P. 59, ll. 1021 ff., Why does Medea kill her children?]--She acts not for one clearly stated reason, like a heroine in Sardou, but for many reasons, both conscious and subconscious, as people do in real life. Any analysis professing to be exact would be misleading, but one may note some elements in her feeling: (1) She had played dangerously long with the notion of making Jason childless. (2) When she repented of this (l. 1046, p. 60) the children had already been made the unconscious murderers of the princess. They were certain to be slain, perhaps with tortures, by the royal kindred. (3) Medea might take them with her to Athens and trust to the hope of Aegeus' being able and willing to protect them. But it was a doubtful chance, and she would certainly be in a position of weakness and inferiority if she had the children to protect. (4) In the midst of her passionate half-animal love for the children, there was also an element of hatred, because they were Jason's: cf. l. 112, p. 8. (5) She also seems to feel, in a sort of wild-beast way, that by killing them she makes them more her own: cf. l. 793, p. 46, "Mine, whom no hand shall steal from me away;" l. 1241, p, 68, "touched of none beside." (6) Euripides had apparently observed how common it is, when a woman's mind is deranged by suffering, that her madness takes the form of child-murder. The terrible lines in which Medea speaks to the "Wrath" within her, as if it were a separate being (l. 1056, p. 60), seem to bear out this view. P. 59. l. 1038, Other shapes of life.]--A mystical conception of death. Cf. _Ion_, 1067, where almost exactly the same phrase is used. P. 61, l. 1078, I know to what bad deeds, &c.]--This expression of double consciousness was immensely famous in antiquity. It is quoted by Lucian, Plutarch, Clement, Galen, Synesius, Hierocles, Arrian, Simpicius, besides being imitated, _e.g._ by Ovid: "video meliora proboque, Deteriora sequor." P. 63, l. 1123 ff., MESSENGER.]--A pendant to the Attendant's entrance above, l. 1002. The Attendant, bringing apparently good news, is received with a moan of despair, the Messenger of calamity with serene satisfaction. Cf. the Messenger who announces the death of Pentheus in the _Bacchæ_. P. 65, l. 1162, Dead self.]--The reflection in the glass, often regarded as ominous or uncanny in some way. P. 66, l. 1176, The cry turned strangely to its opposite.]--The notion was that an evil spirit could be scared away by loud cheerful shouts--_ololugæ_. But while this old woman is making an _ololugê_, she sees that the trouble is graver than she thought, and the cheerful cry turns into a wail. P. 68, l. 1236, Women, my mind is clear.]--With the silence in which Medea passes over the success of her vengeance compare Theseus' words, _Hip._, l. 1260, "I laugh not, neither weep, at this fell doom." P. 69, l. 1249, Thou shalt weep hereafter.]--Cf. _Othello_, v. ii., "Be thus when thou art dead, and I will kiss thee, And love thee after."