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Clarenbon ress Scries
ARISTOPHANES
THE FROGS
WITH INTRODUCTION AND NOTES
BY
W. W. MERRY, D.D.
Rector of Lincoln Collegt, Oxford
FIFTH EDITION
PART I. INTRODUCTION AND TEXT
AT THE CLARENDON PRESS
1901
HENRY FROWDE, M.A.
PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH, AND NEW YORK
PREFACE.
IN preparing this edition of the ' Frogs,' I have made con-
stant use of the commentaries of Kock and Fritzsche. Mr.
J. S. Reid, Fellow of Caius College, Cambridge, has been kind
enough to look through the proof-sheets, and to add some
valuable suggestions.
W. W. M
OXFORD, February, 1884.
2038810
INTRODUCTION.
I. i.
IN the month of September B.C. 406, the Athenian fleet de-
feated Callicratidas in the battle of Arginusae; the greatest
naval engagement in the entire course of the Peloponnesian war.
In the following month the generals who had taken part in the
battle were prosecuted for their neglect to save the sailors on
the floating wrecks, and to pick up the dead bodies. Six of
them were arrested and executed. In August 405 the Athe-
nians sustained a crushing defeat at Aegospotami from the
Spartan admiral Lysander. The representation of the 'Frogs'
falls just between the victory and the defeat : for it was pro-
duced at the Lenaea, in the month of January 405.
2. It belongs to a gloomy period of Athenian history.
There was at Athens a profound sense of national exhaustion,
which had been steadily growing ever since the catastrophe
that ended the Sicilian Expedition. Men were weary of what
seemed to be an endless struggle, and were uneasy and anxious
as to the future chances of the war. The excitement and
delight, that ensued after the battle of Arginusae, had been
succeeded by the outburst of public indignation that demanded
the execution of the generals. And now a painful reaction set
in, and deep regret was felt for the hasty punishment that had
been inflicted. There was, indeed, enough in the political state
of affairs to make men gloomy and fill them with misgivings.
There was no rallying point in the city: 'no leader who could
combine or reconcile opposing parties, or inspire confidence by
his honesty or his genius. There was a general mistrust of the
oligarchical party, whose hopes lay in the weakness of the
constitution, and whose treachery was only too well understood.
There was an honest contempt felt for such demagogues as
Archedemus, Cleophon, and Cleigenes, men of little culture and
foreign origin, who, whether intentionally or not, really played
into the hands of the oligarchs. It seemed as if there was
6 INTRODUCTION.
nothing left to be proud of. The death of Sophocles occurred
in the year of the battle of Arginusae : and shortly before his
decease, news came that Euripides had died at the court of the
Macedonian Archelaus, whither he had withdrawn from an un-
congenial Athens. Every link with the past was slipping away.
3. The political and literary condition of Athens finds
natural expression in the play of the ' Frogs.' It is not a
daring manifesto, like the ' Knights : ' such independent
speaking was no longer possible. The national wounds were
too deep and too sensitive to be so rudely probed. But the
desolate condition of the stage, after the loss of the great
masters of tragedy, was a safe, as well as an interesting, subject.
It was a happy stroke of genius to represent the national god
Dionysus, the true type of the Athenian populace, as under-
taking a visit to the lower world to bring back the best of the
poets to the light of day.
But the play has its political side, as well as its literary aim.
Wise counsels are ever and anon suggested. The people are
warned against the empty-headed, arrogant, demagogues, who
will not hear of peace being made ; and against the traitorous
oligarchs, whose sole policy is one of selfishness. The poet
proposes a sort of general amnesty : a return to mutual
confidence, a generous, forgiving spirit, not 'extreme to mark
what is done amiss.' The only hope of Athens lies in the
employment of those good and worthy citizens, who are now,
as it were, out in the cold : and the one hero of them all, round
whom the scattered forces of the city may yet rally, is a man
whom they half love, half hate, yet with whose services they
cannot dispense the exile Alcibiades. We may indeed say
that the whole structure of the play is not without its political
and social purpose. The celebration of the Eleusinian Mys-
teries in the world below is an effective reminder to the
audience of the debt of gratitude they owe to Alcibiades for his
energetic policy, which restored to them the use of that great
national festival, that had long been in abeyance during the
Decelean war. And the bitter attack upon Euripides, as a
poet, is not so much a slashing, literary review, as a wholesale
protest against the modern spirit and growing scepticism of the
age, of which Euripides is selected as the incarnation and
INTRODUCTION. 7
type ; just as Socrates was taken as the representative of the
sophists, in the play of the ' Clouds.'
II.
I. The play of the ' Frogs ' falls into two broad divisions :
the journey of Dionysus and Xanthias to the lower world ; and
the poetical contest between Aeschylus and Euripides. These
two divisions are brought into mutual relation by the purpose of
Dionysus' journey ; which is to carry back to the upper world
Euripides, for whose poetry he has conceived an intense
passion. But after the poetical contest, he changes his mind,
and decides on bringing back Aeschylus instead. The character
of Dionysus (who must be in no way confounded with the
lacchus of the Mysteries) was something more than a mere
stage-device, suited to the festival of the Dionysia. Aris-
tophanes intends him to be the type of the general Athenian
public : so that the exhibition of his weaknesses and follies, his
conceit and credulity, his unreasoning partiality for Euripides
(till he changed his mind), is intended as a good-natured
rebuke to the political spirit and literary taste of the thoughtless
citizens of Athens. Even the character of Xanthias, a mixture
of shrewdness, arrogance, and disloyalty, is intended to be
a hit at the false relation between servants and masters,
brought about by that foolish indulgence towards slaves, which
had grown up during the Peloponnesian war. (See on Nub.
6, 7 aTroXoto 8i)T, 2> 7ro\f/xe, iro\\S>v ovvfKa, | or ovde KoAao-' efori
poi roiis olKtras).
2. The following is a brief sketch of the action of the
play :
Prologos (11. 1-323). Dionysus, grotesquely dressed in a
mixed costume, half-Heracles, half-woman, and accompanied
by his slave Xanthias, who rides an ass, but still carries a
porter's-yoke and burden on his shoulders, pays a call at the
house of Heracles to announce his intention of going down to
Hades and fetching Euripides back ; and to enquire the bes"t
means of accomplishing his journey with the greatest amount
of comfort. Then the scene changes to the banks of a lake,
and Charon appears in his boat, plying for hire. Dionysus gets
on board, and Xanthias is bidden to run round the lake and
8 INTRODUCTION.
meet his master at the Withering Stone. The boat on its
passage is accompanied by a crowd of noisy Frogs 1 , who drive
Dionysus almost to distraction by their incessant croaking and
chattering.
Arrived at the other side, Dionysus and Xanthias pursue their
journey, during which Dionysus is almost frightened to death
by the gloomy scenery and the supposed presence of goblins,
which Xanthias does his best to make the most of.
At last the distant music of pipes is heard, and the sacred
procession of the Eleusinian mysteries advances. Everyone in
the theatre must have felt (as Aristophanes intended that they
should feel) a sudden sense of gratitude to Alcibiades, who,
after his first return to Athens, had opened the Sacred Way
once more, and enabled the national rite to be again celebrated
with its wonted splendour, for the first time since the occupation
of Decelea by a Spartan garrison (cp. 1. 376 d<r<|>aAus iravrmepov
rralarai re Kal xoptvcrai).
Parados (11. 324 foil.). The Chorus, on entering the orchestra,
invites the presence of lacchus in a strophe (11. 324-336) and
antistrophe (11. 340-353). Then follows an anapaestic passage,
intended to be an imitation of the proclamation (npopprjo-is) of
the Hierophant (11. 354-371)5 calling on the unhallowed and
unworthy to withdraw. Three choric songs succeed : the first
(11. 372-413) is an invocation of Persephone, Demeter, and
lacchus : the second (11. 416-430) is a reproduction of the rude
raillery that accompanied the procession (yfcpvpio-pos) : the third
(11. 448-459) represents the female part of the troop withdrawing
to keep their vigil (iravwxis), while the men remain behind to be
present at the contest between the poets.
Epeisodion i (11. 460-674). Here begin the varying adventures
of Dionysus. He knocks at Pluto's door, which is answered by
Aeacus, who, taking him in his costume for Heracles, charges
1 The ' Frogs' do not form the Chorus, which consists of a band of
the initiated, worshippers of Demeter (Mvarai). Probably the Frogs
do not appear at all : only their croaking and singing is heard ' behind
the scenes.' Cp. Schol. Venet. ravra /mXeircu nupaxopTr]yf||Aa,Ta, fireiSr)
ovx opSivrai tv ru Qedrpy oi. Parpa\oi, ovSt 6 XP S > ^' fffcadtv mpovv-
rai rovs 0aTpa\ovs. 6 Se d\i]6Sis xP s * K r <*> v (vot@uv vtKpGiv avvi-
INTRODUCTION. 9
him with the abduction of Cerberus, and goes back into the
house to summon his avenging spirits. Dionysus, in an agony
of terror, hastily changes dresses with Xanthias. Hardly is the
change made when the maid-servant of Persephone appears at
the door and bids Xanthias (who now was posing as Heracles)
to a banquet. He resists the temptation, till he hears that
some dancing-girls are within the house. But just as he is
going in, Dionysus (forgetting his former fear in the delightful
prospect) insists on taking back his original dress once more,
and assuming the part of the gentleman. At the unlucky
moment two landladies (iravSoKfvrpiai) pounce upon the would-
be Heracles, and charge him with having, on a former occasion,
eaten up all the victuals in their house, and paid for none ; and
they threaten to refer the wrong to their patrons (Trpoorarai)
Cleon and Hyperbolus. (For Athenian persons and usages are
reproduced in the lower world.) Dionysus is plunged again
into abject fear, and induces Xanthias to assume the gentleman
again, and give him the part of the slave.
Re-enter Aeacus, accompanied by Thracian or Scythian
slaves (copies of the Athenian police, Toorai), to arrest the
supposed Heracles (now, Xanthias). He denies all knowledge
of the theft of Cerberus, and avails himself of the Athenian
process, called TrpoAcX^o-t? fls ftauavov, unreservedly offering his
slave (now, Dionysus) to be examined under torture. Dionysus
forgets his arrangement with Xanthias, and, to save himself,
announces that he really is Dionysus. To test the godship of
the two worthies, it is agreed that each shall have a beating,
blow for blow, the first who acknowledges that he is hurt shall
lose his claim to divinity. Both of them ingeniously explain
away their cries of pain ; and Aeacus, fairly non-plussed, retires
to take counsel with Persephone and Pluto.
This pause is taken advantage of to introduce the Parabasis
(11. 675-737) ; consisting of Ode (11. 675-685) ; Epirrhema
(11. 686-705) ; Antode (11. 706-716) ; and Antepirrhema (11. 717-
737). The main subjects touched on are the worthlessness of
the demagogues Cleophon and Cleigenes ; and the necessity
of forgetting old grudges, and doing justice to worthy citi-
zens.
Epeisodion 2 (11. 738-813). This forms the .transition to the
10 INTRODUCTION.
second part of the play. Aeacus reappears on the stage with
Xanthias, and tells him how Euripides has come down among
them, and claimed the tragic throne for himself : how Sophocles
has modestly surrendered his claim in favour of Aeschylus ;
how Aeschylus and Euripides are going to fight out the question
of precedence, and how great the difficulty is of securing a
proper decision because Euripides has on his side all the
worthless characters (Sirtp ear tv "AiSou n\^6os 1. 774) ; while
Aeschylus is only appreciated by the small minority of virtuous
and cultivated men. (6\iyov TO xp T J a " r 1 ' eariv &<rir(p fv6d8e,
as Aeacus says, with a sly glance at the audience, 1. 783). Who
then shall be umpire ? Naturally Dionysus, the patron of the
tragic stage.
A short song of the Chorus (11. 814-829) gives briefly the
main characteristics of the two combatants.
Epeisodion 3 (1L 830-904). Preparations are made for the
contest ; the presence of the Muses is invoked, and supplication
made by each combatant to the particular deities whom he
worships. Then follows a short song of the Chorus (11. 895-
904, corresponding to inf. 11. 992-1003) expressing their appre-
ciation of the seriousness of the contest.
Epeisodion 4 (1L 905-991). Euripides details the advances
he has made in the tragic art ; the skilful treatment he has
applied to it, having received it in a plethoric condition at
the hands of Aeschylus ; and the democratic spirit he has
infused into it, bringing it down to the level of every-day
life.
Epeisodion 5 (11. 1004-1098). Aeschylus contrasts the lofty
ideal, and high moral lessons of his poetry, with the sentiment-
ality and immorality taught by Euripides.
Choricon (11. 1099-1118). The Chorus encourages the rival
poets to carry on their contest into the very details of their art.
Epeisodion 6 (11. 1119-1250). Criticism of the respective
Prologues.
Epeisodion 7 (11. 1261-1369). Criticism of the choric parts
of their tragedies.
Epeisodion 8 (11. 1378-1499 ; introduced by a short Choricon
1 37-1377)- A pair of scales is brought upon the stage : and
Aeschylus and Euripides weigh the worth of their respective
INTR OD UC TION. 1 1
poetry, by reciting one verse, alternately, into each scale-pan.
The pan of Euripides always kicks the beam. Dionysus then
puts the two poets through an examination as to their political
views, and the counsel they think most wholesome for the
present crisis.
The result of the examination is that Aeschylus is successful :
and Dionysus determines to leave Euripides behind, and to
carry back Aeschylus with him a decision in which the Chorus
(11. 1482-1499) heartily concurs.
Exodos (11. 1500-1533). Pluto speeds Dionysus and his
companion on their way with blessings, and bids the Chorus
to dismiss them with a parting hymn, full of all good wishes.
The details of the second portion of the play will be found
given more at length in the next section.
III.
I. The second part of the play consists of a poetical contest
between the rival poets Aeschylus and Euripides, with Dionysus
for judge. Of course, the intention of Aristophanes is to put
Euripides in an unfavourable light, and to represent him as the
evil genius of the Athenian stage ; while Aeschylus is set up as
the high ideal of Tragedy. But while Aristophanes desires to
wean the public from their partiality for Euripides ; and to
make them feel the superior grandeur and higher moral purpose
of Aeschylus, we may think that his sword cuts both ways,
and that he is not unwilling to prick some weak points in the
Aeschylean armour. It is not fair to suppose that all the
criticisms of Aeschylus on Euripides are meant to be true ; and
all those of Euripides on Aeschylus, false ; even though Aris-
tophanes protests against the poetry of Euripides on principle.
2. The main points that are brought out by this inter-
change of hostilities may shortly be summed up as follows :
Aeschylus is a true and original genius ((ppevoreKrav 820;
avroKOfios Xocpid 822) ; but not a popular poet (ot/'re yap ' Adrjvalota-i
(rvvej3aiv Aio^Ao? 808). The characteristic of his diction is
loftiness (irvpydxras pij/xara (rt^va 1004) ; but there is something
repellent about him (ravprjbov 804 ; dnoo-fnvvvflTai 832) ; and the
loftiness of his language becomes exaggerated (fTeparevtro 834 ;
838), its forcefulness degenerates into
12, INTRODUCTION.
violence (ai&zfioaro/zor, ddvpvrov OTo/ia 837 j
825 ; dypionoios 837), and its grandeur into bombast and far-
fetched expressions (nopftopanrd prjuara, ayvuxrra rais 6ea>fjievois
925, 6), and even into Oriental phraseology (ypuTrui'eroi, iirna-
\eKTopfs, as seen on TrapaTreTaer/iaTa MijbiKa 938). His dramas
are solemn and statuesque, so that sometimes they are cold
and lacking in action ; the characters remaining silent and
motionless (n-poa-xrjp.a rfjs rpaymSias 913), while the main work
of the play devolves on the Chorus. The language of Aeschylus
is grand, because his characters are grand : they transcend
human stature and human circumstance ; and the expressions
they use are on a corresponding scale (dvdyKrj | ^eydXwj/ yvcop.S)v
Kai diavoiav l<ra Kal rd pfj^ara TLKTUV, etc. 1058 foil.). The danger
in keeping the characters uniformly above a human level is
that they may be found wanting in human interest (ov xpn
<ppdeiv dvdpa>ireia>s 1068).
3. The poetry of Euripides, by contrast, is smooth and
fluent (yKSxrcra. \ia-nr) 826), elegant, elaborate (doTtoi> /cat Karep-
pivquevov 900), and subtle (d\iv8r]dpas f-ntav). The stage with
him is not an* ideal world of superhuman personages ; but an
every-day world, peopled with every-day folk. Beggars in rags
are there (Trra^oTrote 846, paKioarppairTdbr) ib.), and kings in rags,
for matter of that (iv* (\fivoi fyaivoivr eivai) ; and lame men
(xwAoTi-oioK 846) and slaves, and every class of the community ;
all speaking freely, with true Athenian Trappr/aria (950 foil.).
Indeed one might venture to put into the mouth of Euripides
the boast of Juvenal, only slightly parodied :
' Quidquid agunt homines, votum, timor, ira, voluptas,
Gaudia, discursus, nostri farrago theatri.'
The ideal, the statuesque, the conventional, are boldly changed
to the real, the human, the sentimental, and (we might almost
say) the sensational. The sympathy of the audience is sought
or secured by emphasising that delicate balance between right
and wrong, true and false, that represents the actual com-
plication of life. Telling situations, lights and shades of
character, and every play of human interest, make it evident
that with Euripides we are leaving the grand gallery of Greek
sculpture to sit as audience of the Romantic drama. Aeschylus
exhibits the mythic past of Hellenic legend : he is the hiero-
INTRODUCTION. 13
phant of the old national Gods. Euripides colours the legends
of the past with the tints of the present : and for him, without
doubt, ' Great Pan is dead :' he acknowledges to t'Siof rives Qeoi,
Konna KO.IVOV (890).
4. Both Aeschylus and Euripides agree that the duty of
the poet is to make men better (/SeXri'ous noie'iv TOVS dvdpanrovs tv
rats noXta-iv loog). They might dispute upon the meaning of
'better.' Aeschylus boasts that he made his hearers honest
and vigorous and warlike (yevvaiovs KOI Tfrpanr]x eis Trveovras
86pv 1014), by representing such plays as his 'Seven against
Thebes,' or his ' Persians.' Euripides claims to have made
them clever (i/oeli>, opav, Tfxvd&iv 957) and prudent (oiKias oiKeiv
apeivov t) irpb TOV 976). But Aeschylus charges his rival with
teaching them to prate (XaXi'a, (rraytuXt'a 1065), and making them
insubordinate, like the mutinous crew of the Paralus (1071 foil.) ;
accusing him further of lowering the tone of the citizens by
familiarising them with immoralities, indelicacies, and low
company, generally (1080 foil.).
5. The two rivals then proceed to details ; and sharply
criticise the construction, language, metre, and music of each
other's compositions. The first attack is on the question of the
Prologues to the play. This word must be interpreted not in
the modern sense, but according to Aristotle's definition (Poet.
12), fcrri 8e TTpoXoyos fifv (tepos o\ov Tpayaftias TO irpb ^opoO
irapodov. Aeschylus is accused of being ao-a(pr)S tv rfj (ppda-tt, TO>V
npayndTw (ii22), which we may take to mean that he threw no
light upon the plot of the play, but left it to explain itself ; and
also that he used obscure expressions, susceptible of various
interpretations (rrarpw* (jronrfvav Kpdrr] 1126 foil.) and tauto-
logical words, with an implied difference (qua and Acarep^o/tat,
K\v(iv and nKovcrai, 1 1 57; II 74)-
Euripides boasts that his Prologist made everything clear to
the audience (dXX' ov^iatv Trpomora p-ev poi TO yevos flrr' &v
fvdvs \ TOV Spa^aTor 946). But Aeschylus attacks these Prologues
and ' spoils them with an oil flask.' As Euripides is made to
quote them, in this play, each Prologue begins with a proper-
name, followed by participial clause or clauses (ending at the
penthemimeral caesura) ; and then comes the finite verb, to
which the proper-name is the subject It is this half line that
14 INTRODUCTION.
lends itself with such fatal facility to the \rjKv6iov airu>\t(Ttv
(1203 foil.) ; which is intended to caricature the monotonous
form of the narrative ; and perhaps the trivial and homely
surroundings of the Euripidean drama, and the tendency to
resolved feet in the trimeter.
6. The lyrical portions of the dramas then come in for their
share of criticism. Euripides seeks to ridicule Aeschylus by
quoting a choric song, that is more or less a cento of Aeschylean
lines, neither construing nor making sense ; such sense as can
be made being further obscured by the introduction of a refrain
between the verses. A second point of attack is the irregularity
of the metre ; which Aeschylus is supposed to have borrowed
from Terpander and the Lesbian lyric school (1. 1264 foil.).
Then Aeschylus retorts upon Euripides with a corresponding
parody, intended to exhibit the following short-comings : (l) the
very slight connection of the song with the subject of the play :
(2) the ridiculous grouping of incongruous objects (8eA$ir,
/uai/Tfto, araSiovs 1319) : (3) musical innovations, like the 'shake'
illustrated by eteieieiXiW6Te (1314) : (4) the metrical in-
accuracy (as e.g. introducing an anapaestic base into a Glyconic
verse 1322).
7. And Aeschylus has yet one more weapon of attack
against Euripides, who had introduced into his plays KprjriKas
povcpSias, in which the actor sang a solo and accompanied
it with an illustrative dance, on the pattern of the Cretan
vTTopxluiara. Such a Monody Aeschylus professes to quote
(1. 1325 foil.) ; in which we may be sure that the following points
are assailed : (i) its general unintelligibility : (2) the in-
congruous grouping of persons and things : (3) the trivial
character of the whole scene : (4) the use of oxymoron
v^av a^vxov) : ($) the repetition of words (called
6s, as in 8aKpva ddxpva, e/3aXoi> ?/3aXoj) : (6) the general
muddle of metres.
8. So much for the mutual recrimination of the two rivals.
But it must not be thought that this balance of praise and
blame at all represents the view that Aristophanes takes of the
two poets. He is all for Aeschylus, and will none of Euripides ;
whom he hates not for being an unpopular poet, but for being
a popular one. There is the danger. And if he can but break
INTRODUCTION. 15
down this popularity, he will have deserved well of the
republic.
Aristophanes was the most unreasoning ' laudator temporis
acti.' Genius and poet as he was, he was the sworn foe to
intellectual progress. The old order changing and giving place
to the new was, in his eyes, not a natural process, but political
and social ruin. That a gifted man with such narrowness of
view should have been found in Athens, after the era of Pericles,
may seem surprising : but these reactionary spirits are always
to be found. So, seeing that Euripides had broken away from
the traditions of the past, and that Aeschylus was their faithful
representative, we can understand how, in the judgment of
Aristophanes, Aeschylus seemed to be the champion of the old
religion, pure morality, national institutions, and everything
that was genuinely Athenian : while Euripides was sophist,
sceptic, rationalist, atheist, libertine, and general corrupter of
the people. Indeed the hatred of Aristophanes for the poet
must have been very intense ; for while he knows when to
spare Cleon, and how to respect the memory of Lamachus, he
shows no mercy to Euripides ; but, as it were, persecutes him even
in the world below. Mommsen (Hist.Rom. bk. iii. c. 14) says that
'the criticism of Aristophanes probably hit the truth exactly,
both in a moral and a poetical point of view :' and he charges
Euripides with 'political and philosophical radicalism ;' calling
him 'the first and chief apostle of that new cosmopolitan
humanity, which first broke up the old Attic national life.'
'Greek tragedy,' he says, 'in the hands of Euripides stepped
beyond its proper sphere, and consequently broke down ; but
the success of the cosmopolitan poet was only promoted by this,
since at the same time, the nation also stepped beyond its
sphere, and broke down likewise.'
9. No doubt it is a very difficult matter to appraise justly
the merits and demerits of Euripides. It is a well-worn phrase
to speak of any historical character as marking a ' transition-
period.' But it is singularly true of Euripides. He stands be-
tween the ancient and modern drama ; and so is, to some
extent, at a double disadvantage. He has not altogether thrown
off the shackles of the old stage, nor has he stepped into the
freedom of the new.
1 6 INTRODUCTION.
The true answer to the question whether the judgment of
Aristophanes be just or not, is admirably put by Professor Jebb
(Encycl. Brit. s. v. Eur.) ; who remarks that his criticism is just, if
we grant his premises, viz. that Aeschylus and Sophocles are the
only right models for tragedy : but that he is unfair in ignoring
the changing conditions of public feeling and taste, and the
necessary changes in an art which could only live by continuing
to please large audiences. If Aristophanes was justified in his
bitter protest against the growing spirit of his time, he could
not have attacked a more complete representative of it than
Euripides : but there is the same sort of unfairness in the
method of his attack as there is in his assault upon Socrates as
the representative of the Sophists.
Aeschylus and Sophocles adhered faithfully to the old con-
ventional rules of Greek tragedy, in its close connection with
the national religion and national legendary history. They
presented broad types of human nature : the typical Achilles,
the typical Odysseus : the king, the old man, the sister, etc.
The utterances of the Chorus are also the illustration of broad
and general moral laws. The great innovation of Euripides
was the individualising of characters; surrendering the Ideal
for the Real. And this he did with some of the fetters of the
old drama about him still, in the limited choice of subjects ; the
relation of the Chorus to the Actors ; the use of masks prevent-
ing the possibility of facial play, etc. This last disadvantage
he had not the power to break away from ; but he altered the
condition of the Chorus, reducing their utterances to something
that was often little more than a lyrical interlude. His narrow
choice of subjects, with which the audience was familiar, he
more than compensated for by introducing effects, and situations,
and complications in the plot that kept curiosity in keen
suspense and so he paved the way to the Romantic drama.
We, who are able nowadays to look at the work of Euripides
from the purely artistic point of view, uninfluenced by his
political or religious position, must assuredly wonder at the
marvellous skill by which he achieved a triumph in the most
unpromising field of compromise. He had to put new wine
into old bottles : and the measure of success which he attained
is the highest testimony to his genius.
BATPAXOI.
TA TOY APAMATOZ IIPOZQIIA.
3AN6IA2. AIAKO2.
AIONY2O2. 9EPAIIAINA IIEP2E<I>ONH2.
HPAKAH2. IIANAOKEYTPIA.
NEKP02. HAA9ANH.
XAPQN. EYPIHIAH2.
nAPAXOPHPHMA BATPAXON. AI2XYAO2.
XOP02 MY2TON. HAOYTQN.
BATPAXOI.
HAN0IA2. AIONT2OS.
HA. EITTO) TI T&V eicofloYcoy, & 8eo-7rora,
e<' ols del yeAa>(riz; 01 0ecouj>oi;
AI. Z>T) TW At' o TI /SovAei ye, 77X7)1; Trie* 0/1* at,
TOUTO 8e <vAaai* Trdvu yap ear' r/Sr;
HA. ju.rj8' fTfpov doreioy TI ;
AI. 77X7^ y', w
HA. T 8ai ; TO TTO.W yeXoioy ei7r&) ;
AI. rr)
Oapp&v y' fKflvo JJLOVOV OTTCOS pi?] '
HA. TO ri;
AI. fjLTafta\\6iJ.fvos Tavdtyopov <m
HA. TI ST^T' I8ei /ae TavTa Ta
tiTrep TroiTjcra) /MTjSe
ela)0e TroieTv KOI AVKIS
ot o-fceuo^opouo-' eKacTTOT 5 ^y Kco/^wSta ; 15
AI. /ATJ vw TrotT^o-Tjs' <s eyo) de(afj.fvos,
OTOLV Tt TOVTtoV T&V (TO^)L(T^6.TU)V t6o),
HA. a> Tpia-KaKobaifJicav ap' o Tpax>jXos ov
OTI dXtfifTai, fj&v, TO 8e ye'Aotov OVK epel.
AI. etr' ovx vfipis ravr* fcrrl K.OL TroAArj
or eya juev &>y AioVixros, uios ^ra^vio
avrbs /3a8ifa) /cat Troyw, TOUTO^ 8' oxw,
foci JUT) TaAatTTcopoiTO jMTjS' ax^os </>epoi ;
EA, ov yap (/>e'pa) 'yw ;
B 2
20 BATPAXOI.
AI. ir<2s ^epeis yap, os y'
HA. tpeputv ye ravri. AI. riva rpo-nov ;
EA. /3ape'a>9
AI. ov/cow ro jSdpos roi50', o trv (pe'pets, ovos
HA. ov 877$' o y' ex&> V** Ka ' ^P^t M a TOV
AI. TTWS yap 0^peu, os y' avros v</>' trepou
4 ' <*)(><? ( \
SA. OVK oio o 5 co/xos ouTotrt Tri
AI. (TV 8* ouy C7rei8^ TOV ovov ov <^>r/s o-'
er TO) jbiepei crv TOV ovov apa^vos
HA. ot/xot KaKobaifjuav' ri yap eya> OUK
7} rav o-e KeoKueiv Sv efceAeuov /xaxpa.
AI. Kard/3a, iravovpye. KOI yap eyyus T^? dvpas 35
ira.
HPAKAH2.
HP. ris TT\V dvpav eTrdraei> ; a>s
ez>7]Aa0' ocms' etTre /xot, rourt ri r\v ;
AI. 6 irats. HA. ri forty ; AI. OVK eVetfv/XTj^s ; 40
HA. ro ri ;
AI. &s <r<f>6bpa fM I8eto*e. HA. vj] Aia, joo; /xaivoto ye.
HP. ou rot /ia TTJV A7//irjrpa bvvafjiai JAT; yeXaj;'
Kairot 8aKt'aj y' e/uauroV dAA' o/xcas yeAai.
AI. a> 8at/xovte, 7rpoo-eA0e' 8e'o/xat yap ri O-QU.
HP. oAX' ox olos r' et/i' aTro<roj3T)<rai TOV yeAcov, 45
opw^ Aeorrr/j; e?rt KpOKO>r<j> Kip.fvr)v.
ris o fous ; ri Kodopvos <cat ponaAov
Trot yfjs d?re8T;/Aeis ; AI. e7re/3dreuoi>
HP. Ka^avpidxT^ras ;
AI. /cat KaTfbv(rafj.4v ye j;ai5s
ro5v TroAe/xuDp 17 SwSe/c' T^ rpt(7Kai8eKa. go
HP. oxboii ; AI. jm rov
BATPAXOI. 21
HA. K<JT' eycoy'
AI. Kal STJT' eTU rrjs i>eoi>s ava.yt.yvtiXTK.ovri. pot
TT]V 'Avopopfbav irpos ffj-avrbv
Tr\v Kapbiav e7raYae TTWS otei oxo8pa ; 54
HP. TTodos ; TTOCTOS ris ; AI. p,i/cpos, ^Xi/cos MoXcoy.
HP. yu^atKOj ; AI. av brJT\ HP. oAAa
AI.
HP. aAA' avbpos ; AI. arraraT.
HP. vveytvov
AI. JUT) <rK&TTTe /x', S8eX^>'' ov yap
HP. TTOIOS TIS, S8eX</)i8toi' ; 60
AI. OVK fyto (frpacrai.
Spaas ye ^VTOI o-ot 81* alviy\iGtv epw.
^817 iror' cire^u/XTjo-as ^ai(f>vrjs ZTVOVS ;
HP. errous ; /3a/3cua, fj.vpia.Kis ev raJ /3^<p.
AI. ap' c8i8ao-Ka) TO (ra^es, 77 Vepa ^patrco /
HP. /U,T) 8^ra Trepi HTVOVS ye* Train; yap fj.avddv(a. 65
AI. Toiourocrl Toiwv fxe 8ap8(i7rTei
EuptTT^Sov. HP. al ravra rou
AI. KovSeis ye p.* av Treicreiey avQp&TK&v TO urj OVK
f\dflv frf (Kflvov. HP. Tro'repov eis "AiSou KOTO) ;
AI. KOI znj Ai" el ri y' eorw; eri Karwre'pft). 70
HP. TI j3ov\ofj.fvos ;
AI. 8eo/^ai TroiTjroi; 8eiou.
01 fxev yap OVKCT fl<rlv, ol 8' cures KaKot.
HP. Tt 8' ; ov/c 'lot^coi; TJ ;
AI. rovro yap rot cai fj.6vov
IT' eori Xonroy aya^or, ei Kal TOUT' apa*
ov yap cra<f> 018' ov8' OVTO TOU^' oircos exei. 75
HP. eiT 1 ov Soc^oKXea, TrpoVepoi; OI;T' Eupi7ri8ou,
auayety, eiTrep y' fKeWfv 8ei <r' ayeiv ;
22 BATPAXOI.
AI. ov, Trptv y av 'Io(pQvT\ airoXafitov avrbv fj.6vov<
So</>OKAe'ot>s o n Troiet KcoSomcro).
6 /Aey y Eupi7ri8?jy, vavovpyos cbz>, 80
6 8' evKoXos /^tev e^^aS', eu/coXos 8' e/cei.
HP. 'Aya0a)y 8e TTOU Vrtv ; AI. aTioKi-ndtv p a,TToi\Tai,
ayaObs TTOITJT^S KCU irodfivos rot? ^>tAots.
HP. TTOI y^s 6 T\.rniu>v ; AI. es ^amaputv tvutyjiav. 85
HP. 6 8e HefOKXeTjs; AI. ^oA.oiro J>T) Aia.
HP. nu^dyyeXos 8^ ;
HA. Trepi efiou 8' ovSets A.oyos
eiriTpi/Sojaeyou ror S/xoy ovraxrt cr<p6bpa.
HP. OUKOW ere' ear' ez>ra{50a
Troiouyra Tretr ? joivpta, 90
Eupi7ri8ou TrAetv r) araSia) AaAiorepa ;
AI. 7Tt</)uA.At8es raur' eart /cal
(ppovba darrov, r/v JJ.OVQV ^opov Aa/3rj,
Trpoa-ovp^cravTa rp rpayaiSia. 95
e TroiTjr^y &y ovx eupois en
^rjrwj; ay, oorts p^pia yevvaiov Aaxoi.
HP. irSs yovipov ;
A I. &)8t yovLfJiov, oo-Tis (p0fyeTai
Toiovrovl rt Trapa.KtKi.vbvvfViJ.zvov,
aldepa Aid? Sco/xarioi', ^ ^povov TroSa, 100
^ (ppeva fjifv OVK tdtXovcrav o^oaai KaO' iep&v,
yAcSrraz; 8' e7rtopK7jora(rav t8ia r?;? (ppevos,
HP. <re 8e raGr' dpeor/cei ; AI. judAAa TrAety 17 fj.atvop.ai.
HP. TJ //,T)Z; KO^SaAd y' fa-riv, a>s /ecu (rot SOKCI.
AI. /y,7) roy e/xoy ot/cet rouy* ex ets 7"P olniav. 105
HP. feat /XT)I> drexvais ye Tra/Lnrofjjpa <paivfrai>
AT. 8eiiri>e> pie SiSacrKe. HA. Trept e/xov 8' ov8ets Ao'yos.
BATPAXOI. 23
AI. dAV <3i>7rep eve/cot T7jy8e TT)I;
va /noi TOVS evavs
TOU? (Tous (frpacreias, ei beoLp.r]v, otcri (ru no
expco ro0', TjyiK 5 TjAfles eTTt TOP Kcpfiepov,
TOVTOVS <f)pacrov pot, Xi/xevay, dpro7ra)A.ta,
Tropvei, dyaTravAas, e/cTpoirdy, Kp?;yas, 68ovs,
iroA.61?, Siairas, Travbonevrpias, OTTOU
Kopeis oKiyuTToi. HA. -rrepi e/iou 8' ovSets Aoyos.
HP. oo crxeVAte, ToA/xr/o-&i? yap levat ; 1 16
AI. Kdl (TV ye
fir/Sey ITI Trpo? raur', dXXd <f)p& T&V ob&v
OTTCO? rd)(i(rr' d^t^o/ie^' eis "AiSou Kara)'
HP. $epe 87), rty' CLVT&V croi (/>pd<r&> -rrp&Trjv ; riva. ; 120
fua /xez> yap Icrriy aTro KoAo) Kat Opaviov,
Kpfj.acravri (ravrov. AI. iraue, irviyrjpav Aeyeis.
HP. dAA' eorty drpaTros ^vvrofj-os rerpijufieyrj,
^ Sid 6veias. AI. apa Kcoz/etoy A.eyeis ;
HP. jbtdAiord ye. 125
AI. \lrvx_pav ye *cai
cvdvs yap aTroTTTjyyucri rd
HP. /3ovAet ra^f tay Kat Karavrr] <rot
AI. in) ror At 5 , &>s OITOS ye p.?) j3a
HP. Kadtpnva-ov vvv fs Kepa/xetKoy. AI. etra r ;
HP. avafias em TOV irvpyov TOV v\j/r]Xbv AI. ri 8pa> ;
HP. d^te/xe'vTji; r^y Aa/A7rd8' evrevdtv 6f&, 131
TreiSaz; (p&cnv ol flew/xevot
i, TO^' elrai Kai <rv (ravrov.
AI. TTOI ; HP. KOTO).
AI. dAA.' cbroAecrai^' dy eyxe^dAov ^pico 8vo.
OVK av /SaSto-atfjii r^y 686y TO.VTTI]V. HP. TI 8at ;
AI. rjvirep <n> rore KaT^A^es. 136
24 BATPAXOI.
HP. dXX' 6 TT\OVS
fvOvs yap ITTI Afyxyriy /u,eyaXTjy 7j(eis TTCLVV
a/3ucr(roy. AI. etra Trwy 7repaift>$77<ro/xat ;
HP. ey irXotapto) rvyyovrwt <r' dyTjp yepcoy
vavrrjs Stdei 8v' d/3oXo) jii<T06y Xa^Swy. 140
AI.
HP.
juera raur' o^ets feat 0rjpt' o\^et
Setyorara.
/ ) t-v
AI. \ /XT; /x e/cTTATjrre /zrjSe
ov yap /*' aTrorpe^ets. 145
HP. elra ^3op/3opoy TroXuy
/cat ovcoSp detycoy ey 8e rovrw Ketjae'yous
et TTOU ^eyoy rts 7781x17 (re TTWTrore,
e'p' rjXqrjo-ey, T) irarpbs yvaOov
v, rj 'TT top/coy opxoy wjotoo-ey, 150
7^ Mopcrtjitoi; rt? pfjcriv e^eypa^aro.
AI. yrj rovs ^eovj fXPV v 7 e irpbs rourotcrt KeZ
rr^y nvppLyyv TIS <-p.a6e rrjv Kty?jcrtou.
HP. eyreufley avXcoy r^s ere -nrepteto-ty TryoTj,
Kat [j,vppi,v&vas, KOI ^tacrovs fvbaifj,ovas
avbp&v yuyatKcoy, /cat /cporoy x fL P
AI. ovrot 8e 87) rye? ettrty ; HP. ot
HA. y7/ roy At' eyco youy oyos aytoy
drap ov /ca0e'fa> ra{5ra roy TrXetco xpoyoy. 160
HP. ot (rot (ppd<rov(r a7raa7ray$' 5y ay 8e7/.
ovrot yap eyyvrara nap' avrr^y r^y 68ov
ewt rato-t row ITXovrajyos ououo-ty dvpais.
AI. y^ Ata /cat <ry ye
BATPAXOI. 25
vyiaivf. erv 8e ra orpw/xaT' au#is AajU./3ai>e. 165
HA. irpiv KCU KaTa0e(r6at ; AI. KCU ra^fats /aeWoi Trayu.
EA. /XT) Srjfl', tfceTevco o-', d\Xa juurflaxrai Tiva
T<3y K(j>epo[ji,fV(av, OCTTIS ITTI TOUT' epj(Tai.
AI. ear 8e /XT) \a> ; HA. TOT' I/A' ayeiv.
AI. xaXws \eyets.
Kat yap Ttv' eK<e'pou<n TOUTOi/t venpov. 17
OVTOS, (re Xeya) /XCVTOI, o-e TOV
at' eis "Ai8ou
NEKPOS.
oo-' aira ; AI. ravri.
NE. 8uo b
AI. jua At', d\\' eAaTTov. NE. inrayed ' v/neis TT)S 68ou.
AI. ava^cLvov, S baip.ovt', eav ^Vfj.j3& ri oroi. 175
NE. ei /AT) KaTa^r/crets 8vo operas, /XT) 8ia\ey u -
AI. Aa/3' !i;W 6(Bo\ovs. NE. ava^L^v wv
HA. <s (refjivbs 6 Karaparos' OVK oijuca^eToi ;
lyci) /3a8to{5/xat.
AI. xpria-rbs ft Kal yevvabas*
XAP&N.
HA. TOUTI T eort ;
AI. TOI;TO ; A.I/XVTJ I/T)
auTTj '(rrlv f}v (<ppa, Kal TrXotoy y 6p5.
HA. I;T) TOV IIo(ret8S, xa(TTt y' 6 Xtipooy OVTOCTI.
AI. X a 'P' ^ Xapa>y, X a V ^ Xapcoy, x a V ^ Xapcoy.
XA. TIS eZs dvaTravAas K KaK&v Kal Trpay/xaTcov ; 185
TIS eZs TO ATJ^TJS TreSioy, r; 's ovou iroKay,
T; 's Kcpfiepiovs, rj 's /copa/cas, T) 'TT* Taivapov ;
26 BATPAXOI.
AT. fy<a. XA.
AI. Ttol o-xycrfiv So/ceis ;
es KopaKas OVTMS ;
XA. you jitd Aia, crou y' oiweKa.
ffj.fia.ivf 877. AI. iraT, Seupo.
XA. 8oAoz> OVK ayco,
e2 /AT; vfvav[ji,axr)K rrjv TTfpl T&V xpewv.
HA. pta r6y Ai', ou yap aAA.' CTUX. OJ; ocf)9a\fj.Lwv.
XA. OVKOW TTfpi0pefi brJTa rr]v Xifj.vr]v KUKA.O) ;
SA. TTOU STJT' ava^vQ ;
XA. Trapa TOV AvaCvov Xl6ov,
7rl rais dyairauXais. AI. pavOavfis ; 195
HA. ir(izn; jj.avda.va>.
XA. Ka^l{" CTTl K^TTTjy. 1 Tiy CTl
OVTOS, rt Troteis ;
AI. o n TTOici ; TI 8' aAXo y' ^
i^co 'TTI K<aTir]v, olitfp eKeAeuo-ds /u,e cru ;
XA. oi/Kouy Ka^eSet Srjr' fvOabl, ydarpcov ; AI. i8ou.
XA. OVKOVV Trpo^SaXeT T&> x e V* e Kaxref eis ; AI. i8ov.
XA. ov JUT) <j)Xvaprj<Tfi.s e^coi;, aAA.' avTifias 202
AI. /cara TTWS
aTreipos, d^aAdrrcoros, aa-a\afj,ivLos
(tiv, fir 1 f\avvft,v ; 205
XA. paor' 1 d/covo-ei yap fxeAr;
/caAAtor', 7rei8av e/x/3dA7/s a,7ra^. AI. rivcav ;
XA. fSarpd^utv KVKVUIV dav^acrra. AI. KarajceAeue 8?j.
XA. W07T 07T (WOIT O7T.
BATPAXOI.
BATPAXOI. 27
0a K0a. 210
K.pif]vS>v TCKVCL,
JJLVWV /3odi>
' , cisyripvv e/xay doiSdy,
Kod Kod,
rjv d/x</n Nucr?7ioy 315
Aids &.ia>w<rov fv
Aifj.va.Kriv lax^(
fivty O
rots iepo(ri
/car' e/Aoy Tep,evos
AI. ey&) 8e y'
roy oppov, 3) KOO. K.od'
vfuv 8' icrcos ov8ey fie'Aei.
BA. /3peKeKeKe xoa^ Kodf. 225
AI. dAA' e^dAoto-^' awr<3 fcod^.
ov8ey yap ecrr' dAA' ^ KOCI.
BA. etKorcos y', S TroAAd Trpdr-
T(av' e/ie yap eorepai> eiiAupot re MoCcrai
Kat Kepo/3dras ITdy, 6 Ka\afj.6(f)doyya iraifav' 230
8' 6 <popfjn,KTas 'ATroAAwy,
bovaKos, ov VTroXvpiov
fvvbpov (v Ai/xvais rpe</>co.
f3pKKK KOO. Kod^, 235
AI. eyw 8e (pkvKTaivas y
dAA', 3> ^lAtoSoy yeVos, 339
iravcrao-^e.
BA. """jSSAAoy p-ev ouy
', et 877 Tror' ev-
a 8ia
28 BATPAXOI.
w, \aCpovTes 0)8779
17 Aids <f>vyovres ofj.{3pov
Hwbpov kv
AI. /SpeKexe/cef KOC Kod. 350
rourt Trap' {i/
BA. deii>a rapa
AI. Seivorepa 8' eycoy" 1 , eAa
ci Siappayrjo-o/^cu. 355
BA. (3pKeK(K( K0a K00..
AI oijai)^er'* ov yap jxoi ju,e'Xei.
BA. aAAa /XTJJ; KeKpao/ieo"0a y'
OTTOCTOV f) (f)dpvy &v f]n&v
^avbdvri 81' ^/xepav. a 60
AI. /3pe/ceKe KOO^ *coa^.
Towra> yap ov
AI. ovSeTrore' KKpaofjMi yap, 265
877 81' 77/xepas,
e7riKpaT77<ra> TW K0a,
>a Koa.
apa nova-civ Trod' v/za? rou jcoa^.
Trave, 7rapa/3aAou rw /ccoTrtft).
!>', a7ro8os TOI> yauXoy. AI. exe 8^ rw^3oX<a.
AI. 6 Hay^tas. TTOV s,av6ias ; 77 Har^tas. 271
HA. lav. AI. /3a8ie 8eCpo. HA. x a w'> & Seo-Trora.
AI. TI IOTI TavravOi ; HA. cncoro? xal flopflopos.
AI. Kart8es our TTOU rows TrarpaAota? avroOt
KOI TOUS eirtopKous, ov? eXeye^ fffuv ; HA. o-u 8' ou;
AT. yrj rov rioo"ei8cS 'ycoye, Kal iawi y' opw. 276
BATPAXOI. 29
ye 7),
HA. itpoilvai /3eXrtora
0)S OVTOS O TOTTOS f<TT\V OV TO,
TO.
AI. a)s
' />o/3rj0etT;i> eya>,
ovra,
e^ yap ovrco yavpov eo-0' ws '
8e y' ev^aijuirjz; ay eiru^eiy riw,
fiv r' aydavia-fji aiov ri r^s 68ou.
HA. z^ rov Aia *ai /x^y alcrOavofjiai -tyofyov TLVOS. 285
AI. TTOU 'Trou Vrir ; HA. c^o-nurQev. AI. e^oT
HA. dAA' eorlr ev T<3 irpoo-df. AI. irpotr^e
HA. feat /ir/y 6/30) r.'// roy Ata 6r)piov //e'ya.
AI. Troioy TI ;
HA. ScuxV TrayroSaTror yoSy
iroTe /uev ye /3o5y, vuvi 8' dpeus, Trore 8' au yw^ 390
wpaiorcmj ris. AI. -TTOU 'ori ; ^>ep' e^r' avr^y !a>.
HA. d\A' ovKfT* av yvvq Vrtr, dAX' ^877 KVO>J;.
AI. "Efj.TTOv(Ta TOIWV eort.
HA. Tivpl yovv Xd//,7reTai
airar rd -npoa-MTrov. AI. Kai <r*ceXoy x a ^ KO w ^X tt
HA. rr) roi> IToo-eiSci), Kai fioXinvov darepov, 395
erd0 ' fodi. AI. TTOI S^T* av Tpaitoi^v ;
HA. TTOI 8' e*y(6 ;
AI. lepeu, 8ia</>vXaov /bi', ti/' S (rot ^V/ATTOTT/S.
HA. aTTo\oviJ.eO\ 3)va 'HpdfcXeis.
AI. ov jut^ KaXeiy /m',
tovdpoxf)' , iKereva), /ur/Se Karepeis rowo/xa.
HA. Aionxre roivvv. AI. TOUT' 10' TJTTOV Oarepov. 300
HA. T0' j77rep epx^t- 8eupo SeCp', a> 8e'(nroTa.
AI. TI 8' ccm ;
BATPAXOI.
OAppft' navr' ayada
rfp c Hye\oxos fifuv
yap avOis av ya\rjv 6p&>
30
SA.
rffJ-Trovcra (frpovbrj. AI. Karo/xocroi'. HA. vr] TOV
AI. KCLvdts Karojuocrov. SA. vri AC. 306
AI. ofjioa-ov. SA. vri Aia.
AI. otjuot TaAa?, a>s wxpiao-' avr^
SA. 681 Se bfivas vTrepeTruppiaae o-o
AI. oi/xoi, TToOcv pot TO. Kajca ravrl
riy' atncio-co/iai ^e5y p diroXXwat ; 310
aldfpa Atos 8a)//drtoy, ^ ^pofov iro8a ;
SA. OUTOS. AI. TteoTif; SA. ov Kcm/fcovcras ; AI. rivos ;
SA. av\u>v *nvorjs.
AI. lywye, Kai 8a8ft)y ye jt*e
at/pa rts i<re7rveu<re /^uorixcordrTj.
i7pe/xt TrrTj^aires a/cpoacrcd/Aeda. 315
XOPO2 MTSTIiN.
SA. TOUT' eor' fKfiv, S SCOTTO^', ot
fvrav66. irov vtU$owrur t otis f<ppa^ v&v.
abovan yovv TOV *la.K\ov owntp Aiayopas.
L
roivvv ayeiv
eamv, us &v eiSw/iey ra0c
y IaKx' & TToA.vrt/iOis ev eSpats
vatutv,
320
325
ocriovs es
Trept Kparl craJ fjpvovra
<rr(pavov iJ,vpT(*)v
330
BATPAXOI.
TroSt ray aKoAacrroy
Xapircoy TrAeToroy e^ovcrav /xepos, dyyay, lepay 335
6<nois ut/orais \opeiav,
r* Ny^. P*^" "*~^*
HA. 2) TToryta TroAurt/XTjre A?//xrjrpos /copr;,
AT. ouKOuy drpe/ix' e^ets, ^y rt xal
XQ. lyetpe
.
WKTtpov TeXerrjs (fraxrtyopos
(pXoyl ^eyyerat 8e Aet/jKoy* 345
yoyu TraAAerat yepovTav'
aitocreiovTai be XVTTCIS
XpOVtOVS T T&V TTOACU&V fVLOUTOVS,
epas v
' eir' av6rjoov
~ i /
0(rris airetpos rotwy8e Ao'ycoy, r; yyc5)ix,r/ /ix^ xa-
355
^ yWO.tV opyta Moucrwy //.T^T' et8ev JUTJT' tyjopevcrev,
Kparivov TOV Tavpo<payov yAcorrTj?
Trotoixriy,
T) (rracrty tyOpav /x^ KaraAvei, /x?}8' ei/KoAoy eori
TroAtrais,
dAA.' avcycipei nal pmtfa, Kfpb&v lb(a>v
r) TT}$ TToAecos x et / xa C/ jte/l ' 7 ? s ap^v /cara8a)po8o-
/ceirat, 361
32 BATPAXOI.
TJ Trpobtbaxriv (ppovpiov T) vavs, ?) Tai:6ppr)T a-no-
TrffjLiTfi,
e Aiyunjs co/nmcsy coy, eiKOoroAoyos KaKO-
Kal Au>a xai Trirrav 8ia7re/x7ra)i' ets 'Eiu-
rats TOW vri7ra.cov yauo-j; itapt\tiv
TLva TreiOfi, 365
^ KarariXa rail' c E/carauoz>,
^ rows fj.i<r6ovs T&V Tioi.rjT&v pTjrcop u>v eZr' diro-
Tpwyei,
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AlOW(TOV
TOVTOIS av5a> Kau^tj <r7rauSa> Kav^is TO rpirov /uoA'
ft&TTtutri \opols' v/ueis 8'
37
, at r^8
ui' iras
TOVS
Kal Trat^coy xat j(^ el 'oC ft)j;
ripia-TrjTai 8' ^apKOVvra)S.
dAA' l//^3a x''' 7 ''' ^ dpeis
TT
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s rd?
^.75
381
BATPAXOI. 33
vvv (Tfpav vpvuv ibeav ri]v Kapnofpopov
fiaafaeiav,
deav, eTTiKoo-fAowTes a#eois /xoA.7rais
, ayv&v opytooy
ava<rcra, o-v/LtTrapaordYei, 385
Kai crai^e Toy craur^s \ppov'
Kai JM' a(T(f)a\.&s
iraicrat re Kat
KOL TroXXa jaey yeAoia /A' e-
n-eiy, iroXXa 8e o-7rou8aia, Kai 390
TTJS <rrjs foprrjs auos
iraicravTa Kai <rK(a^ravTa vt-
Taiviov<r0ai.
' eia 394
vvv Kai rov atpalov dfbv -Trapa/caXeire Seupo 395
<p8at(n, roy ^vvepTropov rrja-bf rfjs
roAurijUTjre, /xeAos f
tvpatv, b
TT]V 6fOV KO.I bflov &S 400
TTOVOV TroXXrjy
<pi,\o)(opVTa,
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q TOV re {ray8a\i(TKOV 405
i TO paKOS, Kaevpes COCTT'
i yap irapa/SXe^as TI
v fir) KaTeiSor, Kat ju,dA' VTrpo(T(a'nov ) 410
irapappayeWos TirOLov
o-
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34
BATPAXOI.
AI. eyob 8' det
XO. /3ouAe(r0e 8?}ra
u>v OVK
t>s f
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<ptAaKoAov0os eip-i *at [/Aer* avrrjs]
/3ovAop.ai. EA. /caycoye irpo's.
(pparepas,
ra Trp&ra TTJS e/cei p.o)(dr)p(as.
420
AI.
Tl\oijT<i)v' OTTOU 'z>0a8' ot/cei ;
eva) yap ecr/Aey dpruos
XO. fj-rjbev fjLdKpav direA^?/?,
/x?j8' av^is firavepr] /xe, 435
dAA.' to-0' ITT' avrrjv rr]v dvpav d<^tyjaeyos.
AI. capoi civ CLvuLS. ft) 'Trat.
EA. rouri ri rfv TO Trpay/xa
dAA 1 r) Aioj Kopiy^os ey TOIS (rrpctf/xacriy ;
v/~^ ^
XU. x^P 61 ^ 44
vCiy ipov dud K.TUK.\OV Ocas, &vdo^>6pov av aA<ros
nai^ovTfs ols jaeroixria deotyi-Xovs eopr?/s.
AI. eye!) 8e crvy ralcriv nopais ftpi. /cat yuvai^tj;, 444
ov Travw^C^ov(riv deq, ^>e'yyos lpoz> ol(r<av.
XO. %a>p&ij.v fs TTo\vpp6bovs 448
450
rov
TOZ;
rpoTrov,
Moipai
juoVois yap
Kat (peyyos tAapoy ecrriv,
455
BATPAXOI. 35
TPOTTOV -rrepl rows evovs
KOi TOVS l06GJ7-aS.
AIONT2O2. HAN0IA2. XOPOS.
AI. aye 877 ri'ya rponov rrjv Bvpav Kttya> ; riva ; 460
TT&S fv6a$ apa KOTTTOVO-IV ovitiyj&pioi ;
EA. ou [Mr] Starpii/reiy, dAXa yev<m TT;S Ovpas,
naff 'HpaKAea rd <rxfj[j.a KOI TO
A I. TT at Trat.
AIAKO2.
rfc ovros ;
AI. 'Hpa/cA.?/? 6
AIA. a> /38e\vp navaCa^vvre Kal roX/xTjpe o-y 465
KCU /xtape xai Trajj-fj-Cape Kal /iiapwrare,
os TOV KVV' 77/40)2; e^eXao-as r6y KepfBepov
a,Tn)as ay^cav K.a~oopas ($X
or eyw *<pv\a.TTov. dAXa ySy I
roia Sruyos ere /LteA.a^OKa/)8ioy Trerpa 470
'Axeporrios re (TKOTreXos ai/j,aro<rray7jy
(ppovpovo-t, KCOKUTOU re Trcpibpopoi Kvvfs,
a ^' eKaroyKCfpaXos, 77 ra (TTrXtiyxi'a crou
r' avda^/crai
ra> ye</>pa> 8e crow 475
e$' as eyi) bpop-alov op^a-ca 7ro8a.
EA. OVTOS, TI 8e'8paKa? ; OUK avacrrTjo-ei ra^u 480
Trpiy rtva o-' 26eiv aAAorpioy ;
AI. aAA.' a>paKtc5.
a\A olere irpos TT)Z; Kapbiav [JLOV
c a
36 BATPAXOI.
HA. Ibov Xa/3e. AI. -npocrOov.
SA. TTOV 'arty ; 3) xpwol Oeol
AI. Seuracra yap
eis Tr)y KoYo) /uou KotXtay naQdp-nva-ev. 485
HA. co 8etXoVare 0e<3y <ru nauOpunrMV.
AI. y< ;
irw? 8et\o?, ocrrts cr^oyycay i^TTjcra (re ;
HA. aj>8peta y', IToa-48oy.
AI. ot/xai VT) Ata.
feat ras aTreiXay; HA. ov jtxa Ai' ov8' <pp6vTi(ra.
AI. t^i &w, eTretS^ X7j/xarias Ka^8peios et,
crv /xey yfvov 'ya>, TO poitaXov rouri Xafi&v 495
Kat r^y Xeoyr^pj eiirep afpofiocnTXayxyos et*
eyw 8' lo-ofiat o-oi (TKfvocpopos kv rw /xepet.
HA. </>epe 8r) ra)(ea)s aur'* ov yap dXA.a Treio-reoy
Kai /3Xe\^oy ets roy 'Hpa/cXeio^ay^tay,
e2 SeiXo? eo-ojaat Kat Kara o-e rd X^/i' ex coz; ' 5
AI. f*a Ar aXX' aXr)6&$ OVK MeXirrjs fxaoriyiay.
uy^ eyo> ra orpw/xar' aipco^iat ra8i.
EPAIIAINA.
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fiTfTTfv aprovs, rj^e KareptKr<3y -xyTpas 505
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TrXaKoCyra? dSirra, KoXXa/3ous* aXX 5 et(ri^t.
HA. KaXXtor', e7raiy3.
@E. /ma roy 'ATro'XXco ov /XT; o*' eya)
e?ret Tot Kat xpea
BATPAXOI. 37
dz>e/3parret> opvidtia, Kal rpay?7//,ara 510
ffppvye, KMVOV avcKepavvv yAuKvraror.
dAA' eto-10' a/ix' ep,ot. HA. -navv KoA<3y.
E. Aijpets e'x' 01 ''
ov yap o-' d</>?7<ra>. /cat yap avAr/rpis ye <roi
$>TJ 'vSoy ecr^' wpatorcir?] Kwpxrjorp^es
eVepai Sif ^ rpeiy.
HA. TTWS Xtyets ; opx^arpiSey ; 515
0E. aA\' eto-i^', ws 6 /xayeipos 178?] ra re/xax 7 ?
e/xeAA.' atyaipelv x^7 rpaTre^' eio-jypero.
HA. i^t pur, (f)pa<rov TTptoTUTTa TaTs 6pyj](TTpi<nv
rats >8oy ovo-aty avros a>? eto-epxo/xat. 520
6 -jraTy, d/coAov^ei Seupo ra O-/CCVTJ ^epcoy.
AI. e7rt<rxes OVTOS. ov rt TTOU a"7rou8r)z>
ort^ <re 'Trat^coy 'Hpa/<A.e'a '
ov ^ <p\vapr)<reis Zx < * v >
dAA.' apa/xei'os' olo-ets iraXty ra errpctf/xara ; 525
HA. ri 8' eoTtv ; ov 8^ TTOU p/ afakfo-Oat biavoel
AI. ov r<ix*j dXX* ^877
fcarci^ou rS 8ep/xa.
HA. raur' eya>
xal rots 0eol<riv eTrtrpe'ira).
AT.
rd 8e irpo(r8oK^<ra^ w' OVK di;o?jroz; Kat Kfvbv 530
a>s SoOAos a>v KOI dvqrbs aAK^znjs Itret ;
HA. d/xeAet, /caA<3s' l^' a^r'. tcrcos yap rot Trore
ep-ou 8e7j0etTjs Sy, et ^eos ^e'Aot.
XO. raCra fxey irpos dySpos eort 534
vovv fyovros Kal
TroAAa -TreptTreTrAeuKo'ros, 535
avrbv del
38 BATPAXOI.
OS Toy (V TTpCLTTOVTO.
17
TO
os TO p.aXOa.K<&Tpov
b(iov irpbs avbpos eort 540
KOi
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HXadavrj, TlXaOdwrj, bfvp 3 eA.^', 6 iravovpyos ovro&l,
OS IS TO TTavboKfloV fl(Tf\0<0V TTOTf 550
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nAAOANH.
v^i A i a,
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ITAN. Kai /cpea ye Trpos TOVToto'
dvr/jUico^SoXtaia. HA. Stoeret Tts
ITAN. /cat Ta o-<co/3o8a Ta n'oAAa. 555
A I. \rjpeis, yvvai,
KOVK otcr^' o ri A.^yets.
I1AA. ou jaey ovv /^e 7rpoo-f8o/cas,
OTIT) KoOSpvovs fi\fs, &v yv&vai <r
IIAN. TI 8a^ ; TO -TroAv Ti/)txs v/< e
IIAA. //a At', ov8e TOV Tvpov ye TOV
ov OVTOS avTois Toiy TaXdpots KO,Tii]<rOiV. 560
HAN. KaireiT* ^TretS^ Tapyvpi.ov firpaTTOfji-qv,
ff3\f\l/ev ets /u.e 8/nju/u Ka/xuxaTO ye.
HA. TOUTOU Train* Tovpyov, ovros 6 Tpoiros
ITAA. <cat TO t^>os y' eo-TraTO, fj.aiv(rdai
ITAN. in; Ata, TaAaiva. 565
BATPAXOI. 39
FIAA. via 8e 8ei(rd<ra ye TTOV
em TTjy
6 8' <j>x* r> eaas ye rous tyiddovs Aa/3wy.
HA. Kat TOUTO TOVTOU Tovpyov. dAA' expTjy rt
TIAN. i0i 8^ KaA.ea-oy rov irpoa-TaTrjv KAecoyd /x
FIAA. OT) 8' fj.oi-/, fdvTTfp eirm/xTjs,
tv' avrov fin.Tpi\lf<Dp,v.
IIAN. a> fj.LO.pa
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KOTTTOI/X' ay, ols /xou KaTe^ayes Ta
IIAA. yo) 8' &v es ro fidpaOpov e/x^3dAoiju,t o-e.
8e rov Aapuyy' ai> eKre/xot/xi <rou, 575
ov Xafiovcr, w ray
dAA' ei/x' tTTi roy KAe'coi'', os awrou
KTTf]ViflTaL raCra TrpocrKaXov/xevos.
AI. KCIKIOT' aTroA.oi/xrji', SavOCav et /XTJ (p<.\&.
SA. 018' oiSa rov yoOv iraCe 7rai5e TOU Aoyou. 580
ou*c av yevoifjujv 'H/^a/cA^s av.
AI.
SA. Kal TTWS ay aXK/ji^rrjs eyci
vl6s yeyoi/xTjy, Soi5A.os a/xa /cat 0vr/ros wv ;
Al. 018' 018' on Qvpol, KOL Sixaicos avro 8/jas"
icar i /xe TT/ITTOIS, OVK ay dyrewoi/xt croi. 585
dAA' ?;y o-e roi! AOITTOU iror' d</>cAa>/4at
irpoppi.os avTos, ^ ywrjj rd iratSia,
KOKIOT' a7roAot/XTjy, Kd/>xe'8?7/xos 6 yAa/ia)y.
SA. 8e'xo/xai Toy opKOv, Kani TOVTOIS
XOPO2.
vCy (roy cpyoy ear, eTreii) 4 $90
rrjy crroAi/y eiA>j(/>ay,
40 BATPAXOI.
iv 77/365 rd <ro/3apdy,
Kal fiXfiretv avdis TO 8eivoi>,
TOV 6fov nfp.vrjiJ.fvov
toirtp ei/cd^iets (reavrov.
tt oe irapaXrjp&v oXcocrei
Kal fiaXfis Tt paXdaKov, 595
av0i$ cupca-dai
'orai iraXiv TO.
A. ov /caKw?,
aAAa KavTos
on fjifv ovv, rjv \prj<TTOV 77 ri,
TO.VT a<fxupel(r9ai TraAtv irei- 600
/ / <* *<S f/
paa-fTai jj. ev oio ort.
' opiws eyw Trape^co
avbpfiov TO \rjp.a
opiyavov.
fiv 8' foiKfv, a>s d/cova>
T^S 6vpas Kal br] -fyofyov.
AIAKO2. AIONT2O2. HAN0IA2.
AIA. vvbflT Ta\f(OS TOVTOvl TOV KVVOK\OTTOV, 605
Iva 8(3 8^KTji>* avvfTov. AI. ^f/cei T^> Ka/cof.
EA. OUK Is Kopa/cas; ou /x
AIA.
6 AtruAas x^ 2*ce/3Xvas
X^petre Seupt *cai pd^ta-
AI. etr' ovxt 8eti>a raSra, TVTTTCIV TOVTOV\ 610
K\fTTTovTa Trpoy raXXorpta ; AIA. /xdXX' virepcfrva.
AI. irx/rXia p.ey ovi> xal 8etvd.
HA. Kai XTZ; v A to,
BATPAXOI. 41
ft it&TtoT fjkQov bevp', e
rj '/cXei/ra TO>Z> arGtv aiov TI Kal
Kai <rot 7TOt7j(T&) irpay/xa yevvalov Traw 615
j3aa-a.vi.fc yap rbv iraiSa TOVTOVI Xa/3oi)y,
KO.V TTOTe fjk eXrjs dfiiicoSz/r', cnroKTetvov p ayu>v.
AIA. /cat TTWS ySao-az/to-o) ;
HA. Travra rpoTrov, kv
brjcras, Kpep-acras, vcrTpL^ibt juaoriyfiy,
, In 8' Is ras pii/as o^os lyxecoy, 620
eTTtrt^eiy, Trayra raXXa, TrX^v 7rpa<r<p
fJLTI TVTTT TOVTOV //,7j8e yT/reiO) ye<{).
AIA. 8tVatos 6 Xoyos' Kay TI TTTjpwo-co ye (roi
TOV -n-aiSa TVTTTMV, Ta.pyvpt.6v <roi Keto-erat.
EA. fi^ STJT' l/ixoiy'. OUTCO 8e fSaa-avt^ airayay&v. 625
AIA. avroi; fAey ow, ?ya crot Kar' dtfrdaXfJiovs Xey?/.
(n> ra a-Kevrj Ta^t'cos, XWTTCOS epeis
AI. * dyopevco rtyt
!/* |x^ flaa-avifciv adavarov OVT' d 8e /IA^, 1
avros (Tfavrov airtw. AIA. Aeyets 8e TI ; 630
AI. d^draros eirai ^>T;JOII Aidwo-oy A to?,
rouroy 8e SouAoy. AIA. raCr'
EA.
xai iroXv ye /xaXXoV eori
yd/) eo-riy, OVK ai<r0?7<rercu.
KCU <ri> (^17? etfat ^eoy, 635
ov Kal tn) TVTTTCI Tas Icras TrXr/yds fpoC ;
EA. 8iKcuo9 6 Xoyo?* yJaTiorfpov av vyv t8r/s
/cXavcrayra TTporepov 17 TrpoTifJirjo-avTa rt
TUTrrdjuevoy, eTvai rouroy 7/you fx^| ^edy.
AIA. OVK eo-0' OTTO)? ou/c eT oar yez>ra8as dv^p* 640
yap eis TO StKatoy. a7ro8veo-^e 877.
42 BATPAXOI.
HA. Trias o&v jScurazneis y&>
AIA. paSuos"
irXqyTjy irapd TrXrjyTJy eKarepov.
HA. KaXe3s
AIA. i8ou. HA. (TKOTtei yvy ^fy ^ v7TOKiy?jo-ayr'
AIA. ^877 Vara^d <r'. HA. ov fid Ar ov5' e/zoi
AIA. dAA.' et/x' em roj;8i icat 7raraa>. AI. TrrfViKa; 646
AIA. /cat ST) 'irdra^a. AI. Kara TTWS OVK e-nrapov ;
AIA. ov/c oTSa' rou8l 8' av0ts aTTOTreipdo-o/xai.
HA. OVKOVV avvcrfts ; larraral.
AIA. rl rdrraraT ;
HA. ou /ma Af, dAA' e^pdirtcra 650
oird^' 'Hpd/cXeia rdv Ato/jtetot? ytyverai.
AIA. avOptoTios tepds. 8eSpo TrdXij; /3a8ioreoy.
AI. toil totf. AIA. TI IOTII; ; AI. iTrireas 6p5.
AIA. Tt 8^ra K\deis; AI. /cpo/x/xvcor ocnpau>o/icu.
AIA. eiret irpon/xas y' ovSeV. AI. ovSeV /xot fxe'Aei. 655
AIA. /3a8tore'oi> rap' eorli; eTTt Toi>8t TrdXii;.
HA. ot/xot. AIA. TI IOTI ; HA. rr\v axavdav
AIA. ri TO irpay/^ia TOVT^ ; Seupo TtaXiv /3a8iorreov.
AI. "AiroXXor, os TTOV AijXov 17 nv^a)
HA. ^XyT/o-ev OUK ^Kouo-as ;
AI. OVK eycoy', eirei 660
lapfiov 'iTrircoyaKros avf^i^vrfarKo^v.
HA. ouSey iroieTs yap, dXXa ray XayoVas <nrd8ei.
AIA. fxa TOV At", dXX' rjbr] irdpexe T^y yao-Te'pa.
AI. IIdo-ei8oy, HA. T/XyT/crey Tts.
AI. os Aiyaiou Trp&vas r\ yXavxas fxeSeis 665
aXos ey (3ev0<riv.
AIA. ov TOI fid Trjy A?jp.T;rpa 8wra/xai TTO) fj.a6(lv
oTTorepos v/xwr ecrri 0eds. dXX' eitriroy*
BATPAXOI. 43
6 SeaTTorrjs yap avros v^as yzxoo-ercu 670
ar OVT
At. opO&s Xeyeu* l/QouXop.rji' 8' &v TOVTO <re
TTOirja-ai, irplv ejue re
r*
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aoibas (p.as, 676
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uvptai KadiwrcLL,
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"""N eirl fiapfiapov f^o^vr] ireraXor*
pv^et 8' eTr^XauToi; apySoytoy j/o/xof, &s aTToXeirai,
itrai yevuivrai. 685
jy lepoy \opov biKaiov eori x/ 31 ? " 7 "** ^7?
<cai 8i8(i(rKetv. Trp&rov ovv
rows woXiras Ka^eXeTi; ra 8e/xara.
rts
!)?j/Ai xP^ vat TO *' S oXicrfloGo-ii; rare 690
. airlav efc0et(n Xucrai rds TTporepov a/xapriar.
I etr' O.THIOV (pr^pi \pfjvat /i7j8ey' eiy' ev TTJ
X. ) Ka ^ y**P a i (r Xfi v * crTi T V S P* 1
\ KCLI nXaraias fvOvs fivai KCLVTL 8ov,
^' KovSe raur' eywy' exotft' av /UITJ ov
X eti; 6 95
^\\J* . ' v >'V v '9^7
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rots fiKos v/xa?, ot /^ie0' vp.<av, iroXXa 8?/
ji irarepes
44 BATPAXOI.
rr)v ju,tcu> TavTf]v Ttapfivai. v[j,(f)opav atrou/xeVots.
aAAd r??s opyijs avfVTfs, <ro</><drarot <pvcrei, 700
navras avOptoiiovs e/coj>res
KaTTtrfyxous /cat TroAiras, OOTIS
et 8 rour' 6y/c&xro/ieo-0a Ka.Trocrffj.wvovp.f9a, 703
/cat ra(!r' e^oyres KUjudrcoy ev dy/cdAats,
et 8' eya> opdds Ififlv /3toy avfpos rj rpo-nov ocrrts
y > ' ',
" oi TroAvy ov8' 6 TTI^KOS ovros d ^w e^o)(A5y,
KAetyevrjs 6 /u/c/)6s,
6 TTOvriporaTos fiaXavfvs OTTOCTOL Kparovcri KVKT]-
t .
710
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Ktju,coAtas yTjs,
^ <v /| <N\ .\ t^ 9
//et ioft>p oe rao ov/c
flprjviKos f<T&\ iva uri TfOTf KCLTTobvOrj p.f9vti)v a- 715
Vfv v\ov fiabifav,
TroAAd/cts y wlv fbofv f) woAts TTCTTovOfvai
Tavrbv es re T&V TTO\I.T&V rows /caAovs /cat rous
KOKoWf
Is re rap^alov v6fj.i(rfj.a Kal TO Kaivbv xpuo-toy. 720
ovre yap rovroto-ty ovcriv ov /ce/ct/38rjAeu/^e'j;ots,
dAAa /caAAtorots aitavTutv, &>s So/ceT, vo{Jucrp,aT(av,
/cat fj.6voi,s 6pO&s KOTTflcn Kal KfKu>b(avL<rp.fvois 723
fv re rots "EAArjo-t /cat rots /3ap/3dpoto-t
Xpw/xe^' ovSev, dAAa rovrots rots irovr]pols
X^e's re /cat Trp^Tjz; /coireto-i rw /ca/cto-ra)
rwv TroAtreoy ^' o'&s fAei> tcrp.fv fvyfVfls Kal o~<a(ppovas
avbpas ovTas Kal biKaiovs /cat /caAovs re Kayadovs,
Kat rpa^evras ev iraAatorpats /cat xP' s Kat
729
BATPAXOI. 45
v, Tols be \a\Kols KC " e'yois Kal
wppiais 730
Kal TroyTjpots KaK TToyTjpfiy fls airayra \p(&fj.cda
VOTarOlS d(piyjU,e'yOl<ny, ol(TlV f) TToAlS 7Tp6 TOU
dAAd Kal yuy, wyo?jroi, //era/3aAdyres rows rpoTrous,
rots -xprja-Tolo-iv avOis' Kal Karop^wo-ao-t yap
n (npaArJr', e^ aiov yovv TOV v\ov,
~L Kal TraVx^re, Trdcrxety TOIS <ro<pols
KO2. HAN0IA2. XOPO2 MT2TIiN.
Jf
AIA. yrj roy Aia Toy o-<or^pa, yeyyaSay dy^p 738 \^J
6 8ecr7roV?]s o~ou.
HA. ircSs yap o^xl yeyydSas ;
AIA. rd 8 fj.r) Trard^ai o-' efeAeyx^ey' dyriKpus,
ort SoCAos a>y e^ao-Kes etyat 8ecr7rorrys.
AIA. roCro jueyr,ot SouAiKoy
HA. \aipeis, iKereva) ;
AIA. fidAA' eTTOTrreveiy 8oKW,
oray Karapdcrcopiai Ad^pa rw SecrTrdrr/.
HA. ri 8e TovOopvfav, rjviK ay TrA^ycts Aa/3wy
iroAAds aTTir/? 6vpae ; AIA. Kal rou^
HA. TI 8^ TroAAd Trpdrra)!' ;
AIA. ws p-d At 5 ov8ey otS' eyco.
HA. 6/xdyyte Zeu' Kal vapaKoviDv 8ea-7ror<3y 750
drr' ay AaAwo-t ; AIA. jadAAd TrAeiy T) fj.aivofj.ai.
HA. S QolfB' "ATToAAoy, lju/3aAe juoi r^y 8eidy,
icai 8os Kwai KOVTOS KV<TOV, Kat /xoi ^pdcroy, 755
^pos Aioj, os ^ty ecrny 6/Aop.aoriytas,
46 BATPAXO1.
ris ovros ovvbov eorl dopvfios
X<*> A.oi8op?jo7Aos ; AIA.
HA. a.
AIA. Trpayfj,a Trpay/za /^tey
fV Tols VfKpOlCTL KCU OTa(TlS TCoAAr) TICLW. 760
HA. TOU ;
AIA. VOIJLOS rts ^v^aS' earl
OTTO Twy rex^wy, ocrai /xeyaXai Ktit
roy apurrov ovra T&V eauroC
(rLrr]<TLV avrbv kv Trpvravfi^
Opovov T TOV HkovT&vos $]$, HA. pavOavoi. 765
AIA. eco? a<piKOiTO rrjv Tf\vrjv o~o<f)(&Tfpo$
erepos TIS avrov' rore 8^ irapa^(apflv e8et.
HA. ri 8^ra Touri TfOopvj3r)Kfv hlcryvKov ;
AIA. e*cetyos ft\ TOV T/)ayo)8iKoy Opovov,
a>s a>z> Kparioros T^V Tf^vrjv. HA. zwi 8^ TIS ; 770
AIA. ore 8r) Karfjh.6' Evpnribrjs, eireSeiKiwo
TOIS Xft)7ro8vrats /cai TOICTI /3aAA.ai>rioroft.ois
xal ToT(rt TrarpaXQiatcri KOI TOix^/^X 015 *
lor' ej; "Ai8ou nXijOos, ol 8' aKpow/xeroi
azriAoyicSy Kal Xvyio-jawy /cat (TTpofy&v 775
KOLTTLT Tiapcs CLVTaTO TOV
lv AZo^vAos 1 KaOfjoTo. HA. KOVK e/3aXAero ;
AIA. jLta Ai", dXX' 6 ST/JLIOS avefioa Kpia-iv Troieiv
oiroTfpos ftf] Tr)v Tf-^vqv cro^xorepos. 780
HA. 6 r<3i> Travovpy<av ; AIA. z>?) At', ovpaviov y'
HA. juer' AicrxvAou 8' OVK ycrav erepoi
AIA. o\iyoy ro \pr](rr6v fcmv, uxnrep
HA. rt 8^' 6 HkovTMv bpav Trapaa-Kf
AIA. ay&va Trotflv avTiKa pdiXa Kal npitnv 785
K.aXey\ov OVT&V T^
BATPAXOI. 47
HA. KCLTTflTa TT&S
oi Koi 2o</>OKAerjs e>reAa/3ero TOV dpovov
AIA. (JLO. At' OVK fKfiVOS, a\\*>'j-KV(T fJLV
ore 8?) KctTTjAfle. KavepaXf rrfv bfiav,
CLVTto TOV BpOVOV' 7QO
wvl 8' 1/xeAAe^, o>s tyr] KXftbrjfJLibrjS;
Kadfbflrrdat.' K&V p^v Aio^vAo?
Kara yj&pav' fl 8e /XTJ, irepl rrjs
' f(pa<rK Tipos y Evpnribrjv.
EA. rd XPW' "P* ^orat;
AIA. i^ Af, dXiyoz; vorepov. 795
Kavrav6a 8rj ra
icat yap raAayrw
HA. TI 8e ; /xeiaycoyTjcrouo-t T^V rpay<y8i'av /
AIA. Kai navovas courouo-t Kal ir^xfis eTrwy, 799
KCU TrXa^ma vfj.Trr)KTa, HA. TT\ivOeva-ovTi yap ;
AIA. KCU 8ia/xerpous KOI crtyfjvas. 6 yap
/car' erros /SacravieTv ^TJCTI ray
HA. 77 irou /3apecos oi/xai TO^ AZfTx
AIA. ffi\f\lf 8' ow ravprjSoy ^yKV-^as /cara>.
HA. xpivel 8e 8^ rts ravra ;
AIA. rour' ?}v 8wKo\ov 805
<ro(j)S>v yap avbp&v aTTOplav
OVT yap ' Adt]vaioL(Ti <ruv(3
EA. -TroXAouf To-o)? ero/xi^ie roiiy
AIA. A?7poV re raAA.' fjydro TOV yv&vat irtpi
TToirjT&v' elra TW <r<5 8e<riroTr/ 810
\vr]s e^nretpos ?}y.
a\A.' fla-iuifjLcv' ws orav y' ol Seo-TroVat
(T7rov8aKa)cri, xXaviiaff 1 rjp.lv yiyvfrai.
XO. 77 TTOU 8etvov epi^Spf/xeras x'^ oi; evboOev (ei,
av 6v\d\ov irapibr) 6r]yovTos o8oi>ray 815
48 BATPAXOI.
vov ro're 8?j pavtas inrb
ofj.fj.aTa
eorcu 8' i7nroXo<pcoi; re Xoycoy KOpvdatoXa
<ncu>8aXdp.ooz; TC irapa6via, o-p,iXevp.ard T lpya>z;,
<pcoros dp.uz>op.ez>ou (ppevoTtKTovos avbpbs 820
yja.irav,
yofj.QoTrayrj, TrivaKrjbbv aTW(nr<iiv
825
8?) (TTOfj.aTovpybs f-nStv fiacravia-Tpia
-', ave\La-<rofj,evr) <j>9ovepovs Kivovva
p?7juara Scuo/xez;?/
TroXvy
ETPiniAHS. AIONT2O2. AI2XTAOS. XOPO2.
ET. OVK &v fj,f6fifj,riv TOV Opovov, fj,r] vov0fTi. 830
Kpftrrwv yap elvaC (prjfju TOVTOV rrjv Texvrjv.
AI. Aicr^vXe, ri <ri,yq$ ; alcrOavet yap TOV Xoyou.
ET. aTTOo-e/buwetrai irpwroy, a?rep eKaorore
fv Tals rpaya)8iai<rty erepareyero.
AI. a> baifJiOvC avbp&v, p.r) /xeyaXa Xiai> Xeye. 835
ET. eyalSa rouroz; xai 8teo-Kejup;ai TraXai,
d/cpares advputTov erro/xa,
AIS. aXi70es, S Trat r^s apovpaias deov ; 840
OT) 8?j p-e raur', a;
icat 7rra>)(0'7roi *cal
dXX' ov ri ^aipcoy avr' epeis.
AI.
xat p.^ Trpos 6pyr)v a-nXdy^va dep^vrfs KOTO).
BATPAXOI. 49
AI2, ov firJTa, Trpiv y av TOVTOV a7ro<?]va> (ra^)c5s 845
TOV %<i)hoTioibv, olos a>v dpatrvverai.
AI. apv' apva /ze'Aava TratSes eeveycaTe*
TW0a)y yap e/c/3atvetv
AI2. d) KpyjTtKas /xev
ya.fj.ovs 8' drocrious lcr(ppa>v ety TTJI; re)(vr)v, 850
A I. 7rto-)(e ovros,
airo rwy x a ^ a C^ v 8', &> itovrip
airaye <reauToi> eK7ro8a>v, ei
Iva fj.rj Ke0a\aio> TOV Kporatpov crov
6fV(j)v \m opyfjs )(e7/ TOV TTJXe^ov' 855
OT) 8e f) Trpos opyriv, Aicr^vX', dAXa
eXe'yxou' Aoi8opeia-^at 5' ov
TrotTjTay uxnrfp dpTOTrwXtSa?.
o-v 8' ev^vs uxTTrep irplvos (fJ-Trprjcrdfls (3oqs.
ET. (Toifj.o$ ei/x' ywye, KOVK dva8vo/iai, 860
8a/ci;e>, 8a*cveo-0at TrpoTepos, ei
TaTT?;, Ta /u.eA.77, TO vfvpa rrjs
Kal vy Aia TOV IT?7\e'a ye Kai TOV AioXov
xal TOV MeXeaypov, KCITI /iaAa TOV TTjXe^ov.
AI. crv 8e 8^ TI fiovXevei, irotflv ; Ae'y', Aio-^vAe. 865
AIS. e/SouAo'/XTjv /xev OVK fpifctv fvOdbf
OVK e^ Tcrou yap eo-Tiv ayutv vwv. AI. T^ Sat ;
AI2. OTI f] TToirjcris ovx> crvvTedvrjKf ptoi,
TGI/TO) 8e cruvTe'flvrjKev, coo-^' efei Xeyetv.
o/icos 8' eTretS?/ o-oi SOKC?, 8pav TavTa XP 1 !' ^7
AI. t^i vuv Xi/3avtoTov 8eSpo TI? /cai nvp SOTO),
OTTO)? av ev^a)ju,at irpo TWV
dyclJva Kplvai Tov8e
vpieis 8e Tats MovVais TI /xe'Xos
XO. a) Atos evvt'a Tiapdevot dyval 875
Mouo-ai, \7TToAo'yous vv(Tas <ppevas at Kadopare
D
\ so BATPAXOI.
>
avbp&v yv(i)fj.orvTi(av, orav fls
1
1
fXOaicrt, <7Tpe/3A.ot(ri
r6fJivai
oro/xdroiv 7ropuracr0ai 880
vvv yap ayoiv <ro(pta? 6 jiieyas voopet trpos tpyov 7/877.
AI. evY0"0 877 /cat crd>w TI, TTOLV TQ.TTTI Aeyety 885
A12. ATj/XTjrep T/ dptyacra rr\v ep.7jy typiva,
flvai fj. rwy o-<3v a^toz; p.vcmripi<t)v.
AI. T0l WV C7T10CS 87] Kat OT/
ET.
erepot yap eto-ir ottri;
AI. iStot rtye's crou, Ko/jtfta KCLIVOV ; ET. Kat fidAa. 890
AI. t0i inw Tipovevyjov TOIVIV t8tcorats
ET. aWrjp, }JLOV /3oVKT7/xa, Kat yAwrrTjs
XO. cai fAT^v 77/ze!s eTri^u/xoCjuei; 895
Trapa crofolv avbpolv aKOvcrai nva Aoycof
yAcSrra /zey yap ?)ypicorat,
A7]p.a 5' OV
ov8' aKivrjToi
irpocrboKav ovv eio? ecrri 900
Toy /zez> doreioy rt A.e'eiy
feat
TOV 8' dyao-Tr
TOIS Aoyotcrii;
fp-TTea-ovra crva-Kebav TTO\-
Aas dAtz;87J0pas eTiwy. 904
BATPAXO1. 51
XOPO2. ETPIIIIAHS. AIONT2O2. AI2XTAOS.
AI. dAA 5 ci)s ra^tora XPV A.eyeiv ovrco 8' omos
dareta xai JU.TJT' eixoyas jj.rjd' oT av aAAos eiiroi.
ET. Kal p.rjv ejxauroi; /xe'y ye, TT/Z; TTOITJCTW; olos
ez> roicriv vtrraTois ^pacrco, roCroi' 8e Trpwr'
a>s TJV dAa^wf Kai <f)cva, oiots re TOVS 0earas 909
\a(3<s>v napa <$>pvvi\<j>
yap e
, ro
AI. /uta TW At 5 ov 8?}^'.
ET. 6 8e x / 3 ^ 5 y' *]pt&* 1 ' opfj.a9ov$ &v
fj,(X&v e<perjs reVrapas ^wexws av" ot 8' (r[ya>v.
AI. eyo) 8' tyaipov rrj (TICOTTTJ, xat //,e TOUT' erepTrey 916
ovx IJTTOV TI vvv ol \aAovvTfs.
ET. ^Ai'tftos yap
AI. Kaftaur<5 SOKW. r^ 8e TO.VT e8pao-' 6
ET. v-n aAaovfia$, Iv o Oearris irpoaboKoyv Ka6f)To,
oTtod* fj Nio/Br) TI (pOey^fTai.' TO 8pa/ia 8' ay 8i?/et.
AI. a> Tra/XTroi'Tjpos of ap' f(pvaKi6iJ.r]v ini" avrov. 921
rt aKOpbivq /cat Sucr^opeis ;
ET. on avroy e^cAey^co.
raura ^rjprja-fif Kal rb 8pa/ia
], pTj/iar' aj; /3oeta 8<a8eK' eliifv,
6<ppvs (\ovra Kal Xocpovs, 8eiz>' aTra juop/xopa)7ra,
ayvcora rois flecojue'vois. AI2. oi'uo'. roAay. 926
AI. (TlCOTTa.
ET. (ra<ps 8' az> e77r2; ov8e ev. AI. /XT) Trpie rois dSorray.
ET. aXA.' 17 ^Ka/jtavSpouy, 77 rcuppovs, r) V do-7ri8a)i;
D a
52 BATPAXOI.
ypv-nairovs \a\Krf\drovs KCU prnj.a.6' 1-mTOKprjp.va,
a vp.[3a\elv ov pabi 1 fy. 930
A I. VT] TOVS 6eovs, eyw yovv
jjbrj TTOT' fv fj.a.Kp<p \pov<$ WKTOS bi.r]ypviTvr]<ra
TOV ovdbv l7nra\KTpv6va T]T)V, ris tcrnv opvis.
AI2. o-jj/xeiov v rals vavcrlv, S/xa^e'crrar',
AI. cy&) 8e rov ^iXo^e'you y' OJ/XTJJ; "Epviv flvai.
ET. etr' ey rpaywSi'cus fXP^ v Ka^fKrpvova Troirjcrai ; 935
AIS. crv 8 s , S deolcriv ex^pe, TTOI' arr' ecrrlz; arr'
ET. ovx iTrnaXeKTpvovas pa AT ov8e
roio-t Trapa-Treracr/iao-ti; rots M?]8t/cot? ypa-
napa crov TO
TTpGtTOV (V0VS
olbovvav VTTO xo/xTra(r/idra)i; KOI pr)fj.a.T(t)v
icr^vava \ikv -Trpwriaroy avrTJy Kat TO ftdpos
941
*cat 'jrepnrarots *cai reurXtotfri XCUKOI?,
\v\bv 8t8ous <TT(afJLV\fJLa.Tu>v, airb j3(,/3\i(av a-nr]QS>v'
is, Ki]<pi.(ro(p&VTa jj.i.yvvs'
O Tt TV^Otp, Ov8' Cp.TT((T<aV
(f>vpov, 945
dXX' ov^twy TrpwTtcrra /^.ey /xoi r6 yevos CITT' ay
AIS. KpelTTOv yap TJV (rot y?) At" ?} TO
ET. eTretT* aird TWI> irpwTojy eTraJy ov8ey
apybv,
dXX' eXeyey ^ yw^ Te /^toi x^ 8ovXo? ovbev TJTTOV,
X< Seo-TroTTjs x 7 ? napdevos x 7 ? ypaus av. 950
AIS. elra 8?jTa
BATPAXO1. 53
OVK CLTroOavelv ere TCITJT' f\pr]V roX/m<3zrra ;
ET. fxa rbv '
br]p.OKpaTLKov yap avr Hbpatv.
AI. TOVTO fjikv eao-ov, ray.
ov crol -yap fcm irepiTraros 1 KaXXttrra Kepi ye TOVTOV.
ET. eireira TOUTOUO-C AaAeu; eSi
A IS.
&s irplv 8i8a^ai y' w^)eXes jzecros biappayijvai. 955
ET. AeTTTwj; re Kavov<av e(r/3o\as ITTW^ T ya>z>ia<r/Aou?,
roeii', opav, vvLfvai, orpe^eiy, epav,
icd)(' WTTOTOTrero-^at, irfpivociv auavra
AI2.
ET. oi/ceta Trpay/xar' eio-aycov, ots \pd>^6\ ols ^v
f Stv y av e^?jAeyxo/xi]J'' ^wetSo'rey ya/) ouroi 960
av pov rrjv T*xyr]v' dAX' OVK
avrous,
airo TOU <f>povelv aTrocmda-as, oiib'
TTOi&v xal Mtpvovas
.
8e TOVS TOVTOU re Kap.ov y
a?.
l Qopfjitcrios Meyaiveros 0' 6
8e KXetro^wr re Kat rjpa/xeVTjs 6
AI. rypa/xeVrj? ; o-o^ds y' dy^p xat 5eii>oj es rd iravra,
eo-Tj KOI 17X77 (Tiov
e<o rStv KaK&v, ov Xtos, dXXa Ketoj.
ET. rotaura
TOVTOKTLV e
Xoyitr/xov evicts T
jcai VKtyw, &<TT 7/877
54 BATPAXOI.
airavTa KOI 8tei8eWi 975
TO. r aXXa KOI ras oi/ciay
olKflv apeivov T) irpb row,
-TTOU juoi To8i ; TIS
AT. VT) row? ^eoi)s, yi5v yovv 'Adrj- 980
ratcoy aTray TIS eio-twv
Trpos rois oiKe
re, n-o
T^S fiatvi8os ; TO rpvfiXiov 985
TO TTfpV(Tlvbv Tf6vT]K jJLOi'
TTOV TO (TKOpoboV TO
TIS Trjs eXdas
8' a/SeAr
Ma///xaKV0ot, 990
MeXiTi'8at KaOrjvTO.
XO. Ta8e fi^y Xevo-a-eis, ^ai'St/x' 'Axi^^fv'
oa 8^ TI, 0ep e '''P ^ Ta y ra Xe^ets ; juo'voj; OTTCDS
/IT] o"' 6 dvfjibs ap7id(Tas
oltrei Twy eXa<3i>' 995
yap
dXX' OTTOJJ, S
/x^ Trpos opy^v d
dXXa (Tva-Tet'Xas, a/cpotcri
Tols IO-TLOLS, iooc
//aXXov fxaXXoy a^eis,
^yiV av TO irvev/xa XeTov
Kal /ca^ecrTTjkos Xa/3?js.
dXX' 3) irpairo? TcDy 'EXXT^rcov Trvpyc^o-ay p?//xaTa
K.al K0(rp.r)(ras TpayiKov ^ijpov, dapputv TOV Kpovvov
dc/uet. 1005
BATPAXOI. 55
3l
MMMV^B, . uy/ici*
AI2. 6vp.ovp.aL p.ev 777 ^vvrv^Lq /cat p.ov TO.
ayavaKTfl,
fl Trpbs TOVTOV 8et /A' dvriAeyeti;' Iva JUT) (pacncri 8'
aTropelv jue,
t /xot, T^OS owe/ca x/ 3 *? Oavp.aei.v avbpa
-no^rjv ;
ET. bfi6Ti]To$ Kat vov9f(rias, on fSeXriovs re Troi.ovp.fv
^ __ TOVS avOptoTfovs (v rats TroAeo-iy. 1010 [^^ >
AI2. roiSr' ovv ei /XT)
Ti iradtlv </>r/(reis a^to?
A I. TfOvdvai' JUT) TOVTOV epwra.
AI2. (TK\^at Toiwv otous ai>Tovs Trap 1 cp.ov TrapeSe^aro
TTp&TOV,
el yevvaiovs nai rerpaTTTyxftSj tat /XT) 8ia8pacri-
/XT/8' ayopatovs /xTjSe KoftaXovs, uxrirep vvv,
Travovpyovs, 1015
dAAa wtovras bopv nal Aoy)(as /ecu
Kal Ovp.ovs ftr
ET. /cat ST) x^P" rour ' Kaxov' KpavoTroi&v av p,'
AI. /cat rt (TV 8pao-as OVTUIS avTovs yevvaCovs
naive.
AI2. bpap.a TrotT/o-as "Apecos p-ea-Toi-. AI.
AI2. rovs e
56 BATPAXOI.
o Oeaaraufvos TTO.S av TIS dvr/p ripda-Orj Sato? etz^ai.
AI. TOVTI \iiv ooi Ka/coz> eipyaoraf 0rj/3aious yap
di'o'peiorepou? eis Toy 7ro\fj.ov' nal TOVTOV y
OVVCKCL TVTTTOV.
AI2. dAA.' v/jtty ai/r' e^f dcr/cetv, aAA.' OVK CTTI TOVT'
fTpdiTfcrOf. 1025
eira 8t8a^as Ilepo-as /xera TOUT'
del TOWS airnraA.ous, /coo-/ji7jo-as epyoy aptoroy.
AI. |ex.P 7 ? i; 7uv, ^viV rfnovcra TTfpl Aapeiou re^reairos,
6 xpos 8' ev^vs T&> x e 'P' *^' crvyKpovcras flirev
Zauoi.
AI2. raura yap a^Spas x/ 3 ^ TrotTjras aa-Ktlv. a-Ke\j/a.L
yap a??' apxfjs, 1030
is a>0e'Ai/xot rciiy -n'otrjrwz; ol yefvaiot
ju.ey yap
Movcraios 8' ea/c<reis T
'H(7io8os 8e
y^s cpyacrias, KapTT&v tSpas, dpo'rous* 6 8e
oi /cAe'os <i<r^v ir\r}v roC8' on
1035
rd^ets, operas, oTrAto-ety avbp&v ;
AI. *ai /x^y ov FlavTaKAe'a ye
op.a>s rw o-Kaiorarov' irpw?^ yow,
TO KpCLVOS TTp&TOV TTplbr](rdfJ,VOS TOV \6<f)OV
e7ri8?j(reii'.
AI2. aAA' dAAous TOI TroAAovs dya^ovs, Stv r\v nal Ad-
BATPAXOI. 57
o0ev 77/iATj (frprjv d'7ro|Liaaju,e'i>T7 TroAAas dperas
eirotTjcrev, 1040
Harpo/cAwy, TeuKptoy 0u/ioAeoVra>y, ?z>' eiratpotju,'
avbpa iroXirrjv
CLVTfKTfLVflV OVTOV TOVTOIS, OTTOTCLV
' ou /xa Af ou 4>ai8pas CTTOIOUJ; iropvas ovbe
SOevefiotas,
ovb' o?5' ovSeis fjvriv' tpGxrav Ttdnior
1044
ET. /ixa At', ovbf yap rjv Trjs 'A^poSirTjs ovbev (rot.
AI2. /xr;8e y* eTreirj.
dAA' eiri TOI (roi KCU rots trola-iv iroAA jroAAoi;
<ore ye /cavroy <re K.O.T ovv
AI. j^) TOV Ata TOUTO ye rot 817.
& yap I? rds aAAorpias CTrotety, avros rowroi(rtv
ET. Kat rt ^SAaTrrouo-', w o^e'rAt' dvSpfiy, r^y iroAtv
d//at S0ei>e'/3oiai ;
AI2. on yewa^as Kat yezn>ata>y avbp&v a\o\ovs ave-
ncuras 1050
Trtetr ataui'^eicras 8ta rows <rois BeA-
ET. Trorepop 8' OWK ovra Aoyov rouroy ^ept r^s 4>at8pay
ATS. /j,a A^', dAA' ovr'' dAA* aTTOKpVTTTfiv \pr) r6
poz; rov ye TroirjTrjv,
/irj8e 8i8do-/ceii'. roty /^iey yap
eon StSdcTKoAos oo-rts <f)pdfi t rot? rjpGxnv 8e
'TroiTjrai. 1055
58 BATPAXOI.
irdw ST) 8et
ET. 171; ovv (rv Aeyrys
feat TIapva<rG>v fjiuv /ueye'tfr/, roSr' eort TO
AI2. dAX', 3> KaKo8at/txoi', avayivr]
/cat 8tcu>ot<3i' tcra xat ra p^/xara
iKO? rovs ^/xifle'ovs rots p^f
i' 1060
KCU yap rots t/^artots ^ju,<3v \pStvrai iroAu <Tep.vo-
TtpQUTtV.
ajjiov xjirjcrT&s /caraSet^ayros SteAujuryva) <ru.
ET. rt Spdcras ;
A 12. Trpwroy /xey rovs ficHnXeuovTas paKi ap-TTLa^wv, iv
rots avdptoirois $a>oti>r' etvai.
ET. rour' ovv e/3Aa\|/-a rt 8pdo-a? ;
AIS. OVKOW e^e'Aet ye rpt?jpapxety TrAouraiy ovSets 8ta
raCra, 1065
dAAa p'a/aois TrepuAd/jte^os KAdet xat c^rjcri Tre
AI. vr) r?)v ATj/xr/rpa, x tr< *' i '" y'
KO.V Tavra Aeycov e^a7rar7j(nj, irapd rovs t
AI2. etr' au AaAidy e7rtrr}8e{5(rat cai
^ 'eKV(i>(Tfv TCLS re ^aAatcrrpas, Kat rovs TrapdAovs
dveTreKreu 1070
ai'Tayopeveiv rots opyovcriv. /catrot rore y', '
eyw '0*',
' dAA 17 ^a^av (caAe'crat Kat p
BATPAXOI. 59
AI. z>w 8' dpTiAe'yei, KOVKCT kXavvtav TrAei 8eu/u
e/ceia-e.
AI2. iroitov 8e K.O.K.&V ov/c atria? ear* ;
ou Trpoaycoyov? /caTe'8ei' euros,
jcai riKTovvas kv rots lepois, 1080
KOL ^Lyvv^vas Tolariv
<cal (f>a<TKovcras ov rjv TO
fear' e/c TOVTWV rj Tro'Ais ^
1085
TOV bfipov dei'
8' ou8ets oto? re (frepeiv
VTT yufii'ao'ta? en vwi.
AI. /uta At* ov 8^', coore y' a<f)r]vdv6r]v
lilavadrjvaioicrL yeAwy, ore 8^ 1090
fipabvs av0po>Tr6s ris e^ei Kvtyas
Koi 8eiya TTOIWJ;' Ka^' ot Kepa/x?y?
i> Tattrt TTvAais Tratoucr' aurou
yaore'pa, TrAeupd?, Aayo'ya?, Truy^V 1095
o 8e TUTrro/txefOS raio-t irAareiais
XO. fxe'ya TO vrpay/xa, n'oAu TO yeuos, a8/>os 6 iro'Aejuos
our epyov Statpetv,
6 /xez> Tetvr; ^Siatcos,
6 8' eTrava(TTpe(f)ii> bvvrjrat K
dAAa /XT) 'v TavraJ KaOijtrdov'
eio-/3oAcu yap eio-i T
o n wep ouy fyerov epi'Cetv, 1105
Ae'yeToy, eTTiToy, avabtpe&dov
TO. Te TraAaid Kai TO
60 BATPAXOI.
Ae7TToi> rt Kat (To<j)bv Aeyety.
ft 8e TOVTO KaTa<f)o(3el(rdov, fj-ri ris ap.aOia
rot? 0ea>//eVoto-tv, o>s ra mo
AeTrra /XT) yv&vai AeyoVrotv,
dppcofieire ToS0' % a>y OVK 10' OVTCO ravr' e
yap eicri,
fiifiXiov T f^to" ffao'Tos pavOavei ra
at <f)V(Tis T aA.Xcos Kpanorai, 1115
ovv
TrciTov, dfar&v y ovv\, a>s OVTU>V
ET. /cat /A^V CTT' avroi)? rovs -TrpoXoyous trou
07ra>5 TO TTp&rov rfjs rpaywSias //epos 1120
avrov flavaviS) TOV Se^tou.
yap ^y ev TTJ ^>pa<rei raij;
AI. Kat TTOIOZ/ aurou (3a<ravi(ls ;
ET.
irp&Tov 8e /xoi rov e^ 'Opearetas Xeye.
AT. aye 877 o-tcoira iras dv^p. Xey', Ato^uXe. 1125
AI2. c Ep/i?/ j(^oyte, Trarpw' eTroTrreucoy Kparrj,
yap es yv rrjvf /cat
AI. TOVTMV fxfts i/^e'yetv rt ; ET. irXeizJ ^ 8ft)8eKa.
AT '\\' >N f ^f >V >}\\>* /
AI. oAA oioe iravra ravra y for a\\ TJ rpta. 1130
ET. l)(ei 8' e/caoTov ei/co<rty y' dp.aprta?.
AI. AtcrxvAe, irapatycS (rot (rtcoTray et 8e /u^,
irpos rpurlv iaju/3eioto-t Trpoo-ocpetAcoy <paveT.
AIS. eya) o-tcoTTft)- r<S8' ; AI. eay Tretfty y' ejuot.
ET. ev^vs yap ^judprij/cey ovpaviov y ocrov. 1135
AIS. opas ort ATjpet? ; ET. aAA' oAtyoy ye' fxot /ixe'Aet.
AIS. TTO>? ^>7/s /x' ajaaprety ; ET. av^ts e dpx^s Aeye.
AIS. 'Ep/x^ x^o vte > 'TCtTpaJ' eTroTrTewa)!; Kparr/.
BATPAXOI. 61
ET. OVKOVV 'Ope'o-TT/s TOUT' tirl T<5 rvfjiftta Ae'yei
r<3 TOV Trarpbs TfOve&ros ; 1140
AI2. OVK aAAcos Ae'ya).
ET. TroVep', ovy Toy 'Epfj.fjv, a>s 6 Tranjp
8oAois A.a0patots,
AI. ov 8?jr' CKetyoy, dAAa TOV epiovviov
Epprjv )(66vi.ov jrpocretTre, Ka7jAou Aeycoy 1145
ort^ TTarpuov TOVTO KeKTTjrat yepa?.
ET. ert juci^bi; e^Tjjuapre? 7) 'yw ' ftovX6fj.r]v'
ft yap TrarpaJoy ro ^Ooviov e^et yepa?,
AI. OVTO) y' ay eirj Trpos irarpos Tvp-^wpv^os.
AI2. Aioyuo-e, 771^66? otvoy OVK avdocr^iav. 1150
AI. Aey' erepoy avru)' <rv 5' e7rir?7pet TO /3Aa/3os.
AI2. o-ft)T^p yeyou juoi a-vi^a^os T aiTOUfie'ya).
^'*ca) yap es y^y T^ySe Kai KaTe'pxo/uai.
ET. fits TauToy 57/xty et^ey 6 crowds Alo-^yXos.
AI. TTcSs Si's ; 1155
ET. <r/co7ret TO p^ju.'' eyo) 8e (rot </>pao-a>.
yap es yrjy, (prjcrl, K.al
8e Tdvrov ecrTt TW
AI. yij Toy Ar, wo-Trep y' ei Tts CiTroi
Xpf/o'oy on) p:a/cTpay, et 5e /SovAei, Kap8o7roy.
AI2. ov S^Ta TOUTO' y', S KaTecrToo/xuA/xe'ye 1160
ciy0pa>7re, TOVT' |(TT', dAA' apto-T ! eTrcSy ex oz; '
AI. TTois 877 ; bibaov yap lit Ka^' o Ti 8^ Aeyeis.
AIS. eA0ety p-ey ets y^y e<r^' 6Y<a
yap aAAr/s o-u/x^opas
8' ayrjp ^K Te Kai KarepxeTai. 1165
AI. ew y^ Toy 'ATroAAa). TI (rv Aeyeis,
ET. ov 0rjp;t Toy 'Ope'orrjy KUTeA^ety
\a6pa yap r)XOev, ov TnO&v TOVS
62 BATPAXOI.
AI. (v yrj TOV 'Ep/xTjy' o n Xeyeis 8' ov fj.avda.vti>.
ET. Tre'paiye roiwv eYepoy. 1170
AI. Wl TTepaiye (TV,
Aio^vX', dyvVas* cru 8' els TO KO.KOV aTro'/3Xe7re.
AI2. TV/x/3ov 8' CTT' o\Q<&
xXveiy, dfcovcrai.
ET. rovO' frepov av9is A.eyei,
K\veiv, anovarai, TO.VTOV ov cra<^eVrara.
AI. TeOvriKocriv yap eXeyev, S fj.o\6r]pe crv,
ols ovSe rpts Xeyorres f
AI2. OT> 8e TTWS eTTOtets rov
ET. eyw </>pdo-co'
*cdy JTOU 8i? etTToo TOVTOI;, 77
e^oScrav e^co rou \oyou,
AI. Wi 8^ A.e'y'* ov yap /IOVO-TIJ; dAA' a/coucrrea 1180
roSi; (TcSv irpoXdycoy TTJ? opOorrjTos T&V (TT&V.
ET. Tjy OiSi-TTOus TO irp&Tov vbaifj.(av av-qp,
AID. |na TOV Ai' ov S^T', dAXa KaKobaifj-wv (f)V(rei
OVTLVO. ye, Trpiy <frvvai fj.ev, aTroAAouv e^r/
Teveii; Toy iraTepa, Trpij; xal yeyoyeVai, 1185
OVTOJ TJV TO TTp&TOv evSatjucoi; cu>?/p ;
ET. e?T 5 f-yfVfT avOis d^XicoTaTos
AI2. /xa TOZ; Ai' ov 8^T*, ov piey ovy
TrcSs yap ; OTC 8r) trpStrov fj.ev avrov
XeifieSyos oyTos e^e^eo-ay ey oorpaKft), 1190
tya /XT) J KTpa$e!s ye'yotTO TOU irarpos (frovevs'
(Iff (as IIo'Xv^3oy r/ppTjo-ey oi8c5y T&> 7ro8e'
e^eiTa ypavy (yrjfjitv avrbs obv yeos,
xai Trpo's ye TOVTOIS T^y lavTou /xT/Te'pa*
CIT' e^eTV^Xcocrey avrov. 1195
AI. evSat/xfc^ ^P* ^
ei Kao-TpaTTjyjjae'y ye JUCT' 'Epao-iyiSov.
BATPAXOI. 63
ET. \rjpels' eyo> 8e TOVS TrpoXoyovs
AI2. KOI fjirjv /ia rov Ai' ov Kar' eVos ye crow
ro p?7ju.' eKacrror, dAAa <rvz; TOIO-IV Oeols
and XrjKvOfov crov TOVS TrpoXoyovs 8ta^)^epcS. 1200
ET. CLTTO \rjKv0iov crv TOVS ffj-ovs ;
AI2. fvbs p.6vov.
TTOifls yap OVT<OS COOT' eyapjuorretv aTrai/,
Kat K6o8a/3ioz; /cat XrjKvdiov KOI 6v\a.Ki,ov,
kv Tols ian/SfCoKTi. Sei^co 5' auriKa.
ET. iSou, <ri> 8et^eis ; 1205
AI2. ^fj.i. AI. xal 5r) \pr) Xeyetv.
ET. Aiyu-Trros, a>s d TrXeio-ros lo-Traprai Xoyos,
vv Traicrl TTfVTrJKOVTa vauriA.&) irAaTTj
"Apyos KttTao-)(Cdv AIS. \r]KV0iov airto
AI. Toi/rl Tt 7/y ro Xr]KV0i,ov ; ov
Aey' Tfpov avr<3 itpoXoyov, Iva
ET. Atoyuo-os, 6s dvp<roi<ri KCU vf{3pG>v bopals
fv TTfVKaicri Ylapva&ov Kara 1212
A12. XrjicvOiov aitutXecrev.
AI. oi/xot -Tre-TrATjyfie^' av^is VTTO T^S XrjxvOov.
ET. dAA' ov8ey lorai Trpayp.a' irpbs yap TOVTOVI 1215
TOV TrpoXoyov ovx f^ cl Trpocratyai A.7jKt;0oi>.
OUK H(TTIV OCTTLS TT O.VT O.VT] p V b a I fJ. O V l'
1} yap TrftyvKtos fcrOXbs OVK ex et fiiov,
rj bvo-yfvrjs &>v AI2. kr}K.\>Qiov aTrcuAeo-ev.
AI. Evpnribr), ET. rf IOTIJ; ; 1220
AI. - v(pe<r6ai fj.oi boKfi.
TO Xr]K.vBiov yap TOVTO irvevo-elTai TroAu.
ET. ov8' ar fxa TT)I> Avj^rpa </>poyri(rat/ii ye"
ywi yap avrou rouro y' eKK6Ko\^erai.
AI. 106 8r) Aey' erepov Kairf^ov Trjs \t]nvOov.
ET. StdcivtJv TTOT' aoru Ka6/xos e/cAiTrwj; 1225
64 BATPAXOT.
'Ayrjvopos Trot? A12. \rjKV0iov d
AI. a 8aip-oW avbp&v, aTroTrpta) TT\V \rjKv6ov,
Iva P.T) biaKvaifrr) TOVS TTpoXoyovs f]p.&v.
ET. TO ri';
eye!) Trpicopiai r<38' ; AI. eav TTfiOrj y ep.ot.
ET. ow 8^r', eirei iroAAovj TrpoXoyou? e^co Aeyeiv 1230
ty' OVTOS ov^( eet Trpo<ra\l/ai \riKvOov.
TlfXoty 6 TavraXeios fls Tllcrav
doa1<riv ITTTTOIS AIS.
AI. opaj, Trpocri]\l/V avQis av rrjv
dAA', <ayad\ Irt KOI yi)y a-nobos Trdo-r/ re^yT/* 1235
X?j\/rei yap djSoXou Tram; KaX^v re Kaya0?/i>.
ET. fxa TOV At 1 ovTTft) y'' ert yap eio-t pot rrv^voi.
Olvfvs TTOT' eK yijs AI2.
KT. eWoy eiTrtiy TrpcS^' o\ov fxe TOJ;
TTOT' eK yfjs TroXv/xerpov Aa/3&)M,
i', 1240
apxas AIS.
AI. /xerav 0va)v ; xat ri? av^' v
ET. eacrov, S ray' irpo? ro8t yap ei7roYo>.
Zet)s, o>s XeXexrai TT/S dXTj^eias VTTO,
AI. aTroXei (r' p epet yap ; XTJKV^IOV aTrwXeo-ev. 1245
T^ XrjKvOiov yap rour' evrt rots TrpoXoyoicrt trou
ajcnrep Ta <ri;<c' CTTI roicrti; o^OaXij.o'is f(f)v.
dXX' es rd /ieX?; -ffpo? ra>y ^ecSv avrou rpairov.
ET. Kal p-^v e^w y' w? avrbv aiTobcL^oy KCLKUV
p.eXoi7oiov orra /cat Trotouvra ravr' det. 1250
XO. rt ^ore irpayp-a
fypovri&iv yap eycoy'
rtv' apa p-e'p-^t
di>6pt roJ TroXv -n'Xetora 5^
Kat KaXXto-ra pc'Xrj TTOITJ- 12 55A
BATPAXOI. 65
TV
6avfJ.d^(a yap lycoy' OTTT]
/u.e'jux/'erai' TTOTC TOVTOV
TOV /3aK\fiov dvaKra,
KOI 8e'8oix' virep avrov. 1260
IT. Tfdvv ye /XC'ATJ 0auju,aard' 8eiei 8^ raya.
els ti> yap CLVTOV Trdvra TO. ju,e'A7j
AI. Kai ju,r)v Aoytou/ixat
ST. 4>^ie3r' 'AtAAeu, rt -TTOT
i^ KOTTOV oil TT\d6eis fir' apuydv; 1265
EpjMav /^tev TTpoyovov rio^ev yevos ol irepl
Xipvav.
if] KOTTOV ov TTf\d6eis eTr' dpcoyav.
AI. bvo crol K07TO), Aior^vAe, TOVTCO.
CT. KuStor* 'Axaiwi* 'Arpeaj? -noXvKoipave [LO.V-
8avf pov TTal.
IT/ KOTTOV ov TTf\dOfis eir' dputydv. 1271
AI. rpiros, Al(rxy\, aol KOTTOS OVTOS.
IT. eixf>afj.lT' p.\ia-crov6fj.ot.
ir) KOTTOV ov ireAd^eis ITT' apu>ydv. 1275
6poelv obiov Kpdros aicrioy dv-
ll) KOTTOV OV TT\d0lS fit dp(t)ydv.
S) Zev fiafnXev, TO XPW a 7 "'>> i; KOTTMV ocrov.
eyw /otev ovy ey TO /SaAaveioi 1 /3ovAo/jiai'
VTTO r3v KOTTCOV yap T&> V<pp<a (3ovj3a>i'i&. 1280
JUT), ?rpiV y' Sy aKOVo-ys xdrfpav aTdcriv jueAaiv
ex rwi; KiOapwbiK&v v6fJUOV
i^i 8i) TTtpaive, KOI KOTTOV p.7] Tr
E
66 BATPAXOI.
ET. OTTCOS "'AXO-I&V bidpovov Kpdros, 'EAAdSos
1286
a bvarafj.epi.au TtpvravLV Kvva Tre'/
TO(f>\aTTo0paT TO(pAaTTo'0paT,
(TVV Sopi /cat X e P' irpaKTopi Oovpios opvis,
TO(f>kaTTo6 par ro^Aarro^paT, 1290
tra/xais KU(riy depo^ot-
TOIS,
TO (rvyxAiyes T' eir' Atavrt,
TO(f)\aTToOpaT
AI. TI ro (pXarroOpa
TToOfV (TVV\^aS lfJLOVlO(TTp6(f)OV fJ.\r] /
AI2. dAA 5 ouv eya) p;ei> es TO KaAoy ex TOU /caAou
av9\ iva pr) TOV avrbv 3>pvviyj&
Mouo-cSz; iepoz> 6<j>0firiv SpeTrcoy 1300
OVTO? 8' OTTO irdWa)!; iropvibifav /XC'ATJ tpe'pei,
tcoy MeATjTou, Kapt/cwy avXf]\J.a.Tu>v,
TIS TO Avpiov. Kairoi ri 8eT 1304
\vpas fTtl TovT<av ; TTOU VTIJ; ^ TOIS dorpa/cois
; 8eupo Mouo-' Evpt7rt'8ou,
Ta8' CCTT' a8etv /ie'A?j.
AI. avTrj 7ro0' ^ MoCo-' OVK 6Aeo-/3uzez>, ov.
AI2. dAKUoyes, at Trap' dezmois ^aAdo-o-js
KVfjiacrL orTcojiiwAAeTe, 1310
Teyyovcrai
a? ^' VTrcopp^tot /caTa -ytavias
(pd\ayye$
BATPAXOI. 67
doiSou
Iv 6 <f)i\av\os eTraXXe 8eX-
<pls Trp<apaLS KuayejA/3oXois
fiavreia KCU crrabiovs.
oivavdas ydvos dpiTreXov, 1320
/Sorpuos IXtKa Ttava-iTrovov.
Trept^SaAX', S TCKVOV, wXe'vas.
opas Toy -TroSa rouroi' ; AI. 6p3.
AT2. rt 8ai ; Touroy opay ; AI. opai.
AI2. rotaurl /utevrot crw -770152; 1325
TO. fj.ev /xeX?j crou raura. ^ovKo^ai 8* ert
TOV TWJ; /xorajStwy bice\6fiv rpo-nov. 1330
a> NVKTOS
op<f)va, riva
oveipov
a<J>avovs,
'Af8a
(j,\aivas NUKTOJ TratSa, 1335
8eivav oiv,
<povia <povia
jxeyaXous
dXXa |xot ap.<i7roXoi Xv^^oy a\j/aT
K.6.\Ttl<rt T' 6K TIOTO.li.GtV $p6<TOV a
ovfipov aTTOKuo-aj. 1340
iw
roy dXe/cTpvo'ya JUOD cruyapTrdaao-a
E 2
68 BATPAXOT.
& Mavia, fv
ey&) 8' a rdAcura -Trpocre^oua-'
p,(TTov arpaKTov
K \axrTrjp a Ttoiov<r\
KV<f>a.los fls ayopav 1350
<f>povar' a.Tro8oifj.aV
6 8' avfTiraT^ dveTrrar' e? aldepa
TTTepvytov ax/ncus*
X ea
8a/cpva 8aK/3vd r' air' o/
e/3aAoy e^SaAov a rA.d/xa)y. 1355
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ra To^a \aj36vTts e
d r' d/XTrdXAere, KV-
8'
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ras KVvicrKas f\ovcr' eA^ercu 1360
8ia Sopicoy Trairax'/.
<ri 8', S Ato?, St^vpous dye
Aa/x,7rd8as o^urdraiy X el ~
polv, 'E/cdra,
fS r\VKr)S, OTTO)?
. Ttavvacrdov r/brj T&V /xeAcS^.
<U2. /cojuoty' aAt?.
(TTadfJibv yap O.VTOV ayayelv ^ovAojixai, 1365
^eAey^ei TTJV 7701770-11; i><3p fj.6vov'
TO yap fidpos v&v ftacraVLel TU>V pTj/ndrcor.
BATPAX01. 69
AI. tre 8e0po wv, eforep ye 8ei /cat TOVTO p.e
avbp&v TroirjrdSi 1 rvpo7rcoX^(rat Te'^yrji;.
XO. eTTiTToyoi y' 01 8eioi. 1370
To'Se yap eYepoy av repay
6 Tts ay e"7reyo?7<rey aXXos ;
JJLO. TOV, eyw /xey ov5' ay ei rty
eAeye /xot rv eirtTT;)(oyra)y, 1375
, dAA* wo/xrjj; av
avra Xr/pew.
AIONT2O2. A12XTAO2. ETPiniAHS. nAOTTiiN.
AI. 60t VW irapicTTaa-Oov Trapa TO> TrXacrnyy',
AI2. /cat ET. Ibov"
AI. /cat A.aj3o/xeyco TO p^' eKarepos etTraroy,
Kai /ITJ iJLfdrjtrOov, Ttplv av eye!) <T<f)<$v KOKKVO-O), 1380
AIS. /cat ET. exoVefla.
A I. TOWTTO? ruy Xeyeroy eis roy
ET. ef^' <J><peA' 'Apyous /A^ 8ia7rrao-0at
AIS. 27repxete irora/^e fiovvonoi T
AI. KOKKV, fifOeiTf Kal TToXu ye icaTcore'pa)
Xcopei TO Toi58e. ET. xal TI TTOT' eort
AI. OTI eiVe#?7Ke Trora/xoi', epio7ra)A.iKO)s 1386
vypbv TrotTjcras TOVTTOS wo'Trep Tapia,
(ri> 8' eio-e^rjKas roviros
ET. aXA* frepov etTraTO) TI
AI. Aci/Seo-fle TOLWV avdi.s. 1390
AIS. Kal ET. ^y i8ov. AI. Ae*ye.
ET. OVK e<TTt Heinous ipoy aAAo -n-A^jy Aoyos.
AIS. fiovos 0e5y yap ayaros ou Scopcoy epa.
AI. f/e^eiTe /^tefleiTe' Kai TO Toi58e y' au pe'iref
Oavarov yap eio-e'^rjxe /3apvraroy
E3
yo BATPAXOI.
ET. ey&> 8e -neiOdi y, ITTOS dptor' flpt]\j.ivov. 1395
AI. 7rei0a> 8e KOV(j)6v eOTl Kdl VOVV OVK X OV -
aAA' erepoy av (^ret rt T &v /3apv<TTa6^.(av,
o Ti (rot /ca#eA.et, /caprepdz; re /cat /^eya.
ET. <e'pe TTOI; TOIOUTO 8?]rd /xovort ; TTOU ;
AI. <pa<ra>*
^Se^SXTjK 5 'A)(i^A.evs 8vo KV/3&) KCU rerrapa.
Xeyoir' ai>, a>s avrij 'OTI XOITTT) (r<f)&
ET. o-i87jpo/3pi0e's T l\a/3e
AI2. e<^>' ap/xaros yap app-a
AI. er)Tra.Tr]Kfv av (re xal yuy. ET. rw
AI. Sif ap//ar' eicr^reyKe Kat ye/cpa) 5vo, 1405
o^s OUK ay apaivr ovS' eKarov Alyvimoi.
AI2. *at ju,?]Ker' ejutotye /car' ITTO?, dXA.' e? roy (TTaO^ov
avro?, ra TratST, ^ yuyr/, K?]<^t(ro^)5y,
KaOrjcrOti) (ruAAa/3ci)i' ra /3t/3A.ia*
a) 8e 8i7 ITT?] r5f e/^aJf epw povov. 1410
AI. aVSpes <^)iA.ot, Kayo) /xey avrovs ou
ov yap 81' e^pa? ov8erepa)
rov p.ey yap f]yovfj.ai crotpov, rw 8' r/8o/j,at.
FIA. ovSei; apa Trpd^ets <Sz>7rep ^A.^es owe/ca ;
AT. eay 8e Kpiyco; 1415
DA. TOI; erepoy Xafiuiv
OTrorepor &y Kpivrj?, ty' ehdrjs /XT)
AI. evSat/xovotTjy. <^)epe, Trudecrdf fj.ov rabC.
eya) /car^A.^oy CTTI iroirjTrjv. ET. rou \apiv }
AI. u/ 1 77 TToAt? (ra)0et(ra roi/s ^opovs dyr/.
OTro'repos ovy ai> r?) TrdAet irapaivecrfiv 1420
fie'AA?; rt \prjaTov, TOVTOV afiv /iot 8oc5.
irp&rov juer ovy wept 'AXKt/3id8ou rty'
yv&iJ.T]v eKoYepos ; 17 TrdAts yap Swro/ceu
ET. ex^t 8e Trept avrou rtva
BATPAXOI.
AI.
ET.
AI.
AIS.
AI.
ET.
AI.
ET.
ET.
AI.
ET.
AI.
ET.
M 2 5
'43
nva
/xey, ex$atpet be, /3ovAerat 8'
aAA o rt yoetroy, etTraroy TOVTOV Tre'pi.
/juovu TroAmyy, ocrris <a(peAety Trdrpay
fipabvs (pavetrat, /xeyaAa 8e /3Adirrety
Kai Tropi/xoy avr<3, TTJ Tro'Aei 8'
ow XP') Aeovroj O-KVJJ.VOV fv TroAet rpe'cpeiy.
//dAiora fier Ae'oira /n^ 'y Tro'Aet
T^V 8' eKrpacp^ TIS, rots Tpoitois v
vr] TOV Aia Toy o"ft)Tr^pa, 8uo"*cptra)S' y'
6 fxey (ro(p&s yap eiirey, 6 8' erepos <ra(p<as.
aAA' en /xiay yv(ap,rjv eKarepos etTraroy 1435
irept T^S TToAews rjvTiv* t\Tov
et rts Trrepoocras KAeo/cpiroy Kiyr/o-ia,
atpoifv avpai TreAaytay vTrep
ye'Aotoy ay <patyo/To' youy 8'
ei yau/xaxotey, Kar' exoyres
pat'yotey es ra jSAe'^apa rai
eya> /xey oI8a, xa
oray ra yCy aTriora
ra 8' oyra TTIOT' aTTtora.
7TWS j
d/zafle'orepo'y -jrws eiTre KOI
et r<3y TroAtrcSy olo-t
rovrois aTTioTTjo-at/xey, ots 8' ow
rovrottrt -^rjcraC^fo-da, arcaOeirjfiev ay.
et y{5y ye SuoTvxoS/xey *v TOVTOUTI,
TavavrLa Trpd^ayres ov o-to^oi/ie^' ay ;
ev y', FlaAa/jir)
ravrt Trorep' avro? evpes T) Krj(^io-o^)3y ;
eya) novos' ras 8' 0^1805
72 BATPAXOI.
AI. rl 8al Ae'yeis <ri> ;
AI2. Trjv 770X12; vvv pot. <ppa<roz>
irp&Tov, run xprjrai' Trorepa rols \pr](TTols ; 1455
AI. TroOev ;
jixicret KciKiara. AI2. rots TroinjpoTs 8' TJio'erai ;
AI. ov 8777-' fKfivri y, aXka, \pfJTdL irpbs ftiav.
AIS. TTWS ovy ris ay a-wcreie roiawrrjy TroAiv,
17 /xTjre )(XaTya ju?jre a-Lcrvpa <n^<epei ;
AI. evpi(TK vrj AC, etirep dya5v(re6 7raA.iy. 1460
AI2. Kti <ppacrai}j? av' evdaftl ' ov /3ovAo/zat.
AI. /x?) 8?}ra crv y', aAX' fv6fvd' aviet To.yo.Qa.
AIS. T^y y?jy orav voptowrt TJ]V rStv
TTopov 8e ras vavs, airopiav 8e TOV iropov. 1465
AI. v, TiX-fiv y 6 StKaarrjs avra K.a.Ta.'nlvGi fj.6vos.
FIA. Kpivois av.
AI. avTr] (r(pwi; Kpicris yez>?7<reTai.
aip?]crop:ai yap
ITirV^ /
rj fj.rjv aTTa^fLV p olKa8', alpou TOVS . (f)i\ov$. 1470
AI. f] yAwrr' djuctfjaox', Aicrx^Aoi; 8 atp?j<rop.ai.
ET. Tt 8e'8pa/ca?, S fj-iaptaraT av0p<i)Tr<av ;
AI. eyw ;
tKpiva VIKCLV AlcrxyXov. TIT) yap ov ;
ET. aio^toToy epyoy Trpofr/SAeTreis 1 //.' etpyacr/xevos ;
AI. Tt 8' alcr^pbv, r\v p.^ rots ^eaj/xevots 8oK?J ; 1475
ET. S o-^eTAie, Trepto'x/fei p;e 8?) reOvrjKOTa ;
AI. TS otScy ei TO (^Jp /xey etrTi
TO Trveiv 8e SetTrveiv, TO 8e
ITA. ^uypelre TOLVVV, S AtoyDcr', ettra). AI. rt 8at ;
IIA. Iva ^ertcrco cr^)&> Trpiv aTroTrAeii'. 1480
AI. fv rot Ae'yets
BATPAXOI. 73
vfj TOV AT' ov yap a^dofjiai r<3 irpcty/txan.
XO. juaKapto's y' dz/T/p
irapa
o8e yap eu typoveiv boKrjcras 148.5
TT^Aty a7rt(rtz; oiKa8 J aw,
CTT dya^(5 /^ter TOIS TroXirat?,
eir' dya^w 8e rois eaurou
uyyeve(rt re xal ^>tXoicri,
8td TO (ruveros eivat. 1490
ovv pr) Scoxparet
AaA.eii>,
Tc re /xeyiora
rfjs rpaywSiK^s Te^vrys. 1495
TO 8' eirl (TCfjivoicriv Aoyoi<rt
apyov
Trapa<ppovovvTos avbpos.
FTA. aye 8r) yaipav, Aio^vAe, \<&pfi, 1500
> / \ /
/cat crwfe -TroAty TT)V rjfjifTfpav
n " \ /^
yyw/jiais aya^at?, >cat Traioeixroi;
TOVS dvoTjTous* iroAAoi 8 flviv'
KOi bbs TOVTl K\O(p&VTl <pcp(l)l',
K.al rovrl TOUTI TroptarTals, io5
t 0' OMOU
a)s e/xe Seupt Kat fir)
Kay /ut^ Taxe'ws rjKuxnv, eyw
v^ roy 'ATro'AAa) o-T
KOI (TUjix7ro8t(ras-
7-
74 BAT:RAXOI.
y*
fjLCT 1 'Abeifji&vTov TOV
Kara yrjs Taboos
AI2. raura iroirjcTti)' av be TOV danov 1515
TOV fp.ov Tiapabos 2o</>OKA.ei rTjpety,
/ca/Aot (r&fav, rjv ap' eyctf irore
bevp' d^iKco/mai. rouroy yap eyci)
<ro$ia Kpivut oevTepov flvai.
litHvr]<TO 8', OTTCOS 6 TrayoSpyos dv^p 1520
KCII tyevbo\6yos Kal (Bu>iJ.o\6)(os
fX7j8e7ror' (is TOV OO.K.OV TOV e/xov
I1A. <f)aivfT Toivvv v//eTs
ipas, X"M
TOVTOV TOVTOV
XO. irpwra /nez; fvobiav aya6r]v aKLOVT
es ^xios dpyu/xeya) Sore, 8ai/xoyes ol Kara yai'a?,
TT; 8e 7roA.et //eyaXcoy ayaQ&v ayaOas (irtvoias. 1530
irayxu yap ec p.ey(iXa)i; a\e<t)v Tra'
dpyaAecov r' ev oirXots ^wodcoy. KXeo^wy
icaA\os o BovXouicvos TOVTCOV irarpiois ev dpovpats.
^
W/tll
OXFORD
PRINTED AT THE CLARENDON PRESS
BY HORACE HART, M.A.
'PRINTER TO THE UNIVERSITY
Claunbon
ARISTOPHANES
THE FROGS
WITH INTRODUCTION AND NOTES
BY
W. W. MERRY, D.D.
Rector of Lincoln College, Oxford
FIFTH EDITION
PABT II. NOTES
HENRY FROWDE, M.A.
PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH, AND NEW YORK
NOTES.
THE scene opens with the journey of Dionysus, accompanied by his
slave Xanthias, to the lower world. Dionysus is grotesquely dressed
in a saffron-coloured robe (46 foil.), with a lion-skin thrown over it.
Xanthias is mounted on an ass ; but he does not get the full benefit from
his beast of burden, for across his back is poised the regular porter's
yoke (dvatyopov v. 8), from either end of which hangs a load of packages,
so heavy that he is constantly wanting to shift it from shoulder to
shoulder.
1. I. eiirw, 'am I to utter?' deliberative conjunctive, as iroi (pptvuv
(\0u, irarfp ; Soph. O. C. 310. The negative particle used in this con-
struction is regularly ^17, as inf. 5. jxi]8' (repay darftov n. Cp. Xen.
Mem. I. 2. 36 i*r]8' airoKpiveafixu ovv ;
TOV euodoTcov, i. e. the stale, commonplace jokes that form the stock
of ordinary Greek comedy. Aristophanes is fond of claiming novelty for
the contents of his plays, as in Nub. 538-546 ; Pax 739 foil., where
special reference is made to the stale jokes of the comic SoCXot.
1. 4. tj8T| x^- The repetition of such expressions as, ' I'm over-
loaded,' 'I'm being crushed,' is more than Dionysus can stomach: 'I
am already positively sickened by it,' literally, ' there is already anger
to me,' understanding an objective TOVTCUV, sc. 'against such jokes.'
This is better than understanding ravra as the subject to ICTT'. The
notion of anger is included with that of disgust ; but the words do not
mean, as often rendered, ' it is as bitter as gall to me.'
4>uXagai, as the accent shows, is mid. aor. imperat., ' keep clear of
that.'
1.5. oerretov. Xanthias characterises as ' witty,' or 'smart,' expres-
sions that were really coarse and stupid (aypoucov, fpopriKov) ; and the
next gross joke that he has in store he describes as ' the height of fun '
(TO iravv Y*^ OIOV )-
1. 12. ri STJT' cSci, 'why was I obliged?' The tense refers back to
the time when the original arrangements for the journey were made.
See on 24 inf.
A 2 3
FROGS.
I. 13. ^pvivixos. This is the comic poet, to be distinguished from
the writer of tragedies (see inf. 910). He brought out the Moporpoiros
and took the third prize when Aristophanes was successful with his
' Birds ; ' and the second prize for his Moverot when Aristophanes gained
the first with the 'Frogs.' About Avicts nothing is known. Kock
suggests na.tri\vKos, because 'EirtAv/cos was one of the poets of the Old
Comedy. Ameipsias, when Aristophanes was unsuccessful with his first
edition of the ' Clouds,' took the first prize with, a play on a similar
subject called Kovvos, introducing the character of Socrates and a chorus
of <t>povTtarai. Ameipsias also gained the first prize with his Kw/taffTai
when Aristophanes took only the second with his ' Birds.'
1. 1 5. ot crKeuccjjopoticr'. ' who always carry baggage ; ' i.e. introduce
slaves carrying baggage. There may be a sly suggestion that these play-
wrights dealt only with ' scenic properties,' and not with real poetry and
wit in their comedies. So we have ffKtvapia used of the Euripidean
' properties,' Ach. 451.
Most MSS. read cncexhr] <j>ipovcr', or ffKtvrjcpopova'. Fritzsche would
read wcr-ntp for Sivirtp and ffKtvo<f>6povs ace. plur. ; making voiovai cnefvij-
<popovs = baiulorutn personas inducunt ; cp. Qatipav iroieiv Thesmoph.
153. Bergk would put a mark of interrogation after tituOe TTOKIV ; and
so make pi A.VKLS begin a new clause, ' Why ! both, Lycis and Ameip-
sias carry baggage.'
1. 1 8. irXetv (Attic irregular contr. for ir\(Tov) YJ 'vunmS, 'older by
more than a year,' i.e. I leave the theatre feeling more than a year older
through weariness. Cp. Shakespeare, Cymbeline, 'Thou heap'st a year's
age on me.' Dionysus speaks of himself as a spectator (0w|xevos) ; and
this falls in well with the idea that he is presented here as the type of
the Athenian Demos.
1. 20. pei. Nothing is gained by altering, with Cobet, fpti to fpa>.
All common-place grumblings are tabooed; and the poor overloaded
neck may not tell its own troubles. Cp. inf. 237 6 irpoaKTos . . . eyKvipas
iptT. Here Dionysus loses all patience at the ' insolence and utter conceit '
of the slave in pretending to have a grievance, though he is riding while
his master walks. ST' (1. 2 2) is for ore not Sri, as in Nub. 7 etc
1. 22. vlos Srapaov, a surprise for vios Aios. 'Son of Jar,' appro-
priate enough to the wine-god.
1. 23. TOVTOV S'oxw, ' and am giving him a mount:' cp. sup. aictvo-
tpopova*.
1. 24. ToXatiropoiro. The optat. after the pres. indie, (see on
Kti, sup. 12) points back to the original intention of the arrangement.
Cp. Od. 17. 250 TOV WOT" ffwv .... ow TT;\' 'WaKtjs iva poi fiioTOv
TToXvv a\4>oi. See Goodwin, Moods and Tenses, 44. 2. note 2. 6, who
quotes TOVTOV xi TOV Tpoirov 6 vopos, iva prjdt irtiaBijvai prjSi' taira.TT)-
4
NOTES. LINES 13-38.
efjvai YVOIT* ITTI TO) Srifuv, Dem. Androt. 596. 17, where he remarks
that ?x e ' implies also the past existence of the law ; the idea being that
the law was made as it is, so that it might not be possible, etc.
1. 25. ou yap 4>p '-yea ; Here begins a string of quibbles and verbal
subtleties in the true sophistic style. 'Pray am not I the bearer of a
load?' ' Why, how can you be a bearer when you are having a ride?'
' Yes ! but still bearing all these things.' ' Bearing them how ?' ' Like
a sore burden.' ' Isn't it an ass that is bearing the burden which you
are bearing?' 'Most certainly not what I have got and am bearing.'
In 1. 26, the question riva. rpo-nov is misunderstood by Xanthias. Dionysus
means, 'How can you be said to be bearing when you are borne?'
Xanthias interprets ' how ? ' to mean ' in what way ?,' ' with what feeling?'
and so he answers {3apco>; irdw, i. e. aegerrime fero, the word being
resumed in fiapos. The humour of the passage lies in the fact that both
disputants are right the ass really bears the double burden, but the man
is loaded just as if he was walking.
1. 33. Ko.KoScup.uiv. Xanthias can at any rate see that he is being
mocked, though he cannot rebut the argument ; and he wishes he had
been one of the slaves who had volunteered for the battle of Arginusae,
for then he would have gained his freedom, and would not have been
subject to the oppression of a master. See inf. 693.
1. 34. Join KWKveiv paicpd, 'to howl aloud;' as olnufrtv \uutpa Av.
1207. Cp. Hor. Sat. i. 10. 91 iubeo plorare. The phrase is the anti-
thesis to "xaipfiv Kf\(va>.
1. 35. KaT<xj3a. Imperat., as in Vesp. 979. The ordinary form is
KardfiT)0i. Curtius (Verb. chap. xiv. 37, 38) quotes ter/Sa Eur. Phoen.
193 ; /xa El. 1 13 ; fvifia. Theogn. 847 ; irpofta Eur. Ale. 872 ; describing
them as thematic present imperatives from (obsolete) present @da>.
1. 36. Pa8icijv, ' on the tramp ;' alluding to his walking while Xanthias
rides. With iyyvs ^H 1 (not tlpi as vulg.) cp. Eccl. 1093 l-yyiiy ijSr) rijs
Gvpas | lA/fo/xtyos tl/ju, Plut. 767 ws dvSpts (fyvs tiaiv ijSi] TOIV Ovptav.
1. 37. ?8ei, ' it was my duty,' sc. as previously arranged, see on sup. 1 2.
TJH.C, is not, as the Grammarians described it, the Attic form of <prjpi,
but a defective verb parallel to the Lat. a-i-o; most often occurring in
the phrases Jjv 5' t-yw, and ?j 5' os (dixi dixit) in Plato. There is, how-
ever, this difficulty in connecting the Greek and Latin forms, that T/^M'
shows no trace of the original g in a-i-o ; cp. ad-ag-ium, ind-ig-itamenta,
etc. Here Dionysus calls out to the slave, whom he supposes to be
within the house of Heracles as porter ; but the hero, who is living in
a humble way, answers the door himself.
1.38. KevTavpiKuis, ' savagely.' Heracles had fought with the Centaurs,
and knew their brutal ways. With vr|\a6' (tp-aAA.ofieu) cp. Soph. O. T.
1261 irvAais Sioaats evfaar.' With oa-ns supply tfv u waTa^as, 'who-
FROGS.
ever it might be." Here Heracles peeps out, and catching sight of the
strange appearance of Dionysus he bursts out with ' Do tell me, what
might this be?' Dionysus mistakes the expression of astonishment for
one of fear, and calls the attention of Xanthias to the fact ; addressing
him, aside, as ' slave ! ' (6 irats).
1. 41. JJITJ paivoio Y 'yes, afraid you were crazy.' The addition of
ye corrects the view of Dionysus 'afraid he was certainly: not how-
ever at your formidable appearance, but only lest it was a madman
he had to deal with.' Compare the words of Odysseus, Soph. Aj. 82
(ppovovvra fdp viv OVK av e^fffrrjv OKVU.
1. 43. BdKvo). I. e. ' I bite my lips,' to keep in my laughter.
1. 45. diroeropTJorai, ' to drive away,' ' keep off.' Probably he passes
his hand hastily over his mouth, as with the action of ' brushing
something away. ' Cp. Vesp. 460 ; Eq. 60 ; where it is used of flapping
away flies, and the like. The KpoKtoros (sc. \LTWV~) which peeped out
under the lion-skin was properly a woman's garment. See Eccl. 879 ;
Lysist. 44, 219. Coloured clothes were not ordinarily worn at all by
men.
1. 47. rCs 6 voOs ; ' what's the meaning of it all ? what is this
combination of the buskin and the club ? ' i. e. the incongruous mixture
of hero and woman ; for KoOopvos seems to be used here rather as an
article of female dress than as part of the costume of the tragic actor ;
although this would suit Dionysus well. Schol. 6 KPOKOITUS Kal 6 KoOopvos
fvvaiKfia fcrnv, 17 5e Xfovrij Kal r& 6ira\ov dvSpfa.
1. 48. iroi -yfjs d.TTST|[its ; ' where might you be travelling to ? ' in
such equipment. Dionysus seems to have understood -not dirfS^/jeu ; in
the technical sense of ' where have you been on foreign service ? ' as in
Lysist. 99 foil. TOVS irartpas ov iroOfTre roiis rtav iraiSiaif \ (m arpema?
dirovras', fv yap olS' OTI | irdffaifftv vfuv fffrlv dTroSrjiuuv dvrjp. So he
promptly answers, ' I was serving Cleisthenes as a marine ; ' sc. in the
battle of Arginusae. 'EiripaTViv means, to be an firipaTTjs, or ' fighting
man on ship-board,' as distinguished from the crew. Cp. Hdt. 6.12;
Thuc. 3. 95. The dative KAeiaOevei follows fire^arevov on the analogy
of ypafifiarevfiv, irpeffpfvtiv ra>i.
1. 49. Kal KaT8ticra|Av -ye vavs, ' aye, and what is more we sank
ships.'
1. 51. <r<f>w; 'what, you and he together?' The words K^T' tycoy'
{-TiYp6nT]v are spoken by Xanthias as an 'aside.' He has been listening
to his master's boasts, and expresses thus his sense of their visionary
nature ; ' and then I woke, and behold, it was a dream :' others, less well,
assign the words to Heracles or Dionysus.
1. 53. 'AvSpo(x8av. This play, acted in the year 41 2, was evidently very
popular in Athens, as we may judge from the allusions to it in Thesm.
NOTES. LINES 41-72.
1018, 1022, 1070 foil. It was a play likely enough to suggest a iroOos,
for it turned upon the ' passion ' of Andromeda for her deliverer,
Perseus, irpos ejiaurov, i. e. 'silently'; not aloud, as was the frequent
practice of the ancients even when reading alone.
1. 54. ircos oui crcfjoSpa, lit. ' violently, how think you ? ' = ' you can't
think how violently.* So mus 8otV= 'you can't think hownicely,' Nub.
88 1. The original interrogative force of the phrase has been forgotten,
as in irus dv = utinam, and so it is sometimes printed without a mark
of a question.
1. 55. MoXtov was, probably, the protagonist in the Andromeda, as
he was in the Phoenix of Euripides. If he is the personage of huge
stature to whom the Schol. refers, piicpos must be used ironically
' oh, quite small ; only as big as giant Molon.' Dionysus is described
as sitting on shipboard, and reading (see inf. 1114) the play to himself,
as he says, irpos jjuivT6v, cp. Eccl. 880 fuvvpofttvij TI irpos k^avrbv (*f\.os.
Paley, to emphasise his view of the late introduction of reading and
writing, would make rty 'AvSpofifdav mean the name on the ship's side
or stern, ir! -rfjs vews.
! 57 vve-yvov T$ K., 'did you company with Cleisthenes ? '
Heracles here seems to put Cleisthenes in a category by himself, not
woman, boy, or man, but some sexless creature, for whom Dionysus
might have had a misplaced passion.
1. 58. ou yap dXX', as inf. 192, 498, 1180; Eq. 1205; Nub. 232,
originally an elliptic phrase, =non enim [ita se res habet] sed. So here,
' it is not a case for jesting, but I really am in a bad way.'
1. 62. ITVOVS, ' porridge.' The gluttony of Heracles was a favourite
point in Comedy, as in Pax 741; Av. 1581, 1689; and inf. 550 foil.
It also appears in the Alcestis 548, 749-760.
1. 64. Sp' ic8i8dcncG> ; ' am I making my meaning plain ? '
1. 66. 8ap8diTTi, a graphic word for a ' devouring passion.' Her-
acles understands this in the coarsest way, and wonders how any one can
have a 'passion' for a dead body. Euripides seems to have died the
year before the ' Frogs ' was acted.
1. 69. lir' Klvov, as we say, ' after him;' i.e. 'to fetch him.' So iirl
0ovv Ifvat; Od. 3. 421 ; ITT' vScap ire/^tVra Hdt. 7. 193. Cp. inf. ill,
577, HIS.
1. 72. ol p.Jv Y^P OVKT' urCv. According to the Schol. from the
Oeneus of Euripides, where Diomede, lamenting the low estate of his
grandfather Oeneus, asks him <rt> 8' S/o' tprjpos avynia^iav aTroAAucreu ; to
which Oeneus rejoins with the words ol /ijv fdp etc. Dionysus means
that the great poets, like Aeschylus, Sophocles, and Euripides, have
passed away ; and those that are left are poor ones. ' How's that?'
cries Heracles, 'haven't you got lophon in the land of the living?' 'Yes,
7
FROGS.
that is the only blessing we have left,' answers Dionysus, 'if it can be
called a blessing; for I am not quite sure even about that, how it
stands.' This points to the current suspicion that the plays of lophon
were really composed, or at any rate touched up, by his father Sophocles.
1. 76. irporepov, 'superior,' as irprrov = 'best' in Nub. 643. Cp.
Plato, Laches, 183 B ot KCLV avrol o/ju)\o"ff)ff(iai> iro\Xovs atf>wv trporepovs
tlvai irpus ra rov iro\tfiov.
1. 77. etirep y cKctfcv, ' if you must bring a poet thence.*
1. 78. diro\aj3tov, 'having taken him aside all by himself alone.'
So Hdt. I. 209 Kvpos Ka\tffas 'faraairta teal a.Tro\a(lwv fiowov liirt.
1. 79. KcoSomo-ci), ' may try what the ring is like of the poetry he
composes without the aid of Sophocles.' Ku&uvifav, inf. 723, is,
properly, to test the goodness of money by the ringing sound of the
metal.
1. 80. KaXXcos, 'besides,' Dionysus doubts if Sophocles will take
the trouble of quitting the lower world, being 'content and happy'
(evicoXos) there, no doubt, as he was in life. Whereas Euripides, scamp
as he was (iravotipYos), would be quite ready to break bounds and run
away along with Dionysus.
1. 83. 'A-ydOtov belonged to a wealthy family of good position in
Athens. Born about 447, he gained his first prize for Tragedy in 416,
and died, probably, in 400. The scene of the Symposium of Plato is
laid at Agathon's house, where he is found discoursing on the subject of
Love with Socrates, Alcibiades, and Aristophanes. His language
(Sympos. 198 C) is represented as reproducing the style of his master
Gorgias. Aristophanes calls him (Thesm. 49, 29) u Ka\Xi(ir(is. 6 K\ei-
vus, b TpayySonoHjs, but notices the many novelties of diction introduced
by him; /cd/xTrrtt rt'aj <tyt~5ay kirwv, etc. Thesm. 53. Aristotle (Poet. 18.
5, 7) objects that (i) the subjects of his plays were too extensive;
and (2) that he introduced the practice of making the choruses irrelevant;
Siu in$o\ina aSovffiv wptiirov dpgavros 'AyaOcavos rov -TOIOVTOV. His
feminine beauty and his fopperies are ridiculed by Aristophanes in
Thesm. 191, foil., where Euripides wants him to act a female part,
because he was fvirpoacairos, \fvic6s, fvpr] nevos, | "fwaitcocfxwos, diraXoy,
tvTrpfirf)? idtiv. His visit to the luxurious court of the Macedonian
Archelaus is alluded to here in the words Is fiaKaptov e\i<axia.v, a phrase
so closely modelled on the familiar fwjtap<av vfjffoi and ir iianapcav (i>5ai~
novias (Plat. Phaed. 115 D), that we are inclined to believe that Agathon
had really 'passed away' from Athens, and was to be numbered among
those who OUKCT' tlo-iv (72) ; though it does not seem that he was
actually dead at this date. Perhaps \j.a.K-apcav is intended to suggest
MaK-eSovcuv just as ayaOos (84) is an echo of 'AyaOcav.
1. 86. HvoicXtt]s, called by the comic poets the Trickster (ScuSe/fa/^-
NOTES. LINES 76-99.
because he concealed the poverty of his inventive
genius by scenic tricks, was son of the tragic poet Carcinus (Thesm.
440). Aristophanes calls him a parasite (mvvorripTjs, Vesp. 1510), and
bad both as a poet and a man (icaiects &v KO.KWS irouf, Thesm. 169).
1. 87. IIv0aYY^s. Nothing is known of him ; and no answer is given
to Heracles' question. Prof. Tyrrell (Class. Rev. i. p. 128), following
Meineke's suggestion of a lacuna, would fill it up thus : HP. nv9ayyf\os
St AI. irfpi *ye TovS' ovSth \6yos \ ir\i)v rovisir ptfttirjs (' crush you,' Av.
1528, parallel to 6XoiTo). Then the words of Xanthias come in well, as
he stands by unnoticed, though his shoulder is ' crushed ' by the burden.
1. 91. ir\iv t] oraSbp. Cp. Nub. 430 TOIV 'E\\fyon> (Tval /* \fftiv
tKarvv ffraSioiaiv apiffrov.
1. 92. 4m<|>vXXC5es. L. and S. follow the Schol. in rendering this,
' small grapes left for gleaners : ' but Fritzsche seems to come nearer to
the spirit of the passage in taking it of ' vines of rank leafage," where
leaves were in inverse proportion to fruit : like the Barren Fig-tree of
the parable. In the Alcmena, Euripides had called the ivy xXi86va>v
jxovcreiov, which is adopted here in the sense of ' choirs ' or ' music-schools '
of swallows ; birds, whose note was (inf. 681) the type of barbarous, non-
hellenic speech. Cp. eitrep tarl ntj ^(\i^6vos SIKTJV | dyvwra (poavijv /3d/>-
Papov KfKTTjfjifVT] Aesch. Ag. 1050.
1. 94. & (taking up ^ej/wKvAAm sup. 89) <|>po{i8a, ' who pass out of sight
double-quick if they do but get a play put on the stage, having only once
committed a nuisance against Tragedy:' meaning either that the Archon
would never be willing to supply them with a Chorus a second time, after
their miserable exhibition ; or, because they themselves would be utterly
exhausted after a single effort.
1. 96. yovipov, 'fruitful,' 'productive:' so we have -yovifjiov <Sov as
distinguished from ave^aiov, an 'addled' egg. Cp. Fertile pectus habes,
interque Helicona colentes [ uberius nulli provenit ista seges, Ov. Pont.
4. 2. ii. Cp. Plat. Theaet. 1516.
1. 97. JKJTUV dv. Here av is merely repeated, an echo of the pre-
ceding dv. So OVK av diroSoiriv ovS' av 60o\dv ovSevi, Nub. 1 18. Notice
the confusion between Xdicoi optat. (as in Soph. Phil. 281 dv8pa ovSev'
ZvToitov (opStv"), ovx offrts dpiciadev) and $9iytr(u. fut. indie. 1. 98 ; and
compare with it the change from subjunct. to indie, in Homeric similes.
Perhaps XCLKOI is assimilated to tvpots.
1. 99. irapaiceKiv8wev(Avov, 'an adventurous expression,' like the
audaces dithyrambi of Hor. Od. 4. 2. 10. Euripides had spoken in
his yieXaviirirrj of alOfp' oiicrjaiv Aios, and Aristophanes parodies this
somewhat unfairly. In the 'A\tav5pos of the same poet we have the
phrase nal xp<Wv irpov&aivt TTOVS, and in the Bacchae 888 Sapov \p6vov
ifo5o=s'a long lapse of time.' The next two lines are a travesty of
9
FROGS.
Hippol. 612 fj y\uaff' ofifiifio\, i) S (pprjv dvunoros, which Aristophanes
(here and inf. 1471, and Thesm. 275), like many others, misrepresents;
as though Euripides justified the breach of an uttered oath on the plea
of a mental reservation. Whereas, what Hippolytus means is that he
has taken the oath, without knowing what it implies, yet nevertheless he
is bound by it. With icaO' lepaiv, ' over the victims,' cp. Kara \i\twv
Eq. 660 ; ofivvvrcav opaov TOV (neyiffrov Kara Ifpuiv Te\ticov Thuc. 5.
47- 10-
1. 103. [AaXXd, i. e. (XTJ \fye on tp.\ ravr aptffKti, dXXd. etc. So inf.
611, 745, 751; Ach. 458; Av. 109; 'don't ask that! why, I am more
than crazy with joy.'
1. 104. TJ p.T|v (Cobet teal /ti^), 'in truth this is but rubbish, as even
you yourself think ' if you chose to allow it.
1. 105. (iT| TOV tfiov oitcei voOv. This half-line probably comes from
the Andromeda, which Dionysus had been reading ; though the Schol.
refers to the Andromache of Euripides, 11. 237 or 581, the similarity
being only slight. Dionysus substitutes ?x* i s "Y^P i K i<i v for the original
ending tyu yap apxtaai. The general meaning is ' don't take upon your-
self to manage my views : you have a menage of your own,' sc. the
department of gluttony. For OIKOV otetV in this sense cp. Phoeniss. 486,
1231, etc.; and cp. the phrase oiKfiv no\iv.
1. 107. tttpi tfioO. The allusion to 'dinner' makes Xanthias feel
more than ever that he is left unnoticed, out in the cold.
1. 109. Kara o-tjv [xifji-qo-tv, i. e. even as you came with club and lion-
skin to fetch (m as in sup. 69) Cerberus. The Greek would naturally
run uvnep evtua ?j\.6ov . . ravra /tot <ppaaov, but TOVTOVS (112) follows
the gender of TOVS 'vovs, the nearer word. Dionysus wants to know
where Heracles found civil hosts and clean beds on the journey, and
' entertainment for man and beast.' By dvcnraiiXas he means ' resting-
places ;' and by eicTpoirds. ' the branchings of the road,' points at which
information about the route would be specially valuable. Others make
KrpoTrf] almost equivalent to avarrav\a, a place where one ' turns aside '
to rest; so in Lat. deversoriae. Siatrai are 'rooms.' The personal
word -rrovSoicevTpiai, ' landladies,' comes curiously in the list, especially
as it is followed immediately by OTTOV. There is no authority for ren-
dering it 'hostelries ;' so we must regard the word as a sort of echo of
evovs sup. 109. Herwerden conjectures wavco/eei" apiaO'.
1. 1 1 6. Kal <rv Y 6 - It is doubtful if these words should be the begin-
ning of what Dionysus, or the end of what Heracles says. The former
has the analogy of inf. 164, and would mean ' it is not for you to begin
to talk about daring and adventure.' But if we assign the whole line to
Heracles, S> ax* T ^' > ToA/jffts yap liven xal av ye ; the meaning will
10
NOTES. LINES 102-131.
be, as Fritzsche renders it, ' tu adeo cum tua ignavia, ut ego, ire
audebis ? '
1. 117. TWV oSuv, depending on <|>pa, as in Soph. Trach. 1122 rrjs
firjrpos ijKca rrjs l/ijjy <ppdaaiv tv oh vvv icrri. Thus we shall be able to
retain the MS. reading o-irtos. Kock adopting Bergk's reading Sinj joins
it with rcav oSSnf, on the analogy of oirov 777$, etc. This would dispose
of the changed construction with <pp&fav in the next line. Fritzsche
would write <ppaf vwv 656v, which seems to be corroborated by the
singulars Oeppriv, \pv\pav, cp. inf. 319.
1. 121. dird KaXoi Kai Opaviov, ' by rope and bench.' We may sup-
pose a pause to be made after Opaviov, so as to let Kpepio-avn. come
in as a surprise. ' Towing-rope ' (Thuc. 4. 25 irapair\e6vTcov diro K<iAa>
Is TT?I> M.fffa-fivrjv) and ' rowing- bench ' would represent a very natural
way of proceeding on a river or canal : but Kpep-dcravTi fixes the inter-
pretation of KO.\OIS to the ' noose,' and Opaviov to the ' footstool,' to be
kicked away in the moment of hanging oneself.
1. 122. wvi/yTjpdv, 'choky,' 'stifling,' in a double sense.
1. 123. OTJVTOJIOS, 'a short-cut,' as in rci avvTopa. TTJS <58oC Hdt. I.
185. Perhaps there is an allusion in the word to the ' chopping up ' of
the hemlock (cp. evrffjivfiv), as there is in rerpifinevrj, which means
' well-beaten ' or ' well- pounded ; ' being equally applicable to arpairos
or K&veiov. Cp. Plat. Phaed. 116 D kveyKarca ns TO (pdpnaxov
TtTpiirrai.
1. 126. 8v<rxe(Apv, 'chilly,' 'bleak.' The effect of the hemlock
was to paralyse the lower extremities first ; the cold and the insensibility
gradually mounting upwards. So, in the prison, the officer who adminis-
tered the hemlock to Socrates kept watching the effect of the poison :
ff({>6Spa iritffas rbv ir6Sa. ijpfTo i aiaOavotw 6 Se OVK e<t>ij. KCU fifTa TOVTO
avOts ras Kvf|ftas' Kal titaviuiv ovrcas quiv tniSeiicvvTo &s tyv\on& T at
rrf)yvvTo Phaed. 1 1 7 E.
1. 127. KaTdvrrj, ' downhill,' with allusion to the leap from the tower
(inf.). Dionysus, being ' a poor walker,' is bidden to ' stroll ' (ica,0p-
inieiv) down to the outer Cerameicus (rb Ka\\iorov irpoaffrtiov TTJS iro\eeus
Thuc. 2. 34), the burial place of illustrious citizens, on the N. E. side of
Athens, between the Thriasian Gate (Ai'TrvAw) and the Gardens of the
Academy. There he was to climb the ' lofty tower,' said to have been
built by Timon the misanthrope.
1. 131. Join tvT6{J0v 0eo> (Oeaofiat), 'watch therefrom' (cp. Oeu p
airo TOV rtyovs Ach. 262), 'the torch-race starting' (cp. wpitvai it\oiov
Hdt. 5. 42; dfpfs airo paX&iticav !/* re xal rovrovi Eq. 1159; and
atptTrjpia (sc. ypaft^}, in the sense of the ' starting-place' in a race). The
common interpretation, ' watch the flinging-down of a torch therefrom,'
as the signal for the torch-race to start, seems to be only an invention of
ii
FROGS.
the Schol. Aa(nras is frequently used as = Xa/ra87<po/>ia, so Xa^waSa
(Spouts Vesp. 1203.
1. 132. Kaircir', 'and next, when the spectators say "start them off,"
then do you also start yourself off,' sc. from the top of the tower. For
imperatival infinitive cp. Nub. 850; Eq. 1039.
1. 134. 6piw 8tio. This does not mean 'the two membranes, or
lobes, of the brain' (Mitchell); but 'two brain-puddings;' Optov being
a sort of rissole or forcemeat, popular in Athens. Of course he means
he should break his head and scatter his brains ; but he expresses this
by an allusion to a favourite dish a much more likely phrase than a
technical and almost medical one. It is difficult to see why he empha-
sises 8to. Perhaps to intensify the notion of utter and complete death ;
as in Lat. bis peril.
1. 137. TOT, sc. when you went to fetch Cerberus.
1. 138. irdw. It seems better to take iravv as qualifying p.Y<i^T)v,
as Taxv tf&vv Plut. 57 ; for the word apuo-crov needs no expletive. The
lake is the 'A\(pouaia \ifj.vrj.
1. 139. TVwovTcoi. Probably the hand is hollowed, to illustrate
jocosely the smallness of a boat ' only so big.' Cp. Ach. 367.
1. 140. 8v' cpoXco. Charon's minimum (and ordinary) fee was one
obol : but this may have varied with the inclination of the passengers.
Or Dionysus may be represented as taking a ' return-ticket ; ' his being a
special case. This is borne out by a passage in Apuleius (Met. 6. 18),
where the Tunis bids Psyche to take a double fare ; one to give to Charon
(avaro seni) on embarking, the other to pay on her return. Anyhow,
the particular sum is fixed upon to point the allusion to the 8tcuf)f\ia,
or daily allowance by the State of two obols to the poorer citizens
during the festivals, to pay for their admission to the theatre. Cp. iv
TOIV SvoTv 6$6\oiv Btcupeiv Demosth. 234. 33. The increase of this
allowance, and the extension of it to other entertainments; and,
generally, the diversion of every available portion of the revenue to the
Theoric fund, from which the grant was made, was an ' effective instru-
ment ' (us p-*Y a SwatrOov) in the hands of Athenian demagogues. There
may be an allusion to the fitaO&s SiKaartieos, or jury-man's fee ; and the
HiffOfa eitK\T)ffia.aTiK6s, a compensation-fee to the citizen for his loss of
time in sitting in the (KK\ijata, which seems to have been one obol
originally, and two later. Theseus, the typical hero of Athens and
founder of her popular institutions, is represented as having introduced
this peculiarly national fee into the lower world (0Tj<rt>s TJY*Y V )-
1. 145. Poppopov, 'mud.' This Slough of Despond appears in Plato,
Phaed. 69 C ts av afwrjTos KCU. dre\e0TOS eh"AiSov d(j>iKi]Tai tv @op@fjpca
I. 151. Mopcrifiov jSTJotv. Morsimus, son of Philocles (Eq. 401 ;
12
NOTES. LINES 132-169.
Pax 800), is ridiculed as a contemptible writer of Tragedy. To ' write
out' (tKYpd<|>6<rOai Av. 982) a speech from one of his plays is sufficient
crime to ensure punishment in the nether world. The absurd climax is
like the contrast between Nero and Orestes in Juvenal, Sat. 8. 217 foil.
'Sed nee | Electrae iugulo se polluit, aut Spartan! | sanguine coniugii;
nullis aconita propinquis | miscuit ; in scena nunquam cantavit Orestes ; |
Tro'ica non scripsit.'
1. 153. trvppix.i\ (sc. 6pxn<rn) is a war-dance in which the dancers
represented by their gestures and movements the various incidents of a
battle. Here the allusion is rather to the musical accompaniment than
to the dance itself. Kivrjcrias, a dithyrambic poet, is a favourite butt of
Aristophanes for his impiety (inf. 365) ; and for his many bodily diseases
and miserable leanness (Av. 1372 foil.; see inf. 1437). That there was
sober truth in this, and not merely the licence of a comic poet, may be
gathered from the severe judgment passed on him by Lysias (quoted in
Athenaeus 12. 551 foil.) and Plato (Gorg. 501 foil.).
1. i 55- v0A8e, ' in this upper world.'
1. 157. dvSpwv yvvaiKwv, asyndeton, as in Soph. Ant. 1079.
1. 159. ovos. The heavily-laden Xanthias, hearing of all these
delights, feels that he is indeed the 'ass celebrating the mysteries:'
a proverbial phrase for one who has 'all the kicks, and none of the
halfpence.' For the Athenians, on their sacred procession to Eleusis,
would carry their necessary baggage on the back of an ass, whose share
in the festivity would thus be very unenviable. Sic vos non vobis. With
the phrase \Lvvrf\pia. a-yeiv (not to be taken as equivalent to <pfpfiv) cp.
0eoyio<opia, Aiovvffia, foprr/v, Bvaiav, aytiv (Hdt. 1. 147)- Here Xanthias
flings his burden to the ground. These two lines are in by-play, and do
not interrupt the construction.
1. 164. \a.ip i s > properly, the salutation of greeting, and iiylaive of
farewell : but x a '1 m *y stand loosely for either.
1. 165. <ro 8e, sc. Xanthias, who complains of having to take up the
things again, ' before he has so much as set them down.'
1. 1 68. TWV eK^cpopc'vcdv, 'of those that are being carried out to
burial.' Here oo-ris follows rather than os, because no person is as yet
referred to. But Sorts ir! TOVT" tp\tra.\. seems rather an unmeaning
phrase, and it is tempting to follow Meineke and omit the line, as a
needless gloss. If we retain it, we must render, ' who happens to be
coming for this purpose,' sc. tnl rty fK<popav. Or c-rrl TOUT' may be the
intention of a journey to Hades, cp. Xen. Anab. a. 5. 32 d\Xd rl 677
VIJMS ttiv ano\taa.i OIIK tm rovro ff\6onfv ; Eur. Bacch. 967, when
Pentheus says em r65' fpxopai = ' that is my intention.' firl TOUT' =
' hither ; ' or im ravr' = ' to the same place,' have been conjectured.
1. 169. TOT' *(x' aYt.v, ' in that case take me with you.' This is better
3
FROGS.
than to render, 'then [it will be] for me to take them;' for tyiptiv, not
aytiv, has been the regular word in use here for ' carrying.' The infin.
may be the exclamatory expression of a wish, as Ztv irdrep, jj Aiavra
\axfiv % TvSe'oy viov II. 7. 179 ; or, more likely, there is some word like
5o t to be supplied in the mind, as in the formal phraseology of laws,
treaties, etc. ; TT; 5 civai ray airovSas vtvrriKovra. But a similar use of
infin. is found in Soph. O. R. 462, Eur. Tro. 421; Plat. Crat. 426 B;
Thuc. 5. 9. 5 (?) Trans., 'then, [resolved] that you do take me.'
1. 170. TOVTOVI, 'yonder.' Meineke follows Hirschig's emendation
(K<f>tpOVffll> OVTOU.
1. 171. ovros. Dionysus hails the venp6s, ' Ho there! it is you that
I mean, yon the dead man.'
1. 172. cnccudpia, a coaxing diminutive, = ' a bit of baggage.'
1. 174. virdYeO', probably, as the Schol. says, 6 vt/cpos <f>i)ai JT/^S TONS
vfKpotyopovs, 'move on upon your journey.' So vmtyt Nub. 1298 ; Vesp.
290. Others consider the words to be addressed to Dionysus and
Xanthias, who were delaying the funeral procession, ' move out of my
way, you men !' for vnayetv (intrans.) generally has the force of ' moving
off,' and 'clearing the way.' So the Satyrs (Eur. Cycl. 53) cry to the
he-goat vva-f, > vira-y' 2> Kepdffra. But vpets (notice he does not say atyoi)
suggests that the words are addressed to a different set of persons from
those whom he has just been accosting.
L 175. cdv v|xf?u, 'to see if I can make any arrangement.' The
drachma contained six obols, so that the highest offer of Dionysus only
reaches ij drachmae instead of the 2, which the dead man insists upon.
1. 177. dvoujh(]v. As a living man might say, 'Strike me dead if
I accept it ! ' so a dead man may humorously be supposed to reverse the
anathema, and say, ' Let me rather come back again to life than that 1 '
1. 1 78. J>s r(i,v6s, ' how loftily the scoundrel bears himself ! shan't
he suffer for this ! I will trudge along with you.' The dead man having
proved impracticable, Xanthias is as good as his word.
1. 1 80. woir, irapapoAoti, 'avast there! bring the boat alongside!'
Charon, whose voice is heard, but whose boat is not yet in sight, seems to
have a rower on board ; unless we suppose him to be shouting to himself.
1. 184. x a *p' Xdpwv. The line is said to be borrowed from a
Satyric drama called Aethon, by one Achaeus. Perhaps Dionysus,
remembering the usual triple invocation to the dead (rpls avaai Od.
9. 65) thought it was the proper form of address to the Ferryman of the
Dead. The Schol. proposes to assign one salutation to Dionysus,
Xanthias, and the dead man, respectively. The jingle in the line is,
of course, intentional, as in a popular English burlesque, ' O Medea, my
dear J O my dear Medea f
1. 185. dvairatiXas. .Charon, with the regular sing-song of a railway
14
NOTES. LINES 170-194.
porter, runs over the list of the places at which he is prepared to disem-
bark passengers.
1. 186. "Ovov iroKas, a fanciful name, ' Woolasston,' thrown into
a plural like Qfj&ai, 'AOrjvcu, etc. It seems to refer to the proverb ovov
Kflpetv, expressing useless labour, analogous to our ' great cry and little
wool,' where, however, the reference is to the 'shearing' of the pig and
not the ass. Bergk's correction (followed by Meineke), v Oitv6v irXoicds,
seems more ingenious than probable. Ocnus is said to have been repre-
sented in a fresco of Polygnotus, as sitting and plaiting a rope of hay,
while an ass, standing near him, eats it as fast as he plaits it. Such
fruitless work as the ' plaiting of Ocnus' might be compared with the
punishment of Sisyphus and the Danaides.
1. 187. Kep|3eptovs is a travesty of the Homeric Kinnepiovs Od. 1 1. 13,
where the Schol. says that Kfp&fpiovs was read by Aristarchus and
Crates. Kopaieas, = ' perdition,' comes in as a comical interruption
between geographical names. At Taivopov, the S. promontory of
Laconia, there was supposed to be a subterranean communication with
the lower world : cp. ' Taenarias fauces, alta ostia Ditis ' Virg. Geor.
4.467.
1. 188. irov <r\i\arfiv SOKEIS ; 'where do you mean to put to shore?'
cp. vtts toxov ts rrp> 'Apyo\iSa \uprjv Hdt. 6. 92 ; ry Arj\y laxov Thuc.
3- 29.
1. 189. troti Y' ouvtKa, ' yes, as far as you are concerned!' Charon
is quite willing that Dionysus should go to perdition.
L 191. TT|V (sc. vavfija-xiay) irepl TUV Kpewv. A life-and-death struggle
is described in Vesp. 375 by the words rbv irtpt ^VXTJS Spo^ov Spa/jitiv.
Analogous to this is the proverbial phrase 6 \a-yws rov irepl KptSiv rpe'x',
i.e. 'a race for neck-or-nothing.' Thus the battle of Arginusae is called
here the ' life-struggle' for Athenian existence. But Charon is speaking
bitterly. He has a grievance respecting this battle, for the unburied
'carcases' of the drowned sailors were so many fees lost to him: and
he seems to allude to this by the coarsest word which he can apply
to a dead body ; using Kpeiov for ffoifjuircav, like the vulgar phrase
' cold meat.' Dr. Verrall (Class. Rev. 3. p. 258) suggests that the
allusion is to the enfranchisement promised to the slaves who fought in
the battle. They would then have the citizen's right to eat the sacrificial
meats at the registration-festival (ret Kpta. e 'Airarovpicav Thesm. 558) ;
and so they were ' fighting for their meat.'
1.192. 64>0aA|uo!iv. Ophthalmia was, probably, a favourite excuse of
Athenian malingerers, and was sometimes artificially produced for the
purpose. For ou Y*P <*M' see on SU P- 5^-
1. 1 94. Avaivov. The Stone of Withering is intended to have an
uncanny sound, suggestive of dry bones and sapless dead.
15
FROGS.
1. 196. TW wTux ov wv; Xanthias says, to himself, 'What
(unlucky thing) did I encounter as I left home?' Omens at the begin-
ning of a journey (tvoSioi avn(3o\ot Aesch. P.V. 487) were supposed to
foretell whether it would be attended by good or bad luck: like the
parrae recinentis omen of Horace, or our common superstition about
magpies. But, perhaps, T$ is masc. = ' whom?' alluding to the 'evil
eye.'
1. 197. i TIS rn, irXei, 'if any one else is going on board ;' a necessary
emendation for the MS. reading 7rt7rAf. The words of Charon, Ka0i'
tirl K<oin)v, mean, ' sit at your oar,' for rowing. Dionysus chooses to
interpret them, ' sit on your oar' (d0if . . tirl rov <r</irro5a Nub. 254),
and proceeds to act accordingly. Perhaps 'sit to your oar' might
express the ambiguity. Then, when rebuked, he does indeed ' put forth
his hands and stretch them out,' but he sits motionless on the bench,
and makes no pretence of rowing.
1. 202. ou p.tj 4>XvapY|<ris ; Lit. 'will you not not-trifle?' i.e. 'don't
trifle,' as in Nub. 367 ; Vesp. 397; Eur.Hipp.2i3; Suppl. 1066; Andr. 757.
Goodwin, M. and T. 89. 2 foil, speaks of this use merely as a ' strong
prohibition,' meaning 'you shall not;' and does not interpret it, as
explained above, by an interrogative force. For t^w, with the force of
'continuance' ('don't^/ trifling!'), see inf. 512 ; Nub. 131, etc. dvn.pds,
' with firm planted foot, 1 sc. against the stretcher, or the bottom of the
boat. Cp. Eur. Bacch. 1126 irXtvpaiaiv avrifiaaa TOV SvaSai^ovos, Soph.
El. 575 piaoOds Tro\\ci KavTi&ds.
\. 204. d9aXaTT<oTos. Dionysus excuses his awkwardness on the
ground of his being ' a land-lubber, and no-Salaminian.' The natives of
Salamis were thorough-going sailors. There may also be an allusion to
the famous sea-fight at Salamis, and the word may be compared with
'M.apaOuvofj.dxai Ach. 181 ; Nub. 986. There may be a further allusion
to the decadence of the Athenian navy; hi which so many slaves
served.
1. 206. npA\T]S, probably xttp 05 * any is to be understood ; and so
l/i/3dX\tv will be parallel to Lat. incumbere remis. So Od. 10. 129
</i/3aAtv Kiuirrifft, and, as here, ris t/i/3aA.<f Eq. 602. The |xtXr| will
help him to keep time, like the measured chant of the Kf\fvarrjs t alluded
to inf. KoraictXevie BTJ, ' start the time then ! '
1. 207. Parpax^v KVKVWV, asyndeton, as sup. 157. Bothe's conjecture
PaTpaxotcvKvaiv, 'frog-swans,' seems a very likely emendation. 'We
may cp. such forms as imroicdvOapos, iiriroKtvTavpos, KwaXdnrrj^, arpovOio-
Kdfii]\os, and, inf. 929, -y/wirdeToi, 932 lirnaXfKroip. This Chorus of
' Frogs,' which gives its name to the play, is technically called wapaxopri-
yqua, sc. ' the part of a by-chorus ; ' or, more likely, ' a supplementary
provision' by the Archon, who x/>o" SiSuai. The real Chorus in this play
16
NOTES. LINES 196-227.
consists of Mvffrai, the Frogs, probably, never appearing on the stage,
but only letting their song be heard ' behind the scenes,' as we say.
Similar Trapaxoprjfrjuara are found in the Pax 114; Vesp. 248 ; Aesch.
Eum. 1032.
1. 215. d|x<|)C, ' in honour of,' ' on the subject of.' This is the regular
opening of a dithyrambic hymn. The dithyrambic poets were nick-
named dfjKpidvaKres, because of the frequent commencement of their
hymns with the words dfupi poi avOis dvaKra. See on Nub. 595, and cp.
the beginning of the (Homeric) Hymn to Dionysus (6. i)dn<pl Aitoi/vow
. . fufqaofjiai, and Eur. Troad. 511 d/j.<f>i /tot 'lAtci/, w 'M.ovaa, aeiffov.
Nvo-qiov. It is impossible to localise Nysa, for, wherever the worship
of Dionysus was in vogue, a Mt. Nysa was sure to be found, whether in
Greece, Asia Minor, Ethiopia, or India.
1. 217. Aijivais. Thucydides (2. 15) speaks of rb \v Al/jtvais AicWow,
$ rd dpx.ai6rtpa. Aiovvata ry SuSeKdrri irottirat iv furjvl 'AvOearrjpiian, and
Demosthenes (contr. Neaer. 13 71) gives exactly the same account. This
' primitive Dionysian festival ' is the Anthesteria (not to be confounded
with the Lenaea, which was celebrated in the month Gamelion). The
mysteries connected with the celebration of the Anthesteria were held at
night in the ancient temple 4v Aipvais, a low-lying part of Athens,
once a swamp, near the Ilissus.
fjv laxTjo-afttv, ' which we pealed forth ;' sc. when we were living frogs
in the upper world. For just as Orion (Od. n. 572) reappears in Hades
still hunting the same beasts that he had hunted in life ; so there may be
supposed to be, as Kock says, @arpdx<uv tiSw\a KapuvTcav in the lower
world, still following their old pursuits.
1. 219. x^Tpoun. Xvrpot was the name of the third division of the
festival of Anthesteria. The first day was called RiOoiyia, the second
Xos (Ach. 961 foil.), a day of revelling and drunkenness, so that the
populace on the morning of the third day was well called 6 KpcuiraXo-
Kto(xos oxXos. On the day of the XI$T/>O<, pots of pulse were offered to
1. 2 20. IJAOV Tcpevos. The marshy ground of Alpvai belonged by a
sort of right to Frogs.
1. 221. t-yw Sc Y'- The chant of the Frogs quickens, and forces
poor Dionysus to row a faster stroke. ' It's very good fun for you,' he
says, ' but 7 am beginning to get sore, Master Croakie ! though of course
you care nothing about that.'
1. 226. 6\or0' avTw KoAj-, 'to blazes with you, croak and all!"
This use with avros is commoner with the plural ; but cp. avry <pdpti
Od. 8. 1 86; aiiry yupvry ib. 21. 54; avry koyxv Thesm. 826.
1. 227. ovSev Yap <TT' d\\' $ ieoa, ' for you are nothing else but
croak.' For ovfev oXA.' ij, i.e. nihil aliud nisi, cp. Lysist. 427 ovS^v
B 17
FROGS.
iroiwv oAA' % K<nrr)\tiov ffKoirwv. But it is difficult to decide when to
write oXX'[o] 77, and when dAA.'[a] /. Sometimes there is no doubt, as in
Xen. Anab. 4. 6. II avSpts ovSanfj <f>avcpoi flfftv cLXX' TJ Kara ravrr]v TTJV
o86v. Kriiger, 69. 4. 6, suggests that d\\' 77 should be written when
the effect to be produced is to bring a fact into prominence ; and oXA.' 77
to point an exception.
1. 228. eiKortos Y' " iroXXd trpaTTcov, 'and well we may, you med-
dlesome fellow.' So TroAAd irparrajv inf. 749. Cp. Tro\VTrpayfiovetv.
1. 230. KEpopdras, variously interpreted as (i) 'God of the horny
hoof,' cornipes ; cp. Tpayoirovs Simonid. 134; aiyiir68r)s h. Horn. 18. 2. 37;
or, (2) 'roving the mountain peaks:' cp. tyuctpara irirpav Nub. 597.
The Schol. gives (2) ; but the former is doubtless right.
6 Ka\a(j.c4>9oYYa (sc. /te'Ar;) iraicov, 'who plays a lively strain on his
pipe;' cp. ivo-nKia vaifav Find. 0. 13. 123. The Pan-pipe proper con-
sisted of a row of reeds of unequal height, Virg. Eel. 2. 32.
1. 232. ov viroXtipiov Tp<j)oj, ' which I cultivate at the water's edge
in the pools to support the strings of the lyre ;' or ' as backing for the
lyre.' The 86vo| seems to have been used to make the vy<una in which
the dAAo7Ts were inserted; and the lower bar was properly called
uwoXvpiov or fjuiyas. Here there seems to be a confusion between the
upper and lower bar.
1. 236. 4>XvKTaivas, ' blisters ' on the hands from rowing. Cp. Vesp.
1119 pr/re KUITTJV \ii\Ti \6yx T ] v A"? 1 "* <f>^vKraivav \a@uv.
1. 244. Kiiimpov is generally identified with the marsh plant 'galin-
gale,' and 4>\o>s may be the ' flowering rush.'
1. 245. iroXvKoXiip.j3oio-iv (itXco-cnv (so Reisig, as the simplest
emendation for the unmetrical 7roAuoAi5/i/3ori fj.f\Jiv), ' in the music
of our strain, as we plunge and plunge again.'
1. 246. o^ppov. Frogs are liveliest when rain is threatening : but the
joke lies in the frogs diving into the water to escape a wetting from the
rain ; and when there ' singing over the mazy dance of the pool in the
watery depths with splash and plash of many a bursting bubble.'
1. 251. TOVTI. irap' vp.u>v Xap.pa.vti), ' there ! I'm getting this from you.'
Dionysus means he is taking a lesson from them, and emulating their
croak. But they understand ' getting ' to mean ' robbing ' you of your
croak; which explains Seiva rdpa imcronecrOa, 'then it will go hard
with us.' ' But,' says Dionysus, ' it will go much harder with me if I
burst my lungs in rowing ' to the quick tune of your croaking. See on
sup. 206.
1. 259. OTTOO-OV av xavSdvT), 'to the full compass of our throat.'
1. 262. Tovrcp -Y&P- Dionysus outdoes the frogs in shouting his
PptKe/ctKfg, declaring 'ye shall not beat me at that:' till at last he
silences them.
18
NOTES. LINES 228-297.
1. 266. T$ KoA, ' with your own croak.' Others read TOV = ' till I
silence your croak.'
1. 268. fjxeXXov dpa, 'I was pretty sure to stop you sooner or later.'
A regular phrase to express satisfaction at a successful effort, as Nub.
1301 (fie\\6v a' dpa Kivijativ tyu. So Ach. 347 ; Vesp. 460.
1. 269. w irave, 'avast rowing there! shove alongside with the
paddle, step out when you've paid your fare."
1. 271. -fj Hav0as; 'is X anthi as there ?' or 17 savQia, ' Ho, Xanthias ! '
He had gone round the lake (sup. 193) and was to await his master at
the Withering Stone. Dionysus is obliged to shout, as he cannot see
Xanthias in the darkness.
L 375. IXYv. sc. Heracles; sup. 145 foil.
1. 276. Kul wvC Y' 6pu>. Dionysus looks slily at the spectators when
he says he ' still has his eye on the reprobates.' This good humoured
abuse of the audience is a standing form of joke, cp. inf. 783 ; Nub. 1096
foil. ; Vesp. 73 foil.
1. 278. wpouvai. Xanthias suggests that it is 'best to move on,' as
they are just at the place which Heracles had described as infested with
monsters. ' He shall rue it,' cries Dionysus, ' he was exaggerating the
horrors to make me afraid, because he knew that I was a man of war,
and he was jealous of me.'
1. 282. yavpov, ' conceited.' The line is parodied from the Philoc-
tetes of Euripides, where Odysseus is reproaching himself for his needless
braggadocio in encountering perils ; ovStv yap ovrca yavpov ws avtip e<(>v.
1. 284. oiov TV TTJS 6Sov. Dionysus would like to meet with some
adventure worthy of his heroic journey to Hades.
1. 285. ical (tT|v, although regularly coming at the beginning of the
sentence, still keeps its force here of introducing something for the first
time; so inf. 287.
1. 286. 6m(T0 vw i0i. Dionysus betrays his innate cowardice at
the first alarm, and begs Xanthias to take the post of danger on each
occasion.
1. 291. rir* avrfjv fa>, ' let me go after her !'
1. 293. 'Ejvirovo-a, the name of a spectre belonging to the train of
Hecate, and haunting lonely spots at night. The Empusa seems to have
had something in common with the Ghoul and the Vampire ; but its
main peculiarity was the power of assuming different shapes, like
Proteus. So the mother of Aeschines is called 'Empusa' by Demo-
sthenes (18. 130), en rov iravra VOKIV ttal ira(jx (iv Ka * yiyveaOai.
1. 295. PO\(TIVOV. Dionysus is reduced to such abject terror that he
accepts as so many new horrors the most ridiculous belongings that
Xanthias attributes to the Empusa.
L 297. Upcu. The priest of Dionysus sat in a conspicuous place in
B 2 19
FROGS.
the theatre ; and Dionysus rushes across the stage to get his protection.
'Save me, that I may sit with you at the wine party;' which was given
when the acting was over.
1. 298. oi p.TJ KaXeis. See on sup. 202. Dionysus fears to be ad-
dressed in his assumed character of Heracles, who was in ill repute with
the powers below : and the name of Dionysus was even worse, as sug-
' gesting anything but a hero.
1. 301. 16' gircp px- It seems that these words must be addressed
by Xanthias to Dionysus, ' go on as you are going,' i. e. ' go straight on '
without fear. So Lysist. 834 5 TTOTVI 16' opOfjv TJvirtp epx t T ^ v o56v.
Nor need we be surprised at the next words 8vpo, 8evp', u> Sto-irora, if
we suppose that Dionysus, too terrified to do as Xanthias tells him,
is preparing to run off in the opposite direction.
1. 303. <rtrp *HY*^-XS, sc. f\eye. Hegelochus, the protagonist in
the Orestes of Euripides, had to repeat the line tK Kv^arcav -yap avGis av
ya^'f/v' (i. e. yaXrjvd, ' a calm ') opS>. But by some intonation of his voice,
probably by not carrying the sound of the v (after elision) on to the 6
in 6pw, he made it sound like ya\fjv (from 70X77, ' a weasel'). It is like the
old jest about the weasel and the stoat : ' it is so (w)easily distinguished ;
indeed, it is (s)to(a)tally different.' Such a story is very suggestive of the
nicety of Greek pronunciation, and the sharp ears of an Athenian
audience. A play called ' Loth ' was once being acted in Paris ; and an
actor declaimed the words // a vaincu Loth in such a way as to sound
like ' // a vingt culottes? Instantly one of the audience shouted ' Qu'M
en donne <J Fauteur !' and the house was convulsed.
1. 307. wxpioo"'[o]. 'How pale I turned," says Dionysus, 'when I
caught sight of her !' 'Yes,' retorts Xanthias, staring at the jolly red
face of the priest (sup. 297) 'and yonder priest showed his fear for you
with a crimson flush.' Probably there is an intentional ambiguity in the
vtrip in composition with the verb, meaning not only ' he reddened on
your behalf,' but, 'he reddened even more than you were blanched.'
1.311. ol6pa. See on sup. 100. Here Dionysus implies that Euri-
pides with his incongruous phraseology is the cause of all his master's
troubles.
1. 315. irrf|avTes, 'crouching down,' so as not to be seen by the
MuffTeu. The whole scene is intended to represent the sacred rites of the
Eleusinia, and specially the proceedings on the sixth day of the festival
(2Oth of Boedromion) ; when the statue of lacchus was borne in the
midst of a torch-light procession along the Sacred Road from Athens to
Eleusis. Other references are made to certain details of the festival, as
e. g. to the customary badinage when the procession reached the bridge
over the Cephisus (yttyvpiapos, see inf. 416-430) ; and to the revelry
that was kept up through the night (itavvvxiSes inf. 371). Seeing that
20
NOTES. LINES 298-340.
since the occupation of Deceleia the procession along the shore to Eleusis
had been discontinued, and the Mysteries conveyed by sea, this represent-
ation before an Athenian audience of their national religious festival
must have produced a profound effect.
1. 319. 4>pa v$v, sc. Heracles, sup. 154 foil.
1. 320. ovirep Aia-yopas. We know of a Diagoras, a native of Melos,
contemporary with Pindar and Simonides, who was a lyric poet and
wrote in honour of the Gods. There was also a Diagoras, a student of
the Atomistic Philosophy, who went by the name of o aOeos, and who
poured contempt upon the national Gods of Hellas. The question
remains unsolved, whether there were two personages of the same name,
or whether Diagoras in his later years abandoned and decried the faith
of his earlier life. Aristophanes appears to take him as the type of an
atheist ; at any rate in Nub. 830, where Socrates is slily identified with
him in the phrase ^caieparrjs 6 M^Xios. It is likely, then, that ovirp
Aia-yopas means 'whom Diagoras insults.' The joke consists in the
unexpected introduction of a name which must have been as far as
possible from everyone's thoughts.
1. 324. iro\vrp.ois tv ?8pcus. As the under-world is a shadowy
reflection of the world above, we may suppose a reference to be made
here to the 'lavxeiov in the Cerameicus, though tvOdSe really = Hades.
The 'richly-clustered myrtle wreath laden with berries' was officially
worn in the procession by the Priests and Mystae.
1. 327. OiaoxoTas, as in Eur. Bacch. 549. This chorus sounds like an
echo from the play of the Bacchae.
! 334- Ttjidv. There is no need to alter this to nofj.ira.v, as Hamaker,
or r' (pav, as Bentley : Trans. ' keeping time with fearless foot to the
reckless sportive rite that hath the fullest share of festive joy, the sacred
dance kept holy for the hallowed Mystae.' Perhaps UpAv is only a gloss
upon ayvAv, so that we may better read with Kock ayvdv oaiots fjtfra
HvffTatffi xoptiav. Here TIJJKXV means the act of worship, as paid to the
God, finding its nearer definition in the subsequent xptav, which had
indeed been already suggested by the use of t-yKaTaicpovwv (cp. fyicpovaw
inf. 374).
1. 338. irpoo-irvev<re, impers., ' what a delicious whiff reached me of
roast pork !' This would be the flesh of the xip l \warutai (Ach. 764),
which were sacrificed during the festival.
1. 339. OVKOWV en-pep,' t'geis, ' won't you keep quiet, on the chance of
getting a bit of sausage ? ' meaning, ' Do keep quiet, and you shall have a
bit.' Or, perhaps, ' Can't you keep quiet even if you do get a whiff
of sausage ?' But the former interpretation is more likely.
1. 340. cy ei P c > ' Fan up the flame of the blazing torches ; for thou
hast come brandishing them in thy hands, O lacchus, morning-star of
21
FROGS.
our midnight rite.' This, the reading of almost all the MSS., hails
lacchus as he joins his votaries torch in hand (6 Baxus 5' i\uv irvpadjSrj
tf>\6ya iTtvKas ix vapQrjuos diaati Bacch. 145) and cries to him to fan the
flame by swinging the torch faster. Most modern editors omit y^p TJKIS
(iJKti in two MSS.), but without sufficient reason ; though no doubt
it simplifies the construction greatly.
1. 343. 4 ) 'Y'Y eTai > ' is a ll ablaze.'
1. 347. TWV. . mauTOus. Cp. Od. I. 16 aAX' ore 87) fros Jj\6( irtpi-
itKontvoiv (viavruv, where eros is the definite date, reached by sundry
revolutions of eviavroi = periods of twelve-months. ' The lengthy periods
of ancient years.' But the parallel is not close, as in Homer kviavriuv is
a gen. absol. Cp. Propert. i. 417 for 'mo <si temporis aetas.
1. 349. Ti|Aas, as sup. 334, ' sacred service.'
1. 351. irpopdSrjv, ' lead forth, O blessed one, with stately step to the
flowery marish-floor (sc. Ai/t^ou) our youths to join the dance.'
1. 354. As Kock remarks, these anapaests are not pronounced by the
whole Chorus, but by the Leader, who represents the hierophant in the
sacred procession. The words tijjuis, etc. (inf. 370) are addressed by him
to the xP evTa *-
c^io-TcurOai, 'withdraw himself from:' as Soph. Aj. 672 tfiffrarai 3
VVKTOS alavris KVK\OS | TJj \fVKoiru\y (ptyfos Tiftfpq <p\tftiv. Cp. the
Lat. formula, 'procul, o procul este, profani?
L 356. Movo-wv reads like a surprise for Mu<rrwi/, and serves to show
that the sacred rites of Poetry rather than of Religion form the real
subject of the scene.
Join exopeucrev (as well as etSev) with opyka, the accus. being analogous
to such uses as 'O\i>ftma vuedv. Cp. \optvtiv Qoifiov Find. Isthm. i. 7.
1. 357. Kparivov. To be 'initiated into the mysteries of the bull-
eating Cratinus ' is, similarly, a surprise for some phrase referring to the
'mysteries of Demeter.' The word Taupcxjxryos is obscure. It may
either be an epithet transferred to the votary from Dionysus himself,
who had a wild and savage side to his character : or it may be applied
to Cratinus in the sense of 'headstrong,' 'reckless;' just as in Eq. 526
foil, he is described as a torrent sweeping the plain. Possibly the
' eating of bulls ' may be supposed to have given a savage spirit, as the
eating of garlic (cp. Acham. 166) made the Odomanti warlike. Cp.
wn<xpd-yov x&P LV Bacch. 139.
! 358 "fj P&)[jioX6xois, ' or takes pleasure in scurrilous utterances,
when they play their part out of due season.' There is a time for all
things, even for scurrility : but there is no excuse for exhibiting it at the
wrong time. TOVTO iroiovo-iv means ^(afj,6\oxov n flirovaiv, as, perhaps,
sup. 1 68 (ni TOVT' ipxfrat, where see note.
1. 359. ardcnv, not so much ' insurrection ' as ' party strife.'
22
NOTES. LINES 343-377.
1. 361. apxv, ' captain over,' to harmonise with the naval metaphor
in x ei H-af p-f VT]S = ' storm-tossed.'
1. 362. TdiropptjT', 'things contraband of war;' like the fw^i5/xaTO
Eq. 2 79 foil. Aegina, from its position in relation to Athens and the
Peloponnese, would serve as an entrepdt for such illegal trade. We know
nothing more of 0wpvKuov than that he was a ' scurvy 5 per cent, tax-
gatherer.' The lKoerrf|= 5 'j 7 , i. e. 5 per cent, was a tax on all imports
and exports, levied, subsequently to 413, by the Athenians on their
tributaries, instead of the ordinary tyopos Thuc. 7. 28.
1. 364. do-Kujxara (Ach. 97) seem to have been the leather linings to
rowlocks ; or else ' flaps ' or ' fenders ' of leather just below the oar-hole,
which tallies better with the passage in the Acharn., where the aa/tupa
is compared to the Persian beard hanging over the chin.
'EiriSavpos, on the coast of Argolis, was just opposite to Aegina.
1. 366. 'EKaraia were small shrines and images of Hecate put up in
the streets, and at the cross-ways. The man who is said to have ' be-
fouled' (Karai-iAd) these is the KivrjaCas of sup. 153; and what made
his impiety and hypocrisy grosser was that all the while he was writing
hymns to be ' sung in accompaniment ' (viroiSetv, ' to accompany ') to the
cyclic choruses. KVK\IOIO% refers especially to dithyrambic as distinct
from tragic choruses (rerpaycovoi].
! 367. t|Tcop wv. The Schol. says that Agyrrhius (and Archinus,
but this is unlikely) 'pared away' (diroTpio-yeiv) the stipend paid to
dramatic authors and actors (the Schol. says, KtufiySuv), because he had
been ridiculed on the stage. It is hardly likely that p^rtop <3v means
merely ' in the capacity of a public speaker ; ' i. e. bringing forward some
motion to promote national economy: doubtless we should render
'though he was a public speaker,' and might have been expected to
support rather than to starve the poets. The latter explanation is re-
quired by the CITO.
1. 370. (jiis, addressed by the Hierophant to the xP fvra ^
1. 371. KOI irawuxtSas, if this, the MS. reading, be retained, we
must take it with avtytiptrt, per zeugma, in the sense of 'keep up.'
Meineke's emendation Kara iravwx8as makes it simpler.
1. 372. The slow beat of the spondaic measure introduces the stately
march of the Chorus. Such a processional hymn was called irpoa68iov
Av. 854.
1.374. tyxpowov, see on sup. 334. The ' mockery ' and ' ribaldry '
were distinctive features of the festival.
1. 377. T|pum]Tai (d/Mordcu) means, according to the Schol. apiarov
feyfvrjTai rrjs reXer^y = ' we have broken our fast.' But the time of day,
accurately speaking, is nightfall, and the Mystae appear to have kept a
strict fast : so that many editors accept Meineke's conjecture, f|Y^" rVTai i
23
FROGS.
'the purification has been fully done.' Brunck's emendation, irjpto-TVTai,
is supposed to mean ' there has been enough of prowess in war ; ' now,
they want peace. But arrangements in Hades cannot be ruled by usages
in the upper world ; and the savour of pork that greeted the nostrils of
Xanthias suggests that there may have been a halt for light refreshments,
which might fairly be called apiarov, at any hour of the day or night.
1. 378. <fi|3a, see on sup. 35, ' step forward.' xuiros dpeis, ' and see
that you extol.' The long a shows that the form must be referred not to
aipcj but ddpca, so that apcu will be a contracted form of depSi. The
MSS. give aipets, alpfis, and aipris.
1. 380. Sw-mpav, L e. Persephone, called Kopij Swreipa on coins of
Cyzicus.
1. 381. ts Tas pa$ = ' for all time to come,' as in Nub. 562.
1. 382. Join Irtpav VJAVCOV I8eav KeXaSeire, like tct\a8fiv vp>ov Find.
Nem. 4. 26. Perhaps we might take iBeav as an adverbial accusative,
' by way of a different kind of hymn,' so as to leave j3a.o-iXci.av as object
to K\a8iT6 : but it is simpler to take it with TriKocrp.oOvTs.
Kat H.E . . irato-ai, 'and grant that I may sport.' For the infinitive used
in the expression of a wish see on sup. 169, and cp. Ach. 247 > Aiovvae
Sfffirora . . TTjvSe TTJV irofnirfiv l/te . . dfayfi'v rvx^pus. Here the Chorus
let the truth slip out that they are not only a procession of Mystae, but
the actual Chorus of the play; so they very naturally express the wish
that they may ' win the day and be decked with the victor's ribbon'
(viKT|<ravTa raiviovcrOai). Cp. Thuc. 4. 131 ol 2iewa?oi rov BpaaiSav
typoo'ia ply xpuaia artfyavy avilrjaav . . ISia SJ CTCUVIOW teal npoarip-
XOVTO Siffirtp a0\t)Tri.
1. 395. wpatov. So Dryden, ' Bacchus . . ever fair and ever young ;'
Catull. 64. 251 'florens lacchus;' Ov. Met. 4. 17 'tu puer aeternus, tu
formosissimus."
1. 397. p.cXos, the reading of all the MSS. It can only mean that
lacchus ' chooses the music ; ' lit. 'having discovered the sweetest song to
be sung at the feast.' Meineke's emendation reXos is very probable ; cp.
the Homeric phrases T'AOS 6avdroio, ^afnoio, etc. ; and Aesch. Frag. 373
t<ppi' fpairi rovSe (ivan/cov re\ovs.
1. 401. aveu irovov, the weariness of the long way was beguiled by
the music and festivity.
1. 404. KaTecrxicrcd (aor. med. 2 pers. aTao'x t 'C< u ) F l * v - No doubt
there was plenty of rough play enjoyed, and personal liberties taken,
during the procession (axoXao-TOs, (faXoirai-yjuov Tijtasup. 331); and thus
ragged garments and half-worn shoes were the fashion, so as to save
one's better clothes. ' It was thou that didst set the fashion of torn
sandal and ragged cloak that we might have our fun with cheapness ;
and thou didst find means for our sporting and dancing without serious
24
NOTES. LINES 378-439.
loss.' As the next lines show, a girl joins in the procession with only a
smock, and this so much torn as to leave the bosom bare. For
ko.Tcrxtcrii> (itv Kock ingeniously reads Karaa \iaantvos and igtvps.
1. 414. <j>i\aKoXov06s tip.1 Kai. After these words the MSS. insert
per' auTjjy, which is probably a gloss suggested by iraifeiv, as though it
must mean sporting with the avu-naiarpia. These two lines are spoken
'aside,' for Dionysus and Xanthias (315) aie concealing themselves as
the procession passes.
1. 416. fJovXeo-Qs STJ. Here follows an imitation of the regular
yf<pvpiff/4os sup. 316.
1. 417. 'ApxeBtjjios (inf. 588) was a demagogue who began the pro-
secution of the generals after the battle of Arginusae by impeaching
Erasinides (see on inf. 1195). The point of attack against Archedemus
here is that he was enrolled among the (ppdrtpts by corrupt means, quite
late in life (being an alien, as the poet assumes) instead of in infancy, as
was usually the case. Cp. Av. 764 el 5t 8o5\os tan KCU Kdp uairtp 'Et)icta-
riSrjs, | <pva6.ru irdirnovs Trap' rj^uv, xal (pavovvrai {ppartpts. The metaphor
is from children cutting their second teeth, which they would naturally
do when seven years old. Cp. Solon, 25. 3 irdis piv ai>T)&os twv tn vfjmos
epicos oSovTiav | <j>vcras fK&d\\ti irpurov tv STTT' frtatv. So 4>vare here with
4>paTpas, put as a surprise for <ppaoTrjpas (oSovras) = ' the teeth that tell
the age.' Archedemus ' had been seven years at it, and yet had not got
a set of clansmen.'
1. 420. v TOIS dvw veKpoionv. From the point of view of the
dwellers in Hades, the upper world is the world of the dead ; the
lower, the world of life. The poet may be thinking of the Euripidean
paradox (quoted inf. 1477) ris 5* oiStv tl TO r)f piv fan KarOavftv, TO
KarOaveiv 8e fa ; But there may be an allusion to the circumstances
of the battle of Arginusae, with which Archedemus had concerned
himself.
1. 421. ra irpajra, 'the prime.' Cp. Eur. Med. 917 otfjuu fap vftds
TTJaSf yfjs KoptvOias | TO. rrpwr' iaeaOat.
1. 431. x otT> ^ v " v - Here Dionysus and Xanthias step forward and
accost the Chorus.
1. 437. oipoi' av, ' you may take up your load again.'
L 439. Avos KoptvOos. The Corinthians are said to have been never
tired of vaunting their descent from Zeus ; so that Aios K6piv0os,
'Corinthus, son of Zeus,' became a synonym for any 'damnable itera-
tion' (Find. Nem. 7. 104); such as Xanthias felt the repeated order to
be to take up the bedding. Other allusions may lurk in the words ;
as, e. g. the Koptis (bugs) infesting the blankets (Nub. 709 tie <7//iiro8os
Saicvovai /j.' ol KopivOioi) or, as Kock suggests, the trade-mark or stamp
on blankets of true Corinthian manufacture.
35
FROGS.
1. 441. KVK\OS, 'the enclosure,' called ir(pi@o\os, surrounding the
Tffj.evos, a\aos, etc.
1. 451. KoAAixopomiTov. The epithet contains a reference to the
Ka\\ixopov <pptap, lying to the N. of Demeter's temple at Eleusis ; and
an emphasis is thrown on the second element in the compound adjective,
to justify the use of t-vva-yovfrw, properly used with \opov, in the sense
of ' weaving the dance.'
1. 457. 8iTiY H' 6V i sc. when we were in the upper world. This ' hos-
pitality to strangers' was especially an Athenian characteristic, in marked
distinction to the Spartan fa^Xooia. The meaning of iSiwras is fixed
by the contrasted evovs as = ' citizens.'
1. 461. Dionysus wants to know the particular fashion of knocking
at doors current among the inhabitants of the lower world (ovTrtx^pioi).
1. 462. ov (iTj Siarpivj/eis, ' don't delay ' (see on sup. 202), ' but do
have a try at the door.' So k^trvpwv fyevonrjv Soph. Ant. 1005.
1. 463. oxijua Ka ^ ^HF 1 . a verbal jingle ; 'showing both fashion and
passion ' or ' fire and attire ' in the style of Heracles.
1. 466. 2> p.iape. With the passionate repetition cp. Hamlet, Act I.
sc. v, 'O villain, villain, smiling, damned villain!'
1. 468. dirQlos (airaiaffco), 'didst rush forth throttling him, and didst
sneak off and get clear away with him in thy grasp, the dog, I mean,
which I had to look after. But now thou art caught round the
waist.'
t\e<rQai (jucros is a regular phrase of wrestling, as in Nub. 1047 tv6vs
yap a' ex"* fifffov | \afiujv cupvKTov. The verbs and participles are
crowded together to express the furious energy of Aeacus' accusation.
1. 470. (jicXavoKdp8i.os. The 'solid black rock' of Styx is transfer-
red to the lower world from the scenery of the Arcadian Nonacris, where
the waters of the Styx fall from a gloomy rock into a black basin below.
1. 472. irepLSpo|xoi. The 'prowling hounds' are the Furies; called,
Soph. El. 1388 /j.fTCi8pofjLoi . .Tiavovpyrjija.TOjv cupvKroi KWfs.
1.475. jAtipaiva, 'lamprey;' a voracious fish, one of the i\6vts
unmoral II. 24. 82. The pvpaiva of the markets was esteemed dainty
food : but the yriipaiva. of the poets was a venomous beast, a hybrid
between the lamprey and the viper. Cp. Aesch. Choeph. 994 fwpaivd
/ fir' ex' 5 "' #" The epithet Taprrjaia has a terrible sound, from
its resemblance to "Idprapos. But it veils a jest ; for the Tartesian
lamprey was esteemed a great delicacy. Similarly the FopYoves are
put in a ridiculous light by being connected with Tithras, a deme of
the Ai-yTjis- <pv\^. So a Londoner might speak of ' Harpies of Black-
wall.'
1. 478. c<j>' as, ' to fetch whom (sup. 69) I will rush with racing
speed." The fun of the whole passage lies in its exaggeration of tragic
26
NOTES. LINES 441-515.
declamation. We may compare it with Apollo's menacing dismissal of
the Furies. (Aesch. Eum. 1 79 foil.)
1. 480. OIIK dvao-Trjo-ti. Dionysus has slipped to the ground in an
agony of terror, and cries 'I'm fainting' (upaKiu). He asks to have a
sponge of cold water applied to his heart to relieve the palpitation.
But as his terror has given him an uneasy feeling in the bowels, he
involuntarily claps the sponge low down on the belly. Notice the
Homeric form otcre, an aor. imperat. s. v. oica (<f>epca).
1. 494. X-qfjiaTiijs, ' you are in plucky mood.' Aristophanes is fond
of the desiderative verbs in -aa>, as ffif)v\\tav Eq. 61 ; fiaOrjTtav Nub.
183; K\avaiav Plut. 1099; attoToSiviav Ach. 1219. Add ronav from
Soph. Aj. 582 ; Oavarav Plat. Phaed. 646 ; arpaTrjyidv Xen. Anab. 7. i.
33. A v. 1. in the Schol. is X.i?/tar<a?, a noun of the same form as
(ppovrjuaTias (Xen. Ages. i. 24), KOTtirarias, etc. If this be read, the
word would be parallel to dvSpetos.
1. 498. OUT' (sc. aura), the poita\ov and \fovTij. For ov yap dXXd
see on sup. 58.
1. 501. OWK MeXtrqs. Heracles had a temple in the Attic deme
Melite ; in allusion to which his title would be 6 ev MeAtrj; 'UpaK\i)s.
But by way of preparation for a joke against Callias (alluded to in
a passage omitted from our text, 11. 428 foil.), who belonged to the
same deme of Melite, he alters 6 v MeAm;, the proper designation
of a localised god or hero, to 6 IK t/lf\irr]s, the ordinary phrase to
express the birth-place or dwelling-place of a man. He completes his
joke with the crushing word pcum/yCas, ' gaol-bird.' Callias, spoken of
as the ' evil genius ' of his family (dAjTTjptos), was a worthless spend-
thrift and debauchee, vain and empty headed.
1.505. fjij/e (etf/on), 'set boiling two or three pots of porridge of
split-peas." Karepixra (KaTepuKtu) properly means 'bruised' or 'crushed.'
Heracles seems to have cared at least as much for the quantity as the
quality of his food.
1. 508. KaXXior', lircuvw, ' no, thank you ; I am much obliged.'
KaXus (inf. 512, 888), is the regular word to express 'declined with
thanks;' like the use of benignt in Latin (Hor. Ep. i. 7. 16, 62).
The diphthong oi makes a synizesis with the final oa of 'Air6XXw. So
TTSpioxJ/oiAdireXOovT" (ire/<tyo/taj) is a crasis. Trans. ' I will not suffer
you to go ; ' lit. ' I will not look coolly on at your departure.' Cp.
inf. 1476 ; Nub. 124 d\\' oi) irepioif/tTcu /*' 6 &tios Me-ya/cAtT/j avmirov.
1. 510. avt/Jparrev, sc. ^ Of 6s.
1. 511. KWVOV, i. e. not oivov, as tewidav (cu otKiav) Thesm. 349.
1. 512. fx 40 *') see on SU P- 2O2 C P- "rf- 5 2 4-
1- 5^5- cTcpai, 'besides;' following the common idiomatic use of
oAAos.
37
FROGS.
1. 518. dcjxupgiv, 'to pull off the spit,' or 'take away from the fire.'
Cp. Ach. 1119 ov 5' d(f>(\ujv Stvpo TTJV \op5^v <ptpt.
I. 519. Trpamo-To., ' first and foremost.' Xanthias forgets his hostess
and everything else, at the first mention of opxqarpiSfs.
I. 520. auros. A word of dignity and position. So the fjuierjr^s
describes Socrates as avros (Nub. 219), reminding us of the dictum
of the Pythagoreans, avr^s t<pa. Here Xanthias is posing as ' the
master,' ' the gentleman,' while Dionysus is hailed as 6 irais. Cp. the
Lat. use of ipse, to denote the master of the house, or the emperor.
1. 522. ov TI TTOV <rirovotjv irovet, 'you don't mean that you look
upon it as earnest, do you?' So (526) ov> BTJ irov 8tavoi.
1. 523. tvecTKevracra, 'I dressed you up as.' The word used when
Dicaeopolis dresses himself up as Telephus, in Acharn. 384.
1. 527. ov rax' ttAA' TJ5T], 'it isn't a case of by and by, I am setting
about it already.'
1. 528. fiapTiJpo|jiai. 'I protest against this.' Like Lat. antestari,
the word properly means 'to summon witnesses to one's side.' So
in Nub. 1222, when Ameinias protests against the use of the whip.
Here tiriTpirw means ' I entrust my case to ; ' as iirirpfTreiv SucaffTTJ
Thuc. 4. 83.
1. 529. iroiois 0o!s. This is not a question for information, asking
'to what gods will you entrust it?' but it means 'what sort of gods
will you find for your purpose none!' The force really is 'gods
forsooth ! '
1.531. d\K|XT|VTjs. i.e. 'the son of Alcmena,' so. Heracles. The
order of the words in the sentence is OVK dvorjTOv 8i Kai KCVOV [o-n]
TrpocrSoKTicrai <r ws, etc.
1- 53 2. *X* a ^ T> > sc. the dress of Heracles. djJitXei, tcaXws, 'very well,
it's all right.'
1- 53.v Tpos dvopos. ' characteristic of a man ; ' as irpos larpov ffoipov
Soph. Aj. 581.
1- 535- irepiirXevKoros. A sort of Odysseus, who has 'roamed about
the world.' But the word is used with special reference to the following
metaphor, |ATaicvAiv8ei.v . . TOIXOV, ' to shift oneself towards the com-
fortable side of the ship ;' sc. to the one which is well out of the water,
in the storm. It is a proverb with a similar meaning to 'feathering
one's own nest.' The Schol. quotes from the Alcmena of Euripides,
ov -yap WOT' ficav "S,9tvt\ov (Is TW tvrvxn I X OJ P^ t>Ta TOIXOV rrjs S'IKIJS
a' avoarepfiv.
1- 538. Y YP a ( Jl l Jl V7 ] v TTavai. The words contain a hint of the
stiffness and want of life in Greek pictures. We may say ' to stand
like a graven image.' as a description of helpless immoveability. But
the feeling is more like the vulgar phrase, 'standing like a stuck pig.'
28
NOTES. LINES 518-571.
1. 540. Theramenes, the typical political 'trimmer,' whose way was
always to take 'the comfortable berth,' had the nickname of ie60opvos,
or 'loose boot,' which fitted either foot equally well (Xen. Hell. 2. 3. 31).
1.552. KCIKOV TJK. TVVI, ' there 's trouble come upon some one.'
Xanthias means that on Dionysus will be visited the late escapades of
Heracles in the TiavSoKfiov.
1. 554. uvY|futopo\iaia, the reading of the Rav. MS. etc. ; some other
MSS. give a.vijfj.ia}0o\tfi.aia. Most modern edd. adopt aa>* f)fucu/3o\tata
as divided by Kuster. But it is difficult to see how the distributive
force of dvd could be expressed with an adj. signifying ' worth half
an obol ; ' unless we supply pea, and render ' in bits worth half an
obol each ; ' i. e. ' bit by bit.' It is better to adopt the MS. reading
and to take dvT]|a.iwpo\ia,ta as a word formed directly from the phrase
dV f)fj.i<uf$6\iov.
1. 557. Ko66pvovs (sup. 46). The woman suspects that the loose-
boot is a disguise ; as it is out of keeping with the regular club and
lion-skin of Heracles.
1- 559- ToXav, 'my poor girl!' The masc. gender applied to a
woman, as in Thesm. 1038; Lysist. 103; Eccl. 124. But, perhaps, it
is neut. = ' poor thing 1 ' Or roXav may = ' wretch,' as in Od. 19. 68.
1. 560. avrots rots roXdpois, 'baskets and all' (sup. 226). irAewroi
raXapoi, wicker baskets or strainers, are part of the rustic furniture of
the Cyclops, Od. 9. 247.
1. 562. !{3Xi};e Spipv. This is the sharp, menacing look, described
as 'a mustard-glance,' ejSXe^e vatrv Eq. 631.
1. 564. OVTOS 6 Tpoiros, sc. of eating and not paying.
1. 565. p,aivcr9ai SOKWV, ' pretending to be mad.' For this use
of SoKtiv cp. Eur. Med. 67 TJnovff6. TOW \4yovros ov SOKUV tc\vtiv,
Alcman. 76 dptaiv nlv ovS^v SoKecav St.
1. 566. KOTiiXiiJf, a word of doubtful etymology, is something in
the way of a ' dais ; ' or, perhaps, an ' upper story ' including the ladder
leading thereto.
1. 567. eqfas y (ataffta). The participle describes the style of
<PX '*'', ' he went off with a sudden rush, taking away with him the mats
(that lay on the floor).'
1. 568. xP"n v > 'it' 8 high time.' Like Lat. tempus erat.
1. 569. TOV irpo<rniT)v. Cleon (d. 422) and Hyperbolus (d. 411)
are represented as resuming in the lower world the duties and habits
of demagogues ; following the Homeric account of Minos, who Otfjuo-
Ttvd vfKvtaffi (Od. ii. 569), as he did in life for the living. The
TtavSoKtvrpicu belonged to the grade of fitromoi, and so required the
services of a patron.
1. 571. 4>dp\JY^, 'glutton,' 'gormandizer.' Like Lat. gula.
29
FROGS,
1. 574. pdpaOpov, a deep gulf in the deme of Kftpt&Sai, behind
the Acropolis, into which criminals were thrown (Nub. 1449; Eq. 1363)
There was a similar gulf at Sparta called KaidSas (Thuc. I. 134), used
for a similar purpose.
1. 576. KaTWircuras, 'didst bolt.' So O.VTOS 8' tie f LVOV rpiir\dffioy
KaTfciraKas Eq. 718 ; cp. Pax 970.
1. 577. lirt, see on sup. 69.
1. 578. Kirt]viiTttv, 'will wind out;' 'worm out.' For the meta-
phor cp. To\vTTtiieiv and eKTo\vntvtiv. irpocrKaXov[Xvos, the technical
word of ' citing ' any one to appear in court. So v/3paw irpoaicaktiaOat
Vesp. 1417.
1. 580. TOV vov, ' the meaning' of this wheedling address.
1. 581. |tT)8ap.us, sc. TOVTO ("nrgs.
1. 584. awo, sc. TO &vfju>va9ai. Cp. TOVTO sup. 358.
1. 588. 'Apx8t]jios. The mention of the ' purblind ' Archedemus
(sup. 417)) as a sharer in the curse, comes in as a surprise, merely to
raise a laugh by the unexpected bathos.
1. 589. Kairl TOVTOIS Xa^pdvco, and on these terms I assume the
character.' Cp. <TTo\fiv \a.fj.&a.vfiv inf.
1. 592. "PX'HS iroAiv. There is uncertainty about the punctuation.
Fritzsche joins dpxrjs irdXiv (rursus demto) and takes the words with
i\Tj<}>as. Or we may couple them with dvavtdf iv, ' to renew your
youth once more.' Or a comma may be placed after c| dpXTJs, which
will go with tx*s, leaving irdXiv to <ivavdiv. This seems simplest.
irpos TO aopapov, ' to vehement action. ' This reading is restored
by Meineke from the Schol. to Rav. MS. There is a lacuna in the
MSS. after dvovedjeiv.
1. 594. TO 8euvov, ' that terrible glance.' Sup. 499.
1. 595. KaK^aXcts TV fiaXSaKov, ' shalt let drop any expression of
cowardice.' Cp. Od. 4. 403 ; Hdt. 6. 69, which show that fK&a\eiv
tiroy is a regular phrase for letting some word escape you that would
have been better left unsaid.
1. 599. TJV xpTjorov g TV, ' if any good chance turn up.' TOVTO refers
back to \prjar6v rt.
1. 60 1. v 018' OTI has passed so completely into an idiomatic phrase
that it is used, although OTI has been already introduced into the
construction. So, sometimes, Sr}\ovori.
1. 603. dv8piov TO Xfj|j.a, ' gallant in my spirit.'
1.604. opl-yavov, ' marjoram ;' a pungent herb. See on sup. 562, and
cp. Ach. 254 fi\iirovoa 6v^po<pafov.
1. 605. 8eiv 8" COIKCV, 'it looks as if there was need for it ;' sc. for a
spirit of gallantry.
! 606. i|i6<|>ov. The house-door, in Greek usage, opened outwards ;
30
NOTES. LINES 574-630.
so that it was customary for any one coming out, to knock or rattle
at the door (\f/o<j>tiv as distinguished from Koirrftv and Kpodtiv) ; lest any
passer by might be struck unawares.
1. 607. avverov. The number shows that Aeacus is, at first, accom-
panied by two slaves. Afterwards three others, whose names are pro-
bably Scythian, with allusion to the TOOTOI at Athens, come forward.
1. 610. Tvirmv TOVTOVI. The sense seems to require that TOVTOVI
should be the subject to Tvirreiv. Dionysus asks, ' Now ! isn't it a
shame that this fellow should deal blows ' (for Xanthias was showing
fight most courageously), ' when he actually (irpos, lit. ' besides ') is a
purloiner of what doesn't belong to him?' Not ashamed of being a
dog-stealer, he is playing the bully as well. Aeacus answers, ' Don't
say a shame, but something quite monstrous!' (see sup. 103). 'Yes/
says Dionysus, ' quite brutal and shameful.' Editors assign differently
11. 6 1 1, 612, to Dionysus, Aeacus, or Xanthias. It seems simplest to
give them only to Aeacus and Dionysus ; and to consider that the
latter is doing his best to make matters unpleasant for Xanthias.
Others, accepting TOVTOVI as the object of Tvirreiv, take the words
of Dionysus as a sort of ironical apology for Xanthias, which ' pro-
vokes the caper that it seems to chide.' 'Isn't it hard to beat the
poor fellow, who after all is only stealing what doesn't belong to
him ? ' The last clause, with its mock emphasis upon irpos raXXorpia
(as if it was possible to steal anything but what belonged to some one
else !), has the effect of exasperating the angry feeling against Xanthias.
1.615. irpdYH-a yewa.lov, ' a very handsome offer.' By this np6ffK\r)ais
fs paaavov Xanthias cleverly turns the tables on Dionysus.
1. 618. cv K\ip,aKi S-fjo-as, 'making a spread-eagle of him.' The
KXifjuif, like our 'triangles,' was used for tying up the culprit, for the
purpose of flogging.
1. 621. irXivOovs uvn0is. This loading of the chest is a particular
form of the ' peine forte et dure,' practised in feudal times.
irpdatp. It appears that masters who offered their slaves for
torture, could claim exceptions, so as to bar such extreme punishments
as might make the slave permanently unserviceable. Here Xanthias
bars nothing except whips of tender green leek, which would not hurt
at all. Nor will he claim the regular compensation (rapyvpiov), if his
slave be damaged.
1. 625. OVTO), i. e. ' on these free terms.'
1. 626. avTov (itv oviv. The answer to the suggestion in airafayuv.
1 Nay ! let us have it here on the spot.'
1. 628. nvC, i.e. 'to anyone whom it may concern.'
1. 630. alriu (alridov), ' blame yourself.' You will only have your-
self to thank for it, after this warning.
FROGS.
1. 632. ^(t' tY^' ' I answer Yes ' = of course I heard.
1. 638. irpoTi(i.T|0-avTa TI, ' caring aught about it.' So tlp^vr) 8' OJTWS |
tarai irponiuaa' oiiSfv Acharn. 27; ov vpOTifuuv eOvcrtv avrov ircuSa
Agam. 1415.
1. 643. irXtjY^v TipA irXijyfiv, supply ir\r]as, 'hitting each man blow
for blow.' For irapd in the sense of ' parallel,' ' corresponding ' cp.
i]^ap -nap' fjfifpav.
1. 644. ISov, ' there you are ! ' Xanthias is all stripped and ready.
viroKiW|cravTa, 'wincing;' used intransitively, as in Hdt. 5. 106
ovSffua ir6\is vireicivrjae. Then follows a blow ; and then a pause, that
ought to have been filled up with a cry of pain. But Xanthias re-
mains silent and unconcerned, so that Aeacus has to assure them that
he has already dealt the blow. 'Nay, I don't fancy you have,' says
Xanthias. Then Aeacus crosses over to Dionysus, and informs him
that he is about to strike him ; and the blow descends. But Dionysus
takes no notice of it, and asks ' when the announcement is coming off.'
1. 647. OVK f irrapov, ' that I did not sneeze.' As one might do if
tickled with a feather or a straw. Cp. TT)V fiva wqaas tirrape Plat.
Symp. 185 E.
1. 648. OVKOW dvwtms TV, ' do look sharp about it !' Lit. 'Will you
not use some despatch?' So says Xanthias, pretending that he has
not felt the second blow ; or, rather, that it has not been dealt.
But, in spite of his nonchalance, a sudden cry of pain or vexation,
'tut,' 'tut,' (drTarat) is forced from him, which he cleverly construes
into an expression of annoyance that the festival in honour of Heracles
(whose character he has assumed) is not taking place at its due time.
Diomeia was an Attic deme, where there was a Heracleum. Many
of the national and local festivals had fallen into disuse during the war.
1. 653. lov iov, ' Hollo ! Hollo !' This cry can express equally well
joyful surprise (Nub. 1170; Eq. 1096; Aesch. Ag. 25) or pain (Soph.
O. T. 1071, etc.). Dionysus avails himself of the ambiguity, and inter-
prets his cry as one of delight at seeing a cavalcade of knights ride by.
But he has also to explain away the tears now running down his cheeks,
which he does by declaring that he smells onions.
1. 654. T SfJTa icXdeis ; Aeacus rejects this explanation ; and says,
sneeringly, ' O yes ! for of course (tirei) you don't care about the
flogging I" 'No,' answers Dionysus, 'it's no matter to me.' Kock
quotes Plato, Gorg. 474 B 70; 5e avGpwiroiv ovStva of/Mi TO afiiiieiv TOV
K&KIOV rjyftaBcu. eirei av dfeuo &v /j.a\\ov aSmtiadai i)
1. 657. rf\v aKavOav. He pretends that a thorn has stuck in his
flesh ; and he asks Aeacus to pull it out. Quite puzzled, Aeacus cries
impatiently, ' What's the meaning of all this?' (T( TO irpa-yixa TOWTI ;)
32
NOTES. LINES 632-678.
1. 659. "AwoXXov . . os. He cleverly converts an appeal to'AwoAAwv
dworpovaios into a quotation which he was ' trying to recall.' The
Schol. states that the quotation is from the iambographer Ananias and
not from Hipponax, and suggests that Dionysus is made to misquote in
his flurry.
1. 661. dvp.ipivT]cric6fjiT]v. The force of the tense, 'was trying to
recall,' is an excuse for the hesitation after the word "AiroXXov.
1. 662. ou8tv irouis, 'Yes, you are producing no effect: do dust his
sides for him.' ' No, certainly I am producing no effect ' (pd TOV AC,
sc. ovSei' TtoiSi). But now we will make a change and shift the blows
from back to front.
1. 664. IlooreiSov . . 05 Ai-yoiov irpuvas. This, the reading of the
MSS., has no grammatical construction, unless we supply *x i s from
the former quotation (sup. 659). Scaliger suggested irpcuvos, which
many editors follow. The whole line is adapted from the Laocoon
of Sophocles, quoted by the Schol. There seems no reason to suspect
the passage, because it interrupts the metre, seeing that it is wrung
from a man in pain. But Kock would save the trimeter by retaining
only aXos v Pv9onv after f\\yr\(rtv ns, considering that the rest has
crept into the text from a marginal gloss. Anyhow, we should expect
d\os kv PfvBfffiv to precede the clause os Alfaiov . . /5ets.
1. 671. yvwo-trai. Cp. Od. 5. 79 ov yap r' dyvurts 0oi dAAjjAoifft
te\ovrat \ dOdvarot, ot'5' TIS ditoirpoQi Sufiara valet.
1. 677. a-o^iai, ' learned professions,' 'embodiments of wisdom,' as re-
presented in the Athenian audience. This with a touch of irony. Cp.
ao<t>iai ntv alirtivai Find. Olymp. 9. 107.
1. 678. <|>tXoTt|x6Tpat, 'with more honourable ambition than Cleo-
phon. ' This man succeeded Hyperbolus, who had been banished from the
city, in his character of a turbulent demagogue. He was persistent in his
opposition to the oligarchical party ; and bitterly resisted all efforts for
bringing the war to an end. Three times he prevented a peace being
made with Sparta, after the battles of Cyzicus (410) ; Arginusae (406) ;
and Aegospotami (405) ; respectively. His fighting propensities are
alluded to sup. 359 and in the concluding lines of the play. But the
favourite point of attack against him (as in the present passage) was his
Thracian origin (so inf. 1533 warp'tots kv dpovpcus).
t<j>' ov ST| x*iX"iv, ' on whose lips of mongrel speech' (d/i<ptA.aA.os,
not as L. and S. 'garrulous,' but bilinguis, alluding to the mixture
of Thracian dialect with Attic. Cp. dfuf>iK(<paXos l dfupipios, df,uf>iOr]KTos),
' raves horribly a Thracian swallow, perching on her barbarian leaf.'
Commentators endeavour to reduce these words to reasonable sense, by
such alterations as vnofiapftapov . . Ke\a8ov, or oirl BdpPapov -^Sofjifvy
virv\ov. But, before accepting any of these, we should ask whether
C 33
FROGS.
such grotesque words as Seivov m{3pjiTai, used of a swallow, do not
at once prove that the fun of the passage depends on the very incon-
gruousness of the language. The swallow from Thrace, the scene of
Procne's transformation, is the type of barbarous, unintelligible speech.
So Aesch. Ag. 1059 x*^*5oj/oy 5'uejjv, | dyvura (pcovrjv @apf$apov neKTi)nevr).
Cp. Hdt. 2. 57 ecus 8 (@ap0apie opviQos rporrov t86tcei a<pi (pOtyyeaOm.
The Swallow here borrows the ' lamentable ditty ' of the Nightingale,
because Procne and Philomela were sisters.
1. 684. vi, ' snarls ; ' another ridiculous word like irippp.rai
sup. The ordinary MSS. rendering is /ccAetSef, of the Rav. K(\apvfi,
which suggests fivfa, Meineke's reading. Fritzsche reads rpvfa,
' murmurs.'
1. 685. us diroXetrai. The burden of his song is ' that he will be
ruined, even though the votes (supply i//rj<poi) come out equal.' It was
usual for a man on his trial to have the ' benefit of the doubt,' if the
votes for acquittal and condemnation balanced (Aesch. Eum. 741 viita 8'
'Optffrrjs KOV Ia6if/rj(f>os KpiOfi). But Cleophon was so sure of a con-
viction, that he felt certain an exception would be made to his
disadvantage. Evidently some important trial was hanging over him.
1. 688. |KTWCTOI, ' to put on the same footing.' The word may refer
to the political Ifforijs, which had been violated during the later years
of the war. But it also means, generally, ' to give all an equal chance ; '
to remove the prejudice felt against the supporters of the 400, and in
a word ' to close the reign of terror.'
1. 689. Kei TIS TJp.apT, ' and if anyone happened to go wrong, tripped
ap by the manoeuvres of Phrynichus, I say that a chance ought to be
given to those who made a slip at that time, of effacing their former
wrong doing, by making declaration of the cause (of their error).'
ird\aur|xa was properly a wrestler's ' dodge ' for flooring his adver-
sary ; the metaphor being kept up in 6\i<r0ou<riv.
For fK-ytvicr9a\. with the force of ieit/at cp. Pax 346 tl yap ixytvoir'
ISfiv ravTTjv / irore rty ^p.(pav.
Phrynichus was an Athenian general, one of the bitterest opponents
of Alcibiades. There were mutual recriminations between them. (Thuc.
8. 68). In conjunction with Antiphon, Peisander, and Theramenes, he
took part in the revolution that brought about the establishment of the
400 ; and he must thereby have involved many citizens in danger.
1. 693. jiCav, sc. vavftaxiav, i.e. at Arginusae. IIXaTaids (i.e. IIA.a-
TOI&ZJ from nXaretevj). In their preparations for the battle of Arginusae
the Athenians tyr]<piffavTo fiorjOeiv vavalv exarov ai 5eo eff@i@aovTes
TOVS tv lyXw'a ovras airavras, 8ov\ovs teal f\tv8(povs Xen. Hell. 1 . 6. 24.
These slaves were granted the same rights as had been accorded to the
Plataeans, a restricted right of citizenship, which Arnold (on Thuc.
34
NOTES. LINES 684-707.
3- 55) compares with the Jus Caeritum at Rome. Perhaps this grant
dates from the battle of Marathon : but, at any rate, after the destruc-
tion of their town by the Thebans (427 B.C.) the Plataeans became
'A0rjvatcav {vftfuixoi Kal iro\iTai.
1. 696. vovv (\ovra, ' the only sensible thing you ever did.' Cp.
Nub. 587 <paal fdp SvafiovXiav \ rfiSe rfj TroXtj irpoaeivai. With voxiv
tfxovra cp. the adverb vovvexovrcus.
1. 697. irpos 8, 'to be separated from TOUTOIS, which is governed by
irapcivai (irapirjfu}, ' and, besides, to those men who, like their fathers
before them, have many a time fought at your side at sea, and are your
kinsmen by blood, it is but right that you should remit this one
mischance, when they ask you.'
The construction that began (sup. 693) Kal yop alcrxpov tart
TOVS |Av tveu is not resumed after the two parenthetical lines. For
aiTou|Afvois Rav. reads airov^tvovs, sc. fytas, as if passive, 'when
requested;' so airtv/jifvos Theocr. 14.63. 2v|x<|>opdv is a euphemism
for drifiiav, the consequence of the a^apria. A common use in the
Orators ; like calamitas in Lat. The allusion is to the 400 and their
partisans.
1. 700. TTJS OPYTJS dvtvrts, 'bating somewhat of your wrath.' So
Eur. Med. 456 av 5' oii/e avirj's pcap tas. By calling the Athenians ' most
wise by nature,' he implies that their acts of public folly are due to the
perversions of demagogues.
1. 702. irdvras dvOpcoirovs, limited of course to those in Athens.
' Let us be ready to treat as kinsmen and enfranchised citizens all our
fellow men that is, anyone who fights in our fleet.' oo-ns av vvvav-
paxfj corrects and limits the wide word irdvras.
1. 703. el S ravr' oYKa><r6|Xcrda. The translation must depend on
the punctuation adopted, and this again on our decision whether it be
necessary that Kal ravra should stand the first words in a clause.
Putting the comma at iroKiv, we must join dtroorf |xvuvov|xc0a TTJV iroXiv, and
take ?XOVTS intransitively, as ttiv Karat \oipav inf. 793, ' if we shall give
ourselves grand airs about our city, especially at a time when we lie in the
trough of the sea.' (So Brunck.) But, as the verse here quoted from
Archilochus (Schol. assigns it to Aeschylus) runs if/vx&s (X OVT(S tv^tartav
tv dyHa\ais, it is almost certain that we must join TTJV iroXiv i\ovrts,
'especially at a time when we have got our city in the clasp of the
waves' (cp. Trtrpaia dyKa.\rj Aesch. P. V. 1019). The position of Kal
TaOra in this arrangement may, perhaps, be justified by Plat. Rep.
341 C e7rtx 'P>7<7<w vvv yovv avKo<pavrtiv, ovStv wv Kal Tavra.
1. 706. l 8' ty^ op96s. The verse is partly borrowed from the
Phoenix or the Caeneus of Ion of Chios.
1. 707. iroXvv, agreeing with xpovov inf, 714.
C 2 35
FROGS.
1. 708. KXiY'vtjs 6 |UKp6s. All that is known about him is given
or implied in this passage. There is an ironical magnificence about the
words ' as many as be masters of ash-mixed lye of adulterate soda and
earth of Cimolus.' Airpov or virpov is a native carbonate of soda, found
largely in Egypt. Cleigenes in making his bath-soap had adulterated
this alkali. Cimolus, one of the Cyclades, produced a sort of soap-stone
or fullers' -earth. T.he gap between iroXw and xp6 y v must be intended
to keep up a lively speculation in the mind as to what was to happen
to Cleigenes.
1. 714. iSuv SJ raS', 'and having noticed all this' (sc. his own
unpopularity and the probability of exile) 'he is no man of peace.'
This is intentionally ambiguous, meaning (i) that he is an opponent of
any conditions of peace with Sparta ; and (2) that he is a quarrelsome
citizen, and so he always walks with a cudgel in his hand, for fear he may
be set upon as he comes reeling home, and be stripped of his clothes.
1. 718. TOVS KoAovs Kal TOVS KO.KOVS. The sense seems to make this
correction of Velsen's imperative. The MSS. give TOVJ Ka\ovs re
KayaSovs, which fails to give any antithesis between the good and bad
coinage. One MS. gives KO.KOVS instead of KO.\OVS, which Meineke
adopts : but, as two classes are described, we should want TOVS Ka/covs
KOL TOVS afaOovs. The comparison is double. The good and generous
citizen is discarded, like the good old Attic coinage or pure silver : and
the worthless citizen, like the base new mintage, has come into general
use. For the comparison see Acharn. 517 foil. The KCUVOV xpvo-iov is
said to refer to gold coins made in the preceding year by the archon
Antigenes not only an innovation on the old Attic silver currency, but
themselves of base metal. These coins (see Lenormant, La Monnaie,
i. 226) were probably not alloyed, \n& plated, gold without, and copper
within; so that, inf. 725, they are broadly called \o.\Kia. Trans. 'It
has often seemed to us that our state has behaved just in the same way
with respect to the honourable and the base among our citizens, as it
has with respect to the ancient currency and the new gold mintage;
for on the one hand (ot>T ya.p answered by TWV iroXirwv 6' inf. 727)
we make no use of these coins which have not a trace of adulter-
ation, but are the finest, as it would seem, of all coins, and the
only ones properly struck, and tested for genuine among Greeks and
barbarians all over the world but instead thereof we use those vile
copper-bits, struck only the other day with the very worst stamp.'
1. 721. TowrotoTv OVOT.V. Meineke reads roirroiai rolaiv to avoid the
collision of two participles, and to make a better parallel to TOVTOIS
TOIS irovijpols inf.
1. 723. opOws Koireun. refers to the accuracy of the impression,
and KfKoi&aviaptvois to the true 'ring' that attests the genuineness of the
36
NOTES. LINES 708-749.
metal. This would be peculiarly applicable to the spurious coins made
of a centre of base metal, and coated over with gold or silver (Hdt.
3- 56).
iravraxov. Xenophon (Vect. 3) notices that, as a general rule,
coinage did not have its value beyond the country to which it belonged :
but that the Athenians found it to their advantage to export their silver
coin, onov fap av Tt<a\S>aiv OLVTO iravraxov trktiov TOV ap\aiov A.a/t/3d-
vovaiv.
! 73- X 01 ^" ^ 8 ' transferred from coins to men ; by the same process,
but not in the same sense as our ' brazen.' Here it means ' debased.'
Cp. Plut. Mor. 65 A if/fvtir)s KOI voOos Kal vir&xa\itos <pi\os.
iruppicus, 'redheads:' properly used of Thracian slaves, but here
the allusion may be to copper alloy, reddening the pure yellow of the
gold.
1. 733. <j>ap|jLaKot<Tiv ((papnaKos), ' scape-goats,' as in Eq. 1405. The
Athenians are said to have selected each year one male and one female
convict, to be put to death as an atonement for the whole city. The
use of the word is like that of d0ap/za.
1. 735. KaropOwo-ao-i -yap, ' for if you succeed it will be creditable to
you ; and if you do fail, you will seem in the judgment of the wise to
suffer death if suffer yon must on a gibbet, that is at least a decent
one.' Cp. the Lat. proverb, vel strangulari pulcro de ligno iuvat.
Hdt. 5. Ill viro ai6xpf& ted dnoOavtiv fjiuafa ffvfMpopf).
Aeacus now returns to the stage accompanied by Xanthias. They
soon make it plain to the audience that Pluto has recognised the real
Dionysus.
1. 742. TO 8e \i-f\ iraTaai or', 'but to think that he didn't beat you,
when you had been plainly convicted!' Xanthias, emboldened by his
master's absence, answers, ' Well, he would have suffered for it, if he
had P ' There now,' says Aeacus, ' you have just done that slaves' trick,
which I delight in doing:' viz. abusing his master behind his back.
! 745- X *?* 18 - 'Do you take pleasure in it, prithee?' 'Nay'
(jidXA', sup. 103), 'I seem to be in the seventh heaven.' Lit, 'to have
the full revelation,' to have the privileges of an tiroirrns, who was
admitted to the enjoyment of the highest secrets of the Mysteries.
1. 747. TV 8 -rovOopvJuv (sc. Soietis from 5ow), ' and how do you
feel when muttering?' TOvOopvJeiv, used in Ach. 683 of the mumbling
or indistinct utterance of old age, is applied here to the muttered
remarks of a grumbling slave, who dares not speak openly.
1. 749. TI 8J iroXXd irpeiTTuv ; ' and how do you feel when you play
the busy-body (sup. 228) ? ' ' Good heavens, I know no pleasure like it.'
is (xd AC ... Y" i s generally taken as a shortened expression for
OVTOIS cuj oi/Sfv a\\o olSa xaipw, which harmonises with the established
37
FROGS.
Latin version, Adeo hercle, ui nihil sciam duldus. It is simpler to
detach oZ8' ly** from the construction altogether, and treat it as merely
an asseverative addition at the end of the clause, as 018 on Nub. 1175.
Cp. Eur. Med. 947 6u)/>' d Ka\\iar(vfTcu \ ruiv vvv tv avOpu-noiaiv, otS*
IYU, iro\v. ' Nothing like it, I 'm quite sure ! ' Reiske would write
oXX'[o] for oT5[a].
1. 750. Sno-yvte. He appeals to the ' Zeus of Close Brotherhood,' in
amaze at the identity of feeling between himself and Aeacus.
irapoxotittv, ' eaves-dropping ;' cp. 6 Se /xoi, iravovpyos &v, trap'
avTuv rovrtav avrcL ravra irapaKTjKoef ov yap eanv d\\aiv TOiavTi)
ao<pia rtav vvv dvOpwircav Plat. Euthyd. 300 D.
1. 751. p.dXXd (103 sup.) irXttv (15 sup.) ?) p.aivop.ai, 'Nay, I'm
more than crazy with delight.'
1. 756. 6}AO|Aao-TiYicis. Xanthias warms to his work ; and having
invoked the God of Brotherhood to witness his cordial agreement with
another disloyal slave, he now claims Zeus as their 'pal,' or 'fellow in
knavery.' ' Verbero verberonem obsecrat per Jovem converberonem, ut
frater fratrem oraret per Jovem onoyvtov, sodalis sodalem per tratpfiov.'
Bergler.
1. 759. irpdYna -n-pdYfia. As Kock remarks, the repetition of wpaYfAa
and f*Y * s quite in the Euripidean style. Cp. inf. 1353 foil. The
distribution of the lines between Aeacus and Xanthias is very differently
given by different editors.
1. 761. K TOV; 'from what cause?' sc. KtieivTfrai.
1. 762. &ITO TWV rexvciv. As OUTO cannot be used with the force of
irtpi, Prof. Tyrrell proposes to read T>\V favrow, and to render, ' there is
a law here that, out of all the fine arts, he who is best of (better than)
his fellow craftsmen in his own art, should have free commons.'
1. 764. Among the rewards granted in Athens to those who had
conferred public service on the State were (i) front seats in the theatre
and at the games (irpotSpia), and (2) a free meal at the public table in
the Prytaneum (aiTrjcrus Iv irpviTavetco or aina Eq. 709). Both these
privileges are represented as having their counterparts in the lower
world ; the irpoeSpla corresponding to the Opovov TOW nXovrcavos |-TJS.
For !-ijs = e77vs cp. Eur. I. A. 627 ti)s KaGrjao Stvpo fiov woSdr.
1. 766. Ios d<|>iicoiTO, see on sup. 24. So JiSei.
1. 771. ore ST|, this is the common reading, for which it would be
better to write ore 5e, an adversative particle being required. The con-
struction goes on uninterruptedly, Aeacus taking no notice of Xanthias'
question.
cimSetKWTO, 'he began to make a display :' with special reference
to the rhetorical iviSfifts, or 'show-off speech.'
L 774. oircp, i. e. Sir-nip, attracted into the case and gender of
38
NOTES. LINES 750-790.
1. 775. dvTiXoYiiov, 'disputations;' alluding to the sophistical argu-
ments for and against any thesis, in which Euripides delighted. Cp.
the dispute in the 'Clouds' between the AtVnuos and "ASticos Ao-yos as
a parody on the same.
XvywrpoL and orpo$ai, 'twists and twirls,' are special names for
' dodges' in wrestling. Cp. iratras [itv arpofyas arptipfaOai, Trdcras St
5ie65ovs 5te\6u>v aTpcupfjvai \vyt6fj.evos, Start fa) Sovvat SIKTJV Plat.
Rep. 405 C; OVK tpyov tar' ovStv arp<xf>S>v Arist. Plut. 1154.
1.778. KOVPK pAXXTo ; 'and didn't he get pelted?' So when
Aeschines took to play-acting (Dem. de Cor. 314) he was pelted by the
spectators with various missiles, ir\fi<a Xa^avcav dwd TOVTUV rpav/wtra ^
riav afanxuv ovs vfifTs irtpl if/vx*)* rjyajv'i(ff0e.
1. 779. dve|36a KpCaw iroiiv. For this construction cp. Xen. Hell.
4. 3. 22 \t~ftTai apa TIS avafioijffat irapdvai rovs trpurovs, 'shouted out
that the foremost should pass on.'
1. 781. 6 TUV iravoijpY'i'v ; sc. Sfjuos. With oupdviov oaov, sc. avefioa,
('they sent up their shout sky-high'), cp. Oavftaffrov oaov and Lat. tm-
mane quantum.
1. 783. oXiYov TO XPT^TOV, 'good folks are in the minority, just as
is the case here.'
Iv048 is interpreted by a wave of the hand to signify the audience
in the theatre, who had a similar compliment paid them in Nub. 1096
AA. Kai TQIV OtarSiv oirortpoi ir\tiovs aKottft. AI. leal Srj ffKonat. AA. ri
5f}0' opqs; AI. iroXv irKtiovas, VT) row Oeovs, rovs fvpvnpwKTovs.
1. 786. irws ov, 'how comes it that Sophocles did not put in a
claim too?'
1. 790. KOKSIVOS fiir6xwpt]<rv. This line is puzzling. The easiest solution
is to follow Dobree's suggestion in assigning it to Xanthias, and making
it interrogative. 'What ! did he make room for him on the seat?' or
'give up the seat to him?' If, however, it forms part of Aeacus' speech,
we must (in spite of Kock's positive assertion) refer tcaKtivos to Aeschylus
and not to Sophocles. It may be taken as a paratactic clause, giving
the reason why Sophocles was near enough to kiss Aeschylus and clasp
his hand ' for Aeschylus had made room for him on the seat' which,
however, he did not intend to occupy^/; but for the present he meant
(as Cleidemides said) to sit as combatant in reserve. Possibly we
might read im-fx^/^ff' &v, referring to Aeschylus ; the proper pro-
tasis being replaced by wvl 5' e(i.(\\tv. If, according to one ac-
count given by the Schol., Cleidemides was a principal actor in
the plays of Sophocles, and, perhaps, his ' literary executor/ we may
imagine that the poet, with his characteristic modesty, had not made
his present intention public, but had merely confided it to Cleidemides'
ear. The punctuation of Meineke, wvl 5' !/xc\Ac>/, ws (<prj,
39
FROGS.
((petipos Ka6(ottff6ai which he translates ' nnnc autem, ut dicebat, tan-
quam alter Cleidemides, tertiarius sedere volebat' may be all right,
but it gives no known meaning. The <f>e8pos sat by while one pair
of combatants was engaged, ready to match himself against the winner.
1. 793. iv Kara \u>pa.v, ' he will remain as he was.' Kara -)(wpav
fiivfiv is the regular phrase for remaining in the ' status quo ante'
Thuc. I. 28; 2. 58; 4. 14, 26; 7. 49; a\\' ovo% TO &\tnp avrb Kara
\wpav <?x<* Arist. Plut. 367.
1. 794. irpos -y' EupimSrjv, ' adversus Euripidem quidem, non
Aeschylum'
1. 795. TO XP^M-' *p' &TTOI ; 'will the affair come off then?' So
Eccl. 148 Kal yap TO xpijp (pya^tTtu.
1. 796. KavravOa, ' and in this very spot' (sc. before Pluto's palace)
' the terrible quarrel will be broached.' So Kivtiv irtiKtuov Plat. Rep.
566 E.
1. 798. n.eiaYo>YT|<rov<rt,, 'will they bring tragedy to the meat-scale?'
On the third day of the Apaturia, when the children of Athenian
parents were enrolled hi their phratries, a lamb, of a certain definite
weight, was sacrificed for each child so enrolled. This lamb was called
officially teovptiov, and colloquially ptiov, because the members of the
phratries pretended to express dissatisfaction at its size, and to cry out
fitiov, netov, 'too small!'
1. 799. Kavovas, 'straight-edges;' i.e. long slips of wood or metal
for testing surfaces.
irf|x* l s, ' two-foot rules.'
1. 800. irXaiaio. |vjiin]KTd, ' oblong frames,' or ' framed-up squares.*
The epithet |vp/in]KT<i shows that the irXaiaia are not mere squares of
wood, but frames of four sides, like a brickmaker's mould as Xanthias"
question proves, ' What ! will they be making bricks ? ' Or v\ivOtvtiv
may be used as in Thucydides (4. 67), for ' building ; ' and ir\aiaiov
might be the ' hod ' for mortar. Cp. Nub. 1 126.
irXiv0evio-ov<n. -yap ; as an interruption on the part of Xanthias, is
the reading of Kock (followed by Meineke). The MSS. give T and -ye
and continue the line to Aeacus.
1. 801. BiajjitTpovs. The Schol. gives us the choice of taking this
either as 'compasses' or ' plummet.' It is hard to see how it can mean
either. Atd/xtTpos is properly the diagonal of the parallelogram, which
suggests that the word is here used for what workmen call 'mitre-
squares,' for testing the inclination of angles of various degrees. We
have then in the different articles a complete apparatus for registering
the weight, the correctness (6p0onf|s), the due length and the proper
parallelism of verses. Lastly, wedges (<r<f>-i)vs) are supplied for splitting
up the vast compound words and phrases.
40
NOTES. LINES 793-814.
1. 802. KOT* ?iros, probably 'verse by verse,' rather than 'word by
word.'
1. 804. 2pXev|/ yovv, ' he gave at any rate a savage glance, lowering
his head.' The metaphor is from an angry bull, about to attack. Cp.
Eur. Hel. 1557 Tavpos . . etf}pv\8.T' o/t/i' a.vaffTpe<f>(uv KVK\CU, \ KvprGiv ft
vGrra iceis Kfpas rrapfp.flkeiriui'. Cp. ravpySdv dvafikfyas, used of Socrates.
1. 806. vptaKTT)v, sc. Aeschylus and Euripides.
1. 809. otm -yip 'AO-qvaCoio-i. The interruption of Xanthias in the
next line does not break the flow of the passage, which runs on thus :
' For Aeschylus was not on good terms with the Athenians ; and all the
rest of the world ' (raXXa = roiis aAAouy, as, probably, X^poy lo-n roXXa
irpos Kivrjffiav Lysist. 860 ; <rn-o5oy 5 raXXa, n(piK\frjs, KoSpos, KI/JLCOV
Alex. 25. 12) 'he considered mere trumpery on the question of knowledge
about poetical qualifications.' This fact made the /cpiffts so difficult,
that the decision must be left to some other umpire. For this view of
the relations between the Athenians and Aeschylus in his lifetime cp.
Athenaeus 8. 347 (pi\6ffo<pos SI ^v rtiav iravv 6 At<rx^^ os > &* Ka ^ ^Trr]0fls
dSinais TTore f(pr) \p6v<p TcLs TpayySias dvanOfvcu, eldws on KOfUfiTCU rrjv
1. 811. WTpei|/av, ' committed the decision.*
1. 813. ccmpvSaKcoori (ffvovSdfa, perf. subjunct.), 'when they are in
earnest.' Their impatient eagerness, as the slaves know to their cost,
makes them exacting.
1. 814. TJ irov. The Chorus that introduces the contest between the
two rival poets is intended to hit off their respective characteristics.
The dactylic hexameter and the Homeric phraseology with which the
song opens suit well as an echo of the style of Aeschylus, who called
his poetry re/taxr) ptyaXaiv Set'wvcw '0/j.rjpov. On one side is arrayed all
that is grand, heroic, pompous, gigantic, and crushing ; on the other,
everything that suggests subtlety, finesse, fluency, and smartness. It is
the battle of the club against the rapier. ' The Lord of crashing thunder
will feel his wrath burn within him, as he flings his glance across, while
his adversary is whetting his sharp tusk for a wordy war.' The reading
TrapiB-r) is found in one MS., the rest have irep tSg. It is needless to seek
a defence for the gen. avmixvov, as constructed with iraptSy, for it is
better taken as gen. absolute. In the compound 6v\d\ov the emphatic
element is o vs, the other part of the epithet is only generally applicable
to the circumstances, because they deal with a ' strife of tongues.' So
we have SevSpeov vif/nrfTT)\ov Od. 4. 458 = a 'lofty' tree; the other
element belonging generically to all trees ; tKarofiiroSfs NrjprjiSes Soph.
O. C. 718, the ' hundred Nereids' including a thought of their dancing;
nvKvonrtpot dr)56vts ib. I'j, 'many nightingales,' which, as birds, are
winged.
FROGS.
1. 818. <rrai 8', 'and there will be helm-glancing frays of words
with horsehair crest ; and raspings of splinters, and planishings of fine
workmanship, while the fellow defends himself against the high-prancing
utterances of the poet of true genius.' The description of the Euripi-
dean style begins with o-KivSoXdjjwov. It is hard to settle the meaning
of irapo|6vi.a. If it is etymologically connected with aftuv, it might
mean 'linen-pins' (Afovoav kv^ara Eur. Hipp. 1235), an intentionally
ridiculous combination with <nciv8aXd|icov. Liddell and Scott render
' rapid whirlings.' Kock refers the latter half of the word not to d<w,
but to feo> and oavov, and so renders ' scrapings,' or ' raspings.' It may
therefore be better to read wapa6ava, ' shavings ' ; as conjectured by
Herwerden.
1. 820. <f>pvoTKTwv seems to describe a poet who draws upon the
resources of his own genius, instead of importing foreign matter into
his compositions, and relying upon adventitious aids.
1. 821. liriro|3dji.ova, as arparov ' A.pip.aairuv Ivno^dfjiova Aesch. P. V.
805.
1. 822. 4>pias. With the simile of the wild boar the thought
reverts to Aeschylus ; cp. Od. 19. 446 /tfyas <rvs <t>pias eu \oipirjv. He
is represented as ' bristling up the shaggy mane of a crest of home-
grown hair.' Xao-uxvx T l v is use d in the Homeric hymns as an epithet
of the bull and the bear, and in Soph. Ant. 350 of the horse. Here it
is applied directly to xa.iTi\. In atn-oKOfjiov a ridiculous contrast is
once more made between the originality of Aeschylus and the false
adornments of Euripides.
1. 823. irwncwu>v. So in II. 17. 136 -nav Se T' t-niOKvviov Karca
t\K(Tai 5ffff KaXvirTW, said of a lion scowling in wrath.
1.824. p-f|p.aTO. y| JL 4 >0 ' n ' a YTi' 'he will utter bolt-fastened phrases,
ripping them off like planks from ships with monstrous blast.' The
picture is confused, but it seems generally to mean that he will hurl
forth his ponderous phrases, like some furious squall that tears ship-
timbers from their fastenings, and scatters them piecemeal. Or, the
idea may be that of a giant (yTjytvris) tearing a house to pieces, plank
by plank. tv0ev 8r|, ' on the other side, the smooth tongue, sly crafts-
man, of the lips, shrewd critic of verse, unrolling its full length, shaking
loose the rein of malice, dissecting phrase by phrase, will refine away
the lung's large labour of his adversary.' Again the sentence is chaotic.
The general reference is to the glib and polished diction of Euripides,
depending upon niceties rather than on depth of thought (crrojiaTovp-yos
as contrasted with <pptvoTtKTwv) ; applying the severe analysis of dialectic
and verbal criticism to the turgid sentences of Aeschylus.
1. 833. diroo-p.vw*itai, sup. 703, ' he will first assume a grand
reserve, his usual practice of solemn mystery in his tragedies.' Join
42
NOTES. LINES 818-847.
oirp with tTepaTeveTO, lit. ' the rfpartia which he practised on each
occasion' (Nub. 318). The allusion is partly to the portentous grandeur
of his language, and partly to the solemn silence in which his characters
occasionally remained, sitting like dummies through half a play
(inf. 911).
1. 835. ay', & 8atp.6vi6, ' come, you reckless fellow, don't put it too
strongly.' The over-confidence of Euripides looked like the pride
that goes before a fall.
1. 836. 8i<7Knp.ai, with force of middle voice ^ perspexi?
1.837. aYptoiroi6v, 'poet of savagery;' referring to the strange
monsters and wild scenes of the Prom. Vinct. ovOaSocrTOjiov, ' of self-
willed utterance ;' choosing rather to be independent than to pander to
popular taste. The charge against Aeschylus, that he has a 'mouth
uncurbed, uncontrolled, unbarred,' seems to allude to his perfect fear-
lessness in expressing his own free thoughts in his own free way.
Mitchell reckons up 488 words in five plays which are peculiar to
Aeschylus.
I. 839. direpiXoXijTov, ' not to be out-talked ;' cp. the use of irept-
roffvdv Acharn. 712. Kop.Tro4>aKeXoppT||j,ova, 'spouter of bundle-
bound bombast.' The former of the two epithets, as applied by Euri-
pides, is amusing from its singular applicability to himself: the latter
has special reference to the sesquipedalia -verba of Aeschylus.
1. 840. dXrjtes, with proparoxytone accent (Nub. 841), has always a
tone of impatience and sarcasm ; like our ' O ! indeed.'
dpovpatas Oeov ; The ' goddess of the market-garden ' is Cleito,
the mother of Euripides, whom Aristophanes delights to represent as
a ' vendor of green stuff.' Cp. into 'EvpiiriSov TOV rijs \axafoirea\rjTpias
Thesm. 387 ; ffKavSixa not Sos (jnjrpoOev SfSf-fpfvos Ach. 478. The
line is a parody upon one of Euripides' own, d\i)0ts, & ircu TTJS QaXaaaias
Oeov ; perhaps from the Telephus.
1. 841. OTCi>p,vXio(rvXXKTd8T] and p'aKKxruppairTaST] are intended to
have a jingle, as ' gossip-catcher ' and ' rag-patcher.'
iTTxoiroi6s, 1'ke X to ^' irot s m f- 846, is one who ' brings beggars
on the stage.' The whole passage is an echo of the scene between
Dicaeopolis and Euripides, Acharn. 410 foil., where, among the Euripi-
dean repertoire, we have IS f \\epcHp6vrrjs 6 x ^"^ fciAorrlJriff 6 nraixos,
and, especially, TijAe^oy x cy ^^ s > vpoaairuv, <7To>/5A.os, Stivfa Xtyeiy, all
dressed in Svarnvrj ir(n\ajfj.a.Ta, paKw^tara, &c.
1.845. ow STJTO., sc. -navaonai. diro<j>T)voj, ' showup.'
1. 847. apvo, nXava. Aeschylus, the iptfiptntTas, is preparing to
'sweep forth' (tic{3atvv) as a storm on Euripides. Dionysus suggests
appeasing the tempest by the sacrifice of a black lamb, ' nigram Hiemi
pecudem' Aen. 3. 120.
43
FROGS.
1. 849. KpTjTixcls ftovcpSias. The rule in Attic tragedy was that
the singing and dancing should be kept separate ; so that half the
chorus was singing, while the other half was dancing. But in the
Cretan viro/)x i 7A taTa > th e a ctor, while singing, executed a dance descrip-
tive of the words of his song. Euripides seems to have introduced this
innovation in such passages as the fiovuSia. sung by Electra (Orest. 960
foil.), by the Phrygian slave (ib. 1369 foil.), and by Jocasta (Phoeniss.
301 foil.). The Scholl. refer to the monody of Icarus in a play of
Euripides called KprjTts, or to the character of Ae'rope in the Kprjcraai.
1. 850. y ( *( JLOVS avoo-uovs refers to the connection of Macareus with
his sister Canace in the AtoXo? (Nub. 1372, inf. 1081, 1475); to the
fatal passion of Phaedra in the 'lirtroKvTos ; or the amours of Pasiphae
and Ariadne.
1. 854. K<j>oXaia> ptisan, properly ' a principal phrase ;' intended
here to mean ' a phrase as big as your head.' Paley quotes d/xoia?oy,
'big as a waggon-load.'
1- 855. KXT), ' spill.' The word expected is of course tyKf<pa\ov, ' your
brains;' instead of which he substitutes, as a surprise, TOV T-riXe^ov,
' the creation of your brain.' The Telephus (as Enger says) is the grand
outcome of the head of Euripides, as Athena was of the head of Zeus.
1.857. eXYX' ^YX OVI ) ' criticise and get criticised.' This soothing
of the two combatants alternately is a reminiscence of the appeasing of
Agamemnon and Achilles by Nestor (II. I. 275).
1. 858. dpToiru>Xi8as. The 'bake-house scold' of Greece is the
classical equivalent of the modem ' fish-wife.'
1. 859. irpivos. For the 'crackling' and 'roaring' of 'holm-oak'
in the fire cp. Acharn. 666 otov avdpanuv vpivivw <p(i//a\os dvrj\ar' t
fp(9i^6fifvos ovpiq piiriSi.
1. 860. OVK dva8vojjuii, ' I do not shirk attacking or being attacked
first, as to the spoken verses, or the choric songs, or the whole (frame
and) sinews of tragedy.' Then he passes from general to particular:
'and, so help me heaven, my Peleus too, and my Aeolus, and my
Meleager ; and my Telephus by all manner of means.' TO. f-n-q are the
iambic portions of the dialogue, as in Nub. 541 ; and by vetipa he
means the whole framework and constitution of his dramas ; as in rcL
vtvpa TUV irpayfMTcav Aeschin. 3. 166 ; teas av l/crtVfl aiffitep vtvpa eie
TJJJ ^vx^ y Plat. Rep. 344 B. The juxtaposition of (ttXij with vevpa seems
to suggest the double meaning in /tt'Aj;, viz. ' limbs ' and ' melodies.'
1. 866. i/JovXcu/qv, ' it was my wish ;' but he waives it with ojxws 8
tirsiSri inf. 870. Note the omission of av.
1. 867. !| urov, 'on equal terms.'
1. 869. wo-0' ev XYIV, 'so that he will have it at hand for re-
citing.' Aeschylus makes the quaint grievance that the 'immortality'
44
NOTES. LINES 849-892.
of his works puts him at a disadvantage. His dramas are still living
in the upper world, and so are unavailable in Hades : whereas the
works of Euripides ' have died with him,' and followed him down below.
1. 872. irpo TWV ero4>i<Tp.dTcjv, ' before these shrewd inventions come off."
1. 873. (a-overiKioTaTa. 'with truest criticism;' sc. expoesis legibus. So
liovaiKOJTaTT] woXts, ' a city most full of liberal arts,' Isocr. 425 A.
1. 877. yvwpoT\nr<av, 'sententious;' lit. 'maxim-coining;' epithet of
lt.ipifi.vai in Nub. 951. Cp. fvwuoTvmKos as applied to Phaeax, Eq.
1379 ; 'Ayadaiv fv<ap.orwnti Thesm. 55.
ls tpiv, 'when they descend into the lists, mutually contending
with subtle, tortuous, tricks ' (cp. ^pvfi\ov ira.Xa.iap.aTa. sup. 689) ; ' do
ye descend to inspect the might of two mouths most clever at pro-
viding,' &c.
1. 881. p^ara is specially applied to the Aeschylean phraseology,
as sup. 821, 824, inf. 940, 1004; so that we may dispense with the
various conjectures of editors, who seek a stronger contrast to irapa-
irpternaTa, such as pVfMra, priffuna, irptp.va rt, Kpr^va rt.
1. 887. ctvcu. See on sup. 169, and cp. inf. 894. Aeschylus was a
native of Eleusis, which justifies his appeal to Demeter.
1. 888. KoXws, 'no, thank you!' See on KakXia-r' sup. 508, 512.
1. 889. 0ois. attracted to the case of the relative, as -rip ovoiav fy
KartKLirov ov ir\tiovos aia ianv. Similarly inf. 894.
1. 890. KojAjjia KCUVOV; 'novel mintage.' See on sup. 726, 730.
Between 18101 and ISiwrai = ' peculiar,' or ' private,' a sort of double
meaning is evolved : for iSiurrjs is technically one who has no pro-
fessional knowledge : and so passes into the sense of ' rude,' ' vulgar,'
as distinguished from irfnai5fv/j.fvos Xen. Mem. 3. 12. I. So, perhaps,
we might render, ' Have you home-gods of your own ?'...' then make
your prayer to these homely gods.' Passages are quoted from Euripides
in support of these views attributed to him, such as Troad. 885, H. F.
1 263, Cycl. 354 ; but all these suggest rather a doubt as to the existence
of the received deities, than an attempt to suggest new ones. Cp.
Thesm. 450, where it is said of Euripides, vw ff OVTOS tv raiatv rpaytu-
5/ais -noiaif | TOVS avdpas avawivtucfv OVK ttvai Otovs. In this passage,
the charge made against Euripides is the same as that preferred against
Socrates by his accusers, and worked out in the 'Clouds,' on icaiva
Saipovia. Cp. Acts of the Apost. 17. 1 8 feVcw
1. 892. tjiov |36crKT]na, 'my nutriment.* So in Nub. 33 the Cloud-
goddesses vXtiarovs QoffKovat ffo<piards. Soph. Aj. 559 rttus 8 Koixpois
irvtvp.aaiv Poaicov. In the same play Socrates invokes both 'Ar/p (264)
and AiOfip (265), and (424) recognises a hierarchy of gods, consisting of
Chaos, Clouds, and Tongue.
45
FROGS.
, 'pivot;' cp. y\carTo<rrpo<f>tiv Nub. 79 2 -
1. 893. jxDKTfjpts, ' critic nostrils ;' with a covert allusion to a scornful
sneer ; as in nvKrrjpi^fiv, naso stispendere adunco.
1. 894. \YX IV ( see on SU P- 887), ' to confute all the language (of
my opponent) that I assail.' So Plat. Phaed. 86 D xal yap ov <j>av\ws
toiKtv dirrofJievqi rov \oyov.
1. 896. TWO, X6yu>v fi|Ae\iav, firtre Satav 686v. This, the reading
of MSS. and Scholl., must mean, ' we desire to hear from clever men some
fair harmony of language ; forward on your hostile path ! ' But this is
very unsatisfactory, and we are quite unprepared for the sudden change
to the imperat. Jfmre (which has the variant tm re and ITTI T). Dindorf
cuts the knot by rejecting cp.|xc\iav and reading riva \6yuv tirirf Saiav
6S6v. Meineke adopts Kock's emendation, riva \6ytav, riv' e^/\e/as
tirire Satav 6S6v, interpreting it to mean, ' what hostile path ye mean to
pursue in the matter of spoken verse ; and what in choric song.' But
none of these conjectures reconciles us to tirirf Saiav 6S6v. Bothe in-
geniously supposes 6S6v to be a gloss, explanatory (if it can be called
'explanatory') of eupeXtiav, and he takes tirire Satav as a natural
mistake in transcription or dictation for (TriTrjSeiav : the whole passage
then running ajcovaai riva | \6ycav ( ppe \tiav (mrrjSeiav, sermonum com-
positionem idoneam. But the word Saiav finds some support in what
follows, *f\G>ffaa plv yap fjypiarai. The question becomes further
complicated, if we consider 11. 992-996 inf. as antistrophic to 11.
895-899.
1. 897. f\ypitoTa.\. t ' is exasperated.'
1. 899. AictvTjToi, 'passive,' 'unsusceptible.'
1. 901. TOV jttv, Euripides.
1.902. KaTppivr)|xvov, (pivrj, 'a file'), 'filed up,' i.e. 'polished'
with the limae labor.
1. 903. TOV 8 s d.va<nrwVT' , ' Aeschylus, rushing upon his foeman with
volleys of words uprooted, as he plucks them up, will scatter at once
his shifty turns of verse.' Aeschylus will do battle like an Enceladus,
evolsis truncis (Hor. Od. 3. 4. 55), bringing down the crushing weight
of his tremendous artillery upon Euripides, who will try to meet it with
the feints and twists of the wrestling-school. For the meaning of
d\wST|0pa cp. Eustath. aAiv8T)()pa Kvpicos n*v fi Kara ird\rjv Koviarpa,
rpoT'.Hws 8J teal 17 tv \6yois. Cp. Nub. 32. With dvao-irwvT' cp. such
phrases as \6yovs avecrira Soph. Aj. 302 ; &ffirep fK <f>aperpas fiijuariatcia
dvaffiruvres Plat. Theaet. 180 A.
1. 905. OVTU 8t, sc. xp?) \eyeiv, ' but you must speak so as to utter,'
&c.
1. 906. cio-Teia implies 'smartness,' and 'neatness;' either of which
would be lost by the use of '-metaphor' (eiKoves), or ' common-place'
46
NOTES. LINES 893-914.
(o" av aXXos ITTOI). Aeschylus was more extravagant in the use of
ttKuvts than was Euripides. Mitchell quotes a long list of these,
marking among the most far-fetched x a *- v Ps ~S,KvQ<uv airoiicos (S. c. T.
728) for a 'sword;' ^a\nvSr)aia fvaOos, f^dpoffvos vavratffi, fjtifrpvid,
vttuv (P. V. 727) for a 'dangerous coast;' ^XaarrjfM, Ka\\iirp<vpov
(S. c. T. 533) for a ' handsome man ; ' Kaais mjAov fwovpos (Ag. 494)
for ' dust.'
1. 909. otois T TOVS fleaTcis, 'with what devices he cheated the
spectators, finding them in a state of simple innocence, reared in the
theatre of Phrynichus.' In the dramas of this poet, the lyric prevailed
over the dramatic element. He employed only one actor, who furnished
subjects for the Chorus to express its feelings upon, instead of using his
Chorus to illustrate the action represented on the stage. After being
accustomed to the usage of Phrynichus, the audience felt they were
being defrauded by the introduction of a mute person, instead of the
actor who supplied the gist of the play, and the inspiration of the
Chorus. Phrynichus, for the sweetness of his choric songs, is com-
pared by Aristophanes to a bee (Av. 748), and his plays are called
ica\a Spd/Mra (Thesm. 166). His tunes were very popular with the
old-fashioned Athenian folk; cp. Vesp. 219 fnivvpi^ovrts
1.911. av Ka0icrv, 'he was used to introduce a figure sitting.'
For av with the aor. expressing customary action cp. Plat. Apol. 22 B
(i nvts i8odv trr) rovs a<p(Ttpovs firiKparowras avtBapffrjaav ay. Sitting
was regarded as the natural posture of grief, as KpoTffos evl Svo trea tv
iTfv&f'i uffaAcfj Karrjaro (Hdt. I. 46) ; and 'muffling the head ' was also
an expression of sorrow, as Kara tcpara oA.v^(i^voy yoaaffxei' (Od. 8. 92).
See Schol. on Aesch. P. V. 435 aionruat mpcL iroirjTais ra irpoaoma ft Si 1
avOadiav us 'AxA.A.ei/s kv rots $pviv (otherwise called "Exropos \vrpa'),
T) 5*d av/jupopav us TI Nio/3?; (sc. over the tomb of her children).
1.913. irpocrxTjuo, 'mere dumb-show of tragedy, uttering not so
much as one syllable.' Cp. ov$% fpv diroicptvo(j.tva> Plut. 17. Here
Fritzsche says, ' quae de divino illo et Niobae et Achillis silentio hie
Euripides dicit propemodum scurrilia sunt.' But Euripides is incon-
sistent as well as unappreciative ; for e. g. in the ' Supplices,' Adrastus
comes on the stage at the beginning, but remains mute till Theseus
addresses him (1. no) a\ rov Karrjprj x\aivi8iois dvurropu' | \ty' '-
Ka\inf/as Kpara. KOI napes yoov. So in Hec. 486 when Talthybius asks
where he may find the queen, the Chorus answers uurrj ire\as aov vur'
tXova' tiri x^ ol/l '> | Ta\6vf)if, KtTrai, v~fKtK\i)fji(t'T) irtir\ois. It is true,
however, that these characters do ultimately speak.
L 914. oi SijO', sc. typvfrv.
o Sc xps, ' and the Chorus would keep forcing upon us four
47
FROGS.
strings of lyric verse one after another, uninterruptedly, while the actors
kept silence.' Kock remarks that hi the Supplices of Aeschylus, after
the Parodos (11. 1-40) is ended, the Chorus sings eight pairs of strophes
and antistrophes without a break : and in the beginning of the Aga-
memnon we have six pairs.
1. 916. There is something delicious in the naive stupidity of Diony-
sus the critic, his complacent acceptance of the fact of his own dulness ;
and the helpless, uninterested, way in which he speaks of Aeschylus as
6 8iva = ' what's his name ? '
1. 919. VTT' dAaovias. Euripides calls it a piece of ' astounding
impudence' to keep the audience on the qui "jive, wondering when
the Silent Woman would speak ; ' and meanwhile the play was getting
on to the end ' (Si-get). For icaOfJTO the optat. of the Attic form, most
of the MSS. give KaBoiro, the rest preserve the right reading in the
incomplete form KaOrfro. Comp. /tejwi/To Plut. 991 ; Pl?.to, Rep. 7.5183;
KfHryro Plato, Legg. 5. 731 c : KtK\r,o Soph. Phil. 119 ; and see Curtius,
Verb. p. 423.
1.921. S> Tra(jLiT6vT]pos, 'Ha! the scoundrel!' Dionysus here ad-
dresses Aeschylus, who is ' stretching and fidgetting ; ' and he asks him
why he does so. Euripides undertakes to answer, and says it is ' be-
cause I am confuting him.'
1. 924. P6ia, 'lumbering phrases.' Cp. fiovirais, fiovycuos, fioixpayos.
1. 925. 64>pvs (\ovra. ical A6<t>ovs, 'with stern brow and lofty crest.'
p.op}xopo)7rd. ' goblin-faced.' J. van Leeuwen would read fioppovcoira,
cp. Ach. 582.
1. 927. otiSc Iv. This hiatus occurs nowhere else in Aristophanes
except in Plutus 37, 138, 1115, 1182. Person, Praef. ad Hec. p. 132
would write owS' &v tv.
\LI\ irpte, addressed to Aeschylus, who cannot contain himself.
1. 928. 2Ka^dv8povs. Aeschylus delighted in the pomp and cir-
cumstance of war : his plays recall the stirring scenes of the Iliad ;
as e. g. the fight of Achilles with the furious Scamander, ouS 'S.Ka.ina.v
Spos tXj^ye TO ov fitvos, dAA' IT* (M\\ov | \wtro Hr)\eiowi, tcopvaae Sf
Kv^a pooto II. 21. 305; or the varying fortunes of the fight at the
Trench, jroAAd 5 Tfvxta, na\a irtaov irepi T' d/j.'pi Tt ra<ppov \ (pfvyovruv
Aavao))/, iroKefiov 6' ov fiyvtr' iposfj IL 17. 760. The 'griffin-eagles,'
'horse-cocks,' and 'goat-stags,' are such fantastic monsters as may
be seen on Persian or Assyrian tapestry (irapaTrerdo-jiaTa), and illustrate
the Oriental influence noticeable in the plays of Aeschylus. Cp. the
winged car of the Oceanides, P. V. 135 ; the rtrpaaKt\ris oiaivos of
Oceanus, ib. 395 ; the fire-breathing Typhon on the shield of Hippomedon,
S. c. T. 492 ; or the 2(i-y< W/XOO-JTOS on that of Parthenopaeus, ib. 541.
1.929. liriroKpTjjiva, 'high-beetling phrases;' a sort of parody on
48
NOTES. LINES 916-943.
the Aeschylean v\f/r)\6icpT)pvos P. V. 5. Cp. Kpijuvovoios as an epithet of
Aeschylus, Nub. 1367.
1. 931. WKTOS. The jest lies in the parody of two lines from the
Hippolytus (395), where Phaedra says, jjSr) iror' d\\us VVKT&S kv /xa/f/xp
Xpovy | GVTJTUV (<ppovTia' 77 StttpOaprai flios. Dionysus spent his vigil
on a far more unfruitful subject of research. Iv ixaxpco xp V( p generally,
as Soph. O. C. 88, Phil. 235, means 'after a long time.' Possibly the
meaning here, as in the quotation, is ' in the weary hours of night.' The
o0os tTTiTa\eKTpvwv (with v. 1. linra\(KT(up, as aKexrcap and a\fKTpvwv
Nub. 666) is supposed to have actually appeared in the play of the
MvpfuSoves. See Pax 1177; Av. 800.
1.933. <rt)pitov, 'the device;' commonly painted at the stern of
the vessel, as Eur. I. A. 239 -xpvatais & flf6ffiv \ /car" aicpa NqpTjSes
taraaav 6tal | irpvp.vai.s ofjp 'Ax'AAttov arparov. The Boeotian ships
at Aulis were aijtitioiaiv 0"roA.i<r/Var | rofs Se KdS/xos yv xp^ fffov
Spd/eovr' ex*" 7 I &P<fi vauv Kopv/ipa ib. 255. If Dionysus mistook the
ltnra\(KTpvuv for a likeness of Eryxis, it must be that Eryxis was a man
of superhuman ugliness, with a beak like a bird.
1. 935. ira has the force of rejecting the excuses which Aeschylus
offers for his linra\(Krpvwv 'still, was it right to introduce a cock
at all (Kai) in tragedies?'
1. 940. oiSovtrav. The language is more or less medical ; as though
Tragedy, when Euripides took it in hand, was suffering from plethora.
irax6wv, ' cumbrous.'
1. 941. terxvavo, the regular word for 'reducing' swellings, and the
like. Cp. Aesch. P. V. 380 KOI pr) ff<f>piySivTa Ov^ov icrxvaivri @iq.
1. 942. iruX\iois, 'verselets;' the regular stock-in-trade of Euripides,
see Ach. 898 ; Pax 532. But as one naturally expects here the name of
some drug in his prescription, it is not unlikely that tirvXXiois is
a surprise for ipirv\\iois, 'wild thyme.' It is impossible to give the
double meaning of i^piiraTois in an English translation. From the
doctor's point of view, it means ' constitutionals ; ' from the teacher's
point, 'philosophical disquisitions.' Perhaps a play on 'excursions'
and ' excursuses ' might suggest the double thought.
mn-Xia, 'beetroot' is credited with cooling properties, iravra
OK\t]pa KOI olSa'ivovra iraOr/ Ofpairtvd.
1. 943. 8i8ovs, still a medical term, ' administering decoction of
chatter, straining it off from books.' Here Euripides is made to
confess that his characters often speak the common-places of the text
books of rhetoric and philosophy. Mitchell illustrates this by the
moralising of Andromache (Troad. 631 foil.) ; the lecture on com-
petition by Eteocles (Phoen. 500 foil.) ; on ambition by Andromache
(Andr. 319 foil.) ; on morality by Phaedra (Hipp. 380 foil.).
D 49
FROGS.
1. 944. IT* averp<J>ov. ' next I proceeded to feed it up ' (after the
' reducing") ' with monodies, throwing in an infusion of Cephisophon.'
This man was a slave of Euripides, and intimate in his household.
He was suspected of helping his master in his poetical compositions.
See on inf. 1408, 1452. The hemistich Kij^io-o^uvTa JUYVVS is ingeni-
ously assigned by Leutsch to Dionysus.
1. 946. OUK 4\-f|pow o TI TVXIH'. 'I did not prate on any chance
topic ; nor by plunging headlong into the story did I create confusion.'
The attempts of the prologist (ovuov) to give the ' family history '
(TO Y V S) of the play may be examined in the prologues to the Suppl.,
Ion, Helena, Here. Fur., Bacch., Hec., Phoeniss., Electr., Orest, I. T.
1. 947. TO cravrov, sc. yevos, ' your own family-history :' alluding to
the low extraction of Euripides.
1. 948. diro T<OV irpdiTcov liTuv ouStv iraprjic' dv, ' from the speaking of
the very first verses onward I suffered' (customary aor. with dv sup.
911) 'no shirking of work.' For the neut. cp. Eur. Bacch. 262 ovx
vyils oiiSev en \eyea rwv opyiuv.
1. 952. SrnjioKpaTiKov, 'on democratic principles,' as exhibiting that
complete napprjoia that was supposed to be the privilege of the
Athenian adult citizen; but which Euripides extends to the un-
privileged.
TOVTO [AV tacrov, 'come, drop that!' sc. the allusion to 'demo-
cratic principles,' ' for you have got but a ticklish footing upon that
ground;' or, 'you have got no disquisition that runs well upon that.'
Again we have the double meaning of irfp'uraTos, as in sup. 942. Euri-
pides was supposed to have coquetted with the oligarchical faction ;
and, anyhow, his visit to the court of Archelaus was of bad precedent
for a ' Liberal,' if, as Sophocles says, OOTIS 8( irpus rvpavvov iinroptvfTai
| Ktivov 'on 5ov\os, KO.V f\ei>depos fJ.6\rj.
1. 954. TOVTOVO-C, ' the audience yonder.' There is something quite
Socratic about the professions of Euripides.
1. 956. o-J3oAds, ' the introduction ' (leatvas 4<r#oAay opui Xo-yuv Eur.
Suppl. 92) 'of subtle rules, and triangulations of verses.'
! 957- ^P* v > 'to be in love,' seems to come in most awkwardly in
this list ; nor does it help much to join orptipeiv tpdv or arpofyuiv Ipov, ' to
have a passion for twisting." It is best, perhaps, to accept fpdv as an inten-
tional surprise, referring to such dramas as the Hippolytus and Aeolus.
1. 958. Ka\' (ad) viroTOimcrOcu.. The suspicious temper of the Athe-
nians in Aristophanes' day is amusingly described in Thesm. 395 foil.
1. 959. oiKela, 'domestic,' 'homely,' in which the spectators would
be able to catch him tripping, if he was wrong in any details. And
this was more wholesome for them, he says, than ' to be driven out of
their senses ' by bombastic words.
50
NOTES. LINES 944-965.
1. 963. KVKVOVS. The fight between Achilles and Cycnus, son of
Poseidon, might well startle the audience ; ending as it did with the
transformation of the vanquished hero ' victum spoliare parabat : |
arma relicta videt, corpus deus aequoris albam | contulit in volucrem,
cuius modo nomen habebat' Ov. Met. 12. 143. Memnon, 'Lord of
the team with tinkling trappings/ was the subject of two plays of
Aeschylus, the Mfpvcav and the ^vxpa-raaia. (weighing of souls).
1. 965. Phormisius is described (in Eccl. 97) as a thick-bearded,
formidable-looking man ; one of the Athenian demagogues, and a sort
of ' Black Mousquetaire.' Megaenetus is called 6 Mavrjs (the name of
a slave) ; or 6 Mdyvrjs (the Magnesian). But Fritzsche quotes from
Pollux, to the effect that pavris or fjLayvrjs is a cant term for a bad
throw at dice; so that his name may have the same connotation as
Thackeray's ' Mr. Deuceace ; ' or if Vtdyvrjs be read, with the double
meaning of a Magnesian stranger, and an unlucky, or dishonest, game-
ster, we might adopt sporting parlance, and call him the ' Welsher.'
These men he designates, with true prjuaO' liriro/tpij^va, as ' moustachioed
heroes of bugle and lance,' and 'grinning brigands of the pine-tree
springe.' This alludes to a torture invented by the bandit Sinnis, ' Qui
poterat curvare trabes, et agebat ab alto | ad terram late sparsuras
corpora pinus' Ov. Met. 7. 441. The bent tree flew back when re-
leased and tore the victim in two. Cleitophon, son of Aristonymus,
was a companion of Plato. He had the reputation of being a lazy
idler, but he professed himself an admirer of Socrates. The ' smart
Theramenes' appears again as the lucky trimmer (see on sup. 540),
with that happy instinct of self-preservation that ' if he gets into troubles,
and stands close at hand to them, he manages to throw himself clear of
the danger.' This translation attempts to keep the double meaning
of irirTcoKv, which means not only ' he tumbles clear of the trouble ; '
but ' his throw is a lucky one,' as in the phrase di ycip 3 niirrovaiv of
Aioy KV&OI. And this metaphor seems to be continued in ow Xios dAAd
Keios, for Xfos is the lowest throw of the dice, like the KVWV, and Ko5os,
like Lat. Venus, the highest. But instead of writing dXXd K<$os, which
would make the whole phrase mean ' a man of no blanks, but all prizes,'
Aristophanes alters K<os into Keios, by way of surprise, because Ceos was
the native place of Theramenes. That ' Chian' means a man of ill, and
'Cean' a man of good repute, as the Schol. states, has not much point.
But, indeed, the whole passage is unsatisfactory. What can irXrjo-iov
-irapacrrij mean ? Velsen would read fy KU.KOIS TIS irtpiirfffrj, ' if anybody
gets into trouble, and Theramenes chance to be standing by : ' but this
is pure conjecture. It is just possible that there is some bitter allusion
in irXrjcrCov to the fact that Theramenes was 'as near as any one
else,' to the struggling sailors at .Arginusae ; though he did not help
D 2 51
FROGS.
them, yet he saved himself. Possibly there may be an allusion to irapa-
nrari)^. Cp. Falstaff's words, 'Call you that backing of your friend?"
If we might take KCU disjunctively = r\, it would be simpler to render,
' gets into trouble,' or ' finds himself very near it.'
1. 971. TOWMJTO, (levrovyio (ntvroi tyaj), 'such sort of wisdom'
(rotavra <}>povelv) ' I introduced into these spectators.'
1. 978. Kavao-Koirttv, ' and to investigate how goes this ? where am I
to find that ? who has taken this ? ' IXojJe violates the metre ; and it is
tempting, with Velsen, to reject 1. 979, which looks like the addition of
some one who did not see the point. We do not want the details of
household life introduced here. All that Euripides would say, is that
he boasts to have given the Athenians an enquiring mind. It is
Dionysus who maliciously extends the OIKOV OIKCIV to the petty squabbles
of masters and slaves.
1. 981. clcriwv, 'as he comes indoors.*
1. 986. T0vr]K (i,oi, 'last year's pot has vanished from my sight.'
Tt0vY]K is jestingly used to invest the fate of an old pot with a deep
human interest.
1. 989. TWOS, ' up till then,' i. e. till Euripides took them in hand.
1. 990. |xap|xdicv/6o'., said to be from ^ajt/ia and KevOai, said of one who
hides himself in his mother's lap, =' milksop.' According to Eustath.
jieXiTiS-qs is a sort of Simple Simon. Its connection with pf\i may be
illustrated by the word /3\iTTOf*anfjuis Nub. 1001. With Kex^voTes we
may compare the name given to Athens in Eq. 1263 ij K(xr]va.iojv 7roA<s.
1. 992. Ta8e (Jicv. The JAvp/jiSovfs of Aeschylus began with the
words ra.Se /j.tv \fvafftts, QaiSip' 'Ax'AAtS' | Sopi\v^dvTovs Aavau/v
poxOws \ ovs . . (tow K\iaias, spoken by the Chorus of Myrmidons to
Achilles when imploring his aid. The choric song 11. 992-1004 is
apparently antistrophic to 11. 895-904. The uncertainty of the reading
in 11. 896, 897 (see notes) affects 11. 993, 994. Kock and Meineke mark
a lacuna after oirws.
1. 994. |*T| <r' 6 0ti(i6s, ' lest your passion sweep you away, and carry
you beyond the olives? i.e. off the course. At the end of the race
course, where the turn was made, a clump of olives was planted ; so that
to get ' beyond the olives ' was to be out of the race altogether.
1. 999. dXXd crvcrreiAas, ' but after taking in a reef, and reducing
your sails to a mere edge, see that you speed on faster and faster, and
be on the look out, when you have got the breeze.'
1. 1001. ais (a'taatu) is the simplest correction of the MS. reading
af$. Other suggestions are <s, or tti (/), both giving the idea
of getting away from the storm.
1. 1004. irvpywoxis, cp. the phrase 'building up the lofty rhyme.'
So Aristoph. writing (Pax 749) of the wise poet (.meaning himself) says
NOTES. LINES 971-1023.
inoirjfft ri'xvrjv ntya\r]V fipiv Kaiwpyuo? olKoSo/Arjaas | tirfffi /wydXots ai
biavoiats.
1. 1005. Ko<r[iT|cras Tpa-yiKov X-fjpov. There are two ways of taking
this : either to follow the Scholl. and say that Xfjpov is put, nap' vrro-
voiav for Tx I/7 ?' / a piece of good natufed ' chaff ' from the Chorus of a
comic poet, who was pleased to call the composition of the rival style
' tragic trumpery : ' or, less likely, we must take Afjpov as representing
the silliness of the tragic stage before Aeschylus took in hand to adorn
it : lateritiam invenit, marmoream reliquit.
TOV Kpovivov ucjnei, as we might say, ' pull up the sluices ; ' a strange
shift of metaphor after the picture of the reefing of the sails.
1. 1006. rfj cruvTVxi<j, 'this occurrence.'
1. 1012. reOvdvai. This is a fine touch of humour in reference to one
who is already among the dead.
1.1014. TTpo,Trf|X l s, ' six feet high.' Cp. Vesp. 553. 8ia8paernroXC-
ras, ' citizen-shirks,' who disown all responsibilities, whether military or
political; so SiaSeS/xx/coTes Ach. 601. Transl. 'malingerers.'
1. 1015. KojSdXovs. The Ko/3aAoi, whom the Sausage-seller (Eq.
635) invokes, along with the spirits of humbug and boobyism, are 'mis-
chievous goblins,' ' imps ' (like Cobolds and Pucks), belonging originally
to the mixed retinue that accompanied Dionysus. Cp. Ko0a\iKtvfa6ai
(Eq. 270); Ko@a\tKtvnaTa (ib. 332), and oj8aA.a (ib. 417). Here it
means ' arch-buffoons,' or ' rogues.'
1. 1017. lirrapoetovs, 'seven-hides-thick.' Properly the epithet of
the shield of Ajax. II. 7. 220; Soph. Aj. 576.
1. 1018. x^P". 'advances,' 'spreads.' See Nub. 916.
Kpavoiroiuv av |i' cmTpt\|/ci, 'he'll be the death of me, hammering
away at his helmets.' The word is intended to have the ambiguous
meaning of ' manufacturing helmets,' and ' introducing warlike gear ' in
his dramas.
1. 1020. |AT| . . xaXtiraive, 'don't show your spite by obstinate reserve.'
1. 1021. "Birr" tm 0T)pas. The subject of the play is the contest of
Po^Tieices and his confederate heroes against his brother Eteocles and
the Thebans. It concludes with the fatal duel between the brothers,
and the proclamation of the herald against the burial of Polyneices.
The Seven against Thebes formed the 3rd play in a Trilogy : the ist and
and being the ' Laius' and ' Oedipus.' It won the ist prize.
1. 1023. iriroii]Kas, ' hast represented' the Thebans of mythic days,
as braver than the Argives : and, by implication, the Thebans of con-
temporary times, as braver than the Athenians, with whom they were
always at enmity. Probably also Dionysus insinuates that Aeschylus
has actually ' made ' (iroitTv) the Thebans all the braver, and therefore
all the more dangerous enemies to Athens.
53
FROGS.
1. 1025. avV (avTa), sc. ra 7ro\e//ja. tm TOVT', sc. (irl TO
1. 1026. SiSdj-as (cp. SiSdffKtiv \opov}, ' by having put the " Persians "
on the stage.' fterd, TOVT' introduces a difficulty : the date of the repre-
sentation of the 'Persians' at Athens is 472 B.C. After this Aeschylus
went to the court of Hiero, about 471, and there reproduced the play;
though with what amount of alterations it remains a disputed point.
Aeschylus was in Athens again in 468 ; and the ' Seven ' was probably
produced in the following year (467). If we seek to reconcile the dates
with the statement in the present passage, we must either be content,
with Mitchell, to render p,eTa TOVT', ' besides ; ' or we must believe that
the date assigned by the Didascalia to the representation of the ' Seven '
refers to a later reproduction of the play. The subject of the ' Persians '
was the battle of Salamis, and the flight of Xerxes.
1. 1028. t'xaprjv YOVV TJVIK' TJKOVO-O trepl A. This, the reading of the
MSS., is faulty in metre, and untrue in fact : for no news is brought in the
' Persians ' of the death of Darius. It had taken place long before ; and
in the play only his ghost appears, and foretells the further victory at
Plataea. Perhaps however it is not too much to charge the stupidity of
Dionysus with the strange muddle, and the important announcement of
stale news like our saying, ' Queen Anne *s dead ! ' Various emend-
ations have been proposed, as T]VIK' o.-ni\yy(\Qi], which restores the
metre, and may, perhaps, be construed, ' when the news was brought of
the appearance of the shade of Darius.' But in the Persae (754, 966)
the chorus break into lamentation not at any announcement by Darius.
but when Xerxes bewails the disaster of Salamis. There is therefore
much to be said for Prof. TyrrelPs ingenious conjecture (Class. Rev. i.
1 30) txnprjv yovv rjvitc' f.K&jKvaa.'i, -nai Aapeiov reOvewTos. Cp. of Xerxes,
Pers. 468, KavaKcuKvcras \iyv. This is, at any rate, more metrical than
Fritzsche's k\npr]v fovv rrj viicy aicovaas irapa A. T. It may be said that
in our edition of the Persians the Chorus does not say lavoi (unless we
accept Blomfield's emendation in Pers. 664) : but Dionysus is merely
summing up the long KOIJ./J.OS of lamentation by the Chorus in true
Oriental style. Or lavot may be a silly invention of Dionysus (like the
mock word 'laovav Ach. 104) for the true Persian la. (Pers. 116).
1. 1030. Join TdVTd avSpas ao-Ktv, ' our poets ought to train our
men in these things.' So do-Kiv in Plut. 47 da/cav rov wdc rov knixupiov
rpoirov. Conjectures are \aaKtiv and <paaKtiv.
1. 1032. 'Op(j>vs. It is now impossible to detach the real Orpheus,
the Thracian bard, from the marvellous stories that grew round his
name, and from the spurious ' Orphic hymns ' that were attributed to
him in later time, and which were constantly extended and interpolated.
Miiller thinks that Orpheus is really connected with the cult of the
Chthonian Dionysus (Zayptvs") ; and that the foundation of this worship,
54
NOTES. LINES 1025-1044.
and the composition of hymns for the initiations connected with it, were
the real functions of this poet. Similarly Movcraios was a sort of
eponymous representative of the hymns connected with the Eleusinian
Mysteries.
4>6vwv T' dirtxer0ai, ' to abstain from blood ; ' for the prohibition
was not only against ' murder,' but against the slaying of animals for
food. Cp. Hippol. 953 fjS?? vw avx, xol Si' aaf/vxov fiopas \ airots
Kairr)\tv', 'Op<pta T' avaicr' lx cw ' \ j3a*X l;e '
1. 1035. diro TOV, ' unde.'
1. 1036. IlavTaicXca. This awkward functionary, while taking part
in a procession (tirejjnr*, TTO/JTTTJ), instead of arranging the crest in the
helmet before putting it on, placed the helmet on his head first, and
tried to fix the crest afterwards. But as the \6<pos dropped through a
hole in the helmet and was fastened inside by a nut, or (rather) a string
or strap, it was impossible to fix it when once the helmet had been
put on.
1. 1039. aXAovis, sc. (8i8ati> "Ofirjpos.
Adftaxos t]pa>s. Aristophanes is here true to his principle. Just
as he would not attack Cleon, when he was dead (Nub. 550; Pax 148
foil.) ; so here he takes a generous view of the soldierly qualities of
Lamachus, now that he had died a hero's death in the Sicilian ex-
pedition ; though he lashed him unsparingly in life, as in the Acharn.
and Pax.
1. 1040. diro|xa|a(jivr| (//drrco), 'taking the print;' more common
with eicp.a.TToa. Cp. Thesm. 514 \tcav, \ecav aoi yt-yovtv, avrfKnay/ia
aov, ' your very image.' For Aeschylus' acknowledgment of his debt
to Homer cp. Athen. 8. 438 E 6s cu avrov TpafySias re/xdxv ftvcu
t\(^( raiv 'Opfjpov fjn"^a\<av Stiitvuv.
1. 1042. dvT-K-Tivtv, probably carrying out the same metaphor
from soft and ductile material, ' to shape himself to these models.'
1. 1043. ^aiBpas. The Phaedra, in the 'Inir6\vros arftpavrjc^opos
which has come down to us, is an unfortunate rather than a guilty
woman : a victim rather than a votary of Aphrodite. But Euripides
had brought out an earlier play called 'ITTTTO^VTOS Ka\virr6/jifvos, in which
the reckless passion of Phaedra, and the sophistical excuses she made
for her immodesty, were too strong for his Athenian audience. The
author of the Vita Euripidis speaks of it as a drama ev $ TTJV dvaiaxw-
riav idpiafj.&fv( TWV yvvatvuv.
20vpoia (named Anticleia in Horn. II. 6. 150 foil.), is the
Potiphar's wife of classical story. Proetus, king of Argos, is the
Potiphar, and Bellerophon the Joseph. Euripides wrote one play called
Bellerophon, and another called Stheneboea.
1. 1044. c'pwtrav. Although the plot of the Agamemnon turns upon
55
FROGS.
the guilty passion between Clytaemnestra and Aegisthus, yet that
passion is never paraded in the play ; though it would have given an
opening for many a powerful passage. The connection of Agamemnon
with Cassandra may be called immoral ; but she, at any rate, shows no
fervid love for her lord and master.
1. 1045. 'A4>po8i-njs ov>8ev om, as Kock neatly says, Euripides
means to say that Aeschylus is a homo invenustus.
1. 1046. iro\\T| iroXXov (as in Eq. 822; Nub. 915) 'irncaOiJTO, 'in
violence she laid violent siege to you and yours, and so she laid you low,
your very ownself.' Notice the tmesis in KO.T" oSv c|3a\, which is quite a
Herodotean usage, as in KO.T" ovv tSrjatv 2. 122 ; tear' uv (Ka\v\f>( ib. 47.
This may be supposed to refer to the infidelities of the two wives
whom Euripides married ; one of whom he is said to have detected
carrying on an intrigue with his actor (or slave) Cephisophon.
1. 1047. TOVTO Y TOI 8t|, ' that's one for you.'
1. 1048. d Y&P s TUS dXXorpias tiroieis, ' the passions which you
represented in the case of other men's wives by the same have you
yourself got punished;' i.e. you, who have filled your plays with
stories of adulteresses, have found an adulteress in your own wife.
1. 1051. oicrxvv0icras. Aeschylus ventures to speak of Athenian
ladies as committing suicide, because they ' have been put to shame
in consequence of those Bellerophons of yours;' i.e. the contrast of
Anticleia's lust with Bellerophon's chastity has cast an unendurable
reproach upon the whole female sex. So Agamemnon says of Cly-
taemnestra (Od. ii. 432) 77 8' f^o\a \vypci ISvia \ ol re KO.T' a?ax"s
(X (ve Ka * faffopttnjffiv biriaao) \ 6rj\vT(priai yvvati, /cat T\ K evtpyos tijffi.
Weil thinks that the allusion rather is to actual seduction of Athenian
ladies by the young gallants reared in the morality which Euripides
represents.
1. 1052. wortpov 8' OUK ovra, 'was it that I composed this story,
all unreal, about Phaedra?' He defends himself on the ground that
he did but reproduce the story in its traditional form, and did not
invent. The answer to which is that a tale may be only too true, and
had better be left untold. See Aristot. Poet. 20 2o^>oA.^y t<j>r] avros
/j.(v oiovs Set TToitiv, EvpiiriSrjv Si oloi cUrt.
1. 1054. irapaYiv, 'to bring it forward' on the stage.
1. 1056. AvKaj3ijTTOvs. Mount Lycabettus in Attica, and Mount
Parnassus near Delphi, serve here as types of lofty mountains, repre-
senting the prifMO' liriroKprifiva of Aeschylus. For Ilapvacruiv Bentley
and Person read Iiapvf]Qtav, sc. Mount Parnes in Attica. The names
are often confused in MSS.
1. 1058. ovOpwireiws, the poet ought to use language ' down to
human level.'
56
NOTES. LINES 1045-1073.
1. 1059. ^ <ra T ^ ^TN^Ta, ' the phrases that express them ought to be
on the same scale.'
1. 1060. ica\\o>s. See on sup. 80.
1. 1 06 1. f||xwv, the common brachylogical idiom in comparisons =
row fjfjifTfpcav. Compare II. 17. 51 Kopjai Xapirfaaiv opoiai = /H^WIS
XapiToav.
1. 1062. ap.o{i, sc. & fftov, 'which when I exhibited (sup. 1032) quite
properly you completely spoiled.' Aeschylus was the pallae repertor
honestae (Hor. A. P. 278), while the stage dresses that Euripides de-
lighted to use were rags (see sup. 40).
1. 1064. The order of the words is TI ouv (3\a\J/a Spdcras TOVTO ;
1.1065. Tpujpapxelv. The duty of equipping a ship for the Athenian
navy was .one of the special services (\fiTovpfiai) required of citizens
who had a certain property qualification. Sometimes the service was
performed on the most liberal and magnificent scale : sometimes it was
shirked, on the excuse of poverty, by those who could well afford it.
That the tax did sometimes press unfairly may be inferred from the
permission granted to appeal to the people in cases of extreme hardship.
Here, of course, the complaint of Aeschylus that such unpatriotic
shirking was the natural lesson taught by the weeping heroes of
Euripides, is not serious. irXovrcov (ir\ovTfu), 'though rich.'
1. 1066. 7TpuA.d|j.vos (aorist of irepifi\w, -etAe'w, or-tAAcu) is Cobet's
correction for the veptfi\\6f^(vos or -i\\6^tvoy of the MSS.
1. 1067. x iT " va ovXcov cpicov, like the ov\at x^ a * vtu f ^d. 4. 50.
1. 1068. dvKuv|/sv, 'pops up at the fish-stall.' After suing in forma
pauperis, and being excused from service, he next appears buying
delicacies in the fish-market. With TONS ix&vs Vesp. 789 cp. rcL o\-
(pira, 01 \vxvoi, at nvppivai Lysis. 557.
1. 1071. TOVS irapdXovs, 'the crew of the Paralus,' or state galley.
The Schol. here, speaking of the ndpaAot, says drifiot 8l OVTOI ?jaav,
which looks as if they were in disgrace for some act of insubordination ;
perhaps for disobedience at Arginusae, where they refused, because of
the storm, to attempt the rescue of the crews from the wrecks. The
whole crew of the Paralus, both eptrai and firi^arat, were (Thuc. 8. 73)
freeborn Athenian citizens. They are described by Thucydides as
devoted to the cause of the democracy and bitterly opposed to the
oligarchical faction.
1. 1072. avra-yopeveiv. The teaching of Euripides, and of the
Sophists generally (see Nub. passim), was to encourage the rising
generation to rebel against authority.
1. 1073. vim-a-irai, ' pull away,' as in Vesp. 909. The patriotic
horses who man the vessels, as told in Eq. 602, modify this cry into
Intanu.
57
FROGS.
I. 1077. vvv 8' avTiAcyei, 'but nowadays (the oarsman) gainsays his
orders, and, refusing to row any longer, he sails about hither and
thither.' Probably a contrast is intended between i\ai/veiv and ir\etv.
The crew will not labour at the oar, but sail about at their ease : like
the distinction in Od. II. 640 Trpuira p\v eipeaii), neri-atiTa 8t dAA</xos
ovpos.
1. 1079. irpoaYwyous. Phaedra's nurse in the Hippolytus was a
irpoayoiyos or ' procuress,' in trying to bring Phaedra and Hippolytus
together, npoerycoyot were punishable with death by the Solonian laws.
In the Thesm. 1172 foil., Aristophanes makes Euripides himself, in the
character of an old woman, play the part of a irpoaycayos.
1. 1080. riKToveras tv TOIS lepots. In one of the plays of Euripides,
Auge the priestess bears a child to Heracles in the temple of Athena,
and then seeks to justify herself before the goddess. Cp. Thuc. 3. 1 14,
where the prohibition was made after the purification and consecration
of Delos, fiijre tva-noOvr/aKfiv tv rfj vr/ffy i*rjTf kvTiKTeiv.
1. 1081. dSeXcjxns, as Canace with Macareus. See sup. 850, inf.
1485.
1. 1082. TO J-fjv. Cp. Plato, Gorg. 492 E, where Socrates says, oi>
yap TOI 6av/M.^otii av (I 'Evpimoqs d\i)6r) tv ToToSe A.7, \iycav T'IS 5'
oiStv el TO fjv (ifv tffTi KarOavtTv, TO KarBavfTv ol rjv. This is from
the Polyidus. The dogma appears in a similar form in the Phrixus of
Euripides. See inf. 1477.
1. 1084. viroYpan|juzTov (see inf. 1 506), so written since Hermann,
instead of the vulg. vn-3 ypofifiaTfcav. The reference is obscure. Athens
seems to have been overrun by a swarm of these underclerks ; to the
lowest and commonest grade of which Demosthenes assigns Aeschines
when (Dem. de Cor. 269) he calls him oAtflpos ypa^/MiTtvs. Cp. also
Fals. Leg. 371 itavovpyos OVTOS /cat OeoTs exOpos no! .ypa/^/iTvr. Per-
haps, however, fpannaTtvs here has the meaning of a 'scribbler,'
dabbling in philosophy, &c.
1. 1085. Jh)|ioiTi0T)K(i>v, 'playing their monkey-tricks on the popu-
lace.' The iriOrjKos is the type of low cunning ; cp. Acharn. 907, where
the ffVKo<pavTr)s is described as airtp triQaKov d\iTpias iroAAay ir\tcav.
1. 1087. Xap.7rdSa, ' the torch.' It was no easy matter to run in the
torch-race, which required both speed and caution, to reach the goal
first and keep the torch alight
1. 1089. d<|>T]-uav0T)v, (d<pavaivta), 'I was spent (lit. 'dried up') with
laughter.' Perhaps with allusion to laughing oneself dry, and finding
excuse for a drink, as Siif^ dtpavavBTjao/jLai Eccl. 146. The 'pursy,,
pasty-faced little man' was struggling along, bent nearly double (/ntyas)
with his exertions, ' distanced as he was by all the other runners, and
making a terrible to-do (Stiva voiwv Nub. 388) about it.' He has to
58
NOTES. LINES 1077-! 1 1 8.
run the gauntlet ' through the ' men of Cerameicus ' (ol Kpa(iTJs from
Kfpantvs), who deal him many a slap as he passes.
1. 1094. tv TCUS iruXais, sc. at Kepa/jaJ irv\ai, so called as forming
the communication between the inner and outer Cerameicus. These
' gates ' were also called AtwuXov.
1. 1096. rato-i irXoTiais, sc. "Xfpaiv, 'with the flat of the hand.'
These alapae gave rise to the proverb Kepa^etwat ir\r)yai.
1. 1099. c}>vcrd>v. This is explained of 'wilfully blowing out' his
torch, and running away. Cp. Theophrast. Ign. 6 n\v \vx"os airoa&iv-
1. noo. aSpos, ' in full strength.'
1. noi. Teivfl piaia>s. Aeschylus 'presses on vigorously' (cp. rtl-
viv wo\6/xoto TfXos II. 2O. loi), and Euripides 'has the power to wheel
round on his pursuer (cp. Eq. 244 d\\' dfivvov Kairavaarptyov iraXiv) and
attack him smartly.' Plutarch uses the word similarly (Flamin. 81),
(TTfpdSetv r-rpi tydXayyd rivt, ' to bring the whole weight of the phalanx
to bear on him.'
1. 1103. H.TJ V TOUTW KoflijcrOov. Cp. Thuc. 5. 7 KAewv ^Sav arpaTioi-
v rfj fSpa, Kai ov &ov\6/j.vos avroits Sid TO fv ry CLVTCU
('keeping to one spot') flapvveffOai, dva\a(luv rfftv. This
recommendation to activity and change of ground in the wordy warfare
is like the advice given by Socrates to Strepsiades (Nub. 703), raxfais 5'
orav els diropov ircafls lir' d\\o irfjSa I/OTJ/XO <(>pev6s,
1. 1104. elapoXat, see on sup. 956. The word has a sort of double
meaning here ; both ' openings ' or ' beginnings ' and also ' assaults.'
1. 1106. firiTov (eirtim}, 'attack.' dvaScpctrOov, lit. 'strip off the
skin ;' i. e. ' lay bare,' ' expose.' So Brunck for the MS. reading dvaSe-
ptrov. Bergk would read d/d 8' tpfaOov, in tmesis, meaning ' question,'
' examine ' each other.
1. 1108. KairoKiv8vvVTOv, 'and have the hardihood.'
1. mo. ws ra Xfirrd H.T| "yvcovai., 'so as not to understand those
subtleties, as you utter them.' XYOVTOIV, gen. abs.
1. 1113. (TTpaTvjievoi yap tun, 'for they have seen a great deal of
service.' This may mean merely that foreign wars have extended their
knowledge of the world ; or, generally, that they are well practised in
every kind of conflict, political, philosophical, literary, or social ; which
suits better with the following words.
1. 1114. fJipXiov. Euripides is himself one of those named by
Athenaeus as having had a large &i0\iajv KTTJOIS (cp. inf. 1409).
1. 1116. irapijKovTjvTai (aKovatu). The native wits of the Athenians,
already sharp enough, ' have been whetted ' to a still keener edge. Cp.
Xen. Cyr. 6. a. 33 o ^6yx r l v VLKOVUIV ixtivos xal r^v ^v\r\v rt rrapaKoi'a.
L 1118. 0arwv -y' ovvx'i 'as far as the spectators go.' They are
59
FROGS.
clever enough : don't be afraid your contest will be above their
heads.
1. 1119. Kol (jff|v, 'well, then.' <rov. Here Euripides turns to
Aeschylus. In the next line he accosts Dionysus, and speaks of
Aeschylus (airoO). This transition is very violent ; and it might be
better to read <roi, referring it to the leader of the Chorus, and making
it an answer to the foregoing request.
1. 1122. dcra<j)T]s. Meineke needlessly rejects the line. What Eu-
ripides means to say is that the Prologue, as used by Aeschylus, does
not put the spectators in possession of the plot of the play, nor make
the mutual relation of the dramatis personae clear. It must be observed,
however, that when Euripides actually comes to the flaaavos, his
criticisms are purely verbal, and do not deal with the matter.
1. 1124. 'Opecrreta. If this word includes the whole Trilogy, it
might be better to read irpGrrov Si po'i nv' t 'O. \fye. Dr. Verrall takes
'Optarda to be the title used by Aristophanes and his contemporaries for
the Choephoroe, from which the quotations are taken.
1. 1126. 'EpjATJ x^ovie. The opening scene of the Choephori repre-
sents Orestes, on his return from exile to avenge the murder of his
father, invoking the aid of the Chthonian Hermes, with the words
irarpw' tiroirTua>v Kpdrq. But what is signified by Kparr] ? to whom
does irarpwa refer? what is the meaning of iroTrTva>v ? This ambi-
guity is an exhibition of the aaa<ptia of which Euripides complains.
Orestes seems to say, 'thou that keepest watch over the powers
assigned thee by thy father,' sc. Zevs aotrijp, which points the appeal
conveyed in the words <rtoTT|p ytvov jioi. Or the words (perhaps
directly addressed to a statue of Hermes) may be interpreted, ' thou
that watchest over my father's sovereignty;' a fitting address from one
who has come to regain his varp-j-a Kparrj. Euripides chooses to in-
terpret the expression, ' thou that dost regard the violence done to my
father' (so viiei) KOI Kparrj Aesch. Suppl. 951). The passage is fairly
open to the charge of obscurity.
1. 1130. dXX" ov8 irdvra, 'well, but these verses altogether are not
more than three :' and so hardly offering room for ' more than twelve
faults.'
1. 1133. irpos Tpi<rvv Ia|xj3eioun. Perhaps Dionysus gives friendly
advice to Aeschylus to quote no more ; or else ' you'll find something
else scored against you besides these three iambics,' which have already
been credited with so many mistakes. The more you quote, the more
errors will be proved against you. irpoo-o<j>ei\iv is the regular term in
the courts for incurring a fine in addition to the loss of the thing in
dispute. 'You'll not only lose your three lines, but you will be fined
as well.' The conversation between Aeschylus and Dionysus must be
60
NOTES. LINES 1119-1161.
taken as a sort of by-play ; for the words of Euripides run on, un-
heeding the interruption, tiKooxv -y" d(jtapT(as, euOvs yap . . ocrov. Bergk
would transpose 1 1 36 ATS. opijs CTV Xtjpcis ; ETP. d\\' oXC-yov yi
fjioi pcXei before 1132, in which case irapaivG crot oncoirav will be a
warning to Aeschylus not to interrupt ; and the following words will
be a threat that, if he does, he ' shall be sconced in some verses beyond
the three already quoted, and so run the risk of having more holes
picked in his diction."
1. 1 1 36. opijs on Xijpets ; No transposition, however, can settle with
certainty the meaning of these words, and the answer to them. If
Aeschylus speaks them to Dionysus they must mean, 'don't you see
you are talking nonsense in bidding me to be silent?' And Dionysus
answers, ' I don't care whether I am or not.' But it gives more point
to make opqs on \ypeis addressed to Euripides. 'Don't you see,' says
Aeschylus, ' that you are talking nonsense, with your "dozen mistakes,"
and your "more than twenty," and your ovpaviov oaovT 'I don't care
if I am,' Euripides retorts : an amusing confession that sense and non-
sense are both the same to him.
1. 1 140. OUK aXXuis Xt-yco, ' I don't deny it,' ' I admit it.' So in
Hec. 302.
1. 1144. o\> 8fjr' tKttvov, 'Nay, 'twas not that Hermes (sc. '"Epinjv
56\iov. implied in 5o\ojy sup.) ' that he addressed ; but it was the Helpful
Hermes that he accosted as god of the subterranean world ; and he
made his meaning plain by saying that it is from his sire he holds the
prerogative.' What the exact criticism of Euripides was going to be
we shall never know, as Dionysus interrupts, with the ridiculous idea
that such 'subterranean privileges so inherited' would make Hermes
out to be a ' tomb-rifler' on the father's side. For CKCIVOV, the Rav. MS.
has ticeivos = 'Opfarr)*.
1. 1150. mveis otvov, i.e. 'the wine yon drink is vapid stuff;' as we
should say, ' it wants bouquet." This means that the joke is coarse and
flavourless.
1. 1151. <ri 8' im-f|pi, 'and do you, Euripides, be on the look out
for the flaw.'
I. 1159. (juiKTpav . . K<ip8oirov, 'a kneading-trough,' and 'a trough
to knead in.'
1. 1 1 60. ou BtJTtt TOVTO -y'. It seems hardly Greek to say ov Srjra
rovro 76 T<i avrd !<m = 'this assuredly is not the same,' as Kock gives
it. It is simple enough if we take ravr' as = TO aiir&. Others would
read ravry 'OT'.
1. 1161. With apurr' tirwv ?xv 'most excellently phrased,' cp. ev (ppt-
vwv t\fiv Hippol. 462, &c. It conforms to the rules of opOotntia. The
participle perl", pass. KaTto-TO)(*wX|Xve seems to have a further shade of
61
FROGS.
meaning than merely ' glib-tongued fellow;' there is the notion of his
being ' debased with chattering.'
1. 1162. KoO" 6 TV 8-q, ' in what sense you describe it so.'
1. 1163. A0tv is the ordinary word that would be used of one 'who
still has part and lot in his native land.' We say, ' he has arrived,
without further incident,' beyond the fact of his having been absent.
Or oX\T)s o-uji<j)opds may be the 'calamity' of exile, aAAijs being used
with its frequent idiomatic force. But on returning from exile, a man
both ' arrives ' (?pxTai), and ' is restored ' (/faT*/>x Ta O- Euripides
thereupon introduces a new quibble to the effect that KartKOtiv is only
applicable to those who are legally restored by formal permission of
the authorities (iriOwv TOVS icvpiovs, who in this case would be Aegisthus
and Clytaemnestra).
1. 1 1 70. ortpaive, ' complete ;' i. e. give another whole verse.
1. 1171. dvwas, 'with despatch;' lit. 'having got your work done.'
is TO icaKov air6pXeir is equivalent to tirtTT|pt. TO f3\d(3os sup. 1151.
1. 1173. ovOis. Bake's emendation av Sis is good.
1. 1 1 74. ic\ijiv aKoO<rai. Aeschylus does not attempt to rebut the charge
of tautology in these two words ; though from his own phrase (P. V. 448),
K\VOVT(S OVK IJKOVOV, we might have expected him to say that there was
more mental process in axovfiv. But cp. Agam. 1244. Here, however,
the doubling of the words has just a touch of instinctive pathos ; as in
'we have erred and strayed,' 'we have done amiss and dealt wickedly.'
We may compare it with (inf. 1184) -nplv <pvvai, irplv teal ytyovtvcu, 'be-
fore his birth, yea, before he came into being.'
1. 1176. ols, is commonly taken as the relative attracted into the
case of T0vT]K6o-iv, in place of the accusative, which would gram-
matically follow upon ftKvovptOa. But there is no reason why it
should not follow directly on Xiyovrts, like reOvrjitoaiv f\eyt, sup. For
the triple hail to the dead cp. Od. 9. 65 foil. ; Virg. Aen. 6. 506.
1. 1178. <rroi|3T|v, 'stuffing,' or 'padding.' Properly, leaves, straw,
and the like, for packing brittle articles ; like the <popvros, in which the
avKcxpavTTjs is packed (Ach. 927).
1. 1179. <> TOV Xoyov, ' unconnected with the subject.'
1. 1180. The order of the words is ov yap dAAd (sup. 58) aKovaria
fioi tOTiv.
1.1182. fjv OlSCirovs. Prologue to the Antigone of Euripides.
1. 1184. jid TOV At'. The objections raised by Aeschylus are as
sophistical and quibbling as those of Euripides. For the tautology in
Trplv 4>vvcu . . irplv Kal yY ov * vai see on SU P- 1 1 74 > aQ d cp. Eur. Phoen.
1595 Trplv ts (puis firjTpos (K yovfjs no\ttv, dyovov, &c. J. van Leeuwen,
Mnemos. 24. i. p. no, would make irplv K. -y. a ridiculous aside of
Dionysus : ' what ! kill him before he was himself born? '
62
NOTES. LINES 1 1 62- 1 2O I.
1. 1 1 88. ow STJT', sc. tyfvfro. It was not a case of 'becoming'
wretched : he ' was' so from the first, and continued so.
1. 1190. tv oarpdiccp, 'in a crock.' The common practice of exposing
children in a x^ T P a (f r which oarpaitov is only a somewhat grotesque
equivalent) is seen in such verbs as \vjpifa, fyxyrpifa, Ko.Ta\VTpi^<u.
1. 1192. ^pptjcrev ws II6Avj3ov, ' he made his unlucky way to Polybus,'
king of Corinth. Ippeiv is common with this meaning of ' hastening
somewhere, to one's own destruction ;' cp. Eq. 4 tiafippr)atv els TTJV
o'tKiav. So in Demosth. 560. 10 <p0tipecr6ai irpos roiis -nKovaiovs.
1. 1195. evSatfjuov ap" JJv. 'Well,' says Dionysus, 'if Oedipus could
be called "happy" under such a complication of disasters: he would
even have been happy if he had been colleague of poor General Erasi-
nides.' Erasinides was one of the six arpaTj^yoi put to death after the
battle of Arginusae. The attack really began with the fining and im-
prisonment of Erasinides on a charge of embezzlement ; and this paved
the way to the public prosecution of the Generals on the capital
charge.
For Jjv with the force of jjv civ cp. ot /xaXtora CIKOS ^v v^as trpo-
opdffOai avra (Thuc. 6. 78), and the regular construction of eSei
fXpfj", &c.
1. 1 200. diro Xi]Kv0iov. Euripides had taunted Aeschylus with his
obscurity and pomposity. Aeschylus retorts with the charge of mono-
tony and common-place. The prologues which he criticises begin in
the matter-of-fact style of children's stories ' once upon a time there
was a man who' next follows a participial clause, and then comes the
fatal space for the finite verb, into which Xi]Kv0iov dmoXecrev fits, as if
made for it. So much for the monotony. But the alternatives suggested
(1203) for AtjievOiov, viz. KwSdpiov and OvAAiaov, show that Aeschylus
is thinking how Euripides dragged tragedy down to the humblest levels
of everyday life ; which is really the boast that Euripides himself makes
(sup. 276), that he taught the people to look sharp after the manage-
ment of their homes ; or t^as Dionysus parodies it) makes them cry out,
in their petty economy, irov 'artv 77 \\irpa ; ris TTJJ/ Kt<pa\^v dneSrjSoufv
TT}J naiviSos; This is the introduction of Ar]Kvi0u>v, with a vengeance I
The metrical monotony must not be over pressed, as XrjicvOiov dircoAeo-ev
represents only the ordinary penthemimeral caesura. But the tribrach
in the fourth place is no doubt intended to exhibit the fondness of
Euripides for ' resolved feet ;' as we may further gather from the start-
ling appearance of GV\O.KIOV (the reading of all the MSS.) at the end of
1. 1203 ; forming a tribrach in the sixth place. The grammarians gave
the name of \rjicvOiov or (terpov ~Evpnri8ttov to catalectic trochaic dipodia
[- , - , - v, -] ; why, it is hard to say.
1. 1201. diro \T)Kv@Cov, sc. 8ia<f>0fptis i
63
FROGS.
1. 1 206. Aiyvnros, from the prologue to the Archelaus.
1. 1 208. KaToaxwv, ' having touched at ;' as iroSanfc 5' 58" dv?)p KO.\
woOtv Kartax* "W v > Eur. Hel. 1 206.
1. 1209. ov KXavtrsrai; ' shall it not rue this?' This use of K\ai(iv
shows that Dionysus is quite in the dark about \rjKvOiov, as he acknow-
ledges.
1. 1211. Aiowcros, from the Hypsipyle. The third line in the
original ended with irapOtvois avv Af\(pioiv.
1. 1 21 2. tv ircuicaicri, ' in the midst of his pine-torches.'
1. 1215. d\\' ou8v, ' but that won't matter.'
1. 1217. OVK tcrnv OO-TIS, from the prologue to the Sthentboea.
The third line ended with it\ovaiav dpoi it\aKa.
1. 1218. PIOV, 'livelihood.'
1. 1 2 20. i><j>0-9ai n<n SoKti (correction for 5oV), 'it seems to me
right that you should take in sail.' So irAV vcfxinivri SoKeT Soph. El.
335. This prepares us for the metaphor of the storm in imuo-tiTai TroAv.
1. 1223. tKKKo^Tai, this time the fatal \ijKvOiov 'shall be dashed
from his hand.'
1. 1224. Kdwtxov, ' keep clear of,' ' give a wide berth to.'
1. 1225. 2i8&rtaov, from the prologue to the Phrixus : the second
line should end fer' j 77/377? iro\iv.
1. 1227. S> 8aip.6vi' dvSpwv addressed to Euripides ' you silly fellow,
buy up (irpta/wit) the flask from him, that he may not rip up all our
prologues!' 'What!' says Euripides, 'am I to buy it of Aim?' So
TTOOOV irpicufMi erca; Acharn. 812. Cp. 5e\fffOai nvi II. 2. 186. This
dative is probably ethical, ' to buy at some one's offer,' ' to his satisfac-
tion.' So sup. 1134.
1. 1232. nt\o4> 6 TavrdXttos, from the prologue to the Iphigenia
Taurica; the second line should end Olvo^dov -ya^ef Kopijv.
1. 1235. dXX' wYaO'. These words are addressed to Aeschylus.
Dionysus, in a sort of way, is making common cause with Euripides, as
we gather from TOUJ vpo\6yovs T||iuv (sup.). So he says, coaxingly, to
Aeschylus, ' Kind sir, by all means give him up the flask, even now' (?TV
tea! vv means ' though he has left it so long in your hands to his own
disadvantage'), ' for you'll get a handsome and serviceable one for an
obol.' The majority of editors correct diroBos into diroSov, ' sell.' But
there is a joke in diroSos, because the ktjtcvOiov really belongs to Euripides,
though his heroes were continually dropping it for Aeschylus to pick up.
1. 1237. OWTKI) Y'J sc. dvoSuffft. Euripides will not consent to the
arrangement at present, as he has some unimpeachable prologues in
store. If we take the words as addressed to Euripides, meaning ' give
up.' ' abandon ' the flask, don't fight about it any more, then we must
supply dnoSuooa with OVTTQJ y'.
64
NOTES. LINES 1206-1263.
I. 1238. Oivtvrs WOT', from the prologue to the MeJeager. The second
line ended, probably, OVK triatv "Aprffuv.
1. 1242. |i.CTau 6wov, 'what, in the very midst of his sacrificing?'
av0' (avro), ' who robbed him of it?'
1. 1244. Zeus, the opening line of the Melanippe.
1. 1245. diroXet r", 'he'll be the death of you.' Others read diroXis,
meaning, 'you, Euripides, will be the death of me with all this;' i.e.
Dionysus is tired out with the XrjKvOiof.
I. 1247. CTVKO, 'styes.'
1. 1249. <x w V " s habeo quomodo, ' I have means of proving him a
bad writer of lyric.' ?x "S resembles the formula, common in negative
clauses, OVK %x<ti, OVK tariv, OTTOJS. But Dobree's conjecture tx<u y' ols
is very probable.
1. 1256. TWV (J.('xpi vwi. The MSS. rSiv en vvv ovrosv. Meineke
elicits this better reading from the Schol. The Chorus expresses a
belief that, in lyric poetry, Aeschylus, ' the inspired master of the
tragic stage ' (j3a.Kxiov avaKTa), will be found unassailable. But we
are already prepared for objections on the part of Euripides, sup. 914.
1. 1260. 8t8oix'. The Chorus must mean that they are afraid on
behalf of Euripides, that he will meet with even worse success in his
new attack. The last four lines have a suspicious similarity to the
preceding ones. They may be the result of a second recension by the
author.
1. 1261. iravv Y OaVfiaffTa, spoken ironically.
8eici 8t|, 'the fact will soon make itself plain.' For a similar
impersonal use cp. Vesp. 993 4>IA. wwy ap' Tj-yonacr/xttfa ; BAEA. otifeiv
toiKtv, i.e. res ipsa videtur ostensura- It is more common in the phrase
aiiTO 5tift.
1. 1262. els iv yap. This seems te mean, 'I will reduce them all to
one form.' The constant iteration of the ' refrain,' and the dactylic
measure shall do the same for his verses as his XyitvOiov did for mine.
So the Schol. es TO avro rt\os irtparovfitva vavra.
1. I -263. 4rf|<|>wv. Dionysus proposes to 'take some counters, and
keep reckoning of them all.'
SiavpXi-ov irpo<rav\i. This is a stage-direction, 'interlude on the
flute heard behind the scenes.'
^Oiwr' *AXI.X\V. From the Mvpn'toovts of Aeschylus. A deputa-
tion waits on Achilles, and implores him to come into the field again
' Achilles, lord of Phthia, why, O why, when thou nearest the sound of
murderous buffets, ah well-a-day, drawest thou not near to our succour? '
Euripides cunningly let his first instance have an intelligible meaning ;
in order to make his hearers seek a meaning, and find none, in the
subsequent lines ; when he breaks away the second line from its context,
E 65
FROGS.
and uses it as a ' refrain ' or ' burden ' in quite a different connection,
where it is not intended to ' construe ; ' but to be sound without sense.
The ' refrain ' has always been an expression of pathetic feeling ; as in
the versus intercalares of Theocritus and the Eclogues of Virgil. But
it may touch tears er force a laugh ! We may instance ' Willow,
willow ! ' or W. Morris' grotesque modern ballad with its burden ' Two
red roses across the moon!' or Mr. Calverley's happy parody of the
refrain not without Euripidean maliciousness in his ' Butter and
eggs, and a pound of cheese.'
1. 1266. "Epn-dv (i'v, said by th'e Schol. to be quoted from the
Vvxo-ywyoi. Perhaps ol irepl Xip,vav are the dwellers on the shore of
the Stymphalian lake, who worshipped Hermes as the founder of their
stock.
1. 1270. KvSurr', perhaps from the Tri\f>os of Aeschylus. Join
(idvdavc (ADV.
1. 1274. u<f>a|iiT. From the 'IQiytvda or 'lecffai. 'Hold your
peace ! the priestesses are at hand to throw open the temple of Artemis.'
)icXur<rov6p.oi. The title of the priestesses at Delphi, as well as
those of Artemis and Demeter, was ne\iaaai. But it is difficult to
decide whether the word is connected with (it\ea9at, curare, or fj.tt\iffaai,
propitiare, or whether there is some mystical or symbolic allusion to
Bees. The priest of Artemis at Ephesus was called 'o-erT|v, i.e. a
'queen ' (or, as the ancients thought, a 'king') bee.
1. 1277. Kvpios i(ii. From the Agamem. 104.
58iov, sc. ' on the voyage to Ilium.'
1. 1278. TO XP^JK- 01 T v "6-irwv, ' this tremendous amount of buffeting?
cp. TO xprina TOJV WKTuiv ovov Nub. 2.
1. 1280. wiro TWV KOITCDV, 'by all this buffeting about, I am getting
a swelling in the groin.'
1. 1281. <rr4<rtv (i\uv. This means a 'lyric passage ;' referring to
the o-Tdo-ijiov (/xe'Aos) of the Chorus ; i. e. the ' regular,' ' steady ' sing-
ing, uninterrupted by dialogue or anapaests. Here the arafftfiov is set
to a harp accompaniment, instead of the flute. T<xJ>XaTTo0paT ro<j)\aT-
ToOpar is intended, like Optrrav(\6 Plut. 290, or r^vf\\a Acharn.
1 241 , to imitate the twang of the harp. Cp. such forms as tarantantara,
tirra lirra, liveedledec.
1. 1285. oircos "Axauiv, supposed to follow in construction on Kvpios
tifu Gpotiv. The line is from Agamem. (104 foil.), where however after
'EXXdSos ?jf3as comes {vfuppova rayav. The next words, from 2<f>iYYa
. . . Kwva come from the 2<piy of Aeschylus. With TTtjiirei we resume
the passage from the Agamemnon, as far as opvis. The next line is
perhaps from the 2<piy again, and the words TO o-vyKXivts ir' Aiavn
are borrowed from the (dpyaaai (Thracian women). Svcrajxtpiav (gen.
66
NOTES. LINES 1266-1305.
plur.) is Dindorf 's emendation for Svaa^fpiav. It is hardly possible (if
worth while) to construe the passage. Perhaps the general effect is
something like this ('to tell how) the ominous bird of war sends forth
with spear and vengeful hand the twin sovereignty of the Achaeans,
Sphinx of the chivalry of Hellas, foul fiend dispenser of disasters, grant-
ing to the eager soaring vultures to find their prey and how the banded
host bearing down upon Ajax.' There it abruptly ends. Fritzsche
removes the T' after TO JvyicAives, making it the object of irapdo-xov,
and rendering densam phalangem Aiaci adstantem, with reference to the
Salaminian sailors.
1. 1296. K MapaOuivos. According to Fritzsche, because of the
swampy beds of rushes about the low Marathonian coast, from which
well-ropes (Ipoviai) were plaited. It seems more likely that (f^arroOpar
reminds Dionysus of such Persian shrieks and shouts as might have
been heard at the battle of Marathon, in which Aeschylus had himself
taken part. The Schol. refers the next words to the songs sung by men
as they hauled up their buckets from the wells; as Callim. frag. 185
aflSfi itai itov rts dvrip vSarrjyos IfiaTov, with which we might compare
the xt\iboiviaiM.ra and the (irtf^v\to. <u5ai. But the form of the word
(l[jiovio(7Tp6<}>os) makes it more likely that the reference is to a ' rope-
walk,' where the men sing a monotonous refrain as they twist the
strands.
1. 1298. K TOV KaXov, 'I transferred them, at any rate, from one
honourable place to another;' i.e. from the repertory of the Aeolic
poets (such as Terpander the inventor of the opOios co/xoy), to the tragic
stage. For K TOV KaXov Prof. Tyrrell would read TOV Ka\<a, ' from
the rope ' ; with a punning reference to IHOVIOOT po<pov sup.
1. 1301. diro TrdvTtov iropviSicov (icXr) 4>cpti. The reading of Person
for the common diro -navrcav ntv <pipn iropvlStcav, which violates metre.
Other emendations are iropvtiSiatv (as if from iropvftov dimin.) ; and
iropvwSiwv, ' lewd songs.'
1. 1302. MXT)TOS, a writer of Scolia, or 'drinking catches,' is better
known as one of the accusers of Socrates. He is a common butt of
Aristophanes and the other comic poets, as a very poor composer of
tragedies. Cp. Plato, Apol. 23 E M'A;TOS //o tiriOfro . . . vnep TO>V
KapiKwv. The music of the Carian flutes was melancholy and
doleful. Cp. Kapinfi TWI pavcry vpoirffjLnovat TOW rf\tvr^aavras Plato,
Legg. 800 E.
1- 1 Z5- XP l " v > according to this accentuation gen. plur. from
\optia, ' dance-tune.' The paroxytone xP (l<uv comes, apparently, from
Xoptiov, 'a dancing place/ 'music-hall.'
1. 1305. irl TOVTWV, 'in the case of songs like these.' The common
E 2 67
FROGS.
reading tjri rovrov may, perhaps, mean ' in dealing \vith a man like
this.'
oo-TpaKois, ' castagnettes, ' 'bones.'
1. 1307. irpos fyirtp, 'to whose accompaniment these songs are well
fitted for singing.'
1. 1308. OUK \<T(3iafv. There must be a double meaning in the
word, (i) This Muse of Euripides never adopted the Lesbian (Aeolic)
style of music ; as Aeschylus did in imitating Terpander : and (2) ' this
Muse was never attractive enough to play the wanton.'
1. 1309. oXKvoves. This amusing cento, which has the very loosest
grammatical construction, attacks (as Kock shows) three distinct points
in the lyric poetry of Euripid%s : (i) his grouping of incongruous pictures ;
(2) his innovations in music; (3) his faultiness in metre. The whole is
a clever skit upon the Euripidean Choric song ; with, here and there, a
reminiscence from some actual play (as e.g. from the Electro, in 1317,
and the Iphig. Taur. in 1309), so as to give an air of reality to the
whole: 11. 1312, 1316 are borrowed, according to the Schol., from the
Meleager.
1. 1311. Join TTTtpwv VOTIOIS avi<n, ' with drops sprayed from your
feathers.'
1. 1314. <j>aXoYY- This is a name given to 'spiders,' because of
their long jointed legs ; tf>a\ayf being the technical word for the bones
between the joints of fingers and toes. These spiders lurk ' under the roof
in corners twiddle-iddle-iddle-iddling their loom-strung threads with their
fingers.' The ettieieuieiAwrcreTe represents the musical ' shake,' or ' run.'
1. 1316. Kpi8os doiSoti, 'the singing shuttle,' like Virgil's arguto
pectine Aen. 7. 14.
1. 1317. tv' 6 4>i\av\os f-rraXXe SeX<j>is. The dolphin, plunging at
the ship's bows, is a picture from the Electro, of Eurip. 438 foil. ; the
addition of jiavTeia ical <rra5iovs (perhaps intended to be accus. aftor
ciroXXc) is a mere piece of fooling, like the combination of ' thimbles
and hope ' in the ' Hunting of the Snark.' And in the following lines,
the blossom, fruit, and tendril of the vine are all jumbled together in
happy confusion.
1. 1323. opqis TOY iroSa TOWTOV. Aeschylus startles us here with a
sadden bit of criticism, suggested by ireptpaAA'. For, apparently it was
regarded as a metrical error to admit an anapaest (irepipa\\.', -) as
the basis of a glyconic system. So the song ends with ' There's a foot
for you I ' meaning, ' Did you ever see such a metrical fault ? ' At this
moment (in accordance, of course, with s'age directions) the woman
who is playing the castagnettes pokes out her foot, which catches
Dionysus' eye, who promptly answers, ' O yes, I see that foot well
enough.' Aeschylus, surprised and pleased with what he thinks to be
68
NOTES. LINES 1307-1375.
the critical insight of Dionysus, rejoins, ' O, you see that foot, do you?'
' Yes,' says Dionysus again in his innocence, 'I do."
1. 1330. (xovcpBuov. The points of attack in this parody are (i) the
general confusion of the scene; (2) its paltry and trivial circumstances;
(3) the use of oxymoron, as e.g. iee\aivo<pavris, \fjvxav atfn>x ov > etc.;
(4) jingling repetitions, as <povia tyovia, Saicpva Sdnpva, (0a\ov e&aXov,
etc. (Mitchell quotes 16 instances of this in one passage of less than
150 lines from the Orestes} ; (5) the looseness of the metre, as shown in
the resolved feet ; (6) the florid character of the music, as exemplified in
cUieiciXiacrovcri. A woman who falls asleep while spinning a skein of
thread for the market has a nightmare-dream that her neighbour Glyce
has robbed her hen-roost. This homely story is decked out with
invocations to Powers of night, and passionate prayers to heaven and
earth for help.
1. 1337. p.Xavo-vKv-si(xova, 'in dark funeral robes.'
1. 1342. TOUT' tKiv', 'that's what it is.' She means that her sus-
picions about Glyce's thieving are now verified.
1. 1345. Mavio, the name for a female slave, as Mai/ijs for a male.
See sup. 965 ; Av. 523.
1. 1350. KVcj>aios, 'in the early dawn,' 'before daylight.'
1. 1356. dXX' u> KpT]Ts, from a play by Euripides of that name, in
which Icarus, caught in the Labyrinth, sings a novwSia.
1- '35 7- ajiiraXXT, ' lightly lift your feet."
1. 1358. AiKTvwa irats a KaXd (the addition of "ApTtfjus seems to be
a gloss), 'the Huntress-queen, daughter of Zeus, goddess of beauty.'
So in Agam. 140 Artemis is called d /roAd. The picture of the goddess
with her pack of hounds ranging the house is inimitably grotesque.
1. 1362. Biirvpovs, i.e. a torch in either hand: symbolical of the
cusps of the crescent moon. 6vTtxTaiv, perhaps, 'piercing bright,' as
utta avyfj 7/(\iov, II. 17. 372 ; or ' nimble,' .' quick.' Trapd<j>-r]vov, 'light
the way to Glyce's house, that I may make search for stolen goods.'
4>copav in the same sense occurs Nub. 499.
1. 1 366. oirep, i. e. T& ayayetv firl TUV aro.9\i6v.
\. 1367. TO -yap pdpos vwv, 'for it is the weight of our utterances
that it will test.'
1. 1368. tiirep Y Set, 'if this is what I have to do, to sell like so
much cheese the poets' art.'
1. 1370. cmirovoi, 'pains-taking.'
1. 1372. droiria is, exactly, 'queerness,' ' oddness.'
1 Z 375- V-& T v > tne name of the God is suppressed, by that sudden
scrupulousness which makes a Frenchman stop short at Sacre ! The
same phrase is found in Plato, Gorg. 466 E ; and the grammarians
describe it as an Attic usage.
69
FROGS.
1. 1377. avrcl Xijptiv, ' was talking nonsense withal.'
1. 1378. trapd TW n\a.<mfy\ a huge weighing machine, with a pair
of scales (irXdo-Tt-yY*). is here brought on the stage : and the rivals are to
shout one verse each into either pan.
1. 1379. XapopUvco, 'catching hold of them ;' as inf. t\6[LtQa,.
1. 1380. KOKKVO-O), ' give the signal ;' by crying KOICKV.
1. 1382. 10' <3cj)\', the first line of the Medea.
1. 1383. 2irpxi, the first line, perhaps, of the Philoctetes of
Aeschylus.
f3ovvo|ioi T' tmcTTpo4>ai, ' haunts of the grazing kine.'
1- 1385- Tot>8, sc. of Aeschylus, who had wetted his verse with the
waters of the Spercheius, and had made it thereby heavy, like a wool-
seller, damping his wool. Euripides had contributed the ' white wings '
of a ship ; the very type of lightness.
1. 1389. KcivTvcrTT]o-iTa>, 'and let him weigh it against mine.'
1. 1 390. 4]v = Lat. en I
1. 1391. Ipov, 'temple,' from the Antigone of Euripides. The next
verse ran, in the original, ical @ca/i.fc avrrjs ear' iv avOpunruw (pvaei. In
Hec. 816 Euripides speaks of UtiOta as rvpavvos avOpw-mav fiovrj. Here
the sovereign power of Argument or Speech, as in the ' Clouds,' is made
a first article of belief.
1. 1392. jiovos 0uv, from the Niobe of Aeschylus, who makes his
Qavaros impervious even to IldOu, as the next lines run pvvov 5i Tlft6u
Sat^vcav a.rtoarar(l, etc.
1. 1393. tim, 'preponderates:' said of the descending scale, as
II. 22. 212 ptire S"EicTopos aiaifiov ^fiap.
1. 1398. KaOX^i, 'shall drag your scale-pan down.'
1. 1400. P^XTJIC' 'AxiXXtvs, quoted from the first edition of the
Telephiis of Euripides, where Achilles and the other captains are repre-
sented as dicing. Dionysus maliciously suggests to Euripides a paltry
and trivial verse, when he wanted something Kaprepov teat (x<Y a - Th e
Schol. says that Dionysus also means to hint that Aeschylus had practi-
cally won. But two aces and a quatre are surely not good points to
make off three dice, when you might throw rpls ?, Agam. 33.
1. 1401. Xry l T' dv, 'be pleased to recite, as this is your last
weighing.'
1. 1402. cn.8T)poppi0t's, from the Meleager.
1. 1403. <|>' app-aTos, from the Glaucus Potnieus ; the next line ran
TTTWOI T' f(p' linrojv rjaav efnrpvpfifvoi.
1. 1406. Al-yvimoi, although they knew how to raise such ponderous
blocks of stone, as their temples and pyramids show. And, probably,
there is a further allusion to the common statements in Homer about
the superior size of men and things in the heroic age.
NOTES. LTNES 1377-1434.
1. 1407. Kal (JiT}KV, sc. Kpivris rfjv irolrjffiv
1. 1408. KT]<)>i(ro()>(dv, see on sup. 944; 1048.
1. 1409. TO. {3i|3\ia, sup. 943. After 1. 1410 Fritzsche, Meineke, and
others mark a lacuna in the text. It seems as if some command of
Pluto, earlier than in 1. 1414, had dropped out. Velsen greatly im-
proves the sense by inserting 11. 1407-1410, ical P.T)KT' . . . tpSt [>.6vov,
between 11. 1400 and 1401 ; and letting 1. 1411 be a continuation of the
words of Dionysus, after AIYUIITIOI.
1. 1416. dirsi = abibis not abi.
1. 1418. tirl ITOITJTT|V, see sup. 69.
1. 1419. TOVS xPus, sc. at the plays about to be produced at the
Great Dionysia, which would come on some two months later.
1. 1431. p.oi SOKU>, 'my intention is.' The personal adaptation of the
common phrase SoKtT, !5o not.
1. 1423. Svo-TOKei, properly used of women having hard labour in
childbirth. Here it seems to mean (as y v "|A'*l v suggests) 'cannot come
to a decision,' 'is in agonies of perplexity.* Kock interprets it as
meaning, ' is in distress about her children : ' with which we might
compare the Homeric epithet of Thetis, SvaaptaroruKfia, II. 18. 54.
1. 1424. iro0i (itv, imitated from the fyovpoi of Ion of Chios ;
where Helen says to Odysseus, ff^ pev, kx^aipv. Si, /SovAcrat 7*
1. 1429. ir6pi|AOv, 'helpful;' dpr|x avov > 'ineffective.'
I. 1430. ou xpT|. As Euripides had given his opinion in three lines,
we naturally expect Aeschylus to do the same: but there are textual
difficulties in the lines assigned to him. For Plutarch (Alcib. 16),
quoting the passage, omits the first line; and several MSS. omit the
second, which is rejected as superfluous by most modern editors, and
may be a StTTO-ypcupia. The picture is borrowed from the Agam. 717
foil., where Paris is similarly described : tOptifxv SZ \tovra aiviv, etc.
' 'Tis wrong to rear a lion's whelp in the state best indeed not to Tear
a lion at all but if we have let him come to full growth, we must
humour his temper.' Fritzsche assigns the line p.oAi<rra fitv to Dio-
nysus ; and sees in it an allusion to \taiv (Thuc. 8. 24), who appears
to have been originally elected among one of the ten arparij^oi (Xen.
Hell. i. 5. 16). He seems to have been hardly prominent enough
to have thus pointed the parable. If we adopt the suggestion, we shall
have to write Acovra O-KVJAVOV in 1. 1431. The interpretation of the
parable is that it would have been best never to have had an Alcibiades
at Athens at all: but now that they have let him grow up among
them, they must make the best of him.
1. 1434. ao<}>ws . . . <ra<|>ws. It is difficult to decide which of the two
poets is here credited with 'cleverness,' and which with 'clearness.'
71
FROGS.
The words of Euripides read, at first sight, like a clear statement;
those of Aeschylus like the dark speech of an oracle. But, on the
other hand, we may say that, really, the words of Euripides are merely
the clever commonplaces of a rhetorician ; while the parable of
Aeschylus has a meaning as clear as daylight. And this seems to be the
best interpretation, especially as Euripides is called (inf. 1451) w
cro<|>a)Ta,TT] <J>u<ns, and in 1. 1445 is asked to speak aa^tcrTSpov.
Meineke gets over our difficulty and points the perplexity of Dionysus
by reading cro<|>ws in both places.
1. 1437. i ns irrepwcras. Commentators have exhausted their in-
genuity ha the interpretation of these lines : or have followed the lead of
Aristarchus and Apollonius in rejecting them altogether. It seems
most likely that their sense lies in their nonsense : but the nonsense
is so chosen as (i) to represent Euripides as playing the buffoon; (2) to
give a by-blow to Cleiocritus, Cinesias, and Cephisophon ; and (3) to
suggest that the only course of safety for the state is entirely to reverse
her hitherto policy; and, in fact, to achieve the impossible. The
' impossible achievement' of making use of Cleiocritus and Cinesias is
phrased just like the 'impossible' contingency, suggested (Acharn.
915 foil.) by the informer, that the introduction of Boeotian wares,
such as ' wicks,' might cause a conflagration in the docks ; ivOels av
(sc. rf^v Opva\\iSa) is ri<pT]v avfip EOIWTIOS \ a'^as av flaTTepif/fitv ts TO
vfwpiov | 5t' vSpoppoas, fiopiav fTnrrjprjaas ptyav, \ Kffirtp Aa/3ocro T<av
i tuiv TO vvp a-naf, \ afKayoivr' av tvOvs. The materials for the picture in
the present passage are not, indeed, a 'wick' and a ' peascod;' but the
fat and unwieldy Cleiocritus, who is called the son of an ostrich
(Av. 876), and the spindle-shanked, unsubstantial, dithyrambic poet,
Cinesias (iMKporaros /ecu \cirroraros Kanjffta Ath. 12. 551). 'If any-
one, having feathered Cleiocritus with Cinesias (that is, having attached
the light man, like a pair of wings, to the heavy one), the breezes
should waft them over the ocean-surface if they should engage in a
seafight, and then, holding vinegar-cruets in their hands, should sprinkle
them in the eyes of our enemies.' The first lines have no grammatical
construction, and it would be a better arrangement to slip in the
question of Dionysus yi\oiov Tiva; (1. 1439) after p\c'4>apa TWV
j'vavTioiv (1. 1441) ; so that the words of Euripides -yu p,tv oioa, etc.,
would be a direct answer to the challenge, vow 5" ?x fl TWO. ; as they
stand, they merely mark the transition from nonsense to oracular
obscurity.
1. 1451. ii Y', 5 IIaAd|XT)Ss. Palamedes was one of the Greeks who
joined in the Trojan expedition, and was treacherously murdered
through the jealousy of Agamemnon and Odysseus. He appears in
later times as the type of the inventive genius : which gives the point
72
NOTES. LINES 1437-1468.
to the name as applied to Euripides. The allusion to Palamedes, the
man of inventions and dodges, proves that the commentators are wrong
in proposing to expunge the grotesque lines about Cleiocritus and
Cinesias.
1. 1456. ir60v; ' how could that be ?' as in the frequent Demosthenic
formula, Tr6dev ; iro\\ov *ye /cal 5ft.
I. 1457. irpos Piav, 'sore against her will ;' as in Acharn. 73.
I. 1459. $ H-TJT* x^ a i ya - The xAaiva, or 'cloak,' is of finer texture,
and more valuable than the rough 'rug' of goat-skin (o-urOpa) ; and
so would represent the better, as distinguished from the lower, citizens.
The Athenians are most hard to please.
1. 1460. ei'-rrep dvaBwm (Fut. 2 pers. sing. avaSiiopai), 'if you mean
to emerge into the upper world.' Some make i) iroAis the subject to
dvaSvo-ei (act. voice), and render, 'if the state is to have a chance
of recovery.'
1. 1461. KT, commonly means 'in the lower world,' and cvOaSi, 'in
the land of living." Here, as the scene is laid in Hades, the meanings
are reversed.
1. 1462. dviei, 'send up,' as some beneficent spirit might do. Cp.
Pers. 650 AlScavtvs 8' dvairo/jiiros dvtdrjs Aaptiov.
1. 1463. rf\v ynv. Aeschylus says, that the state may yet be saved,
' when the citizens regard their enemies' land as their own ; and their
own as belonging to the enemy ; considering their ships as representing
their real income, and their present in-come as only so much out-going
(to keep some play on iropos and d-iropm).' He means that their true
policy is to ravage the coast of the Peloponnesus, etc., but to abandon
Attica to the invasion of the enemy : to consider that their real strength
and real riches lie in their ships, the number of which should, ac-
cordingly, be increased : for the money that comes in to them at present
only goes out again into the purses of dicasts, etc., and so is really
poverty' to the state. The first part of the advice tallies with that
given by Pericles (Thuc. 1. 143), fy -r Im rt]v xwp av i)/*"*" **{$ ituaiv,
jyfiefy em -rty tKfivoiv TrXtvaovp.tOa. The recommendation to trust in the
' wooden walls' is older still.
1. 1466. 5, irXT|v Y'. ' Probat quidem hoc consilium Bacchus, sed
veretur tamen, si quid inde boni redundaverit ad rem publicam, ne
id totum absumant iudices, quos imprimis odit noster, ut ex Vespis
aliisque eius fabulis intelligitur.' Bothe. The force of irXT|v -y seems
to be that it is not absolutely true that the iropos is diropia for every-
body ; seeing the dicast grows fat on it.
1. 1468. alpT|cro(xai vdp. This reads like a quotation from a play;
or the jingle of some popular game : as children sing ' take the one
that you love best!' Otherwise we should have uirortpov rather than
73
FROGS.
ovirtp. By this interpretation we gain an emphasis for atm), 'my
decision shall be this well-known one, /'// take whom I please?
1. 1469. ovs <5[iocras. When? The Schol. says irplv Kart\6t?v.
But we know nothing about this. ,
1. 1471. T| Y\&TT' 6jjui>(ioic', see on sup. 101.
1. 1474. irpoo-QXtims ; 'darest thou look me in the face?' This line
probably, and the next line certainly, comes from the Aeolus of Euri-
pides ; where Aeolus detects the incest of Macareus with Canace
(sup. 850), and addresses him sternly with the words atcrxio-Tov . . .
irpoo-pAtims ; on which Macareus retorts ri 5" alaxpov, fy> ^ roiai
Xpcu/teVois Sony ; which Aristophanes parodies, by making the pleasure
of the spectators the standard of right and wrong.
1. 1477. TIS oH>v. Euripides is 'hoist with his own petard.' He
resents being forsaken, and left dead. 'Dead!' cries Dionysus, 'your
own motto (sup. 1082) says that, for aught we know, death is life,
and life death.' The point of the next line is, at best, but a poor
jingle between irveiv and Sei-irveiv ' breath and breakfast : nap and
blanket are all the same ! '
1. 1479. X W P" T *> addressed to Aeschylus and Dionysus (as shown
by ff(fxa inf.) ; the address returns immediately after to the more im-
portant personage, who is going to carry out the orders. So in
Vesp. 975 10', a.VTi$o\u a', oltcTeipa.T ainov, a> irartp, Kal pr) Zia<p9tiprjr(,
Lysist. 1 1 66 OLtpfr, SryaO', avrois.
1. 1484. irdpa 8i iroXXouriv jiaOetv (i. e. vdptari), 'one may learn it
by many proofs.' Euripides had vaunted the glories of vvecrvs, a
favourite word with him (sup. 893) ; so that here a distinction is drasvn
between specious and untrained fvvtffis, and the same quality trained
and perfected (riKpij3&)|iVT)v).
1. 1485. 8oKT|<ras, 'having proved himself,' 'having been adjudged to
be:' as in Av. 1585 opviffts nvts | iiraviaTdfJifvoi rots STJUOTIKOIGW
opveois | e8oav adiKfiv.
1. 1491. x*?^- J ust as we sav > ' quite the correct thing ;' meaning,
at once, proper and advantageous.
1. 1493. diropaXovra HOUO-IKTJV, 'having discarded all true taste.'
The Chorus seeks to draw the distinction between true poetry and real
art, as represented by Aeschylus, and the literary trickery and sophistry
of Euripides ; which here, as in the ' Clouds,' was unfairly taken to
represent the sum and substance of the Socratic teaching.
1. 1496. <r(ivoio-i, 'grand,' 'imposing;' as in Hippol. 952 Orjpfvovat
yap | ffffuro7s \6fOiaiv alaxpa ftr)\a.vo}fi.tvoi.
1. 1497. o-Kopt<|)T)OTxovs, ' petty quibbles ;' properly ' scratchings up.'
So ai<apitpaa6ai, used of the action of a fowl on a dunghill ; like axa-
\fvftv, from which comes cKaX-advppdna, in a similar sense of ' quib-
74
NOTES. LINE'S 1469-1526.
tilings' (Nub. 630). ' It is the. mark of a crazy man to waste idle
hours over fine words,' etc.
1. 1501. f|(iTpav. Scaliger corrected to vptrfpav. But a compli-
ment to Athens is implied in the use of f|nTpav by Pluto ; as though
he claimed Athenian citizenship.
1. 1504. TOVTI. The Schol. says only ax oiv ' LOV V P^ S o-yx ov ^l v *7 T *
TOIOVTO av/j.flo\ov Oavdrov. Probably the TO. rpia th 0a.va.Tov, the three
'instruments of death,' are meant ; namely, i<pos, ftpoxos, and Kuvetov
(hemlock). For TOVTI in 1. 1505, which makes a paroemiac in an
unexpected place of the anapaestic system, Bergk reads TOVTOVO-I,
sc. 0p6\ovs, Meineke TOVTOKTI, as though the iropiarai were sitting in
the theatre. The iropio-Tai were a special board established for the
levying of extraordinary supplies (iropoi). For Cleophon see sup.
679. About Myrmex and Archenomus nothing is known. If
Nicomachus be the person against whom the (soth) speech of
Lysias is directed, he was a viro-ypc4A|j.aTiJS, of servile origin, who
was entrusted with the revision and publication of the Laws of
Solon : but he kept the work hanging on, month after month,
and altered the laws to suit his pocket and his politics. He fled
from Athens at the time of the Thirty ; but returned with the revival
of the democracy, and resumed his task, with even more discreditable
results.
,1. 1511. o-Ti|os, ' having branded them ;' the punishment of runaway
slaves.
1. 1513. Adeimanttts was a friend of Alcibiades, and his colleague
in the expedition to Andros (407). He was one of the commanders in
the battle of Aegospotami, and though he was taken prisoner, his life
was spared. He was impeached by Conon for treacherous aid given to
the Spartans in the battle.
1. 1520. 6 iravovipYOS, sc. Euripides.
1. 1523. |it)S' aKwv, 'even against his will.' Aeschylus, to be quite
sure of excluding Euripides, puts an impossible hypothesis, as if it were
likely that Euripides would object to occupy a seat to which he had
laid such passionate claim.
1. 1526. TOUTIV TOVTOV TOVTOV |xcXc<riv. This is translated, 'be his
escort, celebrating him with his (own) lays and tunes." Bentley con-
jectured ToTaiv lavrov, but perhaps we may justify TOVTOV from Plato,
Lach. 200 D Iwei KCLV fyiii rbv T$ucT)pa.Tov Tovrcp ffSiora firiTpfiroim,
i f&f\(t OVTOS. The lays and choral music of Aeschylus were essentially
dactylic, as shown by the following lines; which the Schol. describes
as modelled on a passage in the T\avKos IIOTVKVS. Perhaps the song of
the npoiro/iirot at the end of the Eumenides was in the mind of
Aristophanes as he wrote.
75
FROGS.
1.^1530. dyaOds Siavoias.cp. Eum. iqis tirj 5' Ayadw uyafff, Stavota
iro\iTats.
1- 1533- irarpiois v dpovpais. If he must fight, let him fight on
the barbarian soil of his native Thrace (sup. 679) ; but not in Athens.
v, sc. the spectators.
INDEX
OF PROPER NAMES AND THE PRINCIPAL WORDS AND
PHRASES EXPLAINED IN THE NOTES.
The references are to the lines in the Text,
dvfivai
v, 83.
aypionoios, 837.
'A8fip.avros, 1513.
dftpos, 1 100.
Aiyiva, 363.
Atywmoi, 1406.
alQep oiKrjaiv Aior, 100.
s, 204.
i, 1483.
(proparox.), 840.
904.
?, 1422 foil.
531.
, 13.
1429.
dfj.(pl, 'in honour of,' 215.
dfj,(pt\a\os, 679.
aV) repeated, 97.
av, with aorist of frequent
action, 911.
dai, 1106.
dvaSveadat, 860.
dva8v(rfi (2nd or 3rd pers.),
1460.
dvaKimrdv, 1068.
dvavfdtiv, 593.
a>/U7rai>Xai, 112.
dvaairav, 903.
dvarpefaiv, 944.
53.
700.
jv (tense), 661.
, 554.
dvdoa'fiias (olvos), 1150.
dvQpatTrfiais, 1058.
dvievai, 1462.
avrayopevtiv, 1072.
dvTfKTfivftv, 1042.
avTiftaiveiv, 202.
di/riXo-ytat, 775.
dvTio-Trja-ai, 1389.
dvi/cras, 1171.
aets (dr(reo), IOOI.
jjTOf, 839.
943.
l, 762.
1493.
Troov, 1235.
a7roXa06ti', 78.
dnopprjTa (rd), 362.
dnopta, Tropos, 1465.
1040.
(T* (aTToXeT?), 1245.
'Qai, 703, 833.
45.
/, 367.
apicrr* ex 6 '" T " / S'> 1 161.
dpovpaia 6f6s, 840.
588, 1195-
77
INDEX.
'Ap;^eVop.os, 1507.
da-aXafJLivios, 204.
dcrcKprjs, 1 122.
d<TK(iv, with personal object,
1030.
dffreiov, 5.
droTria, 1372.
Avaivov \idos } 194.
avdaSocrronos, 837.
ovrotf TOiy TaXapotr, 560.
avroKOfios Xo(ia, 822.
nvronpffjLvos, 903.
avro'y (of dignity), 520.
avrffl KOO, 226.
d(paip(1v, 518.
dfpavaivtiv, 1089.
\afiirds, 131.
07ie\os, 471.
ava, 1259.
fidpadpov, 574.
3Xf7Tfiv 8pi(j.v t 562.
3<)6lOf, 924.
/3o'p/3opor, I4 .5.
!36<TKT)pa, 892.
(iovftatviav, 1280.
Brachylogical comparison,
1061.
, 303.
yavpor, 282.
ytypafnievriv tiKov ((naval, 537.
ytvto-Qai diipas, 462.
yi)yevr)S, 825.
1343.
Vjros, 877.
rjs, 824.
s, 96.
Topyoj/er, 477.
ypvfiv, 912.
929.
t, 956.
8flva (6), 918.
8figd (impers.), 1261.
Deliberative conjunctive, i.
8t)[Jioiri6r]KOf, 1085.
Aiayopas, 320.
SiaSpacriTToXirar, 1014.
8iatTai, 114.
8ldfJLfTpOl, SOI.
StauXtof, 1263.
b.8d(TKeiv (put on stage), 1026.
A/KTWI/Q, 1358.
Aio/xfta, 651.
Aioy Kopivdos, 439.
8i7rvpos, 1 362.
AirvXas, 608.
8oKrj(ras, 1485.
8oceli' = pretend, 565.
ou o^dXco, 141.
iai/, 1287.
iv, 1423.
125.
v, 66.
8i/a Troieii', 1093.
78
fyftptiv \ap.ird$us, 340.
f-/Ka\vTTTfiv, 911.
fyKaraKpovfiv, 332, 374.
e8 (tense), 12, 37.
fteifieuieiX('(r<re(i/, 1314, 1348.
905.
oyo$-, 363.
(iprjviKos, 715.
eif fi> crvvrefjiVfiVy 1263.
'EicaTflia, 366.
cVcjSaXcii/ TI, 595-
(KytvecrOai, 689.
ixQeivai air Lav, 691.
K0elvai (v oorpaKO), 1 190.
1223.
i, 578.
eicros ra>v (XaS>i>, 995.
112.
ai, 168.
M#a, 378.
efj.$a\tiv, 206.
ep.XXoj/ apa, 268.
INDEX.
E/MTrovo'a, 293.
ep^Xaro, 39.
(v(TK.fvafiv, 523.
(frypoprjv, 51.
(^s = eyyvs, 765.
f^io-TcurOai, 353.
ei-itraxrai, 688.
f7raiv5>, see KaXXicrr .
f7ravacrTpe(pfiv, IIO2.
(7rfp(iSf<rdai., 1102.
eVt (to fetch), 69, in, 577,
1418.
eVi ToOr' epxeaSai, 168.
(V(iv, 48.
i, 680.
r, 364.
tTri8(iKvv(r8(u, 77 1.
ai, \ 046.
v, 823.
ai, 1383.
529.
(s, 92.
fTTOTTTfVlV, 745, 1126.
aj3deioj, 1017-
942.
8r)s, H97-
Kcof, 1386.
dovioSj 1126 foil.
(pptiv, 1192.
*Epv|ts, 934.
e's ras wpaj, 381.
i, 956, 1104.
, 1113.
. (Viavroi, 347.
s, 82.
6i>Te'Xeia, 405.
e'^fiv Kara ^wpav, 793.
f\f<r6ai fiiffos, 469.
W i ?"> 568.
e^ow, of continued action, 202,
512, 524.
'Hpa*fXetn, 651.
a/0i'as'. 499.
303.
and KtiTfpxf vQai, 1127 foll
1163.
377.
1033.
$^ (>w), 505.
&<, 131.
Qrjpa^fvtjs, 541, 967.
Orjatvs, 142.
QprjKia ^fXtScov, 68 1.
dplov, 134.
iutv, 363, 381.
laxfi<rap,(v (tense), 217.
*Iax^or, 316 foil.
t8ta = jfapis , 1 02.
ZSiwrat, 459, 89 r.
lepfvs (AIOI/UO-OD), 297.
t^ (ctiTrof, 1265 foil.
i/i07'o<rrpo<poj, 1297.
Imperatival infinitive, 132.
Infinitive expressing a wish,
169, 387, 887.
i/, 73 foil.
932.
afia>i>, 820.
929.
'iTTTTCBJ/a^, 66 I.
trai (>^^<pot), 685.
itrxyaivtiv, 941.
lavo'i, 1029.
t'x^s (ot) (fish market), 1068.
101.
Kadf \Kfiv, 1398.
Kadf)(r6ai. ev ravra, 1103.
Ka0itiv fTfl Katirrjv, 197*
*at ^v, 285, 288.
Kd\an6<pdoyya naifciv, 230.
KaXXurr'i tiraivu> t 508 : cp. 512,
888.
xaXXi^opoy, 451.
KaXa>; /col dpacioc, 12 1.
799.
79
INDEX.
KapiKa avXfjfiaTa, 1302.
car* ovi> ejSaXe (tmesis), 1047.
(carajSa, 35.
KaraiceXevfiv, 207.
Karavrrji, 127.
KaTanivfiv, 1466.
i', 576.
Kpta>v, rrepi rwi/, 191.
Kp^rtKat fJLOvu>8iai, 849.
KpoK&ros, 46.
Kpovvbv dcfcifvcn, 1005.
XPh 3^^-
(tpdf), 441.
a-yxaXat, 704.
1208.
(touch at a place), Kwretpov, 243
KtoSiov, 1478.
404* KCOOCOft'fell', 79*
505.
s t 1160.
, 566.
Ketoy, 970.
KeXaSeii/ tfieai/ vfjuxov, 382.
KfvTavpiK.S)S, 38.
Kepa/zetKor, 129.
K(pafj.r)s (o(), 1093.
KtpjSeptot, 187.
Kt'pjSepor, in.
KfpoSdras, 230.
Kf<pa\aios, 854.
Krj(picro(pa)v, 944, 1408, 1452.
721.
^, 712.
153, 1437.
791.
KXeio-ei/^y, 57.
KXetrocpoii', 967.
KXeoxptroy, 1437.
KXeo0aii', 679.
ewi', 569.
, 6 1 8.
ufii/ and axoiicrat, 1174 foil.
Ko/3aXoi, 1015.
Kodopvos, 47, 557.
KOKKvflV, 1380.
Ko/iTrocpaKeXoppjj/Ltwi', 839.
roj//a, 711.
Ko'pi/#oy, 439.
KpaiTToXoKODfJLOf, 219.
Kpavoiroiflv, 1018.
Kpartvosr, 357.
80
472.
KMI/flOf, 124.
511.
963.
t, 1038.
Idveiv TL napd TIVOS, 251.
Xa/z7ras = Xa/wraSijcpopt'a, 131.
Xcovro? (TKvp.vos, 1431.
Xetr/Stafetj', 1308.
\r)Kvdiov (aTrcoXea-fJ/), 1200 foil.
\rjnanav, 494.
Atfjivai, 217.
Xuyioyiot', 775.
Jt, 1056.
13-
/iaroV, 1375-^
/zaXXa, 103, 6n, 725, 751.
MafT/r, 964.
Mavia, 1345.
MfyaiVero?, 964.
Lti<xycoyf tt'. 798*
ttcXctj'oi'CGpoioyj 470.
MA?;Toy, 1302.
fj.f\i(T(Tov6fioi ) 1274.
MeXiTJjr, OVK, 501.
MeXtn'Sai, 991.
fj.f\os (reXor) fvpdv, 397.
/t<rof e^fcrdai, 469.
INDEX.
MdXo>i>, 55.
povmdiai KpqriKat, 849, 1330.
fjLopp.opo>nos, 925.
Mopcrifios, I5 1 -
Moderator, 1033.
povo-iKaraTa, 873.
fivpaiva, 475.
fs, 893.
, 1507.
veKpot, of aco), 420.
vevpa rrjs Tpaya>8tas (TO), 862.
NtKo/^a^o?, 1507.
v > 696.
215.
Sti>OK\er)s, 86.
]S, 1294.
), 453.
t, 196.
ojSoXw (SiJo), 141.
OlS' OTt, 60 1.
ol8flv } 940.
oiAcIv vovv, 105.
ourr, 482.
opoyvios Zevs, 750.
6fji.ofjLaa-Ti.ylas, 756.
o/or a-ycov /Liuernjpta, 159.
"Oi/ou TroKap, 1 8 6.
o/Ses, 1440, 1453.
o^uXaXo?, 815.
Optative mood after present
tense, 24.
'Ope<TT(ta, 1124.
optyavov, 604.
*Op0eus, 1032.
o&rpaKa (castagnettes), 1305.
or' [], 22.
ou yap aXXd, 58, 192, 498, 1 1 80.
ov8f ev (hiatus), 927.
ov8tv aXX' TI (aXX* if), 227.
ov/iij, in strong prohibition, 202,
298, 462.
ovgivv (prologist), 946.
ovpdviov oarov, J&l.
192.
iV/^iara, 689.
1451.
eijs, 1036.
O, 180, 269.
Trapayety, 1054.
99.
napaKovairdai, 1 1 1 6.
irapaKoiifiv, 750.
jrdpaXot, 1071.
irapa6via, 819.
TrapaTTfTotr/iara Mr/StKa, 938.
Trapafpaivfiv, 1363.
ZlapSo/cay, 608.
Trapidelv, 815.
Hapva&ol, 1056.
irarplois tv dpovpais, I533
narpaa KpaTrj, 1126.
Trept Taiv KptS>v, 191.
7Tfpi8ficra<rdai rbv X60oj/, 1037.
nepidpofjioi, 472.
, 1066.
942, 953.
>y, 535.
799-
ov, 824.
7rXac(rta ^vfjLirrjKrd, 800.
7rXaorty, 1378.
eipe?), 1096.
694.
(TrXeioy), 1 8.
TrXjjyi) ?rapa ir\r}yr)v, 643.
ir\iv6(v(ii>, 800.
7rXiV#otiy firiTidevai, 621.
Trvfuo-fier^at TroXi;, 1221.
irviyrfpa 686s, 122.
TrodfV, 1456.
TTOIOS (sarcastically), 529.
TroXXa Trpdrretv, 228, 749.
245.
749.
1429.
F 81
INDEX.
JTOplOTCU, 1505.
trpdoov, 621.
rrpiaadai rtvi, 1229.
irpoaywyos, 1079.
Trpo? ffnavrov, 53.
irpovovpeiv TJJ rpayabiq, 95.
iv, 1133.
569.
^J rpaya)8i'as, 912.
irporepov superior, 76.
TTportpav Tt, 638.
irraipfiv, 647.
315.
idy, 843.
y, 87.
irvppiai, 730.
irvpyovv prjuara, 1004.
PP'X'?> 153-
TTCOS oiei; 54.
adys, 842.
1393.
piigtiv, 684.
1073.
'a8^y, 965.
s, 965.
fi/ Ta/f vavvtv, 933.
1043.
(Ticrvpa, 1459.
(Tirr]tns tv UpvTavfia, 764.
928.
1497.
^KefiXvas, 608.
crKfvdpia, 172.
(TKevotpopelv, 15.
L, 819.
ai } 922.
Slaves in the fleet at Arginusae,
33-,
(Tfj.L\f{i/iara, 819.
rrnfpim, 677.
trocpcoy, (rcKp&s, 1434.
(nrov8f)V rroificrdai, 522.-
f i(!r, 22.
82
a-rdcris (weighing), 1 4 o i .
OTa(nr /ieXaii/, 1281.
o-Tt'fei^, 1511.
aroint], 1178.
(TTOfjiarovpyos, 826.
<TTpo<pai, 775.
, 892.
yof TreVpa, 470.
OTW/xuXioiruXXe/cTafi^s 1 , 841.
o-i;j<a (styes), 1247.
avvTOfjLos (686s), 123.
(TucrreXXeti', 999.
s, 801.
Kal Xij/za, 463.
(Persephone), 378.
Taivapov, 187.
Taiwovo-^ai, 393.
raXaiTrwpoiro (mood), 2*.
raXai/, 559.
raXapot, 560.
ra TTpatra, 42 1.
TapTrjffios, 475.
Tavpr)86v (HXeirtiv, 804.
ravpo<j)dyos, 357.
Tfpa.Ttveo'Oai, 834.
rtTpinfievT) (odos), 123.
TeurXta, 942.
Ti;X(pof, 855, 864.
Titfpaertoy, 477.
Ti/i^ = religious service, 334,
, 349-
ro yevos TOV 8pdp.aros, 946.
TO XPW a T ^ >/ toTTcoj', 1278.
Tol^o? fu Trparrtov, 536.
Tovdopvfiv, 747.
To(p\aTT6dpa.T, 1286 foil.
Tpayf\a(poi t 937-
TpayiKos \jjpos, 1005.
v, 1065.
s, 1149.
139.
vytaive, 165.
vrrdyttv TTJS 6Sov, 174.
INDEX.
tv, 366.
v, 569.
V7TfpTTVppia<Tf (TOV, 308.
vnoypafjifiarfls, 1084.
vyoKivflv, intrans., 643.
WoXvpioy, 232.
v(pfff6ai, 1 2 20.
(paXayyes, 1314.
(papp.aKos, 733.
< Pfp<re<f>aTTa ) 671.
<p\e<as, 244.
(pXvKTaivai, 236.
^op/itatoy, 964.
(ppdfciv rStv oSou/, 1 1 7.
(ppfVOTfKTCOV, 82O.
<&pvvixos (the general), 689.
<$pvi>ixos (the poet), 13, 910,
_
(pv&ai (ppaTtpas, 418.
(pva-av (blow out), 1099.
1363.
725.
730.
1491.
ova't'ia, 93.
^eXiSwy QprjKia, 68 1.
Xto?, 970.
xXati/a, 1459.
^0X17, 4.
(op-yta), 356.
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THE END.
OXFORD
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