Part 17 (1/2)

P. 12, l. 217, The Nereid's Son.--Achilles, son of Peleus and the Nereid Thetis.

P. 13, l. 238, The Herdsman's entrance.--Observe how Iphigenia is first merely disturbed in her obsequies: then comes the sickening news that there are strangers to sacrifice: then lastly, her worst fear is realised; the men are Greeks. This explains her exasperated tone in l. 254, ”The sea! What is the sea ...” and ”Go back!”--The Herdsman is merely jubilant and obtuse.

P. 15, l. 263.--The murex or purple-fish could only be collected in very late autumn or early spring; consequently the fishers made encampments for the winter and returned to Tyre and Sidon, or wherever else they came from, after the spring fis.h.i.+ng. See Berard, Pheniciens et Odyssee, i. 415.

P. 15, 1. 270, Son of the White Sea Spirit, &c.--The man is, of course, made to use the names of Greek not of Taurian G.o.ds. He thinks first of Palaemon, a sea-G.o.d, son of Leucothea (”White- G.o.ddess”), then of the Dioskori, Castor and Polydeuces; then vaguely of some spirits beloved of Nereus, the Ancient of the Sea.

P. 17, 1. 328 f., Of all those shots not one struck home.--The object of this statement must be to explain why the two heroes do not make their appearance bruised and dishevelled as the Second Messenger does after his fight with the Greeks. Of course there is no great harm in making the Taurians bad shots as well as cowards, and possibly there is some value in the suggestion of a supernatural protection which is only saving its object for a crueller death. But very likely the two lines are interpolations.

Pp. 17, 18, 11. 342 ff.--A wonderful speech, ill.u.s.trating the gradual breaking-up of the ice in Iphigenia's nature.--The Herdsman's story has, of course, been horrible to her; all the more so because he expects her to enjoy it and recalls wild words she has uttered in the past, when brooding on her wrongs. She controls her feelings absolutely till the man is gone. Then she feels like one turned to stone, pitiless; then, if only it were Helen or Menelaus that she had to kill! Then vivid thoughts of the misery and horror of Aulis and the poor foolish hopes and tremors in which she had come there; then the thought that Orestes, the one man whom she could love without resentment, is dead. Then a rage of indignation against the b.l.o.o.d.y rites and the infamy of the thing she has to do. She goes into the Temple broken in nerve and almost ready for rebellion.

P. 19, 11. 385 ff.--Leto, beloved of Zeus, was the mother of Artemis and Apollo, who were born in the holy island of Delos.-- One legend, already rejected by Pindar, said that the crime of Tantalus was that he had given his child Pelops to the G.o.ds to eat.

P. 19, 1. 392, Dark of the sea.--The Dark-Blue of the Symplegades is meant. Sometimes it is only the Argo that has ever pa.s.sed through them; here it is only Io, daughter of Inachus, loved by Zeus and hunted by the gadfly, who fled outcast through the East.

Her story is told in Aeschylus' Prometheus and in a magnificent chorus of his Suppliant Women. (See Rise of the Greek Epic, pp.

247 ff.)

The present lyric begins by wondering how and why the strangers have come: then come thoughts of the voyage and places they must have pa.s.sed; the coast, where Phineus was haunted by the Harpies, the enchanted sea beyond the Symplegades, and the mysterious Isle of Leuce (”White”) where Achilles lives after death.--Then comes a thought of Iphigenia's longing for revenge on Helen: but revenge is no use. It is home they crave, or, if that is impossible, then sleep and dreams of home.

P. 21, 1. 431, The steering oar abaft;--The steering was done by an oar, or sometimes two oars, projecting into the sea from a hole in the stern. Cf. 1. 1356, p. 83, ”And through the stern dragged out the steering-blade.” If this oar was left free, it would ripple and beat against the side.

P. 23, 1. 472, What mother then was yours, &c.--Not very like a woman ”turned to stone” or ”without a tear.” She had miscalculated her own feelings.--Observe how Orestes sternly rejects her sentimental sympathy. He needs all his strength.

P. 25, 1. 512, A kind of banishment.--He was driven by his Furies, not legally banished.

Pp. 26, 27, 11. 515 and 529, ”Oh how sweet to see thee here!” and ”Oh, give me this hour full. Thou wilt soon die.”--Iphigenia is more than tactless. She is so starving for home or anything that brings her into touch with home, that neither this Stranger's death nor anything else matters to her in comparison. A fine dramatic stroke.

The people of whom she asks are, first, her enemies--Helen; Calchas, the prophet, who had commanded her sacrifice; Odysseus, who had devised the plot by which she was brought to Aulis (11.

16, 24); then Achilles, who had been the hero of her dreams; then, with fear and hesitancy, those for whom she cares most.--Observe, at 1. 553, how, on hearing of her father's murder, her first thought is pity for her mother. Her father is already in her mind ”he that slew.” But in every line of this dialogue there is fine drama and psychology.

P. 28, 1. 538, ”Small help his bridal brought him; he is dead.”-- It has been thought curious that the mention of Achilles should immediately suggest to Orestes the bridal at Aulis, though of course it does so to Iphigenia. But after all it was Orestes'

sister that Achilles was to marry at Aulis; and secondly, a large part of Orestes' troubles came from the carrying off of his betrothed, Hermione, by Achilles' b.a.s.t.a.r.d son, Pyrrhus. If the marriage at Aulis had taken place and Achilles left a true-born son, that would all have been different.

P. 31, 1. 569, Light dreams farewell! Ye too were lies.--This does seem a wrong conclusion. The dreams only suggested that Orestes had died the day before, long after this man had left Argos. But perhaps it is not unnatural.

P. 32, 11. 576 f., We too have kinsmen dear.--A most characteristic Euripidean saying. It also leads up to the personal interest in the Chorus which we feel after 1. 1075, p. 63, when they are taken into the conspiracy and then abandoned.

P. 32, 1. 578, Listen; for I am fallen upon a thought.--It must not be supposed that this use of the tablet is an obvious or easy thing. It is a daring project that crosses her mind, as one possible way of avoiding the death of this Stranger. Her hesitation at 1. 742--where a pause is indicated in the Greek-- shows that she is only trusting to her special influence over the King to get him to relax the law. Presumably merchants sometimes were admitted to the Tauri; for instance, those who brought the Chorus. The safe way to use the tablet would have been to make sure of the friends.h.i.+p of one of these. But such questions lie outside the play.

P. 34, 1. 618, This altar's spell is over me.--I translate the MS.

reading [Greek text]. In my text I accepted the usual emendation [Greek text]. But [Greek text] means ”spell” or ”infection.” See Rise of the Greek Epic, p. 86.

P. 34, 1. 627, My sister's hand.--i.e. Electra's.

Pp. 35-39, 11. 645-724.--Observe that all through this scene it is Pylades who is broken and Orestes strong. Contrast their first entrance, pp. 6-8.

P. 45, 1. 804, Argos is bright with him.--Literally, ”is full of him.” I am not sure that I understand the expression, but I think she feels Orestes as a magnificent presence filling all his home.

P. 46, 11. 809 ff.--The ”signs” are clear enough. He remembers that there was an embroidery of the Golden Lamb story worked by Iphigenia; that when she started for Aulis she had cut off her hair for her mother and her mother had given her some Inachus water to use in the sacred was.h.i.+ng before her marriage; also, there was an old spear belonging to Pelops in Iphigenia's room.-- Apparently Pelops carried a spear in the chariot race, just as Oenomaus did.