I L L I N O S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2012. COPYRIGHT NOTIFICATION In Public Domain. Published prior to 1923. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in, compliance with copyright law. Prepared for the Brittle Books Project, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2012 881 E8a. b 1900 ~~~t1;4 I i : i. i'"P * ~-~317..i?;~s:i: . !-: ' .,5 c~-- ~ir i0~ d' ~'z d r --* ,CO ~al~%pfwaaiaZjaRlmwma~ns~ THE ALCESTIS OF EURIPIDES 0 10 J16-_4 emett# xg l e zc EYPIHIAOY AAKHITIM THE ALCESTIS OF EURIPIDES With Introduction, Notes, Appendices, and Vocabulary BY M. A. BAYFIELD, M.A. HEADMASTER OF EASTBOURNE COLLEGE gonbon MACMILLAN AND CO., LIMITED NEW YORK : THE MACMILLAN COMPANY 1900 All rights reserved First Edition 1890. Reprinted 1894, 1897, 1900. GLASGOW: PRINTED AT. THE UNIVERSITY PRESS BY ROBERT MACLEHOSE AND CO. PREFACE THE text of the present edition of the Alcestis is based upon a careful examination of the apparatus criticus given in Prinz's edition, Leipsic, 1879. Though I have sometimes been compelled to dissent from the conclusions of that eminent scholar, the text 6 will not be found to exhibit any important deviations either from his or those ordinarily in use. In the lyric portions of the play, the arrangement of the lines is generally that shown by Schmidt in his Monodien u. Wechselgesinge, but the numbering of Dindorfs Poetae Scenici has been preserved. A few notes (on 11. 118, 546, 817, 983), added since the first edition was printed, will be found at p. 88. M. A. B. EASTBOURNE COLLEGE, August, 1897. CONTENTS. INTRODUCTION-- PAGE 1. The Story and the Play, - - - - - ix 2. Structure of the Play, - - - - xi TEXT, - -- - 1 NOTES, - - - - 48 ADDITIONAL NOTES, - - - - - - 88 APPENDIX- A. On some particles, etc., - - - - - 89 B. Scheme of the Conditional Sentence, 91 VOCABULARY, - - - - - 92 INTRODUCTION. 1. The Story and the Play. THE legend of Alkestis and Admetos may be briefly told as follows: -Admetos was king of Phdrai in Thessaly, and the hour came near when he should die. But he was very loth to depart from life, and besought the gods to spare him a little longer. And Apollo, who loved him, spake and persuaded the Fates, in whose hands are the lives of all men, and they promised to spare Adinetos yet a little, if he should find some other who would die in his place at that time. Then Admetos asked many to do this thing, but none was found that loved him well enough, save only his wife Alkestis; and she indeed died. Now, on the day of her death Herakles came ' to the king's house and found him sorrowing; and ix EYPI 11IOY AAKHETI. Admetos told him not truly the cause thereof, but set meat and drink before him, and went away to bury his dead. Howbeit, while Admetos tarried at the grave, Herakles learned the truth, and for his friend's sake he went and fought with Death; and each strove hard for the mastery, but Herakles pre- vailed, and took Alkestis out of Death's hands and brought her alive to Admetos. So the king's sorrow- ing was turned into joy. We are indebted for this affecting story, as for that of the Ion, to Euripides alone. The present play formed the last of a tetralogy (consisting of the Kressai, Alkmaion on the Psophis, Telephos, Alkestis), with which the poet won the second prize in the year B.C. 439; the first prize being won by Sophocles. It is accordingly (with the possible exception of the Rhesos, the authorship of which is doubtful), the earliest of Euripides' extant works. The Alkestis cannot properly be called a tragedy, since the conclusion is happy, but rather a tragi- comedy or comedy (in the modern sense of that word). On the other hand, it must not be confounded with the Satyric dramas which usually held the last place in a tetralogy, and of which we have a specimen in INTRODUCTION. xlxi the Cyclops. It holds this half-way position between true tragedy and comedy in common with several other of the author's plays, as for instance the Orestes, the Iphigenia in Tauris, and the Ion. 2. Structure of the Play. 1. 7rpoXoyos, vv. 1-76. 2. rdpo8os, vv. 77-135. 3. First irE-lo'8sov, vv. 136-212. 4. First orTrd'crTov, vv. 213-243. 5. Second IrIto-6 8cov, vv. 244-434. 6. Second ourdo-JLov, vy. 435-475. 7. Third i~nEL-68ov, vv. 476-567. 8. Third ordrJo-q ov, vv. 568-605. 9. Fourth dEWreTO-ov, vv. 606-961 (with KO /LodS, vv. 861-934). 10. Fourth o-rdoU-ov, 962-1005. 11. Egoos, vv. 1006-1163. xii EYPIII IAOY AAKHITII. These parts of a tragedy are defined by Aristotle as follows (Poet. § 12) :- wpdXoyos: all that precedes the entrance of the Chorus. wcrpoSos: the first utterance of the whole Chorus (their ' entrance-song '). arMLWSSLov:all that stands between whole choric songs. aTdceLaov: a song of the Chorus employing neither anapaestic nor trochaic measures. (The name is in contrast to 7rpo8o, the o-rao-cqov being sung by the Chorus when at their station in the pX/o'-rpa.) Ko~pds: a dirge in which the Chorus in the orchestra and an actor on the stage both bear parts (contri- buting alternate portions). gSos: all that follows the last song of the Chorus. AAKHXTII. TA TOY APAMATOI HPOM QHA. AHOAM2N. OANATOI. XOPO 2. OEPAHAINA. AAKHETIE. AzAMHTOY2. E'YMHAOI. HPAKAH2;. 4EPHI. OEPAIIi2N. EYPIlIzSOY AAKHE2TKX [Scene.: before the palace of Admetos. -Time:; morning. Enter APOLLO from the spectators'right (the traditional entrance for arrivalsfrom the immediate neighbourhood).] AI1OAAQ2N. 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