Full text of "Choephoroi, with introd. and notes by A. Sidgwick"



AESCHYLUS 

CHOEPHOROI 

IF/TII INTRODUCTION AND NOTES 

BY 

A. SIDGWICK, M.A. 

READER IN GREEK IN THE UNIVERSITY OF OXFORD 

FELLOW AND TUTOR OF CORPUS CHRISTI COLLEGE, OXFORD 

LATE FELLOW OF TRINITY COLLEGE, CAMBRIDGE, AND ASSISTANT MASTER 

OF RUGBY SCHOOL 

PART I.— INTRODUCTION" AND TEXT 
NEW EDITION, REVISED 



JVv^ 



O;cfor^ 

AT THE CLARENDON PRESS 
1900 




?h 



3S2S 



HENRY FEOWDE, M.A. 

PUBLISHER TO THE UNIVERSITY OF OXFORD 

LONDON, EDINBURGH, NEW YORK 

TORONTO AND MELBOURNE 



PREFACE. 

In this edition I have used the text, carefully revised, from 
my edition of Aeschylus in the new series of Classical Texts 
issued by the Oxford University Press. 

The critical notes are somewhat fuller, and the method of 
referring to the MSS. has been slightly remodelled, to make 
it clearer and more uniform. The latter is fully explained 
at the end of the Introduction, where a brief account will be 
found of the manuscript authority for this play, the scholia, 
and the various editions that have appeared. 

As in the Agamemnon, I have followed the best recent 
editions in adopting in the revised text the form KXvraifjiijaTpa. 
The evidence for this form is very strong : and in particular 
the Medicean MS. has KAvrat/A^o-T/aa thirty-one times, 
KXvTaLixv^crrpa only once \ 

In preparing this edition I have received much assistance 
from further study of older editions of Aeschylus, and also 
from various works that have appeared since I first edited 
this play. Among these the following may be more parti- 
cularly named: Wecklein's Orestie (Leipzig, 1888), which 
contains several suggestions that were not in the great critical 

> See note to Dramatis Personae in my edition of the Agamemnon. 
1898. In the Introduction and Notes I have thought it best to use the 
usual form Klytaemnestra. 



iv PREFACE. 

edition of 1885 ; Dr. Verrall's Choephori (Macmillan, 1893); 
the Orestie of Wilamowitz-Moellendorf (Berlin, 1896); Pro- 
fessor Campbell's Text (in the Parnassus Library) ; and the 
photographic fac-simile of the Medicean MS., published by 
the authorities of the Laurentian Library, under the auspices 
of the Italian Ministry of Public Instruction (Florence, 1896). 
To this invaluable work is prefixed a preface by Professor 
Rostagno, containing a full historical and critical account 
of the ]\IS. For the general criticism of the drama, 
and the history of the myth on which it is founded, I have 
derived much advantage from Professor Jebb's Introduction 
to the Electra of Sophocles, where the same story is drama- 
tised with most interesting and instructive difference of treat- 
ment. This Introduction is exceedingly full and complete, 
and exhibits Professor Jebb's usual insight, knowledge, and 
masterly handling of his material. 



CONTENTS, 



Part I. 



INTRODUCTION 

The Orestfia 

The Growth of the Story 
The Plot of the Choephoroi . 
Remarks on the Drama 

The Characters 

The Choric Songs .... 
The Oresteia of the Later Dramatist 

The Manuscripts 

The Scholia 

The Editions 

The Text of this Edition 
Translations 

TEXT 



PAGE 

vii 
vii 
vii 
xi 
xiii 

XV 

xvii 

XX 

xxiii 
xxiv 

XXV 

XXV i 

xxvii 

1-43 



PART II. 

NOTES i-"9 

APPENDICES :— 

J 80 

II. " ! '. 82 

III ■ . • 83 

INDICES:— 

General ^5 

Grammatical ^7 

Of Names 88 



INTRODUCTION. 

The Oresteia. 

The Choephoroi is the second of the three plays which 
Aeschylus wrote on the same siory, and which constituted each 
as it were one act of a great drama. Such sets of plays were 
called trilogies, were acted together, and were followed by a 
fourth play of a lighter cast (called Satyric, from the Satyr or 
attendant of Dionysos, which originally was a leading part in it) : 
the whole four being called a tetralogy. The subject of the 
Satyric play in this instance is traditionally recorded to have 
been ' Proteus.' The Agamemnon relates tlie return and murder 
of the king (the Crime) ; in the second play, the Choephoroi, 
Orestes comes back and slays his mother Klytaemnestra (the 
Vengeance) ; while in the third, the Eumenides, the matricide 
is released from the furies'^vho have pursued him, and acquitted 
by divine interposition before the Areiopagos at Athens (the 
Reconciliation). About the Proteus we know nothing^. 

The date is B.C. 458, and the poet won the first prize. 

The parts in this play were probably as follows : — 

Chief actor : Orestes and Nurse. Second actor : Elektra. 
Third actor : Pylades. Klytaemnestra, Aegisthos, and Servant, 
divided between the second and the third actors. 

The Chorus are women-slaves of the royal household, captives 
taken in war, and probably Trojans, see p. xvii. 

The Growth of the Story. 

I. Iliad. The stories of the past guilt of the Pelopidae, the 
family feud, the destined murder of Agamemnon, the vengeance 
of the son, are all unknown to the Iliad. Agamemnon is a great 

' Except three fragmentary lines and a few words preserved by gram- 
marians and scholiasts, and printed among the fragments of Aeschylus. 



viii INTRODUCTION. 

prince, the 'king of men,' and leader of the host. He holds 
(U. 2. loo) the sceptre made by Hephaistos for Zeus, who handed 
it on to Hermeias, Pelops, Atreus, Thyestes, and Agamemnon. 
The idea is clearly of a peaceable succession of mighty kings. 

The only mention of Orestes is II. 9. 142, where Agamemnon, 
wishing to make peace with Achilles, says ' He shall wed my 
daughter, and I will honour him like to Orestes, my gro^n son nuho 
is reared in all abundance. And I have three daughters in my 
well-built hall, Chrysothemis, and Laodike, and Iphianassa! In 
short, Orestes is clearly at home, the cherished heir: and of 
Elektra, or the sacrifice of Iphigeneia, there is no mention. 

II. Odyssey. The story of Agamemnon's murder appears first 
in the Odyssey. The differences between Aeschylus' and Homer's 
version need not be discussed here ^ fully : but the main points 
are that in Homer Aegisthos is a bold bandit who carries off the 
wife and murders the husband, Klytaemnestra at the most (the 
versions seem to vary) planning it : in Aeschylus, Aegisthos is a 
coward, Klytaemnestra a hard vindictive masculine woman who 
alone plots and executes the deed. Further, in Homer it is 
merely a tale of savage ambition and crime : in Aeschylus there is 
a Family Fate, old bloodguiltiness leading to fresh : the air is full 
of horror and fear, of past sin and impending retribution. 

As to the story of Orestes' vengeance, which mainly concerns 
us here, the Odyssey version must be gathered from the following 
passages "^ : — 

(i) Od. I. 30. 'The father of gods and men . . . bethought 
him in his heart of noble Aegisthos, 'whom the son of Agamemnon, 
far famed Orestes, slew. Thinking upon him he spake . . . Lo 
you now, how vainly do mortal men blame the gods ! For from 
us they say come evils, whereas they . . . through the blindness of 
their own hearts have sorrows . . . Even as of late Aegisthos 
beyond that which was ordained, took to him the wedded wife of 
Atreides, and killed her lord on his return, and that with sheer 
doom before his eyes, since we had warned him by the mouth 
of Hermeias . . . For from Orestes shall there be 'vengeance for 

* They are treated in detail in my edition of the Agamemnon, Introd. 
p. X. 

^ Quoted from the translation by Butcher and Lang. 



INTRODUCTION. ix 

Atreides so soon as he shall come to nian^s estate, and long for his 
o'jon country. So spake Hermeias . . .' 

(2) Od. I. 298. 'Hast thou not heard avhat renoivn goodly 
Orestes gat him among all men, in that he slew the slayer of his 
father?' 

(3)0d. 3, 193. [Nestor speaking to Telemachos.] 'The son 
of Atreus came, . . . and Aegisthos devised his evil end: but verily 
he himself paid a terrible reckoning. So good a thing it is that a 
son of the dead should still be left, even as that son also took ven- 
geance on the slayer of his father.' 

(4) Od. 3. 304. ' For seven years [Aegisthos] ruled over 
Mykenae, rich in gold, after he slew the son of Atreus, and the 
people were subdued unto him. But in the eighth year came upon 
him goodly Orestes back from Athens to be his bane, and sleiv the 
slayer of his father guileful Aegisthos, tvho killed his famous sire. 
Noiu ivhen he had slain him he made a funeral feast to the Argi-ves 
over his hateful mother, and over the craven Aegisthos. And on 
the selfsame day there came to him IMenelaos.' 

(5) Od. 4. 545. [Proteus the seagod is relating to Menelaos 
in Egypt the death of his brother Agamemnon : Menelaos ' weeps 
and grovels ' on the sand, and then Proteus consoles him :] ' Make 
essay that so thou mayest come to thine own country. For 
cither thou shalt find Aegisthos yet alive, or ;/ may be Orestes 
ivas beforehand -ivith thee and slew him : so mayest thou chance 
upon his funeral feast.' 

(6) Od. II. 461. [Shade of Agamemnon tells Odysseus all the 
tale of his murder, then asks] ' Declare me this ... if haply ye 
hear of my son as yet alive . • . for goodly Orestes hath not yet 
perished on the earth.' 

We note here the following difTerences from Aeschylus: — 
(i) There is no divine command of Apollo that Orestes shall 

take vengeance : the only interference of the gods is to luarn 

Aegisthos before the crime. 

(2) The murder of Klytacmnestra is only told incidentally 

(5. 306), the vengeance is treated as a natural and laudable 

vengeance upon Aegisthos : Orestes ' gat him renown among all 

men' by the deed. 



X INTRODUCTION. 

(3) There is no Pylades, no Elektra, no absence in Phokis with 
Strophios : Orestes returns alone, from Athens, and alone does 
the deed : there is no trace of the skilful plot : no hair, footsteps, 
woven robe, or recognition. 

(4) The deed done, there is no persecution of the Furies. 

III. Later Epics and Lyric poets. 

(i) In an Epic poem on the ' Return of the Atrcidae^,' attributed 
to jigias of Troezen, was related the death of Agamemnon, and 
the vengeance of Orestes. In this poem it seems that Orestes is 
made to return (not from Athens as in the Odyssey), but from 
Strophios, king of Krisa in Phokis : and probably Pylades appears 
first in this version of the tale. 

(2) In the Kypria (attributed to Stasinos of Cyprus) we hear 
first of the detention at Aulis owing to the anger of Artemis, and 
the sacrifice of Iphigeneia. According to this poem, however, 
Artemis saves the maiden and conveys her to Tauri, substi- 
tuting a hind at the last moment as the victim. This form 
of the tale is well known from Euripides' Iphigeneia in Tauris. 
Aeschylus adopts the simpler form of the tale in which Iphigeneia 
is really slain. 

These two poems are of uncertain date, but may be as old as 
the eighth century. 

(3) The lyric poet Stesichoros of Himera (B.C. 632-552), follow- 
ing another lyric poet probably a generation earlier, of whom 
nothing is known but his name Xanthos, wrote an Oresteia ^, in 
which the following new features appear: — Klytaemnestra is 
more prominent in the story. Her sin with Aegisthos is traced 
to the anger of Aphrodite against Tyndareus, making all his 
daughters (Timandra, Helene, and Klytaemnestra) unfaithful to 
their husbands. Here too Orestes is persecuted by the Furies, 
against whom Apollo furnishes him with a divine bow and arrows 
as a protection. We also have, in one fragment, an early version 
of Klytaemnestra's dream : ' She thought she saw a snake come 
near, with blood upon his head : when lo 1 he turned into the 

* Proklus mentions Agias' NoffToj : but Welcker (Epic. Cycl. i. 261) 
identifies this poem with the 'ArpH^uiv kclOoSos mentioned by Athenacus 
7. 2S1 B, and regards the latter as the true title. 

' \Vheucc probably the name was transferred to our drama. 



INTRODUCTION. Xi 

king Pleisthenidas (Agamemnon).' The introduction of the 
Furies marks an important stage in the moralising of the myth. 
In the Homeric story the murder of Klytaemnestra is an unim- 
portant detail, as we said, of the legitimate blood-feud of Orestes, 
whose vengeance is treated as wholly laudable : to the poets of 
the seventh century the slaughter of a mother is a horror which 
requires the dreadful expiation of the Furies, though the God 
Apollo aids the murderer '. 

(4) Lastly, Pindar (Pyth. 11. 15) speaks of 'Pylades, friend of 
the Lakonian Orestes, whom, when Klytaemnestra was slaying 
Agamemnon, the nurse Arsinoa saved from her violent hands, 
from her evil guile : when she sped with the gleaming steel 
Kassandra . . . together with the spirit of Agamemnon to the 
Dark Shore of Acheron, — the pitiless woman. Was it the 
slaughter of Iphigeneia, hard by Euripus far from her home, that 
stung her to arouse her grievous wrath ? or bound to an adulterous 
bed, did the embraces of the night beguile her? . . . Slain was 
the warrior Atreides himself, when at length he returned, in the 
glorious Amyklai, and the maiden prophetess he brought to 
death . . . But he the youth <v^nt to Strophlos, his aged friend, who 
dwelt at the foot of Parnasos : but ivith might though long delayed 
his ttiother he ile-zu, and laid Io-jj Aegisthos ivith the Jivord.' 

By the fifth century the following details, therefore, are en- 
grafted on the Homeric tale : — Orestes is protected by Strophios, 
and helped by Pylades {Agias) : Iphigeneia is sacrificed {Stasinos) : 
the Furies persecute Orestes after the murder, but Apollo pro- 
tects him [Steiichoroi). Pindar is the first to suggest (B.C. 478) that 
Klytaemnestra's motive may be vengeance for her daughter. 
We know of no further change till Aeschylus. 

The Plot of the Choephoroi. 

The following is a brief outline of the story as handled by 
Aeschylus : — 

Orestes returns from Phokis with Pylades his friend, and lays 

' The change of the scene of Orestes' exile from Athens (Odyssey) 
to Phokis probably (as has been remarked) indicates the protection of 
Apollo, as Krisa is part of the sacred precincts of Delphi. Zenodotus' 
reading ar^p dirb ^whtjoiv in Od. 3. 307 instead of a^ aw' 'A6>)vd(uy looks 
like an atttnipl to haimonii:e. 



xii tNTR OD UC TION. 

a lock of hair on his father's tomb. Seeing his sister Elektra 
come out with a procession, he draws aside. [Prologos, 1-2 1.] 

Elektra and the Chorus bring libations to appease the dead. 
Klytaemnestra, we learn from their songs, has had an evil dream 
and tries to avert the threatened woe by these offerings. But 
'blood is shed,' say the Chorus, 'and justice must come.' [Paro- 
dos, 22-83.] 

Elektra then pours the libations, and prays for ' blessings on 
those who love Agamemnon.' Suddenly she sees the lock, and 
divines that it is Orestes' offering: and the hope is confirmed 
by the strangers' footprints. Orestes appears, and the recogni- 
tion is completed by his producing the embroidered robe which 
Elektra remembers having worked. They rejoice together, and 
pray to Zeus : and Orestes tells her Apollo's oracle, denouncing 
woes on the negligent avenger. [Epeisodion i. part i. 84-305.] 

The brother and sister and Chorus sing verse by verse a long 
lament. ' O may justice come : the dead still live, Agamemnon 
is mighty below. Blood calls for blood!' They end with re- 
peated prayers for aid. [Kommos, 306-478.] 

After further prayers, the Chorus tell Orestes what the dream 
of the queen \\as, that she suckled a snake 'which dre-zv blood from 
her breast. He at once interprets the vision, accepts the omen 
and the office of the snake, and lays the plot for the murder, 
[Epeisodion i. part 2. 479-584.] 

The Chorus sing of the power of Passion in women, recalling 
the names of Althaia. Skylla, and Klytaemnestra; 'but Justice 
waits!' [Stasimon i. 585-656.] 

Orestes appears, disguised as the Phokian stranger. Klytaem- 
nestra welcomes him ; he gives her the false message of Orestes' 
death, which she receives with hypocritical lamentation. He is 
conducted in to be entertained: and she goes to tell Aegisthos. 
[Epeisodion 2. 657-718.] 

After a brief interlude the Nurse comes out, sent to fetch 
Aegisthos. She breaks into a lament, recalling the childhood of 
Orestes, and denouncing Aegisthos. The Chorus bid her tell him 
to come alone: and with dark hints reassure her. [Epeisodion 3. 
734-782.] 

The Chorus pray Zeus, Apollo, and Hermes to guide and help 
the conspirators. [Stasimon 2. 783-S37.] 



INTRODUCTION. xiii 

Aegisthos comes, in answer to the summons ; he speaks con- 
temptuously of the credulity of women : he will not be easily 
deceived! [Epeisodion 4. 838-854.] 

After a brief song, the cry of the murdered Aegisthos is heard 
within [Stasimon 3. 855-874]: and a startled servant comes out 
with the news, calling forth Klytaemnestra. Orestes appears with 
a bloody sword : Klytaemnestra at once understands the plot, 
appeals in vain to his pity, and is driven in to her death. [Epei- 
sodion 5. 875-934.] 

The Chorus sing a song of triumph. Justice is come : the house 
is saved! Lift up your heads, ye gates ! [Stasimon 4. 935-972.] 

The doors open and show the corpses of the slain. Orestes 
displays the bloodstained robe of Agamemnon, and denounces 
the murderers. Then the madness comes on — he sees the 
Furies — he is driven off fleeing from the evil vision [Epeisodion 6. 
973-1064]. The Chorus pray for him, but end with a note of 
trouble and doubt — how will it all turn out ? [Exodos.] 



Remarks on the Drama. 

The Choephoroi is a short play, being less than two thirds the 
length of the Agamemnon : and the obvious criticism which 
occurs to all readers is that, in spite of its shortness, there is too 
little incident at first : the real action, the execution of the ven- 
geance, does not begin till the play is more than half over. The 
whole poem contains only 1070 lines; and it is not till line 560 
that Orestes unfolds to his sister the plot on which the drama 
chiefly turns. Nor is this delay relieved by much dramatic variety. 
The opening, no doubt, would be highly stirring and picturesque: 
the returned exile and avenger laying his lock upon his father's 
tomb, and interrupted in his brief prayer by the solemn procession 
of his sister and the Chorus, with offerings which he cannot un- 
derstand, would at once arrest attention and be a beautiful spec- 
tacle. But after the opening, the action really stands still for 
five hundred lines. The Recognition, of which Sophokles and 
Euripides make so much, is in Aeschylus all compressed into a 
beautiful but short scene of sixty lines. The rest is mainly taken 
up with lamentation and prayer. 



xiv INTRODUCTION. 

It is a mistake to find in this (as some critics liave done) any 
wavering or hesitation of purpose on the part of Orestes. His 
first words are a prayer to his father to help him in the fight 
{^{ifj-liaxos), and in still plainer language to Zeus (i8) 86s fxe 
TLo-aadai fjLupov narpos. After the recognition he tells his sister 
immediately of Apollo's threats against the negligent avenger (269 
sqq.): and in the midst of the ko/^^oj he bursts out that his 
mother 'may fawn, but she shall not soothe his grief: the wolf's 
savage temper he inherits ' (420) : and again, 'May I strike the 
blow, then die!' (438). It is no vacillation on the part of the 
avenger that causes the delay: it is the poet's characteristic 
handling of the story, at once to heighten the suspense and the 
terror, and to make us feel more profoundly the awfulness of 
the deed which is impending. Justice waits, as the Chorus say, 
sometimes till evening, sometimes till night (65) : but the blood 
has not sunk into the ground : the vengeance is yet due : the 
blow must come at last. No : Orestes does not doubt : but we 
must allow him the long deferred lament over his dead father 
(ov yap napcov w/uco^a 7) : and all the Powers must be summoned 
to aid, Zeus, Ares, Gaia, Persephassa, Dike, Hermes, Apollo, and 
Agamemnon himself, that we may feel how black and terrible is 
the Valley of the Shadow of Death into which he is descending. 

This point once reached the action is rapid and decisive enough. 
The 86\oi, the feigned tale of Orestes' death (which in Sophokles 
is made the occasion for a brilliant narrative of an exciting and 
disastrous chariot race) is told in a dozen lines : the interlude of 
the Nurse is quite a short scene : and the part of Aegisthos is 
confined to his crossing the stage on the way to his death, with a 
few words of characteristic falsity, pride, and self-confidence. 
The only delay of the action is where Klytaemnestra begs for 
mercy; and in spite of the passage where with a coarseness that 
borders on the grotesque she defends her unfaithfulness, the 
whole scene with its terrible close fKaves ov ov xp^v, Koi to fxf} p^pecbi/ 
770^6 is certainly not deficient in impressiveness. Lastly, the end 
of the play, where Orestes' justification is interrupted by spasms 
of the approaching madness, or visitation of the Furies, forms a 
scene which gives scope to one of the poet's most peculiar powers : 
the power, namely, of eff'ectively suggesting the presence or ap- 
proach of some unseen but terrible thing. 



INTRODUCTION. , xv 



The Characters. 

It will be seen from the above sketch of the play that it is 
rather a lyric interlude followed by a brief and swift denoument, 
than an elaborate drama giving scope for the exhibition of charac- 
ter. Nevertheless, Aeschylus is a poet of the highest order of 
imaginative genius, and, as we shall see, the figures of this play are 
by no means insignificant. It may be worth while to say a word 
about each of them. 

Orestes is the protagonist, and we have sufficiently indicated 
above that there is no want of decisiveness in his character. He 
is from the first the resolute avenger, who has the god's charge 
upon him. He checks the violent (233) emotion of his sister, 
when she recognises him, with manly firmness: their kindred 
hate them, he seems to urge, and they have need of all their self- 
control. He is resolved to do the deed, even if the oracle be false 
(298) : for the god's commatid chimes in with his grief for his 
father, and his resentment at the despoiler who keeps him out of 
his heritage. So far from being roused to avenge by his sister 
and the Chorus (as some critics have thought), he strives himself 
to rouse his father to his aid by what he calls * taunts ' {ap e|eyetpei 
ToitrS' ovfiheaiv ; 495). As soon as he hears of his mother's dream, 
he unhesitatingly interprets the dream of himself, and claims the 
part of the snake (549), and calls the Chorus to witness. His 
allotment of the parts in the plot, and assumption of the character 
of the Daulian stranger, are marked by the same swift decisive- 
ness. When Klytaemnestra makes her appeal for mercy, he 
does hesitate a moment, for the first and last time: Pylades' 
reminder of the oracle is enough. The cold scorn with which 
he rebuts his mother's idle pleas is finely dramatic. Of his 
defence, after the deed, crossed with fits of approaching madness, 
we have spoken above. 

Elektra has only a secondary part to play: but her figure is 
not without its dramatic importance, and some touches even of 
extreme poetic beauty. Her faithfulness is shown at first by her 
refusal to use the conventional prayers, in offering her libation, 
for the mother who sent her, but whom she hates (88 sqq.). She 
prays for Orestes' return, and evil to her foes: but for herself 



XVI INTRODUCTION. 

that she may be purer and more righteous than her mother (140). 
Her womanly reserve and excitement over the lock are finely 
indicated (165 : see notes) : and her passionate sisterly love finds 
a beautiful and imaginative expression in her wish (195) that the 
hair 'had a kindly voice,' and in the eloquent outburst which 
Orestes cannot control, when the recognition is assured (235 
sqq,). She takes her part in the lament and call for aid to 
Agamemnon : but when the action begins she retires to * order 
matters within the house' (579). This is evidently the poet's 
view of a woman's proper place in such a crisis : the brave and 
self-reliant heroine like Antigone, or the Elektra of Sophokles, 
not finding a place in Aeschylus' ideal. 

Of Klytaemnestra in this play there is very little : but the draw- 
ing shows the same characteristics as the great portrait in the 
Agamemnon. Even in the formal words with which she wel- 
comes the strangers (668), we seem to detect the lurking ironic 
smile of her cynical self-reliant spirit. After her off"er of baths 
and couch and honest welcome, she adds, * If there is aught more 
needing counsel, 'tis the men's business, to them we will impart 
it:' and we think of Aegisthos the coward, and Klytaemnestra 
the d^'Spo'^ouXoJ/ Keap, of the last play. There is the old con- 
temptuous hypocrisy in her lament over the Curse of the House, 
when she hears of Orestes' death : especially when she speaks of 
her son as ' the hope to heal the riot of the house,' almost bur- 
lesquing the effrontery of her part. There is the old unhesitating 
courage in her attitude when (887) Aegisthos is slain. 'Bring 
hither an axe,' she says, ' let us know whether we are to win or 
lose.' And even when she sees Orestes with his bloody sword, 
her first thought is not for herself: ol 'yco* redprjKas cpiXrar Alyiadov 
fiia. Though she does appeal for mercy to her son, she wastes 
no time in fruitless lament when she finds the appeal vain : 
' 'Tis crying to a tomb,' she says with characteristic terseness ; 
and again, ' This is the snake I bare and reared.' And even her 
defence of her adultery, which to modern feeling is coarse and 
crude, might be held to be in character with the unflinching 
shamelessness which is part of the poet's conception of this 

oiiKoyiivr) ciKo)^os. 

Pyladcs only speaks once, to confirm the momentary hesitation 
of Orestes : otherwise he is a Kacjiov wpoa-wnof. 



INTRODUCTION. xvii 

With the Chorus we will deal separately. 

There only remains the Nurse, whose rustic homeliness and 
grotesque but natural inconsequence of speech forms, like the 
talk of the Herald in the Agamemnon, an effective contrast to 
the fearful drama that impends. It relieves the tension of feeling 
just at the crisis: and the pithy illiterate babble of the old woman 
about Orestes' babyhood, adds the touch of nature to the dark 
tragic figure of the Avenger. 

The Choric Songs. 

The lyrical parts of the Choephoroi form such a large propor- 
tion — nearly a third of the whole — and though they are neither 
so strikingly beautiful nor so dramatically important as the great 
choruses of the Agamemnon, still are so essential a part of the 
play, and contain so much fine poetry, that it is desirable to con- 
sider them separately, so as to^ review their general effect. 

The first question is. Who are the Chorus ? They are clearly 
captive women, and it has been generally assumed that they are 
Trojans, brought home by Agamemnon. And so the Scholiast 
clearly understands them to be ^. This is further confirmed by the 
passage 425-428, where they lament 'in the Arian and Kissian 
(i. e. Asiatic) fashion.' The main difficulty in this supposition is, 
that they identify themselves so closely with Agamemnon, whose 
' invincible majesty ' (54) they reverence, and whose ' sad 
miseries' (82) they bewail: and sympathize all through with 
Orestes and Elektra. 

But something must be allowed to the conventions of the 
drama : and there is nothing more common than that the house- 
hold slaves (though obviously sprung from a hostile and conquered 
race) should identify themselves with the fortunes of the house, 
and so in this case hate the usurper, and give aid and counsel to 
the heir and avenger. The same argument will justify the know- 

1 On line 75, dfKp'nrToXiv dvayKav Schol. explains (absurdly enough) to 
be ' constraint from various cities, that is, war : ... for the Greeks 
came from various cities,' clearly meaning f/ie Greek army at Troy who 
took them captive. Davies, misunderstanding this note, uses it as an argu- 
ment for the theory that the captives were Greeks from diverse cities. 

b 



xviii INTRODUCTION. 

ledge which they show of the past history of the family: and in 
the absence of evidence to the contrary we may, with the Scho- 
liast, assume them to be Trojans^. 

In the first song (22-83) the Chorus accompany, with lamen- 
tations, Elektra bearing the libations to her father's tomb. They 
speak of the queen, who has sent them, with hatred as an ' im- 
pious woman,' and lament the misery of the house. They strike 
the main note of the play at once by saying, ' Nought can atone 
for blood once shed' (48), and dwelling in a fine stanza (61-74) 
on the belief that Justice may linger, but she will come : she only 
waits till the cup is full. 

We feel from the first that the Crime is unatoaed : and that 
Doom impends. 

In the scene which follows they act the part of the sympathetic 
advisers of Elektra. 

In the Kommos (306-478), they strike again the same note. 
The Doer must suffer (312). They take up Orestes' first 
passionate lament with a reminder that the dead is still powerful 
(324), and is a great king below as he was on earth (354). They 
chide Elektra's vain wishes by recalling her to the thought that 
Vengeance is at hand (375) and blood calls for blood (400) : and stir 
the children's wrath by telling the tale of Agamemnon's horrible 
mutilation (440). All through they sympathize with their grief: 
but they will not suffer the mourners to forget the duty of 
Revenge. 

In the second song (585-651) the note is changed. The plot 
is arranged, the actors have gone off to prepare, and no further 
incitement is needed. The Chorus dwell on the strange power 
of human passion, especially the power of unholy love (aTrtpwros 
e/jwj 600) on bold-hearted women. They tell of Althaia, who 
slew her son ; Skylla, who slew her father: another evil ivoman 
ivho jleiv her lord: and the Lemnian women who slew their 
husbands. And in a magnificent climax they return to the key- 
note: ' The sword of Justice pierces the heart . . . the anvil of 

' The phrase av' o.p\a% P'tov (79) seems perhaps hardly suitable to 
captives so recently taken as the Trojans ; but we can have so little 
confidence in the reading (see notes) that no argumf.nt can be founded 
on it. 



INTRODUCTION. xix 

Justice is planted firm, Destiny forges the steel ... the deep 
brooding Curse pays at last for the pollution:' and lo, as they 
sing, the disguised Orestes enters to do the deed. The confi- 
dence of the Chorus in Justice is the same as ever: but the tone, 
we observe, is difierent. Before, it was faith in Justice, while 
misery and wrong were about them : here it is the confident 
vision of Justice in the retribution that is already prepared. 
The plot thickens. The hoko'i has succeeded: Aegisthos has 
been summoned to meet the supposed strangers. The Chorus 
in the third song (783-835) fill the interval of suspense with 
prayer to Zeus, to Apollo, to Hermes, to help the conspirators. 
The song rises at the close to a note of triumph at the deliver- 
ance which is coming (820), and ends with a grand verse bidding 
Orestes drown her cry of ' Child ' with the cry of ' Father,' and 
' uplift the heart of Perseus ' to slay this accursed Medusa 
(830-2). 

The last stasimon is sung (955-972) after the murder of 
Aegisthos, when Orestes has jilst gone in driving Klytaemnestra 
before him to her death. It is, as we expect, a song of triumph 
over the accomplishment of Justice: Justice, 'the true daughter 
of Zeus,* who came of old to Priam's sons [as we, the Chorus, 
know to our cost] and has come now in these t^vo lions, tavo <war- 
gnds, to the house of Agamemnon : Justice whom Loxias has 
fetched back after long delay. The light has come, arise, ye 
fallen house ! 

At the close of all, when Orestes is driven forth before the 
approach of the Furies, the Chorus in the hr'xQi Ex odos (1063- 
1076) commend him to the god's care, and recall the memory of 
the 'Three storms' which have passed over the house. First, 
the horrible feast of Thyestes : secondly, the murder of Aga- 
memnon: now Orestes the third — shall I call him Saviour or 
Fate ? how will it end .' 



We see, from the above review, that the position of the Chorus 
here with relation to the actors is the same as in the Agamemnon : 
they are as it were the Voice of the General Conscience. The 
note they echo all through is Justice. 

At first Tyranny is triumphant : Wait, say the Chorus, the 
b2 



XX INTRODUCTION. 

shed blood has never flowed away. Then the Avenger returns, 
and his first duty is to lament over his father's tomb : Cry aloud, 
say the Chorus, he will hear and help ! Then the plot is pre- 
pared : It is coming ! say the Chorus. Destiny is forging the 
sword on the anvil of Justice. And so, when all is over, we have 
the Triumph song of Justice, e/xoXe \i.kv AiKa. 

Just as in the Agamemnon, the Chorus are, so to speak, the 
mouthpiece of the Moral Law : and if their utterances in the 
former play are more impressive, it is chiefly because here the 
situation is simpler. In the Agamemnon the dark foreboding 
of the Chorus is contrasted with the triumph ; in the Choephoroi 
they have simply to encourage. In the Agamemnon the victim 
is himself bloodstained, there is a Fate awaiting the house : faith 
is obscured with perplexity : here, the sin is all on one side and 
sympathy is easy : it is Right, the Gods' word, and Retribution 
against Tyranny, Usurpation, Adultery, and Bloodguiltiness. 

It is true, the end is not yet. The vengeance, though just, and 
commanded by Apollo, brings inevitably a curse to the Avenger. 
The triumph is no sooner won, than the visitation of the Furies 
begins ; and in the very last lines of the play the note of the 
Chorus is changed from exultant joy to misgiving and perplexity. 
'How shall Calamity be laid to rest ' are the closing words ; and 
they form an impressive preparation for the Third Act of the 
great Drama, in which the question is answered. 

The Oresteia of the Later Dramatists. 

The same subject has been treated by Sophokles and Euripides 
in the two plays named Elektra. It is the only case where works 
of the three tragedians on one subject have survived ; and as the 
plays difl!"er widely from each other, a few words of comparison 
may be useful. 

(i) Sophokles. In the Elektra, as in the Choephoroi, Orestes 
returns, at the bidding of Apollo : Klytaemnestra has a dream, 
and sends offerings ; the lock is placed, and found, on the tomb ; 
Orestes, disguised as a Phokian, reports his own death ; brother 
and sister recognise each other ; the guilty pair are slain. But 
in the handling, and even in the character, of these common 
features the two plays diff'er fundamentally. 



INTRODUCTION. 



This is best shown by comparison in a tabular form : 



Choephoroi, 

Orestes returns with prayer and 
mourning. 



The lock is found by Elektra, 



Elektra hopes it is his lock. 



Ehhlra. 

Orestes returns cheerful and confi- 
dent amid the bright sounds and 
sights of daybreak. 

. . . by Chrysothemis a weaker 
sister whose nature is contrasted 
with the stern and faithful 
Elektra. 

Elektra is deceived with news of his 
death. 



The SoAoj is concocted with Elektra. i The 8($Aos beguiles Elektra. 

i 
Tlie oracle threatens penalties on ' The oracle prescribes simply that 
negligence. i he should do the deed alone. 

The dream is of the suckled sna^e. The dream is of Agamemnon's 

staff which took root and over- 
shadowed the house. 

The libations are carried by Elek- i The libations are brought by Chry- 
tra who prays, not. as bidden, for sothemis.whomElektra persuades 
her mother but for vengeance. j to cast them away, and offer her 

own poor offerings instead. 



Aegisthos is slain first. 



Klytaemnestra is slain first. 



The Chorus represent Conscience; I The Chorus represent common- 
they call for justice, urge the ' place prudence and consolation, 
vengeance, encourage the actors, l finding fault at fiist with PUek- 
and keep the Deed to be done tra's tvant of moJcration, but 
before the eyes of all. gradually drawn more and more 

I into sympathy. 

Besides the difFerence in spirit, Sophokles' play, not being one 
of a Trilogy like the Choephoroi, is a much more elaborate work. 
The conflict between Klytaemnestra and Elektra, the Recogni- 
tion, and the SoXos, are all much more fully worked out. There 
is much more presentment of character, one main point being 
the contrast between the weak Chrysothemis, disposed to yield 
to the tyranny, and the faithful Elektra : and another, the attempt 
(not wholly successful, though with striking dramatic touches) to 



xxii INTRODUCTION. 

humanise the guilty Klytaemnestra. And there is far more skilful 
elaboration of plot and scenic detail : the terrible dramatic irony 
of the close being perhaps the finest example of this effect in 
Greek Drama, Above all, there is no hint that the Vengeance 
involves Orestes in any guilt, or persecution of the Furies : once 
achieved, ' the house is at last set free ' (i 509). Yet the horror of 
the matricide is finely given in Orestes' answer when asked how 
the plot has sped : * Within — His ivell : if jipoUo's ivord be woell ! ' 

(2) Euripides. This version of the tale is an extreme (and in 
parts even a grotesque) specimen of the realistic drama. Elektra 
is married to a small farmer, in order to prevent her from getting 
any powerful help to avenge her father. The farmer is a model 
of virtue and modesty ; and one main theme of the play is the 
discovery of fine qualities in a man of humble rank. The recog- 
nition-scene contains a satire on the Choephoroi (see note on 
205) ; an old servant, finding the lock on the tomb, suggests 
to Elektra to try the three traditional signs (hair, footprint, dress), 
but she points out their absurdity. Orestes— who might just as 
well have discovered himself to his sister at first — is at length 
recognised by the old servant, who remembers a scar on his 
forehead, Aegisthos is slain at a rustic sacrifice by Orestes; 
Klytaemnestra by his sister, in the cottage, whither they have 
enticed her by false pretences. The play is wound up by the 
divine intervention of Orestes' twin-uncles. Castor and Pollux ; 
after sneering at Apollo's oracles, they ordain that Elektra shall 
be married to Pylades, and they foretell the persecution of Orestes 
by the Erinyes, their trial at Athens, their settlement in their 
Athenian sanctuary. To these last details — where the poet 
closely follows the Aeschylean Eumenides — he adds a new one 
of his own, that Orestes is to settle in 'an Arcadian city, by the 
banks of Alpheios, which shall be called by his name,' It is clear 
from this brief account, that the dramatic ideal had undergone 
an interesting and even startling change in the hands of Euri- 
pides : but the point of view is so different, that a more de- 
tailed comparison with Aeschylus' Choephoroi would be hardly 
profitable. 

Apart from the handling of the plot, the Aeschylean diction 
and thought is fully as noticeable here as in the Agamemnon, 



INTRODUCTION xxni 

We have his dramatic irony in Klytaemnestra's welcome— every 
word having a terrible double meaning for the audience (668) : 
we have his loaded and imaginative phrasing^: we have his 
unapproachable grandeur and solemnity in speaking of Justice — 
in such phrases as AtKos S' /pciSerai nvdfirjv, -rrpoxaXKevfi S' Aitra 
(pdiryavovpyos — or of atonement, as ri yap XCrpov nea-ovros alpnTOS 
TTi8oi ; we have his terse dignity in such scenes as Orestes' short 
and sharp conflict with his mother: his concentrated passion in 
Elcktra's joy over the brother restored. On the bold but effec- 
tive use of homeliness in the motherly but incoherent old Nurse 
we have commented elsewhere. 

The Manuscripts. 

The authorities for the text of the Choephoroi are nominally 
three Manuscripts and a recension by Robortello. The MSS. 
are as follow : — 

1. M. the Medicean, in thfe library of Lorenzo dei Medici at 
Florence, written on parchment early in the eleventh century. 
A photographic facsimile of this MS. has been published by the 
Italian Ministry of Public Instruction^ : and a careful collation of 
it by Vitelli is given in Wecklein's edition of 1885. The begin- 
ning of the play is lost : the MS. begins at line 10, fragments of 
nine lines having been recovered from other sources. How much 
more is lost is unknown. 

2. G. Giielferbytatms, at Wolfcnbiittel, wi itten on paper in the 
fifteenth century. In this MS. the Choephoroi begins at line 10, 
and must therefore have been copied from i\I. after the loss of the 

' Thus murder is ' old and be.irs no children ; ' the house ' looks out 
from its veil with friendly eyes ; ' Orestes is a ' colt yoked in the car 
woe ; ' he ' climbs the hill of bloodshed ; ' the snake is ' anchored in 
swathing bands ; ' Time ' sits within till he has swept away pollution ; ' 
chances are 'dice with favouring faces ;' the conspirators are ' two lions, 
two gods of war ; ' and many more. 

* For those who have no access to the photograph, there is a good 
facsimile of a pnge of the Medicean MS. of Choephoroi in Dindorfs 
edition of Aeschylus, vol. iii. p. 140. A glance at this is better than 
pages of description, 



xxiv INTRODUCTION. 

leaves which contained Ag. ii6o-end, and the beginning of this 
play. 

[3. Ma rcianuj, once in the monastery of San Marco, now in the 
Laurentian library at Florence, written on paper in the fifteenth 
century, also lacks the beginning of the play, and is clearly a copy 
of M. : it is not here quoted.] 

Robortello, who edited Aeschylus at Venice (1552), professes to 
have used for the Trilogy ' a very old manuscript sent from 
Padua by Marianus Savellus.' There is, however, very little 
doubt that this old MS. was the Medicean itself. 

Of the other early editions, we know that 

The Ald'me 1518 used only G. for the Choephoroi. 
Turnebits 1552 used the Aldine. 
Victorius 1557 used only the Medicean. 
Hence the only original manuscript authority for the Choephoroi 
is M. 

In the critical notes the text of the Medicean as orig'wally 
ivritten is always quoted as M. But besides the original scribe, 
other hands appear in the MS. as follows: — 

1. A contemporary hand, easily distinguished, which wrote the 
scholia (or Greek notes to the text), the glosses (or explanations 
of words between the lines), corrected the errors and supplied 
omissions of the first hand, added (in the Agamemnon and 
Eumenides, and therefore probably in the lost pages of this play 
also) the Argument and Dramatis Personae, and occasionally 
inserted a query or a conjecture at the side. The corrections 
of this writer are important, as he evidently revised the work of 
the scribe, comparing it with another MS. : he was moreover 
clearly a more learned and careful person than the scribe. He is 
quoted always as m. 

2. Later correctors (14th or 15th cent.) who are occasionally 
referred to, and are quoted as m,. 

The Scholia. 

The date and authority of these notes are mostly unknown : 
but there is little doubt that the best of them contain fragments 

' See Moritz Haupt, pref. ad Herm. ed. 18^2. 



INTRODUCTION. xxv 

of learning about Aeschylus which can be traced back to the 
Alexandrine scholars of the three first centuries B.C. 

Their chief value to us consists in this : that as they often 
explain a different text to that which is by their side in the 
iNIedicean MS., they may, and frequently do, furnish evidence 
of an older and truer text than the MS. itself. In any case they 
are always worth considering. 

I have given in an Appendix a selected list of the main places 
where the Scholiast's note shows evidence of a better text than 
Med. I will give here one instance. In line 262 the Med. has 
these words, aTro a-fxiKpov davapias jj-eyav \ dofiov . . ., where davapias 
is rubbish : there is no such word. The Scholiast says dvvaa-ai 
dvoiKobofirjo-ni, ' you can raise up,' a note which enabled Turnebus 
to restore S' av apeias for 8cipapias, making at once sense and 
metre. This is a good instance of a certain emendation. 

The Scholia often had the same corruptions as Med. : see 
Appendix for a list of these jtoo. Their explanations are often 
wrong, and not unfrequently absurd, but sometimes they throw 
great light on difficulties. 

The Editions. 

The following is a list of the chief editions (a) of the whole 
seven plays, (A) of the Choephoroi. 

(a) All the plays : — 

1518 Aldine. 1 These give only the parts of Ag. found in M. 

1552 Turnebus. > In Aid. and Turn, the play is confused with 

1552 Robortello. \ Choephoroi. Rob. gives the two plays separate. 
1557 Victorius (Vettori). This is the first that gives Ag. whole. 
15S0 Canter. 1S28 Scholefield. 

1663 Stanley. 1831 Bothe. 

1745 Paaw. 1842 E. A. I. Ahrens. 

1746 Askew. 1847-79 Paley. 
1782 Schiitz. 1852 G. Hermann. 
1794 Person. 1852 Ilartung. 
1794 Portus. 1858 Weil. 

1S09 Butler. 1871 Merkel. 

1S23 Wellauer. 18S0 Kirchhoff. 

1825 Boissonadc. 1885 Wecklein. 
1827-69 W. Dindorf. 



xxvi INTRODUCTION. 

(b) Cl'.oephoroi separately : — 

1S19 Schwenk. 1857 Conington. 

1824 Blomfield. 1862 Davies. 

1833 Klausen. 1883 Paley. 

1840 Peile. 1883 Wecklein (Orestie). 

1840 Bamberger. 1891 Wilamowitz - Moellendorff 

1846 Franz. (quoted as W.-M.). 

1856 A. de Jongh. 1893 Verrall. 

In addition to the above, corrections are occasionally quoted 
from Abresch, H. L. Ahrens, Auratus, Casaubon, Dobree, Elms- 
ley, Erfurdt, Heath, Heimsoeth, Herwerden, Jacob, Knick, 
Lachmann, Lobeck, Ludwig, Martin, Merkel, Miitter, Murray, 
Scaliger, Schneider, Schomann, Seidler, Sophianus, Stephanus, 
Tyrwhitt, Tzetzes, and Valckenaer. 

I use the common abbreviation L. S. for Liddell and Scott. 
The first really critical edition was Turnebus' in 1552. In recent 
times the greatest editor is Godfrey Hermann. But the improve- 
ment of Aeschylus' text is due to contributions from very many 
scholars : no less than sixty-five names are quoted in the critical 
notes to this short play only. 

The Text. 

The text of the Choephoroi depends, as we have seen, on the 
Medicean MS. only. Wherever the reading of this MS. differs 
from that adopted, the fact is noted in the critical commentary 
at the foot of the page, and the name of the scholar who proposed 
the correction is given. Thus, line 20 ; — 

(KTTobwv Stanley : eV no8S)v M. 

means M. reads (k ttoSuj/, but Stanley corrected it to fKnoBcov, 

Occasionally, where M. is wrong, and G. (by accident or cor- 
rection) has the true reading, that MS. is quoted, as on line 219: — 

ficiTfv' G. : naarrev M. 

And sometimes G. is quoted where it has a different reading from 
M., which is a possible correction, but is not here adopted, as 
line 177 : — 

^p Scholefield : ^ M. : ?, G. 

Otherwise G. is not referred to. 



INTK OD UC TION. xxvu 

Where neither INISS. nor proposed corrections arc satisfactory, 
the passage is marked t, as 74, 131, &c. 

The following list of signs and abbreviations used in the critical 
notes may be convenient : — 

]M., the first hand of the Medicean. 

m., the second hand or corrector of the scribe. 

ni|, later hands. 

G., the other MS. described on p. xxiii. 

codd., both MSS. 

( ) conjectural additions to the text. 

[ ] words which should be omitted from the text. 

+ corrupt passage not emended. 

add., addidit. 

scr., scripsit or scripto. 

Translations. 

I have consulted two ti*anslations, IMiss Swanwick's and 
Mr. E. D. A. Morshcad's. The latter is by far the best, and 
I have occasionally quoted it with the abbreviation {Mon). 



XOH^OPOI 



AESCH. CHO. 19 



Ta Tov Spafiaros Trpoaccnra' 

'Opi(rrT]9 

IlvXdSrjs 

^opos 

'HXeicrpa 

rpo<f>6s 

KXvraipTJarpa 

AlyiaOos 

depdncov 



XOH^OPOI 



OPE5TH2 

*£pfi^ \06ri€ TOTfrn rzoTTcvur Kpon^i 
crairrjp yerov fun ^V}i4ia\6s r* axTtnytr**' 
iJKtu yap is y^ njrdc koI KaT(p\OfULu 

icXiWu", axoixnu. .... 5 

. . . xAoKOftor 'Ira\«j> dpesnjpior. 
Tor deiVe^ior 6e rdj«6c xer^TTtppioj" 

oW €^€Lra \iip' e-' 6c<^^ i'eK/x>f. 

oTei\ei yvratxir <pap€<Ta' fukay\i^iOis 

xpc'roi-cTQ; voia ^^fupopa ■zpoaando-ut; 

Torepa bofiouri "zfjfjJi x/xxncfpci re'or; 

^ xarpi r»^ rdcrfi' freucturas n'\a) 

Xoas ^epcaVaj I'^prdpois ^iXiy^uira; 15 

avddr ■zvT oAAo' kcu yop 'HAc'icrpaj' doKM 

1-9 in codd. desunt : 1 -5 ex ArisL Rsji. 1 1 26. 1 1 7a supp3evit Canter : 
6-7 ex schoL Pind. Pyih. iv. 145 SLan'.ey : S-o ex schoL Eur. A]c 784 
Dindorf Post 6 interpungtnduns \idii M-jrray 9 iic^tofta 

Disdorf : imo^fkr scbol. 10 hinc icdpiun: code. M G ta add. 

Dindorf 15 ..♦iV.-»-.a-3 Casaubon : ut^Xiyi-ajr^y IS. 

19* 



AI2XTAOT 

o-rei'xety d8eA^7;i^ Tip iixip nivOei Xvypu) 
TTpiiTOVcrav. w ZeC, bos p-f. ricracrdai fxopov 
Tiarpos, yevov 6e o-vju/xaxos diXcov ip.oL 
YlvXdbrj, (TTa65)p.ev kK-nohm>, ws av (ra<p(i>s 20 

ixd$(i> yvvaLKU)V ijrts rjbc TrpocrTpo-nri. 
X0P02 

laAros ck bojxutv €J3av [.^"'"P- "• 

)(0a9 TT/OOTTO/XTTOS 6$^V\€lpL (TVV KTVTTdi, 

TrpcTTei TrapTjls (f)OLViot.s dp.vyp.ols 

ovvyos dkoKL i>€0T6p.(o, 25 

8t' atwi^o? 8' ivyp.o'icn jSoa-Kerai K^ap. 

Xtvo(f)d6poL 8' v(f)a(Tpi.dT(ji)V 

kaKibes ecpkabov vtt' aKy(.(TLV, 

TtpoarepvoL arokpLol 

TreirAcoy dyekda-TOLS 3° 

^vp.<popais TT€TTkriyp.4v(ji)V. 

Topbs yap opOoOpi^ (p6i3os, [air. a. 

b6p.(av dv€Lp6p.avTLS, e^ vttvov kotov 

TTvioiV, diopovvKTov dp.fi6ap.a 

p.v\6d€v eAa/ce Trepl (pdjScx), 35 

yvvaiK^Coicriv €V b(ap.a(nv ftapvs ttltvoov. 

Kpvrai (re) T(ovb' oveLpdroov 

deoOev (kaKov inreyyvot 

p.epi.(f)e(Tdat tovs yds 

i4p6ev TTepLdTjp.o)s 40 

rots KTavovrri r' ey/coreti^. 

Toiavbe ydpiv dydpirov [j^"^?' ^' 

20 fKTToSdv Stanley : t'/c iroSuv M 22 fffav Dindorf: tfir) G: 

f . . . ceteris paenc deletis M (conicitiir (firiu fuisse'i 23 (tvi' 

KTvircj} Auratus : <TvyKv.wi correctiim in avyKvirrcin M 24 (poivlois 

a/xvy/dols Stanley : <poivt(r(Tanvyfj.o7ff M 26 5' IxryfxoiiTi Canter : Bioiy- 

fiolffi M 32 6pe6epi^ fd^os Heath : (po~i^o<T 6pe69pi^ M 35 cAoxe 

(/c€ supra scr. m) M 37 re add. Porson 38 (Aixkou Turnebus : 

(\axov M 42 axdpiTov Elmsley : i^^P'*' ^ 






XOH^OPOl 

aiTOTpOTTOV KaKQ)V, 

ioo yala ixala, 

fxatfxiva jx laWet 45 

bv(r6€09 yvvd. (f)o(3ov- 

fxai. 8' €770? Tob' eK/3aAea'. 

TL yap KvTpov irecrovTos alfxaTOS TTtbot; 

lo) irdvoL^vs ka-Tia, 

icb KaTa(TKa(pal So'/xcor. 5° 

avriKioi j3poTO(TTvy€t'i 

bl'6(f)0t KaXvTTTOVCTL boflOVS 

beo-iTOTc^v OavaTOKTi. 

crijias b' onxaxpv dbafxarov [dvT. ft. 

CLTTokepLOV TO TTplv 55 

bi b)T(i)V (^pevoi re 
bafxCas TKpoXvov \ 

vvv d(f)L(rTaTaL. (f)oft(i- 
Tai bi rt?. TO b' (vTvxiu' 

Tob' kv ftpoTol'i 6i6s re Kal O^ov Tikiov. ^° 

^poTTTj 8' €7ri(rK07ret bUas 
ra)(eta tovs piv er 0aet, 

TO, 8' €V pL€TatXH-iiO (TKOTOV 

/LceVet xpovCCovTUi a^^ [ftpv€i], 

TOVS 8' cLKpavTos ex^t vv^. ^^ 

8t' aip.aT U-nodivd' vtto x^oyos Tpo(j)OV [(TTp. y. 

TiTas (j)6voi Tre'TTJjyey ov btappvbav. 

8taAyr/s (8') aTa biacjyipa 

Tov OLTLOi' iravapK^Tai vocrov ftpV€LV. 7° 

45 fj.' taWu Pauw : ^i\A€? M 47 ^K^aXuv Jacob : iK^iWav M 

48 A.uTpor Canter : \vyphy M Tre'Sy M 54 080^x0x01' Herinann : 

aSdixavTov U 56 4)f)€j'Js Victorius : </)peV6(r M 60 $poTo7(Ti M 

6r 5i/(as Turnebus: 5i/cav M 62 tous c scholio Tiirncbus : 

To7<T U 64 xpoi-i^oi/Tas Dindorf: ^(ooviCovT U 3pi'/et sccliisit 

Dindoif 66 iKiroeivQ' Sclnitz : fV7ro9«f M 68 5' add. Schutz 

Post 69 iterum v. 65 legit M, eiecit Heath 



AI2XTA0T 

diyovTL b' ovTL vvix(piK^v cboiXCoiV \_avT. y. 

CLKOS, TTOpOL T€ TTCLVTeS eK JXICLS oboV 

■t^o^7n biaivovT^s Tov xepofxvo-fj 

+ (bovov KaOaCpovTes lova-av arav t. 

ep-ol b\ {avdyKav yap ap.(f)LTrTo\iv [eTTwS. 75 

) '7 Oeol TTpo(n]V€yKav' (k yap oIkoov 

irarpi^cov bovXiov <(/x')> iaayov ala-av,) 
biKaia Kal p.i] biKaia 
TTpi-novT (ttTr') apxas (iiov 

^La (f)p€vu>v alv€(rai TTiKpov ^° 

(TTvyos Kparovai], baKpvco 8' v(f) elfxaTOOV 
fxaratoLo-L becnroTav 

rvxais, KpvcpaLOLS irivOecnv TTO^^vovix^vr]. 
HAEKTPA 

bpn^al yvvalKCS, bcopLaroov ev6/]ixoi'ei, 

eirel Trdpeare rrjcrbe TTpocTTpoirris ep.ol 

TTOfXTTOi, yivecrde Tu)vb€ crviiliovXot -nipi' 

TL (f)5> -yiova-a Tafrbi Krjbeiovs x^*^^' 

TTws ev(f)pov' eiTTO), 7[u>s KaT€V^a>iJ.aL Trarpt; 

TTOTepa kiyovcra itapa ipCXrjs ^tAw cpepetv 

yvvaiKos dvbpi, rrjs e/x^s }J.y]Tpos irapa; 9° 

Tuyvb" ov TrdpecTTL Odpcros, oib' exw tl 0(3, 

)(^iov(ra Tovbe irikavov kv TVjxIico iiaTpos.. 

1] TOVTO ^dcTKOi TOVTTOS, 0)5 VOjXOS ^pOTOLS, 

€(t6\' avTibovvai roicri TripiTTOva-Lv rdbe 

(TTecfyr], bocriv ye tu>v KaKu>v eira^Cav; 95 

7/ a-ly^ a.TLp.oo'i, co(nT€p ovv OTrwAero 

71 0Ly6i/Ti Scaliger : o'iyovTt M 73 Sialyovres Lachmann : ^a'l- 

vopTi(T M 74 corrupta varie tentantur : fortasse Ka.0apaioi fiooiaiv 

(K\vffav fxarav 77 fi add. Conington 79 air' e scholio add. 

Frey 80 $ia (ppfvwv alvfffai -KLKphv II. L. Ahrens : j8ia (pepoixevwv 

aiVeVai iriKpSiv (ppipwv M iriKphv scliol. 83 Traxyovufvn Tiirnebus^: 

Traxvovaff-nv M 87 rl <pw H. L. Ahrens : rixjxf 5e M 88 Karfv- 

^waai Turncbus: Kanv^o/jiaL M 91-2 post 95 transponit Weil 

94 icrOK' Elmslcy : iff Bamberger : lar' M 95 yt Stanley : re M 



85 



XOHcfjOPOI 

TtaTi'jp, Tab' (KX^eaaa, yaTTOTov \V(tlv, 

(TTeCxoi KaOdpfxad' o)^ tl^ eK7r€ju\//-as TraAty 

biKovcra Tev)(^os acrrpoipoLaiv 6fxp.a(nv; 

TTJa-b' ecrre jBovXij?, w (/)tAat, jueratrtai' loo 

KOLi'bv yap ex^os iv boixois vop.C^op.ei'. 

1X1] KevOer' evbov KapbCas (f>6l3(o tlvos. 

TO p.6p(Tip.ov yap Tov t (AevOepov /ueVet 

KOt TOV TTpos aWrjs bea-TTOTovpifvov x^po'?. 

\4yoLs av, el tl TO)vb' exot? inrepTepov. 105 

Xo. albovp.ivrj ctol [Soopbv ws Tvp.jiov iraTpos 

\e^u), Ke\(V€ig yap, tov (k (f)p€vbs Xoyov, 
HA. Aeyots av, iocnrep fjbecTco Tacfiov nraTpos. 
Xo. (l)6i.yyov \iov(Ta Kebva toIctw ixx^poaiv. 
HA. rtWs 8e to'vtovs tQ^v (jiikajv TTpocevviiroi; no 

Xo. T7pu>Tov p.ev avTi]v \waTL<i XiyLcrOov oruyei. 
HA. 6/xot re Kal aoi Tap' iTTiV^oopLaL Tabe; 
Xo. avTi] av TavTa p-avdavova 7/877 (f)pd<raL. 
HA. rtV ow eV dWov Trjbf irpocrTLOo) (rrdrrd; 
Xo. p,epvrj(T' 'OpeWou, /cet OvpaXos ((t6' opioos. "5 

HA. €i! roi'To, Kd(f>pevu)aas o{rx iJKKTTa p.€. 
Xo. rot? atrtois ri'i' roC (f)urov pfprijpivr] 
HA. rt (^w; bLbaa-K direLpov (^i]yovp.evri. 
Xo. f A^etf rty' aiTot? baip.ov' 1) ^poTwv TLva 
HA. TiOTcpa biKaa-Tip' 7/ bLKrjcfiopov Ae'yets; 120 

Xo. cittAws rt (fipa^ovrr', orrTL'i avTaTTOKTevH, 
HA. Kat ra?ra povcrTiv evcrefiri OeStv irdpa; 
Xo. TToi? 8' oil rw ex^por dvTapei^eadai KaKols; 
Ha. Kyjpv^ pLiyiCTTe tCw dvcu re koi Kcirco, 124 

\d.prj^ov,y 'Eppij x^oVtf. Kripv^ai (p.01, 124a 

roi/j y?')s evepOe baCp.oi'a'i kKv^iv epcn 125 

97 eVxeofra Dindorf : eKXfoyo-o M 105 exf is Jacob 109 (ceSro 

Hartung : (reyu;'a M 112 (irtv^u/xai Dobrce : firtv^ofiai M 

117 j'Ci' M 120 A.«'7a); Weil 124 hiinc v. post 165 in M 

scriptum hue transtulit Hermann /jLtyia-re Stanlcj' : fjnyiffTi] M 

124a &pr\^ov add. Klauscn 



A12XTA0T 

evX.*^?, Ttarpuxov Sco/xarcoy iiTLcrKOTTovs, 

Kol yaiav avrriv, r) to, jravra TLKTerai., 

6p€^a(rd T avdis Toivbe Kvp.a Xa\x^avii' 

Kayo) xiovaa rda-bc ^ipvijias j3poTols 

Xeyo) KaXovcra naT^p , ' ciToiKTeipov t e/xe '3° 

^iX.ov T 'OpicTT-qv, t TTw? dva^op.€v 8o'/iots. 

TT€TTpaix4voL yap vvv yk ttcos oXdap-tQa 

Trpoi Trjs T€KOv<rris, avbpa 6' dvTrjWd^aTo 

AtyLcrdov, oa-irep (rod (f)6vov jxeraiTios. 

Kayo) ix€V dvTibovXos' €k be \prjixdTO)V i35 

(j)evy(i)v 'OpeVrrjs ((ttlv, ol b' VTrepKOTTOiS 

(V Tolai (Tols TTovoLci )(\L0vcnv fxeya. 

ckOe'iv 6' ^Opia-Trjv bevpo avv tvxii tlvI 

Karevyop-ai croi, Kal crv kXvOl [xov, Trdrep' 

avTrj re /xoi 80s a-oxppovecrTepav ttoXv 140 

jaTjrpos yevkcrOai X^^P^ ''"' ^vc^j^^f^T^pav. 

rjiMV pi.€V evxo-s rda-be, rols b' (vavrCoLS 

Xiyo) (jyavijvaC aov, irdrep, Tip.dopov, 

/cat Tovs Kxavovras dvTLKaT$aveXv Sik?;.' 

ravT iv p.4<T(^ TL0r}p,i Trjs KaXrjs dpd'i, ^45 

KeivoLS Xkyovaa Tr\vbe ti]v KaKi]v dpdv 

' Tjpiiv be TTopLTTOS 'icrOt tQv ecrOKGiV dvco, 

(Tvv deoXcn Kal yi] Kal 8tK?/ vLKrjcpopif' 

roiatcrS' ctt' etixdis rdab^ iTTLcnTevbco \oas, 

vp.as be KcoKvrois eTravOiCeiv v6p.os, 150 

Tratara tov Oavovros e^avb(t)p.evas. 

Xo. i'ere bdKpv Kavaxes oKofxevov 
6\op.ev(o becTTTOTq, 
Trpos epvp.a robe KaKCti' Kebi^iav t 

126 ^wfiarwv Stanley : 8' ofiixaTwv M 131 corrupta necdum sanata : 
<pS>s T &vw\iov iv S6/iiois anon. : us ava.^co/x(v Paley 132 ircirpafMfuoi 

Casaubon : -n-firpaypLfroi M 136 <pevya>v Robortello : (pfvyav M 

137 TrtJroKrt Robortello : Trownnr M ^ueya Turnebus : /xeraM 144 

S'lKTi Scaliger: 5tKr;«/ M 145 KaArjs Schutz : AcoKfjir M : vv. 145-6 suspecti 



XOH^OPOI 

OLTTOTpOTTOV OyOS aiTCVX^TOV '55 

KiXV\iiv(iiV xoav. k\v€ be ixol, KXve, 
(T€l3a9 0} biCTTTOT, (^ ciyiavpai c^pevos. 

OTOTOTOTOTOTOroi, 

trco Tt? hopv- 

(r6ein]S avi]p, avakvTijp hop-oyv, ^^o 

"^kvOlkol t (V x^poiv iroKivTov 

ev fpyi(> /Se'A?; 'TTLTrdXkajv Api]9 

crxebid t avTOKooira vutp-m' ^t^rj. 

IlA. ex^i /xet' V^i] yaiTOTovi xoa^ irarr^p' 

I'iov 8e \xvdov Tovbe KOWMVi^a-aTe. 165 

Xo. Xeyot? dv opxeLTai be Kapbia <^o'/i(i). 
[lA.. 6p(3 Toixalov rovbe jSocrTpvxov Ta.(f)(o. 

Xo. TLV09 TTOT dvbpOS, Tj (SaOv^doVOV KOpt]^', 

HA. ev^vp-jioXov rob' ecrrt iravTi bo^daat. ^7° 

Xo. TTco? ovi' TraAata irapd vecarepas jxaOoi; 
HA. oi;/c ecTTLV oorts" 7rA?/i^ e/xoC KeipaiTO vw. 
Xo. exdpol yap ols irpo(Ti]Ke -nevdrjcrai. Tpi\i. 
HA. Kot ju,?V' 08' eo-rt Kopr' tSeir opiOTTTepos. 
Xo. TToCaL'i edeipais; tovto yap deXco fxadelv. i75 

HA. avToia-LV i]p.lv Kapra TTpoo-fpepijS Ibelv. 
Xo. pLcov ovv 'OpecTTOv Kpv^ba bcapov riv robe; 
HA. juaAtor' eKeivov ftoa-Tpvxoi'i TrpoaeibeTai. 
Xo. Kat TTws e/veiros 8e?p' eT6kp.i](Tev p-oKelv; 
HA. eT7epi\lre x<^^''"'F KOvpLp-rjv X«pt^ Trarpo's. 180 

Xo. ot/x 7/o-''"o^ evbuKpyrd p.01 Aeyet? T(i8e, 
et Ti](Tbe x^P^^ p/TTore \|/aJ(Tet 77081. 

155 iyoy e scholio Victoriiis : &\yos M i57 fff'^a^ ^ Turncbus j 

(76/3a(ra> M 159 ^ru tis Bothe : Iw riff M 16 1 2Ku0(Ka t 

Robortello : (rKvOiraT r?(r supra i scripto^ M 163 |i>»j e schoho 

Pauw : jSeXrj (c praeccd. v.' M 164 ^aTrtiTous Tiirnebus : oiro rov M 

Post hunc V. in codd. Icgitur 124 167 &v- opxt'^rai Turncbus: 

ai'opxt'iTai M 172 Kfipairo Turncbus: Ktiptro M 177 'I" 

Schokfield : ^ M : 7) G 180 xo-'^-^V Victorius : koI t7> M 



AI2XYAOT 

HA. /ca/xot 7rpo(T€<TTri Kapbias KXvbdviov 

\o\i]s, kitaicrOriv 6' w? hiavraiio /SeAet* 

e^ oixixdrcov he h^rioi irtTrrouo-i \xoi 185 

crrayoi'es cKppaKToi. bva-)(^Lixov 'nXr\jXfxvpiho'i, 

'nkoKap.ov Ibovcrr] rovbe' tt&s yap kk'niau) 

a(TTS>v Tiv aXXov rrjabe becnTo^etv (pofiiqs; 

dAA' ovbe pLTjv viv i] KTavova iKfiparo, 

e/xr; be p.i]Tr\p, ovbap-SiS e7ru>vvpLOV 190 

(f)p6viip.a TTaiaX bvcrdeov Trenapi.evi). 

eyo) 8' oTToo? pkv avTLKpvs Tab' alvecru), 

elvat ro8' ay\di(Tp.d p.01 tov (pLXraTov 

j3poT(av 'OpecTTOv — aaLVOixat b' vtt' eXiribos. 

(f)ev. 

eW ei)(e (()U)Vi]v evc^pov dyyekov btKrjv, 195 

OTTCos bi(f)povTi,^ ovaa ju,?/ '/cti'Ufrcro/x?;i', 

aAA' ev '(ra(f)i]veL Tovb' d-no-nTvcrai ttXokov, 

elirep y a7r' e\6pov Kparbs r/y TeTfxr\p.evoi, 

V ^^yy^i''/? ^v eiX^ cTVjXTievde'iv ejxoi 

dyaXp-a rvp-fiov Tovbe Kal Tip.i]v irarpos. 200 

ciAA' (Iboras piev tovs Oeovs KaXovp-eda, 

oloKTiv ev yeip-SiCTi vavTiXcov bUriv 

arpoliovp.ed'' el be \pi] Tv^elv crctiTi-jpias, 

apLLKpov yevoiT av (nrepp-aTos p^eyas TTvOpujv. 

Kal jU7)y (TTifioi ye, bevrepov TeKp.ripiov, 205 

TTobwv 6p.0L0L Tois t' ep.o'iatv epi(f)epeLS — • 

Kal yap bv ecrrov Twbe TTeptypacfia iroboiv, 

avTov r' eKed'ov koI crvvep.-nopov tlv6<s — • 

TTTepvat Tev6vTu>v 6' VTroypacliol p.eTpovp.evaL 

els TavTo (Tvp.jia(.vov(Ti rot? e/xois a-Tijiois. 210 

irdpecTTi 8' a)8ts Kal (f)pevG>v KaTa<p6opd. 

184 (iralffdriv Canter : firaldTjv M 194 aaiyofiai] (rat alia manu scr. M 
ig6 fxrj'Kivv(r(r6fj.r]vTurnehus: fxT]Krivvv(T(ro/nr)v M 197 Va^Tji/ei Paley : 
(Ta(prii'?) M 201-4 post 211 transponcre volt Weil 202 S'iktiv 

Aldina : Si'ktji 'tji in rasura) M 206 Trodwv Tiirnebus : ttoSwu 5' M 



XOH^OPOl 

Op. (vyi^ov TCI XoLTrd, rot? ^eots reAerr^o'pous 

evxas iirayyeWova-a, Tvy\aveiv KaXS>s. 
II A. €7ret TL vvv eKart. baifjiovoov Kvpca; 

Op. eh d\f/LV 7/Keis Stvnep k^riv\ov TrdXat. 215 

HA. Kol TLva (TvvoLaOd fxoi KaXovixivij jSporwi'; 
Op. crvvoLb' 'Opea-Trjv ttoXXcl (t eKTTayXovfxevriv. 
HA. KOL TTpb'i TL brjTa Tvyxdvco KaTevyp-aToov; 
Op. 08' etjut" plI] p,aTev €p.ov puKkov (f)C\ov. 
HA. aAA' rj bokov tiv', S) ^eV, dp.(})L p-ot TrAe/cets; 220 

Op. aiiTos Kad' avTov Tcipa p.rj)(^avoppa(f)(a. 
HA. dAA' iv KaKoicn Toh ep-ols yekav ^e'Aet?. 
Op. Kav rot? cp.o'is dp', eiirep ev ye rot(n o^ot?. 
HA. w? ovt' 'Ope(rTr]v Tap" eyco ae TrpovvveTTU); 
Op. avTov piev ovv opuxra bv(rp.a6€is ep.e' 225 

Kovpav 8' Ibovtra Ti]vbe Kr]beCov rpt^^o? 

lXVO(rKOTTOV(rd t ev <ttIj3olg-l rots e/uots 

dve'nT€pa)6ri9 /cd8o'/cei? Spdv e/xe. 

(TKexj/aL Kop.!] TTpoa-Oelcra [i6(rTpv\ov rpi)(o? 

rravrT/? dbe\(()ov (Tvp.p.eTpov rw o-oi Kapa. 230 

tSou 8' v(f)a(rp.a tovto, o-tJ? epyov \ep6s, 

(nrddrjs re irXriyas ?}8e 6i]peiov ypa(Pi]V. 

evbov yei'ov, x<^P? ^^ /^^/ 'KTrAayf;? (fypevas' 

Tov^ (^tArdrou? ydp otda I'wi' oi'ra? inKpovs, 
HA. oj (f)i\TaTov peXr]p.a buip-aaiv iraTpos, 235 

baKpVTOS cAtTI? (TTTeppLaTOS (TO)TripLOV, 

oAktJ TreTTOt^o)? 8(o/x' draKr7;o-ei Trarpo'?. 
CO Tep-nvov oppa Tecrcrapas p.oipa'i e\QV 

215 ^^Tjuxo" ^ot)0'"*-C"o ■ ^Itjvkoi; M 217 ^/c7ra7\ov^eV7j»' Robor- 

tello : ^Knay\ovfj.(irri(T M 219 fxartv' G : fxaarev' M 221 rilpa 

Dindorf : rappa IM 223 j/xors dtp" Turncbiis : ifxoiaiv M 224 rSp' 

Murray: to5' M 225 o5r Turncbiis : vvv M 226-30 in codd. 

sic leguntur : 226, 228, 227, 230, 229 : ordinem mutavit Hermann 

229 (TK('^ai K6fj.Ti Hartung : ffKtrpaiTo fxij M : a-Kt-^ai To,uf) Turncbus 

230 <Tv/j.fj.fTpov Scliiitz : avuntrpov M 232 TjSt Turncbus : tla 
Se M dripftov Bamberger : Oripiov M 233 jutj 'Kn\ayris Tur- 
ncbus : firjKirKayiri M 



AI2XTA0T 

ejoior TTpocravbav 8' eW arayKaioos e'xov 

TtaHpa T€, Kal to ixrjTpbs is ere /;xoi peTrei 240 

a-TepyrjOpov ?) 8e iravbCKios kx6aip€.Tai' 

Koi TTjs TvOeia-q'S vrjkeS)'} opiocnropov' 

TTioTo? 8' ab€k(f)bs i)(t6\ e/xoi (re/3as (f)epoi)V' 

jxovov Kpdros re Kat AtK?] ot)i' rw rpCri^ 

TtavTOiV jxeyCcTTU) Zrjvl avyyivoiTo crot. 245 

Op. Zeu Zew, decopos Tcavbi TrpaypLaTcov yevov' 
Ibov be yivvav evvLV alerov irarpos, 
OavovTos €V TrXeKTala-L koI (nteipap.a(n 
heLvrjS k\ibvr]s. Tovs 8' aTT(x)p(f)avL(rp.evovs 
vrjcTTis TTte^ei At/xo?* ov yap ivreXels 250 

Oripav irarpc^av TTpo(r(f)ipei.v (rKrivj]iJ.a(nv. 
ovToo 8e Kajue Trjvbe t, 'HAeVrpar Xeyco, 
Ibelv TrdpeoTi (rot, irarpocrrtp?/ ywoy, 
afx(f)(i) (})vyi]v €yovT€ ti]v avTi]v b6p.oiV. 
Kol Tov OvTTJpos KaC (T€ TLp.S>i'Tos p.iya 255 

irarpos veocrcrovs Tov(rb' airocfideCpas TTodev 
e^ets ofxoCas x^'po? (vOoivov yepas; 
ovT aUrov yevedX.' aTT0(f)6€ipas, irdkiv 
irepLTreiv e'xots av cn]p.aT evTnOrj ^poroi'S' 
OVT dp^iKos crot TTas ob^ avavdels TTvOfxriv -"60 

^(np-ois api]^€L f3ov6vTOLs h' i]p.a<nv. 
KOjLtt^', d-no o-jxiKpov 8' av apeias p.iyav 
bofxov, boKovvTa KapTa vvv TTCTrrcoKeVat. 

Xo. Si TratSes, cb (ro)Trjpes ecrrtas Trarpos', 

<rtya^', ottcos /^t^ Trevcrerat rts, S) TeKva, 265 

yAwcro-Tjs \dpLV 8e Trair' aTTayyeiXi] rtiSe 

244 /toVoi'Turnebus : fiSvocr M 245 <roi Stanley : /uot M 246 -rrpay- 
ixarcov Robortello : irpyiyiidruiv M [error ex tj supra scripto ortus, 

tamquain irriixaTcov indicantis] 247 y4vvav fvvtu Turncbus : y(v- 

vaviv M 250 eVreXeiS Pauw : fPTeXycr M 251 9r)pav -irarpcfiav 

c scholio Robortello : Bripa irarpcfa M 252 Ktyoi Aldina : iyia M 

257 ivdoivov G : etjevvov (01 supra sen m" M 259 fvirtidrj M U supra 

(I scr. m) 261 eV VifxatTiv Turnebus : iffi/xaffiv M 262 5' &»/ 

Spetos c scholio praeclarc Turnebus : Bavaplaff M 



XOH^OPOT 

Trpoj roi/s KpaTovi'Tas' ovs' tSot/j,' eyw Trore 
^ai/o'yras er Ki]KLdi Tncrcnfipd. <^Aoyos\ 
Op. oi/rot TTpobuxrcL Ao^lov jueyao-^frT/s 

Xp)?o"/jios /ceAei^oji' roVSe Kivhvvov irepav, 270 

Ka^opOia^MV TToWa kol Suo^et/xe'pous 
aras t^c/)' ?/7rap Oepp-bv i^avbcapLevos, 
el p-i] /xeret/x6 rov Trarpb^ tovs alrCovs' 

TpOTTOV TOV aVTOV ai'TaTTOKT€U'aL \4yoiV, J 

aTTOxpilp-o-TOLcn {ry/xtat? ravpovpLevov tArvf^ I '^ '"^^y ,^ 

avrof 8' €<pa(TK€ ry (/)t/\?/ V^uxf/ '''"^^ '>^ '^ - 1/ 

TLcreLV /x' exP^"^*^ TToXXa bva-repTrrj xa/ca. /t^'**** '^^ ) 

TO, p.€v yap e/c y?Js bv(r(f)p6vu)V p.rji'Lp.aTa 

fSpoTols 7n(f)av(TKU)i' eiTre, ras 8' alvcov voaovs, 

aapKUiV kirap.jiaTripa'i ayptais yvdOois 280 

Aetx^l^'<^S' e^icrOovTas d.p\aiav (jivmv 

Aeu/cas 8e Kopaas 77)8' iiravTiWetv vocrut' 

aAAaj r' €(f)(av€t Trpocr/joAa? 'Epti'vajy 

€K Twy TTaTp(oOi)v alixcLToov TeAoD/xei^as* 

TO yap (TKOTiivov TO)V h'(pT4pu>v /Se'Aos ^''--^ *^^ ^ 

€K TTpOaTpOiraKiiV eV yevei TreTTTOiKOTOiV, ' , "-^"^ ""^ I , . 

KttL AV(T(ra Kat p.araLO'i ex vvKTcai' (popoi i*^w\<:ic..* L^ v-e^ 

opctivra XapiiTpov iv (tkotco voop-iavT oippvv 

KLvel, Tap6.(T<rei, koL Stw/ceo-^at TroAecos 

XaAK>]A(ira) ttkaa-Tiyyt kvp.av6\v bep.as. 290 

KOL TOL<i TOLOTJTOI.S OVT€ KpaTjjpOS P-ipO^ 

(Ivai, fxeTaa-xeiv, ov (pLXocnTovbov XijSos, 
(icopun> T aTTeipyew ov^ bpoop-evriv Trarpo? 
p.rji'LV' bexeaOaL <(8'^ ovre (TDAAveii^ two.. 

269 of/TojTurnebus: oCti M 271 Kd|oflpioj,'a>;'M 274-96 iniuria 
suspecti 278 ^Tivijxara Lobeck : /xftKly/j-ara M 279 5' alvwv Her- 
mann : 5* vail' M 281 Aeix^t'os Rlomfield : Aix'^t'or M 282 iirav- 
TfWeiv Robortcllo : tiravTfWft M 283 t' 4<pwvfi Auratus : re 
<pwvf7 M Post 284 in M legitiir v. 288, quem illiic transposuit 
Hermann 291 Kparripos Robortcllo : Kparephs M 294 S' add. 
Hermann ^rasura in M) 



/v— ^>A 



AI2XTAOT 

■navTOiV 8' aTi}j.ov Ka(f)LXov dinger k^lv XP^^^ ^95 

KUKOiS rapLx^vdiVTa 7TaiJ.(f)6dpT(^ /xopo). 

TOLolcrbe xprjcrixo'ts apa XRV TreTTOt^erat; 

Ket fxi] TTCTrot^a, Tovpyov ecrr epyacrTiov. 

TToAAot yap eis ey (tvixttltvovo-iv 1'yu.epot, ^'V*' 

^eoC r' e^erjuat koI TraTpbs tt4v6os fxiya, 300 

Ktti Trpoj TTie^et xpr\p.aT(av axrjvia, <>^'f t^-^ V / 

70 /17; TToAtras eii/cAeeorarovs' jiporoiv, 

Tpoias avaa-TaTrjpas evbo^u) (f)pevC, 

bvoiv yvvaLKoiv c58' virrjK.oovs TtiKuv. 

^TjAeta yap <ppy]V' ei be p.i], rax eicrerai. 305 

Xo. dAA' w /xeydAat Motpat, Al6$€V 
TTJbe TeAeurar, 

?; TO bUaiov pLfTafiaCvd. 
avrl jjikv ^xdpas yXda-crrii ^X^P" 
ykS>(T(Ta reAeicr^w Tovcfy^iXopLei'ov 310 

Trpdcraovcra Alkt] p.iy' durtt* 
diTt 8e 7T\r]yrj^ (f)OVLas (fiOvCav 
'Kkriyi]v Tiv€T(o. bpdaavTL iraOeiv, 

rpiyiputv p.vOo'i rdbe (poovei. 314 

Op. 6) Trdrep alvoiraOis, tl aoi [^^P> o.. 

<f)dpi€vo<i ij TL pe^as 
Tvxotix hv iKaOev ovpCara^, 
evda (T €Xov(nv evvai; 

(TKOTCO (f)doS dvTLpiOL- 

pov x^P'-'^^^ ^' o/xoicos 320 

KiKK-qvTai yoos evKXei]^ 
T^poaOobop.oL'i 'ArpeiSatj. 

^97 Spo Stanley : &pa M 299 ffv/xirirpovcrtv M : (rvfiiriirrovtriv m 

301 irpbs irieX*' Abresch : irpoffirU^a M 306 yuorpe, ot supra scr., M 

Chori notam addidit Robortello 311 S/kt/ yue^' avrdrnG : hiK-qu 

fifyavri M 315 Op. add. Turnebus aiyoiraBfs e scholio Hartung : 

alvSirartp M 317 tKoefi/] wa^ej' M, e supra scr. m 319 avri- 

HOipov Erfurdt : IffOTifxaipov M 



X0H*0P01 

Xo. T^KVOV, (l)p6l'l]lXa TOV [P"''P' H- 

$av6vTos ov Sajuci^et 

TTvpos [r]] jjLakepa yvdOos, 325 

<f)aCv€i 8' v(TT€pov opyas' 

OTOTV^^Tai 8' 6 OviJCTKCOV, 

avacpau'erai. b' 6 ^KanTOiV. 
\ TraT^pojv re koL t€k.ovto)v 
yoos ivbiKOS fxarev^L 
TOLTTOLV aix(f)Lka(f)r}^ TapaxOds. 33^ 

HA. kXvOl vvv, Z> TTCLTep, €V /xe'pet [avT. a. 

■nokvhaKpvTa Trivdri. 
8i7rats rot a k-niTV\x^io<i 

dpijvo^ avacTTevdC^i. 335 

Ta(f)OS 8' LK^ras 8e'8fKrat 

(/)vya8as a' 6/xoiW. , ^ r^J /' .--^ 

TL rwr8' ev, ri 8' drep KaKwv; ^^^^^ '^ t/f ' <-a-^ ^ 
ovK drpiaKTos dra; ^^^^^/C i^A a — J'^'~ 

Xo. aAA' Ir' ay €k Ta)v8€ 0e6s XPvCodV 34° 

^etrj KfAdSous evcpdoyyoripovr ^ 

avrl be 6priv(ov €7rtrv/i/3t8tcoy 
Tiaidv p.ekdBpoL'i h' /3ao-iA€tois 
i^eoKpara (fitkov KO\xicrmv. 

Op. d yap vtt' 'lAto) [<^P- 7- 

Trpos rtros AuKtcor, Trdrep, 3-4 

SoptV/xrjros KaTrivapL(Tdri<i, 
kiTTUiv av evKkeiav iv bopiOKn 
TSKVcov T iv KekevdoLi 

323 Xo. add. Turnebus 325 v scclusit Porson 331 r&woiu' 

e scholio Bothe : rh irau M : alii alitor : iro.^ir Schutz : (loirav Her- 
mann 334 rol <r' Schutz : To?<r M iirirvtx&ios Hermann : ^^i- 
TUMe.5.'o«r M 341 e^lv Turnebus : O^v M 343 'ra.av Blomfield : 
nralu,. M 344 KOf.i<ru,u Porson : kom.'C*' ^ : scd fortassc praestat 
</>.aA7,^ ^€o«p«T« KOM.'Co' Scaliger 347 '<aT7,vap^<rer,s Porson : Kar.ya- 
picrOvcT M 349 t' ^v Wellauer : t« M 



AlIXTAOT 

e~L<TTpe'^6v aiw 350 

KTicrai ~okv\u)(rTov av €n(es 
-a(f)Oi' bLaiToi'TiOV ya9 
bdixacTiv €V(f)6priTOV. 

Xo. (f)i\oi (f)CXoi.(TL rois [dlT. ^. 

exet KaXcas Oai'ovcn 355 

Kara ^Oovbs kinrpiiTUiv 
aeixroTLfj-o^ avcLKTcop, 
TrpozoXoi re r<ii' fxeyLOTcov 
y6ovL(DV fAcei 7X'pdrra)y 

•ySacrtAevf yap ?]r, o0p' 1^;, 360 

IfiopLixov Xa\oi ~L—Xai'T(joi' 
1 x^ipolv 7rei(ri/3poVu) re /SaKr/^o). 

HA. pLTjb' VTTO Tpwias [cu'T. y. 

-eL\ecn (pdijxei'os, Trdrep, 

fxer dAAo) bovpLKpLrJTt Aa<S 365 

77apd 'EKapidvbpov Ttopov T(6d(f)daL, 
TTapoi b' 01 K7ar6iT€'i 
I'w ovTuii .bapLTJvaL 
(^(pCKois) 6avaTT](f)6pov aiaav 

■zpocru) TWO. Trwddvea-Oai 37° 

7(Si'5e ~6i'(oi' cLTTeipoi: 

Xo. ravTa jx^v, 5) ttol, Kpeiaa-ova \pv(rov, 
/xeydAijs be Tv\-t]s koL virep^opiov 

jjifL^ora (poore'is' btivacrai yap. 
dWa bi—\7J^ yap rfjcrbe pLapdyi'i]s 375 

350 alw H. L. Ahrens : alccva M 352 Siatroyriov yas Tumebus : 

SiaTovTiovTaa- M 360 ^v. cr supra sen. M t^-n Hermann : 

t^fjo- M 361 TrnrXai'Ttiiv Heath : ■KL^Ji■K\a.vT(l!v M 362 x^'potv] 

Xepolv M T(i(ri^p6Tif re ^d.KTpu Pauw : TticTlu.^por6v re ^axrpov M 

365 &Wtf Stanley- : liWtnv M 366 Tfda.<pdeu Tafel : rfda^au M 

369 <pi\ois add. Conington 370 Trpoaon Hermann : -rpoffffw M 

372 Xo. add. Turnebus 374 <f>u!Vf7s' Svvaaat Hermann : (pu-ve'i 

oSvyacrcu M 375 fj.apayvr]S Robortello : fiapdyfj.T]j M 



XOH*OPOI 

bov7:o9 iKvelTOf tQv ykv apoiyoX 
Kara yfj^ ijbrj, real' bk KpaTovvrojv 
\fpc9 ovx ocruu OTvyepcov tovtojv, 
+ xa<rt be yJaWov yeyivrfTai. 

Ha. tovto bLop-TTepii ovs r^'^P' ^• 

iKe^ a— ep tl ,3eAoj. 381 

Ze€ Zcv, icarou^ey afiTrefiTTOiv 
XHTTepo—oivov OLTav 
^poT<av Tkafwi't KoX irarovpyia 
XeipC, TOKoxri b' ofuus reAeiTcu. 3S5 

Xo; itftvpwfjcrai yevoiro fwi. ■nxd- [o^p- f- 

» €it' oAoXty/icr cu'bpos 
•' dfwopuivov, yvvaiKos r' , " 

-» oAAt/i«ras' ri yap KcvBoi 4>p€i'bs olov efivas I 
e TToraTcu; iiapowiv 6e xpxtyxif 393 

dpiftvj aT/rat KpaJbias 

T OvfWS V/KOTOV (TTVyOS. 

Op. «cat xar' oi' ofu^i^aArjf [orr. 6. 

Zci's 6x1 x^if*** ^oAot, 395 

</>€v <^ev, Kopaxu bai^as; 
■surra -/ivoiro x<*/>a. 
binai' V e3 ohiKdji' a-zoiTu. 
*cAtT€ de la x^i-to/i' re TLfxaL 

Xo. oAAa i-Oftos /xei* <f>oi'ias oTayoras a^>o 

\vfiti'ai €s -ebor oAAo Tpoaaireip 



378-9 corrapta varie t cB l antur : ibrtasw . 

T«i«-i ri fuiXXMv -ffTf^r^rrmi; Sc b a man n 3tBo HA. add. Robortdlo 

•it Sdi&tz : ^i M 381 Icn-c M rt Sciifitz : re II 386 iw ■hi' 
Dindorf: y t —^i tj ^' M 989 aZW Havana : litaarM 391 gyrftii 
Hermanii : mmftimr M 394 O^ add. Robortdlo cat Wr' corrcc- 

tnm in km vrr' II 399 ri x^"^**' ▼« Ti0Mi H. L. AJirens : rmx- 

tari«r mi^Mi (^er sapia fimi scr. m M 400 «AA^ Wjm» TaraebaB : 

iAA'i>«^wrlI 



AISXTAOT 

ai/xa. /3oa yap Ao6yos 'Eptvvv 
TTapa tQv irporepov (^^t/xeVcoy arrjv 
kripav k-nayovcrav iir' arr], 

HA. TTOTTOt ha vepTfpctiv rvpavvibes <(t'), [p"''P' C 

i8ere TroAD/cpareis apal reOvpi&u)!', 4°^ 

i'Seo-^' 'ArpetSay to. AotV d/xTJX"^'^^ 
'iyovTa koX hutixaroiv 

CLTljXa. TTCL TLS TpaiTOLT OLV, 0) ZcU,' 409 

\ Xo./ TreTraArat 8' avri p.oi cf)i\ov K^ap [avT. e. 

5 ^-To'rSe /cAvoucraz^ oIktov. 

b Kal TOTi^ \xkv bvcreXins, 

ll (T-nXayyi'a hi p.oL K€\at.vov- 

■* rat TTpbs €7709 KXvoTjrrq. 

i orav 5' aSr' eir' akKijs kitapri {/x' 4^5 

T eAm's,)* aTriaTacrev axp^ 

^ 7rpo<T(f)aV€'L(rd p.oi KaAws. 

Op. rt 8' av (f)dvTes TvyoL\i^v; rj rdirep lavT. (. 

TTadopiev d)(^€a irpos ye twv T€KOfi€V(i)v; 
TTaperrri aau'ew, to. h' ovtc diXyeTac. 42° 

\vKos yap SxTT wpLocppoov 
daavTos in p-arpos eort OvpLos- 

Xo. (Koxf/a Kop-piov "Aptov tV re Kt(T(rtas [""^P' ^' 

voixots h]keixL(TTpLa'i, 

402 A.oi7br 'Eptfur Schiitz : \oiyhv (pivvff M 403 irpoTtpov Portus: 

irpoTe'pcov M 405 ir(^7roi 5a Bamberger : 7roi7ror57;M t' add. Paley 
406 T€Ou/i«Vc»)r Hermann : <p6fififva>y (1 supra ei scr. m) M 409 ireri- 
o-TpoTToiToi' M, in margine corrcxit m 410 Xo. add. Hermann ite- 
iraKrai Turnebus : TreTraAare, at supra scr., M 413 /xoi Schiitz : /xov M 
115-17 eV a\Kris iirapri Paley, /u' add. Conington, i\-rtis Blomfield, 
npo(T<pai'U(7a Bamberger : iiraXKfs OpapfawfiTTacrev &'Xos izphs rh (pavft- 
(Tdai M 418 Op. add. Hermann (pavrts Bothe : irdvTfO- M 

^ Hermann :&«/ ^ M 419 Sx«« Schwenk : &x^€o M 423 Xo. add. 

Muller "Apwv Hermann, ty re Bothe, Ki(T<rias Robortello : &piiov e'lre 
Kuaiaia M 424 v6/j.ois lr]\fiJ.Lfrrpias Hermann : v6fxoiai\fiJ.i(rTpia(r M 



XOIl<l>()lH)I 

I ai:inyb6Tr\i]KTa 77oAi'7rAa2'j;ra 8' i)v Ihtiv 4^5 

/ k-!ia(T(TVT€poT pij-i?] TO, x^P^^ opiyixaTa 
\ avioOiv ai'^Kadev, ktvttio 8' emppoOii 
KpoTi]Tbv ap.6v <al TxavaOXiov Kapa. 

I lA. LM hata [(^rp. 6. 

•navToXp.^ pi.aTep, bataLS kv ^Kipopals 43° 

av(v TTo\LTav avaKT , 
av€V 8e Tra'Orjp.u.TMV 
erAas avoi\x(X)KTov ixvhpa Oa^ai. 

Op. Ta(})as aTip.ovi eAe^a?, o'lpLoi. L<^^/'* '" 

Trarpos 8' artp-ujcnv apa Tiaet. 435 

(Kan fj.€V baLp.6v(i)V, 
eVari 8' ap-av \epS>v. 
eireiT eyoj vo(T(f)[<ras 6X.ojp.av. 

Xo. ip-aa-xaXio-Orj 8e y', ws ro'S' et8f/?, [arr. i. 

errpaacre 8' aTre'p ru' cS8e ^ciTrret, 44° 

p.6pov KTiaai p.u)p.iva 
acjiepTov alu>vi (t(d. 
KAvet!.' Trarpwovs 8i;as drt/xous. 

IIA. Aey«ts irarpSiov p.6pov- eyco 8' aTreorarow [o2'r. ?;. 

ari/xos% o{i8ei' a^ia. 445 

/xvxw 8' a(f)€pKTO'i TToXva-Li'ovi KVi'os hUav 
j erot/xoVepa ye'Acoros av4(f>€pov Xijii], 

435 aTrpjvSrfirArjKTa TroAuTrAafriTa Blomficld : &wptyKTOi 7rA.7)KTO iroAu- 
irci\a7((Ta M 5' -i)^ Robortello : S^r M 4=9 HA. add. Milllcr 

lie Paley : jo; (i- M 434 Op. add. Robortello ra<pcis arlfxavs 

scripsi : rh ttRv arl^ws M : Ta<pav arinu-i' Verrall 435 Spa Heath : 

apa M 438 oXoiixav Turnebus : iKoi/xav M 439 Xo. add. Muller 

inaaxaXicre-n Robortello: fVaffxoAiVeTjs M 5« 7" Hermann. u>s . . . 

(Ihris Canter, t6K Pauw : Se Tojn-Too-TeiSrjtr M 44° l^ep Portus : 

SttJp M 441 KTiVai Stanley : KTilvai ;/ in rasura M 442 H^P' 

Tov Robortello: 6.<p(pKTov M 443 xXiui Turnebus: kKvuU 

ivas aTi>ous Stanley: Svcrarinova M 444 H\. add. Muller 

446 ui/Yoj Stanley : nvxov M 

20* 



AI2XTA0T 

\(ov(Ta TToKvhaKpvv yoov K^Kpvixixiva. 

ToiavT ciKovoov kv (fyp^crlv ■ypd(f)OV, ("Trarep.) 45° 

Xo.|8t' wToiV 8e crvv- lavT. 6. 

'rerpaLve p.v9ov rjcrv^f^ (f)p€vS)V j3d<T€L. 
TO. pikv yap ovtcos e'xf'* 
TO, b' avTos opya fxaOeHv. 
TrpeTret 8' a/ca/XTrro) /u.€Z'ei KaOrjKeiv. 455 

Op. (ri TOL Ae'yoj, ^vyy^vov, Trdrep, cf)[kots. ['^''P* '^* 

HA. eyo) 8' kin^diyyoixai KeKkavjxeva. 
Xo. orao-ts 8e TrayKotz^o? a8' firippoOel' 

aKovcrov e? (^ao? fMokuiv, 

^vv 8e yez'ou Trpos e\6povs. A^° 

Op. "Apjjs "Apet ^i;p,/3aAet, AtKa AtKa. [dyr. k. 

HA. to) ^eot, KpaCver ivbtKcos <(8tKas^. 

Xo. rpoixos p.' -y^epTret Kkvovcrav evyp-aToov. 

TO ixopa-LjJLOV p.ivn TraAat, 

€VXPlJ.4voL9 8' av e'A^ot. 4^5 

S) TTOVos eyyevy]^ [""^P* ^• 

Kttt TTapapLovrros dras 

aljxaToecra-a irXayd. 

io) hva-Tov' d(f)€pTa KTjbrj' 

to) 8u(rKara7rau(rroy aAyoy. 47° 

bilip.a(Tiv ep.poroi' [arr. A. 

rcSz'S' UKO?, oi>8' air' d\Ku>v 
fKTodev, aAA' ott' avTS>v, 

449 Xf''""'« Dobree : x^'P'"^'''" ("' '" rasura) M 450 Trarep 

scrips! : iambus deest in fine v. M 451 Xo. deest in M 452 (ppfvwv 
Turncbus : (ppovZv M 454 opya Scaliger : opya M 456-78 per- 

sonanim notae desunt in M 456 <^iAo(s Person : (pi\oi(ri M 

461 ^uix0a\f7 Pauw : ^vix^dWei M 462 Si'/crcs add. Hermann 

466 S> Hermann : lu M 467 ^tos Hermann : drTja- M 473 &kos 

Schiitz : eKottr M 



XOH*OPOI 

bt(aK€iv €pu' alixaTrjpav. 

Oewv (rSiv) Kara yas ob' v//ros. 475 

dAAa Kk'uoi'Te'i, i^aKapes ydovLoi, 

TTJa-be Karevxv^ Tre/x-Trer' apoiyi]V 

Traicnv irpocfypoi'dis iirl viKr). 

Op. TTarep, TpoTTOKTiv ov TvpavvLKo'i'i 6av(i)V, 

ahovp-ivii) poL 80s KpaTos Tcav (tu>v bopcov. 480 

HA.udyw, -narep, rotcirSe crov \pdav exoj, 

(fjvyc'iv p.iyav ■npocrOiiaav AiytV^o) (^(f)6upo2fy. 
Op. ovTu> yap av aoL balres h'l'opoL [SpoTutv 

KTL^oCaT' et 8e py, -nap evbeLTTVoi'i ^cra 

art/jtos (p-TTVpoiCTL KVKTcoTOLS x^^^'o's'- 4^5 

HA. Kayoj \oa^ (tol tt/s ep.ij'i •7TayKA7;ptas 

oto-o) iraTpuictiV ck bopcov yap.r]kiovs' 

■navToiV 8e irpiaTov roV6e 7rperr/3evo-a) Ta(f)OV. 
Op. S) yax, avi'i p.oL irarip kno-nTtvcraL p.cv)(j]v. 
HA. 2» Yl€pcri(^a(r(ja, bos 8e y evpopcf)OV Kparo'i. 49° 

Op. p.i.p.vr](TO XovrpQiv oh €voa(pL(TOi]'i, Trarep. 
HA. p.€p.vr\(J0 8' ap.(f)LiikTicrTpov ws kKaiviaas ■ — 
Op. iribais y o.\<xKKfVToi(Ti O-qpevOeCs, irdrep, — 
HA. ala\pw<i re (3ovk€VTOL(nv ev KaXvppacni'. 
Op. ap' e^eyetpet Tolcrb' ovdbea-Li', Tidrep; 495 

HA. ap^ opOov alpcLS (f)L\TaTov to (tov KCtpa; 
Op. 7/Toi bLKy]v taAAe crvppa^ov ^lAois", 

7/ rdv opoia'i avTibos Aa/3ds Aa/jetz', 

etTrep KparrjOeh y ca'rtz'tKJ/rrat Oekeis. 

474 SicoKsif epif Hermann : ola'|Ua^alp6lv M : 5t" 01^01' tpii' Klauscn 
475 Twv add. Hermann 478 j/ikj; Tortus : viKrjv M 480 airov 

ix(v<fi Turnebus : ahovfjifvoa- IVI 481 roidpSe Turnebus : rotdSf M 

482 <pe6pov add. Hermann : iambus dcest M 485 i/xirvpoicrt AuvrIus : 

fv Trvpo7(Tt M 489 Trarep' Robortcllo : -irdrep M 490 7' Hermann : 

t' M 492 a)s eVaiVicros Conington : <^ ff' tKa'iviaav M 493 7' axa-^- 

Ktinoiai dijpevdfis Conington : S' axa^Kfiiroia i6->}pfvdr)ff M 49^ Aa0aj 

Canter : ^\d$a<T ^I 



AI2XTA0T 

HA. /cat 77/0-8' cLKOva-ov Xolo-Qlov /Sot/s, iraTep, 5°° 

Ibcov v€0(T(rovs Tovcrb' €(f)')]iJ.evovs Tacfxo' 
otxreipe drjXvv apcrevos & o\i.ov yoov, 
Kol /xj) '^aAei\//-j?s a-nipp.a Y\eXo-nLbQ>v To8e. 
ovToi yap ov riOvriKas ovbi Trep daviov 
TratSes yap avbpl Kkrjboves croori'ipi.ot 505 

OavovTL- (peWol b' &s ayov(n bUrvov, 

TOV eK iiv6oV KkuKTTrjpa (T(t>(0VT(S ku'ov. 

CLKOV, virep (rod rotdS' eor' obypp-ara. 

avTOi be o-w^et Tovbe rLp.i]<Tai koyov. 
Xo. Ka\ p.}}V a[j.€p.(pij roV8' heivdrriv Koyov, 5'° 

Tiixr^jxa TVjxjiov rrjs avoL\xo>KTOv Tv\r]s. 

TO. 8' akX\ eTreiS?/ bpav Karwp^corrat </)pe/'r, 

epSots az^ 7/877 baLp-ovos 7retpw//e2W9. 
Op. eorar TTvdicrOai 8' oii8eV eor' e^co bp6p.ov, 

TTodev xoa^ €TT€p.\\rev, Ik tivo^ koyov 5' 5 

p.(.6v(TTepov rt/x(S(r' ai'7/Ke(Troi' 770.609; 

dai'ovTL 8' ou (f)povovvTL buXaCa X'^'P'-^ 

eTre'/XTrer'* oiik €\OLp.^ av dKacrai Tobv 

TO. 8wpa juietoo 8' ecrrt 77"/ s" ap-apTias. 

TO. TTCLVTa yap ra (K^^as avO' alp-aros S-° 

kvos, p.aTr]v 6 p-o^Qos' Sib'' e'xft Aoyo?. 

OekovTL 8', etTrep oio-^', ip-ol cf)pa(Tov rdbe. 
Xo. 018', o) T€Ki'ov, Trapi] yap' €k t oreipaTdiV 

/cat i^v/crt7rAay/cra>y 8etp.araj2' ■nf.irakp.iin] 

Xoas e-!TepL\f/e rtto-oe bvirOeo'i yvvi']. 525 

Op. 7/ Kat 7T^TTV(r6e Tovrap, ojot' op^wj (f)pd(Tat; 
Xo. reKeti' bpaKovr l8o£ez', ws avr?/ Ae'yet- 
Op. Kat TTOt Tekevra /cat Kapavovrai koyo^; 
Xo. ey mrapydi'OLa-L ■naibo'i opixurat 8tK7/7'. 

502 7($o«/ Pauw : 7(^^01/ M 507 \ivov M : \ivov m 510 aM6M<f>'7 

TOJ/S' Canter, iruvarov Hermann, eTeiva.rr)v Blomfield : au.6ix<p-nTov Se 
rivcL-rhv M 516 Mf Oi^o-Ttpoj/ Victorius : /uf^' I'VTepo;' M 51? Qa.u6vri 

Pauw: eai/oCi/Ti M 518 raSe ex ro'Se factum M 5'9 M*"^ 

Turnebus : ,x((tw M 523 iropTj Person : irapei («( in rasura M 



XOH<I>OPOI 

Op. TLV09 (3opai xpj](oi'Ta, I'eoyev'k^ buKos; 53° 

Xo. avTij TTpoa-ia-yji jxa^bv iv TonvetpaTi. 

Op. Koi ttQs CLTpoiTov ovOap riv vtto arvyovs; 

Xo. wot' ev y6.KaKTi Opop-jSov alixaros (nrdcraL. 

Op. ovTOL ixdrmov dvbpbs oxjravov Tre'Aet. 

Xo. r/ 8' i^ VTTVOV KfKpayev iiTTorip.€vr]. 535 

TToWol 8' dvfjOoi', iKTVcf)\U)9ivT€i (TKOTia, 

AajUTTTT/pes iv So'/xotm bea-TroLvrjs \dpiv' 

7re/x7rei r' eireira raa-h^ KT]b€LOVs x^aJ. 

5kos TopLOLOV i\7TL(Ta(ra iri'jp.dToov. 
Op. oAA' ivyop.ai yr\ Trjbe kol Trarpos Td<p(a 54° 

TovveLpov eu'at roCr' e/xoi T€\e(r(f)6pov. 

KpLi'o} 8e rot rti' wo-re o^iiyKo'AAcoy ^x^tv. 

et yap roy avrbv yjhpov e/cAiroji' e/uot 
^ ovcpii fjuoto-t o"7rapyarot9 wTrAt^ero, 

Kttt p.a(TTOv dp.(^i.\aaK ip.bv dpeTTTi'jptov, 545 

6p6p.j3io 8' epLi^ev a'lp.aTO'i ^ikov ydka, 

ri 8' d/x<^t TCLpjiei ra)8' (TTcfp-Od^ev Trdda, 

bit rot viv, ws (:Op(\\f€V iKTTayXoi' Tipa<i, 

Oavdv jStatctiS' (KbpaKovrcoOels 8' eyoj 

KTCu'di inv, (Ls roi/2'eipoi' h'vdireL robe. 55° 

Xo. TepacTKo-nov 87/ rcor8e o-' alpovp-aL Tre'pi. 

yivoLTO 8' ovTw?. raAAa 8' k^r\yov cf)C\ois, 

Tovs p.iv TL TTOua>, Tovs be p.1] TL bpav Ae'yco. 
Op. ctTrAoOs 6 p.vOo'i' rip'be p.\v (rT(L\(tv eaoj, 

ali'C) 8e KpvTTTeiv racrbe avvOi'iKa-i ijxA'i, 55t 

530 t/i/os Wellaiicr : tivus M yeoyevfj Turnebus : vioptvis M 

531 fjiaarhv Blomficld ronvdpaTi Porson : t' dvdpari M 532 ofdap 

751/ Pauw : ovxapriv imUatum in ovxaptv M cTTiryous Schutz : arvyocr M 
534 fort. &v tJ5' oil-aj/of ttsAoi Martin 535 KiKpaytv Robortello : 

KfK\ayei' M 536 av^Oov c scholio Valckenar : ayri\6ov M 542 avy- 
kSkKqjs Victorius : avffKdKwff altero A. supra \ scr.) M 543 ^K\iirui> 
Blomfield : ^KKfiTroov [ex ^KKe'nrfiv factum) M 544 ita Porsonus 

versum cmendavit : o{/(l>(?(reTrttcra(TwapyainriTK(i{(To M 545 fxacTThv 

Blomfield : fiaa-dhv M 547 an(pl rap^n rtpS' Porson : afKpnap- 

01tu5' M 551 5^ Kirchhoff: 5e M 553 /txeV Stanley : 5' eV M 

554 ffTflxav Porson : arixav M 



AT2XTA0T 

o)? av So'Ao) KTeCvavres avbpa tCjxlov 

boXoLcrc Kol XrjtpOuxnv iv ravrQ ^p6x<a 

6av6rT€s, fi Kot Aortas i(f)y]fXLcrev, 

ava^ 'AttoAAo}!', /xarrts a\lr€vb'i]s to irpiv. 

^ei'w yap (Ikuis, iravTeXi] (Tay-i]v kyjxiv, 560 

T/fo) (Tvv avhpX ra)8' e^' kpK^iovs TTvXas 

Ylv\db7], ^eVo? re Kal bopv^evoi h6p.oiv, 

ap,(p(i) 8e (puivrjv i](rop.(v Ylapprja-iba, 

yk(ji>(T(Tr]<i avTTjv 4>a)Kt6o9 p.ip.ov}xiv(ji. 

KoX bi] Ovpcopodv 0VT1.9 av (paLbpa (ppevl 565 

be^aLT, iTTeibi] baiixova bop-os KOKOts' 

p.ei'OVp.€V OVTCOS (X)(TT eTT€LKd^€ll' TCVO. 

b6p.ovs Trapaa-T €L\ovTa /cat rdb^ h'veireLV' 

' TL bl] TTvXatCn TOV IKiTTjV cLTTetpyeTaL 

AlyLcrOo'i, iXiiep olbev '4vbrjp.os Trapcav; ' 57° 

; et 8' ovv dp.^[\j/co [SaXov ep/cetco;' ttvKoov 

KaKelvov iv 6p6i'ot.(nv €vp{](ru> irarpo^, 

i] Kal p-oktov eireLTo. p.0L Kara aT6p.a 
' dpei, crdcf)^ IcrOi, Kal Kar 6(p6a\p.ovs /SaAci, 

TTplv avTov elireLV ' irobaTTOs 6 ^eVo?; ' v€Kpbv 575 

9i](T(a, TTob(x>K€t Treptl^aXcbv xa\K(vp.aTL. 

(p6vov 8' 'Eptri/j ovx viTi(nTavL(Tp.ivr) 

aKparov aXp.a irieTat Tp[Ti]v ttoo-iv. 

vvv ovv (TV jxkv (^ivXaaa-^ Tav oiKw koAw?, 

oTTcos av cLpTiKokXa (Tvp-liaivi] Tabv 580 

vpXv 8' knaivCi yXQxraav €V(f)y]p.ov (f)€p€LV, 

(Tiyav d' OTTOV 8et /cat Xiy^v to. Kaipia. 

556 KTflvavrei Robortello : KTeivauracr M 557 SSXotcri Hartung : 

56\<ji T€ M 561 f(j)' kpKuovs Turnebus : e^epKiova M 563 T^crofiev 

Turnebus : ola-o/ifv M 566 Se'lair' Turnebus : Ae'loir' M 568 So- 

jxovs Boissonade : So/u-okt M irapadTeixovTa Victorius : irapaffri- 

Xovra M 569 -nvKaKTi Blomfield : irv\7}i(n M 571 fia\hv 

(e j8aA.cDj/ factum) M epKfwv (in epKwv mutatum) M 574 ope? 

Bamberger : tpel M Pa\t7 Robortello : Pa\e7v M 579 vvv 

Blomfield : avv {v in rasura) M 



XOH*OPOI 

TO. 8' aWa TovT(^ bevp' iiroTTT^va-aL Ae'yo), 
^c(Prj(p6povs ayOivas opduxravrC p.oi. 

Xo. TToXXa jxkv ya rpecjjei I'^'^P- "• 

betva [Kal] Set/xarcor ax>h ^86 

TTOvTiaC T dyKciAai KVOibaXuiv 
avraioiv ^pvovcri: ^eOTo'""' ' , 

Titihov^i [jJAayriovcrt]! Kttt TrepaiXf^tfJt 
Aa/xTTciSes TTehdol>oi, h^.SS. Uclckt^^^^i ^^° 

TTTavd re Kal^ 7re8o/3a- jj-^J . ^^^^ ^ ^}u Ui c 

IXOVa' KOLVeUOiVT CLV , / 

aiytocoz' (ppacrai kotov. ^ •'A" V t^*^^ r 

w,,, dAA' WproA/AOi; di-- 't^,^;^^ i--^'^' La^^T- «• 

8poj (ppovriixa tls Aeyot 595 

Kal yni'atKWi' (jipecrlv T\ap.6vu)V [/cat] ^' ^ ^ ^ ^^ '^ ' J 

c TiavTokuovs ^pooTas , 1 r ?/ "^ , /^ 

iCiri f arata-i (Tvvvop.ovi pporcDv; / «.^ , 7 / 

av^vyovi 8' op-avXCas . — ,— v/ , a-«^*iAJ ^ "^^ 

driXvKpaTi]^ dTrepco- /t^A.^ 5-/- --/t ^'>^f ^^ 

'^5 Tos epojs Ttapai'tKa ' -^^ ^^^ i^;wOat ^°° 

y ' Ki^coSdAcoi' re Kat [BpoTm'. 

*^ I ^ ?o-rco 8' oo-rts ovx v-JTOTTTepos {"'Tp- ^• 

v q)povTi.cnv oaets, 

'W^ Tav a TTatboXv- 

ftt*. uas rdkaiva ©ecrrta? pjrraro ^°5 

S'nvpbai]riv irpovoiav, ^ ' ^ 
KaraiOovaa naiho'i ba^oLvov 
baXov ijkLK, eiret ixo\m> 

585 7a Schutz : yap M 586 Kal seclusit Heath 588 fipiovffi 

Hermann : jSpoToTo-i M 589 /3Aa(rToC<ri seclusit Knick 590 ir«- 

5oopo» Stanley : TrtSdfxapoi M 59= fot'SMoeVT &i/ Rlomfield : Kove- 

juofVra)!' M 596 (J)pe<rl.' Aldina : ^pfo-o-li/ M T\aAi(5>'aii' Dindorf : 

rAiifiSvaiv M Kol seclusit Klauscn 606 TTvpSaTinv Hermann : 

■nvpZav TivaM 607 KOTaiOowo-o Canter : /c' olf0ov<r« M ^ ^ 

^^^ ^^ iAC^</ .j^*.j;...^«-.. ^^^ •/-'*- 



AI2XTA0T 

^v^xiJieTpop re Stat jSlov 6io 

{xoLpoKpavTov h ajxap. 

aXXM 5' ecTTLV kv XoyoL's (TTvyiiv [avT. /3. 

(j)Oi.VLav Kopav, ^f<^^'>d^ 

OLT ky6pQ)V viral 615 

(f)G)T aTTiak^crev (pCXoi' KprjrtKotj 
f^'] '' \p'v(TOK\x{]Toicnv op//ots 

TTidija-aa-a batpoLcn MtJ'co, 

Nlo-qv aOavdras rptxt'i' 

voac^icracT dirpoiSovXoiS 620 

TiveLOpd' a Kvv6(f)p(i)v vt:v(^. 

Ktyxai'et 8e [xlv 'Epixrj<i. 

] fTret 8' €77 ejjivri a dp-riv d\xii\ix<JiV , -, ['''JPi 7- 

T^ \n6v(av, taKatpcos 8e bvacfukes yap-i']- ei/^C^^*^ 

\\evp.' aTTCVX^TOv bopLOLS 625 

yDj'atKo/ioi;Aoys re p,r/rt8as (f)pevm> 
ill' avbpl Tcvx^fffi^dpu), 
eTT* di'Spt 8aots eTrtKoro) cre'/^ast, 
rtco 8' ddipp.avTOV kcrTiav bop-cov 
yvvaiK^iav (j]> droKpLov alxpdp. 630 

KUK&v 8e 7rpecr/3everat ro Ar/p.t-toi' [a2T. y. 

koyu)' yodrai 8e 8?/ TidOos Kard- 

610 5ia) Canter: 5(i M 61 1 yuoip(^Kpa>'To;' Canter : ^lioipcJKpaj'Toa- S' 

(v supra o- sen m) M 613 aWav S' eo-Tij/ Hermann : dAAa 677 tij/' M 

614 K6pav Merkel : aKi/WavM 616 dTraJAetre;' Robortello: air6\iffevM 
617 p^pucroK/xTjTOKTi;' Hermann : xp^'^^oSfx-qToiffii' ^1 618 iridijcraa'a 

Abresch : Trfidricraffa M Scipoicn Aldina : S6potai M 621 irudovB' 

Heath : TTveorO' M 622 /(:i'yx''''f'] '"•X"*'*' ^'"^s^T ^^ 623 eirejuvrj- 

o-aMT?!' Heath : f-n-e/j.uTi(Taixev M 624-8 locus corruptiis, coniecturis 

nondum sanatiis : praestat fortasse aKalpws "rh Sv(r(pi\fs . . . fw' avSpl 
SdoKTiu efj.(f>6^Cjj \p4yio' Herwerden 628 Sr}loicr iwiKOTca M 629 tico 

Stanley : riwv M 630 t' add. Hermann 632 Tra0os Hermann : 

irodii (i supra ei scr.) M 



XOH<l>OPOT 

TTTVCTTOV i]Ka(Tev 8e rt? 

TO beu'ov av Ai]ixi'LOL(n Tnjixa(rLV. 

deocTTvyi'jTio 8' ayei °35 

^poTa>v aTifX(ji6€V olyjiTai yivos. 

o-e/3et yap ovtls to 8Dcr(^iA.es Oeo'is. 

Ti rwt'S' ovK eySiKcos ayetpco; 

TO 8' ciyxt tt\€vix6i'cov ^i^o? L^^P* ^• 

hiavraiav d^vnevKk'i ovra °40 

j8iat Ai^Kas. tro |>C7/ ^eVts yap [ov] 

\\a$ iriboL TTaTovixevov, to -nav Ato? 

i(Te/3as Trap^KlSdvTes ov ^e/xio-r<Sst. "45 

AtKos 8' epetSerat 7ru^/x?/i^- [«^"^- ^• 

TTpoxakK^V€L 8' Ato-a (fiaayavovpyos' 
'T€KV0V 8' iTT€i<T(f)epeL ^op^ota-LV 
r al/xarcoi^ TraXatrepcoi' rti'eu^ p,i;cro9 ^S© 

Xpov^ kXvtci iBvaa-ocppoov 'Epwvs. 

Op. -naZ Tial, 6vpai aKOVcrov epKeta? ktvttoi'. 

ri? ei'Soi', w Trai, Trat, /xaA.' aii^ts, ev b6p.0Li; 

TpiTOV ro8' ���K7Tepap.a bcop-aToov Ka\(o, 655 

€t77ep ^lAo'^ei/ eoTtv Atyto-(^ov 8iai. 
0IKETH2 

etef, ciKovoy TToSaTros 6 ^ivos; Tiodev; 
Op. uyyeAAe roicrt Kvpioicri. hoop-ciTiov, 

Trpos ova-n^p iJKoo koI (pepco Kawovs \6yovi. 

Taxwe 8', W9 Kal vvKTos app.' eireiyeTaL 660 

(TKOTeivov, u>pa 8' ip-iropov^ Kadt^vai 

635 ^7«» Auratus: ^x*' ^ 640 oh-ra Hermann ijoCto. M 

641-5 corrupta necdum sanata : ov seclusit Pauw : TreSoi (Hermann) 
et o{. ee^ttrrwy (Dindorf ) pro WSov . . . a06;ui'(rTa>s M : cetera incerta 
648 7rpoxaAK€i^€i Jacob : 7rpo<rx«^«e'^«' ^^ ^■t9 S^MO'tri./ Hermann : 

ZLIia<T€ M 650 oiVtcoj' e schol. Stephanus : hc^ixarwv M ri.'eij' 

Lachmann : reiVei M 656 (/xAo^fi/os tis Ai7i(r0ou ^la Llnisley 

66 1 o6pa Robortello : Sipa M : copai "i 



AI2XTA0T 

ayKVpav kv h6\xoL(n iravboKOL^ ^ivoDV. 
e^eA^ero) rt? hMfxaruiv rekecnpopos 
yvvi] TOTTapxos, avbpa 8' evirpeiricrTepov 
albojs yap iv Ke\6ei(TW ovk iirapyepLovs 665 

koyovs Tidrjcnv' eiTre Oapcrrja-as avrjp 
irpbs avbpa Kacn]pL7]V€v e//0az;es r^Kp^ap, 
KAYTAIMH2TPA 

iivoL, KiyoLT av et rt 8er Trdpecrrt yap 

OTTOMTTep bop^OLCri Toiab^ ilT^LKOTa, 

/cat depp-a Xovrpa Kal ttovoov dekKTripios 670 

(rTpu)p.vr], biKaCoov t 6p.p.dTU)V napovaia. 
et 8' aXKo -npa^at bel tl iBovktcoTepov, 
avbpwv Tob earlv epyov, ols KOLV(a(rop.£V. 
Op. ^evos p.iv et/xi AauAteifs Ik ^ojk^oov 

(TTei\ovTa 8' avTocpoprov olKeCq crayi] t^^/^ e^/L'^cA ^^^ 

ets "Apyos, &cnT€p bevp' aiTfCvyriv iroba, J^^/^^^ y*--^ 

ayvojs TTpbs ayvG>T eiTre avpilSakcov ain'ip, > ^ y, / 

e^L(TTopi](Tas Kal aacf)riVL(ras obov, i^vi*r Jc^\it^f ij 

^Tp6(pLos 6 'i>(i}Kevs' TT€vdop.aL yap iv koyco' j kLy' t^ i j £.'<%^ 

' iiT€L7T€p aAAo)?, S) ^eV, eh "Apyos kUls, '^'^ ^*^ 680 

Trpbs Tovi TeKovTas TravbiKoos p.ep.vqp.h'O'i 

TedvewT ^Opia-Ti-jv etTre, fxribap-ws kdOtj. 

etr' ovi' KopiCC^LV bo^a VLKijcrei (pLkoiV, 

€tr' ovv p-iroiKOV, ets to ttclv del ^evov, 

daTTTeLV, e(f)eTp,as rdabe iropOpievo-op irdkiv. 685 

vvv yap kelSrjTos x'^^'^^^'^ Tikevpu>p.aTa 

(TTTobbv KeKevOev dvbpos ev KeKkavuevov.^ , tit 

uUn, TocravT aKovcras eiirov. et be Tvyxavoo "^ ' / 

^c^-'-Tois KvpioKTi Kai '7Tpocn]Kov(TLv keyoov 

OVK otba, Tov TeKovra 8' eiKos elbevat. ^^ tZ,\i7i ^JiQrx / 

KA. 6l 'yoo, Kar aKpas enras ws iropOovpieOa.li'^c'h'lj ^/^^-^ '^"^^ 

664 rS-n-apxos G : rajrapxas {6 supra a scr. m" M ' t' IVJn 670 6t\- 
KT'fjptos Ludwig: 6f\KTT)pia M 675 o'lKeia (ra7f)Turnebus: olKiaiff dyv 

M 676 7rJ5a Dindorf : 7r(teos M 691 tliras Bamberger: eWSff' M 






>{■ ' a ■> ' ' ^^^ ^^^ tv-c-t/ <3L"t^ 

roi;ots Trpoa-uidev €V(tkottols yeipovixevrj, ^^.-i.^,^^ li 

(f)L\u)V aTTOxj/ikoLs fj.e ti]V TtavaOkCav. -^ ^-^^^^■^,1 uP^y/ ^ 

Kttt vvv 'OpeoTrjy, 17^ yap ivlBovkoos exwr, ^C^/^ 



1 ... . -£^^^ 

'e^o) KOfxi^cov okeOpiov tttjAoC 7ro8a, — • 



>«/ r?!' 8' ijirep iv h6p.oiai fiaKyj^Cas Kakrjs i^i^l-a^ J u aI hsl^ 

larpos (kirls ^v, iipohovcrav eyypacp^r^^*-- /^ /t.</i*<'t C> y'*-y 
Op, eyoj piev ovv ^evoimv c58' (vhatp-ocrL '^ . ''•^bo ,'^ 

Keovoiv eKari irpayp-aTcov av ijoekov -j X*-^ 

yi^ojoTos yevio-dai /cat ^evoidrjvai' ri yap ,, / /. ■ 

^eyou ^ez'otati' eoriy (vixevea-repov; T<*rf,A/'"-^V Z. 

Trpos bv<T(r(l3e[as <(8'^ v/i' e/xot ro8' ey (f)p((TiV, /ieJ. Lu> ^A-^iJ! 

rotw8e irpaypia p.i] KapavQa-ai (f)Ckoi,s, 705 

Karaivia-avra koX KaTe^€va)p.4vov. 
KA. ovroi Kvp?y(rets p.elov cl^lcov aeOev, 

ovb' rj(r(rov hv yevoio b(apLa(nv (pCkos. 

aAAos 8' Ojuotco? rjkOev av rdb^ ayyekuv. 

dAA' ecrO^ 6 Kaipos rjpiepevovTas ^h'ovs 7'° 

IxaKpas Kekev$ov Tvyyaveiv to. iTpoa-cfiopa. 

ay avTov et? avbp(avas ev^evovs bop-iov, 

OTTLO-OOTTOVV TC TOvbe Kal ^VVepLTTOpOV 

KCtKiL KVpOVVTMV biOpLaCTLV TO. TTp6(r(f)opa. ' Jt <^ 

alvQ) 8e TTpd(T(T(LV ws vTT€v6vv(3i Tabe. J ^^ ''^ ***, -7i5- 
^/xets b\ ravra rois Kparowt bcoixdroiV , ^^ j^ ^ e^u.t-^ 
KOLvuKTop^ev re kov cnraviCovTes (j/jiAcoy 
(3ovk€V(r6p.((T6a TTJa-be (rvp-cfiopas Tripu 

TTore 8?; (rrop.aTu>v ^ {V^^< , / /£. ^^..^j^ 



^ *— " - , /^ / 



697 KO/xlCuv e schol. Robortcllo : voixi^uiv M 698 S' TJV^p ^ 

Scaliger : S^Trep M 699 irpo^ovaav tyy pa<pi H. L. Ahrcns : irapov- «, ^ 

ffa;/ iyypd(pfi M 704 5' add. Pauw 707 a^iwv Pauw : d|ia)tr M 

713 oiriffdoTTOvv . . . rSvSf . . . ^we/xiropov Pauw : 6irt(r66Trov<T . . . toii(tS( 
. . . ^vvtixir6pou(T M re] 5e M 715 virfvdvvcfj Turnebus : firtv 

0w(f) M 718 0ov\ev(r6/j.e(T0a Stcphanusj-^Setf^ctrrfTTf^ M^ . 



Ai:£XTAOT 

beL^ofxev 1(T)(vv ctt' ^OpicrTrj; 

U) TTOTVta xOcOV Kol TIOTVL CLKTY] 

X(il>IJiciTos, r) vvv em vavapx<jd 
(TcofxaTL Keicrat ro) /SacrtAeiw, 

vvv (TTaKOvcrov, vvv eirdpri^ov' 725 

vvv yap aKfj-dCei YleiOu) boXiav 
^vyKaTajSTJvat,, yQovLov 8' 'Ep/xT/y 
[xat Tov vuy^iov^ Tolcrb' ((f)obev(rai. 
^i,(j)obr]\i]TOL(Ti,v dywatv. 

€otK€V avijp 6 ^evos revxeiv KaKov 73° 

. Tpo(f)bv 8' 'OpeVroi; r?/^'8' opoo K€K\avfJ.ivr]V. 
Y^'f^^oi by] Trareis, KiXLcraa, bcofxaToov TwXas; 
. /f^ kvirrj 8' dp.iaQo'S eo-ri croi ^vvifxiropos. 

i^Lf'i-^AtyLn-dov rj Kparovcra rots ^eVots KaAety 

K*^ - OTTco? rax^o'i"' arcoyei', w? (ra(j)4(rT€pov 735 

^ ' ai'j/p a7r' dvbpbi ti]v v^ayyeXrov (fxxTiv / / ^ 

()\.6u)V TTvOriTai Tipbe, Ttpbs p.ey otKeVas ^ n^- I c it 
fdiro (TKvOpcoTTMV evTO'i ofifxaTcov yikitiV ^l.K^ i-^ tf i^' L^ 
Ki.vQov(r e7r' epyois biaireirpayp.ivofi KaXcas rtU"** 
K^ivi], bop.oi'i be Toicrbe TraynaKOis '4x<eiv, 74° 

(f)i][jLr}'i v(f)' Tj'i i'lyyeiXav ol ^ivoL Topws. 
7} br] kXvu>v (Keu'os (iicfipavei voov, 

€VT av 7Tv6i]Tai, p.v9ov. u> rciAati'' eyw* ,^ ^ , (^^/^ 

CO? pun Ta p.ev TraAaia (TvyKeKpap-eva ' ■, yy„i^ uJ -t^ 
aXyrj bvrroLCTTa roicrS' €V 'Arpeco? 80/xots [KuJ ir*^{^i^ ^ ^ 
TvyJiVT ip.i]V ijXyvvev €V (rrepvois (})ph'a. l-u^t^ ^'^.U*-^ 
aAA' ovTi 770) TOLOvbe TTiJix rjvecrxdpLrjV. 

726 So\iav Pauw : SoA.io M 727 'Epfj.rjv Turnebus : tpfirja M 

728 Kol rhv vvx^ov seclusit Hermann 730 av7]p Porson : av7)p M 

734 To7s leVois Pauw : rover t,4vov(T M 738 diro ffKvdpconuiv] dtro 

<TKv8poinTbv M : OtroffKvdpcowhv Erfiirdt : OfroffKvdpoowwv Conington : 6(to 
ffKvdpoiTTwv Victorius : fort, sub QfTo latet adiect. cum ytKwv constructus, 
vel adverb. 740 Kiivr) M 742 iKuvos Robortello ; iKuvov M 

747 T/i'eo'xoM'J'' Butler ; oj'etrxfi/uTji/ M 



XOH^OPOI 

ra ixev yap aAAa TArjfxovoi'i iivtAovv KaKa' [- ^^ ^ ,_'^ / ^/ 

(f)ikov 8' ^Ope(TTi]v, rj/s e/x?/9 ^jfvxv'i Tpi'l^'i^', ^ 

ov f^edp€\lra ixrjTpodev SeSey/xeV??, — 750 

KUK vvKTiTrXayKTOiv opdicov K^Aeu/xarcoy 

Kol TToWa Koi fjiO\6i]p^ avux^iXriT ^fxoX 

rkdcri]' — TO /i7/ (f)poi'ovv yap ojcTTrepet fiorov 

Tp€(f>€t,v avdyKrj, ttw? yap ov; Tpoino <f)p€v6s' 

ov yap TL (/)coi'et Trats er' U)V iv a-napy aval's, 755 

ei Xtjuo'?, 1] hi\lri] Tis, 1] Kiy^ovpCa 

€xef V€a h\ vrihvs avTapKrjs TeKVOiV. 

TovToov TTpofxai'TLs ovaa, TToWa b\ olop.ai, 

\lr€V(T6€L(ra 7rat8os (nrapydvcov (\)aihpvrTpia, 

Kva(p€vs Tpo(pevs re ravrbv €l)(4Tr]v re'Aos'. 760 

iyoj bnrXas 8e Taabe Xf'P'^i'a^io? 

ex^ova 'OpeoTTjy i^ebe^dpiriv TTarpC' 

TcOvriKOTos b€ vvv TaKaiva TrevOopiai. 

crrei'xw b' ctt' avbpa Tu>i'b€ kvixavTi'^piov 

OLKoov, OiXun' 8e Toi'be TrevrreTat Xoyov. 765 

Xo. TTcSy ovv KcXev^L viv p-oXetv kcrraXp-ivov ; 
Tp. 7/ TTois'; Aey' av^ts^ wj fxddoi (Ta(f)4aTepov. 
Xo. ei ^vy AoxtVats etre Kat fxovoa-TLiSf]. 
Tp. ciyfLV KeAevet bopv(f)6povs oirdovas. 
Xo. /x7/ i't'y crv rarr' oyyeAAe 8ecr7roVou orvyef 77° 

aAA avTov iXOcu't cW a8ei/:xai'rcos kAi/7/, 

ai^cox^ ocroy rax'^^ct yrjdovai] (fypevi. 

iv ayyeAo) yop KpvTTTos opdovrai Ao'yos. 
Tp. ciAA' 7/ (f)poi'(is ev roto^i rui' 7)yy6A/xerots; 
Xo. ctAA' (I TpoTTaCav Zei/? KaKuiv di^cret irore. 775 

751 »cd»c Portus : koI M 756 et Staiilcj- : 7) M 760 rpo<p(vs 

Robortello : aTpo(pi\)s M 762 irarpi M : (Jj suprascr. m 764 o-Tfi'- 

X«>'i' M 765 rJi/Se . . . Koyov Blomfield : rcoi'Se . . . \6y(iiv M 

767 i) Trij,-] ^ Wellauer : ^ M : fort, oirois; Valckenar 768 d Turne- 
bus : ^ M 772 yriOovaij Pauw : yaOovcrri Turnebus : toxict' 

ayadovffri M 773 opQovTai \6yos (auctore Musgravio; Person : 

opBovari (pptvi (c 772) M 



AISXTAOT 

Tp. Kal TTws; 'Opeo-rrjs eATrl? otx^rai hojXMV. 
Xo, oiItto)* kukos ye ixavTLS av yvoirj rahe. 
Tp. Tt ^/ys; I'x^'^ '"' ^''^^ kek^yixivoiv hiya; 
Xo. ayyekyC lovcra, TTpacrae raTrecrraAjU.ei'a. 

jueAet OeoLcnv Stvirep av fieA?/ Trept. 780 

Tp. aAA et/xt Kat crols ravra ireicrojxai Aoyots. 

y^voLTo 8' ws apKTTa crvv Oedv bocreu 

Xo. z^Oy TiapaLTovfxivq p.01, Trdrep W'''P' ^' 

Zev Oecov 'OkvixTrtctiv, 

bos rvyas (v rvyjdv KvpLcos 785 

TO. o-(a(f)pov' €v ixato[j.4voLS loelv, 
8ta biKas irav eiros 
(kuKov, u) Zeu, (TV viv (f)vkd(r(TOLs. 

ce, Trpo be 8?/ \dp^v [e(/). a. 

TOP ((TcoOev jxekadpcov, ZeS, 79° 

6is, eTret vlv [xeyav apas, 
bibvfxa Koi TpLTrkd 
TTakLpLTTOLva 6ik(t>v d[j.eL\j/ei. 

to-)(e 8' dvbpbs 0tAov TrSykov eu- [drr. a. 

rty ^uye'yr' kv apfxacnv 795 

TTrjixoLTOiV, ev bp6}X(^ TTpocTTLOels 
fxerpov. TLs av aco^opievov pv6p.ov 
TovT tboL bio. irebov 
dvop.ivu)V jir\p.dT(iiV opeyixa; 

779 SyyeXX' Robortello ; iiyyeA' M 780 /xe\ft . . . fj.f\]] Turne- 

bus : /iieWei . . . fieWr) M 783 TrapaLTOv/xeva fxoi Turnebus : -rrapai- 

Tov/xep' €/j.o\ M 785 ev rux^'iv Bamberger : rvx^'iv Se /jlov M 

786 erdcppou' eZ Hermann : crcorppoavvev M 787 Sia S'ikus Pauw : 

SiaSiKaffai M : Ka.5 S'lKav scholio putat indicari Hermann anav (ttos 

Weil 788 2) Zfv, av Hermann : Zev av 5e M 790 rov fCTcodfv 

IxiXaQpoov, ZeO Seidler : tHiv fcroo fjLiXdOpoiv, S> Zev M 791 vtv Seidler : 

fj.iv M 794 Iffx^ Pauw : J'trSi M 795 apfiacriv e schol. Her- 

mann : apfiari M 798 ifSoi Sia ireSov Blomfield : lSe7u SdirfSov M 

Post 799 iterat vv. 789-93 Schneider 



* 



XOH*OPOI 

ot T icrco Saj/xaroj;' L^''"P* P' 

irXovToyaOrj nvxov iviCeTe, ^°' 

Kkvre, crvixcfipove^ Oeor 

[ay^re] rail' irdkat TreirpayixivoiV 

kv(ra(rB' alfxa 'npo(y(^aTOfi bUats. 

yipCOV (f)6vOS P-TIK^T €V 6o'/XOtS T^KOL. 8°5 

TO he KaXCJs KTip-evov w fxiya vawv \j<t>- ft- 

crro'/xtor, eS 86? avihelv h6p.ov avbpos, 

Kai viv iXevdepias (/)co9 

kapLirpov Ibe'iv ^tAtots ^'° 

oixpLacTLV Qk) hvo(f)€pai KaAvTrrpas. 

^vXXdftoi 8' erStKO)? [a^^T- ft- 

TTOLS 6 Mates €TTt(f)0p(i>TaT09 

TTpa^tv ovpiav 6iXu)V' .. 

[ttoAAo 8' aAAa (l>avd xPVi-C^^ KpynrA], 815 

aa-KOTTOv 8' CTTOS Aeyco* 

rvKTa -77/50 r' 6p.p.aroov (tkotov (pepei, 

Kad' T]ixipav 8' oi/8fi' kp.^avia-Tipo'i. 

KoX TOT ijbri kXvtov l^'^P- y 

\ hcOlXOLTCiiV kvTTipiOV, 

\6ri\vv ovpiocTTaTav 
\ opLOv KpeKTov yoa- 
Tuv i'6p.ov ixe6i}(Jopi€i'. 

800 (ffw Hermann : ecrwdf M 801 Tr\ovToyaev Turnebiis : irXovra- 

yaeij M eVi'CeTf Hermann : vo/xiCtre M 802 K\vre Dindorf : KKverf M 
B03 iytre seclusit SchUtz Trcirpayfxfvoiv sccludit^ Hermann, qui 

versum post 804 putat cxcidisse 804 Avcraae'] \ov(ra0' Wecklcin 

806 Th 5e Robortello : ruSt M Krifj^ivov Bamberger : Krafitvov M 

808 (KivQfpias (po>s Dindorf: i\fveepio!S M 810 Kafxirphv Dindorf : 

Aa.uTTpiy M 811 o/i^airii' Hermann , u/inafft U f'jc add. Hermann 
815 seclusit Heimsoeth: to. 5' a\a aij.(pavf7 XRvC"*' i^pvirTo. secluso) 
Hermann 816 \4yo,- Miiller : \fywv M 817 irpS secludit 

Wecklein Post 818 iterat 806-11 Schneider 819 t6t' ^Stj 

Blomfield : T(iT€ 5^ M KAvrhv Bamberger : irKovrov M 822-6 hos 
vv. nemo ita cum antistropha conciliat ut non longius a codd. aberret 
822 yoarau Hermann : yorjToii' M 

AESCII. Clio. 21 



820 



AI2XTA0T 

TToAet Tab' €V' 

eixbv €\JMV Kepbos av^erai rob ' a- 825 

Ta 8' aTToarrare'L (f)[ko)v t. 

(TV 8e OapaQtv, orav iJKi] [j.^pos epyoov, [e0. y. 

iirava-as Ylarpos avbav 

dpoovcra [Trpos ere] T^kvov [Trarpos avbav\ 

\Kai\ Ti^paiv av€T:iiioix(\)OV arav. 830 

Ylepcriois t iv (ppealv [avT. y. 

Kapbiav avaayj^Qiiiv, 

Tois 6' VTCO X^Ol'OS (p[X.0L9, 

t rots r' avoidev TTpoirpdcra-MV 

X^apLTtts opyas \vypas, h'boOev ^35 

^oiviav arav riOei, tov uXtlov 8' 

k^airokkvuiv fxopov t. 

Airiseos 

tJkco jjikv ovK a/cArjros, dAA' inrdyy^kos' 

viav (poLTLv be TrevOoiJiai kiyeiv tlvols 

^evovs p.o\6i'Ta9 ovbap.(os ((jiip^epov, 840 

fxopov 8' 'OpicTTov. Kal rob' dp.(^epeiv bop-ois 

yivoiT av a)(6os beifxaTocrTayes (f)6v(o 

TO) irporrdev kkKaivovcri Kal bebr}yp.€VOti. 

TTCos TavT dkr]dri Kal iSkiirovTa 8o£acrco; 

'rj TTpbs yvvaLK(DV b€i[j.aToviJ,evoL koyot 845 

TTebapcTLOi, dpiocTKovcn, 6vr\(TK0VT(.<s ixaTrjv; 

824 Tr6\et ToS' Blomfield : noXtf ra 5' M 825 ae'lerat M 

828 avSav e proximo versu Seidler : epycji M 829 wphs (re et 

-rrarphs avSav seclusit Seidler 830 Tre'paif' Auratus : Kal irepaivuv M 

a.vex[/j.ofj.<pov Schutz : iiriiJ.ofj.<pov M 832 ava(rx(0'^'' Grotefend : 

axeda>v M 833 ff Robortello : 5' M (plAoLai M 835 x^P'Tas 

Schutz : xO'P^'TOS M Kvypas Blomfield : Avvpas M 836 rleei 

Davies : ridfU M 837 i^airoWvwv Heimsoeth : f^airoWiis M 

ixopov Turnebus : fxopov M Post 837 iterat vv. 827-30 Schneider 

840 f(p-fifj.epov mutatum in ((pi/xepov M 842 Sfi/xaTOffTayes Victonus : 

SfifiaToardy" (cr M 843 €\Kaivov(Ti Ka\ SeSTjy^fVots Bamberger : 

fXKaivovTi Kol SfSr]yfj.fV(f> M 



XOH^OPOI 

TL TQ)vb' hv eiTTOts axTTe 87]A(3o"at (fypevC; 
Xo. r}Kov(TajXiv /xeV, irvvOavov h\ rGiV ^ivoiv 

ettroj TTapeXOcav. ovbev ayyiXoiv crOivos 

6)s avTov avrSiv avbpa Trevdea-Oat irdpa. 850 

Ai. Ibecv eAey^at r' av OeXco tov ayyeXov, 

eir' avTos t'ii' Ovijctkovtos iyyvdev irapcav, 

etr i^ ajxavpas KXrjbovos Aeyet p.a6(Lv. 

ovTOL (ppiv av KX€\l/eL€V d)piJ.aT(x)ix4vr]v. 

Xo. Zev Zev, tl Ae'yco, TTodev ap^oip.aL 855 

Tab" kT:ivyop.ivri KaTnO^a^ova-" , 

vTco 6' evvotas 
TTws t(Tov eliTOvcr' avvacopLai; 

vvv yap jueAAoiKTi ^.tavO^tcrai 

TTeipal KOTTavciiv avbpobatKTcov 860 

Tj Tiavv 6r\a^iv 'AyaixefxvovLoav 
oIkodv oXeOpov bta iravTos, 

7; TTvp Kal (j}Sts eTr' ekevOepiq 

baioiv apxds re TtoXia-aovoixovs 
TTaripoiv 6' e^et p.iyav oXjiov. 865 

\Toidvbe TrdXrjv pLOvos wv ecfxbpos 

Sto-o-ois /ueAAei delos 'Opiarrjs 
a\f/€iv. eXt] 8' irrl vUr]. 
At. e?;, oTOTOTol. 
Xo. ea ea juaAa* 870 

7ra)!f exft," ttws K^Kpavrai bopois; 

dTtO(TTa6Q>p(v TTpdyp-aTos reXovp-evov, 

OTTw? boKiopev Tcavb' dvaiTLai KaK^v 

(Tvat' pd\ris yap brj KexvpatTaL reAo?. 

849 (Xaw Blomfield : fcru M 850 avrhv Canter : avrhs M 

aiiTwi> Turnebus : avrhv M irdpa Port us : irtpi M 852 ^ev M 

854 (ppfv &f Elmsley : <pp(va M 856 KairiQoa^ovffa M, oa in litiira 

865 irarfpicv 6' e^(i Weil : e'let Tarfpoiv M 867 06?oy Turnebus : 

flefois M 872 airocTTaOwfjifv Robortello : airoaTadw fiev M, &iro (rTadw 



Hfv m 



•21* 



AISXTAOT 

Ot. otfxoi, TTavoifxoi h^anoTov 7re7rA);yjU,ei'oi)' §75 

ot/iot /xdA' avdis iv TpCroLS TTpoa(f)$eyixa(Ttv. 

Atytcrdos ovKir Icrra'. aAA.' avoC^are 

OTTcos Td\L(rTa, /cat yvvaLKeCovs irvXas 

fxoxXols xoAare* kol /xdA' ^/SwiTo? 8e Set, 

ovx coot' aprj^ai hLaimrpayiiivd^' tC yap; 880 

lOU tov. 

Ku><f)ols dur<3 Kot Ka^eijSovcrti' jxaTrjv 

aKpavra /3d^co. Trot KAi»rat/>i?jcrrpa; rt bpq; 

eot/ce I'ui' av r?/o-5' iin^ipov Tre'Aa? 

a^xV TTCO-etcr^at Trpos bUriv 7T€7T\i]yixh'os. 
KX. rt 8' eoTt \pri\xa; riva [Soy]v tcrr)j? 8djuot?; 885 

Ot. 701; ^(Sira Kaiveiv Toy's TedvrjKoras Aeyco, 
KA. ot 'yw. ^vvTJKa roinrog e^ aiviyixdrajv. 

SoAots 6\ov}x^6\ axTTrep ovv (KTeu'afxev. 

SotJj rt? dvbpoKixrJTa ireXeKW w? rdxos* 

elbiajxev et VLKo^ixev, ?; vLK(j)\xeda, 890 

kvravda yap 8?/ roSS' d(\)iK6p.r]v KaKov, 

Op. (re Kat ixarevco' rw8e 8' dpKovvrcas €\ei. 
KA. ot 'yto. Tidvr\Kas, (piXrar AlyCa-Oov jSi'a. 
Op. <^tAets roi; avbpa; roiyap iv ravrS) Td({)(f 

KetVet. davovTa 8' oi;rt /xr/ tt/joSo)? Trore. ^ 895 

KA. emo-^e?, w Trat, roV8e 8' at8eo-at, tIkvov, --^'*"- ^/■■' T' 

fjUKXTov, TTpbs w 0-1/ TToAAd 8?/ (3piC(ov &.p.a 

ovkoLcnv e^7//xeA^ay (vTpacpes ydAa. 
Op. nuAdSjj, rt hpdaoi; fxrjrip' albecrO^ ktov^iv; 
nVAAAHS 

■TTOU 8?) rd AotTrd Ao^t'ow fxavTevixaTa 9°° 

875 iravoifiot Porson : Trar oiC^of (ut videtur in rasura) M TTfirArj- 
yfxfuov Schiitz : Tf\ov/j.fvov (ex 872) M 880 Sxtt' Porson : ws 5' M 

Sian(Trpay/j.(i'(f) c schol. Tumebus : Siawfirpayfj.(vci}v M 883 av rriffS 

Martin : 011x7";$ M iirii,i)vov Abrcscli : i-n\ ^vpov M 884 SiKTjf M 

^sic M) 887 0? 67a; M idem error 893, 928 890 ft Turnebus : 

t) M 896 5' aiSea-ai $ophianiis : STjtreroi M 897 f av Robor- 

tcllo : i)Kv M 900 Stj Auratus : Sal M 



TO, Trv66)(pri(rTa, ttuttu r' €vopKu>ixaTa; 
airavTa^ e'x^dpov'i tQv dfcHv rjyov irXiov. 

Op. KpLi'dj (re viKav, Koi Trapau'ei'i p.oi koAw?. 
€7701;, iTpos avTov Toi'he ere cr^a^at OiXoi, 
KoX ^G>vTa yap viv Kpeiaaov i]yi](rco irarpos' 905 

TOVT<p Oavovcra ^vyKadevh\ errel (^tAeis 
Tov dvbpa TovTov, ov b' ixPV^' </>tAetr crrtiyeis. 

KA. iyca cr tdpe\lra, crbv he yrjpdvaL dekco. 

Op. iraTpoKTOvovcra yap ^vvocKi](rets ep.01; 

KA. 7; Moipa TovToiV, co TeKvov, Ttapairia. 910 

Op. Ka\ Tovhe roivvv Motp' e-iTopcrvvev p.6pov. 

KA. ovhev (xe/it^et yevedkiovs dpd'i, reKvov; 

Op. TeKOvaa yap p.' eppi\//-a? ej to bvcrrvx^s. 

KA. ovTOL cr' direppLxl/' es bop-ovs bopv^evovs. 

Op. alcrxpois iTTpd6r]v u^v eXevdepov irarpos. 9^5 

KA. TTOV brj6' 6 rtp,os, ovfiv' di'Tebe^dp.y]i'; 

Op. al(r)(yi'op.ai rrot tovt dveibiaai aac^Qs. 

KA. dAA' et(/)' opoLO}^ /cat Trarpos tov aov pLaTas. 

Op. pi] 'key\e tov ttovovvt' eaoo Ka6i]p.evi]. 

KA. aAyos yvvai^Xv dvbpos etpyeaOai, TeKvov. 920 

Op. Tpe(^ei be y' dvbpos p-oyOos i]p.evas eau). 

KA. KTeveu' totKos, cb TeKvov, ti]v p.TjTepa. 

Op. (TV rot aeavTi'p', ovk eyw, /caraKrez'ets". 

KA. opa, (f)v\a^aL p.i]Tp6s eyKOTOvs icvvai. 

Op. Tas TOV TraTpoi be ttoj? (fjvyco, Trapets Tabe; 9^5 

KA. eoiKa 6pi]i'eiv (Qxra irpo'i Tvp.i3oi> pidTip'. 
\0p.; TTUTpos yap alcra Tovbe aovpt^et p.6por. 

KA. 01 'yo) TeKovcra Tovb^ d(^ti' eOpexj/dpi]!'. 

Op. ?/ KapTa p.drTi'i ov^ oveipuT^or (pd/Soi. 

901 t' Hermann : 5' M 905 Kpdtrcrov' Turncbus : Kpf(T<Tov M 

908 (Tw Auratus : vvv JI 911 iirdpawtv M 912 ae filCv^ ^I, 

(Tf^i^rii m 915 oiVx/'is Heath : Six^s ^I 917 coi Canter : 

(TOV M 918 a\\' Hermann : yu?; aW M (u?; e v. 919^ 927 ffoy- 

p/^€t Elmsley : cr' (>pij,'€t M 928 cf. ad 887 Post 929 Klj-t. 

responsum excidisse putat Wellauer 

■21** 



AI2XTA0T 

fKai'€9 ov ov XPV^'> '^'^'- ™ M'/ XP^^^' T^o-Oe. 930 

Xo. crrivoi [xev ovv kciI Tm>be crvixcfiopav bLTrXijv. 
eTret 8e ttoAAwi' at/j,drcoy eTri] Kpia-e 
T\r]fj.cov 'Opeorr;?, roC^' o/zco? alpovfx^Oa, 
6(f)6aXixov o'lKcov /Li?/ TTavdXeOpov irea-elv, 

(fxoXe juey 8iKa Ylpiapiibais XPoVo), [''"■'■p- <^- 

jSapvbiKOs TTOivd' 936 

6/xoAe 8' es hop-ov rbv ^ Ayap.ip.vovos 

SittAoSs Aecoy, StTrAous "Apr;?. 

lAacre 8' ej ro Tray 

6 7Tv66xpiio-ros (f)vyas 940 

^eo'tJez' ei/ (fypabcumi' o)pp.-i]ij.^vos. 

eiToXoXv^aT to OecrTrocri^j'coi' b6p.U)i> [e(^. a. 

avacpvyas KUKm' koI KTedvcav rpi/3as 

WTTttt SwOty p-LaCTTOpOLV, 

8vcroiixov Tvxo.^- 945 

e/zoAe 6' w jue'Aet KpvTiTahiov p.dx(is [dvT. a. 

bo\i6(f}pu)V TTOiva' 

iOiye 8' er p.d)(a X^P^^ erijrvpos 

Alos Kopa — AiKar 8e I'w 

■npo(Tayopevop.ei< [ipoToX TvxdvT€s KaXd'S — 95° 

dXe6pL07> T7viov(T ev ex^poi^ kotov 

Tavirep 6 Aortas 6 Ylapvaa-Ms ['^^P- /3« 

[liyav exwr p.vxoi' x^oz'os (TTOpdid- 

930 sKavfs Pauw : Kaveay M 936 ;3apv5i«:oy Victorius : /capu- 

Si«os codd. 939 eAao-f e schol. Pauw : eAo/ce M 940 irvdS- 

XprjfTos Butler: iri/eoxpTjCTotj (H supra a scr. ml M 941 e5 

(pfjoSoicnv Hermann : tvcppa^alffiv M 943 Tpi$as Stanley : Tpi^ai M 

944 vTral Hermann : v-jrh M Svolv G : 5oio7v M 948 5' eV 

Abrcsch : Se M 951 eV] eV Schiitz Post 951 iterat 942-5 

Schneider 952 Tavnep . . . Uapvaaias Paley : rdirfp . . . Uapvaa-- 

(Tios M 954 iTTOpdid^aiv Pale}' : iir' oxdei &^fv M 



XOH<l)OPOT 

C(OV dSoAots boXoLi 955 

(BkaTTTOfxh'ai^ Xpoina-Oe'icrav eTrotxerat. 

KpardTai (oe) -oos to Odov [irapa] to /x?) 

VTrovpyelv KaKols. 

a^ta 8' ovpavovyov apxav (Te(3€iv' 9^° 

TTapa TO ^(is Ibeiv, 

fxeya t a(f)j]pi6ri xj/dkiov olKicov, [€<f)Vixv. /3. 

avaye p.ai' b6p.0L- ttoXvv ayav \p6vov 



Tfixa 8e Traz'reA?/? XP^^'^^ a\xdy\/eTai [avT. /3. 

TTpoOvpa b(x>p.dT(t)i', oTav d(\) ecrrCas 9^6 

IXV(r09 TTCLV Kkvcn] 

Kadapp-oXfTiv aTav e/\«r?7pioi5. 

t TT^xat 8' evT:pocrit)7roKOLTca to ttclv 

Ibdv [d/couo-ai] ■np^vp.ivd'i 97° 

p.eToiKOi'i b6[xoiiv T;€(rovvTaL ttciXlv t. 

Trdpa TO (/)ciis' toeiy. 

Op. tSeo-^e x^P'^'-^ "V' bnrXijP Tvpavviba 
TjaTpoKTorovi re 6a)judra)2' TropOijTopa'S. 
aeixvol juh' T/o-ar e/' OpovoL'i toO' ijixeroi, 975 

955 aSoAois 5tJ\ois Weil : a.S6\a}S SoAi'oy M 956 xpovt(re6?(raj/ 

Hermann : iu xpovois duvav M 957 Se add. Hermann irapa 

seclusit Hermann (fort, placeat tola Hermanni coniectura Kpan'no} S" 
rTTos tJ) 0€?o;/ t5 m7? m') 960 S|ia 5' Hermann : i|io^ M^ 961 rci 

Turnebus : re M 962 ^€70 t" a<p]jpee-n Stanley : ^fyav r a.<pii- 

pf0r}v M oiKewv scrips! : orKa'f M : oIk^tSiv Franz 963 ^1/076 

^lkv Unoi Hermann : avay^nav 5d,uoi? M Post 964 dochmiacus 

desideratiir : fort, vapa rh <pws ISelv 966 a.(p' m : afx<p' M 967 kAuo-j; 

scripsi : eAaaei, j) suprascr., M 968 Kaeapfiolirtv Hermann : Kadap- 

Hola- M OLTav i\aTiipiois Schutz : airav iAar^piov M ^ 969^7^ locus 

vix sanandus tux*^! 8 euTrpoo-ojTroKorTai Franz : T^xa 5' evirpocrwiru 

Kolrai (1 supra alteram w scr.) M 97° aKovffai seclusit Hermann 

irpfU;U€r€?s Paley : epfofnevois M 971 /ustoiVois Srf/icoc Schutz : ^troi- 
KoZojxwu M post 972 iterat 962-4 Schneider 



AI2XTAOT 

({)i\oL be Kol vvv, 0)5 eTieiKacrai Trddij 

irdpecTTLV, opKos T kixp.ivet TTicTTcaixacn. 

^vvcoiJ-ocrav fxev ddvarov d6\i(o irarpl 

KOL ^vvOaveicrOaL' kol rdb^ evopKcos €\et. 

tSecr^e 8' avre, Tuivb' kirrjKooi KaK&v, 9^° 

TO p.i-}ydv7]p.a, becrp-ov ciOkLco irarpi, 

Tribas re yjupoiv koX iroboiv ^vvuipiba. 

TL viv TTpocreLiru), Kav tvx(>^ /xaA' evcrTopm'; 997 

aypevpia 6r\p6s, rj veKpov Trobevbvrov 

bpoLTrjs Karaa-Kipxtipa; bUrvov ph> ovv, 9^5 

dpKvv T av eiTTois KaL TroStoTT/pas' TrcTrAous. 100° 

TOLOVTov av KTr](Tai.TO (f)r]\r]Tr]s dvi]p, 

^ei'CDV aTTaLoXiipia Kapyvpoa-T^pij 

I^LOV vopii^iov, Tcabi T av boXa>paTL 

TTokkohi dvaip&v iroWa 6epp.aivoi (f)p€va, 1004 99^ 
^KTeivaT avTO Kal kvkK(^ irapao-Tabov 99 1 

(TTtyaa-Tpov dvbpo^ b€L^a6\ ws tbij iraTijp, 
ov\ ovp.6s, dX)C 6 irdvT iiroTTTevoov rdbe 9S5 

"HAto?, dvayva p.yjTpb'i ipya r?/? e/x?/s-, 
ws av TTapf] poL pdpTvs ev biKi] TTore, 995 

CO? Tovb^ eyo) peTrjkOov ivbCKuts p.6pov 
Tov pLrjTpos' AiyLcrdov yap ov Aeyco popov 
e'xei yap ala-yvvTripos, w? vopo'i, biKrjV' 99° 

iJTL'i 8' CTt' dvbpl TOVT €pi](TaTO (TTvyos, 

€^ ov TeKvayv ijveyx t^tto (mniv j3dp09, ^°°° 

(jyiXov reco?, vvv 8' k)(dp6v, ws (patveL, KaKov, 
TL (TOL SoKei; pLvpaivd y etr' '^\Lbv e(f)V 

976 56 Abresch : re M 978 aexlw Portus : adKioos M 983-90 in 

codd. post <ppovriiJ.aTos 1 1004) leguntur : hue transtulit Scholefield 
986 t' Hermann : 5' M 9B7 towvtov hv Turnebus : toiouto fxav M 

<pri\7]Tris Scaliger : <pt\-fiTTjs M 989 vo/j.iiwv Turnebus : voixi^w^ M 

990 (ppha Lobeck : <f>p(vi M 991 avrh Auratus : aijrhv M 997 Ktyoi 
e schol. Turnebus : 4/670; M 998 vdj-ws Portus : voixov M 1000 e'^ 

ol Robortello : in (tov M ¥iveyx Victorius : t\v ^xv ^ 1002 y fir' 

Hermann ; r ijr' M : y supra prius t' scr. m, 



XOH*OPOI 

crr^TTdv dtyova^ av aXXov ov heb'i]yfj,^i'ov 995 

roA/urjs €KaTL KaKbiKov (f)povi]fj.aTos^ 1004 

rota8' e/xot ^vvoikos h' bofxoKri, /x?/ 1005 
yivoLT' dXoifxr\v TTpoaOev €k Oewv aTracs. 

Xo. aloi alal /xeAeW' (pymv 

(TTvyepi^ davdrc^ bwjrpdxOrjs. 
e I, p.ip.vovTL h\ KOil T:d6os dvOil. 
Op. ^bpaaev 7/ ovK cbpaa-f; jxapTvpel 8e /xoi loio 

(papos T6b\ d)s ^l3a\}/ev AlyCcrdov ^t(/)o?. 
(f)6vov bi KTjKis ^vr XP^^'^ ^vpLJiakk^Tai, 
TXoKkas l3a(f)as (f)d€Lpov(ra tov TToiKiKpiaTos. 
vvv avTov alv(a, vvv dTTOtpi<a((jii itapm), 
XTiarpOKTovov B' v(f)acrp.a Trpoa-ffxavoiv robe 10 15 

dAyw piev (pya Kal Trddos yh'os re Trav, 
a^rjXa vUrji rrja-b^ eyoiv p.Ld(rp.aTa. 
Xo. ovrts fxepoTToyv dcnvfj jSCorov 
bia TTavTOi dvaros ajuei\//^et. 

e e, juo^^os 8' //ei' avTLX, 6 8' ?/'^et. 1020 

Op. dAA' 0)5 av elbfjT, ov yap 018' othj reAei, 
&<nr€p $vv 17177065 TjvLO(rTpo(f)U) bpopiov 
i^coTcpco' (f)€povcn yap viKcapievov 
(ppiv€S bv(TapKTOL' TTpbs be KapbCq (p6j3os 
abeiv eroLixos 7/8' VTTop)(ju(j6ai k6t(^. 1025 

eo)? 8' It' ^p.(j)p(ov elp.i, Krjpva-cro) ^t'Aois, 
KTaveiy re <^?j/xt p-r\T€p' ovk dvev bUris, 

1003 Oiyovrr' hv (sic) Robortello : Oiyovcrav M 1004 KaKS'iKov 

H. L. Ahrens : kolvSIkov M 1006 irp({(T0€v Turnebus : irpSffQ' M 

1007 af'a? aiai Dindorf : ot at M loio ovk fSpacrt Turnebus : oi'/c 

eSpaa-(v M 1018 dcrii'eT mutatum in affivrj M 1019 ira^Tt)? 

Heath : iravT' M Si/aros scripsi : iri^ioa M oyuei'vpei Erfurdt : 

d/tei'iferai M 1020 t e, Klausen : iff M /j.6x6o ^I : cetera sup- 

plot m TJ^ei Turnebus : i)^( m 1021 aA.\' ws tiv Blomficld, 

€i5^t' Martin, ov yap Erfurdt : aWoffitf d Si] toCt' &p M 1022 rjvio- 

ffTpo<p<ii Stanley : ripioffrpocpov M 1026 ta>s 5' tr' Robortello : tojs 

Se t' in : nihil M 



AI2XTA0Y 

TrarpoKTOvov fxCacrixa koI O^Stv orvyo?. 

KoX cf)[XTpa to'A/xt;s Tyjcbe TrXeicrTiqpi^oixaL 

Tov TTvOopLai'TLv Ao^LUV, "yjii^cravT ip-ol 1030 

TTpd^avTL fxev ravT^ eKTos alrtas KaKrjs 

elvaL, TTapivra 8' — ovk ipu> t-)]V ^rjjixtai'" 

To^ut yap ovTLS 7Tr]iJ.dTMV irpocri^eTai. 

KoX vvv opari fx, co? Trapeo-Keuacrjueyos 

^vv r(S8e 6aXX5) koL crreipcL TTpocri^ofxaL 1035 

fxea-oixcfiakov 6^ tbpvpia, Ao^lov irebov, 

TTvpos re (})€yyos a(f)6LT0v K^Kkruxivov, 

(pevyctiV Tob^ alpia koivov ovb^ e^' kcrTiav 

aKXr]v rpairicrOai Aortas i(j)UTo. 

Kol [xapTvpelv piev ws kiropa-vvOri KaKo. 1040 

Toli' kv yjiovi^ p.01 Trdyra? 'Apyetov? Aeyw 

cf)€vyoi 8' a)^/]Tris rrjabe yfj'i airo^evos, 

^wv KOL TeOvrjKcbs Taa-be Kkrjbovas kmrnK 
Xo. aAA' eS y' eirpa^as, jwrjS' iTnCevxdf]^ o-Top-a 

4>'>ll^'ll '^ovrjpa p.rib^ €inyku)(T(T(a KaKO., 1045 

eXevOepuxras iracrav ^ApyeCoov ttoXiv, 

bvoXv bpaKOVTOLV evirercos T€p.(bv Kapa. 
Op. a, a. 

bpLOdol yvvoLKes atbe FopyovMV biKr-jv 

<paio\(.TOiV€S KoX TT^TiKiKTavrip.h'ai 

ttvkvo'ls bpcLKOVCTiv ovK€T OLV /xetVat/x' eyco. 1050 

Xo. rive's rre bo^ai, (pCkTar dvOpiairoiV Trarpi, 

(TTpoj3ov(nv; tcrx^e, p.!] (f)6[3ov vlkS) -noKv. 
Op, OVK (lal bo^ai Twz'Se iriipidTitiV ep.OL' 

(ra(f)(as yap aibe p.i]Tpos eyKoroi ktjv(s. 

1038 e(p' effTiav Turnebus : ecpfffriov M Post 1039 legitur in 

codd. 1041 : transposuit Blomfield 1040 fxiv ws Blomfield : f^ot 

fify eAfojs M 1042 (pfvyec Weil : iyo) M 1044 7' enpa^as 

Tyrwhitt : re irpd^aa- M eTrt^eux^jjJ Heath : iiri^evxOv M 1045 (^TJyUj; 

irovrjpS. Auratus : <prifj.at irovripal M 1045-6 kuko,' Ti\ev6epco(ras 

Blomfield 'Apyeioov Person : apyeiriv M 1050 ouKtr^ ti.v /xelvat/x' 

Tzetzes : ovk er' a/xfxfluoif/ M 1052 (p6fiov vikw Porson : (pofiov 

viKuu M 1054 (ra(pe7s Wecklein 



XOH*OPOI 

Xo. TToraiVLOv yap atixd crot xcpoXv err io55 

€K TiDi'b^ TOL Tapayixbs es (fipevas TTiTvet. 
Op. ava^ "AttoWov, at8e nXriOvovcn hr], 

KO.^ dp.[xdTU)V ardCova-Lv (u\xa bv(T(f)LX€S. 
Xo. eh (TOL KaOappos' Aortas' be TrpoaOLyMV 

eXevdepov (re Tc^vbe Trrjjudrcoi' KriVei. i°6° 

Op. vpeh p.ev ovx opdre Tdab\ eyco 8 6pS>' 

ekavi'0[xat be KOVKer av p.eivaLp.^ eyw. 
Xo. dAA' evTv\Oiris, Kai cr' eTTOTrreixav T:p6(})p(ov 

6e6s (pvkdacroi KaipioLcn (Tvp(^opaA,<i. 

obe TOL p^eXdOpoi^ toIs /3ao-iAeiots ^°^5 

TpiTos av yeip.(iiv 

Tivevaas yovtas ereXecrOr], 
"naibojiopoi p.ev Trpwrov virijp^av 
p.6ydoi rdXaves [re Qvicrrov]' 

bevrepov dvbpbs j3a(riXeLa irddr]' 1070 

XovTpobdiKTos 8' u)XeT A\at,o»v 
TToXefxapxoi dvrip' 

vvv 8' av TpLTOs rjXOe iioOev crairqp, 
7/ pLopov eiTTco; 
TTOt brira Kpavel, ttoX /caraA?/^et io75 

p.eTaKOLp.Lcrdev p.evos arris; 

1057 TrXridvovffi Turnebus : irXriOvuvaai M 1059 efs (rol Erfiirdt : 

elffw mutatum in tiVo-' 6 M Aortas Auratiis : Ko^iov M 1062 kovk4t' 

&C ixflvatfi Robortello : kovk tr' a/x/j-fivai/j.' M 1067 Trvevaras 

Scaligcr : Trveovaas M : Trfoias {^o^/ias Hartung 1068 TraiSc ~ ' 

Auratus : TraidSnopoi M 1069 t€ dviffTov seclusit Hermann 



/ 



AESCHYLUS 

CHOEPHOROI 

IJVT/l INTRODUCTION AND NOTES 

BY 

A. S IDG WICK, .^I.A. 

READER IN GRF.EIC IN THE UNIVERSITY OF OXFORD 

FELLOW AND TUTOR OF CORPUS CHRISTI COLLEGE, OXFORD 

LATE FELLOW OF TRINITY COLLEGE, CAMBRIDGE, AND ASSISTANT MASTER 

OF RUGBY SCHOOL 

PART II.— NOTES 

NEW EDITION, REVISED 



AT THE CLARENDON PRESS 
1900 



HENRY FROWDE, M.A. 

PUBLISHER TO THE UNIVERSITY OF OXFORD 

LONDON, ECINBURGH, NEW YORK 

TORONTO AND MELBOURNE 



NOTES, 



The opening of the play is unfortunately not in the MSS., the Medi- 
ccan being mutilated before the others which have the Choephoroi 
were copied from it. The MSS. begin line lo tI xPV/^'^ Xtvacxco; It 
is, of course, impossible to say how much is lost. 

Three fragments, however, have been recovered, all to be referred with 
certainty (or very high probability) to the prologue. 

Lines 1-5 come from Ar. Ran. 11 26, 11 72. [Herm. thinks they do 
not come consecutively, and would interpolate lost lines between 3 and 
4; but the supposition is needless. They are suitable as they stand: 
and -nipaivt iTtpov, Ran. 1 1 70, means ' go on with another,' i. e. ' continue 
the next line,' like A«'7' 'ircpov 11 ^i.] 

U. 6-7 are from a Scholiast on Find. I'yth. 4. 146 ; the Scholiast quotes 
them with the words 'Opiarrj^ iprjal to) 'Ayapitfivovi, which strongly 
l>oint to this speech at the tomb. 

11. 8-9 are from a Scholiast on Eur. Ale. 784, who quotes the lines 
expressly as from the Choephoroi. 

Proi.OGI'E. 77/1' sa-nc is the tomb of AgaiiicDinon in Argos. The 
hack of the scene is the palcue, with statues of Zeus, Apollo, and Hertnes. 
Enter Orestes and Pylades from exile. Orestes prays at the tomb, 
addressing first the statue of Hermes : — 

11. 1-21. ' Hermes, save me and help: I lay here a lock of hair in 
mourning for my father. Ha ! what is this gathering of women in black 
robes ? And Elektra my sister, too ! let us stand apart and see.' 

1. I. x^ovie. The deities who had to do with the imderworld were 
called xQtjvioi, such as Ge, Pluto, Eumenides, Hermes, etc., the latter as 
the conductor of the Dead to the nether regions. The adj. x^"''ios is used 
for ' M/^i^^/'-ground,' just as we say 'in the earth,' 'in the ground,' as 
well as 'under.' 

irarpii' tiro-n-Ttviov KpoTT) may mean ' guarding my father's power.' 
i.e. as the helper of the dead protecting the interests and palace of Aga- 
memnon : so Con., Schiitz.. Butl.. etc. ; or it may mean 'that watchesl 

.\ 2 3 



CHQEPHOROI. 

over thy father's power, i.e. that hast power' among the dead given 
thee by Zeus. So Klaus., Peile, Bothe, Kock (on Aristoph. 1. c). 

The second is the best : for narpwa naturally refers to 'Epfifj • and so 
Aeschylus himself^ interprets it in Aristophanes, Ran. 1144. 

1. 3. This line is in Aristophanes the subject of comment. Euripides 
objects to it as repetition: but Aeschylus points out (Ran. 1163) that 
* to come ' may be said by a citizen : but KaT€'pxo|Aai only by an exi/e. 

KaxeXGeiv, lit. ' to come down,' came to mean ' to return from exile,' 
no doubt because of its nautical meaning 'to come to land': for all 
Greek exiles went across the sea. 

I. 5. kXv«iv, aKovcrai, 'to hear, to hearken,' a common Greek rheto- 
rical repetition. Euripides again (Ar. Ran. 11 73) attacks this for tauto- 
logy, Tovd' iTfpov av9is (read av 5tj) Xtyfi : but this time Dionysos gives 
a burlesque defence of it, ' He was speaking to the dead, you rascal, and 
even thrice-repeated words cannot reach them.' 

II. 6-9. The general sense of these fragments is clear: 'I have just 
offered a lock of hair to Inachos : this I offer in mourning for my father : for 
at his burial I was far away and could not mourn.' Inachos, river and 
river-god of Argos : he would reach the river first. 

1. 6. Eustathius (Archbishop of Thessalonica and Byzantine scholar 
of the 1 2th century, A.D.) tells us, in his comment on Iliad 2, that 'the 
Greeks shaved their hair ?« time 0/ grief and also on reaching tnanhood 
■ . . this was the TrKoKa/jio^ 6pcmr]pios of Aeschylus, and the other irfvOr]- 
Ttjptos.' So the one is 'the lock of nurture,' the other 'the lock of 
mourning.' The first is offered to Inachos, according to the custom of 
offering hair to rivers (as the life-giving powers}. So Achilles to Sper- 
cheios, Iliad 23. 146. 

6p€iTTT|pios is therefore best taken not as passive, 'cherished,' for 
Inachos, but as describing vaguely the connection of the offering with 
the Tpo(p^ or ' nurture ' of the youth. It is clearly an adjective. 

1. 7. J/ere Orestes lays the lock upon the tomb. 

1. 9. ovp8' i^irtwa x*ip'. ' nor did I stretch out my hand,' in the atti- 
tude of mourning, as Eur. Ale. 76S shows, ou5' l^ijtiva x^^p' airoipAi^wv. 
The reading in iK<popav is therefore rightly corrected by Dind. to in 
fKipopa, at the burial, not to. 

Here a p7-ocession is seen approaching the tomb, consisting of the 
princess Elektra, and the Chorus of captive women, dressed in black and 
hearing urns for libation. Their cheeks are torn, and their garments 
rent in sign of grief. 



It is Aeschylus, not Dionysos, for the latter alw.ivs interrupts with 
burlesque ; and moreover i^-fjuaprfs in the next line makes it more likelv 
that Aeschylus is the speaker. 



NOTES. 

1. 12, irptTTOvo-a, 'conspicuous,' a favourite word of Aeschylus, of any- 
thing that thrusts itself upon the senses ; usually the si^'-/a (cf. i8, 24), but 
also the hearing, oJ/mi /ioTjv npi-nuv \g. 321, and even the smell, drfioi 
aiairtp it raipov irpitrei Ag. 131 1. 

iToia |v|x4>opa irpocrsiKdcru) ; ' to what sorrow shall I liken it?' an 
abridged but unmistakable expression : he means, ' What woe can I 
guess to be the cause of this mourning ? ' 

1. 14. tTTciKdcras rvx", ' shall I rightly surmise ? ' (,lit. ' shall I be right 
iu conjecturing? shall I hit the mark?'), a common sense of ti/7x«''<*'. 
icvpiai, etc. So Ti viv KaXovaa rvxoip.' av; Ag. 1232. See below, 418. 
Tv\(ti is the deliberative subjunctive. 

1. 1 5. veprtpois p,€iXtYjAaTa, ' to soothe the powers below,' i e. the dead, 
whose anger brings woe on the living. This excellent correction, pLfiXiy- 
f-iara for fiuXlyfxaaiv (the MSS. reading due to obvious confusion) is 
confirmed by Pers. 610, where the same idea occurs, x^dy ■ . . vticpoiai 
ftfi\tieTr]pia. 

1. iS. irpc'iroverav, here of demeanour and expression rather than ot 
dress, 'with signs of bitter grief.' 

The rise here to indignant prater for vengeance is caused by the sight 
of his dear sister oversvhelmed with woe. 

1. 21. Trpo<rTpoiTT|, 'supplication,' is abstract for concrete : 'suppliant 
liirong.' 

Orestes and Pylades draiv aside out ofvieiv. The Chorus, no-v fully 
entered, group round the tomb (which is probably the 0vfii\r] or central 
altar of the orchestra) and sing. 

Pakodos 22-S3. 

• I come with libations and lament (strophe i). There has been a ter- 
rible vision ; the seers say the dead are wroth (ant. i ). The impious 
queen sends this vain offering. Alas for the fated house I (sir. 2). Our 
old reverence is gone, and now men fear the powerful : Justice wails 
(ant. 2). The shed blood on the earth is uneffaced (str. 3). Maiden- 
hood and life once lost are lost for ever (ant. 3). I have the h.ard fate of 
a slave, to see the ill, and curb my hate, and mourn in secret (epode).' 

1. 23. xo<*s TTpo-iTojiiTos, 'escorting the libations,' ace. after the adjec- 
tive, like dwuTponov d'-yos 155, 7roA.Ad ^vviaropa Ag. 1090, dnopa Tro/Ji/xoy 
Prom. 904, ai (pv^tfxos Soph. Antig. 786, where, as here, the adj. is verbal 
or quasi-verbal. There is therefore no need to read x°^*'' with Cas,, 
Schok'f , and others. 

6£vX«ipi oviv KTViTO) must mean ' with sharp ring of hands,' i.e. thev 
beat their breasts with sharp sound. [The word occurs again, 427, in 
the same sense, and there is no need to read K^nw, with Pauw, Kirch., 
and others.] 



CHOEPHOROT. 

1. 24. Trptirti, ' is scarred.' Observe the double dat., two slightly dif- 
ferent uses of the instrumental, both quite natural, ' is scored with fresh 
furrow by the bloody rendings of my nail.' 

1. 28. XaKiSes may be either ' the rendings' (abstract) or 'the tatters' 
(concrete). If we take the first, o-toXjxoi will be in a kind of loose ap- 
position : literally,/ And from grief the rendings of garments destroying 
the tissue have burst aloud, the folds of my robes before my breast,' etc., 
i.e. ' My garments are rent aloud, the woven fabric is torn, the folds,' etc. 

If we take the second, Xi.vo<})06pot XaKiSes vtj). must mean 'the rent 
tatters of linen robes,' a possible, but rather harsh use of the adj., so that 
the first is better. Moreover in Aesch. XaKis is usually abstract, Pers. 
125, Supp. 120, 903. 

[Herm. and Pal. and Weil, following the .Scholiast, take aroKfiol subj.. 
XaKiSfs predic. 'The folds . . . burst nito tatters,' but the order of the 
words is strong against this artificial interpretation.] 

1. 31. '.Struck with woeful calamities,' a phrase properly applicable 
to the persons, is boldly and effectively transferred to the robes: as though 
the blow of the hand rending the robe 7i>as the blow of fate which caused 
the grief. 

1. 32. ' Yox bristling Terror, clear prophet of dreams to the house . . . 
uttered a cry from within in the dead of night,' a splendid Aeschylean 
personification. The dream really came to Klytaemnestra, and it was 
her waking cry of terror : but the poet finely makes Terror himself 
cry out. [Some keep MS. (pottos, with 5e' for yap : far less impressive.] 

1. 34. d|xp6ap,a, Epic syncope of dva, like the Homeric dyKa\foj, 
dWi^ai, dy^jjpaivw, etc. So Aesch. has (wavrdKaaav Ag. 27, Cho. 282, 
dvSaioj Ag. 305, d//rri7rT«( ib. 1 599, dij.-nffx,rraiv Cho. 382, tTrafi^arqp ib. 
2S0. 

1. 35. iT€pi 4)6pco, 'in fear' (cause of the cry). So irtpX rdpPdVeTS. 
696 ; and Pind. has nepl deifmrt, trf pi ripiq. The comm. are exercised 
about </)i//3os followed by irepl <p6&w ; but Wordsw. quotes Ale. 50. 
&dvarof is said Odvarov kfxfiaXuv : and Con. well adds Milton, Ode on 
Xativ., where ' Peace . . . strikes a universal peace.' 

1. 3^1. iTiTvcov €v, ' falling on,' Epic use of iv after verbs of motion, like 
h'l (TTT]9ia(jtv opovaas. So Aesch. has (pepovcr' tv ij^i-lv Ag. 1450. 

1. 38. \i-niy^\io\., 'pledged' to the truth: it is better so than to take 
BfuOfv vntjyvot, ' warranted by the gods ' (Peile, Kl., Pal., Weil), a 
meaning which v-rriyyvoi will hardly bear. The Schol. impartially 
gives both. 

1. 39. |jicp,4>c<r0ai., not uncommonly with dative /fheb. 560, Pr. 63) : 
but the want of case is not felt here because of rois Kravovai which 
follows with tyieoTfiv, tovs, the plural is due to a euphemism; it is a 
va^i/er way of speaking of what is fearful. .So 53. 



NOTES. 

1. 42. If the M8S. dxaptv be ke])t liere, airoxpoiTov must have the 
second syllabic long. The comm. (juote Eur. Phoen. 586 rwi/S' dworpo- 
■noi KaKwv, but Eur. is hardly a guide for Aesch. in metrical usage. 

I prefer Elmsley's dxapixov. The fact that Aesch. uses x''/"" ax"/"'' 
Ag. 1545, Prom. 545, may be used as an argument for axapuov, as it 
accounts for a scribe who knew Aesch. altering the reading here. More- 
over dx^pirov makes the correspondence not only of metre but of syl- 
lables exact. 

The ' unwelcome offering to avert ill ' is Klytaemnestra's libation, 
unwelcome because the murderess offers it. 

1. 44. tu) Yaia jittta, 'O mother earth!' an exclamation of horror at the 
impious attempt of the murderess to avert wrath by sacrifice. So Si yaia 
/.i-fJTejt Hipp. 601. 

1. 45. jiujjit'va, 'desiring,' to ofl'er successfully, that is. 

1. 47. i'lTOs t68' must refer to something not yet said, else it would be 
ticliaKovaa ; and the common view is probably right, that ' the word ' 
which the Chorus fear to utter is the prayer (which had to accom- 
pany the libations) that all might be well. (Schol. refer it to dvaOtoi 
-yvvd, which they suppose to be said soUo voce : a hardly probable 
view.) ^ 

1. 48. Xvrpov (certain emendation of Canter for meaningless \vfp6v , 
'release,' i.e. for the guilty, from wrath and defilement. 

1. 51. 'Sunless gloom, amid the curses of all men, overshadows the 
liouse.' Aesch. is })arlicularly powerful in depicting (or suggesting) 
fear and guilt and impending doom. 

1. 53. OavaroicTi, dat. of cause. So ri^xais 8.^. 

1. 54. o-«pas, 'majesty,' i. e. of Agamemnon. There was no resistance to 
.\gamemnon, but this was due to reverence for his majesty, 'imconquerable, 
resistless, invincible.* Neither do they resist Aegisthos : but this is due 
to ' Fear,' because of his wealth and power. The Schol. explains it 
fully and rightly. 

1. 58. -n-epaivov, intrans,, not merely ' passing through,' which is weak, 
but 'working,' lit. 'accomplishing' its will. 

I. 59. Tis, 'men ' are afraid ; ris is a generalizing word, like French on, 
< ierm. iitait. So Dem. 42. 8 (XiOit nr (Ktivov, ' people hate him.' ?i<T<j6y 
Tis ^rjjT^au, 'people will be less disposed to seek,' Thuc. 3. 67. The 
' prosperity' spoken of is clearly that of Aegisthos. 

II. 61-65. The interpretation of this fine but difficult passage depend:^, 
on the reading of 6^. M. reads xpo'''Co'""' "Xf? &pv(i. The last word is 
clearly an error ; unknown to the scholiast, it crept in from 67. 

Much the simplest emendation is that of Dindorf, adopted by Paley, 
Wecklein, and Wilamowitz-Moellcndorff, piivti xpoviCovras d(xv> which 
corresponds exactly to the strophe v. 5J, and which has the advantage of 



CHOEPHOROI. 

making all three classes that are opposed to each other masculine plurals, 
i. e. zW persons, rovs fifv . . . xpo«''Co'''''os • • • '''oi's St. 

The sense will then be : ' Justice is sure, though it visits men differently, 
some with swift vengeance in the daylight (i. e. early) ; some in the 
twilight, after long waiting, suffer at last ; some are "wrapt in ineffectual 
night," i. e. die unpunished [put Justice is only delayed, and falls on their 
Jtouse at last']. 

[It is tempting to find a reference (as Con., Mors., H., Bamberg.) to 
Aegisthos, Orestes, and Agamemnon : but (i) this can only be done by 
changing the important word axq, which is not justifiable ; (2) it involves 
an awkward and unlikely change in the kind of justice meant, which 
would be punishment in the first, and reparation or restitution in the 
two others.] 

1. 61. poira, 'the turn' of Justice, literally 'the turn of the scale:' 
with perhaps a half suggestion to the Greek ear of the ' Descent of the 
Stroke ' of Justice. The rapid succession of metaphors (the ' scale,' 
po-nri, the 'eye,' iniaKonfi) is quite Aeschylean. So we have dozus and 
chariots, Ag. 786 ; -wool-winding ^vA fire-stirring, Ag. 1031 ; a bride, a 
luind, a dog, and a revel, Ag. 1178. 

1. 62. The 'MSS.Tofy (read also by Schol.) would be possible as a dat. 
of general reference, en-nr/fower being absolute. 'The scale of Justice is 
on the watch, swiftly for some in the daylight.' But ewicrKoirsi means 
really ' visits,' and in that sense is always with the ace. Aesch. always 
so uses it, Supp. 381, 402, Eum. 296, and pass. Ag. 13. It is best to 
read tovs therefore, and suppose rofj an old error. 

1. 63. ' The borderland of the Dark ;' a splendid picturesque expression, 
suggesting the idea of Night and Day as two foes eternally at war : for 
Utraixfitov is strictly ' the space between two armies.' 

o-KOTov, according to Greek usage which mentions only one of the 
two limits, instead of saying okotov koX <paovi. So Ar. A v. 187 |j/ jxeaw 
d-rjp lari 7^y, Ach. 434 fitra^v rwr 'Ivovi, O. C. 291 fifTa^ii tovtov. 

1. 64. The reading here is doubtful ; but, as mentioned above, I take 
XpovCfovras axi- 

1. 65. No need to change the splendid imaginative word aKpavTOS, 
' the ineffectual night,' ' without fulfilment^ which seems to involve a 
failure of justice, though it does not and shall not. See note on 61-5 above. 

1. 66. 81' aifiaT' with (povos, and no 5f, is suspicious, though the sense 
is clear. Perhaps Aesch. wrote ti 8' aifiar' . . . rpocpov ; 

1. 67. ' The vengeful blood lies clotted, flowing not away;' apparently 
involving the old superstition that the stain of murder did not pass 
away till avenged. The imaginative poet does not stoop to harmonize 
the fine pictures of the 'nurturing earth drinking the blood' and 'the 
clotted gore flowing not away.' 



NOTES. 

11. 68-74 ^'■6 again very corrupt. The MSS. read — 

810X7^5 dra Ziacpipii 68 

Tov aiTiov navapKfTas voaov Ppvtiu, 

[tovj 5' OLKpavros txd J'vf.] 70 

olyovTi S' ovTt vvixtpiKiijv khwXiaiv 

a.KO's, nopoi re navrfs tK /xias oSov 

f ^aivovTfs Tov x^po/^varj 

(povov KaOaipovTei lovffav drrjv •]■. 
The following corrections are clear : line 70 is to be struck out, being 
repeated from 65, and here spoiling sense and metre. In line 69 read 
OiyovTi for oiyuvTi {9 for 0, Scaliger's excellent correction ; a better 
word, and a pure iambic metre like 66). The last word is doubtless 
p,dTi]v. The sense will then be : ' Long-torturing calamity delays (see 
note on 68) the guilty man, till he be full (lit. to be full) of utter disease : 
but as when a man has defiled the bridal chamber there is no cure, so all 
the fountains flowing together vainly purge the stain of murder.' 

In the last two lines the general meaning is clear, though the actual 
words are only partially recoverable. Paivovrfs is corrupt : it is an 
unlikely word of water, and it is metrically defective; Hermann's 
8ioivovT€s is probably right. The last word is almost certainly ixcittjv, 
which gives the clue to the sense ; and the word before is probably the 
verb; I venture to suggest inKvaav. rov xepofivarrj is better without (p6vov : 
and the last line was perhaps something like KaOapaioi poaTaiv (KKvaav 
ixarav. In the rest of the passage ZiaXffis and -navapKhas are both sus- 
picious, the latter especially, as it is rare to find such a compound of three 
terminations. But instances can be found, and it is best to leave them. 

1. 68. 5ia4>€p«i. The Schol., followed by Con., Schiitz, translate ' tear 
in pieces,' a possible meaning, but wholly unsuitable to the words that 
follow. Herm. is probably right in translating 'differt,^ i.e. lit. 'carries 
on' the guilty man, i.e. puts off his punishment. The sense of Siac/ t'ptt 
cannot be exactly paralleled, but it is not a great strain to put on the 
word. Still the use adds another doubt to a dubious passage. 

1. 70. iravapKtTas, the word is most likely corrupt though read by 
Schol. The meaning required is something like ' utter,' ' complete.' 
Con. quotes (v^tXrjrav Theb. 107, TrepiKKvaTo. Pers. 596, for fern. term, of 
compound adj. in Aesch. 

I. 71. It is a mistake to find here (as Pal.) an allusion to Aegisthos' 
adultery. The point is a mere comparison between Virginity and Life ; 
the loss of each is irrevocable, ovti olkos. 

II. 75-Si. Again a difficult and probably corrupt passage. The 
general sense is, however, perfectly clear ; and the difficulty is much re- 
duced by recognising that irpfnovTa is the main predicate, and governs 
iftoi : and that from dvdyKav ydp to diffav is an exjilanatory parenthesis. 



CHOEPHOROI. 

The main sense is then, ' But to me (for I am forced by being a slave) 
'tis litting to put up with the deeds right or wrong of my masters, and 
keep down my resentment.' 

1. 75. dvayKav afji<j)iiTTo\iv, ' constraint environing my city,' a graphic 
phrase, denoting the slavery, but suggesting the beleaguering host that 
brought it about. 

1. 77- MSS. give ZovXiov ks ayov, early corrected to iaa.'yov ; but Con. 
suggested the insertion of fx, mending sense and metre very neatly. 

1. 79. This is the most difficult line. M reads ■npiitovT^ apxo-s 0iov 
0ia (pfpoftfvcuv alvkaai niKpuiv <ppevwu arvyos Kparovari, which cannot be 
translated as it stands, though the general sense (as given above) is fairly 
clear. I have adopted the emendation an dpxas (which the Scholiast 
must have read, as he explains it I£ot€ tovtov inav^prjixai rbv Piov) ; we 
might then translate ' right or wrong 'tis fitting for me from my life's 
beginning to endure, when they (my masters) act violently (are borne 
along with violence), curbing the hatred of my bitter heart ' ; but /3/a 
ipepoixfyuv is very harsh, and I have adopted H. L. Ahrens' Pia cppevSiv 
TttKpuv (XTvyoi icpaTovarj, ' in my own heart's despite, curbing my bitter 
hate,' a much better sense. 

[Still (itt' dpxas is suspicious : and possibly W.-M. is right in further 
simplifying thus: SiKaia «ai ixr] Siicm dpxds TTpi-nov pia <pp, aiv., i.e. ''tis 
fit to obey the powers, in things right or wrong.' This is the sense 
wanted : and Piov may have come from iS/a.] 

1. 81. Kparoua'p, 'mastering,' with its secondary construction of the 
accus., a construction as old as Pindar {iKpaT-qai '"EWava arparov Nem. 
10. 46) and used by Aesch. again, rrdaav alav Kparui Supp. 255, ov icparet 
(TTaxvu ib. 761. 

I. 83. Tuxois, dat. of occasion or cause, as 53. 

iraxvoviJitvT), 'chilled,' an Epic word, dXiaixov ^rop vaxvovrai Iliad 
17.112. ' Cold ' is a common Greek metaphor for ' miserable ' ; Antig. 
86, Ale. 354, etc. 

II. S4-151. Scene i, Pa/i 1. 

Elektra asks the Chorus how to act and speak in offering the liba- 
tions; the Chorus in the dialogue bid her pray for her father's friends, 
i.e. herself, the Chorus, and Orestes, and invoke death on the mur- 
derers. Elektra, accordingly, prays to Hermes to help her by making 
her prayers heard by the Earth and those below, and then prays to her 
father that he may pity her, and Orestes may return, and vengeance 
befall their foes. 

1. 84. €t)9T|[Aov€s, 'setting in order'; from the common use ev 9i(j6ai. 
1. 87. For MSS. rv<pu (M. has TV(p<v : m. conjectures rvupw) I take 
10 



NOTES. 

the nearer and better ti <|>iio (H. L. Ahrens). KtjSciovs, ' mourning ' or 
' funeral ' (from k^Bos, ' grief,' one of its older senses : y6ov Kat KrjSfa 
\vypa II. 5. 156 ; so KTjSevoj, 'to mourn,' KTjbffxwv, ' one who attends the 
dead ') ; so 538. 

1. 88. The MSS. Kanv^onai would stand ; hut the delil)crati\e is far 
more likely. 

1. 92. ire'Xavos, ' stuff,' 'cake,' 'paste,' is used of many liquids or hall- 
liquids, as oil, honey, blood, foam, gum ; and particularly of the stuff 
for sacrifice, made of honey, oil, and meal : ' everything offered is 7re'A.a- 
vos,' says Schol. 

1. 94. €(r6\' dvTiSoOvai, 'that he should give blessings in return, . . ." 
the question is ironical, as is, of course, also the still more bitter next 
line. [Bamberger's Xff' for 'iaOK' (MSS. tar) is possible : it suits the 
next line : but in the customary prayer {vofios) i'cra is not so likely a 
word as iaOKa.'] 

avTiSovvai is the ordinary inf. of oblique jictition, depending on the 
general sense of tpaaKO) tovttos. 'Shall I speak these words, as men arc 
wont, [bidding him] return? ' etc. 

1. 95. After this line Weil puts 91-9- j it makes the sense a little 
smoother, but one does not in "that case see how the lines should ever 
have got displaced ; and it is not necessary. 

1. 96. io<TiT€p o5v, bitterly again, 'as indeed he died.' So Ag. 1171 
u/antp ow ex*') 'h- ^07 o'iavntp ovv iKmrt, 

I. 97. ya-noTOv x^*'''-^' ' ^ draught for earth to drink,' Mors. 

II. 98-99. ' Shall I hurl away the vessel and go back and look not 
behind, as one who casts out pollution?' The Schol. says that when a 
man purified his house he took the filth to the cross-roads in an earthen 
vessel, threw vessel and all away, and returned without looking behind 
him. So in the lustral rite, O. C. 490, the order is tirfiT aipipnuv dcrrpotpoi. 

1. loi. Koivov cx^os voiAifojiev, 'we hold a common hate.' vo/xii^di' in 
its special idiomatic sense of a recognised or regular opinion or usage. 
Somewhat similar Ptov vopit^ajv 1003, 'practising;' and again somewhat 
like it in another way, Otovs voftii^ftv, ' to recognise.' A similar use is 
the Attic vopLt^ai, with dative, of such words as language, coiiuige, 
qualities, festivals, etc. 

11.102-104. Elektra adduces rather a common-place consolation. 
'Speak your mind, fear not; you cannot suffer more than is fated.' 

1. 105. «x°'-s, MSS., «x*'^t Jacobs., Blomf., H., Pal., Bothe, etc. It is 
not easy to choose, as «x*'^ i^ more natural and would easily be altered ; 
«Xois is quite good Greek and a little more subtle. This being so, it is 
best to keep the MSS. reading. 'You may tell me, if you should have 
anything further,* both Xiyois av and ixois being delicate forms of speech; 
\iyois 01' a mild imperative and i\o\.% putting it as a mere possibility. 

1 1 



CHOEPHOROl. 

1. 1 06. o-oi shows the reference to Elektra of the whole passage, the 
ai'Swy, the tvjx^os, the iraTTjp, and the \i^ai. In English it would give it 
sufficiently to say 'the tomb of ///j father.' 

1. 109. The MS. reading, o-f/iva, can only be construed as follows : 'As 
thou pourest, utter holy words for those who love him,' <p9eyyov atuva 
being then explained as a strained expression for (-nivx^aOai, which is 
substituted for it, 112. But there is no trace of cntiva used in this sense, 
and I liave taken Hartung's KeSvd Cvery near afuva in uncials), adopted 
by Weil, Week., W.-M., and strongly supported by the Schol. eufm 
a.'^aQa. 

1. III. avTTiv for aavTT]v as often in Trag. : fMopou tov avr^s olaQa Ag. 
1297, dV5/)a TOV avrT)s 1543. So Ale. 461, O. C. 853, 930, and even 
prose, Plat. Prot. 312 A, and comedy, Ar. Eq. 504, Lysistr. 1070. 

1. 113. 'Consider this now tliyself ^ think who Agamemnon's friends 
are yourself, don't ask me), for thou understandest.' 

1. 114. <TTd<r€i, 'company,' 'band;' so araais Tid'yKoivos aoe 45S, 
ardcTis ajxa. Eum. 31 1. She is thinking of Orestes, but is reticent. 

1. 1 16. ' 'Tis well, and right wisely hast thou warned me.' The gentle 
phrase conceals her eagerness : so again in line 172. 

1. 1 20. ' Judge, or avenger ? ' 

1. 122. TavTa, 'this prayer.' 

p.ou(7Tiv, the regular crasis for fioi-iariv. So aovarl <pi\os Ar. Ach. 
339, ov yap pLovffrh' dKK' aKovaria Ran. 1 180. 

1. 124. This line is found in the MSS. after 164, where it is absolutely 
unmeaning. Hermann discovered that it belongs here, where it explains 
the otherwise obscure KTjpv^as. 

1. 124a. This line is defective in the MSS, the word before 'EpjAfj 
being lost. Klausen suggested dprj^ov, generally adopted ; it is the natural 
word in prayer, Theb. 119, 179, Soph. El. 115. 

' Help me, Hermes, proclaiming, that the powers should hear,' etc. 
SaCfAOvas K\veiv is the oblique petition after KT^pv^as. 

1. 126. [MSS. 5' ufiixcLToov, for which 8w(j,aTwv is the obvious correc- 
tion. Others prefer Ahrens' alfiaruv ; not so natural with twio-Koirovs.] 

1.128. 'And having reared them, received again their fruit.' Kvjxa, 
from KV-, properly ' the thing contained in the hollow,' so of the child 
in the womb commonly, hence Kvicu. kv- is a fertile stem, describing 
the notion of 'hollow,' 'bulgy,' 'rounded,' and so 'covering,' 'con- 
taining,' {caviis, cuf?nclus, caelum, koiXos, kv\i^, kvtos, etc.). 

1. 129. x^P^i-Ptis, properly, 'lustral water' for cleansing the hands in 
feasts and sacrifices and religious rites ; here apparently used by a figure 
for the 'libations,' which were 'purifying' in a different way. 

PpoTOis, 'to mortal men,' a poetical euphemism for the 'dead,' 
meaning Agamemnon. If Aesch. wrote f^troh, 'the dead', as Herm., 



NOTES. 

Dind. think, it is hard to see why any copyist should have altered it, or 
the Schol. explained it by vfKpoh. 

11. 130-131. As it stands, if the text is not corrupt, tiroiKxtipov t*, not 
f-rroiKTtipovT', must be read, and the meaning must be : ' Pity me and the 
dear Orestes, — as to how we shall rule the house,' i.e. 'Pity and help 
us to rule.' [Dat. common in Horn, with dvaacru.'] But the construc- 
tion is very abrupt and unnatural, and there is most probably cor- 
ruption. There are three main lines of suggestion : — 

(r) If we read inoiKTfipovr' with MSS., then the run of the line sug- 
gests, ' I call on my father to pity me and Orestes aud to do something^ 
i. e. an infinitive is wanted and something is lost. So Hermann. 

(2) dvdgopitv, ' we shall bring back,' Klaus., Dind., Pal., H., is to be 
rejected because (a) Elektra would have no hand in it, (/') it would 
be Karafo/iti/ {c) it would probably be ts 5o/ioi;s. 

(3) Pal. suggests, but does not adopt, wy dva^ufjfv, ' that we may 
rule ; ' anon, followed by Schneidewin <pws r dvaipov iv do/xots. This is 
the most ingenious, and (omitting t') is adopted by W.-M. 

In default of anything satisfactory it is best to keep the text as it 
stands and construe as above, provisionally. The displacement of the 
Tf is common in all Greek. ^ 

1. 132. ireirpajxtvoi, 'sold' (Casaubon's necessary correction of the 
meaningless venpayfiivoi), an expressive and contemptuous metaphor, 
' she has got rid of us and imported Aegisthos.' [The comm. quote 
(^i]fxir6\r]ixai KdKnt(p6pTi(Tftcu Antig. 1036; but there Kreon is really 
complaining of having been betrayed /or money by Teiresias.] 

1. 133. -iTpos, one of the common poetic variations of i/ffo, ' by ; ' so diro 
and «« and even napd are used. So again irpus rivoi Avkicuv 346. 

1. 135, dvTiBovXos, lit. 'in place of a slave,' i.e. 'no better than a 
slave.' Aesch. is fond of these rather strange compounds, where the 
preposition dvrl governs, not a word outside as usual, but (so to speak) 
tlie substantive with which it is compounded. So drriirais Eum. 38, 
dvTiKtVTpov ib. 131, dvTifpepvov Ag. 406, dvTrjvojp ib. 443. 
tK xptijiAtcov with (pevyojv, ' banished from his wealth.' 

1. 137. Trovoto-i, 'labours,' i.e. produce of his labour; the kingdom 
and the wealth. So ttXovtov irofoy Pers. 751, outos awas Trovoi ('this is 
all they get') Theocr. 21. 14, icaKov it re irovaOfj Pindar O. 6. 17. 
[p.tYci must be read for fifra ; the same mistake in Ag. 1270.] 

1. I40. cr(o<|>p(ov is the quality opposed to all excess or indulgence; 
here accordingly she is thinking of Klytaemnestra's adultery, and means 
' purer.' 

1. 143. Xiyu), 'I ask.' So (Tnov is used regularly for 'they bade.' 

1. 144. MSS. have Sihtji', ' in retribution,' a kind of ace. in apposition 
to the act. This is possible in itself, but Siktjv, standing alone without 

13 



CHOEPHOROI. 

adj. or defining gen., is harsh and unlikely. I therefore take Scaliger's 

SlKT). 

[As both the MSS. have glosses suggesting the unmetrical avriKaTa- 
icToviiv in place of avriKaTOavtiv, Scaliger also adopts this, correcting it 
to avriKaKTavilv, a syncopated form. This is tempting, as it avoids the 
change of subject ; and Aeschylus does use syncopated forms, see 34. 
But the change of subject is not uncommon where the sense is clear : 
and with the MS. reading the form of the prayer is rather softened, 

11. 145-146. These lines are suspicious, as (i) there is very little in 
them, (2) apa in tragedy always means ' curse ; ' but if they are net 
spurious, we must at least read KaXtjs for kok^s in 145. KaX-q would 
then almost justify the special use of apa, especially as apaofxai in Ep. 
and Trag. is often ' to pray for good things.' It is natural that she 
should wish to end with a prayer for good. 

1. 150. KwKVTots €iTav9iJ;eiv, 'crown them with flowers of lamenta- 
tion,' the ace. after the verb being either the ' libations' or the ' prayers,' 
and it spoils the run of the lines to take -naiava after kiravOiiuv, and is 
further not such good sense. 

Observe the rare absence of caesura, which causes some editors to 
suspect also these lines; but the sense is good and the diction 
Aeschylean. We have the same rhythm 493. 

I. 151. iraiav is probably ay'^_jy«/hymn, here and Ag. 645 used of lament, 
by a kind of poetic freedom or audacity. So Eur. Tro. 126, where, how- 
ever, arv^vos justifies the use, as also ixOpos natav"AiSa Theb. 868. 

Elcktra pours out the libations, lohile the Chorus sifig their short 
song. Ill doing so, she finds the lock of hair that Orestes has laid on 
the toi7ib. 

II. 152-163, short Choric song. 'Shed the tear for the king; hear 
me, my lord I O let the Preserver come ! ' 

I. 152. 6\6p.«vov 6Xo|ji«Vo>, 'fallen for our fallen lord.' A poetical 
conceit, but imaginative and not without pathos. 

II. 154-156. Another difficult piece, very variously explained, and too 
arbitrarily emended. Herm , for example, completely changes 154 (read- 
ing ispoi ipyua. yas To5e HfSvof KaKwv 5'). and alters t" iv x^potv 160, to re 
Xtp'h merely to get strophe and antistrophe in the song. The piece is 
mainly dochmiac ; but it cannot be made metrically complete without 
rewriting. It seems better, with Con., to make what sense we can with 
the minimum of alteration : reading 0705 (certain correction for d\yoi of 
the MSS., as it is found in the Schol.), we get :— [' let fall the tear . . .] 
on this barrier against good and ill, to avert the cursed pollution, now 
that the libations are poured out.' 

The Schol., except dyos, has the same reading as MSS. 

14 



notes:. 

The ' barrier of good and ill ' is a fine imaginative phrase for the 
tomb; the earthen mound seeming, in spite of all belief, to be a sense- 
less bar to love and hate alike. 

The gen. after tpvjjia may be supported by c/jv/ia vi<p(Tov Call. Fr. 
142, epvfxa no\efj.ias x^P^^ Med. 1322. 

diTOTpoTTov dyos, ' averting pollution,' construction as in 23. diror- 
poTTov agrees witli 5aKpv. 

The Chorus might mean (as Con. takes it) 'to avert the pollution of 
the libations,'' the offerings of the murderess being in themselves horrible. 
But it is unlikely that the Chorus, who describe themselves as 'mastering 
the bitter hate of their heart' (81), would be so much more violent 
than Elektra herself, who has been content to pray for vengeance, and 
has abstained from all denunciations of her mother ; and, moreover, this 
lament is formal, and has been asked for by Elektra as part of the cere- 
mony {vufios) ; so that it would be out of place to call the libations just 
poured ' a cursed pollution.' 

I take dyos, therefore, more naturally as referring to the dream, and 
Xodv, gen. abs, 

[It is perhaps, however, possible that there is a double entendre, the 
simpler meaning to reach the_5ar, the bitterer one the hearts of the 
audience. Such double meanings are part of the irony of tragedy; see 
Ag. 67, 69,] 

1. 157. |Aoi, dat. unusual after kKvuv, but not unnatural: 'hear my 
prayer : ' the pronoun has the same relation to the v^rb in Qia Ik ol f/cKvfv 
dpfjs Od. 4. 767, though 'prayer ' is here unexpressed. 

1.158. crt'Pas, voc, 'august king,' as Eur. I. A. 633 u crtPai ifiol 
fityiarou 'Ayafj.envcui' dVa£. 

1.159. "^'''■"- MSS. I'w Tis whicli is rather harsh without verb : better 
read trco tis (Eothe) or 'iroj. The sense goes on: — whether human 
champion {durjp) or god of war {"Aprji), with bow or sword. 

1. 161. €v tpYco, ' in the fray.' So we say ' in action.' 
1. 163. 'And thrusting in close combat his sword right to the hilt.' 
auTOKooira used, according to Aeschylus' custom, for avrfi rfi Kojirrj, 
like avTuToKos Ag. 137, auTux^ovoy ib. 536, avTunpfuvos Eum. 401. The 
phrase is not a mere turgid expression for ' hilted ' (Pal.) : it describes 
tlie closeness of the conflict. 

Elektra here conies foiivard excitedly. 

11. 164-305. Scene I, Part 2. Elektra has seen the lock, and asks the 
Chonis, the Chorus suggest it is Orestes'. She hesitates, excited between 
hope and misgivings. Orestes and Pylades appear just as she has found 
and identified his footstep. She still hesitates to recognise him, but is 
convinced by his showing her a piece of embroidery she had made for 



CHOEPHOROI. 

him when a child. Orestes, after an impassioned prayer to Zeus, reveals 
the oracle wliich threatened plagues to those who failed to avenge a 
father's death : and concludes with a resolve to obey. 

1. 167. Her manner makes the Chorus see there is something strange 
which has happened. 

1. 168. Ta4)cp, ' on the tomb.' Epic use of local dat. as 87. 

Elektra here produces the lock of hair. 

1. 1 71 . ' How shall I hear it ?' is only a more gentle way of suggesting 
' let me hear it.' Greek is full of such delicacies. 

1. 172. For the optative see Appendix I. 
irX-qv tjiov of the MSS. has been changed by Dobree and Dindorf into 
txKtiv ti'os : but this spoils the sense, as it declares at once that Elektra 
identifies the lock as Orestes;' the very thing she is avoiding, and waiting 
for the Chorus to suggest. 

viv must be the ' lock,' not Agamemnon, as Linw. and Con. take it ; 
for (i) there is no example of Keipea9ai riva, ' to cut hair off in motirning 
for a person:' (2) there is no mention of Agamemnon for viv to refer 
to : (3) KiiptcQai Kofi-qv is the regular constr. both in Homer (Od. 4. 198, 
24. 46) and Trag. (Eur. Tro. 11 83, Phoen. 326). 

This instantaneous conviction of Elektra that it is Orestes, checked by 
the desire to lead the Chorus to mention his name first, is what has 
made this short dialogue at first sight obscure, though in reality it 
is highly dramatic. The drift of it is as follows :— 

El. ' I have found a lock here.' 

Cho. 'What man's, or maiden's, hair?' 

£/. [?'w/z</j?z'^/j']. 'That is easy to guess.' 17° 

Cho. ' Then tell me.' 

El. [becoming reticent]. 'There is no one to offer a lock but me : (so 
who can it be ?) ' 

Cho. ' True ; for his family hate him.' 

El. ' Look, the hair is like ! ' 

Cho. ' Like whose ? ' 

El. 'Mine!' 

Cho. ' Could it be Orestes' ? ' 

1. 173. -7rpoo-i\Ke, ' it belonged,' as his kin, i. e. Aegisthos and Klytaem- 
nestra. 

1. 174. Kal \>.-f\v, 'behold !' as often. 

ofioiTTtpos by a natural metaphor for hair. Aeschylus is fond of 
the metaphor of 'wings:' so oixonrtpoi vats Pers. 559, novov ravrbv 

TrT(p6v Supp. 328. 

1. 1 76. avToi<riv Tijxtv, masc, according to the well-known idiom when 
a woman speaks of herself in the plural. 
16 



NOTES. 

Observe t||xiv (by abridged comparison) for ^fifripais : a common idiom 
in Greek, e.g. «o//at Xaphfaaiv ofioiai : so Ag. 894 irKeioj {KaKo.. rov 
^vv(v5ovTOi Xp6vov: and below, 230, (rvf^fifrpov tw aw napa. 

1. 177. Most edd. follow G. which reads tJ, 'can it be?' The subj. 
is perhaps possible, though certainly unusual : but ^v (Scholefield) is 
far more natural. And M. has ^ without iota subscript. 

1. 178. €i6o(jiai, ' to be like,' is Homeric, 11. 2. 280, etc. 

1. 179. Kol uws; 'and how?' is (like the English) incredulous: so 
e. g. Ag. 280, Soph. O. C. 73, 606, 1173, etc. 

1. 180. MSS. read irarpos, which Turn, (followed by H., Bothe,Scbatz, 
D.) changed to irarpi, which might have been miswritten into the genitive 
from the influence of xapiv. But just as we have Ag. 1387 SojT^pos 
fvKTaiav xaptv, ' a votive gift to ' (lit. ' of,' ' belonging to ' the saviour), 
it is better to keep Trarpo? here in the same sense and stnicture. 

t-tr6(Ai|;€ in this line emphatic : 'he has but sen( a lock, a mourning 
gift, for his sire.' KovpifA-qv is best taken with X'^P'^- 

1. 183. KapSias may be, of course, gen. with kXvSwviov xoX'HS, 'a wrath- 
billow of the heart ;' but it is more likely the Epic gen. of place used to 
indicate the re£-/on rather than the s/>ot, as II. 9. 219 iCc roixov rov 
kripoio, Od. I. 23 o{ )x\v hvaotiivov "Tnfpiovos, oi 5' dvioPTOS, 12. 27 77 
dAos T) (irl yjjs : and the common Koviovm -nthioio. So Ag. lO^^iarriKiv 
karias, Clio. 389 tppevos noTdrat. 

1. 185. Why should the 'drops tmchecked of the tempestuous flood' 
(as she calls her violent burst of tears) be 8C»|;ioi, 'thirsty?' The comm. 
give every conceivable answer : ' draining dry ' (Wordsworth and Pal.) : 
' thirsty' for Orestes (H.) : ' making thirsty,' ' salt ' (Klausen, Peile) : read 
Siipiojv (Schutz) : Stipia, (Pauw) : 5«^*9 (Blom., Both.): 'longed for,' 
(Schol.) 

The last is surely right: The f/nni is the sorrowful longing for 
Orestes, which is relieved by a stream of tears now that he has sent 
a sign. That the /ears should be called thirsty, and not herself, is a 
common poetic touch. Recent edd. rightly retain Siipiot. 

1. 187. tXiTio-w used very much like the English 'expect' (colloquial), 
meaning 'expect to find.' There is clearly not any idea of hope. 

1. 188. Notice the quaint artificial jihrase 8«<riT6f€iv <t)6pT)s, ' is lord of 
this leafage,' i. c. 'owns this lock.' 

1. i8y. dW ovp8« \i-i\v, 'but neither indeed;' used in adding an em- 
phatic negative to a previous statement. Thus Theb. 809, ' they are 
dead . . . ami indeed not doubtfully slain,' ov5' dficpiXtKTws ht)v KareanoSr]- 
fiivoi : Eum. 471.' this matter is too great . . . nor indeed is it hunfnlfor nie' 
ovhi iXTfv ifioi Oei-us. viv is again 'the hair.' as 172. 
1. 190. ovi5a(jiws tirwYVfiov, i. c. 'nowise like a mother.' 
1. 192. ' How confidently to affirm . . . — [1 know not] :' the princi]>rtl 

B 17 



CHOEPHOROL 

verb is omitted, or perhaps given by a pause and a gesture, as might be 
done easily on the stage. Such interruption of sentences is called aitoaiw- 
nrjffis. Cf. Ag. 498, 567, 11 09. 

1. 193. dYXdicrn.a, 'adornment,' a quaint pretty word for the lock, 
which Soph, adopts El. 908 of the same thing. 

1. 194. o-aivojxai, ' I am flattered :' the word is used Ag. 726 of a lion- 
cub, 79S of a false friend. 

By using the word Ino (as well as aaivofiat) the poet personifies Hope. 
Otherwise it would have been iKniSt. 

1. 195. €u<j)pov', 'kindly,' 'gracious' (the regular meaning of this 
common word in Aesch.), a beautiful word for ' human.' Auratus' 
ifKppov', is less poetic though generally adopted. 

1. 196, oTTws |xt| 'Kivuo-<r6[ji.T]v, the regular final use of the indie: the 
Greeks say ' in order that I did,' where we say ' in order that I might 
have done.' See Appendix III. 

1. 197. 'But that it might plainly have told me to cast away the lock 
... or if akin have shared my grief.' It is surprising that any one can 
have found difficulty in this beautiful and touching passage. She con- 
ceives the lock, become human, either telling her to cast away the hair, 
if a foe's, or sympathising with her grief. 

I take Paley's excellent correction, '(Ta^-i\\ii, impf. oi aa({>rjviw, forMSS. 
aa(pr]VTJ. The verb is not known (which would account for the corrup- 
tion), but SiaaafTjvioj is found ; also Siaaaftco : and the formation from 
aa<prjvqs is just like dat^eiv, (vrvxfi", Svarvxfif. 

[Wellauer's fv tracp' ^v rj, which is adopted by several recent editors, 
seems unusually harsh Greek : rjv with two adverbs is unexampled. 
Moreover Paley's correction has this advantage over all the others, that 
it keeps the same subject.'] 

I. 200. dyaX^a and ti|at|v, ace. in apppsition to the action, a common 
construction, e.g. Ag. 225 erAa dvrrfp ytviaOai . . . iroXf/xwf dptoYci*'. 

II. 201-4. Herm, transfers these to the Chorus ; but neither the plural 
KaXov/xeda nor the change of tone — from sadness to pious cheerfulness — 
is at all unnatural in Elektra : indeed Elektra's sadness is half dramatic, 
as she is really certain it is Orestes who has come and placed the lock 
there. Weil transfers them, needlessly, to come after 211. 

[Paley half approves of transferring to the Chorus, urging that Kai }it|v, 
205, ought to be the beginning of a new speech. But nal ix-qv comes 
where it is wanted, i.e. where a new point occurs to the speaker; and 
it is found in the middle of speeches Prom. 459, Pers. 406, Ag. 1188.] 

1. 202. oioio-i depends on elSoTas. The gods' knowledge of their woe 
is a ground for asking help. 

'• 203. xpTl- ' we are to,' i. e. ' if it is our destiny.' 

1. 204. ■ytvovT &v o-irtpjittTos, ' might grow from a seed,' gen. of origin, 



NOTES. 

like nr]Tpo% -nftpvKa. Metaphorical, of course, for great prosperity from a 
small beginning. 

11. 205-210. This recognition by the footmarks has been attacked as 
unworthy of Aeschylus, and consequently suspected as spurious, by Schiitz. 
The question of its absurdity is one thing, that of its genuineness a wholly 
different one ; and the fact that it is genuine is placed beyond doubt by 
the singular and well-known attack on the whole scene by Euripides in 
the Elektra 515-545. 

There an old slave finds the hair and bids her compare it with her 
own. She replies, ' How can the hair be like ?' The one a mans, trained 
in the -wrestling schools, the other effe?ninate icith combing.' The sla^'e 
then bids her measure her foot in his footstep ; and she replies, ' How 
can there be a footprint in the rocky ground ? and if there is, a man's 
foot is larger than a woman's.' Finally, the slave asks if Orestes has not 
some robe woven by her : she replies, ' I was too young to weave ; and 
if I had not been, he would have outgrown his baby-clothes.' 

This attack, which follows Aeschylus point by point, proves the 
genuineness of the whole passage. 

As to its absurdity, the resemblance of hair is a perfectly legitimate 
and natural point in the talef while Euripides' remark about the 
palaestra is a laughable anachronism. The resemblance of the foot- 
marks is certainly not reasonable ; but the improbability is not a point 
for surprise in a poet to whom certainly no one would attribute realistic 
detail. The signs were possibly traditional: though Soph. (El. 1222) 
has only one, a seal-ring. The broidered robe Euripides himself, 
with strange inconsistency, uses as tlie main and conclusive sign of 
identity in the Iphigeneia in Tauris, line 812 sqq. 

1. 206. troBwv with o-rCpoi. o^oioi, 'like his;' else tlie rest of ihc 
line is a somewhat flat repetition. 

1. 207. Kal 7ap, 'for:' what does this 'for' mean? ask the critics. 
Perhaps with Con. we may suppose the thought to be, ' Yes, they are 
like.yi?;- there are others here not like, probably a companion's :' i. e. the 
difference of these others shows the likeness of these. Or perhaps more 
simply, 'Yes, it is he, for here are his companion's footsteps,' i.e. he is 
likely to have come with a companion. 

Here she puts her foot into Orestes' footprints. 

1. 209. The suddenness of this line (no particle'^ may perhaps be due 
to her rapid action. The abruptness of the whole passage, which has 
partly given rise to the suspicions of it, is really dramatic, xtvovrts arc 
clearly the ball of the foot, so called because above the sinews are the 
prominent feature. 

Orestes appears from his liiding-place, accompanied by Pyladcs. 
1. 2 1 J . ' Pray that henceforth thou mayest offer the gods prayers as 
B 2 19 



CHOEPHOROT. 

■well fulfilled (as^this), and prosperously obtain thy wish,' a formal and 
rather overloaded way of sapng, 'Pray henceforth to be as successful in 
prayer as now.' 

The meaning is certain, from the answer in the next line. 

1.214. tirei continues the line before, 'Since I now win from the 
gods — what?' In English we should say, 'Why, what do I ... .' fap 
is used in an exactly similar way. 

tKari, not in its usual Attic sense 'for the sake of,' or 'as far 
as concerns,' either being out of place here; but in its Homeric and 
original sense 'by will of,' like Aioy tKTjTt, 'Epfxeiao tKrjri, etc. So 
below 436. 

1. 216. 'Whom dost thou know I was invoking?' When Orestes is 
before her, she can scarcely believe it is he. 

Notice the two constructions of avvoiSa, one following avv, the other 
the common construction of oi5a. 

1. 217. €KTTaY\ou(X€vi}v, 'sore troubled for;' the word implies violent 
emotion, like the old English 'astonied.' 

1. 21S. iTpos t( ; 'in what?' lit. 'as regards what?' 

Observe Kai in the incredulous or impatient question, as 179. 

1. 219. 08' €1^1,1, ' I am here ;' he has no need to say who he is. 

1. 220. dW 1), of surprise, see below, 774. 

1. 221. auToxi for ifiavrov; so O. C. 965, O. T. 13S, Phaedo 91 C; 
and in the plural Eur. Bacch. 723, Heracl. 143, Thuc. i. 82 to. avrwv 
tKnopi^wfiiOa. Seem. 

1. 222. €'v KaKoto-i . . . YeXdv, for the ordinary i-fyiXav ; the Greeks 
said 'laugh in,' where we say 'laugh at.' So Soph. Ant. 551 Kti ytKair' 
iv aoi -y^Kw. 

1. 224. MSS. have rdS' eyd> ae Trpovvviiroj ■, which will not scan. 
The simplest emendation is Prof. Murray's rdp' for raV : ' am I then to 
declare thee as being Orestes,' i. e. * to call thee boldly by the name 
Orestes ? ' [Other suggestions are : raht a tyib trpocivviiKu ; ' am I thus 
to address thee?' (Arnold); but here raSt is rather unusual, and the 
alteration is considerable : and Weil's more ingenious conjecture raSe 
Xt7a) fft npovvvinuv, ' shall I deem thou sayest this as being Orestes?' 
But the reading given in the text is better.] 

I. 225. avPTov €'|j,« go together, 'Then when thou seest my very self 
thou doubtest.' 

II. 226-230. The MSS. have these lines in wrong order, j)lacing 
tXvoaKo-rrovaa , . . «ji.ots next before travTTjs . . . Kcipa. It is clear that 
ovf^/xfTpov rO, aw napa must refer to the hair, and I have therefore fol- 
lowed II., IMnd. and most edd. in the necessary rearrangement. See 230. 

[Using the numbers of the text, we will give the MSS. order, which is 
as follows: 226, 22S, 227, 230, 229, 231. Those who keep this order 



. NOTES. 

(Klaus., Peile., Con.), are obliged to translate CTf/u/^eTpon toI aw Kapq, 're- 
sembling thee in his proportions,' 'of your height or stature,' a new and 
irrelevant improbability, and adpa a most unhappy and confusing 
word !] 

1.229, Most edd. read rofxy, 'the cutting,' i. e. the place whence it 
was cut : ' lay now this ringlet whence 'twas shorn,' A/ors. But the fact 
that the hair had been cut from the head of the man before her would 
not prove he was Orestes ; hence I follow Ilartung in reading KofXT] : 
i. c. ' put the ringlet to thy locks ' and compare. This was the point all 
through ; and so Eurip. El. 512 OKtipai 5« x'^'^'^V^ irpoaTt$uaa afi /cofxij. 

1. 230. The MS.S. (and Scholiasts') reading (rv\i.\jiirpo\) tu o-u Kapa. 
'like to thine head,' would naturally refer to rpixos as far as sense goes, 
but the intervening dSiKfov makes it a little awkward. I have there- 
fore taken Schiitz's o-tjji,|ieTpov, agreeing with Puarpvxoy. The near dSeA.- 
<pov would easily corrupt avfi/xirpov into the genitive. 

Note the abridged comparison, ' head ' for ' hair of head ;' see 1 76. 
crv(ji|j.«Tpos is objected to as an unfit word, when the likeness is of 
colozo; not size ; it is no doubt used rather loosely. We have other uses 
similarly loose in ^iipifxiTpov tiros, 'a fitting word,' Eum. 531, avfifj.erpoi 
■n6voi, 'moderate labours,' Isocr.'4 C. Besides, the resemblance of hair 
might be in shape of curl, manner of growth, etc.; and this would suit 
dfiSiTTfpos, TrpocrfiSerai above. 

1, 231. Orestes s/io'vs her his cinbroidered mantle. 

1. 232. MSS. read ti's Se Q. fp., plainly wrong as it stands. Either 
suppose a line lost (H., Well., Prd.) or better read t|S« (Turn., Dind.) 

o-rrdOT], ' batten,' a flat piece of wood to drive the threads close in 
weaving. 

O-fiptiov Ypa<()T|v. It was common to embroider beasts on clotii or 
tapestry. Odysseus had a cloak with a dog hunting a fawn worked on 
it, Od. 19. 227. Herodotus mentions a cuirass (3. 47) of flax, 'with beasts 
woven in.' In Eur. I. T. 812 Iphigeneia has worked a picture of Atreus 
and Thyestes quarrelling about the golden ram, etc. 

Elektra lie re spreads her arms and enihraccs him in a transport of' 

My- 

1. 233. tv8ov, x.Q.crtavTTis, 'refrain thyself;' the opposite idea we have 
in the word iKcrraffn, and our phrase ' beside oneself.' Also in iKtrX-qaaai, 
as here. 

1.234. 4>iAtAtovs, bitterly, 'our dearest' as thcv ought to he h\- 
blood. 

1. 236. He was looked for with tears; he was the only hope of the 
house, both as the one son of Agamemnon and as its deliverer and 
avenger ; and all this is given in this powerful and sjilendid line in fonr 
words, 'Thou long-\\epl hope, heir and deliverer.' 

21 



CBOF.PHOROI. 

1.238. Tt'o-o-apas fj-oipas, 'fourfold love,' Mors., lit. 'four parts or 
shares' of love. He is (as .Schiitz suggests) clearly adapting most 
happily the idea of Andromache's touching appeal to Hektor in 
Iliad 6. 429 : — 

"E«ro/), arap av fxoi iaai -rrarfip Kal Trorvta ixrjTrjp, 
■qhi Kaaiyvrjros, av Se {xoi OaXepos vapaKoiTTjs. 

[Herm.'s change of the beautiful a> repirvuv opifw., 'O face beloved,' to 
Cvona, does not seem an improvement, ofiixa is natural enough, Aj. 977, 
Ale. 733-] 

1. 240. irartpa t«, 'both father' and mother, she was going to say; 
but the idea is developed ; ' My love for mother falls to thee.' 

1. 242. There is no second sister Chiysothemis, as in Sophokles' 
f^lektra. Iphigeneia dead, Elektra is alone. 

1. 2-14. fAovov, 'only,' is much less abrupt and harsh than /ioroi- Kparos 
T6 of the MSS. especially as M. has a colon after aePas tptpcov. 

1. 245. I also read croi for /xoi (with Stanl, Schiitz, H., Pal.) ; it is far 
more likely Elektra would pray for her brother than herself, especially 
as she prays for Might and Justice, i. e. the successful murder of Kly- 
taemnestra. 

1. 247. Ye'vvav tvviv, 'the orphan brood,' splendid and certain emenda- 
tions of Tumebe for the corrupt yhvaviv of the MSS. 

The ' eagle ' is rightly taken as a reference to the sign of the ' two 
eagles and the hare' (Agamemnon and Menelaos destroying Troy) 
given in the first chorus of the Agamemnon. 

1. 249. exiSvTis. So Kassandra calls Klytaemnestra (Ag. 1232) 'an 
evil beast, a basilisk, a Scylla,' etc. 

1. 250. ' For they are not full grown, to bring to the nest the father's 
spoil,' i. e. such as he bore. 

The MSS. (VT(\rjs has been corrupted from evrtXtls to suit the other 
corruption Oripa narpcpa. [The Schol. has ovk 'iari -yivva ivrtXrjS, ujart, 
showing that he too had the corrupt (VTiKrji before him.] 

I. 254. ajx<|)co, for Elektra was as lonely and miserable as an exile; so 
she herself says 133 ircirpapiivoi . . . aXwpiOa. 

II. 255-257. Observe the natural primitive superstition of an appeal 
to the self-interest of the divine being to save the pious offspring of a 
wealthy house. Somewhat comparable, though less grossly material, is 
the spirit of the cry, 'The dead praise not thee, O Lord, neither all they 
that go down into silence.' 

11. 258-261. The accumulation of images is characteristic; but the 
thought is the same in all; 'if you let us perish, you will lose our 
service.' (For arifiaTa cf. II. 8. 247 altrdu . . . TtKuorarov ntTerjvwv.) 

1. 262. KOjiiJo), in its original Epic use, 'tend,' 'take care of:' Kiniaat 
Tii UrjVfXoTTtiaOA. 18. 372, ivhvKfui (nofiiCt ib. 17. 113. 
22 



yOTES. 

1. 265. oirus (|XT|) with the future in Attic is regularly used with 
fearing verbs, and verbs of precaution (^'^(>a, -napaaKiva^oj, (iTifi(\ovixai. 
etc.). It is, however, occasionally, as here, employed in the strictly final 
use (which is closely connected with the other two ; as is obvious 
when we consider that originally orrcos c. fut. means ' how he shall,' 
oTTOJi c. subj. 'how he may:' and when we compare the English use of 
i/i order that 7iot, lest, for fear lest). 

Instances are ovojs n^i vii^ icrrai Andoc. Myst. i. 6. 38, oirais Paaauiu 
Ar. Ran. 11 20, 'unaii (pavrjcrei Vesp. 528, owwy OoivaaoiaaOa Eur. 
El. 836. 

Here the sentence being final naturally reverts to the subjunctive. 

1. 266. Y^wo"*"!? X'ip'-v, an expressive phrase, 'for the sake of tale- 
telling,' 'for love of babbling.' The phrase is something like the Latin 
a>iimi causa in its form. 

1. 267. dTraYY«tXii irpos, common pregnant construction of verb of 
rest with prep, of motion, ' go and tell the rulers.' 

1.268. 'Dead in the pitchy ooze of the funeral-fire;' the graphic 
detail expresses well the hate which gloats over the vivid picture of 
their dead foe. The 'pitch' comes from the pine, regularly used in the 
funeral pyre. " 

1. 270. ir«pdv, ' to pass through,' i.e. ' to meet,' ' to undergo.' 

1. 271. ' Wintry woes in my hot heart;' the adjectives involve a com- 
mon Greek metaphor, and are, of course, intentionally antithetic. So 
Soph. Oip\xj\v Itti xpvxpoiai Kaphiav «x*'^' Note that the prep, viro 
depends on the subst. aras, a rare licence in Greek. 

1. 274. X«'ywv, 'bidding,' as often. 
. 1. 275. ' Maddened by loss that robs me of my own.' diroxprinaTos, 
a strange adjective, ' removing wealth,' ' robbing of wealth,' 

I. 276. '(Else) with my own life he said I should pay for it,' for 
leaving his commands undone, that is. 

<j)iXos in its Epic use, applied to a mail's oivn body or soul ; i\>[\ov 
'^TOp, (pi\os Ovpus, <pi\a yovvara, (j>i\ov \aifi6v, etc. 

II. 278-296. The general sense of this fine but difficult passage is 
quite plain ; it is the plagues and terrors that come on those who fail to 
avenge a mti>-dered father. It is, however, as Con. has shown, clear 
from 291-296 (where the infinitives are :M. present and the negatives ou) 
that Apollo is issuing the oracle generally, of all people in Orestes' 
position; compare rofs toioutois 291, 5e'x<(^^a' ovrt avWxiuv, which, if 
it were Orestes alone who was being debarred from human intercourse, 
would be p-iiT(. It is a general statement, not a particular order. 

This explains the difficult Pporoii 179. The duty (of avenging a 
father' is proclaimed by Apollo ' to all mortals,' and fiporoii is governed, 
as it surely must be, by -nKpaxxTKOiy unf. 

-'3 



CHOEPHOROI. 

Again vaiv in the same line is certainly wrong. Indeed, whatever 
view we take of the passage, vaiv is wrong. It is clearly wrong if the 
oracle is general, as we do not want then a specifying pronoun. But it 
is no less wrong if the oracle (as usually taken) is special ; for then it 
would be \JiOi or lyio'i. Elektra has nothing to do with it ; the order is 
given to Orestes; cf, ^trej/K 273, avrov p.( 275, «t fif/ Tr(iroiOa 298, — all 
singular. 

Having cleared the ground we proceed to comment in detail. 

11. 278, 279. 8v(r4)p6v(i>v tifikijfMTa, the MSS. reading, is variously 
taken, 'woes such as to rejoice enemies,' Schol., Klaus., Both.; 'suf- 
ferings sent to appease the furies,' .Schiitz, Weil. ; and various in- 
genious renderings contrasting ' mortals ' who do/?'/! suffer with ' us ' 
who tcii/l, Con., Peile., Pal., Dav. 

But all these are really forced and incredible. Aeschylus in the phrase 
is plainly speaking of fZ'// things, and some direct expression, not a cir- 
cuitous enigma, is wanted. The best proposed is Lobeck's, adopted by 
Herm., Weckl. W.-M., (ii]vi(jiaTa, very near the MS.S. 

In the ne.xt line, 299, I again adopt Herm.'s very ingenious and 
simple rds 5' oivwv voaovs : no mistake being commoner in MSS. than 
the confusion of e and ai \ and M. having here suggestively vmv witli 
no iota. 

alvwv, in its original sense 'telling,' as Ag. 99, 1482, Frag. 290, 
Soph. Phil. 1380. The meaning is then : — 

' For he spake proclaiming to men the visitations of the wrathful 
powers below, and again of plagues telling,' etc. 

Observe tci jxtv . . . (At]vi|iaTa, rds 8* . . . voaovs, the article separ- 
ated from the subst., really an Epic usage, where the article is still 
demonstrative. Cf. to 5' IvwxfTo Kfj\a 6(010 II. i. 383, and Ag. 1056 
TO. fxiv yap . . . (CTTrjHfV tjSi] iJ.rjka. 

1. 280. tTra[ApaTfjpas with XtiX'HVas, 'leprous ulcers mounting 011 the 
flesh,' Mors., a splendid and bold expression. 

Notice the Epic syncope again -a/xPaT- for -aya^ar-. ; cf. 34. So 
(iravTfWdv 282. 

1. 282. Kopo-as, prop, 'temples,' here 'hair on the temples.' Aesch. 
is speaking of premature old age due to disease, of physical decay ; not 
(as Schol.) of being aged by suffering. 

1. 284. After this line MSS. read opwvTa XafXTrpov Iv okotw vqjuSjvt 
oippw, a line which wili not construe here. [Con. and Dobr. make it agree 
with Agamemnon, and read fwvfiv in 283 : 'that he (Ag.) seeing clear 

' ^'-g- 73 X^poH-^afi, MSS. xa'po/iua/; : 172 xfipano, MSS. Kuptro: 
H6 ytVfaOf, M. yevtaOat : ^06 fxoi pa i, M.pioipc 410 7rfjra\Tat, M. ntna- 
AoTf : 474 (pit'. M. ai'^f u' : looS ala?, MSS. it. 



NOTES. 

in the dark summons the Furies ; ' quite impossible without any mention 
of Ag. Others (Weckl. W.-M.) suppose a line fallen out.] 

Accordingly, Herm. transposes it to its right place after 287. No 
doubt it was misplaced to justify the yap of 285, by some one who did 
not see that the 'visitations of the Furies ' are these •'madness and nightly 
terrors.' 

1. 2S6. irpoo-rpoiraiwv, 'siippliants for vengeance,' here, as Ag. 1587. 
Klsewhere it means ' suppliants for purification,' and is used of the guilty. 
ev yivei, loosely constructed with wpoaTpoiraiwu vstttwkutojv, ' mur- 
dered men of the kindred,' i. e. akin to those who ought to avenge. 
(It cannot be ' murdered by a kinsman ; ' for Klytaemnestra was no 
' kindred ' to Agamemnon.) 

1. 288. opuvTa agrees with the object, unexpressed, but clear from the 
context ; the kinsman who is slow to avenge. 

'Seeing clear, through moving his eye in the dark;' a powerfully 
effective line, suggesting the terrors of the nightly vision. 

1. 289. Kal 8iu)KecrOai, the MSS. reading, is stronger and better than 
the common emendation biwiurai, a reading which is very unlikely to 
have been altered to the infin. 

The infin. is consecutive or~epexcgetic, a common const., esp. in 
Aescli., e.g. (ppovuv /xfTeyvci} Ag. 221, irifxirovai ((>\oyus irwyuva . . , ical 
■npwv' vTTtpPdWfiy ib. 307, t'is wSf rratSvo's . . . enfira dWaya \uyov 
Ka;j.(ii' ib. 479. 

The sense is ' so that his tortured body is driven from the city.' 

iToXtus, gen. of separation, without prep, either alone or in the 
verb ; an Epic use. 

1. 292. tivai, impers., ' it is not' for them to share, i.e. is not allowed. 
ji,€Tao-x«iv, "to share,' 'to have part,' usually gen. of thing shared, 
dat. of person shared with; 'part' or 'share' usually not expressed; 
here we have /.Upoi expressed. So Ag. 507. 

(juXocrirovSou Xipos, 'the draught that loves the offering, ' only a 
fanciful way of saying ' the draught for offering.' 

1. 294. crvXXveiv, prob. (as the Scholiast) 'to lodge witli.' icaTaXvoj 
is often used in the sense of to 'put up' at a place; the notion being 
' unloosing' your horses probably ; so the full phrase Od. 4. 28 KaraKv- 
aofxiv 'iwiTovs. 

[The other interpretations offered, ' to embark with' (H.), 'to help in 
expiating' (Blomf.), are forced and inappropriate.] 

Observe one negative omitted : as Ag. 532 Uapi's ovre avvrfXris truKu, 
Phil. 771 (Kovra p-qT' aKovra; and so Shakesp. Sonn. 141 'But my five 
wits nor my five senses can dissuade,' etc. 

1. 296. TapixetiOtvTa, ' dried ; ' being used properly of fisli, meat, etc., 
it contains an expressive and bold metaphor. 



CHOEPHOROI. 

There is a certain grim effectiveness in using the word -which pro- 
perly describes drying for preservation as a metaphor for the withering 
and shrivelling of destruction. In fact Kajtm rapixtvOivra is a kind of 
oxymoron, it suggests ' an ill embalming.' 

1. 297. This line is best read as a question, which apa suggests : for 
though apa may be used in poetry for apa, and so is not necessarily 
interrogative, the absence of any particle in the next line makes it read 
more smoothly as an answer to a qiaestion. Otherwise yap is rather 
wanted. 

1. 301. irpos, adverbial, common from Homer down: 'besides.' [Our 
English word too is exactly the same ; it is differentiated from the prepo- 
sition to.l This is more likely than to read with MSS. TTpooTni^H in 
one word. 

1. 302. TO [ATI TToXiTas . . . iT€\«tv. The TO is particularly common 
with the consecutive infinitive : to pltjtiot avOn firjS' dvaaTrjvat {j.e\etv Ag. 
569, TO nrj ffePaiwi 0\€(papa avfiffaXfif ib. 15, to ixtj naOtTv iruXiv 
ib. I171. 

1. 303. €u86|cp <}>p€vi might go with the verb. ' Should with their noble 
heart bow thus to two women :' but probably Aeschylus meant ' who with 
noble spirit overthrew Troy,' the use of dat. instr. with a subst. being 
justified because dvacrTaTTJpas is equivalent to tovs dvaffTrjaavTas. 

1. 304. The 'two women' are Klytaemnestra and Aegisthos, as Schol. 
tells us : the latter is addressed as ■yvvai Ag. 1625 (according to the 
most probable interpretation). 

I. 305. <^p'<\v, ' his heart,' Aegisthos'. 

Tdx' ttcrtrai, ' he shall learn,' i.e. by destruction, a common and a 
natural form of threat. So yvwatt Toxa Ag. 1549. Paley has a good 
list of instances, including Eur. Suppl. 580 yywafi av : again Heracl. 65 ; 
(iaofjiai, ib. 269. 

The gen. sense is 'if he is not a coward let us fight, and then he shall 
learn to his cost.' 

II. 306-47S. The KofijAos, or choric lamentation answered from the 
stage. The general sense is as follows : — 

Anapaests (306-314). 'Fates, accomplish : let blood be shed for blood, 
and the doer suffer.' 

Strophe 1 (315-323)- Orestes. ' thither, how can I send light to thy 
darkness? Yet lamentation is some boon perchance.' 

Str. 2 (324-331). CJio. 'The spirit of the dead yet lives: the guilty 
^hall be known: a deep lament for the dead helps the vengeance.' 

Ant. I (333-339). EI. ' Hear us, father, exiles and suppliants : alas, 
woe is great ! ' 

26 



NOTES. 

Str. 3 (340-344). CJio. ' A lamentation may become a triumph-song/ 

i'/r. 4 (345-353). OrcsL ' Would thou hadst died before Troy : such 
a death were a light sorrow.' 

Ant. 2 (354-361). C/io. 'Yet he is great below, attendant on the 
gods of Hades : as he was king of kings on earth.' 

^w/". 4 (362-371). El. 'Not before Troy: but the slayers should 
have been thus slain, far away.' 

Mcsodos (372-379). Cho. 'Vain is wishing: but the sound of the 
double lash is heard: the victory is the children's.' 

Str. 5 (380-3S4). El. ' Zeus, send woe on the sinner : the end comes ! ' 

.SV/-. 6 (385-392). Cho. 'Let me sing a triumph-song: why should 
I hide my resentment against the guilty ? ' 

Ant. 5 (393-399). Or. 'When will Zeus bring down his hand? hear, 
earth and those below.' 

Ant. 3 (400-404). Cho. ' One bloodshed brings another.' 

.^tr, 7 (405-409). El. 'O powers below, see the relics of the 
Atreidae ! how helpless and outcast I ' 

Ant. 6 (410-417). Cho. ' My heart is now darkened, now lightened 
with hope.' 

,-/;;/. (418-422). Or. 'What shall I say ? my woes? Though she 
fawn, they are not soothed : my heart is implacable.' 

Sir. 8 (423-428). Cho. ' I mourn in the fashion of the East.' 

Str. 9 (429-433). El. ' What a burial ! a king unattended, a husband 
unlamented ! ' 

Sir. 10 (434-438). Or. ' The dishonour she shall pay.' 

Ant. 10 (439-443)- Cho. ' He was mangled : intolerable horror.' 

Ant. 8 (444-450). El. 'And I was away, chained up like a savage 
dog : hearken, O father ! ' 

Ant. 9 (451-455). Clio. 'Let the tale sink through your ears. Come- 
to the combat with inflexible wrath.' 

Str. 1 1 (456-460). Or., EL, Cho. ' We pray thee, father.' 

Ant. II (461-465). Or. 'The struggle will come.' El. 'Gods, be 
just.' Cho. ' I tremble : fate waits, but will come.' 

.S"/;-. 12 (466-470). Cho. 'O bitter woe, and bloody stroke, and 
stanchless wound ! * 

Ant. 12 (471-475). Cho. 'There is a cure to stanch it, to follow up 
the bloody feud to end.' 

Anapaests (476-47S). Cho. ' Hearken, gods below, and send victory." 

1. 307. TcXsvirdv, ' that it may end,' i. e, -grant tiiai,' the inf. (_and ace.) 
of petition with the princ. verb omitted, a common constr. TcAti/Taw is 
usually intr. in Aesch., Ag. 635, Cho. 528, Pers. 735, Suppl. 210, 297. 

1. 308. ^(TaPaCvci, 'is turning.' At last Justice is coming over to their 



CHOEPHOROI. 

side. The thought is perfectly natural, though not perhaps logically 
correct. Paley aptly quotes Ag. 778, where Justice is said 'to leave 
guilty homes for the pious.' 

1. 310. T€\€i<r9a), we should say 'let reviling be given for reviling :' it 
is the retribution that is accomplished, but the sligiit strain of phrase is 
effective. 

1. 311. TTpacro-ovcra, 'exacting,' a special sense, common in Aesch. So 
irpaKTOjp Ag. Ill, (pvvov irpa^avra Eum. 624; and middle, aTiixuaiv 
■npa(T(TOfj.fva Ag. 700. 

The ' loud cry of justice ' is the words • reviling for reviling and blow 
for blo\\-.' 

1. 313. Spdo-avTi traOtiv, 'the doer shall suffer:' he is quoting the 
proverb in the tersest and most epigrammatic form : hence the obscured 
construction. The full form would be ['it remains,' ^r ' it is due' or 
'■ destined '] for the doer to suffer : ' as we find Frag. 456 Spaaavn yap toi 
Koi naOety dtpfiXerai. 

1. 314. TaSe is the proverb just quoted. 

1. 315. The MSS. read alv6naT(p, 'hapless father' (like Sv(Tfir]Tep Od. 
23. 97, both in the meaning and form of its termination, instead of the 
ordinary adjectival -varaip, -yi-qraip), but the word is dubious : and the 
.Schol. Seira -naOujv is strongly in favour of aivoTraOts. 

!!• 315-320. The best sense is got by taking ti/xoim' av ovpiaas 
together. 

' O hapless father, by what word or deed could I chance to waft to 
thee where thou best a light to countervail thy darkness 1 ' So Peile and 
apparently Paley. 

[Others, as Con., Herm. take rtixo'A'' «»' with (jta/xevos and pi^as, ' Should 
I be right in saying?' too frigid a meaning for the impassioned lament, 
lie is not thinking of the right word to say : he is beating against ' the 
barrier of good and ill : ' he wants to reach and help him, and cannot.] 

1. 316. Notice 4)d;ji€vos, Epic middle, very common in Homer. 

1. 319. Some edd. continue the sentence to avTCjioipov : ' what can I say 
or do . . . as a light to balance thy darkness? ' But it is better separate : 
' light is opposed to darkness' : i. e. we are far away yet our cries may 
reach thee. 

[The MSS. read laoriixoipov, which is half way between iaofioipov and 
avTiixotpov. Most recent edd. rightly prefer the latter, as the Schol. 
ii'avTiov points to dvTtfji.oipoy.l 

1. 320. Notice ofioiios, ' all the same,' i. e. ' none the less,' in the sense 
of ofioii, whose derivation is similar. So Pers. 214 <xoj6(h 5' vfio'taii 
t^(tS( Koipavn \6oinis. 

1. 321. K(KXT]VTai agrees with the predicate; common with verbs of 
being, becoming, being called. So Thuc. 4. 102 rh -yupiov oirtp 'Ewtn 
'OSoi tKaXovvTO, Plat. Rep. 422 E (ttdari] avTuJv m'lXds ticrl nd^noWai: 
?8 



NOTES. 

and in Latin the well-know n line a»ia)itiuiit irac aiuoris integratio est 
Ter. Andr. 3. 3. 73. 

Sense : ' but nevertheless a glorious lament is counted a boon to the 
Atreidae of old.' 

KiK\r]vrai. is pathetic : ' men say it is a boon, and we will give it : but 
it docs not satisfy love which wants to reach and help him.' 

1. 322. iTpoo-OoSo^ows, bold use of adj. He means 'the former Atreidae 
of the house.' 

1. 325. TTvpos, i.e. the funeral fire. 

1. 328. dva<j)aiv€TQi 8* 6 pXd-irTuv, ' the guilty is brought to light.' 
The Chorus generalise while encouraging : ' The dead are not powerless, 
liis spirit lives : the children lament him, the murderer is exposed.' 

They speak of the murderer being 'brought to light,' but the term is 
liardly appropriate to this case, where the guilty are known : the 'ex- 
jiosure ' is here the vengeance. 

1. 330. These two lines, as they stand in the MSS., can only mean 
literally, 'The righteous lament for fathers and parents, raised loud and 
high, tracks out [the guilty],' taking to -nav (in its ordinary sense of 
• utterly ') either with yLomvii or with a.fi<piKa<pr\'i. And the best sense 
we can make of this is to regard it as an imaginative way of saying; — 
The same faithful love which ctnlyzvails the dead shall duly avenge hivi. 
So that it really repeats the thought of the line before in another shape. 
But the last five words read very harshly in the Greek, and, with all 
allowance for Aeschylus' enigmatic diction, there must be corruption. 

The Schol. has two notes here — 

(r) {rinl TO avTitnLupiiodai: ' seeks out vengeance.' 
(2) o/uous ovK Tjpi^ii rupvxq' Cr/Tfi yap navT(\cis rapaaaofiivrj ttjv 
iKSiKTjatv : ' yet his soul is not at peace : for sore troubled it seeks ven- 
geance.' 

Both notes point to an older text Avith some ace. to fiartvfi, meaning 
' vengeance :' and this is doubtless concealed in the corrupt to itav. Herm. 
(.Lachm., Klaus., Dav.) read po-wav, 'the sinking scale' of retribution: 
very obscure. Schiitz proposed iroivav, Bothe, still better, rairoiv', which 
I have adopted. [Prof. Murray's in Sinav ^aTtva to -nav is good.] 

The rest of Schol. (2) looks like a different text altogether: unless he 
had our readmg and misunderstood it to mean ' the cry of the fathers 
sore troubled,' which perhaps is the source of his strange note. 

Mr. Verrall's ingenious Tcupou ignores the scholion. 

1. 335. [It is better to take the obvious correction toi o-' tinTU|jiPios 
of the natural MSS. corruption tois tnnvfx^iBiot^ : a correction which 
Hermann adopted and completed from Schiit/, but has now abandoned 
to make the antistrophe answer to the strophe in syllables. But &v tKaOfr 
is metrically equal to rot c' knt-, and that is probably enough.] 

2y 



CHOEPHOROI 

1. 339. ovK arpiaKTOS ara ; ' Is not doom unconquerable? ' arpiaicTos 
from TpLci^ai (Tpfis),'io throw thrice' in the wrestling bout, the three 
throws being necessary for victory. The word and metaphor are 
favourites of Aesch. So rpiaKTfjpos tvxuv, 'having found his con- 
queror,' Ag. 171 : Twi' rpiCjv iraKia p-arctiv Eum. 589, 5ia rpiwv airoKKvpai 
Eur. Or. 434. 

1.344. veoKpara, lit. ' new-mixed,' i.e. 'once more united.' Several 
comm. say the metaphor is from the pledging-bowl of friendship or 
treaty, as Aesch. has veoKparas anofdas Frag. 325 : and L. S. quote from 
Athenaeus (grammarian 3rd cent. A.D.) yeoKpiis {Kpar-qp) as the name of 
a drink used at cementing friendships. 

But 'to mix' is such an obvious and common metaphor for friendship 
(Eur. Hipp. 257 <pi\iav avaKipvaaOai, Her. 4. 152 <pi\iai crvveKprjOrjaav, 
7. 151 (piX'iTjv avviKtpacavTo) that we need not suppose a reference, 
directly or consciously, to the customs of drinking or libation. 

Kop.Co-€i«v (dV carried on from 340), lit. ' bring,' so ' escort,' ' wel- 
come.' [Some prefer, perhaps rightly, <pia\T]v yfOKpara Ko/xi^ot (Seal.).] 

1. 346. irpos, poetic for ' by,' see above, 133. 

1.348. SopiSfiTjTos, 'subdued by the spear," is Hermann's probable 
correction : ripvcu is, however, used in the Iliad for ' to wound,' 13. 501, 
16. 761, so I have left the MSS. SopixuriTos. 

11- .^50-351- Taking Wellauer's excellent t' tv for t«, which restores 
the metre (u — four times repeated), we construe, ' and making thy 
children's life glorious in the streets (of the city).' tirio-TpeiTTOv, 'that 
which turns men to look on it' (or passive, ' which is turned towards'), 
and so 'conspicuous,' the Lat. spcctandiis ; a word Aesch. uses again in 
the same sense, Suppl. 997 imarptnTov 0poTois. 

[ci/ K(\ev0oi9 might go with tUvoiv, 'in the paths of thy children,' 
(Butl., Blomf , Pal.), but that leaves imaTpcrrTou more obscure, and is a 
needless repetition of ai'w.] 

1. 353. SujAacriv €tp<j)6pT)Tov, 'a burden easy for the house to bear,' as 
l)eing a noble death and not a horrible and ignominious one. 

1. 358. Tvpawwv. Pluto and Persephone, the rulers of Hades: so 
tlie Schol. rightly explains. 

1. 360. [The third ]5ers. is better here, as H. has shown, having been 
altered to second by copyists who thought Orestes was still speaking. 
'I'his is strongly confirmed by ^vs of M. and ^f of ('.., showing traces of 
ihc old right reading.] 

p.6pi^ov . . . pdKTpw, ' of those who fulfil their appointed place with 
might of hand, and with the sceptre they all obey' (lit. 'mortal-per- 
suading') : a stately periphrasis for 'kings,' the sense being, 'On earth 
he was king of kings, and so below he is greatest.' 

Observe the Epic licence of nnrXdvTOJv for tuv ntTrXavruv, common in 



NOTES. 

Aesch.. e.g. napa$a(n Ag. 59, rSjv a\6t>TWV Koi KpaTijaavreuv ib. 324, 
Ttovras ib. 706. mrrXavTwv remains however highly suspicious, with its 
strained meaning and construction : and possibly Dindorfs nepaivaif (or 
some such participle) is more likely.] 

1. 366. T€0d4)Oai, i.e. u/<pe\fs. The omission is less harsh, as Elektra 
is continuing tJic ivish of Orestes' stanza, though fnodifying it. 

[T(da(peai. is a necessary correction of Tafel for reOaxpai, which with 
txT] is not Greek : it is rendered certain by schol. which notes omission 

of UHp(l\i^.~\ 

1. 368. There is a gap u - in tlie metre here. Con. ingeniously sug- 
gests <|)iXois, which fills the gap, explains the gloss toIs fKfivcov in the Med., 
and gives a good sense to ovtoj. 'Sooner ought his murderers to have 
been slain thus by their friends (as Agam. was), so that one should hear 
afar of their deadly fate, knowing nought of these troubles.' The last 
sentence is a weary wish that the retribution was not left for them. 

<t>iXot.s is in Epic constr. with Epic word Sa/x^vat, e.g. II. 22. 40 
TlTjKfiQivi SafiT]. 

[The sentence is, however, harsh : viv is abrupt after ndrep vocative : 
and though schol. points to the reading and rendering given above, there 
is room for doubt.] 

1. 370. Tivd -irvvOavto-Oai, the consecutive use of the ace. and inf. 

1. 373. The Hyperboreans were imagined by the early Greeks to be a 
jjeople living in a mild and fertile region 'beyond the north wind,' very 
iiuiet, peaceful, virtuous, and happy. So v-rrtp^opiov means ' blest.' 

1. 374. Stpvacrai. -yap, 'for thou canst,' i. e. as the Schol. explains, 'for 
it is easy to wish.' 

1. 375. dXXa . . . Yap ill its idiomatic and elliptical sense, ' but (cease) 
for.' " 

|xdpaYva is 'a scourge:" the word occurs [Eur.] Rhes. 817. 

The general sense of what follows is taken variously, (i) The ' double 
scourge' is by some (Schlitz, I'eile, Bothe, Dind., and Schol.) thought 
to be the ' double aflliction ' of the two, brother and sister, viz. the 
death of Agam. (376) and the impiety of the king and queen. The 
Chorus are then dwelling on the gloomy side of things. (2) Others take 
the 'scourge ' to be the appeal to the dead, lashing up the sluggard ven- 
geance as it were (Con., Da., Klaus.), or even more literally, 'the beating 
of the breasts ' (Pal.). The Chorus are then encouraging, as before. 

The latter view is surely nearer the truth. But it is better to take the 
'scourge' in the more appropriate and natural sense of the coming ven- 
geance on the two guilty ones ; and the sense will then be — 

' But (cease) for the sound of this double scourge draws near : these 
have helpers already beneath the earth (and so more powerful) : the hands 
of the rulers, these loathly ones, are defiled : the victory is the children's.' 



CHOEPHOROI. 

But the insuperable difficulty in the way of this interpretation is the 
last line, naiai Se /jidWov yeyeuijTai, which cannot really be translated 
at all, according to the ordinary usage of Greek : there is no doubt it 
is corrupt. Perhaps the least improbable of the suggestions made is 
Schomann's, to read X*'P*^" ''^X ocriat. arvftpov tovtuv naffi ti fxdWov 
ytyivrjTai; but both the order of the words is harsh, and the sense is not 
really forcible. 

1. 3S1. d(jnr«fi.7rtov, 'thou \vho sendest up;' general description, as 
PpoToJv shows. 

1. 3S3. t\i][i,ovi in its other sense, 'bold,' ' wicked :' Soph. El. 275 77 S' 
wSe tXtiiiwv uiart rw fiiaaropi (rvveari, ib. 435 «i nrj rXrjixovtaTaTT] . . . 
e0\aaT( : both times of Klytaemnestra. 

1. 384. Instead of finishing as we expect, ' send Doom upon the guilty 
mother,' she breaks off, as it were with a sudden shrinking from the 
direct imprecation, and softens it into a prophecy — ' but on her, mother 
though she be, yet vengeance draws nigh.' 

ofiws is used idiomatically and elliptically; the full thought would 
be Kaiirep roKevaiv ovaiv o/xws TeKtirai. For the plural roKivai see 419, 
688. The conjecture of Merkel, roKotat, is ingenious, but needless. 

[It also suits the Greek to take it quite differently, as a savage burst of 
triumphant vindictiveness : ' Yet to the parents the end is coming.' But 
the other seems on the whole better.] 

1- 385. The MSS. iTfvKrjiVT oXoXvyjaov is unmetrical, and it can only 
mean ' a triumph-song over the blazing pine wood ; ' but it is audacious 
even for Aesch. to call this ' a pine-wood triumph-cry.' Those who take 
it so refer to the savage wish of the Chorus above 268, 'Whom one day 
may I see dead in the pitchy ooze of the funeral fire.' I read irvKoevro, 
'piercing,' conjectured by Dind. : but the word is very doubtful. 

[Schol. has the obscure comment iravyyvpiituv Xanirpov : perhaps he 
meant 'a brilliant eulog)'* and took -nivK. in a metaphorical sense. If so 
it is a good instance of the desperate interpretations sometimes adopted 
by these old scholars.] 

I. 389. tfxiras, ' anyhow ;' ' whether I hide it or not, aiiyhoio it is there.' 

II. 389~.^9' • Taking Hermann's olov for Oeioi', and KpaSias for napSias, 
we get the following sense : ' Why should I hide what thought -lits any- 
how within my soul ; and before my heart's prow a bitter w rath blows, 
a fierce hate?' 

<})p6v6s is the vague local gen See 183. 
The bold images 'Hitting,' 'the prow of heart,' 'the blast of bitter 
\\rath,' are (juite Aeschylean. For the first, cf. Ag. 976 Sttixa vpoffraTTj- 
piov icapSias TTOTarai : for the third, Ag. 2 1 9 <f>pivus irveaiv Svaae^T) rpo- 
waiav. Klaus, aptly compares Iliad 2X. 3S1 Siua 5e' ffijui' <rt <l)p(ai Bvjxbs 
arjTo. 

32 



J^OTES. 

The repetitions (pptvus, KpaSlai ; dv/xos, crrvyos ; TroTarai, djjrai ; are 
not unlike the poet. 

I have taken the reading which makes best sense with least altera- 
tion ; but oiov is certainly harsh. 

1. 395. dfx4)L0aXTis {6aK-, 'bloom,' ' flourish '), means originally 'rich,' 
'prosperous;' applied, II. 22. 496, [? genuine] to the boy who has rich 
parents living, o\p. to the poor orphan, Ar. Av. 1737 to "Epoji. So in 
bitter irony dfM<pi6a\^ naKots Ag. 1 144. Here it means 'mighty.' 

1. 396. Kcipava, ' their heads,' the two guilty ones. Saigas, 'striking.' 
It is a mistake to suppose (with Weil) that the aor. part, is necessarily 
past ; it simply describes the act, the time being fixed by the sense and 
conte.xt ; e. g. Od. 5. 374 a\l Kamreaf x*'/'* irerdatras. 

1. 397. irio-Tci. -ytvoiTO X'^P<J> perhaps best taken ' May Faith be re- 
stored to our land,' i. e. a true bond of loyalty, instead of hatred, 
suspicion, tyranny, bloodshed. So Ag. 65 1 rd viard, ' their loyal bond.' 

1. 398. tj, 'from," i.e. 'after,' ' instead of,' like TV(p\ds l« BeSopKoros, etc. 
Not ' Justice I demand from the wicked,' as Schol., which is hardly so 
likely a use of «^ ; but ' Justice after Wickedness.' 

1. 399. Fd x^ovCuv Te rijiai, a certain and beautiful correction for the 
corrupt MSS. See crit. notes. 'Earth and honoured powers below,' 
Tifiai abstr. for concr., like the Epic 017] 'HpaKK-qut], etc. So Pers. 641 
VS. Tt Kal dWoi x^o''''tt'»' dytiJ.oi'fs, ib. 629 Fd rt kqI 'Epurj, $a(n\ev t' 
ivfpojv, and the same again below, 405, in Bamberger's emendation. 

1. 400. ' Blood for blood,' as before, 312, 

1. 401. x^K-*^*''^. Epic passive (non-thematic) aorist, consisting of stem 
and -fj.ivos, like (pOi-fitvos, Kra-fttvos, cv-ntvos, KTi-fteyo's, uv-q-ixtvoi, op- 
fxevoT, etc. 

1.402. XoiYos, properly 'Pestilence,' used twice by Aesch. for 
'Slaughter,' heie and Supp. 679. 

'Slaughter calls on the Fury, bringing for those slain of old woe on 
woe.' The sense and construction are simple, with the needful altera- 
tion Koiydi 'Epivvf for \otydf 'Epivvs. [Klaus., Pal., Wellauer vainly 
try to keep the MSS. reading, involving various strained and cluirxsy 
constructions, of -rrapd . . . drj?. The Schol. had the same corruption 
and made dr-qv subj., koiyuy obj., of irrdyovcav. Impossible.] 

1. 405. The MSS. give iroi iroi Sjj, vipripajv TvpavviSti ; which makes 
good sense, but is not metrical, and the Greek is rather lumsual i,see 
882). I take Bamberger's sure emendation, nCnot Sa v. r. t.', ' O earth 
and kingdoms of the powers below !' exactly the same invocation as 
Orestes', 399, and the right metre. 

iToiTOi is exclamation like Trarrai ; 8d is Doric for yij ; and ttuttoi 5d 
occurs Ag. 1072, 1076. 

1. 406. I take H.'s tsGvjjicvjjv. replaced by. what is probably a gloss, 

C -33 



CHOEPHOROT. 

(p9t(J.(vcov in MSS., altered for metre's sake in Med. to the hopeless word 
<p6ft/j.(vaiv. [Perhaps Hartung's ■n«pa^iv<uv is right.] 

• Behold ye mighty curses of the slain ! ' a fine line. 

1.407. TO. Xoiird, ' the remnants,' a fine tragic word for Orestes and 
Elektra. 

1. 408. 8a)|j.dTujv dTLjj,a, ' outcast from their home.' 

1.411. KXuovcrav by an irregularity (anacoluthon) for K\voxiari. So 
Pers. 914 \f\vTat yap kjiSiv yvlojv fXjJixr}. . . eatSovr', Soph. El. 479 viTfari 
fxoi Opaaos K\vovaav. 

1. 414. irpos eiros with KeXaLvovrai, KXvovaa being added epe.xegeti- 
cally, ' My reins are darkened at the sound, while I hear.' 

1.415. The MSS. read :— 

6t av 5' avT inaXKis 

BpapfaneaTaaei' d;^os 

TTpos TO (pavHaOal p.01 Ka\ws. 

The general sense is plain : ' But when hope comes it removes my grief.' 
In the MSS. dpapea is not a word at all, and irpui to (pauetaOai not Greek, 
the future being inadmissible. The best correction by far is Paley's : — 
orav 5' avr' en' aKKrjs €TrapT| /i' 
[IAttis] drriffTaaev dxos 
vpooipaveiad fj.01 KaKws. 
eriAPH for ©PAPe is an extremely small alteration. iXiris is due to 
Blomf , and /i' to Con. The other comm. either leave impossibilities or 
make larger alterations with less success '. ' But when Hope again 
strengthens and uplifts me, it sweeps away my sorrow, dawTiing brightly 
upon me.' 

1. 416. dirco-Tqo-ev, gnomic aor. 

1. 418. TvxoL|A€v av, ' should we be right ; ' see 14. 

1.419. T«KO[i«va)v, 'parents,' i.e. 'mother,' like roKtvai 384. The 
word is the Epic middle aor., common in form riKtro in Homer. 

1. 420. The absence of pronouns makes this obscure, and it has been 
variously taken; but the sense surely must be: 'Though she flatter, 
they (the griefs^ are not soothed ; for, like a savage wolf, our temper 
from our mother is implacable.' 

[Others (Muller and Davies) take Ik jjiarpos as = /^aT^os, ' her temper,' 
and irdpecTTi craive'.v, ' tve may flitter.' But Orestes had no thought of 
conciliation; and «« fxarpus must be in its regular sense oi descent; and 
the point of the ' wolf-simile is the native fierceness handed on from 
mother to son, like the young lion in Ag. 727 6.-Trihii^iv ^Qos to -npos 

' H. rewrites both this and the strophe ; Kl. retains <paveia6ai ; reading 
cr' 6pa (pprjv : Schiitz, Botha, read OpacfTa. so. Si ! Dav. has <x' opS. pea : 
Well, has firaXKis Opaffea : Weil has orav 5' avr' tnaXKes, sc. eiros k\vu ! 

34 



yoTEs. 

TOKtwi'. Weil again has t/c narpoi [' unsootlied] l>y our mother;' and so 
the Schol. (who think it is Agamemnon she tries to soothe) ; but neither 
is natural.] 

1. 422. Here the Chorus beat their breasts and heads, 

1. 423. ' I strike a Persian blow (upon my breast), and like a Kissian 
mourner.' 

"Apiov. Aria was a district of Persia (part of Khorassan and Af- 
ghanistan). So Arian means' Persian,' the name being indeed a Persian 
word meaning 'noble,' and often forms part of Persian names (Ario- 
barzanes, ^/'/-mares, .(^rZ-aramncs, etc.). 

Kio-cias. Kissia was a part of Susiana. 

So the captive women mean ' I wail in Eastern fashion.* 

Observe the past tenses tKo\pa, ^v, of an action only just over. So 
commonly in tragg. jjpu^iTji', iSt^d/xip', ijaOrju, (vrjvfaa. 

1. 425. 'And my lifted hands you might see wandering to and fro, 
with clenched blows rained in quick succession, from above, from far 
above . . .,' the accumulated adjectives in true Aeschylean style ; cf. Ag. 
154, 192, 222, etc. 

1. 430. Baiais tv tK4)opais, 'in a foeman's burial.' 

1. 434. The MSS. read to nav dri/jM^, which is supposed to mean, ''Tis 
all a tale of dishonour thou hast told ;' a strain of construction hardly ad- 
missible. Mr. A. W. Verrall (Journ. Phil. 9. 143) proposes ingeniously 
ratpdv aTtfiQiv, 'a felon's burial.' I have preferred Ta(j)ds dTi(i.ovs, a 
simpler phrase (cf. Svas aTtf^ovs 443) ; but the clue is the right one. 

1. 436. 'By favour of the gods,' as 214. 

I. 438. voa-^icras, 'when I have slain him.' voacpl^w, properly 'to put 
away;' one of the numerous euphemisms (natural in all languages) for 
* to kill.' So Eum. 21 1 tjtis dv^pa voacpiffTj. Cf. Theb. 983. 

1. 439. i\i.a<T\a\icrQr\, ' was mangled,' (the second person of MSS. must 
be wrong.) The Scholiasts and old grammarians tell us of a strange 
superstitious practice, that when a man was treacherously murdered his 
extremities were cut off and tied under the armpits and round his neck, 
and the sword wiped on his head; the superstition being that this acted 
as a charm or purification (I) against his just vengeance. So Soph. 
Elektra, 445-6 (quoting no doubt from Choeph.) : 
(fxa(r\a\ia9rj Kanl Xovrpoiaiv Kapq. 
ier]\rSai i^tfia^fv. 

1. 440. 'And as she dealt with him so she buries him,' i. e. insulting 
the dead. 

i.npa<Tcr( is a kind of grim euphemism for the mangling. 

1.441. KTio-ai, 'to make;' no doubt the original reading; M. has 
jeen altered. See crit. note. 

1. 442. aiuvi, 'life,' as often. 

C 2 35 



CHOF.PHOROl. 

1. 444. Most edd. assign this to Elektra, to whom it surely belongs ; 
H. to half the chorus. 

' I was far away, dishonoured, of no account . . .' is a complaint 
pathetic in Elektra's mouth, meaningless in that of the Chorus. 

1. 446. MSS. read fivxov S* dcpepKTos, which some construe, 'shut off 
from the room' [where Ag. was slain], others (Shilleto, Con.), 'shut off /« 
the inner part.' The latter is clearly the sense, as KeKpyfifXivt] and Kvvoi 
Z'ucr]V show ; but then we must read ji.vx<p, for no Greek could say fivxov 
d(pepKTOs in any sense but 'shut q& from the /iuxos.' (The instances 
Con. quotes for the gen. are irrelevant, KarkKKijaav UaiceSoviai and 
IpKiwv (yKeK\u(Tfj.evovs : it is the diro here which is conclusive.) -iroXv- 
crivovs is the right form, cf. daivfji. H. reads ■noXvaivov. 

1. 447. ' I gave forth [tear]-drops more ready than laughter.' Notice 
the strained and somewhat artificial phrase. ' More ready than laughter' 
is a pathetic meiosis ; the phrase touchingly suggests how far from 
laughter she was. 

1. 450. One foot is wanting here; some supply [aaTaivl ev <ppfaiv. 
But as it is addressed to her father, why not iraTep at the end ? That 
would be more easily lost. 

1. 451. o-vvT€Tpaiv(o, used of 'boring so as to meet another cavity;' 
'sink the tale through thine ears,' i. e. let it sink. 

1. 452. T)erux<{> . • • Paorti, ' with thy mind's silent step.' The bold and 
vivid images abruptly succeeding are very characteristic of the poet. 

1.454. MSS. read T<i 5' avrbs opya pjaOiTv. (i) Some construe opya 
subst. (Dav., Schol.), 'the rest learn with wrath,' ixaOuv inf for impcr. 
This is very harsh. (2) Others (Schol., Klaus.) take bpya, verb. ' The 
rest he himself (Ag.) is eager to learn,' i. e. 'You have heard the 
sin ; the rest (the vengeance) your father luaits for.' Not bad sense, 
but hardly suitable here, where Ag. is treated not as the helpless sufferer, 
but the powerful spirit whose aid is invoked. 

Read therefore (3) with Seal., H. and most edd. opya imper., 'The rest 
desire thyself to know;' a significant hint to be up and doing with his 
own hand ; which gives a far better sense to avros. 

1. 455. KaflTiKtiv, ' to come down ' to the conflict ; so Kara^fivai. 727. 

1.457. K«KXavp.tva, 'weeping,' like the Homeric perfect (of the 
middle-passive) SeSfKpvfiivoi. It occurs again deponent 731, passive 687. 

1. 458. o-Tieris, ' troop ; ' see 114. 

1. 459. uKovo-ov . . . fioXwv, the time of the participle being after the 
verb, as Hom. Od. 5. 374 dXt Kavntat x^'T*" irsTao-o-as. The real fact is 
the aorist part, gives the act, but the time has to be inferred from the 
context. See 396. 

1. 460. Jiiv 8i ytvoxi, Epic tmesis, common in trag. So Ag. 450 In 
dKyos (pirti, 944 viral rts dp/BvKai Xvoi. 
i6 



NOTES. 

1. 461. 'Justice with Justice,' as though to see which is the stronger 
and truer' justice; perhaps not without a sense that the death of Aga- 
memnon also a kind of AiVa, as it was blood for the blood of Iphigeneia. 

1. 462, Hermann's b'tKas is very ingenious, as it supplies a reason for 
the omission in the JNISS ; — AIKflC AIKAC being read as -AIKP.C . The 
phrase then means 'decide the plea of right : ' Umi (plural) being the 
opposing claims, as Ag. 813 diKas 0eol KXvovTts : and so the word Unas 
suits the last line admirably. 

1. 4^4. p,«v«i TrdXai, 'has long been waiting.' 

A skilful touch : the Chorus, as sympathetic spectators, shudder at 
the deed of blood impending. The poet is extraordinarily powerful in 
making us feel the shadow of evil or misery east before the event. 

1. 466. The two next stanzas I give with the majority of edd. (Schiilz, 
Klomf., Well., Dind., Dav.) to the Chorus, as it is hardly likely either 
Orestes or Elektra would recur to lamentation after the prayer 
(456-460). 

At the same time Hermann's idea (which Pal. adopts) that the first 
stanza is sung by half the Chorus, the second by the other half, both 
joining in the anapaests (476-478), is tempting and possibly right. 

1.467. -iTapdp,ovo-os, 'harsh.' -napa in the sense of 'amiss' as in 
vapaippaii', Trapdarj/xos, wapaKonos, etc. 

The meta})hors from music are very common with the musical Greeks ; 
cf. a/^ovffos, TTkr^^fKX-rjs, ffifi(\r]s, avfxcpuvos. 

1.470. Svo-KaTci-n-auaTOv, ' stanchless ' {Mors.), evidently met. from 
wound. The next line takes it up. 

y 4/4-475- I'or MS. aiojfxavaipav Hermann reads SiwHdv tpiv, Klausen 
Si' djfMv tpiv. The latter is nearer to the MS. and some recent edd. 
adopt it. But Hermann's gives a clearer and fuller sense, explaining 
as it does what the a«oy is : and wfxav is not wanted with aipxnr]pav. 

' The house has a cure to stanch these woes, and not from strangers 
without, but from themselves [Or. and EL], to follow out the feud of 
blood,' another clear apjjcal to the avengers, like 454. 

1.471. tn^oTov, lit. 'with lint in ^the wound ,' i.e. 'stayed' or 
' stanched ; ' so tpporov anos, ' a stanching-cure.' For the medical meta- 
,)hor cf. Ag. 1 7 'iVTipvdv, and below, 539 aKosropatov. [Uut the phrasing 
s obscure and strange : the text is doubtful.] 

1- 475. ' To the Powers below this chant is sung ;" and they end 
iccordingly with three anapaestic lines calling on ihexOivioi to send aid. 

11. 479-5S4. Scene 2. Orestes and Klektra combine their prayers 
o their dead father, and to earth and the Powers below. 

Then Orestes asks the reason of Klytaemnestra's offerings : and the 
-horus reply: ' She dreamed she bare a serpent, and suckled it, and it 

37 



CHOEPHOROI. 

drew blood with milk from her ; she awoke affrighted, and sends the 
libations to propitiate.' 

Orestes hails the omen : ' I am the serpent ; I shall slay her.' He 
proceeds to arrange the plot ; Elektra is to go in ; Orestes and Pylades 
to appear as Phokian strangers : if excluded to wait ; at last to slay 
Aegisthos. 

1. 480. MSS. read alrovixtvos, which will construe as passive, but is 
not so likely as aiTovp,€vci> med. 

1. 482. c}>vY€tv, 'to escape' from prison and peril, 'the plots of Aegi- 
sthos,' as Schol. says. 

<j)96pov is a suggestion of Hermann ; the word is wanting in the 
MSS., but cannot be recovered with certainty. ■npoaOuvai is commonly 
used with Xv-n-qv, irovov, KaKov, etc. 

1. 483. 8aiT€s, i.e. the 'funeral feasts,' which Agamemnon had not 
received, as his murderers would naturally not offer them. 

1. 484. cuSti-TTVOis (adj.), eixirvipois (subst.), kvio-wtois (.adj.) are best 
taken together as one phrase. Translate, 'At the rich banquet of the 
reeking sacrifice.' [' Unhonoured by sacrifices,' as some take it, is wrong : 
it would be drifios e^Trvpwj/.] 

[Con. quotes from old scholars a statement that evSenrua was the 
name of an Athenian festival in memory of Erigone, daughter of Kly- 
taemnestra and Aegisthos, and supposes a reference here to that. It 
surely would be a peculiarly inappropriate allusion.] 

For the lonicism KTiiOiar', Dav. quotes uKolaro Theb. 552, iicffco' 
(oiaro Pers. 390, 451, ipfv^oiaro ib. 369, ixOaipoiaro Supp. 754. 

1.486. iTaYK\T)pCa, 'sole inheritance,' used of a woman's portion, Eur. 
Ion 814 ere yrj/xas ical afjv irapaXa^wv irayK\T]piau. 

1. 487. Y*H'''n^^°^s, • at my marriage ;' it is the condition of the 
promise. 

1. 490. 5e t' ^MSS.), might be defended as Epic; but S« y' (H.) much 
more likely. 

svjxopc^ov, imaginative personifying epithet. 

1. 492. Kaivijtu, prop, 'to handsel,' 'to use for the first time.' The 
same word is found Ag. 1071 Haiviaov ^vy6v, ' put on the new yoke : ' so 
here, ' remember what strange mantle thou wast snared in ' referring to 
the cloak which Klyt. threw over him when she slew him ^Ag. 1382). 
Tliis is more likely than the MS. reading w a' (Kaiviaav. 

1. 493. The MS. reading (see crit. note) has no caesura, and being 
a separate sentence is less forcible than the reading here given. 

1. 494. alcrxpis PovXsvToio-L, ' shamefully devised.' 

1. 496. (JjiXraTov TO cTov Kcipa. ' thy dearest head,' displacement of the 
article. So Eur. EI. 1006 fxaKapias ttjs crijs xtpos, Or. 86 fxanapios 6' 6 
38 



NOTES. 

<rui TToffis. From a comparison of these instances, it would seem to be 
a special idiom in /ii/cs and addresses; like the English 'good my 
lord; 

1. 49S. The MSS. /3Aa/3as will only construe ' Give them (our foes) the 
like wrongs to suffer ;' which repeats the sense of the line before, and 
makes the next line feeble, if not meaningless ; and moreover the 
omission of fx^/'o'^ or tois Se is extremely harsh. I take Canter's Xa{3a3, 
adopted by many recent edd. from Hermann to Wecklein. ofxoias 
A.a/3ay Aa/Sefj/ is ' to take the same grip;' an expression used of wrestlers, 
who, when the bout was indecisive or they got out of the ring, were put 
back into the same position. Plat. Phaedr. 236 B Trtpl nlv tovtov, Si fiKt, 
(Is TcLs 6|ji,oias Xapds i\r]\v6ai, Rep. 8. 544 B rfjv avrfju Xa|3'jv ndpex^. 

Orestes prays therefore to resume the contest as his fatlicr left it, i. e. 
a death struggle with Klytaemnestra and Aegisthos. 

1. ^QZ. If we retain 'iovov we must translate, 'Pity thy daughter and 
the father's child,' and understand ' the father's child ' to be the ' son.' 
An old superstition that the son was specially the offspring of the father 
(Arist. Gen. of Animals, 4. i) is quoted: but this is out of place here. 
Kead yoov, with Pauw and most edd. 

1. 503. Some edd. give 503-4 to Orestes, 505-7 to Elekt., 508-9 to 
Orestes : but KoktO'lov /Sotjs (500)- is against this. 

1. 505. kXtiSovcs o-uT-qpioi., 'Memory's voices that preserve' (Mors.). 

1. 506. ayova-i, ' keep up.' The children keep up the memory as the 
corks do the net. 

1. 507. Tov €K puOov, the idiomatic pregnant construction, as though 
for Tuv ev 0v9a) e« ^vOov, 'Saving the flaxen mesh from sinking in the 
deep.' 

So Ag. 53S KTJpv^ . . . xoT/Jf TcDr" and arparov. Soph. El. 135 tov k^ 
'Ai'Sa irartp' avaraaits, and with adverbs tuiv (Kudtv d-yye\os At. Av. 
1168, Toif ivSoOtv Tis dafucyKaTOJ Plut. 227. 

1. 511. Lit. 'A payment to the tomb for its unbewailed chance,' i.e. 
'for its dirge denied ' {Mors.). rxip.&ov may be governed by tvx;^, but 
perhaps it depends on Tin-q^xa. [The Schol. explains dvotftwicTov as no\v- 
0pv\rjTov, 'famous;' probably a mere mistake.] 

1. 512. Spdv KaTiopGdjffai ({"P^vi, ' thy heart is set to do :' lit. ' thou art 
set right in thy heart to do.' 

1. 5x3. 8ainovos, 'fortune.' 

1. 514. «'|o) 8p6p.ov, 'out of the course,' i.e. 'amiss,' A common 
metaphor. Ik 5p6fiov Ag. 1245, t'fw ^pop-ov Pr. S83 ; and below, Cho. 
1022. 

1. 517. 4)povovvTi, 'feeling,' 'the dead that could not feel it.' So Ai. 
553 iv Toi (ppovdv yap prjdtv tjSkjtos fiios. 

1. 518. elKcio-ai, lit. 'guess' or ' compare,' i. c. "explain," 'understand.' 

39 



CHOEPHOROI. 

I. 519. 8' displaced: so rroiov xpovov hi . . . Ag. 278. 

M. has TaSe corrected to rohi : some edd. read Td56 to. Swpa (with 
stop at hojpa, not at raht) : but though this gives Se its usual position 
the lines are better as in the text. 

II. 520-1. Tis £Kx«as . . . |i.dTT)v 6 |x6x6os ; a natural form of anaco- 
luthon. So Ag. 1008 . . , oKvos BaXwi' . . . ovk (5v Sofios, Theb. 681 
. . . Odvaroi SiS' avroKTovo^, ovk ((Tti yrjpas rovSt. Some call this ana- 
coluthon nomiiiativus pcndois. So Soph. O. C. 11 50 A.070S 5' os (fiiriv- 
TOJKi . . . (TVfj.Pa\ov yvufxTjv. It might perhaps better be called the 
provisional nom., the sentence taking ultimately a different turn. 

1. 521. Xo-yos, 'the saying :' he is clearly quoting a proverb. 

1. 528. TTOi ; we should say 'where?' It is really a pregnant constr. as 
though the tale moved on to its close. 

1.529. op^iio-av, 'she anchored it,' i.e. 'laid it to rest.' Another 
example of Aeschylean bold imagery. [No need to alter. The Schol. 
read it and explain it.] 

The constr. is ace. and infin. depending on the notion ' she dreamt ' 
(eSoff), or perhaps rather on the general idea of the Jiarration {\6yos). 

1. 531. jtajov, a Homeric word for the woman's breast (occasionally 
the man's\ which occurs nowhere else in Trag., the Attic form [laaros 
being used instead. So many edd. read fiaarov here, especially as it 
occurs again 545, 897. But Aesch. may quite well have used the 
Homeric form in one place ; and I follow Kothe, Klaus., Schiilz, Well., 
Peile, Con. in keeping it. 

1. 532. O-T1JY0VS, 'the hateful beast.' .So Klytaemeslra is called 
(TTvyos 6eu/v Cho. 1028 ; and the Furies, Eum. 644. 

1. 533. i.e. [' it ^ms wounded,] so that,' etc. The answer is elliptical, 
but not obscure. 

1. 534. 'Not in vain has her lord sent this vision' is the best way of 
taking it, as the predicate is clearly ovtoi fiaraiov. (So Schol., H., XL, Pal.; 
Dav., Schiitz, Bull.". If Orestes had meant ' It is a true vision of a man 
(i.e. of myself),' avSpos would have been tlie jiredicate, and would have 
been more to the front. [Martin's av to5' 61//. viKoi is ingenious.] 

1. 536. [The Schol. explanation aviKafjopav makes the correction dvfjOov 
for MSS. avrj\6ov certain.] 

1. 53S. KT)8€lOtJS, 87. 

1. 539. aKos Tonaiov is best taken with .Schol. .ts 'a cutting cure,' i.e. 
' a cure by cutting off,' and so 'a surgical cure,' a 'skilful or complete 
cure.' So dKrj TOfxaia Suppl. 268, titol Keavra t] T«p.ovTes Ag. 849 ; fre- 
quent in Plato, Gorg. 4S0 C TffiVfiy fiat Kaav, 521 E rifjivaiv re icat Kawv, 
I'rot. 354 A Kavai^ Koi TOfirj : and TOfidco, 'to need the knife,' Soph. Ai. 582. 

[The form of the word from rofxri hardly admits of the other sense 
'shrc'ldcd cure,' i.e. 'medicinal lierbs,' sec Ag. 17.] 
40 



NOTES. 

1. 54;;. Kpivw, the proper word for ' interpreting ' a dream: cf. Pers. 
226 (vvm'taiv KpiTTjs, Ag. 981 SvaicpiTOJv uvuparwv : and the compound 
bvdpoKp'iTrj^. 

o-vyKcXXajs *'x"-^) ' i^ fits.' 

1. 544. The MSS. read the corruption oixpfiaciracraTirapyavrjnXd^fTO, 
emended by Porson to ovipis ifioiai airapyavois un\i^eTo, near the MS. 
and the sense required: it is here adopted. Some prefer Metzger's 
oi/</)is en-' dfM anapfav' ^XfXi^ero, certainly most ingenious. 

1. 546. (j)i\ov, 'sweet.' Orestes hates and is going to slay Klytaem- 
nestra ; but the mother's milk is ' dear ' or ' sweet,' as nature and mother- 
hood are. A subtle touch of poetry. 

1. 547. a\L^i Tap^€i, ' in fear :' so dfi<pl <pul3a) Eur. Or. 825, afi<pl Ovp-w, 
'in anger,' Soph. Fr. 147. 

1. 548. The meaning plainly is that ' to dream of giving suck to a 
monster means violent death :' the snake is to reach her breast. 

[No need to understand Piaicus again with (Opope (Kl., Pal., Dav, 
following SchoL), which is indeed impossible. The Scholiast's inter- 
pretation is confused and artificial.] 

1. 550. KT€ivco, prophetic pres., like dyptt Ag. 126. 

1. 551. TepacTKOTTOv, 'my seer:' the leader of the Chorus is to confirm 
his interpretation if he agreeST 

1. 553. MSS. TovaS'iv Ti, 'to do o/ie thing,' an unlikely way of speak- 
ing ; moreover he would not call Orestes and Elektra rovaS' : so I read 
(after Blomf., D., Franz. Con.) xotps [t-iv ti ttouiv, 'some to do, others not.' 

1. 555. TacrSe, the Chorus. The apparent ambiguity would be easily 
avoided on the stage by voice and gesture. 

I. 557. MSS. read SuKa; re koI, which must be wrong. I take SoXoicri 
Hartung, preferred by Paley. So 888 S6\ois 6\ovix(9\ S6\q} ye (Pauw) 
is also possible. [Others try to justify the re Kai by saying they connect 
5u\a> and ev ravToi 0poxv '■ quite impossibly clumsy, as that would require 
56\<u T( Kol ^puxu.l 

1. 560. -n-avTtXTi cra.yr\w is only stately Aeschylean for 'full cquipnicnl,' 
i. e. with all things necessary for the part he is to play. 

1. 562. ^«vos T« Kal 8opvi|€vos 86p.tDv, 'A stranger at once and ally of 
the house;' hopv^tvos describing the friendship of mutual help and pro- 
lection in fight. Orestes was to pretend to be an emissary of Strophios 
the Phokian (Pylades' father), who is called by the same name Sopvf (I'oy 
Ag. 881. ' 

[Sopvfe^/os is however strange, as it hardly suits the storj- he actually 
tells (677) when he does come : he is there no representative of Strophios 
(the ' ally ') but a casual traveller taking a message.] 

1. 563. Tio-op.€v is no doubt right, the regular word with ipa:vq being 
iivai in prose and poetry. The MSS. olaon^v has very likely come from 

41 



CHOEPHOROI . 

y\cii7aay (peptiv 5S1, which simply means 'to carrj' a silent tongue,' and 
is no parallel. 

1. 563. napvT)o-iSa, ' of Parnassus,' the famous mountain near Delphi 
in Phokis, It is properly spelt with one <r, and the 77 is Ionic. 

1. 565. Kai 8ti, dramatic particles, literally meaning ' and there,' ' there 
now!' 'now then,' etc., used idiomatically when a rase is put or supposed, 
' and suppose no one . . . would receive us.' So koX 5fj StSijuat Eum. 894, 
Kai Si) TeOvdai Eur. Med. 386, teal Sfj TrapeTitev Hel. 1059. 

4>aiSpa, properly ' bright :' so literally (paiSpotai . . . o/xp-acn Se^acrOe 
Ag. 520: here 'glad/ 'cheerful,' metaphorically. 

1. 566. 8aip.ovau>, ' to be afflicted by heaven,' Saifjiaii'. 

1. 567. tTTsiKdJeiv, ' conjecture ' the reason of our lingering at the gate. 
In English we should say, ' so that the passers-by shall marvel and say.' 

1. 569. TrvXaio-i, instr., 'with the gate:' i.e. 'close the gate against 
them.' 

1. 574. This passage has been confused by the commentaries. 

Kar' 6<{>6aX|xoiis PaXei must be a tmesis : l3a\H can only be so con- 
strued. If this is so, it puts out of court those comm. who take nar' 
ufpOaXfiovs like /caret arofj-a (Bothe, BL, Scholf., KL, Well., Con.). The 
alternatives are then reduced to two : — 

(i) With Davies to keep tpei and translate — 

' Or if he shall after come face to face with me, and say — ay, I tell you, 
.ind let fall his eyes on me — before he can say " Whence does the stranger 
come ?" . . .' ipei being interrupted and taken up again by Trpir . . . elirfiv. 

The sense is fair ; only KaTafidXXu more naturally means ' cast down,' 
the opposite of looking a man straight in the face ; and Davies' explana- 
tion that Aegisthos would be on the high threshold above Orestes is far- 
fetched. Aeschylus is hardly so subtle. 

I prefer then (2), with most edd., to make the slight change apulox 
tpefand translate, 'Or if he shall afterward come face to face with me, 
and lift, I tell you, ay, and cast down his eyes, before he can say . . .' etc., 
i. e. ' if he meets me and looks up at me and then dovju, as he will surely 
Jo' — the thought of his casting down his eyes being added as a graphic 
and scornful touch. 

1. 576. ' Swift-footed ' of a sword is a characteristic image. ' Encom- 
])assing him with the sword' is again a bold expression : the inevitableness 
of the death is the point oi irepi0a\wv. The sword hems him round. 

[L. S. are probably wrong in making it mean 'put him round the 
sword '(i.e. pierce him with it), in spite of TrfpnriTTTw, epetK6pievos Trtpl 
Sovpi, etc. : ■ntpi^aWd) is always used with ace. of the thing embraced, 
dat. of the encircling thing.] 

1. 578. uKparov and TpiTT)v ttoctiv contain a grim Aeschylean allusion 
to the banquet, where the third libation to Zeus Soter was the end of 
42 



NOTES. 

the feast and the begiiming of the drinking bout. So Ag. 1387 Klytaem- 
nestra calls her third stab of her husband, 'a votive gift to Hades, Soter 
of the dead.' Here the th?-cc murders are meant, see 1066-1073. 

It is rather remarkable that in the detailed plot he makes no mention 
of Klytaemnestra ; though, 550, he had plainly expressed his intention. 

1. 58 1 . cwaivw, ' I bid,' like the ordinary napaivw, a tragic usage (Suppl. 
996, O. C. 664, El. 1322), here alone with dat. ' 

1. 583. TovTw, which on the stage would be made clear by a gesture, 
is to the reader ambiguous. It has been variously understood (t) of 
Pylades (Schol. Herm. Dav. Weil), (2) of Apollo or Hermes, whose 
statues were present (so several edd.), '^3) of Agamemnon, by whose 
grave they stand (Wecklein reading opOwcrovri with Pearson). 

We cannot change the reading : and in any case opBovv could hardly 
be said of Agamemnon. If it be a god he is addressing, it must be 
Apollo, who has taken the leading part, and not Hermes. This reduces 
the choice to Pylades and Apollo. 

For Pylades it is urged that the Schol. explicitly says to) nvXdSri, and 
that \eya} is too peremptory except as addressed to a man. Hermann, 
Weil, and Davies so take it, and I formerly agreed with them. But against 
this are the strong points, that (iroirTtvco is in Aesch. always of a God ; 
that ' guided my armed struggle,' and Stvpo, are now natural of Apollo. 

I/irc Orestes and Pylades rctTre to prepare for their entry in disguise. 
The Chorus advanee and sin^. 

11.585-652. First Stasimon. 'There are many terrible things in 
earth and sea and sky (585-593), but who can tell the bold spirit of man, 
the passion of women? (594-601). Witness Althaia, who burnt the brand, 
and so ended Meleagros' life (602-61 2). Witness Skylla, who plucked for 
a golden gift the deathless hair from her father Nisos' head, and he 
died (613-622). It is not the time to speak of another evil woman 
(Klytaemnestra); but I honour the loving, innocent wife (623-630). 
Worst of all, the Lemnian women (631-63S) But the sword of 
Justice is near : the wicked shall not escape : the anvil of Justice is firm, 
Destiny forges the sword : old murder begets a son who enters the 
house; the curse pays the penalty ! (639-651).' 

I. 586. S«i(xaTa)v axT), 'evil thuigs and fearful,' 'plagues of horror.' 
The abstract words being quite Aeschylean. 

II. 58 7-590. The MSS. read :— 

TToVTiai t' dyKt'iKai Ki'w5d\o:v 
dvTaiojy pporoiai 

TT\d6oucri pXacTTOvat «ai Tr(Sai\/itoi 
\afj.nd5(i wiSdi-iapot. 

43 



CHOEPHOROI. 

The general sense is plain, ' The sea is full of monsters, and there are 
dread meteors in the sky ; " and there seems not much doubt about 
reading ireSiopoi with Stanley, Aeolic for fxireupoi. as TreSat'x^ioi for 
furaixnioi. 

The passage will then construe : 'And the gulfs of the sea are full 
(■n\a0ovat=ir><T]0ovai) of monsters dangerous to mortals ; and there grow, 
'twixt heaven and earth (AtsTai'xM'o^. metaphorical, cf. 63), lights hung m 
air,' a fairly satisfactory sense. 

But if we compare the antistrophe 596-598 we find: — 
Koi yvvaiKibv <pp(criv TXa/xuvcuv 
[wat] iravroXfiovs epwras 
draiai awvofiovs fipoTwv. 
So that there is either — o too much in strophe, or the same foot 
wanting in antistrophe. Omitting all suggestions involving much altera- 
tion, the alternatives seem to be : — 

(i) With H., Pal., Wecklein, to read ;— 
di/raiW Pptioucn." 
irXdOovicri koi irtSaixf^toi, 
supposing pXacTTovai to be a gloss— (the word is rare and in Attic only 
found in a fragment of Soph.)— and ir\a9ovai {710I ■nX'qBovai) to mean 
' draw near.' In favour of this is the fact that BpoToim might easily 
be a gloss on avraiaiv, and would tend to oust Ppvovai and confuse the 
passage. Also that PKaffreiv, ' to grow,' is an odd word for meteors, 

(2) To fill up the vacant place in the antistrophe, and leave the 
strophe as it is. Thus Klausen (Peile, Dav., Con.) repeat fpairas before 
draiai 598; a very ingenious suggestion, but unfortunately epwray does 
not exactly correspond to -nXaOovai. Weil suggests alvaiul r armai 

598- 

[To make the 'lights in heaven' grow {^Kaarw, transitive) the bird'^ 

and beasts {-mava, etc. ace. after pXaarovcxi), with Weil, Con. and the 

Scholiast, is to give a hardly credible interpretation. The Schol. here 

lias got hold of a wild idea : ' The air begets birds and insects out of 

the sun's ray ! '] 

Adopting (i) we shall then translate, ' And the gulfs of the sea teem 
with evil monsters, and 'twixt heaven and earth come lights hung 
in air.' 

11. 591-59,^. The MS. reading is Kave/ioevruv, which is impossible for 
two reasons: (i) there is no dv with opt. <ppdaat, (2) dvep.oivTwv is 
masc, and does not agree with fern. a(7(5aij'. Blomfield's Kavsnoevr' av 
removes both difficulties. Translate, ' and birds and beasts that walk 
the earth can tell likewise of the windy wrath of the tempests.' 

1. 595. Tis \iyo\. ; 'who could tell?' for optative interrogative without 
dV, see Appendix I. 
44 



NOTES. 

1. 596. ' And the reckless passions of bold-hearted women, mated 
with mortal woes.' 

1. 598. ' And over wedded unions evil love prevails, perverting the 
female heart, in beasts and men alike.' 

I. 600. dirtpcoTos (rather strange form, and perhaps corrupt), negative 
word; phrase like uriTrjp dp-qToip, etc. Compare diroiKo^, dTTucnros. 

•trapaviKdoj, lit. 'to conquer aside,' i.e. 'to prevail over and per- 
vert.' Klausen well quotes Soph. Ant. 791 av {ipws) koI diKaicov dSiicovs 
<ppivas iropaairas trri Kwfia, 'Thou (Love) dost likewise pervert the hearts 
of the just to injustice for their ruin.' 

II. 602 sqq. The story alluded to here is the following : Althaia, 
daughter of Thestios, gave birth to a son Meleagros. When he was a 
week old, the fates told his mother he would live till the brand on the 
hearth was burnt. Then his mother took the brand and kept it. But 
once being wroth because Meleagros slew her brothers s-he threw the 
brand into the fire, and he died. The tale is well known from Swin- 
burne's Alalanta in Calydon. 

1. 602. laxo), 'let him know ?V,' i. e. the truth of my saying about the 
power of love on women, Saeis, ' by learning' this_ story. 
viTo-FTTepos 4)povTi<riv, 'light-minded.' 

1. 603-606. The MS. reading is-5aeis rdi' and nvpSarj rtvcl irpovoiav 
which do not correspond with the antistrophe, as read in M., XnvWay 
(XT and xpi"f*o5^'7'ro"''"' "Pl^ois: we will take the points separately, 
(i) Saus rdu Hermann proposed to correct to rdv 5aua' which suits the 
antistrophe, but is othei-wise the reverse of an improvement, as Sauaa 
HTjaaro is unnatural while taroj Satis is just what the sense requires. A 
far better correction is to read Kopav for ^KvWau in 614 (Merkel), and 
leave 8a€is xav here. If Aeschylus wrote K6pay, while there would be 
no obscurity to a Greek (Minos and Nisos being named), some one 
would be sure to \vrite ^KvWav beside icopav, and thus it would creep 
into the text. 

(2) Hermann corrects both strophe and antistrophe suitably: reading 
irvp5a^Tif irpovoiav 606, and xpvaomir]Toiaiv 617. 

1. 608. TiXiKa, ' as old as he,' a graphic word for the brand. 

tirti, etc., 'From the time he came forth from his mother and 
cried, (the brand) that lived with her life throughout, till the fatal 
day.' 

1. 614. The story of Skylla is this : Nisos king of Megara was besieged 
in his town by Minos of Crete. But Skylla, daughter of Nisos, loved 
Minos (or, according to this version, was bribed by golden necklaces), 
and pulled out the ' immortal hair ' from her father's head, on which his 
life depended. Minos, instead of being grateful, tied her to the stem of 
his ship and drowned her. 

45 



CHOF.PHOROI. 

1. 6x5. viTrai, MSS. i. e. ' led by ;' no need for Porson's neat vir(p. 

1. 617. xp^o'cP'TiToio-iv is Hermann's correction, improving the metre 
(see 606) and the form. 

1. 618. -in6T|cra0-a, Epic form, ' obeying,' 'yielding to.' Tfpataai iriBri' 
eras II. 6. 183, etc. 

1. 621. 'n-v€iov9' (Epic form, restored for metre's sake by n.\ 'breath- 
ing,' primitive word of the regular audible breathing of a sleeper ; so 
deaav is used in Epic for ' slept ;' lit. ' breathed.' 

Kwocjipcov, ' the shameless one,' like hwus KaKOfj.7jxdfov II. 6. 344. 
icvvSjins ib. 3 180, the word KvvT(po%; and particularly the passage 
about Klytaemnestra, Od. 11. 244 rj Se Kwanrts vofffplaar' . 

There is no doubt a reference in Kvvocppcuv to the name 2«vX\a, which 
means ' hound.' 

I. 622. (jiiv (Epic form for vtv) is of course Nisos ; he died in spite of 
his immortal hair. 

'Epji-fis, who conducted the souls of the dead to Hades. So the 
dying Oedipus' last words (O. C. 1557) are TTJSe yap p.' dytt "Ep|j.T)S 6 
TrofjiTTos 7? T( vipripa 6(69. 

II. 624-630. The general sense of this difficult and desperately 
corrupt stanza seems to be fairly clear, in spite of the fact that with 
the existing text there is no construction. 

' And since I have touched on cruel deeds — [I would speak of 

Klytaemnestra] — 
But it is no time [to tell] the loveless wedlock 
Fatal to the house, 

And the crafts devised by woman's wit 
Against her warrior lord, 
Her lord the terror of his foes (?) — 

Yet I honour the home and hearth not fired [by passion] 
And the woman's unventuresome temper,' 
i.e. 'I would speak of Klytaemnestra's sin, since I have begun on 
women's crimes ; but it is out of place : yet a house is better where 
women are not bold.' 

The real difficulties are two; (i) that the verb is omitted which 
governs yafirjKevfxa. This could be helped by reading ditaipov as 
Paley; the inf. is then required, which would be more easily supplied; 
after dKaipws, \eyoift' dv or \e^at ris dv would be required. (2) The 
corrupt words iiriKOTO) ai^as, which will not scan nor construe ; the 
metre ought to be u - u - u -. 

The emendations are unsatisfactory. Paley gives XaoU lirtiKorois 

(Tf^as, I.e. ovTt ai^as, an incredible piece of Greek. Klausen Srjoiffiv 

iiTtKOTw afPas, ' wrathfully inspiring fear in foes,' neither Greek, sense, 

nor metre. Hermann (who says 'malas coniecturas qu^'bus Aeschyli 

46 



NOTES. 

verba vexata sunt tacere praestat ') rewrites the piece ingeniously ; Weil 
Siiotatv (V TuKcu (T«'/3as, 'begetting reverence in foes!' Perhaps the best 
suggestion is Herwerden's, who reads (624) ditaip<us to 5v(T(pi\(s . . . (628) 
tTr' av^pl bdotaiv (fi(p6l3cv \pfyoj, which completes the sentence : ' Yet 'tis 
no time io blame, &c.' But too much is changed for certainty. 

[The last two lines some understand still of Klytaemnestra: ' a cold 
hearth and woman's feeble rule,' reading rimv with MSS. So Klausen, 
Conington, Mors. But droXixov is the last word that Aesch. would use of 
Klytaemnestra : and Schol. understood dOepfxavrov as dOpdavvrov, ' not 
hold to crime.'] 

1. 631. -nptcr^ixitTai, ' is first,' i. e. ' worst.' 

The ' Lcmnian tragedy ' was the old tale that the women of Lemnos 
slew all their husbands (from jealousy of some Thracian slaves), and 
when the Argonauts came they found none but women. Herod. (1. 13S. 

1. 632. It) -noOti of MSS. is clearly nonsense, and STjiroBtv can hardly 
be right. I take Hermann's iraOos. -yodTai which H. objects to use 
passive, as 7001/ (active) is only Homeric, may be one of Aeschylus' 
numerous Epic usages — 

' It is lamented as an accursed crime.' 

1. 633. ' And men compare terrible deeds to the Lemnian horror.' av, 
' again,' i. e. often, whenever they occur. -QKao-ev, habitual aorist. [H., 
Weil, Pal., read dv ; but the idiomatic use of rjnacrtv dv would mean 
' 'uere wont to compare,' not 'arc wont to compare.' See Ar. Plut. 
982, av yrrjffe, so 985, 986.] 

1. 635. ayei, 'wickedness,' 'pollution,' must be read, as ax<« does not 
suit OfofTTvyriTw. The confusion is common. 

1. 636. The remark is general, and darkly prophetic of the death of 
Klytaemnestra. ' From wickedness hated of the gods, the race of men 
passes away in shame.' (The other int., good in sense, 'dishonoured of 
men,' ytvos referring to the Lemnians, would require Pporoiv; the gen. 
could only go with a negative adjective, not with a participle.) 

1. ^'37 explains arnkwOfv. 

I. 638. QY«ip<D, used loosely but naturally with cac/t instead of a// — 
' Which of these gathered tales do I not justly tell ? * [Hartung's fityalpw 
is ingenious ; but the meaning is not exactly suitable,] 

II. 639 sq. ' But the sharp pointed sword in Justice's hands deals .a 
piercing blow right to the heart.' 

Note the Epic position of to, really an anticipating demonstrative, 
'but it, sword:' rd 5' (irijxfTo KrjKa Otoio II. i. 383, Ag. 1056. 

11. 64I-645. TO \i-f\ 9i\L\.i Yap . . . ou O«fxio-Tws. The MSS. reading 
(with Hermann's ovri^ and 011 Oefnarus) is usually explained thus : ' for 
Wickedness is not trodden under foot, when men transgress utterly the 
sacred majesty of Zeus in impious wise.' 

47 



CHOEPHOROl. 

But this requires us to take itaToiiixivov for itanirai, and leaves vapeic- 
fidvres without any construction at all : it has to be explained as a loose 
apposition to to ixt) Oe^is like Koyoi kppoOow KaKoi, (pv\a^ iKijx'^^ 
<pvKaKa (Antig. 259) which is far easier, and does not at all justify the 
nom. part. here. 

Perhaps the most ingenious suggestion is that of H. L. Ahrens adopted 
by Wecklein, reading Sial Aikos, to fifj Oefjus, Xaf trfboi -naTovfxivas, to 
■nav Atus ai^as rrapeitPavras ov OefiiaTus. Here the ace. -napfK^avTas is 
governed by ovra : ' the sharp sword . . . pierces, by aid of Justice 
wickedly trampled under foot, those who transgressed the sanctity of 
Zeus in impious wise.' 

But though the alterations are relatively slight, and the sense good, 
the Greek is too harshly and obscurely expressed to be adopted. 

11. 646-651. Again the MSS. are much corrupted, unfortunately in 
the passage corresponding to the corrupt part of the strophe. Again 
the general sense is clear and very fine : — 

' The anvil of Justice is planted firm ; 
Fate forges the sword beforehand; 
And the mighty deep brooding curse 
Brings into the house the son, 
To pay at last for the stain 
Of murderous deeds of old.' 

In 649-650 I read (with Hermann and most edd.) Scuoiaiv ai|xAT«DV 
for the corrupt SifiaafScofj.aTaii' of the MSS. : the only question here is 
whether we take Ttuvov (i) for Orestes, or (2) with aluaTwv as 'the child 
of murder in the olden time' i. e. the Revenge. (2) is supported by the 
Schol. and the figure is certainly Aeschylean : we should then put a 
stop at -naXanipuv and read t'ivu for Ttivti in 650. But Tivd would 
then be abrupt : and the natural meaning of TtKvov, Orestes the son, 
makes a more forcible sense ; there is then no stop, and "Epivvs is the 
nominative to (nfta<pfpet : and we have to read riveiv for Teivfi with 
Lachmann (Weckl., and W.-M.), with meaning as given above. One 
argument for this view should not be missed : no sooner has the chorus 
ended with the words 'the Fury brings back into the house i/ie Son a.t 
last to pay for the guilt of murder done of old ' — than in come Orestes 
and Pylades. 

Scene 3, 652-783. 

£fUer Orestes and Pylades dressed as Phokian travellers, from the 
country side entrance. They knock at the front palace door. 

1. 653. irai Trat, the regular call to a slave when anyone knocked at a 
door: it is common in Aristophanes; e. g. Frogs 464, Clouds 131. 

1. 655. ' This third time I call for some one to come out ;' the abstract 
being rather artificial but not unlike Aeschylus. 
48 



NOTES. 

1. 656. The MSS. reading is AiYto-Oov 8iai, ' if it is a hospitable house 
in the hands of Aegisthos,' i. e. under his rule. 

This is generally objected to, on the ground that Sia would do here, 
and Stat therefore not be used ; and most editors introduce the phrase 
Aly. pia, Epic formula for ' the mighty Aegisthos.' 

Thus (i) Elms., Blomf., read (imp (piKo^tvos tis AlyiaOov Pla ; (2) Pal., 
Dav., Klaus, (following Kobortelli) read etntp (l>i\6^(v' iarlv AiyiaOov 
&i(f, ' If it is a hospitable house that Aegisthos has ;' (3) H. reads Piav, 
accusative governed by «aXw. 

But all these (especially the latter) seem harsh ; the MSS. give a 
fairly natural sense, and dial (retained by D., Peile, Con.) seems right, 
rather than 5ia, which is not found at the end of a line. 

1. 657. elev, aKovw, generally admitted in spite of the false metre; it 
occurs also Ar. Peace 663, where eUv y' used to be read, but the best 
MSS. give ettf anovai. 

The licence is explained and justified as a common colloquial phrase, 
with perhaps a pause between the words ; but very possibly it ought, 
both here and in Arist. Peace 663, to be tJiv y, after all. 

1. 661. tjAiropovs, 'wayfarers;' the meaning 'merchants' is secondarj', 
and is derived from this. ^ 

1. 662. The strangers modestly hint that they are going to ' a house 
of welcome for strangers,' where Aeschylus is thinking of the later nav- 
SoHUov or ' inn,' such as in his time were becoming verj' numerous in 
Athens. The queen however, of course, jiirepares to receive them in 
the palace. 

1. 663. T€X€<r4)6pos, ' one with authority,' tc'Aoj being the ' final ' 
power, the complete control, of the master. So Ag. 972 drSpos- rtXtiov, 
'the rightful lord.' 

1. 664. ' But it were more fitting a man [should come] ;' (wc must 
read 5' not t' ; the latter has come from t' arrapxoi, false reading from 
Tairapxos, a mistake in M.). 

1. 665. There is no need here of any emendation [such as Kiax,aiaiv 
H., ova' for ovK, Well.], the sense being : 'for then (when it is »icn who 
are talking) there is no modesty to make the speech dim;' inapytf^os 
(from iiri . . . upy . . . ' white'), properly of a w/^Z/t- film spread oz'tr the 
eye, probably cataract ; cf. Ag. 1113 (napytfioiai dtaipdrois. 

XtxOetffi, Epic licence of omission of the article with participles 
and adjectives. .See above, line 360. 

1. 666. Some insert 5' after Qapa-qaas [and no doubt A would easily 
run into A of o.vijp'] ; but St would be late in the sentence, and this clause 
is better unconnected, as it is merely an explanation of the line before. 
[For the same reason Weil's ingenious \6y(}v^ riOiia', tv' tint must be 
rejecteil.] 

u 4y 



CHOEPHOROT. 

1.666. eiire . . . Ka,cnf||x-ijv«, gnomic aorists, common in Aesch., e. g. 
eOpcipti' 5( XiovTos Iviv Ag. 717, ^v\Xdy 'iKir' es So/jiovs ib. 966, firaiaev 
di{>avTov 'ipfia ib. 1006, etc. 

L 668. The moment Klytaemnestra appears we have the terrible dra- 
matic irony of the Agamemnon again. The simplest words of ordinary 
Greek welcome make us (the audience) shudder. ' There are here such 
things (she says) as hcjif this house,' and one thinks of what a house it 
was — a human slaughter-house with 'rust of murder on the walls' . . . 
' hot baths,'' and one thinks of Agamemnon's bath . . . 'and the presence 
of honest eyes,' by which she simply means 'sincere welcome;' but we 
think of the bloodstained adulteress with her d'lKaia ofifiara ! . . . even 
the natural words dvSpuiv oh icoivwaofiiv touch the thought again of 
her adultery. 

1. 670. The hot bath is the first thing offered in Homeric welcome, 
e. g. Od. 4. 48 Telemachus arriving at Sparta after the greetings ' went 
into a polished bath and washed.' 

1. 672. povXiuTcpov, 'more needing counsel.' 

1. 674. Aav\ia (or Aav\is), ancient town in Phokis on the road from 
Orchomenos to Delphi. 

1. 675. avPT64)OpTov oiK€ia craYTl (a brilliant and certain emendation), 
must mean ' self-laden with my own wallet ;' Pylades is a companion, 
and there are no servants, see 713. 

The ace. is provisional (see below 749), and should be governed by 
verb ' addressed ;' when we get to the verb we find the sentence slightly 
modified, irpos ayvthT tjuf. 

1. 676. If direfvyriv iroSa is right, the sentence means literally, 
' As my feet have now been set free [from the journey] by coming 
hither,' i.e. 'even as I have arrived and rested from my way.' And 
so the Schol. explains it : tovs wiSSas ttjs 6dov TTJt uSonropias dni- 
Xvffa (nl rS> ^iviaBrfvai -nap' vfuv, calling it a metaphor from horses. 
But Taley's 6Sov is tempting, which may have been displaced by 
TTC/Sai 

[L. S., and others, take dTrt^vyrji', ' I started;' but it is difficult then 
to see what wairfp means.] 

1. 678, ' Asking and telling ;' the wayfarers naturally asked each 
other where they were each bound. 

1. 679. irevOofxai, for ordinary Trvv6di'ofj.ai ; similar pairs are \tiiru 
Ki^itdvw, (ptvyaj (pvyydvu, XTjOofxai KavOdvofiai. 

1. 6S0. dXXojs, ' otherwise,' i.e. ' anyhow,' without my message ; so that 
you won't be going out of your way. 
Kitis, Epic word. 

1. 683. €it' oiv, the first ovv is the ordinary connecting inferential 
word ' whether then.' The second ovv (684) is a common usage in the 
50 



NOTES. 

second half of alternatives: Ag. 359 ^jjt* fieyav . . . ixt]t' ow; so Soph. 
Phil. 345 eiTf . . . fir' ovv, O. T. 90 ovrt . . . ovt' ovu. 

KOfxifsiv, 'to fetch [the ashes] home;' which proves that the notion 
of some comm. that Orestes brings the um on the stage (as in Soph. 
Elektra} is wrong. 

viKT|o-€i, 'shall prevail,' a word often used in deliberations. 
1. 684. 'An alien and stranger utterly for ever.' €S to irdv em- 
phasises the sadness of Orestes' supposed lot if buried away from home. 

I. 688. Notice the fine dramatic irony again. Orestes as the traveller 
is not of course supposed ignorant of the death of Agamemnon, which 
all the world knew ; his masculines Kvpioiai, irpoaiiKovai, nKwra are 
merely the generalising masculine : but his natural assumption of the tie 
of kindred and affection between Klytaemnestra and her son, when we 
know the real hatred, is very effective ; and the light formal words 
make it more so. 

'Whether I chance to be speaking to the rulers, and his kindred I 
know not ; but it is right a mother should know it.' 

II. 691-699. There is no person marked in the MSS., and the question 
is raised whether it should be given to Klytaemnestra or to Elektra. I 
have followed H., Dind., Pal., Con., in-giving it to the former; Schiitz, 
Both., Blomf., Scholf., Klaus., Well., Peile, assign it to the latter, 
following Tumebe. 

But 1,1) the tidings are addressed to Klytaemnestra, and it would be in 
the lait degree unnatural for her to be silent on the death of her son. 
(2) Though the grief is hollow in Klytaemnestra' s mouth, there is a 
dramatic fitness and effectiveness in her assuming the mask, and in the 
cynical appeal to the ' family curse ;' while in Elektra 's mouth the grief 
would be no less fictitious (since she knew her brother was not dead) 
and would be far less dramatically appropriate. (3) Elektra had been 
told by her brother to go in and look after her part of the plot within 
(.S54-57S) ; and il would be quite out of place for her now to come out. 
If she had been intended to add plausibility to the plot by simulating 
grief, she would have been instructed to do so. 

1. 691. MSS. \v rtaa w%, for which read with Bamberger and most 
modem editors tluas is, as nearest to the corrupt words of the 
copies : — 

'Thy tidings tell how utterly we are undone.' 

[Bamberger's earlier (^(pavw? and Turnebe's fvOdS' us, are both how- 
ever possible.] 

1.692. The 'curse of our house so hard to wrestle down,' is the 
'Epivvs which brings bloodshed after bloodshed upon it, and death 
after death. 

1.693. tiTWTr^s, 'cspiest.' Kai is 'even.' 

D 2 II 



CHOEPHOROI. 

1. 695 is best taken as a separate clause, expressing the same idea in 
other words. 

1. 696. J\ISS. read tvPovKus exo^y, 'for he was in prudent case,' i.e. 
' wisely away from danger,' as she goes on to explain, 'drawing his foot 
out of the mire of calamity.' Most editors give fv^oKus, Porson's cor- 
rection, 'lucky' (lit. having made a lucky throw), on the ground that it 
was not Orestes' wisdom but Klytaemnestra's which removed him. 

But Klytaemnestra's point here, as in Ag. 877, is not Orestes' good 
luck, but the wisdom of his removal for his own safety; and just as it is 
Orestes who is naturally said ' to draw his foot out of misery,' so it is 
he who is said to be ' wise, prudent.' 

I therefore (with Con., Klaus.) retain the MSS. : which the Schol. 
also supports, quoting the word evPovKws. 

I. 697. There was a proverb efco TTtjXov iroSa, according to the Schol., 
which explains the use of what would else be rather a homely and 
grotesque expression. 

II. 698-699. A very obscure and corrupt passage. The alternatives 
are these : (i) if we retain e7'ypd({>€i, we must, I think, take 'Opearrjs as 
nom. The vvv Se will then take up «at vvv, and the structure of the 
sentence be natural. [Others (as Con., Jl/ors.) take iXms nom., ' the 
hope that mighjt have cured the revelry (the cause) records it as present 
still ;' very harsh sense.] The difficulty is with Trapovaav ; the only 
translation that can be given with the existing words is this : ' And now 
Orestes — for he was safe — but now he tells us that the hope we had to 
cure this evil revelry [the curse upon the house ; «aXjj? ironical] is here,'' 
i. e. ' is come back to us (in these tidings) disappointed.' 

This is, however, an almost incredibly obscure expression ; and of the 
.Tttenipts to mend it — not very successful — the best are perhaps irpo- 
bovaav (Pauw), 'that the hope has failed us;' irtaovaav (Enger) same 
sense ; wop' oiihiv (y/pa<pfi, ' records it as worthless,' Blomf. 

But (2) this is a place where the Scholiast clearly points to an older 
reading than the existing MSS. The Schol. say to^oj/ auT^c d<paviff6(i(jav 
dpq' ojj TTpos TO i\nh 5' dntScoKtv. i. e. 'assume it to be destroyed by the 
curse;' [the poet] gives this as the answer to (\wis. From this it is 
clear the Schol. read /he imperative €77pa</)£ or (yypd^pov, and some 
word like ntcrovcrav ; and the whole sense will then be : ' And now 
Orestes — for he was in safety — but now the hope that we had to cure 
this evil revelry — record it as lost ;' a broken utterance, but clear and 
good sense, and dramatically appropriate to Klytaemnestra's (hypo- 
critical) sorrow. [Kirchoff understands the Schol. rd^ov as above ; but 
he alters the lines more than is needful.] 

There remains the difficulty of PaKx«icis KaAijs. The order of the 
words indicates that the gen. depends not on tKiris (as Peile, Klaus.), 



NOTES!. 

bill on larpoi (as most editors), and hence that KaKfji is ironical. [Paley 
takes it of Klytaemnestra's revelry, and sxipposes her to be quoting 
Elcktra's frequent reproaches ; farfetched, and opposed to Klytaem- 
nestra's tone, which is dramatic sorrow.] Con. is probably right in 
taking it of the air] of the house. Bamberger's /3a«x<iay C^^J??, ' raging 
storm,' is ingenious, and possible ; but it is best to keep KaX-fjs. I take 
Ahrens' trpoBovcrav «yYP'*^4'*- 

1. 700. wS' €vp8ai(i0(n, ' in such happy fortune ;" he means ' wealthy :' 
but there is irony in it, as he is come to slay. 

1. 701. i. e. 'for good news' sake ;' a natural courteous wish: but with 
terrible irony in it to the audience who know what is coming. The 
irony is kept up all through his speech. 

1. 704. irpos, with gen., lit. 'in front of,' so 'connected with,' 'be- 
longing to.' irpos 8v(r<re|3€tas, ' a part of impiety,' i. e. ' an impious 
thing.' So Trpoy SiKijs, ■npo<s a(jj<ppovus iari, etc. 

1. 705. Kopavwaai, 'to finish,' Cf. Kapavovrai Xoyoj 52S. 

1. 707. ' Xone the less (for that) shalt thou find welcome worthy of 
thee.' I follow Pauw, Pal., and others in reading d|iwv, which was 
plainly read by Schol. The commonest use of Kvpuv is with the gen,, 
and since fitiov is an adverb (as the -sense requires), if we read df/wj, 
Kvpeiv would be absolute in structure; d^icos Kvprjaas would then mean 
' thou shalt be or happen in a worthy state ' (like Ka\ais Kvpei TroAe^oj 
Theb. 23) : and that is hardly sense here. 

1. 709. 'Ifyou had not come,' that is; as Schol. explains. 

1. 710. Ti(i«p«tJOVTas p.aKpds KcXttiOov, 'who have been travelling all 
daylong.' K(\tv6ov belongs to the genitives of the sphere of motion, 
like KOv'uaQai irtSioio, vnayfaOat t^s o5oC. 

1. 711. Here she turns to give orders to her attendant. 

1. 713. The MSS. read omcrScijrous St roicshi koX ^vvf/j-iropovi, which, as 
it stands, can only imply that Orestes is .accompanied by others (or at 
least one other) l>esides Pylades. This is so improbable, considering the 
distinct and detailed statement of Orestes (561-564), r)^w o-viv avSpi. tuS' 
. . . a(j.(t>a} 8t . . . and the word a\iTo<poprov 675 ;if there had been 
attendants they would have carried the bagg.ige), that we must certainly 
read with Pauw, the sing., oTtiado-now hi Tovht Kal ^vvifinopov. 

[There is further difficulty created by an obscure note of llcsychius 
(Alexandrine grammarian and lexicographer, fourth century A.D.), who 
explains dniaOu-rrovi as vvoarpfipas, "returning;' whence some comm. 
(.\bresch, Schiitz, Well., Peile, Monk) tr.anslate the lines :— 

' Take him (Orestes) to the men's chambers of entertainment, 
And returning (Jake) these companions too ' {or singular, ' this 
companion'). 
But such a translation is quite impossible. vitiaOu-novs occurs in tragedy 

53 



CHOEPHOROI. 

only twice, in Eur, Hipp., viz. onurBovovs KwfJUK, ' attendant troop,' 54, 
and WIT. o/xi77i//3tj, 'attendant company,' 11 79. Moreover, the meaning 
' behind ' is the only classical meaning of viriaOf, -when use^l of place : as 
oTTi 5' vitiOtv, uvicGi piaxrp, ■navr oniijOfv karavai, etc. Further, sach a 
use of an adj. for a participle would be very violent. Probably the facts 
are these : the old true reading was — 

uTriir06v(wv Se rovZt ital (tn'tfiiropov. 
In this the first word got corrupted to oinaOoTrovi : this led one set of 
scholars to translate, ' and returning, [fetch] also this companion ' 
(whence the note of liesych.', and another set to read rovfif and 
(winvCpovs whence the MSS.).] 

We must also follow Stan, and read re for 3«. 

1, 715. ' I bid you do it as one who will give account.' Merely an 
imperious hint to the ser\-ant not to neglect anything. 

1. 717. Kou cr7rav{i;ovT« 4)iXwv: though Klytaemnestra in her hollow 
lament had said that the Family Curse, by the death of Orestes, ' made 
her bare of friends,' she here, regardless of inconsistency, throws out this 
significant hint of her power with the cold contemptuous confidence of 
the tyrant The mask of sorrow is characteristically half drawn aside. 
At the same time her boast heightens the irony : the audience know she 
is speaking to the son who will slay her, and that she has no friend but 
the craven adulterer, who will die with her. 

The qt<een goes out. The attendant leads off Orestes and Pylades into 
the palace, following her. 

• \\. 719-729. This short choric song is simg by the leader of the 
Chorus, while Klytaemnestra is supposed to be giving her orders within 
to fetch Aegisthos. 

' When shall we sing our triumph song '' Oh Earth, and the Tomb, 
help us : and Guile, and Hermes ! ' 

1. 720. o-TojtaTojv itrxvv, 'the might of our voices' in triumph over 
Orestes. 

1. 722. iJCTT[, 'edge,' prol^ably the original meaning, though in 
Homer always the ' coast ' or ' edge ' of the land. But the common de- 
rivation from dy-vvfu, ' to break ' (us the place where the waves break;, 
is very unlikely ; for there is no ^ ; and it is used of rivers as well as of 
the sea ; and also of a mountain .Soph. Ant. 1 1 37,, and an altar O. T. 1 83. 
Most likely it is from stem AK-, 'shaqi,' like uKpos, acies, etc. (Curt.). 

1. 726. MS.S. give v(t6w ZoXla. If this is right, the construction is 
attracted from impersonal to personal, like ovhkv vpoarjKi'jvra \g. 1079, 
vpivuv i<pxn Soph. O.T. 9. But the natural construction of (ljcfxa((i dhe 
time is ripe') is impers., with ace. inf., and I have taken BoXiav. 

54 



yOTES. 

'Crafty Persuasion' is invoked, in order that Orestes' disguise and 
story may be accepted till there is no escape. 

1. 7J7. {vryitaTap-qvoi, 'to come do\vn with us into the fray,' like 
KaOriKtiv 455. 

1. 72S. Kal Tov vvx^ov i> probably spurious. If genuine, it must mean 
'and Ilcrmes of the night;' and though the article is grammatically 
right, the addition is ineffective and clumsy. There is no known 
'Hermes vvxio^,^ and the word would be only a repetition oi \Ouvio':, a 
metaphorical substitute for it. 

[It is possible li. may be right in reading vvxiov 0' 'Epfiijv in line 
727, and supposing that x^ui-ioi' was written as a gloss, and then the 
lines patched up.] 

t<J)oS€u€iv is properly ' to visit o/- inspect ' the guards or sentries ; 
hence here to 'overseo,' 'direct.' 

Enter the Nurse of Orestes, zoeepiitg: 

1. 730. T«vx€iv KaKov, 'to be working mischief.' .So Aeschylus has 
(f)6^ov Tfvx*"', ififpoi' r , icaKov r. 
\. 731. KeKXav^cvT)v, 457. 

1. 732. iroi . . . iraTeis, pregnant construction. ' Whither bound, dost 
thou pass the gates ?' 

KiXio-tra, slaves were often called by the names of their countries; 
so Qpaaaa Plato Theaet. 174 A. 

1. 733. 'Grief is an unhired comrade;' there is a certain pithiness 
and homeliness in these words of pity which Aeschylus often puts in the 
speech of the non-heroic personages. So the *i)Aa£ in the beginning of 
the Agamemnon is full of quaint forcible expressions. See Introd. p. xvii. 
1. 734. Tois S«vois, obviously right correction of Pauw. (^The ace. of 
the MSS. is due very likely to the proximity of Ka\iii', the copyist not 
observing, as often, the real sense.) 

!• 735- oiTOJS xdxKrr', adv. 'with all speed.' 
1. 738. MSS. read :— 

iTpiji fuv o'lKtrai 
6iro attvOpojnuv ^irKvOpoj-nu/i', Vict., Bl., Schiitz, and most 
editors] 

ivToi ufifxaTcuv ytXan' 
Kfv9ova' in' tpyoti Siairfjtpayfitvon KaXuit 
Kfii'T), Sunois 5i ToiaSt k. t. \. . . . 
which we must construe, if we accept it : — 

'Towards her slaves she assumed a hidden laughter within her 
gloomy eyes (or 'gloomy laughter,' with MSS.), at what had befallen 
happily for h'.r, though for the house,' etc., meaning, 'she looked 
gloomy, though really rejoiced.' 



CHOEPHOROI. 

To this there are the following objections : — 

(i) OiTo has no augment. (This might be defended as an Epic 
licence used in speeches repeating events in tragedy ; or we might read ' 
iQiTo with Schiitz, Bl., Pal., elc.) 

(2) ir/)os ^\v oifceras is unconnected with the preceding. 

(3) KeiOova' comes in awkwardly. 

(4) 0(To ought to be applied to the expression adopted, i. e. the 
sorrow, and not to the expression concealed, the laughter. 

All these objections are met by Erfurdt's bold but happy suggestion, 
BfToaKvOpuTToy . . . yeKaiv, ' hiding a smile under pretence oj gloom ' (or 
better OtroaKvOpuvuv) : but the word is unknown : and Giro is perhaps 
corrupted from some adj. or adv. (W.-M. gives ovtu). 

1. 740. No need to alter the MSS. t'xei-v into tx*' ; indeed the con- 
struction is truer with the inf., which is epexegetic. 

Literally, 'for the house to be amiss:' i.e. for the house most un- 
happily. 

1. 741. Better accent v<|)' to make it govern (pwv^ only ; t|S is then 
attracted. Otherwise, though the sense is the same, the construction is 
clumsy and confused. So Schol. 

1. 744. Notice the effective accumulation of adjectives, so peculiar to 
the poet : — 

' The ancient mingled woes intolerable in this house of Atreus 
befalling.' 

She refers to the deaths of Iphigeneia and Agamemnon, and the 
banquet of Thyestes, and the other past horrors. See Introduction, 
pp. x-xi. 

o-vYK€Kpap.€va is taken by many to mean, ' mixed up with my lot, 
governing jxoi; and so the word is used Soph. Ant. 1311, Ar. Plul. 
853, etc. But both its position and the sense make the meaning 
'mixed together,' 'mingled,' as given above, more suitable. The 
horrible confusion, of various guilts was the worst of the evil. 

1. 748. tXtjjjlovojs, ' patiently ;' TKf)vai being ' to bear.' 

1. 749. (j)i\ov S' 'Op€crTt)v, the sentence is never finished. The accu- 
sative is the natural case to use thus provisionally and in anacolutha 
is often found first. 

So e.g. O. T. 449 Tov dvSpa tovtov . . . oStos iarw iudaSe. 
O.C.I I 20 rtKva (pavivTa . . . firjicvvai Kuyov. 
Plat. Phaedr. 233 B . . . fiiTvxovvTas S« . . . nap' (Kfivaii' 
(iraivov dvaynd^d rvyx^^^^^- 
Tpip-ri, the 'care' or 'darling' of my soul; literally, that whereon 
it spends time and labour : a graphic and beautiful word. 

1. 751. The construction is broken again and again j if the text is 
right it must mean: — 
56 



NOTES. 

•And of shrill outcries wakening by night — 
Many and troublous, ay and profitless 
To me who bare them — .' 
Thus it is possible to construe it as it stands, though the gen. is 
suspicious after iroWd, and is not really justified by expressions like 
a.i'o\0a ^ovXevnoLTajv which arc quoted for it. On the whole, though the 
incoherence of the speech is natural for a poor slave-woman broken 
down by sorrow, there is probably also corniption. 

1. 753. The thought is not clearly expressed and rapidly changes from 
point to point ; as is characteristic of the untutored mind : but the con- 
nection is, ' I bore much useless trouble with him ; for the senseless 
child must be reared like a beast by following its humour ;' i. e. the 
trouble is useless [because you can't tell what to prepare for], for the 
senseless child has to be nursed according to its humour, you have to 
tend it and follow its wishes : [you can't know them before] because it 
can't speak. 

Dr. Verrall ingeniously suggested totto) (f>p(v6s, ' by guessing its mind,' 
but the word is unknown. 

1. 756. The MSS. read -q Xtjios, ti . . ., etc., ' whether hunger, or . . .' 
This is not the Attic use, hence most editors change the first 7/ to «i. 
In itself, both here and 890, the double ^ might stand, as an alternative 
question, since it is the common Epic usage, e.g. Iliad, 2. 299 oippa 
bawfitv fi iTtbv KaXx°^ fiavTiViTai, f]i Koi ovici, and nothing is more 
frequent in Aesch. and the other Tragedians than such Homeric phrasing. 
Accordingly in the former edition I retained the MS. reading. But on 
tiie other hand, the MS. authority on a question between 77 and «» is very 
slight, and confusions are so common yC. g. 768, 1002) that I now prefer el. 

H. reads SiipTjais (a form found in Athenaeus), D. clumsily, rj 5i\p' 
ft Tis, for SiipT] Tii of the MSS., as the word is elsewhere Siifa always. 
But SitpT] T(s may be right ; Siifrj and 5i\pa may coexist as vuva and 
vdvi]. Tis will be used in the idiomatic way, like ^ Tiy 'AiruWuv Ag. 55, 
where we should say ' perchance.' On the whole, it is better to keep 
the MSS. form rather than another form only found in Athenaeus ; 
and translate 'hunger or thirst perchance or natural need.' 

1. 757. aviTApKr]s, ' is wilful,' ' will have its way.' Notice the extreme 
boldness with which these homely details in the rapid (scarcely gram- 
matical) speech of the poor nurse are introduced into the crisis of the 
tra<Tedy. Nobody but a great poet would have tried it ; and hardly 
anybody but Aeschylus have succeeded. The common human thoughts 
of the motherly vulgar nurse, between the ' basilisk ' Klylaemnestra and 
Orestes, the Gods' instrument of Vengeance, produce a touching effect. 

1. 75S. Again the natural incoherence, as above 751 :— 

'These things I divining, yet often I ween at fault. I was the cleanser 

57 



CHOEPHOROI. 

of the babe's swathing bands' [' and nurse at once,' she was going to say, 
but substitutes the less logical but more vernacular and epigrammatic], 
' fuller and nurse at once had the same office.' 

1. 762. M. gives a var. reading, imrpos ; but the rarer and harder iraxpi 
is no doubt right, 'for the father;' supported by Schol. It is an Epic 
constr., as Se^aro 01 axTJirTpov II. 2. 1S6, Qefj.iaTi 5e 5«'/cto SeVaj 15. 87. 

1. 763. Te9vT)K6Tos, Epic gen. of 7U'7C's about a person, as ws 'ivui x^o- 
fxh'oto II. 4. 357, fi 5e «6 TeOvrjuiTos aKOvaai Od. 2. 220, upurjOivroi 
cLKOvaa ib. 4. 728. So Agam. 1367 fiavrtvauntaOa rav^pos us 6\w\6tos, 
Soph. El. 317 rov iea(Tfyvr}Tov t'i (p-qs ; O. C. 355 to{}5' txp-qnOr] awfiaroi. 

1. 765. OtXuv, 'gladly.' 

1. 766. Trws €crTaX|i€'vov ; 'liow attended?' 'with what array?' 
{A/ors.) 

1. 767. r\ irus ; 'do you ask how ?' a variation (which there is no need 
to alter) from the ordinary colloquial oirus ; used in repeating a question 
with surprise. 

1. 770. o-njY*'-> abstr. for ' hateful master.' 

1. 771. avTTov, emphatic, 'himself,' i.e. 'by himself,' 'alone.' So Ar. 
Ach, 504 avTol yap kaixtv, ' for we are alone,' ' only ourselves.' 

1. 772. -yriOovcrTi (the Attic 77 must probably be restored for MSS. 
■yaO.) The only tense of this stem usually found in Attic is yeyrjOa. 

Both the order of the words, the fact that the nurse is plunged in 
tears, and the general sense, make it far more likely that yrjOovar) (ppei'i 
goes with dvcox6i, and applies to the nurse (rather than to Aegisthos) ; 
the Chorus are encouraging her : see note on 774. 

1. 773. MSS. read upvirrus opOovari <ppevi, by a slip of the scribe of M. 
whose eye caught the last line. The same thing happened Agam. 1 2 1 6 : 
it is a not unfrequent source of error. See 875. 

The true reading was restored by Porson from Eustathius (scholar of 
the twelfth century who annotated Homer from lost sources), who quotes 
(no doubt from memory) as a line of Etiripides Iv ayyiKcp yap Kpvnros 
opdovrai A070S. The Schol. on the same line of Iliad (15. 207) also 
quotes the line as Euripides'. 

The line is proverbial in character and means, ' F'or in the moutli of 
a messenger a dark tale is set straight,' i. e. the message might seem 
strange to Aegisthos, and the messenger's manner would reassure him. 
This seems the best int. of a rather difficult line. 

[The variant /fi/TrToy, appearing in one MS. of the Scholia, is tempting, 
as the mixture of metaphors is then avoided, and the proverb decidedly 
improved. But authority is strong against it on the whole.] 

1. 774. aW TJ, of surprised or excited inquiry, Phil. 414, El. 879, 
Ilipp. 932. So Ag. 276 d\A' ?i a eniavey rts drrrfpos <pa.Tii ; 

4>povcis (\) ; 'Art thou cheerful?' [as Schol. explains] ; a meaning 



NOTES. 

which appears in dcppuv, evcppovrj, (xxppalvai, (ixppoawri, but is very raie 
in (V i^povw. [fv (pp. Ag. 271 means ' loyal :' and Ion 518 ' be calm.'] 

[Others take the line to mean ' Art thou >!0^ mad to bid me do this ?' : 
but Tolai vxiv Tj-yy(\fiivoii can only refer to the news of Orestes' death, 
which the nurse had been just lamenting. 

The Nurse is here replying not only to yrjeovari (ppevi, but no doubt to 
the »iati>7cr of the Chorus, which shows a secret delight and hope. 

1. 775. dW €1 . . ., literally, ' well, but if . . .' i.e. ' why not, if . . .' 

I. 776. Kal 17(2)5, incredulous. See above, line 179. 
1- 77^' 'X*''^, i. e. 'do you know?* cf. .Soph. Ant. 9. 

8ixa. ' apart from,' i. e. ' besides,' and ' different from.' 

The Nurse goes off, ami the Chorus sing t/te second stasimon . 

II. 783-837. Seco.vd Stasimon. ' Grant prosperity, Zeus, to those 
who desire the right (7S3-788). Set Orestes before his foes ; he will 
repay thee (7S9-793). Curb the eager colt, set bounds to his course ; O 
may his speeding steps keep due measure ! (.794-799)- Ye gods of the 
house, hearken; pay the old bloodshed with fresh justice! (800-805). 
O Apollo, bring light on the house out of darkness ! (8c6-8i i) and may 
Hermes help! who brings the hidden things to light, and hides the 
dark plot (813-S1S). Then wuU we"sing a song of joy ; good to the 
city, and to me, and to my friends (819-826). When she cries " Son," 
do thou cry "Father," and do the deed of justice. Keep the heart of 
Perseus within, and serve the dead below and those on earth, slay the 
guilty !' (8 2 7-83 7>. 

11. 783-78S. In this corrupt strophe I take (with Pal., Dav., and 
others) Hermann's alterations, «5 rvx^iv and to aucppoy', which are slight, 
and make metre and sense. 

' Now to my prayers . . . Grant that events may befall with sure pros- 
perity to those who desire Right !' 

1. 785. Kvpius, lit. ' firmly,' 'so .as to be ratified or assured.' So Ag. 
OtuTa Kvpiaii «X*"'- 

1. 786. xd o-u)<j>pova, i.e. 'purity and order,' as opposed to the flagrant 
adultery and crime now prevalent at Argos : the MSS. awfpoavy is a 
"loss perhaps [aajippoavi'Tjv) to explain rd au<ppova. 

1. 787. The MSS. haSiKciaai looks like a corruption of 5ia Sinai (and 
so Pauw and most editors) ; but the Schol. /card biKav S (arl kut^ tH S«- 
leaiov looks like an earlier reading /cd5 biKav (Hermann), which may be 
right. It corresponds more exactly with tout' i'5oi of the antistrophe. 

1. 788. viv, ' him,' Orestes. 

1. 789. ' And set him that is within the halls [Orestes] before his 
foes,' i.e. bring him into their presence, the proper meaning of irpOTi- 

59 



CHOEPHOROI . 

11. 791-793. 'Since if thou exalt him [by victory] he will gladly 
repay twofold and threefold return.' Schiitz, Butl., Peile, and Klaus, 
are probably right in taking these words so, as 0«Xuv makes no real 
sense otherwise. Others (H., Pauw, Pal., Blom., Scholf.) construe with 
Schol. . . . ' thou shalt gladly receive,' etc., but OiXuv in this sense is un- 
suitable, because Zeus is made out as depending on Orestes' bounty, 
if he is a glad recipient. 

For the anacoluthon cf. Ag. 1008 : — 

TO ix\v trpo xP'/M^'''*"' 
. . . oKvoi PaKwi', 
, . . oiiK (5v 56fJ.os, 
The iraXCfiiroiva are sacrifices. Zeus is appealed to, as is common in 
rude and primitive states of religion, to help/or his oivn sake. 

1. 794. The general sense is plain, ' The orphaned colt is yoked in the 
car of sorrows ; restrain his course ;' a prayer to Zeus (in the noble and 
bold imagery so characteristic of Aeschylus) to help and guide Orestes 
in his woes. Most editors keep the MSS. 'iadi as the first word and the 
Schol. read it ; but besides the very awkward construction which irpocm- 
0«is would then have, as it would then contain the prayer, there is an ab- 
surdity in saying laQi to Zeus. I have taken the happy correction of 
Pauw (adopted by H. and Franz), icrx«. ' Curb the orphaned colt of 
the belo\ed king, yoked to the car of troubles, setting bounds in his 
course.' 

1. 797. The best sense with the least alteration is obtained by reading 
(with Bl., P.) i'Sot for Ibuv, 5ia ire'Sor for SaTreSoi/. 

' Oh that one could see (lit. ' who could see ') him keeping due mea- 
sure across this plain, in the eager speed of his swift steps.' It is best 
to take ' him ' [Orestes] as the subject of the middle ffwfo/tfi/oj', and av. 
p-rjfi. opeyiM as a kind of explanatory apposition : — so the verse runs 
best. Others take opeyfia, subject ; simpler grammar, but rather less 
natural structure and arrangement. 

The metaphor then of Orestes as a horse running a hard race, to be 
embed and guided aright by Zeus, is well kept up. 

(P. defends 5dir(5ov in Prom. 829, and thinks it possible here : but 
Homer uses SaweSov commonly, and Aeschylus would hardly write Sairt- 
Sov ; in Prom. ydneSov is probably right, and is now generally read.) 

1. 801. 'Ye who within the house dwell in the chamber that rejoices 
in wealth,' reading iviCfTt with H., P., Con. [Those who retain vofilCfTi, 
translate it 'haunt,' quoting «x^of vofii^av 101, Piov vofii^tre 1003, hardly 
parallel. Moreover antistrophe has int-fopwraTos.'] For constr. P. aptly 
(juotes Pers. 140 to'5' tvi^cufvoi arifos. 

I. 802. Read kXOt* (Epicaor.) for MSS. K\i(r(, with D. and others. 

II. 803-804. We must either suppose something lost in the strophe, 

60 



NOTES. 

or something spurious in the antistrophe. I adopt the latter view, see 
note on S 1 5 : and I follow Schiitz in omitting dytTt here 

1. 805. An effective metaphor ; ' May Murder grow too old and bear 
no more of its bloody offspring ! ' 

I. 806. ' The mighty fair-built cavern's mouth ' is Aeschylean for the 
i:)elphic oracular cave, and the god addressed is of course Apollo. 

KaXus KTipitvov [Bamberger's certain correction for KTatitvov] is 
clearly the common Epic iii ktIikvov [jrToKUOpov, vrjaov, aKcu-qv, k.t.K.']. 

I. 807. €v 86s dviStiv, ' grant that the house of the man [Orestes] may 
happily lift up its eyes;' explaining dvtSuv with Schol. as ava^\i\pai. 

[The same metaphor occurs Bacchae 1309CU hCj^i avi^\f<p', ' in whom 
the house lifted up its eyes,' i. e. who was the light of the house.] 

But avihiiv is air. \tf. and, with Ibtiv below, suspicious. 

11.809-811. The MSS. k\iv6(piwi Xa/x-npus are very unlikely struc- 
ture and metre, and very obscure sense. 

I take Dindorf's eKtvdfpias (pws . . . Kapnrpov, and the sense and metre 
become at once good : ' And that it may behold with welcoming eyes 
from behind its dark veil the bright light of freedom.' [viv is the house : 
and I take Hermann's «« before Si'oiptpdi.'\ 

The alterations are very slight, and the metaphor is sustained. A 
very similar metaphor of looking from behind a veil is developed into a 
full-blown simile in Ag. 1178 : — 

ital fj.r)v 6 xPl'^t'-^^ oiiKiT' €K Ka\vfi|xaTOi)v 
ttrrai ScSopKcos vto'/dp.ov vvfKprjs SIktjv 
which also illustrates sk. 

1.813. €-iri<|)opa)TaTOs, ' most -favouring,' metaphor of a wind, lit. 
'tending or blowing towards.' Thuc. 3. 74 has dvffxos im<popos is 
avT-qv, Lucian Herm. 28. 769 has fniipopov Kal ovptov rrv(vfia. The 
metaphor is continued in the next line. ' The son of Maia ' is Hermes. 

1.814. 'Granting a prosperous accomplishment;' OtKcov used rather 
in a strained construction, but not impossible. [Perhaps 0f\<uv is a gloss 
on xp^iajv next line, and has ousted the true word (nopuv or 5i5ovs or 
itvfwv) from its place.] 

II. 815-8. M. reads no\Kci 5' a\\a (pavu xpr^i^ojv Kpvirrd, — and (816) 
\i-^(uv. This can only mean : ' Many other secrets he will reveal if he 
wills: but speaking a dark word, by night he bears darkness before 
men's eyes, and by day is no clearer.' The objections to this are (i) it 
cannot be fitted to the strophe without assuming a lacuna at 804 : (2) the 
wording of 815, and Kpvmd unelided, suggest a prosaic gloss : (3) the 
sense is improved by omitting 815, for Hermes is invoked as god of 
Guile, to prosper ihcplot, and hence the whole idea of his bringing to 
light is unsuitable. [Hermann's rd 5' d\a dpitpavu (see crit. not.) re- 
moves (2), not (i) or (3).] On these grounds I follow Heimsoeth and 
Wecklein in rejecting 815. 

61 



CHOEPHOROI. 

I. 8i6. 'And I utter a dark word; as by night he bears darkness 
before his face, so by day he is no clearer.' Notice t« answered by 5f . 

II. 819-S37. From here to the end of the Chorus the text is so far 
corrupt, that, while it is quite possible to make out the general sense, 
and even to feel confident that much of the wording is right, it is not 
possible to make the metres correspond, i. e. to restore the exact wording 
of the stanzas, without rewriting the passage. This has been done by 
several editors, from Hermann to Wecklein and W.-M., all of course 
differing largely from each other and the MSS , but (from the nature of 
the case) none sufficiently convincing to be adopted in the text. Indeed, 
if the paradox may be hazarded, supposing we had Aeschylus' own 
words presented to us, they would certainly differ so much from the 
existing MSS., that, unless we could trace the causes of the corruption, 
we should rightly refuse to admit them into the text. 

Under these circumstances I have printed the text as it stands in the 
MSS., only introducing one or two verbal alterations, such as are highly 
probable, but not attempting to restore correspondence in the metre. In 
the notes on each stanza I have given the sense as nearly as may be, 
and some discussion on the readings. Everything else I have relegated 
to Appendix II. 

It should be added that the Scholia here are of less value than some- 
times happens, as they have before them a text already corrupted into 
something like ours, which they never despair of explaining. 

11. 819-826. ttXoOtov is clearly corrupt. The Chorus are promising 
their aid, and rejoicing over the coming deliverance. 

Probably irXovrov is a coiTuption either (i) of an adjective (like k\vt6v, 
Bamberger), and then it is all one sentence down to f^ierjao/Mfv, or (2) of 
a substantive (like xopov, P.), and then we must read ana Se for onov 822 
(H.). I have taken (i\ Again yoardv, H., is a tolerably certain emen- 
dation of yorjToou, which means ' wizards.' 

Then the stanza will mean something likjs this : — 
'And then a [mighty strain] 
Of deliverance to the house, 
A favouring strain of women's voices, 
Together a ringing measure of lamentation 
We will utter : to the city, 'tis well : 
'Tis gain to me that comes, 
And calamity is far from my friends.' 
If we read it as one sentence, the song is at once a triumph [over 
Orestes' victory] and a lament [over the dead] : but Blomfield's ovSe 
KpiKTov, gi\-ing good sense and more likely metre, is perhaps right. 
1. 821. erjXvepow (Weckl.) xopoCTTarai' (Hart.) deserve consideration. 
1. 822. KpcKTov {KpiKw, ' to Strike the string') 'with sound of lyres.' 
62 



NOTES. 

11. §2 7-830. This stanza has suffered from repetitions besides other 
corruptions. The MS. reads : 

ail Se Oapauiv urav i,HTi 

fifpos fpyaii' 

knaiiaa^ narpos tpyp 

Opoovaa 

vpo's a( TiKVov varpos avhav 

Koi TTfpOlVcDl' iTTlflOH^pOU dVai'. 

(i) We see at once that tpyajv and 'ipya>, narpds and irarpoi, are 
impossible repetitions, and (pya> makes no sense. 

(2) The stanza is clearly a powerful appeal, urging the avenger to 
strike the guilty, and to set his claim of ' Father ' against her claim of 
'Child.' But the last line, where the decisive verb would come, has 
only a participle. 

(3) iniixopupov can only mean ' blameable,' which the vengeance was 
certainly no(, or ' wretched,' which would be a feeble epithet for drau. 

(4) The whole stanza is very much like 789-793 in metre : and the 
removal of the repetitions brings it much nearer still. 

All these points are met by the restoration given in the text (due to 
Auratus, Seidler, and Schlitz), and we^et an exceedingly fine and clear 
sense as follows : 

' And thou without fear, when the hour for deeds is come, 
When she calls ' my child ' 
Cry aloud the name of ' father ' 
And accomplish a blameless slaughter 1 ' 
In the last line dv(wiixoi.i(pov follows the Epic quantity of all such com- 
pounds dOnvaros, dOeiuiTos, awriXrtfios, avapapLvQos. 

11. 831-837. Again the difficulty is that there is no verb. We must 
either with Davies read TiBd for ridtis 836, or with Herm. suppose a 
line lost after S37 containing imperative. Very likely both are true. 

Reading xapiras for \apiTos, Kvypas for Kvnpa%, in 835 fiopov for fxopov 
837, and dvaax^&ujv for axfOuJV in 832 (suggested by Grotefend), we 
get:— 

' And uplifting the spirit of Perseus in thy heart, 
For thy friends below and those on earth 
Working the satisfaction of grievous Wrath 
Make bloody ruin within, 

And destroying him who is guilty of the death . . .' 
1. 831. Perseus, who slew the snake-haired Gorgon Medusa, is a 
fit parallel for the deliverer Orestes, who is to slay the evil thing, 
Aegisthos. 

1. 834. avtoOev, ' on earth,' above ground; Elektra. 
irpoTTpdo-crajv is unique, and doubtless corrupt. 

63 



CHOEPHOROI . 

1. 836. As the metre is here made of cretics and iambuses, arav is 
wrong. Perhaps Paley is right in d-yav, ' horror,' though the word is 
used o{ feeling, not of that which creates it, usually. 

I. S3 7. The metre, perhaps, as we have said, shows that a line is lost 
at the end; but the corruption probably goes a good deal deeper. 

Enter Aegisthos, returning home. 

II. S39-854. vScENE 4, Part 1. Aegisthos comes in, alarmed by the 
news of Orestes' death, and professing to doubt it. The Chorus refer 
him to the stranger. He goes in, boasting that he is not likely to be 
deluded. 

1. 841. jAopov S' 'OpIcTTOv. We should have expected no particle, but 
a mere ace. apposition to <^aTiv. But the hk is probably loosely used 
after ovSafiws . . ., ' a tale nowise pleasing, Iwt the death of Orestes. 
6«' for dWd is occasionally found after neg., e. g. Theb. 426, and is 
common in Epic. 

d(ji(j>€peiv, 'to put this upon ' the house. [It might also be taken as 
L. S., ' to bear,' 86/j.ots after ytvoiro ; but rhythm is against this. Of the 
other sense of dvafepoj, 'to impute,' there is no trace here.] 

1. 842. No need to alter the bold word S€ip,aToo-TaY«s, ' fear-dripping,' 
into the common alfiaToarayis. H. quotes, aptly, Ag. 1 79 crTafti tt/jo 
KapSias ttoVos. 

1. 843. The MSS. reading (\KaivovTi Kot Sfdrjfixivw can only be con- 
strued 'with the former festering and wounded bloodshed,' which cannot 
be called sense ; for how can the 7ie7u burden be terrible with foriner 
murder? the alteration (due to Bamberger) makes all clear; the parti- 
ciples agree with hoixois ; ' to put this on the house would be a burden of 
dread, festering and wounded as it is with the former slaughter.' The 
coypist has naturally altered the plurals to agree with tw. 

1. S44. pXc-irovTa, 'living' tales, opposed to OvrjaKovris \6yot, a bold 
and characteristic image. 

1. 845. ' Or are they words of fear from women's lips, fluttering in 
mid-air, and perishing away?' 

S€ip.aTotip,evoi, ' terrified,' poetically transferred from the affrighted 
persons to the tales. So pTjuara . . . 5ucrx</'«'"*'''''"> O. C. 1281. 

I. 846. ireSdptnoi (see 590) and [idTTiv describe their emptiness and 
vanity. 

II. 849-S50. The simplest structure is : ' the strength of messengers is 
nothing, compared with a man ///wi-t'^ inquiring of the men themselves^ 
So Paley, who quotes somewhat similar proverbial phrases with oXov, 
e. g. Plat. Gorg. 5 o\jZ\v oTov avrov kpondv, ' nothing like asking the man 
himself.' It is the comparative use of ws employed loosely. 

64 



NOTES. 

[The only other way of taking it is ws consecutive; 'So that a man 
(should) himself inquire ;' but this would rather reqiiire Suv.] 

Observe that both avrdv and avTujv are the emphatic use of the pro- 
noun =Lat. ipse. 

I. 854. Aegisthos departs to his death with a boast that ' the mes- 
senger shall not cheat his clear-eyed mind ;' a most effective piece of 
dramatic irony. 

Aegistlios passes into the palace by the central door. 

II. 855-869. Third Stasimon. The Chorus sing a short song of 
suspense while Aegisthos and Orestes are meeting within. 

' Zeus, what shall I say ? Now is the struggle, for utter ruin to the 
house or freedom and happiness. May it end in victory !' 

1. 856. tTTiOca^ovo-', ' calling on the gods ;' a certain correction of 
. . . Qoa^ova' . 

1. 858. iVov, lit., ' equal,' so 'fair, 'right,' ' fit.' 

dvvcro)p,ai, ' succeed,' not merely in ' speaking what is right,' which 
would be a strained construction, but generally, 'in my wishes.' The 
full meaning is ' how can I pray rightlj^and have my prayer? ' 

1. 859. ' The blood-stained points of the murderous blades ;' reading 
TTsipai, 'points,' with MSS. and Schol. who explains it as being from 
■nf'tpoj, 'to pierce,' which there is no reason to doubt. ' Blood-stained 
attempts ' {neipai), would be a very violent expression. 

1. 86 2. Notice iravros before ^ : the rule of synaphea does not apply 
to the paroemiac or final line of the stanza. So Persae, 15. 

1. 864. apxas -rroXio-o-ovoiAOVs, ' the rule of the city.' If the MSS. are 
right, T€ is used by anacoluthon, being not wanted in the grammar of the 
sentence. So exactly Ag. 99 tovtcui/ Ke^aa' . . . ttcuujv t< yevov, where, 
however, the sentence is longer and the irregularity therefore easier. 
But Weil's -rraTspwv 0' 'i^n is a simple and happy suggestion, and I have 
adopted it. 

1. 866. «<|)€8pos is projjerly the ' odd man ' who ' sits by ' to watch a 
duel, intending to fight the winner. Accordingly its use here is sug- 
gestive, if we take it with reference to Agamemnon ; the king being 
slain by Aegisthos and Klytaemneslra, Orestes is going to engage the 
winners (so Linwood, Pal.). Others (Scholf., Con., L. S.) take it as a 
kind of oxymoron witli fiuvos : ' lone champion of his cause ' we might 
say : lie is fMuvosa.i\d so lias no f(pi5po9. Cf. Phil. 691 avros ijv irpocrovpo?, 
' himself his own neighbour,' i. e. alone. 

Of these the first is preferable, because 'f(p(5pos is more exactly used, 
and the antithesis is between piovoi and Staaois. 

1. 868. tm viKxi, 'for victory,' a vaguer and more modest expression; 

K 65 



CHOEPHOROI. 

the prayer being that matters may turn towards victory rather than that 
victory might be achieved. 

Aegisthos is heard to cry 'vithin. 

11. 870-934. Scene 4, Part 2. The Chorus stand still ; the slave 
comes out and cries, ' Aegisthos is dead !* and calls for the women's apart- 
ment to be opened, and asks for Klytaemnestra. She appears, and is 
followed by Orestes. After a vain appeal for mercy, she is driven in to 
her death. 

1. S75. A slave comes out in consternation. 

MSS. read nkoviiivov, certainly wrong. It may have come from 
rtKovfiivov (872) or from rtKos just before, 874. -n«vou is right, and 
Tt'Aos has ousted the beginning of the word. See line 773. The cor- 
rection is Schiitz's, followed by H., Wecklein, and others. 

1. 877. //ere t/ie slave knocks violently at tlie side door. 

1. 8 78. The YuvaiKsioi -rrviXai. are the doors of the women's apartments, 
where the queen lives; probably represented on the stage conventionally 
by one of the side doors. 

1. S79. jjioxXois xttXarc, lit. 'Unloose Zi'ith the bars' (i.e. by with- 
drawing the bars', ' unbar.' So dra/iox^-siJc^ is used ' to unbar,' Med, 

1317- 

Kal (xdXa go together, as often ; Be is the connecting particle (no 
need of 76, Bl., H., etc.) ; 'and a right lucky man we need ' to defend 
us against these conspirators ; not to help Aegisthos, he instantly 
remembers. 

1. 88 1. I/e shakes the door violently again and turns away 'with a cry 
of baffled impatience. 

1. 882. OLKpavTo, 'profitless,' (lit. 'unaccomplished'); his excitement 
makes him accumulate his words, Kwcpois, KaOevSovffiv, fiarrjv, aKpavra. 

1. S83. av T-fjo-S', good correction for the unmetrical and feeble aiiTjji. 
tTU^Tivov, Abresch's excellent and certain correction for enl ^vpov 
(which Pal. and others retain, construing as though it were twl ^vpov 
wv ; quite imjjossible even apart from the muddle of metaphors), means 
'a block ' for beheading; see Ag. 1277. ' ^^ seems that now again he/" 
neck will fall beside his block, righteously stricken.' 

1. 884. Klytaemnestra comes out fro»i the side door. 

1. 885. 66p,ois is probably the Epic local dat. common in Aeschylus. 
See Ag. 27,558, 578, 718. 

1. 886. He means 'the dead are slaying the living' 'reOvT^KcTas 
generalising plural, see 384, 419^. And so Klytaemnestra understands 
him. The aiviyfia which she speaks of is th.e. paradox ; not, I think (as 
some comm.), the grammatical ambiguity of the sentence, which might 
be taken the other way with Jwvxa for subject. 
66 



NOTES. 

1. SS8. ujcnrep ovv, 'as indeed,' see above, y6. 

1. 889. 601T], 'let some one give;' the use of pure opt. as a mild im- 
perative is Epic. Od. 4. 735 aWa Tis orprjpws Ao\iov KaKtaeie, II. II. 
■91 ravr' uirots fiaaiKiji. So Ag. 945 vnai t(s dp0v\as Xvoi raxos. 

It differs not grammatically, but in tone, from the ordinary wishing 
use. 

dv8poK^-f)Ta, ' murderous :" to find allusion in avhp- to the meaning 
' husband ' is refining too much. 

1. 890. M. reads r\ viKwuiv, ' whether ' : but €i is more probable, see 
on 756. The verbs may be either indie., 'we are conquerors,' or subj. 
delib., ' we are to conquer.' The indie, is more vivid. 

1. 891. The cold, fearless, pitiless strength of Klytacmnestra comes out 
again powerfully here in these almost bald words ; 'for to this point am 
I come in this trouble.' It is as though she said, half wearily, but 
without emotion, of this fearful conflict : ' bloodshed again ! I or he ! 
let us begin.' 

Orestes comes out of the central door, with a blood-dripping sword. 

1. 892. Notice the extraordinary effect of the restrained words: "Tis 
thee I seek; for him, it is enough.' 

1. 893. <|)iXTaT€ . . . p(a, the grammar gives way to the sense. 

1. 894. It is hardly possible to give in English the majestic yet deadly 
scorn of these simple but scathing words. 

' Lovest thou the man ? then in the same grave thou shalt lie. He is 
dead, and thou canst not e'er abandon him ;' only that TrpoSws (like the 
English ' give up ') has the double meaning of ' betray ' and ' abandon.' 
The thought of Orestes is : She shall be united {in the grave) to her 
new lover ; she will not be false to him (for both will be dead). 

1. 896. The correction aiSccrai is confirmed to certainty by Horn. II. 
22. 82, where Hector's mother makes the same appeal, though for a 
very different request : — 

"F.KTop, TiKvov (fiov, TaSc t' aiSco, Hal /x' iXirjaov 
aiirrjv, iiirori toi XaOiKrjZia fia^bv l-niaxov. 

1. S9S. ovXa, 'gums,' a word of obscure origin. 
€VTpa4)«s must be active here, 'nourishing;' so probably in Thcb. 
309 vhwp ixiTpaipiararov. In other places it is passive, ' well-fed.' 

I. 899. alSecrOu, delib. subj. aibws is 'awe,' 'reverence;' and the 
use of the verb with the inf. is natural in the sense of ' shrink.' 

1. 900. Pyladcs, a ' mute personage,' sjjcaks for the first and last 
time. The Scholiast says the character is acted here by the oiKirfjs, to 
prevent there being four speakers. 

1. 901. It seems better to take 'the faithful pledges,' with Weil, of 
Apollo's pledges, not with Pal., Con., &c., and Scholiast of Orestes and 
Pylades. There would be some hint if the persons were changed. 

E 2 67 



CHOEPHOROI. 

1. 902. ' Count all men foes rather than the gods,' i. e. prefer to incur 
the enmity of any one sooner. 

1. 903. He turns to his mother and speaks coldly and sternly. 

1. 904. Note the accusative TovSe, the pregnant constniction with 
o'<}>d^ai, verb of rest, ' to lead thee to his very side and slay thee there.' 

1. 908. <njv 8« -yqpAvai, the Epic and older use of the preposition 
adverbial ; called by the misleading name of Tmesis. 

[avv for MSS. vvv is required, in order to connect the second clause of 
the line with Orestes at all. It is confirmed by awoLKrjdd.s.'] 

' I wish to pass my old age with thee,' i. e. ' to be tended by thee.' 

1. 909. iraxpoKTovovicra, 'murderess of my father,' rather a strained 
use; so 974, 1015, 1028. 

1. 910. TrapaiTia, 'shared the blame ;' a feeble excuse, which Orestes 
immediately refutes. 

i. 912. YtveGXiovs dpds, unusual expression for 'a mother's curse.' 

1.914. The emphasis is on the verb: it is the applicability of the 
term dTr€ppiil/a she is denying, not the act. We may translate : — 

' Nay, not cast thee out : 'twas to a friendly house [I sent thee].' 

1.915. If Six^s is right, it must mean, 'I was sold twice over,' 
'doubly sold J ' it was twice as bad to be carried away when he was a 
freeman's son. But the word seems not natural, and there can be little 
doubt that Heath's alo-xpws is right. 

1. 917. [MSS. read ctoh, which might be justified by analogy with 
phrases like Bavy^al^o) aov tovto, 'I wonder at this in you ;' but the regu- 
lar construction of ovfiSii^aj is uv. nvi ri, from Homer (II. 9. 34, Od. 18. 
380) downwards. And Aeschylus is not given, like Sophokles, to con- 
stant variations of construction. I therefore read troi with Canter and 
others.] 

The ' price he will not plainly reproach her with ' is Aegisthos. 

1. 918. ^7; dK\' (the MSS. reading), a colloquialism common in 
Aristophanes (Frogs 103, 611, 745, etc.), means 'nay but;' and might 
be defended here in consideration of Klytaemnestra's scornful taunt : 
but probably the ^17 has got in, as H. suggests, from the next line. It is 
best to read dX\'. 

jidras, ' follies,' a contemptuous emphemism for ' sins ' (like ' fool- 
ishness ' in the Old Testament). She means his supposed adultery with 
Kassandra (Ag. 1438) and Chryseis (ib. 1439). 

1.919. i.e. 'the man who faces hardship must be excused;' a crude 
and savage morality, no doubt accepted by the Greeks of Aeschylus' 
day. 

1. 921, i. e. ' she ought to be faithful, she owes so much to him.' 

1. 922. She gives up persuasion and tries to frighten him; the deed 
is such that the mere simple statement is appalling: but he is inflexible. 
68 



NOTES. 

1. 923. A noble and terse expression of the relentless justice of his 
deed. 

1. 924. The ' vengeful hounds,' i. e. the Erinyes. 

1. 925. rds Tov irarpos, the curse of Ag. for his remissness. 

1. 926. 9py]vilv irpos Tvi^iPov, ' to cry against the tomb,' a proverbial 
expression according to the Scholiast for ' vain lament.' 

fuo-a only points the contrast with tv^^ov. (The full proverb is 
[ravTo] jrpos TVfx^ov re K\aiiiv Kal irpus dvSpa vrjmov, ' As well weep 
before the tomb as before a fool,' quoted by schol.) 

I. 927. aoOpifei, aot opi^ei, an unusual crasis in tragedy • 'marks out 
for thee.' The word is possibly cormpt. 

1. 928. Another powerful line. She finds prayer useless ; so she 
launches one word of hatred, as short and strong as a curse, and goes 
silently and boldly to her death. ' This was the snake I bare and suckled,' 
referring of course to her dream. 

1. 930. The dreadful moderation of the phrase makes a true climax to 
this short and powerful dialogue : — 

' 'Twas ill thou slewest him : suffer thou the ill.' 

It reminds us of the similar clima.v Mhen Oedipus discovers the story 
of his birth, and the murder and incest he has unwittingly committed, 
Soph. O. T. 11S4 : — 

oaris irtipacr/xai (f/vs .r dip' uv ov xpijv, oiif oh t' 
ov XPV" ofiiKw}', ovs r' «/*' oiiK tSu ktuvuv, 

Orestes goes into the palace loith draivn sioord, driving Klytaeni- 
nestra before hint. 

1. 932. e-iTTiKpiat, 'has reached the height,' as Schol. e.\plains. 

1. 933. ' This, however, we count better, that the light of the house 
should not perish utterly.' 

Apparently the sense is, ' I pity the fate of the victims ; but since the 
last bloodshed is but the end of the series (i. e. since the victims have 
brought it on themselves), I side with Orestes, lest the house come to au 
end.' 

1.934. 64>0aXp.6s, idiomatic Greek metaphor for 'delight,' 'hope,' 
'comfort,' I'ind. O. 2. 18 d<p6a\ixos 2i«eAias, Soph. (^. T. 987 fxtyas y' 
uipOaKfxus ol irarpus Td<pOi. 

11.935-972. Fourth Stasimon. 'Justice came to the sons of Priam, 
and twin lions to the house of Agamemnon ; the exile at the bidding of 
Apollo finished his .appointed course (935-941). Rejoice for the de- 
liverance of our lord's house ; the murderers meet their fate (942-945). 
Orestes came back ; Justice, true daughter of Zeus, helped him (946- 
952): Apollo sent for her at last: Gods cannot aid the wicked: the 
light is risen ! (953-961). The curb of the household is taken aw.ay ; 

69 



CHOEPHOROI. 

rise up. House, too long thou layest prostrate! (962-963). Soon shall 
Time come forth, sweeping away pollution ; the lot shall be fair once 
more for us ! the Light is risen ! ' (966-972). 

1. 938. SiirXoOs Xecov, i. e. Orestes and Pylades, as the Schol. says, 
and as is clear from Eur. Orest. 1401 rjKOov ly 5o/xov9 Aeo^rey "EXXave 
hvo SiSvfxo), a manifest imitation. The sense is : ' Vengeance came on 
Paris and Troy, though late : it has now come on the murderers of 
Agamemnon.' 

Others take the 'lions' as Klytaemnestra and Aegisthos: very 
unlikely. tfJiokf is against it; so is Xe'oji', as one was a woman ; so is 
the passage from Eur. ; so is the parallel from Troy. It is strange to 
find it supported by such authority as Kl., Peile, Con., Weil, Mors.'] 

1. 939. [tXao-t, the evident reading of the Schol., is probably the 
oldest ; and indeed it makes better sense than e\axe (Schiitz, Herm., and 
most editors), ' He has wholly won his heritage '—very harsh phrase.] 

«Xao-€ h TO irdv. Literally, ' he drave to the uttermost,' i. e. ' he 
has accomplished his course ;' he has come home safe from exile, and 
will exact vengeance. [Even so to rrav is rather strange ; and perhaps 
Schol. read reXoy : still the case is one where the harder reading of the 
MSS. should be retained.] 

1. 940. irve6xpT]o-TOs (not -ttj?) is the right form ; ' sent by the Pythian 
god ;' so Eur. Ion 1218. 

I. 941. 'Sped rightly by Gods' bidding.' 

II. 943-945. 'Utter a cry of joy over the escape of our master's house 
from woes and waste of substance at the hands of two guilty ones, — an 
evil fate ! ' The sense is simple and satisfactory. 

1, 946. A doubtful passage, (i) iroivd may be nom. to jxtXei {regu- 
\:iT\y />erso>!al in Homer and often in Trag.) : ' He is come who devises 
the crafty vengeance of secret attack,' i. e. Orestes : this suits the next 
verse, which clearly describes the help given to Orestes in the fight. 
[Others, less well, of Hermes, the god of guile, 812; the present 
/ieXfi supports this, but the sense is not so good (Franz, Ahr., Peile, 
Con., Week.)] 

(2) TTOivd may l)e nom. to ejxoXe, as in the strophe. Even then we 
may understand it of Orestes, and need not alter c5 to a (as Aurat., 
Stan., Bl., etc.), 'he came, who deviseth secret attack, [Orestes], crafty 
Vengeance.' Paley takes it so, but it is rather artificial. 

(3) Scholiast, followed by some of the older comm., take the antece- 
dent to w as a dative. ' And tliere came to him who broods treacherous 
attack [Aegisthos] a crafty A''engeance,' i.e. by craft he slew, and by 
craft he was slain. This is too unconnected with what follows. 

I prefer to take it of Orestes, as (i). 



NOTES. 

1. 94S. tTTiTvp.os, ' the true, the very : ' Justice /lerse/ftook his hand. 

1.951. Tvx6vT€s KaXws, lit. 'hitting the mark well,' i.e. 'rightly 
naming.' See 14. 

1. 952. €v €x9pois, ' upon his foes,' the Epic pregnant use of iv (like 
other preps, oi 7-est) with verbs of motion. So ivl ariiOiaaiV opovaas 11. 
22. 182, (pfpova kv Tjfj.iv Ag. 1450, iriTvuv iv 36. [Hence no need 
of W Herm., Schiitz, though of course that would be commoner.] 

1.953. The text becomes verj' corrupt again ; see critical notes. Her- 
mann, though he gives good suggestions, is not so helpful as usual, 
having descried the text too much. 

The metre is one difficulty, as it is dochmiac ; and since different 
forms of the dochmiac are admitted as equivalent, we have not the 
usual correspondence of syllables to guide us. 

It is, however, safe to assume that 953-961 correspond to 965-972. 

Probably also the intervening three lines are the (imperfect) counter- 
part of 943-945 ; each contains four dochmiacs followed by four iam- 
buses, or possibly each dochmiac stanza may have been repeated twice 
as a refrain (Verrall and Kirchhoff, following Schneider). 
Tavirep (Ilerm. for ra-nep), 'whom,' i.e. Justice. 

Reading Ilapvacrias (Pal.) as the article is needed for «x'>"'> ^^^ «irop- 
Oid^wv (also Pal.) for the meaningless W oxOei a^fv, dSoXois SoXois 
(Weil) and Hermann's xpovio-9€io-av, we can make a fair provisional 
sense of the first stanza. 

' Whom Loxias, that holds the mighty cavern of the land of Par- 
nassus, has summoned at length yxpoviaOftaav eiroix«Ta(),long hindered, 
calling her aloud, with her guileless guile ' [i. e. with her justifiable 

P^°*^- . . . o. 

But there are many suspicious points in this version ; pAa-iTTOiAtvav 

is obscure; the two participles are clumsy ; eiTOiX€Tai. is dubious. 

1. 958. irapa is most probably a gloss. The reading in the text 
means : ' but God's power is checked from aiding the wicked.' 

iTWs softens the boldness and apparent impiety of saying ' God's 
power is checked.' But Hermann's most ingenious Kpardrcn 5' twoy to 
Oilov TO p-fj fi' vn. KQK. may be right : 'and let God's word prevail, that 
so I serve not the wicked.' 

1. 960. dgia, plur., like the common Svi'aTa, dttva, &c. 

1. 961. TTapa for iraptaTt. 

1. 962. Stanley's d4)xip*6Ti is probably what Aeschylus wrote, but sense 
could be made of the MSS. d<j)Tip€OT)v, as atpmpuv takes double ace. and 
so the passive retains one. ' I am free from the strong curb that held the 
household.' But a.<pripiOri is more natural. 

The MSS. give otKajv, generally altered into o'lKeriov. But I venture 
to suggest o'lKtuv from oiKtvs as the real reading. olKtvs is the proper 

71 



CHOEPHOROT. 

Homeric word for 'menial,' and Aeschylus is steeped in Homer. More- 
over being rare in Attic (O.T. 756) it woiild naturally get corrupted 
into o'lKoiv. 

1. 963. M. reads ava-ytti^v, which is either dva-^i fidv, 'arise then' 
Cused with plural dyt Bfj iraiSts Eur. Cycl. 590, 1x76 rdixvirf Od. 3. 332), 
or dva ye fxdv, ' yet arise.' I take the first, as rather more natural here. 
So (I 5' dyt ixi)v, dypu ^dv (II. i. 302, 5. 765). 

I. 964. One dochmiac here is lost. Possibly ndpa to <pm iSeiv again. 

II. 965-972. Very corrupt and difficult. 

Accepting the excellent emendation of Schiitz KaOapjxoiaiv drdv tXarr}- 
piois in 968, the first four lines are construed : — 

' And soon all-accomplishing time will pass 
The doors of the house, when from the hearth 
He has driven all the pollution 
With cleansings to drive away the curses.' 
A fairly clear general sense with two great difficulties : — 
( 1 ) What is the meaning of ' Time will pass, the doors ? * 
I believe it is an audacious personification : as though the Delay of 
Vengeance were pictured as 7'i/nc himself ivaiting inside till he be ripe 
to go forth and accomplish, and cleanse away the pollution. (Bl., 
Elmsl., suggest x*^?^^'^ '^ot likely with iravreKris.) iravreXrj^ might equally 
well mean ' Time fulfilled,' ' the fulness of Time,' more in accordance 
with the ordinary sense of navTiX-qs. 

(2") sXdo-j) . . . €\aTif]piois is highly suspicious. IXdar) does not scan, 
and the repetition is flat. I venture to suggest kXvo-t), ' wash away,' 
which goes well with KaOapp-oiaiv, and might easily be corrupted into 
i\dari wilh iXaTijpiois so near. If this be thought unlikely, the metre 
can be corrected by altering the order irdv iXdari /xvcros, or still better 
by reading p.vaos drrav e\dar} (Herm.). 

11. 969-971. MSS. again very corruptly give : — 

Tvx^ ^' fvnpoawTTCfj Koira to irav 
l^uv CLKovaai OpiOj.i.ii'OL': 
fxeTOtKoSo nojv ireaovvTai -rrdXiv. 
The clue to the sense is the metaphor of luckjy dice, as the Schol. says. 
Cf. Ag. 32. All agree in rejecting dKoOcrai, a gloss determined by an 
attempt to explain epeo/xivois ISeiv. epiofiai is an active verb, 'to 
shriek or cry.' and is used only of women ; the word is corrupt, being 
inapplicable here. 

The best restoration is Paley's, using suggestions of Franz, Hermann, 
Scaliger, and others : — 

TVXO-i S' (vnpoawTTOKuiTai to -nav 

iZiiv ■nptvp.cvti'5 

/xtToiKOii Si'ifiwv irfaovPTai TTciXtv. 

72 



NOTES. 

'And fortune's chances shall change {ntaowTai TraAic) 
And lie with face quite fair to behold {evTrpocrainoicotTai to trdv iStiv), 
Favouring the sojourners in the house ' [not ' Orestes and Elektra,' 
who could not be called /xiToiicoi, but ' us the Chorus : ' all through the 
Chorus are in sympathy with the Avengers.] 

[The best recent suggestion is that of Wilamowitz-Moellendorff, who 
reads : tvxoi S' fvnpoaunrcu Ko'na to itav iSuv Optofitvois ' /xiTOtKot bofxwv 
ireaovfTai irdXiv,' i.e. 'May all befall with prosperous chance before our 
eyes, as we cry "The strangers in the house shall be cast forth again,'" 
H(T. being the evil spirits of crime. This ignores the schol., but is 
nearer to the MSS.] 

The doors of the palace are thrown open hy the (KuvKXrifxa (see Ag. 1372, 
Ach. 407), and Orestes is seen ivith bloody sword on the spot where his 
father was murdered^ standing over the bodies of Aegisthos and Klytaem- 
nestra, and holding also the cloak in which Agamemnon was slain. 
Pylades is standing by. 

Scene 5. 973-1062. Orestes points to the cloak, and dilates on 
the crime of his mother. The Chorus bewail the tragedy. Orestes 
insists on his innocence, and appeals to Loxias. The Chorus justify 
him : but the vision of the Furies gradually grows upon him, and he 
rushes forth distracted. 

The opening would be powerfully effective : for the vengeance was so 
parallel to the crime. In Agam. 1372 the unfolding scene had dis- 
played Klytaemnestra with her bloody weapon over the bodies of 
Agamemnon and Kassandra ; and here the avenger Orestes is in the 
same place and attitude over the corpses of herself and her paramour. 

1.973. Orestes begins with savage and triumphant irony; but 
gradually becomes more violent and uncontrolled : it is the shadow of 
the madness coming upon him, which the poet gives with characteristic 
power and imagination. 

1. 975. cr«|Avoi, 'royal ;' only in the Greek the irony is more pungent, 
as the word means 'revered,' literally, and exjDresses the sanctity of the 
ruler. 

1. 976. 'Loving they are now, as we may read their fate;' Orestes 
speaks in a tone of triumphant and unrelenting irony. There is no touch, 
as there would be in a modern play, of awe or pity ; or indeed as there 
is in Sophokles' Elektra. See Introduction. 

T£ of MSS. must be corrected with Abresch) to 8«. 

1. 977. 'Their oath abides by its pledges,' a rather loaded expression 
for 'is faithful.' 

1. 978. The double construction after ^vviLjiocrav is a little rough, but 
quite natural, ' to slay him, and to die together,' not ' in case of failure ' 

73 



CHOEPHOROr. 

(as Kl., Con., etc.), which weakens the irony of Orestes' comment, Kot 
Ta5' ivopKois iXii : but more simply and effectively, ' to share one 
another's crime and fate.' [koi stands virtually for ^vviinoaav 5e.] 

[dOXiw iraTpi (MSS. aOKioos) is, however, suspicious, as it occurs 
again 981. Perhaps the two words have supplanted some other verb, 
to answer to avv9av(ia9ai.'\ 

I. 9S0. Here Orestes sJiojos the cloak in ivhich his father ivas wrapped 
to he slain. 

II. 983-990. These eight lines in the MSS. come after (1004) (kS'ikov 
(ppov-qiiaTo^. Those who retain them in this place must justify the MSS. 
by urging that Orestes dramatically returns to the robe, which is held 
out (991) by the attendants, after speaking of his mother; and it could 
no doubt be so acted. 

But viv (983) is very improbable of the robe when he has been speak- 
ing for six lines of Kl)taemnestra ; and roiaS' e/ioi fui/oi /cos (1005) comes 
with far greater force and more natural connection immediately after the 
bitter lines about his mother. 

Accordingly I have followed Meineke, Hermann, and Hartung in 
transposing them to their place in the text. The mistake probably arose 
from some copyist who was thinking of the great chorus in Agamem- 
non, where Kassandra calls Klytaemnestra ' a snare,' aW' dpKVi ^ 
^vvewos, etc. Ag. 11 16 (so that he thought fiv did really refer to 
Klytaemnestra). and again of the passage in Kassandra's speech 1232 
Ti viv KaXovaa 5vo({H\is SaKos Tvxoit"' av ; etc. 

1. 983. Kdv Tuxw \>-^^' «vo-TOn,tov, ' evcu if I speak right fair,' i.e. if 
I use ever such mild words. Some read koi ti/xw, i- e. ' and name her 
rightly' (so schol.'i : but ivaroixM is not so used, cf. Ar. Nub. 833 
(iiffTofiu, Hal nrjZiv finris (pXavpov. Besides, the irony is lost. 

1. 9S4. oLYpevfia, 'snare.' 

1. 985. 8po{TT], 'bier,' according to old scholars and grammarians 
(Schol. and Eustath.), but in Ag. i ■:,40, Eum. 633, used as a ' bath,' which 
is doubtless its meaning here. 

(xJv ovv, corrective as usual, ' nay, a net.' 

1.987. (Jj-qX-fiTTjs avTip, ' a scoundrel thief.' <J)T)\- (^fT(/)aA.-,/a//-), 'cheat,' 
' deceive ;' the verb used is, however, <pT]\6o}. 

1. 9":8. diraioXTjp.a, lit. 'deceit,' abst. for concr., ' defrauder of stran- 
gers;' so (mrpifina, dKrjfia, XaXijua, ixiaapta are used of persons. 

1. 989. vojjiijcov, 'practising.' See note on loi. 

1. 990. We might keep </pew' (M.), translating 'cherish hot thoughts, 
violent thoughts, in his heart ; ' somewhat similar is the use of Ofpfios, 
Eum. 560 cjt' duSpl etpnw and Theb. 603 vavraiai Bepp-ois : ' violent ' in 
both places ; so OtppLr^v KopSiav Antig. 88. But ^piva is far more likely, 
the verb meaning ' gladden : ' so Eur, El. 402 x^P? OtpixaivofiiaGa, 

74 



NOTES. 

He speaks to his attendants. 

1. 991. The MSS. give airov; if we retain this, it must be the cloak 
{Seaf^ov, or iriirkov) ; but the poet no doubt wrote airo . It is opened 
to show the gashes and blood. 

iropacTTaBov, 'standing near,' equivalent to a participle. 

1. 995. €v SiKT] TTOTt, ' some day at my trial :' a foreshadowing of the 
formal trial of Orestes in the Eumenides. 

Some comm. say Aeschylus identifies ' the Sun,' and Apollo, as the 
latter actually does appear as naprvs at the trial, Eum. 576. But surely 
there is no confusion in the poet's mind between the ' God who sees 
all,' "HAtoy, and Apollo, who gave Orestes first the oracle, then protec- 
tion. Both a.xt powers of light against the x^onoi : that is all. 

1. 996. p.€T«X0<iv and p,€Ti€vai. can be used with three different accusa- 
tives — of the vengeance, the crime, and the criminal. We sometimes find 
two of these together; e.g. ixiTf}\66v a' al^a Eur. Or. 423 (crime and 
criminal), apira-^ai h(tt]\9(t' 'IKiovirvKiv Cyc\. 280 (crime and criminal); 
Sucas fieTfif^i rCvSe Eum. 231 (vengeance and criminal). Here it is 
the vengeance only. ' That I have justly wrought my mother's death.' 

1. 997. MSS. read ^«'7w, which might be explained, but X«Y'^ ^^'^s read 
by the Scholiast and is much more natural. 

1. 998. The adulterer {al(Tx^^'''VP) niight by Athenian law be slain if 
caught by the woman's father, brother, son, or husband (Schomann, 
Antiquities, 469). 

1.999. TovTO o-TiJYos, 'this accursed thing,' pointing to the bloody 
robe. 

1. looi. 'Once dear, now a hateful foe.' 

is <j)aivei, ' as she shows ' by her slain and gashed body. This is 
the most effective way of taking it. 

1. IO02. 'What think you of her? be she lamprey or viper 

She would rot with her touch another, without a bite. 
For her boldness and wicked will.' 

Orestes drops the irony with which he began and shows his haired 
and scorn in these violent and almost grotesque words. 

The construction ^which has been misunderstood and caused needless 
emendation) is this: rt croiSoKef; Klytaemnestra is nom. to loKii, and the 
verb is left to be filled in in the reply (like Plat. Phaedr. 234 C rt <so\ 
(l>aiv(Tai u \6jos ; ovx vrr(p(f>vuii upriaOaiy. The reply Orestes himself 
gives, [eiTt] fivpaiva eire e'xiSi'a f(pv, [5ok(i'\ aT/nfiv &f 6iyi,vaa, etc. 

So there is no need for fidWor {B\." , ov SfSrjyuivi] (H.), etc. 

1. 1009. fiCfivovTi, ' to him who is left,' Orestes. 

dv9«t, ' is flowering ;' a violent metaphor in English, but in Greek 
more natural. So the sea ' flowers with dead,' Ag. 659, disease i^vOijicf 
Trach. 1089, etc, 

75 



CHOEPHOROI. 

1. loii, AiYiffOov ^i4>os. In Agam. it is Klytaemnestra alone who 
does the deed; and we judge from Ag. 1262 d-qfovaa (poJTi (paayavov, 
1528 ^t(po5T]\r]Tq) Oavdro) that she does it with a s^aord {not, as usually 
supposed, an axe) ; and from this passage, that it was the sword of 
Aegisthos, borrowed for the purpose. 

1. 1012. ' The stain of blood helps Time in destroying,' etc. 

<Tvp,pd\\o|ji,ai., ' to contribute one's share,' properly ; and strictly 
used so here. Cf. avix^aXXtrai Se iroXKa rovhi Sei/xaTos Med. 284, and 
common in prose. 

1. 1013. TroiKiXiia, 'coloured robe.' 

1. 1014. 'Now I speak of himself, now I bewail him where he fell' 
(■napuv, ' on the spot,' as opposed to ' absent '). Evidently with the 
same thouglit in his mind as line 8 011 yap irapthv aifiw^a aov nartp ^opov. 
Tills also explains the emphatic aiirov of the dead father ; others take 
it of ipovos (with the same general sense) ; but it is unlikely he would 
speak of ^ui'os in 1014 as the 'murder' when ^uvos in 10 12 means the 
actual material ' blood.' 

[Others, H., Klau., Pcile, Dav., read avrov, 'myself (a possible use, 
O. T. 138, Phaed. 91 C), but the rest of the line is against this: and 
Schiitz's a\) rob' aivw is not an improvement.] 

1. 1016. The misery of it all overwhelms him and the felt approach 
of the Furies is maddening him ; hid yet Justice is done. The words 
in italics are his suppressed thought ; for aXfSi |X€v implies an anti- 
thesis, which he does not really express till 1026 tais 5' i'r' iix<ppuv 
fifxt . . . oviK dveu 8tKT]s, though he begins to say it 1021, interrupting 
himself. 

1. 1018. MSS. give Sid, iravr drifio^ di-tfiif/frai, very corrupt; Bid 
TravTos (Heath), and djA€Ci|;€i (Erfurdt), are obvious corrections and no 
doubt right ; drip-os is impossible. H. gives (vBvfios, not very near the 
M.SS. and not very forcible. 

I therefore read dvaros here : the word is Aeschylean, occurring 
Ag. 121 1 in this sense. 

1. 1020. ' One troulile comes at once, another skaii come.' 

1. 102 1. This beautiful emendation (which only requires ai for 0, 7 for 
T, two of the commonest corrections') was made by contributions from 
three scholars, see crit. notes. 

1. 1022. ■fivioo-Tpo4)u>, 'I drive.' The unconnected and interrupted 
speech gives well his approaching madness, which indeed is felt all 
through this scene in tlie abrupt transitions and uncontrolled utterance. 

[The MS. ^vioaTpu<pov may be retained by reading (with Weidner) 
e^ci) Tpix^ for e^urtpa : but r/vioffTpocpw is a simpler correction.] 

The sense is : — ' But that you may know — for I kno'v not how 'twill 
end — I drive as though with chariot horses far astray from the course — for 
76 



NOTES. 

my spirit uncontrolled masters me and bears me away — and at my 
heart fear is ready to sing and dance with passion — but while I yet am 
sane, etc. 

The aW is fi.v €i8fiT' is taken up after the vivid and dramatic 
parentheses by (oos 6' (t tfiippuv . . . ; and this, as pointed out above, is 
the real antithesis of dKyw |i€v, line 1016. 

1. 1025. viTTopxtio-Oai, ' to dance to music,' properly; the vvo being 
the regular preposition of accompaniment, as viru adx-jriyfos, W aiiKov, 
iirti) K\av9nS>v, etc. Some read 97 5' for 778', making the /leari dance to 
fears song. But Greek dancers also sang. 

1. 1029. <}>i\Tpo, 'spells,' i.e. 'promptings;' a bold and characteristic 
image. 

-n-XcwmipiJop.ai, 'I count as chief,' a rather artificial word. Aeschy- 
lus also uses irKdaTTjprjs Eum. 763. 

1. 1032. He breaks off: 'but if I neglected it — I will not say the 
penalty.' Strictly we should expect napevri ; but the ace. infin. is often 
substituted for the attracted construction. So Eur. Med. 1 2 36, Soph. El. 96 1. 

1. 1033. ' P'or no man's bow can reach those sufferings.' The />07C' is 
one of the commonest images for speech, though here rather more boldly 
and abruptly given than usual : e. g. yKwaaa ro^evaaaa Supp. 446, titvp- 
aas waTf To^orrjs Ag. 628, and again 1194: and in a fainter shape, with 
the words xaipus, okottos, rvxiiv, afiapreiv, very common. 

-irpoo-i^tTai is quite a natural word in this use, Ar. Eq. 761 ; and it 
is probably the poet's (not the copyist's) oversight that it comes again 
1035 ; though it may be argued that we should infer the commoner 
word i<p't((Tai from what the Schol. says. 

1. 1035. He takes up an olive-branch ercnoned ivith a fillet of-icool. 

These were the regular accessories of a suppliant, O. T. 3 iKTrjpiots 
K\a5oiaiv e^farfpiixtvoi. 

1. 1036. Delphi was called the centre of the earth, 6/x<pa\us yTJs 
Ion 222. iTtSov means ' floor.' 

1. 1037. 'The immortal fire' was not the light seen on Parnassus (as 
Schol., Pal.) which was Bacchus' fire ; but the eternal fire kept up in 
the temple. So Plutarch (Num. 9) speaks of irvp da^tarov XlvOoi. 

1. 1038. alfia Koivov, 'the stain of kindred murder.' koivos often so 
used, at'/wiToy koivov Ant. 202, Kotval dh(\<ptai O. C. 535, koivov 'lafj-T/vrji 
Kapa Ant. i. 

I. 1039. [Hermann's ((ptanov aWji is ingenious but not so natural as 
ftp' (ar'tav dW-qv."] 

II. 1040-1041. The restoration of these two lines is Blomficld's, and 
is much the simplest and best fioi got in from the adjoining line ; and 
the MSS. nfv(\(ais is MGNGNnS, i. c. mere reduplication. 

11. 1042-1043. The MS. reading tyw can be taken as it stands. 'But 

77 



CHOEPHOROI. 

I [go] a wanderer, an outcast from this land (whether in life or death), 
leaving this name behind me.' TcicrSt KXtjSovas, referring probably to 
his own account of himself, as an innocent victim of Apollo's command : 
but it may also refer to the name of matricide (Verrall, Week. W.-M.). 
Or it is possible to suppose that the sentence is left imfinished and he 
is interrupted by the Chorus, who wish to save him from evil prophecy, 

But the simplest suggestion is Weil's, to read 4>€X)y« for «7w; an 
emendation confirmed by Ag. 1282 (pv-fas 5' dX^TTj? TTJabt yfjs dir6^(voi, 
as Weil points out. 

1. 1044. tinJsvxOfis a-r6\ia, 'put not the bonds of evil words upon thy 
mouth.' [MSS. read finCevx^^- The second or third person would be 
equally good Greek, but with firiyXuaaru) the second is more likely; and 
the omission of <r before ffrofxa is nothing.] 

1. 1046. There is no need to change the participle (\evdepwffas into the 
indie, as Blom field and others. The passage can be equally well taken 
as one sentence. 

1. 1047. euireTfcis, ' happily,' as Ag. 552. 

1. 1049. <})aioxiTu>v«s, 'in dusky robes.' 

The lengthening of the o is probably to be justified on the same prin- 
ciple as the Epic licence by which vowels are made long before liquids, 
spirants, or aspirates (i.e. any letters on which the voice can dwell), 
among which x in its Greek pronunciation might perhaps be included. 

Thus : Homer has vowels long before A.1770;, \tyvs, Kiirapus, \6(pos, 
fityas, napirra}, fifKos, ftoipf, vi^os, vi<pas, vvfX(pr], vvffaa, paKos, pfC'^, puos, 
pl^a, p65ov, etc. Also before </>, as </)i'Xos II. 2. 116, 9. 23, ai'o'Xos of is 
ij. 208, 'Ax£A.A77i (p(p(p.iv 24. 119. 

So Aeschylus has 'lvnbp.ibovTos Theb. 488, UapQivo-rralos ib. 547. 

In the same way laxh and mxew have a sometimes long in Trag. 

1. 1051. irarpi, ' to thy father,' who will defend and help thee. The 
faithful son need not fear. (Others read -rrdUv : easier but weaker.) 

1. ioi:;2. The MS. reading fir] <po^ov vikwv ttoXv will construe, ' be not 
afraid, great is thy victory ; ' but vikw makes a much more natural line, 
and would easily be corrupted, ' be not greatly overcome by fear.' 

1. 1054. aatpiis (Wecklein) may be right. 

1. 1059. MSS. ilaa' u KoOapfios is variously emended : ilfflv HaOapp-oi 
Schiitz, tiao) KaOappLos Tuni., oiaw KaeappovsWeW; none so good as ours, 
due to Erfurdt and Ahrens. 'There is oneway to cleanse thee: the 
touch of Loxias shall set thee free . . .' 

Ao^iov, the reading of the MSS., is retained by many (H., Pal., Kl., 
Con., etc.), and Oiywv is regarded as a nom. pendens ; ' touching Loxias, 
he shall free thee ;' ])ut it is very harsh, and the nom. might easily be 
altered, the copyist often attending to the words immediately following, 

78 



NOTES. 

and not to the whole sense. Moreover it is more poetical to say Ao|ias. 
Orestes is to cling to the shrine, and this is imaginatively regarded as 
the god reaching out a hand to him. 

I. 1064. Kaipioicn o-vfji<|>opais, 'with favouring chances.' 

II. io6=,-io76. EXODOS. The third tempest of ill is over ; Thyestes — 
Agamemnon — Klytaemnestra : what will be the end ? 

1. 1067. Yovias, a doubtful and obscure word, -las was the regular 
suffix for the names of winds, e. g. 'EWijcTrrovTiTji Hdt. 7. 188, Srpviiovirjs 
KVfj.aTii]s ib. 8. 1 18 ; and in Comedy opmOia^ Ach. 876, KatKias koi ^vko- 
(pavTias Eq. 434. 

Most editors take it as 'a family storm,' but that explanation 
seems too grotesque. The Schol. has a note explaining it as 'a strong 
breeze arising in fine weather,' and Hesychius explains it cvxeprjs. 
Neither fit the passage, nor throw any light on the origin. [Hartung's 
irvoias (povias is an ingenious suggestion.] 

1. 1069. Thyestes banquet was one of the past sins of the house of 
the Telopidac, Thyestes seduced his brother Atreus' wife Aerope, and 
Atreus in vengeance slew Thyestes' children and served them up to their 
father's table. So the inspired Kassandra sees KXatoyava Ppffprj a<pay6s, 
o-mas re aapKas vpos narpos Pe0paifjiivfis Agam. 1096. The MSS. reading 
TdXavt's re is very flat; and probably re &v((ttov has come from a 
gloss, as H. suggests. 

1. 1070 looks also like a gloss, especially as there is no connecting 
particle. 

1. 1071. 'Slain in the bath '—Agamemnon. 

1. 1073. 'A saviour— or destruction shall I say ?' for if Orestes perished 
he would by his death destroy the house, if he were recovered and restored, 
he would save it. This question the next play is to answer. 

1. 1075. 'Whither shall it end?' the common pregnant constniction 
(irot implying motion, the verb not) : ' whither shall the fury of disaster 
go, ere it fulfil its course and be laid to rest?' 

A magnificent close; with the dark shadow of the madness and Furies 
driving Orestes out : the Chorus bewildered, but seeing at the last the 
glimmer of a hope. 



79 



APPENDICES. 



The Remote Deliberative. 

Line 172 ovk tcmv octjj w\rjv f/xov KcipaiTo viv 
,, 595 d\X' vTripToXjxov avtpos (ppovrjixa tis Xtyoi ; 
These optatives belong to a special class which has been rather over- 
looked. They are usually treated as conditionals without av : but as a 
matter of fact, excepting one or two places where the reading is doubt- 
ful, all the passages in Attic Greek which the commentators have re- 
garded as conditional sentences without av have one common character : 
they are interrogative, either direct or indirect. 
The following is a list of those I can find : — 

(i) Direct. 
Cho. 595 drSpos <l>p6vT]fia tis \fyoi ; 

Soph. O. C. 170 iroi Tis (ppovTiSos e\d<it ; (sic L.) 

,, Ant. 604 Teav Z«0 Svvaatv ti'j vwtp^aaia Karaaxoi', (sic codd.) 
,, Phil. 895 ri STJTa dpwfi' ijoj; [probably ri S^t' av. .] 
Ar. Plut. 438 wol TIS (pvyoi ; 

Dem. Meid. 525 norfpa fxi) 5a) SIktjv fj fi(i(oj Soir] diicaius ; 
Plat. Gorg. 492 B ti kukiov fir] ; 
In the last two probably /J^ei^oj dv and kolkiov dv should be read. 

(2) Indirect. 
Aesch. Ag. 620 OVK «<rS' ovws Kf^aip-t. 
,, Cho. 172 OVK iaTiv oOTis KiipaiTo. 

„ P. V, 292 OVK iOTlV OTCp V(LjXailXl. 

Eur. Ale, 52 ecrr' ovv omais "" KXKrjarts /xuKoi ; 

Plat. Euth. 2968 D OVK ix<ij vws dfKpia^TjToiTjv. 

Soph. O. C. 1 1 72 TIS (cTTiV ov ipe^aifii ; 

[It is true that the latter instances arc not strictly interrogative in 
form: but just as ovk txfi ri fivrj and even «x« "jTi (iTni occur in Greek 
and have to be classed as an idiomatic extension of usage from the strict 
interrogative forms ovk olSev or ol5(v '6,ti urrrj, so these instances are 
])lainly the interrogative optative put obliquely.] 

Now obviously it cannot be accidental that all the instances of opta- 
tive without dv arc of the interrogative form. It is plain that they 



A PPEx\DTCES. 

ought to be classed, not with the coiiditiouah (opt. and dV), but with 
the interrogative subjioictive or, as it is usually called, the deliberative. 
The subjunctive might be substituted for the optative in all these in- 
stances : and in the first two passages from Sophocles it is so read in 
many editions, though against the best MS. authority. 
The Deliberative ordinarily occurs in three forms : — 

(1) Direct Primary vol Tpditcufxat ; ri ujtoj ; 

(2) Indirect „ ovk (x^ ^°^ (o'^ oiroi) Tpatrufxai. 

oiiK olSa ri (or o^ri) iiitoj. 

(3) Indirect Historic ou« tlxov iroi (or o-noi) TpatrolixTjv. 

OVK TJSetv ri (or o,t«) (inotfMt. 
The peculiarity of the exceptional instances here collected is that the 
optative is used instead of the subjunctive, although the sentences are all 
of a primary character. The question therefore is; not why av is 
omitted, for the sentences are not conditional : bid why the remote form 
is used instead of the primary. 

The answer is that the optative expresses the remoteness, not as usual 
(e. g. in past final, or past indefinite, or past deliberatives) of pastness, 
but of possibility : the instinct is to express by optative something tno}-e 
out of the question than the subjunctive would have expressed. 

It is not probable that there was any clearly felt distinction in sense 
between the three uses ris Karaaxv > ''"'^ Karaaxoi- 1 and ris ay naraaxoi ; 
All that can be said is that the form ris Karaaxoi seems to question 
more excitedly or emphatically, as though the matter were more out of 
reach : something like the difference between ' who can ? ' and ' who 
could] ' 

It should perhaps be added, to avoid misconception, that the word 
Deliberative is used as a convenient single name : but that in reality 
some of the instances should more strictly be called Dnbitative than 
Deliberative. 

The Interrogative use of subj. and optat. (though in Attic prose 
mostly deliberative in the strict sense) really contains both kinds, and 
they tend to shade off into one another. Thus if we say iroi (pifoi ; that 
concerns an action of which I have the control, and is strictly Delibera- 
tive : the more excited (ajid generalised) form iroi ny <pv-foi ; ivhich 
practically has the same meaning is yet in form Dnbitative. So in 
Homer (II. 16. 713) Si^'e '^ap ^t fxaxoiro, ' he debated whether he should 
fight,' is deliberative strictly : but it is obviously the same gramma- 
tical form with opfjaivova' fj 01 ddvarof tpvyot vidi- dfivfiojy (Od. 4. 789), 
' anxious, whether her son should escape death,' though there the event 
is out of the person's control, and the sentence is logically ditbitative. 



81 



APPENDICES. 



II. 



Line 196 Sirws p.T| . . . 'kiwo-o-ohiiv. This usage is now generally 
explained correctly, as an elastic use of the Filial conjunctions iva, d;j, 
and oVcus with the indicative, in cases where some fact present or past is 
"ivished otha"wise, in order that some purpose now impossible might 
have been 7-ealised. So here the meaning is, 'I wish it had a voice 
. . . that I might not have been thus troubled (as I am).' 

As however the old and erroneous explanation is still current, namely, 
that the conjunctions 'iva, ws, and onus are in this usage relative, and the 
clause means ' in ichich ease I should not have been . . .,' it is worth 
while to prove the point. 

'iva, ws, and oira:s, then, in this use are Final, not Relative : — 

(1) Because the negative is always yir\: if they had been relative it 
would have been ol. 

(2) Because if they had been relative, d'l' would have been required 
with the verb. 

(3) The two following passages from Plato can only be explained as 
Finals : — 

{a) Meno 89 B ow fmus av ((pv\nTTo/j.fi' ti' t^ aKponoKti, iva }it]8€is 
auTOvs Si«<t)0eip«v . . . a\K' iwfiSr] a<piKoivjo us ttju yXtuiav, xPV'^^f*oi 
71-yvoivTO, where the sentence loosely but naturally reverts to the Final 
Optative. It is impossible to take jVa = 'in which case ' with Sttipeeipev, 
and = ' in order that ' with ylyvoivTo. 

(/>) Euthydemus 304 D-E w Kpirwv, f<pr]. oii5<i' aKpoa TwfSt tuiv 
ao(pwv ; oil fjia rbv Aia ^y 5' eyw' ov yap oJos r ^ npoaarcls naraKovfiv 
vrro Tov ox^ov. Kal piriv, t(p7], a^iov y tjv ciKovaai. Ti hi ; •^v 8' tYio. 
"Iva T]Kov<Tas dvSpwu StaXfyofiivcov oi vvv aocpwraroi flat. 

' Crilo,' said he, ' don't you listen to these wise men ?' 'No indeed,' said 
I : ' the crowd prevented me from getting near enough to hear them.' 'And 
yet it was worth while hearing them,' said he. 'IVhy so ? ' said J. 'In 
order that yoi( might have heard the wisest men there are conversing.^ 

In this case the form of the sentence excludes the explanation of JVa as 
a relative : the only possible explanation is to take it Final. 



82 



APPENDICES. 



III. 



The Scholia. 

It will give some idea of the critical use that can be made of the 
Scholia and the early corrnption of the text, if I subjoin a few chief 
instances of passages where the text on which they commented was 
(i) better than ours, and (2' equally corrupted. 

Words in Schol. which prove 
thai he had the I rue reading. 

an apxas . . . and t^ort 

avT/pTj/xat Tuv ISiov. 
(v£ai dyaOa. 

dyos in leinm.i and note. 
TTju Trarpcuay Orjpai' -npoaa- 

yftv. 
Svvaaai avoiKohofxfjaai. 
KflTTft TO u><pei\(s. 
^Sioi' yap TV fvx((y^o-i- 
T£ (inovTfs. 
IltpaiKov. 
(K TOVTOV (ipTjrai ro Tf0- 

vaiTjv or' (Kiivov . . . 
■^v fjpiai rrpos rov itartpa. 
VIT0 arvyoi : tov fiiaijrov 

6r]piov. 

[The lemma here is wrong, and perhaps later : the Scholiasts clearly 
had a word before them which was geni/iz'e; and even if there was a 
form <TTv^, the genitive of course would be crrvyvs, not arvyos.'] 



Litii. 


yy/ie reading. 


J/S. reading. 


7,2. 


<p60os 


tpOl0OS 


7r- 


citt' dpxas (?) 


dpxds 


109. 


KfSvd 


atfxvd 


156. 


ciyos 


akyos 


251. 


Orjpav Trarpwav 


Orjpa -narpcva 


262. 


5' av apaai 


havapias 


366. 


Tt6d(p9ai 


riOaxpai 


.V4- 


Svvaaai yap 


uhvvdaai yap 


418. 


<l>dvT(s 


Trdvns 


423- 


"Apiov 


aptiov 


438. 


d\oi/JLr]v 


iXoifirjv 


474- 


ipiv 


aipeiv 


53-'- 


arvyuvi 


(iTvyoi 



536. dv^Oov 
542. avyKvWws 

566. Satfiova 

649. Sofioiatv aludraiv 



dvfj\doi' 
(jvaKuWaii or 

5ai/jiova'i 
difiaafSco/xaTiuv 
V 2 



di'tKafiifav. 

awrjfifiu'cjs TTj d\i]6tta. 

TtrdpaKTat. 

rots oiKois . . . aiixdrcuv. 

83 



APPENDICES. 

Line. Ti-iie reading. I\IS. reading. Words in Schol.which prove 

that he had the true reading. 

6u8. (?) TTtaovaav tyypatpe irapovaav fyypaipft ra^ov airfjv d(l>avLa9fiaav 

dpa. 
707. d^iwv a^ictis tcuv ffoi{?(Tov)d(ia}v Ttpiwv. 

759. appLaaiv apfxari tp-qaas yap kv appiaai . . . 

(so H.). 
8S0. hiaTr(TTpayp.iva> SiaiT(TTpayiJ,(vaiv rw ffipayevrt. 

989. Xtyai if«7W \(yoj. 

(2) Cases where the Scholia show the same corruption as the 
Medicean MS. : — 

1. 64. 0pii(i at end of line. 

1. 74. lovaav aTrjv, no sense or metre. 

1. 132. TTCnpayjXivoi. 

1. 202. Si'/fj; (M. has 5i/fj;t, ( over erasure). 

1. 250. (vreXrjs : he explains the singular. 

1. 257. evOvvov and fvOoivov both explained : jM. has tvOwov. 

1. 399. rerifievai : explained as T(Tifjit]/j.evai. 

1. 402. \oiydv eptvvi : takes Xoiyuf ace. after (Trdyovffav] 

1. 415. iiraXHis : explained as Icrxvpovotuv. 

1. 417. irpos TO (pavetaOai : explained as irpus ru (vvouv. 

1. 453. Both opya and opya : two explanations of opya and one 

of 0^70. 
1. 590. Probably read irfSapapoi, for he corrects it to ireSovpoi, 

1. 591. Had no dV ; for he explains (ppdaai as imperative, kworjaov. 

1. 613. Apparently dX\d S-q riv' ; explained as governed by jVtw. 

1. 640. aovrai : explained as vpuq. 

1. 645. -napiK^avTis and no verb : says partic. = verb. 

1. 734- Tovs ^evovs : governs it by Kparovaa ! 

1. 794. icrOi : says yiyvojaKt. 

1. 806. KTapLivov : says dvaipiOrjaupavov, 

1. 819. ttXovtov and yorjTwv : tries to explain both words. 

1. 828. warpos epycp : gives a wild explanation, quoting the words. 

1. 968. kXarrjpiov : gives three explanations, all neuter sing. 

1. 1009. 5i(i Trair' drtfios ajxeiiperai : apparently makes vavra governed 
by Siafxdij/tTai ! 



84 



GENERAL INDEX. 



AnsTRACT for concrete : — 

dnai6\r]fj,a, 988. 

axv< 586. 

(Knepafta, 655. 

ai^as, is;/. 

arv-^os, 532, 770. 

Tifiai, 399. 
Acci.mulatioii of adjectives, 425. 
-■ images, 258, 452. 

UKTT], 722. 

(\\\' ^, 220, I 74. 

aXAa . . . yop, 375. 
Anachronism, 662. 
Anacoluthon, 410, 520, 791, 893. 
avTiSovKos. 135. 
Aposiopesis, 192. 
Article displaced, 496. 
— — (Epic), 278,639. 
avTuKomos, 165. 

IJeasts, embroidered, 232. 

Caesura, 493. 

Comparison abridged, 177, 230. 

batfjiovaoo, •;66. 
5*' displaced, 519. 
Double entendre, 155. 
SpojTT;, 985. 

« and at confused, 278. 
iavTov for (^-, 221, 

ai-, III. 

tiVfToi, threat, 305. 



ffCKVKXrjiJia, 973. 
Epic usages and influences : — 
Article as demonst., 2 78, 

639- 

— omitted, 360. 
yoarai, passive, 632. 
56 for d\Aa, 841. 
(ido/xat, 176. 

(Kan, 214, 436. 

«f, after verbs of motion, 36, 

_ 952- 

Gen., of place, 183, 390. 
— . — ' separation,' 289. 

— 'hearing of,' 763. 
Dat., local, 168, 446, 8S5. 

— with Sa/xrjvai, 368. 

— with dfxoiMi, 762. 
KfKKavfxivos, 457. 
Hioo, 6 So. 

KKvTf, S02. 
Kon'i^ai, 'tend,' 262. 
KTi^oiaTO, 484. 

fitv, 622. 

Opt., as mild order, 889. 

mOrjaaaa, 6 1 8. 

rrvfiovTa, 621. 

Prep., adverbial, 908. 

Syncope, 34, 280, 282, 381. 

TfKOfifvoi, 419. 

Tmesis, 460, 574, 908. 

(paicxtTuv, 1049. 

(l>afi(vos, 316. 

(piKos, 276. 

XV/J'C'os, 401. 
Euphemism, 438. 
(iptSpos, S66. 

S5 



GENERAL INDEX. 



' Fear in fear,' 35. 

'^ovias, 1067. 

Hair, offered to rivers, 6. 
Homeliness, 757. 
Hyperboreoi, 373. 

dfTooKvOpanrov, 738. 

^ -nws ; 767. 

Irony, dramatic, 668, 688. 

Kal br}, 565. 

Kai n^qv, 1 74. 

Koi Ttuis ; 179, 776. 

Katvt^w, 452. 

KaT(\6eti>, 3. 

Koivos (of kindred), 1038. 

KVfxa, 128. 

\a0as ofioias, 498. 
Liistral rites, 98. 

Masc. plur. of women, 176. 

(generalising), 688, 886. 

Meiosis, 447. 
Metaphors : — 

Childbirth, 805. 

Dice, 969. 

Driving, 794, 1022. 

Eyes, 934. 

Flowers, 1009. 

Medicine, 471, 539. 

Music, 467. 

Kaces, 514, 576, 1022. 

Ships, 529. 

Veils, 810. 
/j.a\\ov 'ytutadai, 379. 
ft(v ovv, 9S5. 
Morals, early crude, 919. 
fxovariv, 122. 



Negative, omitted, 29.^. 
vofii^aj, loi, 1003. 

ivUfifxpos, 230. 

Oxymoron, 296. 
ovSe firjv, 189. 
ovv, in alternatives, 6S3. 
v(p6a\fjL6s, 933. 

Personification, 32, 194. 
7rfv6ofj.at, 679. 

Plural, euphemistic, 39, 384. 
— generalising, 688,' 886. 
TTovoi, ' wealth won by toil,' 137. 
Pregnant construction : — 

Sivp' (nonTtvaai, 583. 

TTOi TeKfvrq 5528. 

Tov Ik 0v6ov, 507. 
■npiitoj, 12, 18, 24. 

Recognition signs, 205. 
Repetition, 5, 390. 

avWvoj, 294. 

avvfCLV (Kara), const., S93. 

Superstitions : — 

Dreams, 33, 526. 

Hair offered to rivers, 6. 

Mutilation, 439. 

Self interest of gods, 255. 

Sons the children of the father, 
502. 

' Three falls,' 339. 
ri?, generalising, 59. 
T\-qfj.cxiv, 3 S3. 
Tmesis, 460, 574. 
Transference, 31. 

TVX'^lV, 14. 

\06vios, I. 

wffirfp ovv, 96, 888. 

Zeugma, 360. 



86 



GRAMMATICAL INDEX. 



a. Cases and Prepositions, 
Notni)iativc : — 

Loose apposition, 28, 644. 
Pendens (provisional \ 520, 791. 

Accusative : — 

Accusative infinitive for dative, 

1032. 
After adjective, 23,155. 

— Kpardv, 81. 

— ^(TiXOiiv, 996. 

— passive, 676. 
Anacoluthon, for dative. 410. 
Apposition to act, 200, 799. 
Provisional, 675, 749. 

Genitive : — 

' Hearing of,' Epic, 763. 
Origin, 204. 
Place, Epic, 183. 
Possession, strained, iSo. 
Separation, 289. 
Sphere of motion, 710. 
With aTifios, 408. 
(K, ' after,' 398. 
ff/><5s, ' by,' 1 33, 346. 
TTpui SvatTfPdai, 704. 
Toi' ix PvOov, pregn., 507. 
viru, accompaniment, 1025. 

Dative : — 

After inaivai, 58 1. 

— Safi^vai, 3^)8. 

— St'xo/iai, 762. 

— k\vw, 156. 
Cause, 53, 83. 



fv (niTvaj), 36. 

— (wt'o)), 952. 

(TTi v'lKTi, 'for,' 868. 
Instrumental, double, 24. 

— with verbal, 303. 
Local, 168, 446. 
dfi(pi Tap^u, 547. 

_ iTfpl <p6l3q), 'in,' 35. 

d. Moods and Tenses. 
Indicative : — 

Aorist, gnomic, habitual, 416, 
633, 666. 

— momentary, loS, 423. 
Future, final, onws, 265. 
Past, final, with uitqjs, 196. 
Plural, agreement with predi- 
cate, 322. 

Present, prophetic, 550. 

Imperative : — 
o.va'ii with plural, 963. 

Subjunctive : — 
After ov fxrj, 895. 
Conditional, nav, 283. 
Deliberative, 12, 87, no, 171, 
187. 855, 925. 

— indirect, 91, 192. 
Final, oirojs av, 580. 

— ws av, 21, 556, 995, 1021. 

— t^f, 439. 737. 7^'7- 
Hortative, 20, 872, 890. 
Indefinite, <vt' dv, 743. 

— orav, 966. 

— SjVTttp dv, 780. 
Prohibitive. 503, 1044. 

87 



GRAMMATICAL INDEX. 



Optative : — 
Delicacy, 105. 
Mild order, 8S9. 
Remote deliberative, 172, 595. 

Infinitive : — 

Accusative infinitive, after or 
comparative, 850. 

— consecutive, 370. 

— (Kara awfaiv), 529. 
Consecutive, 289. 

— accusative infinitive, 370. 



Consecutive, ro, 302. 
Oblique petition, {Kara avvfaw), 
94. ^ 

— KTjpvaaoo, 1 24. 

— A«7«, 143, 274. 
Prayer, 307. 
Supplied after ti, 1002. 
w(t>e\(s omitted, 366. 

Participle : — 

Aorist, time of, 396, 459. 
Without article (Epic), 360. 



INDEX OF NAMES. 



Althaia, 602. 
Arian, 423. 

Daulis, 674. 

Ge, 399. 

Hermes, i. 
Hyperborei, 373. 

Tnachos, 6. 

Kilissa, 732. 
Kissia, 423. 

Lemnians, 631, 



Loxias, 1059. 

Medusa, 831. 
Meleagros, 602. 
Minos, 614. 

Nisos, 614, 

Parnassos, 563. 
Perseus, 831. 

Skylla. 614. 
Strophios, 562. 

Thestios, 602. 
Thyestcs, 1069. 



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Fifth Tetralogies, separately, paper 

covers, 2s. each. 
Theophrasti Characteres. Diels. 

3s. 6d. 
Thucydidis Historiae. Stuart Jones. 

2 vols., 3s. 6d. each. 
\ (Complete, 8s. 6d.) 
/Xenophontis Opera. Marchant. 
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2S. 

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