Iph. ἔα·
ὡς οὐ βλέπεις ἕκηλον, ἄσμενος μ’ ἰδών.
Aga. πόλλ’ ἀνδρὶ βασιλεῖ καὶ στρατηλάτῃ μέλει.
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Iph. μέθες νυν ὀφρὺν ὄμμα τ’ ἔκτεινον φίλον.
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κἄπειτα λείβεις δάκρυ’ ἀπ’ ὀμμάτων σέθεν;
Such is the situation described by the poet, and surely the artist has succeeded to a considerable degree in grasping the meaning of the scene. Klytaimestra, ΚΛΥΤΑΙΜΗΣΤΡΑ[[219]], appears on the left with Orestes, ΟΡΕΣΤΗΣ, and would seem to have had the boy in charge after he was helped from the chariot (vs. 621 f.). Following is the inscription, ΕΥΡ[ΙΠΙΔΟΥ] ΙΦΙΓΕΝΕΙΑΣ. The genitive case in the last word may depend upon some such word as τύποι. To avoid a possible misunderstanding of the scenes, even with the characters named each time, the artist considered it advisable to add the literary source. This is the Iphigeneia of Euripides and not of any other poet.
After Iphigeneia leaves her father he endeavours to persuade Klytaimestra to return to Argos and leave the final arrangements for the nuptials in his charge. Naturally enough she refuses, and retires to appear at v. 819, where she meets Achilles and enthusiastically brings up the subject of the marriage. Achilles, amazed at the disclosure, assures the queen that he has neither wooed Iphigeneia nor heard aught from the Atreidai concerning any such an alliance. This scene is represented in the next group. Achilles, ΑΧΙΛΛΕΥΣ, bends toward Klytaimestra and gestures emphatically. The latter holds her hand to her chin and is evidently dumbfounded by the declarations. The last words exchanged before the two separate are suggestive—
Ach. ἴσως ἐκερτόμησε κἀμὲ καὶ σέ τις,