[411] This figure includes the Rhesus, the authenticity of which is not certain.
[412] It is almost certain that only two actors were employed, Alcestis being mute in the last scene (i.e. the character was apparently borne by a supernumerary, not the actor who had delivered her earlier speeches), and the few lines of the child Eumelos being sung by a chorister. Croiset suggests: protagonist, Apollo, Alcestis, Heracles, Pheres; deuteragonist, Thanatos, maidservant, Admetus, attendant.
[413] The true explanation, as Dr. Hayley points out, is that the two actors are already engaged (as A. and H.) so that the queen is presented by a mute. I cannot, however, agree that this is “a clumsy device”. Admetus deserved some modification of his delight; we may, moreover, feel that Alcestis would not wish to show precipitation in greeting the husband who had interred her with such strange promptitude.
[414] The celebrated “tag” beginning πολλαὶ μορφαὶ τῶν δαιμονίων (vv. 1159-63), which is found also at the close of Medea (practically), Helena, Andromache, and Bacchæ.
[415] There are no satyrs and no indecency of language.
[416] E.g. v. 58: πῶς εἶπας; ἀλλ’ ἦ καὶ σοφὸς λέληθας ὤν; “What! you among the philosophers!”
[417] The late Dr. A. W. Verrall’s brilliant theory of this play it will be better to discuss later (see pp. 190 sq.).
[418] vv. 763 sq.
[419] vv. 280-325.
[420] Euripides the Rationalist, pp. 1-128.