{335}
Note 1 (p. 43).
"High on the Atridan's battlements."
DUNBAR, SEWELL, and CONNINGTON plead strongly for translating
ἄγκαθεν here as in Eumen. v. 80, thus--
"As I lie propped on my arm
Upon the Atridan housetop, like a dog."
But this idea has always appeared to be more like the curious conceit of
an ingenious philologist, than the natural conception of a great poet.
Supposing the original reading to have been ἀνέκαθεν, the mere accidental
lengthening of the leg of the ν by a hurried transcriber, would give the
word the appearance of γ to a careless scrutinizer; and that this blunder
was actually made the metre proves in Eumen. 361, in which passage,
whatever SEW. may ingeniously force into it, the meaning _from above_
is that which is most in harmony with the context. Besides, in such
matters, I am conservative enough to have a certain respect for tradition.
Note 2 (p. 43).
"The masculine-minded who is sovereign here."
"ἀνδρόβουλον seems to be used here ambiguously, and to be the first hint
of lurking mischief. The gradual development of the coming evil from
these casual hints is one of the chief dramatic beauties of the
Agamemnon."--SEW.
Note 3 (p. 43).
". . . and lift high-voiced
The jubilant shout."
I have strongly rendered the strong term, ἐπορθιάζειν, which would
necessarily suggest to the Greek the high-keyed notes of the νόμος ὄρθιος
mentioned by Herod I. 22, as sung by Arion to the sailors. I think,
however, it is going beyond the mark to say, with SYMMONS, "With loud
acclaim, and Orthian minstrelsy," retaining the word ὄρθιος which is only
suggested, not expressed in the text, and printing it with a capital
letter, as if it were a sort of music as distinct as the Mysian and
Maryandine wailing, mentioned in the Persians. Thus, ὀρθίον κωκυμάτων
φωνή, Soph. Antigone, 1206, means nothing but the voice of shrill wails,
or, as DONALDSON well translates the whole passage,
"The voice of lamentation treble-toned,
Peals from the porch of that unhallowed cell."
Note 4 (p. 43).
"Thrice six falls to me."
That is, the highest throw in the dice. "The dice (_tessera_, κύβοι), in
games of chance among the ancients, were numbered on all the six sides,
like the dice now in use; and three were used in playing. Hence arose
the proverb, ἤ τρὶς ἓξ ἤ τρεῖς κύβοι, _either three sixes or three aces_,
all or none."--Dr. SMITH's Antiq. Dict. _voce_ TESSERA.
Note 5 (p. 43).
"Is laid a seal."
Literally, _a huge ox hath gone_, an expression supposed to be derived
from the figure of an ox, as the symbol of wealth, expressed on an old
coin; in {336} which case, to put the ox on a man's tongue, would be
equivalent to tipping it with silver, that is to say, giving money with
injunction of secrecy. After the expression became proverbial, it might
be used generally to express secrecy without any idea of bribery, which,
as CON. remarks, is quite foreign to this place, and therefore FRANZ
is wrong to translate "_mir verschliesst ein golden Schloss den Mund_."
I follow here, however, HUMBOLDT and SYM. in not introducing the ox
into the text, as it is apt to appear ludicrous; and, besides, the
origin of the expression seems only conjectural.
Note 6 (p. 44).
"Sceptred kings by Jove's high grace."
Διόθεν. "ἐκ δε Διός βασιλῆες," says the theogony. Homer also considers
the kingly office as having a divine sanction, and Agamemnon on Earth
represents Jupiter in Heaven.--ILIAD I. 279; II. 197. And there can
be no doubt that the highest authority in a commonwealth, whether regal
or democratic, has a divine sanction, so long as it is exercised within
its own bounds, and according to the laws of natural justice.
Note 7 (p. 44).
"O'er the lone paths fitful-wheeling."
I have endeavoured to combine both the meanings of ἐκπατιόις which have
any poetical value; that of SYM. _lonely_, and that of KLAUSEN,
_wandering_, and therefore excessive, which CON. well gives "_with a
wandering grief_." The same beautiful image is used by Shelley in his
Adonais.
Note 8 (p. 44).
". . . The late-chastising Fury."
That the divine vengeance for evil deeds comes not immediately, but
slowly, at a predestined season, is a doctrine as true in Christian
theology as it is familiar to the Heathen dramatists. Therefore,
Tiresias, in the Antigone, prophesies to Creon that "the avenging
spirits of Hades and of Heaven, storing up mischief for a future day
(ὑστεροφθόροι), would punish him for his crimes. But when the sword
of Olympian justice is once drawn, then the execution of the divine
judgment comes swiftly and by a short way, and no mortal can stay it."
As the same Sophocles says--
συντέμνουσι γὰρ
θεῶν ποδώκεις τὸυς κακὸφρονας βλάβαι.
ANTIG. V. 1104.
Note 9 (p. 44).
". . . Jove, the high protector
Of the hospitable laws."
As he is the supreme ruler of the physical, so Jove has a providential
supervision of the moral world, and in this capacity is the special
punisher of those who sin (where human laws are weak to reach), by
treachery or ingratitude, as was the case with Paris. This function of
the Hellenic Supreme Deity is often piously recognized by Homer, as in
Odys. XIV. 283--
"But he feared the wrath of Jove, lord of the hospitable board,
Jove who looks from Heaven in anger on the evil deeds of men."
Note 10 (p. 44).
"The powers whose altars know no fire."
ἀπύρων ἱερῶν, "fireless holy things." By "tireless" is here meant, so
far as I can see, not to be propitiated by fire, persons to whom all
sacrificial appeals are vain. Whether the Fates or the Furies are meant
there are no means of ascertaining; for both agree with the tone of
feeling, {337} and with the context; and as they are, in fact,
fundamentally the same, as powers that always act in unison (Eumen. 165
and 949), the reader need not much care. It is possible, however, that
the whole passage may bear the translation of "powers wroth for tireless
altars," _i.e._ neglected sacrifices.--So HUMB. and FR. Nor are we
bound to explain what sacrifices, or by whom neglected; for omission of
religious rites, known or unknown, was a cause, always at hand, with the
ancients, to explain any outpouring of divine wrath. BUCKLEY,
following BAMBERGER and DINDORF, considers that the sacrifice of
Iphigenia is alluded to; which is also probable enough. No commentary
can make clear what the poet has purposely left dark.
Note. 11 (p. 45).
"The oil that knows no malice."
We see in this passage the religious significancy, as it were, of the
oil used in their sacred rites by the ancients; and we may further
remark, with SEW., that "the oil used in religious rites was of great
value. Compare the directions given in the Scriptures for making that
which was used in the service of the Tabernacle," and, generally--see
Leviticus c. ii. for a description of the various kinds of sacred cakes
made of fine flour and oil used in the sacrificial offerings of the
Jews.
Note 12 (p. 45).
"I'll voice the strain."
I have carefully read all that has been written on this difficult
passage, and conclude that it is better to rest contented with the
natural reference of ἀιὼν to the old age of the singer, indicated by
ἐτι, and the previous tone of the Anapests, than to venture with FR.,
HUM., and LINWOOD, on a reference which I cannot but think is more
far-fetched. The line ἀλκὰν σύμφυτος ἀιων is corrupt, and no rigid
rendering of it ought to be attempted. BUCKLEY in a note almost
disclaims his own version.
Note 13 (p. 46).
"The diverse-minded kings."
δυό λήμασι δισσούς. Surely this expression is too distinct and prominent
to be slurred over lightly, as CON. seems inclined to do. I follow my
own feeling of a passage so strongly marked by a peculiar phraseology,
and LINWOOD. It will be observed that, in the Iliad, while Agamemnon
behaves in a high and haughty style to Achilles, Menelaus conducts
himself everywhere, and especially in the case of Antilochus (xxiii.
612), with mildness and moderation, so as justly to allow himself the
boast,
"ὠς ἐμὸς ὀύποτε θυμὸς ῦπερφιάλος κὰι ἀπηνής."
Note 14 (p. 46).
"Winged hounds."
"This is one of those extravagances of expression in which the wild
fancy of Æschylus often indulged, and for which he is rallied by
Aristophanes."--HARFORD. I cannot allow this to pass without remark.
No expression could be more appropriate to picture that singular
combination of the celerity of the bird nature, with the ferocity of the
quadruped, which is described here, and in the Prometheus, in the speech
of Mercury. Besides, in the present case the prophetic style would well
excuse the boldness of the phrase, were any excuse required. HARFORD
has put the tame expression, "Eagles," into his text; but Shelley in his
"Prometheus Unbound," had not the least hesitation to adopt the Greek
phrase.
{338}
Note 15 (p. 47).
"The fair goddess."
ἁ καλὰ, "the beauteous one,"--SEW. An epithet which CON. was surely
wrong to omit, for it is characteristic. To this MÜLLER has called
attention in his _Prolegomena zu einer wissensch; Mythologie_ (p. 75;
edit. 1825) noting the expressions of Sappho, ἀρίστη καὶ καλλίστη, _the
best and the fairest_, as applied to Artemis, according to the testimony
of Pausanias, I. 29. The prominence given by Æschylus here to that
function of Artemis, by which, as the goddess of beauty, she is
protectress of the wild beasts of the forest, is quite Homeric; as we
may see from these three lines of the Odyssey:--
"Even as Artemis, dart-rejoicing, o'er the mountains walks sublime,
O'er the lofty ridge of Taygetus, o'er the Erymanthian steep,
And with gladsome heart beholds the wild boar and the nimble stag."
VI. 102.
According to the elemental origin of mythology, this superintendence
naturally arose from the fact, that Artemis was the Moon, and that the
wild beasts go abroad to seek for prey in the night time.
Note 16 (p. 47).
"I pray thee, Pæan, may she never send."
In the original Ιήἴον παιᾶνα, a well-known epithet of Apollo, as in the
opening chorus of the Œdipus Tyrannos, Ιήϊέ Δάλιε παιάν, containing an
invocation of the Delphic god, quoted by PEILE. From the practice of
frequently invoking the name of the gods in the public hymns, as in the
modern Litanies, the name of the divine person passed over to the song
that voiced his praises--(Iliad I. 473)--and thence became the
appellation--as in the modern word pæan--for a hymn generally--(Proclus
Chrestom. Gaisford. Hephaest., p. 419)--or at least a hymn of jubilee,
sadness and sorrow of every kind being naturally abhorrent from the
worship of the beneficent sun god (p. 72, above).
Note 17 (p. 47).
"Stern-purposed waits the child-avenging wrath."
This passage is obscure in the original, and, no doubt, purposely so,
as became the prophetic style. I do not, therefore, think we are bound,
with SYM., to give the