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600085437X
THE AGAMEMNON
OF
AESCHYLUS.
Cambridge : PRINTED BY C. J. CLAY, M.A, AT THE UNIVERSITY PRESS.
THE AGAMEMNON
OF
AESCHYLUS
WITH A METRICAL TRANSLATION AND NOTES CRITICAL AND ILLUSTRATIVE
BY
BENJAMIN HALL KENNEDY, D.D.
REGIUS PROFESSOR OF GREEK, AND HONORARY FELLOW OF ST JOHN’S COLLEGE, CAMBRIDGE ; CANON OF ELY.
EDITED FOR THE SYNDICS OF THE UNIVERS.
Er Or . NOV IERZ .ἢ
~
SECOND EDITION. © LY ODL ERS
Cambridae: AT THE UNIVERSITY PRESS.
Zonton; CAMBRIDGE WAREHOUSE, 17, PATERNOSTER Row.
Cambridge; DEIGHTON, BELL, AND CO. Reipsig: F. A. BROCKHAUS.,
1882
L4z Rights reserved.)
HONORI + ET » MERITIS ALMAE - MATRIS - CANTABRIGIAE CVI - QVANTVM - IPSE - DEBEAT TESTES - SVNT » ANNALES + ACADEMICI HOC + OPVSCVLVM + QVALECVMOQVE - SIT VERECVNDE - DEDICARE + VELIT +» EDITOR INEVNTE » ANNO - AETATIS - SVAE - SEPTVAGESIMO +» OCTAVO
A.D. VIII. ID. NOVEMB. A.S. MDCCCLXXXI.
K. A. ᾽
INTRODUCTION
TO THE FIRST EDITION.
I. 1. The Agamemuon is the first play in the Tri- logy called ᾿Ορεστεία, acted B.C. 458, Οἱ 80, 2, in the archonship of Philocles, three years before the death of Aeschylus. The other two tragedies which follow it are the Choephoroe and Eumenides: with them was acted the Satyric drama Proteus, probably at the great Dio- nysia (τὰ κατ᾽ ἄστυ); and the prize was awarded to our poet. He had a patriotic motive, arising from his strong conservative opinions, for the constitution of the plot of the third play. The authority of the ancient court of Areopagus was menaced with diminution, if not extinc- tion, by a law which Ephialtes brought forward, on the instigation of Pericles, who led the democratic party in Opposition to Kimon, the son of Miltiades. Aeschylus, a stern aristocrat, desired by his Azmenzides to support the dignity and power of this venerable institution, which he there represents as holding a solemn trial of Orestes under the presidency of Pallas Athene, the tutelar of Athens.
2. These three tragedies must be regarded as con- stituting one great whole; three acts, as it were, of one plot. In the first play, the Agamemnon, is ‘the Crime.’
G2
viii INTRODUCTION
The victorious king, returning from Troy, is murdered by his wicked wife Clytaemnestra with the help of her paramour Aegisthus, In the second, the Choephoroe, is ‘the Vengeance.’ Orestes returns from his retreat in Phokis, circumvents Clytaemnestra and Aegisthus, and puts both to death: but, having thus contracted the guilt of matricide, he becomes a victim to the haunting torture of the Furies (Erinyes or Eumenides). In the third—the Lusmenides—we have ‘the Avenger’s Trial.’ Orestes flies to Delphi, there obtains the protection of Apollo, who procures for him a trial before the ancient court of Areopagus, under the presidency of Pallas. The Furies plead against him, Apollo speaks for the defence : at the close Orestes is acquitted by the casting vote of the goddess, restored to his civil rights, and freed from the persecuting power of the Furies, whom Pallas con- soles with the promise of a grove and sacred rites at Colonus near Athens.
II. 4. Aeschylus, like his contemporary Pindar, is
a strictly religious pagan. But his religion is of a sterner and gloomier cast than Pindar’s; probably chequered by his philosophic studies in the schools of Sicily and Italy. He may well be called a pessimist, nay, the very patriarch and first preacher of pessimism. Look at his Prometheus. In that drama, man born to trouble, as the sparks fly upwards (450 &c., τάν βροτοῖς δὲ πήματα «.7.r.), has gained through Prometheus all that is to raise him from his low estate; natural science, letters, numbers, medicine, arts, with their ministers, fire and metals:
βραχεῖ δὲ μύθῳ πάντα συλλήβδην μάθε,
πᾶσαι τέχναι βροτοῖσιν ἐκ Προμηθέως.
And with what issue? For these benefactions to mcn
* TO THE FIRST EDITION. __ x the benefactor is expelled from heaven, chained on Cau- casus, and tormented by command of the divine ruler Zeus. True it is, a hope is held out of better things (521 &c.), but a very distant, a very indefinite one. Art, says Prometheus, is weaker than Necessity. Who, asks the Chorus, guides the rudder of Necessity ?—-The Fates and the Furies.—Is Zeus then weaker than these ?—He cannot escape Destiny.—What is destined for him, but to reign for ever? To this question Prometheus refuses a reply: the season is not come. Τῆς Προμηθεὺς λυόμενος is lost, and we cannot take the answer from the modern voice of Shelley.
2. The supreme power then, according to Aeschy- lus, in human affairs, is Μοῖρα, τὸ πεπρωμένον, Fate or Destiny. In the Prometheus he expands this power into that mythic trinity (Μοῖραι τρίμορφοι, Clotho, Lachesis and Atropos) which Rome adopted with the title ot Parcae, but also with that of Fata, afterwards Fatae, from whom we get our Fays or Fairies. Again, he recognises them in the Choephoroe, ὦ μεγάλαι Μοῖραι (304); and thrice in the Lumenzdes, where he calls them half-sisters of the Furies: and makes the latter reproach Apollo with having ruined or destroyed (φθίσας) the antique Fates by receiving Orestes at Delphi (1165), and again with having persuaded the Fates to make mortals im- mortal by the restoration to life of Alcestis (694). But, in the Agamemnon, Fate (Μοῖρα or τὸ πεπρωμένον) is spoken of only in the singular, except perhaps, in one remarkable passage (947), which will be considered when we reach it. In short, Aeschylus believes in predestina- tion as strongly as the author of the Koran or the great Genevese interpreter of the Bible.
THE AGAMEMNON
OF
AESCHYLUS.
xii INTRODUCTION
bush. And in Iv. 512 &c. Proteus tells a similar story to Menelaus. Neither of these narratives ascribes to Cly- taemnestra a direct share in the deed, but her guilt is: implied in the fact that she marries Aegisthus, and so conveys to him the throne of Argos. But in Iv. 92, Menelaus imputes the crime to her treachery : τείως μοι ἀδελφεὸν ἄλλος ἔπεφνεν λάθρη, ἀνωιστί, δόλῳ οὐλομένης ἀλόχοιο. Virgil, a careful student of Greek dramatic poetry, adopts the Aeschylean story: Ipse Mycenaeus magnorum ductor Achivom coniugis infandae prima inter limina dextra oppetiit :.devictam Asiam subsedit adulter. Aen. Χι. 266. This version of the legend Aeschylus must have drawn from post-Homeric poetry, probably from Stesi- chorus.
IV. τ. In the earliest age of the Greek drama, the Chorus was all in all. Thespis is said to have added -a monologue by a single actor; which was improved and dignified by Phrynichus. To Aeschylus is ascribed the introduction of dialogue. But in his plays, as might be expected, the Chorus continues to occupy a more important place than in those of Sophocles and Eu- ripides. In the Supplices and Eumenides it consists of persons directly and prominently concerned in the story. In the Prometheus and the Septem contra Thebas, as in the Choephoroe, the choral maidens have the position of sympathizers only, but the action of the two former plays is so slight as hardly to deserve the name of a dramatic plot. This is true of the Persae also: but in that play the members of the Chorus hold the important
TO THE FIRST EDITION. il
rank described by themselves in the opening lines: and they have, consequently, a. prominent interest in the events that follow. Analogous to their position is that of the aged men (πρέσβος ᾿Αργείων) who form the Chorus of the Agamemnon, K. Ottfried Miiller justly saw that they (twelve in number) represént a council of state appointed to cooperate with Clytaemnestra during the absence of Agamemnon. Hence the patriotic solicitude which they exhibit throughout; hence the anxious doubts they hint to the herald and to Agamemnon; hence their brief and hurried consultation at the moment when they realize the assassination of the king (a passage which almost seems meant to caricature the ‘strenuous inertness’ of political assemblies): hence the menacing indignation with which in the close of the play they reproach the guilty queen, and defy the regicide Aegisthus.
2. Outlines of the choral songs, and of the suc- cessive dialogues in which the plot is developed, will be found in the Notes accompanying the English Trans- lation.
3. As to the characters introduced :—
(1) The Watchman (Φύλαξ), who speaks the Pro- logue and then disappears, is a servant of the royal household, a somewhat grumbling spruchsprecher, but staunchly loyal to his absent lord.
(2) The herald Talthybius, in the second Epeiso- dion, after saluting his country and its deities, an- nounces in a pompous tone the approaching arrival of Agamemnon, then details with doleful emphasis the sufferings of the army on its outward voyage, and at Troy; and afterwards describes the violent tempest
χὶν INTRODUCTION
by which the returning fleet was scattered. Aeschylus has assigned to this personage, in his two latter speeches, a tedious and disjointed style, for which it is not easy to discover a reason.
(3) Of Agamemnon’s character, as it appears in the third Epeisodion, there is not much .to be said. His tone and language are dignified; his sentiments religious, sage, and suitable to a constitutional βασι- λεύς : he disapproves the oriental honours prepared for him, arid declines to accept them: but a few sophistries of his treacherous wife prevail against his better judg- ment, and she leads him, walking on purple tapestries, to the chamber of death. |
(4) Aegisthus is merely a contemptible and loath- some coward, gloating over the success of his stealthy vengeance,
(5) It is to the delineation of Clytaemnestra and Cassandra, and to the choral songs that Aeschylus has devoted the highest powers of his genius in this drama. The Agamemnon is often compared with the Macbeth of Shakespeare. But in any such comparison the Choephoroe must be taken with the Agamemnon ; for Macbeth contains the retribution as well as the crime; and these are distributed by Aeschylus into the first two dramas of the Orestean trilogy. In these great works of Greek and English genius there are indeed several striking parallels. In each, the plot is founded on the murder of a king: but in the one, re- venge and hatred prompt the crime; in the other, ambi- tion only. In each, a woman is the principal agent: but in Aeschylus, Clytaemnestra both plans and perpetrates and exults in the perpetration; she has a dastard for
TO THE FIRST EDITION. xv
her accomplice ; she is ‘a lioness that cohabits with a wolf.’ Shakespeare’s heroine is a lioness who breathes her own spirit into a lion less resolute than herself: she instigates to the deed, she prepares, she would even have done it, had not Duncan looked like her father as he slept. In both plots, punishment follows crime , but, in the pagan poet, the criminals merely die by the hand of one avenger: in the modern drama, re- morse is not omitted; the wife, more daring at first, breaks down first, and dies in phrensied anguish; the husband rushes to the battle-field, and falls despairing. Aeschylus has no parallel to Macbeth himself; and, were it for this cause only, he must yicld the palm in the present comparison to our ‘myriad-minded’ poet. But his choral odes abound in maxims strikingly ap- plicable to the story of Macbeth, to his crimes and his fate. Such are
βιᾶται δ᾽ a τάλαινα πειθὼ πρόβουλος, παῖς ἄφερτος ἄτας" ἄκος δὲ πᾶν μάταιον. Ag. 360 4 ’ A 49 Ud βροτοὺς θρασύνει yap αἰσχρόμητις , \ o τάλαινα παρακυπὰ πμωτοπήμων. 201 τὸ δυσσεβὲς yap ἔργον μέτα μὲν πλείονα τίκτει σφετέρᾳ δ᾽ εἰκότα γέννᾳ. 694 τῶν πολυκτόνων yap οὐκ ἄσκοποι θεοί, κελαιναὶ δ᾽ ’Epwies χρύνῳ τυχηρὸν ivr ἄνεν δίκας παλιντυχεῖ τριβᾷ βίου , 3 > ’ 3 > 9.3 κτίζουσ᾽ ἀμαυρόν, ἐν δ᾽ ἀΐστοις τελέθοντος οὔτις ἀλκά, 424
(6) A supernatural element enters into the Aes- chylean and into the Shakesperian plot. Cassandra re- -presents it in the former, the Witches in the latter; but
xvi | INTRODUCTION
the representations are widely different in most respects. The Witches are creatures of medizval credulity, satanic agents human and feminine, who tempt the innacent to sin, and lead them by fraudulent arts from crime to crime, ending in destruction. In Shakespeare’s plot they are im- portant characters, on account of the influence they ex- ercise on the feelings and actions of Macbeth. Cassandra, the frantic prophetess, whose predictions find no belief, is a personage well known in the legend of Troy ; and her interview with the Chorus, forming the fourth episode of the Agamemnon, is executed with a beauty and passionate power to which we know no parallel in the same kind. But, while she serves to heighten, we may almost say to constitute, the pathos of the play, she has no signal in- fluence in the development of the plot. Her arrival at Argos as the prize, and, according to Greek custom, the assumed paramour of Agamemnon, supplies Clytaem- nestra with a further excuse for her bloody deed, and enhances the luxury of its commission: but her motives were ample enough without it; they are, primarily, hatred and vengeance; secondarily, but, as we think, in a minor degree, ambition and guilty love. Lady Mac- beth’s crime is committed without hatred, without having a wrong to avenge, against a generous benefactor and a good sovereign. Ambition, high-soaring, all-grasping, is the one sole motive; ambition for a husband whom she loves, and, in that husband, for herself. Clytaemnestra is a mother robbed of her darling child and deserted by a husband whom she also knows to be unfaithful. Asa wronged woman, she feels none of the repentant horror and anguish which kill Lady Macbeth: she is remorse- less to her last moments. And so we recognise a just aesthesis in the delineation of both these women (so like
TO THE FIRST EDITION. xvit
in some respects, so different in others) by two great poets whom twenty centuries, with all the contrasts of ancient and modern thought, divide from one another.
V. The Scene of the Agamemnon is laid at Argos: see ll. 24, 462, 738. Yet the royal seat of Agamemnon, described as such throughout the Homeric poems, was not Argos itself, but Mycenae, which lay among the mountains in the north of the Argive plain, between five and six miles from Argos: and there its ruins have re- mained ever since its capture and destruction by the Argives B.C. 468, Οἱ 78, 1, ten years before the Ovesteia was produced. Yet Mycenae is not so much as men- tioned in the Agamemnon. Dr Schliemann, the inde- fatigable explorer of its site, in his elaborate work en- titled Mycenae and Tiryns, p. 36, says: “Strabo justly observes that, on account of the close vicinity of Argos and Mycenae, the tragic poets have made a confusion regarding their names, continually substituting the one for the other. But this is to be excused, because in antiquity travelling was both difficult and very unsafe. Besides, people were not archaeologists &c.” Mr W. G. | Clark writes more fully to the same effect in defence of Aeschylus for thus neglecting to distinguish the two neighbouring cities (Peloponnesus, p. 70). “ Rigorous exactness,” he says, “is quite alien from the spirit of Aeschylus and of all the old poets,...... The scene of the Agamemnon is before the palace of the Atreidae, and I question whether he wasted a second thought upon its site. -There is not in all the play the faintest allusion to the scenery of the Argive plain, or the relative position of its cities. Aeschylus had evidently been a diligent reader or hearer of Homer—his characters, language, and
xviii INTRODUCTION
allusions prove this...He could not, therefore, have been ignorant that Mycenae was constantly spoken of by Homer as the city and abode of the Atreidae, and yet throughout the play there is no mention of Mycenae... No doubt the citizens of Argos, as they transported the people of Mycenae and incorporated them with their own body, were anxious also to appropriate their an- cient legends and heroic fame. The Agamemnon was represented ten years after this final destruction of the ancient capital of the Atreidae. The fact that the poct does not mention the city seems to indicate that its fate excited little or no sympathy in contemporary Greece. If the Argive topography of Aeschylus is thus _ indefinite and negative, that of Sophocles is elaborately wrong. In the opening scene of the Electra, the Paeda- gogue, addressing Orestes, says: ‘ Here is the ancient Argos you were longing for, and this the Lycean agora of the wolf-slaying god (to wit, the market-place of the town of Argos), and this on the left is the renowned temple of Hera; and, at the place we are come to, believe that you have before your eyes Mycenae rich in gold, and here the blood-stained house of the Pelopidae.’ No one reading this description would infer that Argos was between five and six miles distant, and the Heraeum nearly two. The truth is, that neither Sophocles nor his Paedagogue thought of administering a lecture on topography under the guise of a dramatic entertainment, as Milton or Ben Jonson might have done; so far from it, he held the entertainment to be all in all, and made topography and’ everything else give way to it. He wanted to produce an effect by bringing Argos, Mycenae, and the Heraeum within the compass of a single coup
70 THE FIRST EDITION. χΧὶχ
a’eil, and I warrant that not one of the spectators was pedantic enough to quarrel with him for it.”
VI. The Translation which follows our Text was written to be read from time to time in lectures delivered at Cambridge during the months of February and March, 1878. It is not an attempt to poetise Aeschylus in English, but merely to supply students with a close rendering somewhat more agreeable than a prose ver- sion. Its dialogue metre is that of the Greek original, which in English is called Alexandrine’, The lyric lines do not imitate Greek rhythm, but the antistrophic verses correspond to those of the strophe*. At the close of the volume we have supplied a partial Index only, con- sidering that our interpretation of particular words is indicated by our translation; and also deeming it pro- bable, that most students of the Agamemnon will have at hand the glossary of Linwood or that of Blomfield, or both, besides the Greek Lexicon of Liddell and Scott.
1 This is the metre used in French epic and dramatic poetry, and by our own Drayton in his Polyolbion.
2 Rhymeless lyric verse is adopted by Milton in his Samson Agonistes, by Southey in his 7a/aba, and by Lord Lytton in his Zales of Aftletus, and translation of Horace’s Odes.
INTRODUCTION
TO THE SECOND EDITION.
I. As this Second Edition may possibly be the last word we shall have to speak respecting the Agamemnon, that word must be fully and distinctly spoken, with ‘the courage of our opinions.’ We first made acquaint- ance with this play sixty years ago, since which date we have read and lectured upon it more times than we can attempt to count, always finding some new light thrown on the text and interpretation. Our present views, therefore, whether right or wrong, have not been reached without long study and much reflection,
II. For the constitution of the text, we have to depend, of course, primarily and mainly on the extant manuscripts which contain it.
(1) The text of the Agamemnon is derived from the following manuscripts:
A. a. Codex Meédiceus, in the Laurentian Library at Florence (cited as M.). This, the most valuable ms. of Aeschylus, is ascribed to the 10th century, and sup- posed by some to have been copied from an uncially written codex, though more probably it is a copy of such a copy. Of the Agamemnon, it exhibits only
INTRODUCTION TO SECOND EDITION. xx
Il. 1—286 (1—310, Dind. Poet. Sc.) and 11. 992—1087 (1067—-1159), the remainder being unhappily lost.
8. Codex Guelpherbytanus (G.).
This is a 15th century copy of the Cod. Med. with the same lacunae. |
y. Codex. Marcianus (Marc.) at Florence. A similar 15th century copy, and of little value,
6. Codex of Bessarion (B.), at Venice.
This, ascribed'to the 13th cent., is supposed to have been copied from the Cod. Med. while entire. It con- tains about the first. 330 lines of the play. .
The foregoing codd. form the Medicean group, and are generally included in the citation M., except where any of them happens to bear a separate testimony.
B. Codex Floréntinus (FI.) of Cent. 14. This has ‘the Agamemnon entire. Though some regard it as copied from the Medicean Cod., their opinion cannot be substantiated. |
C. Codex Venetus (V.), of Cent. 13, contains the following fragments of the Agamemnon: Il. 1—45 and 1022 (1095) to the end.
_ D. Codex Farnesianus (F.) at Naples, written at the close of Cent. 14 by the grammarian Demetrius Triclinius, with his corrections, and with Scholia of his, and of Thomas Magister, contains the whole play.
When no codex differs from the rest, the reading first cited in thé Conspectus Lectionum (a) must be taken as that of mss. generally.
The four earliest editions are those of (1) the Aldi, Venice, 1518, taken from G,, c:ted A.: (2) Robortello,
e K.A, ς
xxii INTRODUCTION
Venice, 1552, from M., cited R.: (3) Turnébe, Paris, 1552, cited T.: (4) Vettori, Paris, 1557, cited Vict.: this was taken from M. ΕἸ. F., and is the first in which the Agamemnon appears entire. Canter’s edition appeared at Antwerp in 1580, Stanley’s in London 1663, Butler’s _ (from Stanley’s) at Cambridge in 1810,
_ The emendations of John Auratus and Joseph Scaliger were obtained by Hermann from a manuscript of Spanheim at Berlin, transcribed from Is. Voss’s copies of the edition of Victorius. These are now at Leyden. |
(2) Hence it appears that, of the Agamemnon, in our numeration,
vv. I—45 appear in 7 Codd.
VV. 46—286 ” 39 6 ᾽) vv. 287—324 99 » 3» VV. 325—992 9 » 2 3) Vv. 993—1022 5 » 5 » vv. 1023—1087 , ,6 4 vv. 1088—1603__—sé=“, » 3»
Thus, in 667 lines, more than two-fifths of the play, we depend on two very corrupt copies (ΕἸ. and F.) for our knowledge of the text. In the last 515 lines a third is added (V.), also very corrupt. Such is all the light we receive from mss. for 1182 out of 1603 lines. |
(3) Mr Paley supplies no ‘Conspectus Lectionum,’ and his account of the codices is very cursory. But he evidently wishes them to be regarded as more trust- worthy than they really are. Thus in a note at p. vii of his general preface he gravely writes: ‘A critical structure raised on the very arbitrary assumption that an original writing has been utterly corrupted, stands
TO THE SECOND EDITION. XXxiil
on a very insecure basis.’ Certainly any ‘very arbitrary assumption’ is a ‘very insecure basis’ for any ‘critical structure.’ But the degree of corruption—whether slight, or considerable, or great, or utter (whatever is meant by utter)—existing in ancient cddices, ought never to be matter of ‘arbitrary assumption.’ It is a question to be determined by the sound judgment of good and upright scholars upon these codices, when carefully collated. A codex ‘ utterly corrupt’ could hardly enable the most acute scholar to elicit from it a pure text. But Mr Paley shews, in his preface to the Choephoroe (p. 485), that one ‘exceedingly corrupt ms.’ (M.) has preserved to us ‘a very noble composition, owing to ‘the pains and tntellect that have been devoted to its elucidation.’
We have tried to elicit a pure text of a nobler composition from several ‘exceedingly corrupt’ mss., devoting to the work great pains and such intellect as we possess, The result we submit to the judgment of all good Greek scholars who are candid as well as acute.
(4) All the copies we have noted (1) were written ina very dark period of human knowledge, from the eleventh to the fourteenth centuries—not so dark indeed as the three centuries which immediately preceded: but they inherited the codd. written during those barbarous ages: and how careless and unlearned their scribes and mar- ginal annotators were, even Cod. M. affords ample proof by such readings as μῆκος δ᾽ ἦν (2), ὅτ᾽ ἂν (7), ἐπορ- θριάζξειν (29), ἀγγέλων (30), ἐριδομένου (64), τιθυπεργήρως (80), ἡμερόφατον (84), ἄπλειστον (105), τὴν θυμοφθόρον λύπης φρένα (106), καταπνέει (108), τὰν γᾶν (112), παμ- πρέποις (117), πολίαδε (125), ἄτα (129), ἀέλπτοις---ὄντων ([36), οὐδὲν λέξαι (159), κατέξενον (180), χειμαίρας (210),
ς 2
XXIV INTRODUCTION
ἐπιγένοιτ᾽ (229), σύνορθον αὐταῖς (231), παιδίον ὠποῦ (274), and others, which may suffice without going on to the later fragment. Codd. Fl. F. and V. in subse- quent parts afford still ampler specimens of similar error. Scribes of different capacities. acquirements and temperaments seem to have transcribed different por- tions of the drama. We sometimes find a long stretch of verses continued with very little corruption ; in other places corruption sets in and goes on through a series of passages. . The choral and commatic parts are naturally more corrupt, in general, than the dialogues. The latter are comparatively pure, except the Exodos, of which many places are grossly corrupt. Thus it is evident that our ‘critical structure’ is.not ‘based on the very. arbitrary assumption’ that the Agamemnon ‘has been utterly corrupted.’ We said in the first edition, and now repeat, “The few extant mss. of the Agamemnon have come down to us laden with a heap of corruption: with miswritings, glosses intruded on the text, lacunae, dislocation of words and lines—errors of careless or ignorant transcribers and inadequate commentators ac- cumulated from generation to generation. We may be thankful that the results affecting this magnificent work of a noble genius have not been more ruinous than we find them.”
(5) The principles laid down by Karsten for the just use of these manuscripts in editing Aeschylus agree so closely with our own views, that we cite from the Preface to his edition of the Agamemnon several pas- sages on this subject.
“Horum codicum ut antiquissimus ita optimus est Mediceus, non quod purior et limatior sit, sed ipsa quae habet vitia propius a
ΤῸ THE SECOND EDITION. XXV
germana scriptura distant. Contra infimum locum tenet Farne- sianus, non quod sordidior, sed quod lectio manifesto arguit serioris grammatici manum, qui textum suo arbitratu ad gram- matices et critices regulas refinxit, ut jam Victorius animadvertit et hodie inter omnes convenit. Medium inter hos ambos locum tenet Florentinus, qui, ut a veritate longius distat Mediceo, ita caret sedula illa correctura quae Triclinianam officinam olet.
Hermannus censet Mediceum descriptum esse de libro quad- ratis literis scripto, quod ad rectum ejus codicis usum non oblivis- cendum 6556... Sane, sive talis liber Medicei pater sive, quod credibilius mihi videtur, avus fuerit, ingens est mendorum numerus, qui ex unciali scriptura explicandus est, natus partim e perversa syllabarum et vocum distinctione, partim e consimilium literarum permutatione, partim e prava interpunctione aliisve ejus generis causis. Horum vitiorum magnum numerum interpretes emenda- runt, non pauca vero eaque turpissima adhuc relicta sunt, quae criticorum aciem fugerunt. Quaesitum est autem, num Mediceus. habendus sit archetypus atque fons unde, ut Guelferbytanus, Mar- cianus et Bessarionis codex, ita ceteri quoque derivati sint. 6. quo ut certum statuere difficile, nisi quis intentis ad id oculis et mente codices ipse contuler.t, ita illud certissimum, nullius trium illorum librorum auxilio nos posse carere, quum nec pauca in Mediceo peccata sint quae corrigat Florentinus, et hic aeque ac Farnesianus interdum lectiones offerat, quae undecumque profectae Mediceo sint anteponendae.
* & & + * κα * * &
Quodsi vitiorum genera quibus Orestea laborat attendimus eorumque causas quaerimus, haec tam multiplicia sunt tamque vetera, ut nusquam fere latior pateat critices exercendae palaestra. Ne memorem menda, quae modo attigi, e syllabarum confusione et literarum ac vocum permutatione orta, alia a scriptura compen- diaria in verborum maxime terminationibus, aut a prava accentuum notatione, e perversa interpunctione, e scribarum denique oscitantia in literis vel omittendis vel iterandis profecta: haec ut omittam, sunt alia minus in aperto posita eaque partim perantiqua, glosse- mata dico, quae vel in obscurati verbi vacuum locum sunt illata vel explicandi gratia annotata furtim in textum migrarunt. Nota- bile ex hoc genere exemplum est, vs. 111, ubi germana lectio, . servata in Aristophanis Ranis vs, 1321, σὺν δορὶ καὶ χερὶ πράκτορι in
Xxvi INTRODUCTION
Mediceo ceterisque codicibus, cessit alteri huic σὺν δορὶ δίκαφ' πράκτορι, quae aperte glossema olet. * © 8 %%& i %& % %& καὶ
Singula haec quae dixi vitiorum genera latius patent quam adhuc animadversum est; quare non parca relicta est errorum messis, quae resecanda et evellenda est, ut pristinus poétae nitor reddatur. Ad hoc autem, ut dixi, parum suppetit librorum auxilium ; in corruptissimis praesertim et obscurissimis locis hi plerumque ita vel concinunt inter se vel discrepant, ut parum inde lucri ad poétae manum restituendam emergat. Nec Scholia vetera, ad Agamemnonem certe, quidquam, me judice, afferunt quod ali- cujus pretii sit.
“Unde igitur auxilium petendum? Ubi libri deficiunt, confu- giendum est ad ingenium, et conjectura resarciendum quod scrip- tura nobis negavit. Haec ratio si neque ita certa et firma est, ut codicum auctoritatem aequiparet, at neque ita est incerta et dubia ut vocabulum ipsum indicare videtur. Immo si quis ut prudens medicus, cognitis vitiorum causis perspectoque scriptoris ingenio, colore, habitu, procul a timida cunctatione aeque atque a temeraria festinatione operam adhibeat, plerumque eveniet ut sententia ipsa velut bona natura latentem sub ulcere sanam lectionem efferat et emendationem monstret tam verisimilem, ut scripturae testimonio paene par sit.
Principium autem et fundamentum critices est justa interpre- tatio, qua in re mirum est quam saepe Aeschyli interpretes a recta et simplici via deflexerint. Causa ejus rei partim posita est in ipsa lectionis depravatione, cujus emendandae difficultate fatigati quali- cumque modo corrupta aeque ac sana explicare maluerunt quam vitiosa fateri; accessit vero Aeschyleae audaciae et obscuritatis fama, unde nonnullis opinio nata, nihil tam insolite, tam licenter dictum esse, quin Aeschyleo cothurno dignum sit habendum ; nihil tam obscure et intricate, quin exquisita aliqua cogitatio aut abditum aliquod sapientiae effatum inde excudi posse videatur. Ita factum ut Aeschylum interpretari quibusdam, ut Paleius dicit, nihil aliud videretur quam grande aliquod et quasi continuum aenigma enu- cleare. Quodsi multi recentiorum interpretum ingenia tam acuis- sent ad verum inveniendum quam ad prava explicanda, jam pridem aliquanto puriorem, credo, et illustriorem hanc tragoediam habere- mus.”
TO THE SECOND EDITION. Xxvit
(6) To these wise and weighty words of Prof. Karsten we desire to add the testimony, not less wise and weighty, of a much-lamented scholar, a contem- porary and friend of our own, learned and sagacious beyond his years, who, if his valuable life had been prolonged to a term far short of that which his distin- guished brothers have reached, would in all probability have occupied and adorned the Greek chair of Cam- bridge. We allude to Mr John Wordsworth. In his Review of Prof. Scholefield’s Aeschylus, which appears in the Philological Museum, Vol. 1. p. 209, he says, “A scrupulous, we had almost said superstitious, reve- rence for the authority of the manuscripts, is the principle to which Mr Wellauer has uniformly adhered in his edition of Aeschylus; and this principle, which under certain restrictions is an excellent and judicious one, has been adopted by Professor Scholefield with very slight modification or abatement. Both of them appear to us to have pushed it too far. We are no advocates for the licentious extravagance of those critics who make a display of their own skill and ingenuity at the expense of their author; but on the other hand great caution is necessary, lest in our zeal for the authority of the manuscripts we should assert it in defiance of the laws of the language. Zo the testimony of manuscripts so corrupt as those of Aeschylus we must not hastily surrender the established rules of syntax and metre... If every editor should adhere with the same tenacity as Mr Wellauer to the readings of his manu- scripts, and those readings, which are at variance with rules, were to be added to the catalogue of exceptions, there is no solecism or irregularity for which we might not find a sanction; and the grammar oi the language,
XXVill INTRODUCTION
instead of being simplified and reduced to more general principles as the language is more studied, would be- come almost a chaos of perplexity and confusion.” Then, after referring to several notes on the Szpplices in Prof. Scholefield’s edition, Mr J. Wordsworth adds: “In such instances he” (the Professor) “appears to us to have been misled by an excess of caution, and to have sacrificed the principles of the language to an undue deference for the authority of the manuscripts.” Mr Paley, too, in the Preface to his 12mo edition of 1858 virtually recognises similar principles. He says: “‘Tenenda semper est media quaedam via editori, qui ' quidem studiosae iuventuti prodesse velit; ut nec vana. coniectandi libidine abripiatur neque nimia vulgatae lectionis veneratione deceptus (id quod quibusdam con- tigisse videtur) inepte scripta aut male Graeca novis anteponat, si modo quae nova feruntur multo proba- biliora sint.”
(7) To the principles thus laid down by these three scholars (Karsten, J. Wordsworth, Paley) we declare our cordial adherence ; and we are willing to adopt as our motto Karsten’s words: ‘ Principium et fundamen- tum critices est iusta interpretatio.’ We have, it is true, emended largely: but no ‘vana coniectandi libido,’ no wish to ‘make a display of our own skill and ingenuity,’ has induced us to do so: the principles of just inter- pretation and just regard to the laws and requirements of grammar and metre have determined and guided our judgment everywhere,
III. The end we have set before us in this second Edition is, to purify the text of the Agamemnon from those errors of grammar sense and metre which in most .
TO THE SECOND EDITION. XXIX
éditions have been permitted to’ deface it: also to sug- gest reasonable modes of supplying the defect of sense in many places where we cannot doubt that lines or words of Aeschylus have been lost or spoilt by the carelessness of scribes or the ignorance of marginal annotators; or (what we suppose to have often hap- pened) by the combined influence of both these causes.
Such an enterprise we should deem presumptuous and unjustifiable if it were not undertaken and executed under the following conditions:
(1) That we exhibit by signs in the text, and by the Conspectus Lectionum, all readings which do not rest on manuscript authority : excepting only such as merely correct manifest blunders. The meaning of our textual signs is shown on p. 2.
(2) That we give our reasons for adopting every correction and interpretation open to dispute.
(3) That we assign every such correction and inter- pretation to its original author, so far as possible.
To record all the opinions of every scholar on each point is not possible; nor if possible would it be desir- able. But an editor of honourable feeling will always strive to do full justice to meritorious learning.
As we have tried to fulfil these conditions, our readers have before them all necessary facts in each case, enabling them to form their own judgment, and, if they see reason, to overrule ours.
IV. The qualifications for just criticism of a Greek drama are fairly summarised in the following line:
γραμματική, μετρική, νοῦς ῥήτορος ἠδὲ ποιητοῦ. And, in considering any portions of its ms. text, we.
ΧΧΧ INTRODUCTION
may ask this question: is it worthy of the poet, and proper to be maintained in four respects: (4) gram-
matically ; (4) metrically; (¢) logically; (4) aestheti- cally? The answer should be carefully and maturely weighed, and full advantage given to the side of exist- ing authority. But, if the great end in view is to place before students an incorrupt and intelligible text, which shall guide and improve their knowledge taste and judgment, then we think there is more responsibility incurred by leaving blots which cannot be what the poet wrote, than by supplying corrections which cannot be assailed on any of the grounds above named, even though we cannot be sure that they restore exactly what the poet did write. But we repeat that an editor thus freely correcting is bound to do what some have un- justly neglected, that is, to place the uncorrected text within the reach of students.
Every proposed emendation ought to be considered on its own merits: by these alone its reception or rejection ought to be determined. It is in the Notes on Lection principally that these questions have been discussed: and there, for the most part, the reasons for and against any proposed corrections will be found.
V. Most of the emendations, which we regard as necessary in the Agamemnon, occur in its lyric parts, and are required by the laws of correspondence in choral metre.
On antistrophic metre, and the corrections which it suggests, we repeat what was said in our first Edition.
The commentators, and perhaps most of the scribes, who dealt with the codices of Aeschylus before the invention of printing, had a fair knowledge of the laws of the iambic senarius in dialogue,
TO THE SECOND EDITION. XXxi
and of those which govern anapaestic systems. But we believe them to have had very imperfect ideas of the metrical principles observed in the lyric strophe and antistrophe: and through this ignorance we are convinced that much corruption has been intro- duced into the choral portions of the Agamemnon, which has hitherto not been detected, at all events not removed.
A careful study of the lyric composition of Aeschylus leads us to think (1) that, in general, he made his strophic and antistrophic lines correspond exactly ; and this not only in the character of the metres, but, for the most part, in the number and quantity of the syllables also: (2) that he was unwilling to allow a short vowel at the close of a line to remain unelided before a vowel beginning the next ; or (3) a short syllable at the close of a line to count as a long one by virtue of that station ; except (a) when the vowel or syllable ends a strophe antistrophe or epode; (8) when it precedes a speech ; προφῆται 380: (y) when the construction is interjectional. In most places where these laws are transgressed in the vulgate text, we believe that emendation is required, and that the fitness of such emendation will be found in every case to be supported by concurring reasons of great force. Moreover we think that the probability of corruption existing in such places is not a little strengthened by the facilities which they afford in almost every instance to emendation without impairing sense or construction, without obliterating or distorting what we may reasonably suppose to have been the true expression of the poet’s mind: though we grant that a few passages occur, on which opinions may fairly differ. Laws (2) (3) apply, as is well known, to anapaestic as well as lyric rhythm in dramatic poetry, but not to the iambic senarius nor to the epic hexameter. Hence we find short syllables some- times treated as long at the close of even those iambic senarii which occur in commatic passages mixed with lyric metres.
The apparent violation of these laws in the vulgate text of Aeschylus occurs chiefly in older plays, espe- cially in Suppl. Pers. Sept.; in Prometheus hardly ever. In Agamemnon, corrupt as the mss. are, the instances are very few compared with the number of syllables in the strophic passages. We find that the syllables in the
ΧΧΧΙ ᾿ INTRODUCTION —
play subject to these rules, are 4566, that is, 2283 pairs. Mr Paley keeps in his text (if we have counted rightly) about 42 syllables, which violate this law of agree- ment. We have corrected all these at very slight cost: for among them we find only one change which makes any noticeable difference in the sense of the passage: namely, τοιάδε in 167 for βιαίως, which latter word seems to us an erroneous and mischievous gloss.
The subjoined table exhibits the metrical disagree- ments existing and the corrections we have supplied. _ After the numbers of the erring place (given according to the numeration in the two editions), the erring Greek is given in one column, and with it in a bracket. the syllables to which it ought to correspond. Our cor- rection appears in the last column; and its metrical agreement with the syllables within the bracket will be apparent. Where ‘transposition’ alone is expressed, this implies that correction is made by merely trans- posing the Greek words: and reference to such passages will prove that this change never hurts, but generally improves the expression of the Greek. In a few places (τοι, 356-—8, 388—9, 711) correction accompanies trans- position; and here too nothing is lost by changing the order, rather something is gained.
As regards 167, Mr Paley has adopted a correction of the antistrophe, suggested to obviate the disagreement with βιαίως, namely, παλιρρόχθοις (an invented word), in place of παλιρρόθοις. Also he has admitted τε Kat λογχίμους for λογχίμους τε καὶ (376), on similar grounds: νῦν λελέξεται (159). Nor are these the only places in which he has allowed metrical disagreement - as a ground for alteration. But if it can be passed over without correction in forty places, why not in fifty?
TO THE SECOND EDITION. XXxili If it be said in respect of some lines (as in my numeration 357—9, 389, 427, 679) that, in certain metres, spondee or trochee, spondee or iambus, are equally admissible in certain places, and therefore he leaves one or the other as he finds it, we do not think this is an answer (except in the cases already allowed) to the exigency of correspondence between strophe and antistrophe, which will be found exceedingly strict: as the following specimens (taken from an immense variety) may suffice to prove, 1 ἄναγνον ἀνίερον robev 2 ἔθεντο φιλόμαχοι βραβῆς. 1 τὰ δὲ σῖγά τις Bailes, φθονερὸν δ᾽ ὑπ᾽ ἄλγος ἕρπε προδίκοις ᾿Ατρείδαις. 2 τὸ δ᾽ ὑπερκόπως κλύειν εὖ βαρύ βάλλεται γὰρ ὄσσοις Διόθεν κεραυνός.
Hence, in emending the corrupt line νεογνὸς ἀνθρώ- mov μάθοι, Hermann, guided by the antistrophic καί τις ce κακοφρονῶν tiQn—writes καὶ mais veoyovos av μάθοι, which we follow, only preferring τὸς to παῖς.
121 κεδνὸς δὲ στρ. (κύριος εἰ-)) τὼ δ᾽ ἀγαθὸς στρ. 167 (176), βιαίως (παλίρρο-), τοιάδε 180 (190), ᾿Αργείων (-μοῦ πέλας), transposition 189 (201), ἄγαλμα (ἀφειδεῖς), transposition 191 (203), πατρῴους (-vov avO-), πατρὸς x. 216 (230), χέουσα (ἄκραντοι), χέουσ᾽ εἶτ᾽ 346 (359), ἐξιχνεῦσαϊ ( φερτος dras), ἐξιχνεῦσαί τ᾽ 356 (370), ἀπαρκεῖν (-orpodov τῶνδε), ἀπαρκεῖν ἂν 9 ” λαχόντι ov (καθαιρεῖ οἷ-), λαχόντι πλού- Ξ 357 (372), οὐ γάρ ἐστιν (οἷος καὶ Πα-), πλούτου γὰρ τίς “5 358 (373), πλούτου πρὸς (εἰς δόμον), φωτὶ πρὸς 9 9 » κόρον ἀνδρὶ (τὸν ᾿Ατρειδᾶν), κόρον ἔξω 359 (374), λακτίσαντι (ἢσχῦνε ξε-)} λακτίζοντι
383 (402), 388 (407), 389 (408), 397 (417), 401 (421), 402 (422), 427 (451), 657 (686), 658 (687), 664 (694), 667 (698), 679 (715), 709 (744), 913 (958), 923 (968), 942 (989),
1012 (1058),
1013 (1059);
1024 (1070),
1040 (1086),.
1051 (1097), 1066 (1112), I1OI (1147), 1336 (1382), 1382 (1428), 1407 (1457), 1462 (1509), 1492 (1540),
INTRODUCTION
ἀλοηίδορδς (Evvoppevors),
ἀνδρὶ (φωτῶν),
ὀμμάτων (τεύχη καὶ),
ἔρρει (-του δό-),
ὑπερβατώτερα (στίβοι φιλά- vopés π.}
πρὸς ἧπᾶρ οὗς (ἀνάσσειν),
τις ἔπεμψὲν (δὲ κολοσσών),
τιθεῖσ᾽ (τὸν δ᾽ ἐν φ.),
τίοντᾶς ὑμέναιον (πρεπόντως ἑλέναυς ἐ-}
ἐπέρρεπεν γ. (ἐλέπτολις ἐκ),
αἰῶν᾽ ὧν ἀμφὶ (ἀκτὰς ἐπ᾽ ae€.),
φιλόμαστὸν (-σιν ἀμείβων),
-ov ἐκ θεοῦ δ᾽ (-av φαιδρωπὸς),
λιποῦσ᾽ (δαίμονά τ᾽),
Um "Ιλιὸν (ψύθη πεσεῖν),
«μενον xédp (ξυνεμβολαῖς),
πάλιν (vye-),
πολλὰ συνίστορα (τοῖσδ᾽ ἐπι- πείθομαι),
αὐτοφόνα κακὰ (κλαιόμενα Bpe-);
νέον ἄχος peyd (-δέμνιον πό- σιν X.),
φόνου (τύπτει),
τεύχει (γένει),
φρεσὶν Ἴτυν (νόμοις ποθεν),
θανατόφορα (Opeopevas),
ἀπέταμξς (ἔτι σε χρή),
καὶ πολλὰ (μοι KOpakos),
οἴκοις τοῖσδε (-αίτιος et),
μέριμνᾶν (-τι κρῖναι Φ.),
μίμνει δὲ (δέδοικα),
ἀλοιδύρως
ἔρρει δ᾽ ὀφθαλμῶν
ἀνδρὶ
*dsuvs}
ὑπερβολὴν ἔχει πρὸς ἧπαρ᾽ τοὺς ποτε πέμψας κτίζουσ᾽
, . ¢ #3 τίοντας νέον ὑμέν ἐπέρρεπε
3 Kos A αἰῶνα διαὶ φιλόμαστον & -ov θείας ὧδ᾽ ὄμμασιν (transp.) transposition transposition τοῦτ᾽
πολλὰ συνίστορ᾽ αὖ- 4 a «τοκτόνα κακὰ
νῦν ἄχος νέον μ. λοιγοῦ κύτει Ἴτυν» φρεσὶν θανάσιμ᾽ ὧν ἀπεταμές τ᾽
A e καὶ πολυ ye ἐν μελάθροις μεριμνᾶν
9 4 μένει δὲ
In only one of these places is the sense of the poet altered by the emendation (167): in many the very rendering is unchanged. At such slight expense are these metrical deformities removed.
TO THE SECOND EDITION. XXXV
VI. Having proposed to ourselves, as the object of our editorial labours, to place in the hands of readers a Greek text, which should be free from errors of gram- mar sense and metre, we found this could not be accomplished without venturing upon a novel step.
We ascertained, to our full conviction, that, in a certain number of places besides those which are mani- festly and by admission defective, the text is corrupted by the hitherto undiscerned or unacknowledged loss of lines or parts of lines. The step which in these places we have ventured to take is—to introduce, in connexion with the manuscript text, such Greek words (lines chiefly, but sometimes parts of lines), as seem competent to supply the defective sense of the place in a form not unworthy of the poet’s mind. These ex- traneous words we have so clearly distinguished (by signs explained on p. 2), both in Greek text and in English translation, from the ms, Greek handed down as Aeschylean, that no careful reader can suppose them to be other than what they are—i.e. matter suggested as capable of filling up gaps in the sense, which have arisen from the accidental omission of lines or parts of lines by careless transcribers. As we make no preten- sion (except perhaps in 69) to ascribe any of these appended suggestions to the hand of Aeschylus, we have not included them in our numeration of lines. They will be seen in the following places: 69, 101, 283, 377, 392, 530, 565, 722, 733, 736, 766, 977, 1367, 1526, 1579.
The reasons which prompt change, and the argu- ments in favour of each suggestion will be found in our Notes on Lection.
VII. As regards the general emendation of the ms. text (apart from changes made by. all editors, such as
ΧΧΧΥ͂Ι INTRODUCTION.
the restitution of misspelt words, and the correction of other manifest blunders) its statistics in the present edition are as follows, approximately. Out of 1603 lines, 24 per cent. contain some emendation, by words being altered or substituted or transposed, or (in three or four places) removed from the text. Of these changes 84 per cent. are due to the present editor, 154 to other scholars. Of his own changes, the editor is disposed to regard (4) the following as approaching to certainty : 17, 61,67, 60, 121, 123, 180, 190, IQI, 265, 675, 704, 708, 742, 922—923, IIQ5—1197, 1249—1251; | (ὁ) the following as highly probable:
7» 83, QI—2, 97, 154, 346, 388—389, 516, 564, 699, 712, 714, 716, 862, 871, 889, 893, 906, 913—9QI4, 927—929, 933—934, 982, 1038, 1040, 1061, 1087, LIOI —I102, 1265, 1303, 1336, 1491, 1504—1505 ;
(c) the following as reasonably satisfactory :
139—140, 141, 157, 159, 167, 216, 232, 313, 355—350 383—384, 397—398, 402, 419, 427, 565, 658, 667, 676, 679, 941—946, IOI2—IOI4, 1024, 1065—1067, 1121, 1187, 1376, 1382, 1402—1404, 1411, 1454—1455, 1534, 1554—1556.
The corrections of other scholars are duly noted in the Conspectus Lectionum, and are capable of similar distinction, if it were desirable to attempt it.
THOOESI= ATAMEMNONOS,
"ATAMEMNON eis Ἴλιον ἀπιὼν τῇ Κλυταιμνήστρᾳ, ef πορθήσοι τὸ Ἴλιον, ὑπέσχετο τῆς αὐτῆς ἡμέρας σημαίνειν διὰ πυρσοῦ. ὅθεν σκοπὸν >? PY a , a ’ ‘ ’ a ¢€ Ν ἐκάθισεν ἐπὶ μισθῷ Κλνταιμνήστρα, ἵνα τηροίη τὸν πυρσόν. καὶ ὁ μὲν 40 8 4 ? . 4 a a a“ “ Ψ ’ ἰδὼν ἀπήγγειλεν" αὐτὴ δὲ τὸν τῶν πρεσβυτῶν ὕχλον μεταπέμπεται, περὶ τοῦ πυρσοῦ ἐροῦσα᾽ ἐξ ὧν καὶ ὃ χορὸς συνίσταται" οἵτινες ἀκού- σαντες παιανίζουσι. per οὐ πολὺ δὲ καὶ Ταλθύβιος παραγίνεται, καὶ τὰ κατὰ τὸν πλοῦν διηγεῖται. ᾿Αγαμέμνων δ᾽ ἐπὶ ἀπήνης ἔρχεται" εἵπετο δ᾽ αὐτῷ ἑτέρα ἀπήνη, ἔνθ᾽ ἦν τὰ λάφυρα καὶ ἡ Κασάνδρα. αὐτὸς μὲν Φ ’ 4 4 Ἅ4 4 “ , , ‘ οὖν προεισέρχεται εἰς τὸν οἰκον σὺν τῇ Κλυταιμνήστρᾳψ. Kacavdpa δὲ Ul A 3 a irX 3 θ “ A ς ”~ Α ~ προμαντεύεται, πρὶν eis ta βασίλεια εἰσελθεῖν, τὸν ἑαυτῆς Kat τοῦ ᾿Αγαμέμνονος θάνατον, καὶ τὴν ἐξ ᾿Ορέστου μητροκτονίαν, καὶ εἰσπηδᾷ ὡς θανουμένη, ῥίψασα τὰ στέμματα. τοῦτο δὲ τὸ μέρος τοῦ δράματος ᾿ 3 θαυμάζεται) ὡς ἔκπληξιν ἔχον καὶ οἶκτον ἱκανόν. ἰδίως δὲ Αἰσχύλος 4 3 Ld 3 ἡ -~ ji 3 a 6, a Ν᾿ A , τὸν ᾿Αγαμέμνονα ἐπὶ σκηνῆς ἀναιρεῖσθαι ποιεῖ. τὸν δὲ Kacavdpas σιωπήσας θάνατον; νεκρὰν αὐτὴν ὑπέδειξε. πεποίηκέ τε Αἴγισθον καὶ Κλυταιμνήστραν ἑκάτερον διϊσχυριζόμενον περὶ τῆς ἀναιρέσεως ἑνὶ κεφα- λαίῳ᾽ τὴν μέν, τῇ ἀναιρέσει ᾿Ιφιγενείας" τὸν δέ, ταῖς τοῦ πατρὸς Θυέστου ἐξ ᾿Ατρέως συμφοραῖς, ᾿Εδιδάχθη τὸ δρᾶμα ἐπὶ ἄρχοντὸς Φιλοκλέους, ᾿Ολυμπιάδι ὀγδοηκοστῇ, ἔτει δευτέρῳ. πρῶτος Αἰσχύλος ᾿Αγαμέμνονι, Χοηφύροις, Evpeviot, Tpw- τεῖ σατυρικῷ. ἐχορήγει Ξενοκλῆς ᾿Αφιδνεύς. Προλογίζει δὲ ὁ φύλαξ, θεράπων ᾿Αγαμέμνονος.
λ Ἐπὶ σκηνῆς. The writer of this argument may merely mean, that the cries of Agamemnon from within are heard on the stage, but not those of Cassandra,
Κι A. V
TA TOT ΔΡΑΜΑΤΟΣ ΠΡΟΣΩΠΑ,
ΦΥΔΑΞ. ΧΟΡΟΣ ΓΕΡΟΝΤΩΝ. ΚΛΥΤΑΙΜΝΉΣΤΡΑ. ΠΑΛΘΥΒΙΟΣ KHPYR. ATAMEMNON. KAZANAPA, ΑἸΓΙΣΘΟΣ.
SIGNS USED.
* before a word, and in the line with it, implies that such word is an emendation of that which corresponds in mss. ; "κἀλκᾷ 107.
* * above the line imply that the words between them are emendations of what corresponds in mss, ; * éy τέμνων Ἐ 17.
+ t+ inclose words added to complete the text where it is mani- festly defective. Such additions cannot be warranted as the words of Aeschylus, but an editor printing them is responsible for their appropriateness in feeling and expression. The letters are spaced to manifest their distinction. See 69.
A point or points before or after words indicate the probable loss of a word or words which cannot be supplied for want of clue.
|| stands before a line which contains transposition. See 67.
ΑΓΑΜΕΜΝΩΝ.
[Βτγαοϊειίοἃ Numerals refer to Dindorf’s Poetae Scenici.]
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ΑΓΑΜΕΜΝΩΝ. 7
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8 ΑἸΣΧΥΛΟΥ͂
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Τροίαν ᾿Αχαιοὶ τῇδ᾽ ἔχουσ᾽ ἐν ἡμέρᾳ. οἶμαι βοὴν ἄμικτον ἐν πόλει πρέπειν. Ψ 3 3} , 4. > A s ὄξος τ᾽ ἀλειφά τ᾽ κἐγχέας ταὐτῷ κύτει διχοστατοῦντ᾽ ἂν οὐ «φίλω προσεννέποις" 300 καὶ τῶν ἁλόντων καὶ κρατησάντων δίχα φθογγὰς ἀκούειν ἔστι συμφορᾶς διπλῆς. οἱ μὲν γὰρ ἀμφὶ σώμασιν πεπτωκότες ἀνδρῶν κασιγνήτων τε, καὶ φυταλμίων παῖδες γερόντων, οὐκέτ᾽ ἐξ ἐλευθέρου 305 Sépns ἀποιμώξουσι φιλτάτων μόρον"
‘ 3 4 3 , 4 τοὺς δ᾽ αὖτε νυκτίπλαγκτος ἐκ μάχης πόνος νήστεις πρὸς ἀρίστοισιν ὧν ἔχει πόλις τάσσει, πρὸς οὐδὲν ἐν μέρει τεκμήριον, ἀλλ᾽ ὡς ἕκαστος ἔσπασεν τύχης πάλον. 210
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ἀφύλακτον εὑδήσουσι πᾶσαν εὐφρόνην. 9 9 9 A A , N εἰ δ᾽ εὐσεβοῦσι τοὺς πολισσούχους θεοὺς τοὺς τῆς ἁλούσης γῆς θεῶν θ᾽ ἱδρύματα, ποὐτᾶν ἑλόντες αὖθις πἀνθαλοῖεν ἄν. ἔρως δὲ μή τις πρότερον ἐμπίπτῃ στρατῷ πορθεῖν ἃ μὴ χρή, κέρδεσιν νικωμένους. δεῖ γὰρ πρὸς οἴκους νοστίμου σωτηρίας κάμψαι διαύλου θάτερον κῶλον πάλιν. θεοῖς δ᾽ dv ἀμπλάκητος εἰ μόλοι στρατός, πἐγρηγορὸς τὸ πῆμα τῶν ὁλωλότων γένοιτ᾽ ἄν, εἰ πρόσπαια μὴ τύχοι κακά, τοιαῦτά Tot γυναικὸς ἐξ ἐμοῦ πκλύεις" \ 3 φ A f 3 a. τὸ δ᾽ εὖ κρατοίη, μὴ διχορρόπως ἰδεῖν ἡ a \ 3 a ‘\ Ld ey 7 πολλῶν yap ἐσθλῶν τὴν ὄνησιν εἱλόμην. 4 3 wv ὃ 4 % 3 ’ ᾽ὔ γύναι, κατ᾽ ἄνδρα σώφρον᾽ εὐφρόνως λέγεις. ἐγὼ δ᾽, ἀκούσας πιστά σου τεκμήρια, θεοὺς προσειπεῖν εὖ παρασκευάξομαι" χάρις γὰρ οὐκ ἄτιμος εἴργασται πένων. ὦ Ζεῦ βασιλεῦ καὶ νὺξ φιλία μεγάλων κόσμων κτεάτειρα, iT ἐπὶ Τροίας πύργοις ἔβαλες στεγανὸν δίκτυον, ὡς μήτε μέγαν μήτ᾽ οὖν νεαρῶν tw’ ὑπερτελέσαι μέγα δουλείας γάγγαμον, ἄτης παναλώτου. Δία τοι ξένιον μέγαν αἰδοῦμαι b Ul , > τὸν τάδε πράξαντ᾽, ἐπ᾽ ᾿Αλεξάνδρῳ τείνοντα πάλαι τόξον, ὅπως ἂν μήτε πρὸ καιροῦ μήθ᾽ ὑπὲρ ἄστρων βέλος ἤλίθιον σκήψρειεν.
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Διὸς πλαγὰν ἔχουσιν" εἰπεῖν στρ. α΄. πάρεστιν τοῦτό γ᾽ ἐξιχνεῦσαί «τ᾽" 346
«ἔπραξαν ὡς ἔκρανεν. οὐκ ἔφα τις θεοὺς βροτῶν ἀξιοῦσθαι μέλειν, ὅσοις ἀθίκτων χάρις πατοῖθ᾽ ὁ δ᾽ οὐκ εὐσεβής. 350 πέφανται δ᾽ *éxyovos ἀτολμήτως * "Αρη πνεόντων μεῖζον ἣ δικαίως, φλεόντων δωμάτων viréptev. Ἐτὸ δ᾽ οὔ τι βέλτιστόν *éor οὐδ᾽ ὃ ἀπή- 355 μαντον, ὥστ᾽ ἀπαρκεῖν «ἂν εὖ πραπίδων «λαχόντι [ πλούτου γὰρ «τίς ἔπαλξις [[π φωτὶ πρὸς κόρον Ἐἔξω λακτίξοντε μέγαν Ἐ δίκας βωμὸν εἰς ἀφάνειαν ;
βιᾶται δ᾽ ἃ τάλαινα πειθὼ ἄντ. α΄. Ἐπρόβουλος, παῖς Ἐ ἄφερτος ἄτας" 361
ἄκος δὲ *crav μάταιον. οὐκ ἐκρύφθη, 4 \ a > ’ [4 Μ πρέπει δὲ φῶς αἰνολαμπές, σίνος κακοῦ δὲ χαλκοῦ τρόπον, τρίβῳ τε καὶ προσβολαῖς 365 A } μελαμπαγῆς πέλει δικαιωθείς, ἐπεὶ διώκει παῖς πποτανὸν ὄρνιν, , , > w 3 ’ πόλει πρόστριμμ᾽ ἄφερτον ἐνθείς. λιτᾶν δ᾽ ἀκούει μὲν οὔτις θεῶν" 370 τὸν δ᾽ ἐπίστροφον τῶνδε dar ἄδικον καθαιρεῖ. οἷος καὶ ἸΙάρις, ἐλθὼν
εἰς δόμον τὸν ᾿Ατρειδᾶν, (400) ἤσχυνε ξενίαν τράπεζαν κλοπαῖσε γυναικός. 374 λιποῦσα δ᾽ ἀστοῖσιν ἀσπίστορας στρ. β'.
Ἱκλόνους τε καὶ λογχίμους ναυβάτας. ὁπλισμούς, ἄγουσά τ᾽ ἀντίφερνον Ἰλίῳ φθοράν,
ATAMEMNON. 15
\ +dvoty mi’ “Ara πολέοιν pétoctxost, , es \ A BéBaxe ῥίμφα διὰ πυλᾶν, ἄἅτλητα τλᾶσα πολλὰ δ᾽ ἔστενον ANI ee , a τόδ᾽ ἐννέποντες δόμων προφῆται" 380 “Ἰὼ id δῶμα, δῶμα καὶ πρόμοι' ἰὼ λέχος καὶ στίβοι φιλάνορες. U * * 3 9 ί 3 δό πάρεστι “oly ἀτίμως ἀλοιδορως vA > ww 9 = 9 4 * adic? oa ἦν ἀφειμένων. πόθῳ δ᾽ ὑπερποντίας 385 φάσμα δόξει δόμων ἀνάσσειν" εὐμόρφων δὲ κολοσσῶν Ν ’ Μ b ) [ ἔχθεται χάρις, ἔρρει ὃ ὀφθαλμῶν ἐν ἀχηνίαις ἀνδρὶ πᾶσ᾽ ᾿Αφροδίτα.
ὀνειρόφαντοι δὲ πενθήμονες avr. β΄. πάρεισι δόξαι φέρουσαι χάριν ματαίαν. 391
, “ φ» a 9 ’ A e¢ a μάταν yap, εὖτ᾽ ἂν ἐσθλὰ τις δοκῶν ὁρᾶν φίλοισιν εὕδῃ ξυνὼν ὀνείροις,
παραλλάξασα διὰ χερῶν , vp ὃ , βέβακεν ὄψις, οὐ μεθύστερον πτεροῖς κοπαδοῦσ᾽ ὕπνου κελεύθοις." τὰ μὲν κατ᾽ οἴκους κἐφεστίους ἄχη tad ἐστί, καὶ τῶνδ᾽ *varepBornv ἔχει." τὸ πᾶν δ᾽ ἀφ᾽ Ἑλλάδος #yas ξυνορμένοις πένθεια τλησικάρδιος δόμων ἑκάστου πρέπει. 400 πολλὰ γοῦν θυγγάνει πρὸς ἧπαρ'᾽ *.,..\ Ν , f * TOUS μὲν γὰρ ποτε πέμψας οἶδεν, ἀντὶ δὲ φωτῶν ’ 9 e U , 3 A τεύχη καὶ σποδὸς εἰς ἑκάστου δόμους ἀφικνεῖται. ὁ χρυσαμοιβὸς δ᾽ "Αρης σωμάτων, στρ. γ΄. καὶ ταλαντοῦχος ἐν μάχῃ δορός, 406 πυρωθὲν ἐξ Ἰλίου φίλοισι πέμπει βαρὺ
& Oo αι
16 AISXTAOT
ψῆγμα δυσδάκρυτον, ἀντήνορος σποδοῦ γεμίζων λέβητας εὐθέτου. στένουσι δ᾽ εὖ λέγοντες ἄν- 410 ὃρα τὸν μὲν ὡς μάχης ἴδρις" τὸν δ᾽ ἐν φοναῖς καλῶς πεσόντ᾽ ἀχλ- λοτρίαςεπδιαὶ γυναικός" τὰ δὲ σῖγά τις Bailer’ φθονερὸν δ᾽ ὑπ᾽ ἄλγος ἕρπε 45 (450) ’ 3 ’ προδίκοις ᾿Ατρείδαις. οἱ δ᾽ αὐτοῦ περὶ τεῖχος . θήκας ᾿Ιλιάδος γᾶς Ν / . 2? ‘oe ” πἔμμορφοι κατέχουσιν" ἐχθρὰ δ᾽ ἔχοντας ἔκρυψεν. βαρεῖα 8 ἀστῶν φάτις ξὺν κότῳ, ἀντ. γί. δημοκράντου δ᾽ ἀρᾶς τίνει χρέος. 421 μένει δ᾽ ἀκοῦσαί τί μου μέριμνα νυκτηρεφές. τῶν πολυκτόνων γὰρ οὐκ ἄσκοποι Deol’ κελαιναὶ δ᾽ ᾿Ἐρινύες “ χρόνῳ τυχηρὸν ὄντ᾽ ἄνευ δίκας 425 A A , ““Τταλιντυχεῖ τριβᾷ βίου / b 3 4 3 3 9.4 πκτίζουσ᾽ ἀμαυρόν, ἐν δ᾽ ἀΐστοις τελέθοντος οὔτις ἀλκά. \ 3 ¢ ’ , 9 τὸ. δ᾽ κὑπερκόπως κλύειν εὖ βαρύ: βάλλεται γὰρ ὄσσοις 430 Διόθεν κεραυνός. κρίνω δ᾽ ἄφθονον ὄλβον. 3 3) μήτ᾽ εἴην πτολιπόρθης, μήτ᾽ οὖν αὐτὸς ἁλοὺς ὑπ᾽ ἄλλων βίον κατίδοιμι. πυρὸς δ᾽ ὑπ᾽ εὐαγγέλου ἐπῳδ. πόλιν διήκει θοὰ 436 ἢ . 5. © 2 , βάξις" εἰ δ᾽ ἐτητύμως, τίς οἷδεν, κεἴτε θεῖόν ἐστί «τι ψύθος; τίς ὧδε παιδνὸς ἢ φρενῶν κεκομμένος,
ATAMEMNON. 17
φλογὸς παραγγέλμασιν 440 νέοις πυρωθέντα καρδίαν ἔπειτ' ἀλλαγᾷ λόγον καμεῖν ; γυναικὸς αἰχμᾷ πρέπει πρὸ τοῦ φανέντος χάριν ξυναινέσαι. πιθανὸς ἄγαν ὁ θῆλυς ὅρος ἐπινέμεται 445 ταχύπορος" ἀλλὰ ταχύμορον Μ / γυναικογήηρυτον ὄλλυται κλέος. τάχ᾽ εἰσόμεσθα λαμπάδων φαεσφόρων φρυκτωριῶν τε καὶ πυρὸς παραλλαγάς, ΜΝ ὃ» = 9 A v9 3 a [2 εἴτ᾽ οὖν ἀληθεῖς, εἴτ᾽ ὀνειράτων δίκην 450 τερπνὸν τόδ᾽ ἐλθὸν φῶς ἐφήλωσεν φρένας. κήρυκ᾽ amr ἀκτῆς τόνδ᾽ ὁρῶ κατάσκιον κλάδοις ἐλαίας" μαρτυρεῖ δέ μοι κάσις πηλοῦ ξύνουρος, διψία κόνις, τάδε, ὡς οὔτ᾽ ἄναυδος οὔτε σοι δαίων φλόγα 455 ὕλης ὀρείας σημανεῖ καπνῷ πυρός, ἀλλ᾽ ἡ τὸ χαίρειν μᾶλλον ἐκβάξει λέγων---- Ἁ 9 / A 39. 59 , τὸν ἀντίον δὲ τοῖσδ᾽ ἀποστέργω λόγον'
εὖ γὰρ πρὸς εὖ φανεῖσι προσθήκη πέλοι. (500) ὅστις τάδ᾽ ἄλλως τῇδ᾽ ἐπεύχεται πόλει, 4(ο
> A a a \ ¢€ αὐτὸς φρενῶν καρποῖτο τὴν ἁμαρτίαν.
KHPT2.
ἰὼ πατρῷον οὖδας ’Apyelas χθονός" δεκάτῳ σε φέγγει τῷδ᾽ ἀφικόμην ἔτους, πολλῶν ῥαγεισῶν ἐλπίδων, μιᾶς τυχών. οὐ γάρ ποτ᾽ ηὔχουν τῇδ᾽ ἐν ᾿Αργείᾳ χθονὶ 465 θανὼν μεθέξειν φιλτάτου τάφου μέρος. νῦν χαῖρε μὲν χθών, χαῖρε δ' ἡλίου φάος, ὕπατός τε χώρας Ζεύς, ὁ Πύθιός τ᾽ ἄναξ, τόξοις ἰάπτων μηκέτ᾽ εἰς ἡμᾶς βέλη. K. A. 2
18
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ἅλις παρὰ Σκάμανδρον «ἦσθ᾽ ἀνάρσιος" νῦν δ᾽ αὖτε σωτὴρ ἴσθι " καὶ παιώνιος," ἄναξ ᾿"Απολλον. τούς τ᾽ ἀγωνίους θεοὺς πάντας προσαυδῶ, τὸν τ᾽ ἐμὸν τιμάορον ¢ A , “ ἢ Ἑρμῆν, φίλον κήρυκα, κηρύκων σέβας, ἥρως τε τοὺς πέμψαντας, εὐμενεῖς πάλιν στρατὸν δέχεσθαι τὸν λελειμμένον δορός. ἰὼ μέλαθρα βασιλέων, φίλαι στέγαι, σεμνοί τε θᾶκοι, δαίμονές τ᾽ ἀντήλιοι" πεἴ που πάλαι, φαιδροῖσι τοισίδ᾽ ὄμμασε
4 / a Ul δέξασθε κόσμῳ βασιλέα πολλῷ χρόνῳ. ἥκει γὰρ ὑμῖν φῶς ἐν εὐφρόνῃ φέρων
LY A > Ὁ ἢ > ” καὶ τοῖσδ᾽ ἅπασε κοινὸν ᾿Αγαμέμνων ἄναξ. ἀλλ᾽ εὖ νιν ἀσπάσασθε, καὶ yap οὖν πρέπει, Τροίαν κατασκάψαντα τοῦ δικηφόρου Διὸς μακέλλῃ, τῇ κατείργασται πέδον. βωμοὶ δ᾽ ἄϊΐστοι καὶ θεῶν ἱδρύματα,
\ ’ , 3 ld καὶ σπέρμα πάσης ἐξαπόλλυται χθονός. τοιόνδε Tpola περιβαλὼν ξευκτήριον ἄναξ ᾿Ατρείδης πρέσβυς εὐδαίμων ἀνὴρ of 3 3 a ἥκει, τίεσθαι δ᾽ ἀξιώτατος βροτῶν
A Ὁ Ἅ A 4 / . τῶν viv’ Πάρις γὰρ οὔτε συντελὴς πόλις ἐξεύχεται τὸ δρᾶμα τοῦ πάθους πλέον"
3 \ \ ς A \ Led , ὀφλὼν yap ἁρπαγῆς Te καὶ κλοπῆς δίκην τοῦ ῥυσίου θ᾽ ἥμαρτε, καὶ πανώλεθρον αὐτόχθονον πατρῷον ἔθρισεν δόμον" διπλᾶ δ᾽ ἔτισαν Ἰ]ριαμίδαι θάμάρτια. κῆρυξ ᾿Αχαιῶν, χαῖρε, τῶν ἀπὸ στρατοῦ. χαίρω" τεθνᾶναι δ᾽ οὐκ ἔτ᾽ ἀντερῶ θεοῖς. ἔρως πατρῴας τῆσδε γῆς σ᾽ ἐγύμνασεν; ὥστ᾽ ἐνδακρύειν γ᾽ ὄμμασιν χαρᾶς ὕπο. aA ῳ 5 φ A 3 4 ’ , τερπνῆς ap ἦτε τῆσδ᾽ ἐπήβολοι νόσου.
“a μ \ ἴω ’ ,
πῶς δή; διδαχθεὶς τοῦδε δεσπόσω λόγου.
470
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480
485
490
495
500
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ATAMEMNON. 19
TOV ἀντερώντων ἱμέρῳ «πεπληγμένοι.
“ le) , ed δὴ ποθεῖν ποθοῦντα τήνδε γῆν στρατὸν λέγεις ; ὡς πόλλ᾽ ἀμαυρᾶς ἐκ φρενός εμ’ avactevery. 505
A , a * 9 a , , πόθεν τὸ δύσφρον τοῦτ᾽ ἐπὴν στύγος ππόλει ; πάλαι τὸ σιγᾶν φάρμακον βλάβης ἔχω. καὶ πῶς; ἀπόντων κοιράνων ἔτρεις τινᾶς ; ὡς νῦν τὸ σὸν δή, καὶ θανεῖν πολλὴ χάρις. (550) εὖ γὰρ πέπρακται. ταῦτα δ᾽ ἐν πολλῷ χρόνῳ τὰ μέν τις «ἄν λέξειεν εὐπετῶς ἔχειν, 511 τὰ δ᾽ αὖτε κἀπίμομφα. τίς δέ, πλὴν θεῶν, ἅπαντ᾽ ἀπήμων τὸν dv αἰῶνος χρόνον ; μόχθους γὰρ εἰ λέγοιμε καὶ δυσαυλίας, σπαρνὰς παρήξεις καὶ κακοστρώτους͵ ---τί δ᾽ οὐ στένοντες, οὐ «λάσκοντες ἤματος μέρος; 516 ta δ᾽ αὖτε χέρσῳ, Kal προσῆν πλέον στύγος" εὐναὶ γὰρ ἦσαν δηΐων πρὸς τείχεσιν" ἐξ οὐρανοῦ γὰρ κἀπὸ γῆς λειμώνιαι δρόσοι κατεψάκαζον, ἔμπεδον σίνος 520 ἐσθημάτων, τιθέντες ἔνθηρον τρίχα. χειμῶνα δ᾽ εἰ λέγοι τις οἰωνοκτόνον, a 3 Ld 3 ’ ‘
οἷον παρεῖχ᾽ ἄφερτον ᾿Ιδαία χιών, ἢ θάλπος, εὖτε πόντος ἐν μεσημβριναῖς κοίταις ἀκύμων νηνέμοις εὕδοι πεσών---- 5 τί ταῦτα πενθεῖν δεῖ; παροίχεται πόνος" παροίχεται δὲ τοῖσι μὲν τεθνηκόσιν τὸ μήποτ᾽ αὖθις μηδ᾽ ἀναστῆναι μέλειν. τί τοὺς ἀναλωθέντας ἐν ψήφῳ λέγειν, τὸν ζῶντα δ᾽ ἀλγεῖν χρὴ τύχης παλιγκότου; 530
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τοιαῦτα χρὴ κλύοντας εὐλογεῖν πόλιν
καὶ τοὺς στρατηγούς" καὶ χάρις τιμήσεται, ὅ40 Διὸς τάδ᾽ ἐκπράξασα. πάντ᾽ ἔχεις λόγον. νικώμενος λόγοισιν οὐκ ἀναίνομαι"
ἀεὶ γὰρ ἡβᾷ τοῖς γέρουσιν εὖ μαθεῖν.
δόμοις δὲ ταῦτα καὶ ζλυταιμνήστρᾳ μέλειν ᾿ εἰκὸς μάλιστα, ξὺν δὲ πλουτίζειν ἐμέ. 545 ἀνωλόλυξα μὲν πάλαι χαρᾶς ὕπο,
or ἦλθ᾽ ὁ πρῶτος νύχιος ἄγγελος πυρὸς
φράζων ἅλωσιν ᾿Ιλίου τ᾽ ἀνάστασιν"
καί τίς μ᾽ ἐνίττων εἶπε, Φρυκτωρῶν διὰ πεισθεῖσα Τροίαν νῦν πεπορθῆσθαι δοκεῖς; 550 ἦ κάρτα πρὸς γυναικὸς αἴρεσθαι κέαρ.
λόγοις τοιούτοις πλαγκτὸς qua’ ἐφαινόμην"
ὅμως δ᾽ ἔθυον" καὶ γυναικείῳ νόμῳ
ὁλολυγμὸν ἄλλος ἄλλοθεν κατὰ πτόλιν
ἔλασκον εὐφημοῦντες ἐν θεῶν ἕδραις 555 θυηφάγον κοιμῶντες εὐωδη φλόγα.
καὶ νῦν τὰ μάσσω μὲν τί δεῖ σ᾽ ἐμοὶ λέγειν; ἄνακτος αὐτοῦ πάντα Tevcopat λόγον.
μὲ > Α > A 3 a ’ ὅπως δ᾽ ἄριστα τὸν ἐμὸν αἰδοῖον πόσιν (600) σπεύσω πάλιν μολόντα δέξασθαι' τί yap 560
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γυναικὶ τούτον φέγγος ἤδιον δρακεῖν, ἀπὸ στρατείας ἄνδρα σώσαντος θεοῦ,
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οὐδὲν διαφθείρασαν ἐν μήκει χρόνου. #oux οἷδα τέρψιν οὐδ᾽ ἐπίψογον φάτιν
ἄλλου πρὸς ἀνδρὸς μᾶλλον ἢ χαλκοῦ βαφας.
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9 “3 \ e ’ a οὐκ αἰσχρὸς ws γυναικὴ γενναίᾳ λακεῖν. ᾿ \ re ἢ αὕτη μὲν οὕτως εἶπε μανθάνοντί σοι, τοροῖσιν ἑρμηνεῦσιν εὐπρεπῶς λόγον.
A +] 3 σὺ δ᾽ εἶπέ, κῆρυξ, Μεγέλεων δὲ πεύθομαι, εἰ νόστιμός «τε καὶ σεσωσμένος πάλιν WV ‘ ς A a a ἥξει ξὺν ὑμῖν, τῆσδε γῆς φίλον κράτος. οὐκ ἔσθ᾽ ὅπως λέξαιμι τὰ ψευδῆ καλὰ ’ \ \ } a. , ἐς τὸν πολὺν φίλοισι καρποῦσθαι χρόνον.
A a 3 & 3 Ν A 4 “a , πῶς δῆτ᾽ av εἰπὼν κεδνὰ τἀληθῆ «τύχοις ; σχισθέντα δ᾽ οὐκ εὔκρυπτα γίγνεται τάδε. κἀνὴρ ἄφαντος ἐξ ᾿Αχαιϊκοῦ στρατοῦ, αὐτός τε καὶ τὸ πλοῖον. οὐ ψευδῆ λέγω. πότερον ἀναχθεὶς ἐμφανῶς ἐξ ᾿Ιλίου, ἢ χεῖμα, κοινὸν ἄχθος, ἥρπασε στρατοῦ; ἔκυρσας ὥστε τοξότης ἄκρος σκοποῦ, μακρὸν δὲ πῆμα συντόμως ἐφημίσω. πότερα γὰρ αὐτοῦ ζῶντος ἢ τεθνηκότος φάτις πρὸς ἄλλων ναυτίλων ἐκλήζετο ; οὐκ οἷδεν οὐδεὶς ὥστ᾽ ἀπαγγεῖλαι τορῶς
»“"ο , πλὴν τοῦ τρέφοντος ᾿Ηλίου χθονὸς φύσιν. πῶς γὰρ λέγεις χειμῶνα ναυτικῷ στρατῷ a a /
ἐλθεῖν τελευτῆσαί τε δαιμόνων κότῳ; εὔφημον ἦμαρ οὐ πρέπει κακαγγέλῳ γλώσσῃ μιαίνειν" χωρὶς ἡ τιμὴ θεῶν. », ῷ 3 A , 9 wv t ὅταν © ἀπευκτὰ πήματ᾽ ἀγγέλος πόλει
a A / στυγνῷ προσώπῳ πτωσίμου στρατοῦ φέρῃ,---
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21
570
575
580
585
590
595
600
AISXTAOT
δίλογχον ἄτην, φοινίαν ξυνωρίδα; --- τοιῶνδε μέντοι πημάτωνεσεσαγμένον πρέπει λέγειν παιᾶνα τόνδ᾽ ᾿Ερινύων" σωτηρίων δὲ πραγμάτων εὐάγγέλον ἥκοντα πρὸς χαίρουσαν εὐεστοῖ πόλιν---- mos κεδνὰ τοῖς κακοῖσι συμμίξω, λέγων χειμῶν᾽ Ayatois οὐκ ἀμήνιτονεθεῶν; ξυνώμοσαν γάρ, ὄντες ἔχθιστοι τὸ πρίν, Πῦρ καὶ Θάλασσα, καὶ τὰ πίστ' ἐδειξάτην φθείροντε τὸν δύστηνον ᾿Αργείων στρατόν. ἐν νυκτὶ δυσκύμαντα δ᾽ ὠὡρώρει κακά" ναῦς γὰρ πρὸς ἀλλήλαισι Θρήκιαι πνοαὶ ἤρεικον᾽ αἱ δὲ κεροτυπούμεναι βίᾳ χειμῶνι, «τυφῷ ξὺν Cary τ᾽ ὀμβροκτύπῳ, @yovr ἄφαντοι ποιμένος κακοῦ στρόβῳ. ἐπεὶ δ᾽ ἀνῆλθε λαμπρὸν ἡλίου φάος, ὁρῶμεν ἀνθοῦν πέλαγος Αὐγαῖον νεκροῖς ἀνδρῶν ᾿Αχαιῶν ναυτικῶν τ᾽ ἐρειπίων. ἡμᾶς γε μὲν δὴ ναῦν τ᾽, ἀκήρατον σκάφος, ἤτοι τις ἐξέκλεψεν ἢ ᾿ξητήσατο, θεός τις, οὐκ ἄνθρωπος, οἴακος θυγών. Τύχη δὲ σωτὴρ ναῦν θέλουσ᾽ ἐφέζετο, ὡς μήτ᾽ ἐν ὅρμῳ κύματος ζάλην ἔχειν,
;» 3 3 ὸ ’ὔ ό pnt ἐξοκεῖλαι πρὸς κραταίλεων χθόνα. v , Ὁ , ἔπειτα 5 ἅδην πόντιον πεφευγότες,
> 9 U
λευκὸν κατ᾽ ἦμαρ, οὐ πεποιθότες τύχη,
3 A / , , ἐβουκολοῦμεν φροντίσιν νέον πάθος στρατοῦ καμόντος καὶ κακῶς σποδουμένου. καὶ νῦν ἐκείνων εἴ τις ἐστὶν ἐμπνέων, λέγουσιν ἡμᾶς ὡς ὀλωλότας" τί μήν;
¢ "Ὁ > 3 , a> Ν , ἡμεῖς τ᾽ ἐκείνους ταῦτ᾽ ὄχειν δοξάζομεν.
/ ’ e v f ‘ 9 γένοιτο δ᾽ ὡς ἄριστα" Μενέλεων γὰρ οὖν πρῶτόν Te καὶ μάλιστα προσδόκα μολεῖν"
605
(650)
610
615
620
625
630
ATAMEMNON, 23
εἰ δ᾽ οὖν tis ἀκτὶς ἡλίου νιν ἱστορεῖ 635 καὶ ζῶντα καὶ βλέποντα, μηχαναῖς Διὸς οὕπω θέλοντος ἐξαναλῶσαι γένος, ἐλπίς τις αὐτὸν πρὸς δόμους ἥξειν πάλιν. τοσαῦτ᾽ ἀκούσας ἴσθι τἀληθῆ κλύων. 639 XO. τίς mot ὠνόμαζεν ὧδ᾽ ἐς τὸ πᾶν ἐτητύμως---- στρ. α΄. μή τις, ὅντιν᾽ οὐχ ὁρῶώμεν,επρονοίαισι τοῦ πεπρωμένου γλῶσσαν ἐν τύχᾳ νέμων ;--- τὰν δορύγαμβρον ἀμφινεικῆ θ᾽ Ἑλέναν ; ἐπεὶ πρεπόντως ἑλέναυς, EXavdpos, ἑλέπτολις, 645 ἐκ τῶν ἀβροτίμων προκαλυμμάτων ἔπλευσε Ζεφύρου γίγαντος αὔρᾳ, πολύανδροί te φεράσπιδες κυναγοὶ
κατ᾽ ἴχνος πλάταν ἄφαντον 650 κελσάντων Σιμόεντος ἀκτὰς ἐπ᾽ ἀεξιφύλλους
δι’ ἔριν αἱματόεσσαν. [(700) Ἰλίῳ δὲ κῆδος ὀρθώνυμον τέλεσσίφρων ἀντ. α΄. μῆνις ἤλασεν, tpaTrélaseatipwow ὑστέρῳ χρόνῳ
καὶ ξυνεστίου Διὸς 655
πρασσομένα τὸ νυμφότιμον μέλος ἐκφάτως τίοντας, Ἐνέον ὑμέν᾽ ἢ, ὃς τότ᾽ ἐπέρρεπε γαμβροῖσιν ἀείδειν. μεταμανθάνουσα δ᾽ ὕμνον 660 ᾿ Πριάμου πόλις γεραιὰ | πολύθρηνον μέγα που στένει, κικλησκου- σα Πάριν τὸν αἰνόλεκτρον, πάμπροσθ᾽ ἦ πολύθρηνον αἰῶνα *diab πολιτῶν μέλεον αἷμ᾽ ἀνατλᾶσα. | 665 ἔθρεψεν δὲ "λέοντος - = op. β΄.
24 ΑΙΣΧΥΛΟΥ
w* δόμοις ὠγάλακτον οὕτως ἀνὴρ φιλόμαστον «δ᾽, , ἐν βιότον προτελείοις “ ᾽ , ΝΠ ae ae, apepov, εὐφιλόπαιδά «τε καὶ γεραροῖς ἐπίχαρτον. πολέα δ᾽ ἔσχ᾽ ἐν ὠγκάλαις -670 νεοτρόφου τέκνου δίκαν, φαιδρωπὸς ποτὶ χεῖρα, σαίνων τε γαστρὸς ἀνάγκαις.
χρονισθεὶς δ᾽ ἀπέδειξεν «ἧ- avr. β΄. Gos τὸ πρὸς τοκέων' χάριν γὰρ τροφεῦσιν ἀμείβων μηλοφόνοις πθανάτοισιν 675
Sair’ ἀκέλευστος ἔτευξεν, * éy αἵμασι δ᾽ οἶκος ἐφύρθη, ἄμαχον adyos οἰκέταις, μέγα σίνος ποολυκτόνον' Ἐθείας ὧδ᾽ Ἔ ἱερεύς τις ἄτας δόμοις «προσεθρέφθη. πάραυτα δ᾽ ἐλθεῖν ἐς ᾿Ιλίου πόλιν λέγοιμ᾽ ἂν στρ. γ΄. φρόνημα μὲν νηνέμου γαλάνας, 681 ἀκασκαῖον δ᾽ ἄγαλμα πλούτου, μαλθακὸν ὀμμάτων βέλος, δηξίθυμον ἔρωτος ἄνθος" 684 παρακλίνασ᾽ ἐπέκρανεν δὲ γάμον πικρᾶς τελευτᾶς, δύσεδρος καὶ δυσόμιλος συμένα Πριαμίδαισιν πομπᾷ Διὸς ξενίον νυμφόκλαυτος ᾿Ἐρινύς. παλαίφατος δ᾽ ἐν βροτοῖς γέρων λόγος τέτυκται, ἀντ. γ΄. μέγαν τελεσθέντα φωτὸς ὄλβον [(750) τεκνοῦσθαι, pnd ἄπαιδα θνήσκειν' 691 ἐκ δ᾽ ὠγαθᾶς τύχας γένει βλαστάνειν ἀκόρεστον οἰζύν. δίχα δ᾽ ἄλλων μονόφρων εἰμί: τὸ δυσσεβὲς γὰρ ἔργον μέτα μὲν πλείονα τίκτει, σφετέρᾳ δ᾽ εἰκότα γέννᾳ. 695 οἴκων γὰρ εὐθυδίκων καλλίπαις πότμος αἰεί, φιλεῖ δὲ τίκτειν “TBpis μὲν παλαιὰ ved- στρ. δ΄. ζουσαν *éy γε τοῖς Ἐ κακοῖς βροτῶν
ΑΓΑΜΕΜΝΩΝ. 26
Ὕβριν ror ἢ τόθ᾽, «ὅτε τὸ κύριον μόλῃ 700 Ἐνέα δ᾽ ἔφυσεν ἹΚόρον," δαίμονά "τ᾽ ἄμαχον," ἀπόλεμον, ἀνίερον Θράσος, μελαίνας μελάθροισιν “Aras πεἰδομένας τοκεῦσιν. Δίκα δὲ λάμπει μὲν ἐν δυσκάπνοις δώμασιν, ἄντ. δ΄. τὸν δ᾽ ἐναίσιμον τίει βίον. 706 Ta χρυσόπαστα δ᾽ κἔδεθλα σὺν πίνῳ χερῶν || επαλιντρόποισιν λιποῦσ᾽ ὄμμασιν ὅσια «προσέμολε, δύναμιν οὐ σέβουσα πλούτου παράσημον αἴνῳ. 710 πᾶν δ᾽ ἐπὶ τέρμα νωμᾷ. #Aréye δή, βασιλεῦ, Τροίας πτολίπορθ', ᾿Ατρέως γένεθλον, πῶς σε προσείπω, πῶς εδὲ σεβίζω μήθ᾽ ὑπεράρας μήθ᾽ ὑποκάμψας καιρὸν χάριτος" 715 | "τοῦ τε γὰρ Ἐ εἶναι πολλοὶ τὸ δοκεῖν προτίουσι δίκην παραβάντες, τῷ δυσπραγοῦντί T ἐπιστενάχειν mas τις ἕτοιμος δῆγμα δὲ λύπης οὐδὲν ἐφ᾽ ἧπαρ προσικνεῖται' 720 καὶ ξυγχαίρουσιν ὁμοιοπρετπεῖς ἀγέλαστα πρόσωπα βιαζόμενοι trov μὴ καθορῶντ᾽ ἀπατῶσιν.ἵ ὅστις δ᾽ ἀγαθὸς προβατογνωμων, οὐκ ἔστι λαθεῖν ὄμματα φωτὸς τὰ δοκοῦντ᾽ εὔφρονος ἐκ διανοίας γ25 ὑδαρεῖ σαίνειν φιλότητι. σὺ δέ μοι τότε μέν, στέλλων στρατιὰν “Ἑλένης ἕνεκ᾽, οὐ γάρ κσ᾽ ἐπικεύσω, (800) κάρτ᾽ ἀπομούσως ἦσθα γεγραμμένος — οὐδ᾽ εὖ πραπίδων οἴακα νέμων, 730
26
AIZXTAOT
θράσος *éx θυσιῶν 4 , , / . ἀνδράσι θνήσκουσι κομίζων νῦν δ᾽ οὐκ ἀπ’ ἄκρας φρενὸς οὐδ᾽ ἀφίλως taiva σε λέγων," w / 9 / εὐῴρων πόνος ev τελέσασιν. γνώσει δὲ χρόνῳ διαπευθόμενος τόν τε δικαίως καὶ τὸν ἀκαίρως ἐσέθεν οἰχομένου
/ 9 . a A πολιν οἰκουρουντα TONLTOD.
ATAMEMNON.
πρῶτον μὲν “Apyos καὶ θεοὺς ἐγχωρίους δίκη προσειπεῖν, τοὺς ἐμοὶ μεταυτίους νόστου, δικαίων θ᾽ ὧν ἐπραξάμην πόλιν Πριάμου" δίκας γὰρ οὐκ ἀπὸ γλώσσης θεοὶ π κρίνοντες, ἀνδροθνῆτας ᾿λίου φθοράς, εἰς αἱματηρὸν τεῦχος οὐ διχορρόπως ψήφους ἔθεντο᾽ τῷ δ᾽ ἐναντίῳ κύτει ἐλπὶς προσήει χειρὸς οὐ πληρουμένῳ. καπνῷ δ᾽ ἁλοῦσα νῦν ἔτ᾽ εὔσημος πόλις. ἄτης *Ounral ζῶσι' συνθνήσκουσα δὲ σποδὸς προπέμπει πίονας πλούτου πνοάς. τούτων θεοῖσι χρὴ πολύμνηστον χάριν τίνειν" ἐπείπερ καὶ πάγας ὑπερκότους πἐφραξάμεσθα, καὶ γυναικὸς εἵνεκα
πόλιν διημάθυνεν ᾿Αργεῖον δάκος,
ἵππον νεοσσύός, ἀσπιδοστρόφος λεώς, πήδημ᾽ ὀρούσας ἀμφὶ Πλειάδων duce’ ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων
ἄδην ἔλειξεν αἵματος τυραννικοῦ.
θεοῖς μὲν ἐξέτεινα φροίμιον τόδε"
τὰ δ᾽ ἐς τὸ σὸν φρόνημα, μέμνημαι κλύων,
735
740
745
750
755
ΚΛ.
ATAMEMNON. 27
Ἢ 2 A , , > καὶ φημὶ ταὐτὰ καὶ ξυνήγορόν μ᾽ ἔχεις.
, A 3 a 4 “ \ / Waupols yap ἀνδρῶν EOTL σύγγενες τόδε, 760
he A 9 ce) > Ψ , , φίλον τὸν εὐτυχοῦντ᾽ ἄνευ φθόνου σέβειν. δύσφρων γὰρ ἰὸς κκαρδίᾳ προσήμενος ἄχθος διπλοίξζει τῷ πεπαμένῳ vocov' τοῖς τ᾽ αὐτὲς αὑτοῦ πήμασιν βαρύνεται,
\ a > A / καὶ τὸν θυραῖον ὄλβον εἰσορῶν στένει, 765 εἰδὼς λέγοιμ᾽ ay’ εὖ yap ἐξεπίσταμαι ὁμιλίας κάτοπτρον, εἴδωλον σκιᾶς άνδρῶν φανέντας τῶν ξυνορμένων τινὰς Ὁ δοκοῦντας εἶναι κάρτα πρευμενεῖς ἐμοί.
, > [4 a ᾽ e " Μ μόνος δ' Ὀδυσσεύς, ὅσπερ οὐχ ἑκὼν ἔπλει, ξευχθεὶς ἕτοιμος ἦν ἐμοὶ σειραφόρος᾽" 770 εἴτ᾽ οὖν θανόντος εἴτε καὶ ζῶντος πέρι λέγω. τὰ δ᾽ ἄλλα πρὸς πόλιν τε καὶ θεούς,
. κοινοὺς ἀγῶνας θέντες, ἐν πανηγύρει
βουλευσόμεσθα. καὶ τὸ μὲν καλῶς ἔχον
ὅπως χρονίζον εὖ μενεῖ βουλευτέον" 775 ὅτῳ δὲ καὶ δεῖ φαρμάκων παιωνίων,
ἤτοι κέαντες 4 τεμόντες εὐφρόνως
πειρασόμεσθα ᾿'΄ πῆμ᾽ ἀποστρέψαι νόσου." (850) νῦν δ᾽ ἐς μέλαθρα καὶ δόμους ἐφεστίους ἐλθὼν θεοῖσι πρῶτα δεξιώσομαι, 78ο
οἵπερ πρόσω πέμψαντες ἤγωγον πάλιν.
νίκη δ᾽ ἐπείπερ ἕσπετ᾽, ἐμπέδως μένοι.
ἼΑνδρες πολῖται, πρέσβος ᾿Αργείων τόδε,
οὐκ αἰσχυνοῦμαι τοὺς φιλάνορας τρόπους
λέξαι πρὸς ὑμᾶς" ἐν χρόνῳ δ᾽ ἀποφθέίνει 785 τὸ τάρβος ἀνθρώποισιν. οὐκ ἄλλων πάρα μαθοῦσ᾽ ἐμαυτῆς δύσφορον λέξω βίον
τοσόνδ᾽, ὅσονπερ οὗτος ἦν ὑπ᾽ ᾿ἸἸλίῳ.
τὸ μὲν γυναῖκα πρῶτον ἄρσενος δίχα
ἧσθαι δόμοις ἔρημον, ἔκπαγλον κακόν, 700 πολλὰς κλύουσαν «κληδόνας παλιγκότουτ᾽
AIZXTAOT
καὶ τὸν μὲν ἥκειν, τὸν δ᾽ ἐπεισφέρειν κακοῦ , bad ” , . , κάκιον ἀλλο πῆμα, λάσκοντας δόμοις. καὶ τραυμάτων μὲν εἰ τόσων ἐτύγχανεν ἁνὴρ ὅδ᾽, ὡς πρὸς οἶκον ὠχετεύετο 795 φάτις, τέτρωται δικτύου πλέω λέγειν. Σ 9 > s € 3 “ , εἰ δ᾽ ἦν τεθνηκώς, ws κἐπλήθνον λόγοι, τρισώματος τὰν Τ᾽ ηρυὼν ὁ δεύτερος χθονὸς τρίμοιρον χλαῖναν ἐξηύχει «λαβεῖν, 800 ἅπαξ ἑκάστῳ κατθανὼν μορφώματι. τοιῶνδ᾽ ἕκατι κληδόνων παλυγκότων \ v 9 / , A ,
πολλὰς ἄνωθεν ἀρτάνας ἐμῆς δέρης ἔλυσαν ἄλλοι πρὸς βίαν λελημμένης. 3 a / a 3 "Ὁ ᾽ a ᾿ ἐκ τῶνδέ τοι παῖς ἐνθάδ᾽ οὐ παραστατεῖ, 805 ἐμῶν Te Kal σῶν κύριος πιστευμάτων, | ε a3 ’ . \ ’ ‘O., ὡς χρῆν, ᾿Ορέστης" μηδὲ θαυμάσῃς τόδε τρέφει γὰρ αὐτὸν εὐμενὴς δορύξενος
s ¢ , 9 , Στρόφιος ὁ Φωκεύς, ἀμφίλεκτα πήματα ἐμοὶ προφωνῶν, τόν θ᾽ ὑπ᾽ Ἰλίῳ σέθεν 810 κίνδυνον, εἴ τε δημόθρους ἀναρχία βουλὴν καταρρίψειεν, ὥστε σύγγονον βροτοῖσι τὸν πεσόντα λακτίσαι πλέον.
U ’ al 3 ’ 4 τοιάδε μέν τοι σκῆψις οὐ δόλον φέρει. ἔμουγε μὲν δὴ κλαυμάτων ἐπίσσυτοι 815 “τηγαὺὶ κατεσβήκασιν, οὐδ᾽ ἔνι σταγών. ἐν ὀψικοίτοις δ᾽ ὄμμασιν βλαβας ἔχω, τὰς ἀμφί σοι κλαίουσα λαμπτηρουχίας ἀτημελήτους αἰέν. ἐν δ᾽ ὀνείρασιν λεπταῖς ὑπαὶ κώνωπος ἐξηγειρόμην 820 ῥιπαῖσι θωύσσοντος, ἀμφί σοι πάθη ὁρῶσα πλείω τοῦ ξυνεύδοντος χρόνου. νῦν, ταῦτα πάντα τλᾶσ᾽, ἀπενθήτῳ φρενὶ λέγοιμ᾽ ἂν ἄνδρα τόνδε τῶν σταθμῶν κύνα,
799 Codd. dant: πολλὴν ἄνωθεν, τὴν κάτω γὰρ οὐ λέγω,
AT’.
ATAMEMNON. 29
σωτῆρα ναὸς πρότονον, ὑψηλῆς στέγης 825 στῦλον ποδήρη, μονογενὲς τέκνον πατρί, a A , 3 ’ καὶ γῆν φανεῖσαν ναυτίλοις παρ᾽ ἐλπίδα, / φ 9 a 3 κάλλιστον ἦμαρ εἰσιδεῖν ἐκ χείματος, . (900)
e “ ra) es ὁδούτορῳ διψῶντι πηγαῖον ῥέος.
δ \ 9 a 4 σι ud
τερπνὸν δὲ TavayKaiov ἐκφυγεῖν ἅπαν. 830 τοιοῖσδέ Ἐτοί νιν ἀξιῶ προσφθέγμασιν. φθόνος δ᾽ ἀπέστω" πολλὰ γὰρ τὰ πρὶν κακὰ ἠνειχόμεσθα" νῦν δέ μοι, φίλον κάρα, 3 3 9 Ul a N A ἔκβαιν᾽ ἀπήνης τῆσδε, μὴ χαμαὶ τιθεὶς τὸν σὸν πόδ᾽, ὦ ᾽ναξ, Ἰλίου πορθήτορα. 835 Suwat, τί μέλλεθ᾽, als ἐπέσταλται τέλος πέδον κελεύθον στρωννύναι πετάσμασιν; εὐθὺς γενέσθω πορφυρόστρωτος πόρος,
9 a 3 Ww € Aa e a / és Sau ἄελπτον ws ἂν ἡγῆται Δίκη. τὰ δ᾽ ἄλλα φροντὶς οὐχ ὕπνῳ νικωμένη 840 θήσει δικαίως ξὺν θεοῖς εἱμαρμένα. Λήδας γένεθλον, δωμάτων ἐμῶν φύλαξ, ἀπουσίᾳ μὲν εἶπας εἰκότως ἐμῇ"
‘ A 9 lA 9 3 4
μακρὰν γὰρ ἐξέτεινας" ἀλλ᾽ ἐναισίμως αἰνεῖν, παρ᾽ ἄλλων χρὴ τόδ᾽ ἔρχεσθαι γέρας. 845 καὶ τἄλλα, μὴ γυναικὸς ἐν τρόποις ἐμὲ ἅβρυνε, μηδὲ βαρβάρου φωτὸς δίκην χαμαιπετὲς βόαμα προσχάνῃς ἐμοί" μηδ᾽ εἵμασι στρώσασ᾽ ἐπίφθονον πόρον τίθει. θεούς rot τοῖσδε τιμαλφεῖν χρεών" 850 ἐν ποικίλοις δὲ θνητὸν ὄντα κάλλεσιν βαίνειν, ἐμοὶ μὲν οὐδαμῶς ἄνευ φόβου.
’ 9 4 Ἁ ; ’ 9 , λέγω κατ᾽ ἄνδρα, μὴ θεόν, σέβειν ἐμέ.
‘ / Q A
χωρὶς ποδοψήστρων τε Kal τῶν ποικίλων κληδὼν avtet’ καὶ τὸ μὴ κακῶς φρονεῖν 855 θεοῦ μέγιστον δῶρον. ὀλβίσαι δὲ χρὴ
/ , 4 3 9 ΄΄ὰ βίον τελευτήσαντ᾽ ἐν εὐεστοῖ φίλῃ.
ΚΛ,
ΑΙΣΧΥΛΟΥ͂
εἰ πάντα δ᾽ as «πράσσοιμεν, εὐθαρσὴς ἐγώ. καὶ μὴν τόδ᾽ εἰπὲ μὴ παρὰ γνώμην ἐμοί, γνώμην μὲν ἴσθι μὴ διαφθεροῦντ᾽ ἐμέ.
ηὔξω θεοῖς δείσας ἂν ὧδ᾽ ἔρδειν rade; εἴπερ τις εἰδώς γ᾽ εὖ τόδ᾽ «ἐξειπεῖν τέλος.
τί 8 ἂν δοκεῖ σοι ἸΙρίαμος, εἰ τάδ᾽ ἤνυσεν ;
ἐν ποικίλοις ἂν κάρτα μοι βῆναι δοκεῖ. μή νυν τὸν ἀνθρώπειον αἰδεσθῆς ψόγον. φήμη γε μέντοι δημόθρους μέγα σθένει.
ὁ 8 ἀφθόνητός γ᾽ οὐκ ἐπίξηλος πέλει.
οὔ τοι γυναικός ἐστιν ἱμείρειν μάχης.
τοῖς 8 ὀλβίοις γε καὶ τὸ νικᾶσθαι πρέπει. ἢ καὶ σὺ νίκην τήνδε δήριος τίεις ;
πιθοῦ κράτος πᾶρες γε «μὴν ἑκὼν ἐμοί, ἀλλ᾽ εἰ δοκεῖ σοι ταῦθ᾽, ὑπαί τις ἀρβύλας λύοι τάχος, πρόδουλον ἔμβασιν ποδός,
καὶ τοῖσδέ μ᾽ ἐμβαίνονθ᾽ ἁλουργέσιν θεῶν μή τις πρόσωθεν ὄμματος βάλοι φθόνος. πολλὴ γὰρ αἰδὼς «δωματοφθορεῖν ποσὶν φθείροντα πλοῦτον ἀργυρωνήτους θ᾽ ὑφάς. τούτων μὲν οὕτω" τὴν ξένην δὲ πρευμενῶς τήνδ᾽ écxouile, τὸν κρατοῦντα μαλθακῶς θεὸς πρόσωθεν εὐμενῶς προσδέρκεται.
ἑκὼν yap οὐδεὶς δουλίῳ χρῆται, ζυγῷ.
αὕτη δέ, πολλῶν χρημάτων ἐξαίρετον ἄνθος, στρατοῦ δώρημ᾽, ἐμοὶ ξυνέσπετο. ἐπεὶ δ᾽ ἀκούειν σον κατέστραμμαι τάδε, εἶμ᾽ ἐς δόμων μέλαθρα πορφύρας πατῶν. ἔστιν θάλασσα----τίς δέ νιν κατασβέσει;--- τρέφουσα πολλῆς πορφύρας εἰσάργυρον κηκῖδα παγκαίνιστον, εἱμάτων βαφας. «ἅλις δ᾽ ὑπάρχει τῶνδε σὺν θεοῖς, ἄναξ, ἔχειν" πένεσθαι & οὐκ ἐπίσταται δόμος.
860
865
870
875
(950)
880
885
890
ATAMEMNON.
a A 3 4 Ul a 9 [2 πολλῶν πατησμὸν δ᾽ εἱμάτων ἂν ηὐξάμην, δόμοισι προὐνεχθέντος ἐν χρηστηρίοις, ψυχῆς κόμιστρα *ons ye* μηχανωμένη. ῥίζης γὰρ οὔσης φυλλὰς ἵκετ᾽ ἐς δόμους σκιὰν ὑπερτείνασα Σειρίου κυνός" καὶ σοῦ μολόντος δωματῖτιν ἑστίαν, θάλπος μὲν ἐν χειμῶνι σημαίνεις μολόν᾽" of , A > 9 W a ὅταν δὲ τεύχῃ Ζεὺς am’ ὄμφακος πικρᾶς οἶνον, τότ᾽ ἤδη ψῦχος ἐν δόμοις πέλει 9 A ’ὔ ~ 9 9 , ἀνδρὸς τελείον δῶμ᾽ ἐπιστρωφωμένου. Ζεῦ, Ζεῦ τέλειε, τὰς ἐμὰς εὐχὰς τέλει" μέλοι δέ τοι σοὶ τῶνπερ ἂν μέλλῃς τελεῖν.
31
goo
f Ὁ 53 t ’ τίπτε μοι τόδ᾽ ἐμπέδως στρ. α΄.
δεῖμα προστατήριον
καρδίας τερασκόπου ToTatat,
μαντιπολεῖ δ᾽ "ἀκέλευστον ἄμισθον ἀοιδάν, Ἐ οὐδ᾽ ἀποπτύσαι, δίκαν δυσκρίτων ὀνειράτων, θάρσος εὐπιθὲς ἴξει φρενὸς φίλον θρόνον; χρόνος δ᾽ ἐπὶ
πρυμνησίων *EvvewBorais papplas ἀκάτας παρή- |Bnoev, εὖτε ναυβάτας Π ὥρθ᾽ ὑπ’ Ἴλιον στρατός.
905
91Ο
’ 9 > 3 9 U 9 g πεύθομαι δ᾽ ἀπ᾿ ὀμμάτων ἄντ. α΄.
νόστον, αὐτόμαρτυς ὦν" τὸν δ᾽ ἄνευ λύρας ὅμως κμονῳδεῖ θρῆνον ᾿Ερινύος αὐτοδίδακτος ἔσωθεν θυμός, οὐ τὸ πᾶν ἔχων ἐλπίδος φίλον θράσος. σπλάγχνα δ᾽ εοὔτι ματάζξει, [ πρὸς ἐνδίκοις φρεσὶν κυκλούμενον , ᾿δίναις κέαρ τελεσφόροις.
916
920
32 AISXTAOT
w 3 >. 93 » «A a 3 εὔχομαι δ᾽ ἀπ᾽ ἐμᾶς πτοιαῦτ ἐλπίδος ψύθη πεσεῖν ἐς τὸ μὴ τελεσφόρον.
925
(1000)
μάλα γέ τοι * 76 μεγάλας vyelas axdperov® στρ. β΄.
τέρμα, νόσος γὰρ faelt γει- των ὁμότοιχος ἐρείδει, καὶ πότμος εὐθυπορῶν ἀνδρὸς Τὐπὲρ βιότου / 3 3 ν > Ψ [κύὐματ᾽ ἔπαισεν ἕρμ ἄφαντον. καὶ τὸ μὲν πρὸ χρημάτων | κτησίων ἀπ᾽ εὐμέτρου | σφενδόνας «ὄκνῳ βαλὼν 3 » , / οὐκ ἔδυ πρόπας δόμος πημονᾶς γέμων ἀγαν, 30. 9 4 , οὐδ᾽ ἐπόντισε σκάφος. πολλά τοι δόσις
930
935
ἐκ Διὸς ἀμφιλαφής τε καὶ ἐξ ἀλόκων ἐπετειᾶν
νῆστιν ὥλεσεν νόσον. 3. oN \ a A A , , 9 [ἐπὶ δὲ yay πεσὸν ἅπαξ θανάσιμον τὸ πρρόπαρ av- δρὸς μέλαν αἷμα, τίς ἂν πτοῦτ᾽ 3 / 3 3 ’ ἀγκαλέσαιτ᾽ ἐπαείδων ; οὐ δὲ τὸν ὀρθοδαὴ al ’ 3 Uj τῶν φθιμένων ἀνάγειν Ζεὺς « κατέπαυσ᾽ ἐπ᾽ εὐλαβείᾳ ; εἰ δὲ μὴ τεταγμένα μοῖρα μοῖραν ἐκ θεῶν > \ / / εἶργε μὴ πλέον φέρειν, προφθάσασα καρδία a A QQ) 9g γλώσσαν av τάδ᾽ ἐξέχει. A 3 4 \ , νῦν δ᾽ ὑπὸ σκότῳ βρέμει θυμαλγής τε καὶ
9QN 9 / \ 3 ’ οὐδὲν ἐπελπομένα ποτὲ καίριον ἐκτολυπεύσειν
ζωπυρουμένας φρενός.
940
ἄντ. β΄.
945
950
955
ΚΛ.
ΧΟ. KA.
XO.
XO.
ATAMEMNON. 33
εἴσω κομίζου καὶ ov’ Kacavdpay λέγω"
ἐπεί σ᾽ ἔθηκε Ζεὺς ἀμηνίτως δόμοις
κοινωνὸν εἶναι χερνίβων, πολλῶν μετὰ
δούλων σταθεῖσαν κτησίου βωμοῦ πέλας.
ἔκβαιν᾽ ἀπήνης τῆσδε, μηδ᾽ ὑπερφρόνει. 960 καὶ παῖδα yap τοι φασὶν ᾿Αλκμήνης ποτὲ πραθέντα τλῆναι, καὶ ζυγῶν θυγεῖν βίᾳ.
εἰ δ᾽ οὖν ἀνάγκη τῆσδ᾽ ἐπιρρέποι τύχης, ἀρχαιοπλούτων δεσποτῶν πολλὴ χάρις"
of δ᾽ οὔποτ᾽ ἐλπίσαντες ἤμησαν καλῶς, 965 ὠὦὠμοί τε δούλοις πάντα καὶ παρὰ στάθμην.
ἔχεις παρ᾽ ἡμῶν ola περ νομίξεται.
σοί τοι λέγουσα παύεται σαφῆ λόγον.
ἐντὸς δ᾽ «ἁλοῦσα μορσίμων ἀγρευμάτων
πείθοι᾽ ἄν, εἰ πείθοι" ἀπειθοίης δ᾽ ἴσως. 970 ἀλλ᾽ εἴπερ ἐστὶ μή, χελιδόνος δίκην, (1050) ἀγνῶτα φωνὴν βάρβαρον κεκτημένη,
ἔσω φρενῶν λέγουσα πείθω νιν λόγῳ.
ἕπου" τὰ λῷστα τῶν παρεστώτων λέγει.
πείθου, λιποῦσα τόνδ᾽ ἁμαξήρη θρόνον. 975 ov τοι θυραίαν τήνδ᾽ ἐμοὶ *oxyorAnv πάρα τρίβειν τὰ μὲν γὰρ ἑστίας μεσομφάλου Τήγισμέν᾽ ἡμῖν ἐστι, ποιμνίων δ᾽ ἄπο ἕστηκεν ἤδη μῆλα πρὸς σφαγὰς πυρός,
ὡς οὔποτ᾽ ἐλπίσασι τήνδ᾽ ἕξειν χάριν.
σὺ δ᾽ εἴ τι δράσεις τῶνδε, μὴ σχολὴν τίθε' οϑο εἰ δ᾽ ἀξυνήμων οὖσα μὴ δέχει λόγον,
«ἀλλ᾽ ἀντὶ φωνῆς φράξε καρβάνῳ χερί. ἑρμηνέως ἔοικεν ἡ ξένη τοροῦ
δεῖσθαι" τρόπος δὲ θηρὸς ὡς νεαιρέτου.
ἦ μαίνεταί ye καὶ κακῶν κλύει φρενῶν, 985 ἥτις λιποῦσα μὲν πόλιν νεαίρετον
ἥκει, χαλινὸν δ᾽ οὐκ ἐπίσταται φέρειν
K. A. 3
34
ΧΟ.
ΧΟ. ΚΑ. ΧΟ,
KA.
XO.
KA.
XO.
KA.
XO.
KA.
ΠΑΙΣΧΥΔΟΥ͂
πρὶν αἱματηρὸν ἐξαφρίξεσθαι μένος.
οὐ μὴν πλέω ῥίψασ᾽ ἀτιμωθήσομαι. ἐγὼ δ᾽, ἐποικτείρω γάρ, οὐ θυμώσομαι. 990 93,43 φ ’ Ul 9 ? / > Ψ
ἴθ᾽, ὦ τάλαινα, τόνδ᾽ ἐρημώσασ᾽ ὄχον,
φεΐκουσ᾽ ἀνάγκῃ τῆδε καίνισον ζυγόν.
ΚΑΣΑΝΔΡΑ. ὁτοτοτοῖ, πόποι, δᾶ, στρ. α΄. ὦ ᾿πολλόν, ὦ ᾽πολλον. τί ταῦτ᾽ ἀνωτότυξας ἀμφὶ Λοξίου ; 995 ov yap τοιοῦτος ὥστε θρηνητοῦ τυχεῖν. : GTOTOTOL, πέποι, δᾶ. ἄντ. α΄.
ὦ ᾽πολλον, ὦ ᾿πολλον.
ἥδ᾽ αὖτε δυσφημοῦσα τὸν θεὸν καλεῖ,
οὐδὲν προσήκοντ᾽ ἐν γόοις παραστατεῖν. 1000 ᾿Απόλλων, ᾿Απόλλων στρ. β΄. 9 a 9% 9 “ 4 a e ayuiat, ἀπολλων ἐμὸς
9 , δ 3 / δὴ 4
ἀπώλεσας yap ov μόλις τὸ δεύτερον.
χρήσειν ἔοικεν ἀμφὶ τῶν αὐτῆς κακῶν'
μένει τὸ θεῖον δουλίᾳ περ ἐν φρενί. 1005 ᾿Απόλλων, ᾿Απόλλων | ἄντ. β΄. 3 a 3 9 4 9 ) αγυιατ᾽, αἀπολλων ἐμὸς. ;
ἃ ποῖ ποτ᾽ ἤγαγές με; πρὸς ποίαν στέγην;
\ Α "A ὃ ΡΝ 9 \ “eas 9 A πρὸς τὴν Ατρειδῶν' εἰ od μὴ τοδ᾽ ἐννοεῖς, ἐγὼ λέγω cor’ καὶ τάδ᾽ οὐκ ἐρεῖς ψύθη. ΙΟΙΟ a a, στρ. Υ΄. μισόθεον μὲν οὖν, πολλὰ συνίστορ᾽ καὐ- τοκτόνα κακὰ κἀρτάνας Ἐἀνδροσφαγεῖόν θ᾽ αἱμάτων" ῥαντήριον.
ἔοικεν evpis ἡ ξένη, κυνὸς δίκην, IOIS 4 . ’ ϑ 9 f , εἶναι pateves S ὧν «ἀνευρήσει φόνον. 1 φΦ 4 * 3 a a a, ἄντ. γ΄.
Ἐμαρτυρίοισι γὰρ τοῖσδ᾽ ἐπιπείθομαι,"---
ΧΟ.
ΚΑ.
ΧΟ.
ΚΑ.
ΧΟ.
ΚΑ.
ΧΟ.
ΚΑ.
ΑΓΑΜΕΜΝΩΝ. 35
κλαιόμενα «βρέφη σφαγὰς ὀπτάώς τε σάρκας πρὸς πατρὸς βεβρωμένας. 1020
- A , a \ 4 ἢ μὴν κλέος TOU μαντικὸν πεπυσμένοι
«ἦσμεν" προφήτας δ᾽ οὔτινας «ματεύομεν.
>? / ! ἐ , ἰώ, πόποι, τί ποτε μήδεται; στρ. δ΄. (1100) τί τόδε «νῦν ἄχος “νέον ; μέγ ἐν δόμοισι τοῖσδε μήδεται κακόν, 1025
ἄφερτον φίλοισιν, Svoiatov’ ἀλκὰ δ᾽ ἑκὰς ἀποστατεῖ. ae “ τούτων ἀιδρίς eit τῶν μαντευματων" 3 “᾿ 7 e a ᾿ , . a ἐκεῖνα δ᾽ ἔγνων πᾶσα yap πόλις Bod.
ἰώ, τάλαινα, τόδε γὰρ τελεῖς ; avr. δ΄. τὸν ὁμοδέμνιον πόσιν 1031
λουτροῖσι φαιδρύνασα---πῶς φράσω τέλος:
τάχος γὰρ τόδ᾽ ἔσται. προτείνει δὲ χεὶρ ἐκ χερὸς κὀρέγματα. |
οὕπω ξυνῆκα' viv γὰρ ἐξ αἰνιγμάτων 1035
ἐπαργέμοισι θεσφάτοις ἀμηχανώ.
ἔ, ἔ, παπαῖ, παπαῖ, τί τόδε φαίνεται; στρ. ε΄.
μὴ δίκτυόν τί y “Αἰδου;
ἀλλ᾽ ἄρκυς ἡ ξύνευνος, ἡ ξυναιτία
πλουγοῦ. στάσις δ᾽ κακόρετος γένει 1040 κατολολυξάτω θύματος λευσίμου.
/ 4 Ἁ / , , ,
ποίαν "Epwody τήνδε δώμασιν κέλει στρ. στ΄.
ἐπορθιάζειν; οὔ με φαιδρύνει λόγος. ἐπὶ δὲ καρδίαν ἔδραμε κροκοβαφὴς fof ’ , σταγων, ATE καίρια WTWTLMLOS T045 ξυνανύτει βίου δύντος αὐγαῖς. ταχεῖα δ᾽ ἄτα πέλει.
& ἃ, ἰδού, ἰδού" ameye τῆς βοὸς ᾿ ὦντ. ε΄. τὸν ταῦρον ἐν πέπλοισιν “ μέλαγκέρῳ λαβοῦσα μηχανήματι 1050
“τύπτει πίτνει & πἐν ἐνύδρῳ «κύτει. 4—2
326
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KA.
KA.
XO.
KA.
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δολοφόνου λέβητος τύχαν σοι λέγω. οὐ κομπάσαιμ᾽ ἂν θεσφάτων γνώμων ἄκρος ἀντ.στ΄. εἶναι κακῷ δέ τῳ προσεικάξω τάδε. ἀπὸ δὲ θεσφάτων τίς ἀγαθὰ φάτις 1055 βροτοῖς στέλλεται; κακῶν yap «διαὶ πολυεπεῖς τέχναι θεσπιῳδὸν , A φόβον φέρουσιν μαθεῖν. 9. 9\ , , , . ἰὼ ἰὼ ταλαίνας κακόποτμοι τύχαι στρ. ζ. τὸ γὰρ ἐμὸν θροῶ πάθος ἐπεγχέασ᾽. 1060 *d ποῖ με δεῦρο τὴν τάλαιναν ἤγαγες ; 997 % 3 Ld 4 4 οὐδέν ποτ᾽ εἰ μὴ ξυνθανουμένην᾽ τί yap;
φρενομανής τις εἶ θεοφόρητος, ἀμ- στρ. η΄. φὶ δ᾽ αὑτᾶς θροεῖς νόμον ἄνομον, οἷά τις πξουθῶς 1065
|| dxoperos Bods φεῦ ταλαίναις Ἴτυν Il φρεσὶν “Iruv στένουσ᾽ ἀμφιθαλῆ κακοῖς ἀηδὼν βίον. ἰὼ ἰὼ λιγείας μόρον ἀηδόνος" ἀντ. ζ΄. π“περίβαλον yap οἱ πτεροφόρον δέμας 1070 θεοί, γλυκύν T καἰῶνα κλαυμάτων ἄτερ" ἐμοὶ δὲ μίμνει σχισμὸς ἀμφήκει Supt. πόθεν ἐπισσύτους θεοφόρους & ἔχεις ἄντ. η΄. (1180) ματαίους dvas, τὰ δ᾽ ἐπίφοβα δυσφάτῳ κλαγγᾷ 1075 μελοτυπεῖς, ὁμοῦ τ᾽ ορθίοις ἐν νόμοις ; πόθεν ὅρους ἔχεις θεσπεσίας ὁδοῦ
κακορρήμονας ; ἰὼ γάμοι, γάμοι στρ. θ΄. Πάριδος, ὀλέθριοι φίλων. 1080
9A , Ul 4 ἰὼ Σκαμάνδρου πάτριον ποτόν' 4 A 3 A Dot , 3 τότε μὲν ἀμφὶ σὰς ἀϊόνας τάλαιν ἠἡνυτόμαν τροφαῖς" [ον 3 9 4 Ἵ , νῦν δ᾽ ἀμφὶ Κωκυτόν τε κἀχερουσίους
ΧΟ.
KA.
XO.
KA.
ATAMEMNON.
ὄχθους ἔοικα θεσπιῳδήσειν τάχα. τί τόδε τορὸν ἄγαν ἔπος ἐφημίσω ; καί τις νεόγονος ἂν" μάθοι. πέπληγμαι δ᾽ ὑπαὶ δήγματι φοινίῳ, δυσαλγεῖ τύχᾳ μινυρὰ θρεομένας, θαύματ᾽ ἐμοὶ κλύειν. ἰὼ πόνοι, “τόνοι πόλεος ὀλομένας τὸ πᾶν. ἰὼ πρόπυργοι θυσίαι πατρός, πολυκανεῖς βοτῶν ποιονόμων. ἄκος δ᾽ οὐδὲν ἐπήρκεσαν τὸ μὴ πόλιν μέν, ὥσπερ οὖν ἔχει, παθεῖν'
1095
ὀγὼ δὲ "θερμὸν οὖς" τάχ᾽ ἐν πέδῳ Baro.
ἑπόμενα «προτέροις τάδ᾽ κεἐπεφημίσω. καί τις σὲ πκκακοφρονῶν τίθη- σι δαίμων, "ὕπερθεν βαρὺς" ἐμπίτνων, μελίξειν πάθη γοερὰ ᾿Ἐθανάσιμ᾽, ὧν τέρματ᾽ * ἀμηχανώ.
1 ε ΤΠ pa 9 ἢ καὶ μὴν ὁ χρησμὸς οὐκέτ᾽ ἐκ καλυμμάτων ἔσται δεδορκώς, νεογάμου νύμφης Sixny’ λαμπρὸς δ᾽ ἔοικεν ἡλίου πρὸς ἀντολὰς πνέων ἐσήξειν, ὥστε κύματος δίκην
s 9 \ a“ U LY πκλύζειν πρὸς αὐγὰς τοῦδε πήματος πολὺ Aw. , > 9 », 39 9 ἢ , μεῖζον φρενώσω δ᾽ οὐκέτ᾽ ἐξ αἰνυγμάτων. καὶ μαρτυρεῖτε συνδρόμως ἴχνος κακών ῥινηλατούσῃ τῶν πάλαι πεπραγμένων,
4 , aQvT, t.
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1105
Itro
τὴν yap στέγην τήνδ᾽ οὔποτ᾽ ἐκλείπει χορὸς ξύμφθογγος, οὐκ εὔφωνος" οὐ γὰρ εὖ λέγει. καὶ μὴν πεπωκώς y, ὡς θρασύνεσθαι πλέον,
βρότειον αἷμα, κῶμος ἐν δόμοις μένει δύσπεμπτος ἔξω ξυγγόνων ᾿Ερινύων. ὑμνοῦσι δ᾽ ὕμνον δώμασιν προσήμεναι, πρώταρχον ἄτην' ἐν μέρει δ᾽ ἀπέπτυσαν
IIIS
48
ΧΟ.
ΚΑ. ΧΟ. ΚΑ. ΧΟ. ΚΑ. ΧΟ. ΚΑ. ΧΟ. ΚΑ. ΧΟ. ΚΑ. ΧΟ. ΚΑ
AISXTAOT
εὐνὰς ἀδελφοῦ τῷ πατοῦντι δυσμενεῖς.
ἥμαρτον, ἢ *xup@ τι τοξότης τις ἄς;
ἢ Ψψευδόμαντίς εἰμι θυροκόπος φλέδων ; 1120 ἐκμαρτύρησον προὐμόσας τό μ᾽ εἰδέναι᾽
λόγῳ παλαιὰς τῶνδ᾽ ἁμαρτίας δόμων.
καὶ πῶς ἂν ὅρκος, πῆγμα γενναίως παγέν, παιώνιον γένοιτο; θαυμάζω δέ σου,
πόντου πέραν τραφεῖσαν ἀλλόθρουν πόλν 1125 κυρεῖν λέγουσαν ὥσπερ εἰ παρεστάτεις. (1201)
μάντις μ᾽ ᾿Απόλλων τῷδ᾽ ἐπέστησεν τέλει. μῶν καὶ θεός περ ἱμέρῳ πεπληγμένος ; προτοῦ μὲν αἰδὼς ἦν ἐμοὶ λέγειν τάδε.
aBpuverat γὰρ πᾶς τις εὖ πράσσων πλέον. 1130
9 9 .4 \ ἤ 9 3 N 4 4 αλλ ἣν παλαιστῆς καρτ ἐμοὶ πνέων yap. ἡ καὶ τέκνων εἰς ἔργον ἤλθετον νόμῳ; ’ / 3 4
ξυναινέσασα Λοξίαν ἐψευσαμην. ἤδη “τέχναισιν ἐνθέοις ἠρημένη ; 4, ! ’ 9 34 7 4 ἤδη πολίταις πάντ ἐθέσπιζον παθη. 1135 πῶς δῆτ᾽; κἄνατος ἦσθα Λοξίου κότῳ; ἔπειθον κοὐυδέν᾽ οὐδέν, ὡς τάδ᾽ ἡμπλακον. ἡμῖν. γε μὲν δὴ πιστὰ θεσπίζειν δοκεῖς.
ἰοῦ ἰοῦ, ὦ ὦ κακα: ὑπ᾿ αὖ με δεινὸς ὀρθομαντείας πόνος 1140 στροβεῖ, ταράσσων φροιμίοις πἐπισσύτοις. ὁρᾶτε τούσδε τοὺς δομοις ἐφημένους νέους, ὀνείρων προσφερεῖς μορφώμασιν ;
παῖδες θανόντες ὡσπερεὶ πρὸς τῶν φίλων,
χεῖρας κρεῶν πλήθοντες οἰκείας βορᾶς, 1145 ξὺν ἐντέροις τε σπλάγχν᾽, ἐποίκτιστον γέμος, πρέπουσ᾽ ἔχοντες, ὧν πατὴρ ἐγεύσατο.
ἐκ τῶνδε ποινάς φημι βουλεύειν τινὰ
λέοντ᾽ ἄναλκιν ἐν λέχει στρωφώμενον
οἰκουρόν, οἴμοι, τῷ μολόντι δεσπότῃ 1150
ΧΟ.
ΧΟ.
ATAMEMNON. 39
᾿ἐμῷ' φέρειν yap χρὴ τὸ δούλιον ζυγόν.
νεῶν τ᾽ πἔπαρχος Ἰλίου τ᾽ ἀναστάτης
οὐκ οἷδεν #0la γλῶσσα μισήτης κυνὸς
Ἐλείξασα κἀκτείνασα φαιδρὸν οὖς," δίκην
"Arns λαθραίου, «δήξεται κακῇ τύχῃ. 1155 “τοιαῦτα τολμᾷ θῆλυς ἄρσενος φονεὺς ἐστίν---τί νιν καλοῦσα δυσφιλὲς δάκος
τύχοιμ᾽ ἄν; ἀμφίσβαιναν, ἢ Σκύλλαν τινὰ οἰκοῦσαν ἐν πέτραισι, ναυτέλων βλάβην, θύουσαν “Αἰδου μητέρ᾽, ἄσπονδόν τ᾽ π΄Αρην 1160 φίλοις πνέουσαν; ὡς & ἐπωλολύξατο
ἡ παντότολμος, ὥσπερ ἐν μάχης τροπῆ.
δοκεῖ δὲ χαίρειν νοστίμῳ σωτηρίᾳ.
καὶ τῶνδ᾽ ὅμοιον εἴ τι μὴ πείθω τί γάρ;
τὸ μέλλον ἥξει. καὶ σύ "μ᾽ ἐν" τάχει παρὼν 1165 ἄγαν ἀληθόμαντιν οἰκτείρας ἐρεῖς.
τὴν μὲν Θυέστου δαῖτα παιδείων κρεῶν
ξυνῆκα καὶ πέφρικα᾽ καὶ φόβος μ᾽ ἔχει
κλύοντ᾽ ἀληθῶς οὐδὲν ἐξηκασμένα:
τὰ δ᾽ ἄλλ᾽ ἀκούσας ἐκ δρόμου πεσὼν τρέχω. 1170 ᾿Αγαμέμνονός σέ φημ’ ἐπόψεσθαι μέρον. Φ εὔφημον, ὦ τάλαινα, κοίμησον στόμα.
ἀλλ᾽ οὔτι Παιὼν τῷδ᾽ ἐπιστατεῖ λόγῳ.
οὔκ, εἰ παρέσται γ᾽) ἀλλὰ μὴ γένοιτό πω.
σὺ μὲν κατεύχει, τοῖς δ᾽ ἀποκτείνειν μέλει. 1175 τίνος πρὸς ἀνδρὸς τοῦτ᾽ ἄχος πορσύνεται; (1251) 7 "καρθ᾽ ὅρον παρεσκόπεις ἢ χρησμῶν ἐμών.
τοῦ γὰρ τελοῦντος οὐ ξυνῆκα μηχανήν.
καὶ μὴν ἄγαν γ᾽ “Ελλην᾽ ἐπίσταμαι φάτιν.
καὶ γὰρ τὰ πυθόκραντα, εδυσμαθῆ δ᾽ ὅμως. 1180 παπαῖ οἷον τὸ wip’ ἐπέρχεται δέ μοι.
ὁτοτοῖ Λύκει᾽ "Απολλον᾽ ot ἐγώ, ἐγώ.
αὕτη εδίπους λέαινα, συγκοιμωμένη
40
AIZXTAOT
’ , 9 δὰ 3 id λύκῳ, λέοντος εὐγενοῦς ἀπουσίᾳ, “ A [4 ὔ κτενεῖ με τὴν τάλαιναν, ὡς δὲ φάρμακον 1185 τεύχουσα κἀμοῦ μισθὸν ἐνθήσει κότῳ. ἐπεύχεται Ἐδέ, φωτὶ θήγουσα ξίφος," ἐμῆς ἀγωγῆς ἀντιτίσασθαι φόνον. τί δῆτ᾽ ἐμαυτῆς καταγέλωτ᾽ ἔχω τάδε καὶ σκῆπτρα καὶ μαντεῖα περὶ δέρῃ στέφη; 1100 πᾳ σφὼ μὲν πρὸ μοίρας τῆς ἐμῆς διαφθερῶ. ir’ ἐς φθόρον πεσόντ᾽" "ἐγὼ δ᾽ ἅμ᾽ ἕψομαι." ΝΜ 9 wW 9 93 4 fe) ’ ἄλλην τιν #*aTals ἀντ ἐμοῦ πλουτίξετε. ἐδοὺ δ᾽, ᾿ΑἈπόλλων αὐτὸς ἐκδύων ἐμὲ χρηστηρίαν ἐσθῆτ᾽, ἐποπτεύσας δ᾽ κὅὄμως 1195 9 “~ ὃ / , * >, * Kav τοῖσδε κόσμοις καταγελωμένην “ph ἔτλη ’ ΑΝ] 3 “ bY 4 , , φίλων ὕπ᾽ ἐχθρῶν «τ᾽ οὐ διχορρόπως μάτην. καλουμένη δὲ φοιτάς, ὡς ἀγύρτρια, πτωχός, τάλαινα, λιμοθνὴς ἠνεσχόμην. A a e , , 9 Ul > ἢ Kal νῦν ὁ μάντις, μάντιν ἐκπράξας ἐμέ, 1200 amnyay ἐς τοιάσδε θανασίμους τύχας" βωμοῦ πατρῴου δ᾽ avr’ ἐπίξηνον μένει A , , θερμῷ πκοπείσῃ φοινίῳ προσφάγματι. οὐ μὴν ἀτιμοί γ᾽ ἐκ θεῶν τεθνήξομεν. ἥξει γὰρ ἡμῶν ἄλλος αὖ τιμάορος, 1205 μητροκτόνον φίτυμα, ποινάτωρ πατρός" N 3 4 ’ a A 9 , φυγὰς δ᾽ ἀλήτης τῆσδε γῆς atrokevos , ” , , , . κάτεισιν, ἄτας τάσδε θριγκώσων φίλοις ὀμώμοται γὰρ ὅρκος ἐκ θεῶν μέγας, Ψ e ’ , U afew νιν ὑπτίασμα κειμένου TaTpos. 1210 τί δῆτ᾽ ἐγὼ πκάτοικτος ὧδ᾽ ἀναστένω, ἐπεὶ τὸ πρῶτον εἶδον ᾿Ιλίου πόλιν πράξασαν ὡς ἔπραξεν, οἱ δ᾽ «εἷλον πόλιν, οὕτως ἀπαλλάσσουσιν ἐν θεῶν κρίσει ; ἰοῦσα πράξω, τλήσομαι τὸ κατθανεῖν. 1215 “Αἰδου πύλας δὲ "τάσδ᾽ ἐγὼ" προσεννέπω.
ΧΟ.
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ATAMEMNON. 41
ἐπεύχομαι δὲ καιρίας πληγῆς τυχεῖν, ὡς ἀσφάδαστος, αἱμάτων εὐθνησίμων ἀἁπορρυέντων, ὄμμα συμβάλω τόδε. ὦ πολλὰ μὲν τάλαινα, πολλὰ δ᾽ αὖ σοφὴ 1220 γύναι, μακρὰν ἔτεινας" εἰ δ᾽ ἐτητύμως
4 e A Γι) ἤ μόρον τὸν αὑτῆς οἶσθα, πῶς θεηλάτου βοὸς δίκην πρὸς βωμὸν εὐτόλμως πατεῖς ; οὐκ ἔστ᾽ ἄλυξις, οὔ, ξένοι, «χρόνον πλέω. 6 > , A , f ὁ δ᾽ ὕστατός ye τοῦ χρόνου πρεσβεύεται. 1225 ἥκει TOO Hap’ σμικρὰ κερδανῶ φυγῇ. (1301) ἀλλ᾽ ἔσθι τλήμων οὖσ᾽ ἀπ᾽ εὐτόλμου φρενός. οὐδεὶς ἀκούει ταῦτα τῶν εὐδαιμόνων.
Φ 9 9 A“ A Ul Ca) GN εὐκλεῶς Tor κατθανεῖν χάρις βροτῷ. ἰώ, πάτερ, σοῦ τῶν τε γενναίων τέκνων. [230 τί δ᾽ ἐστὶ χρῆμα; τίς a ἀποστρέφει φόβος; φεῦ, φεῦ. τί τοῦτ᾽ ἔφευξας ; εἴ τι μὴ φρενῶν στύγος. ᾳῴφόνον δόμοι πνέουσιν αἱματοσταγῆ. καὶ πῶς τόδ᾽ ὄξεε θυμάτων ἐφεστίων ; 1235 ὅμοιος ἀτμὸς ὥσπερ ἐκ τάφου πρέπει. οὐ Σύριον ἀγλάϊσμα δώμασιν λέγεις. ἀλλ᾽ εἶμι κἀν δόμοισι κωκύσουσ᾽ ἐμὴν ᾿Αγαμέμνονός τε μοῖραν. ἀρκείτω Bios. ἰώ, ξένοι. 1240 οὔ τοι Sucoitw, θάμνον ὡς ὄρνις, φόβῳ φἄλλως" θανούσῃ μαρτυρεῖτέ μοι τόδε, ὅταν γυνὴ γυναικὸς ἀντ᾽ ἐμοῦ θάνῃ,
Φ ῇ [2 9 φ 9 AN ἀνήρ te Svadapaptos ἀντ᾽ ὠνδρὸς πέσῃ. ἐπιξενοῦμαι ταῦτα δ᾽ ὡς θαωνουμένη. 1245 ὦ τλῆμον, οἰκτείρω: σε θεσφάτου μόρου. a ΝΜ 9 4 a ea 4 a , ἅπαξ ἔτ εἰπεῖν ῥῆσιν, κοὐ θρῆνον θέλω 9 A > «A e a 3 4 ἐμὸν τὸν αὐτῆς. ἡλίῳ δ᾽ ἐπεύχομαι πρὸς ὕστατον φῶς, τοῖς «φίλων τιμαόροις
ΧΟ.
ΑΙΣΧΥΛΟΥ͂
a , πἐχθροὺς φονεῦσι "τὸν φόνον ἢ τίνειν ὁμοῦ δούλης θανούσης, εὐμαροῦς χειρώματος. ἰὼ βράτεια πράγματ᾽" εὐτυχοῦντα μὲν σκιᾷ τις ἂν πρέψειεν" εἰ δὲ δυστυχῆ, “ e , , Ψ ’ βολαῖς ὑγρώσσων σπόγγος ὥλεσεν γραφήν. καὶ ταῦτ᾽ ἐκείνων μᾶλλον οἰκτείρω πολύ. τὸ μὲν εὖ πράσσειν ἀκόρεστον ἔφν πᾶσι βροτοῖσιν δακτυλοδείκτων δ᾽ οὔτις ἀπειπὼν εἴργει μελάθρων, μηκέτ᾽ κἐσέλθῃς, τάδε φωνῶν. καὶ τῷδε πόλιν μὲν ἑλεῖν ἔδοσαν μάκαρες. ἸΠριάμου, ‘ 3 3 3 e , . θεοτίμητος δ᾽ οἴκαδ᾽ ἱκάνει νῦν δ᾽ εἰ προτέρων αἷμ᾽ ἀποτίσει, καὶ τοῖσι θανοῦσι θανὼν ποινὰς ἄλλων θανάτων ἕάπάνευθε xpavei,* / 3 A 4 a 3 a τίς «ποτ᾽ ἂν εὔξαιτο βροτών aciwet δαίμονι φῦναι, τάδ᾽ ἀκούων; ὦμοι, πέπληγμαι καιρίαν πληγὴν ἔσω.
σῖγα τίς πληγὴν ἀὐτεῖ καιρίως οὐτασμένος :
ὦμοι par’ αὖθις, δευτέραν πεπληγμένος.
1250
1255
1260
1265
1270
γ 3 , - ,, 3 / . τοὔργον εἰργάσθαι δοκεῖ μοι βασιλέως οἰμώγματι ἀλλὰ κοινωσώμεθ' .xav πως ἀσφαλῆ βουλεύματα.
α΄. ἐγὼ μὲν ὑμῖν τὴν ἐμὴν γνώμην λέγω, πρὸς δῶμα δεῦρ᾽ ἀστοῖσι κηρύσσειν βοήν.
ΧΟ. β΄. ἐμοὶ δ᾽ ὅπως τἀχιστά γ᾽ ἐμπεσεῖν δοκεῖ,
καὶ πρᾶγμ᾽ ἐλέγχειν ξὺν νεορρύτῳ ξίφει.
ΧΟ. γ΄. Kaye, τοιούτου γνώματος κοινωνὸς ὧν, ψηφίζομαί «τι δρᾶν τὸ μὴ μέλλειν δ᾽ ἀκμή.
ς A ’ ’ \ e ὁρᾶν πάρεστι φροιμιάξονται yap ὡς τυραννίδος σημεῖα “πράσσοντες πόλει.
΄, χρονίζομεν yap’ οἱ δὲ τῆς Ἐμελλοῦς κλέος
“πέδοι πατοῦντες οὐ καθεύδουσιν χερί,
1275
(1351)
1280
ΑΓΑΜΕΜΝΩΝ.
XO. στ΄. οὐκ olda βουλῆς ἧστινος τυχὼν λέγω.
ΧΟ.
τοῦ δρώντέίς ἐστι καὶ τὸ βουλεῦσαι περί.
ζ΄, κἀγὼ τοιοῦτός εἰμ᾽, ἐπεὶ δυσμηχανῶ 1285
λόγοισι τὸν θανόντ᾽ ἀνιστάναι πάλιν. η΄. ἢ καὶ βίον «τείνοντες ὧδ᾽ ὑπείξομεν δόμων καταισχυντῆρσι τοῖσδ᾽ ἡγουμένοις ; θ΄. ἀλλ᾽ οὐκ ἀνεκτόν, ἀλλὰ κατθανεῖν κρατεῖ'
πεπαιτέρα γὰρ μοῖρα τῆς τυραννίδος. 1290
“. % yap τεκμηρίοισιν ἐξ οἰμωγμάτων id 3 \ e 3 ΄ μαντευσόμεσθα τἀνδρὸς ὡς ὁλωλοτος : ια΄. Gad εἰδότας χρὴ τῶνδε «μυθεῖσθαι πέρι' A ‘ / le) 4 4? δέ δί τὸ γὰρ τοπάζξειν τοῦ cad εἰδέναι δίχα.
. 68. ταύτην ἐπαινεῖν πάντοθεν πληθύνομαι,{Ἡ 1295
a a 4 τρανῶς ᾿Ατρείδην εἰδέναι κυροῦνθ᾽ ὅπως. πολλῶν πάροιθεν καιρίως εἰρημένων, τἀναντί᾽ εἰπεῖν οὐκ ἐπαισχυνθήσομαι. A , 3 a“ ? \ , , πῶς γάρ τις ἐχθροῖς ἐχθρὰ πορσύνων, φίλοις
δοκοῦσιν εἶναι, Ἐπημονῆς ἀρκύστατ᾽ av* 1300
, . ef “a 9 4 φραξειεν ὕψος κρεῖσσον ἐκπηδήματος ; ἐμοὶ & ἀγὼν ὅδ᾽ οὐκ ἀφρόντιστος πάλαι κεὐχῆς παλαιᾶς ἦλθε, σὺν χρόνῳ γε μήν. Ψ > > ΜΝ 3 > 3» 3 , ἕστηκα δ᾽ ἔνθ᾽ ἔπαισ᾽ ἐπ ἐξειργασμένοις.
οὕτω δ᾽ ἔπραξα, καὶ τάδ᾽ οὐκ ἀρνήσομαι, 1305
ὡς μήτε φεύγειν μήτ᾽ “ἀμύνεσθαι μόρον. ἄπειρον ἀμφίβληστρον, ὥσπερ ἰχθύων, περίστιχίζω, πλοῦτον εἴματος κακόν. παίω δέ νιν δίς" κἀν δυοῖν ποἰμωγμάτοιν
“a ς “A “ e \ , μεθῆκεν #avTod κῶλα' καὶ πεπτωκότι 1310
τρίτην ἐπενδίδωμι, τοῦ κατὰ χθονὸς “Αἰδου, νεκρῶν σωτῆρος, εὐκταίαν χάριν. οὕτω τὸν αὐτοῦ θυμὸν ὁρμαίνει πεσών᾽ κἀκφυσιῶν ὀξεῖαν αἵματος σφαγὴν
βάλλει μ᾽ ἐρεμνῇ ψακάδι φοινίας δρόσου, 1315
ΧΟ.
ΚΛ,
ΧΟ.
ΚΛ,
AIZXTAOT |
χαίρουσαν οὐδὲν ἧσσον ἢ " διοσδότῳ
yaver* σπορητὸς κάλυκος ἐν λοχεύμασιν.
ὡς ὧδ᾽ ἐχόντων, πρέσβος ᾿Αργείων τόδε,
χαίροιτ᾽ ἄν, εἰ χαίροιτ᾽, ἐγὼ δ᾽ ἐπεύχομαι.
εἰ δ᾽ ἦν, πρεπόντως ὥστ᾽ ἐπισπένδειν νεκρῷ, 1320 τάδ᾽ ἂν δικαίως ἦν, ὑπερδίκως μὲν ody ᾳτοσόνδςε κρατῆρ᾽ ἐν δόμοις κακῶν ὅδε
πλήσας ἀραίων αὐτὸς ἐκπίνει μολών. θαυμάξομέν σου γλῶσσαν, ὡς θρασύστομος,
ἥτις τοιόνδ᾽ ἐπ᾽ ἀνδρὶ κομπάζεις λόγον. 1325 (1400) “«ειρᾶσθέ μου γυναικὸς ὡς ἀφράσμονος"
ἐγὼ δ᾽ ἀτρέστῳ καρδίᾳ πρὸς εἰδότας
λέγω---αὺ δ᾽ αἰνεῖν εἴτε με ψέγειν θέλεις, ὅμοιαν---οὗτός ἐστιν ᾿Αγαμέμνων, ἐμὸς
πόσις, νεκρὸς δὲ τῆσδε δεξιᾶς χερός, 1330 ἔργον δικαίας τέκτονος. τάδ᾽ ὧδ᾽ ἔχει. τί κακόν, ὦ γύναι, στρ.
χθονοτρεφὲς ἐδανὸν ἢ ποτὸν “πασαμένα putas ἐξ ἁλὸς ὄρμενον τόδ᾽ ἐπέθου θύος δημοθρόους τ᾽ ἀράς; 1335 ἀπέδικες ἀπέταμές «τ᾽, ᾳἀπόπολις δ᾽ ἔσει, μῖσος ὄβριμον aarois. νῦν μὲν δικάξεις ἐκ πόλεως φυγὴν ἐμοὶ καὶ μῖσος ἀστῶν δημόθρους τ᾽ ἔχειν ἀράς, 1340 οὐδὲν «τότ᾽ ἀνδρὶ τῷδ᾽ ἐναντίον φέρων" ὃς οὐ προτιμῶν ὡσπερεὶ BoTad μόρον, μήλων φλεόντων εὐπόκοις νομεύμασιν, ἔθυσεν αὑτοῦ παῖδα, φιλτάτην ἐμοὶ ὠδῖν᾽, ἐπῳδὸν Θρῃκίων «ἀημάτων. 1345 οὐ τοῦτον ἐκ γῆς τῆσδε φχρὴν σ᾽ ἀνδρηλατεῖν, μιασμάτων ἄποιν᾽ ; ἐπήκοος δ᾽ ἐμῶν ἔργων δικαστὴς τραχὺς εἶ. λέγω δέ σοι
ΧΟ.
KA.
XO.
ATAMEMNON. 45
τοιαῦτ᾽ ἀπειλεῖν, ὡς παρεσκενασμένης
ἐκ τῶν ὁμοίων χειρὶ νικήσαντ᾽ ἐμοῦ 1350 ἄρχειν ἐὰν δὲ τοὔμπαλιν κραίνῃ θεὸς,
γνώσει διδαχθεὶς ὀψὲ γοῦν τὸ σωφρονεῖν.
μεγαλόμητις εἶ, ἄντ. περίφρονα δ᾽ ἔλακες, ὥσπερ οὖν φονολιβεῖ τύχᾳ φρὴν ἐπιμαίνεται, 1355
λίπος ἐπ᾿ ὀμμάτων αἵματος «ἐμπρέπειν ἀτίετον᾽ ἔτι σε χρὴ στερομέναν φίλων τύμμα πτύμματι τῖσαι.
καὶ τήνδ᾽ ἀκούεις ὁρκίων ἐμῶν θέμιν' 1360 μὰ τὴν τέλειον τῆς ἐμῆς παιδὸς Δίκην, ἼΛτην κτ᾽ ᾿Ερινύν θ᾽, αἷσι τόνδ᾽ ἔσφαξ᾽ ἐγώ, οὔ μοι φόβου μέλαθρον ἐλπὶς «κἐμπατεῖν, ἕως ἂν αἴθῃ πῦρ ἐφ᾽ ἑστίας ἐμῆς Αἴγισθος, ὡς τὸ πρόσθεν εὖ φρονῶν ἐμοί, 1355 οἶτος γὰρ ἡμῖν ἀσπὶς οὐ σμικρὰ θράσους. κεῖται γυναικὸς τῆσδε λυμαντήριος tavnp, ὁ πασῶν ἐκφανὴς ἰδεῖν στρατῷῴΐτ' Χρυσηΐδων μείλιγμα τῶν ὑπ᾽ Ἰλίῳ: ἥ τ᾽ αἰχμάλωτος ἥδε καὶ τερασκύπος, καὶ κοινόλεκτρος τοῦδε, θεσφατηλόγος 1370 “πιστὴ ξύνευνος, κναυτίλοις δὲ σελμάτων “ἰσοτριβής. ἄτιμα δ᾽ οὐκ ἐπραξάτην'" ὃ μὲν γὰρ οὕτως" ἡ δέ τοι, κύκνου δίκην, τὸν ὕστατον μέλψασα θανάσιμον γόον κεῖται φιλήτωρ *T@od, ἐμοὶ δ᾽ ἐπήγαγεν 1375 *evvais π᾿αροψώνημα τῆς ἐμῆς χλιδῆς.
φεῦ, τίς dv ἐν τάχει, μὴ περιώδυνος, στρ. α΄. μηδὲ δεμνιοτήρης, / ‘ 4 , 9 4 ec «a μόλοι τὸν αἰεὶ φέρουσ᾽ ἐν ἡμῖν (1450)
μοῖρ᾽ ἀτέλευτον ὕπνον, δαμέντος 1380
45
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, 3 φύλακος εἰ μενεστάτου,
καὶ Ἐπολύ γε" τλάντος γυναικὸς διαί;
πρὸς γυναικὸς δ᾽ ἀπέφθισεν βίον. ἰὼ ἰὼ «παράνους ‘EXéva μία τὰς πολλάς, τὰς πάνυ πολλὰς \ 2Ὰ 2 > eA rn , ψυχὰς ὀλέσασ᾽ ὑπὸ Τροίᾳ νῦν δὲ τελείαν . .. (desunt versus aliquot] ‘ / 3 ’ Ὑκαὶ πολύμναστον ἐπηνθίσω
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Ἐπλεισθενέδαισι μίασμα δι’ αἷμ᾽ ἄνιπτον,
* , > “A 60 ταν τ ἐριν ἃ ὁδομοισιν
τότ᾽ ἦν adpatos*, ἀνδρὸς οἰξύς. μηδὲν θανάτου μοῖραν ἐπεύχου τοῖσδε βαρυνθειίς" μηδ᾽ εἰς ᾿Ελένην κότον ἐκτρέψης, e 3 4 4 e , “ ὡς ἀνδρολέτειρ᾽, ὡς pia πολλῶν ἀνδρῶν ψυχὰς Δαναῶν ὀλέσασ᾽, 9 37) »;) ἀξύστατον ἄλγος ἔπραξεν. A aA 3 , , , δαῖμον, ὃς ἐμπίτνεις δώμασι καὶ *didui- orot Τανταλίδαισιν, κράτος T ἰσόψυχον ἐκ γυναικῶν πκαρδιόδηκτον ἐμοὶ κρατύνεις, »νῶωῶ 9. / ἰδ ἐπὶ σώματος δίκαν
pos κόρακος ἐχθροῦ ἔσταθεῖσ᾽ ἐκνόμοις Ἐ
ὕμνον ὑμνεῖν ἐπεύχεται "νόμοις.
νῦν δ᾽ ὥρθωσας στόματος γνώμην, τὸν τριπάχυιον
δαίμονα γέννης τῆσδε κικλήσκων᾽" ἐκ τοῦ γὰρ ἔρως αἱματολοιχὸς «velpa τρέφεται, πρὶν καταλῆξαι
τὸ παλαιὸν ἄχος, νέος ἐχώρ.
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1399
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1406
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ATAMEMNON. 47
φεῦ, φεῦ, κακὸν αἶνον arnpas τύχας ἀκορέστου. ἰώ, ἰή, διαὶ Διὸς παναιτίου, παανεργέτα᾽ 1415 τί γὰρ βροτοῖς ἄνευ Διὸς τελεῖται; τί τῶνδ᾽ οὐ θεόκραντόν ἐστιν;
4 32), ᾽ ἰὼ ἰώ, στρ. στ΄. βασιλεῦ, βασιλεῦ, πῶς σε δακρύσω ; 1420
φρενὸς ἐκ φιλίας τί ποτ᾽ εἴπω ; κεῖσαι δ᾽ ἀράχνης ἐν ὑφάσματι τῷδ᾽ ἀσεβεῖ θανάτῳ βίον ἐκπνέων.
ὦ μοί μοι, κοίταν τάνδ᾽ ἀνελεύθερον, στρ. ζ΄. δολίῳ μόρῳ δαμεὶς 1425 ἐκ χερὸς ὠμφιτόμῳ βελέμνῳ. ΚΛ. - αὐχεῖς εἶναι τόδε τοὔργον ἐμόν. στρ. η΄.
μὴ δ᾽ ἐπιλεχθῇς 9 Β / 9 , 3 4 Αγαμεμνονίαν εἰναὶ μαὶ' ἀλοχον' φανταζόμενος δὲ γυναικὴὲ νεκροῦ 1430 (1500) τοῦδ᾽ ὁ παλαιὸς δριμὺς ἀλάστωρ 9 ’ fe) a Ατρέως, χαλεποῦ θοινατῆρος, τόνδ᾽ ἀπέτισεν, } a 3 ’ τέλεον νεαροῖς ἐπιθύσας. ΧΟ. ὡς μὲν ἀναίτιος εἶ ἀντ. ε΄. τοῦδε φόνου, τίς ὁ μαρτυρήσων; 1436 ~ [4] / , / 9 “A 3 , πῶ; πῶ; πατρόθεν δὲ συλλήπτωρ γένοιτ᾽ ἂν ἀλάστωρ. βιάξεται δ᾽ ὁμοσπόροις ἐπιρροαῖσιν αἱμάτων μέλας “Apns, ὅποι δίκαν 1440 προβαίνων" πάχνᾳ κουροβόρῳ παρέξει. >\ 35} Φ ἰὼ 60, ἄντ. στ΄. βασιλεῦ, βασιλεῦ, πῶς σε δακρύσω; φρενὸς ἐκ φιλίας τί ποτ᾽ εἴπω; .1445
48 AISXTAOT
a 9 3 , ? e , δὶ κεῖσαι δ᾽ ἀράχνης ἐν ὑφάσματι τῷδ᾽
3 a f ’ 3 “
ἀσεβεῖ θανάτῳ βίον ἐκπνέων.
ὦ μοί μοι, κοίταν τάνδ᾽ ἀνελεύθερον, ἄντ. ζ΄. δολίῳ μόρῳ δαμεὶς ἐκ χερὸς ἀμφιτόμῳ βελέμνῳ. 1450 KA. οὐδὲ yap οὗτος δολίαν ἄτην ἄντ. η΄.
Ν ΝΜ 3 οἴκοισιν ἔθηκ᾽ ; ἀλλ᾽ ἐμὸν ἐκ τοῦδ᾽ ἔρνος ἀερθὲν | τὴν πολύκλαυτον *avakia δράσας
|| Ἰφιγένειαν, πάσχων afia* 1455 μηδὲν ἐν “Αὐδουν μεγαλαυχείτω, ξιφοδηλήτῳ θανάτῳ τίσας ἅπερ ἦρξεν. ΧΟ. ἀμηχανῶ, φροντίδος στερηθεὶς στρ. θ΄. Ἐεὐπαλάμων μεριμνᾶν," 1460
ὄπα τράπωμαι, πίτνοντος οἴκου. δέδοικα δ᾽ ὄμβρου κτύπον δομοσφαλῆ τὸν αἱματηρόν' ψακὰς δὲ λήγει. «δίκην δ᾽ ἐπ᾿ ἄλλο πρᾶγμα *#Onyaver βλάβης πρὸς ἄλλαις θηγάναισι Μοῖρα. 1465 ἰὼ γᾶ, γᾶ, εἴθε μ᾽ ἐδέξω, ἀντ. β΄. πρὶν τόνδ᾽ ἐπιδεῖν ἀργυροτοίχου δροίτας κατέχοντα χαμεύναν. τίς ὁ θάψων νιν, τίς ὁ θρηνήσων; ἦ σὺ τόδ᾽ ἔρξαι 1470 τλήσει, κτείνασ᾽ ἄνδρα τὸν αὑτῆς ἀποκωκῦσαι, ψυχῇ τ᾽ ἄχαριν χάριν ἀντ᾽ ἔργων μεγάλων ἀδίκως ἐπικρᾶναι; ΝΕ ΞΕ [ἀντ. γ΄. τίς & ᾿ἐπιτύμβιον αἶνον" ἐπ᾽ ἀνδρὶ θεῳ 1476 ξὺν δακρύοις ἰάπτων Post 1451 codd. dant οὔτ᾽ ὠνελεύθερον οἶμαι θάνατον | τῷδε γενέσθαι.
ATAMEMNON. 49
ἀλαθείᾳ φρενῶν πονήσει; ΚΛ. οὐ σὲ προσήκει τὸ μέλημα λέγειν στρ. {΄. (1550) τοῦτο᾽ πρὸς ἡμῶν 1480 κάππεσεν, πἡμεῖς καὶ καταθάψομεν, οὐχ ὑπὸ κλαυθμῶν τῶν ἐξ οἴκων, (duo versus desunt) ἄλλ᾽ ᾿Ιφιγένειά νιν ἀσπασίως , θυγατήρ, ὡς χρή, πατέρ᾽ ἀντιάσασα πρὸς ὠκύπορον 1485 πόρθμευμ᾽ ἀχέων περὶ πχεῖρε βαλοῦσα φιλήσει.
ΧΟ. ὄνειδος ἥκει τόδ᾽ ἀντ᾽ ὀνείδους, ἄντ. θ΄. δύσμαχα δ᾽ ἐστὶ κρῖναι" φέρει φέροντ᾽, ἐκτίνειν δ᾽ 6 καίνων. 1490
/ ’ , 3 , ’ “μένει δέ, μίμνοντος ἐν χρόνῳ Διός, παθεῖν τὸν ἔρξαντα᾽ θέσμιον yap’
/ “A \ 3 “Ὁ 9 , , Tis ἂν yovay *apaiov ἐκβάλοι δόμων;
_ κεκόλληται γένος Ἐπρὸς ἄτα. ΚΛ. εἰς τόνδ᾽ πκἐνέβης ξὺν ἀληθείᾳ ἄντ. {. χρησμόν" ἐγὼ δ᾽ οὖν 1496
ἐθέλω, δαίμονι τῷ Πλεισθενιδᾶν ὄρκους θεμένη, τάδε μὲν στέργειν, δύστλητά περ ὄνθ᾽" ὃ δὲ λοιπόν, ἰόντ᾽ ἐκ τῶνδε δόμων ἄλλην γενεὰν 1500 τρίβειν θανάτοις αὐθένταισιν. : κτεάνων TE μέρος βαιὸν ἐχούσῃ πᾶν ἀπόχρη μοι [μανίας μελάθρων [ ἀλληλοφόνους ἀφελούσῃ. 1505 AITT200%. ὦ φέγγος ethpov ἡμέρας δικηφόρου" φαίην ἂν ἤδη νῦν βροτῶν τιμαόρους θεοὺς ἄνωθεν γῆς ἐποπτεύειν ἄχη, Κ. Α. ἃς
50
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ἐδὼν ὑφαντοῖς ἐν πέπλοις Ἐρινύων τὸν ἄνδρα τόνδε κείμενον φίλως ἐμοί, 1510 χερὸς πατρῴας ἐκτίνοντα μηχανάς. ᾿Ατρεὺς γὰρ ἄρχων τῆσδε γῆς, τούτου πατήρ, πατέρα Θυέστην τὸν ἐμόν, ὡς τορῶς φράσαι, Ἑαύτοῦ &* ἀδελφόν, ἀμφίλεκτος ὧν κράτει, ἠνδρηλάτησεν ἐκ πόλεώς τε καὶ δόμων. 1510 καὶ προστρόπαιος ἑστίας μολὼν πάλιν
4 , ΄- (ed 4 9 σὰ τλήμων Θυέστης μοῖραν ηὕρετ᾽ ασφαλῆ, τὸ μὴ θανὼν πατρῷον αἱμάξαι πέδον “autos ξένια δὲ τοῦδε δύσθεος πατὴρ ᾿Ατρεὺς προθύμως μᾶλλον ἢ φίλως πατρὶ 1520 τῷ ᾿μῷ, κρεουργὸν ἦμαρ εὐθύμως ἄγειν δοκῶν, παρέσχε δαῖτα παιδείων κρεῶν. τὰ μὲν ποδήρη καὶ χερῶν ἄκρους κτένας κἔκρυπτ᾽ ἄνωθεν ἀνδρακὰς καθήμενος" ἄσημα δ᾽ αὐτῶν ὕμόρια τῷ δυσδαίμονε 1525 φαγεῖν ἔπεμψ᾽" ὁ δ᾽ ἡ αὐτίκ᾽ ἀγνοίᾳ λαβὼν ἔσθει βορὰν ἄσωτον, ὡς ὁρᾷς, γένει. κἀπειτ᾽ ἐπιγνοὺς ἔργον οὐ καταίσιον, ὥμωξεν, ἀμπίπτει δ᾽ ἀπὸ σφαγῆς *éuav' —_ (1600) μόρον δ᾽ ἄφερτον ἸΤελοπίδαις ἐπεύχεται, λάκτισμα δείπνου ξυνδίκως τιθεὶς καράν, 1530 οὕτως ὀλέσθαι πᾶν to Πλεισθένους γένος. ἐκ τῶνδέ σοι πεσόντα τόνδ᾽ ἰδεῖν πάρα,
> \ , a A , e ney κἀγὼ δίκαιος τοῦδε τοῦ φόνου padevs τρίτον γὰρ "ἐπὶ toivd’* ὄντα μ᾽ ἀθλίῳ πατρὶ
’ \ ww 9 9 ξυνεξελαύνει τυτθὸν ὄντ᾽ ἐν σπαργάνοις, 1535 4 9 εὶ e ἢ ’
τραφέντα δ᾽ αὖθις ἡ δίκη κατήγαγε.
N a 3 \ ¢ f “Ὁ ” καὶ τοῦδε τἀνδρὸς ἡψάμην θυραῖος ὧν, πᾶσαν ξυνάψας μηχαψμὴν δυσβουλίας. οὕτω καλὸν δὴ καὶ τὸ κατθανεῖν ἐμοὶ ἰδόντι τοῦτον τῆς δίκης ἐν ἕρκεσιν. 1540
ΧΟ.
AI.
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ATAMEMNON.
Aiyic®’, ὑβρίζειν ἐν κακοῖσιν ov σέβω. 3 \ > “ Ἁ e \ a σὺ δ᾽ ἄνδρα τόνδε φὴς ἑκὼν κατακτανεῖν, μόνος δ᾽ ἔποικτον τόνδε βουλεῦσαι φόνον. WwW 3 3 ’ 3 ’ A δι ‘4 οὔ φημ᾽ ἀλύξειν ἐν δίκῃ τὸ σὸν Kapa δημορριφεῖς, σάφ᾽ ἴσθι, λευσίμους ἀράς. σὺ ταῦτα φωνεῖς νερτέρᾳ προσήμενος κώπῃ, κρατούντων τῶν ἐπὶ ζυγῷ δορός ; , 2 vw e , γνώσει, γέρων ὧν, ws διδάσκεσθαι βαρὺ τῷ τηλικούτῳ, σωφρονεῖν εἰρημένον. δεσμὸς δὲ καὶ τὸ γῆρας αἵ τε νήστιδες δύαι διδάσκειν ἐξοχώταται φρενῶν ἰατρομάντεις. οὐχ ὁρᾷς ὁρῶν τάδε;
πρὸς κέντρα μὴ λάκτιζε, μὴ παίσας μογῇς.
5." ὺ fe} δ᾽ 9 \ 3 A |*euvny σὺ τοῦδ᾽ οἰκουρὸς αἰσχύνας ἅμα Ἰ γυναικὶ τοὺς ἥκοντας ἐκ μάχης τρέων
δῖ
1545
1550
1555
ἀνδρὶ στρατηγῷ t*r αἰσχρὸν ἔρραψας φόνον.
καὶ ταῦτα τἄπη κλαυμάτων ἀρχηγενῆ. 3 , “~ A Y 9 ’ 57 . Ορφεῖ δὲ γλῶσσαν τὴν ἐναντίαν ἔχεις ὁ μὲν γὰρ ἦγε πάντ᾽ ἀπὸ φθογγῆς χαρᾷ, σὺ δ᾽ ἐξορίνας κνηπίοις ὑλάγμασιν
We, \ > , a ager’ κρατηθεὶς δ᾽ ἡμερώτερος φανεῖ. ὡς δὴ σύ μοι τύραννος ᾿Αργείων ἔσει, ds, κοὐδ᾽ ἐπειδὴ τῷδ᾽ ἐβούλευσας μόρον, δρᾶσαι τόδ᾽ ἔργον οὐκ ἔτλης αὐτοκτόνως. τὸ γὰρ δολῶσαι πρὸς γυναικὸς ἦν σαφῶς" ἐγὼ δ᾽ ὕποπτος ἐχθρὸς ἦ παλαιγενής. ἐκ τῶν δὲ τοῦδε χρημάτων πειράσομαι ἄρχειν πολιτῶν' τὸν δὲ μὴ πειθάνορα
’ / 4 \ / CevEw βαρείαις οὔτι μὴ σειραφόρον κριθῶντα πῶλον, GAN ὁ δυσφιλὴς σκότῳ λιμὸς ξύνοικος μαλθακόν σφ᾽ ἐπόψεται. σὺ δὴ τὸν ἄνδρα τόνδ᾽ ἀπὸ ψυχῆς κακῆς 9 > A 9 , 9 Q , οὐκ αὐτὸς ἠνάριξες, ἀλλὰ σὺν γυνή,
1560
1565
1570
A—2
52
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ΧΟ.
Al.
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ΑΙ.
ΧΟ. KA,
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AIZXTAOT ATAMEMNON.
χώρας μίασμα καὶ θεῶν ἐγχωρίων,
. ἔκτειν᾽" Ὀρέστης apa που βλέπει φάος, 1575
ΑΥ̓͂ \ “A a , ὅπως κατελθὼν δεῦρο πρευμενεῖ τύχη ἀμφοῖν γένηται τοῖνδε παγκρατὴς φονεύς ; ἀλλ᾽ ἐπεὶ δοκεῖς Tad ἔρδειν “κοὐ λέγειν, γνώσει τάχα. tou γάρ, εἰ γέροντές ἐσμεν, τοῖς κακοῖς ὑπεί- ᾿ξομεν. 1579 (1650) > , [2 “A 4 9 e Q ’ ela δη, φίλοι λοχῖται, τοὔργον οὐχ ἑκὰς τόδε. εἶα δή, ξίφος πρόκωπον πῶς τις εὐτρεπιζέτω. αλλὰ μὴν κἀγὼ πρόκωπος οὐκ ἀναίνομαι θανεῖν. δεχομένοις λέγεις θανεῖν oe τὴν τύχην δ᾽ καἱρούμεθα. Aa 4 μ ,.» a ΝΜ f ἤς μηδαμῶς, ὦ φίλτατ᾽ ἀνδρῶν, ἄλλα δράσωμεν κακά ἀλλὰ καὶ τάδ᾽ ἐξαμῆσαι πολλὰ δύστηνον θέρος" 1585 πημονῆς ἅλις γ᾽ ὑπάρχει" μηδὲν αἱματώμεθα. Ἐστεῖχε καὶ σὺ yot* γέροντες πρὸς δόμους πεπρω- μένους, πρὶν παθεῖν ἔρξαντες" Ἐἀρκεῖν χρῆν τάδ᾽ ὡς ἐπράξαμεν. > Or , ͵ a wo ¢o , » 4 εἰ δέ τοι μόχθων γένοιτο τῶνδ᾽ ἅλις, «δεχοίμεθ᾽ ἄν, δαίμονος χηλῇ βαρείᾳ δυστυχῶς πεπληγμένοι. ὧδ᾽ ἔχει λόγος γυναικός, εἴ τις ἀξιοῖ μαθεῖν. 1591 9 A , > 9 ‘ A eo 3? J ἀλλὰ τούσδ᾽ ἐμοὶ ματαίαν γλῶσσαν ὧδ᾽ ἀπανθίσαε, καἀκβαλεῖν ἔπη τοιαῦτα πδαίμονος πειρωμένους, σώφρονος γνώμης δ᾽ πἁμαρτεῖν, τὸν κρατοῦντά +0 ὑβρίσαι. 1594 9 a 3 , sd 3) a / οὐκ av ᾿Αργείων τόδ᾽ εἴη, φῶτα προσσαίνειν κακόν. 43 9 9 , 3 9 e , e J J > ἀλλ᾽ ἐγώ σ᾽ ἐν ὑστέραισιν ἡμέραις μέτειμ᾽ ἔτι. 3 3} 3 ΄ a 3 3 ’ A“ οὐκ, ἐὰν δαίμων ᾿Ορέστην δεῦρ᾽ ἀπευθύνῃ μολεῖν. Φ0 3 Ἁ , 4 / 4 old ἐγὼ φεύγοντας ἄνδρας ἐλπίδας σιτουμένους. πρᾶσσε, πιαίνου, μιαίνων τὴν δίκην" ἐπεὶ πάρα. ” ’ Ψ a , ’ ἴσθι μοι δώσων ἄποινα τῆσδε μωρίας χάριν. 1600 κόμπασον θαρσῶν, ἀλέκτωρ *@oTe θηλείας πέλας. μὴ προτιμήσῃς ματαίων τῶνδ᾽ ὑλαγμάτων" ξέγωὼ Ἁ , A “Ὁ , a καὶ σὺ θήσομεν κρατοῦντε τῶνδε δωμάτων Τκαλῶς.
TRANSLATION
WITH NOTES EXPLANATORY AND ILLUSTRATIVE.
TRANSLATION.
[Ziclosed numerals refer to the Greek text.]
AGAMEMNON.
[SCENE: the royal palace at Argos: opposite to the central door ἐς the altar of Apollo Aguieus: near it, on each side, altars of other deities. On the flat roof of the palace, or, perhaps, on a tower reared above it, is seen a WATCHMAN, ¢t recumbent posture, with head resting on his hands, gazing towards the east. The time is night, but near to morning.]
PROLOGOS.
WaTCHMAN.
STILL do I ask the gods deliverance from these toils throughout my long year’s watch, whereto I lay me down
Prologos. In this prologue the poet has three chief objects in view : a. to announce the capture of Troy by the beacon-blaze and the watchman’s outcry; §. to bring Clytaemnestra to the notice of his audience as a woman of masculine character and strong will (10) ; . to prepare them for future evil by hinting the misconduct of those who rule the palace in the absence of Agamemnon (18, 19, 36—39).
2. μῆκος, accus. of duration. Some would have it to depend on érelas, taking φρουρᾶς in apposition to πόνων. Others read μῆχος, remedy, in appos. to ἀπαλλαγήν.
whereto &c. ἣν κοιμώμενος, a construction (κοιμᾶσθαι φρουράν) of the cognate or contained accus. The verb has the meaning of κεῖσθαι only.
56 AGAMEMNON.
upon the Atreidae’s roof, arm-rested, like a dog,
and know by heart the congress of the nightly stars,
with those which bring to men winter and summer-tide, 5 bright potentates, ¢eir sheen conspicuous in the sky beholding, whensoe’er they set and rise again.
and now I’m watching for the signal of a torch,
the blaze of fire, that bringeth a report from Troy,
a voice announcing capture: for e’en so commands 10 a woman’s manly-planning heart in hopeful mood.
but whensoe’er I keep this nightly-restless couch
of mine, all drenched with dew, by dreams unvisited—
3. arm-rested, ἄγκαθεν. Hesychius and another grammarian, followed by some editors, consider this to be a form of ἀνέκαθεν, aloft. Some place ἀνέκαθεν in the text. We think Cod. F. and Pal. right in regarding it as= Homeric ἐπ᾽ ἀγκῶνος, on the elbow.
5,6. The watchman, reclining on the palace-roof nightly through the year, and looking eastward, would (as Professor Adams kindly tells us) have the opportunity of studying all the constellations lying not far from the Equator: the most conspicuous being,—among the zodiacal, Taurus, Gemini, Leo, Virgo, Scorpio,—among the extra-zodiacal, Andromeda, Orion, Canis Major and Minor, Aquila. As the constellations so seen would vary according to the seasons, a poet might say that they bring summer and winter. This would not apply to the planets, Jupiter, Venus and Mars, which would also become conspicuous in the course of the year, but not as connected with particular seasons. Some stars more distant from the Equator would also engage the observer’s attention, as Capella in Auriga, Arcturus in Bootes, and Vega in Lyra.
6. potentates, δυνάστας. Most explain this of the sun and moon. But the sun would not be seen in the night, and the moon has nothing to do with the change of seasons. It is however possible that Aesch., thinking most of the sun, may have meant to say that the watch, beginning at sunset, and ending at sunrise, would teach the various hours at which these took place. Others refer δυνάστας to larger fixed stars which would in the course of the year come within the watchman’s field of view as he lay down with his face towards the east. See these in the last note.
7. On this verse and on verse 17 see Conspectus Lectionum and Notes on Lection.
10. 90 commands, ὧδε κρατεῖ, Herm., to which version we see no valid objection. One whose will rules or prevails may be said to command. |
PROLOGOS. 57
for terror in the stead of sleep beside me stands,
so that in sleep I may not soundly close mine eyes— _ 15 and when I think to sing a song or hum a tune,
providing this one music-antidote to sleep,
then do I wail with groans the evils of this house,
not, as of yore, in noblest wise administer’d.
but now may’t come, my fortunate release from toils, 20 when through the dark with joyous message gleams the fire,
(Zhe beacon-blaze ἐς descried on Mt. Arachnaeus: the Watchman starts to his feet, and cries.)
Hail, O thou shiner of the night, exhibiting a day-light splendour, and in Argos garniture of many a dancing choir, to honour this event.
hurrah ! - hurrah ! 25 to Agamemnon’s wife clear token do I give that from her couch she rise with earliest speed, and lift, for all the house 2 hear, a happy-omened cry this torchlight loudly greeting, since that Ilion’s town is taken, as the beacon-message plainly tells. 30 and I myself too will perform a prelude-dance ;
14. terror, φόβος, i.e. fear of punishment for sleeping on his watch.
16. ἀείδειν, fo sing words ; μινύρεσθαι, to hum a tune without words.
24. συμφορὰ is used in its original sense, occurrence, event, which here is a happy one. But, by a well-known Greek euphemism, it most fre- quently means a calamitous event, a misfortune, as above, 18.
25. Some think that the watchman now descends by an unseen stair to the proscenium, and there ends his speech, afterwards entering the palace by one of the lesser doors. We do not take this view. If he had been watching on a turret, he descends from it, and perhaps shouts through a trap- door in the roof to the queen and family, then, concluding his speech on the roof, he quits it by an unseen stair.
28. λαμπάδι depends on the ἐπὶ in ἐπορθιάζειν, to shout aloud on.
30. plainly tells, ἀγγέλλων πρέπει, distinctly announces. πρέπειν ex- presses distinctness in what is seen or heard. See ἐμπρέποντας above, 6,
31. Here the watchman performs some steps of a dance.
58 AGAMEMNON.
for lucky shall I count the fortunes of our lords,
now that this beacon-watch has thrown me triple sice.
and so, when he, the king who rules the palace, comes, my lot be with this hand to hold his well-loved hand. 35 of all the rest I’m silent: on my tongue hath stepp’d
a mighty ox; the house itself, if voice it found,
would give the clearest evidence; since I by choice
speak to the knowing, to the unknowing I forget.
PARODOS.
[Zhe Watchman leaves the palace roof. An interval of time is now supposed. Daylight has arrived. Clytaemnestra, acquainted with the tidings of the beacon, has sent messengers commanding incense to be burnt before all the shrines of Argos, in token of thanksgiving. The Chorus, consisting of the chief councillors of the state, attend at the palace to learn the news. Lach χορευτὴς carries a staff (Baxrnpla). They enter the orchestra by the passage between the stage and the spectators seats (θέατρον) on the right hand of the latter, and, moving on the circumference of a quadrant, ascend the choral platform, which extends from the central thymele (altar of Bacchus) to the proscenium. There, standing in their usual order, they chant their opening song. The passage by which they enter ts called Parodos,and the song then sung receives the same technical name. In this drama it has three parts, τ. Amapaests ; 2. Pro-odé ; 3. Ode.]
32, 33. θήσομαι, J shall reckon or (as Pal.) score. lucky, εὖ πεσόντα, to have had a lucky cast : the metaphor is continued in the next verse. ‘rifle sice, τρὶς ἕξ, The dice (κύβος) of the Greeks were like our own; and, when they played with three, the best throw was three sixes, which the Romans called Venus. The lowest was τρεῖς κύβοι (three aces), in Latin, Canis.
35. to hold, βαστάσαι, lit. to liftor dear up. The use of this verb seems to shew that the inferior greeted his lord by laying his hand under that of the latter, and respectfully pressing it upward.
36. on my tongue &c. The origin of this metaphor, an ox treading on the tongue, which expresses enforced silence, is unknown.
37. the house &c. See Luke xix. 40: ‘I tell you that, if these should hold their peace, the stones would immediately cry out.’
39. J forget, noua. Ital. non mi ricordo; which, since a famous occasion in 1820, has almost passed into a proverb for convenient silence. It might be rendered hold my peace here.
PARODOS. 59
CHORUS.
1. Anapaests.
Now is the tenth year on 225 passage, 40 since Priam’s great opponent,
king Menelaus with king Agamemnon,
—a stalwart yoke-pair, sons of Atreus, holding
from Zeus the honour of two thrones, two sceptres,—
an Argive armament of thousand vessels ' 45 from out this country
despatch’d, a militant reprisal,
a mighty war-cry shouting in their fury,
in mood like vultures,
which in their lonely sorrows for their children 50 high o’er their eyrie whirl in circles
40. Inthe anapaestic system (or series of systems, if a versus paroe- miacus be regarded as the terminus of a system) with which the Parodos commences, the Chorus says: that ten years have passed since the expedi- tion against Troy sailed out under Agamemnon and Menelaus, whose wrath for the loss of Helen was like that of a pair of vultures robbed of their young: that an avenging deity espoused their cause: that war and bloodshed ensued, of which the end was not reached, but punishment could not fail to visit the unholy performance of sacred rites. The old age of the Chorus, which had kept its members at home, is described as a second childhood. Finally they address Clytaemnestra (who, during their recita- tive, has probably come out of the palace and begun to light the altars before it), inquiring why the order for burning incense is gone forth, and bezging her to relieve the anxiety with which their minds are disturbed.
41. opponent, ἀντίδικος, properly in a suit (δίκη. This is specially applicable to Menelaus, who had been robbed of his wife, and whose name is first mentioned. Agamemnon is then added, as his brother espousing his cause, and as commander-in-chief; but the two continue to be men- tioned as forming one yoke-pair, ζεῦγος ᾿Ατρειδᾶν, in apposition with which gen. stands τιμῆς and its epithets. The construction is remarkable.
50. lonely, ἐκπατίοις. This is variously explained: the derivation (ἐκ warov, out of the usual path) suggests the sense we give. .
51. high o'er, ὕπατοι, for ὕπερθε, an unusual expression. ᾿Ἑπάγω is a conjecture worthy of consideration, as ὕπατοι follows, 55.
όο AGAMEMNON.
with oary pinions rowing,
since they have lost their labour,
the couch-observing labour of their nestlings.
but hearing from on high, perchance Apollo 55 or Pan or Zeus, the shrilly-crying bird-wail
of these sky-sojourners,
unto transgressors sendeth
an after-punishing Erinys.
e’en so the mightier Zeus, of guest-law guardian, 60 sends forth the sons of Atreus,
about a many-suitored woman
appointing limb-subduing struggles countless
of knee that in the dust is planted
and spear-shaft snapping in the onsets 65 alike for Trojans and for Danaans.
as things are now, so are they, and fulfilled
shall be as Destiny hath willed;
tnor eer shall any mant by secret soothing
of burnt-oblation or of wine-libation 70 avert of fireless rites the strong-set indignation.
55. It has been suggested, that Apollo favours the vultures as augural birds; Pan, as birds that hunt; Zeus, as birds of royal nature, Tes ᾿Απόλ- λων κιτ.λ, τετις ἡ AW. ἢ κιτ.λ.
57. shy-sojourners, μετοίκων. The vultures are settlers in the sky, where the gods dwell. Apollo, Pan, Zeus, are their patrons (προστάται). But τῶνδε μετοίκων may possibly be a gloss.
60. the mightier, ὁ κρείσσων, i.e. Leds ξένιος (of guest-law guardian), who is assumed, in that character, to be still mightier than the Zeus (res) who favoured the vultures.
62. many-suitored, wodvdvopos. Helen had many suitors: and, after the death of Paris, she married Deiphobus.
65. onsets, προτελείοις. Hesychius has: προτέλεια, al πρὸ τοῦ γάμου τελούμεναι θυσία. Hence the word is used here metaphorically for a skirmish beginning a battle : in 204, for a sacrifice before a voyage.
71, fereless rites. The meaning of ἀπύρων ἱερῶν has been disputed. There seems to be no safer explanation than this—that the poet thus designates all unholy rites, such as the marriage-rites of Paris and Helen,
PARODOS. 61
but we, by aged frames exempted,
left of the force behind which then was mustered,
remain, our child-like strength on staves supporting.
for the young marrow leaping upward 75 within the bosom,
ere martial vigour holds its place, is eld-like ;
and far-gone eld, what time the foliage withers,
ways triple-footed walketh, . and, than a child no stronger, 80 (83) a day-seen dream, each g/d man wanders.
but thou, Tyndareus’ daughter,
queen Clytaemnestra, what is this occasion?
what new thing has befallen?
what hast thou noted, trusted in what tidings, 85 that thus thou sendest round an incense-stirring message ? for now of all the gods both city-ruling,
supernal, infernal,
and o’er the mart presiding,
the altars are ablaze with offerings: 90 (93) the torch on this side and on that uplifteth
its skyward-reaching stature,
drugged with the soft and guileless suasions
which, being hasty and illegal, took place without the usual burnt-offerings. The wrath of these will mean the wrath of the deities to whom such offerings were due. The sacrifice of Iphigenia may also be glanced at.
72. exempted, arirat. This word ἀτίτης (a tlw) is explained to mean, not liable to pay a due ; here, ‘ not fit for military service.’
79. triple-footed, τρίποδας. An allusion to the riddle of the Sphinx, solved by Oedipus, ἔστι δίπους ἐπὶ γῆς καὶ τέτραπος.. καὶ τρίπος. The biped man, when he crawls as an infant, is four-footed; when he takes a crutch in old age, three-footed.
93. guileless, ἀδόλοισι. The true contrast implied by this epithet has been generally overlooked. Some poorly render it genuine ; others suppose the guile of orators to be glanced at. In our opinion (looking at φαρμ. xp. ἁγνοῦ) Aeschylus refers to the φάρμακα δόλια of sorceresses (φαρμακευτρίαι). See Theocr. ἀμ 11. Verg. Aci, vii. He means to say that the tidings
62 AGAMEMNON.
of holy ointment,
the clot from out the royal store-room. 95 of these things what thou canst, and what to utter
is lawful, speak, tshew something certaint,
and of this care become a healer,
which now is sometimes evil-boding,
but soon again from sacrifices 100 (103) hope shining mild drives thought away, that sorrows Insatiate s¢i//, a soul-consuming mischief.
2. Pro-ode, Empowered am I to sing aloud Strophe. the lucky might of stalwart heroes, boded by a wayside omen, 10
(for still my life, with strength connurtured,
made known by Clytaemnestra’s illumination are true. The: queen is no deceiving sorceress.
95. clot, wéXavos, a soft essential substance, such as butter or lard.
store-room, μυχόθεν, from the μυχός, interior of the palace, where the store-rooms were, near the ἑστία : lit. ‘the royal clot from the μυχός.᾽ἢ
101. that sorrows, lit. of sorrow, λύπης.
102 (106). On changes made in these Anapaests, glosses omitted (61, 71. 92), additions suggested (69, ror), carrections (67, 83, 97, 106), see Consp. Lect. and Notes on Lection.
103. Why Clytaemnestra at this moment makes no reply to the Chorus, is left toconjecture. Engaged with the altars, she may be supposed to have moved during the recitation of the anapaests, and to be out of sight behind the right-hand Periacte. The Pro-ode of the Parodos now sung describes a wayside omen which occurred to Agamemnon and Menelaus on their march to Chalcis, and its interpretation by the army-seer Calchas, who, knowing by his skill that Artemis was displeased with the Atreidae, invoked the aid of Apollo to pacify her, and prevent the evil consequences hinted at in the concluding lines. The omen was that of two eagles (who represent the Atreidae) devouring a pregnant hare. On wayside omens (ἐνόδια σύμβολα) see Theophrast. Char. (ὁ δεισιδαίμων) and Hor. C. 111. 27.
104. stalwart heroes, ἀνδρῶν ἐντελέων. See Notes on Lection.
105. boded by a wayside omen, ὅδιον.
106. for still δα. i.e. though old, I am strong enough to sing with boldness.
PARODOS. 63
by heavenly favour
upon me breathes the confidence of song),
how the twin-thronéd kingship of the Achaeans,
of Hellad youth a government harmonious, 110 (111) with spear and hand exacting vengeance
a fiery bird to Teucrian land
conducts, the king of birds to kings of ships
—the black one and the white-tailed—manifest
nigh to the tents, upon the hand that wields the spear, II5 in a station seén of all,
feeding upon a hare with young ones big,
caught ere its closing race was over.
sing woe! sing woe! but be the gaod victorious!
Them when the skilful army-seer Antistrophe. beheld, the warlike sons of Atreus 121 (122) two in number, twain in temper,
he understood the hare-devourers,
their earliest escort :
and thus, interpreting the portent, spake. 125 ‘this expedition captures Priam’s city
in time: and all the herds before the fortress,
that fed the people with abundance,
shall fate with violence lay waste:
109. kingship, κράτος (abstract for concrete)=fBacirdas. So τάγαν, leaders.
111. exacting vengeance, πράκτορι.
114. Aristotle (4. A. 1x.) distinguishes these eagles as μελανάετος and wuyapyos. They symbolise the differing tempers of the two Atreidae, 121.
115. «pon the hand that wields the spear, χερὸς ἐκ δοριπάλτου, i.e. on the right hand.
116. station, €pa:,an augural term.
118. caught, βλαβέντα, neut. plur. referred to hare and young ones.
122. he understood, ἐδάη, i.e. he learnt their meaning.
124. their earliest escort, πομπᾶς apxous, i.e. the ominous birds which first met them, évodlous ὄργιθας. See Notes on Lection.
64 AGAMEMNON.
let only from the gods no envy cloud, 130 (129) forestricken, Troy’s great bit in arms encamp’d.
for spiteful to the house is Artemis the pure,
to her father’s wingéd hounds,
a timid creature eating, young and all,
ere birth: and hates the meal of eagles. 135 sing woe! sing woe! but be the good victorious! So kindly though she be, the Beauteous one, LE pode.
to dewdrops small of furious lions,
and to the udder-loving cubs
of all land-roaming beasts, she beggeth 140 (137) the pleasing signs of these birds to fulfil,
visions of happy omen, but not blameless.
I call for aid from healing Paean,
that she may frame no stormful breezes
against the Danaans blowing, 145 long time the ships detaining,
the while a second sacrifice she speedeth,
a lawless one, unbanquetable,
kindred artificer of quarrels,
130. cloud, κνεφάσῃ. ‘To cloud a bit’ isa confused metaphor; but in tragedy the language of soothsayers is studiously dark. See it parodied by Aristophanes in the Birds. ‘The bit’ means the Greek army.
133. winged hounds, πτανοῖσιν xvol, The eagle is called the hound of Zeus, as his constant attendant; and ‘winged hound’ (by a tragic idiom) to distinguish the metaphorical from the real dog. See Prom. 1042, Διὸς δέ τοι πτηνὸς κύων δαφοινὸς alerds. Soph. fr. 815, 6 σκηπτοβάμων alerds, κύων Διός. Clytaemnestra is called δίπους λέαινα, 1187. Mr Paley says: ‘*the eagles and the Atreidae are here viewed as identical, the one being portended by the other; and the anger of Artemis against the birds for killing the hare is indicative of her anger against Agamemnon for some offence which Aeschylus does not expressly mention, but Sophocles (5 2 566) describes as the slaughter of a doe in hunting.”
141. these birds, στρουθῶν τούτων. Here στρουθοὶ means ‘large birds,’ i.e. the eagles. See the word in Lexicon.
143. Aealing Facan. Apollo, as healing god, is named Παιάν. His epithet, dos, is variously explained. See it in Lex.
PARODOS. 65
a husband not respecting: for there waiteth 150 (144) a terrible recoiling anger,
house-guarding, treacherous, mindful, child-avenging.’
such things did Calchas shouting utter
with mighty blessings mingled,
as from the wayside birds predestined 155 unto the royal houses.
with these in concert
sing woe! sing woe! but be the good victorious!
Ode. Zeus, whosoe’er he is, if by that title Str. 1. to be called himself delighteth, 160 (152)
even thus do I address him. other name I cannot mention, in the balance weighing all,
158. On the readings in this Ode (108, rat, 123, 136, 139—40) see Consp. Lect. and Notes on Lection.
159. The Chorus, in this Ode, begin with a profession of religious faith in Zeus as now the supreme ruler of heaven. Uranus and Kronos (they say) are past and powerless. It is wise to sing the praise of Zeus the conqueror, who taught mankind the truth that learning is gained by suffer- ing. One instance of this is seen in that repentance which is forced on reluctant minds by the stings of conscious guilt, and which must be viewed as a blessing from the gods. Such is the case of Agamemnon. At the time when the Achaeans were detained in Chalcis by foul winds, with ruin to their health, and when Calchas laid before the chiefs the dread demands of Artemis,— Agamemnon exclaimed : ‘terrible is the choice between dis- obedience and the murder of a child: for how can I leave my troops to their fate ? how can I refuse to my allies the sacrifice they desire and de- mand?’ Thus did he steel his heart to become the slayer of his daughter. The dire fact is then described with picturesque pathos: and the maxim repeated, that the fruit of suffering is learning. But how this will be shown in the Future, none can foretell. A time will come for knowing; till then, Jamentation is premature. May the issue be prosperous, in accordance with the wishes of her who is now singly guarding this Apian land.
Κ. A. ὃ
66 AGAMEMNON.
save Zeus, if from my thought the idle burden
I may reject with true dczszon. 165 If one there was in former ages mighty, Ant. τ. with all-battling prowess teeming,
proofless now his ancient being :
and who afterward existed
found a conqueror, and is gone. 170 (160) but any shouting gladly ‘Zeus the victor,’
shall gain the full award of wisdom:
Him who the way of wisdom showed to mortals, Str. 2. who stablished as a valid maxim, by suffering they must purchase learning. | 175
yea, e’en in slumber oer the heart sad memory of evil trickles,
168. Aeschylus could not mean that Uranus, one of the μάκαρες θεοὶ αἰὲν ἐόντες, had ceased to exist. In the Prometheus he says of Uranus and Kronos,
οὐκ ἐκ τῶνδ᾽ ἐγὼ ϑισσοὺς τυράννους ἐκπεσόντας ἠσθόμην ; What he says in this place is, that Uranus has become a mere tradition, while Kronos has been conquered and expelled,
169 (58). who afterward existed: i.e. Kpovos (Saturn), the father ‘of Zeus, deposed and expelled from Olympus by his son, according to the Hellenic mythology. In the Eumenides 584 x.r.X., when Apollo, defend- ing Orestes against the Furies, declares that he himself obeyed the command of Zeus in directing Orestes to take vengeance on Clytaemnestra for the murder of Agamemnon, the Furies in reply twit him with this act of Zeus, |
πατρὸς προτιμᾷ Ζεὺς μόρον, τῷ σῷ OV" αὐτὸς δ᾽ ἔδηφε πατέρα πρεσβύτην Kpévor.
Apollo answers by saying that Zeus did not incur the irretrievable guilt of bloodshed.
170. ὦ conqueror, τριακτῆρος. Tptaxrnp, from τριάζειν, to throw thrice in a wrestling-match, which decided the victory.
171. shouting...Zeus the victor, Φῆνα---ἐπινίκια κλάζων, lit. ‘shouting victory-songs on Zeus,’ xAd{wy having the two accusatives of thing and
person. Mr Paley cites Aristoph. Ach, ut. τήνελλα καλλίνικον ἄδοντές σε καὶ τὸν ἀσκόν.
PARODOS.
and to the unwilling brings discretion ; such is the favour of the gods,
I ween, who on the sacred bench are seated.
And then the elder chief of ships Achaean, no blame on any prophet casting, conspiring with imperious fortunes,
what time the Achaean soldiery
with barrel-emptying stress of weather were sorely troubled, occupying
the site to Chalcis opposite
on tide-reciprocating shores of Aulis— When blasts that from the Strymon came, producing leisure mischievous, with famine, bad anchorages, wanderings of mortals, nor ships nor cables sparing,
time after lengthened time protracting,
were wasting with delay the flower of Argos—
when yet another remedy, ᾿ more grievous than the bitter wintry-wind, unto the chiefs the prophet shouted, before them casting Artemis, that with their sceptres the sons of Atreus smote upon the earth, and stifled not the tear— ’Twas thus the elder chief exclaim’d: ‘a heavy fate indeed is disobedience, and heavy too, if I my child shall slaughter, my mansion’s lovely darling, a father’s hands before the altar
178. drings: lit. comes.
67
189 (168) Ant. 2.
195
200 (185)
Ant, 3.
205
181. And then ἃς. So far, this Ode has contained a religious and moral digression affecting the crisis which the Chorus had reached at the close of the Pro-ode. In its second antistrophe the story of Agamemnon
is now continued.
189. from the Strymon, i.e. from the N.E., most unfavourable for the
voyage to Troy.
ἃ-2
68 AGAMEMNON.
with streaming gore of murdered maid polluting.
of these things, which is void of ill?
a fleet-deserter how can I become,
and fall away from my alliance? 210 (194) for lawfully may they desire
with rage outrageous
a sacrifice wind-calming, virgin blood.
may all be for the best!’
So, when the harness of necessity Str. 4. 215 he donned, an impious wind-change blowing,
impure, unholy, from that moment
he chose a new all-daring purpose.
for mortals, by its base monitions,
the wretched madness of first sin emboldens. 220 (202) and so he had the hardihood
to be a daughter’s sacrificer,
auxiliar to a woman-venging warfare,
and to the sailing ships
a rite inaugurating their departure. 225 Her prayers and invocations of her sire, Ant. 4. her maiden age, as nought they counted,
those war-enamoured arbitrators.
and, when the litany was ended,
the father told the priestly servants, 230 (209) as lay she prostrate with her robes about her,
with all their heart to lift her high,
prone, as a kid, above the altar,
ι
215. harness, λέπαδνον, lit. breast-rein.
216 (197). wind-change, rpowalay (αὔραν).
218 (199). μετέγνω. Μετὰ in composition often implies change. Μεταγιγνώσκειν is to adopta new opinion or purpose (γνώμη) which is de- scribed as τὸ παντότολμον φρονεῖν, the having an all-daring mind.
223 (203). auxtiar, ἀρωγάν, in apposition to the clause θυτὴρ γενέσθαι θυγατρός.
225 (104). a@ rite &c., προτέλεια, See 64.
PARODOS. 69
and, watching o’er her lovely mouth, to stile
with voiceless strength of gags 235 her shriek of execration on the houses. But, to the earth down-dropping Str. 5.
her saffron-tinctured veil, each sacrificer
she smote with piteous arrow from her eye,
as though ’twere in a picture, seeming 240 (219) desirous to address them: since full often
in the large-tabled guest-hall of her sire
she sang, and virgin with pure voice did honour
fondly to her fond father’s paean,
that ushered in 245 with happy fate the third libation. What next—I saw not, speak not: Ant. 5.
it was not unfulfill’d, the lore of Calchas. to them that suffer Justice doth incline the scale of learning: but the Future 250 (228)
234. If φυλακᾷ were read here, the construction would be simple. But Mr Paley, keeping φυλακάν, makes it the subj. of κατασχεῖν, that a watch &c. should restrain &c. This is possible: but, upon the whole, we consider φυλακὰν a contained accus. depending on κατασχεῖν, which also governs φθόγγον as object. This is rendered in effect by the English ver- sion, watching &c.
238. saffron-tinctured veil, The scholiasts say πέπλον, robe or mantle. Some believe κρόκου βαφὰς to mean d/ood, and use χέουσα as an argument. See Consp. L.
240. as...in-a picture. In a later age, the sacrifice of Iphigenia was the subject of a famous picture by Timanthes, who crowned his skill by hiding the face of Agamemnon. See the description by Lucretius.
242. ἀνδρῶνας, properly the men’s apartments, used here (with evrparé- gous) to imply the guest-hall which belonged to them.
243. aid honour, ἐτίμα, i.e. took part in. See rlovras, 657.
244—246. Mr Paley says: ‘‘ the σπονδὴ and the παιὰν were inseparable adjuncts of a banquet, and the αὐλητρὶς was seldom left out.” Probably the paean was sung at the third libation; hence it is called here τριτό- σπονδος, and as that libation was sacred to Ζεὺς Σωτήρ, it is also called εὐποτμος, hapfy-fated,
70 AGAMEMNON.
thou'lt hear when it is past; till then, farewell to’t:
tis quite as good as sorrowing ere the time;
for clear ’twill come with day-break: but of these things the issue be success! so wisheth
of Apia’s land 255 this nearest and sole-guarding bulwark.
EPEISODION I.
[ There ts some difficulty in accounting for the silence of Clytaemnestra when addressed in the anapaests of the Parodos 82—102. Some think that she had not left the palace at that time; others that she was on the proscenium at l, 82, but quitted it before 102 without staying to reply, which is perhaps the truer view. At all events she now comes forward to the logeion, and ts addressed by the Coryphacus in the words with which the First Epeisodion begins.)
CHORUS.
Thy power revering, Clytaemnestra, I am come:
for ’tis duf justice to respect a rulers wife
when the male throne is left without an occupant.
but, whether thou hast learnt some good, or, learning nought, in hope of happy tidings incense offerest, 261 (239) fain would I hear: yet shall thy silence not offend.
256. bulwark, ἕρκος. It is very doubtful whether this expression is applied by the Chorus to themselves as the Council of State or to Cly- taemnestra, who now appears on the proscenium. We lean to the latter view. On the various readings in this Ode (153, 157, 159, 167, 180, 190, 19t, 216, 228—9, 231—2 and others) see Comsp. L. and Notes on Lection.
257. In this Epeisodion, Clytaemnestra, replying to the questions of the Chorus, first describes the succession of beacons by which the news of the capture of Troy has been transmitted to Argos ; and then draws an imaginary picture of the condition of things in the captured city. Her con- cluding words, like those of the watchman, are designed by the poet to prepare the minds of the hearers for evil impending, which here is ascribed to the possibly aroused displeasure of the deities.
260. thou hast learnt, lit. having learnt, πεπυσμένη. The Chorus ask whether the incense is offered in thanksgiving or in supplication,
EPEISODION I. vi
CLYTAEMNESTRA, - With happy tidings, as the proverb ἐς, indeed may Morning from its mother Night arrive to birth! but thou wilt hear a joy too great for hearers hope; 265 the Argive ¢roops have taken Priam’s capital.
CHORUS. What sayest thou? the word is lost for lack of faith.
CLYTAEMNESTRA. That Troy belongs to the Achaeans:—speak I plain?
CHoRUus, Joy steals upon my sezses, calling forth a tear.
CLYTAEMNESTRA, ’Tis true: thine eye declares thy loyal sentiment. 270 (248)
CHORUS. What is’t thou trustest? hast thou proof of this event?
CLYTAEMNESTRA. I have: why should I not, unless a god deceived?
| CHORUS. Do phantoms seen in dreams convince thy reverent soul ?
CLYTAEMNESTRA. I would not earn the credit of a sleepy mind.
264- The name Εὐφρόνη (which stands to Νύξ in some such relation as Εὐμενίδες to "Epwies) suggests εὐαγγέλια.
271. This verse is usually printed as one question : what trustworthy proof &c.? Others place a first interrogation after yap; how then? hast thou &c.?2 Clytaemnestra’s reply suggests the punctuation in our text. ‘I have a τέκμαρ,᾽ she says, and ends her speech by saying τέκμαρ τοιοῦτον EvpBorov τε σοὶ λέγω 315 (291).
274. Most editors render this: 7 would not accept the fancy of a dozing mind. This is unobjectionable in itself, but the tone of the next lines leads us to prefer what appears in our version: J have no wish to be thought a
-dreamer of dreams. ᾿
72 AGAMEMNON.
CHORUS. Has then some wingless voice enriched thee with the news? 275
CLYTAEMNESTRA. My intellect, as some young girl’s, thou scornest sore.
CHORUS. Declare within what time the city has been sack’d.
CLYTAEMNESTRA, Within this night, I say, that bore the present dawn.
CHORUS, What messenger is he that could achieve such speed?
CLYTAEMNESTRA. Hephaestos, forth from Ida sending a bright light. 280 (258) and beacon ever hitherward from courier fire sent beacon: Ida first to the Hermaean cliff of Lemnos: from that isle the mighty faggot-blaze in order third the Athoan height of Zeus received, and thence the travelling torch’s strength, high-elevate 285 so as to skim the surface of the sea, lay full before the gladdened view, transmitting, like some sun, a golden-beaming blaze unto Makistus’ towers. nor did he, dallying, or by heedless sleep o’ercome, forego the duty that beseems a messenger: 290 (268)
275. wingless voice, ἄπτερος Parts, a voice conveyed to the mental ear by no bird, i.e. a kind of presentiment. On omens conveyed by the cry of birds see Soph. Oed. 7. 965, Antig. 1001, 1021.
277. within what time, ποίου χρόνου; The gen. has this force.
279. could achieve such speed? Some render, could arrive so soon?
280. Hephaestos, “Hpacros, the fire-god Vulcan. The succession of beacons is (1) M. Ida in the Troad: (2) M. Hermaeus in Lemnos, west- ward : (3) M. Athos on the peninsula Acte, westward: (4) M. Makistus in Euboea, southward: (5) M. Messapius in Boeotia, south of west: (6) M. Cithaeron in Boeotia, south of west: (7) M. Aegiplanctus in Megaris, west of south: (8) M. Arachnaeus in Argolis, west of south: (9) the palace-roof at Argos, westward.
EPEISODION I. 73
Dut -to Euripus’ streams far flies the beacon flame,
and makes its signal to Messapius’ sentinels.
they, answering blaze with blaze, the tidings forwarded
by lighting up with fire a pile of aged heath.
sO in its vigour still the torch, not yet bedimmed, 295 across the plain of the Asopus took its leap,
like the bight moon, unto Cithaeron’s cliff, and there awoke another new relay of missive flame.
nor did that watch-post disallow the far-sent light,
kindling a larger blaze than any named before. 300 (278) forthwith beyond the lake Gorgopis shot the light,
and coming to its point on Aegiplanctus’ mount
it urged an increase of the stablished fire-supply,
so, lighting up with stintless energy, they send
a mighty beard of flame, tand one possessing strength 305 so masterful ast with its onward-rushing blaze
the very headland to surmount that overlooks
the gulf Saronic: then it shot, until it reach’d
mount Arachnaeus, .city-neighbouring beacon-site:
and last unto this roof of the Atreidae shoots 310 (287) this light, not undescended from Idaean fire. | such are the well-adapted laws of torch-bearers,
from one to other in succession dze fulfilled.
and the first winneth, though ’tis hindmost in the race.
312. laws of torch-bearers. The arrangements of the famous torch- race at Athens present some difficulties. We know two things, (1) that the winner must reach the goal with his torch alight: (2) that racers handed over their lighted torches to other racers under some law of succession, as here διαδοχαῖς, and in Lucretius, et quasi cursores, vitai lampada tradunt. The contending tribes, therefore, must have provided at least two runners each; the second of whom should receive the lighted torch from the first, perhaps to carry it back to the starting place, if the course was like that of the δίαυλος δρόμος. Or there might be several successive runners on parallel straight courses divided at equal intervals.
314 (290). and the first winneth, though’tis hindmostin the race. This, we doubt not, means that the beacon of Ida, which looks down on the captured city, is on that account the winner. The victory is there.
"4 AGAMEMNON.
such is to you the proof and token that I tell, 315 a message by my husband sent from Troy to me.
CHORUS.
The gods hereafter, lady, shall receive my prayers. but for this tale—I fain would hear again, and crown my wonder, how thou'lt tell it to the very close.
CLYTAEMNESTRA.
The Achaeans are the occupants of Troy this day. a noise unmixed, I ween, is in the city heard. 321 (298) should you pour vinegar and oil within one rim, a variant you would call them, not a friendly pair. so of the captives and the capturers distinct the voices may be heard, a two-fold circumstance. 325 . for on the one side they around the corpses flung prostrate of husband or of brethren, children some of aged parents, from a throat no longer free the destiny bewail of these their dearest ones. the others night-fatigue ensuing upon fight 33° (307) sets famished down to breakfasts of whate’er the town contains, no token placing them in order due, but just as every man hath drawn the lot of chance. within the captured habitations now of Troy they’re dwelling, from the chilly frosts of open sky 335 and from the dews delivered: thus divinely blest they'll slumber all the night without a sentinel. and, if they worship well the city-keeping gods, those of the taken land, and shrines of deities, — they, captors, will not be made captive in their turn. 340 (317) but let no prior lust prevail upon the host to plunder what they ought not, overcome by greed: for to their homes they must obtain a safe return, to round the second member of the double-race. and, if the army come obnoxious to the gods, 345 the sufferings of the slain may ‘hen be wakened up,
EPEISODION I. 75
e’en if there happen /o ¢hem no immediate ills.
from me, a woman as J am, such thoughts you hear.
but may the good prevail in no divided shape ;
for the delight of many blessings is my choice. 350 (327)
CHORUS. Sagely thou speakest, lady, like a prudent man; but, after hearing from thy mouth the trusty signs, I κοῦ prepare me duly to address the gods. for joy is wrought of worth equivalent to toils.
STASIMON 1.
I. Anapaests.
O Zeus the king, O night the friendly, 355
354. On the readings in Epeisodion 1. (265, 281, 283—s, 313, and others) see Comsp. Lect. and Notes on Lection.
355. Stas. 1. Inthe Anapaests introducing this Stasimon, the Chorus praises Zeus, who, by the event of the past night, has executed the retribu- tion long prepared against Troy and its people for the guilt of Paris. The Ode begins with reasserting the same truth. Impious is the man who says the gods are indifferent to the conduct of mankind. A sinner’s family feel the consequences, when the license of wealth tempts him to guilt. Sinless contentment is true wisdom: for wealth cannot protect the criminal who spurns the altar of justice. He is driven on by mad lust to irretrievable crime and final ruin, which a god inflicts. Such an one was Paris, when he stole Helen from her home. She went, leaving war to her people, and carrying destruction to Troy, while the Achaean prophets deplored the affliction of the deserted and inconsolable husband. This is beautifully depicted in the second strophe and antistrophe. Next are described the miseries arising from war to the Grecian multitudes. Their friends are slain in battle; if they return home at all it is only in the shape of dust within their funereal urns. Hence the leaders of the war, the sons of Atreus, incur popular odium, and the Erinyes exact vengeance for the blood of the slain. Happy they who are exempt from the evils of war, either as con- querors or as conquered. Inthe Epode the Chorus expresses some doubt as to the certainty of the news. A woman, they say, is liable to believe too readily all tidings of a gratifying kind.
76 AGAMEMNON.
of mighty glories winner,
who flungest on the Trojan fortress
a net so closely meshed
that neither one full-grown
nor any child might overreach
slavery’s vast snare of all-subduing ruin! great Zeus I venerate, of guest-law guardian, who wrought these ¢ssues, long since bending his bow on Alexander in such wise
that nor before the seasonable moment,
nor yet above the stars
might shoot, without effect, his arrow.
2. Ode.
The stroke of Zeus they have: this ¢ruth to tell is easy, and to trace it out.
they fared as he decreed. there was who said that gods disdain to take regard of mortals by whom the grace of things inviolable
is trodden down: but impious he.
’tis shown to the descendants
of such as, daring what may not be dared, breathe Ares with more might than justice, their houses overflowing
beyond the measure that is good.
best ’tis not, no, nor free from wrong,
that it can be sufficing
to one of prudent temper.
for what defence are riches to a man,
359 (336)
Str. 1.
37° (347)
375
380 (356)
366. above the stars, ὑπὲρ ἄστρων, i.e. beside the mark, seemingly a
proverbial phrase.
376. breathe Ares,"Apn πνεόντων, i.e. are inspired with the daring and
violent temper ascribed to the influence of the Wargod Ares.
382. jor what defence ἃς. Whether the emendation of the text here adopted be exact or not, the sense of the passage is correctly represented in
STASIMON Δ 77
who insolently spurneth out of sight
the mighty altar-throne of Justice ὃ
The wretched suasive impulse drives him on, Avé. 1. 385 fore-counselling, resistless child
of fatuous sin: all remedy is vain.
the mischief is not hidden; plain it showeth,
a light of baleful gleam: like ill-mixed copper
if rubbing is applied, the man 390 (365) black-grainéd is, when tested ;
since, boy-like, ‘he pursues a flying bird,
insufferable tribulation
upon his city bringing:
and to his prayers no god gives ear, . 395 but overthrows the unrighteous man
with things like these familiar.
and such an one was Paris,
what time unto the home of Atreus’ sons
he came, and by the stealing of a wife 4ce (374) the hospitable board polluted. Then, leaving to the citizens Str. 2.
shields clashing, spearmen, sailors arming, to Ilion taking ruin for a dower, tof cities twain one migrant curse,t
the Greek and in the translation. 70. spurn the altar of justice out of sight means (as Mr Paley says) ‘to get rid of all distinction between right and Wrong.’
386. fore-counselling, resistless child of fatuous sin, προβουλόπαις ἄφερτος dras. Some render προβ. ‘devising beforehand woe for children :’ in which latter sense (says Pal.) ‘‘ the doctrine will be that the consequences of crime descend to generations unborn: while in the former sense, which is to be preferred, arn is said τίκτειν and to have a child we@w,” see yoo. Karst., Weil., Dav., read πρόβουλος, παῖς, which Mr Paley does not disapprove.
391. black-grained, μελαμπαγής. ‘Bronze, when composed of a due proportion of copper and tin, has a green rust (aerugo), and becomes bright by friction; whereas, if mixed with zinc, it turns quite black externally, and is liable to become dim and speckled, after being polished.” Paley,
404, 2. Verg. Aen. 11. §73. Troiae et patriae communis Erinys.
78 AGAMEMNON.
swiftly through the gates she’s gone, daring a thing undareable ;
and thus with many a groan they spake, the prophets of the dwelling:
“alas! alas!
Ο palace, palace, and ye chiefs!
alas, o bed and all ye traces
of husband-loving &indness /
silent in his dishonour, unupbraiding
he standeth, all that once was sweetest gone: and in his longing for ¢he wife o’er sea
a phantom shall appear to rule the palace. the gracefulness of fine-formed statues
is held in detestation,
and for the husband, in the want of eyes, all loveliness hath perished.
And pensive fancies dream-displayed arrive, presenting vain enjoyment.
for vainly—when one seems to look on bliss thy sweet dreams visited in sleept— swiftly-sliding through the hands
’tis gone, the vision—afterward
attendant with its wings no more
upon the paths of slumber.”
and such indeed
are they, the sorrows that are felt
beside the palace-hearth and others
yet more than these afflictive.
but for the masses—them that sailed together
405
410 (381)
415
422 (389) Ant, 2:
425
430 (396)
413. silent &c. In attempting to correct a passage so corrupt as this, no scholar would venture to suppose he was restoring the exact words of the poet. We have been guided, in great measure, by our opinion of the sense
which the place requires. 419. ἔπ the want of eyes, ὀφθαλμῶν ἐν dxnvias. our opinion as to the interpretation of this phrase.
We have changed
STASIMON I. 79
from forth the land of Hellas—in the home
of every one heart-aching grief is seen.
yea, many are the things that touch the heart-core : 435 some doth a /riend full well remember
he sent erewhile zo dattle,
but to the home of each, instead of men,
come urns and ashes only.
The War-god, who for gold exchangeth bodies, 440 (405) .527. 3. and holds the scales in combat of the spear,
burnt dust for friends to mourn with heavy tears
from Ilion sendeth, freighting
the jars, in place of men, with well-stowed ashes.
so they bemoan their heroes, praising each: 445 this one, for being skilled in wartare,
and that, for having nobly fall’n
in bloodshed through another’s wife.
such is their secret fretting ;
and grudging grief steals silent on 450 (415) against the wrong-redressing sons of Atreus.
but others on the spot, around the fortress,
in their own forms hold tombs of Ilian land,
yet, holding, by the foeman’s soil are hidden.
The talk of spiteful citizens is noisome, 455 Ant. 3. and worketh as a people-sanctioned curse.
my care expects some night-wrapt thing to hear:
for of the many-slaying
451. wrong-redressing, προδίκοις, plaintiffs or champions in a suit (δίκη); i.e. principals and leaders in the Trojan war, a war of vengeance for wrong.
453. tn thetr own forms, εὔμορφοι incodd. The word certainly stands in contradistinction to the burnt ashes of other slain; hence we suspect that Aesch. wrote ἔμμορφοι, in their own forms, i.e. unburnt.
456. people-sanctioned curse, Snuoxpdvrov dpas. Mr Paley says: ‘‘the custom of execrating the public enemies of the Athenians in their assemblies is well known, Demost. 270 οὐχ ὧν ἔτυχεν ἦν, ἀλλ᾽ ols ὁ δῆμος κα- ταρᾶται.᾽;
8ο AGAMEMNON.
the deities are never unobservant, ΝΝ and in due time the black Erinyes 460 (424) one who was lucky without justice
by luck-reversing brunt of life
make dark, and when among the unknown
he lies, no succour waits him.
renown o’er-great is perilous: 465 for by the eyes of Zeus a bolt is darted.
my choice is happiness devoid of envy :
neither a city-sacker may I be,
nor see the light of life, to others captive.
By the good tidings of the fire Epode. 47° (435) a quick report has travelled through the city.
who knows if truly Zod,
or if it be some fallacy divine?
yet who so childish or so shorn of sense,
as, by the new-sent beacon-message 475 inflamed in heart, through variant news
to be dejected afterward ἢ
it suits a woman’s ¢ager mind
before the evident assurance
to welcome a delight. 450 (444) the feminine decision on its march |
too credulously trustful
466, ὃν the eyes of Zeus, docs διόθεν. So we render with Mr Paley. Others make ὄσσοις τ against the eyes (of the many-slaying).
478. eager mind, αἰχμᾷς Of this word Mr Paley says on Prom. 412, ‘In Aesch. it appears to signify zzdoles, from ἀΐσσω, like θυμὸς from θύω, in both the notion of impulse prevailing, according to the natural temperament of the Greeks.’
48t—3. Our old version followed Donaldson, who shews (New Creat. § 174) that ἐπινέμομαι can be used passively. But this use seems excluded here by ταχύπορος, which suits the deponent sense encroaching (by an in- © vading army or epidemic) but not the passive, encroached on. ‘The female limit’ is a metaphor, implying ‘the sentiment determining the mind of woman.
EPEISODION ἢ. Sr
goes swiftly; but swift-fated too a woman-bruited glory perisheth.
EPEISODION II.
CHORUS.
Soon shall we know the things by torches carrying light 485 transmitted, and by beacon-watches and by fire,
whether indeed they’re true, or whether dream-like came this blaze, and with its pleasantness beguiled our minds. yon herald I behold approaching from the shore
with olive-boughs o’ershaded, while the thirsty dust, 490 (454) brother of mud, and closely bordering, attests
484. For the emendations in this ch.ode (which corruption in some parts renders necessary, as in 346, 355— 363, 383—4, 388—9, 397—8, 402, 427, and others) and on the additions suggested after 376, 392, see Οὐ. Lect. and Notes on Lection.
483. In this Epeisodion the Chorus notices the arrival of the herald Talthybius, who, on entering, salutes his native city, its deities, edifices and statues. He notifies the approaching return of Agamemnon, and extols the greatness of his victory. A conversation (στιχομνυθία, line for line) ensues between him and the Chorus, in which they hint the disquietude of feeling in Argos. The herald then recounts the sufferings of the army at Troy during the war, which are now compensated by brilliant results, for which thanksgivings are due to the gods. Clytaemnestra then approaches and claims credit for the confidence she placed in the beacon-message. She sends a hypocritical greeting to Agamemnon, declaring her own fidelity during his absence: and then probably retires. The Chorus enquire about Menelaus. In his replies, Talthybius is obliged to confess that the _ Grecian fleet has been shattered and dispersed by a storm, and that the ship of Menelaus has disappeared. He speaks, however, with confident hope of his safe return ere long; and now goes into the palace.
489. from the shore. The herald comes in therefore by the entrance of the stage to the left of the spectators.
490. the thirsty dust, brother of mud, and closely bordering &c. A strange mode of intimating that the herald’s boots &c. are covered with mud, and his other garments with dust,
K. A. G
82 AGAMEMNON.
that neither mute, nor lighting flame of mountain wood, will he give signal unto thee by smoke of fire;
but rather, he will either speak and utter joy,
or—but the word opposed to this my soul abhors: 495 for to the good displayed be each addition good!
who for this city offers prayer of other kind,
be his, himself to reap the error of his heart,
HERALD.
O thou paternal threshold of the Argive land,
to thee in this tenth yearly sunlight I am come, 500 (463) now, after many hopes were wreck’d, of one possess’d.
for ne’er was I expecting in this Argive land |
to be in death the sharer of a bless¢d tomb.
now do I give thee greeting, land, now, sunlight, thee,
and Zeus the country’s highest, and the Pythian king, 505 no longer aiming arrows at us with his bow.
enough upon Scamander’s banks wast thou unkind;
in other mood a saviour now and healer be,
o king Apollo; and the gods address I all
o’er games presiding: Hermes too, my champion, 510 (473) dear herald, and by heralds all a name revered,
and heroes who despatch’d us, that in kindliness
they will receive the host surviving from the war.
o thou the dwelling of our kings, belovéd roof,
and holy seats, and ye, sun-facing deities, 515 if e’er of old, with these your eyes of happy cheer
in order due receive ye the long absent king.
for, bringing light in darkness equally to you
and to all present here, king Agamemnon’s come.
salute him duly then, for so it well beseems, 520 (483) since with the spade of justice-righting Zeus—whereby
the champaign hath been tilled—he has uprooted Troy.
the altars are extinct, and shrines of deities, ᾿
EPEISODION IL. 83
and perisheth at once the seed of all the land. on Troy’s meck has he thrown such yoke, and now he’s come— - the royal elder-son of Atreus, happy man; 526 and worthiest to be honoured of all mortals he
that live: for neither Paris nor his citizens
can boast their doing greater than their suffering.
for, worsted in a suit of rapine and of theft, 53° (493) he lost his ravished pledge, and mowed unto the ground his father’s house in utter ruin, land and all.
doubly did Priam’s children pay the price of sin.
CHORUS. Joy to thee, herald of the Achaeans from the host.
HERALD. I do rejoice: now may the gods decree my death. 535
CHORUS. Desire of this thy fatherland hath harassed thee?
HERALD. Ay, so that tears are in mine eyes from this delight.
CHORUS. Then ye too were infected with that sweet disease.
HERALD. How so? by teaching I shall master this thy speech, -
5628. συντελὴς πόλις seems to mean no more than éhe city to which he belonged, i.e. his fellow-citizens.
531. vavished pledge, ῥύσιον, what is violently taken, properly as a pledge, to be restored on conditions. Here it can only meana dooty wrong- fully taken, i.e. Helen and her wealth.
mowed, ἔθρισεν for ἐθέρισεν from θερίζω.
534. from the host, τῶν ἀπὸ στρατοῦ, an extremely daring ‘ praegnans locutio,’ for τῶν ἐν στρατῷ, αὐτὸς ἀπὸ στρατοῦ μολών.
535. mow may the gods &c. τεθνᾶναι δ᾽ οὐκέτ᾽ ayrepw θεοῖς, a bold expression, incapable of literal rendering in a few words; ‘(as to) dying, I will no longer debate against it with the gods,’
6...»
84 . AGAMEMNON.
CHORUS. Smitten with love of those who answered you with love. HERALD. This land, you mean, was longing for the longing host. 541 (504) CHORUS. Yea! so that oft 1 groaned aloud in gloom of heart. HERALD, Whence came that sullen gloom upon the citizens? - CHORUS. Silence 1 long have held an antidote to harm, HERALD, _ How? were there any that you feared, the kings away? 545 CHORUS. _As you were saying, e’en to die were great delight. HERALD,
Yes, we have been successful: but in lengthened time
of these things one may say some fell out happily,
while others were not free from fault; but who, save gods, is unafflicted through a whole eternity? 550 (513) our labours were we to recite, and lodgings vile,
aur scanty spaces, poorly strawn—when were we nat groaning and shouting any fraction of a day?
then to our land-life even more disgust attached :
543. πο» the citizens, πόλει, aS we read here for στρατῷ (codd.), which we regard as a senseless gloss.
547. What moved Aesch. to assign to the herald a style so disjointed as we find in some places? Perhaps the heraldic office, sacrosanct as it was, had, like that of modern beadles and town-cryers, a comic side in popular regard: and, while it was the function of heralds to recite grand words put inta their mouths by authority, they were not supposed ta he fluent expaunders of their own thoughts,
552. spaces, παρήξεις, which, Mr Paley says, ‘seem to mean the narrow passages along the deck between the rowers.’
553. Shouting, λάφκοντες, our conjecture for the unmeaning λαχόντες.
EPEISODION I. 85
for near the foemen’s fortress-walls our couches lay, 555 and rains from heaven, and meadow-dews ¢haf rose from earth, were drenching us, a constant mischief of our clothes,
our hair like that of wild-beasts making: and if one
should tell the tale of bird-destroying winter-time,
like that which Ida’s snow made unendurable, _—§60 (523) or heat, what time upon the windless couch of noon
the sea without a billow sank and went to sleep—
these things what boots it to lament? ’tis past and gone, the labour; first for those who’ve died ’tis past and gone, so that they will not care to come to life anew. 565 why need one make a calculation of the slain?
why should the living grieve for adverse fortune’s chance? tof these things I suggest to take no further thought t,
and to misfortunes I commend a long farewell.
but to ourselves, survivors of the Argive host,
gain hath the vantage, loss presents no counterpoise, 570 (533) and fitly to this present sunlight may we boast,
while over sea and over land our flight we take:
‘‘Troy having captured now at last, the Argive host
these spoils unto the gods that are adored in Greece
nailed in their temples, fo remain an antique joy.” 575 our city and its captains ought you to extol,
such actions hearing, and the grace of Zeus that wrought these things shall have its honour. All my words are said.
556. rains, understood from δρόσοι by zeugma.
566. makea calculation, ἐν ψήφῳ λέγειν, lit. to tell on the pebble (cal- culus), i.e. by counters.
567. After this line, before καὶ, it is evident that a verse is lost.
574. adored ¢z Greece. On their way home, and after their return, the several chiefs would dedicate spoils to the gods with inscriptions of this nature. Probably Virgil, a student of the Greek drama, had this passage in view when he makes Aeneas dedicate Grecian spoils at Actium with the inscription, ‘ Aeneas haec de Danais victoribus arma,’ Aen. 111. 288.
86 AGAMEMNON.
CHORUS.
Defeat by force of argument I do not grudge:
for useful learning to the old is ever young. 580 (543) but justly for this house and Clytaemnestra chief
these things have interest, and impart to me their joy.
CLYTAEMNESTRA.
Long since indeed I shouted loud a joyous cry,
when the first nightly messenger of fire arrived,
telling of Ilion’s capture and its ruined fate, 585 and some one spake and censured me :—‘relying then
on beacon-watchers, now thou deemest Troy 15 sacked? how like a woman, to be thus elate of heart!’
such language clearly meant that I was led astray:
yet sacrifice I rendered, and in female strain 590 (553) one here, one there, a shout of joy the city through
with pious words uplifted, while they lulled to rest
in shrines of gods the incense-preying odorous flame.
and now why needest thou prolong to me thy tale?
from the king’s self I shall obtain a full account. 595 but I will haste with every honour possible
to greet my venerated lord on his return:
579. defeat 7 do not grudge, νικώμενος οὐκ ἀναίνομαι, The latter verb, like αἰσχύνομαι, has various constructions, the participle, as here, being one.
582. and impart to me their joy; lit. ‘‘ and (it is fit) that along with them (ξὺν) they (ταῦτα) should enrich (=gladden) me.” Such is Klausen’s view of the construction, which seems correct. .
583. tere Clytaemnestra advances to the λογεῖον and takes part in the dialogue.
590. in female strain, γυναικείῳ νόμῳ. The ὀλολυγμὸς was mostly the cry of women, but men might take part in it.
592. ἐπείρα to rest, i.e. extinguished by pouring wine on them, as Mr Paley says, though nothing is known of the custom.
595. from the king’s self &c. Thus again the poet escapes tedious repetition, giving the first touch of that hypocrisy which the queen carries on to the full in the next lines. On these see Votes on Lection.
EPEISODION I. 87
for what light can a woman see more sweet than this, when heaven has brought her husband safe from his campaign, the gates to open? take this message to my lord: 600 (563) say to the city he is come supremely dear,
tseeing that first of all in Argos he will find
a people} faithful when he comes, at home a wife
such as he left her, watch-dog of his royal house,
gentle to him, a foe to such as wish him ill,
and in all other points alike, no sacred seal 625 having in this long interval of time disturbed.
pleasure from other man, nay, scandalous report
I know no more of than the art of dyeing brass.
such is my boast, and, laden to the full with truth,
no shameful one for any noble lady’s mouth, 610 (573)
CHORUS,
To you, a learner, thus indeed she makes her speech,
to those who thoroughly interpret, speciously.
but, herald, say—of Menelaus ’tis I ask—
if on his homeward voyage safe returning back
he will arrive with you, this country’s much-loved lord. 615
HERALD,
I could not possibly by speech make false news good, that friends should reap the joy for long-continued time.
608. the art of dyeing brass, χαλκοῦ βαφάς. This seems to bea pru- verbial expression for unattainable knowledge.
611—12. These words are studiously obscure, for the Chorus could not tell the herald plainly that Clyt. was not speaking truly.
616—17. J could not possibly, οὐκ ἔσθ᾽ ὅπως λέξαιμι. Mr Paley cites appositely: οὐκ ἔστιν ὅτῳ μείζονα μοῖραν νείμαιμ᾽ ἤ σοι Prom. 299. οὐκ ἔστιν ὅστις πλὴν ἐμοῦ κείραιτό νιν, Cho, τόᾳ. Peile justly ascribes this idiom of the opt. to ‘indefinite generality,’ and Mr Paley with equal justice observes that this character especially belongs to negative propositions.
The constructions τὰ ψευδῆ καλὰ in 616 and κεδνὰ ταληθῆ in 618 claim particular attention. Here we think Mr Paley mistaken when he says
88 AGAMEMNON.
CHORUS.
How much I wish your speech could make true tidings good. but these things severed are not easily concealed.
HERALD.
The chief hath disappear’d from the Achaean fleet, 620 (583) his vessel and himself; I tell you no untruth.
CHORUS.
Had he set sail from Ilion in your sight, or did a storm, a common trouble, snatch him from the host?
HERALD.
E’en as a first-rate archer, you have hit the mark, and of a long woe given a concise report. 625
CHORUS.
Was it as living or as dead there went about a rumour of him by the other mariners?
HERALD.
None knoweth so as clearly to declare the fact save him—the Sun—that nourisheth the growths of earth.
‘*there is no grammatical objection to taking κεδνὰ τὰ GAnOn=Kadd τὰ μὴ ψευδῆ (ὄντα), opposed to τὰ ψευδῆ καλὰ preceding (which he has rendered ‘good news which is false’): ‘would then you could tell us good news which is true.’”” We admit that τὰ ψευδῆ καλὰ 15 capable of being rendered ‘ false good-news,’ treating καλὰ as a subst. and yevd7 as its attribute: and if 1. 618 did not follow (with κεδνὰ τἀληθῆ), we might well be satisfied with that rendering. But the parallel of κεδνὰ τἀληθῆ is a trait of light, proving at once that καλὰ is not to be treated as the subst. The subst. is ra ψευδῆ, opposed to τἀληθῆ, and καλὰ =xedvd, each being predicative in position and adverbial (or proleptic) in sense. We disapprove also the view taken of 618 by Herm. Pei. Well. πῶς δῆτ᾽ ἄν, εἰπὼν xedvd, τἀληθὴ τύχοις (εἰπών). Our view is, 616 οὐκ ἔσθ' ὅπως λέξαιμι τὰ ψευδῆ (ὡς ὄντα) καλά, ‘I could not speak false news (as) good’ (which is equivalent to ‘false good news’): 618 πώς Snr’ dy τύχοις εἰπὼν τἀληθῆ (ws ὄντα) κεδνά; how I wish you could succeed in speaking true news (as) good’ (equivalent to ‘true good news’).
EPEISODION 17}. 89
CHORUS.
Will you then tell me, to the naval host how came 63> (593) a storm by rancour of the gods, and ended how?
HERALD.
A day for words well-omened it beseemeth not
to desecrate by tongue that telleth evil news:
divided is the honour of the deities, .
but when a sad-faced messenger to any town 635 brings of a smitten host abhorr’d calamities—
saying that one, the public wound, hath struck the state, while many men from many a home are victims gone devoted by the two-thong’d scourge, that Ares loves,—
a double-speartd curse, a bloody pair of ills;— 640 (602) when one is laden with a heap of woes like these, | tis fit to sing this paean of the Ennyes.
but when a joyful bearer of victorious news
has reach’d a city gladdened with felicity—
how shall I mingle good with ill, the while I tell 645 the Achaeans’ storm not unarous’d by wrath of gods?
for Fire and Sea, the greatest enemies before,
conspired together, and showed pledges of their faith
by the destruction of the hapless Argive host.
ills of a billowy sea had risen in the night, 650 (612) for Thracian storm-blasts still against each other crushed the vessels, and they, butted with this violence
by furious hurricane and rush of beating rain,
had gone, by evil shepherd driven, out of view.
but, when the sun’s bright light returned, the Aegean deep 655 we see with corpses blooming of Achaean men,
and naval wrecks: ourselves however and our ship,
637. the public, τὸ δήμιον. Aesch. here dwells on the distinction of public and private calamities. In a former passage (396 τὼ μὲν κατ᾽ οἴκους ...70 way δὲ &c.) he had compared those of the great families and the popular masses.
90 AGAMEMNON.
an unscathed hull, did some one stealthily withdraw,
or beg us off, some god, not man, that grasp’d the helm. and saviour Fortune on the ship perch’d willingly: 660 (623) that neither did we feel the beating of the surge
at anchor, nor were stranded on a rock-bound coast,
but after we had thus escaped a watery grave,
in the white daylight, little confident of fate,
we in our thoughts were brooding o’er the late mishap 665 of our afflicted and unkindly shattered fleet.
and now if any one of them is breathing still,
they speak of us as having perish’d: for why not?
and we imagine them to suffer the same fate.
but may things issue for the best! yea, first of all 670 (633) and chief, expect that Menelaus will arrive.
at least if any sunbeam knoweth aught of him
living and seeing light by the design of Zeus,
whose will it is not yet to extirpate the race,
some hope there 15 that he will reach his home again. 675 so much you’ve heard, and be assured you hear the truth.
STASIMON II,
CHORUS,
1. Ode. Who was it that with truth so perfect—~ Str. 1.
676. On thecorrections in Epeisodion 1. (506, §16, 564—s) and on the proposed additions after 530, 564 see Consp. Lect. and Notes on Lection.
677. As Stasimon I. depicted the character and crime of Paris with its causes, its circumstances and fatal consequences, so Stasimon 11. deals with the same general subject, the elopement, but with special reference to the character and the sin of Helen. The Chorus begin by saying that she is justly called ‘EXévy (the capturer, from ἑλεῖν), seeing that through her were captured ships and men and a city. Her marriage with Paris marred the city of Priam and the lives of its citizens. As a young lion reared in a house, tame and gentle at first, becomes afterwards ravenous and blood-
STASIMON 1. ΟἹ
was it not one we do not see,
with thoughts forecasting destiny
the tongue directing happily p— 689 (642) gave name to her, the war-bride, the debated,
the captivating Helen?
since verily ship-captivating,
men-captivating, city-captivating,
from forth her richly-sumptuous curtains 635 she with the breeze of land-born Zephyr sailcd,
and many shield-accoutred huntsmen
were on the track of those
who brought to land the disappearing oar
upon the coast of Simois leaf-bestrown, 69° (651) for her, the cause of bloody strife. But wrath accomplishing its purpose Ant. τ.
on Ilion a marriage forced of name too true, in after time exacting vengeance for the scorn 695
thirsty, such was Helen at Troy, lovely and charming when she came, at ‘the last ἃ curse and a destroying fury. The ode concludes with moral re- flections probably suggested by the chequered character and fortunes of the race of Pelops. Excessive wealth, it is said, results in woe: but the Chorus deems it more important to observe that one crime is wont to produce another: insolence grows out of insolence, and engenders arrogance and audacity. Justice abhors the mansions of vicious wealth, and loves to dwell with the pious poor. .
682. the captivating Helen. The epithet ‘captivating’ (not in the Greek) is introduced to favour the rendering of the adjectives drawn from the name Ἑλένη. Our learned and jngenious friend Miss Swanwick, in her able translation, has employed the same artifice: ‘ Helen, the captor.’ A play upon names and words is adopted often by the tragic poets : Alas in Soph. 4/., Πενθεὺς in Eurip. Bacch. (also in Theocritus) are among the instances. In this drama we find κῆδος ὀρθώννυμον 653; ᾿Απόλλων ἐμός, ἀπώλεσας yap τοῖ!.
688. before.xar’ ἴχνος und, ἔπλευσαν.
693. κῆδος has two meanings, (1) affinity by marriage, (2) woe.
92 AGAMEMNON.
done to the table and to Zeus hearth-sharing, from them that honoured loudly
the spousal-celebrating music,
that novel hymen, which for bridesmen
the moment then was drawing on to sing. but, learning a new dirgeful hymn,
Priam’s old town, I ween,
with groanings loud its Paris ill-wived calls, yea, having first a dirgeful life endured
for the sad blood of citizens.
E’en so some man hath nourished in his house reft of its mother’s milk
yet udder-loving οὐ), a lion’s cub,
in life’s primeval season
tame, unto the children kindly,
and to the aged an amusement.
so in the arms it oft was carried,
like to a new-rear’d infant child,
smiling upon the hand, and fawning
in stress of appetite.
But in the course of time the character from parent stock derived
it showed ; for paying fees to nurturers
by truculent sheep-slaughter,
It procured a feast unbidden;
and αὐ the house with blood was spattered, indomitable grief to servants,
a many-slaying mischief huge.
and thus ’twas bred within the mansion
700 (659)
795 Str. 2.
710 (669)
715 Ant. 2.
720 (676)
699. We have, with some boldness, ventured to read νέον ὑμέν᾽ for ὑμέναιον, in order to lengthen the final syllable in τίοντας, to which corre- sponds πρεπόντως ἴῃ the strophe. The words ὑμὴν and ὑμέναιος are equally good for the song and for the deity; and the quantity of ὑ (in the former at least) is ‘doubtful,’ Ὑμὴν ὦ Ὑμέναιε, The epithet νέον is suitable to a
second wedding. Some may prefer ὕμνον to vuér’.
STASTIMON TL.
a priest of bale divine.
These things resembling I should say there came to Ilion’s city
a temper of unruffled calm,
a gentle ornament of wealth,
a softly-darted eye-glance,
a flower of love heart-stinging.
but swerving ‘from such state she wrought a bitter end of marriage,
-sent forth to be for Priam’s race ill-seated, ill-associated,
by mission of the guestlaw-guarding Zeus a bride-deplored Erinys.
From ancient lore among mankind
is framed an aged maxim:
that, grown to fulness, a man’s weal:h begets, and does not childless die; ᾿ but from good fortune sprouteth
woe to the race, unsated.
but I from others differing
am lone in my opinion.
an impious deed engenders more succeeding, and their stock resemblinz: but righteous families at all times have a happy fate in children.
And Insolence when old is wont to bear a youthful Insolence
in evil men displayed at this or that time whene’er the destined season comes. the young one genders Arrogance,
and that uncombated, unwarr’d, unholy fiend Audacity,
black curses both for dwellings, like their parents. But Justice shines in houses dark with smoke,
and honours virtuous life;
93
725 Str. 3.
732 (683)
735
Ant. 3.
740 (689)
745
Sir, 4. 750 (698)
755
Ant. 4.
94 AGAMEMNON.
while gold-bespangled seats, where hands are filthy, 769 (706) she leaveth with averted eyes,
and unto pious homes repairs,
revering not the power of wealth
with spurious commendation stamp’d :
and each thing to its proper end she guideth. 765
[AZ the close of this ode, Agamemnon and his suite enter the orchestra through the Parodos on the left of the spectators. He ts seated on a mule-car, in which is also his prisoner Cassandra. The car approaches the steps which on that side connect the orchestra with the proscenium ; and the coryphaeus then addresses the king in the anapaests which follow.]
2. Anapaests.
Now tell me, king, Troy’s sacker, son of Atreus,
how I am to address thee, how revere thee,
not overstepping nor yet resting short of
the proper line of salutation?
for many, after violating justice, 770 (716) prize more the seeming than the being:
and every one is prompt to give the ill-fated
a groan of pity: but the sting of sorrow
in no case penetrateth to the heart-core:
*66. These Anapaests introduce the Third Epeisodion, and might almost be said to form a part of it. The Chorus march on their platform towards the left-hand Parodos to greet the king and his train. In welcom- ing him they express a fear lest they should say too much in the way of flattery, or too little in the direction of joyful commendation. The pros- perous have many insincere flatterers: but ἃ good judge of character will distinguish the true from the false. They own that their feeling was once unfavourable to Agam., when he led so many forth to die, and sought to embolden them by acruel sacrifice. Now, as all’s well that ends well, they congratulate sincerely. In time (they add by way of warning) the king will learn to discriminate wisely between loyal citizens and dangerous persons.
766. Now tell me, λέγε δή, a reading which we adopt in preference to the vulgate ἄγε δή. The corruptions in these Anapaests seem to be numerous,
769. proper line, καιρόν, lit. season; i,e. just medium.
LPEZISODION Lf. 95
and to the semblance of congratulators 775 - suiting themselves by straining smileless faces,
tthey cheat the undiscerning. ἢ
but whoso is a clever judge of cattle,
from such a person’s eyes can ne’er be hidden
the natures that with water-mingled friendship
appear to fawn in loyalty of spirit. 780 (726) and in those former days, when thou wast launching
an expedition for the sake of Helen,
by me thou wast depicted, I’ll not hide it,
in colours most ill-favoured, as not wielding
the mental rudder well, from sacrifices 735 for men to death devoted
obtaining courage.
now therefore, with no feignéd feeling
nor any lack of love tl praise thee, saying,t
‘all’s well with toilers, when their toil’s well ended.’ 790 (734) in time thou wilt distinguish by inquiry
the citizen who justly guarded
the city tin thine absencet,
and one of inconvenient conduct,
EPEISODION III.
AGAMEMNON. Argos in first place and the country’s deities 795
75. to the semblance &c. évyxalpovew ὁμοιοπρεπεῖς, the former word being dat. plur. of partic. συγχαίρων.
788. with no feigned feeling, οὐκ am’ ἄκρας φρενός, not from the mere surface of the mind.
740. all’s well &c., lit. ‘labour is cheerful to them that have ended it well’: the play being on the double ev. Perhaps it is proverbial.
794.