en, a new deed of blood coming; a woman in it:
a wife: then, with a great effort, an attempt to describe the actual
slaying in the bath. Lastly, the sight of herself among the slain. (This
last point is greatly developed by Euripides, _Trojan Women_, ll. 445 ff.,
pp. 33 f.).

The story of the Children of Thyestes is given below, ll. 1590 ff., p. 73.
Procne (or Philomela) was an Attic princess who, in fury against her
Thracian husband, Tereus, killed their child Itys, or Itylus, and was
changed into a nightingale, to weep for him for ever.

P. 52, ll. 1178 ff.]--Dialogue. During the lyrics Cassandra has been
"possessed" or "entranced": the turn to dialogue marks a conscious attempt
to control herself and state plainly her message of warning. In order to
prove her power, she first tells the Elders of deeds done in the past
which are known to them but cannot have been known to her. When once they
are convinced of her true seercraft, she will be able to warn them of what
is coming!--The short 'stichom[^y]thia'[**TR: This is a y with a
circumflex, not a superscript.] (line for line dialogue), dealing in awed
whispers with things which can hardly be spoken, leaves the story of
Cassandra still a mystery. Then her self-control breaks and the power of
the God sweeps irresistibly upon her; cf. below, ll. 1256 ff.; where it
comes at her like a visible shape of fire, a thing not uncommon with
modern clairvoyants.

P. 56, l. 1252, Thou art indeed fallen far astray]--Because they had said
"what _man_"

P. 56, l. 1265, These wreathed bands, this staff of prophesy.]--Cf.
_Trojan Women_, ll. 451 ff., p. 34.

P. 60, ll. 1343 ff., The death cry; the hesitation of the Elders.]--This
scene is often condemned or even ridiculed; I think, through
misunderstanding. We knew the Old Men were helpless, like "dreams
wandering in the day." It is essential to the story that when the crisis
comes they shall be found wanting. But they are neither foolish nor
cowardly; each utterance in itself is natural and characteristic, but
counsels are divided. One would like to know whether Aeschylus made them
speak together confusedly, as would certainly be done on the modern stage,
or whether the stately conventions of Greek tragedy preferred that each
speaker should finish his say. In any case, what happens is that after a
moment or two of confused counsel the Elders determine to break into the
Palace, but as they are mounting the steps the great doors are