Chapter VI: Metre and Rhythm in Greek Tragedy (3)

[488] vv. 415 _sqq._ Compare her whole attitude. Indeed the poet suggests, as at any rate a collateral reason for her destruction of Hippolytus, a fear that he will reveal her secret (vv. 689-92).

[489] vv. 373-430.

[490] _Agamemnon_, vv. 160-83.

[491] In the first edition of the play, to which it seems that most of the ancient strictures apply.

[492] vv. 135-40.

[493] v. 384: τερπνὸν κακόν.

[494] v. 281: ἔκδημος ὦν γὰρ τῆσδε τυγχάνει χθονός.

[495] v. 384: μακραί τε λέσχαι καὶ σχολή, τερπνὸν κακόν.

[496] vv. 337, _sqq._

[497] v. 328, etc.

[498] vv. 503-6.

[499] v. 512.

[500] See Professor Murray’s admirable remarks (p. 81 of his translation).

[501] In the trivial question, v. 516: πότερα δὲ χριστὸν ἢ ποτὸν τὸ φάρμακον; she is dangerously toying with the proposal. The nurse’s reply is a half-quaint, half-heartbreaking quotation from childish days when the little Phædra was querulous with her “medicine” as now: ὄνασθαι, μὴ μαθεῖν, βούλει, τέκνον.

[502] We notice incidentally the amazing dexterity shown by the line (565) in which she announces her discovery: σιγήσατ’, ὦ γυναῖκες, ἐξειργάσμεθα. It is a perfectly clear piece of Greek; it is also a series of gasps.

[503] v. 1035.

[504] See the Greek _Argument_.

[505] In our play the poet leaves his heroine silent on this topic, but hints it himself for us. See vv. 151-54, 967-70.

[506] _Frogs_, 1041; _Thesm._ 497, 547.

[507] _Frogs_, 101, 1467; _Thesm._ 275-6.

[508] _Hipp._ 612.

[509] vv. 960 _sq._, 1076 _sq._

[510] vv. 1060-3.

[511] Aristophanes in the _Clouds_ (v. 1165 _sq._) parodies vv. 174 _sq._ The _Clouds_ was produced in 423 B.C. In _Hecuba_, v. 462, reference seems to be made to the re-establishment of the Delian festival in 426 B.C.

[512] Its popularity in Byzantine times is no bar to this statement. Probably all the three plays, _Hecuba_, _Phœnissæ_, and _Orestes_, were chosen because the Greek was comparatively easy. Euripides was already sufficiently ancient to make this an important consideration.

Miss L. E. Matthaei’s essay should, however, be read (_Studies in Greek Tragedy_, pp. 118-57). With admirable insight and skill this scholar seeks to show that the _Hecuba_ is a study, first, of “conventional” justice, the claim of the community, shown in the sacrifice of Polyxena; and, secondly, of “natural” justice, seen in Hecuba’s revenge. Miss Matthaei’s treatment, however subjective, is trenchant and illuminating, especially as regards the psychology of Hecuba and Odysseus, the value of Polyxena’s surrender, and the _finale_. But concerning the vital point, lack of dramatic unity, she has little to say, apparently only the suggestion (p. 140) that “the cumulative effect of finding the body of Polydorus after having seen Polyxena taken away is the deciding factor; otherwise the end of the play would have been simply unbelievable”. The strength of this argument is very doubtful.

[513] See Mr. Hadley’s admirable _Introduction_ to the play (pp. ix-xii).

[514] vv. 779 _sq._

[515] vv. 428-30, 671, 894-7, 1287 _sq._

[516] v. 230.

[517] vv. 814-9, 1187-94.

[518] In 427 B.C.

[519] vv. 905 _sqq._

[520] vv. 342-78.

[521] vv. 518-82.

[522] vv. 953-67.

[523] vv. 796 _sq._ provide an example:—

ἔκτεινε, τύμβου δ’, εἰ κτανεῖν ἐβούλετο,
οὐκ ἠξίωσεν, ἀλλ’ ἀφῆκε πόντιον.

[524] Note his absurd insistence (vv. 531-3) on his own trivial part in the sacrifice-scene.

[525] vv. 592-603 (the last line being an apology for the digression), 864-7.

[526] vv. 799 _sqq._

[527] vv. 585 _sqq._, 806-8.

[528] v. 421: ἡμεῖς δὲ πεντήκοντά γ’ ἄμμοροι τέκνων. Comment seems obvious: “Actually enough children to row a galley!” (πεντηκόντορος ναῦς).

[529] vv. 68 _sqq._

[530] vv. 702 _sqq._

[531] Probably it was composed during the early years of the Peloponnesian war, as the scholiast suggests in a note on v. 445.

[532] Schol. on v. 445.

[533] Her son, who is not given a name in the play, no doubt obtains it from this prophecy.

[534] Mention of such a conflict naturally occurs (vv. 588 _sq._) in the heat of their quarrel, but it comes to nothing. That the old king has no military following seems certain from the silence of both parties. See particularly vv. 752 _sqq._

[535] vv. 732 _sqq._ Note the stammering repetition of τις—he cannot even suggest a name.

[536] It may be answered that here, as elsewhere, the time consumed by the choric ode is conventionally supposed long enough to allow for the alleged synchronous action. But how much time is required? Orestes is to place Hermione in Menelaus’ care, journey to Delphi, and arrange his plot; then the slaves are to carry the body home. This certainly means three days; one would expect a week. Thus Peleus only hears of Hermione’s departure three days (perhaps a week) after it has occurred. Is this credible? See also the conversation between him and the chorus which implies that the news has reached him within an hour or two.

[537] _Four Plays of Euripides_, pp. 1-42.

[538] vv. 1239 _sqq._ (Δελφοῖς ὄνειδος).

[539] It is usually supposed to mean “one of the second-rate plays”.

[540] vv. 929-53.

[541] vv. 595-601.

[542] v. 964: ἦλθον δὲ σὰς μὲν οὐ σέβων ἐπιστολάς, κτἑ. There can be hardly a doubt that these words refer to their parting before her marriage, when she forbade him to see her again.

[543] vv. 639, 708 _sqq._ Cp. Verrall, p. 38.

[544] _Eg._ vv. 229 _sq._

[545] Cp. Verrall, pp. 29 _sq._

[546] v. 166. This is the type of drama at which Sophocles shook his head and which Aristophanes reviled. But it must have made many a slave-holding citizen in the theatre suddenly raise his brows and fall to thinking of words let drop an hour ago at home.

[547] vv. 1147 _sqq._: The some one of course might be anyone. The speaker elects to assume that the god is actually present.

[548] vv. 1002 _sqq._, especially 1004.

[549] vv. 464-94.

[550] vv. 147-80.

[551] vv. 164 _sqq._

[552] vv. 445-63.

[553] _Eg._ vv. 632 _sqq._

[554] _Arrangement_ (according to Croiset): protagonist, Amphitryon, Madness; deuteragonist, Megara, Iris, Theseus; tritagonist, Lycus, Heracles, messenger. Of course the dead bodies are lay figures. Other arrangements are possible.

[555] vv. 637-700.

[556] vv. 70-9, 460-89.

[557] vv. 1255-1310, 1340-93.

[558] vv. 140-235.

[559] _Four Plays of Euripides_, pp. 134-98.

[560] vv. 339 _sqq._, etc.

[561] vv. 798 _sqq._

[562] vv. 1340-6.

[563] Especially vv. 1269 _sqq._

[564] The appearance of Pallas (vv. 1002-6) is regarded by Verrall as “a chance blow received by the madman from the falling ruins of the chamber”.

[565] In vv. 562-82 he raves, however eloquently. One man cannot capture a whole fortress and punish a hostile population as Amphitryon (vv. 585-94) feels, though his caution and prosaic advice are painfully ludicrous considering the vast claims he has made for his son an hour ago.

[566] v. 1222.

[567] Compare the similar explanation of a wonderful feat actually offered by Lycus (vv. 153 _sq._).

[568] Cp. Verrall, pp. 147 _sq._

[569] _Ibid._ pp. 156, 162.

[570] vv. 65-6.

[571] vv. 485-9.

[572] _Probable Arrangement_: protagonist, Theseus, messenger; deuteragonist, Adrastus, Evadne; tritagonist, Æthra, herald, Iphis, Athena.

[573] The plot strongly recalls the incident after the battle of Delium (424 B.C.), when the victorious Bœotians at first refused to surrender the Athenian dead, and the alliance between Athens and Argos (420 B.C.).

[574] The Hypothesis says: τὸ δὲ δρᾶμα ἐγκώμιον Ἀθηναίων (altered by Dindorf with general approval to Ἀθηνῶν).

[575] vv. 195-218.

[576] vv. 403-56.

[577] vv. 297-331.

[578] She has arrayed herself, not in black but in festal robes (vv. 1054-6)—an interesting parallel with the fine ending of the second act of Mr. Shaw’s _Doctor’s Dilemma_.

[579] _Probable Arrangement_: protagonist, Ion, Pædagogus; deuteragonist, Hermes, Creusa; tritagonist, Xuthus, servant, prophetess, Athena.

[580] vv. 1537 _sq._

[581] ἀμαθής (v. 916, used by Creusa).

[582] ὁ κακός (v. 952, used by the Pædagogus).

[583] v. 1595.

[584] vv. 550 _sqq._ are probably significant (and Ion actually the son of Xuthus).

[585] Cp. v. 1324 and the rest of the short conversation between her and Ion, which is of course charming on any view of the play.

[586] vv. 859 _sqq._

[587] vv. 1029 _sqq._

[588] Cp. v. 1419: οὐ τέλεον, οἷον δ’ ἐκδίδαγμα κερκίδος, and Ion’s acknowledgment (v. 1424): ἰδού· τόδ’ ἐσθ’ ὕφασμα, θέσφαθ’ ὡς εὑρίσκομεν. This latter surely means that Ion is as satisfied as one can expect to be in tracing the fulfilment of oracles.

[589] Cp. v. 1565: μηχαναῖς ἐρρύσατο.

[590] v. 1550: πρόσωπον.

[591] οὐ πέδον τίκτει τέκνα says the elder man (v. 542), casually turning his back on the glory of his wife’s family (cp. vv. 265-8).

[592] vv. 585 _sqq._

[593] vv. 738-46.

[594] v. 768 _sqq._

[595] vv. 1215 _sqq._

[596] His very religion, when put to the test, is mostly intellectual. Apollo’s moral shortcomings only cause him to shake his head gravely; but when the god’s truthfulness is exploded, the whole fabric of his belief collapses.

[597] vv. 369-72.

[598] vv. 436-51. The above paraphrase is probably not too colloquial (cp. especially v. 437: τί πάσχει; and v. 439: μὴ σύ γε). In fact, as the speech is so very explicit and unadorned, and as Ion is probably uttering it while he performs his tasks (see 434-6, after which these reflections begin in the middle of a line), we perhaps overhear thoughts rather than words.

[599] vv. 589 _sqq._

[600] vv. 1312 _sqq._

[601] vv. 1546 _sqq._

[602] vv. 369 _sqq._

[603] vv. 308, etc.

[604] vv. 1397 _sqq._

[605] vv. 1468 _sq._

[606] _Arrangement_ (probable): protagonist, Hecuba; deuteragonist, Athena, Cassandra, Andromache, Helen; tritagonist, Poseidon, Talthybius, Menelaus.

[607] Ælian, _Var. Hist._ ii. 8.

[608] There are reminders of the western lands in vv. 220 _sqq._

[609] vv. 703 _sqq._

[610] vv. 1158 _sqq._

[611] v. 764: ὦ βάρβαρ’ ἐξευρόντες Ἕλληνες κακά (Andromache’s phrase).

[612] vv. 884 _sqq._ (The first line refers to air.) If we possess any evidence as to the theological belief of the poet himself it is probably contained in these lines.

[613] vv. 469 _sqq._, 841 _sqq._, 1060 _sqq._ (especially the poignant μέλει μέλει μοι), 1240 _sqq._

[614] vv. 1204 _sqq._:—

τοῖς τρόποις γὰρ αἱ τύχαι,
ἔμπληκτος ὡς ἄνθρωπος, ἄλλοτ’ ἄλλοσε
πηδῶσι.

The phrasing points back effectively to Poseidon’s description of Athena’s fickleness (vv. 67 _sq._: τί δ’ ὧδε πηδᾷς ἄλλοτ’ εἰς ἄλλους τρόπους;).

[615] The _arrangement_ is uncertain. Perhaps: protagonist, Iphigenia; deuteragonist, Orestes, messenger, Athena; tritagonist, herdsman, Pylades, Thoas.

[616] Murray and others place it about 414-2, Wilamowitz, 411-9.

[617] v. 1205: πιστὸν Ἑλλὰς οἶδεν οὐδέν.

[618] v. 626: πῦρ ἱερὸν ἔνδον, χάσμα δ’ εὐρωπὸν πέτρας—a marvellous line.

[619] vv. 823-6.

[620] v. 677: Φωκέων τ’ ἐν πολυπτύχῳ χθονί.

[621] See especially the lovely song, vv. 1089 _sqq._

[622] vv. 968 _sqq._

[623] One can hardly doubt that this is the intention of the scene on the Taurian beach (vv. 281-94).

[624] vv. 711 _sqq._ The feelings of the Delphian hierarchy, when Orestes after all actually returned, bringing with him the image—about which they cared not a farthing—may be imagined by the irreverent.

[625] v. 77.

[626] v. 275.

[627] vv. 380 _sqq._

[628] vv. 719 _sq._

[629] See Verrall, _Eur. the Rationalist_, pp. 217-30 (_Euripides in a Hymn_).

[630] Longinus, _de Subl._ xv. 3.

[631] vv. 970 _sqq._

[632] v. 73: ἐξ αἱμάτων γοῦν ξάνθ’ ἔχει τριχώματα, a grotesque thought which we have just heard (as Murray points out in his _apparatus_) from Iphigenia as part of her dream.

[633] vv. 281 _sqq._

[634] vv. 961 _sqq._

[635] θεᾶς βρέτας is now the prescription, as we may call it. Cp. vv. 980, 985-6, and 1038-40.

[636] vv. 939 _sqq._

[637] ψῆφος (v. 945). He means “assembly (which votes),” but he has ψῆφος on the brain, as well he might have (vv. 965 _sq._).

[638] vv. 739 _sq._ and 1046: Πυλάδης δ’ ὅδ’ ἡμῖν ποῦ τετάξεται φόνου—if this is a task set by Apollo there must be murder in it.

[639] v. 933.

[640] _Arrangement_: protagonist, Electra; deuteragonist, Orestes, Clytæmnestra; tritagonist, farmer, old man, messenger, Castor. Pylades and Polydeuces were represented by a mute actor.

[641] From vv. 1347-56 it is clear that the Sicilian expedition had already sailed, but that news of the disaster had not yet reached Athens.

[642] Bernhardy, _Geschichte der griechischen Poesie_ II, ii. p. 490.

[643] vv. 1041-3.

[644] vv. 9-10.

[645] 1142-6.

[646] vv. 652-60.

[647] v. 54.

[648] The peasant tells us that Electra’s banishment to the country is due to her mother’s efforts when Ægisthus wished to kill her (vv. 25 _sqq._). Electra puts the matter very differently (vv. 60 _sq._). The horrible story in vv. 326 _sqq._ is probably untrue; cp. ὡς λέγουσιν.

[649] vv. 77-8, 354 _sq._

[650] vv. 367 _sqq._

[651] vv. 255 _sqq._

[652] vv. 1294, 1296 _sq._, 1302.

[653] vv. 737-45.

[654] Expedit esse deos.

[655] “If God did not exist, it would be necessary to invent Him.”

[656] vv. 1245 _sq._

[657] vv. 1327 _sqq._

[658] vv. 1301-7. The first line, μοῖρά τ’ ἀνάγκης ἦγ’ ᾗ τὸ χρεών, is an exceptionally fine instance of misty verbiage.

[659] See Verrall’s discussion in his edition of the _Choephorœ_ (Introd. pp. xxxiii-lxx).

[660] _Probable Arrangement_: protagonist, Helen, the god (whether Castor or Pollux); deuteragonist, Teucer, Menelaus, Egyptian messenger; tritagonist, old woman, Greek messenger, Theonoe, Theoclymenus.

[661] v. 616: ὦ χαῖρε, Λήδας θύγατερ, ἐνθάδ’ ἦσθ’ ἄρα;

[662] v. 151.

[663] vv. 832, 1048, 491, 1050-2.

[664] vv. 183 _sqq._

[665] vv. 1107 _sqq._

[666] vv. 878 _sqq._

[667] vv. 1013-6:—

καὶ γὰρ τίσις τῶνδ’ ἐστὶ τοῖς τε νερτέροις
καὶ τοῖς ἄνωθεν πᾶσιν ἀνθρώποις. ὁ νοῦς
τῶν κατθανόντων ζῇ μὲν οὔ, γνώμην δ’ ἔχει
ἀθάνατον, εἰς ἀθάνατον αἰθέρ’ ἐμπεσών.

The precision of the wording is remarkable.

[668] _Troades_, 884 _sqq._

[669] See _Four Plays of Euripides_, pp. 43-133 (_Euripides’ Apology_).

[670] vv. 1301 _sqq._

[671] The idea is taken from the famous recantation of Stesichorus, which asserted that Helen never went to Troy.

[672] In the inflated affectation of such things as vv. 355-6 and 629 parody of some contemporary lyrist is quite possible.

[673] vv. 20-1, 256-9 (rejected by Murray, after Badham).

[674] vv. 138 _sqq._, 205 _sqq._, 284-5.

[675] vv. 744-60.

[676] _Arrangement_ (according to Croiset): protagonist, Jocasta, Creon; deuteragonist, Antigone, Polynices, Menœceus; tritagonist, pædagogus, Eteocles, Tiresias, messengers, Œdipus.

[677] Perhaps one reason was the great sweep of story which it covers.

[678] See Mr. J. U. Powell’s careful and lucid account in his edition (pp. 7-32).

[679] Verrall, _Eur. the Rationalist_, pp. 236 _sq._

[680] Mr. J. U. Powell, whose edition should be consulted.

[681] vv. 1233 _sq._:—

ὑμεῖς δ’ ἀγῶν’ ἀφέντες, Ἀργεῖοι, χθόνα
νίσεσθε, βίοτον μὴ λιπόντες ἐνθάδε,

are out of the question as work of Euripides. There are several other faults.

[682] vv. 1259 _sqq._

[683] Mr. Powell, however, rightly remarks that vv. 1265-6 are “strained”.

[684] vv. 1758 _sq._

[685] vv. 1524 _sq._

[686] So the scholiast: ὅ τε ἐπὶ πᾶσι μετ’ ᾠδῆς ἀδολέσχου φυγαδευόμενος Οἰδίπους προσέρραπται διὰ κενῆς.

[687] vv. 1090-1199 (the ῥῆσις containing the description of the Seven).

[688] vv. 1182 _sqq._

[689] Verrall (_Eur. the Rationalist_, pp. 231-60) believed that those parts which introduce Antigone are un-Euripidean. The terrace-scene has already been discussed. In the body of the play, as he argues with much point, wherever mention of Antigone occurs, it is obtrusive and embarrassing. Her lament with Œdipus at the close contains many inappropriate features. He concludes that Œdipus is an allegory of Euripides himself, leaving Athens in sorrow at the end of his life, and that Antigone represents his literary offspring, the plays. The Sphinx is “the spirit of mystery and darkness,” which the poet has fought and quelled. All this was composed by a poet of the Euripidean circle to commemorate the master; it includes a compliment—the quotation from the _Œdipus Tyrannus_—to Sophocles, who had shown public respect to his rival when the news of his death reached Athens.

[690] One notices the criticism (vv. 751 _sq._) of Æschylus, _Septem_ (vv. 375 _sqq._) when Eteocles declares that to give a list of his champions would be waste of time.

[691] The “popular” character of the _Phœnissæ_ is brought out by the relish with which the _Argument_ enumerates its murderous happenings.

[692] In this passage an allusion has by some been supposed to Alcibiades’ return to Athens (411 B.C.).

[693] Cp. vv. 302 _sq._ (γηραιὸν πόδ’ ἕλκω) with v. 316 (περιχορεύουσα).

[694] vv. 528 _sqq._

[695] Croiset gives the probable _arrangement_: protagonist, Orestes, messenger; deuteragonist, Electra, Menelaus, Phrygian; tritagonist, Helen, Tyndareus, Pylades, Hermione, Apollo.

[696] See Murray’s text.

[697] vv. 1167 _sqq._

[698] vv. 491-525.

[699] vv. 28 _sqq._

[700] vv. 285 _sqq._ Menelaus (v. 417) casually calls Apollo “stupid”.

[701] vv. 380 _sqq._

[702] v. 386.

[703] v. 388.

[704] v. 390.

[705] vv. 544 _sqq._ The flatness of the translation given above is not, I think, inappropriate, νῦν δὲ σὴν ταρβῶ τρίχα (v. 550), is merely hideous. μαστοῖς τὸν ἔλεον θηρώμεναι (v. 568), is even worse.

[706] v. 551.

[707] v. 634.

[708] v. 397.

[709] vv. 640 _sq._

[710] vv. 658-61.

[711] vv. 932 _sqq._

[712] v. 1576: ποτέρον ἐρωτᾶν ἢ κλύειν ἐμοῦ θέλεις;

[713] v. 396.

[714] His “progression, upward in strength and downward in reason, is visible throughout,” says Dr. Verrall (_Four Plays_, p. 245), whose eloquent and vivid essay on this drama should be carefully studied.

[715] vv. 1204 _sqq._: ὦ τὰς φρένας μὲν ἄρσενας κεκτημένη....

[716] vv. 615 _sqq._

[717] vv. 72-92. Compare the amusing little passage-of-arms, vv. 107-11 (see Verrall, _Four Plays_, pp. 219 _sq._).

[718] vv. 126 _sqq._

[719] vv. 1-3.

[720] vv. 78 _sq._

[721] v. 121.

[722] vv. 960 _sqq._

[723] At v. 1539 (very late in the day) they discuss whether it is their duty to inform the State of the murderous plot against Helen and Hermione. Even then they decide to do nothing.

[724] vv. 1547 _sqq._

[725] Note vv. 743, 745, 747, 749, and the excitement in the last two verses.

[726] vv. 481 _sqq._

[727] vv. 371 _sqq._

[728] v. 1323.

[729] vv. 37 _sqq._

[730] vv. 395 _sqq._

[731] Contrast v. 420: μέλλει· τὸ θεῖον δ’ ἐστὶ τοιοῦτον φύσει; with v. 423: ὡς ταχὺ μετῆλθόν σ’ αἷμα μητέρος θεαί.

[732] vv. 360 _sqq._

[733] v. 373.

[734] First Menelaus says that Glaucus spoke to him “from the waves” (v. 362), but from v. 365 (ἐμφανῶς κατασταθείς) it seems that the person is standing on the shore. Such inconsistencies are significant, and in Euripides common. They indicate how much accuracy the narrator commands.

[735] vv. 1493 _sqq._

[736] vv. 1662-3.

[737] Professor Gilbert Murray (_Euripides and his Age_, pp. 160 _sqq._) has some beautiful and striking observations on the epiphany of Apollo and its effect on the raving mortals below: a trance falls upon them from which they awake purged of hate and anger. But could Euripides, can we, attribute this to a god who has commanded matricide? And the effect is largely spoiled by Orestes (vv. 1666 _sqq._): “Prophetic Loxias, what oracles are thine! Thou art not, then, a lying prophet, but a true. Yet had I begun to dread lest, when I heard thy voice as I thought, it was that of a fiend.” ... These are not the tones of blissful faith.

[738] Paley says that this play is more frequently quoted by ancient writers than all the works of Æschylus and Sophocles together.

[739] vv. 174 _sqq._

[740] _Arrangement_: Protagonist, Pentheus, Agave; deuteragonist, Dionysus, Tiresias; tritagonist, Cadmus, guard, messengers.

[741] Before Cadmus’ speech, a passage has been lost in which the mourners adjusted the torn fragments.

[742] There is another gap at this point. A considerable number of Dionysus’ lines are missing, and no doubt also further conversation between Cadmus and Agave.

[743] See Professor Murray (_Euripides and his Age_, pp. 183 _sq._). I now think that what I wrote about the psychology of Dionysus and Pentheus (_The Riddle of the Bacchæ_, pp. 66 _sq._, 87-101) is over-elaborated.

[744] vv. 824-45.

[745] vv. 732-51.

[746] Professor Murray’s beautiful translation of these lyrics will be familiar to most readers.

[747] Murray, _Euripides and his Age_, p. 196. My quotation, of course, does not imply that Professor Murray is guilty of the confusion of thought in question.

[748] The view mentioned in this paragraph will be found worked out in the present writer’s _Riddle of the Bacchæ_. This theory has met with much scepticism, but received the honour of almost entire acceptance by the late Dr. Verrall in _The Bacchantes of Euripides_. Dr. Verrall improved the statement of the theory, in particular by rejecting the supposition of a plot between Tiresias and the Stranger. Mr. W. H. Salter, in his delightful _Essays on Two Moderns_, also accepts this view of the play in the main (pp. 50-68). Dr. R. Nihard, in _Le Problème des Bacchantes d’Euripide_ (Louvain, 1912), a useful study, rejects it.

[749] vv. 632 _sq._:—

πρὸς δὲ τοῖσδ’ αὐτῷ τάδ’ ἄλλα Βάκχιος λυμαίνεται·
δώματ’ ἔρρηξεν χαμᾶζε. συντεθράνωται δ’ ἅπαν ...

συντεθράνωται, however, is elsewhere only known to us by the explanation of Hesychius, συμπέπτωκε, and Verrall points out that it ought to mean “it has all been put together again”.

[750] To this view no complete answer has yet been made. All that can possibly be said is what Professor Gilbert Murray (_Euripides and his Age_, pp. 186 _sq._) and (in a letter to the present writer) Professor U. von Wilamowitz-Moellendorff suggest, that the palace is in the main destroyed, but the façade is more or less undamaged. This does away with the testimony to Dionysus’ imposture which the audience receive from their own eyes, but it leaves untouched the incredible silence of Pentheus. Moreover, Dionysus’ words as they stand mean that the building is utterly destroyed. That they do not mean this is only suggested in despair, because, if they do mean this, they are absurdly and patently false.

[751] v. 233 _sq._: ξένος, γόης ἐπῳδός.

[752] The attachment between Artemis and Hippolytus is a remarkable exception. The stories concerning the “loves” of gods and goddesses for mortals are evidently beside the question.

[753] vv. 1325 _sq._

[754] _Bellerophon_, _fr._ 294, 7: εἰ θεοί τι δρῶσιν αἰσχρόν, οὐκ εἰσὶν θεοί.

[755] _Arrangement_: Croiset gives: protagonist, Agamemnon, Achilles; deuteragonist, Old Man, Iphigenia, messenger; tritagonist, Menelaus, Clytæmnestra.

[756] For these see Professor Murray’s text, especially his preface.

[757] It contains, for instance, unmetrical verses.

[758] vv. 1366 _sq._

[759] vv. 919-74.

[760] For what follows cp. Professor Murray, _Euripides and his Age_, pp. 173-5.

[761] v. 414.

[762] The elision of αι in v. 407.

[763] _Poetic_, 1454_a_.

[764] _Arrangement_: protagonist, Odysseus; deuteragonist, Silenus; tritagonist, Polyphemus.

[765] The _Detectives_ (Ἰχνευταί) of Sophocles is now known to us by extensive fragments, see pp. 175 _sq._

[766] Murray puts it “perhaps even before 438”.

[767] It attracted little attention from ancient scholars. There are no scholia, and the hypothesis is incomplete.

[768] _Odyssey IX._ 105-566.

[769] Cp. vv. 549, 672-5, with _Od. IX._ vv. 366, 408-12.

[770] Cp. vv. 460-3 with _Od. IX._ 384-8.

[771] See p. 2.

[772] Anapæsts in other feet than the first, and occasional violations of the rule of the final cretic (see Chapter VI).

[773] vv. 316-41.

[774] The _arrangement_ of the cast is not clear; perhaps: protagonist, Hector, Odysseus; deuteragonist, Æneas, Rhesus, Diomedes, charioteer; tritagonist, Dolon, herdsman, Athena, Muse. The brief part of Paris may have been taken by Diomedes or Odysseus, possibly by a fourth actor.

[775] ἀνθρωποδαίμων (v. 971).

[776] vv. 474-84.

[777] vv. 546-56.

[778] An excellent summary of the evidence (to which I am indebted) is to be found in the _Introduction_ to Professor Murray’s verse-translation.

[779] Its author, however, is by no means convinced by them. He gives also interesting information on other points.

[780] That is, the two prologues mentioned in the _Argument_ were added for later performances.

[781] Another argument on this side, which is perhaps new, lies in the fact that almost all the action takes place at night—an unique feature. The ancient theatre, of course, could not be darkened. It might be urged that the drama was meant for readers only, and so comes from one of the ἀναγνωστικοί of the fourth century (see p. 32).

[782] vv. 319-23.

[783] vv. 422-53.

[784] It suffices to mention Scaliger, Böckh, Hermann, Valckenaer, and Wilamowitz-Moellendorff.

[785] Upheld, _e.g._ by Christ and Murray.

[786] Schol. on v. 528.

[787] vv. 962-73.

[788] On the whole question see Mr. W. H. Porter’s excellent paper, “The Euripidean _Rhesus_ in the Light of Recent Criticism” (_Hermathena_, xvii. pp. 348-80), and his useful edition of the play.

[789] Cp. pp. 119 _sq._, 165 _sq._

[790] Euripides revises even the diction of his predecessor. Æschylus wrote φαγέδαινα δ’ ἥ μου σάρκας ἐσθίει ποδός; Euripides repeats the line with the verb altered to θοινᾶται (Aristotle, _Poetic_, 1458_b_).

[791] vv. 1520-7.

[792] _Quomodo historia conscribenda_, § 1.

[793] See Hartung’s masterly treatment in _Euripides Restitutus_, II, pp. 344-60.

[794] Ruskin, _Mornings in Florence_, I, 14.

[795] The statements in this sentence are taken from Hartung, who bases his conception here upon other authors; there are no Euripidean fragments to this effect.

[796] Eratosthenes (_Catast._ 15, quoted by Nauck) says: οὐχ εἵλετο τῷ πατρὶ συμμένειν οὐδὲ τῇ μητρί, ἀλλ’ αὐθαίρετος εἰς τὸ Ἄργος ἀπῆλθε μετ’ ἐκείνου εὐγενές τι φρονήσασα. The last three words suggest a scene of irresolution followed by a speech of high resolve, as in the _Iphigenia at Aulis_.

[797] I, 33.

[798] See Goethe’s enthusiastic and brilliant discussion, _Altgriechische Literatur_ (Works, Vol. V, p. 127, edition of 1837).

[799] Hartung’s brilliant sketch of Phaethon’s character (_Eur. Restitutus_, II, pp. 192 _sq._), however imaginary, will be read with interest.

[800] This is an acute suggestion of Goethe.

[801] ὡς πανταχοῦ γε πατρὶς ἡ βόσκουσα γῆ.

[802] δένδρεα φίλοισιν ὠλέναισι ψυκτήρια λέξεται.

[803] The chorus in their terror bid the queen seek refuge with her father Oceanus.

[804] See _Oxyrhynchus Papyri_, VI, pp. 19-106.

[805] The scholiast on _Frogs_, v. 53, which was performed in 405 B.C. (the year after Euripides’ death) mentions the _Hypsipyle_ among recent plays.

[806] The critic Didymus, for instance, knew the _Hypsipyle_ better than the _Bacchæ_. For “Achelous” as a synonym for “water” he quotes the former play rather than _Bacchæ_, 625. See Macrobius, V, xviii. 12.

[807] That is, “the beginning of doom”.

[808] Hartung, _Eur. Rest._ II, p. 442.

[809] Μελανίππη ἡ σοφή, so called to distinguish it from Μ. δέσμωτις, or _Melanippe in Prison_. The latter play seems to have been much less important. Unfortunately there is often a doubt, when authorities quote the “_Melanippe_,” from which of the two the quotation comes.

[810] See pp. 313-5.

[811] ἔχει δὲ διπλοῦν σχῆμα, τὸ μὲν τοῦ ποιητοῦ, τὸ δὲ τοῦ προσώπου τοῦ ἐν τῷ δράματι, τῆς Μελανίππης (quoted by Nauck).

[812] _Jupiter Tragœdus_, 41.

[813] Hartung assigns it to 448 B.C.

[814] Cp. Aristotle’s criticism, _Poetic_, 1454_a_: τοῦ δὲ ἀπρεποῦς καὶ μὴ ἁρμόττοντος (παράδειγμα) ... ἡ τῆς Μελανίππης ῥῆσις.

[815] _Moralia_, 110 D, 998 E.

[816] _Poetic_, 1454_a_.

[817]

κοίλοις ἐν ἄλυχνος ὥστε θὴρ μόνος (_fr._ 425).

[818]

τίς δ’ οἶδεν εἰ τὸ ζῆν μέν ἐστι κατθανεῖν,
τὸ κατθανεῖν δὲ ζῆν κάτω νομίζεται;

[819] 1 Cor. xv. 33.

[820] _Fr._ 1034:—

ἅπας μὲν ἀὴρ ἀετῷ περάσιμος,
ἅπασα δὲ χθὼν ἀνδρὶ γενναίῳ πατρίς.

[821] _Fr._ 475.

[822] Mr. F. Manning, _Scenes and Portraits_ (_Preface_, p. viii).

[823] Aristotle, _Poetic_, 1460_b_: Σοφοκλῆς ἔφη αὐτὸς μὲν οἵους δεῖ ποιεῖν, Εὐριπίδην δὲ οἷοί εἰσιν.

[824] _Frogs_, vv. 850, 1043 _sq._

[825] _Ibid._ 954-8.

[826] _Ibid._ 1304-8, 1314, 1348.

[827] _Ibid._ 1309-63.

[828] _Ibid._ 1378-1410.

[829] _Ibid._ 1198 _sqq._

[830] _Poetic_, 1454_a_.

[831] _Ibid._ 1461_b_.

[832] _Ibid._ 1453_a_. ὁ Εὐριπίδης εἰ καὶ τὰ ἄλλα μὴ εὖ οἰκονομεῖ ἀλλὰ τραγικώτατός γε τῶν ποιητῶν φαίνεται.

[833] _Andromache_, _Electra_, _Bacchæ_, _Rhesus_, and the original text of the _Iphigenia at Aulis_ (see Murray’s _Apparatus_ at the end of the play). Aristotle naturally allows such as these (_Poetic_, 1454_b_): μηχανῇ χρηστέον ἐπὶ τὰ ἔξω τοῦ δράματος, κτἑ.

[834] In the extant plays. Of course there were others, which we cannot discuss with knowledge, _e.g._ the close of _Melanippe the Wise_.

[835] For the _Iphigenia_ carries the _Helena_ with it (see the discussion of the latter, pp. 260 _sqq._). As a matter of cold fact, to be sure, Theoclymenus could never have overtaken the Greeks.

[836] _Frogs_, 1198-1247.

[837] He seems in private conversation to have maintained the necessity of this; compare the criticism of Æschylus which he utters in the _Frogs_, 1122: ἀσαφὴς γὰρ ἦν ἐν τῇ φράσει τῶν πραγμάτων. φ.τ.π. is precisely “prologue” in the Euripidean sense.

[838] _Herc. Fur._, 601 _sqq._

[839] Mr. G. B. Shaw.

[840] _Troades_, vv. 1204-6. Cp. _Helena_, 1140-3.

[841] See Mr. W. H. S. Jones, _The Moral Standpoint of Euripides_, pp. 28 _sq._ This view is also set forth by Jebb, _The Growth and Influence of Classical Greek Poetry_, p. 218, and by Nestle, _Euripides der Dichter der Gr. Aufklärung_, p. 174.

[842] _Orestes_, vv. 982 _sqq._: μόλοιμι τὰν οὐρανοῦ κτἑ.

[843] See Mr. E. F. Carritt, _The Theory of Beauty_, p. 156.

[844] _Ibid._ p. 89.

[845] v. 618.

[846] _Helena_, vv. 489 _sqq._

[847] _Iph. Aul._, vv. 819 _sqq._

[848] _Ion_, v. 1039.

[849] _The Possessed_, Ch. I.

[850] v. 674: ὦ πατρὸς ὅμαιμε θεῖε.

[851] _Orestes_, vv. 71-111.

[852] M. Arnold, _The Scholar-Gipsy_. Cp. Mrs. Browning’s well-known lines on “Our Euripides the human”.

[853] _Fr._ 916:—

μή μοι
λεπτῶν θίγγανε μύθων, ψυχή·
τί περισσὰ φρονεῖς, εἰ μὴ μέλλεις
σεμνύνεσθαι παρ’ ὁμοίοις;

[854] _Fr._ 894:—

σοφὸν γὰρ ἄνδρα, κἂν ἑκὰς ναίῃ χθονός,
κἂν μήποτ’ ὄσσοις εἰσίδω, κρίνω φίλον.

And Nestle (p. 368) aptly quotes from Schiller’s _Don Carlos_ (III, 10):

Das Jahrhundert
Ist meinem Ideal nicht reif. Ich lebe
Ein bürger derer, welche kommen werden.

[855] See the celebrated sketch of progressive degradation in Thucydides (III, 82, 83).

[856] Dr. W. Nestle’s work is entitled _Euripides der Dichter der griechischen Aufklärung_.

[857] _Herc. Fur._, 673 _sqq._

[858] A totally different thing from the written Greek accents ΄, `, and ῀, which refer to pitch, not stress.

[859] συνάφεια, “connexion,” “continuity.”

[860] These cause almost all the difficulty of scanning iambics. Till one is quite familiar with them it is a good plan to begin at the end. Nearly all resolved feet occur in the third or fourth place.

[861] Sophocles sometimes neglects this pause. Not only does he occasionally end a line with a word (such as the definite article) which belongs closely to the first word of the next line; in a few places he elides a vowel at the end before a vowel in the following line. See, for instance, _Œd. Tyr._, 29.

[862] Latin, _cæsura_ “a cutting”.

[863] No such lines are extant in Greek, but an analogy can be found in Ennius’ hexameter:

Sparsis hastis longis campus splendet et horret.

In the _Peruigilium Veneris_, the trochee is much too often contained in a single word, _e.g._:

Hybla totos funde flores, quotquot annus adtulit.

[864] It is so called because the second half of the fifth foot _plus_ the sixth will obviously have the metrical form –⏑–, which sequence of syllables, when it forms a single foot (as, of course, it does not in iambics), is called a cretic. The rule is therefore often thus stated: “When the final cretic extends over a whole word or whole words, it must be preceded by a short syllable”.

[865] Iambics were adopted because nearer to the rhythm of everyday speech. It has been held, for instance by Dr. J. H. H. Schmidt, that iambics are nothing but trochaics with “anacrusis” (for this term see below, p. 342). So near is the iambic metre to ordinary talk that one now and again finds accidental “lines” in prose. Thus Demosthenes (_Olynth._, I, 5) writes δῆλον γάρ ἐστι τοῖς Ὀλυνθίοις ὅτι.... George Eliot, early in _Middlemarch_, actually produces two consecutive “lines”: “Obliged to get my coals by stratagem, and pray to heaven for my salad-oil”.

[866] Euripides is much fonder of this metre than the other two masters. Sophocles in particular is very sparing of it. That passage (_Philoctetes_, 1222 _sqq._), where Odysseus and Neoptolemus hurry upon the scene in violent (iambic) altercation, would infallibly have been put into trochaics by Euripides.

[867] From καταλήγω, “to stop short”.

[868] The two instances given are, in fact, all that I have found.

[869] διαίρεσις, “division”.

[870] For example, the splendid poem by Anacreon beginning πῶλε Θρῃκίη is printed by some in long lines, by others in short, even though the first, third, etc., long lines are not catalectic.

[871] The meaning of this term is uncertain.

[872] I have, here and later, printed the readings and arrangement best suited to my purpose.

[873] Greek συγκοπή, “coalescence”. But ⏗ need not fill a foot: for instance in a true _dactylic_ system we find (_Œd. Col._, 1082):—

– ⏑ ⏑ – ⏑ ⏑ – – ⏗ ⏑ ⏗ ⏑ – –
αιθερι|ας νεφελ|ας κυρσ|αιμ αν|ωθ αγ|ωνων.

Analogously to ⏗ as a trochee, dactyls admit ⏘ (= ⏑⏑⏑⏑) as a foot.

– ⏑⏑ ⏘ ⏘ ⏗ ⏑ – – – ⏑ ⏑ ⏘ –
θησεα | και | τας | διστολ|ους αδμ|ητας αδ|ελφ|αςꞈ̄(_Œd. Col._, 1055).

[874] Before condemning this statement as a mere evasion, the student should reflect that all such poetry is written for music, which would in performance make the rhythm “come right”.

[875] λογαοιδικός, “mingled of prose and verse”.

[876] ἀνάκρουσις, “striking up”.

[877] Not all, for the first short syllable may be part of a resolved foot.

[878] The first syllable of πρυμνησίων in the second line, though long, is musically equivalent to a short. Such syllables are marked with the sign ˃, and the foot τοῑ πρυ͐μν- may be called an “accelerated spondee”. Syllables which carry a musical length different from their metrical length are named “irrational”.

[879] The existence of these cola forms (to us who have not the music written for Greek lyrics) one of the greatest obstacles to a clear and easy perception of periodic structure.

[880] In lyrics a long syllable (if it does not end with a consonant) may be shortened—instead of disappearing by elision—before a vowel.

[881] ἡ ἐπῳδός. The masculine word, ὁ ἐπῳδός, has a different meaning, with which we are familiar from the _Epodes_ of Horace—a poem which repeats from beginning to end the same period, each period being usually two cola “which either have equal length, or the second of which is catalectic or ‘falling’ or is even shortened by an entire measure” (see Schmidt’s _Introduction_, Eng. tr. by Prof. J. W. White, pp. 93 _sqq._).

[882] Though my obligations to Dr. J. H. H. Schmidt’s volumes, especially _Die Eurhythmie in den Chorgesängen der Griechen_, are very great, I cannot see in his verse-pause—according to him (_Eurhythmie_, p. 89) the foundation of his system—anything but a delusion. Dr. Schmidt’s own appendices show a good minority of “verses” which end with no pause.

[883] The first two syllables (⏑⏑) correspond to the first (–) of Οἰδίπου.

[884] How? By examination of the whole period. If we look at the seventh line of the strophe from _Antigone_, scanned above, it may seem arbitrary to write

– ˃
| αιναν ‖

rather than

⏗ –
| αιν|ανꞈ‖.

But the former method is suggested by the corresponding fourth line, which cannot possibly be scanned otherwise than as above, and which therefore has four feet; hence we scan -αιναν so as to give the seventh line also four, not five, feet altogether.

[885] It is therefore possible to scan the ordinary iambics of dialogue as trochees:—

˃ – ⏑ – ˃ – ⏑ – ˃ – ⏑ –
ειθ ⁝ ωφελ | Αργους | μη δι|απτασθ|αι σκαφ|οςꞈ (_Medea_, 1).

This is the method followed by Dr. J. H. H. Schmidt, and of course changes altogether the rules given above (§ II), but will hardly perplex the student. It has the advantage of bringing “iambic” dialogue closer to lyric and to episodic trochees, but it has seemed more convenient to keep the traditional statement.

[886] Printed as one line, though containing a colon which ends with the end of a word, because the corresponding line of the antistrophe contains a colon which does not:—

πρῶτά σε κεκλόμενος, θύγατ‖ερ Διός, ἄμβροτ’ Ἀθάνα....

[887] Because spondaic _words_ are lacking. It is sometimes said that the only spondee in English is “amen”. The peculiar pronunciation of this word is due to the fact that it is so often sung to music where each syllable is given a whole bar. The name of Seaford in Sussex is undoubtedly pronounced by its inhabitants ∸∸; but one may perhaps therefore argue that it should be written “Sea Ford”.

[888] This important sequence may be conveniently memorized—if we substitute accent for quantity—by the sentence “Attack Rome at once”.

[889] I take this figure from Schmidt’s _Introduction_ (English Translation, p. 76).

[890] The first two syllables of this word form the anacrusis, though the metre is trochaic; that is, we find ⏑⏑ instead of ⏑. In such cases the two “shorts” are given the length of one only, and this is indicated by the sign ω.

[891] I have taken Schmidt’s readings and arrangement for the sake of an example. Murray’s arrangement is quite different.

INDICES

I. GREEK

Names of plays, etc., in capitals

ΑΘΛΑ, 5.

ΑΙΑΣ, 132-6.

— ΜΑΣΤΙΓΟΦΟΡΟΣ, 132-6.

ΑΙΤΝΑΙΑΙ, 119.

ΑΛΚΗΣΤΙΣ, 186-92.

ἀναβαίνω, 54 n.

ἀνάγκη, 38.

ἀναγνωστικοί, 32, 293 n.

ἀναίδεια, 325.

ἀνάκρουσις, 342 n.

ΑΝΔΡΟΜΑΧΗ, 219-28.

ἀνὴρ δίψυχος, 311.

ΑΝΤΙΓΟΝΗ, 136-41.

ἀντιλαβή, 181 n.

ἀντιστροφή, 344.

ἀπέδωκε, 3 n.

ἀπὸ σκηνῆς, 57.

ἄτη, 129.

αὖθις, 83.

ΑΧΑΙΩΝ ΣΥΛΛΟΓΟΣ, 174.

ΑΧΙΛΛΕΩΣ ΕΡΑΣΤΑΙ, 174.

ΒΑΚΧΑΙ, 277-85.

βαλλάντιον, 34 n.

ΒΑΣΣΑΡΑΙ, 117.

ΒΑΣΣΑΡΙΔΕΣ, 117.

βρῦτον, 118 n.

δαιμόνιον σημεῖον, 163 n.

διαίρεσις, 336 n.

ΔΙΔΑΣΚΑΛΙΑΙ, 62.

δράσαντι παθεῖν, 110 n., 129 and n.

ΕΚΑΒΗ, 215-9.

ἐκσυρίττειν, 83 n.

ΕΚΤΟΡΟΣ ΛΥΤΡΑ, 118.

ἐλελελεῦ, 25.

ΕΛΕΝΗ, 258-64.

ΕΛΕΥΣΙΝΙΟΙ, 119.

ἐπεισόδια, 4 n.

ΕΠΙΔΗΜΙΑΙ, 23 n.

ἐπὶ σκηνῆς, 57, 59.

ἐπὶ τῆς σκηνῆς, 54.

ἐπί τινος μετεώρου, 57.

ἐπῳδικόν, 344.

ἐπῳδός, 345 n.

ΕΥΜΕΝΙΔΕΣ, 111-7.

εὐριπιδαριστοφανίζειν, 19 n.

ΗΔΩΝΟΙ, 117.

ΗΛΕΚΤΡΑ, 141-5, 252-8.

ΗΛΙΑΔΕΣ, 119.

ἡμιχόρια, 78.

ΗΡΑΚΛΕΙΔΑΙ, 200-5.

ΗΡΑΚΛΗΣ ΜΑΙΝΟΜΕΝΟΣ, 228-34.

θεῖον, τὸ, 30.

θεός, 283.

ΘΕΡΙΣΤΑΙ, 192, 296.

θεωρικόν, τὸ, 82.

ΘΡΗΙΣΣΑΙ, 119.

θυμέλη, 51.

θυμός, 22, 198.

ΙΚΕΤΙΔΕΣ, 84-6, 234-6.

ἴκρια, 81.

ΙΠΠΟΛΥΤΟΣ ΚΑΛΥΠΤΟΜΕΝΟΣ, 205 n.

— ΣΤΕΦΑΝΗΦΟΡΟΣ, 205-15.

— ΣΤΕΦΑΝΙΑΣ, 205-15.

ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ, 285-9.

— — — ΤΑΥΡΟΙΣ, 247-52.

ΙΧΝΕΥΤΑΙ, 175-6, 289 n.

ΙΩΝ, 236-43.

ΚΑΒΕΙΡΟΙ, 119.

καταβαίνω, 54 n.

καταλήγω, 334 n.

κερκίδες, 51.

κλίμακες, 51.

κόθορνος, 69.

κομμοί, 74.

κομμός, 107.

κορυφαῖος, 78.

κρηπίς, 68.

ΚΥΚΛΩΨ, 289-91.

κῶλον, 343.

λογαοιδικός, 341 n.

λογεῖον, 52.

ΛΥΚΟΥΡΓΕΙΑ, 117.

ΜΕΓΑ ΔΡΑΜΑ, 24 and n.

ΜΕΛΑΝΙΠΠΗ ΔΕΣΜΩΤΙΣ, 305 n.

— Η ΣΟΦΗ, 305 n.

μεσῳδικόν, 344.

ΜΗΔΕΙΑ, 192-9.

μηχανή, 65.

μύρμηκος ἀτραπούς, 26 n.

ΜΥΡΜΙΔΟΝΕΣ, 118.

ΝΕΑΝΙΣΚΟΙ, 117.

ΝΗΡΗΙΔΕΣ, 118.

ΝΙΟΒΗ, 119.

νόμοι, 72.

ὄγκος, 69.

ΟΙΔΙΠΟΥΣ ΕΠΙ ΚΟΛΩΝΩΙ, 167-73.

— ΤΥΡΑΝΝΟΣ, 145-54.

οἱ ἐν τῷ φανερῷ θάνατοι, 45 and n.

ΟΙ ΕΠΤΑ ΕΠΙ ΘΗΒΑΣ, 89.

οἰκεῖα πράγματα, 20.

ὀκρίβας, 56, 57.

ΟΡΕΣΤΗΣ, 268-77.

ὀρχήστρα, 50.

παλινῳδία, 360.

παραχορήγημα, 71.

παρασκήνια, 51.

παρεπιγραφή, 175.

πάροδοι, 51.

περίακτοι, 63.

περίοδος, 343.

ΠΕΡΣΑΙ, 86.

προεδρία, 81.

ΠΡΟΜΗΘΕΥΣ ΔΕΣΜΩΤΗΣ, 91-8.

— ΛΥΟΜΕΝΟΣ, 92-3.

— ΠΥΡΦΟΡΟΣ, 92-3.

προπομποί, 116.

προῳδικόν, 344.

πρωταγωνιστής, 72.

ῥαβδοφόροι, 82.

ΡΗΣΟΣ, 291-5.

ῥοῖβδος, 175 n.

σεμναί, 113 n.

σκηνή, 52, 54.

σμικρὸν ἔπος, 171 and n.

σμικρὸς λόγος, 171 and n.

Σπάρτην ἔλαχες, ταύτην κόσμει, 295.

στίχος, 359.

στροφή, 344.

συγκοπή, 341 n.

συνάφεια, 330 n.

ΣΥΝΔΕΙΠΝΟΙ, 174.

ΣΥΝΕΚΔΗΜΗΤΙΚΟΣ, 23 n.

συνίζησις, 332.

τὰ ἀπὸ τῆς σκηνῆς, 54.

τετραλογία, 61 n.

τί ταῦτα πρὸς τὸν Διόνυσον; 2 n.

τὸ δὲ δρᾶμα τῶν δευτέρων, 223 and n.

τὸ θεῖον, 30.

τὸ θεωρικόν, 82.

τονή, 341, 347, 352, 355, 360.

τράγος, 62 n.

τραγῳδία, 62 n.

ΤΡΑΧΙΝΙΑΙ, 154-60.

τριβή, 38.

ΤΡΩΙΑΔΕΣ, 243-6.

τύχη, 28, 32.

ὑποκριτής, 1.

ὑπομνήματα, 22, 23 n.

ὑπορχήματα, 78.

ΦΙΛΟΚΤΗΤΗΣ, 161.

ΦΟΙΝΙΣΣΑΙ, 264-8.

φράσις τῶν πραγμάτων, 316 n.

ΦΡΥΓΕΣ, 118.

φύσις, 318.

ΧΟΗΦΟΡΟΙ, 106-10.

ΧΡΙΣΤΟΣ ΠΑΣΧΩΝ, 41.

ΨΥΧΟΣΤΑΣΙΑ, 120.

II. PLACES, ETC.

A. = Aristophanes, Æ. = Æschylus, E. = Euripides, S. = Sophocles, Sh. = Shakespeare.

Abdera, 298.

Acharnæ, in _Acharnians_, 296.

Achelous, in _Trachiniæ_, 160.

— 304 n.

Acropolis, 14, 49, 239.

— in _Eumenides_, 113.

Ægospotami, 13, 182, 324.

Æthiopia, in _Andromeda_, 299.

Ætolia, in _Cresphontes_, 307-8.

Alexandria, Library of, 39.

— Pleiad of, 39.

— Theatrical activity in, 3rd century B.C., 39.

Amphipolis, 294.

Arachnæus, Mount, in _Agamemnon_, 101.

Arden, Forest of, 63.

Areopagus, in _Eumenides_, 112 ff., 128 n.

Argolid plain, in S.’s _Electra_, 63.

Argos, in _Agamemnon_, 99 ff.

— — _Choephorœ_, 106.

— — _Eumenides_, 112.

— — _Supplices_ of Æ., 84.

— — E.’s _Electra_, 253.

— — — _Heracleidæ_, 200 ff.

— — — _Orestes_, 268 ff.

— — — _Supplices_, 234 n., 235.

— — — _Telephus_, 295.

— 316, 321.

Asia Minor, Græco-Roman theatres in, 59 n.

Asopus, plain of, in _Agamemnon_, 124.

Athens, 228-9, 244, 252 n., 307, 312, 324-5.

— Agathon of, 21.

— and drama, 3, 5.

— — Euripides, 317 ff.

— Athena’s temple in, 63.

— in _Eumenides_, 111 ff.

— — _Œd. Coloneus_, 168 ff., 185.

— — E.’s _Erechtheus_, 297.

— — — _Hippolytus_, 205 ff., 213.

— — — _Ion_, 236 ff.

— — — _Supplices_, 234 n., 235.

— local cults of, in Æ., 128.

— Phrynichus of, 6.

— Sophocles of, 12.

Athens’ war with Eleusis, 119.

Athos, Mt., in _Agamemnon_, 101.

Attica, 4, 279.

— and Furies, 131.

— E.’s cenotaph in, 18.

— in _Eumenides_, 113.

— — _Heracleidæ_, 200.

— — _Medea_, 194.

Aulis, 247, 270.

— in _Iph. at A._, 285 ff.

Bradfield College, Gk. plays at, 55.

Byzantium, 313.

— Homer, the tragedian of? 40.

— Python of? 39.

Caria, Mausolus, k. of, 38.

Catana, Python of? 39.

Chæronea, battle of, 31.

Chapel, Sistine, 102.

Chios, Ion of, 21 ff.

— Sophocles in, 15.

Chryse, in S.’s _Philoctetes_, 161.

Cithæron, Mt., in _Œd. Tyr._, 147 ff.

— — — E.’s _Bacchæ_, 277 ff.

Colchis, Mt., in E.’s _Medea_, 192 ff.

Colonus, Eumenides at, 172.

— in _Œd. Coloneus_, 168 ff.

— Sophocles’ home, 172.

— — song, 71.

Congo, Upper, 248.

Corinth, 22.

— and drama, 3.

— in _Œd. Tyr._, 147.

— — _Medea_, 192 ff., 313.

Crete, in _Hippolytus_, 206 ff.

Cynthus, 249.

Cyzicus, 167.

Delium, 234 n.

Delphi, 257.

— in _Choephorœ_, 108, 110.

— — _Eumenides_, 111 ff., 63.

— — S.’s _Electra_, 142.

— — — _Œd. Tyr._, 147 ff.

— — E.’s _Andromache_, 220 ff.

— — — _Ion_, 236 ff., 314.

— — — _Iph. T._, 247 ff.

— — — _Medea_, 193.

— — — _Phœnissæ_, 264.

Dodona, in E.’s _Andromache_, 221.

Egypt, 184.

— in _Prom. V._, 94.

— — _Supplices_ of Æ., 84 ff.

— — _Helena_ of E., 259 ff., 322.

Eleusis, Æ. of, 10, 119.

— mysteries of, 10, 11, 173.

Eleutheræ, priest of Dionysus of, 80.

England and Education, 324.

Eretria, Achæus of, 21, 25.

— Menedemus of, 25.

Eridanus, R., in _Hippolytus_, 208.

Etna, Mt., in _Cyclops_, 289 f.

— — eruption of, in _Prom. V._, 91.

Eubœa, in _Agamemnon_, 101.

— — _Trachiniæ_, 154.

Forest of Arden, in Shakespeare, 63.

Gela, 11.

Great Britain, dramatic renaissance in, v.

Hades, 86, 95, 202-3.

— in Critias’ _Pirithous_, 29.

— — E.’s _Herc. Fur._, 228 ff.

— Sophocles in, 14 n.

Halicarnassus, Dionysius of, 306 n.

Helene, island of, 262.

Hellas, 89, 248.

Hull, 248.

Hydaspes R., 39.

Icaria, Thespis of, 4.

Ilium, 245.

Jhelum R., 39.

Lemnos, in Æ.’s _Philoctetes_, 120.

— — E.’s _Hypsipyle_, 304.

— — S.’s _Philoctetes_, 161 ff.

Lenæon, 49.

Lesbos, in Æ.’s _Bassarids_, 117.

Macedonia, Archelaus, k. of, 18.

— E.’s death in, 15, 277.

Macistus, Mt., in _Agamemnon_, 124.

Malea, 275.

Marathon, 122, 163, 325.

— Æ. at, 10.

— in _Heracleidæ_, 200.

Melos, sack of, 244.

— Venus of, 182.

Messenia, in E.’s _Cresphontes_, 307.

Miletus, capture of, 494 B.C., 7.

Molottia, in _Andromache_, 221.

Mount Arachnæus, _see_ Arachnæus.

— Athos, _see_ Athos.

— Cithæron, _see_ C.

— Etna, _see_ E.

— Œta, _see_ Œ.

— Parnassus, _see_ P.

Mysia, in E.’s _Telephus_, 295-6.

Nauplia, 275.

Nemea, in E.’s _Hypsipyle_, 304.

Nile, R., in E.’s _Helena_, 322.

Nine Ways, 294.

Odessa, 248.

Odeum at Athens, 56.

Œnophyta, 184.

Œta, Mt., in _Trachiniæ_, 155.

Omphalos at Delphi, in _Eumenides_, 111.

Othrys, Mt., in _Alcestis_, 188.

Oxyrhynchus, 18, 304.

Parnassus, Mt., in _Ion_, 237.

Parthenon, 14, 182.

Peiræus, 49, 245.

Peloponnese, 6, 304.

Persia, in _Persæ_, 123-4.

Phaselis, Theodectes of, 36.

Pheræ, Alexander of, 35.

— in _Alcestis_, 186.

Phlius, Pratinas of, 6.

Phocis, 249.

Phthia, in _Andromache_, 219 ff.

Platæa, battle of, in _Persæ_, 87.

Propylæa, 14.

Punjaub, 39.

Salamis, 7, 12, 14.

— Æ. at, 10.

— E. at, 17.

— E. born at, 17.

— in _Persæ_, 87.

Saronic gulf, in _Agamemnon_, 124.

Scyros, in S.’s _Philoctetes_, 162.

Scythia, in _Prom. V._, 93.

Seaford, Sussex, 354 n.

Shrine of Thetis, in _Andromache_, 219 ff.

Sicilian sea, in E.’s _Electra_, 253.

Sicily, 119, 313.

— Æ. in, 10.

Sicyon, 3 n., 22.

— Neophron of, 21.

Sistine Chapel, 102.

South Russia, 247-8.

Sparta, in E.’s _Telephus_, 295.

— — A.’s _Acharnians_, 296.

Susa, Xerxes’ palace at, in _Persæ_, 88.

Syracuse, E. in, 17.

— Hiero of, 10.

Tauri, in _Iph. T._, 321.

Tegea, Aristarchus of, 21-2.

Tent of Agamemnon, 52.

Thebes, in _Seven_.

— — _Antigone_, 137 ff.

— — _Œd. Col._, 168 ff., 185.

— — _Œd. Tyr._, 145 ff.

— — E.’s _Antiope_, 298.

— — — _Bacchæ_, 277 ff.

— — — _Herc. Fur._, 228 ff.

— — — _Hypsipyle_, 304-5.

— — — _Phœnissæ_, 264 ff.

— — — _Supplices_, 235.

The Marshes, Athens, 49.

Thessaly, in _Alcestis_, 186 ff.

— — _Andromache_, 219 ff.

Thibet, 248.

Thrace and Athens, 294-5.

— in _Hecuba_, 215 ff.

Tomb of Achilles, in _Hecuba_, 216.

— — Agamemnon, in E.’s _Electra_, 253.

— — Clytæmnestra, in E.’s _Orestes_, 269.

— — Darius, in Æ.’s _Persæ_, 64.

— — Proteus, in E.’s _Helena_, 259.

Trachis, in _Trachiniæ_, 154 ff.

Troad, 295.

Trœzen, in _Hippolytus_, 205 ff.

Troy, 118, 270.

— in _Agamemnon_, 99 ff.

— — Æ.’s _Philoctetes_, 120.

— — — _Weighing of the Souls_, 120.

— — S.’s _Ajax_, 132 ff.

— — — _Laocoon_, 174.

— — — _Philoctetes_, 161 ff.

— — E.’s _Electra_, 253.

— — — _Hecuba_, 215 ff.

— — — _Helena_, 259 ff.

— — — _I. A._, 285 ff.

— — — _Rhesus_, 291 ff.

— — — _Telephus_, 295.

— — — _Troades_, 243.

Upper Congo, 248.

Verona, its scenery, in Sh., 63.

Venusberg, 283.

Venice, its scenery, in Sh., 63.

III. PERSONS AND WORKS

A. = Aristophanes, Æ. = Æschylus, Ar. = Aristotle, E. = Euripides, S. = Sophocles, Sh. = Shakespeare. Names of authors in small capitals, of works in italics.

Acamas, in _Heracleidæ_, 200 ff.

ACHÆUS of Eretria, 21, 25.

— — — his _Philoctetes_, 25.

_Acharnians_, _see_ ARISTOPHANES.

Achilles, 176, 226, 319.

— in Æ., 20.

— — — _Myrmidons_, 118.

— — — _Nereids_, 118.

— — — _Phrygians_, 118.

— — — _Weighing of Souls_, 120.

— — E. _Andromache_, 220.

— — — _I. Aul._, 285 ff., 317, 322.

— — — _Telephus_, 295-6.

— — Homer’s _Iliad_, 119, 288.

— — S. _Philoctetes_, 162.

— — tomb of, in E. _Hecuba_, 216.

_Achilles_, of Aristarchus, 23.

Actor, in E. _Philoctetes_, 296.

Admetus, in E. _Alcestis_, 187 ff.

_A Doll’s House_, _see_ IBSEN.

_Ad Quintum Fratrem_, _see_ CICERO.

Adrastus, 3 n.

— k. of Argos, in Æ. _Septem_, 89.

— in E. _Hypsip._, 305.

— — _Suppl._, 234 ff.

_Adversus indoctos_, _see_ LUCIAN.

ÆANTIDES, 40.

Ægeus, k. of Athens, in E. _Medea_, 193, 312, 322-3.

— — — — — Neophron’s _M._, 21.

Ægisthus in Æ. _Agamemnon_, 79, 100 ff.

— — — _Choeph._, 106 ff.

— — E. _Electra_, 253.

— — E. _Orestes_, 268 ff.

— — S. _Electra_, 141 ff.

Ægyptus, in Æ. _Supplices_, 84.

ÆLIAN, his _Varia Historia_, xiv. 40, p. 35 n.; ii. 8, p. 243 n.

Æneas, in S. _Laocoon_, 174.

— — — _Rhesus_, 291 ff.

_Æneid_, _see_ VERGIL.

Æolus in E. _Melanippe_, 305.

_Ærope_, _see_ CARCINUS.

ÆSCHINES, 70 and n., 83.

ÆSCHYLUS, 4, 5, 6, 10-17, 19, 20, 23, 25, 38, 70, 75-6, 82, =84= ff.,
173, 177, 179, 180, 182, 192, 249, 275, 276 n., 284, 293, 296,
297, 309, 311, 325, 357.

— a ballet-master, 78.

— and Até, 129.

— — Chthonian religion, 130.

— — Conscience, 130.

— — Euripides, 121, 315-7, etc.

— — Fate, 125, 130.

— — Homer, 118.

— — Olympians, 130.

— — Zeus, 213.

— as dramatist, 125 ff.

— — literary artist, 120-5.

— creator of tragic diction, 122.

— death, 11.

— desk, 34.

— epitaph, 10 n.

— general appreciation of, 120 ff.

— grandeur of language, 121.

— his interest in politics, 128 and n.

— in Horace _Ars Poet._, 56.

— invented dress of tragic actors, 69.

— metaphors, 123.

— metre, 334.

— picturesqueness in characterisation, language and structure,
123-8.

— religious views, 128.

— simplicity of structure and language, 122, 126.

— _Agamemnon_, vi, 16, 55, 62, 64, 71, 77, 86, =99-106=, 109,
110, 126, 213 and n., 245, 317, 338, 345.

— — beacon-speech in, 124.

— — chariots and horses in, 64.

— — chorus in, 79.

— — eccyclema in, 66.

— — herald in, 73.

— — watchman in, 124.
[ll. partly or wholly quoted, 2, 160-83, 184-249, 494-5, 750-7, 975
_sqq._, 988 _sqq._, 1147, 1434, 1530 _sqq._]

— _Choephorœ_, 16, 20, 56, 64, 104, =106-10=, 126, 142, 253, 258,
270, 279.

— — chorus in, 79.

— — invocation of Ag.’s shade in, 74.

— — nurse in, 124.

— — tomb in, 64.
[ll. 313 _sq._, 451-2, 647, 870-4, 889, 900, 930, 1075-6.]

— _Eumenides_, 42 n., 55 n., 56, 68, 110, =111-7=, 121, 128, 217,
249.

— — chorus in, 76.

— — dress of Furies in, 69.

— — eccyclema in, 67.

— — jury in, 70.

— — propompi in, 71.

— — scene changes in, 63.

— — shade of Clytæmnestra in, 107 n.
[ll. 116, 137-8, 283, 398-401, 517-9, 640-51, 681-710, 747, 788
_sq._, 886.]

— _Niobe_, 119.

— _Persæ_, 8, 9, 10, 18, 38, 47, 64, =86-9=, 123, 125.

— — ghost in, 107 n.

— — metre in, 356.

— — only extant tragedy on non-mythological subject, 87.

— — and Phrynichus’ _Phœnissæ_, 8, 9.
[ll. 81 _sq._, 115, 126 _sq._, 346, 361-2, 395, 480-514, 815.]

— _Prometheus Vinctus_, 57, 65, =91-8=, 109, 124, 125, 128, 244.
[ll. 12, 15, 89-90, 115, 170, 350-2, 415-20, 993, 1068.]

— _Septem contra Thebas_, 20, =89-91=, 95, 123, 125, 267 n., 268 n.
[ll. 375 _sqq._, 493-4, 591-4, 689-91, 895 _sqq._]

— _Supplices_, 7, 12, 76, 77, =84-6=, 95, 121, 123, 124, 126.

— — chorus in, 76.
[ll. 12, 91-5, 230-1, 418 _sqq._, 582 _sqq._, 608, 656, 836-7,
991-4, 994-1013, 1068.]

— _Amymone_, 85;
_Bassaræ or Bassarides_, 117;
_Cabiri_, 119;
_Danaides_, 85, 128;
_Daughters of the Sun_, 119;
_Edoni_, 117;
_Egyptians_, 85;
_Glaucus of Potniæ_, 87;
_Laius_, 90;
_Lycurgea_ (trilogy), 117;
_Lycurgus_ (satyric play), 117;
_Men of Eleusis_, 119;
_Men of Persia_ (= _Persæ_), 86;
_Myrmidons_, 118;
_Nereides_, 118;
_Niobe_, 119 [Fr. ap. Plato “_Rep._” qd.];
_Œdipus_, 90;
_Oresteia_ (trilogy), 11, 85, 92, 95, =98= ff., 123, 126, 128, 134;
_Philoctetes_, 119;
_Phineus_, 87;
_Phrygians_, 118;
_Prometheus_ (satyric play), 87 and n.;
_Prometheus the Fire-bringer_, 92-3;
_Proteus_ (sat. pl.) 98 and n.;
_P. Unbound_, 93;
_Ransom of Hector_, 118;
_Sphinx_ (satyric pl.), 90;
_Thracian Women_, 119;
_Weighing of Souls_, 120;
_Women of Etna_, 10, 119;
_Youths_, 117;
_Women of the Fawn-skin_, 117.

_Æthiopica_, _see_ HELIODORUS.

Æthra, in E. _Supplices_, 234 ff.

Agamemnon, 76, 254.

— in Æ. _Agam._, 89 ff., 125.

— — — _Myrmidons_, 118.

— — E. _Hecuba_, 216 ff.

— — — _I. Aul._, 285 ff.

— — — _Orestes_, 270.

— — — _Telephus_, 295-6.

— — — _Troades_, 243 ff.

— — S. _Ajax_, 132 ff.

— palace of, in S. _Electra_, 141 ff.

— shade of, invoked in Æ. _Choeph._, 74, 107 and n. and 110.

— tent of, 52.

— tomb of, 64, 106 (_Choeph._), 253 (E. _El._).

_Agamemnon_, _see_ Æ.

AGATHON of Athens, 21, =25-9=, 50 n., 55, 72, 77, 315.

— _Antheus_, 26.

— _Anthos_, 26.

— _Fall of Troy_, 27.

— _Flower_, 26.

Agave, in E. _Bacchæ_, 277 ff.

_Agen_, satyric drama, 38-9.

Ajax, 62.

— death of, on stage, 46.

— in S. _Ajax_, 132 ff., 177-8, 180, 185.

_Ajax_, _see_ SOPHOCLES.

Alcestis, in E. _Alc._, 186 ff.

— death of, on stage, 46.

_Alcestis_, _see_ EURIPIDES and PHRYNICHUS.

Alcibiades, 82, 167, 236, 268 n.

Alcmæon, 46.

— in ASTYDAMAS, 31.

_Alcmæon_, etc., _see_ EURIPIDES.

Alcmena, 231;
in E. _Heracleidæ_, 200 ff.

Alcon, 13.

Alexander the Great, 29, 36, 39, 163, 313.

— — tragedian, 39, 40.

— — tyrant of Pheræ, 35, 38.

_Alexander_, _see_ EURIPIDES.

_Alexandra_, _see_ LYCOPHRON.

_Alope_, _see_ CHŒRILUS.

_Altgriechische Literatur_, _see_ GOETHE.

Althæa, in Phrynichus’ _Pleuroniæ_, 7.

Amphiaraus, 235, in Æ. _Septem_, 91, 124.

— in Carcinus’ _Thyestes_, 35.

— — E. _Hypsipyle_, 304.

_Amphiaraus_, _see_ SOPHOCLES.

Amphion, in E. _Antiope_, 298.

Amphitryon, in E. _Herc. Fur._, 228 ff.

_Amymone_, _see_ ÆSCHYLUS.

ANACREON, 337 n.

ANATOLE FRANCE, vi, 326.

Anaxagoras, 17, 18, 307.

Andromache, 262;
in E. _Andr._, 225 ff.;
E. _Troades_, 243 ff.

_Andromache_, _see_ EURIPIDES.

Andromeda, in E. _Andromeda_, 8, 299 f.

_Andromeda_, _see_ EURIPIDES.

_Anonymous Life_ of Sophocles, 15 n.

Antæus, in Phrynichus’ _Antæus_, 7.

_Antæus_, _see_ PHRYNICHUS.

_Antheus_, _see_ AGATHON.

_Anthos_, _see_ AGATHON.

Antigone, 64;
in Æ. _Septem_, 90-1;
in E. _Phœn._, 264 ff.;
in S. _Antigone_, 137 ff., 177-8;
in _Œ. Col._, 168 ff., 182.

_Antigone_, _see_ SOPHOCLES.

Antilochus, in Æ. _Myrmidons_, 118.