[421] The hurried obsequies probably do not fall into this category. We are almost certainly to assume that as Alcestis’ sacrifice is to be made on a certain day, that day must see her not only expire, but actually delivered up to the power of death. See Dr. H. W. Hayley’s Introduction to the play (pp. xxxi sq.) and my Riddle of the Bacchæ, pp. 143 sq.
[422] I cannot write with decision about the Alcestis, because on the one hand universal testimony and opinion date it as only seven years anterior to the Medea, while my own instinct would put it quite twenty years earlier than that play. To me it reads essentially like the work of a young but highly-gifted playwright who has recently lost his wife.
[423] These celebrated lines (vv. 230-51) are not in character. They form a splendid and moving criticism of the attitude adopted by the poet’s own Athenian contemporaries towards women, but have only a very partial application to herself.
[424] (i) In vv. 1231-5, there is a very clear dittography. That is, either 1231-2, or 1233-5 would serve excellently as a speech of the chorus-leader; but it is unlikely that the poet meant both to be used; (ii) vv. 1236-50 read like another and far shorter version of the great soliloquy 1021-80; (iii) it seems odd that Medea, after finally gaining courage to slay her children, should before doing so, be seen again and join in conversations; (iv) vv. 1375-7 give the impression (as Dr. Verrall has pointed out) that the play is to end, not as it does, but with some kind of arrangement between Medea and Jason; (v) one or two ancient quotations purporting to come from this play are not to be found in our texts.
[425] See pp. 21 sq.
[426] v. 389 sqq.
[427] Poetic, 1454b.
[428] Four Plays of Euripides, pp. 125-30.
[429] vv. 1381-3.
[430] v. 472: ἀναίδεια.