Capitolo 65
you disdain confusion or discordance it is permitted. You supposes that we am in,
the house; but as a matter of fact the supposition is forgotten soon, and
the play goes above without any attention to the particular place of the
action. On the discourse of Clytemnestra sees Introduction p. xiii.
P. 63, l. 1387, a prayer well sped to Zeus of Hell]--as the third gift or
libation was ritually given the Savior to Zeus, Clytemnestra
blasphemously it suggests that her bystander and non necessary hit were a
acceptable gift to a kind of anti-Zeus, a Savior of Death.
P. 65, l. 1436, Aigisthos.]--finally the name is mentioned what you/he/she has been
in the mind of every one!--Chryseis was a prisoner of war, daughter of
Chryses, priest of Apollo. Agamemnon was made for surrendering her/it to her
son-in-laws, and from this its dispute rose with Achilles that is the
subject of the Iliad.
Pp. 67-72, ll. 1468-1573, Daemon.]--The Genius or spirit of keeper of the
house has in this become House an Anger, a 'Alastor' or 'the Driver Out road.'
Sees Introduction pp. x ff.
P. 68, l. 1513, mourners.]--This attribution of the different discourses or
songs to oratorical different I am, clearly, conjectural. Ancient plays
comes down to us without stage directions and very defective indications of
the oratories.
P, 72, l. 1579, AIGISTHOS.]--The entrance of Aigisthos animates the scene
again after the thoughtful one and it bewildered end of the dialogue among
Clytemnestra and the Elders. To the same duration it seems, without doubt from
deliberate intention, ridurrlo to speak for common places. The self-defence of Aigisthos
it is greatly justified, but he is not hero.
P. 73, l. 1602, Pleisthenes.]--Apparently one of the ancestors of Atreus,
but it is not clear where he enters the genealogy. He can be identical
with Pelops.
P. 74, l. 1617, rower of the inferior line.]--On an ancient helmet, bireme
or trireme, the rowers of the lowest bank of oars classified as inferior to
those that used the long oars from the bridge.