COMMENTARY NOTES

The plays of the Senecan corpus will be abbreviated as follows: Ag. — Agamemnon, H. F. Hercules Furens, Hipp. — Hippolytus, Me. — Medea, Oed. Oedipus, Phoen. Phoenissae, Tr. — Troades, Thy. — Thyestes, H. Oet. Hercules Oetaeus, Oct. — Octavia.  I call the play in question Hippolytus rather than Phaedra in imitation of Gager’s practice. To avoid possible confusion, the title of Gager’s Oedipus will never be abbreviated.

Epistle to Essex enutriendum potius puerum, quam tineis blattisque escam relinquendum This entire passage (which echoes Horace, Sermones II.iii 119, blattarum ac tinearum epulae) is imitated in the prologue to Robert Burton’s Philosophaster (written 1607, revised 1615, acted 1617):

emendicatum e nupera scena aut quis putet,
sciat quod undecim abhinc annis scripta fuit,
inter blattas et tineas in hunc diem delituit,
ab authore in aeternas damnata tenebras,
aliorum importunitate nunc in scenam venit.

atque ipsi etiam clam me, sed mendose ac perperam educarent: Gager is evidently referring to the play’s unauthorized circulation in manuscript, although no copies survive.
quemadmodum adolescens genui In fact, Gager was twenty-six when Meleager was first performed.
panniculis efformatus In classical Latin there is no such word as efformo. In my translation I assume that this = deformo (unless it is a typographical error for that word).
decrevissem tollere Gager alludes to the Roman custom whereby a father acknowledged a child by picking it up, if he so chose.
fratre tuo Gualtero: Walter Devereux, Leicester’s brother, was killed during the siege of Rouen in 1591. Gager recalls their friendship in some lines written in 1596 (poem XXXVIII.106 - 9):

Gualterum inprimis (mihi dicere fas sit)
quippe meo propiorem animo. quo candidiorem
nulla tulit tellus, quo non mihi charior alter
contigit, aut cui me fuerit devinctior alter.

He is also mentioned at poems V.43f., XLII.2, XLVII.10 - 12, and CLIV.
Calendis Ianuarii, MDXCII January 1, 1593, new style.

Eedes epigram. Richard Eedes [1555 - 1605], a friend and colleague of Gager’s, and himself a playwright and poet, was a frequent recipient of Gager’s occasional verse. Cf. the initial note on poem LXXV.
For the academic title Dominus (employable by all members of the University who had been admitted to the B. A.) see the General Introduction to Gager's poetry. For the special Christ Church title theologus see Tucker Brooke’s “Life and Times,” 412.
The point of this epigram is that Gager’s play, like its protagonist, would have been doomed to a short life had its author not decided to publish it.
4f. Literally, ad horae / lumen means “the light of an hour.” Edes may be stressing the words lumen and lux in this epigram because of Gager’s use of light imagery in his dedicatory epistle to Leicester and in the epigram that stands at the head of his address to the academic reader.

Gentili epigram. Alberico Gentili (Albericus Gentilis), a native of Padua and Oxford’s Professor of Civil Law, maintained an interest in academic drama and contributed prefatory epigrams to both of Gager’s printed volumes. See the description of his support of Gager in the controversy with Dr. John Rainolds in the General Introduction to Gager's plays, and also poems I and CLXVI. There is a biography of Gentili in the D. N. B.
I avail myself of the version in C. F. Tucker Brooke’s unpublished manuscript (p. 634), slightly modified.
The fact that this is written in Italian lends credence to the tradition that (unlike his brother Scipio) Alberico was such a bad Latin poet that on his death bed his father extracted a promise never to write Latin verse.
Accio e quivi? Cf. the note on the phrase ab Euripide etiam, ac fortasse ab Accio in Gager’s prose introduction ad Lectorem Academicum below.

“J. C.” epigram. The great Oxford Aristotelian John . See the discussion the family incident he describes (and also of his role in the Rainolds controversy) in the General Introduction to Gager's plays.
5 Polus was a distinguished Athenian actor of the fifth century B. C., who frequently appeared in Sophocles’ tragedies. For the anecdote cf. Aulus Gellius, Attic Nights VI.5.
7 The cothurnus was the traditional footwear of the tragic actor; the soccus was its comic equivalent.
13 There was an old Roman proverb, omen nomen, based on the idea that names and words have some mystical portent. In the present instance, the writer playfully suggests that there is some such significance in the fact that the name Meleager contains all but one letter of Gager’s own name.
28 There is an untranslatable pun on the two meanings of carmen, “magical incantation” and “song.”

epigram ad Lectorem Academicum 10 He is now a boy because he is going on eleven years old.

prose address ad Lectorem Academicum, τὸν Ἑλλάδος κλεινὸν γὸνον Gager cites an anonymous tragic fragment quoted by Aristotle at Rhetoric II.23 p.1397b18; this is likely to have been from Antiphon’s Meleager (for which see below):

καὶ σὸς μὲν οἰκτρὸς παῖδας ἀπολέσας πατήρ,
Οἰνεὺς δ᾿ ἄρ᾿ οὐχὶ κλεινὸν ἀπολέσας γόνον.

ἀρηίφιλον This adjective (in fact a stock Homeric epithet for warriors) is applied to Meleager at Iliad IX.550.
Antiphon: The quote is from the tragic poet Antiphon’s Meleager; Gager found this at Aristotle, Rhetoric II.23 p.1399b26.
refert Strabo
The reference is to Strabo, Geography VIII.vi.22, but the geographer is not responsible for this Euhemeristic revision of the myth.
Viriatum Lusitanum Viriatus was a Lusitanian general who opposed the Romans in the Spanish war of 147 - 39, described by such Roman writers as Appian, Iberike 60 - 72. Cf. the article at Pauly-Wissowa, Realencyclopädie der claßischen Altertumswißenschaft XVII, cols. 203 - 30. Spartacus led a slave revolt against Rome in the first century B. C., and Osman I [1288 - 1326], the dynastic founder of the Ottoman Turks.
Tamburlanem Scytham Marlowe’s Tamburlane Part I had recently been printed in 1590.
quod et Homerus videtur innuere There is no mention of the burning log in the Iliad account.
 a quo longe aliter, quod ab Ovidio See the Introduction to this play for a discussion of Gager’s sources.
ab Euripide etiam, ac fortasse ab Accio Euripides wrote a lost tragedy on the subject. So did the Roman tragedian Accius, but Gager sensibly hedges his bet, since Accius may or may not have adapted Euripides’ original. In a note, Gager refers to the fact that several fragments of Accius’ play are preserved by the Latin lexicographer Nonius Marcellus: cf. E. H. Warmington, Remains of Old Latin (Loeb Classical Library, Cambridge, Mass. - London, 1936) II.470 - 9.
quaecunque ea fuerit Gager is still unconvinced that she was not some sort of poisoner or witch. This view is not irrelevant, since he models important elements in her characterization after Seneca’s witchlike Medea.
tum atrocitate “…there is a suggestion here of the perverted doctrine that tragedy is impressive in proportion to the amount of ‘atrocitas’ that enters into it…” (Boas, p. 168).
in aves Meleagridas conversae He is referring to the climax of Ovid’s version (VIII.542ff.), in which Meleager’s sisters were tranformed into birds called Meleagrides, or guinea-hens.
quasi in piscem This apparently bizarre conclusion is a reference to Horace, Ars Poetica 3f., ut turpiter atrum / desinant in piscem mulier formosa superne, describing “such a figure as Scylla, in which the hideousness of the whole was increased by the contrast between the beauty of the face and bust and the ugliness of the body.” (Edward P. Morris, Horace, The Satires and Epistles, Norman, Okla., 1933, repr. 1967, ad loc.) Horace is arguing the doctrine that poets should include in any given genre only the things fitting to that the genre, and that any admixture of inappropriate elements serves to create monstrosities. Gager somewhat garbles these lines in such a way as to create an even more incongruous monster that is at once human, birdlike, and fishy, either out of whimsy or because he is quoting inaccurately from memory. His point is that such an ending would be incongruous in a tragedy.

Prologus ad Academicos This was the Prologue of the original production. By the time of the revival, with Dido behind him, he could no longer claim the special tolerance due a neophyte.
1ff. Gager also compares a poet to a swan in his non-dramatic poetry, in much the same language. In a poem to his patron Robert Dorset (LXXIV) he writes:

est cygno similis, Maecenas chare, poeta:
     par vox utrique est, par et utrique color.
fontibus et fluviis, et amaenis gaudet uterque
    amnibus, et Pythius gaudet utroque deus.
 at nisi cum mitis Zephiri spiraverat aura  
candidus extento guttere, cantat olor.

In slightly modified form, he recycled these lines yet again in his final published poem on the death of Sir Philip Sidney (XXXV):

assimulant veteres cigno, Sidnaee, poetam:
par candor, par est suavis utrique sonus.
fontibus et pratis et amaenis gaudet uterque
amnibus, et Phaebo gratus uterque deo.
at nisi cum mitis Zephiri spiraverit aura, 
praesagus claro gutture cantat olor.

10 Cf. Ovid, Metamorphoses  XIV.430, carmina iam moriens canit exequialia cycnus.
Prologus ad academicos 19f. The audience would perceive in these lines an allusion to the Thames, flowing through Oxford.

Argument 23 The speaker draws the spectators’ attention to the play’s setting: the entire play is enacted before Oeneus’ palace. More precisely, from the initial stage direction to ActII we learn that two “houses” are used to represent the palace and Diana’s shrine (as noted by Boas, p. 170), but for the most part the action centers around the former structure.
Argument 56 Fastus or pride is most visibly, but perhaps not exclusively, the salient characteristic of Oeneus and of Meleager’s uncles.

Prologus ad P. & L. This was the Prologue written for the revival performance.
Prologus ad P. & L. 64 Leicester was Chancellor of the University.
Prologus ad P. & L. 68 I presume that the baculus in question was some sort of Chancellor’s staff of office.
Prologus ad P. & L. 69ff. This somewhat complex conceit turns on the fact that the dragon was Leicester’s emblem, the swan Pembroke’s, and that the constellations Draco and Cygnus stand near each other in the sky.
Prologus ad P. & L. 74f. These final lines are addressed to the audience at large.

I.76ff. Even though Gager professes skepticism about the magical or supernatural elements of the Ovidian account in his Ad Lectorem Academicum, his attitude does not keep him from inserting the supernatural machinery traditional in ancient tragedy generally, and of Seneca in particular, in all three of his plays. In the present case, this prologue-like speech, delivered by Megaera, one of the three Furies, caters to the Elizabethan enthusiasm for spectral apparitions. The closest Senecan model is the dialogue between the Ghost of Tantalus and the Fury at the beginning of the Thyestes, Other Senecan plays (Agamemnon, Thyestes) begin with a variant on this idea, the appearance of an angry ghost from the Netherworld, seeking vengeance, and each of these three passages begins with lines that are similar to the first lines of the Agamemnon:

opaca linquens Ditis inferni loca
adsum profundo Tartari emissus specu.

Compare the first lines of the Ghost of Agrippina at Oct. 593 - 5:

tellure rupta Tartaro gressum extuli,
Stygiam cruenta praeferens dextra facem
thalamis scelestis.

Panniculus begins with the appearance from the Underworld of Cupid, who introduces himself (34 - 6):

tandem relicto noctis infernae specu, 
ad amoeniores extuli superum domos
pedem Cupido.

Also, in a poem by Gager (CXXI), Wulsaei Umbra, the ghost of Cardinal Wolsey is imagined to return to Christ Church:

inauspicata, Tartaro peior, domus
male execranda semper et diris mihi
in te reliqui noctis aeternae loca
Wulsaeus ille extructor infaelix tuus,
clarum galero verticem rubro efferens.

Appearances by Fury-like creatures are frequent in University tragedies, especially as prologue-speakers. For example, in Actio III of Thomas Legge’s Richardus Tertius (1579) Furor (Madness personified) speaks the Prologue. Likewise, the Prologue to Actio III of Legge’s Solymitana Clades is spoken by Vastitas (Devastation personified); Nemesis speaks the prologue, and the Furies constitute the chorus, of Matthew Gwinne’s Nero of 1603.
In accordance with normal contemporary practice, the “scenes” within each act of Dido are numbered in both of Gager’s manuscripts (for this practice cf. the initial note on Dido I.i). It may therefore have been the case that he originally employed numbered scenae in Meleager too, but that they were suppressed by the printer. Each list of speakers inserted in an Actus indicate the speakers in that portion of the Actus, with characters who are present but do not speak usually unrecorded. For practical purposes, this often amounts to a somewhat crude and inexact way of indicating entrances and exits.
Cf. noctis aternae plagam at Hipp. 835 and noctis aeternae plagis at Oed. 393.
I.77 Cf. Vergil, Aeneid VI.534 (of the Underworld), tristis sine sole domos.
I.78 Cf. extulit…gradus at Oct. 160.
I.79 Cf. Horace, Epistulae I.i.33, fervet avaritia miseroque cupidine pectus (and also fervent …pectora at Martial IV.lvii.5). For exundat furor cf. Me. 392 (also at line-end).
I.80 For crescit rabies cf. Ovid, Metamorphoses III.567.
I.81 Cf. Me. 143, sceptro impotens.
I.82 Cf. Ag. 10, superba sceptra gestantur manu.
I.83 For socia thalami cf. Hipp. 864. There is no verb to go with Althaea and Meleager: the reader is supposed to supply some such word as sunt or habitant.
I.84 Cf. Lucan VI.420, Sextus erat, Magno proles indigna parente.
I.85 “Jupiter of the Darkness” is of course Pluto. Cf. H. Oet. 1705, nigri …Iovis.
I.86 For iustis precibus cf. Ovid, Metamorphoses I.377 and III.406.
I.87ff. For this prophetic means of indicating the action of the play cf. Thy. 40 - 9:

fratrem expavescat frater et natum parens
natusque patrem, liberi pereant male,
peius tamen nascantur; immineat viro
infesta coniunx, bella trans pontum vehant,
effusus omnis irriget terras cruor,
supraque magnos gentium exultet duces
Libido victrix: impia stuprum in domo
levissimum sit fratris; et fas et fides
iusque omne pereat. non sit a vestris malis
immune caelum.

For 87 cf., perhaps, Statius, Thebais VIII.70f.:

fratres alterna in vulnera laeto
Marte ruant.

I.91ff. Cf. Ag. 47 - 9:

iam scelera prope sunt, iam dolus caedes cruor —
parantur epulae. causa natalis tui,
Aegisthe, venit.

I.94 For matris iratae cf. Me. 646.
I.96 Cf. Oct. 629 veniet dies tempusque and Vergil, Aeneid II.324, venit summa dies et ineluctabile tempus.
I.97 For poenas with forms of dabo in the Senecan corpus cf. H. F. 843, H. Oet. 322, 1973, Hipp. 937, and Oct. 811.
I.99 Cf. Thy. 24, et penates impios furiis age.
I.100ff. Cf. Thy. 57 - 9:

dextra cur patrui vacat?
nondum Thyestes liberos deflet suos —
et quando tollet?

Cf. also Panniculus 47f.:

 et cur tam diu scelere haec vacat
domus nefando?

Cf. also Phoen .342, miscete cuncta (also at line-beginning).
I.103 For evertam omnia cf. Me. 414 (also at line-end).
I.104 Cf. Horace, Sermones I.v.54, Messi clarum genus Osci, and Me. 210, avoque clarum Sole deduxi genus.
I.110 For publico…gaudio cf. Martial VII.vi.5.
I.111 For frontem geras cf. Martial III.xciii.4.
I.113 Cf. Ag. 137, fessus quidem et deiectus et pessumdatus.
I.117 Gager may have been thinking of Ovid, Metamorphoses VIII.547, interea Theseus sociati parte laboris, or of Statius, Thebais VI.503, stat sociumque iugi comitesque utrimque laboris.
I.118 Cf. sollicitos…tenet at Ovid, Fasti II.727.
I.120f. Cf. tristis…voces at Vergil, Aeneid XI.840.
I.121 For sospes est certe parens cf. Hipp. 433.
I.122f. Cf. Hipp. 436, domusque florens sorte felici viget.
I.123 Cf. H. Oet. 441, miseros facit (at line-end).
I.128 For saeva…lues cf. Phoen. 131.
I.130 For causa gemitus cf. Ovid, Metamorphoses IX.1f. Cf. also Me. 42f.:

  pelle femineos metus
et inhospitalem Caucasum mente indue.

I.131 Cf. Phoen. 77, pectus antiquum advoca, and also Tr. 506, animosque veteres.
I.133 For recipe laetitiam cf. Oct. 754.
I.136 Cf. Ovid, Metamorphoses XIV.476, ab agris / pellor.
I.138 Gager may have been thinking of Vergil, Aeneid VIII.202 (of Hercules), tergemini nece Geryonae spoliisque superbus.
I.140 Cf. Lucan X.65, ductura triumphos. For spolia…abstulit cf. H. F. 1154.
I.142f. For excidit / virtus cf. Horace, Odes. III.v.29.
I.143 For robur…pectoris cf. Ovid, Tristia V.xiii.19.
I.144 Cf. causa subest at Thy. 967.
I.145 Cf. digna dolore at Ovid, Tristia V.v.64.
I.146 For miror tamen cf. Plautus, Rudens 1201 (also at line-end).
I.148ff. This is a very shortened equivalent of the list of heroes at Ovid, Metamorphoses VIII.301 - 17. For Castor and Pollux cf. Met.VIII.301f
I.149 Cf. Me. 89, Pollux caestibus aptior.
I.150 For Theseus cf. Met. VIII.303. His faithful comrade is Pirithous.
I.151 Cf. Met. VIII.317 nemorisque decus Tegeaea Lycaei. Gager employs the Greek nominative singular ending -e here and at 1905. Cf. his use of Hecube for Hecuba at line 10 in the first of his published laments for Sidney (XXVII).
I.153 Oete is a steep mountain on the Graeco-Thracian border; in antiquity, Thracians were noted for their savagery and backwardness.
I.155 For supplicium with forms of dabo cf. Plautus, Asinaria 481, Cistellaria 477, Terence, Eunuchus 69, Heauton Timorumenos 138, and Catullus cxvi.8.
I.157 Cf. deus arcitenens (of Apollo) at Ovid, Metamorphoses I.441.
I.160 Cf. Ovid, Amores II.v.1, pharetrate Cupido (cf. also Metamorphoses X.525 and Tristia V.i.22).
I.161 For laeta…sata cf. Vergil, Aeneid II.306, Georgics I.325, and Statius, Thebais VII.275.
I.162 Cf. Vergil, Aeneid XI.564, propius iam urgente. For furit intus cf. Vergil, Aeneid VII.464.
I.163 Cf. Martial IV.lxxxvii.3, quo mireris magis.
I.166 Cf. Hipp. 858, perplexa magnum verba nescioquid tegunt (cf. also Hipp. 639).
I.167 For ignosce quaeso cf. Oed. 864. For impatiens sui cf. Hipp. 372 (also at line-end).
I.168 Cf. meruisse nefas at Ovid, Metamorphoses IX.372.
I.169 For nota fraus cf. Me. 181.
I.171f. For premit / animum cf. Ag. 134f.
I.175 Cf. quod fuit ante, manet at Ovid, Tristia IV.vi.6, IV.x.30, and V.ii.8 (all at line-end).
I.176 For nosse…iuvat cf. Statius, Silvae IV.vi.8.
I.179 Cf. silere pergit at Hipp. 882.
I.180 Cf. H. Oet. 1447, cogis fateri, Tr. 573, coacta dices sponte quod fari abnuis (and also fari abnuit at Hipp. 883, also at line-end).
I.181 Cf. Oed. 708, ipse ad penates regios referam gradum and H. Oet. 579, ipsa ad penates regios gressus feram.
I.183f. For tacitis…curis cf. Statius, Silvae V.iii.34. Cf. also sinat perire at Hipp. 262f.
I.184 For perire curis cf. Propertius II.xii.4.
I.185ff. Cf. Hipp. 640 - 4:

pectus insanum vapor
amorque torret. intimis saevit ferus
penitus medullas atque per venas meat
visceribus ignis mersus et venas latens
ut agilis altas flamma percurrit trabes.

Throughout the play there is a good deal of fire imagery employed with proleptic irony to describe Meleager’s love. This is all suggested by Ovid, Metamorphoses VIII.325f:

  optavit renuente deo flammasque latentes
  hausit.

I.189 The phrase populatur artus occurs in the Nurse’s description of the lovesick Phaedra’s symptoms at Hipp. 377.
I.190 For pudet fateri cf. H. F. 1147 (also at line-beginning). Cf. also Hipp. 190, ferre quod subiit iugum.
I.191 Cf. Horace, Epodes xvii.21, fugit iuventas et verecundus color.  Did Gager write color rather than calor?
I.192 For gratia nostra cf. Oed. 692. 
I.193 Cf. Terence, Eunuchus 312, nervos intendas tuos. For digna fide cf. Lucan VI.543 and Juvenal, Satire XV.118.
I.199 For pectus indomitum cf. H. Oet. 155 and Statius, Thebais XI.714. For pectus…domet cf. Seneca, Oedipus 927f.
I.200f. Cf. Hipp. 230 - 2:

exosus omne fenimae nomen fugit,
immitis annos caelibi vitae dicat,
conubia vitat.

I.201 Cf. caelibis…tori at H. F. 245 (cf. also Ag. 185).
I.202 Gager was evidently thinking of Tr. 250, iuvenile vitium est regere non posse impetum. Cf. a;sp Ag. 203, frena temet et siste impetus.
I.203 For frustra with forms of cupio cf. Catullus lxiv.260, Propertius I.vii.19, Martial X.xviii.2 and XII.lxi.4.
I.204 Cf. fata vetant at Lucan X.485, Statius, Achilleis I.81, Thebais III.316, V.179, and IX.254.
I.205 Causa doloris is common in Latin poetry: Vergil, Aeneid IX.216, the Vergilian Ciris 336, Propertius I.xvi.35, II.xxxiii(a).21, Ovid, Amores I.xiv.14, II.vi.10, Ars Amatoria III.599, Fasti VI.746, Heroides xv.119, Metamorphoses I.509, I.736, XIII.748, Remedia Amoris 572, 726, Tristia III.viii.32, IV .iii.33, Martial X.xli.3, and Juvenal, Satire ix.90.
I.206 For hinc pallor cf. Statius, Thebais III.564.
I.207 Cf. silvas…colebat at Ovid, Metamorphoses XI.146.
I.208 Cf. nescit…amare at Propertius II.xxx(b).34 and nescistis amare at Ovid, Ars Amatoria III.41.
I.209 Cf. conubiis…sociare at Vergil, Aeneid VII.96.
I.212 For cannam…levem cf. Ovid, Ars Amatoria I.554 and Metamorphoses XIV.515.
I.213 Cf. Ovid, Metamorphoses XV.169f.:

utque novis facilis signatur cera figuris
nec manet ut fuerat nec formam servat eandem.

I.216 For ferrum uritur cf. Lucan IV.578 and Statius, Thebais VI.397.
I.218 Cf. ardens…face at Ag. 119 and ardescit face at Hipp. 681.
I.220 For Herculeus labor at line-end cf. Horace, Odes I.iii.36 and H. Oet. 1453. Cf. also H. F. 1316.
I.222 For mutet animum cf. Terence, Phormio 774. For pari…odio cf. Oct. 49.
I.223 For precibus with forms of flecto  cf. Vergil, Aeneid II.698, Ovid, Metamorphoses XI.439, and Statius, Silvae IV.i.34. For flecti potest cf. Thy. 200.
I.224 For fera est cf. Ovid, Ars Amatoria III.735, Fasti V.540, Metamorphoses VII.782, Tristia III.v.36, H. Oet. 17, 236, 1215, and Martial, Spectacula xiii.8.
I.225 For genus omne profugit cf. Hipp. 243. For careo with the genitive the Oxford Classical Dictionary cites Terence, Heauton Timorumenos 400, but cf. also Hipp. 243, paelicis careo metu.
I.227 For quae placeat cf. Plautus, Captivi 180, Poenulus 1417, Ovid, Fasti VI.2, and Statius, Thebais XII.172.
I.228 For patria tellus cf. Tr. 602.
I.229 Cf., perhaps, Ovid, Heroides xvii.253, apta magis Veneri, quam sunt tua corpora Marti.
I.230 For rudis est cf. Ag. 995 (also at line-beginning).
I.231ff. Cf. Ovid, Metamorphoses VIII.318 - 21:

rasilis huic summam mordebat fibula vestem,
crinis erat simplex, nodum conlectus in unum,
ex umero pendens resonabat eburnea laevo
telorum custos, arcum quoque laeva tenebat;
talis erat cultu, facies, quam dicere vere
virgineam in puero, puerilem in virgine possis.

I.237f. Cf. Me. 549f.:

spiritu citius queam
carere, membris, luce.

I.239 Cf. Oct. 903f.:

   sin caede mea cumulare parat
luctus nostros.

Cf. also Ovid, Heroides xx.167, gravior mihi morte repulsa est.

I.240 Cf. Hipp. 268, incubat menti furor.
I.241 Cf. Ag. 250, animam…trucem. For virginis saevae cf. Oct. 974f.
I.242 Cf. Statius, Thebais IX.593f.:

ut forte iugis longo defessa redibat
venatu.

I.243 For casus dedit cf. Tr. 506 (also at line-end), and also Hipp. 426f., dedit / tempus locumque casus.
I.244 Cf. Vergil, Aeneid VI.894,  facilis datur exitus. Cf. also praestat…Venus at Ovid, Heroides xv.213.
I.248 Cf. Ovid, Ars Amatoria I.712, da causam voti (cf. also Martial IV.lxxvii.4).
I.249f. Cf. Thy. 899f.:

iam satis mensis datum est
satisque Baccho.

I.252 Cf. gratia…rependatur at Ovid, Metamorphoses II.694. For pudet / pigetque cf. Terence, Adelphoe 392.
I.254 For agros with forms of vasto cf. Vergil, Aeneid VIII.8, Statius, Thebais III.576 and IV.297.
I.255 In Seneca the epithet magnanimus is applied to a man five times (H. F. 310 and 647, Oed. 294, Phaed. 869, Phoen. 182), but never to a woman. Evidently, then, the characteristic designated by this word is a distinctly a masculine one. For regia stirpe edita cf. Phoen. 320.
I.256 For gratiam…parem cf. Plautus, Mercator 999 and Terence, Eunuchus 719. Cf. also Plautus, Miles Gloriosus 670, huius pro meritis ut referri pariter possit gratia.
I.259 For tantaeque…curae cf. Vergil, Georgics III.112 and Statius, Thebais V.625.
I.260 In the Introduction to this play we have seen that Boas asserted that Meleager adheres strictly to the Unities. But the play does not conform to the rule that the action should take place within a single day: this line and also 423 establish that Act I occurs on the day before the hunt. Likewise, the Matrons state that they have lamented each day and night since the death of Meleager (1793f.), which indicates the passage of a significant amount of time.
Cf. Terence, Hecyra 467, sed eam iam remittet. For moram or moras with forms of tollo cf. Ovid, Heroides iv.147, Metamorphoses XIII.556, Propertius III.xiii.14, Seneca, Phoen. 458, and Lucan I.281.
I.261 Cf. loca plena metus at Ovid, Metamorphoses IV.111 and Tristia III.xi.10.
I.262 Cf. Metamorphoses XIV.10, variarum plena ferarum.
I.265 Cf. Hipp. 922, silvarum incola. Cf. also, perhaps, Plautus, Curculio 45, minus formidabo.
I.266 For maior metus cf. Me. 516.
I.270f. Cf. Ovid, Remedia Amoris 199, venandi studium cole.
I.271 For labor vanus cf. Hipp. 182, Martial X.lxxxii.7 and XIV.xlviii.2.
I.272f. For fulvum…leonem cf. Vergil, Aeneid II.722, IV.159, Ovid, Fasti II.339, Metamorphoses I.304, X.551, Germanicus, Aratea 149, and Statius, Thebais I.397. Cf. also Oed. 808, nivoso sub Cithaeronis iugo.
I.273 Cf. stravit…leonem at Martial, Spectacula xv.5.
I.275ff. This speech is modelled on Ovid, Metamorphoses X.535 - 49:

per iuga, per silvas dumosaque saxa vagatur
fine genus vestem ritu succincta Dianae
hortaturque canes tutaeque animalia praedae,
aut pronos lepores aut celsum in cornua cervum
aut agitat dammas; a fortibus abstinet apris
raptoresque lupos armatosque unguibus ursos
vitat et armenti saturatos caede leones.
te quoque, ut hos timeas, siquid prodesse monendo
possit, Adoni, monet, “fortis” que “fugacibus esto”
inquit; “in audaces non est audacia tuta.
parce meo, iuvenis, temerarius esse periclo,
neve feras, quibus arma dedit natura, lacesse,
stet mihi ne magno tua gloria. non movet aetas
nec facies nec quae Venerem movere, leones
saetigerosque sues oculosque animosque ferarum.

For 275 cf. feri…leonis at Hipp. 327.
I.279 For facinus with forms of audeo cf. Plautus, Pseudolus 542 and Terence, Eunuchus 959.
I.280 For generosus ardor cf. Oct. 54 (also at line-beginning).
I.281 Cf. Oct. 498f., in caedem…armavit manus.
I.282 For nimium potens cf. Vergil, Aeneid VI.870, Ovid, Metamorphoses III.293, and Seneca, Hipp. 330, 609, and 1114 (all Senecan examples at line-end).
I.283 Cf. Vergil, Aeneid VII.473, hunc decus egregium formae movet, and Tr. 1144, hos movet formae decus (forma movet is also found at Statius, Silvae II.i.139 and Thebais X.752).
I.286 For mihi me relinque cf. Me. 969 (also at line-beginning).
I.287 Although the proper vocative Meleager is sometimes employed, the form Meleagre appears enough (cf. also 989, 1600, 1814) that it is best left undisturbed by an editor. For ratio vitae cf. Oed. 696.
I.291f. Cf. Hipp. 443f.:

potius annorum memor
mentem relaxa.

I.292 For mentem…rigidam cf. Ovid, Heroides iii.96.
I.293f. Cf. Hipp.451 - 3:

propria descripsit deus
officia et aevum per suos ducit gradus:
laetitia iuvenem, frons decet tristis senem.

I.294 Gager was evidently thinking of Vergil’s Camilla, who did not adhere to this prescription. Cf. Aeneid VII.805f.:

 non illa colo calathisve Minervae
femineas adsueta manus.

I.295 The pun on tela  / telum is untranslatable. Cf. Hipp. 103, Palladis telae vacant.
I.298ff. Cf. Hipp. 463 - 5:

hoc esse munus credis indictum viris,
ut dura tolerent, cursibus domitent equos
et saeva bella Marte sanguineo gerant? 

I.303f. Cf. the note on 293f.
I.305 Cf. Propertius II.28.57f. (traditional lineation):

nec forma aeternum aut cuiquamst fortuna perennis:
  longius aut propius mors sua quemque manet.

I.306ff. Cf. Hipp. 761 - 3:

anceps forma bonum mortalibus,
exigui donum breve temporis,
ut velox celeri pede laberis!

Cf. also ib. 770 - 2:

 ut fulgor teneris qui radiat genis
momento rapitur nullaque non dies
formosi spolium corporis abstulit.

I.308  For vultus…formosi cf. Ovid, Amores II.i.37.
I.309 Cf. Vergil, Aeneid XII.49f.:

quam pro me curam geris, hanc precor, optime, pro me
deponas letumque sinas pro laude pacisci.

I.312 For sensit…lacertos cf. Ovid, Metamorphoses IV.555.
I.313 For plantae pedum cf. Vergil, Aeneid VIII.458 and XI.573.
I.314 Cf., possibly, sanguis…sequitur at Aen. III.333.
I.317 For minus with forms of tango, cf. Ovid, Ars Amatoria II.684 and Fasti VI.274.
I.318ff. Cf. Ovid, Metamorphoses V.580 - 5:

sed quamvis formae numquam mihi fama petita est,
quamvis fortis eram, formosae nomen habebam,
nec mea me facies nimium laudata iuvabat,
quaque aliae gaudere solent, ego rustica dote
corporis erubui crimenque placere putavi.

Cf. also virginum…greges at H. F. 478.
I.322ff. This picture of Atalanta plying her vocation is inspired by Vergil’s description of Venus disguised as a huntress at Aeneid I.314 - 20:

cui mater media sese tulit obvia silva,
virginis os habitumque gerens et virginis arma,
Spartanae, vel qualis equos Threissa fatigat
Harpalyce volucremque fuga praevertitur Hebrum.
namque umeris de more habilem suspenderat arcum
venatrix, dederatque comam diffundere ventis,
nuda genu nodoque sinus collecta fluentes.

I.324f. Cf. further Aen. I.337f.:

virginibus Tyriis mos est gestare pharetram
purpureoque alte suras vincire coturno. 

I.325 Pharetra de tergo sonat is calculated to recall Iliad. I.46, ἔκλαγαν δ᾿ ἄρ᾿ ὀίστοι ἐπ᾿ ὤμων χωομένοιο.
I.327 Cf. Hipp. 110, iuvat excitatas consequi cursu feras.
I.328 For hymemque duram cf. Vergil, Georgics IV.239 and Ovid, Tristia III.x.44. Cf. also Tr. 583, et famem et saevam sitim.
I.329f. Culpae otium…matrem may be inspired by the English “idle hands are the Devil’s playthings”: in Ulysses Redux Gager amuses himself and his audience by working into the text several Latinized versions of vernacular proverbs and saws.
I.330 Cf. furere…bello at Phoen. 484.
I.332 For quid ista prosint? cf. H. F. 249. For armis … levibus cf. Ovid, Tristia III.xii.19.
I.334 For the idea cf. Hipp. 352f.:

 vindicat omnem
sibi naturam; nihil immune est.

Cf. also, perhaps, Propertius II.xxvi(c).52, hic deus et terras et maria alta domat.
I.336 For igne…sacro cf. Germanicus, Aratea 394 and Me. 842. Cf. also Hipp. 191, igne tam parvo calet.
I.341ff. The source of this argument is Catullus, lxii.62 - 4:

virginitas non tota tuast, ex parte parentumst:
tertia pars patris est, pars est data tertia matri,
tertia sola tua est.

I.348 For perire with forms of sineo cf. Ovid, Heroides xxi.60 and Seneca, Hipp. 262.
I.355ff. The next part of the debate is based on the dialogue about marriage between the choruses of youths and girls in Catullus lxii. The present speech is closely modelled on lines 40 - 9:

ut flos qui in saeptis secretus nascitur hortis,
ignotus pecori, nullo convulsus aratro,
quem mulcent aurae, firmat sol, educat imber,
iam iam se expandit suavesque exspirat odores;
multi illum pueri, multae optavere puellae:
idem cum tenui carptus defloruit ungui,
nulli illum pueri, nullae optavere puellae:
sic virgo, dum intacta manet, dum cara suis est;
cum castum amisit polluto corpore florem,
nec pueris iucunda manet, nec cara puellis.

I.365ff. Likewise, this speech is based on the similar rejoinder in Catullus, ib. 51 - 60.

ut vidua in nudo vitis quae nascitur arvo,
numquam se extollit, numquam mitem educat uvam,
sed tenerum prono deflectens pondere corpus
iam iam contingit summum radice flagellum;
hanc nulli agricolae, nulli coluere iuvenci:
at si forte eademst ulmo coniuncta marita,
multi illam agricolae, multi coluere iuvenci:
sic virgo dum intacta manet, dum inculta senescit;
cum par conubium maturo tempore adeptast,
cara viro magis et minus est invisa parenti. 

Compare Gager’s description of a widow at poem CXXXII.1f.:

quae modo vitis eram laetis faecunda racemis
nunc iaceo sterilis funere facta tuo.

I.377 For oculos with forms of pasco cf. Terence, Phormio 85, Lucretius II.419, Ovid, Amores III.ii.6, and Juvenal, Satire vi.0x21.
I.379 Ovid uses forms of marcesco at Epistulae ex Ponto I.v.45 and II.ix.61.
I.380ff. Cf. Catullus, ib. 21 - 5:

Hespere, quis caelo fertur crudelior ignis?
qui natam possis complexu avellere matris,
complexu matris retinentem avellere natam,
et iuveni ardenti castam donare puellam.
quid faciunt hostes capta crudelius urbe?

I.386ff. Cf. Catullus, ib. 26 - 31:

Hespere, quis caelo lucet iucundior ignis?
qui desponsa tua firmes conubia flamma,
quae pepigere viri, pepigerunt ante parentes,
nec iunxere prius quam se tuus extulit ardor.
quid datur a divis felici optatius hora?

I.391ff. Cf. Panniculus 295 - 7:

Hippolyte, nescis quod fugis vitae bonum,  
Hippolyte, nescis; atque ideo certe fugis.
roga maritos, et homines simul et deos.

For casta…Venus cf. Hipp. 237, Martial II.xxxiv.4, VI.xlv.2f., and X.xxxiii.4.
I.393 For satis with forms of testatus cf. Germanicus, Aratea 250 and Statius, Silvae IV, proem 18.
I.397 For nomen parentis cf. Ovid, Epistulae ex Ponto IV.ix.134 and Phoen. 225.
I.398 Cf. Ovid, Metamorphoses IV.516, deque sinu matris ridentem. Cf. also Vergil, Aeneid IV.328 - 30:

  si quis mihi parvulus aula
luderet Aeneas, qui te tamen ore referret,
non equidem omnino capta ac deserta viderer. 

I.400 For qui blandiendo cf. Hipp. 134 (also at line-beginning).
I.401ff. Cf. Hipp. 659f.:

est genitor in te totus et torvae tamen
pars aliqua matris miscet ex aequo decus.

I.404 For iugales…faces cf. Ag. 158, Herc. Oet. 339, and Hipp. 597.
I.405 For puella sapiens cf. Ovid, Metamorphoses X.622. Gager was possibly thinking of Catullus lxiii.32f.:

veluti iuvenca vitans
onus indomita iugi.

I.409ff. For this topos, listing various impossibilities or adynata, cf. the expression of gratitude at Vergil, Eclogue i.59 - 63:

ante leves ergo pascentur in aethere cervi,
et freta destituent nudos in litore piscis,
ante pererratis amborium finibus exsul
aut Ararim Parthus bibet aut Germania Tigrim,
quam nostro illius labatur pectore vultus.

Gager subsequently used this same device in one of his published laments for Sidney (poem XXXIV.116 - 9):

desinet ergo lupum prius agna timere, columba
accipitrem, piscisque amnem dediscet amarae,
quam tua pastorum labatur cura medullis,
quam calamo taceare meo.

I.416 For gravi sonitu cf. Lucretius VI.285.
I.417 For verba…excutit cf. Tr. 575.
I.418 For sic abibit cf. Catullus xivA.16 and Ovid, Ars Amatoria III.60.
I.419 For inanem spem cf. Vergil, Aeneid X.627, X.648, and Ovid, Metamorphoses VII.336.
I.420 Cf. Hipp. 877, leti facultas nulla continget tibi.
I.421 For compotem or compotes with forms of facio cf. Plautus, Captivi 41, 218, and Hipp. 710.
I.422 For precibus admotis agam cf. Hipp. 635.
I.423 This line is suggested by such lines as Ovid, Metamorphoses III.149f.:

 altera lucem
cum croceis invecta rotis Aurora reducet

and Vergil, Aeneid XI.913f.:

ni roseus fessos iam gurgite Phoebus Hibero
tingat equos noctemque die labente reducat.

For crastinum…diem cf. Plautus, Mostellaria 881, Stichus 635, and Propertius II.xv. 54.
I.424f. Cf. Vergil, Aeneid XII.913, quacumque viam virtute petivit.
I.425 Cf. dignum gerant at Phoen. 333 (also at line-end).
I.426 Cf. H. F. 350, fore ut recuset ac meos spernat toros.
I.427f. For manu with forms of raptus cf. Vergil, Aeneid XII.901, Georgics III.32, Ovid, Fasti III.504, Heroides vi.14, Metamorphoses IV.496, H. F. 341, and Martial V. xxxvii.11.
I.428ff. As this dialogue shifts into stychomythic exchanges, it gravitates into the orbit of Senecan scenes in which a bad ruler, contemplating a crime, is questioned by an advisor or underling: cf. Oct. 846ff., Thy. 204ff., and Tr. 327ff.
I.431 I. e., how often has Jupiter committed such acts himself (as in the episode of Europa and the bull)?
I.436 Cf. Me. 168, rex meus fuerat pater.
I.437 Gager was possibly thinking of Statius, Thebais V.305, insula dives agris opibusque armisque virisque.
I.438f. For face with forms of ardeo cf. Ag. 119, Hipp. 681, and Oct. 119.
I.439 For deo with forms of plenus cf. Lucan VI.708 and IX.564.
I.442 For alto…gradu cf. Vergil, Aeneid IV.685, Ovid, Ibis 485, and Oct. 501.Again, in view of Oeneus’ fate this line seems imbued with proleptic irony.
I.443f. Cf. Ovid, Metamorphoses VIII.327f.:

nec plura sinit tempusque pudorque
dicere: maius opus magni certaminis urguet.

I.445 For consilio with forms of rego cf. Terence, Eunuchus 58 and Tr. 359.
Act I chorus As is often the case in Senecan tragedy, the identity of the chorus is not stated explicitly but is, at best, left to be inferred by the reader. At V.1783ff. there is a lyric passage delivered by some Calydonian matrons who are onstage throughout the Actus. Unlike other lyric intrusions within some of Gager’s acts, this is not a song so much as an extra choral passage, albeit one not used to demarcate an act division. These matrons next engage in dialogue with the Nurse, and then the Actus ends with another chorus. We may possibly think that this group of matrons is a secondary chorus (for which there is precedent in the Hercules Furens and the Hercules Oetaeus), but it is simpler and more straightforward to assume that this is the play’s principal chorus.
This passage is written in anapestic dimeters, rounded off by a single anapestic metron scanned as an Adonic.
Lines 446 - 464 are a close adaptation of Ovid, Metamorphoses VIII.289 - 99:

fulmen ab ore venit, frondes afflatibus ardent.
is modo crescentes segetes proculcat in herba,
nunc matura metit fletura vota coloni
et Cererem in spicis intercipit: area frustra
et frustra exspectant promissas horrea messes.
sternuntur gravidi longo cum palmite fetus
bacaque cum ramis semper frondentis olivae.
saevit et in pecudes: non has pastorve canisve,
non armenta truces possunt defendere tauri.
diffugiunt populi nec se nisi moenibus urbis
esse putant tutos.

The closest Senecan analogy is probably the chorus at Oed. 110ff. describing the afflictions suffered by Thebes, already quoted in the initial note on Oedipus I.
I.461 I do not understand the purpose of the subjunctive valeant in what appears to be a straightforward declarative statement (and cf. possunt at Met. VIII.287), and is translated as such.

II.472ff. For a similar picture of prosperity cf. Thy. 225 - 31:

est Pelopis altis nobile in stabulis pecus,
arcanus aries, ductor opulenti gregis,
cuius per omne corpus effuso coma
dependet auro, cuius e tergo novi
aurata reges sceptra Tantalici gerunt;
possessor huius regnat, hunc tantae domus
fortuna sequitur.

II.474ff. Cf. Ovid, Metamorphoses VIII.273 - 5:

Oenea namque ferunt pleni successibus anni
primitias frugum Cereri, sua vina Lyaeo,
Palladios flavae latices libasse Minervae.

II.479ff. Cf. Tr. 959ff.:

modo turba felix latera cingebat mea,
lassabar in tot oscula et tantum gregem
dividere matrem.

II.496 By a metrical slip st fails to create positional lengthening. It will be noticed that such errors (there is another one at 1659) almost always involve the consonantal combinations sc or st, and this same phenomenon can be observed in other contemporary Anglo-Latin poets such as Thomas Legge and Matthew Gwinne. Possibly there was some phonological basis for such errors.
II.502ff Gager’s designation of this character merely as the Senex imitates the introduction of a like-named character (who is in fact Astyanax’ tutor) in Seneca’s Troades.
II.506 Diana was sometimes portrayed with three-headed statues also and was, as we have just seen, sometimes identified with Hecate. For the phrase triplex Diana cf. Ovid, Heroides XII.79.
II.513 Cf. the note on Oedipus I.10f.
II.516ff. Echoes of Ovid. Met. VI.193 - 200 show that Gager drew some of his inspiration for Oeneus’ characterization from another mythological character destroyed by Diana for offending her, Niobe:

sum felix (quis enim neget hoc?) felixque manebo
(hoc quoque quis dubitet?): tutam me copia fecit.
maior sum quam cui possit fortuna nocere,
multaque ut eripiat, multo mihi plura relinquet.
excessere metum mea iam bona. fingite demi
huic aliquid populo natorum posse meorum:
non tamen ad numerum redigar spoliata duorum,
Latonae turba, qua quantum distat ab orba?

II.531f. Both of these lines echo Oed. 386, solent suprema facere securos mala.
II.539ff. This philosophy praising the humble man is typically Senecan. Cf., for example, the choral sentiments at Ag. 87ff. and Hipp. 1123ff. Like the present passage, these are indebted to Horace, Odes. II.x. 6 - 16:

auream quisquis mediocritatem
diligit, tutus caret obsoleti
sordibus tecti, caret invidenda
sobrius aula.

saepius ventis agitatur ingens
pinus et celsae graviore casu
decidunt turres feriuntque summos
fulgura montis.

sperat infestis, metuit secundis
alteram sortem bene praeparatum
pectus.

The reference to turres in this admonition displays proleptic irony in the light of the manner of Oeneus’ subsequent death.
II.543 Cf. H. Oet. 441, caelestis ira quos premit, miseros facit.
II.558 Cf. Vergil, Aen. 9.138f. nec solos tangit Atridas / iste dolor.
II.560f. Cf. Ovid, Epistulae ex Ponto I.viii.96, iustam subprimat iram.
II.563 Cf. Ovid, Metamorphoses VIII.739f.:

pater huius erat, qui numina divum
sperneret et nullos aris adoleret odores.

II.564 Cf. the note on Oedipus I.12f. (for the significance of this allusion to Niobe, cf. the note on 516ff. above).
II.573ff. In writing 574 Gager may have had in mind Thy. 927 ex alto culmine lapsum. In any event, note the use of proleptic irony here too.
II.584ff. Cf. Ovid, Met. VIII.272 - 8:

Oenea namque ferunt pleni successibus anni
primitias frugum Cereri, sua vina Lyaeo,
Palladios flavae latices libasse Minervae;
coeptus ab agricolis superos pervenit ad omnes
ambitiosus honor: solas sine ture relictas
praeteritae cessasse ferunt Latoidos aras.

II.596f. There is an untranslatable pun on the two meanings of colo, “cultivate” and “worship.”
II.600 Cf. Hipp. 1121, cur madent fletu genae? and Oct. 692, cur genae fletu madent?
II.601f Cf. Oct. 710f.:

Quae subita vultus causa mutauit tuos?
quid pallor iste, quid ferant lacrimae doce.

II.603f. This portentious dream is suggested by that of Andromache in Seneca’s Troades. Thus Andromache also begins (435f.):

hic proprie meum
exterret animum, noctis horrendae sopor.

II.607 Cf. Ovid, Metamorphoses II.49f.:

qui terque quaterque
concutiens inlustre caput.

II.616f. Likewise, after Seneca’s Andromache reports her vision of the dead Hector in a dream, she says (Tr. 457f.) mihi gelidus horror ac tremor somnum excutit.
II.635f. Cf. Oct. 754f.:

recollige animum, recipe laetitiam, precor,
timore pulso redde te thalamis tuis.

II.644ff This speech embroiders on Juvenal, Satire xiii.100 ut sit magna, tamen certe lenta ira deorum est.
II.655ff. Cf. Oct. 756 - 8:

delubra et aras petere constitui sacras,
caesis litare victimis numen deum,
ut expientur noctis et somni minae.

    II.670f. Cf. Oct. 693f.:

certe petitus precibus et votis dies
nostris refulsit.

II.674ff. This passage, with its dire portents, is inspired by the sacrifice scene in Seneca’s Oedipus, in which Manto describes the sinister behavior of the fire on the altar and the equally sinister aspect of the of the victims’ entrails to her blind father Tiresias (303ff.).
II.675 Cf. Ag. 579, utrumne doleam laeter an reducem  virum?
II.676 Cf. Oed. 208, ubi laeta duris mixta in ambiguo iacent.
II.679 Cf. Ag. 508, tenet horror artus.
II.680 Cf. Oed. 384f:

quid ista sacri signa terrifici ferant
exprome.

II.682 Cf. Oed. 528, coacta verba placidus accipias precor.
II.683ff. Contrast Oed. 331f.:

solet ira certais numinum ostendi notis.
quid istud est quod esse prolatum volunt
iterumque nolunt et truces iras tegunt?

II.686f. In the same way, in the prototype scene in Seneca’s Oedipus, Manto says to Tiresias (328), quid sit, parens, effare, and he responds (328 - 30):

quid fari queam
inter tumultus mentis attonitae vagus?
quidnam loquar?

II.688f. Cf. Oed. 366f.:

mutatus ordo est, sede nil propria iacet,
sed acta retro cuncta.

II.689ff. Compare Manto’s description of the entrails’ sinister aspect at Oed. 353 - 83.
II.691ff. Surely this is intended as a proleptic foreshadowing of the burning of the stipes that will later destroy Meleager.
II.692f. Cf. Oed. 383, immugit aris ignis et trepidant foci.
II.703f. Cf. Oed. 298f.:

si foret viridis mihi
calidusque sanguis,

II.707 The meter guarantees that the printer did not omit ni before prohiberet, but this word must be supplied by the reader.
II.708f. Cf. Hipp. 846f.:

sed fessa virtus robore antiquo caret
trepidantque gressus.

II.718 Cf. Me. 226, decus illud ingens Graeciae et florem inclitum.
II.731 Here is a fine example of Gager’s use of proleptic irony. Occidistis, una occidam can be translated “if you die, I shall die too,” and also, prophetically, “if you commit murder, I shall kill too.”
II.732f. Cf. Hipp. 438, namque anxiam me cura sollicitat tui.
II.742 Cf. Me. 294, repugnat precibus infixus timor.
II.743 Gager may have been thinking of Ag. 234f.:

tu nos pericli socia, tu, Leda sata,
comitare tantum

II.763 Note the imitation of Tro. 758f.:

non vacat vanis diem
conterere verbis.

And cf. Oedipus 184ff.

Act II chorus The meter is lesser Asclepiads.
II.766 For Pax alma cf. Tibullus I.x.67.
II.783f. Cf. Juvenal, Sat. 4.70 - 2:

et tamen illi
surgebant cristae. nihil est quod credere de se 
conterere verbis.

Gager reemployed this expression at Panniculus 2.
III.786ff. In Seneca, Messengers tend to make melodramatic entraces. There is no Senecan example of a Messenger entering bearing glad tidings, but the Messenger’s entrance lines at Tr. 1056ff. present an equivalent of the present passage that is very similarly structured:

o dura fata, saeva miseranda horrida!
quod tam ferum, tam triste bis quinis scelus
Mars vidit annis?

In several Senecan tragedies a Messenger delivers his news to the Chorus: cf. Me. 879ff., Oed. 915ff., Thy. 615ff. and also Oct. 780ff.
III.793ff. So far, Gager has displayed remarkable independence of Ovid’s version of the myth. Indeed, he has had to, since the Ovidian version is on the whole not the kind of pro­totype which any dramatist could follow closely. But a major element of Gager’s model consists of a protracted set-piece describing the hunt and the killing of the boar (Metamorphoses VIII.392 - 424), and the present messenger speech follows that passage closely. Gager makes two important changes. For brevity’s sake he excludes many of Ovid’s descriptions of various hunters’ failed attempts to kill the boar; for some less obvious reason he also suppresses any suggestion that the outcome of the hunt is dictated by Diana’s behind-the-scenes intervention.
III.798 - 810 Cf. Met. VIII.329 - 37:

silva frequens trabibus, quam nulla ceciderat aetas,
incipit a plano devexaque prospicit arva:
quo postquam venere viri, pars retia tendunt,
vincula pars adimunt canibus, pars pressa sequuntur
signa pedum, cupiuntque suum reperire periclum.
concava vallis erat, quo se demittere rivi
adsuerunt pluvialis aquae; tenet ima lacunae
lenta salix ulvaeque leves iuncique palustres
viminaque et longa parvae sub harundine cannae.

III.813 - 22 Cf. Met. VIII.282 - 9:

misit aprum, quanto maiores herbida tauros
non habet Epiros, sed habent Sicula arva minores:
sanguine et igne micant oculi, riget ardua cervix,
et setae similes rigidis hastilibus horrent
stantque velut vallum, velut alta hastilia setae;
fervida cum rauco latos stridore per armos
spuma fluit, dentes aequantur dentibus Indis,
fulmen ab ore venit, frondes afflatibus ardent.

III.823 - 34 Cf. Met. VIII.340 - 8: 

sternitur incursu nemus, et propulsa fragorem
silva dat; exclamant iuventes praetentaque forti
tela tenent dextra lato vibrantia ferro.
ille ruit spargitque canes, ut quisque furenti
obstat, et obliquo latrantes dissipat ictu.
cuspis Echionio primum contorta lacerto
vana fuit truncoque dedit leve vulnus acerno;
proxima, si nimiis mittentis viribus usa
non foret, in tergo visa est haesura petito:
longius it; auctor teli Pagasaeus Iason.

III.835 - 8 Cf. Met. VIII.355 - 60:

ira feri mota est, nec fulmine lenius arsit:
emicat ex oculis, spirat quoque pectore flamma,
utque volat moles adducto concita nervo,
cum petit aut muros aut plenas milite turres,
in iuvenes certo sic impete vulnificus sus
fertur.

III.839 - 56 Cf. Met. VIII.365 - 82:

forsitan et Pylius citra Troiana perisset
tempora, sed sumpto posita conamine ab hasta
arboris insiluit, quae stabat proxima, ramis
despexitque, loco tutus, quem fugerat, hostem.
dentibus ille ferox in querno stipite tritis
imminet exitio fidensque recentibus armis
Eurytidae magni rostro femur hausit adunco.
at gemini, nondum caelestia sidera, fratres,
ambo conspicui, nive candidioribus ambo
vectabantur equis, ambo vibrata per auras
hastarum tremulo quatiebant spicula motu.
vulnera fecissent, nisi saetiger inter opacas
nec iaculis isset nec equi loca pervia silvas.
persequitur Telamon studioque incautus eundi
pronus ab arborea cecidit radice retentus.
dum levat nunc Peleus, celerem Tegeaea sagittam
inposuit nervo sinuatoque expulit arcu.

III.841ff. In describing Nestor’s escape, both Ovid and Gager mean to indicate that he employed his spear much as a modern vaulter uses his pole.
III.845 This minor hero’s name was Hippasas, son of Eurytides and Orithya (cf. Met. VIII.371).
III.857 - 9 Cf. Met. VIII.388 - 90:

erubuere viri seque exhortantur et addunt
cum clamore animos iaciuntque sine ordine tela:

III.862 - 71 Cf. Met. VIII.414 - 19:

at manus Oenidae variat, missisque duabus
hasta prior terra, medio stetit altera tergo.
nec mora, dum saevit, dum corpora versat in orbem
stridentemque novo spumam cum sanguine fundit,
vulneris auctor adest hostemque inritat ad iram
splendidaque adversos venabula condit in armos.
gaudia testantur socii clamore secundo
victricemque petunt dextrae coniungere dextram
immanemque ferum multa tellure iacentem
mirantes spectant neque adhuc contigere tutum
esse putant, sed tela tamen sua quisque cruentat.

III.882ff. This song contains a variant on Sapphic stanzas: five rather than three hendecasyllables followed by an Adonic.
This song, with its refrain of laeta triumphum, is calculated to remind the spectator of a song sung in a Roman victory procession with its refrain io triumphe: cf. Horace, Odes IV.ii 49f., Epodes ix.21-3, and Ovid, Met.I.560f. At the same time, the triumphal chorus at H. F. 875ff. is comparable in a general way.
III.882 Cf. Thy. 970f.:

festum diem, germane, consensu pari
celebremus.

III.886f. etc For superbum…triumphum cf. poem XXIII.43f.
III.900ff. This entire scene, including the killing of Meleager’s uncles, is loosely based on Ovid, Met. VIII.425 - 44.
III.904ff. Cf. Met. VIII.426f.:

     “sume mei spolium, Nonacria, iuris,”
dixit, “et in partem veniat mea gloria tecum.”

III.918ff. Cf. Gager’s second eclogue on the death of Sir Philip Sidney (poem XXXIV.119f.):

                                    seu montibus errem,
seu sylvis, Daphnin sylvae, montesque sonabunt.      

And also his Aegloga ad Matthaeum (poem CL.73 - 5):

                        per valles seu sit eundem
seu montes, nomen valles montesque loquentur.
cantibus implebo sylvas.

III.921f. Cf. Ulysses Redux 131f.:

                                 nulla me oblitum tui
arguerit unquam, nulla non gratum dies.

And Gager’s second poem to Dr. Harbert Westphaling, poem CXLIII.41f.:

omnia polliceor, tanti me nulla videbit
   oblitum meriti degeneremve dies.

And also his Aegloga ad Matthaeumpoem CL.68f.:

omnia profiteor, nec me lux ulla videbit
immemorem.           

II.926f. Cf. H. F. 59f.:                   

de me triumphat et superbifica manu
atrum per urbes ducit Argolicas canem.

III.930f. Cf. Ovid, Met. VIII.433ff.:

“pone age nec titulos intercipe, femina, nostros,”
Thestiadae clamant, “nec te fiducia formae
decipiat, ne sit longe tibi captus amore
auctor.”

III.938 Cf. Tr. 467, fronte sic torva minax.
III.939 Gager may have remembered Vergil, Aen. X.447, lumina voluit obitque truci procul omnia visu.
III.952f. Cf. Ovid, Met. VIII.429f.:

protinus exuvias rigidis horrentia saetis
terga dat et magnis insignia dentibus ora.

III.965f. Cf. H. Oet. 823f.:

“resistite” inquit, “non furor mentem abstulit,
furore gravius istud atque ira malum est.”

III.984f. Cf. Met. VIII.438f.:

“dixit, raptores alieni,” dixit, “honoris,
facta minis quantum distent.”

III.988f. Cf. Thy. 530f.:

di paria, frater, pretia pro tantis tibi
meritis rependant.

III.990ff. Meleager’s shame and chagrin imitate that of Hercules at H. F. 1321f.:

                  quem locum profugus petam?
ubi me recondam quave tellure obruar?

III.992f. Cf. H. F. 329, saevus ac minas vultu gerens.
III.995 Compare the entrance cue at 598, sed ecce coniux tristis huc affert gradum. Gager invariably marks each entrance with a heavy cue; at least on the character’s initial entrance, he is identified for the benefit of the audience. This is a technique not always used by Seneca.
III.997ff. The way Althaea learns of the murder of her uncles is engineered differently than in Ovid (cf. Met. VIII.445 - 50).
III.1004 Cf. H. Oet. 985, quid ora flectis? and Me. 937, ora quid lacrimae rigant(?)
III.1012 Cf. Tr. 615, maeret, illacrimat, gemit.
III.1015 Cf. Tr. 166f.:

quae causa ratibus faciat et Danais moram,
effare.

III.1017 Cf. Hipp. 900, gentis Actaeae decus, and cf. also Tr. 876, Me. 227f., and Oct. 535.
III.1023 Cf. Oed. 528, coacta verba placidus accipias precor.
III.1026 For inter extinctos iacet cf. Tr. 603.
III.1027 For quod facinus aures pepulit? cf. H. F. 415.
III.1030ff. Cf. Thy. 1036 - 9:

quas miser voces dabo
questusque quos? quae verba sufficient mihi?
abscisa cerno capita et avulsas manus
et rupta fractis cruribus vestigia.

III.1036 Cf. Phoen. 223, nefandus, incestificus, exsecrabilis.
III.1039f. Cf. Hipp. 585 - 8:

   terrae repente corpus exanimum accidit
   et ora morti similis obduxit color.
   attolle vultus, dimove vocis moras:
   tuus en, alumna, temet Hippolytus tenet.

III.1041 Cf. the similar abrupt change of mood at Oedipus 184ff. and, as for that passage, cf. Tro. 758f.:

                                 non vacat vanis diem
         conterere verbis.

III.1055 For tacita sic abeant mala cf. H. F. 1186.
III.1061ff. Althaea’s speech echoes the horror expressed by Hippolytus when he realizes Phaedra is making advances at him, at Hipp. 671 - 81:

                                 magne regnator deum,
tam lentus audis scelera? tam lentus vides?
et quando saeva fulmen emittes manu,
si nunc serenum est? omnis impulsus ruat 
aether et atris nubibus condat diem,
ac versa retro sidera obliquos agant
retorta cursus. tuque, sidereum caput,
radiate Titan, tu nefas stirpis tuae
speculare? lucem merge et in tenebras fuge.
cur dextra, divum rector atque hominum, vacat
tua, nec trisulca mundus ardescit face?

Cf. also poem XXIII.53f.:

maior trisulco fulmine Iuppiter
         sternet rebelles,

III.1071ff. Cf. Me. 461 - 4:

nihil recuso. dira supplicia ingere:
merui. cruentis paelicem poenis premat
regalis ira, vinculis oneret manus
clausamque saxo noctis aeternae obruat:

III.1080 Cf. Terence, Eunuchus 648, ut ego unguibus facile illi in oculos involem venefico! and ib. 859f., vix me contineo quin involem in / capillum.
III.1090 I do not find the phrase invidiae capax in any of the major classical poets, but it appears at Thomas Legge, Richardus Tertius II.ii 2306.
III.1096ff. Cf. Thy. 1077 - 9:

tu, summe caeli rector, aetheriae potens
dominator aulae, nubibus totum horridis
convolve mundum,

III.1106ff. Cf. H. F. 1272 - 4:

                        sunt quidem patriae preces
   satis efficaces, sed tamen nostro quoque
   mouere fletu.

III.1109 Cf. H. F. 1265f.:

   memoranda potius omnibus facta intuens
   unius a te criminis veniam pete.

III.1110 Cf. Hipp. 255, moderare, alumna, mentis effrenae impetus.
III.1115 Cf. Thomas Legge, Richardus Tertius I.ii.iv.740, mox prisca firmavit fides.
Act III chorus This passage is written in anapaestic dimeters.
III.1123f. For a similar image, cf. Gager’s youthful Susanna 24f.:

                        sequitur velut umbra cupido
foeda pudicitiam.

III.1130 Cf. Horace, Odes. II.10.12f.:

feriuntque summos
 fulgura montis.

Act IV The staging of the entire play, and particularly of the present scene, is inspired by that of Seneca’s Medea, in which two doors in the scaenae frons represent Medea’s house and the Corinthian royal palace. In the sacrifice scene of that play (670ff.), a Nurse first enters and expresses her alarm about Medea’s distraught condition. Then Medea enters and, with the Nurse a reluctant onlooker, performs an unholy sacrifice with prayers to the powers of the Underworld, employing an altar temporarily set up before her house, and poisons the fatal robe to be given to Creusa. In Ovid (Metamorphoses VIII.451ff.), Althaea produces the log, puts it on the burning altar with a brief invocation to the Furies, and then delivers herself of a long speech in which her resolve momentarily wavers (481ff.). While much of what she says in that speech is adapted by Gager, he assimilates the action to that of the Medea’s sacrifice scene, save that here the Nurse is given a more important role and displays greater independence in judging Althaea’s actions. But at the same time, Althaea’s vacillation is modeled on Medea’s hesitancy in a subsequent part of Seneca’s play, where she wavers in her determination to commit the same crime: the killing of her children (893ff.).
The stagecraft of the present scene is modeled on the Senecan one, with the burning of the log occurring on one side of the stage, in front of the temple of Diana mentioned at Ovid, Met. VIII.445. Meanwhile, Meleager and Philemon stand before the palace. Thus the audience can simultaneously witness the burning and its effect on Meleager. And while Althaea is falling into the role of Seneca’s Medea on her side of the stage, on the other side Meleager is similarly displaying the symptoms and reactions of Hercules in the Hercules Oetaeus as he is being consumed by Deianira’s poisoned robe. Both characters speak many lines and phrases distinctly reminiscent of the characters they imitate.
IV.1141ff. Cf. Met. VIII.465 - 74:

saepe metu sceleris pallebant ora futuri,
saepe suum fervens oculis dabat ira ruborem,
et modo nescio quid similis crudele minanti
vultus erat, modo quem misereri credere posses.
cumque ferus lacrimas animi siccaverat ardor,
inveniebantur lacrimae tamen, utque carina,
quam ventus ventoque rapit contrarius aestus,
vim geminam sentit paretque incerta duobus,
Thestias haud aliter dubiis affectibus errat
inque vices ponit positamque resuscitat iram.

This speech is constructed as a parallel to Me. 670ff., in which the horrified Nurse describes Medea’s angry condition.
IV.1142 Cf. Me. 670f.:

immane quantum augescit et semet dolor
accendit ipse vimque praeteritam integrat.

IV.1143 Cf. Me. 391f.:

quo pondus animi verget? ubi ponet minas?
ubi se iste fluctus franget? exundat furor.

IV.1145ff. Cf. Me. 858 - 65:

flagrant genae rubentes,
pallor fugat ruborem.
nullum vagante forma
seruat diu colorem.
huc fert pedes et illuc, 
ut tigris orba natis
cursu furente lustrat
Gangeticum nemus.

IV.1161 (stage direction) According to Boas, pp. 172f., “…there were two ‘houses,’ apparently on opposite side of the stage, the Palace and Diana’s temple. At the opening of this Act the Nutrix enters with burning coals, and…the stage-direction… suggests an inner stage which could, when the action so required, be curtained off. Here takes place the dialogue between Althaea and the Nutrix…” But the word remotiore means “at a remove from Meleager and Philemon” and does not warrant the conclusion that the burning of the log was meant to be played as an interior scene. Such an understanding is excluded by the Nurse’s description of Althaea coming outdoors at 1162.
IV.1162ff. For this entrance cue, cf. Me. 738f.:

          sonuit ecce vesanu gradu
canitque.

IV.1163 Cf. Me. 386, furoris ore signa lymphati gerens.
IV.1164 Cf. Me. 389, omnis specimen affectus capit.
IV.1165ff. Cf. Me. 397 - 9:

si quaeris odio, misera, quem statuas modum,
imitare amorem. regias egone ut faces
inulta patiar?

IV.1168f. Cf. Met. VIII.486f:

an felix Oeneus nato victore fruetur,
Thestius orbus erit? melius lugebitis ambo.

IV.1170 Cf. Me. 958, quonam ista tendit turba Furiarum impotens?
IV.1171ff. Cf. Me. 963 - 70:

            cuius umbra dispersis venit
incerta membris? frater est, poenas petit:
dabimus, sed omnes. fige luminibus faces,
lania, perure, pectus en Furiis patet.
discedere a me, frater, ultrices deas
manesque ad imos ire securas iube:
mihi me relinque et utere hac, frater, manu
quae strinxit ensem.

IV.1180 For facere quid tandem paras cf. Thy. 266.
IV.1181 Cf. Thy. 258, quonam ergo telo tantus utetur dolor?
IV.1182f. Cf. Thy. 279f.:

   bene est, abunde est: hic placet poenae modus
   tantisper.

IV.1185ff. Cf. Met. VIII.451 - 9:

stipes erat, quem, cum partus enixa iaceret
Thestias, in flammam triplices posuere sorores
staminaque inpresso fatalia pollice nentes
“tempora,” dixerunt, “eadem lignoque tibique,
o modo nate, damus.” quo postquam carmine dicto
excessere deae, flagrantem mater ab igne
eripuit ramum sparsitque liquentibus undis.
ille diu fuerat penetralibus abditus imis
servatusque tuos, iuvenis, servaverat annos.

1195 This line reminds us that Althaea’s essential predicament is that she is confronted with the contradictory duties of a mother and of a sister, a situation which produces her vacillation throughout this scene. In seeing her quandary in these terms, Gager takes his cue from Me. 779f.:

piae sororis, impiae matris, facem
 ultricis Althaeae vides.

IV.1199f. Cf. Hipp. 129f.:

   nutrix Thesea coniunx, clara progenies Iovis,
   nefanda casto pectore exturba ocius.

Although this line does not directly imitate one in Seneca, cf. the types of greeting cited in the note on 1017 above.
IV.1202f. For cuius extremus dies / primusque laudes novit, cf. H. Oet. 315f.
IV.1209
Cf. Hipp. 151, latere tantum facinus occultum sinet?
IV.1210f. Cf. Hipp. 146, tutum esse facinus credis et vacuum metu. / erras.
IV.1211 Cf. Thy. 632, quis hic nefandi est conscius monstri locus?
IV.1214 For noctis et somni minae cf. Oct. 758.
IV.1216 Cf. Me. 1008, est poenae satis.
IV.1218f. Cf. Thy. 23f.:

                                            detestabilis 
umbra, et penates impios furiis age.

IV.1221ff. In Ovid the argument is Althaea’s own. Cf. Met. VIII.499f.:

mens ubi materna est? ubi sunt pia iura parentum
et quos sustinui bis mensus quinque labores?

IV.1226f. Cf. Hipp. 103f.:

   nefanda casto pectore exturba ocius,
   extingue flammas. 

IV.1231f. Cf. Ovid, Met. VIII.483 - 5:

ulciscor facioque nefas. mors morte pianda est,
in scelus addendum scelus est, in funera funus.
per coacervatos pereat domus inpia luctus!

IV.1237 Cf. Thy. 542, regni nomen impositi feram.
IV.1245f. Cf. Thy. 248f.:

SATELLES              nulla te pietas movet?
ATREUS
  excede, Pietas.

IV.1247 Cf. Me. 900, fas omne cedat, abeat expulsus pudor.
IV.1249ff. The wicked Thracian king Tereus had married Procne and they had a son, Itys. He raped her sister Philomela and cut out Procne’s tongue so she would not blab. Procne retaliated by killing Itys and serving him to her husband. Then the entire family was transformed into various sorts of birds.
IV.1251 Cf. Thy. 276f.:

            causa est similis: assiste et manum
impelle nostram.

IV.1253ff. Cf. Tr. 298 - 300:

                     quando in inferias homo est
   impensus hominis? detrahe inuidiam tuo
   odiumque patri, quem coli poena iubes.

IV.1278f. Cf. Hipp. 165f.:

compesce amoris impii flammas, precor,
nefasque.

And also ib. 404, compesce tela, fratribus ferrum excute.
IV.1280f. Cf. Oed. 521f.:

   mitteris Erebo vile pro cunctis caput,
   arcana sacri voce ni retegis tua.

IV.1282f. For maximum fieri scelus / et ipsa fateor, sed dolor fieri iubet cf. H. Oet. 330f.
IV.1285ff. This extended invocation of Underworldly powers is suggested by Ovid, Met. 481f.

Eumenides, sacris vultus advertite vestros!
ulciscor facioque nefas.

At the same time, cf. Medea’s great invocation to the gods at Me. 740ff., which begins:

comprecor vulgus silentum vosque ferales deo
et Chaos caecum atque opacem Ditis umbosi domum,
Tartari ripis ligatos squalidae Mortis specus.        

For Stygias sorores cf. Statius, Thebais X.833 and XI.415.
IV.1286 Cf. the note on 85.
IV.1288f. Cf. Me. 743, supplicis, animae, remissis currite ad thalamos novos.
IV.1296 H. F. 370, pignus hoc fidei cape, is perhaps comparable.
IV.1299f. Cf. Thy. 986f.:

                        sed quid hoc? nolunt manus
   parere, crescit pondus et dextram gravat.

IV.1301f. Cf. Me. 895 quid, anime, cessas? sequere felicem impetum.
IV.1305ff. Cf. Tr. 563 - 5:

                     potero, perpetiar, feram,
dum non meus post fata victoris manu
iactetur Hector.

IV.1309 Cf. Tr. 747, subeat iugum and Hipp. 135, subiit iugum. Cf. also Me. 189f.:

                     regium imperium pati
aliquando discat.

IV.1310ff. Cf. Met. VIII.491 - 3:

fratres, ignoscite matri!
deficiunt ad coepta manus. meruisse fatemur
illum, cur pereat. mortis mihi displicet auctor.

IV.1314 Cf. H. F. 1126, pectus o nimium ferum!
IV.1315 Cf. Thy. 549, nulla vis maior pietate vera est:
IV.1318ff. Cf. Met. VIII.494 -8:

ergo inpune feret vivusque et victor et ipso
successu tumidus regnum Calydonis habebit,
vos cinis exiguus gelidaeque iacebitis umbrae?
haud equidem patiar. pereat sceleratus et ille
spemque patris regnumque trahat patriaeque ruinam!

IV.1331ff. Cf. Me. 926 - 8:

cor pepulit horror, membra torpescunt gelu
pectusque tremuit. ira discessit loco
materque tota coniuge expulsa redit.

IV.1334 For referamus hinc alio pedem cf. Tr. 516.
IV.1337 Cf. Ag. 108, tuta consilia expetis.
IV.1346ff. Cf. Medea’s description of her divided heart at Me. 939ff.
IV.1347
Cf. Met. VIII.464, et diversa trahunt unum duo nomina pectus.
IV.1352ff. Cf. Met. VIII.506 - 11:

et cupio et nequeo. quid agam? modo vulnera fratrum
ante oculos mihi sunt et tantae caedis imago,
nunc animum pietas maternaque nomina frangunt.
me miseram! male vincetis, sed vincete, fratres,
dummodo, quae dedero vobis, solacio vosque
ipse sequar!

IV.1357f. Cf. Me. 953ff.:

rursus increscit dolor
et fervet odium, repetit invitam manum
antiqua Erinys. ira, qua ducis, sequor.

IV.1359 For fas omne cedat cf. Me. 900, and for pelle faemineos metus cf. Me. 42.
IV.1361 Cf. Me. 43, et inhospitalem Caucasum mente indue, and also Horace, Odes I.iii.9, aes triplex. Cf. also Ulysses Redux 1064, saxumque fibris indue, ac ferrum triplex.
IV.1364ff. Gager’s elaborate representation of Meleager’s suffering and death presents a strong contrast to the brief description in Ovid (Met. VIII.515 - 25).
IV.1355ff. For the ensuing passage cf. Met. VIII.515 - 7:

inscius atque absens flamma Meleagros ab illa
uritur et caecis torreri viscera sentit
ignibus ac magnos superat virtute dolores.
quod tamen ignavo cadat et sine sanguine leto,
maeret.

IV.1373 Cf. Hipp. 697, maius haec, maius malum est.
IV.1374ff. Compare the description of Hercules’ symptoms at H. Oet. 1220 - 32:

                     sanguinis quondam capax
tumidi igne cor pulmonis arentes fibras
distendit, ardet felle siccato iecur
totumque lentus sanguinem avexit vapor.
primam cutem consumpsit, hunc aditum nefas
in membra fecit, abstulit pestis latus,
exedit artus penitus et costas malum,
hausit medullas. ossibus vacuis sedet;
nec ossa durant ipsa, sed compagibus
discussa ruptis mole conlapsa fluunt.
defecit ingens corpus et pesti satis
Herculea non sunt membra — pro quantum est malum
quod esse vastum fateor, o dirum nefas!

IV.1384 Cf. H. Oet. 1429, longus dolorem forsitan vincet sopor.
IV.1386f. Cf. H. Oet. 1218 - 20:

heu qualis intus scorpios, quis fervida
plaga revulsus cancer infixus meas
urit medullas?

IV.1389f. Cf. H. Oet. 1165f.:

morior nec ullus per meum stridet latus
transmissus ensis.

IV.1390ff. For the general tenor of this and Meleager’s next speech. cf. H. Oet. 1170 - 3:

sine hoste vincor, quodque me torquet magis
(o misera virtus!) summus Alcidae dies
nullum malum prosternit; inpendo, ei mihi,
in nulla vitam facta.

IV.1396ff Cf. Ovid, Met. VIII.518f:

quod tamen ignavo cadat et sine sanguine leto
maeret et Aencaei felicia vulnera dicit.

IV.1397 Cf. H. Oet. 1171, summus Alcidae dies.
IV.1399f. Cf. H. Oet. 1192f.:

                     utinam meo cruore satiasset suos
Nemeaea rictus pestis.

For the idiomatic phrase ludo cruore cf. Tro. 560. 
IV.1401f. Cf. H. Oet. 1205f.:

                                perdidi mortem, ei mihi,
totiens honestam.

IV.1403f. Besides the Ovid passage quoted in the note on 1366ff., cf. H. Oet. 1410 - 2:

vel scelere pereat, antequam letum mihi
ignavus aliquis mandat ac turpis manus
de me triumphat.

IV.1405f. Cf. H. Oet. 1201ff.:

viden ut laudis conscia virtus
non Lethaeos horreat amnes?
pudet auctoris, non morte dolet.

IV.1407f. Cf. H. Oet. 307f.:

quid hoc? recedit animus et ponit minas;
iam cessat ira.

IV.1408 Cf. H. Oet. 20, et hydra vires posuit.
IV.1409 Virus is a word repeatedly used in the Hercules Oetaeus for the poison put on the robe given Hercules (536, 565, 719, 914, 916, 1396, all suggested by Me. 778, qui virus Herculeum bibit).
IV.1412f. Cf. Oed. 107f.:

                     illa nunc Thebas lues
perempta perdit.

IV.1416f. Cf. H. Oet. 1005f.:

quid me flagranti, dira, persequeris face,
Megaera?

IV.1420f. Cf. H. Oet. 1277f.:

                  urit ecce iterum fibras,
incaluit ardor.

IV.1423ff. Cf. H. Oet. 1362 - 8:

quae Lemnos ardens, quae plaga igniferi poli
vetans flagranti currere in zona diem?
in ipsa me iactate, pro comites, freta
medios in amnes — quis sat est Hister mihi?
non ipse terris maior Oceanus meos
franget vapores, omnes in nostris malis
deficiet umor, omnis arescet latex.

Lemnos is a volcanic island in the Aegean.
IV.1431 Cf. H. Oet. 1359, errare mediis crede visceribus meis.
IV.1439ff. This speech resembles, in a very general way, that of the insane Hercules in Seneca’s Hercules Furens as he has hallucinatory visions, takes up his bow, and kills his children (H. F. 976ff.). For verberum crepuit sonus cf. H. Oet. 1002.
IV.1440 The Furies. Cf. H. F. 86f.:

adsint ab imo Tartari fundo excitae
Eumenides.

For Ultrices deae cf. Me. 13.
IV.1447 Cf. Tr. 956, adhuc rebellat? o manum Paridis levem!
IV.1448 Cf. the note on 1421f.
IV.1452ff. For stringatur ensis cf. Hipp. 706 and Thy. 26. More generally, cf. H. Oet. 1399 - 1401:

                     estne adhuc aliquid mali
in orbe mecum? veniat huc. aliquis mihi
intendat arcus: nuda sufficiet manus.

IV.1455f. Cf. H. Oet. 1402f.:

                     ei mihi, sensus quoque
excussit illi nimius impulsos dolor.

IV.1457 For dolor iste furor est cf. H. Oet. 1407.
IV.1457 (stage direction) Boas (p.173) admires this direction. “Even though the hero’s death takes place behind the scenes, neo-Senecan decorum requires that it should not be unbecomingly hurried. The Christ Church audience may, however, have been grateful for this concession to their sensibilities, for it made a pause before the culminating horrors of the last Act.” Gager evidently had some such understanding, but one is obliged to wonder if the sensibilities of University audiences were really any more squeamish than those of their London counterparts. Certainly some dramas written for academic performance (e.g. Thomas Legge’s Solymitana Clades, Matthew Gwinne’s Nero, Thomas Alabaster’s Roxana) suggest a quite different verdict.
IV.1458ff. This speech contains a couple of ingredients from the climactic scene of Seneca’s Medea: But Gager employs these elements in his own way: once Medea begins her career as an infanticide she shows no more than momentary remorse.
For bene est, peractum est, cf. Me. 1019, and also Oed. 998, bene habet, peractum est: iusta persolvi patri.
IV.1462 For quid misera feci? cf. Me. 990.
IV.1463 For unum restat cf. Me. 37 and 498.
IV.1465 Cf. Hipp. 156f. (spoken by the Nurse to Phaedra):

   moderare, alumna, mentis effrenae impetus,
   animos coerce.  

IV.1466 Cf. Thy. 899, iam satis mensis datum est.
IV.1467 At Hipp. 258ff. the words decreta mors est are spoken by Phaedra at the beginning of a speech in which she contemplates suicide. For mortis via cf. his Ag. 1031.
IV.1468ff. Cf. H. Oet. 868f.:

   utinam esset, utinam fixus in thalamis meis
   Herculeus ensis: huic decet ferro inmori.

IV.1475 For tu fida nutrix cf. Me. 568 (also o fida nutrix at Hipp. 432).
Act IV chorus This passage is written in hendecasyllables. It takes its inspiration from the first stanzas of the chorus at Me. 579ff.:

nulla vis flammae tumidique venti
tanta, nec teli metuenda torti,
quanta cum coniux viduata taedis
     ardet et odit;

non ubi hibernos nebulosus imbres
Auster advexit properatque torrens
Hister et iunctos vetat esse pontes
     ac vagus errat;               

non ubi impellit Rhodanus profundum,
aut ubi in rivos nivibus solutis
sole iam forti medioque vere
 tabuit Haemus.

caecus est ignis stimulatis ira
nec regi curat patiturve frenos
aut timet mortem; cupit ire in ipsos
   obvius enses.

IV.1479 Cf. Hipp. 736, fugit insanae similis procellae.
Act V Almost all the action in this Act is of Gager’s own invention. In Ovid (Met. 526ff.) we are only told that Althaea kills herself and that Oeneus is prostrate with grief, complaining that he is lived too long, and that the citizenry of Calydon, most particularly his sisters, lament Meleager’s passing.
Unlike some others of Gager’s invented characters, his Oeneus is not modeled on some figure out of classical literature. Although there are some elements of Ovid’s Niobe in him (cf. the note on II.516ff.), Oeneus far surpasses Niobe or anyone else in his outspoken and virtually monomaniacal loathing of the gods.
V.1510f. Cf. Hipp. 183f.:

   pauca, o parens magnanime, miserandae precor
   ut verba natae mente placata audias.

Cf. also H . F. 198, venit ad pigros cana senectus.
V.1520f. Cf. H. Oet. 104f.:

   par ille est superis cui pariter dies
   et fortuna fuit;.

V.1524 Gager may have been thinking of Hipp. 144, nam monstra fato, moribus scelera imputes.
V.1525ff. Cf. Gager’s poem CVII (and also poem CIII):

stultitia primo posuit in caelo deum 
fortunam, et error numen affinxit sacrum.
non paevidentem si quid adversi premit
id omne sorti ascribitur vanae deae.
fortuna nulla est, si quid in terra uspiam                
prudentia regat, si sit et curam gerat 
caeleste numen. quicquid est factum undique
nutu dei id tu factum et arbitrio puta.
sapiens supremi est pectus et regnum Iovis.
haud ille quoties fulmen emittit manu,                     
aut premere miseros clade mortales parat, 
id ante nobis aperit aut mentem indicat.

Both these passages take their inspiration from Hipp.195 - 7:

deum esse amorem turpis et vitio favens
finxit libido, quoque liberior foret
titulum furori numinis falsi addidit.

Cf. also Oct. 557 - 65:

volucrem esse Amorem fingit immitem deum
mortalis error, armat et telis manus
arcuque sacras, instruit saeva face
genitumque credit Venere, Vulcano satum.
vis magna mentis blandus atque animi calor
Amor est; iuventa gignitur, luxu otio
nutritur inter laeta Fortunae bona.
quem si fouere atque alere desistas, cadit
brevique vires perdit extinctus suas.

Cf. also Panniculus 186ff.
V.1530 Cf. Horace, Odes. I.xvii. 41, aut virtus nomen inane est, and Ovid, Heroides x.116 and Ars Amatoria I.740, nomen inane fides.
V.1546 Cf. Hipp. 721, Venerem arguamus.
V.1547 For fraena dolorem cf. H. Oet. 277.
V.1548 Cf. Phoen. 642, libera patriam metu.
V.1557ff. Cf. H. Oet. 1275 - 7:

flentem, gementem, summe pro rector poli,
me terra vidit, quodque me torquet magis,
noverca vidit.

V.1562f. Cf. Oct. 257f.:

gravi deorum nostra iam pridem domus
urgetur ira.

V.1563 Cf. H. Oet. 884, quid domum impulsam trahis?
V.1573 For luce non grata fruor cf. Oct. 105.
V.1581 Cf. Thy. 445, miser esse mavult esse qui felix potest?  
V.1586 Cf. Me. 115, levis est dolor. Cf. also poem LXI.11f.:

                   nam quid dolor? ah minus iste
sufficit, et nostra est multo moderatior ira.

V.1597 Cf. Oed. 687f., regni bonis / fruor.
V.1599 Cf. inter umbras at Me. 621, Oed. 584, H. Oet. 1196, 1157, Oct. 139 and 598.
V.1600ff. Cf. Me. 20f.:

                     per urbes erret ignotas egens
exul pavens invisus incerti laris.

V.1606 For invisum caput cf. Thy. 188. Cf. also line 229 of Gager’s youthful Susanna, invisumque caput detrudat ad Orcum.
V.1607 Cf. H. F. 974f.:

                                 pectoris sani parum
magni tamen compesce dementem impetum.

V.1627 For cessant manus cf. H. F. 615, Me. 417, Tr. 309, but especially H. Oet. 872, which stands in a passage upon which this speech is largely based.
V.1628f. Cf. H. Oet. 871f.:

coite, gentes, saxa et immensas faces
iaculetur orbis,

and also H. Oet. 319 - 21:

domusque soceri prima et Aetolum genus
sternetur omne, saxa iam dudum ac faces
in te ferentur.

V.1630 For corripite tela cf. H. Oet. 873.
V.1631 Cf. H. Oet. 227f. dirum caput / obruere, and for dirum caput also Oct. 861 and Thy. 244.
V.1632 Cf. H. Oet. 875, impune iam nascetur indomitum malum.
V.1635 Cf. Oed. 1029, corrusca…tela. This speech is patterned after H. Oet. 1077 - 85:

tu, summe caeli rector, aetheriae potens
dominator aulae, nubibus totum horridis
convolve mundum, bella ventorum undique
committe et omni parte violentum intona,
manuque non qua tecta et immeritas domos
telo petis minore, sed qua montium
tergemina moles cecidit et qui montibus
stabant pares Gigantes, hac arma expedi
ignesque torque. vindica amissum diem.

V.1645 Cf. Hipp. 893, labem hanc pudoris eluet noster cruor. Cf. also poem CVI.11f.:

                          sustines, tellus, luem
gestare tantam?

V.1647 Cf. H. Oet. 1017f., minax / unde iste coetus?
V.1649f. Cf. H. Oet. 1118f.:

                     hinc et hinc populi fremunt
totusque poscit vindicem mundus suum.

V.1651f. Cf. Oed. 872f.:

                     me petat ferro parens,
me gnatus, in me coniuges arment manus.

V.1655ff. Cf. Hipp. 1156 - 8:

quis te dolore percitam instigat furor?
quid ensis iste quidve vociferatio
planctusque supra corpus invisum volunt?

V.1658ff. Gager used the device of a letter again at Panniculus 200ff. In the present case the source of the idea is not obvious.
V.1659 Another line where st fails to make positional lengthening: cf. the note on II.496.
V.1666ff. Cf. Oed. 688 - 70:

dehisce, tellus, tuque tenebrarum potens,
in Tartara ima, rector umbrarum, rape
retro reversas generis ac stirpis vices.

And also Hipp. 1238f.:

dehisce tellus, recipe me dirum chaos,
recipe, haec ad umbras iustior nobis via est:

For dehisce tellus cf. also Tr. 519.

V.1667 Cf. Tartari…specu at Ag. 2.
V.1669 Cf. Thy. 1007 - 9:

                     non ad infernam Styga 
te nosque mergis rupta et ingenti via
ad chaos inane regna cum rege abripis?

V.1670 For ego te peremi cf. Hipp. 1250. Cf. also Oed. 1045, matrem peremi: scelere confecta est meo.
V.1672f. Cf. Me. 117f.:

vix ipsa tantum, vix adhuc credo malum.
hoc facere Iason potuit(?)

V.1674 In the printed text there is a comma after every word, as an indication the actor should read the letter hesitatingly.
V.1675
Cf. H. Oet. 843, quid, anime, cessas? quid stupes?
V.1677 Cf. Tr. 409 - 11:

quid, maesta Phrygiae turba, laceratis comas
miserumque tunsae pectus effuso genas
fletu rigatis?

V.1678 For siccus = “dry-eyed,” cf. H. Oet. 1269, siccus aerumnas tuli.
V.1679f. Cf. H. Oet. 1667f.:           

         nec lacrimas dolor
cuiquam remisit.

V.1687 Cf. H. F. 1191, cladis tuae pars ista quam nosti quota est!
V.1689f. Cf. H. F. 208f:

                                 finis alterius mali
gradus est futuri.

And Thy. 746f.:

                     sceleris hunc finem putas?
gradus est.

V.1690 Cf. Hipp. 1119, equidem malorum maximum hunc cumulum reor.
V.1695f. Cf. H. Oet. 927f.:

depone tumidas pectoris laesi minas
mortisque dirae expelle decretum horridum.

V.1697ff. Cf. Ovid, Met. VIII.330, foedat humi fusus spatiosumque increpat aevum. Cf. also Phoen. 140, quid perdis ultra verba?
V.1701 Cf. Oct. 70, totque malorum breve solamen.
V.1707f. Cf. Thy. 249f.:

excede, Pietas, si modo in nostra domo
umquam fuisti.

V.1712 The adjective infrugiferus is not in the classical lexicon.
V.1717 Cf. Phoen. 234f:

                                          quid hic
manes meos detineo?

V.1722f. Cf. Thy. 720f.:

stetit sui securus et non est preces
perire frustra passus;

V.1726f. Cf. H. F. 86f.:

adsint ab imo Tartari fundo excitae
Eumenides.

More generally, these and the following lines echo part of the speech of hallucinating Hercules at H. F. 982 - 6:

flammifera Erinys verbere excusso sonat
rogisque adustas propius ac propius sudes
in ora tendit; saeua Tisiphone, caput
serpentibus vallata, post raptum canem
portam vacantem clausit opposita face.

V.1728 Tisiphone, like Megaera, was one of the Furies. In the next line her “stakes” are the handles of her torches.
V.1732ff. Another stage madman, Pentheus in Euripides’ Bacchae, imagined he saw his palace collapsing in a similar earthquake. Interestingly, although at least one commentator on the Bacchae (E. R. Dodds) assumed that an earthquake actually occurs in that play, a close reading of Euripides’ text shows that there is much to be said for Gager’s understanding that this is no more than a hallucination, since words for seeming and appearing are used repeatedly in the passage immediately following. Although the text does not make this clear, the same is probably true of Atreus’ vision of the earthquake and collapse of the palace at Thyestes 262ff. And how could such an event have been represented on the Attic stage? Hence this passage cannot fairly be alleged as evidence that Seneca was not writing with stage production in mind.
The passage in question is Thy. 262 - 5:

imo mugit e fundo solum,
tonat dies serenus ac totis domus
ut fracta tectis crepuit et moti lares
vertere vultum.

V.1737 Cf. Ag. 912, eversa domus est funditus.
V.1740 Cf. Hipp. 435f.:

metus remitte, prospero regnum in statu est
domusque florens sorte felici viget.

V.1746 Cf. Hipp. 1059, hic se illa moles acuit atque iras parat, and Tr. 834, tunc quoque ingentes acuebat iras.
V.1747 Cf. Oed. 31, cui reseruamur malo? and Thy 279, hic placet poenae modus.
V.1748ff. A list of some of the famous sinners suffering punishment in the Underworld. Ixion was condemned to spin forever on a fiery wheel for having sought to rape Hera. For similar catalogues cf. H. F. 750 - 8: 

rapitur volucri tortus Ixion rota;
cervice saxum grande Sisyphia sedet;
in amne medio faucibus siccis senex
sectatur undas, alluit mentum latex,
fidemque cum iam saepe decepto dedit,
perit unda in ore; poma destituunt famem.
praebet volucri Tityos aeternas dapes
urnasque frustra Danaides plenas gerunt;

And Me. 744 - 9:

rota resistat membra torquens, tangat Ixion humum,
Tantalus securus undas hauriat Pirenidas,
[grauior uni poena sedeat coniugis socero mei]
lubricus per saxa retro Sisyphum solvat lapis. 
vos quoque, urnis quas foratis inritus ludit labor,
Danaides, coite: vestras hic dies quaerit manus.

And Oct. 621 - 3:

poenasque quis et Tantali vincat sitim, 
dirum laborem Sisyphi, Tityi alitem
Ixionisque membra rapientem rotam

Sisyphus was condemned to roll a hill uphill forever as punishment for having revealed Zeus’ secrets. Tantalus boiled his son Pelops and fed him to the gods. Therefore he was punished with eternal hunger and thirst. Tityus was a giant who tried to rape Artemis. His punishment was to be pegged out on the ground while vultures perpetually gnawed his liver. The Belides (i. e., the Danaides) murdered their husbands and were condemned to carry water eternally in leaky buckets.
Cf. Hipp. 182, cedit in vanum labor.
V.1757ff. Double vision, whereby two suns are seen in the sky, is a symptom exhibited by such Greek tragic characters as Pentheus and the protagonist of Euripides’ Heracles. But the immediate model is the raving Cassandra in Seneca’s Agamemnon (726 - 9):

ubi sum? fugit lux alma et obscurat genas
nox alta et aether abditus tenebris latet.
sed ecce gemino sole praefulget dies
geminumque duplices Argos attollit domus.

V.1759ff. Similarly, the present hallucination is based on that of Hercules, as he begins to go mad in the Hercules Furens (939 - 44):

                     sed quid hoc? medium diem
cinxere tenebrae. Phoebus obscuro meat
sine nube vultu. quis diem retro fugat 
agitque in ortus? unde nox atrum caput
ignota profert? unde tot stellae polum
implent diurnae?

V.1762 Cf. Me. 940, ut saeva rapidi bella cum venti gerunt.
V.1763f. Cf. Me. 531f.:

   nunc summe toto Iuppiter caelo tona,
   intende dextram, vindices flammas para.

V.1768 Cf. Oct. 792f.:

   hinc urit animos pertinax nimium favor
   et in furorem temere praecipites agit.

V.1770f. Cf. H. F. 967f.:

                     bella Titanes parent,
me duce furentes;

V.1772f. Cf. Oct. 175f.:

NUT. natura vires non dedit tantas tibi.
OCT. dolor ira maeror miseriae luctus dabunt.

V.1773ff. For the giant Typhoeus’ assault on heaven, with the results described here, cf. Ovid, Metamorphoses V.319 - 31. The god who transformed himself into an ibis was Mercury.
V.1782ff. For the argument that these matrons comprise the play’s chorus, see the note on the Act I chorus.
The inspiration for this chorus is Ovid, Met. VII.526 - 8:

alta iacet Calydon. lugent iuvenesque senesque,
vulgusque proceresque gemunt, scissaeque capillos
planguntur matres Calydonides Eueniae.

This passage recalls the long lamentation by Hecuba and the chorus at Troades 67 - 164, and also Alcmena’s lament for the dead Hercules. Like the present passage, both are written in anapaestic dimeters rounded off by an occasional Adonic.
V.1786 Cf. Thy. 953, flendi miseris dira cupido est.
V.1788 Cf. Thy. 950, imber vultu nolente cadit.
V.1789 Cf. Tr. 812, nullus est flendi modus.
V.1793 Cf. Tr. 68f:

             hoc continuis
egimus annis, ex tuo tetigit &c.

V.1797f. Cf. Tr. 97 solitum flendi vincite morem and 115 non sum solito contenta modo.
V.1799f. Cf. Tr. 78, sed nova fletus causa ministrat.
V.1800 Cf. Tr. 34 (of Cassandra), ore lymphato furens.
V.1802 This Adonic is resolved.
V.1803 Cf. Me. 226, decus illud ingens Graecia.
V.1804 Cf. Tr. 124, where Priam is lamented as columen patriae (and also Oct. 126, where Britannicus is called columen augustae domus).
V.1807f. Cf. Tr. 104 - 8:

cadit ex umeris vestis apertis
imumque tegit suffulta latus;
iam nuta vocant pectora extras;
nunc, nunc vires exprome, dolor.
Rhoetea sonent litora planctu.

V.1808 Cf. also Tr. 114, pulsu pectus tundite vasto.
V.1811 For lacerata comas cf. Tr. 100f.:

solvimus omnes lacerum multo
funere crinem

and also Tr. 409 - 11:

quid, maesta Phrygiae turba, laceratis comas
miserumque tunsae pectus effuso genas
fletu rigatis?

and Oct. 327 - 9:

scindit vestes Augusta suas
            laceratque comas
rigat et maestis fletibus ora.

In his descriptions of ritual mourning, Seneca never mentions mutilation of the face, but cf. Tr. 120 - 3:

tibi maternis ubera palmis
laniata iacent. fluat et multo
sanguine manet quamcumque tuo
funere feci rupta cicatrix.

V.1813 Cf. the Adonic plangite natum at H. Oet. 1864.
V.1820 For a similar transition from a choral passage to an eyewitness narrative delivered to the chorus, cf. Hipp. 989f.:

sed quid citato nuntius properat gradu
rigatque maestis lugubrem vultum genis?

V.1822f. Cf. H. Oet. 713f.:

semel profecto premere felices deus
cum coepit, urget. hos habent magna exitus.

V.1823 Cf. Tr. 427, exoritur aliquod maius ex magno malum.
V.1825 The closest parallel in the Senecan corpus is Oct. 911, nullum Pietas nunc numen habet.
V.1833f. Cf. Me. 433f.:

remedia quotiens invenit nobis deus
periculis peiora.

V.1830f. Cf. the note on 1689f.
V.1838 Cf. the note on 1799.
V.1839f. Cf. Tr. 130f.:

vertite planctus; Priamo vestros
fundite fletus, satis Hector habet.

V.1842 Cf. Tr. 784, flebilius aliquid Hectoris magni nece.
V.1844 Cf. Oedipus 147, furibunda thalamos intrat.
V.1847 For furore percitus cf. H. F. 852.
V.1849ff. The manner of Oeneus’ death was evidently suggested to Gager by Ovid, Metamorphoses V.288 - 93, in which Pyreneus hurled himself off the tower of his palace while attempting to rape the Muses:

vimque parat, quam nos sumptis effugimus alis.
ipse secuturo similis stet arduus arce
“qua” que “via est vobis, erit et mihi,” dixit, “eadem”
seque iacti vecors e summae culmine turris
et cadit in vultus discussisque ossibus oris
tundit humum moriens scelerato sanguine tinctam.

At the same time, Oeneus’ attempt to storm heaven is suggested by the ambition expressed by the insane Hercules at H. F. 961 - 73:

en ultro vocat
omnis deorum coetus et laxat fores,
una vetente. recipis et reseras polum?
an contumacis ianuam mundi traho?
dubitatur etiam? vincla Saturno exuam
contraque patris impii regnum impotens
avum resolvam; bella Titanes parent,
me duce furentes; saxa cum silvis feram
rapiamque dextra plena Centauris iuga.
iam monte gemino limitem ad superos agam;
videat sub Ossa Pelion Chiron suum,
in caelum Olympus tertio positus gradu
perveniet aut mittetur.

And the following description of Oeneus’ fall and disfiguring death imitates the similar one of Astyanax in the Troades (114 - 7):

confundit imam pondus ad terram datum;
soluta cervix silicis impulsu, caput
ruptum cerebro penitus expresso. iacet
deforme corpus.

Act V chorus Unlike Attic or Senecan tragedies, each of Gager’s plays end with a full-blown chorus rather than with a brief choral Schlußwort. Evidently he thought that one should be able to draw a moral from a play, as from a fable (cf. Dido, Epilogue 1217, nunc quisque reputet quid sibi hinc referat boni). Now he spells it out. For the particular moral of this chorus, cf. the note on II.539ff.
The meter is iambic dimeters.
Compare Hipp. 1123ff.:

quanti casus, heu, magna rotant!
minor in parvis Fortuna furit
leviusque ferit leviora deus;
servat placidos obscura quies
praebetque senes casa securos.
admota aetheriis culmina sedibus
Euros excipiunt, excipiunt Notos,
insani Boreae minas
imbriferumque Corum.
raros patitur fulminis ictus
umida vallis:
tremuit telo Iovis
Caucasus ingens Phrygiumque nemus
matris Cybeles: metuens caelo
Iuppiter alto vicina petit.

And also Ag. 87ff.:

licet arma vacent cessentque doli,
sidunt ipso pondere magna
ceditque oneri fortuna suo:
vela secundis inflata Notis
ventos nimium timuere suos;
nubibus ipsis inserta caput
turris pluvio vapulat Austro,
densasque nemus spargens umbras
annosa videt robora frangi;
feriunt celsos fulmina colles,
corpora morbis maiora patent,
et cum in pastus armenta vagos
   vilia currant,
placet in vulnus maxima cervix:
quidquid in altum Fortuna tulit,
    ruitura levat.
modicis rebus longius aevum est:
felix mediae quisquis turbae
    sorte quietus
aura stringit litora tuta
timidusque mari credere cumbam
remo terras propiore legit.

Both of these choruses are indebted to Horace, Odes. II.10. 6 - 16, quoted in the note on II.539ff.  

Epilogue I, 1889f. This mythological allusion to Anne Boleyn and Henry VIII is far from inappropriate. Gager repeated it in the new prologue he wrote for the production of Rivales for the Queen’s visit in September, 1592.
1891 Cf. the note on 151.
1893 “The allusion to the Queen’s treatment of her wooers, including Leicester, is unmistakable” (Boas, p. 177).
1901ff. “If, as appears to be the case, [the Prologue and Epilogue ad Academicos] were written for the first performance of the play, the ‘bellua’ is probably the Jesuit conspiracy, headed by Campion and Parsons, against Elizabeth in 1581” (Boas, ib.).

Epilogue II, 1920ff. “Gager doubtless wished to pay a special tribute to a distinguished son of the ‘House,’ but it is curious that he should single out Sidney as the only favourer of new poets, and that after his untimely death the ill-omened reference to Meleagri exitus should have been made public”: Frederick S. Boas, Sir Philip Sidney (London, 1955) 171.