266.  The words present a striking parallelism to the erotic imagery of the Song of Solomon: “Take us the foxes, the little foxes that spoil our vines, for our vines have tender grapes.” (ii. 15).

267.  The Erasinos was supposed to rise in Arcadia, in Mount Stymphalos, to disappear below the earth, and to come to sight again in Argolis.

268.  In this final choral ode of the Suppliants, as in that of the Seven against Thebes, we have the phenomenon of the division of the Chorus, hitherto united, into two sections of divergent thought and purpose. Semi-Chorus A. remains steadfast in its purpose of perpetual virginity; Semi-Chorus B. relents, and is ready to accept wedlock.

269.  The two names were closely connected in the local worship of Athens, the temples of Aphrodite and Peitho (Suasion) standing at the south-west angle of the Acropolis. If any special purpose is to be traced in the invocation, we may see it in the poet's desire to bring out the nobler, more ethical side of Aphrodite's attributes, in contrast with the growing tendency to look on her as simply the patroness of brutal lust.

270.  The play, as acted, formed part of a trilogy, and the next play, the Danaids, probably contained the sequel of the story, the acceptance by the Suppliants of the sons of Ægyptos in marriage, the plot of Danaos for the destruction of the bridegrooms on the wedding-night, and the execution of the deed of blood by all but Hypermnestra.