This translation is free, because it did not occur to me that the laconism of the Greek, if literally translated, would be sufficiently intelligible. I have no doubt as to the correctness of this version of a passage which is certainly not a little puzzling at first sight. Two phases of human life are spoken of in the previous lines; one is the change from prosperity to adversity, the other, from adversity down to utter ruin and death. The preference expressed in the line καὶ ταῦτ ἒκέινων κ.τ.λ. can refer to nothing but these two. So PEILE and CON.; and there is a terrible darkness of despair about Cassandra's whole tone and manner, which renders this account of human life peculiarly natural in her parting words. Note 85 (p. 81). "Who of mortals will not pray." The line τίς ἀν ἔυξαιτο βροτῶν ἀσιν(ε)ι, being deficient in metre, one may either supply ὄυκ, with CANTER., which gives the meaning expressed in the text, or, retaining the affirmative form, read βροτός, ὤν, with BOTH. and FR., which gives an equally good sense thus-- "Who of mortals then may hope To live an unharmed life, when he Fell from such height of honor?" so POT., MED., HUMB., DROYS., FR., and VOSS. Note 86 (p. 81). "Weave we counsel now together, and concert a sure design." I follow MÜLLER here in dividing the Chorus among twelve, not fifteen speakers. The internal evidence plainly points to this; and for any external evidence of scholiasts and others in such matters, even if it were uncontradicted, I must confess that I think it is worth very little. {355} Note 87 (p. 82). "So wisely spoken." Most lame and impotent conclusion!--so the reader has no doubt been all the while exclaiming. Our great poet has here contrived to make one of the most tragic moments of the play consummately ridiculous; and it is in vain to defend him. No doubt, old men are apt enough to be irresolute, and to deliberate, while the decisive moment for action slips through their fingers. So far in character. But why does the poet bring this vacillation so laboriously forward, that it necessarily appears ludicrous? This formal argumentation turns the character of the Chorus into caricature. Nor will it do to say with CON. that this impotent scene was "forced on Æschylus, by the fact of the existence of a Chorus, and the nature of the work he had to do." A short lyrical ode might have covered worthily that irresolution, which a formal argumentation only exposes. No one blames the Chorus for doing nothing; that is all right enough; but every one must blame the poet for making them talk with such a show of solemn gravity and earnest loyalty about doing nothing. Note 88 (p. 82). "Here, where I struck, I take my rooted stand Upon the finished deed." The natural attitude of decision. So when Brutus administered the famous oath to the Roman people, "_neminem Romæ regnare passuros_," he and his colleagues are described by Dionysius (V. 1) as σταντες ἐπι των τομίων.