^{page 240 note 1} I correct the MS. … Ath. Pol. p. 8 Sandys … Plat. Theaet. 189 E .

^{page 240 note 2} Add this to the Dictionaries.

^{page 240 note 3} Kaibel, or .

^{page 241 note 1} κἃν in one MS. wrongly as in Soph. Trach. 1108; κἃν followed by γε means ‘even though …, yet …

^{page 241 note 2} Though the object is not here regarded as deterrent: compare Lysias 105.

^{page 242 note 1} ; in Alexis 116. 14 is the Attic. In P. V. 786 Messrs. Sikes and Willson have restored: .

^{page 243 note 1} This is Karsten's correction of the MS. which cannot bear the sense attributed to it here; that would be . But is used only in the following senses: (1) to get reputation, with or without an epithet, or with a genitive reputation of or for; as etc., (2) to conceive a notion (of), entertain a conception (of), as . But αξαν or is to state mere opinion as opposed to knowledge: λκ∘ιμι is a stronger synonym of λγ∘ιμι, and now the emphasis falls where it should, on λξαν.—In that passage the old men assume she has only ordinary woman's reasons, dream or rumour, as in Eur. Hel. 1190 of which fantastic explanations have been given, means a winged, or metaphorically a wing-swift rumour. Φμη, fama, was a thing that flew.

^{page 243 note 2} Mr. Margoliouth gave the lines to Clytemnestra, reading ὢν for ὡς: ‘cur ut feminae nobili ? neque enim alii euiquam indecorus fuisset.’

^{page 243 note 3} Eur. Cycl. 498 ; Eupolis fr. 220 . Ar. Eccl. 962, 990, Nicet. Eugen. 4. 245, 268, 6. 528.

^{page 243 note 4} ‘this woman, in professions so noble,’ Sir R. Jebb: I ïncline to the other interpretation ‘this so-called noble lady’, as in Eur. El. 326 Aegisthus is to Electra .

^{page 244 note 1} Ending : this, as I learn from Burton, is the regular metaphor in Arabic; firâsah, their word for physiognomy, means properly ‘skill in judging the points of a mare (faras),’ an eye for horseflesh. The metaphor in Greek was derived, I suppose, from a common Oriental source.

^{page 246 note 1} And ‘nearer’ as they come nearer to fulfilment, Plut. Mor. 85 E. Eur. H.F. 763 ‘has arrived,’ Or. 851 …, whereas in Ag. 808 merely, without practical fulfilment.

^{page 246 note 2} This is the meaning of κνος in Ag. 996, synonymous with εὐλβεια and the opposite of λπς or θρσος. ‘Let Caution then fling concern for the lading overboard from the sling (‘derrick’) of due Measure’.

^{page 246 note 3} If punctuated as one clause, this would surely he ?

^{page 246 note 4} Something to this effect might well have been said by Orestes at the beginning of the Choephoroe, after v. 3 for instance.

^{page 246 note 5} This is the object of the whole chorus which has been supposed irrelevant; it is a remoter variation on the theme.—The comparison to Perseus is particularly appropriate; that much-honoured Argive hero was got out of the way by Polydectes just as Orestes by Aegisthus; sped by Hermes, slew Medusa; was then pursued by the winged Gorgons (cf. Eum. 48); and eventually slew the murderer and usurper Proetus and recovered the Kingdom of Argos.

^{page 246 note 6} Some would have καλς of the MS. to mean καλς by an irony; but the genitive was taken to depend not on ἰατρς but on λπς: schol. : this view would naturally lead to writing καλς. The genitive must depend on ἰατρς, as in Aesch. fr. 255, Pind. N. 4. 2, Eur. El. 69, and βακχεας seems to want a definite qualification. She might have said , as Cassandra in Agam. 1234 calls Clytemnestra , which, is rightly explained by Conington.

^{page 247 note 1} May not the plural be merely complimentary, politely referring to Pylades as though he were ‘a retinue’ ?

^{page 247 note 2} Anciently the daughter of the house might even give the stranger his bath (see Ath. 10 e), but in Tragedy such offices are assigned to slaves: Eur. Alc. 563, El. 360.

^{page 249 note 1} One of the main ideas that run through the Choephoroe is the change from Darkness to Light; ‘The night is departing’ is the burden of the final chorus. Sophocles has used this in a different way: in the opening scene of the Electra the points out that it is morning and the black night has departed; and the audience, familiar with the play of Aeschylus, would perceive that morning symbolized the arrival of Orestes under the guidance of Apollo.—The sudden change from darkness to light, symbolizing spiritual ‘light,’ and the light of Heaven, was what was shown to the initiated in the Mysteries; it was preceded by φρκη and τρμ∘ς, see e.g. Themistius in Stob. Flor. 120. 28. I cannot help thinking that this would be suggested to the audience by the language of Cho. 448–63 and perhaps 959 sqq.

^{page 249 note 1} Liban. IV 727 . Here κα θάων is merely a synonym of the phrase , Dem. 831. 10 Ael. V. H. 3. 17 , Hdt. 3. 135, Plat. Legg. 799 c.