[768] _Odyssey IX._ 105-566. [769] Cp. vv. 549, 672-5, with _Od. IX._ vv. 366, 408-12. [770] Cp. vv. 460-3 with _Od. IX._ 384-8. [771] See p. 2. [772] Anapæsts in other feet than the first, and occasional violations of the rule of the final cretic (see Chapter VI). [773] vv. 316-41. [774] The _arrangement_ of the cast is not clear; perhaps: protagonist, Hector, Odysseus; deuteragonist, Æneas, Rhesus, Diomedes, charioteer; tritagonist, Dolon, herdsman, Athena, Muse. The brief part of Paris may have been taken by Diomedes or Odysseus, possibly by a fourth actor. [775] ἀνθρωποδαίμων (v. 971). [776] vv. 474-84. [777] vv. 546-56. [778] An excellent summary of the evidence (to which I am indebted) is to be found in the _Introduction_ to Professor Murray’s verse-translation. [779] Its author, however, is by no means convinced by them. He gives also interesting information on other points. [780] That is, the two prologues mentioned in the _Argument_ were added for later performances. [781] Another argument on this side, which is perhaps new, lies in the fact that almost all the action takes place at night—an unique feature. The ancient theatre, of course, could not be darkened. It might be urged that the drama was meant for readers only, and so comes from one of the ἀναγνωστικοί of the fourth century (see p. 32). [782] vv. 319-23. [783] vv. 422-53. [784] It suffices to mention Scaliger, Böckh, Hermann, Valckenaer, and Wilamowitz-Moellendorff. [785] Upheld, _e.g._ by Christ and Murray. [786] Schol. on v. 528. [787] vv. 962-73. [788] On the whole question see Mr. W. H. Porter’s excellent paper, “The Euripidean _Rhesus_ in the Light of Recent Criticism” (_Hermathena_, xvii. pp. 348-80), and his useful edition of the play. [789] Cp. pp. 119 _sq._, 165 _sq._ [790] Euripides revises even the diction of his predecessor. Æschylus wrote φαγέδαινα δ’ ἥ μου σάρκας ἐσθίει ποδός; Euripides repeats the line with the verb altered to θοινᾶται (Aristotle, _Poetic_, 1458_b_). [791] vv. 1520-7. [792] _Quomodo historia conscribenda_, § 1. [793] See Hartung’s masterly treatment in _Euripides Restitutus_, II, pp. 344-60. [794] Ruskin, _Mornings in Florence_, I, 14. [795] The statements in this sentence are taken from Hartung, who bases his conception here upon other authors; there are no Euripidean fragments to this effect. [796] Eratosthenes (_Catast._ 15, quoted by Nauck) says: οὐχ εἵλετο τῷ πατρὶ συμμένειν οὐδὲ τῇ μητρί, ἀλλ’ αὐθαίρετος εἰς τὸ Ἄργος ἀπῆλθε μετ’ ἐκείνου εὐγενές τι φρονήσασα. The last three words suggest a scene of irresolution followed by a speech of high resolve, as in the _Iphigenia at Aulis_. [797] I, 33. [798] See Goethe’s enthusiastic and brilliant discussion, _Altgriechische Literatur_ (Works, Vol. V, p. 127, edition of 1837). [799] Hartung’s brilliant sketch of Phaethon’s character (_Eur. Restitutus_, II, pp. 192 _sq._), however imaginary, will be read with interest. [800] This is an acute suggestion of Goethe.