t'arcnfcon 
 
 THEOCRITUS 
 
 KYN ASTON
 
 .IBRARY 
 
 DIVERSITY OF 
 CALIFORNIA 
 
 AN DIEGO 
 
 Bonbon 
 
 HENRY FROWDE 
 
 OXFORD UNIVERSITY PRESS WAREHOUSE 
 AMEN CORNER, E.C.
 
 THE 
 
 IDYLLS AND EPIGRAMS 
 
 COMMONLY ATTRIBUTED TO 
 
 THEOCRITUS 
 
 WITH ENGLISH NOTES 
 
 HERBERT KYNASTON (FORMERLY SNOW), D.D.(CAMB.) 
 
 PROFESSOR OF GREEK IN DURHAM UNIVERSITY 
 AND FORMERLY FELLOW OF ST. JOHN'S COLLEGE, CAMBRIDGE 
 
 Fifth Edition 
 
 AT THE CLARENDON PRESS 
 
 M DCCC XCII
 
 PRINTED AT THE CLARENDON PRESS 
 BY HORACE HART, PRINTER TO THE UNIVERSITY
 
 CONTENTS 
 
 PAGE 
 PREFACE vii 
 
 PRELIMINARY REMARKS 
 
 IDYLL I 
 
 IV 
 
 V 
 
 VI 
 
 VII . 
 
 VIII . 
 
 IX 
 
 x 
 
 XI 
 
 XIII . 
 
 XIV . 
 
 xv . 
 
 XVI . 
 
 XVII . 
 
 XVIII .
 
 vi CONTENTS. 
 
 PAGE 
 
 IDYLL XIX 76 
 
 . xxi 77 
 
 xxn 81 
 
 XXIV 90 
 
 xxv 96 
 
 xxvi 107 
 
 xxvin 109 
 
 BERENICE Ill 
 
 EPIGRAMS 112 
 
 NOTES 121 
 
 APPENDIX, containing Translations into English 
 Verse : 
 
 TRANSLATION OF IDYLL I, 11. 64-14! . . . 235 
 
 vn, 11. 52-89 . . 237 
 
 vn, 11. 130-157 . . 239 
 
 x, 11. 26-58 . . . 240 
 
 xix, 11. 1-8 . . . 241 
 
 xxvni, 11. 1-25 . . 242
 
 PREFACE 
 
 I HAVE endeavoured, in writing the Notes to this 
 Edition of Theocritus, to give such help as would be 
 required by boys in the higher forms of schools, and to 
 offer remarks which would not be beneath the notice 
 of men reading Classics at the Universities. I have 
 purposely dealt more with illustration than with criticism ; 
 giving references without quotation to books which the 
 readers are likely to have at hand, and quoting the 
 passages referred to from less common books. 
 
 It may perhaps seem a useless work (and by some be 
 considered no work at all) to edit Theocritus without an 
 elaborate critical examination of the Text, and a dis- 
 sertation upon the genuineness of those Idylls which 
 have been declared unworthy of the Syracusan Poet. 
 But the time requisite for the former, which must be 
 spent in collating MSS., and in overcoming the difficulties 
 of such an occupation by daily experience, can only be 
 at the disposal of those whose sole business and pleasure 
 it is so to spend it. Would that I were one of that 
 number ! I know no author who would better repay 
 such a work than Theocritus ; the elegance of whose 
 natural flow of graceful verse must attract with ever in- 
 creasing power those who ' listen to his sweet pipings.' 
 
 Many have already ably worked to bring this music to 
 the ears and hearts of those to whose tongues its utter-
 
 Vlii PREFACE. 
 
 ance is dead : the editions of Wuestemann, Ahrens, 
 Ziegler, Meineke, Fritzsche, Wordsworth, and Paley, are 
 well known to all scholars. I have spent what time my 
 professional duties would allow in reading my author 
 over and over again with their help : which help I grate- 
 fully acknowledge. They are all more or less my 
 creditors, with little chance of being repaid. I have 
 followed Paley's text * in the Idylls, and Meineke's in 
 the Epigrams, with very few differences indeed ; but not 
 without weighing carefully, and I hope judiciously, the 
 merits of various readings. Any fresh conjectures, by 
 one who has scarcely seen a MS. of the author, would 
 be impertinent; for surely, as far as 'criticism of the 
 text is concerned, an Editor should either learn to judge 
 for himself from the MSS., or be content to follow 
 humbly those who have done so. 
 
 With regard to the genuineness of certain Idylls, there 
 are no more arguments on either side to be adduced 
 than those which have already appeared in such works 
 as Reinhold's De Genuinis Theocriti Carminibus, &c. ; 
 in spite of which any decision is as far off as ever, and 
 not likely to be brought nearer by any number of future 
 volumes. 
 
 I have added, in an appendix, translations of some 
 select passages into English verse. Admirers of Theo- 
 critus are already in possession of Mr. Calverley's elegant 
 translation of the whole : so I can scarcely hope that 
 mine will be read ; but they will be found literal, if they 
 have no other merit. 
 
 H. SNOW. 
 
 ETON, May 1869. 
 
 1 See Preface to 4th Edition.
 
 PREFACE. IX 
 
 PREFACE TO THE FOURTH EDITION 
 
 As the text of Fritzsche seems now to be pretty 
 generally adopted by Classical Examiners, and that of 
 Ahrens is the basis of the ' Teubner ' edition, I have 
 thought it advisable to use the former as the main text, 
 and to give in foot-notes the readings of Ahrens' and 
 Paley's texts, where the variations are important. 
 
 H. KYNASTON, D.D. 
 
 CHELTENHAM, June 1885. 
 
 PREFACE TO THE FIFTH EDITION 
 
 IN the present Edition a good deal of matter has been 
 added to the Notes and to the Introduction : and 
 passages from the newly-discovered Mimiambics of 
 Herodas have been quoted, wherever such illustration 
 appears interesting. References have been carefully 
 verified. Several passages however are still left, whose 
 interpretation is very uncertain : nor can we expect any 
 clearer light to be thrown on these until a more systematic 
 examination and collation of the existing MSS. shall 
 have been made. 
 
 H. KYNASTON, D.D. 
 DURHAM, March 1892.
 
 PRELIMINARY REMARKS 
 
 ON THE 
 
 LIFE AND WRITINGS OF THEOCRITUS 
 
 SINCE our information respecting the life and writings of 
 Theocritus is derived, amongst other sources, from certain 
 statements made by the ancient grammarians, and prefixed to 
 the MSS. containing his poems, it seems worth while to com- 
 mence by quoting those statements in full, and making them 
 the foundation of these remarks. I therefore subjoin a literal 
 translation of them as they appear, in their most recently 
 emended condition, in an edition by Ziegler (dated 'Tu- 
 bingae, 1867') of the Scholia upon Theocritus, taken from 
 the Codex Ambrosianus, 222. 
 
 I. The first is a brief account of the poet's parentage 
 and times : ' Theocritus, the bucolic poet, was a Syracusan 
 by birth, and son of Simichus, as he himself says 
 
 TO j TO 
 
 (Id. 7. 21) : 
 
 but some say that " Simichides " was a nickname ; for it is 
 reported that he was flat-nosed (o-t/ids) in appearance, and 
 the son of Praxagoras and Philina. He became a disciple 
 of Philetas and Asclepiades, whom he mentions, 
 
 [i. e. Id. 7- 4 oure rov f<r6Xbv
 
 Xll LIFE AND WRITINGS 
 
 and flourished at the time of Ptolemy, surnamed son of 
 Lagus ; and being clever in the composition of bucolic poetry, 
 gained considerable distinction. According to some, how- 
 ever, his name was Moschus, though he was called Theocritus.' 
 Some of these statements call for a few remarks : 
 
 1. The idea of Simichidas being a patronymic evidently 
 arose from Theocritus speaking of himself under that name in 
 Idyll 7 ; and those who wished to coin some originality for 
 themselves, invented the derivation from cri/xos. No doubt the 
 word had no particular meaning, but was an assumed name. 
 
 2. The mention of Praxagoras and Philina is due to Epi- 
 gram 22, which distinguishes him from his namesake the 
 orator and sophist of Chios, but is probably the composition 
 of Artemidorus, the author of an Epigram quoted below 
 about the collection of the bucolic poems. 
 
 3. The Sicelidas mentioned in Id. 7. 40 was, doubtless, 
 Asclepiades. Of the connection with Philetas it is not known 
 whether personal instruction, or merely the influence of his 
 works is meant. Philetas, a poet and grammarian of Cos, 
 mentioned several times by Propertius and Ovid, as a model 
 for elegiac poets (see Prop. 2. 34. 31 ; 3. I. I ; 4. 6. 2 ; Ovid 
 Art. Am. 3. 329, &c.), was tutor to Ptolemy Philadelphus, at 
 whose court the intimacy between him and Theocritus must 
 have been fostered at the time when the latter was at Alex- 
 andria, before he began to distinguish himself. 
 
 4. We may fix the birth of Theocritus at Syracuse, and at a 
 date between the limits B. C. 315 and 312, and must assign 
 the period of his distinction to the age of Ptolemy Philadel- 
 phus rather than to that of his father, the son of Lagus ; 
 and, in fact, it is so assigned in the Greek Argument to 
 Idyll i. 
 
 He spent his youth and early manhood in the island of Cos, 
 where he studied under Philetas ; and here belonged to a 
 sort of pastoral club or guild of poets, which he was possibly 
 instrumental in founding. The members of this guild seem
 
 OF THEOCRITUS. xiii 
 
 to have adopted pseudonyms, such as Simichidas (Theocritus), 
 Sicelidas (Asclepiades), and perhaps Battus (Callimachus). 
 Other poets from Samos may have been associates, and cer- 
 tainly Nicias of Miletus, who had studied medicine under 
 Erasistratus at Samos, was one of this fraternity. Theocritus 
 dedicated to him Idylls n and 13, and visited or intended to 
 visit him when he was settled as a physician at Miletus, as 
 appears from Id. 28. Aratus (the author of the Phaenomena) 
 was also one of. Theocritus' intimate friends at Cos, and is 
 addressed by him in Id. 6, and mentioned in Id. 7. It is 
 uncertain whether Theocritus left Cos before the death of 
 Philetas ; but it is probable that he returned to Sicily before 
 B.C. 280. Here he continued the series of bucolic poems 
 begun in Cos ; and perhaps visited the South of Italy and 
 Miletus. Here also he no doubt courted the favour of the 
 Sicilian grandees ; but that he did so in vain may be gathered 
 from Id. 16, which must have been written before Hieron II. 
 had defeated the Mamertines at the river Longanus and been 
 saluted as king, i. e. between B.C. 274 and 270. This appeal 
 being unsuccessful, the poet turned to Ptolemy Philadelphus, 
 bidding for his recognition with Idyll 14, and not being dis- 
 appointed in this quarter took up his abode at Alexandria at 
 all events before B.C. 269, and remained there until his death 
 in the reign of Ptolemy Euergetes. 
 
 II. The next introductory excursus is about the origin of 
 bucolic poetry : ' They say that bucolic poetry had its origin, 
 and made great progress, in Lacedaemonia. For while the 
 Persian war was still threatening, and terrifying all Greece, 
 there was in existence a festival of Artemis Caryatis ; and 
 because the girls and boys had hidden themselves on account 
 of the tumult of the war, certain rustics entered into the 
 temple and sang the praises of Artemis in their own songs ; 
 and seeing that the strange music was agreeable, the custom 
 abode and was preserved. But others say that bucolic poetry 
 was first originated at Tyndaris in Sicily ; for Orestes, when
 
 XIV LIFE AND WRITINGS 
 
 he was carrying away the image of Artemis from Tauri in 
 Scythia, was warned by an oracle to wash in seven rivers 
 flowing from one source ; so he, coming to Rhegium in Italy, 
 washed away the uncleanness in what are called "the diverg- 
 ing brooks," and then came across the strait to Tyndaris in 
 Sicily ; and the inhabitants, singing the praises of the goddess 
 in their own compositions, became the originators of a regular 
 custom. 
 
 1 But the true account is this : Once, when there had been 
 a sedition among the Syracusans, and many citizens had 
 perished, upon the re-establishment of concord Artemis was 
 considered to have been the cause of the reconciliation ; and 
 the rustics brought gifts and sang the praises of the goddess 
 with joy, and so gave rise to rustic minstrelsy. And they say 
 that they used to sing furnished each with a loaf ornamented 
 with several figures of wild beasts, and a wallet filled with a 
 mixture of seeds, and wine in a goatskin, dispensing a libation 
 to those who met them ; and that they wore crowns round 
 their heads, and stag's horns on their foreheads, and had 
 crooks in their hands : and that the winner took the loser's 
 loaf, and while he remained at Syracuse the losers went about 
 into the neighbourhood collecting food : and that they sang 
 many jestful and laughable ditties, and added, for the sake of 
 good luck, the words 
 
 8e'eu rav ayadav Tu^ai/, 
 Seai TO.V vyifiav' 
 hv (f>f pofj.es Trapa ras 6eov, 
 av cK.a\ecr<raTO 
 
 In the above there is really to be seen a trace of the germ 
 of bucolic poetry among the Dorian nations. These rival 
 rustics sang, no doubt, such fanciful ballads as that of Daphnis, 
 the typical love-lorn cowherd, or the kindred one of Comatas 
 (7. 78), which indicate national or local traditions of pastoral 
 life, preserved in the memory of the herdsmen of the day. This
 
 OF THEOCRITUS. XV 
 
 style of rude half-extemporized buffo-acting, was continued 
 by persons called Xoyo/w/ioi, avroicdftftaKoi, yeXcoroTroiot, &c. in 
 Magna Graecia and Sicily, who had their head-quarters at 
 or near Tarentum : such were very probably (though how 
 shockingly vulgarized !) the ' scurrae ' who amused Horace 
 and his friends on their journey to Brundusium. This was 
 the kind of thing that Theocritus developed into a separate 
 branch of literature, followed by many imitators in after ages ; 
 who, however, compared with their model, were like 
 
 ' Those many jackdaw-rhymers, who with vain 
 Chattering contend against the Chian bard,' 
 
 as he himself says (Id. 7. 47) of Homer's imitators. 
 
 III. There are also a few sentences about the style of 
 Theocritus' poetry as follows : ' All poetry has three styles ; 
 the descriptive, the dramatic, and the mixed. Now the 
 bucolic is a mixture composed, as it were, of every form : 
 consequently it is more agreeable from the variety of its 
 manner, consisting at one time of the descriptive, at another 
 of the dramatic ; and anon of the mixed, or combination of 
 descriptive and dramatic ; and sometimes of something else. 
 But as far as possible it moulds the characters of rustic folk, 
 with thorough cheerfulness representing the heavy dulness of 
 clownish life : and it has avoided the unwieldy and bombastic 
 style of composition. It should be known, moreover, that the 
 name Idyll means " the little poem," from the word fldos, a 
 representation or picture ; not from ^SvXXioj/, connected with 
 7)8u, to please.' 
 
 I. The poems of Theocritus are bucolic and mimic, epic, 
 and lyric : the first two classes may be taken together as one, 
 because all his bucolic or pastoral idylls are more or less 
 mimic. Besides the comedy of which Epicharmus was the 
 representative (486 B. c.), there were also smaller pieces of 
 comic character such as the mimes of Sophron (448 B.C.), and 
 his son Xenarchus : these were dialogues or dramatically
 
 XVI LIFE AND WRITINGS 
 
 treated scenes of life among the lower classes, remarkable for 
 wit and proverbial language. Theocritus is very fond of 
 imitating these, and does so particularly in Idd. 2, 14, 15. 
 These are the most mimic ; the others belonging to the bu- 
 colic class are Idd. I, and 3 to 1 1 inclusive, and 21 (which last, 
 however, differs in being a picture of fishermen's life), and are 
 pictures of the daily life of out-door labourers. It is to these 
 that his fame is due : to the perfectly natural colouring which 
 they show. Dryden, in his Preface to the Second Miscellany, 
 compares him in this respect to Tasso ' It was said of Tasso, 
 in relation to his similitudes, maiesce delbosco; that he never 
 departed from the woods, that is, all his comparisons were 
 taken from the country.' We have no drawing-room shep- 
 herds and shepherdesses here in silk stockings and sentiment, 
 no Arcadian bowers of romantic bliss ; but are among the 
 cows and sheep and goats in earnest, where the heroes and 
 heroines leave a whiff of their cheesemaking occupations be- 
 hind them as they pass, which the poet does not attempt to 
 conceal by any perfume of affectation. Their manners and 
 conversation are what must be expected from their class : 
 innocence and refinement may adorn the conventional Cory- 
 don and Amaryllis, but their absence is no source of regret in 
 the real Lycidas, ' whom no one meeting would have failed to 
 recognise, eVei airroAw e^o^' e'wucet.' There is the same differ- 
 ence between the real wild-looking peasant of the Campagna 
 of Rome and the property-bedizened hireling who haunts the 
 studios and finds a place in the photographic album of every 
 Cook's excursionist ; or between the actual Sennerinn who 
 welcomes the Alpine traveller with a/0<&/and a truss of well- 
 tempered hay, and the damsel who sings in the Chorus of 
 Guglielmo Tell at Covent Garden. Mr. Lang, in the intro- 
 ductory essay to his translation of Theocritus, shows that the 
 refined sentiments expressed by the Sicilian shepherds in 
 some of these Idylls were quite natural to them, by quoting 
 extracts from the love-songs of modern Greek peasants full
 
 OF THEOCRITUS. XV11 
 
 of delicacy and natural grace. Theocritus gives us nature, 
 not behind the footlights, but beneath the truthful blaze of 
 Sicily's sunlit sky. For it was there that the first vibrations 
 of his spontaneous note were heard in their original purity, 
 before art could distort them with allegory, or echo weaken 
 them with imitation. This is all the more remarkable from 
 the contrast which it offers to what Kingsley ' calls the ' arti- 
 ficial jingle ' of the Alexandrian School. Simplicity, honesty, 
 truth, and beauty, recommend Theocritus as a genuine artist. 
 For a specimen of his landscape-painting, take the picture 
 of Phrasidamus' pic-nic, in Idyll 7 (see Appendix, page 
 239) ; and the descriptions of cattle coming home to their 
 stalls in Id. 16. 90 foil, and in Id. 25. 92 foil. 
 
 Of these bucolic Idylls, the 5th and 8th are specimens of 
 singing matches, in which the challenged person had to answer 
 his rival's songs and phrases with symmetrical compositions of 
 his own. A specimen of this ' capping ' stanzas is seen in 
 Horace Od. 3. 9. 
 
 2. In the Second Class (the Epic Poems) must be placed 
 Idylls 13, 16, 17, 22, 24, 25, 26. In these Theocritus is out 
 of his element so to speak, and writes more in the artificial 
 Alexandrian style. We see in them a greater freedom of 
 prosody, particularly in the matter of hiatus. Whenever any 
 harsher instances of it occur, they appear to be referable to 
 the example of Homer, as for instance in Id. 25. 274 eWt 
 OVK tffKf <nbr)pa> is defended by Horn. Od. 5. 364, and 8. 585, 
 where the last syllable of end in arsis is long before oi>. Upon 
 this subject of hiatus in general the student is recommended 
 to consult Wuestemann's learned preface to his edition of 
 Theocritus. 
 
 In Idyll 25 there are a great number of spondaic lines, a 
 proportion of one in every ten. Idylls 22 and 26 imitate the 
 old Homeric hymns : the i6th and I7th are inferior and dull, 
 though they appear to be modelled after the style of Pindar. 
 
 1 Alexandria and her Schools, Lect. a. 
 b
 
 xviii LIFE AND WRITINGS 
 
 But even in those which seem at first least like Theocritus, 
 there comes out now and then a gleam of his brightness which 
 the reader gladly hails. 
 
 3. To the Third Class (the Lyric Poems) belong Idylls 12, 
 1 8, 28, 29, and Bergk's newly-discovered 31, which are all of 
 great elegance, especially the famous 28th, which is supposed 
 to accompany the present of an ivory distaff made by Theo- 
 critus to the wife of his friend Nicias. 
 
 IV. Finally, these prolegomena of the grammarians quote 
 two Epigrams, the former of which is assigned (both there, 
 and in Anthol. Pal. 9. 205) to the grammarian Artemidorus, 
 and refers to the collection of the bucolic poems ; it runs as 
 follows : 
 
 al Molcrat crnopaScs TTOKO, vvi> 8' apa Traerai 
 eVrt itias pavSpas, eWl p.ias aye'Aar. 
 
 This Artemidorus was a disciple of the famous grammarian 
 Aristophanes ; and any collection of bucolic poems that existed 
 at that time (i. e. rather before 200 B. C.) would have con- 
 tained every scrap of poetry attributed to Theocritus, or Bion, 
 or Moschus. We see therefore how easily genuine works of 
 Theocritus may have been lost, and spurious poems attributed 
 to him, in the process of selection subsequently made from 
 this original collection. Hence have arisen the doubts, argu- 
 ments, and criticisms upon the genuineness of the several 
 poems usually attributed to Theocritus, to which criticism 
 every fresh editor is expected to contribute the results of his 
 experience or imagination. 
 
 The latter of these Epigrams will be found in the Text, 
 No. 22. 
 
 V. With regard to the different dialects employed by 
 Theocritus, their variety can scarcely be considered as an 
 argument against the genuineness of the Idylls in which they 
 are used, but rather seems to be a proof of his skill in adapt- 
 ing them to different styles of composition. The real Doric
 
 OF THEOCRITUS. xix 
 
 dialect does not come naturally to him : he employs it only 
 to represent more faithfully the conversation of the characters 
 whom he introduces. Of the Doric dialect, we find two 
 forms : one, a harsher form, employed in the first eleven, 
 the thirteenth, fourteenth, and fifteenth Idylls, or, in other 
 words, in those which belong to the Bucolic and Mimic 
 Class ; this dialect may be called the Sicilian or Syracusan; 
 being such as would most faithfully reproduce the actual 
 patcis of the people represented in those Idylls ; this is shown 
 in the word 6ppol (4. 51.) ; rtV, and TV, for the accusative of <rv 
 (l I. 39, 55, 68 ; I. 56, 60, 62) ; and the accusative plural of the 
 second declension ending in -of, as \VKOS, irapQtvos. The 
 other form is milder, and more nearly approaching the dialect 
 of Pindar ; it is found in Idylls 18 to 21 inclusive, and in 23, 
 
 24, 26, and 27, which are classed for the most part as Epic, 
 and Epigrammatic. 
 
 The Epic dialect is most strongly developed in Idyll 16; and 
 in Idylls 17, 22, and 25, has a considerable mixture of Doric 
 forms : it is, in fact, in these Idylls that the Alexandrian 
 usages appear most prominently. Theocritus seems to have 
 mistaken the sense of several Homeric words, e.g. IO-KOI/ 
 22. 167; fKrfKos 25. 100 ; dyooros 17. 129 : there are also 
 words used in these which are not to be found in the 
 Bucolic Idylls, e.g. ytyamres 17. 26; dairfjdev IJ. 28; C<TKOV 
 
 25. 274. 
 
 The Aeolic dialect is employed in the 28th Idyll, which is 
 modelled after Alcaeus, both in style and dialect. 
 
 VI. It seems not out of place here to give some general 
 account of the Doric dialect. Its principal characteristics 
 are, generally, breadth and openness, and dislike of sibilant 
 forms : this is remarked by the bystander, in Id. 15. 88, who 
 says of the chattering women : 
 
 (KKvciiaevvri 7r\rtTeiM(r5oi<rai airavra, 
 i. In detail: first with regard to consonants, this dialect 
 
 ba
 
 XX LIFE AND WRITINGS 
 
 retained the letter T in words where the Ionic and Attic had 
 changed it into <r, e. g. before t in the middle of words, as 
 for TrXoucrtoy, TrXtm'oy for Tr\r)(rios, ytpovria for ye- 
 ia ; and in the 3rd pers. sing, and plur. of verbs in -/u, as 
 (pari, (pai>Ti, ndeini, vtjiirjTt, &c., and in tenses of TTIITTW, as 
 Treroto-oi, irfTovTfa-cri.. Also in the 3rd pers. plur. of verbs in -a> 
 it retained the termination in -OVTI which the Latin inflexion 
 -ant, -ent, &c. shows to have been the original. In the 1st 
 pers. plur. this dialect kept the termination -/nes instead of 
 -fj.ev, where again the Latin -mus points to the original form : 
 it also changed f into <r8 by transposing the So- of which that 
 double consonant was formed ; and in all inflexions of verbs 
 in -o> changed cr into , and occasionally also in those of 
 verbs not ending in -o>, and in nouns derived from them ; 
 e. g. e(p6at-a from (pddixa ; *Xa for K\ds. 
 
 2. Secondly, in vowels : we find in this dialect a used 
 instead of rj universally : ai for a, and <n for ov in the termina- 
 tions of participles of uncontracted verbs, as rv^ais, rvirroia-a 
 and in nouns co for ov, as SwXa, /3<oKoXoy, and ot for oO, as 
 Mottrai : eo and eov contracted into ev, as aTifj-ayeXevvrfs, 
 TToieiJj'Ti, nfvevvri, iroioKoytvcra, epptvv ; ao, aov, and a<a con- 
 tracted into a, as rrttvavTi, irfivapes, and in the genitive plural 
 feminine in av : ae and aei however are contracted into 77, as 
 ecpoiTT], fpij, f'pfjv. We find also the i thrown out of the 
 diphthong ei in the 2nd pers. sing, and the present infinitive, 
 as @6<TKfv, a-vpicrSfs ; the same'diphthong also, when bearing a 
 circumflex accent, changed into ?, as KOO-/LI^ for Koap.flv, rj/jitv 
 for flvai, Krjvos for Kelvos. The -ay of the ace. plur. fern, of the 
 ist declension is shortened ; and the termination of the same 
 case of the 3rd declension changed into -cos or -os. Lastly, 
 after the a- of the ist future active and middle, the Dorians 
 inserted e, and contracted and circumflexed the terminations 
 throughout, as fp\l/a>, 8oKcurfis, fta&fvuai, \vyieiv, &C. 
 
 VII. With the exception of some Elegiacs in Idyll 8, and 
 the lyric metres of Idd. 28 and 29, all the Idylls are in Hexa-
 
 OF THEOCRITUS. XX i 
 
 meter Verse. But it is a peculiar type of Hexameter : and 
 its peculiarity consists in this, that in an average of five lines 
 out of every six in the Bucolic Idylls there is a caesura closing 
 the 4th foot ; and whenever this is the case, the 4th foot is a 
 Dactyl. This latter condition is so nearly invariable that in 
 all the thoroughly Bucolic Idylls (i. e. the first eleven, and the 
 2 1st) there are but ten instances in 1123 lines of a spondaic 
 caesura at the end of the 4th foot ; six of these occur in the 
 nth Idyll, which may perhaps be accounted for by a desire 
 to express want of refinement in the love-song of the Cyclops. 
 There are many more apparent violations of this rule ; but in 
 them the 4th foot ends with a monosyllabic preposition, or 
 conjunction, or article, so immediately connected with the 
 following word as to destroy the caesura. This peculiarity is 
 called the ' Bucolic Caesura,' and gives the verses a lighter 
 and prettier movement than that of the ordinary Heroic 
 Hexameter. It is curious that it gives the lines also a striking 
 resemblance in form to the refrain of the wandering minstrels 
 mentioned above : 
 
 av (peponts irapa ras $eov, av fftoXcevaro njvai 
 
 VIII. Another peculiarity of Sicilian poetry was the refrain 
 verse, such as we find in Idyll i, in the story of Daphnis, 
 lines 64, 70, &c., and in Idyll 2, lines 17, 22, 27, 69, 75, &c. 
 This occurs also in Aeschylus, in the first chorus of the ' Sup- 
 plices ' : and in Bion's Epitaph on Adonis : 
 
 at at rav KvOtpeiav' dnahfTo KaXus ASawr, 
 and in Moschus' Elegy on Bion, 
 
 ap%(Tf SiKeXiKat TO) TTfvdtos op^ert Moicrai, 
 and in their Latin imitators, e. g. 
 
 ' Incipe Maenalios mecum, mea tibia, versus 
 Ducite ab urbe domum, mea carmina, dticite Daphnin.' 
 
 Virg. E. 8.
 
 XX 11 LIFE AND WRITINGS OF THEOCRITUS. 
 
 Again in Catullus, 61 and 62, in the invocations to Hymen : 
 and ibid. 64. 328, &c. : 
 
 ' Currite, ducentes subtemina, currite, fnsi : ' 
 and in Ovid : 
 
 ' Impia quid dubites Deianira mori ? 
 
 Her. ix. 
 
 and 
 
 ' Tempora noctis eunt : excnte poste seram.' 
 
 Amor. i. 6, &c. 
 
 The number of lines which intervene between each repeti- 
 tion of the refrain seems to be arbitrary.
 
 XX111 
 
 Readings of ZIEGLER'S THEOCRITUS (Third Edition) 
 compared with KYNASTON'S Fifth Edition. 
 
 IDYLL i. 
 
 IDYLL in. 
 
 Lines i, 2. TTJVO., & 
 
 Line 5. \xi\ TI 
 
 6. xipapy * ffrf 
 
 21. KOI avTlKO. 
 
 22. rav Kpa.va.iav 
 
 23. afjnT\(fas 
 
 30. KfKovi/jievos 
 
 27. KO.IKO. SfjiroGdvco 
 
 46. irupvaiats 
 
 28. OKO, LLV UUVO.UVOJ 
 
 51. OMpaTifffibv 
 
 31. d Tpotu 
 
 68. iroTOfioio 
 
 37. ^ /5ei 7' ISrjffu 
 
 82. Tt TV 
 
 
 96. \dOpia 
 
 IDYLL iv. 
 
 97- AvyifetV 
 
 23. 9 'STOfM.\lfJLVOV 
 
 98. ij />' ou/c aiir^s 
 
 46. atre' d 
 
 1 06, 7. Z. places in brackets, 
 
 
 so also 1 08, in 
 
 IDYLL v. 
 
 1 1 8. AeupiSos 
 
 Line 3. ov OTTO ras Kpavas ; <T/TT' 
 
 128. <ptpev iraKToto 
 
 d/viBcK 
 
 134. Z. places in brackets 
 
 14. ov judi' ov 
 
 136. yopvcrcuj'To 
 
 25. KivaSos . . . tffu 
 
 143. ws Ktv 
 
 49. KUVOIS 
 
 
 71. eiflwflS 
 
 IDYLL n. 
 
 1 2O. ij 617 
 
 Line 3. fiapvv (VVTO, 
 
 121. Tpatas . . . TtAAeti' 
 
 3, IO, 159. Ka.Ta8rjffofj.ai 
 
 125. 8 T' o?(rt;o 
 
 4. ovSfTroO' t*et 
 
 129. K(\WTCU 
 
 33. dvaidrj 
 
 145. KtpovTiSts 
 
 60. *o^' virtprtpov, 5y <TI ai 
 
 
 vvf 
 
 IDYLL vi. 
 
 61. Z. places in brackets 
 
 Line 12. 0'ot<raj' 
 
 85. if(ffdXa(f 
 
 22. *oii /*' Ao^', ow, TOV /ii' 
 
 1 06. cc 5e nfTUTTiy 
 
 iva xal y\vic\iy, $ irtp 
 
 1 26. tCSoj' r', tt K( fdvov 
 
 SpTjfU 
 
 
 24. <pipoi Trori 
 
 Kynaston'f Theocritm.
 
 XXIV 
 
 Line 29. crrya 
 
 Line 13. ipuivrt 
 
 40. after this line Z. reads, in 
 
 19. c 
 
 brackets, & irpav dfjuiv- 
 
 28. w5dv 
 
 rtaffi trap' 'Iiriroietoavi 
 
 30. fo; ir<w 
 
 IDYLL vn. 
 
 IDYLL x. 
 
 Line 10. aw^es 
 
 Line 16. iroravXet 
 
 46. fiipvfjtfSovTos 
 
 1 8. x/><#' 
 
 59. ralrd 
 
 19. fjuunaffOai 
 
 62. tvirKoos 
 
 25. irottrt 
 
 70. avraiffiv 
 
 38. voifov 
 
 134. oivapiatai 
 
 48. <pevyoi 
 
 146. 0pa0i\oifft 
 
 50. apxeffO' dfjuvovras 
 
 147. ewTiiei'ey 
 
 
 152. Z. places in brackets 
 
 IDYLL xi. 
 
 
 Line 14. an-' di6f o? 
 
 IDYLL vm. 
 
 21. ff(pptyava)T4pa 
 
 Line 22. Z. places in brackets 
 
 33. uirtar* 
 
 25. Z. gives to Menalcas 
 
 42. dfpixevffo 
 
 26, 7. Z. gives to Daphnis 
 
 51. oTroSw 
 
 32. Z. places in brackets 
 
 70. <p\affffSi 
 
 42. /ecu Spvf s 
 
 
 52 f. Z. supposes a hiatus of 
 
 IDYLL xm. 
 
 four lines for Daphnis, 
 
 Line 5* wfn&tTpvowos 
 
 and gives 53-56 to 
 
 31. aporpa 
 
 Menalcas ; see K.'s 
 
 . O ffffT/fi'nfTfV 
 
 critical note. 
 
 6l. [ws 5' 6iror' f/vyeveios diru- 
 
 53. Kpoiffeia 
 
 irpoOi \is (ffcutovffas~] 
 
 56. 2,LKe\iKdv 
 
 62. ve&pov <pdeya.fi.(vas ris tv 
 
 56. Z. supposes the loss of a 
 
 ovptfft, \Ts fffcmovffas 
 
 stanza by Daphnis and 
 
 63. l fvfdy ffirevffat Ktv 
 
 Menalcas : 57-60 he 
 
 64. rofos \fipa.K\ir)s T&T' 
 
 gives to Daphnis. 
 
 68. vavs^vdpf^v' 
 
 74. \6yov 
 
 72. dfj.i6pftrat 
 
 g 2 . IT paras irapd iroipffft Adupvts 
 
 
 
 IDYLL xiv. 
 
 IDYLL ix. 
 
 Line i. a\Ao 
 
 Lines 1-6. Z. places in brackets 
 
 39. fiaara/ca Soiffa 
 
 6. ipiroQev 
 
 43. Ktvravpos
 
 XXV 
 
 Line 44. (harr ral 8' itKr&i, ral 8' 
 
 IDYLL xvm. 
 
 evvea, ral df Stic' dAAot, 
 
 Line 20. ouSJ /xf 
 
 46, 47. dAAoAew. ovS' fl pq- 
 
 22. afjififs 5' at 
 
 Kiffrl Kt/capftat, olSf 
 
 25. TOV ouS' a> 
 
 60. Z. places in brackets 
 
 28. Sta<paii>tr' 
 
 
 29. ^70 Aaoc 
 
 IDYLL xv. 
 
 32. l ra\apca 
 
 Line 7- fKaaroreptu ep airoiictis 
 
 43, 45. irpaTai . . . Trpdra 
 
 8. rrjvos' fir' 
 
 
 1 I . AlKOJl'fi 
 
 IDYLL xix. 
 
 15. rd irp6av 
 
 Line 8. wsrvrffos . .. raAi'/ca iroitis 
 
 1 8. TOVT 
 
 
 32. wave, otfofa #ofs 
 
 IDYLL xxi. 
 
 37. irporfOeiita. 
 
 Line 4. eirifnvaffrjai 
 
 
 IO. Tf \7j'ya 
 
 76. w0t, *aJ TV 
 
 1 8. 0\t00fJiiva 
 
 98. KOI irtpvaiv 
 
 Q J> /l| 
 
 103. /ioAa*aJ TT(58as 
 
 32. oy 7d/> viieaf-y 
 
 115. irAadavw 
 
 42. Ptpaura 
 
 121. dffofievav 
 
 
 139. fepairfpos 
 
 45. aprov 
 
 142. IltAoTnjtaSaj' . . . nAa(rycD. 
 145. r& \pr\ita. ffo<pwrepov a 
 
 tvpvv 
 d. irafTa TOI 
 
 6r)\(ia. 
 
 OO' " 
 
 56. l7in' 
 
 IDYLL xvi. 
 
 65. J 7<ip /* KvwtTffwi' 
 
 Line 4. appts 8e fiporol o'ISt 
 
 1 
 
 IDYLL xxn. 
 
 
 66. 6p06s; 
 
 IDYLL xvn. 
 
 75. Koi\r]V 
 
 Line 19. alo\oplrpas 
 
 85. S/>; 
 
 38. ywatKuv 
 
 90. trapaft 
 
 50. las . . . Tt/<as 
 
 104. wiry/if} 
 
 70. ftroi' aJ, and the line is 
 
 109. ffT^6($s T ai ii/x 
 
 placed in brackets. 
 
 113. ird<r<roi'a 
 
 72. dird 
 
 121. liri \af6vos 
 
 1 2O. &iSi vavra 
 
 122. Z. places in brackets 
 
 121. fMOWOS 5f 
 
 135. d'S 
 
 125. ISpvrai 
 
 150. Z. places in brackets 
 
 137. IK Aids aiVta; 
 
 153. T48' Itiwa
 
 XXVI 
 
 Line 162. ftovKoivrb e 
 
 Line 1 37. \tvaaov re 
 
 223. doiSat. 
 
 212. OTpeirrty 
 
 
 215. wapos rt ^ 
 
 IDYLL xxiv. 
 
 216. rofo 
 
 Line 1 7. IfetA.ijfl&Tes 
 
 228. tv rpiPqi v\ritVTi 
 
 26. tro 
 
 236. |(0( O TT/)(I' 
 
 60. aitp&x\oov 
 
 271. 1T(\&plOS 
 
 68. wy 
 
 , 
 
 93. veeaOcu 
 
 IDYLL xxvi. 
 
 y*) 
 
 105. 7rt ffKovbv tlvai oiardv 
 
 Line 27. OVK d\(yea . . . dirtxOeptvai 
 
 112. ffo<piaftara 
 
 IDYLL xxvni. 
 
 1 24. dv x* ff ^ a ' 
 
 
 127. StSaev 
 
 Line 3. Otpativ' . . . u/ta/w?/ . . . 
 
 
 Net'Xeos 
 
 IDYLL xxv. 
 
 ^. TV?5f . . . nlTTJLLfOo. 
 
 Line 36. Tje rt 
 
 6. ffdvTl<t>i\'ff(70LLV 
 1 6. CtTTV 
 
 48. offns kit' aypoj-ruiv yepa- 
 
 17. *ai 70^ TOI 
 
 pOJTfpOS 
 
 / 
 
 63. iMw, , 
 
 2 f^. (pi\Q}V 
 
 76. oOovvtKtv aitv epvvro 
 
 EPIGRAMS. 
 
 77. avA.(f KOV 
 
 
 103. K(o\oir(5i\' 
 
 iii. 6. KaTaypofj.fvov 
 
 114. PO)J' 
 
 Z. omits Epigg. ix, xxii, xxiv.
 
 THEOCRITUS. 
 IDYLLS AND EPIGRAMS.
 
 IDYLL I. 
 TAvrsis and the Goatherd. 
 
 ERRATA 
 
 Page 28, 1. 20, for y(\os read 
 
 55, note, first line, for 41 read 14 
 59, 1. 97, for 'A.-yptias read 'Apytias 
 
 Kynastoris Theocritus 
 
 o>s TO Kcrayrcs TOIJTO yfwoov at re 
 o-vpto-bev ; ras 8' aiya? eywv ey rw8e 
 Goatherd. 
 
 ov 6^/J.iS, 2i TTOifj-riv, TO {J.ea-afji.l3piv6v, ov 
 
 TOV Hava 8e8o6ca/jies' ?j yap d?:' aypas 16 
 
 ii. Tfjvas . . . if (is Ahrens. 13. Ahrens omits this line ; art 
 Paley. 
 
 B
 
 IDYLL I. 
 Thyrsis and the Goatherd. 
 
 Thyrsis. 
 
 'Abv TI ro ^fidvpta-fjia /cat d TTITVS, atTroAe, njya 
 a TTort rats 7rayaTo"t jueAtcrSerat, d8i Se /cat TV 
 <n)pi<rbes' /u,erd Ilaya ro Seurepoy aOXov a7roio-fj. 
 oiKa r^voy cA?7 xcpadv rpdyov, afya TU X.a\frrj' 
 aiica 8' atya Aa^S?; TTJZ/OS ye'pas, es re KarappeT 5 
 a \ifjiapos' \ii.apu> 8e KaXoy Kpeas Irrre *c' 
 Goatherd. 
 
 abiov, a> TTOLjJiYiv, TO Tfbv /xeAo?, ^ ro 
 T^y' cbro ras irfrpas KaraXe^jQerat v\fs6d(v UScop. 
 aj^Ka rai Moicrat ray ofc'Sa Swpoi; ^tytovrai, 
 apya rv craKlrav \a\jsfj yepas' at 8e K' dpeo-K?7 10 
 rTjyaty dpva Aa/3ely, ru 8e ray oiV vcrrepov ay. 
 Thyrsis. 
 
 \fi$, TTOTi TO.V Nuja^ay, X^s, aiTro'X 
 a>s ro Kcirayrey roOro yewAo^oy at re 
 (rvpto-ftfv ; ras 8' atya? eycby ey rwfie 
 Goatherd. 
 
 ov O&is, a> -Trolly, ro /jteo-a/x/3ptyo'y, ov 
 
 rbv YLava beboCKap.es' rj -yap an' ay pas 16 
 
 ii. T^yas . . . Ahrens. 13. Ahrens omits this line ; a rt 
 Paley. 
 
 B
 
 2 THEOCRITUS. 
 
 rayuca KeK/xaKoos dp-TraveTaf eort be 
 
 Kat ot del 8pt/ieia xAa TTOTI ptyt /cc 
 
 dAAd (TV yap 877, vp<ri, TO. Ad<pyt8os aAye' aet8es, 
 
 Kal Tas /SouKoAtKas 1 eirt TO irXeov ?Keo juouras,) 20 
 
 Seup', VTrd ray irreX^av ea-bw^eOa, rw re 
 
 /cat ray KpaytaScoy KaTevavrtov, qirep 6 
 
 rfjvos 6 Troi/xeytKoy Kat rat 8pves. at 8e K' detcn/s, 
 
 a>s oKa Toy ALJ3va.de TTOTI Xpo/xty ao-as eptarbcav, 
 
 atyd re TOI o"a><r<3 8t8u/AaTo/coy es Tpis djixeA^at, 25 
 
 #, 8v' l^ 010 "' f/>^0tos, iroTa/xe'A.yerai es 
 
 Kat /3a0u Ktortrv^Stoy, Ksukvcriitvov d8et 
 
 d^wes, reoTeux.^, eTt yXu 
 
 TO) -Trepl /^ey X^^ 7 ? fiapveTat v 
 
 Kicrcros e\ixpy<r<u KCKoyto-jueyos' a 8e xar' avrdy 30 
 
 KapTTcS eAt etXetTat dyaXXo/xeya 
 
 j-vrocrOfv 8e yuyd, Tl 0ea>y 8at8aAp.a, 
 
 TC /cat a/ATnm. Trap 8^ ot 
 Te? djuot^SaSt? aXXoOev aAAo? 
 
 -' eTreecro-f Ta 8' ou <ppvbs ^Trrerat auTa?>' 35 
 aAA' OKa ju,ey TTJVOV TTOTib^pKfTai avbpa yeAao-a, 
 
 8' av iroTt Toy pnrTet yooy. ot 8' VTT' 
 
 rots 8e /ACTa ypnrevs Te yepcoy, ireTpa re 
 Aeirpds, e0' 4 o"n"ev8coy jueya StKTuoy es fioXov eA.*cet 40 
 6 7rpeo-/3us, Kti/xyoyn TO KapTepoy dy8pt 
 (fratys Key yvtwy yty oiroy crOevos e 
 a8e^ ol <w8?7KayTi KOT' avx^'ya TrdVrofley Zyey, 
 Kat 7roAt&) ?rep eoyTf TO 8e crdevos d^toy $/3a?. 
 TvrObv 8' ocrcrov &TT(aOfV aAtTpwroto yepoyToy. 45 
 
 30. KfKoprjuivos A. 39. rcta A and P.
 
 IDYLL I. 
 
 Trvppaiais <rra</>uXauri KaXoy /3e/3pi0ey dXcod* 
 ray oXiyos ris Kwpo? e</>' at/ia(rtatcrt <puXdoro-ei 
 tffjifvos. afj,(f)l 8e /xiy 8v' dXo>TreKes, a //ey ay' 
 (poir?; <riyo|ue'ya ray rpcoip;oy, a 8' CTTI TT?7pa 
 
 a, ro 7ra68ioy ou ?r/)iy dyrjoreiy 50 
 17 d/cpancrToi; eirt ^potcrt KadL^t]. 
 avrap oy avdfpiK(T(ri Ka\av -^XeKe 
 <r)(ou'fa> e(f)apfj.6(rbu>v' /J,eXerat 8e 01 
 ovre (f)VT&v rwra^vw, o<rov irepl TrXey/Aarc ya^ei. 
 Ttavra 8' d^t SeVa? -TrepiTr^-Trrarai vypos anavOos, 55 
 aioX^ov Tt 6erjfj.a' repay KC TU Qvpov arvai. 
 r& fjiev lya> Trop^fiet KaAuSama) atya r' e8co/ca 
 Sroy, cai rvpoevra \ikyo.v XeuKoto yaXaKros' 
 ovSe Tt 'Tra TTOTI x e ^ 0? f/^oz> 6iyv, dXX' en KeTrai 
 aypavrov. TW Key ru fxaXa irpo$pa>y dpeo-at/xay, 60 
 /xoi TV (/)iXos roy e^i/xepoy vfj.vov dei<rrjs. 
 TU Keprop-e'co. Troray', 'ya0e* ray yap dotSdy 
 . own Tra eis 'AiSay ye Toy e/cXeXafloyra <^uXa^eis. 
 Thyrsis. 
 
 apxere ^3ou/coXtKas, Moifrat tytXal, ap^er' dotSas. 
 vpcrts 08' a>^ Atrya?, xai 0up(ri8os d8e'a (^coyd. 65 
 Tra TTOK' ap' ?jcr^',oKa Ad<f)vis eYd/cero, 
 17 Kara ITr/yetS KaXd rejUTrea, ^ Kara 
 ov yap 8^ Trora/uS ye /xe'yay pooy t^er' ' 
 ov8' Atryas o-KOTrtdy, ov8' "AKi8os lepoy w8cop. 
 
 dpxere /SouKoXtKa?, Moitrai (friXat, dp^er' dot8as. 70 
 rf/yoy /u,ay ^wey, rrjvov XVKOI wpvcrayro, 
 
 lo Xe&>y iKXaixre Qavovra. 
 
 50. T*i5xo*ffa P. 56. AloA<*&' P ; rot 0a/*a T^pay T^ Tt A. 6l. 
 A. 65. 5' a cf aivd A. 
 
 B 2
 
 4 THEOCRITUS. 
 
 s, Molcrai </>i 
 ?roAAat ol Trap iroo-0-i /3oes, TroAAoi Se re ravpot, 
 TroAAal 5' av 8a/xdAai *at 7ro/>ries a>8v/>azm>. 75 
 
 ap-^fTf /3ovKoAiKas, Moi<rai c/n'Aat. ap^fr' doi8a?. 
 rypfl' 'EpjUTjs Trpartoros air' &peos, fine 8e* Aa^ri, 
 rty TV KaTaTpfyfi ; rivos, w 'ya0e, rova-ov (paarai ; 
 
 s, MoTo-at ^>i'Aat ; apx er ' ot ^^- 
 
 Tol ftoVTai,, Tol TTOlfJLfVfS, WTToAoi 77^0^, 80 
 
 avr)p<aTfW, TL Tradot K.O.K.OV. yv6' 6 TIpirjTros 
 KJ](f)a, Aatpvi TaXav, ri vv raKtai ; a 6e re KW/KZ 
 7ra<ras ava Kp&vas, TTCLVT' a\cra Tfocral (jtopfirai, 
 
 , MoicraL ^>iAai, apxer' doifias, 
 r'' a bv<rfpu>s TLS ayav KCU a/u,a)(ayos eo-a-i. 85 
 
 r&>s 8' ovbfv TroreAe^a^' 6 /Stofco'Aoy, aAAa rov 
 TriKpbv epcora, Kal es reAos awe fj.oipas. 
 
 ?, Mot(rai <^>i 
 ye /xay a8e?a Kal a Kvirpis yeAaoicra, 95 
 
 , flapvv 8' di>a 
 TV Orjv TOV epcoTa Karevx f 5 
 ap' OVK avros epcoro? VTT' dpyaAeco 
 
 ap^fre ^SouKoAt/cas, MoTtrat <pi\ai, 
 rai' 8' apa x&> Aa^yt? 7rora/xei/3ero* Kvirpi jSapeia, /oo 
 
 ydp (ppacrbr) TtdvO' aXiov 
 
 KT}I> atba KCIKOV eovrerat aAyoy 
 
 JouKoAtKas, Mcwrai 
 ov A^yerat TCLV Kvirpiv 6 (BatKoXos, ep:re iror' "l$av, 105 
 
 77, 78, 79. A omits. 84, 92, 93. A omits. 85. dXa> a, 9 
 Si/fftpcus A. 96. A.a0/a P ; \d5pa (n\v (Kyt\6oi>ffa A.
 
 IDYLL 1. 
 
 Tior 'Ayx^cray' rrjvfl bpves, <58e KVT 
 [<38e KoAoy /3o/i/3ei;yri TTOTL 
 s, Motcrai 
 
 a * M^ a vofj.fi> ft, 
 /3aAAei, KOI diypia -navra ^tw/cet. 
 ouKoAiKas, Motcrai ^>tAat, apx 1 "' 
 avris oircoy oraoT/ Aio^Seos aa-<roy toicra, 
 xai Aeye' rdy POVTO.V VIK& Adtyviv, dXAa 
 apxfTf fiovKO\iKas, Moto-ai <i'A.ai, opx^ 
 d) AVKOI, 0<3fs, S ay' wpea <coAe8es hpuroi, 115 
 \aipe0'' 6 (3ovKo\os uju/utiy eya> Adcfrvis OVK Ir' ay' 
 OVK er' dz>a bpvfj.<*>s, OVK aAo-ea. 
 KOI TTorafj-oi, TOI x e ' re KaXov Kara @v/xy3pi8os 
 
 apx^"e /3ot>KoAiKa?, Motcrai ^)iAai, apX. fT ' dot8as. 
 Aa(pvis eycby o8e r^ros, 6 ras ySoas c58e vopevuv, 120 
 6 roi)9 ravptos Kal TTopTias c58e TroTi(rb(DV. 
 
 $, Motcrat ^)iAai, apx^r aoibas. 
 a> ITai; Flay, eir' ccrtrt Kar' wpea paKpa Aw/caico, 
 etre TV y' dju^tTroAeis /Lteya MatyaAor, Ivd' eiri racrov 
 ray SixeAdy, 'EAtxay 8e A^TT' ?7p^oy, atTru re (ra/xa 125 
 r^yo AuxaoyiSao, ro *ai jua/cdpea-crty dyaroy. 
 A^yere /3ovKO\LKas, Motcrai, ?re, A^yer' d 
 ly^', & v ya, KOI rdyfie e/>e 
 KTjpw (rupiyya *aAay, Trepi x^s eAiKrciy. 
 ^ yap eyci>y WTT' lpa>ros ^s v Ai'8os eAxojuai ^8r/. 130 
 
 ATjyere ^ovKoAixa?, Moicrai, ire, ATjyer' doiSas. 
 yw la /uey ^ope'oire /3droi, ^>ope'oire 6' a/cay0ai, 
 a 8e KaAa yapKicrcros 1 e?r' apKevdotcri KOjitdcrai' 
 
 107, 108. A omits. no, in. A omits. 120, 121. A inserts 
 after 130. 125. \/JT /fccy Fritzsche. 128. ^/>6u ira/ifToro A.
 
 THEOCRITUS. 
 
 8' IvaXXa yeVoiro, /cai a mrus o;(i>a? evei/cat, 
 Aa</>zn? eirei 0v<io7c' KOI ras KVVO.S <oXa$os IX/cot, 135 
 Kiyf 6pcav TOI (TfceoTres dr/8o(rt brjpia-atvro. 
 
 \7jyere ^SouKoXiKas, Motcrat, fre, A^yer' aotoay. 
 ^a> /^ier ro(T(r' fl-nuv ^TreTravo-aro* roi/ 8' 'A^>po8fra 
 ^eA' avopOGxrac ra ye /xoy Xtra -navra XeXoiirrj 
 eK Moipaz;* x<* &&<pv<-s ^j3a poov IfcXuo-e 8iva 140 
 Tor Moicrats <pl\ov avbpa, TOV ov Nv/u^a6(riy ^Trex^. 
 
 X?jyere fiovKoXiKas, Moio-at, tre, X^yer' doi8as. 
 Kai TT) 8t8ou ray aiya, ro re <TKv<pos' &s fJ.iv djueX^as 
 rais Moio-ais. ai \aCptre -n'oXXaKt, MoTtrac, 
 9 ' eya> 8' vjapitv /cat es vcrrepov &bi,ov acr&. 145 
 
 rot jueXiros ro KaXoy o-ro'/x,a, 0vp<ri, ytvoiro, 
 TOI o-xa8oi>a>z;, Kal air' AtytXco io-)(a8a rpwyots 
 a8etav, r^rriyos eirel rv ya (peprepov abets. 
 fivibf TOI rd SeTras* ^acrat, </>iXos, <as KaXoy ocrSei' 
 *Q.pav TTfTrXvarOai viv irl upavaicn SoKijcrei?. 150 
 
 136. bpOuv A. 143. cuy /cer a/*. A.
 
 IDYLL II. 
 
 Simaetha. 
 
 Tlq /noi rat 
 
 <TTf\l/ov TCLV *ceAe/3ay (poiviK^y olds d<6r<j>, 
 a>s roy Ijuoy fiapvvevvra fyikov KaTa0vVo/Aai avbpa, 
 os P-OL 8a>8e/carcuos d(/)' 
 ov5' lyva), TTorepov TeOvaKa^fs rj fool flp.s 
 dvpas &pacv avap<ri,os' tf pd ol aAAa 
 
 /3ao-eS/xai TTOTI ray Ti/xay^Toto 
 avpiov, &$ VLV lba>' Kal ju^ja^ojaat, old /ite 
 ruy 8^ yiy K 6v4ti>v KaradvcrofJiai. a\Xa, SeXava, 10 
 (fralve KaXov' T\V yap iroraeio-ojoiai 
 TO. \dovta 0' 'Eicara, ray *cai 
 fp-^ofJifvav vfKij<av avh T rjpia Kal fj.4\av atjua. 
 ip', 'EKaYa 8oo-jr\^Ti, Kal ey reXos ap-fjuv oT 
 
 Tai5r' IpSoiaa \fpciova /x^re TI K^KTJJ, 15 
 TI Mr/8e^as, /nTjre av9as Ilepi/^Sas. 
 , eAxe TV T^voy e/xoy -JTOTl 8w/u,a Toy avbpa. 
 a\<piT& TOI Trparov irvpl T&KfTai.' oAX' 
 i' SeiAa^a, ira Tay (pptvas 
 
 10. Kara&fiffopai A. u. fiawx* 8ar/40J' A.
 
 8 THEOCRITUS. 
 
 77 pd ye rot juwcrapa /cat Tty eiri^ap/xa TeYuyj/at ; 
 irao-o-' #/xa KOI Aeye TavYa' TO, Ae'A<pt8os oorta 
 
 tvy, eA/ce TV rrfvov e/xdy ITOTI 8a>jua TOP Hvbpa. 
 AeA<pts I/A' aviaa-fv' eya> 8' eirl AeA(pt8i batyvav 
 aW(o' x.a>s avra Xa/ceT /meya KaTnrvpi(ra(ra, 
 K-fj^a-nivas &<f)0r], xovSe o-7ro8oy et8o/xes auras, 25 
 
 ouY&> TOI /cat AA.$is eyt <^>Aoyt o-ap/c' afj.aOvvoi. 
 
 iuy, lA.ce TV T^voy e/xov TTOTI 8c3/ia TW avbpa. 
 ws Touroy Toy napov eya> (rvv oai^ovi Ta*cco, 
 As TaKot^' VTT' IpcoTos 6 Mw8ioy avrtKa AeA^>ts 
 X<$ 8iyeW o8e pop/Bos 6 xa\Kfos, f 'AQpobiTas 30 
 
 cA.ce TV T^roy e/ioy TTOTt 8a>fxa Toy avbpa. 
 vvv 6v<r& TO mrvpa, TV 8', "Apre^i, /cat TOV ey a8a 
 K' abd^avra, Kal fl TL irep d(r^>aXes aA\o. 
 TO! /cvVes ajLtjuty dya TTToXty wpvovTcu. 35 
 ey T/uoSoicri' TO -^a\Kiov ws Ta^os a^et. 
 , e\/ce TV rtjvov e/xof iroTl Sw/jia Toy avbpa. 
 criyr/ fxey iroWos, o-iywyTt 8' d^raf 
 a 8' e/^td ov <nyf/ o-Tepycoy t-vTovOev avia, 
 d\\' eirt T7]y&) 'Traa-a /caTat^Ofiat, os jue TaXatyay 40 
 dyTt yvyauos l^rj/ce /ca/cay Kal airapOevov T^ey. 
 ****** 
 ?uy^, eAice TV rfjvov e/jtoy TTOTI 8a>jua Toy ay8pa. 52 
 TOUT' aTro Tas x.^ a ^ a? T O Kpdo-7re8oy a>Aecre AeA^ts, 
 a>y&> ySy TtAAotcra /caT* dyptca ey ^upi ySdAAco. 
 at at, Ipcos aviape, Tt /xev jueAay e/c XP S a ^ 55 
 
 24. A.oKoi' ^7(w tKirvpos $fff A. 28-31 incl. A places after 41. 
 33. rcL 5' "Aprf/xt oi T^I* dvatS^ Kiirfffcu K A ; rd 8' 'A/rre^t *ai TO^ 
 e^ a5a Ktv^aat ' P.
 
 IDYLL II. 
 
 Xip.yaris airav f< /38eXXa 
 tuyj eX/ce TV rr/yoy ejudu TTOTI 8o3/^ia roy avbpa. 
 a-avpav rot Tpfycura, KCLKOV TTOTOV avpiov ol(rS>. 
 eoruXi, vvv 8e Xa/3oi(ra rv rd dpova Tavd* vTio^a^ov 
 ras TTJ^CO ^>Aias KaOwnepTfpov, as Irt xal yuy 60 
 
 jueu \oyoy ovbeva TTOICI' 
 ra AeX^)t8os ooria fj.aa-<T(a. 
 TTJVOV fjj,6v norl 8d)/xa roy avbpa. 
 vvv 877 navvy ol<ra iroOcv TOV lpa>ra baKpvcrca ; 
 K TWOS ap(i)fj,ai, ; ris /xot xaK^r ayaye TOUTO / 65 
 yvd' a rc3' vf$ov\oio Kavatyopos apfuv 'Aya&> 
 5\cros es 'A|ore|ou8os' ra 8^ TOKO iroXAa p.fv a\\a 
 Orjpia TTOfj.Trev(rK Trepurrabov, kv 8e 
 
 <f>paeo fjifv TOV !pa>0' o^ev ?*cero, Tro 
 Kat /x' a SfvpapCba pao-cra, rpotybs a /za/capTrcy, 70 
 ay^idvpos vaioura, xarcv^aro, KOI 
 rav Trofj.7rav daa-aa-dai.' ey&> 8e 01 a 
 v(r<roio Ka\6v <rvpoi(ra 
 eVa ray vor8a ray KXeap^oray. 
 
 TOV ep&>0', o^ey txero, norva SeXaya. 75 
 8' evtra /ueo-ay KCT' a/xa^iror, a ra AV 
 
 re Kai Ev8ap.i77Tr 
 roty 8' ?jy ^avOorcpa /mey IXixpv(roto 
 
 8e oriXjQoyra iroXu TrXeoy, r) rv, 2eXayo, 
 yvfj.vaarloio /caXdy Trdyoy apri Xt-Troyrwy. 80 
 TOV lpa)0', o#ey txero, irorya 2eXdya. 
 a>s xe 
 
 6l. A omits. 65. IK TT/VU 8" dpfw A. 70. QtvxapiSa A;
 
 io THEOCRITUS. 
 
 SeiAatas' 76 8e KaAAos era/cero, KOVT TI 
 
 Ttfvas ((ppaa-dp-av, ov0' <5>s TraAiP oiKaS' aTrrjvdov 
 
 fyv(t>v' aXXd lit TLS Kcnrvpa vovos efaAa7rae' 85 
 
 K\lVTT]pL 8eV ajtAOTa KOL 8e*/Ca VVKTO.S. 
 
 TOV Ipco^', odev IK.CTO, TTOTVO. 
 
 KOI p.fV XP&S p%V 
 
 Upptvv 8' fK Ke(/>a\as Traorai Tpfyzs' avra 8e Aonra 
 oo-rf er' ^s Kat 8ep//a' xat s Hyos OVK eTrepacra, 90 
 ^ Trotas eAiiroy ypatas b6fj.ov } aris eiraSei; ; 
 ovbev (ha<f>pov' 6 8e ^povos &WTO 
 6 jj.v TOV 2pa>0', odev ?KT 
 ra 8ouAa roy dAa^e'a fj-vdov 
 et 8' aye eoruAt /xot x a ^- e ' 7r ^ s foo-co evpe u /XT)X OS ' 95 
 iracrav ex et M e raAati/ay 6 MwSios' dAAa /uoAotaa 
 
 TTOTI ray Ti/aayrjroto iraXaioTpav' 
 yap <f>OLTr), Trjvel 8e ot d8i> KaOfjardai. 
 
 TOV %pa)d\ oOfv txero, irorra SeAava. 
 xa yiy eoira p,d6ps fj.6vov, atrv\a veva-ov, 100 
 on Si/xaWa TU /caAet, KOI ixpayfo ra8e. 
 a>s f(j)d^.av' a o' yvOe, KOL #yaye roy AiTrapoxpwy 
 eis c/Aa 8w/xara A^A<^tV eyci) 8^ fxiy ws (v6r)<ra 
 Ovpas vTrep ov86y d/Aet/3o'juevov 7ro8l KOV^>O>, 
 
 TOV <lpa>d', oOcv IKCTO, iTOTva SeAaz^c, 105 
 
 i6vos TT\OV, fK 8e /ier^irco 
 /lieu KO^vSea-Key itroy voTiai(Tiv ee'po-ats, 
 ov8^ ri (pa>va<rai ovvap-av, ov8' ocraov V virv<p 
 KvvCfvvTai, (fxavfvvTa (j)t\av TTOTL jotare'pa re'/cra* 
 dAA' fTtayrjv 8ayS8i 
 
 85. IfdAAaf r/ A. 107. d^p<ras A.
 
 IDYLL II. 
 
 </>paeo //.eu Toy !po)0', oOev IKCTO, TTOTVO. 
 KOL p.' eonbtov oooTopyos, irl \6ovos OjUjwara 
 eeT' e-Trt K\ivTrjpi, Kal f6[j,vos (paTO p.v6ov' 
 77 pa jx,e, 2tj(Aai0a, TOOW 4<pda(ras, ocr<rov eyto ^?jr 
 Trpdr TTOKa rov yjupfevTa Tptyjav i-tpdaa-cra <&i\.lvov, 115 
 es TO Teoi> KO\<ra(Ta To8e (TTeoy f u 
 
 {j,ev TOV e/oa), oev IKCTO, TTOTVO. 
 yap K-qytav, val TOV y\VKVV, rjvOov, l/acofa. 
 
 17 TptTOS ?}e T&apTOS ftoV (pi\OS, aVTLKCt VVKTOS, 
 
 M.aAa /xey er KoXTroicri Aicowo-oto (pv\a<r<ra>v, 
 t 8' !)(<uz> A.evKar, 'HpaK\^os t6/)6y Upvos, 
 
 KU^ K' ei pev p (0\cr0, Ta8' 775 <iXa' Kai ya/o 
 
 Kal KaXbs TiavTe<T<ri fxer' i]t^eoto-6 KaXfS/i>tai. 125 
 
 fvbov Ka, /loz/ov e^ TO KaXoy aro^a TCVS 
 
 (I b' #XXa fjC w^eiTe, Kal a dvpa flx TO 
 
 Ka TreXe/ceis Kal Xa/x'7ra8es fjvOov e<^>' v/ 
 
 xeu Tdi> Upcad', o0ev txeTO, woVya SeXara. 
 vvi; 8e x^P ty f*cv e$az; TO Kv7r/)i8i vpaTov o^eiXety, 130 
 xai /xeTa Tay KvTTpiv TV /xe bfVT^pa e/c -JTU/DOS 
 Si yvvai, eo-KoXeVao-a Teoi' TTOTI TOUTO n&adpov, 
 f)nt<p\KTov' "Epais 8' Spa icai Anrapaiov 
 c A<pat<TTOi.o treXas </>Xoyep<)Tepoz/ atdet. 
 ****** 
 
 157 
 
 p OVK #XXo TI Tfp-nvov ^Xft, afji&v be XeXao-Tat; 
 y juiey TOIS (f>t\Tpoi$ KaTaOva-ofj,ai' al 8' CTI K?)/ute 
 
 'AfSao TruXav, #al MoTpas, apa^u 160 
 
 126. v8ov ' *T A; cCSoi' 8" at xe P.
 
 THEOCRITUS. 
 
 Tola ol fv Ktarq Ka/ca (frapp-ciKa <a/xi (f)v\do-<riv, 
 ^Acra-vpid), Seo-Troiva, Tiapa ftvoio ^aQoiua. 
 'AAAa TV fjiev xaCpoi<ra TTOT' 'QKfavov rpeTre irco 
 . eyw 8' oi<r<3 rov e/ixov TTOVOV uxnrfp VTTtcrTav. 
 
 eAaraia Xiirapo-^of, x a ^P T $' aAXot 165 
 
 dorepes, VK7jA.oio xar' ^yrvya NUKTOS 07ra8ot.
 
 IDYLL III. 
 
 Amaryllis. 
 
 Kooju.a<r8o> iron ray ' Afj.apv\Xiba' ral o"e /u,oi aiyes 
 /SbV/coyrai xar' 0)00?, /cat 6 Ttrupos avras eAavVei. 
 TiTvp", fp.lv TO KaXbv 7Te</HA.a/xeW, (36<TKe ras aTyas, 
 *ai -n-on TOLV Kpavav aye, Tirvpe' KOI r6v tvop\av 
 TOV AifivKov KvaKutva (^vXaircreo, JUTJ rt> KOpfyrj. 5 
 
 a) \apif(T(T 'A/xapuAA.1, rt JIA' OVK In TOWTO Kar' Hvrpov 
 TrapKVTTTOKra KaAets r6f tputrvkov ; rj pa //e 
 
 ?; pa ye rot o-i/xos KaTa$ati>o/zat eyyv^er 
 vvjj,(pa, KCU Tipoylvfios ; aTTay^avOai fxe 
 
 ?7zne rot Se'xa /^aXa ^e'pco* Tt]v>0f KaQtikov, 10 
 c5 /x* e/ce'Aeu Ka^eXeiy TV' Kal avpiov aAAa TOI oto;a). 
 
 6acrai pav 6vp.aXyfs fp,ov a\os' aWe y^voL^av 
 a flofj-pcvcra /ieAi<rcra, KOI es rebv avrpov iK.oifj.av, 
 TOV Ki<T(rbv biabvs nal TO.V TTT^pW, & TV TrvKavbr]. 
 
 vvv Hyvcav TOV "Epcora" fiapvs deos' y pa Xeaivas 15 
 }j.a6v ^TjAafe, SpupiaJ TC [uv Irpa^e fj.a.Tr]p' 
 5y /Lte KaTaa-p.v)^u>v Kat es ocrriov a^pis t&BTfl. 
 
 S TO na\6v Trodopfvtra, TO Tray Xidos' 3) Kvavo<ppv 
 
 9. A omits. 1 8. AMTOS A.
 
 i4 THEOCRITUS. 
 
 eon KOI ev Keveoun <iXd/xa(m> dSe'a Te/n/aj. 
 
 TOV ortyavov TiXai p.c Karauri/ca Aenra 
 roy TOI eywv, 'A/xapuXXi <f)[\a, /ctcrcroto <pv\acr(r<i), 
 e/ut/TrXe^as 1 KaXvKecroH /cat evoS/AOio-i cre 
 
 o> JAOI eya>, rt Tra^ft) ; T( 6 Svcrcroo? ; 
 ray /Sairay a7ro8us es KU/xara TTJVW dXeu/xai, 
 a>7re/> TO>S Bvvvtos (TKoiridferat "OATris 6 -ypnrevs. 
 KaiKa fj,r] 'TToOavca, TO ye /Aay reov a8ii reru/crai. 
 
 <-yva>v irpav, OK f^oCye fi6ju,ya/xcyo) et 
 ov6e TO TijAe^iXoy Trorcfjia^aTO TO 
 aAA' avTcos aTraXw TTOTI ^ax 605 ffna.p<iv6ri. 30 
 
 eZTre Kal 'Aypotci) TaXadta KO(TKiv6fjiavTi.s, 
 a Trpav TtOLoXoyeva-a TrapaifiaTis, ovvfK eya) /xey 
 Tty oAos eyKei/xai' TV 8^ jLteu \oyoy ovbfva 
 
 7^ fiav Tot XCVKO.V 8i8u//aTOKoy aiya 
 Tav /xe KCU a Mep/jivcavos epLdauls a fj.Xav6xj)(as 35 
 aiTei' Kai 8a)cr&) 01, e?rel TU /AOI evbiaOpviiTr}. 
 
 aXAerat 6(f)da\}ji6s /xev 6 8eioV apa y' 18770-0!) 
 avTav ; aa-eujuat TTOTI Tay TIITVV c58' 
 K.O.I Ke /^' tcrco? 7TOTt8oi, eTret OV 
 
 'iTTTro/Aeyrj?, o/ca 8^ Tav irap0evov Tj^eAe yajixai, 40 
 ju,a\' ev x^P^^ eAwy 8po/xoy aVuez>' a 8' 
 <as i8ez>, ws e/xd^Tj, cos es fiadvv aXaT* epa)Ta. 
 
 Tav dye'Xai' x.^> V-O-VTIS air' "O^puos aye 
 es IIvXov' a 8e Biavros ev a-/Kotvr]cn.v k 
 ju,dr?jp a -^apUa-a-a irepl(f>povos 'AX^eo-t/Sot?;?. 45 
 
 Tav 8e KaXdv Ku^e'peiav ev copeo-t 
 
 21, 2, 3, 4. A inserts after 8. 28. oa /^P /ie/zi/a^eVw A and P. 
 29. iroTifiafantvov irKarayriatv P. 30. d/idAoiA; d/ia\o) P.
 
 IDYLL III. 15 
 
 OVTMS "lb<avis eirt TT^OV ayaye \va-a-as, 
 ov$ <j)dip.fv6v \iiv arep fj.adio TiQr\Ti ; 
 AwTos fj-fv fjj.lv 6 TOV arpoirov VTTVOV lava)v 
 
 a\& 8e, <j>[\a yvvcu, 'laa-iatva, 50 
 
 6s Toa-crrjv' CKVprjcrfV, o<r ov irevcreia-Ot /3e/3aAot. 
 
 rav K(f>a\6.v' rlv 8' ov joieAet* OVK er' aetbca, 
 8e ireartov, KOL roi AVKOI 58e ;ot' e8ovrai. 
 a>s /ueAt rot yAuxv TOUTO Kara ftpo^doio yivoiTO.
 
 IDYLL IV. 
 Battus and Cory don. 
 
 Baitus. 
 
 Ei W /uot, Kopvbcav, TWOS at /Soes ; 17 pa 4iAtoi>8a ; 
 Cory don. 
 
 OVK, dAA' Atyawos' flovKfiv 8e' p.oi auras 
 Battus. 
 
 r\ Tta \}s Kpvfibav ra Tro 
 Corydon. 
 
 dAX' 6 ye/ocoy v^)i?jrt ra 
 
 avros 8' es ru;' &<f>avTos 6 ^ScoKoAos w)(eTo \<apav ; 5 
 Corydon. 
 
 OVK aKov<ras ; aycoy vtv CTT' 'AA<eoj; w^ero MiAcoy. 
 
 Kat TTOKa T^VOS eAatoi' ei> 6(f)0a\iJiol(riv oTTWTret ; 
 Corydon. 
 
 <f)avri viv 'HpaxA^'i /SiTjz; Kat Kapros cpio-fifv. 
 Battus. 
 
 K^JLI' I^)a0' a judrTjp IIoAuSevKeos ^ftey d/aetVco. 9 
 Corydon. 
 
 (TK.aTf6.vav re Kai el/cart rourofle p;aAa. 
 
 iretorat Key Mi'Atoy Kal rw? AT^KOS aurtKa 
 7. <' o^tf. A.
 
 IDYLL IV. 
 
 Corydon. 
 
 Tai SafidAai 8' avToy juuKcfyxeyai &>8e - 
 Battus. 
 ^, SeiAauu' y' avTat, roy fiovKoXov a>s Ka/coy 
 
 77 judy 8etAata ye* *cai ovxeVi Xwyn ve 
 Battus. 
 
 rrivas p.cv brj rot ras iropTios avra X^Aetirrai 15 
 rworta. /x^ Trp&Kas o-irtferai, axrirep 6 reVri; 
 Cotyden. 
 
 ov bav dAX' 6ca /xer rty CTT' Ala-dpoio yo/xeva), 
 xal f/aAaKco -^oproio KaAay K.u>y.vOa 8t8coju,i* 
 aAAojca 8e (r/ceupei TO fiaOva-Kiov d/x^)t AaTUju.ror. 
 
 ACTTTOS /may j(^ ^avpos 6 irvppixos' aWf 
 TOI T<3 Aa/X7rpt(i8a TOI Sa/xoTat, OKKCI Ovutvn 
 TO, "Hpa, ToioySf Ka,KO\pd<rfjM>v yap 6 bo-pos. 
 Corydon. 
 
 KCU ^ay es T6 MdAi/nyoy eAauyeTcu, es Te Ta 
 Kal TTOTL rdv N^ai^oy' OTTO /caAa TIO.VTO. 
 aiyfavpos, Kal KVTU&, Kal vw8Tjs /^eAtreta. 35 
 
 xai Tal fides, 3> rd\av Atytoy, 
 (Is 'AfSay, OKO Kal TV Ka/ca? i}p(i(r(rao 
 xd (rupiy^ evp&Ti iraAvyfTat, 5y TTOK' 
 Corydon. 
 
 ov TTjya y', ov Nv/n^as' ^TTCI TTOTI Ilt(ray 
 5a>poy ^jbiiy yiy cAeiTrey* eya> 8^ TIS ei/nl /^.eAiKrd?, 30 
 
 22. KaKotyfxJuj pwv P. 23. s ffTOfjA\tpvov A and P. 24. Nat/culor. 
 cf A. . '- . ' 
 
 C
 
 THEOCRITUS. 
 
 KTJV fj.fv TO. rXau/cas 1 ayKpovo/utat, ev 8e ra Fluppco. 
 alvlu) T&V T KpoTtova (/caXa iro'Xis $ re Za/cuvflo?) 
 KCU TO" TroTaaJov r6 Aa/avtov, airep 6 irv 
 
 xat TOP ravpov air' w/ofo? aye -rriafas 35 
 
 ra? oTrXa?, K^8(o/c' 'AjixapuX\i8f rat 
 ov avavvav, \& 
 
 ufiecr^'' oo-oy aTye? e/niy <^>tXai, ocrcrov air^a-ftas. 
 at at TW <TK\r)p& /xaXa bafaovos, os fj. XeXoy^ei. 40 
 Corydon. 
 
 Oapcreiv xp^Jj </>iXe Barre' ra^' avpiov eo-o-er' apfivov. 
 eX7r(8es ev {JioowW dz/eXTricrrot 8e davovres. 
 \& Zfvs aXXoKa jaey ?reXe6 aWpio?, aXXoxa 8' vei. 
 
 -eta' /3aXXe Ktirco^e ra /xotr^ia' ray yap 
 OP 6a\X6v TpwyovTi. TO. bva-<roa. o-ird' 6 AeVapyo?. 45 
 
 (TITT'J S Kv{j,aC0a, Ttorl TOV \6<f>ov' OVK e 
 ^<3, vat TOV Ilava, KCLKOV TeXos avrlKa ba><r<av, 
 et /XT) airet TouTw^eV t8' au iraXtv a8e Tro^e'pTret. 
 ai^' ?jv jtxoi poiK(>v rd Xayco^SoXov, w? TV 7raVaa. 
 
 daa-ai /x', KopvScov, TTOTTW Ato's' a yap a*cai>0a 50 
 apfjiol fj? <58' eTiaTa^' U7r6 TO cr^vpov. a>s 8e ySa^etai 
 TaTpaKTuXX^8es evTi' KCKW? a -Tropns oXoiTO' 
 es TOVTCLV eTUTrrjv -^acr^fv^fvos. ^ p(i ye Xevcr<ret? ; 
 
 . 33. auAeV fi r KpoTuj/o KaXef jroXts a re Z. A. 45. KOP. <rir0' 
 (5 A. A. 49. irara^w A J ws TV ir&rafa ! Fritzsche.
 
 IDYLL IV. 19 
 
 Corydon. 
 
 vai, va^ rots 6vv\f(rcnv e^o) re vw' a8e KCU avra. 
 
 Battus. 
 
 5<T(TL-)(ov eo-Ti TO ru/x/xa, KOI aXiKov avbpa 8a/ixa(r8et. 55 
 
 Corydon. 
 
 fls opos OK)(' epTTTjs, ju 
 ev yap opet pajavoi re Kal df 
 
 56. dj'aAuroy A and P. 
 
 C 2
 
 I DYLL V. 
 Comatas and Lacon. 
 
 Comatas. 
 
 ATyes ffiai, Trjvov TOV iroijtieW Tovbf 2i/3v/3Td 
 <f>fvyTe, TOV AcLKtova' TO p.f 
 Lacon. 
 
 OVK CLTTO ras Kpavas <rirr' ap.vibfs ; OVK e 
 TOV jaeu TO.V o-vpiyya Ttp&av KXtyavTa Ko/iaraj/ ; 
 Comatas. 
 
 TO.V TTotav o"vpiyya ; TV yap iroxa, 85\e 2t/8vpTa, 5 
 (KT&o-a o~upiyya ; TL 8' ou/cen crvv Kopvbwi 
 apufl rot KaA(i/ias avXoy iroTnrvorSev ^OVTI ; 
 Lacon. 
 
 TCLV fj.01. eScoxe Av/ccor, S 'Acv^epe. TIV 8e TO irolov 
 AO.KMV ayK\tyas TTOK' l/3a j/aKos ; et'Tre, Ko/xdra* 
 ovbf yap Ev^dpa TW 8e(T7roTa ?j? TI evevSeii'. 10 
 Comatas. 
 
 TO KpOKV\os pot e8coKC, TO TToiKtXov, avixi f 
 rats Nv/^0ais Tai> a7ya" TI 8', w Kajce, >cat TOK' 
 /3acrKati.'co2', KCU ruj; /xe ra Xoicr^ta yvfj.v6v l^rjKas. 
 . 
 
 ov fJMVTov TOV Tlava TOV O.KTIOV, ov o~e ye Aa/ca>r 
 av Pahav a.Trcbvo~' 6 Ka\ai9ibos' rj Kara rrivas 15 
 
 P.
 
 IDYLL V. 
 
 TO? Trerpas, "vdpcaTrff /xaz/ets cs KpaOiv aAoifxav. 
 Comatas. 
 
 oil /udV, ov TavYas ras Ai/zz>d'8as, & 'ya0e, Nv/^>as, 
 
 ov TCV rav crupiyya KaQutv 
 Lacon. 
 
 ai rot TTioreva'ai/xi, Ta Adtyviftos aAye' apoifMiv. 20 
 dA\' Sy atxa A^s Hpupov Ofpev, ((rrl /xey ov8er 
 lepoV) aAA' ciye TOI 8iae^(ro/xat, eore K* aTreunf?. 
 
 vy -TTOK' 'A6a.va.iq epiv 
 
 &pL(pos' aAA' #ye, /cat rv r6y fv/3oTov apvov 
 Lacon. 
 
 *cai TTWS, S Kii'a8ei5, ra8e y' eWerou e^ to-ou a/u/xiv ; 25 
 Ti? rpixay dvr' ep^coy f7roKt'aro ; r(s Se, n-a/jetJo-as 
 aiyos irpcoToroKoto, KCIKCIV KVVO. SijAer' a/xe'Ayeip ; 
 Comatas. 
 
 5(TTLS VIKaO-flv TOV TtKaTlOV, G>S TV TTiro[d(LS 
 
 <r<pa /3o/i^3ea>j; rerTtyos cvavrtov. dAAa yap ov TOI 
 &pi<pos l<roiraXris' TWIG"' 6 Tpciyos OVTOS, IpicrSe. 30 
 
 '' ov ydp TOI Trvpi ^aATreaf u8iov a<ri] 
 Ta8' VTTO Tay KOTLVOV Kal TaAo-ea Ta>Ta 
 
 iroia, 
 
 aAA' ou Tt (nrevSo)' fxeya 8' a.^dofj.at, i TV f 
 
 TOIS op6ol<ri TroTt/SA^Trev, 3r TTOK' eo'vTa 36 
 
 17. od8' altras A. 23. WOT* 'AOava/av A and P. 24. opia&f A. 
 25. Ktvaiot, T&V A. 28. wv Tt/, irenoiOti P. 30. TO, <8' o 
 
 rpd^oy OVTOJ (piaStt A.
 
 THEOCRITUS. 
 
 a 
 Kat uKtets, ai KVVO.S, 
 
 45 
 <58e /caAov flopflfvvri Ttori trpdvcirm fxeXto-o-ai* 
 
 vo' rai 8' CTTJ, 8ej;8pet 
 \a\ayvvTi.' KOL a (TKta ov8ez> 6/uoia 
 a riy /SciAAei 8e Kai a TTITT^S vi/ro0e KCOJ^COS-. 
 
 77 /x,ai> apvaKibas re Kat elpta TftSe Trarqcrets, 50 
 a?x' ZvdrfS, VTTVO) /aaAa/cwrepa* ral 8^ rpayclai 
 ral -napa TIV oo-bovri KaKwrepoy ^ TV Trep ocr8eis. 
 arao-w 8e Kparrjpa piyav AeuKoio 
 rais Nu/i<cus' o-rao-a) 8e Kai d8eos 
 
 ai 8e K Kal TV juoXTjy, aTraXa^ KTepiv 58e TraTrjo-eis, 55 
 /cat yX^x^y' avOfvcrav' vTTcr<relTai 8e ^i^aipav 
 bfpfjMTa, rav napa T\V /utaXaKWTepa TroXXaxts apvG>v. 
 (rra.<TG> 8' OKTO) JA> yauX&)9 TW Oavl yaXaKTOs, 
 OKTCI) 8e tr/ca^tSay /xeXtToy TrXea /CJJ/H" e)(0^(ras. 
 
 avr66f /txot TroTe/no^e, Kal aVTode /3ft)fcoXtd(r8eu. 60 
 ay <rauTci) TraTecoy, e^e TO? 8pvas* dXXa Tts 
 ty Kpivfl ; aW Iv^oi 7TO0' 6 /3ouKoXo? 58' 6 
 
 ovSev eya) TT^yco 7roTt8evo/xaf dXXa rbv avbpa, 
 at XTJS, TOV ftpVTOpov /ScocrTp^o-o^tes', os Tas epeucas 
 TTjvas TOS Trapa Tir vXoxtC erat ' f 7 "^ ^e Mopcrcoy. 65 
 
 38. us I tf>dy. A.
 
 IDYLL V. 23 
 
 Lacon. 
 
 Comatas. 
 
 TV xdXei vtv. , 
 
 Lacon. 
 
 10', S >e, P.LKKUV CLKOVVOV 
 
 iju,p.es yap epuro/u,es, OOTIS dpeuo;-> 
 eort. TV 8', S <iXe, /XTJT' e/xe, Mdpcrtor, 
 ' ) y ^ 7 a 
 
 rav Nv/jt<^ay, Mop(ra>y <i\e, /ixTjre Ko/xdra 
 ro TrXe'oj; lOvvys, JOITJT' ajy n; ya rw8e x a P^11' I 1 
 abf TOI a TTotpva rG> Qovpifti lori 2i/3vpra' 
 Eu/adpa 8e ray aTyas opf/y, </)iAe, rw 
 
 TV TtS 17PCOT77, TTOTTW AlOS, tttTf 
 
 or >TI, KaKio-T, TO TTot}j.viov ; a>s AdA.os eo-o-i. 75 
 
 /3eWi(r0' OVTOS, eye!) j^tev dAa^ea itavr ayopevw 
 Kav)(^op.aC TV 5' ayav </>iAoK^pTO/utos 
 
 eia X^y', e? TI Aeyeis* KCU TOV cvov fs TTO^IV av6i,s 
 (Svr' a(j)fs S Ilaidi', 17 o-Too/xvAos 7jcr0a, 
 
 Tai MoTtrai /xe ^iX^SvTi -TroXv TT\OV ^ T6v aoibov So 
 
 ' 
 
 Lacon. 
 
 Kai yap l/x' i'TroXXcoi' ^>tX^ei p-tya' KOI KaX6y avT<j) 
 eyci) j36<TK(). TO, be Kdpvca Kal by 
 
 77. TW 76 /idr A.
 
 J 4 THEOCRITUS. 
 
 Cantatas. 
 
 CTITT' omb TOLS KOTLVO), rat fj.r]Kdb(s' (SSe veiJ.<T0(, 100 
 &>s TO KaYaires TOVTO yewAo(poz>, at re 
 
 OUK aTro ra? Spuos ovros 6 Kwi/apo?, a re Kii;a$a, 
 rourei /3o(rKrj<rei(r^e TTOT' diroAeis, a>? 6 <I>aA.apos ; 
 
 eori 8e juot yavAds KVirapia-a-ivos, eori 8e 
 tpyov TTpa^tTeA-eus* ra iraiSt 8e raura 0uA.d(T(ra). 105 
 Lacon. 
 
 earl Kucoy ^iXoiroi/xyioy, 6s AVKOS ayx' 
 
 t, ra ^Tjpia TrdVra 5OKeiy. 
 Comatas. 
 
 aKpibfs, at r6y (f>pa-yfj.ov inrfpTrabiJTf TOV apov, 
 ray d/XTre'Aos' vri yap a/3ai. 
 
 roi TCTriyes, opijre, TOV aiiroAoy a>s epefli^a)' no 
 
 r<as 
 
 ea) ray bacrvKtpKOs aXwTrexas, at ra MIKO>I>OS 
 aiel <f)oi.T<acrai ra iroOecmfpa payi&vTi.. 
 Lacon, 
 
 Kal yap eyo) /xtcre'co TO>S xav^apo?, 01, ra 4>iX<aj;8a 
 Kararpwyovrej, V7rayep.iot (fropeovTai. 115 
 
 178*7 TI?, Mopcra)!', TTiKpaivfrai' rj ov^t irapycrOev ; 120 
 to)!' ypatas OTTO o-d/^taros avrLna rcAAots. 
 
 kv Kvta>, Mopacov, 
 fvdtitv Tav KVK\CHJLI.VOV opva-ore vvv fs TOV "AAevra. 
 
 101. re /Y>. P.
 
 IDYLL V. 25 
 
 Comatas. 
 
 a avO' vSaTos peiVco yaAa, *al TV 8e, Kpadi, 
 otvco itop<f)vpois, TO. 8e TOI o-ia xapirbv tvciKai. 125 
 
 e'Ac' icat TO Ttoropdpov 
 a Trais avd' vbaros ra KaAiriSi Krjpia 
 
 Tat /Aj> e/xai KVTLO-OV Te cat atyiAoy atyes 
 
 Kttl (T)(ivOV TtaTCOVTL, KO.I fV K0/Xa/J0l(7t K^OVTOt. 
 
 Lacon. 
 
 8' efiais o'fe<rcri Trapeort fxey a /xe\tTta 130 
 i, 7ro/\A.os 8e KOI a>s po'8a KicrOos ( 
 
 Comatas. 
 
 ov OepiTov, A.a.K<av, TTOT' drj^oW Kt(T(ras 
 
 Ollb' I'TTOTTtt? KVKVOKTL' TV 8', S TaAaV, eo-(Tl ^) 
 
 Morton. 
 
 nav<Ta<rdai KeAo/uai Toy Troi.fj.fva. rlv 8e, 
 ScopefTat Mopo-coz; Tar afjiviba' nal TV 8e dv<ras 
 TCLIS Nv/x^)ais,Mo'/3o-ft)z;i KaXbvKptas avTiKa Treju^oy. 140 
 
 ^o), i>ai TO^ Ilafa. <^pijtxdo-<reo irao-a 
 yvy dye'Aa' Kijywy yap 18' a>s jueya TOUTO 
 /carrcS Acifccovos TO> Troi/xeVos, OTTI TTO/C' ^8r/ 
 awa-afjiav TCLV ajjivov' ts ovpavov vfj.jj.Lv aA.ev/iat. 
 aiyes e/xai Oapa-fiTf Kfpov^fS' avpiov iJ/u/xe 145 
 irao-ay eyw Aovo-cS 2u^3apiTi8os &>8o0t Ai/Liras. 
 * * ^ -x- * * 
 
 126. x^ 2i5/3ap(s A. 129. Ktxwrat A. 136, 137. A gives 
 to Morion. 146. pdvas P.
 
 IDYLL VI. 
 
 Daphnis and Damoetas. 
 
 Kal Ad<f>vis 6 /3oi>KoXos (Is eW yj&pov 
 rav dyeXay TTOK', "Apare, crvvayayov TJS 8' 6 /xey avr&v 
 TTVppos, 6 8' fjfjuyfvfios' eirt Kpdvav 8e TIV ap.(f>u> 
 k^p^voi depfos fj.<rtp a/xart roiaS' aetSo^. 
 JTparos 8' ap^aro Aa^)vts, eTrei Kal Trparos epic-Sty' 5 
 
 TOI, rfoXv^a/xe, TO T;Q(\IVIOV a 
 , Sucrepcora Toy aZTToXoy &vbpa /caA.eu(ra' 
 /cat TU yiy ov TroOoprja-da rdXav, raXav, dXA.a Ka0r)(raL 
 dSe'a (TVpicrbtDV. iiaXiv a8', T8e, Tau Kvva ^SaXXei, 
 ^ TOI Tay 6t(i)v eircTat O-KOTTOS' a 8e /3aucr8et 10 
 eis aAa 8epKo/xeW' TO 8e ytr KaXa Kv^ara fyalvti 
 &(rv\a *caxA.ci^oyTOS ITT' aiyiaXoto dfota-q. 
 <f>paco, p-rj ras TratSos eirl KP&pOMFW opovarr) 
 ( aXos p\op.fvas, Kara 8^ yjpoa, noXov d/xu^r;. 
 a 8e Kal avrodf TOI 8ta^pv7TTeTat, &>s aTr' aK(iz>0as 15 
 Tal KaTrupal x a t ral ^ T O KaXbv depos avina. 
 
 Kal Toy a7rd ypa/xp.as Ktyet XiQov' rj yap IpcoTt 
 s, ai E[oAv0a/^e, TO p.r) KaXa KaXa Tre^ 
 
 12. wa^>A.aoj'Ta IJT' 0*7. A.
 
 IDYLL VI. 2-j 
 
 T<3 8' ITTI Aa/xotray aye/3aAAeTO Kal raS' ae8ey 20 
 
 e?8oy, vat r6v flaya, TO 7ro/xyioy ay6c' l/3aAAe, 
 KOVTI Aa0', ov roy efidy Toy ?ya yAuKuy, w noOopwp.t 
 fs T\OS' avrap o H&VTIS 6 TTfAejixos, Zydp ayopevutv, 
 f\0pa (ptpoiTO TTOT' OIKOV, OTTWS reKeeo-cri ^>uAao-<roi. 
 aAAa Kal avros eyob nvi&v iraXiv ov TroOoprjiu, 25 
 dAA' aAAav rtra </;a/xt yvvalK fytv' a 8' aioi(ra 
 aAoi /*', S FTaiay, *cat raKerai' I 
 olaTpr} iraTTTaivoiara WOT' &vrpa TC Kal TTOTI 
 <ria 8' vAaKTeiy riy Kal Ta KWI' KOI ya/o, OK' 
 
 CKW^STO ^OT' Zo^ia pvyxos exoicra. 30 
 
 8' torcos <ropfv<ra TroifvvTa /ue TroAAdtKi Trejix^ei 
 avrap eya> KAa^w Ovpas, lore K' O/AOCTO-T/ 
 KaAa 8eju,i>ia TacrS' CTTI ya<rco. 
 
 x 60 *aKoy, <2s /xe Aeyoyrt. 
 ^ yap Ttpav es TIOVTOV eo-e/SAeTroy, (?fs 8e yaAaya) 35 
 Kal KaAa /xev Ta yeWta, KaAa 8e /^eu a /x^a Kc5/)a 
 (d>s wa/)' ejuly KeKptTai) Karf<paCvTo' T&V 4 T' 
 AeuKOTepay avyav Haplas inrtyaivf 
 &>s /XT) (Ba(TKavd& 8^, Tpls eZy e/xoy 
 
 yap a ypaia /xe KoTUTTapls f^fbiba^ev. 40 
 
 avAei Aa/xoiVas, (rvpio-Se 8e Ad<pvis 6 
 
 ly /xaAaKa Tal Tro'pTies avrua iroia* 
 ow8aAAoy, ayrJo-o-aTot 8' tytvovro. 45 
 
 20. KaAdi' d'8i' P. 22. *ow p <[\a9' P. 24. </>v\d(g P. 
 
 29. aiya Fritz. 40. After this line Fritz, inserts [& vpav 
 
 i imp' 'ImroKicavt vorav\fi],
 
 IDYLL VII. 
 Simichidas and Lycidas. 
 
 'Hs -ftpovos aviK eyw re KO.I Evxpiros es rov 
 el'pTTO/xes ex Tro'Aios* o-vz; 8e rpiros afj.iv 'A/xtn 
 ra Arjot yap erev^e ^aXvo-ia /cat 
 KavTiyfvris, bvo TKva AuKWTreos 1 ei Tt 
 Xawi' rail' fTrdvatdfv, ano KAurtas 8e Kal avr<S 5 
 
 XdA/ca)z;os, Bovpirrav 6s eK 7ro8os arixre Kpdvav, 
 ev fVfpfKrdfjLfi'os TreTpq yow rai 8e Trap' aurai/ 
 atyeipot TrreAeat re fticrKiov aAo-os vtyaivov, 
 7rera\oi(ri Karr/pe</>ees KOjwococrai. 
 ray [Mfa-drav odov avo/xe?, ov8e TO cra/x,a 10 
 5 Bpa(rtAa Kare^)atj;ero' /cat riy' oSt'rai; 
 oy crvy Mourato-i KuScoviKO^ fvpofj.es avbpa, 
 ovvojj.a p.fv AvK&av, TJS 8' atTroAos' ov8e K TIS /xir 
 fiyvoir\<rev Ututv, fTret aiTroAw Ifo^' ewxei. 
 fK /xcy yap Aao-toto 8aoT;rpixos e?x e rpdyoLo 15 
 
 >t 8e 01 oT^eo-crt yepcov etr^iyyero Tre 
 
 AaKepw" poiKav 8' e)(ev dypieAata> 
 q Kopvvav, Kai /x' arpe'jaas etTre 
 ofj.fj.aTi fj,CLoi6(i)i>TL, ye'Aos 8e ol 
 
 5. Xcwr, TOI 5' IT' avuOtv A.
 
 IDYLL VII. 29 
 
 apuca 817 Kat cravpos e</>' alju,a<nauri Ka0eu8ei, 
 
 7} jAerd 8aiTa KATjroy eTreiyeat ; T; riz>o? aaroSz; 
 Aavoi' ITTI dprivKcis ; a>? TeG -JTOCTI via-tro^voio 25 
 
 7ra<ra XWos -TrraiOKra TTOT' apj3v\ib<rcnv ae8ei. 
 ror 8' eyw ap.fi(f>0r]v' AuxiSa 0t\e, <f>avri TV 
 
 V re 
 
 Kai rot, KOT' e^toi; poor, Icro^api^iv 30 
 
 a 8' 686s #8e 6a\v<rias. 77 yap erai/oot 
 avepes fvireirXto Aa/icirepi 8aira 
 oAy8&) d?rapxofii'of /a.a/\a yap (rt 
 a 8a[p.b)v (VKptOov dveTrA^ptocrei; 
 dAA' aye 877, (fwd yap 68os, wa 8e KOI dwj) 35 
 
 icai yap eya) Mot(rav nairvpov oro/J,a, KT/joie Aeyojrri 
 TTtii'Tes doi56z; &PKTTOV eya> 8^ ny ov raxvTrei^Tjs, 
 ov Aav ov yap irw, xar' e/xov z/ooy, ot/re TOV 
 
 rov ex Sajaa), ovre <l>iAr;Tav, 40 
 
 8e TTOT' d/cpi8as <2s rts epio-Sco. 
 ^s <pdiJ.av e7rra8es' 6 8' aiTroAos, d8i yeAaWas, 
 ray rot, e^>a, nopvvav SajpvrrojAai, oweKev e(T(rl 
 Tray CTT' dAafleia TV MKcurpevov e/c Aios epfos. 
 <Ss fjioi KOI re'/crwi; /xe'y' dir^x^f 7 " ^ OOTIS ipfvvy 45 
 T<roy opeuy nopvtyq reA^(r 
 xal Moto-ay 6*pj;ixS, 5(roi, TTOTI Xioi/ ao&ov 
 avria KOKKV&VTCS, erwcna 
 
 24. Safr* a.K\T]Toi A. 44. ITT* uAaO. ir(ir\aaftfvov A and P. 
 
 46. tvpvutbovTm A.
 
 30 THEOCRITUS. 
 
 dye, /SoVKoAiKay raxos dpxS/ie0' dot8as, 
 
 > O) 07 / ^>iA.oy, et TOI dpeWet 50 
 To(!0' o, u irpdi; ei> opei TO p.f\vbpiov 
 IVa-erai 'AytdvaKTi KaXos TrXooy e? 
 s ep/(/>oi? voros v 
 or e:r' 'I2K 
 
 oTTTevp-evov e 'A0po8iras 55 
 
 pvcrfjTat' 6fpiJ.6s yap Ipcos avrai /xe 
 Xo.\Kv6vfS <TTOp<rVVTi, TO. KVfj.ara, Tiiv 
 TOV re VOTOV, Tov T fvpov, b$ fff^ara <}>VK.(a 
 a\Kv6vcs, yXavKois N?7p7ji(ri rat re /^idXiora 
 opviyjuv f<pi\ad(v, ocrais re irep e dA.6? dypa. 60 
 
 7 Ayedj;a/cri TrXooy 8ifr//xeVa) es MirvXayar 
 wpia irdvra yevoiro, /cat euTrXooy oppov i/coiro. 
 Kjjya) TT/i'o /car' a/xap avr]Tivov rj pobocvra 
 r) KOI XeuKoicoi' OTT^OLVOV Trepl uparl (pvXacrcrtov 
 TOV TTTfXeaTLKov divov O.TTO KpTjr^po? a<f)v(a, 65 
 
 Trap TTVpl KCKAtjueros' KvafJLOv 8e ns ey irupi <ppvfi, 
 X <TTij3as eo-o-eirai TreTTVKao-juera lor' e'Trl 
 Kvvq r' d<r^)o8eA<{) re TroXvy^djuTrrw re 
 xai Trio/xai /LtaAaKws, fjLep.vaiJ.fvos 'Ayed 
 avrais er /cuAfoeo-o-t /cai es rpvya x e '^s cpftoav. 70 
 av\r](rfvvTL be /mot 8vo Trot/xe'ves* ets p.eV, 'A^apveijs' 
 ets 8e, AuKWTriTas" 6 8e Ttrvpos cyyvdfv ao-et, 
 <3y TTOKa ra? Heveas ijpdcro-aro Acupvis 6 flovras, 
 X<as opos dju,<|)' eiroyefTo, KCU a>s 8pues avror fQprjvevv, 
 'I/Ltepa atre (pvovri nap' o)(0aio~iv Trora/Aoto, 75 
 
 ewre 
 
 61. A. omits. 70. auTa?irtv v\. Fritz. 74. d/^cTroXefro P.
 
 IDYLL VII. 31 
 
 rj "A0(a, r/ 'PoSoTrav, fj KavKacrov e(T)(aroa>z>ra. 
 
 da-el 8', toy TTOK eSe/cro TOV aiTToXov evpe'a \dpva 
 
 fabv fdvTa, K.aK.ai(riv dra<r0aXaicriv avaKTOs' 
 
 toy re viv al (riju,at Xet/icovo^e <f)pj3ov lolcraL 80 
 
 Kfbpov es dBetav fxaXaKots avQtcrari, 
 
 ol yXvxv Moio-a Kara orojuaros 
 
 Ko/ixdra, rv 
 
 KCU TV KarfK^acrd-qs fs \dpva.Ka, Kal TV, fxeXi(T(ray 
 Ktjpia <f)p/3op.vos, Iroy &piov e^eTroz/acras. 85 
 
 aW ITT' ejuev ^cooT? fvapiOfuos w^eXes 7?j^ev, 
 ws rot lycoy fv6fj,fvov av' wpea ray KaAa? alyay, 
 <f>a>va<} tlcrcdtov' TV 8' VTTO bpwlv rj VTTO irevKais 
 abv /uteA.t<r8o/u,ez/os /caraceK\tcro, deie Kojatira. 
 
 )(0) [j.tv, airoKXivas eir' dptcrrepti, ray eTrl Ilv^as 130 
 
 etp^)' 68oy avrap eyw re Kat EuK/Jiro? ey <I>pao-i8a/xc) 
 
 (TTpa<f)devTcs, x^> ^aXoy 'Afiwnxoy, Iv re fladfiais 
 
 abftas vyivoio ya^vvicnv exX^^Tj/iey, 
 
 If re z/eor/xciroio-i yeya^orey olvapcoun. 
 
 iroXXal 8' Spuy virfpOe Kara Kparoy Soye'orro 135 
 
 alycipoi TrreX^ai re' rd 8' eyyvflez/ lepoy 
 
 NvjLK^ay e avrpoio 
 
 roi 8e irort o-xiepaiy 
 
 reYrtyey XaXayewrey lx oz; ^ovov a 8' 
 
 TTVKLvfja-i. (3dT<av Tpv^(rKV aKdvdais. 140 
 
 Kal aKavdibes, eo-rere Tpvy<av 
 ovdal Tiepl TriSaxay d/z0i /xeXtcro-ai. 
 ' So-Sey Oepeos /xdXa Woz/oy, StrSe 8' OTrw 
 
 134. uivaptTjrn A.
 
 32 THEOCRITUS. 
 
 o\vai pev nap 7rocr<n', Trapa zrAeup^o-i 8e /zaAa 
 
 CLfUV fKV\iv$TO' TOi 8' K)(VVTO 145 
 
 s 8e Ttidu>v aTreXvero Kparbs 
 
 KaoraAtSes ITapvacnoi' anro? 
 a/ad ye ira roioi>8e 4>oAco Kara AatVov avrpov 
 Kpa.Tijp' 'Hpa/cA.^! yepcoy eoTTjo-aro Xet/xoy ; 150 
 
 apd ye Tra rrjvov rbv itoiptva rbv TTOT' 'A^aVco 
 rdv KpaTfpov rioAv^afiof, os ojpeo-i raas l/3a\Ae, 
 roioy ye'/crap lireicre Kar' avAia Trotrcri ^opeCo-at, 
 otoi> 5^ TOKa 7rw/xa 8teKpaz;d(rare, Nv//<ai, 
 /3a)/xo) Trap Adfxarpos aAcodSos, Ss eirl o-copw 155. 
 
 auru eyci) zrd^ai/^i /xe'ya TTTVOV' a 8e yeAdcrcrai, 
 8pdyju,ara Kai /
 
 IDYLL VIII. 
 Daphnis and Menalcas. 
 
 T< 
 
 a Vffj.(t)v } a>s tyavrt, Kar' wpea imKpa MevaXxas. 
 Tci>y' ^OTTJZ; TruppOTpi'xa), a^co dva/3a), 
 
 TTparos 8' y TTOTI Aatyviv lbu>v dyopeue MevaXKas' 5 
 
 av eTrioupe /3ot3y Ad<f)Vi, Afjs /moi deto-ai ; 
 
 viKa&flv o(rc 
 8' apa x^ Ad 
 
 ' 
 
 Daphnis. 
 
 /riv etpoTTOKcoy ofooy, o-vpiKTa McvaXxa, 
 i;iKa<reis /x.', ovS' etrt Trd^ots TV y' deiocor. 10 
 
 Daphnis. 
 
 /ecu T^a Orjcrcvfjifa-O 1 OTIS d/uTy UpKios ttrj ; 
 Daphnis. 
 
 cl) QrcrGt' TV 8^ 0c 
 
 13. dXXd T 0Tjfftvntff6' o Ktv P. 
 D
 
 34 'THEOCRITUS. 
 
 Menalcas. 
 
 ov 6r]<r& TTOKa apvov, eirei xaXeTro's 0' 6 Trar-qp /xeu 15 
 \a /xaTTjp* ra be /uaXa Trofleo-Trepa itavr apiOp.fvvri. 
 Daphnis. 
 
 dXXd ri fj,av Ot^o-els ; ri 8e TO TrXeoy efi 6 VIK.&V ; 
 Menalcas. 
 
 o-upiyy', av eTroiTjcra, KaXav lx&> fvvea<j)<i)vov, 
 \VKOV Kypbv f-^oicrav, l<rov KOLTca, lirov avtiiOev' 
 TO.VTO.V KarOfir^v' ra 8e TW irarpos ov KaTadrja-v. 20 
 
 ^ juay rot Ki7y<w crvpiyy ex<w ( 
 \CVKOV Kif]pov <-%oi(rav, tcrov Kara), 
 TTptaav viv <rvvTTa > ' en Kat Toy baKrvXov a\yu> 
 TOVTOV, fTTfl KaXa/bto'y /^.e 8tao-xicr^ei? bifTpa^tv. 
 a\\a ris a/x/xe Kpivti; ris eiraKoos eo-o-eTat d/ixecof ; 25 
 
 rrjvov Ti(i)S fVTavOa TOV atTToA.oi' 17 
 w TroTi Tat? fpitpois 6 KVdov 6 </>a\apo? v 
 
 Xoi /zey -TrarSes duo-ay, 6 8' atTroAos ?]y^' eT 
 Xoi /xey TratSe? detSoy, d 8' aiTroAo? 
 TrpaTos 8' wy detSe Aaxw^ IUKTO MeydXjcas' 30 
 
 8' d/xot^3atay VTie\diJ.(3av Ad^yt? doi8ai> 
 
 ai'. OVTCO 8e MeydXKa? ap^aro 
 Afenalcas. 
 
 dyxea KOI iroTa/xoi', ^eioy yeyos, a? TI 
 
 ' d O-U/JIKTO? TTpo(T<pi.\.fs acre /xeXos, 
 
 s Tas d/xyt8as' ^r 8e TTOK' eyflrj 35 
 8a/xdXas, juu/Sey IXao-o-oy 
 
 1 8. aAa' lyw tr. A. 24. /fiiAa/ios A. 29. A omits.
 
 IDYLL VIII. 35 
 
 Daphnis. 
 
 Kpavai Kai fioravai, yAvKepoj; (J>VTOV, atirep opoiov 
 /xou(rio-8ei Ad<j)vis TOLCTLV drjSozncri, 
 
 TOVTO TO /3ot>KoAlOI> maiVfT*' \HT\V Tl Mevd^KaS 
 
 ret8' dydyr/, \aip(av atyOova iravTa vefj-oi,. 40 
 
 HvO' o'is, Iv^' aZyes StSv/xaroKOt, ey#a /xeAi(ro-at 
 0-p.rivea TrXrjpovo-iv, x a ' fywes v^irtpat, 
 
 ev^' 6 KaXos MM.<oz> fiaivei, TTOCTLV' at 8' az> d^e/aTr^j, 
 
 )(a> 
 Daphnis. 
 
 ea/3, Travra be vopoi, itavra 8e ydAaxros 45 
 ou^ara 'TrXTj^oucrii', /cat ra W 
 
 KoAd Nats fTTtvicro-fTcu' at 8' 
 )(a> Taj ^Sais /36<rK<av \al floes avorepcu. 
 Menalcas. 
 
 co rpdye, rav XevKav alyav avep, eS fiados v\a$ 
 
 Hvpiov ai (ri/^ial 8e(5r' 1^)' v8cop cpi<f)0t. 50 
 
 cv TTJ^W yap T^yos, t^' a KoAe, Kai Aeye' 
 6 n/xorcvs (ft&Kas, Kai debs &v, evep,e. 
 Daphnis. 
 
 p.rj poi yav YIe\oiros, ^77 /xoi 
 
 er; cx cil> > M'J^f TTpoa-de deetv 
 dAA' VTTO ra TteTpq ra5' arro/xat dy/cds l^ 2 ' 5fi 
 (n>vvo}j.a fiaA' ecropG>v rav 2iKe\av es 
 
 38. povffifa A. 41. Fritzsche and P. transpose 41, 42, 43, and 
 45> 4 6 47- 5 1 - Ka *-* A - 5 2 - X^ n P p - 5 3 - After this 
 line A supposes hiatus of 4 lines for Daphnis, and gives 53-56 to 
 Menalcas. 
 
 D 2
 
 36 THEOCRITUS. 
 
 Menalcas. 
 
 KO.KOV, #8a<n 8' 
 
 opvvriv 8' WTrAay, dyporepois 8e AiVa' 
 Spi 8e TrapOfVLKcis airaXas Tiodos. 3> Trdrep, S Zeu, 
 ov fjiovos ripacrdr)v' not TV ywaiKO<piAas. 60 
 
 raSra fj,fv 3>v 81' d/xot/3atcov ot TraiSes aeicrai;. 
 ray Trvfj-drav 8' a)8az> ovra)? e^apx 
 Menalcas. 
 
 <f>ibfv ray fptycav, (pfibfv, Au/ce, rwy 
 jnrj8' d8iKi /x' ort IJ.IKKOS ea>y iroAAaio-ti; 6/x.aprea). 
 S AajUTroupe Kvcor, o{!ra) J3a6vs VTTVOS e^et ru ; 65 
 ow XP^ KoifJida-dai (BaOeais crvv iraibi 
 rol 8' oi'e?, jaijS' vfj.fjifs OKVfW airaXas 
 
 o-irra v^vOe, i>e/xe<r0e* rd 8' ovOara 7rA?j(raT TraVai, 
 
 <a? ro /Aey &pves ?)(a)z>ri, ro 8' e? raAfipcos aTro^co/xat. 70 
 
 Sevrepos aS &d(pvis Aiyupws dye/3aAAer' det 
 
 K^/A' ex rw avrpa> (rvvcxfrpvs nopa ex#e? i8ot(ra 
 ray 8a/xdAas TrapeAayra, KaAov KaAov ?jp.ey e(pao-Ker' 
 ov /xav ov8e Aoycov fKpiOqv OTTO roy TriKpbv avrq, 
 dAAd Kd"ra) /3A^as ray dju,erepaj; 686y flpvov. 75 
 d8et' a (pa)va rd? Troprios, d8u ro TTvev/JLa' 
 [d8v 8e x^ fJ.o<rx. $ yapverat, d8u 8e X" 
 d8v 8e r<3 Ofpfos irap' vScop peor al 
 ra bpv\ rai /3d"Aayot KOO-//OS, ra p-aAt8t 
 ra /3ot 8' a /xocrxos, ra> /3ouKoA(> at ^oe? avraL 80 
 
 &? ol ira^es aenray, 6 8' atiroAos c58' 
 
 63. <7Tfpi(fio)v A. 72. ^// 7^p P. 77. A omits.
 
 IDYLL VIII. 37 
 
 Aipolos. 
 
 abv TI TO orojua rot, /cat e$ijuepos, <w Ade^vt, tfxava.' 
 
 rev a.Kovfp.fv rj jLte'Ai Acidly, 
 ras trvptyyas' tf t/a/cras yap det'Scoy. 
 ai 8e ri ATJS /xe KOI avrov a/*' atiroXeovra 8i8dai, 85 
 T^av rav inrvXav 8co<ra> ra StSa/crpd rot atya, 
 arts VTrep Ke^aXas atet roz^ d/uoAye'a irXr/pol. 
 &>? juez> 6 Trais ex^P 7 ?* Ka ^ d^aAaro, Kat TrAardyTjo-e 
 eirt /xarepa veflpos &\OLTO. 
 
 at averpdnfTo (frptva \virq 90 
 ' ourco Ka vv^a yajue^etcr' aKaxotro. 
 TOVTCO Adtyvis irapa Tfoiptcri TrpaTOs lyeiro, 
 , &Kpr)/3os eobv crt, Nat8a 
 
 91. $1*0.6 tTo' A.
 
 IDYLL IX. 
 
 Daphnis and Menalcas. 
 
 , Aa</>z>i' TV 8' o58as apx eo 
 d<vi, <rvvaij/acr0<a 8e 
 PUXTLV w^eire?, WTTO orfipaio-i 8e 
 X<>t /xey ajua POCTKOIVTO, KOL ev <^vXAoi(ri 
 
 ei; dn/uayeXewres* e/air 8e rv /3ouKoAtci{(EU 
 8e TroriKptvoiTo 
 
 a8v j^ev a JLIOO-^OS yapverai, a8i 8e 
 d8i 8e x o^P'y^j X^ 1 /3ouKoAos* d8v 8 
 eori 8^ fxot Trap' #8a>p "(j/v^pdv a-rt/3ds* ev 8e vevacrrai 
 \VKav fK 8a/xaAay KaAd 8ep/xara, rds /xot dirao-as 10 
 Ah/r Kopapov rpcoyoifras aTro o-fcoTTids frivaf. 
 T& 8e Oepfvs <(>pvyovTos eyco rotrvov fj.\ebaiv<o, 
 o(r<rov epwire irarpos Traces Kat jaarpos d/coveir. 
 
 OUTCO Ad<pvi9 aeio-ei' e/xiv* ovra) 8e MevdAKa?' 
 Menalcas. 
 
 ALTVCL /xarep e/ud, Kijyw xaAoy avrpov cvoiK(<i> 15 
 v irerpatcrty ex&> 8e TOI oo-a-' ey 
 
 2. &px to irpoToy, e(pa\f/aadoj P. 6. I* iro9(v, d\\oOe S' avris 
 
 inroicpivoiTo A ; (fivpoOtv aAAofle .T.\. P. 10. air' a/rpa? Fritz. 
 
 13. e/wv T< irarpoc fiv&cuv at /i. dovt A ; epuvn K.T.\. P.
 
 IDYLL IX. 39 
 
 t, TroAAas juev ois, TroAAas 8e 
 3>v /xot Trpos Ke<|>aAa /cat Trap TTOO^ /c<oea 
 
 (frayol \eifjLatvovTos' l^^ ^ T0t 01 ^^ 
 \ifjLaros, rj rooSos Kapvutv, afJLV\oio 
 
 rots fxey eTreTrAarayrjcra, xal amina b&pov e8<w/ca, 
 Adcpvibi fj.tv nopvvav, ray juoi irarpos ZrpcKpev aypos, 
 avro<pvfj, rav ov' ay itrcos /iaj/xao-aro reKTwy 
 
 8e orpOjUjSco xaAoy ooTpa/coi>, ov fcpeas avro? 25 
 
 ridrjv, TTTpai(riv kv 'TKapCaicn. So/cevo-as, 
 
 Tfvr' ovcriV 6 8' eyKai/a)(7jo-aro KO 
 i MoTcrat, /xa\a )(aipere, 
 TO? TTOK^ eyw TTjyoto-t Trapwy cieto-a 
 /i?j TTOT' eTrl yXweroras axpa? oXo^uySoya (pv(T(a. 30 
 re'rrt /xey reVnyt (pikos, juvp/txaKt 8e jixvp/xaf, 
 tp7]Kes 8' JpTjfti;' ep.ii; 8' a Moitra KOI &)8d. 
 ray /xot ?ras et?; 7rA.eros So/xos* ovre yap vTryos, 
 ovr' eap f^curivas yAv/ceptorepoi;, oure /ueAicr<raiy 
 ay^ea, ocra-ov ep.iy Moto-at </uAai* ov? yap opevvri 35 
 ya#eC<rai, rois 8' ovrt TTOT&) 8aA?j(raro Kipxa. 
 
 19. ft? Fritz. 27. iyKa-fx&aa.To A. 30. <fvff7;y Fritz.
 
 IDYLL X. 
 
 Battus and Milo. 
 
 Milo. 
 
 'Epyariva (Bovnale, TL vvv, (pCvpe, Tr7r6v0is ; 
 ovO' f6v oyp.ov ayetv opdbv bvva, &>? roirplv ayes, 
 OV& 1 afj.0. Aaioro/tAeis TO> irAarioy, dAX' aTroAetTrry, 
 o'is Tioifj-vas, as TOV iroba KCLKTOS Zru^rev. 
 os ri?, SeiXate, KCU ex /xecra) a/aaros eo"crTy, 5 
 
 ras avAa/cos ov/c a 
 
 ovbafj,a roi (rvvfjSa TioQiaai riva T&V cnreo 
 Milo. 
 
 ovSa/xa. rts 5e TTO'^OS r<3v i-KTodev epydra a^8/)t ; 
 
 e^Qa TOI aypvirvrj<rai 8t' epcora ; 10 
 
 /X7j8e ye (TUjiA/3airj' x a ^f"oy \opiu> mvva ytvaai. 
 Battus. 
 
 dAA' eyw, ai MiAcov, epa/xat o - )(e8oi' e 
 
 2. OUT' 5f A ; oure TOJ/ P. 5. 5ti\av re P. 6. dpxo 
 Fritz.
 
 IDYLL X. 41 
 
 Battus. 
 
 TOtydproi Trpo Ovpav p.oi d^o cnropco acr/ccAa -navra. 
 Milo. 
 
 TIS Se TV TCLV Tiaibtov Av//,au>erai ; 
 Battus. 
 
 a YIo\v/3<aTa } 15 
 
 & Ttpav dp.(avTf(T(n Trap' 'IirTTOKUoia TTOK' 
 
 fj.vTLS rot rav vvKTa 
 
 p.(t)KCL(T0at ;u' ap^r; TV' rv(j)\6s 8' OVK avros 6 ITAoiiTos, 
 dAAa KOI dx^poiTioro? "Epcos. //r) 8^f /aeya p.v6fv. 20 
 
 ou /i^ya fjivOfvp-aL' TV povov Kara^aAAe r6 Aaoy, 
 KCU T6 Kopas <f)i\iKov jixeAos ap.f36.Xcv. aftiov ovrcos 
 cpya^Tj' Kal /^idy TtpoTtpov Tiona /JLOVO-LKOS 
 Battus. 
 
 MoTo-at ITtep^Ses, (rwae^o-are rav /5a8u>ai> 
 iS 5 ' wr yap x' a\^^o-0e, ^ea^, KaAa Trdrra 
 
 a x a pi cr(ra > Supav /caAeozri TD Trdyres', 26 
 ioKauo-roV eyw 8e p.6vos 
 Kal rd tov /ixeAav eor^, Kai a ypairra va 
 dAA' e/x7ras ^y 70^9 ore^dfois rd TTpara Aeyorrai. 
 a ai^ Toy KVTKTOJ;, 6 AUKOS rdj; aiya StcoKet^ 30 
 
 a yepavo? rwporpoy eya> 5' em riv fjifp.dvrjp.aL. 
 aide P.OL qs O<T<T<L KpoTo-ov TTOKO </>a 
 Xpvo"oi apupoTcpoi K dvKcip.c6a ra 
 TWS at>Aws- p-cr Ixotcra, Kat ^ po8or, 77 rvye 
 
 16. woravAcj P. 18. xPt fTai & " A. 34. ^ paXov TV Fritz. 
 and A.
 
 42 THEOCRITUS. 
 
 (ryjllia 8' eya> /cat /catyd? eir' dju,(poTepot<ny d/xv/cAas' 35 
 Bojix/3v/ca xap t/e<ro "'s ot /xey vroSes dorpdyaAot reuy, 
 a (putva 8e rpv^vos' Toy /may rpoirov OVK ex<u eiTrety. 
 jfififo 
 
 77 /caAas a/1/j.e irotcSy e\e\7j^rj (SovKOs aoi8aV 
 ws eu ray i8eay ras dpjixoytas e/xerprjo-ey. 
 w juot r<S Trwycoyos, 6y dAt^icos dye0u<ra. 40 
 
 0a<rai 8r) Kat raOra rd rai ^eico Aurte/saa' 
 
 Ad/ixarep TroAu/capTre, TroAvoTa^i;, rouro ro A.aoy 
 evepyoy r' eirj xat KapTTi/xoy orri /xdAtora. 
 cr^tyyer', d/xaA.Ao8erat, ra ftpayjuara, ju,^ Traptwy rts 
 eiTrrj' arvKivoL avbpfs, UTTwAeTO X.OVTOS 6 fJitcrOos. 45 
 es /3oper]y avffj.ov ras KopOvos a ro/xd w/x/xty 
 ^ ^ie^upoy ^SAe'Trera)' TTtaiyerat 6 ara^us ovrcos. 
 (riroy dAotwyra? <^>evyeiy TO /xecraju/3pty6y 
 ex KaAdjaas ayjipov reAe^et 
 &p)^cr9ai 8' a/xwyras eyeipo/xeyco KOpuSaAAw, 50 
 
 /cat Arjyety evSoyros' lAtyva-at 8e ro 
 ev/cro? 6 ro> /3arpax<w, 7rat8es, /3tos' ou 
 roy ro Trtety eyxeuyra' Trdpeort yap a<p9ovov avrw. 
 KaAAioy, S 'Trt/zeAtjrd ^tAdpyupe, Toy <paKov tyeiv' 
 /A?; Tt Ta/xrj? ray X e V a Karairpidiv TO Kv/xtyoy. 55 
 
 TavTa x/ 3 ^? fAOx^eCyTas ey dAtw ay8pa? det'Seiy' 
 Toy 8e Teoy, /Soyxate, TrpeTret Atju,rjpoy 
 ra p.arpl KOT' evydy 
 
 45. etWot A. 48. iiiTvuv A ; virvov P. 55. /i^ VtTajwjs A and P.
 
 IDYLL XL 
 
 Polyphemus to Galatea. 
 
 Qvbcv TTOTTOV ep<ara TtftyvKfi (pdp^aKOv aAAo, 
 NtKta, OVT lyxptoroy, tfj.lv So/cei, ovr' 
 i] rat rTiept8es* Kov(pov 8^ rt rovro KCU a8v 
 dy^pwTrots' fvpetv 8' ou pqbiov f 
 8' o7/uai TU /caAw?, larpov fovra, 
 KOI rai? fvvfa 8rj Tre^iAaju^i'oy l^ox Moi(rats. 
 
 OUTCO yovy pai'ora 8tay' 6 KuKAw\|r 6 Trap' a/i!i>, 
 a>px.aios IIoAv^a^o?, OK' ?/paro ras FaAareias, 
 S/ort yeueidVScoj; Trept TO oro'jixa rw? Kpora^tos rf 
 Tjparo 8' ou fxaAou ou8e po'8<a, ov8e KIKLVVOLS, 
 dAA' dp^at? /^aiuais' ayeiro 8e TrdVra Ttdpepya. 
 iroAAaxi ral oi'es TTOTI rcovAioi' avral a.Tii)v6ov 
 e/c fiordvas' 6 8e, ray FaAdYaai; d 
 
 e os, t 
 
 Kv7rpi8os CK fieydAas, ro ot 
 
 dAAa ro (pdp/j-dKov evpc Ka0eo|Lieros 8' eul v4rpas 
 
 v\^7jAas, es TroWov opcSv 5ei8e roiaura* 
 
 oo AeuKa FaAdreia, rt roy <tAe'oi>r' aTroySdAAr; ; 
 Aeu/corepa iraKras TrortSew;, aTraAcorepa apvos, 
 
 II. iAoafs /xai/. P. 15. A omits. 20. A omits.
 
 44 THEOCRITUS. 
 
 yauporepa, 
 
 8' au#' ovr<3s, OKKCI yAu/cus 
 fuflus 1 totcr', o/c/ca yAu/cvs {wyes dyr/ p.e", 
 8', axnrcp o'is -noXiov KVK.OV d^p^(ra<ra. 
 \j.\v eycoya reous, Kopo, ayixa Trparov 25 
 
 ^vdfs e/xa crwy fJLarpi, ^eAoio-' vanivOiva <pv\\a 
 c o/oeo? bptyacrdai.' eya> 8' 68dv aye/Aoyeuov. 
 TiavcravQai. 8' e<n8(oz> TU Kat vcrrepov ov8e TI ira vur 
 eK TTJVO) bvvafj,ai.' rlv 8' ov /uteAei, ov /y,a Af, ovbev. 
 yij>(d(r/cco, x.apCea-(ra Kopa, rivos (Svejca </>ewyeis' 30 
 
 oi Aacr^a jaev 6<ppvs eirt 'TravTt /aercuTra) 
 rerarat TTOTI d&repov S)s pia p.a,Kpa' 
 els 8' o<0aA./uos eireori, irXareta 8e pts 7rt 
 
 roimoy ro Kpartoroy djucXyojaeyos yaAa TTIVCO' 35 
 
 8' ov A.ei7rei /u,' our' y ^epet, our' ei> OTrtopa, 
 ou x i ^ vos o,Kpu>' rapa-ol 8' VTTfpa-^Oefs alft. 
 
 8' a>? ourts eTrtora/xai w8e KuKAwTrcor, 
 ro (pfaov yA.UKVp.aAoy, ap;a K^auroy det8coy, 
 
 uKros dcopi' rpd<^co 8e roi fvbfKa Vfflp&s 40 
 irao-as fj.avo(p6p(i)s, Kal O-KV^VUIS recra-apas apKrcoy. 
 dAA' a(ptKfv TV noO* ape, Kal eeis ou8ey lAacro-oy 
 ray yAauxdy 8e 6aXa<r<rav ea TTOTI 
 dSioy ey rwyrpa) Trap' e/xiy ray yuxra 
 eyri bdfpvat rrjyet, eyri pa8tyai KU7rdpi(ro-oi, 45 
 
 e<m /xe'Aas KKTO-O'S, Icrr' d/rrreAos a 
 eorl \jfvxpbv i;8ft>p, TO' p.oi a 7roAu8e'y8peos 
 as ex x'oyos, Troroy ap;/3po<noy, 
 
 41. fMvvo<t>6pcay P. 44. After 44, A inserts 49.
 
 IDYLL XI. 45 
 
 rts /ca ro>y8e 6aXa<T(ra.v exeiy V Kv/xa0' eAotro ; 
 at 8e TOL avrbs eycoy 8oKe'<a Aao-ioi>repos ?7/>iey, 50 
 
 eyrt bpvbs vAa /not, KCU virb cnroSa> aKapaTov <nvp' 
 Kaiofjifvos 8' VTTO revs Kat ray \jru\av dyexotjuay 
 Kal TOV eV 6(f)da\fj,6v, rSt juot yAuKepwrepoy ovbev- 
 &IJLOI, or' OVK ereKey ft' a ^arrjp fipay\i l^oyra, 
 a>s Karebvv Trorl rty, Kat ray x^ a re ^ s e^)tXao-a, 55 
 at /u^ ro crro/xa AT/S' e$epoy 8e rot 17 xpt'ya 
 17 fAaKtoy' aTraAay cpvOpa ^Aaraycayt' 
 dAAa ra p.ey deptos, ra 8e ytyerat f 
 COOT' ov/c ay rot raCra ^epety a/xa irayr' fbvvd9r]V. 
 vvv P.O.V, a> Kopiov, vvv avroOi yety ye fj,adev[j.ai, 60 
 aua rts o-i/y yat TiAecoy e'yo? 58' d^t'Krjrat' 
 &s et8(3, rt TTO^' a8v KarotKety roy (SvObv v//,juty. 
 , FaAdreta, KOI eey#ot<ra Ad^oto, 
 eywy yuy w8e Ka^rjp-eyos, otKa8' aTrey^ety. 
 7rotju,atyety 8' efle'Aots o-vy e/xiy a/xa, Kat ydA' d/xeAyety, 65 
 cai rvpbv Tra^at, rd/xt<roy 8pt/xetay eyeto-a. 
 a /ndrrjp dStKet /xe p.oya, Kat /xep.</>o//,ai avra' 
 ov8ey TTTJ-TTO^' oAcos Trori rty 0tAoy etTrey v?rep jnev, 
 Kat raur' a/iap e/r' a/xap 6pei5crd /ie AeTrroy eoyra. 
 ^>acrci) ray Ke^aAdy Kal r&>? 7ro8as d/x^orepcos /ueu 70 
 <r(f)v<rbiv, a>s aviaOf}, eirel Kijycuy dyteo/jtat. 
 w KvKX(t)\}s, KvK\(a\}r, Tra rds $peyas eKTrcTrorao-at ; 
 a?^' ey#a>y raAapcos re ^Ae'KOts, Kat 0aAAoy d/xd(ras 
 rats apyeo-(rt ^>e'pots, rd^a Ka TroAu /xaAAoy e^ots youy. 
 ray Trapeotcray djueAye' r( roy ^>evyoyra 8tWKets ; 75 
 
 59. A omits. 60. rCi/ a5 r<5 70 rcfj' ^a<rC/ta A. 69. Xeirru 
 A.
 
 46 THEOCRITUS. 
 
 raXartiav icxos KCU KaAAioz/ 
 cru/x7rat(r6ei' //e Ko'pat ray VVKTO. 
 8e Tracrai, eirei K' avrais eT 
 ez; ra ya K77y&)v rts (^aiv 
 ovrco roi DoAv^ajaos kiroi^aiv^v TOV e/ocora, So 
 
 IJ.ov<r{<rb(>v' paov 8e Stay', r) ei xP v<r v
 
 IDYLL XIII. 
 Hylas. 
 
 TOV "E/JOOTO, /idVots eYex', <*>? 
 Ni/a'a, a> TIM TOUTO Oe&v 7ro/ca TZKVOV 
 oi>\ ap.lv TO. KaXd TrpdVois xaXa 0au>erai 
 ot ^varot TTfXo'/xeo-^a, TO 8' avpiov OVK er 
 aAAa cat ' Afjt.<f)iTpv(avos 6 ^aXKeoKapbios vios, 
 os TOV \iv viT^fLve TOV aypiov, 7]paTo 7rai86s 
 ra> xapievTos "TAa, rcS ra^ TrAoKa/xiSa QopevvTos, 
 Kai //tv Travr' e8i'8ae, iraTr^p wcrei <f)faov via, 
 o<r(ra fj.ad(a>v ayaObs Kal doi'8ijaos avTos eyevro* 
 Xwpts 8' ovbfTTOK tfs, oiS' cZ jueVoy a/xap opoiTo, 
 ov^' OTTOX' a AevKiTTTros drarpe'xoi es Atos dws, 
 ov0' otroK opraAtxoi p.wvpol TTOTL KO^TOV 
 a-eicrafteVas Trrepa /uarpo? eir' ai^aXoefrt 
 a)? avrw Kara 6vp,bv 6 irals TTcnovafj.fvos fit], 
 avTw 8' ev \K<t)v (s aXadwov avbp' aTt 
 dAA.' o/ca TO xpv(TLOv eTrXet /xcTa Kwas 
 Ato-ofi8as, ol 8' avTw dpio-T^es a~uve7rovTo, 
 TTa<rav e/c TroXi'coy TrpoXeXcyjuei'oi, 5y o^eXo? TI, 
 IKCTO x^> TaXaepyos dy^p e? a<f>viov 'I 
 
 vloy MiSec^TiSos fjptatvris' 
 8' avT<3 KaTffBaivfv "TXa? cvebpov 
 
 15. avroS 5' 5 ?/ttw A. 21. cwoi'8/)ov A.
 
 48 THEOCRITUS. 
 
 oYis Kvaveav oux. rj\l/a,TO (rw5pojud8a>z> vavs, 
 
 dAAd 8iedi'ej (3a6vv 8' et<re'8pafie 3>acriv, 
 
 ateros cos, fxe'ya Aauyxa, d</>' (3 Tore xotpaSes larar. 
 
 ajuos 8' avreAAopri IIeAeid8es, eaxariai 8e 25 
 
 apva vfov POVKOVTI, reTpa/x/iez/ft) etapos ^8rj* 
 
 radios vavnAtas fJ,ip.vacrKTO Betas dcoros 
 
 , K.oiKav 8e KaOibpvvOfvres es 'Apyw 
 
 t/coz/ro, voro) rplrov a/jiap deWi* 
 etcrw 8' opiiov tdevro UpoirovTibos, tvOa Kiavaii; 30 
 avAaxas tvpvvovri /3oes Tpifiovres aporpov. 
 fK/3avTfs 8' errt ^iya, Kara uy a 8aira TTCVOVTO 
 t' TroAAot 8e /iiay aropecravTo ~)(a^vvav. 
 
 v eKetro, jixeya <rn/3a8e(T(m' ovfiap' 
 ov, /3a9vv T frd/xovro Kvir^ipov. 35 
 6 avObs vbap kifi^op-niov olcr&v 
 
 /cai do-re/x^ 
 
 (ot /xiav ap.(j)(i) eratpoi del 8atz;wro 
 XaAKeoy ayyos e^cov rc^xa 8e Kpdvav evor 
 f][ji.V(j> fv ^wpo)' Trept 8e 0pva TroAAa Tre^vKet, 40 
 
 re eXtSJvioi'j x^ oe P 0/z; r ' dSiayroy, 
 
 a, KOI elAtrei'^s aypcocrrt?' 
 v8art 8' ey /xeVcrw Nv/>i0a6 \opov dprt^oyro, 
 Nv/x$a6 aKoi/xrjroi, Sei^al 0eat dypoiwraty, 
 Euvi/ca, Kai MaAts, eap ^' opococra Nu^eia. 45 
 
 ^rot 6 Koiipos eTreix^ TTOTW ;roAuxai'8e / a Kpa)cr<r6v, 
 /3a\|u eTretyo/xeyos' rat 8' ev x e P' Tracrai <pv(rav' 
 
 yap ejocos aTraAas (ppevas e 
 w em TratSi' KarvypiTre 8' es fxeAay 
 
 22, 23, 24. A omits. 31. dp6rpy A. 33. SeteA.ii'jjj' A. 48. 
 0T)a(v A ; diuf>t56v7)ffev P.
 
 IDYLL XIII. 49 
 
 aOpoos, o>? oKa TTUpo-o? air' ovpavSt r/pnrey aorrjp 50 
 aOpoos fv TTovTto' vavrais 8e ns enrev Ireupos' 
 Kov<poTp ', <w muSes, iroieurfl' OTrAcr irAeuortKOS ovpos. 
 ey ox^erepois ITTI yovracri Kovpov f\oL(rai 
 , ayavoiiTi Trape/ry^oyr' eireeo-o-iy 
 
 55 
 
 <cat poirahov, TO ol aie 
 
 rplj /xev "TAav ^{Jo-er, ocrov fiapvs rjpvye Xaifj.6s' 
 
 rpls 5' ^ip' 6 Trais VTr^Kouo-ei;' dpata 8' ?KCTO <p<ava 
 
 f vbaros' Trapecby 8e /xdAa (rxe8oy, efSero woppa). 60 
 
 a>s 8' OTTOK' lyuyeveios airoTrpoOi A.IS 
 
 vej3p<a <f)deyaiJ.vas TLS kv ovp<rtv, 
 
 6^ ewas Hcnrevcrfv fToi^ordrav CTTI Satra' 
 
 'Hpa/cAerj? TOIOUTOS ev arpiTTTOttnv amavdcus 
 
 irat8a Tro^oSy 8e8ov?jTo, iroAuv 8' e7reAa/>i/3cwe \S>pov. 65 
 
 <rxeVAiot ol (pi\eovT( 
 
 wpea KCU 8pu/Lt5s' ra 8' 'I?7<royps vcrrepa itavr 
 va.vs -yefjifv ftpfJifv' <-\ot<ra ficrdpcrta 
 la-rCa 8' 171^601 fj.<rovvKTiov 
 'HpaxA^a pevovres' 6 8', S 77086? Syoy, ex^P ei 7 
 fj.aivop.fvos' xaXfira yap 
 OVTW fj.tv KaAAtoros "TAas 
 
 rjpcafs ^KfprofJLfov \movavTav, 
 
 KOVTa^vyoy 'Apy5' 
 a 8' es Ka'A^ws re Kat &evov tjcero ^ao-iv. 75 
 
 ' 
 
 51. iraipois A and P. 54. irap4ifrtjx ov ptkiffffftv A. 58. 
 A and P. 68. pav? /ulv apfitv' <l\oiaa. utrapoia qirtp I6vrwv A ; 
 vaw plvev &pp. (X- H*T. r&v irap(6vroav P. 69. tart KaOtTpyov A. 
 
 71. xa^*^? A. 
 
 E
 
 IDYLL XIV. 
 
 Aeschines and Thyonichus. 
 
 Acs chines. 
 
 Xapeo> TroXXa TOV avbpa v(&vi.\ov. 
 Thyonichus. 
 
 ciXXa 
 
 PCuryivq. 
 Aeschines. 
 
 Thyonichus. 
 
 dvLos ; ri 8^ rot TO 
 
 ' apa 
 
 X<a piucrTa^ TroXv? ovros, auVraXeoi 8e KLKLVVOI. 
 TOLOVTOS Ttpwav ris d^>tKTO riu^ayop^/cras, 5 
 
 , KavwTroSrjros* 'A^^yaws 8' |(^ar' lyjtxer. 
 p.av KOL rfjvos, ffuv SOKCI, OTTTC!) dXevpco. 
 
 Aeschint*. 
 
 s, 3) 'yaO\ fytoV epie 8' a yapUa-va KVVLO-KCL 
 8e 
 
 4. a/x' avaXtoi 5 . A.
 
 IDYLL XIV. 51 
 
 Thyonichus. 
 
 ToioSro? /xev det rtf, </>iX 5 Ala-^iva, a<rv)^a ouy, 10 
 irdVr' fde\<v Kara jcatpov o/icos 8' etTror, TI ro K<UI;OJ> ; 
 Aesckitus. 
 
 wpyetos, KJ]y<i>z/j KCU 6 eo-o-aXos iTnro8i(>KTas 
 *cat KAewiKO? fTtivofjifs 6 oTpari<6ras 
 
 ^ fyw. brio jj.ev KarfKo^fa vfoa-fruts, 
 re ^olpov av<s)a 8e Bi/3Aw>oi> avrois 15 
 er&oy <r)(e8oy, a>s diro Aavw. 
 ox^tas c^rjpf6r]' $$ TTOTOS abvs. 
 ijbr] be TTpoiovros, I8o^ cTiiyjiia-Qai aKparov 
 &TLVOS ^6e\ J ocaoros' ISet \LQVOV wrtvos 
 
 a 8' ov8e'v, Trapewros ejueu' Tty' lx eiy I 116 SOKCIS 
 " ov <t>dtygfj ; \VKOV flbes ; " eTrai^e 
 K^CLTTT' Vjaapea)s Key air' avras xai 
 eori AVKOS, AVKOS eori, A6,j3a r<2 yetrovo? 
 evp.dK.riSy d-jraXoy, TroAAots 8oxea)i; KaAos ^jney. 25 
 
 TOVTO) TOf K\.VfJLVOV KaTfTUKfTO TT]VOV 
 
 \ap.lv TOVTO 8t' wro? eyevro TTO^' 
 ou p.av e^rjra^a, fj.arav fts avbpa 
 rjbr] 8' aiy TroVio? rot r^rrapes er 
 X&> Aapto-oraios ro^ e/jtw AVKOI; abfv air' apxas, 30 
 oy ri //.eAi(r/xa, Ka/cat tfrpeves' a 8e KuyiaKa 
 
 as OaXeptoTfpov rj irapa par pi 
 irapOfvos e^a^ris Ko'Aira) eTri^u/ixjJtrao-a. 
 rafios ey()y, TW ?<ras TV, 0u(oz;tx e > ^f f' 7I 't KOppas 
 r)\a<ra, KaX\av avOis' aveipvo-crcura 8 TT^TrXcoy, 35 
 
 II. *ar' aiccupov A. 17. /3oX/3<$$ TIS oxA.as P; /3oXj3<$s TS, 
 
 X. Fritz. ; /3ov/J<5j TIS ox. A. 
 
 E 2
 
 52 THEOCRITUS. 
 
 e(o aTi<p\To Qa<T(rov. " ({MOV KO.KOV, ov roi 
 " #AAo? TOI yAuKicoy VTTOKOXTTIOS' aAAou ioi(ra 
 
 <piAoy' 7771/0) ra (ra baKpva ju,aAa pe'oyri." 
 8' ota TZK.VOHTIV vir<apo(f)toi,cn, x*At8a>y 
 a\j/oppov rayjiva Tr^rerat ^3ioy a\\ov ayetpew 40 
 
 aTro 
 
 KOL 
 
 au>os ^^v Ae'yeTct^ TIS' Iy3a Key raupo? dv' 
 ei/cari raft)', OKT&) Ta^8', (vva, ra^8e SeV aXAat, 
 vdpepov fvbfKdra, iroriOes 5vo, Kai 8uo juares, 45 
 e c3 air' dA.AaA.coy, ow8e pa/acm Ke/cap/xai. 
 ol 8e AVKOS wv irdvTa, AVK&) Kat VUKT^? di>&>KTCu' 
 ajn)u,es 8' ovre Aoyco TW>OS S^ioi, o 
 bvorravoi. Meyapr^es, drt/iorarT/ eyt 
 Kfi ^ez> aTToo-rep^ai/xi, rd Trayra Key ets Se'oy epTroi' 50 
 
 X&>rt TO (pa'p/xaKoV eoriy a^r\^av4ovTO^ Ipcoros, 
 OWK oTSa' irAay 2ifxo?, 6 ras 'ETrixdAKCo epao-^eis, 
 eKirAeuo-as, vytrjs eTray^A^', e/xos dAiKtcora?. 
 7rAeu<ro{jjMai Kryywy StaTroynos, ovre KaKtcrros, 55 
 
 oure Trparos foots, 6/xaAos 8^ rts &>s 
 
 w(peAe /nay \<i)pelv Kara y<3y reoy wy 
 At<rx/ya. cZ 8' ovrwy clpa <roi SoKei, &<T 
 fjucrdoboTas IlroAepxuos eAeu^e'pw otos &pt,(TTOs. 
 Aeschines. 
 
 raAAa 8' dy^p TTOIOS ris ; 60 
 
 38. rrjvSi red SaKpvai fia\a A. 43. l/3a iroita P ; \fytTtu, TO 
 
 /3/3d T. A. 45. 7r<m8f8ifo A. 53. inrox^toi A. 56. dffw5WTas 
 A. 60. A omits.
 
 IDYLL XIV. 53 
 
 Thyonichus. 
 
 otos apurros, 
 
 , <bi\6fj.ov<ros, epamxos, fls anpov abvs' 
 tlba>s TOV <$>i\ovra, TOV ov <|)tXeoz;r' CTI /naAAoy 
 TroAAois 'TroAAa 5t8ous. aZrev/xeyoj, OVK avavevw, 
 ola xpr] ^Sao-iX?/'' alreiv 8e 8eT OWK CTTI iravri, 
 Pdcryjiva. COOT' ei roi Kara bei.bv S)[ji.ov apea-Kfi 65 
 
 ers eTTtowa fjulvfut 6pacrvv a 
 S. T&XOS fls AlyviTTov. a-no Kpora<^u>v TTf\.6fj,f(r6a 
 y?jpaAeoi, Kat eTrtcrxe/sci) es ytvvv Ipiret 
 
 6 xPoVo?. Troieiv TI 8ei, as yow \K(apov. 70
 
 IDYLL XV. 
 
 Gorgo and Praxinoe at the Festival 
 of Adonis. 
 
 Gorgo. 
 
 'Ez>8oi Hpaivoa ; 
 
 Praxinoe. 
 
 Topyol (f)i\a, o>s \p6v<j>' tvbol. 
 
 davfj.', ort Kal vvv yv0s' 0/317 S^poy, Ewoa, avrr\' 
 e/u./3a\e Kal iroTiKpavov. 
 Gorgo. 
 
 Praxinoe. 
 
 Gorgo. 
 
 (a ray d\e/xaTco \/a))(aj' /xo 
 ripaiyoa, TroAAw fxey o^Xco, TroAXwy 8e Tedpi-mttov' 5 
 iravra Kprjmbfs, Travrq ^Xafj.vb^opoi avbpfs' 
 a 8' 68os ^r/suros" TV 8' eKaar^pco /xe\' 
 Praxinoe. 
 
 ravO" 1 6 Trapapos rrjvos fir' Icrxara yas 
 iXeoy, OVK oitvqfnv, OTTCOS ^ yefro^e? 
 dAAaAais, TTOT' Ipiy, <f>dovepbv KCLKOV, alkv OJJ.OLOS. 10 
 
 /*' A.
 
 IDYLL XV. 55 
 
 Gorgo. 
 
 /AT/ Aeye TOV TCOV avbpa, <pi\a, A;coz/a roiaCra, 
 
 T<S jiUKfca) Trapeoiros* opr;, yvrai, a>s TroOopfi TV. 
 
 dapcrfi, ZtoTTvpfav, yAv/cepoy TOKOS' ov A^yei aircpvv. 
 Praxinoe. 
 
 aio-^aj/erai ro fipetyos, val rav -norviav. 
 Gorgo. 
 
 KttAoS CLTT(j>VS. 
 
 Praxinoe. 
 
 a.TT<pvs fJiav TTJVOS irp&av, (Aeyo/xes 8e Ttp<aav QT\V 15 
 
 virpov Kal (pvKos anb crKavas ayopdcrbatv, 
 (pepav aAa? aju/xii', dy?)p 
 Gorgo. 
 
 \a)//,6s raura y' e^et, <f)0opo$ dpyu/stco, 
 
 uydSa?, ypaiav aTrori'A/jiaTa Trrjpav, 
 OKCOS eAa/3' ^0fs, &Tiav PVTTOV, fpyov 
 dAA* Wi, TO)fj.TT\ovov Kal TCLV irfpovarpfoa Aafeu. 21 
 /3a/xes TW ^SaaiA^os e? cupvew 
 6a(r6p.vai TOV "AbtoviV aKOuco 
 Kocrptiv TCLV /3a<riAi(T(rav. 
 Praxinoe. 
 
 Gorgo. 
 
 &v ibfs &v enres xal i8ot<ra TV ra> /XT) Z8o'vri* 25 
 i-p-nav &pa K fir]. 
 Praxinoe. 
 
 depyois aZey eoprd. 
 
 Evvo'a, ai/ae TO i^/^ia, *al es p.forov, atvoOpvnTe, 
 des TraAiy. al yaAe'ai /xaAa/c&>$ x/ ) ??C OI ' rt Ka6tvbfiv. 
 
 41. This and next 3 lines A gives to Prax. : P gives 1. 14 to 
 Gorgo. 16. &&VTO) . . . dyopdaStw A. 25. ^vt'8' l-ya 
 KCV A ; uv l$ts, wv c?7rac? xtv P. 27. /3a/ta A.
 
 56 THEOCRITUS. 
 
 877, </>epe 6acr(Tov vb(ap. vbaros Ttporepov bfl' 
 a 8e <rp,aij.a $epei. 86? o/^oos 1 . JUT) TtovXv ^TrA-T/ore. 30 
 #8a>p* Svoraye, TI jiicu TO 
 GX' ota 0eoiy e8o/cei, roiaura 
 ra? 
 
 a, /utaAa TOI TO KaTaTiTV\S e 
 . Ae'ye fxoi, TroVa-a) KaTeySa TOI a</>' l 
 
 do-Tjs, Fopyo? v\4o9 dpyvpico K.a9apG> pvav 36 
 ^ 8vo* TOIS 8' epyoiy Kal Tay \f/v%av 
 
 a\Aa KOTO yvia^av cnrffia TOI. 
 
 Praxinoe. 
 
 TOTO xa 
 
 TWjUTrexoi'oj; ^>epe ;uoi, Kat Tar doXiav Kara 
 aphides' OVK dci) TU, TCKVOV' /xop^Ko, Sa/a-et ITTTTOS. 40 
 
 epirco/ies. 4>pvyia, TOV /ZIKKOP 
 Tay KVI' lo-co KaAeo-oj;' Tay av\fiav air6K\aov. 
 a> ^eoi, SQ-O-OS oxAos' TT&S Kal TICKO. TOVTO TTfpaarai 
 Xprj TO KO.KOV ; fj.vpp.aKes avdpi6p.oi. Kal ajueTpoi. 45 
 TroAAd TOI, riToA,eju,ate, ire'TroirjTai KaAa Ipya, 
 e^ cS ey d^avaTots 6 TK<av. ovbfls 
 SaAeiTai TOV lovra, tiaptpiito 
 ola irply e aTrdras KKpoTr)p.4voi avbpes firai.(rbov } 
 6/xaAoi, KaKa iraty^ia, irdvTes epeiot. 50 
 
 30. Soy o'^ajs. a/t^ 5^ 7ro". an\T)ffTf, A. 3 2 - ^**' a P- 
 
 37. irportOfiita A. 38. dw/3a rot TOWTO. Flp. d\' tZway A ; 
 
 vai, itakbv tlvas P. 50. ir&vr Is d/x('a> A.
 
 IDYLL XV. 57 
 
 do'iora Topyol, ri yv<afj.fOa ; rot 'Ti 
 
 r< / 
 
 opdbs dvea-ra 6 truppos' 18' a>? &ypios' Kvvo6ap<ri]s 
 Evvoa, ov <{>(vfj ; biaxprjvflTai TOV ayovra. 
 
 .yd\a>$, on juot r6 (3p<pos /x^yet Hvbov. 55 
 
 OapcrfL, Tlpat.v6a. Kal brf 
 rol 8' e/3az> e 
 Praxinoe. 
 
 LTTTTOV Kal TOV \f/v)(pbv ocpiv Ta^6Xi(TTa 
 (K TraiSo's. o-TrevScojaes' o\\os TTO\VS a/x/xiy 
 
 Gorgo. (addressing an old woman in the crowd.) 
 
 f av\as, a) /larep; 
 Old W. 
 
 (y<av, 8) TtKva. 
 Gorgo. 
 
 60 
 
 Old W. 
 
 fs Tpoiav irei/ow/xevoi rjvOov 
 icaAXicrra Traibtov. irfipa 6r]v iravra 
 Gorgo. 
 
 Xprja-ptos a Trpr(3vTis inr^^T 
 
 Praxinoe. 
 
 TravTO. yvvaiKes foaim, Kal its Zevs riyayeO' "Hpav. 
 Gorgo. 
 
 dao-at, Hpai.v6a, Ttfpl ras dvpas o<rcros o/A6\oy. 65 
 
 59. 0(705 &X*.OS P.
 
 58 THEOCRITUS. 
 
 Praxinoe. 
 
 s ropyoS, bos TO.V 
 Evvoa, Eurvx/8os* worex* awra, /xi? rt 
 
 & P.OI, SetAata, 8^j( a Mv TO 
 Icrxtorai, Fopyco. 77077(3 Aioy, et ri yevoio 70 
 
 fvbatp,(av, 3) 
 u/ Spectator. 
 
 OVK CTT' e/txty 
 Praxinoe. 
 
 adpoos 
 
 QtOfVvd* UHTTIfp VS. 
 
 1st Spectator. 
 
 d&pa-fi, yvvai' kv 
 Praxinoe. 
 
 a>pas, /c^Tretra, <|>A.' dySpwy, ly /caXw 
 TreptoreAXcoy. \pi](TT& KOtKrip/xoyos dvSpos. 75 
 
 Ewo'a S/iAiy ^y', 8eiXa ru, /3idev. 
 '* e^Sot 7rao-at, 6 ray yuov etTr' 
 
 oa, Troray' <S8e* ra 7T06KtXa Trparoy 
 \fTTTa Kal & 
 
 Praxinoe. 
 
 iroTvi 'AOavaia' iroiaC a-(p' fTrovcurav fpidoi, 80 
 TTOUH ^cooypd^ot r&Kpiftfa ypd//n*ar' Hypatyav ,' 
 o>s fTVfj,' fcrTaKavTi., Kal ws eru/*.' 
 
 efX^Vx'j ^ K fWtJMlVTd. (T0(f)6v TI 
 
 avTos 8' <us OaqTbs ITT' dpyvpeto /cardfcetrai 
 
 66. Ocarireffios Prax. ; Topyot A. 72. ox^oj dOaptus A.
 
 IDYLL XV. 59 
 
 /cAio-jMa>, Trparov touAoz> OTTO Kpordtpcav Kara/3aAAft)y, 85 
 6 rpK^tArjros 1 v A8a>yts o KT}Z> 'A^povrt, ^uAetrat. 
 d? Spectator. 
 
 TTav<ra(rd', co 8v<rraz>ot, dz><izn>ra KamAAoicrai 
 Tpvyoves' 
 
 (rfya, ITpa^t^oa' fi^AAei Tor y A8cozny 
 a ray 'Aypdas 0vy&Tr)p TToXvibpis doiSos, 
 arts *at ^TT^pxiv TOV 
 
 rt, (ra0' ot8a, 
 
 / Tl 
 
 e7T6Ta(T(re' Supa/cocriai? l7riTa<r(reis / 90 
 a>s 1817? /cat rouro, Kopivdiai ei/xey 
 a>y KOI 6 BeAAepo<ft) 
 Acopicr8ey 8' ee0ri, 8oKO>, ro?? 
 Praxinoe. 
 
 naprepos e?;, 
 av ero's' OVK aXeyco, /i?7 /ixoi Keveay airo/xd^T/s. 95 
 
 8eo-7rotv', a FoAyws re Kat 'I8(iAioy e^)i 
 atTretvtiy r' 'Epu/cay, xP V(r< f 
 oloy rot roy w A8awi> djr' devdou ' 
 \ 8ua>8ecaY<j> fAaAaKafeoSe 
 
 naK<ip<av *lpai QtXai, dAAd 
 
 105 
 
 88. 4 vaffffav rt ir\ar. A. 94, 95. A gives to Gorgo. 
 
 98. fins *ai iripvriv A. loi. 'E/>v' Ay Jtpvaui A. 103. 
 irdSas A.
 
 60 THE OCR IT US. 
 
 KuTrpi Aicoyctia, TV juer aOavdrav dire Ovaras, 
 
 avOpdnow &s pvdos, ^TrotTjo-as BepeyiKav, 
 
 d/A/3po<Tiai> es 0-777^0? a7roorrdacra yuvaiKos' 
 
 T\V be \apioiJ.va, iroXucow/xe KCU 
 
 a Bepezn/ceia dvydrrjp, 'EXezn; eiKuta, 
 
 'Ap<riz/oa TrdvTf(r<ri KaXols dnrtiXXet 
 
 jra/3 /jiez; ol topia Keirat, oo-a Spuos &Kpa 
 
 Trap 8' a7raA.oi /cairoi, Tre^uXay/x^vot ei; r 
 
 apyuptois, 2upico 8e /ivpa) xpva-fi dXajQaarpa* 
 
 et8ara ^' oo-cra ywatKes e^i TiXaOdva Troveovrai, 1 1 5 
 
 &v0ea nicryourai XCUKW TrafToia juaXeup^). 
 
 o(T(ra T' diro yXuxepw /x^Xiros, ra r' ey vypw eXaia>, 
 
 a) irfTfrjva KOI epTrerd ret8e Trapeori. 
 l 5e o-Kta8es, /^aXa,K&> fipiOovrfs avridto, 
 
 ol 8^ re KcSpoi inrepTKaT&vTai "Epcores, 120 
 otot dr/8ovt8^es ae^optvtov eirl 8^i>8pcov 
 TrtoTwirai Trrepvycoy -Treipw/xevot, o^bv cur' o^co. 
 a) l/3ez;os, &> xpu<ros, a> ec XevKa> 
 cuerw, oiyoxooy Kpoj;i8a Ait 7rat8a Qe 
 TTOpQvpfoi, 8e raTrr/res civco, (" jaaXa/cwTepoi vTrva) " 125 
 a Mi'Xaros epel, x^ r " y 2a/xtai/ Kcira 
 l(rrpa)Tat KXiva TW 'A8wz>i8i TW KaXaJ dp.<i. 
 
 TO 0tXa/^,'* Irt ol -Trept x e ^ fa Truppa. 130 
 yuy /xev KvTrpts lx otora T O^ auras xaipfTw Hvbpa. 
 a&Oev 8' a/x/xes vty a/na 8po(r<j) d^po'ai e^co 
 
 125, 6. /iX. vTrj'a;. a Mt\ariy A. 126. aTa/3<5ffcw A and P. 
 
 127. dAXo P. 129. A omits.
 
 IDYLL XV. 61 
 
 TTOTI KWJUCT TT aovt 
 Av(ra<rai 8e Kopav, KOI firl 
 
 , Aiyupas dp/ie0' doi8as. 135 
 
 ori, Kat ev^aS 
 
 f)fjiidf<DV, ws (j>avTi, /aoywraros* ovr' 
 TOUT' eira^', OVT' Atas 6 /xeyas jBapvp-dvios fjp<a$, 
 ovd* "EKTft>p 'Exdi^as 6 yepairaros et/cari TraiScov, 
 ou ITarpoKX^s, ov Ovppos diro Tpoias eTraveA^cdv, 140 
 ovff oi In Ttporcpoi AaTiidai, *cai AeuKaXtcoyes, 
 ov IleXoTrTjiaSai re *cai v Apyeos &Kpa ITeAatryoi. 
 vvv, <)>l\' "Abtovt, /cat ^s i/eW ev^u/xTjo-ats. 
 
 , "ASam, /cat, OKK' d</)tKT7, </>iAos T/^eis. 
 
 a ?7eta 145 
 Auxv </>a>m. 
 wpa o/^cos K' eZs oi/coV avdpio-ros Aio/cAe^8as. 
 )(wz;7)/3 o^os aTrav' -jreirayn 8e />trj8e -noTevOps. 
 upe, "AScoi; dya'Trare, Kal es ^aipovras a(piKV. 
 
 143. IlfXa^w A. 144. ' A. 149. x a *)>' ^ 'A8wi' A.
 
 IDYLL XVI. 
 The Praise of Hiero. 
 
 Aid TOVTO Aibs Kotipais /uteAet, alkv doi8oT?, 
 vpvelv aOavarovs, v^vflv ayad&v K\4a avbp&v. 
 Mouo-ai fjifv 0al fvri, dfovs deal atibovri' 
 afj.fj.f'i 8e (Bporot, ol 8e /3porovs j3porol dei8a)jues 
 Tiy yap raw oTrotroi yAauKay vaiovcriv VTT' 'He3, 
 a/xerepas Xapiras Treracras vT 
 
 al 8e (TK.v^6^fvai yv^vols TTO(rlv ol/caS' 
 TroXXa ju,e rw^a^btcrai, or' &\iOiav obbv qvOov' 
 8e 7raA.ii> /ceyeas e?rl TTvO^fvi. x^Aou 
 fv yovaTfcrart /caprj /UU//Z/OPTI /SaAoicrat, 
 aiet <r<pi(nv fbpa, ZTTCIV airpaKToi 
 TIS T<S// vuy roiocr8e ; T^S ew flirovra 
 OUK 018'* ov yap Ir' a^8pes CTT' epy/^a<riy, 
 alvf1cr0ai (nrtvboim' veviKrjvTai. 8' VTTO Kep8ea>v. 15 
 Tras 8', VTTO KoA7ra> x^P ? tX^v, irodev oia-erat ctflpet 
 apyvpov' ov8e KCV toy cnrorpir/ras nyt 80177, 
 aAA' V^us jutvfleirai' " aTrcorepco ^ yow Kva^d' 
 
 rt yeyoiTo* 0eoi n^Sxriv doi8ous* 
 8e Key aAAou aKOVo-ai ; aAty Trdrreo-oriy "Op,r]pos' 20 
 
 
 4. /3/WToi oi6. /3/wTovs A and P.
 
 IDYLL XVI. 63 
 
 " euros aoib&v AoioTos, 6? e ep.fv ola-crai ovbev." 
 baifj.6viOL, TI 8 Kfpbos 6 pvptos 
 
 ; oux. abf irXovrov (ppoveovcriv ova<ris' 
 dAAa TO p.v i/fx*?) T ^ ^^ Ka ^ TivL bovvai aoib&v' 
 iroXA.ois 8' ev !/>at Trawv, iroXXovs 8^ Kai aXAcoy 25 
 aid 8e flecus em/3cofiia pe(iv' 
 
 V KO.KOV Hnpfvai, a\\a 
 airo-ne^ai, fitav 
 Mov<rdo)v 8e juaAiora riei 
 ^pa /cat etV di8ao KCKpvjJi^vos errflAos a,KOva"r]s, 30 
 ^rj8' aKAe^s pvprjai cm \j/vxpov 'A^ 
 axret ris, /^aKeAa TeruAcajaeVos HvboOi 
 
 TroAAol v 'Avrto^oio Sofiois /ecu ayaxros 'AAeua 
 apfj.a\iav f^rivov ejuerpTjo-avro Treveorai* 35 
 
 TroAAot 8e S/co^aSTjo-iy eAau^o/xevot TTOTI cra/covs 
 
 8' afj.TTfbCov Kpavvuviov 
 Troi/xeres !/c/cpira /io?Aa <pi\o 
 aAA' ov o-^iv rcSy 7780?, e^ret yAu/cw e^eKe'ycoo-ai; 40 
 iov fs fvpelav a-^fbiav crrvyvov 
 
 be, TO, TroAAa Kat oA^ia r?jz>a 
 SetAoTs ev veKvtcra-i juaKpous atwras KftvTO, 
 fl fxr) 8eivos aot86s 6 K^i'os aZoAa (fxavtatv 
 
 es itoXvyopbov kv avbpd<n OrJK ovopaaTovs 45 
 ' ri/xas 8e Kai a>K^es lAAaxoy ?7nr<H, 
 ot cr<pi(ri.v 6^ U/)W2-' (TT(pavr](p6poi tf\0ov ayaixav- 
 ris 8' &z> apHTTrjas Av<C<av iroTe, ris /cojaocoyras 
 
 41. ffrvyvoto ytpovros A. 44. tyuvtiv A.
 
 64 THEOCRITUS. 
 
 Sj TJ drjXvv atrb \poias KVKVOV eyz>a>, 
 ei JUTJ <puAo7n8as TrpoTepaw v[j.vr](rav aoiboi ; 50 
 
 ov8' 'O8u<rei;s, l/carou re KCU efjcotn fj,rjvas d 
 itavras eir' avOptonovs, odbav T' eis 
 ^o)os, Kai (rTrT/Auyya (frvywv dAooto 
 
 Eiijiiaios, Kai ^Souo-i <i>i\oirios dju,<' dyeAaiats 55 
 
 epyov lx coi; j avros re irepia-TrAayxyos Aaeprrjs, 
 et JUT) ox^as favaarav 'laovos avbpbs dotdat. 
 
 ex Moio-ai; ayadbv K\eo? !px.erai o-vdpatTTOKn' 
 XpTj/jtara 5e ^aovres djtxaA.8vyovTi davovrav. 
 dAA.' To-os yap 6 fji6\0os, eir' aovi Kw/xara juerpeti', 60 
 ocro-' aye/aos x.^P" 01 '^ e /jterd yXauKa? dXos wdet, 
 17 vSan vieiv OoXfpav 8iaei8ei itXivdov, 
 KOL ^>t\OKep8eia /3fpXr)iJLevov avbpa napeXOelv. 
 XaipeYco 6s TotoCros* avripidfj.os be ol etrj 
 apyvpos' atet 5e irAeovcoi; e^ 01 tj^fpos avrov. 65 
 
 avrap eycoy ripav re Kai avdptoirav ^lAorrjra 
 
 r]fjt,i6vu>v TZ Kai litTHav Trpoar6fv \oifj,av. 
 8' orivi BvarStv K\api<Tfj.fvos fvOca 
 <rvv Moi<rats' x. a ^ ' 7ra * 7"P o8oi TeA.e0ovri doiSois 
 
 airAvevde Aios /ueya /3ou\evovro9. 70 
 
 ij.fjvas aycav e/ca/x' ovpavos, ov8' 
 TroAAot Kif7jo-ou(riy en rpoxoy ap/xaros 
 eo-o-erai ovro? d^p, 6s ejueu xexp^o-er' 
 
 oo-crov peyas, rj fiapvs Atas 
 ^i <f>puyos 
 
 54. 6 ffv<pop0os P. 63. f}(f}\aiifjievoi> A and P. 64. Sort? ToPos. 
 A and P. 68. < AKV P.
 
 IDYLL XVI. 65 
 
 Ai/3va? a/cpoi> 
 
 2upaKo'<rioi jzeVa 8oupa, 
 fipayiovas IrfivoHnV 
 tv 8' avrois 'lepoov, irporepois I<TOS ^pwecnn, 80 
 
 </Wvrai, tiTTreiai 8e Kopvv (TK^naovcnv efletpcu. 
 at yap, Zeu KvSiore Trarep, /cat -TTOTVI' 'A6dva, 
 Kovprj 6', 77 cn)v fjiarpl TroX.VKXr)p(av ' 
 ciXrjXas fteya aoru, -ffap' vbacn 
 f-)(dpovs (K vaoroio KCKO 7re/x\/Aetey av&yna 85 
 
 Kara Ki)/xa, <j)ih.u>v popov 
 ' dAo)(ot(ny, api.6p.r]Tovs OTTO 
 aorea 8e Trporepoicn iraXw vaioiro 
 bv<rfji.fv4a>v oo-a x e 'P e? eAw/Sijo-ai/ro xar' anpas' 
 aypovs 8' epya^biyTO Te^aAoras' a? T' ava.pi6p.oi 90 
 oravq biaTtiavQeifrai. 
 
 , jSoes 8' ayeA.Tj86y es avAiv 
 CTKVUJXUOV fTncnrfvboKv obirav' 
 
 8' fKTTOVOLVTO TTOTl (TTIOpOV, avi^d TfTTt, 
 
 evbiovs ir<j)vXa'yp,vo$, HvboOt bfvbpav 95 
 
 fv aKpefji6v(cr<nv' apd^via 8' 
 oas 8' ITI 
 v 8' 'lepcoyi xA^os Qoptoifv doi8oi 
 
 KOI TTOVTOU DKvdtKOlO TTfpdV, Kdl oOi TrAaTV 
 
 d(r</)(iATft) Srjcrao-a Se/ztpa/xts' ^fj.^acrC\fVfv. 
 cts /xey eyw, TroAAovs 8e Aios fyiXtovTi Kat 
 6vyaTpcs, TOIS 7ra<n / 
 vfj-vfiv <rvv AaoT(rt, Kai 
 a) 'EreoKAeioi Xdpires 
 
 81. axi&ovfftv A. 95. vtf/60i A. 104. Ovryarpis Otal, al P. 
 F
 
 66 THEOCRITUS. 
 
 ov (|H\eoi(rai, a.TT\96fj.fv6v iroica 
 
 > eycoye 
 0apcrri<Tas Moto-ato-t trvv 
 
 8' ov8' Uju^ie* rt yap Xapmov d 
 toTTOis airavevOfv ; del XapiTecrcriz' a/x' 
 
 107. tKoipav P.
 
 IDYLL XVII. 
 The Praise of Ptolemy. 
 
 'E*c Atos dpx&>p.eo-0a, KOI es Ata A?jyeTe MoTtrat, 
 
 Toy dpioroy eVrjy a8a>//.ey dotSats* 
 3aiy 8' au IlToAe/xatos eyt TrpwToto-t AeyeV0co, 
 xat TTu/xaTOs, at JU^O-Q-OS' 6 yap TrpocpepeWaTos avbp&v. 
 ijp(aS, Tot TrpoV^ey d(^)' fjiuOtuiv eye'yoyTo, 
 pVayTe? KaAa epya (rcxp&v fKVpr^crav doi8<3y 
 avrap eya> FlToAe/xaToy, eTTiordjixeyos /caAa 
 
 i/jixyot 8e Kat aQav&Ttov yepa? awi 
 es 7roAv8ey8poy dy^p ^Aaro'/^os eA^a>y 
 
 TrapeoyTO? aSrjy, TroOev apfeTat epyou. 10 
 TI 7rpa>Toy KaTaAea> ; e?ret ?rdpa /xup^a eurety, 
 oT<rt ^eot Toy apiarov (Tip.r](rav jSao'tA^coy. 
 
 ex -TraTe'pcoy oto9 juey Irjy TeAeVat /ue'ya 
 AayetSas FlToAe^ato?, ore <ppf(rlv 
 /3ouAdy, ay OUK aAAos dyrjp olo's Te 
 TTjyoy Kat /xaKapeo-o-t Trarrjp 6/xoTtjuoy I^TJI 
 d^ayaTot?, Ka^ ot \pvo-eos 8o/^tos ey Aios 
 8e'8/x7jTaf irapd 8' avToy 'AAe'^aySpos ^>t'Aa 
 e8ptdet, Ilepcraio-t /3apis ^eds aioAo/xtTpats. 
 
 17- 0p6vos A. 
 F 3
 
 68 THEOCRITUS. 
 
 avria 8' 'HpaxXT/os e8pa Kvravpo(p6voio 
 
 Ibpvrai, orepeoio reruy/xeW e dSajictvros' 
 
 ev0a crw #XXoi<nu 0aXias c\fi avpavibr^cri, 
 
 yaiputv viuiv&v irepitoonov viu>voi<riv, 
 
 am <r(pf<av Kpovibas /^eAe 
 
 d^dvarot 8e KaXewrai eoi 
 
 apfyolv yap npoyovos O-(J>LV 6 Kaprepo? c Hpa/cXet8as, 
 
 d/Li0oTepoi 8' apiOpevvTat es tayarov ' 
 
 TO) xai eTret ^airrjOfv toi KKopr]fj.fvos 
 
 vfKrapos euo'8/xoio 0^Xas ey SOJ/M' 
 
 r<3 /Aei' TOOV fbo)Kfv VTT(aXeviov re 
 
 T(5 8e (riSapetov <r/curaXoy, 
 
 ol 8' eis afj,j3p6<Ti,ov BaXapov h.VKO<r<pvpov 
 
 OTrXa, Kat avroy ayoucri yevct^rcu> Aio? uloy. 
 
 o?a 8' ev irivvraia-i. ireptKXeiTa 
 I'TrpeTre ^rjXure'pats, o$eXos fxe'ya 
 ra fjiev K.VTrpov I^OKra, Ataiva? Troryia Kovpa, 
 KO\TTOV S fvtobrj pabivas ecre/xa^aro 
 
 ovcrov irep IlroXe/xatos ITJV <pi\r](rv O.K.OITI.V. 
 rj pav avretyiXflTO iroXv irXeoy' <58e Ke Tratcri 
 
 oTe KCV </uXecoy jSaivr) Xej 
 doropyou 8e ywatKos e?r' dXXorpta) i>oos aiev, 
 p7}(8tai 8e yovaL, TCKva 8' ou Troreot/cora narpi. 
 jcdXXei dpio-reuoucra Oedcav TTOTV' 'A^poSira, 
 TOI TTjya /me/xeXrjro 1 credfv 8' eveKCv BepeviKa 
 eweiS^? 'A^povra TroXwro^oi' OVK 
 
 2O. 5/>a <r^' ravpo<p6voio P. 44. OUTTOT' loncura P.
 
 IDYLL XVII. 69 
 
 eiXXd \i.iv apTra^cura, irdpoiO' em vfja 
 Kvdveay /cat arvyvbv del Tropfl/ZTja Kaju,oWa>j>, 
 es vabv Kare^J/Kas, fas 8' dire8d<rcrao ri/xds. 50 
 
 8' TJTTIOS ^8e /Sporcis jtzaXaKovs fjv epcoras 
 
 ovtyas 8e 81801 TTo6eovTi 
 'Apyeta Kv6.vo(f)pv, (TV Xao(f>6vov 
 juio-yo/x^ra TuSTjt rexes, KaXuSwi'toy 
 aAAa e'ris fiadvKoXiTos aKovrio-Tav 'A^i\.r]a 55 
 
 AiaKiSa 077X771'' tre 8', atx/XTjra riToXe/^aie, 
 aiXjotTjTa riToXeju,aia> dpi^VjXo? Bepez/i/ca. 
 KOI ere Kocos driraXXe, j8pec/>os reoyiXXoy ewra 
 8e^a/xeW irapa /xarpos, ore irp^rav Ibes aw. 
 Iz/^a yap EtXeiflwaz; e^Qwcraro Xucr^coror 60 
 
 'Airiyoya? dv-ydrr^p /3J3aprnj,va wS^ecrcrtj;. 
 77 8e' ol VfJ.evov(ra irapCcrTaTo, K<i8 8' apa 
 
 Kare^eue jaeXa)!/' 6 8e Trarpl 
 dyair7T6s eyeyro. Kocos 8' dXoXu^ev iSowra, 
 <tia 8e', Ka^aTTTO/xe'ra yQpe'^eos x f ^P (r<ri ^>^<M<riv 65 
 
 oX)3te fcoupe yeVoio, riois 8e' /u,e TOCTCTOV, ocroz; jrep 
 AaXov er^acrey Kuayd/n'TrvKa 4>oi/3os 
 ev 8e fxia rijuta Tpionov KaraOflo 
 Icrov Acopieeo-cri vipum ye'pas eyyis 
 o(Tcrov Kal 'Pr/vaiav ava (f)i\rj(Tfv 'Airo'XXajy. 70 
 
 ^s apa macros IttVOr* o 8' v\l/60fv e/cXaye </Jcova 
 es rpis vrrai vf(pe<av Aios aieros atcrios opvLs' 
 ZTJVOS TTOV ro8e (ra/xa. Ait K.povi<avi fxeXovn 
 aiSoioi ^acrtX^es' 6 8' co\os, ov KC ^1X770-77 
 
 rairpcoTa' iroXus 8 ol oX/3os oTrTjSei. 75 
 
 70. rffov ai 'P. A.
 
 70 THEOCRITUS. 
 
 TroXXas fjitv Kpare'et yaias, iroXXas be 0aXdcr0-as. 
 jutvpiai d'Tretpoi re, /cat fdvea jj-vpia 
 Xrjiov aX^r\a-K.ov(riv ocpeXXdp-evat Aid? 
 dXX' ovrts roVa (pvet 3 oo-a 
 NetAos ava(3Xva>v biepav ore /3wA.aKa dpvirTfi. So 
 
 ov5e ris acrrea rotrcra fipor&v l^et Ipya 
 r/>er? fxey ot TroXicov eJcarovrdSes 
 r/set? 8' apa ^iXid5e? r/aifro-ais eirt /xu/HaSe(rcri, 
 Soiai 8e rptd8e?, //era 8e a<pL(ri,v eweaSe? rpcis. 
 ra>f iravTuiv YlroXefMalos ayr\v(ap e/A^Qao-tXevet. 85 
 
 /cat jUTji' 4>oiyiKa? aTTorejaverat, 'A/)pa/3tas re, 
 KCU Sup^a?, At/3vas re, /ceAau'wi' r' AWtoTTTjcof 
 Yla.fjL<pvXoi(ri re TTCUTI KOI ai^ryrais KiXtKe(T(Ti 
 (ra^atvcL, AVK.IOLS re, (^tXoTrroXe'/xowri re Kaptrt, 
 xai vdcroi? KyKXaSeorcriy' e?rei ot z>ae? aptcrrat 90 
 
 TTOvroi' eTrnrXwo^rt' 0aXao-o-a 8e 7rao-a Kat ata 
 xai Trora/jioi KeXdSovres rdo-o-ovrat riroXe/xata). 
 TroXAoi 8' tTnr^es, woXXot 8e \iiv do-TrtStwrat 
 juap/xatpovrt o-eo-ayjueVoi aju<paye'poz>rat. 
 mev Trdyras Ke Kara/3pi'0ot /3acrtX^a9. 95 
 
 rovcrov eir' a/xap fKacrrov es acpvebv ep^erat OIKOZ> 
 ird^ro^e. Xaot 8' epya Trepicrre'XXowu' eKrjXot. 
 ov yap rts o^t'ow iroXuKTjrea NeiXoy eTre/xjSas 
 'TTC^O? eV dXAorpiT^o'i /3oav eorrdo~aro /cc)/xats" 
 
 rts atytaXoy^e ^oa? e^dXaro vad? 100 
 
 eirt ^ouo-tv avap<ri,os 
 rotos dv^p 7rXare'e<rcrty eWSpurat 
 av6oK6fJ.as IlroXefiato?, 
 
 78. 6<f>(\\6nfvov P.
 
 IDYLL XVIL 71 
 
 of ayaOip fiatriXfj'i, TO, 8e Krear^erai avrds. 105 
 
 ov fzdz> dxpeids ye 8o/xo> e^l irlozu x/ 31 ' " ^ 
 
 are irAoCros del Ke'xvrai p.o-ycovT(av' 
 d TroXi/i' /iev \OVTI de&v eptKuSe'es olKot, 
 ^ev aTrapx.o/x.ei'oio, <rw aAAoicriv yepdeo-o-f 
 
 8' l(j)6i^oLcri. 8e8up?]Tai ^3a<rtXeijcri, no 
 
 8e TrroArecrcri, iroXw 8' ayaQolcnv erafpois. 
 ov8e Aitovwou TIS dv^p iepovs >car' dywvas 
 i/cer' eTTKTTci/Aeyos Atyupciy avaptX^rai aoibdv, 
 w ov boirivav avra^Lov wTraae re'^yas. 
 
 8' vTTO^^rat de^8oi/Ti nToXe/xaiov 115 
 
 TI 8e KaAXioy dz>5p xev et?j 
 17 /cAe'os f&dXov tv av6p(aTroL<nv apt<r6ai ; 
 TOVTO Kal 'Arpe^Saio-t /xe'vet' rd 8e fjivpta 
 
 de'pi ra KKPVTTTCU, odtv -ndXtv OVKC'TI rotrros. 
 o8e TTpoTcpcav re Kal aJf In flep/ua 
 
 nadviifpOe Trob&v e/c/Aacro-erat 
 /xarpl ^)^Aa Kal Trarpl 0uco8eas eto-aro 
 ev 8' avrovs xpu<ra) TrepiKaAAe'as ^8' eAe</>ajm 
 iSpuo-ev TrdyTeo-o-tv (Tii.-)(9ovioL<nv dpcoyous. 125 
 
 iroAAa 8e Tnav64vTa fto&v oye /x?jpia Ka(ei 
 /j.Tjo-1 Tt^pmXo^voicnv, epeutfo/xe'ixoj/ em 
 CLVTOS T l(l>0ifj.a T' dAoxos' ras owns 
 wpfyiov If jueydpot(ri yufd Trepi^SdAXer' dyocrra), 
 K flu^xou (TT^pyoicra Kaa-iyvrjTov re iroaiv re. 130 
 
 <58e Kal &0ava.T(i)v lepos yd/xos 
 
 119, 12O. X(jVTfS ao/u, <ya /ft/f. A ; df'/)( TTU P.
 
 72 THEOCRITUS. 
 
 ovs TfKfTo Kpeioixra 'Pea /3a<riX^a? 'OX.vfj.Tiov' 
 %v 8e Ae'xo? arropvvo-iv iavciv Zrjvl KOI "H/n/, 
 ?, In TtapOtvos *Ipis. 
 ' crtdtv 8' eya> tcra Kal aXXcoy 135 
 oKea> 8', CTTOS OVK a 
 ' aper^v ye /aev ex Atd?
 
 IDYLL XVIII. 
 EpUhalamium of Helen. 
 
 *Ev TTOK apa S-Trdpra ^avOorpiyi Trap Meve\d<a 
 irapOeviKal 6d\\ovra KO/xats va.Kiv9ov e^atom 
 npoarOf veoypditTto 6a\dfj.(a \opov earao-airo, 
 8&>8eKa ral Trparat Tro'Aios, \ikya. \pr\\ia. AaKaivav, 
 a.viK.0. Tvvbapibav /caTtKAafaro ray aycnrarav 
 jjLvao-Tfvo-as 'EXtvav 6 vtutTfpos 'Arpeos vios. 
 aeibov 8' apa Trao-at es $v /ixeAos eyKporeoicrai 
 ?, Trept 8' ?a)(e 
 
 77 pa TIS Icra-t A^av (SapvyovvaTos ; 77 pa <f)i\virvos ; 10 
 77 pa iroXvv TIV eTTivey, or' eis evvay Kare^aAAeu ; 
 /xav xP??C oi;Ta Ka ^' wpaz> avrov expfjv TV, 
 8' eav a~uv Trairrl ^lAooropyfa) Trapa /xarpi 
 
 ts fiadvv opdpov e?rei Kai evay, Kat es aw, 
 Iroy e Ireos, MeyeAae, rea wos &8e. 15 
 
 oA/3ie y&ppp, ayados Tts fTTfTTrapev Ipxpptvti) TOI 
 es STraprar, $7rep wAAot tipurrffs, &>? avv 
 /xowoy ^y r;p.i^eoty Kpovtftav Ata irwOcpdv 
 Zavoy TOI dvydrrjp inrb ray fA^ay txero 
 
 I. If iro/va Tf P. 8. irtp clAicroTr A. 12. <nrv8oi'TO A. 
 
 1 6. ivtirra
 
 74 THEOCRITUS. 
 
 ota ' A^at'iaSa yaiav Trarei ov8e/xt' aAAa. 20 
 
 $ /xe'ya Key TI re'Kotr', ft jxarepi rucrot ojzotoy. 
 a/ifies yap irao-at <ruyo/xaAiKes, ats 8poju.os covros 
 \pt<rafj.evais dySptffrt Trap' Evpwrao Aoerpots, 
 rerpaKis f^rjKovra nopai, 6ij\vs vtoXaCa' 
 rav oil Aav TIS a/xcojuos, CTTCI x.' 'EAeva TiaptcraiOfj. 25 
 'Aa>s avreAXoto-a KaXoy btttfrave Trpocrcairov 
 TTorvia vv are Aeuxoy eap yjn^Gtvos avevros, 
 <S5e Kai a xpvcrea 'EAeW Ste^aiyer' ev afuv. 
 TTieipa /xeyaXa ar avebpafj.e KOCT/^IO? apovpa 
 r/ kdirtt) KVTrdpL(rcros, fj ap^art 0ea"(7aX69 ITTTTOS, 30 
 <58e KOI a pob6\pa>s *EA.e;'a AaKeSa^xovt KOO-/XOS. 
 oure TIS es raXdpu>s TraytcrSerat epya TotaCra, 
 OVT' evt 8at8aA^a) TTVKivatTtpov arpiov I 
 /cepKi'St crvfj-TrX^acra /xa/cpwy era/x' CK 
 ov /J,ay ov8e \vpav TI? eir^o-raTai a>8e Kpor?jcrai, 35 
 "Aprffjuv ae^Soicra Kat evpvorepyoy 'AOavav, 
 a>s 'EAeya, ras Trayres e 1 ^' o/ufta<riz> tp-epoi eyn. 
 S KaAa, S> yapit<T(ra Kopa, TV jj.ev otxeVis T^Srj. 
 8' e? bp6}j.ov r\pi Kat es Aeijucoyta </>vAAa 
 
 , <TT(pav(tis 8pe\^evjtxeyai d8v Trye'oyras, 40 
 -TToAAa reovs, 'EAe'ya, juejuya/xeWi, a>s 
 apves yeiya/neyas oios /uaoroy 
 Trpara rot (rre'<payoy Acorw 
 TrAe'^atrat, cnaepay Kara0?/<rop.es es irAarayto-roy 
 Trpara 8', apyvpe'as e^ 0X771809 vypbv aAet<pap 45 
 
 Aa^w/xeyat o-ra^eufxes WTTO crKtepay TrAardyto-roy' 
 
 25. ovS* a/ TJJ P. 26, 27. w6rvi ar' dvre\\oiffa tc. S. irp. daw, 
 
 l) art ... P. 27. mS-ma yvwri acXdva A. 29. i/pqi /i7a AOOK 
 A. 35. ov5i KpoKav A.
 
 IDYLL XVIII. 75 
 
 5' \v <>Aoi 
 
 u> vvfj-a, \apots, 
 Aarw /iey 801?;, Aara> Kovporpocfros v^iv 50 
 
 KvTrpis 5e, 0ea KvTrpts, to-oz; pa<rdai, 
 
 Zevs 5e, 
 
 av tls ei/ 
 
 ' ts aAAcAa>z; arepvov (^tXorTjra irvtovrts 
 KOI Tiodov' lypeor^at 8e Trpos d<3 JUT) 'mAc0i]o-0e. 55 
 vevp.e6a Ka/i/xe? es op6pov, eirei Ka wparos aoi86s 
 c^ ewas KeAaSTjo-?; dracr^cbf evrpt^a 
 'Tp.dv, Si 'T/xeWte, yajuw CTTI ra)8e 
 
 48. awt'ipy. Swpois rt aifiov A. 53. titftiV A.
 
 IDYLL XIX* 
 The Honey-Stealer. 
 
 Toz> K.\4.T!Tav TTOT' "Epcora Kcuca /cevracre ji>ieAi<ro-a, 
 Krjpiov fK (Ti/ix/3Aa)v crvXev^evov aKpa 8e -^fipQv 
 
 vT* vTrtw^ev' 6 8' aA.yee, Kal x^p' f0w<rr/, 
 ray ya// e7raYae, Kal aAaro' ra 8' 'A0po8tra 
 
 ray oSu^ar, Kai /u,e//,<|)ero, OTTI ye rvrdov 5 
 
 drjpiov ecrTi /LieXi(T(ra, KOI aA^xa Tpa.Vfj.aTa 
 \a judrrjp yeXao-acra, Ti 8' ; OVK fo-os eo-o-t 
 ey eus ra 8e rawjiara aXi/ca 
 
 * Classed by Ahrens among ' incertorum idyllia.' 8. rvr6dv p\v 
 IT)* A ; x"> Turfloj P.
 
 IDYLL XXI* 
 
 The Fishermen. 
 
 'A Treyi'a, Ato^ayre, /xoya ra? rexyas eyeipei* 
 avra r<2 noyQoio Si8ao-KaAos* ov8e yap 
 avbpdcnv epyariyaicri KCIKCU Trapexoyr 
 /cay oAiyoy VVKTOS TLS tTn\lfavo"r}cri, rbv VTTVOV 
 alfyvibiov dopvpevcnv ^Lcrra^evaL /bteXe8a>yai. 
 
 (3pvov avov inrb TrXeKTais KaAv/3at(ri, 
 ro^(a) rw <uAApa>' kyyvQi 8' avroiv 
 xetro ra raty \(ipolv aOX^ara, rot KaAaflurKoi, 
 rol KoAa/xot, rayKtorpa, ra <f>VKiovra Se'Arjra, 
 upfjLLai, Kvproi re, K<U ex cr\plvu)v KafivpivBoi, 
 fji.ripi.vdoi., KWTTCI re, yepcoy r' eTT 1 epeicr/xao-t 
 vepdfv ras xe^aAas (j>opfj.bs ySpa^us, eZ^iara, 
 ovros rots dAieuo-iv 6 Tras Tropes, oi/ros 6 TrAoSros. 
 
 8' ovx> dvpav fix, ov KVVO.' TT&VTa 7repto-o-a 15 
 eSoxei r^rois' a yap irevta cr(pas er77pet. 
 8' ey /xe'o-(ra) ye^rcoy TreAey, a 8e Trap' airay 
 
 * Incertonim Idyll, iii. A. 4. firifivacrQffi A. 5. jrrT<i/iei'eu A. 
 8. /eofTy T$ />. A. 9. rd ray tf^/xxj dtf. A. IO. re Xifra Fritz. 
 
 13. r/i ram;? T A; f'i^ara, irtXot P. 14. 6 was ffr<$A.os A. 15. 
 tiuSos 5" ou K\i',0pav A. l6. irei/io <r<^i' iraipa P. 17. "ft'trow, 
 
 vavrS. S( P.
 
 78 THEOCRITUS. 
 
 dd\a<r<ra. 
 
 KOVTT(o Toy /neVdToy bpop.ov avvfv apjua SeAdyas, 
 rovs 5' dAicts 7/yetpe <pAos iroyos' e/c /3Ae<dpa>y 8e 20 
 vtrvov 
 
 Asphalion. 
 
 a> <>t'Ae, Trazres, 6Vot ras vvKTa? e(f>acrK.ov 
 
 ra> Ocpeos p.t.vv9eiv, ore 
 
 1781; /xup^' eo-eiSoy oveipara, KovSeTrco dws. 24 
 
 /xrj Xa.66fj.riv ; ri TO XPW a > Xpovov rat 
 
 
 ' A<r<pa)(.i(av, jaeju^T; TO KaAoy de'pos' ov yap 6 naipbs 
 7rape/3a Toy eoz> bpofjiov dAAd Toy virvov 
 a. (frpovrls KoiTTOio-a ixaKpav rav VVKTO. Trotet TIV. 
 
 Asphalion. 
 
 ap UpaOes Kplvctv TTOK fvuTrvia ; ^pria-ra yap elbov. 
 ov o-' e0Aa> TWju&i fyavTacr paras tffj.v ajuotpov 30 
 wy Kai Tav aypav, T&vfipara iravra fj,epttv. 
 cv yap av 6i/cdfai? Kara Toy i>ooz>' OVTOS apio-ros 
 ovetpoKpLTas, 6 bibacrKa\6s f&Tt "nap' w yous. 
 /cat o~)(oAd ecrTi' T yap iroiflv av ex 01 Tls 
 
 ey ^vAAois TTOTI KV/aan, /-iTjSe Ka0ev8a)y, 35 
 dAA' ovos ey pdjuyw, TO 8e Av^toy ey 
 <f>avrl yap aypvirviav To8' 
 
 Aeye jixoi ITOTC 
 
 21. fjpt&ov avSdv A. 25. rt ri XPW a XP vcav Ta ' A. 32. &y 
 7a/> Av iieafij P. 36. aSa-i/ li' Spvftat A ; aff/ityos If fta^tvy P. 
 
 37. T<x8' x*" / ^^ 817 wore VVKTOS A.
 
 IDYLL XXL 79 
 
 dtyrty, TO. TIS eo-veo be Aeyei, pavvev 
 Asphalion. 
 
 SeiAtyoy &>s Ka.Tfba.pdov cv eiyaAioi(ri TTOVOKTLV, 
 (OVK TJV fj,av TToAwiTos* fTTfl benrvevvTes kv copa, 40 
 ft fj.fiJ.vr], TO? yaorpos e</>ei8oju,e0'') i8oy 
 fv TreVpa /xe/xawra' Kadeo-bopevos 8' 
 
 xai Tts TWZ; Tpa<j)p>v wpe^aro' (KOI yap ey 
 irao-a Kvcoy apKTov juavreweTaf l^Ova Kr]yu>v.) 45 
 
 at/x.a* 
 
 TO) x^/ 36 Tfiyopievos TrepiKwjueyos tvpov ycova, 
 TTOJ? /ney e'Aw jueyay i^vi' atyavpOTtpoKn <n$dpots. 
 dO' inroiJ.iiJLvd<rK(av TW Tpcofiaros, i7pe//.' <!vva, 50 
 KOI vvas e)(aA.aa, KOI ov (pevyovros ereiva. 
 
 5' y Toy ae^Aoy dyei'A/cucra -^pvaeov l\6vv, 
 o) 'neirvKaa-fj.evov' ft\ be 5ei/xa, 
 
 T; T(x a T ^s yA.au/ca? Ketp-TjAtoy 'A/ji^iTptTTjs. 55 
 
 Tjpe/ita 8' avrov eA.a>z> e*c TwyKicrTpco aTre' 
 
 /X77 TTOTe Tc3 (TTo^aTos TayK.L(TTpia \pv(rbv 
 
 jcal Toy juey TTto-Tevo-ao-a KaAayeroy TjirrjpaToy, 
 
 &>/xo(ra 8' ovKert Aonroy vucp ireAayoi;? 7ro8a 
 
 aAAa p.evelv tirt ya?, cai T<3 x/ 31 ' "*"' /3acrtAeuo-ety. 60 
 
 38. o^iv, ira rot ?oi \fftiv ftavvtv kraiptp A ; o^ii', 7r<i'Ta Tfy 
 A7av p&vvaov IT. P. 45. df/)Tcus P ; apro? Fritz. 48. Trcpt- 
 nov tvpiiv A ; -n-/J '(;5aA.oi' v/)oi' P. 52. iJi'Vff' lAaii/ A ; 
 
 ^vver" ISwi/ P. 56. ^iv Fritz., A, and P. 57. ruyieivia A. 
 
 58. aJ ric /*Ji' ffirfvffas S/c" d^OYa-yoi' (tiffirtiparov A ; \efjL0ov (lev 
 ireiffrfjpfft Karrftov eir* yirtipoto P. 59. w^offa prjictTi A.
 
 8o THEOCRITUS. 
 
 ravrd fit Ka^Tjyeipe' TV 6', a> fV, Aonrov Ipei8e 
 rav yvtofi.av' opuov yap eya> Toy eTrw/xoo-a rap/3<3. 
 
 KOI (TV ye /LI^ Tpe'o-o-Tjs' OVK w/noo-as' ov8e yap ix^^ 1 ' 
 \pvcrfov a>s i8es eupes' ?(ra 8' 7/i> \lfevbfcriv otyis. 
 el JAW &p ov KVtocrcrcav TV ra ^copta TCLVTO. /lareveis, 
 eXTris T&V VTTVCDV' 6.rti TOV cra.pK.ivov txdvv, 66 
 
 (Mr) <rv ddvys At/x&>, KOI rots yjpvcroicriv dvetpois. 
 
 64. iaat 8r) iftevSemv &[>fis P. 65. ^ ^i/) KV. A ; t 8' urap, 
 
 ow KV. P. 67. dirt x/>- A.
 
 IDYLL XXII. 
 
 The Twin Brethren. 
 
 A?/8as re Kal aiyioyjov Aioy vl<a, 
 Kaoropa, Kal <f>o(3epbv IIoAuSevKea TTV 
 
 vnv4ofj.es Kal bis Kal TO rptrov aparfva 
 
 Kovprjs Qfarriabos, AaKfbaifMOviovs bv' abeX<povs, 5 
 
 6' atfAaroeyra Tapaa-a-o^vuiV xa 
 vaG>v & ', at Suroyra Kal ovpavov favi.dvTa 
 
 ol bf, o~<pfa>v Kara Trpv^vav adpavrts /xeya KU/^ia, 10 
 ^ Kai eK TrptapaOev, T) OTTTTO dvpos eKaorou, 
 ey KOiXay Uppityav, avfppr]av 8' apa rofyous 
 ajj.<poTfpovs' Kp^/xarai 8^ (rvr IOT^U apfjifva TT&vra, 
 elKrj aiTOK\a.(rd4vTa' TTO\VS 8' e^ oupayoO opflpos 
 WKTbs <f)pTTot<ras' irarayei 8' evpeia 0aAa<r<ra, 15 
 
 KOTTTOfJ.fVT] TTVOiais T Kal app^KrOKTl X^^C 011 ^. 
 
 aXX' ffj.iras vfj,tls ye Kai eK fivOov e'A.Kere vaas 
 vavTaurw oioptvots Oaveco-dai. 
 i, \nrapa 8e 
 
 8. ^ dvWa A. 
 G
 
 82 THEOCRITUS. 
 
 aju, -n^Xayos* pe^e'Xat 8e 8i&>pap.oi> aXXuSis aXXaf 20 
 
 \K. 6' apKTOi r t<pdvr]<Tav, ovu>v T ava fj.4<r<rov a^avpi 
 
 (pdrvr], <rt)iJMtvov(ra ra npos TrXooy evSta irdvra. 
 
 a> &fj.(f)(a Ovarolui fiot]06oi, u> c/)tAot afj,(f)u>, 
 
 litTTrjes, Kidapio-rai, aeOXrjrrjpf^s, aoiboL 
 
 Ktioropos, ^ -TrpwTou IToA.u8evKeos &pop atibfiv ; 35 
 
 apa irpo<pvyov(ra Trerpaj eis ev 
 ci, KOI vupofvros OLTapTrjpov orojua Ilovrou, 
 Befipvuas flo-atpUavf, 0<av <pi\a re/cva ^epouera' 
 
 iroXAol *cara KAi/xaxos a/x^orepcoy e^ 30 
 
 Zfiaivov 'Iqcrovirjs airb vr)6s* 
 8' 7rl ^iva fiaOvv KOI vir^Vp.ov a 
 T' fCTTopvvvTO, irvpfld re x f P (T ' i; 
 Ketorcop 8' aZoXoTTcoXos o T' OIIWTTOS 
 
 jjua^fo-Koy d'TroTrAayx^^ 7 " 6 ^ kraiptav 35 
 
 (V 8pi 6t]fv^fvoi aypiov 
 fvpov 8* acvaov Kprivrjv virb \ia-a-dbt 
 vSan TreTrATj^utay aKrjpaTw' al 8' vTre 
 XdXXai KpuoraXXa) 7)8' dpyvpa) 
 
 jXat 8e TT(pvKf(ra.v ayx.601 irevKai, 40 
 i re, TrXdravoi re, KOI aKpoKO/xoi KVirdpia-aroi, 
 avOfd r' fvwSr/, Xacriat? ^>tXa epya /xeX^o-o-ats, 
 -' lapos Xr/yoiros fiTL^pvci. av \ijj.<ava. 
 8' aznjp VTrepOTrXos (vrmevos fvbidacrKf, 
 bavbs Ibclv, o-jcXr/paTcn TfOXacrfJifvos ovara iruy/uats' 45 
 
 8' (r<pa[p(i)TO 7reXa>pia /cat irXaru 
 i <ri87jpe6/, o-^upTjXaros ota xoXocro-os. 
 
 irerpoi oXotrpoxoi, ouore
 
 IDYLL XXII. 83 
 
 Trora/Aos jueydXats Trepie^ecre bivais' 50 
 avrap {nttp V&TOIO xal avxeVos TJaj/aetro 
 
 TOV TTpOTfpOS TTpO<r4fLTTfV CLfd\0(p6pOS 
 
 Polydeuces. 
 
 Xdipe ^eiv', oris ecr<n. TiVes ftpoToi, <av o8e 
 
 Amycus. 
 
 \aipa> TT&$,oT y avbpas 6p&,Tovs py Ttplv oWcoTra; 55 
 
 Polydeuces. 
 0ap<rC 
 
 )' KOVK 
 
 Polydeuces, 
 
 aypios ct, irpos irdira 
 
 rotocrfi' otoy opqs' rrjs CTTJS ye /uey OVK 
 
 Polydeuces. 
 
 s, Kal ^evitov ye rux^ 1 ' wdXiv oiKa8' IKO.VOLS. 60 
 
 fx^re <rv /me eiyie, rd r' 
 
 Polydeuces. 
 
 baipovi, ov8' &y roCSe TTieiv i58aroy <ru ye 
 
 Amycus. 
 
 et <rev Sti^o 
 
 apyvpos, r) TIS 6 fxio-^o's, epeis, <{> Ke*y <re 
 
 Amycus. 
 
 el? eve x e 'P a s Aeipof, (vavrios avbpl Karaords. 65 
 G 2
 
 84 THEOCRITUS. 
 
 Polydeuces. 
 
 Ttvyfji.dx.os, TJ not TToa-al Oevav oWAos, o/x/zara 5' opOa; 
 Amycus. 
 
 Polydeuces. 
 
 ris yap, oro) %fipas /cat e/xovs maftptUfm ipavras ; 
 Amycus. 
 
 f-yyvs opqs' ov yvvvis d/xos KfKXrja-fO' 6 TTVKTTJS. 
 Polydeuces. 
 
 r\ /cat atOXov kTOipov, e^>' w STjpKrojuefl' O./XC/KO ; 70 
 
 <ros /xev eyw, o-v 5' e/uos KeK\7/creai, atjce KpaTTjorw. 
 Polydeuces. 
 
 er' ovy 6pvidr(Tt,v eoiKores efre Aeoixn 
 
 OVK 
 
 77 p" "Ap-UKo?, KOI /cox.^ ^ eXc!i; [j,VKT](raTo Kol\ov. 75 
 ol 8e ^ocSs (rvva-yfpdfv VTTO o-Kiepay 
 
 As 8' avrcos rjp<aas iwv Ka\e<r(raTO Trd 
 Ma-yvi^crarrjs aTro yaos vTretpoxos ci> 8at Kaorcop. 
 ot 8', eiret ovv cnrfipr^a-LV knaprvvavro /3oe^aty 80 
 ^ftpas, Kat Trept yuta /xaKpovs etAt^av tjuavraj, 
 ey p.ecr<Tov crvva-yov, (povov dAA^Aoto-t Trveovres. 
 i-vOa TroAus O-^KTI fj.6)(0os eTretyo/u.ei'otcrtv krv^Qf], 
 o-TTTTOTepos Kara vwTa AajSot </>aos TyeAtoto. 
 dAA' tSptr; [ityav avbpa TrapTjXvOes, ai rioAvSeuKes* 85 
 
 66. a/t^wiTa S" opfla ; A. 69. 7$ws Iwf A and P. 80. 
 Boiyffi P. 8 1. /w/c/wi (T^>' f\. A. 85. ISp'iy n^a 5' ai/5/xi A.
 
 IDYLL XXII. 85 
 
 /3aAAero 8' iuniptovi* a-nav 'A/utf/coio irpoa-aitov. 
 avrap oy fv dvp, Kf^oXatfJifvos tTO Trpocro-o), 
 \fp<rl TiTva-Koufvos. TOV 8' &npov ntye ytveiov 
 Tvvbapibrjs finovTos' opivOij be irAeor T) TT/)^, 
 cniv 8e p&xnv er^a^e, TroXvy 8' e^Keiro z/eveuKwy 90 
 es yalav. Btf3pVK$ 8' ^Traureoi'* ex 8' cr^/xoda; 
 Kpa.Tpov Ilo\u8evKea 6ap<ruv(rKov, 
 /xiy fTuftpicras Sa/uuio-eie 
 Ttruw ez>aAyKtos dr^jO. 
 
 oy 1 ev^a K<U li'^a TTapHTTafjifvos Ai6s vlo? 95 
 df/>or^/>77<ny a^vxrcrfv d/x,oi/3a8^s* lo^e^e 8' 6pp,i)s 
 TraiSa rio<rei8aa)2;os, v77ep^>taXo'y Trep eozra. 
 COTTJ 8e TrArjyaiy peOvav, CK 8' lirruo-ei' at//a 
 <f)oiviov' ol 8' a/na Travres api<rr?/es Ke\a87j(ray, 
 ws t8oy eXcea Auypa Trepl <rro/xa re yvadpovs re' 100 
 ofj.fj.aTa 8' oi877<ravT05 aireoTeuxoro 
 
 ;* aAA' ore 877 jui 
 
 /car' 6(f>pvo$ 
 
 8' anfo-vpf nfwrrov es (Jo-T^or. avra/o & TrArjyets, 105 
 ev </>vAAoto-t re^rjAoo-tz; f 
 8/31/xeia iraAiv yivtr 
 8' O\CKOV orepeots 
 aAA' 6 /xev e? OT^OS re KCU l^co 
 
 6 8' deiKeVi TrAr/yais no 
 
 o-dp/ces 8' al p.ev t8po)Tt o-w^ayoy ^K /xeyaAov 8e 
 alx/r' dAtyos yeVer' <!u>8poV 6 8' aiei fxao-o-oi'a yvla 
 
 91. oiVkrip. A. 104. wvy/ij} A. no. avx^a T' A. 112. 
 , 8' y /iip A ; ol p\v P.
 
 THEOCRITUS. 
 
 aiTTOfJ.(VOS <opeeO-fC6 7JWOU, \pOlT) 8' IT' O.fJ.LVM. 
 
 7r<2s yap 8r) Aios vlbs d8r7<dyov avbpa KaOcl\ev ; 115 
 i7re 0ed, (rv yap oicrOa' ey&> 8' erepcoy VTTO^TJTTJS 
 <f)Qeyofj.ai over efle'Aei? cry, Kai OTTTTCO? TOI (f)i\ov avrfj. 
 JJTOL oye pe^ai TI XiAato/xevoy /xeyo epyov 
 
 rjveyKfv enrol AayoVo? TrAaTV yuiov. 
 KOI Ke TV^^V e/3Aa\|fev 'A/zuKAacov /3acriA7/a. 
 dAA' oy' VTTfav($v Kec/>aA7j' <rTi/3aprj 8' apa 
 
 TT\TJfV VTTO (TKaiOV KpOTatyoV, Kai fTT/J.TIfO-fV 
 
 K 8' tyyQri iJ.th.av at/xa flow? KpoTcic/>oio x a ^o^ r s' I2 5 
 
 aAA?7 8e oTOjiza Twx/^e, TTUKVOI 8' apdftrja'av oboi 
 
 aiei 8' o^uTepo) -Trm/Aw SrjAciTo 
 
 jJ-^Xpt cruz;7jAoirj(7e Traprj'ia' iras 8 eiri 
 
 KCIT' dAAoc^povecoy, Kai avfa-^cOe, velnos aTravb&v, 
 
 TOV fJLfv apa Kparttov Trep aT(icrflaAoy ov8er epeas, 
 ai TTVKTTJ rioAvSeuKes' ojixocrcre 8e TOI /oteyav opKOv, 
 
 OV ITOT^p' 6K 7TOVTOIO rToo-eiSatOfa KIKA770-KO)V, 
 
 e TOI e(voi(riv CKWV dyirjpos ecretrflai. 
 
 f. ere 8e, Kdo-Top, aeurco, 
 aAKeoflwpij^. 136 
 
 8oiay AevKi'Tnroio Kopas" 8oiw 8' apa T(^ye 
 
 yafx/3p&) /xeAAoyti/txco, AuyKcus Kai 6 Kaprepbs V 18as. 140 
 aAA' oTe Tup./3ov tKavoi; cnro<j)Oi.iJievov 'A0ap^os, 
 apa jSayTfs CTT' aAArjAoitrii; opov&av 
 
 116. trt/Joiy A. 128. Ycup A. 138. 5(Vo-cu 5' A.
 
 IDYLL XXII. 87 
 
 Auy/ceus 8' ap /xeTe'eiirev VCTCK nopvdos p.y y av<ras' 
 
 i/x.epere ; -TrcSs 8' m vvjjupais 145 
 yu/xvai 8' ev 
 rot AevKiTTTros eay edy&xre Ovyarpas 
 
 TroXv itportpois' r^iiv ya/^os o{Jros e 
 e?? 8' ov Kara KOO-/XOV, I'TT' dAXorp^oiy 
 (3ovo-{, Kal rj/j-iovoKTi, KOI aAAoT/nois Kredreo-aw/, 
 avbpa TrapfTptyao-df, yapov 8' 
 77 /UITJI> -TroAAdKiy v/u/xiy cvvinos 
 avros <yw oras eiTra, xai ov TroAu/iu^oy ecoy 7T6p - 
 ), 0i'Aoi avSpes, dpiorT^ecro-ii; eot*ce 
 
 dAo'xou?, at? vv^'ioi ijbr] kroi^oi. 155 
 
 TOI STrdpnj, TroAA^ 8' iirTr^Aaros *HAts, 
 T' V/ArjAos, 'Axai&iv T irroAteflpa, 
 re, /cat "Apyos, aVarrci re 2icrv0is djcrd' 
 
 TOKfT(nv VTTO cr0er^poi(rt rpftpovrai 
 i, ovTf <pvijs eTTiSeuees, ovre ro'oio. 160 
 
 ewjtxa/oes vfx/xw; OTTVICIV as /c' fdfkrjre' 
 ayaOols woAe'es /SouAoivro ye Trev^epoi etvar 
 
 8' ey irdz/reo-o-i 8tuKptrot fjp&cavi, 
 Kal TraWpes, xai &v<aOcv avav -Trarpwi'oy atfia. 
 dAAd, <pC\oi, TOVTOV ntv edo-are irpos re'Aos eA^eiv 165 
 d/itfit ydfj-ov <r<pyv 8' dAAoy (Tri<ppaa>iJ.0a. irdyrey." 
 ?07coi> rotdoe TroAAa' ra 8' ey vypbv <p\(TO KVfJ.a 
 nvoiri exouo-' avt^oio' \a-pis 8' ox fvnfTo fj.v6ois. 
 o-</>&) yap aKTjATjra) Kai aTrrj^es. dAA' In Kal t>w 
 
 &IJ.<P(I> 8' &^tz; ave^ri fK -n-arpo? lo-rov. 170 
 
 150. d\A.o(Tiv /crtdr. A. 151. tK\t^ari P. 153. rd8' ira 
 
 A and P.
 
 88 THEOCRITUS. 
 
 et 8' vp.lv Kpabtr) Tr6\ep.ov vodei, a?/xan 8e \pri 
 veiKos &vapprjavTas opotiov 2yx e 
 "I8as fj.tv KOL op.aifj.os ds Kparepbs 
 
 v&'i 8' eya> KaWa>p re 8iaKpiz>>/ue0' "Aprj'i, 175 
 
 oirXoT^pco yeyawre' yoz;e{5(ri 8^ ju^ TroAu Ti4v6os 
 r}fjLfTpoicn A^TTto/^iev' ^Xiy z^/cus e^ cros 
 ely. drap coXXoi iravTas kv<$>pavov(Tiv e 
 vvp.<pioi, avTi veitp&v, vp.fvai<a(rov(ri 8e Kovpas 
 rdo-8'* oA^ya) TOI eoixe KOKW /x^ya veiKos avaiptiv. 180 
 elTre* ra 8' OVK ap' 1/xeAAe 0eos /xera/^wyta drjvew. 
 TW /xer yap TTOTI yaiav ^TT' w/xooy 
 & yevea Trpo(pfpe<rKOV 6 8' e2s p.4<rov i]\v0 
 o-fttov KapTfpov ^yxs ^TT' d<T7ri8oy avruya 
 &s 8' awrcos anpas frivd^aro bovparos d/cjuas 185 
 
 Kacrroop* dft</)orepois 8e 
 
 etirou rt \pobs 
 
 ra fxey ctKpa, irdpos TWO. orj\ri<racr6ait 
 8oup' eayr/, craK.4t<T<nv evl oeivoi<Ti irayfvra. 190 
 
 TO) 8' aop CK KoAeoio Ipucrera/AeVco, tpovov avOis 
 Ttv)(pv eir' aAA^AoioT /xdx 1 ?? 8' ov ylvtr epa>??. 
 7roAAa ju,ev ets O-^KOS evpu xai iTnroKOjuoy rpu^aAetay 
 Kaorcop, TroAAa 8' Iwfey aKpifirfs o/x/xao-t Auyxevs 
 TOIO O-CKOS, fyolvLtta 8' ocrov \6<f>ov iKer' aKco/cry. 195 
 TOU /xey aKpqv exoAovcrei; CTTI (TKCUor yow X e V a 
 <f)ao"yavov 6v <f>povros virefcavafias irobl Kaorcop 
 6 8e TrATjycis i<pos iKyQaAey, aTi/^a 8e 
 -TTOTI oTjjua Ttarpos, oOi Kaprepos y I8as 
 
 1 74.
 
 IDYLL XXII. 89 
 
 avbp&v. 200 
 
 uAA.a |ueraias TrAaru <f>ao~yavov SMTC 8 tempo 
 Tw8api8rjs AayoVos re Kal d/x<aAov. ey/cara 8' eto-ai 
 
 8iexeuez> p 6 8' es orofta fceiro 
 vs, Ka8 8' apa 01 /3A.e^)a/3toi; fBapvs 
 ov /xav ov8e Toy aAAoi; e^' eortr; et8e iraTpa)?/ 205 
 
 yap oye 
 
 ^OV avapprias ra^ftas Meo-o-^yios "ISas 
 
 G>v 8e ol 
 
 fj.app.apov, avrbv of ^)Aoye&) ouye^ 
 OUTCO TwSapiSais TroAe/it^e'/xey OUK 
 avroC re upareovrf, Kal CK Kpareovros tyvcrav. 
 A?j8as TCKVO,, Kal ^/xerepots KAeos 
 t TiV/xiroiTe. ^>iAoi 8e ye -n-ayres doi8oi 215 
 Tuf8api8ais, 'EAevrj re, KOI &AAois f)p<ao-<nv, 
 "lAioj; ot biTTp(rav, aprj-yovres 
 vp.lv KVOOS, avaKTfs, fpL^ffaTo Xios 
 vfj.vrj<ras Tlpid^oto Tro'Aiv, icat r^ay 'A)(aioi>J>, 
 'lAidSas re fxa^ay, 'AxtA^ci re Tivp-yov auras' 
 v/xry 8' av Kal eya> Atyewy /ieiA/y/uara 
 of avrat Trapfyovvi, /cat is ejxds OIKOS V7rd 
 roia (j)fpu). yepdcov 8e ^eois KaAAto-TOi> 001877. 
 
 203. Js x^ P- 2I2 > 2I 3- f^'ppy aiiTots rt Kpartovat A. 
 223. aoi5ai A.
 
 IDYLL XXIV. 
 
 The Infant Hercules. 
 
 'HpajcXea beKa^vov \6vra. TTO\ a MiSeauy 
 'A\Kfi?7z;a, KOI vvxrl vetarepov ' 
 dpxporepous Xovcraera Kal e/xirXTjo-ao-a 
 Tfdr]K.fv s a<nrCba, rav 
 
 va>v KaXbv OTT\OV direcrKvA.eucre Trecroyroy. 5 
 
 yvva Ke^aAay fwQrio-aTO TTaibutv' 
 fiptyfa, yXvKepbv Kal lyep<n/aoy VTTVOV, 
 ', e/za ^^6., 8w' dSeX^ew, evo-oa T^KVO., 
 o\/3ioi ewdfoto-^e, KOI oX^3ioi aw iSoire. 
 
 &y <f>afj.4va Siracre (rdKos /xcya' TOVS 8' eAa/3' v-Tryoy. 10 
 a~rp4<j>CTai [J,f<roi>VKTLOV Is Svo-tv apKros 
 xar' avrov, 6 8' 
 dp' aivd 
 
 firl nXarvv ovbov, odi (rraO^a KOiAa dvpdav 15 
 OIKOU, direiXTjcracra <f>ayeiv (3pe<pos ' 
 TO 8' eeiAu(T0eWes ITTI x^ ^' yaorepas 
 ai/^.o/3opa)S 6KV\ioi;' air' o<p0aA/z&u> 8e /caKov 
 ep\op.fvois AdfA'TrecrKe, fiapvv 8' e^c-nrvov I6v 
 
 9. f/KH<r0 P. 17. ifet\i)OfVTts A.
 
 ID YL L XXIV. 91 
 
 * ore 8r) Traib&v \t.-xjj.<&fjLevoi cyyv6ev ij\Qdv, 20 
 
 Kct! TOT ap eeypoim> (Aid? VO^OVTOS &iravTo) 
 'AAKjUTjvas <pt\a TCKva' </>dos 8' &va OIKOV 
 T/TOI oy' cvOvs aijo-fv, cmos KCKO Qr\pC avyva> 
 Koi\ov inrep <raKeos KOI avaibeas eibcv 
 
 oppaiva>V 6 8' tvavrtos 
 ^/OK^OJ 8f /3a/>et eve8?;o- 
 <papvyos, ToQi (papnata \vypa 
 dtpCea-vi, TO. KOL Oeol \6aipovTi. 
 o) 8' avT o-TTfipaio-iv \iara-ea-0r]v irept TraTSa 30 
 
 , yaXadrjvov, inrb rpo^>w afev &?>a.Kpvv' 
 
 v avayKaiov TTip<afj.voi l/cXvcny evpetv. 
 
 8' e(T(iKou(rff ^3oas, KOL eireSpa/xe irpcira. 
 ' 'AfjKpiTpvtoV 4ju,e yap 8^os to^ei OKvypoV 35 
 
 e Tr6bf<r(nv lots vrro (rai'8aAa 6(irjs. 
 OVK ciieis, Trai8a)i; 6 vevTepos o<ro-ov aurei; 
 T; ov voeeis, on vu/cro? cuopt irou ot8e re TOIXOI 
 
 dpi</)pa8eey, KaOapas arep ripiyfvtias ; 
 TI /^tot Kara 8&>/uia fewrepoy, lort, ^{X* avbp&v. 40 
 6s <a0'* 6 8' e evms aAo^w KaTeftcuve "ni6rj<ras' 
 8at8(iAeoi; 8' cop/xao-e /uiera i(pos, o ol tiTrepdc 
 Kebpivov TTfpl ira(T<rd\<a alfv &<apTO. 
 oy wpiyyaro yeoKXctforou reXa//o5i'os, 
 Kov<pi(>)v (T^pa KoXeoy ^ya, \<aTivov Zpyov' 45 
 
 a0T)? 8' Spa iraora? tvTr\rj<r0r] irdAiv op(f>vas. 
 8^ TOT' &{j(rev VTTVOV ftapvv t 
 
 38. rlrvitTai P. 34. iirtKpaye A ; iirtyptTo P. 39. ajrp 
 
 7. A. 45. ntfaKww pw A.
 
 9 2 THEOCRITUS. 
 
 " ol<rere nvp on 8a<r(rov air' fo^ape&vos eXoyre?, 
 e/xoi, <rTt.(3apovs 8e 0upay dya/cctyar' d^as " 
 
 |ua>es raXa<r$poyes, avros diJrei " 50* 
 
 pa ywd <f>otvi.<T<ra fxuXais ITTI KOiroy 
 ol 8' aZi^a TTpo-ytvovro \v%vois a/xa 
 
 crvfj.Tr\riybr]v id\r](rav' 6 8' es irarep' 'A//^)iT/)vcoj;a 55 
 
 ijvq, yf\d<ras 8e Tiapos KaTfdrjKf -nobouv 
 narpbs eou ^ardiro) K(Kapu>fji4va beiva TreXwpa. 
 
 'AXxja^va jttey eTreira TTOTI afytTtpov Xa/3e 
 rjpbv VTial Seious aKpaxoXoz; 'I<^iKX^a* 60 
 
 'Ajot^irpvtor 8e Toy aXXoy VTT' ap.viav QTO \\OLvav 
 TraiSa' jraXiv 8' es XexTpoy Za>r f^vaa-aro Koirov. 
 opviOes rpirov apn TQV fcr^arov opOpov aeiSoi;' 
 TOKO /xairiy, dXa^ea ^tiyra Xeyovra, 
 KaXefrao-a, repa? xareXe^e VO)yj.6v, 65 
 
 oKpivecrOai, OTTCOS 
 fAJjS', ei Tt 0eol vofovn 
 e/xe KpvTire' /cat a>s OUK loru; 
 s, o TI Moipa Kara KXcoori/pos eireiyei, 
 , Evr/pet8a, jxaXa (T (ppovfovra 8t8(io-Ka). 70* 
 
 TO<T(T' IXeyey /3ao-tXeia' 6 8' dyra/iei/Sero rotots' 7o b 
 
 i, dptcrroTOKeia yvvai, ITepo-Tjtoi/ atfxa* 
 ^dpcrei* jw,eXXoWcoj; 8e ro Xw'iov ey ^>pecri dtcrdcu.. 
 vat yap e/xoy yXu/cv <e'yyos ai^oi^o^vov TrdXat ocrcrcoy. 
 
 49. After this line A says ' desunt complura.' 5O b . P omits. 
 65. XP^ OS P- 68. euSo/tevos <n5 A. 70*. d\\" EVT;/). A.
 
 IDYLL XXIV. 93 
 
 jroAAcu 'AxaudScov juaActKoy ircpl yovvan 
 
 peo-nfpov dei8oi<rai 75 
 
 l' (re/3as 8* eo-r; 'Apyetai<ri. 
 TOIOS di>7jp o8e f^AAei es ovpavbv dVrpa (pepovra. 
 anfialveiv TCOS vlos, airb oTtpvcav irXarvs ^pcos, 
 ov xai 6rjp[a iravra Kal avepes T/o-crovey ciXAoi. 
 
 ol reAeVarri Tr(TTp<t)p.evov fv Atos o^jceiy 80 
 ^^Tjrd 8e Ttavro. Trvpa TpaxiVios l^ei. 
 ' aOavdratv KK^rj<TTat, ot ra8' (Tr&p<rav 
 <pu>Xfvovra j3pf(pos 8ta8ij\?7(7acr0ai. 
 8rj TOUT' a/zap, OTTTJVLKO. vefipbv tv ?vvq 
 
 i8a>y Av/cos OVK e^eA?jo-ei. 85 
 
 , yvvai, irvp jner rot VTTO o-TroSw 
 
 8' acnraAaflov ^vX' erotjuaorar', 
 77 /3arou, T) avf^ bfbovrjfjifvov avov 
 Kaif 8e T<o8' ayptaunv firl (r%iaicrt bpanovre 
 WKT\ jxeVa, OKO 7rai8a Kaveiy reov r/6f\ov avrol. 90 
 r/pi 8e (TvA.A^a(ra Koyty TTU/)OS &fj.(pnT6\<av TLS 
 
 ev /ictXa Tiaa-av vircp Troraj^oto (pepovcra, 
 ex TT^rpay, vtrfpovpiov' d\/r 8e 
 y. KaOapta 8e Trupworare 85/xa 
 Trparov' lireira 8' dAeo-cri fAffxty/xevoy, &>s revd/xiorai, 95 
 
 fTtippalvfiv eore/x/^a) d^SAaySes vSwp' 
 I 8' ^7rtppeai Ka^uTrepreptp dptreya \olpov, 
 
 aid KadvntpTtpoi a>s TeA^oire. 
 l epcoTjo-as f\f<pdvrivov (pxero bitppov 
 s, 7roAAot(ri fiapvs irep &i>v (viavrols. 100 
 
 'Hpa/cAer;s 8' VTTO fj.arpi, vtov <pvr6v a>s ev dAwa, 
 ', 'Apyeiou K 
 
 95. /SaryaSas ^y A and P.
 
 94 THEOCRITUS. 
 
 y/octjUjuara \itv TOV mu6a yeputv Atvos t 
 
 vibs 'A:roAAa)voj, /meAeSawevs aypvirvos, 
 
 roov 8' cvravvarai, not ZTTLO-KOTTOV flvai oiar&v 105 
 
 EvpUTOs, ex TraTeptoy /xeydAais atyveios dpovpats. 
 
 avrap aoibov !07j/ce KOI 
 
 o<r(ra 8' OTTO (r/ceAecoy cdpoorpo^ot 'ApyoOev avbpes 
 dAAaAou? o-^dAAovrt TraAaicr^ao-tz;, o(ro-a re TTVKTOI no 
 Seirol j> l^tii'Teo-o-iz;, a T' eis yalav 
 
 e^evpovro -TraAaio-juara aij^opa Tf 
 wapa 
 
 0a/xraAea)s ns (p.fivtv de^AevoiT' ey ayalzn' 115 
 
 ITTTIOVS 8' eeAd(racr0(H v<p' apfum, KCU TTfpl vv<rcrav 
 .dfjiTiTovTa, rpo\<a oijpiyya 
 ov TraiSa (pi\a <ppovf(av el 
 CLVTOS, fTTfl p.d\a TroAAd doStv f ^par' ay&vu>v 120 
 "Apyfi fv tTTTro^SoTft) Ket/iiT^Aia' KC^ ol dayeis 
 btypoi, e(f> 3>v fir^fjaive, \pov< SieAucrau 
 bovpan 8e 7r/3o/3oAai<>, VTT' frcmibt V&TOV 
 avbpos 6pea<rdai, t,<p(av r av<r\f(r6ai ap.vxfj.6v) 
 KO(rp,fj<raC re (pdXayya, \6xov T' ava^fTprjcraa-dai 125 
 bv(T[j.Vf(av (TiLOVTa, Kal iTTTTTjecro-i KeAeucrai, 
 Kdorcop t7T7raAt8as eSaev, <pvyas "Apyeos tvdwv, 
 OTnro/ca KAa/aov curaz/Ta xat oivoireSoi' jueya Tv8eiy 
 fate, Trap' 'A8p?j(rToio Aa/3&)y iTrTrTjAaToy "Apyos. 
 
 8' OVTIS 6fj.olos fv Tjjui^e'ois TroAf/xioT^? 130 
 
 105. ITTJ ffKoirdv tlvai blar&v A. 124. d'tx* ff ^ at A, P, Fritz. 
 
 130. 'Ajtropt A.
 
 ID YL L XXIV. 95 
 
 &AA.OS 6}i>, Ttplv yrjpas a 
 
 a/\a 01 
 8e, /cpea r' oirrd, not tv xaWw /n^yas a/jros 135 
 
 ce <j>mo<TK.&<i>ov avbpa KopeVaaf 
 avrap (TT &fj.ari. TVVVOV avtv irvpbs alvvro bopirov' 
 fl^ara b' OVK d(TKTjTa fj.(ras VTrep fvvvro Kvdp.as- 
 
 138. 'desunt reliqua' A.
 
 IDYLL XXV* 
 
 The Lion-Slayer. 
 
 8' 6 yepav irpoa-ecnrf, fyvr&v ciriovpos aporpevs, 
 Ttava-dfj.vos epyoto, TO ot /zero \fp(riv eVceiro* 
 
 IK rot, five, irp6(pp(av /xu^Tjo-ofiai, oercr' epeefoeis, 
 l Ep/xe&> a6p.vos beivriv omv flvobioio' 
 TOV ydp <f>a(TL (A&yurrov tiiovpavltov K.fyj3\S>(rOa.). ) 5 
 
 el Key obov faxpelov avfivi]TaL Tts 6birr]v. 
 Trot/ami fjifv fiacriXrjos fvrpi\fs Avyeiao 
 ou irao-ai (36<TKOvrat lav POVIV, ovO' <tva x&pov 
 dAX' al plv pa vepovrai 577' ox^ats apfi 'E\t(rowros, 
 at 5' lepdy 0etoio napa poov 'AA.^>eioio, 10 
 
 al 8' CTU BouTr/aao-^ou TtoXvjUoTpvos, al 8e Kai e58e. 
 Xcopts 8rj o-rjKoC (r<pi TfTvyplvoi el<rlv eKaorcus. 
 avrap (BovKoXloi<ri TTepnrXrjdovcri vep I/XTTTJS 
 
 vop.ol 58e re^TjXorey alev eacri, 
 /u, /neya rt^os. eiret -^oXueiSea TTO^TJI/ 15 
 
 daXfOovcriv virobpocroi ela^evai re 
 eiy &Ais, ^f pa /3oecr<ri /ueWs Kcpafjo-w de^et. 
 8e O-^KTIZ; ^8e re^s ITTI 8e^ta \eipbs 
 
 v pdXa Trao-a Treprjv TroTa/uoio peovros, 
 
 * Incertorum Idyll, ix. A. 7. tv<ppovos P. 15. /teAii/Sta A and P.
 
 IDYLL XXV. 97 
 
 Kfivy oOi irXaT&VKTTOi eTTTjeTazmi 7re(pj;ao-i, . 20 
 
 XXtopTj T' dypie'Xaios, 'ATroXXcoyos vo/xtoto 
 lepdi> ayvov, eiue, TeXetoToYoio 0eoio. 
 ev0us 8e o-rafyiot Trepi/xTjKees dypoiwrais 
 8e8//7i,z;0', ot ^aa-iXrjl iroXvv Kal aOfcrtyaTOv oXfiov 
 
 pVOpeO' (vbvKf&S, TpiTIoXoiS (TTTOpOV fV VLol(TlV 25 
 
 ea-^' ore (BaXXovres, KOI TTpair6Xoi.(Tiv 6/jtoicos. 
 
 oijpovs jMrjv itraen (frvTOCTK&tyoi ol TroXuepyoi, 
 
 Xrjyows 8' iKvcvvrat, eiryv depos a>pi.ov eXOy. 
 
 irav yap 8r) Trebiov ro'8' eirt^poi'os Avyefao, 
 
 irvpo(f)6poi T yvat, KOI aXwat 8ey8p?je(r(rai, 30 
 
 fxe'xpi Trpos eo-)(arias TroXvTriSaKos a 
 
 Sis ^/jiets fpyoLaiv Ttoi.x6iJ.0a Ttpoirav 
 
 ^ StKTj oiKTjcoy, oT(rti; ^ios 7rXer' CTT' aypou* 
 
 dXXa (TV Trep jwot Hvi<nre, (TO TOI Kai Kepbiov 
 
 lo-o-erai) ou Ttvos <58e Kexprj/jteVos eiX?]Xou0as. 35 
 
 776 rot AuyeiT/y ^ Kat Sjactftoy Tiz>a 
 
 ot ao-u>. eyw e Ke TOI 
 ou (re ye 
 
 Hfj.fj.evat, oi38e KdKolcriv foiKOTa <pvfj,fvat avrov, 
 
 olov TOI fj-e-ya etSos eTriTrpe'-Trei' 77 pa vv 'TraiSes 40 
 
 a6ava.TU>v ToiotSe jaeTa dvrjro'unv lao-i. 
 
 Toy 8' cnrafjii.ft6fji,fvos irpocrecpTj Aios aXciju,os uto's 1 
 vai, yepoy, Avyeirji; fd^Xoipt KCV ap^ov 'ETretwy 
 et(ri8e'etv TOU yap /xe Kat r/yayey ev^dSe \p(i<a. 
 ft 8' 6 /xev ap KOTO ^CTTU jueWi Trapa oto-6 iroXiTats, 45 
 
 877 Tiva, Trpfcrfiv, (TV (JLOL <pp<icrov T/ 
 
 22. Ipbv aya\fjC S> (. A. 27. f<rxow<rt A. 
 H
 
 98 THEOCRITUS. 
 
 Sorts eir' ayp&v T&vbf yepafrepoy 
 
 <f K rd fjiev eforoi/u, rd 8' CK. (papevoio 
 
 ctAAou 8' aXXov eflrj/ce 0eoy eTriSeue'a (fxar&v. 50 
 
 Tor 8' 6 yepcoy eauTiy d/ie/3eTO, 8ioy aporpevs' 
 aOavdruiv, eii>e, 4>pabfi TWOS 
 toy TOI Trav 5 fle'Aas a?\/ra \P^ 
 c58e yap Avye^s utdy <f>i\os 'HeXtbio, 
 
 /3^r; 4>uA^oy dyauou, 55 
 
 air' aorreoy, rjp.a<ri 
 TTo^lf6p.vos, ij ol vrlpi6^os fir' a 
 &s TTOV KOI I3a<ri\v<riv eei'Serai kv fypediv fjcriv 
 avrois Krjbo^voKTi o-ac5repoy ffj.iJ.fvai, OLKOS. 
 
 dAA' to/mev /^<iA.a Trpos //.ly' y&) 8^ TOI T]yep.ovevcr<t) 60 
 
 es fmfTfprjv, tva Kfv T^T/^iot/xey avaKra. 
 &$ ffatov fiyeiTO' v6<p 8' oye TroXXa pfvoCva, 
 
 6s opwv, \fipo-n\r\dr] re Kopvvrjv, 
 oinroOev 6 Davos' [if^ovfv 8^ fxiv aiey epeo-^ai' 
 a^ 8' OKZNJ) TTOTI x e ^ os fXa/^i/3aj;e fj,vdov lovra, 65 
 jut?7 TI 01 ou KOTO: Kaipoy ITTOS iroTifJ-vd^a-airo 
 (nrp\oij,lvov' ^aXfirbv 8' er^pou pooy i8/xeyat dvSpo'y. 
 TOVS 8e icvves Trpotriojrras cnroirpoOfV a?^' fvorjcrav, 
 o8/ify T XP ? j 8ov7r&> TC TroSouV. 
 8' vXtioirres eWSpa/^oi; aXXo^ey aXXoy 70 
 ia8Tj 'HpafcXet'' TOV 8e yfpovra 
 K\dov T Trcpia-craivov 0* (TtpaOfv. 
 TOVS juei> oye Xaeo-o-iy, d-Trd x^ oi; os ocrcrov aeipwv, 
 v a^r OTTIO-O) SeiSiVo-eTO* rprixy 8e 0a>^ 
 /naXa 7rao-iy, fpr)TV(ra(rK 8' wXay/ixou, 75 
 
 48. ITT* dypcaTwv ffpapurfpos A.
 
 IDYLL XXV. 99 
 
 yaipu>v ev (frpecrlv y<nv, 06* ovvettev av\Lv epvvro, 
 CLVTOV y ov irapeovros' eiros 8' oye rolov fewer' 
 
 WOTTd, oloV TOVTO deol TTOlTJO-aV CLVOlKTeS 
 
 Orjpiov avdpriiroHri per eleven' a>s eirifXTjfle's. 
 el ol Kal (frpeves &be vor/fj-oves evbodev Tyo-ay, 80 
 
 i]8et 8', wre x/ 3 ^ x a ^- ' 7ral2; ^/ ;Xi; > < ? T 
 OUK ay ol 6rjp<av TLS ebripicrev irepl 
 vuy 8e Awjy {O.KOTOV TI *cat app^ves yevet 1 avrcos. 
 TJ /5a* /cal (r(rufj.ev(i>s TTOT\ rcovXiov T^oy toyres. 
 
 p.ev eiteira TTOTI 6<$>ov erpai^ev tTnrous, 85 
 ^ap aycoy' TO 8' eirriXvOe Triova /x?/Aa 
 ex (3oT&vr)S aviovra per avXta re CTTJKO^? re, 
 avrap eireira /3o'es /ixaXa iivplai a\\ai eif aAAais 
 ep\6fj.evai (fratvovd*, ucrel vefyit] v8aroez>ra, 
 ^crcra r' ey ovpavv elcnv eXavvopeva irporepcoo-e 90 
 176 POTOIO )3tT7, i)e 0/3T/KOS fiopeao' 
 T&V fJLev T' OVTIS apidpbs ev Tjepi yLver IO 
 ou8' aVixns* roVa yap re /xera irporepoKn 
 i? ave'/utou, ra 8e r' clAAa Koptio-aerai avdis eir' aAAoi?' 
 ro(rcr' aZel /ieroirio-^e /3oc5z; ITTI ^SoufcoAt' lyet. 95 
 
 Tray 8' ap' eveTrXrjo-Or] Tiebtov, iracrai 8e xeAev^oi 
 ep)(0fjievr]s' a-reivovTO be Trioves dypot 
 ' (TTj/cot 8^ ySowy peta TrATjo-^Tjorav 
 ' oi'es 8e xar' avAas rjv\tovTo. 
 evda fjiev OVTIS ^KrjAos, aTieipeo-tatv irep eovT<av, 100 
 elo-rTjKei irapa ^3ovo-iv avTJp Ke\pr)nevos epyov' 
 dAA' 6 /^ey d/ji0t iro8eo-(riy euTfATfroKrtv i/xaat 
 
 76, 77. a?^ ipovro av\iv KO{> trap. A. 79. firtvtiOts A. 
 
 go. oaaa P. 93. /x^a irporf/xaat A. 
 
 H 2
 
 ioo THEOCRITUS. 
 
 KaAoireStA' dpdptovce TrapaaraSoy eyyvs 
 aAAos 8' av <piAa rexva cptAais VTTO jurjrpdcriz; lei, 
 iriyejiteyai Aapoib ^e/xaora irdyxu yaAaKros* 105 
 
 aAAos a/noAyioy ei^'s aAAos rpe'<pe irCova rvpov' 
 aAAos ecrfj-yev etra) ravpous 8()(a ^ 
 Avyei?]s 8' eirt Trdiras iwy Orjelro 
 ol KTcdvatv /co/xiSrjy friOtVT 
 8' vios re, ^177 re /3apv<f)povos 'HpafcAi/os, no 
 
 Kat apprjKTOv nep tov v 
 ' A[j.<f)iTpv(>)vidbr)s Kal dprjpora ycoAeju.es aiei, 
 eKTrdyAco? Oavfj-afc /3oG)v roye juuptoy eS^or 
 fl(Top6<AV. av yap Key e^ao-Ke TIS ov8e ecoATret 115 
 dvbpbs ArjiS' ey^s rocrcri;y e/jiey, oi8e 8ex' aAAcor, 
 otye TroXvpprjVfS TiavTuw ecrav eK /3acrtAr7oy. 
 'HeAios 8' <o 7rai8t ro8' eoj(oy wTrao-e b&pov, 
 atyvfLov /x?]Aois Trepl Travrcav e/zjueyat avbp&v 
 xat pa ot avroy o^eAAe StajUTrep^cos /3ora irdvra 120 
 ey TeAos' ov /mey ydp Tts eTT?7\u^e 
 f3ovKO\tois, air Ipya Kara(p0eipow6 
 atet 8e TrAeoyes Kepaat jSoes, atev dfj,dvovs 
 e^ ereos yetvoyro joidA' eis eros' 77 yap 
 ^COOTOKOI r' ?]<ray Trepicotria, drjXvroKOi re. 125 
 
 rais 8e rptrjKocriot raupot crwdju,' CCTTL^OOOVTO, 
 KvriiJ.ap-yoi d' eAixes re* StrjKoo-ioi ye /xey aAAoi 
 (froiviKes' TrdvTfs 8' fTnjSrjTOpfs oty' eo-ar r/8r;. 
 aAAoc 8' au /utera rot<ri 8uco8eKa ^ouKoAe'ovro 
 lepol 'HeAtoto' x/ 30 ^ ^' fO"ov ryure KVKVOI, 130 
 
 103. Koi\oirfSas dp. ireptaraSov, eyyvs dirtpycov A. 114. l^cos P. 
 122. Karcupdivovai P.
 
 IDYLL XXV. 101 
 
 dpyrjorai, Tracny 8e juereVpeTroy eiAi7rd8eo-<riy* 
 ot Kat drip.aye'Aeu PO<TK.OVT epi#?jAea Troirjy 
 ey vop.(S } a>8' eWayAoy em ar<j)i<n, yatyndooyro. 
 /cat p 5 OTrdr' ex Aao-ioio 0ooi irpoyeyoiaro dfjpes 
 
 bpvuolo fio&v VK aypoTfpdtov, 135 
 
 rot ye fj.d-)^vb Kara xpoos rjfa-av 
 8' 
 
 rcy /xey re 
 ' 
 
 178' vTiepoTrAa/ 4>ae^a)y jueyas' ov pa 
 dorepi Trdrres Ittr/coz;, o^ owe/ca 7roAA.6y ey aAAois 140 
 fiovcriv lb>v XdpTTfarKfv, dpi^rjAos 8' ereruKTO. 
 os 8^ rot (TKvAos aSoi> t8oi)y yapo-noio Aeoyros, 
 avrw ITTCIT' eTro'poucrey eucrKOTrw 'Hpa/cA^i 
 Xpi^aa-dai. TTOTI TrAeupa Kaprj ort/Sapoy re 
 row jixev ava^ irpoa-iovTos e8pctaro X et P^ 7ra 
 (TKatou ct(ap Kepaos* Kara 8' av-^va vepd' firl yairjs 
 KAdcrcre, fiapvv irep edz/ra' TrdAty 8e p.ty ajcrey OTriVtrco 
 w/xo) e-TTi^pto-as. 6 8e ot Trept vevpa ravwOels 
 VTrdroio fipayjiovos opObs avfcrrr]. 
 8' avrds re ai;a, utds re bat<pp(av 150 
 
 <i>uAei;s, ot T' eTrt /3ourri nopavicn fiovKoXoi avbpcs, 
 'Ap,0irpua)j;id8ao yS^y vire'pOTrAoi; iSo'yres. 
 
 TO) 8' eis O:OTV, AtiroWe Kar' avro'^t iriovas aypovs, 
 ((TTt^Trjv, 4>uAevs re ^3i7j 0' 'Hpa/cA?jetTj. 
 \ao<popov 8' eWyQ^o-ay o0i irpciricrra KeAev^ou, 155 
 AeTrr^y KapTraAt/xotcri rpi/3oy -Troo-iy e^avvo-avres, 
 r\ pa bt d/UTreAecSyos d?r6 (rraQ^Stv rerayvoro, 
 OVTI Airjy api(rr]fj.os ey {/AT; x^^P 
 rfi fjitv apa irpoo-e'etTre Atos yo'yoy v 
 
 133. ~javpi6<uvrts A and P. 137. Ae5ff(7<5v T A.
 
 102 THEOCRITUS. 
 
 Avyeieo) <pi\os vlos, Z6ev jxero7ri<r0ei' lovra, 160 
 
 rJKa Trapa.K\Cvas /ce^aArjy Kara 8eiov /ioi/' 
 
 elvf, TrdAat riva Tray^y (redev -Trept pvOov anovcras, 
 rep <r<ptTpri(nv fvl </>peo-t /3dAAo/xai apri* 
 yap a-Tfi^uiv ris CTT' "Apyeos, a>s /i(ros dx^s 
 'Abates dvTjp, c E\tK77s e^ dyxtdAoio, 165 
 
 os 8?j rot fj,vdflro KOI kv irXeoWcro-ii' 'Eireiwi', 
 ovyeKty 'Apydtov ns, e^ey jrapeoyroy, oAccrcre 
 OrjpCov, alvo\fovra, KCLKOV repas dypoiwrats, 
 KoC\r)v av\iv f\ovra Aibs Ne^eoto Trap' aA.(ros' 
 ov/c 0^8' drpeKeo)?, r) "Apyeos ^ Upoto i/o 
 
 avro'0ei>, 17 TipvvOa v^u>v TroX.iv, ^ 
 As /ceiyos dyo'peue' ytvos b fjuv ctvai 
 (et ereoy Trep eyw jun/xyTj(TKO/^ai) e/c ITepcr^os. 
 
 ?)e o-e, Sepjua 8e ^r/pos dpi^paSecos dyopewet 175 
 
 wy xaprepoy Ipyor, o roi 'n'ept TrAevpa 
 r' aye i>uz> /xoi Trp&rov, (tva yv&to Kara 
 S, eir' erwficos /xarrevo/xai, eire Kal OVK 
 ei o-y y' eKeivos, or ^uz> aKOUoi;Tecr<riv 
 ov 'EXiKry^ey ' AVOIDS, eya> 8^ ere ^pd^bpiai dp0a>s. 180 
 etTre 8', OTTCOS oAooy ro8e drjpiov avros TT<pvS, 
 OTTTTCOS T' fvvbpov N/J,^?JS ettrTjAu^e yjapov. 
 ov fxey yap KC T0<rw8e xar' 'AiriSa Kyw8aAoy evpots 
 ifteCpcav Ibew eTret ou /idAa rrjAixa ^Soo-Kei, 
 dAA' &PKTOVS re <ruas re Avxcoy r' oAo^wioy epros. 185 
 rw cal 0avfj.d^fcrKov O.KOVOVTCS rore 
 ol 8e ru Kai \ffevbea-dai obonropov dve'p' 
 
 163. i <rt) w/) A. 185. I
 
 ID YL L XXV. 103 
 
 &s et7roi>y /Aeo-0-Tjs 
 4>uAevs, ocppa KIOVO-LV $/xa <r<p[(riv apKios fir;, 190 
 
 KCI pd Te prjirepov tpaptvov K\VOI ' 
 os \i.(.v 6/xapT7/<ras 
 
 a> Avyrj'idSr;, TO /xey orn fxe irp&rov aveCpev, 
 ai/Tos KOL [j.6Aa peia Kara o-ra^fiTjy eyoT/o-as. 
 a/x0i; 8e aoi ra ecaora Ae'yot/it KC ro{58e TreAwpou, 195 
 07r7ra>s fKpaavOfV) fird XeAtrjo-at aKovetp, 
 vocr<t>i.v y T\ oOtv r/A.0e" TO yap, 
 
 olov 8' aOavdTcav TW' eicrKOjuey di8pao-t 
 tpaiy \LT\vlaa.vra 4>opa)yi8rj(riy ((p^lvat. 
 yap mo^as eTrtKAv^coy TTOTa/xos 
 
 ot e^ev dyxiVopoi i;aioy aTA?/Ta 
 TOV jbtey e/xot TrpwTiora TeAeTy (Tr^ra^fv &fO\ov 
 Evpvvdcvs, KTecvai 8^ /x' e^)iTO dyptov aivov. 205 
 
 avrap ey&> K^pas vypov eAa>y KO^Arjy TC 0aperpr;y 
 tc5i> ffj.ir\eir]v veo^v fT^pyfpi 8e fi&KTpov 
 es, avr6(p\oiov CTrrjpftptos Korivoio, 
 
 crvv TrvKLvyo'iv 6Xoo~)(ps %(nra(ra ptais. 210 
 avrap <7rel Toy \S>pov t 061 ATs T^ey, LKO.VOV, 
 br) TOTC To^oy eAwy orpeTTT^ eireAao-o-a 
 yeupetT^y, -Trept 8' ioy ex^<rroyoy et^ap 
 Trdynj 8' oiro-f <^>epa)y oAooy repay 
 ei jtiiy f<ra9pri<raifjit, irdpos y' e/xe Ketyoy 28eV0ai. 215 
 
 20 1. w/ffj; TJS IWIK. A. 202, 203. Beftfiivcuoi ol tOtv &yx tffra 
 
 tt\atot> A. 203. d-yx'V* ^ ' P- 2I 5- wdi/ws T /xt A.
 
 io 4 THEOCRITUS. 
 
 r\v TO p.(rrjyv, /cai ovbtTtrf lyyia rolo 
 <ppa(r6rjvai bwa^rji/, ov8' topvypolo TrvdecrOcu. 
 ov8e fjikv avQp&Tiutv TIS ITJZJ em fiovcri KOL Ipyots 
 <paivop.fvos o-TTopijuoio bC auAaKo?, OVTLV' fpot[j.r)v' 
 aAAa Kara (rraOfjioiis \\<ap6v 8eos eiei> HKCLCTTOV. 220 
 ov /UTJI; 7r/jtp 7ro'8as e<r)(oy opos Tav 
 Ttpiv y iSeeiz/ d\Kr/s re irapauTi/ca 
 17701 6 /xev crTjpayya TrpoSeteXos eori^ey eis ^y, 
 /3ej8pa)KO)S f KpL&v re xat afytaros' ci/x^t 8e x a t Ta s 
 ai>\fj.r]pas irfiraXaKTO (pov<p \apoTrov re irpoVcoTroy, 225 
 o-rrjflea re* yXtocrcrri be 7repi\ixj li aro 
 avrap ey&> Odfj-vounv cupap cnticpoicriv t 
 tv pi&) vAr/erri, SeSey/xeyos OTTTTO^' ?KOITO* 
 KOI fiaXov acrcrov IOVTOS apiorepoy eis 
 rrjucricos' ou y(ip n /3e'A.os 8ia <rapKos oAto-^ey 230 
 
 aiirap 6 Kpara ba<poi,vdv airb x.dovbs 
 
 Tw 8' eya> aAAoy oicrrov ano vtvpfjs irpoiaAAor, 235 
 
 acr)(aA.oa>j;, on /xoi Trplv erco(rios Ix^uye x L P s ' 
 
 fj,(T(rr]yvs 8' l/3aAoy crrrjfleaw, o^t TTVCU^OVOS eSprj. 
 
 dAA' ov8' d>s WTTO fivpa-av I8u 7roA.u<j8wos toy 
 
 ciAA' eTreo-e TrpoirdpoiOe irob&v avfp.(&h.ios avrcos. 
 
 TO rplrov av jueA.A.eo-Kor, do-&)/j,evos ey (ppecrlv auxws, 240 
 
 avtpvew 6 8e jz' et8e TrepiyArji'cojueyos oo-crois 
 
 Orjp afJLOTOS' p-axpriv 8e irep' lyvvrfcnv e'A.ie 
 
 Kp<ov, cupap 8e fxax 7 ? 5 e/wrjo-aTO' Tra? 8e ot avxyv 
 
 216. ovS' OTTTJ ?x- A. 217. oupvO/jLoio A and P. 233. Sitdpaiefi/ P.
 
 IDYLL XXV. 105 
 
 0VJJ.OV veTT\r)(r6r), irupcral 8' e^ptfaz; 0ipai 
 
 KupTT) 8e Mx iy yfver' ijure TOOV, 245 
 
 eiArjfleWos inral \ayovas re KOI lvv. 
 ws 8' OTO.V app.a.TOTTr]ybs dy?7p, TroAeW i8pts Hpyaw 
 KdpTTTri(ri.v epiveou evKecrroio, 
 fv Tivpl itp&rov, fTraovi(p KUK\a 8i^>p&)' 
 TOU piey for' IK yeipGtv f-<pvyev Tavv<p\.oi.os fpivtbs 250 
 Kap.TTTop.evos, Tt]Xov 8e /HIT) 7r?j8Tj(re cri/y op/xr/' 
 As kii p,ol Xls alvbs aTiOTipodtv aOpdos aAro, 
 fj.at.pMan> xpobs acrai, eya> 8' 4repr/0i 
 Xeipt Trpoeo")(06p.r]v, KOI aw' w/xcoz; 8iirAaKa 
 rr/ 8' ereprj poTfaXov Kopays VTrep avoy deipay, 255 
 
 <pa\ijs' 8ta 8' ar8i)(a rprj^vv la^a 
 CTTI A.ao"^oto KapTjaTos dypieXatoy 
 drjpbs d^ai/xa/ceToio' TTfcrev 8' oye, irpiy y' e/x' tKeo-flai, 
 v\lf60fv fv yaiTj, Kal em Tpo/xepot? TTOO-IZ; eorr/, 
 vevoTa^coz; /cec^aArj' irepi yap (TKOTOS otrtrf 01 a/A0a> 260 
 TjA^e, ^ir/ (TfHrdtvTos ev dcrTeo) eyKe^dAoto. 
 roy /xey eya>z> dSvrTjo-t TrapcKppovfovTa )8apeiais 
 v(tHTap,fvos, TipLv y avdis vTrorpoTrov a 
 atylvos dppTjKToio irap' ?ftoy l<^Aacra 
 ptyas TOOV Ipafe TroAuppaTrroV re <papTprjv' 265 
 
 8' eyKpareW, ort^apas (rvv x 'P as 
 , JUT) crdpnas virobpvtyri dvu^ecro-f 
 8' oSSas TTTepvrfcri. 7ro8as orepews 
 ovpaiovs fTTiftds' //.Tjpoio-^ re TrAevp' 
 
 ot eerdw;r<ra ftpa^Covas, opObv deipay 
 
 249. JV' <i^ovi' p KVK\O. A. 264. ijx^ffo. A ; ^|\a<ra P. 
 
 267. diroS/jv^-T; P. 269. wXewpfjai' re /e^p' A ; Tr\fvpoiffi rt 
 
 Hyp' Fritz. 270. ttitaiivaaa ftpaxtova l>6\6ov A.
 
 io6 THEOCRITUS. 
 
 Kal Tore 8rj fiovXevov, OTTCOS Aacriaux e ^ a fiv 
 
 6r]pbs TfOvei&TOs airb 
 
 apyaXiov /xaAa p.6\0ov' eirei OVK 
 
 ov8e At^oi? TTfLptofj-evu), ovbe /xey vAr/. 275 
 
 ot a^az/aTcoy Ti? em <ppf<rl drjKe vorjcrai, 
 
 avrols bepfjia Xtovros a 
 
 Tol<rt do&s cnre'8ei/>a Kat d/ 
 fvva\(ov ra/xeo-ixpoos 
 OS TOI Ne/xe'ou yeVer', S ^>i'A.e, ^rjpoy oAeflpos, 280 
 
 TroAAa Trdpos ft^Aoiy re xat ai'8p<4crt K^Sea dtvros. 
 
 271. weXwpws Fritz. 275. owSJ /itv aAAp A.
 
 IDYLL XXVI. 
 The Death of Pentheus. 
 
 'Iv<a, K Avrovoa, \a fj-aXoiidpavos 'Ayava, 
 rpets 0ickra>s es opos rpeis ayayov aural coicrai. 
 X<u p.tv d//,ep(|uei'ai Xacrias bpvbs aypta (^uAXa, 
 Kicr(r6v Tf (t>ovTa, Kal ao-<^o8eXoy TOV wirep yas, 
 fv KdOapti Aet/j.wi't Kapov bvoKdibfKa /3co/i(tf$, 5 
 
 ro)s rpeis ra 2ejaeAa TO>S efyea roi Aiovv(r<p' 
 lepa 8' e*c /ctcrra? TTOTrayev/maTa xepo-tv IA.oT<rai, 
 eLK/ja/xajs 1 KttTfOcvTO vtobpeiTTtov CTTI ftca^v, 
 a>9 eSiSao-^, a>s avrds e^v/xapet Aioinjcros. 
 riev0eis 8' dAt/Sdrou Trerpas ^TTO ^({yT' e6)ewpet, 10 
 <r)(Ti;oz; cs dpxatay KaraSus, f-niyj&piov Zpvos. 
 A.vrovoa Trpdra vtv (W/cpaye Seivoz; i8oi(ra, 
 ervf 8' frdpa^f Trocrlv /xariwSeos opyia 
 
 Tnov(ra, ra 8' 
 
 [i.iv & avra, paivovro 8' ap' cu^u Kai ^A\ai. 15 
 /ut^v </>euyei> 7re0o^3T//xei'os, at 8' e 
 ex faxrr^pos CTT' lyvvav epvcrao-ai. 
 /xey ro'8' eeiTre* TtVos 
 
 Avroi/oa " ro'8' " ^eiTre' " r^xa yv(aa-r], itplv 
 /idrTjp /ai> Kf<f>a\av fxvKTjo-aro iraiSos cAo?cra, 20 
 
 ovaov ircp TOKabos
 
 ro8 THEOCRITUS. 
 
 <rvv 
 
 Aa ITTI yaore/ra ySacra* Kal Avrovoas pvdp.bs a>vros. 
 al 8' aAAat ra TTfpicrcra Kpeavopeovro yvvalKfs, 
 fs 0?7/3as 8' aQiKovTo itefyvpntvai at/xart mio-ai, 25 
 e^ opeos Tr4v6rjfji,a KOI ov TltvOrja 
 OVK &v tyw /iTj 
 
 ' ei 
 
 s, fj Kal SeKtira) e7Ti/3aiyof 
 
 avros 8' ewayeoi/^i, xat cvayeecro-ty aSot/ixi. 30 
 
 K Aids aiyio'xco ri/zav e^ei ateros OVTOS' 
 ev(re/3ea)z; 7ra^8eo-(n ra Aw'ta, Sucrcre/Secoy 8' ov. 
 ^at/ooi fiev Atoz^uo-os, oy ev Apaxayw wfifattri 
 Zevs VTraTos fiey(iAay eTuyoujnSa Kar^ero Awas' 
 Xatpoi 8' evetS?)? Se/xe'Aa, Kai dSeA^eat avray 35 
 
 Ka8/xetai, iroAAats //c/xeATj/xeVat 
 at To8e tpyov t-pt^av opivavros 
 OUK eTrtxcoToy. i?;8eis TO 0ea)i> dyocratro. 
 
 27. OWK dA.7<u A and P; airexOepevcu P. 28. rawSe poyfiffat A. 
 
 29. (KJtffTIJS i) KO4 \fKTp03 A. 36. TTOtroTy //X. TjpOJlVO.1 A.
 
 IDYLL XXVIII. 
 The Distaff. 
 
 rA.au/cas, a> <piAepi0' dAa/cara, b&pov 'AOavdas 
 yvvaiiv, voos otKCocpeAias alfnv e7rd/3oAos, 
 Qdpcrticr ap.p,t.v vp.dprr] TtoXiv es Nei'Aea> dyXaay, 
 Kv7rpi8os tpoy KaAdjuw -^Xoapov inraTidXut' 
 yap TrAooy evdvefjiov airev^e^a Trap Aios, 
 
 , Xapcrcoy l^fpo^xavtav Itpov <pvr6v, 
 Kdi ere rai eAe^avros r noXv\j.6y^O(t> 
 bS>pov NtKwias ets dAo^co \ppas OTrdo-a-o/xey* 
 <riy ra TroAAa /xei epy* e/CTeAecrets, avbpetois 'JreTrAoi?, 10 
 TroAAd 8' ota yvyatKes (popeoia- 1 vbdnva (3pdKr). 
 bis yap fj.arpfs apvGtv ju,aAa/cois %v /3orai/a TTOKOIS 
 Tre^atrr' avroevei, evywSos y j evye/c* cvcr(pvpa>' 
 ovrcos dznxnepyos' 0iA^ci 8' oaora <ra6(ppovs. 
 ov yap cts d/ctpa? ov8' Is aepyw Key e/3oAAo^ai/ 15 
 077co-ai ere 8o'/xois d/u,/xerepas fovav OTTO x^ovos. 
 xai ycip croi Trarpts, ay w^ 'Ec/>vpas Kricrcre TTOT' ' 
 
 TpivaKpi'as fiueAoy, avbp&v 8oKtp.a)i; 
 
 4. ftnrvt . . . wwacrff(iAy A. 6. ' avTi^iXrfa' iu A. 15. d/'5/>a? A.
 
 TIO THEOCRITUS. 
 
 vvv pav OLKOV e\oicr' avtpos, os TroAA' fbdrj <rod>a 
 
 av0pwiToi.<ri vovois (j)dpp.aKa \vypais 
 
 otKTjo-ets Kara MiAXaroy epavvav /xer' 
 
 ws evaXaKaros euyein? li; Sa/Aoncrii; 
 
 Kat ol {JLvaarnv act TW (/)tAaoi8co Trap^rfs fvca. 
 
 Krjvo ydp TIS tpfi raiiros t8<oy <r' ! 77 jaeyaAa 
 
 gcopco oai> oXiyw' Travra 8e Ti/iara ra Trap <tAa). 25 
 
 24. TO; TroTiSwv a' P.
 
 Berenice. 
 
 (A Fragment.) 
 
 Kai TIS avT)p atretrat fTraypoaijvrjv re /cat o\fiov, 
 w fto^, TO, be 8^/crua xeiyo) &poTpa, 
 
 ov XfVKOV Ka\ov(riv' 6 yap 0iep(^Taros 
 Kai K A>a oTTjo-airo, /cat e^epvaairo
 
 Epigrams. 
 
 I. 
 
 To poSa ra 8po(rdez>ra, KCU a KaraTiVKVOs e/ceu>a 
 epTTuXXos KeTrat rais < EXiK<ui'id(nz>. 
 
 ral 8e ju,eXdjix(pvXXoi 8d<pz>ai riz>, 
 AeX^)ls eTrei irlrpa TOVTO TOL 
 
 j3<i)iJ.bv 8' ai//.aet Kepabs rpdyos OVTOS 6 
 Tp<ay<av fo^arov d/cpe/xova. 
 
 II. 
 
 Ad<j!>zns 6 ACI;KOX/">?J o KaXa trupiyyi 
 (3a>KoXiKovs v[J.vovs, avOero Tlavl r 
 rows rpTjrou? SoKafcas, rd Xaya)/3dXoi', 
 TOLV TTrav a TTOK 
 
 III. 
 
 <^uXXoorp6)Ti 
 dfi7ravo)i' < crrdXiKes 8' apTnrayeis dv' oprj. 
 dypfvet 8e ru Hay Kal 6 TOJ; KpOKo'evra 
 
 Ki(r<rbv <p' ijueprw /cpart KaOairro^fvos, 
 avrpov ecro) oreixoires 6ju,dppo0oi. dXXd TV 
 pedals vnvov 
 
 III. 6. Karayonevov Fritz. ; /far' afpepdvas A.
 
 EPIGRAMS. 113 
 
 IV. 
 
 Tyvav rav \avpav, ras re bpvas- a^TroAe, 
 OTJKLVOV fvprja-fis dpriyA.U(pes 6avov. 
 * * -x- -x- * 
 
 x- # -x- -x- # 
 
 os 8' fviepos irepi8e8pop;ep' aevaov 8e 
 peWpov O.TTO (TiriXaScoy Traz^roa-e 
 , KCU fxApTOKTl, KOI fv<abfi 
 
 a/xireAos' eta/uz'oi 8e 
 KO(T(rv(f)oi 
 
 /x.eA.7rou<Tai a-Topa-cnv rav [ifXiyapvv OTTO.. 
 fo 8r) Tt]Vfl, KOL TW \apUv 
 
 ' aTroo-Tep^at TOWS Aci^ytSo's 
 
 apov KO.\OV. r)v 8' drarevtnj, 15 
 Tot58e rux^^j e^eAco rpto-o-d 0urj reXeo-ai" 
 ai yap 8ap.tJA.ay, AdVioi* rp&yov, apva rov 
 atoi 8' evfj.fvfu>s 6 0eos. 
 
 V. 
 
 ^s, Trorl ray Moio-ay, 8i8v/xots avXoto-iv deicrat 
 d8u r fxoi; K^ywv ira/CTtS' detpd/aej/os 
 
 6 8e /3ouKoAos afj.jj.Lya 
 
 cyyvs 8e ordrres Aacnas Spuds avrpov 
 ITaya TOI/ alyifiarav dp<j>avt<r<i>ij,cs isnvov. 
 
 IV. I. T$ ' of /n5fs A. 15. ^v 8' apa vtwerj; A. V. I Nt/^ov A. 
 
 I
 
 H4 THEOCRITUS. 
 
 VI. 
 
 'A 8eAate TV &vfxn, .TL rot Ti\4ov, d Kararaets 
 bdKpvcri biykrivovs 2>7ras dbvpopevos ; 
 
 a xfyiapos, TO /caAov re/cos, ot^er' es abav' 
 
 yap \aXais a/x07rta^e \v/coy. 
 ai 8e KWCS KAayyeuvrf TL rot TrXeoi', aviKa 
 OVTIOV ovbf Te<ppa AetTrcrai oixo/iepas ; 
 
 VII. 
 
 /cat es MtArjro^ 6 rou ITaiTjoyos ulos, 
 
 v6<ra>v avbpl crvvoio-oufvos 
 
 NiKta* oy /niy CTT' a/xap del Bveeaaiv t*cvetrat, 
 /cat ro8' air' tvcoSovs y\v\j/aT J ayaA/xa Ktbpov, 
 
 \dpiv y\a<f)vpa$ \pbs anpov imocrTas 
 ov' 6 8' ets fpyov TTCUTCLV atyfjiae Teyj>t]v. 
 
 VIII. 
 
 Hetve, SupTjKoorto? rot d^TJp ro8' e^)terat "OpOcav, 
 
 Xft/^cp'Tjs fJ.fOv(DV /utrj8afxa VVKTOS tots. 
 KOI yap ey&) rotouroy e)(<o iroTp-ov O.VT\ Se Tr 
 
 IX. 
 
 *Avdp<i>TT, C' '? 5 Trepti^etoeo, /X7j8e Trap 
 
 z^avriAos ter^f /cat <&s ov TroAi/s d^8pt /3i'os. 
 SetAate KAeovtKe, cri) 8' ets AtTraprjy cio-oi; 
 , KoiXrj? e/XTropos e/c 
 
 VIII. 3. CXOK 7T(5poy A.
 
 EPIGRAMS. 115 
 
 , S KAeoViKe* 8wiz> 8' VTTO ITXetdSos atrrjy 5 
 vT IlAeidSi 
 
 X. 
 
 'T/jUU ToSro, 0ea, KC^apicr^vov (vvea Trdcrais 
 
 
 ro 
 s. 011^ erepa)s TIS IpeT. cro<f>irf 8' CTTI r?]8e 
 
 XI. 
 
 ro iJ.va.ua' <u<riyi>(/itft>z> 6 
 TT' 6(f)6aXfj.ov KOL TO vo7j/ia 
 ev fjnv <-0a\lsav kraipoi tnl eivr]s evov OVTO, 
 
 fX etz; 
 &KIKVS f<av, cl\ apa 
 
 XII. 
 
 6 XP r l'/^ s ) v 
 (re roy Sio-Toy 0ea>z; 
 
 avbp&v, Kal T& KaXoy Kat TO irpoo-rJKOv op&v. 
 
 XIII. 
 
 'A Kvnpis ov TrAvbrjiJLOs. IXdiorKeo TTJZ; 
 ovpavirjv, ayvas avQ(\ia Xpuo-oyova 
 oiKO) Iv ' Afj,<j)i,K\{ovs, $ Kat rinva Kal fiiov eZ 
 I 2
 
 n6 THEOCRITUS. 
 
 vvov. del 8e afyiv X&iov (is Iros fy 
 a-edfv dpxojixe'yois, a> TTOTVIO.' 
 aOavarcov avrol TrXeioy e^oucri 
 
 , a> TTOTVIO.' KTjSojaej/ot yap 
 
 XIV. 
 i, ft n vtfJifis ayaOois TT^OV, 77 Kal 6 
 
 xeirat r^? ieprjs KOV<J)OS virep K<f>aXrjs. 
 
 XV. 
 
 vioy lA.ei7re?, ey dXiKta 8e Kai avros, 
 
 
 eSpa Oeioicn /xer' dySpacri* Toy 8e 
 , 'Trarpos /uvwjuei'oi a>y dya^ou. 
 
 XVI. 
 
 0aorai TOZ; ai>8piai>Ta 
 
 o-7rou8a' Kal Xey', eTr^y es otfcov fvOys, 
 'AvcLKpeovros flKov' eibov tv Te<a, 
 
 T&V irpoa-O' et TI TTfpicra-dv w 
 
 epets aTpeKeajy oAoy Toy ay8pa. 
 
 XVII. 
 "A Te (pcora Atoptos, )(&vrlp, 6 rav K<i)fji<pb(av
 
 EPIGRAMS. 117 
 
 vlv V 
 
 r\v <58' ave 
 
 rol SupaKooxrais cvibpvvTai ireScopiorai TrdX.fi, 
 oT avbpl 
 yap 
 
 TroAAa yap iroTTay 6av rots Trao-ti; etire 
 /xeyaAa X"P ty avrw. 
 
 XVIII. 
 
 'O HLKK.OS ToS 1 ereu^e ra 0peo-<ra 
 MTjSeios TO \J.vap CTTI Ta 68(3, /c^Treypa^e KXetras. 
 
 c^ei rav x^P tz; a yu^a avt rrjvutv, 
 &v TOV Kovpov l^pei/^e. TI fiav ; In \pr}<riii.a 
 
 I TTOr' do). 
 
 t trra^t Kat eunSe Tor 
 T&V la.fj.(3(>w, ov TO 
 
 K177TI VVKTa KO 
 
 ?) pa piiy at Moto-ai Kat 6 AaAtos ^ 
 
 ws ep.p.eA?7s T' lyevTO K^TrtStfios 
 Iweti T TTOiciv, Trpos Xvpav T acibeiv. 
 
 XX. 
 
 Toy TO) Zav6s 08' v^iv vibv 
 TOV XfiovTop.d\av, TOV dv 
 
 T&V (TTCLVtoOf 
 
 XVII. 5. ircXaipiffT^ A. 6. wv A. 7. ffwpov irapti\fs . . . 
 ftivovs A. XVIII. 3. rdv x&piv aSiiv A. 4. I0pti{/'' tn peiv on A.
 
 ii8 THEOCRITUS. 
 
 Hficravbpos v 
 
 5 
 
 TOVTOV 8' avrbv 6 Sajuos (&>? (rd(p' elbfjs) 
 earao-' fv06.bc, %6.\.K 
 TroAAot? /xacriy oincrOe KTJI 
 
 XXI. 
 
 ei /mey irorr/po?, /.ITJ Trorepxeu TOJ 
 ei 8' e<r<ri KpTjyvos re xat Trapa 
 
 XXII. 
 
 "AA.XOS 6 Xtos' 4y&) 8e eojcpiro?, 6s ra6' 
 
 ets O-TTO rwy noXX&v eijai 
 vtos ITpa^ayopao Trepi/cAeiTr;? re 
 
 Mouo-ay 6' oQvf.lr\v OVTIV 
 
 XXIII. 
 
 'Acrrots /cat eivoi<nv Icrov re/met ^fe rpane^a, 
 ^els dreXou, \jrrjfpov npos Koyov epxofAtvrjs' 
 aA.A.o? rts 7rpo0a<rti; Aeye'rco' ra 8 o^yeta KatKos 
 
 XXIV. 
 
 Av5?jcrei ro ypdp.p.a ri o-Sjua re xal r^s VTT' awrw 
 et/xt ra</)os r?J? 
 
 XXIV. i. au8j7<raty T^ 7/xi/*/i A.
 
 EPIGRAMS, 119 
 
 XXV. 
 
 C H Trals <x er ' o^pos * v e/38oft<a 778 
 tls atbriv, TToAAot? fi\iKirjs 
 
 rbv 
 
 , acrropyov yva-dfj.fvov davarov 
 ataT eAeiva Tra^oSo-a rTeptorept, ws 
 
 ra \uyporara
 
 NOTES. 
 
 IDYLL I. 
 
 THIS Idyll is one of the earliest, and no doubt was written in Cos. 
 The subject is a dialogue between Theocritus himself (the alir6\os~) and 
 another member of the Pastoral Guild of poets, who hails from Aetna, 
 under the pseudonym Thyrsis. The latter is persuaded to sing a well- 
 known song about the unhappy love and death of Daphnis, about whom 
 see more on 1. 64. The scene of the dialogue seems to be laid hi Cos, 
 rather than in Sicily. See on 1. 57. 
 
 11. i, 2. There are several different interpretations of these lines. The 
 following is preferable to any other: (i) there are two sentences exhibit- 
 ing a comparison which is indicated by the Kal attached to each ical a 
 mrus Kai TU, 'just as the pine-tree, so do you : ' (ii) TO |/iOvpur|xa is 
 the accusative depending on ixcXurSrrai : (iii) a irorl rats ira/yaw^t 
 must be taken together, and with d irtrvs, 'the pine-tree at the spring;' 
 cp. tto-rl flivi in 1. 18. Cp. Virg. E. 8. 28. 
 
 1. 2. n.\to-8T<u, for peculiarities of the Doric dialect, see Prelim. 
 Remarks, pp. xix, xx. 
 
 1. 3. o-upto-Scs. See Prelim. Remarks, p. xx. 
 
 turd, ' next in order of merit.' So Nireus was called 
 
 ruv it&vraiv Aavdojv fj.fr' dpvfjiova U 
 
 Horn. II. 2. 674. 
 
 1. 4. aiKa. KOL, the Doric form of ict ( = iv) will be found long con- 
 stantly in Theocritus. See also Aristoph. Ach. 737, 754. 
 1. 6. Some have supposed a play on words between xtpapos and \ti-
 
 122 IDYLL 7. 
 
 fjappovs (a torrent), as if the latter were indicated by the word Korappet. 
 This word is similarly used by Bion I. 55 rb tie irav tca\ov Is ae Karappet. 
 Compare the use of ' defluat ' in Hor. Od. i. 28, 28. ~Xifj.apos here and 
 in Epig. 6 is feminine. 
 
 Kpcas is preferable to Kpfjs, where authorities are balanced, as pre- 
 serving the peculiar feature of the Theocritean hexameter. See Prelim. 
 Remarks, p. xxi. 
 
 1. 7. Translate, ' Sweeter is thy melody, oh shepherd, than yon 
 echoing water (which) flows from the rock above.' There is a precisely 
 similar construction, 4. 39 oaov atyts efj.lv </>t\ai oaaov aireapas, 
 i. e. ' as dear as you (were who) are dead.' These may perhaps be 
 most easily explained by understanding a participle, e. g. ciSiov $ TTJVO 
 TO Karaxts vScap [pv~\ Ka.Ta\(i@fT(u ; and oaaov <j>i\r) (ovaa) aireafias. 
 Cp. Virg. E. 5. 83, 84. 
 
 1. 9. Observe the force of the middle voice in ofyfovTat, 'take for 
 themselves.' 
 
 1. 10. dpva o-axiTav, a weaned lamb ' fed in the fold.' The prize 
 next in value to the o'is. See Epig. 4. 1 8. 
 
 1. 1 1. We miss here what we expect to find in place of o'iv, viz. some 
 prize bearing the same relation to dpva, as the kid to the she-goat in 
 the corresponding speech of Thyrsis. No satisfactory emendation has 
 been proposed. But is there need of any ? The word dpto-K-Q seems to 
 suggest that the winner in this case had first choice between the two 
 prizes, and the loser took what was left. In this way tiorepov bears a 
 more natural meaning, ' after they have chosen.' 
 
 1. 13. us, 'where.' at re seems preferable to a re. 
 
 (iupticai, ' tamarisks.' A shrub with long slender branches and small 
 scale-like leaves, thriving on the shores of the Mediterranean, fond of 
 rocks and sandy or saline soils. 
 
 1. 14. Cp. Virg. E. 5. 12. 
 
 1. 15. This alludes to the practice in hot countries of sleeping during 
 the mid'-day heat ; called now ' taking a siesta.' This mid-day sleep is 
 often alluded to. See below, 7. 22; 10. 48. Cp. also Lucan, Phar. 
 
 3-423 
 
 'medio cum Phoebus in axe est, 
 
 pavet ipse sacerdos 
 
 accessum dominumque timet deprendere luci.' 
 Also i Kings 18. 27 ' Peradventure he sleepeth.' 
 
 For the form T fteo-a|j.ppiv6v, see below,!. 41, and on 3. 3. 
 1. 1 8. The nose was commonly represented among the ancients as the 
 seat of anger. The word nostrils in Hebrew is synonymous with wrath. 
 The expression originated doubtless in the appearance of anger in
 
 NOTES. 123 
 
 animals denoted by the inflated nostril. Delille, of the statue of the 
 Apollo Belvidere, says 
 
 ' Un coturoux dedaigneux a gonfle ses narines.' 
 
 Imag. 5. 137. 
 Cp. also Herodas. Mimiamb. 6. 37 
 
 fitj Sri, KO/HTTO?, rtfv X^ v *"^ fitv&s 
 (X I9fo fy TI ffil*a W Ka\ov irfvOy. 
 
 1. 20. See 3. 47. iti TO irXtov, ' to the higher degree ' than most. 
 
 1. 24. AipvaOe. Cp. Id. 3. 5. Shepherds as well as flocks might 
 easily have been transferred from Libya to the pastures of Sicily or S. 
 Italy. This does not necessarily affect the probability of the scene of 
 this dialogue being Cos. 
 
 1. 25. 'I will give you a she-goat with twin kids to milk three times,' 
 i. e. all the milk she will give in three milkings. 
 
 1. 26. Cp. Virg. E. 3. 30, and 36 foil, for the next lines. 
 
 1. 27. Kuro-ufJiov, 'a large drinking cup' or 'bowl.' Connected with 
 Kiaaos : perhaps made of ivy-wood. See Eur. Cyc. 390 
 ffKvfyos 5f Kiaffov vapfOer' fls eSpos rpiwv 
 TTTjxfow fiaOos SJ rtaaapcav f<paivtTO. 
 
 1. 28. dfju|><ocs, ' with two handles ; ' lit. ' ears,' like ' diota ' Hor. Od. 
 I. 9, 8. It was smeared with wax in order to render the wood imper- 
 vious to air and damp, and so prevent the milk turning sour. 
 
 1. 29. The carving represents ivy intertwined with helichrys climbing 
 along the outer and inner edges of the bowl : the tendril of the ivy curls 
 about the helichrys, or all over the bowl (tear* airov), rejoicing in its 
 own yellow berry. This ivy was probably that species called Hedera 
 chrysocarpa, by Virgil ' pallens hedera,' the yellow-berried ivy. 
 
 Helichrys was probably Gnaphalium stoechas, or what we call 'sandy 
 everlasting ' or ' cudweed,' a plant, with flowers somewhat resembling 
 the chrysanthemum, growing on sandy rocks. 
 
 1. 30. KCKovurpwos, ' sprinkled.' Other readings are 
 
 1. 32. Within the bowl are three pictures of rustic life : the coquette, 
 the old fisherman, and the boy watching the vineyard. Here, as in 
 many similar descriptions in classical authors, continued actions and 
 even thoughts and words are said to be represented in carving, a 
 picturesque licence which by some has been unjustly criticized. 
 
 1. 34. KaXov cdcipdgovTcs. Not a sign of nobility, but the ordinary 
 fashion of the Dorian race. It was among the Athenians that this was 
 a mark of luxury among the young nobles. 
 
 1. 39. TOIS 8J JXCTO, 'besides these;' for this dative, see 17. 84 and 
 25. 129.
 
 i2 4 IDYLL I. 
 
 1. 40. The fisherman is in the act of gathering up his net for a cast. 
 1. 41. See on 3. 3. 
 
 1.42. tXXomevetv. See Soph. Aj. 1267 lAAofs \\Qvaiv. Cp. Hes. 
 Scut. 212 foil, for a similar description of fishing : 
 dpyuptoi 5(\<pTvts e9otvan> I AXorray Ix^vs, 
 rS>v S' VTTO x a ^ Kf <- 1 Tpfov Ix^vfs' avrdp ITT* O.KTCUS 
 IfffTO dvrjp uAtei/y o'fdoKij/j.tvos, fix* Si \(palv 
 IxOvffiv dfj.<pifi\r]ffTpov diropptyovn toiKus. 
 
 1. 45. Homer also similarly describes a vineyard, II. 18. 561, and Hes. 
 Scut. 293 foil. 
 
 ol 5' aZr' (s TO\apovs f<popfw vnb rpvyijT'fjpcav 
 \tVKOvs teal fie\avas ftorpvas ^eyaXoiv dirb opxow 
 PpiOoufvcuv (f>v\\otffi /cat dpyvptys e\'uceaai.v. 
 
 This is a charming picture of rustic life ; the boy set to watch the vine- 
 yard and keep out the foxes, becomes absorbed in weaving a trap or 
 cage for locusts. Foxes had the reputation of being grape-stealers, as 
 in Song of Solomon 2. 15, and the well-known fable of Aesop ; also in 
 the ' sweet low Idyll ' in Tennyson's Princess, ' fox-like in the vine.' 
 
 1. 46. iTvppaiais. Etymologically connected with irvp, ' bright yellow.' 
 
 1.47. oXCyos, in the unusual sense of 'small,' again 22. 113, and 
 Horn. Od. 9. 515. 
 
 1. 48. opx<os, from the same root as 5p\aros, ' orchard.' Here, the 
 rows in which the vines were planted. 
 
 1. 50. The sense of this difficult passage is plain enough ; the fox is 
 determined to eat the contents of the boy's wallet and so render him 
 dinnerless. The text as it stands admits of two interpretations : (i) 
 dxpariffTov with the second syllable long, means having lunched, and so 
 must be taken with kitl fapoiai as a rather forced expression for having 
 had no luncheon at all ; as badly off as a fish out of water : (ii) dicpd- 
 TIOTOV with the second syllable short, as if from aparta, might mean not 
 master of any food : then tul fapoiffi goes with icaOi^y, put him on dry 
 allowance. Neither of these can be called satisfactory. Another read- 
 ing is irplv ij 'vapiffrov, i. e. dvapiarov, dinnerless, which word occurs 
 15. 147. Perhaps dapana^v, which is gathered from the Scholia, may 
 solve the difficulty. This word is explained in Athenaeus, Deip. 1 1. C. 
 TO irpwivov tfiPpaifta, 6 Tf/tefs dKpa.riap.bv Ka\ovp.tv, Sid rb iv d/cpdrca 
 /3pex "' KC ^ irpoaifffOcu. if/ca/tovs. At all events lirl fcrjpoiai goes better 
 with teaOify than with aKpanarov. 
 
 1. 52. &Kpi5o0T|pav, a locust-trap. The locusts injured the vines ; see 
 5. 108. dv0piKo-o-i probably means stalks of asphodel, though this 
 meaning is generally confined to the form dvQtpiicos. And perhaps we 
 should with Meineke read
 
 NOTES. 125 
 
 1. 55. vryp6s, pliant. Cp. vypov vairov of the eagle in Find. Pyth. i. 
 17. The handles are carved in imitation of acanthus, branching out all 
 round the bowl. Cp. Virg. E. 3. 45. 
 
 axavOos. This is probably the Acanthus spinosus, whose flowers are 
 tinged with pink, and leaves are spiny. From this species or from A. 
 mollis was taken the idea of the Corinthian capital in Grecian architecture. 
 
 1. 56. aioXCxov. This word, which is not recognized by Liddell and 
 Scott, is substituted by Ahrens and Fritzsche for AtoAt/cdi'. The latter 
 defends it as a formation from ai6\os analogous to that ofirvppixos from 
 mppos. Aeolis might be either the ancient name of the town of Calydon, 
 or of the district in Aetolia in which Calydon and Pleuron were situated. 
 See Thucyd. 3. 102 fs TT)P AioAi'Sa rfjv vvv Ka\ovfj.(vr)i> Ka\vSS>va oi 
 n\fvpuva KO! Is rcL ravTTi xapia. But this is irrelevant if K.a\vScavla> in 
 the next line is wrong. I doubt the reading Ka\v$a'i<v. What would 
 a ferryman of Calydon be doing either in Sicily or Cos ? His business 
 would be to ply between Calydon and the Peloponnese. One could 
 better understand iropOjjai'C K.a\v8viw, ' of Calydnae ' small islands close 
 to Cos (Horn. II. 2. 677). This would fix the scene at Cos. 
 
 OtTjjxa, a necessary alteration from 6a.rj/j.a (whose first syllable is long), 
 unless n be omitted, which however is needed. 
 
 TV (enclitic) here and elsewhere (e. g. 1. 60) the Doric form of the 
 accusative of ffv. 
 
 1. 57. TU>, genitive of price. 
 
 1. 58. rvpoevra. This becomes a trisyllable by the compression of 
 the two middle syllables into one, (as in the Latin words ' fortuitus,' 
 'arcuatus,') which is called synizesis. 
 
 1. 59. Cp. Virg. E. 3. 47. irorl . . . Oiyev are separated by tmesis. 
 
 1. 63. K\\iOovTa, ' which causes to forget.' 
 
 1. 64. Here begin the chief beauties of this Idyll, contained in the 
 tragical story of Daphnis, imitated by Virgil, E. 10. 9 foil., and 5. 27, 
 37 foil., and by Milton in language more nearly approaching the ele- 
 gance of the original, in his ' Lycidas.' See Appendix, Idyll I. 
 
 Daphnis had boasted that he could not be made faithless to his bride 
 Nais ; and Venus in revenge had punished him with an irresistible 
 passion for a maiden (see 7. 73, and 8. 93) who also loved him. But 
 being too proud to acknowledge himself defeated, he dies, and at his 
 death all nature weeps as for a lost friend. This strictly pastoral idea 
 is carried out still more at length in Moschus, Epit. Bion. 
 
 1. 68. -TTOTajiui yt. ' You certainly were not ' (wherever else you were) 
 near his native streams. 
 
 1. 78. IpcUrai, v. 1. Ipaffffcu from Ipafuu. The use of t/xiojucu as depo- 
 nent is very doubtful.
 
 126 IDYLL I. 
 
 11. 80 foil. The shepherds cannot understand his state of mind. 
 Priapus, knowing the real cause, pretends not to understand, and banters 
 him for not yielding to his love for a maiden who is following him about 
 everywhere. 
 
 1. 85. These words appear to be ironical. ' So very unlucky in love 
 and helpless you are ! ' with such a chance of a successful wooing ! 
 
 1. 95. Observe -y jjtdv, however. He did answer Venus, though he 
 would not the herdsmen. 
 
 1. 96. XdOpT]. It appears here as if the sense of the passage required 
 a word of exactly the opposite meaning to this : for our first idea is of 
 Venus appearing smilingly, but having a rankling spite in her heart. In 
 that case we look for a word like ' openly ' to join with yf\&o\.<ra. ; 
 unless we can force the meaning of XdOptj into ' treacherously,' like 
 Horace's 'perfidum ridens' Od. 3. 27, 67. Meineke mentions a con- 
 jecture adta, which he calls ' fortasse necessaria,' and Mr. Merry has 
 adopted in his Fourth Greek Reader : but it seems quite unnecessary, if 
 we understand that Venus was inwardly smiling, but outwardly show- 
 ing signs of anger, dvexoio-a might bear the sense ' prae se ferens,' 
 ' making a show of.' Moreover Daphnis seems to answer as if Venus 
 had spoken severely to him. 
 
 1. 102. If a note of interrogation is placed at the end of this line, the 
 sense is much easier, and a good use can be made of "yip. Thus, 
 ' What ? do you think that all my suns have set ? ' i. e. that my last 
 chance of revenge is lost ? not, ' that my last day has come.' For the 
 use of this proverbial expression cp. Livy 39. 26 'nondum omnium 
 dierum Solem occidisse.' The answer to this question follows in v. 103 : 
 ' [Not so :] Daphnis even in the grave will be a bitter vexation to Eros,' 
 because of his unyielding obstinacy. 
 
 On BeSvpKsiv, see note on 4. 7. 
 
 1. 105. The verb governing Tdv Kuirptv is understood : ' Where the 
 herdsman is said to have [charmed] Venus.' The general sense of this 
 and following lines is as follows : If you wish for the society of 
 shepherds to show your triumphs, go to your old favourites Anchises 
 and Adonis ; your victory is easy there ; then go to Diomede to remind 
 yourself that you are not invincible. 
 
 1. 106. Trjvel Spues, K.T.\. A proverbial expression which we meet 
 with again, 5. 45. It means here, ' You are better off there, you high 
 and mighty people, than among us poor rustics.' 
 
 KviiTsipos, ' cyper-grass,' a coarse marsh-grass or sedge, very frequently 
 mentioned. 
 
 1. 112. OTTCOS, after verbs of striving, &c., takes the future indica- 
 tive or, less frequently, the subjunctive, after primary tenses. See
 
 NOTES. 127 
 
 Goodwin's Syntax of Greek Moods and Tenses, enlarged edition, 
 
 339- 
 
 1. 113. dXXd is not simply but : rather, as challenging, ' Come then.' 
 
 1. 117. So Ajax in Soph. Aj. 862 bids farewell to the springs and 
 rivers : Kpijvai re WOTO/IOI 9' otSe X a 'P 6T '- 
 
 1. 120. Cp. Virg. E. 5. 43. 
 
 1. 123. Cp. Virg. G. I. 16, 17. 
 
 1. 125. "EXCicas, ' of Helice/ orCallisto, daughter of Lycaon, (whence 
 AxiKacmSao in 1. 126). Her tomb was shown to Pausanias by the 
 Arcadians. See Diet, of Mythology, Art. Callisto. Pan is invited to 
 leave his haunts in Arcadia and come to Sicily. 
 
 Xiir' -fjpCov. I have here declined to adopt Fritzsche's reading Xnre /5oi/. 
 
 1. 127. Cp. Virg. E. 8. 61. 
 
 1. 128. Construe K ictjpw with ncXtirvow, 'breathing sweet odour from 
 the wax.' 
 
 1. 129. irpl x*i^s, ' to fit the lip,'i. e. curved so that each reed would 
 lie close to the face. 
 
 11. 132 foil. Let all the laws of nature be reversed, now that Daphnis 
 is dying. Cp. Virg. E. 3. 89, and 8. 52 foil., where Virgil has appa- 
 rently mistaken tva\\a for tva\ia by his expression ' Omnia vel medium 
 fiant mare.' 
 
 1. 133. vdpicio-o-os. The variety called Narcissus poeticus, which has 
 a dark purple or crimson edge to its central cup or nectary. Hence 
 Virgil's epithet ' purpureus.' 
 
 1. 1 38. Cp. 7. 90, a corroboration of dirtiravo-aro rather than dvcaav- 
 aa-ro, ' he died." 
 
 1. 140. ?pa p6ov, i. e. 'Axtpovros. 
 
 1. 147. There is an objection to the form Aty'Xw, that the name of 
 this deme of Attica was AtyAia. So it is possible that AtyoAw, con- 
 tracted from AtyaAf'w, may be a better reading. This would mean, ' from 
 Mount Aegaleos,' the hill whence Xerxes viewed the battle of Salamis. 
 
 1. 149. Odo-ai, 'notice, perceive.' Used also for ' listen," in 10. 41. 
 
 1. 1 50. 'flpav Kpdvaun. The Horae are givers of freshness, fragrance, 
 and refinement. 
 
 IDYLL II. 
 
 THIS is one of the three distinctly Mimic Idylls. See Prelim. Rem. 
 pp. xv, xvi. It also was probably written in Cos ; and the introduction 
 of Delphis, an inhabitant of Myndus, a town in the W. of Caria, points to 
 Cos as the scene of the incantation.
 
 128 IDYLL II. 
 
 A woman named Simaetha is represented as endeavouring by means 
 of various magic arts, practised at midnight under the influence of a full 
 moon, to regain the lost affections of a lover. Similar incantation scenes 
 are to be found in Hor. Epod. 5, Virg. E. 8. 64 foil., and in the account 
 of Medea's restoration of Aeson to youth in Ov. M. 7. 180 foil. 
 
 Here Simaetha first addresses her servant Thestylis ; and after line 62 
 tells her tale to the moon, whose attention she is supposed to have 
 aroused. 
 
 1. 2. dtoro), ' the bloom of the sheep,' i. e. wool. The word auras in 
 its original sense seems to denote bloom or flower ; hence the choicest 
 part of anything, as the bloom is of a plant. See 13. 27. The colour 
 of the wool was that usually adopted in mystic rites. Cp. Virg. Aen. 3. 
 405, and Aesch. Eum. 1028 Qoivi/toflairrois ivSvrois (ffOrHMffi. 
 
 1. 3 . Pap wtvvTo, ' who will vex me,' fut. participle. 
 
 1. 4. The forms of numeral adjectives in -cues signify so many days old. 
 So here BcoBeKOTcuos, ' twelve days older since he,' &c. 
 
 1. 6. Observe that the -as of the feminine ace. pi. is here, contrary to 
 the Doric usage, lengthened. Cp. 5. 121, the word ypaias : but see note 
 there. 
 
 1. 9. ota here is equivalent to on rotavra. 
 
 1. 10. Cp. the invocation in Hor. Epod. 5. 51. 
 
 1. 12. x^ovCcj "EKO/T^, Diana in her character of ruler of the infernal 
 
 regions. 
 
 1. 15. ifpSoura, causing these charms to be as effectual as those of Circe, 
 &c. Observe the abbreviated comparison ' less potent than Circe,' for 
 ' less potent than those of Circe.' See 5. 57. 
 
 1. 1 6. Perimede. Possibly the same as Agamede, who is mentioned 
 Horn. II. ii. 730. Cp. Propert. 2. 4, 18 
 
 'Perimedea gramina cocta mann.' 
 
 1. 17. tv-y|. This is generally supposed to be a bird, the wryneck, 
 which, fastened to the magic wheel, exercised some mystic attraction 
 upon the object of the charm. See Find. Pyth. 4. 214 -noiKiKav ivy^a 
 reTpOKvafiov Ov\vfj.Tr60fv Iv d\vry evaiffa KvK\y ftaivao'' opviv Kinrpo- 
 fttxia <f>(ptv TfpwTov avOp&iroiffi. Hence the word came to be used to 
 signify ' charm ' or ' attraction,' e. g. Aesch. Pers. 990 
 
 tvyya noi STJT' dyaOaiv frdpcav tu 
 and Pind. Nem. 4. 35 
 
 8' (\Kijfj.ai
 
 NOTES. 129' 
 
 Philostratus (Apoll. Ty. i. 25) mentions xpvaai ivyyfs suspended 
 from the roof of the audience-chamber in the King of Babylon's Palace 
 r^v^ASpaaretav CLVTW irapcyyvu/ffai, Kal rop.^ inr^p rovs avOpunrovs aipfffOai 
 and says that the Magi called them Otwv y\wffaas. He also mentions 
 (Apoll. Ty. vi. 1 1) the same as suspended in the temple at Delphi, aeip-f)- 
 vtuv rtvcL eTTfxovaras ireiOu. Pausanias (x. 5. 5) speaking of the third 
 Temple of Apollo, affirms his disbelief in the existence of the cpSol 
 Xpvffai, of which Pindar sang 
 
 Xpvfftat 5' l virepyov dftSov icr)\i)$6v(s (Find. Fr. 25). 
 The wheel (mentioned v. 30 as /5o/x/3os x^* tos ) had to be turned in one 
 direction, since an opposite effect was produced by the contrary revolu- 
 tion. See Hor. Epod. 17. 7. 
 
 1. 1 8. d\4>iTa, i. e. in imitation of a sacrifice, where the head of the 
 victim before death was sprinkled with roasted barley-meal (OV\OXVTCU~) 
 mixed with salt. Cp. Virg. E. 8. 84 ' sparge molam.' 
 
 1. 19. See n. 72, the same expression. Cp. Hdt. 3. 155 efw\(aaas 
 rSiv <f>p(vwv. 
 
 Expressions of impatience with slaves are characteristic of Mimic 
 poetry. See Id. 15. 27 foil. Many instances occur in Herodas' 
 Mimiambics, e. g. 
 
 ov ffot \tyca avrri rfj cDSe x^ f \aaKovffri ; (4. 42 .) 
 Again, A/0oy ns ov SOV\TJ iv Ty OIKITJ pev (Is ; (6. 4.) 
 And, Apiftv\cu <fxavfoa, ir&Xiv KaOfvdfts ; (7. 5.) 
 Also, Vv\\a, ftfxpis rf v Kfiffd pificovaa.; (8. i.) 
 
 1. 23. Cp. Virg. E. 8. 83. 
 
 1. 24. The crackling of these leaves was a good omen. Cp. Tib. 
 2. 5, 81 
 
 ' Et succensa sacris crepitet bene laurea flammis, 
 omine quo felix et sacer annus erit.' 
 
 1. 29. Myndus was a small town in Caria, or Arcadia authorities 
 differ. 
 
 1. 31 . Beware of construing ' thus may he be whirled to our doors : ' but 
 remember irorC with dative means ' at." ' Thus may he spin (or reel) as 
 he stands at my door.' Calverley wrongly translates, ' May Aphrodite 
 whirl him to my door.' Cp. Tib. I. 5, 3 
 
 ' Agor ut per plana citus sola verbere turbo.' 
 
 1. 34. TOV v $80 d8dp.avTa. A figurative expression for the ' inexorable 
 decrees of Pluto.' dSdpas was a term applied by the ancients to the 
 hardest metallic substance they knew ; properly to the refuse given off 
 in the smelting of ores containing gold. Both by Greek and Latin 
 poets it is used figuratively as here ; cp. 3. 39, and Mart. 7. 99 
 'Pontice, voce tua posses adamanta movere.' 
 K
 
 i 3 o IDYLL II. 
 
 And Propert. 4. II, 4 
 
 'Ut semel infernas intrarunt funera leges, 
 
 non exorato stant adamante viae.' 
 
 1. 35. Dogs bark at the supposed approach of the goddess. Cp. Virg. 
 Aen. 6. 257. The cymbal or gong must then be struck, to keep off evil 
 spirits. The same effect was supposed in the middle ages to be pro- 
 duced by bells. 
 
 1. 38. Cp. Virg. E. 9. 57 and Aen. 4. 522-528. 
 
 1. 55. Cp. Soph. El. 785, Hor. A. P. 476, and Herodas, Mim. v. 7 
 
 \ptOJ HOI OK7) 00V\fl 
 
 not fja) r& IJKV af/Mi VVKTO. xfjfiffrrjv vTvt. 
 
 1. 58. The reptile generally used for poisonous charms was the rubeta, 
 toad (?) : cp. Juv. I. 69, Propert. 3. 6, 27 
 
 'Ilium turgentis ranae portenta rubetae trahunt.' 
 Cp. Shakespeare, Macbeth, Act 4. So. i. 
 
 1. 61. irout. We should expect irowirai : cp. 3. 33. 
 
 1. 62. Cp. 6. 39. This spitting was for self-preservation from the 
 effects of the charm she was administering. 
 
 1. 64. Observe the accentuation ; SaKpvo-o), not Saiepvaw. See Good- 
 win's Syntax of Greek Moods and Tenses, 287, on Interrogative Sub- 
 junctive. 
 
 1. 66. Join Kava4>opos with fy9t. ' Came in the capacity of basket- 
 bearer.' Look out Kava<}>6pos in Diet, of Antiquities. Here the occa- 
 sion is of a maiden propitiating Artemis before marriage. Pausanias 
 gives an account (7. 18, n) of a festival at Patrae, on the second 
 day of which birds and beasts of all kinds, provided for that purpose 
 by public and private munificence, were brought to be sacrificed to 
 Artemis Laphria. 
 
 1. 70. The nurse of Simaetha was then in the service of Theumaridas, 
 a neighbour, and had since died. The word jxaKapms is rare in feminine. 
 Herodas uses it (Mim. 6. 55). The word 0p$<r<ra merely means a 
 maid-servant, called by the name of her country ; so in Arist Ach. 256 
 -rtjfv ^rpvpoSupov parrav, and Plat. Theaet. 1 74 A and C. Similarly 
 ' Lydus ' and ' Geta ' in the Latin comedies, as names of slaves. 
 
 1. 74. Simaetha, to be smart on the occasion, borrowed the VOTIS, 
 or long cloak, belonging to Cleariste. That this was a common 
 practice is shown by 
 
 imp e/jiov \prjacu. iro\VTrr)va tpapta, SvfCU, 
 
 Eur. El. 191, 
 and, ' Ut spectet ludos conducit Ognlnia vestem.' 
 
 Juv. 6. 352. 
 
 1. 76. |x<rav, ' half-way.' See 7. 10.
 
 NOTES. 131 
 
 rd AVKUVOS, ' the house of Lyco.' 
 1. 78. On IXixpwroio, see i. 30, note. 
 1. 79. Cp. &s 8J 
 
 ffTfjOfffiv afup' aira\oiaiv f<paivfTO 
 
 Horn. Hym. Ven. 89. 
 'Candor erat qualem praefert Latonia Luna.' 
 
 Tibull. 3. 4, 39. 
 
 1. 80. The dir6 is separated from Xiir6vTwv by tmesis, and must be '" 
 restored to it in construing. The construction is genitive absolute. 
 
 1. 82. Cp. 3. 42, and Horn. II. 14. 294. So with ' ut ' in Latin, Virg. 
 E. 8. 41, Ov. Her. 12. 33. Also with 'dum,' Catull. 62. 45. 
 1. 85. Compare Senec. Hippol. 279 
 
 'Labitur omnis furor in medullas 
 igne furtivo populante venas.' 
 1. 88. Cp. ' oraque buxo Pallidiora gerens,' 
 
 Ov. M. 4. 134, 
 and 'nimius luto corpora tingit amor,' 
 
 Tib. i. 8, 52, 
 
 and Hor. Od. 3. 10, 14. Yellow is the natural hue of paleness in a 
 swarthy complexion. iroXXdia here means ' very much,' as in I. 144 
 and 5. 57. Observe 6dt|/cp the dative according to Theocritus' usage 
 with 6p.olos. Cp. 5. 48 ; 8. 37 ; 18. ai. 
 
 1. 89. avrd ocrria, ' my very bones ; ' i. e. nothing but my bones. See 
 the same again, 4. 15. Cp. Plaut. Aulul. 520 
 
 ' Ossa atque pellis totu'st ita cura macet.' 
 Id. Capt. 67 
 
 ' Ossa atque pellis sum miser a macritudine.' 
 1. 90. Cp. Eur. Androm. 299 
 
 T'IV' oiiK firi)\0( ; iroiov OVK (\iafftro ', 
 1. 91. IXwrov, ' did I leave unvisited.' 
 
 I. 104. See Horn. II. 9. 409 
 
 iirel op Ktv dfj.ttyfTcu 'ipicos 6S6vro)v : 
 and id. Od. 10. 328 
 
 Kal irpwTov dfjittyfTat %picos oSovrcov : 
 where the word dp.eipop.ai has the same meaning, i. e. ' to pass over.' 
 
 II. 106 foil. Cp. Sappho, Frag. 2 
 
 d Sf ft ISpws KdKxtfTai, rp6fj.os St 
 
 aypa, x\(apor^pa 8J iroias 
 i, rt&v6.Ki]v 8' 6\iya} ViSeuT/s 
 (dAAa), 
 
 Bergk. Anthol. Lyr. p. 363, 
 K 2
 
 133 IDYLL IL 
 
 and Hor. Od. i. 13, 6 ; also Racine, Phedre i. 3 
 
 ' Je le vis, je rougis, je p&lis a sa vue ; 
 Un trouble s'eleva dans mon ame eperdue ; 
 Mes yeux ne voyaient plus, je ne pouvais parler, 
 Je sentis tout mon corps et transir et bruler.' 
 
 I. 109 foil. KVVVVT(H, ' whimper.' Cp. 6. 30. 
 
 II. 114 foil. ctyOcuras . . . KaXtcracra . . . TJ n irapTJuev. Any finite 
 tense of (p06.v<u with a participle of another verb is equivalent to the 
 corresponding tense of that verb followed by irpiv. The words above 
 therefore would be replaced by ticaKt <ras irpiv TJ ne vapfjpev, ' you sent 
 for me before I came of my own accord ; TO<TOV, just so much (or rather, 
 so little) before, as I was before Philinus in the race.' Cp. a precisely 
 similar construction of tpOdvca in Hdt. 6. 108 <p6air]Tf av iro\\aKi$ tav- 
 5panoSia6fVTfs fj nvci irvOfaOai. This sentence, simplified as above, 
 becomes 7roXAd/s av fav5pairo5ia0eir)Te irpiv fj irvdeffOau, K.T.\. 
 
 1. 1 1 8. The conditional particle tea (not /cot) is concealed in K-t\y<av, 
 as the sense demands. JjvOov KO, ' I should have come ' (if you had not 
 sent for me). 
 
 1. 119. 'Myself the third or fourth;' i. e. with two or three others. 
 avTiKa vwKr6s, ' this very night.' 
 
 1. 1 20. Apples were the gift of lovers, and emblems of love. See 
 3. 10 ; ii. 10; Virg. E. 3. 70. It is not so clear why they should be 
 called apples of Dionysus. The Scholiast quotes a passage from 
 Philetas (?) 
 
 fj.a\a <j,fp<ov K6\iroiai ra of wore Kvirpis lAotira 
 
 SOapa Atcavvcrov SoiiKfv airb KpoTcupaiv, 
 
 which refers to the golden apples of Hippomenes, to show that Bacchus 
 first introduced that fruit. 
 1. 121. Cp. Ov. Her. 9. 64 
 
 ' Aptior Herculeae populus alba comae ; ' 
 
 and Virg. E. 7. 61. Delphis wore a garland of the leaves of this tree 
 as an athlete, and therefore under the protection of Hercules. 
 
 1. 1 24. The K belongs to TJS. Fritzsche, however, reads /i' el fitv K', 
 in which case will belong to t. 
 1. 126. tv86v KO,, ' I should have been content,' 
 
 1. 128. For the adoption of violent measures by lovers to break in 
 or burn the doors that shut them out, see Hor. Od. 3. 26, 6, and 
 Tib. i. i, 73 
 
 ' frangere postes non pudet ; ' 
 and Ov. Am. i. 9, 19 
 
 'Ille graves urbes, hie durae limen amicae 
 obsidet : hie portas frangit, at ille fores.'
 
 NOTES. 133 
 
 1. 133. Aiirapatou. The workshop of Hephaestus was in the island 
 of Lipara. Ovid, Her. 15. 12, compares love to the fire of Aetna, 
 
 ' Me calor Aetnaeo non minor igne coquit/ 
 Cp. Cat. 68. 53 
 
 ' Quum tantum arderem, quantum Trinacria rupes.' 
 1. 157. See 1. 4. 
 1. 161. Cp. Virg. E. 8. 95. 
 
 IDYLL III. 
 
 The Serenader. 
 
 THIS and the succeeding Idylls, as far as the gth inclusive, are in the 
 purely Bucolic style. 
 
 A goatherd, who may be Battus (see Id. 4. 38), serenades Amaryllis, 
 who is resting in a cave. Possibly the avrpov of 11. 6 and 13 is the hut 
 in which she lives, half naturally, half artificially made in the rock. 
 There is nothing to fix the scene of this serenade. It may be either 
 Cos or S. Italy. 
 
 1. 2. See 2. 6, note. 
 
 1. 3. TO Ka\6v. The article with the neuter adjective is a common 
 substitute in Theocritus for the adverb. Cp. 1. 18; i. 15 and 51; 
 5. 126; 10. 48; also occasionally the neuter adjective without the 
 article. See 8. 16 ; 13. 69. Mr. Hicks, in his Emendations of Herodas 
 (Classical Rev., Oct. 1891), quotes this use in support of his reading 
 r& itaXov in Herodas, i. 54. These lines are closely imitated by Virg. 
 E. 9 . 23. 
 
 I. 5. icvdicwva.. Cp. 7. 66, and i. 23. 
 
 II. 6 foil. There is a difficulty here at the commencement of arranging 
 the lines in the groups of three which are, except in the first six lines 
 and the 24th, quite regular. Perhaps a line has been lost after 1. 11, 
 and 1. 9 afterwards inserted to make up the six lines into distichs. 
 Upon that supposition, the first tristich will end at $/tcx; the second, 
 incomplete, at olaGi. 
 
 1. 7. irapKvn-Toura is a word especially appropriate to a person look- 
 ing out of a window or door. 
 
 1. 8. <rt|i6s. A peculiarity of goats, which is always preserved in 
 representations of Satyrs. It expresses the flatness of the nose. Cp. 
 8. 50.
 
 I34 IDYLL III. 
 
 1. 9. irpoY&ios, another similarly characteristic feature. Cp. Virg. 
 E. 2. 7- 
 
 1. 10. Cp. Virg. E. 3. 70; Prop. 4. 12, 17 
 
 'Illis munus erat decussa Cydonia (quinces) ramo.' 
 
 1. 13. i poptpevora jxtXicraa. This wish is no doubt supposed to be sug- 
 gested by seeing the bee. ' Would that I were^K buzzing bee ! ' 
 
 1. 15. Cp. Virg. E. 8. 43, and Aen. 4. 367, also Catul. 64. 154 
 ' Quaenam te genuit sola sub rape leaena ? ' 
 
 1. 1 8. Kv4vo<j>pv. The dark eyebrow, as well as the junction of the 
 two eyebrows across the forehead (see on 8. 72), was a sign of beauty. 
 Cp. 17. 53J and Anacr. 29. 10 
 
 ffrttperoj fjifTonrov cxppvs tcvavcartpa SpaaovTarv. 
 
 1. 21. Aeirrd, into small pieces, like rvrOct. Stor/iijfos. Horn. Od. 
 12. 174. 
 
 1. 23. KoX\iiom, ' buds (of roses).' For the combining of ivy and 
 celery, see Hor. Od. 4. u, 3. 
 
 o-eXtvots, from the epithet, must be taken to be identical with our 
 wild celery which is an umbelliferous plant with a strong smell, like 
 that of garden celery. 
 
 After this line imagine a pause, while the goatherd waits for an 
 answer. Receiving none, he continues, after the interjectory line 24, 
 in the same arrangement of tristichs, which is uninterrupted to the end. 
 
 1. 25. Cp. Virg. E. 8. 59. 
 
 1. 26. The thunny fish was common in shoals off the Sicilian coast, 
 and was caught in nets, a signal being given by the look-out man 
 (9vvvoffK6iros~) for the letting-down of the nets into the shoal. So -in 
 the Cornish pilchard fishery a look-out man is stationed on St. Michael's 
 Mount to give notice of the approach of the shoal. Cp. Aristoph. Eq. 
 300, where Kleon is said robs rr6povs OvvvoffKoirfTv. When they were 
 enclosed in the nets, it appears (from Aesch. Pers. 430, describing the 
 destruction of the Persian fleet at Salamis) to have been the custom to 
 beat them to death. 
 
 1. 27. There is a question whether to read \n,-f\ or 817 in this line. 
 There appears to be most authority for p,T|, although the last two lines of 
 the Idyll offer an argument slightly in favour of By/. 
 
 1. 28. (itpvapcvcp, mentioning your name, to try by the rr]\((pi\ov if 
 you loved me : cp. 7. 69. The leaves of the poppy (see n. 57) were 
 placed somehow on the hand or arm so that when struck by the other 
 hand they might (if the omen were favourable) give a loud crack 
 (ir\a,T&yr)nd). Possibly the leaf was placed upon the thumb and fore- 
 finger, over a hollow made by partially closing the hand. Boys do this 
 now-a-days with the leaves of the lime-tree. But are we bound to
 
 NOTES. 135 
 
 consider the rrj\f<f>iXov to be the poppy leaf? May it not be the pod or 
 seed-vessel of some plant which was laid on the arm and struck, and 
 gave a favourable omen by cracking loudly and spurting the juice over 
 the arm ? 
 
 1. 29. TTOTeitdSoTO TO ir\aT(lYl|Act may be translated 'made a smear with 
 its crack,' but the reading is very doubtful. Others read voTtftafd/itvov 
 (or iroTifiafafifvqi) irXaTdyrjfffv, i. e. ' cracked when it was smeared," or 
 ' when I smeared it.' Cp. the use of /x<iaro in the following : 
 
 fi6^aro Ktaavftiov, 
 (i. e. smeared the inside of the fortune-telling bowl) 
 
 tyvcav us </>t\es pe. Agath. Epig. 9. 
 
 1. 34. Cp. Virg. E. 2. 42. 
 
 1. 35. p.(Xav6xpws, i. e. 'ugly.' Cp. 10. 26 and u. 19. 
 1. 36. IvStaOpvirrn, ' give yourself airs.' So in 6. 15 and 15. 99. 
 1. 37. Another common superstition, denoting that something wished 
 for was about to happen. Cp. Plaut. Pseud. 1. 1, 105 
 ' futurum est, ita supercilium salit.' 
 1. 42. us ... <*>s. See 2. 82, and note there. 
 
 1. 54. YVOITO, without av, may be used potentially, but it is perhaps 
 better to take it as a wish, ' May this be as sweet to you as a mouthful 
 of honey ! ' 
 
 IDYLL IV. 
 
 A CONVERSATION between Battus a goatherd, and Corydon a cowherd, 
 about the absence of Aegon, the master of the latter, and the neglected 
 condition of his cattle. Like most of these bucolic dialogues it abounds 
 in proverbs. The scene is Croton in Italy, where also the poem was 
 probably written. Battus throughout is represented as a wag, whose 
 jokes Corydon does not quite understand. 
 
 1. i. Cp. Virg. E. 3. i foil. 
 
 1. 3. |/e by transposition of <f> and a for <r<e. Battus here begins his 
 ridicule of Corydon. 
 
 1. 4. 6 Y^pwv. Aegon's father. 
 
 1. 6. Corydon is rather proud of his master's supposed distinction in 
 being taken to contend at Olympia as a boxer : see 1. 33. Milo, the 
 famous wrestler of Croton, lived long before Theocritus, about 510 B. c.
 
 136 IDYLL IV. 
 
 Either the poet refers this dialogue to that period, or uses the name 
 Milo merely as a generic name for a champion wrestler. 
 
 1. 7. Kal iroKa. Kai before an interrogative never has its usual conjunc- 
 tive force : but implies objection or incredulity. Here translate it ' I 
 should like to know when.' When Kai is used as a conjtmction with 
 the interrogatives irws, iroi, ris, &c., it follows them. See Porson on Eur. 
 Phoen. 1367, and examples quoted there. Compare with the expression 
 c\aiov 6-ircoireu, the English ' to smell gunpowder.' 
 
 The word oin&irci, in form pluperfect, has apparently the signification 
 of the perfect. Precisely similar forms are Ae Xo7x 4. 40, ireiroiOd 5.28, 
 Trt<f>vKfi 5.33, iT(ir6v()tis io. i, TipvK(i ii. i. An explanation of this 
 usage of the pluperfect may be that the speaker is referring to some 
 other time at which the action was perfect, for instance in the two 
 examples of this Idyll : ' Was there a time in which it could be 
 said of him, that he had seen oil before ? ' and in 6. 40 ' Alas, for the 
 hard luck, of which it could then be said that it had marked me for 
 its own ! ' But in 5. 33 ; io. i, where vvv is joined with it, and in 
 ii. i, I cannot see how this is to be applied ; and the forms StSviceiv 
 i. 102 and SfSo'mca 15. 58, seem to point to a Doric form of the perfect 
 inflected like the present, which may justify the rejection of the above 
 explanation. 
 
 1. 9. Battus still banters him, while Corydon is in earnest. This is 
 evident in each line of Battus. Pollux as a boxer is celebrated in Id. 22. 
 
 1. io. o-Ko/irdvav : this would be for the preliminary matches in digging 
 up sand, which formed part of the month's training for the boxers ; 
 called trapopvTTfiv. 
 
 ciKarv p,a\a, for his food during that month. 
 
 I. ii. This line presents considerable difficulty, and has caused in- 
 genious persons to rack their brains for all kinds of emendations, such as 
 
 Kcir TUJ \VKOJ d/jLviSa \vaffrjv : 
 
 ' Milo would even excite the lamb to fury against the wolf,' i. e. if he 
 can put pugilistic ardour into Aegon. Other readings suggested instead 
 of XVKOS are \ayos or \i0os, as alluding to Aegon's timidity or apathy. 
 But there seems to be no need of alteration ; Corydon has just mentioned 
 with pride that his master has to devour twenty sheep for his training. 
 ' What a wolf! ' thinks Battus, ' Milo will be hounding the wolves on 
 to the flock next (aiiriKa) 1 ' for AVKOS ace. plur., see Prelim. Rem. 
 p. xix. 
 
 II. 1 2 foil. Each has his reason for the bad condition of the cattle : 
 Corydon, that they are pining for their master ; Battus, that Corydon 
 neglects them. And by (3ovic6\ov KCLKOV Battus understands Corydon ; 
 but Corydon, Aegon.
 
 NOTES. 137 
 
 1. 15. avrrd. See 2. 89 and 5. 85. 
 
 1. 1 6. Anac. 42. i 
 
 ftatcapi^ofjifi' at, rerrtf, 
 ore StvSpfcov ir' aicpcav 
 
 0affi\fi>s ovus dfitiets, 
 and Virg. E. 5. 77. 
 
 1. 17. Corydon's stupidity is most amusing. He takes it all in 
 earnest. 
 
 Aesarus, a river flowing through Croton. Livy, 24. 3, gives a 
 description of the city, in which were ' flumen, . . . medio oppido ' and 
 ' laeta pascua ubi omnis generis sacrum Deae pascebatur pecus sine ullo 
 pastore.' 
 
 Latymnus, a hill in the vicinity. 
 
 ow 8dv. ' No, by mother earth.' AT/^TT;/) (Lat. ' Ceres ') being 
 equivalent to Tr) nrjrrjp. 
 
 1. 20. Cp. Virg. E. 3. 100. 
 
 1. 21. 'The descendants of Lampriades, I mean the townspeople." 
 He wishes them to have such a bull for sacrifice to Juno (i. e. luno 
 Lacinia, whose temple was close by, Virg. Aen. 3. 552 ; Livy, 24. 3), in 
 order that her anger might be roused against them for insulting her 
 with the offering of so meagre a beast. 
 
 1. 22. KaKoxpdo-jjwov. Readings vary between this and another equally 
 doubtful word, KaKo^pdfffMJV. 
 
 1. 23. ts TO M&XifAvov. Said to be the name of a hill. Some read 
 s 'S.TOfju&Xiia'ov, ' to Salt Lake's edges ' (Calverley). 
 
 1. 24. N^cuOov, a river ; mentioned with other neighbouring places in 
 Ov. M. 15. 51. 
 
 1. 25. alyiirvpos, a plant of which goats were fond. Sea-holly, 
 Eryngium maritimum, Linn. This plant has thick spiny leaves, whence 
 its name ; and grows near to the sea-shore. The flowers resemble 
 thistles ; the roots, prepared with sugar, were called in Queen Elizabeth's 
 time ' Kissing Comfits.' See Shakespeare, Merry Wives, Act 5. Sc. 5. 
 Colchester was long famous for this sweetmeat, and as lately as 
 1836. 
 
 icvvfa, either a kind of groundsel, Erigeron viscosum, Linn., or else 
 common fleabane, which grows on the moist margins of brooks, and 
 on wet bogs, and has a golden blossom. 
 
 neXiTtia, ' balm.' Chaucer, referring to some delicious odour, says, 
 ' As men a pot-full of baume held 
 Emong a basket-full of roses.' 
 
 1. 28. inia, Doric for (irafu, 2 sing. I aor. mid.
 
 138 IDYLL IV. 
 
 \. 30. Cp. Virg. E. 2. 37. 
 
 1. 31. Glauca, a harp-player of Chios. Pyrrhus, a lyric poet of 
 Erythrae. 
 
 1. 32. KaXd ir6Xis 5 re ZdicwOos. These were probably the words 
 of some song. ' I celebrate Croton (in the song) Fair Zacynthus, and 
 (I celebrate) the promontory,' &c. The song may be supposed to run 
 thus, ' Fair is Zacynthus, &c. . . . but fairer is Croton.' 
 
 1. 33. rd AoKivtov. Cp. Virg. Aen. 3. 552 ; Livy, 24. 3. 
 
 1. 34. Here an exploit of Milo [or of Astyanax the Milesian], and in 
 1. 35 one of Tithormus is attributed to Aegon. 
 
 1. 39. For the construction, cp. i. 8, note. 
 
 1. 40. See on 1. 7. For the meaning of XX6YX el > cp- Find. Ol. i. 53 
 d/cepSeia \(\oyx f OafuvcL Kaicay6povs. 
 
 1. 41. Here we have a string of proverbs. Cp. Tibul. 2. 6, 19 
 
 ' credula vitam 
 
 spes fovet et fore eras semper ait melius,' 
 and Hor. Od. 2. 10, 15. 
 
 1. 44. Cp. Virg. E. 3. 96. Their attention is now diverted to the 
 straying cattle. 
 
 1. 45. o-MP, the letter elided is a ; the word is used for driving 
 animals: and in the plural 5. 3 and 100. Remark the article and 
 nominative case used for vocative, as also 5. 100, ib. 102. 
 
 6 Acirap-yos, the same animal as KupaiOa in 1. 46, but Battus does not 
 know their names. 
 
 1. 47. vol TOV Ildva. The herdsman's oath. Again 5. 14 ; 5. 141 ; 
 6. 21. 
 
 1. 49. f>oiKov rd Xa-yp6Xov. The crook. See 7. 19 ; 9. 23 ; where 
 it is called Kopvva. In Homer, II. 23. 845, KaXavpcnf/. 
 
 Observe the construction of &s TV irAraga, the final particle with the 
 indicative mood. For other instances, see Goodwin, Syntax of G. M.and T. 
 (enlarged edition) 333. It implies that the action contemplated in 
 the final sentence is no longer possible. ' Would that I had my crook, 
 that I might have stricken you ; (but that cannot be) 1' Other instances 
 are in 7. 87 ; u. 55. Fritzsche, however, reads us TV irarafa ! trans- 
 lating it ' quam te percussissem ! ' and compares Id. 7. 87, but in his 
 note on that passage appears to take c&s as a final particle. 
 
 Here Battus runs after the straying animal, and gets a large thorn 
 firmly stuck into his ankle. 
 
 1. 51. app.oi, 'just now.' Aesch. P. V. 633 : cp. with it the Doric 
 forms, said to be Syracusan, ivSoT, ioi, ireSoi. See Prelim. Rem. 
 p. xix. 
 
 1. 52. TaTpoKTwXXtSes, (from fiT/xz/rros,) a kind of large thistle,
 
 NOTES. 139 
 
 Carthamus or Carduncellus lanatus, linn. A native of S. Europe and 
 N. Africa. 
 
 1. 53. 'Staring after her I was pricked.' 
 
 1. 54. A very graphic line : he sees it, he seizes it with his nails ; he 
 draws it out in triumph. 
 
 1. 55. Cp. 19. 6. 
 
 1. 56. W|Xiiros, also vrjXlirovs Soph. O. C. 349. 
 
 1. 57. pdjxvot, do-irdXadoi, prickly shrubs of considerable strength. 
 Plato, Rep. 616 A, represents tyrants in Hades tortured by being 
 dragged over dffira\aOoi : tT\Kov irapaL TT)V 6Sbv CKTUS fir' &aira\6.0<vv 
 
 KvdlTTOVTfS. 
 
 IDYLL V. 
 
 COMATAS, a goatherd in the service of Eumares, a native of Sybaris, 
 (i.' e. a descendant of one of the old inhabitants of Sybaris ; for Sybaris 
 was destroyed 510 B.C. by the people of Croton, and the colony of 
 Thnrium was founded in its place by the Athenians about 70 years 
 later,) and Laco, a shepherd in the service of Sibyrtas, a native of 
 Thurium, meet ; and after an interchange of mutual banter, proceed 
 to sing a match in alternate stanzas. In those contests (of which we 
 have another example in Idyll VIII) the challenger had to sing an 
 equal number of lines in reply to each stanza of his rival, to whom the 
 privilege of commencing belonged as receiving the challenge. The Idyll 
 was no doubt written about the same time as the preceding one, and 
 in the same country. 
 
 1. 2. vdicos, called fiaira in 1. 15 and 3. 25. 
 
 1. 4. irpwav, ' the other day.' See 15. 15. 
 
 1. 5. -iroCav. A particular use of wofos, implying a sneer, very frequent 
 in Aristophanes, answering to the English expression, ' The idea of a 
 pipe ! ' ' Stuff and nonsense about a pipe ! ' Cp. Virg. E. 3. 25 foil. 
 
 1. 7. KaXajxas avX6v, a single pipe with a tongue of straw, in contrast 
 to the ffvpiyf, which had seven or nine reeds cut in different lengths, 
 joined with wax. See 8. 18. Conington, in his notes on Virg. E. 3. 25, 
 and 1.2, interprets ' stipula stridenti ' and ' tenui avena ' as contemptuous 
 expressions for the reed of which the single pipe consisted : but they 
 more probably denote the straw which formed the vibrating tongue 
 inside the mouth piece of the tibia, as *oA<i/7 here denotes the same 
 part of the aiXta
 
 i 4 o IDYLL V. 
 
 1. 8. Observe the ironical retort of Xv0p to the SS>\e of Comatas. 
 
 1. 10. ov8^, ' not even your master Eumares has one to sleep in.' 
 
 1. 12. Cp. Virg. E. 3. 13 foil. : translate xal . . . KOI, 'not only, but 
 also.' 
 
 1. 13. rel Xoio-Ota. See on 3. 3. 
 
 1. 14. He swears by Pan (see on 4. 47), and by some image or shrine 
 of that god on the sea-shore, near which we may suppose this dialogue 
 to be held. For Pan was regarded by fishermen as protector, of the 
 sea-coast. Cp. 
 
 ndvn /xe r6v5' ifpfjs firl \iffcraSos, oiyuiXiTrjv 
 
 Ilara rbv fi/6pfj&jv rfjS' e<f>opov \intv<av, 
 ol 7/uir7jy eOevro. Anth. P. IO. IO. 
 
 The epithet aXi-nKayKTos, Soph. Aj. 695, may refer to this. 
 
 1. 1 6. (loveCs, ' in a panic frenzy : ' as a punishment for my perjury. 
 For Crathis, see Ov. M. 15. 215. Here aXotjjiav, and dpoifiav in 1. 20, 
 are optatives expressing a wish. 
 
 1. 17. Comatas answers by a similar appeal to the Nymphs, who 
 could also, according to the popular superstition, punish with temporary 
 insanity : any one thus afflicted being called vvfjupoXrjirTos. 
 
 1. 20. Daphnis' misfortunes are proverbial among the shepherds. See 
 on 1. 64. 
 
 I. 21. 0p.v. Cp. Latin ' ponere' Virg. E. 3. 36; and in English to 
 lay. So also Kttrat 1. 23. 
 
 II. 21, 22. tori (iJv ov8v Upov, a proverbial expression = ' 'tis not 
 worth much.' It is not Corban. Possibly there may be some allusion 
 to the sacred cattle mentioned in Livy, 2. 3. See on 4. 17. 
 
 1. 22. 8io.euron.ai. Following dye, this is probably subjunctive. 
 
 1. 23. vs, K.T.A. Evidently a proverb, or commencement of a well- 
 known fable ; as ' once on a time a pig challenged Minerva.' 
 
 1. 24. ifpsiSe, ' set,' as a match for my kid. 
 
 1. 25. w KivaSev. 'Fox! cunning dog I' a diminutive form of ii/aSoj. 
 So Soph. Aj. 103 
 
 ^ Tovmrptirrov icivaSos tr]pov fjC OTTOV ; 
 
 Demosth. de Cor. 281. 22 > KivaSos. Kal irJis ; see on 4. 7- ' How 
 can this possibly be a fair arrangement for us ? Who shears hair as an 
 equivalent for wool ? ' i. e. 'I shall be laying odds if I wager a lamb to 
 a kid, because of the value of the fleece.' 
 
 1. 27. Kvva. This cannot be (as the Scholiast says) referred to the 
 lamb in depreciation ; because that is Laco's own stake. Neither can 
 ovyos irptoToroKoio refer to the fpupos staked by Comatas. Laco means 
 that there is as much superiority in the lamb over the kid as there is in the 
 most valuable animal's milk over the most worthless. Very probably
 
 NOTES. 141 
 
 cfi'\Yiv was a proverb, as we are just here in the middle of a 
 crowd of them. 
 
 1. 28. ireiroideis. See on 4. 7. 
 
 1. 29. <r4>d, K.T.\. Another proverb with the words is like omitted. 
 dXXA y&p. ' Well then, since,' &c. 
 
 1. 31. (XT) o-irevSe, .r.X. ' Don't be in a hurry, you're not walking 
 on fire.' A proverb. 
 
 1- 33- Cp- Virg. E. 10. 43. Tre<|>v>K6i, see on 4. 7. 
 I- 35- t T. ' That you dare to look with such bold eyes on me who 
 used to teach you when you were still a child.' 
 
 I. 38. 0pi|/ai, K.T.\., ironical. ' Rear young wolves if you want to be 
 bitten.' Also proverbial ; in Anth. P. 9. 47 the ewe complains, 
 rbv \VKOV l iSicav ^a^oiv rpf<pca OVK (0(\ovffa 
 
 d\\d fj.' avafKdfci irotnevos dcppaSir), 
 avT)0is 5' vir' e/j.ov KO.T' 1/toC ird\i Orjplov larat, 
 
 1. 45. Tovrei 8pt)s. Proverbial, as in I. 106. He does not mean 
 that there are oaks where he wishes to go ; in fact, he says below that 
 the pine is the chief attraction ; the TOVTI and w8e must not be taken 
 as meaning here any particular spots ; but merely the words of the 
 proverb ; he means that the place of his selection is as superior as oaks 
 to sedge. He then enumerates its advantages in the following lines : 
 the gentle hum of bees two fountains birds more musical than 
 cigalas a better shade and a shower of fir-cones ; though what the 
 particular advantage of this last is, is not very clear, unless they picked 
 out the seeds and ate them. 
 
 Paley interprets it otherwise ; that the pine was in Laco's place, and 
 the falling cones were an objection to it. 
 
 1. 51. virvw. Cp. 15. 125, and Virg. E. 7. 45. Also Herodas, Mim. 
 6. 71 fj /toAoK^Tjjy VTTVOS. 
 
 1. 52. Laco keeps up the abuse longest. 
 
 1. 53. Cp. Virg. E. 5. 67. 
 
 1. 56. yXdx'ov, ' penny-royal,' Mentha pulegium ; a kind of mint with 
 strong aromatic odour. It grows near streams and in damp places. 
 See Arist. Ach. 869, and Pax. 712, where we find both forms 7X17x011' 
 and 0\'fix< a "- Cic. ad Div. 16. 33 'Cras expecto Leptam, ad cuiusrutam 
 pulegio mihi tui sermonis utendum est ; ' i. e. the pleasant savour of 
 your conversation. 
 
 1. 57. TOV dpvcov, ' than (the skins of) your lambs.' 
 
 1. 58. Milk offered to Pan; cp. Tibull. 2. 5. 27 
 
 'Lacte madens illic suberat Pan ilicis umbrae.' 
 
 1. 60. aur60c. ' Where you are.'
 
 i 4 2 IDYLL V. 
 
 1. 61. rdv cravrw. Understand xwpav, as in 22. 59. The expression 
 has something proverbial in it, similar to the Sirdprav tA.ax, utivrjv 
 icoff/jift : found in Eur. Fragm. 695 (Dindorf). ' Spartam nactus es, 
 hanc exorna.' 
 
 rds 8pvas, again here ' your oaks,' i. e. your boasted advantage. 
 
 1. 62. Cp. 8. 25. 
 
 1. 64. at Afjs. at with the indicative as here, is only found in the 
 most Doric Idylls. Inserted frequently in the dialogue of the Megarian 
 in Aristoph. Ach. 
 
 1. 65. Cp. Virg. E. 3. 50. 
 
 I. 68. Ibid. 1. 53. 
 
 II. 69 foil. Each begs the umpire not to favour either himself or his 
 adversary. 
 
 1. 74. Laco throughout shows himself very disagreeable, it must be 
 owned : and thus we are prepared for the decision of the umpire in 
 
 1. 138- 
 
 1. 78. Cp. Virg. E. 3. 52. 
 
 1. 79. UVT' a(J>es. ' Don't kill him with your chattering.' Cp. Plant. 
 Mil. Glor. 4. 2, 92 
 
 ' lam iam sat amabost ; sinite abeam si possum viva a vobis.' 
 And Theophrastus, in his character of the Chatterer, warns every one 
 to get out of his way, Saris airvpnos tlvai Oi\fi. 
 
 1. 80. Here Comatas, as the challenged party, begins the contest. 
 
 1. 82. Kal yap. ' I too can boast, for,' &c. 
 
 1. 83. The Carnea, a Doric festival of nine days' duration, in the 
 month of Metageitnion. Laco's name has doubtless reference to his 
 Spartan origin ; as slaves were often named in this manner. 
 
 1. 100. See on 4. 45. 
 
 1. 101. See the same line I. 13. 
 
 1. 102. Names of a sheep and a ewe, of doubtful meaning. Observe 
 the termination -aiOa also in 2. 101 ; 4. 46. 
 
 1. 103. *a\apos. Applied to a dog, 8. 27. Said by the Schol. to 
 be the name of a hill : but much more likely of a ram the ram 'with 
 a blaze? This word blaze denotes a white spot on an animal's forehead, 
 from the German ' Blasse,' ' paleness.' 
 
 1. 105. PYOV IIpa|tT\evs, 'a work worthy of Praxiteles.' Said 
 perhaps in a mock-dignified manner. 
 
 1. 1 08. uKpiSes. See on 1.52. 
 
 1. 109. d(3ai, ' in their prime.' This word occurs in Eurip. Ion 477 
 vtavtdts ^/3a. Numerous emendations have been suggested for it, e. g. 
 avat dppai u/juu. Cp. Virg. G. 3. 126, and Aen. 4. 514 'pubentes 
 herbae ; ' and ib. E. 3. n ' vites novellae.'
 
 NO TE S. 143 
 
 1. in. The cigalas provoke the mowers by their incessant chirping 
 during the midday hour of rest. 
 
 1. 112. The contest now becomes more exciting from the personal 
 remarks made by the rivals recurring to the insinuations of the com- 
 mencement of the Idyll, by allusion to foxes injuring the grapes, and 
 beetles destroying the figs. Cp. Virg. E. 3. 10. 
 
 ret MIKCOVOS. Cp. 2. 76, 'the grounds of Mico.' 
 
 1. 113. Cp. i. 49, and remark the word (jxurdcd used in both passages, 
 denoting ' daily or frequent visits.' For rd iroOeoropa, see on 3. 3. 
 
 1. 120. TIS. 'Somebody is becoming annoyed.' Cp. Soph. Ajax 1138 
 TOUT' eh aviav TOVTTOS e/>x Ta ' TIW. 
 
 1. 121. omXXas. A medicinal herb, supposed to cure bilious irrita- 
 bility. The species is called Scilla maritima, Linn. ypalas * s remark- 
 able as an exception to the rule that the ace. plur. fern, in -as in Doric 
 is short. (So also Qvpas 2. 6.) Unless it is to be construed, ' from the 
 tomb of an old woman.' Herbs gathered from tombs were supposed to 
 be particularly efficacious, and were used especially in enchantments. 
 Cp. Hor. Ep. 5. 17. 
 
 1. 123. ievieXd|Jiivov. Some kind of cyclamen, whose bulbous roots 
 possessed medicinal properties. These are used in Italy and Sicily as 
 food for swine ; whence the name ' sow-bread.' French ' Pain de 
 porceau ; ' Ital. ' Pane porcino.' 
 
 Hales, a river in the west of Lucania, mentioned by Cicero, ' apud 
 Haletem fluvium citra Veliam millia passuum iii.' Epp. ad Att. 16. 7, 
 and again, ' Haletem nobilem amnem,' Epp. ad Div. J. 20. 
 
 s TOV "AXevTO, must be taken with tvOtov. 
 
 1. 125. rd 8 TOI o-Co. These are umbelliferous plants growing by 
 the sides of ditches to the height of four or five feet ; called ' water- 
 parsnep.' 
 
 1. 126. \& Svpopirts. Understand ttpdva, as in 1. 146. 
 
 1. 127. pdij/cu, ' dip and draw.' 
 
 1. 128. Here occur the names of several plants of which goats are 
 fond. Kvrwrov, ' moon trefoil,' Medicago arborea, Linn. Cp. 10. 30 ; 
 Virg. E. i. 79. This plant grows wild in South Italy, and has hoary 
 leaves and yellow flowers. It grows to the height of fifteen feet, and 
 the Greek monks make the beads of their rosaries from its wood. 
 
 ovyiXov, ' woodbine,' Lonicera periclymenum, Linn., belongs to the 
 order Caprifoliacea, and its old name was caprifoly. French, ' Chevre 
 feuille.' 
 
 1. 129. oxivov. Perhaps 'pistachio,' Pistacia lentiscus, Linn. 
 
 ico|xdpourt, ' arbutus,' Arbutus unedo, Linn. Cp. Hor. Od. I. I, 31 ; 
 Virg. G. 3. 301. A shrub which grows in profusion at Killamey and
 
 i 4 4 IDYLL V. 
 
 on Mount Athos ; the red fruit somewhat resembles a strawberry. 
 Pliny gives a fanciful derivation for the word ' unedo,' viz. unum edo, 
 because no one who had eaten one in mistake would ever be likely to 
 eat a second ! 
 
 1. 131. Such is the most intelligible reading of this line, which is 
 ordinarily read 
 
 no\\os 8^ teal &s podoKiaaos eiravOfi. 
 
 Other alterations are of ical ws into waAxus or into P&TOIS. But then 
 what is po56maffos ? 
 
 Kio-005 or KICTTOS, ' the rock- rose,' very like the common wild rose : 
 plentiful on the shores of the Mediterranean. 
 
 1. 137. Cp. Virg. E. 8. 55, and Lucr. 3. 7 
 
 ' Quid enim contendat hirundo Cycnis ? ' 
 
 1. 138. The umpire ought to have waited for Laco's last word. 
 
 1. 142. 18', 'listen!' See i. 149; 7. 50. 
 
 1. 144. dwo-Ajjiav, 'I have realized.' Cp. 18. 17. 
 
 {J|ip.v. An instance of what grammarians call the ' Ethic Dative,' or 
 dative of special limitation of an action to some particular person. For 
 examples, see Donaldson's Greek Grammar, 459 (aa), and Madvig's 
 Latin Grammar, 248. Here we must translate it, ' you shall see me 
 leap.' 
 
 1. 145. Cp. Virg. E. 3.97. 
 
 IDYLL VI. 
 
 THIS is one of the Idylls which were probably written after Theocritus 
 returned from Cos to Sicily. It is addressed to Aratus (see 1. 2). 
 
 Two herdsmen, Damoetas and Daphnis, meet at a fountain, and while 
 their cattle drink, sing alternately in amicable rivalry, and separate with 
 mutual gifts. Damoetas represents Polyphemus sitting on a rock, while 
 Galatea plays on the shore : Daphnis, as a spectator, tries to rouse him 
 with a description of the arts by which the nymph is trying to attract 
 her giant lover. 
 
 1. i. Cp. Virg. E. 7. 2. 
 
 1. 2. Aratus is introduced in 7.98 as a friend of Theocritus. He was 
 a poet of Soli, composer of ra <paiv6/j.fva, in the commencement of which 
 occur the words quoted by St. Paul, his fellow-countryman, in his address 
 to the Athenians, Acts 17. 28. 
 
 1. 3. irvppos, 'with the first fair down on his face.' Cp. 15. 130. 
 
 1. 4. Ot'ptos, ' summer ; ' the genitive of time.
 
 NOTES. 145 
 
 1. 5. This line and 1. 20 are probably spurious ; the challenger did 
 not usually begin. See introduction to Id. 5. 
 1. 6. Cp. Virg. E. 3. 64. See on 2. 120. 
 
 1. 7. Cp. I. 85, ' calling him the goatherd fellow, crossed in love,' to 
 taunt him. 
 
 1. 8. For another instance of this effective repetition of a word before 
 the bucolic caesura, see 8. 73. So Virg. E. 5. 64 ; 6. 44 ; 3. 79. 
 
 1. 12. GeoCcra, i. e. the dog. The transparency of the waves shows 
 Galatea to the dog, which is running along the shore, nd looks into the 
 sea and barks ; for it sees Galatea through the clear water. The whole 
 is a charming picture. 
 
 1. 15. 8ia0pvirTTCH. See on 3. 36, 'like the dry down from the 
 thistle,' as it is driven by the little eddies of wind, now hither, now 
 thither. The same simile, though with less refinement, is used by 
 Homer, Od. 5. 328 foil. 
 
 cor 5' or oirtapivbs Hoperjs (poptrjffiv diedvOas 
 a/j. vfSiov, nvKiva.l 8% irpbs d\\ri\rjffw exovrat, 
 &s TJ)V A/i ne\ayos avtfioi <ptpov (vda ical wOa. 
 One is reminded of these lines whenever he sees a stray piece of 
 thistledown or feather just inside the open window of a railway-carriage 
 at the point where the draught passing through the carriage is met by 
 the more violent draught passing by the window outside. 
 1. 17. Cp. Ov. Am. 2. 19, 36 
 
 ' Quod sequitur, fugio ; quod fngit usque sequor,' 
 and Sappho, Fr. i . 20 
 
 KCU y&p al <p(vytt ra-^ftas 5id>(t, 
 al 5t So/pa /*?) Seicer' <iAAu Sufffi, 
 al 8t HT) <f>l\t Taxw <pi\rjaei 
 
 Bergk. Anth. L. p. 362. 
 
 1. 1 8. TOV diro Ypap.|i.as Kivtt \l9ov. This is a proverbial expression 
 derived from a game like draughts or rather backgammon, called vir- 
 rtia iitl irivre fpa^uuv, in which each player had five lines on the board 
 and five men; the man, or stone, on the middle line, called ItpaL ypa^ftfi, 
 being only moved as a last resource. So it will mean here, ' she is 
 driven to her last resource to attract you.' 
 Cp. Ale. fr. 8 1 [47] in Bergk Anthol. Lyr. 
 
 Ktvrjffas rbv &ir' ipas IIVKIVOV \iOov, 
 and see Smith's Diet. Antiquities (New Edn.) ' Latrunculi.' 
 
 On the construction TV diro YP<W a V see Paley's note on Aesch. 
 Cho. 498 
 
 rbv in flvOov K\uffTT)pa ffu{ovTfS \(vov. 
 
 L
 
 146 IDYLL VI. 
 
 Id. Ag. 521 
 
 Ttav " wo " r / )aTOt ' 
 
 where rbv tic /3. avtiv = rbv (v &. tic /3. ff&fav : and . ruv airb arparov 
 = *. ruiv fv ffrpary IX0wv airb arparov. Also in prose, yaOovro ol \K 
 vvpywv <J>v\ax(s = ol tv iwpyois <p. rjff. etc irvpyow. 
 
 1. 19. Observe KtiXa aXa. Cp. 8. 19 and Lucr. 4. 1255 
 
 ' Crassaque conveniunt liquidis, et liquida crassis ; ' 
 also Horn. II. 5. 31 
 
 ^Af&5, "Apes, f}pOTO\Ol"ff, K.T.\., 
 
 and Callim. Hym. lov. 55 
 
 /ca\a plv TJt(V, Ka\a 8' irpcupes. 
 1. 20. See on v. 6. 
 
 1. 21. Polyphemus, or Damoetas, explains his tactics : he was feigning 
 coldness and indifference to lure the nymph to acknowledgment of 
 her love. 
 
 1. 22. This line is not quite satisfactory. Meineke's reading, KOVK 
 t\a&' b<t>8aXp.bv rbv tva y\vKvv, K.T.\., seems very probable. 
 
 iro0op$}u, optative, ' with which I hope to see to the end of my life,' 
 alluding to his disbelief in the prophecy of Telemus (1. 23), who fore- 
 told the destruction of it by Ulysses. See Horn. Od. 9. 509 and Ov. 
 M. 13. 771 
 
 ' Telemus Eurymides quern nulla fefellerat ales 
 terribilem Polyphemon adit : " lumenque quod unum 
 fronte geris torva, rapiet tibi (dixit) Ulysses." ' 
 1. 24. TTOT' oticov. Cp. Virg. Aen. n. 399 and Eur. Hec. 1252 
 
 avry ravr& act Sidtap' t\tw '. 
 also Horn. Od. 2. 178 
 
 t 8' dyf vvv pavrfvto aoiat riieeaffiv 
 oiicao' ifav. 
 
 1. 25. oi iro06pT])ii. ' I won't look at her.' 
 
 1. 29. o-tga, K.T.A.. 'I hiss to set the dog at her; for before he 
 used to be fond of her, and to whimper with friendly action.' Cp. Hor. 
 Od. 2. 19, 30. Fritzsche reads fftya, translating 'tacite iubeo canem 
 allatrare.' 
 
 1. 35. Cp. Virg. E. 2. 25, and Ov. M. 13. 840 
 
 ' Certe ego me novi, liquidaeque in imagine vidi 
 
 nuper aquae, placuitque mihi mea forma videnti.' 
 1. 36. Ko>pa, ' eye ; ' lit. the pupil of the eye, so called from ' pupillus,' 
 the doll or miniature of himself that one sees in the eye of another. 
 1. 38. tnr<|>aiv, '(the sea) showed me, by reflection.' Cp. Hor. Od. 
 
 i. 19. 5- 
 1. 39. That no Nemesis for my vanity might overtake me.
 
 NOTES. 147 
 
 1. 40. After this line Fritzsche inserts, in brackets, a line which is 
 probably taken from 10. 16. 
 
 1. 43. Each began to try his new acquisition. 
 
 1. 45. vCicTj, impf. ofviKrjfu, 'was the conqueror.' 
 
 ovSaXXos, for ovSerfpos, so a\\os for (repot, 7. 36 ; 22. 126 ; 24. 6l. 
 
 IDYLL VII. 
 
 THIS beautiful and interesting Idyll appears to contain the poet's 
 personal experience of a day of pleasure among intimate friends, told 
 in bucolic style. The scene is Cos : but the Idyll was probably written at 
 Alexandria, about the same time as the 13th, I5th, I7th, and the 
 HfpeviKT]. The names of those mentioned are mostly fictitious. Wueste- 
 mann divides the names into real and fictitious ; in the former class 
 placing Asclepiades and Philetas teachers of Theocritus, Antigenes and 
 Phrasidamus his entertainers in Cos, and Aratus, the poet mentioned in 
 6. 2; and in the latter class, Simichidas (i.e. Theocritus himself), 
 Eucritus, Amyntas, Lycidas, Ageanax. Compare with the beginning 
 of this Idyll the opening of Tennyson's ' Gardener's Daughter." 
 
 1. I. There was a river Hales in Cos as well as in Lucania (5. 123) ; 
 and the probability of the scene of the poem being laid in that island is 
 said to be confirmed by the following passage from Moschus, 3. 98. 
 
 tv Tf iroXtreuj 
 Tpioiribcus Trora^y Oprfvei wa/>' " AXtvri &i\t]Tas. 
 
 But that passage is of doubtful authority. 
 
 1. 2. ctpiropts. Cp. Hor. Sat. i. 5, 25. Here however rather of easy 
 and delightful loitering. 
 
 1. 3. OoXvo-ia. See Horn. II. 9. 534. A feast in honour of Ceres and 
 Bacchus after harvest ; these two divinities being connected in the in- 
 vention of ploughing. 
 
 1. 5. tirdvwfov, cp. 22. 164; 15.91. Chalcon, son of Clytia and Eury- 
 pylus, entertained Ceres. In his time a fountain was found in Cos, in 
 the following manner : being told that water was beneath a certain spot 
 of ground, he applied his knee and drew it (t iroSfo &vvat}. On the 
 word \aojv Paley says, ' Radix est x a F (ca y ) et ii significantur qui quasi 
 ex profunda antiquitate stirpem deducunt.' 
 
 1. 6. Boiipiwav, from the resemblance of the channel or aperture of 
 the fountain to an ox's nostril. 
 
 L 2
 
 148 IDYLL VII. 
 
 1. 8. For a similar hiatus, see Horn. Od. 2. 120 
 fvpfa r' 'A\Kf^vij Tf evarf<pavos re 
 
 1. 10. Cp. Virg. E. 9. 59. 
 
 rdv jxetrirav 6S6v. Cp. 21. 19. 
 
 1. II. TW BpaaiXa. This may be, as is argued by K. Tiimpel in the 
 Rhein. Mus. (Vol. 46, pp. 528 foil.), a local name for Poseidon ; Epam- 
 \as, from ffpaffffca and Aaay, being equivalent to 'Evoffi-xdow- He (K. T.) 
 suggests that this aa^a monument, not tomb was the same as that 
 described by Pausanias (i. 2, 4) as standing in his time near the Piraeeus 
 Gate of Athens, close to a temple of Demeter. Pausanias there says that 
 the monument represented Poseidon overcoming the Coan Polybotes, 
 but that the inscription on the base rty flKova d\Xq> SiSojffi ical ov IIo- 
 ffdSwvi. Who was this a'AAos ? Tiimpel says, Brasilas, a name of Poseidon 
 not known to Pausanias. 
 
 The reading BpaalSa is quite inadmissible, for the ist syllable of 
 Bpaffi'Say is long (Aristoph. Vesp. 479), and Brasidas, buried at Amphi- 
 polis, was not likely to have had .a cenotaph in Cos. 
 
 KaC after ovmo = 'when.' Cp. Xen. Cyrop. 1.4, 28 6Sov oviria iro\\^v 
 SiyvvaOai aiirois /eat rov ~M.rjSov ijictiv, and Tac. Hist. 2. 95 ' Nondum 
 quartus a victoria mensis, et libertus Vitellii.' &c. Also Virg. E. 3. 8, 9. 
 
 1. 12. Cydonian, or Cretan. Cp. Hor. Od. 4. 9, 17. 
 
 <ruv Moio-awi take with cr0X6v. Cp. Hor. Od. 3. 4, 20. 
 
 1. 1 6. Kvai<6v, the pale yellow or grey colour of the goat. So rov 
 A.I&VKOV Kv&Koiva 3. 5. 
 
 rajjiCo-oio, see 11. 66 ; ' rennet,' i. e. the gastric juice of a calf, used to 
 coagulate the milk in cheesemaking. 
 
 1. 17. Observe the word yepuv used as an adjective ; as in 21. 12 ; 
 15. 19. See also Aesch. Ag. 286 ypaias \pfiKrjs, and Catul. 68. 46 
 ' charta anus.' 
 
 1. 1 8. ouc<iv. See on 4. 49. 
 
 1. 20. I\TO \tl\tvs. ' While a smile kept playing on his lips.' The 
 outward proof of the pleasure of meeting his friends did not pass away 
 while he was speaking. 
 
 1. 21. TO |j.ecra|Ae'picv (cp. i. 15 ; 3. 3). But Fritzsche reads TV for r6. 
 On Simichidas, see Preliminary Remarks, p. xii. 
 
 1. 22. Cp. Virg. E. 2. 9, and Tennyson's ' Oenone ' : 
 
 ' For now the midday quiet holds the hill ; 
 The grasshopper is silent in the grass : 
 The lizard, with his shadow on a stone, 
 Rests like a shadow, and the cicala sleeps.' 
 
 1. 23. tiriTvp.pt8ioi. The natural meaning of this word is undoubtedly 
 ' sitting on tombs ; ' but applied to the lark it seems to have reference to
 
 NOTES. 149 
 
 Arist. Av. 447 foil, where an absurd fable is related, that the lark was 
 the first of birds, before the earth ; and on the death of his father 
 because there was no earth to bury him, was obliged to bury him on 
 his own head. This accounts for the lark's crest ! 
 
 1. 25. Xavov tin. 6p<Lcncis ; ' or are you for leaping on some one's 
 winepress ? ' i. e. are you going to help tread out the grapes ? 
 
 1. 26. dp|3vXi8cr<riv, said to be a stout kind of shoe for travelling ; 
 probably then fitted with ' hobnails ' or something similar, whence the 
 XCOos dci'Sci, ' rings.' 
 
 1. 30. KO TOI, K.r.\. ' And yet I flatter myself that I am a match 
 for you.' 
 
 1. 31. 686s OaXvo-ias, ' the way leading to the Thalysia.' 
 1. 32. iirt'irXcp. Ceres alone in ancient statues is represented clothed 
 in full drapery. 
 
 1. 33. movt. See v. 143. 'Pinguis' in Latin is similarly used for 
 ' rich ingrowth,' 'luxuriant.' Cp. Shakespeare, Hamlet, Act i. Sc. 5 
 
 ' Duller than the fat weed 
 That roots itself at ease on Lethe's wharf.' 
 
 1. 35. wd, K.r.\. This sentence has a proverbial ring about it. dcos 
 is of course ' the day.' 
 
 1. 36. aXXov. See on 6. 45. Cp. Virg. E. 9. 64. 
 1. 37. Cp. Virg. E. 9. 32. o-TOfxa, ' the mouthpiece.' So Homer is 
 called by Moschus, 3. 73 
 
 rrjvo r<> KaAA(oiray y\vicepov oro/wz. 
 
 1. 40. 2vKXt8av. By this name is designated Asclepiades, an epi- 
 grammatist of Samos, mentioned also in Moschus, 3. 98 
 K\aitt 2(eA/5aj TU 'Sdfj.ov K\eos, tv re TroAirais 
 fpiotriSats TTOTO/M Oprjvtt nap' "AXtv-ri &i\t)Tas, 
 but see online i. 
 
 Philetas was a native of Cos, teacher of Ptolemy Philadelphus, and 
 of Theocritus and Aratus, also celebrated as an elegiac poet : 
 ' Callimachi Manes, et Coi sacra Philetae, 
 in vestrum quaeso me sinite ire nemus.' 
 
 Prop. 4. (3). i, i. 
 
 1. 41. So Pindar speaks of crows trying to rival the eagle, 
 fM06vT(s 5i \appoi irayy\(affffi(}, Kopatcts Sis, 
 aKpavra fapvtrov As irp&s opvi\a Otiov, 
 
 Olymp. 2. 158. 
 Cp. 5. 29. 
 
 1. 42. tmraSes, ' purposely' depreciating my own talents. Lycidas 
 was however not to be taken in ; his gift of the crook and accompany- 
 ing words are evidently ironical.
 
 1 5 o IDYLL VII. 
 
 I. 44. This reading of KeKa.ap.ivov for irfir\aafifvov is supported by 
 
 II. 20. 35 
 
 firi <f>peal ir(v/ca\if*riffi Kf/caffrat, 
 and ou if/fvSijs <55 pvOos, d\r]0eiri 8J Kf/eacfrai. 
 
 Anth. P. 3. 1 8. 
 
 II. 46-48. It is supposed that these lines refer to Apollonius Rhodius, 
 and were intended as a compliment to Callimachus, who had quarrelled 
 with his former pupil on the publication of the latter's ' Argonautica.' 
 
 00-01 is not inconsistent with this theory ; because the plural is often 
 used in Greek to indicate an individual whom the writer does not care 
 to name. 
 
 1. 46. Oromedon is mentioned by Propertius, 4. 9 (3. 8), 48, as a giant, 
 
 * Caeum, et Phlegraeis Oromedonta iugis : ' 
 perhaps the same as Eurymedon in Horn. Od. 7. 58. 
 
 tiipvpiSovTos is also a various reading in this line. 
 
 S6|iov 'flpo^eSovTos then means ' a giant's house.' Wuestemann says 
 that Theocritus is here ridiculing the custom that had grown up in his 
 time of building extravagantly large houses. 
 
 For the KCU . . KCH introducing this comparison, cp. 1. 1, and translate : 
 ' for to me just as the builder is very odious, who, &c., so are all those 
 birds of the Muses, who labour in vain with their cackling against the 
 Chian poet.' 
 
 1. 50. Lycidas, having been challenged, begins. 
 
 1. 51. Cp. Virg. E. 9. 21. 
 
 1. 52. Lycidas wishes his friend Ageanax a prosperous journey to 
 Mitylene. See Appendix, p. 237. 
 
 1. 53. <)>' lo-ireptois tpi<|>oi.s seems to mean, ' when the kids are in 
 the western sky." The stars so called are e 77 Aurigae, underneath the 
 first-magnitude star Capella. They are universally described as pro- 
 ductive of storms when near their setting. Cp. Virg. Aen. 9. 668 
 'Quantus ab occasu veniens pluvialibus Haedis 
 verberat imber humum ; ' 
 also when rising, Hor. Od. 5. i, 27 'orientis Haedi impetus.' 
 
 The rising of stars mentioned by classical poets nearly always refers 
 to their heliacal rising, i. e. when they first begin to be visible again 
 after having been concealed by too close proximity to the sun, and 
 therefore rise just before the sun. The setting, however, of stars in the 
 classical poets generally refers to the cosmical setting, as explained below 
 on 1. 54. 
 
 1. 54. 'And when Orion is setting.' Cp. Hor. Od. 3. 27, 18 ; i. 28, 
 21, where the same wind is mentioned as accompanying the setting of 
 Orion ; and Virg. Aen. i. 535 ; 4. 51. The setting of this constellation
 
 NOTES. I 5 r 
 
 is mentioned as nearly simultaneous with that of the Pleiads by Hesiod, 
 Op. D. 615, 619. That is their cosmical setting, or that time of year 
 when they were just setting at sun-rise ; or about the end of October. 
 See too Virg. G. i. 221. 
 
 1. 57. 'Halcyon days.' By this name were known certain days in 
 winter when Halcyone was said to brood on her nest. See Ov. M. 
 
 " 745 
 
 ' Perque dies placidos hiberno tempore septem 
 incubat Halcyone pendentibus aequore nidis : 
 tnm via tuta maris ; ventos custodit et arcet 
 Aeolus egressu.' 
 
 According to Aristotle, Hist. An. 5. 8, the halcyon sits for seven days 
 before the winter solstice, and brings out and nurses its young for seven 
 days after it. It is only seen, he says, at the setting of the Pleiads, and 
 at the winter solstice, and appears first at sea-ports. 
 
 This is of course a popular delusion, but has been kept up by poets 
 of more enlightened days, e. g. 
 
 ' Secure as when the Halcyon breeds, with these 
 He that was born to drown might cross the seas.' 
 
 Dryden, Astraea Redux, 236. 
 
 We cannot ascertain what bird the halcyon was ; it certainly was not 
 the kingfisher. The description of it in Aristotle, who says (8. 5) that 
 both kinds T& vSnov mavovv e\ovaiv, corresponds with that species of 
 tern or sea-swallow which is most common in the Mediterranean : so 
 does the representation of the halcyon standing on the back of a cow, 
 found on the obverse of coins of Eretria. Aelian (De Nat. Anim. 9. 17) 
 gives an elaborate description of the construction of its nest, made water- 
 tight so as to float on the sea ! 
 
 1. 58. ?<rxaTo, the weeds that mark the limit of the waves on shore. 
 The winds bring the waves high up over this. 
 1. 59. Cp. Virg. G. i. 398. 
 
 1. 63. dWjTivov. This is not Anethum graveolens, which is unknown 
 in Sicily, but probably Anethum foeniculum, or ' fennel.' See Virg. E. 
 2. 48, and Alcaeus, Fr. 36, in Bergk's AnthoL Lyr. p. 380 
 dAA' &vf)rta fi^v irtpl roTs Sipcuatv 
 irepOtro) 7rA.T<is viroOvnidas TJ. 
 
 1.64. XtvKouov. The white variety of lov, generally rendered 'violet.' 
 But it is doubtful whether it should not rather be rendered ' iris,' be- 
 cause the violet is exceedingly rare in Southern Italy and Sicily, and 
 of later introduction than the plant so frequently noticed by the ancient 
 pastoral poets : whereas the iris is very common in those regions, 
 growing wild in great profusion. Pliny's description of the ' viola," Hist.
 
 i S 2 IDYLL VII. 
 
 Nat. at. 6, agrees exactly with the iris, and not at all with the violet, 
 in several particulars; and Ovid, M. 10. 190, speaks of the appearance 
 of a ' viola ' after its stalk is broken, in words which evidently have 
 reference to some plant with a tall and naked stem. Chaucer refers 
 to a -white foreign species of iris : 
 
 ' His nekke was white as is the flowr de lis.' 
 
 The fleur-de-lis was the name for several species of iris. It seems more 
 probable on the whole that the ' viola ' and tov should be the iris, than 
 the 'wall -flower*.' 
 
 L 65. irreXeaTtKov. It is not known where this place was ; Ephesus, 
 Arcadia, Cos, and Thessaly, all being mentioned by different Schol. 
 It is singular that a place famous for wine should not have been more 
 generally mentioned. This doubt inclines one to believe that the word 
 may be connected with irrtXia, ' the elm,' as vines were trained upon 
 that tree. 
 
 1. 66. Kttajiov. For dessert, to encourage drinking. See Arist. Pax 
 
 "32 
 
 irpos irvp Sie\Kcov .... 
 KavOpatcifav rod 'peftivOov 
 TT\V re (prjyov fftirvpfvcuv. 
 
 Plato, Republ. 372 C Tpay^fjara ffvKcav nva\uav fptfiivOoiv. 
 
 1. 68. Kvvifa. See on 4. 25. 
 
 d<r<J>oScX<p, Asphodelus ramosus, a liliaceous plant, allied to 'squills.' 
 Its usefulness was proverbial. See Hes. Op. et D. 41 
 
 Sffov fv /ioXdxj? re Kot aa<po$\(u fiey' ovaap. 
 
 o-eXivu). See on 3. 23. 
 
 1. 69. Cp. 3. 28. 
 
 1. 70. Is Tpvya. Cp. Hor. Od. I. 15, 16. Fritzsche here reads 
 avratatv KvXixfaffi. It is difficult to see the exact force of avr6s here, 
 unless it be taken as used proleptically ' fastening my lip on nothing 
 but the cup,' for at the end of the draught no liquor would remain 
 in it. 
 
 L 71. Cp. Virg. E. 5. 72. 
 
 1. 72. AvKwirCras. From Lycope, a city of Aetolia. 
 
 1. 73. Hcvcas. It is doubtful whether this is a proper name, or an 
 adjective, 'the foreign nymph.' See on i. 64. 
 
 1. 74. Cp. Virg. E. 10. 13 ; and on 1. 64. 
 
 1. 76. Cp. Horn. Od. 19. 205, of the grief of Penelope. The word 
 
 * From a paper in Archaeologia, vol. iii by the late Earl Stanhope.
 
 NOTES. 153 
 
 belonging to (vrt (a repetition of KarcrdKero with Daphnis for its 
 subject) is understood. 
 
 1. 77. <rxciT6<i)VTO, ' the limit of the world,' like ' Extremum Tanain,' 
 Hor. Od. 3. 10, i. 
 
 1. 78. cuiroXov. Comatas. This goatherd, who was in the habit of 
 offering up his master's (avoKros) goats to the Muses, was as a punish- 
 ment locked up by him in a chest, to see if the Muses would help him 
 out. The name Comatas in Id. 5 belongs to a Lucanian, but even if 
 this Comatas were also a Lucanian, his story would be a well-known 
 one among all bucolic settlements. 
 
 1. 81. KSpov, wood used for coffins and chests in which anything 
 was to be preserved. The scent of the wood was probably considered 
 adverse to decay. Cp. Hor. Ars Poet. 332, where the oil of cedar- 
 wood is mentioned as a preservative against decay. 
 
 1. 82. The agency of the Muses in feeding him is prettily imagined. 
 Their utterances issuing from his lips had made them so sweet as to 
 attract the bees to come and feed him with flowers and their honey. 
 
 1. 83. Cp. Virg. E. 6. 47. 
 
 1. 86. ir' n-0, ' in my life-time.' 
 
 1. 87. ws tvojievov. See on 4. 49 ; here with imperf. indie. Translate, 
 ' in order that I might have been now tending ; ' a wish which cannot, 
 alas ! be gratified. 
 
 1. 1 34. vOTn.iTouri. The vines were pruned twice, in summer and 
 the middle of October, to let in the sun. Here we understand the 
 second pruning. Cp. Hor. Od. 2. 3, 5 foil. 
 
 Here follows a beautiful description of an afternoon of tranquil 
 enjoyment in the open air, the climax of which is in the line 143. 
 Every sense was pervaded with the breath of the fruits that the rich 
 summer had just handed over to the ripening autumn. We see here 
 a grace and refinement unrivalled in the pages of bucolic poetry ; 
 a thoroughly genuine expression of the love of nature. See Appendix, 
 
 P- 239- 
 
 1. 135. Kard Kparos, 'down upon our heads.' 
 
 1. 138. Cp. Virg. E. 2. 13. atOaXiuves, 'rejoicing in the heat.' 
 
 1. 139. ?xov ir6vov, 'were employed.' So Hesiod, Scut. 305 
 
 wdp 5' aiirois lirirf)cs (^ov irovov. 
 
 It is difficult to imagine that a tree-frog can be meant by 6\o\v yuv, 
 though the word is used of the male frog in Arist. H. A. 4. 9, II. 
 
 The Latin name by which Cicero translates the 6\o\vy<in' of Aratus 
 is 'acredula.' See Cic. de Div. i. 14 
 
 'Saepe etiam pertriste ciet de pectore carmen 
 et matutinis acredula vocibus instat ? '
 
 I 5 4 IDYLL VII. 
 
 evidently some bird, (Lang translates 'the little owl'); and whatever 
 bird it was, the same verb, rpvfa, is applied to it, and it is perched on 
 the same bushes, in an epigram of Agathias, Anth. Pal. 5. 292 
 Kal \iyvp6v &onf)fvo~iv ateavOifies' ij 5* 6\o\vy(iiv 
 rpvfa rprj\a\eaK evStaovffa /Sdrroiy. 
 1. 141. !O"TV. Cp. Virg. E. i. 59. 
 
 1. 142. govOat. This word, as an epithet of yews applied to birds 
 by Arist. Av. 753, Eur. Hel. 4, has been supposed to refer to musical 
 sound rather than to colour : but I prefer the rendering ' tawny.' 
 1. 144. Cp. Horn. Od. 2. 588, and Virg. E. 7. 54. 
 1. 146. ppapvAoicri, 'sloes;' called in Mod. Greek dypiooapaffKriva, 
 wild Damascenes, i. e. damsons. 
 
 KaTo.ppi0ovTs. See 15. 119, and cp. Ov. M. 15. 76 
 ' . . . . sunt fruges, sunt deducentia ramos 
 pondere poma suo.' 
 
 1. 147. ' And the four- year-old resin was being removed from the 
 head of the casks,' i. e. from the mouth of the wine-jars, which were 
 thus preserved from the air. Cp. Hor. Od. 3. 8, 9 ; i . 9, 7 ; Tibul. 
 2. i, 28 
 
 'Chio solvite vincla cado.' 
 
 1. 149. The wine given to Hercules in the Centaur's cave was a 
 present from Bacchus to Pholus, who opened it to entertain Hercules 
 on his expedition to slay the Erymanthian boar. The other centaurs 
 flocked to the treat, and the quarrel ensued in which Hercules shot 
 them down with his poisoned arrows. 
 
 1. 152. ojpeo-i, 'with masses of rock.' For the account of this, see 
 Horn. Od. 9. 480 foil. 
 
 fJKf 8' airoppr]as Kopvtpf/v optos /j.e-fd\oio 
 tfdS 5" e0a\e irpotra.poi.0e veos Kvavoirpuipoto. 
 
 I. 154. SieKpavdo-are, ' tempered with your sacred stream.' 
 
 II. 155 foil. In conclusion we have the image present in the poet's 
 mind ever since the day of this festival : the goddess (probably a rustic 
 statue) standing by the heap of grain, smiling, holding in her hands 
 sheaves of corn and poppies, the emblems of fertility and plenty. 
 
 IDYLL VIII. 
 
 THIS Idyll appears to be in a very imperfect state, and possibly was 
 made up, at the time of the collection of Theocritus' poems, from 
 fragments of two or perhaps more Idylls. The lines 30-32, 61, 62,
 
 NOTES. 155 
 
 71, 81, have the appearance of being inserted to fill up and connect 
 the unconnected parts. Paley attributes the insertion of the elegiac 
 lines 33-60 to the influence of Philetas the preceptor of Theocritus. 
 The subject is the usual bucolic singing-match, between a cowherd, 
 Daphnis (1. 6), and a shepherd, Menalcas (1. 9). 
 
 1. 2. Cp. Virg. E. 7. 3, 4. 
 
 1. 3. irvpporpixw, see on 6. 3. 
 
 dvdj3<o means ' not yet quite grown up.' 
 
 1. 10. ITI iraOois. The usual Greek euphemism for death was iraOtw 
 TI. Translate, ' even if you were to sing yourself to death.' 
 
 1. ii. Cp. Virg. E. 3. 28. 
 
 1. 1 3. In this line, flTjo-evjxto-Oa in the middle voice, and the spondee in 
 the fourth foot which violates the rule of bucolic caesura, are ob- 
 jectionable. It is moreover questionable whether df0\os as well as 
 df6\ov can mean ' a prize.' Ahrens would have ical riva Oijatts luaObv 
 (fjiiv OTIS dpKios eiT) the substitute for OrjfftvfjieaOa is here very ingenious. 
 Another reading is d\\d ri 0. o ictv d. dpiciov fir), and tirj is better Greek 
 with than without KCV, because it represents the apodosis of a condition. 
 
 1. 14. It does not appear necessary to insert 7* after 0s, as the line is 
 generally written ; or to fill up the hiatus before ap.vov. Either we may 
 suppose a digamma to commence the word (for there is the same hiatus 
 in the next line), or that it is Homeric, as in II. 13. 22 d<pOira aid, and 
 ibid. 23. 274 ; 2. 87. 
 
 1. 15. Cp. Virg. E. 3. 32. 
 
 1. 1 6. The counting of the sheep would be accomplished as they 
 came into the fold. 
 
 iroOf'o-irepa is an adverb. See on 3. 3, with the article 4. 3. 
 
 1. 17. TO irXcov. Mind the article. 'What shall be the advantage 
 to the winner ? ' 
 
 1. 1 8. ovpiyy' w4<J>ojvov. Something superior to the ordinary 
 avpiy, which had only seven notes. The form is described by Tibnl. 
 
 2- 5, 3i 
 
 ' Fistula cui semper decrescit harundinis ordo, 
 
 nam calamus cera iungitur usque minor.' 
 Cp. Virg. E. 2. 32 ; 2. 36. 
 
 1. 19. lo-ov iffov. See on 6. 19. The wax was equally applied at 
 the top and bottom of each reed, so that the whole was firm and 
 compact. 
 
 1. 20. KdT0nr]v. See on 2. 34. 
 
 1. 26. ' Suppose we call yon goatherd."
 
 i 5 6 IDYLL VIII. 
 
 1. 37. <|>aAap6s. See on 5. 103. 
 
 1. 29. Observe the change to the imperfect : ' the boys began to sing, 
 and the goatherd was ready to decide.' 
 
 1. 30. Aaxwv. Not the usual way of deciding who should begin. 
 This and the following two lines, as remarked in the argument, are 
 probably spurious. 
 
 1. 33- Oeiov Y VOS - So exactly do the lines of the two rivals cor- 
 respond, that we see from 1. 37 that the words Oetov -ycvos refer only 
 to iroTO,|AoC, as in that line -yXuicepov J>uT6v applies only to pordvai. 
 See this exactness again in the pause in lines 35, 39. 
 
 1. 35. IK 4/vxo.s, ' according to his (Menalcas') wish.' 
 
 rds. The short Doric accusative, standing before d(xvC8as, is another 
 instance in favour of the digamma. See 11. 14, 15. 
 
 1. 36. n/rjBJv tXocro-ov. See n. 42. 
 
 1. 40. a<)>0ova irdvTa, ' all his sheep ungrudgingly.' 
 
 1. 41. The first three lines of this tetrastich are generally attributed 
 to Daphnis, and the lines 45, 46, 47, to Menalcas. But Menalcas being 
 the shepherd, naturally speaks of the object of his care being benefited 
 by the presence of his friend Milo, whom he mentions again 1. 51 ; and 
 similarly Daphnis would naturally speak of 6 rds PWS POO-KIOV, K.T.\. 
 
 IvO* 6'is, understand tcrrl 5i8v/j.a.T6icos. 
 
 1. 43. The same pause again, and in the answer 1. 47, as in 11. 35, 
 39. The v0o in this and the corresponding line 47 means 'where,' 
 in answer to the tvOa, 'there,' of 1. 41. 
 
 1. 45. Cp. Virg. E. 7. 57. 
 
 1. 47. Considering 1. 93, the reading v0a KaXd Nats is probably more 
 correct than tv&' a aXd wcus, particularly as the form of the line is 
 both more graceful and more in harmony with its corresponding line 43. 
 
 1. 49. dvtp. Cp. Virg. E. 7. 7 ; Hor. Od. I. 17, 7 ; Ov. Fast. I. 334 
 
 ' placare sacrorum 
 numina lanigerae coniuge debet ovis.' 
 
 i. Observe the rough breathing ; the word means ' where.' The 
 sense is, ' Go, O he-goat, to the thickest depth of the wood, for he 
 (Milo) is in that (depth) ; and say to him,' &c. ; the direction to the 
 cri|xai IpicfxH being parenthetical. 
 
 1. 52. There is no necessity for another KM in crasis with the article 
 at the commencement of this line or for altering (as Fritzsche does) 
 6 into us : & can be considered long before the irp as in 1. 54, and 2. 70 : 
 5. n, 69; 7. 2, 5, 101, 108 ; whe'-e a short vowel is lengthened before 
 a mute and liquid in arsi: also in thesi, 7. 24; 10. 29, 44, 56; 13. 3, 
 J 6 J 4- 53i 65, 68, &c. Hor. Od. i. 2, 7 mentions the same office of 
 Protens.
 
 NOTES. 157 
 
 1. 53. Perhaps it would be better to give this tetrastich to Menalcas, 
 on account of the avwopa. \i&\' of line 56. Then 11. 57-60 would 
 belong to Daphnis and suit him better, on account of -ywaiKo^CXas 
 in 1. 60, as referring to his love for Nais mentioned above, 1. 47. In 
 that case we must suppose the last four lines of Daphnis corresponding 
 to the lines 53-56 to have been lost. 
 
 n\OTros, proverbially rich. Cp. Tyrt. Fr. 12. 7 
 
 ovb' tl 1avTa\lSfO} IIe\oiros fiaaiKtvrepos efij. 
 
 1. 56. Translate, ' looking towards the Sicilian sea at my sheep feed- 
 ing together.' Cp. Wordsworth, Poems of the Imagination, No. 16 
 ' The cattle are grazing, 
 Their heads never raising, 
 There are forty feeding like one.' 
 
 I. 57. Cp. Virg. E. 3. 80. 
 
 II. 61, 62. See Argument. 
 1. 66. Cp. Horn. II. 2. 24 
 
 oi> xM vavvvxiov fvStiv f3ov\i)(f>6pov avtpa. 
 
 1. 68. Cp. Virg. G. 2. 201. The meaning of the line is, ' you will not 
 be tired (of eating) by the time it begins to grow again,' i. e. ' it will 
 begin to grow again before yon are tired of cropping it.' 
 
 1. 72. Here we are again in difficulties as to the connection between 
 this and the song of Menalcas : but as these may be all fragments of 
 different poems, it is useless to attempt to explain or to arrange. We 
 must be satisfied with the elegance of the lines. 
 
 <rvvo4>pvs. The mark of beauty was considered to be a narrow 
 forehead with eyebrows meeting. This Tennyson, in his Oenone, calls 
 ' the charm of married brows.' So, in ordering the painter to give a 
 faithful likeness of a lady, the Pseudo-Anacreon says, 
 rA neff6(ppvov 8J ^17 fj.ot 
 SiaKoirrt fiifTt fiiffyc' 
 l~X$T<a 8* Sirwy (Ktlvrj 
 rb AeXjjOoTcus avvotppw 
 
 Art was employed to assist nature in the perfecting of this mark of 
 beauty. See Ov. Art. Am. 3. 201 
 
 ' Arte supercilii confinia nuda repletis,' 
 and Juv. 2. 93 
 
 ' Ilia supercilium madida fuligine tinctum 
 
 obliqua producit acu.' 
 1. 73. Cp. for repetition of adjective 6. 8. 
 
 1. 74. \6ywv TOV iriicp6v. ' The sharp retort ' which is generally 
 made, or ought to be made, to such flattery. It was considered
 
 158 IDYLL VIII. 
 
 dangerous to receive praise or personal advantage without repudiating 
 it ; for if such praise were prompted by envy, it would be injurious. 
 
 1. 77. Cp. Hor. Ep. 2. 23 foil.; Virg. G. 2. 470; E. 5. 46. This 
 line, as it interferes with the numerical correspondence of Daphnis' 
 answer to Menalcas, and occurs again 9. 7> is n doubt out of place 
 here. 
 
 1. 79. Cp. Virg. E. 5. 32. 
 
 1. 83. |xXi ACXIV. The rustic idea of perfect happiness. A pro- 
 verbial expression moreover. Cp. Plaut. Cas. 2. 8, 81 
 ' Ut quia te tango videor mihi mel lingere;' 
 Calpum. E. 4. 149 
 
 ' Verum quae imparibus modo concinuistis avenis 
 tarn liquidum tam dulce sonant ut non ego malim, 
 quofl Peligna solent examina, lambere nectar.' 
 1. 87. Paley objects to ans, here used simply in place of a. It is 
 similarly used again 13. 22 and 15. 98, in both of which passages also 
 Paley suspects an interpolation. 
 1. 89. See on 2. 34. 
 
 1. 91. The regret mingled with the joy of the bride is similarly spoken 
 of by other poets, e. g. Tibul. 3. 4, 31 
 
 'Ut iuveni primum virgo deducta marito 
 inficitur teneras ore rubente genas;' 
 and Catul. 62. 20 
 
 ' Hespere, qui caelo fertur crudelior ignis 
 qui natam possis complexu avellere matris ? * 
 and Tennyson, In Mem. 39 
 
 'When crowned with blessing she doth rise 
 To take her latest leave of home, 
 And hopes and light regrets that come, 
 Make April of her tender eyes.' 
 
 1. 93. Part of the legend about Daphnis was that he married a certain 
 Nais. Cp. Ov. Art. Am. i. 732 
 
 ' Pallidus in lenta Naide Daphnis erat.' 
 
 After this he became enamoured of another maiden, who was perhaps 
 called Xenea (see 7. 73) ; but, determined not to give way to this 
 new love, he underwent all the distress of mind which is recorded 
 in Id. i. 65 foil.
 
 NOTES. 159 
 
 IDYLL IX. 
 
 IN this Idyll again we have apparently fragments of Theocritus 
 connected, and concluded by verses composed by the compiler. 
 
 Daphnis and Menalcas are supposed to have grown up. 
 
 The first six lines are no doubt spurious. All these interpolations 
 are however of a very early date, as they are imitated by Virgil. 
 
 1. 2. Cp. Virg. E. 3. 58. 
 
 1. 3. Cp. 4. 4 ; 25. 104. 
 
 1. 5. d,Tin.aY\OvTes. The noun artfjuiythai is used 25. 132. 
 
 1. 10. There seems to be no reason for altering dirao-as. Meineke 
 has proposed airuaas. Fritzsche reads an-' aKpas. 
 
 Observe the position of the adjective Acvxav at the commencement 
 of the line: similarly n. 13 and 48; 15. 119. 
 
 1. ii. See 5. 129. 
 
 1. 12. Cp. Virg. E. 7. 51. 
 
 1. 1 6. oo-o-' v ovsipcd, a proverb, according to the Scholiast, who also 
 attributes to Homer a line which cannot be found there, i.e. 
 
 ov5' e? pot r6ffa Soirj oaa if/tvSovrai ovtipot : 
 
 the only line resembling it being II. 9. 385, which ends with the words 
 oaa if*dfM06s rt K6vis re. Cp. Apoll. Rh. 2. 305 
 
 Saivvro Qivtvs 
 'ApnaXfcas oiov r' tv ovtipaai OV/JL&V la'uxav. 
 
 1. 19. \opla, 'paunch.' See again on 10. II. 
 
 1. 20. 4>cryoi. See passage of Aristoph. quoted on 7. 68. This 4>ay6s 
 was probably the fruit of the Quercus aegilops or ' great prickly-cupped 
 oak,' whose acorns are used in tanning, and called Velani, or Valonia 
 in the Morea and adjacent countries, which produce them abundantly. 
 
 Xi(J.aivovTos, ' when it is winter,' an impersonal genitive absolute. 
 oti8' 5<rov <5pav ?x w ) 'I care less.' Cp. Virg. E. 7. 51. 
 
 1. 21. There is a charming simplicity about this comparison truly 
 bucolic : ' I care less for winter than a toothless man for nuts when 
 he can get gruel.' 
 
 1. 25. o-Tp6fi/3a> oo-rpciKov, 'the shell of a conch,' or Murex Tritonis, 
 Linn. This must have been a large specimen of shell-fish, to be 
 divided into five (1. 27). 
 
 1. 26. Hyccara, or ffycara, a town on the north coast of Sicily.
 
 160 IDYLL IX. 
 
 1. 27. See 22. 75. 
 
 1. 28. The narrator here proceeds to relate the answer which he gave 
 to the two shepherds. On fyaivere cpSds, see next note. 
 
 1. 30. There is a doubt in the reading of this line between <j>vor<o and 
 (JnJtrjjy. If Qvaris be right, the narrator is addressing himself, so that 
 the sense remains the same. But what is the sense ? There was a 
 superstition that falsehood brought upon those who were guilty of it 
 some personal disfigurement (see 12. 24), such as a blister on the 
 tongue or nose, or a black nail or tooth. (Hor. Od. 2. 8, 3.) Bnt 
 to what does the hope or prayer (or whatever is expressed by fitjKfTt 
 <}>vff<o which is the commonly received reading) refer, if it is supposed to 
 be part of the narrator's song ? The general interpretation is that he 
 is expressing a hope that what he says about the friendship between 
 himself and the Muses is true. This is not satisfactory, and I cannot 
 understand ya]Kkn. 
 
 I would suggest that the line be joined directly with the preceding, 
 and (I.TI ITOT' be read instead of fjujKtr' : \.-(\ will then depend upon 
 <t>aivcTC thus : ' Oh Muses, illuminate (or glorify) the song which I 
 then sang in the presence of those herdsmen, so that I may never 
 incur the penalty of falsehood,' i. e. if he boasted in his song of the 
 friendship of the Muses, and they did not back him up by making it 
 illustrious, his boast would be proved false. 
 
 1. 32. tpTjiccs. In this word the rj belongs to the Doric, and the 
 a to the Attic dialect. The same in the words xprjr^p 'Ir/ffaiv Upiijiros. 
 
 1. 34. tair(vas. If this is a correct reading, it is a very remarkable 
 substitution of an adverb for an adjective. It might possibly be 
 emended evfa/Voi$. Valckenaer conjectured (Sap ipyarivais. 
 
 1. 35. Cp. Hor. Od. 4. 3 foil. 
 
 1. 36. Cp. Hor. Ep. i. 2, 23 'Circes pocula,' 'no magic spell has 
 ever power over them.' 
 
 IDYLL X. 
 
 A THOROUGHLY natural spirit of country life animates this charac- 
 teristic Idyll, which is the only one in which we have farm-labourers 
 represented. 
 
 Battus and Milo are reaping together. Battus cannot get on with his 
 work, and confesses that he is in love ; and at the request of his com- 
 panion sings the praises of Bombyca his sweetheart, who, from his 
 description, was not likely to have a crowd of admirers. Milo, a totally
 
 NOTES. 161 
 
 different character, who despises such nonsense, sings a song containing 
 partly maxims of country life, partly satirical abuse of the bailiff, and 
 sneers at his comrade's ' spoony ' disposition. See Appendix, Idyll X. 
 
 1. I. POVKCUE. See also 1. 57. This word properly denotes a man 
 who ploughs with oxen ; hence it means any rustic or (conveying a sort 
 of idea of clownishness) ' clod.' Cp. II. 13. 824 /Soiryoi'e. 
 
 iTeirovOeis. See on 4. 7. 
 
 I. 2. SYJAOV, properly a ' furrow ; ' hence the track which the reapers 
 make through the corn. 
 
 I. 4. oicnrep ois -iroijivas, ' as a sheep (is left behind) the flock.' Cp. 
 Horn. Od. 9. 448. 
 
 tcdxTos : the Cactus Opuntia, which has stalks composed of broad flat 
 joints, grows plentifully on Etna. Cp. rvfj.fjia, for the wound of a thorn, 
 in 4. 55. 
 
 I. 6. dpxK-vo> (sc. ajiaros) ' when (the day) is only just beginning.' 
 This is Ahrens' reading for dpx6/Jitvos. 
 
 avXcLKos, 'furrow,' hence the corn growing along it: the genitive is 
 governed by diroTpY6i.s. 
 
 I. 8. Cp. Aristoph. Plut. 1127 
 
 irodfts TOV ov -napovra. KOI (MTrjv ica\(7s. 
 
 1. 9. TWV ?KTO0v, ' of things unconnected with his business.' 
 
 1. 1,1. \a\fTtov, K.r.X. A proverb, of which Milo has a large stock. 
 Lit. ' It is hard to give a dog a taste of paunch ; ' i. e. if he once tastes it, 
 he will have it all. So Milo hopes that he may never be in love in the 
 least ; for fear a degeneracy from his stern impassible habits should 
 follow rapidly. 
 
 This proverb is also found in Hor. Sat. 2. 5, 83, where however Ho- 
 race seems to have misunderstood the meaning of \opia> and expressed 
 it by ' corio,' ' leather ; ' unless ' corium ' can likewise signify ' paunch.' 
 
 1. 12. tvSeKaraios. See on 2. 4. 
 
 1. 13. More proverbs: 'You are drawing wine from a cask, that's 
 plain ; ' i. e. you have abundance, you have no need to work, if you can 
 afford so much time to be in love. ' But I,' he adds, ' have but sour 
 wine and not enough of that.' oos was the common stuff given to 
 labourers, as we should say ' small beer,' ' swipes.' 
 
 Cp. Herodas, Mim. 4. 14 for the same proverbial expression 
 
 Ok 1&p Tl VO\\flV oW (TOlfMV O.VT\tV(i(V. 
 
 1. 14. Battus continues without noticing Mile's muttered interruptions. 
 ' All at home (he says) is neglected.' Cp. Virg. E. 2. 70. 
 
 M
 
 ifia IDYLL X. 
 
 awo o-iropw is not to be understood literally, because the period was 
 only eleven days ; but they are the words of a proverb. 
 
 1. 15. & noXv|3a>Ta, 'the servant of Polybotas.' See 2. 70. 
 
 1. 17. Another proverb. Cp. Hor. Od. 3. 2, 31. Milo, hearing who 
 was Battus' sweetheart, laughs heartily at his choice. ' You have (says 
 he) what you have long wished for,' i. e. you will be well punished for 
 your folly in falling in love. 
 
 1. 18. (jiAvris. Some kind of cricket, or locust: to which Milo com- 
 pares Bombyca, on account of her thinness and swarthy colour. 
 
 1. 19. avr6s, ' alone.' See 4. 15 ; 21. 2. 
 
 1. 20. JIT\ 8t| p.Y a |Av0v. ' Don't you boast,' you may be yourself 
 overpowered by the unexpected god. 
 
 1. 24. TO.V paSivdv, ' the slender girl.' So he calls her ; others would 
 call her ' bag o' bones.' Cp. Lucret. 4. 1167 
 
 ' fiaSivr) vero est iam mortua tussi,' 
 ' she who is in the last stage of consumption is called " /JaStio;." ' 
 
 1. 26. The lover sees his sweetheart through the rose-coloured medium 
 of love, which makes all her blemishes appear beauties. Cp. Lucret. 
 4. 1146 
 
 ' Hoc faciunt homines plerumque cupidine caeci 
 et tribuunt ea quae non sunt his commoda vere : 
 
 nigra (j.f\i\poos est ; immunda et foetida ao<r//os ; 
 caesia ira\\a,f>iov ; nervosa et lignea, SopxAs,' &c. ; 
 who is thus imitated by Moliere, Misanth. i. 5 
 
 ' Us comptent les defauts pour les perfections, 
 Et savent y donner de favorables noms. 
 La pale est au jasmin en blancheur comparable ; 
 La noire a faire peur, une brune adorable : 
 La maigre a de la taille et de la liberte ; 
 La grasse est dans son port pleine de majeste,' &c. ; 
 also Hor. Sat. i. 3, 39 foil., and Ov. Ar. Am. 2. 657 
 
 'Nominibus mollire licet mala. Fusca vocetur 
 
 nigrior Illyrica cui pice sanguis erit ; 
 si paeta est, Veneri similis ; si flava Minervae ; 
 
 sit gracilis, macie quae male viva sua est.' 
 
 1. 28. ' What if she be of a dark complexion ? Such also is the hue of 
 sweet flowers.' Cp. Virg. E. 10. 38. For toy, see 7. 64. 
 
 Ypairro. vaKivOos. Whatever flower this was, it bore upon its petals 
 marks similar to AI or V, which were the subjects of two different 
 legends ; the AI being supposed to represent the name AIA5 (Ajax)
 
 NOTES. 163 
 
 rom whose blood the flower sprang; the V being the origin of a 
 similar legend about Hyacinthus. Cp. Mosch. Epit. Bi. 
 
 vvv itdicivOe \a\ti ra aa. ypdpnara, nai ir\tov at a? 
 /3d/ij6aAe ffois irfraXoifft. 
 Of its flower Ov. M. 10. 206 foil, says, 
 
 ' Flosque novas scripto gemitus imitabere nostros. 
 tempus et illud erit quo se fortissimus heros (Aiax) 
 addat in hunc florem folioque legatur eodem. 
 
 Ipse suos gemitus foliis inscribit et AI AI 
 flos habet inscriptum funestaque litera ducta est ; ' 
 also Virg. E. 3. 106. 
 
 Thus two different legends, probably referring to two different flowers, 
 became confounded together. The flower meant here may be either the 
 Gladiolus or the Delphinium Ajacis, which is a kind of larkspur ; or the 
 Martagon lily, commonly called Turk's cap. 
 
 1. 30. Cp. Virg. E. 2. 63. 
 
 1. 31. The crane followed the plough to pick up the grain; this we 
 learn from Anth. Pal. 7. 172 
 
 apnhitTtipav crirep/iaros vif/nrtrrj Riaroviav yepavov. 
 
 1. 33. xpvo'eoi, dvKi(ji0a. 'We would be set up as golden statues.' 
 Cp. Virg. E. 7. 35, and 17. 124. 
 
 1. 34. TWS ouXcos. ' Your flutes,' which you had formerly when 
 playing to the mowers in the farm of Hippocoon. 
 
 1. 35. <rxi\\ka., ' a costume ; ' i. e. some special and appropriate get-up. 
 
 dixvxAas. The finer sort of Laconian shoes, generally red, made at 
 Amyclae. 
 
 1. 36. do-Tpd-yaXoi., ' thy feet are white and well-proportioned as dice.' 
 
 1. 37. rpvxvos. This word, of which the Schol. says the right form 
 is o-Tpxixvos (whence our strychnine}, denoted some variety of night- 
 shade. We may imagine the comparison to be with the narcotic pro- 
 perties of the juice. Her voice had a soft and soothing tone, just as the 
 sound of murmuring waters or whispering leaves is said to invite sleep, 
 
 1. 38. Ironical, of course. 
 
 1. 40. ' Alas ! here am I a bearded man, and no match for so graceful 
 a poet.' Still in sarcasm. 
 
 1. 41. See on 1.142; 7. 50. 
 
 Avn.pero. There was a legend about a man of this name who, after 
 hospitably receiving strangers, used to compel them to go out and reap 
 with him, and end by murdering them. There appears to be no allusion 
 to that here, but only to the name as connected with the earliest accounts 
 of reaping and of reapers' songs. 
 
 M 2
 
 164 IDYLL X. 
 
 The song itself consists of short maxims, like the gnomic poems of 
 Solon and Theognis. 
 
 1. 45. O-UKIVOI avSpes, ' men of fig-wood,' i. e. good for nothing. Cp. 
 Hor. Sat. i. 8, i. The same habit of passers-by abusing the idleness of 
 labourers in the field is alluded to by Horace (Sat. i. 7, 30), where he 
 says that a man was so great a master of abusive language, that the 
 passer-by who addressed him as ' cuckoo ! ' or ' lazy loon ! ' would never 
 get the last word. 
 
 1. 46. It is recommended here that the sheaf should be laid down so 
 that the part of the stalk which was cut (a ro|xa) should point towards 
 the prevailing wind. This was supposed to fill out the ear. 
 
 1. 48. TO p.ecroji.ppiv6v. See on 1. 15. Cp. Virg. G. i. 298. The dryness 
 of the corn at midday would of course favour the threshing, as it would 
 impede the reaping. With <pev-yetv as with apx^ffdat, &c., understand 
 8f or XPh- VTTVOS is Doric for virvovs. 
 
 1. 51. \ivOo-at. See on i. 15. 
 
 1. 52. Here the character of the song changes into abuse and ridicule 
 of the close-fisted bailiff. 
 
 1. 55. ' Remember to cook our porridge better, stingy Mr. Bailiff ; and 
 take care you don't cut your fingers splitting the cumin seed? Stingy 
 people were said to split cumin or cress seed ; just as we say ' to skin a 
 flint.' Aristophanes has a delightful word expressing it : icvfuvoirpiffro- 
 
 1. 57- Xipjpov, ' miserable,' ' contemptible.' 
 
 IDYLL XL 
 
 WE have here a poem addressed to Nicias, who was, we may suppose, 
 in love ; and the poet recommends him to do as Polyphemus did, and 
 try the charm of music as an antidote. Nicias was a physician ; the 
 XHIth lydll is also addressed to him, and the XXVIIIth was sent with 
 a present to his wife. See also Epigram vii. We are told by the 
 Scholiast that Nicias answered this Idyll approvingly, and that the first 
 two lines of his answer were 
 
 fy ap' d\T)0^s TOVTO, QeoicpiTt' ol ydp 'Eparrts 
 iro\\ovs TTotr/Tas f5iSaav TOVS irplv dfiovaovs. 
 
 This is one of the most perfect specimens of genuine pastoral poetry 
 that has come down to us. The expression 6 Kvic\ci>4' 6 irap' djxiv in 
 v. 7, points to Sicily as the place where it was written, some time be- 
 tween B.C. 280 and 274.
 
 NOTES. 165 
 
 1. I. Tre4>vKt. See on 4. 7. 
 
 1. 2. For different kinds of remedies anciently in use, see Blomfield 
 on Aesch. P. V. 488. The principal were xP iaT< *> rraara, trXaara, and 
 mffra, to which were added PpejaifM, and lirySa*. For the idea, cp. 
 Ov. M. i. 523 
 
 ' Hei mihi quod nullis amor est medicabilis herbis.' 
 
 1. 4. liri, 'in the power of.' Cp. 15. 72, and Horn. Od. 13. 60 
 yfjpas Kal Qavaros, ra r kit' dvOpojiroiffi irf\ovT<u. 
 
 1. 7. OUTIO, ' thus ; ' that is, by aid of this remedy. 
 
 & -irop' ap.iv. See Argument. 
 
 I. 10. He did not love her in the ordinary manner, and show his 
 affection.by sending apples, or roses, or locks of his hair ; but in down- 
 right frenzy. 
 
 I. n. opOats (jiavCais, ' downright frenzy. ' aytlro, K.T.\. Cp. 13.67. 
 
 1. 12. avrai, 'by themselves.' Cp. Virg. E. 4. 21 ; 7. n. See on 
 10. 10. 
 
 ! J 3- X^ w Ps. Observe the emphatic position of this adjective. See 
 on 9. 10. 
 
 1. 16. KvirpiSos K p.e-y<^ as - Ji n these words with the preceding 
 line, ' having an abominable wound at his heart (received) from great 
 Venus.' 
 
 ptAtjAvov is the subject of irdge. 
 
 1. 20. The comparisons of Galatea's beauty put into the mouth of 
 Polyphemus are wonderfully in keeping with the perfectly pastoral 
 character of the scene and poem. As a contrast to these lines, and 
 for no other reason, it is worth while to refer to Ovid's imitation in 
 Met. 13. 789 foil., and remark how he has indulged his tiresome habit 
 of wearing an idea threadbare. 
 
 Virgil (E. 7. 36) is far simpler, and in better taste. Cp. also Catullus, 
 'Puella tenellulo 
 
 delicatior haedo j ' 
 and, better still, Martial's beautiful lines to Erotion, 5, 37. 
 
 A more modern imitation is in Polyphemus' famous song in Gay's 
 Acis and Galatea, set to music by Handel 
 'O ruddier than the cherry, 
 O sweeter than the berry, 
 O nymph more bright than moonshine night, 
 Than kidlings blithe and merry ! ' 
 
 1. a i . 6(jL<j>aKos w|xas. The grape then was more shining than when 
 covered with the bloom of ripeness. 
 
 1. 22. ovO" = aZOt, ' hither.' 
 
 1. 24. Cp. Hor. Ep. 12. 25.
 
 1 66 IDYLL XL 
 
 1. 25. Cp. Virg. E. 8. 37. 
 
 1. 26. Neptune and Thoosa, the daughter of Phorcys, were Polyphe- 
 mus' parents. 
 
 <Jn')X\a for flowers ; again 18. 39 ; 22. 106. 
 
 1. 31. Cp. Virg. E. 8. 34. 
 
 The Cyclops here describes with delightful simplicity his own ugli- 
 ness, but says that this does not matter as he is so rich. Cp. Ov. M. 
 
 13-851. 
 
 1. 34. Cp. Virg. E. 2. 31 ; Ov. M. 13. 529. 
 1. 36. Cp. Calpurn. EC. 2. 68 foil. 
 
 ' Mille sub uberibus balantes pascimus agnos 
 totque Tarentinae praestant mihi vellera matres ; 
 per totum niveus premitur mihi caseus annum.' 
 1. 37. Tapo-oC. Cp. Horn. Od. 9. 219 
 
 Tapaol fitv rvpSiv PpiOov. 
 
 1. 39. rtv here and in lines 55 and 68, and in no other place in Theo- 
 critus, is accusative. 
 1. 40. VVKTOS d<opt. See 24. 38. 
 
 1. 41. p.avocj>6pcos, from wvq, 'having a crescent- shaped blaze.' Cp. 
 Horn. II. 23. 455 
 
 bs rti fjilv aAAo roaov <f>oivi ?/v, tv 5 jueTawy 
 \(VKOV <r7/i' (TervtcTO irfpirpox.ov rjvTf t^'f)vr}. 
 
 Some compare Hor. Od. 4. 2, 57 foil. ; but in that passage the poet 
 (I have always thought) intended to compare with the crescent moon the 
 outline of the top of the forehead and the two sprouting horns, not any 
 spot : this resemblance the head of a kid would not bear. 
 
 1. 42. Cp. Virg. E. 9. 39 foil., a very close imitation of this passage. 
 1. 43. opexOciv, ' to roar.' So in Horn. II. 23. 30, Od. 5. 402 
 
 fi6\0fi 7(Jp piya nvp.a. 
 
 Compare with this the expansion of the same idea by Tennyson in 
 the Princess, 
 
 ' Come, &c. 
 
 and let the wild 
 
 Lean-headed eagles yelp alone, and leave 
 The monstrous ledges there to slope, and spill 
 Their thousand wreaths of dangling water-smoke.' 
 1. 46. pcXas Kuro-os, the common ivy. See on I. 29. 
 1. 49. Observe the genitive after tXoi/ro, as if with omission of fiaXXov. 
 Cp. Soph. Phil, iioo 
 
 TOV \uovos Saifiovos el'\ov TO KCLKIOV aiveiv. 
 1. 50. XaoixoTcpos, ' too hairy.' 
 1. 52. Koi6(xvos, ' singed.' The allusion is both to the ardour of his
 
 NOTES. 167 
 
 love, and the actual singeing with which he invites Galatea to modify 
 his bristly appearance. 
 
 1. 53. rdv Iv". So 6. 2-2. 
 
 1. 55. <J>s Ka-r&vv. Observe the indicative mood after &s, and see 
 note on 4. 49. 
 
 1. 57. See on 3. 28. 
 
 1. 58. TO \itv, the poppies ; rd 8, the xplva \fvi(6., probably snowdrops, 
 which would appear in January in that climate. Or perhaps Helleborus 
 niger, which we call Christmas rose. 
 
 1. 60. aur60i, ' on the spot.' 
 
 1. 61. We learn from Horn. Od. 9. 125 that the Cyclopes were un- 
 acquainted with nautical matters. Hence Polyphemus will have to 
 wait for some chance traveller to teach him to swim. 
 
 1. 63. ' Come out, O Galatea, and when you have come out, forget, 
 as I do sitting here to-day, to go home again.' 
 
 1. 65. Cp. Virg. E. 2. 28. 
 
 1. 66. For Tdjuaov, ' rennet,' see 7. 16. 
 
 1. 67. a fxar^p, K.T.\., 'It is all my mother's fault.' 
 
 1. 71. <r(j>v(r8iv, 'bum with fever.' 
 
 1. 72. Cp. Virg. E. 2. 69 foil. 
 
 For tKirt-iroTao-ai, see on 2. 19. Theocritus no doubt aimed these 
 last lines at his friend Nicias. 
 
 1. 75- Tav Trapeoicrav d|i\-ye. A regular shepherd's proverb^ equiva- 
 lent to our ' bird in the hand,' &c. Cp. Callim. Ep. 32 
 
 Xovfios ep<vs roioffSe' rci /j.(v (fxvyovra Siujtteiv 
 
 d?5t, TO. 8" (V fifffffy Kfifntva Trapnerarat, 
 and Hor. Sat. i. 2, 108. 
 
 1. 76. Cp. Virg. E. 2. 73. 
 
 1. 78. KixXCfovn, 'giggle.' The words are evidently etymologically 
 connected. 
 
 1. 79. tv T$ ycju On land, if not at sea. 
 
 1. 80. tTTolpaivtv. Cp. Eur. Hipp. 151, Aesch. Ag. 652, with the 
 word 0ovKo\(<u. There is besides, of course, an allusion to Polyphemus' 
 ordinary occupation. 
 
 1. 81. \pvv6v, for a doctor's fee. A hit at Nicias. 
 
 IDYLL XIII. 
 
 THIS Idyll also is addressed to Nicias, but probably some ten years 
 later than the preceding, and at about the same time as the Vllth Idyll, 
 when the feud between Callimachus and Apollonius Khodius was at its
 
 i68 IDYLL XIII. 
 
 height ; and contains an account of the loss of Hylas, whom, as he was 
 drawing water at a fountain for the use of the Argonauts, the enamoured 
 Nymphs dragged in. See Apoll. Rh. I. 1187 foil. 
 
 This subject is also mentioned by Virgil, E. 6. 43 foil., and (appa- 
 rently in imitation of this Idyll) by Propertius, Eleg. i. 23, 17 foil. 
 
 Hylas was son of Theiodamas, king of the Dryopes, who had been 
 killed by Hercules. 
 
 1. i. The subject of TX' is the unexpressed antecedent of <S TVVI. 
 ' It was not for us alone, as we used to think, Nicias, that the God, 
 whoever was the parent of Eros, begat him.' 
 
 Cp. Plat. Symp. 176 B 'yot'fjs yap 'E/wro? our' tlalv ovre \eyovrat vir' 
 ovStv&s ovr' iSi&rov cure iroirjrov. 
 
 1. 4. Cp. Hor. Od. 4. 17, 21. 
 
 1. 6. The combat between Hercules and this Nemean lion is described 
 at length in 25. 167 foil. 
 
 1. ii. Paley considers this line interpolated. It is of course out of 
 place for day-break to come between mid-day and evening ; and the two 
 last would be especially the times of rest and leisure which Hercules 
 would devote to the education of his protege. 
 
 With XetJKiiriros, cp. Aesch. Pers. 386 \evte6iraj\os jj/ie'pa. 
 
 1. 14. KarcL 0vjiov='ex sententia,' 'satisfactorily,' 'according to his 
 wish.' 
 
 1. 15. This line has given rise to much discussion. The general 
 interpretation is that t> tXiccov is a metaphor from animals of draught, 
 and means ' drawing well,' i. e. doing a good share of the work ; so as 
 to make a well-matched pair with Hercules, like the ' iuvenci ' in 
 Virg. G. 3. 169. Accordingly Lang translates, 'that he might drive a 
 straight furrow.' But should we not rather understand an entirely 
 different metaphor, viz. that of -weight ? For \KW is of frequent use, to 
 express the weight of anything, ' to draw or turn the scale.' Thus we 
 get a more special meaning for ireirovap.vos and dXaOtvov, as applied 
 to the working of metal and the quality of the result. I would then 
 thus translate I. 15, ' And by showing good weight might turn out for 
 him a sterling man.' 
 
 1. 1 6. (jierd here, as frequently, = ' to fetch.' We use 'after' in the 
 same way. Cp. 7. 24. 
 
 1. 17. Cp. Catull. 64. 4 
 
 ' Quum lecti iuvenes Argivae robora pubis, 
 auratam optantes Colchis avertere pellem 
 ausi sunt vada salsa cita decurrere puppi.' 
 
 1. 20. MiSeonSos. See 24. i.
 
 NOTES. 169 
 
 1. 22. Paley considers this and the two following verses interpolated : 
 I do not quite see why. The Symplegades were at the entrance of the 
 Euxine sea from the Thracian Bosphorus ; consequently at the time of 
 the events narrated in this Idyll, the scene of which is on the shore 
 of the Propontis, the Argo had not yet passed through them ; but what 
 of that ? The lines in question are merely the poet's description of the 
 vessel, as it were reminding the reader ; ' the Argo, that ship, you 
 remember, which, by passing through the Symplegades on its way to 
 Phasis, fixed them for ever.' 
 
 1. 23. The words |3a0iiv 8' clcrcSpa)xe "faertv are parenthetical, and 
 would naturally come at the end of the sentence. ' She swooped through 
 the great expanse like an eagle, and ran into the deep Phasis.' So 
 Ov. M. 7. 6 
 
 ' Multaque perpessi claro sub lasone tandem 
 contigerant rapidas limosi Phasidos undas.' 
 
 1. 24. x l P&86S, 'rocks projecting above the sea.' Also called xoipot, 
 from their resemblance to a hog's back. 
 
 crrav, 'became fixed,' because they were destined to do so as soon 
 as any ship had passed through them unhurt. The question naturally 
 arises, if the Argo was the first ship launched, what ships did the 
 Symplegades crush ? 
 
 1. 25. This refers to the heliacal rising of the Pleiads, i.e. when they 
 just rise long enough before the sun to be visible at early morning in 
 the east. See on 7. 53, Virg. 4. 231, Hes. Op. D. 384. They would 
 be in this position about the end of April, when the lambs are weaned, 
 and fed apart. Cp. Eur. Cyc. 27 
 
 iraiSes fj.tv ovv //ot K\ITVQJV kv (ffxarots 
 vfyovai /j,TJ\a via. 
 
 The traces of the bucolic poet are manifest in these lines, and again 
 30-35, and in the description of the fountain ; though the Idyll generally 
 is in the Epic style. 
 
 1. 29. v6T<j>, ' by means of the south-west wind.' So also 
 7io\tov irtpav TTOVTOV x 6 'A**P'V "^ r< f X^P**- 
 
 Soph. Ant. 335. 
 
 We may call this the dative of coincidence ; it is really almost equiva- 
 lent to an adverb. 
 
 1. 30. Kiavfiv. The town of Kios in the south-west of Bithynia. 
 
 1. 31. Cp. Virg. G. i. 46. 
 
 1. 32. (card vya., ' in pairs ' according to the benches of the ship, 
 each of which held two rowers. 
 
 1. 34. oveiap, ' a capital place for couches of leaves.' 
 
 ! 35- POVTOJI.OV, ' the flowering rush,' Butomus umbellatus, Linn.; the
 
 170 IDYLL XIII. 
 
 epithet 6|v applies well to its three-sided leaves, likely to wound a hand 
 incautiously gathering the pink flower, which stands on a stalk two 
 or three feet high. Or possibly it refers to the acrid taste of the 
 same leaves. 
 
 icuimpov. See on i. 106. 
 
 1. 36. Cp. Ap. Rhod. i. 1207 
 
 r6(t>pa. 8' *f\as x a ^ K fy ff vv /caktriSt voatyiv opiXov 
 Slfyro Kpfyrjs iepov pdov us Kf ol vScap 
 <pOair) d(f>vffffafj.fvos iroriSopiriov. 
 
 1.40. -f|fj.V(p, 'low-lying.' So 'Usticae cubantis' Hor. Od. I. 17, 
 ii ; ' Thapsum iacentem ' Virg. Aen. 3. 690, and, nearer still, Sil. Ital. 8. 
 508 ' per udos Alba sedet campos.' 
 
 1. 41. x 6 ^ l 86viov. This is not the Chelidonium or Celandine, evi- 
 dently ; though what it is must be left to conjecture. 
 
 dStavTov. Adiantum capillus Veneris. The well-known maiden-hair 
 fern. 
 
 1. 42. See on 3. 23 for crtXivo. 
 
 dypworis. This plant receives the epithet /^eXnjSjjs in Horn. Od. 
 6. 90. It is probably the Cynodon (or Panicum) dattylon, which is a 
 thickly growing grass with creeping stem. 
 
 I. 45. lap opocacra. Cp. Hor. Od. 4. 5, 6. 
 
 II. 46 foil. See the imitation in Propert. i. 20, 43 foil. 
 
 ' Tandem haurire parat demissis flumina palmis 
 
 innixus dextro plena trahens humero. 
 Cuius ut accensae Dryades candore puellae 
 
 miratae solitos destituere chores, 
 prolapsum leviter facili traxere liquore ; 
 
 turn sonitum rapto corpore fecit Hylas.' 
 1. 47. ?<t>vo-av, ' clung.' So Horn. II. 6. 253 
 ev r' dpa ol <pv x*'P '- 
 
 One Nymph only is mentioned in Ap. Rhod. I. 1234 foil. 
 avTcip 6f' ais rd. irpatTa poai evi tta\irtv epeiffev 
 Xf^/ity emxpifupOeis, irtpl 8" aairtrov (&pf)(ev voup 
 \d\Kov (s ri)(r]evTa (poptv/jifvov, avriica 8' ijye 
 \cuov (Ji^v KaOvirepOev err' avx^os avdfro ini\vv 
 Kvaaai imOvovaa Tfpfv aro/jta' StgiTepfj re 
 ayieaiv' tairaat \tipi, f-eari o' eviitaQISaXe Sivy. 
 
 1. 50. dOpoos, ' all of a heap,' used graphically of the lion gathering 
 himself together for a spring in 25. 252. 
 
 1. 52. A meteor was supposed to foretell wind. So Horn. II. 4. 76 
 olov 8' aarepa fjxf Kpovov irais dyKV\ofjir]Tf(u 
 rtpas, fjt arpdrai vpti \aSiv.
 
 NOTES. 171 
 
 Hence the sailor warns his companions to raise the yards and sails. 
 Cp. Milton, P. L. 4. 556 
 
 ' swift as a shooting star 
 
 In autumn thwarts the night, when vapours fir'd 
 Impress the air, and shows the mariner 
 From what point of the compass to beware 
 Impetuous winds.' 
 
 6ir\a, like Lat. ' anna,' ' any part of the rigging.' 
 1. 56. Maiomort. Join with etucan/Trca : ' well bent after the Scythian 
 pattern.' These bows, when unstrung, would be reflexed like a letter 
 C, and when strung be in the form of a cupid's bow. 
 1. 58. From Horn. II. n. 462 
 
 rpls jj.lv tireiT' r\va^v oaov tce<f>a\i) X^ e ^>&>T(5s' 
 and see again Propert. 1. c. 
 
 ' Cui procul Alcides iterat responsa, sed illi 
 nomen ab extremis fontibus aura refert.' 
 Cp. Virg. E. 6. 44. 
 1. 66. dXufjicvos governs topea. So Eur. Hel. 532 
 
 iropOpovs d\dff0ai fnvpiovs. 
 
 1. 68. It is difficult to believe that the reading in the text can be 
 right. yiptv is an emendation of Hermann's for p.evv, and has at all 
 events the merit of making sense of TCOV irapeovrwv, ' the ship had her 
 complete crew.' But I would rather suggest to retain \itvtv, and read 
 rS>v5' aiteovrtav , ' the ship was waiting while these (Hercules and Hylas) 
 were absent.' 
 
 1. 69. IcrTia cgcK&Oaipov. I know of no satisfactory interpretation of 
 these words. Reiske reads iiepia, ' the decks ; ' and Ziegler ftxa\aivov, 
 for which there is no authority. The sense wanted is ' they took down 
 the sails again, waiting for the absentees,' and this is given by Words- 
 worth's conjecture avrt KaOei\ov. 
 
 1. 72. tuucdpov, for this genitive cp. Hor. Od. 3. 13, 13. 
 1. 73. Wordsworth reads ijptua, supposing a play upon the word 
 involved in rjp&tjo-c : but surely this is foolish, because they did not 
 call him fjpcaa but Kiirovavrav, because he deserted the Argo. However 
 Lang has apparently thought it worth representing in translation, ' they 
 girded at Herakles, the heroes, because he roamed from Argo.' 
 ! 75- 6|vov. See Ov. Trist. 3.11 7 ' inhospita litora Ponti.'
 
 172 IDYLL XIV. 
 
 IDYLL XIV. 
 
 THIS Idyll (like the XVth) is an imitation of some mime of Sophron, 
 in which the male character of the middle class is portrayed, as in 
 the XVth is the female. Both Idylls abound equally in proverbs. 
 The subject of the present Idyll is as follows : Aeschines has invited 
 a friend Thyonichus, in order to confide to him the sad tale of his 
 quarrel with his sweetheart Cynisca, on account of her preference 
 of one Lycus, and to ask his advice about going to Alexandria to 
 take service in the army of Ptolemy Philadelphus. His friend sketches 
 the character of Ptolemy and strongly recommends him to do as he 
 proposes. 
 
 A careful comparison of this Idyll with the XVIth and XVIIth very 
 strongly induces the conclusion that this and the XVIIth were both 
 written at Alexandria, soon after Theocritus migrated thither from Sicily, 
 and therefore after he had failed to attract the favour of Hieron, as is 
 intimated in the XVIth. The XlVth must have preceded the XVIIth, 
 which shews a more intimate acquaintance with Ptolemy Philadelphus. 
 
 1. i. x*'p lv ) understand Xtyai. Lat. 'iubeo salvere.' 
 cLXXo. ToiaOra, ' Well, the same to Aeschines ! ' 
 1. 2. is xp vl s, ' What a time since we met ! ' 
 1. 3. ' We are not getting on very well.' 
 ToOra for Sici ravra, as in Arist. Pax. 414 
 
 TO.VT' dpa ird\ai TUV ^p.(paiv irap(K\(iTTfTi]f 
 and Nub. 319 
 
 TOUT" dp' d/tovffaff' avrwv TO (pBty/j.' 77 fax*! A 10 " ""770777701. 
 1. 4. After Alexander's time beards became unfashionable. Cp. 
 Juv. 9. 12 
 
 ' Horrida siccae silva comae.' 
 1. 6. Cp. Arist. Nub. 103 
 
 TOVS &xpiwvras, TOVS dvviroS^Tovs \tytis 
 wv 6 KO.Ko8aifj.uv SowpaTJis ; 
 
 1. 7. ' He was in love, too, I expect ; but with bread ; ' a half-starved 
 philosopher. 
 
 1. 8. irat<r8is ?x tov > 'you are always joking.'
 
 JVOTZS. 173 
 
 1. 9. 'I shall go mad unawares some day : I am only a hair's breadth 
 from it now.' 
 
 1. II. Kara Kaipov, 'just as it suits you.' 
 
 1. 15. Bi|3Xtvov. Whatever wine this was, it is praised by Athenaeus, 
 who gives two accounts of it, one, that it came from Bibline in Thrace : 
 another, that it was made from a kind of vine called &i&\ia, grown in Italy. 
 
 1. 16. TTopcov. Cp. 7. 147. 
 
 1. 17. I have adopted Wordsworth's conjecture KTIS for ns, which 
 used to be a puzzle. They were eating things calculated to increase 
 a desire for drinking truffles and snails. Cp. Mart. 4. 46, n 'Cum 
 bulbis cochleisque.' The Cochlea or Helix pomatia is now in many 
 countries considered a delicacy. A passage in Athenaeus, 8. p. 356, F. 
 (KTfvas, &6\0ovs, fjiffav rt irovKinrow') confirms the conjecture. This 
 KTts = Lat. 'pecten' (cp. Hor. Sat. 2. 4, 34), or scallop, whose shell 
 bears an unmistakable resemblance to a comb. 
 
 tJjTjpt'Or), ' were picked specimens ; ' cp. the use of Ifeu'peros. 
 
 Jjs TTOTOS aBvis, ' it was a jolly drinking-bout ! ' 
 
 1. 19. firivos, 'to the health of whomsoever each wished.' Cp. for 
 the genitive case, Hor. Od. 3. 19, 9. 
 
 1. 21. irapeovros ipev, ' because I was present : ' she dared not mention 
 Lycus' name. 
 
 1. 22. XVKOV etSes; An allusion to the superstition that on meeting 
 a wolf you became dumb if the wolf saw you first. See Virg. E. 9. 54. 
 But here there appears to be no question which saw the other first : 
 simply 'did you meet a Wolf?' Of course with allusion to her lover, 
 Lycus. 
 
 1. 23. KTJ^airr', KOI ((pTJirro, ' and she blushed.' We may compare 
 with this line the jokes of Falstaff upon Bardolph's red nose ' Thou 
 art the knight of the burning lamp.' ' Thou hast saved me a thousand 
 marks in links and torches,' and the like. 
 
 1. 24. ' Lycus is the man.' 
 
 1. 25. Observe the sneer in iroXXols SoKiwv, ' Whom many people 
 imagine to be good-looking.' 
 
 1. 26. icXiJfwvov, ' notorious.' 
 
 1. 27. ' This had come to my ears also, just in a whisper.' 
 
 1. 28. Cp. 10. 40, 'letting my beard grow as a man in vain," i.e. 
 without developing also a man's determination and discretion. 
 
 1. 30. TOV tp,6v AXIKOV air' dpx&s, ' the story of my rival Lycus from 
 the beginning of his courtship ; adapting it to some Thessalian air." 
 
 1. 31. KaKat 4>pvs, 'a mischievous fellow ! ' 
 
 1. 34. TOV fo-<jis, ' whose hot temper yon know.' It is not clear whom 
 he struck : probably the Larissean ; and Cynisca, frightened at the
 
 174 IDYLL XIV. 
 
 prospect of a general fight, was glad enough to run away, and he fol- 
 lowed her with the taunts of 11. 36-38. 
 
 1. 35. icaXXav, understand vKrjyljv. Cp. Aesch. Ag. 1357 
 TToica Sf viv Sis ....... 
 
 ical TreTTTWtfoVt 
 TptTijv (TrtvSiSoifu. 
 
 1. 38. jtaXa, ' as sweet as apples,' considered as tokens of love. 
 
 1. 39. Either some word like Sovffa or evpovcra. must be understood to 
 govern jido-roKa, or (as Paley supposes) a line has fallen out which con- 
 tained some such participle. 
 
 1. 43. We are informed by the Scholiast that this proverb refers to 
 people who have gone away and are not likely to return. Cynisca went 
 off, as the bull in the proverb went into the forest. The particle KCV 
 must be taken as part of the proverb : but Ahrens' reading TO y8e/3d/m 
 ravpos av' v\av seems preferable. 
 
 1. 44. With Tcu8' understand -fmtpai. Counting on his fingers. 
 
 1. 46. The word ov8 must be taken with KCKap|xai ' So many days 
 have passed since we have been separated, and I go unshaven like a 
 Thracian.' 
 
 1. 49. 8v<rravoi Meyap^s, 'like the ill-starred Megarians.' A his- 
 torian of uncertain date, called Deinias, relates that these people sent to 
 ask the oracle of Apollo what state of Greece was the most powerful, in 
 the expectation that they themselves would be declared to be so : but 
 the oracle, after mentioning the excellence of several states, spoke thus 
 of the Megarians : 
 
 vftfis b', 3) Wlfyapfjs, ovre rplrot ovre Teraproi 
 oijre SvaiSficaToi ovr' ev \6fca OUT' kv dpi.6/j.. 
 Cp. Callim. Epig. 26 
 
 Trjs Si Ta.\aii>r)$ 
 vv/Mfyqs, ws 'M.fyapfwv, ov Ao^yos, ovS' dpiQ/tos. 
 
 1. 50. diroo-Tp|ai[xi, ' if I could cease to love.' 
 
 1. 51. irofev, ' how can I?' Then he compares himself to the pro- 
 verbial rat who stuck in the pitch which he wished to taste. As we 
 learn from the Schol., the proverb refers to those who have got into a 
 mess and cannot extricate themselves. The same proverb occurs in 
 Dem. in Polyc. 1215 apn fuis TTJTTT/S yevtrcu, ' now he begins to find out 
 his mistake.' And in Herodas, Mim. 2. 62 
 
 TTfirovOa Trpbs Qa\7]TOS oaaa. ^17 V ififfffy pvs. 
 
 The omission of the reduplication in ysv'p.eOa is very remarkable : 
 perhaps we ought to read yevaaro. 
 
 1. 56. ws or &v must be read instead of the ordinary o arpariuras. 
 
 6(j.aX6s, ' average.'
 
 NOTES. 175 
 
 I. 5 Jr. 'I would that your love affair were progressing satisfactorily.' 
 Cp. Arist. Pax. 941 -navra \<apfi Kara vovv. 
 
 II. 63, 64. aiTevjievos. ' Not refusing when he is asked ; at least 
 (when he is asked for) what a king ought to be asked for.' 
 
 1. 66. irpova<r0at, 'to have buckled,' i.e. if you have a mind to put 
 on his uniform. 
 
 ir' d|j.<|>OTcpois. Cp. Tyrtaeus 10. 3 
 
 a\Xa ris 5 Stands ^(verca iroalv d/j.<f>OTfpoiai 
 
 1. 68. diro KpoTcujxov, ' from our temples downwards we grow old.' 
 1. 70. x^wpov. ' While our knees are young.' 
 as for e'cuy. Cp. Hor. Ep. 13. 4; Od. i. 9, 17. 
 
 IDYLL XV. 
 
 IN this Idyll, which represents most amusingly and interestingly the 
 characters of women of the middle class at Alexandria, the poet relates 
 how two women, Gorgo and Praxinoe, after a short conversation, in the 
 manner of women of every age, about their husbands and the prices of 
 their dresses, go out into the crowded streets accompanied by their 
 maids, Eutychis and Eunoe, to see the procession in honour of Adonis, 
 and to hear the praises of Arsinoe and Berenice sung at the palace. An 
 excellent opportunity is thus offered to the poet of describing character 
 after the manner of Sophron, and of eulogizing the family of Ptolemy. 
 
 The Idyll was written at Alexandria, about the same time as the 
 XVIIth, or perhaps a little later. 
 
 1. i. ws xp6 vt p- Cp. 14. 2. Also Herodas, Mini. i. 10 
 TI av 6fbs irpbs avOp&irovs ; 
 ^877 7<z/> elfft irtvrf KOV, SoKtw, fnjvfs 
 ov ak, Tv\\ii, ovV ovap /jtd ras Moipas 
 nptis rty Ovprjv k\0ovaav el5 TIS raiirrfv. 
 1. 2. 9av\i, K.T.\., means that she had nearly given her up. 
 opij, 'see for.' Cp. Horn. Od. 19. 97 
 
 Evpvvofirj, (pept Sfj Si<ppov Kal Kwas lir' avrov. 
 
 1. 3. K&XXurra. So Lat. ' benigne ; ' ' no, thank you, it will do as it 
 is.' Cp. Arist. Ran. 508 
 
 /fdAAiffT 1 , iiraivaj. 
 
 1. 4. ' Oh ! my foolish spirit ! ' to have undertaken such a journey. 
 v(ij.iv, a good instance of Dativus Ethicus. See on 5. 144.
 
 176 IDYLL XV. 
 
 1. 5. 5\\u, ' on account of the crowd.' 
 
 1. 6. ' Everywhere are thick boots, and men with fashionable cloaks,' 
 i. e. both rough and elegant people. The x^- a A"^ s was a Macedonian 
 importation. 
 
 1. 7. <x> fxX', more generally used in speaking to a man. This is 
 Meineke's alteration for fKaffTortpca I/*'. Fritzsche reads Si <?/*'. Cp. 
 again Herodas, I. 13 
 
 fiaKpr^v anoiKto}, reicvov, tv 5^ rrjs \ai'pr)s 
 6 nt)\6s X/" S l^fvvtav irpofffffrrjieev. 
 
 1. 8. ravO' belongs to oircos, ' for this very reason (cp. 14. 3) that we 
 may not be neighbours.' 
 
 6 udpapos Ttjvos, ' that madman (my husband).' 
 
 1. 10. ITOT' pi-v, K.T.\., ' out of spite, the jealous brute, always the 
 same.' 
 
 1. u. The child Zopyrion is listening, and Gorgo is afraid he will tell. 
 
 1. 14. vat rdv irorviav, ' by Proserpine.' 
 
 dir<|>Cs. A childish word, ' dada.' 
 
 I. 15. irpwov, ' the other day.' Cp. 5. 4. 
 
 1. 16. Her husband was sent to buy soda and dye from the market, 
 and brought home only common salt. The vCrpov and 4>vKos were 
 wanted for washing her wool, probably ; and he brought the salt either 
 in ignorance, or because it was more useful for the menage. 
 
 1. 17. dvi\p Tpunc<u8eKain]xvs. ' The great big stupid! ' 
 
 I. 1 8. Tavrd -y' *X l - 'Mine has this fault, he is a squanderer of 
 money.' 
 
 1. 19. Diocleides gave seven drachms for five worthless fleeces which 
 his wife calls ' dog-skins, pluckings of old wallets.' A whole sheep 
 could be purchased at Alexandria for ten drachms. 
 
 ypaidv. Cp. 7. 17, and Aesch. Agam. 286 fpaias (pfitcijs. Cp. Mart. 
 Ep. 14. 159, 2 
 
 ' Vellera Leuconicis accipe rasa sagis.' 
 
 1. 20. Ipyov ir' pv<, ' no end of trouble ' to get any wool out of them 
 for spinning. 
 
 1. 21. djiirexovov, ' shawl ' worn over the irtporarpis or enirtp6vap.a 
 (1-34). f 
 
 1. 24. v oXpCto. A proverb ; of which we have in this Idyll a great 
 number, e. g. 11. 26, 28, 62, 64, 77, 83, 95. 
 
 1. 25. The reading of this line is very doubtful, that of the text may 
 be thus translated : ' What you see, that you can describe, because you 
 have seen it, to a person who has not.' wv answering 5v as us does ws 
 in such expressions as ws iSov us f/Mvrjv. Gorgo is in a desperate hurry 
 to be off ; but Praxinoe is not, and keeps on cooling her friend down by
 
 NOTES, 177 
 
 little chilling proverbs, as again in 1. 26, ' It's always holiday with those 
 who have nothing to do.' 
 
 11. 27 foil, vf)na, here, is the spinning-work upon which Praxinoe, or 
 Eunoe has been employed (cp. 24. 74). Eunoe, getting up to assist 
 her mistress, puts it down s (xccrov, carelessly, anywhere ; and dawdles 
 about. Her mistress, growing angry, bids her pick it up and stir herself 
 and bring some water : she brings the soap first. Translate, then, the 
 whole passage thus : ' Eunoe, pick up the spinning, and lay it down 
 again carelessly if you dare, you lazy thing these cats (i.e. Eunoe, 
 lazy cat) are always wanting to go to sleep ! Come, do move ! bring 
 some water directly. There, I want water first, and she brings me 
 soap : never mind, give it here ; but not too much, insatiable creature ; 
 now pour water.' The bustle and irritability of the women are excel- 
 lently shown in this description. See on Id. 2. 19, quotations from 
 Herodas. If Mimes were intended for representation, such passages 
 would be sure to raise a laugh in the ' gallery.' 
 
 1. 34. KaTaimix^s e^Trspovajxa. The same as irepovarpis above, a 
 mantle fastened with a irfpovrj. It is taken out of the great chest. 
 
 1. 35. ' For how much did you get it off the loom ? ' Cp. 18. 34, i.e. 
 ' how much did the weaving cost you ? ' 
 
 ! 37- ' I g ave m 7 whole soul to the work.' 
 
 1. 39. OoXtov, a large straw hat, probably, to protect from the sun. 
 
 1. 40. The child wants to come, but his mother frightens him with 
 p.opp.io, ' bogy ! horse bites ! ' 
 
 1. 42. 4pvYia. The housemaid is to play with the child, and look 
 after the house. 
 
 1. 44. They are now out in the street. 
 
 1. 45. TO KCUCOV. ' This difficulty.' [rupp.o,Ks ('like) ants.' 
 
 1. 47. v ddavdrois, i. e. ' dead.' Ptolemy Soter, and Berenice, the 
 parents of Ptolemy Philadelphus, were both dead. Praxinoe blesses the 
 present king for the increased security of the streets under his rule. 
 Cp. Id. 17. 96 foil, and quotation there from Herodas. 
 
 1. 49. ota, K.T.\. ' The sort of games that men forged of deceit used 
 to play.' The Egyptians seem to have been notorious for rough play 
 and secret violence. Cp. Prop. 4. 10, 33 
 
 ' Noxia Alexandrea dolis aptissima tellus ; ' 
 and Aesch. frag. 
 
 Sttvol tr\(K(iv rot nyxavcis Alyvvrioi, 
 perhaps also Aristoph., Nub. 1133, refers to this, 
 
 K&V \v Alyvirry rvxfw &v fJta\\ov ^ Kpivcu 
 1. 50. Kaicd iravyvux, 'mischievous playmates.' 
 
 N
 
 I 7 8 IDYLL XV. 
 
 cptioi. Alterations of this word are very numerous, but unsatisfactory. 
 Meineke suggests ipivoi, fig-wood men, i.e. useless. Others, tpf^voi, 
 dark villains ; dptioi, noble (ironically), &c. Paley suggests that epeioi 
 means servile, connected with epidos from the root tip = ('servus'); 
 although this last is always used (cp. 15. 13, 80, and 28. i) to denote 
 working in wool, Hpia. If cpciot is right, it is difficult to trace any 
 connection between ' woolly ' and ' cunning,' though our slang term 
 downy seems to point to some. 
 
 1. 51. irToA(Uo-TO.. Not 'the Horse Guards;' but the war-horses in 
 full caparison led (cp. 54) by grooms. 
 
 1. 53. ' The chestnut horse has reared bolt upright.' 
 
 1. 55. <Lvd0T)v }j.-ydAa>s, ' What a blessing ! ' 
 
 1. 57. s x<* > P av > ' to their proper place ' or line. 
 
 1. 58. |>vxp6v. Cp. Virg. E. 3. 93. 
 
 Sf SOLKCO. See on 4. 7. 
 
 1. 60. j- auXds, ' Are you from the palace, mother ? ' addressing an old 
 lady in the crowd. 
 
 1. 64. Cp. Plaut. Trin. i. 2, 198 
 
 ' Sciunt quod luno fabulata est cum love ; ' 
 and Juv. 6. 402 
 
 ' Haec eadem novit quid toto fiat in orbe.' 
 
 1. 67. EVTWX'SOS, (' the hand) of Eutychis.' 
 
 -irorex' avTcjl, ' attend to her,' (i. e. don't stare about as you are doing), 
 ' lest you be lost.' They are just now in the thickest crowd at the 
 palace gate. 
 
 1. 69. Oepiorpiov, ' summer shawl,' probably the same as d/iir \ovov, 
 above, 1. 21, and below, 71. 
 
 1. 70. i rt ytvoio, K.T.X. ' Bless you, my good man, take care of my 
 shawl.' He happens to be a polite man, and does all he can to help 
 them into the palace. 
 
 1. 72. owe t-ir' ljuv. ' It is not in my power.' 
 
 1. 73- v KaAo> ei|xes. 'We are all right.' They have got through 
 the narrow entrance, where the crowd was packed most thickly. 
 
 1. 74. els upas, 'next year.' Cp. Hor. Od. i. 22, 2. 
 
 1. 75. irpio-T\\cov, ' for protecting us.' Then, as he retires, she adds, 
 ' a kind and compassionate man.' The genitive in interjectory sen- 
 tences : cp. 4. 40 ; 10. 40. 
 
 1. 76. &|uv. See on 5. 144. 
 
 1. 77. Here we have a proverb derived from the custom of the bride 
 being accompanied home by her bridesmaids, who were then shut out 
 by the bridegroom. The diro in diroicAdas implies separation from 
 the rest. Translate thus : ' We are all inside ; as the man said when he
 
 NOTES. 
 
 179 
 
 shut in his bride.' ireUrai, feminine, implies that he has all the girls he 
 wants. The others remained outside and sang the Epithalamium. See 
 next Idyll. 
 
 1. 79. irepovdfiaTa. ' You will say they are meant for robes for the 
 gods.' They are looking at the wonderful tapestry-work, on which 
 were wrought figures of men and animals. 
 
 1. 80. "iroicu. 1. 8 1 iroioi. The designs (ypofJifiaTa) were traced first 
 by the artists, <oo-ypa<j>oi, and then worked in by the women. 
 
 1. 83. ' A clever creature is man.' Admiration of statues and votive 
 images is similarly expressed in Herodas, Mim. 4, passim, e. g. 
 irpo ^ulv irofiuiv fovv ei TI fir) 
 tpeis \a\fjaai' fj.3.' \p6vy no6' &v Open-not. 
 ijs TOVS \iOovs fovfft rty fyrjv Qtlvai. 
 
 1. 84. Adonis, as appears from 11. 112 foil, and 127, was represented 
 by a statue reclining on a silver couch, in a temporarily constructed 
 bower, which was ornamented with birds and cupids modelled in 
 confectionery. 
 
 1. 86. Tpi^CXrjTos. So Bion i. 58 Ov&aicfis, & Tpnr60ar(. 
 1. 87. Another stranger in the crowd is annoyed at their chattering, 
 and particularly at their broad Doric pronunciation. ' They will kill 
 one,' he says, ' broadening everything,' i. e. pronouncing everything 
 broadly. 
 
 1. 89. \L&. Frequent in Herodas. Probably this is not short for parfp : 
 
 but a provoking expression of contemptuous astonishment, pronounced 
 
 with an extra twang. In meaning it would answer to the old ' Marry ! ' 
 
 1. 90. ira<rd(xvos. 'Buy your slaves before yon order them.' Cp. 
 
 Plant. Pers. 2. 4, 2 
 
 'Emere oportet quern tibi obedire velis;' 
 Id. Trin. 4. 3, 54 
 
 ' Emere melius est cui imperes ; ' 
 and Soph. O. C. 839 
 
 fir) 'iriraffff' & /?) Kpartis' 
 and Shakespeare, Taming of the Shrew, Act 2. Sc. i 
 
 ' Go, fool, and whom thou keep'st command.' 
 1. 91. ov0v, i. e. from Archias, the Corinthian who founded Syra- 
 cuse. The Syracusans were very proud of this origin : one of their 
 envoys in Thuc. 6. 77 boasts that they were A<upjfs, ihfvdtpot dir' avro- 
 vbnov rijs nt\pirowfjffov. They would therefore despise the Alexan- 
 drians as an upstart race. 
 
 1. 92. Bellerophon, son of Glaucus, king of Corinth. 
 1. 94. McXiTwScs. 'Oh, honey-Goddess! ' i. e. Proserpine, Lat. 'mel- 
 lita.' The priestesses of Ceres were called nt 
 
 N 2
 
 i8o IDYLL XV. 
 
 1. 95. irXdv tvos, i. e. Ptolemy. The rest of the line is very difficult. 
 First, to which sentence does OVK dXev<o belong? I think it refers to 
 irXdv Iv6s. ' I don't mind that? i. e. one master, the king. It is gener- 
 ally joined to the proverbial sentence which follows, as if it meant, ' I 
 am not afraid that you should/ &c. But what, secondly, is the meaning 
 of this proverb ? We are doubtless to understand x' ivil(a with iccvedv, 
 and the action denoted by dirojia^s is that of scraping a stick across 
 the top of the measure when it was full, to make the surface of its con- 
 tents level. Then icevtdv dirop,aTTeiv, we are informed by all commen- 
 tators, means to scrape the top of an empty measure, as if it were full ; 
 and that this was done by those who distributed their rations to the 
 slaves, in order to cheat them. Therefore Praxinoe means, ' I am never 
 afraid of having to receive short commons from you.' But I do not 
 consider this satisfactory : I believe that the proverb means, ' don't 
 scrape your measure before it is full,' i. e. don't anticipate don't count 
 your chickens before they are hatched, fioi is politely ironical, 
 ' prithee.' 
 
 1. 98. ' Who gained the prize in singing the dirge of Sperchis,' prob- 
 ably the same as Sperthias in Herod. 7- !34) who with Bulis went to 
 Xerxes, to a voluntary death, as penalty for the death of Darius' heralds 
 at Sparta. 
 
 1. 99. 8ia0pTJirrTai, ' she is attitudinizing.' See on 6. 15. 
 
 1. 100. Cp. Catull. 36. ii 
 
 ' Quae sanctum Idalium 
 
 colis quaeque Amathunta, quaeque Golgos;' 
 Id. 64 
 
 ' Quaeque regis Golgos quaeque Idalium frondosum ; ' 
 also Hor. Od. 3. 26, 9 ; ibid. 28. 13. 
 
 1. 101. alimvdv. Cp. Virg. Aen. 5. 759. 
 
 1. 102. Adonis, according to the legend, was permitted by Zeus to 
 return annually to the upper world for a brief period, as a consolation 
 to Aphrodite. The festival celebrating his return is here described : 
 it appears to have lasted two days at least, the former of which com- 
 memorated his re-union with Aphrodite, and the latter was a day of 
 mourning bewailing his depature for the world of shadows. The 
 festival took place in the summer. Cp. Thuc. 6. 30, with Plut. 
 Nicias 13. 
 
 1. 104. pdpSitrrai. The hours come slowly to those who anticipate 
 something. Cp. Virg. G. i. 32, Hor. Ep. I. i, 21, Shakespeare, Romeo 
 and Juliet, Act 3. Sc. 2 
 
 1 So tedious is this day 
 As is the night before some festival
 
 NOTES. 181. 
 
 To an impatient child that hath new robes 
 And may i ot wear them.' 
 
 1. 107. Bepeviicav, the wife of Ptolemy Soter, and mother both of 
 Ptolemy Philadelphus and Arsinoe, who were brother and sister as well 
 as husband and wife : see 17. 47, by which it appears that by means of 
 this immortalizing elixir (duPpocria) Berenice was supposed to have 
 escaped Hades. 
 
 1. no. BepevuceCa, the adjective for the genitive case, as in 28. 9, 
 Soph. Aj. 134 Tt\afjwvi( irai, Virg. Aen. 3. 487. Cp. Tennyson (Prin- 
 cess), ' A Niobean daughter.' 
 
 1. 112. irdp \itv ol. This reading is objectionable because p,v could 
 scarcely remain short before ol. Cp. 25. 82, where av is lengthened 
 before ol. Meineke suggests oirtitpa, i. e. all the fruits of autumn. 
 
 By oo-a Spuds aKpa <j>povri. is meant all the eatable produce of 
 forest-trees, as opposed to fruit-trees : i. e. acorns, walnuts, chest- 
 nuts, &c. 
 
 1. 113. Kairot, called gardens of Adonis. So Otpovs ds 'ASowSos 
 KTJWOVS (forcing- beds) dpSiv Plat. Phaedr. 276 B. These were pots con- 
 taining either some rapidly-growing herb or a few stalks of wheat or 
 barley, which grew rapidly and died as rapidly, symbolizing the brevity 
 of youth. 
 
 1. 114. Cp. Hor. Od. 2. 7, 8, also Nov. Test. Gr. Luc. 7. 46. 
 
 1. 1 1 6. (xaXe vpo>. The same as a\fvpy. The original reading, iravrot' 
 iifi aXfvpy, was altered to that of the text by Bergk. 
 
 1. 117. Figures of birds and beasts made in cakes baked with honey 
 and oil. 
 
 1. 119. These bowers we must understand to have been real, not em- 
 broidered or made in confectionery. Observe the word x^ w p a ^ a * the 
 beginning of the line. See on 9. 10. 
 
 dvT|0<p. ' Dill,' Anethum graveolens, Linn. Cp. 7- 63. 
 
 1. 123. Here were also carved works, in ebony and gold, and a group 
 in ivory representing the eagles bearing Ganymede upwards. 
 
 1. 125. dvw. Upon the couches. Their soft texture is described in 
 the words with which the Milesian or Samian traders would recommend 
 them. ' They are softer than sleep.' See 5. 51, Virg. E. 7. 45, Georg. 
 3. 306. Tennyson, in the Palace of Art, uses the same comparison, 
 but differently applied. 
 
 1. 130. trvppd. The first down is still on his lips. Cp. 6. 3, and 
 Tibull. i. 8, 31 
 
 ' iuvenis, cui levia fulgent 
 ora, nee amplexus aspera barba terit.' 
 
 1. 134. ir! o-<j>vp<i. So that the upper part of the dress, KoAiros,
 
 i8a IDYLL XV. 
 
 would fall over the girdle and hang down to the ankles. Cp. Herod. 2. 
 85 avral avd. TT)V iro\iv aTp<a<j)^ip.(vai TVTTTOVTCH eirffaa (itvai Kal <f>aivovaat 
 
 1. 136. Here she repeats the Kafirs or dirge for Adonis' departure. 
 
 1. 139. licaTi, i.e. in round numbers. Homer gives her nineteen, 
 H. 24. 496 ; Cicero Tusc. i. 35 ' filios Priamo septemdecim insta uxore 
 natos ; ' Eur. Tro. 610 T^KVUV a^wv irpfafivyfvts, Hecuba calls Hector. 
 
 1.141. AeuKa\iu>vcs, descendants of Deucalion; Hellen and Amphic- 
 tyon were his sons. 
 
 1. 143. s vtwr', ' till next year.' 
 
 1. 145. The usual punctuation of this line is a colon at the end. In 
 consequence of the article before xp^\t.a> it seems better to put the stop 
 after o-o<f><oTpov, ' the thing is clever enough.' 
 
 1. 147. Domestic duties, however, put an end to the good lady's plea- 
 suring. Dioclekles has not had his dinner, and no one can come near 
 him when he is hungry, because he is ' all vinegar.' So we must say 
 good-bye to Adonis. 
 
 1. 1 49. Beware of translating <X<}>KU imperative. For the penultimate 
 syllable of the 2nd aor. imper. is short. Lang translates it ' may you 
 find us glad at your next coming.' Calverley also similarly, ' be housed 
 'mid welfare aye ! ' They have both apparently translated from the 
 reading atyinvtv. The sense is, ' Farewell, Adonis, as we fare when 
 you visit us.' 
 
 IDYLL XVI. 
 
 THIS Idyll must have been written in Sicily, before Theocritus 
 migrated to Alexandria, and before Hieron had been saluted as King 
 after his defeat of the Mamertines at the river Longanus : i. e. between 
 B.C. 274 and 270. The object of the Idyll was to obtain a recom- 
 mendation or introduction to Hieron by means of some friend to whom 
 it was written. The poet begins by complaining of the meanness of 
 some princes, which disheartens all poetic energy ; and proceeds to 
 eulogize Hieron, and augur the future prosperity of Syracuse and the 
 consequent glorification of Hieron by posterity. The dialect is partly 
 Doric and partly Epic. 
 
 11. 1-4. The Muses being goddesses sing of the gods, poets being 
 mortals sing of men.
 
 NOTES. 183 
 
 1. 5. (But what is the good,) for who, &c. 
 
 Y\avKav, ' brilliantly glancing.' 
 
 UTT" 'Hw, ' under the light of day.' There is no special reference 
 here to the East, though some have suggested, taking also 11. 34 foil, 
 into consideration, that there is a hint of shabby treatment by the 
 Thessalian grandees. 
 
 I. 6. Xdptras, 'my graces,' i.e. my poems. Cp. Find. Ol. 9. 27 
 
 \apircav vifj.op.ai nairov, iceivai yap 
 
 unaffav ra rtpirvd' 
 and Ol. 14. 5 
 
 Xapires ovv vpfjuv yap ra Tf Tfpirva Kal 
 
 rd. y\VKta yiyverat iravra Pporots. 
 
 irT(icras, ' opening ' his arms, is perhaps more in accordance with the 
 usage of the word than ' opening ' his house. 
 
 II. 10, ii. The rejected poems are put back into the chest : hencet he 
 personification of them sitting there in the attitude of despair with their 
 heads resting on their knees : J/vxpols conveys the idea of poverty and 
 desolation. Cp. Aristoph. Plut. 263 
 
 if/vxpov fiiov Kal SvffKo\ov tfjativ aira\\ayfVTas. 
 
 1. 13. The question of 1. 5 is repeated after the parenthetic description 
 of the rejected poems. ' Who in the present day is there so disposed ? ' 
 i. e. as not to reject them. 
 
 1. 16. tiiro KoX-n-o). The fold ((5A.7ros), which hung over the girdle 
 when the tunic was tucked up, was used as a pocket. 
 
 1.17. ' And would not even rub off the rust of the money and give 
 it one.' 
 
 1. 1 8. airwrtpw, K.r.\. Equivalent to 'Charity begins at home.' 
 Conversely in Arist. Eth. 9. 8 yow Kvrj^rjs tyyiov. The Latin proverb 
 we find in Plaut. Trin. 5. 2, 30 'tunica pallio propior.' 
 
 I. 21. OVTOS does not refer to Homer, but to 6s e( /C, K.T.\. 
 
 1. 24. i|wx$. Cp. Luc. Evang. 12. 19, Hor. Od. 4. 7, 19, Aesch. 
 Persae 827 
 
 if/vxrj SiSovrts rjSoviiv KaO' ^/jitpav. 
 T (iv TO Be = ' part part.' 
 
 1. 29. Cp. Hor. Od. 3. I, 3 ; and below 17. 115. 
 
 1. 30. oKovcrT]s, ' may be called.' So ' audio ' is used in Latin. 
 
 1. 31. J;vxpov 'Axpovros. The long vowel in the fifth arsis of the 
 line is not affected by the following word, if a four-syllable word is im- 
 mediately connected with it, and especially if a proper name. So again 
 10. 28; 15. 102, 123; 16. 41 ; 22. 141; Virg. E. 2. 24. This is an 
 imitation of Homer. 
 
 1. 32. TervXwjitvos, ' having the palms of the hands hardened ' by
 
 184 IDYLL XVI. 
 
 manual labour. Cp. Tennyson, 'labour and the mattock-hardeneff 
 hand.' 
 
 I. 33. AxV) nominative. The a is short in Aesch. Ag. 409, but this 
 word appears to be from the Ionic f/xn"- 
 
 II. 34-57. Wealth and glory are unsatisfactory unless they are re- 
 corded by appreciating poets. A sentiment naturally common to poets. 
 Cp. Hor. Od. 4. 8, 20-29 ; ibid. 9. 25-30. 
 
 1. 34. Antiochus, son of Echecratidas of Larissa, member of one of 
 the most ancient families in Thessaly. 
 
 Aleuas, the first of the Aleuadae, also Thessalian. See Find. 
 
 Pyth. 10. 5 
 
 TlvOtt) rt Kal T& HeXiwcuov 
 anvfi, 'A\fva rt iraiSts. 
 
 1. 35. irtvcoTeu. In Thessaly these corresponded to the Helots at 
 Sparta. 
 
 1. 36. SKoirdSflo-vv, another Thessalian noble family. Scopas was 
 celebrated, as a prize-winner in the Olympic games, by Simonides, in a 
 song, of which a fragment is preserved in Plat. Prot. 339 A avSp' dyaffov 
 ptv aXaOtcas ytvfadat x a ^ ew v > X f P ff ' 1 Te * a ' 7roa '' * a * v o<j> Ttrpaywvov dvfv 
 if/oyov Tfrv-j/Jievov : they belong to the city of Kranon (1. 38) as the 
 others did to Larissa. 
 
 1. 38. tvBidao-Kov, here transitive : but intransitive in 22. 44. 
 
 I. 39. KpeuvSais. The same family as Scopadae. 
 
 II. 41, 42. Cp. Hor. Od. 2. 2, 17-28. 
 
 1. 43. tKivTO, without Kt. ' They would now be lying.' 
 1. 44. 6 KT|IOS. Simonides. Perhaps Theocritus particularly men- 
 tions him because he was patronized by the first Hieron, at the same 
 time as Pindar and Bacchylides. 
 
 a!6\a, in varied style : both eirivl/cia and Oprfvoi. 
 1. 46. tirrroi, e.g. fcfpfVtKos, the racer of Hieron I, as Find. Ol. i. 18 
 5re (6 <.) trap' 'A.\<pCj> avro 
 Stfias aKtvrrjTov \v Spopoiffi irapex<w, 
 Kpdrd 5% irpo<Tffu( Sffftrorav 
 'Svpaxofftov lTrno\ap^av /3afft\fja. 
 
 1. 48. AvKitov. The chief of these were Glaucus, Sarpedon, and 
 Pandams. 
 
 1. 49. OrjXtiv diro xpotas, ' feminine in complexion : ' so airo artpvwv 
 24. 79. Cycnus, a son of Neptune, killed by Achilles. He was prob- 
 ably called Cycnus from the whiteness of his hair, rather than said to 
 be white because his name was Cycnus. 
 
 1. 51. Odysseus Eumaeus Philoetius, &c., all from Homer's 
 Odyssey, 14. i foil.; 20. 185 foil.; 21. 189 foil.
 
 NOTES. 185 
 
 ! 59- XP^I AaTa > opposed to icXf'os. Their glory is increased after 
 death by living poets, but their wealth is squandered by their suc- 
 cessors. 
 
 1. 60. aXXd. y&p, ' But (what can one do,) for,' &c. 
 
 1. 61. Cp. Virg. G. 2. 107. 
 
 1. 62. v8<m, for the i long in arsis before vifsiv, cp. Horn, II. 6. 425 
 
 a\\' vSari vifrvrfs O.TTO fiporov alfMroevra. 
 
 To wash a brick, i. e. a mere lump of clay hardened in the sun, would 
 of course only reduce it to liquid mud. Hence the proverb, common 
 also in Latin, as Ter. Phorm, i. 4. 6 ' laterem lavem.' ' I may as well 
 wash a brick.' 
 
 1. 63. irapsXOciv, 'to go by.' Cp. 22. 85, and Horn. II. i. 131 
 
 ft)) K\tirT( voy (irel ov irape\fvatat ovSe fit -neiafts. 
 Hesiod, Theog. 613 
 
 Aids K\(if/ai v6ov ovSe iraptKOeiv. 
 
 I. 68. fvOw, subjunctive in an indirect question. This can only occur 
 when the verb would be subjunctive also in the direct form of the 
 question : as here, v0co is the interrogative subjunctive. 
 
 II. 71 foil. The world has not come to an end yet : there shall yet 
 be some one to appreciate my talent. Hieron, of course, is in his 
 mind's eye. 
 
 1. 75. Tjpiov "IXou. Horn. II. 10. 415 ; n. i65 ; 24. 349. 
 
 1. 76. omices. The Carthaginians. 
 
 1. 77. dicpov <r<f>vp6v, 'the extreme spur,' in the direction of Sicily. 
 
 1. 79. oxtKceoxri. These wicker shields were called yeppa. Cp. Virg. 
 Aen. 7. 632. 
 
 1. 83. 'E<t>vpaeov, literally Corinthian, from Ephyre, the old name of 
 Corinth. See on 15. 91. 
 
 1. 84. Avo-ijwXeCas. See Thuc. 7. 53. A mere near Syracuse. 
 
 1.87. dpL0p.T)ToiJs diro iroXXwv, 'countable (i.e. few), instead of 
 many : ' with diminished numbers. Cp. Hor. A. P. 206. 
 
 1. 93. ' May the cows flocking to their stalls hurry on the traveller 
 in the twilight : ' i. e. by occupying the whole road force him to quicken 
 his pace. 
 
 CTKVKJHUOV =* Kvpcuov, from KV(<pas. Cp. Hor. Od. 4. 5, 16. 
 
 1. 95. ir|>vX(vy|ivos, perfect middle, ' watching.' How much more 
 at home the poet seems in these few lines descriptive of peaceful 
 country life ! 
 
 1. 96. An idea first used by Homer, Od. 16. 24, then by Bacchylides, 
 Frag. 9 
 
 iv 6i aitiapoStroifft 
 alOav &pa\vav Iffrol
 
 i86 IDYLL XVI. 
 
 1. 97. 8ia<TT?|<raivTO, ' set the threads apart ' or at intervals. 
 
 1. 100. Cp. Ov. Met. 4. 57 
 
 'nbi dicitur altam 
 coctjlibus muris cinxisse Semiramis urbem.' 
 
 1. 104. "EreoKXsioi. So called because Eteocles, king of Orchomenus, 
 was, according to the legend, the first person who sacrificed to the 
 Charites. He is of course distinct from the better-known Eteocles, the 
 brother of Polynices and Antigone. 
 
 This is the Orchomenus in Boeotia called Minyean after Minyas one 
 of its kings, to distinguish it from Orchomenus in Arcadia. 
 
 1. 105. Erginus overcame the Thebans and exacted tribute from them, 
 from which they were delivered by Hercules. 
 
 1. 107. o-tiv, not, ' in company with,' but, ' by help of.' 
 
 IDYLL XVII. 
 
 THIS Idyll contains the praises of Ptolemy Philadelphus, and of the 
 island of Cos, his birth-place ; and is written entirely in the Epic style. 
 It was no doubt written some time between B.C. 270 and 266, after 
 Theocritus had migrated to Alexandria from Sicily. Having failed to 
 win favour with Hieron, he was desirous now of ingratiating himself 
 with Ptolemy II. The poem is decidedly inferior to the general style 
 of Theocritus, and has been considered by some critics unworthy to be 
 reckoned among his writings. 
 
 11. I foil. As Jupiter is the first among gods, so is Ptolemy the first 
 among men. For this commencement, cp. Virg. E. 3. 60, Hor. Ep. 
 i. i, i, and Milton, Paradise Lost, 5. 165 
 
 ' Him first, Him last, Him midst and without end.' 
 
 11. 9 foil. A s the woodman entering the thick forests of Ida doubts 
 which tree he shall first cut down, so I am embarrassed by the number 
 of subjects upon which I can praise Ptolemy. 
 
 1. II. irdpa for iraptan. 
 
 1. 13. oios p.tv. Here we have the praises of Ptolemy Soter, the 
 son of Lagus and father of Philadelphus ; to which corresponds ota 8 
 below 1. 34, the praises of Berenice, olos and ota both depend upon 
 trdpa eiimv 1. II.
 
 NOTES. 187 
 
 1. 16. iraTT|p, i. e. Jupiter. 
 
 1. 17. As each god had a separate chamber in Olympus, so on earth 
 a separate shrine was allotted to each in the temple of Jupiter. Cp. 
 Horn. II. i. 607. 
 
 1. 19. aioXojjtiTpais. The furpa. or tiara of the Persians was a tall, 
 pointed cap. See Herod 7. 61. 
 
 1. 20. Kv^-avpo4>6voio. See on 7. 149. 
 
 1. 24. Cp. Apoll. Rhod. 4. 872 
 
 dfifipocrir) xP* ffflce ftptv 8e/*a?, o</>pa ire\otTO 
 aOdvaros KOU. ol a-rvytpov xp<A yrjpas d\a.\Kor 
 and 15. 108. 
 
 1. 25. vrrroSes. This word is used by Homer, Od. 4. 404, where 
 seals are called veirofits na\ijs 'A\offvSvijs : upon which passage Eustathius 
 comments, vt-rrovs Kard rivd *f\u>ff<rav, 6 diroyovos. It was used in 
 this sense by the Alexandrines, as though connected with the Latin 
 ' nepos.' 
 
 1. 26. dp.(|>oiv, i.e. Alexander and Ptolemy. By "HpaKXeiSas is meant 
 Caranus, the most ancient king of Macedonia, who was said to be a 
 descendant of Hercules. 
 
 1. 28. T$, ' wherefore.' Cp. Hor. Od. 4. 8, 30. 
 
 1. 30. TW JAV. Hercules makes his two descendants act as his squires 
 or valets. 
 
 1. 32. Xvicocr<J>vpov. The epithet is Ka\\iff<pvpov in Horn. Od. u. 
 602 ; cp. 28. 13. 
 
 1. 34. See on 15. 107, and above on 1. 13. 
 
 1. 37. Similarly Aesculapius, in an epigram of Crinagoras, is said to 
 have endowed Praxagoras-with the healing art : 
 
 avr6s aoi Qoipoto irais XaOnerjSta r(\vr]s 
 
 iSfioffvvrjv , tra.va.Kri Xtipa, \nrr)i>a/j.(vos, 
 nprja~f6pri, artpvots (vt^a^aro. Anthol. Plan. iv. 273. 
 
 1. 41. tmrprnm. 'So may a man entrust the care of all his house 
 to his children,' i.e. whenever he has a loving wife. 
 
 1. 46. CVCKCV, ' owing to you.' 
 
 1. 49. See the description of Charon and his ferry in Virg. Aen. 6. 
 298 foil. 
 
 1.50. fds = crds. So again, 22. 173: a<pfTtpos for /tos occurs 25. 
 163. 
 
 1. 53. 'ApyeCa, i.e. Deipyle. Kwdvo<j)pv, see 3. 18. Diomede is called 
 Calydonian because Tydeus originally came from that city. 
 
 1. 64. 6X6Xv^v, ' shouted for joy.' 
 
 1. 66. 3X0ie. Observe the attraction of the predicate into the vocative.
 
 1 83 IDYLL XVII. 
 
 Similarly Eurip. Tro. 1221 
 
 ffii 8* S> WOT* ouffa Ka\\iviKt (tvpioav 
 pfJTfp Tponaiaiv 
 and Virg. Aen. 2. 282. 
 
 1. 67. Kvavap/rrvKa : so also Pindar, Frag. 5 Kvavdfjurvtca ri0av. 
 1. 68. The neighbouring promontory Triopium shared in the honour 
 of the island of Cos, the birthplace of Ptolemy, just as the neighbour- 
 ing island of Rhenaea shared the honour of Delos, the birthplace of 
 Apollo. 
 
 1. 70. Thucydides, 3. 104, relates how Polycrates joined this island 
 to Delos with a chain, in honour of Apollo. 
 1. 73. jjuXovrv. Cp. Hor. Od. i. 12, 50. 
 
 1. 75. Y l v6p.vov TairpwTa, ' from the moment of his birth.' So 
 Callim. Hymn. Di. 23 
 
 ywdiices . . . -gat fie Mofpru 
 f(ivofj.ii>r)v TO irpwrov tirtK\i]p(aaav aprj^eiv. 
 Cp. Hor. Od. 4. 3, i foil. 
 1. 79. See on 16. 31. 
 
 I. 80. Egypt, watered and fertilized by the inundations of the Nile, 
 excels the other numerous countries which are fertilized by rain. 
 
 II. 80-84. 300 + 3000 + 30000 + 3 + 3 + 3 3 = 33333. The number is 
 made up from the mystic number 3 ; but is not far from the truth 
 according to Diodorus Siculus, who says that in the reign of Ptolemy 
 Soter the towns of Egypt numbered 30,000. Cp. Plat. Rep. 587 D, 
 where, in a fanciful comparison of the happiness of the kingly-minded 
 man with that of the despot, the ratio is calculated as fvvtaKaieiitoai- 
 KatfirTaKoffioirXaataicis, (729 : i) 7 2 9 being the 6th power of 3. 
 
 1. 86. diroT[ivTai, ' cuts off for himself/ ' claims.' 
 
 1. 92. avAcrcrovTai, followed by the dative, as Horn. Od. 4. 177 
 
 avdffffovrai 8* l/ioi avrw. 
 
 1. 97. Cp. Id. xv. 47. It is worth while to quote Herodas, Mim. 
 i. 26 foil, describing the advantages of a residence in Egypt 
 
 <? 8* fffTlV OiKOS T7JS OfOV' TO, fO.p TTaVTO. 
 
 oaff' fffn KOV KCU. yivtr' ear' kv Aiyvirry 
 
 ir\ovTos, ira\aiaTprj, Svva/MS, (vSirj, Sofa, 
 
 Otai, <pi\6aotpot, \pvaiov, vcrjviaKot, 
 
 Ofiiav dStX^cuc T/ifvoy, 6 jSaertAt 
 
 fiovarjtov, olvos, dyaOci irdvO' oo"' av 
 ]. 98. iroXxjKTjTea. Cp. Seneca, Quaest. Nat. 4. 2, n ' Nilus belluas 
 marinis magnitudine vel noxa pares educat.' 
 
 1. 105. TCI 8, ' some" besides the irarpui'ia. of the preceding line. 
 1. 107. Cp. Hor. Sat. i. i, 33 foil.
 
 NOTES. 189 
 
 1. 109. aUv dirapxon.voio, 'because he is constantly offering to them 
 first-fruits.' 
 
 1. 112. We learn from Athenaeus that the Dionysiac festivals were 
 celebrated in this reign at Alexandria with great magnificence. 
 
 1. 115. See on 16. 29. 
 1. 118. TOVTO. This fame, this 
 
 bm06n&porov avx^fia Sofas 
 olov airotxo/jifvwt' avSpwv Siairav jiavvfi 
 Kai \oyiois Kal dcwSofy. Find. Pyth. I. 92. 
 But their riches and the spoils of Troy have perished. 
 1. 120. Cp. Catull. 3. ii 
 
 'Qui nunc it per iter tenebricosum 
 
 illuc, tinde negant redire quemquam ;' 
 and Shakespeare, Hamlet, Act 3. Sc. i 
 
 ' The undiscovered country, from whose bourne 
 
 No traveller returns.' 
 
 1. 121. ' He is the only one who either in past or present time has 
 dedicated altars to his mother as well as his father.' 
 
 S>v, K.T.K., literally, 'those of whose yet warm footsteps the ground 
 being trodden upon receives the impression.' 
 
 1. 125. i8pvcrv, 'set up statues of them.' Cp. Hor. Od. 4. i, 20. 
 The statues of Minerva at the Parthenon, and Jupiter Olympius, the 
 work of Phidias, were similarly ivory and gold. 
 
 From the mention in the passage of Herodas, quoted above, of 9tiov 
 a5e\<j>wv Ttptvos, it would seem that Ptolemy III, surnamed Euergetes, 
 erected a temple to his father Philadelphus and his mother Arsinoe. 
 
 1. 131. A cunning piece of flattery. Juno was sister as well as wife 
 of Jove : so was Arsinoe of Ptolemy. 
 1. 137. K Aios. So the poet ends with Jupiter, as he began. 
 
 IDYLL XVIII. 
 
 AN Epithalamium, or marriage-song for the nuptials of Menelaus and 
 Helen. In this Idyll, Theocritus has been accused of having borrowed 
 ideas and words in several places from Stesichorus and Sappho. 
 
 Compare the Epithalamia of Catullus, 61 and 62. 
 
 1. i. The reading of this line must be left as it stands here, until at 
 all events some better alteration than tv iroKa rq. Znaprq, suggested
 
 190 IDYLL XV III. 
 
 by Briggs and received by Paley, may be deemed universally satis- 
 factory. It is highly improbable that so simple a word as T should 
 ever have been altered to ctpa : so that if apa cannot be considered 
 right, we must imagine that in the words TTOK' apa some epithet of 
 Snaprq has been concealed. 
 
 dpa, supposing it to be right, is used in the same way as in 22, 27, 
 as if to introduce some story, or episode : as we say, ' Well then, so,' &c. 
 So this may have been an episode intended to be introduced into a 
 longer poem. We are told moreover by Schneidewin that the Epi- 
 thalamium of Stesichorus was episodical, and that Theocritus has copied 
 not only his matter but his manner, and begun with apa. 
 
 av0oTpix.. fa-vOos in Homer is a common epithet of Menelaus. 
 
 1. 2. vaKtvOov. See on 10. 28. 
 
 1. 3. veoYpaiTTO), ' recently decorated.' 
 
 1. 4. jt*Y a XP'Hf 101 ' AaKaivdv. So 
 
 A^7 a XPW a T *? s ' /*i8oy Aristoph. Lys. 1030 ; 
 
 avos XP7/" 1 "fivfrai fjieya Herod. I. 36. Translate here, 'fine strap- 
 ping Spartan girls : ' their athletic propensities are referred to in 1. 23. 
 
 1. 5. TvvSapiBciv rav aYamiTav, ' the best beloved of Tyudarus' 
 daughters.' KaTticXdJjaTO. Cp. d;roA.afas 15. 77, and observe the differ- 
 ence of voice ; diroic\aas referring to the shutting the bride away from the 
 others, and KaT6K\daTO to shutting her in with himself. 
 1. 9. irpioi, 'before the usual time.' So Horn. Od. 15. 393 
 
 ov5t ri af \prj 
 irplv upr] Ka.Ta\tx6ai. 
 
 yap-ppf, literally, ' son-in-law,' used for bridegroom here and 15. 129. 
 1. 1 2. avr6v, ' by yourself,' i.e. you ought not so early to have separated 
 Helen from us her playmates. 
 
 1. 14. irei, K.T.\. You need not have been in such a hurry to take 
 her from us, since she is yours now for years to come. 
 ?vas, ' the day after to-morrow.' 
 
 1. 15. vvos, literally, 'daughter-in-law,' used for bride 15. 77. On 
 the rhythm of the line, see Preliminary Remarks, pp. xx, xxi. 
 1. 16. Here are traces of Sappho, 
 
 o\0ie fa.fj.j3pe, aol ptv S?) "ya/xoy ws apao 
 fKTfTf\tffT', X*' $ S* irapBevov av apao. 
 
 Bergk. Anth. L. p. 373. 
 iTirrapv. Cp. Catull. 45. 17 
 
 ' Hoc ut dixit, amor, sinistram ut ante, 
 
 dextram sternuit approbationem ; ' 
 and Propert. 2. 3, 24 
 
 ' Aureus argutum sternuit omen Amor ; '
 
 NOTES. 191 
 
 Horn. Od. 17. 545 
 
 ovx opdqs o pot vl&s eireTrrapf iraffiv errffffft ; 
 
 It appears that a sneeze was a lucky omen, if (we gather from the 
 quotation from Catullus) it was on the right hand. Sneezers were 
 even in ancient times saluted with the words Zfv, awaov and this 
 custom holds to this day in almost every country. 
 
 1. 17. ws avvomo, 'that you might gain your object.' Cp. 5. 144. 
 1. 21. The letter cut off in rtKoir' is . 
 
 1. 24. Of the Spartan maidens' athletic habits Aristophanes says, 
 art irw\oi rat icupat 
 iroLp rbv Evp&rav 
 
 d/jnrd\\ovTt ttvKvd iroSoTv dyKoviwai' Lys. 1308 ; 
 
 and in Plat. Lye. 14 AvKovpyos rd p\v aw para TUV irapOtvuv Sp6/j.oi.s ical 
 ird\ats Kal f$o\ais 8iancav Stfirovrjatv. 
 
 I. 25. ou Aav seems scarcely appropriate in the mouths of Spartans, 
 being a Sicilian affirmation. Meineke's alteration to rdwv OVTIS is much 
 more probable. 
 
 II. 26, 27. In these two lines there is considerable doubt about the 
 text : and the alterations by conjecture are innumerable. Let us first 
 consider the general structure of the six lines 26-31. There are two 
 separate comparisons of Helen ; one in the first tristich, of the bright 
 cheerfulness of her beaming beauty, where the repetition of the verb 
 Siucjxiivoj shows the point of the comparison : the other of the graceful 
 elegance of her stature and carriage, pointed by the repetition of 
 Kocrjios. Moreover, there are in each comparison two objects to 
 which Helen is compared : in the latter tristich these are Kimdpioxros 
 and iiriTos : in the former they are apparently 'Ao>s and lap. What then 
 are we to make of irorvia vv ? Mr. Hicks, in the Journal of Philology 
 (Vol. xiii. No. 25), contends that vv must be retained, to balance 
 Xci}i.uvos, and suggests the reading 
 
 ir6rvtd rot vv, \fvic6v, K.T\. 
 
 translating thus ' Lovely the face of rising dawn when she beams on 
 thee, reverend Night." I cannot accept this, but think that v{ may be 
 dispensed with, since it can only be retained as a vocative case. 
 Meineke's reading, adopted by Paley, and given in the foot-notes, makes 
 very good sense, but cannot be considered otherwise satisfactory. 
 
 [It is noticeable that we have 1 2 lines here which separate themselves 
 naturally into 2 pairs of tristichs, apparently to be sung alternately in 
 semichorus : the first pair referring to Helen's personal beauty, and 
 the second to her accomplishments.] 
 
 1. 29. Cp. Virg. E. 7. 65 ; 5. 33.
 
 192 IDYLL XV III. 
 
 1. 30. Ktmapio-o-os. See n. 45; 22. 41. They are called by Martial 
 ' aeriae cupressi.' 
 
 1. 32. is ToXApcos iravCaSerau ( This refers to the preparation of the 
 wool before commencing the weaving. Cp. Claud. Eutr. 2. 382 
 ' Non alias lanam purgatis sordibns aeque 
 praebuerit calathis ; similis nee pinguia quisquam 
 vellera per tenues ferri perducere rimas.' 
 
 1. 33. Cp. Plat. Phaedr. 268 idt at av, el apa KOI aoi <paivtTOi 5<- 
 arifKos avriav rd f^rpiov (the warp) opposed to Kp6xT) the woof. 
 
 1. 34. KeXeovTiov, the upright side-posts, which, together with the 
 jugum (yarn-beam) formed the whole framework of the loom. See 
 Diet. Ant. art. TV/a. The work was cut away from these when finished. 
 Cp. 15. 35- 
 
 1. 37. This refers to the supposed emanation of love from the eyes. 
 Of the absence of this, speaking too of Helen, Aesch. Ag. 418 
 
 onfMTcuv tv dxV' a ' s epp& Ttdff' 'A<ppo5iTrj. 
 
 1. 38. Here the whole chorus of maidens sing together again ; and 
 from here to the end we have some lines which may rank among the 
 choicest of the bucolic style. 
 
 o'lKtris, ' a housewife ' ; you have lost your maiden independence. 
 1. 39. Sp6|Jiov. Our racing-ground by the banks of Eurotas. 
 1. 43. XCOTUJ : a different Lotus from that mentioned in 24. 45, as is 
 shown by the epithet xajia! ov^optevoio. See Virg. G. 2. 84. This Lotus is 
 mentioned Horn. Od. 4. 602, where Menelaus is said to rule a country 
 rich in Lotus : it is probably the plant called Melilotus officinalis, a 
 herbaceous plant with pale yellow flower ; which when dry has a very 
 sweet fragrance. It is said that Gruyere cheese owes its flavour partly 
 to this flower, which is common in those mountain pastures. 
 
 1.44. o-Kitpav irXctTavioTOv. Cp. Virg. G. 4. 146, Hor. Od. 2. II, 
 13, and Horn. II. 2. 307. All these testify to the luxury of the shade 
 of the plane-tree, under which all out-door lounging in summer neces- 
 sarily took place. Socrates and Phaedrus converse beneath its shade, 
 Plat. Phaedr. 229 A. 
 
 1. 46. They would anoint the tree, held sacred to Helen. 
 1. 47. ' Incisae servant a te mea nomina fagi, 
 
 et legor Oenone falce notata tua.' 
 
 Ov. Her. ;. 21. 
 
 ' Scribitur et vestris Cynthia corticibus.' 
 Prop. i. 1 8, 22. 
 1. 49. Here again are traces of Sappho, 
 
 aplSpe, iro\\d. 
 Bergk. Ant. L. p. 272.
 
 NOTES. 193 
 
 1. 55. Cp. 24. 7. 
 
 1. 56. The custom was to have a second chorus or serenade early in 
 the morning: so these twelve Spartan maidens promise to return at 
 daybreak. 
 
 1. 58. Cp. Catull. 6 1 and 62, passim. 
 
 IDYLL XIX. 
 
 THIS elegant epigrammatic morsel is by general agreement ascribed to 
 Bion or Moschus rather than to Theocritus. There are several imitations, 
 the best known of which is among the poems ascribed to Anacreon, and 
 has more merit than this. See Appendix, p. 241. 
 
 1. 4. tirATa, ' stamped upon.' 
 
 I. 6. dXiKa. A change to the direct narration. He holds up his 
 swollen fingers, crying, ' See ! what ugly wounds ! ' 
 
 I. 8. 5s is a correction of Valckenaer's for x&> and tfyvs of Meineke's 
 for 6175. 
 
 IDYLL XXL 
 
 A DIALOGUE between two fishermen, who wake before daylight in 
 their wretched hovel. One tells a dream that he has just had about 
 catching a golden fish and making a vow that he would give up his 
 occupation. The other advises him to continue, because dreams will 
 not feed him. 
 
 This Idyll has been condemned as spurious with scarcely adequate 
 reason. The detailed description, from 1. 8 to 1. 15, of all the instru- 
 ments of their craft has been considered unlike Theocritus. It is the 
 only one of his Idylls in which fishermen are the principal characters. 
 Two mimes of Sophron on the same subject are mentioned by ancient 
 writers. 
 
 The text of this Idyll is the most corrupt of any ; and has con- 
 sequently invited an overwhelming number of conjectures more or less 
 hazardous. 
 
 1. i. This line expresses our own proverb, 'necessity is the mother of 
 invention.' Poverty, in Aristoph. Plut. 533, says, 
 
 O
 
 194 IDYLL XXI. 
 
 rov ^(ipori'xyrjv wffirtp Stffiroiv' (iravayKa^ovffa 
 8ta ri]v \ptiav not rty> itfviav frjTtiv oiroOcv fiiov t((C 
 and Plaut. Stich. i. 3, 24 
 
 ' Paupertas . . . omnes artes perdocet, ubi quern adtigit.' 
 1. 4. With ciruJ'avcrQO'i understand virvov. There are several con- 
 jectural emendations, e.g. firr)(j.vffjjai which Hermann offers. 
 wKr6s, ' by night.' 
 
 1. 7. In an epitaph in the Anthol. Pal. 7. 295 a fisherman is said to 
 have died 
 
 kv KaXv^Tj ffxoipmSi Xi5x*'oy oirdia. 
 
 1. 8. T0txp 4>uX\va>. The side of the hut which was made of rush 
 and boughs of trees interwoven. 
 
 1. 9. KaXaOio-icoi. The creels for carrying their fish in. 
 1. 10. ScXijTa. This is the best of the very numerous conjectures : 
 it is the plural of 5t\r)p, a contracted form of Se'Xtap, ' a bait.' The 
 general readings are T AT^O, T \fj$a, and the like. 
 
 ebuKLoevra, probably 'consisting of sea-weed,' for it was supposed 
 that fish fed upon this. Oppian (de Pise. 3. 414 foil.) describes the 
 manner of catching trdAwcu by baiting a place previously with stone 
 covered with sea-weed, and when the fish had gathered round this in 
 numbers, 
 
 Typos firfvrvvet Kvprov S6\ov. 
 
 1. n. Kvproi. These were traps of wickerwork, resembling what 
 are now called ' lobster-pots,' or ' weels,' in which the fish were caught 
 as they flocked to suck at the sea-weed with which the stones placed 
 inside to sink them were covered. A parrot's cage, in Anth. Pal. 
 ix. 562, is called \vyorevx* <* Kvprov. 
 Xa(3vpiv0oi, were of a similar nature. 
 
 1. 12. Kt5>7ra. The reading of Ziegler and Meineke for Kaias. 
 ycpcov, see on 7. 17. 
 
 1. 1 3. 4>op p.6s ppa\vs, i. e. et^ara, irOo-oi. But the latter is an unknown 
 word. See footnotes to text. 
 1. 14. Cp. Plaut. Rud. 2. i, 5 
 
 ' Hisce Jiami atque hae harundines sunt nobis quaestu et cultu.' 
 iripos, the usual reading is TJWOS. See Ov. Met. 3. 586 
 'limoque solebat et hamis 
 decipere, et calamo salientes ducere pisces : 
 ars illi sua census erat.' 
 
 1. 15. This line has been well altered to the present text from ovSeis 
 ov xyrpav, K.T.\. 'Their threshold had neither door nor dog' for 
 protection.
 
 NOTES. 195 
 
 1. 1 6. The old reading here was 
 
 ir&vr' tSoicei rfjvas aypas, irtvia ff(piv traipa. 
 
 The emendation of the former half of the line is due to Reiske, that 
 of the latter to Ahrens, who quotes in support of it from Anthol. 
 Pal. 9. 654 
 
 K(p5a\(ovs St^taOf 56(iovs Xrjiaropfs aXAovs, 
 
 rotffdf yap earl <pv\af (fjnrtSos 17 irfvhj. 
 
 1. 20. 8^, in apodosis, 'when,' or 'then.' Cp. Herod. 5. 40 r', K.T.\., 
 aii Of ravra iroiee. So Tacitus uses ' nondum . . . et.' 
 1. 22. Cp. 
 
 Si Ztv fiaai\tv, r& XPW a r '* >v vvicrSiv oaov. 
 
 Aristoph. Nub. 2. 
 
 1. 25. pr\ Xa06|xt]v. ' Surely I did not deceive myself? ' i.e. it is not 
 morning yet, I suppose ? 
 
 1. 26. Kaipos, not XP& V0 *- He means, ' the prescribed season ' cannot 
 alter its normal course. 
 
 1. 32. Here is another line of very doubtful reading. That of the text, 
 adopted by Ahrens and Meineke, seems most intelligible, and gives the 
 meaning ' a shrewd and sensible conjecture is the nearest approach to 
 the interpretation of a dream.' Cicero says that there is a Greek saying 
 with this purport, ' bene qui coniiciet, hunc vatem perhibebo optimum ' 
 De Div. 2. 5. The saying is found in Eur. Frag. 944 parris aptaros 
 oans (iicafa KCL\IS. Cp. also Eur. Hel. 857, Aesch. Pers. 226. 
 
 1. 36. d\X' 3vos. This is the nearest reading to the a\\ovos of the 
 MSS. It is to be interpreted as follows the fisherman is complaining 
 of wakefulness, and he compares his condition to two things as emblems 
 of wakefulness ; to a donkey in a thorn-bush, and to the light in the 
 Town Hall, whose perpetual flame was sacred. The former of these 
 similes seems strange to us ; but it may have been a common saying in 
 those days. If it is to be altered, might we read dAA' & v6ay Ka^vtav ? 
 But we must bear in mind that &vos is also the name of a fish : so that 
 the saying may be equivalent to ' a fish out of water ' or, in Mr. Miller's 
 expressive language (' Pickwick Papers '), ' a dolphin in a sentry-box.' 
 
 1. 37. crypvirvCav. This word, then, becomes intelligible, which the 
 usual aitv dypav was not. 
 
 1. 38. This, which is the MS. form of this line, appears hopeless. 
 Any one is at liberty to make what he can out of it. 
 
 1. 40. OUK fjv jidv, ' not that I was sleepy from having overeaten myself.' 
 
 1. 41. '4>iS6jx0'. A delightful euphemism for having a poor dinner. 
 
 1. 44. TWV Tpa4>spuv, 'one of the well-fed fish.' I dreamed of a large- 
 sized fish and an exciting contest, just as a sleeping dog dreams of 
 
 O 2,
 
 196 IDYLL XXI. 
 
 chasing bears ; for the reading apie-rov (from Ahrens) is evidently better 
 than the old aprrov or apro). Cp. Tennyson, ' Locksley Hall,' 
 
 'Like a dog he hunts in dreams;' 
 and in ' Lucretius,' 
 
 'As the dog 
 
 With inward yelp and restless forefoot plies 
 His function of the woodland ; ' 
 which idea comes from Lucr. de R. N. 4. 991 
 
 'Venantumque canes in molli saepe quiete 
 
 iactant crura tamen subito,' 
 where he is proving that waking instincts are reflected in dreams. 
 
 Observe the unusual ace. IxOva for l\6vv. 
 
 1. 48. TTepiK\o)(j,6vos, 'bending forward;' a somewhat doubtful reading. 
 See footnotes to text. 
 
 1. 49. i7ws (xJv I\o>. This piv is utterly feeble, nuis ?A.w would be 
 a direct deliberative question. The other reading, irais KCV e\(u, presents 
 too anomalous a construction, especially after a historic tense, which 
 would require oirtas e\oifju. Query, irus we\aj ? 
 
 1. 50. Here are described the angler's artifices : first he makes his fish 
 feel the hook, so as to induce it to show fight and tire itself, and lets it 
 take the line out ; then, when it is tired, he hauls it in. 
 
 1. 52. Tjvvo-a 8' wv, the emendation of Scaliger for ffwa' ISuv. 'And 
 so, then, I finished the struggle.' 
 
 1. 56. l\(ov. So I have ventured to alter the usual i-yd/v. 
 
 1. 58. Here again our text exhibits, as in 1. 38, the MS. unintelligible 
 reading. Paley's reading (as in footnote) makes good sense ; because the 
 fisherman was fishing from the shore : he therefore says, 'I proceeded to 
 draw my boat towards the shore by its ropes,' because he intended to 
 have no more to do with the sea. 
 
 1. 59. OUKCTI. We should expect (irjictri, but dSjxocra OIIKCTI may be 
 taken as equivalent to ov/ttri &fioaa. So, in the use of ov <t>r]iu, the force 
 of the negative belongs to the verb of the objective clause. See Paley on 
 Eur. Hel. 836 
 
 T'I (pijs ; 0aveia6ai KOVWOT' d\\affiv MX*] > 
 
 1. 63. The weakness of these last five lines is painfully evident. The 
 pronoun <rv is three times used without the slightest emphasis attaching 
 to it. This weakness confirms the case of those who deny that 
 Theocritus was the author of this Idyll.
 
 NOTES. 197 
 
 IDYLL XXII. 
 
 THIS is a kind of imitation of the old Epic hymns. Theocritus, when 
 settled in Alexandria, seems to have given up the pastoral style, and 
 tried his hand at various other styles. He is accused, though without 
 sufficient reason, of too close imitation of the Hymns of Callimachus. 
 He here describes two exploits of the Tyndaridae; one of Pollux 
 conquering the giant Amycus in a boxing match, another of Castor 
 killing Lynceus. 
 
 1. 2. These accomplishments of the Twins are universally celebrated. 
 Cp. Horn. II. 3. 237 
 
 KdffTopa. 0' iTriroSafjiOV KOI irt) ayaO&v TLo\vStvKea- 
 and Hor. Od. I. 12, 25 foil. 
 
 4>opp6v, ' a terrible fellow to provoke to a- boxing-match.' 
 
 I. 3. See a description of ' caestus ' in Virg. Aen. 5. 401 foil., where 
 Eryx appears armed with 
 
 'Geminos immani pondere caestus,' 
 which were made of the conventional seven bulls' hides, 
 
 ' ingentia septem 
 terga bourn plumbo insuto ferroque rigebant.' 
 
 }. 5. Leda was daughter of Thestius. 
 
 1. 6. tirl vpoO, ' on a razor's edge,' a common expression for extreme 
 peril. 
 
 1. 7. So the Great Twin Brethren are the deliverers at the battle of the 
 I^ake Regillus. See Macaulay's 'Lays of Ancient Rome.' 
 
 1. 8. Their office of protecting sailors is also constantly mentioned. 
 Cp. Hor. Od. i. 3, 2; 12, 27 foil.; 4. 8, 32; 3. 29, 64; Acts 28. n. 
 
 ovpavov cgaviovra. If this is correct, it must mean ' rising up from the 
 horizon.' But Meineke's conjecture ovpavbv flffavt6vra seems preferable. 
 
 1. 9. pia6p.vau, ' in spite of the storms foretold by the rising and 
 setting of certain stars. See on 7. 53. Cp. Herod. 9. 41 rot 
 
 1. 10. oi W, i.e. the gales. 
 
 1. 12. cs KofXav, into the interior of the hull of the ship, crushing in 
 the bulwarks. 
 
 1. 13. dp^tva. See 13. 68. 
 
 1. 1 6. dppT|KTOurv. In imitation of Homer's dpprjitTos ve${\T], 'im- 
 penetrable.'
 
 198 IDYLL XXII. 
 
 1. 1 8. Observe the usual omission of the preposition avv with the 
 pronoun avr6s. 
 
 1. 19. &-tto\-f\yovr\ Remark the o lengthened before the liquid. So 
 in the same word, Horn. Od. 19. 166 
 
 OVK tr' diro\Tieis rbv \plv f6vov i(plavffa ; 
 Cp. Hor. Od. i. 12, 30 
 
 ' Concidunt venti fugiuntque nubes.' 
 
 1. 21. ovoav dvd (MO-o-ov, 'between the Aselli.' These are two stars 
 in the constellation Cancer, between which is the small cluster Praesepe, 
 called here djiavpt\ 4>drvTi, ' the faint crib,' because only seen in very 
 clear weather. Aratus thus describes it, 
 
 axtirreo o2 (paTvrjv j) \nkv r' 6\iyri timid 
 
 dx^vi', fioppcir) tnl KapKivw j)*fr]\a(i' 
 
 dfj.<pi Se fj.iv Svo XeTrrd 4>aciv6|J.voi (popeovrat 
 
 dffTfpts 
 
 Kal TOI n^v KaXtovrai "Ovot, utaorj Se re 4>ATVi]. 
 
 Diosem. 86 1 foil. 
 
 1. 27. f| jtiv opa. See on 18. i. Introduction of an Episode. This 
 story is related in the commencement of Apollonius Rhodius, Argo- 
 naut. 2, who, however, places the scene on the shore of the Propontis, 
 before the ship came to the Symplegades. Cp. 13. 22, where there 
 seems to be possibly some confusion about the geography. 
 
 1. 29. Be'ppuKas. The second syllable is long in Apoll. Rhod. except 
 in a single instance. 
 
 ! 33- Cp. 13. 33: irvptia, according to the Schol. on Apoll. Rhod. 
 Arg. i. 1184, were pieces of wood. Cp. Horn. Hym. Merc, in 
 
 'Eppfjs TOI npuTtara irvprjia irvp T' avtSoaKt. 
 
 Philoctetes (Soph. Phil. 296) and Achates (Virg. Aen. i. 174) use flints. 
 1. 34. olvairos, ' ruddy.' The same epithet is applied by Euripides to 
 the human cheek, olvcuwdv ftvvv Phoen. 1160, and Bacch. 438. 
 1. 36. 0T|cvi|Acvoi. Observe the Epic form. So again in 25. 108. 
 1. 37. Theocritus here comes out for a few lines in his natural style of 
 description, so favourable an opportunity presenting itself. 
 
 1.42. 4>CXa Ipya. Homeric usage of Digamma. So also p.v PY OV 
 1. 118. Cp. 25. 37 ff&(f>a tidws, and ibid. 40 ptya. ?5os. Also 17. 13 
 and 1 8. 
 
 1. 43. capos XT|Y V TOS. This agrees with 13. 25, where this Argonautic 
 expedition is said to have been set on foot in the later spring. 
 
 1. 45. TOXflwrjicvos ovara. The usual appearance of prize-fighters in 
 all ages. Cp. Mart. 7. 32, 5 
 
 'fracta aure magister,' 
 the teacher of boxing. Cp. Plat. Protag. 342 B WT& re
 
 NOTES. 
 
 199 
 
 avrovs nal ifMVTas irfpidKirrovrai, and Gorg. 515 E TWV ra 
 Sira naTta^Tcav, in both of which places the words are used to denote 
 people who imitated the Spartan manner of life and assumed in every 
 possible way the character of the athlete. 
 
 11. 46 foil. ' His huge chest was arched convexly, ay and his broad 
 back too, with iron flesh, like a colossus of hammered metal.' Mr. E. A. 
 Gardner, in the New Edition of Dr. Smith's Dictionary of Antiquities 
 (Vol. ii. 690 b,), finds fault with the use of o-^vp-qXa-ros here, as being 
 inapplicable to any material but gold. 
 
 1. 48. Cp. 25. 149 of the muscular development of Hercules. Here 
 the rounded appearance of the projecting biceps muscle is compared to 
 that of a smooth round waterworn pebble. It is possible that Tenny- 
 son had this in mind in the following passage in ' Idylls of the King ' 
 (Enid 76) 
 
 'Arms on which the standing muscle sloped 
 As slopes a wild brook o'er a little stone, 
 Running too vehemently to break upon it.' 
 1. 50. Cp. Hor. Od. 3. 29, 36. 
 
 1. 52. K tro8wvo)v, ' by the paws,' or rather by those ends of the hide 
 where the paws were. So Claudian describes Bacchus in a tiger's skin, 
 
 ' quern Parthica velat 
 tigris, et auratos in nodum colligit ungues.' 
 
 Pros. Rapt. I. 16. 
 
 1. 54. Contrast throughout this Stichomythia the courteousness of 
 Pollux with the surliness of Amycus, and remark the play on the words 
 Xatpc, and 9&p<m. Pollux addresses the giant, 'good-morrow, friend,' 
 who answers, 'How is it good-morrow with me,' &c. Cp. Eur. 
 Hec. 426 
 
 IIOA. \<up', S> TfKovffa, x a *P Ea.ffaa.v8pa re /MI. 
 'EK. xaipovaiv aXA.ot, nrjrpl 5' OVK tarlv roSe. 
 1. 55. Observe |rfj, not ov. ' Any men whom I have never seen 
 before.' Lat. ' quos nunquam viderim.' 
 1. 56. Odpcrci, ' reassure yourself.' 
 |XTJ 4>49i Xevcrcmv is the same as ov \ev<rfftis. 
 1. 57. Oapcrfco, ' Oh ! I've assurance enough, thank you !' 
 1. 59. Tijs <rfjs -ye. ' At any rate I'm not trespassing on your land,' as 
 yon are on mine. 
 
 1. 60. !X0ois. 'Well, I hope yon will come.' 
 
 1. 61. The conjunction of imperative mood with indicative, and nega- 
 tive sentence with affirmative, makes this an awkward line to translate : 
 ' Let's hear no more of your entertaining me, for I have no entertainment 
 ready for you.'
 
 300 IDYLL XXII. 
 
 For cv !TO(J>, see below, 1. 212. 
 
 1. 62. 8aip,6vi', pleasantly insinuating, with a shrug of the shoulders, 
 ' But, my good Sir.' 
 
 1. 63. yvwo^oi, ' a threat,' see 26. 19. 
 
 rtpo-ei. I incline to the opinion of Buttman and Meineke, that this 
 is a future, as if from rkppos. The sentence requires a future. 
 
 1. 65. So Apoll. Rhod. Arg. 2. 12 foil. 
 
 ov nva 9Ofu6v kanv d^opfjirjdfvra Vfeadcu 
 dvSpaiv iQvdcav os Kfv Rt/3pvi -ntKaaa-g 
 irplv \fiptaaw efi^fftv fds dvcL x 6 '/ 3as deTpai. 
 
 1. 66. oujxara 8' 6p0d. These words are a puzzle, and have given 
 rise to numberless conjectural emendations. Pollux asks if they are to 
 fight the fair boxing-match, or to allow also all the tricks of the pan- 
 cratium: these, as we see in 24. 112, were indulged in when the com- 
 batants were down : so iroo-o-l Ocvuv oxcXos refers, apparently, to the 
 tripping up which preceded the bear-fighting on the ground. There 
 appears to be some word or words still undiscovered in 6^0/70, 8' 6p6d : 
 possibly some reference to gouging. 
 
 \. 67. <n|>TpT)S. Here put for arjs. It is used also for the first person 
 in 25. 163, and for the third in 1. 209. 
 
 1. 68. cruvtpeCerto. 'Clench' my fists. Cp. Id. 25. 266. 
 
 1. 69. ajios. This word is explained as equivalent to TIS by Schol. on 
 Horn. Od. I. 10, where the word dfji60(v is equivalent to -noQfv. 
 
 1. 72. The amusement of cock-fighting is distinctly alluded to by 
 Pindar, Ol. 12. 20, where he says that the renown of Philanor would 
 have been wasted, (v5ofjx as " T> o.\fKr<ap, had he not been obliged to 
 quit his country. It was a political institution at Athens, and was sup- 
 posed to be an instructive example of bravery. Garlick was given the 
 cocks to excite them; hence Aristoph. Eq. 494 fffKopoStff/jifi'os /wixfl- 
 They were also often armed with an artificial spur. Quail-fighting was 
 even more engrossing : Athenaeus calls it oprv^ofwvia. The quails were 
 placed within a ring, and the bird which drove the other out of the ring 
 was the victor. See Bekker's Charicles, Sc. 5. 
 
 1.74. naxetro-aijieo-O'. Potential withouta^asfrequentlyin Theocritus. 
 
 1. 75. Cp. 9. 27. The use of the shell for a trumpet was subsequent 
 to the Heroic Age. See Eur. Iph. T. 292 
 
 n6x^ovs rt <pvaS>v av\\(y<uv T' (yxvpiov*- 
 The word KoiXov should be taken with [AVK^craTO, ' uttered a hollow roar.' 
 
 1. 77. <iei join to KO(i6wvTs, as in 17. 107. 
 
 1. 79. The ship Argo was built at Pagasae in Magnesia. 
 
 1. 82. <rwa.Yov, 'went to meet one another;' cp. intransitive use of 
 n6ra'yf 15. 78.
 
 NOTES. 201 
 
 1. 83. Now follows a spirited description of the fight ; for others 
 similar to which see, in Greek, Horn. II. 23. 651, Apoll. Rhod. Ar, 2. 
 51 foil, and their Latin imitators, Virg. Aen. 5. 426 foil, and Valerius 
 Flacc. Argon. 4. 25 1 foil. 
 
 1. 90. OTJV 8i |A<ix T l v Tivoj;, ' and forced the fighting.' 
 
 iroXvs irKi,To, K.T.\. ' pressed upon him heavily, with his head bent 
 towards the ground.' Cp. Herod. 7. 158 woXXoy eirtictiTo \eycw roidSe, 
 ibid. 9. 91 iro\\tis ^v \iaao /Jievos. 
 
 1. 94. TITVU. He was like Tityus in size, whose body, according to 
 Homer (Od. n. 576), 
 
 ITT' fvvta KfTro ir(\(0pa. 
 See Virg. Aen. 6. 596, where Homer's description is imitated. 
 
 1. 95. See Virg. Aen. 5. 460 
 
 'densis ictibus heros 
 creber utraque manu pulsat versatque Dareta.' 
 
 1. 98. ji0vcov, 'staggering.' So Horn. Od. 18. 240 
 
 vtvffTa^cai/ Kf(()&\y peOvovTi eoucwr 
 and Virg. Aen. 5. 468 
 
 'genua aegra trahentem 
 
 iactantemque utroque caput, crassumque cruorem 
 ore eiectantem ; ' 
 ib. also 25. 260. 
 
 1. 102. \epvi iTpoSeiKvtis, ' sparring at him.' 
 
 I. 109. fo> join with av\vos. The giant could not guide his blows, 
 which either fell harmlessly on the chest of Pollux or passed by the side 
 of his neck. 
 
 1. 112. Here is introduced an absurd exaggeration, in order to convey 
 an idea of the miraculous superiority of the Jove-born hero. 
 
 1. 113. 6Ai-yos. See I. 47. 
 
 1. 115. cl8T)<|>aYov, a common attribute of boxers. Cp. 4. 34. 
 
 1. 1 16. A not uncommon hiatus with a trochaic caesura in the third 
 foot, at a pause in the sense. Cp. 13. 24 ; 24. 71. 
 
 1. 1 1 8. Now comes the great crisis of the fight ; Amycus, thinking to 
 end it with one great effort, seizes with his left the left wrist of Pollux, 
 bringing forward his own left shoulder at the same time, with the 
 object of preventing Pollux from guarding the blow he was preparing 
 to give him with his uplifted right, by the same action guarding his 
 own face from his adversary's right fist : but Pollux, ducking his head, 
 comes out underneath Amycus' left arm, and with the whole force of 
 his shoulder dashes his right fist into Amycus' left temple, which is left 
 unguarded, and gives him the coup de grdce.
 
 203 IDYLL XXII. 
 
 1. 1 20. Soxfxos ciiro irpopoXris. 'Turning sideways from his original 
 position,' i.e. bringing his left leg round and his left shoulder forward. 
 
 Irc'pij, ' with the other hand,' i. e. his right. 
 
 1. 121. rjvfyKtv, 'brought into play.' 
 
 1. 124. cfywp. This appears to mean 'with his (Pollux') shoulder' 
 rather than ' on his (Amycus') shoulder,' and to describe the weight and 
 force of the blow. Cp. Id. 25. 148. 
 
 1. 126. So in Virg. Aen. 5. 436 
 
 'erratque aures et tempora circum 
 crebra manus, duro crepitant sub vnlnere malae.' 
 
 1. 129. dXXo<}>povov, 'senseless.' Deaf to the call of time. 
 
 1. 135. There is something quite comical about this affectation of the 
 Epic diction : as though the poet said, ' There ! so much for you, 
 Pollux : now I come to Castor,' and so flung him all his epithets at once. 
 
 1. 137. Lynceus and Idas, sons of Aphareus king of Messene, were 
 betrothed to Hilaeira and Phoebe, daughters of Leucippus; but the 
 Twin Brethren carried off the girls, and hence arose the quarrel which 
 is here described, not much to the credit of Castor. The story is some- 
 what differently told by Pindar, Nem. 10. 112 foil., viz. that Pollux 
 fought with Lynceus and Idas to avenge his brother Castor, who had 
 been mortally wounded by the latter. The pillar is thrown at Pollux 
 without effect ; he kills Lynceus, and Jupiter blasts the bodies of the 
 two unsuccessful brothers with lightning. Ovid also (Fast. 5. 699) gives 
 an account beginning thus, 
 
 'Abstulerant raptas Phoeben Phoebesque sororem 
 
 Tyndaridae fratres, hie eques, ille pugil ; 
 bella parant repetuntque suas et frater et Idas, 
 Leucippo fieri pactus uterque gener.' 
 
 1. 149. tir' aXXoTptovs Xxo~(n,, 'for the purpose of robbing others 
 of their affianced brides.' 
 
 1. 150. This is to be interpreted as follows : The Dioscuri had gained 
 booty in an expedition which they made in Arcadia conjointly with 
 Lynceus and Idas : in a quarrel which ensued about the division of this 
 spoil, the Dioscuri gave up their share to Leucippus, who in return offered 
 them his daughters. They are therefore here accused by Lynceus of 
 perverting by this offer the mind of Leucippus. 
 
 1. 1 56. He enumerates all the provinces of the Peloponnesus. 
 
 1. 158. 2icrv<j)ls <xKT<i. The isthmus, so called from Sisyphus, the 
 founder of Corinth. 
 
 1. 167. UJ-KOV. This word, properly meaning ' to make like,' has in 
 the Alexandrian poets the sense of 'to speak/ derived, according to
 
 NO TE S. 203 
 
 Buttmann, from a misinterpretation of its use in Homer. See Prelim. 
 Rem. p. xix. 
 
 1. 168. Cp. Hor. Od. i. 26, 2, and Tibull. i. 4, 21 
 
 'Veneris periuria venti 
 irrita per terras et freta summa ferunt.' 
 
 1. 1 70. dvctj/uo. Because Tyndareus and Aphareus were half brothers, 
 sons of Gorgophone, daughter of Perseus. 
 
 1. 172. XoC<rai, 'to bathe' your swords in blood. Cp. Anth. PaL 6, 2 
 oir\a rdSe 7ro\e/to(o TTt-navfifva 5aiepv6fVTOs 
 
 HffffSiv iirTTon&xfav aifMTi \ovadfj.eva~ 
 and Virg. G. 3. 221, Aen. 10. 727, and Cul. 60 
 
 'Assyrio bis vellera lauta colore.' 
 1. 173. 16s here and 24. 36 for aos, as aQerepos in 1. 67. 
 1. 174. po>T|aov<nv, 'shall keep aloof,' 'leave us alone.' x^P a s is 
 governed by diroo-xop,vw. See Aesch. SuppL. (Paley) 736 
 oil ftf) rpiaivas rdaSf Kal OfSiv atfti) 
 Sfiaavrfs f/fjiSiv ~xtip dirocrxo^rai irartp ; 
 
 tpojtoj with the accusative in Theocritus has the sense of ' to leave ' or 
 ' desert.' See 13. 74, and 24. 100. 
 
 1. 180. ' It seems possible to settle a serious quarrel with trifling harm.' 
 l.iSi. peTajiuvia. Another Homeric phrase. 86611.3.363. 
 1. 190. For the lengthening of the final syllabk of fvi, see Horn. II. 
 10. 254 oirXoiat ivl Sdvoifftv fSvrrjv. 
 
 A similar description of single combat is to be found in Eurip. Phoen. 
 1 380 foil. 
 
 1. 194. <xKpi/M\s o|t|xacri. Cp. Ap. Rhod. I. 153 
 
 AvyKfiis 5 Kal o^vrdrois e/ctKaaro 
 
 V, (I (T60V 76 W^Afl K\&OS OVtpO. KflVOV 
 
 Kail vepOtv VIT& -)(9ov^ avydta6ai- 
 and Pind. Nem. 10. 116 
 
 fceivov ydp imxOovicuv 
 
 irdvrtav ytvtr' dfiirarof S^fta' 
 also Hor. Epp. i. i, 28. 
 
 Valerius Max. i. 8. 14 says that his sight was so wonderful that he 
 could have seen from Lilybaeum a fleet coming out of the harbour of 
 Carthage ! But that was before the earth was spherical. 
 1. 195. So-ov, 'just.' Cp. i. 45 ; 25. 73. 
 
 1. 196. Lynceus aimed a cut at Castor's left knee, but Castor drew 
 back his leg and maimed Lynceus' right hand as he brought down his 
 sword for the cut. 
 
 1. 200. (t<j>v\iov. Cp. Soph. Ant. vttieos dvSpiuv [vvaipov for vftnos 
 dvSpuiv fwcufMuv.
 
 204 IDYLL XXII. 
 
 1. 206. Laocoosa, the mother of Lynceus and Idas. By other writers 
 they are called sons of Arene, or Polydora. 
 
 1. 209. See on 1. 67. 
 
 1. 212. v c\a<|>p$. Cp. 1. 61. Herodotus always uses the phrase tv 
 l\a<ppS> firoKvfjirjv (l. 118), kv (\a<pptv ironjff&fjitvos (3. 154), and Tacitus, 
 Hist. 2. 21 'dum atrociora metuebantur, in levi habitum.' 
 
 1. 214. For a similar conjunction of dual and plural, see 24. 17. 
 
 1. 218. Xtos dotBos. Cp. 7. 47. 
 
 1. 220. irvp-yov dvrfjs. A very common metaphor. Perhaps Theo- 
 critus refers to Horn. II. I. 283, where we read that Achilles 
 
 tpuos 'Ax<uoTffiv ireKercu iro\efj.oio KOKofo. 
 Cp. Theognis 223 
 
 &Kp6iro\is KO.I trvpyos tciiv Ktve&typo 
 
 .... fff0\bs dvrjp. 
 1. 222. virdpxei, 'supplies.' 
 
 IDYLL XXIV. 
 
 THIS Idyll contains an account of the exploit of the infant Hercules 
 strangling the two snakes which were sent by Juno to kill him, the con- 
 sultation of Tiresias by Alcmena, and his prophecy of Hercules' future 
 adventures and glory. After this there is an account of the education 
 of the youthful hero, the latter part of which seems, from the abruptness 
 of the ending, to have been lost. 
 
 Compare with the commencement the latter part of Find. Nem. i. 
 
 1. I. MiBedrvs. So also 13. 20. 
 
 1. 2. Pindar's account is different in this particular. 
 
 1. 4. ILrepeXdov. See Plaut. Amph. i. I, 251 
 
 'Ipsusque Amphitruo regem Pterelam suapte optruncavit manu.' 
 He defended himself against Amphitryo with success until his daughter 
 Alcmena, to aid her lover, cut off her father's golden lock of hair which 
 ruled his destiny, and so put him into her lover's power. 
 
 1. 6. airrop,tva. Cp. 17. 65. 
 
 1. 7. A lovely cradle-song : three of the most touching lines in all 
 Greek poetry. ' Y*P,' 1 I JIOV ' Cp- I ^- 55> * ne opposite to the 
 vrjypfrov vnvov of Moschus Id. 3. 103. 
 
 1. 8. cjid \|fvxd, ' my darlings.'
 
 NOTES. 205 
 
 1. n. neerovvKTiov should be taken as an adverb. Cp. 13. 69. It is 
 scarcely necessary to quote the well-known lines, 
 Heffovv/eriois 17-00" wpais 
 ffTp(<f>(Tcu or' 'ApKTOs 77877 
 Hard. xt/oo -rty EOOJTOV. Anac. 3. I. 
 
 1. 12. The use of the preposition icard here and in the lines quoted 
 above might induce one to confound Bootes with Orion. Bootes, 
 however, immediately follows the Great Bear, so that that constellation 
 is said to be turning ' according to the direction of the arm of Bootes : ' 
 whereas the position of Orion is such that as the Great Bear ' swings to 
 its setting ' (it just dips below the horizon in the N. at the latitude of 
 Greece and Sicily) Orion is rising in the E. and ' showing up his mighty 
 shoulder,' i. e. the star 7 Orionis, or else the ruddy Betelgeuse, which 
 are on his left and right shoulders respectively, 'ilpiwva KO.T' avrov, 
 then, can scarcely mean ' opposite to Orion ' as generally translated. 
 May it not mean ' in search of,' ' in pursuit of,' (like /caret \iji8a Horn. 
 Od. 3. 1 06,) or 'facing,' because its head is always turned in that 
 direction, whence 'flpiuva SoKfvei Horn. Od. 5. 274? 
 
 1. 15. 59t tTTaOjAd xotXa Oupduv. 'Where the door-posts leave a 
 space.' The jambs of the door in large buildings converged towards 
 the top : there would therefore be a space at the bottom on both sides 
 between the jamb and the pivot on which the door swung, through 
 which the serpents came. 
 
 I. 1 6. diriXT|o-tt<ra <J>ayetv. An awkward expression: sufficiently so 
 in Paley's opinion to make him declare the line spurious. Homer uses 
 dir(i\tca with future infin. for 'to promise' in II. 23. 872. Compare 
 with what follows Plaut. Amph. 5. i, 55 foil. 
 
 I. 1 8. Cp. Virgil's account of the serpents sent to slay Laocoon, Aen. 
 2. 210 foil. 
 
 1. 22. dvd OIKOV. See on 22. 42. 
 <|>dos, so Plaut. Amph. 5. I, 44 
 
 'Aedes totae confulgebant tuae quasi essent aureae.' 
 1. 23. SITUS. Homeric usage for ' when.' 
 1. 24. dvaiStas. Similarly \apvpovf 25. 234. 
 1. 26. See Find. Nem. i. 65 
 
 6 5' bpdbv fj.lv avrtivev K&pa 
 vftparo Sf irpSrrov /xdxas 
 Stffffaifft Soiovs a\>xv<uv 
 
 difwiCTois \fpalv tafs ctyxar
 
 ao6 IDYLL XXIV. 
 
 and Plant. 1. c. 
 
 'Postquam conspexit angueis ille alter puer 
 citus e cunis exsilit, facit recta in angueis impetum, 
 alterum altera adprehendit eos manti perniciter.' 
 1. 31. 64C-yovov, 'born after hard labour.' Alemena herself is repre- 
 sented saying, 
 
 'Septem ego per noetes totidem cruciata diebns 
 fessa malis, tendensque ad caelum brachia magno 
 Lucinam Nixosque pares clamore vacabam.' 
 
 Ov. Met. 9. 292. 
 
 1. 32. tire! no-yloiev, 'as often as they felt pain in their spinal ver- 
 tebrae.' They kept coiling themselves up, and uncoiling again as the 
 pressure at their throats paralysed the muscular action. 
 
 1. 36. This was almost a proverbial expression for haste, as in Aesch. 
 P. V. 137 ffvdrjv dirt8i\os, and 
 
 d 5' 'A<j>po8iTa 
 
 \vffafitva ir\oimiu$as ova fipvpus d\d\rjrat 
 nev6a\fa v^7reTos d<rair$a\os. Bion I. 20. 
 lots. See on 22. 173. 
 
 1. 38. VVKTOS dwpC. See II. 40. 
 1. 39. dpi<f>pacES. See on 1. 22. 
 
 1. 40. 4>CX' dvSpuv. Cp. 15. 74, and Eur. Ale. 472 tpiKafwautaiv, and 
 Virg. Aen. 4. 576 'sancte Deorum. 1 
 1. 42. (XTd, 'to fetch.' 
 
 1. 45. Xwnvov, 'made of the wood of the \<ar6s.' This appears to be 
 the Celtis australis, Linn., or ' European nettle- tree,' which is pretty 
 common in the south of Europe. It bears a small sweet edible fruit, 
 and the wood, which is very dark coloured, is well adapted for turning. 
 1. 46. The darkness returned when the serpents were dead. 
 1. 47. K<j>ucru>vTas. Cp. Virg. Aen. 9. 326, Shakespeare's Macbeth, 
 Act 2, Sc. 2. 
 
 1. 50*. This line is the exclamation of the slave who slept in the 
 grinding-room, repeating her master's call. ' Get up 1 the master calls ! ' 
 Mention of such a slave is made in Horn. Od. 20. 105 
 O'KOIO yvvr) irpoetjKfv d\(rpls 
 v6* dpa ol fiv\ai tia-ro voipevi \aS>v 
 and in Anth. Pal. 9. 418 
 
 ?<TXT \ftpo- HvXaiov d^erpiSes, tvSert /jaicpA. 
 
 avros, 'the master.' Cp. Aristoph. Nub. 219, where Strepsiades 
 asks ' who is that up there ? ' and a disciple of Socrates answers avr6s, 
 1 'tis the master.' Again, Theophrastus describes the K.6\a bidding those
 
 NOTES. 207 
 
 who met him stand still SEW? &v Avrbs irapf\0ri, ' till the great man has 
 gone by.' 
 
 1. 55. <rvfAirXT|YSijv. Either ' clapping their hands together' in aston- 
 ishment, or ' beating their breasts ' in horror. Probably the former. 
 
 1. 58. KKapu)|j.fva, ' stupefied.' 
 
 1. 60. gt]p6v, ' stark, paralysed with fear.' Or perhaps ' too frightened 
 to cry.' 
 
 1. 63. Tpt-rov. As the night was divided into three watches, so the 
 third watch or &\eKTopo<f><uvia was divided into three divisions or cock- 
 cro wings. The first is mentioned 18. 56. The second by Juvenal, 
 Sat. 9. 107 
 
 ' Quod tamen ad galli cantum facit ille secundi : ' 
 the third here indicates the end of twilight. 
 
 1. 64. So also Find. Nem. 1. c. 
 
 f fir ova 5* (Ka\tatv Aios tyiffrov 
 7rpO(pA,rav efoxov dp66[MVTtv Itipeffiav. 
 
 1. 68. <u56|j,vos |ii Kpuirre, ' hide it from me out of consideration.' 
 
 Kat us .... SiSdcrxco. This icat is a very awkward introduction to 
 the sentence : we should expect something like ri 8' us ; i. e. why am I tell- 
 ing you all this, seeing you know all about it 1 It is perfectly intelligible 
 if we suppose a line to have been lost between 69 and 70, in which the 
 sentence begun by 1. 69 was closed and a fresh interrogative one com- 
 menced : but a more elegant line probably than that suggested by Hermann, 
 OAA.OT6 i/ikv xP r ) aT v T&T* 8' a-v Kait&v dXAct ri ravra 
 
 1. 71. See on 22. 116. 
 
 1. 72. IIpo"?|iov, because her father Electryo was son of Perseus. 
 
 1. 74. Cp. 6. 22; u. 53. 
 
 1. 75. The action is that of rolling the wool between one hand and the 
 knee, as the thread is drawn out with the other. See Anth. Pal. 7. 726 
 piKvov TTtpl -yowoToy, apKiov Iffry, 
 
 1. 78. cliri o-rtpvwv. Cp. 16. 49. 
 
 1. 80. T\o-avn oiKttv, ' to accomplish twelve labours before he can 
 dwell,' the principal verb being expressed participially. Lat. ' duodecim 
 demum confectis laboribus,' not before twelve labours had been accom- 
 plished. 
 
 1. 81. irvpd Tpaxivios. See Soph. Trach. 1191 and foil. The pile 
 was upon Mount Oeta, near Trachis. 
 
 1. 85. Here we find the same kind of language used to describe the 
 triumph of the physical force of a hero of divine origin over the natural 
 world, as was employed by the Hebrew prophets to describe the uni- 
 versal peace which was expected to succeed the advent of the Messiah.
 
 208 IDYLL XXIV. 
 
 Cp. Isaiah n. 6; 65. 35. Similar language is used by other poets in 
 anticipation of the return of the Golden Age, the extinction of all 
 noisome beasts, the removal of the necessity of manual labour, &c. 
 See Hes. Op. D. 109 foil., Virg. E. 4. 18. 
 
 1. 87. do-iraXdOov. See on 4. 57. iraXiovpov. See Virg. E. 5. 39. 
 This was the ' Christ's thorn ' used for hedges. 
 
 dxp8ov. Perhaps some kind of wild pear, all of which are used for 
 hedging. 
 
 All kinds of thorny shrubs were supposed to have a special virtue 
 for averting calamity. See Ov. Fast. 2. 28 
 
 ' Februa poscenti spinea (al. pinea) virga data est ; ' 
 and ibid. 6. 129 
 
 ' Sic fatus spinam (al. virgam) quae tristes pellere posset 
 a foribus noxas, (haec erat alba) dedit.' 
 
 1. 92. Some one of the servants was to take the dust and throw it 
 from the rugged rock over the running stream, which was called Dirce. 
 Cp. Exodus 32. 20, and 2 Kings 23. 12. 
 
 1. 93. virepovpiov agrees with K&VIV. So Livy, 27. 37 ' Haruspices 
 dixerunt infantem extorrem agro Romano alto mergendum.' 
 
 1. 94. aorpe-nros. Cp. Virg. E. 8. 101 ; Ov. Fast. 6. 164 
 'Quique sacris adsunt respicere ilia vetat.' 
 
 Ko,0apo> Setup, 'purifying sulphur.' Cp. Tib. I. 5, n 
 
 ' Ipseque ter circum lustravi sulfure puro ; ' 
 and Horn. Od. 22. 481 
 
 olae Oftiov fprjv, KOKUV O.KOS. 
 
 1. 96. lo-T(i[Avo>. So Schafer, ' tipped with wool.' 
 
 1. 99. pwf|o > as. See on 22. 174. 
 
 1. 101. Cp. Horn. II. 18. 57 
 
 rbv p.\v fyui 0ptyaera, <f>vr&v &s yovvu aAeuTjy. 
 
 1. 104. Here follows the account of Hercules' education, interesting 
 because it gives us an idea of what Theocritus thought was the 
 curriculum of the Heroic Age ; or, possibly, actually describes what 
 was the curriculum of his own time, e. g. yp&^ntA-ra, which of course 
 is an anachronism applied to the Heroic Age, like that of Brutus and 
 Cassius (Shakespeare, Julius Caesar, Act 2. Sc. i) hearing the clock 
 strike. 
 
 1. 105. irto-Koirov ournov, ' master of the aiming of arrows,' Like 
 KUITTIS dvaicTts for ' rowers.' 
 
 1. 107. The pupil here beat the teacher ; for Eurytus had promised 
 lole to any man who should beat him at archery, which Hercules did, 
 and because he refused lole, shot him. According to Horn. Od. 8. 224,
 
 NOTES. 209 
 
 Eurytus was killed for presumption in challenging Phoebus to a con- 
 test in archery. 
 
 1. 109. There are three Eumolpi in mythology : i. son of Neptune, 
 killed by Erechtheus ; 2. a Thracian who established the Eleusinian 
 mysteries ; 3. the teacher of Hercules. Others call him son of Musaeus. 
 
 1. 109 foil. Here we have a difficult construction. There are three 
 kinds of accomplishment in the athletic school that Hercules is 
 taught: i. oo-o-a 8* etiro o-KAuv, where 1 take oaaa to agree with 
 ff<t>A\(uiTa, as a cognate accusative with <r<()d\XovTi : 2. ocro-a T iruKTaC, 
 where oaaa is object to tcupovTo ' all the devices of boxers : ' and 3. 
 a T' tls Y a S v agreeing with iraXaianara. That is to say, i. The 
 Argive cross-buttock ; 2. the fair stand-up boxing match ; 3. the 
 rough-and-tumble, or bear-fight. The first was performed in wrestling, 
 by projecting the hip and thigh sideways, and tripping up the adversary, 
 and throwing him over the projected hip. dird oxcXcuv goes with 
 ISpooTp6<|>oi, as in I. 78 and 16. 49. This feat is also alluded to by 
 Theophrastus Char. 27 (flepl 6^j/Ji0<as) KOU. iraKaicov 5' tv r fiakavdiy 
 iruiivd. TT)V tSpav ffrpttyfiv '6nus TreircuSfvaGcu Sony, i. e. ' He is the sort 
 of man, when practising the wrestling attitudes in the bath, frequently 
 to go through the motion of giving the cross-buttock, that he may seem 
 to have been educated.' 
 
 1. in. l(i,avTo-<n.v. See 22. 80 foil. 
 
 1. 114. 'ApiraXvKO). In Apollodorus, whose names of Hercules' in- 
 structors agree in every other case with those of our text, his teacher 
 of wrestling, &c. is called Autolycus. 
 
 1. 119. Cp. Hor. Od. i. i, 4. 
 
 1. 121. Cp. Hor. Od. i. 7, 9. 
 
 1. 122. xp^vtp BuXviaov l(idvras, 'had their leathern straps loosened 
 b"y time,' not by any damage incurred in racing. The platform on which 
 the charioteer stood was composed of straps tightly stretched and inter- 
 woven. 
 
 1. 123. Cp. 22. 1 2O. 
 
 1. 124. dv<rxo-0ai. So Meineke, for a.vlx.tff6a.i, to preserve the 
 sequence of Aorists, dptfaaGcu Koa/xrjffcu K. T. \. 
 
 1. 125. X6\ov T' dvafAiTpTjo-aaOai, 'to measure the strength of the 
 enemy's advanc'ng squadron ; ' to judge, that is, whether he would 
 be outflanked ; or, from the manner of their advance, to anticipate 
 their tactics. 
 
 1.J37. IwiroXiBas. Formed from imrfvt, like SpairfTt&as from Spavfrrjf. 
 
 1. 136. 'This (great Doric loaf of coarse black bread) would easily 
 satify a garden-digger.' Kopoxrai is optative, not infinitive. Hercules' 
 appetite was famous among the ancient poets. See Aristoph. Ran. 550 
 
 P
 
 io IDYLL XXIV. 
 
 6 -navovpyos ovroffi, 
 
 bs (Is rb iravSoK(iov .(Iff (\6aiv iror( 
 
 %KKai5(K' dprovs na.Tt<pa.y( 
 
 I. 137. ir' d(xa,Ti, 'at the close of day.' 
 
 IDYLL XXV. 
 
 THIS Idyll, which appears to be in rather a fragmentary condition, 
 contains an account of the visit of Hercules to the farm of Augeas. 
 He is taken to the king, who had come into the country to see his 
 herds. He exhibits his strength in an off-hand way by pushing back- 
 wards with one hand a bull which threatened him, and subsequently 
 he relates the story of his slaying the Nemean lion. 
 
 It falls naturally into three divisions : (i) 11. 1-84 ; (a) 11. 85-152 ; 
 (3) 11. 153 to end. 
 
 The beginning is evidently wanting ; there seem to be several 
 gaps in the middle, and probably a good deal has been lost from 
 the end. Possibly it was left incomplete by the poet himself. Her- 
 mann adduces several reasons for believing Theocritus to have been 
 the author ; there is a general resemblance between it and his other 
 poems, particularly in respect of the prosody ; there are short vowels 
 before a mute and liquid, which is characteristic of bucolic poets ; 
 the treatment of the Epic subject has a Theocritean colouring. There 
 are few Dorisms in it. 
 
 1. i. TOV 8' 6 YP WV - Hercules has been enquiring of some farm 
 labourer where he can find Augeas. 
 
 1. 2. iraverdfievos fpYOio. See on 22. 42. 
 
 TO ol. See 11. 88, 109. The Homeric usage of ot imitated. 
 
 1. 7. There is an arithmetical problem in Anthol. Pal. 14. 4, about 
 the number of herds in Augeas' possession, to this effect : Augeas 
 says in answer to Hercules' question, ' One-half are by the stream 
 of Alpheus, one-eighth by the hill of Saturn, one-twelfth by the 
 shrine of Taraxippus, one-twentieth by holy Elis, one-thirtieth in 
 Arcadia ; the rest are here, fifty in number.' How many were there 
 altogether? Ans. 240. 
 
 1. 8. tav for /MOV.
 
 NOTES. 2ii 
 
 1. 9. The scene is in that part of Elis which belonged to the Epeans, 
 of whom Augeas was king. The Elissus was a tributary of the 
 Alpheus. 
 
 There is, however, something wrong in the reading of this line, for 
 dn4' has no possible sense, unless it may be taken adverbially ' on both 
 sides.' It has been suggested to read El\iacr6vTos instead of dji.^' 
 
 'EAWO-CVTOS. 
 
 1. 10. All rivers were lepoi; but the Alpheus was especially 0tos, 
 because he was honoured at Olympia next to the twelve principal 
 gods. 
 
 1. 15. MTJVIOV. This was the stream whose water Hercules con- 
 ducted through the stable of Augeas to cleanse it. 
 
 1. 1 6. 6aA0ot>o-iv, transitive ; so we use the word 'grow.' . Cp. 
 ov Ka\a SevSpf %6a\\fv x&pos. 
 
 Find. Ol. 3. 23. 
 
 1. 20. irXardvioToi irrjTava(, ' thick-foliaged plane-trees.' On the 
 charm of the shade of this tree, cp. Virg. G. 4. 146, Hor. Od. 2. u, 13. 
 Socrates and Phaedrus, in Plato's Phaedrus (229 A), rest beneath a 
 plane-tree. Cp. also Horn. II. 2. 307 
 
 aX]7 virb if\a.Taviar(a oQtv plev ay\a&v vSojp. 
 
 1. 21. voptoio. Apollo was so called, according to Callim. Hym. Ap. 
 46, because of his having tended the herds of Admetus. 
 
 1. 22. Upov ayvov. The second epithet has been altered by many. 
 But Upov means 'enclosure.' So Herod. 5. 119 AJOS Itpbv fj.4ya re ai 
 a-yiov d\aos nXaraviffruv, and Eur. Andr. 1066 
 ayvoTs ev ipois \oiov. 
 
 1. 23. cuflus, 'hard by.' So also 'mox' is used in Latin. Cp. Thucyd. 
 6. 96 xtapiov virfp rrjs iro\f<as tvOvs Kti/jifvov ; id. 7- 22 evOvs irpb TOV ar6- 
 fMTos rov fify6.\ov \ifj.fvos Ivavfju&xrjaav ; id. 8. 90 -nap' avrty tv9v<> 6 
 tffir\ovs eariv. 
 
 1. 25. pvojxeO'. Observe the first syllable long, as in 7. 56, and Horn. 
 
 n. 15. 257. 
 
 Tpiir6Xois. Cp. Virg. G. 2. 399. 
 
 I. 27. ovpovs p.i\v ura<n. There seems to be something wrong with 
 these words. There is a weakness about the sentence, ' However (i. e. 
 though the territory is extensive) the diggers know the boundaries.' 
 The mention of ATJVOVS in the next line suggests a reading opxovs for 
 ovpovs. Then uraoa must be altered. Ahrens reads tffxovai. 
 
 1. 28. &piov. Cp. 7. 85. ' The summer's prime.' 
 
 1. 31. io-xands. Cp. 13. 25. 
 
 1. 32. is. The antecedent is dXwoC. 
 
 ! 33- ^1 8iKij, 'as the wont is.' 
 
 P a
 
 212 IDYLL XXV. 
 
 1. 37. ot ot. See on 1. 2. 0-&<{>a elScis. See on 22. 42. 
 
 1. 39. ovr6v, ' yourself,' i. e. I should say neither your parents nor 
 yourself are ignoble. Cp. Horn. Hym. Cer. 213 
 
 X a </>* yvvai, (iTfl ov fff KaKajv air' to\ira 
 (ftHtvai d\\' dyaOwV firi rot irptirtt 
 and Id. Od. 4. 62 
 
 ov ycip ff<t>t{>v ye fevos dir6\co\f ro/c^uv. 
 
 1. 40. otov equals on TOLOVTO. 
 
 1. 44. Ka, ' in fact.' 
 
 1. 45. Kari OO-TV and irapd olai. Again imitated from Homer. 
 
 1. 46. 8ui re Kpivovo-i Qipwrras, ' and they (i. e. the assembled 
 council) are deciding suits by the application of the law.' See Paley's 
 note on Hes. Theog. 85 SicucpivovTa Oeiuaras, who calls it 'a mixed 
 expression between SioKptveiv oiieas and veptiv Otfuaras.' These Otfuffres 
 refer to men's rights which may have become a subject of dispute, and 
 require the decision of some authorized judge. Hence Oefjuarovxoi 
 f}aai\i)(s Ap. Rhod. 4. 347. Cp. Horn. II. 16. 387 
 ffKo\tas Kplvcuffi Offjuaras. 
 
 1. 47. 4>pa<rov, ' point out to me.' 
 
 1. 48. al<run.vT|Tr]s, ' overseer ' or ' bailiff.' 
 
 1. 50. ' For divine ordinance has made different men have different 
 needs,' so that they may mutually assist one another. Hercules wants 
 some one to guide him to Augeas, and Augeas wants some one to clean 
 out his stable. 
 
 0os. Cp. tfibv axos 3. 12, where a short syllable is similarly 
 lengthened in the arsis of the 4th foot: and Horn. II. I. 51 
 
 /St'X 
 Id. 8. 248 
 
 Id. Od. 10. 172 
 
 veos, dvtyfipa 8' fraipovs. 
 
 1. 54. According to Pausanias, he was son of Eleus, and called, by 
 those who wished to exaggerate his nobility, son of Helios. 
 
 1. 55. <r<txoiTcp(p ; used for possessive of the third person, as a<perfpos 
 in 22. 209. 
 
 1. 56. x^os. Cp. Horn. II. I. 433 
 
 X&C<tt (fir) fierci SeuVo, 
 Id. Od. 6. 170 
 
 Xfa&s (tiKoary (pvyov T^/MTI otvova ITOVTOV. 
 
 So also irpo5ti(\os 1. 223 ; SoiSfKaraios 2. 4; fvSfKarcuos 10. 12 ; 5(i(\ivoi 
 13- 33, &c.
 
 NOTES. 313 
 
 1. 59. ourets KT)8o[jivown, ' when they look after it themselves ; ' not 
 exactly a dative absolute, because of its attraction to pacnXeCow. Cp. 
 Aesch. Pers. 165 
 
 oft/to, -yap 5ufj.w vonifa Sfffirorutv irapovaiav. 
 
 1. 61. tva KV TTjxoi|Xv, ' where we shall probably find.' 
 
 1. 65. ' But in hesitation he kept on repressing the word which was 
 issuing to his lip,' i. e. for fear of giving offence. A true touch of nature, 
 most elegantly expressed. 
 
 1. 67. o-irtpxojAtvov. Genitive absolute, not affected by the dative ot. 
 
 1. 69. dji<j>6Tpov, ' in two ways, namely,' &c. Prose writers use in 
 this sense the plural, e.g. Plat. Gorg. 524 C ti TWOS ptya fy r& aSifM 
 <pvff& ^ rpo(py ij dfji<f>6Tfpa. 
 
 1. 72. dxpsiov K\d,ov re, 'barked without meaning anything.' Cp. 
 Horn. Od. 1 6. 4 
 
 Tr)\(fidx ov ^ irfptffffaivov Kvvts v\a,K6jM)poi 
 ovS' vXaov irpoffiovra. 
 
 1. 73. o-y here and in 1. 77 refers to Hercules' companion. 
 
 oo-erov, ' only just.' Cp. I. 45. The action of pretending to pick up 
 and throw a stone to drive away an objectionable dog is familiar to us. 
 
 1. 79. mjiT)0es, ' slow of apprehension.' He rather depreciates the 
 dogs out of politeness to Hercules, as the following lines show, ' if it 
 could tell friends from foes at a distance, it would be invaluable.' 
 
 1. 81. Cp. Plat. Rep. 376 A not TOVTO tv rofs Kval Kar6^ei & KOI aftov 
 Oav/Mffcu TOV drjpiov on tv &v iSy dyvwra \a\tiraivfi. 
 
 1. 83. dppi]VS, 'fierce.' A rare word, if not aira \ty6fatvov. 
 
 1. 85. Between this and the preceding, some lines must have been lost, 
 containing an account of the meeting with Augeas. 
 
 1. 86. The sun is said to bring on the evening, because his absence 
 makes way for it, just as the winds are said to lull the stormy sea, by 
 ceasing to blow. Cp. Hor. Od. i. 3, 16. 
 
 1. 87. T <rr]Kovs T. Cp. 1. 12 for lengthening of t. 
 
 1. 89. Here follows a beautiful and well-worked-out simile : the end- 
 less number of clouds coming up from the horizon, borne along and 
 huddled together by the wind, and their spreading over the sky as they 
 advance, are well-selected points of comparison with the progress of the 
 cattle returning from pasture, as the thin line in the distance expands 
 and fills the plain. 
 
 1. 91. Wp-flKos. Cp. Hor. Epod. 13. a. 
 
 I. 93. nrd irpoTpowi, ' in the first rank.' 
 
 II. 97, 98. OT(VOVTO . . . pvKi)0|i4, ' were crowded with lowing kine.' 
 Cp. 16. 93.
 
 314 IDYLL XXV. 
 
 1. 100. ?KTjXos, 'idle.' Used of a fallow field, Horn. Hym. Cer. 451 
 
 (ptptaPioif ov9ap dpovprjs 
 
 rb irpiv, drd.p r6re y' ovn tpepfffptov d\\ci tKT)\ov 
 tiffTTjieei. 
 
 1. 101. KexpTj(ivos pY ov > 'wanting a job.' 
 
 1. 103. tyyvs is useless, and looks like a gloss to the preceding word. 
 Nothing better, however, has been offered. 
 
 1. 105. yAXaKTOs : genitive after in.V(x,evai. So I. 224, and 6<ppa irioi 
 olvoio Horn. Od. 22. n. 
 
 1. 1 06. TptcjxE. This word represents the process of compressing the 
 milk into cheese. See n. 66, and Horn. Od. 9. 246 
 
 ij/uffv fi^v Optif/as \tvKoio yd\aKTOs. 
 Hence the term rvpov rpo<pa\is. 
 
 1. no. pap04>povos, 'seriously thinking' of the labour he had in 
 prospect. 
 
 1. 113. dpT]poTa, 'well-balanced.' 
 
 1. 115. twXim, 'would expect;' see Horn, quoted on 1. 39. 
 
 1. 121. TVS vovo-os . . . air', 'any of those diseases which.' See 
 similar construction in Horn. Hym. Ven. 285 
 
 vv/j.<prjs Ka\vKii>mSos exyovov ftvat 
 at r65e vaierdovcriv opos Karaetfitvov v\ri, 
 and Eur. Or. 920 
 
 avTovpy6s. oiitfp ot n6voi au^ovai ffjv, 
 Id. Hel. 448 
 
 "EAAjyv jr0vctiy olffiv OVK firiffrpO(pai. 
 
 1. 127. Kvf|jjiapYot 0' IXiKcs T. The description of the others as 
 4>oiviKes and dpYrjerraC makes it probable that the epithets in this line 
 refer to colour; and Schol. on Horn. II. 12. 293 explains e\i( = fif\as. 
 There is no reason why the meaning ' black ' should be assigned in that 
 passage more than in any other in Homer, where it is an ordinary epithet 
 of kine. There seems to be a doubt in the minds of the old Lexico- 
 graphers as to the real meaning of this word and its compounds f\in(a\f/, 
 l\iKO/3\t<f>apos, and the like. It is very possible that Theocritus, 
 borrowing the word from Homer, used it in a different sense. Cp. 
 22. 167. 
 
 1. 129. The number twelve here is supposed to have reference to that 
 of the months. 
 
 1. 132. dnpiaYtXoi. Cp. 9. 5. 
 
 1. 134. Xaerioio. Cp. 26. 3. 
 
 1. 1 37. Xevoxrovre. There is no occasion to alter this to \fvaa6v re. 
 This use of dual for plural is common in the Alexandrian poets, and not
 
 NOTES. 215 
 
 unfrequent in Homer. If an emendation is thought necessary, \tvff- 
 crovri would perhaps answer the purpose. 
 
 1. 143. vcrK6ircp, ' cautiously-watching.' 
 
 I. 148. OJ[ACO, 'with his shoulder.' Cp. Id. 22. 124. 
 
 irepl vevpa. ravva-Qeis, ' folded round the sinews.' 
 
 1. 149. (xvwv refers to Hercules, not to the bull, as some explain it. 
 The muscle stood out on his shoulder as he pushed the bull backward. 
 Cp. 22. 48. 
 
 1. 153. Between this and the preceding line there is probably another 
 gap, in which were related the parting of Hercules from Augeas and the 
 object for which he and Phyleus proceeded towards the city. 
 
 1. 155. 'Where they first set foot on the public road.' They had 
 been hitherto walking singly along the narrow path which is described 
 in the three following lines, so that they could not converse comfortably. 
 The answer to 061 is TJJ p.v apa in 1. 159. 
 
 1. 158. x^pa 6otpcrr|. So Meineke for x^ a '/ ) 9 toOcro. -xKwpa is used 
 adverbially, ' skirting with a row of green.' Similarly Her. Scut. 146 
 oS6vruv \fvKoL OtovTcw, ' a. row of white teeth.' 
 
 1. 163. wcrtt irep. It is very difficult to make sense of these words ; 
 for if they are taken with pdXXo(Acu, another verb is wanting ; and they 
 will scarcely bear any adverbial sense expressive of uncertainty. Might 
 not the real reading be us tlirtv or us f[5ov or us (iK6s ? The word &pn 
 is evidently in contrast to irdXai iri-yxv ; so the sense would be, ' Some 
 time ago I heard a tale, and am only just now calling it to mind,' [how 
 the stranger told it] or [since I saw you] or [as is natural]. 
 
 a<f>Ttpij<n.v is here a possessive of the first person singular. See on 
 22. 67. 
 
 1. 164. us p-to-os OKHTJS, 'in the middle of his prime.' Cp. for the 
 genitive Plat. Epin. 987 D utaos xtip&vuv T( /cal rrjs Oepivfjs <f>vfff<as. 
 
 1. 169. Aios Ntfxtoio. Cp. Find. Nem. 2. 4 
 
 Ne^eai'ou ev no^vvfj.vrjry Aioy a\<r(i. 
 
 The lair of this lion was still shown in Pausanias' time (A.D. 175) in 
 the mountains about two miles from Nemea. See Paus. 2. 15, 2. 
 
 1. 171. avr69v, 'straight' or 'immediately' from Argos. Cp. Thuc. 
 5. 83 fK rov'Apytos avroOev : and Herod. 8. 64 aMOw tie 
 also Horn. Od. 13. 56 
 
 agrees with 'A/xycjW rts 1. 167. 
 1. 173. CK IIcpo-TJos. See 24. 72. 
 
 1. 174. IXirojiMu. See on 1. 115. Al-ytaXfyov, ' Argives.' 
 1. 1 80. ov| "EXiic^y. Observe that the preposition is redundant, as 
 the word has the termination -Ow.
 
 2i6 TD YLL XXV. 
 
 4>pd?o(xai, I recognise.' Cp. 2. 69, &c. 
 
 1. 183. 'Am8a, ' the Peloponnese,' called so also in Ap. Rhod. 'Ant'Sa 
 teal irtkayos tHivwiov, ' the Peloponnese and the Cretan Sea.' 
 
 The more usual form is 'Airta ydfd as in Aesch. Ag. 256 and Supp. 
 256 foil., where the name is derived from Apis, son of Apollo (or, 
 according to Pausanias, of Telchin), who introduced the art of 
 medicine. 
 
 1. 185. tpvos, ' stock ' or ' offspring.' Cp. 7. 44, Virg. G. 2. 151, Lucr. 
 3. 741 ' triste leonum seminium.' Aesch. Eum. 636 
 
 olov tpvos ovrts av rticoi Of6s. 
 The word in the text has been needlessly altered into fOvos. 
 
 1. 1 88. ' Entertaining the company with an idle tongue.' Cp. 
 Theognis 1000 (Beigk. Anth. L.) 
 
 iravTo'uav ayafiuiv yaffrpl 
 and Hes. Op. et Di. 327 
 
 1 for the sake of talking, do not tell a gratuitous lie.' 
 
 1. 192. 6(iapTT|o-as, ' coming up alongside of him.' 
 
 1. 194. Kara. <rrAO|A7]v, correctly.' 
 
 1. 199. olov, 'only.' 
 
 1. 200. ipciv nTjvicravTO.. These words occur together at the be- 
 ginning of a line in Homer (II. 5. 177). The anger of the gods was 
 usually assigned to some such cause. Cp. also II. i. 65 
 
 fir' ap' oy tu^cwA.^? emfj.f/Ji((>eTCu fW laT(5/i/3jys. 
 
 ^optoveiS-flo-iv. Others read tyoponrfitaaiv. The word means ' the 
 descendants of Phoroneus,' or rather is supposed to mean that, because 
 most probably the names of Phoroneus and Aegialeus were invented 
 subsequently to account for the patronymic forms of the names of the 
 Argives $op<uvet8ai and A.iyta\fis. 
 
 1. 201. irurijas, 'the lowlanders.' So the metaphor of the river is 
 well preserved. 
 
 1. 202. Be|xpivaCovs. The village Bembina is mentioned by Strabo, 
 8. 6, among the places in this district, tvravOa 8e KOI j) Ne/it'a fjitrafv 
 K\(cuvaiv Kal &\IOVVTOS, KO.I TO d\ffos (v w rd Ne/*ea awre\fiv tdos 
 ro?s 'Apydois, ual rci -nepl rbv 'Hfftfcuov \kovra fj.v6fv6/J.fva ical T) B/<- 
 
 PlVO. KtilflTf. 
 
 1. 206. v>Ypov, 'flexible.' See on i. 55. 
 
 1. 208. Kortvoio. Cp. Ap. Rhod. 2. 34 KaXavpoira. rt rprixetav Ka@- 
 /3aX rfjv tpopetericfv 6pftTpt(pfos KOT'IVOIO ; and Ov. Met. 2. 681 ' baculus 
 silvestris olivae.' 
 
 1. 209. tp.p.T]Tpov, derived from pyrpA, ' pith : ' ' with the pith still in 
 it/ i. e. freshly cut from the growing tree.
 
 NOTES. 217 
 
 fa0'o>. Cp. Hes. Theog. 2 
 
 'E\IKWI>OS opos /'} re a0(6v rt. 
 
 The open vowel before a quadrisyllable ending a line is common in 
 Theocritus. Cp. 10. 28 ; 15. 102 and 123; 16. 31 and 41, &c. 
 Imitated by Virgil, E. 2. 24. 
 
 1. 212. The action of stringing the bow is described in this line. 
 The KopuvT] appears to have been a kind of hook near each extremity 
 of the bow, which held the string, when taut, from flying off. In 
 stringing the bow, then, the string would be brought up to these hooks 
 at both ends. Hence the use of circAao-tra. 
 
 1. 220. x^pov Scos, 'a. pale fear,' because it makes the face pale. 
 Cp. Horn. Od. ii. 633 
 
 fp% 8e x^-Mp^" 5os ypft' 
 
 1. 224. Kpeuov. For the genitive, cp. 1. 105. With this description 
 of the lion, cp. Horn. Od. 22. 402 
 
 OIJMTI KOI \v6py ireirAa-y/wVoj/ ware Xeoira 
 os pa re Pefipajicus /3oos fpx*Tai d.fpav\oio. 
 1. 226. irspi.Xixp.aTO. Cp. 24. 20. 
 1. 228. 8e8-y|xvos, 'on the look-out for him.' So Horn. II. 9. 191 
 
 Sfffjid/os AlaiciSrjv &ir6rf \rjftitv afiSoiv. 
 
 1. 230. o\icr6v indicates the noiseless skimming flight of the arrow. 
 Paley understands it as ' glanced aside, not penetrating the flesh,' which 
 seems a very awkward construction. 
 
 1. 232. Sa<t>oiv6v, 'tawny,' not 'blood-stained.' Cp. Horn. II. to. 23 
 
 5a<poivbv 5t/>fj.a \fovros, 
 and Id. 2. 38 
 
 Spa/ccav tirl vwra Sa(j>oiv6s. 
 
 1. 234. Aap.vpovs. The same meaning as avatMas 24. 24. Cp. Anth. 
 Pal. 5. 1 80, where 
 
 \a.(j.vpois Sfjiftaffi miepd. *ff\q 
 is said of Eros. 
 
 1. 240. do-u)(j.vos. This answers exactly to our familiar nse of the 
 word 'disgusted.' Cp. Theogn. 657 (Bergk. A. L.) 
 
 and Ale. Scol. 35 (ibid.) 
 
 trpon6tf/0fji(v foLp ovSiv 
 1. 242. irep' is a far better reading than trap', which is commoner, if 
 we can be satisfied about the elision of the t. In support of this are 
 adduced the words irtpiaxf and -ntpoixtrat from Hesiod. Pindar cuts 
 it off in Pyth. 4. 265 
 
 StSoi \f/d<f>ov -atf aiirds.
 
 2i8 IDYLL XXV. 
 
 With the description cp. Catull. 63. 81. (Atys) 
 
 ' Age caede terga cauda, tua verbera patere,' 
 and Horn. II. 20. 170 
 
 ovprj Be ir\evpds re KOI iff\ia dfupoTepcaOev 
 ftaarlerat, & 5' avrbv eiroTpvvei iMxeaaffOat. 
 
 There is something very grand in the idea of a lion lashing itself to 
 fury with the blows of its own tail. 
 1. 243. ovx-fiv Cp. Job 39. 19. 
 
 1. 246. 6l\t)0vros, ' as he gathered himself up ' for a spring. 
 1. 247. Cp. Horn. II. 4. 485, of the poplar, 
 
 TT)V (lev 0' apfMTOirrjf&s avr^p aWuvt aidrfpta 
 tfTaft 8<ppa ITW aa/Mfci irepiKa\\ei S'uppy 
 and ibid. 21. 37 
 
 & 5* Ipiveov 6 xfaxy 
 
 Tafjve, Vfovs opirrjicas, tv' apuaros avTiryes (lev. 
 1. 252. dOpoos. Cp. 13. 51, Ap. Rhod. i. 1428 
 
 6 5' dOpoos avOi ireauv fvepdaaro 70177. 
 1. 254. Cp. Horn. Od. 13. 224 
 
 and Ap. Rhod. 2. 32 
 
 1. 255. Kopcrr]s, ' my head.' 
 
 1. 260. Cp. 22. 98. 
 
 1. 262. Cp. 22. 129. 
 
 1. 263. viirorpoirov. Cp. Ap. Rhod. I. 838 
 
 tlfu 5" {/Tt6Tpoiros avdts dvcL trro\iv, ^ 
 and ibid. 4. 439 
 
 vir6rpoiros avdts oiriffffu 
 Pair) es Alrjrao S6fj.ovs. 
 
 1. 266. <niv x Lpas cpciaas, ' tightening the grasp of my hands ; ' cp. 
 Id. 22. 68. 
 
 1. 268. 'And I stood upon his hind feet and firmly pressed them to 
 the ground with my heels.' 
 
 1. 269. The usual reading in this line is ir\(vpoiai re fiijp' e<pv\aaaov : 
 but the explanation is unintelligible. Lang translates, ' while I used 
 his sides to guard my thighs.' How was this done ? The text is Briggs' 
 emendation, adopted by Meineke, and makes very good sense : ' Her- 
 cules, with his feet on the lion's hind paws, strides across its loins and 
 holds them firmly between his thighs.' A similar position is described 
 by Philostratus (Sen. Im. I. 6) 6 n\v rjprjKe rbv avriiraXov, ireptirrds 
 avry KO.T& TUV V&TOOV, teat es 7n/fy/ta dTro\afiftdvei, Kal KaraSci rois 
 
 CTK\t<n.
 
 NOTES. 219 
 
 1. 270. Ppaxiovas, ' the lion's fore-legs.' 
 
 1. 271. irtXupiov. There is a doubt between this and irf\wptos as 
 epithet of (^STJS : but there is, I think, only one instance quoted of the 
 word so applied. The shades of beasts were supposed to be found in 
 Hades. See Virg. Aen. 6. 285. In Horn. Od. II. 573 Orion is repre- 
 sented hunting over again the beasts he has slain. 
 
 1. 275. v\t|. This can scarcely be right. There are several proposed 
 emendations, of which Wordsworth's ovSl p^v a\\y, ' nor in any other 
 way,' is the best, but not satisfactory. 
 
 1. 277. OWTOIS, i.e. ' with its own claws.' 
 
 IDYLL XXVI. 
 
 4 
 
 THIS relates the murder of Pentheus, king of Thebes, by his mother 
 Agave, and her sisters Ino and Autonoe ; who had caught him watch- 
 ing their celebration of the orgies of Bacchus. The story is related 
 by many other poets, among whom the best known are Euripides 
 (whose account in the ' Bacchae ' Theocritus seems to have read), 
 and Ovid. Met. 3. 701 foil. 
 
 The poem is an inferior composition, and contains a pun in 1. 26, 
 previously, however, made by Euripides, Bacch. 367. 
 
 1. i. These three were daughters of Cadmus. 
 (xaXoudpavos, ' rosy-cheeked.' 
 
 1. 2. 3pos. According to Eur. Bacch. 1045, and Ov. Met. 3. 702, 
 this was Mount Cithaeron ; according to others, Parnassus. 
 rptls. See Eur. Bacch. 680 
 
 6pu> 5t Otaaovs rptts -ywaiKficav xP* l ''> 
 Siv ijpx tv&s plv AvTov6i), TOV Stvrtpov 
 injTrip 'Ayavrj trq, rpirov S' 'Iva) "xopov. 
 
 1. 4. TOV virip Y&S. To distinguish it from that which covered the 
 da<p6St\ov \tipSjva in Hades (?). Or perhaps a species which grows 
 close upon the surface of the ground. 
 1. 5. Ka0ap$. Cp. Ov. Met. 3. 709 
 
 ' Purus ab arboribus spectabilis undique campus,' 
 and Virg. Aen. 12. 770 
 
 Puro ut possint concurrere campo.'
 
 320 ID YLL XXVI. 
 
 1. 7. TT<mavet)|AaTa. Wordsworth's emendation for irfirovaptva. These 
 were a kind of cake ; cp. Aristoph. Thesm. 283 
 
 S> paTra, rr]V KIOTTJV Ka&e\e KO.T' ee\t 
 TTO-iravov oircas \afiovaa Ovffu raiv GtaiV 
 and Ov. Fast. 3. 733 
 
 'Liba Deo fiunt, sucis quia dulcibus ille 
 
 gaudet, et a Baccho mella reperta ferunt.' 
 1. 8. veoBpt-nrwv, ' covered with newly-plucked boughs.' 
 1. 10. ir&rpas. According to Euripides, a mysterious stranger, who 
 was really Bacchus in disguise, bent one of the upper branches of a 
 pine-tree down to the ground, fixed Pentheus upon it, and then let it go 
 back to its original position ; he then disappeared, while at the same 
 time a voice was heard urging his votaries to the slaughter of his foe ; 
 after many attempts they finally with united strength tear up the tree by 
 the roots. 
 
 1. 12. In Ovid his mother sees him first. 
 1. 14. Cp. Catnll. 64. 260 
 
 ' Orgia quae frustra cupiunt audire profani.' 
 Autonoe upset the preparations to prevent Pentheus seeing them. 
 
 I. 17. tyvvav tpvo-ao-at. A good emendation by Briggs of the original 
 lyvv' dvfipvaaacu. 
 
 II. 1 8, 19. Two excessively silly lines : one cannot but hope Theocritus 
 did not write them. 
 
 1. 20. Cp. Hor. Sat. 2. 3, 303 ; Eur. Bacch. 1114 
 
 irporrri Se fxfiTrjp ?jp(v lepia <povov. 
 1. 21. Cp. Eur. Med. 191 
 
 TOitdSos \faivT)s SepyfM. 
 
 I. 22. 'IvcJ>. In Eur. Bacch. 1121 Agave tears off one arm and Ino 
 the other. Ovid, Met. 3. 721, thus describes it, 
 
 'Ilia (i.e. Autonoe) quid Actaeon, nescit; dextramque precanti 
 
 abstulit : Inoo lacerata est altera raptu.' 
 
 1. 26. it(v9i\]La. . . . IIev0TJa. Calverley translates, ' not a king, but 
 aching.' Lang, 'not Pentheus, but repentance.' May I be forgiven 
 for adding ' their sufferin ', not sovereign, lord ' ? Cp. Eur. Bacch. 367 
 
 JTtvOeiJS 8" oirais pi) irevOos flffotffei So/iots. 
 
 There are several instances of these serious puns in the Greek Trage- 
 dians : they are not wantonly made, but indicate a certain superstition 
 about names. There is a well-known instance in Soph. Aj. 430 
 alat* rls av iroff 1 cptO' 5>S' \Ttfavv\i,ov 
 TOVH&V {vvoiffeiv SvofM (Atas) roTs (fnoTs KO.KOIS ; 
 So of Helen, Aeschylus says that she is justly named, for she is 
 l\Vavs, \av5pos, lAenroAis. Ag. 670.
 
 MOTES. 
 
 Sophocles puns on Polynices (Antig. no) 
 IToXweiKous ap6tls veiKt'cov 
 So does Eurip. Phoen. 645 
 
 a\t]OS>s 5" ovofja. Uo\wfiici)v irarijp 
 tdfru aot Oe'ia -npovo'ia vciKtcov 
 Aeschylus, too, on the names of Apollo : 
 
 ayuiar' 'A-iroXXcov l/5s, 
 
 d-moXecras yaip ov /$Xs rii Sevrfpov Ag. 1081 ; 
 and again, ibid. 1087 
 
 a^tuar' 'Aw6\\eov l/ufc, 
 5 iroi TTOT' TJYotY* 8 P* '< 
 
 Nor has the name Odysseus escaped, e.g. Soph. Frag. 877 
 6pOa>s 5' 'O8vi<r<revps */*' e-nwvvfws icaitois, 
 no\\ol f&p <oSu<ravTO Svfffj.tvfis ipoi' 
 and Horn. Od. i. 60 
 
 ov v6 T* 'Otivfffftvs 
 
 'Apytioav irapd. vrjvffl x a P^C fro ^*P<* pc&v 
 fpoiy kv tvpeiri ; ri vv ol r6ffov toSvcrao, Zfv ; 
 
 11. 27 foil. The next three lines have given a great deal of trouble. 
 The sense of the first two seems pretty plain, although the reading 
 of the first has been much varied : ' I should not think anything, and 
 let no one else think anything, of a man at enmity with Dionysus, not 
 even if he have suffered a worse fate than this.' But the third line is 
 certainly quite unintelligible, with the context. It is so perfect, and 
 intelligible by itself, that any labour bestowed on attempts at emendation 
 or rather alteration of it, cannot but be thrown away. 
 
 1. 29. ' And be nine years old, or entering upon his tenth.' The word 
 ?TOVS is understood with ScKdrw from twaTrj. Cp. 15. 139. 
 1. 30. Cp. Callim. Hym. Del. 
 
 tvaytcuv 81 Kal fvaytfffffi fi(\ot/ju. 
 
 1.31. aleros , ' omen ' or ' rule of life ; ' i.e. the wish expressed in the 
 following line. Cp. Horn. II. 12. 243 
 
 fls olaiv&s aptffTos, afivvtaOat it (pi irArprjs. 
 
 1. 34. imyowtBa. Bacchus, according to Mythology, was sewn up 
 in Jupiter's thigh, to conceal him from the wrath of Juno. Cp. Eur. 
 Bacch. 286 
 
 ws tvtppd<t>r] Aid; ftiJpV- 
 , then, will mean ' put out of harm's way.'
 
 ID YL L XXVIII. 
 
 IDYLL XXVIII. 
 
 THIS charming and elegant poem is addressed to an ivory distaff 
 which Theocritus is about to take as a present to Theagenis, the 
 wife of his friend the poet-physician Nicias, to whom Idylls XI and 
 XIII are addressed. Nicias is now settled as a physician at Miletus ; 
 and 1.17 shews that this poem was written in Sicily that is, before 
 Theocritus migrated to Alexandria. The poet takes the opportunity of 
 extolling the domestic virtues of the good housewife for whom his present 
 is intended. 
 
 The metre is choriambic, the same as the line of Alcaeus, 
 
 firjStv | oXAo <pvT(v | arts irp6repov \ SevSpiov dfi \ ireXco, 
 from which Horace took the metre of his Od. i. 18 
 
 'Nullam, | Vare, sacra | vite prius | severis ar | borem.' 
 The dialect is Aeolic, as being particularly well adapted for the lyrical 
 metre employed. See Appendix, p. 242. 
 
 1. i . <|>iXepi.0', ' friend of the worker in wool.' The word epiOos has 
 not really any connection with eptov, woo!, though it is often used as 
 if it had, e. g. here and 15. 80. Paley says that its derivation is from 
 the root tip, which we see in the word ' ser-vus.' 
 
 1. 2. v6os, ic.r.\., ' who have a mind apt for housewifery.' This 
 reading is Briggs' emendation of the old TTOVOS oiicca<pf\ffffffiv crbs fird- 
 /3oXos. 
 
 1. 3. Odpo-ewr'. The Aeolic form of the present participle, as if from 
 Oaparjiu. So itardaai Sapp. 54 (Bergk. Anth. L.). 
 
 v|iApT], for opapTti ; like v/totoy for 6/j.oTos, Aeolic forms. 
 
 NciAccd troXiv, Miletus, founded by Neleus. Cp. Callim. Hym. Di. 
 225 
 
 Tw eiriSrjfjLe' ff^ fop troi^aaro NTfXetJs 
 f)yefj.6i'r]i' art VTjvfflv dvriytTO KacpoirirjOev. 
 
 1. 4. virairciXw. This is the MS. reading. But no one attempts to 
 explain it. A temple of Venus called ij Iv /caXd/nojs at Samos is men- 
 tioned by Athenaeus, 12. 572. Hermann reads vir' d/xjraXo) for afjupia\ov. 
 Possibly the name of a hill is concealed in the word, and Strabo (14. p.
 
 NO TE S. 
 
 223 
 
 637) speaks of a promontory of Samos called "A/iweXos, and says that the 
 whole of the hilly district of the island was called by that name ; which 
 may have extended to the neighbouring coast. It may be a solution of 
 the difficulty to read vir' 'Afiire\q>. 
 
 1. 6. KavTi4>iA.^|o-0(jiat : passive : ' and may receive tokens of his 
 affection in return.' 
 
 1. 7. Xaptruv <J>UTOV. Cp. n. 6. Nicias was a poet also. See, too, 
 7. 44 for the word <j>vr6v. 
 
 1. 9. NuaAas. See on 15. no. 
 
 1. 10. iTwXois. The Aeolic form of the accusative case plural. So 
 are WOKOJS I. 12 : S6/j.ois 1. 16 : voffots 1. 20. 
 
 1. ii. vBd-riva is interpreted either of colour, ' sea-blue ' or ' sea- 
 green,' (like 'thalassina vestis' in Lucr. 4. 1127) ; or of texture, 'fine,' 
 ' transparent,' like the ' Coae vestes.' It is more probable here that 
 the texture should be the subject of praise than the colour. 
 
 PP&KT] were long robes, reaching to the ground ; as may be gathered 
 from Sapp. 70 (Bergk. A. L.) 
 
 OVK k-aiarafieva rd 0/xztfe' t\K(iv firl TUIV ff<f>vpwi'. 
 The /3 before p at the beginning of a word is characteristic of the 
 Aeolic dialect. So ftp65ov for fioSov. 
 
 1. 1 2. Paley suggests that the mention of ' the spring shearing-time? 
 by Aristoph. Av. 714, shows that there is nothing extraordinary in 
 sheep being shorn twice a year, because it was the regular thing ; and 
 therefore that rpis would be preferable to 5ty. 
 
 1. 13. iraiVT' conditional without av, 'would get themselves shorn.' 
 tweic', ' if it depended on Theagenis,' i. e. if the general demand were 
 as large as hers. Cp. for this use of tveita, this inscription on Myron's 
 cow, in Anth. Pal. 9. 729 
 
 (ivfKa ycip T&x vr is ffffo, tUvpwv, &poa<u. 
 
 I. 15. tpoXXopiav. Aeolic for f0ov\6ftt]v. 
 
 1. 1 6. co-o-ov, for oZaav. So also in Sappho. 
 
 1. 17. irarpis; Syracuse, founded by Archias of Corinth, 375 B.C. 
 Cp. 15. ai. 
 
 1. 24. TUITOS I8<ov. So Ahrens has corrected the old readings, kpdrta 
 TroTiScuv, and ipcT T$ iroriSdiv, &c. 
 
 1. 25. rtjiaTo. Restored from the MSS. by Ahrens and Meineke, 
 in place of the usual
 
 224 BERENICE. 
 
 BERENICE. 
 
 A FRAGMENT. 
 
 THIS fragment, the only one authoritatively ascribed to Theocritus, 
 is preserved by Athenaeus, 7. p. 284 a ; where it is thus introduced : 
 &(6icpiTOs Se 6 ^vpaKoffios \v rrj (mypcKpoiJ.fvri Titpeviitri rov \evxov ovo- 
 Ha6fi.(vov IxBvv Upbv tca\fT, Sid. TOVTOIV, 
 
 ' HOI Tty O.VTJP, K.T.X.' 
 
 It is part of a poem in praise of Berenice, about whom see 15. 106, 
 and 17. 34 foil. 
 
 1. I. KOI TIS. The apodosis is in line 5. 
 
 1. 2. Cp. Mosch. 5. 9 
 
 T) KO.K&V 6 ypiirfvs oie< fiiov y 56fj,os a vavs 
 
 Kal -novos fffrl O6.\aaaa, Kal l~)(6vts a ir\avos aypa. 
 
 1. 3. aKpovvxos, 'at the commencement of night.' Hence the astro- 
 nomical term ' acronychal ' for the rising or setting of stars at sunset. 
 
 TO/UT^I 9(<p, i. e. Berenice. 
 
 1. 4. <j>ipa>Ta.TOs. Cp. ii. 21. 'The most brilliant.' That is why 
 he is called \tvicos. 
 
 1. 5. KOI, ' then,' i. e. if he so prays for good luck from Berenice, and 
 offers her this wonderful fish. 
 
 EPIGRAMS. 
 
 I. On a votive offering to Apollo and the Muses. 
 Ascribed to Theocritus, Anth. Pal. 6. 336. 
 
 1. 2. IpirvXXos, Lat. ' serpyllum.' See Virg. E. 2. n, G. 4. 31. 
 
 KCITCU, ' are offered : ' KeTficu is used as the passive of rlOrjjM in every 
 sense of that word. 
 
 1. 3. p,cXap.(|>vXXoi. So also /i^Xay Kia<r6s 11. 46, of the sombre dark 
 green of the ivy. 
 
 1. 4. ' Since the Delphian rock produced this in your honour.' Cp. 
 Eur. And. 999 
 
 Af\<j>lS tlfffTCU TTfTpO.
 
 NOTES. 225 
 
 1. 6. Tp|Aiv0ov. The terebinth or turpentine- tree (Pistachio, tere- 
 binthus) is often mentioned in the Bible, under the names of oak or 
 terebinth ; e. g. Gen. 35. 4. It is not an evergreen ; has small lancet- 
 shaped leaves, and after flowering bears oval berries in clusters. A very 
 pure turpentine exudes from incisions in the bark. 
 
 II. On some offerings to Pan. 
 Called dSeairorov in Anth. Pal. 6. 177. 
 
 1. 2. dvOero. The aorist is used, as if the inscription were speaking 
 to the reader, ' Daphnis offered,' &c. 
 
 1. 3. The articles which he offers are in token of his renunciation 
 of music, shepherding, hunting, and courting, respectively. 
 
 1. 4. tp.aXocj>6pet, 'he used to carry apples.' See on 2. 120; 3. 10; 
 
 II. 10. 
 
 III. Inscription on a statue representing a shepherd 
 sleeping in a cave. 
 
 Ascribed to Theocritus, Anth. Pal. 9. 338. 
 
 1. i. KeKpaicos. Cp. I. 17. 
 1. 3. KpoKOEvra. See i. 31. 
 
 1. 6. KOTapx6p.vov, ' which is beginning [to seize you].' This makes 
 better sense than any of the other readings, such as tcaraypofitvov 
 v Karayofjifvov Karavopfvov, Sec. 
 
 IV. Description of the position of a statue of Priapus in a 
 lovely spot. 
 
 Ascribed to Theocritus, Anth. Pal. 9. 437. 
 
 1. i. Xdtipav, 'avenue' or 'alley.' Pindar (Pyth. 8. 86) describes the 
 return of beaten wrestlers homeward, ward A.av/>as, ' sneaking along the 
 by-ways.' 
 
 1. 2. OTJKIVOV. Cp. Hor. Sat. i. 8, i. 
 
 6avov, ' a rude shapeless image,' such as were carved by the 
 shepherds. Cp. Anth. Pal. 9. 326 
 
 Ifv/Mt>tojv irotftfviKcL fuava. 
 
 1. ii. ov0a. See on 7. 142. 
 
 1. 14. dirovTcplat. Cp. 14. 50. 
 
 t Q
 
 226 EPIGRAMS IV-VIII. 
 
 1. 15. mppeeiv (Promise) ' that I will sacrifice." He' wishes either 
 not to love or that his love may be requited: in the former case 
 the fulfilment of his wish will be worth a young he-goat ; in the latter, 
 a heifer, a full-grown he-goat, and a lamb. 
 
 Xijmpov. Not elsewhere masculine in Theocritus. Whether mascu- 
 line or feminine, probably a young goat is always meant by the word. 
 
 1. 17. Cp. 7. 15. 
 
 1. 18. o-aKirov. Cp. I. lo. 
 
 V. An invitation to join in a pastoral Trio. 
 Ascribed to Theocritus, Anth. Pal. 9. 433. 
 
 1. i. Xfjs. Cp. i. 12. 
 
 SiSufiois, 'double flute,' called in Latin 'tibiae pares,' or 'tibiae 
 dextra et sinistra,' and also in Greek ' the male and female pipes,' from 
 their different pitch. See Herod. 1.17, where the same instruments are 
 mentioned in harmony : larpartvtTo Se (Alyattes the Lydian) turo trvpiY- 
 ywv rt Kal TnrjKTiScov teal auXou fwamrftov re xai avfiprftov. 
 
 1. 2. iraxTiS', a rude kind of stringed instrument. See Herod. 
 quoted on line i. Cp. for the harmony of lyre and flutes, Hor. Od. 3. 
 19, 20; 4. 15, 30, Ep. 9. 5. 
 
 1. 3. 0eXci. So 'mulcere' in Latin, Hor. Od. 3. II, 24. 
 
 1. 4. KT]po8Tco. Cp. 8. 19. The epithet is applied to the music, not 
 to the instrument. 
 
 1. 5. Xacrias Spvos. The original reading in Anth. Pal. is \aaiav- 
 
 . 
 
 1. 6. This was contrary to their superstition. See on i. 15 foil. It 
 is possible that this superstition was peculiar to goatherds, who were 
 under Pan's special protection, and had no influence on shepherds and 
 cowherds (?). 
 
 VI. To Thyrsis, on the loss of a young she-goat. 
 Ascribed to Theocritus, Anth. Pal. 9. 432. 
 
 1- 3- X^ a Ps. See on Epig. 4. 15. 
 TO icaXov reKos, ' your pretty pet.' 
 s $8av. Cp. Catullus 3.11 foil, of Lesbia's sparrow, 
 ' Qni nunc it per iter tenebricosum 
 
 illuc unde negant redire quenquam ; 
 
 at vobis male sit, malae tenebrae 
 
 Orci quae omnia bella devoratis ! '
 
 NOTES. 227 
 
 1. 5. K\a,yytvvn, ' howl.' 
 
 1. 6. OO-TIOV otiSJ Tc<j>pa. See Jebb on Soph. Aj. 244, showing that 
 Saif^cav KovSets avSpcav is not a parallel expression to this, but that in 
 such ellipses the words are connected by ovre or ovS(, and not by Kal ov. 
 He quotes Find. Pyth. 3. 54 epyois ovre 0ov\ats, and Lucian. As. c. 22 
 Xpvffiov ov8l dpyvptov ovSe a\\o ovSiv. 
 
 Bone and ash, i.e. the remains of bodies after burning, as preserved in 
 the funeral urn. There can be no such treasured memorial of the poor 
 devoured kid. 
 
 VII. On a statue of Aesculapius, the god of healing, made by 
 
 Eetion for Nicias, Theocritus' physician-friend. 
 
 Ascribed to Theocritus, Anth. Pal. 6. 337. 
 
 1. i MCXijTov. Cp. 28. 3. Nicias' abode. 
 
 1. 2. <rvvoio-6[i,vos. Cp. n. 5 and Soph. Phil. 1085 
 d\\d /iot Kal OvrjaKovri. ffvvoiaei. 
 
 1. 4. YAvvj/ar', ' ordered to be carved for himself.' Cp. Herod. 4. 88 
 a<f>fcav fltcovas rroirjadftevot, ibid. i. 31 tnoiffro 8J /cat \tovros tMva. 
 
 cvuSovs. Cp. 7. 8 1 and Anth. Pal. 6. 146 tvwSrjs vi)6s. 
 
 1. 5. TEfcrCwvi. Of Amphipolis, about 275 B. c., mentioned also by 
 Callimachus. 
 
 VIII. Epitaph on Orthon of Syracuse, who lost his way when 
 
 tipsy on a stormy night, and perished. 
 
 Ascribed to Leonidas of Tarentum, Anth. Pal. 7. 660, but to Theocritus 
 in Appendix to Anth. Planud. and in all edd. of Theocritus. Com- 
 pare an epigram of Antipater's, Anth. Pal. 7. 398 
 
 (iv /c oi5' fl Aiuvvffov ovu<rffo/j,ai T/ Aiof i'ifj.0pov 
 
 ' bXiffOrjpol 8* fh 7T(55ay d/xporfpot. 
 ycLp Ka.Ti6vTa IIo\vfevov tie vore 
 
 KfTrat 8' A.lo\iSos "Spvpvtjs kK&r &\\& rts ofxpvrjs 
 
 fififuiivui fifOvcav arpa-tbv vtrir)v. 
 
 1. 3. TOIOVTOV, ' such' as what? nothing is mentioned. Ifroiovrov 
 refers to the fate described in line 4, then the conjunction B is useless 
 and unintelligible. Again the word iroXXtjs is a difficulty. Can it mean 
 ' great ' in the sense of ' illustrious ' ? Other readings are dvrl 8 &u\ov 
 &vrl <pi\r)s 8J dvrl 8J vorvas. But unless something is supposed lost 
 
 Q3
 
 328 EPIGRAMS VIII-XIII. 
 
 after tois or after iro-rjiov, explaining what the fate was, it is useless to 
 make any emendation of the line which retains 8t. Some word like 
 iroOtivrjs or TtKovffr)? is wanted. 
 
 1. 4. <j>c<rcrd(i.vos. Cp. Ap. Rhod. I. 691 
 
 oiofja.1 7767; 
 
 yaiav ecpfffffaffOat ..... 
 and Find. Nem. n. 21 *fyv (meacr6fi(i>os. 
 
 IX. Epitaph on Cleonicus, shipwrecked on a voyage from 
 Coele-Syria to Thasos. 
 
 Ascribed to Automedon, Anth. Pal. 7. 534, but the first two lines are 
 given in Anth. Planud. under the name of Theocritus. Compare a 
 very similar Epigram of Callim. 10 (48) 
 
 Na(oy OVK eirl yfjs tdavtv Avos, d\\' (vl itovry 
 vavv O.JM na.1 tyvxty tlSev diro\\vfitvr]v, 
 
 efiiropos AlyivrjOfv or' eTrA.ee. Xw n\v ev vypy 
 veKpos' tyui 5' d\\cas ovvofw. Tv^/Sos ex (av 
 o} TravA\r)0fs tiros roSe' (pfvyf Oa\6,ffarj 
 
 1. 5. Swiv. See on 7. 53, Virg. G. I. 221 ; 4. 235. 
 
 X. Dedication of a statue to the Muses. 
 Ascribed to Theocritus, Anth. Pal. 6. 358. 
 
 1- 3- ^X Ttpws, 'no one will deny that.' 
 
 1. 4. He remembers that he owes his fame as a musician to the 
 Muses' inspiration. Cp. Hor. Od. 4. 3, 2 1 foil. 
 
 XI. Epitaph on Eusthenes, a physiognomist. 
 
 Ascribed to Leonidas of Tarentnm, Anth. Pal. 7. 66 1, but to Theocritus 
 by Anth. Plan. 
 
 1. 3. Hermann reads here 01 piv typaif/av fraipov and supposes a distich 
 to have been lost, which would explain who those were who ' wrote him 
 down their comrade, though he was a foreigner.' 
 
 1. 4. \v\Lvo9in\s. Hermann reads x&poOtTqs, ' a caster of nativities.' 
 The word is not elsewhere used, though the verb ipotferecu is common 
 enough. Eusthenes, from his description in 1. i, was more likely to have
 
 NOTES. 229 
 
 professed this art than that of poetry. Perhaps one might read 
 XvnvodfTcus. Lang translates, ' most dear was he to the makers of 
 song.' 
 
 1. 6. ix' apa. ' He has (though yon might not expect it), powerless 
 though he is, some one to attend to all that it is fitting for him to have.' 
 The impf. with apa is used to express a fact just recognised, or not pre- 
 viously understood. See Goodwin, Synt. of Gk. M. & T. 39. Cp. 
 f}v ap' &\7)0es, K.T.\. quoted in Argument to Idyll xi. 
 
 XII. Dedication of a tripod to Bacchus. 
 Ascribed to Theocritus, Anth. Pal. 6. 339. 
 
 1. I. xop^Y ^ nere means 'leader of the chorus,' like Kopvcfxiios. Gene- 
 rally, and especially in Attic writers, the word signifies the citizen who 
 defrayed the expenses of the chorus, who would have had nothing to do 
 with offering to Bacchus the tripod which they had won. According to 
 Pausanias, i. 20, i, there was a street in Athens called Tripod Street, 
 from the tripods there set up in honour of the gods. 
 
 1. 2. irAp <r. This is a rather doubtful alteration of Ahrens for the 
 usual KM at, which would mean that Demomeles offered a statue of 
 Bacchus as well. 
 
 1. 3. irocn.. There is some doubt whether this or iraicri is the better 
 reading, iraai appears in Anth. Pal., and vaiai in the old edd. of 
 Theocritus. According to the text, translate, he ' was temperate (or 
 fair) in all matters.' Calverley translates, ' He was champion of men, if 
 his boyhood had faults ; ' and Lang, ' No great fame he won when he 
 gave a chorus of boys.' 
 
 1. 4. This line is in favour of the reading ircun in line 3. ' He always 
 had regard for what was honourable and right." 
 
 XIII. On a statue of the heavenly Venus. 
 Ascribed to Theocritus, Anth. Pal. 6. 340. 
 
 1. i. ow irdvST)|i,os. This refers to the two surnames of Aphrodite; 
 Pandemus as the goddess of sensual love, called ' Volgivaga ' Lucr. 
 4. 1071, and Urania as the inspirer of chaste affection. See Xen. 
 Symp. 8. 9 d p.1v ow \tia. la-rlv ' A.<J>po8irr) i) Sirred Oupav'ta rt nal Tl&v. 
 8r)nos, OVK oloa.' on ye ptvroi x^pi* ixo-ripq. (icufun rt (iffl ml vaol Kal 
 Ovoiat, TJ; fj.lv HavSrifMp {>q.5tovpy6rfpcu, ry ot Ovpavi<} &yv6rpai, dtoa. 
 Cp. Plat. Symp. 180 D foil.
 
 2 3 o EPIGRA MS XIV-XVIII. 
 
 XIV. This and the following Epigram (ascribed to Leonidas of 
 Tarentum, Anth. Pal. 7. 658 and 659) were probably 
 written, one on one side and the other on the other of 
 the same tomb. 
 
 1. 4. The usual prayer over the graves of the good, ' Sit tibi terra 
 levis.' Cp. the beautiful lines of Meleager, 
 
 d\X(i fff yovvovf^at, yd itavrpotye, rav iravoSvprov 
 
 fjffiw. trots KoKirois fidrtp fvaytedfaaai' Anth. Pal. 7- 4?6 ; 
 and again, ibid. 461 
 
 nap.irtjrop 777 X a O> 6 > a ^> T ^ v '"o.pos ov ffapiiv tis fft 
 
 Alffiyevtjv KO.VTT) vvv irfx<>is dpapris' 
 and satirically, ibid. 226 
 
 (irj ffoi Kara yfjs Kov(pi) KOVIS, olitrp^ lfea,p\f, 
 
 5(f>pa ff( firj'iSicus ((pv<rojffi icvvts. 
 tepfjs, because he was Otioiai fitr' avSpdai Ep. 15. 3. 
 
 XV. See on Epig. XIV. Anth. Pal. 7. 659. 
 
 XVI. On a statue of Anacreon. 
 Ascribed to Theocritus, Anth. Pal. 9. 599. 
 
 The lines are alternately iambic senarii and hendecasyllables, such as 
 we find again in Epig. 20, and frequently in Catullus, e. g. 
 
 'Lugete, o Veneres Cupidinesque.' 
 1. 2. <nrov8qi, ' attentively.' 
 
 1. 4. el n irtpurcrov, 'one of the most excellent.' Cp. Id. 7. 4, and 
 Ap. Rhod. 3. 347 
 
 Tlava^auSos ft TI irtpiaabv 'Hpwoiv. 
 
 XVII. On a statue of Epicharmus. 
 Ascribed to Theocritus, Anth. Pal. 9. 600. 
 
 The metre, according to the text, is a somewhat awkward jumble, 
 in which the distichs correspond to one another alternately ; their first 
 lines being alternately trochaic tetrameter and iambic trimeter. All 
 their second lines are simple Adonii or dactylic dipodiae, preceded by 
 a long, or a short, or two short syllables. But see on 1. 3.
 
 NOTES. 231 
 
 I. 2. vip<Jv 'EirCxapjJtos. Epicharmus gave a new form to the comedy 
 existing in his day at the Sicilian Megara, whither it had been brought 
 from Megara on the Isthmus, introducing plays with a regular plot. 
 He left Megara for Syracuse, when the former city was destroyed by 
 Gelon (484 B. c.), and there, being more than fifty years old, began his 
 career as a comic poet. He is spoken of in high terms by Plato, 
 Theaet. 152 E rwv iroirjTutv ol dicpoi rrjs iroirjfffcas li<a.Ttpas y K<u/j.ai5ias 
 H%v 'EwixapjjLos, Tpa-ywStas Se "0/j.ijpos, and by Cicero, ' Epicharmi acuti 
 nee insulsi hominis sententiam' Tusc. D. i. 8, 15. Cp. Hor. Ep. 
 
 2. I, 5 8. 
 
 1. 3. Hermann, supposing that all the distichs originally were the 
 same metre, alters this line thus, 
 
 Kpdariot 8', Si Bdx > \a-\Ktov viv O.VT d\adivov, 
 and 1. 7 thus, 
 
 There is certainly great abruptness in the commencement of this line 3. 
 In support of Kpacmoi, Hermann, according to Meineke, cites the 
 mention of 'AOyvair] Kpaffrirj in Herod. 5. 46 ; but it is difficult to see 
 who would be meant by Kpdcmoi here, for in the passage of Herodotus 
 it refers to the river Crathis at Sybaris (?). 
 
 I. 5. ireBcopio-rat either means 'holding converse with,' or, more 
 probably, ' sharing in,' from peOopifa. There are many other readings : 
 irt\<apiffTa ne\wptis ra TrtSo'iKiffTai (Wordsw.). The sense of this and 
 the preceding lines is, ' The Coans, who have settled in Syracuse, sharers 
 in the city, offered here to thee, oh Bacchus, his statue in brass in place 
 of flesh and blood.' Epicharmus was a Coan. For aXaOivos, see on 
 Id. 13. 15. 
 
 II. 7, 8. The difficulty of these lines as they stand would be solved 
 by the adoption of Hermann's alteration (see on line 3). Even then it is 
 doubtful whether ^TjjxdTuv is not preferable to xpynarcav, with a view to 
 ' (lite xpi)aiiM. ' in the next line. The fact that there is a doubt between 
 fan&TW and \pr]ftA,7(av seems to point to a loss of xpfi- I would suggest 
 therefore reading 
 
 Stupor y&p ol x/"7> f>T]jjJt.T(av fiefu>afjifvovs. 
 
 XVIII. Epitaph on a nurse named Cleita. 
 Ascribed to Leonidas of Tarentum, Anth. Pal. 7. 663. 
 
 The lines are alternately hendecasyllables and asynartete combinations 
 of four dactyls (or spondees) and three trochees, called Archilochians. 
 These latter are found purer in the following Epigram : here a cretic
 
 aaa EPIGRAMS XVIII-XXV. 
 
 is admitted in place of the fourth dactyl in line a. Cp. the metre of 
 Hor. Od. i. 4 
 
 ' Solvitur | acris hi | ems gra | ta vice I! veris | et Fa | voni. 
 
 I. 3. .ywcl dvrt. An unusually harsh crasis. 
 
 II. 3, 4. dvrl rr|vv wv = dvO' Siv, ' in return for her having nursed the 
 child.' 
 
 XIX. On a statue of Archilochus. 
 Ascribed to Leonidas of Tarentum, Anth. Pal. 7. 664. 
 
 The first and fourth lines are asynartete Archilochian dactylics, as 
 in the preceding Epigram ; the second and fifth are iambic trimeters ; 
 and the fourth and sixth catalectic scazon iambics. 
 
 1. i. Kal O-TO.OI Kal eicrtSe. The object is governed by the latter of two 
 closely connected verbs, as in Id. 25. 72, the former not being transitive. 
 
 1. 3. K-qm VVKTO, Kal ITOT' aw, ' to the western and eastern limits of the 
 world.' 
 
 1. 6. ' Both in iambic and in lyric poetry.' 
 
 XX. On a statue of Pisander, author of the ' 
 
 Ascribed to Leonidas of Tarentum, Anth. Pal. 9. 598. 
 
 The lines are hendecasyllables. 
 1. 4. wsYpfn| ;V - A word generally used of prose writers. 
 
 XXI. Epitaph on Hipponax. 
 Ascribed to Theocritus, Anth. Pal. 13. 3. 
 
 The metre is scazon iambic, so called from the halting (aK&fav) 
 sound produced by the last foot being a spondee. It was invented 
 by Hipponax, and is frequently used by Catullus and Martial. Ac- 
 cording to the Latin usage, the fifth foot should be an iambus. See 
 a translation of this into Latin quoted in the notes of Thackeray's Anthol. 
 Graeca. 
 
 1. 3. Cp. Id. 22. 213 ; 25. 31. Even' in death, Hipponax hates all 
 bad men.
 
 NOTES. 333 
 
 XXII. 
 
 Ascribed to Theocritus, Anth. Pal. 9. 434. But there is a general 
 agreement that this Epigram was not written by Theocritus, but 
 by some grammarian, who prefixed it to an edition of recently- 
 collected poems of Theocritus. Consequently it is suspected to 
 have been the work of Artemidorus, about whom see Preliminary 
 Remarks, p. xviii. 
 
 XXIII. On the safety of Caicus' bank. 
 
 Ascribed to Theocritus, Anth. Pal. 9. 435, or rather to the same author 
 as the preceding. 
 
 1. 2. ' Take up your deposit, when the accounts are balanced.' The 
 phrase cpxeo^ai irpos Xo-yov is properly used of the banker who strikes 
 a balance, but here of the (J'TJ^os or calculation of the account. 
 
 1. 3. ' Let other men give excuses ' for not meeting the just demands 
 of depositors. 
 
 XXIV. Epitaph on Glauca, probably the poetess mentioned 
 Id. 4. 31. 
 
 Ascribed to Theocritus, Anth. Pal. 7. 262. 
 
 XXV. Epitaph on a little girl. 
 
 Ascribed to Leonidas of Tarentum, Anth. Pal. 7. 662, but contained in 
 many MSS. of Theocritus. 
 
 1. 2. iroXXots f|XiKit]S, i. e. ' many [years] before her prime.' 
 1. 5. ITtpicTTspi. She was, as we may suppose, the mother of the 
 children. 
 
 v *TOI'|UO. See on 22. 212.
 
 APPENDIX. 
 
 TRANSLATION OF IDYLL I (64-141). 
 
 LEAD, friendly Muses, the bucolic strain 
 'Tis Thyrsis sings, Thyrsis from Etna's plain. 
 Where were ye, nymphs, while Daplmis' life decayed? 
 On Pindus' height, or in Peneus' glade ? 
 For certes Etna's peak ye came not nigh, 
 Nor all the holy streams of Sicily. 
 (Sweet Muses, lead the pastoral refrain ) 
 His death both wolf and jackal wept amain, 
 And lion from amid his thicket lair: 
 (Lead, friendly Muses, the bucolic air ) 
 Cows at his feet that wont to ruminate, 
 And bulls and heifers lowing mourn his fate. 
 (Lead, friendly Muses, the bucolic lay ) 
 Came Hermes first to soothe him : ' Daphnis, say 
 Whose love hath power to waste thy soul away ? 
 (Kind Muses, lead the pastoral refrain ) 
 Neighbours, to ask the reason of his pain, 
 Came from their charge of sheep, or goats, or beeves 
 Priapus came to banter ' Wherefore grieves 
 Thy wasting soul ? e'en now the maid forlorn 
 By each familiar grove and spring is borne 
 (Lead, friendly Muses, the bucolic strain ) 
 In search of thee, impassible fond swain.' 
 Nought answered he to these, but nursed his woes 
 And bitter whims of love, till bitter life should close. 
 (Lead, kindly Muses, the bucolic air ) 
 There too came Venus, smiling, debonnaire, 
 Yet with feigned anger masking all her smile ; 
 Who said, 'What, Daphnis, thou didst boast erewhile
 
 236 APPENDIX. 
 
 O'er wrestling Love to gain the mastery ; 
 Say rather hath he not outwrestled thee?' 
 (Lead, friendly Muses, the bucolic lay ) 
 'Oh, Goddess stern,' thus did he answering say, 
 'Revengeful Goddess, hateful to mankind, 
 Think'st thou my Fortune's sun has all declined ? 
 Nay in the grave Love's torment I'll remain. 
 (Kind Muses, lead the pastoral refrain ) 
 Haste rather thou to meet thy herdsman's arms 
 In Ida's valley : there display thy charms : 
 Here is but lowly sedge, there oak-groves fair. 
 (Lead, kindly Muses, yet the pastoral air ) 
 Go, seek Adonis where he tends his ewes, 
 Or wounds the hares, or harmful beasts pursues ; 
 (Tune, friendly Muses, yet the pastoral lay ) 
 Or once again in arms bid Diomede stay, 
 Boasting of Daphnis worsted in this fray. 
 (Lead, kindly Muses, yet the pastoral song) 
 Farewell, ye bears, the caverned hills among ; 
 Jackals and wolves, farewell ! no more in grove, 
 In tangled brake or thicket shall I rove, 
 As heretofore : farewell, sweet Arethuse, 
 And crystal brooks that Thymbris' rocks diffuse ! 
 Ye know me well : Daphnis it is who sings, 
 Who led his kine to water at your springs. 
 (Chant, friendly Muses, still the pastoral lay ) 
 Pan, whether o'er Lycaeus thou dost stray 
 Or mighty Maenalus, leave the lofty tomb 
 Which aye records Lycaon's offspring's doom, 
 Whereat immortals wondering gaze and smile ; 
 And hither wend to our Sicilian isle. 
 (Sweet Muses, bid the pastoral echoes die ) 
 Haste, master, nor thy mellow reeds lay by, 
 Well-knit with wax and to thy mouthing curled ; 
 For me Love draweth to the underworld. 
 (Sweet Muses, now the pastoral music check ) 
 Let violets now each rugged bramble deck :
 
 APPENDIX. 237 
 
 Jonquils the dismal juniper adorn : 
 
 Let all be changed be pears by fir-trees borne, 
 
 Since Daphnis dies ; and hounds by hinds be torn ; 
 
 And screech-owls learn with nightingales to vie.' 
 
 (Sweet Muses let your pastoral cadence die ) 
 
 So ceased the swain : him Venus fain would raise, 
 
 But Fate had spun the limit of his days : 
 
 Thus sank beneath the eddying stream of Night, 
 
 The Muses' fellow and the Nymphs' delight. 
 
 IDYLL VII (52-89). 
 
 A PROSPEROUS voyage shalt thou make, 
 
 Ageanax, to Lesbos' shore, 
 
 E'en though the southern tempest's roar 
 At the Kids' westward sloping shake 
 
 The billows, or on Ocean's swell 
 
 Orion rest his sinking heel ; 
 
 If thou 'It requite the fervent zeal 
 Of Lycidas who loves thee well. 
 
 On seas becalmed shall halcyons ride, 
 
 And drive the South and East winds back, 
 Whose tumults stir the farthest wrack 
 
 That marks the limit of the tide ; 
 
 Halcyons, of all the birds that o'er 
 The Ocean seek their daily food, 
 To the blue Nymphs the dearest brood: 
 
 So on his way to Lesbos' shore 
 
 Good omens to his haven's rest 
 
 Ageanax may safely lead ; 
 
 And I who keep for that day's need 
 A crown upon my temples pressed 
 
 Of rose, or dill, or iris white, 
 
 Will drain the bowl of treasured wine 
 
 As by the ingle I recline, 
 While beans roast in the embers bright:
 
 238 APPENDIX. 
 
 My couch of leaves a cubit deep 
 
 With flea-bane and with asphodel 
 And parsley shall be heaped well ; 
 
 And as I name my friend I'll steep 
 
 My lips in wine and drain the lees ; 
 
 Two swains to pipe to me shall from 
 Acharnae and Lycope come, 
 
 And Tityrus chant his melodies, 
 
 Telling what love-pangs Daphnis felt 
 O'er Etna roaming, while below 
 The oaks on Himera's bank that grow 
 
 Sighed for him ; but as snowdrifts melt 
 
 On Thracian hills or Athos' crest 
 
 Or distant Caucasus, he pined : 
 Again, the song shall call to mind 
 
 How once within a mighty chest, 
 
 By the mad folly of his lord, 
 
 The goatherd was confined alive ; 
 And how, returning from the hive, 
 
 The bees with meadow-sweetness stored 
 
 Into his cedar prison came, 
 
 With such a nectar his sweet tongue 
 Was gifted by the pow'rs of song 
 
 Oh blest Comatas, thine's the fame 
 
 Of this rare tale ; 'twas thou didst thrive 
 In such a prison honey-fed 
 Until the summer's prime was fled : 
 
 Would thou wert in this age alive ! 
 
 So might I tend thy goats hard by 
 
 Hearing thy voice on yonder brow, 
 While under oak or pine-tree's bough 
 
 Divinely singing thou would'st lie !
 
 APPENDIX. 
 
 2 39 
 
 11. 130-157. 
 
 So he departing took his separate way 
 
 Tow'rd Pyxa, leftward; Eucritus and I 
 
 Turned with Amyntas tow'rd our host's abode ; 
 
 And there on heaps of fragrant rush and leaves 
 
 Of fresh-pruned vine deliciously reclined. 
 
 Over our heads the limes and poplars waved 
 
 Luxuriant, and the sacred stream hard by 
 
 From the Nymph's grotto babbling downward flowed 
 
 The swart cigalas in the shady boughs 
 
 Plied ceaseless chirping, and afar was heard 
 
 In the thorn-covert the wood-pigeon's note : 
 
 Sang larks and finches-, cooed the turtle-dove, 
 
 And swarming bees around the fountain hummed. 
 
 A sense of Summer's richness filled the air 
 
 Mingling with Autumn's fragrance ; at our feet 
 
 The pears, and by our sides the apples rolled 
 
 In wondrous plenty, while with damson plums 
 
 The spreading boughs o'erladen earthward drooped: 
 
 And jars, four years in resin, were unsealed. 
 
 Ye nymphs that haunt Castalia's rill, and heights 
 Of old Parnassus, such a draught as this 
 Did Chiron in the Centaur's rocky cave 
 Set on for Hercules ; aye, Polypheme, 
 The giant shepherd of Anapus, he 
 Who hurled whole mountains at the flying ships, 
 Capered among his sheep-folds to the tune 
 Of such a nectar, as your holy well 
 On that day tempered, where to Ceres stands 
 A granary-altar; may I oft again 
 Set up my shovel in her golden heap, 
 While she with radiant bounty beaming holds 
 Poppies and sheaves of corn in either hand.
 
 2 4 o APPENDIX. 
 
 IDYLL X (26-58). 
 
 Battus [sings] 
 
 'ENVIOUS tongues of men, Bombyca fair, 
 Call thee sunburnt, gipsy, skeleton spare ; 
 But thou art to me a sweet brunette. 
 Dark forsooth's the hue of violet, 
 Dark the figured lily ; yet our eyes 
 Chiefest for rare posies them do prize. 
 Goats run after cytisus, cranes the plough, 
 Wolves for lambs are greedy, I for thee : 
 Oh if Croesus' riches mine could be, 
 Golden statues of us both I'd vow 
 OfFrings unto Venus ; flutes in hand 
 With a rose or apple thou should'st stand, 
 I in dancing guise with sandals new. 
 Fair Bombyca, white as dice and true 
 Are thy feet, thy voice is soothing low : 
 Nought alas ! of thy cold heart I know ! 
 
 Milo Marry, here is a songster lost to fame ! 
 
 How good an ear for music has he shown ! 
 This manly beard I've grown is put to shame 
 List thou to this, 'tis Lytierses' own : 
 
 [sings] ' Thou who fill'st the rip'ning ear, 
 Bounteous Harvest-Goddess, hear : 
 Crown our labour with success, 
 Bless our crops with fruitfulness. 
 
 Gatherers, firmly bind each shock, 
 Lest the passing traveller mock 
 " Lazy logs but fit for fire ! 
 Wasted is such losels' hire ! "
 
 APPENDIX. 241 
 
 Be that end of every blade 
 Which the scythe has severed, laid 
 Tow'rd the North wind or the West ; 
 So the ears wax comeliest. 
 
 Threshers, shun the noon-day sleep ; 
 Then doth chaff most briskly leap 
 From the corn that strews the floor : 
 Mow'rs, begin ere skylarks soar, 
 Work as long as they're awake, 
 But at noon a siesta take. 
 
 Rare's the life a frog enjoys ; 
 He 's no need to care, my boys, 
 Who his liquor measures out, 
 Knowing neither stint nor doubt. 
 
 Stingy bailiff, have a care 
 
 When our mess thou dost prepare, 
 
 Whittle not too fine the cumin, 
 
 Lest thou make a gash thy thumb in.' 
 
 There ! with a song like that a man won't ail 
 Working a-field : but such a love-sick tale 
 As thou hast starved me with, I'd bid him take 
 T' his mother lying at the dawn awake. 
 
 IDYLL XIX. 
 
 THIEVISH Love once plundering 
 Honey-comb from hive to hive, 
 
 Felt a bee's unkindly sting 
 
 Sharply wound his fingers five : 
 
 See him blow to ease their pain ! 
 
 See him dance and stamp amain ! 
 R
 
 342 APPENDIX. 
 
 Shows he now to Venus, railing, 
 What his swollen limb is ailing ; 
 ' See,' he cries, ' albeit so wee, 
 See how cruelly wounds the bee ! ' 
 Smiling answered him his mother, 
 ' Thou thyself art such another : 
 Of thy tiny venomed dart 
 Think how cruel is the smart ! ' 
 
 IDYLL XXVIII. 
 
 IN IMITATION OF THE ORIGINAL METRE. 
 
 COME, thou aider of work, gift of the blue-orbed divinity, 
 
 Distaff, welcome to dames skilled in discreet arts of house- 
 wifery, 
 
 Come with me unabashed, come to the fair city of Neleus 
 
 Where stands Venus's fane greenly enclosed under Mount 
 Ampelus. 
 
 Thither favouring gales grant to us, Jove, wafting serenity, 
 
 That I may with my host pleasures of old friendship reci- 
 procate, 
 
 With my Nicias, plant fostered among mellow-voiced Cha- 
 rites ; 
 
 And may offer thee, rich cunningly-wrought ivory workman- 
 ship, 
 
 Chosen gift for the fair hands of the dame wedded to 
 Nicias ; 
 
 By whose aid thou shall make garments for men's perfect 
 apparelling, 
 
 And for feminine wear draperies transparently undulant. 
 
 Twice indeed in the year mothers of lambs feeding in 
 pasture-lands 
 
 Would their silkiest wool yield to oblige elegant Theugenis ;
 
 APPENDIX. j 43 
 
 So untiring her zeal, such are her tastes, frugal and mo- 
 derate. 
 
 Far from me were the wish into a home thriftless and in- 
 dolent 
 
 From this land of our birth sending thee forth vainly to 
 banish thee ; 
 
 For thy home is from old Corinth derived, founded by 
 Archias, 
 
 Sea-girt Sicily's core, dwelling of all manly nobility. 
 
 Now thou 'It dwell in a new home with a man cunning in 
 remedies, 
 
 Ably skilled to avert sicknesses, frail mortals' inheritance, 
 
 Fair Miletus's fame sharing with Ionian citizens : 
 
 So shall Theugenis reign hailed by her peers ' Queen of the 
 Beautiful 
 
 Distaff,' bearing in mind giver and gift, singer and melody. 
 
 Aye, and looking on thee men shall declare ' Hugely may 
 gratify 
 
 Gifts whose value is small: as for their worth, friendship 
 enhanceth it.'
 
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