[350]. Cassandra is summoned to an act of worship. The household is gathered, the altar to Zeus Ktesios (the God of the family property, slaves included), standing in the servants' hall, is ready. The new slave must come in and take her place with the others.
[351]. As in the story which forms the groundwork of the Trachiniæ of Sophocles, vv. 250-280, that Heracles had been sold to Omphale as a slave, in penalty for the murder of Iphitos.
[352]. Political as well as dramatic. The Eupatrid poet appeals to public opinion against the nouveaux riches, the tanners and lamp-makers, who were already beginning to push themselves forward towards prominence and power. The way was thus prepared in the first play of the Trilogy for what is known to have been the main object of the last. Comp. Arist., Rhet. ii. 32.
[353]. Here again the translator has the task of finding an English paronomasia which approximates to that of the Greek, between Apollo and ἀπόλλων the destroyer. To Apollo, as the God of paths (Aguieus), an altar stood, column-fashion, before the street-door of every house, and to such an altar, placed by the door of Agamemnon's palace, Cassandra turns, with the twofold play upon the name.
[354]. This refers, probably, to the death of Hippodameia, the wife of Pelops, who killed herself, in remorse for the death of Chrysippos, or fear of her husband's anger. The horrors of the royal house of Argos pass, one by one, before the vision of the prophetess, and this leads the procession, followed by the spectres of the murdered children of Thyestes.
[355]. The Chorus, as in their last ode, had made up their minds, though foreboding ill, to let destiny take its course. They do not wish that policy of non-interference to be changed by any too clear vision of the future.
[356]. The Chorus understands the vision of the clairvoyante as regards the past tragedy of the house of Atreus, but not that which seems to portend another actually imminent.
[357]. Fresh visions come before the eyes of the seeress. She beholds the company of Erinnyes hovering over the accursed house, and calls on them to continue their work till the new crime has met with its due punishment. The murder which she sees as if already wrought, demands death by stoning.
[358]. The “yellow” look of fear is thought of as being caused by an actual change in the colour of the blood as it flows through the veins to the heart.
[359]. Here there is prevision as well as clairvoyance. The deed is not yet done. The sacrifice and the feast are still going on, yet she sees the crime in all its circumstances.