[279]. The comparison of a lion's whelps to dew-drops, bold as the figure is, has something in it analogous to that with which we are more familiar, describing the children, or the army of a king, as the “dew” from “the womb of the morning” (Ps. cx. 3).
[280]. The sacrifice, i.e., was to be such as could not, according to the customary ritual, form a feast for the worshippers.
[281]. The dark words look at once before and after, back to the murder of the sons of Thyestes, forward, though of this the seer knew not, to the sacrifice of Iphigeneia. Clytæmnestra is the embodiment of the Vengeance of which the Chorus speaks.
[282]. As a part of the drama the whole passage that follows is an assertion by the Chorus that in this their trouble they will turn to no other God, invoke no other name, but that of the Supreme Zeus. But it can hardly be doubted that they have a meaning beyond this, and are the utterance by the poet of his own theology. In the second part of the Promethean trilogy (all that we now know of it) he had represented Zeus as ruling in the might of despotic sovereignty, the representative of a Power which men could not resist, but also could not love, inflicting needless sufferings on the sons of men. Now he has grown wiser. The sovereignty of Zeus is accepted as part of the present order of the world; trust in Him brings peace; the pain which He permits is the one only way to wisdom. The stress laid upon the name of Zeus implies a wish to cleave to the religion inherited from the older Hellenes, as contrasted with those with which their intercourse with the East had made the Athenians familiar. Like the voice which came to Epimenides, as he was building a sanctuary to the Muses, bidding him dedicate it not to them but to Zeus (Diog. Laert. i. 10), it represents a faint approximation to a truer, more monotheistic creed than that of the popular mythology.
[283]. The two mighty ones who have passed away are Uranos and Cronos, the representatives in Greek mythology of the earlier stages of the world's history, (1) mere material creation, (2) an ideal period of harmony, a golden, Saturnian age, preceding the present order of divine government with its mingled good and evil. Comp. Hesiod. Theogon., 459.
[284]. The Chorus returns, after its deeper speculative thoughts, to its interrupted narrative.
[285]. The seer saw his augury fulfilled. When he uttered the name of Artemis it was pregnant with all the woe which he had foreboded at the outset.
[286]. So that the blood may fall upon the altar, as the knife was drawn across the throat.
[287]. The whole passage should be compared with the magnificent description in Lucretius i. 84-101.
[288]. Beautiful as a picture, and as motionless and silent also. The art, young as it was, had already reached the stage when it supplied to the poet an ideal standard of perfection. Other allusions to it are found in vv. 774, 1300.