THE ALCE S TIS OF EURIPIDES, WITE NOTES, 0OR FE USE OF COLLEGES IN TME UNITED STATU By THEODORE D. WOOLSEY PREMIDENT OF YALE COLLEOGE NEW EDITION, REVISBED. HARTFORD: HAMERSLEY & CO. 1875. TO PROFESSORS AND TUTORS OF GREEK AND OTHERS. THE following works by President Woolsey of Yale College have, during the present year, been carefully examined by him, assisted by Prof. Packard, all desirable changes have been made, and a new set of references to Prof. Hadley's Greek Grammar, added: ALCESTIS OF EURIPIDES, with notes, for the use of Colleges in the United States. ANTIGONE OF SOPHOCLES, with notes, for the use of Colleges in the United States. PROMETHEUS OF -/ESCHYLUS, with notes, for the use of Colleges in the United States. ELECTRA OF SOPHOCLES, with notes, for the use of Colleges in the United States. GORGTAS OF PLATO, with notes, for the use of Colleges in the United States. September, 1869. ENTERED according to Act of Congress, in the year 1869, by I1AMERSLEY AND COMPANY, in the Clerk's Office of the District Court for the District of Connecticut. VALUABLE BOOKS. SOPHOCLES FIRST BOOK IN GREEK, for the use of beginners. SOPHOCLES GREEK LESSONS, new edition, adapted to the revised edition of the Author's Greek Grammar. SOPHOCLES GRAMMAR, revised edition, for the use of Schools and Colleges. SOPHOCLES GREEK EXERCISES, with an Enrglih and Greek vocabulary. SOPHOCLES GREEK GRAMMAR, for the use of learners, being the first edition of the Author's Grammar. FELTON'S GREEK READER, containing selections in Prose and Poetry, with notes, a Lexicon and references to the Grammars of Profs. Sophocles, Hadley and Crosby. PREFACE. THE Alcestis has a high rank, both for style and subject, among the plays of Euripides. Its style places it in the class with the Medea, Hippolytus, and Heraclide, which were probably written before the other extant pieces of their author. Of these four plays, Elmsley says, in his notes on the argument of Medea (p. 69, ed. Oxf.): " Numeros habent severiores et puriores, a quorum dzKpLELa absunt ceterm omnes, alim quidem propius, ut Hecuba, alim vero longius, ut Orestes." While in those tragedies of Euripides which are undoubtedly his later ones there may be discovered negligence of composition, want of simplicity, especially in choral parts, and a style very remote from the severity of Sophocles, the simplicity of the Alcestis must, I think, strike even the careless reader; and the lyric parts have an elegant sweetness about them, which can hardly be paralleled by those of any of his other dramas. The subject of this play presents us with an uncommon example of self-devotion and of conjugal love, and recalls to the mind those words of St. Paul, fitted to awaken hal lowed thoughts in every breast: " Peradventure for a good man some one would even dare to die." " On the score of beautiful morality," says A. W. von Schlegel, "there is none of the pieces of Euripides so deserving of praise as Alcestis. Her determination to die, and the farewell which PREFACE. she takes of her husband and children, are represented with the most overpowering pathos." Others express similar opinions. Thus Racine, in the preface to his Iphigenie, speaks of the scene which opens at v. 244 as " merveilleuse." And George Buchanan has the following words in the preface to his metrical version of this play, addressed to Margaret, sister of Henry the Second, king of France: ' Est orationis genere leni et equabili, et, quod Euripidis proprium est, suavi: parricidii vero et veneficii et reliquo. rum, quibus alie tragcedim plenm sunt, scelerum nulla prorsus hic mentio, nullum omnino vestigium. Contra vero, conjugalis amoris, pietatis, humanitatis, et aliorum officiorum adeo plena sunt omnia, ut non verear hanc fabulam comparare cum libris eorum philosophorum, qui ex professo virtutis proecepta tradiderunt; ac nescio an etiam preferre debeam." The subject of Alcestis, however, is not highly tragic, and the way in which the poet has managed it "enders it still less so. We may, indeed, conceive a wife, who sacrifices herself for her husband, to be placed amid the most powerful conflicts of feeling, and in situations of the deep. est interest: but in the case of Alcestis there is no conflict; the situations awaken none but gentle and tender sentiments; and these sentiments are somewhat weakened in their depth by the knowledge, which is derived from the prologue, of the result. Admetus also, for whom she dies, is not an interesting character. Admit that the good of their children, and of the state, required that he should consent to her suffering in his place, - put yourself in the position of a Greek auditor, if you please, and admit most ungallantly that els av?)p KppeIor-Cv yvvaLKc~iv lvplov 6pav padov, - yet a man who, for whatever good reason, purchases life by the death of another person, is not one ith whom we sym PREFACE. V pathize; and we cannot help suspecting that he is glad to save himself even at such a price. Hence, when Ad. metus reproaches his father (v. 629, seq.) with a cowardly love of life, and he in his defence asserts the principle that every body must take care of himself, - sorry as is the figure which the old man cuts, we feel that there may be an argumentum ad hominem in his words, and that selfishness may be the animating spirit of the son also. We hesitate, therefore, to ascribe great depth to his sorrow for the loss of his wife, for he preferred that loss and its consequences to his own death. Nay, he persuaded her to die on his behalf. If the subject falls necessarily below the level of higher tragedy, the management is still less conformable to that standard. This is shown in three principal parts of the piece. 1. The prologue, by informing us that Alcestis will be rescued from the grasp of Orcus, and how this will be effected, takes away the stimulus of curiosity; we know more of the future than the characters in the piece do, and thus enter but weakly into feelings which are soon to be displaced in their minds. 2. Hercules, the deliverer of Alcestis, must be brought into such a relation to the principal persons of the drama, as to furnish a motive for his undertaking a labor of that description. This the poet effects by bringing him to the house of Admetus at the very time of the funeral; by making him gather, obtusely enough, from the ambiguous words ofAdmetus, that a stranger was to be interred; and then, on the discovery of the truth, by exciting his compunction for his ill-timed revelry; so that he is led, as an atonement for his fault and a compensation for the self-denying hospitality of his friend, to undertake the combat with Orcus. Here, not to mention that a comic side of Hercules is turned outwards, there is nothing in the situations of the parties vi PREFACE. which is tragic, nor in the motives- the kindness of Ad. metus towards a guest, and the regret of Hercules for his mistake - which is particularly lofty. 3. When Hercules has rescued Alcestis, she must be restored to her husband within the limits of the drama. The poet has effected this much more skilfully than if a messenger had narrated the affair; but the situations necessarily border on the comic. Hercules, in his turn keeping Admetus in ignorance of the truth, wishes to produce a pleasant surprise. The struggle in the mind of the latter against lodging the supposed stranger under the veil in the female apartments of his house, being founded on ignorance, must soon be succeeded by very different feelings, which are already, from the first, in the spectators' minds; who, therefore, rather enjoy his pain than suffer with him. It may be said, in defence of the structure of this play that the comic can heighten by contrast the effect of the --agic.* This is true, but does not apply in the present case. The comic must not be so linked in with the tragic, that succeeding portions of the drama shall grow out of it. It heightens the effect of sorrow to give a glimpse, as Shakspeare has often done, of mirth and insensibility close by its side; but the mirth must not be the cause which determines the progress of the action. It must stand over against the tragic, and not mingle with it. * Patin (Ltudes sur les Tragiques Grecs, Paris, 1843, Tom. III.), in a highly laudatory critique upon Alcestis, quotes with commendation from Villemain an opinion of the purport mentioned in the text. In the same work may be found a sketch of the attempts of sundry French dramatic writers, and of Alfieri, to make the plot of Alcestis more tragic and better suited for the modern stage. The attempts, even of the celebrated Italian dramatist, seem to be abortive. Another recent writer, an earnest partisan of Euripides, Hartung, in his Euripides Restitutue (Hamburg, 1843), I. 216- 234, gives a very favorable criticism of this drama PREFACE. vi A passage in the second argument prefixed to this play, which was brought to light from a Vatican manuscript by William Dindorf, in his Oxford edition of 1834, seems to show that Euripides himself despaired of giving a thoroughly tragic color to the fable of Alcestis. We are there informed that the play occupied the fourth place in a tetralogy which was usually assigned to a satyric drama. It thus came after three tragedies, in which the stronger emotions had been excited, and brought into the place of agitation a quiet and satisfied feeling of joy. In this Euripides showed his good sense; the subject being unfit for tragedy proper, and yet in part deeply pathetic, he did not seek to raise it up on stilts, and put it into a category where it did not belong. It is a drama of domestic love, full of sweetness, tenderness, and grace; but has none of that moral depth, and world-wide application, which tragedy has when it is an interpreter of the relations of human ignorance or crime to Divine Providence. The time when this drama was exhibited is ascertained by means of the new portion of the second argument, to which we have above referred. It is there said to have been performed when Glaucinus was archon at Athens; and although neither the reading is correct where the Olympiad is named, nor the year of the Olympiad is given, there can be no doubt that the second year of Olymp. 85 was intended. In that year, Glaucides, as Diodorus calls him, or Glaucinus, as the Scholiast on Aristoph. Acharn. 67 must have read the name, was archon. It was but a short time before that the Antigone of Sophocles had been acted; the Peloponnesian war began eight years afterwards, and Euripides was now about fortyone years old. The text which was adopted by the present editor in his first edition (1833) closely followed that of W. Dindorf in his Poeta Scenici Grcaci (London and Leipzig, 1830). Vll PREFACE. Tn the successive revisions of the years 1837 and 1841, several changes were made, and others still more numerous may be found in the present edition. The text is now more nearly like Dindorf's in his Oxford edition of 1834, and like Witzschel's, who has used Dindorf's readings, than like any other. Yet it departs less frequently from the vulgar text, than that of the last-mentioned editor. Nothing has been said of the text in the notes to this edition, unless it seemed necessary for the purposes of interpretation and of exercising the judgment of young students. Teachers, who wish to decide upon the merits of the text here exhibited, will naturally consult Matthim's and Dindorf's collections of various readings. The notes, too, and the exhibition of the metres, have been considerably altered in this fourth edition. Several errors have been corrected; a number of important notes have been inserted, and others are left out, as being superseded by the excellent helps which are now in the hands of American students. The notes are more copious than the comparative ease of the style demands; because in the ed. itor's plan, since carried out, this play formed an introduction to the study of the Attic drama. The editions of Alcestis, whether published by itself or with other pieces, which have been consulted, are chiefly the following: the Glasgow edition of the Works of Euripides (1821, containing the notes of Barnes, Musgrave, Markland, Monk, Kuinoel, etc.; Monk's special edition appeared in 1816); Wiistemann's (Leipzig, 1823, with Monk's and his own notes); Hermann's (Leipzig, 1824); Matthie's, in his edition of Euripides (Leipzig, 1813- 1829); Dindorf's, of the text, already mentioned; Pflugk's, in the Gotha series (1834); Major's (London, 1838); and Witzschel's (Jena, 1845). To these may be added reviews of Dindorf's, Pflugk's, and Witzschel's editions in Jahn's Jahrbiicher for the years 1836, 1837, and 1847, and of Monk's PREFACE. IX m the London Quarterly for April, 1816. The editor has aimed to make due acknowledgments for whatever is not fairly the common property of scholars; but in a work of so small compass as the present, this is not always pos. sible. Yale College, New Haven. EXPIFIIJOT AAKH2'TIZ.E T A TO0T J4IA M AT OX HIP O.NdJ2I1HA. AI]IOAM~NI21. OEPAHJZJV. XOPO~' IIPE-7BTTQ~N 4liEPA4JIJ2. E TlIJIAO02 &J~PAHAINVA. 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XLXL 7ffOO! axqatvq, 'EP VE0Lg aTQw(P O0(LEVq7 sorait; vov 716w~O' 'Hox v, oi).jEtov ctP7EtV. E;VCO &E dOV 7tt0Ifl/OioaV E~w. 2?) -cqg *a9vov'a ad {k Eiqx a 67j1oag Tguprm 1055 %atL 7Z62; ýEZEEL6/JQW TlýY'O TOJ XclV??! AEE,,Z E8ucr6'jV qpo6oi'pcu pE'tuytv, zix TiE9t-t-V 7(8OEYC V' IV aUX719 EYE(LVl'OI 7ZLtTVEL'V,s %at T7P *voVd?!d,-4O3ýtEY 31 pot16Ew,- ION~ 7Co),2~rb' 7iQJrotaV 8EYJ (1' E7Ev. 61 E'd yviat, 7It O t6v, T0aVT ovaJ 4x'rT~l~ (L0~9(g 1' (ET91 '.0-01. %OaL 7TQOOta 1a~XL EYE(Oc OLCItOt. X0tl1ý,E 7T(OOg fT CO? E O'lu(X CO ~~vvvai~~ta T4VYE (11zL j~jvov. 06 46 -E TP IIzii 0 r ~o x co v a' Q C Vr/. ' W ~ ) O 7V V ow ) 0 EujAV *9o,ýot- 6~E" xc4pflO, 1,57 L'OpptrcovW X 0OP 02-Z;.,E;'c JAE ox xoqt~' a"v cV) )Li2'Etv TirXv 1 07O I(f (1' 7CT, ELe, owQ EVt9EVMw HIPA K 112. Et ydaq ioaav'rip- &vaticv,ctov GoaTEa~!" E pwsg 7trOQEVcrat vEg-ucoWv Ex 8cap[WT6OW;'vvcdtxc, zcat aot r~jv E 7roQguvcat zogiv. cdp'o oT&a 3oi5XE6atc' a' a~v. G'XXG~f 7;(OV' TO'8 075 30 gat ro' ~cv'r~~po Io) I-IP A K 112. P71VV Vi7vtE6aX.X ' dX)X' ivatxtaLL3 ', AzJ/A IlII T 02.;" 9~Vor 7W.QeXLivW 7/ 7ta~OOVTOa xOaQTEvuet H lP 4 KA11I. tc a' 7v Qa0X0'Crot9, U ODL~ Tvw A4J MHI T 02.1 ~,yv,C~xa xovho'g, aDX kraco vct~ -Edu 1080 II PA K A2112.Y IIP 1(212 A J M I T 02-. lIp A1 K 24112 ~~~~~~~~~ 34L vv '~''~~atX0ow. 1 ../A. Ku 21 T1I.20`. 47 A A MITO2.T X907OV A.,'yOLs (Vi Et %()OVOG Tro xaXTOOLVE~V. IIPA KA4 11.T 7YVV? O'E Zal d vXto 2'dO o 2i'60V7CO01. 6[pY~udoV: OLOV Et7Uag. ovx aV C00MV. II PA KAII2.Y AdAM1ITO Z. 5?J EO8LV crL 6J~ vyxAtoirc-erao. 1090 IIPA KA 112 11Uo V atvc (XGQIV CO(E)VT O Lq)A (780xVztg A4, A fIl T O2.T l-1P A K A 112.N. A1~IMII T 02 II PA KAI2.N &%OlV~c VVZVC 7W6) TJ0V& 7VVC16) tO6L AAMHITO2. z7truOvS dEt TV 7(98EL~VO 2/vatVTL J0toov. IA 4/ AII-2T.T 1,cc 7tqo asLa Tovd a7cElpvo avLpa didgL~ II PA KA 112Y. Tcf Z'ci yd % 89 'aav 7raot dE. 48 ~ T~P IllIz 0 Y A A4M H T O.N. 9Etl8:t;.)m k 7O~ 1f P A K A4 112. AAMII T 02.T IIPA KAII2.N d)EWI' gao' ý 6'0' O~ 8u~ Edtdc ytuoi 1uOpo. 10 AAIMHT 02. H PA1 KAIIH.S a o;~ -cts eh~ 'njt' SEvvcOc 7CQ~utaovoIL. dv'x vv.o' In avrogovarc'avo', pi/ot 7tt, 'uog. IIPA ifAII2. AA MH11T 0Z.~ XOvWý &v' Fth'yq, 1110'edi~e' 7~ HP A4 K A4 112. ro'~uc~ ~o~evc~Lei~1c~xc~ 9~Ly~v A A K H2 TI1Eo 49 A Ai MRI TO 2. xcd 7Cqou~tVco, Po97o'v 0' &9 xcparojup IIPAKIAH112 JIPA KAIIZ. vat, acos vVVV, xOt Toy LILOg lpndEitg 7rO dtVaat iaio yvcvvai-ov 4t'Vov. 1120 /3 X'Vov 8' E'9a:,7V Et' TI or' 8OXEt 7ZqE7rtLV rvzvvcix LXv',Wrn! 8' c&hvyo'v puEOt',Tcrao. Ad AM 11 T O. t" O T6 0~ a~~o OVlt '' 6 V['X7C 1 rTO0V T OcB E;vvvat aca; ir'r~ v& 4('V'?týv ýrriji&,pw~ 71 XEq-TO~uo9 lIE i2OV' TtG b/EYELý'or zcaga 1125 HIP A K -A H2.N OUX 'Ear-tW a ac 71v o a adluara or4v. A AMIIT OX. y~a;Vs TIti qod~lt cI VqTWCV TOP V. 11IPA1 K A 11.T ov tV~aov T ' 8':arotjd '6 E'Vov. a' 71V gOcr~ov Ed:lopQj MclpaqT' E:)Plnv; [I PA K 4ICII.T (Iap 9)uO' 17(L~rCU'TV 8'OV" {h(VtLda'&3 tvyi9V 1130 [I PA K AI2.T 7tgoorEitx EXEL;.-yag 7tLIV OcOV7CEq nOLE)E!F* A J Mi11T 02.T co 9)L)Tk-dTq yVVaLtxog o4ta xai &'pag, EZOaI a' dLzr~wsr, owriot' uq'WOat 8oxcc'v. 5 50 E YP IllIzoTr E%$,tS POO'voG 8,c jtt 4vot-cx uci OEff'V. 1135 A4A MIIT O.., to Tot'~y (A7Tov Zqvo!; 4 tt'cv v&'o 7ag 871 TauXa opdo6266C! Itw'vog. 09o nv'W Ex~lt)Lg vkOP Eg qpa'o~ toh JI PA 1KCA4I-I~.N %zq/V gvvai~ya~g &a[Lo1cov wc xvpt4,. 1140 AdAf 11 T 02.T 7roi TO'v8,eOavd,rc (pig dycvoa Ovrtc HfPA K -4IH.T TrvIL6ov 7ca' ath-ov b:) Xo4Xov pdpiya~g Xygoiv. -It M) 7ro)' 'q"8' dv"8v0o E"r~x~v yvv4; II PA K3J12.T xXv'EV,E 7,rQIV UV i1ThOZt ToMa v~p,[,ot! 1145 &pavtcý74~Tat xcd Tt-rov iPOZ'Ui qdog. &X' taý y taiv&o Trý c - l 8[Xatog c"Ov " o' )-ot""o', E"A~i' t~E t~!o txcataQ' 7~o cO sv0v 7tox~4L~vov 76vOv 2'OECVEAOV Tvqavvw Tate' TCOQcavv& tIXOS 1150 pIEtvov 7(Oq 21?/UW XLt ýVVEGv7tO! yVOV. lI P A4 K A4 112. aYOL; To'8' Ji'6r-c, vv'v 8':ty7c 1 zu~ "&Z 0aPs 'TOPoV E7C: 'E9c2aiO)4i cfvipoqac*rv Iarcdvt 1155 AAzlKIIZTI2Z. 61 P3c,~opov mc xcvtv fgov~i'rowc 7(qoa-Tqo7Cr4t'g. Vt/V ~ p cG~ (tE0 Q[O7E7a/3)TC ov 7to)2.Xad ptogpat -cwv &uawvkovia, 7C)X'8 c?'X7CTCO9 Xp&atv0vtt &.Eot,. 1160 TCOV 8 OO'8X'lET'OVX7oyv,ZQ ETEMEG?, viiv '6 IC ox8w c 7CP0?~ ~o~ Trotv8 ' 'i~i '~ 0 a2'vpa, NTES NOTE S. N. B. Mt.= Matthiae's Grammar; B.= Robinson s Buttmann (New York, 1851); K. == Kihner's (Andover, 1844); Cr.= Crosby's; Soph. -that of Sophocles (ed. of 1847). ON THE ARGUMENTS. I. 'A7roXXwov jr~iTaro. The ground of Apollo's friendship for Admetus is told in the prologue. A learned Scholiast on v. 1 says, that the commonly received story is followed by Euripides. Others say, that he slew the sons of the Cyclops; others, again, that he served Admetus after havy ing slain the dragon at Pytho; and this agrees with a whole circle of fables relating to Apollo. The vengeance of Jupiter was incurred by 1Esculapius for raising some one to life. Our poet, by his use of the imperfect dvalrr) (v. 127), implies that he often exercised this power. Nine different statements as to the person raised by JEsculapius are cited by the Scholiast from as many authors. All this shows, that the story was often worked over by poets and mythographers. The time of this service was a great year, or eight years. For the philosophical examination of this mythus, Miiller (History of the Dorians, Book II. pp. 204, 320, in the German) may be consulted with advantage. 56 ALCESTIS. #Aa/rrog. Both Admetus and Alcestis were of the tribe of the Minym, concerning whom see Muller's " Orchomenos," especially p. 256. Cretheus and Salmoneus were brothers, and sons of 2Eolus. Pheres, father of Admetus, was a son of Cretheus; and Tyro, daughter of Salmoneus, bore Pelias, the father of Alcestis and Acastus (see v. 732). Jason was of the same family, being nephew of Pheres and of Pelias, and cousin of Admetus. The name of Admetus is inwoven in the peculiarly poetical fables which relate to the Minyem. When Jason, according to Pindar's most beautiful description in the fourth Pythian Ode, came down from Mount Pelion to claim the kingdom of lolcus, which Pelias had wrested from his father, his relatives went to greet him. "Pheres came from the neighborhood, and left the fountain Hypereis. Amythan came from Messene, and speedily Admetus came and Melampus with kind feelings towards their cousin." (Pyth. iv. 222-225.) Admetus was also one of the Argonauts (Apol. Rhod. i. 49; Orph. Arg. 176- 179), and one of the companions of Meleager in hunting the boar (Apollod. p. 49, ed. Heyne). According to the mythus preserved by this latter author (comp. also Hyginus, Fab. 50, 51), he won Alcestis through the kindness of Apollo. Pelias had promised her to whoever should yoke lions and boars together: this Apollo enabled Admetus to do; and, on bringing a chariot drawn by these animals to Pelias, he received her in marriage. I have thought it worth while to mention these mythi, because they lie in part out of the common circle of fables, and serve to individualize the characters of the piece. Homer alludes to Admetus in the " Catalogue of Ships" (Iliad ii. 711, 764), where his son Eumelus appears as one of the Grecian leaders. Eumelus had the best horses, says the poet, of any chieftain before Troy, except Achilles, for 'hey had been reared by Apollo. In Iliad xxiii. he con NOTES. 51 tends in the chariot-race which was held in honor of Patroclus. His wife Iphthima, sister of Penelope, is mentioned Odys. iv. 798. He is a little boy in the present play, and his sister, whose name, according to the Scholiast on v. 269 (ed. Matthise), was Perimele, appears without speaking. II. O0ser'pcp, neither of the other two. This must refer to.Eschylus and Sophocles, neither of whom, says the writer of the argument, wrote a drama upon this subject. Sophocles, however, introduced Admetus into one of his dramas from which Plutarch (De Defect. Orac. ~ 15) has quoted a line referring to the service of Apollo: OVioT 8' dX'KTrop avrov;?lye 7rpo. bLlvNV, where Admetus, who according to Plutarch utters the words, must be speaking of Apollo's going to his servile labor in the mill at the crowing of the cock. Welcker, however, (Griech. Trag. I. 344, seq.) explains dXCKr-op as the same here with /aXopor, puts the passage in the mouth of Alcestis, and even calls the play by her name. Another fragment (Soph. Frag. incert. 758, Dind.), "S2 y^ bJepala, xaipe, 0vyyovbv 6' Mscop 'YT-7rpEa Kprv?7, vaila eoEfLXE'IaarTov, belonged probably to the same play, and may be a part of the farewell of Alcestis. Glum (De Eurip. Alcest. Comment., Berlin, 1836) assigns this fragment to a drama called Eumelus (the son of Alcestis), but the existence of such a drama is doubtful. (Welcker, u. s., I. 66.) %r apaia..... 'A)Ko-reTL&. This passage, which is the new part of the argument mentioned in the Preface, calls for several remarks. 1. The first words contain a reference apparently to a chronological list of our poet's dramas. The numerals i$ 58 ALCESTIS. are coriupt. If we read C for ý, as the two letters are often confounded, the Alcestis will take the seventeenth place on the list. But as Euripides began to write for the theatre in Olymp. 81. 1, seventeen years before the date of this play, and in fifty years wrote ninety dramas, there is reason to suppose that both the numbers may have suffered in the hands of the copyists. 2. Just below I have followed Dindorf in altering T- X" into 7-C Ab, i. e. Olymp. 85, which the name of the Archon required. The year of the Olympiad (which was the second) is not given by the writer of the argument. 3. Of the tragedies mentioned, Cresse and Telephus are both referred to in the Acharnenses. (Comp. the Schoha on Acharn. 408 - 448, ed. Bekker.) The Alcmmeon is called bah tco5o, because, in passing through the Arcadian town so called, Alcmueon was delivered from the attacks of the Furies. The name was used also to distinguish it from Alcmmon &at KoplvOov, a play of Euripides first exhibited by his son after his death. 4. The fourth place in a tetralogy, usually occupied by a satyric drama, here belongs to Alcestis. This shows us that, at the date of this play, when a poet presented four pieces at a time, he was free to write a satyric drama or not as he pleased. But it throws great light also on the nature of the present play, as will have appeared to the reader of the Preface. The drama is more like an elegant masque than like ancient tragedy. In its catastrophe it bears some resemblance to the " Winter's Tale " of Shakspeare. e sepanir. This place, reputed to have been founded Dy Pheres, was situated near Lake Bcebeis (comp. v. 590), now called Carlas, or the Lake of Carla (comp. v. 588), in a fertile soil, at the distance of ninety stadia from Pagases, its emporium. It was very near Mount Pelion, and not far from Iolcus, It had a celebrated fountain, Hypereia, al NOTES. 59 luded to by Homer, and of which Colonel Leake (Northern Greece, IV. 440) has given a particular description. Pheroe rose mito importance under its tyrant Jason, about 390 B. C., and sunk upon the ascendency of Philip of Macedon. See Cramer's Greece, I. 392; Mannert, VII. 588, and the authors there cited; and comp. the note on v. 587. elot e Xoptyot. The text here is corrupt or deficient; and in one of the two MSS. containing these words, there is a lacuna of about four letters after N;. Glum supplies F5o, supposing that the writer took xopryos in the sense of leader of the Chorus, and referred to the division into semi-choruses at v. 213. Dindorf reads ElhFlboros. 8' EXopiyea. This name occurs on Athenian monuments, and the choragus is mentioned by name in the argument to Agamemnon. dvolKeLa rTI rpaytKjs (sc. 6pdalara). The ancient tragic poets, notwithstanding what is here said, occasionally produced pieces which did not have a tragic termination. Such are, besides the Orestes, the Furies of Eschylus, the Philoctetes of Sophocles, the Ion, Helena, and Iphigenia in Tauris, of Euripides. On the dramatis personce it may be observed, that only two characters converse on the stage together, excepting in the scene where the boy Eumelus speaks. This is the case also in the Medea, but in no other play of Euripides, and in none of Sophocles. This arrangement would make it possible for two actors to perform all the parts except that of the child, and would render superfluous the third one of the actors assigned to each of the contending poets by the Archon. Thus, for example, one actor might sustain the parts of Apollo, Alcestis, Hercules, and Pheres; and the other, those of Orcus, the maid, Admetus, and the servant. But however we divide the parts, Apollo, who withdraws from the house, must at v. 243 come out of the house; then 60 ALCESTIS. one of the characters who have entered the house must re appear as Hercules, coming from abroad; and the servant, who after v. 836 would naturally enter the house, must reappear, in a very short time, as Admetus returning from the grave. See on this subject Elmsley's Medea, notes on the dramatis personce, and his review of Markland's Sup. plices (Quart. Rev. No. 14). The parts of the drama, according to the technical divisions are, - 1. Prologue. 1-76. Apollo and Orcus on the stage in their appropriate costumes. (Comp. vv. 39, 76, 843.) Both leave the stage, the latter entering the house. 2. Parodus (or portion recited or sung by the Chorus first after entering the orchestra, the parodus proper being a choral song). 77-136. The Chorus divides into halves, which respond to one another partly in anapests. Then the whole Chorus sings. 3. First Episodium (so called from the entrance of a new speaker, beside the Chorus, and including all the dialogue between the choral songs). 137-212. A maid from the house informs the Chorus of the occurrences within, and then returns. 4 First Stasimum (or song of the Chorus after it has taken its station. But this is unlike the odes properly so called, and is of the kind called KOl/4LaTKat by K. O. Muller in his edition of the Furies of zEschylus). 213- 242. Sung in part at least by portions of the Chorus, and closed by anapessts recited by the Corypheus. 5. Second Episodium. 243-434. Composed of an impassioned antistrophic dialogue (of the description termed ra aTrr o-K~'raYs), cooling down through some anapests of Admetus into trimeters. Just as Alcestis has closed her eyes in death, her little son sings forth a monody, which is antistrophic. The deceased lady is carried into the house, whither Admetus goes also after some directions to the Chorus. 6. Second Stasimum. 435-475. In praise of Alcestis. 7. Third Episodium. 476-567. Hercules, known no doubt to the spectators by his usual NOTES. 61 costume and not announced, stops at his frien d's house for entertainment, is deceived by him as to the state of the family, and goes in to lodge. 8. Third Stasimum. 568 -605. In praise of the hospitable nature of Admetus. 9. Fourth Episodium. 606-961. The father of Admetus, coming to the funeral, is forbidden to have a part in it. The procession,'to which the Chorus joins itself, moves for the grave. (See v. 746, note.) A servant comes out from the house and blames the unseasonable jollity of Hercules, who, while chiding the moroseness of the servant, discovers his own misimpression, and, stung by regret, goes off to snatch Alcestis from Orcus. The procession returns. A dialogue ensues between Admetus and the Chorus, to be called perhaps a KopCLr, in which the former utters anapests, or mere interjections. 10. Fourth Stasimum. 962 -1005. The inexorableness of fate, and the heroism of Alcestis deserving of immortality. Admetus remains on the stage through the choral song, as if unwilling to enter his desolate dwelling. 11. Exodus. 1006- 1163. Hercules returns bringing a veiled mute woman, who turns out to be Alcestis. The Chorus retires, pronouncing a few closing anapaests. ON THE PLAY. 1. & Uoara. Here there is an exclamation, without any address following it. The Andromache and Electra of Euripides begin in the same way. See Mt. ~ 312. 6. 1, 2. dv o7s.... aleo'dat, in which I deigned to put up with a hired laborer's fare. - ~erXhv denotes bearing or enduring that which is beneath one's situation. Comp. v. 572.-- 03ro-ava, properly the feminine of OV~, is here used adjectively instead of Or71Kjv. Soph. ~ 156, N. 4; Cr. ~ 652.-- ahip 6 62 ALCESTIS.