the Libation-Bearers.) They probably come from the old lyric poet, Stesichorus.
P. 43, l. 652, New-mothered of a Man-Child.]—Her true Man-Child, the Avenger whom they had sought to rob her of! This pitiless plan was suggested apparently by the sacrifice to the Nymphs (p. 40). "Weep my babe's low station" is of course ironical. The babe would set a seal on Electra's degradation to the peasant class, and so end the blood-feud, as far as she was concerned. Clytemnestra, longing for peace, must rejoice in Electra's degradation. Yet she has motherly feelings too, and in fact hardly knows what to think or do till she can consult Aegisthus (p. 71). Electra, it would seem, actually calculates upon these feelings, while despising them.
P. 45, l. 669, If but some man will guide me.]—A suggestion of the irresolution or melancholia that beset Orestes afterwards, alternating with furious action. (Cf. Aeschylus' Libation-Bearers, Euripides' Andromache and Orestes.)
P. 45, l. 671, Zeus of my sires, &c.]—In this invocation, short and comparatively unmoving, one can see perhaps an effect of Aeschylus' play. In the Libation-Bearers the invocation of Agamemnon comprises 200 lines of extraordinarily eloquent poetry.
P. 47 ff., ll. 699 ff.]—The Golden Lamb. The theft of the Golden Lamb is treated as a story of the First Sin, after which all the world was changed and became the poor place that it now is. It was at least the First Sin in the blood-feud of this drama.
The story is not explicitly told. Apparently the magic lamb was brought by Pan from the gods, and given to Atreus as a special grace and a sign that he was the true king. His younger brother, Thyestes, helped by Atreus' wife, stole it and claimed to be king himself. So good was turned into evil, and love into hatred, and the stars shaken in their courses.
