(LIBRARY i 
 
 1 UNIVERSITY OF 
 CALIFORNIA 
 
 I SAN DIEGO J
 
 c 
 
 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.
 
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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.
 
 . 
 
 /3 < 
 
 
 <
 
 j. ....MI in ii inn HiiMiiii mil Mill Illll III ||