Classic Greek Drama_ 10 Plays by Euripides in a Single File [NOOK Book] - Euripides [161]
[13] i.e. [Greek: manteis kat' asty thyepholousi]. ELMSLEY.
[14] Pausanias, i. 32, states that the oracle expressly required that one of the descendants of Hercules should be devoted, and that upon this
Macaria, his daughter by Deianira, voluntarily offered herself. Her name was afterward given to a fountain. Enripides probably omitted this fact, in order to place the noble-mindedness of Macaria in a stronger light. The curious reader may compare the similar sacrifices of Codrus, (Pausan. vii. 25. Vell. Patere. i. 4,) Menoeceus, (Eur. Phoen. 1009, Statius Theb. x. 751 sqq.,) Chaon (Serv. on Virg. AEn. iii. 335). See also Lomeier de Lustrationibus, Sec. xxii., where the whole subject is learnedly treated.
[15] Cf. AEsch. Ag. 206 sqq.
[16] I prefer understanding [Greek: heneka exodon emon] with Elmsley, to Matthiae's forced interpretation. Compare Med. 214 sqq.
[17] The cognate accusative to [Greek: draseien] must be supplied from the context.
[18] There is some awkwardness in the construction. Perhaps if we read [Greek: sperma, tes theias phrenos! peph.] the sense will be improved.
[19] The construction is thus laid down by Elmsley: [Greek: palai gar odinousa [peri] ton aphig. ps. et. ei. n. [auton] genesetai]. He remarks that [Greek: nostos] often means "arrival," in the tragedians.
[20] See Matthiae. I should, however, prefer [Greek: pais] for [Greek: pou], with Elmsley.
[21] [Greek: kata] is understood, as in Thucyd. v. 67. ELMSLEY.
[22] See Alcest. 662, Iph. Taur. 245, and Elmsley's note on this passage.
[23] [Greek: gymnos], _expeditus_. As in agriculture it is applied to the husbandman who casts off his upper garment, so also in war it simply denotes being without armor.
[24] [Greek: keuthein].
[25] I have corrected [Greek: keleusmasin Argous], with Reiske and Dindorf.
[26] I have adopted Dindorf's correction, [Greek: hessones par' emoi theoi phanountai].
[27] i.e. the last, says Brodaeus. But Elmsley prefers taking it for the [Greek: noumenia] or Kalends, with Musgrave.
[28] [Greek: doros], which is often used to signify _the fight_, is here somewhat boldly put for the arrangement of the battle.
[29] Cf. AEsch. Soph. c. Th. 14 sqq. Elmsley's notes on the whole of this spirited passage deserve to be consulted.
[30] [Greek: kratounta] can not be used passively. [Greek: klaionta] is the conjecture of Orelli, approved by Dindorf. I have expressed the sense, not the text.
[31] See Musgrave's note (apud Dindorf). Tyrwhitt considers all the dramatis personae wrongly assigned.
[32] Ironically spoken.
[33] There seems to be something wrong here.
[34] See Matthiae, who explains it: "_me et supplicem_, qui mortem deprecetur, _et fortem_, qui mortem contemnat, _dicere licet_."
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IPHIGENIA IN AULIS.
PERSONS REPRESENTED.
AGAMEMNON.
OLD MAN.
MENELAUS.
ACHILLES.
MESSENGER.
ANOTHER MESSENGER.
IPHIGENIA.
CLYTAEMNESTRA.
CHORUS.
THE ARGUMENT.
When the Greeks were detained at Aulis by stress of weather, Calchas declared that they would never reach Troy unless the daughter of Agamemnon, Iphigenia, was sacrificed to Diana. Agamemnon sent for his daughter with this view, but repenting, he dispatched a messenger to prevent Clytaemnestra sending her. The messenger being intercepted by Menelaus, an altercation between the brother chieftains arose, during which Iphigenia, who had been tempted with the expectation of being wedded to Achilles, arrived with her mother. The latter, meeting with Achilles, discovered the deception, and Achilles swore to protect her. But Iphigenia, having determined to die nobly on behalf of the Greeks, was snatched away by the Goddess, and a stag substituted in her place. The Greeks were then enabled to set sail.
* * * * *
IPHIGENIA IN AULIS.
AGAMEMNON. Come before this dwelling, O aged man.
OLD MAN. I come. But what new thing dost thou meditate, king Agamemnon?
AG. You shall learn.[1]
OLD M. I hasten. My old age is very sleepless, and sits wakeful upon mine eyes.
AG. What star can this be