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 reasons are: first, it is so long ago and he has suffered so much. Even such a defilement as his does not last for ever. Secondly, he was fully purified at Delphi in the regular way, new blood (of swine) being poured upon him to cover the old blood, and then both washed off together. Thirdly, he has, as a matter of fact, spoken to many people with no bad results to them.—It looks as if there was some ceremonial difficulty which Aeschylus had to meet, in making the unacquitted murderer embrace the Image of Athena or the Altar at Delphi.

P. 15, ll. 293, 295. According to one legend, the epithet "Tritonia," traditionally applied to Athena, meant that she was born at Lake Tritonis in Libya. Phlegra was the scene of the Battle between the Gods and Giants; it is interesting that Aeschylus seems to conceive it as a continuous battle, not an incident in the past.

P. 15, l. 299. Orestes' prayer is followed by silence; a pause and no answer. Then the triumphant cry of the Fury, and the Binding Song to fix his despair. Then at l. 397, when hope had failed, Athena's entrance.

Pp. 16–19, ll. 321–396. This song falls into two parts: a solemn and even philosophical statement of the place of the Avengers in the Cosmos, and a magical chorus or "Binding Song," sinister and terrifying. "Binding charms" or Defixiones play a prominent part in ancient magic, and are sufficiently numerous to have a special volume of the Corpus Inscriptionum to themselves.

The Furies here explain that their business is to