παντὶ θυμῷ προνωπῆ, literally "_prone with her whole soul;_" "_body and soul,_" as CON. has it. The words are so arranged that it is impossible to determine to what παντὶ θυμῳ refers, whether to the general action λαβεῖν, or to the special position προνωπῆ. Sewell's remark that "there is far more intensity of thought in applying παντὶ θυμῷ to λαβεῖν," may be turned the other way. The phrase certainly must give additional intensity to whichever {341} word it is joined with. The act itself is sufficiently cruel, without adding any needless traits of ferocity. Note 26 (p. 49). ". . . her saffron robe Sweeping the ground." κρόκου βαφὰς εις πέδον χέουσα; "dropping her saffron veil," says SYM.; perhaps rightly, but I see no ground for certainty. The application of κρόκου βαφὰς to the drops of blood seems a modern idea, which has proceeded from some critic who had not poetry enough to understand the application of χέουσα to anything but a liquid. Except in peculiar circumstances, the word κρόκος, as CON. justly observes (see note 73 below), cannot be applied to the blood; and, in the present passage, it is plain the final work of the knife is left purposely undescribed. Note 27 (p. 49). "The virgin strain they heard." I cannot sufficiently express my astonishment that HUMB., DROY., and FR., as if it were a point of Germanism, have all conspired to wrench the ἐτίμα out of its natural connection in this beautiful passage, and to apply the whole concluding clause to the self-devotion of Iphigenia at the altar, rather than to her dutiful obedience at the festal scene just described. The fine poetical feeling of SYM. protested against this piece of tastelessness. "These commentators," says he, "seem to have been ignorant of the poet's intention, who raises interest, pity, and honor to the height, by presenting Iphigenia at the altar, and unveiling herself preparatory to her barbarous execution, on which point of the picture he dwells, contrasting her present situation with her former happiness, her cheerfulness, her songs, and the festivities in her father's house." It is strange that the Germans do not see that ἔυποτμον ἀιῶνα is the most unfortunate of all terms to apply to the condition of Agamemnon, as a sacrificer; while it is most pertinent to his previous fortunes, before his evil destiny began to be revealed in the sacrifice of his beloved daughter. Note 28 (p. 50). ". . . What boots To forecast woe, which, on no wavering wing."