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 father's tomb. Note that she begins by refusing to believe. A motive which is afterwards deepened and elaborated by Euripides has been suggested by Aeschylus. See above.

P. 29, ll. 269 ff., "Oh, Loxias shall not mock," etc.: Orestes at the end of the play goes mad; before that certain of his speeches are strangely violent and incoherent. Scholars have generally supposed the text to be exceptionally corrupt, but I think it will be found that this particular tone of incoherence never comes except when there is a mention of Delphi and Apollo's command. I think, therefore, that the wildness of these speeches is intentional, and the madness of the end does not come unprepared. It will be noticed in the last scene with what psychological daring as well as subtlety Aeschylus depicts the final collapse of his hero's reason.

P. 29, l. 275, "The wild bull's way": Ought Orestes to accept a money payment to atone for his father's slaying, or, like a wild bull driven out from the herd, should he accept no peace but insist on a life for a life? The commutation of the blood-feud for a money payment was, of course, a softening of primitive manners. As such, it is elaborately provided for in various codes of early law. Yet, while it marks a social advance, at the same time it often involves a softening and weakening of the sense of duty in the individual. Orestes could probably have lived in comfort if he had been willing to accept a large blood-price from Aigisthos and say no more about it. He prefers, with all its misery and danger, the absolute fulfilment of his duty to his father. To us, and in this special case to Aeschylus, the rule of