Pp. 120-124, ll. 810 ff.--This scene of the 'hypnotising'--if one may use the word--of Pentheus probably depends much on the action, which, however, I have not ventured to prescribe. Pentheus seems to struggle against the process all through, to be amazed at himself for consenting, while constantly finding fresh reasons for doing so. P. 121, l. 822, Am I a woman, then?]--The robe and coif were, in the original legend, marks of the Thracian dress worn by the Thracian followers of Dionysus, and notably by Orpheus. The tradition became fixed that Pentheus wore such a robe and coif; and to the Greeks of Euripides' time such a dress seemed to be a woman's. Hence this turn of the story (cf. above, p. 167). P. 125, ll. 877-881.--The refrain of this chorus about the fawn is difficult to interpret. I have practically interpolated the third line ("To stand from fear set free, to breathe and wait"), in order (1) to show the connection of ideas; (2) to make clearer the meaning (as I understand it) of the two Orphic formulæ, "What is beautiful is beloved for ever," and "A hand uplifted over the head of Hate." If I am wrong, the refrain is probably a mere cry for revenge, in the tone of the refrain, "Hither for doom and deed," on p. 132. It is one of the many passages where there is a sharp antagonism between the two spirits of the Chorus, first, as furious Bacchanals, and, secondly, as exponents of the idealised Bacchic religion of Euripides, which is so strongly expressed in the rest of this wonderful lyric. P. 127, l. 920, Is it a Wild Bull, this?]--Pentheus, in his Bacchic possession, sees fitfully the mystic shapes of the God beneath the human disguise. This second-sight, the exaltation of spirit, and the feeling of supernatural strength come to Pentheus as they came to the two Old Men. But to them the change came peacefully and for good; to Pentheus it comes by force, stormily and for evil, because his will was against the God. P. 131, l. 976, O hounds raging and blind.]--_i.e._ Spirits of Madness. This lyric prepares us for what follows, especially for Agâvê's delusion, which otherwise might have been hard to understand. I have tried to keep the peculiar metre of the original, the dochmiac, with a few simple licences. The scheme is based on u-- --u-- or --uu --u-- the latter being much commoner. P. 133, ll. 997-1011.--The greater part of this chorus is generally abandoned as unintelligible and corrupt. The last ten lines ("Knowledge, we are not foes," &c.) will, I think, make sense if we accept a very slight conjecture of my own, [Greek: aentôn], "let them blow", instead of the impossible [Greek: aei tôn]. The four lines before that ("A strait pitiless mind," &c.) are an almost literal translation of the MS. reading, which, however, is incorrect in metre, and therefore cannot be exactly what Euripides wrote. P. 134, l. 1036, And deem'st thou Thebes so beggared.]--The couplet is incomplete in the MS. But the sense needed is obvious.