(LIBRARY i
1 UNIVERSITY OF
CALIFORNIA
I SAN DIEGO J
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pA
,tf
COLLEGE SERIES OF GREEK AUTHORS
EDITED UNDER. THE SUPERVISION OF
JOHN WILLIAMS WHITE AND THOMAS D. SEYMOUR.
EURIPIDES
BACCHANTES
EDITED
ON THE BASIS OF WECKLEIN'S EDITION
BY
I. T. BECKWITH
PROFESSOR IN TRINITY COLLEGE,
BOSTON:
PUBLISHED BY GINN &
1888,
Entered, according to Act of Congress, in the year 1885, by
JOHN WILLIAMS WHITE AND THOMAS D. SEYMOUR,
in tlie Office of the Librarian of Congress, at Washington.
J. 8. CUSHINO & Co., PRINTERS, BOSTON.
PEEFAOE.
THE text of the present edition of the BaccJiantes is that of
Wecklein (Leipzig, 1879), with a few variations in punctuation.
A brief critical Appendix points out the principal departures from
the authority of the Mas., together with the sources from which
the readings adopted in such cases are derived.
This edition was undertaken with the purpose of reproducing
the edition of Wecklein, the latest and most valuable of the Ger-
man editions, with a few changes. But, as the work reached
completion, it was found that the departures from Wecklein in
the way of additions and substitutions had become so numerous
that no small part of what is here offered was foreign to the
German edition. Therefore, while the fullest acknowledgment of
obligation should be made to the German editor, it would mani-
festly be improper to hold him responsible for any opinion given,
unless expressly attributed to him.
It hardly needs to be added that much use has been made of
the labors of earlier editors.
I. T. BECKWITH.
HABTPOBD, 1885.
USTTEODUOTIOE'.
I. THE BACCHANTES.
THE Bacchantes of Euripides represents the conflict between a
flippant scepticism, blinding itself with persistent folly, and
a newly-revealed faith, or rather, religious faith in general ; for,
while the Dionysiac worship, which is the immediate object of the
conflict, is a new worship, it is plain that the poet takes the oppo-
sition to it as but an instance of the refusal of an aiTOgant ration-
alism to recognize the supernatural in general, whether in the
ancestral faith or in a new worship. The play is aimed at the
sceptical side of the Sophistic movement and kindred tendencies
of society at the time. Both the outcome of the action, and the
choral odes, which are to be regarded as interpreting the action,
show unmistakably that the poet meant to recommend the accep-
tance of the national faith and traditions as the only ground of a
contented and happy life, and to exhibit the mischief of an
unsound and irreligious philosophy. These facts give to the sub-
ject and its treatment by Euripides an interest for all time. The
relation of such views to those of the poet's earlier works is a
question which lies beyond the sphere of this Introduction, as is
also any inquiry into the propriety of combining an ethical and
an aesthetic motive in the treatment of the subject. The play is
one of the poet's last works ; it, however, reveals no trace of the
weakness of age. Defects there are in the execution of details, as in
the other works of Euripides. But, in poetic power in general, the
Bacchantes is superior to many, perhaps we may say to any, of the
poet's earlier plays. Besides the subject-matter itself, especially
interesting features of the play are the skilfully, though simply,
constructed plot; the splendid choral odes, expressing the one
theme of pious devotion in varying forms following the develop-
ment of the action ; the brilliant pieces of narration in the Mes-
sengers' speeches, and the striking situation in every scene.
2 INTRODUCTION.
The myth upon which the play is based is as follows : Dionysos
was the son of Zeus and Semele, the daughter of Kadmos. Semele
was beloved by Zeus, and when she was with child, misled by the
jealous Hera, she prayed Zeus to show himself to her in his full
glory ; he appeared to her in thunder and lightning, and she,
seized with terror, or struck by the lightning, gave untimely birth
to her child and died. But Zeus took the child and sewed it up
in his thigh, and when it was ready for birth, he brought it again
into the world, and sent it by the hands of Hermes to the nymphs
of Nysa, in whose woody mountains the infant god was reared.
According to Euripides, Dionysos, after his second birth, was
reared in Lydia and Phrygia, on the banks of the Paktolos, and in
the mountain tracts of Tmolos. Here he established his rites,
and from hence, at the head of a throng of attendants, equipped
with the s} - mbols and instruments of his worship, he marched
through many parts of Asia, introducing his rites ; finally he came
into Greece, and first of all to Thebes. Here Semele's sisters,
Agaue, Ino, and Autonoe, denied his descent from Zeus ; where-
upon the god, in attestation of his power, inspired them, together
with the other women of Thebes, with bacchic madness, and drove
them to Mount Kithairon, to celebrate his rites there in wild
revehy. At this time Kadmos had given the sovereignty into the
hands of his grandson Pentheus, the son of Agaue and Echion.
Pentheus not only denied the divinity of Dionysos, but with all
the power of his kingly position attempted to prevent the intro-
duction of the new worship, imprisoning some of the bacchantes
and laying violent hands upon the god himself. For this impiety,
the god wreaked a terrible vengeance upon him by deranging him
and leading him to the mountains to be rent in pieces by his
mother and her companions.
The plot of the play is very simple. In the Prologos (1-63)
Dionysos, who in the guise of a leader of the sacred revel-band
has led a company of Asiatic bacchantes to Thebes, reveals him-
self to the spectators in his own person, places before them the
situation, and indicates the aim of the action.
The Chorus then in the Parodos (64-169), imitating the bacchic
revel in their dress and movements as well as in the wild enthu-
INTRODUCTION.
siasm of the ode, celebrate the blessedness of the sacred rites,
and thus awaken in the spectators the feelings requisite for
following with sympathy the action of the play.
In the First Epeisodion (170-369) the first attempt is made to
influence the mind of Pentheus. The venerable old men, Kad-
inos and Teiresias, acknowledge the new god, and in spite of
their years go out to the mountains to join in the sacred rites.
Pentheus on the other hand sees in the new worship nothing but
imposture and harm ; he thinks it fitted only to destroy virtue
and propriety of conduct among the women of the city. He
refuses to listen to the exhortations and warnings of the old
men, whom he treats with scorn and derision, and he allows him-
self to be so carried away with passion that he gives commands
to destroy Teiresias's place of augur}', in order to wound the seer
as deeply as possible ; he also sends out his attendants to arrest
the stranger, that is Dionysos himself, who has brought the new
worship to Thebes.
This proud impiety on the part of Pentheus draws from the
Chorus in the First Stasimon (370-433) an invocation of the
insulted goddess Sanctity, and renewed praise of the god himself.
The bacchantes extol a life of quiet submission to the gods, and
pray that they may come to a place where their revels may be
held undisturbed.
In the Second Epeisodion (434-518) Dionysos in the person of
the stranger is brought before Pentheus as a prisoner. The
servant who had arrested him warns the king that it is no ordi-
nary man with whom the}' have to do, and reports that the The-
ban bacchantes whom Pentheus had imprisoned have escaped to
join in the bacchic rites, the fetters falling from them and the
prison doors opening of their own accord. But in spite of all
this, Pentheus is still unmoved. The calm bearing of Dionysos
only inflames the imperious nature of the king, who in the face of
repeated warning, orders the god to be led away to a place of
confinement ; he threatens also to enslave the band of Asiatic
bacchantes now before the palace. 1
1 Patin remarks on this scene : The haughty king stands in the pres-
" The situation is a very striking one. ence of an enemy who seems so
4 INTRODUCTION.
In view of this crowning affront to the god in the person of
their leader, the bacchantes in the Second Stasimon (519-575)
break out into a cry of reproach against the nymph Dirke for the
rejection of Dionysos at Thebes, and call upon the god himself
to come and check the insolence of the king. The wild joy with
wh'ich the Chorus in the Parodos sing of the introduction of the
bacchic worship into Thebes, changes in the first Stasimon to a
tone of deprecation and warning in view of the scoffing unbelief
of Pentheus ; and now in the second Stasimon, following the
advance of his impiety, it becomes a cry of amazement and terror
because of the violence done to their leader and threatened
against themselves.
The Third Epeisodion (576-861) opens with a Kommos (576-
603) in which the god, still within the palace, makes known to
the bacchantes his presence and avenging power. A portion of
the palace is seen falling in ruins, while the flames flash up anew
on Semele's grave. Forthwith Dionysos appears again in front
of the palace, as before in the guise of a bacchant, and tells
the wonders which the god has wrought within. Pentheus, though
struck with amazement at what has happened, becomes none the
wiser, but cherishes still his rage against the stranger. Here a
herdsman enters from Kithairon, from whom Pentheus expects to
hear the worst touching the conduct of the Maenads in the moun-
tains he hears, however, only of their virtue and of the presence
of a supernatural power among them. The herdsman ends his
narration with an exhortation to Pentheus to recognize the new
god who has wrought such wonders. The king however refuses to
listen to the frank words of the peasant, and instead of acknowl-
edging with reverence the power of the god, he orders out his
entire army to march against the revellers and put an end to the
worship by force. Thus the warning that comes to Pentheus in
feeble, so contemptible, an enemy rible vengeance for his insults. This
whom he derides, insults, and wan- situation, of which the spectators
tonly threatens, and who, neverthe- have the secret, gives to every turn
less, under an exterior most peaceful in the dialogue, even those which
and serene, conceals a powerful divin- seem the least tragic, a terrible sig-
ity, angered, and ready to take a ter- nificance."
INTRODUCTION. o
different forms and with ever-increasing force in the three Epei-
sodia results only in intensifying his contumacy and anger against
the god. Then comes the hour of divine judgment. Dionysos,
after again striving to bring him to a better purpose, begins to
derange his mind and to lure him to his destruction, again illus-
trating the ancient saying, " Whom the gods will destroy, they
first make mad." l To draw the king into an offence which
shall bring about his ruin he offers to conduct him to Kithairon
to spy out the secret rites, and persuades him to assume the
female dress, that he may come among the bacchantes unharmed.
The Chorus now freed from their terror and foreseeing the ven-
geance which is to overtake the contemner of the god, break out
in the Third Stasimon (862-911) into a jubilant song, joying in
the anticipation of undisturbed revels, and exulting in the tri-
umph of divine might over the arrogant despisers of beliefs
grounded in nature and tradition.
In the Fourth Epeisodion (912-976) Pentheus comes out of the
palace in the dress of a bacchante, still more deranged, and after
many inquiries touching his costume and the course to be pursued
in spying out the Maenads, he sets out for the mountains led by
Dionysos. The tragic irony of the scene increases to the end,
when Pentheus proudly confident of a triumph hastens forth to
what is to him certain doom.
In the Fourth Stasimon (977-1023) the Chorus call upon the
hounds of Madness to arouse the Maenads against the godless
intruder into their sacred rites ; they invoke the presence of the
god himself, and predict the part which the mother of Pentheus
will play in the execution of the divine vengeance.
In the Fifth Epeisodion (1024-1152) a messenger comes from
Kithairon to tell the marvels which have befallen there, and
especially the terrible fate which has overtaken the king at the
hands of the bacchantes.
At this news the Chorus in a Hyporchema (1153-1167) take up
a strain of wild exultation, which is suddenly interrupted by the
appearance of Agaue who enters in the Exodos (1168-1392) with
1 Cf. Frg. anonym, (cited by the $aifj.wt> avSpl iropffwy Kaacd, r)tv vovv
Schol. on Soph. Ant. 620) : Z-rav 6' 6 t^Aaife irpwrov $ 0ov\fvfrcu.
6 INTRODUCTION.
frenzied look and movements, bearing the head of her son upon the 1
thyrsus and glorying in her booty, which she supposes to be the head
of a lion's whelp. She is followed shortly by Kadmos, who with his
attendants brings the fragments of Pentheus's body. As he con-
verses with Agaue, she is gradually restored to sanity, and becomes
conscious of the deed she has committed. In the midst of their
piteous laments Dionysos appears, now no longer in disguise, and
announces to the various persons concerned the further punish-
ment of exile from Thebes. The p\a,y ends with the pathetic
parting of Kadmos and Agaue. Thus as the offence of Pentheus
was unfolded through three regularly advancing steps, so its con-
sequences reach their culmination through the same number of
steps, and at the same time the choral odes follow the progress of
the action more closely perhaps than in any other play of Euripides,
expressing the emotions that accompany a devout faith as it passes
from the most buoyant hopefulness through a gradually darkening
struggle out again into a complete triumph.
The character given to Diouysos, his powerful repose in the
face of the king's rage and violence, his skilful overruling of each
act of opposition so as to further the very object which the king
would hinder, his fierce irony in turning Pentheus's anticipations
of triumph into predictions of woe, mark in a masterly way the
god in human form ; not such a one, to be sure, as teaches us
to love our enemies, but one who in keeping with a common
principle of Greek morality is " kindly to friends and harsh to
foes."i
The character of Pentheus is that of a man without feeling,
a shallow freethinker, who in accordance with his earth-born
descent has no understanding for the divine, a stubborn autocrat
who acts with youthful arrogance and youthful folly. His concern
for the chastity of the Theban women is the only trait which would
seem to lend a higher character to his sufferings ; and yet this
point is kept so much in the background that it is evidently a
1 Mcd. 809. " The law in virtue of when fate connected them insepara-
which a divinity visited punishment bly, sooner than pardon the sinner
was so inviolable that he would de- for the sake of the good." Nftgels-
stroy the innocent with the guilty, bach, Nachhom. Tfieol. p. 31.
INTRODUCTION. /
feigned, or at least a fancied motive, rather than a real one. Less
interesting as such a type of character is, it however serves in the
economy of the play to diminish the appearance of cruelty in the
conduct of the god, and it corresponds also to the tendency of the
play as a protest against a shallow rationalism.
In the denouement, the feeling of pity is drawn chiefly to Agaue
and Kadmos. Agaue had shared in the rejection of the god, but
the accumulation of woe which falls upon her in the working out
of the god's vengeance can hardly be referred to that cause alone.
In the intention of the poet it was doubtless due in part to the
same cause as the calamity sent upon Kadmos. He had devoutly
acknowledged the god, and as it would seem, might justly
have expected to escape in the hour of the god's wrath. But
impiety like that of Pentheus could not fail in the opinion of that
age to involve the whole family in the heaviest misfortune. The
race was contaminated, and the innocent Kadmos was inevitably
entangled in the ruin wrought by his offspring. No prophet had
yet arisen to teach the Greeks that, " The son shall not bear the
iniquity of the father, neither shall the father bear the iniquity of
the son."
The scene of the Bacchantes is laid in front of the royal palace at
Thebes on the Kadmeia. At one side, doubtless represented on
one of the periaktoi, are the still smoking ruins of that part of the
palace in which Semele had perished by the bolt of Zeus. The
spot is enclosed as hallowed and surrounded by the vine. Nearly
all the persons of the play, Teiresias, Kadmos, Pentheus after
912, Agaue, and the Chorus, have the insignia of the bacchic wor-
ship, the fawn-skin and the thyrsus, a staff crowned with ivy.
According to the account which Pollux (iv. 115 ff.) gives of the
costumes of the Greek stage, Dion} T sos wears a long chiton of differ-
ent colors, over this a saffron mantle which is fastened about the
breast with a bright- colored girdle, and over this the fawn-skin.
The mask of the god represents him with all the marks of effemi-
nate beauty. Teiresias wears over the chiton the ayprjvov, a
net-like woollen garment worn by the seers. Instead of the
prophetic staff (l&wnqpiav) he has the thyrsus, and a wreath of
ivy in place of the prophet's chaplet (/navreta O-TC'<>/, Aesch.
8 INTRODUCTION.
Ag. 1265). The Chorus have besides the fawn-skin and
thyrsus, chaplets of ivy, and some of them carry the tympanum
also. We may suppose the parts to have been divided among the
actors as follows :
Protagonist: Pentheus, Agaue.
Deuteragonist : Dionysos, Teiresias.
Tritagonist : Kadmos, Servant, Messengers.
According to the Scholiast on Aristophanes, Ranae 67, 1 after the
death of Euripides, the younger Euripides, the son, or as Suidas
gives it, the nephew of the elder, brought out at Athens the Iphi-
geneia at Aulis, the Alkmaion, and the Bacchantes, plays left by
Euripides, and perhaps brought out by him in Macedonia at the
court of King Archelaos (cf. 410 ff., 560 ff.), where he spent the
last years of his life. A play in which faith celebrates its rites,
and unbelief is put to shame, must, by reason of " the seriousness
of its import and the lofty religious inspiration pervading the whole
and manifesting itself in many brilliant and profound utterances," 2
have attained great fame in antiquity. It was much read, as the
frequent citations and reminiscences in the Greek and Roman
writers show, 3 and was often acted. 4 It was imitated by the
Roman poet Accius in his Bacchae; traces of its influence are
apparent in Theocritus, Idyl xxvi., in Ovid, Met. Hi. 513 ff., and
in the Dionysiaca of Nonnos, xliv.-xlvi. ; the author of Xpioros
Tray^wv (falsely attributed to Gregory Nazianzenus) borrowed
a large number of verses from it. 5 Art also borrowed mate-
rial from the play. The punishment of Pentheus is represented
in numerous antique reliefs and vases, which seem to draw their
suggestions from the work of Euripides, rather than from that of
1 al AiSoo-KoXfeu Qtpovffi, Tt\tvr4\- Strabo, Plutarch, Gellius, Themistios,
ffavros EvpurlSov ri>f vibv avrov 5e5i8o- Lucian, Clemens Alex., Horace, Ori-
Xfvai dfuai>vn<as Iv &ffrei 'iQtytveiav r^v gen, Athenaios, Aelian, Longinos,
eV AuA(5t, 'AA.K/iotaj'a, BaKx<- Plato, Aristippos, Theodoros, Sextus
2 Bernhardy, Griech. Ltg. II. 2, 480. Empiricus, Polyainos, and Stobaios.
8 Hartung (Euripides restitutus, II. 4 See note on 1169.
557 f.) mentions the following as 5 See App. III.
showing acquaintance with the play :
INTRODUCTION.
Aeschylus or any other dramatist. 1 A painting is described by
Philostratos which represented two scenes from the Bacchantes,
one, the death of Pentheus at the hands of the Maenads ; the
other, the scene in front of the palace, just after Agaue has re-
covered her sanity.
II. DIONYSOS AND HIS WORSHIP.
Dionysos in his most essential character is the personification of
the vital force in nature, 2 and as such he shares in the yearly
changes of the natural world, triumphing in the joy of the opening
year, when the earth is bursting into life and fruitfulness, and in
turn undergoing suffering and persecution as nature sinks into the
death of winter. Hence the Dionysiac legends are stories of both
joy and sorrow, of triumph and defeat. The oldest myth touching
1 Cf. O. Jahn, Pentheus und die
Manaden, Kiel, 1841. A bas-relief in
the Campo Santo at Pisa (Jahn, Taf.
iii. b) represents the death of Pentheus.
Pentheus is stretched upon the earth ;
one woman is wrenching off his right
foot, another with both hands is pull-
ing at his left arm, at the same time
bracing her right foot against his
head ; a third at the side is preparing
to strike with a heavy bough, while
upon the other side a fourth is coming
up. At the end of the sculpture a
tree is seen.
2 Nysa, to whose nymphs the infant
Dionysos was sent, is located by
Homer (77. vi. 130 ff.) in Thrace.
But in later times mention is made of
a Nysa in Thessaly, Euboea, Boeotia,
Macedonia, Naxos, Egypt, Libya,
Aethiopia, Arabia, India, and other
places. In this uncertainty as to
location, Wecklein finds an indica-
tion of the origin of the Dionysiac
myth, which he explains as follows :
Nysa, like Aia, the land of the golden
fleece, was originally thought of as
in the heavens, and was afterwards
transferred to earth. The rain-cloud,
big with tempest, is the mother of
Dionysos; the cloud-gathering god
of the storms is his father. When,
after a flash and heavy peal of thun-
der, the cloud bursts in a short and,
as it were, premature shower, a simple
imagination conceived of this as an
untimely birth of the rain from the
cloud. This naive representation led
to the personification of the cloud as
Semele and the rain as Dionysos.
Cf. Etym. Magn. s.v. "TTJS: MQfrov
Atovvffov. 6 5e QfpeKvtiijs r^v 2ejueA7jj'
"frjv Aeyet KaJ ras rov Atovvtrov TpoQovs
'TdSas. Or again, when Zeus is said
to carry Dionysos in his thigh till he
is ready for birth, this is merely
another representation of the origin of
rain. Thus Dionysos, as the offspring
of the thunder-storm, brings together
the elements of moisture and fire.
And in this blending of moisture and
warmth lies the peculiar nature of
the god as the personification of the
power which ripens the fruits and
shows itself in the fiery force of
wine.
10 INTRODUCTION.
the sufferings of Dionysos is that of his persecution by Lykurgos,
king of Thrace, as given in Homer (11. vi. 130 ff.). Lykurgos
resisted the institution of the bacchic worship in Thrace, smiting
the nymphs, the nurses of Dion}"sos, with the ox-goad, and driv-
ing them from the Nysaean mountains. The god fled in terror
and plunged into the sea ; but the king was smitten with blindness
by Zeus, and died an early death, hated by all the gods. Accord-
ing to a later legend, the land became unfruitful because of the
king's offence, and he himself was made mad and rent in pieces
by horses at the command of Dionysos. To the same class of
legends belongs this story of the god's rejection by Pentheus at
Thebes.
The rites with which the festivals of the god were celebrated
were orgiastic and accompanied with mystical ceremonies. In
one of the Homeric Hymns (xxvi.) he is represented as ranging
through the woods, and filling them with a loud din, attended
only by the nymphs who had reared him in the grottoes of Nysa.
But in the later forms of the myth his attendants became a pro-
miscuous throng of mad bacchantes, satyrs, and sileni ; and with
the clangor of tympana, flutes, brazen C3 7 mbals, and tambourines
he riots through the woods and mountains, filling them with
bacchic shouts and loud uproar, falling upon wild beasts, and
sometimes also attacking and putting to flight hostile armies.
And so at the festivals of the god the wives and maidens, decked
with fawn-skins, hastened in a state of ecstasy and wild enthusi-
asm to the woods and mountains, and by the light of torches
performed their dances at night, revelled and shouted, tossing
their heads and limbs in frenzied motions, chased wild beasts and
ate raw the flesh of the animals which in their frenzy they fell
upon and rent in pieces. 1 This orgiastic worship at the trietenc
festivals of Dionysos was closely connected with the frenzied
1 Hartung (Bakchen, p. 166) says of the wilderness. Hence the Mae-
of the bacchic worship : " It repre- nads took fawns to their breasts and
sents a return to the primitive condi- clad themselves in fawn-skins, to
tion of nature, and a renunciation of transform themselves, as it were, into
civilization, that is, a renunciation of roes ; hence they crowned themselves
a rational life regulated by morality with twigs of oak and fir, and ate
and law and a return to the innocency raw flesh."
INTRODUCTION. 11
worship of the Phrygian goddess Rhea Kybele and of Attis. It
must therefore be supposed, that in the story of Dionysos's coming
from Phrygia there is a reminiscence of the origin of the ecstatic
forms of the Dionysiac worship, that is, that they came into
Greece from Asia Minor. It is possible that these frantic usages
met with opposition among so rational a people as the Greeks, and
that a reminiscence of this opposition as a fact in history is found
in the myth of the persecution of Dionysos.
III. THE MYTH IN LITERATURE.
In the Odyssey, Dionysos is merely mentioned (xi. 325, xxiv.
74) . In the Iliad, except in the story of Lykurgos given above,
he is spoken of only as the son of Semele and as x^PP- a /3pTom/
(xiv. 325). He does not appear among the superior divinities.
What part in the growth and embellishment of the myth was
taken by the epic poetry of the post-Homeric age we are unable
to say. From the Scholiast on Horn. II. vi. 131 we learn, that
Eumelos, one of the so-called Cyclic poets, mentioned the story
of Lykurgos. The seventh Homeric Hymn has for its subject the
following legend : Dionysos appearing once upon the seashore in
the form of a youth with beautiful hair, and wrapped in a purple
mantle, was espied by a band of Tyrrhenian pirates, who took him
for the son of a king and carried him off in their ship. But when
they attempted to bind him, the fetters fell from his hands and
feet, and he sat before them smiling. The pilot perceived that
it was some god with whom they had to do, and urged them to set
the youth on shore again ; but the captain scorned the warning,
and put out to sea with his captive. Very soon the god began to
manifest his power ; fragrant wine flowed throughout the ship,
and the masts and sails were wreathed and overhung with cluster-
laden vines and blooming ivy. Dionysos suddenly changed him-
self into a roaring lion, and in the midst of the ship appeared
a she-bear. The lion seized the captain, and the crew fleeing in
terror cast themselves into the sea and became dolphins ; the pious
helmsman alone was saved.
In dithyrambic poetry the Dionysiac myths were favorite themes,
12 INTRODUCTION.
and from this they passed into tragedy, not only in those choral
songs in which the beginnings of tragedy are found, but in tragedy
proper, which in time discarded the satyric element and adopted
materials of a serious character. A play entitled HevQevs was
attributed to Thespis ; Polyphradmon treated the story of Lykur-
gos in a tetralogy with which he contended against Aeschylus and
Aristias ; and Aeschylus also treated the same story in a tetralogy
consisting of the tragedies 'HSwvoi, Bacro-apiSc?, Neaviovcoi, and the
satyr-drama AvKoupyo?. Upon the fragments that remain, taken in
connection with a form of the story given by Apollodoros (iii.
5. 1), Hermann l bases the conjecture that the 'HSoW, the first play
of the trilogy, represented the passionate rage of Lykurgos, and
the defeat and imprisonment of the god and his attendants ; that
in the second play the bacchantes (Bao-o-aptSe?) freed by an invisi-
ble power become victorious and rend in pieces Orpheus, the foe
of Dionysos ; and that in the third play the young Edonians
(Neavto-Kot) acknowledge the power of the god, and Lykurgos pays
the penalty of his impiety with his life ; but after his death he
receives divine honors, and his cult is united with that of Dionysos.
Naevius, the Roman poet, wrote a Lucurgus. Of this fragments
remain which indicate several points of similarity to the trilogy
of Aeschylus. The stor} T of Pentheus also was treated by Aes-
chylus in a play entitled IlevOevs. 2 One verse is preserved,
/ATyS' cu/mi-os 7re/A<iya Trpos TrcSw /JaXr/s.
It is suggested that in these words Dionysos is urging Pentheus
not to shed blood, that is, not to use the force of arms against the
bacchantes (c/. Eur. Bacch. 837). The trilogy to which the play
belonged cannot be determined. In another play, the Se/itAr;,
according to the Scholiast on Apollonios of Rhodes, i. 635, Aeschylus
treated the story of the first birth of Dionysos and the death of
Semele. Also the Eavrpuu of Aeschylus is supposed by some to
have been occupied with the myth of Pentheus. A play entitled
Bci/c^ai was contained in the tetralogy with which Xenokles won
the prize in 415 B.C. over Euripides. Also lophon, the son of
Sophocles, wrote a
1 Z)e Aeschyli Lycurgia, Opuscula, v. 2 Cf. the Second Hypothesis of Eur.
p. 24. Bacch.
ETPiniAOT
BAKXAI
TA TOT APAMATO2
AIONY2O2.
XOP02 BAKXON.
TEIPE2IA2.
KAAMO2.
HEN0EYS.
EPAIION.
ETEPO2
APAYH.
AtoVucrw ol irpoo-yKovres OVK <f>a(rav clvai Qeov o
Se avrols TLfLUpiav eTreicrTTycre rrjv irpeTrova-av. e//,/Aewets
yap eVot^cre TO,? r<av (stoy/SaiW ywauca9, &v at rou KaS-
JJLOV Ovyarepes d^Tyyovjaa'ai TOU? #iacrovs ^l<jr\yov liil rov
5 KiBaipatva. HevOevs Se 6 rrjs 'Aycu/i-js 7rat9 TrapaXafiow
e$v(r<f>6pL rots ytvojaevot9 /cat rti'a?
cryXkaficbv e^rjcrep, ITT OLVTOV 8e
S/xaJa? a7recrTtX'. ot 8e e/coi/ros aurov
TIJQV 77/309 rov HevOea, K&Keivos e/ceXevcre^ Si7cravra9 avrov
10 evSov (^vkdrreiv, ov Xeywv povov ort ^09 ov/c eort AioVu-
cro9, dXXa Kat TrpaTTeiv TraWa a>9 /car* avdpuirov
6 Se o"etcTja6v ironjcras /care(TT/3ei//e TO, y8a<rtXeta, CL
Se et9 KiOaipwva eTretcre rot' Ilev^ea Karoirr^v yevecrOan,
TWV yvvoLLKMv XafjifldvovTa yvvaiKos ea-0-fJTa at 8' avrov
15 StecTTracra^, r^9 ^rpo^ *Ayau^9 KaTap^a^
Se TO yeyovc9 Karauo'doaevo'; ra SiacnracrOevra
(rvvayaywv reXevratov TO irpocratTrov iv Tat9
e<f)upacrev ^epariv. Atoz/uo"O9 Se e7rt^>a^et9 ra /tet' 7rao-t
TrapTjyyetXev, 1 eKacrra) 8e a crv/x^o-eTat Steo-a^cre^ epyot9,
20 tW /A^ Xoyot9 V7TO TtVO9 TWI' C/CTO9 O9 avOpUTTOS KttTtt-
1 ra . . . irapT]'YYiX.V : reference is 2 cKacrrcp . . . KaTa4>povT)&g : the sen-
made to that part of the speech of tence is obscure. Elmsley proposes
Dionysos which is lost in the lacuna to read Sico-o^o-ei/, fro /t^ I/ryots ^ x^-
bef ore 1330. 7011, and Hermann ec rore for
API2TO3>ANOT2 TPAMMATIKOT
TO,
opyia avrov vaajjiveLV, et? pavov yay&v ras
ft^rpo? d$e\<f>d<s r)vdyKa(re HtvOea StacrTracrat.
Trotta /cetrat Tra^' Atcr^vXw ei/
from the inscriptions in the vicinity
of the theatre, and especially from
those upon the pedestals of the tri-
pods set up as votive offerings by
successful Choregi. This hypothesis
is probably not preserved entire, as
the notices commonly appended are
wanting.
2 Upon the Pentheus of Aesch., see
Introd. p. 12.
1 The grammarian Aristophanes,
librarian at Alexandria about 200 B.C.,
appended to his summaries (viroOeVeis)
of the plays, notices of the dates of
representation, the titles of other
plays brought out at the same time,
the names of competing dramatists,
etc. These notices were derived from
the 5i5ao-*ca\/oi, i.e. accounts of the
authorship of the plays, their dates,
etc., which in turn were compiled
AIONTS05.
"H/cw Aios TTCU? ri^Se rjfiai&v ^66va
kiOWCTOS, 0V TLKTL TTO0' T) KdS/JLOV KOf
(\r) Xo^evOelcr' d(
nv 8' daetil/a? (
5 TrayoeijLit Aipio^s i/a/xar
opw Se fjur)Tpo<;
1-63. THE PROLOGOS in the form
of a monologue sets forth the lead-
ing motive in the action of the play.
Dionysos appears in the character
of one of his own votaries as the
leader of the Bacchantes. But in
the opening lines before the appear-
ance of the Chorus, and again at
the end of the play (1330ff.), he re-
veals himself in his true character.
He leads his company of attendants
before the palace, doubtless because
it is with the royal family first of all
that his advent in Thebes has to do,
and because the manifestation of his
power here would attract the atten-
tion of all the city.
1. Ttjv8 . . . AioVwros : at the
opening of all the plays expressions
are used which inform the audience
where the scene is laid and who is
speaking.
2. TKTI : the hist, pres., not found
in Horn., is common in the tragedies.
3. X.ox=v)0icra KT\. : brought to bed,
etc., more definitely explained 88 ff.
See Introd. p. 2.
T vSajp.
Kepavvias
Wecklein comparing Frg. 314,
irriQope'i, carry lightning, takes the adj.
as act. lightning bringing, the epithet
of the person acting being transferred
to the effect, as in a?/ia rpayoKTovov,
139, goat-killing slaughter. But the
use of the verb cannot determine the
exact meaning of the adj. Cf. the re-
lation of \i8o0o\fu to \i06fio\os and
\ido&6\os. The more obvious sense
is given by the pass, meaning, borne
by the lightning. Cf. Aesch. Ag. 1150,
6e6<t>opos, borne by a god. For the idea,
cf. Soph. 0. T. 200, irvp<p6p(ai' affrpa-
irav, fire bringing lightnings.
4. dfj.c ivl/as : having taken in ex-
change. In this sense the mid. is
commonly used, but the act. also is
found. Cf. Rhes. 527. ^K Otov: for
IK Oelas /j.opc(>rjs. The brachylogy is
similar to that often found in com-
parisons. H. 643 c.
5. irofxiju vapara: as in prose
ira.petfi.1 els ir6Xiv. Cf. Cycl. 95, Trdpfifft
irdyov, El. 1278, NavTrXfav irap<av.
6. Kcpauvias : thunder-smitten. Cf.
Soph. Ant, 1139, /torpl Kepavvicf, (Schol.
18
EYPIHIAOY
oS* eyyv? OIKWV /cat So/xcyv epeiTria
Atov Trupos en o>crav
"Upas p^Ttp ei<s ^v vfipw.
10 CUJ>G> Se KaS/xov, afiarov 65 TreSov roSe
TL0Tr)cn Ovyarpbs arfKov d/A7re'Xov Se z
XLTTCOV Se AuS<wi> T<WV Trokv^jpvcroiv yua?
3>pvya>v re, Ilepcrwv yXiofiXiJTovs TrXa/cas
15 Ba/cr^ota re rej/^Ty rrfv re Svcr^t/tov \66va
'Aerial re Tracrav, ^ Trap' aXfjLVpav a\a
Ketrat piyd&iv ""EXX^crt fiapftdpoLS 6* 6/xov
19 7r\ijpL<s e^outra KaXknrvpy<!>Tov<; Tro
21 Ka/cet xopevcras
'
22 reXera?, tv' et7y^ fjuj)avr)<;
"
cf. also below, 598,
7. ro8: fore, a common use of
IS* . H. 695 a. So'pcov : apartments,
as in A/ed. 1177. Only a part of the
house was in ruins.
8. Ti>4>o'(iva . . . 4>\<rya: smoulder-
/</ ?c;V/( Me Zeus-sent fire still alive.
'1'he mid. is here followed by the cog-
natc ace. as is the act. in Hdt. iv. 196,
Tv<ptiv KO.-KV&V. ACov : = &to&6\ov. Cf.
5118 f .
9. dOavarov . . . tifJpiv : Hera's ever-
/<isth>(/ outrage toward my mother, appos.
to S^eof . . . <(>\6ya, a const, common
witli Euripides.
10 f . upa-rov . . . <rr]Kov : with the
Komans also, a place struck by light-
ning, after the objects struck had
been buried there, was enclosed and
made a sanctuary.
12. *Y : in contrast with Kadmos.
porpvwSci : not cluster-like, but clus-
/ ; --aluundiny. Adjs. in -taSrjs denote
fulness oftener than likeness. Kr.
/SJpr. 41, 11, 30 ; Kiihn. 334, 13.
13. Xiirwv: with reference to the
starting-point. Dionysos came into
Persia, Baktria, efc., from Lydia and
Phrygia, where he had been reared.
iroXwxpv'o-wv : c/". 154, also Aesch.
Pers. 45, iroKvxpvcroi. SapSejy.
15. Bvaxijiov: referring to the rig-
orous climate, inclement. Strabo (xi.
p. 525) says that the most of Media
is high and cold. For this reason
Ekbatana was made the summer resi-
dence of the Persian kings.
16. cvSaCpova : does not limit 'Apa-
&(av to that portion of the country
called Arabia Felix ; it shows rather
that Arabia was imagined to be a
kind of Eldorado.
17. 'A<rav : Asia Minor.
19. irXTJpcis : like ir\t)p6<a and simi-
lar verbs, sometimes followed by the
dat. of means instead of the gen.
Kiilm. 417, An. 2.
BAKXAI.
19
20
23
rrpSe Trpwrov ri\6ov 'EiXXrjvajv
77y>arra9 Se 0i3a5 rdcrSe
25 Ovpcrov re 801)5 ei5 yelpa, KIO~CHVOV BeXos,
I /\. i
/9>0\;\ / A V <*
evret p aoeXcpcu p^rpos, 015 r)Kio~ra xpv)v,
OVK e<j>ao~Kov eK^vvai Aio5,
8e Wjji(f)ev0eLcrav e/c Ovrjrov nvos
15
30 KaS/Aov
rrjv
, wv viv
Kravev
35
'
7 , ort
roiydp viv avrd<s r' e/c ooyawv (ocrrprjcr eyw
0/305 8' Ot/COVQ-t TTapaKOTTOL <f>pV(t)V
r e^eiv rjvdyKacr' opyiotv C/AWV,
TO ^Xv (nrepua KaBfjLeiwv ocrat
rjcrav c^e^va Sw/xaTajv
were soon to be used as such. Cf.
762, 1099.
30. cro4>io-[xaTa : appos. to e's . . .
\fX<>vs. See on yjSptc, 9. The pi. is some-
times used, especially by the poets, in
reference to a single object, the ob-
ject being viewed as something com-
plex. Our idiom prefers the sing.
31. Kavx.c3vTO : haughtily declared.
on KTA. : repeats 5>v eivtKa..
32. roi/yop: "in punishment for
that." viv (pi.) avrois: the sisters *
themselves in contrast with the other
Theban women, TCO.V rb 6ij\v airtp-
Ma, 35.
33. pos : c/. 62. <t>pcvwv : gen. of
separation.
34. O-KCVTIV: c/24f. and 176f.
35 f . oom . . . V]<rav : repeats with
emphasis -nav . . . oWpjua. "All of
womankind among the Thebans, all
the women who were here."
36. cc'|i.T]va Swiidrwv : i.e. e/urjca al
20. irpwrov : after wandering
through Asia. C/l 481.
21. Kt: all of the before men-
tioned lands. xopv<ras : of the zn-
troduction of the Bacchic chorus.
22. tva (crA. : the purpose of what
precedes, though the same motive is
implied in the following, and is di-
rectly expressed in 39 ff.
23. irpwras : not tautological. The
former line distinguishes Hellas from
other extra-Asian countries ; this line,
Thebes from other cities of Hellas.
24. dvw\oXv|a: / filled with revel-
shouts. vcppCSa : on the emblems
of the Bacchic worship, see Introd.
pp. 7 f., also below, 176 f. XP' S :
sc. avriev, the women implied in 07J.8as.
XP<as denotes the person when the
surface of the body is concerned, as
in clothing, touching, etc.
25. pt'Xos : the thyrsi put into the
hands of the Theban women are not
inappropriately called missiles, as they
fK 5o>fj.a.T(av.
20
EYPiniAOY
iraicrw
VTT eXdrats avopo<f>OL<; 9* fjvrai TreVpats.
Set ya>p TToXiV TTJV& KfJLOL0iV, KL
40 dreXecrrov ovcrav rtov i[i*o*v
re fjir)Tpb<; aTroXoyifcracr&u p?
ovv ye/oas T /cat
StSwcrt Bvyarpbs e/CTre^
45 os ^eojw/a^et ret /car* e/te /cat
/)**> > >O
wt/et yx ei/ eu^ats T ouoa/xcos
c5i/ ea/e/c* aura> ^eos yeya>s
re y)ftaiioL<TLv. ets 8' dXX^v ^06va,
^e/Aei/os eu, /xeracrTi^cra) TroSa,
50 Set/ci/us e/xavroV* ^v Se rj/Sauov TroXts
37. KaS|iov iraurCv (fern.) : con-
trasted with ffirtpfia KaSfjielwv, the
princesses contrasted with the other
Theban women.
39 f . cK|xa0civ : in the sense of
TaOoC(ra>' ^Kfj.aBf?v. ovcrav : supple-
mentary partic. with irJA.tt'. For the
partic. belonging to the subj., c/". 47,
1113. paKx<vfidrwv : gen. after a
compound of alpha privative. H. 753 c ;
G. 180, K. 1. The thought of the pas-
sage is, "they must to their sorrow
learn that the Bacchic rites contain
truth of which they have been igno-
rant."
41. ciiTO\o-yTJcrao-0ai: sc. 8T. Diony-
sos by showing his divinity defends
Semele from calumny.
44. SCSwo-i : cf. 213.
45 f . TO. KO.T' (ie : in what relates to
me. tnrovSuv KT\. : "refuses me liba-
tions and prayers," i.e. " divine honor."
48. Apollod. (iii. 5. 2) says that
Dionysos after manifesting himself
to the Thebans went to Argos, and
there again, when they refused to
honor him, drove the women mad.
49. rdvOcvSc : for ri tyravOa,
through the influence of /ufTao-T^trw.
The idiom is the so-called constructio
praegnans. H. 788 b ; G. 191, N. 6.
50 ff. rjv 8e . . . TTpaTT]\aT<Sv : this
sentence, which ace. to the nature of
the prologues of Euripides is naturally
taken as a prediction, has no answer-
ing fact in the subsequent develop-
ment of the plot. The difficulty dis-
appears if we suppose 6r]0altav (50)
to have displaced some such phrase
as rls Pporuv. The reference to the
Thebans, then, ends with QTiftaiounv
(48), and the remainder of the speech
refers to the conquest of other lands.
It is only to this conquest of other
lands that line 53 can refer; for to
refer it to a conflict with the Theban
army is to make Dionysos assume
human form throughout the play in
BAKXAI.
opyy crvv 077X01? e opovs BctAc^a? ayetv
17177, <rwai//w Mawacri <TTpaTV)
r v f T>O n \ \ \ / > '
cuv et^e/c etOos UVTJTOV aAAa^ag
jj.op(f>tjv r cp.r)v ^ere/SaXov el<s av$po$ <f>vcnv.
55 dXX' a> XtTTOuo'ai T/xajXoi> epiyxa AuSta?,
#iacrog e/<t6s ywat/ceg, a? e/c /3apfidpa)V
TrapeSpovs /cat ^we/z7ropous e/tot,
ra.TTi\(t)pi eV TroXet
Tvn.Tra.va., 'Pea? re ju/^rpos e/za
order to meet a contingency which
never arises.
51. <ruv oirXois: instead of the
simple dat. (of means), though the
idea of association is not entirely
lost. CJf. Aesch. Pers. 755, &frt)<ro>
fu/ CU'XMJ- Kr. Z>i'a/. 68, 13, 1.
BaKx^s: if the reading 07j/8aW (50)
be correct, the reference here is to
the Theban bacchantes, and the same
is true of Maivda-t in the following
line, though the latter might include
the Asiatic bacchantes also. If, how-
ever, the suggestion given above (on
50) be correct, the reference in both
words is to the Asiatic bacchantes.
52. <rwcu|/<i> : sc. fiaxy- Cf. Heracl.
808, /tax 7 /" vwfyas, Aesch. Pers. 336,
ai, also, below, 837, (TV/J.-
v- Maivdurt <TTpaTT)Xa-
TWV : some verbs of ruling, leading,
etc. (e.g. dvdffaw, riyfopat) take a dat.
denoting those with reference to
whom the ruler or leader acts as
such, where the corresponding Eng.
verb takes a direct obj. The const, is
the same as with intr. verbs of serv-
ing (H. 764, 2; G. 184, 2), and not
the dat. of advantage.
53. oXXaas t\o> : a periphrastic
pf. common in Euripides and Sopho-
cles. H. 981 a ; G. 279, N. 2.
55. The Chorus of Asiatic bac-
chantes here appear, and Dionysos,
whom they as yet recognize only as
a prophet of the god, addresses them
as soon as they come within sight.
dXXci : often used where the discourse
is broken off suddenly, and some-
thing new, as a command or exhorta-
tion, is introduced. cpvfia : the chain
of mountains called Tmolos formed
the southern bulwark of the principal
valley of Lydia, the valley of the
Hermos.
56. OMWOS : revel-band, a band of
votaries joined together for sacred
rites, especially those of Dionysos.
57. irapcSpovs, fuv[Mro'pous : the for-
mer appropriate to the Chorus as the
associates in general of Dionysos, the
latter as his attendants in his jour-
neying.
58. iro'Xei ^ptrywv : Phrygia. ir6\is
in the tragedies often denotes a re-
gion.
59. Tv'(j.trava : see on 124. The
command of Dionysos shows that
certain parts of the following choral
ode were accompanied by the tym-
panum. 'Peas : see on 79 f . In
124 ff. the invention of the tympanum
is referred to the Korybantes.
: for the pi., see on 30.
22
EYPiniAOY
60 ySctcrtXeict T djJLfjn S<u/xar' eX0oOcrai
/cruTretre IIei>#<u5, &>? opa KaS/Aov
eyw Se Ba/c^at?, et? KiOaipoJvos
e\0ct)v Iv fieri,
jv.
XOPO5.
'Acrta? 0,770 yata?
65
j [0<u] TTOVOV r)$vv /ca/AaToV r' eu-
/ca/xarov, Ba/c^tov evao//,ei>a.
/$/
T19 OOto Tl?
t . i*
AvTierTpo<t>T] a.
/xeXa#/Dots CKTOTro? ecrrw, crro/aa r'
60. raSt : see on 7.
62. Baicxais: the Theban bac-
chantes.
63. (rv(ji(WTeurx.T]<rw \opwv : ca pur-
pose not fulfilled because of his ar-
rest by the servant of Pentheus. Cf.
434 ff.
64-169. THE PARODOS. The Cho-
rus announce their relation to the
god (arp. a); enjoin upon all the
uninitiated a hallowed silence (di/r.
a') ; tell of the blessedness of those
who hallow their lives by sharing in
the rights of Dionysos and Kybele
(arp. & 72-82); incite each other
to make the god known in Hellas
(83-87); tell of the god's wonderful
birth (O.VT. &') ; call upon the The-
bans to equip themselves and join
the revel-band (a-rp. y') ; tell of the
introduction of the tympanum and
flute into the worship (avr. y') ; and
describe the ecstasy of the revelers
in the chase and the frenzied move-
ments and cries of the leader (&r<j>8.).
65 f . Upo'v : with reference to Mt.
Tmolos as the place where Dionysos
had instituted his rites. 6oa<o iro'vov :
/ speed on my glad toil. It is possible,
however, to take Qodfa as intr. and
Tr6vov in appos. with the sentence.
Bpofx(o>: in honor of Bromios. The
name is given to Dionysos from the
din (fjpdfjLos, ftpf/Jita) of his revels.
flew : inserted (cf. 84) by conjecture to
restore the metrical correspondence
with 70. iro'vov tj8vv: an oxymoron,
as in Kap.cn i> v (VKa^narov. Cf. Soph.
0. T. 1214, Hyapov yd/j.ov, id. El. 1154,
67. BaK\iov cva^ofu'va: Wecklein
regards the const, as the cognate ace.,
raising the Bacchic shout evot. Cf. Soph.
Ant. 133, viicnv a.\a.\dcu, to raise the
shout of victory. But most authorities
take fvaofj.fi>a as trans., hailing Bac-
chus with the shout ei>o?.
68 f . rts o8<o . . . o~r : explained
as equiv. to #<TTS oSip ian, /j.t\dOpoLs
HKTOTTOS effTui, i.e. tls fj.\a0pa ^iffrdtrOw.
The imitation in Ar. Ran. 354 ff. of
the solemn proclamation with which
the hierophant opened the celebra-
tion of the Eleusinian mysteries be-
gins fiHpti/j.f'iv XP^I Ka^iffraffOai rot's T]/jif-
Ttotari xociiffiv. So here the Chorus
BAKXAI.
23
70 \LOV ttTra? eoorLOV(T0a)'
TO, yap alel kiovwov
TO.
reXeras deaiv etS<
/8torcu> dytcrreuei
75 /cat #ia<reverat
eV opecrcn jBaK^evcov
ocrtots Ka0apfJiol(TLV
ra re /tarpo? /oteyaXa?
yta Kt^SeXas #e/ureua)]
are warning all unhallowed persons
against joining in the sacred rites;
and it is difficult to see any reason
for bidding them to withdraw into
the palace, especially after Dionysos
has expressed (61) his purpose that
all the city may come and see. If
the more common punctuation, n's
ft.e\ddpois ; fKToiros effrw, be adopted
instead of that of Elmsley followed
in the text, the Chorus may be under-
stood to call upon all, both those in
the street and those in the palace, to
keep themselves in silence aloof ( KTO-
iros) from the hallowed dance in which
only the initiates join. ev$r\\iov:
proleptic, let every one hallow his lips
into silence, i.e. keep hallowed silence.
70 f . TO, vo|Ai<r6VTa aUC : the ever-
customary, i.e. as has ever been the cus-
tom. The phrase is in appos. with the
following. Similarly rb \ey6/j.fvov, as
is said, is frequently used. H. 626 b.
Language appropriate to the poet's
time is put into the mouth of the
Chorus. Cf. 201, 331. v|xvt)<r<i> : the
defect in the metre suggests that this
word has crept in from a gloss in
place of some other word. Kf\aou
suits the metre of the strophe.
7274. ui |idicap . . . a-yurrevci :
o/o-
happy he who to his blessedness (tvoai-
Huv) having full knowledge of the divine
mysteries hallows his life. Cf. Soph.
Frg. 719 D, us Tptff6\/3ioi itetvoi Pporoav,
ot ravra SepxOfvrts T\T) /j.6\caa- J ts
"Aioov. T\Tas : the secret rites of
initiation ; vpyia, the outward usages
and ceremonies at the celebration of
the festivals.
75-77. OiewtucTai . . . KaOapfioio-iv :
Biafffiite has both an intr. use, revel in
the thiasos, cf. 379, and a trans., intro-
duce into the thiasos, cf. Ion, 552. Cf.
the two uses of x ?*^- -^ ^ s ev '"
dently used in the second sense here,
and may be taken as mid. or pass.
without essential difference in mean-
ing : is in soul initiated into the revel-
band with holy purifications celebrating
bacchic rites in the mountains. Those
who strove to ennoble the ideas of
the people and to elevate morality
connected with the mysteries the re-
quirement of inner purification and
upright living. Cf. Frg. 475, byvbv
Se Btov rdvofieif ^{ ou Aibs 'iSatov
78 f. flpyia OcfiiTtw'wv: celebrating
lawful rites. Kuf&Xas : Rhea Ky-
bele and Dionysos, as divinities rep-
resenting the life of the natural
24 EYPiniAOY
80 ava Ovpcrov re Twd<rcra)v
/ao~o~o) re
Ire Ba/c^at, ire Ba/c^at,
TrcuSa fe
85 AIOPVCTOP Karayoucrat
<&pvyi(t)is e 6p0)v 'EXXaSo? cts
eitpv^opovs dyvias, TOP Bpo/uov
OP TTOT' e^ouo~* a> aSu>&)i> 'Avrio-Tfxxjni p'.
Xo^tat? cu/ay/ccuo-i
90 TrTa/ievas Aio?
vrjftvos K/3o\ov
ere/cev, XITTOVO-* cua>-
pa /cepawtw TrXaya
\ / M > / O /
Ao^tot? o avTiKa VLV oe-
world in the round of the seasons, and in the oracle cited by Dem. contra
stood in close relation to each other, Mid. 531. In the latter passage the
and their orgies were often blended. meaning is ways, streets, as appears
The rites of both symbolized the from a comparison with the Schol. on
same phenomena, and the character- Ar. Eq. 1319, %9os ?jv TOIS $v ayviais
istic feature in both cults was the larrafUvoa Oto'is M rats tyxofj-fvais ayyt-
band of revelers rioting through the \tats Bvetv, and this meaning is appli-
country with ecstatic shouts and the cable in the other passage and also
din of the tympana. The home of here, tvpvx^povs is, then, to be taken
the worship of each was the region as equiv. to evpflas. See on Oriporpo-
of Lydia and Phrygia. 0(UTf w*v : <pov, 102.
best taken as parallel with faKxevw 88 ff. 6'v: the obj. of ex ovffa (P re g-
and joined with Qiaatvertu. nant with) as well as of frewec. ex ov -
80. ova, TIVCUTO-WV : with Otpairevei. era may, however, be taken in the
Upon the tmesis, cf. the correspond- sense of otaa. This use of fx&, so
ing verse of the antistrophe, 96. common with adverbs, is also found
85. Kara-yovo-ai : Kardytiv denotes with prepositional phrases. Cf. Soph.
the restoration to one's home from a Ant. 639, 5& artpvuv Zx ftv '> Xen. Cyr.
foreign land. vi. I. 36, lv aiVx^y? exovra. cv . . .
87. ayvias : used of a eityjggjjgn, ppovrds : in childbirth's stress of pangs
<ff it-ay. The same phrase evpvxdpovs brought on by the winged bolt of Zeus.
ayvias occurs in Find. Pyth. viii. 77, Cf. 3.
BAKXAI.
25
95
/caret /A^/JW Se /caXvt/x9
TKV 8', aVLKCL Motpat
100 reXecra^, favpoKepcav Oeov
(rTe<f)dv(i)(rev re SpaKovr&v
crre&dvoLS, i>0ev aypav 0inpoTp6d>ov
it II I I
MatvaSe? d^t<^t/SctXXoKrat TrXo/cct/xot?.
105 a)
Tpo<f>ol
ov
fipvere fipvert
/cat
94 f . \o\tois 0aXd|iais : tnfo
6er of birth, i.e. the thigh of Zeus where
the child should mature to a second
birth. <y 527, &p<Tfva vt\$vv.
97. o-vvcpeCSci: binds fast.
98. Kpvirro'v: proleptic, so <^a Ae
was hidden.
100. T\<rav; Aaf matured, i.e. for
birth. The augment is often omitted
in the lyric portions of the tragedies.
In the trimeters the syllabic augment
only is omitted, and that nowhere ex-
cept in the ffiffeis ayye\iKai. Kr. Dial.
28, 3, 4. ravpoKcpuv : Dionysos is
often represented as a bull to sym-
bolize his strength and generative
power; often also with merely the
horns of the bull. Of. 920, 1017,
1159.
102. cvOcv a-ypav (hiporpo'<Jx>v : Weck-
lein substituting thjporp^ov for Orjpo-
i makes the phrase equiv. to
f\ovcrai OijpoHv rpo<p-fiv and under-
stands the meaning to be, that the
serpents taken (&ypa 6-ijpuv) from
Dionysos continue to grow (rpe<pfrat)
fixed to the Maenads. A much sim-
pler interpretation is obtained by re-
ferring &ypav to the prey taken by
the Maenads for the purpose indi-
cated, and by reading 0i)p6rpo<pov in-
stead of 6ripoTp6<pov, pass, instead of
act. The pass, sense is found in
Phoen. 820. The adj. explains where-
in the prey consists and is nearly
equal to M\f*iov. The meaning then
is : whence it is that the Maenads twine
in their hair the prey of wild beasts, i.e.
the captive serpents. The Maenads
are frequently described as twining
serpents in their hair and about their
persons. Cf. 698.
108. fi(Xa,Kv: a kind of bind-weed
which Pliny (H. N, xvi. 63) describes
as similar to ivy, and bearing red ber-
ries (Ka\\iK<ipirci>). He speaks further
of its frequent use at the festivals of
Bacchus in place of the ivy.
26
EYPiniAOY
110 u? f.v eXaras
t, *
ow r ez'SvTa
trre'^ere XevKor
jxaXXoiS' d/A<i Se vd
6(7Lovcr0 > avTt/ca ya Tratra
115 Bpo/uos evr' ai/ ayi7
19 0^09 ei9 0/309, eV
)<s 0^X09
L&TMV irapa K
120 a) 0a\dfJiVfJLa Kovpij-
T6)V
T
110. cv: used here of the crown-
ing, as often of clothing or equip-
ment. The placing of the preposition
in the second part of the sentence
occurs in Pindar and the dramatists,
but not in prose. Kr. Dial. 68, 9, 2.
112. <TT'<f>T : deck. For this mean-
ing of ffreQw, cf. the Schol. on Soph.
El. 53, where it is explained by KO<T-
Hfiv, also Anth. P. v. 152, 7, $op$
mtyut (re AtWros. Tacitus (Germ. 17)
and Herodotus (iv. 109) speak of the
practice of decking skins by tacking
on pieces of skins of another kind.
The fawn-skins were trimmed with
tufts of various colors to increase
their motley appearance. XcvKorpt-
Xv ir\OKCifuov: cf. Iph. A. 1080, /co\-
\HttfMt ir\6Ka/j.ov, ibid. 790, fvir\oKd-
pov KUfj.as, below, 169, KU\OV Taxvtrovv.
If ir\oKdfjuav be the correct reading,
it cannot refer to the human hair, its
usual signification. The difficulty
disappears if it be understood in its
primary sense (from irA.e'a>) of any-
thing twisted, a lock. Pollux, (ii. 27)
says the poets used it of wreaths of
smoke. Similarly /36ffTpvxos, a curl
of hair, is used of anything twisted.
113. fioXXois: tufts of wool, not of
human hair. For the tautology in
irAo/cei/iwj' (J.a\\ois, cf. Phoen. 308, 0o-
ffrpvxwv TrAoKcfyioj'. Translate the sen-
tence : deck the dress of dappled fawn-
skins with tufts of white locks of wool.
dficfn KT\. : hallow yourselves around
the wanton thyrsi. The thyrsi \vrrc
the most conspicuous objects in the
midst of the revel-band. The mean-
ing, then, is that the Thebans should
take the thyrsus after the other
Bacchic insignia (106-113) and con-
secrate themselves by joining the
revel-band. Cf- 75 ff. QtafffvfTai . . .
Ka8ap/J.o?(nv. v|3pi<rTas : the epithet
is transferred from the person to the
thing.
114. y : land, not earth.
118 f. oiro olorfnjOeVs irapd: cf. 427,
&ir(XfW irapa.
120. 8a\afw\)fia : cavern, defined by
AioyfvtTOpts iVavAot (haunts where Zeus
was born), the famous cave on Mt.
Ida in Crete where Rhea brought
BAKXAI.
27
Aioyei/eVo/aes eVavXoi,
avrpois
125 roSe /tot Kopvfiavrts
avSct ySaK^ta crvvrovo)
v dSv/3oaV
irvevfJiaTa, paTpos re 'Pea? cts
, KTVTTOV
forth Zeus and where the Kuretes
protected the infant against the de-
signs of Kronos. The cave with
which the ancients connected these
legends has been identified with a
grotto on Mt. Ida some 3000 feet
below the highest peak. But in re-
cent explorations in Crete a cave has
been found higher up between Mt.
Ida and Mt. Dikte, at the foot of
the loftiest peak, in which numerous
remains of sacrificial and other reli-
gious rites have been unearthed.
This latter is probably the 'l$aioi> &v-
rpov of the ancients. The Kuretes
were associated with the rites of the
Cretan Khea just as the Korybantes
were with those of the Phrygian Rhea
Kybele. The union of these two
cults brought with it the confound-
ing of the Kuretes and Korybantes
with each other. The Korybantes'
dances were combined with the toss-
ing of the head and limbs and ac-
companied by the tympana.
123. rpiKopvOcs : the other form
rpiK^pvBos occurs in Or. 1480. The
high helm was divided by a triple
rim, which gave it the appearance of
three helms placed one above the
other. avTpois: dat. of place.
124 f . Pvpcrorovov KvicXupa : the
tympanum, similar to a kettle-drum,
consisted of a wooden hemisphere
covered with leather. It is also often
represented as similar to the tam-
bourine. jioC : for me, because the
tympanum was afterwards adopted
by the bacchanals. Translate the
passage : where in caverns the Kory-
bantes with triple helm devised for me
this disk of tight-drawn skin.
126-128. Construe : xepaffav (sc. Ko-
pvPavTfs) avvr6v<f ouSoi )3o/cx'a irvtv-
/j.ara aSv&oai/ &pvyiiav av\>v. The text
is very uncertain. av8a : i.e. of the
tympanum. ^oiKxia : orgiastic, called
bacchic by anticipation. Strictly
taken, ace. to 130 ff., the application
to the tympanum and the flute is
subsequent. Aristotle (Pol. viii. 6)
calls the flute opyavov opyiacr-riKov.
The loud music of the flute used in
the worship of Kybele, as in that
of Dionysos, originated in Phrygia.
Marsyas was said to be the inventor
of it. <ruvTov<!> : vehement, noisij.
avXwv : commonly translated flute,
though the instrument was more like
the clarionet or oboe.
129. GTJKCIV: sc. the tympanum.
KTVTTOV : in appos. with avSa . . . irvtv-
Hara, i.e. the din is the mingled
sounds of the tympanum and flute.
vcur|iacri BaK\dv : for, i.e. to accom-
pany, the revel-shouts of the bacchantes,
like j6a/cx', 126, used in anticipation.
The dat. depends upon KTV-KOV. Cf.
EYPiniAOY
28
130 napa Se
t
15 Se
afs
135 yovs eV ovpecnv, tvr
K 0id(7(t)V SpOfJLai(t)V
Trea-rj TreSdcre, ^ey8/3t8os
eySurdv, aypevoiv
rpayoKTOvov, a)p.o(f)dyov
140 te/Ltefo? et5 opea <&pvyia, Auota.
6 8' ea/>xo5 B/3o/it05, evot.
*Eir8o's.
7/)A. T. 387, ra 6eoj<rt
Soph. Ant. 671, KOLKO.S yvvaiKas vlefft
130 f. irapd . . . c|avv<ravro 6eds :
favvcraa6a.t rt irapd -TWOS is to obtain
anything from one by labor or prayers.
Cf. Aesch. Prom. 700, T^IV xpelav yvv-
ffcurOf, ye obtained your request. Sarv-
poi: because they were the especial
attendants of Dionysos.
133. TpicnjpCSwv : trieteric festivals.
In many places, as Thebes, Argos,
Crete, etc., the festivals of Dionysos
were trieteric, that is, occurring every
other year, at the beginning of every
third year. The explanation of this
has been found in the belief that
Dionysos having passed the interven-
ing time in the lower world was born
anew every other year (see Preller,
Griech. Myth. I. 565), a belief which
itself needs explanation. These tri-
eteric festivals were celebrated en-
tirely or chiefly by women, and were
marked especially by orgiastic rites.
See Schomann, Griech. Alterth. II.
478 ft Such is the festival that forms
the background of this play, and
hence the propriety of the term here.
135 ff. rjSvs KT\. : if the text is cor-
rect (see App.), the adj. is most natu-
rally referred to the subj. of WITT?,
implied in &c Oiaauv, i.e. the bacchant.
Lit., Glad is he (the reveler) in the
mountains, when one from the swift revel-
bands falls to the earth, i.e. "Full of
rapture is that one who amid the
revels falls to the earth in ecstasy."
139. alfxa rpaYOKro'vov : goat-killing
sfem^iZer, i.e. the slaughter of the goat.
Cf. Or. 833, fj.i\TpoKT6vov al/ua, H. F.
1201, afyua TrajSo^xWv. See Introd.
p. 16. <opo<|><ryov X e 4 >iv : P r ed. to
alyua, for the enjoyment of eating raw
flesh.
140. Av'Sia : for Av5j< re.
141. But he, Bromios, is the leader
(i.e. of our revels), Euoi ! The god
is called the leader, as being the in-
spirer of the revels. The exclama-
tion, 61-0?, is in place here, as the
whole description has much of the
ecstatic nature of the actual revel to
which this cry belongs.
BAKXAI. 29
S V '\ 'S e^O>" f o. \
oe yaXaKTi Treoov, pei o owa>, pei be
145 6 Ba/c^eu5 8'
Trup (ra>7) <Xoya Trev/cas '^Jj-.
K vdpffrjKOS durcrei i~-*^t/,;i
Sp6p.a> /cat XO/JQIS epeOifav TrXaz/aras i-vrtsvit
ta^at? r* dvaTraXXwv,
150 Tpv<^epov irXoKov ets aWepa plirTaiv. ^*~*
a/xa 8' CTT' euacr/xacrt^
/0> <? V -.-, /
rotao cu ire Ba/c^at,
a> ire Ba/c^at, IlaK-
rwXov xpvcropoov x^ l
155 /xeXTrere rov
fiapvftpofjiuv VTTO
euta TOV evLov dyaXXo/xe^at
ei^ QpvyiaicrL ySocus eVoTraicrt re,
160 Xo>ros orcu> ev/ceXaSos
142. Cy. 707 ff. Y*^ aKTl : *^ e dering comrades to running and danc-
poets use the dat. instead of the gen. ing. The const, is like that in trpoKa-
with ^eiv. Kr. Di'a/. 47, 16, 5. See on AeVo-aro x-PP-V> Horn. //. vii. 218.
19. 149. ci.vcuraXX.wv : inciting, i.e. to the
144. 2vp(as : the frankincense of dance.
classical times came chiefly from 151. apa 8 KTA.. : and at the same
Arabia through Syrian ports. 0pw- time together with (lit. in addition to)
<rKi : mounts up. Xifkivov : properly the revel-cries, etc. cvcurpcuriv : the
the tree, then the frankincense from revel-cries, evoi KT\.
the tree. 153 f . IlaKTwXov \pv<ropoov \\&$ :
145. BaK\cvs : the bacchant-leader, with ornaments of the gold-flowing Pak-
not Bacchus. tolos, i.e. " arrayed in ornaments of
147. IK vap6r)Kos : instead of <=i/ gold." The Paktolos was famed for
vdptirjKi. The torch was affixed to or its gold-dust.
inserted in the thyrsus, from which 156. Papv|3pofuov : heavy -toned.
the flame is represented as pro- Aesch. (Frg. 56) compares the tym-
ceeding. panum to subterranean thunder.
148. 8po'(xa> Kal \opols : the end of 156. Extolling the Evian god with
the action in iptfifuf. As the bac- Evian cry. Cf. 141. evict : cognate
chant darts along brandishing the ace.
flaming thyrsus, he arouses his wan- 160. XWTO'S : often in Euripides
30
EYPI11IAOY
tepa
<j)OLTa<TLV
165
opo<s
a
pa,
TiaiXos OTTO)? d/ia fjiarepi <f>op{3doL,
KO>\OV ayet
Ba/9(a.
TEIPE2IA2.
170 Tis eV TTvXcuo-i; KaSjaov e/c/caXei SO/AO>>
TrcuS 5 , 69 TroXiv SiSawcw
eTrvpyucr* doru r)/3aa)v rooe.
mo ris, eio"dyyeXXe Teipecrias on
Eflrel viv otSe 8' avros aii> -^/ca) Trept
175 a re ^weBe^is Trpecr^v^ &v yepairepa,
0Vp(TOVS aVOLTTTf.IV KOI VtfiptoV SojOtt?
e, which was frequently made
of the \carbs Aifivs.
161 if. TraiYfJ-ara, <rvvo\a <J>OITOUTIV
els opos : airs suited to the (Maenads)
wandering to the mountain. <JXHTOO-IV :
equiv. to <t>oiT<a<rats.
165. apa: //, introducing the
effect of the leader's call, which ends
with the preceding sentence.
166. oirws : equiv. to is.
167. Lit. the bacchante urges for-
ward her swift foot with bounding, i.e.
bounds forward with swift foot.
170-369. FIRST EPEISODION. The
characters are Teiresias, Kadmos, and
Pentheus. The dignity and pious
devotion of the venerable old men
set off by contrast the rash impiety
and haughtiness of Pentheus. The
blind seer, Teiresias, enters, not as in
the Phoen. led by his daughter, nor
as in the 0. T. and Ant. of Sophocles,
led by a boy. The god unseen leads
him by inspiration (cf. 194).
170. cv irvXauri : i.e. as porter with-
in the doors, in the Ovpwptiov. IKKCI-
Xci : a similar transition to the second
pers. imv. is found in 173, 346-348.
175. a rt |uv9t(iT)v /crA. : and irlmt.
I agreed upon tvith him, I, though an
old man, and he yet older. Notwith-
standing their age they had agreed
to take the bacchic dress and join
the revel-dances. And in speaking
of this, Teiresias at the same time
expresses his consciousness that the
new worship is worthy of the wisdom
of age. irpeVpvs: extreme length
of life is attributed to Teiresias. Ac-
cording to one legend he lived seven
generations. Thus, although he is
represented in the Phoen. as a con-
temporary of the sons of Oedipus, he
could also be spoken of here as old
in the time of Kadmos. It is doubt-
ful, however, whether Euripides had
any such legend in mind. The con-
spicuous position of Teiresias in The-
ban mythology made it easy to bring
him into connection with any of the
Theban legends, where it suited the
purpose of the poet.
BAKXAI. 31
a-T<f>avovv re Kpara /curcrti>ots
KAAM02.
-Wc
a>s
(ro(f)r)v cro<f)ov nap* aVSpos, eV
180 lf)KG) 8* eTOLfJLOS TTJlsS 1 )(<DV CTKevrjV OeOV.J^f-
Set yap viv ovra TraTSa 0vyaTpos
\~&u6w(TOV 6?
ocrov Kaff ripcis Swarov av^ecrOai
TTOI Set ^opeveiv, TTOV KaOicnavai TroSa
185 /cat Kpara (retcrat TroXtoi^; e^rjyov <rv JJ,OL
yepovTi, Tetpecrta' cru yap crones.
a9 ou /caxotx* at> ovre VVKT* ov6*
Ovpcrut KpoTMV yfjv eTrtXeXiycr/ie^' r)$ovfj
yepovres
TEIPE5IA5.
ravr* e/>tot Tracr^et? apa*
176. civciirTtiv: sc. x'P'> ' attach to, 182. Auo'wrov : appos. to i/tV.
z.e. to take in th" hand. Cf. Frg. 752, 183. ocrov . . .Svvaro'v: lit. so far as
cited Ar. Ban. 1211, Atdi>v<ros 6s 0up- zs possible as regards me, i.e. so far as
ffoiffi teal vf&p&v SopaTs KaOairrds. Cf. rests with me. avijeartiai fu'-yav : to grow
also 25. xiv: to wear. great, /iryas is often used prolepti-
178. is KT\. : Wecklein comparing cally with atietv. Kr. Spr. 57, 4, 2.
Hec. 1114, Soph. 4/. 14, 0. C. 891, 184. irot xopW: i-e. -nol e'A^ras
supposes Kadmos to begin his address xP " e " / - KaOierrcivai iro'Sa : to staj
to Teiresias before he comes within the foot, contrasted with xP f ^ et "y as
sight of the prophet, and to explain arrival is with ffivcu. in set phrases.
this on the ground that he has recog- Cf. Ale. 863, vo? $>; irof <rrS>; Soph.
nized him by his voice. But there is Phil. 833, iroC <rr<iffei, irot 8 pdarti ;
nothing here, as there is in all the 187. ws KT\. : the ground of the
cases cited, to indicate that the person command tfyyov.
addressed cannot be seen. It would 188 f . ciriX.c\T]'o-}u6a . . . ovres : simi-
seem rather that Kadmos appears larly the chorus of initiates i Ar.
immediately upon the call of Teire- Han. 345 ff. sing, y6vv Tta\\erat yep6v-
sias and before the servant has had TOIV cnrofffiovrai 5e \viras xp"' tovs T>
time to summon him. us then intro- trtav ira\atwv tviavrovs ifpas virb rt/j.as,
duces the cause of this immediate the knee of old men leaps, and they
appearance. shake off" griefs and the long periods of
EYPiniAOY
190 Ko/yo) y^p 17/80} Ko,Tri\f.ipri<T(i)
KAAMO2.
OVKOW oyoi(Tw ei? o/Dos
TEIPE2IA2.
dXX* ov boidv 6 6eb<s av
KAAMO2.
yepovra TrcuSayooy^cr
TEIPE2IA2.
KAAMO2.
195 fjiovoi Se TroXews Ba/c^t&>
TEIPE2IA2.
VOL ya-p ev (frpovovpev, ol 8* aXAot, /ca/cai?.
KAAMO5.
ov TO /xeXXetv dXX* e)
TEIPE2IA2.
^VVOLTTTZ KOI ^VV&pL^OV
uyed years tinder the influence of the orgiastic worship. Cf. 66; also Ar.
sacred service. Ran. 400, Serfoj/ is Si/eo Trrfvou iro\\)]
192. ovx duoCav : " not the same as <556c irfpaivfis.
if we went on foot." 195. \opcv<ro)X{V : join in the chorus,
193. iraiSa-ywyn'o-o : not inconsis- i.e. of the Theban bacchantes in the
tent with ^rjyov (185). Kadmos calls mountains. Cf. 1224.
upon Teiresias to direct by his super- 197. paicpov TO |X\\iv : our delay
human wisdom the course to the ;s long. Kadmos is impatient to be
proper place for the rites, but sup- gone.
poses that the blind prophet needs 198. I8ov : here then ! expresses com-
his customary guide to lead his steps pliance. The blind Teiresias extends
along that course. his hand that Kadmos may take it.
194. djioxBC : tne tQ il becomes light Cf. 1265. gvvairre . . . xP a :
to them through the influence of the my hand and join it to thine own. '
BAKXAI. 33
I
KAAMO2.
ov Ka,Ta<j)pov(i^ eyo> TMV Oewv
TEIPESIAS.
' ~^6 T^iff ^f '
200 ouSeV o-o<j)L^6jj,eo-0a roicri Sat/xocrt.
7rapaoo^a<; as 0* o/x^Xt/ca?
, ovSels avra /cara/3aXei Xoyo9,
ovS* ei Si' aKptov TO o~o<f)ov 'qvp^rai (j>peva)V.
epel rig a>5 TO yrjpas OVK
205 /xeXXoo^ yopeveiv Kpara KL(rcra>cra<;
ov yap ^iripyj^ 6 ^eo? etre rov vtov
XpTJlsti ^opeveiv etre roV "yepairepov,
dXX' e^ CLTrdmoiv /SovXerat rt/xa,9
ovoev av
KAAM02.
210 eVei <rv (f>eyyo<;, Tetpecrta, rdS*
200. cro4>i.to'H Lecr 9a : explained by yo>/)." TO <ro<j>o'v: the same expres-
T?> ffO(p6v. See on 203. H/ ii r/r* ""* ^ sion is found also in 395 and 1005 in
att.-&xa.lt our wisdom <i</ithtst liie rjnth. connections where it clearly refers to
201. irapaSoxds : Teiresias means the so-called wisdom of much of the
traditional, especially religious, be- current philosophy, whose subtilties
liefs. ojAT]XiKas \povia : lit. coeval were profitless and destructive^ of
with time, i.e. existing from time imme- fundamental beliefs. Socrates (Plat.
mortal. Apol. 20 D) speaks in irony of the
202. avrd : repeats irapaSoxds, re- same class of philosophers, as wise in
ferring to the thing without regard a certain superhuman wisdom.
to the grammatical gender. In the 204. t'pei: i.e. opetSte?.
thought of the passage, as well as in 206. -yap: "Not so, for." ov Sirf-
the expression KaTa/3a\?, reference is pr\\ d 86s KT\. : the god hath not de-
made to the Sophists. Protagoras, termined whether, etc. The sentence
one of the most famous Sophists, forms no proper contrast with a\\' '
published a work entitled KaraBd\- cnra.vr<av . . . Koivds. We should ex-
\oi>res (sc. \6yoi). A saying of his pect here the thought, "the god has
was : irf pi fj.ei> 6e>v OVK tfx" 1 8eVcu odd' made no distinction between the
is flfftv, oij0' &s OVK flariv. young and old."
203. "Not even if presumptuous 209. 81' dpidpuv . . . Oc'Xei: "The
wisdom has been reached by keenest god does not wish to be exalted by
subtilties of thought (St" &Kp<av <f>pe- certain numbers, i.e. classes, as by
34
EYPIIIIAOY
<TOI
Trpos OIKOUS oSe Sta
, <5 Kpa.ro>; SiS<y/u
215
220
a>5 cirrorjTai' ri TTOT epe veurepov;
IIEN0ET2.
e/cS^/zos wv //,> rrjcrS' ervy^avov
K\.vat 8e veo^yjia r^vS* dva TrroXtv /ca/ca,
ywaucas ^/ai^ Sw/xar* e/cXeXoiTreVai
7rXacrTa,r<Ti /SaK^etatcrti/, eV Se Satr/ctots
opecri, 0od^ei.v, TOV vewarl Sat/xova
OCTTt? CTTt Tt/XWCTag ^OpOL<S'
Se ^taorot? /xecrotcrtt' ecrra^at
, aXXryi/ 8' aXXoo-' et?
euvaZ? aptrevcov
&>? ST) MatvaSag
young men to the exclusion of the
old." Reiske. This forced interpre-
tation is the best that has been sug-
gested. The text is doubtless corrupt.
211. irfXMJnynis Xo'-ywv : the announcer
of tidings, i.e. bf the approach of Pen-
theus. irpo<j>TJTt]s : used with refer-
ence to the prophetic character of
Teiresias. Kadmos means, " as you
are a prophet by means of your spir-
itual sight, so I am a prophet to you
by means of my physical sight."
212. Pentheus is seen approaching,
returning from a journey and greatly
excited by the information that the
bacchic enthusiasm has so far taken
possession of the city. He seems to
be unaware of the presence of Teire-
sias and Kadmos down to 248. His
speech to that point is a monologue,
like the prologue. Sid cnrov8t}s: in
haste. For the use of Sid to denote
conditions or states, see II. 795 d.
214. vcurcpov: lit. newer, i.e. tban
we already know ; often used as here
in a bad sense, a calamity. H. 649 ;
Kiihn. 542 An. 7.
218. irXxurrato-t paKXcCauriv : for
feigned revels, contrasted with what
Pentheus in 223 gives as the real
purpose.
222 f . oXXrjv . . . irrwc-o-ovo-av : one
flying here, another there, to a place
apart, and crouching down. otXXoo-' cts
e'pT]|iCav : with the idea of flying im-
plied with irruaffovcrav.
224. Trpo<j>o<riv : often used adver-
bially, ostensibly. us (o&raj) STJ : with
ironical force. Cf. Andr. 234 f., (r*/x-
fofj.v6tis . . . us Sfy <r\> ffufpuv. Kiihn.
600, 0. The clause, though joined
grammatically with inrripfTeiv, goes in
thought with the whole preceding
description, beginning with S^/uar' IK-
\f\otirfvai. OVOO-KOOVS : performing sa-
cred rites.
BAKXAI. 35
225 TT)v 8' ' A.<j>po$Lrr)V TTpoarO* ayeiv row Ba/c^tov.
ocras fjicv ovv etX^<^a, Seoyuou? X^P a?
crcJovcri TrcwSr^aoicri 7rpocnro\oL crreycus'
ocrat, 8' aTretcrtv, e opovs OypdcrofJiaL,
T / . / /p ? " >T-I '
Ivw r Ayavrjv u i] /A ert/cr .h^icm,
230 'AKTCUOZ>OS re /LftyTep', AvTovoyv Xey<y.
Acat (r<f>a<; (TL$T]pai<; dpyaocras e^ apKVcn
Travcra) KaKovpyov TtJcrSe y8a/c^eia$ ra^a.
Xeyovcrt 8* a>s rt5
yory? eVwSo? AvStas aTro
235 ^avOolcri ftoo'TpvxoLO'Lv evocr/xots
otrcrot? yapiras
09 rjfjiepas re Kev<j>p6vas cruyytyverat
reXeras TrpoTeCvuv evtovs vedvicriv. 4+**
el 8* avroV etcrw T7ycrSe Xi^o/xat crrey^9,
240 TTavcrw fcrvTroutra Ovpcrov avacrtiovra. re
225. 8 : instead of rJ> 5e a\rj6fs in Bacchus in the full bloom of youth,
contrast with irp6q>a.aiv jueV. irpo'<rfl : with languishing look and effeminate
c/I the use of t,iri<r6(v in Soph. ^1*. 640, features (6r)\v/j.op<t>os, 353), was the
yva>fj.i)s varpipas irdvr' uiriffdev tff-r<iva.i. conception prevalent in Greek art in
a-ytiv: instead of (ryoiWs, the con- the time of Praxiteles also.
struction changing to that of the 236. otvcmro's (the usual form in
leading clauses dependent upon /cXuco. the nom.), ruddy. Cf. Soph. 0. 7\
J?u< in reality they prefer Aphrodite to 211, olvunra BaKxof. o<r<rois : dat. of
Bacchus. place.
226. X 'P a s ; ace. of specification. 238. TrportCvcav: putting forward as
227. 7ravST]|ioicri o-rc'-yats : equiv. to a pretext, pretending.
5f<r/j.(arTipi(f!. 242-247. These lines are regarded
229. 'Extovi : one of the five Spar- as an interpolation on the ground
toi (264) who survived. that they disturb the continuity ; the
231. opKOTi : i.e. Seir/ioty. same is true of the very insipid pas-
234. -yo' 1 !? cirwSo's : the same as sage, 286-297, corresponding to this
7<k;s ical eirepSfc, Hipp. 1038. in the answer of Teiresias. The two
235. poorpvxouri Kopuv : with long passages seem to be additions com-
curls. Cf. tOftprjfftv Ko/j.6<avTt, Horn. posed with reference to each other.
//. vni. 42. The representation of
36
EYPiniAOY
eifcu
ravr'
ocnri9 ecmv o
AioVvcroi' Beo v,
tKelvos ev wpto TTOT' eppd(j)dai Ato9,
09 cKTTVpovTai XajjLTrdcTLv Kepavviais
245 CTVV n/r)Tpi, Atov9 ort ya/xov9 ei|/evo~aro.
ear* ct^ta,
09;]
drctyo roS' dXXo Oavpa., roV TepacrKoirov
ev Tim/aXcucri vefipicn Tetpeatav opai
250 Trareyoa re /x^r^o9 7~^9 e/x^9, TroXw yeXw^,
vdpOrfKi fiaK-xevovT dvaivo^ai, rrdrep,
TO y^yoa9 VJAUV eicropuv vovv OVK \ov.
> /> / ''x/)'
Of/c a7Tort^ag'et9 KLCTCTOV ; OVK ekevucpav
uvpcrov /xe^i7O~et9 X^/ 3 fyys jJiyTpos Trdrep ;
242. ttvoi KT\. : Ae says <Aere
a (/oa* Dionysos. On the use of eli/ai,
r/: 333.
243. C'KCIVOS : sc. 0r?<rj, the pronoun
repeated with scorn. cpfxtyOai. : the
subject is to be supplied from the
following relative.
245. C/. 31.
246. CXYXO'VUS a&a- ' commonly trans-
lated, worthy of hanging. Cf. Ileracl.
246, rJS" liyxArns weXos, Soph. 0. T.
1374, ?p7<x KpfltTffov ayxdvys- Others
understand &yx^ vr l of suicide in all of
these places, and take the meaning
to be, that the deeds spoken of are
shameful enough to make the doer
commit suicide. But this seems
forced, and in this passage especially
inappropriate to verse 247. Perhaps
the simplest interpretation is, worthy
of strangling ; for while hanging does
not appear to occur as a judicial
penalty until later, strangling occurs
not only as a common form of mur-
der, but also as a method of summa-
rily inflicting an ignominious punish-
ment. Cf. Ar. Av. 1575, 1578, Nub.
1376, also Dem. In Timoc. 744, where
it is said, that among the Lokrians
the proposer of a new law wore a
halter about his neck, and, if his
proposition was not approved, he was
immediately put to death liriiriraffOfv-
TOS rov 0p6xov.
247. v'ppeis : pi. in reference to the
various outrages attributed in the pre-
ceding part of the speech to the sup-
posed bacchant. With the cognate
ace. an attributive is generally used
(II. 716 b, Rem.), but sometimes omit-
ted. Of. 1297, fyh. A. 961, Hel. 785.
vf3p(civ : in appos. with -ravra.
251 f . paKXv'ovr' : may be taken
in either the dual or the sing ; if the
latter, it does not imply that Teirc-
sias had not the thyrsus. Cf. 176.
avaLVOfUU eLcropuiv: "it is hateful
to me to see." Cf. ff. F. 1235, e5
Spdffas 8e <r" OVK &.va.ii>o/j.at, Iph. A. 1503,
Oavovaa. 8' OVK avaivofj.ai. irdrcp : ad-
dressed to the grandfather in 1322
also.
BAKXAI. 37
255 <rv TCLVT 7retcra5, Tetoecrta* ro*>S' av
rov Sat/xov* avOptoTTOurw eicrcftepcov veov
crKOTretv TrrepwTovs Kainrvpoiv fjacrQovs <f>epeiv.
el prf ere yrfpas TTO\LOV e^eppvero,
KaO'YJcr' av ev BaK^at(rt 607x109 /^eVai?,
260 reXera? irovnpas eicrayaw yvvaii yap
OTTOV fiorpvos ev Sam yiyverai yaVo?,
ov^ uyies ovSev ert Xeyw rwt' opyiwv.
XOPO2.
KdS/aov re rot' cnreipavra
265 'E^tofo? 8' av 7rat9 fcarator^wet? yevos;
TEIPE2IA2-
OTCU> ai T65 TOJV Xoycov
9, ov /x,ey' epyov ev \eyeiv
255. av: further, with ffKoirelv and nothing further in the orgies good, lit.
tptptiv. " You wish for further oppor- sound.
tunities for augury and gain." 263. Sucrcre (3e tas : ^A, <Aj/ impiety!
257. iTTtpwrovs : -e. oiWous. The The gen. shows the cause of the
two kinds of divination here men- astonishment expressed. H. 761 ; G.
tioned, from birds and by fire, are 173, 3.
attributed to Teiresias in Soph. Ant. 264. YnY V n : because the so-called
999 ff. also. |iio-9ovs <M'P lv : ^ n tn ^ s Spartoi sprang out of the earth from
expression the invective of Pentheus's . the sown teeth of the dragon. Cf.
speech culminates. A similar charge 1025 f .
is made against Teiresias in Soph. 266 f . TWV Xo'^wv KoXds ctyoppds :
Ant. 1055; id. 0. T. 388 f. Such a noble theme (lit. occasion) for speak-
consure of false prophets is common ing. Cf. Hec. 1238 f. frporoiffiv &s ra
in Euripides (cf. Iph. A. 520, Ilel. 744), xp 7 ? "" 7 "^ ^payfj-ara xpwr&v d^op/ias ^St-
and is due to the conduct of the 5o><r' ae I \6yuv. In these and the fol-
mendicant soothsayers and jugglers lowing lines, allusion seems to be
of the time. made to the contrast between the
259. BaKxauri : those spoken of in true e5 \eyeiv and the sophistical
226 f . rhetoric of the time. The former
260. 'Y vvat ' : emphatic, contrasted demanded brilliancy of form and
in thought with men. skill in discourse less than the right
262. v-yit's : pred. to ovtitv. I count content ; the latter boasted that it
38
EYPIIIIAOY
65 S'
trv 8* fVTpo^pv pew yXoio-crav 0)5
iv rots Xoyotcri 8' OVK eveicri o~oi
/} ^ s ^ r \ ' i v \ ' * ' \
270 upao~vs oe [yAaxrcn^J /cat Aeyeiv otos r ai^
KCLKOS 7ro\LTr)s yiyverai voijv OVK e^w.
* O/ e / <N V $ \
ouros o o oaifjitov o veos ov o~v oiayeAa?,
OUK at' SwaC^v jaeye^o? e^eirrew/ ocros
Ka^* 'EXXaS' ecrrat. 8vo yap, a> veavia,
275 TO, 7rpa>r > ev avOpwTroicri- ^rjfjiiJT'rjp Oca'
^ 5>> / v Ci> c / o /\ /\
yry o ecrrtv, o^o/xa o OTrorepov povXet /caAet
fypolcriv eVrpe'^et
eTTt TavrcTraXov 6
florpvos irypov TTW/A* T^vys
280 OV-TITOIS, o Travet rows raXatTrw/jev?
\VTrr)<;, orav irkrjo'Oajcriv afjLTreXov pofjs,
the supposed etymology of
as a compound of 7^ and ^TJTTJP, which,
however, is doubtful. Ahrens, whom
Curtius (Etym. 6th Ed.) follows, con-
nects the first part 52 with the root of
Siby.
278. rJX8V irl TavrtiroXov : Weck-
lein translates, Aas reached equal im-
portance with her. But many editors
read 8 instead of o's ; and this may be
taken (1) as the neuter relative re-
ferring either to the whole sentence
6 SfjueAijs . . . 8i>T]Tois, or to irta/j.a alone,
(2) as the demonstrative referring to
Dionysos. This reading with the sec-
ond interpretation preserves the bal-
ance of the contrasted clauses better
than the reading of the text. The
meaning thus obtained is, but he, the
offspring of Semele, has come to the
opposite (has met the corresponding
want, i.e. drink), he has found out the
/lowing beverage of the vine. The asyn-
deton thus produced in 279 presents
no difficulty, as the line is an expla-
rcason.
270. i Y^" <ro Tl : substituted in the
text for Swards, which is regarded as
a gloss upon oUs re. Cf. Soph. Aj.
1142, ai'Sfta y\i&ffffri Opaffvv.
272. o Salpwv : the subj. of eo-raj,
placed at the opening of the sentence
for emphasis ; or perhaps better taken
as anacoluthic, instead of the gen.
after (teyeOos. The nom. sometimes,
where the grammatical structure
would require another case, stands
at the beginning of the sentence to
emphasize the subject to which the
whole sentence relates. Kiihn. 350, G.
273. Cf. Accius, Earch. Frg. ix.,
neque sat fingi neque diei
p o t c s t p r o - m a g n i t a t e.
274. 8v'o : i.e. food (277) and wine
(270).
275. 6ca: subj. of ticrpfQft, but re-
peated in avTi) because of the paren-
thesis y>} . . . /caAfi.
276. YJ 8' <rrv : with reference to
BAKXAI.
39
VTTVOV re \rfurfv T(t)v Ko.9
SiSoxrw, ovS* ecrr' a\\o (frdpfjLaKov TTOVMV.
ovros OeolcTL (TTreVSeTcu $eog yeyws,
285 wore Sta rourov rdydff dv0pa>Trov<s
[/cat /carayeXa? vw, as evppd<f>r) AIDS
prjpto ; StSa^lw cr' a>g /caXa>9 e^et rdSe.
eVei viz/ rfpTracr e/c Trupos KepawCov
Zeus, ei? 8' *OXv/i,7roi> /8pe</>o9 dv^yayei'
290 "H^a vtv ^^eX' e/cy8aXety OLTT* ovpavov'
JLrjxav'tja'aO' ofa ST)
rt rov y66v
ovS' ofJLfjpov e/c8t8ot9
&.iovv(Tov "Uas veiKew ~6va) Se
Zeug S'
nation of the preceding. H. 1039.
Schone points out that this bringing
together of Demeter and Bacchus
contains an allusion to their union in
the mysteries.
284. <nr'v8T<u : is poured out in liba-
tions. The same immediate transition
from the god to the thing is found
in Ovid, Met. xi. 122, miscuerat
puris auctorem muneris (i.e.
Bacchum, vinum) undis.
285. 8ui TOWTOV : i.e. through liba-
tions which please the gods, and thus
bring blessings to men.
286-297. Most editors reject these
lines. Teiresias is praising Dionysos
as the giver of wine (279), the inspirer
of prophets (298 f.), and the author
of panics in armies (302 ff.). It is
not easy to suppose that the poet in-
terrupted the recital of this list of
offices to explain a legend having
no connection with them. See on
242 ff.
289. 9to'v : i.e. us Ofbv 6ma, the rea-
son of fls " O\vfniroi>
291. ota ST) 6o's : like a god, i.e. as
only a god could devise.
293 f. ?0T|K . . . vciKwv: the sen-
tence is obscure. Hermann construes :
r6vSe (alBtpa) f6r)Ke Aiovvffov, ofj-ypov
tictiiSovs, he made this (the piece of
ether, into an image of) Dionysos, giv-
ing it as a pledge against the contentions
of Hera, i.e. that the contentions might
be brought to an end, if Hera should
have Dionysos, as she supposed, in
her power. The real Dionysos was
sent to the nymphs to be brought up.
The arrangement of the words would,
however, suggest the taking of o/ttT/-
pov as pred. to r6v5t, which is mas-
culine in reference to a!9fpos or by
attraction into the gender of the predi-
cate word. The meaning then is : he
made this a pledge, giving away (the
real) Dionysos out of the reach of the
contentions of Hera. The Schol. on
Apollod. in. 4. 3, says that Zeus trans-
formed Dionysos into a kid. Similar
to the story of the text is the legend
that Zeus, in order to ensnare Ixion,
40
EYPIIIIAOY
295
iv /AT?/>O> AIOS,
on Oea deb?
300
/3/30TOI
ovoua
"Hyoo, iroO* ajfAT/jpevcre, o~i>z>$ei>Tes Xoyoj'.]
8' 6 SCU/AWV oSe' TO yap
l TO [jiavLa)$e<; fjLavriKrjv Tro
yap 6 #eo? et? TO o~ai/A >
305
Xeyew TO jaeXXov TOUS /xe/Aiyi'OTas Trotet.
v Ay3e<y9 TC iioipav ju,TaXa/3ft>v ej(et TWO*'
o-rparbv yap iv oVXois oWa icdm ra^ecri
<oy8o? Ste7rTO7^o"e Trplv Xoy^i^? Oiyeiv
uavia Se /cat TOVT* eo~Tt Atovvo~ou Trdpa.
made a phantom in the form of Hera ;
and also the story of the phantom of
Helen. Such a phantom is spoken of
below, 630.
295 ff. When they heard that Di-
onysos had been a hostage, Sfjajpos
(&f,i-f]pfv(Tf=8/j.r)pos f-yfV(To), confusing
Sf^ripos with 6 prip6s they invented the
story (ffwdfvTfs \6yov), iv wpip Aibs
299. Cf. Hec. 123, fj.a.vrnr6
Verg.^en.vi. 78, bacchatur vates.
An oracle of Dionysos in Thrace is
mentioned. Cf. Hec. 1267. Hdt. vn.
111. Also one in Phokis is mentioned
in Paus. x. 33, 10. Dionysos, like
Apollo, inspired his priests, and raised
them into an ecstasy in which divine
revelations were supposed to be re-
ceived. See on 306.
300 f . iroXv's : with might. Cf. Or.
1200, rb irptoTov ^v iroXi/s irapf). Some
editors bracket these lines on the
ground that they attribute the pro-
phetic power to intoxication, and are
therefore not in keeping with the
higher conception of the preceding
sentence.
302. And he has obtained some share
in Ares's honors. poipav : cognate ace.
303 ff. The "panic" terror here
ascribed to Dionysos is commonly at-
tributed to Pan, but sometimes also
to other divinities, as in Med. 1172,
IIcu^s ^ nvls Of&v. In 758 ff. the
band of bacchantes puts to flight an
armed host, and Wecklein supposes
that it is only in this way, that is,
through the agency of the bacchantes,
that Dionysos can be said to inspire
this terror. But the flight there de-
scribed is quite different from that
spoken of here. The armed men, so
far from fleeing through fright before
they have hurled a spear, attack the
bacchantes, and do not flee until they
are overpowered by their opponents'
arms. Line 305, in which this influ-
ence is yet more distinctly attributed
to Dionysos, is bracketed by Weck-
lein, following Pierson, on the ground
that the bacchic pavta is always a
gladdening inspiration. This, how-
ever, can hardly be said of the /uo-
ia(cf. twavfts, 1094, also 1122 ff.)
of the bacchantes in the slaughter
of Pentheus. The epithet ne\avcu-
yts, sometimes applied to Dionysos,
seems to refer to his power to inspire
terror.
BAKXAI. 41
er' avTov o\l/L /caVt AeX<to-u> irer/oats
TnySaWa crw 7rev/cato~t ^iKopvfyov TrXd/ca,
TraXXozra Kal cretovra Da/c^eio^ /cXaSoi/,
fieyav r aV 'EXXdS*. dXX' e^ot, Ile^^ev, inOov'
310 /u,r) TO /cpdYos av^et Swa/xtv avOpuTTOLS c^ew,
/Lt^S' T)I> SO/CT^S /aeV, 17 Se Sofia crou vcxry,
<f)povelv So/cet ri' rov Oeov 8* ets y>^ Se^ou
/cat (nrevSe /cat )8a/c^ue /cat crre^ou /capa.
ov^ 6 AtoVuo~o9 crax^povetv ai/ay/cao~et
315 yvi/at/cas et? T^V KvTr/atv, dXX' ez>
[TO cr(t)<f>poveiv evecrnv ets TO, TTO.VT del]
TOVTO* CT/CO7TtV X/ 31 ?
over r) ye crax^poiv ov
oyoa?, orv ^at/jet?, oTav e^ecrTwcrtv TrvXats
320 TroXXot, TO IIa/^ea>5 S* ovo/xa jueyaXwTj 7roXt9"
306. The gleam of torches was fre- const, not to be confounded with the
quently thought to be seen on Par- ace. of extent of space. H. 712 b, lat-
nassus coming from the processions ter part ; G. 159, N. 5.
of the bacchantes. The poets often 308. iroXXovra ical ercCovra: cf.
speak of the celebration of the bac- av4/M)is ol 0vt\\a<nv, 350.
chic rites there. Cf. 559, Phoen. 226, 310. av\ti: boldly fancy. '-Do not
TpA. T. 1243, /on, 714, Soph. Ant. fancy that mere sovereignty without
1126. Attic women went there, espe- wisdom is a real power for its pos-
cially at the time of the Lenaia, to sessors."
celebrate the trieteric orgies of Bac- 311. SOKTJS : entertain an opinion.
chus. Rhodope, also, and other places 314 f . The answer to the charge
were sacred to Apollo and Dionysos of Pentheus in 222 ff., " Fear not
alike, and in many places the two injury to the chastity of the women,
divinities were worshipped together. Dionysos will not lead to unchastity
This has been explained by the promi- nor compel chastity ; these depend
nence in the worship of eacli of the upon the nature of the person, and
ecstasy inspired by the divinity. See not upon the influence of the god."
on 299. See also Preller, Griech. <r<o<{>povciv ls TT\V Kvirpiv : to con-
Myth. I. p. 221 f. trol one's self in Love, to be chaste.
307. irrjSwvra trXaica : cf. -xupovffi 317. TOVTO : repeats rb a<aq>poveiv.
inrorafffis, 748 f ., BptaffKfi ireoiov, 873. ical tv fia.K\tv\uunv : even in bac-
Intr. verbs of motion often become chic revels, which you think destroy
trans., taking the ace. of the space chastity.
over which the motion extends, a
42
EYPiniAOY
/c/cetvog, oi/xat, repTrerat
eya> /x,et> ow /cat KdS/u,09, oz> cru StayeXcis,
/ci(T(ra> r* e/)ei//ojaecr#a /cat
TroXia vva)pi<s, dXX* O/AWS
325 KOU ^eo/xa^cra) craw Xoyaw/ Tretcrfets VTTO.
/u,atVet yap <us dXy terra, Kovre <ap/xd/cots
d/oj Xa/3ots ai/ our* aVev TOVTCOV etrei.
7-
XOPO2.
eV^v, Qdifiov r ov /caratcr^uz/ets Xoyot?,
re Bpo/xtot' crto(f>poi>els ^eyav Oeov.
330
KAAMO2.
a Trat, /caXws trot Tetyoetrtas
ot/cet jute^ 5 rjjjiwv, //,T) dvpa^e ra>v
vvv yap TreVet re /cat (frpovuv ouSev <f>povels.
/cet /A^ yap eicrrtv 6 ^eos ovros, a>5 trv ^9,
Trapa trot Xeyecr^w /cat /carai/;evSov
321. Cy. Hipp. 7 f., Iceerrt 7/> 8^
KO.V Oeeav yevti rJSe, TmaJ/xevot x a ^P ov ~
a iv avdpiSiiriav STTO.
326 f. fiaivei ws a\Yrra /crA. : <Ao
ar< most sorely mad, etc. The madness
of Pentheus is compared to a malig-
nant disease. OVT avev TOWTWV (sc.
O.KUV) o-i : thou shalt not be without
these. " Thou shalt find remedies in
thy terrible death."
328. <f>oip<>v : the seer Teiresias
stands in special relation to Apollo,
the god of prophecy. In Soph. 0. T.
410, he says to Oedipus : ov ydp n <rol
(," oov\os, a\\a Aofi'o.
331. ottcti lud'rjfuov KT\. : dwell with
us, not apart from thy people's usages, i.e.
" follow us in reverencing the usages
of religion." Cf. 890 ff., also 342.
332. irTi : thou art beside thyself.
i, to lose self-control, is the op-
posite of Karaarrivai, to recover self-
control. Cf. Soph. ^4n<. 1307, avfirrav
($>&$<?, I am distraught with fear, <J>po-
vwv ovStv <j>povis : " thy wisdom is
unwisdom."
333-336. The thought of this pas-
sage, if it indicate in Kadmos himself
any want of faith in the divinity of
Dionysos, is inconsistent with the
character attributed to him elsewhere
in the play ; and in any case the
motive set forth is unworthy of that
character. Further, the earnestness
of the warning in 337-342 is not in
keeping with such a concession to
Pentheus's unbelief. The passage is
probably interpolated.
333. ccruv : exists. Cf. 617.
334. irapd crol \c-ytV6w: with thy-
self let it be said, contrasted with the
following. " Say it to thyself and
BAKXAI.
43
335
340
CD'S ecrri, SetteX 1 ^ & iva 80*77 Oeov re/ceu>,
re T(/XT) vravrt ra> yevet Trpoarrj.
rov 'A/cratw^os ci0Xiov popov,
ov aifjLOCTLTOL (T/cvXa/ce? as edpeijjaro
Sieo-Tracrcu/TO, Kpelcrcrov ev /cvz^aytats
'Apre/xtSos eti/cu KOfJurdcravT\ ev opyda-iv.
6 /LIT) Troths o~v, Sev/ao crou crrer^w Kaipa
rat Oea) Tiurtv StSou.
IIEN0ET2.
ov
TT)I/ CTT)^ e/xoi; ^i
345
8* avotas roi'Se roz^ StSacr/caXoi'
/xeret/xt. crret^eco rts a>s
declare the falsehood openly." KO,-
ra|/v8ov KaXus : " tell the glorious
falsehood." C/I Soph. ^n^. 74, go-jo
Travovpy^ffaaa, having done deeds of
pious crime.
339 f. 8i0"ircuravro : the mid. in
the sense of the active. (7/1 #ec. 1126.
Kpcfcrcrova . . . KO|iiracravTa : ace. to
one legend, it was a similar boast that
aroused the anger of Artemis against
Agamemnon at Aulis. Cf. Soph. EL
508 ff. Similarly the presumptuous
words of Aias brought upon him the
vengeance of Athene. Cf. Soph. Aj.
756 ff. Other grounds given for the
punishment of Aktaion are, that he
incurred the wrath of Zeus by woo-
ing Semele, or that he saw Artemis
bathing. The last is the most com-
mon form of the legend. Cf. Apollod.
in. 4. 4. op-yoo-iv : opyas is used espe-
cially of woody mountain tracts. Cf.
El. 1163 f., Ekes. 282.
341. 5 vpo <rre'\|/w : with this use
of the subjv. (hortative subjv., H. 866,
1 ; G. 253) is commonly joined &yt,
<ptpf, or some similar expression, less
often StZpo. G. 253, N. ; Kiihn. 394, 4.
343 f. ov |] irpo<ro<ris KT\. : if
this idiom be taken as a question, as
printed in the text, it is to be ex-
plained as follows : Won't you not lay
your hand upon me but go and revel,
etc.? i.e. Do not lay your hand upon
me but go and revel, etc. Hadley, 1st
edit., 710 a; Kr. />r. 53, 7, 5. Others
omit the question-mark with such
sentences, and explain the future as
equiv. to an imv., and ov fj.ii as having
the force of a strong single negative.
GMT. 89, Rem. 1 ; G. 257 and N. ;
Hadley-Allen, 1032 a. The sense is
essentially the same in either case.
co|iopgi : the coarseness of the ex-
pression marks the angry excitement
of Pentheus.
345. avoids : dependent directly
upon SiKiiv, but in thought supple-
menting 5i5d<TKa\oi'.
346. 8icr]v : cognate ace. Cf. 516,
&iroiva pfTfiffi, Aesch. Eum. 230, Siicas
fj.fTei/j.1 rJj'Se tptara, Or. 423, utT^OAv
<r' af/ua (irirepos. rls : one of the
$opv<(>6poi attending Pentheus.
44
EYPiniAOY
Se 0aKov<s rouS* lv* otwi'ocr/coTret
s Tpuaivov KavdTpeijjov e^nraXiv,
Kara) ret TraVra crvy^ea? 6/-tou,
350 /cat oTe/ijuar' aW/AOts /cat ^ue'XXatcru'
//.dXtora ycfy> ^w Sr^o^tat S^)acra9 raSe.
ot 8* dm TroXtv aret^ovre? e^t^veucrare
TOI> 6r)\.vfjiop<f>ov evov, o? etcr<e/3et vocrov
KCLLVTJV yvvai^l /cat Xe^ XvyitatVerat.
355 Kavnep Xa/fyre, 8e<r/xtov Tropevcrare
Sev/3* avrov, a>s av Xevcrt/>tov
Odvn TTLKpdv (BaKvevcriv Iv
^ '^l-^^^Vc A-*-?
TEIPE2IA5.
ai cr^erXt', as ou/c olcrOa TTOV TTOT t
jLte/A^^as ^[817 /cat Trptv e^ecrr^s
crret^co/xe^ T7/xet9, KaS/xe,
re TOUTOV Kaiirep ovros dr/piov
"~7
360
347. Teiresias's seat of augury is
spoken of in Soph. -4n<. 999 as TTO-
Aaibv OaKov opviOoffi(6iroi>. Even in the
time of Pausanias there was a place
of augury at Thebes called o<Wo<r/co-
Trtjov Tejpeorfou. C/". Paus. ix. 16. 1.
348. Tpia(vov : overthrow. The term
is borrowed from Poseidon's upheaval
of the sea with his trident. (7/1 Zf. F.
946, TO KvKA&J7ro> /Sddpa ffiSfipcp avv-
Tptaiv<aff<a. tjiiroXiv : upside down, re-
peating the force of avd in ai/drpttyov.
349. Throwing all pell-mell together.
&vu re Kal Kdrw also occurs in 741, 753.
350. 0-TcVp.aTa : the fillets of wool
with which the augur's seat was
decked. The place of the oracle in
the temple at Delphi is spoken of in
Ion 224, as arefi.na.ai y' ^vSvr6v.
351. The pettiness of Pentheus's
spite is in keeping with the shallow
character attributed to him through-
out.
352. ot Sf : others of you, here, as
often, without preceding oi /t*V, when
a division into contrasted clauses is
not at first thought of.
356. Xtvo-Cjxow 8KT]s: cf. Or. 614,
\fvcrifjLOv Sovvai SiicT)v, Ileracl. 60, \(6-
ffifjios /ueVet 5/KTj. 8iKT)s : pred. to
\Vfft/J.OV.
357. iriKpav : pred. to Pdicxfvo'n'-
Cf. Med. 398, irticpovs 6l}a<a ydpovs.
358. ws KT\. : the explanation of
aXfT\i(.
359. fWfiT|vas KT *" * """'' ^ IOU "' '
raving mad, and before thou wast beside
thyself. Teiresias means, that at first
in seizing the bacchantes and utter-
ing threats against their leader, Pen-
theus was beside himself, but that
now in ordering the sacrilegious de-
struction of the augur's seat and the
seizure of the bacchant himself, whose
real character is doubtless understood
BAKXAI.
45
re TToXews TOJ> Oeov /x^oev vtov
dXX' errov /xot KLCTCTLVOV /BaKTpov
o> S' avopOovv o~&>/x' e/xo> /cdyo> TO
365 yepovre 8' aicr)(pbv Svo 7reo-eu> < ira> 8' o/xcus.
TO> Baic^i'a* yap TO> Aios SovXevTeoi/.
II>$ei>s 8' 6Va>9 /XT) TTtvQos eto~oto~et So/xots
Tots o~otcrt, KctS/xe- /xa^Tt/CT^ /xei' ou Xeyw,
Tots 77-pay/xacrw/ Se- fjicopa yap /xwpos Xeyet.
XOPO2.
370
e/-v / OJ A V ^
Uo*ta o a /caTa ya
awaiting the bringing in of the sup-
posed Lydian, t.e. Dionysos.
370-433. FIRST STASIMON. The
Chorus express their horror of the
profanity of Pentheus in treating with
contempt the divinity that dispenses
joy and heals care (arp. a') ; recite in
contrast with the blessings of a peace-
ful and prudent life the misfortunes
that follow unrestrained folly and
over-subtile speculation (avr. a') ; utter
their longing to come to the places
sacred to the god where it is permitted
to celebrate the orgies with Aphro-
dite and the Muses (<np. ff) ; praise
the god as the friend of mirth and
the foe of austerity and rationalizing
subtilties, and finally avow their ac-
quiescence in established customs and
beliefs (O.VT. '). The thought is simi-
lar to that of the second stasimon in
Aesch. Prom. (526 ff.), which praises
peace with the divinity and an undis-
turbed life.
370. '0rCa: sanctity is here per-
sonified and addressed as the embodi-
ment of all that is hallowed among
the gods themselves and among men
in their relation to the gods.
371 f. 8 : the contrast is between
Be iav and Kara jar. a . . . 4>e'ptis : who
by the prophet, he has advanced to
sheer madness.
362. vt'ov : i.e. Kox6v. See on 214.
Cf. Med. 37, /t^ TJ ftovKvuari veov.
364. Koyu: sc. ireipdcofj.ai avopQovv.
For the ellipsis of the ind. after the
imv. cy. Soph. Jn<. 86, KpvQ-fi Se /ceDflt,
eri;^ 8' avT<as tyca (sc. Kfixrca).
365. tr : /e( tY pass, i.e. let come
what may, a formula used in dismiss-
ing anxiety or opposition ; here, anx-
iety lest they fall.
367. IIcvOcv's, ire'vflos : the poets
often found in the name of a person
a prophecy of his fate. Cf. 508,
Soph. Aj. 430. For a large number
of similar plays upon proper names,
see Elmsley's note on 508. Sandys
paraphrases this passage : " Beware
lest Pentheus bring into thy house
his namesake sorrow." oirws : sc.
itKoirfi, often omitted before o'irws with
the future in earnest warnings. H.
886 ; G. 218, K. 2.
368 f . " It needs no prophetic art
to foretell the coming of evil ; that
will follow naturally from Pentheus's
folly." Kadmos and Teiresias, lead-
ing each other, pass out to join the
Bacchic dances in the mountains.
Pentheus remains outside the palace
46
EYPiniAOY
diets ;
TTTepvya.
raSe HevO
diet? ov% ocrav
375 vfipw eis rov
rov ^e/xe'Xas rov napa
ev^pocrwcus Sat/xova
rov fjiOLKaipaiv ; 6s raS*
Oiaa-evew re ^0/3019
380 /xera r* avXov yeXdcrai
aTTOTraucrai re
385
ydvos iv Satrt 6e<t)V,
KL(r<TO(f>6poL<; 8* ei
virvov
TO
\
oe
r* a<f>pO(rvva<s
Svcrrv^ta-
ra<s
bearest thy golden pinion over earth, i.e.
who art borne on golden pinion over earth.
The golden pinion figures the beauty
and glory which men see in sanctity.
374. ovx o<rav : equiv. to avoalav.
376 f. Cf. Horn. 77. xiv. 325, Aid>w-
crov, x^PM a fiporoifftv, Hes. Th. 941,
Aiuvuaov iroAiryij0'a. irapd . . . irpw-
TOV : first in bright-crowned banquets, the
epithet being transferred from the
person. Cf. 384, KurffofSpois 8a.\tais,
872, fji^xOois vKv$p6/j.oi$. Chaplets of
myrtle, roses, violets, and ivy were
given to the guests at the banquets.
378. ToSt : explained by Oicurevetv KT\.
379. Oioo-f vtiv \opois : to revel in the
choral bands. The verb is not trans.
as many take it, for yt\d(rcu shows
that its subj. is not Dionysos, but
those inspired by him.
381. fxcpCpvas: ace.
383. 8airl Stwv: used in Iph. A.
1041 of the meal of the gods them-
selves. But in Horn. Od. viu. 76, it is
used of the banquet at which Odys-
seus and Achilles quarrelled. Cf. Od.
in. 336,420; Hes. Op. 742; also ibid.
736, aOavd-ruv Sals. In all these places
reference is made as here to a banquet
in honor of the gods.
384. Kio-o-o4>o'pois : with 6a\iais. See
on 376.
386 ff. Cy.Aesch. Prom. 329, y\<S>a<rri
fjLaraiq. Cnnta irpoo'TplfifTat, punishment
is inflicted upon a rash tongue, Soph.
Ant. 127, Zeus 70^ fj.fyd\t]s y\u>cra"t]y
/crfyuiroi/j inrfpfxdalpfi, for Zeus greatly
hates the boastings of proud tongues.
389 f . o . . . 4>poviv : a quiet life
and prudence.
BAKXAI.
47
390 yStoTO? /cat TO (ftpovelv
acraXevroV re /xeVet
> / o/ / "' %
/cat crwe^ec oco/Aara- Tropcra) yap
aWepa ^ato^reg oyoai-
o~w TO, fipoT&v ovpav&ai.
395 TO crotfibv S* ov cro(f>L,a
TO Te /XT) Ovrira. <f)povelv.
Se Tt?
TO, TrapovT 1 ou^t <f>epoi.
400 /xatvo/xeVwv otSe Tpoiroi
/cat KaKofiovXwv Trap' e/xotye <f>a)T<t)v.
LKoCfJLaV TTOTt KviTpOV,
if aero v Tas
o a
0'.
391. ra\VTOV : borrowed from the
tossing of a ship in a storm (o-aAos,
craA.fweti'). Also in JMerf. 770 life is
spoken of under the figure of a voy-
age.
392. 6'|X(i>s : though placed in the
participial clause, belongs to the prin-
cipal verb. H. 979 b ; Kr. Dial. 56,
13, 2.
395. TO <ro4>o'v : see on 203. ov
o-o4>ia : unwisdom. " Over-wiseness
and aiming at a knowledge of things
beyond the ken of mortals is un-
wisdom."
397. tirl TOVTW : on this ground, there-
fore, i.e. because life is short. Kiihn.
438, n. e ; H. 799, 2 d. The meaning
of this and the following lines is,
that he is foolish, who, when life is so
short, aims at lofty and unattainable
objects, and thereby loses the good
that is near at hand.
400. oo KT\. : these are the ways
of madmen, i.e. to pursue things too
high for men and lose the present
good.
401. irap' e^oi/yc: in ?y opinion.
H. 802, 2.
402 ff . Dionysos was associated
with all the places mentioned in this
strophe. Cyprus, though especially
sacred to Aphrodite, was also a seat
of his worship. Both cults were in-
troduced there from Asia. In Orph.
Ilym. 55, 7, Aphrodite is called BCIK-
x' ^dpeSpos. As regards Egypt
(406 ff.), Dionysos was supposed to
be identical with Osiris and to be
worshiped very much in the same
way as in Greece. Cf. Hdt. n. 42
and 48. Also on Olympus and in
Pieria he was worshiped together
with the muses, with whom he was
associated in various legends and
places. See Preller, Griech. Myth.
404 f. 0c \gtypovcs Ovaroio-iv: heart-
48
EYPiniAOY
405 rat OvarolcrLV "Epa>T<s,
^Oova. 6* av e/carocrro/xoi
ftapftdpov Trora/Aou pool
TTOV S* d /ca\A.tcrrevo/x,eW
410 Hiepia /Aoucreto? eSpa,
CTfJ.Va /cXtrVS 'OA.V/X7TOV /
e/cetcr' aye /x*, a> B/oojaie B/ao/ite,
7r/>oy8a/c^' evte BaljjLov.
e/cet Xctyotre?, e/cet Se IIo^os'
415 e/cet Se Ba/c^ats ^e/xts opyidtf.iv.
t I \
o Ato? Trats
^aXtatcrti/, ^ -<-
Et S' 6Xy8oSoret/)ai/ Et-
420 prfvav, KovpoTp6<j>ov Oedv.
* O> V \ V\ /)
t<ra o ets re rov okaiov
'AvTurrpo<j>Ti
/
charming to mortals, i.e. charming the
hearts of mortals.
406. \8ovo : sc. iKoifjLav -irort. cica-
To'crrofxoi : poetic for many-mouthed.
Cf. Soph. 0. C. 718, TWJ/ 4/caTo/iW8wj/
Nrjpr)Swv, also (Kar6yx ft P-
408. avojippoi : because the inun-
dation of the Nile was not supposed
to be due to rains. Herodotus (n.
20 ff.) mentions various explanations
of the rise, such as the Etesian winds
and the melting of snow, and finally
his own theory that in winter the sun,
being driven by storms to the south,
drew water from the Nile only, but
in summer from many other rivers
also, and hence the Nile was ex-
hausted in winter, but recovered its
normal height in summer. Aeschy-
lus (Supp. 660) speaks of the plain
of the Nile as x iov 6&aKos, snow-fed.
409 ff. The praise of Macedonian
regions in this passage, as in 560 ff ., is
due to the poet's wish to compliment
his friend and host, King Archelaos.
Cf. Introd. p. 8.
413. irpo'paKX* : i.e. ^ap X f (141).
419. oXpoSo'rcipav Elpifvav : ff. Frg.
462, ElpTJva f}a6inr\ovrf, Peace exceed-
ing rich, Ar. Pax, 308, r^v Bfiav iraaiav
/jLtyiffryv Kal <f>t\a/j.irf\tar<iTT)i' (i.e. /)-
vrjv), of all the gods the greatest and the
most friendly to the vine. Eirene is
often represented on vases as the
friend of Dionysos. (0. Jahn, Vasenb.
III. Tf. 2.)
421. to-a: adverbial. tls TOV o\-
PIOV : for els with the ace. after 5/Scojut
instead of the dat. cf. Hel. 1425, eh
e/j.' eHvotav StS(fs, Phoen. 1757, xa.piv
els Otuvs SiSovffa,.
BAKXAI.
49
roV re ^eipova Soi/c'
oivov rep^iv aXvrrov
/ucrec 8' <5 fir) ravrct /xeXet,
425 Kara c^aos I/VKTCXS re <f>i\a<s
evauwva Sta^v
cro<f>ov S' aire^eiv TTyoaTTiSa <j)peva re
TTf-plCrcrtoV TTCLpa <f>0)TO)V.
430 TO TrA?) #05 6 TL TO <j)av\.OTpOl>
re, roS* av
IIa>#ev, Trdpeo-fJLev 717^8' osypav ^
435 e^> e7re/u,i//a5,
' /J N ^' c) '^ > * ** ^ > O> e /
o 1/17^0 o oo ^/uv TT/oao? ovo V7re<T7racre
fyvyri TroS', dXX' eSw/cez/ ou/c OLKOIV ^epa<;,
> 4 \" 5 *\ \ < N '
ovo oj^3O5 ovo t r )\A.agev OWMTTOV yzvvv,
y\(t)v 8e /cat Set
440 pV T, TOVJAOV
422. \c(pova: poor.
423. oXuirov : equiv. to irauouo-ac
\innjs. Cf. 280.
424. ravra: i.e. Kara . . . SiafJji'.
427. tro<|>ov KTA. : 'fr's wise <o Areep
mind and heart aloof^from, etc.
429. ircpuro-uv : over-wise. Cf. 396.
iropd: with the gen. primarily de-
notes motion from a place, but here
position apart from. The strangeness
of this use has led to the suggestion
of d.ir6 as a substitute.
430 f. TO irXrjOos . . .re. whatever
tlie common throne/ (contrasted with the
vfpiffffol <pc!>Ts) has received as usage,
and practises, i.e. the traditional opin-
ions and usages of the people. Cf.
201.
434-518. SECOND EPEISODION. The
attendants here bring in Dionysos,
whom they have arrested according
to the command of Pentheus (352 E.).
435. ov8* oucpavO' wpfiTjo-afitv : nor
rfzW we mate a razn pursuit, &Kpavra
being equivalent to cmpavrovs uppas.
H. 716 b ; G. 159, N. 2.
436. Orjp : the metaphor in &ypav
riypevxArts continued. irpdos: sc. %v,
as in 438, a>xp&s (fa)- The omission
of the forms of i/tf, except eVrf and
fieri, is comparatively rare. H. 611 b.
439. Cf. Accius, Bacch. Frg. ix.,
praesens praesto irridens no-
bis stupefactis sese ultroos-
tentum obtulit. 8iv: neither
this line nor 451 makes it certain that
the binding was actually carried out.
See on 451. e^tero : bade.
440. rovftov . . . iroiov'iwvos : corn-
monly explained, making my task easy.
50
EYPiniAOY
OO T * ?>
OL cuoov? ZLTTOV 01 gev ,
dya> ere, Hevdeo)^ 8' o? /x* erre/xt^' e7ricrroXcu9.
a? S' au cru Bct/c^as eFyoa.9, a? <rvviqp7raa-CL<;
/caS^tra? ev Secr/iouri Trav^fiov crreyir)<s,
445 fj>pov$a.i y fKelvai XeXv/ie^cu Trpos
> / o ^ o ^ \ '/j
avro/aara o aurat? oeoyxa oie\vur)
/)/ /)
r avrjKav uvperp avev t/vrjTrjs
wv 8' oS* dz^/o OavfJidrctiv rjKL
450 ets racrSe r/Sa?. crol Se raXXa
HEN0ET2.
rovS* ev dpKVo~w yo,p a>v
OVK CO-TLV ouro>9 o/cv9 a><rre /x,' e/c<vyeu>.
drdp TO /otev croUp OVK dfJLOp(f>o^ el, eve,
o9 ei9 ywat/ca9, ecj> OTrep et9
But it is doubtful whether voielffBai
with a pred. adj. can have any other
meaning than to make for oneself. The
sense then would seem to be, making
easy for himself, i.e. bearing easily my
act. But the text is uncertain.
441. The servant, in speaking of
his reluctance to bind the stranger,
gives Pentheus yet another warning
against blinding himself to the truth;
on the other hand, his prompt obedi-
ence in spite of such reluctance saves
him from the charge of setting him-
self above his lord. So in <ro\ . . . jue'-
A.ic, 450, there is the same combina-
tion of warning and acquiescence.
442. cirwToXais : i-e. tvToXais. The
dat. denotes accordance.
444. OT'YIS : gen. of place.
445. opyaSas : see on 340.
447. See Introd. p. 11. Cf. Ovid,
Met. in. 699, sponte sua patu-
isse fores, lapsasque lacertis
sponte sua, fama est, nullo
solvente, catenas.
451. jie'0eo-0t x ei P" v : Wecklein sup-
poses Dionysos up to this point to
have had his hands tied behind his
back, and understands this command
of the untying of the hands. But in
that case the act. would be used.
/jifdifffdal TWOS is to free oneself from, to
let go one's hold of. To this idea, and
not to that of untying the hands, the
following sentence stands in its proper
logical relation. The guards seem to
have been holding Dionysos by his
hands, and Pentheus now bids them
release him, as there is no danger of
his escaping. i'v optcvo-iv 3v: since
he is caught in toils (continuing the
figure of 434), i.e. since he is sur-
rounded by so many who would seize
him in any attempt to escape.
454. us fls y vvalKa : restricting
OVK a/j.op(pos, lit. as far as regards
BAKXAI. 51
455 TrXoKo/xo? re ydp crov rcu>aos ov TraX^s UTTO,
yevw Trap* avrrjv Ke^(vp,evo<s, TroOov
\evKrjv Se ^poiav K Trapao'Kevrj
rjXiov /3oXcuo~>, aXX* VTTO cr/aa?,
460 irpatTOv jjLv ovv JKOI Xeov ocrrt? el yeVos.
AIONT5O2.
> / <> / e /O O> > /O
ou /CO/XTTO? ouoet?, paotov o emeus rooe.
rov avOe^fi^f] T/AO>\OV olcrdd TTOV K\VO)V.
HEN0ET2.
otS', 09 TO "ZdpSecov dcrrv Trepi/SaXXei KVK\O>.
AIONT2O5.
evrevOev elfja, Au8ia Se /xot Trar/at?.
HEN0ET5.
465 Tr66ev Se reXeras racrS* ayet? ets 'EXXaSa ;
AIONT2OS.
AtoWa'os T7/xa5 eto~e)8i7cr' 6 rov AIOS.
women, t.e. "for enticing women." because the clauses, thought of at
For wy eij, cf. Thuc. in. 113, &irtffrov first as simply connected, are after-
rb icKriBos \eyerai airoXeVflat &>s irpi>s rb wards contrasted. H. 1040 b. CK
fj.fye0os TTJS ird\ftas. <)>' oirtp : refer- irapocrKtvrjs : purposely, explained by
ring to the purpose suggested in is 469.
th ywdiKas. Cf. 237 f . 458. " Thou preserves! a white
455. ravao's : flowing in long curls complexion by not exposing thyself
down to the shoulders, as represented to the sun." In Aesch. Frg. 59, Ly-
in antique statues and busts of the kurgos says to the captive Dionysos,
youthful Bacchus. ov iroXtjs viro: voSairbs 6 y&vvis (effeminate fellow) ;
" not made so by the exercises of the 461. " No proud speech is needed
palaestra, but by combing and the to answer that."
use of unguents." Cf. El. 627 ft, 462. irow : i.e. laws.
where Orestes's hair made harsh in 465. iro'Ocv : not from what place,
the palaestra is contrasted with Elec- but wherefore, as the answer shows.
tra's, softened by combing. 466. ijjjids da-tfi<\<rt : sent me, i.e.
457. 8 : corresponding to re (455), with his rites.
52 EYPiniAOY
IIEN0ET2.
y \ M > A / / /) /
Zeu9 o ecrr e/cet 719, 09 veous Ti/crei 0eov9;
AIONT2O2.
, dXXa
IIEN0ET2.
* *
TTorepa Se vvKTup cr' ^ /car* O/A/I,
AIONT2O2.
470 opaiv op&vra, /cat StSeucrtv opyia.
HEN0ET2.
rd 8* opyt* ecrrt rtv* tSeav e^ovrd crot ;
AIONT2O2.
etSeVat
nEN0ET2.
ej(t 8' ovrjcrLv rotcrt dvovcriv riva;
AIONY2O2.
j/1/ / y o.>v> JC 1 /
ov (7e/xt9 a/covtrat cr , etrrt o ai etoet'at.
HEN0ET2.
475 ev TOUT* e/a/3Si7Xev<ra9, tv* a/coucrat 0e\a).
467. It is in keeping with the -4. 75, fyw> tpS>aav, Aesch. Prom. 192,
scoffing character of Pentheus to <nrtv5wi> o-ireiJSocTt.
throw in such a question upon hear- 471. rrlxovTa: i.e. fyei. Kiihn.
ing Dionysos again called the son of 353, An. 3. ISc'av: nature.
Zeus, and by the turn thus given to 472. apptjr' clSc vai : equiv. to OVK
the dialogue the stranger confirms ?|e<rri/ elSeVai. Cf. Aesch. Prom. 766,
the story of the Thebans. ov fa-r^v ouSao-flo*, Ar. Av. 1713, o-j
468. " Not there, but here, hath Qarbv \tyfiv.
Zeus begotten new gods." 473. Ovowriv: Ovetv ra opyia is to
469. vvKTwp ^ KO.T' 6'p.p.a : in dreams, celebrate the rites with sacrifices, ava-
or eye to eye. riva-yKCurcv : sc. T Aeras xP f ^ el " T " opyta (482), to celebrate with
ay (iv fls "E\\dSa. choral dances.
470. o'p<3v o'pwvra : ,/ace to face. For 474. rri: sc,. TO. ipyia.
the combination, cf. below, 604, Tph. 475. cv TOVT' KipSt]X(v<ras : skil-
BAKXAI. 53
AIONT202.
//D ->*>,/), /,
acrepetai/ acTKOvvr , opyt. e^t/cupei c/eou.
FIEN0ET2.
yelp <p77S crcupot)?, TTOIO? TI? TW /
AIONT2O2.
ov/c eyw eracrcrov rdSe.
FIEN0ET2.
rovr' av Trapw^ereucras eu /couSev Xey<ov.
AIONT2O2.
480 So^et ri9 dfjiaOtl cro<a Xeya>i> ou/c eu <f>poveu/.
HEN0ET2.
Se Trpwra Seup* aya>i> TOV oaifjiova ;
AIONT2O2.
Tra? dva^opevet ftap/Sdpav raS* opyta.
/% Aas< <Aou colored this. Ki&$ri\f6<o cleverly turned, irapoxvrevw is prima-
is <o adulterate coin, and so to ^rzVe rily <o conduct water from its course,
anything a false appearance, to color. The metaphorical use of the word
tva . . . 0Xa> : " to make me yet more seems to be taken from the collo-
curious." quial language of Attica, where the
476. " Thy curiosity may not be numerous canals in the plain of the
satisfied." Kephissos, conducting the water of
477. -yap : since. o'pav <t>T]'s : cf. 470. the river through the gardens and
478. oik . . . To'8 : this part of fields, were of great importance in
Dionysos's answer, unlike what he tillage. Cf. Med. 835 f. Xrywv :
says of himself elsewhere in the dia- co-ordinate with eS. Cf. 490, where
logue, is inappropriate to him in his a/xa&'as and ao-f&oviTa ( affe&ftas) are
true character ; he could not say that co-ordinate.
he did not direct in what form he 480. Cf. Med. 298 f ., aKaiolffi ntv yap
should manifest himself. The diffi- KO.IVO. irpofffytp<av <ro(pa. $6eis oxpeibs KOV
culty is doubtless due to a corrupt voQbs ire<pvKfvu.i.
text. 482. " No, to the barbarians first."
479. iraptuxt'-rt v<ras ev : thou hast rdS' ofryia : see on 473.
54 EYPIIIIAOY
HEN0ET2.
<j>povov<TL yap KOLKIOV 'EXX^vw^ vroXv.
AIONT2O2.
raS* eu ye /xaXXov ot vo/xot Se $>id
nEN0ET2.
485 ra 8' te30, vvKT& r
e/30, vvKT&p rj p.t
AIONT2O2.
ra TToXXa' cre/A^or^r' e^ei CTKOTO?.
, k
rovr' ets ywat/cas SoXcov ecrrt Kat &a9pov.
AIONY5O5.
TO y alcr^pov e^evpoi rt? av
IIEN0ET2.
ere Sovz^at Set croicrAaTwv /ca/cwv.
AIONT2O2.
490 ere 8' a/za#tas ye /cdereySovvr' et? TOI>
nEN0ET5-
aS 0acrv<s 6
AIONT2O2.
yj> x /I ** ^ ** ' \PI\/
et^> o Tt Trauew oet- rt /xe ro oewov epyacret;
484. cv (idXXov (sc. fypovovvi) : they 489. <ro<j>ur|xaTa>v : the clever an-
are wiser. Cf. Plut. Themist. 14, ^rrov swers with which Dionysos is ready.
e2, /ess we//. ot vopoi : emphatic. 490. <r : sc. UKT)V Sovvat 5ei.
" The customs to be sure are different, 491. d f3cucxos : proper to the god
but for all that, their wisdom may not in his own person and in his character
be inferior." as votary. Pentheus, of course, has
487. o-aOpov : the opposite of vyits, in mind the latter sense. Xo'-yuv :
262. Cf. Plat. Theaet. 179 D, elre tyifs for the gen., see on 40.
tlrt ffaOpbi' <p0fyyerai. 492. ri : pred. with rb Sfivdv. The
488. cgcv'poi : may contrive. With const, is equiv. to rt tffri ri> titiv6v, & /*'
the thought, c/. 314 ff . tpydvei ; H. 1012 a. These lines are imi-
BAKXAI.
nENOETS-
55
AIONT2O2.
tepo? 6 TrXo/ca/Aos- TO) 0ea> 8' avrov Tpe<f><t).
HEN0ET2.
495 l-Tretra dvpcrov ro^Se TrapdSos CK yepdiv.
AIONT2O5.
2iA< MV<U/
auros /A* a<f>aipQ]j rovSe AwWcrov
HENOETS.
'''^As**- s~x
eipKTaicrt r* evftov craijaa <roz> <^v\d
Xvcret u,' 6 Sai
AIONY2O2-
HENQETS.
orav ye KraXecny? avrov a> Ba/c^at9
AIONT2O2.
500 /cat
TrX^crtov Trapcov opa.
tatedbyHorace,^.!. l6.73ff.: vir bo-
nus et sapiens audebit dicere
"Pentheu, rector Thebarum,
quid me perferre patique in-
dignum coges?" "Adimam
b o n a." "Nempe pecus, rem,
lectos, argentum. Tollas li-
cet." "In manicis et compe-
dibus saevo te sub custodc
tenebo." "Ipse deus, simul
atque volam, me solve t."
494. TU> 0co . . . Tpc'4>co : reference
is made to the custom of consecrating
the hair to some divinity, especially
a river-god. Cf. Horn. //. xxm. 142,
irorafjuf rpeff,
Verg. .4en. vn. 391, sacrum tibi
pascere crinem. Cy. also the
custom of the Nazirite, Numbers vi. 5.
496. Atow'o-ov : as belonging to Di-
onysos, and therefore not to be given
up voluntarily into profane hands.
499. Pentheus answers in irony,
"Yes, he will free thee when thou
standest among thy bacchantes, i.e.
never, for thou wilt never see them
again."
500. KO! vvv : even now, before I
call upon him there.
56 EYPiniAOY
HEN0ET2.
Ko.1 TTOV e(TTLV ; ov yap <f>avepos o^ao-Lv y e/u,ot?.
AIONT202.
Trap 3 efJLOL" (rv 8* ao~ej3r)<; avrov a)v OVK eicropas.
IIEN0ET2.
\ovcr0, Kara<j>povi
AIONT2O2.
,r Sew
ava> fie p,rj ew (roxpovtov ov cr)<
IIEN0ET2.
505 eya) Se Set]f ye Kvpivrepos <re6ev.
AIONT2O2.
> ?/)>> /* */> <N o v/M v ?
ov/c ottrc/ QjTiifiW ovtf o opas ovu ocrrts et.
REN0ET2.
u? 'AyavTjs Trat?, Trar/ao? 8' 'E^tWo?.
AIONT2O2.
rovvo^ eTTtTT^Seto? et.
HEN0EY2.
* avrov tTnrt/cai? TreXas^^*'^
503. Kara<j>povt : usually governs art a mortal in the presence of a
the gen. as in 199, but sometimes the god." Pentheus, of course, misses
ace. Cf. Hdt. vni. 10. Kara<ppovfi<yav- the meaning, and hence the answer
T s rat/To. which leads naturally to the play
504. o-ctyfxdv ov o-uxj>poa-iv : " I am upon the name in 508.
sound of mind in what I bid, thou 508. Cf. 367. v8vo-ruxT](rai KT\. :
art not." See on 470. lit. thou art fitting as regards name to
505. c^yw Kvpiwrtpos o-s'Ocv : " my be unfortunate therein, i.e. " it is fitting
commands have more weight than that thou shouldst bear a name bod-
thine." ing woe."
506. or(<i>v : in thy irreverence, i.e. 509 f . Wecklein and others sup-
toward me. ooris tl : " who thou pose that here, as in Or. 1449, the
art in thy relation to me ; that thou horse-stalls serve as a prison. But
BAKXAI.
57
510
e/cet
a.v CTKOTLOV ecropa
racrSe 8' as aycov vrapet
.
K<LK<)v a-vvtpyovs ) t
SOVTTOV rovSe /cat j3vpa~r)$ KTUTTOV
, e^>' tcrrots 8/x,a>tSas /ce/crrycro/Mat.
f *-v-4.
AIONT2O2.
515
crTt^ot/x av o rt yap {JLTTJ xptcw, ourot
drap rot rwi/S* O.TTOLV vy8pto-jaaroui
Atwucro? o~', oi' ov/c etvat XeyetS'
yap a,St/c<wz/ Kelvov ets 8eo~/aovs ayet?.
,/
xopos.
ov Ovyarep,
497 and 549 seem to refer to the
dungeon of the palace. The elpitT-f),
or dungeon, is spoken of by Poll. (iv.
125) as on the left of the entrance.
It was therefore possibly near the
stalls ; hence the propriety of WAOF
fydrvaiffiv, which could hardly be used
if the stalls themselves were meant.
Neither in 618 do the stalls seem to
be referred to as the prison.
511. Ki \o'p\i : uttered sarcasti-
cally with reference to what Diony-
sos had said in 486.
513. PV'PO-T)S KTVITOV: explaining
SoVTTOV.
514. K KTijcroftai : the sing, follows
the pi. for the sing, in Sie/iTroATj<ro^ev.
Cf. 616 f. fit, w&v. H. 637 a.
515 f. o TI -yap . . . irafletv : for surely,
ickat is not fated me, 'tis not my fate to
suffer. Dionysos has in mind his
certain escape from Pentheus. Cf.
H. F. 311, $ xpv 7P oiiStls /j.}) xftwv
07]irei irore, for what is fated, none will
ever make not fated. airoiva : see on
346.
518. r\\iMS after Hyeis. dSixwv
KCIVOV : the participial clause contains
the leading thought.
519-575. SECOND STASIMON. In
view of the imprisonment of Diony-
sos and the threats of Pentheus, the
Chorus reproach Dirke (representing
Thebes) because she spurns the wor-
shipers of the god, although at his
first birth she had bathed him in her
fountains, and although Zeus had
shown that he was to be honored at
Thebes (arp. a'); they complain of
the violence of Pentheus (537-552),
and call upon the god to come with
succor, in whatever haunt he may be
tarrying (553-575 h-tf-
519. A verse is wanting to corres-
pond with the first verse of the anti-
strophe. 'AxtXio'ou: in the Schol.
on Horn. //. xxi. 195, called ^7/7^ r>v
&\\<av iravruv. The Acheloos is thus
the source of all the springs of the
earth ; and so of Dirke, which from
its location Nonnos (Dionys. XLIV. 9)
more appropriately makes the daugh-
60
EYPiniAOY
ava., 6vp(Tov /car' '
555 <j>ovLov 8* 0,1/8/30$ vfipiv
Nvcras aipa ra? #77-
porp6(f>ov Ovpcrcxfropels
#iacrovs, w Aioz/vcr', ^
Kopvfials KCU/OUKUU? ;
560 ra^a 8' ev TCU? TroXvSez'S
cnv 'OXv/xTrov #aXa/Aai9,
00, 7TOT* 'O/9<eU9 Kl0api,(O
crvvayev SevS/aea jtxoucrats,
(Tvvayev Oypas dy/scoras.
565 fjiaKap a> Tliepia,
'EirwSo's.
cre^Serat cr* Evtos,
re ^(ppevatv a/xa y
rov r
553. xP v<r( '* ira: referring to the
yellow flowers of the ivy with which
the thyrsus was wreathed.
554. ava: not a case of tmesis,
which in Attic writers does not occur
with the preposition after the verb
(Kr. Dial. 68, 48, 5), but either the
voc. of &va, or the preposition in
place of the verb avda-rriOi, up! Cf-
Ale. 277, a\\' &va. r6\fjLa, Tro. 98, &va
twoeipe. 'OXvjwrov: the abode of the
gods seems to be meant, but in 561
the mountain.
555. <|>ov(ov : see on 543.
556. iroOi Nvoros : where on Nysa ?
557 f . (h)po-o<t>opis 6ia<rovs : art thou
bearing the thyrsus in the revel-dances ?
0jp(To<f>opf'iv like fj.iff6o<f>optiv, Sopv<pope?v,
and other compounds, expresses a
single idea (9vpffo<popia), and is nearly
. to Oiafffvfty, to revel in the Thia-
sos. Oidffovs, then, is the cognate ace.
Cf. 482, ai>axopfvfii> TO, opyia. Kiihn.
409, 9.
559. Kopv<j>ais KwpvKiais : the
heights of Parnassus above the well-
known cave where the Korykian
nymphs dwelt. In Soph. Ant. 1129,
these nymphs are called Ba/cxi'5es.
See also on 306.
560. ro.\a. : Jffias. iroXvSc vSp<rori :
poetic for trob.vSfvSpois, corresponding
to the form oevtipfffi.
561. OaXoifiais : lurking-places. For
the reference to Olympus, see on 402.
565 f. The mention of Olympus
suggests Pieria and its blessedness as
a place where the god haunts. Thus
the poet again brings in the praise of
his adopted country. See on 409.
567. xopevcov : leading the Chorus.
570
8ta/8as '
BAKXAI.
eiXtcr-
61
AuSt
tav re,
irarepa, TOV .K\VOV
575 /caXXtcrrotcrt XiTrcuveiz/. j
AIONT2O2.
/cXver* e^ia? /cXver' avSas,
> N T> ' '^n'
too Ba/c^ai, iw BaA
HMIXOPOS o'.
'c? ooe, Tt? ooe Tr60ei> 6 KeXaSos cu>a /x* e'/caXecrei/
Evtov ;
/
AIONT5O2.
80 ta> ta>, TraXiv avSai,
\ 6 Se/xe'Xa?, 6 Atos
HMIXOPO5 /3'.
s\\o/ o/
tw io) oecTTTora oe
569. Pieria, according to Strabo
(vn. Frg. 22), extended to the Axios.
The Lydias, which flows through
Pieria, was called also Ludias and
Loidias. tiXwro-Ofuvas : i.e. xp fv v-
(TO.S.
571 ff. AvSCav: sc. Sia&ds. TOV
. . . irarepa : the father of prosperity
ijiving wealth to men. pporois : de-
pendent upon the action expressed in
o\0o$6rav. Cf. Aesch. Prom. 612, irt/-
pbs fiporols Sorfjpa.
573 ff. Cf. Hec. 451, *0jei5oj, trta
(ai/ vodruv iraTtpa <f>a(rli>
irfSia, \nra.iv fiv. TOV : for 6V.
576-861. THIRD EPEISODION.
576-603. A KOMMOS between the
Chorus and Dionysos, who remains
unseen. The choral parts may be
supposed to have been rendered by
the leader of the First Semi-chorus,
the leader of the Second Semi-chorus,
the Coryphaeus, and the full Chorus
respectively.
576. K\VT : for the repetition and
the position, cf. 600, also Med. 1273,
aKOvtis fiuav a/coueis TtKvtav ;
578. TS : predicate with /c e'\a5os.
See on 492. TS, iro'6v : for two in-
terrogatives without connective, see
EYPiniAOY
vvv r)fjLTpov
6La.<r
ov, o>
Bpo/oue.
KOPT*AI02.
585 Tre'Sou ^(6oi>b<s eVocri TTOTVIO..
a a.
TO,
7recri7/zacra>.
6 Aioz/vcros cu>a
590 ere/Sere vcy.
XOPOS.
.
HMIXOPOS a'.
tSe TO, Xawa, KLOCTIV e/i/8oXa
StaSyaojaa raSe
B/30/uos dXaXa^erai crreyas ecr<u.
AIONT2O2.
ttTTTC KtpOLVVlOV aWoTTOL
H. 1013. The Chorus recognize the
voice of the god, though they do not
identify him with their imprisoned
leader.
585. 0, the awful quaking of the
ground! the cry of - sudden terror,
which seizes the Chorus as the earth-
quake begins. WSov \6ovo's: poetic
redundancy. iro'rvia : the god is
manifesting his power in the earth-
quake.
588. SuvrivageTOi : pass, in sense.
H. 496 ; G. 199, N. 4. irc<nf|xcuriv : in
rums.
591. ra K(O<TIV tfi^oXa : equiv. to
TO. icioffiv t/40f0\i)/j.(i'a, the architrave.
592. SioSpopa: starting asunder.
Similarly in H. F. 905, the Chorus
*ee the palace falling, and in Tro.
1295 ff., Hekabe sees the city of Troy
bursting into flames. The scenery
doubtless remained undisturbed, so
that the audience was left to imagine
the presence of the earthquake and
its effects from the words and action
of the Chorus, though the crashing
of timbers may have been heard.
593. dXaXa|erat : will raise the shout
of triumph. Cf. Soph. Ant. 133, V(KI\V
a\a\dai.
594. airrc . . . XapiraSa : kindle the
lightning's jiery flame, i.e. the smoulder-
ing flame on Semele's grave, called
Kfpawtos, because first kindled by the
lightning. The god may be under-
stood to be urging himself on or
addressing some attendant. aWoira
Xa^troSa: cf.Supp. 1019, tu0o7n
BAKXAI. 63
595 crv/A<Xey crvya^Xcye Sahara Hev0a)<s.
HMIXOP05 ft'.
f ?
a a,
Trvp ov Xevcrcreis ovS' avyaei
rdov dv
Trore
Aiov
KOPT*AIO2.
600 Si/cere 7reSo<T Si/cere
6 yay3 dva aw Kara Ti0el<s erreio'i
eXa0a raSe Ato? wos.
AIONT2O2.
yvvcuKes, ovrw? e/CTTCTrX^y/ieVat ^>o/8a>
605 Trpos TreSw TreTrrcJ/car* ; r)<r@r)a'0' , o)<s eot/ce, Ba/c^iou
os fJieXaOpov dXX' ay' e^avtcrrare
/cat 0apcreLT crapKos e^a/xeu|/acrat rpopov.
XOPO5.
a) ^>ao5 jaeytcrroi/ ^/uif eutou
&>s etretSov acr^wj ere, /xo^aS' clover
596 ff. Construe, ou^ci^et <p\6ya Atov of a bacchant, comes out of the pal-
Ppovras (cf. 8) &i/ e\nre; tXiire : the ace. The excitement of the preced-
subj. is Senaele, though Kfpaw6&o\os ing scene is not followed immediately
contains the principal idea ; the flame by the iambic trimeter but by the
was left by the thunder-bolt with more animated trochaic tetrameter.
which Semele was smitten. 607. orapxos ^oji6(\|/a<rai Tpo'|xov :
602 f . i'lreia-t pcXaOpa raSc : ts com- putting away trembling from the limbs.
ing upon this house, i.e. in vengeance. Cf. Phoen. 1286, Sta adpica. 5' ^av eA.eos
The Chorus, following the command e/uoAe. The Chorus rise from their
of the Coryphaeus, fall to the ground. prostrate attitude.
Similarly in Aesch. Pers. 155, the 608. w . . . paKxev'paros : briyht-
Chorus prostrate themselves upon est light of our bacchic revel !
the entrance of the queen. 609. cVetSov : the aor. with refer-
604. Dionysos, still in the guise ence to the moment of the first sight ]
EYPiniAOY
AIONT2O2.
610 eis aBvpiav ct^t/cecr^', ^VIK
Tlev0e(t)<s o>s eis cr/coretvas 6/3/caVas
XOPO2.
^p ov ; TIS /tot <f>v\a fjv, ei (TV
, ,
aAXa Trais rj\v0epd>6'r]<s cb'Spos cu/ocrtov
aura?
AIONT202.
' e)u,avrov /5aStct>s avev TTOVOV.
XOP02.
615 ouSe crov crwrji//e X"/ 56 Secr/atottrtv e^ ftp6)(oi<s ;
AIONT2O2.
ravra /cat KaOvfipur avrov, on /ie Secr/xeveti/ So/caii'
ovr* eOuyev ov0* TJifjaO' riptov, e\TTi(rw 8* e/Jocr/cero.
^xxrvat? Se ravpov evpcav, ov KaOelpy* T^
/cat
620
our idiom takes the present express-
ing the continuance of the act. JAO-
vd8' i'^otxr" tpr]|x(av : ?n utter loneliness.
611. s ir<rovfwvos : ^>OM< <o be cast,
as ye thought. dpKavas : ApKairr), flpKTi],
St(Tf:uaTripiov, Ilesycli.
612. TS . . . TV'XOIS : who were my
r/uardian, if thou shouldest chance upon
misfortune ? The condition here im-
plies mere possibility, the conclusion
non-reality, if being omitted. The
connection of this form of conclusion
with such a condition is rare. Kiihn.
i>76c. Cf. Iph. A. 1404, fj.aKa.pt6t> ft,*
TIS 6(5>v fyf\\e 6-fifffiv, el
, tSyaaira crw/aaro?
ao,
614. pa8(us avew iro'vov : for the re-
dundancy, c/". //. .F. 88, ^aSiov &i>fv
tr6vov, El. 80, apybs &vtv irtvov, Heracl.
841, ju({Ais ov/c &rep ir6v<v.
616. ravra: (cognate ace.) ex-
plained by on . . . e&6ffKrro.
617. tOi-yev, ^aTO : essentially syn-
onymous. Cf. Orest. 137, ijcrvxv iroSl
x c P e ' T > f-^l $o<f>tiTe, ^778' eo-rw KTVTTOS.
Ar. PL 722, Kficpayhs xal &ouv. TJ|XWV :
for the pi. after /te, see on 514.
e\ir(o-iv : idle hopes, contrasted with
the reality. Cf. Phoen. 396, al 8' t\iti-
Sts fi6aKov<ri <(>vyd8as.
619. Construe, irf
BAKXAI.
65
TTOVOIV.
630
' Xeyoa,
~/)j
rout/ a
O\ ^^ '^'^XX T '
oe rotcro avrw rao aAAa Ba/c^to?
eppirj^ev ^a/xa^e- (rvvreO pdvotrai 8*
621. x^<riv 8i8ovs oBo'vras: c/I
Horn. OJ. I. 381, o8o| V x '^ effl Qvvres.
622. T|Vvxos : c/. Introd. p. 11.
623. d BaK\os : Bacchus, as in 1020.
See on 491.
624. o: Pentheus.
625. 'AxXwov: see on 519. C/.
^4nJr. 167, x 6 P^ ffirtipovvav 'A%6\^oi;
Spdffov, Verg. (7. i. 9, poculaquc
inventis Acheloia miscuit
u v 5 s. Sandys compares Shakespeare,
Cor. ii. 1, 53, " A ciip of hot wine with
not a drop of allaying Tiber in it,"
and Lovelace, To Althea from Prison,
" When flowing cups run swiftly round,
with no allai/ing Thames."
627. <is |iov irj>vyoTos : thinking
that I had fled.
628. K\CUVO'V: dark in the sense
of deadly. Cf. Soph. Aj. 231, K e\at-
vols ^l<f>effiv. So'^ojv eaw : apparently
because he thinks Dionysos has fled
thither.
629. us . . . Xc-yco : refers not to
the fact described, but to the subject,
Bromios. 8o'av : c/. Iph. T. 1164,
TI rovKSiSd^av rovr6 <f ; i) 5dav \eyns;
what hath taught thee this ? Or dost
thou speak of an opinion merely 1
631. go-o'c: darted forward. Weck-
lein, comparing Or. 1429, atipav aa-ffwv
(fanning the air), takes the verb here
as trans., struck. But the precise
meaning of ata-ffw in the passage cited,
as elsewhere when trans., is set in
quick motion, a sense inappropriate
here.
632. aurto : Kvfj.aii'o/j.at is frequently
followed by the dat., but oftener by
the ace.
633. Swfiara : not the whole house,
as is evident from 638 and from sub-
sequent allusions to the palace as
standing, but some portion of it, per-
haps the apartments of Pentheus,
which are supposed to be risible to
the Chorus (591 f.), but not necessa-
rily to the spectators. See on 7.
airav then refers to the whole of the
portion spoken of. o-vvrcOpavomu :
S N ' ' \ ' $>\
dioous ooovTCLS' TrXr}criov o eya>
Odcrcr&v IXeucrcrov. Iv Se rwSe rw
\0a)V 6 Ba/c^o? Swyaa /cat /xiyr^oo? ra<^>w
Trup avrjip* o S' a>g ecretSe, Sw^tar' aWecrOai So/cwv
G25 <70"cr' e/cetcre /car' e/cetcre, S/Aaxrtv *j
>'/ <r oijv S-A T
vv7r<t)v, aTra? o ei> tpy*? oouAo? T)^
Stajue^et? oe rwoe ^6~^0ov, a? eyaou
terat t<j>o<s Kekaivov apirda
Ka0* 6 Bpo/xtos, a9 e/xotye
/car* auXi^i/' 6 8'
/tow. .
64 EYPiniAOY
AIONT2O2.
610 ets aOvpCav d<t/ceo-#',
Hev0a)<s o>s 19
dXXa
XOPO2.
ov; rts //,ot (f>vXa yv, ei cru
cu/ocrtou
AIONT2O2.
aura? ^e(T(t)(T > cfMavrbv /5aSta>s cu>ev TTWOU.
XOPO2.
615 ovSe aov a-vvrj^e X ^P Seo-jatOKrtv eV j3p6)(OL<s ;
AIONT2O2.
raura /cat KaOvfipur avrov, ort /xe Secr/xevet^ So/ccui>
ovr' eOuytv ov@* y^af)' rjfjLWV, \TTLCTLV 8' e/8ocr/cero.
TT/OOS ^ctTvat? 8e ravpov f.vpotv, ov KaOtlpy T^
rwSe 7re/)l ftpoxovs eftaXXe yovacri /cat
620 6vfM)v eKTTveuv, i$pa)Ta crw/otaros crrd^a)^ (XTTO,
our idiom takes the present express- 614. pa8s avtw iro'vow : for the re-
ing the continuance of the act. jio- dundancy, cf. II. F. 88, fn^Stov &vtv
vaS' cxowo-' tprifiiav : in utter loneliness. irdvov, El. 80, apybs &vtv irAvov, Heracl.
611. cos ireo-ovjitvos : about to be cast, 841, /j.6\is OVK tirtp irAvuv.
as ye thought. opicavas : opKamj, elpKr-fi, 616. ravra: (cognate ace.) ex-
SefffjLWT-fiptov, Ilesych. plained by on . . . l@4ffKr*.
612. TS TV'XOIS : who were my 617. t6i-yv, -f\^ia,ro : essentially syn-
yuardian, if thou shouldest chance upon onymous. Cf. Orest. 137, i}ffvx<f voSl
misfortune ? The condition here ira- x a 'P e ' T6 > M ^otfxiTt, ^778' tana KTVTTOS.
plies mere possibility, the conclusion Ar. PI. 722, KfKpayus /col /3oa>i>. ij|x<dv :
non-reality, &v being omitted. The for the pi. after ^, see on 614.
connection of this form of conclusion c'\irt<riv : idle hopes, contrasted with
with such a condition is rare. Kiihn. the reality. Cf. Phoen. 396, at 8' t\*i-
<">76 C. Cf. Iph. A. 1404, /jiaKaptdv fit ties frAaitovffi <pvyd$a.s.
Otiav <lfjit\\f Qj]fftiv, ci TVXOIJJU ffiav 619. Construe, irfptf@a\\e
BAKXAI.
65
StSovs oSoiras- TrXrjCTLOv 8' eya> 7rapa)V
eV Se r<wSe r
e\.0(ov 6 Ba/c^os Sw/xa /cat /A^T^OO? ra<^a>
Trvp a.vri\fi o 8' a>g ecretSe, Sa^tar' aWecrOai So/caiv
G25 $0"cr' e/cetcre /car' e/cetcre, Sjaaxrtv 'A^eXwov fyepeiv
', aTra? 8* ev epyw SovXo? ^v fjLOLTrjv TTOVWV.
\o\ '?> '/3 e
L? oe Tot'oe ju-ovc/ov, &>s
terat ^t^o? Ke\aivov ap7ra<ras
/ca$' 6 Bpo/xto9, a>9 l/totye (^aiverai, S6av Xeyw,
eTToti^crev /car* avXyv o 8* CTTI rov0* oi (
' ' :< -
630
KaKtvrei
alOep', &>? (r^d
7T/D05 Se rotcrS' avrw raS' aXXa Ba/c^tog
cu/aar
pptj^ev
crvvT0pdva)Tai 8'
621. xeCXoriv 8i8ows oSo'vras: c/^
Horn. OJ. I. 381, oSa| eV x^*""' ^wi'Tes.
622. TI'CTVXOS : r /- Introd. p. 11.
623. o BaK\os : Bacchus, as in 1020.
See on 491.
624. o: Pentheus.
625. 'AxeXwov: see on 519. (7/1
-4nc/r. 167, %epl <rtr(ipovffa.i> 'Axe\^ov
SpAcrov, Verg. G. i. 9, poculaquc
inventis Acheloia miscuit
u v i s. Sandys compares Shakespeare,
Cor. ii. 1, 53, " A cup of hot wine with
not a drop of allaying Tiber in it,"
and Lovelace, To Althea from Prison,
" When flowing cups run swiftly round,
with no allaying Thames."
627. (is tjiow ir<j)vyoTos : thinking
that 1 had fled.
628. KcXaivov: dark in the sense
of deadly. Cf. Soph. Aj. 231, K e\at-
vois i<t>ffftv. So'ficov ?r<i) : apparently
because he thinks Dionysos has fled
thither.
629. <5s ... XY<I) : refers not to
the fact described, but to the subject,
Bromios. 8o'av : cf. Iph. T. 1164,
TI rouKSiSd^av rovr6 <f ; r) 8da.v \eyfis;
what hath taught thee this ? Or dost
thou speak of an opinion merely ?
631. i]<ro- : darted forward. Weck-
lein, comparing Or. 1429, aVpav aaatav
(fanning the air), takes the verb here
as trans., struck. But the precise
meaning of cuVo-co in the passage cited,
as elsewhere when trans., is set in
quick motion, a sense inappropriate
here.
632. avTw : \v/j.atvofj.ai is frequently
followed by the dat., but oftener by
the ace.
633. Sufjiara : not the whole house,
as is evident from 638 and from sub-
sequent allusions to the palace as
standing, but some portion of it, per-
haps the apartments of Pentheus,
which are supposed to be visible to
the Chorus (591 f.), but not necessa-
rily to the spectators. See on 7.
airav then refers to the whole of the
portion spoken of. o-vvre6pdvci>Tai. :
G6
EYPiniAOY
635
TTLKpOTOLTOV;
Sia/A6#ei9
TOU9
KOTTOV 8' U7TO
yap aw 011/77/3
8'
77*0) 77/309 u/x,a,9, IIei>#ea>9 ov
Se aot So/cet, ifoet
eo~a>,
645
ei9 TrpovdtTTL avrt^' 17^61. rt TTOT' a/3* e/c rovrcov e
/SaStws yaya avrov otcrw, /cav irvQ)v e\0y /xeyct.
77/309 cro^ou yap dvSy3O9 acr/cetv <r<*)<j>pov .vopyr)<Tia.v.
IIEN0ET2.
09 a/art Seo-/Aot9 ^
V V
ea ea-
08' ecrriv dvyjp rt raSe ; 7ra)9
7T/3O9 ot/cot9 rot9
AIONT2O2.
o-Tr}(rov 7708*, opyr; S* vrroffes rjcru^ov rponov.
has fallen In ruins. Of. Hor. Car. n.
19. 14, tectaque Penthei dis-
jecta non leni ruina.
634 f . iriKpoTdrovs : pred. with
Sffffiovs, Cf. 357. ISovri : sc. avrtp,
dat. of disadvantage after <rvvrtQpa.-
vurai, lit. ybr Aim, ;Ao Aas seen, i'.e.
" so that now he sees the bitter con-
sequences of trying to bind me."
KO'ITOW . . . iropcircu : through weariness
letting fall his sword he h&f**i*t*-*p
exhausted.
639. irpovwiria : rck ejj.irpoff6fv ra>v
irv\S>v (Hesych.), i.e. the irpoirv\aia, &
kind of porch or vestibule in front of
the entrance-hall. CK TOVTWV: "at
what has happened."
640. pa8Co>s -yap KT\. : explains the
unconcern with which Dionysos an-
ticipates the coming of Pentheus.
irve'wv : cf. Andr. 189, irveovrts fj.fyd\a.
641. irpos KT\. : the part of, etc.
642. Pentheus comes out of the
palace in angry excitement.
645 f . irpovwmos : in the wpoixaiua.
See on 639. The emphasis lies upon
irpoviitTrios and e|o> as contrasted with
the oiiA^j (630). Pentheus cannot
understand how it is that Dionysos
is without, nor how he has escaped
his (supposed) bonds (616) ; hence
the question here, and its repetition
in 648.
647. opyn KT\. : and give calmness
to thy anger, i.e. become calm. rforv-
\ov rpoirov : equiv. to ifffvxjiav. Cf.
El. 948, {71017' tlr) W<m ft.)) irapBfvwirds,
a\\a ravSptlov rpdrcov.
BAKXAI.
OEN0ET2.
(TV
AIONT202.
OVK ei7TOJ> T OVK
OTl \V<Tt /X TtS /
nEN0ET2.
650 rts; TOVS Xoyov? yap eicr^epei? KCLIVOVS act.
AIONY202.
6s Tr)v iro\vftoTpvv a t
'
a>*/eiSi<Tas ST) TOVTO Atoj/ucnw
AIONT2O2.
648. iro'Gtv : Aow Js if that ?
649. Cy.498.
650. KCUVOVS : pred., answers that
are strange. Cf. 775.
652. live C8uras : the aor. in refer-
ence to words just uttered, where the
English idiom uses the pf. See on
609. TOVTO KoXo'v : the praise of
Dionysos in &/j.Tre\ov <t>vei. This line
has received various interpretations,
the most of which seem to do vio-
lence to the meaning of the verb, or
disregard the emphasis thrown upon
it. ovfiSos and ovftSifa are probably
never used where there is not some
idea of reproach, not even in Pkoen.
821, 1732, Med. 514. The meaning
then may be (1), as in Iph. A. 305,
you have brought this as a NOBLE re-
proach, i.e. what you intended as a
reproach is an honor; (2) it was DI-
ONYSOS of whom you said this fine thing,
in reality a reproach, i.e, in our former
talk, so ^Jiat I know whom you mean ;
(3) it is a REPROACH indeed instead of
an honor which you have brought against
Dionysos in this fine thing, i.e. in at-
tributing to him the gift of wine. Of
these interpretations the first (Weck-
lein's) gives a thought inappropriate
here ; the second (Schoene's) disre-
gards the emphasis thrown upon wvet-
8i<ras by its position and the particle
8^, besides attributing to Dionysos a
statement he had not made in the
former interview ; the third seems to
be the easiest interpretation of the
words themselves and to suit the con-
nection. Pentheus speaks tauntingly
of the evils of Dionysos's gift, one of
which he had already mentioned in
260 f.
68
EYPiniAOY
nEN0ET2.
K\VO) TTOLVTCL
Iv KVK\(t).
AIONY2O5.
rt S'; ov^ vTrepftaivovcrL Kal
OeoC;
655 CTO<^OS (TCX^OS (TV,
HEN0ET2.
OL
<T
(TO<f>Ol>.
AIONT2O2.
a Set jaaXtoTa, raur* eyary e<f>vv erode
KeCvov 8' a,Kovo"as trpwra rov? Xoyovs
05 e' 0/3OV5 irdpecTTLV ayye\a>v ri <rot
, ov
660
IV OVTTOT6
dvetcrav ^101/05 e^avyet? /SoXat.
653. The purpose of the command
seems to be to prevent the escape
of Dionysos from the city. The
interruption of the ffTixo(J.v8ia (the
progress of the dialogue in single
alternate verses) shows that a verse
has fallen out. Except for the em-
phasis on wveiStaas, spoken of above,
verse 652 might be assigned to Diony-
sos, as suggested by Reiske, and taken
in the first sense mentioned, as an
answer to some reproach uttered by
Pentheus in the lost verse, i.e. the
lost verse, instead of 652, being as-
signed to Pentheus.
654. virpf)a(vov<ri Ttt\*\ 6o: with
double meaning, i.e. come into the
city to deliver their votary, or make
their escape from the city.
crowds KTA. : "your shrewd-
ness in answering shall not deliver
you." Cf. Andr. 245, <ro<^ <ro</>)j av
KarOavftv S' o/xcos- <re Se?.
656. t-yuYt: Dionysos seems to
contrast his' own knowledge of his
divinity, and of what is due him as a
god, with Pentheus's ignorance.
657. ducovVas \ui9t : give ear and
learn.
660. A herdsman enters from
Kithairon.
662. oveurav : gnomic aor. x io ' v s
PO\O.(: (/litter of the snow. Cf. Soph.
Aj. 877, fi\(ov &o\>v, beams of the sun,
Anth. P. II. 56, xpvaov &o\al, gleamimj
of gold. cgavytis : Kaft.irpa.1. Cf.Rhes.
304, ird>\wv x 1 ^ 05 ^o-
BAKXAI.
69
8e
irpo<TTL0el<;
Aoyov;
TTOTViaSag eto-iScuz/, at rrjcrSe yvjs
665 ola-rpoLori \evKov KuXov er)KovTL(rav,
TfKO) <f>pd<raL crol /cat TroXet -^py^ons, ava,
cus Seu>a Spucri Oavfjidrajv re Kpeicrcrova.
0eXa) 8* d/covorat, TroYepa crot irappycria
<f)pd<T(t) ra KtWev rj \6yov <TTeL\a>fj,eda
670 TO ya/3 ra^os o"ov raiv <$>pev5)v SeSot/c',
KOL TOvv6vfJLOV KOL TO ^aCTlXiKOV \io.V.
\ / t
Aey , W5 ac/ft>o5 eg e^tov Travrajs eo~et*
[TOI? ya/3 8t/catot9
oa-a) S' az/ etTTiy? Seworepa Ba/c^wi/ 7re/3t,
675 TocrwSe jjioXXov rov irrroOevra Tag re^va?
rovbe rrf 8tK>y TT/SO 0*^17 cro/xev.
are usually represented with bare feet.
C/*- 863, Cfyc/. 72, Ba/cxis Aeu/cJjroa'ji'.
667. Cf. 716. Oavpdrcov Kfxfaxro-
vo: c 5ec. 714, 6av/j.dr<av irtpa.
669. rd KciOcv: instead of TO V
ravBa, because the herdsman thinks
of his message as brought thence.
See on 49. \o\ov rTiXuj6a : speak
with reserve, a metaphor taken from
laria. ffrt\\eaOat, take in sail. Cf. Or.
607, Op<xrvi>ei KOVX vifoffrf\\ei \6ycf.
671. rov^tifrofiov KT\. : its (TO>V <t>pt-
i>wv) too quick and kingly nature, the
adj. being used substantively.
673. Bracketed by many editors
as unsuited to the connection.
676. TTJ SKT) irpoo^TJo-Oftcv : shall
give up to punishment. Cf. Iph. A. 540,
iriv'AiSi} TralS' l^v troo-Ota.
663. irofav <nrow8iiv Xo'-yov : equiv.
to (nrovSV irofou A^yot;. irpoo-r^Cs :
sc. fffavrip, thou hast come imposing on
thyself haste about what message, i.e.
"what message has brought thee in
such haste 1 " Cf. Pind. P. iv. 276,
r\a6i Offifv ffirovSdi'. Or it is perhaps
better to supply after TrpoanOeis some
such phrase as TCJ> irap6vri -irpdy^an,
adding tchat important message to the
affair we have in hand, i.e. " bringing
what new matter of importance ? "
664. irorvidSas : naivdSas nal Autr-
ffdSas, Hesych. Cf. Or. 317, 5po^a5j
. . . TroTviaSfs Of at. yr}s : city, like
x8ov6s, 1043.
665. oto-Tpoi(rv: in frenzy. Cf. 32.
X\JKOV KtSXov c^Kovrwrav : darted
out n'ith bare white feet. The bacchantes
70
EYPiniAOY
AITEA02.
ayeXaia p.ev /Jocr/cr^u-ar' apn irpbs XeVas
17X105
d/crtva?
680 6/>ai 8e Oid(TOv<s rpels ywat/cetcuv
/xev A.vrov6r), TOV Sevrepov
'Ayav?7 cr^, rpiTov 8* 'I^w
Se Tracrai 0-ay/,acriz/ Trapeip
at ^tev 7T/3O5 eXar^s ^air* epetcracrat (fto
685 at 8* eV S/9V05 <j)V\\OL(TL 7T/30S TTeSo
^et/c^ ySaXoucrat (raxj>p6va)^ f ofy a>s crv ^
l \0)TOV X/O)6J
690
rj <rr) Se
crra^etcra Ba/c^at?,
ev
VTTVOV Kivev
Sejaa?,
677 f . d-ycXata P
herds of young cattle. The redun-
dancy is characteristic of this speech.
Cy. 680, 694, 705. /t^os here is not
ca//", but any of the bovine genus two
or three years old, as is evident from
736 ff., where it includes ir&pis, So^aA.??,
and ravpos. Cf. also 1333. Xciras:
the lower slopes or tracts of the
mountains, overgrown with wood or
grass. This idea is implied in the
following description, especially in
751 f., and also in 1045 compared
with 1048. Cf. Frg. 415, 'iSatov \fVas
jrpjifffifit &v Tts, one might burn the slopes
of Ida, Anth. P. ix. 823, \darwv XfVas.
vTTrJKpi.ov : best taken as trans.,
was driving up, though in Or. 275,
(a.KpitTf is intr.
679. oxTivas KT\. : i.e. at sunrise.
683. o-tojicuriv iraptijxt'vai: with limbs
relaxed, lit. relaxed in their bodies.
684. irpos <j>o'pT]v : against the boughs,
i.e. the lower branches, which bent to
the ground.
686. crw4>po'vs : though construed
with @a\oi/iTai goes in thought with
yvSov iraffat. <rv <j>ifs : cf. 222 ff. The
opinion of Pentheus is known among
the people.
687 f. wvcofjitvas Oijpdv.: the inf.
after <p^s in place of the participial
construction of the former clause. Cf.
Soph. TV. 1238, avfyp oS' us toiicty ov
vffi.f'iv (instead of vf/j.t'i) fyol p.olpav,
Aesch. Pers. 188, TOVTW ardfftv TIV, &>s
fya, 'fjoKovv 6pat>, Tfv-^fiv (instead of
i.e. v tyy/jita oZerav-
689. wXo'Xvgcv : raised the o\o\vyri,
a loud cry of religious emotion. Cf.
Med. 1171, S^fotra irov $ Tlavbs opyas ^
rivbs Bftav fjioKtiv av(a\o\ve.
690. KIVCIV : after an idea of sum-
moning implied in w\6\v(. Raising
the sacred cry she summoned them to
rouse their forms from sleep.
BAKXAI. 71
OK yKOVore Kepo<f>6pa)v flow.
at 8' OTToySaXovcrat OaXepov 6^u,aYa)t> virvov
' ** /3'/3'*>>' < > /
avygav opuai, c/avju, toew ev/cocrjuas,
z>eat TraXatat irapOevoi T er duye9.
695 /cat irpwra /zeV Kadelcrav els O>/AOVS
T* dz/eoTeiXai>#' ocraicriv
? e'XeXvro, /cat /caracrrt/cTov?
/care^fucravro XL^LOXTLV yewv.
at 8* dy/caXato-t Sop/cdS* ^ cr/cu/x^ovs \VK(av
700 dyptou? e>(ovcrat Xev/co^ e'StSocrav yaXa,
ocrat? veoro/cots /xacrro? ^i/ <nra.py<t)v ert
ftpe(f)r) XtTTovaats' eyrt 8* eOevro /ctcrcrti/ovs
crre<^ai/ov? Syouo? re /x,tXa/cd? r* avdecr(j>6pov.
Ovp&ov Se rts Xa/3oucr' eTratcrev ets
705 o#ez/ S^ocrwS^? vSaro? e/CTT^Sa vorts*
8e vd0rK et?
/cat re Kpivrjv eavK ovov
ocrat9 Se Xeu/cou 7ra>/u,aro? TTO^O
692. OaXcpo'v : c?ee/?. Za<e/^ anc? s<<V/ Aarf swelling breasts, hav-
694. irapOcvoi a^vy'S : <;/ Hip?.- ^ n 9 ^ e ft tfieir babes.
1425, /crfpoj S^'O'es ^ajuw"- 703. C/". 106 ff.
696 f . v(3pCSas . . . iXe'Xvro : Mose 705. Spoo-coS-qs i'Saros vorC. c/^
whose bands had been unloosened, fas- Phoen. 645, /coAAtir^royuos SSaros voris,
tened up (upon the shoulder) the fawn- Ion 149, vorep^v SSup. Spoo-w&qs: Sp6<ros
skins, i.e. " those from whom the fawn- is primarily (/CM?, then any pure water.
skins had fallen off fastened them on 706 ff. Plato (/on 534 B) says
again." dyco-TtCXovro, Ko.Teu)o-avTo that the bacchantes, when inspired,
(G98) : the former refers to the bind- drew honey and milk from the rivers.
ing of the fawnskin to the shoulders C^ Hor. Carm. n. 19, Fas per-
from which it hung, the latter to the vicaces est mihi Thyiadas,
girding down of the same about the vinique fontem, lactis et
waist. cljijjiaTwv o-v'vSco-jxa : see on uberes cantare rivos, atque
677. truncis lapsa cavis iterare
698. XixjwSo-iv -yt'wv : cf. 767 f . me 11 a.
699. at8: others. 707. TTJ& : dat. of interest, referring
701 f . 6'o-cus . . . Xiirovo-ois : describ- to &\\i) ; or it may be taken as an
ing of (699), those who had brought forth adverb of place.
72 EYPiniAOY
aKpoLCTL 8a/CTvXoicrt Sta/Awcrat
710 yaXa/CTO? ecr/iou? el^oy e'/c Se
0vpcra)v yXv/cetat /xeXtro? etrra^ov poat.
aJcrr* ei TraprjcrOa, TOV 6eov TOV vvv i/fe
az> /xer^X^f? etcrtSwv raSe.
oe ySov/coXot /cat 7rot/x,eW<?,
715 KOLVO>V Xoy&H/ SaScrovre? aXXi^Xots
[a)S Setva $pa)<TL Oavfj,a.T(i)v r* evr
/cat rt? TrXaV^s /car' acrru /cat r/)ty8a>v
eXc^et' ets aTravra?' a cre/xva? 7rXa/ca?
vaiovrts opeaiv, ^eXere 6r)pacra>fj,e0a
720 Ilev^eiws 'Ayavrjv fJUjTep* e/c ^8a/c^eu/xaT&>v
/ f /)'/}> 5> M e \ /
T avaKTt, ucDjAeu ; ev o i]^w Aeyetv
8' eXXo^t^o/xet' (^>oy8at5
avrovs' at Se rr)v
IKLVOVV Ovporov et?
725 v la/c^ov a0poa> oro/Aart rot/ Ato? yovov
712. TOV: rel. ; so used in the tri- tfjnrftpos, ^tnffr^nwv, and similar adjs.
meters only where the metre requires expressing knowledge or skill, is fol-
it. lowed by the gen. II. 754 a ; G. 180, 1 .
713. cvxawriv (MTrjXOcs : c/" Frg. 718. 4'Xc|cv tts airavras : for j after
775, 46, wx a ' s trpofff&av. \eyeiv and similar verbs, c/*. Soph.
715. KOtvwv . . . epiv: "to talk the O. 7 1 . 93, ts ITOVTOS a#8a, Xen. ^4no6.
matter over with one another, whence v. 6. 28, \eytiv els u/iay.
a strife arose." 719. Ot'Xcrc : for this use of 0'Ao>
716. Taken from 667, and inap- (in prose ^ouAo/xoj) with the interroga-
propriate to tpiv. tive subjv., see H. 860, b; G. 256.
717. rls irXdvis Kar* cwrrv : lit. 723. avrovs : instead of ^/xas ait-
some wanderer about the town, i.e. one rovs. II. 686 a ; G. 146, N. 2.
who had loitered much about the 724. wpav : a poetic const, instead
town. This may refer to his levity of the dat. Cf. Aesch. Eum. 109, tQvov
as seen in the impiety of his proposi- Sipav owSevJis KOIV^V 0tuv. Kr. Dial.
tion, or to his readiness in speech, or 46, 4.
perhaps to both. Cf. Or. 919 ff., 4i/- 725. TOV Aios -yo'vov : the repetition
Spflos 5' iv-fip, o\iyd,Kts &<rrv Kayopas of the words of the Bacchantes in in-
Xpaivuv KVK\OV, . . . fafpaiof, avfiriir\r)K- direct form. Cf. 1146, 1319.
(ttov. \o\wv : Tpi&(ai>, like 726. crvv|3aKXv' opos : rf. Aesch.
BAKXAI. 73
KaXovcraL' irdv Se crvveftdKyev opos
/cat 0Tjp<s, ovSef 8' r\v aKivr)TOV Spo//,ct>. #
S' 'Ayavty ir\r)criov 0paxrKovard JJLOV
eTD-jS^o-' as crvvapndcraL OeXuv,
730 Xoxnyv Kevdtcras ev&* KpvTrTOfj,ev Se/xas,
^ S' avefi6ri<TQ>' a> S/acyxaSes e/xal /ewe?,
6r)pa>jJie0' dvBpatv rwvS' UTT'- dXX' eTrecr^e
TT(J-0e 6vp(TOL<S StO, ^(pa)V 0)TT\L(TfJLevai,.
T7/X61? /Ltev GUI' (j>evyovTe<s e^Xv^a/xe^
735 BaK^ajt' crTrapay/x-oV, at Se ^e/u,o/xeVats
/aocr^ots Trfj\6ov ^etpos do-L^Tjpov
/cat r^i/ ju-et' av 7T/3ocrt8es evdrj\ov
jAVKcofJieinqv e^ovcrav ev ^.potv y8ta,
aXXat 8e Sa/xaXa? Sie<oyoo
740 elSes 8' cu> ^ ir\evp f) ^L^TJ\OV eja/Sacriv
dvo) re Kal /carcu* K/ae/Aacrra Se
VTT' eXdYais dva7re<f)vpjjLv
ravpoi 8' v(3pi<TTai, /cet? /cepa?
Frg. 57, fvQov<fi 8); Si/xa, &aKx f v et Of- Hdt. viii. 89. ^J 1 x (t P^ v v6ft.tf. Cf.
ffTfyTj, the palace is inspired and the also xe'po5(7)s.
Aouse zs joining in the Bacchic revel. Cf. 739. <nropa < yH ia<rlv : commonly ex-
also Ps. 114, 4, <Ae mountains skipped plained as equiv. to ffirapaynois. It
/d-e rams. may, however, be taken in its ordi-
729. us OeXuv: the addition of ws nary sense. For the dat. in that
to the partic. emphasizes the purpose case, tn pieces, cf. 588, irtaiiiJMaiv.
as a conscious one. 741. Kpciuxord: z.e. the pieces which
733. Sid x P**" : zn ^ e hands. Cf. caught in the branches as they were
Soph. ,4nf. 1258, fivrj^a 8<o x'p^>s xv. hurled about.
H. 795, 1 e. 742. dvair{<|>vpfuv' aijiari: mixed
735. BaKxuv : subjective gen. up, i.e. stained with blood. Cf. Hdt.
738. tv \epoiv pq, : with her hands, in. 157, O!]UOTI avairfQvp/j.ei'oi'.
by force. Cf. Med. 335, e| oiroSwj/ 743. els Kt'pas flwfxov'jwvov : cf. Verg.
Xp&s ai(T0ii(ret ^19, <Aoa sAa/f 6c <Arws< ^. in. 232, Aen. xu. 102, irasci in
out at the hands of my attendants by cornua. Wecklein takes the mean-
force. Some editors read Si'/cp instead ing to be similar to that of '$ icepas
of &iq, and interpret tv xpo?v 8i'/cj/ as TrapejtjSA.eVou', e/. 1558, where the ref-
meaning manuum jure, i.e. \i. erence is to a bull which puts down
74
EYPIHIAOY
TO TrpocrQev, ecr^aXXovro 77/305 ycuav Se/xas,
745 fjivpido'L ^etpoiv dyd/Aevoi veavi&wv.
dacrcrov Se 8ie<f>opovvro crapicbs a>8vra
i fi\e<f>apa /3acriXeiois
8* WOT' 6pvide<s dpOelcrai
TreSiW VTroracras, at Tra^' 'AcrtuTrou
750 evKapTTOv e/cySaXXovcri (Sty/Satoi
'To-ias T J 'Epvfy>as $*, at KiOaLpansos XeVas
vepOev KaTtoKrJKao-Lv, (uorre TroXe/Atot ^ t-o ,f
"
eTreicTTrecroucrat Trai'T
re Kat Karat
K
755 oTroo'a 8 s err* <u/AOts eBecrav, ov Secrju,a)z> VTTO
his head and turns his eyes toward his
horns as he prepares to attack. In
this passage, however, the idea of
'looking toward' is not expressed,
and can hardly be implied in BV/J.OV-
ptvoi. The precise meaning is not
clear, but would seem to be, filled with
rage to the horns. Sandys explains it
of 'the gathering of their rage into
their horns.'. The phrase occurs in
Aelian, De Anim. iv. 35, xvi. 31, also
v&pt&vra fts Kfpas, ibid. iv. 48. But
in these cases it may be regarded as
borrowed from Euripides.
744. TO irpoVOtv : i.e. before they
were felled by the Bacchantes. 8e-
fias : more commonly used of human
beings, but cf. Hel. 1562, ravpeiov $f/j.as.
The ace., as in tvSvrd (746), is that of
specification.
746. Su(f>opovvTo : sc. ravpoi. 8ia-
<f>ope< is not strip off", as some take it,
but tear in pieces. Cf. 739. crapKos
v8vra : the covering of fiesh, i.e. the
flesh which clothes the frame.
747. TJ . . . Ko'pcus : than
close the lids of thy kingly eyes. |wva-
\|>ai: for the inf. with II after com-
parative words, see H. 954; G. 266, b.
Ko'pais : for ictpai in the sense of
o<}>6a\ij.oi, cf. 1087.
748. WOT' . . . 8po'p.u> : lifted up in
their flight like birds. In their easy
rapid motion they seemed scarcely to
touch the ground.
749. ircSCcov i5iroTOO-is : over the
plains stretching below. For the ace.,
see on 307.
750. KJ3oXXoiKn, : avievai, avavefj.-
iretv, Trfftfreiv, are likewise used in this
sense.
751 f . 'Yo-ias T 'EpvOpas T : with
tTTftffTreffovffcu. Hysiae and Erythrae
were in the district of Parasopia.
KiOaipcovos Xe'iras vt'pOev : upon Kithai-
ron's lower slopes. See on 677. tcarw-
KifKcuriv : so also valtiv of cities,
islands, etc., in the sense of lie. Cf.
Soph. Aj. 596, S> 2a\a/J.is, ffv vaifis a\i-
jr\a.KTOS.
754. The lacuna after this line is
evident from the absence of a clause
BAKXAI.
7
ov
ovS* eViTTTez/ et?
ov criS^/oos' eVl 8e
e<f>epov, ovS' Kaiv.
eis 6VX 3 )(<a>povv
760 ovTrep TO Seivov ^
rot? //.> yaya ou^(
Se Ovpcrovs
o
8'
o/oyys VTTO
UTTO-
tSeu>, q,va.
ywat/ces avSpag, ov/c a^ev
765 TraXw 8' e^copovv oOev eKLvrjcrav vroSa,
Kpyvas TT avrag as avfJK avrats
vtyavro 8' af/xa, err ay ova 8* e/c
SpaKovTes e^effraiSpwo
^' >f /OW VJ^O/
oaifjiov ovv rovo ocrrts ear , w oeo-Trora,
770 Se^ou TroXet 1778', a>s ra r' aXX* ecrrtv
o <$>OL<TIV CLVTOV, os
!/
otvou 8e ja^/cer* 6Wos ou/c e<mv
>o>*\\ \ >^v >/3' *
ovo aXAo Tepnvov ovoev avv p&Trois en.
corresponding to ^pira^oj' ^teV, and from
the fact that the Bacchantes carried
off more than the children (c/. 757).
758. ot 8 : the people of Hysiae,
etc.
759. 4>po'(ivoi : plundered, as in
(tx'peiv Kal &yfiv.
760. Cf. Med.lWJ, rovv8fv5e fievroL
Sttvbv ?>v 6fafj.' iSe'tv. ovircp : where.
TO Stivov Ocajjia : the article particu-
larizes this sight as the terrible part
of the scene described.
761. TOIS \uv. the ot Se of 758.
ovx T]p.ao-o- : did not wound, i.e. the
Bacchantes.
764. OVK avc Stwvrivos: cf. Aesch.
Pers. 164, oAjSov, fc> Aa/jejos ^pev OUK
dtpeu flewy T-OS.
766. (^ 705.
767 f . vi\|/avro : see on 100. CK
T-ap^iSuv, xpoo's : if the text is cor-
rect, both expressions depend upon
4f<f>ai$pvvov, from their cheeks cleansed
off the drops of gore from the skin. Cf.
Phoen. 1374, 8bs tyx os " X f P^ s T ^'8'
dir' wAevTjs )3oAey. It is possible, how-
ever, that some words may have fallen
out, among them \LXJJ.UVT(S governing
a-raydva, and that xp6* then may have
displaced xP oa -
771. 4>curtv, ws tY" K\W : cf. Phoen.
737, firr* &v$pas avro?s <f>atriv, &s tJHOvo*
76 EYPiniAOY
XOPO2.
775 TO/oy8o> ftev eiTreu/ TOV? Xoyov9 e
ei9 TOV Tvpavvov, dXX' O/LKUS
IIEN0ET2.
roS' eyyvs wore TTU/O v^otT
vyfyoicrjaa BaK^a^, t/foyo9 e?
>\\> > ~" O > > >TT\ ' X
780 aXX ou/c oKvew oet' crrct^ CTT HXe/crpas twi/
/ceXeve Travra? aor7rtS<ooous
r*
TreXras ^* ocroi TraXXovcrt /cat
i/faXXovcrt vevpds, a>
785 Ba/c^aicrw ou ya/3 aXX* vTre^ySaXXet raSe,
et 7T/OO9 ywaiKuv Tretcrojaea'^' a
AIONT2O2.
TLtvOev* KdKw<s 8e Tr/aos crtOev TTOLO^OV
ov <f)r)iLi xpfjvai cr* oTrX* eTra^oecr^at ^e
790 aXX' -^cruxa^eiv B/DO/ato? ou/c ave
KLVovvra Ba/c^a9 cr* evtwv o/oaii' <XTTO.
778. eyyvs uxrrc irvp v<j>airr rat : under the influence of Dionysos's in-
ts kindling like a fire close at hand. tervention.
The comparison refers to the irre- 785. ov -yap oXXd KT\. : for this is
sistible spread of fire. Cf. Or. 696, not to be endured, but it exceeds all
orav yap i)&% STJyuos eis opy^v irfffuv, bounds. H. 1050 f .
ii/j.uiuv ware irvp KaTaffftetrai \d.$pov. 786. Cf. Soph. Ant. 079, Kpsiaaov
780 f . 'HXiKrpas irvXas : the Elek- yap, ttirtp 5e?, irpbs avSpbs litirffffiv, KOVK
tran gate, according to Pausanias &i/ ywaiKuv fiaaoves Ka\olnfff &t>. The
(ix. 8. 7) was on the south side of the messenger withdraws.
city towards Kithairon. 787 ft. " Thou dost not listen to
782. diravrdv: sc. pot. The pur- my words, and thou treatest me ill,
pose of Pentheus to meet his forces yet I will give thee good advice."
at the Elektran gate and lead them OJAWS : see on 392.
against the bacchantes is abandoned 791. Kivovvra : supplementary par-
BAKXAI.
77
ov fir)
/a', dXXa Secr/xtos
ToS'; TJ crol iraXw avacrTpeifja) X^ a? -
AIONT202.
r^^+frrJ Xw-T-v^^
QVOI\L av avr&J /u,aXXoi> ^ Ovpovpevos
795 7T/3O5 KVTpa Xa/CTlotyXl 6w)TO<S &V Otto.
HEN0ET2.
UVCTCD <f>6vov ye 0rj\w, axnrep atcu,
rapa^as e
AIONT2OS.
<f>vet<r0e Traires* /cat roS* atcr^oov,
nEN0ET2.
800
ye rw
os ovre 7rdcr)((ov ovre
tic. belonging to the obj. of the verb.
H. 983; G. 279, 1. vv: c/238.
792. ov |tii ' CT ^- : see on 343.
Se<r|uos <J>vycov : equiv. to ^K Sea^wv
Qvyuv. Cf. Soph. 0. C. 119, e'/cT(knos
ffv9t(s.
793. To'St : i.e. ri> Sfir/jLiov Qvytiv,
freedom. Cf. Soph. El. 1256, EA. ^As
yap fffxov vvv t\evQtpav errJ/ia. OP.
vfj.<f>rint Kaydi. roiyapovv acaov r6Se.
795. irpos Kevrpa XaKT(|oi|xi : a
proverb taken from the kicking of
cattle against the goad with which
they were driven. The meaning is,
to offer a resistance worse than use-
less. Cf. N. T. Acts xxvi. 14, <TK\ripdt>
aoi vpbs Kfvrpa. \a.Krl^fiv. Cf. also
Aesch. Ag. 1602.
796. 0vV>: a sarcastic repetition
of Dionysos's word in a different sense.
4>o'vov 6rjXw : c/I Soph. "/. 779,
^ouj varpyovs. While Pentheus
means the slaughter of women, the
poet seems to hint at the slaughter to
be wrought by women, i.e. the death
of Pentheus. OifXvv: contrasted in
thought with &6ftov, or >t^\iov.
o|uii : sc. airoQaveiv supplied from
797. iroXtjwv rapa|as : cf. Plat.
Rep. 667 A, ir6\ffjLOv rapdrreiv, Soph.
Ant. 793, VIIKOS rapd^as.
798 f . cuririSas KT\. : turn the shields
before the thyrsi (cf. inro\<apfiv nvi) or
because of the thyrsi, i.e. flee.
800. diro'pw : of a person with whom
it is not easy to have done, trouble-
some. The adj. is in the pred.
801. ovre ircurxv ovrt 8pSv: an
antithesis involving a universal nega-
78 EYPiniAOY
AIONT2O2.
aj rav, \r loru' ev KaraoTTjcrai raSe.
IIEN0ET2.
Tt 8/>aWa; SovXevovra SovXewus e/xais;
AIONT2O2.
a^iw St^a.
IIEN0ET2.
805 olfJLOL' ToS* 1781; SoXiov ets /xe fjLTj^ava.
AIONT2O2.
Trolov TI, (Toicrcu or* et ^eXa> re^i/ats e/xcus;
Kowfj raS*, tva y8a/c^ev^r' act.
AIONT2O2.
/XT/I/ ^}V^Qi^Lf]v TOVTO y, larOi, TO!
HEN0ET2.
K(j>peT /xot Seup* ovrXa' crv 8e Traucrat Xey<oi>.
tive, in no case whatever. Cf. Soph. 807. ^vvc'6<r6c : i.e. Dionysos and
^4nt. 40, \5ov(r' ^ '<t>dirrov<ra, loosing or the Thebau women.
fyin^r, i.e. in any possible way. 808. gvvcOcplv T< ? l ? : because he
802-806. rriSc : Pentheus under- is himself the god. TOVTO : i.e.
stands this of his relation to the new fia.KXfvf"' ad. TW 8nS : contrasted in
worship, the toleration of which would thought with the Theban women.
be a concession to his subjects, the It has now become apparent that f ur-
Theban bacchantes ; hence the ironi- ther effort to convince the reason of
cal retort, Sov\evovra $ov\ftais. But Pentheus is useless ; and in this verse
Dionysos explains his meaning in 804 the god declares to him, that in spite
and 806. The god will make yet one of his opposition, the worship shall
more effort to convince Pentheus and continue by divine determination. By
save him from the folly of offering this means the defiance of Pentheus
violence to the worshipers. He will is intensified to its extreme, and the
himself bring the bacchantes here by poet accomplishes the double object
his arts (Wx^ais chosen with reference of justifying the visitation of blind-
to &6\tov), i.e. the influence he wields ness, now beginning to seize the mind
over them. of Pentheus, and of producing a
BAKXAI.
AIONT2O2.
79
810 /SovXei (T<fi iv ope&L
IIEN0ET2.
, pvpiov ye Sou? ^pvcrov ora#/x,oi/.
AIONT2O2.
rt 8' ets epo)TCL rouSe TreVrw/cas />ieycu>;
nEN0ET2.
XvTTpws jfcv eicriSoi/A* ai> e^uvco/AeVas.
AIONT2O2.
815 OMCUS 8* tSots ai> TSeoos a crot
tcr^t,
dXX* e
DEN0ET2.
y' VTT' eXarats
AIONT202.
? Xd0pa.
striking effect by the contrast between
his show of strength in these lines, and
his pitiable weakness in what follows.
810. With this verse the prepara-
tion for the catastrophe begins.
811. jivpCov <rra8|io'v : a vast weight.
814. \wrpcos . . . ^a)vo)|i vas : Week-
lein's interpretation is, it would vex me
to see them drunken, i.e. Pentheus de-
sires the vexation of the sight, as in
674 ff. he desires to hear of outrages
on the part of the bacchantes, to con-
firm his prejudices against them. This
interpretation seems forced. Her-
mann makes the line interrogative,
would it be a grief to me to see, etc. 9
But the implied answer, no, is incon-
sistent with <roJ m/cp<. If the text is
correct, it is best to join \vTrpws with
^yvufj-evas, I should see them drunken
to their sorrow, i.e. "it were to their
sorrow that they had become drunken,
if I should see them." Pentheus, in-
tent on the scene which he is antici-
pating, makes no direct answer to the
question of Dionysos.
815. opus : notwithstanding the
painf ulness of the sight. rol micpa :
refers to tfovwufvas, as understood by
Pentheus, but, as meant by Dionysos,
to the bitter consequences of Pen-
theus's undertaking.
816. <ra<f>' tor6t : sc. /*e iSejv &j/ ^8e'a$
80
EYPiniAOY
REN0ET2.
dXX' en<f>av<t><s /coX&is yap e^eoras raSe.
AIONT2O2.
ovv ere
820 ay*
FIEN0ET2.
, TOV xpovov Se o~oi <j>Bovat.
AIONT2O2.
o-reiXat vw d/>tc/>i ^pairl ySvcro-u'ous Tre
IIEN0ET2.
/ o \ XP>> ^ ^^ > O N \ *
rt OT) TOO ; 19 yuvat/ca? eg avopos TeAco
AIONT2O2.
/LIT; ere KTavtocriv, TJV avrjp 6(f>0fj<; CKCI.
HEN0ET2.
ev y' et7ra9 auro /cat TIS el 7raXa,t cro^d?
AIONT202.
825 AioWo"os 17/xas e^efJLOva-uorev raSe.
818. c|i<|>avws : sc. leopevaofnai. Pen-
theus turns suddenly to his former
purpose to go with his army, and
afterward as suddenly abandons the
purpose again. The same vacillation
appears in 845 f .
819. a-ycopcv : pi. for sing.
820. TOV XP' VOV KT ^- ' " No time
must be lost." Cf. Hec. 238, ipfaa.
TOV xp^vov yap ov <f>6ovS>.
821. pv<r<rCvovs WirXovs : ftvcro-os
(probably a kind of cotton), after its
introduction into Greece, was the
principal material for the dress of
women.
822. els -pivaiitas KT\. : shall I in-
stearf o/" a man become a woman ?
rf\eu, pay taxes, then, as the citi-
zens were classified according to their
taxes, belong to a particular class, be
reckoned among, Cf. Soph. 0. T. 222,
ao-rbs els CUTTOVS re\S>.
823. Men were excluded from the
secret orgies of the women. But cf.
1224.
824. rls <ro<j>os : pretty wise or very
wise, rls is often used with an adj.
to express indefiniteness, not in re-
gard to the person, but in respect to
the degree, giving the adj. nearly the
same force as the superlative absolute.
Kiihn. 470, 3 ; H. 702 a.
BAKXAI. 81
nEN0EY2.
7T&>9 ow yivwf av a cru ^te vovBerels /mAo><j ;
AIONT202.
eyo) oreXai <re ^a^idratv ettrw ju.oXan/.
[IIEN0ET2.
828 T>a (TToXrfv ; rj 0rj\vv ; dXX' aiScij? /LI* e
nEN0ET2.
f~~'
830 crroX^i/ Se rtva ^5 d/x,^)t
AIONT2O2.
fiev 7rt era! Kparl ravabv
HEN0ET2.
TO SevTepov Se cr^^/jta rov KOCT/AOU rt
AIONT2O2.
833 TreVXot 770817/3615* eVl /ca/oa 8* ecrrcu /xtr/oa.
HEN0ET2.
836 ov/c <M> SwaLfjLTqv 0rj\vv evSwat
AIONT202.
829 ovKen Gearys Ma>aSa>i> 7rp60vjjio<; et.
REN0ET2.
834 17 /Cat Tt 7T/3O5 TOtQ-S' dXXo TTpOCr6iq(T.L^ C
828. Wecklein rejects this line ; ment with many folds reaching down
hence a transposition of 829 becomes to the feet, and the mitra, a kind of
necessary, as well as a considerable head-band, were the principal articles
derangement in the following pas- of the female costume. Cf. 929,
sage. The retention of 828, and the ffec. 923, irAJ/ca/xoc avatifrots nirpauriv
traditional order in what follows, fppv8fj.idfwv.
gives less difficulty. 836. OrjXvv : Ofj\vs is sometimes
831. ravoo'v: see on 455. used by the poets as an adj. of two
833. The Ionic chiton, a full gar- endings. H. 229 a.
82 EYPIIIIAOY
AIONT202.
835 Ovpcrov ye X L P^ /ca ^ vefipov CTTLKTOV Se/>os.
IIEN0ET2.
*
842 TTO.V Kpet(T(TOv a>(TTe fir) *yye\av
AIONT2O2.
837 a\X* alfjia Sevcrei? (rvfA/BaXcov Ba/c^at? /xa^v.
op0a><S"
nEN0ET2.
irpurov ei?
AIONT202.
(ro<f)(t)Tpov yovv ^ fca/cot? Or^pav KCLKO.,
nEN0ET2.
840 /cat TTfti? St* acrreco9 et/xt KaS/xeiov? \a0a>v ;
AIONT202.
841 6Sou? epyfjiovs l^w eya) 8* ^
HEN0ET2.
843 i\06vT e? otKov? av So/c^ /3ovXeucro/i,at.
837. aljia : i.e. his own. 8v'<ms : H. 953 b ; G. 266, 2. Pentheus re-
ef. Soph. -4/. 376, alp.' tSevcra, on which turns to his first plan of using force,
passage Lobeck remarks that verbs of that lie may not in female costume
vetting are often used in the sense of become a laughing-stock to the bac-
sheddlng. Cf. Soph. Tr. 848, -rtyyet chantes. If the verse be taken after
So/cpiW &x"av. 841, it would express Pentheus's ac-
838. " You are right in warning me quiescence in any direction of Diony-
of that danger. I must first spy them sos, rather than that the bacchantes
out secretly." should triumph over him.
839. KttKots 0T)pdv KO.KCI: chase ills 843. e'XOo'vrc povXcvo-ofiai : when we
with ills, i.e. add ills to ills. Cf. Frg. have come within the house, I will con-
98, KO.KOIS iaffOai /ca/cc. sider what is best, i.e. let us come with-
842. UMTTC pi 'yyt\ov : lit. on con- in, etc. The partic. is joined to the
dition that the bacchantes do not lauyh subj. of the verb, referring to the
at,i.e. "if so they may not laugh at." whole of which that subj. is a part.
BAKXAI.
83
AIONT2O5.
TO y e/xov evrpeTres Trpa.
845 trret^ot/x' av fj yap 6VX*
TI rotcrt (TOtcrt 7reuro/Aai
Tropevcrofiai
AIONT2O2.
848 yvvaiK<s, 0,1/17/3 ei? y8oXoi> Ka
847 -ty^ei Se Ba/c^a?, ou 0ava)v Swo-et
AioVvcre, z/w croz/ epyov, ov yap et irpocra),
850 rtcrwyae^' avrov. irtora 8*
ov
856
TOV
oe VLV yeXa>ra
eV TOJV aTretXaii/ TWV
855 yvvaLKOjjiopfiov ayopevov St' ctoreeas.
Kr. 5pr. 56, 9, 2. Or the const, may
be explained as a case of anacoluthon,
Pentheus thinking of both at first,
but afterwards of himself only. Most
editors, however, change either the
partic. to the sing., or the verb to
the pi. act.
844. TO y Vov KT\. : lit. my part,
at least, is ready at hand, i.e. I, far
my part, am ready.
847. BaKxas : the ace. after verbs
of motion is mostly confined to the
names of places and things. For its
use in the case of persons, cf. 1354.
848. Pentheus has preceded Diony-
sos into the palace. dviip ts (Jo'Xov
Ko.0icrTaTCH : the man is bringing him-
self within the cast, sc. of the net. Cf.
Rhes. 730, els &6\ov TIS tpxtrat.
850. irpwra 8' tKo-rqa-ov <{>pcv(3v :
that the mind of Pentheus has already
been influenced by Dionysos, is evi-
dent from the entire change in his
attitude toward the god in the pre-
ceding lines; but that influence has
not yet brought him to complete
madness. ^-*^^t -^Ccvt-#C-X--
851. cXcu{>pdv: .mifcfc cos: since.
853. 4' tXav'vwv TOV <{>povciv : the
expression is borrowed from the race-
course. Cf. Aesch. Prom. 883, { 8
Sp6fj.ov (j>tpo/j.ai AiWrjs wei/pan.
855. The madness of Pentheus
with its melancholy consequences in
the next scene is not merely a means
for bringing about the final catastro-
phe, but it is also a part of his pun-
ishment for his impiety.
EYPiniAOY
aXX'
KocrfJiov, ovircp et?
*AtS
ou
TIevOel 7rpocrd\jj<i)V yvajcrercu Se rov Aios
860 kiowcrov, os ire(f>vKev eXXejHHs ^eos
Setvoraros, ev^ouotcrt 8' ^Trtwraros.
ItSrtJ &t 'ii^-xC/~
>4t <#-^& xt^, **J44^
\ ' ' ^-
e
Trore
/> >
TTOO aj
865 aWep ets ^pocrepov
poi
, Sepav
e/x7rat^oucra Xet/xa/cos T^
<f>vyy
.r-H^, Sj4+^f ' t~.
ai/
Orjpav
857 ff. Construe
KOffpov, ovirep \a$luv &rcfiffi eJs'AtSou.
860 f . eXXtpois : e\\fpa &SiKa, He-
s^cli. Acc. to Eust. on 77. vi. 181 , eAAe-
pos is dialectic for /ca/crfs. cvvo'p.owri :
C/! Aesch. (Sup/). 403, Zeus ertpopprirfis,
fffjiuv eiK($Tos S5ia yu/ KOKOIS, 8<na 8'
. The conjectures adopted in
the text of these two verses are the
boldest of the many efforts to bring
an appropriate sense into the passage.
A satisfactory emendation is yet
wanting.
862-911. THIRD STASIMON. The
Chorus, freed from their dread, look
forward to the bacchic revel, which
they will hold with a joy made the
more intense by the distress from
which they have escaped ; they exult
in the anticipation of triumph over
their enemies (<rrp.) ', they declare the
certain though tardy punishment
which overtakes the impious, and the
necessity of holding to those beliefs
implanted by nature and hallowed by
usage ; they repeat the refrain of
triumph (avr.), and extol the happi-
ness of those who have escaped from
trouble, and of those who find their
joy not in uncertain hopes, but in a
life happy from day to day (&r<p8.).
862 ff. dp* **v iravw\ois KT\. : shall
I ever set my foot in the night-long
dances raising the bacchic revel, etc.
Se'pav KT\. : with reference to the wild
tossing of the head in the bacchic
dances.
865. Spoo-cpo'v : of the damp night-
air.
866 f. $s vefJpos . c'^iraCtovcra :
cf. El. 869, dfs (Is xp6", Si <pi\a, 1x" os <
a>y V&pbs ovpdvtov ir^S^a K0v<ptovcra
<TVV &y\ata. x\o<pais : instead of
X^otpov. See on fiorpvdSri 634.
869. <j>vXaK<xs : the enclosure sur-
rounded by toils, about which men
were stationed to take the game.
BAKXAI.
85
virep
Se
a>/cvSpoyu,ot9 cteX- /n/v^
875
fipoTuv ffyrjpCai? ^/
1<J hn% , , , v
(TKLapOKOfJLOLO T pVt.(TLV
rt TO (To<f>bv fj ri TO /caXXtov
yepas ev
880 raiv
Kpeccra-a)
o TL KaXov &i\ov aet.
- -. .. .-> 7- / f 1 f
871. 6awr<rv : c/! /?z/>p. 219, xva\
Ocav^ai.
872. (TvvrcCvyi KT\. : lit. strains the
speed of his hounds, i.e. " incites his
hounds to their utmost speed."
873. [xo'xOois KT\. : she vriih fleet
toil, swift as the wind, springs over the
plain. Cf. Hel. 1314, Kovpai a.f\\6-
iroScj, Soph. 0. T. - 466, ae\\45wv
liriftav. ircSCov : see on 307.
875. PporuJv cpr]|i(ais : lit. want of
men, i.e. wilds untouched by men.
876. <TKiapoKop.oio : Euripides uses
frequently adjs. compounded with
-tcofjios '. a,Kp6ico/jios, 8fv$p6ico/j.os,
tility of Pentheus's opposition : what
is mmrwiseness, i.e. what avails it in
opposition to a god, or what is a nobler
gift from the gods to men than, etc.
879 f . " Moral greatness with the
ancient Greeks consisted no less in an
immutable hatred toward foes than
in a constant love toward friends."
Lessing Laokoon, iv. Cf. Med. 809 f.
877. TO <ro<|>ov : the phrase is used
in 203, 395, 1005, in the sense of HW-
4gieatg9t and in the repetition of the
refrain (897) it stands in a connection
similar to~Eht.of these passages. It
would seem, therefore, in this place
also to refer to the false wisdom of
Pentheus in opposing the god. The
Chorus, anticipating their deliverance
as now certain, break out into exulta-
tion over their victory and the fu-
yap TOIOVTUV euKXeetrroToy fiios, harsh to
foes and kindly to friends, for the life of
such is most glorious. But Plato puts
a loftier doctrine into the mouth of
Sokrates, cf. Plat. Crito, 49 B, ouSa/udis
&pa Sf? a5(/ciV . . . ouSe aStKovyuecop &pa
avTa$iKe?v, us ol iro\\ol olovrcu. KpC<r-
(T : in victory.
881. 6' TI KaXov KT\. : what is noble,
is ever dear. The words express the
joy of the Chorus in retaliation as
a noble act. TO KO\OI> <pl\ov is accord-
ing to Plato (Lys. 216 C.) an old
proverb. Theognis (15) says that the
Muses and Graces sang at the wed-
ding of Kadinos, 8rrt Ka\dv, (pi\ov
iarl TO 5* ou Ka\}iv oil <f>i\ov iffriv.
86
EYPiniAOY
'AvTurrpo<j>TJ.
885
TTLCTTOV Tl TO
o-0vo<s aTrevOvveL Se
rot;s r ayvoi^ocrvvav
Tt/aoWas Kal /AT) ra Oeutv
av^oiras crvv /Aau/o/xeVa So/ca.
KpVTTTeVOVCTL
&apov \povov TroSa
890 6r)pa>cTLV rov acreirrov. ov
yap Kpel&crov TTOTC
Kov<f)a yap Sairdva
t^iv Icr^vv roS'
o rt TTOT* d/aa TO
ro T* ev xpova) jaa/c/3a>
re
895
882 f . (xo'Xis f rX. : slowly but yet very
surely, etc. Cf. Ion, 1614, ae( TOT
XpAviO. fJLfV TCt TQ>V ^Cftfl' ITfllf, BIS T<A|?T
5' OUK ofrOevf;, s<ini(.ln>ir tin' inorements of
the gods are ever slow, but at last they
are not weak, Or. 420, jue'AAei rb 6e?ov
8' ^(rrJ TOIOVTOV Qvffei, he is tardy, but
the divinity is such by nature. irurrov
TI : see on 824.
884. airevOvvti : punishes.
885. d-yvcojjLoo-vvav : folly.
887. rvv (iaivofitva 8oKa: cf. 999,
/tare/era irpcnrlSi.
888. Kpvrrrcvovou : tvfSpevovffi, sc.
ol 6fot. iroiKtXws : cunningly.
889 : Sapov : instead of Sapov. See
on 534. XP' VOV "To'Sa : the figure
has reference to the progress or lapse
of time. The same metaphor is
found in Frg. 43, and is ridiculed by
Aristophanes, Ran. 100. Sandys com-
pares the frequent use of the meta-
^
phor by Shakespeare, As you like it,
in. 2, the lazy foot of Time, the swift
foot of Time, etc. With the thought
of the passage, cf. Frg. 969, y Afari
. . . fflya. Kal jSpaSe? iroSl ffreixovcra
TOVS KUKOVS, OTOLV
891 f. Kptwrcrov TWV vo'fuov
crKtiv Kal [wXtTeiv : in one's thought and
practice to go beyond the established cus-
toms. Cf. 200 ff. 331, 427 ff.
893-896. " It is easy to recognize
the power of what is divine, and what
has been established by custom and
nature."
893. Kov'4>a Sairavo: sc. eVrf, the
expense is light, i.e. it is easy.
894. Construe, vofni^eiv rdtit tx eiv
I(TX^ V - To'8 : explained by 3 n . . .
irf<pvKos. o TI: sc. tffrl, the subj.
being rb . . . itefyvKos.
895 f. Cf. 70 f. 201. Cf. also
Soph. Ant. 456, where it is said of
BAKXAI.
87
900
905
910
./ \ j\ * / N /\\
Tt TO (TOfftOV ij TL TO KO.\.\LOV
Trapa Oewv yepa? eV ftporols
17 X 6 ^/ 3 ' 'virep Kopv<j)a<s
ra>i> fyOpaiv Kpeicrcroi
o rt /caXov <j)i\ov aei.
o? e/c
, Xt/xeVa 8'
8' 09 virep0
* s /y <r & v v
eyeveu- erepa o ereyoog erepov
oXj3a> Kal Siva/xet
8e
'Eira>8o9.
7^*^-
* > V > >\ /O
ex etcr eATTtde?
reXevraicrtv ev
/8/)orot5, at 8'
To8e *
at
AIONT2O2.
\\ //) V/)A\
ere TOI> Trpouvfiov ovu a ftr)
opav
the divine laws, oe/ wore ^p TaCro,
Kov5*lr oTSev ^| STOU y <pitnj, these exist
eternally, and no one knows when they
came into being ; also 0. T. 867, where
it is said of the laws of piety, "O\vfj.-
iros trar^p p.6vos, ovSe viv 6va.ro. <f>vffis
avfptav (riKTfv, Olympos alone is their
father, and no mortal nature gave them
being. <{>\!<rci ir<J>vKo's : the pleonasm
is only apparent, as the verb has so
far lost its original force, that it fails
to make the idea sufficiently promi-
nent. Cf. Soph. Phil. 79, $v<rfi Trttyv-
K<JTO.
897-901 = 877-881. Likewise, 992-
996 = 1012-1016. In the use of the
v, or refrain, the poet imitates
the folk-songs at the Bacchic festivals.
See Christ's Metrik, p. 630 ff. The
strophe and antistrophe are sung by
the Semi-choruses, the refrain, like
the epode, by the whole Chorus.
905. crcpa : in different ways.
907. 8 ?TI : and besides.
909. anrefatrav : fail (gnomic aor.).
Cf. Heracl. 452, W^eiryec i\iris.
910 f. Construe, Sr<p &iov6s (&TTJ)
euSai'fieoc TO (car* ^uap, (rovrov) fnaxapi-
a>. Cf. Hec. 627, Ktivos oA/SiwraTOs,
ortf Kar' 3/JMp ruy%d.vti /tijSej/ KO.K&V.
TO Kar ifjiap : day by day.
912-976. FOURTH EPEISODION.
Dionysos comes out of the palace ;
Pentheus follows him dressed as a
88
EYPiniAOY
t T* dcrTrovSaoTa, TIevOea Xeyw,
irpoiOe
'*
, o<f>Or)Ti /xot
915
920
(TKevrjv ywat/co9
fjurjTpos re -njs 0-779 /cat Xd^ov
7r/3e7ret9 Se KaS/xov (Jvyarepcov fj,op<f>r)v /ata.
FIEN0ET2.
/cat /AT)I/ 6/3ai> /xot Si'o ptv T)\LOV<S So/c<u,
St<T<ra9 Se 77y8a9 /cat TrdXtcr//,' eTrracrTOjaov
/cat rav/3O9 T7yu,tv Trpocrdeis i^yetcr^at 8o/cet9
/cat cra> Kepara Kparl Trpocnre<f>VKvai.
dXX* >) TTOT* ycrOa 0ijp ; reravyowcrat yap ovv
6 ^09 ofjiaprel, irpocrOev a)v OVK
w 8' opa? a
rffjiw
bacchante, his mind and senses con-
fused in accordance with the words,
irptara . . . \vffcrav, 850. Cf. the en-
trance of the deranged Ajax in Soph.
Aj. 91.
913. o-rrtv'Sovra ocmrovBeurra : ex-
presses the fatality of the effort.
Cf. Iph. T. 201 crirfvSei aa-irovSao-ra.
914. o(f>Ot)Ti: has a mid. meaning.
H. 498.
915. paivoSos: adj.
916. \o\ov: troop, band. Cf.Aesch.
Eum. 46, \6xos yvvaiK&v, Sept. 112,
917. irptirtis : thou art like. Cf.
Ale. 1121, fi\tyov irpbs avrfiv, el n 077
918. Cf. Verg. Aen. iv. 468, de-
mens videt Pentheus solem
geminum et dupliccs se osten-
dere Thebas.
919. 0T)'pas Kal iro'Xio-|i' t'lrrcurro-
[lov : for a similar repetition, cf. H. F.
15, 'Apyt"ia, Tet^rj xa.1 KvK\oiirftai' ir6\iv.
^017
cr
920. ravpos : in the likeness of a
bull. The conceit of Pentheus is in
keeping with a common representa-
tion of the god. See on 100.
921. irpoo"ir<|>vK'v<u : intr. depend-
ing upon So/ceTs, as if So^e? had been
used.
922. d\X T] KT\. : but art thou reallij
a brute ? The impf . in ^o-0o denotes
what has not until now been recog-
nized. H. 833; GMT. 11, N. 6.
923. Dionysos refers to the pres-
ence of the god as explaining the
marvels.
924. i'vo-jrovSos ijjiiv : at peace with
us, as contrasted with OVK eujuej^s.
vvv 8e KT\. : with double meaning, like
much which Dionysos says in this
scene. Pentheus understands it of
the marvels; Dionysos means the
derangement of vision as a just pun-
ishment, and perhaps also he alludes
to the fact that the king now per-
ceives him in one of the forms under
BAKXAI.
89
nEN8ET2.
925 rt <f>aivop.aL S^r'; ou^t rrjv 'ivovs
ff TT)v 'Ayavrjs ecrrdVat fJLrjTpos y e/u-rjs;
AIONT2O2.
avrds e/cetfas eicropav So/ecu cr* opwv.
dXX' e' ISpas crot TrXd/ca/AO? e'^ecrrT^ 1 o8e.
)9 eytu i>w UTTO fjiirpa /
/cat
nEN0ET2.
Soi> Trpo(reL(t)v
^" eSpa?
930 ez>oi> Trpo(reL(t)v O.VTOV tu/acretwi/ r* eya>
AIONT5O2.
dXX* CLVTOV T7/xets, ots ere OepaTreveus /leXet,
' dXX' opdov Kaipa.
a 817.
nEN0ET2.
(rv Kocr/ief crot yap
AIONT203.
935
^ ^ ^rffZ
,o)vaL re crot ^aXaicrt /cov^ e^5 ireirXwv
crroXtSes VTTO crfyvpoiai reivovcnv treBev. *^w^
nEN0ET2.
t So/covert Trapd ye
Tro
Sa-
which the god was wont to manifest
himself.
925 f . TT]V <TTOOIV o-Tavai : to have
the mien. ^t: commonly translated
namely. But the usual restrictive
force, emphasizing the preceding
word, is applicable here. Pentheus
fancies that, even if he does not ap-
pear like Ino, he may resemble his
mother at least.
929. The verse is unnecessary to the
sense, and disturbs the distichomythia.
934. I8ow : see on 198. Unless a
verse has fallen out here, its place is
supplied by the act of adjusting Pen-
theus's hair.
936. <rroXt8s : folds ; according to
Poll. (vu. 54) the lower part of the
folds made in the chiton in adjusting
the girdle. Cf. also Xen. Cyr. vi.
4, 2, x iT ^ vci ffro^iSwrbv ra KO.TU.
937. SOKOWTI : sc. oi>x ftfs rtivtiv.
iropa KT\. : at least about the right foot.
90
EYPiniAOY
945
/)/OO>>/)' \ / V / \
ravuevoe o o/ae/w? irapa revovr e^et TreTrAos.
AIONT2O2.
1 TTOV Jb TO)V
940 orav napa \6yov crdxfrpovas BaAc^as 18775 ;
IIEN0ET2.
Trorepa Se Ovporov 8ei
^ r^Se, EaK^r) fjiaXkov et/cacr^cro/xat ;
AIONT202.
~ N " ^^^ ? N
> oegta ^017 ^a/xa oegta> TTOOI
lvS) 8'
viv av) on
<j>pva>v.
c^o'
ai/
nEN0ET2.
ras
avrattrtv eXarats rots e/xots w/xoig
AIONT2O2.
BvvaC av, et fiovXoLO' ras Se
OVK e^es vytets,
vv 8'
e)(ts otas o-e
<j>peva<s
Sei.
HENQETS.
a,i/ao~7rao~a>
950 Kopv<f)als VTTofiaKow
938. TavOt v8t : on <Azs sjrfe, i.e. the
left. re vovra : not the ./btrt, but the
ankle; strictly the sinews extending
from the heel to the leg, and so used
of the ankle in general. Poll. (n.
191) defines it as r'b TT\O.TV vtvpov, b
irpbs T)JV irrtpvav travtrai a.icb lyvvos
ap^iifjifvov. Cf. Cycl. 400, Tfvovros op-
Trdffas &Kpov iroS6s, Phoen. 41, iru>\oi
XfA-atJ rtvoinas Qf<poiviffffav iroSwv, i.e.
the horses struck the ankles of Oedi-
pus before he got out of the road.
939. i] irov : can i< 6e
940. irapa Xcryov : contrary to thy
expectation.
944. pcOeVniKas 4>pevi3v : hast
changed thy mind. The words may
also mean, hast lost thy wits. Cf. 359,
Q(<TTT]S fypeviav. The ambiguity is
designed.
946. avrawriv cXdrais : pines and
all. H. 774 a ; G. 188, 5, note.
950. {Spaxfova : a case of zeugma ;
supply in thought irepifra\d>v.
BAKXAI.
91
fjirj (TV ye ra
/cat IIai>6g e
AIONT2O5.
StoXeVi?? t
/#* e^et
HEN0ET3.
/caXws eXeas* ov cr#eVet vn
ywat/ca?, eXaratcru' 8* e//,6z>
955
/cat
(TV
SoXtoi>
So/cS
AIONT2O2.
"T]V (T K
nEN0ET2.
,
\KTp(t)v
^>tXrarots a
AIONT5O2.
OVKOVV f.ir avro TOVT* aTTOO
960 X^et S' tcr&>s (T(f)a<s, r\v crv
(f)v\a;
HEN0ET2.
Sta
yap
et/x' dvTJp, roX/xwi/ roSe.
951. Pausanias (ix. 3, 5) mentions
a care called Sphragidion, about fif-
teen stadia from the summit, as the
cave of the nymphs of Kithairon.
952. Pan haunted especially the
peaks and glens of the mountains,
attended by the mountain nymphs.
955. Cf. Iph. A. 1182, 5e|<!yue0a 8fiv
r\v ff Sfaff9at xp f v"- Kpv\j/i : pass.
in sense. See on 588. Kpv'i|nv, ^'v :
cognate ace. with the pass, voice, H.
725 c ; G. 197, note 2, last part. The
words are ominous, though not so
understood by Pentheus.
956. c'XOovra : with double sense,
condition and cause.
957 f. gojiw <r4>ds x cr ai:
(Aa <Aey are AeW. Pentheus returns
to the suspicion expressed in 222 ff .
Xt'icrpwy <J>I\TCITOIS KT\. : in the sweetest
snares of love.
959. V avto TOVTO 4>v'Xa| : to spy
out that very thing, <puAa| (i.e. Ka-rdffKo-
iros, 956) being in the pred. TOVTO :
i.e. exfffOat KT\.
960. The second part of the line
can have no significance for Pentheus,
and seems to be uttered aside.
961 f. Contrast the feeling mani-
fested in 840. avrwv : i.e. i}&ai<av
implied in
92
EYPiniAOY
AIONT2O2.
crv
roiyap cr' dyaives ava^evovcriv ous ere
<x o / \ > * > > \
965 CTTOU Oe- Tro/xTTog o et/x eyw
/ ^ > ' ^- > *\ \
Keiuev o aTracet cr aAAos
X/ 31 ?* /vrvt
, , ,
Tna-r)fjiov ovra
IIEN0ET2.
AIONT2O2.
nEN0ET2.
17 TeKovcra ye.
s v /<
CTTl T0(
<j>epoi4i>o<5 17 ^e
AIONT2O2-
HEN0ET2.
afipoTTjT* efJLrjv Xeyeis,
AIONT2O2.
REN0ET2.
/cat
-r/u-
963 f. vtrcpKOfiveis: either <oi7es<,
or sufferest, in behalf of. Pentheus,
of course, takes it in the former
sense, as referring to his effort in the
city's behalf, to ferret out and check
the infatuation of the bacchantes.
And the following line, so far as it
can have any meaning for him, is a
promise that the contest will not be
unworthy of his courage. |iovos :
repeated for emphasis. Cf. Ale. 722,
q>l\ov "rb <[>fyyos rovro rov 6fov, tf>i\ov.
964. ovs <r \pij : sc. ava^vtiv.
965. TTOIMTO'S : i.e. thither, as con-
trasted with aira.fi. The irony in the
following lines is intensified by the
interruption of the sentences and by
the brevity of the respective replies.
967. ir<rT)|AOv6'vTairouriv: because,
as Dionysos means, his head should
be borne aloft on the thyrsus. Cf.
1139 ff. roSc : i-e. eiri<n\nos elvai
968. dppo'rt]Ta . . . \ vis : thou tell-
est of luxury for me, lit. as mine.
969. Tpv(f>av : to fare soflly.
BAKXAI.
AIONT2O2.
HEN0ET2.
93
e/>X et
970 rpv(f>d<s ye rotacrS'.
AIONT202.
Setvos crv Sewos KOiTrl Seu/
OJCTT ovpcwto o"Tf)pL^ov
'Ayaviy, ^et/3a9 at #'
v Bvyarepes' TOV veaviav
975 Toi/8' ets dyaW peyav, 6 viKrjcrcov 8* eya>
/cat B^oo/xtos eort. rdXXa 8' avro
XOP02. ,/#-t^fc<^
tre ^oat Avcro'a? /cv^e? tr* et? 0^005,
970. rpv<j)as V 4 TOicurBt : yes, wi<A
scA softness, i.e. such as is meant by
<f>fp6/j.ft>os . . . fjnjTpds. d|(wv KT\. :
verily, worthy of it are the deeds I am
undertaking. For the use of yueV as
equivalent to ^i\v in Attic, cf. Med.
676, 6f/j.is fjiev 7)/j.as xpriff/jibv fiSevcu
fleoO ; Kuhn. 603, 2.
971 f . Addressed to Pentheus as
he departs. The lines following are
spoken after his withdrawal. Scivd
ird0T| : dread woes, i.e. as Pentheus
understands it, those which he will
cause. crrnpitov : rising. Cf. 1073,
1083, Hipp. 1207, KV/JL ovpavif aTijpi^ov,
Hes. Th. 779, irpbs ovpavbv i<n-i]piKra.i.
ovpavu: for the dat. denoting di-
rection, cf. Pind. 7. v. 41, ivarfivais
o'jpav<f x 6 *P as > Kr. Dial. 46, 2, 4.
976. KO.C : either and, or eyen ; Di-
onysos means the latter. avrd <nj-
fxavft: sc. rb irpay^a, or rb itpyov, the
event itself will show. Kr. Spr. 61, 5,
7. Dionysos follows Pentheus.
977-1023. FOURTH STASIMON. The
Chorus call upon the spirits of mad-
ness to rouse the Maenads against
the mad spy, they foretell the rage of
Agaue against her unrecognized child
(977-991), and invoke justice to take
vengeance upon the godless one who
in his folly is intruding into the rites
of Bacchus and Kybele (992-1001).
They then turn to the painless life of
those who cultivate a temperate mind
and ready obedience to the gods ; they
declare their joy in the pursuit of a
life of piety (1002-1011), repeat the
invocation of justice (1012-1016), and
close by calling upon Dionysos to
appear and bring into the toils of
death the disturber of the bacchantes
(1017-1023). The dochmiac rhythm
is in keeping with the agitation of
the Chorus.
977. AV'O-O-OS Kv'ves : the Erinyes.
In Aesch. Cho. 1054, Soph. El. 1388
also, they are called xuves.
94
EYPiniAOY
viv
980 CTT! TOV iv yweu/co/AijaGj crroXa,
Mau>aSa>v TOV KaracrKoirov
0,770
, Maiz/acrw 8' aTrucrei*
985 Tts oSe KaSjaeiW
pacrrrip opOpcvw of < o p 0/*s uj /
CS O/OOS S
rt9 a/aa vtv
ov yap e^ at/xaros
, O)
c(j>v,
990 Xeatvas 8e rw/os 08* ^ Yopyovow
Aifivcrcrav yeVos.
tKa (j>avepb<s l
(frovevovcra Xaijaa)i>
995 TOV adeov aVo/iov a8t/cov 'E^t
TOKOV
979. vCv : for aurtfe, but in 982 for
awr<fo.
980. yuv<uKopCp<j> : c/1 Frg. 185,
*yvva.LKOft.lij.<f SiairpfiTfis fiop^dfian.
981. McuvoSuv : dependent upon
KardffKovoy, as in 956.
982 f . diro irtrpas : with SoKtvovra.
-"- T| o-KoircXos : sc. iff-ri, where is a
lookout. Cf. Ion, 714, SeipdSes Uapva-
<rov trerpas $x oucral ffK6ire\ov ovpdvdv
ff tSpav. The prediction of these
lines is not in conformity with the
result. Cf. 1070 ff. The Ms. reading
fl oit6\oTros would be supported by the
facts, if there were any good author-
ity for taking oWAoiJ/, as many of the
commentators do, in the sense of tree.
A satisfactory emendation is wanting.
985. Ka8|wv : with naa-rfy. 990
f. is against the connection with vis.
986. dpflfxv'wv : substituted by Week-
lein for the impossible Ms. reading,
and explained, ear/y zn the morning,
lit. rz'sin^ early. Against this emenda-
tion is the fact that the early morn-
ing would have been long since past.
Cf. 677 ff. The simplest of the nu-
merous suggestions is opiSpdfMW, made
after the analogy of optfidri)*. In that
case the last syllable of the bacchius
is resolved (H. 1126 p.), though in the
corresponding verse of the antistro-
phe it is unresolved. Translate, this
spy upon mountain-ranging Thebans.
991. Aif3vor<rv : the Schol. on
Find. P. x. 72 says that some placed
the Gorgons among the Aethioplans,
towards the east and south, others at
the extremity of Lybia, toward the
west.
992. (jxmpos: used here as an adj,
of two endings. H. 225 a j G. 63, N,
BAKXAI.
os aSiKw yvatfjia Trapavofia) r opya.
ra Ba/cyt* opyid re fleas
95
TrpaTriSi ^-^^
1000 TrapaKOTTO) re X^/xart are'XXerai
rav
a>? Kpa/ncruv VIKO.V
cra><f>pova
eis ra
1005 TO (7O<f>bv OV <f>00VO)'
^aipa) Brjpevov-
r&* v '\J'** 9>X
era rao erepa /aeyaAa (pavep ayovr act
eirl ra KaXa )8cov t
^/Lta/3 ets VVKTOL r* tvayovvr ev<Te/Belv,
1010 ra 8* ea> vo^i^a 8t/cas e/c/8aXoV-
ra
996. YT^ ^ : c /- 538 ff - The word
contains an allusion to Pentheus's
want of apprehension for the higher
truth.
997 ff. os xr\. : since he, etc., the
ground of the preceding appeal to
justice.
998. irtpl TO. opyia: as regards the
rites, explaining aS'iny . . . opya.
OedsiiaTpos: Kybele. Cf. 78, 131.
1001. TOV dvCKarov v(Kav : the vic-
tory not to be won. The Ms. in 1001-
1011 abounds in difficulties, which
numerous conjectures have done little
to relieve. The words of Brunck
are still applicable, who says of these
verses, "Praetereat lector, nisi
siquis in eorum emendatione
ingenii vires experiri velit;
sed id non ante adgrediatur
quam Divae Criticae lita-
verit."
1002 ff . " To preserve the mind in
prudence (aiixppova), and in a mood
befitting mortals (ftpoTflav) brings (lit.
is, f<pv) a painless life to men who are
prompt to obey (airpoQcurtovois) in
things pertaining to the gods." Ppo-
Ttav : cf. 396, e^rd.
1005. TO o-o<|>o'v : see on 203.
1007 f. |tryo\a <j>avpa: in 1198
fifyd\a Kal (pavepd. a-yovra KT\. : con-
Strue, aei &yovra ftiov tirl rb, /caAa.
Cf. Frg. 671, <J S' s rb aSttypov 4v
apftiiv T' &y(ov ?pa>y r)\uTbs av6p<f>-
iroiffiv.
1009. r\\uip KT\. : lit. throughout the
day and into the night, i.e. day and
night. Cf. 425, H. F. 505, ?| fotpas
tls VVKTO. fj.)} \inrovfievoi, Soph. Ant.
340, eros els eTOs.-^~fvo.yovvra.: with
the indefinite subj. of tiiaffifiv,
evoref&v, rifidv (1011) : apps. to T<5e.
1010. TO. cg<o voVifAtt SKOS : those
usages that violate the right. Cf. 331,
also Andr. 787, pr]$et> Sheas e|w tcpdros
fv Oa\a./J.ois Kal TroAet Svvaffdai.
96 EYPIIIIAOY
ITQ) SiKOL (f>aVpO<S LTO) L(f>r)(j>6pO<S
1015 TOV a0ov avopov aSi/coi> 'E^t
TOKOV
(f>dvr)0L Tavpos rj TroXvKpavos iSeu/
SpaKoiv rj irvpuj)\.ya)v
- XeW.
1020 10', a> BctK^e, 0rjpaypVTa
ITTL 0avdcrijJLOV
Trecrdi/rt rav
fO^J* / / ^^ n\ \ '?
(t) OW/X, O TT^Ott' 7TOT ^VTU^Ct? ttl/ EAAaOtt,
^tSa>i/tov yepovTos, 65 ro yrjyeves
S/)a/coi/ro9 ecTTretp' o^eos ev yvat?
<X / V O
1025
cos ere
O \ * X \\ *
OOUAO? a>v /xev, aAA o/xeu?.
(rvn<f)opa ra SecrTroraii/.]
^
1012 ff. Upon the Ephymnion, see
on 897.
1017. ravpos: as a 6u#. See on
100. Nonnos (Dionys. xi. 43 ff.) de-
scribes the god as taking the form of
the serpent, the lion, and other ani-
mals. See Introd. p. 11.
1019. opeurOai : the act., as above
in tSftv, is generally used in this idiom.
H. 952 a; G. 261, 2, Rem.
1020 ff. The text is uncertain ; as
it stands, construe, yf\<avn Trpoawircp
(dat. of manner) irepi&a\f 0p6xov Qif
paypfvrq BaX" v Trta6vri M 9ai>dffifj.ov
a.yf\a.v, i.e. rai> MaivdSwv. OripaYpevra
BoK\dv : the pursuer of the Bacchantes.
Ppo\ov : explained by ire(r<W . . .
yicuvdSaii/. ir<ro' VTI tirl KT\.: lit. when
he attacks, i.e. let him attack a deadly
band. 6avcuri|iov: contains the lead-
ing idea.
1024-1392. THE EXODOS. The
unfolding of the denouement begins
with the messenger's tidings.
1026. Spcucovrosotycos: dragon. Up-
on the tautology, cf. 1365, &pviv KVKVOV,
Iph. T. 1089, Spvts a\Kvtav, Horn. //.
v. 783, aval Ktivpoiffiv, ibid. xvn. 389,
-rafyoto 0o6s. Cf. also the Schol. on
Or. 479, ytvos ntv 6 oQis, f'lSos 5e & Spd-
KWV. v yvcu.s : superfluous after
ynytvts. Cf. Phoen. 668, 7a7reTetJ 5-
xkv 686vras (is /3aOvffir6povs yvas.
1027. dXX' 6'fJ.ws : cf. Ar. Acharn. 956,
irdtrus fitv ofotis ouSei/ vyits, a\\' 2/iwy.
1028. The line is interpolated from
Med. 54, where it is followed by a-
KUS irirvovra., requisite to the sense.
BAKXAI.
97
XOPO2.
Tt 8* ecrrtv; e/c T$aic)(a)v rt
AITEAO2.
1030 IIa/#et>s oX<uXe, TTCUS '
XOPO2.
veov ;
rt TOUT' eXe^as ; 17 eirt TOIS e/tots
a>s Trpacrcrovcri Se<T7roTcus, yvvai;
eva jiieXecrt
1035 OVKTL yap
XOPO2.
UTTO
<f>6j3a
a>
XOPO2.
6 Atoz^cros 6 AIOS Trats, ou
K/3aTO9 '
^
crot, TT\J]V err
1030. irais irarpo's : a common form
of expression where the character of
the father is thought of. C/! TVo.
723, A.{as apiffTov TroTSa yifj; rpetytiv ira-
rpAs, also Soph. /. 341, 365, Phil. 3.
The idea here is, " the child of so
illustrious a father as Echion."
1031. The dochmiac rhythm is ap-
propriate to the excitement into which
the Chorus are thrown by the news of
Pentheus's death. The same rhythm
is continued in 1034-5, 1037-8, 1041-2.
1034. 'va : fem.
1036. There seems to be a lacuna
here covering the end of this verse
and perhaps also another verse.
drovSpovs cS8 : i.e. to such a degree
that it will endure this contempt of
its prince ; some such thought as this
may have been expressed in the words
that followed. Cf. Soph. 0. C. 917,
Kai p.oi ir6\iv KfvavSpov i) $ov\rii> nva
8o|as flvai, K&/J.' laov r<f fj.ijSfi'i. o-ys :
thinkest.
1038. c'poV: over me, H. 694; G.
147, N. 1.
98 EYPiniAOY
1040 Ka/cotcrt xatpew, <5 yvvcuKes, ov KaXov.
XOPO2.
<f)pa,(TOV, TLVL
dSt/co? aSt/ca T' eKTropit^v dvrfp ;
ir*is^tstsc
AITEA02.
XtvrtWes e^eyS^/xei/ 'AcrtuTrou /5oas,
1045 XeVas KiOaipuveiov etcre/3aXXo/u,ej'
re Kayw, Se<T77ori7 ya
OS T7/AU' TTO/ATTO? ^V 6<Mpi(L<S. ( dtA^*: I
TT/XUTOZ/ /xe/ ov^ Troisripbv l^ofMev VOLTTO
TO, T* e/c TroSaiv crtyryXa /cat yXwcrcr^?
1050 o"(W^o^T9, a)? optofjiev oi>x opwjjievoi.
r)V 8' a-y/cos d[JL<f>iKp'r)[jivoi>, vSacri StaySpo^ov,
Trev/catcrt <TV<TKidtpv, evOa MawaSe?
e^ovtrat ^etpa? ei^ Tepirvois
at /Aei/ yayo avTawj dvpcrov e/cXeXotTrora
1055
at S' e/cXwrovcrat uot/ctX' w? TraiXot
1043. Oepairvas: abodes. x^ ovo 's : 1055. Ki<r<r<o : commonly construed
see on 664. with /CO^TTJV, ^ u * better with (K\t\oi-
1044. c'gcf3r]|jLcv : trans. II. 712 c. ir^ra, since the latter by itself can
1045. XYiras : see on 677. hardly suggest the appropriate mean-
1048. to|icv : the poets sometimes ing. Translate, u^tcA Arf /os< iVs
use Y^w, 6dff(rta, itnai, and similar verbs crown o/ ivy, lit. wanting in respect to
as trans. <7/! Aesch. Ag. 183, <rA/ia iwy. For the dat. instead of the gen.,
rjfjLevwv, Soph. Aj. 249, Cirybv l6p.fvov. cf. ThuC. VI. 69, trpo&vfj.la. f\\tirets.
H. 712 b. KO|iT)Tt]v |avrr<j>ov : were wreathing
1049 f . ra . . . <ro)ovTs : with noise- with a garland, lit. so tAa< it was gar-
less foot and silent tongue, more lit. landed.
keeping silent the sound from foot and 1056. cis irwXoi KT\. : cf. Or. 44,
tongue. 5e/xvfa>i' &iro mj5a 5po/ua?oy, TraiAoy &y aTrb
1052. trvcTKux^ov: casting thick shade, vyov. tKXnrovcrai : V&^^^^^^^m
said poetice of the place. **f, as the text stands ; and the
BAKXAI.
09
dvTe/cAaQi> dXXi^Xais jaeXos.
HevOevs S' 6 T\TJfJL(oi' 0ri\vv ov^ opwv
\ f- /&> ** ' > T ' \ '/
eXege rotao co *> ov /xe> ecrra/xev,
1060 pvAC c^LKvovfJiai MawctStoj' OTTOC
ov S' 7re/u,/3as ^ IXairrjv v
rovvrevOev 17817 TOU eVou OeajM opa>'
Xaj3a)i> yap eXar^s ovpdviov autpov
1065 Karrjyev, yyev, vjyev et9
KVK\OVTO S' we're ro^ov
v e > / ^V
opeiov o t;ei>o<s -^epoiv ayaiv
ets -y^, e/ay/xar' ou^t 0vr)ra
1070 Ilej'^ea S' tSpucras eXartvcov o^ajt' oriw^
opdov fj.e0Li Sta ^epc^v /SXacrr^/a' cu/a)
viv.
thought seems to be that some of
tlic Maenads are bounding along
answering one another with bacchic
songs, just as colts spring from the
yoke, neighing to one another. It is^
not improbable, however, that a verse
has fallen put. iroiictXa vya : the
epithet is used as in the Homeric
op/taro iroiicl\a, II. \. 239.
1060. Construe, OVK 3iKvovfj.ai (sc.
o<f>6a.\t*o'is) oiroi /j.60wv yiaivdScav, sc.
tff-r'i, " I cannot see the place where
the Maenads are holding their dance."
|io'0u)v : a coarse dance, according
to the Schol. on Ar. Eq. 697.
1063. 6e'a|jia : a wondrous sight. Cf.
760.
1064. ovpdviov: in the sense of
ovpavd(j.r)Kfs. Cf. Tro. 1087, Tflx^a
KvK\a>in' ovpdvia.
1065. KaTT]Yv KT\. : the force of
the preposition extends to the follow-
ing verbs. Cf. Hec. 167, cwraiAeVaT'
u\f(rarf, Med. 1252, waT
r' Were.
The repetition of the verb pictures
the gradual bending of the tree.
1066 f . UKTTC . . . cXiKoSpo'ixov : fr&e
a bow, or rounded wheel whose encircling
outline is marked off" with the compasses,
lit. marked off" as to its outline. Cf.
Frg. 385, where the letter Theta is
described as follows : KTJK\OS rts &s
T&pvoiaiv fKfj.frpovp.fvos, OVTOS S' x e '
ffi)fj.elov tv p.tff(f ffa<f>fs. This use of
irfpi<f>opii for 7rep<epea does not seem
to occur elsewhere, and in so far
is against the reading e\tKo$p6/j.ov
adopted in the text.
1068. <Ss KT\. : the thought of the
principal sentence is taken up again
after the comparison, as in the Ho-
meric similes. For other traces of the
epic style in the ayyf\tkai pfafis, see
on 1056, 100.
1072. drpc'iia : gently, slowly. ova-
\airCo-cie : in strict use said of a horse
100 EYPiniAOY
/l\ o > > /IN >/)/ > >
opur] o es opuov cuutp e
e^ovcra vwrots SecrTrdr^v
1075 (W^^.Be p.aX\ov 17 /caretSe MawaSas-
ocro*> ya^ OVTTOJ 817X09 17^ 0d<Tcr(i)v avo),
/cat rov evov [lev ov/ceV eicropav Traprjv,
e/c 8' aWepos (f)(DVij rt5, a>9 /u,ef et/cacrat
Atoz^vcros, ave/Borjcrev
1080 ay&> TQV vjita? KaM^ Ta/x,a r'
yeXcw riOe^evov aXXa n^wpeicrOe viv. '*- -/
/cat TOLV0' aya' yyopeve /cat Tjyjo? ovpavov
/cat yata^ ecrr^t^e <a>5 cre/xvov 7rvpo<s.
o-tyrjcre 8' aWijp, crtya 8' euXet/xo?
1085 <f>v\\ y e ^X e> Oviptov. S*. ov/c ai^ T7/covcra5
at 8* alerts yxyv ov cr
ecrr^crav 6/D^a /cat St^ey/cav
o 8' av^ts eVe/ce'Xevcre^ &>s 8' eyvatpicrav
cracfyrj /ceXevcr/Lto^ Ba/c^tou KaS/xov /co/aat,
1090 iyfa^ TreXetas w^cyrgr' ou^
j_7roSajv e^ovcrat crv^rovots
that rears and throws its rider. The 1079. Aio'wcros : instead of
figure is continued in 1074, C^TOW. eroi; with an implied 0o>^. (^ ZT. J? 1 .
1073. _4nd zi rose upright high into 1002, -^Aflev fiKtav, ws bpav e<f>aiyero,
the air. dpOov: not strictly applica- IIoAXtis. vcdviScs : doubtless appli-
ble to aiOepa, but repeated in the sense cable to the most of the Theban bac-
of rmn<7 straight up, to intensify the chantes, though not to their leader,
picture of Pentheus's elevation. Agaue.
1076. orov ovirw : scarcely. H. 1081. -yc'Xcov: pred. with fyuSs . . .
1035 b ; Kiihn. 655, A 7. 0^710. C/". Hdt. m. 29, yt\o>ra Ipi
1077. KtU : where the English idiom 0-l]aeaQe.
uses wAen, a common const. C/". 1082, 1087. t<m\<rav opOa: sc. ret &ra,
Soph. Ant. 1186, Tiryx<^' K\rfOpa pricked up their ears. Cf. Soph. El.
XaAaJora, Kal /ue <(>66yyos &d\\ti. 27, opflif oSs IffTijaiv.
1078. 4vTi TIS: c/. 7pA. T. 1385, 1090. ireXcCas KTA. : c/ Soph. 0. C.
t>abs 5' e/c fj.f(ri}s 4<f>6eya.To fio'fi TIS, 1081, dsAAofa Taxvppoxrros ire\ftds.
Soph. 0. T 7 . 1623, <p6fy/jM 5' ^al^-ns 1091. This verse might be con-
strued here, if ^aoova. be substituted
BAKXAI. 101
'Ayavr) crvyyovoi 0*
i re Ba/c^at- Sta Se
>>//> ^ >
v T einiQ&iv c/eou irvoaicriv e/A/Aa^ei?. -
1095 as 8* elSoj> eXciTi? SecrTror^^ e'^/xevot',
irpayrov joieV avrov ^ep/xaSas /cparat/SoXovs
tppLTTTJOV, dvTLTrupyov eTTt/Sacrat irerpav,
OCHCTI T' ekcLTivoicriv rjKovTi^ero'
aXXat Sc Ovpcrovs leer aw St' aWepos
1100 Ilc^^eiws, crro^ov Sucrr^^ov dXX' OVK rjvvrov.
Kpelcro-ov yap WJJQS Trj<s Trpo6vfj.ia<s
KCL0fjcrTO T\TJ[Ji(t)V, OLTTOpCa
reXo? Se Sput^ot? (ruvrpLaivoiKraL icXaSot?
avecnrpacr(roi>
1105 eVel Se /xo^^wv Tg/o/xar' ov/c
Tre/otcrratrat
7TTo0ov Xa3e<r^, MatvaSeg, rw aa.?. /^^ <?w
a>S eXw/Aev, /xiyS' aTrayyetXiy
Kpv(f>aiov<s. at Se
for ^ffo-oj/ey, or rp^xovaai for Uxovtrat. 1100. aroxov 8v<TTt)Vov : a pitiable
It is, however, quite superfluous. am. See on 9. OVK TJWTOV : rfiW nt<
1096. avrov : gen. with ilppiirrov, as accomplish, sc. their object.
with verbs of aiming at. Of. 1099, 1101. Kpturcrov vtyos rrjs irpoOvnCas :
Teow ntv^'coj. Kparai^oXovs : nearly c/1 Aesch. ^. 1376, 8>|/oy Kpeivffov K-
equiv. to Kparaiws. Instead of an TnjS^yuoTos. TTJS irpo6\>n,as : sc. TWV
adverb the poets often join to the Ba/cx<' / - Pentheus sat so high, that
subj. or obj. an adj. formed by com- the bacchantes in spite of their most
position with the stem of the verb, or eager efforts could not reach him.
that of a synonymous verb. Cf. 1111, 1102. XeXi^fw'vos : rare for ej'ATj/tyue-
Xo/ua<irT^s Tfivrtt, Med. 277, wac^A.ijs vos. Cf. Ion, 1113, Cycl. 433. Kiihn.
aird\\v/Lia.i. 343.
1097. aVTi'irupYov : towering oppo- 1103. <mvTpi<uvowr<u :
site. Cf. Aesch. JEum. 687, -n6\iv rij^S' JMHJ, lit. with the trident. See on 348.
in^/i-irupyov avrcirvpyiaffav, i.e. reared the 1104. ouriSijpois (JioxXots : repeats
fortress of the Areopagus over against Spvivois K\d$ois, expressing wonder at
the Acropolis. the deed of the bacchantes.
1098. ^KovrtttTo: lit. was aimed at. 1109. pvp(av \tpa-- cf. Tro. 1163,
The subj. is Pentheus. For a similar pvpiov x f pds> Phoen.\.,p.vpla.v \6yx~nv.
change of subj. cf. 1124.
102 EYPIIIIAOY
(** "
1110 TrpocreOea-av eXoYiy Ka^avecnracrav
vijjov Se Odcrcrajv I injj60ev ^a/xatTrer^?
7T/3OS ovSa? jjivpiois oi/Aary/xacrt
/ca/cov yap eyy vs av epdvOave. -
irpa>Tr) Se ^Trjp fjp&v lepCa <f>6vov
1115 /cat TrpoartTLTvei viv 6 Se ^irpav /co/u,^? (XTTO
yvaipicracra, p,r) KTOLVOI
/cat Xeyct Tr
eye* rot, jjLrJTep, elfjJl Trat?
, o^ ere/ce? eV So/xot?
1120 oi/creipe S* ai fjLrjrep p.e /x^Se rat? e/x,at5
d/xaprtata't onrep^a crov Kara/era^?.
^ S' (l^pgv e^tetcra /cat Stacrrpoc^ov? ^<^
/copa? eXtcrcrovcr , ov fypovovcr a ^r) (f>poveiv,
>T> ' ' > 5 /) /
e/c Ba/c^tou /caret^er , ovo e7retc/e i/tv.
1125 \aj3ovcra 8* aiXe^ats dpLcrrepav X^P* 1 '
irXev paler LV ai/rt/3acra rov SvcrSat/xovos
dir<nrdpaev a)/xov, ov^ VTTO crffevovs,
dXX' 6 $eo? evjj,dj)Lav eTreStSov ^epoiv.
'ivo) 8e raTTt Odrep* l^etpya^ero
1130 fyriyvv&a crap/ca?, AvTOvorj T 0^X05 re
T 9 ^V <> > e /) /
Joa/c^wv T^V oe Trao" o/x,ou POT),
ocrov ervy^avev
1114. UpCa : as priestess, with refer- performed the task upon the other side.
ence to the sacrifice which she offers Cf. Ovid, Met. in. 722, dextramque
to Dionysos in killing Pentheus. Cf. precantis abstulit; Inoo lace-
1246. rata est altera raptu.
1120. ofcreipc S' to (iTJTt'p |i : up in 1131. tirti\(. : sc. avrcf, pressed upon
the 8rda) cf. 1381, Hec. 432, Kifyu^ 1 him. ircurapoTJ: every kind of cry,
explained by what follows.
1124. eirtiOc: the subj. is Pentheus. 1132. o jx^v <rrvdSv: as if
1126. cxvripcuni : pressing her foot had been used in the preceding clause,
against. while the corresponding member, at
1129. rairl Oarcp* cgcipyagcro : lit. 5' ^Aefo.afo*', changes to the independent
BAKXAI. 103
a
S >\ /\ * VJ > * \ >\/
^AoAat.oi'. e<pepe o 77 ^ev oiKevyv,
f) 8* i^vos avTat? ap/3vXai5' yvpvovvro Se
1135 TT\evpal cTTra/Day/Aots Traaa 8' Tj/xaT&^eVr
/cetTai Se ^wpt? (Tatpa, TO yu,ev VTTO o"Tu<^>Xot?
Trerpat?, TO 8' vXii? eV Ba0vv\o) (boB?),
c /* y / > v/)\
ou paoiov L,?) TT^ja a Kpara o ac/Atov,
1140 OTrep Xa/Bovcra rvy^avei fj,nJTr)p yepoiv,
Tnj^iao"' CTT' a,Kpov Ovp&ov a opecrrepov
<bepei Xeovros Sta Kt^atpaii/o? aeo~ov,
II II
^a)/3t 8e
1145 Tet^ewv ecr<w TWINS', d^a/caXouo-a
TOV ^vyKvvayov, rov ^vvepydriqv aypas,
TOV KoXkiviKov, r) SaKpva vu<r}(j>opel.=
J \ \ 1> ~STKJ ~~^~ST~~""^ / ' I ^
eyw /xev ow TT^O e/CTroocoi/ T$ gvfitpopa
a7Tt^', 'A.yavr)v irplv /xoXetv 77/305 Sw/AaTa.
1150 TO <ro)(f>poveLV 8e >cal artfieiv ra TMV Oeaiv
KctXXtcrTov ol/xat 8' CIVTO /cat
6vr)Tol(TLV etvat /cT^jaa TOIO-I
const. Cy. Heracl. 39, Suotv yepSvToiv 1146 f. TOV . . . KaX\viKov : see on
5e ffTparriye'iTa.t Qvyj ^7<i> ^ev a/^J 725. i] KTA. : she w/io wzns 6u< tears
ToTcrSe Ka\xaivwf TCKVOIS, % 5' o3 rJ> as Me victor's prize.
6f)\v jfvos <r<ffi. 1148. gvfu|>op4 : for the case, c/I
1134. txvos : /oof. avrais:seeon ^UJD/J. 1113, e/cTroS&c elj/ot ye'ojj, Or.
946. 548, Tots \6yoiffiv lKiro$<av. The const.
1135. irXcvpaC : n'6s. The bacchan- in its origin is the dat. of interest.
tes laid bare the ribs by tearing off 1151. avro : i.e. rb acafypovtlv KT\.
the flesh. 1152. TOUTI xp>|u vois : sc. avry, i.e.
1137. x w pfe : scattered. T<? awfypovtiv KT\. For the meaning
1138. paOvgvXw: instead of &a0v- of xp^^ots, cf. 431. The messenger
{uAou. See on Porpv<a5i], 534. withdraws.
1144. Cf. Accius, Bacch. Frg. xvn. 1153-1167. The Chorus break out
quanta in venando adfecta into exultation over the triumph of
est laetitudine. Dionysos, but are interrupted by the
104
EYPiniAOY
XOPO2.
1155 rav TOV paKovTos eKyevera
os rav OrjXvyevfj
re TTICTTOI/
ev0vpcrov,
ravpov TrporjyrjTrjpa crv(JL<f>opa<s e^a>v.
1160 Ba/c^at KaS/xetat,
yoov, ets
os aywv, e^ at/Aart crra^ovcrav
SaXelv TZKVOV.
1165 dXX' el(ropa> yap et? So/xous 6
HevQews 'Ayavyv ^rcp ev $iacrrp6<j)Ois ^ '
ocrcroi?, Se^ecrOe Kotjipv eviov Oeov.
entrance of Agaue. Verses 1165-7
are spoken by the Coryphaeus.
1156. friiXvytyr} : equiv. to efaftav.
The composition with --yeHjs, as with
-ttS'fis, -uSiis, -fifnis, often merely serves
to give the word a fuller sound,
a favorite feature in the style of the
Tragedies.
1157 f. vcxp0t]Ka v0vpo-ov : the shape-
ly thyrsus. Cf. Hipp. 773, etf8o|o$
<t>d}ia, Med. 200, Satrts fCSetrrvoi, 11. F.
689, e forms ydvos, a form of expres-
sion, common with Euripides, in which
the last part of the compound is re-
dundant. See on Kpa.Tai&6\ovs, 109(i.
ITUTTOV "AiSav : app. to vdpOrjKa, and
commonly translated certain death ;
but the text seems to be incorrect.
toHTTovfauv (an epithet of the bacchan-
tes, cf. Hor. Carm. n. 19, 20) has
been proposed.
1159. C/: 920, 1017.
1161 f . TOV KoXXCvtKov . . . cts yo'ov :
ye, have made the victorious god (cf.
1147) glorious in wailing, i.e. in the
destruction of his enemies.
1163 f. The text is doubtless cor-
rupt. As it stands, construe, />-
&a\f?v TIKVOV x*P a 0Ta.ov<ra.v tv at/tern
(avrov). The dat. is the usual const.
with irtpifta\t~tv, but the gen. may be
defended by the Homeric phrases,
//. i. 393, irepi<rxfo iraiSds, v. 21, irepi-
/Kjvai aSeA^joC.
1166. cv: cf. 11. .F. 932,
1167. Kcofxov: revel, said in irony
of Agaue's exultant entrance with
the sign of the god's triumph.
fviov Ocow : cf. 157.
1168-1215. Agaue enters bearing
the blood-stained head of Pentheua.
'Ao-iaSes
AFATH.
1170 eAi/ca veoro^ov eVi, [JLe
/3oi /cat ere
XOPO2.
crvyK&)ju,oj>.
AFATH.
rwS' aVev /Bpo^atv &
1175 o>9 opav Trapa.
In what follows, the poet unfolds the
tragic Peripetia ( eo-n 8e irepnrfTem p.tv
f) fls rb tvavrlov riav irpaTTOfj.V<av /j.tra-
#o\ij, Arist. Poet, 11, 1) which was
foreshadowed in the words, Sdicpva VIKTI-
<pope't, 1147. The dialogue between
the Chorus and Agaue is at first an
excited Kommos (1168-1199) chiefly
in the dochmiac rhythm, but in 1200 ff .
it becomes calmer and changes to the
iambic trimeter.
1168. opoOv'vtis : an epic word, but
found also in Aesch. Prom. 200.
1169 ff. Plutarch in the Life of
Crassus tells the following story
touching this passage. After the con-
sul in his expedition against the Par-
thians had been defeated and slain,
his head was cut off and sent to the
Parthian king, Orodes. Peace had
just been brought about between
Orodes and the king of Armenia, and
at the banquets following, many of
the Greek plays were recited, as both
princes were conversant with Greek
literature. In the midst of one of
these entertainments, and while an
actor was reciting from this play the
parts relating to Agaue, the head of
Crassus was thrown in. The actor
immediately caught up the head, and
assuming the frenzy of a bacchante,
rendered these words, <pepofj.fv . . . OTI-
pav. This so pleased the listeners,
that he went on till he came to the
words, efibv T& yepas, when Promax-
aithres, who had slain Crassus, sprang
up and claimed that the head was his
prize rather than the actor's.
1170. e'XiKd veo'rofjiov : by the fresh-
cut twig Agaue means the head of Pen-
theus, which takes the place of the
ivy-wreath, as the ornament of the
thyrsus.
1174. Xe'ovros tviv : cf. Aesch. Ag.
717, fdpefyev \tovros Iviv, also below,
1196, \eovrocpvri. ovpt&dra (cf. 1141,
may have fallen out.
106
EYPIHIAOY
XOP02.
AFATH.
XOPO2.
Tt KL0aipa)v j
viv.
AFATH.
XOPOS.
a ^SaXovcra
AFATH.
TO yepas.
1180 /act/cat/)' 'Ayavrj
XOPO2.
AFATH.
Tts aXXa;
ra
ev #ia(roi9.
xopos.
AFATH.
otou
XOP02.
TI
AFATH.
e/A /Lter* e/xe rovS*
1176. iro'Oev epr]|ias : sc. e/ttap^os. " which the Schol. explains, T( \eyfu
1177. TtKiOcupw: Kithairon? Lit. TOVTO ri T\({J; c/. also Iph. A. 460,
T'I irapQtvov, Ale. 807, ri faffw, and
below 1181, rl KdSpov, 1184, rl /tT'xw.
1181. rCs oXXa (fern.) : sc. ?/3oA.e'.
say Kitkairon ? ri is used thus
when the word of another is repeated
with surprise.
BAKXAI.
107
XOPOS.
raS*
AFATH.
ay/oa.
VVV
XOPOS.
rt
AFATH.
1185
rt yeVw VTTO KopvO* ct
XOPO5.
Va y* wore ^T)^ aypauXo? ffro
AFATH.
1190 credos cro<f>a)<s cu/enrtyX* eVt
rovSe Mat^aSag.
XOPO2.
6 yap a^a^ dyyoevs.
AFATH.
XOPO2.
Tt
/ O> 5
t o ; e
8e
AFAtH.
1185 ff. TAe wAe/p zs young, and
fce/otc f Ae flowing hair of his head his
cheeks are just blooming with soft down.
The man and the beast are confused
in Agaue's disordered fancy. -yevvv
oiroXo'Tpixa OaXXci : lit. is blooming as
to his downy cheek. KopvOa: used
figuratively of the hair of the head.
This passage is imitated by Accius,
Bacch. Frg. vm. ei languo flora
nunc demura irrigat genas.
1188. irpt'im <Ikrr : he is like. Cf.
Soph. El. 664, vpeirei ws rvpawos tlao-
pav. <j>o'P\] : dat. of respect.
1193. T 8'; cireuvw: the Chorus
reflect (ri Se) before expressing ap-
proval.
1194. KaSjieioi : sc.
108
EYPiniAOY
XOP02.
1195 /cat Trats ye IIei>0eus /xarep*
\aj3ovo~av aypav
AFATH.
XOPO5.
AFATH.
XOPO2.
AFATH.
XOP02.
dyaXXet ;
/xeyaAa /xeyaXa /cal
<f)ai>epa raSe ya
AFATH.
XOPO2.
1200
XOPO2.
a) raXatva,
osypav f)v
viKr)<f>6pov
"^^
1195. Kal irals T\. : uttered in
irony like K-aAos aycij/, 1163. The
Chorus in their revengef ulness toward
Pentheus seem to have no pity for
the woe of his mother.
1196. rdvSc XOVTO<}VT} : sc. Aoj3oG-
aav &ypav.
1197. ircpurcrdv (Sypav), ircpicr<r<os
( \aftovffav) : irondrous, in a wondrous
way. Both words are understood in
a sense different from that in which
they are uttered. Agaue explains
her meaning in vfpiaaias in 1209.
1199. 4>avcpd rdiSt y < ? : l ' n { ^ e s '0^
of this land, i.e. famous throughout this
land. KaTeip-yacrjjLt'va. ; goes with the
subj. of yfftj6a and governs ntyat\a
KTA. The Chorus take the word out
of the mouth of Agaue.
BAKXAI.
109
AFATH.
0110,9
, ekOeff a>s tS^re rifvS' aypav,
KdS/utov Ovyarepes Oypos r)V "^
1205 OVK
ov
eo-craXwt'
, dXXd
a/c/xaicrt. Kara
/cat
opyaya KracrOai
Se y' aur^ X 61 / 3 ^ r o^^ ^'
1210 X^pk T ^ y aOtpos apOpa Ste^oprycra/xei/.
TTOU /not Trarrjp 6 TrpecrjSvs ; eX^era) TreXas.
? r' C/AOS Trats TTOU 'crrtv ; alpicr6<a
7ry>o5 ot/covs Kki^aKotv Tr/Jocra/Lt^
a>s irafro'ah.tvorr) Kpara TtyXv^ots rdSe
1215 Xeoi'TO? 6^ 7rct/)t/At ^/octcracr' eytu.
1204. 6t)pos: dependent upon
1205. dyKvXiiTOis: said of javelins
which were hurled with the oy/cuA??.
This was a leathern thong which,
being wound round the javelin, was
suddenly unwound at the moment
the weapon was thrown. In this way
there was added to the direct motion
of the javelin a rotary motion about
the longitudinal axis. See Guhl and
Koner, Life of the Greeks and Romans.
0or<roXcSv : cf. Hipp. 221, &eaffa\bv
opiraica, upon which the Schol. remarks,
0<r<raA.c3j' yap evpr]fj.a rb Sopu.
1207. Kopiraiv \MTJ\V: boast with-
out reason, i.e. over the vanquishing
of beasts by arms, when Agaue has
accomplished this with unaided
hands.
1209 f . re, T : both, and, as if the
second clause were &p6pa re
<ra/j.ev only, and avTrf x fl P >l were joined
with both clauses. dOcpos : the spear-
point.
1212. alpc'<r6u \af3wv: let him take
and raise. afyfaOcu is used here in
the sense of the active. Cf. Xen.
Bell. vi. 2, 29, alp6fj.evos rovs IVTOVS.
1213. iniKTwv : firm. K\I|MUCO>V
irpo<ra|jifkuras : lit. steps of the ladders,
i.e. ladders. Cf. Phoen. 489, KAt/uaKwi/
vpoa-afj-^afffiy, 1173, K\ifj.aKos irpoero/u^a-
fffts, Aesch. Theb. 466, nKipaKos irpoa-
1214. Cf. Aesch. Ag. 678, Otols
\atpvpa ravra ro7s Kaff 'EA.A<{5a 56fj.ois
eira<Tffd\fvffaf ap^atov ydvos.
1216-1329. Kadmos enters, fol-
lowed by attendants who bear upon
a bier the fragments of Pentheus's
body. Then follows the anagnorisis,
the recognition leading to the denoue-
ment.
110 EYPiniAOY
KAAMO2.
eirecrOi /not <f>epovres d#Xioz>
Hev06a)<s, eirea-06, irpocnroko
ov crai/AO, ^6^9a>v pvpiois
<f>epa) roS* evpcov ev K.L0on.pa>vo<5
1220 Siao-irapaKTOv, /covSev eV ravrw
XaySwv, ev uX>7 Kt'ipevov
7}Kov(ra yap TOV 0vyaTpa>i>
17817 /car' aarv ret^ewv ecrw /3e/3a>s
crui/ ra> yepovri Teipecria Ba/c^a>j/ irdpa'
1225 TraXtv 8e /cajoj^a? ets opos /co/At^o/xat
aiVOVTa. vratSa Mati'ctScui/ UTTO.
/xev 'Afcrata)!/' 'Aptcrrata) TTOTC
TKov(rav eZSov Avrovorv *\v<i) 0*
er*
1230 T^^ 8* etTre Tts jaot SCV/DO /3a/c^eta> TroSl
'Ayavryi/, ovS' OK/JOVT' ^/covcra/xev* -*
yap avrijv, oijfiv OVK evSat/xoi^a.
AFATH.
fj,eyL(7Tov KopTrdcraL TrdpeaTL croi,
1216. a0X.iov Papos: c/". Soph. ,7. hard to find. Either interpretation is
1140, where Electra uses the same forced. Eeiske suggests Suo-e^pe-rov
expression of the ashes of Orestes. referring to crw/ta.
1218. fio'xOwv fivpCois tTjTTjVaoa: 1227 f. C^. 229 f .
wn<A many a weary search. The gen. 1229. dOXCas : expressing the feel-
expresses quality. (7/~. 7pA. u4. 1230, ing awakened by the sight of the
ir6v<av riOrjvovs airoSiSovtra rpotyds, Aesch. oiffrpoir\fiya,s.
Prom. 900, $vffir\dvois a\ar fiats ir6v<av, 1230. (3aKxe^w iro8( : i.e. with the
Soph. El. 19, nf\aiva &<rrp<av tv<f>p6vi\. frenzied step of the Bacchic reveler.
1221. Wecklein regards the line 1232. &|n,v: see on 9. Cf. Or.
as added, unnecessarily, to supplement 726, Vop rrfpSe <f>l\rarov
ov&fv iv TavT( irt$tp. Most editors, ffTtixovra, 7)$f'ia,v fyiv.
however, retain it. Svo-cvpc'rcp : hard 1233. pcyurrov : equiv. to ^e
to find the way through, impenetrable. K6ft.itov. Cf. the expressions
Others explain it, m which a thing is and jj.eyd\a \4ytiv, ippovflv, etc..
BAKXAI. Ill
dpicrTas Ovyarepas o"ireipai
1235 0vr)T<t>v dirao-a? elTrov, e^aj^ws 8'
77 ras Trap ttrroi? e/cXi7rouo~a /cep/aSas
ets ju.et^oi' ij/ca), 0rjpa<; dypevew ^epolv.
<f)epa> 8* a/ wXci/aurw, a? opas, raSe
Xafiovcra rdptcrreta, crotcrt TT/JO? 8d/>tots
1240 a>5 ai^ Kpe^aa-drj' crv Se irdrep 8e^at
yavpovfjievos 8e rots e^tot? dypevfjiacrc
KaXei (f>L\ovs ets Satra- ^ia/ca^)to5 yap et,
/xa/captos, T7/x,ai^ rotaS'
KAAMO2.
/ /) > \ OJ T/
to Trevuos ov ^erp-^Tov ovo oiov r
1245 <f>6vov raXatVats xepalv
KaXbv TO ^u/aa Kara/SaXoucra Saipoariv
\ O /r\ '/> / O x \ **
CTrt oatra feJ^pa? racroe /ca/xe irapaKa\i<s.
OLfJLOL KCLKWV JJ.6V 7T/3&>Ta CTOJV, TTIT IfJitoV '
t /) \ c > ^/ / >\\>
a>s o C7605 7)jaa5 ei/ot/cw? /xev, aXX ayav
1250 BpOjLttos cu>a aTTfyXecr 5 ot/cetos yeyws. /
AFATH.
a> Sucr/coXov TO yfjpas avO pdiirois e<j)V
ev r* o^acri <TKv6p<t)Trov. tWe Trat? e/xos
v6irjpo<s eirj, jJurjTpbs eiKacrdeis T/DOTTOIS,
6V' ev veavLaicn (sty/Scuois
1255 Oypaiv opty^aJT*. dXXa,
1245. c|cip^a<rfuvwv : sc. u/iv, the 1248. KOXWV \uv irpwra crwv : in-
const. and in part the words of stead of the usual order, KO.KWV irptoTa
1243, being repeated to set the real /xev aiav.
deed in strong contrast with the sup- 1254. Iv, ojia : for the redundancy,
posed deed; since it is murder (and cf. Ion, 717, ir?j5a /m <rw Ba/cxaw.
not the deed you fancy) that you have 1255. opfyvuro : the mode is as-
wrought. The subj. of the partic. is similated to that of the leading verb.
often omitted when the context sug- H. 919 a; G. 235, 1.
gests it. H. 972 a ; G. 278, N.
112 EYPIIIIAOY
olds T* e/ceiw?. vov0Tr)To<s, irdrep,
> / / a \ > * v I y i \
(TOVCTTLV. TIS OLVTOV OCVp OiV OtylV 15 jJ,r)
o>5 1817 /xe TTJV evSat/x,oi/a ;
KAAMO2.
oT
1260 dXy^crer' aXyo? Setvov et 8e ta reXov
^o> > \ < a T
cv TOJO aet [MVLT ev a) /
ou/c evrf^ovcrat Sd^er' ov^t
AFATH.
/c> \ ^*r\
. Tt ov KdAws rwvo -^ Tt \V7njpCDS
KAAMO2.
> > / o. /)' v \
v ets TOVO aiuep o/x/xa trov
AFATH.
1265 tSou- T^ jaot TOfS' e^WeiTrag elcropav;
KAAM02.
e^* auros ^f crot /u,Tay8o\as
AFATH.
Xa/iTT poTtpos rj Trp\v K<U
KAAMO2.
\ O> /)> /^ V i * /
TO oe iTTorjuev TOO en o-y yvxy irapa;
1257 f . (rowrrCv : trot t<rriv. TS 1264 ff. Kadmos seeks first of all
civ Ka\<riV : equiv. to a wish. Sim- to fix the wandering senses of Agaue,
ilarly irws &v is often used. Cf. Med. and then by awakening her memory
97, irws &j/ oKol^av; Uipp. 345, irias tu> to bring her gradually to full con-
ffv pot \feias; II. 870 e. sciousness.
1263. The question shows that 1265. ISou : see on 198.
Agaue's reason is already beginning 1267. SuirtTto-Ttpos :
to return, (Etym. Magn.), clearer.
BAKXAI. 113
AFATH.
OVK otSa rot>7TO5 TovTO, yiyvo^cLi Se 7ras
1270 eWou? /xeracrra^etcra raV Trdpos (frpevanr.
KAAMO2.
/cXvots av ow rt Ka/rroKpusai av cra^S?;
AFATH.
a5 K\e\7)(rfjiat y a Trdpos eiirofjiev, irdrep.
KAAMO3-
ot/cov u/xei/c "
AFATH.
i eSa)fca5, o>5 Xeyovor', ']
KAAMO5.
1275 Tt5 OVV V OLKOLS 7Tat5 lyVTO <T<U TTOCTCl /
AFATH.
re KCU Trar/305
KAAMO2.
TT/DocrcuTrov S-^r* eV ay/caXat5
AFATH.
<5? y* eciacrfcof at 6inpa)u,vai.
I ii I
1269 f. If the interruption of the same time the vagueness of her an-
Ktichomythia is not due to the inter- swer shows that her self-possession is
polator, it may be designed to mark not yet complete,
more vividly the gradual return of 1273. vfuvatav ju'ra : cf. 380, fttrii
Agaue's reason. But see App. av\ov.
1272. s, -y: yes, far, with refer- 1274. oiraprcp: see on 264. MS
ence to ffa<f>S>s. In saying that she \tyowri : with a"irapr<f.
has forgotten her former words, Agauc 1276. irarpo's : his father. KOIVU-
expresses her consciousness that her vUj : intercourse.
former state is passing away ; at the 1278. In the preceding conversa-
1 14 EYPiniAOY
KAAMO2.
0-Ket/nu vvv opBcos, fipaxys 6
AFATH.
1280 ect, ri \evorcra) ; rt ^epo/xat roS' kv
/^a*.*^ KAAM02.
v-6-^^v-C -^l *2^*-
avro /cat cra^ecrre/xw jjLciQe.
AFATH.
/xeytcrroi' aXyos 17 raXa.iv eyw.
KAAM02.
(rot Xeo^rt ^at^erat 7r/3ocret/cz/at ;
AFATH.
dXXa Ilev^ecu? 17 raXaii/ l^w Kapa
KAAM02.
A^V.
1285 rjn.a.ypevov ye TrpocrOev rj (re yvcopicrat.
AFATH.
Tts KTavev viv ; TTW
KAAMO2.
/ \ //) e > * f
ova'Trjv aA^t/ei , co5 cv ou Kaipot irapei
AFATH.
\/> V /\\ O/ /05V
Xey , cog TO /xeXXo^ Kapoia 77-170^/1, e
tion Agaue has forgotten the object 1287. s . . . iropcL : the moment
in her hands, and answers here with- of Agaue's first shock of horror at
out looking at it. beholding the head of her son is no
1280. 4>'pojiai : upon the voice, cf. fitting time to tell her of her part in
Cycl. 87, fyt<fl 8' avxtvi rtvxri <p(potncn. his death. cv ov K<up(j>: equiv. to
1285. irpo'o-fltv T| : see on 747. avoipoiy. See on 395.
1286. (ids ^X0v x^P a ' : u P n tne 1288. TO jttXXov: what is coming,
&CC.cf. Heracl.931, xj>as t^faOat vtOtv. i.e. "what I must hear." The ace. is
BAKXAI. 115
KAAMO2.
crv vw /care/era? /cat /cacrtywyTai cre$>.
AFATH.
1290 TTOV 8' a>\T ; r) /car' OLKOV ; f) Trotois TOTTOIS;
KAAM02.
ovirep Trplv 'Afcrauura SteXa^ov /cweg.
AFATH.
rt 8' et9 Ki0aLpci)V rj\0t SvcrSat/xwv oSe;
/ i^-^. KAAM02.
xi*t-*-^t,
0eyv eras re /8a/c^eta? fio\o*v.
AFATH.
ts 8' e/cetcre ru/i T/JOTTW Kar^pd^Qf ;
KAAMO2.
1295 e/xa^re, Tracra T' e^e^aK^evO-Y) iroXts.
AFATH.
Atwvcro? 17/xas wXecr', d/art fJiavOdva).
KAAMO2.
vfipw y vj3pi<r0eis' 6eov yap ofy rjyela-Oe viv.
governed by the trans, phrase TT^ST/JU' placed KaraaKove'iv or Karda-Koiros. Cf.
exei. H. 713. 916, 956, 981. For the const. 3*06
1291. Sic'Xaxov : the same as Stea-ird- KaTcurKoireiv, he went to spy out, cf.
ffav-ro, 339. Mecf. 1303, $\8ov tKffuaat, Iph. A.
1293. cKcprofxci /crA. : these words 678, x^P fi o<f>6fjvai, Soph. 0. C. 12,
do not form an appropriate answer to fj.av6dvfiv ^\Kop.fi>.
the question ; and, further, it is diffi- 1295. !gc(3aKxev(h] : in the same
cult to account for Agaue's question sense as tf/j.riva, 36.
in 1301 after the statement here 1297. v'ppiv : see on 247.
made. Perhaps &cpr<fytej has dis-
116 EYPiniAOY
AFATH.
TO cf>iXraTov Se croJ/xa TTOV TratSos, Trare/3 ;
KAAMO2.
eyo) fi6\L<5 ToS* e^epew^crag (frepa).
AFATH.
1300 17 7rou> ev apOpois
KAAMO2.
AFATH.
t Se TI /xe/aos d<f>poa-vvr)<;
KAAMO2.
kytveff O/AOIO?, ov cre/Suv 6eov.
TOLyap (rvvf)\jje 7rai>ras et? jatav (SKdfSyv, <
> /o/pv ^\'
v/iag re roi>oe c^ , ctxrre otoAeo'at
1305 Ka/x', oarts are/cvo? ap&evcov TratScuv
oS' I/3V05, ft) TttXtttv
/cat Ka/ctcrra KarOavovO* opa),
< w/x ^eye, s
Tovfjibv fJieXaOpov, TratSo? c e/x^9 yeyws,
1310 TroXet re rdpj3o<s rfdda.' rov yepovra Se
^'/ '/x^>-e^c 1 4. * -
1300. T] irdv KT\. : sc. ^7jpvi/rj(ras. In Phoen. 1, Euripides follows the
v . . . KaXws : lit. we// compact in re- common legend in making Kadmos
spect to the parts, i.e. with the parts un- the father of Polydoros.
severed. A gaue has some foreboding 1306 f. tpvos Karflavovra: construc-
of the real state of the case. The tio ad sensum. II. 033 ; G. 138, N. 4.
answer of Kadmos must have been 1308. w oWpXtire : for the dat. cf.
somewhat as follows : O$K, a\\a x u P^ I n > 1407, &f\iov ava0\firfi \afj.-ir<iaiv.
iv irtrpais tffirap/j.fvov. <Js <ruvixs ' in his grief Kadmos
1305. OITCKVOS apo-evwv iraCSuv : cf. breaks out into direct address to Pen-
Hdt. I. 109, &itats tpatvos y&vov, Soph. tlieus. Upon awf-^ta, cf. 392.
0. C. 677, &irfiv(j*.oi> trdvTuv x.fi^iLvtav.
^ '
OV0619 V
BAKXAI.
\ \
.L(TOp(i)V TO (TOV
117
yap
VVV S' K OOjJi(t)V art/XO9
6 KdS/xo9 6 uevof, 09 TO yftaiav yeVos
1315 ecrTretpa /cd^/x^cra KaXXtcrrov 6epo<s. s^t~*^~^_
w <f>i\T(LT dv$pa>v /cat yap ou/ceV wv o/xa>9
ov/cert yeveiov TovSe Oiyyavutv
TOV itT^T/309 av$a>v TraTepa 7rpoo~7rTv| : et, TCKVOV,
1320 \4y<av Tt? dSt/cet, Tt9 o-' aTt/xd^et, yepov ;
Tt9 cr^v Tapdcrcrei Kapoiav \V7nj po<s MV ;
Xey', a>9 /coXd^o) TOV dSt/cowTa cr', a) iraTep.
vvv S* dOXios fj,v et/x' eyw, T\i]p,(i)v Se o~v,
oiKTpd Se [jiiqTrjp, T\tjiJ,ov<s Se crvyyovoi.
1325 et S* ecTTtv ocrTt9 Sat/xwo)V virep^povei,
ets TovS' d0pj]cra<s OdvaTov r)yeio-0(o
XOPO5.
\ \ \ >\ ** rr 'O VP.J
TO /xev o~ov a\ya), Kao/xe 4 o"09 o
7rat9 7ratSo9 diav pev, dXyetz^v Se crot.
AFATH.
TTctTeo, 6oct9 yao Ta/x, 1
1
1312. t'Xanpaves : the hypothetical
indie. H. 895, note ; G. 226, 2. The
omission of S/ emphasizes the cer-
tainty of the conclusion. C/". Soph.
/?/. 914, O/T Spwo-' \dt>0avfv. Kr. <S^r.
54, 10, 1.
1317. dpi9|XTJ<rci : see on 588.
1319. TOV (Mjrpos irarepa: see on
725.
1323 f . aOXios, r\^o>v, ottcrpd, T\T]-
(xoves: an anaphora in which synonyms
are used instead of the same word
repeated, (y. Soph. ^4n<. 898,
jtj/ i^ei*/ *rarpt, icpoaQiX^s Se <rol, pij-
rep, <^f\7j 8^ <roi, Kaffiyvijrov /capo.
1327. <ro's: instead of <r^y. See
ou &oTpvu>8r), 534.
1329. Between this line and 1331,
which follows immediately in the
Ms., there is a lacuna covering Agaue's
lament and the beginning of Diony-
sos's speech. The omission is proba-
bly due to the loss of an entire leaf
of the earlier Ms. Concerning the
118
EYPiniAOY
AIONT2O2.
*****###
1330 SpaKcov yevtj<reL f^eraftaXcov, Sa/Aap re 0-77,
1332 $)v V A/)05 ecr^es 'ApfjLoyiav OV^TOS yeyw?,
1331 K0 i r)pL(oBelcr > o<eos dXXa^ei TVTTOV. .<_... *^t^
6^(ov Se /AOCT^CUV, xpjoyxos a>9 Xeyet Aids,
eXas /zer' aXd^ov, fiapfiapw ^
1335 TToXXa? Se Trcpcret? cu>a/3i#/n&>
general purport of Agaue's speech,
we obtain information from two pas-
sages in the Rhetor, Apsines : irapi
aira\\ayf'iffa TT/S flavins Kal yvtoplffaffa
rbif TrouSa rbv eaurrjs tiifffira.ap.fvov Karij-
yopti /j.ev avTTJs (Walz Rhet. Or. ix.
p. 687), and fKaffrov ya,p avrov TUIV
fie\wv f) (idiTirip tv rats X P ff l Kparovffa
Kaff fKaarov O.VTUV ttmlfmu (ibid. p.
590). A portion of Agaue's speech,
therefore, consisted of her self-re-
proach, and her lamentation over the
body of Pentheus as she takes the
torn parts in her hands. 1330 is re-
covered from the Schol. on Dion. P.
391, who cites it in connection with
1331. For the restoration of some
of the omitted verses, see App.
1330 if. Dionysos, now in his char-
acter as a god, appears above, upon
the Qfo\oyflov, and announces to Kad-
mos and his wife, Harmonia, their
destiny. Euripides is fortfl of intro-
ducing at the end of his plays prophe-
cies, sometimes based upon later and
obscure legends, which follow out the
fortunes of his characters beyond the
events immediately connected with
the play. In this case the predictions
are apparently designed to show to
Kadmos the continuing misfortune
brought upon his whole family, and
at the same time the alleviation the
gods have in store for him. Euripi-
des follows, at least in part, the form
of the legend which has been pre-
served by Apollod. (in. 5, 4). Ac-
cording to this form of the legend,
Kadmos and Harmonia left Thebes
and came to the Encheleis. And
when these were attacked in war by
the Illyrians, the oracle declared that
they would conquer, if they should
have Kadmos and Harmonia as their
leaders. The Encheleis, therefore,
made these their leaders, and came
off the victors. Kadmos then be-
came king of the Illyrians, and there
was born to him a son, Illyrios. Later
Kadmos and Harmonia were both
changed into dragons, and sent away
by Zeus to Elysium.
1331. cKdr]pici>Ocura : turned to a
beast. Cf. Supp. 703,
Aesch. Cho. 549, fK^paKo
1332. qv . . . 'Apnovav : cf. Apollod.
in.4,2, Zeus 5' ZSuKfv aiircf (Kadmos)
yvvaiKa 'A.p/u.ovlav t 'AtypoSi-rys Kal "Apeos
Ouyartpa.
1333. oxov jio'<rxwv: the Etym.
Magn. under the word Bou&fj; pre-
serves the legend, that Kadmos came
from Thebes into Illyria upon a char-
iot drawn by oxen. But &ap&<ipu>v
riyov/jifvos would seem to connect the
journey here mentioned with some
later expedition at the head of a bar-
BAKXAI. 119
OT<M> Se Ao^tov xp-q<TT'r)piov .-,
Sta^TTacraxrt, voarrov ci&kiov iraXiv
cr)(TJ(rovcri' ere 8* *Apr)<; * A^ppovlav re /Svcrerat
*
T* es aiai>
1340 ravr* ov^l Ovrjrov Trar/aos e/cyeya)g Xeyca
Atwvcro?, dXXa Z^os* et Se o~a)(f>poveLV
', or* ov/c T^^eXere, ro^ Ato? yovov
> *
av
9 I
AFATH.
E, Xt(rcro^ecr^a cr', 1781/07*
AIONT2O2.
1345 oi/f' e/xa^e^* ^/xa?, ore 8e XP^) V> ^ K $> ere '
AFATH.
eyvto/ca/tei> ravr*' dXX' eVe^ep^et Xtav. ^t^zt*
*
AIONT2O2.
/cat yap 77/509 v/x&> #eo9 yey<u9 v,
AFATH.
opyas TrpeVet 0eou9 ov^ o^oiovaOai
AIONT202. &efZtl6*G**e> s*"'
TraXat raSe Zeu9 ou/A09 eirivevcrev Trarrfp. '"
barian force ; perhaps that against tion to the Illyrians and Encheleis in
the Illyrians (see on 1330), or perhaps consequence of the plundering of the
the combined expedition of the Illy- shrine at Delphi. The connection of
rians and Encheleis against Thebes Kadmos with this expedition seems
(see on 1336). The latter reference to be an invention of Euripides,
is favored by the following lines, and 1343. cvSaifiovoirc : the opt. repre-
by riyovfjifvos \6yx aiffl ", 1360, which sents the conclusion, not as a certainty,
appears to answer to ftapftdpuv fiyov- but as a possibility. H. 901 ; G. 227,
Htvos of this passage. 1 ; GMT. 64, 1.
1336. Herodotus (ix. 42) speaks 1345. ffSerc: a rare form. H. 491
of an oracle which foretold destruc- a ; G. 127, vn. N.
120 EYPIIIIAOY
t
1360 alai, SeSoKTcu, Trpecrftv, T\THLOV.<S <f>vycu.
AIONT2OS
TL Srjra /x,eXXe0' airep
KAAMO3.
a> TeKvov, a)<s eis 8e>oi> r)\.0ofji,ev KO.KOV,
crv 6* 7) rdXawa avyyovoi 0* o^o
eya) ff 6 r\tjfJi(t)V fiapfidpovs cx<^t
1355 yepa)v /terot/co?' ert Se jaoucrrt di
et? 'EXXaS* ayayelv /^tyaSa fidpfiapov a-rparov.
KOLL rrjv v A/3ea>5 TrcuS' 'KpiLOviav Sa/xapr' e/x^
[X2?/f c^oucra^ ay^ota?
/cat rd(j)ov<s 'EXX^t/t/cov?,
1360 rjyovjjievos Xoy^atcrtv ouSe 7rav<ro/x,ai
6 rXtjiMCJv, ouSe TOI> KaTatftdTTyv I ^<^ **
TrXevcras
AFATH.
5 Trarep, ey<u Se (row crrepeicra ^e
KAAMO2.
ri yu,' a/A<iy8aXXeis ^epaiv, a) raXatva irat,
1349. Ta8 : i.e. the punishment. 1354. As the text stands, the const.
Ztvs tire vv<rtv : the punishment is not is anacoluthic. The regular construc-
a mere act of personal revenge upon tion would be, ye6 0" 6 TA^OU/, 6s
the part of Dionysos. The fault of a.<t>tfTcu.
Pentheus had touched even the su- 1360. -rj-yovjifvos Xo' i yx awri v : see oc.
preme god himself (cf. 518). 52.
1350. SC'SOKTCU, <|>xrya( : in this const. 1361 f. KaTaipdrqv: descending.
of a sing, verb with a pi. subj., the Cf. Horn. Od. \. 185, Ka.rfiB6p.fvov
so-called <rx^/xo TlivSapticdv, the verb 2Tiry?)s iJSwp. owSe T|'<rux o s Yvri<ro(iai :
stands first, and the subj. is at first WoHH*=WMi-4faaidiHPwriibaetsip
thought of indeterminately, but after- Uh4Mfc^-tU*>-(lrii[;iiii. 'Ax'povra
wards made specific by the substan- irXcwras : see on 307.
live. H. 605; G. 135, N. 5.
BAKXAI.
121
1365 opvw OTTWS
KVKVOV;
Trot yap
AFATH.
rrar/atSos e/
1370
KAAMO2-
OVK OtStt, TCKVOV /U/C/OOS CTTC/COVpOg
AFATH.
> a)
e/cXetVw cr* CTTI
KAAMO2.
, a Tra, rov ^
**#*
AFATH.
KAAMO2.
Kal 0*0,5 ebditpvora
1365. opviv KVKVOV : see on 1026.
Ki]<}>Tiva : helpless, worn-out. Cf, Tro.
191, iroO TTO yafas 5oiAei5(rci> ypavs, us
Kri<f>r)v. Wecklein explains the com-
parison as referring to the white hair
of Kadmos. Cf. Ar. Vesp. 1064, KV-
KVOV r' tTi iroKuarepai S^j a'lS' eiravOovfftv
Tp/x es - Others explain it of the re-
markable affection for its parent at-
tributed to the swan. Of. El. 151,
where Electra laments for her father,
oTa ris KVKVOS oxTas iroTa.fj.tois irapa.
Xfvfj.affiv irarfpa. <f>i\rarov Ka\fi.
1366. -yap : introducing the ground
of the despair manifested.
1369. tirl 8vo"rv^C<f : equiv. to Svarv-
ere,
x 5o ' a - Q/"- Soph. jEJ/. 108,
i.e. KwKvovaa.
1371. TOV 'Apurrato : the rest of
the sentence is lost. Kadmos may
have bidden Agaue to flee from Kith-
airon (cf. 1384) where Aktaion, the
son of Aristaios, met his death, or he
may have bidden her to go to the
house of Aristaios, who was her
brother-in-law.
1372. o-Tt'vopai : with the sense of
the active. Cf. Aesch. Theb. 872, K\aito,
ffrtvofiai, Id. Pers. 61, ofts irtpi iraffa
-xj&biv (rrevfrai, Med. 996, yueTaaWvo/xai
o-bv &\yo$.
1373. tSaKpvcra : the aor. marks
122
1375
yap
EYPiniAOY
APATH.
A
1 I
ai/cuu>
rovs crovs
/cat yap
OIKOVS
KAAMO5.
8eu>a
' e
AFATH.
KAAMO2.
1380 Ovyarep. ^aXe7ra>s 8* et? rdS* av
AFATH.
dyer* a) TTOJUTTOI jae, Kao-iyvTjras
Iva (ru[JL<f>vydSa<s X-^^d/Ae^' ot/cr/oas.
S* OTTOV
KiOaLptov [JM ecrtSot]
1385 /Aifre }LiOaip<*)v ocrcroLcriv eyto,
Hr)ff 061 dvpcrov
Ba/c^ats S' dXXawrt
the action as having begun just be-
fore the moment of speaking, where
the Eng. uses the present. H. 842 ;
GMT. 19, N. 5.
1374 ff. The metremay be restored
by reading^eirj^u'&\rei'8 > a'atiav . . .
TOUS ffovs, TrSrep, es olitovs ftytpfv.
atxCav : although Agaue in 1346 has
complained of the severity' 'of the
punishment, yet, after such a warning
against all impiety toward the god,
and after heiMjwn admission of wrong
in 1344, -We are^ii^rdly prepared to
1 n-ar la-r charge the god with
>
The difficulty
due to a faulty text.
1380. ro'St : i.e. rb x a ^P flv > to f are
well. For a similar repetition of the
verb in its original meaning, cf. H. F.
427, Aesch. Ag. 638.
1382. tW: itrov.
1384. p co-CSoi : fills out the lacuna
according to the sense. For the opt.,
see on 1265. The const, changes to
the indie, in luxticetTcu (1386), because
the reference is to something which
is thought of as real and independent
of the wish.
BAKXAL 123
[XOPO2.
it fjLOp<j)al TUV Scujaoz/icov,
TToXXa 8' ae'XTTTCt)? KpaiVOVfTL 0OL"
- - ' ./ S
1390 Kal TO. So/07#eW OVK ereXeor^,
f j)V TTOpOV
/ ~
rooe
1387. fie\oiv: sc. Kithairon and slight variation at the end of four
the thyrsus, the place and the instru- other plays, Alcestis, Andromache,
ment of the Bacchic rites. Helen, and Medea. The actors prob-
1388 ff. These lines, which are less ably transferred such endings from
appropriate here, are found with a one play to another.
124 METRES OF THE LYRICAL PARTS.
METRES OF THE LYRICAL PARTS.
The principal metres in the lyrical parts of the play are as fol-
lows :
1. LOGAOEDIC : H. 1108 ff. ; G. 299 f. ; S. 13.
2. IONIC : H. 1121 ff. ; G. 301, 2 ; S. 8, VI., 10, V., 23, 2.
With the Ionic are sometimes combined Choriambic or Loga-
oedic verses in the same strophe.
3. DOCHMIAC: H. 1125 ff. ; G. 302 ; S. 23, 4.
Of the other rhythms which are sometimes joined with the
Dochmiac, in the same verse or in the same strophe, the follow-
ing are found in this play : Cretic (H. 1119 ; G. 301, 3 ; S. 8, IX.),
Iambic, Bacchic (H. 1127 ; G. 301, 4 ; S. 8, X.), and Logaoedic.
In the following schemes, is the mark of anacrusis ; <u indi-
cates two half-shorts (^^) = ^
In the case of the Ionic and Dochmiac verses, it will be observed
that the bar, or the mark :, which indicates the beginning of a
measure as adapted to the modern theory of music (i.e., that the
first syllable or note of every measure must have an ictus) , does
not stand at the beginning of the foot: thus, Ionic
Dochmiac w
64,68
PAHODOS (64-169).
FIRST STROPHE (64-67 = 68-71).
Ionic.
L_IWW | H. 1123 a; G. 286, 2.
_ w w | _ _ vy w | _ 0(V> synizesis.
105, 120
110, 125
METRES OF THE LYRICAL PARTS.
SECOND STROPHE (72-87 = 88-104).
Logaoedic (72-77, 87) and Ionic (78-86).
125
72,88
w w w
CD
_ w | _ >
CD
_ w __ >
75,91
-ww _ w
CD
_ w | _ >
6D
_ w _>
W W
W W
W W
\^/ \J \J vy
80,96
W W
w w
WW
w w
W W
w w
W W
W W
W W
_ w W
85,101
W W
w w
w w
_ w W
-ww I _ w
H. 1110 c.
THIRD STROPHE (105-119 = 120-134).
Logaoedic.
w
W
WWW
ww ^
_ w
synizesis.
115, 130
_ w _
126 METRES OF THE LYRICAL PARTS.
EPODE (135-169).
Logaoedic.
135 -w | -vy w | i_ | _
-^W ! _ V, 1 L_ |_
\^y ; _ \j I w w w I w w w I _ _
v^ww|^^|_>|_ H. 1110 c.
140 > : vy w w | i
w: i _ | >
145
150 ^w| i_ | o
wvywl > |w
_w | -ww I l
-^w I _> I _
_> I ^w I _
155 ^/ v/ ^^ v L
I W I -
160 >:www| i_ | w w
v/vywlw^wl _ w
w: i_ |www| _ ^
165 -v^w|-^w|^w
w w I w w | vy w
-v/ v 1 -v w I ... >
METRES OF THE LYRICAL PARTS.
127
FIEST STASIMON (370-433).
FIRST STROPHE (370-385 = 386-391).
Ionic (370-375, 379-383) and Choriambic (376-378, 384 f.).
370, 386 w w
w w
w w
w w
w w
375, 391 w w
w w
380, 396 vy w
386,401
402,416
405,420
410, 425
415, 433
__ w w
__ w w __
H. 1123 b.
v w|
with logaoedic close.
SECOND STROPHE (402-415 = 416-433)
Logaoedic.
H. 1110 a.
H. 1110 b.
w . w
128
METRES OF THE LYRICAL PARTS.
537
519
520, 539
525,544
530,549
535,554
SECOND STASIMON (519-575).
STROPHE (519-536 = 537-555),
Ionic.
H. 1123 b.
H. 1121 a ; G. 301, 2.
H. 1121 a; G. 301, 2.
EPODE (556-575).
Ionic (556-570) and Logaoedic (571 ff.),
556
560
565
METRES OF THE LYRICAL PARTS.
129
570
w w : w w
\j : l_ 1 ww _
W 1 WWW | W
575
I> ^ww L_ |_
KOMMOS (576-603).
Logaoedics.
576
extra metrum.
WWW
w w | l_ | _
w: _>
\^/ 1 ^> 1 __
vy v./ VB/
1 III
580 www
w w | I |
WWW
w w I I |
WWW
l_ I -w w -w w |
WWW
1 | W W W |
WWW
I I W W W | W W W |
585 ^ -^ w
1 1
c/. 676.
WWW
- w | _
WWW
www| w | w | w|
WWW
w | w w w | w |
590 www
1 | W W W |
WWW
-ww 1 -ww | -ww |
WWW
w w w |
1 w w w
W | W W |
-^/w
w w w w | w w |
595 -w
w w 1 ~~~ w w w w 1
c/. 676.
u \ i
w w w | 1 |www|
WWW
w www|www|
1
600 www
1 1
1 1
w w
-w w |
WWW
W | W | W | w| w|
www
w w w | w
[.1110 a.
130
THIRD STASIMON (862-911).
STROPHE (862-881 = 882-901).
Logaoedic.
862, 882 _ >
^w
w
WWW
~^>
~" "W W
865,885 _ w
-w w
_>
_ >
-w w
_>
O
v^ v^/
, ^ h- /
-v w
w
L_
<y
\J V-/
870, 890 _ >
w w
_w
>
w w
_w
_>
O
-ww
_>
-w w
w
_ >
-w w
WWW
WWW
w w
875, 895 w _ w
W
W WWW
w
~w w
W WWW
-w w
_>
WWW
-w w
w
> w
w w
880, 900
I-
902
905
910
EPODE (902-911).
Logaoedic.
w w ] _ w
METRES OF THE LYRICAL PARTS.
131
977,997
980, 1000
985, 1005
990, 1010
995, 1015
FOURTH STASIMON (977-1023).
STROPHE (977-996 = 997-1016).
Dochmiac and Bacchic (994) .
w w >
w w w
__ w
w w w
w
W W W
_. w
W W <y
>
W W w w w
W W W W W
H. 1126m, c.
" " q.
dochm. preceded by a logaoedic dimeter,
hypercatalectic. H. 1126 b, p.
_w 1_ _w |_
w w w w w.
H. 1126 g.
" " e.
c/ 981.
iamb. trim.
__ bacchic trim. H. 1127.
wwwlww wl _
1017
1020
EPODE (1017-1023).
Dochmiac with Logaoedic Opening.
w I w w I w w
/ W W |
/ w _ H. 1127.
w w
_w I w I _
dochm. preceded by a logaoedic monometer.
132
METRES OF THE LYRICAL PARTS.
1031
1034
1037
1041
KOMMOS (1031-1042).
Dochmiac with Iambic Trimeters in Alternate Passages.
i w > | \j | Of 6s, synizesig.
_ >
, I v w_> | _
> I _> I -
HYPORCHEMA (1153-1164).
BaccJiic, and Logaoedic, with Cretic dose.
1153 w
s^
w | L_I bacchic.
^
V ^J >
W I L_l
1155 >
w
w | \^ w | > | logaoedic.
>
_ w w
-v w _ w | _
>
ww_>
> | w | w|_w| iamb. trim.
1160 >
>
>
_ w
w | w | w| w| iamb. trim.
>
V^/ x^y _^ \.y
vy V-/ _ v^
w w
cretic.
KOMMOS (1168-1199).
STROPHE (1168-1183 = 1184-1199),
Dochmiac, Bacchic, and Logaoedic.
1168, 1184
1170, 1186
bacchic.
logaoedic.
METRES OF THE LYRICAL PARTS.
1175, 1191
1180, 1196
_> I -v/v
vy| -
133
logaoedic.
logaoedic.
| ^ w | _ logaoedic.
I -v w I _
bacchic tetram. H. 1127 c.
134 APPENDIX.
APPENDIX.
I. MANUSCRIPTS AND EDITIONS.
THE most complete classification of the Mss. of Euripides is given by
Kirchhoff in his larger edition (Berlin, 1855). None of the Mss. is older
than the twelfth century, and none contains all of the plays. They are
divided into two classes. Those of the First Class belong to the twelfth
and thirteenth centuries, and are all copies, more or less complete and
without interpolations, of a recension which contained the nine plays,
Alcestis, Andromache, Hecuba, Hippolytus, Medea, Orestes, Phoenissae,
Rhesus, Troades. The Mss. of this class have the greater authority. The
most important are :
A. CODEX MARCIANUS (471) : in the Library of St. Mark at Venice,
parchment, of the twelfth century, containing Hec., Or., Phoen., Andr.,
Hipp, to verse 1223, together with marginal scholia and interlinear
glosses. This is the most valuable of the- Mss. of Euripides.
B. COD. VATICANUS : in the Vatican Library at Rome, cotton paper,
of the twelfth century, containing Hec. Or. Phoen. Med. Hipp. Ale. Andr.
Tro. Rhes. also scholia and glosses.
C. COD. HAVNIENSIS : in Copenhagen, linen paper, of a later date than
B, but copied from a similar Ms. (with the exception of Hec. Or. Phoen.
which are from an inferior source) and containing the same plays.
E. COD. PARISINUS : in Paris, parchment, of the thirteenth century,
containing, besides seven plays of Sophocles and Aristophanes respec-
tively, six of Euripides, viz., Hec. Or. Phoen. Andr. Med. Hipp.
F. COD. MARCIANUS (468): in the Library of St. Mark at Venice,
paper, of the thirteenth century, containing, besides several plays of
Aeschylus and Sophocles, Hec. Or. Phoen. a fragment of Med.
The Mss. of the Second Class are derived from a recension of the thir-
teenth century, containing the nine plays of the recension mentioned
above and also ten more, viz., Bacchae, Helena, Electro, Heraclidae, Her-
cules Furens, Supplices, Iphigenia in Aulide, Iphigenia in Tauris, Ion, Cy-
clops. This recension suffered much at the hands of grammarians and
prosodists, and less care was taken in the copying and preservation of the
APPENDIX. 135
Mss. derived from it. Few copies seem to have been made, and these
were but little known. The two most important Mss. of this class are :
B. COD. PALATINUS (287) : in Koine, parchment, perhaps of the four-
teenth century, containing Andr. Med. Supp. Rhes. Ion, Iph. T. Iph. A.
Hipp. Ale. Bacch. Cycl. Her ad. Tro.
C. COD. FLORENTINES (xxxii. 2) : in Florence, linen paper, of the four-
teenth century, containing all the plays except Tro. and 756-1392 of Bacch.
It will thus be seen that the text of the Bacchantes rests in the first
part upon two Mss. of the Second Class, and from verse 756 upon only
one.
SCHOLIA : the best ed. is that of W. Dindorf. 4 vols., Oxford, 1863.
(See below.)
EDITIONES PRINCIPES.
Edition of Laskaris: Med. Hipp. Ale. Andr. based upon a late Ms.
(now at Paris) and printed in capitals. Florence, (circa) 1496.
Aldine Edition : containing all the plays except the EL, from different
Mss. Venice, 1503.
Edition of Victorius : EL, from Cod. C. Rome, 1545.
MODERN EDITIONS.
The following are some of the most important :
Complete Editions.
Matthiae : containing the tragedies and fragments, with Latin version,
commentary, scholia, and indexes. 10 vols., Leipsic, 1813-36.
Duncan : (the Glasgow ed.), a valuable compilation from the best
authorities up to that date. 9 vols., London, 1821.
W. Dindorf: with critical notes and scholia. 7 vols., Oxford, 1834-
63. Text ed. in Poetae Scenici Graeci. Leipsic, 1869.
Fix: (Didot ed.), with Latin version, and a few critical notes on twelve
plays. Paris, 1843.
Hartung : with German translation and notes. Leipsic, 1848-78.
Kirchhoff : the most valuable ed. for text-criticism. 2 vols., Berlin,
1855. Smaller ed. with a few variants. 3 vols., Berlin, 1867-68.
Paley : with commentary. 3 vols., London, 1858-60. (2d ed. 1872-80.)
Nauck: with brief critical notes. 3 vols., Leipsic, 1869-71.
Separate Editions of the BACCHANTES.
Elmsley : Oxford, 1821 (Leipsic, 1822). Tyrrell : London, 1871.
Hermann : Leipsic, 1823. Wecklein : Leipsic, 1879.
Schone: Berlin, 1858. Sandys: Cambridge, 1880.
136 APPENDIX.
H. CRITICAL NOTES.
The following notes contain the principal readings of the text which
are not supported by either Ms. B or C, together with a few variants.
Nothing like a full apparatus criticus is called for in an edition of this
kind. The adopted reading, with the indication of its origin, stands
before the colon; the Ms. reading and variants follow the colon. If the
origin of a reading, whether before or after the colon, is not indicated, it
will be understood to be a Ms. reading. The following abbreviations
are used : A, Aldine Ed.; B, Codex Palatinus; Bk, Brunck ; Bn, Barnes ;
C, Codex Florentinus: D, W. Dindorf; E, Elmsley; H, Hermann; K,
Kirchhoff ; M, Musgrave ; Mt, Matthiae ; N, Nauck ; P, Person ; R,
Reiske ; B, H. Stephanus ; T, Tyrwhitt ; W, Wecklein.
FIKST HYPOTHESIS : wanting in C. Sjiwas W : oXXws. 11. avQpunrov II :
avOpoirov. 18. ra \uv E : \u v.
SECOND HYPOTHESIS : also wanting in C.
TITLE, Bcucx<u B, Ilcvflfvs C.
THE PLAY. 8. ACou Bn : Alov TC. 13. TWV iroXvxpvVwv E : TOS iro\w\pv-
<rovs. 14. Wanting in C. IIcpo-wv W : Ilcptrwv TC. 15. 8v<rxi|iov E :
8v<rxti|xov. 16. cinfjX0ov W : circX0wv.
20. x^' va W : iro'Xiv. The transposition here and elsewhere in the text is
shown by the marginal numbers, and is not further noticed. 23. Too-Sc Pier-
son : Tr}<r8c. 25. f&Xos S : jwXos. 26. rfKurra XP^v W : VI'KIO-T' t'xprjv.
30. etvf Ka W : ovvcica, likewise in 47. 31. cjjcicavxwvO' S : cgcicavxupcO'.
32. T, added by W. <p<rrpt]<r E: oUrrpi]<r. Cf. 687, 814. 38. 6', added
by W.
47. Cf. 30. 53 f . 0VTJTOV : 0ciov Schb'ne. x w H*P < l > ' l i v T> *F 11 1 V : "Y" |top<}>iiv
>1]V H.
64. -yatas H : -yas. 66. Qttp, supplied by N. 71. vnvrjerw : KcXaSTjo-a* H.
N suggests KcXaSw. 79. 0|xiTvo>v M : Ocfjiurrcvuv.
81. Kwrcrw TC : Kara Kioxrco a-rc<)>av<o0cls H. 93. wXa^ A: irXiTYtt- 95.
eaXdfiais W : 9aXd|iois. Cf. 561.
102. (hipoTpo'<}>ov W: 0t]porpo<t>ot. B, 0vp<ro<)>opoi C. 110. TJ cv c'Xaras KXd-
8010-1 (TJ 'v KrX. Blomfield) W : t} e'Xaras KXdSowriv B, ^ tXdras ev K\d6ois C.
115. cvr av E : &r a-p] B C, OOTIS a-yci C corr.
121. taOtoi: JaOtov D. 123. ovrpoisM: tv avrpois. 126. av8<jW: ava
8c. Pdi<xia M : Pcucxe(a. 127. aSvpoav K (from Strabo, p. 470, Kt'pewr' avd
8v'o POOV) : ijSvpo'a. 128. irvcvjiaTa Schone : irvv|xaTi. ava 8< BaKxdSt crvv-
ro'vcp Ktpao-av ^Svpoa 4>p. av. KVtv^.o.-n H. 129. cvdo-^ao-i, (Strabo, p. 470,
KoXXCicTvirov cvocrfiaj Canter : cv oV|xa<ri.
131. 0ds: 'Pf'as Strabo. 133. <nVTj\|/av: irpocn\^a.v Strabo. 134. ols:
ols Strabo. 135. CVT' av D : orav. os av Schone.
APPENDIX. 137
140. Av'Sia: Av'Sia 6" E. 144. 8e Opwcricci W : 8' cos.
148. \opots : xopo^s D.
150. irXdicov Burgess : irXoKapov. 153 f . IlaKruXov W : TptoXov. 169.
BaKxa M: BCIKXOV.
170. cKKaXti (with question-mark after irvXcuori) Bergler : cKicaXei. 176.
dvdVrciv: dvaCptiv M. 178. ijcr0o'|Ai1v : ti8d|Mlv M.
182. Kejected by Dobree. 184. 8l A : 8i]. irov W : irot 188. TJSovfl
N : ijSccov. ij8s Milton. 189. ravV tjiol L. Dindorf : rawd jxoi.
192. dpotav d Ocds av E : dpoCws av d Beds. 194. dpoxOl E : a|Ao\0el.
200. ovStv o-o4>^o'jj.ea-0a : ovS' tvcrcK}>io'(Xcr0a M. K supposes a lacuna after
this verse. 201. irarptovs Valckenaer : irarpos- 202. Karaf3aXii Scaliger :
KarapoiXXci C, KarapdXXg B. Xo'-yos: Xo'-yois E. 207. XPH't> W: < l XH-
e'xprjv A. Oe'Xti D. 209. Si' dpi0|xcav : Siaipwv Tyrrell.
233. us TIS A : O'O-TIS. 235. evdcrpois KOJJLCOV Badham : vo<r|xov KO'|I,T)V. ev-
KOO-JIOS KO'|J.TIV S. cvo<r|xov KoV^S Collmann. 236. olvwiro's Bn : olvcoiras r B,
olvctfird T C. otvcoiras Scaliger. 238. irporctvwv : irpoirCvwv Valckenaer.
239-241. K (ed. 1867) following Schone puts after 247.
243. eppd4>0cu R : eppeu*)^. 251. K, who thinks ircvrtp was added to fill out a
defective verse, suggests paK\vovTas (<7corr.)- eiXX' dvaCvofxai. 258. cl:
263. Svo-a-cfScCas R : evcrepeCas. 264-5. Transposed by M.
xaraurxvyciv H.
270. ykw (r<r n W: Swards* 0po<rv's T* 4v aVrois Badham. SpouraC T Swards
Heimsoth. 278. <Ss S* Fix : 6'8'. d 8' M. S 8* Bn. <f 8' ^JXOes Mekler.
284-297. Rejected by D. 286 f. KaV . . . 8i8a: W suggests Kcl . . .
ftqpco, SiSoC^w. KaTayeXas : 8iaYX(js Herwerden. 289. 0cov : ve'ov A.
294. VCIKCWV : V[K<TIV Usener. 300 f. W follows Hartung in rejecting.
305. W rejects, following Pierson. 308. iroXXovra Mt : pdXXovra.
311. vo<rj] A: vocrei. 314. <rw4>poveiv : (ATI <rw<}>poviv B (\I.T\ above the line),
also Stob. v. 15, Ixxiv. 8. (i,^ 4>poviv H. d4>poviv Salmasius. 316. Wanting
in Stob. Ixxiv. 8, and rejected by K.
327. <ri Wieseler: voo-tis. 333-336. W attributes to the interpolator
of 242-247, 286-297. 334. <rol: <row Herwerden. 335. Zc|M\i)0'T:
Xijs. 336. tjntv: rifxwv Scaliger.
341. 8e vpo crow CTT\|/W : Scvp' W ws <rr\|/w F. W. Schmidt.
345. 8'addedby Mt. 346. 8lKT)vE: Sdqj. 347. rovS'M: rowcrS'.
359. c$com|s : cJtcrTws Badham. 372. \pwrtav Mt: xP v/crea -
o-KTjirrpa E. 385. ct|ic|>i(3aXX'g Bn : cl(Aj>t(3oiXT].
392. irdpcrcit E : irpdcrw yap 6'|i>s Stob. Iviii. 3 : yap dXX* opus. 399. <j>-
pot T : 4>e'p L -
402. Kv'irpov H : rclv Kvirpov. 404. c'v e? N : tva. Jv ol Heath.
406. x^o'va Meineke : Ild^ov. i's T* 'Eircwj>ov av Bergmann. ITo^ov 6' av
6' Tyrrell. 408. avop.ppoi : avo|xppov Mt. 409. irotl N : 6'irov.
412. |A* 10 Hartung: \u. 413. irpdpaKx' ti H. irpopaKXTJu. 427. <ro-
|>dv A : a-o4>av. cro<(>dv 8'
138 APPENDIX.
430. o Tt TO Bk: Sri vtp B C, Sri rt C corr. 431. Scxo^av M:
440. cvmTcs N : cvirpcirts- cvrptires Canter. Of. 844. 444. Rejected by N.
451. |i(0c<r0c Burgess : patvctrfc. |xa(vco-8t \cipov Bothe. 457. K irapa-
o-KtVTJsK: els irapao-Kcvijv. 466. cUre'Pqo-' Abresch: evo-t'pijo-'. 468. dXXd
Canter : dXX' d C, dXX' os B.
477. dpdv Y&P M : yap dpdv. i\v M : TJ. 490. dpaOtas y Ko/repovW : d|ia-
Otas y' OVK tvo-tpovvT E. 496. Aiow'o-ov : Aiovvcrio Collmann.
502. avrdv E : avrds. 506. drt^av ov6' o 8p<js W : Sri |Js ovS dpas.
515. OVTOI P: OVTC B, ovri C. 518. yap dSiicwv : W. suggests yap K8Sv.
SC'CDV -yap Collmann.
525. TO.VT' dvapiocras M : rdS' dva.podo-as. 528. dva<j>aivco II : dva<j>avuJ.
545. <]M Hartung: \u. 549. trKorCauri . . . clpicrais H: O-KOT(CUS . . . tv
cipKrais.
554. 'OXv^irov K : "OXvjnrov. 565. jxcucap H : (uiKaip*. 567. \optviav W :
\optvVwv.
570. fiXur<ro|ic'vas Heath: clXur<ro)ievas rt. 571. AvSCav: Aoi8av H.
TOV H : TOV Tas. 573. irarcpa Bothe : ircmpa TC. 579. 6'8 iro'etv W : irdOcv.
585. -irc'Sov E: irc'Sov. 590. The Mss. have 'Hpx- before <rt'po|wv, but do
not otherwise indicate the distribution of the ode among the members of the
Chorus. 591. I8c rd W : HScre C, KSert rd B. 594. AIONY2OS. added by T.
601. a-wpara Schol. on Phoen. 641 : Swpara. 602. avw : TGLVU> N. 605.
ff<r0Ti<rfl f P : ^'flreri<rfl'. 606-607. N rejects. (xcXaOpov W : Swpa Ilcvdccas. dXX'
ay* R : oXX*. rd IIcvOcws Scajxar' dXX' dvCo-rarc M. 607. o-apKos K :
613. Ppo'xcov W : TVXV. 615. \tlpe N : \ipa. 618.
630. 4>tto-(i' Jacobs: $><a<s. 631. alOt'p* Canter: wanting in Mss. 636.
(K^ds cyu Bothe : CK BaK\as ayuv. 638. yovv : yap Fix.
647. Tpoirov M : iro'Sa. 649. XvVei : Xvoroi E. 655. oxxjxss <rv Christ. Pat.
1529 : <ro(j)os cl.
662. dvio-av x i vos L. Dindorf : x io ' v S dveio-av. t^avycis W : cvaycts.
663. Se irofav P: 8' dirotav. iroiy . . . Xo'y<p Collmann. 673. W rejects,
following N.
681. TOV Scaliger : TOV Si*. 687. See on 32. 688. ^pr]|wojw'vriv W :
H'vas. 694. T T* avycs Christ. Pat. 1834 : rt xavyes. o-v'Jryo( rt
Usener. 698. Xtxfiwiv Heath : Xixpw (rav -
701. |xao-Tos E : jiatds. 721. 8^6' E : 8w(xtv. 726. o-vvpoj<xv P :
ruvpdKXvo-'. 727. Spo'fjup: Spdjxov Bergmann.
738. p^tW: 8CKa. 740. irXcv'p' Bn : irXcvpdv. 750. ripatois Bk : &r\
Pav. 758. ticaitv E : cKaUS*.
761. TOIS S: TOS. 764. yvvafccs A: yvvaiKas. 778. v^airrcTcu Christ.
Pat. 2227 : c'^airrcrai. 787 ff. AIONYSOS. T : the Ms. assigns these verses
to the Messenger.
790. TJo-v'xolciv : TJo-vxa{c E. 791. tuvovvra Canter: KIVOVVTI. 793. x-
pas W: 8CKTiv. 797. irdXc|iov Collmann: iroXvv. 798 f. The Ms. assigns
to Pentheus, 800-802 to the Messenger. The correction is due to T. 799.
Hartung suggests fcJUirtfv, W,
APPENDIX. 139
801. os M: s. 802. <S rdy Scaliger : 6Vav. 808. to-6i M : co-ru 814.
See on 32. 816. / A : 8'. 817. IX^s Pierson : OtX^s.
820. o-oi N : <r ov. 8t V ov E. 821. wv Canter : viv. 824. W suggests
{lira; av fo'S', <3s TIS l. 826. a <rv |xc: ajw v E. 828. W rejects, following
Collmann.
835. Y H : re. 8/pos W : 8'pas. ~ S 37 - StvVeis W : e^o-cis-
843, 845 f. The Ms. assigns to the Messenger, 844 to Pentheus; corrected
by Heath. 844. evrpcire's Canter: cvirpcir^s. Cf. 440. 845. <rrtl\o\.p dv:
oTtx(wv Schafer. 846. trcCo-ofuu A: irclOopai. 847. Bcucxas: Boxxcus
L. Dindorf.
851. tvcls : cvfols Burgess. 852. 0t\T]<r|] A : OcX-rjo-ci,. 853. IXav'vuv :
aXvuv Middendorf.
860. cXXe'pois W : v rcXci. CYY^WU Meineke, tvo-raTois N. 861. ewo-
(J.OKTI W : dfOpwirouri. tvrpo'irowri M. cvvoovcri Badham. tvcrepoxicri Herwerden.
avgovovo-i Mekler. 865. alOt'p' els M : cts alOtpa. 869. Orjpav N: O^'paji.
873. |io'xOois W: |u>'x6ois r. deXXds II: T* dc'XXous- 883. rt, added by
N. 887. 8oK<jW: 80'^. 893. ro'8' Heath: T.
905. trtpa E: crcpa. 907. 8^, added by H. 913. (nrcv'Sovra A: <nriv-
8ovra. 916. re : -ye K. ical Xo'xow : KaXo'xov R. CK Xo'xov H. Kal x o/ P u
Hartung. 917. \u>p$r\v M : jiop^.
931. 8pos: W suggests nCrpos- 946. eXdrais Schol. Phoen. 3: Beucxais-
951. rdS: rdv. 952. Ilavds Brodaeus : xairvos- 955. Kpu4>8rjvai A : Kpw-
<}>TJVCU.
961. iroXtws N: yjiovos. 962. avrwv tip E: tip avrcav. 964. <r XR*1
Fix: txpriv. 968. C'|M)V: ipoi E.
970. jjUv: youp H. 976. cVri W: tcrrat. 981. TOV, added by Meineke.
tirl TOV MaivoCSwv CTKOITOV Hartung. 982 f . o-KoireXos "W : T} o-Ko'Xoiros. T|
o-Koire'Xou Hartung. CVO-KOITOS is suggested by N. 986. dpOpcvcov W : dpioSpo'-
jtwv. K suggests opiSpo'jxwv. 989. c<|>v A : 08' e'4>v.
993, 1014. Xai|u5v T : 8aC|iv. 996. TO'KOV (agreeing with the text of 1016)
E : yo'vov. 998. T Beds jxarpos W : fiarpo's re o-ds.
1001. vCKavW: PIJ, 1002. Ovarots dirpo<j>ouro-rois W : Odvaros dirpo<t>do-i-
OTOS. 1004. Pporeiav E : Pporeiiu. 1007. <j>avi'p' OIYOVT' W : <|>avpa TWV.
<j>avcpd T ovr' M.
1010. 8* : T' E. 1020. 0T)pa-ypvr< D : (hipaypo'Ta. 1021.
irt[> : W considers a gloss upon some such word as xoporo's, or
1023. irco-o'vri Scaliger : iro-o'vra. W suggests for the whole passage, 0avd-
crip.ov Ppo'xov ircpCpaXi xo-po'T^ | cir' dycXav ITEO-O'VTI rdv MouvdS<i>v.
1031. dvo| <3 Hartung : wvo^. 1037. Aws irais W : AwWos. 1041.
rtn Christ. Pat. 653: rCvci. 1044. poos A: ods. 1048. iroi7jpJv A:
mKpov.
1050. dpwjwv M : dpnv. 1053. Ka0TJvr E : KaJhqvr. 1060. oiroi JM>-
8<*v M : otroi vo'Gcjv. oo-trots |io'0ov Heath. W suggests <Jo-rpr]pcv<i>v. 1061.
6x.6ov A: o\9uv. r\ T: els. 1063. Oton' W: eavj*'- 1066. KVKXovroA:
KvicXovrai. 1067. tXiKoSpofiov K : e'Xicei Spo'fwv.
140 APPENDIX.
1087. opOdW: opeal. 1098. T H: 8'. 1099. aXXai Brodaeus : SXXoi.
1100. OTO'XOV R : T* 8\ov. 1102. XtXi]|j,|uvos M : \t\r\<r\i.t vos. 1103.
Spvtvois, K\d8ois Hartung : Spvtvovs, K\o8ovs- o-vvrpieuvovcrai. Pierson : <rvyics-
pavvowrai.
1113. W, following N, regards as spurious. 1116. KTCIVOI Bk :
1121. orreppa W : iraiSa.
1132. a-TvdvA: <mryvdv. 1133. c<|><pc Duportus : dve'4>p.
A: tX'vi]v. 1134 1 Y V I JIVO '' VTO : Y u H tvo n> Pierson. 1135. -rrXcvpal: irXtvpd
P. irXcvpds Pierson. 1137. <rrv<j)Xois Bn : rv<})Xois.
1141. irrjaor' Brodaeus : imjgewr. rj Heath: g. 1148. -rfp, added by R.
1152. KTTJUO Christ. Pat. 1146: xP% a - 1153 - Bcucxwv II : BeucxcCcov.
1157. irwrT<>v "AiSav : BiorovCSwv T.
1161. cgcirpagaTc Scaliger: cgcirpogaro. 1162. yoov Canter: yovov.
1165. Serous S : Spo'|iov$. 1168. dpoOv'vtis H : opOtis. Opocis ro'8' Fix.
opOois S. 1169. optos Plut. Crass. 33, Polyain. vn. 41 : dpt'wv. 1171. Orfpov
Plut., Polyain. : Orfpoixa. 1174. XC'OVTOS, added by W. Iviv W : viv.
1181. ATAYH before rd, inserted by Heath. 1183. T<j8' aypij A: raS'
avpa. CVTVXTJS V *&' aYP a N - 1187 - OaXXci M : 0aXXci. 1188. XOPOS in-
serted by T. y co<rT 8r)p a-ypavXos <j>o'p-r] K : -yap w<rr Oi^pos aypavXov 4>o'puj.
1190 f. <ro<)><os Bk: o-oj>os. 0t]'p<j rovSt H: erjpa ro'vSc. 1193. T 8',
added by A. K suggests rl <r ciraivw. 1194. 8e A : 8e ical. 1195-1199.
The Ms. assigns these verses (except dyoXXci) to the Chorus. firaivccrerai A :
iraivvcrTai. 1197. irpi<ra-dv Brodaeus: ircpicro-ds. 1199. rijSt %$, L. Din-
dorf : ToS* ? pya. XOPOS inserted by W after, by K before, y$.
1203. l8r]TA: tSrrc. 1205. dyKvXriTois N : dyKvXwrois. 1207 f . |uvrr]v,
Xpccuv N: XP " V ) |WITI)V. 1209. -y' avrfl K (1867): ravTQ. ro'vSc A: To'8.
1210. x w P^s re y dfitpos W ( \wpis r aOrjpos Ruhnken) : X W P'S T < &npos-
1213. iri]KTwv Christ. Pat. 1263 : irXcKTcSv. irpos otKows : irpos otKcp Scaliger.
irpos otKois Bn. 1216. pdpos: Stjias N. 1218. po\9uvW: [u>\Qw.
1221. W rejects, following N. 8v<reupt'Tw : Svarcvpcrov R. 1224. irapa
M: ircpi. 1227. 'Api<rTaC<p Heath ('ApurroCov Milton) : dpurrca.
1232. avnfv Scaliger : ovrijs. 1240. av KptjAao-O^ : dyKpt(ta<r0^ II. 1241.
^(w A : fywjs. 1246. r<J Ovjia : W suggests irpo'9v|ui.
1252. o-Ku0pu-iro'v A : orKvOpwiro's- 1254. ST iv : W suggests oirws. a|xa:
Oaftd I). 1257. o-owrrlv K : <ro r <rriv.
1265. ro'v8' S: rwvB. 1269 f. yt-yvofwu: K suggests y l< yvwo-K, and the
omission of the following verse. 1271. <rcu|><os R : o-o<j>ws- 1272. c'tcXc'Xt]-
o-|u A : tXe'XTjo-jiai. 1276. 1^ A : i\u>l. Ipq . . . KoivwvCa Hartung.
1283. Trpoo-ciKevai Bk : irpoo-eoiKt'veu. 1285. TJno-yi^vov M : olpuiryiuvov.
1286. i|X0V E : ^9s. jX0 \ffws A. 1297. /, inserted by Heath.
1312. cXdfipav<s H : cXd>pavV. 1317. TCKVOV R : TC'KVWV. 1318.
vuv Brodaeus : Oiyydvw.
1320. TS dSiKf i Bn : T(S r dBiKci. 1329. For the lacuna after this verse
see Appendix HI. 1330. Recovered from the Schol. on Dionysios, Periegesis
APPENDIX. 141
391, who cites it in connection with the two following verses. 1332. 'App,o-
vCav A : dpp.ovtas. 1333. 6'xov A : 6'xv. 1339. ptov : Se'fxas N.
1344, 46, 48. The Ms. assigns to Kadmos ; corrected by E. 1345. gScTt
A : ctSrrc. 1347. vp.<ov Victorius : ijpwv. 1349. To8 A : Tefye-
1353. 6' dfio'criropoi, W : T o-al. irais T <rvyyovoi T o-aC II. 1355. ^ovarl
Haupt: |ioi TO. 1358. <TXTJ|X, inserted by N. 1363. o-rtpcio-a Bn : o-Ttprj-
0ei(ra. 1365. opviv E : opvis- iroXio'xpwv M : iroXio'xpws- KV'KVOV Heath :
KVKVOS-
1372-1392. The text is very defective ; N rejects the passage. 1372.
o-Tt vopai E ; O-TC pojiai. o-, added by Bn. 1377 f . Assigned by the Ms. to
Dionysos ; corrected by H. irocrxv H : i'-ircurxov.
1380. 8', inserted by R. 1382. Xin|>V9' E .- XrixJ/cojwS'. 1384. p.' o-8oi,
inserted by M. 1391. iro'pov A : iro'pav.
HI. THE LACUNA AFTER 1329.
XaKL&Tov iv Trerpaicriv evpecrOai popov. a
******
KCLI viv r) 8vcrr^^o9 evXajSovfjLtvTrj b
(rrepva. OcojJLai ; riva Se Opyvrjcra) rpoirov ;
el pri yap I&LOV e\a/3ov ets ^et/aa? javcros c
******
Karacnrd<ra(T0aL irav jiteXo? w _ w _ d
Kvvovaa crdpKas acnrep t^eOpefydimv.
& (^tXrar^ 7r/3ocrot/;ts, a) vea yews
******
ra S* aljji6<j)vpTa /cat /car^Xo/ctcr/Aeva e
******
The lacuna after 1329 was observed author of Xpurrbs ira<rx" had the corn-
by Tyrwhitt, who referred to this place plete text, and took from it, for ex-
the verse cited from the Bacchantes by ample, the verses irS>s /cal . . . rptirov
the Schol. on Ar. Plut. 907, d fj.)> yap (1312 f.), was observed by Porson.
2Aa#oj/ tSiov ts x*P as pvaos. Musgrave This restoration was carried out fur-
recognized a fragment of this passage ther by Hartung in his Euripides res-
in the sentence of Lucian, Piscator, 2, titutus, and finally most thoroughly
KaOdirep riva Ufv6ea $ 'Op<pea \aKiffrbv by Kirchhoff, Philologus. VIII. 78-93.
iv irtTpaHTtv fvpf<r6ai p.6pov. That the Kirchhoff has taken from the Christ.
142
APPENDIX.
***
ets Seo"ju,a r*
Toiyap
/cat ravra
a>v
AIONT2O2.
***
/cat Xoya>i> vySptayxara.
jKicrO* viro.
ouros [eVSt/ca>sj.
a 8' au Tra0elv Set Xaop ov Kpfya) /ca/ca.
******
-TroXtv Ti^S' avoaiov /uaoytaros
Tivovcras raJS* oz^ eKTtivav w _
/cat ^rfK^r ecrtSetv Trar^tS'- ov yap
******
avros S* a ^e'XXet? Tnfjaar' e/CTrX^crew,
Pat. thirty-four verses, in part frag-
mentary. Among these is much that
is uncertain. The most probable are
given above with some variations and
in part in a different order. The
verse <^JATOTTJ, KTA. is obtained by
Wecklein from a combination of two
verses, 5 <f>t\rdri] vp6ffotyis, S> iroOov/jifvr),
Christ. Pat. 921, and & <f>i\rarov irp6<r<e-
trov, & vta ytws, ibid. 1469. The other
Frgs. from the Christ. Pat. are derived
as follows: b, verses 1 and 2 from
1312 f. ; d, verses 1 and 2 from 1256 f . ;
e from 1471 f . ; f from 1664, 63, 67,
68; g from 1674-76, 90.
The thought of the Frgs. is as fol-
lows : Agaue laments that her son has
met his death by being torn in pieces
among the rocks (a); she would fain
embrace the dead, but scruples to
touch him with hands stained with
murder (b, c) ; she overcomes her
scruple, and with pathetic wailing
kisses the fragments of the body
(d, e).
Dionysos, after speaking of the
fault and punishment of Pentheus,
and the purpose of the severe atone-
ment (f and the First Hypothesis, at
the end) announces the destiny of the
Thebans (f ) and the daughters of
Kadmos (g). In the last verse he
apparently begins the prediction re-
luting to Kadmos himself.
GREEK INDEX.
[The numerals, when preceded by p., refer to the page, otherwise to the verses
of the text, or to the notes.]
dtXXos, 73.
OYKV\T|TOIS <rroxci<r|i.a-
ri, 1205.
aypcvSt of Dionysos,
1192.
ayuias, ways, 87.
OYXOVTJS a&a-t 246.
aXaXa, 593, 1133.
djieixj/as (iop<J>T]V, 4.
dva-yicas djitXXawi, 552.
, 1072.
v'a opyia, 482.
dvrtirupYov irTpav,1097.
avw KOTO), 349. avw T
Kai Ka.ru, 741, 753.
dvuXoXvga, trans. 24.
ofxrcva vq5v'v, 526.
do-iStfpov xeipo's, 736.
do-TpaTrr]4>o'pa), pass. 3.
avro <r](iavi, 976.
paKxtta.218,232, 1293.
ciov, 308.
etos, 1057, 1230.
40, 317,
567, 608, 720, 724.
vs> 145.
v, 298.
v, 357.
VU), 76, 251, 313,
343, 807.
ava(3a.K \evoua-a., 864.
tvOtj, 1295.
t, 726.
v, 931.
, 67, 195, 225,
366, 605, 632, 998,
1089, 1124, 1145,
1189.
Bcucxos, 1020.
POKXOS. 491.
poXal xw'vos, 662.
PO'<TKTO cX-rrUri, 617.
, 66.
KTVITOV, 513.
PV<T<TVOVS ireirXous, 821.
142, 700.
's, 264, 996, 1025.
Yuva.iKOH.ifit> o*roX<,980.
8vo-is> shed, 837.
ATjuTfnjp, etymology,
276.
8iaTiva^6Tai, pass. 588.
8i6o.o-KaX.Lcu, p. 16.
8iKT]v [X re i(ii, 346.
So'ficov, apartments, 1.
SpoiKovros 6'4>os, 1026.
8vo TJXious, 918.
8v<rxi|iov, inclement, 15.
Swjiara, of a part of
the house, 633.
i P KTa, 497, 549.
eXXc'pois, 860.
ev 8ieurTpo'4>ois oo-o-ois,
1166.
tvSvra o-apKo's, 746.
36.
eu fiaXXov, 484.
{, 67, 1034.
cvios, 157, 238, 566, 608,
791, 1167.
vopy]<rtav, 641.
c vpvxopovs = tvpt (os,87.
v4>tinov, 69.
c<|>v|iviov, 897, 1012.
x, with partic. 53. -
OoXepov virvov, 692.
fliao-evw, 75, 379.
e^ao-os, 56. of the
revel-movements,
532, 978.
Oiturwrav, 548.
eVJXvv oroXTJv, 828, 836,
852.
6od^oj, 65.
OpOJO-KCl TTtSlOV, 873.
6u(j.ov'(j.evoL els KCpas,
743.
Ovpa-ovs, used as weap-
ons, 762, 1099.
557.
Ovcit TO. 6'p-yi.a, 473.
IS aio v avrpov, 120.
ISov, 198.
ttonev, trans. 1048.
TW, 365.
144
GREEK INDEX.
KCU, where Eng. uses
when, 1079.
KarapaKxicvtrOe, 109.
KaracTKoimv, 1293.
KaTCurKOirrj, 838.
Kardcncoiros, 916, 956,
981.
Kara4>povi, with ace.
503.
Kara\)/vSov xaXus, 334.
Kepav'vios, 6, 93, 594.
Kpavvo'f3oXos, 598.
KipSi]\cvo), 475.
KO-O-IVOS, 25, 177, 363,
702, 710.
KUTO-O'S, 81, 106, 253,
323, 342, 1055.
Kicrcro4>o'pois, 384.
Kwo-axras, 205.
Ko'pai = d4>0aX|io(, 747,
1087.
-rrps KVTpa,
795.
s, 718.
\\T]|A|XVOS, 1102.
Xciras, 677.
XevKov KwXov, 665.
Avoxras Kvves, 977.
|icuva6os, adj. 915.
(j.avia, of terror, 305.
(w'-yav av>o-0ai, 183.
[iEGe'cTTTjKas efjpevtov, 944.
\Uv = H.TJV, 970.
Hypo's, 96, 243, 287, 295,
523.
fuXa, 108.
p.CT P a, 833, 929, 1115.
HoVxos, 678, 736, 1185.
f>'<r\v OXDV, 1332.
voip0t]Ka v'0upo-ov, 1157.
vtp p s, 24, 111, 137,249,
696.
vcppo's, 176, 835, 866.
VWTpov, calamity, 214.
vva\|/ai (BXe'^apa, 747.
VtO, 297.
, 293.
ofiios, with partic. 392.
6'pYia, 72.
dp-yia^eiv, 415.
opxavas, 611.
6'<rov ovirw, 1076.
o TI KaXov <j>Xov, a prov-
erb, 881.
ov (irf, with future in-
die. 343.
ov yap dXXa, 785.
ovrt irtwrxwv OVT Spwv,
801.
irais irarpo's, 1030.
jrcipciiu, with ace. 5.
rrapoxTvw, metaphor.
479.
irdrep, grandfather, 254,
1322.
s, with dat. 19.
irvtttv |c j*, viw.
iro'Sa xpo'vov, 889.
iroXis, of a region, 58.
iroTViaSas, 664.
irpovwiria, 639.
irpo'j>ao-iv, ostensibly,
224.
irpo4>T]TTjs, 211, 651.
fct, with dat. 142.
pCirrw, with gen. 1097.
o-a0po'v, 487.
o-rjKo'v, 11.
crnAllYn 11 cerfin. 500
TO (TO<j)OV, 203.
(nroprto, 1274.
curirovSa-
<rro, 913.
o-TiXafji0a Xo'-yov, 669.
W, 972, 1073, 1083.
S, 936.
v, with dat.
62.
<rvv, with dat. of means,
52.
o-w<j>povw, 314,316, 329,
1150, 1341.
crw<J>po'va>s, 686.
o-ux})pwv, 504, 641, 1002.
ravpo'icepcov Oco'v, 100.
TeXjras, 73.
Ttvovra, 938.
r,with a repeated word,
1177.
rls, with an adj. 824.
TO'V, relative, 712.
Tp((3o>v X.O'YV, 717.
v^ois, 1214.
V, 133.
Tv(iirava, 59, 156.
Tv4>o'(j.va, with ace. 8.
{j'Ppeis v^pCtctv, 247.
v-yirfs, 262, 948.
v, trans. 678.
(JHirvai, 510, 618.
<|>vXaKas, 869.
s, 896.
yjalptw, farewell and
fare well, 1380.
u'(j.aTa, 132.
wpav,instead of dat. 724.
uioT, on condition that,
842.
INDEX OP SUBJECTS.
Accius, imitations of
Euripides, 273, 439,
1144, 1185.
Accusative instead of
dat. 724.
of persons after verbs
of motion, 847,1354.
of place over which,
307, 749, 873.
after a trans, phrase,
1288.
Acheloos, 519.
by metonymy for wa-
ter, 625.
Acheron, 1362.
Adjectives in -w&ijs, 12 ;
in -ycvT]S, 1156.
compounded with
stem of the verb,
or synonymous
verb, 1096.
joined with subst. de-
pendent upon a gen.
634.
Aktaion, 337, 1291.
Anachronism, 70.
Anacoluthon, 272, 843.
Anaphora, 1323.
Aorist, where Eng. uses
pres. 609.
Aphrodite, 225, 403, 459,
688.
Apposition, with a
clause, 9.
Arabia, 16.
Ares, 302, 1338.
Aristaios, 1371.
Asia, 17.
Asopos, 749.
Assimilation, of mode,
1255.
Augment omitted, 100.
Antonoe, 230.
Axios, 569.
Bacchantes, the play
widely known, 1169,
p. 8 ; in art, p. 8.
Baktria, 15.
Brachylogy, 4.
Cognate ace. with pass.,
955 ; without attrib-
utive, 247.
Compounds in which the
last part is redun-
dant, 1096, 1166,
1157.
Constructio ad sensum,
1306.
Constructio praegnans, 49.
Costume of women, 821,
833.
Crete, 121.
Cyprus, 402.
Delphi, 306.
Demeter's gifts, 277.
Dionysos, as a bull, 100,
920,922,1017,1159;
as other animals,
1017, p. 11.
effeminate appear-
ance, 453.
Dionysos, friend of
peace, 419.
gifts of, 278, 377, 773.
inspires terror, 302 ;
prophecy, 299.
oracles of, ibid.
poured out in libations,
284.
wanderings of, 13, 48.
worship, connected
with that of other
divinities, 78, 306,
402.
Dirke, 520.
Dithyrambos, origin of
the name, 526.
Echion, 229.
Elektran gate, 780.
EleusinianMysteries,68.
Ellipsis of indie, after
imv. 364.
Encheleis, 1330.
Epith. transferred from
person to thing, 376.
Erythrae, 761.
Flute, 126, 160.
Future mid. as pass. 588.
Genitive, with com-
pounds of alpha pri-
vative, 40.
with adjs. of knowl-
edge, 717.
with exclamations,
263.
Gnomic aorist, 662.
146
INDEX OF SUBJECTS.
Gods should not be like
men in wrath, 1348.
Gorgons, placed in Ly-
bia, 991.
Hair, consecrated to a
god, 494.
Harmonia, 1357.
Hatred of foes, a com-
mon principle of
Greek morality,
879, p. 6.
Hera, 9.
Historical pres. 2.
Hypothetical indie. 612,
1312.
Hysiae, 751.
lacchos, 725.
Imperfect, of what is
just recognized,922 .
Infinitive, with T}, 747.
Initiates, purity of, 75.
Kadmos, changed to a
serpent, 1330.
exiled from Thebes,
ibid.
leader of an army
against Thebes,
1333, 1356.
sent to Elysium, 1330,
1361.
without sons, 1305.
Korykian nymphs, 659.
Kuretes and Korybantes
confounded, 120.
Kybele, 79.
Laws of piety eternal,
895.
Life too short for unat-
tainable aims, 397.
Lydias, 569.
Macedonia praised, 409.
Milk, honey, and wine
flow from the earth,
143, 705.
Mountains move to the
Bacchic revel, 726.
Myth of Dionysos, p. 2 ;
in literature, p. 11.
Nile, 407.
Nymphs of Kithairon,
951.
Nysa, p. 9, 556.
Orpheus, 562.
Over-wiseness is folly,
395.
Oxymoron, 66.
Paktolos, gold-flowing,
163.
Pan, 962.
Participle, sub j . omitted,
1245.
Passive, with mid. mean-
ing, 914.
Pentheus, play upon the
name, 367, 508.
Pieria, 669.
Preposition, force of, in
comp. extended to
following verb,
1065.
placed in second mem-
ber of sent. 110.
Prolepsis, 98.
Rash speech punished,
386.
Redundancy, 677.
Refrain, 897, 1012.
Rhea, 69, 79.
Sanctity personified,
370.
Satyrs, 130.
Schema Pindaricum,
1350.
Semele, bears the god
prematurely, 3, 91.
calumniated, 28.
defended, 41.
hated of Hera, 9.
her tomb, 6, 597.
Soothsayers, mercenary,
257.
Sophists referred to,
202, 266.
Stichomythia inter-
rupted, 929, 934,
1269.
Subjunctive, hortative,
341.
Supplementary partic.
with the subj. 39;
with the obj. 791.
Swans, affection for
parents, 1365.
Teiresias, 176.
Thessalians, inventors
of the javelin, 1205.
Tmolos, 65, 66.
Torches of the bacchan-
als seen in the nits.
306.
Trieteric festivals, 133.
Tympanum, 124, 126,
156.
Unchastity attributed to
the bacchantes, 223,
364; falsely, 314,
686.
COLLEGE SERIES OF GREEK AUTHORS
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LIST OF ABBREVIATIONS
USED IN THE
COLLEGE SERIES OF GREEK AUTHORS.
abs. = absolute, absolutely.
ace. = accusative.
ace. to = according to.
act. = active, actively.
adj. adjective, adjectively.
adv. = adverb, adverbial, adverbially.
Aeol. = Aeolic.
antec. = antecedent.
aor. = aorist.
apod. = apodosis.
App. = Appendix.
appos. = apposition, appositive.
art. = article.
Att. = Attic.
attrib. = attributive.
aug. = augment.
c., cc. = chapter, chapters (when nu-
merals follow).
cf. = confer (in referring to a parallel
passage).
chap. = chapter.
comp. = comparative.
cond. = condition, conditional.
conj. = conjunction.
const. = construe, construction.
contr. = contraction, contracted.
co-ord. co-ordinate.
dat. = dative.
decl. = declension.
def. = definite.
dem. = demonstrative.
dep. = deponent.
dim. = diminutive.
dir. = direct.
disc. = discourse.
Dor. = Doric.
edit. = edition, editor.
editt. = editions, editors.
e.g. for example.
encl. = enclitic.
Eng. = English.
Ep. = Epic.
epith. = epithet.
equiv. = equivalent.
esp. = especial, especially.
etc. = and so forth.
excl. = exclamation.
f., ff. = following (after numerical
statements),
fern. = feminine.
fin. = sub fine.
freq. = frequently,
fut. = future.
G. = Goodwin's Greek Grammar.
gen. = genitive.
GMT. = Good win's Moods and Tenses.
H. = Hadley's Greek Grammar.
hist. pres. = historical present.
ibid. = in the same place.
id. = the same.
i.e. = that is.
impers. = impersonal, impersonally.
impf . = imperfect.
imv. = imperative.
in. = ad initium.
indef. = indefinite.
indie. - indicative.
indir. = indirect.
inf. = infinitive.
interr. = interrogative, interrogatively.
intr. -.= intransitive, intransitively.
Introd. = Introduction.
Ion. = Ionic.
Kr./Sjor. = Krtiger's Sprachlehre, Erster
Theil.
Kr. Dial= Kriiger's Sprachlehre, Zicei-
ter Theil.
KTf. = Kal TO, *l}s.
KT\. = Kal rcb \ourd.
Kiihn. = Kuhner's Ausfiihrliche Gram-
matik.
Lat. = Latin.
L. & S. = Liddell and Scott's Lexicon.
I.e. = loco citato.
lit. = literal, literally,
masc. = masculine,
mid. = middle.
Ms., Mss. = manuscript, manuscripts.
N. = note,
neg. = negative,
neut. = neuter,
nom. = nominative,
obj. = object.
obs. = observe, observation,
opp. to = opposed to.
opt. = optative,
p., pp. = page, pages,
part. gen. = partitive genitive,
partic. = participle,
pass. = passive, passively,
pers. = person, personal, personally,
pf . = perfect,
pi. = plural.
plpf . = pluperfect.
pred. = predicate.
prep. = preposition.
pres. = present.
priv. = privative.
prob. = probable, probably.
pron. = pronoun.
prop. = proper, properly.
prot. = protasis.
quot. = quoted, quotation.-
q.v. = which see.
refl. = reflexive, reflexively.
rel. = relative, relatively.
Hem. = remark.
S. = Schmidt's Rhythmic and Metric.
sc. = scilicet.
Schol. = scholiast.
sent. = sentence.
sing. = singular.
subj. = subject.
subjv. = subjunctive.
subord. = subordinate.
subst. = substantive, substantively.
sup. = superlative.
s.v. = sub voce.
trans. = transitive, transitively.
viz. = namely.
v.l. = varia lectio.
voc. = vocative.
; = section, sections.
Plurals are formed generally by add-
ing s.
Generally small Roman numerals
(lower-case letters) are used in
referring to the books of an
author ; but A, B, r, etc. in refer-
ring to the books of the Iliad,
and o, , 7, etc. in referring to
the books of the Odyssey.
In abbreviating the names of Greek
authors and of their works, Lid-
dell and Scott's List is generally
followed.
.
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