[421] The hurried obsequies probably do not fall into this category. We are almost certainly to assume that as Alcestis’ sacrifice is to be made on a certain day, that day must see her not only expire, but actually delivered up to the power of death. See Dr. H. W. Hayley’s _Introduction_ to the play (pp. xxxi _sq._) and my _Riddle of the Bacchæ_, pp. 143 _sq._ [422] I cannot write with decision about the _Alcestis_, because on the one hand universal testimony and opinion date it as only seven years anterior to the _Medea_, while my own instinct would put it quite twenty years earlier than that play. To me it reads essentially like the work of a young but highly-gifted playwright who has recently lost his wife. [423] These celebrated lines (vv. 230-51) are not in character. They form a splendid and moving criticism of the attitude adopted by the poet’s own Athenian contemporaries towards women, but have only a very partial application to herself. [424] (i) In vv. 1231-5, there is a very clear dittography. That is, either 1231-2, or 1233-5 would serve excellently as a speech of the chorus-leader; but it is unlikely that the poet meant both to be used; (ii) vv. 1236-50 read like another and far shorter version of the great soliloquy 1021-80; (iii) it seems odd that Medea, after finally gaining courage to slay her children, should before doing so, be seen again and join in conversations; (iv) vv. 1375-7 give the impression (as Dr. Verrall has pointed out) that the play is to end, not as it does, but with some kind of arrangement between Medea and Jason; (v) one or two ancient quotations purporting to come from this play are not to be found in our texts. [425] See pp. 21 _sq._ [426] v. 389 _sqq._ [427] _Poetic_, 1454_b_. [428] _Four Plays of Euripides_, pp. 125-30. [429] vv. 1381-3. [430] v. 472: ἀναίδεια. [431] v. 364: κακῶς πέπρακται πανταχῇ· τίς ἀντερεῖ; [432] vv. 801 _sq._ [433] v. 450. [434] v. 1367. [435] vv. 944 _sq._ Two MSS., however (followed by Murray), give the second line to Medea. [436] v. 349: αἰδούμενος δὲ πολλὰ δὴ διέφθορα. [437] vv. 309 _sq._ [438] v. 454. [439] vv. 930 _sq._ [440] vv. 824-45. [441] vv. 1081-1115. [442] _Arrangement_: protagonist, Iolaus, Eurystheus; deuteragonist, Demophon, Alcmena; tritagonist, Copreus, Macaria, attendant, messenger. There were a great number of mutes: Acamas, the sons of Heracles, and probably some Athenian soldiers. [443] It has only 1055 lines, but there are probably gaps in our text. [444] This name is not mentioned by Euripides. The scholiasts have taken it from _Iliad_, XV, 639. [445] In the Peloponnesian war. The Spartans were believed the descendants of Hyllus and his brothers. [446] Professor Murray, however, supposes another lacuna here, and thinks there were two semi-choruses, one party supporting Alcmena, the other disagreeing. [447] Even in ancient times it seems to have enjoyed little attention. [448] v. 638. [449] v. 625. [450] vv. 9 _sq._, 540.