UC-NRLF BSE 375 &SM&&1&&! Taw ( - p Co. THE PUBLIC SCHOOL SERIES THE PLUTUS OF ARISTOPHANES GEORGE BELL & SONS LONDON : YORK STREET, COVENT GARDEN NEW YORK : 66, FIFTH AVENUE, AND BOMBAY: 53, ESPLANADE ROAD CAMBRIDGE : DEIGHTON, BELL & CO. THE PLUTUS OF ARISTOPHANES !' EDITED . WITH INTRODUCTION AND NOTES BY M. T. QUINN, M.A. PRINCIPAL, PACHAIYAPPA'S COLLEGE, MADRAS ; FELLOW AND LATE EXAMINER, UNIVERSITY OF MADRAS ; SOMETIME LATIN EXHIBITIONER AND SENIOR CLASSIC, UNIVERSITY OF LONDON LONDON GEORGE BELL AND SONS 1896 CONTENTS. PAGE PREFACE i INTRODUCTION 3 THREE PERIODS OF ATTIC COMEDY .... 19 GREEK THEATRES 20 THE PLUTUS 23 NOTES 61 INDEX TO NOTES 109 830239 PREFACE. THE present is an expurgated edition of the u Plutus" of Aristophanes, based on the text of Bergk, and designed to meet the wants of public schools, and of private students preparing for University and other examinations. The different readings in disputed lines, together with their various interpretations, are fully discussed in the Notes. M. T. Q. LONDON, March, 1896. INTKODUCTION. IT is strange that we should be so singu- T* A fii larly ill-informed about the personal history r * of the greatest comic poet of Greece. Two Greek biographies one by Thomas Magister, the other anonymous a notice by Suidas, a short con- temporary sketch in Plato's Symposium, and such scraps of information as we can gather from his own plays, supply the materials for the Life of Aristophanes, and still leave us in doubt as to the time and place of his birth and death. Athens was probably his birthplace, although his father Philippos had property in ^Egina. His Attic citizenship is shown indirectly, for when at a later time Kleon, then the foremost man at Athens, was smarting under the comic lash, he prosecuted the poet on a ypa^rj ei/xs as being a foreigner exercising civic rights, but even Kleon could not procure a conviction. Again, his first play, the AairaX^s (Banqueters), came out in 427 B.C., when he must have been a young man. Thus his birth would probably fall between 450 and 444 B.C. Plato pictures him as an easy-going, pleasure-loving, gay young aristocrat, mixing in the most fashionable society of his time, and always expected to turn everything into ridicule. Happily, we know a good deal about his writings. In the fourth year of the Peloponnesian War his AatraXrJs received the second prize. It was aimed at recent innovations, especially the teachings of the Sophists, and praised the simplicity of the old conservative education. Next year (426 B.C.) appeared his Babylonians, in which he satirised Kleon so mercilessly in presence of envoys with tribute from the subject cities, that the indignant demagogue prosecuted him on the cwr ^cvia-j mentioned above. Of these two 4 ARISTOPHANES' PLUTUS. plays we have only fragments. The fact of his prosecution is mentioned in the Acharnians (425 B.C.), the first of the extant plays. This play obtained the first prize. It compares the Ita-ro'sMps of war with the happiness of peace, and concludes by Lamachos, the swashbuckler gOEeial. being led in wounded, while Dikaiopolis, the advocate of peace, enters under the mellow influence of Bacchos. The object of the play was to expose the folly of the war, and to support the aristocratic peace party against the Jingoism of the democracy. In 424 B.C. the first prize was won by the Knights ('ITTTT^S), which was the first play produced by the poet in his own name. It per- sonifies the Athenian Demos as an easy-going, dull-witted old man with three slaves, Nikias, Demosthenes, and Kleon. By bullying his fellow-slaves and flattering his master, Kleon has obtained the ascendancy, till a sausage-seller supplants him and gives Demos some sound advice. No actor could be got to take the part of Kleon in this play, and Aristophanes himself had to impersonate the dema- gogue. Between the ultra -conservative poet and the rough but resolute champion of the people there could be no truce. Ifc is, however, a great error to receive these cari- catures of Kleon and of the democracy as faithful historical portraits. Grrote, in his famous History, has shown how far they are from the truth. In 423 B.C. appeared the Clouds, of which the extant play is a second edition. In this play Sokrates and his Phrontisterion (Thinking-shop) are singled out for ridicule ; but his bravery at Delion in the previous year, and the knowledge that he was an honest noble-minded man, induced the Athenians to reject the clever but unjust caricature, and it was beaten by the Hvrwr) (Wine-Flask) of Kratinos, and the Kowos of Ameipsias. Though the caricature is so broad that we may acquit the poet of any hostile intention, especially when we remember that Plato in the Symposium introduces the philosopher and the poet as boon- companions, yet it is to be feared that some of this dramatic vilification of the purest of heathen philosophers stuck, and must be con- nected with the prosecution which twenty years later forced Sokrates to drink the hemlock. But we must not INTRODUCTION. 5 forget that the KoVi/os of Ameipsias was on the same subject, and was preferred by the judges ; and any censure that can apply to Aristophanes in this matter applies with just as great force to Ameipsias. In 422 B.C. appeared the Wasps, which is still extant. It ridicules the Dikasts, luckless Athenian citizens, who for three obols a day spent their lives as jurors in the law-courts. In the following year the first edition of the Peace came out, with the object of recommending the then expected peace of Nikias ; and this object was favoured by the recent death of Kleon and Brasidas. In 414 B.C. Aristophanes produced two ~? comedies, the Amphiaraos and the Birds, of which only the > latter is extant. In the Birds, Ne^eAo/coKKirym (Cloud- cuckoo-town) is a satire on the wild hopes of young Athens of founding a Mediterranean empire in Sicily, whither an expedition had sailed in the previous year. This piece is full of the most sparkling wit and brilliant imagination. , The Lusistrate (Disbander of Armies) came out in 411 B.C., ' and represents all the women of Greece firm in their resolution to live apart from their husbands until peace $ is proclaimed. Next year appeared the Thesmophoriazousai (Oelebrators of the Thesmophoria) , containing a fierce onslaught on the morals of the Athenian women. The f first edition of thejPZo^os appeared in 408 B.C. The Frogs ^ came out in 405 B.C., a little before the battle of Aigos Potamoi, when Theramenes was the foremost man at Athens and Alkibiades was in exile. This play is of deep interest to us on account of its literary criticism. Dionusos goes to Hades to find a good poet, Sophokles and Euripides having both died in the preceding year. Aischulos and Euripides contend for the palm, which is finally awarded )3_to the former. The EkTdesiazousai (Women's Parliament) came out about 393 B.C., and is valuable for the history of Socialism and the theory of Woman's Bights. These theories must have been long in the air at Athens before they found expression in Plato's Politeia; and they are here satirised by making the women meet in the Assembly, dressed in their husbands' clothes, and decide that for the future they must assume the reins of government, with full participation in everything. The Ploutos, as we have 6 ARISTOPHANES' PLUTUS. it, was put on the stage in 388 B.C., and is the last of the eleven plays that have come down to us. The writer of the Greek argument to the Ploutos tells us that this was the last play Aristophanes exhibited in his own name, and that he took the opportunity afforded by it of introducing to the public his son Araros, who pat on the stage in his own name the last two plays of his father, the Kokalos^ and the Aiolosikon. Shortly after this the poet died (pro- bably about 380 B.C.), in all likelihood at Athens, the scene of all his triumphs and of all his glory. There are about 730 Fragments of Aristophanes, all short and void of interest. We have the titles of forty-four plays (see Dindorf), and thirty are said to have been read by John Chrysostom, but Suidas only knows our eleven. These eleven comedies are of very high historical in- terest to us because they present us with such an admirable series of caricatures of the most prominent men of that day, and with numerous parodies of the great tragic poets. Aristophanes dealt the hardest blows to Euripides, of whose greatness a strong proof is afforded by the fact that his popularity was able to overcome the most brilliant comic genius of Greece arrayed against it during the period of its development. The personalities in which Aristo- phanes indulged often descend into coarseness and inde- cency ; sometimes he indulges in obscenity even for its own sake, and makes a merit of it. This is the outcome of the Naturalism of Greek religion as compared with Christian Asceticism. Many things would be tolerated on the stage by Athenians of the most refined taste, that among us would be looked upon as shocking grossness. For such a public the poet catered only too well : and hence the occasional omissions imperatively demanded in school editions even of the Ploutos, the purest of his plays, by the standard of modern taste. The ingenuity of the poet in the way of mechanical artifice is seen by his making frogs croak choruses, pigs grunt a series of iambics, and by the enormous length of some of his words. Of these the most remarkable is one of 170 letters, at the end of the Ekklesiazousai. Throughout all his plays, wherever politics enter, Aristophanes consistently attacks the ad- INTEODUCTION. 7 vanced Republicans and works for the Conservative party in the State. In religion, although he was the champion of orthodoxy against the new physical school represented by Sokrates and Euripides, yet he does not hesitate to in- dulge in orthodox profanity, and to present the popular religion in a ludicrous light when it suits him. If he roundly abused the people, he tells them it was for their own good. The judgment passed by his contemporaries on the great comic poet is crystallised in Plato's pointed saying, that the soul of Aristophanes was a temple for the Graces : At Xdpires re/j.evds TI Xafitiv forep oi>xi ZrjTovarai if/vx^y zvpov 'ApH The Ploutos was first exhibited when Diokles was Archon Eponumos at Athens (B.C. 408); but the play which has come down to us, and which is presented in the following pages, is a later reconstruction of that earlier play. The difference between the two plays is probably very considerable. Although the work of the same poet, they are separated from each other by a space of twenty years, and belong to two different epochs in the history of Greek comedy. It was not till 388 B.C., when Antipatros was Archon, that the second edition the play as we have it appeared. The earlier play, with the usual license of the Old Comedy, would probably be more pointed and personal, and more full of political allusions than the present one, which has all the characteristic marks of the Middle Comedy. A singular fact connected with this play is that there were five poets in the competition, whereas in all the other plays that have come down to us only three are mentioned, who always obtain the first, second, and third prize according to merit. It is likely enough that only one prize was offered among the five; but, whether the judges awarded it to Aristophanes or not, we do not know. The plot of both plays appears to have been the same the restoration of his sight to Ploutos and the consequent redistribution of wealth. This we infer from the remark of the scholiast on line 115, that the words Taurus 8 ARISTOPHANES' PLUTUS. ere T>}S o<#aA/Aias belong to the first play, and that this line was changed in the second to rrjs v/u, an d from an extract preserved by the scholiast on Ranae, 1120. Different theories were held about this play, until Hitter wrote his famous preface 31 play ' with the object of showing that the work before us is not the first play, nor a mixture of the first and second, and in which he clearly proves that it can be nothing but the second play. Here are a few of the reasons. Verses 290, 292, 296, and 298, we are told by the scholiast, were written to ridicule Philoxenos of Cythera. This Philoxenos was a distinguished dithyrambic poet, who was born in 435 B.C., and died about the same time as Aristophanes himself (380 B.C.).^ He lived at the court of the elder Dionusios, tyrant of Syracuse. To avenge an insult offered him by the tyrant, he wrote a dramatic piece called KvKAw^, in which Dionusios was carica- tured under the name of the monster that gives the piece its title, and a female flute-player was Galatea, while Phi- loxenos himself was represented by Odusseus. Now, Dio- nusios first obtained supreme power at Syracuse in 405 B.C. Therefore it was after this date that the poet lived at his court, and as the result of a disagreement wrote his lam- poon. Hence Aristophanes could not imitate the Kv/cAwi^ of Philoxenos in the first edition of his Ploutos (408 B.C.), but he could and has done so in the second (388 B.C.). Again, Lais, who is mentioned in line 179 and satirised in line 309 as Kirke, was only fourteen years of age in 408 B.C., and could not then be so very notorious for her former (TTOT') mischief. Athenian mercenaries are mentioned in line 173 as being then in Corinth, and this can only refer to the War of the Allies, which lasted from 395 to 387 B.C., when the war was brought to an end by the Peace of Antalkidas. Line 1146, /AT) /Ai/^cri/ca/ojo^?, d av 3>v\rjv KaTeAa/:?9, must have been written after the capture of Phule by Thrasuboulos in B.C. 404. Many other proofs are adduced by Hitter to show that this is the later play, and the evidence is so convincing that no room is left for doubt. INTRODUCTION. 9 Although the play belongs to the Middle Persons Comedy, we find some contemporaries satirised Satirised, by name. Chief amongst these are Dionusios, Agurrhios, and Timotheos. Thrasuboulos is named, not in satire, but merely to give point to a joke by reference to a well-known event in the political history of Athens. Agurrhios is mentioned in an omitted line, 176. It is said of him in the Ekklesiazousai (393 B.C.) that hitherto he was as unheard of as a woman, but now TT parrei ra fjiiyior eV rfj TroXet. The reason of his sudden fame was because he had, a short time before the repre- sentation of the EkMesiazousai, won the favour of the mob by raising the pay of those who attended the public assembly (/xtaftos eK/cA^o-iaon/cos) to three obols. On the death of Thrasuboulos, Agurrhios was elected in his place to command the fleet cruising around the islands off the coast of Asia Minor. Dionusios the tyrant, the oppressor of the Sicilians, is contrasted (line 550) with Thrasuboulos who restored Athenian liberty. Timotheos, Konon's son, soon to become famous as a naval hero, is already known for his extravagant taste in architecture (line 180). We know something of Pamphilos (line 174, but different from the Pamphilos mentioned in line 385) from a frag- ment of Plato the comic writer, which has been preserved by the Scholiast Kal VTI At' ei Ud^(pi\6v 76 TO tio'iv 1 a^a re upon which the commentary of the Scholiast is, that Pamphilos had embezzled public money, for which he was punished by having his property confiscated and by being driven into exile. The same authority tells us that the Needle-Seller (BeAoi/oTnoA^s, line 175) was a hanger-on of Pamphilos ; and Dindorf states that, from scholia not yet published, we know his name to have been Aristoxenos Philonides (line 179) was an ugly old man, famous for his wealth and luxurious living. Patrokles (line 84) was a tragic poet and a man of wealth, but very miserly in character, and, through his zeal for Spartan manners, not remarkable for his cleanliness. .Philepsios (line 177) was 10 ARISTOPHANES' PLUTUS. a marvellous story-teller who had acquired a local reputa- tion at Athens for his wonderful yarns, but like Patrokles he is known to us only through the Scholiast. Pauson (line 602) was a painter who did not thrive by the brush and palette, and the Scholiast tells us that from him arose the proverb Havo-wvos TTTw^orcpos. Another Greek proverb NeoKAeiSov fcA.7rrtVTcpos found in Suidas, is traceable to the NeoKAeafys mentioned in line 665, who was notorious as a public speaker, sycophant, and swindler. Turning from the persons laughed at in the Political Ploutos, we find that the allusions made to Allusions, contemporary politics are very few. We might expect it to have been otherwise. The twenty years that elapsed between the first and second represen- tation of the Ploutos were the most eventful in the whole range of Athenian history. Athens proved herself Queen of the Waves at Arginousai, and with blind fatuity im- mediately afterwards executed six of her conquering captains on trumped-up charges. Then followed in rapid succession the disaster of Aigos Potamoi, the blockade of Athens by sea and land, the triumphal entry of Lusandros, the Government of the Thirty, the capture of Phule by the exiled Thrasuboulos and his restoration of the demo- cracy at Athens, followed by a general amnesty, the form- ation of an Anti- Spartan League after an interval of nine years, the battle of Corinth, Konon's annihilation of the Spartan fleet off Knidos, the massacre of Corinth, the re- building of the walls of Athens by Konon, and the victories of the Athenian commanders, Thrasuboulos and Iphikrates, over the Spartans. Only two of these events are glanced at in the play the capture of Phule (404 B.C.) and the proclamation of an amnesty by the triumphant democracy is metaphorically introduced in line 1146, and in line 173 the poet tells us that it is gold that maintains the Athenian mercenaries at Corinth. This refers to the League against Sparta, organised in 395 B.C. by Tithraustes, a Persian satrap, in order to thwart the progress of the valiant Spartan king Agesilaos. Agesilaos had just won a series of splendid victories over the Persians in Asia Minor, and INTRODUCTION. 11 was preparing to penetrate into the heart of the Persian empire ; but the gold of Tithraustes induced the three states of Thebes, Corinth, and Argos to form an Anti- Spartan League ; and Athens, unsolicited and unbribed, longing for political vengeance alone, gave her enthusiastic support to an alliance that seemed to offer a ready means of wiping out her national dishonour and of humbling her successor in the supremacy of Greece. Corinth was the headquarters of the allies, and hence we find Athens maintaining a body of mercenary troops at Corinth in 388 B.C. This war was brought to an end the following year by the Peace of Antalkidas. A very obscure line rj ^VfjifJiax^a 8' ov Sia s xopypyovs TOI>S TOLS Sa-Travas TOIS xopevTais Trape^ovra? X 1 P" rovttv, as Platonios, quoted by Dindorf, says. This might well be so, after the fateful 18th day of Mounuchion, B.C. 404. Another reason is supplied by Horace, Ars Poetica, 1. '282, Ac. : " In vitium libertas excidit et vim Dignam lege regi ; lex est accepta chorusque Turpiter obticuit, sublato jure nocendi." No doubt this reason exercised a strong influence in the same direction. When, by the law of Antimachus, it was forbidden ovo/xao-rt KoyiwSetv, and the poets' audience could no longer be gratified by ludicrous caricatures of swash- buckler generals, like Lamachos in the Acliarnians and Peace, and Kleon in the Knights and Wasps, of a great philosopher like Sokrates in the Clouds, or of a distin- guished poet like Euripides in the Frogs, but had to remain satisfied with a Comedy of Life and Manners that was of universal application, and resembled in some degree the comedies of Vanbrugh and Farquhar ; then comedy, having lost its old personal and political interest, would INTRODUCTION. 1 naturally decline, and the Chorus would consequently suffer. Yet, the Chorus was not wholly abolished, as we may see from the present play. They enter at line 257, in com- pany with Karion, and, when they hear the good news, they express their desire to dance (/3ovAo/*ai xopcOcrai, 1. 288), which they proceed to do, led by Karion. The strophes sung by them during their dance are, in 1. 316, called o-Kw/A/x-ara. Karion now invites them to quit these O-KCD/A- fjLara and turn their attention CTT' a\\' etc>os, thereby clearly contrasting what they have been doing with something they are just going to do. The scholiast says that the words CTT' aAA' etSos refer to another kind of song different from the rude jests that have gone before, and the word Xopov is here and elsewhere used in the text to mark the place where it was sung. This xPv is explained by Dobree and Meaning of Hitter as TO, TOV xP^> i- e -> choral odes. Xopov. Dindorf explains it as pfjcris or /co/upmov Xopov. What the Chorus did at the places marked xPv is a matter of conjecture. Bitter is of opinion that the Chorus here sang odes as in the Old Comedy, but that these odes were never inserted in the play as it appeared before the reading public at Athens, and were only composed to be sung in the orchestra, and were, moreover, much inferior in merit and style of com- position to the beautiful choral odes of the Old Comedy. He believes they were lost from the play because they had never been inserted in the text of the play, and that they were only given to the members of the Chorus, and only sung to suit the needs of stage management. Dindorf holds a different view. He thinks that, no matter whether it was the grammarians or the poet that wrote the word xP^-> a ^ that the word implies is that on such occasions the actors should have a considerable rest, such as would have been filled up by a choral ode in the Old Comedy days. This seems very improbable. Dindorf and Bitter agree in thinking that both the number of persons in the chorus and the number of the choral songs were 16 very much decreased, so that the small part played by the Chorus in this comedy was played by a chorus of eight or twelve, i.e., only one-third or one-half the strength of an ordinary comic chorus ; and thus the expense would be- come very small. Blaydes takes the words oXX' eTSos to refer to dancing alone, unaccompanied by any song. Besides 11. 290-315, which were sung by the Chorus while they danced, 11. 637, 639, and 640 were also sung by the Chorus in this play. The Chorus, then, was still retained in the Middle Comedy probably to sing odes of a less diffi- cult and less ambitious kind, which served as interludes and allowed the actors time to breathe, and the stage- manager time to get everything ready for the next scene. The Chorus was also retained to converse with the actors, for which see 11. 257-260, 487-488, 962-963, &c. The Ploutos is an Allegory, of which the Argument following is a brief sketch. Chremulos was the Ploutos. a g 0( l old Attic farmer, a just, honest, God- fearing man, yet poverty-stricken withal. He went with his slave Karion to consult Apollo, and see whether the god would advise him to throw over honesty, and bring up his son to be dishonest like everybody else. This he did because he saw that it was only the dishonest who became rich, while men of righteous lives were sunk in poverty. The reply of the oracle was indirect. It only told him to follow the first man he met when he left the temple. He meets an old blind man, whom he follows as directed. Karion soon grumbles at their following the blind old man, and Chremulos then tells him about the oracle. By having recourse to threats, they force the old man to tell who he is. He tells them he is Ploutos, and gives the reason why Zeus struck him with blindness. Then they form a plan for restoring his sight by placing him in the temple of Asklepios. Blepsidemos, an informer, appears, and wants to get to the bottom of the reports he has heard in the barbers' shops, and undertakes to arrange the matter for a small consideration so that Chremulos shall not be prosecuted by the people. Poverty, when she hears of the unholy plot to drive her out of Greece, INTRODUCTION. 17 comes in and pleads her cause with good, sound logic; but, in spite of all her arguments, Chremulos is determined not to be persuaded by her, even if she shows him she is right. Ploutos is then removed to the temple of Asklepios, where his sight is restored. Then he enriches every one distinguished for piety towards the gods and justice towards their fellow men, while the impious suffer. Mercury comes down from the gods, complaining that, since the good had grown rich, the gods had received no sacrifices ; and he finally takes service with Chremulos and abandons Zeus. A priest of Zeus, the Saver, enters in a state of starvation, as all his perquisites have now disap- peared. He, likewise, abandons his old post and takes service under Ploutos, the true Zeus. Then they all escort Ploutos to the temple in procession, and there he is in- stalled to reign instead of Zeus. Addison, in his excellent little sketch of this play (Spectator, No. 464), does not appear to have caught the object with which the poet wrote it. That object can hardly be anything else than to satirise the irregularities and injustices of society and the apparently false distribution of wealth by the gods. In this play the poet tears himself away f rom the great political interests of the State, Ploutos *^ e cons ^ an t theme of all his earlier comedies. His satire in the Ploutos is of universal appli- cation to all races and ages of men, inasmuch as it is aimed at defects and perversities that we meet in every-day life. The conception on which it is based is of lasting signi- ficance ; and the persons have the general character of their conditions and employments. The language is more decent and less offensive than in the earlier plays of the poet, but at the same time the fun is not so jovial and boisterous. These facts, coupled with the absence of the Parabasis and Choral Odes, stamp the Ploutos with all the salient features of the Middle Comedy. The derivation of the word Kw^wSia is Origin no t certain. By those who see the origin Greek Comedy ^ come( ty ^ n ^he Phallic choral songs, it is derived from KCO/XOS, and explained to mean the revel-song. Aristotle rejects this derivation, B 18 ARISTOPHANES' PLUTUS. traces the word to Kto/xry, and explains it as the village-song. He says the Dorians invented comedy, and quotes the terms used as evidence : " for the outlying villages which the Athenians called dfjfjioi, the Dorians called KSia, the song of the vintage feast, the lee-song, as it would pro- bably be at vintage time that people would be in the frame of mind for their jovial village processions, and would smear their faces with wine-lees and hurl licentious jokes and personal jibes at everybody they met. Athenian comedy was probably borrowed from Megara, the birth- place of Susarion, who introduced it among the Athenians early in the sixth century B.C. After him we find a long list of comic poets, such as Chionides, Euxenides, Mullos, Magnes, and Ekphantides, who are little more than names to us. INTRODUCTION. 19 THREE PERIODS OF ATTIC COMEDY. Attic Comedy is generally divided into three periods the Old, the Middle, and the New. The first great name in the Old Comedy is Kratinos, but by far the greatest name in the whole range of Greek Comedy is Aristophanes, whose best plays belong to this first period. The usual date assigned to the Old Comedy is 458 404 B.C. Its distinguishing mark is political caricature. It had a Chorus of twenty-four, who danced the Ko/aSa, a sort of cancan, with immodest gestures and licentious movements. It had choral odes and a Parabasis, the nature of which latter has been already explained, as well as the cause of the decline of the Old Comedy. The Middle Comedy lasted from 404 B.C. to 338 B.C., i.e., from the conquest of Athens by Lusandros to the conquest of Hellas by Philip at Chaironeia. After Aristophanes, three of whose plays the Lusistrate, the EJcJclesiazousai, and the Ploutos are classified as belonging to this period in character, the best known poets of the Middle Comedy are Antiphanes and Alexis. The satire of the Middle Comedy was general, and not particular ; it criticised philosophical systems and discussed the merits of literateurs ; it largely travestied mythology, and parodied great poets. Its plot often turned on a love intrigue ; it had no Parabasis, and its Chorus was diminished or wholly dispensed with. It never attacked anybody by his own name, as did the Old Comedy, but sometimes it attacked well-known personages under an assumed name, as in the Ploutos. The New Comedy lasted from 338 B.C. to the Roman times, and found its best exponents in Menandros, Philemon, and Diphilos. It reproduced in a very generalised way a picture of everyday life, had no Chorus whatsoever, and discarded the thinly-veiled personalities, the caricature, and the parody, which had still remained in the Middle Comedy. Its spirit, and often its letter, was faithfully reproduced on the Roman stage by Plautus and Terence, and its general character still survives in the modern comedy of life and manners. 20 ARISTOPHANES' PLUTUS. GREEK THEATRES. All theatres throughout Greece and Asia Minor were built of stone, situated on hill-sides, and modelled after the theatre at Athens, which was on the south-east slope of the Akropolis. In all of them the place for the spectators formed the north-west, and the stage the south-east part, while the orchestra lay between the two. A small entrance fee, usually two obols, was exacted at Athens, and men alone were allowed to be present at comedies. The opx^o-rpa (dancing -place} was nearly in the very centre of the theatre. It was a perfect circle, and about three-quarters of its circumference was surrounded by the benches of the spectators, while next to these benches were two broad spaces (TrapoSoi) on the right and left for the entry of the chorus. A small segment of the orchestral circle still remained, and here the stage was always placed. The orchestra was lower than the lowest benches of the audience, and it was in it that the chorus performed its evolutions. The stage was raised above the level of the orchestra, and was connected with it by steps at either side. By these steps the chorus, whenever it took a real part in the action, probably ascended the stage ; but its usual position was between the Ov^fXri (or altar of Dionusos, which was in the very centre of the orchestra) and the stage. The Greek curtain, unlike ours, did not conceal the stage ; it concealed nothing but the cr/o/vij, or wall representing the scenery at the back of the stage. The stage, in our sense of the word, was always visible in a Greek theatre. It was called Trpocr/o/viov, and extended from the a-KrjvTj to the edge of the stage next the orchestra. Its front part, where the actors spoke, was called the Xoyctov or oKpifias. Again, unlike ours, the Greek curtain was not raised or rolled up when a play began; it was lowered or rolled down till it finally disappeared beneath the stage. It was called TrapaTreVaoyx.** or avXaia. The scenery painted on the CTK^VTJ, in a comedy, generally represented the front of a dwelling-house. Throughout the whole of the Ploutos the scenery represented the house INTRODUCTION. 21 of Chremulos. The Otarpov (seeing -place}, in its narrower sense, as denoting that portion of the entire structure where the spectators were seated, was sometimes called KotAov, as it was generally a real excavation from a rock, and the seats were for the most part cut out of the rock and consisted of rows of benches rising tier above tier It had room for about 30,000 spectators, and, like the orchestra, had no roof. The Archons, generals, ambas- sadors, and people of distinction were accommodated with the seats nearest to the orchestra, and the occupants of these seats, but no others, seem to have had sometimes the luxury of a covering overhead. TA TOY APAMAT02 KAPIfiN. XPEMYAO2. IIAOYT02. XOPO2 APPOIKfiN. BAE^IAHMO^. HENIA. TYNH XPEMYAOY. AIKAIOS ANHP. TPAY2. NEANIA2. EPMH^. IEPEY2 IIAOYTO2. KAP. 'Us dpyaXeov Trpayp;' eortV, w Zcv /cat Oeoi, 8ovXov yeveVfl vjv yap TO, /3eXrto-0' 6 8e p,rj Spar ravra r<5 avdyKr) rbv OcpaTroina TWV /caKwv. 5 (roj/xaros yap OVK ea TOV Kvpiov 6 Satjuoov, dXXa TOV Iwv^/x^vov. /cat ravra ^u,v 8^ ravra. TW 8e Ao^tia, os ^e(T7ri(t)8et TptVoSos CK ^pv(rr}\drov t StKatav jue/x,acriv, (roc^os, wvT 5 a7re7repi//e /xov TOV O(TTIS O-KoXoV^et KttTOTTlV avOpWTTOV rovvavTLOV 8pwv ^ TrpcxrfJK aurw 01 yap pXeTTOVTes rots rvpd(Tr)S o rt w SecTTTor', dXXa o-ot Trape^w Trpay/w-ara. 20 ov yap /ae T-UTmyor-ets o-recfxivov e^oi/ra ye. XPE. /aa At', dXX' dc^cXwv yc o-T<^avov, ^v XVTT^S TI /u,, tva /xaXXov dXyrjs. KAP. X^pos- ov yap Trava-o/Aai av <^>pacr^s /not Tts TTOT' ecrrtv ovroo-t* yap wv o*ot Trw^avo/xat Travv ao8pa. 25 24 ARISTOPHANES PLUTUS. XPE. dXX' ov TL Kpvif/w TWV e/xo)j/ yap ot/cerwv TTio-TOTaTOv vyyovpxu' ere Kat K eytb ^eocre^s Kat St'Katos wv KaKCOS ITTparrOV Kat TTei/TIS ^V. KAP. oT8a TOt. XPE. erepot 8' 7rXovYow, tepoo~vXot, pyropes 30 /cat (jiVTaL Kat TTOvrjpoi. KAP. XPE. 7rp^(TO/>tVOS OW OJ^Oftr/J/ 0)5 TOV ^O TOV c'yotoi/ /xei' auroi) roC raXaiTraipou TOV 8' vidv, ocTTrep wv /novas p:ot rvy^avci, 35 7TWO//,I/OS 1 ^p^ /LtTa/3aXoj/Ta TOU5 TpOTTOV? ctvat Travoupyov, aSi/cov, vyccs /u^St ev, d)S TW ^8iU) TOVT' avro vo/xt'cra? KAP. rt S^Ttt $ot/?os cAa/cev e/c TCOI/ XPE. 7rev(7i. o-aoos yap 6 $eos etTre /xot ro8t* 40 OTU) ^uvavTr/crai^ut TrpcoToi/ e'to>v, TOIJTOV /x^ fjieOUo-Oai JJL' ert, 8' ffjiavrw vvaipa.ov(ra.v & (TKO.L6ro.ri croi cracfrta'raTa, aGKciv rov vtov TOV tTrt^wptov rpoTrov ; XPE. TO) TOVTO KpiVet? ; KAP. 8^Xov OTI^ Kat TVo8p' eaTt crv/j,epov TO /A^Sey do-Kctv vyte? ev T<5 vvv ^povw. 50 XPE. OVK CT$' OTTCOS 6 ^pT/CT/XOS CIS TOVTO pCTTCt, dXX' ts eVepov TI /w,t^ov. '^v 8' ^/xtv (f>pdcrr) OO"TIS 7TOT CCTTIV OVTOO"t, Kttt TOV \O.ptV Kat TOV 8eo/xcvos r)\6c. p,T.a vwv ev^aSt', 7rv0oi/A0' av Toy )(pr](TfJ.bv iyp:ajv o Tt voc?' 55 KAP. dye 877, o~v TroTepov o-avrov 6Wts tt, 17 TttTrt TOVTOIS 8pco ; Xeyctv ^077 Ta^ HA. eyo) /x,V o/u,w^tv Xe'yto o-ot. KAP. ARISTOPHANES' PLTJTUS. os <$>r)(TiV elvat ; XPE. 0*01 Xeyet TOVT', ov/c cr/catws yap avrov /cat ^aXeTrais eWw^avet. 60 dXX' t TI xatpets dvc)pos evopKov TpoVots, e/xot pao~ov. IIA. /cXactv eywye crot Xeyw. KAP. Se'^ou TOV aVSpa /cat rov opi/iv TOI) ^eou. XPE. ov rot /xa T^V A^^rpa ^atp>y(7et5 en. KAP. ct />t^ (^pacrets yap, a7rd cr' oAco KO.KOV Ka/cws. 65 HA. w Tav, (XTraAXci^^Tov d?r' e/xoi). XPE. Trco/xaXa. KAP. Kat /u^v o Xeyco /^A/norov eorr', w SecrTrora. aTToXw TOV aV$pco7rov KaKtcrra TOVTOVI. dva^ets yap CTTI Kprjfjivov TIV avrov KaraXtTrcbv aTTCt^i', tv' Kt^ev lKTpa^rj\i(r6f] Trecrcov. 70 XPE. dXX' atpe Ta^eu;s. IIA. />tr;Sa/>tco9. XPE. OVKOW epcts ; HA. dXX' i^v irvOyjcrOe />(.' oo-rts ct/x', ev otS' 6Vt Ka/cov rt /x,' epydcrco-^e KOU/C acfrrjcreTOV. XPE. K^ TOVS ^eo^s T^yaets y', eav j3ov\r) yc o~v. HA. iieOeo-Oe vvv /xov Trpwroi/. XPE. ^v, yu,e0ie/xev. 75 HA. d/coueToi/ 8r/. Set yap a>s eot/ce /xe Xeyetv a KpvTrreiv rj 7rapco"Kfao"/xVos. eya> yap ip,t IlXovros. KAP. ai p,tapcuTar dv8pwv aTrdvTcov, elr' eo-tyas nXoGros wv; XPE. o-v IlXouros, OVTWS d^Xt'ws 8taKt)u,ei/os ; 80 ot/3' v A7roXXov Kat $eot /cat Sat/x,oves /cat Zev, rt 0>js ; eKetvos OVTW? et o-i; ; HA. vat. XPE. e/cetvos avros; IIA. auroraros. XPE. TroOev ovv, c/>pdaov, av^/xoov /JaSt'^ets ; HA. e/c IlaTpOKXeous cp^o/xat, os ou/c eXovo"ar' e^ orovTrep eyevero. 85 XPE. Tovri 8e TO /caKOV TTCOS eTra^es ; Ko.re.nre /u-oi. HA. 6 Zevs /xe raw' tdpacrev dv^pwTrots c/>^ovoiv. eya) yap wv /xetpd/ctov i^TretX^o-' OTt a>S TOUS ctKatons Kat o-oc/>ous /cat Koo-/xtovs /xdvovs ^8a8tot/x7yv 6 Se /x' 7ron;o-ev Tuc/>Xdv, 90 tVa tt-^ Staytyvcoo-KOt/xt TOVTCOV /xTySeva. ^6 ARISTOPHANES' PLUTUS. OVTOJS /ClVO9 TOLCTl Xpf](TTOt(Ti Tt ovv; el TrdXtv dva/3Xei/feias axrTrep /cat Trpo TOV, 95 t' eyw. XPE. tcr/xaTa, 160 ev o /x,ev yap auTwi/ a/cvTOTO/xet , KAP. eVepos Se ^aXKevei TIS, o Se . XPE. 6 8e ftpvcroxpei ye, ^pvouov Trapa cro- Xa/?cov, KAP. 6 Se XwTToSvTet ye v^ At', 6 8e TOt^wpv^a, c 165 XPE. 6 Se Kvac^evet y'. KAP. 6 Se ye TrXwet Kw^ta, XPE. 6 Se ^upaoSei^et y'. KAP. 6 Se ye TrcoXet /cpo/x/xva. HA. oi/xot TaXa?, ravri fjC eXav^arev TraXat. 28 ARISTOPHANES' PLUTUS. KAP. /xe'yas e ySacriXtus ov^i 8ia TOVTOV /co//,a; 170 KK\r)(TLa 8' ou^t 8ia TOLTOV yiyverat ; XPE. rt Se' ; ras rpirypeis ou (ru TrX^pots ; eiVe yuot. KAP. TO 5' ev KoptV$a> CVIKOV ov% OVTOS Tpe'A?7S 8' ou^t /aera rov IIa/>t<^t Aov ; 175 $tXei//ios 8' ou>( eve/ca croi) [tvOovs Xeyet; r; ^u/x/x,a^t'a 8' ou 8ta (re rots epa Se Aal's ou 8ta KAP. 6 Tiyao^eou Se Trvpyos XPE. e'/XTreVot ye' 7' Ipcuros KAP. aprtoi/ XPE. ymovcri/cr}? KAP. rpa- yr;/xaTr)cnv ov (DLWTOV OLVTW rov /3iov. HA. eS rot Xe'yea 1 e/xotye (frawearQov irdw 7rXr)v ei/ /xovov Se'Sot/ca. XPE. ^/x-' eyw. IIA. oparc. XPE. /x^ yap, cv TOI)T' tcr^t, Kav 877 ju,' aTro^averv, avros 8ia7rpa^w ravra. KAP. Kav fiovX-'fl y', cyw. XPE. TroXXot 8' Icrovrai ^arepot vwv ^v/x/xa^ot, ocrots 8t/J(ret5 8' toxo? ev rot? dypots avrovs raXatTrcopou/xevous, OTTOOS av i'o-ov eKatrros evravOot vrapwi/ 225 Ty/xtv /xeracr^ roSSe TOT) IlXovrov KAP. Kat 8^ /GaSii^w TOvroSt TO /cpedStov TWI/ IvSo^eV Tt? eicrevey/caTco Xa/3cov. XPE. e/AOt /xeXryo-ei TOVTO y'' dXX' dvuo-ag CTV 8', 0> Kpa.Tl(TT IIXOVT TTCIVTWI/ Sai/LtOVWV, 230 /xT* e/xou Seup' eicnO 1 ' rj yap ot/aa VTIV ^v Set xp^/xaVojv (re 7roi7}o-at /cat StKatw? HA. cxXX' a^o/xat /xev eto-twi/ VT) TOVS '60 AEISTOPHANES PLUTUS. iets OLKLO.V CKCIO-TOT' aXXoTptW TTOLVV 235 dyaOov yap aTreAaw' ovSev avrov rjv juev yap ets ^etSwXov etcreX$cov /cav Tts amov Xa/3etv rt fjiixpov apyupi'Sto^, 240 e^apvos ecrrt /x^S' iSelv juc TrojTrore. ^v 8' a)S 7rapa.7rA//7y' avdpumov etcreA^obv ry^w, Tropvaicrt /cat KvpouTi Trapafte/3X.r)iJivo<; yv/Avbs 6vpa e7reetSoju,vos ws ovSets TrdXiv T' a^aXav, rjviK.' av TOVTOV S /cat rr/v ywaiKa Kat TOI/ wov TOV yaovov, 250 ov eyw ^)tXa> /w,aXt(7Ta yaera ere. IIA. Tret XPE. rt yap oV rts ov^i Trpos i\oi /cat S^orat /cat roO Trovetv epao-rat, IT' eyKOverre, o-7revSe^', w? 6 /catpos ov^t /xeXXetv, 255 dAX' COT' eTr' a^TT^s rJ}? d/c^?, ^ Set Trapoi/r' d/xwetv. XOP. OWKOW opas op/xtu/xeVovs T7/xas TrctXat 7rpo#u/x,a>s, pdcrat itot OTOV \dplV fJL O SeO-TTOT-^? 6 0-OS KKX^/< BevpO. 260 KAP. oi'/cow TraXat S^TTOV Xe'yco; CTV 8' avros O{JK aKOuetg. 6 Seo-TroVtys yap fyrjcriv v/xas ^Se'w? aTravras \j/v\pov yStov Kat Stxr/coXcw ^aetv aTraXXayeVras. XOP. lo-Ttv 8e 8^ rt /cat 7ro6ev TO 7rpay/xa TOV^' o (frrjcrw KAP. e^wv d^tKTa^ 8evpo Trpecrfivrrjv Ttv', w 7rovriOi v 265 rl""*'* "^-""ii / v/i\ :<4\'t^ ' < "k"'' "$,'/" puTrcovTa, Kvpacrov /xot. AEISTOPHANES PLUTUS. 31 877X0!$ yap O.VTOV crcopov ?7Ktv ^pr/^taTcov e^ovTa. KAP. TrpcafivTiKwv fjiev ow KOKCOV e'ycoy' I'^ovTa o-topdi/. 270 XOP. /JLWV allots evaKicras i^u.as dVaXXayr/vat a^rjfJLios, Kat TavT 5 e/xov fiaKTypiav \ovrovcrei TOLOVTOV ets TO, TravTa fjyeicrOe. /x,' eTi/at KOvSev av vojjiifeO' vyt etTreti/; XOP. ws <7jLtvos ovTrtrptTTTos* at Kv-^/xat 8e aov /5owo"ti/ 275 toi) tov, Tas xot'vtKas Kat TCI? TreSas Tro^ovo-at. KAP. cj/ T>J oropw vwt Xa^oi/ TO ypd/x,/xa o~o-u StKa^etv, O"u 8' ov /?a8t^ets ; 6 8e Xaptav TO ^v/JifioXov Si'8a)o~iv. XOP. Stappayet^s. ws /xd^cov et Kat cfrvcret /cdySaXos, oo-Tts pctcrat 8' OUTTW TeVX-^Kas ^jutr 280 [oTOV ^dpiV [A 6 8eO"7rOT7^5 6 O*OS KK\.7]K SevpO'J ot TroXXa /i,o^^r;o-avT5, OUK ovcr^s a 8evp' ^XOo/xev, TroXXcov OvfjLWv pi^as KAP. dXX' OVKCT' av Kpv^aL^i. TOV IIXovTOv yap, an/Spes, ^K( aywv 6 SeCTTrdT^s, os vfjia<; TrXovo^tovs Trot^cret. 285 XOP. OVTCOS yap eWt TrXouo-tots aTraatv ^tv eTvat ; KAP. vry TOVS ^COT;S, Mt8as jU-ev ow, T)V wr' oVov Xa^Te. XOP. dos yoofjiai Kat TepTTO^aat Kat /3ovXo/x,at ^opevcrat KAP. Kat /xr)v eyw ^ovXrJcro/xat ^peTTaveXo TOI/ Kv/cXwTra 290 Kat Toti/ TroSotv wSt aytv. dXX' eta atywv TC Ktva/?pwvTcov p.e\rj, cTreo-Oe. 295 XOP. '^/xets 8e y' av fyjTrjcrofjiev 6peTTa.vf.Xo TOV Kv^XooTra fiXrjxw/AevoL, ere TOVTOV! TrtvoJi/Ta KaTaXa/?dvT?, 7rrjpa.v e^ovTa Xa^avd T' aypta 8poo*epa, KpatTraXcovTa, rjyovfjievov Tots ?rpo^8aTtots, etK^ 8e KaTaoapOevTa TTOV, 300 /aeyav Xa/Jdvre? rjfjifjLevov &<>?] KLGKOV ei ARISTOPHANES' PLUTUS. KAP. eyco Se TVJV KipKyyv ye TT^V ra ^>ap/xa/c' draKVKu>o*av, ^ TOVS eratpovs TO{) 4>tXaWSov TTOT' eV KoptV$a) /u,e/u,ay/xei/ov crKcop ecr^t'civ, avr?) 8' e/xarrev avrots, 305 /xi/x-^o-o/xai Trcivra? rpoTrovs- v/xets Cc ypvAi^ovrcs vn-o XOP. OVKOW o- T>)V Kt'p/cTyv yc T^V TO. ^xx Kat fj.ayyavvov(fav fj.o\vvov(rav re TOUS eraipovs, 310 \aj36vrcv Ttv' aprov /cat Kpeas 320 /xacrai/xevos TO XOITTOV OUTW TO) KOTTO) XOPOY. XPE. ^at'petv yutev v/xa? eo'rtv, oi^Spes apxauov rjBr) Trpoo-ayopevetv Kai aairpov do"7rao/u,ai 8', ortr^ Trpo^v/xws T^/cere Kat o"WTTa/jteV(os KOV Kare/^XaKtv/jieVaJS. 325 8e yu,ot Kat raXXa Kat o-o)T77pes OVTW? rov XOP. tappet- jSXfTTttv yap avrtKpvs So^et? /x' "Apr]. Seivov yap, et rptto^oXov /xei/ etVefca L\WV. 345 BAE. yeyovas 8' dX^^ws, iat /u,i/ ow avTLKa /xaX', ^v ^eo? ^eXy. i/t yap Tts, cvi KiVSwos ev TW Trpay/xaTt. BAE. TTOIO'S Tts ; XPE. otos, BAE. Xey' di/ucras o Tt ^>>/s TTOTC. XPE. i^v joicv KaTop^(oo"(o/xv, eu TrpaTTCtv dei- 350 5^ 8e o-<^aXto/xv, eTrtTCTpt^^at TO TrapaVai/. BAE. TOVTI Trovrjpbv awTai TO (fropriov, KOLL fjC OVK ap(TKi. TO T yap e^at^v^s ayav OVTWS vTrepTrXovrcH/j TO 8' av 8eSoiKerai Trpos di/Spos ov8ev vytes ear' tpyacr/^i/ov. 355 XPE. TTCOS 8' ov8j/ vyie? ; BAE. ct Tt KKXo^f)a>s v^ Alia fKtWev ^/ceis apyvpiov ^ \pvcrLOV Trapa TOV ^eov, KaTretT* io-teXet. XPE. ^AiroXXov a7roTpO7rat, /xa At" eyw /x,cv ov. BAE. Travo-at ^>XvapaJi/, oiya^'' oT8a yap o~aets- ws e/xoC TI KK\O^>OTOS >7Teis /xeTaXa/Jcrv. BAE. tieTaXa/Jeiv ^rw; TIVOS; 370 XPE. TO 8' eCTTtV OV TOtOVTOV, dXX' CTeptOS X O1/ ' BAE. yu,wi/ ov /cexXo^as, dXX' ^pTra/cas; XPE. /caKo8at/i,ovas. BAE. dXX' ovSe /x^i/ aTrecTTep^Kas y' ouSeva; XPE. ou S^T' cyojy'. BAE. w 'HpaKXci?, <^ep, Trot Tts av TpciTroiTo; TaX^^es yap ov/c e$eXei <^>pacrat 375 XPE. Ka-nyyopets yap Trpiv (AaOtiv TO Trpay/ta /txov. BAE. w TCXV, cyco TOI TOT' a7rb o"/xiKpov Travv e$cXu) SiaTrpa^at ?rptv TrvOtvOai rrjv TroXtv, TO CTTO/X,' eTTt/Jva-as Kcp/xaatv TO>V pr)r6ptXov. 385 XPE. OVK, w KttKoSat/xov, dXXa TOVS XP^O-TOI>S /xovovs eycoye Kat TOVS Serious Kat aw^povas t 7rXouTr}crat Troirjcra). BAE. Tt crv Xtycts / Trdvv TroXXa KC f KXo^)as; XPE. oi/xot TWV KaKwi/, BAE. cri; /xev o^i/ o"eai)TOV, IIXo;TOv ; Trotov ; XPE. avTov TOV ^ov. BAE. Kat TTOV' o-Ttv; XPE. eVSov. BAE. TTOV; XPE. Trap' juot. BAE. Trapa o*ot; XPE. irdvv. BAE. OVK cs KopaKas; IIXoTJTOs Trapa o-ot ; XPE. vr) TOVS Ocovs. BAE. Xe'ycts 0X1;^ ; XPE. ^q/u. BAE. Trpos T^S 'Eo-Ttas ; 395 XPE. v^ TOV Iloo-etSw. BAE. TOV 0aXaTTtov Xeyets; XPE. ct 8' eo-Ttv eTepo's TIS Iloo-etSwv, TOV erepov. AKISTOPHANES' PLUTUS. 35 etr' ov 8ia7re/A7rei5 KOL Trpos ^uas TOVS . BAE. rt $175; ov TW /xeTaSovVat ; XPE. jua Ata. Sei yap TrpWTa BAE. Tt; 400 XPE. ySXei/fat Troi^am vw. BAE. rtVa /5Xe^at; pdcrov. XPE. 7W IIXOVTOV COS TO TTpOTCpOV Vi ye TO) TpOTTO). BAE. rutb TTOtTyCTO) T7^/XpOV SoWttl di/0' wv e/xe ^retrov ev^eVS' d BAE. ap' COTll> 17 KttTT^XtS l^/C TCOV yCtTOI/0)!/, 435 ^ rats KorvAais det /xe SiaXv/xatVerat ; HEN. Ilevta /txev ow, ^ orfy&v ^WOIKCO TroAA' eny. BAE. ai/a^ "ATroXXov /cat ^eot, Trot Tts \)yrj ; XPE. OVTOS, rt Spa? ; a> SciXorarov o"v Orjpiov, ovTrapa/xevets; BAE. ^Kio-ra Travrcov. XPE. ov /w,cvts;440 aAA.' avSpe 8vo ywat/ca ^>evyo^u,i/ yatav ; BAE. Ilevi'a yap ecrrtv, w 7rovrjp\ rjs ov8a/x,oC ovScv 7reiaTOi/, w Ka^ap/xarc, CTT' avro^wpa) Seii/a Spoivr' etA^/x/xevco; 455 XPE. v e$eX(o Sowat Xoyov TO TrpajTOV auro{)' Kai/ /xev a.7ro^)^va) /AoV^v coi/ aTravrwv ovcrav atrtav e/xe jW,e re oWas v/xas- et 8e yu,^, 470 Troierov ^S^ rovO' o TI av 'u/xtv BOKYJ. XPE. Taurl povwv. XPE. Tt S^TCX crot TifJirj/jC eVtypa^w T^ OLKy, 480 cav dXa)s; HEN. o rt crot SoKet. XPE. KaXws Xeyets. IIEN. TO yap avT, lav ^TTacr^e, Kat cr(a> Set TraOcZv. XPE. iKavovs vofJLL&is S^ra ^avaTovs etKocrtv ; BAE. ravrr] ye- vwv Se Sv' a7ro^p>Jo-oi;oriv fjiovw. HEN. OVK av 0avoirov TOVTO TrpaTTOvr'' ^ Tt yap 485 e^ot Tts OLV StKatov di/retTrerj/ Ti; XOP. dXX' rj^rj XP*1 V Tt Xeyetv v/xas cro^>ov w vtK^creTe ev Toto-t Xoyots di/TtXeyoi/Tes' /mXaKov S' ei/Scucrere XPE. S rows ayaOoiis rwv avOpwTrwv , flao'it'irai KOVK OLTTO- AeiV", 495 TOV? 8e 7rov>7pou5 KOL Tovs d#eous ^p-', t Travcrai TaOr' a/x^Aci^as TTO^' o nAovros, 505 68oi> ^ TIS iwj/ rot? cxv^pcoTrois ayoi^' av fi.i^/x' ai> or<^wi/. ci yap 6 IIAoirros /?Aci^ie TraAtv Stavci/xeteV T' tcrov avrov, 510 ovSet's* a/x^>otv 8' v/xtV rovrotv d$>q.viv6iv Tts ^aAKevetv ^ vavTr^ycrv ^ p'aTrreiv -^ rp ^ o-kvTOToyu,av 17 TrAtv^oupycTv ^ TrAui/etv 17 (TKv ^ y^5 aporpois p^as SaTreSov K o-aa-Oai, 515 >}v e^ ^v apyotg ty/Iv TOTJTO>V TTCXVTWV a'/xeAovcriv ; XPE. A^pov Ar;p?9. ravra yap T^/xtv TrdvO' ova vvv 8r) /car- ot 6c.pa.irov TCS JJ.OX@YJ(TOV /?ovXo- yw,o/os Tts 520 />t7ropos ^KWV CK CTTaXtas ?rap' aVioTiov a HEN. aXX' ovS' forai TrpcuTOV ctTravTcov ovSets ov8' ai Kara TOV Xoyov oi/ o~u Ae'yeig S^TTOU. Tts yap Trepi TS OKTT' avros dpoi5' 7ravayKacr^crs Kat oxaTrreu' raXXa TC poxOew 525 oSwrjpOTCpOV TpCl/'CtS jSt'oTOV TToXv TOV VVV. XPE. CS K- a.\rjv crot. ETEN. ere 8' ov^ !$ ovr' ev K\LVT) KaraBapOfLV ov yap etrovrat* ; V ) 5> ' / % t-V 1 ^- 1 -^^/] x / / oirr ei> oafrurtv" Tts yap v^ati/etv efleX^crei ^pvcrtov ovrog; OVT6 juvpoiatv /avpicrat (rraKTot?, OTrorav vvfjLrjv aya- OV^' IfJiOLTLW fiaTTTUV SttTTai/tttS KOtT/X^CTat TTOtKlXo/XOp- <#>o)v. 530 Katrot Ti TrXeov TrXovrav carat TOVTCOV TrdvTwv aVopov^ra; Trap' e/>tov 8' COTIV ravr' evTropa TTO.V& vfuv &v BeL eyw yap TOV xetpOTCXV-tyv ^ (77r P Se'oTTToiv' CTravayKa^ovcra Ka 8ta TT)V xpeiav KOLL rrjv Tren'av ^TeTT/ OTTO^CV ^Stov e^et. X PE. o~v yap dv Tropicrai Tt 8vi/at' ayaQw, TrX^v a\r)v aVtw e7reyet'povo-at Kat <^>pa^ovo-at, Tretv^cret?, aXX' 7ravtopfjibv e^eiv dim Tcnn/Tos craTrpoV dvTt Se 7rpoo-K- aXr)V Kareayoro?, dvrt Se paK-'fo**^' rpas 545 irXtvpav epfKiryvlav KOL Tavryv. apd ye Tr ayaOuv Tracriv rots ai/$poo7rois d.7ro^)atvw cr' atrtov oScrav; TEEN. o"i> /xV ov TOV e/xoi/ yStov etp^Ka?, TOV TOJV TTTW^CUI/ 8' {>TT- XPE. OUKOW ST^TTOU T^S Trrw^etas Trevi'av <^)a^u,ev *vat d,8eX<^>ryi/. HEN. V[Ai}v ecrrtv /X7y8ev e^ovra* TOU 8e TreVvyros ^^ <^>etSo/xei/ov Kat TO?? epyots Trepiytyi/ecr^at 8' aurw /x^oeV, /x^ /xei/rot /x>;8' XPE. ws fjLa.KapiTr)v, poo-vvr)s 1787; roivw Trcpavco o-y/xa) TToXe/xoOo-tv. 570 XPE. <1A.A' ov ij/.v&ei TOVTIDV y ot'SeV, KatVep cr^o'Spa (3dcrKavopovovvTas ap terra avroTs. ovro) Siayiyvaicr/ceiv ^aAevrov 7rpay/x' ecrrt St/catov. XPE. TOV Ata ^crets ap' OUK op^to? Staytyvcoo-Ketv TO /cctKetvos yap TOI/ TrAoOToy e'^et. BAE. Tairnyv 8' T7/ 7re'yu.7m. 580 HEN. aAA' w KpoviKats A^/xats ovroos A^/xwi/Tes TO.S , 6 Zei)? 8^7rot) Tre'verai, Kat TOI)T' r/S7y (^avepais o~e 8t^a^(o. t yap eTrAovTCt, TTCOS at/ Trotwv TOI/ 'OAv/xTrtKOi/ avro? aywi/a, fva TOI)S "EAA^vas aVai/ras aet 8t' eVovs TTC^TTTOV vva- ye/pet, TWV dorK7]T6cLpov KOL fjirj ypvfyjs Tt /AT/S' OTtOVV. ov yap TreiVcts, ovS' ^i/ TretV^s. 600 HEN. a> TrdXts "Apyovs, K\vc^' ota Aeyei. XPE. Ilavo-wva KaXet TOV VO-O-ITOV. IIEN. TI' TrdOta TXry/xcuv ; XPE. epp' es KopaKas Oarrov d<^>' ^/x,wv. HEN. 7/xt 8c Trot y^?; 605 XPE. S TOV KV^>0)v'* d\X' OV /X,eAAV ^p?J o"', dAA' dvvciv. IIEN. ^ /x^v v/xcts y* m /x' ivrcnvOoi XPE. TO'TC voo-rr;o-cts' vvv 8e 0eipov. 610 KpCLTTOV ydp (J.OL 7T\OVTLV CCTTtV, O"e 8' eai^ KAaetv p.a/cpa Tryi' Ke^>aAr^v. BAE. v^| At" eyw yow e^e'Aw TrAovToiv evw^eto-^at /XCTOI TOJV Trat'Sooi/ T^9 T yvvatKo?, /cat Aovcra/xci/os 615 AiTrapos ^wpwv CK /JaAavct'ov TWV XtpOT^VCOV Kat T^S Ilevtas KaraTrapSetv. XPE. aim? A 1 ^ ^M^ fjirvrpiirros ot^erat. eyw ^e Kat o-v y' ws ra^to-Ta TOI/ ^eov 620 5 aycoyaev ets Acr/cA^/rtov. ARISTOPHANES' PLUTCJS. 43 BAE. /cat fjJr] $taTpt'/3o>p;ev y, //./) TraAtv Tt5 a* eA0o)v SiaKoAvV^ Tt TIOV Trpovpyov Trotetv. XPE. TraT KaptW, TO, o-Tpco/xaT 5 e/c^epetv cr' e^p^, avrov T' ayetv TOV IIAouTOv, 005 vofJLifcerai. 625 Kat TaAA' ocr' CCTTIV evSov 6VTp7rio-/>teva. XOPOY. KAP. o) TrAeto'Ta 770-61015 /xe/vtvo-TiAiyjuevot yepovT5 av8(05 CTT' oAiytcrTOt5 dA5 evrv^ew', 0)5 /u,afcapto)5 TreTrpayaTe, aAAot V OO"Ot5 jUTO"Tt TOV ^pTJCTTOV TpOTTOU. 630 XOP. Tt S' O"Ttv o> )8eATicrTe TCOV o-avTov L\ep' oti/ov, w SCO-TTOIV', Tva KavT^ Tries' ^>tAas Se Spcucr' avro cr^o^pa* 645^ o)5 dya^a o"vAA^/?^i/ aTravra crot a.\r]V. KAP. ya^ Ttev ru^Aos, 665 KAeVrwv 8e TOVS ySAeVovras trepot' re TroAAot TravroSaTra 8e TOI>? AV^VODS TrapT^yyetA' ey/ca^euSetv TOV ^eo9 6 TrpoTroAos, etTrcov, ^i/ TIS aicrOrjTai \j/6' ^v eTre^u/xow Scu/xon'oos e^epTru'crai. 675 CTTCIT' dvaySAe'i^as 6pa> TOV lepea TOVS ^)^ots a oSa eA.a^Soja>yv, w? Trapetas ooi/ o^ts. 690^ 17 8' i!$e'a>s T-^r KareKCtro 8' avryv e TOT' -^S^ T^S aOdpas iro\X.r)v e< ' 7rei8^ /XCCTTOS ^v, ave7raAAo/x7yi/. 695 TY. 6 8e ^eos ^tv' ov Trpoaryeiv ; KAP. o^ 8cto"a5, eKetvos 8' cv KVKAw ra vocr?^(x,aTa CTKOTTWJ/ Trept^et TTOLVTU KOO'/xtws TTOLVV. Trats aiirw At^tvoi/ Ovd^iov 710 Kat SotSu/ca Kat ^TTtw, 720 Tov TO /3Ae^>ap' e/co-Tpei//ag, t^a jjiaXXov. 6 8e /ce/cpayws Kat /3oa>v - o 8e $eos yeAacras e^>^- ' /w KaOrjcro KaTa7T7rAao-/xevos, tv' iTTOfJLVv/Jievov Travcra) o~e T-^S eKKA^o-ias. 725 FY. cog <^)tAo7roAts Tts eo-^' 6 Saifjuav Kat KAP. p;Ta TOWTO T(3 Kat 7rpa>Ta /xev 8?) KaOapbv r}/ 46 ARISTOPHANES' PLUTUS. TO. pXtyapa TrepU\frr] V7repvcl<; TO /ueyetfos. FY. ai <^)tXot ^eot. EIAP. TOVTW 8' V7TO T^V ^)OtVlKtS' VTToSw^' ^0"^^ 735 Ta /3Xe^>apa TrepteXei^ov, ws y' Kai TrpiV o-c KonJAas IKTTLGLV oivov 6 TIXo^TO?, O) 8O"7TOtv', dveO"T^Kt eyw 8e TW X 6 ^/ 3 ' aveKporr/o-' v<' 17807^5, TOV ^CCTTTOT^V T' rjyeipov. 6 ^eos ^' cu^ecos 740 rjffra.vLcrev O.VTOV ot T' o^>6S et? TOV vcwv. ot 8' ty/ 8' ITTYJVOVV TOV $eov Travu o-<^>o8pa, 745 OTt /JXeVeiV 7TOL1f](T TOV IIXoi)TOV Ttt^V, TOV 8e NeoKXet8>;v /xaXXov cTrot'^o'ev rv\ov. TY. oo-^v c^eis T??V 8i)va/xtv, w^a^ 8eo-7roTa. aTap pdaov /xoi, TTOV V^' 6 IlXovros; KAP. ep)(Tai. dXX' ^v Trepl awov o^Xos V7rep(f>vr]pv) Tr)i> 'EKoVr/v, Kayw 8' dvaS^crat fiovXofMt, evayyeXtd (re Kpt/3ava>Tepe vw tower' eto-w KO/xtVa) Kara^vcr/xaTa wcr^-cp vecov^TOto-tv o^^aX/Aot? eyaj. KAP. eya) 8' airavrfja-ai y e/cetVois ^3ovXo^at. 770 XOPOY. IIA. Kat 7rpo ye Trpwra /xev TOV "HXiov, aefjivys IIaXXaos KXecvov Tre'Sov, T Tracrav KeKpOTros, ^ /x' eSe^aro. atcr^wo/xat 8e ras ^avrov (rv/Jivyov, ctSws ovSev w rX^/x,wj/ lyai. ws OVT' e/cetj/' dp' ovre ravr' op^ws eSpcov dXX' avra iravra TrdXtv dvacrrpei^as eya) TO XOITTOV Tracrtv dv^pcoTroi? ort 780 e/xavTov rots Trovrjpols 7re8t^ow. XPE. /2dXX' Is KopaKas- ws ^aXcTrov etcrtv ot <^tXoe ot ^>aivo/xei/ot Trapa^p^/x,' orav Trpdrriy rtg v. VVTTOVCTI yap Kat ^>Xcocrt TdvTtKvry/xta, IvSctKvv/xevos e/cacrTO? ewotdi/ nva. 785 e/xe yap Tts o^u TTpoaeiTTf. ; TroTos OUK o^Xos TrepietrTe^dvwo-cv ev dyopa 7rpe(7j8uTt/co ; PY. ai ^tXrar' dv8pa>v, Kat crv Kat o"i> ^atpere. <^>epe vw, vd/xos yap ecrrt, TO, KaTa^ya-para TOLVTL Kara^eco crou Xafiovaa. IIA. //.^Sa/iais. 790 e/xov yap etatovTO? ets TT)V otKtav n-pwrtCTTa Kat j8Xei^avro5 ovSev e TrpevroiSes eo-rtv, dXXa /xaXXoj/ et 48 ARISTOPHANES* PLUTUS. FY. fir ov\i 8eet SrJTa ra Kara^vo-/xaTa ; HA. i/Sov ye Trapa Trp ecrrtav, wo-Trep vo/xos' 795 7retra Kat rot' <^>oprov eK^vyoiyaev av. ov yap TrpeTTwSes ecrrt TU> 8iSao-KaXa) iCT^aSta Kat TpcoyaXia rots 7rpofla\6vT\ CTTI TOVTOI? e?r' PY, cv Traj^u Aeyas* w? Ae^tViKos y' ourocrt 800 ws apTracro/xevos ras XOPOY. KAP. ws ^8u Trparmv, wvSpes, car' Kat ravra /x-^Sev e^evcy/covr' rjf/tv yap aya$(oi> crwpos ets T^V OLKLOV 7reicr7r7rat/cv ovSev ^St/c^Kocrtv. 805 [OVTW TO TrXovTetv ecrTiv i^Su Trpay/jia Sry.]) ^ )u.v cmrvri //.ecmy Vrt XCVKCOV dX^trcov, ot 8' d^u,^)op^s otrov /xeXavos dv^ocr/xtov. aVavra 8' ^iv dpyuptov /peap 8' eXatov /xecrroi/' at 8e X^KV^OI 810 jjuvpov ye/x,ov(Tt, TO 8' VTre o^is 8e Tracra. /cat XoTrdStov Kat ye'yove- TOVS 8e TTtvaKicrKOiis TOVS o"a?rpou9 l\0wr)pov<; dpyvpoi)? Trdpeo"^' opav. 6 ^' ITTI/OS yeyoi/' ^/xtv e^aTrtV^? eXe^ai/Ttvos. 815 8' ot OepaTrovres d 6 8eo-7roT^9 /xev vv Kat rpdyov KCU Kpiov 7p TrpOTepov />ti/ d'$Xios, vw 8' cvrv^g. 825 ARISTOPHANES' PLUTUS. 49 KAP. 8?}AOV OTI TtOV XpTyOTCOV TIS, U)5 OlKdS, ?. AIK. /xaAtoV. KAP. 7retra TOV Sect; AIK. Trpos TOV $ov ?7Kv atnos. tyw yap tKav^jv avcriav Trapa TOV Trarpo? Aa/?u>v tirrjpKovv rots 8eo//,evots TWV epei /xcTa o-oi) TO TraiScxpiov TOVTI ; tfrpdcrov. AIK. Kat TOVT' dva^^o'cov Ip^Ojaat Trpos TOV 0cov. KAP. ju-wv evjJLvr)6't] ^eaJ v. ^YK. ot/x,ot KaKo8at)u,(ov, ws aTroAwAa 8etAatos, 850 Kat Tpts KaKoSatfUov Kat TTpaKts Kat TTCVTCIKIS Kat SwSeKaKts Kat jUvptaKts* tov tov. O^TW TroAv^>opa) crvyKeKpa/xat ^at/xovt. KAP. "ATroAAov aTroTpoTratc Kat ^eot }S otKtas Sttt TOV ^COV TOVTOV, TOV O"OjUVOV TV(f>\OV D 50 ARISTOPHANES' PLUTUS. TraXtv a*0ts, r/i/Trep prj 'XXt^wcrtv at Si/cat; AIK. eycb o-;(eSov TO Trpay/xa ytyva>o-/opoi yap Trpiajotevos TOV SaKTvXtov rovSt Trap' Eu8r;/xoi; 8pa^/x^s. KAP. dXX' ou/c IVCO-TI crvKorjxivTov 8^y/>XTO$. 885 ^YK. ap' ot>^ v/3piiAo7ToAt5 Trao-^w Ka/cais. 900 AIK. crv <^)tXo7roXis Kat xp>7' ^YK. a>? ovScis y' dvryp. AIK. /cai yar/v eTrepwr^eis a-TTOKpivai /xot, 2YK. TO rt; AIK. yeojpyo? et; 2YK. /xeAay^oAai/ yu,' OVTWS otei; AIK. aAA' e/>wropo5 ; 2YK. vat, ff/c^Trro/xat' y', orav TV^W. AIK. rt 8at ; re^v^v TIV' e/aa^es ; SYK. ov /xa TOV Ata. 905 AIK. 7TCOS OW 8t^S ^ TToOfV fJtffiikv TTOtOJV ; SYK. TWV T^S TroAew? ct/x,' iTLfjLf\rfT7)<; Trpay/xartov /cat TOJI/ t^tW TrdvTwv. AIK. CTV; rt/xa^wj/; 5YK. /?ov- Ao/>iai. AIK. TTwg ow av eti^s Xp^fTTos, w rot^wpv^e, et (7OI TTpOCTTJKOV [JLyStV eTr' OLTTf^OdveL ; 910 2YK. ov yap Trpoo^/cei T^V e/xavrov /xot TroAtv evepyerctv, w /ceV^e, /ca^' 6Vov ai/ crOcvw ; AIK. cuepyeTetv ow eo*rt TO TroXvTrpayfJLOveiv ; SYK. TO /AI/ OVV fiorjOcW TOtS VO/XOtS TOtS KCI/XCJ/OIS Kat yu/j) VtTpeTreti' eav TIS e^a/xapTaioy. 915 AIK. OVKOVV StKaCTTttS ^7TtT^8eS ^ TToAl? ap^etv KaOurrqa'W ; ]SYK. /caT^yopet Se 719 ; AIK. 6 j3ov\6(Jivo. 52 ARISTOPHANES' PLTJTUS. AIK. ovS' av jaeTa/xa^ois ; 2YK. ovS' av i Soir;? ye /u.ot TOV nXoVTOI/ aVTOV KCU TO BttTTOV CTlX.. KAP. 01)705, o-ot Xeyei. AIK. e7m0' uTToX-uo-at. KAP. ravra TTO.VTO. o-ol Xeyei. 5YK. KCU /x^i/ Trpoo-eX^erw Trpbs e/u,' v/xcov ei/^aSt o /?ovA.o/xei/O5. KAP. OUKOW e/cetvos ei/x' eyw. SYK. ot/xot raXas, a7ro8vo/xat /xe^' TjfJitpav. 930^ KAP. ai; yap d^iot? TaAAorpia TT/OCXTTWI/ tc ^YK. opas a Troter; raur' eyw AIK. aXX' ot^Tat <^>vya)v oV ]YK. ot/xoi TTcpiciAr^/x/xat /txovos. KAP. vvi/t ^Soa5 ; ^YK. ot/xot /xaX' av^ts. KAP. 809 av /xoi TO Tpt/?aWoi/, 935 tv' a^a^iecrw ror o~VKOa.vT'r)v TOVTOVL. AIK. /w,^ 87}^'' tepoi/ yap ecrrt rot) IlXovrou TraAai. KAP. 7Ttra TTOI) KaAXiov o.va.T^Orjo'f.raL 7] Trept TTOvrjpov avSpa /cat roi^tapv^ov ; IIXo^Tov 8e KOQ-fJielv t/xartots cre/x,vots irpeirei. 940 AIK. rots 8' e/x/?a8tot5 rt ^p7ycrTat TIS ; eiTre /xot. KAP. ica! ravra Trpos TO /xeVaJTrov avTi'/ca 8ry ^taXa KOTlVa) TTpOCTTTaTTaXcVCTW TOVTWt. yiyvwcrKW yap ^TTCOV tov ?roXv eav 8e avtvyov Xd^w TWO. 945 Kat crvKtvoi/, TOI)TOV TW io-\vpov eyw 7Totr;orco rrj^epov 8 bn-fj KaTaXvet Trept^avw? ets w TT^V orjiAOKpartav, ovre rrjv ftovXyv TnOwv rr]v TWV TroXtToiv OVTC T^V f.KKXr)o-iav. 950 AIK. /cat /XT)I/ 7TtS^ TT/V TravoTrXtav T , is TO ^aXavetov ' CKCI KOpv^>aios IO-T^KWS Oepov. Kayw yap el^ov T^V a-rdo-iv TavTrjv TTOTC. KAP. dXX' 6 /3aXavevs eX^et OvpaZ,' avroy XaySwv. 955 ' iva iroo-ur rov ARISTOPHANES' PLTJTUS. 53 XOPOY. PP. ap', S) cpt'Xot yepovTS, CTTI rrjv ot/ctav dc/>ty/x,0' OVTWS TOV veov TOVTOV 0eov, 960 * A o, ~ \ , e ifj Trj/)6 vvv eyw TCOV evSo^ev KaXeVw riva. XPE. /x^ S^r'' cyw yap avros e^cA^X^^a. 965 dXX' o rt /jtcxXtcrr' eX^Xi)0as Xcyeiv ' 01; yap 6 ^eos OVTOS r/p^aro d/3iWov etvat /x,ot TTCTTOI^KC TOV /3tov. XPE. Tt 8' ecrrtv ; ^ TTOV /cat Se /caTaKeKvto"/xat SetXa/cpa. XPE. ov/cow epets dvvo-ao*a TOV KVICT/XOV TtVa; TP. aKove vvv. ^v /xot Tt /xctpd/ctov c/>tXov, 975 Trcvt^pov /xei/, a'XXws o' 6V7rpoo"(07rov /cat /caXov Kat "xpr)(rTdv et yap TOI> B^rjSeLfjv tyw, aTravT 5 eTTOiet KOCT/XICOS /uot Kat /caXtos* lyw 8' /cetVo) TTCIVT' av avOvTryperovv. XPE. Tt 8' ^v o 7t o-ov /u,aXto*T' eSct^' e/cao-TOTe; 980 FP. ov TroXXa- Kat yap e/O'O/Atws /x' dXX' dpyvpiov Spa^jutas av ets t/xaTtov, OKTW 8' av ets vT Kat Tats aSeX<^>at< ayopao~at av, T>J f^YjTpi. 0' t//,aTt8tov 985 T' av e8e>J^ yu.eStp:v(ov TCTTapwv. XPE. ov TroXXa TOtVvv jtux TOV 'ATroXXco TavTa yc eip^Kas, aXXa 8^Xov 6Vt TP. Kttt TttVTa TOtVVV OV I/6KV 54 ARISTOPHANES' PLUTUS. alrelv //,' ' <2 T' Ktcre jur;8eVoT /x' eA0tv Irt, 1000 Kal rrpos CTTI TOVTOI? etTrcv aTTOTre/XTrwv on TraXat TTOT' ^crav aA/ct/xot XPE. &}AOV OTt TOVS TpOTTOU? TIS OV CTTClTtt TrXoVTOJV OU/<^' TTpO TOV 8' V7TO T^S 7TVtaS ttVaVT' 7TlJo-^tl/. 1005 PP. Kat /x^v Trpo TOV y' ooTy/xcpai vr) TW 6ew 7Tt T^I/ Ovpav e/?a8t^v del T^ e//7jv. XPE. CTT' Kopai/; PP. /xa Ai", dXXa r^s ^xoi/ epaiv aKOVQ-at. XPE. TOV \aj3elv [J.ev ovv PP. KOI v>) At' ct XvTrov/xcV^v caorOoLro /xc 1010 vrjrrdpLOV av /cat fidnov v XPE. ITTCIT' to"cos rJTuja-' av cts PP. /xvorr/pi'ois TOIS /xeydXoto-t i/^ Ata CTTI T^S d/xd^s OTt Trpoo-e/JXe^eV /* TIS, eTVTTTO/XTyv Sto. TOV0' oXryv T^V r)/JLpa.v. 1015 OVTOJ o-oSpa ^XOTVTTOS 6 i/eavifTKOS ^f . XPE. /xovos yap ^8e^', a>s eoiKev, eo-^tW. TP. Kal Tas ye ^etpas TrayKaXas X tv A 1 ' < / )1 ? > XPE. OTTOTC TrpoTCtvotei/ ye 8pa^/xas ctKOcrtv. TP. o^etv T T^5 xpoas e<^ao-Kev ^Sv yaov, 1020 XPE. ct dcrtov ei/exeis, CIKO'TOJS ye v^| Ata. PP. TO /3Xe'/x/>ia ^' ws e^oi/xt jtxaXaKov Kat KaXov. ARISTOPHANES' PLUTUS. 55 ravr' ovv 6 fleds, o> 0t'X' avep, OVK op$a>s Troiet, 1025 ffxi) Ata TOV ev 7ra#6V$' VTT' e/xov TrdXtv yu,' di/r' ev TTOICCV 17 /xvy8' ortovv ayaOov Sucaios ecrr' ex ll/ - 1030 XPE. opOws ye- vw Se or' OUKCTI ^}v oterat. FP. VTTO TOI) yap aAyons KarareTrjK, w ^tX XPE. OVK, dX\a KaracrtorrjTras, dvov<; ye rot Kat Sa8' e^wv TroptveTai. NEA. ao-7rao/xai. XPE. o-e (f>r)(TLv. NEA. dp^ata <^iX7y, TToXta yeyeV^crat ra^v ye 1/77 ror ovpavov. TP. TaXatv' eyw r^s ^peos ^s v/3pt'o/u.ai. XPE. eoiKe 8ta TToXXov ^povou o"' eopaKeVai. 1045 FP. TTOLOV ^pdi/ov, TaXdvra^', 05 Trap' e/xot X^ S ^ v ^' XPE. Tovi^avrtov TreVov^e rots TroXXots apa- fAcOvdiv yap, ws eot/cev, o^vrepov fiXlirei. TP. OVK, dXX' aKoXao-rds ecrriv act TOUS rpoTrovg. NEA. w IIovTOTrdo-etSov Kat ^eot 7rpeo"^3fTtKot, 1050 ev T<3 TrpocrwTra) TCUV pvrt^wv ocras e^et. rp. s 5, T7)i> 8a8a /xry /xot 7rpdo"^)ep'. XPE. ev /w-eVrot Xeyet. eav yap avrrjv ets /xdvos (nnvQrjp Xa/3ry, wo-Trep TraXatav eipeo"t(ov^v Kavo-erat. NEA. /?ovXet 8ta ^pdvov Trpd? jae Tratcrat; PP. Trot, raXav; NEA. avrov, \a/3ov(ra Kapva. TP. TraiSiav TtVa ; 1056 NEA. TTOO-OVS e^ets oSdv'Tas. XPE. dXXa yvwcro/xat 56 ARISTOPHANES' PLUTUS. /cay toy'' e^ei yap Tpets tcrw? 17 NEA. aTTOTKTOV era yap yo/x7yopet ye o-ou. NEA. rt XPE. etvat o-' v/3prr^v ^cri Kat Xtyctv on TTciXat TTOT' ^o~av aXKt/xot MiX>;o-tot. 107 NEA. eyw Trept TOLVTiqs ov /xa^ovyutat croi. XPE. TO rt; NEA. ai(r\vv6fjitvo<; rrjv ^Xi/ciav T^/V O-T^V, CTTCI OVK av TTOT' aXXw TOVT' tTreTpei^' eya) vvv 8' aTnOi ^aipoov o~uX\a^8a>v Tr/v dXX' t(7i^' eto-w T ^eo) yap eX^ajv dva$etrai TOU? Q-TC^CXVOTJS Toi;cr8' ovs ex^- PP. eyw 8e' y' avTW /cat <^pdo-at Tt /3ov\o/JiaL. 109 NEA. eyw Se' y' ot>/c eto-ei/xt. XPE. tappet, yu,^ c/>o/3ov. ov yap j8tdo-Tai. NEA. 7rdVi> KaXaJs TOWW Xe'yeis. PP. /3aSt'' eyoj 8e O-OD /caTOTrtv eio-ep^o/m 1 - XPE. ws evTovcos, w ZeC /3ao-iXev, TO ypaStov 1095 XeTras T<5 /xetpa/cta) XOPOY. KAP. Tts ecr^' 6 KOTTTCOV T^V 6vpav ; TOVTI Tt ^v; owSets eot/cev dXXa S^Ta TO Qvpiov (frOcyyo/Jifvov aXXw? KXafata. EPM. o~e TOI Xeyw, a> Kaptwv, dvctjotetvov. KAP. O^TO?, etTre /xoi, 1100 crv ARISTOPHANES' PLUTUS. 57 EPM. fjia At", dXX' e/x,eXXov ir' dvea)ds /xe <$acras. dXX' CKKCtXet TOV S7V eVciTa Tryv yuvcuKa /cat TO, 7retra TOVS ^epaVovTas, etra TT)I/ icvva, 1105 7retTa o~avToV, etra T^V w. KAP. etTre /xoi, rt 8' IO-TIV ; EPM. 6 Zet;?, w 7rov>;pe, /SovAerat es rairrov v/xa? crtyKVK^cras rpvj3\LOv a7raa.7ravTas ts TO fldpaOpov e/x/SaXctv. KAP. l) yXcOTTtt TO) KYJpVKL TOVTWV yLyVCTCLl. 1110 arap 8ia TI 8^ TO.VT evrt^ovXevet ^aas ; EPM. OTLTJ Setvorara etpyacr^'. d^>' ov yap r/p^ar' 6 nXorros, ovSets ov Xt/?ava>rov, ov &dvr)v, ov ij/aLcrTov, ov% lepetov, OI>K aXX' o^Se cv 1115 T^/xtv Irt ^vet rot? Oeois, KAP. ^u,a At", o^Se ye Ovcrci. KaKws yap eTre/xcXcta'^' ^yacuv TOTC. EPM. Kat Ttov /xev aXXcov /JLOL Oeuv rjrrov /xeXct, eyw 8' (XTroXwXa KaTriTerpi^at. KAP. oxix^povcTs. EPM. Trporepov yap eT^oi/ /xcv Trapa rats KaTT^Xtcrtv 1120 TTCII/T' dyaO' ew^ev eri0vs, otvowrav, //.eXi, tcr^aSa?, ocr' CIKOS etrriv 'Ep/x^v ecr^tetv vwt 8e Trf ti/wv avafidSrjv d KAP. OVKOW 8iKat(ji)s, 6'6dvoiyu,ets eVSov. KAP. dAA' OVK e/opd. EPM. /cat /xr)v OTTOTC TI crK.eva.piov TOV Secnrorov v^eXot'j tyoj cr' aj/ Aav^avctv CTTOIOVV dci'. 1140 KAP. (' i;A.r/v Ka dAAa ^wot/coy Trpos 6tu>v S^ao~0e. KAP. CTretr' aTroAiTrobv TOVS ^cous ZvOdce EPM. ra yap Trap' w^av eart /JeATtw TroAi;. KAP. TI 8e; rauro/xoAetv d(rTtov eTvat trot SOKCI; 1150 EPM. Trarpts yap CCTTI Tracr' a/' av Trpdrrrj TIS e^. KAP. rt S^r' av etrys o^>eAos ^/xti/ ivdac) o>v ; EPM. Trapa T^V Ovpav crrpof^fuov iopvcrao-Ot tee. KAP. arpoa)V. EPM. dAA' e/XTToAatov. KAP. aAAa 7rAovroi)/xei/* TI ow 1155 'Ep/x^v TraAiy/caTTTyAov ^/xa? Set rpe^eiv ; EPM. aAAa SoAiov TOLVVV. KAP. coAtov ; ^Ktcrrd ye- ou yap SoAor vuv epyov, aAA' aTrAojv rpoVcov. EPM. aAA' f]y[j.6vLov. KAP. aAA' 6 $eos ^Sry /?AeVet, axr$' rjyfj.6vo j3e\.Ti' ov yap 6 IIAovros OVTOS r/paro /SAcTretv, aTToAwA' VTTO Xifjiov. Kara^ayetv yap OVK 4'^co Kat ravra TOV crcor^pos tepcvs cov Atos. 1175 XPE. ^ 8' ama rt? ecrni^, ai Trpos TO>I/ 6/ecuv; IEP. ^ueiv CT' o^Sct? d^tot. XPE. rtVo? oweKa; IEP. on Trai/res ctcrt TrAovcrtoi' KCUTOI Tore, or' eT^ov o^Sev, 6 ^u-ev av ^KCDV c/xTropos ZQvcrev tepetw TI crco^ct's, 6 Se Tts av 1180 d,7ro<^)vya)v 6 8' av e/caAAteperTO TIS, e y' eKocAet TOV lepea* vw 8' ou^e el? $u'ei TO Trapdirav oi>8eV, ou8' eurep^CTai. TOV ow Ata TOV crutTrjpa KO.VTOS /xot SOKOJ XPE. tappet- KaAws O~Tat yap, ^v $os 6 Zei'S 6 OXDTT/P yap Trdpeo-Ttv ei/^aSe, avTo/xaTos eXOwv. IEP. TTOIVT' dya^a roivw Aeyeis. 1190 XPE. i8pvcr6fji(.0' ovv avTLKa /x-dA', dAAa TOV IIAoCTOV, OVTTCp TTpOTfpOV ?)V TW 07Ticr^o8o/xov del vXa.TT(t)v Trjs deov. d\A' eK8oTco Tts Sei)po 8aSas ^/-t/xeVas, iV e^cov Trporjyrj TOJ ^cw o"v. IEP. rrdw fjikv ovv 1195 8pav TttVTtt XP 7 ?- XPE. TOV IIAorTOV I^CO TIS KaAd. TP. cyw 8e TI TTOtai ; XPE. Tas ^Trrpas, at? TOV ^eov ISpvcro/jLtOa, Xa/3ovcr' CTTI TT}S K^>aA^s ^>epc povovvTOS : "crazy." The slave of ancient comedy is generally represented as wiser than his master ; and the master usually, at least in the later Greek comedy and its Eoman imitators, as on his guard lest he should be tricked by an artful slave. 3. TO, pcXrio-ra Xeas Tv\fl : " should happen to recommend the best course." For the construction Aeas TVXP, see Goodwin's School Grammar, 279 (4). 4. SOT|, K.T.X. : "but seem to his master not to do so." ^ is at- tached to Spav, not to 86r). The verb Krdo^ai and its derivative KTrj/j.a are often used to express the relation of slave to master or mistress in Ancient Greece. Cp. Pollux III., 73, pui/t%os ev ^arvpois rb;/ SecTTr^TTj*' Ke/cryj^eVoi/ toi>6p.a.fftv', Ekklesiazousai, 1126, Trjs [Arjs /ce/CTT^ev^s ; Arist., Rhet. I., 4, SovAos /cTTj/^a ri eyu^u^or* 5. avd-yKT] : the ellipse of eVn after this word, of which construction we have here an example, is very frequent. 6. o-o>(jiaTos : governed both by Kvpiov and by Kparclv. "Does not allow the natural owner (i.e., the slave himself) of the body to rule the body." /cparew governs a genitive by virtue of its com- parative meaning, Kp^irrcav el^i. See Goodwin's School Gram- mar, 175 (2). 8. Tavra JJL^V Sfj raOra : sc. effTiv, "these things indeed are so." Aogias : a common epithet of Apollo, viewed as the god of prophecy. The adjective \o6s = indirect, ambiguous, was applied to his prophecies by the ancients, who appear to have derived Aortas from Ao|os. However, the word probably comes from Ae^co, Ao7os. Aow, a feminine form of Aoi'ay, was an epithet applied to Artemis. 62 ARISTOPHANES' PLTJTUS. 9. In this line, and several other places in the play, Aristophanes uses the solemn language of tragedy with ludicrous effect. For 0ej>, the physician of the gods, and invoked with the shout n^ie Uaidv. Cp. Aesch. Agam., 146, and Soph. Oed. Tyr., 154. 12. xeXa-oXtovT' : " stark mad." 13. KO,T<$mv : here used as a preposition governing avOpwnov (cp. Equites, 625, cv6vs yap avrov KaT^-niv eV0ei/5' fe^rjj'), although it is usually an adverb. The word at best is pleonastic. ct/coAou0eo>, by itself, would require a dative case. Cp. line 19, infra. 14. Tovvavrfov . . . f\ : tvavrios is mostly followed by a genitive, but also by a dative. The construction we have here is occasionally found elsewhere, and is perhaps to be explained by an ellipsis involving a comparative "doing the opposite (rather) than doing what he ought to have done," i.e., "doing the opposite to what he ought to have done." 16. oSros : Chremulos. /cu^ue irpoo-fiideTai, " and he compels me likewise (to do the same)." 17. aTroKpivojie'vo), K.T.\. : " and that although he (the blind man) does not vouchsafe us at all even a single syllable in reply." Bentley reads airoKpivd/Aevos, and is followed by Meineke and Holden. This would mean that Chremulos does not deign to reply to the enquiries of Karion. Another reading is cbro/cpij/oyueVou, a genitive absolute, which might refer to either Chremulos or Ploutos. But the best reading appears to be the one in the text, which is governed by atcoXovQe'i in the previous line. 18. OVK &r0' frircos 68pa modifies evvovs. 27. K\irrto-TaTOv : this is an instance of the figure known as -rrapa irpoo-SoKixi' (contrary to expectation), a kind of joke much relished by the Greeks. 30. prjropcs : Aristophanes is fond of attacking the orators. Other instances in this play are to be found in lines 379 and 567. 34. KTToi\

v : an example of the nom. of a relative clause being attracted into the accusative by the preceding verb. "We might learn what our oracle means." For this construction cp. Acharn., 649 ; Aves, 1269. 57. Tairl TOVTO is 8pw : "am I to take extreme measures?" 5pw is deliberative subjunctive mood; rairl rovrois, " the measures consequent (on your refusal)." 58. ol|iwtiv : "to go and howl," or "to go to the deuce." The verbs oico and aldfa are formed from the interjections ot and erf, just as this verb is from ofyioi. Cp. Germ, dchzen from ach ! and the Eng. expression " to pooh-pooh a thing." 64 ARISTOPHANES' PLUTUS. 58. fj.av0ci.veis : Karion being somewhat taken aback at the gruff reply of the blind man, affects to misunderstand him, and says to his master, " Do you understand who he says he is ? " but Chremulos, who is alive to the situation, says, "It is to you he makes use of that (rude expression), and not to me." 61. This line is addressed to Ploutos by Chremulos, who thinks that Karion failed to elicit an answer on account of his threats. The mild language of Chremulos is equally unsuccessful. 63. " Welcome your (honest) man, and the omen of the god." Karion says this in triumph at the discomfiture of his master. 6pvis is frequently used for the prophecy taken from the cry or flight of birds, like Lat. avis for auynrium ; and sometimes, as here, for an omen in general, without any direct reference to birds ; cp. Arcs, 719-722. 64. Chremulos being a farmer, swears by Demeter, the goddess of farmers, that the mysterious stranger shall no longer escape unpunished, if he does not make known who he is. 65. aird a-' 6Xw : tmesis for O.TTO\> at. 66. w ToLv : clearly dual in this passage. It is generally singular, but is also found in the plural. The Scholiast on Plato's Apologia writes of this word: " \eyeTai /J,6v(i)V, irapa Se TO?S 7raA.ato7s Kal UTT' avdpuv. TroAAa/as Se Kal eirl ir\T]6ovs tyaffl rb & TaV, d)S Trupa K.Tf](Ti(piai'Ti, ot 5f 'ATT//CO! TT]V irp(j}Ti]v (TuAAaySr/f 7rfpio"irw(TL, TT\V 5e Seurepa*' fiapvvovtn. The word is probably an old form of TV, TVVTI, than, Sanskrit tvam. The gloss of Hesychius is " rav 'TCW, as if it were the voc. case of CTTJS, with which it may possibly be connected ; but, on the whole, the reading adopted in the text appears to be the most in conformity with Attic usage. Translate, "My good friends, go away from me, both of you." The student should distinguish between this rdv, or rav ; rdf, crasis for ra ej/ ; and T&V, Attic crasis for rot &v. ir(i>/j.a\a = ouSa^iws. 69. dvaOels . . . KaraXnrwv : asyndeton for avaOels Kal KaTaXnr&v. 70. KTpaxilX.io-0fj irea-wv : "may fall and break his neck." Cp. Nubes, 1501, and Lysistrata, 705. 71. Observe the distinction between OVKOVV, therefore, then, and OVKOW, not . . . therefore ; not . . . then. 72. p.' : here represents /^e, although the genitive is required by the regular construction. XOTES. 65 74. T|[jtis V sc. dT|aws 8iaKtp.vos : " in wretched plight." 83. avTOTa-ros : " his very self." Cp. Lat. 'ipsissimus in Plaut. Trinum. IV., 2, 144. The comparative avT6repos is found in Epicharm. Fr., 2. The word is a comic superlative like /j-ovuiTaros in line 182. Other examples of this kind are AavaaiTaros, fraiporaros, /3aTiAetrrepos, Trpo/Sdrepos, and olorepos. 84. K IIaTpoK\ovs : " from (the house of) Patrokles." This Patrokles appears to have been a wealthy Athenian, who practised the iSpartan disregard for the toilet. SeeAves, 1281. 86. TOUTI TO KCIKOV : blindness. 89. o>s : the preposition = to. 93. KCU |XTJV : used here with an adversative force (" and yet "), con- trary to its ordinary usage. 95. irpb TOV : "before this (time)." Here TOV is the demonstrative pronoun, and in prose the phrase is sometimes preceded by the article, e.g., eV T< npb TOV XP OV V> Thucyd. I., 32. 98. Brunck's reading, t&puv 8ia xp vov i seems preferable to that given in the text. Cp. 1045, infra. The sense required is, " I have not seen them for a long time," whereas ovirw means " not yet." 99. Even Chremulos, with his excellent sight, had not been able for a long time past to see an honest man at Athens. 100. TO/IT' : either for TO, eVJ or ra avb. In the former case, which is the more likely, raw' e/xoD = " everything in reference to me"; in the latter, "all (you want to know) from me." 101 253. Chremulos and Karion, finding out that the mysterious blind man is Ploutos, break their promise, and will not let him go. They succeed in persuading him to remain with them. Chremulos shows that Zeus and his thunders are not worth three-halfpence, and that if Ploutos refused supplies, he could easily overthrow the supremacy of Zeus. All the arts and trades depend on Ploutos, and nobody can ever have enough of him. Chremulos tells Karion to summon his friends, the other farmers, to see Ploutos and share in the luck. E 66 ARISTOPHANES' PLUTUS. 106. ir\T|v : often, as here, used as an adverb after &\\os, jus like ^, Lat. quam. 109. a.T6xvws, K.T.X. : "they simply go beyond all bounds in their villainy." 111. o![Au>i ns we find etSws, and iwv in other readings ; for ewei we find e/i'et 5 , eTTTj, and CTTTJ et. The reading of the MSS. is 6 Zevs ILfV ovv ei8o>s TO. TOVTWV /Jiwp' e^u' ei Trvdoir' b.v eTTirptyeie, which involves a contradiction. The simplest emendation of this is perhaps to substitute o?S' us for ei'Sojs with Brunck and Holden. This gives us as the meaning, " I am sure that if Zeus only learnt the foolish (plans) of these men he would annihilate me." The reading in the text should be translated, " I am sure that Zeus will annihilate me, seeing that he is certain to learn the foolish (plans) of these men." 120. TOVTO 8pa : sc. firirpifai SeSeu^eVoj/, a cake of ground wheat mixed with oil. Translate " wheat cake." 142. r\v XVTTTJ TI : " if he (Zeus) annoys (you) in any way." 143. This and the following line appear to be a parody of Pindar, Ol. XIV. 5, ffvv yap vfjuv ra rfp-rrva nal ra y\vna yiyvsrai irdvra Pporo'is, et ffotybs, d Ka\bs, ei TLS ay\abs at/rip. Cp. Hor., Sat. II., 3> 94 : " Omnis enim res, Virtus, fama, decus, divina humanaque pulchris Divitiis parent." !4. TW irXovreiv vir'f\Koa. : " subject to the sway of wealth." UTT^/COOS is more usually found with the genitive case. 147. dp-yvpiSiov : this diminutive is here used to express contempt. " For a paltry little trifle of money." 148. 8id TO fjff| irXovmv icrws : ''through not being as rich as others; " lit., "through not being rich equally (with- others}." Some editors, as Dobree and Holden, give this hemistich to Ploutos, but this seems weak and without point, whereas it is quite natural that Karion should explain the reason of his having fallen into slavery. If the words are assigned to Ploutos, tcruis may be translated as above, or by " perhaps." 160. Some editors give the whole of the list of trades that follows to Chremulos. Into this list clothes -lifting (AwTroSure?) and burglary (roix^P^X 6 ') are introduced by way of comic surprise. 166. Kvaevei : others read yvatyevei. The Scholiast says that K.V- was the older Attic form. By common usage the e of Se should be short before KV-, whereas the text here requires it long to form the second syllable of an iambus ; but the reading in the text is not by any means the only instance of a deviation from the strict rule. 169. "These things were long unnoticed by me." ravrl, Attic for ToDrct. OUTOS was often strengthened in Attic, except in the tragedians, by the addition of the demonstrative - 1, just as -ce was added in Latin hicce, istic, &c., and -ci in French celui-ci. 170. Sid TOVTOV KOJJWX : "gives himself airs on account of this man (Ploutos)." The Great King (of Persia), on account of his immense wealth, can give himself airs. The King of Persia at the time of the first exhibition of this play was Darius II., surnamed Nothos. He was succeeded, in 405 B.C., by Arta- xerxes II., surnamed Mnemon, who was the reigning monarch. in 388 B.C., the date of the second exhibition of this play. 68 ARISTOPHANES' PLUTUS. 171. KK\T]oria : three obols (about 4|cL). apiece were given to those citizens who attended the public Assembly. This was- called the piaShs eKKXriffiaanitos, and its institution is some- times attributed to Perikles. Cp. lines 329-330, infra, and JScclesiazousai, 302-310, where reference is made to the increase, from one to three obols, in the pay given to those who went to the Assembly. 172. Tpurjpeis : the reference is to the Tpiypapxia, or fitting out of triremes for the public service. Wealthy citizens, either singly or jointly with ftthers, according to circumstances, Jiad . _tp fit-out triremes for the public service, and were at the same time responsible for the command. This burden was the weightiest of the extraordinary \cirovpyiai at Athens. 173. TO kv KopivOw JjeviKov : "the (Athenian) mercenaries at Corinth." An Athenian force was at this time stationed at Corinth to co-operate with the Thebans, Argives, and Corinthians against the Spartans. The allies are spoken of in Pausanias as the Corinthian League, because Corinth was the seat of war. The officers in command of the Athenian contingent were Kallias, Chabrias, Iphikrates, and Polustratos (vid. Demosth., Philip. I., 23). Diodoros gives the date of this alliance as 395 B.C._. thirteen years after this play was exhibited for the first time, and it_lasted till what is known as the Peace of Antalkidas was formed between Artaxerxes IT. (Mnemon) and the Greek States in 3j7 B.C.. T the year after the second exhibition of the Ploiitos at Athens. 174. Pamphilos was an Athenian Demagogue who had ^embezzled ""funds belonging to the State, and he is here satirised while awaiting his trial. The Scholiast says that Aristoxenos was the real name of lielonopotis (" The Needle- Seller "), who was a dependent of PampTiiTqs, and who would therefore be a loser by his patron's misfortune, even if he was not guilty of the same misconduct as his master. 177. Philepsios is said by the Scholiast to have been an expert in telling marvellous stories, by means of which gift he obtained his livelihood. But in Demosth. Contra Timocrat. mention is made of a Philepsios as having been imprisoned with Agurrhios for peculation, and this line may refer to him. 178. $v\Lp.a.\Ca. : Ritter takes this to refer to a treaty formed between the Athenians and the Egyptians in the first year (389 B.C.) of the "war between the Egyptians and Persians. According to the Scholiast, Athenian aid was given in return for a_large supply of grain. Two other explanations are given. One says that this refers to an expedition in the reign of Amasis, king of Egypt, whereas others understand it of the expedition of Chabrias. Neither of these stands the test of chronology, NOTES. 69 as the former was ancient history which would have no point for a witty Athenian audience, and the latter took place long after the second exhibition of the Ploutos. 179. i>iXv8ov : Philonides was an ugly man of great wealth. He is mentioned again in line 303. 180. 6 TijxoOe'ov irvp-yos : " Timotheos' princely pile." irvpyos here means a lordly mansion built at great cost. Cp. Hor. Od. I., iv., 13, Eegumque turres. The Scholiast says that this refers to Timotheos, the Athenian commander, son of Konon, and that he was very wealthy and built a .palatial residence, for which he was satirised by the comic poets. Karion was going to say, " Was it not built through you?" when Chremulos in- terrupts him by a wish that it may fall on him some day. 182. (Jtovwraros : see note on line 83, avToraros. 185. iriKc,9eT]Tai : the Scholiast supposes the metaphor to be from scales. It seems better to regard it as drawn from a bird perching on the helmet of a soldier in war, as in the Roman legend of Valerius Corvus. eiriKaOvia-Bai is used in this sense in The Knights, 1093. Cp. also Aristot. H. A., 9, 10, 1, for KaOi&crdai, used of birds alighting. 189. The following lines look like a parody of Homer, II. V., 636-7. The gross material pleasures enumerated by the slave stand in ludicrous contrast with the cultivated pleasures mentioned by his master. 200. T-^V Svvajjuv i^v : for TT)S SiW^ews $}p, the genitive being attracted into the case of the relative. Cp. Soph. Elec. 1364, and Verg. Aen. I., 573, " Urbem quam statuo vestra est." 204. Construction etV5i>s yap TTOTC fls r^v olitiav OVK eTx J/ ov8ev Aa/3elj/. 210. AvyKews : /mi/ou yap finxdoviccu airavTcav yever' o^vTarov o/n.fj.a. Pindar, Nem. X., 62. 213. Another line of tragic sound. The Scholiast on this line say 8 that close to the tripod of Apollo's priestess in the temple at Delphi stood a bay-tree, which the priestess shook as she revealed the will of the god. Cp. olov 6 TairoXKwvos e7n7, Callim. H. in Apoll., 7 ; " Tremere omnia visa repente Liminaque laur usque dei" &c., Verg. Aen. V., 90 ; " Pythia, quae tripodi e Phoebi lauroque profatur," Lucr. I., 739. 215. PI. " Take care." Chr. " Don't be in the least alarmed, my good friend." 216. K&V Sir] : the contraction of 817 for SET? is doubtful. To meet this difficulty, Meineke and Holden read xpp- 227. " Even now I go." rovroSl is for TOUT} 5e. KpedSiov refers to the remnants of meat carried from Delphi by the slave, after the ceremony. 70 ARISTOPHANES' PLUTUS. 233. KaSiKws : this sounds strangely in the mouth of the virtuous- Chrcmulos, and is perhaps to be explained by reference to lines 104 110, so that the change in the morality of Chremulos proves the truth of Ploutos' statement. Cp. Hor. Ep. I., 64, " Rem facias, rem Si possis recte, si non, quocunque modo rem." 235. TTO.VV modifies ^x^/" at - Ploutos has very strong objections to going into a strange house, because he is either hidden away under the ground, or forced to supply his host with funds for debauchery and the gaming-table, and is then ruthlessly thrust out of doors. 236. avTOv : sc. TOV 238. Observe the repetition of KO.TO.. " They bury me deep down under the ground." 241. " He denies even his having ever seen me." Cp. Herod. III., 67. 244. ev aKapet xpwf : another reading has xpdvov. d^apel is the dat. neuter of the adj. aKaprjs (a priv., and /ceipw, I cut). The word was originally and properly applied to hair too short to be cut ; hence the idea of short. 245. " (Yes), for you never yet met with a reasonable man." 249. KwcAcoTra), and tells the farmers to follow him (the Cyclops) as his flock. Cp. Hor. Sat. I., 5, 63, " Pastorem saltaret uti Cyclopa rogabat"; and Hor. Epist. II., 2, 125. ' ' Ludentis speciem dabit et torquebitur ut qui Nunc Satyrum, nunc agrestem Cyclopa, movetur." 291. wSi irapevo-aXevittv : here he cuts a caper to show them the kind of dance he means. 291. dXX' tta TtKea, K.r.X. : "but come, children, ofttimes shouting and bleating the calls of sheep and noisome goats, follow me." He calls the old farmers his children, because he is playing the part of Poluphemos, and he likens them to his flock. 296. Order ^ueTs /SArjxWyuevoi, KaraXaftovres ffe, rbv KwAciJTra, Xafiovrts 302. KipK-qv : here Karion assumes the role of Kirke. The Cyclops who has just been mentioned was blinded, when asleep, by Ulysses ; and this story reminds Karion of what occurred to the followers of Ulysses when they visited Kirke. See Odyssey X., 203-243. NOTES. 73 303. iXaw8 respectively. ffvvreTa.fji4v(as isBentley's excellent emendation fororui/TeTcryjueVaJs. 326. 8ira>s . . . &reo-0 : opart must be understood here as in Equites, 222, 760 ; Acharn., 253, 955, and many other places " see that ye be." 74 ARISTOPHANES' PLUTUS. 328. pXtimv, K.r.X. : "for you shall think I look downright war." Cp. the English expression, "to look daggers." For &vriKpvs, see note on line 134. 329. rptwpoXov : see note on line 171. "It were strange if for three obols we jostle one another at every meeting of the Assembly, and I were to allow anyone to take away Ploutos himself." Trapeo;*/ is 2nd aor. opt. of Trapi^/jn. 332. B\\|/iSi}p.ov : the Scholiast explains this common name of syco- phants to mean " 6 irpbs rbv ^(JLOV ftXttruv, K.O.K TOVTOV TO irpbs 338. Kovpeioio-i : barbers' shops in Greece and Rome were the centres of gossip in the days of Aristophanes and Terence as much as they are throughout modern Europe. Cp. Eupol. II., 499 Kal TroAA' Hfj.adoi' eV TO?(TI ttovpziois eyu Hor. Sat. I., 7, 3, " Notum tonsoribus " ; Ter. Phorm. I., 2, 38 " Ex adversum ei loco Tonstrina erat quaedam. Hie solebamus fere Plerumque cam opperiri dum inde iret domum." 340. TOVT' avrb Oavjxdcriov : Person reads " dav/maffrbu avrb rovd* STTWS." Blepsidemus thinks there must be something wrong when an Athenian, who has come in for luck, sends for his neighbours ; it was so contrary to the usual custom. 348. %vi : for ei>e Touroft rbi> 'liriTiov. The reason he suggests is that if Chremfalos used the epithet QaXa-rTiov, it might be concluded 76 ARISTOPHANES' PLUTUS. that this Ploutos, or wealth, had come by sea. But, as Dindorf says, there is really no difficulty, for the whole affair seems so incredible to Blepsidemos that he does not believe the other's oath by Poseidon, but goes on to ask whether he really means the sea-god by whom he is accustomed to swear. 398. "Then do you not send him about also to us, your friends ?" " Things have not yet reached that point." " What do you say ? Not yet reached the distribution point ? " The force of 5m, in SiaTre/uTreis, is distributive. 401. pXcxj/cu, K.T.X. : " that we should make (him) see." 402. Ivl, K.T.X. : "in some one way or other." 408. The poet here has a slap at the degeneracy of the medical pro- fession, which was neglected in Athens through being under- paid. 411. KaTaK\iviv aurbv els 'Ao-K\T]in,ov : "to (conduct him) to (the templs) of Asklepios, (and) make him lie down (there)." After 'Ao-K\7)Triov understand vewv, the ace. being governed by els, to denote the motion to the temple. Cp. Vcsp., 122, where the same expression occurs. This method of cure, by which the sick spent the night in a temple hoping to be healed while asleep, was called e^KoiV^tns. 413. dvve irpaTTwv 'tv ye TI : " be quick and do something or other." 415610. Poverty enters in a state of alarm lest Ploutos, being re- stored to sight, should drive her away altogether. In a long and ingenious argument, she contends for her own rights, and only retires before the threats of Chremulos. 415. Oepfio'v : "rash," as in Vesp., 918, 6epfj.bs yap avr)p. Aeschyl. Sept. contra Theb., 599, va.v-ra.Kn Oep/j.o'is. "Hot-headed," as applied to persons, has the same idea. 416. dvBpwirapuo : this diminutive expresses contempt. 417. Herakles is here invoked, says Brunck, as a\ei/ca/cos and tamer of monsters. Cp. Plaut. Mostell. II., 2, 94. 419. This same cognate accusative is found in the Heel., 106, Tjtywj/iu To\^wjjifv. To\/u.r)[j.a occurs in the singular inEurip. Phoenissae, 1676, but it is mostly plural, and very frequently used by the tragedians, especially Euripides. As Green points out, this line is of tragic sound, and perhaps this is one reason why Blepsidemos suggests, in line 423, that the intruder is a Fury from a tragedy. But another reason is given by Blepsidemos himself in line 424. 421. olov : ace. governed by eVoA^Tjo-e, understood. 422. WO-T' diroXwXaTov : "so that ye are both undone." Here she regards their ruin as actually complete, although, in line 418, she spoke in the future tense. NOTES. 77 423. 'Epivvs K rpa-ywSias : this contains a special reference to the Eumenides of Aischulos, where a chorus of fifty Furies is in- troduced. So terrible was their aspect that disastrous results followed to the women and children in the audience, according to the biographer of Aischulos; and Julius Pollux, II. 15, relates that in consequence of this a law was passed reducing the number of the tragic chorus. See Bergk, ad loc. 425. "But (no), for she has no torches." "Then she shall suffer for it." The Furies were always represented with torches. Seneca, Med. 16, speaks of the Furies as " Atram cruentis manibus amplexae facem." 427. ov -yap 6lv TOO-OVTOV! Ive'tcpa-yes T|}UV : " (otherwise) you would not have bawled out at us so loudly." 429. SeSpaKarov, ^TOVVTCS : observe the dual verb with plural par- ticiple. 431. pdpaOpov : this was the name given at Athens to a yawning cleft beyond the Akropolis, in the deme of Keiriadai, which some say belonged to the tribe Oineis, others to the tribe Hippotho- bntis. Criminals were thrown into it, and we learn from a passage (VII., 133) in Herodotus, who makes the earliest historical mention of it, that it was into this pit the envoys from Darius were thrown when they came to demand earth and water. It was also called opvypa, and hence the terms 6 eVt reuoiVe0a. 451. Ive'xvpov Ti0t] ; The subjunctive mood is the Latin equivalent, e.g., " Quid fecisti ?" " Quid fecerim ? " = " What have you done ?" " What have I done, do you ask '; ' ' 467. irepl TOVTOV . . . O.VTOV : "on this very subject." "Why now, on this very subject, I am willing in the first place to offer an explanation ; and if I make it clear that I alone am the cause of all good things to you, (well and good)." The ellipse of KoAws eo-rcu, or some such words, is often found when et pet/, ecu/ jueV, in the protasis of one sentence, correspond to et 8e, eav 5e, in the protasis of a second. 473. Kal 6v : "some clever (argument)." 488. [laXa.Kbv 8' 4v8w iav : "craft or profession." However, the Scholiast says : " 2o^fa' evTavtia /caAe? r^v ire pi ras TC'XJ'OS Travovpyiav Kal ^.t]\o.v\\v ', T^V^V 5e T))V ii.f.Ta.\*ipiip, and TTOVS ; because, as the Scholiast ex- plains, "the slave is subject to the master as the foot to the whole bod." 526. es Ke^aX^v aX.T|v : governed by ^x l " ^ n ^ ne <>40. Note that Kareaytros and eppvyvTav are the second or intransitive perfects of Kara.ywp.i and of 546. eppwymav Kal ra.vrr\v : " and that (side) too a broken one." The collocation is very common. Perhaps, however, the meaning is " this as well as the other broken." 548. xnreKpovcrco : "you have harped upon." efyOtyfa, aveKpoixrw, says the Scholiast, adding that the metaphor is taken from a harp or other musical instrument which is said Kpoveo-Qai. Kuster thinks the word has here the same meaning as in the active voice d-charn., 1. 38, " ySoai/, inroKpoveiv, \oi5ope7i/ TOVS fi-firopas," i.e., to attack. Liddell and Scott also take this to be the meaning here. Blaydes compares Shakespeare's Macbeth, IV., i., 74, " Thou hast harped my fear aright," and translates it, " You have touched upon." Poverty complains that the whole of Chremulos' assault is upon Beggary, and has nothing whatever to do with herself, Poverty. 550. vjjteis 7' : "oh yes, of course, ye who think that unlike things are like, and that there is no difference whatever between Dionusios (the Sicilian tyrant) and Thrasuboulos (who expelled. the thirty tyrants from Athens), may well imagine that Poverty and Beggary are sisters." This line shows that this Ploutos is the later play, for the first play was exhibited in 408 B.C., and it was not till ^05 B.C. that Dionusios the elder was appointed sole general aT^Syracuse wltn. full powers, and this 18 the date at Which We ay-fly tWKpginTrrhfy r>f >n'a long tyranny of thirty -eight veara. Thrasubo'ulcis" is the great Athenian democrat who was mainly instrumental in the .overthrow of the Four Hundred in B.C. 41_L He was banished from Athens as soon as jLysander seTTupthe government of the Thirty Tyrants, 404 if. c. ; but with Thebuu aid he returned and re-ostablished the democracy (403 B.C.). 551. TOVTO ireirovflcv : "is in this sad condition." 555. p,aKapiTT]v : a term that was commonly used, according to Stobaeus, in reference to death, ?ras yap \4yei ris, 'O /j.aKapiras otx*Tai- I n the Persai of Aisch., 1. 635, we find, "^ /5' diet IAOV /j.aKap'iTas iffofialfjuav ^aatAeus " where the Chorus is singing of the dead King Darius. The Scholia on this say t4povros Se n Kal 86%r)S fjLa\\ov Si]\ov(ri Se rial' re ijireipcoruiv rives ert Kal vvv, ots ic6(T/j.os Ka\us rovro Spai/." As the line stands it must be translated " Yea, by Zeus, if he must escape detection, how can it be other than orderly ?" 567. The poet often attacks the demagogues. There is a passage very like this in Demosthcn. contra Timocr. ovrca Se Kal ovroi ol fi-fjropes OVK ayaTrwaiv t/c TreHjTODj/ TT\OVO~IOI airb rijs ir6\0}S yiyv6/j.fvoi a\\a Kal TrpoTnjXaKL^ovcri rb Tr\^6os (= are not content with rising from poverty to riches by their politics, but in addition, &c.). 572. Construction K\avfffi 6ri-r) frre'ts. The words jUTjSef ravrrj ye KO(r/j.T]povovvT : this must here be taken as a noun in apposition to o-TedVo>. Porson suggested KOTIV$, an adjective from K6nvos as xpwovs from xpwds- Dindorf reads KOTIVOV. 589. "By binding (the brows of) the victors with trifles, he leaves the wealth with himself." 592. Chremulos being worsted in logic about Zeus, falls back on the system of " No case ; abuse the plaintiff's attorney." 593. " The idea of your presuming to argue that you have not every- thing, and through poverty!" (i.e,, that Poverty does not confer on you all sorts of blessings). 594. 'EKr man. Cp. Thesm. 949, and Acharn., 854, where he is_associated with Lusistratos, who had to fast more than thirty days a month. 84 ARISTOPHANES' PLUTUS. 603. TI 170.9(0 T\T]fjLwv ', t;iken word for word from Aisch. Persai, 1. 896. 610- 770. Chremulos is at last able to carry out his plan, since his troublesome visitor has now departed. The god is sent to the temple, where he is cured, and then returns to make all his friends happy. Meanwhile, Karion gives an amusing descrip- tion of the restoration of the god's sight. 612. ere K<}>aX.T|v : " TT\V Kea\V can hardly be (as Bergler takes it) accus. of object to KAae/. Green. Translate "And as for you (it is best for me) to bid your head (= you) go weep for many a long day." 619. T||JLIV oi'xTai : "is gone for us " = "we have got rid of." f)iri- rpnrros = rj fTrirpnTTOs, i.e., fj aia rov iriTTpi(pOai, "this cursed wretch." 623. rl TOJV irpoiipYOu iroutv : "doing some of the needful things." Observe that Trpotipyov (= -jrpb Hpyov) is compared, -rrpovpyiairfpos, irpovpyiairaTos ; the superl. form TrpovpyiearaTos being doubtful. 626. T&XX': governed by e/c^eped/ (I. 624). Karion had to carry out the bedding for Ploutos to lie on, in the temple ; and also every- thing else indoors that had been got ready for the ceremony. At the end of this line there is missing a choral ode to fill up the time between the departure of the god for the temple, and the news of the recovery of his sight. " Ka.vTa.v6a yap xP^ v rov H\OVTOV a.Trae\\cav ava^3Ae4/<'." Schol. 627. w 7r\ia-Ta, K.T.X.: " ye aged men who at Theseus' feast have sopped up much soup with very little bread." So Liddell and Scott. The yuuo-T/AT? from which the verb is derived is explained as " a piece of bread, hollowed out as a spoon, for supping soup or gravy." Blaydes understands irA^ffra as saepissime, and takes the meaning to be " ye aged men who very oft at Theseus' feast have had a poor banquet on very little bread." The idea is, that heretofore their general fare has been very bad, and not much to boast of even at the Theseia ; but now they have come in for good luck. Bergk thinks they celebrated the festival at their own expense, and therefore, 'on account of their poverty, had a very spare meal ; but it is possible that some public dis- tribution of food to the poor is alluded to. 631. TWV cravrov iX(ov : another instance of irapa irpoffSoKlav. j8e'ATTTe " OVK &AAWJ/ TIVUV, dAAa raif o/aoicav ffoi /j.a Qepu.6ra.rai yvvcuites, & iroriffrarai KO.K Travrbs v/j.t?s ^rj^oKcojue^at Trie?*/, 5 fj.4ya KaTT-f]\ois ayadSv, f)/juv 5'au /ca/c^v." For the participial construction, which is uncommon, after fyiXzLv ; cp. Vesp., 1. 1535, ea\T]i/ to make the phrase resemble the usual imprecation (for which see note on 1. 526, supra), in which sense it is under- stood by the woman. " Not, I pray, on my head," she exclaims. "What ! not the blessings that have fallen to our lot ? Oh, it is the troubles that I don't wish on my head," as she understood Trpdy/j.ara in line 649 to mean troubles, a meaning often conveyed by the word. 655. el' rtv' &\Xov: for e? ns &AAos. It is attracted by its proximity into the case of (j.aKapioi', which agrees with &v8pa. 657. \ov|JLv : The Scholiast says this is for e'Aoo^ej/ from x6u>, the original form of Aouco ; so Aoi^uevos for \o6/j.vos, in next line. The uncontracted forms eAouo^uei/, \ov6fj.r)v, are rejected as not truly Attic by Phryn., 1. 188, though copyists have often in- serted them in the older authors. The root is XoF as appears in \ov(ti (= Aof-co), Ao-erpoj/ (= \6F-erpov], Xovrpov, Lat. lav-o, lau-tus. This root is lengthened into AU-, from which comes Xv-fj.a, Xv-dpov, Lat. al-luo, col-hw-ies, lu-strum. 86 ARISTOPHANES' PLUTUS. 657. euSaifxwv : This is sarcastic. The woman insinuates that Ploutos was lucky indeed if a cold sea -bath did him any good. 659. TJJWV : ibamus. 660. " And when on the altar, the cakes and offerings were dedicated by the flame of murky Hephaistos." The common MS. reading is TrpoQvpaTa (= "the preparatory offering") for fluA^ara. 661. [w'Xavos : This is Bergk's emendation for ire\avos. ireAaj/os means " a clotted mixture," and if we retained the word, it would be in apposition to, and explanatory of, iroirava KO.\ 9v\-fi/j.aTa (or, TrpoQiifjLa.ro) ; but although ire\avos is often found as a sacrificial term, it could not fairly be taken to explain the two former words ; and to explain the word, by asyndeton, as being another nominative to Ka0ci'(rio>0rj, would be harsh. Bergk's emendation. is very plausible, and is approved of by Meineke. This descrip- tion of the sacrifice is in imitation of tragic diction, if it is not actually borrowed from some lost tragedy. 663. "And each of us made up from little odds and ends a bed for himself." " e/c jJUKp&v Kal TroAAcD;/ T^J/ ov KAcTTtorTcpoy. 668. " But when the minister of the deity put out the lights and told us to go to sleep." 673. fjir\T]TT : " arrested my attention." 675. }>' ^v: "to which pitcher of porridge I strangely desired to creep." He had an eye on the porridge, which was brought into the temple as an offering by the old woman ; and in lines 689-690 he passes himself off as one of the sacred serpents, by hissing and biting the woman's hand when she thrusts it out to protect her offering. The word e^epTruVat, strictly used of serpents, looks forward to this. 677. 4>6ots : the Attic contraction for (f)66'ias, ace. pi. of ov : " As soon as ever she perceived the noise I made." Another reading is us rjyp fl > the com- mon reading, is retained by Dindorf , and can only mean ' ' she tried to draw away her hand." But no mention has been made of her hand being thrust out, whereas in 1. 691, infra, we find T$IV x*?P a TaAtj/ avc '^ a A"?^ 5 avrfyv Kafir)' ffal MeVaj/Spos* %dpa.i>TS eTn/cporrja'aTe, was certainly written a propos of some other reading, and &pas' ixprjpei is the best suggestion that has been made. 690. irapefrxs : a species of serpent, so called from its puffed cheeks , the cheek). Its bite was harmless, and it was sacred to Asklepios, and kept in his temple. Cp. Lucan. IX., 721, " Contentus iter cauda sulcare pareas." The word is variously written irapovas, irapcbas, and nape'ias, and is supposed by Liddell and Scott to be a reddish brown snake on the analogy of irapwas 'linros, a chestnut horse (/xeTa|i/ recppov Kal Trvppov, Photius). 694. &f>X(ov : " I greedily devoured." " ^Aat/, ' cum crepitu quodam frangere,'" Blomfield. 708. IKCIVOS refers to Asklepios. 712. The woman's suspicions are aroused, and she begins to think from a phrase of Karion's that there is more imagination than history in his narrative. AiQivov, from its position in line 710, might qualify SoiSvica and KI$&TIOV, as well as dveiSiov. So she wants to know whether not only the mortar and pestle, but the wooden box (KI&&TIOV) was of stone. He admits the wooden box is not. Then, she wants to know how he could possibly see, if, as he said, he was wrapped up. The ready answer is that there were holes in his cloak. 713. oi K ^7XP i irlxP lff ' ra (ointments), and jrao'Td, tiriiracrTa, Kara- TrAao-ra (plasters) ; while those taken inwardly were /Spuxn/ma. and TTOTi/jia, nord, itivTa. See Aisch. Prom., 1. 479, seq. , and note. 718. (TKopdScov, K.T.X. : " three cloves of Tenian garlic." The Scholiast says that T_enos, which is anjsland of f.bft fiyp.1a.dfta,. was jioted for, the fierceness of its serpents and of itsjgarlic._ 719. oiros : "the acid juice of the fig-tree. Cp. Lat. sap -or, sue- us, A.S. seep (sap). From bit6s cornes oiriov, opium. 720. crx^vov : Scillam maritimam (i.e., squill), " natam," says Pliny, " aceto exacuendo." Si|ivos : 2nd aor. part. mid. of Stir] pi, "having diluted." 2TjTTio> : Sphettos was a deme Jn Attica belonging to the tribe Akamantis'. Sphcttian vinegar was very sharp, and the Scholiast say s "thaTven fhe Sphettioi themselves were iriitpol Kal crvKocpdvTai. Every item in the prescription is very bitter and painful, whether the garlic, " the acid fig-tree juice," "squill," or " Sphettian vinegar," and is an amusing cure for sore eyes, the complaint of Neokleides. See note on line 665. 725. firop.vvii.tvov: eTr6fj.vv(r6ai, lit., " to swear after, or accordingly," as a legal term = viro/m.vva-Gcu, which is perhaps the verb that should be read in this passage. vird/uusvaOai is "to interpose by oath," but in Attic law it meant "to make oath (either per- sonally or by proxy) that something serious prevents a person's appearing in court at the proper time," and so, to apply for a postponement of a trial, to bar proceedings by an affidavit, &c. Translate " That I may stop you from going to the Assembly, having (for once) a real excuse." Dindorf and Bergk have the reading given in this text. But Dindorf proposes TCUS KK\-naiais, which Holden accepts. The meaning would then be, "that I may put an end to your obstructing public business at the Assemblies by false pleas." 727. n\ovT(ovi : " rbv U\OVTOV UXovrcai/a e?7re irai&v" Schol. Ploutos is here identified with Plouton (Pluto), the god of the nether world, who as well as Ploutos was considered a god of riches, on e/c rrjs yrjs avierai 6 TT\OVTOS. Others regard IlAouT&>// as an endearing diminutive of U^OVTOS, as y\i>K(au of y\vKvs, &c. 729. Tjp.iTvf3iov : this, according to Pollux, 7, 71, is an Egyptian word meaning "towel." It is often found wrongly spelt ^lUTu/^ioj/ in the MSS., doubtless from a desire of the copyists to find some meaning in the name. 730. For IIcu/aKem, see note on line 639. 733. K rov vw : the invalids were in the sacred enclosure (re/*ej/os) around the temple, not in the temple itself. See line 659. NOTES. 89 736. (iov8oKi : for e>ol e'SoKet. 737. This novel method of measuring time comes as a surprise to the audience, and is a second reference to the feminine weakness mentioned in line 645. 742. irws 8oKis : adverbial to i)(rird.oi/To, ''greeted him, you can't think how (i.e., very enthusiastically)," lit., "greeted him, how do you think ? " 749. In this line the woman apostrophises Asklepios. 750. o^Xos virep4>vf|s # & c - 756. 6pvs o-wTJ-yov, K.T.\. : " knit their brows and were gloomy the while." Cp. Nub. 1. 582, ras 6(ppvs ^vv^yo^v ; Ach., 1. 1069, ras 6(f>pvs avea-n-aKus. This verse seems borrowed from some tragedy. 757. ot 8' : this refers to of Siicaioi (line 751). 758. eKTinreiTo : the passive of Krvireca in its causal meaning, " the shoe was made to resound." Cp. Thesm., 1. 995 CTO\ KTVTTf'lTCU Dobree points out as undoubted examples of the passive use of this verb, Philostr. p. 201, /cTyTreTrat ris evravQa vir" avrov &K/J.COV ; p. 358, KTvire'iffdai SOKOVVTOS ra 3>ra virb evvoias lirvftov. The passage in the text, e/cTUTreTro . . . Trpo/B^jucwrtj/ is of tragic sound and is likely enough a tragic imitation. 760. ! evbs Xo-yov : " at once," lit., " at one word." 765. eua-yy^Xia : ace. of reference depending on a^a^craL. "I wish to wreathe you with a garland of loaves for good tidings, on your reporting such news as this." 767. &v8pes : for of &v 5pes, Ploutos, Chremulos, and their friends the just men. 768. KaTaxvo-jxara : handfuls offiys, nuts, and sweetmeats, which used to be showered (/caTa^eco) over the bride, and over a new slave, by way of welcome on their entering their home. Cp. Theopomp., com. II., 797 raxtws Kara^ei TOV vv/j.Qa\ij.ois is -jrapa irpoopds : his misfortunes were < consorting unawares with such (evil) men, and unwittingly shunning those worthy of his society." 778. Kiv' : "the former," i.e., consorting with the wicked. Lat. ilia. TO.VT' : " the latter," or shunning the honest. Lat. haec. 779. avTO, irdvTa iraX.iv avaavT$ r)8v yeXaffaav. But eVi TOVTOIS might also mean " at this cost," i.e., the cost of vulgarity, or "in addition" ; 76 \av, in both these cases, being used absolutely. 800. Ae|iviKos : supposed by the poet to be the name of one of the- spectators, who, as soon as the wife of Chremulos came in with, the nuts, had started to his feet to be ready when they were scattered among the audience. 802 958. With the choral ode which should be sung between lines 801 and 802, but which is now lost, the catastrophe of the play is reached. Henceforth all goes aright, for on Ploutos re- gaining his sight all the good wax rich and evildoers are reduced to poverty. Karion enters and gives a comic sketch of the good things the god has given to his master. A Just Man comes to see the god and thank him, and to offer up his- wretched old clothes as a memorial. An Informer enters to bemoan the loss of his trade, but he finds no sympathy, is stripped, then clothed in the miserable old rags of the Just Man, and finally sent to the baths. 803. p/rjSev efjeve-yKovr' oi'Ko0v : " without any cost," lit., "having borne nothing out of the house (in exchange)." 804. The idea in this and the next line is that wealth was generally- secured by dishonest means in Athens, yet wealth has now come tumbling in tumultuously to the household of Chremulos although they had done nothing evil to deserve it. 805. Trio-irTraiKv : this is explained by the Scholiast to mean etVeTTTj&rjo-ej/, and he adds that it is a military term chiefly used of an invasion. " Has riotously invaded (the household)." 806. This verse was rejected by Bentley, and certainly looks suspicious- when compared with line 802. D2 ARISTOPHANES' PLUTUS. 806. otirco : " On these terms (i.e., having done nothing wrong to deserve it) wealth is a pleasant thing indeed." 810. pe'ap : " oil jar." ra eAcitoSoxa ayytia. Scholiast. 815. lirvos : various interpretations of this word are given, hut the meaning of "lantern " ((f>av6s) appears to he the most suitable to the present passage. 816. o-TaTTjpo-i 8' : " And we servants play at ' odd or even ' with gold staters." The Stater (= standard] was the chief gold coin in Greece. It was also called Chrysus (xpvaovs) ; and Daric, Aapeiitds or a-Tarrjp Aapti<6s, from the coinage of Darius Hystaspes, just as Louis and Napoleon were names given by the French to gold coins. The Athenian gold staters were a little heavier than the darics, but were current at the same rate. In weight they were equal to two, and in value to twenty, Solonic silver drachmae. The Athenian stater and the Persian daric were each worth about 1. Is. apTidtop-ev : " ludere par impar," Hor. Sat. II., 3, 248, called by the Greeks apTidfciv, &pna ^ ireptTTa, or vya ?) &vya, was a game in which one had to guess whether the number of things (coins, nuts, &c.) held in the hand was odd or even. S20. With the triple sacrifice mentioned in this line cp. the Roman suovetaurilia. Properly speaking, fiovQvrtLv should only be used of the sacrifice of oxen, but here it is used freely for Queiv. 823. TrcuSdpiov : diminutive of irats, a slave. A young slave is carry- ing the old tattered cloak of the Just Man. In the following scene, from this line down to line 965, the dialogue is carried on between the Just Man, Karion, and the Sycophant. Chremulos is now engaged indoors with the sacrifice, and remains off the stage till he enters again in line 965 with the words "^77 STJT'- eyca yep avrbs ^eA^Aufia." The authority of the MSS. is in favour of this view, which is the one accepted by Bergk, Blaydes, and Holden. The theory that Chremulos should be substituted for Karion throughout the scene is maintained by Hemsterhuys, Brunck, and Dindorf. The Scholiast leaves it doubtful, observing only

Ad|xarp : Observe this Doric form of ATj/xTjrep. Doric forms were occasionally used by the comedians; and this very one has been already used in line 555. " Demeter, with what swagger the informer has come in. It is clear that he is ravenously hungry." 875. The informer wishes to give them a stretch on the wheel, to make them confess their villainy. '876. oi|i.coclpa : crasis for oi/j.caei &pu. 883. "I don't care in the least for you. Here's a ring I am wearing that I bought for a drachma from Eudemos." The point of this remark is that the ring is a magic one, and would protect its wearer from harm. Ev8a/j.os is Doric for E^STJ/XOS. 885. dXX* OVK 2vrTi: The Scholiast explains this to mean oAA* OVK OVTOS 6 8a.KTv\ios Trpbs rb 8777,110 TOV (rvKotyavTov. The general meaning must be " Your ring can't guard you against the bite of the informer." But how is this arrived at? The Scholiast's explanation is that tyd.p/j.a.Koj' is understood : " There is no cure in it (the ring) against an informer's bite ; " so that 8777/iaTos depends on (pdp^aKov which is implied in Sa/cruAios, because the ring was a Sa/cruAtos ^ap^ua/aTTjs. Raper explains it thus : ' ' There is not in the list of the virtues of this ring the words ' xovs. The latter is the usual construction ; but neuter accusatives may be used with all verbs. 897. " Since he is wearing such a wretched cloak." 904. : "Opvtov tiirep *AeT a.$pbv Qa^drnov eiov : " the silphium of Battos." BattoSj other- wise known by the name of Aristoteles. migrated from Thera^ one of the Cvclades group of islands, and led a colony to Africa^ where he became the founder of Cyrenae (631 B.C.) Cyreneans stamped their cjjis with his imag^, holding in one hand the plant .s /'////, /'//,,/ (Lat. lascrpicinm}. This plant, was very valuable, and was exported far and wide on account of its gxcellence both in medicine und cookery. Hence it was an important source of, revenue ; and the phrase BCXTTOU aiXtyiov passed into a prQYfiyb-- "Tor a very magnificent and costly gift. ^ Catullus (7,4) speaks of laser picifcrae Cyrenae. 926. Just Man. " Put down your cloak at once." Kar. (to Informer) " Ho, you fellow ! it is to you he is speaking." J. Man. " After that, take off your shoes." Kar. (to Informer) "It is to you he says all this." Inf. (defiantly) " All very well, but just let whichever of you chooses come up here to me." Kar. (mimick- ing the Informer's words in line 918) " Then that man am I." Then Karion sets to work to undress the informer, who pro- tests against his being stripped " in open day " (/j.e&' rj/j-epav). 927. vTroXvo-at : 1 aor. imperat. mid. As vir6^f]fj.a., the tinder-bound, is a shoe ; so viroXixa, to loosen under, is the appropriate word for unfastening a shoe from the feet. 932. 6pV Korii'wv Kal &KXu>v SeVSpcoj/ Travraxov fv ToTs iepols Trpo(T7raTTa\vov(Ti TO. avaO^f^aTa. 945. Xoi : the usual mode of asking the way to a house. Cp. Soph., Oed. Rex, 934 ftp 1 &y Trap' vfj.uv, & |eVot, /j.a6oL/jC OTTOV TO, rov rvpavvov Sw/u-ar' ffr\v OlS'nrov ; 960. veov : referring to his newly-recovered sight. 962. d\X' i'o-0' : for this predicative use of the participle, cp. Ranae, 1. 436, a\\' s, "as becomes your youthful bloom." The old woman gives herself youthful airs and talks in a mincing way. 965. Chremulos enters saying there is no need for her to call, as he has himself come out, and would know her business. 970. dvTpia : probably coined by Aristophanes, like a-oQio-rpia. by Plato. Other examples are TroL-fjTpta, /j.aO-f)Tpta, TroAe^iVrpto. His last visitor was a o-fKo^ai/TTjs, and he suspects that this is another of the same genus. 972. See note on line 277 for a full explanation of the dikasts getting their 7 pap/ma to determine the order in which they were to sit for the day, and judge (SiKafciv). But instead of saying e'5i'/caes Chremulos -jrapa Trpoa-SoKiav says eTri^es. The order of drinking was settled by lot (probably by drawing letters, as in G 98 ARISTOPHANES' PLUTUS. the case of the dikasts). Cp. Hor. Od., I., 4, 18, Nee regnci vini sortiere talis, and II., 7, 25, Quern Venus arbitrtim dicet bibendi. Translate " But did you drink without its having fallen to your lot by letter to do so ?" i.e., " Have you been drinking out of your turn (or unfairly)?" He implies that she is a tippler, and thus lost her money. 973. l-yw 8, K.r.X. : "but I am wretched, and suffering from an itching desire." 979. "And I performed every service for him in return." Holden's reading, ey(a 8' e/cetV<^ y' a.v TO. irdvO' inr^p^Tovv, gives the same meaning and is more elegant. 982. &v 4]TT](rr]s : " and having added that I would come in the evening." Dobree and Blaydes take inrenrovaris to mean Quum praedixisscm, a meaning in which the word is often found. 999. " He sent me back this milk-cake along with my present, on condition that I should never again go thither." The &fj.r)s was probably richer and better than the Tr\a.Kovs sent by her, and was intended to show that the young man had now become rich, and had no further need of the old woman. 1002. irdXat TTOT' fjopav : "for your burial" or "to carry away your 1011. " He used to call me endearingly his little duck and his little bird." This line stands vr]Tdpioi/ &v Kal &O.TIOV vireKopi'tero in the Ravenna MS., which is the best and oldest MS. of Aristo- phanes. The Scholiast read virdpiov Kal fid-nov, which he says were kinds of plants ; and adds that she wishes to say the young man spoke of her as of choice flowers. But Pdriov would then be a diminutive of /Bdros, a prickly bramble, and vndpiov is not found elsewhere. Then, again, these two words were ex- plained to be diminutives of proper names, Nitaros and Batos, effeminate men. Others explain fidnov as a diminutive of ftdros, a kind of fish, perhaps the ray. All this is very unlikely. But, if pdnov is the correct reading, it may possibly be explained as Paris, "a bird that frequents bushes" (Lat. rubicola), from frdros, a bramble-bush. Cp. Plautus, Asin. 3, 3, 103, " Die igitur me anaticulam, columbulam, catellum, Hirundinem, monedulam, putillum, passer ilium.' 1 ' 1 However, this passage from Plautus seems to me to confirm the brilliant emendation of Bentley, v^rrdpiov ~av KOI fy&TTiov virKopi^To, " she used to call me endearingly her little duck and her little dove." Bentley's reading would, however, leave a tribrach followed by an anapest, and although there are other examples of this, yet it is contrary to the metrical canons. To remedy this defect, Person read vyTrdpiov uTre/cop/^er' ki> Kal (pdrnov. Meineke and Holden read for ^drnov. (pdftiov is a diminutive of (pdty, a wild pigeon, stock-dove. 1012. TJTT] to pour wine into a vessel. 1025. " So, then, my good friend, herein the god is not acting aright, although he gives out that he helps those who are wronged at any time." 1033. a.i was a proverb used of those who through grief or disease had become thin. 1040. " He seems to be going to a revel." " That's clear.' 1 '' Observe the difference between eot/ce and (paiverai, which is clearly brought out in this line. 1042. i]o-iv : "It is you he means," says Chremulos to the old woman. The usual reading in this line is ri fyriaiv. It is a better reading, and is given to the woman, who, as soon as she hears aa-!rdo/j.ai, a rather intimate form of greeting, interrupts the speaker by a request addressed to the others present to note, as a proof of her story, the familiar terms which existed between herself and the young man. But his next words show the real state of affairs. 1044. tippeos : The genitive termination for nouns of this class in Attic was -ecos and in Ionic -eos. 1046. iroCou xpovov : for TTO'IOV TTO\\OV xp6vov ; i.e., "Long since! How so ? Why, he was with me yesterday." 1048. 6|vTpov pXeTrei: cp. Hor., Sat. I., 3, 26, "Cur in amicorum vitiis tarn cernis acutum ?" 1050. irpea-pvTiKoi : comically put for iraKairepoi, because the woman is old. Cp. Aesch., Eum., 691 (Paley), d\\' ei/ re TO'LS veoiffi Kal deo'is &TI/J.OS e? ffv. NOTES. ,: ; v, ; ' .101 1051. TCOV puTiSwv 8 1053. " For if only a single spark catches' her, 'it will consume her like an old wool-bound harvest -wreath." The flpecnwvr] was an olive harvest-wreath, wound round with ivool (epica), and used to be carried about by singing-boys at the two festivals of Hvai>e\l/ia and apyh\ia. With the reading &d\r) (for Xafiri) translate " should light upon her." 1055. 8id xpovov : "after (this long) interval." 1057. irdcrovs, K.T.\. : the same kind of game as that already men- tioned in line 816, except that in the present case it is required not merely to guess whether the number is odd or even, but to guess the precise number. As the woman is angry at this proposal, Chremulos banteringly takes it up and says, " Nay, I too will make a guess," and commits himself to her having three or four. " Pay up," says the young man, " for she has only a single grinder." Thereupon she objects to being made a wash-tub (ir\w6s) in the presence of so many. 1071. " But, young man, I will not permit (lit., I do not allow) you to hate this damsel." 1076. TOTI; "Wherefore?" It is the same as ri ; or n-fi ; The Scholiast says " Ol x a ^- e ' 7ra ' LJ/ol/TS OVTUS tXzyov, rb ri;" 1077. " I respect your years. That is why I make her over to you, though I would never entrust her to another. So now take the damsel and go your way, and joy attend you." 1089. o$s s e^^ = "just as I am." 1090. " I also want to say a word to the god." This is because she wants to follow the youth. "Then, I won't go in," says he. " Courage, don't fear ; for she won't offer violence," says Chremulos. Then both enter the house to see Ploutos, and Chremulos, being left alone on the stage, says, " O sovereign Zeus, how vigorously the old woman sticks to the youth, as if she were a limpet." 1096. The choral ode that followed this line is missing. 1097 1170. There is a knock at the door; Karion answers it, but cannot see anybody, because Hermes, true to his thievish ways, hides after knocking, and then appears when Karion is going in again ; and on being questioned denies having knocked. He gives a humorous list of people and things that are to be brought out and mixed in a dish and flung into the pit, because Zeus is angry at men's neglect of the gods, who have received no presents since men became rich through the agency of Ploutos. He bemoans his own losses, but finds Karion very unsympathetic, and finally makes terms for himself, and begins with very menial employment. 1098. ou8ls ifoiKev : i.e., us eotwez/. " Nobody at all, apparently." 102 ARISTOPHANES' PLUTQS. in ^ain," "for nothing," " without cause." a aedider'ative form of the verb K\aica, "to weep." Verbsin -creiw, and several in -ao> and -taw, have a desidera- tive meaning, e.g., Spao-eico, I desire to do ; fyovdca, I want to murder ; /jLaO-nridca, I long to be a pupil. Some of those in -idea indicate bodily weakness or illness, as o^flaA/utaw, / suffer in the eyes ; a>xp t( * w > 1 a l of a sickly pallor. I think it likely that this idea of illness is involved in the present passage. " The door suffers from an attack of whining (/cAautrm), and makes a noise without cause (Qdeyyd/jLcvov &AAo>s)." This is also Green's view, and seems preferable to " wants to weep, or to get itself beaten," i.e., "shall suffer for it," as Meineke, Holden, and Liddell and Scott interpret. In this latter sense KAauo-erai is the word that was commonly used. , as Meineke thinks. Cp. line 1142, infra. The cake was baked, and offered to Hermes on the day sacred to him. 1127. "When Hercules lost Hylas in the Argonautic expedition, and cried aloud for him ' ut littus Hyla Hyla omne sonaret ' (Verg., Eel., IV., 44), a voice was heard from the sky saying, Tro6e7s r"bv ov irapovra Kal iio.Tf\v /caAcTs," Bergk. The verse is very probably taken from a tragedy. 1129. darK(o\ia' : this is a pun on the K&XTJS of the previous line. /CATJ, a contr. of wcoAea, is the ham of a swine ; and opd : this is a fern. noun. "But there is no carrying out (allowed)." The form encpopa which is read here by some editors is neut. pi. of eKtyopos. The Scholiast says that this formula was used in some sacrifices, and quotes Theopompus, eurw Spaiu.ui' alriiaov a\\' OVK e'/c0opa. In the present passage the word has no reference to burial, as in line 1008, though even there the word may refer to the carrying away of goods. 1140. " Whenever you purloined anything, I always caused you to escape detection." " Oh yes, on condition that you yourself should get a share of the spoil ; for a cake well baked would fall to you." "Yes, and you would eat it." "Well, why shouldn't I '? You got none of the blows, if I were caught stealing." 1145. ^vX-qv : " Don't rake up old scores, even if you have captured Phule." As the firftff oditirm of this play came out in 408 B.C., and Phule was not taken till 403 B.C.. this line clearly^ belongs to the second Ploutos of 388 B.C. Thrasuboulos was among the exiles who had to quit Athens under the regime of the Thirty Tyrants. He fled to Thebes. and with the aid of thp Thfiha/na spiflprl Phnl*, wVnVTi wa s a fortress on the confines of Ajttica and Boiotia. Thence he marched to Aligns, overthrew the Ten whoTTad succeejied to the Thirty, and re-established the democracy in _4J13 B.C. Thereupon an amnesty was proclaimed, of which XenophSn (Hellen., II., 4, 43) says, o/xocrcu'Tes SpKOvs if IJLTJV /J.TJ iw^aiKa.- K-fifffiv, ert Kal vvv 6/j.ou re TroArreiWrat, Kal TO?S 'dpKois e/iyueVet 6 Srj/nos. Converting the metaphor into a simile, we get " As the Democrats did not take revenge when they conquered the Tyrants, so you should not now wreak your vengeance on me for my former ill-treatment of you, because you are now rich and can punish me." 1151. This line is probably taken from some tragedy, perhaps one dealing with Teukros' departure for Salamis(in Cyprus), when banished by his father. Sophokles and Ion wrote dramas called Teukros. The sentiment is common, and suits the practical views of Hermes. Cp. Eurip., Phaeth. Fr. 774, us iravraxov ye Trarpls 7] fi6(TKov(ra 777. Ibid. Frag., ait euro. 5e ^Q(av avSpl Trarpis. Menand., Sent. Jfon., 1. 716, TC yap Ka\ws iraara 777 irarpis. Ovid, Fasti, I., 1. 493, " Omne- NOTES. 105 solum forti patria est." Publius Syrus, 623 Z, " Patria erit vestra ubicumque vixeritis bene." Cic., Tusc. Quaest., V., 37, " Teucri vox . . . Patria est ubicunque est bene." 1153. atov : " as god of turning," of the hinge (68ios, as guide of the living, and either iro^iralos or %0({j/ios, as guide of the dead. 1167. ypS, which he thus connects with drroAwA', changing the intervening line to d^' ovirep OVTOS 6 Gfbs tfptaro jSAeVeii/, and regarding it as parenthetical. 1177. ov8ls diol : Nohody thinks it worth his while to sacrifice when he is rich, because there are no dangers from which Zeus could save him. 1181. SIKTJV dirovywv : " having been acquitted in a law suit." SLK^V 8t is "to be the prosecutor in a trial" ; S/KTjf (pevyetv, to try to escape, i.e., "to be the defendant in a trial"; SiKrjv SiSovai = (1) dare poenas, to suffer punishment ; (2) and more usually, sumere pocnas, to inflict punishment. KaXXiepiTO : " And another in sacrificing would obtain favour- able omens, and, as I was the priest, he would bid me to the feast." 1186. jjiol SOKW : note the personal construction. ecuras : "having bidden good-bye to," having re- nounced. 1189. Zevs : Floutos is meant. He is the real Saver. 1191. l8pu, 325 ' J 3 xwp, 773 . 'e, 912 Kipicri, 302 icXavcndv, 1099 Ki>a$tveiv, 1 66 /coXocrvprog, 536 KOfJidv, 170 173 ~ 435 Q Kovpeiov, 330 Kpt^iwjue^, 312 Kpo^iKOf, 581 KTVTrtiaOai, 758 Aapriov, 312 Xa^wi/, 277 XXdjit7rpyj/rar, 635 Xfct TVXIJ, 3 Xrjjitat, 581 ' ;, 2,10 M 1013 , 845, 170 75 Mt'tfae, 287 MlXj7 575 IIO a, 66 P ocrat;, 1051 v, 213 aiXfyiov, 925 eropof, 277 ^p, 8l6 iv, 21 : "53 . , 853 avKivoc, 946 325 720 e, 720 T :, 7i8 r /jLCtOwv, 908 TipoQtov irvpyoQ, 180 172 T'piw/BoXoi', 329 rpOTratov, 453 VTTtKOpi&TO, IOII VTroKpovscOai, 548 inroftvvaQai, 725 oi, 677 177 > 179, 303 5v, 694 "45 ov, 138 , 601 rav, 66 CLASSIFIED CATALOGUE OF EDUCATIONAL WORKS PUBLISHED BY GEORGE BELL & SONS LONDON: YORK STREET, COVENT GARDEN NEW YORK: 66, FIFTH AVENUE; AND BOMBAY CAMBRIDGE : DEIGHTON, BELL CO. DECEMBER, 1895 CONTENTS. 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