NOTES
vengeance seems savage. We speak glibly of the "duty of forgiveness." But it should be remembered that we expect the police to arrest the offender and the judge to see that he is hanged. In Orestes' days men had to do justice on the wicked with their own hands, or else leave them unpunished and triumphant.
P. 29, l. 290, "That bronze horror": The meaning is not known. It may be some instrument of torture, but more likely it is something intended to make a noise, like the bell sometimes worn by lepers in the Middle Ages, to warn people of the presence of the Accursed One.
P. 30, ll. 315–510, The Invocation. This extraordinary scene is really the heart of the play and gives to the Choëphoroe a strange supernatural atmosphere which is absent from both the Electra plays. There is no invocation scene in Sophocles; there is a brief one in Euripides (Electra 671–685). It has great emotional effect but is only about 15 lines long and does not attempt to produce the cumulative impression of this scene, in which we feel human suffering and love gradually breaking through the barriers of death and earth and darkness. At the end the dead Agamemnon is awake, and Orestes hardly needs to think about the details of his dangerous plot. A power more than mortal is behind him. It will be noticed how the scene works up, like certain religious litanies, to a pitch of more and more overpowering and almost hysterical emotion: then, in the regular Greek manner, it descends again to something like calm.
P. 33, l. 380, "Ah me, that word, that word": The thought that he himself hates his mother is
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