As they o'er land and ocean take their flight,
'The Argive host of old, who captured Troïa,
These spoils of battle to the Gods of Hellas,
Hung on their pegs, a trophy of old days.'”
[318]. The husband, on his departure, sealed up his special treasures. It was the glory of the faithful wife or the trusty steward to keep these seals unbroken.
[319]. There is an ambiguity, possibly an intentional one, in the comparison which Clytæmnestra uses. If there was no such art as that of “staining bronze” (or copper) known at the time, the words would be a natural phrase enough to describe what was represented as an impossibility. Later on in the history of art, however, as in the time of Plutarch, a process so described (perhaps analogous to enamelling) is mentioned (De Pyth. Orac. § 2) as common. If we suppose the art to have been a mystery known to the few, but not to the many, in the time of Æschylos, then the words would have for the hearers the point of a double entendre. She seems to the mass to disclaim what yet, to those in the secret she acknowledges.
Another rendering refers “bronze” to the “sword,” and makes the stains those of blood; as though she said, “I am as guiltless of adultery as of murder,” while yet she knew that she had committed the one, and meant to commit the other. The possibility of such a meaning is certainly in the words, and with a sharp-witted audience catching at ænigmas and dark sayings may have added to their suggestiveness. The ambiguous comment of the Chorus shows that they read, as between the lines, the shameful secret which they knew, but of which the Herald was ignorant.
[320]. The last two lines are by some editors assigned to the Herald.
[321]. It need hardly be said that it is as difficult to render a paronomasia of this kind as it is to reproduce those, more or less analogous, which we find in the prophets of the Old Testament (comp. especially Micah i.); but it seems better to substitute something which approaches, however imperfectly, to an equivalent than to obscure the reference to the nomen et omen by abandoning the attempt to translate it. “Hell of men, and hell of ships, and hell of towers,” has been the rendering adopted by many previous translators. The Greek fondness for this play on names is seen in Sophocles, Aias, v. 401.
[322]. Zephyros, Boreas, and the other great winds were represented in the Theogony of Hesiod (v. 134) as the offspring of Astræos and Eôs, and Astræos was a Titan. The west wind was, of course, favourable to Paris as he went with Helen from Greece to Troïa.