[241] Not quite, however. The poet is to depict a man, with whom we are to sympathize, almost in the act of slaying his mother. Not only Orestes, but the spectator also, needs as much spiritual fortification as can be provided.
[242] vv. 313: δράσαντι παθεῖν.
[243] Arrangement.—Croiset gives: protagonist, Orestes; deuteragonist, Apollo; tritagonist, Athena, priestess, ghost of Clytæmnestra. This grouping is certainly right, but it is not easy to suppose that the part of Athena was given to the tritagonist. It seems better to give Athena, etc., to the protagonist, Apollo to the second, and Orestes to the third actor.
[244] Probably the eccyclema was used. See pp. 66-8.
[245] vv. 517-9:—
ἔσθ’ ὅπου τὸ δεινὸν εὖ
καὶ φρενῶν ἐπίσκοπον
δεῖ μένειν καθήμενον.
[246] The actual rule of the Areopagite Court was that if the votes were even the defendant was acquitted. This rule was explained as derived from the “Vote of Athena” in the trial of Orestes. It seems then that Athena’s vote here makes inequality, not equality. Therefore her pebble is not put into either urn, but laid between them.
[247] It is implied by the title of the drama that they assume the title Eumenides or “Gracious Ones,” but this title is not used in the play itself. Their most usual name was Σεμναί, “Awful Ones”.