The wild revelry of the whole is instructive when studied with the poet. The Bacchanal who flaunts the quarters of her victim reminds one at once of the words—
ἀγρεύων | αἷμα τραγοκτόνον, ὠμοφάγον χάριν. v. 138 f.
In conclusion, reference should be made again to the newly discovered wall painting in Pompeii. It is so remarkably preserved and so thoroughly in the spirit of Euripides that there can be little doubt as to the influence of the Bakchai[[177]]. The only Pentheus painting recorded in classical literature was that in the Dionysos temple in Athens, which may also have been inspired by Euripides[[178]]. Is the Pompeian painting an echo of the celebrated one in Athens?
§ 4. Hekabe.
The Hekabe is one of those plays which, like the Andromache, embraces a series of events loosely associated. There are in fact two distinct parts to this tragedy, having no other connexion than one would observe between two separate works where the same heroine appeared. Two heavy blows which the Fates dealt Hekabe after the fall of Troy constitute the subject of the action.
The first of these new calamities was the death of Polyxena. The Greeks are encamped on the Chersonesos side of the Hellespont. Among the captives are the former queen of Troy and her daughter. Achilles, who is among the shades, demands of the Greeks that Polyxena be sacrificed to him. The request cannot be ignored, and Odysseus and others are commissioned to secure her from her mother. The parting scene between Hekabe and the daughter is heartrending, but the courage and self-control exhibited by the latter are remarkable. Talthybios, the faithful herald of Agamemnon, afterwards reports to Hekabe the details of the sacrifice, and this description of the fair and innocent Polyxena is one of the gems of Greek literature. The lines in particular which describe her actions immediately before the fatal moment are famous for their beauty.
Although the offering of Polyxena was known in Greek art and letters before Euripides’ time[[179]], the subject must have been far more popular after the production of this tragedy. It appears to me a mere accident that no vase painting representing the scene has so far come to light. There is, however, on a so-called ‘Megarian Bowl’ a relief decoration, probably dating from the third century B.C., which doubtless owes its existence to Euripides[[180]]. It has seemed to me desirable to include this here, even though it carries us beyond the limits prescribed to the present work. The cup, found in Thebes, is in the Berlin Antiquarium[[181]]. The middle of the composition represents the tumulus of Achilles, above which is raised a stele with akroteria and a fillet. On the left, Polyxena, with exposed bosom and flowing hair, kneels with extended arms. Approaching her is Neoptolemos wearing a chlamys and holding his sword ready for the fatal stroke; behind the latter is a figure in a short undergarment, mantle and pilos. The cap distinguishes the person as Odysseus. Agamemnon sits with back to the beholder upon the extreme left, and lifts his left hand (not his right hand as Robert says), evidently astonished at the remarkable composure of the victim. On the right of the tomb are three warriors, who are more or less closely connected with the others. The first one appears to raise his hand in wonder at the fortitude of Polyxena; the second, who does not seem to be armed, has the appearance of one weeping; the third is apparently little interested in the tragedy. It is not necessary to name these three persons, evidently representatives of the Achaeans. The first one may perhaps be Talthybios, since he says he was present (v. 524). The dolphins upon the vase are meant no doubt to characterize the sea-shore where the sacrifice took place.
Fig. 12.
The essential part of the composition is, however, the tumulus and the figures on the left. Everything here illustrates Euripides. One reads in v. 221 of