXiyero δη: i.e. 4\eyeTO evdai- μονε Ίν. 546 f . Xoyov : subject. — «ϊφ* : elire. 548. irpo's : adv., besides. — άττώΧί - σ-ί'ν τινα : Orestes means himself ; cf. ϊ)δ’ ουν OaveiraL, καί Θανούσ ' oXet τινα Soph. Ant. 751, said by Haemon of himself. 550. τί . . . τούτο : why that sigh ? — ccrTe'vafjas : see on ήσθόμτην v. 351. — τούτο: cognate accusative. 551. Iphigenia had nearly betrayed herself at v. 549. The excuse which 102 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΟΡΕ2ΤΗ2. δεινως γαρ εκ γυναικος οϊχεται σφαγείς. ΙΦΙΓΕΝΕΙΑ. ω πανδάκρυτος ή κτανούσα γω θανών. ΟΡΕ2ΤΗ2. παύσαί νυν ήδη μηδ’ ερώτησης πέρα. ΙΦΙΓΕΝΕΙΑ. 555 τοσουοε γ’, ει του ταλαίπωρου δάμαρ. ΟΡΕ2ΤΗ2. ού /c εστι · τταις υιυ, ου ετεχ\ ουτος ώλεσευ. ΙΦΙΓΕΝΕΙΑ. ■ i» ft ··*■ f Tf.· . Γ 1 ω συνταραγθείς οίκος, ως τι δη θελών; ΟΡΕ2ΤΗ2. πατρος θανόντος τήδε τιμωρούμενος. . Λ ΙΦΙΓΕΝΕΙΑ. φευ * ώς ευ κακόν δίκαιον εισεπράζατο . she here gives for her outburst of feeling is genuinely Greek. 6y. vs. 378 f. 552. γάρ: confirmatory of the change of fortune lamented by Iphi- genia.— eK^vvaiKos: i.e. £k tt)s yv- vaiK0s. This would be understood by the spectator, and Iphigenia is natu¬ rally represented as understanding it. — For e/c see on vs. 220 f. 554. Orestes sees that the conver¬ sation is approaching what is to him the most painful matter of all. 556. irais νιν κτλ. : the son whom she bore, that same son slew her. Note the pathos and gravity in expression and arrangement: Sv eTe/ce, like 6 yev- νησας πατήρ v. 360; ovtos, placed after the rel. clause for rhetorical effect. 557. ws τί δή θε'λων : pray with what intent ? ws, idiomatically with the par¬ ticiple. 558. Wreaking vengeance in this way for his father’s death. Cf. v. 925. — TraTpos θανο'ντο? : causal gen.; the same const, as if θανάτου or φόνου were substituted for the participle. — τηδ«: ωδβ. — τιμωρουμ€νος : sc. αυτήν. For the pres, participle denoting pur¬ pose, see on ai^ovTes v. 411. 559 f. φίύ : see on v. 467. The exclamation and pause at this point are highly effective, well suiting the conflict of judgments that is brought IPHIGENIA AMONG THE TAURIANS. 103 OPE2TH2. 560 άλλ* ου τα προς θεών ευτυχεί δίκαιος ων. ΙΦΙΓΕΝΕΙΑ. λείπει δ’ εν οίκους άλλον 5 Αγαμέμνων γόνον; ΟΡΕ2ΤΗ2. λελουπεν 9 ϋλεκτραν γε παρθένον μίαν. ΙΦΙΓΕΝΕΙΑ. ' - - μΑ-,'· ·■ λ τι δε; σφαγείσης θνγατρος εστι τις λόγος; ΟΡΕ2ΤΗ2. ουδέίς γε , πλην θανονσαν ούχ όραν φάος. ΙΦΙΓΕΝΕΙΑ. 565 τάλαιν εκείνη χώ κτανων αυτήν πατήρ. ΟΡΕ2ΤΗ2. κακής γυναικος γ^άριν άχαριν άπωλετο. ΙΦΙΓΕΝΕΙΑ. 6 του θανόντος δ’ εστι παΐς *Αργεί πατρός; ΟΡΕ2ΤΗ2. ,ο γε, κουοαμου και πανταγου. εστ , αυΚιος to view by the oxymoron κακόν δί¬ καιον . — δίκαιον: instead of δίκην (ret¬ ribution) for the sake of the pointed rejoinder δίκαιοί &v. — «Ισί-π-ρά^ατο : exacted. — τά irpos θίών : acc. of speci¬ fication. — «ύτυχίΐ : adapted with point to e5 above. — The force and elegance of this distich can be shown in English only by a very free paraphrase. Iph. “Ah! an evil deed of justice right well done.” Or. “ Yet Heaven does not well by him, just though he be.” 663 f. τί δ«' : transitional formula in questioning; τί yap is used simi¬ larly; cf. v. 820. — ττλήν κτ \. : the inf. stands in indir. disc.: sc. \6yos iariv. 566. For a bad woman’s graceless sake she perished. — κακής γυναικος : Helen. 567 f. I' άτι : in both lines not the mere copula, but a verb of existence. — κοΰδαμοΰ καί ιτανταχοΰ : καί . . . καί, correlative. Oxymoron again; here to depict the victim of the Furies, driven restlessly from place to place. The expression is also a bitter reply to "A pyei in the question of Iphigenia. 104 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΙΦΙΓΕΝΕΙΑ. , Λ Λ V / » S ο. \ <5> » ν ψενοευς ονείρου, Reaper · ονοεν ητ αρα. ΟΡΕ2ΤΗ2. 670 ουδ’ οι σοφοί, ye δαίμονες κεκλημενου JL· * , ν s s πτηνών ονείρων εισιν αφενοεστερου. πολύς ταραγμος εν τε τοΐς θείους ενυ καν τοΐς βροτείοις · εν δε λυπεΐται μόνον, οτ ονκ αφρων ων μάντεων πευσθευς λόγους 575 όλωλεν ως όλωλε τοΐσυν ειδόσιν . 669. This line marks a new stage in the progress of the drama. Iphi- genia, having ascertained that Orestes lives, is now quite ready to consum¬ mate her plan of sending the letter. 670 f. Orestes knows nothing of the priestess’ dreams, hut he adapts his words to her oveipoi and xj/evSeis in a characteristic reflection of his own. The despondent scepticism of our hero, here and everywhere in the play, is not only thoroughly dramatic, — i.e. the natural outcome of his com¬ bined temperament and experience,— but it serves admirably as a foil, to set off for the spectator the high and beneficent purpose of the Delphian god. — ουδέ' : makes the adaptation close; “ neither are, etc” — σ-οφοί: pred. For the arrangement of the words, see G. 142, 2, n. 5; H. 667 a. — πτηνών: ornamental epithet, but well in keep¬ ing with the sentiment of the pas¬ sage. 572. πο \vs ταραγμο'δ : utter confu¬ sion ; the opposite of αθανάτου (piaews | κόσμον άγήρω Frag. 153. — tvi: eve- στι. 573-575. tv: cognate acc.retained with the pass. (H. 725 c), correspond¬ ing to an act. const, k'v, πολλά λοπβΓν τινά : cf των τ άλάχισ τ a Χυπουμόνων Frag. 38. — λυπεΐται: passive ; the subj.is seen from what follows, and is continued from v. 567. At the same time the 3d pers. is not too clear, as the 1st ( λυπούμαι κτλ.) would have been. Orestes is speaking rather for himself ( τοησιν eldoaiv) than for the priestess. — ore: causal in effect.— μάντεων : vaguely indicating the ora¬ cle of Apollo. — ολωλεν ολωλε : a common form of speech when a per¬ son for any reason does not care to name the particulars, or prefers to keep the full significance of his mus- ings to himself; cf. -πράσσονθ* ά πράσσω v. 692. — τοΐίτιν είδοιτιν: dat. of refer¬ ence. See also on oi πεπονθάτεν v. 539. — In one way only is he pained, when through no unwisdom of his own, by voice of seers persuaded, he perishes as he does perish, to those who know. Obs. that the entire suppression of a pronominal subject in the Greek cannot be imi¬ tated in English. These six lines of Orestes (vs. 570- 575) aptly conclude and round off the long, and in many ways remarka¬ ble, stichomythia. Cf the reflections that preceded the conversation, vs, 475 ff. IPHIGENIA AMONG THE TAURIANS. 105 X0P02. φεν φεν · τι δ' ημείς οι τ' εμοι γεννήτορες; άρ' εισίν, άρ' ού /c εισί; τις φράσειεν αν; ΙΦΙΓΕΝΕΙΑ. ακόυσατ · εις yap δ^ τιζ/ ηκομεν λόγον, νμίν τ όνησιν, ω ζενοι, σπενδονσ' άμα 5 / ν τ /\ / > «/ > 580 καμοι. το ο ευ μα λίστα γ ουτω γιγνεται, εί ττάσι ταντόν πράγμ άρεσκόντως εχει. θελοις αν, ει σωσαιμί σ', άγγείλαί τι μοι προς ν Αργος ελθων τοίς εμοίς εκεί φίλοις, δελτον τ' ενεγκείν, ην τις οίκτειρας εμε 585 εγραφεν αιχμάλωτος, ονχΐ την εμην φονεα νομιζων χείρα, τον νόμον δ' νπο θνησκειν σφε, της θεόν τάδε δίκαι ηγούμενης; 676 i. See on vs. 340 f. Here the distich of the coryphaeus marks for¬ mally the transition noted on v. 509. — t£ : as in vs. 533, 543. — i^cis, «μοί (adj.) : the change from pi. to sing, is not exactly the same as that noted on vs. 348 f. A chorus may properly be designated by either the sing, or the pi. number; see H. 638. 578-580. cts γάρ . . . κάμοί : “ we have reached a matter now in which 1 have your interests at heart as well as my own.” — λογον: the generic word \6yos, answering as noun to all meanings of the verb Xeyav, is em¬ ployed freely in Greek where in Eng¬ lish more specific terms are needed. Hence the various ways of translating λ 6yos : subject, reason , excuse, argument, description, etc. 580 f. ουτω : explained by the foil, clause v. 581. — ουτω γίγνίται (_ , _ w _) ·' offends against ‘Por- son’s rule/ H. 1091 (5). ώδε yiyverai (_w,_w_) would be smoother. It should be remembered, however, that the Greeks wrote their verses by ear, and every complex had its own rhyth¬ mical character and requirements. Cf. v. 078, a passage not so easy to ‘cor¬ rect’ as this. — cl . . . Ιχα: όταν τ b αυτί) πασιν αρίσκτ). “ A happy result is best reached when there is identity of interests.” 582. Gc'Xois άν : addressed to Ores¬ tes, whom the priestess now knows to be an Argive. 586 f. <{>ove a : pred. noun instead of fern. adj. — θνησκαν c: mori se. The subj. of the inf., which would reg¬ ularly be omitted (θνησκειν νομίζων ), is here expressed for the sake of clear¬ ness (H. 940 b), the pers. pron. taking the place of the reflexive (H. 684). It is not clear that Euripides hesi¬ tated to represent a woman as able to write (Phaedra has to write her own letter Hipp. 85G ff.), but he cer- 106 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ου$ενα γάρ είχον όστίς *Α ργόθεν μόλων είς ν Αργος ανθις τας εμάς επίστολάς 590 πεμφείε σωθείς των εμών φίλων Τίνί. συ δ’, εϊ γαρ, ως εοίκας, ούτε δυσγενης καί τας Μνκηνας οΤσθα χονς κάγώ ^ελω, σώθητί , καί συ μισθόν ουκ αισχρόν λαβών κουφών εκατί γραμμάτων σωτηρίαν. 595 οντος δ’, επείπερ πόλις αναγκάζει τάδε, tainly did not hesitate to represent one as unable to do so. Here, the episode of the captive helps Iphigenia to deprecate the blame of her present victims; cf. v. 637. 588-590. ούδε'να γάρ εΐχον : sc. “until you came.” yap refers to vs. 582 f. — oorns ιτε'μψειε: denotes pur¬ pose ; see GMT. 65, n. 3 b. πε'μφαι is here equiv. in sense to eveyueiv v. 584, and again v. 604, but the verb is of course also applicable to the sender, as in vs. 615,667. — σωθείς : concisely ap¬ pended to πεμφειε, the recompense to the service rendered. — των ε’μών φίλων τινί: the same expression occurs again in v. 639. It is Iphigenia’s natural hesitation to reveal herself that pre¬ vents her from being forward in nam¬ ing the one to whom she sends the letter. — τας εμάς and των εμών have a corresponding emphasis. 591-594. σύ δε' : in contrast to ούδενα εΐχον v. 588. — οΰ'τε δυσγενης : far from ignoble; litotes for (and, if any¬ thing, stronger than) evyevris. Ores¬ tes has shown his breeding, with all his offishness and cynical reserve, and the priestess feels instinctively that he can be trusted for the honorable execution of any commission he may undertake. Cf. what she says at vs. 609 f., after seeing a little more of him. — ούτε ... καί: cf homo nec meo iudicio stultus et suo valde prudens Cic. De orat. i. 39; see also the examples of irregular neg. correlatives cited on vs. 354 f. — χούς κάγώ θε'λω : καϊ οΊσθα τούτους ούς iyiti θε\ω σε είδεναι. He is ac¬ quainted with just the right people. The third καί (κάγώ), if not quite logical, is idiomatic enough. — σώ- θητι : takes up σωθείς (v. 590) affirma¬ tively, and points the significance of that word in its place. The thought of σωθείς, rather than of πεμφειε, is dwelt on here; the latter reappears in κουφών ypaμμά των below. — καί σύ . . . σωτηρίαν: yourself, too, winning no mean recompense — a life saved, for tiny letters of the pen. The σώθητι is ex¬ panded, καί σΰ being contrasted with an implied ώσπερ καί ε’γώ. “ As I gain a long-wished-for end, so you for your part will be nobly rewarded.” Iphi¬ genia emphasizes this thought of re¬ ciprocal benefit from the first (cf. v. 581). — ούκ αισχρόν: for καλόν: a not infrequent litotes, cf. στέφανος ούκ αισ¬ χρός πόλει | καλώς ολεσθαι Troad. 401. 595. ούτος : Pylades. — ε’^είττερ πό¬ λις κτλ. : Iphigenia lets pass no op¬ portunity to plead the necessity of the case; cf. v. 620. That she might pre¬ vail to save one of the victims, but not both, is a perfectly reasonable as¬ sumption of the plot. IPIIIGENIA AMONG THE TAURIANS. 107 θεά γενεσθω θύμα χωρισθεις σεθεν. ΟΡΕ2ΤΗ2. καλώ? ελεζας τάλλα πλην εν, ω ξένη · το γάρ σφαγηναι τόν& εμοι βάρος μεγα. 6 ναυστολων γάρ ειμ εγω τάς συμφοράς, 600 ουτος δε συμπλεΐ των εμων μόχθων χάριν. ουκονν οικαιον επ ολεσρω τω τουο εμε χάριν τίθεσθαι καυτόν εκόυν at κακών. άλλ’ ως γενεσθω · τωδε μεν όελτον δ ιδού, πεμφει γάρ * Αργος, ώστε σοι καλώς εχειν · 605 ημάς δ’ 6 χρηζων κτείνετω. τα των φίλων αΐσχιστον όστις καταβαλων εις ζυμφοράς αυτός σεσωται. τυγχάνει δ’ δδ’ ων φίλος, οι/ ουοεν ησσον η με φως οραν σεΚω. 596. Notice the alliteration (0). 598. τον8’ €μοί: juxtaposition of the antithetic words; cf. τοΰδ’ 4 με ν. 601. For the rhythm, see on v. 674. — βάρος μ€·γα : a grave calamity. 599 f. “ It is I that go captain in these ventures; he is only my mate for the voyage, etc” Both figurative and literal. Cf άλλ’ εν κακοΊς to7s σο7- σιν ούκ αίσχύνομαι | ξν μπ λ ο υ ν (μάν¬ την του πάθους ποιούμενη Soph. Ant. 540, said by Ismene to Antigone, the latter being η ναυστολουσα τδ πάθος, τάς συμφοράς, rbv πλουν. 601 f. επ όλί'θρω κτλ. : that I, to liis destruction , shoidd earn the reward of my own deliverance from death. — επί : denotes result or condition. — χάριν τίθεσ-θαι : sc.aoi. Said with reference to Iphigenia; it is by conferring the requested favor on her, that Orestes would achieve his escape, but this re¬ sult is named in addition ( καί αύτδν κτλ.) as the important matter with reference to Pylades. — avrov (i p- sum) : construe with εμε. 603 f. άλλ’ ώς : ως demonstrative. In Attic prose only καί ως, ούδ ’ ίίς, μηδ' &s (II. 284). — ττΈμψίΐ: οΧσει, cf. ν. 590. — ώ<ΓΤ€ σόι κτλ.: that all shall be well for thee. — καλώς εχειν : impersonal. 605 f. τά τών φίλων : periphrasis for τους φίλους, but somewhat more general in effect, as τους φίλους itself would be more general here than τδν φίλον or even φίλον. Cf. vs. 476,1006, and see H. 730 b fin. Obs. the posi¬ tion of the phrase at the head of the whole sentence, as its theme, though grammatically to be const, with κατα- βαλών in the rel. clause. — αϊ<τχι<ττον : sc. έστί. This is the main predicate. — ο<ττις : ει τις. Cf ν. 1064. 608. εμε : regularly instead of the reflexive (II. 684 b).— φώς όράν: often in tragedy for ζην, likewise φως βλεπειν, τ^λι ον βλεπειν, or simply βλε- πε IV. Cf vs. 349, 374, 718. 108 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΙΦΙΓΕΝΕΙΑ. ω λίάριστον , ώς άπ ευγενους Τίνος 610 ρίζης πεφυκας τοΐς φίλοις τ όρθώς φίλος, V τοωυτος είη των εμών όμοσπόρων όσπερ λελευπταί. καί yap ούδ* εγώ, ζενοι, ανάδελφός ειμι , πλην όσ ούχ όρώσά vlv. επεί δε βουλει ταυτα, τόνδε πεμφομεν 615 δελτον φεροντα , συ δε θανεί · πολλή δε τις προθυμία σε τουδ 3 εχουσα τυγχάνει. ΟΡΕ2ΤΗ2. θύσει δε τίς με καί τα δεινά τλησεταί; ΙΦΙΓΕΝΕΙΑ. εγώ · θεάς γάρ τηνδε προστροπην εχω. ΟΡΕ2ΤΗ2. άζηλά γ\ ώ νεάνι, κουκ ευδαίμονα. 609 f. 0 noble spirit, how truly art thou from some goodly line descended, and to thy friends a friend indeed! — ■πΈφυκαδ : πεφυκεναι is a freq. poetic synonym of είναι, but the precise meaning of the verb may still come to view and have its special appro¬ priateness, as here with its first predi¬ cate airb ρίζ-ης. The same remark may be made of γεγώε as synonym of &v : cf v. 495, and esp. v. 509. 611 f. των e μών . . . XeXci/TTTca: he that is lefi to me of my own kin. δμό- σποροι, however, here and usually, signifies brothers and sisters; cf vs. 695, 922. — otnrep: more pointed than the simple os. 613. ιτλήν o ye ουνατον ουο εγω Αλείψω χαριν . πολυν τε γάρ σοι κόσμον ενθήσω τάφω, ζανθω τ ελαίω σώμα σόν κατασβεσω, καί της όρείας άνθεμόρρυτον γάνος 635 ζουθης μελίσσης είς πυράν βάλω σεθεν. the female relatives of the dead. Orestes is thinking of Electra. In Sophocles, Electra herself says of Orestes, whom she believes dead, κακώς an τύλου, σής κασηνήτης δίχα · | κοϋτ εν φίλαισι χερσίν ή τάλαιν εγώ | λ ουτροΐς σ' εκόσμησ' οΰτε παμφΧεκτου ί τυρδς | άνειλόμ-ην, ώς εΐκός, άθλιον βάρος Soph. El. 1137. — iriSs άν κτλ.: the question is equivalent to a wish; see GMT. 82, n. 5; H. 870 e. 629. χθονοδ : gen. of separation after the adverb μακράν. 630 f. Yet no ! —for since thou art an Argive, so far as may be, I will not my¬ self omit the grateful service. — ού μήν άλλα: see II. 1035 c. The particles regularly occur as a compact ellipti¬ cal phrase, not separated as here by a parenthetic clause. The separation lends weight to the negation. This passage is further remarkable in hav¬ ing a negative statement (‘litotes’) after αλλά, instead of an affirmative one — in fact, the very negation which would regularly supply the ellipse : — ου μήν άλλ' ούκ ελλείψω, instead of ου μήν (ελλείψω) άλλα δώσω. This again adds rhetorical force. — ών ye Βυνατον : τούτων a ye δυνατόν εστι χαρίσασθαι. The gen. limits χάριν, and is explained in substance by κόσμον, ελαίψ, etc. below. — ού8’ eyio: contrasting εγώ with the subject of vaiei v. 629; cf. v. 612. 632. κοσμον: fine raiment espe¬ cially is meant; cf καίεο δ ’ εν τ’ εσθήτι θεών καί άλείφατι τολλψ ) καϊ μελιτι γλυκερφ Horn, ω 67, of the funeral of Achilles. — τάφω : viz. that described in v. 626. 633. κατασβ€'σ*ω : the fire of course could not be quenched with oil, but an offering poured to feed the last dying flame might fairly be expressed by this word. 634 f. And flower-distilled nectar of the brown wild bee will I cast into thy pyre. Cf. v. 165, and τής άνθεμονργου στάyμa, τναμφαες μέλι, in the passage quoted from Aeschylus on that line, yavos: yάvυσθat (v. 1239), cf. ‘ Gany¬ mede.’ Here “ balm,” (‘ of a thousand flowers ’) ; usually “ cordial,” (of the vine) αμπέλου y άνος Aesch. Pers. 615, βότρυος Bacch. 261, 382, Αιονύσου Cycl. 415; sometimes only “ beverage,” (of cold water) κρηναΊον yάvoς Aesch. Pers. 483, δωσδότερ yάvει id. Ag. 1391 (the dew from heaven — what ‘ the black earth drinks’). There is in Iphigenia’s second qua¬ train (vs. 632-635) a lisping melody (sigmatism modified by liquids) of IPHIGENIA AMONG THE TAURIANS. Ill * \ \ * τ £ 9 * ύ ~ * ' αλλ €L[JLL 0€\T0V T €K ϋεας CLVOLKTOpOiV olctco * to μεντοι Βνσμενες μη * μου λαβής, φυλάσσει αντους, πρόσπολο^ δεσμών άτερ . ιοτως α€λ7ττα τωϊ/ εμων φίλων tlvI 640 7 τεμφω προς * Αργος, ον μάλιστ εγω φιλώ, καί δελτος αύτω ζώντας, ους δο /cei Θανείν, λεγουσ απίστους ήδονάς άπαγγελεί. Χ0Ρ02. κατολοφύρομαί σε τον γερνίβων 645 ρανίσι μελόμενον ρανίσιν αίμακταΐς. ΟΡΕ2ΤΗ2. οίκτος yap ου ταυτ, άλλα γαίρετ, ω ζεναι. surpassing sweetness, fit to be de¬ scribed by Homer’s μέλιτος γλυκίων (>έεν αύδή A 249. 637. το μί'ντοι κτ\. : the unfriendly will, however, take not as from me. She means that lie must accept the hostile act as the law of the land, as the cap¬ tive who wrote the letter for her chose to do (vs. 585 ff.). See on v. 595. μέν- τοι is adversative, τ b δυσμενές, and δέ\τον (first word after the pause v. 636), have corresponding emphasis. The priestess’ movement to fetch the letter that is to save the life of Py- lades, suggests to her once more the nearer approach of his companion’s very different fate. 638. irpoViroXoi : the guards re¬ enter from the temple as the doors are opened for Iphigenia; see v. 470. — 8«τμών cirtp: i.e. the manacles are not to be replaced; ef. vs. 468 f. 639-642. These lines are of the nature of a soliloquy, pronounced as she is on the point of crossing the threshold. 641 f. And the letter, declaring that they live whom he supposes dead, will an¬ nounce to him a joy incredible. — ζώντα$ Xt -γουσ-α: see on v. 1047. Here the participle is under the influence of a.irayyeXe'i, with which it would be reg¬ ular. — The plural again enables Iph¬ igenia to avoid speaking too plainly; cf v. 539. — άιτίστου? ήδονάς : cf air t- στφ περιβαλών βραχίονι ν. 796, when the message is actually delivered; also άτοπον αδονάν V. 842. (Commos.) 644-656. See Introd. p. 33, and for the metre ib. p. 50. 644 f. Addressed to Orestes. — a-i : the emphatic form, in accordance with the antithesis, (σε δε' ν. 647). — peXo- pevov : devoted, i.e. doomed. Cf. v. 184, "Αίδα μέλονται κάτω Hel. 1161, 'Αρτεμιν, a μελόμεσθα Hipp. 60. — ρανίαπν at- μακταίς : cf. δρόσον αίμητηράν ν. 443. ρανίς : ραΐνειν (sprinkle'). 646. The usual idiomatic arrange¬ ment would be άλλ’ ου yap οίκτος ταυτ' 112 ΕΥΡ1ΠΙΔ0Υ ΙΦΙΓΕΝΕΙΑ. XOPOS. ere 8e τνχας μάκαρος, Ιώ νεανία, σεβόμεθ *, είς πάτραν δτι ποδ* εμβάσει. ΠΤΛΑΔΗ2. 650 άζηλά tol φίλουσί, θνησκόντων φίλων. ΧΟΡ02- ώ σγετλιοι ττομπαί · φευ φευ άπόλλυσαί. αίαΐ αίαί. 7 τότερος 6 μελλων; 655 ετι yap άμφίλογα δίδυμα μεμονε φρην, σε πάρος η σ αναστενάζω γόους. ΟΡΕ2ΤΗ2. Πνλάδτ?, πέπονθας ταύτό, προς θεών, εμοί; e στ/, χαίρετε. Cf ν. 118. — -yap : refers forward to χαίρετε. — “Nay, here is no cause for sorrow, stranger maidens, but for your rejoicing! ” 647 f. Addressed to Pylades. — τΰ- χας : causal gen. — σ-ίβομίθα : nearly equiv. to μακαρίζομεν ( congratulate ). — ιτοδ* εμβάσέΐ: ποδα is very often joined to intrans. verbs in Euripides (H. 716 Rem.). Cf. tls άντ\ον έμβ-η- σει ποδα Heracl. 168. We should say “thou wilt set foot in, etc.” 650. άζηΧα : sc. εστί. For the pi. see H. 635 a. — θνησκοντων φίλων: όταν θνΊ]σκωσι φίΧοι.. The responses of Orestes and Py¬ lades, deprecating the commiseration and congratulation tendered to them respectively by the chorus, foreshadow the scene which follows (vs. 672-722), the contest of friendship. If the two choral passages, vs. 644 f. and 647 f., were sung each by a semichorus, as they very likely may have been, this would give a neat cross-arrangement in the grouping, thus : — 651-656. The chorus has caught somewhat of the spirit that animates the two friends themselves. 651. ώ σ-χί'τλιοι ττομιταί: ah, cruel errand ! Addressed to Pylades. — ττομ- irai: corresponding to πεμπειν in vs. 590,604. — άττολλυσ-αι : addressed to Orestes, as could be made perfectly clear in the representation. 653. d μελλων : sc. απολεΤσθαι, from απόλλυσαί above. “ Which is the one ? ” 655 f. “ My heart swells still with IPHIGENIA AMONG THE TAURIANS. 118 ΠΤΛΑΔΗ2. ουκ olS * · έρωτας ού λέγειν έχοντά με. ΟΡΕ2ΤΗ2. 660 τις έστίν η νεάνις; ως 'Ελληνικως άνήρεθ' ημάς τούς τ έν ’Ιλιω πόρους νόστον τ 'Α,γαιων τον τ έν οΐωνοίς σοφόν Κάλχαντ *Αχιλλέως τ’ όνομα , και τον άθλιον ’Αγα μέμνον ώς ωκτειρεν ηρώτα τέ με 665 γυναίκα παΐόάς τ. έστιν η ζένη γένος έκεΐθεν * Αργεια τις · ού γάρ αν ποτέ όελτον τ επεμπε και ταο εςεμανυανεν , ώ? κοινά πράσσουσ , *Αργος ει πράσσει καλώς. wavering doubt twofold.” C'/’. διχ 0 ά δβ μοι κραδίη μίμον* (ppealv δρμαίνοντι Horn. Π 435. The Homeric μίμονας, μεμονβν, occurs also in Aeschylus and Sophocles. — ή : without preceding norepov or el: cf. ουδί τι ϊδμβν, \ ζώ*ι i Ϋ II τίθνηκεν Horn, δ 109. — ircipos : sooner (μάλλον). — or’ άνασ-Τ€νάξω : even the emphatic ae may suffer elision; cf. vs. 708, 1069, 1085. 658. ireiroveas ταύτο : have you been affected in the same way ? Cf. ο τι (Λοιυ) μέν υμείς, S> &vdpes ’ Αθηναίοι, 7 re- ■πδνθατ* υπδ των ίμών κατηγόρων, ουκ οΐδα (the beginning of Plato’s Apol- °9U)· 659. Although Pylades’ reply is meant literally (“You are asking me a question that I cannot answer until you tell me how you have been af¬ fected yourself”), his words are at the same time evasive in tenor, since he knows well that what occupies his own mind (v. 672) is quite absent from Orestes’ thoughts. — ούκ οΐδα: often an evasive or deprecatory phrase; cf. v. 546. — cpam£$ κτλ. : the main idea is in ουκ ίχοντα. 660-663. ios Ελληνικών : how like a Greek indeed! Cf. v. 540.— άνηρί- ,o : are ρωτάν. — e v οΙωνοϊ$ σοφο'ν : cf. Κάλχας Θβστ ορ'ιδης, οΐωνοπόλων υχ' αριστος Horn. A 69. 666 -668. ού γάρ άν . . . ίξίμάνθανίν : else she would never have undertaken to send the letter and to learn all this from us. The verbs are true imperfects; see on βπεμπε v. 335. — ώ$ κτλ. : “ as one who shared the lot, if all be well at Argos.” Concisely, 0>s κοινά ττράσ- σουσα u Apyei might have been said; or formally, «ϊ καλώς ττράσσουσα, ''Αργος el καλώς ττράσσβι. As the line stands, there is a neat variation of form. — κοινά TrpcurWa. 687. εΐίφημα φών€ΐ : δβ sf/ent / The gratuitous sacrifice of a second life is to Orestes an impious thought.— τάμα κτλ. : this is made clear by the following line. Orestes must bear his own fate,—that he cannot help,— but the death of Pylades would be a needless addition to his woe. 688. But while free to bear but a sin¬ gle sorrow, a double one I will not endure. — εξο'ν : sc. φερειν, from οίσω. For the acc. abs., see G. 278, 2; H. 973. 690. ταύτ εστιν ημϊν : “ all that falls on me,” viz. τ b \uirpbv noil rb επ¬ ονείδιστου. 691 f. to cts εμε : as regards myself: adverbial phrase. — ον κακώδ έχει: the subj. is \ιττε?ν βίον (sc. μ?). — ττρά<τ- σ-ονθ* ά ττράο-σ-ω : faring as I do fare ; see on ύλωλεν ώς υλωλε v. 575. — ά: acc. of the internal obj., instead of an adverb (εύ, κακώς πράσσειν) . Cf. v. 668, πολλά . . . δυστυχή re ττράσσει Aesch. Sept. 338. See G. 159, n. 2; H. 716 b. 695-698. σωθείς δε' . . . κτησ-άμενο? : your life once saved — then, in case you have children, etc. σωθείς is subordi¬ nate to κτησάμενος, which, in its turn, forms the condition to what follows. — ονομα . . . γε'νοιτ άν : my name will be continued. This is meant literally. Pylades would name his son Orestes, and regard himself as perpetuating the line of Agamemnon, not that of Strophius. Cf κα\ τφ εμφ παιδίψ εθε- μην τ b ίνομα τ b εκείνου, Ίνα μ ή ανώνυ¬ μος δ οίκος αυτόν 'γενηται Isaeus ii. 36, said by the adopted son of Menecles ( εκείνου ), who had died childless. The structure of the whole passage is ana- coluthous; regularly a verb in the 2d pers. should have followed κτησάμενος. See on v. 947. 697 f. τέ . . . ούδε' : inexact correl¬ ation, as so often occurs with neg. particles ; cf. πρ\ν μεν yap αυτοΊν ήν ερις, Κρεοντι τε \ θρόνους εάσθαι μη δε IPHIGENIA AMONG THE TAURIANS. 117 πατρώος ούμός εζαλειφθείη ποτ αν. άλλ* ερπε καί ζή καί δόμους οικει πατρός. 700 όταν δ* ες Έλλάδ* Ιππιόν τ * Αργος μόλης, προς δεξιάς σε τήσδ' επισκηπτω τάδε · τύμβον τε γωσον κάπίθες μνημεία pot, καί δάκρυ' αδελφή καί κδμ ας δότω ταφώ. ayyeAAe ο ως ολωλ υπ Apyeιaς Τί,ίΌς 705 γυναίκος άμφί βωμόν άγνισθεις φόνω. καί μη προδως μου την κασίγνητην ποτέ έρημα κηδη καί δόμους όρων πατρός. καί χαιρ’ * εμών yap φίλτατον σ ηΰρον φίλων, \ ω συγκυναγε καί συνεκτραφείς εμοί, χραινεσθαι πόλιν Soph. Oed. Col. 367. Here, ουδό results from a feeling that the previous clause was in effect a simple negation (ούκ &ν άφανισθείη rb ονομ,α), while τό was said as if merely καί δόμος μόνοι were to follow. — airais : predicative after όξαλειφθεί-η : “ he ef¬ faced through lack of issue.” Orestes turns the argument of Pylades in v. 682 very effectually against him. 699. €pire: go. See on 'όρπει v. 477. — δο'μους ττατροδ : viz. the house of Agamemnon. 700 f. ilinrtov : cf/Apyos is ίτητόβοτον Horn. Γ75, aptum dicet equis Argos ditisque Mycenas Hor. Carm. i. 7, 9. Here, there is pathos in the ornamental epithet; cf the ef¬ fect of the epithets in vs. 633-635. — τήσδε : he takes the hand of Pylades. — £morKiyTrTa> τάδε: I charge thee thus, όπισκήπτειν is the regular wrnrd for a dying man’s injunction; see especially Lysias xiii. 41, 42. Usually with dat. of the person, here accusative. 702. τύμβον: in this case a ceno¬ taph. — κάττίθες : καί όττίθες. 703. Cf. vs. 172 f., and the note. 704 f. Said bitterly: death at the altar, and at a ivoman’s hands. There is one pause in the distich, viz. after y υναικός. — άγνισθεΐξ φονω : consecrated to a bloody death. 707. € ρήμα : predicative, and in sense connected with both objects ; “beholding desolation in the house of my father and its alliances.” To the κηδος formed by his union with Electra, Pylades must prove true (μή ττροδιρς v. 706). 708-710. “And now, farewell! — my friend of friends I found in thee — thou sharer of my hunting-days, and all my young days besides, bearer of many a burden of my woes.” — ώ σ-υγκυναγί : the two had hunted to¬ gether Φωκίων iv πολυπτύχψ χθονί. That was where Odysseus, in his youth, killed the wild boar, and got the scar on his leg, την ποτό μιν avs ήΑασε Χευκφ όδόντι | Π αρνησόνδ' iA- θόντα μετ Αυτόλυκόν τε καί vJas Horn, τ 393. Goethe had our passage in mind when he wrote: ‘ Wenn wir zu- sammen oft dem Wilde nach | Durch Berg’ und Thaler rannten * Iphigenie 118 · ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 710 ω πολλ’ ενεγκών των εμών άχθη κακών, ημάς δ’ ό Φοίβος μάντυς ών εφευσατο · τέχνην 8ε θεμενος ώς προσώταθ’ Ελλάδος άπηλασ α18οΐ των πάρος μαντευμάτων. ω πάντ εγώ 8ονς τάμα καί πευσθείς λόγους, 715. μητέρα κατακτάς αυτός άνταπόλλυμαυ . ΠΤΛΑΔΗ2- εσται τάφος σου, καί κασυγνητης λεχος ονκ αν προ8οίην, ώ τάλας, επεί σ εγώ θανόντα μάλλον η βλεπονθ * εζω φίλον, αταρ το τον σεον σ ον Ουεφυορεν γε πω 720 μάντενμα , καίτου γ εγγύς εστηκας φόνον. άλλ’ εστυν εστυν η λίαν 8νσπραζία λίαν 8υ8ονσα μεταβολάς , όταν τνχη. ii. 1, said by Orestes to Pylades. συνεκτραψείς is also finely expanded by Goethe in the same scene: — the life together in Phocis, when his cheery cousin flitted about the fate¬ laden Orestes, ‘ Gleich einem leichten, bunten Schmetterling | Um eine dun- kle Blume.’ — ώ ττολλ’ eveyKtov τών έμών άχθη κακών: note the vocaliza¬ tion, the solemn roll of the a>-sound. Cf τών σών τε κάμών ούκ οττωττ εγώ κακών Soph. Ant. 6, μέγιστα πάντων ών υπωπ ’ εγώ κακών id. El. 763, ‘Where rolls the Oregon, and hears no sound | Save his own dashings.’ 711. ημάς : as for me. — μάντις ών: cf. v. 574. μάντις had come to be an unpopular title at the time this play was written. — Orestes invaria¬ bly comes around to his sceptical grievances, and Pylades quite as in¬ variably fails to be infected. 712. τέχνην θί'μίνος : τ εχνησάμενος. Cf. the reproach in v. 77. Orestes here charges the oracle with finally contriving to put him out of the way, to save its credit, the first re¬ sponse, commanding matricide, hav¬ ing proved a mistake. 714. ω . .. τάμα: committing to him my all. — λογοις : sc. αυτοί), from ip. 716-718. A sepulchre thou shalt hare, and to thy sister I will ne’er prove false , unhappy man, etc. The arguments of Orestes were unanswerable, and Py¬ lades, like a sensible man, does not at¬ tempt to answer them. — ί'ξω φίλον: will I hold thee dear. The hyperbole in this line is perfectly natural. 719 f. For the spirit of Pylades’ words, cf. v. 105. — καίτοι κτ\. : not a dependent clause, since καίτοι εστηκας cannot be grammatically equiv. to καίπερ εστηκώς or εστώτα, in classic Greek. Translate,however: “though near indeed to death thou standest.” 721. 4'στιν . . . διδούσ-α: δίδωσι. See GMT. 108, n. 6. The periphrasis is IPHIGENIA AMONG THE TAURIANS. 119 OPE2TH2. crrya · τα Φοίβου δ* ούδεν ωφελεί μ* επη · γυνή yap ήδε δωμάτων εζω πέρα. ΙΦΙΓΕΝΕΙΑ. 725 άπελθεθ * υμείς καί παρευτ ρεπίζετε τάνδον μολόντες τοίς εφεστωσι σφαγή. δελτου μεν αΐδε πολνθυροι διαπτυγαί , ζενοι, πάρεισιν · ά δ* επί τοίσδε βούλομαι άκούσατ · ούδείς αυτός εν πόνοις τ άνήρ 730 δταν τε προς το θάρσος εκ φόβου πεστ). εγω & ταρβω μή άπονοστήσας χθονος here employed for the sake of begin¬ ning with the energetic formula ia- τιν ϊστιν, which occurs elsewhere, and was esp. liked by Demosthenes. — όταν τύχη : sc. δοΰσα. This limita¬ tion makes it clear that the whole saying is general and not particular. — “ There is, there is in the worst of luck the best of chances for a happy change, if change should be.” — Note the repetition of λίαν. 723 f. Iphigenia re-enters, and to Orestes her appearance is a sign con¬ firmatory of his own judgment of the god. — cri-ya: say no more. See on v. 458.— 4'ξω Trepqi: cf. v. 1217. 725 f. Addressed to the guards, who again withdraw into the temple. 727. δίλτου ττοΧυθυροι διαπτυχαί : the letter's leafy folds; a graphic peri¬ phrasis for δίλτ os. Iphigenia is all bound up in this letter. —The Greeks said θνραι of folded tablets, as we say ‘folding-doors.’ The Mss. of Eurip¬ ides here give πο\ύθρηνοι, against sense and metre, but the true reading πο\ύ- θυροι has been recovered from Aris¬ totle, Bhet. iii. 6, who quotes v. 727 to illustrate the poetic ‘pluralis maiestatis.’ The ancients made their quotations from memory, and in most cases of a disagreement of texts, like the above, the writer who quotes is wrong and the Mss. of the author quoted are right. Thus Diodorus, in the passage cited on v. 626, gives χθο- v6s in place of irerpay, quoting the line of Euripides. 728-730. €irl τοί<τδ€ : next. — ev iro- vois Tt: όταν τ' ev tt6vols if. — 0ap ην όρας συ* μη λόγοις εκπλησσε με .— κόμισαί μ ’ ες *Αργος , ω συναιμε, πρίν θανείν , 775 e/c βαρβάρου γης καί μετάστησον θεάς σφαγίων , εφί οΐσι ξενοφόνους τιμάς βχω. Πι/λαδτ;, ΤΙ λε^ω ; ΟΡΕ2ΤΗ2. που ποτ όνθ * ηυρημεθα ; ΙΦΙΓΕΝΕΙΑ. ή (τοις άραία δωμασιν γενησομαι , ’Ο ρεσθ\ — IV αυθις όνομα όίς κλυων μάθης. ω θεοί. ΟΡΕ2ΤΗ2. 780 ΙΦΙΓΕΝΕΙΑ. τι τους θεούς ανακαλείς εν τοις εμοίς ; 773. ηδ* ήν dpas <τυ : sc. (στ έκείνη. Cf. δδ’ (ϊμ iyw σοι kPivos Soph. Phil. 261. — Xoyois έ'κιτλησ-σ-ε μ€ : he dis¬ turbing me with interruptions ; cf. v. 240. 774. κο'μκταί μ« : take me home; cf. v. 1362. 776. €φ’ oltri kt\. : wherein I hold the office of leading guests to slaughter; cf. vs. 53,' 748. 777. τί λίξω: Orestes exclaims to this effect, because the words of Iphi- genia appear to be addressed directly to him where he stands. — ττου ττοτί κτλ. : where in the world are ice ? —owe : supplementary participle with ηυρψ μ(θα, which is best omitted in trans¬ lating. 778. Or I shall prove a source of curses to thg house. — άραία δώμασιν : alluding to the influence of the venge¬ ful, haunting spirit ( άλάστωρ ) of a wronged person. Cf. κα\ aois άραία y ονσα Tvyxavw δόμοις Med. 608, μβνώ σ' eyu | και νόρθεν &v apaios e/crael fiapis Soph. Trach. 1201, tis άν yovav apaiov i κβάλοι δόμων', Aesch. Ag. 1565. 779. ’OpeV0’: Ό ρόστα. — ΐνα . . . μάθη$ : still addressed to Pylades, but not forming a part of the letter. 780. Cf. Φ. ώ θβυί. N. τί tovs Oeovs άναστόνων KaXus ’, Soph. Phil. 736. — 0€oi, 0€otJs: pronounced as monosyl¬ lables. — ev tois «pois : in affairs of mine, “ that do not concern yourself/’ IPHIGENIA AMONG TIIE TAURIANS. 125 OPE2TH2. ονδέν · πέραυνε δ’ * εζέβην yap άλλοσε. ΙΦΙΓΕΝΕΙΑ. τάχ ovv τρωτών σ ’ ευς άπυστ άφυξεταυ. — Aey ουνεκ ελαψον αντυοουσα μου υεα *Α ρτεμυς έσωσέ μ\ ήν έθυσ’ εμός πατήρ, 785 δοκών ες ημάς δζν φάσγανον βαλεΐν, εις τηνοε ο ωκισ αίαν. — αιο επυστοΚαυ, τάδ’ ecrri ταυ δέλτουσυν εγγεγραμμένα. ΠΤΛΑΔΗ2. ώ ραδυους όρκοισι περυβαλονσά με, κάλλιστα δ* όμόσασ\ ού πολυν σχήσω χρόνον , 790 7W δ* όρκον ον κατώμοσ εμπεδωσομεν. Ιδού, φέρω σου δέλτον άποδυδωμυ τε, ’Ορέστα, τήσδε σής κασυγνήτης πάρα. 781. οΰδί'ν: evasive, like ούκ οΐδα ν. 54G. — ίξε'βην γάρ άλλοσ-ί : “ my thoughts were elsewhere.” Cf. ποΐποτ 4£e0ris \6ycp ; (“ Whither are your words wandering? ”) Soph. Phil. 896. 782. Questioning you, perchance, he will come to things scarce credible. Ores¬ tes will want to know how the dead has come to life again ( κατθανουσ ’ T)Kei πάλιν), and here, Iphigenia says, is the miracle that explains it all (vs. 783-786). — άπιστα : cf. vs. 642, 796. 783-786. οϋν€κα : on. — ήν : has for its antecedent not the nearest word, hut the prominent word of the preceding clause, viz. eA αψον. — δο¬ κών . . . βαλίϊν : “ fancying that he drove the keen blade into me.” For the aor. inf., see on % δόξα . . . βίσιδεΐν v. 44. — αΐδ’ cirurroXaC: this is the mes¬ sage. 788-790. ώ . . . όμοσασ-α: “0 thou layer of an easy oath on me, and happy in that which thou thyself hast sworn ! ” The elegant construc¬ tion of the voc. participle is much affected in the iambic trimeter; cf. vs. 17, 709 f., 800 f., 836. Its range is of course very limited in Eng¬ lish; cf. ‘O snatch’d away in beauty’s bloom! | On thee shall press no ponderous tomb.’ — Pylades, who of¬ fered the encouraging maxim λίαν διδοναα μ^ταβολάς κτλ. ν. 722, has held his tongue during the revela¬ tion made in vs. 769-787.— ΐΓ€ριβα- λούσ-α: περιβαλεϊν, here figuratively; literally, vs. 796, 799. — κάλλκττα: καλλίστους ‘όρκους. — «Γχησω: έπισχησω. — ίμττεδώσομίν: will make good; cf ϊμπβδον ν. 758. For the shift to the plural, see on vs. 348 f. 126 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΟΡΕ2ΤΗ2. όεχομαυ · παρείς δε γραμμάτων όυαπτνχάς, την ήόονην πρωτ ον λόγους αυρησομαυ. 795 ω φυλτάτη μου σνγγον\ εκπεπλτηγμόνος όμως σ άπυστω περυβαλων βραχυονυ ευς τερφυν εϊμυ , πνθόμενος θανμάστ εμού. Χ0Ρ02. ζευν , ον δικαίως της θεόν την πρόσπολον χραύνευς άθικτους περυβαλων πέπλους χόρα. ΟΡΕ2ΤΗ2. 800 ω σνγκασυγνητη τε κάκ ταντον πατρός ’Αγαμεμνονος γεγωσα , μη μ * άποστρεφον , εχονσ αοελφον, ον οοκονοτ εςευν ποτέ. ΙΦΙΓΕΝΕΙΑ. εγώ cr’ άόελφόν τον εμόν; ον πανσευ λεγων; το δ’ *Αργος αντον μεστόν η τε Ναυπλια. 793 f. δέχομαι: gracious accept¬ ance (‘Thank you’) ; c/. ιτρόφρων δέ¬ χομαι Horn. Ψ 647. — iraptls . . . δια- irroxas : letting folded letters go. As he speaks, Orestes throws down the letter and advances toward the priestess to enfold her. — γραμμάτων διατττυχά$ : merely a periphrasis for γράμματα, δέλ,τον, as in v. 727. — πρώτα : as if he meant to read the letter afterwards. — ου λο'γοίδ : not in ivords ( i.e. hut by deeds), said in opposition to γραμ¬ μάτων. 795 f. ε’κ'ίΓεττλ.ηγμε'νο? : astonished though I am. — απίστω βραχίονι : is good ! The symmetry in vs. 783-797 de¬ serves notice, five lines to each of the three persons. 798 f. See on vs. 340 f. It is the chorus’ part in tragedy to uphold propriety of every sort, and to inter¬ pose in its behalf. Here even sanctity is invaded — a priestess of Artemis! — ιτεριβαλών ire'irkois χέ ρα : obs. the different const, with π^ριβαλεΐν in vs. 788, 796. 801. μη μ’ άττοστρε'φου : said as the priestess repels him with dignity. 803. ε’γώ σε . . . τον ε’μο'ν: sc. έχω; You my brother! If the two Greeks had not been Orestes and Pylades, they could hardly have played a bet¬ ter game than the one they are play¬ ing now, and Iphigenia was not the woman to be cozened by adventurers. 804. αΰτοΰ μεστό’ v : full of him; i.e. he is πανταχοί in Argos (v. 568). Cf. IPIIIGENIA AMONG T11E TAURIANS. 127 OPE2TH2. 805 ovk εστ εκεί cro<>, ώ τάλαινα, συγγονος. ΙΦΙΓΕΝΕΙΑ. άλλ* ύ) Αάκαινα TvvhapCs σ εγείνατο; ΟΡΕ2ΤΗ2. Πελοπος ye παιδί παιδδς, ου 'κπεφυκ βγω. ΙΦΙΓΕΝΕΙΑ. τι ψτ/9; εχεις τι τώνΰε μο ι τεκμήριου ; ΟΡΕ2ΤΗ2. εχω * πατρώων εκ ^>6μων τι πυνθάνον. ΙΦΙΓΕΝΕΙΑ. 810 ονκονν λεγειν μεν χρή ετέ, μανθάνειν δ’ ε’/χε'. ΟΡΕ2ΤΗ2. Χεγοιμ αν ακοή πρώτον ’Ηλεκτρα? τάδε · V. 324, where \ ί / > ? Ύ]κου σα, χρυσής αρνος ηνικ ην περί. ΟΡΕ2ΤΗ2. ταντ ουν ύφήνασ ’ οισθ ’ εν ευπήνοις ύφαΐς; ΙΦΙΓΕΝΕΙΑ. 815 ω φίλτατ\ εγγύς των εμων κάμπτεις φρένων. ΟΡΕ2ΤΗ2. είκω τ’ εν ίστοΐς ήλιον μετάστασιν; ΙΦΙΓΕΝΕΙΑ. υφηνα καί τοδ’ είδος ευμίτοις πλοκαυς. ΟΡΕ2ΤΗ2. καί λουτρ ’ ες Ανλίν μητρος άδεζω πάρα; 812 f. For the story, see on vs. 191 ff.— *Ατρ€ω$ Θυ€'<ττου τ’ : between Atreus and Thyestes. — ήκουσ-α: cor¬ rects οϊσθα. The Greeks were rather disposed to insist on this distinction. See above on ακοή v. 811. Cf. ένθυμη- τέον καί 7rap’ άλλων ά κ ο ύ ο υ σ l και τοΐς e Ιδόσιν αυτοΐ s άναμιμνησκο- μ e v ο i s Dem. iv. 3, 'Αρχέλαον δήπου τούτον τδν Π ερδίκκου opas άρχοντα Μακεδονίας; 2Ω· et δέ μη, άλλ’ ακούω ye Plat. Gory. 470 d (playful answer of Socrates to the colloquial opas; of Polus). — ήν£κ rfv: namely, when they had it; explanatory of yεvoμέvηv. 814. ΰφήναοτα οΐσθα : do yon remem¬ ber weaving ? Iphigenia had taken the history of the golden lamb as the design for a fine piece of work at the loom; cf. the allusion in vs. 223 if. 815. eyyvs . . . φρίνών : there you graze my thoughts. — κάμιττίΐξ : a meta¬ phor from the hazardous and critical moment of turning the post in the hip¬ podrome ; the exclamation S φίλτατε marks the closeness of the turn. 816 f. €ίκώ ήλιου μετάστασιν : a pict¬ ure of the retreating sun. είκώ is predica¬ tive, μετάστασιν the obj. of ύφηνασ a V. 814. — «ΰμίτο^ irkoKais: μίτος (warp), ■πλεκειν. Cf. εύττηνοις ύφαΤς VS. 814, 312, 14G5, πηνη ( woof Τίηνελόιτη), ύφαίνειν. With such poetic phrases Euripides, an admirer of all manual art, essays to match the deftness of woven work itself. 818. λουτρά : sc. οΐσθα. — άδί'ξω : & έδε'ξω. The water for the nuptial bath must be drawn from the local fountain consecrated to that purpose; hence a portion was taken from Argos to Aulis. IPHIGENIA AMONG THE TAURIANS. 129 ΙΦΙΓΕΝΕΙΑ. 70» > v « ' ’/3\ v v > » / /\ olO * ου yap ο γάμος εσσλος ων μ αφει Aero. ΟΡΕ2ΤΗ2. A 820 τι yap; κάμας σας μητρί 8ονσα ση φέρε ιν; ΙΦΙΓΕΝΕΙΑ. μνημεία y αντί σώματος τονμου τάφω. ΟΡΕ2ΤΗ2. α δ’ ε18ον αυτός, τάδε φράσω τεκμήρια * ΤΙέλοπος παλαιαν εν 8όμοις λόγχην ττατρός, ην χ^ρσί π άλλων παρθένον Πισάτι8α 825 εκτησαθ ’ 'Ιπποδάμειαν, Οινόμαον κτανών, εν πα ρθενώσι τοΐσι σοίς κεκρυμμενην. ΙΦΙΓΕΝΕΙΑ. 9 I '\ » » Ο \ *\ \ / /\ ν ? ω ψιΚτατ , ουοεν άλλο, ψιλτατος γαρ ει, εχω <χ’, ’Ορέστα, τηλυγετον 819. άφίίλίτο: SC. τούτο rb μ}] είδε- ναι. “ The marriage was not handsome enough to cause me to forget the cir¬ cumstance.” Ο /', v. 539. 820. κομας eras : a lock of your hair. — μητρί: const, with φερειν. — Sovcra : sc. οΊσθα', the same construction as υφηνασ' οϊσβα v. 814. 821. Y es, a memento for the grave instead of my remains. Cf. μνημεία ff αυτών tois τεκουσιν is δόμους | Trpbs αρμ Άδραστου χερσ\ν εστεφον Aesch. Sept. 49 ; h un c tamen, orba parens, crinem (dextraque se- candum | praebuit), liunc toto capies pro cor pore crinem [ ... huic da bis exequias Statius Theb. ix. 900. 823 f. Notice the alliteration (π), and cf. vs. 807, 876. 824 f. The iveapon he wielded when he won the maid of Pisa. See on vs. 1 f. 826. The lance, as an heirloom or * t r a n s m i 11 e n d u m/ was preserved in a part of the palace where no man, not a member of the family, would have seen it or have been likely to hear about it. Iphigenia asks for no further proofs, and the avayvupiais is complete. (Song from the Stage.) 827- 899. For the metres, see p. 51. 828- 830. έ'χω cr€: brother and sis¬ ter embrace. Cf εκ χερών v. 843, εχω σε χερσίν ; Soph. El. 1226 (said by Electra to Orestes, when finally recog¬ nized, as here); tenedne te, | Anti- phi 1 a, maxume animo exopta- tam meo? Ter. Heaut. ii. 4 fin .— τηλυγίτον : Homeric reminiscence. 130 ΕΥΡΙΠΙΛΟΥ ΙΦΙΓΕΝΕΙΑ. χθονός από πατρίδος 830 Άργόθεν, ω φίλος. ΟΡΕ2ΤΗ2. κάγώ σε την θανονσαν, ώς δοξάζεται. κατά δε δάκρυ * άδάκρνα, κατά γόος άμα χαρά το σου νοτίζει βλέφαρου , ωσαύτως δ’ εμόν. ΙΦΙΓΕΝΕΙΑ. 835 τδ^ ετι βρέφος ελιπον ελιπον άγκάλαισι νεαρού τροφού νεαρού εν δόμοις. ώ κρείσσον η λόγοισι θυμός ευτυχών , τι φώ; θαυμάτων πέρα καί λόγου 840 πρόσω τάδ 9 επεβα. ΟΡΕ2ΤΗ2. τδ λοιπόν ευτυχοίμεν άλληλων μετά . ΙΦΙΓΕΝΕΙΑ. άτοπου άδονάν ελαβον, ω φίλαι · Orestes was the ‘ dearly beloved ’ son. τίσω δε yutv Ίσον'Ορεστγ, | os yuot τηλύ- yer os τρέφεται θαλίτρ έν'ι πολλή I 142, said by Agamemnon. The Homeric word unquestionably convej^ed to Euripides merely the sense given above, in harmony with the key-note of the present passage (φίλτα re, φίλ- TaTos, φίλος). It has reasonably been thought that some word or words, such as μολόντα, may have fallen out of the text after τr)λvyετ ον. 831. κάγώ <τ€: sc. εχω. 832. An iambic trimeter resolved to its utmost capacity of short sylla¬ bles, viz. fifteen in the first five feet. In tragedy this only occurs in melic trimeters. Cf. the similar treatment of the anapaestic rhythm in vs. 231 f. — κατά . . . κατά: anaphora. Const. the prep, adverbially with νοτίζει v. 834 (‘tmesis’). — δάκρυ’ άδάκρυα : tears that are no tears; explained by y6os αμα χαρα. 835. τον: ον, closely connected with vs. 828 ff. 837-840. Kpcitrcrov ή Χογοισ-ιν cii- τυχών : far happier than words can tell. Cf. κρείσσον' ή λεξαι λόy(p \ τολμήματα Suppl. 844. The same thought is re¬ peated in λόγου πρόσω ( past expres¬ sion ). — ίΐτί'βα: befell; sc. μοι. The aor. refers to the moment of recogni¬ tion ; SO ελαβον v. 842. 841. Cf. ως τα λοίπ ' εχοις αεί Soph. El. 1226, said by Orestes in response to εχω σε χερσίν ; — €υτυχοϊμεν : adapted to ευτυχών V. 838. 842-844. άτοττον άδονάν : inconceiv¬ able delight. — ώ φίλαι: addressed to IPHIGENIA AMONG THE TAURIANS. 131 8ε8οικα S’ εκ γέρων με μη προς αιθέρα άμπτάμενος φνγη. 845 ω Κ υκλωπί8ες εστίαι, ω πατρις, Μνκηνα φίλα , γάριν εγω ζόας, γάριν εγω τροφάς , otl μοι σννομαίμονα τόν8ε 8ομοισιν εξεθρεφω φάος. ΟΡΕ2ΤΗ2. 850 γενει μεν ευτυγουμεν, εις 8ε συμφοράς , ώ σνγγονημών 8νστυγης εφυ βίος. ΙΦΙΓΕΝΕΙΑ. » \ /\ ΤΟ» ΤΟ» ν ι / εγω μελεος οιο , ο to ore ψασγανον 8ερα θηκε μοι μελεόφρων πατήρ , the chorus. — μη μ€ . . . άναιττάμενο? φυγή : sc. ode. The conceit is Euripi- dean ; hence the parody : & δ’ ανέπτατ άνεπτατ’ is αιθέρα κουφοτάταις irrephyuv ακμαϊε Ar. Ran. 1352 (supposed to be sung by a woman who had lost her rooster). 845 f. Κυκλω-ττίδεξ ecrrLcu : the mas¬ sive archaic stone-work at Mycenae was attributed to the Cyclopes ; cf. Μ υ κ η v αΊ αί τ £μαϊ θόραπναι. | X. κα- Aeis πόλισμα Tlepcreus, \ Κυκλωπίων ico v ον χ e p ω v Iph. Aid. 1490. Hence the epithet ‘ Cyclopean ’ is constantly applied to the city. — Μυκηνα: col¬ lateral poetic form for Μ υκηναι, like ®τ)β·η beside Θηβ at, etc. 847. The anaphora and the homoeo- teleuton ((oas . . . rpocpas) produce a good effect in dochmiac dimeter verses; cf. v. 835 (veapbv . . . veapov), έπίλυαιν φόβων βπίλυσιν δίδου Aescll. Sept. 133, κλύ (τε παρθόνων κλύβτε παν- δίκως ib. 172. So in the ‘Iloratian’ stanza: e.g. quae cur a patrujn, quaeve Quiritiam Carm. iv. 14 . 2. — χάριν ε χω : grateful am I. 848 f. μοί: dat. cf interest, to be construed with the clause. — δο'μοι- criv: const, with dos (pred. 110 m.). Cf. the quotation below in this note, and see on v. 187. — on ε’ξεθρε'ψω: expansion of τροφας (and ζόας) v. 847. The mid. is appropriate; see H. 815. The active would have been said of the mother; cf. Ιίθρεφας Έλλάδί peya φάος Iph. Aul. 1502, addressed to Cly- taemnestra by Iphigenia. 850 f. γε'νει: by birth. Suggested by the mention of their native city in vs. 845 f. — € φυ : £στί. 852 f. Iphigenia oscillates from one extreme of feeling to the other under the influence of Orestes’ words. For the reminiscence here, cf. v. 301. — οίδ’ ore: cf. v. 813 (τράκα), and see GMT. 113, n. 9. — θηκε : έτόθηκ*. — μελεόφρων : matching με'λεοϊ. 132 ΕΥΡΙΙΊΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΟΡΕ2ΤΗ2. 855 οιμοι * δοκώ yap ον παρών σ' δράν εκε Γ. ΙΦΙΓΕΝΕΙΑ. άνυμέναιος, ώ συγγον , ’Αχιλλεως εις κλισίαν λεκτρων δόλί oV άγδμαν 860 παρά δε βωμόν ην δάκρυα καί γόοι · φευ φευ γερνίβων των εκεί. ΟΡΕ2ΤΗ2. ωμωξα κάγώ τόλμαν ην ετλη πατήρ. ΙΦΙΓΕΝΕΙΑ. 865 άπάτορ άπάτορα πότμον ελαχον. άλλα δ’ ef άλ- λωζ^ κυρεΊ. ΟΡΕ2ΤΗ5. ει σοι^ y’ αδελφόν , ώ τάλαιν, άπώλεσας. ΙΦΙΓΕΝΕΙΑ. δαίμονος τνχα πνός. 856-860. άνυμε'ναιος : a similar thought to ννμφαν δύσνυμφον V. 216. Instead of the nuptial hymn there was ‘weeping and wailing’ ( δάκρυα και y όοϊ). — κλισίαν λε'κτρων: periphrasis for Χίκτρα ( marriage ) ; see on vs. 369- 371 fn. — δόλια: adverbial; δόλ^ v. 371. — or άγομαν : hy όμ-ην , carries on the const, οίδ’ c/re v. 852. 862. I too must cry out at the hard heart our father had. — ωμωξα και «γώ : refers to φευ φευ v. 861. 865-868. άιτάτορα ττοτμον: α fate unfatherly ; adapted to πατήρ v. 862. Cf. μήτηρ άμήτωρ Soph. EL 1154, said of Clytaemnestra by Electra. Eor the repetition, άπάτορ ’ απάτορα, see on v. 402. — άλλα . . . κυρεϊ : chances out of chances grow. Iphigenia means to say that the sacrifice at Aulis was to her the ‘ direful spring ’ of a whole series of ills. Orestes breaks in confirma- tively with a mention of the horror which both have just escaped so nar¬ rowly. — el €K€LV ελθειν χρεών, όπως το κλεινόν όνομα της σωτήριας λαβόντες εκ γης βησόμεσθα βαρβάρου, σοφών γάρ άντρων ταυτα, μη ’κβάντας τύχης, καιρόν λαβόντας, ηόονάς άλλας λαβειν. ΟΡΕ2ΤΗ2. καλώς ελεξας · τη τύχη δ’ οιμαι μελειν 910 τουδβ ζύν ημιν · ην δε τις πρόθυμος η, σθενειν το θειον μάλλον εικότως όχει. ΙΦΙΓΕΝΕΙΑ. ούόεν μ επίσχει y ούδ’ άποστησει λόγου, 904-906. λη'ξαντα: sing., applying the admonition to Orestes only. — οϊκτων : οίκτος ( οί, οϊμοι ) is strictly the audible demonstration of feel¬ ing; cf. v. 147. — εκείνα: anticipating the clause όπως . . . βησόμεσθα, and emphatic as opp. to what precedes (vs. 902 f.). — οπ«9 κτλ. : namely, the task of securing , etc. έπ* εκείνα έλθεΐν implies effort; see G. 217, H. 885. — κλεινόν ονομα σωτηρίας : κλεινήν σω¬ τηρίαν. The periphrasi^peed not sug¬ gest any opposition between name and reality. Cf κλώζεται πατήρ v. 917, where somewhat of the notion of κλει- v6s is conveyed, not ‘ reputed ’ as opposed to ‘ true.’ 907 f. ταΰτα: explained by what follows, like εκείνα v. 904, but with¬ out the antithetic force indicated by that pronoun. — μη . .. λαβειν : const, the neg. with the whole combined thought. — καιρόν λαβόντας : επήν καιρόν λάβωσιν, explanatory of τύχης and opp. to ήδονάς λαβειν. — άλλας: i.e. foreign to the exigency of the cri¬ sis (ε£ω του καιρού, εζω τύχης). The idiomatic άλλας is due to the repeti¬ tion λαβόντας .. . λαβειν, notwithstand¬ ing the different shades of meaning ‘get’ and ‘take.’ — “It beseems wise men not to desert Fortune and lose a precious moment, to take up with vain pleasures.” 909-911. τη τύχη . . . ξύν ημϊν : me- thinks Fortune has charge of this under¬ taking in company with ourselves .— τοΰδε : i.e. the task named in vs. 905 f. — ή'ν δε' τις κτλ. : expands the thought ξυν ήμΐν. — μάλλον : const, with σθε- νειν. The idea that divine providence is reenforced by human energy is the equivalent (though the converse in statement) of ‘ Heaven helps those who help themselves.’ τω yap πονούντι καί θεός συλλαμβάνει Frag. 435, fortes Fortuna adiuvat. — εικότως εχει : it is reasonable to suppose. Orestes has acquired improved views of τύχη and τό θειον since vs. 570 ff. 912-914. The lines are transitional. Iphigenia, who may be supposed to know best how much time there is to spare, insists on further satisfying her curiosity before proceeding to business. Thus narrative matter of 136 ΕΥΡΙΙΙΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. πρώτον πνθεσθαι τίνα ποτ ’Ηλεκτρα πότμον εϊληχε βίότου · φίλα yap εσται πάντ εμοί. ΟΡΕ2ΤΗ2- 915 τωδε ξννοικεΊ βίον εχονσ ενδαίμονα. ΙΦΙΓΕΝΕΙΑ. οντος δε ποδαπος καί τίνος πεφνκε παΐς; ΟΡΕ2ΤΗ2. Στρόφιος δ Φωκευς τονδε κληζεταυ πατήρ. ΙΦΙΓΕΝΕΙΑ. δ δ’ εστί y ’ Ατρεως θυγατρός , ομογενής εμός; ΟΡΕ2ΤΗ2. ανεψιός γε, μόνος εμοί σαφής φίλος. ΙΦΙΓΕΝΕΙΑ. 920 ονκ ην τόθ ’ οντος ότε πατήρ εκτεινε με. ΟΡΕ2ΤΗ2. ονκ ην' χρόνον γαρ 'Ζτρόφως ην απαις τινά. an interesting sort, with facts that Iphigenia must learn before she can assist her friends intelligently, is brought into the epeisodion in advance of the &ov\evais or plot for escape. — ούδ«ν . . . άποσ-τησ-ίΐ : there is certainly nothing to hinder, and noth¬ ing shall put me off. — λο'γου : from my purpose of ascertaining; see on v. 578. — πρώτον: first of all; i.e. before at¬ tending to the pressing matter of which Orestes and Pylades have just spoken. — πυθί'σθαι : explanatory of λόγου. The inf. after a verb of hin¬ drance is the counterpart of a gen. of separation. — 4'σ-ται : against ‘Por- son’s rule/ but the future suits the sense much better than ίστί would; see on v. 580. — πάντα: i.e. “every¬ thing that I can learn about her.” 915. τωδ« ξυνοικίΐ: *‘his wife she is.” 916-919. ovtos : deictic exactly like 8Se. Cf. vs. 595 with 598, 600 with 601. — d Φωκίτ^: contains the answer to ποδαπός; — κληζίται: see on v. 905 fin. — Ιστί ye : is really ? — θυγατρο'δ : i-e. Anaxibia, sister of Aga¬ memnon. — ανεψιός ye: ye' with refer¬ ence to δμογβν t]s. See on v. 510. 920 f. It is here seen why the name of Pylades conveyed no signifi¬ cance to Iphigenia, when reported to her early in the play. — cktcivc : impf. IPIilGENIA AMONG THE TAUllIANS. 137 ΙΦΙΓΕΝΕΙΑ. χαιο* ω πδεπ,ς μοι της εμης όμοσπόρου. ΟΡΕ2ΤΗ2. κάμός γε σωτηρ , ούχΐ συγγενής μόνον. ΙΦΙΓΕΝΕΙΑ. τά δεινά δ’ έργα πως ετλης μητρός περί; ΟΡΕ2ΤΗ2. 925 σιγωμεν αυτά · πατρι τιμωρων εμω. ΙΦΙΓΕΝΕΙΑ. η δ’ αιτία τις άνθ * δτου κτείνει πόσιν; ΟΡΕ2ΤΗ2. εα τά μητρός · ού5ε σοι κλυειν καλόν. ΙΦΙΓΕΝΕΙΑ. σιγώ· το δ* ν Αργος προς σε νυν αποβλέπει; ΟΡΕ2ΤΗ2. Μενέλαος άρχει · φυγάδες εσμίν εκ πάτρας. ΙΦΙΓΕΝΕΙΑ. #ειος ϋβρισεν δόμους; 930 ου που υο<χουυτας 922. χαΐρε ... μοι: the ethical dat. often occurs thus with χαίραν. Cf. Xaipe πολλά μοι , πάτερ Ilipp. 1453, χαίρουσά μοι (“With farewell from me ! ”) etV Άίδα δόμοισιν \ τδν ανάλιον οίκον oIkctcvois Ale. 436. The stichomythic form is not favor¬ able to the amenities of an ‘introduc¬ tion’; but Pylades, if not at liberty to speak, could at least make his bow. 924. But how did you bring yourself to that dreadful work, etc. ? — τά δεινά : for the article, see on v. 320. 925-927. σιγωμεν αυτά: let us say nothing about it. — άνθ’ οτου : where¬ fore (causa qua mob re in'). In this conjunctional phrase no account is ever taken of the gender of the ante¬ cedent noun.— εα: leave the subject alone. — ουδέ' καλο'ν : besides, it is not fine; i.e. besides being an unpleasant subject for Orestes to speak of. 928-930. irpos σε άττοβλε'τΓει : looks to you ? I.e. for protection and govern¬ ment, as to its hereditary sovereign. — φυγάδες : pi. for sing. Said by 138 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. *■ ΟΡΕ2ΤΗ2. V / Q r\ / J ουκ, αλλ Ε ιριννων οειμα μ εκβάλλα γθονός. ΙΦΙΓΕΝΕΙΑ. ταντ αρ επ ακταις κανυαο ηγγελσης μανεις; ΟΡΕ2ΤΗ2. ωφθημεν ον ννν πρώτον οντες άθλιοι. ΙΦΙΓΕΝΕΙΑ. εγνωκα · μητρός <χ’ εινεκ ηλάστρονν θεαί. ΟΡΕ2ΤΗ2. ♦ 935 ωσ^’ αιματηρά στόμι επεμβαλεΐν εμοι. ΙΦΙΓΕΝΕΙΑ. τι yap ποτ* €is y^ τήνδ* επόρθμενσας πόδα; ΟΡΕ2ΤΗ5. Φοι/3ου κελενσθεις θεσφάτοις άφικόμην. Orestes with reference to the Furies, but naturally understood by Ipliigenia in the civil (political) sense; cf. v. 512. Hence her surprised question ου ■που κτλ. It surely cannot be that your uncle took a base advantage of the family troubles? Sc. to usurp the preroga¬ tive ( Topawihos χάριν v. 681). Orestes had only meant to say that Menelaus was acting as regent (pending an ac¬ tion de lunatico inquirendo, as we should be inclined to term it). 931. Έρινΰων : trisyllabic in recit¬ ing; as also in v. 970. 932. That explains , then, hoiv you came to be reported as attacked by mad¬ ness on theshorehere also? — ταΰτα: see H. 719c (last example). — άρα: &pa .— καί «νθάδί : here as well as at Argos. 933. This is not the first time my misery has been witnessed. 935. The victim of the Furies is conceived as a steed urged by a cruel rider. — ώσ -Te: connects έπεμβα- \ε?ν immediately with ηλάστρουν v. 934. “ Until the bit ran blood,” we should be apt to say. So Clytaem- nestra declares that Cassandra will never learn to mind the rein ττρ'ιν al- parr]pbv έξαφρίζεσθαι. μένος Aesch. Ag. 1067. 936. τί γάρ : but why? See on v. 506. — ίττορθμίυσαδ ττοδα : cf. πορθμεύων Ίχνος v. 266. πορθμεΰειν occurs, meta¬ phorically for the most part, also in vs. 371, 735, 1358, 1435, 1445; of a star Iph. Aul. 6; of the deus ex machina Andr. 1229. 1 PH I GEN ΙΑ AMONG THE TAURIANS. 139 ΙΦΙΓΕΝΕΙΑ. tl -χρήμα γράσων; ρητόν η σιγώμενον; ΟΡΕ2ΤΗ2. λεγοίμ αν · άρχαΐ δ’ αί8ε μοι πολλών πόνων. 940 επει τα μητρος τανθ ’ α σιγώμεν κακά εις χεϊρας ήλθε , μεταδρομαΐς δ* ’Εριννων ήλαννόμεσθα φνγάδες , ενθεν μου πδδα εις τάς ’Αθήνας 8η y επεμφε Αοζιας, 8ικήν παρασχείν ταΐς ανωννμοις θεαις. 945 εστιν yap όσια ψήφος , Ζευς εισατ e/c του οη 939. iVay, / can relate it — and here you have the beginning of a long, sad tale. — λί'γοιμ’ av: the reply to βητδν ή σι·γώμ(νον ; ν. 938. — αΐδ« : explained by what follows (έπ el kt\. v. 940). al5e stands for τ ci5e by assimilation to the gender of the pred. αρχαί, cf. αίδ' έπιστολαί ν. 786 (referring to what precedes), δικαστου μέν yap αυτή (for τούτο ) aperh Plat. Apol. 18 a. 941 f. its xcipas ηλ0€ : had been laid upon my hand; speaking of himself as a passive instrument of the divine de¬ cree. — ηλαυνομίσθα : obs. the change of tense from ^KQe, and for the impf. with eirel, see on v. 261. — e v0tv: eVei- τα, in τούτου, correl. to eVef v. 940. — ev0€v μοι ποδα : not subject to ‘ Por- son’s rule/ since there can be no cae¬ sura before an enclitic. 943. ds τάς Άθηνα$ δή ye: “to Athens at last! ” Dwelling with force on the significant name of the city which afforded the first respite from suffering. — For the rare δτ? ye, cf. ιτάρ€σμ€ν, οία δη y' έμου παρουσία Iler- acl. 632. — {'ττίμψί : guided my steps, viz. by means of the second oracle. ήν Αρει ποτέ χερών μιάσματος. For the expression, cf. the similar πόδα πέμπω vs. 130 f.— Λοξίας : Lox- ias, an appellation of Apollo of un¬ known etymology. 944. “ To stand trial at suit of the nameless goddesses.” For ανωνύμου, cf τάνδ' aμaιμaκeτav κόραν, | Tpe- μομ€ν λ eye iv Soph. Oed. Col. 128. The same euphemism as in the names Εύμ6ίάδ«, 2,epvai. 945 f. ψήφος : tribunal; i.e. the Sen¬ ate of the. Areopagus (‘Mars’ Hill’). ψήφος “pebble,” “ballot,” “court,” cf. the changes of meaning the word ‘court’ itself has undergone.—"Apti: for Ares, i.e. to have him tried (and cleared if possible); an entirely differ¬ ent dat. from 6ea7s v. 944, where the original meaning of δίκην παρασχ€7ν is to ‘give satisfaction.’ — «ϊσατο : es¬ tablished. For the word, see H. 517 D 7. — CK . . . μιάσματος: in consequence of some act of pollution or other; in fact for slaying Halirrothius, a son of Poseidon. Cf eanv S' y A pecis τι s ύχθος, ου πρώτον Oeol | ’έζοντ £πΙ ψηφοισιν αί¬ ματος πέρι, | Άλιρρόθιον υτ ίκταν' ώμό- φρων ''Αρης ΕΙ. 1258. — δη: points to 140 ΕΥΡΙΠΙΛΟΥ ΙΦΙΓΕΝΕΙΑ. 3\/]\ Ο» S Λ ^ / > i Ο ' d ' ελυων ο εκεισε, πρώτα μεν μ ουοεις ξένων ε κων εδεξαθ\ ως θεοις στυγούμενον * οΐ δ* εσχον αιδώ, ξένια μονοτράπεζά μοι 950 παρεσχον , οι κων όντες εν ταύτω στε'γει, σιγή δ* ετεκτηναντ άπόφθεγκτόν μ, όπως δαιτδς γενοίμην πώματός τ αυτών δίχα, εις δ’ αγγος ίδιον ίσον απασι βακχίον μέτρημα πληρώσαντες εΐχον ηδονην. 955 καγώ ’ξελεγξαι μεν ξένους ούκ ηξίουν , ηλγουν δε σιγή κάδόκουν ούκ ειδεναι, the event as well known in regard to its nature, whatever the particulars may have been. 947-960. Legendary details adapted to account for certain Athenian cus¬ toms in existence at the poet’s time. See Introd. p. 13. 947. 4λθών : said as if a passive verb were to follow; an anacoluthon of so common occurrence as to have re¬ ceived from grammarians the name of ‘ nominative absolute.’ Cf. vs. 695 ft’. « 949-954. Those Athenians who scrupled to exclude their suppliant visitor entirely from their houses and from entertainment as guest (ξε'νια), attempted to reconcile the conflicting obligations of hospitality and avoid¬ ance of pollution, by serving the ma¬ tricide at a separate table (|eVia μονο¬ τράπεζα'), and by observing silence while he was present. It was unlaw¬ ful to speak to him, so they did not speak at all. 949. 4'σχον α18ώ: “felt scruples of mercy.” 950. οϊκων crc'yii: οίκ<ρ. The mer¬ ciful allowed Orestes to be under the same roof with themselves, although the strictest religion ordained ώθεΐν απ' οίκων πάντας Soph. Oed. Tyr. 241. 951. But by a silence of their oivn they contrived to keep me from speech of them, etc. — (νπΌφθ€·γκτον : pred. adj. από in comp, is here neg. in force; cf. άποφράς (nefandus). For the ban, cf. άφθοΎΎον είναι τόν παλαμναΐον νόμος Aesch. Eum. 448, sc. until solemn purification had been undergone; so of the murderer of Laius, μητ είσδε- χεσθαι, μτ)τε προσφωνεί ν τινά Soph. Oed. Tyr. 238. 953 f. ayyos ϊδιον: i.e. a separate bowl for each man’s portion of wine, an ‘individual’ beaker, instead of drawing from a common κρατηρ. — ftrov : const, with μέτρημα. — €Ϊχον ηδονην : “ and thus quaffed the cheer.” These concluding words are graphic and descriptive (note the tense), leav¬ ing a picture of the scene before the mind of the hearer (reader), while the significant predication is contained in the participle πληρώσαντες κτλ. 955-957. I, for my own part, did not see fit to take my hosts to task, but suf¬ fered in silence, and tried to seem uncon¬ scious, though in truth deeply sighing, that I was guilty of a mother’s blood .— «δο'κουν : see on v. 1335. — ovk «ίδί'ναι : not μη, because the inf. is in the con¬ struction of indirect discourse; see ( IPHIGENIA AMONG TIIE TAURIANS. 141 μεγα στενάζων, ουνεκ rj μητρος φονευς. κλυω δ’ *Αθηναιοΐσι τάμα δυστυχή τελετήν γενεσθαι , κάτι τον νόμον μενειν 960 χοηρες άγγος Παλλάδος τιμάν λέων. COJ»V. V Q Τ' J Ο / > ως ο €ΐς Α ρειον οχυον ηκον , €9 οικην τ εστην , εγώ μεν θάτερον λαβών βάθρον , τδ δ* άλλο πρεσβειρ* r /περ ήν * Έ^ρινύων , G. 283, 3; Η. 1024. — οΰ'νεκα κτλ.: const, with είδε'ναι. This comes to precisely the same thing as saying that lie pretended not to notice any singu¬ larity in the treatment he received as guest. — η : is the form in tragedy of the 1st pers. sing. impf. of elvai. 958-960. Undramatie, and said from the point of view of the poet and the spectator. Anachronisms are charac¬ teristic of the literature of the stage. — τελετη'ν : a solemn rite. — γίνε crGcu : the inf. instead of the regular partici¬ ple with κλύω (ακούω) to indicate a sub¬ jective statement rather than percep¬ tion by the sense. “ I hear,” equiv. to “ I am told ” ; cf. πρότζρόν ττοτ ακούω £eviKbv τρύφειν εν K ορίνθω την ττόλιν Dem. iv. 23. — καί ετι κτλ.: and that the custom still exists, of Pallas’ people honoring the cup of Choes-day. The second day of the Dionysiac festival Anthesteria was named Xo'es, when at a drinking-match each contestant drained off his measure (xovs) of wine in the midst of perfect silence. — χοήρίξ ayyos : intended to suggest xovs, X6es, while also adapted to &y- yos Ιδιον v. 953. 961-967. The narrative is resumed from v. 946. The apodosis of the sen¬ tence begins with ειπών v.964, although 67 μεν . . . Έρινύων (vs. 962 f.) can hardly be said to belong more to pro¬ tasis than to apodosis. For the ana- coluthous structure in vs. 964 f., see on v. 947. 961. "Apitov οχθον : *A peiov 7 rayov. — es δίκην τ’ έ'σ-την : and ivas put on my trial. Elision at the end of an iambic trimeter verse has not been noted elsewhere in Euripides, but oc¬ curs several times in Sophocles (e.g. Oed. Tyr. 29), though never in Aeschy¬ lus. The phenomenon is instructive as helping to show that the dialogue of tragedy was not metre-bound in recitation. See p. 38, foot-note. 962 f. There were two white stones in the court, employed as stands (βάθρα) for accuser and accused re¬ spectively. Orestes took his place upon the xi6os "Υβρεω*, and the senior Fury hers upon the xiOos ’Αναίδεια?. Thus the stones were named accord¬ ing to Pausanias i. 28 . 5. — το δ’ άλλο : obj. of λαβοΰσα, to be mentally sup¬ plied in agreement with ^ rrep κτλ. The nom. ‘ήπερ, or strictly the under¬ stood antecedent of ηπερ, stands (with iyu> μεν) in partitive apposition ; no pi. verb or subj. has been expressed, but one is implied in es δίκην εστην, as well as in ei -πων ακόυσα? τε v. 964. The whole passage is clearer before being grammatically explained than after. — Ίτρεσβειρα: fem. form of ■rrpeaPvs, which is often a superlative in sense; see H. 247 D. It forms the predicate with ^v. 142 ΕΥΡΙΙΙΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ειπων άκουσας θ' αίματος μητρος περί, 965 Φοίβος μ' εσωσε μαρτύρων ϊσας δε μοί ψήφους διηρίθμησε Παλλάς ώλεντ), νικών δ* απήρα φόνια πειρατήρια. οσαι μεν ουν εζοντο πεισθείσαι δίκτ), ψήφον παρ' αυτήν ιερόν ωρίσαντ εχειν 970 οσαι δ’ 'Ερινυων ουκ επείσθησαν νόμω, δρόμοις άνιδρυτοισιν ήλάστρουν μ' αεί, εως ες αγνόν ήλθον αυ Φοίβου πεδον, 964. “ After both parties had been heard, etc.” — «Ιττών ακόυσα? re : an Attic phrase concisely designating impartiality of procedure in litigation; cf. άναξ, υπάρχει μεν τόδ ' εν τρ σρ χθονί, | ειπεΊν άκου σ αί τ' έ ν με ρ ει πάρ- εστί μοι Hercicl. 181, addressed to the ruler of Athens. 965 f. Φοΐβοδ . . . μαρτύρων : the nature of Apollo’s evidence for the defendant, presenting the superiority of paternal to maternal claims, may be learned from Aeschylus, Eum. 576 ft.— ftras δί κτλ. : Athena pre¬ sides in the court, and deposits the casting-vote in favor of Orestes, to break the tie; hence the phrase ψήφος 'Αθήνας (calculus Minervae) in the custom of interpreting a tie vote as an acquittal in cases of bloodshed. — liXtVr): instead of χέρι. Euripides was rather fond of the word ώλενη, but there is dignity in its use here. 967. And I came off victorious in the trial for murder. — άττήρα : see on v. 511. — ττ€ΐρατηρια : cf. per ί¬ ο ulum. For the acc. of kindred meaning with νικών, see G. 159 Rem., H. 716 a. 968 if. It is at this point that the myth overpasses its original limit, in that certain of the goddesses refuse to be bound by the verdict, and con¬ tinue their persecution of Orestes. 968. Noiv then, such of them as mere disposed to stay and abide by the judg¬ ment. — έ'ξοντο : contrasted with the thought of moving further implied in ■ήλάστρουν V. 971. 969. The ancient shrine of the Eu- menides in a grotto of the Hill of Ares is thus traced to its mvthical establishment. Likewise in the play of Aeschylus. Cf. also δειναι μεν ουν θεαΐ τφδ' άχει πεπλη~γμεναι | πάχον παρ' αυτόν χάσμα δύσονται χθονός, | σεμνόν βροτοΐσιν ευσεβες χρρστήριον ΕΙ. 1270. — wap’ αύτην: hard by. Cf. classemque sub ipsa | Antan- dro et Phrygiae molimurmon- tibus Idae Yerg. Aen. iii. 5. — ώρί- σαντο : literally, “ allowed the boun¬ daries to be marked out for them.” From the spirit of the Aeschylean representation (Eum. 847 ff.) we may say “agreed,” “consented.” 971 f. άνιδρυ'τοισιν : unresting, ίδρύ- ειν “ settle,” vs. 978, 1453. — αΰ: once more. This was Orestes’ third visit to the oracle, the one that belongs to the new part of the legend. — ά -yvdv Φοίβου ire'Sov: Phoebus' holy ground. The Delphian temple and its pre¬ cincts. IPHIGENIA AMONG THE TAURIANS. 143 καί πρόσθεν αδύτων εκταθείς, ρήσης βοράς, επώμοσ αυτοί) βίον άπορρηζειν θανών, 975 εί μη με σώσει Φοίβος , ος μ άπώλεσεν. ^ εντεύθεν αύδην τρίποδος εκ χρυσόν λακών Φοίβος μ' επεμφε δεύρο , διοπετες λαβείν άγαλμ' 'Αθηνών τ εγκαθιδρύσαι γθονί. άλλ' ηνπερ ημίν ώρισεν σωτηρίαν 980 σύμπραζον · ην yap θεάς κατάσχωμεν βρετας, μανιών τε λήξω καί σε πολυκώπω σκάφει στείλας Μυκηναις εγκαταστησω πάλιν. αλλ ω φιλησεισ , ω κασιγνητον καρα , σώσον πατρωον οίκον, εκσωσον δ' εμε · 973-975. Orestes comports himself precisely as did the final envoys from Athens to Delphi, just before the con¬ flicts with Xerxes. Their words as given by Herodotus were: 2>ναξ, χρή- σον ήμιν άμ(ΐνόν τι π(ρ\ τής πατρίδος, αιδ(σθ(1ς τάς ίκβτηρίας τάσδ( τάς τοι ήκομ(ν φ(ροντ(ς · ή οϋ τοι α,πιμεν έκ του αδύτου, άλλ' αυτού τήδ( μενίομεν (στ άν κάϊ τ(λ(υττ\σωμ(ν νϋ. 141. The response to this appeal was the fa¬ mous oracle of the ‘ wooden wall.’ — νηστι$ βοράς : without taste of food. — αύτοΰ : nyht there; cf αυτού τήδ( ( right here ) Hdt. l.c., also vs. 1132, 1159, 1215. — βίον άττορρη^ιν θανών: viz. by starvation. The suppliant makes use of forcible expressions in his final despairing petition to this priestly supreme court of appeals.— For ρ-η-γνύναι in this connexion, cf φυ- Xoppayds v. 1466. — σώσει . . . άττώ- λεσεν : by this contrast the petitioner exhibits the justice of his claim: — the god shall rectify the consequences of his original command. 976 f. ε’ντενθεν : thereupon. Cf. tv- 9(v v. 942. — λακών: see on v. 461. — διοττ€Τ€$: interpreted by vs. 87 f. 979-986. The narrative passes into personal exhortation of Iphigenia. The Taurian image is to Orestes the palladium of his future well-being : it is in the possession and under the pro¬ tection of his sister; he anticipates her scruples in regard to its removal, hence the earnest, almost passionate, fervor of his appeal in vs. 983 if. 979 f. ηνττερ . . .σωτηρίαν: for the arrangement, cf. vs. 39, 63 f., 1238, 1293 f., 1442 f. (G. 154, H. 995 with c). — ημΐν ώρισεν : he marked out for us. Cf the mid. v. 969. The pi. ήμιν, not for the sing., but to include Iphi¬ genia, as Orestes goes on to say ( καί σε κτ\. vs. 981 f.). — σΰμιτραξον : help to achieve. 983 f. ώ κασίγνητον κάρα : inter¬ rupting ψιληθ(7σα (instead of κασι- 7V7JT7]).— Cf. S) κοινού αύτάδ(λφον Ισμήνης κάρα Soph. Ant. 1. There is no counterpart in English to κάρα and κ(ψαλή , as here employed. — σώσον . . . έ'κσωσον : anaphora with 144 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 985 ώς ταμ’ ολωλβ πάντα και τά Πελοπιδών, ουράνιον ει μη ληφόμεσθα θεάς βρετας. Χ0Ρ02. δεινή τις οργή δαιμόνων επεζεσεν το Ύαντάλειον σπέρμα διά πόνων τ άγει. ΙΦΙΓΕΝΕΙΑ. τδ μεν πρόθυμον , πριν σε δευρ 9 ελθεΐν, £χω 990 'Αργεί γενεσθαι καί σε, συγγον, εισιδεΐν, ^β'λω δ’ απβρ cri;, ere re μεταστήσαι πόνων νοσουντά τ οίκον, ουχι τοΐς κτανουσί με θυμουμενη, πατρωον όρθωσαι πάλιν · σφαγής τε γάρ σής χάίρ' άπαλλάζαιμεν αν 995 σωσαιμί τ’ οίκους, την θεόν δ’ όπως λάθω δεδοικα καί τύραννον, ήνίκ αν κενάς variation of form ; c /’, vs. 1018 f., 1059. Freq. in Sophocles; cf. φίλη μεν τ 'ϊξειν πατρί, προσφιλής δε σοί, \ μήτερ, φίλη δε σοί, κασί^νητον κάρα Ant. 898. No variation of meaning is intended. 985 f. ws ... πάντα : since it is utter ruin to me. — καί τά Πελοπιδών : a tri¬ brach in the fifth foot has a retarding effect upon the flow of the verse, and is of comparatively rare occurrence. — ουράνιον : the same thought as in δίΟπετες v. 977. 987 f. σπέρμα : const, with the two verbs in common, though έπεζεσεν alone would require the dative. 989. το μεν προ'θυμον : correlative to t)]v θεόν δέ κτλ. v. 995. She has had the will from the beginning, but the deed may not prove easy of ac¬ complishment. — εχω : gets the sense of a pf. and pres, combined, from πρ\ν . . . έλθεΊν. See G. 200; H. 820. 991-993. θε'λω δε' κτλ. : amplifies and specifies τδ πρόθυμον εχω (v. 989), which was said comprehensively, as v. 990 shows. And I desire the same ends as you. — σε' τε κτλ. : explana¬ tory of άπερ συ (0ελει$), τε . . . τε being correlative. — ούχΐ . . . θυμου- με'νη : cherishing no resentment against my slayers (viz. her father). 994. yap: for thereby. A special motive is here given for θέλω δ’ άπερ σύ (v. 991) : viz. σφαγής σής χείρ' άπαλλάξαιμεν άν. The performance of her duty as priestess would involve a crime. The second clause, σώ- σαιμί τ οίκους, though grammatically parallel to the first ( τε . . . τε), is in effect nothing but a perfectly natural repetition of οίκον όρθωσαι vs. 992 f. “Besides saving the family.” 995-997. θεο'ν, τύραννον : both nouns are governed grammatically by λάθω and δεδοικα in common. In IPIIIGENIA AMONG THE TAURtANS. 145 κρηπίδας evpy λαινας αγάλματος. πως δ’ ού θανονμαι; τις δ’ ενεστί μοι λόγος; άλλ' el μεν εν τι τονθ ’ όμον γενησεται ,, 1000 άγαλμά τ οισεις κάμ επ' ενπρνμνον νεως άζεις , τδ κινδννενμα γίγνεται καλόν τούτον δε γ^ωρισθεισ' εγω μεν όλλνμαι , <χύ δ* at' τδ <χαυτού θεμενος εν νόστον τνγοις. ον μην τι φενγω γ * ουδέ μ,’ ει θανεΊν γ^ρεών, 1005 σωσασά σ * ού yap άλλ* άνηρ μεν εκ δόμων θανων ποθεινός , τά δε γνναικος ασθενή. reciting, the pause comes after 5e- δοικα, as the clause ηνίκα κτλ. shows. — Anticipation (prolepsis) is very common with a verb of fearing; cf. δύδοικα δ ' αυτήν μτ\ τι βουλίύστ] νίον Med. 37. — οιτως λάθω : indirect ques¬ tion ; see GMT. 46, n. 6 c (last ex¬ ample). 998. tis . . . Xo'-yos: what is it pos¬ sible for me to say? Viz. in explana¬ tion of the disappearance of the idol. 999-1006. Iphigenia resolves to save her brother and his fortunes, though she herself perish in the un¬ dertaking. 999-1003. The alternatives, intro¬ duced by ei μίν (v. 999) and τούτου Se (v. 1002 ), are her own deliverance or her death. The escape of Orestes with the image is to be effected in either event. 999-1001. αλλά : however. This word marks the transition to a de¬ termined purpose, after the utterance of perplexity in v. 998. A conclu¬ sive turn of any sort is indicated by αλλά. Cf. vs. 636, 699, 979 (eight lines in conclusion, as here). — et με'ν κτλ. : “ if these two things can be done together, — if you can both carry off the image and take me, etc.” — ev τι . . . γενησ-εται: the subj. is τούτο, sing, by assimilation to the pred. ev τι. — άγαλμά τ’ oioreis καί . . . άξεις : explanatory of τούτο yev-qae- τ at. Cf. VS. 488 f. — εΰ'ττρυ'μνου ν«ώ$ : Iphigenia has remembered πολυκώπψ σκάφα v. 981.— γίγνεται: here, as so often, nearly equivalent to a pas¬ sive. “ Then is the venture nobly icon.” 1002 f. But reft of this, I, to be sure, am lost, but you will successfully accom¬ plish your own purpose and gain a safe return. — τοΰτου 5c χωρισ-θεϊσα : in form, adapted to iyu> pev δλλυμαι only, but belonging in sense and position also to συ δε κτλ. — The meaning is the same, whether τούτου be taken as referring to τούτο (v. 999) or to άγαλμα (v. 1000), but the word χωρισ- 0e Γσα shows that the speaker thinks of the image. She expects to meet with little difficulty in packing that off, but anticipates much in escaping with it herself. — ευ : construe with depe vos. 1004-1006. ei θανεΐν χρεών: after ψ(ύ'/ω, instead of simply 6aveiv. “ Yet even though I must die I shrink not from it.” — ατώσαοτά cre : provided I save you. Conditional participle. — ov 146 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΟΡΕ2ΤΗ2. ουκ άν γενοίμην c του τε καί μητρος φονευς · άλις το κείνης αίμα · κουνόφρων 8ε σοί καί ζην θελοιμ' αν καί θανων λαχεΐν ter ον. 1010 άζω 8ε σ ', ηνπερ καυτός ενταυθοϊ πέσω, προς οίκον , η σου κατθανων μένω μετά, γνώμης 8' άκουσον * €ΐ πρόσαντες ην τδδε Άρτεμι8ι, πως αν Κοζίας εθεσπισεν κομίσαι μ' άγαλμα θεάς πόλισμ εις Παλλάδος 1015 /cat σδι/ πρόσωπον είσί8εΐν; άπαντα γάρ σννθείς τά8' €ΐς εν νόστον ελπίζω λαβεΐν. ΙΦΙΓΕΝΕΙΑ. πως ουν γενοιτ αν ώστε μη θ' ημάς θανείν , γάρ άλλα: for no ! Cf. ου μτ)ν αλλά Υ. 630. — ττοθανος : missed. — τά γυναι- kos : woman ; more general than γυνή, and more so than άνήρ in v. 1005 (“ a man ”). 1007-1009. ούκ άν γ«νοίμην : the potential opt. makes a forcible nega¬ tion, because it means I will, and not I shall. Cf. v. 717. — κοινοφρων Be σοί : but of one mind with thee. — θε'λοιμ* άν : I choose. The potential construction is continued. Of self-sacrificing women Euripides has furnished more than one illustri¬ ous example; but in this play we find even self-sacrificing men. 1010 f. The declaration just made is repeated in more specific terms. — ijvirep ... ττί'σω : so surely as I get there myself. — καί αΰτος : for the idiomatic καί, cf. v. 592. — wiVo): of a change of state; see on v. 730, and cf. £v νη\ π a λ i μπ e τ e s άπονςωνται Horn, e 27. 1012-1016. Orestes, who is the de¬ spondent sceptic no longer, offers his reasons for believing that the will of Artemis herself is to be served by their undertaking. 1012. γνώμης : what I think. — ιτροσ- avres : unacceptable. άντην : προσάντης “ up-hill,” κατάντης “ down-hill.” Ores¬ tes urges that a conflict between the will of Apollo and the will of Apol¬ lo’s sister Artemis is impossible. 1014. ττολισμ’ ets Παλλαδος : see Oil Seprj npbs avbpos V. 1460. 1015. και σον Ίτροσωττον «Ισιδίΐν: certainly a very important result of the oracle, if not intimated in the words of the god; see on v. 86, and cf. vs. 1438-1441. — ατταντα: if, as is generally believed, a portion of Ores¬ tes’ argument has been lost from the text after v. 1014, then we have not be¬ fore us all that was here summed up. 1016. Putting all this together , I am led to hope, etc. 1017-1019. ττώς ουν γί'νοιτ άν: how then can it be managed ? — τηδε κτλ. : here is the difficulty in the journey home; this is the subject for our delib¬ eration. — τηδί . . . ηδ« : for the anaph- IPIIIGENIA AMONG THE TAURIANS. 147 λαβείν θ' a βουλόμεσθα ; τηδε γαρ νοσεί νόστος προς οίκους · ηδε βουλευσις πάρα. ΟΡΕ2ΤΗ2. 1020 άρ' άν τύραννον διολεσαι δυναίμεθ' aV ; ΙΦΙΓΕΝΕΙΑ. δεινόν τόδ * ειπας, ζενοφονείν επηλυδας. ΟΡΕ2ΤΗ2. άλλ* εΐ σε σώσει κάμε , κινδυνευτεον. ΙΦΙΓΕΝΕΙΑ. ονκ άν δυναιμην, το δε πρόθυμον ηνεσα. ΟΡΕ2ΤΗ2. τι δ’, ει με ι/αω τωδε κρύψει ας λάθρα; ΙΦΙΓΕΝΕΙΑ. 1025 ώς δτ) ετ/εδτος λαβόντες εκσωθείμεν άν; ΟΡΕ2ΤΗ2. \ ~ V * /Λ· ~ Ο» ’ \ Α Ν / Λ κλεπτών γαρ η νυς, της ο αλησειας το φως. ora, see on ν. 984. Observe the ex¬ plicitness of statement in these transi¬ tional lines. 1021. δανον το δ’ eliras: a shocking proposal. Cf. δίκαιον εΊπας V. 740. 1023. Nay I cannot consent, though 1 must approve your zeal.— ονκ άν δυ- ναίμην : sc. £ενοφονε?ν. For δΰνασθαι \\\ a moral sense, cf. οϋτ ’ αν δυναίμην μήτ* έπισταίμην \4yeiv Soph. Ant. 086. Iphigenia naturally declines to con¬ nive at the destruction of the foreign king, to whom she has stood in hos¬ pitable and friendly relations. The death of Thoas formed a part of some of the other dramatizations of this subject, but we do not know under what circumstances it was brought about. 1025. That we may take advantage of the dark, you mean, to make good our escape? (i.e. with the booty). — ώ?: for ώστε, as often. 1026. Ay, night is the time for thieves, even as for truth the light of day. Cf. κλεπττ] δε τε νυκτδς αμείνω Horn. Γ 11, said of the fog. The second part of the line, tt)s δ’ αλήθειας τδ φώς, illu¬ minates the maxim by its antithetic effect. 148 ΕΥΡΙΠΙΛΟΥ ΙΦΙΓΕΝΕΙΑ. ΙΦΙΓΕΝΕΙΑ. εισ ένδον Ιερού φυλακές, οϋς ον λησομεν. ΟΡΕ2ΤΗ2. οίμοι δυεφθάρμεσθα · πως σωθείμεν αν; ΙΦΙΓΕΝΕΙΑ. εχειν δοκω μου καινόν εζενρημά τι. ΟΡΕ2ΤΗ2. 1030 ποιον τι; δόζης μετάδος, ώς κάγω μάθω. ΙΦΙΓΕΝΕΙΑ. ταΐς σαΐς ανίαις χρησομαι σοφίσμασυν. ΟΡΕ2ΤΗ2. &ευνα 1 yap a I γυναίκες ευρίσκειν τεχνας. ΙΦΙΓΕΝΕΙΑ. φόνεα σε φησω μητρος εζ ν Αργους μολεΐν. OPE2THS. χρησαυ κακοίσι τοΐς εμοΐς, εΐ κερδανείς. ΙΦΙΓΕΝΕΙΑ. 1035 ώς ου θεμις σε λεξομεν θύειν Θεα, 1027. The second proposal is thus dismissed, not too abruptly. Obs. four lines for each of the two rejected propositions. At its close, also, the dialogue tends to fall into quatrains. 1030. δοξης : adapted to δοκ-ώ v. 1029. For μβτ abos,cf. els rb Koivbv δούς v. 673. 1031 f. σοφίσμασ-ιν : for a crafty scheme. Pred. noun. — Saved €vpi t * Λ /> I / ΙΙυλα οης ο οο ημιν που τεταςεται φονου; ΙΦΙΓΕΝΕΙΑ. ταύτον γεροΊν σοΙ \εζεται μίασμ ’ εγων. ΟΡΕ2ΤΗ2. \ / Γ\ ν * 50 / Ο / /ο Κασρα ο ανακτος η είόοτος οράσεις ταοε; ΙΦΙΓΕΝΕΙΑ. πείσασα μυθοις * ον yap αν \άθοιμί γε. ΟΡΕ2ΤΗ2· 1050 καί μην νεώς γε πίτυλος ευηρης πάρα. ΙΦΙΓΕΝΕΙΑ. σοι οη μελειν γ^ρη ταλλ όπως εςεί καλώς. locality than the one he seems to have meant is to be selected. An ex¬ cuse therefor is given in v. 1197.— χαλινοΐδ : the ship is conceived as a steed; cf. νηών ώκυπόρων επιβαινεμεν, α'ίθ' a\bs 'ίπποι \ ανδράσι ylyvovrai Horn, δ 708. 1046. But wliat place is Pylades here to have in our tale of bloodshed? — ημίν : ethical dative. — φονου : partitive gen. with που. Cf οποί χθονός V. 119. 1047. Thoas will be given to under¬ stand that the two are brothers; cf v. 1173. — λί'^ται 4'χων: the participle with a verb of saying is rare; cf μτηδε με ζώσαν \eye El. 687. With this construction, \eyeiv approaches the meaning of καλεΐν. “ He shall be described as having.” For the fut. mid. as passive, see II. 496. 1048. η etSoros: read with syni- zesis. 1050. Well, our ship at least is there with handy oar. — vecis ttituXos : poeti¬ cally for the vessel itself; cf. vs. 1394 f., veibs μεν πιτυλος els λ ελειμμενθ5 (i.e. vavs μια) Troad. 1123. For πιτυλος, see on v. 307. 1051. τά άλλα: viz. the embarca- tion and flight, after the priestess has performed her part and they have arrived at the ship. IPHIGENIA AMONG THE TAURIANS. 151 OPE2TH2. ei 'ός μόνου δει, τάσδε συγκρυφαι τάδε, άλλ’ άντίαζε καί λόγους πειστηρίους ευρισκ · εχει rot δυναμιν εις οίκτον γυνή. 1055 τά δ’ άλλ’ Γσως of πάντα συμβαίη καλώς. ΙΦΙΓΕΝΕΙΑ. ω φίλταται γυναίκες , εις υ/χάς βλέπω, καί ταμ * ε’ι^ ύμίν εστίν η καλώς εγειν η μηδέν είναι καί στερηθηναι πάτρας φίλου τ αδελφού φιλτάτης τε συγγόνου. 1060 καί πρώτα μεν μοι του λόγου τάδ’ άργετω · γυναίκες εσμεν, φιλόφρον άλληλαις γένος, σωζειν τε κοινά πράγματ άσφαλεσταται. σιγησαθ ’ ημίν καί συν εκπονήσατε φυγάς. καλόν τοι γλωσσ ότω πίστη παρη. 1052. ToiorSc κτλ. : “ that our friends here keep the secret with us.” The confidence of the chorus came to he a most important matter in plays of in¬ trigue, like the present tragedy, hence the Horatian precept: i 11 e t e g a t commissa Ars. Poet. 200. 1053 f. αλλά: see on v. 909. — τοί: ‘ gnomic ’ particle, so called from its freq. use in maxims; cf. vs. 650,1064. — els οίκτον: “to move the feelings.” 1055. The response to v. 1051. 1057-1059. My fate is in your hands, whether to he happy or to come to nought, etc. — τάμα: the subj. of 4στίν by anticipation, in sense also the subj. of the infinitives that follow. — ').— φίλου . . . φιλτάτηζ : no significant difference is intended, although the effect of a climax is gained. Electra is not forgotten here as at v. 898; the argument is of a different sort. 1060. And first note, let this be the beginning of my appeal. — πρώτα ptv : no correlative is expressed. — τάδ« : explained by vs. 1061 f. 1061 f. yj'vos : sex; cf. v. 1298.— σωζαν κτλ. : and very sure at keeping mutual secrets. Considerable ground is covered by the powers that have thus far been attributed to ‘the sex’; cf vs. 1054, 1032, 1006. 1064. οτω: instead of ήν rtf', cf. v. 606. For the omission of &u, see GMT. 63, 1 b. By the arrangement here somewhat of the same effect is pro¬ duced as by saying Ka\bv -γλώσσα πιστή (“ A fine thing is a trusty tongue ”). 152 ΕΥΡΙΠΙΑΟΥ ΙΦΙΓΕΝΕΙΑ. 1065 6pare δ* ώς τρεΐς μία τύχη τους φιλτάτους, η γης πατρώας νόστος η θανείν, όχει. σωθείσα δ’, ώς αν καί σύ κοινωνης τύχης, σώσω σ’ ες Έλλάδ’. άλλα πρός σε δεξιάς, σε καί σ’ ίκνούμαι, σε δε φίλης παρηίδος 1070 γονάτων τε καί των εν δόμοισι φιλτάτων. τί φάτε; τις υμών φησίν η τις ον θελει, φθεγξασθε, ταύτα; μη γάρ αΐνουσών λόγους όλωλα κάγώ καί κασίγνητος τάλας. Χ0Ρ02. 1075 θάρσει, φίλη δέσποινα, καί σωζου μόνον . ώς εκ γ' εμού σοι πάντα σιγηθησεται, (ίστω μεγας Ζευς), ών επισκηπτεις περί. ΙΦΙΓΕΝΕΙΑ. όναισθε μύθων καί γενοισθ * εύδαίμονες. σον εργον ηδη καί σόν εισβαίνειν δόμους · 1080 ώς αυτίκ ηξει τησδε κοίρανος χθονός, θυσίαν ελεγξων εί κατείργασται ξένων. 1065 f. rpcis μία: see on y. 621.— γήξ voVtos : objective gen. with the noun, like an acc. with a verb, de¬ noting limit of motion. Cf έπιμαίεο νόστου I ya'njs Φ αιτ)κων Horn, e 344. — €χα: “awaits.” Three per¬ sons bound up in one destiny. 1067-1069. αν : G. 612, n. 2; H. 882. — irpo's crc δφ,ας : const, σβ with ίκνούμαι. For its position (here idio¬ matic) see on v. 679. The Latin has the same idiom; cf. per te d e o s oro et nos tram amicitiam, Chremes Ter. Andr. iii. 3 . 6. — ore καί c re kt\. : addressing individual members of the band separately. To what extent the action here indicated was carried out in the representation, we cannot tell. See p. 33, fin. 1071 f. φησ-ίν : a i t, “says ay” — ού θί'λίΐ ταΰτα : is not in favor of this. — φθί'γξασ-θε : speak up! Parenthetical. The expression implies a pause preced¬ ing it, and impatience to hear the re¬ sponse of the coryphaeus. — μη αίνου- <τών λογουδ: ·Ι)ν μή αίνητε tovs όμους \0yovs. “ Unless you yield assent.” 1077. ϊστω Zevs : ivitness Zeus ! — ών: the antecedent is πάντα v. 1076. 1078. ovaicrOe μύθων: “bless you for your words ! ” Por the gen., see G. 170, 2; II. 740. 1079-1081. Addressed to Orestes and Pylades, who withdraw into the temple.— θυσ-ίαν κτλ. : ‘anticipation.’ IPHIGENIA AMONG TIIE TAURIANS. 153 ω πότνι\ ήπερ μ Αύλίδος κατά πτυχάς δεινής εσωσας εκ πατροκτόνου χερό 9 , σωσόν με και νυν τουσδε τ · ή το Λοβίου 1085 ούκετι βροτοΐσι δια σ ετήτυμον στόμα. άλλ* ευμενής εκβηθι βαρβάρου χθονός εις τ ας Ασηνας · και yap ενσαο ου πρεπει ναίειν , παρόν σοι πόλιν εχειν ευδαίμονα. Χ0Ρ02. όρνις , α παρά πετρίνας 1090 πόντου δειράδας , άλκυών ελεγον οικτρόν άείδεις , 1082-1088. Prayer to the goddess. Thereafter Iphigenia herself enters the temple. 1082 f. Our blessed Lady, thou u'ho in Aulis’ vales didst save me from a father’s fell destroying hand. — ττα- τροκτόνου: the word taken by itself hardly bears analysis for the mean¬ ing required, but we believe never¬ theless that Euripides wrote the line exactly as it stands. 1084 f. ή το Δοξίου . . . στόμα: “else must the lips of Phoebus lose their truth to mortal men, through thee ! ” 1088. εύ8αίμονα : the word is very apt in the present connexion, besides being a current epithet of Athens, * city of the gods/ δαιμόνων πτολίεθρον. VI. Second Stasimon, vs. 1089- 1152. The chorus gives voice to regret¬ ful reminiscences of Hellas (first strophe), and sad reflections on the fate that brought the women as cap¬ tives to their service among the Tau- <ττροφή a'. rians (first antistrophe). They pic¬ ture the prospective happy escape of the priestess (second strophe), whereas her servants can cherish only wish and hope (second an¬ tistrophe). — For the metre, see p. 48. (First Strophe.) 1089-1093. As the nightingale — the fable of Philomela and Itys — appears repeatedly in Greek poetry as a type of human sorrow, so here the plaintive halcyon is invoked, from the legend of Ceyx and Alcyone. In epic story, Cleopatra, the wife of Me¬ leager, had borne, when a child, the name Alcyone, in remembrance of her mother’s sorrows : την 5e tot' iv μ^άροισι ττατ^ρ κα\ πότνια μητηρ | Ά λ- κ υ όν η ν καλόεσκον έπώνυμον, οϋνεκ άρ' αντης | μητηρ αλκυόνος πο\υπ*ν- θ e ο s οΊτον Αχούσα | κλαΓ, #re μιν βκά- epyos άνήρπασ* ΦοΊβος Απόλλων Horn. I 561. 1091. Chantest a plaintive ditty. ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 154 V ενζύνετον ξννετοϊσι βοάν, δτι πόσιν κελαδεις αεί μολπαΐς, 1095 εγώ σοι παραβάλλομαι θρήνους, άπτερος ορνις , ποθονσ' 'ΈΧλάνων άγόρονς , ποθονσ' 'Αρτεμιν δλβίαν, ά παρά Κ ννθιον δγθον ο'ικεϊ φοίνικα θ' άβροκόμαν 1100 δάφναν τ ενερνεα και γλαύκας θαλλον ιρον ελαίας , Λα τους ώδινα φιλάν , λίμναν θ' είλίσσονσαν ύδωρ 1105 κνκλιον , ένθα κύκνος μελωδος Μούσας θεραπεύει . 1092 f. €υ|ΰν€τον ijvv€TOicri : right well known to knowing ones. Viz. to such as know how to sympathize with a tale of woe. — on ... μολτταϊδ : that ’t is thy spouse thou singest in tuneful strains for aye. The clause depends upon εύξύνετον. — Alcyone, the wife of Ceyx king of Trachis, was about to cast herself into the sea on recog¬ nizing the body of her drowned hus¬ band in the waves, when both were transformed into sea-birds (Ovid Met. xi. 715). — KtXaScis: κελαδος V. 1129, κελαδε7ν (celebrare). Cf. τ iva θεόν, nV έρωα, τίνα δ’ &νδρα κε- λαδΊ]σομεν ; Pind. 01. ii. 2. 1094 f . €γώ . . . θρηνονδ : mourning to match with thine have I. — Note the mid. παραβάλλομαι. — άτττεροδ op- vi$: the ‘ limiting * epithet, to ex¬ plain or justify a metaphor, is most common in Aeschylus; cf. δίπους λέαινα Ag. 1258 (of Clytaemnestra). Natve poesy is wont to be explicit on a point like this; cf. 1 Wenn ich ein Voglein war’, | Und auch zwei Plug el hatt’, j Plug ich zu dir/ 1096 f. άγορουδ : equiv. to ayopas. — ’Άρτίμιν όλβίαν: Artemis the blest. I.e. the Grecian goddess, not Artemis of the Taurians. 1098-1105. The Cynthian hill, the palm, the bay, and the olive tree, and the ‘ circling mere ’ were fa¬ miliar features of the legend of the birth of Leto’s children in the isle of Delos. Observe the numerous orna¬ mental epithets. 1102 f. Αατούδ ωδίναφίλαν : “fond stay of Leto’s travail.” ‘Euripides audacius partum Latonae dix- isse videtur arborem, cui ob- nixa peperit Apollinem et Diana m.’ Cf. Φο7βε άναξ, οτε μεν σε θεά τεκε πότνια Λητώ, | φοίνικος βαδι· νης χερσϊν εφαφαμενη, | αθανάτων κάλ- λιστον επί τροχοειδεϊ λίμνη Theogn. 5. — λίμναν . . . ύδωρ κνκλιον: and the mere that whirls its water circling round, η εν Αηλγ η Τροχοειδές καλεομενη Hdt. ϋ. 170. 1105. κνκνοδ μίλωδο'δ: the singing swan. Sacred to Apollo and the Muses. His voice, we are told, is not plaintive like the halcyon’s, but sweet and melodious as the flute or harp (Oppian), — the clear, ringing tone of ‘ silver bells/ Cf ούδεν σ’ ά φ 6 ρ μ t 7 £ ά Φοίβου \ σ ύ μ μ ο λπ ο ς τόξων ρνσαιτ &ν · | πάραγε πτέρυγας, \ λ ί μν a s επί’βα τ ά ς Αη λ ιάδ ο ς. \ αίμάξεις, εϊ μέ πείσει , | τάς καλλι- φθυΎΎους ωδάς Ton 164, said by Ion to a swan that he threatens with his bow and arrows. — τοιάδε κύκνοι . . . ξυμμι^η βοτ]ν δμού \ πτερο7ς κρε- κοντες Ίακχον Άπόλλω Ατ. Αν. IPHIGENIA AMONG THE TAURIANS. 155 ω πολλαί δα κρύων Χιβάδες, αντιστροφή α\ at παρηίδας είς εμάς επεσον , άνίκα πύργων όλλυμενων επί ναυσίν εβαν 1110 πολεμίων ερετμοίσι καί λόγχαυς, ζαχρυσου δε δί εμπολάς νόστον βάρβαρον ηλθον, ένθα τάς ελαφοκτόνου θεάς άμφίπολον κόραν 1115 παΐδ* ' Αγαμε μν ον ίαν λατρεύω βωμούς θ' * Έ,λληνοθυτας, ζηλουσ * άταν διά παντός δυσδαίμον' · εν γάρ άνάγκαις 1120 ού κάμνει σύντροφος ων μεταβάλλευν δνσδαιμονίαν· το & μετ ευτυχίαν κακουσθαι θνατοΐς βαρύς αίων. 769. The swan’s song on his dying day betokens his Apollinic character, acc. to the Platonic Socrates : oi κύκνοι ... του ’Απόλλωνος όντες μαντι¬ κοί τε ΐίσι καί προειδότες τα. έν"Αιδου αγαθά αδουσι καί τερπονται εκείνην ττ)ν ημέραν διαφερόντως Plat. Phaedo 85 b. (First Antistrophe.) 1108-1110. πύργων όλλυμί'νων : ‘when temple and tower| Went to the ground’ Milton Sonnet viii. — iroXt- μίων . . . λο'γχαιβ : by foemen’s oars and spears constrained. Naming the instruments of both conquest and conveyance, έπΐ ναυσίν εβαν is pas¬ sive in sense. Cf. όρμε? χάλινοΐς v. 1043. 1111 f. And, by exchange for precious gold, on a far foreign voyage l came. First led captive from their homes by the fate of war, and then sold as slaves to foreigners. — νοστον βάρβα¬ ρον : i.e. νόστον βαρβάρου γης. Cf γης 7τ ατριρας νόστος (ν. 1006), and note that νόστος is not confined to the meaning of “ return.” 1113-1115. ίνθα: hither, where,— ίλαφοκτονου 0€ rat λιπαραί καί ίοστεφανοι κα ) αοίδιμοι , 'Ελλάδος ερεισμα , κλεινοί Άθάναι, δαι¬ μόνων πτολίεθρον. 1132. ε’με' δ’ αυτού ττρολπτούσα: leaving me behind, πρό in comp, and αυτου have a similar force; for the latter see on v. 974. — ροθίοισιν ιτλα- τάν: with many a plash of oar-blades. The dat. as in v. 1110. IPHIGENIA AMONG TIIE TAURIANS. 157 1135 άερι δ’ Ιστία δη κατά πρώραν υπέρ στόλον εκπετά- σουσι πόδες ναός ώκυπόμπου. αντιστροφή β'. λαμπρόν ιππόδρομον βαίην ενθ ’ ευάλιον ερχεται πυρ * 1140 οικείων δ’ ύπερ θαλάμων πτέρυγας εν νωτοις άμοίς ληζαιμι θοάζουσα · χοροίς δέ σταίην, όθι και παρθένος ευδόκιμων γόμων 1145 παρά ττοδ’ ειλίσσουσα φιλάς ματρός ηλίκων θιάσους ες άμιλλας χαρίτων, χαίτας αύτ άβροπλουτου τ εριν 1150 δρνυμεν α, πολυποίκιλα φάρε α ταΐς γενυσιν περιβαλ¬ λόμενα / 3 ουκετ εσκίαζον. 1134 if. Graphic enumeration of characteristic features of the vessel seen under sail. Note the galloping dactyls. — κατά πρώραν virtp στο'Χον : “ forward above beam.” — iro'Ses : “ sheet-lines,” attached to the lower extremities of the sail and governing it. — vaos ώκυτΓο'μττου : the strophe leaves behind it a vision of the “ swift- sped bark,” impelled by wind and oar &£(ivov κατα πόντον. (Second Antistrophe.) 1138-1151. A similar wish to that at the close of the first stasimon (vs. 452 ff.). Here, reminiscences of the dance, as there of song. 1138 f. By the bright track would I might go, where the Sun wheels in goodly fire. Cf. vs. 192 ff., Ion 82 (quoted on p. 42). 1140-1142. Not an &π τ e p o s opvis now. — apois : cf. v. 149. — πτέρυγας λήξαιμι θοάζουσα: the thought is of alighting, after a ‘ home flight.’ 1143 ff. “There in dances might I take my place, where erst, a maiden for noble nuptials meet, whirling my foot by a fond mother’s side, glad bands of youthful mates I stirred to rivalry of charms and vying wealth of hair luxuriant, whilst gay-hued veils around these cheeks I flung, not then as now in sadness shrouded.” The text is a more than Terpsi- chorean maze. The last three lines are here printed from Dr. J. H. Heinrich Schmidt (Kunstformen III. cccxxxv.), and the paraphrase is in¬ tended to suit his probable idea of the sense. We can at least be sure that there was dactyls and danc¬ ing. 158 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΘΟΑ2. 7 του 'σθ* η πυλωρός τωνδε δωμάτων γυνή 'Ελληνίς; ηδη των ξένων κατηρξατο, 1155 άδυτοι? τ iv άγνοΐς σώμα λάμπονται 7 τυρί; ΧΟΡ02. εστίν, η σοι πάντ, άναξ, ερεΊ σαφώς. ΘΟΑ2. εα · τι τόδε μεταίρεις εξ ακίνητων βάθρων, ’ Αγαμεμνονος παϊ, θεάς άγαλμ * iv ώλέναις ΙΦΙΓΕΝΕΙΑ. άναξ, εχ αυτοί) πόδα σον iv παραστάσιν. ΘΟΑ2. 1160 τι δ’ εστιν, "Ιφιγένεια, καινόν εν δόμους; ΙΦΙΓΕΝΕΙΑ. 3 /> 3 « / \ Ο/Ο 3 V /Ο απεπτυσ · όσια yap οιόωμ έπος τοοε . VII. Third Epeisodion, vs. 1153— 1233. The king enters with attendants. See vs. 1080 f. He addresses his in¬ quiry to the coryphaeus. 1153-1155. πυλωροί : see on v. 131. Thoas will assure himself of the due and complete observance of the rite: first the initiatory consecration ( κατ-ηρ - ξατο, cf vs. 40, 622), then the immo¬ lation and cremation (τυρί, cf. v. 626). 1157. έ'α: exclamation of surprise, as Iphigenia enters from the temple bearing the image of the goddess. — το8« : deictic or local, as constantly. “ Why thus ? ” — ακίνητων : inviolable, κινεϊν is used often of meddling with what ought not to be touched. 1159. Sire, stay thy foot where thou standest, at the pillared vestibule. This is uttered with great solemnity. — αυτού : cf. vs. 974, 1132. — cv ιταρα- στά<τιν : ταραστάδ^ς, pillars at the en¬ trance of palace or temple, thus desig¬ nating the entrance-way. Cf. νύξ ήν, Άδραστου δ’ -ήλθον els ταραστάδας Phoen. 415. 1161. ά-πΈτττυσ-α : “ Deliver us! ” A formula of pious abhorrence, which w r as originally expressed by the act άτοπτύσαι itself. — otria κτλ. : to holi¬ ness I devote the word. I.e. she utters the exclamation for the sake of holi¬ ness. Cf. oaias εκατι V. 1461. δσία is a noun; personified, Όσία, τότνα θςων Bcicch. 370. — -γάρ: refers to the exclamation, as often; cf. v. 855. IPHIGENIA AMONG THE TAURTAKS. 159 Θ0Α2. Tt φροιμιάζει νεογ^μον ; εξαυδα σαφώς. ΙΦΙΓΕΝΕΙΑ. ού καθαρά μοι τα θύμα τ'* ήγρευσασθ', άναξ. ΘΟΑ2. τι τουκοιοαςαν τοντο σ ; η οοςαν \εγεις; ΙΦΙΓΕΝΕΙΑ. 1165 β per ας το της θεού πάλιν έδρας άπεστράφη. ΘΟΑ2- αυτόματόν , ηί ζ/ιζ^ σεισμός εστρεφε γθονός; ΙΦΙΓΕΝΕΙΑ. αυτόματόν · οφιν δ’ δμμάτων ξυνηρμοσεν. ΘΟΑ2. η δ’ αιτία τις; η το των ξένων μυσος; ΙΦΙΓΕΝΕΙΑ. VM » Οι \ V \ \ Ο \ \ Ο Ο / τ)ο, ουοεν άλλο · οεινα yap οεορακατον. ΘΟΑ2. 1170 άλλ’ 77 τιζ/ εκανον βαρβάρων ακτής επι; 1162 f. τί . . . νίοχμον: “What means this novel prelude to your words ? ” φροιμι,άζεσθαι, φροίμιον, ττρο- οίμιον. — ού καθαρά: note the pred. position, and cf. v. 1171.—qypcvo-acrGe: not the pi. for the sing., hut mean¬ ing Thoas and his men who did the catching. 1164. The king calls for the proofs, if there are any. — το «κδιδάξαν : opp. to δόξαν, (“ mere opinion ”). — τούτο : obj. of έκδιδάξαν. — η: see on v. 503. Again in v. 1168. 1165. ττάΧιν i'8pas: gen. of sepa¬ ration; but we should say “turned around in its place.” 1168. Thoas had a scientific expla¬ nation to suggest for the first miracle (σεισμός χθονός v. 1166), but the sec¬ ond one is too much for him. Both prodigies are of a sort frequently observed by the ancients, and recorded in history as well as in poetry. 1170. άλ\’ η : αλλά, because the idea had not occurred to him before. Thoas had heard only a hurried ac¬ count of the fray ακτής *m. See v. 334 (όσον τάχος). 160 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΙΦΙΓΕΝΕΙΑ. OLK6LOV ηΧθον τον φόνον κεκτημενοι. ΘΟΑ2. τίν ; εις ερον yap τον μαθεΐν πεπτώκαμεν. ΙΦΙΓΕΝΕΙΑ. μητέρα κατειργάσαντο κοινωνω ζίφεί. ΘΟΑ2. ν ΑποΧΧον , ουδ* εν βαρβάροις ετΧη τις αν. ΙΦΙΓΕΝΕΙΑ. 1175 πάσης διωγμ,οις ηΧάθησαν Ελλάδος. ΘΟΑ2. γ Λ Qi> t/ η τωνο εκατι σεμνόν y νπ Ο ^ > V \ S / / οτ^τ αγαλμ εςω φερευς; ΙΦΙΓΕΝΕΙΑ. αίθερ\ ώς μεταστησω φόνον. ΘΟΑ2. μίασμα δ* εγνως τοίν ζενοιν ττοίω τρόπω; ΙΦΙΓΕΝΕΙΑ. ηΧεγγον, ώς θεάς βρετας άπεστράφη ττάΧιν. ΘΟΑ2. 1180 σοφήν σ* εθρεφεν Ελλάς, ώς ησθον καλώς. 1171. οίκίΐον : ορρ. to βαρβάρων ν. 1170. “They have brought their bloodguiltiness with them from their home.” — Ά,θον Κ€Κτημ€'νοι : cf 'ήκει φορούσα ν. 42, also vs. 258, 1033. 1172-1175. ets epov . . . ττί-π-τωκα- μ«ν: Thoas’ curiosity is excited. — κατ- αρ-γάσ-αντο : despatched. Euphemis¬ tic; cf Karepyaoai . . . έμδν πα,ΐδα Hipp. 888, said in prayer to Poseidon.— 4'τλη tis άν: the ellipse of an object, or an infinitive, is apt here. — -ircurqs . . . Έλλάδοδ : sympathetic with the feel¬ ing shown by the king, and tending to account for the coming of the men. 1180. σ-οφην . . . Έλλάδ : see p. 21. — cis: equiv. to 8τι owrcos. See GMT. 65, 4 (fourth example). IPIIIGENIA AMONG THE TAURIANS. 161 ΙΦΙΓΕΝΕΙΑ. καί νυν καθεισαν όελεαρ η&υ pot φρένων. ΘΟΑ2. των Ά ργόθεν τι φίλτρον άγγελλοντε c rot; ΙΦΙΓΕΝΕΙΑ. τον μόνον ’Ο ρεστην εμόν άόελφόν ευτυγεϊν. ΘΟΑ2. ώς όη σφε σωσαις ήδοναΐς αγγελμάτων. ΙΦΙΓΕΝΕΙΑ. 1185 καί πατέρα γε ζην καί καλώς πράσσειν εμόν. ΘΟΑ2. συ δ* εις το της θεού γ* εζενευσας εικότως. ΙΦΙΓΕΝΕΙΑ. " πασαν γε μισονσ Ελλαο, η μ απωΚεσεν. ΘΟΑ2. / θ' » Ο· Λ / / y τι οητα ορωμεν, φράζε , 1181. Α?ίο? now they dropped a bait tempting to my thoughts. — φρ«νών : obj. gen. with δελεαρ. For the word itself, cf. v. 815. 1182. Offering you some sort of tid¬ ings from Argos as a lure ? — φίλτρον : answers exactly to δελεαρ. For the proper signification of the word, cf φίλτρα . . . θελκτηρια έρωτος Ηιρρ. 509, referred to again as φάρμακον. Figuratively, as here, very often in Euripides. 1183. All this seems like treading on dangerous ground. Not only, how¬ ever, did the poet well understand what his audience would most enjoy in a scene like this, but it is also τοΐν ζενοιν περί; thoroughly dramatic. Iphigenia was σοφή, and she knew that the surest way of guarding against hazardous inferences and surmises is to forestall them. 1184. δη: of course; cf v. 1025.— ηδοναί$ άγγίλμάτων : “ in return for the pleasant news.” Causal dative. 1186. “But you inclined to the side of the goddess, naturally.” — e|€V£V / \ ^ ν Λ’ e ay ei^c/a χρηζείς · ου ψιλω ταρρηυ οραν. ΙΦΙΓΕΝΕΙΑ. άγνιστεον μου καί το της θεόν βρετας. ΘΟΑ2. 1200 ειπερ γε κηλίς εβαλε νιν μητροκτονος. ΙΦΙΓΕΝΕΙΑ. ον γάρ ττοτ αν νιν ηράμην βάθρων άπο. ΘΟΑ2. δίκαιος ηνσεβεια καί προμηθία. ΙΦΙΓΕΝΕΙΑ. οισθά νυν ά μοι γενεσθω; ΘΟΑ2. σον το σημαίνει τοδε. doubtless a received fact, but Eu¬ ripides avails himself of the circum¬ stance to augment the hazard and cleverness of the scene. 1197. άλλα δράσ-ομίν : equivocal. 1198. ταρρηθ’ : τα. άρρητα ( myste¬ ries ) ; cf. απόρρητον V\ > ϊ » / τοντ ελεςας εις εμε. 1209 f. πολα : emphatically placed, as opp. to ηλίου v. 1207. Const, with σημανεΤ. — iroias Tv\as : the priestess does not mean to speak of any emer¬ gency, as the king would have seen, if he could have waited till she finished the order. — μίμναν : const, with ση- μανεϊ. — μη συναντάν : final clause ; the opt., to suit the past tense in the mind of the questioner (sc. τοντ ελεξας, cf. v. 1213). 1211 f. στ€ΐχ€ ... συ : another man is sent off to promulgate the order εν δόμοις μίμνειν απαντας. — «τημαινί : adapted to σημανεΊ v. 1209. — μηδί'να . . . ττίλάξίΐν: const, with μυσαρά εστι, which, being a negative idea, pro¬ duces the neg. μηδενα (G. 283, G; H. 1029). “Forbidding all approach in sight of them.” 1212 f. tv yc: has exclamatory force (Right handsomely /). — καί . . . μάλιστα : Ay, and for the friends who best deserve ! — φίλων: part. gen. Sc. tovtovs κηδεύω. — ου$ Set: sc. κηδενειν με. — els έμ€ : “ meaning me.” The 166 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ,, εικότως. ΙΦΙΓΕΝΕΙΑ. ΘΟΑ2. ως εικότως σε πάσα θαυμάζει πόλις. συ υ δε ΙΦΙΓΕΝΕΙΑ. \ 1215 μενών αυτόν προ ναών Θ0Α2. ΙΦΙΓΕΝΕΙΑ, άγνισον πυρσω μέλαθρον. τη θεω τί χρήμα δρω; ΘΟΑ2. καθαρόν ως μόλης πάλιν; ΙΦΙΓΕΝΕΙΑ. e >> » ·>\ OJ « < > / ηνικ αν ο εςω περωσιν οι ςενοι, Θ0Α2. ΙΦΙΓΕΝΕΙΑ. πέπλον όμμάτων προθεσθαι. ΘΟΑ2. ΙΦΙΓΕΝΕΙΑ. ■λ Ο* * 5 Λ Ύ ην ο αγαν οοκω χρονιί,ειν , τι χρη αε δράν; μη παλαμναων λάβω; Θ0Α2. τουδ* όρος τις εστί μοι; king’s comment attests his high appre¬ ciation of the personal regard for him¬ self which Iphigenia’s words convey. She really means Orestes and Pylades, and does not come to the king in particular until συ δέ v. 1215. — Possibly we have here the germ of Goethe’s Thoas ? * Great oaks from little acorns grow! ’ 1215 f. θ«ώ : const, with ayviaov . . . μέλαθρον. — Such fumigation was performed with the aid of sulphur, as in Odysseus’ hall, after the slaughter of the suitors; cf. Horn, χ 493 f.— καθαρόν: pred.; sc. μέλαθρον (acc. of limit of motion). “That it maybe pure at your return ? ” 1218. ιταλαμναΐον: is perhaps neut. here. “Contamination of murder.” 1219 f. opos : criterion. The king IPII1GENIA AMONG THE TAURIAXS. 167 1220 θαύμασες μηδέν. ΙΦΙΓΕΝΕΙΑ. ΘΟΑ2. τά της θεού πράσσ επι σχολής καλώς. ΙΦΙΓΕΝΕΙΑ. el yap ώς θέλω καθαρμός όδε πέσοι . ΘΟΑ2. συνευγομαι. \J ΙΦΙΓΕΝΕΙΑ. τούσδ* αρ* έκβαίνοντας ηδη δωμάτων όρώ ξένους καί θεάς κόσμους νεογνούς τ άρνας , ως φόνω φόνον μυσαρόν εκνίψω, σέλας τε λαμπάδων τά τ αλλ’ όσα 1225 7 τρουθέμην εγώ ξένοισι καί θεα καθάρσια. εκποδών δ* αύδώ πολίταις τουδ’ έχειν μιάσματος , εΐ τις η ναών πυλωρός χεΐρας άγνευει θεοΐς η γάμον στειχει συνάφων η τόκοις βαρυνεται , φευγετ εξίστασθε, μη τω προσπέση μυσος τοδε. asks how he is to determine what is a long time and what is not. A mo¬ ment’s reflection, however, shows him that he cannot expect to be informed with exactness as to a solemn rite; hence his next words τά τ ijs deov κτ λ. (“Take your time for the goddess’ work.”) Cf his remark ου φιλώ τ&ρρηθ' όραν v. 1198. 1221. Iphigenia’s wish is equivo¬ cal in tenor, and Thoas’ συνέχομαι would be taken as a favorable omen. 1222 ff. Thoas covers his face, as the sacred procession comes forth from the temple and passes off the scene, — the prisoners also with muffled heads. Cf. vs. 1207, 1218. 1222-1225. άρα : introduces some¬ thing that has been expected or prom¬ ised. — 0tas KoVpous: the robes, orna¬ ments, and other sacred appurtenances of the idol would need purification, and, besides, they ought not to be left behind in transporting it to Greece. The ξόανα had wardrobes extensive and elaborate in proportion to their own antiquity. — vcoyvovs · . . «κνίψω : so in Aeschylus the purification has to be effected by means of the blood ν€θθή\ου βοτου Eum. 450. — otra ττρου- 6c' μην «γώ . . . καθάρεια: prescribed by me for cleansing guests and goddess. 1226-1229. The warning of v. 1210 is repeated in detail, with an enumer¬ ation of such persons as might have especial occasion to be approaching the temple. — «κττοδών € χαν : to hold aloof Cf. έξίστασθ e below. — χ€Ϊρα$ άγνίΰίΐ Gtois : “ is consecrate to holy services.” xCipas, acc. of specifica- 168 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. 1230 ώ Δ ώς Αητούς τ άνασσα παρθεν\ ην νίψω φόνον τωνδε καί θυσωμεν ον χρή, καθαρόν οικήσεις δόμον , ευτυχείς ο ημείς εσομεσα. ταλλα ο ου Κεγουσ όμως τοϊς τά πλείον είδόσίν θεοϊς σοί τε σημαίνω , θεά. ΧΟΡ02. ευπαις ό Λα τους γόνος , στροφή. 1235 ον 7 τότε Αη\ιάσιν καρποφόροις γνάλοις γεννησε χρυσοκόμαν, εν κιθάρα σοφόν α τ επί τόξων ευστοχία γάνυται · φερε δ* Χνιν tion. άγνεύει is a poetic brachylogy for αγνός &v έρχεται, as βαρΰνεται below is for στείχει βαρυνομενη. άγνεύειν in the sense of αγιάζει» is found in Anti¬ phon, but it is not so used here.— 0€ois: dat. of reference. 1230 if. After her prayer Iphigenia follows the train out, and Thoas en¬ ters the temple. Her words are equiv¬ ocal, being uttered in the hearing of the king (seep.21).— η pets : I myself. Emphasized as antithetic to the subj. of οικήσεις. — optos: for the position, see GMT. 109, n. 5 a (fifth example) ; H. 979 b. — τά -rrXeiova: the article is idiomatic. “More than is said” is the meaning; we should say “ the whole.” — For the concluding words here, cf. the end of Clytiemnestra’s impious prayer to Apollo : τά δ 5 άλλα πάντα καί σιωττώσης εμού \ έπαξιώ σε δαίμον' όντ εζειδεναι Soph. El. 657. VIII. Third Stasimon, vs. 1234- 1283. The chorus is not at liberty to sing of the impending action of the drama, but turns its reflections upon the god whose command has led to the happy events already witnessed. Apollo’s occupation of the Delphian oracle is the theme of the strophe, the confir¬ mation of his authority against the dispossessed Themis that of the an- tistrophe. See Introd. p. 33, and for the metre ib. p. 49. (Strophe.) 1234. A glorious child the son of Leto born. — etnrais: here of the offspring and not the parent; cf παιάνα μεν Αη- λιάδες | νμνουσ ’ άμφ] πνράς τόν \ Αατους εΰτν αιδ α γόνον \ είλίσσουσαι καλλί- χορον Here. Fur. 687, ά κατά χθονός νερτερων Περσεφασσα καλλίτταις θεά Or. 963 (Proserpina not mother, but daughter par excellence, κόρη Αήμητρος, ‘ Cora ’). — -yoyos: strictly not a word of concrete signification, though this cannot be adequately shown in trans¬ lating. Hence it may designate daughter as well as son; cf σεμνόν γόνον όλβίζουσα Αατους , | ‘'Αρτεμιν άπειρολεχή Ar. Thesm. 116. 1238 f. ev κιθάρα . . . -γάνυται : skilled with the lute and that true aiming IPHIGENIA AMONG THE TAURIANS- 169 1240 άπδ δειράδος ειναλίας, λοχεία κλεινά λιπονσ\ άστάκτω v ματέρ* εις ΰδάτωρ, τάν βακχεύουσαν Διο- ννσω 6 ΤΙαρνάσιον κορυφάν , 1245 οθι ποικιλόνωτος οινωπος δράκων σκιερά κατάχαλκος ενφνλλω δάφν α, γάς πελώριον τέρας , άμφεπεν εν μαντείον κλεινόν χθόνιον . σύ δε ριρ ετι βρέφος , επ φίλας επι ματερος άγκά- 1250 λαισι θρώσκων εκανες, ω Φοίβε, μαντείων δ* επεβας ζαχρυσών, of the bow wherein he takes delight. Const. σοφδν εν κιθάρα rfi τε τόξων ευστοχία έφ' rj γάνυται. See on v. 979. Cf the words of the god himself : εϊη μοι κίθα- pis τε φίλη καί καμπύλα τόξα, χρήσω S' άνθρώποισι Aids νημερτεα βου¬ λήν Horn. hg. i. 131. 1239-1244. Leto conveys her child from Delos to the Delphian Parnas¬ sus. — ΐνιν : Ivls · vibs νέος ( Hesychius ). — δειράδος είναλίας : i.e. Delos itself, “ rocky isle of the sea.” Cf. λιπών δε λίμνην Αηλίαν τε χοιράδα Aescll. Eum. 9.— λοχεία κλεινά: the famed place of birth; praised by the chorus in vs. 1098 if. — άσ-τάκτων . . . ύδάτων : to the mother of welling waters. The sacred hill, with its abundant streams, among them the Castalian fount of poetic memory (cf. v. 1257, Ion 95). άστακ- τον · ού καταστάζον άλλα ρύδην (Hesy¬ chius'). Cf. Si' όμματος | άστακ τ] λεί- βων δάκρυον Soph. Oed. Col. 1250. — βακχευουσαν Διονυσω: with Bacchus wont to revel. A personification of the mount ; cf παν δε συνεβάκχευ' όρος Bacch. 727 (Mt. Cithaeron). The heights of Parnassus are continually celebrated in Greek poetry as the scene of Bacchic revelry; cf. σε δ' υπέρ δ ι λό φ ο ιο π ε τ pas στεροφ όπωπε | λιγνός, ένθα Κω ρ ύ κ ι α ι | νύμφαι στείχουσι Β ακχίδες, | Κασταλίας τε νάμα Soph. Ant. 1126, addressed to the god. 1245 if. The infant Phoebus slays the Python, the dragon that guarded her shrine for Themis, and takes pos¬ session of the oracular seat. 1245-1248. κατάχαλκος : the word seems unsuited to the context. The serpent lurked under the shady bay- tree, which grew near the holy tripod and was made to tremble by the Pythian priestess as she chanted. Ion sweeps the fane with a besom of bay- twigs (πτόρθοισι δάφνης ). — μαντείον χθο'νιον: Themis, who possessed the oracle, was παΊς Χθονός. Cf. χθονίας θεάς vs. 1272 f. So the Python was “ Earth-born ” (γα* πελώριον τέρας ). 1252. ε’πε'βας : didst enter upon. For the gen., cf. v. 215. 170 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. τρίποδι δ* εν γ^ρνσεω θάσσευς, εν άψευδεΐ θρόνω 1255 μαντείας βροτοΐς θεσφάτων νεμων άδυτων νπο , Κασταλίας ρείθρων γείτων , μέσον γάς εγων μέλαθρον. ( Η )εμιν δ* επεί γαΐων αντίστροφη. 1260 παΐς άπενασσεν δ Λατωος άπδ ζαθεων χρηστηρίων , ννγια γθων ετεκνώσατο φάσματ ονείρων , οι πολεσιν με- ρόπων τα τε πρώτα 1265 τά τ επειτ δσ εμελλε τυγείν ύπνον κατά δνοφεράς 1254-1257. εν άψευδεί . . . άδυτων υττο: upon the unerring seat dispensing prophecy to men from within thy holy cell. For the periphrasis μαντείας θεσφάτων, cf. θεσφάτων άοίδαίς V. 1283. — άδυτων υττο : υπό with gen. (“ from under ”), because the άδυτον was con¬ nected with a chasm in the earth, and the occupant of the tripod under the influence of its exhalations. Cf. v. 976. 1258. με'σον "yds: the sanctuary was believed to mark Earth’s cen¬ tral point ( όμφαλός yrjs), as Euripides constantly mentions; cf. ηκω δε Αελ- φών τ-ηνδε yyv, 'iv όμφαλόν \ μέσον καθ- ίζων Φοίβος ύμνφδεί βροτοις | τά τ’ όντα καί μέλλοντα θεστίζων αεί Ion 5. (Antistrophe.) 1259 ff. Gaea, offended at the dep¬ osition of her daughter Themis, in¬ stitutes a dream-oracle to supersede the Pythian, whereupon the god ap¬ peals to Zeus. 1259-1263. γαΐων χρηστηρίων : the same as μαντείον χθόνιον v.1248. — άττε*- νασσεν : cf v. 175.— ε’τεκνώσατο : gen¬ erated. Earth is “mother of dreams”; cf S> 7ΓΟΤ via Χθων, | μeλavoπτεpύyωv μήτερ ονείρων Hec. 70. — νύχια φάσματ ονείρων: cf. οφιν ονείρων V. 150. 1264 f. ΊτοΧεσιν : πολλοίς (ornamen¬ tal epithet) notwithstanding the part, gen .μερόπων. “Tomultitudinous men.” — τά τε πρώτα τά τ είτειτα: i.e. the past and the future, ‘ alphaand omega,’ naming the former only for the sake of a round antithetic phrase. See on v. 1026, and c/. τά τ’ όντα καί μέλλοντα Ion 7, quoted on v. 1258.— οσ* έ'μελλε τυχεΐν: explains and enforces τά επειτα. 1266 f. ύπνου . . . χαμευ'ναβ: in darkling loivly beds of slumber. A dream-oracle was consulted by lying down to sleep by the shrine (incu- batio). Cf. Vergil’s lines: hue don a sacerdos | cum tulit et caesa- IPHIGENIA AMONG THE TAURIANS. 171 χαμευνας φράζον * Γαία δε τάν μαντείων άφείλετο πμαν Φοίβον φθόνω θυγατρός · 1270 ταχύπους δ’ ες ν Ολυμπον όρμαθείς άναξ χέρα παιδνόν ελιξεν εκ Ζηνός θρόνων ΙΙνθίων δόμων χθονίας άφελείν θεάς μηνιν νυχίονς τ ενοπάς. γελασε δ’ ότι τεκος άφαρ εβα πολύχρυσα θελων 1275 λατρεύματα σχείν · επί δέ σείσας κόμαν παύσεν νυχίονς όνείρους , από δε λαθοσυναν νυκτωπόν εξειλεν βροτων 1280 καί τιμάς πάλιν θηκε Αοξία , rum ovium sub nocte silenti | pellibus incubuit stratis somnosque petivit, | multa modis simulacra videt v ο 1 i - tantia miris | et varias audit voc'es fruiturque deorum | con- loquio atque imis Acheronta adfatur Avernis Aen. vii. 86. 1268 f. Γαΐα 8e κτλ . : and so Gaea, etc. Resumptive statement. — φθονώ θυγατρο'ξ : in jealous regard for her child. 1270-1273. ταχυιτουδ : not attribu¬ tive, but pred. with όρμαθΑς (“with swift step”).— χε'ρα . . . θρο'νων: his little arm he wound about Zeus’ throne (and clung there prayerfully), itc in¬ stead of αμφί, after the analogy of some such verb as έξαρταν. Cf. v. 363. — άφίλίΐν: const, with χέρα £λ i£ev, which implies supplication.— νυχίου$ evoircis: cf. varias vo ces Vergil l.c. 1274 f. yi\acre : sc. Zeis. Phoebus’ prompt and precocious solicitude for his revenues is highly entertaining to the Father. The counterpart to this whole unique history is found in the exploits of that other infant prodigy Hermes, as related in the Homeric Hymn. Then it became Phoebus’ own turn to smile (viduus pharetra | risit Apollo Hor. Carm. i. io. 11). — The rapid rhythm here coincides with a critical juncture of affairs, as at the corresponding point of the strophe (the slaying of the serpent, συ viv κτλ. v. 1249). 1276 f. €ttI Si σίίσ -as κομαν: ini- veiaas. A reminiscence from Homer: ■ή, καί κυανέγσιν in οφρύσι vevae K ρο¬ νιών ’ I αμβροσίαι δ’ &ρα χαΐται έηςρρώσαντο άνακτος | uparbs απ’ αθανάτοιο A 528. 1278 if. άττο: adverbial. So ini above. — See on v. 832. — Χαθοσ-ΰναν νυκτωιτον : nightly oblivion. No inapt designation of the effects of Themis’ dream-oracle, if her shrine resembled the Albunean grove, nemorum quae maxima sacro | fonte so- 172 ΕΥΡΙΠ1ΛΟΥ ΙΦΙΓΕΝΕΙΑ. ττολυάνορι δ’ εν ξενόεντι θρόνω Θάρση βροτοϊς θεσφάτων' άοιδαις. ΑΓΓΕΛ02. ω ναοφύλακες βώμιοί τ επιστάται, 1285 Θδας άναζ γης τησδε που κυρεί βεβώς; καλεΐτ , άναπτύζαντες εύγόμφους πύλας, εζω μελάθρων τωνδε κοίρανον γθονός. Χ0Ρ02. τί δ’ εστιν , εί χρη μη κελευσθεΊσαν λεγειν; ΑΓΓΕΛ02. βεβάσι φρούδοι δίπτυγοι νεανίαν 1290 Άγαμεμνονείας παιδος εκ βουλευμάτων φεύγοντες εκ γης τησδε καί σεμνόν βρετας λαβόντες εν κόλποισιν Έλλάδοξ νεώς. nat saevamque exhalat opaca mephitim Verg. l.c. — θηκε : έποίησε. With πάλιν: “restored.” — βροτοΐδ : in the same const, as Λοξία. — cunScus : const, with the substantive θάρση . — ττολυάνορι κτλ. : and to men confidence in the prophecies chanted at the full- thronged, guest-frequented throne. Be¬ sides the patrons and pilgrims who came continually to consult the god, a vast concourse of ξένοι from all parts assembled periodically in the plain of Crisa to attend the Pythian festival, which was connected with the oracle. Cf ελθών els τδ κλεινόν Ελλάδος | πρόσχημ ’ ayoovos Αελφικ-ων άθλων χάριν Soph. El. 681. IX. Exodos, vs. 1284-End. A messenger, who is one of the king’s attendants that accompanied Iphigenia to the shore (v. 1208), en¬ ters in haste. 1284. ώ ναοφυλακες κτλ. : not ad¬ dressed to the chorus, although the choreutae were in the service of the temple, but to any officials who may be in hearing; cf v. 1304. — βώμιοι : i.e. oi έπϊ βωμφ. Cf βώμιοι πίτνοντες Andr. 357, χρόνιοι ίή κουσιν ν. 258, παράκτιοι δραμε7σθε ν. 1424. — ε’ιπ,ΟΓτά- ται: cf. to7s εφεστώσι σφαΎη ν. 726, θυμάτο$ επιστάτης Hec. 223. 1285. ΐΓού κυρεί βεβώς: Where is he gone ? Cf βεβάσι φρούδοι (“ are gone off”), vs. 1289, 1478. Strictly, how¬ ever, not motion* but position, is indi¬ cated by βεβηκέναι. Cf. yeyws for ών. — κυρεί : τυχχάν-ει. 1291 f. φεΰγοντες και λαβοντεδ: obs. the different tenses. “ In flight, taking with them.” For the const. IPHIGENIA AMONG THE TAURIANS. 173 XOP02- άπιστον ειπας μύθον · ον δ* ιδεΐν θέλεις ανακτα χώρας, φρούδος εκ ναού ανθείς. 1295 ποΐ; ΑΓΓΕΛΟΙ. δει yap αυτόν ειδέναι τα δρώμενα. XOPOS. ούκ ίσμεν · άλλα στείχε καί δίωκε νιν δπον κυρησας τονσδ * άπαγγελεις λόγους. ΑΓΓΕΑ02. όράτ, άπιστον ώς γυναικεΐον γένος, μέτεστι χύμΐν των πεπραγμένων μέρος. Χ0Ρ02. 1300 /xatVei * τι δ* ημιν των ζένων δρασμου μέτα; ονκ ει κρατουντών προς πυλας όσον τάχος; ΑΓΓΕΛ02. ου πριν y* αν είπη τουπος ερμηνευς τόδε, V5VO VJJVO ϊ V Γ\ / €tr ενοον ειτ ουκ ενοον αρχηγός χσονος. with φρούδοι, see on ν. 1294. — Notice the messenger’s amplitude of phrase in both these quatrains, and cf. the same thing in vs. 238-245. 1293 f. ον ανακτα: see on v. 979. Here the subj. nom. (άναξ) is attracted and assimilated; cf. urbem quam statuo vestra est Verg. Aen. i. 573. — φρούδος σ-υθα'ς : sped and gone. Cf. φρούδος Αανώΐ' Soph. El. 1152, φρού¬ δος ές“Αιδην | θάνατος προφέρων σώ¬ ματα τέκνων Med. 1110. The participle is supplementary to φρούδος. 1295. τα δρώμ€να : obs. the tense; the affair is not yet finished. 1297. “ Until you catch him and tell him your story.” — όπου : έκνισε οποί/. For the construction, cf. v. 119. 1298. The messenger penetrates the design of the coryphaeus to put him off. — χύμΐν : κα\ νμΊν (you your¬ selves). 1301. “Why don’t you go as fast as you can to the king’s house?” — It may be fairly inferred from these words that Thoas’ residence was sup¬ posed to lie on the side opposite to that whence the messenger had en¬ tered. See p. 23. 1302. ί'ρμηνίύς : i.e. έρμηνεύς τις, ‘qiii exponere possit.’ “Not until I get a correct interpretation of this point.” — έπος το'δε: explained 174 ΕΥΡΙΠΙΛΟΥ ΙΦΙΓΕΝΕΙΑ. ώη γαλάτε κληθρα, τοΐς ένδον λέγω, L305 καί δεσπότη σημηναθ' οννεκ εν πνλαις πάρειμι, καινών φόρτον άγγελλων κακών. ΘΟΑ2. / » ι \ ο ~ /Ί ~ ν ο / τις αμψι οωμα σεας οο ιστησιν ροήν , πυλας άράζας καί φόφον πεμφας εσω; ΑΓΓΕΛΟ^· εφασκον αϊδε καί μ 5 άπηλαννον δόμων, 1310 ώς εκτός εΐης * συ δε κατ οϊκον ησθ 1 άρα. ΘΟΑ2. τι προσδοκώσαι κέρδος η θηρώμεναι; ΑΓΓΕΛ02. αυθις τα τωνδε σημανώ · τα δ’ εν ττοσίν παρόντ άκουσον. η νεανις, η *νθάδε βωμοίς παρίστατ , * Ιφιγενει , €^ω 1315 rots ζενοισιν θίγεται , σεμνόν θεάς άγαλμά εγουσα · δόλια δ’ καθάρματα. by ν. 1303; in fact the original ques¬ tion, που κυρεΐ βεβώς ; 1304. He draws near and knocks loudly. — ώη : Ho there ! 1306. καινών . . . κακών : icith a whole shipload of bad news to tell. 1307 f. Thoas, disturbed at his work of fumigating, makes his appearance at the temple-door. — τί§ . .. οδ* ϊσ-τη- σιν βοη'ν: Who is this raising a clamor, etc. ? — άράξας : cf v. 310. 1309 f. The man has to explain, first of all, his unseemly invasion of the quiet sanctity of the premises. These women pretended to sag, and would drive me from the doors, that you, etc. — 4'φασκον: equiv., as often, to ψ^νδώί ελεγον, which the Mss. here give, unmetrically. — 4'φασκον καί άττηλαυνον : i.e. εφασκον άπελαύνουσαι- — <τν δέ . . . άρα: see on ν. 351. 1312 f. av0is . . . σημανώ: I will explain their case by and by. — τά . . . ιταροντα : τά εν ποσίν, a common phrase for what is immediately pres¬ ent; cf. τουν ποσίν yap οίστεον κακόν Ale. 749. 1317. ir<5s φη'$: the formula is ex¬ pressive of astonishment by its very sound. Of πως φ-ης ; πεφεύγε τοϋπος εζ απιστίας Aescll. Ag. 268; που; πα ; πώς φ·ης; Ar. Αν. 318. Note the allit¬ eration in both passages ( φ sounds like pH, not like f). — τί ττνίΰμα κτλ. : What breeze of fortune has she caught ? Still another metaphor from sailing. IPIIIGENIA AMONG THE TAUllIANS. 175 ΘΟΑ2. πώς φης ; τι πνεύμα συμφοράς κεκτημενη; ΑΓΓΕΛ02. σωζουσ * ’Ορεστην · τούτο yap συ ΘΟΑ2. τον ποϊον; άρ ’ δ^ Τ υνδαρις τίκτει ΑΓΓΕΛ02. 1320 ον τοΐσδε βωμοΐς θεά καθωσιώσατο. ΘΟΑ2. ώ θαύμα, πως σε μεΐζον όνομάσας τυχω; ΑΓΓΕΑ02. μη ^ ν ταυ θα τρεφης σην φρεν\ άλλ’ ακούε μου · σαφώς δ’ άθρησας καί κλύων εκφρόντισον διωγμός όστις τούς ξένους θηράσεται. θαυμάσει, κόρη; ΘΟΑ2- 1325 Xey’ · €υ yap ειπας · ού yap άγγίιτλουν πόρον φεύγουσιν , ώστ€ δια φυγεΐν τούμόν δόρυ. The question is like v. 1311, both in form and effect. 1318. σωζουσ’ Όρεστην : “ the for¬ tune of saving Orestes .” Adapted in const, to the participle κ€κτημένη v. 1317. — γάρ : refers to the startling name, as to an interjection. 1319. τον ττοΐον : “ What Orestes ? ” iroTos is not barely interrogative, but generally implies feeling of some sort; cf. v. 1030. As for the article, even rb τί; occurs m comedy. 1320. ον kt\.: “for he it was, etc.” Cf. v. 56. Here adapted drily to bv τίκτει v. 1319. — καθωσιώσατο : mid. (see on v. 849 ); the active would be said of the priestess. 1321. Apostrophe. 0 thou marvel! by what greater name may I rightly call thee ? — To Thoas, θαύμα is a weak word. — τΰχω : τυχεΓν (“ hit the mark”) is often employed as here; cf. ποιας bv υμάς πατρίδος ή yivovs ποτέ | τύχοιμ ’ είπών', Soph. Phil. 222 . 1322. ενταύθα: viz. in the direc¬ tion of finding the right name for the circumstance. 1323 f. These two lines are quite in the messenger’s style. — διωγμός οστις : hyperbaton for 'όστις διω*γμός. 1325 f. ού γάρ κτλ. : on no such nigh- bound voyage they fee as to escape my armed hand. — Note the distinction 176 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. ΑΓΓΕΛ02. επεί 7 τρός άκτάς ηλθομεν θαλασσίους, ου υαυς ’Ο ρέστου κρύφιος ην (ορμισμένη, ημάς μεν, ούς συ δεσμά συμπέμπεις ξένων 1330 έχοντας, εξένευσ άποστηναι πρόσω ’Αγαμέμνονος τταΐς, ως απόρρητον φλόγα θύουσα καί καθαρμόν όν μετωχετο. αύτη δέ, χερσί δέσμ έχουσα τοίν ξένοιν, V > ν (Λ \ /OJ <5> V / εστειχ οπισσε. και ταο ην ύποπτα μεν, 1335 ηρεσκε μέντοι σοίσι προσπόλοις, άναξ. χρονω ο , ιν ημιν οραν τι οη οοκοι πλέον, άνωλόλυξε καί κατηδε βάρβαρα between (psvyeiv and cpuyeiv, here clearly exhibited. — δόρυ : said typi¬ cally; like δορί (see on y. 519). Cf. κόγχην v. 1484. — This transitional distich is intended to justify the long pijais which follows. See p. 31, foot¬ note. 1329 f. ημάς μεν : for our part. Cor¬ relative to αυττ] δέ V. 1333. — ε’ξε'νευοτε . . . ττροσω : signed to us to stand off in advance, vevaai. “ nod.” έξ and από have a similar force in composition here. 1331 f. άιτορρητον : although not pred., is the significant word of the passage. — θυ'ουσ-α : followed by φίλος, elire 7Γ ο v τίς αλκά; Aesch. Pr. 545. See H. 1013. Cf. also, for both form and sense, the Homeric ris πόθεν els άνδρών; (a 170). τίνος calls for the father's name, which a man regularly added to his own, unless he was κακός κάκ κακών. We should say here “ Who and what are you?” ‘Whose dog are you ? ’ is a sort of parallel to the Greek. — συ': said to Orestes person¬ ally, who is recognized as ringleader. Euripides keeps his hero in the front with great skill, even in the narrative passages. 1365. προς (T«' κτλ.: tried to force her to come along with us to you. 1366. οθεν τα δεινά κτλ.: cf. h i n c illae lacrumae Ter. Andr. i. 199. For the article, cf. v. 320. Here, the impression is not made on the mind only. 1367 f. κείνο! τε . . . ούκ «ϊχον . . . ημείς τε: instead of οΰτ eKeivoi εΊχον υύθ' ημ(7ς. The neg. particle belongs IPHIGENTA AMONG THE TAURIANS. 179 ημείς τε · πνγμαι δ’ ησαν εγκροτουμεναι, και κωλ ’ άπ άμφοΐν τοΐν νεανίαιν άμα 1370 εις πλευρά καί προς ήπαρ ηκοντιζετο , ώστε ζννάπτειν και σνναποκαμείν μέλη, δεινοΐς δε σημάντροισιν εσφραγισμενοι εφενγομεν προς κρημνόν, οι μεν εν κάρα κάθαιμ εγοντες τρανμαθ\ οι δ’ εν όμμασιν . 1375 όγβοις δ’ επισταθεντες , ενλαβεστερως εμαρνάμεσθα καί πετρους εβάλλομεν. άλλ* ειργον ημάς τοζόται πρύμνης επί σταθεντες ιοις, ωστ άναστεΐλαι πρόσω, καν τωδε, δεινός yap κλυδων ωκειλε νανν 1380 προς γην, φόβος δ’ ην παρθενω τεγζαι πόδα, λαβών 'Ορέστης ωμόν είς αριστερόν, βάς εις θάλασσαν κάπΐ κλιμακος θορων, closely to the verb, and the sentence as a whole is felt as rather affirma¬ tive than negative (“both they and we were unarmed”). Cf. vs. 1477 f. — ιτυγμαί κτλ. : ‘pugni erant qui impingebantur.’ 1369 f. κώλα ήκοντίζετο : “ heels flew lively.” Cf. v. 362. — άμα: i.e, Truy μαί and κώλα all at once. 1371. The subj. of the infinitives is felt as -ημάς, implied before in els 7 τλ*υρα καί irpbs ·ήπαρ. There is point in the repetition of συν in composi¬ tion. “So that we no sooner closed with them than we gave out in every limb.” — Demosthenes has a word to say about the poor boxing of foreign¬ ers (βάρβαροι), iv. 40. 1372. «σφραγισμένοι : mention of the σφρα -yis “ signet,” which was used for both personal and official busi¬ ness, is freq. in Greek. Cf. σφραγίδα φνλασσ ’ ήν έπ\ δ(λτα> | τήνδε κομ'ιζ€ΐς Iph. Aid. 155. Peisthetaerus to Iris: σφραγΊδ' παρά των πΐλαργών; (“ Have you been properly stamped?”) At. Av. 1213. 1373-1376. The Taurians fall back from the level beach to the sea-banks (κρημνός, όχθοι), where they resume the contest with a fire of stones, no longer at close quarters, but in a better position for defence («ί/λ αβεστόρως). 1378. ώστε . . . πρόσω: with such effect as to drive us back still farther. 1379-1385. Lest the favorable mo¬ ment should be lost, as the craft is impelled shoreward by a heavy surf, Orestes lifts Iphigenia, who hesitates to step into the water herself, and wades with his burden to the ladder. 1379 f. «V τωδε : “at this crisis of affairs.” — δεινός γάρ . . . ποδα : par¬ enthetical. — ωκειλε : ο/ίελλειν, poetic form KeWeiv (κελ, celer, κόλης “yacht,” etc.), to ‘ beach’ a vessel. 180 ΕΥΡΙ1ΙΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. εθηκ αδελφήν εντός ενσελμον νεως το τ ουρανού πεσημα, της Διδς κόρης 1385 αγαλ/χα. ναός δ’ εκ μέσης εφθεγζατο βοη πς * ω γης Ελλάδος ναύτης λεως, λάβεσθε κωπης ρόθιά τ εκλενκαίνετε · εγομεν yap ωνπερ εινεκ αξένον πόρον Σνμπληγάδων εσωθεν είσεπλευσαμεν. 1390 06 δε στεναγμόν ηδυν εκβρνγωμενοι επαισαν άλμην. νανς δ’, εως μεν εντός ην λιμενος, εγώρει · στόμια διαπερωσα δε λαβρω κλυδωνι σνμπεσονσ ηπείγετο · 1384. ουρανού ττί'σημα: cf. ν. 88. The gen. of source with a substantive is the converse of yrjs ττατραίας νόστος v. 1066. Somewhat similar is ‘ god¬ send/ ‘ windfall/ 1385 f. vaos . · · βοη tis : then from mid-ship there sounded forth a cry. A supernatural utterance is meant (hence rls), such as will issue from a throng in a moment of thrilling ex¬ citement — from whose lips no one can tell. Euripides can hardly have meant us to imagine the voice as coming from the goddess on board, considering the turn he gives to events at the close of the narrative. The words of the voice are vs. 1386-1389. 1386. ω yrjs Έλλάδοδ : the national spirit is apt to hurst out thus in the drama ; cf. τί μελλετ , ώ γης ' Ελλάδος λωτίσματα (“flower”), | σφάζειν φό¬ νευαν βαρβάρους νεύς τ' άττο \ βίπτειν ε ς οΊδμα; Hel. 1593. Downright his¬ tory in Aeschylus : ώ ταΊδες Ελλήνων ϊτε κτλ. Pers. 402. —ναύτη? \ews : “shipmates/’ ναύτης is here an ad¬ jective; cf. νανταν όμιλόν Hec. 921. 1387. “ Lay to, and ply the yeasty surge!” Cf. tortaque remigio spumis incanduit unda Catul¬ lus lxiv. 13. — ροθια : ρόθιον, though properly not so strong a word as surge , often shows its original force, which is greater than is implied by plash. Cf. έπ ' Αμφιτρίτης ροθίιρ ν. 425. 1390. Whereat, fetching a deep glad groan, they smote the brine. — στεναγμός, always of a pent-up sound, here pecu¬ liarly with ηδύς, of the voiced breath that escapes at the putting forth of a powerful but satisfying effort of mus¬ cular and nervous force. It is also partly the sigh of relief after the suspense of waiting for the start. β ρυχάσθαι “ to low,” “ to bellow,” but not by any means restricted to ani¬ mals.— One can fairly see the oars bend in reading such a line as this. — οιταισαν άλμην : the aor. marks the instant of starting; contrast the imperfects that follow. The same words occur in Aeschylus, with simi¬ lar effect, at the beginning of the verse; see on v. 1405 fin. 1391-1393. vavs 8 t': emphasized in contrast with the crew. — «χώρο,: made headway. — στόμια διαττ«ρώσα κτλ. : but as she crossed the bar, encoun¬ tering a furious sea she labored sore. — ή-ΐΓίίγ«το : passive, “ was rushed,” sc. IPHTGENIA AMONG THE TAUIIIANS. 181 8είνος γάρ ελθων άνεμος εξ αίφνης νεώς ταρσω κατηρει πίτυλον επτερωμενον 1395 ωθεί παλίμπρυμνη8όν · οϊ δ’ εκαρτερουν προς κύμα λακτίζοντες · είς δε γην πάλίν κλυ8ων παλίρρονς ήγε ναυν. σταθείσα δε X *Αγαμεμνονος παίς ενξατ * ω Αητούς κόρη , σωσόν με την σην Ιερίαν προς Ελλάδα 1400 εκ βαρβάρου γης καί κλοπαΐς συγγνωθ ’ εμαΐς. φίλείς δε καί συ σόν κασίγνητον, θεά · φίλεΊν δε κάμε τους όμαίμονας 8όκεί. ναυταί δ* επευφήμησαν ευγαίσίν κόρης in the wrong direction. Cf. ών τβ Π οσαδάων evepyea νη ivl πόντιρ | ραίση έπ^ίγομόνην άνόμφ κα\ κΰματι πηyω Horn, ψ 234. 1394-1396. δανος . . . «ξαίφνη? : the whole circumstance is unlikely and undramatic; see Introd. p. 27.— vtcas . . . ΐΓαλιμπρυμνηδον : forced the flying ship, her winged oarage with trim blade full-plumed, stern-foremost back. — vtu>s πίτυλον: for the ship itself; cf v. 1050. — ταρσ-ω . . . ί’πτίρωμί'νον : see on v. 289. ταρσός, pal inula re mi, also the flat of a bird’s wing; cf our ‘feathering’ the oar. — € καρ¬ τερούν : persevered. — irpos κνμα λακ- τίζοντίδ : “ battling with the wave.” π pbs κόντρα λακτίζβιν ‘ to kick against the pricks ’ is here varied by Eu¬ ripides, as elsewhere by Aeschylus in a characteristic way : οΰκουν fyoiye Xpupevos διδασκάλω | π pbs κόντρα κώ- λον ό κ τ e ν et s Pr. 322. The say¬ ing is familiar, from the voice that spoke to Saul : σκληρόν σοι npbs κόντρα λακτίζειν Act. Apost. xxvi. 14, a pas¬ sage which singularly concurs with one of Euripides ( θόοιμ hv αυτφ μάλ¬ λον ί) θυμούμενος \ irpbs κόντρα λακτί- ζοιμι θνητδς ών θεφ Bacch. 794, said by the disguised Bacchus to Pentheus). 1397. κλυ'δων παλίρρουδ : refluent billow. — η -yt: obs. the tense; cf yet 1406. 1401 f. Notice the thoroughgoing parallelism of arrangement between the two lines of this distich, and cf. μητρός re πληyηv τ is κατασβόσει δίκη; I πατρίς re yata σης bnb σπου¬ δής δορϊ I άλουσα πώς σοι ζύμμαχος ye- νησεταί; Aesch. Sept. 584. The doubled idiomatic καί here (καί συ, καμό) an¬ swers to the doubled τό of the two parallel questions in the Aeschylean passage. — rovs o'patpovas : there is a fineness in this plural; the appeal is not to a fact merely, but to a prin¬ ciple.— δοκα: believe. Goethe has imitated this : ‘ Du liebst, Diane, dei- nen holden Bruder | Vor allem, was dir Erd’ und Himmel bietet, . . . O lass den Einz’gen, Spiitgefundnen mir | Nicht in der Finsterniss des Wahn- sinns rasen ! ’ Iphigenie iii. 3. 1403-1405. €π€υφημη<ταν . . . παι¬ άνα : breathed a paean responsive to the maiden’s prayer. The paean is offered to the ‘Brother’ named by Iphigenia. — γυμνά? . . . ίττωμίδα? : arms bare to 182 ΕΥΡΙΠΙΔΟΥ ΙΦΙΓΕΝΕΙΑ. παιάνα, γυμνάς εκ χερών επωμίδας 1405 κωπη προσαρμόσαντες εκ κελεύματος. μάλλον δε μάλλον προς πέτρας ηει σκάφος, χω μεν τις είς θάλασσαν ωρμηθη ποσίν, άλλος δε πλεκτάς εξανηπτεν άγκύλας. κάγω μεν ευθύς προς σε δεύρ ’ άπεστάλην, 1410 σοΙ τάς εκείθεν σημανων, άναξ, τύχας. άλλ ’ ερπε, δεσμά και βρόχους λαβών χεροίν · ει μη yap οϊδμα νήνεμον γενησεται , ούκ εστιν ελπίς τοίς ξενοις σωτήριας, πόντου δ ’ άνάκτωρ *Ιλιόν τ επισκοπεί 1415 σεμνός Ποσ·€ΐδωζ/, Πελοπίδας δ’ ενάντιος * και νυν παρεξει τον *Α γαμεμνονος γόνον σοί καί πολιταις, ως εοικεν, εν χεροίν λαβείν αδελφήν θ\ η φόνον τον Αύλίδι άμνημόνευτον θεά προδούσ άλίσκεται. the shoulder. Such is apparently the meaning, the Greek phrase being the reverse of the English, as regards the ‘termini.’ — ε’κ κελευματο$: i.e. at the lead of the κελευστης (see on vs. 1125 ff.). Cf. επαισαν άλμην βρόχων in κελεύματος Aesch. Pers. 397. 1406. μάλλον 8c μάλλον κτλ. : simi¬ lar is another line of Euripides, imi¬ tating the slow bending down of a tree-stem : Karrjyev, flyer, f\yev es μελαν πεδον. Eor μάλλον μάλλον, cf. εΊτα μάλλον μάλλον άξεις | καί φυλάξεις ■At. Pan. 1001, έπινεφει rb πρώτον δ Ζευς ησυχη, \ επειτα μάλλον μάλλον Alexis 29. Imitated by Catullus (of waves) : post vento crescente mag is mag is increbrescunt lxiv. 274. 1407-1410. The messenger reverts to the movements of his own party on the shore. — και ο με' v tis : see H. 654 a. The correlative is άλλος δε';. for δ δε'. — ε’ξανήτΓτεν: sc. to anything convenient for making fast on land, while the other end of the ropes was to be attached to the vessel by the men who waded out to meet her. — άγκΰλαδ : much the same as βρόχους (“nooses”) v. 1411. The Taurians were born wreckers, no doubt. — εγώ μεν: for my own part. The antithe- ton is in the whole context, as often. 1415 f. Πελοπίδας δε κτλ. : and, ever a foe to the sons of Pelops, he will even now deliver, etc. For δε after re, see H. 1040 b. — καί νυν : i.e. consist¬ ently now with his attitude before, as displayed in the tale of Troy. 1418 f. φονον . . . άλίοτκεται: “is found guilty of betraying the goddess’ trust in that forgotten murderous deed at Aulis.” According to the popular view, which has been pre- IPHIGENIA AMONG T1IE TAURIANS. 183 X0P02. 1420 ώ τλημον ’lt^iyeWia, c τυγγόνου μετά θανεΐ, πάλι v μολουσα δεσποτών γερας. ΘΟΑ2. ω πάντες αστοί τησδε βαρβάρου γθονάς, ούκ εια πώλοι? εμβαλόντες ηνίας παράκτιοι δραμεϊσθε κάκβολάς νεως 1425 'Ελληνίδος δεξεσθε, συν δε τη θεω σπεύδοντες άνδρας δυσσεβεΐς θηράσετε, οί δ’ ώκυπομπούς ελζετ εις πόντον πΚάτας; ως εκ θαλάσσης εκ τε γης Ιππευμασιν λα βόντες αυτούς η κατά στύφλου πέτρας 1430 ρίφωμεν, η σκόλοφί πηζωμεν δέμας. )C υμάς δέ τάς τωνδ * ιστορας βουλευμάτο)ν γυναίκας αύθίς, ηνίκ αν σγολην λάβω , ποινασόμεσθα · νυν δε την προκειμενην σπουδήν ίγοντες ου μενουμεν ησυγοί. sented already as often as we care to hear it and a little oftener, the affair of the sacrifice ought to have been remembered by Iphigenia with vin¬ dictive resentment toward her country and her family, by waj r of gratitude to Artemis who saved her. But now, in siding with Orestes, she is said npo- δοΰναι rbv φόνον. — 0€ Λ/) c\ OJ > ~ προς μεν σ οο ημιν μνσος · ορ ο αττοκτενειν δοκεΐς ’Ορεστην ποντίω λαβών σάλω, ηδη Ποσειδώ^ γάριν εμην άκνμονα 1445 πόντου τίθησι νώτα πορθμεύων πλάτη. ν. 1312. The threat of Thoas adds to the zest with which Athena’s injunction to liberate the captives is received (vs. 1467 f., 1482 f., 1495 f.). 1435 ff. The goddess Athena enters upon the scene in the conventional way, by means of stage-machinery (από μηχανής) : hence the phrase deus ex m a china, to denote the solution of a plot through supernat¬ ural interference. See p. 26, foot¬ note 21. 1435 f. Trot ίγοϊ : the repetition is consonant with Thoas’ precipitate haste. So Peisthetaerus to Iris (the present situation reversed) αυτή συ 7 rot ποΓ 7 Γο Γ 7reret; μόν ήσυχος. Ar. Av. 1199. — τησ-δί : the speaker sig¬ nifies her own presence. — ’Αθηναίας : in tragedy, the goddess’ name is Άθάνα, sometimes Αθηναία. The lat¬ ter, the old Attic name common in inscriptions, becomes in the Attic prose literature quite regularly Άθηνά, by contraction. 1437. ρ«νμα στρατού : cf μ^άλφ p ev ματ ι <ρωτων Aesch. Pers. 87, p € t πολί /s o5e Aeis πρόδρομος ίππότας id. Sept. 80. 1438. ττίττρωμί'νοδ : destined to the holy work. This participle is gener¬ ally attributive when used personally ; cf. τον πίπρωμόνον evva πόσιν έμόθεν Troad. 340. 1440. φίυγων : pres, participle par¬ allel with the future; see on αϋξον res v. 412. 1442. άναψυχάδ : appos. to the sen¬ tence (G. 137, n. 3 ; II. 626) ; cf. χάριν έμήν V. 1444. — αναψυχή, αναπνοή (ν. 92), παραψυχή, “respite.” 1443-1445. Trpos μ«'ν tre : for the arrangement, see H. 786 a.—ov 8e κτλ. : “ as for Orestes, whom thou think’st to slay, taken on the rolling deep, — Poseidon, for my sake, al¬ ready stills the ocean-wave, to speed his voyage.” — άκνμονα : cf. νήνεμον v. 1412, which denotes the same thing from another point of view. -γαλήνη, “ calm ” (-γαληνός metaphorically v. 345), applies to the placid water, the effect of νηνεμία. — τίθησι ιτορθμίυων : IPHIGENIA AMONG TIIE TAURIANS. 185 μαθων δ*, ’Ο ρέστα, τάς εμάς επιστολάς, κλυεις γάρ αύδην καιπερ ον παρών θεάς, χώρει λαβών άγαλμα συγγονόν τε σην. όταν δ* \λθηνας τάς θεοδμητους μόλης, 1450 χώρος τις εστιν *Α τθίδος προς εσχάτοις οροισι , γείτων δειράδος Καρυστίας, Ιερός , 'Αλας νιν ονμός ονομάζει λεως · ενταύθα τενξας ναόν Ιδρνσαι βρετας, επωνυμον γης Ύανρικης πόνων τε σων, 1455 ους εζεμόχθεις περιπόλων καθ' 'Ελλαδα οίστροις 'Έιριννων · Α ρτεμιν δε νιν βροτοί το λοιπόν νμνησουσι Τ αυροπόλον θεάν, νόμον τε θες τόνδ * · όταν εορτάζη λεως , riOels πορθμ(ύ(ΐ, a prose-writer would have said, preserving a closer gram¬ matical connection with the former clause hv . . . * Ορύστην κτλ. 1446-1461. Addressed to the ab¬ sent Orestes. V. 1447 is parenthetical, and calculated to prevent any seem¬ ing strangeness or abruptness in the apostrophe. 1446. €ΐΓΐ<ττολά$ : mandates. 1447. For the thought, ef κλύων μίν αύδην, δμμα δ’ ούχ ορών τδ σύν (Ilippolytus to Artemis) Ilipp. 86; cos eujtta^es σου, kUv &ironros rj s όμως, \ φώνημ ακούω κα\ ζυναρπάζω eppevi (Odysseus to Athena) Soj)h. Aj. 15, a general, not a particular statement. 1449. 0€θδμητου$ : viz. founded by Athena herself; cf. έμ^ν χθόνα v. 1441, ουμδ y \ecos V. 1452. 1450-1452. For the antiquities touched here and below, see Introd. p. 13.— Άτθίδοδ : sc. yps, Attica. Cf. v. 223. — δειράδος Καρυστίας : in Euboea. — ίερος: sacred it be¬ came by the very acts here pre¬ scribed by the goddess. A similar anachronism is K\eiva?s (v. 9) applied to Aulis. 1453-1457. ΐδρυσ-αι: establish. The mid. of interested action; cf. v. 1481. The active, v. 978. — ε’-ττώνυμον . . . Ταυρο-ητολον θεάν: i.e. with a name commemorative of the Taurian land, etc. The word περί - π ο λ - ών is intro¬ duced for the sake of this fanciful explanation of the familiar epithet. In reality, Artemis Tauropolos was goddess “ of the kine.” There is much of similar playing upon proper names in the drama, esp. in Aeschylus; cf the quot. on v. 394, and Shakspere’s ‘Thou, Leonatus, art the lion’s whelp; | The fit and apt construction of thy name, | Being Leo-natus, doth import so much ’ Cymbeline fin. (followed by a unique etymology for mulier ').— ol'o-rpois: before the “mad chase” of the Furies. “Gadfly” (cf. v. 393) and “ frenzy ” are parallel meanings of olarpos. 186 ΕΥΡ1ΙΙΙΔ0Υ ΙΦΙΓΕΝΕΙΑ, της (τής σφαγής άποιν επισχετω ξίφος 1460 $ερη προς άνΰρος αίμα τ εξανυετω, οσίας εκαπ θεά θ' όπως ημάς εχη. σε δ 5 άμφί σεμνάς , 'Ιφιγένεια, κλίμακας Βραυρωνίας δει τήσδε κληδουχείν θεάς ον καί τεθάψει κατθανονσα , καί πέπλων 1465 άγαλμά σοι θησουσιν ευπηνους νφάς , as αν γυναίκες εν τόκοις ψυχορραγείς λείπωσ εν οίκοις. — τάετδε δ’ εκπεμπειν χθονος Έλλ^ϊαδας γυναίκας εξεφίεμαι γνώμης άικαίας είνεκ , εξεσωσα δε 1470 καί πριν σ' 'Αρείοις εν πάγοις ψήφους ίσας κρίνασ , 'Ορεστα · καί νομισμ' εσται τδδε, νικάν Ισηρεις όσης αν ψήφους λάβη. 1459 f. άττοινα: appos. to the sen¬ tence, The rite described is here treated as a symbolical compensation . to Artemis for the intended slaughter of Orestes at her Taurian temple. — εττισ-χετω ξίφος : translate as passive. The subj. is the general idea of the proper person or functionary, here the priest. — δε'ρη προς άνδρο'ς : π pbs δεργ. Such placing of the preposition is common, the substantive with its limiting genitive being regarded as one term. 1462-1467. ν παΐδ’ άπ^νάσσ^το. — 1267. χα- μίυνας : yas eitvas . — 1276. «ίγΙ δί σ€ίσας : en-el δ’ eaaaev. 1307. οδ*: τόδ\ —1309. 4'φασκον: ψςυδώς eAeyov . — 1333. χ€ρσί: οτησθ e. —1334. οιτισθί: χερσί. —1346. ταρσω . . . ίπτ^ρωμένον. Printed after ν. 1394. — 1352. σπζΰδοντςς ^yov διά χ(ρων πρυμνήσια. — 1353. διδοντίς : δ4 δόντίς. — 1358. νο'μω : \6ycp. — 1380. -ιταρθί'νω : supplied. — 1386. ναύτης \<ώς : ναυται veus. — 1394. See above, ν. 1346. 1438. ΐΓ€ΐΓρωμ€νος : πςπρωμένοις. INDEX. The figures, when preceded by p., refer to the pages; otherwise, to the verses of the play or to the notes, or to both. The references are not meant to be exhaustive. άγνεύειν 1227. αινώ 1486. atriav εχειν 1086. άκαιρος 419, 754. ακίνητο? 1157. άκοντίζειν (metaphori¬ cally) 362, 1370. άκου'ειν (with inf.) 958. άκραντος 520. άκροθίνια 75, 459. άχυμων 1444. ά\λά 999, 1170. elliptical, 354. for αλλά yap, 118,646. ! άλλ* ή 806. άλλάσσεσθαι 292. άλυρος 146. άμικτος 403. ανάγκη (“ servitude ”) 1118. άναγνώρισ-ις ρ. 16; 808. άναλίσ*κειν 337. αναψυχή 1442. άνθ οτου 926. ανώνυμοι θεαί 944. άντιλαβαί ρ. 40. ’Άξεινος ito'vtos 218. άπάγειν 356. άπαίρειν 511. άίΓε'ΐΓτυσ-α 1161. airicrros 1476. άποδιδοναι 745. άττοινα 1459. άπολαύειν 526. ά,-ιτολλυναι 541. άττορρηγνυ'ναι βίον 974. απάφθεγκτος 951. άτττερος ορνις 1095. αρα 351, 472, 886, 1222. άραΐος 778. άρε'σκειν 1335. άσ-τακτος 1242. αύλεΐαθαι 367. αυτού 974. άψειδεΐν 1354. • βακχεύειν 1243. βάρβαρος 1337. βεβώς 1285. βλε'ττειν (“ live ”) 608. βρυχάσθαι 1390. γαλήνη, γαληνός 1444. γαμεΐν 682. γάνος 634. γάρ 328, 506, 1318. γε' 7Γ 510, 749,918,919. γεγώς 473, 610. γεννήσ^ας πατήρ 499. γε'νος (“ sex ”) 1061. γίγνεσθαι 1001. yovos 1234. δάφνη 1100, 1246. δεινο'ς 1032. δελτος 727. δε'σις ρ. 20, foot-note, δε'χομαι 793. δή 459, 1184. δή γε 943. διά 683. διαδοχαί 79. διαμείβειν 396. διαττεράν 395, 1392. δίκην τταρασχεΐν 944, 945. Δίκτυννα 127. δινευ'ειν 192. Δίος 404. δίτταλτος 323. δίπτυχος 242. δοκεΐν 8, 44, 299, 956, 1335. δο'λια, δολω 859. δόξα 1030, 1164. δόρυ, δορί 519, 1326 δροσος 1192. δυ'ναο-θαι 1023. εάν 1344. εγκληρος 682. εγώ δε 372, 731. εΐα 1423. είδε'ναι 248, 814. είττεΐν άκούσ-αί τε 964. εκ 221. εκβαίνειν 98, 781. εκβολος 1042. ε’κκλε'τττειν 331. ε’κνεύειν 1186, 1330. ε’ κπλήσσειν (“ inter¬ rupt”) 773. GREEK INDEX. 193 ε’μιτεδούν 790. εμττυρα 16. tv 762. ε’ξαίρετος 755. ε’ξαλλάσ-σ-ειν 135. ετταίρεσθαι 1484. ε’ιτεί (with impf.) 261, 942. ε’ιτείγεσ-θαι 1393. ε’ττί 482, 680. «ΐΓΚΓΚηΐΓΤίΐν 701. t ΐΓίστάτης 1284. ε’ιπστολαί 78(5, 1446. δττκΓτροφη 671. ε’ιτομνύναι 747. ε’-ττωτίδες 1350. tptVtrtiv (of flying) 289. Έρινύες p. 13, foot-note, ε'ρμηνεύς 1302. tpirtiv 477, 699. w » *701 €