So in the _Choëphori_ (vv. 351, 476), the custom of pouring libations on the burial-place of the dead is recognised as an element of their blessedness or shame in Hades, and Agamemnon is represented as lacking the honour which comes from them till he receives it at the hand of Orestes. Footnote 385: Incense was placed on the head of the victim. The Chorus tell Clytæmnestra that she has brought upon her own head the incense, not of praise and admiration, but of hatred and wrath, as though some poison had driven her mad. Footnote 386: The species of swan referred to is said to be the _Cygnus Musicus_. Aristotle (_Hist. Anim._ ix. 12) describes swans of some kind as having been heard by sailors near the coast of Libya, “singing with a lamentable cry.” Mrs. Somerville (_Phys. Geog._, c. xxxiii. 3) describes their note as “like that of a violin.” The same fact is reported of the swans of Iceland and other regions of the far North. The strange, tender beauty of the passage in the _Phædo_ of Plato (p. 85, a), which speaks of them as singing when at the point of death, has done more than anything else to make the illustration one of the commonplaces of rhetoric and poetry. Footnote 387: The structure of the lyrical dialogue that follows is rather complicated, and different editors have adopted different arrangements. I have followed Paley's. Footnote 388: Several lines seem to have dropped out by some accident of transcription. Footnote 389: Agamemnon and Menelaos, as descended from Tantalos, the father of Pelops. Footnote 390: In each case women, Helen and Clytæmnestra, had been the unconscious instruments of the divine Nemesis, to which the Chorus traces the ruin of the house of Atreus. Footnote 391: Or, with another reading,— “He (_sc._ the avenging Demon) boasteth in his pride of heart.” Footnote 392: It is characteristic of the teaching of Æschylos that the Chorus passes from the thought of the agency of any lower Power to the supreme will of Zeus. Footnote 393: Or, “Dying, as dies a slave.” Footnote 394: Clytæmnestra still harps (though in ambiguous words, which may refer also to the murder of the children of Thyestes) upon the death of Iphigeneia as the crime which it had been her work to avenge. Footnote 395: Perhaps, “And that, too, not a slave's.” Footnote 396: Here the genealogy is carried one step further to Pleisthenes, the father of Tantalos. Footnote 397: Ægisthos, in his version of the story, suppresses the adultery of Thyestes with the wife of Atreus, which led the latter to his horrible revenge. Footnote 398: The image is taken from the trireme with its three benches full of rowers. The Chorus is compared to the men on the lowest, Ægisthos and Clytæmnestra to those on the uppermost bench. Footnote 399: