Classic Greek Drama_ 10 Plays by Euripides in a Single File [NOOK Book] - Euripides [183]
[28] Cf. Soph. Antig. 523. [Greek: outoi synechthein, alla symphilein ephyn].
[29] Dindorf condemns the whole of this speech of the messenger, as well as the two following lines. Few will perhaps be disposed to follow him, although the awkwardness of the passage may be admitted. Hermann considers that the hasty entrance of the messenger is signified by his commencing with half a line.
[30] There seems an intended allusion to the double sense of [Greek: proteleia], both as a marriage and sacrificial rite. See the Cambridge editor, and my note on AEsch. Agam. p. 102, n. 2, ed. Bohn.
[31] "Auspicare canistra, id quod proximum est." MUSGR.
[32] I think this is the meaning implied by [Greek: nympheusousa], as in vs. 885. [Greek: hin' agagois chairous' Achillei paida nympheusousa sen]. Alcest. 317. [Greek: ou gar se meter oute nympheusei pote]. The word seems to refer to the whole business of a mamma on this important occasion.
[33] The Cambridge editor on vs. 439, p. 109, well observes, "the actual arrival of Iphigenia having convinced Menelaus that her sacrifice could not any longer be avoided, he bethinks him of removing from his brother's mind the impression produced by their recent altercation; and knowing his open and unsuspicious temper, he feels that he may safely adopt a false position, and deprecate that of which he was at the same time most earnestly desirous."
[34] So Markland, but Hermann and the Cambridge editor prefer the old reading [Greek: metesti soi].
[35] This and the two following lines are condemned by Dindorf.
[36] Boeckh, Dindorf, and the Cambridge editor rightly explode these three lines, which are not even correct Greek.
[37] [Greek: lesomen], _latebo faciens_.
[38] [Greek: para] for [Greek: paron], ed. Camb.
[39] i.e. by the gift of Venus. For the sense, compare Hippol. 443.
[40] Read [Greek: diaphoroi de tropoi] with Monk, and [Greek: orthos] with Musgrave.
[41] But [Greek: paideuomenon] is better, with ed. Camb.
[42] I have partly followed Markland, partly Matthiae, in rendering this awkward passage. But there is much awkwardness of expression, and the notes of the Cambridge editor well deserve the attention of the student. [Greek: exallassousan charin] seems to refer to [Greek: metria charis] in vs. 555, and probably signifies that the grace of a reasonable affection leads to the equal grace of a clear perception, the mind being unblinded by vehement impulses of passion.
[43] i.e. quiet, domestic.
[44] [Greek: enon] is only Markland's conjecture. The whole passage is desperate.
[45] I read [Greek: myrioplethe] with ed. Camb. The pronoun [Greek: ho] I can not make out, but by supplying an impossible ellipse.
[46] The Cambridge editor rightly reads [Greek: iou, iou], as an exclamation of pleasure, not of pain, is required.
[47] Dindorf condemns this whole paragraph.
[48] The Cambridge editor thinks these two lines a childish interpolation. They certainly are childish enough, but the same objection applies to the whole passage.
[49] But read [Greek: hoi d'] with Dobree. The grooms are meant.
[50] Porson condemns these four lines, which are utterly destitute of sense or connection.
[51] These "precious" lines are even worse than the preceding, and rightly condemned by all.
[52] See Elmsl. on Soph. Oed. C. 273. The student must carefully observe the hidden train of thought pervading Agamemnon's replies.
[53] [Greek: ta Meneleo kaka] must mean the ills resulting from Menelaus, the mischiefs and toils to which his wife led, as in Soph. Antig. 2. [Greek: ton ap Oidipou kakon], "the ills brought about by the misfortunes or the curse of Oedipus." But I should almost prefer reading [Greek: leche] for [Greek: kaka], which would naturally refer to Helen.
[54] This line is metrically corrupt, but its emendation is very uncertain.
[55] I have endeavored to convey