IMAGE EVALUATION TEST TARGET (MT-3) h i< fe f/. •^ s 1.0 I.I 11.25 |45 Ιίί Ui 1^ IM ^ 2.2 2.0 ■ 4 JA U IIIIII.6 Hiotographic Sciences Corporation 23 WEST MAIN STREET WEBSTER, N.Y. I4S80 (716) 872-4503 *. Such anomalies would have been removed by the practice ot written composition, had it in this case exercised its neces- sary and peculiar power of narrowing and determining the forms of language, A further proof of their not being composed in a written form, is the iEolic Digamma,* which undoubtedly existed at the time when the poems were composed, and disappeared when the earliest copies were written. It has been main- tained that some of the Ehapsodists, and even Homer himselt^ was blind, and that therefore the lat^ could not have written, while to the former a manuscript would be useless. Believing, as we do, that the poems were not written by the poet who composed them, we are under no necessity to meet this objection of blindness ; yet we may observe that poems, and long poems, have been composed, as in Milton's case, by the blind; and, as all authorities seem to concur in making the recital of the Homeric Rhapsodists a joint undertaking, different rhapsodists having different parts, yet all acting in concert, we see nothing unreasonable in supposing the existence of a manuscript among them, even though some of them were blind. Such persons, most probably, were selected on account of their extraordinary memories, and trained by their colleagues. Nor is it irre- levant to observe that, generally speaking, blind men have in all ages been distinguished, not only by their powerful memories, but by a positive passion for music, poetry, and legendary lore. Now such an aptitude, and their compa• rative incapacity for other pursuits, would render the Sr« Vol. ii., Appendix on the Digamma. »i THE LIFE OP HOKEK. blind, we presume, not altogether unfit for the office of rbapeodieing. Wolf further maintained that the original fragmentary eonga, which were subsequently composed into an Iliad and Odyssey, were singly recited by the Ehapsodiats ; and yet, in the very teeth of this theory, he derives the name frou) pditTttv ωδήν — "heroica carmina modo et ordine public» recitationi apto connectere." If the Ehapsodists recited thess "heroica carmina" singly, hovt comes it that they derive their name from uniting poems ? Once admit that the Homeric Poems existed originally as wholes, then it becomes suflSciently intelligible why they were called con- nectors of songs — connecting the single parts of those wholes for public recital. Wolf argued against the single authorship of the Iliad from the incongruities, inequalities, gaps, and contradictions observable therein. His heaviest artillery is brought to bear upon the six last Books of the Iliad and the Catalogue of Ships in the Second Book. In his view, the closing songs of the Iliad have nothing in common with the avowed object of the Poem— the wrath of Achilles ; and some statements in the Catalogue are, he considers, at variance with the succeeding songs. What then becomes of the Catalogue, if we withdraw it from the Homeric unity, to save its consistency ? It becomes an integer without meaning, without poetical interest or organic con- nection: if we look at it as a list of men and cities, actors in the grand drama before the walls of Troy, it will appear, as it is, a fundamental and constitutive portion of a long heroic poem. In answer to the first objection, we will quote the language of Baeumlein : • •' Tidimus argu- • Oommentatio de Homero, eeot•. 14. THE LIFE or iiCMER. Vll mentum fabulse necessitate quadam ita produci, ut et continuae omnes partes sint, invicemque sese excipiaut, et in superiore aliqua quam in extremis partibus subsistere nequeamus. Neque enitn ipsata iram omissis iis, qu» inde consequuta essent, celebrare idonea materia, immo ne fas quidem poetae esse videbatur, neque Patroclo cjbso finem carmini facere poterat, quippe in qua re nihil inesset, quod ad relaxandam animorum contentionem pertineret. Nam Achillem quidem ad novam iram novosque animos eo casu excitari necesse erat, neque, priusquam satisfecisset quo- dammodo irae atque luctui, nuimo in araore, odio, ira, moerore nimio conveniebat ad juatum modum componi. Ineptum quoque erat, viri fortissimi desidiam enarrare, fortitudinem, interrupto fabulcB βΙο, tacere:' We deem it a sufficient answer to the charge of incoherency to remind objectors that Aristotle, the first and greatest of critics, has drawn the very laws of epic poetry from the principles carried out in the composition of the Iliad.* Some passages have been adduced by Wolf as spurious and superinduced additions, witK more justice than consistency in one who denied the original unity of the poems, as it is inconceivable how a man can discover and reject that which does not belong to a poetical whole, without assuming the existence of an original poetical whole. The unbroken tenor of antiquity speaks for the single authorship of the Iliad and Odyssey, and even, though the internal difficulties, which seem to repudiate this verdict, were such as we could not solve, yet we cannot allow them to nullify the force of such cumulative evidence ; we are content to think what Plato, Aristotle, Thucydides, and Herodotus thought on this • See Mullet's Greek Literature, puge 48, eect. 5. VIU THE LIFE OP HOMER. topic. Again, moat of the objections brought against the single authorship of these poems, are frivolous in the extreme, and if applied and consistently followed out in the case of Shakespeare's plays, we should make the reign of Elizabeth three-fold more illustrious by the necessary inference that those immortal works of the world's greatest poet had at the least three different authors. There exist, however, far and wide, throughout the Iliad and Odyssey, unmistakeable evidences of designed adaptation in their several parts, more numerous and more demonstrative than the apparent incongruities ; surely no sound criticism can allow a few apparent gaps to outweigh the overwhelming evidence of uniform coherence, and of symmetrical ante- cedence and consequence in structure, everywhere pointing out a common purpose and a common author. "We are told, forsooth, that whatever coherency and unity they possess, originated with Peisistratus, who first committed them to writing. No attempt has been made to support this assumption with evidence ; on the contrary, there is very strong presumptive evidence that they were committed to writing even before Solon's time, and that Peisistratus merely compared and revised the different copies then extant, and formed from them a" standard text for the use of the Athenian festivals. Long before the tyranny of Peisistratus, we are told that Solon regulated the recitation of the Homeric Lays at the Panathenaic Festival. The object of the illustrious legislator was to secure by a com- pulsory supervision a correct order of recitation, with a prompter to assist the Ehapsodists — a proof of the exist- ence at that time of a manuscript copy of these poems — • the best guide the guiding prompter could possess. It is hard, too, to conceive how a tyrant (in the Greek sense of THE LIFE υΡ HOMER. the term) like Peiaistratus could or would dare so far to outrage the hereditary sympathies and traditions of hia countrymen, as to superinduce innovations on these tlie consecrated and the common treasures of universal Hellas. Still less can we believe it possible that Athens or her tyrant could so far revol utionise the traditionary poetry of Greece, at a time, too, when that city possessed neither literary nor political ascendancy. The little said for the glory of Athens and her share in the war against Troy is a strong presumption against such a supposition, which is utterly ignored by the Alexandrine critics, who in no case allude to any such recension among their different manu- scripts. How then could this have happened, had Peisis- tratus been the centre and origin of Homeric unity ? Can we believe it possible that he gave those poeins so much of their character without leaving in them a single vestige of the hand and the times which moulded them ? And yet, it is in vain we seek in Homer a trace of the age of Peiais- tratus; we tnere find no allusion to coined monev, to con- stitutional government, to changed religious sentiments, or to altered customs, as we might fairly expect, and even Wolf himself acknowledged the air of antiquity that invests them from beginning to end. The voice of history is silent respecting such poetical attributes of Peisistratus. How can we believe that the glorious Iliad aud Odyssey, the boast of the ancient world and the delight of our own, arose out of atoms not origi- nally designed for the places they now occupy, at the bidding of the Athenian usurper and his colleagues ? We wonder whether the time will ever come, when it shall be said and actually believed, that the Paradise Lost and the Paradise Regained of John Milton bloomed forth into χ THE LIFE OP HOMER. perfect beauty at the bidding of a modern usurper, calling thorn forth from the lifeless forms of a raediteval Latin poet, to whom Milton may have been indebted for a few trivial suggestions in the composition of hie imperishable poems. THE POETRY OP HOMER, The literature of no other nation has been so true nn exponent of its history as that of Greece, and therefore, on this ground, there never was a literature more worthy of the most profound study. Ancient Hellae has bequeathed us no treasure more valued or valuable, liiHtorically or aesthetically, than these immortal iuapirations of her earliest and sweetest muse. These poems are almost the only record of the age that produced them, and they bear in themselves the strongest evidence of being the exactest transcripts of that age. In them we see a truthful image of primitive Greek society, in all its greatness and little- ness. The poet (us the nation that idolised him loved to call him) drew directly from the existing materials he observed in the world around him, and we have reason to believe that he did not sacrifice the current genealogies of men, and the legendary attributes of tribes and cities to If hat he deemed the exigencies of his poems ; and we have still stronger reason to believe that he pictured the manners the institutions, the feelings, and the intelligence of the heroic age from what he saw, felt, and observed in his own times. Indeed, he could scarcely have done otherwise in euch an age. The horrors of war, not glossed over or softened down, but drawn ;a their fullest dimensions, and painted in colours THE LIFE OP HOMER. χί most truthful — the hard lot of captives, the wrongs of women, the sacred rights of hospitality most sacredly observed, the strength and sanctity of ties of blood, the honourable pursuit of piracy and free-booting, the inves- titure of the Olympian Deities with human motives, passions, and frailties— all these (taking a few examples out of many) find a place in the Homeric picture, for they were all in keeping with the character of his own times: and it is thus, that these compositions are the unconscious expositors of their own contemporary society. We have no parallel in ancient or modem history to measure and denote the supreme and universal inauence Homer had on the Greek mind, sympathies, and character. At school the Greek learned his Homer by heart, and was taught all he knew or cared to know of history, geography, genealogy, religion, morality, and criticism, from this authorised and standard text-book. In international dis- putes this poet was appealed to as an infallible authority, as in the dispute between Athens and Megara respecting Salamis. In religious solemnisations Homer was to the soul of devotion what the Bible is to ourselves. In die- cussions of moral philosophy, history, and genealogy, his authority was held decisive. And on all questions of literary taste the only orthodox canons of criticism were thoae drawn from, or sanctioned by, this — "dead but sceptred sovereign, who still ruled Their spirits from hia urn." It is not without reason that these poems have occupied 60 large a space in the thoughts and affections of mankind. It was not, indeed, without reason that the haughty soul of Alexander the Great yielded only to their irresistible powe nnd beauty, and that, over them alone the philosophic Plato xu THE LIFE OF HOMER. lingered with a loving fondness, that while it conipromiaed the consistency of his political creed, did honour to the best sympathies of his heart. The unmistakeable beauties of this the King of Epic poets are easy to recognise, and, in their highest degree, they are peculiar to himself. His supremacy is well maintained by the perfect artlesauess of his narrative, in which he never seeks to show his powers, but rather allows them to develop themselves as they are called for by the exigencies of the scene. This artless and quiet style of Homer always rises into sublimity and energy as the interest deepens and the scenes become more impassioned — when his hexameters Quiver with emotion, and the forms of his heroes seem to dilate and to move before us — amidst the ringing of bronze and the shouts of battle. In scenes of pathos Homer has no superior, and but one equal, — the Bard of Avon. Jn the parting of Hector and Andromache, and the story of the Orphan, he pours forth the most exquisite pathos, and the most touching tenderness, proving that every pas- sion and every feeling of the human heart was within the reach of his master mind. Here, however, we must glance at, if we cannot expatiate upon, his concrete forms of speech — his energetic formulas — his emphatic and solemn repeti- tions, and especially his life-like pictures of living agents, which have touched the sympathies and commanded the interest of all ages and all countries, to an extent im- measurably beyond the influence of any other poet. The Epic of Virgil, in its sweetest strains, is but the echo of the blind old bard, whose songs, like the songs of a bird, singing for very exuberance of joy, overflow with a gladness, an animation, and a freshness that cannot be found in the artificial and polished hexameters of the Mantuan Poet, THE LIFE OP HOAIEB siii The Bible alone excepted, no book has been more severely or unfairly assailed by modern criticism than Homer. In addition to cavils already alluded to, it may be suflBcient here to mention that objections have been started to some portions of the Homeric Ballads, as representing what ia revolting to human nature or inconsistent with the dignity of the Epic Muse ; and on this ground we are asked to con• demnthe tears of the great Acliilles, the caprice of Agamem- non, the laundressing of queenly Nausicaa, the carpentry of King Ulysses. and Paris, the full inventory of Thersites' deformities and his coarse invectives, as well as all details of murder, outrage, and agony. If such are to be considered faults, in what liglit should we regard the greater faults and incongruities of Milton, and especially of Shakespeare, incomparably the greatest of all poets ? In this respect however, the great masters of poetry have been followed by the most amiable of painters — Eaphael — who did not shrink from painting on his imperishable canvas, cripples, beggars, and demoniacs, alongside of forms of transcendaiit graceful- ness and unearthly beauty. Salvator Eosa, too, we know, absolutely revelled in painting martyrdoms and savage soli- tudes infested by banditti.* No such idle conception, ol what was revolting to human nature, led the great sculptors to deem it unworthy their chisels to immortalise, in marble, the savage figure of a Satyr and the agonies of a Niobe, a Laocoon, or a Dying Gladiator. * The smooth landscape ia not the work of a great artist. The excel- lency of such an artist is to imitate the texture of all surfaces which the world arotxnd him presents ; and if he paints, as an artist ought to paint— the bold, rough rock, the shaggy goat, the broken foreground, the horse in its natural rough state, with its mane and tail uncut, νϋ! be all faithfully rendered.— See Plvumr, on Painting, XIV THE LIFE OP HOMER. Extract I. " Great as the power of thought afterwards became among the Oreeks, their power of expreesion was still greater. In the former, othe» nations have built upon their foundations, and surpassed them. In the latter they still remain unrivalled. It is not too much to say that this flexible, emphatic, and transparent character of the language as an instrument of communication— its perfect aptitude for narrative and discussion, as well aa for stirring all the veins of human emotion, without ever forfeiting that character of simplicity which adapts it to all men and all times, may be traced mainly to the existence and the wide- spread influence of the Iliad and Odyssey. To us these compositions are interesting as beautiful poems, depicting life and manners, and unfolding certain types of character, with the utmost vivacity and art• lessness. To their original hearer, they poseeseed all these sources of attraction — together with others more powerful still — to which we are now strangers. Upon him they bore with the full weight and solemnity of history and religion combined, while the charm of the poetry was only secondary and instrumental. The poet was then the teaoher and preacher of the community, not simply the amuser of their leisure hours. They looked to him for revelations of the unknown past, and for expositions of the attributes and dispensations of the gods, just as they consulted the prophet for his privileged insight into the future."— ΰΐτοίβ** History of Greece, vol. ii. page 158. Extract IL "Here lie the pith and soul of history, which has faoc for its body. It does not appear to me reasonable to presume that Homer idealised hu narrative with anything like the license which was indulged in the Carlovingian romance— yet even that did not fail to retain, in many of the most essential particulars, a true historic character ; but conveys to us partly by fact, and partly through a vast parable, the inward life of a period pregnant with forces that were to operate powerfully upon our own characters and condition .... The immense mass of matter con- tained in the Iliad, beyond what the action of tho poem requires, and likewise in its nature properly historical, of itself supplies the strongest proof of the historic aims of the poet. Whether in the introduction of all this mattor, he followed α set and conscious purpose of his own mind, THE LIFE OP HOMER. XT or whetlior he only fod the appetite of his hearere with what he found agreeable to them, is little materinl to the question I have particularly in view the grent ujultitnde of genoalogiea; their extra- ordinary consistency with each oiher, and with the other historical indications of the poems ; their extoneiou to a very large number, especially in the catalogue of secondary persons ; the Catalogue itself, that most rcmaikable production, as a whole ; the accuracy with which the names of the various races are handled and bestowed throughout the poems ; the particularity of the demand regularly made upon strangers for information concerning themselves, and especially the constant inquiry who were their parents, what was, for each person, as he appears, his relation to the past ?— and again the numerous narra- tives of prior occurrences with which the poems, and particularly the more historic « Iliad/ are so thickly studded. Now this appetite for commemoration on the part of those for whom Homer wrote, does not fix itself upon what is imaginary It tolerates fiction by way of accessory and embellishment ; but, in the main, it relies upon what it takes to be solid food But there is, I think, another argu- ment to the same effect, of the highest degree of strength which the nature of the case admits. It is to be found in the fact that Homer haa not scrupled to make some sacrifices of poetical beiiuty and propriety to these historic aims. For. if any judicious critic were called upon to specify the chief poetical element of the ' Iliad,' would he not reply by pointing to the multitude of stories from the past, having no connec- tion OP. at best a very feeble one. with the war, which arc found in it I "—£$»ay on Homer, by lugnt Hom.urable W E. Gladstone, M.P. ΙΛ'ΛΔΟ] β. Ζ. 0. Ίρωων δ* οίωθη καΐ Άχαιων φύΚοττα αΙι>η' •ποΚΚίχ δ* &ρ' ίνθα καΙ ίνθ* ΪΘυσ( μάχη πβδιΌιο &\\ή\ων Ιθυνομίνων χαΚκηρ(α bovpa, μίσσηγυ^ Σιμοί/τοϊ ibi αάνθοι,ο ρυάων. Alas bi rrpw-os Ύίλημώνιοί, ίρκο5 Άχαι,ών, Ύρώων ρη:•(• ij>a\ayya, φο'ωί δ' hapoiatv (Θηκ€ν, &vbpa /3αλωι•, *s &ριστο5 hi Θρ/ικίσσι τίτνκτο» νΐον 'ν,ϋσσώρου Άκάμαντ' ήύν tc μίγαυ τβ. Τί^Γ ρ ίβαλΐ ττρώτοί κόρνΘθ(ί φάλον Ιτητοδασίίηι, iv δ^ μ(τώττ<ρ -mj^f, ιτίρησ( δ' αρ* όστ^ν €Ϊσω αΐχ^μη χα\κ(ίη' τον bi σκότος όσσί κάΚνψ(ν. ΑξυΚον δ' &ρ' ίτΐ(φν( βοην αγαθός Aιoμήbηs T€vθpavίbηv, OS haifv ivnT^ivr} h Άρίσβγ i0vetos βιότοιο, φίΚος b' ijv άνθρώττοισιν ττάντας γαρ φι.\4(σκ€ν όδφ ^Trt οΙκία ναίων» άλλα οί ον Tis τών γ( τότ* ηρκ^σ^ λνγρον δΚ^θρον ττρόσθίν ντιαντίάσας, άλλ* αμφω Θνμον άττηύρα, αντ6ν και θ(ρά%οντα Καλησιον, Ss pa TOff ϊτητων 4σκ€ν νφηνίοχοί• τω δ* &μφω γαϊαν ibύτηv. Δρησον b' Ευρύα\θ5 καΙ Όφ4\τιον ίξ(νάριξ(ν• βή bk μΐτ^ Αΐσητον καΐ Π^δασοι;, οϋς ttotc ιηϋμφη νηϊς Άβαρβαρίη τ4κ' αμύμονι ΒουκοΧίωνι. ^ουκολίων δ' ην ν'ώς άγανοΰ Aaoμ4bovτos, ■ηρ^σβύτατος ycvc,^, σκότιον b4 i γόνατο μψηρ' Ίτοιμαίνων δ' ^ττ' δίσσι μίγη φιΚότητι καΐ aivfi, η b' ν-ποκνσαμίνη bιbvμάovt γόνατο παιδί. καΐ μ(ν των νττ4\νσί μ4νθ5 καΐ φaίbιμa γυΐα Mηκιστηϊάbηs, και άττ' &μων Τ€νχ{ Μ\α. *A(rrva\ov δ' &ρ* ϋτΐζφνΐ μίνίτιτόλψος Ώολνττοίτης' ΓΤ ivniv b' Όδυσάΐί UfpKU>aiov f^fvapi^ev ίγχ^ί χαλκ€ίψ, TiVKpos b' 'Aperaova biov. ΆντίΧοχοί δ^ "Αβληρον ivripaTo bovpl φα€ΐν(^ Nfστopίbη5, Έλατον bk &ναξ avbp&v Άγαμ4μνων• vaU be ΣατνιΟ€ντθ9 ivppiCrao τταρ' δχθας ΠτίδασΟΓ αΐτΐξΐΐ'ην. Φύλακυί; f Ιλί Αηίτος ηρωΐ φ€ύγοντ'' EvpvTTvXos bk Μ(\άνΘιον ίζ^νάρίζΐίν. Ιυ 15 20 23 30 85 ΙΛΙΑΔ02 6. 'Αόρηστον δ' αρ' (ττατα βοην αγαθός McreAaos ζϋ)θν €λ'• Γττπω γάρ οί άτνζομίνω πίδιΌιο, οζ(^ Svi βΚαφθ^ντζ μνρίκίνω, αγκύλου άρμα &ξαντ h ττρώτω ρνμω αυτω μ€ν ^βητην 44 ττρόί πόλιι;, γ τχ€ρ οΐ άλλοι άτνζόμβνοι φοβίοντο, avTos δ' iK δίφροι,ο τταρα τροχον (^(κνλίσθη •ηρηνηί h κονίγσιν hi στόμα, τταρ δε οΐ ^στη Άτρ^ίδηί Meve'Aaos Ιχων δολιχόσκιον ^γχο9. Αδρηαττοί δ' &ρ' Ιττειτα λαβών iλλίσ■σξτo γουνών 4ΐ " ζώγρίΐ, 'AτpL•s vU, συ δ' άξια δίξαι αποινα. πολλά δ* CV άφνίίοΰ rrarpos κίΐμηλια κείται, χαλκοί Τ€ χρυσ09 Τ€ ττολύκμητόί re σίδηροί, των κίν τοι χαρίσαίτο ττατηρ ατηρζίσι' αττοινα, (ΐ K(v €μ€ ζωον ttctwOoit cm νηνσΐν Αχαιών." 50 *12s φάτο, τω δ' αρα θνμον hi στηθίσσιν opiv€v. και bή μιν τάχ' Ιίμίλλζ Ooas im vijas Άχαιων hώσ€ιv ω θ^ράττοντι καταξ^μ^ν άλλ' Άγαμίμνων αντίοί τ}λθ€ θίων, καΧ 6μοκλήσα$ iiros ηύδα' '* ω ttJttov, ω Μ^νέλαζ, τίη δέ συ κή6(αι οϋτωί 55 avbp&v ; ^ σοι άριστα ττ€ττοίηται κατά οίκον 'npos Ύρωων. των μή ris υτίζκφύγοι αιττυν ολ(Θρον Xfipas θ' ημ€Τ^ραί' μηδ' δντινα γαστίρι μητηρ κονρον €Οντα φίροι, μηδ* bs φύγοι, άλλ' άμα τάντίί Ιλίου (ξαττολοίατ άκήδ^στοι και άφαντοι." 60 Ω,ί (ίττων ίτρ^-φ^ν ά^ΐλφΐΐου φρ4ναί ηρως, αΐσιμα τταρ^ητών ό δ' άπδ eufv ωσατο χ^ιρι ηρω' ''Abpηστov. τον b( κρίίων Αγαμέμνων ουτα κατά λαττάρην 6 δ' avcTpaircT, Άτρ^ίδηί δ^ λα^ iv στήθ€σι βάί (ξίσττασί μ€ί\^νον ^γχο9. 65 Νίστωρ δ' Άργ^ίοισιν (κίκλίτο μακρόν άύσας' " ω φίλοι, ήρω(5 Δαναοί, Oepa-novres "Αρηος, μη TIS νυν (νάρων (τιιβαλλόμζνοί μ^τότισθΐν ιιιμνίτω, m k€V ττλ(ΐστα φίρων im vrjas ΐκηται, άλλ* avbpas κτίίνωμ^ν (τκιτα hi και τα ^κηλοι 70 VfKpoiJS &μ Ίΐώίον συλησίΤζ τίθνηώταί." lis (Ιττων ωτρνν€ μίνοί κα\ θυμον ίκάστου. ίνθα K€V αυτ€ Ύρώα άρηϊφίλων νττ' ' Αχαιών Ιλιον €ΐσαν€βηααν^ άνοΛκ^ίησι δα/χειτ?? «' μη άρ' Αί/'ίί^ re καΐ "Εκτορι (Ιττί τιαραστυ^ 71 ΙΛΙΛΔ02 6. 40 46 50 55 6α 65 70 90 ΓΤριαμιδί/ί "RXevoi, οΙωνοττόΚων οχ' άριστοϊ* " AiVeia re και "Εκτορ, irtcl ttoVos νμμι μάΚιστα Ύρωων και Αυκίων (γκίκΚίταί, οΰν€κ' άριστοι ττάσην fir' Ιθύν eore μάχξσθαί rt φρονίΐΐν τ€, στήτ' αυτόν, και λαον έρνκάκζΤ€ ττρο ττυΚάων do τταντ-ρ €ΤΓθΐχόμ€νοι^ ττρίν αυτ h χβρσί γυναικών φίύγοί'τας ircaUiv, bηtoίσι δε χάρμα -γ^νίσθαι. ανταρ ktiii κξ φάΚαγγα^ ζττοτρύνητον άττάσαα, ημ€Ϊί μ€ν Ααναοΐσι μαχησόμίθ'' αυθι μένοντα, και μόλα Τ€ΐρόμ€νοί τκρ' άναγκαίη γαρ ^Tretycf 8ύ Εκτορ, άταρ σν rroKivbe μ€τίρχ(0, €ΐττ€ b' fVfira μητ€ρί arfj και e/uf/• η be ζννάγονσα yepaiaf νηον *Αθηναίηί γ\ανκώιτώθί iv ττόλίΐ άκρη, ^' οΐξασα κ\ηΐbι θύρας Upoio bόμoιo, ΤΓ^πλοί/, OS οι boK((i χαρύστατοί ?)δέ μίγκττοί fivai ζνι μίγάρω καί οι ττολύ φίΚτατοί αύτη, ^eivai ^Αθηναίηί iiri γούνασιν ήϋκόμοιο, καί οι ύττοσχίσθαι bvoKaCbeKa /Sous ivl νηω yjvis, TjKeVras, ι^ρ^υσίμ^ν, at κ ίΚίηση άστυ Τ6 και Ύρωων άλόχονί και νηττια τίκνα» 96 οΧ κξν TvbiOi vibv άττόσχτι 'Ιλίου iprjs, αγριον αιχμητην, KpaTfpov μηστωρα φόβοιο, ον bi] €γω κάρτιστον Άχαιώί; φημί γενέσθαι. ovb' Άχι\ηά ττοθ* S>b4 γ ibeib^ev, δρχαμον άι-δ/οών, δν jrep φασι 0eas ^ξ ίμμΐναι- άλ\' οδβ Κίην jgo μαίνεται, ovbi n's οι bvvarai μίνοί ισοφάριζαν." *i2s (φαθ"' "Εκτωρ b' ου τι κασιγνητω άττίθησ^ν. αυτίκα δ' e^ ογίων συν τίύχ^σιν Ζλτο χαμ^ζζ, ττάλλωΐ' δ' όξ€α bovpa κατά στρατον ωχετο ττάντη, ότρύνων μαχίσασθαι, eyeipe be φύλοτιιν αινην. ' iq-, οι b' €\€λίχθησάν και ενάντιοι ίσταν 'Αχαιών Άργίΐοι δ' ΰττ€χωρησαν, λήξαν δέ φόνοιο, φαν be τιν' αθανάτων i$ ουρανού arrepoevTos Ύρωσιν άΚίξήσοντα κaτe\θψev^ ώί €\^\ιχθ(ν. Εκτωρ be Ύρώ€σσιν €κίκ\(το μακρόν άύσα^' HQ "Tp&es ντίρθυμοι τηΚ€κ\ίΐτοί τ €Ττίκονροι, avepei (στe, φίλοι, μνησασθί δέ θούρώος άλκη?, δφρ' hi; (γω βeίω ττροτΐ Ίλιον, ■ηb^ γ4ρουσιν «Γπω βονλ€υτιίσι και ημίτ4ρτ^ί ίιλόχοισιυ 1ΛΙΑΔ02 β. t> Ιαίμοα-ιν άρήσασθαι, νττοσχίσθαί δ' (κατόμβας.' *12s &ρα φωνησαί ατιίβη κορνθαίολοί "Εκτωρ' αμφι δ€^μΐί; σφύρα τύιττ€ και αυχένα δίρμα κ€\αιν6ν, αντυξ, η ττνμάτη θ^ν άσττίδος όμφαΚοίσση^• νΚανκοί δ' Ί-π-ηολόχοιο -nais και Tvbfos vios *f f^fZ^" ^1^•Φ°'^^Ρ^^ σννίτην μ(μαωτ€ μάχξσθαι, οί δ' οτξ Ιη axihbv ήσαν iir άλΚήλοισιν lovres, TovTTpoTepos ■ηροσίίητ^ βοην άγαθοζ Διομήδης' "τίς δέ συ ^σσι, φίριστ€, καταθνητων ανθρώπων ; ου μ€ν yap ποτ' όπωττα μάχρ ίνι Kvbiavdpr} τοπρίν αταρμ^ννυν ye ττολύ προβφηκας απάντων σφ θάρσ€ΐ, δτ' iμ6v δολιχόσκιον ^γχος (μίΐνας. ^στηνων δε re παϊδ^ί ^μω /xcVei αντιόωσιν, (Ι be Tis αθανάτων γ€ κατ' ουρανού (ΙΚήΚουθαί, ουκ hv ίγωγ€ θίΟΪσιν ίπουρανίοισι μαχοζμην. ουδέ yap ουδέ Αρύαντο9 υίο?, κρατερός Αυκόοργοί^ bi]v rjv, OS pa θίοΐσιν Ιπονρανίοισιν ^.ριζ^ν, OS TTore μαινομίνοιο άιωνύσοιο TiOrjvas σ€ΰ( κατ' ηγάθίον Ί^νσηϊον αΐ b' &μα πάσαι θύσθλα χαμαϊ κατ4χ€ναν, υπ' άνδροφόνοιο Αυκούργον θ(ΐνόμ€ναι βονπληγι, Αιύνυσο5 δέ φοβηθζϊς 6ύσ(θ^ akbs κατά κύμα, @4tis b' ύπώίξατο κόλπ<ρ hfibiOTa'^ KpaTcpos γαρ Ιχε τρόμος avbpos όμοκλ^. τφ μ^ν (π(ΐτ' 6bύσavτo θ(οΧ ρύα ((oovTes, και μιντνφλον (θηκε Κρόνου παΐς' oib' αρ' en brjv ην, €πίϊ άθανάτοισιν άπηχθ^το πασι θίοΐσιν. oib'aviyti) μακάρ^σσι deois ^θ4\οιμι μάχ^σθαι. tl b4 Tis (σσι βροτών, ot άpoύpηs καρπον iboυσιv, ασσον ϊθ*, ώί kcv θάσσον ό\4θρου πφαθ' ικηαι." Ύον δ' ανθ' ΊτΓττολο'χοιο πpoσηύba φαβιμος νιό$• "^Trδeίδt7 μ^γάθυμ^, τίη yfva]v epeeireis; οιτ; TTep φύλλων yever\, τοίη b\ και avbp&v. φύλλα τα μ4ντ' &v(μos χaμάbιs χ(€ΐ, άλλα be Θ' ΰλη τηλίθόωσα φύίΐ, ^apos b' 4πιγίγν€ται ωρη' As avbp&v yeveii η μν' φύ€ΐ, ή δ' άπoληyet. ei δ' e^e'Aeis καΙ ταίτα 8αήμ€ναι, οφρ el• elb?-s ημ€τ4ρην yeveqv πολλοί be μιν avbpes Ισασιν- ίστι πόλΐ5 Έφύρη μυχω "Apyeos Ίπποβότοιο. (νθα he Σίσυφος eWei-, δ κ4pbιστos yeveT' aibpdv. lis UO 125 130 135 14U 145 160 ΙΛΙΑΔ02 6. 115 liO 123 130 135 14U 145 15U Σ(σνφθ9 AlλCbηr 6 ύ' &pa ΓΚαΰκον τ4κΐ^ viov, ανταρ Γλαυκοί Ιτικτςν αμύμονα Βΐλλίροφόντην'. ■■ 155 τό) hi θίθ\ κάλΚοί τ€ καΐ ηνορΐην 4ρατ€ΐνην ώττασαν. αυτάρ οι Προΐτοζ κακά μησατο Θυμψ, OS ρ' €κ bήμov ίλασσίν, eπei ττολυ φ^ρτ^ροί η^ν, Άργ^ίων Zeiis γάρ oi iirb σκήτττρω ^δάμασσίν, τω δέ γννη Ώροίτου έττ^μηνατο, δι' "λντξία, 1 60 κρυττταΜτ) φιλότηη μιγημ^ναί• άλλα τον ου τι ττίΐθ' άγαθα φρονίοντα, δαίφρονα Βίλλίροφόντην. η be ψίνσαμένη Προΐτον βασιληα 'πpoσηύba^ * Τίθναίης, ω Προΐτ', η κάκτανί Βζλλίροφόντην, OS μ' ίθίλ^ν φιλότητι μιγημξναι ουκ ϊθ^λούστι* 1 65 ώί φάτο, τον be ανακτά χόλos λάβev, οίον άκουσ6ν. KTeivai μέν ρ oKeeive, σ€βάσσατο γαρ τό ye θυμω, τιέμ,-πΐ be μιν Aυκίψbe, Tropev b' δ ye σήματα λυγρά, γράψ XS ev ττίνακι τττνκτω θυμοφθόρα πολλά, b€ΐξaL δ* -qviayeiv (5 irevdep^, δφρ* άττόλοιτο. 1 70 αυταρ δ βή Aυκ^ηvbe de&v W άμύμονι ττομττη. ολλ' ore br] Αυκίην ΐξ€ Έ,άνθον re peovra, ^τpoφpoveωs μιν Tiev &ιαξ Λυκίτ/ί eυpeίηs. ^ννημαρ ^eCviaae κολ evvea βoΰs l€peυσev' ολλ' ore ίη beκάτη ίφάνη pobobaKnjKos Ήώϊ, 175 και TOTe μιν ip4eive και yTee σήμα Μσθαι, δττι ρά οι γαμβροϊο τιάρα Ώροίτοιο φίροιτο. αυτάρ eiieibr] σήμα κακόν irapebeiaTo γαμβρού, ττρωτον μέν ρα Χίμαιραν άμαιμακ4την eκeλeυσev 'ΐτ€φν€μ€ν.^ η δ' αρ' ίην θ€Ϊον ye'vos, oib' άνθρώττων, 180 ^Γpόσθe λέων, omOev b\ δράκων, μ4σση δέ χίμαιρα, beivov ά■no^:veioυσa irvpos μίνο5 αΙθομΑνοιο. καΧ την μ€ν κaτe^ΐeφve dedv τepάeσσt ^τιθήσas, beύτepov αυ Σολύμοισι μαχήσατο κυδαλίμοισιν καρτίστην δ^ τηvγt μάχην φάτο bύμevaι avbp&v, Ι8δ Γ0 τρίτον αυ κaτe^τeφvev ^Aμaζόvas avTiaveipas. τω δ' άρ' άvepχoμevω ιτυκινον δόλον άλλον ΰφαιν€ν tpCvas €κ Aυκίηs evpeir/i φωτas άρίστουί eXae λόχον. το\ δ* ου τι ττάλιι; οικο^δί viovTO' TtavTas γάρ κaτe^reφvev άμύμων Beλλeρoφόvτηs» ΐ90 αλλ' δτ( br} γ(γνωσκ€ θςον γόνον iihv iovra, αυτοΰ μιν κατέουκ€, διδου δ' δ ye Θυγατέρα ijv. UIAA02 β. δωκ€ be οί τιμηί βaσLληίbos ημισν ττάσης• και μ4ν οί Ανκιοι τίμΐνο^ τάμον ίζογρν αλΚων^ καλόν φυτάΚιη^ και άρονρηζ, δφρα νίμοιτο, η δ' ΙτίΚ€ τρία τέκνα batippovi ΒίΚλίροφόντΐ], lσavbpόv τβ και ΊτητόΚοχον και Ααο6άμ€ΐαν Aaobaμ€ίτj μ^ν τταρίΧζξατο μητίίτα Zciis, η δ' €Τ€κ' άντίθ^ον Σap^τηbόva χαΚκοκορνστην. αλλ' ore δ^ και kcivos άπηχθΐτο ττάσι Θ^οϊσιν, ήτοι ό καττ irfbiov το Άλήϊον oTos άλάτο, ον θυμον κaτίbωv, ττάτον ανθρώπων όλ^ΐίνων, 'Icravbpov δε οί νίον Άρης ατοζ ττολίμοιο μαρνάμίνον "ΣοΚύμοισι κατίκτανζ κνΙαΚίμοισιν, την be χο\ωσαμ4νη χρυ<τηνΐ09 "Αρτεμις €κτα. Ιππο'λοχοί δ* ^μ' ίτικτΐ, καΐ €Κ του φημί γ^νίσθαι' ■7Γ€μπ6 be μ* es Ύροίην, και μοι μά\α πολλ' (TieTtWev, aiev apiareveiv και νιτ€ίροχον eμμevaι αλΚωρ, 193 200 205 στοι μτ/δέ yevos πατέρων αΙ(τχννίμ€ν, οι μέγ' &ρι> ev τ* Έφύριι eyevovTo καϊ ev Αυκίγ evpeirj. ταντη5 τοι yeverjs τ€ και αϊ/χατο? evχoμaι elvai." *i2s φάτο' γηθησ€ν be βοην αγαθοί Aιoμήbηs. eyxoy /xey κα7έπηξ€ν έπι χθονί πουΚνβοτ^ίρΐ], αντάρ δ μ€ΐ\ιχίοισι πpo(τηύba ποιμένα λαών " η ρά νν μοι ^civoy πατρωϊόί έσσι παΚαιόί' Oiveifs yap ποτ€ bhs άμνμονα Be\Kepoφόvτηv ^eivKT' evi μeyάpoισιv eeUoaiv ήματ έρνξαί. οί be και άλλ^λοισι πόρον ^eivri'ia καλά• OiVevs μ\ν ζωστήρα bibov φοινίκι ^aeiyoV, Beλλepoφόvτητα, h'ff ίσαν οι ττ4ττ\οι τταμποίκιλοι, ^ργα γυναικών Σώονίων, Tas avTos 'AKi^avbpos ΘίΟίώηί 200 ivyaye Σώυνίηθ€ν, ^πιττλώί fvpia ττόντον, την obov, ην ΈΚίνην Ttep ανηγαγΐν ^υτίατίρ^ιαν, των h' ά€ΐραμ4νη *Εκάβη φ4ρ€ bώpov ΆΘψιι, OS καλλιστοί ^ην ττοικίλμασιν ■^be μ4γιστο5» άστηρ b' &s άπ4λαμττ€ν• (Κ€ΐτο be veCaTos &λ.\ων. 905 βί} δ Ι4ναι, ΤΓολλα* be μ^τίσσ^ύοντο yepaiat. Αί δ' οτ€ νηον ΐκανον Άθηνηί 4ν ττόΚίΐ άκρη, τγισι Θνρας ώϊξξ Θξανω KaKKiiraprfos Κισσ?]"(5, αλοχοί Άντήνοροί iπ■πobάμoιo• την γαρ Tpuics ίθηκαν 'Αθηνα(η$ Ί4ρ(ΐαν. 300 οί δ* dAo\uy^ ττασαι 'Κθηνγ yjiipas αν4σ\ρν, η δ άρα tt4tt\ov έλουσα θ^ανω καΚΚιπάρηοί θηκίν 'λθηναίηί firi γούνασιν ηϋκόμοιο, (υχομ4νη b* ήρατο Aibs Kovprj μ^γάΚοιο' •• Τ!Οτνι' Άθηναίη, 4ρυσίτιτο\ι, δια θβάων, 806 Ζξον brj ^γχοί Aιoμήbeos, iqbe κσΧ αυτόν ττρηνία bos ττίσ4€ΐν Σκαιων τ:ροτάροιθ( τιυλάων, οφρί τοι αντίκα ννν ovoKUibeKa βον$ 4νϊ νηφ i/i/ts, ήκ4ατα$, Ιίρβίοομΐν» αϊ κ' iKeqarjs 1Λ1ΑΔ02 6. >» 37ί 280 283 290 295 300 306 δσ-ι-υ re και Τρώωι; άλόχους καΐ νηττια τ^κνα,* ώ? 4φατ (ίχομίνη, aviv€V€ be Παλλάί Άθήιηι. i2s at μίν ρ' (ϋχοντο Διό? κούρτι μ^γάΚοίο, "Εκτωρ bk irpos bcύμaτ' ΆΚίξάνδροω βζβήκΐΐ καλά, τά ρ' avros Ireu^e συν avbpaaiv, οΐ τότ' άρκηοι ήσαν ivl Ύροίτ] (ρψώΚακί reKToves &vbp€S, οϊ oi εποίησαν θάΚαμον καΧ bωμa καΐ ανλην (γγύθί Te Πριάμοιο /cat "Εκτυροί, iv πόλ.€ΐ άκρη. ίνθ"* "Εκτωρ (ΙσηΚθζ bύφι\os, kv b' αρα χ€φΙ fyxos ^χ' (vb€κά^τηχυ' ττάροιθί be \άμ■πeτo bovpos "jXf*'/ χαλκ€ΐ77, irepi be χρνσ€θί eie ττύρκηί. τον δ' evp ev θαΚάμω TrepiKaKKea Tev^e' eirovra, άσ^τίba καΐ θώρηκα και ό,γκύΚα τόξ' αφόωντα' ^ ^pyeLi] δ' 'EAeyrj μeτ' &ρα bμωf|σι γυναιξίν ηστο, και άμφιπο'λοισι ττ^ρικλυτά €ργα Ke\evev. τον δ' Εκτωρ veiκeσσev 'ώων αισχροί^ €ττ€€σσι.ν' "ba^ovi, ου μ€ν καλά χόλον Tovb' ivOeo θυμω. \aoL μ^ν φθίνύθουσί irepi ττόΚιν αίττυ re τ^Γχοί μαρι;άμ€νοι' σίο b' etveK* άντη re ^ττόKeμό9 re άστυ Tob' άμφώebηe' συ b' αν μαχ4σαιο και άλλω, οντινά ττου μeθ^.evτa Ibois στυγ€ρον ττοΚέμοιο. αλλ' άνα, μη τάχα άστυ ττυροί bηtoίo Θίρηται." Ύον δ' αυτί προσ4€ητ€ν 'Α\4ξανδρθ9 θeoe^bήs' ""Εκτορ, e-nd μ€ κατ αΐσαν ^ν€ίκ€σαί ουδ' iirep αισα;/, τούν€κά Γοι epeω' συ be σύνθ€ο και μeυ άκουσον, (>ϋ rot iyot) Τρώων τόσσον χολω oibe veμeσσι ημην ev θα\άμω, ^Oekov δ' αχβϊ ττροτραιτ4σΘαι. νυν be μe ^τapet^:oΰσ άλοχοί μαλακοΐί €ττ6€σσιν ωρμησ* es ^ΐόλeμov' boKeei be μοί &be καΐ αύτ<^ Κωϊυν ίσσ€σΘαι.' νίκη δ' e^:aμeίβeτaι &vbpas. αλλ' aye νυν eT:(p.eLVov, άρήϊα Τ€ύχξα bύω' η ϊθ', cyo) be μeτeLμt' κιχήσ€σθαι be σ οιω." ''ih φάτο' τον δ' ου τι ττροσίφη κορυθαίολοί "Εκτωρ, τον b' *ΕΚ€νη μυ^οισι ττροσηύδα μ€ΐ\ίχίοισΐν' " baep €μαο, κυνοί κακομηχάνου, οκρυο^σση^, ωί μ οφ€λ ηματί τω, ore μe ττρωτον TeKe μητηρ, οΐχίσθαι ττροφίρουσα κακή ανόμοιο dieKKa eis οροί η eis κϋμα ττοΚυφλοίσβοιο Θαλάσση9, ίνθα μι κΰμ' a^τόepσe napos τάδε ίργα γ6ν4σθαΑ, Sin 315 320 326 320 335 840 345 10 ΙΛΙΑΔ02 β. ηυταρ ,n,t rah, γ' ώδβ θ,οΐ κακά τ,κμ,]ραντο, avbpo, en^cT' ωφ,\\ον άμ,ίνονο5 dva,. άκο^η,, 860 OS ρδη ν^μ^σιν re καΐ αΓσχ^α πο'λλ' ανθρώπων. τοντω δ οΰτ'^ δ/, νυν pUs ^μπώοι oW άρ ότιίσσω ίσσονται.• τω και μιν (τταυρήσίσθαι όίω. αλλ' dye νυν eiVeA^e καΐ ^ζ^ο τωδ' iirl 6ίφρω, baep (rrei σβ αάλίοτα ttoVos ^p^^s άμφφ4βηκίν 355 eii'e/c' e^eto kwOs καΐ ΆΚ^ξάνδρου ^ν^κ' άτης, οισίν^Ι Zei/s θήκ€ κακ6ν μόρον, ώ? καΐ όττίσσω ανθρωττοισι TreAco/xe^' αοιδιμοι ^σσομίνοισιν." την d' ημ^ίβ^ ^mira μ4γα, KopvOaCoKos "Εκτωρ- μη Me καθ,ζ Ε\,νη φ^Κ^υαά πe/,• ovb^ μ^ TretWs' 360 ν^ηγαρ μοι θνμοί (ττ^σσνται, όφρ' ^-ηαμΰνω Γρω€(Γσ, οί μ^γ' ίμ^ΐο -ποθην άπeoVΓOS Ιίχονσιν, αΚλα (TV Ϋ δρνυθι τούτον, Η^ίγάσθω 6e καΐ avTOs, MS Kcv €μ €ντοσθ€ν ΤΓο'λιο? καταμάρψτι iovra. καΐγαρ^γ<ί>ν οΊκόνδ' ^σ^λ^ύσομα,, δφρα "ώωμαι 365 οικηαί αλοχον re φίΚην καϊ νητηον νιόν. ονγάρ τ' οΙδ•, d hi σφιν υπότροπος ΐξομαι aZns, η ηόη μ νπο χepσt θ€θΙ baμόω(nv 'Αχαιών/' ^ i2s &ρα φωνησας αττίβη κορυθα(ο\οί "Εκτωρ, αίψα δ eπeι^' ϊκαν€ 6όμον5 evvaicraovTas, s70 oi^'eip' Άνδρομάχην Κ(υκώ\(νον iv μ^γάροισιν, αλλ η ye ξυν^ τ:αώΧ καΐ άμφίττό\ω ίυιτ4ττ\(^ ττνργω ^φζστηκζΐ γοόωσά re μυρομίνη re. ' "Εκτωρ δ' ω? ουκ evbov άμύμονα τίτμ€ν άκοιην, (στη in' olbbv Ιών, μ€τά ./e bμωrΐσ^v eeιπev 375 "db' αγ€ μοι, δμωαι, νημξρτία μυθησασθ^' mj (βη^ Άvbpoμάχη λe^;/cώλews L• μ^γάροιο; ψ J^V ^s yαλoωI; η dvaT^puiv ίυττίττΚων ^ ^* 'f'fy^'P^ (ξο(χ€ται, ίνθα irep έίλλαι Ύρωαι €ϋπλόκαμοι beivrjv Θών Ιλάακονται ; " 399 ^^ Toy δ' αυτ'^ ότρηρη ταμίη ττροί μνθον eeiVev "J Εκτορ, en-et μάΚ' ανωγα^ άληθ^α μυθήσασθαι, ουτξ irr) es γαλόων ούτ dvaτ4pωv €υττ4πΚων οντ' h Άθηναίηί ^ξοίχ^ταί, Ιίνθα irep Άκλαι ΤρωαΙ ίϋπΚόκαμοι beLvrjv Θξον ιλάακονται, 3gg αλλ' ΗΙ ττύργον ίβη μ4γαν Ίλίον, οϋν€κ' &κουσ€ν τ€φ€σθαι Τρώα,, μ4γα be κράτο5 dvai Άχαίών. 360 355 360 36s 570 375 380 385 ΙΛΙΑΔ02 β. η μ^ν bri irpos ηΐχοί ΐτταγομ^νη άφίκάν(ΐ, μαινομάντβ Ιίκνΐα' φίρΐΐ δ' &μα τταίδα ηθήνη." ^ Ηβα γννη ταμίψ δ δ' απ4σσντο δώματο? Έκτω/ΐ '"?" °'^1^^ ^^"^ "^'"^^ (ϋκημ^ναί κατ ayvias. (vre TTvKas iKave δίίρχόμζνοί μίγα άστυ Σκαίάί—ττΊ γαρ l/^eAAf δκξίμ^ναί irfdiovbe—, ίνθ &\οχο9 ττο\ν6ωρο5 (νανηη ΐ}\θ( Θίονσα, ^Ανδρομάχη, θυγάτηρ μ^γαΚητοροί Ήίτίωιοί, Η(τ(ων, OS haicv ύπο Πλάκω νΚψσση, Θήβτ] ύποττ\ακίϊ], Κιλίκβσσ' &ι•δρ€σσιν άνάσσων TovTTfp δ^ θυγάτηρ ^χ^Ο' "Εκτορι χαΚκοκορυστη . η Οίίτΐίΐτ' ηντησ\ άμα b' άμφίττοΚοί kUv αντη τταΓδ' ijrl κόΚττω Ιχουσ' άταΚάφρονα, νήττιον αύτω^, Εκτορώην αγαπητόν, άΚίγκίον άστίρι κα\ω, τόν ρ'^κτωρ καΚ4€σκ( Σκaμάvbpιov, αυτάρ oi ά\\οι . Αστυάνακτ ' οΓο? γαρ (ρύίτο Ίλιον "Εκτωρ. ήτοι ό μ^ μ(ίδη(Τ(ν ιδων h τταϊδα σιωπή• Ανδρομάχη bi oi άγχι τταρίστατο δακρυχ^ουσα, !.ν' Τ*" °Lt5 ^''Ρ'' ':'''' ■"' ^>«^'' « r' ονόμαζαν δαψονΐ€, φθ^σα, σ€ τ6 σ6ν μ4νο9, oib' i\ea(p€is παώα re νηπίαχον καϊ ^ άμμορον, ή τάχα χήρη σ€υ ίσομαί' τάχα γάρ σ€ κατακταν4ουσιν 'Αχαιοί TTavTcs έφορμηθ4ντ€ί' iμol δε κ€ κίρδων (ϊη ν€ΰ άφαμαρτούστ) χθόνα δύμ^ναι' ου γάρ h' άλΚη fb4 με θυμοί άνωγ^ν, imt μάθον ίμμίναι ecrOXos αίίΐ και πρώτοΐιτι μετά Τρώεσσι μάχεσβαι, αρννμ^νοζ ττατρο? τε μίγα kKcos rib' ίμον αυτοΰ, fZ yap ε)/ώ robe alba κατά φρένα καΐ κατά θυμόν ίσσίταί ημαρ, δτ* αν ττοτ* όΚώΚτ} "Ιλιο? iprf και Πρίαμο? και λαό? εϋμμελίω Πριάμοιο. αλλ' ου μοι Ύρωων τόσσον με'λει akyo^ (5πίσσω, οίτ' airrijs Έκάβηί οΰτ€ Πριάμοιο άνακτοί οϋτ€ κασιγνητων, οΐ κΐν ττολε'ε? τε και 4σθ\ο\ iv κονί-ρσι ττ4σοΐ€ν ΰπ' άνδράσι bυσμev4(σσιv. δσσον σεΰ, δτΐ κ4ν τΐί Άχαιων χαλκοχιτώνων δοκρυο'εσσαν άγηται, ΙΚ^ύθ^ρον ημαρ άττούρας. και Kiv iv "Apyei 4οΰσα irpos &\ληί Ιστον ύφαίνοι?, και Kiv ϋbωp φορέοΐί Μεσσηϊδο? η 'Τττερείί;? ΤΓο'λλ' άίκαζομίνη, κρατερή δ' ΐττικΐίσΐτ* ανάγκη, και ττοτ4 τι? είπτ/σιν ίδών κατά baKpv χ4ουσαν' '"Εκτοροί ή'δε γννη, δ? άριστειίεσκε μάχεσβαι Τρώων Ιπποδάμων, δτε "ΊλιΟΓ άμφΐμάχοντο* ώ? ποτ^ τι? ερε'ει• σοι δ' αυ v4ov Ισσεται άλ^ο» χτ^τεϊ τοιοΰδ' avbpos άμύνζίν bov\iov ■ήμαρ. αΚλα μ€ τζθνηωτα χυτή κατά γαία καλυπτοι πριν •/ in crijs re βοήί σον Θ* ίλκηθμοιο τη}Θ4σθαι" 430 485 140 445 4ϊ0 455 460 465 ΙΛΙΑΔ02 β. 18 430 435 140 445 4:^0 45S 460 465 *Ωϊ (Ιττων ου τιαώος όρίζατο αιδιμο9 "Εκτοορ, &\/r δ' 6 πάϊ5 ττρόί κόλτΐον Ιϋζώνοίο τιθηνηί (κΚίνθη Ιάχων, Trarpos φί\ου όψιν άτνχθίίς, ταρβησαί χαΚκόν τ€ Ibk Κόφον ίτττηοχαίτην, beivov απ' ακρότατης κόρνθος νίύοντα νόησαν. 470 ίκ δ' ίγ4Κασ<Γ€, πατήρ Τ( φίΚος και ττότνια μήτηρ, αντίκ* από κράτος κόρυθ' €Ϊ\€Το φαίδιμος "Εκτωρ, καΐ την μίν κατέβηκαν «π» χθονί τταμφανόωσαν' αυταρ 5 γ' ον φίλον νΐον i -πύ Kvat πήλε re \€paCv, ίΐιτ€ν ίΐΐ€υξάμ(νοί Αύ τ' αΚΚοισίν τί θίοΐσιν 4Γβ " Ζίΰ άλλοι τ€ 0eoi, bore δη καΐ Tovbe γ(ν(σθαι παιδ' ίμόν, ω? και €γώ irep, αρητρ^-ηία Ύρώίσσιν, ώδί βίην τ' αγαθόν, και ' Ιλίου ιφι άνάσσαν. και ποΓί TIS eiinjat ' -πατρός δ' δ γ€ πολλοί άμ€ίνων\ ίκ τΐο\€μον ανιόντα' φίροί δ' ίναρα βροτΟ€ντα 480 KTCtvas δήϊον άνδρα, χαρύη δε φρίνα μητηρ," Ω,ς (Ιττων ά\όχοίθ φίΚης (ν χίρσίν 4θηκίν τταίδ' eoV ή δ' αρα μιν κηώδζϊ δέξατο κόΚτίω δακρνόβν γξλάσασα. πο'σι? δ' (λ4ησ€ vorjaai^ χαρί Τί μιν κατ(ρ(ξ(ν, Ιπο5 τ' 4φατ', Ικ τ' ονόμαζαν 485 " δαιμονίη, μη μο( τι Κίην ακαχίζίο θνμω' ου γάρ τίί μ' υπέρ αισαν άνηρ "Αϊδι ττροϊάφΗ' μοΐραν δ' ου τινά φημι "Πζφνγμίνον ίμμ^ναι ανδρών» ου κακόν, ονδ\ μ\ν (σθΚόν, ^ττην τα πρώτα γ^νηται' αλλ' fts οίκον Ιοΰσα τα σ* αυτής tpya κόμιζε, 490 Ιστόν 7* ηλακάτην τ€, κα\ άμφιττόλοισι KfXfve 4ργον ^ττοίχίσθαι. τΐόλίμος δ' ανδρίσσι μίλησζΐ ττασιν, ίμοί δέ μάλιστα, τοί Ίλιω iyyeyaaaiv." "Ω,ς άρα φωνήσας κορυθ* €Ϊλ€το φα^ιμος "Εκτωρ ϊτητονριν αλοχος δέ φίΚη οΐκόνδε βίβηκίΐ 495 Ιντροτΐαλιζομίνη, θαλ.€ρον κατά δάκρυ χίουσα, άιψα δ' Ιπ€ ιβ' ικανέ δόμους (υναΐίτάοντας Εκτορος άνδροφόνοιο, κιχήσατο δ' ίνδοθι πολλάί άμφιττόΚους, τρσιν δε γόυν ττάσησιν €νωρσ€ν» αί μ€ν Ιτι ^ωόζ^ γόον "Εκτορα ώ ivi οϊκω' $09 ου γάρ μιν €τ^ άφαντο ΰτΐότροττον εκ πολε'μοιο ΐζ€σθαι, ττροφυγόντα μ4νος και χείρας * Αχαιών» Ovbk ΐΐάρις υήΟυΐ'ίν iv νψηλοΐσι δόμοισιν, άλλ' δ γ', iiTfl κατίδυ κλυτά τενχεα, ποικίλα χαλκφ. 14 ΙΛΙΑΔ03 β. σίΐίαΓ* intiT* άνα Αστυ, ττοσι κραιττνοϊσί πβποιΰώ*• 505 ωϊ δ' 07 « Tts ararus ϊπποϊ, άκο7Γ7)ιΓαί €π•ΐ φάτι^-η, 6(σμυν άπορμήξα^ Θ(ίτι ττβδίοιο κρυαίνων, ίΐωθωί Κούίσϋαι «lippcius ττοταμοίο, κυδιόωι/' ύψοΰ bk κάρη ίχ(ΐ, άμφΐ bk χαίται ωμο($ άίσσοΓΓαι• ό δ' άγ\αΐΐ)φι. τκποιϋώί, 610 ρίμφα ί yoCra φ^ρίΐ /χ€τά r' ήθία καΧ νομον ίτττιων Δί vios Πριάμοιο Πάρι? κατά Ilepya^ou ακρηί, τ(ύχ(σι τιαμφαίνων, ώστ' ηΚίκτωρ, €β(βήκ(ΐ καγ\α\όων, ταχ^α be -noba φΐρυν. α'ιψα δ' Κττξίτα Έκτυρα διον ίτ(τμ(ν άbt\φ(όι>, eCr' &ρ' «μίλλίν 514 στρέφίσθ' CK χώρη^, υθι p οάρίζί γυναίκί. τον irpOTfpos irpoaedTTcv A\iξavbpoί θίοίώη^. " ηΘ(ΐ', ή μά\α δη σί και ΐσσύμίνον κατίρνκω δηθύνων, oib' ϊ\\θον ίναίσιμυν, m fKeKcvts." Τον b' άτιαμ^ιβόμζνοί ττροσίφη κορυθαίυΚος "Εκτωρ• 620 *' δαμόρί*, ουκ 6,ν τίί τοι avi\p, 6s άναίσιμοί (ϊη, ifryov άτίμησ€ί€ μάχης, €7rct άλκιμο? €σσι. t λλά iKcap μίθίίΐς τ€ και ουκ ciJeAets' το δ' ^μόί^ κήρ ι χρυται kv θυμ^, 6Θ' ΰπ^ρ aidtv αίσχζ' άκουα) 7 pbs Ύρώων, οί ίχουσι ττοΚυν ττόνον ίΐνίκα σ€Ϊο, 525 ( λλ' ϊομ€ν' τα b' οττίσθίν άρ^σσόμΐθ', αΐ κ4 -ηοθί Zcifi ( ώτι ίττονρανίοισι θίοΐί αΐ€ΐγ(ν4ττ{σιν > ρητηρα στήσασθαι kkivdepov Ιν μΐγάροίσα^ tK Ύρο(η5 iKaffoPTas ίϋκνήμώαί *A\otoiis.' >e NOTES TO BOOK VI. Abouicent. — While the Greeks are conquering, Helenue adv'see Hector to order a public supplication to Athene in the Pergamiis, to remo\'e Diomed irom the battle. While Hector is thus engaged in the city, Glaucus and Diomed come to the knowledge of the hospitality that had taken place between their ancestors, and in friend- ship thev exchange arms. Hector executes the orders of Helenns, per- suades Paris to return to the battle-field, and takes a tender leave of his wife Andromache and his son Astyanax. 1 — 00. οίώθη : SuhotiaHt, ίμονώΟη rr/S τών Qtav συμμαχία^• — f'vffo «αϊ ίνθ' Ιθυσι μάχη =: " the tight directed itself to this side and to that." * ΤΗΒ ILIAD, β. l/i X,9\Hiipta βοΰρα r=i " ipear-8h»ftH fitted with bronae" — χΛ\κοβάρ*ΐ in the Odymoy.—Edveoio : so culled by the god* ; called Soamauder by men : see II. xx. 73, wpuToj (irii* = •' wae the first to break thruugh " = primue juec rupit, Lat. or/- faut ... ί&ηκίν = "gave the light of (joy or hope) : " bo Virgil, lux Dardaniio," and Horace, "Luctm roddo tu», dux bone, patriw ; " » common metaphor in all poetry. Tif . . . . ίβαλ• .... φά\οι>, not = " he etiiick that helmet-plate," but Β " he struck or hit that man on hia helmet-plate ; " the accu- sative of nearer definition : this is seen more clearly in the phrase (ver. 11), rbv Si σκότοα ίσσ* κάλν^^ν, φίλοι S' ^μ Μρύηοισι = ««ho was the friend of mankind:" notice the extension of the term, employed by Homer. wdvrai yhp ). (χ( τρόμοχ: see on Iliad iii. 342. βίΐνόμίναι βονιτλη-γι. Compare Shamgar, the Judge of Israel, who •lew six hundred men with an ox-goad ; see Judges iii. 31. ifol (ifia ζώοντ(5. Horace, "Deos securum agere aevum," and Milton. Ftu-adise Lost, ii. 553, " To that new world of light and bliss, among The gods, who live at ease." ot Ιφούρηί κΰψπ}>ν ίΒουσιν = " fruges consumere nati," Horace. 6\4θρου ηύραβ'. Compare " Mors ultima linea rerum." Horace, with whom this book of Homer was evidently a favourite, has drawn more upon it than upon any-other.— ο?η Ttfp φΐ/λλαν T-eye^. Compare Horace (Are Poetica), " Ut aylvsB foliis pronos mutantur in annos. Prima cadunt; ita verborun vetus interit setae, Et juvenum ritu florent modo nata vigentque." Compare also Aristoph. Aves, 685, and Ecclesiasticus (xiv. 18), 'Άβ of the gretu leaves on a thick tree, some fall, and some grow: »c THE ILIAD. 6. 17 is the gece ration of flesh and blood, one cometh to an end and another ia born." τά μkf . . . . άλλα δί = Attic form τα μ^ν . . . . τά S4. 150—200. Έφύρη : here, the old name of Corinth. In Iliad ii. 6.'9 is another Ephyra, • KfpiiffTos = " most cunning : " so Horace, " Vafer ille Sisyphua." Σ/σίΛ^οί ΑίοΜδηί : properly, "the cunning wriggler" (σόφο! and alo\os). BtKKepo rofti rtwTipoi/i .... ΐΓίφασβαί μ'ή αΙσχύνΜ rcks ■προσηκούσαχ iperds, aud Virgil, iEn. iii. 342, -r » " .... in antiquam virtutem animosque viriles Et pater .^neaa, et avunculus excitat Hector." Olvfhs yhp κ.τ.λ. CEneus, father of Tydeus, father of Diomed. Me- leager (II. ii. 642) was successor to his father CEneus in ifctolia; his brother TydeueniarriedadaughterofAdraatus,kingofArgos(andSicyon, II. ii. 572), son of Talaus (II. ii. 666). Hence Diomed succeeded to the principality of Argos, though his father was an JEtolian, Iliad iv. 399. Τυδί'α δ' ου μίμνημαι. Verbs of " remembering " generally govern the genitive case; but in the sense of "commemorating," "keeping iu mind," they govern the accusative. X€ipas . . . Χαβίτην, not = " they seized by the hand," but " they caught hold of, or held each other's hands : " the former sense would require a genitive case. ■K ίστώσαντο (middle) = " pledged their troths to each other." φ-ηη/όν = " the oak ; " not the Ltitm fagus, our " beech." efov = (Ofov, " they were running ; " but θΐόν = " god." αίθούσρσι = " corridora," open in front, which led from the court, ουλή. into the ιτρό^ρομο$, fronting the sun ; henco their name. μνηστ^! αΚάχοισι, " the won and wedded partners of their bed." Tfyfoi θάΚαμοι = " chambers near the roof," not " roofed." iv r &pa ol φϋ, κ.τ.λ., " and straightway she clung to his hands, and she thought the word and gave it utterance." In the lines following this, as before, there is no name mentioned, and therefore nothing to warrant the usual translation of ονόμαζα. On other occasions, when this affectionate formula is used, it begins with χιφΐ δί μιν κατ4ρφ : iu both cases we have the union of the hands, the heart, and the tongue in this expression of fondness. aXKf ιτίρσθα="α haply thou wouldst drink it" (and would that thou mayest) : see on II. i. 66. iwSpl Si κίκμνωτι. Hence Horace says, "Laudibus arguitur vioi vinosua Homerus." Compare Burns on Scotch drinJ^ " Thou clears the head o' doited Lear; Thou cheers the heart o' drooping Care ; Thou strings the nerves of Labour sair, At's weary toil; Thou even brightens dark despair Wi* gloomy smile." Χ«ρσ1 8" iplnroifft : see Exodus xxx. 20. cvSt wjj 4στΙ. Compare Virgil, ^n. ii. 719, " Me hello e tanto digressum et caede recenti Attrectare nefas, donee me fiumiue vivo Abluero." Purification after touching the dead body was enjoined by the Μοβύβ law : see Numb. xix. 11 — 13. άλλα ίτί» , , , ίρχ(ο, " but go, I pray thee go ; " see on II. i. 82. &s Kf, i.e. «i toCto Suvarhy rfrj =" would that it were possible." fi Ktivoy yt ϊδοίμι, κ.τ.λ. =" ay, if I could see that one (yonder» ΤΗΚ ILIAD, θ. 19 I rott }, aud I. Me- Ei; his icyon, bo the 399. •n the Dg iu 'they vould ourt, I, and I wing ig to when e: iu ngue that ▼iai osue cff Menelaus. So with the Jews. if t' &pa oi φΰ : see on Iliad vi. 253. ούδ' iAealpfis = " and thou pitiest not." oi94 is here absolute. (μ' άμμορον = " roe, even me, all desolate," without a share or a lot in anything (observe the emphatic form of the pronoun). It is difficult to realise all the pathos tlmt a Greek would have felt in this single epithet. Moore baa well expressed it in those touching lines, " Oh, grief, beyond all other griefs, when fate First leaves the young heart lone and desolate In the wide world, without that only tie For which it loved to live, or feared to die." Serai f'iKvupii : compare Burns (First Epistle to Davie),-» ** It warms me, it charms me, To mention but her name : It heats me, it beets me, And set's me a' on flame." Also compare ■ίγϋ1ι this touching address of Andromache, the appeal made by Tecmesta to Ajax, in Sophocles. βουσΗ- ?7Γ* ei\tr.^f(rai = " with a view to the trailing-footed oxen."— arap σύ : observb thiit here ατάρ stands first in the sentence, as it refe.s e-iiphaticallv to what went before. She bad lost all that had been aeartjst and dearest toher, — father, mother, brothera, and city, — but, voiwithitanding all this, she sees in her Hector all, — nay more than all rhe had lost. Hector answers this assurance of the tenderest devotion in a strain worthy of both, when, in his prophetic soul, he waighs the downfall of Troy, and the butchery of his family, as affecting him bui little compared with the prospect of his wife's wrongs and degradation in bondage. μ)) θΐίη$ ="be not after making," i.e. " make not now." Tap' ipivfoy = "near the wild fig-tree." Choiseul-Qouflaer reports that near Bounai-bachi, a village supposed to be built on the site of ancient Troy, there is a place called Indjuli-dag, i.e., the mountain of the fig• trtes. See, however. Dint. Qeog. (Dr. W, Smith's.) 4•ζΙίρομον ίιτΛίτο = " ia wont to be assailable." rph yapr^ y' (see on Iliad i. 60), "ay, for thrice in that spot" ίλκίσιπίπΚουί : ladies of high rank wore the peplos trailing on the ground : the dreaa when worn so long as to drag was called σύρμα {" a eweeper"). ίσσίτοί ΙΙμαρ : see on Iliad ii. 482. 450—500. oth' αντηί Έκάβη5: see on II. i. 143. 0Ϊ Kfv . . . ■κίσοκν = qui forte occubitwi sint, SoKpuataaav AyriTat = " he&ra thee (to his home) all tears:" observe the force of the middle. THE ILIAD, β. 21 Ιλΐύθίρον ίμαρ = "*Ηβ day of freedom:" ίούΚιον ΙΙμαρ = ** tht day of bondage : " see on II. ii. 482. iv 'tipytt, " the Pelaegian Argos in Thessaly," as the springs " Messeis " and " Hyperia" are in Ί hessaly. ■wphi i\\7is = " at the bidding of another." — Θα\ΐρ6$ (irapoutolrns) = •' Ml of life and bloom," Moore. vSoip at)anie ^bere^e," Notes by Prof. F. BccHER, Harvard College. 70 Cents. Xabicbe— la 6raniniaire, Notes by SciiELE de Vere, Ph.D., LL.D. 30 Cents. Be fivae' 3πίlΌ^uctor^ Ifrencb 1Rea^er, 50 Cents. THE COPP, CLARK CO., LTD., TORONTO. •'? ENGLISH. "■)' ec, e, »» er, ), CLARENDON PBESS EDITION. Notes by W. A. Wright, M.A., LL.D., Tiin. Coll., Cambridge. 40 Cents. Scott's 3vanboc, BLACKS EDITION. With Author's Notes. 15 Cents. ^ ni>acaula\>'0 Marrcn Ibastinos, With Introduction, Chronological Tables, Critical and Explanatory Notes, &c. , —TOGETHER WITH — Notes on Composition and Analysis of Scott's Ivanhoe, By G. Merger Adam — AND — George Dickson, M.A., Princiiial υμρβΓ Canada Coll. 40 Cents. (Tbauccr'i? iproiooue, . CLARENDON PRESS, Edited by Rev. R. Morris, LL.D. With -additional Notes by Rev. W. W. Skeat, Litt. D. Special Canadian Edition, 60 Cents. literature, 18OO«*01, SEltxEGTIONS FROM ΙλΟΝΟΡΕΙλΙλΟΜ. With Life of Longfellow, Notes, &c., by H. L Strang, B.A., and \ J. Moore, B.A. 75 Cents. THE COPP, CLARK CO., LTD., TORONTO. practical jeycrcisc^ in Composition, V,y H. I. Strang, B.A. 25 Cents. MATHEMATICS, leicincntar^ ZTiioononictiw Bv J. 15. Lock, M.A., Fellow of Gonville and Caius College,. Cambiidge. Special Oanadia Edition, - - - - $1.00. ♦ Booh*hccpiiio Blanhs, Complete,— Containing Day fiook, Journal, Ledger, Six Cokmm Journal, Cash and Bill Book. (For use with McLean's High School Book-keeping.) 25 Cents. Bis'Xingual ΊRca^cr£5, First Re.\der— Part I . . . lo Cents. '' " P.vrt II 15 » ' Second Book, 25 " Third " 35 « Les Gr.'^nd Inventions ςο " Authorized by Education Department of Ontario. Cbristiau Catccbism, By Philip Sch.^ff, D.D., New York, slightly abridged (by per> mission of the Author) from the edition published by the American S.»S. Union. Per 100 $3.00. THE COPP, CLARK CO., LTD., TORONTO. The Copp, Clark Company, Ltd. School and College Bookt. APPLIED PSYCHOLOGY. By J. McLkllan, M.A., LL.D. .•. Price • $1.00• BOTANICAL NOTE BOOIv. For the use of Students of Practical Botany. With a large number of lUu'stratione. By F. W. Merchant, M.A. New and Enlarged Edition. . •. Price, • • fiOo. CHEMICAL NOTE BOOK. FOR CLASS USE WITH KNIGHT'S H. S. CHEMISTRY, . . Price 20c Containing spaces for obsetvations, conclusions, answer• to Problems, points worth remarking, etc. DEMOSTHENES PHILIPPICS, Ι.-Π. With Notes by Samuel Woods, M.A. 75c. HARKNESS' INTRODUCTORY LATIN BOOK. Authorized by Education Department. Uniform in style with the Standard Latin Grammar. Price 50a. HARKNESS' FIRST GREEK BOOK. Authorized by Education Department. Uniform in style with the Standard Latin Grammar. Price 90a HARKNESS' STANDARD LATIN GRAMxMAR. FOR SCHOOLS AND COLLEGES. Authorized by Education Department. Price $1.00^ The Copp, Clark Company, Ltd. School and College Book•. ί HENDEUSON'S CLASSICS. The following Claeeics with Notes, Vocabulary, etc. By John Hkndekson, M.A. CAESAR'S BELLUM OALLICUM. (B. I.) , With Life of Caeear— Notes and Vocabulary. Price . . . 50o. CAESAR'S BELLUM BRITTANICUM. With Life of Caeaar— Notes and Vocabulary. Price , , . fiOo, CICERO IX CATltlNAM. (B. I.) With Life of Cicero — Notes and Vocabulary. Price, . , , 50c. CICERO IN CATILINAM. (B. II.) With Life of Cicero — Notes and Vocabulary. Price, , , . δΟα. VERGIL'S AENEID (B. I.) With Life of A'ergil— Notes and Vocabular/. Price, . . , 50ο. VERGIL'S AENEID (B. V.) With Life of Vergil— Noti a and Vocabulary. Price, . . . 60ο. CAESAR'S BELLUM GALLICUM. (B. I. and II.) W^ith Life of Caesar— Maps, Notes and Vocabulary, etc Price, . . . 76ο. (also in separate volumes, each 50c.) Tb• Cepp, Clark Company, Ltd. School and Colleg• Book•. 50o. 50o, 50c 80ο. 5θΛ βΟβ. HIGH SCHOOL GERMAN GRAMMAR. By W. U. VanderSmiBsen, M.A., and W. H. Fraaer, B.A. Aathorized by Education Department. Price 75e. HIGH SCHOOL GERMAN READER. By \V. H. VamukrShisskk, M.A. Authorized by Education Department. Price 7Be. HIGH SCHOOL CHEMISTRY. By A. P. Knight, M.A., M.D. Authorized by Education Department. Price • . - . 75e. HIGH SCHOOL BOOK-KEEPING AND PRfiCIS WRITING. By H. S. M\cLE.iK. Authorized by Education Department. Price 650. HIGH SCHOOL WORD BOOK. A Comb; led Orthoepist, Verbalist aud Dictionary of Synonyms. By J. W. Connor, B.A., and G. Mercer Adam. Author zed by Education Department. Price • • • . . 60c \