[394] The passage is amusing: χαίρει ἀλύων, “he is in a rapture of joy,” is an excellent phrase for this earliest of _maestri_; but, as Dr. Hunt remarks, his audience of one (Cyllene) seems not to share his ecstasy: παραψυκτήριον κείνῳ μόνον. [395] The name is not certain. All that can be asserted is that the tragedy dealt with Eurypylus’ death, in defence of Troy, at the hands of Neoptolemus. [396] See pp. 15-17. [397] See _e.g._ the remarks in Creon’s opening speech (_Ant._ vv. 175-90). [398] _O.T._ 587-8: ἐγὼ μὲν οὖν οὔτ’ αὐτὸς ἱμείρων ἔφυν τύραννος εἶναι μᾶλλον ἢ τύραννα δρᾶν. [399] _Electra_, vv. 328 _sqq._ [400] See p. 16. [401] _Electra_, 303-16. [402] For this and other metrical terms which follow see Chapter VI. [403] There are no less than thirty iambic lines thus divided. The name for such division is ἀντιλαβή. [404] _Phil._ vv. 287-92. [405] _O.C._ 1697, translated by Jebb: “Ah, so care past can seem lost joy!” [406] _Electra_, 1165 _sq._ [407] Dr. J. W. Mackail (_Lectures on Greek Poetry_, p. 150 _sq._) has described these lines with brilliant aptness. “The language is so simple, so apparently unconscious and artless, that its overwhelming effect makes one gasp: it is like hearing human language uttered, and raised to a new and incredible power, by the lips of some one more than human.” [408] _O.C._ 607 _sqq._ The wonderful version of these first few fines is by Professor Gilbert Murray. [409] _Ajax_, 815 _sqq._ [410] _O.C._ 1586 _sqq._ [411] This figure includes the _Rhesus_, the authenticity of which is not certain. [412] It is almost certain that only two actors were employed, Alcestis being mute in the last scene (_i.e._ the character was apparently borne by a supernumerary, not the actor who had delivered her earlier speeches), and the few lines of the child Eumelos being sung by a chorister. Croiset suggests: protagonist, Apollo, Alcestis, Heracles, Pheres; deuteragonist, Thanatos, maidservant, Admetus, attendant. [413] The true explanation, as Dr. Hayley points out, is that the two actors are already engaged (as A. and H.) so that the queen is presented by a mute. I cannot, however, agree that this is “a clumsy device”. Admetus deserved some modification of his delight; we may, moreover, feel that Alcestis would not wish to show precipitation in greeting the husband who had interred her with such strange promptitude. [414] The celebrated “tag” beginning πολλαὶ μορφαὶ τῶν δαιμονίων (vv. 1159-63), which is found also at the close of _Medea_ (practically), _Helena_, _Andromache_, and _Bacchæ_. [415] There are no satyrs and no indecency of language. [416] _E.g._ v. 58: πῶς εἶπας; ἀλλ’ ἦ καὶ σοφὸς λέληθας ὤν; “What! _you_ among the philosophers!” [417] The late Dr. A. W. Verrall’s brilliant theory of this play it will be better to discuss later (see pp. 190 _sq._). [418] vv. 763 _sq._ [419] vv. 280-325. [420] _Euripides the Rationalist_, pp. 1-128.