to which POT., E. P. Oxon., and MÜL. adhere; but I cannot help thinking with Hermann (Opusc. VI. p. ii. 30), that it is rather flat (_matt_) when compared with the other. Which of the two the poet meant cannot perhaps be settled now, as the meaning might depend on the rhetorical accent which the player was taught to give by the poet; but I am certain that the version in the text, sanctioned as it is by WAKEFIELD, SCHÜTZ, HERM., LIN., and PAL. does not deserve to be stigmatised (in E. P.'s language) as "fanciful nonsense." When Clytemnestra calls herself "a dream," she uses the same sort of language which Achilles does to Ulysses regarding his own unsubstantial state as a Shade.--Odys. XI. {377} Note 18 (p. 144). ". . . and seeks For help from those that are no friends to me." I have thought it better to retain the old and most obvious interpretation of this passage; not seeing any proof that προσίκτορες can be used in this general way as applied to the gods who are supplicated, without being affixed as an epithet to some special god; as when we say Ζεὺς ἀφίκτωρ (Suppl. I.) Note 19 (p. 144). CHORUS. Whether Hermann in his "_Dissertatio de Choro Eumenidum_" (Leipzig, 1816) was the first that directed special attention to the peculiar character of this Chorus as indicated by the Scholiast, I do not know (Wellauer says so, and I presume he knew). Certain it is that POT., by neglecting this indication, has lost a great deal of the dramatic effect of this part of the tragedy. The style of the chorus is decidedly fitful and exclamatory throughout, and must have formed a beautiful contrast to the steady stability of the solemn hymn that follows, beginning, "_Mother night that bore me_." As to the particular distribution of the parts of this chorus, that is a matter on which, as SCHOE. remarks, no two critics are likely to agree; nor is minute accuracy in this respect, even if it were attainable, a matter of any importance to the dramatic effect of the composition as now read. The only thing to be taken care of is, that we do not blend in a false continuity what was evidently spoken fitfully, and by different speakers, with a sort of _staccato_ movement, as the musicians express it. This is POT.'s grand error, not only here, but in many other of the choral parts of our poet; and, in this view, some of Hermann's remarks (Opusc. VI. 2, 38) on Müller's division are perfectly just. As for myself, by distributing the parts of the chorus among three voices, I mean nothing more than that these parts were likely spoken by separate voices. Scholefield and Dyer's view (Classical Museum, Vol. I. p. 281), that there were three principal Furies prominent above the rest in this piece, is not improbable, but admits of no proof. In my versification I have endeavoured to imitate the rapid Dochmiacs of the original. Note 20 (p. 145). "Thou being young dost overleap the old."