"With her black horn she buts him.
What is that wrapt round his head?"
But, though there is some colour for this translation in the old
Scholiast, I think the reader will scarcely judge very favourably of it,
after considering what PEILE and CON. have judiciously said on the
point. As for authority, {353} all the translators, except MED. and
HUMB., from POT. downwards, English and German, are with me. It is
scarcely necessary to remark against Harford's squeamishness, that the
bull in ancient symbolical language (see poets and coins, _passim_) was
an animal in every respect as noble and kingly as the lion and the eagle
still remain.
Note 76 (p. 75).
"Crieth Itys! Itys! aye."
Procne and Philomele, according to one of the most familiar of old Greek
legends, were daughters of Pandion, king of Athens; and one of them
having been given in marriage to Tereus, a king of the Thracians, in
Daulis, who, after the marriage, offered violence to her sister--the
result was, that the wife, in a fit of mad revenge, murdered her own son
Itys, and gave his flesh to her husband to eat; and, being afterwards
changed into a nightingale, was supposed in her melodious wail
continually to repeat the name of this her luckless offspring.
Note 77 (p. 75).
"The thick blossoms of its woe."
ἀμφιθαλῆ κακοῖς βίον. I hope this expression will not be considered too
strong by those who consider as well the general style of our poet, as
the ὁρῶμεν ἀνθουν πέλαγος Ἀιγᾶιον νεκρ(ο)ις, v. 645 of this play (see
my translation, _supra_, p. 61), and the μανίας δεινόν ὰποστάζει ἀνθηρόν
τε μένος of Sophocles.--Antig. v. 960.
Note 78 (p. 77).
"Soon my reeking heart shall cast."
If the reader thinks this a bold phrase, he must bear in mind that it
is Cassandra who speaks, and Æschylus who writes. The translation,
indeed, is not literal, but the word "θερμόνους," as CON. says, "has
all the marks of genuineness," and I was more afraid of weakening it
in translation than of exaggerating it. Other translations are--
"And I my warm blood soon on earth shall pour."--SYM.
"But I shall soon press my hot heart to Earth."--CON.
"Ich aber stúrze bald zur Erd im heissen Kampf."--FR.
"Ich aber sinke bald im heissen Todeskampf."--DROYS.
Note 79 (p. 77).
"Waves shall it dash from the west in the sun's face."
"The beauty of this image can only be properly appreciated by those
who have observed the extraordinary way in which the waves of the sea
appear to rush towards the rising sun."--English Prose Tr. Oxon.
Note 80 (p. 77).
". . . though I should wedge them
As stark as ice?"
I read πῆγμα with WELL. and the majority of editors and translators.
SYM., who is sometimes a little too imperative in his style, calls
this to "obtrude an unnecessary piece of frigidity or fustian on
Æschylus." The reader, of course, will judge for himself; but there
are many things in our poet more worthy of the term "fustian" than the
word πῆγμα, applied to ὁρκος.
Note 81 (p. 78).
"Implacable breath of curses on her kin."
WELL. forgets his usual caution, when he receives ἄρην into his text,
and rejects ἀρὰν, the reading of the MS. It is paltry to object to the
phrase {354} ἄσπονδον ἀρὰν in an author like Æschylus. FRANZ receives
the emendation of LOBECK, modified into Ἄρη.
Note 82 (p. 80).
"Bravely thou praisest; but the happy hear not
Such commendations."
I have here, in opposition to FR., SYM., MED., and even the
cautious WELL., reverted to the original order of this and the next
line, as they appear in the MSS., being chiefly moved by what is said
by CON. "The words ὰλλ ἐυκλεῶς τοι κατθαν(ε)ιν χάρις βροτῷ could
never have been put by Æschylus into the mouth of Cassandra, who is as
far as possible from cherishing the common view of a glorious death,
and, indeed, shows in her next speech very plainly what feelings such
a thought suggests to her."
Note 83 (p. 80).
"Not with vain screaming, like a fluttering bird."
"Fearing a wild beast about its nest," says the Scholiast; fearing the
fowler with "its limed wings," says MED. The original is short and
obscure; but there is no need of being definite; nothing is more common
than to see a bird fruitlessly fluttering about a bush, and uttering
piteous cries. A fit image of vain lamentation without purpose or
result.
Note 84 (p. 81).
". . . From bad to worse
Our changes run, and with the worst we end."
This translation is free, because it did not occur to me that the
laconism of the Greek, if literally translated, would be sufficiently
intelligible. I have no doubt as to the correctness of this version of
a passage which is certainly not a little puzzling at first sight. Two
phases of human life are spoken of in the previous lines; one is the
change from prosperity to adversity, the other, from adversity down to
utter ruin and death. The preference expressed in the line καὶ ταῦτ
ἒκέινων κ.τ.λ. can refer to nothing but these two. So PEILE and
CON.; and there is a terrible darkness of despair about Cassandra's
whole tone and manner, which renders this account of human life
peculiarly natural in her parting words.
Note 85 (p. 81).
"Who of mortals will not pray."
The line τίς ἀν ἔυξαιτο βροτῶν ἀσιν(ε)ι, being deficient in metre, one
may either supply ὄυκ, with CANTER., which gives the meaning expressed
in the text, or, retaining the affirmative form, read βροτός, ὤν, with
BOTH. and FR., which gives an equally good sense thus--
"Who of mortals then may hope
To live an unharmed life, when he
Fell from such height of honor?"
so POT., MED., HUMB., DROYS., FR., and VOSS.
Note 86 (p. 81).
"Weave we counsel now together, and concert a sure design."
I follow MÜLLER here in dividing the Chorus among twelve, not fifteen
speakers. The internal evidence plainly points to this; and for any
external evidence of scholiasts and others in such matters, even if it
were uncontradicted, I must confess that I think it is worth very
little.
{355}
Note 87 (p. 82).
"So wisely spoken."
Most lame and impotent conclusion!--so the reader has no doubt been all
the while exclaiming. Our great poet has here contrived to make one of
the most tragic moments of the play consummately ridiculous; and it is
in vain to defend him. No doubt, old men are apt enough to be
irresolute, and to deliberate, while the decisive moment for action
slips through their fingers. So far in character. But why does the poet
bring this vacillation so laboriously forward, that it necessarily
appears ludicrous? This formal argumentation turns the character of the
Chorus into caricature. Nor will it do to say with CON. that this
impotent scene was "forced on Æschylus, by the fact of the existence of
a Chorus, and the nature of the work he had to do." A short lyrical ode
might have covered worthily that irresolution, which a formal
argumentation only exposes. No one blames the Chorus for doing nothing;
that is all right enough; but every one must blame the poet for making
them talk with such a show of solemn gravity and earnest loyalty about
doing nothing.
Note 88 (p. 82).
"Here, where I struck, I take my rooted stand
Upon the finished deed."
The natural attitude of decision. So when Brutus administered the
famous oath to the Roman people, "_neminem Romæ regnare passuros_," he
and his colleagues are described by Dionysius (V. 1) as σταντες ἐπι των
τομίων.
Note 89 (p. 83).
"Thou hast cast off: thou hast cut off
Thine own husband."
I have endeavoured to express the repetition of the _off_ three times
as in the original; but the Greek is far more emphatic, the repetition
taking place in the same line, ἀπέδικες, ἀπέταμες ἀπόπολις δ ἕσῃ.
Note 90 (p. 83).
"But mark my words."
There is much difficulty in settling the reading and the construction
of the Greek here; but having compared all the translations, I find
that, from POT. down to MED. and FR., substantially the same
sentiment is educed. SYM. who praises BLOM.'s arrangement, gives--
"Threaten away, for I too am prepared
In the like manner. Rule me if thou canst,
Get by thy hand the mastery--rule me then.
But if," etc.
WELL. whom I follow, and who objects to BLOM.'s construction,
gives--
"Jubeo antem te, quum et ego ad similes minas paratas sim, victoria vi
reportata, mihi imperare; sin minus, et si contraria Dii perfecerint,
damno edoctus sero sapere disces."
Note 91 (p. 84).
"And thine eyes with fatness swell."
I do not know whether I may not have gone too far in retaining the
original force of λίπος in this passage. I perceive that few of the
translators, not even SEW., so curious in etymological translation,
keep me in countenance. However, I am always very loath to smooth down
a strong phrase in Æschylus, merely because the modern ear may think it
gross. In this case, I am glad to find that I am supported by DROYS.
"Ueber dem Auge glänzt fett Dir das Tropfenblüt,"
though my rendering is a little more free.
{356}
Note 92 (p. 84).
STROPHE I. In the arrangement of the following lyric dialogue, I have
followed BUT., BLOM., and PEILE, in opposition to that given by
HERM., WELL., and FR., not for any metrical reasons sufficiently
strong to influence me either one way or other in constituting the text;
but because I find the sense complete and continuous after νῦν δε
τελειάν, and this alone is a sufficient reason why I, in my subordinate
function of a translator, should not suppose anything to have fallen out
of the text in this place. How much, however, we are all in the dark
about the matter appears from this, that in the place where BLOM. and
PEILE suppose an immense _lacuna_, the sense in the mouth of
Clytemnestra νῦν δ᾽ ὤρθωσας runs on with a continuous allusion to the
preceding words of the Chorus. For which reason I have not hinted the
existence of an omission, nor is it at all likely that the reader has
lost much. These are matters which belonged to the ancient symmetrical
arrangement of the Chorus before the eyes and ears of the spectators,
and which I much fear it it impossible for us, readers of a dry MS., to
revive at this time of day.
Note 93 (p. 85).
"O god that o'er the doomed Atridan halls."
I am afraid I stand alone, among the translators, in translating δαῖμον
in this and similar places, by the English word _god_; but persuaded as
I am that the English words _Fiend_ and _Demon_ are steeped in modern
partly Gothic, partly Christian associations of a character essentially
opposed to the character and genius of the Greek theology, I choose
rather to offend the taste than to confound the judgment of my reader in
so important a matter. The Greeks habitually attributed to their _gods_
actions and sentiments, which we attribute only to devils and demons.
Such beings (in the English sense) were, in fact, altogether unknown to
the Greeks. Their gods, as occasion required, performed all the
functions of our Devil; so that, to use a familiar illustration, instead
of the phrase, _what the devil are you about?_ so familiar to a genuine
English ear, the Athenians would have said, _what the god are you
about?_ Hence the use of δαιμόνιε in Homer.
Note 94 (p. 86).
"The unrelenting old Alastor."
Along with SYM. and CON. I retain the Greek word here, partly from
the reason given in the previous note with regard to δαίμων, partly
because the word is familiar to many poetical ears from Shelley's
poetry, partly, also, because I take care so to explain it in the
context, that it cannot be misunderstood by the English reader. The
Greek word ἀλάστωρ means an _evil genius_. Clement of Alexandria, in a
passage quoted by SYM. (Protrept c. II.) classes the Alastors of the
ancient tragedy with the Furies and other terrible ministers of heaven's
avenging justice. About the etymology of the word the lexicographers
and critics are not agreed. Would there be any harm in connecting it
with ἀλαστέω (Il. XII. 163), and ἐπαλαστέω (Odys. I. 252), so that it
should signify _an angry or wrathful spirit_.
Note 95 (p. 88).
"Falling he fell, and dying died."
I have here taken advantage of a Hebraism familiar, through the pages
of the Bible, to the English ear, in order to give somewhat of the
force of the fine alliteration in the original κάππεσε, κάτθανε. καὶ
καταθάψομεν. In the next three lines I have filled up a blank in the
text, by what must obviously have been the import of the lost lines,
if, indeed, PALEY, KLAUSEN, and CON. are not rather right in not
insisting on an exact response of stanza to stanza in the anapæstic
systems of the musical dialogue.
{357}
Note 96 (p. 88).
"While great Jove lives."
μίμνοντος ὲν χρόνῳΔιὸς. "The meaning is sufficiently plain, if we do
not disturb it by any philosophical notions about the difference
between time and eternity."--CON. The reader will note here the grand
idea of retributive justice pursuing a devoted family from generation
to generation, and, as it were, entailing misery upon them, concerning
which see Sewell's remarks above, p. 349. Sophocles strikes the same
keynote in the choric chaunt of the Antigone, ἀρχαῖα τα Δαβδακιδᾶν
ὄικων ὁρῶμαι.
Note 97 (p. 90).
". . . in a separate dish concealed
Were legs and arms, and the fingers' pointed tips."
Editors have a great difficulty in settling the text here; but there is
enough of the meaning visible--especially when the passage is compared
with Herod. I. 119, referred to by SCHÜTZ--to enable the translator
to proceed on the assumption of a text substantially the same as that
given by FR., where the second line is supplied--
Τὰ μὲν ποδήρη και χ(ε)ρων ἄκρους κτένας
[Ἔθετο κάτωθεν πὰντα συγκρύψας τὰ δ ἀυ]
Ἔθρυπτ ἄνωθεν ὰνδρακὰς καθημένοις
Ἄσήμ᾽· ὁ δ ἄυτῶν ἀυτικ᾽ αγνόιᾳ λαβὼν.
The reader will observe that in these and such like passages, where,
after all the labours of the learned, an uncertainty hangs over the
text, I think myself safer in giving only the general undoubted meaning
that shines through the passage, without venturing on the slippery
ground of translating words of which the proper connection may be lost,
or which, perhaps, were not written at all by the poet.
Note 98 (p. 90).
". . . while with his heel he spurned
The supper."
I quite agree with CON. that there is not the slightest reason for
rejecting the natural meaning of λακτίσμα δείπνου in this passage. Such
expressions are quite Æschylean in their character, and the analogy of
the feast of Tereus in Ovid, Met. VI. 661,
"Thracius ingenti mensas clamore repellit,"
adduced by CON. is very happy. To push the table away, whether with
hand or heel, or with both, in such a case, is the most natural action
in the world.
Note 99 (p. 90).
"And no diviner vends more potent balms
To drug a doting wit."
I have here expanded the text a little, to express the whole force of
the Greek word Ἱατρομάντεις, concerning which see Note to the Eumen. v.
62, below.
Note 100 (p. 91).
"Ho! my gallant co-mates, rouse ye!"
These two lines in the mouth of the Chorus make a good consecutive
sense; but the symmetrical response of line to line, so characteristic
of Greek tragedy, has led HERM., WELL., and the other editors of
note, to suppose that a line from Ægisthus has fallen out between these
lines of the Chorus. Blanks of this kind, however, the translator will
wisely overlook, so long as they do not seriously disturb the sense.