Æschylos Tragedies and Fragments. Aeschylus

97

So in the Antigone of Sophocles (v. 134), Capaneus appears as the special representative of boastful, reckless impiety.

98

Artemis, as one of the special Deities to whom Thebes was consecrated.

99

Apparently an Asiatic invention, to increase the terror of an attack of war-chariots.

100

The phrase and thought were almost proverbial in Athens. Men, as citizens, were thought of as fed at a common table, bound to contribute their gifts to the common stock. When they offered up their lives in battle, they were giving, as Pericles says (Thucyd. ii. 43), their noblest “contribution,” paying in full their subscription to the society of which they were members.

101

Thyiad, another name for the Mænads, the frenzied attendants on Dionysos.

102

Sc., in the legends of Typhon, not he, but Zeus, had proved the conqueror. The warrior, therefore, who chose Typhon for his badge was identifying himself with the losing, not the winning side.

103

The name, as we are told in v. 542, is Parthenopæos, the maiden-faced.

104

The Sphinx, besides its general character as an emblem of terror, had, of course, a special meaning as directed to the Thebans. The warrior who bore it threatened to renew the old days when the monster whom Œdipus had overcome had laid waste their city.

105

Sc., the Sphinx on his shield will not be allowed to enter the city. It will only serve as a mark, attracting men to attack both it and the warrior who bears it.

106

The quarrel between Tydeus and the seer Amphiaraos had been already touched upon.

107

I have used the old English word to express a term of like technical use in Athenian law processes. As the “sumpnour” called witnesses or parties to a suit into court, so Tydeus had summoned the Erinnys to do her work of destruction.

108

Sc., so pronounced his name as to emphasise the significance of its two component parts, as indicating that he who bore it was a man of much contention.

109

The words are obscure, but seem to refer to the badge of Polyneikes, the figure of Justice described in v. 643 as on his shield. How shall that Justice, the seer asks, console Jocasta for her son's death? Another rendering gives,

the “mother” being the country against which Polyneikes wars.

110

The words had a twofold fulfilment (1) in the burial of Amphiaraos, in the Theban soil; and (2) in the honour which accrued to Thebes after his death, through the fame of the oracle at his shrine.

111

The passage cannot be passed over without noticing the old tradition (Plutarch, Aristeid. c. 3), that when the actor uttered these words, he and the whole audience looked to Aristeides, surnamed the Just, as recognising that the words were true of him as they were of no one else. “Best,” instead of “just,” is, however, a very old various reading.

112

If the former reference to Aristeides be admitted, we can scarcely avoid seeing in this passage an allusion to Themistocles, as one with whose reckless and democratic policy it was dangerous for the more conservative leader to associate himself.

113

The far-off city, not of Thebes, but of Hades. In the legend of Thebes, the earth opened and swallowed up Amphiaraos, as in 583.

114

The short spear was usually carried under the shelter of the shield; when brought into action it was, of course, laid bare.

115

Perhaps “since death is at nigh hand.”

116

The Chorus means that if Eteocles would allow himself to be overcome in this contest of his wishes with their prayers the Gods would honour that defeat as if it were indeed a victory. He makes answer that the very thought of being overcome implied in the word “defeat” in anything is one which the true warrior cannot bear.

117

The “Chalyb stranger” is the sword, thought of as taking its name from the Skythian tribe of the Chalybes, between Colchis and Armenia, and passing through the Thrakians into Greece.

118

The two brothers, i. e., are set at one again, but it is not in the bonds of friendship, but in those of death.

119

The image meets us again in Agam. 980. Here the thought is, that a man too prosperous is like a ship too heavily freighted. He must part with a portion of his possession in order to save the rest. Not to part with them leads, when the storm rages, to an enforced abandonment and utter loss.

120

Another reading gives —

121

This seems to have been one form of the legends as to the cause of the curse which Œdipus had launched upon his sons, An alternative rendering is —

122

Sc., when Eteocles fell, Apollo took his place at the seventh gate, and turned the tide of war in favour of the Thebans.

123

I follow in this dialogue the arrangement which Paley adopts from Hermann.

124

There seems an intentional ambiguity. They are “borne on,” but it is as the corpses of the dead are borne to the sepulchre.

125

Not here the curse uttered by Œdipus, but that which rested on him and all his kin. There is possibly an allusion to the curse which Pelops is said to have uttered against Laios when he stole his son Chrysippos. Comp. v. 837.

126

As in v. 763 we read of the brothers as made one in death, so now of the concord which is wrought out by conflict, the concord, i. e., of the grave.

127

The Chorus are called on to change their character, and to pass from the attitude of suppliants, with outstretched arms, to that of mourners at a funeral, beating on their breasts. But, perhaps, the call is addressed to the mourners who are seen approaching with Ismene and Antigone.

128

The thought is drawn from the theoris or pilgrim-ship, which went with snow-white sails, and accompanied by joyful pæans, on a solemn mission from Athens to Delos. In contrast with this type of joy, Æschylos draws the picture of the boat of Charon, which passes over the gloomy pool accompanied by the sighs and gestures of bitter lamentation. So, in the old Attic legend, the ship that annually carried seven youths and maidens to the Minotaur of Crete was conspicuous for its black sails.

129

The “Chalyb,” or iron sword, which the Hellenes had imported from the Skythians. Comp. vv. 70. 86.

130

The lyrical, operative character of Greek tragedies has to be borne in mind as we read passages like that which follows. They were not meant to be read. Uttered in a passionate recitative, accompanied by expressive action, they probably formed a very effective element in the actual representation of the tragedy. We may look on it as the only extant specimen of the kind of wailing which was characteristic of Eastern burials, and which was slowly passing away in Greece under the influence of a higher culture. The early fondness of Æschylos for a finale of this nature is seen also in The Persians, and in a more solemn and subdued form, in the Eumenides. The feeling that there was something barbaric in these untoward displays of grief, showed