reluctant subject. In each case, the subject is forced to compromise himself, and as a result turns to desperate measures. The similarity of situation, along with the deliberate ambiguity of the phrase me´ga eØ rgon, could easily have led a reader or listener to expect an attempt by Combabus to do away with the king before the king could do away with him. In the event, this turns out to be a false narrative path: and so the sudden reference to castration immediately after Combabus' monologue comes with greatly accentuated shock value. The two interpretations offered by Lightfoot and by me need not, of course, exclude each other. Lightfoot herself has offered a sensitive analysis of Lucian's polyvalent use of the eØ rgroot in this narrative (p. 398), and so it is not surprising that this phrase here can carry more than one meaning. Both need to be appreciated for Lucian's artistry to be fully understood.

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La tragédie d'Eschyle a exercé une influence significative sur le chant II de l'Énéide aussi bien dans la technique narrative que dans la forme expressive. En particulier, Virgile a puisé plusieurs éléments conceptuels et linguistiques dans les Perses et dans l'Agamemnon. En outre, il s'est approprié quelques topoi du genre dramatique (comme l'image du cheval de Troie animé et plein) sans perdre de vue l'archétype eschyléen. En ce qui concerne les sujets éthiques - l'hostilité divine et la raison de la souffrance humaine -, on relève des convergences inattendues entre les deux poètes, lesquels parviennent à des dénouements différents, chacun suivant sa sensibilité et son époque.

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