Classic Greek Drama_ 10 Plays by Euripides in a Single File [NOOK Book] - Euripides [185]
[88] The Cambridge editor clearly shows that [Greek: moi] is the true reading, as in vs. 54, [Greek: to pragma d' aporos eiche Tyndareoi patri], and 370.
[89] There is much doubt about the reading of this part of the chorus. See Dind. and ed. Camb.
[90] I have partly followed Abresch in translating these lines, but I do not advise the reader to rest satisfied with my translation. A reference to the notes of the elegant scholar, to whom we owe the Cambridge edition of this play, will, I trust, show that I have done as much as can well be done with such corrupted lines.
[91] Achilles is supposed to lay his hand on his sword. See however ed. Camb.
[92] Obviously a spurious line.
[93] I have punctuated with ed. Camb.
[94] See ed. Camb.
[95] [Greek: euphemesate] here governs two distinct accusatives.
[96] The Cambridge editor here takes notice of Aristotle's charge of inconsistency, [Greek: hoti ouden eoiken he hiketeuousa] [Iphigenia] [Greek: tei hysterai]. He well remarks, that Iphigenia at first naturally gives way before the suddenness of the announcement of her fate, but that when she collects her feelings, her natural nobleness prevails.
[97] Cf. Lucret. i. 88. "Cui simul _infula_ virgineos _circumdata_ comtus, Ex utraque pari malarum parte profusa est."
[98] Read [Greek: pagas] with Reiske, Dind. ed. Camb. There is much corruption and awkwardness in the following verses of this ode.
[99] On the sense of [Greek: memone] see ed. Camb., who would exclude [Greek: di' emon onoma].
[100] Cf. Soph. Ant. 806 sqq. The whole of this passage has been admirably illustrated by the Cambridge editor.
[101] There is much awkwardness about this epithet [Greek: patroiai]. One would expect a clearer reference to Agamemnon. I scarcely can suppose it
correct, although I do not quite see my way in the Cambridge editor's readings.
[102] Porson, Praef. ad Hec. p. xxi., and the Cambridge editor (p. 228 sqq.) have concurred in fully condemning the whole of this last scene. It is certain that in the time of AElian something different must have been in existence, and equally certain that the whole abounds in repetitions and inconsistencies, that seem to point either to spuriousness, or, at least, to the existence of interpolations of a serious character. In this latter opinion Matthiae and Dindorf agree.
[103] An allusion to the celebrated picture of Timanthes. See Barnes.
[104] I have done my best with this passage, following Matthiae's explanation, which, however, I do not perfectly understand. If vs. 1567 were away, we should be less at a loss, but the same may be said of the whole scene.
__________
IPHIGENIA IN TAURIS.
PERSONS REPRESENTED.
IPHIGENIA.
ORESTES.
PYLADES.
HERDSMAN.
THOAS.
MESSENGER.
MINERVA.
CHORUS OF GRECIAN CAPTIVE WOMEN.
THE ARGUMENT.
Orestes, coming into Tauri in Scythia, in company with Pylades, had been commanded to bear away the image of Diana, after which he was to meet with a respite from the avenging Erinnyes of his mother. His sister Iphigenia, who had been carried away by Diana from Aulis, when on the point of being sacrificed by her father, chances to be expiating a dream that led her to suppose Orestes dead, when a herdsman announces to her the arrival and detection of two strangers, whom she is bound by her office to sacrifice to Diana. On meeting, a mutual discovery takes place, and they plot their escape. Iphigenia imposes on the superstitious fears of Thoas, and, removing them to the sea-coast, they are on the point of making their escape together, when they are surprised, and subsequently detained and driven back by stress of weather. Thoas is about to pursue them, when Minerva appears, and restrains him from doing so, at the same time procuring liberty of return for the Grecian captives who form the chorus.
IPHIGENIA IN TAURIS.
IPHIGENIA.
Pelops,[1] the son of Tantalus, setting out to Pisa with his swift steeds, weds the daughter of Oenomaus,