ows that [Greek: moi] is the true
reading, as in vs. 54, [Greek: to pragma d' aporos eiche Tyndareoi patri],
and 370.

[89] There is much doubt about the reading of this part of the chorus. See
Dind. and ed. Camb.

[90] I have partly followed Abresch in translating these lines, but I do
not advise the reader to rest satisfied with my translation. A reference to
the notes of the elegant scholar, to whom we owe the Cambridge edition of
this play, will, I trust, show that I have done as much as can well be done
with such corrupted lines.

[91] Achilles is supposed to lay his hand on his sword. See however ed.
Camb.

[92] Obviously a spurious line.

[93] I have punctuated with ed. Camb.

[94] See ed. Camb.

[95] [Greek: euphemesate] here governs two distinct accusatives.

[96] The Cambridge editor here takes notice of Aristotle's charge of
inconsistency, [Greek: hoti ouden eoiken he hiketeuousa] [Iphigenia]
[Greek: tei hysterai]. He well remarks, that Iphigenia at first naturally
gives way before the suddenness of the announcement of her fate, but that
when she collects her feelings, her natural nobleness prevails.

[97] Cf. Lucret. i. 88. "Cui simul _infula_ virgineos _circumdata_ comtus,
Ex utraque pari malarum parte profusa est."

[98] Read [Greek: pagas] with Reiske, Dind. ed. Camb. There is much
corruption and awkwardness in the following verses of this ode.

[99] On the sense of [Greek: memone] see ed. Camb., who would exclude
[Greek: di' emon onoma].

[100] Cf. Soph. Ant. 806 sqq. The whole of this passage has been admirably
illustrated by the Cambridge editor.

[101] There is much awkwardness about this epithet [Greek: patroiai]. 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, Praef. 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 AElian 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 Matthiae and Dindorf agree.

[103] An allusion to the celebrated picture of Timanthes. See Barnes.

[104] I have done my best with this passage, following Matthiae's
explan