[464] vv. 1049-52 and elsewhere in the last scene.

[465] vv. 1020-5.

[466] Arrangement (according to Croiset): protagonist, Hippolytus; deuteragonist, Aphrodite, Phædra, Theseus (the body of Phædra being represented by a lay-figure); tritagonist, Artemis, servant (who announces the suicide), nurse, messenger.

[467] This additional name (The Crowned H.) was given to distinguish the play from the earlier Ἱππόλυτος Καλυπτόμενος (now lost), or Hippolytus Veiled.

[468] vv. 73-87.

[469] vv. 121-5.

[470] vv. 208-31. Cp. vv. 219-21 with vv. 1375 sq.

[471] vv. 732-51.

[472] vv. 828-9.

[473] vv. 1423-30.

[474] vv. 616-68. He seems to begin listening to the sound of his own voice at v. 654.

[475] vv. 728-31.

[476] vv. 831-3. Hippolytus agrees, vv. 1379-83.

[477] vv. 967-9, where note the emphatic ἐγώ. And the word νόθος is frequent in the play; see especially Hippolytus’ exclamation in vv. 1082-3, which, by a finely dramatic stroke, immediately turns Theseus’ anger to hot fury.

[478] vv. 337-41.

[479] Professor Murray.

[480] vv. 29-33.

[481] Cp. vv. 490 sq.

[482] vv. 191-7 (Professor Murray’s translation).

[483] vv. 439-61.

[484] Cp. vv. 474 sq.:—

[485] vv. 493-6.

[486] vv. 507 sq.

[487] vv. 1034 sq.

[488] vv. 415 sqq. Compare her whole attitude. Indeed the poet suggests, as at any rate a collateral reason for her destruction of Hippolytus, a fear that he will reveal her secret (vv. 689-92).

[489] vv. 373-430.

[490] Agamemnon, vv. 160-83.

[491] In the first edition of the play, to which it seems that most of the ancient strictures apply.

[492] vv. 135-40.

[493] v. 384: τερπνὸν κακόν.

[494] v. 281: ἔκδημος ὦν γὰρ τῆσδε τυγχάνει χθονός.

[495] v. 384: μακραί τε λέσχαι καὶ σχολή, τερπνὸν κακόν.

[496] vv. 337, sqq.

[497] v. 328, etc.

[498] vv. 503-6.

[499] v. 512.

[500] See Professor Murray’s admirable remarks (p. 81 of his translation).

[501] In the trivial question, v. 516: πότερα δὲ χριστὸν ἢ ποτὸν τὸ φάρμακον; she is dangerously toying with the proposal. The nurse’s reply is a half-quaint, half-heartbreaking quotation from childish days when the little Phædra was querulous with her “medicine” as now: ὄνασθαι, μὴ μαθεῖν, βούλει, τέκνον.

[502] We notice incidentally the amazing dexterity shown by the line (565) in which she announces her discovery: σιγήσατ’, ὦ γυναῖκες, ἐξειργάσμεθα. It is a perfectly clear piece of Greek; it is also a series of gasps.

[503] v. 1035.

[504] See the Greek Argument.

[505] In our play the poet leaves his heroine silent on this topic, but hints it himself for us. See vv. 151-54, 967-70.

[506] Frogs, 1041; Thesm. 497, 547.

[507] Frogs, 101, 1467; Thesm. 275-6.

[508] Hipp. 612.

[509] vv. 960 sq., 1076 sq.

[510] vv. 1060-3.

[511] Aristophanes in the Clouds (v. 1165 sq.) parodies vv. 174 sq. The Clouds was produced in 423 B.C. In Hecuba, v. 462, reference seems to be made to the re-establishment of the Delian festival in 426 B.C.

[512] Its popularity in Byzantine times is no bar to this statement. Probably all the three plays, Hecuba, Phœnissæ, and Orestes, were chosen because the Greek was comparatively easy. Euripides was already sufficiently ancient to make this an important consideration.

Miss L. E. Matthaei’s essay should, however, be read (Studies in Greek Tragedy, pp. 118-57). With admirable insight and skill this scholar seeks to show that the Hecuba is a study, first, of “conventional” justice, the claim of the community, shown in the sacrifice of Polyxena; and, secondly, of “natural” justice, seen in Hecuba’s revenge. Miss Matthaei’s treatment, however subjective, is trenchant and illuminating, especially as regards the psychology of Hecuba and Odysseus, the value of Polyxena’s surrender, and the finale. But concerning the vital point, lack of dramatic unity, she has little to say, apparently only the suggestion (p. 140) that “the cumulative effect of finding the body of Polydorus after having seen Polyxena taken away is the deciding factor; otherwise the end of the play would have been simply unbelievable”. The strength of this argument is very doubtful.

[513] See Mr. Hadley’s admirable Introduction to the play (pp. ix-xii).

[514] vv. 779 sq.

[515] vv. 428-30, 671, 894-7, 1287 sq.

[516] v. 230.

[517] vv. 814-9, 1187-94.

[518] In 427 B.C.

[519] vv. 905 sqq.

[520] vv. 342-78.

[521] vv. 518-82.

[522] vv. 953-67.

[523] vv. 796 sq. provide an example:—

[524] Note his absurd insistence (vv. 531-3) on his own trivial part in the sacrifice-scene.

[525] vv. 592-603 (the last line being an apology for the digression), 864-7.

[526] vv. 799 sqq.

[527] vv. 585 sqq., 806-8.

[528] v. 421: ἡμεῖς δὲ πεντήκοντά γ’ ἄμμοροι τέκνων. Comment seems obvious: “Actually enough children to row a galley!” (πεντηκόντορος ναῦς).

[529] vv. 68 sqq.

[530] vv. 702 sqq.

[531] Probably it was composed during the early years of the Peloponnesian war, as the scholiast suggests in a note on v. 445.

[532] Schol. on v. 445.

[533] Her son, who is not given a name in the play, no doubt obtains it from this prophecy.

[534] Mention of such a conflict naturally occurs (vv. 588 sq.) in the heat of their quarrel, but it comes to nothing. That the old king has no military following seems certain from the silence of both parties. See particularly vv. 752 sqq.

[535] vv. 732 sqq. Note the stammering repetition of τις—he cannot even suggest a name.

[536] It may be answered that here, as elsewhere, the time consumed by the choric ode is conventionally supposed long enough to allow for the alleged synchronous action. But how much time is required? Orestes is to place Hermione in Menelaus’ care, journey to Delphi, and arrange his plot; then the slaves are to carry the body home. This certainly means three days; one would expect a week. Thus Peleus only hears of Hermione’s departure three days (perhaps a week) after it has occurred. Is this credible? See also the conversation between him and the chorus which implies that the news has reached him within an hour or two.

[537] Four Plays of Euripides, pp. 1-42.

[538] vv. 1239 sqq. (Δελφοῖς ὄνειδος).

[539] It is usually supposed to mean “one of the second-rate plays”.

[540] vv. 929-53.

[541] vv. 595-601.

[542] v. 964: ἦλθον δὲ σὰς μὲν οὐ σέβων ἐπιστολάς, κτἑ. There can be hardly a doubt that these words refer to their parting before her marriage, when she forbade him to see her again.

[543] vv. 639, 708 sqq. Cp. Verrall, p. 38.

[544] Eg. vv. 229 sq.

[545] Cp. Verrall, pp. 29 sq.

[546] v. 166. This is the type of drama at which Sophocles shook his head and which Aristophanes reviled. But it must have made many a slave-holding citizen in the theatre suddenly raise his brows and fall to thinking of words let drop an hour ago at home.

[547] vv. 1147 sqq.: The some one of course might be anyone. The speaker elects to assume that the god is actually present.

[548] vv. 1002 sqq., especially 1004.

[549] vv. 464-94.

[550] vv. 147-80.

[551] vv. 164 sqq.

[552] vv. 445-63.

[553] Eg. vv. 632 sqq.

[554] Arrangement (according to Croiset): protagonist, Amphitryon, Madness; deuteragonist, Megara, Iris, Theseus; tritagonist, Lycus, Heracles, messenger. Of course the dead bodies are lay figures. Other arrangements are possible.

[555] vv. 637-700.

[556] vv. 70-9, 460-89.

[557] vv. 1255-1310, 1340-93.

[558] vv. 140-235.

[559] Four Plays of Euripides, pp. 134-98.

[560] vv. 339 sqq., etc.

[561] vv. 798 sqq.

[562] vv. 1340-6.

[563] Especially vv. 1269 sqq.

[564] The appearance of Pallas (vv. 1002-6) is regarded by Verrall as “a chance blow received by the madman from the falling ruins of the chamber”.

[565] In vv. 562-82 he raves, however eloquently. One man cannot capture a whole fortress and punish a hostile population as Amphitryon (vv. 585-94) feels, though his caution and prosaic advice are painfully ludicrous considering the vast claims he has made for his son an hour ago.

[566] v. 1222.

[567] Compare the similar explanation of a wonderful feat actually offered by Lycus (vv. 153 sq.).

[568] Cp. Verrall, pp. 147 sq.

[569] Ibid. pp. 156, 162.

[570] vv. 65-6.

[571] vv. 485-9.

[572] Probable Arrangement: protagonist, Theseus, messenger; deuteragonist, Adrastus, Evadne; tritagonist, Æthra, herald, Iphis, Athena.

[573] The plot strongly recalls the incident after the battle of Delium (424 B.C.), when the victorious Bœotians at first refused to surrender the Athenian dead, and the alliance between Athens and Argos (420 B.C.).

[574] The Hypothesis says: τὸ δὲ δρᾶμα ἐγκώμιον Ἀθηναίων (altered by Dindorf with general approval to Ἀθηνῶν).

[575] vv. 195-218.

[576] vv. 403-56.

[577] vv. 297-331.

[578] She has arrayed herself, not in black but in festal robes (vv. 1054-6)—an interesting parallel with the fine ending of the second act of Mr. Shaw’s Doctor’s Dilemma.

[579] Probable Arrangement: protagonist, Ion, Pædagogus; deuteragonist, Hermes, Creusa; tritagonist, Xuthus, servant, prophetess, Athena.

[580] vv. 1537 sq.

[581] ἀμαθής (v. 916, used by Creusa).

[582] ὁ κακός (v. 952, used by the Pædagogus).

[583] v. 1595.

[584] vv. 550 sqq. are probably significant (and Ion actually the son of Xuthus).

[585] Cp. v. 1324 and the rest of the short conversation between her and Ion, which is of course charming on any view of the play.

[586] vv. 859 sqq.

[587] vv. 1029 sqq.

[588] Cp. v. 1419: οὐ τέλεον, οἷον δ’ ἐκδίδαγμα κερκίδος, and Ion’s acknowledgment (v. 1424): ἰδού· τόδ’ ἐσθ’ ὕφασμα, θέσφαθ’ ὡς εὑρίσκομεν. This latter surely means that Ion is as satisfied as one can expect to be in tracing the fulfilment of oracles.

[589] Cp. v. 1565: μηχαναῖς ἐρρύσατο.

[590] v. 1550: πρόσωπον.

[591] οὐ πέδον τίκτει τέκνα says the elder man (v. 542), casually turning his back on the glory of his wife’s family (cp. vv. 265-8).

[592] vv. 585 sqq.

[593] vv. 738-46.

[594] v. 768 sqq.

[595] vv. 1215 sqq.

[596] His very religion, when put to the test, is mostly intellectual. Apollo’s moral shortcomings only cause him to shake his head gravely; but when the god’s truthfulness is exploded, the whole fabric of his belief collapses.

[597] vv. 369-72.

[598] vv. 436-51. The above paraphrase is probably not too colloquial (cp. especially v. 437: τί πάσχει; and v. 439: μὴ σύ γε). In fact, as the speech is so very explicit and unadorned, and as Ion is probably uttering it while he performs his tasks (see 434-6, after which these reflections begin in the middle of a line), we perhaps overhear thoughts rather than words.

[599] vv. 589 sqq.

[600] vv. 1312 sqq.

[601] vv. 1546 sqq.

[602] vv. 369 sqq.

[603] vv. 308, etc.

[604] vv. 1397 sqq.

[605] vv. 1468 sq.

[606] Arrangement (probable): protagonist, Hecuba; deuteragonist, Athena, Cassandra, Andromache, Helen; tritagonist, Poseidon, Talthybius, Menelaus.

[607] Ælian, Var. Hist. ii. 8.

[608] There are reminders of the western lands in vv. 220 sqq.

[609] vv. 703 sqq.

[610] vv. 1158 sqq.

[611] v. 764: ὦ βάρβαρ’ ἐξευρόντες Ἕλληνες κακά (Andromache’s phrase).

[612] vv. 884 sqq. (The first line refers to air.) If we possess any evidence as to the theological belief of the poet himself it is probably contained in these lines.

[613] vv. 469 sqq., 841 sqq., 1060 sqq. (especially the poignant μέλει μέλει μοι), 1240 sqq.

[614] vv. 1204 sqq.:—

The phrasing points back effectively to Poseidon’s description of Athena’s fickleness (vv. 67 sq.: τί δ’ ὧδε πηδᾷς ἄλλοτ’ εἰς ἄλλους τρόπους;).

[615] The arrangement is uncertain. Perhaps: protagonist, Iphigenia; deuteragonist, Orestes, messenger, Athena; tritagonist, herdsman, Pylades, Thoas.

[616] Murray and others place it about 414-2, Wilamowitz, 411-9.

[617] v. 1205: πιστὸν Ἑλλὰς οἶδεν οὐδέν.

[618] v. 626: πῦρ ἱερὸν ἔνδον, χάσμα δ’ εὐρωπὸν πέτρας—a marvellous line.

[619] vv. 823-6.

[620] v. 677: Φωκέων τ’ ἐν πολυπτύχῳ χθονί.

[621] See especially the lovely song, vv. 1089 sqq.

[622] vv. 968 sqq.

[623] One can hardly doubt that this is the intention of the scene on the Taurian beach (vv. 281-94).

[624] vv. 711 sqq. The feelings of the Delphian hierarchy, when Orestes after all actually returned, bringing with him the image—about which they cared not a farthing—may be imagined by the irreverent.

[625] v. 77.

[626] v. 275.

[627] vv. 380 sqq.

[628] vv. 719 sq.

[629] See Verrall, Eur. the Rationalist, pp. 217-30 (Euripides in a Hymn).

[630] Longinus, de Subl. xv. 3.

[631] vv. 970 sqq.