for lucky shall I count the fortunes of our lords, PARODOS. [The 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. Each χορευτής carries a staff (βακτηρία). They enter the orchestra by the passage between the stage and the spectators' seats (0éarpov) 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 is called Parodos, and the song then sung receives the same technical name. In this drama it has three parts, 1. Anapaests; 2. Pro-ode; 3. Ode.] 132, 33. Onσoμal, I shall reckon or (as Pal.) score. lucky, eû meσóvтa, to have had a lucky cast: the metaphor is continued in the next verse. triple sice, Tpis e. The dice (kúẞos) 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 Tpeîs Kúßol (three aces), in Latin, Canis. 35. to hold, Baoráσal, lit. to lift or bear 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. I forget, Xhooμa. 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. -a stalwart yoke-pair, sons of Atreus, holding from Zeus the honour of two thrones, two sceptres, 40. In the anapaestic system (or series of systems, if a versus paroemiacus be regarded as the terminus of a system) with which the Parodos commences, the Chorus says: that ten years have passed since the expedition 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 recitative, 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 begging her to relieve the anxiety with which their minds are disturbed. 41. opponent, ȧvτidiños, properly in a suit (díkŋ). 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 mentioned as forming one yoke-pair, Jeûyos 'Aтpeɩdâv, in apposition with which gen. stands Tuns and its epithets. The construction is remarkable. 50. lonely, KTатíos. This is variously explained: the derivation (èk TáTov, out of the usual path) suggests the sense we give. 51. high o'er, üñaтοi, for üπepée, an unusual expression. 'Erávw is a conjecture worthy of consideration, as raro follows, 55. with oary pinions rowing, since they have lost their labour, the couch-observing labour of their nestlings. but hearing from on high, perchance Apollo or Pan or Zeus, the shrilly-crying bird-wail of these sky-sojourners, unto transgressors sendeth 55 an after-punishing Erinys. e'en so the mightier Zeus, of guest-law guardian, sends forth the sons of Atreus, 60 about a many-suitored woman appointing limb-subduing struggles countless of knee that in the dust is planted 65 and spear-shaft snapping in the onsets alike for Trojans and for Danaans. as things are now, so are they, and fulfilled shall be as Destiny hath willed; tnor e'er shall any mant by secret soothing of burnt-oblation or of wine-libation avert of fireless rites the strong-set indignation. 70 55. It has been suggested, that Apollo favours the vultures as augural birds; Pan, as birds that hunt; Zeus, as birds of royal nature. Τις 'Απόλλων κ.τ.λ. =τις ἢ Απ. ἤ κ.τ.λ. 57. sky-sojourners, μeTolkwv. The vultures are settlers in the sky, where the gods dwell. Apollo, Pan, Zeus, are their patrons (πроσтáται). But τῶνδε μετοίκων may possibly be a gloss. 60. the mightier, ò кpeloσwv, i.e. Zeus žévios (of guest-law guardian), who is assumed, in that character, to be still mightier than the Zeus (TIS) who favoured the vultures. 62. many-suitored, woλváropos. Helen had many suitors: and, after the death of Paris, she married Deiphobus. 65. onsets, προτελείοις. Hesychius has: προτέλεια, αἱ πρὸ τοῦ γάμου τελούμεναι θυσίαι. Hence the word is used here metaphorically for a skirmish beginning a battle: in 204, for a sacrifice before a voyage. 71. fireless rites. The meaning of dπúpwr iepŵr 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, 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 within the bosom, 75 ere martial vigour holds its place, is eld-like; queen Clytaemnestra, what is this occasion? and far-gone eld, what time the foliage withers, ways triple-footed walketh, and, than a child no stronger, a day-seen dream, each old man wanders. but thou, Tyndareus' daughter, what new thing has befallen? 80 (83) 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, 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, ȧrirai. This word ἀτίτης (ἀ τίω) is explained to mean, not liable to pay a due; here, not fit for military service.' 79. triple-footed, тpíπodas. 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, adóλoo. been generally overlooked. The true contrast implied by this epithet has Some poorly render it genuine; others suppose the guile of orators to be glanced at. In our opinion (looking at papu. XP. ἁγνοῦ) Aeschylus refers to the φάρμακα δόλια of sorceresses (φαρμακευτρίαι). See Theocr. Id. 11. Verg. Ecl. VIII. He means to say that the tidings of holy ointment, the clot from out the royal store-room. of these things what thou canst, and what to utter is lawful, speak, shew something certain†, and of this care become a healer, which now is sometimes evil-boding, but soon again from sacrifices 95 100 (103) hope shining mild drives thought away, that sorrows insatiate still, a soul-consuming mischief. 2. Pro-ode, Empowered am I to sing aloud the lucky might of stalwart heroes, boded by a wayside omen, (for still my life, with strength connurtured, made known by Clytaemnestra's illumination are true. deceiving sorceress. Strophe. ΙΟ The queen is no 95. clot, méλavos, a soft essential substance, such as butter or lard. store-room, μvxóoev, from the μvxós, interior of the palace, where the store-rooms were, near the eoría: lit. 'the royal clot from the μvxós.' ΙΟΙ. that sorrows, lit. of sorrow, Xúæŋs. 102 (106). On changes made in these Anapaests, glosses omitted (61, 71. 92), additions suggested (69, 101), corrections (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 to conjecture. 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 σúμßola) see Theophrast. Char. (ò deioidaíμwv) and Hor. C. III. 27. 104. stalwart heroes, àvdpŵv évтeλéwv. See Notes on Lection. 105. boded by a wayside omen, ödɩov. 106. for still &c. i.e. though old, I am strong enough to sing with boldness, |