The captives are to be allotted to the Greek chiefs, and even now the urn stands ready for the lots.
Hecuba next calls upon the chorus of Trojan women to join her in lamenting their fallen heroes, Hector and Priam.
_Parode, or chorus entry._--The chorus with Hecuba indulges in speculation as to the place of their future home, speaking with hope of some Greek lands, and deprecating others.
_Parode, or chorus entry._--The chorus, under the direction of Hecuba as chorus leader, in true oriental fashion, bewails the downfall of Troy, and in particular the death of Priam and Hector.
_First episode._--Talthybius, the herald, enters and announces that the lots have been drawn, and reveals to each captive her destined lord: that Cassandra has fallen to Agamemnon, Andromache to Pyrrhus, Hecuba to Ulysses. At news of this her fate, Hecuba is filled with fresh lamentations, counting it an especial hardship that she should fall to the arch-enemy of her race. The herald also darkly alludes to the already accomplished fate of Polyxena, At the tomb raised to Achilles doomed to serve.
Hecuba does not as yet catch the import of these words.
Cassandra now enters, waving a torch, and celebrates in a mad refrain her approaching union with Agamemnon. Hecuba remonstrates with her for her unseemly joy; whereupon Cassandra declares that she rejoices in the prospect of the vengeance upon Agamemnon which is to be wrought out through this union. She contrasts the lot of the Greeks and Trojans during the past ten years, and finds that the latter have been far happier; and even in her fall, the woes of Troy are far less than those that await the Greek chieftains. She then prophesies in detail the trials that await Ulysses, and the dire result of her union with Agamemnon: Thou shalt bear me A fury, an Erinys from this land.
Hecuba here falls in a faint, and, upon being revived, again recounts her former high estate, sadly contrasts with that her present condition, and shudders at the lot of the slave which awaits her: Then deem not of the great Now flourishing as happy, ere they die.
_First episode._--Talthybius announces that the shade of Achilles has appeared with the demand that Polyxena be sacrificed upon the hero's tomb.
Enter Pyrrhus and Agamemnon, the former demanding that his father's request be carried out, the latter resisting the demand as too barbarous to be entertained. It is finally agreed to leave the decision to Calchas. He is accordingly summoned, and at once declares that only by the death of the maiden can the Greeks be allowed to set sail for home. And not this alone, but Astyanax also must be sacrificed--hurled from the lofty Scaean tower of Troy.
_First choral interlude._--The chorus graphically describes the wooden horse, its joyful reception by the Trojans into the city, their sense of relief from danger, and their holiday spirit; and at last their horrible awakening to death at the hands of the Greeks within the walls.
_First choral interlude._--The chorus maintains that all perishes with the body; the soul goes out into nothingness: For when within the tomb we're laid, No soul remains, no hov'ring shade.
Like curling smoke, like clouds before the blast, This animating spirit soon has passed.
The evident purpose of these considerations is to discount the story that Achilles' shade could have appeared with its demand for the death of Polyxena.
_Second episode._--The appearance of Andromache with Astyanax in her arms, borne captive on a Grecian car, is a signal for general mourning.
She announces her own chief cause of woe: I, with my child, am led away, the spoil Of war; th' illustrious progeny of kings, Oh, fatal change, is sunk to slavery.
Her next announcement comes as a still heavier blow to Hecuba: Polyxena, thy daughter, is no more; Devoted to Achilles, on his tomb, An offering to the lifeless dead, she fell.
Andromache insists that Polyxena's fate is happier than her own; argues that in death there is no sense of misery: Polyxena is dead, and of her ills Knows nothing; while Andromache still lives to feel the keen contrast between her former and her present lot.
Hecuba is so sunk in woe that she can make no protest, but advises Andromache to forget the past and honor thy present lord, And with thy gentle manners win his soul; this with the hope that she may be the better able to rear up Astyanax to establish once more some day the walls and power of Troy.
But the heaviest stroke is yet to fall. Talthybius now enters and announces with much reluctance that Ulysses has prevailed upon the Greeks to demand the death of Astyanax for the very reason that he may grow up to renew the Trojan war. The lad is to be hurled from a still standing tower of Troy. The herald warns Andromache that if she resist this mandate she may be endangering the boy's funeral rites. She yields to fate, passionately caressing the boy, who clings fearfully to her, partly realizing his terrible situation. The emotional climax of the play is reached, as she says to the clinging, frightened lad: Why dost thou clasp me with thy hands, why hold My robes, and shelter thee beneath my wings Like a young bird?
She bitterly upbraids the Greeks for their cruelty, and curses Helen as the cause of all her woe, and then gives the boy up in an abandonment of defiant grief: Here, take him, bear him, hurl him from the height, If ye must hurl him; feast upon his flesh: For from the gods hath ruin fall'n on us.
And now what more can happen? Surely the depth of misfortune has been sounded. In the voice of Hecuba: Is there an ill We have not? What is wanting to the woes Which all the dreadful band of ruin brings?
_Second episode._--Andromache appears with Astyanax and recounts a vision of Hector which she has had, in which her dead husband has warned her to hide the boy away beyond the reach of threatening danger. After discussion with an old man as to the best place of concealment, she hides Astyanax in Hector's tomb which is in the near background.
Enter Ulysses, who reluctantly announces that Calchas has warned the Greeks that they must not allow the son of Hector to grow to manhood; for if they do so, the reopening of the Trojan war will be only a matter of time, and the work will have to be done all over again. He therefore asks Andromache to give up the boy to him. Then ensues a war of wits between the desperate mother and the crafty Greek. She affects not to know where the boy is--he is lost. But if she knew, no power on earth should take him from her.
Ulysses threatens death, which she welcomes; he threatens torture, which she scorns. She at last states that her son is "among the dead." Ulysses, taking these words at their face meaning, starts off gladly to tell the news to the Greeks, but suddenly reflects that he has no proof but the mother's word. He therefore begins to watch Andromache more narrowly, and discovers that her bearing is not that of one who has put her grief behind her, but of one who is still in suspense and fear. To test her, he suddenly calls to his attendants to hunt out the boy. Looking beyond her he cries: "Good!
he's found! bring him to me." Whereat Andromache's agitation proves that the boy is indeed not dead but in hiding. Where is he hid?
Ulysses forces her to choose between the living boy and the dead husband; for, unless her son is forthcoming, Hector's tomb will be invaded and his ashes scattered upon the sea. To her frantic prayer for mercy he says: Bring forth the boy--and pray.
Follows a _canticum_, in which Andromache brings Astyanax out of the tomb and sets him in Ulysses' sight: Here, here's the terror of a thousand ships!
and prays him to spare the child. Ulysses refuses, and, after allowing the mother time for a passionate and pathetic farewell to her son, he leads the boy away to his death.
_Second choral interlude._--The chorus first tells of the former fall of Troy under Hercules and Telamon; and then refers to the high honors that had come to the city through the translation of Ganymede to be the cupbearer of Jove, and through the special grace of Venus. But these have not availed to save the city from its present destruction.
_Second choral interlude._--The chorus discusses the various places to which it may be its misfortune to be carried into captivity. It professes a willingness to go anywhere but to the homes of Helen, Agamemnon, and Ulysses.
_Third episode._--Menelaüs appears, announcing that the Greeks have alotted to him Helen, his former wife, the cause of all this strife, to do with as he will. He declares his intention to take her to Greece, and there destroy her as a warning to faithless wives.
Hecuba applauds this decision, and thinks that at last heaven has sent justice to the earth: Dark thy ways And silent are thy steps to mortal man; Yet thou with justice all things dost ordain.
Helen, dragged forth from the tent at the command of Menelaüs, pleads her cause. She lays the blame for all upon Hecuba and Priam: She first, then, to these ills Gave birth, when she gave Paris birth; and next The agéd Priam ruined Troy and thee, The infant not destroying, at his birth Denounced a baleful firebrand.
Blame should also fall upon Venus, since through her influence Helen came into the power of Paris.
Hecuba refutes the excuses of Helen. She scouts the idea that Venus brought Paris to Sparta. The only Venus that had influenced Helen was her own passion inflamed by the beauty of Paris: My son was with surpassing beauty graced; And thy fond passion, when he struck thy sight, Became a Venus.
As for the excuse that she was borne away by force, no Spartan was aware of that, no cries were heard. Hecuba ends by urging Menelaüs to carry out his threat. This, he repeats, it is his purpose to do.
_Third episode._--Helen approaches the Trojan women, saying that she has been sent by the Greeks to deck Polyxena for marriage with Pyrrhus, this being a ruse to trick the girl into an unresisting preparation for her death. This news Polyxena, though mute, receives with horror.
Andromache bitterly cries out upon Helen and her marriages as the cause of all their woe. But Helen puts the whole matter to this test: Count this true, If 'twas a Spartan vessel brought me here.
Under the pointed questions of Andromache she gives up deception, and frankly states the impending doom of Polyxena to be slaughtered on Achilles' tomb, and so to be that hero's spirit bride. At this the girl shows signs of joy, and eagerly submits herself to Helen's hands to be decked for the sacrificial rite.
Hecuba cries out at this, and laments her almost utter childlessness; but Andromache envies the doomed girl her fate.
Helen then informs the women that the lots have been drawn and their future lords determined; Andromache is to be given to Pyrrhus, Cassandra to Agamemnon, Hecuba to Ulysses.
Pyrrhus now appears to conduct Polyxena to her death, and is bitterly scorned and cursed by Hecuba.
_Third choral interlude._--The chorus sadly recalls the sacred rites in Troy and within the forests of Mount Ida, and grieves that these shall be no more. They lament the untimely death of their warrior husbands, whose bodies have not received proper burial rites, and whose souls are wandering in the spirit-world, while they, the hapless wives, must wander over sea to foreign homes. They pray that storms may come and overwhelm the ships, and especially that Helen may not live to reach the land again.
_Third choral interlude._--The chorus enlarges upon the comfort of company to those in grief. Hitherto they have had this comfort; but now they are to be scattered, and each must suffer alone. And soon, as they sail away, they must take their last, sad view of Troy, now but a smouldering heap; and mother to child will say, as she points back to the shore: See, there's our Troy, where smoke curls high in air, And thick, dark clouds obscure the distant sky.
_Exode._--Enter Talthybius, with the dead body of Astyanax borne upon the shield of Hector. He explains that Pyrrhus has hastened home, summoned by news of insurrection in his own kingdom, and has taken Andromache with him. He delivers Andromache's request to Hecuba that she give the boy proper burial, and use the hollow shield as a casket for the dead.
Hecuba and the chorus together weep over the shield, which recalls Hector in his days of might, and over the poor, bruised body of the dead boy, sadly contrasting his former beauty with this mangled form.
They then wrap it in such costly wrappings as their state allows, place him upon the shield, and consign him to the tomb.
Talthybius then orders bands of men with torches to burn the remaining buildings of Troy; and in the light of its glaring flames and with the crashing sound of its falling walls in their ears, Hecuba and her companions make their way to the waiting ships, while the messenger urges on their lagging steps.
_Exode._--The messenger relates with much detail to Hecuba, Andromache and the rest, the circumstances of the death of Astyanax and Polyxena: how crowds of Greeks and Trojans witnessed both tragedies, how both sides were moved to tears at the sad sight, and how both victims met their death as became their noble birth.
Andromache bewails and denounces the cruel death of her son, and sadly asks that his body be given her for burial; but she is told that this is mangled past recognition.
But Hecuba, having now drained her cup of sorrow to the dregs, has no more wild cries to utter; she almost calmly bids the Grecians now set sail, since nothing bars their way. She longs for death, complaining that it ever flees from her, though she has often been so near its grasp.
The messenger interrupts, and bids them hasten to the shore and board the ships, which wait only their coming to set sail.
THE _AGAMEMNON_ OF AESCHYLUS, AND THE _AGAMEMNON_ OF SENECA _Prologue._--A watchman, stationed upon the palace roof at Argos, laments the tedium of his long and solitary task; and prays for the time to come when, through the darkness of the night, he shall see the distant flashing of the beacon fire, and by this sign know that Troy has fallen and that Agamemnon is returning home. And suddenly he sees the gleam for which so long he has been waiting. He springs up with shouts of joy and hastens to tell the queen. At the same time he makes dark reference to that which has been going on within the palace, and which must now be hushed up.
_Prologue._--The ghost of Thyestes coming from the lower regions recites the _motif_ of the play: how he had been most foully dealt with by Agamemnon's father, Atreus, and how he had been promised revenge by the oracle of Apollo through his son Aegisthus, begotten of an incestuous union with his daughter. The ghost announces that the time for his revenge is come with the return of Agamemnon from the Trojan war, and urges Aegisthus to perform his fated part.
_Parode, or chorus entry._--A chorus of twelve Argive elders sings of the Trojan War, describing the omens with which the Greeks started on their mission of vengeance. They dwell especially upon the hard fate which forced Agamemnon to sacrifice his daughter. And in this they unconsciously voice one of the motives which led to the king's own death.
_Parode, or chorus entry._--The chorus of Argive women complains of the uncertain condition of exalted fortune, and recommends the golden mean in preference to this.
_First episode._--Clytemnestra appears with a stately procession of torch-bearers, having set the whole city in gala attire, with sacrificial incense burning on all the altars. The chorus asks the meaning of this. Has she had news from Troy? The queen replies that this very night she has had news, and describes at length how the signal fires had gleamed, and thus the news had leaped from height to height, all the long way from Troy to Argos.
And this sure proof and token now I tell thee, Seeing that my lord hath sent it me from Troy.
She expresses the hope that the victors in their joy will do nothing to offend the gods and so prevent their safe return: May good prevail beyond all doubtful chance!
For I have got the blessing of great joy.
With these words she covers up the real desires of her own false heart, while at the same time voicing the principle on which doom was to overtake the Greeks.
The chorus receives Clytemnestra's news with joy and prepares to sing praises to the gods, as the queen with her train leaves the stage.
_First episode._--Clytemnestra, conscious of guilt, and fearing that her returning husband will severely punish her on account of her adulterous life with Aegisthus, resolves to add crime to crime and murder Agamemnon as soon as he comes back to his home. She is further impelled to this action by his conduct in the matter of her daughter, Iphigenia, and by his own unfaithfulness to her during his long absence. Throughout this scene the nurse vainly tries to dissuade her.
Clytemnestra is either influenced to recede from her purpose by the nurse, or else pretends to be resolved to draw back in order to test Aegisthus who now enters. In the end, the two conspirators withdraw to plan their intended crime.
_First choral interlude._--The chorus sings in praise of Zeus, who has signally disproved the skeptic's claim that The gods deign not to care for mortal men By whom the grace of things inviolable Is trampled under foot.
The shameful guilt of Paris is described, the woe of the wronged Menelaüs, and the response of all Greece to his cry for vengeance. But, after all, the chorus is in doubt as to whether the good news can be true--when a herald enters with fresh news.
_First choral interlude._--The chorus sings in praise of Apollo for the victory over Troy. To this are added the praises of Juno, Minerva, and Jove. In the end the chorus hails the approach of the herald Eurybates.
_Second episode._--The herald describes to the chorus the complete downfall of Troy, which came as a punishment for the sin of Paris and of the nation which upheld him in it. At the same time the sufferings of the Greeks during the progress of the war are not forgotten.
Clytemnestra, entering, prompted by her own guilty conscience, bids the herald tell Agamemnon to hasten home, and take to him her own protestation of absolute faithfulness to him: who has not broken One seal of his in all this length of time.
The herald, in response to further questions of the chorus, describes the great storm which wrecked the Greek fleet upon their homeward voyage.
_Second episode._--Eurybates announces to Clytemnestra the return and approach of Agamemnon, and describes the terrible storm which overtook the Greeks upon their homeward voyage. At the command of the queen victims are prepared for sacrifice to the gods, and a banquet for the victorious Agamemnon. At last the captive Trojan women headed by Cassandra are seen approaching.
_Second choral interlude._--The chorus sings of Helen as the bane of the Trojans: Dire cause of strife with bloodshed in her train.
And now The penalty of foul dishonor done To friendship's board and Zeus has been paid by Troy, which is likened to a man who fosters a lion's cub, which is harmless while still young, but when full grown "it shows the nature of its sires," and brings destruction to the house that sheltered it.
_Second choral interlude._--A chorus of captive Trojan women sings the fate and fall of Troy; while Cassandra, seized with fits of prophetic fury, prophesies the doom that hangs over Agamemnon.
_Third episode._--Agamemnon is seen approaching in his chariot, followed by his train of soldiers and captives. The chorus welcomes him, but with a veiled hint that all is not well in Argos. Agamemnon fittingly thanks the gods for his success and for his safe return, and promises in due time to investigate affairs at home.
Clytemnestra, now entering, in a long speech of fulsome welcome, describes the grief which she has endured for her lord's long absence in the midst of perils, and protests her own absolute faithfulness to him. She explains the absence of Orestes by saying that she has intrusted him to Strophius, king of Phocis, to be cared for in the midst of the troublous times. She concludes with the ambiguous prayer: Ah Zeus, work out for me All that I pray for; let it be thy care To look to that thou purposest to work.
Agamemnon, after briefly referring to Cassandra and bespeaking kindly treatment for her, goes into the palace, accompanied by Clytemnestra.
_Third episode._--Agamemnon comes upon the scene, and, meeting Cassandra, is warned by her of the fate that hangs over him; but she is not believed.
_Third choral interlude._--The chorus, though it sees with its own eyes that all is well with Agamemnon, that he is returned in safety to his own home, is filled with sad forebodings of some hovering evil which it cannot dispel.
_Third choral interlude._--Apropos of the fall of Troy, the chorus of Argive women sings the praises of Hercules whose arrows had been required by fate for the destruction of Troy.
_Exode._--Clytemnestra returns and bids Cassandra, who still remains standing in her chariot, to join the other slaves in ministering at the altar. But Cassandra stands motionless, paying no heed to the words of the queen, who leaves the scene saying: I will not bear the shame of uttering more.
Cassandra now descends from her chariot and bursts into wild and woeful lamentations. By her peculiar clairvoyant power she foresees and declares to the chorus the death of Agamemnon at the hands of Clytemnestra and Aegisthus, as well as the manner of it; she also foretells the vengeance which Orestes is destined to work upon the murderers. Her own fate is as clearly seen and announced, as she passes through the door into the palace.
Soon the chorus hears the death cry of Agamemnon, that he is "struck down with deadly stroke." They are faint-heartedly and with a multiplicity of counsel discussing what it is best to do when Clytemnestra, with blood-stained garments and followed by a guard of soldiers, enters to them from the palace. The corpses of Agamemnon and Cassandra are seen through the door within the palace. The queen confesses, describes, and exults in the murder of her husband. The chorus makes elaborate lamentation for Agamemnon, and prophesies that vengeance will light on Clytemnestra. But she scorns their threatening prophecies. In the end Aegisthus enters, avowing that he has plotted this murder and has at last avenged his father, Thyestes, upon the father of Agamemnon, Atreus, who had so foully wronged Thyestes. The chorus curses him and reminds him that Orestes still lives and will surely avenge his father.
_Exode._--Cassandra, either standing where she can see within the palace, or else by clairvoyant power, reports the murder of Agamemnon, which is being done within.
Electra urges Orestes to flee before his mother and Aegisthus shall murder him also. Very opportunely, Strophius comes in his chariot, just returning as victor from the Olympic games. Electra intrusts her brother to his care, and betakes her own self to the altar for protection.
Electra, after defying and denouncing her mother and Aegisthus, is dragged away to prison and torture, and Cassandra is led out to her death.
INDEX INDEX OF MYTHOLOGICAL SUBJECTS [References are to the lines of the Latin text. If the passage is longer than one line, only the first line is cited. Line citations to passages of especial importance to the subject under discussion are starred. A few historical characters from the _Octavia_ are included in the Index. The names of the characters appearing in these tragedies are printed in large capitals, with the name of the tragedy in which the character occurs following in parentheses.]
ABSYRTUS, a son of Aeëtes, and brother of Medea. Medea, fleeing with Jason from Colchis, slew her brother and scattered his mangled remains behind her, in order to retard her father's pursuit, _Med._ 121, 125, *131, 452, 473, 911; his dismembered ghost appears to the distracted Medea, _ibid._ 963.
ABYLA, see CALPE.
ACASTUS, son of Pelias, king of Thessaly. He demands Jason and Medea from Creon, king of Corinth, for vengeance on account of the murder of his father through the machinations of Medea, _Med._ 257, 415, 521, 526.
ACHELŌUS, the river-god of the river of the same name. He fought with Hercules for the possession of Deianira, changing himself into various ACHERON, one of the rivers of hades, _Thy._ 17; described by Theseus, _H. Fur._ 715.
ACHILLES, son of Peleus and Thetis, and one of the celebrated Greek heroes in the Trojan War. He was connected by birth with heaven (Jupiter), the sea (Thetis), and the lower world (Aeacus), _Tro._ 344; educated by Chiron, the centaur, _ibid._ 832 hidden by his mother in the court of Lycomedes, king of Scyros, in the disguise of a girl's garments, in order to keep him from the war, _ibid._ 213; while there, became the father of Pyrrhus by Deïdamia, daughter of the king, _ibid._ 342; his activities in the early period of the Trojan War, _ibid._ 182; wounds and cures Telephus, _ibid._ *215; overthrows Lyrnessus and Chrysa, taking captive Briseïs and Chryseïs, _ibid._ 220; effect of his anger on account of the loss of Briseïs, _ibid._ 194 318; example of the taming power of love, _Oct._ 814; slays Memnon and trembles at his own victory, _Tro._ *239; slays Penthesilea, the Amazon, _ibid._ 243; works dire havoc among Trojans in revenge for death of Patroclus, _Agam._ 619; slays Hector and drags his dead body around walls of Troy, _Tro._ 189; is slain by Paris, _ibid._ 347; his ghost appears to the Greeks on the eve of their homeward voyage, and demands the sacrifice of Polyxena upon his tomb, _ibid._ *170.
ACTAEON, a grandson of Cadmus, who accidentally saw Diana bathing in a pool near Mt. Cithaeron. For this he was changed by the angry goddess into a stag, and in this form was pursued and slain by his own dogs, ACTE, the mistress of Nero who displaced Poppaea, _Oct._ 195.
ADMĒTUS, see ALCESTIS.
ADRASTUS, king of Argos. He received the fugitive Polynices at his court, gave him his daughter in marriage, and headed the expedition of the Seven against Thebes, in order to reinstate his son-in-law upon the AEACUS, son of Jupiter and Europa, father of Peleus; on account of his just government on earth he was made one of the judges of spirits in hades, _H. Oet._ 1558; _H. Fur._ 734. See under JUDGES IN HADES.
AEĒTES, king of Colchis, son of Phoebus and Persa, and father of Medea, _Med._ 210; grandeur, extent, and situation of kingdom described, _ibid._ 209; wealth of his kingdom, _ibid._ 483; had received a wonderful gold-wrought robe from Phoebus as proof of fatherhood; this Medea anoints with magic poison, and sends to Creüsa, _ibid._ 570; he was despoiled of his realm through the theft of the golden fleece, _ibid._ 913.
AEGEUS, see THESEUS.
AEGISTHUS (_Agamemnon_), son of an incestuous union between Thyestes and his daughter. His birth was the result of Apollo's advice to Thyestes, that only thus could he secure vengeance upon the house of Atreus, _Agam._ 48, 294; at opening of play he recognizes that the fatal day is come for which he was born, _ibid._ 226; lived in guilty union with Clytemnestra, wife of Agamemnon, _ibid. passim._ AEGOCEROS, a poetic expression for the more usual _Capricornus_, the zodiacal constellation of the Goat, _Thy._ 864.
AEGYPTUS, see DANAÏDES.
AESCULAPIUS, son of Apollo and the nymph Coronis; he was versed in the knowledge of medicine, was deified, and had the chief seat of his worship at Epidaurus, _Hip._ 1022.
AETNA, a volcano in Sicily, _Phoen._ 314; its fires were used as a type of raging heat, _Hip._ 102; _H. Oet._ 285; considered as the seat of the forge of Vulcan, _H. Fur._ 106; supposed to be heaped upon the AGAMEMNON (_Troades_, _Agamemnon_), king of Mycenae, son of Atreus, brother of Menelaüs, commander of the Greek forces at Troy. He and Menelaüs used by Atreus to entrap Thyestes, _Thy._ 325; tamed by the power of love, _Oct._ 815; took captive Chryseïs, daughter of the priest of Apollo, _Agam._ 175; compelled to give her up, he took from Achilles by force his maiden Briseïs, _ibid._ 186; attempts to dissuade Pyrrhus from the sacrifice of Polyxena to Achilles' ghost, _Tro._ *203; inflamed by love for Cassandra, _Agam._ 188, 255; his power magnified as the great king who has come unscathed out of a thousand perils, _ibid._ 204; his homeward voyage and wreck of his fleet described, _ibid._ *421; returns to Mycenae and hails his native land, _ibid._ 782; his murder described by Cassandra who either beholds it through the palace door, or sees it by clairvoyant power, _ibid._ *867. See CASSANDRA, CLYTEMNESTRA, IPHIGENIA, PYRRHUS.
AGĀVE, a daughter of Cadmus and Harmonia, mother of Pentheus, king of Thebes. She, with her sisters, in a fit of Bacchic frenzy, slew Pentheus on Mt. Cithaeron, rent away his head, and bore it back to Thebes, _Oed._ 1006; _Phoen._ 15, 363; her shade appears from hades, raging still, _Oed._ 616. See PENTHEUS.
AGRIPPINA I, daughter of M. Vipsanius Agrippa and Julia, the daughter of Augustus, mother of the emperor Caligula. She died in exile at AGRIPPINA II (_Octavia_), daughter of the preceding, wife of Cn.
Domitius Ahenobarbus, and mother of Nero. She married the emperor Claudius, whom she murdered by poison, _Oct._ 26, 45, 165, 340; she was the stepmother of Octavia, and the cause of all her woes, _ibid._ 22; plotted the murder of Silanus, the betrothed lover of Octavia, and forced the latter into marriage with Nero, _ibid._ 150; she sought in all this her own power and world-wide sway, _ibid._ 155, 612; murdered by her own son, Nero, _ibid._ 46, 95, 165; her murder briefly described and attributed to Poppaea's influence, _ibid._ 126; described in full detail, _ibid._ *310, *600; former high estate and pitiable death contrasted, _ibid._ 952; her ghost appears to curse Nero for his AJAX, son of Oïleus, called simply Oïleus; his death described, _Med._ 660; for his blasphemous defiance of the gods he was destroyed by Pallas and Neptune in the great storm which wrecked the Greek fleet on its homeward voyage, _Agam._ *532.
AJAX, son of Telamon, crazed with rage because the armor of the dead Achilles was awarded to Ulysses, _Agam._ 210.
ALCESTIS, wife of Admetus, king of Pherae, for the preservation of whose life she resigned her own, _Med._ 662.
ALCĪDES, see HERCULES.
ALCMĒNA (_Hercules Oetaeus_), wife of Amphitryon, a Theban prince, beloved of Jupiter, and mother by him of Hercules, _H. Fur._ 22, 490.
See HERCULES.
ALCYONE, see CEYX.
ALTHAEA, wife of Oeneus, king of Calydonia, and mother of Meleager. In revenge for the latter's slaughter of her two brothers, she burned the charmed billet of wood on which her son's life depended, and so brought to pass his death, _Med._ 779; on this account considered as a type of AMALTHĒA, the goat of Olenus which fed with its milk the infant Jove, and was set as constellation in the sky; not yet known as such in the golden age, _Med._ 313. See OLENUS.
AMAZONS, a race of warlike women who dwelt on the river Thermodon, _Med._ 215; even they have felt the influence of love, _Hip._ 575; conquered by Bacchus, _Oed._ 479; Clytemnestra compared to them, _Agam._ 736; allies of Troy, _Tro._ 12; their queen, Penthesilea, slain by Achilles, _ibid._ 243; Hercules laments that if he was fated to die by a woman's hand he had not been slain by the Amazon, Hippolyte, _H.
Oet._ 1183. See ANTIOPE, PENTHESILEA, HIPPOLYTE.
AMPHĪON, son of Antiope by Jupiter, king of Thebes, and husband of Niobe; renowned for his music; built the walls of Thebes by the magic of his lyre, _Phoen._ 566; _H. Fur._ 262; his hounds are heard baying at the time of the great plague at Thebes, _Oed._ 179; his shade arises from hades holding still in his hand the wonderful lyre, _ibid._ 612.
AMPHITRYON (_Hercules Furens_), a Theban prince, husband of Alcmena, the mother of Hercules, _H. Fur._ 309; he proves that not he but Jupiter is the father of Hercules, _ibid._ 440; welcomes Hercules upon his return from hades, _ibid._ 618.
ANCAEUS, an Arcadian hero, one of the Argonauts, slain by the Calydonian boar, _Med._ 643.
ANDROMACHE (_Troades_), wife of Hector and mother of Astyanax; attempts to hide and save her son from Ulysses, _Tro._ *430; given by lot to Pyrrhus, _ibid._ 976. See ASTYANAX.
ANTAEUS, a Libyan giant, son of Neptune and Terra, a famous wrestler, who gained new strength by being thrown to mother earth; strangled by Hercules, who held him aloft in the air, _H. Fur._ 482, 1171; _H. Oet._ 24, 1899; Alcmena fears that a possible son of his may come to vex the earth, _H. Oet._ 1788. See HERCULES.
ANTIGONE (_Phoenissae_), the daughter of Oedipus and Jocasta; she refuses to desert her father in his blindness and exile, _Phoen._ 51; Oedipus wonders that such a pure girl should have sprung from so vile a house, _ibid._ 80; she argues her father's innocence, _ibid._ 203.
ANTIOPE, an Amazon, wife of Theseus and slain by him, _Hip._ 226, 927, 1167; mother of Hippolytus by Theseus, _ibid._ 398; her personal appearance and dress described, _ibid._ *398; her stern and lofty beauty inherited by Hippolytus, _ibid._ 659.
ANTONIUS (Marc Antony), a great Roman general, defeated by Octavianus at the battle of Actium; fled with Cleopatra to Egypt, _Oct._ 518.
APOLLO, son of Jupiter and Latona, born in Delos, a "roving land," _H.
Fur._ 453; twin brother of Diana, _Med._ 87; the laurel his sacred tree, _Agam._ 588; god of the prophetic tripod, _Med._ 86; inspirer of priestess at his oracle, _Oed._ 269; god of the bow, is himself pierced by the arrows of Cupid, _Hip._ 192; killed the dragon Python, _H. Fur._ 455; exiled from heaven and doomed to serve a mortal for killing the Cyclopes, he came to earth and kept the flocks of Admetus, king of Pherae, _ibid._ 451; _Hip._ 296; hymn in praise of, _Agam._ 310; worshiped as the sun, lord of the sky, under the name of Phoebus Apollo. See PHOEBUS.
AQUARIUS, the zodiacal constellation, known as the Water-bearer, _Thy._ 865.
ARABES, the inhabitants of Arabia, famed for their spice groves, _Oed._