[101] There is much awkwardness about this epithet πατρωιαι. One would expect a clearer reference to Agamemnon. I scarcely can suppose it correct, although I do not quite see my way in the Cambridge editor's readings. [102] Porson, Præf. ad Hec. p. xxi., and the Cambridge editor (p. 228 sqq.) have concurred in fully condemning the whole of this last scene. It is certain that in the time of Ælian something different must have been in existence, and equally certain that the whole abounds in repetitions and inconsistencies, that seem to point either to spuriousness, or, at least, to the existence of interpolations of a serious character. In this latter opinion Matthiæ and Dindorf agree. [103] An allusion to the celebrated picture of Timanthes. See Barnes. [104] I have done my best with this passage, following Matthiæ's explanation, which, however, I do not perfectly understand. If vs. 1567 were away, we should be less at a loss, but the same may be said of the whole scene. * * * * * * IPHIGENIA IN TAURIS. * * * * PERSONS REPRESENTED. IPHIGENIA. ORESTES. PYLADES. HERDSMAN. THOAS. MESSENGER. MINERVA. CHORUS OF GRECIAN CAPTIVE WOMEN. * * * * * THE ARGUMENT. * * * * Orestes, coming into Tauri in Scythia, in company with Pylades, had been commanded to bear away the image of Diana, after which he was to meet with a respite from the avenging Erinnyes of his mother. His sister Iphigenia, who had been carried away by Diana from Aulis, when on the point of being sacrificed by her father, chances to be expiating a dream that led her to suppose Orestes dead, when a herdsman announces to her the arrival and detection of two strangers, whom she is bound by her office to sacrifice to Diana. On meeting, a mutual discovery takes place, and they plot their escape. Iphigenia imposes on the superstitious fears of Thoas, and, removing them to the sea-coast, they are on the point of making their escape together, when they are surprised, and subsequently detained and driven back by stress of weather. Thoas is about to pursue them, when Minerva appears, and restrains him from doing so, at the same time procuring liberty of return for the Grecian captives who form the chorus. * * * * * IPHIGENIA IN TAURIS. * * * * IPHIGENIA.