Chapter 26

[464]vv. 1049-52 and elsewhere in the last scene.[465]vv. 1020-5.[466]Arrangement(according to Croiset): protagonist, Hippolytus; deuteragonist, Aphrodite, Phædra, Theseus (the body of Phædra being represented by a lay-figure); tritagonist, Artemis, servant (who announces the suicide), nurse, messenger.[467]This additional name (The Crowned H.) was given to distinguish the play from the earlier Ἱππόλυτος Καλυπτόμενος (now lost), orHippolytus Veiled.[468]vv. 73-87.[469]vv. 121-5.[470]vv. 208-31. Cp. vv. 219-21 with vv. 1375sq.[471]vv. 732-51.[472]vv. 828-9.[473]vv. 1423-30.[474]vv. 616-68. He seems to begin listening to the sound of his own voice at v. 654.[475]vv. 728-31.[476]vv. 831-3. Hippolytus agrees, vv. 1379-83.[477]vv. 967-9, where note the emphatic ἐγώ. And the word νόθος is frequent in the play; see especially Hippolytus’ exclamation in vv. 1082-3, which, by a finely dramatic stroke, immediately turns Theseus’ anger to hot fury.[478]vv. 337-41.[479]Professor Murray.[480]vv. 29-33.[481]Cp. vv. 490sq.[482]vv. 191-7 (Professor Murray’s translation).[483]vv. 439-61.[484]Cp. vv. 474sq.:—λῆξον δ’ ὑβρίζουσ’· οὐ γὰρ ἄλλο πλὴν ὕβριςτάδ’ ἐστί, κρείσσω δαιμόνων εἶναι θέλειν.[485]vv. 493-6.[486]vv. 507sq.[487]vv. 1034sq.[488]vv. 415sqq.Compare her whole attitude. Indeed the poet suggests, as at any rate a collateral reason for her destruction of Hippolytus, a fear that he will reveal her secret (vv. 689-92).[489]vv. 373-430.[490]Agamemnon, vv. 160-83.[491]In the first edition of the play, to which it seems that most of the ancient strictures apply.[492]vv. 135-40.[493]v. 384: τερπνὸν κακόν.[494]v. 281: ἔκδημος ὦν γὰρ τῆσδε τυγχάνει χθονός.[495]v. 384: μακραί τε λέσχαι καὶ σχολή, τερπνὸν κακόν.[496]vv. 337,sqq.[497]v. 328, etc.[498]vv. 503-6.[499]v. 512.[500]See Professor Murray’s admirable remarks (p. 81 of his translation).[501]In the trivial question, v. 516: πότερα δὲ χριστὸν ἢ ποτὸν τὸ φάρμακον; she is dangerously toying with the proposal. The nurse’s reply is a half-quaint, half-heartbreaking quotation from childish days when the little Phædra was querulous with her “medicine” as now: ὄνασθαι, μὴ μαθεῖν, βούλει, τέκνον.[502]We notice incidentally the amazing dexterity shown by the line (565) in which she announces her discovery: σιγήσατ’, ὦ γυναῖκες, ἐξειργάσμεθα. It is a perfectly clear piece of Greek; it is also a series of gasps.[503]v. 1035.[504]See the GreekArgument.[505]In our play the poet leaves his heroine silent on this topic, but hints it himself for us. See vv. 151-54, 967-70.[506]Frogs, 1041;Thesm.497, 547.[507]Frogs, 101, 1467;Thesm.275-6.[508]Hipp.612.[509]vv. 960sq., 1076sq.[510]vv. 1060-3.[511]Aristophanes in theClouds(v. 1165sq.) parodies vv. 174sq.TheCloudswas produced in 423B.C.InHecuba, v. 462, reference seems to be made to the re-establishment of the Delian festival in 426B.C.[512]Its popularity in Byzantine times is no bar to this statement. Probably all the three plays,Hecuba,Phœnissæ, andOrestes, were chosen because the Greek was comparatively easy. Euripides was already sufficiently ancient to make this an important consideration.Miss L. E. Matthaei’s essay should, however, be read (Studies in Greek Tragedy, pp. 118-57). With admirable insight and skill this scholar seeks to show that theHecubais a study, first, of “conventional” justice, the claim of the community, shown in the sacrifice of Polyxena; and, secondly, of “natural” justice, seen in Hecuba’s revenge. Miss Matthaei’s treatment, however subjective, is trenchant and illuminating, especially as regards the psychology of Hecuba and Odysseus, the value of Polyxena’s surrender, and thefinale. But concerning the vital point, lack of dramatic unity, she has little to say, apparently only the suggestion (p. 140) that “the cumulative effect of finding the body of Polydorus after having seen Polyxena taken away is the deciding factor; otherwise the end of the play would have been simply unbelievable”. The strength of this argument is very doubtful.[513]See Mr. Hadley’s admirableIntroductionto the play (pp. ix-xii).[514]vv. 779sq.[515]vv. 428-30, 671, 894-7, 1287sq.[516]v. 230.[517]vv. 814-9, 1187-94.[518]In 427B.C.[519]vv. 905sqq.[520]vv. 342-78.[521]vv. 518-82.[522]vv. 953-67.[523]vv. 796sq.provide an example:—ἔκτεινε, τύμβου δ’, εἰ κτανεῖν ἐβούλετο,οὐκ ἠξίωσεν, ἀλλ’ ἀφῆκε πόντιον.[524]Note his absurd insistence (vv. 531-3) on his own trivial part in the sacrifice-scene.[525]vv. 592-603 (the last line being an apology for the digression), 864-7.[526]vv. 799sqq.[527]vv. 585sqq., 806-8.[528]v. 421: ἡμεῖς δὲ πεντήκοντά γ’ ἄμμοροι τέκνων. Comment seems obvious: “Actually enough children to row a galley!” (πεντηκόντορος ναῦς).[529]vv. 68sqq.[530]vv. 702sqq.[531]Probably it was composed during the early years of the Peloponnesian war, as the scholiast suggests in a note on v. 445.[532]Schol. on v. 445.[533]Her son, who is not given a name in the play, no doubt obtains it from this prophecy.[534]Mention of such a conflict naturally occurs (vv. 588sq.) in the heat of their quarrel, but it comes to nothing. That the old king has no military following seems certain from the silence of both parties. See particularly vv. 752sqq.[535]vv. 732sqq.Note the stammering repetition of τις—he cannot even suggest a name.[536]It may be answered that here, as elsewhere, the time consumed by the choric ode is conventionally supposed long enough to allow for the alleged synchronous action. But how much time is required? Orestes is to place Hermione in Menelaus’ care, journey to Delphi, and arrange his plot; then the slaves are to carry the body home. This certainly means three days; one would expect a week. Thus Peleus only hears of Hermione’s departure three days (perhaps a week) after it has occurred. Is this credible? See also the conversation between him and the chorus which implies that the news has reached him within an hour or two.[537]Four Plays of Euripides, pp. 1-42.[538]vv. 1239sqq.(Δελφοῖς ὄνειδος).[539]It is usually supposed to mean “one of the second-rate plays”.[540]vv. 929-53.[541]vv. 595-601.[542]v. 964: ἦλθον δὲ σὰς μὲν οὐ σέβων ἐπιστολάς, κτἑ. There can be hardly a doubt that these words refer to their parting before her marriage, when she forbade him to see her again.[543]vv. 639, 708sqq.Cp. Verrall, p. 38.[544]Eg.vv. 229sq.[545]Cp. Verrall, pp. 29sq.[546]v. 166. This is the type of drama at which Sophocles shook his head and which Aristophanes reviled. But it must have made many a slave-holding citizen in the theatre suddenly raise his brows and fall to thinking of words let drop an hour ago at home.[547]vv. 1147sqq.: The some one of course might be anyone. The speaker elects to assume that the god is actually present.[548]vv. 1002sqq., especially 1004.[549]vv. 464-94.[550]vv. 147-80.[551]vv. 164sqq.[552]vv. 445-63.[553]Eg.vv. 632sqq.[554]Arrangement(according to Croiset): protagonist, Amphitryon, Madness; deuteragonist, Megara, Iris, Theseus; tritagonist, Lycus, Heracles, messenger. Of course the dead bodies are lay figures. Other arrangements are possible.[555]vv. 637-700.[556]vv. 70-9, 460-89.[557]vv. 1255-1310, 1340-93.[558]vv. 140-235.[559]Four Plays of Euripides, pp. 134-98.[560]vv. 339sqq., etc.[561]vv. 798sqq.[562]vv. 1340-6.[563]Especially vv. 1269sqq.[564]The appearance of Pallas (vv. 1002-6) is regarded by Verrall as “a chance blow received by the madman from the falling ruins of the chamber”.[565]In vv. 562-82 he raves, however eloquently. One man cannot capture a whole fortress and punish a hostile population as Amphitryon (vv. 585-94) feels, though his caution and prosaic advice are painfully ludicrous considering the vast claims he has made for his son an hour ago.[566]v. 1222.[567]Compare the similar explanation of a wonderful feat actually offered by Lycus (vv. 153sq.).[568]Cp. Verrall, pp. 147sq.[569]Ibid.pp. 156, 162.[570]vv. 65-6.[571]vv. 485-9.[572]Probable Arrangement: protagonist, Theseus, messenger; deuteragonist, Adrastus, Evadne; tritagonist, Æthra, herald, Iphis, Athena.[573]The plot strongly recalls the incident after the battle of Delium (424B.C.), when the victorious Bœotians at first refused to surrender the Athenian dead, and the alliance between Athens and Argos (420B.C.).[574]The Hypothesis says: τὸ δὲ δρᾶμα ἐγκώμιον Ἀθηναίων (altered by Dindorf with general approval to Ἀθηνῶν).[575]vv. 195-218.[576]vv. 403-56.[577]vv. 297-331.[578]She has arrayed herself, not in black but in festal robes (vv. 1054-6)—an interesting parallel with the fine ending of the second act of Mr. Shaw’sDoctor’s Dilemma.[579]Probable Arrangement: protagonist, Ion, Pædagogus; deuteragonist, Hermes, Creusa; tritagonist, Xuthus, servant, prophetess, Athena.[580]vv. 1537sq.[581]ἀμαθής (v. 916, used by Creusa).[582]ὁ κακός (v. 952, used by the Pædagogus).[583]v. 1595.[584]vv. 550sqq.are probably significant (and Ion actually the son of Xuthus).[585]Cp. v. 1324 and the rest of the short conversation between her and Ion, which is of course charming on any view of the play.[586]vv. 859sqq.[587]vv. 1029sqq.[588]Cp. v. 1419: οὐ τέλεον, οἷον δ’ ἐκδίδαγμα κερκίδος, and Ion’s acknowledgment (v. 1424): ἰδού· τόδ’ ἐσθ’ ὕφασμα, θέσφαθ’ ὡς εὑρίσκομεν. This latter surely means that Ion is as satisfied as one can expect to be in tracing the fulfilment of oracles.[589]Cp. v. 1565: μηχαναῖς ἐρρύσατο.[590]v. 1550: πρόσωπον.[591]οὐ πέδον τίκτει τέκνα says the elder man (v. 542), casually turning his back on the glory of his wife’s family (cp. vv. 265-8).[592]vv. 585sqq.[593]vv. 738-46.[594]v. 768sqq.[595]vv. 1215sqq.[596]His very religion, when put to the test, is mostly intellectual. Apollo’s moral shortcomings only cause him to shake his head gravely; but when the god’s truthfulness is exploded, the whole fabric of his belief collapses.[597]vv. 369-72.[598]vv. 436-51. The above paraphrase is probably not too colloquial (cp. especially v. 437: τί πάσχει; and v. 439: μὴ σύ γε). In fact, as the speech is so very explicit and unadorned, and as Ion is probably uttering it while he performs his tasks (see 434-6, after which these reflections begin in the middle of a line), we perhaps overhear thoughts rather than words.[599]vv. 589sqq.[600]vv. 1312sqq.[601]vv. 1546sqq.[602]vv. 369sqq.[603]vv. 308, etc.[604]vv. 1397sqq.[605]vv. 1468sq.[606]Arrangement(probable): protagonist, Hecuba; deuteragonist, Athena, Cassandra, Andromache, Helen; tritagonist, Poseidon, Talthybius, Menelaus.[607]Ælian,Var. Hist.ii. 8.[608]There are reminders of the western lands in vv. 220sqq.[609]vv. 703sqq.[610]vv. 1158sqq.[611]v. 764: ὦ βάρβαρ’ ἐξευρόντες Ἕλληνες κακά (Andromache’s phrase).[612]vv. 884sqq.(The first line refers to air.) If we possess any evidence as to the theological belief of the poet himself it is probably contained in these lines.[613]vv. 469sqq., 841sqq., 1060sqq.(especially the poignant μέλει μέλει μοι), 1240sqq.[614]vv. 1204sqq.:—τοῖς τρόποις γὰρ αἱ τύχαι,ἔμπληκτος ὡς ἄνθρωπος, ἄλλοτ’ ἄλλοσεπηδῶσι.The phrasing points back effectively to Poseidon’s description of Athena’s fickleness (vv. 67sq.: τί δ’ ὧδε πηδᾷς ἄλλοτ’ εἰς ἄλλους τρόπους;).[615]Thearrangementis uncertain. Perhaps: protagonist, Iphigenia; deuteragonist, Orestes, messenger, Athena; tritagonist, herdsman, Pylades, Thoas.[616]Murray and others place it about 414-2, Wilamowitz, 411-9.[617]v. 1205: πιστὸν Ἑλλὰς οἶδεν οὐδέν.[618]v. 626: πῦρ ἱερὸν ἔνδον, χάσμα δ’ εὐρωπὸν πέτρας—a marvellous line.[619]vv. 823-6.[620]v. 677: Φωκέων τ’ ἐν πολυπτύχῳ χθονί.[621]See especially the lovely song, vv. 1089sqq.[622]vv. 968sqq.[623]One can hardly doubt that this is the intention of the scene on the Taurian beach (vv. 281-94).[624]vv. 711sqq.The feelings of the Delphian hierarchy, when Orestes after all actually returned, bringing with him the image—about which they cared not a farthing—may be imagined by the irreverent.[625]v. 77.[626]v. 275.[627]vv. 380sqq.[628]vv. 719sq.[629]See Verrall,Eur. the Rationalist, pp. 217-30 (Euripides in a Hymn).[630]Longinus,de Subl.xv. 3.[631]vv. 970sqq.

[464]vv. 1049-52 and elsewhere in the last scene.

[465]vv. 1020-5.

[466]Arrangement(according to Croiset): protagonist, Hippolytus; deuteragonist, Aphrodite, Phædra, Theseus (the body of Phædra being represented by a lay-figure); tritagonist, Artemis, servant (who announces the suicide), nurse, messenger.

[467]This additional name (The Crowned H.) was given to distinguish the play from the earlier Ἱππόλυτος Καλυπτόμενος (now lost), orHippolytus Veiled.

[468]vv. 73-87.

[469]vv. 121-5.

[470]vv. 208-31. Cp. vv. 219-21 with vv. 1375sq.

[471]vv. 732-51.

[472]vv. 828-9.

[473]vv. 1423-30.

[474]vv. 616-68. He seems to begin listening to the sound of his own voice at v. 654.

[475]vv. 728-31.

[476]vv. 831-3. Hippolytus agrees, vv. 1379-83.

[477]vv. 967-9, where note the emphatic ἐγώ. And the word νόθος is frequent in the play; see especially Hippolytus’ exclamation in vv. 1082-3, which, by a finely dramatic stroke, immediately turns Theseus’ anger to hot fury.

[478]vv. 337-41.

[479]Professor Murray.

[480]vv. 29-33.

[481]Cp. vv. 490sq.

[482]vv. 191-7 (Professor Murray’s translation).

[483]vv. 439-61.

[484]Cp. vv. 474sq.:—λῆξον δ’ ὑβρίζουσ’· οὐ γὰρ ἄλλο πλὴν ὕβριςτάδ’ ἐστί, κρείσσω δαιμόνων εἶναι θέλειν.

[484]Cp. vv. 474sq.:—

λῆξον δ’ ὑβρίζουσ’· οὐ γὰρ ἄλλο πλὴν ὕβριςτάδ’ ἐστί, κρείσσω δαιμόνων εἶναι θέλειν.

λῆξον δ’ ὑβρίζουσ’· οὐ γὰρ ἄλλο πλὴν ὕβρις

τάδ’ ἐστί, κρείσσω δαιμόνων εἶναι θέλειν.

[485]vv. 493-6.

[486]vv. 507sq.

[487]vv. 1034sq.

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

[489]vv. 373-430.

[490]Agamemnon, vv. 160-83.

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

[492]vv. 135-40.

[493]v. 384: τερπνὸν κακόν.

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

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

[496]vv. 337,sqq.

[497]v. 328, etc.

[498]vv. 503-6.

[499]v. 512.

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

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

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

[503]v. 1035.

[504]See the GreekArgument.

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

[506]Frogs, 1041;Thesm.497, 547.

[507]Frogs, 101, 1467;Thesm.275-6.

[508]Hipp.612.

[509]vv. 960sq., 1076sq.

[510]vv. 1060-3.

[511]Aristophanes in theClouds(v. 1165sq.) parodies vv. 174sq.TheCloudswas produced in 423B.C.InHecuba, v. 462, reference seems to be made to the re-establishment of the Delian festival in 426B.C.

[512]Its popularity in Byzantine times is no bar to this statement. Probably all the three plays,Hecuba,Phœnissæ, andOrestes, were chosen because the Greek was comparatively easy. Euripides was already sufficiently ancient to make this an important consideration.Miss L. E. Matthaei’s essay should, however, be read (Studies in Greek Tragedy, pp. 118-57). With admirable insight and skill this scholar seeks to show that theHecubais a study, first, of “conventional” justice, the claim of the community, shown in the sacrifice of Polyxena; and, secondly, of “natural” justice, seen in Hecuba’s revenge. Miss Matthaei’s treatment, however subjective, is trenchant and illuminating, especially as regards the psychology of Hecuba and Odysseus, the value of Polyxena’s surrender, and thefinale. But concerning the vital point, lack of dramatic unity, she has little to say, apparently only the suggestion (p. 140) that “the cumulative effect of finding the body of Polydorus after having seen Polyxena taken away is the deciding factor; otherwise the end of the play would have been simply unbelievable”. The strength of this argument is very doubtful.

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

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

[514]vv. 779sq.

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

[516]v. 230.

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

[518]In 427B.C.

[519]vv. 905sqq.

[520]vv. 342-78.

[521]vv. 518-82.

[522]vv. 953-67.

[523]vv. 796sq.provide an example:—ἔκτεινε, τύμβου δ’, εἰ κτανεῖν ἐβούλετο,οὐκ ἠξίωσεν, ἀλλ’ ἀφῆκε πόντιον.

[523]vv. 796sq.provide an example:—

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

ἔκτεινε, τύμβου δ’, εἰ κτανεῖν ἐβούλετο,

οὐκ ἠξίωσεν, ἀλλ’ ἀφῆκε πόντιον.

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

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

[526]vv. 799sqq.

[527]vv. 585sqq., 806-8.

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

[529]vv. 68sqq.

[530]vv. 702sqq.

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

[532]Schol. on v. 445.

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

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

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

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

[537]Four Plays of Euripides, pp. 1-42.

[538]vv. 1239sqq.(Δελφοῖς ὄνειδος).

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

[540]vv. 929-53.

[541]vv. 595-601.

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

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

[544]Eg.vv. 229sq.

[545]Cp. Verrall, pp. 29sq.

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

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

[548]vv. 1002sqq., especially 1004.

[549]vv. 464-94.

[550]vv. 147-80.

[551]vv. 164sqq.

[552]vv. 445-63.

[553]Eg.vv. 632sqq.

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

[555]vv. 637-700.

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

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

[558]vv. 140-235.

[559]Four Plays of Euripides, pp. 134-98.

[560]vv. 339sqq., etc.

[561]vv. 798sqq.

[562]vv. 1340-6.

[563]Especially vv. 1269sqq.

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

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

[566]v. 1222.

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

[568]Cp. Verrall, pp. 147sq.

[569]Ibid.pp. 156, 162.

[570]vv. 65-6.

[571]vv. 485-9.

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

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

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

[575]vv. 195-218.

[576]vv. 403-56.

[577]vv. 297-331.

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

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

[580]vv. 1537sq.

[581]ἀμαθής (v. 916, used by Creusa).

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

[583]v. 1595.

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

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

[586]vv. 859sqq.

[587]vv. 1029sqq.

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

[589]Cp. v. 1565: μηχαναῖς ἐρρύσατο.

[590]v. 1550: πρόσωπον.

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

[592]vv. 585sqq.

[593]vv. 738-46.

[594]v. 768sqq.

[595]vv. 1215sqq.

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

[597]vv. 369-72.

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

[599]vv. 589sqq.

[600]vv. 1312sqq.

[601]vv. 1546sqq.

[602]vv. 369sqq.

[603]vv. 308, etc.

[604]vv. 1397sqq.

[605]vv. 1468sq.

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

[607]Ælian,Var. Hist.ii. 8.

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

[609]vv. 703sqq.

[610]vv. 1158sqq.

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

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

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

[614]vv. 1204sqq.:—τοῖς τρόποις γὰρ αἱ τύχαι,ἔμπληκτος ὡς ἄνθρωπος, ἄλλοτ’ ἄλλοσεπηδῶσι.The phrasing points back effectively to Poseidon’s description of Athena’s fickleness (vv. 67sq.: τί δ’ ὧδε πηδᾷς ἄλλοτ’ εἰς ἄλλους τρόπους;).

[614]vv. 1204sqq.:—

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

τοῖς τρόποις γὰρ αἱ τύχαι,

ἔμπληκτος ὡς ἄνθρωπος, ἄλλοτ’ ἄλλοσε

πηδῶσι.

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

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

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

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

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

[619]vv. 823-6.

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

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

[622]vv. 968sqq.

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

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

[625]v. 77.

[626]v. 275.

[627]vv. 380sqq.

[628]vv. 719sq.

[629]See Verrall,Eur. the Rationalist, pp. 217-30 (Euripides in a Hymn).

[630]Longinus,de Subl.xv. 3.

[631]vv. 970sqq.

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