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THE FROGS OF ARISTOPHANES
APIZT04)AN0TZ BATPAXOI
THE
FEOGS OF ARISTOPHANES
EDITED WITH INTRODUCTION, COMMENTARY
AND CRITICAL NOTES
BY
T. G. TUCKER, Litt.D. (Camb.)
HON. MTT.D. DUBLIN ; PROFESSOR OF CLASSICAL PHILOLOGY IN THE
UNIVERSITY OF MELBOURNE ; LATE FELLOW OF ST. JOHN'S COLLEGE, CAMBRIDGE
OF THE
.UNIVERSITY]
^ OF
iLontion
MACMILLAN AND CO., Limited
NEW YORK : THE MACMILLAN COMPANY
1906
All riahts reserved
SATHER
PA 3?\ .
PREFACE
Though it is hoped that th^^^resent edition of
the Frogs may be found to contribute to the
exegesis and criticism of the play in a sufficient
measure to deserve some attention from scholars,
its aim is primarily educational. For that reason
a few lines or short passages are omitted. Fortun-
ately but little textual innovation is anywhere
needed, and the critical notes have been reduced
to the smallest workable compass. Such novelties
of interpretation or reading as are offered have
been presented with as much simplicity as I
could command. A paedagogic work, it may be
assumed, is no place for encyclopaedic display.
It is now generally recognised that, if classical
studies are to retain their due place in liberal
culture, it will be necessary to lend to them in
their earlier stages something more of human
interest than was formerly imparted. The Frogs
iii
175555
IV THE FROGS OF ARISTOPHANES
is a play which from the nature of its contents,
the liveliness and variety of its humour, and the
comparative ease of its vocabulary, is excellently
suited for the reading of sixth-form students and
undergraduates. Certainly no comic master-
piece could better serve as an introduction to
the study of that form of Greek literature. But
while to neglect a rigorous grammatical training
is to encourage flaccidity of the mental sinews,
grammar must go with reasonable historical com-
prehension, literary appreciation, and as much
mental visualisation as may be possible. The
present work, therefore, attempts not only a due
consideration of the language, but also exegesis
of the play as a live creation of wit and humour
presented in an actual theatre, before an actual
audience of intelligent and rather critical people.
The question which an editor presumably asks
himself is, " what should I have liked to be told
— or what would it have been desirable for me
to be told — when I was myself at the educational
stage for which this book is intended ? " and
that query he can only meet to the best of his
judgment. It is in answer to this question that
the sections of the Introduction dealing with
comic metre and language have been included.
PREFACE V
The matters there contained are of course familiar
to all advanced scholars, and may be regarded as
elementary. But average experience would prob-
ably confess that they have often been picked
up later in life than they ought. That they
should be known by all students who approach
Aristophanes is undeniable ; but it is equally un-
deniable that many of them are commonly not
then known. Had I been aware of any place
accessible to the average student in which they
were set forth with due brevity, this book would
have been content with a reference thereto.
The section of the Introduction dealing with
.the Mysteries is reprinted with very slight alter-
ations from the Classical Revie-w, where the
argument that the Lesser, and not the Greater,
Mysteries are concerned was accepted by the
high authority of Dr. Jane Harrison. It is hoped
that the clarification of the turbid arrangement
at vv. 1437 (= 1442) sqq. may find a measure
of approval, and that some consideration may be
merited by such interpretative suggestions as are
made at vv. 1202 sqq., 185-187, 194, 308,
320, 377, 607, 653 sq., 657, 684 sq., 708 sqq.,
750 sqq., 791, 875 sqq., 903 sqq., 906, 965,
1133, and elsewhere.
vi THE FROGS OF ARISTOPHANES
In preparing the book I have necessarily de-
rived help from the work of Thiersch, Fritzsche,
Koch, Blaydes, van Leeuwen, and Merry. I have
also found profit in Prof. Murray's translation of
the play, Eutherford's Scholia Aristojjhanica, and
Mr. Starkie's edition of the Wasps. I regret
that I could not see the work of Mr. Kogers till
my own was printing. Had the late Mr. E. A.
Neil lived to edit the Frogs there would probably
have been no real room for anything further for
the next generation.
The University of Melbourne,
October 1905.
PAGE
CONTENTS
Introduction —
A. Date and Motives of the Play . . . ix
B. The Mysteries referred to in the Frogs . . xxviii
C. The Language and Metre of Comedy . . xxxiv
D. Some Features of the Comic Style . . xlvii
E. The Text ..... Ivi
The Play (with Critical Notes) ... 1
Commentary . . . . . .83
Indices —
1. Greek ...... 263
2. English ...... 272
Vll
OF THE
^UNIVERSITY^
OF
INTRODUCTION
A. Date and Motives of the Play
The Frogs of Aristophanes was produced at the
Lenaea (i.e. early in February) of the year 405 B.C.
and won the first prize on that occasion. Phrynichus
was second with his Miisae and Plato third with a
Cleophon.
Apart from the primary purpose of the play as
an entertainment for the theatre-going public, it
possesses other aims usual with the Old Comedy.
The comic drama of the fifth century assumes as
within its province the caustic treatment of all kinds
of social, political and artistic questions of the hour.
This it does with no merely humorous intention,
although it goes without saying that the manner
of presentation must always seek the true aim of
comedy, which, according to Aristotle, is to yeAotov,
or the presentation of to alo-xpov (in its wide sense)
on the ludicrous side. With the Old Comedy the
laughter of the audience (to Okarpov) is, however,
not solely an end in itself ; it is provoked by ridicule
applied as one of the most potent. of social correctives.
There is of course in this, as in any other, comedy
a proportion of what is simplj^ good-natured banter,
X THE FROGS OF ARISTOPHANES
which commentators are apt to interpret too literally ;
but for the most part the ridicule, sarcasms and
scurrilities are seriously meant and are prompted by
strong feeling, be it political or aesthetic partisanship,
or, as one is sometimes driven to suspect, sheer
personal animus. Banter, repartee and personalities
of the kind known as yecfyvpio-jjios formed a recognised
and privileged part of the festival of Dionysus in
general, and it was not strange that they were also
introduced into that portion of the festival which
took place in the theatre. Nor is it strange that
the comedians should claim privilege or expect the
victim KMjubioSrjOels €V rais Trarptots reAerat? raU rov
Alovvo-ov (v. 368) to bear their onslaughts, as
Socrates is said to have borne that of the Clouds,
with as good a grace as possible. Even the gods
(like Dionysus in this play) did not ask to be spared.
Between the various comic dramatists who competed
from year to year there was scarcely a citizen of
any public prominence, pronounced peculiarity, or
reprehensible character, who could expect to escape
his turn of comment or caricature. Aristophanes,
indeed, prides himself on leaving alone the ISlmttjs
(v. 459), but there were few Athenians who were
absolutely tStwrat in the sense that they were neither
brought officially, nor in some way Ibrought them-
selves, under public notice. Had the comedians
been of all parties and views, and had their works
all survived, it would probably have appeared to the
casual modern reader as if the whole population of
Athens deserved the verdict passed by the king of
Brobdingnag on the world described by Gulliver.
The more philosophic student would, of course,
realise that comedy is not on oath, and that the
INTRODUCTION xi
function of caricature is to caricature. As it is, we
possess, besides Aristophanes, only fragments of his
contemporaries, and the reader has been too ready
to take the word of the prince of comedians as
if it were sober historical record. When he appears
to be supported by the remains of other comic
writers, or by what we learn of their work, it is not
sufficiently remembered that the comedians belonged
in the main to the same class, swayed by the same
motives, and that the purpose of all alike was to
ridicule such persons or proceedings as seemed most
open to ridicule from their point of view. And
among these the prominent politician and the pro-
pagandist are always fair game.
The Frogs is not only, as the Greek preface puts
it, a highly entertaining drama twv ev ir aw koI cj^lXo-
Aoyws 7re7roLr]fjb€Viov, but it plays its full part in the
political and aesthetic purposes above mentioned.
To understand the piece we must understand both
the political and literary position of the moment,
and we must also comprehend the attitude of
Aristophanes himself as partisan and critic.
The last year had witnessed the death of the two
younger members of the great tragic trio. Euripides,
who had retired from Athens in 408 B.C. to the
court of the Macedonian Archelaus, died early in
406 B.C. ; Sophocles followed at the end of the same
year. There was left no poet worthy to supply
their place, and tragedy was now in much the same
position as that of English poetry after the demise
of Tennyson, Browning and Matthew Arnol^T Ul
the numerous * minor poets' with pretensions to
succeed the great masters, Agathon was apparently
Xli THE FROGS OF ARISTOPHANES
acknowledged to be the best. He had won success
(416 B.C.) even during the vogue of Sophocles and
Euripides, but except for odd fragments and the
information given by Aristotle that he was the first
to invent an entirely fictitious tragic plot, and that
his choric lyrics were often mere interludes, we are
in no position to judge of his creative and other
artistic powers. But, whatever his merits, he had
now retired, as Euripides had done, to a quieter
abode in Macedonia. lophon, the son of Sophocles,
enjoyed repute, but there was much doubt as to the
extent to which he was dependent on his father's
help. Xenocles and other composers appear to have
been little more than poetasters, although Xenocles
had to his credit a victory over Euripides in
414 B.C.
Such was the position of the tragic drama when
the time came for Aristophanes to present his
comedy for the Lenaea of February 405 B.C. The
new tragedies must be forthcoming in a few weeks
at the Great Dionysia, and among the competitors
(who were presumably known already) would
necessarily be writers whom the comedian held in
lively contempt. The moment was an eminently
suitable one for a piece with such an argument as
that of the Frogs. ( But to deliver a number of
shrewd blows at the various tragic aspirants is only
a minor part of the object of Aristophanes. With
higher purpose he prepares to employ his wit in
correcting or directing taste itself. And for this
end he devises a trial and a judgment of the
respective merits of those two great masters who
were most completely opposed to each other over
the whole field of tragic art — Aeschylus and Euri-
INTRODUCTION xiii
pides. Though without any studied formality,
Aristophanes virtually anticipates the analysis which
Aristotle makes of the elements of a tragedy, namely
the plot (6 jjLvOos or ra irpayixara), the characters (rot
rj6rj\ the thought (r) Stai/ota), the language (07 Ae^t?),
the music {rj fAeXoTroua), and the scenic effects (rj
oif/Ls). To his mind Euripides was not only inferior
to Aeschylus, but also a prophet of false taste, in all
these elements. Aristophanes does not, indeed,
regard the elder master as perfect, especially in the
matter of lucidity of language and variety of music ;
but in Euripides plot, character, thought, language,
music and scenic presentation all alike tend to be
undignified, trivial, repellent to sound taste, moral
and aesthetic. There is free and humorous criticism
of Aeschylus by Euripides, and much of this must
be taken as representing the actual opinion of the
comedian ; there is more fiercely humorous criticism
of Euripides by Aeschylus, and of this the earnest-
ness is beyond all doubt. For comic purposes it
would obviously never have done to pit the perfect
writer against the imperfect. Both art and interest
required that the ' forensic,, dispute ' (eXeyxos) so
beloved by an AtheniarTaudience, whether in tragedy
or comedy, should admit of strong argument on
either side, and there could be no such dispute if
the one side were flawless. Some have hurriedly
suspected that this is a reason why Sophocles is not
brought into the dispute. But Aristophanes un-
e^ivocally places Sophocles below Aeschylus, and
therefore cannot have regarded him as perfection.
The explanation of the ' sitting out ' of Sophocles is
surely not so far to seek. A triangular contest is
manifestly unmanageable ; Sophocles does not offer
b
XIV THE FROGS OF ARISTOPHANES
the same uncompromising contrast of the old school
with the new; the smoothness of his genius leaves
no conspicuous handles for the humorous caricature
to which the more massive but less finished genius
of Aeschylus lends itself. Moreover, the character
of Sophocles (v. 82) made him the sort of man whom
the comedian had no desire to caricature immediately
after his death. But a more obvious consideration
is that (as the dates would show) the Frogs was
already in process of composition, that at least it
must have been designed, before the actual decease
of Sophocles. The allusions to Sophocles are all of
the kind which could easily be incorporated or added
without disturbing the original conception of the
piece.
Having adopted the notion of holding a trial of
the respective representatives of tragic drama right
and wrong, the comedian must find a motive for the
occurrence of such a trial, and his device is of the
happiest. Dionysus, god of the tragic stage, is
troubled at the outlook, and is much concerned for
his coming festival. Finding no worthy poet living,
he must seek one from among the dead. But, until
he is converted towards the end of the play, he is
infected with the prevailing bad taste of the con-
temporary Athenian theatre — that is to say, his
model poet is Euripides. In fact Dionysus is
an embodiment of the rather muddled judgment
of the Athenian 'gallery.' He does not visit
Hades in order to select, but in order to fetch his
already selected Euripides. The trial of the poets
which actually ensues is a perfectly natural outcome
of a quarrel, deftly introduced between the tragedians
themselves, Their dispute is judged by Dionysus,
INTRODUCTION xv
who is gradually converted to sounder taste and
gives his verdict in favour of Aeschylus. /
It is doubtless true that Aristophanes .^jjivemed
neither the notion of resurrecting eminent men nor
that of holding a trial of their merits. Eupolis in
his Demi recalls Solon, Pericles and others from the
grave in order to advise a helpless community, and
Cratinus had in one piece pitted Homer against
Archilochus. There were probably other examples
of the same devices. But such notions, once in-
vented, belong to any man, and, for the purposes of
comic art, all depends upon the easy sequence and
deft handling of the circumstances.
In his judgment of poetry Aristophanes, like
most, though by no means all, of his contemporaries,
blends considerations of art with considerations of
morals, in the widest sense of that term. It is
perhaps doubtful whether his^censure of Euripides
on the artistic side would have been quite so severe,
if he had not felt constrained to pass even more
severe censure upon his ethical (and therewith
political) influence. In ancient Greece a poet was a
power, and, being listened to by immense audiences
and read and recited by a larger circle than any
orator could reach, it was not unnatural that his
function should commonly be regarded as including
that of a teacher. His eflect upon his generation
was somewhat like those of the modern preacher
novelist, essayist and poet combined. It was there-
fore almost impossible for an ancient critic to separate
the question of the poet's claim to be an artist
(8e£to9) from his claim to wisdom and knowledge
{(rocfita) and sound admonition {vovOea-ta) in the
XVI THE FROGS OF ARISTOPHANES
domain of honi mores. Each of these aspects of
Aeschylus and Euripides respectively is reviewed in
the Frogs. And in none does Euripides escape con-
demnation. Here, as elsewhere, the judgment
necessarily depends on the point of view, and to
Aristophanes no other conclusion was possible.
The comedian was conservative, in politics, in
religion, in ethics, in manners, and in taste. He
disliked innovation, and, though he claims to be a
friend of democracy, he undisguisedly detested the
rule of the rabble. He believed in the political pre-
dominanceoTmen of birth and culture — for such is
the meaning of his KaXol KayaOoL or ^eArto-rot ; under
them, he held, the state was kept on a steadier, more
provident, and more dignified course. On the other
hand ochlocracy, led by demagogues, meant un-
wisdom in foreign policy, capriciousness, suspicion,
prejudice, dishonesty and extravagance in internal
affairs. We need not accept the view that either
Cleon or Cleophon was really the coarse and corrupt
person described by Aristophanes ; nor need we
believe that the fuller democracy of the date of the
Frogs either deserves to be called an ochlocracy, or
was guilty of more selfishness or folly than would
have existed under the virtual oligarchy to which
the comedian was in his heart inclined. Least of all
must we accept at its face value the licensed ridicule
and scurrility of a keen opponent. Our business is
simply to recognise the opinion of Aristophanes, so
far as it is unmistakable under the colouring of his
comic emphasis. And it is unmistakable that he
was politically a reactionary, aristocratically disposed,
with his full share of class prejudice, and incapable
of judging fairly men whose lack of exterior culture
INTRODUCTION xvii
and defects of, taste he probably had reason enough
to contemn, but who may have been as able and
honest as any kuXos KayaOos among their opponents.
To Aristophanes the steps in fuller democracy
and the power of demagogism were not merely dis-
tasteful ; they caused the gravest apprehension.
Leaving for the moment the immediate condition of
domestic and foreign politics, it must be observed
that in his mind the growth of ochlocracy was in-
timately connected with a number of new tendencies
which found their most potent expression in the
poetry of Euripides. These included religious
scepticism and new ethical speculations, which
weakened the public loyalty to ancient standards
of conduct. For example Aristophanes chooses to
interpret Euripides as appealing to novel and inane
deities (889 sqq.), denying the obligation of an oath
(101 sq., 1471), and declaring that nothing is base
unless 'thinking makes it so' (1475). Again, the
(for the times) ultra-democratic spirit of Euripides
shows itself in his sympathetic treatment of the facts
of common life, and in the comparative importance
which he allows to the lowly, to women, and to
slaves. This 'teaching' was as alarming to the
reactionaries as threats of socialism are apt to be at
the present day. As understood by Aristophanes,
scepticism, ' sophistry,' and social deterioration went
together. The casuistical argumentation represented
by a Socrates or a Euripides was the pernicious
agent of moral disintegration. And as a consequence
botli public and social life were being debased.
Meanwhile Aeschylus represented the old school, in
which character was more simple, heroic, or 'Homeric,'
and standards more fixed and obeyed, and under
xvili THE FROGS OF ARISTOPHATsT"ES
which Athenians cultivated deeds rather than talk,
while low men, women and slaves were kept in their
proper background.
Meanwhile with the faults of Euripides as a
teacher went faults as an artist. His fancy for
clothing his tragic hero in rags and trusting to the
scenic effect of these and of lameness, instead of
relying upon the inherent pathos of the situation ;
his unseasonable fondness for casuistry ; his
monotony of style and versification in his prologues ;
his frequent trivialities of theme and expression ; his
undignified innovations in the music of his choruses,
with their * variations,' rapid runs and * shakes ' ;
these and other characteristics were to Aristophanes
so many artistic sins, which were not only censurable
as such, but also betrayed the same Euripidean
disregard of authority and sound tradition. The
play itself will make clear the respects in which
Euripides is treated as aesthetically a wrongdoer.
It has already been said that, to the mind of
Aristophanes, such innovations were bound up with
dangerous political tendencies. The state of things
at Athens was, indeed, anything but reassuring,
although it is in the highest degree doubtful
whether fuller democracy or even demagogism was
to blame. The evils of Athens during the latter
half of the Peloponnesian War are at least as
distinctly, if not more distinctly, traceable to
oligarchical machinations ; and that such machina-
tions were in progress in 405 B.C. is clear from^ the
events of the next year. Since the revolution of the
Four Hundred in 411 B.C. there had prevailed no
confidence or sense of security between parties.
INTRODUCTION xix
and, on the whole, the behaviour of the 'people'
had been more just and temperate than that of its
opponents.
The questions at issue were partly internal,
partly of external politics, and the two were
mutually involved. The chief internal question
was that of public burdens and expenditure, and
these were necessarily conditioned to a great extent
by the existence of peace or war. The long
continuance of the struggle with the Peloponnesians
caused a severe drain upon the resources as well as
the pleasures of the well-to-do. The (f^opos of the
confederate states might perhaps have met the
requirements of the war itself ; but meanwhile there
had also been an increasing demand for payment of
the assembly, the juries and the theoric fund. The
richer citizens felt that they were likely to be taxed
out of existence ; they recognised in the leaders of
the popular party {irpoa-TaTai rov ^^lov) their natural
enemies ; they were therefore not only in favour of
concluding peace, but also of reducing the assembly
and jury fees, if not of abolishing them altogether.
Their sympathies were naturally not so alien to the
oligarchical Sparta, and, on that account and because
of the obvious pecuniary self-interest, the efforts of
the peace party were looked upon with suspicion by
the general body of purer democrats.
To the well-to-do Athenian the ideal condition of
things would thus have included peace, abolition of
payment of fees, and therewith a considerable narrow-
ing of the deliberative, judicial and administrative
functions to their own leisured class. Hence the
attempt of the oligarchs in 411 B.C. and the more
tyrannous establishment of the Thirty in 404 B.C.
XX THE FROGS OF AEISTOPHANES
Hence also the strenuous counter-policy of democratic
leaders like Cleophon. That counter-policy did not, it
is true, necessarily involve the prosecution of the war.
Democracy could have had its way at home without
being compelled meanwhile to fight the Pelopon-
nesians. But the war certainly kept a large number
of the poorer citizens in receipt of daily pay, while
the burden of supplying this fell partly upon the
taxed allies and partly upon the richer Athenians.
Moreover, the continuance of the war meant
antagonism to the principle of oligarchy as repre-
sented by Sparta. Yet, when all this is said^ we
can hardly refuse to acknowledge that the privations
and dangers of every order of citizens were so great
that the war-party must have been impelled by a
genuine spirit of patriotism. The superb efforts
after crushing losses, the refusals to make peace on
apparently easy terms, the persistence in manning
warships, are not to be accounted for by the desire
to earn three obols a day. And, as Grote has fully
pointed out, we are in no fair position to discuss the
wisdom or unwisdom of men like Cleophon, when
they refused to hear of peace on the terms proposed
after the battle of Cyzicus or of Arginusae. Gallant
spirit and fair prospects may have been ample
justification for a politician and a party who had
good reason for suspecting the motives of those who
were most energetic in the cause of peace. That
Athens would ultimately fail could hardly have been
so foregone a conclusion before the battle of Aegos-
potami as it seems to us after that event.
At Athens there were doubtless * Moderates ' or a
middle party, whose fate was that of such persons
all the world over. Determining their proposals,
INTRODUCTION xxi
which might be the wisest possible, by the exigences
of the immediate case, they laid themselves open to
a charge of inconsistency or worse. They were
called opportunists and turncoats. Most conspicuous
among these was Theramenes, whose character and
conduct appear to be at length securing fairer treat-
ment. And less distinctly before the public there
must have been a body of thoughtful and reasonable
men whose efforts went towards reconciling the two
chief parties. Most of these would naturally uphold
a real democracy, but a democracy which should
abstain from bribing itself with extortions from
either the allies or the rich ; they would for the most
part desire peace, so soon as peace could be obtained
on anything like equitable terms ; they would do
their best to remove the reciprocal jealousies and
suspicions which harassed the state. To this party
Aristophanes claims to belong, and probably believed
that he did belong. His avowed aims are peace,
democracy on just principles, and a general wiping
of old jealousies off the slate. Yet it is impossible
to read him without perceiving that he himself can
show no fairness towards the popular leaders, that
he is only restrained by prudential reasons from
proposing a virtual oligarchy, and that he actually
goes near to suggesting it. He is often obviously
feeling the pulse of his audience, and his consequent
action is admirably deft, with just that spice of
audacity in suggestion or reproof which a democracy
loves, but without much serious self-committal. His
attacks upon individuals like Cleophon and Cleigenes
are uncompromising enough; but it requires little
experience of a democracy to recognise that a party
will langh at the strongest caricature of its leader,
xxii THE FROGS OF ARISTOPHANES
so long as the attack is not ostensibly made upon
itself.. Men do not particularly mind being called
' lions led by asses,' and this is practically the
general assertion of Aristophanes. If occasionally
he alleges that they allow demagogues to make fools
of them, he insists that the foolishness is not
natural, but the contrary ; also they are never
knaves. At his boldest his chorus speaks under
'privilege of the festival,' while he can always
personally disclaim the views which happen to be
dramatically fit in the mouths of his characters. It
is edifying to observe how in the Frogs he puts out
feelers concerning the recall of Alcibiades without
direct expression of his own views. Meanwhile he
makes no secret of his view that peace is the best
policy. All credit must, of course, be given to the
Athenian toleration of Trapprjo-ia, and probably no
personal harm could have come to the poet from the
most outspoken partisanship. But he was at the
same time a dramatist contending for a prize, and had
no wish to alienate the greater part of his audience.
To us, after the event, it might seem that in the
Frogs Aristophanes shows himself a master of
political wisdom. He recommends an amnesty of
parties, and he urges peace. In a very short time
(after Aegospotami) the course of restoring to their
franchise all the citizens who had lost it was
approved and carried out ; also in a very short time
the war ended in the complete defeat of Athens.
But these facts are insufficient as data for proving
that Cleophon was an incompetent knave or Thera-
menes an unpatriotic self-seeker. They simply show
that in the circumstances the poet and his party may
claim to have given the best advice.
mXRODUCTION xxiii
Though politics are not the primary subject of
the FrogSy the references to them are sufficiently
numerous, while (except as usual in the parahasis)
they come in without awkwardness or forcing. The
tragic poet's qualifications, it has been said above,
included practical o-ocfyta, and his function included
teaching and admonition. Therefore, in choosing
between Aeschylus and Euripides, it was necessary
to give prime consideration to the advice (yvw/x?;)
which each was likely to offer at a critical time.
And undoubtedly the time was critical. History
tells us little of the condition of Athens during the
months after the victory of Arginiisae and the
blundering trial of the admirals. That Athens made
no progress after that victory is sufficiently evident,
but there is nothing in professed history to tell us
exactly what the prospect was like before the collapse
of Aegospotami. It is, however, somewhat surprising
that so little of the truth has been gleaned from the
present play, which is the most trustworthy docu-
ment for the interval. From the Frogs it may be
gathered with certainty that the outlook was almost
desperate. Aristophanes implies this without feeling
called upon to argue it. The country is KP/xarwv ev
dyKaXats (704). The assumption throughout is that
the best for which there is hope is o-wrTy/ota. The
prayer of the mystae is for (rioTypca (381, 386); the
advice demanded of the rival poets is to be such as
will secure crwrT/pta (1419, 1436); the need of men
to fight in the navy is so great that all who will
so fight should be made citizens (701 sq.); even
then the country may come to grief (736), but it will
do so without disgrace. According to the true inter-
pretation of V. 685 there is implied a doubt as to the
XXIV THE FROGS OF ARISTOPHAKES
possibility of now obtaining a treaty on reasonable
terms. The whole tone of the political allusions is
the tone of a man who simply hopes that the worst
will not happen, and who recognises that a last united
effort is the only chance of averting it.
After the putting down of the oligarchical revolu-
tion of the Four Hundred in 411 B.C. the punishment
of the participants had been severe. Many were in
exile, many were art/xo6, either as condemned for
public treachery or else through inability to pay
fines imposed upon them. According to Aristo-
phanes the state was thus losing the services of
many of its most useful citizens ' through one slip '
(into which, he pleads, they had been lured by
Phrynichus), and was also perpetuating the bad
feeling which increased the internal insecurity. He
pleads that they should be restored to their lost
status, and that all citizens should thus be ' put on
a level.' Meanwhile it is beyond question that the
intrigues of their party were proceeding actively, if
covertly, and that the prospects of the Avar were not
improved thereby. The signal victory of Cyzicus
(410 B.C.) and the destruction of the Lacedaemonian
fleet, it is true, once placed Athens in a position to
secure peace on very favourable terms. That these
offers were rejected, mainly through the influence of
Cleophon, is perhaps not surprising. The country
had reason to hope for an issue better still. Upon
other successes, in which Alcibiades had been a chief
instrument, there followed the irregular and only
partially legitimised return of that brilliant adven-
turer to Athens (408-407 B.C.) and the high hopes
placed in his ability and promises. Beyond the
showy action of enabling, by his military escort,
INTRODUCTION xxv
the Eleusinian procession to follow the orthodox land-
route for the first time for several years (i.e. since
the Peloponnesian occupation of Deceleia), Alcibiades
achieved practically nothing. Deposed from his
generalship, he had withdrawn in dudgeon to his own
possessions in the Chersonese (406 B.C.). Neverthe-
less in the present year he was still considered the
only leader capable of some great exploit which
might prevent the ruin of Athens, and it is evident
from the Frogs that his recall was being unofficially
debated. Returning, however, to the time im-
mediately after his deposition (406), we find his
successor Conon blocked up by the Peloponnesians
in Mitylene, and thereupon a desperate and
magnificent effort by which the last armada of
Athens sailed to relieve him. When the fight of
Arginusae (406) had resulted in the complete rout of
the Peloponnesians and the liberation of Conon, the
people showed its lively gratitude by the rare act
of setting free the slaves who had taken part in
the engagement. Unhappily the omission of the
admirals to recover their dead and shipwrecked
compatriots after the victory brought about the
rather complicated events of their unfair trial and
condemnation. The ' true inwardness ' of these
occurrences we are hardly likely to discover, but
that the relations of the oligarchical and democratic
parties were once more involved is almost indisput-
able. Be that as it may, the victory produced for
Athens little solid good externally and no small harm
at home. It prevented immediate collapse without
restoring her fortunes. That the Lacedaemonians
offered peace on the terms of status quo is a statement
discredited by Grote on very reasonable grounds. In
XXVI THE FROGS OF ARISTOPHANES
the months which followed the fleet did nothing to
improve the Athenian position, and, though the
blunder and disaster of Aegospotami could not be
foreseen, the straits of the city mast have been very
great and the signs of exhaustion unmistakable.
It was amid such circumstances that Aristophanes
brought on the Frogs at the Lenaea of February
405 B.C.
According to the vwoOecns, quoting Dicaearchus
(a pupil of Aristotle), the piece was so much liked
* because of its parabasis ' that it was put on the
stage a second time. Exactly when this reproduc-
tion would occur is not clear. It may possibly have
been on the day called XvTpot of the Anthesteria,
although it is more natural to think of the Great
Dionysia. That there were two productions, and
that the second contained certain variations from the
first, is universally allowed. In the extant text the
two versions are confused at least in vv. 1437 sqq.,
where the commentary should be seen. Events had
not moved far during the interval, but the poet
doubtless found sufficient reasons for modifying
certain lines in the light of more immediate circum-
stances. In the passage 1252 sqq. (q.v.) there is
an appearance of alternativeness about two short
passages in the lyrics, but it is hard to perceive a
reason for the substitution of one for the other, and
there is nothing improbable in regarding both as
belonging to the first version, the tautology (if such
it can be called) being justified by the fact that the
lines are a parody. In any case it is difficult to
believe, with Van Leeuwen, that before the second
performance members of the audience were possessed
INTRODUCTION xxvii
of copies of the play, in which their comprehension
of the points was assisted by notes of reference,
vv. 1109 sqq. should be otherwise interpreted.
/' At first sight it appears strange that the play
should be named from the frogs which play so small
a part in it. The true chorus is composed of the
/xvcTTttt, while the frogs are but a comparatively
inconsiderable TTapao-K-qviov. Why, then, did not
Aristophanes call the play M.vo-Tatl Two reasons
may be assigned, each sufficient in itself. The
sacredness of the mysteries would suggest that
Mrcrrat as the announced title of a comedy might
be prejudicial. However harmless might prove to
be the part played by the mystae, it would naturally
appear beforehand as if the mysteries were threatened
with some ridicule. '. Apart from this consideration
it is to be remembered that in its origins comedy
revelled in the imitation of animals, comic action
and licence being rendered more ludicrous by such
disguises. The Old Comedy, therefore, still affected
such animal choruses (^cjyrJKes, '^rjve^y etc.), partly
from force of tradition, and probably more because
the audiences looked for them and were attracted
by the corresponding titles. A title, after all, is
but a convenient short label whereby to identify a
play, and, while the choice lay between fivo-Tai and
parpa^oi (since it would be hard to think of any
single word descriptive of the action and thought of
the piece), the latter possessed the superior claims on
both the grounds above stated.
The choice of the fivo-rai is prompted by fairly
obvious motives. What equally suitable body of
xxviii THE FROGS OF ARISTOPHANES
persons could the comedian find in Hades? The
initiated alone are there so situated that they can
still sport and dance as the comic chorus requires.
Moreover they are Athenians, acquainted with local
circumstance and able to make the necessary local
references. When Aristophanes was met by the
question who were to form his chorus, he hit upon
what was probably the only satisfactory answer.
Nor should the nearness of the Little Mysteries of
the Anthesteria be overlooked (see next section of
this Introduction).
B. The Mysteries referred to in the Frogs
It has been universally assumed that the iivo-rai
in the Frogs are represented as carrying lacchus
from Athens to Eleusis in the procession of the
Greater Eleusinia, and that the proclamation, hymns,
and dances are intended to recall, as far as evo-efSe ta
permitted, those which belonged to that occasion.
The difficulties raised by the assumption are, how-
ever, very great, though they appear to have been
strangely overlooked. The various scholia lend no
help worth considering.
We may first summarise the proceedings of the
Greater Mysteries so far as they concern interpreta-
tion.
The 7rp6pp7](TLs of the Archon Basileus, Hierophant,
and Daduchus in the Stoa Poikile on the 16th of
Boedromion (about the end of September) was
followed by the ceremony of purification known as
aAaSe /xvo-rat, and this by sacrifices. On the 19th-
INTRODUCTION xxix
20th the initiated went in procession to the 'laKxdov
in the city, took thence the statue of the child
lacchus, and carried it with shouts, songs, and
ceremonies through the Sacred Gate and along the
Sacred Koad to Eleusis. The procession started in
the forenoon. It arrived at Eleusis towards mid-
night. The following days till the 23rd were
occupied at Eleusis with the mystic observances,
including Travvvx^^es- Of these it was rank impiety
to tell, and any attempt to mimic them was visited
with the heaviest punishment.
Now we might concede that though Dionysus, under
that name, is without part in the Greater Eleusinia,
yet lacchus and Bacchus were commonly identified
in the popular mind, and therefore there would be a
certain justification for the comedian thus introducing
the Eleusinian lacchus procession into a play for the
festival of Dionysus. There would also, we may
admit, be no impiety in putting on the stage that
prelude to the mysteries which all the world was
allowed to see.
Nevertheless we have to meet the following
questions : —
(1) What is meant in v. 324 by"Ia/cx\ w ttoXv-
TLfxoiS €V eSpats evOdSe vat(DV 1 Where is ivOdSe^
There was apparently no laccheum at Eleusis. And
what is meant by the next words iXde rovS' dva
XeijjLiova xopevo-biv ? Where is * this ' meadow ? Are
we to suppose that it was' near the said temple of
lacchus in Athens? Yet it is hardly conceivable
that there was any meadow thus near the temple, i.e.
on the way from the laccheum as one started towards
Eleusis. If it is argued that the allusion is to the
temple in which lacchus was lodged at Eleusis, and
XXX THE FROGS OF ARISTOPHANES
that the meadow is there, the notion that there is a
representation of the procession at starting must be
abandoned. There has apparently been a complete
confusion of thought on the part of readers, whose
minds have glided from a temple of lacchus at
Athens to a meadow at Eleusis without being aware
of the fact. The language of Aristophanes does not
permit of this easy transit.
(2) According to current accounts the procession
left the laccheum somewhat early in the day. Yet
in Aristophanes the torches are all blazing (vv. 340
sqq.). This state of things, though possible, is hardly
probable. Doubtless torches sometimes appear
lighted on the vases even when the procession
looks as if it might belong to the daytime, but
in reality either the vase-scene is one of the night-
time or else the lighting of the torch is an artistic
convention. If we were already in the meadow
at Eleusis at night the situation would, of course,
be more natural ; but then we are not starting from
Athens.
(3) Where and at what time is the proclamation
of vv. 354 sqq. supposed to be made ? What is the
succession of events ? It is hard to reconcile the
sequence here with what we are told of the order at
the Greater Eleusinia.
These are but the weaker objections. They are
perhaps answerable. Some might plead that the
torches of the procession may in point of fact have
been lighted in the forenoon, their purpose being
purely symbolic. It might also be hazarded that a
second or final irpopprjo-is may have been made at the
'laKx<^?ov just before the start. Furthermore it
might be argued that Aristophanes is compressing
INTRODUCTION xxxi
into brief space various proceedings of the procession
and its preliminaries, and also proceedings on arrival
at Eleusis, without regard to exact order or to literal
correctness of time and place. These imaginary-
replies are, of course, very unsatisfactory.
If, on the other hand, we abandon the common
notion and imagine ourselves already at Eleusis, near
the temple in which lacchus w^as there installed, we
shall be obliged to modify our views concerning the
reticence demanded of those — only /xiVrat — who
were there present.
But there is a still more difficult question. (4)
What is the special appropriateness of introducing
the September mysteries of Eleusis into a play be-
longing to the Lenaea of February 1 The current
theory seems to be that Athens was exulting over
the exploit of Alcibiades, who had safely conducted
the procession to Eleusis by land, after the Deceleian
occupation had prevented it for years. But, apart
from the fact that the play makes no reference what-
ever to this occurrence, the year of that convoyed
procession was 407, while the date of the play is 405.
There is no proof that the land procession could be
resumed in 406, and people do not exult over a thing
which they managed to do the year before last, but
which they have been unable to do last year. More-
over the exultation seems in any case somewhat
belated.
There are other considerations which may throw
light on the problem. These lead to the conclusion
that the reference is not to the Greater Mysteries at
Eleusis but to the Lesser Mysteries at Athens.
These, which were called h "Ay pas (or "Ay pats) and
xxxn THE FROGS OF ARISTOPHANES
took place in spring, were a smaller copy and a kind
of introductory rehearsal of the Greater Eleusinia.
They were celebrated in the outskirts of Athens just
across the Ilissus beyond the Limnae from the
Lenaeum. These mysteries were to take place in a
month from the production of the Frogs-, nor is it
impossible that the Frogs would be actually repeated
at the dramatic performances which appear to have
taken place on the Xvrpot of the Anthesteria.
The ceremonies at Agra (or Agrae) concerned
originally the same deities as at Eleusis, but with a
difference in their relative importance which corre-
sponds to the order of precedence in the Frogs,
There was a similar arrangement of the temples of
the two goddesses, and the rites and ceremonies were
in the main analogous, although those at Agrae were
of a preparatory and, in a sense, a more popular
nature.
That Aristophanes had these celebrations in mind,
and not those of Eleusis, is rendered almost certain
by the following considerations :
{a) The introduction of the mysteries into a play
intended for the festival of Dionysus is made the more
accountable and natural. With Eleusis Dionysus is
scarcely concerned. But in the mysteries at Agrae
he is united with Persephone, to whom, as the Spring
Goddess, the festival in reality belonged. For his
prominence in these see Dr. Harrison's Prolegomena
to Greek Religion pp. 560 sq.
(h) The temple in which lacchus dwells (Iv^aSe),
beside a marshy meadow {rov^e Aet/xwva, also called
in V. 352 'iXeiov SdireSov), is most easily conceivable
as a temple of Dionysus-Iacchus by the Ilissus.
(c) The Agrae mysteries were particularly in
INTRODUCTION xxxiii
honour of Persephone, not of Demeter, and it will be
noted that in the hymn 377 sqq. it is Persephone
who is placed first. At the Greater Eleusinia this
could hardly occur with propriety.
{d) There is an allusion in 218 sqq. to the coming
spring feast of the Anthesteria. The spring mysteries
are regularly associated with the Anthesteria. Those
of the autumn are too remote from the Lenaea.
{e) The emphasis laid upon Aet/xwva (325), avOrjpov
SoLTreSov (352), evavOets koXttovs Xeificoviov (373), dvOo-
(fiopov aAo-os (441), Xeifjiwvas av^e/xwSets (445) surely
points to the spring festival of the month Anthesterion
and not to the late autumn. Whether 'AvOeo-Trjpta
is or (more probably) is not derived from avOos,
popular etymology inevitably associated the words.
The repeated reference to avOy] is a seasonable
anticipation of the 'AvOeo-rripta. The season for
flowers is, of course, much earlier in Greece than in
higher latitudes, and late September is no time for
the luxuriance of flowery meads.
(/) Dionysus and Xanthias have come down by
way of the house of Heracles to the Xtfjbvrj and have
crossed into a low-lying meadow of flowers. This,
translated into terms of Athenian topography, means
a descent from the temple of Heracles Alexikakos in
the north-western part of Athens, past the Mixvai,
beyond the Lenaeum (see vv. 211-219) and south-
eastward into the meadows by the Ilissus.
{g) The great body of Athenian spectators would
be more familiar with the Lesser Mysteries of their
own suburbs than with those of Eleusis, which were
distant and required time as well as a greater degree
of initiation. Thus a representation of the dancing
of the Mystae on their way across the Ilissus into
xxxiv THE FROGS OF ARISTOPHANES
the Agrae precincts would be more readily appreciated
and less open to religious objection.
C. The Language and Metre of Comedy as
COMPARED AVITH THOSE OF TRAGEDY, AND
THEIR RELATION TO ORDINARY SPEECH
In a comedy various parts are written in various metres,
and each such part has a character of its own as regards
the degree in which it represents, or departs from, the
current diction of Athens. The main portion consists of
the spoken dialogue in the metre known as the iambic
trimeter (or senarius). This departs least of all Greek
metres from the rhythm of ordinary speech (Aristot. Poet.
4 /xaAtcrra yap XeKTCKOv twv fx^rpiov to ta/x^etov Icrrtv
(j7]fJL€Lov 8e TOVTOV TrAetcTTa yap ta/xySeta Xeyofxev ev rfj
StaAcKTO) TTj irpos dXXi]\ovs) ; corresj)ondingly it departs
as little as possible from the diction, phraseology and
grammar used in ordinary life and conversation. In
other words the iambic trimeter of comedy is the language
of vivacious and colloquial prose arranged in the form of
an easy and fluent verse.
Next to the dialogue in trimeters come the longer
metres known as tetrameters, which are trochaic, ana-
paestic, or iambic. The metre of these is easily recognised
as a distinct departure from customary language ; they
are not merely spoken, like the senarii, but are associated
with excited movement and are delivered in a sort of
recitative to the accompaniment of a flute. (Technically
this style of delivery is called irapaKaraXoyrj.) It is
natural, therefore, that in these there should be permitted
also some departure, though not a very wide one, from
the ordinary vocabulary or grammar. That is to say,
they may bear a more poetical colour.
INTRODUCTION xxxv
Thirdly there come the lyrics proper, in various
metres, sung by the dancing (or gesticulating) chorus, and
in these the humorous parody of tragic choruses, dithy-
rambs and other serious lyric poetry is so overwhelming
that we no longer look to them for any certain criteria
as to the contemporary speech of Attica.
We shall do well to consider in order the main
characteristics of comic metre and language in the
trimeters and tetrameters.
(i,) Diction and Grammar of the Comic Senariiis. — The
language of the comic senarius differs widely from that
of the tragic. The language of tragedy is poetic. It
contains archaic words which were no longer current in
everyday Athenian speech, but which had belonged to an
older stage of Attic or were part of the wider poetry
familiar to every educated citizen. In this respect it
resembled the serious poetry of modern England, in which
occur words which no one would think of using in an
ordinary harangue. As we do not in common life or in
sober prose speak of 'welkin' or 'steed,' unless humorously,
so the Athenian of the fifth century B.C. made no use of
/xoAeti/, Xrjfia, k\v€iv, and the like except in serious
poetry. In ordinary life these words could occur only
in quotations or allusively or with humour. But just as
the speaks of English who does not use ' welkin ' or
' burgeon ' nevertheless knows the meaning of those words
and recognises their place in poetry, so the speaker of
Attic Greek who did not use fioXetv or Kkvetv understood
them fully when they occurred in tragedy.
Meanwhile comedy is the language of real life, and in
the ordinary senarius such words as those mentioned
would be altogether incongruous. As Horace says (A. P.
89), versibus exjooni tragicis res comica non vult. It is, of
course, true that Athenians, though less than Englishmen,
differed somewhat in the range of their vocabularies and
OF THE
!IMl*/r-f-»f-»i-»-i
xxxvi THE FROGS OF ARISTOPHANES
ill the phrases for which their everyday speech showed a
partiality ; but, as an educated Englishman is none the
less able to draw a distiction between the poetic and the
common or familiar word (between the yXcorra and the
KvpLov ovofxa), so the educated Athenian had a keen
sense of the same difference. Athens, indeed, was a
small community, and the current language and range of
vocabulary were much more homogeneous or on a level
throughout society than they are with us, so that the
distinction of the rare from the familiar term would be
even more readily felt.
The comic senarius, unless it is quoting, parodying,
or burlesquing, uses only the current terms (Kvpca
6v6fjLaTa\ and the occurrence of such words as erXrjV or
rayds is a signal — even if there were no other — that
there is an allusion to some tragic passage, or a quotation
from serious poetry, or a deliberate spice of the grandiose.
In all such cases we must conceive of the actor as deliver-
ing the word or its context with a tragic tone and air,
and striking a tragic gesture or attitude.
The student may at first find some difficulty in telling
which words are, and which are not, purely poetical.
But the difficulty is exactly the same as is encountered in
dealing with Greek prose. The rules of prose diction are
the rules of the comic senarius. Some words are entirely
and solely poetical ; a few are allowable in prose or
comedy in certain phrases only. Thus crOevos and cjyprjv
are to be called poetical words (the current equivalents
being pcofXTj and vovs\ and yet the phrases iravrl crOevei
and vovv e^ovra kol cfypevas were permitted in common
Attic speech. Similarly in English we can use an ex-
pression ' with all his might and main,' although ' main '
is otherwise obsolete and 'might' is a word of poetical
colour, the current equivalent being 'strength.' The
form OeXeiv for WkXeiv is poetic, yet r^v Oeos OkXrj (' God
willing') survived as a phrase of ordinary life. The
INTRODUCTION xxxvii
Athenian ear was remarkably delicate and even captious
in such matters, and the comedian could rely upon his
audience seeing the point of humour whenever he in-
troduced into his line words like /cAecvds, eXtvveiv,
7ra/x7r7^(rt'a, Km p.
Attic diction of the date of Aristophanes was subtle
and fastidious in its usages, not only in the nouns,
adjectives and verbs, but in the prepositions, conjunctions
etc. A distinction from tragedy has frequently to be
noted. For example where tragedy uses ws in similitudes
comedy proper must use coo-ire p ; where tragedy says
ovTTore comedy must say ovdeiroTe. The tragic use of
Trpos or €K for viro (' by '), which is not allowed in Attic
prose, is not allowed in the comic senarius. In tragedy
TTptv, el, 6(09, OS and other relatives may be joined to the
subjunctive without av, e.g. ews e'A^?/) ^^ V- This is a
remnant of the older Greek use of a pure subjunctive
mood. The subsequent addition of av to the relative had
nothing to do with determining the mood, but it w*as
meant to assist the generic indefiniteness of the expression,
and its use was at first optional. In Attic Greek it
came about that the use of av prevailed, until in ordinary
life it became an indispensable attachment to the relative
when used with the subjunctive. The comedian must
therefore write Trplv av ekOy, 6s av y. Here again
quotation, burlesque {irapaTpayia^ia), or * mouthing '
would at once show itself by the use in a comic senarius of
Trpos = wo, ws = cocnrep, os = os av. The nice distinctions
of Attic cannot, of course, be enumerated here. It must
suffice to illustrate by these easy examples.
Another most important difference between comic and
tragic language consists in the use or omission of the
article. In early Greek, as in Latin and many other
languages, there was no article. There existed a demon-
strative pronoun ('that'), which was employed when 'that'
was palpably required. Gradually this demonstrative
xxxviii THE FROGS OF ARISTOPHANES
pronoun was weakened into a mere ^ definite article,'
which became regularly attached to nouns in the later
common speech, whereas in the older stage it was as
regularly absent. Only a few old and familiar phrases
continued to dispense with it. Thus Attic Greek
continued to say, ets dyopdv, ets dypov, e^w reixovSj es
TToAtv, very much as we still say without the article ' to
market,' 'to town,' * upstairs,' and the like. Tragedy,
representing an elevated diction which is the opposite of
the everyday, adheres to the old fashion. It regularly
dispenses with the article, unless that article is emphatic,
i.e. a virtual demonstrative. It is, in fact, a gross error
to assume that the tragedians use or omit the article
purely for metrical reasons and without further discrimi-
nation. Thus tragedy uses e/x6s Trarrip in the simple
sense of *my father,' but when it wishes to say ^my
father,' or affectionately * my own father,' it uses 6 e/xos.
Comedy, like ])rose conversation, must always (in ordinary
dialogue) use 6 e/xo§. The fact that comedy is verse does
not justify the omission of the definite article in writing
such verse. The omission is only permitted after pre-
positions with names of localities, e.g. dyopd, ttoXls
( = aKpoTToAt?), TTpvTaveiov, dypos (which were treated by
an Athenian as practically proper names), or in stereotyped
phrases, e.g. Kar' ocf^Oakpovs, Kara yrjv^ etc.
(ii.) Metre of the Comic Senarius. — (a) The iambic tri-
meter of tragedy admits of the following variations : —
Besides these an anapaest is occasionally allowable in
other feet than the first in a proper name which could
INTRODUCTION xxxix
hardly be brought into the verse without such a concession.
The iambic senarius of comedy admits freely of an ana-
paest in any foot but the 6th. It freely admits of a
dactyl in the 5th foot as well as the 3rd. There are also
no inconsiderable number of instances of a tribrach in the
6th foot : e.g. <^et|StTta (Antiph. '^pX- 3), 5eA|<^aKfca
(Eubul. 'AfiaXO. 9), (rap\KL8ia (Diph. 'AttA. 2), XrjK\v0Lov
(Anon. 40) and in Aristophanes xo^Ip^'^^ov (Ach. 777)
Ov\XdKLov {Ran. 1203). It will be seen that in each of
these examples there is an iota, which may be slurred ;
but to ^ correct ' all such cases is quite unwarrantable.
(6) The scheme given above for tragedy is, however,
limited by certain rules of greater or less refinement.
For example there is the ' law of the final cretic,' accord-
ing to which, when a single word or organic combination
of the value —^^ can be separated at the end of the line,
the previous syllable is short. Thus a line could not end
with TToAAo) wXetova nor with ttoWovs twv Aoywv. The
exception is that a long syllable may precede the final
— v^ ^ when the said long syllable is a monosyllabic word
organically connected with the ~ v^ ^ following, as in a
preposition followed by its case (efc Tr/Day/xarwv) or an
article followed by its noun (ras ^vfX(j)opds). [One can,
without violating the rule, say rjp.(^v yap yepas, because
the — v^ — is not composed of a single word nor of an
organic combination, since yap belongs to what precedes.]
For comedy there is no such law of the final cretic, and
TToAAc^ irXeiova or ttoXXovs twv Xoyuiv is a perfectly
normal ending.
(c) In tragedy the line regularly has a caesura, or
division between words, after the first syllable of either
the 3rd foot or (less frequently) the 4th. There are, it is
true, about forty undoubted exceptions in extant tragedy,
and though in some of these the unusual rhythm is
manifestly intended for effect, the only inviolable rule
xl
THE FROGS OF ARISTOPHANES
seems to be that a tragic line must not be capable of
severance into three equal parts. Thus
€177(0 TL TOJV | etCO^OTWl/, | (0 Seo'TTOTa ;
or /«xAA(o? 6 /xei/ y I ^vpiTTtSrjs \ iravovpyos wv
are impossible in tragedy. In comedy there is no such
rule whatever and lines without caesura are used with
the greatest frequency.
(d) There is more freedom in comedy as to the number
and sequence of the resolved feet (i.e. ^ vj w or — ^ v-^ or
^ v^ — ) which may be used in a single line, and as to the
places at which such feet must be divided between words.
The rules for tragedy are set forth in the ordinary verse-
books. In comedy scholars have made plentiful observa-
tions as to what does or does not occur, but many of
these are too subtle for mention in this brief sketch
and in some instances should never have been exalted
into rules.
The working scheme for the comic senarius is therefore
2 3 4 5
v^ — v^ — \y — "^ —
V^V^V^ V-ZV^O" V-ZV^*^ v^v^>^
\^ \^ V-/>^ V^V^ 's.ZV-Z
— \y \y — v^ v^
/ ^ w (rarely)
(with no regard to caesura or ' final ere tic ').
It may be said in general that a true comic line will
very seldom scan as tragic. Either it shares an anapaest
or dactyl in the wrong place, or it has too many resolved
feet, or it is without caesura, or it ignores the final cretic,
or, in a foot in which a tribrach or anapaest or dactyl is
possible in tragedy, it does not conform to some rule as
to dividing such a foot between words. In most cases,
as soon as a line scans faultlessly as a tragic line, we have
INTRODUCTION xli
good reason to suspect that it is a quotation or burlesque,
and that it was * mouthed' by the actor accordingly.
Thus while the line
TO Se 7rpoar\8oKrj\crai a-' ovk | dv67]\Tov Kal | k€v6v
is the natural line of conversational comedy, its successor
is delivered with the grand tragic tone and attitude.
Much will be lost from an appreciation of the humour
of Aristophanes and from an understanding of the Greek
stage if this simple fact is not borne in mind.
(e) Besides the rules which have been given for the
several feet available in comedy and tragedy respectively,
there is a most important difference in a rule of syllabic
quantity. In tragedy, if a vowel is not long in itself,
it may be lengthened before one of the mutes (k, y, x? t,
S, 0, TT, /3, </)) followed by one of the liquids (/o, A) and
(except for y, S, /5) by one of the nasals (/z, v). Thus in
vjSpi^s, dypos, irarpos, vttvo^ etc. the first syllable may
be long or short as the poet chooses. [In point of fact
the lengthening is not nearly so common as is generally
supposed. For the statistics see Glass. Review Vol. xi.
pp. 341 sqq.] But in the language of daily life, if in
such syllables the vowel was naturally short, the syllables
were always kept short ; and therefore comedy, being the
language of daily life, never lengthens them in the iambic
senarius, unless it is quoting or burlesquing serious poetry.
Thus in a natural line of comic dialogue aypos or Tv<f)X6s
or v/Spis is impossible. When we find such lengthenings
we may be sure that we have more * mouthing.'
(/) The senarius of comedy differs also markedly from
that of tragedy in respect of freedom in Elision, Prodeli-
sion, Crasis, Synecphonesis and Hiatus.
Elision, — Comedy, unlike tragedy, may elide -at in
xlii THE FROGS OF ARISTOPHANES
the verb-terminations of the infin. and of the 1st
and 3rd persons passive ; e.g. irap^W is r-qv TrvKva,
8iay(x)Vi€i(r6^ ecf^acTKe, Seo/x' ovSev, KoXaa^ e^ecrrt,
yevTyo-er' dyaOd. It may also elide -ot in oifxot ;
e.g. ot/x' 0)9.
Prodelision. — In comedy the initial e of a word follow-
ing a final vowel is freely dropped from the
scansion ; e.g. eyw ^SeiKw/xi, ovk cl^iw 'yw '/xanrov,
OTTov ^v6d8\ ov ^fjLvrjcrOrjVj oto/xat 'ycDy'. In tragedy
the instances are much less bold and are mostly
restricted to prepositions.
Crasis in comedy is very free. Striking instances are
Siq^ofJidp (Srj^OfjiaL dpa), ;>(av8/)e9 (xat ot dvSpes),
fjLevTOvcfiao-Kev (/xevrot e</)acrKev), TvydyaO^^ KaiTOVK^
(rov8(i)K€v^ fjiovyyvSj eycdyopLrfV.
Sy7iecphonesis. — What comedy can do in the slurring
together of final and initial vowels may be seen
from e.g. pd rov 'AttoAAco ov, la avrov, el Se
pirj rjp.€is, €y(t) eicropat, pirj copacn.
Hiatus, which very rarely occurs in tragedy (perhaps
only in ti ovv) is frequent in comedy after rt, on,
irepi. We have tl eWt, tl dpa, tl ov, tl av, tl
€L7ras etc., on dv, on ovk, on rj, on elaeOrjKe etc.,
wepl 6TV0VS, Trepl 'AOtjvmv, Trepl epov etc. Also
ovSk €V, €v lctOl, €v olSa, w 'Hpa/vAets, S> ovros,
and (at least in the New Comedy) p^xp^- otv, Trpo
Tjpepas.
It would have been impossible to write a natural
language without these privileges. Thus the article
cannot be omitted as in tragedy. Since so many words
begin with vowels, a crasis with the article was necessarily
very frequent, e.g. OovSaros, drfpLerepov. Such erases
doubtless occur in tragedy also, but much less often, and
only when the article is for some reason indispensable.
Similarly it would have taken away all the realistic
INTRODUCTION xliii
character of comic language if the writer could not have
employed rt, on or wepl before a vowel, or if a familiar
phrase like Tvxy <^y<^^fl were barred by the metre. It
must meanwhile be remembered that the elision, prodeli-
sion, crasis and synecphonesis of comedy represent the
actual Attic pronunciation of ordinary life. Tragedy
avoids the common language ; comedy must reproduce it.
(g) The following metrical observations deserve note
for the iambic senarius of comedy : —
1. Yjfjitv, vfJLLv are not allowed, nor the monosyllabic
use of Oeos.
2. vvu and tolvvv are correct, not vvv or tolvvv.
3. (f>v(Dj Ov(0j v€Lj 'trjiJLi are the proper quantities,
although perhaps t?;/xt is occasional.
4. 8pd)(^iJLrj and 5/Ddx/xr/ are both in use ; ea is
commonly pronounced as one syllable ; et'o-w
(not ecrw) is correct.
5. The vowel or diphthong ending is shortened before
deictic -t, e.g. ravrfji^ rovTi^i^ ovtoUj eKetvoli
6. eh is necessary before a vowel ; a comic senarius
cannot say es dypovs. Before a consonant Is is
perhaps the proper form, but this cannot be
proved ; nevertheless in seme phrases, e.g. Is
Ko/aa/cas, it would be quite incorrect to write cts.
7. The following quantities are optional, viz.: —
ol in TTotetv {iroirjTri^ etc), olos^ ttolos, tolovtos,
OL€L (olrjOy^vai)^ Botcoros :
at in SetXatos, TleLpaievs :
t in avtw, larpos :
d in det, apa (a/oa) :
Also IIpwTews or ITpwrecos etc.
8. The following alternative forms are equally avail-
able : —
-ot9, -otcrt, -OLCTLV in dat. plur. :
xliv THE FROGS OF ARISTOPHANES
SiSoacr, 5tSoao-t, StBoacrtv and the like (paragogic
-V being added at pleasure) :
-fxeo-Oa and -/jbeOa :
(TeavTov, eavTov and cravTov, avTov :
eiKOdij TvvvovTO (etc.) and etKocrtv, tvvvovtov (etc.) :
oiOfiaLy (oofjLTfv and oifiatj o^firjv :
iav or i^v :
/xetfova, T^TTOves (etc.) and /xetfco, tJttov^ (etc.) :
T€Ovr]K€vaL, TeOvQKws and re^vavat, re^vews :
€LveKa and eVexa :
-otaro, -ataro and -otvro, -atvro :
-at9 and -etas in opt. 2nd pers. :
eoLKevatj iotKacn and et/cevat, ei^acn :
Tov ; Tw ; and rt vo9 ; rtVt ;
o/)vtv, o/arts, yeAwv and opviOa^ opviOas, yeAwra :
(f>ev^ofJLai and ^ei'^ou/xat :
X/o>5v and ^xprjv :
o-vv- and ^i^i^- :
9. On the other hand it is not permitted to use forms
like TTOtot/xt, TTOLOis for Trototryv, Troioirjs, nor StSot
for StScocrt, but the rule of contemporary prose
applies also to comedy. If -fiecrOa and -otcn
appear to be exceptions it would be better to
accept them as evidence that Attic use was in
these respects not absolutely settled.
10. Aristophanes also uses 'tmesis' in e.g. dvd tol fie
(iii.) Tetrameters. — In dealing with the tetrameters
it is sufficient to state the main principles. It is prob-
able that the collectors of statistics have often over-
refined and in some cases constructed rules out of mere
accidents.
The trochaic, anapaestic and iambic tetrameters are
*catalectic/ i.e. they lack a syllable of being complete
sets of ' 4 metres ' ( = 8 feet).
INTRODUCTION
xlv
{a) The trochaic tetrameter consisted originally of the
scansion : —
I|2|3j4||5|6|7|8
— v^l — \-/| — \^ \ — '^11 — *^! — *^l — *-'l~
with a caesura after the 4th trochee. Variations in the
several feet were allowed, the firj^t and simplest being
that of a spondee ( ) in the 2nd, 4th and 6th feet.
Resolved feet were also permitted, though in tragedy
(excepting Euripides) their use is moderate. In comedy
they are frequent, but it is not very often that more
than one resolution will occur in the same line. The
commonest form is the tribrach, which may be used in
any foot. An anapaest may occur in the 2nd, 4th, and
6th. A dactyl is very rare. The caesura is often
neglected.
We thus have :
aAAa I KOL vvv | <ji)v6\y]T0i || /x€Ta^aA|ovTe9 | tovs Tp6\7rovs
or
6t/ct8t|oi/ (TixiK\pov (^ay|otyu,' av | Iv Ao|7raSt TrelTrvty/xevjov
The trochaic tetrameter is a favourite metre for quick
and excited speech.
(b) The anapaestic tetrameter consisted of 7 anapaests
and a syllable. As a variation a spondee was then
allowed in any foot, but in Attic comedy such spondee
is never used in the 7th. A dactyl also is allowable,
provided tha-t it does not precede an anapaest, and pro-
vided that the last syllable of the 4th foot is left long.
A caesura takes place at the end of the 4th.
xlvi THE FROGS OF ARISTOPHANES
For example :
Se^LO^TTjTO'S I Kal voi'l^ecrtas || otl /^eA|Ttoi;9 | re '7roiov\fX€v
or aTTO Tov | tljjltjv | kol kAcos I eo-^er || ttA^v tovSJ' otl
This metre is suited to marching movement and is
also a favourite in comic disputes and passages of arms
accompanied by motion.
(c) The iambic tetrameter consisted of 7 iambi and a
syllable. It does not belong to tragedy, but is frequent
in comedy. Apart from resolution by tribrachs, a
spondee or dactyl was permitted in the 1st, 3rd, and 5th
feet. By a further extension an anapaest is permitted
in all feet but the 7th. Caesura after the 4th foot is not
essential.
We thus get :
1
2
3
4
5
6
7
v^ —
w-
\y —
In
v^ —
^ —
<v> ^ W
v^ v^ w
— w v^
w w -^
V^ V^ 'w'
— KJ ^
^ w >^
V^ W V^
\y \^ —
W v^ —
V^ V* —
! w v^ —
V^ V^ —
e^ry|7rara | fX(x)pov<^ | \af3u)u | irapa ^pv\vLX^ \ Tpa(f^€v\Tas
7rpijJTi\(rTa pkv \ yap eVa | rtv' av | /ca^tcrjev €y\KaXv\xf/as
'A>(iA|Aea I TLv' i) I ^tofSijV j to TrpoorcoJTTOV ov\)(l 5et/c|vvs.
This also is a metre for disputes, but does not imply
motion, and serves as an agreeable change from the
anapaestic measure.
In the tetrameters we are made more distinctly
INTRODUCTION xlvii
conscious that we are dealing with verse than is the case
in the trimeter. They were, as has been already said,
half sung to the accompaniment of the flute. In them,
therefore, the language and its pronunciation recede
somewhat further from the spoken Attic. One illustra-
tion of the distinction is that, whereas in the trimeter
final diphthongs cannot stand before an initial vowel
without being either elided or else forming crasis or
synecphonesis, in the anapaestic tetrameters they may be
left and scanned as shortened syllables, e.g. ev^OjU-at et,
Oe/ziCTTOKAet dvTL(f)€pi^€LSj pvirTTaTTal elirelv, Xat/aeou
V609, eivai d5eA</>ryv, Secnrocvrj ^A6r]vanj. [If it be
observed that these diphthongs end in t or v, which may
be made consonantal ( = ij and w), we have still to reckon
with e.g. KXeio-devT] elSov.]
The tragic (or generally poetical) lengthening before a
mute and a liquid or nasal is also (though very occasion-
ally) found in tetrameters (e.g. dypojv, /xo^Aos), and words
of poetical colour are sometimes used, e.g. ovTrore, Kapra,
D. Some main Features of the Comic Style
The language of comedy is the language of common life,
rendered as vivacious and witty as the poet can make it.
The idioms are therefore the idioms of prose, but on its
structural side the language, at least in the dialogue, is
for the most part even easier than that of the con-
temporary prose. Brisk conversation admits of no
involved sentences. The student may occasionally find
considerable trouble with the vocabulary ; he will meet
with new colloquial phrases, with allusions to which he
has no key, and with jokes of which the point is obscure
xlviii THE FROGS OF ARISTOPHANES
or iindiscoverable ; but he should have little difficulty
with the grammar. What he should be prepared
for is
puns :
surprise words (irapa TrpooSoKtav) :
parody and burlesque :
quotation:
allusion :
colloquial metaphor constituting Athenian slang :
words manufactured for humorous purposes :
and also a plentiful use of
diminutives :
expletives :
exclamations of abuse, ridicule, contempt or pity.
Though these occur plentifully in every play, it is not
easy to illustrate them apart from their context. The
following may perhaps suffice as introductory specimens.
(a) Puns. — Plays upon words were as welcome to the
Athenian audience of Aristophanes as they were to the
English audience of Shakespeare. We are, however,
scarcely in a position to estimate properly the excellence
or the contrary of an Attic pun, for the reason that we
are uncertain as to the exact Attic pronunciation. If we
could hear a contemporary of Aristophanes articulating
his vowels and consonants and giving to the accent its
proper value, we should doubtless perceive a much closer
resemblance between the words played upon than we can
always perceive in them as written. Nevertheless it
would appear that the Athenians were not very exacting
in this respect. A suggestive resemblance in the shape
of two words, or identity in a prominent syllable, was
apparently sufficient, and the actor's delivery of course
emphasised the point. Examples are : —
(suggesting TrveXco and conversely iJ-oi-XV^ fiefxaxrffJLevov),
INTRODUCTION xlix
ibid. 279 rato-t Tpirjpeo-L (iofjLGVfJLara (sug. {'7ro('t6/xaTa),
1182 cj^ayelv eXaTTJpas ('cakes'), tVa rots vavs eXavvoj-
fjiev /caAw?, Rem. 418 ovk ec^ucre cf^pdrepas (sug.
(fipacTTrjpas), 439 Atbs" Ko/)fcv^os (/copts), Pac. 431 wexe
T^r ^taAr/v, ottw? ^'/)y(^ 'cfytaXovpieVy Eccl. 686 Kdinra
. . tVa KOLTTTiocnVj Lys. 91 sq. x^^*^'^ (pl^ys on x^^^^^^^))
ylc/t. 35 sq. Trptcjv and Trptw, 348 dvOpaKes (and
dvOp(i)TTOi or dv8p€s\ Vesp. 30 t>)v Tpoiriv rov Trpdy/JLaros
( = Tov T/)0 7rov), ^u 121 TToAtv €V€pov (sug. €me/30v),
179 7r6Ao9 and TroAts, Nub. 23 sq. Koirirariav and
k^^KOTTrjv. So in the line of an unknown comedian
I'TTo rov yeAojTos ets FeA'ai/ ac^t^o/xat and (Anon. 350.
1 1) ov7^crt(^6pa . . ovos 4>€p€u
(b) Surprise words {-rrapd TrpocrSoKiav). — A favourite
device of the Attic comedians is to begin a sentence in
such a way that the hearer would naturally expect a
certain word or notion to follow, whereas there is
substituted some other word or notion, which comes
with a humorous surprise and therefore the greater
effect. A good instance occurs in a fragment of Alexis
(Uapdo: 2) : —
irpdyfjia 8' ecrrt /xot /xeya
(f)p€aTo<i €v8ov xj^v^porepov — ^ApdpoTos.
For * colder than ice ' is substituted * more frigid than
Araros,' ij/vxpos being the Greek for dull and tedious.
So in Aristophanes: Eq. 59 f3vp(TLV7]v e'xwv | SetTrvovv-
Tos eoTws aTrocropei — tovs pijropas (instead of rds fxvias)^
457 (5 yevvtKOJTarov Kpeas (for Kapa), 1176 el fir] ^avepws
i)fjL(x}v virepeL\e Trjv — ^vrpav (for )(^eLpa\ 1363 €K tov
Xdpvyyos eKKpepidcras — ^Yirep/SoXov (for e.g. XiOov\ Ban.
421 ecTTLV rd irpMra rrjs e/cet — jJLoxOrjpias, 855 Ke^aAatw
prifxaTi . . eKXer) rov — T-^Aec^ov (for eyKec^aAov), Plut.
26 Tujv efjLiov yap oiKeriov inaTOTaTov rjyovp.ai (re Kal —
KXeTTTLcrTaTov (for e.g. xprj(TT6TaTov\ Lys. 103 direa-Tiv
€7rt Qp<^K7]s (j)vXdTT(ov — ^vKpaTTj (for Tovs TToAe/xtovs),
1 THE FROGS OF ARISTOPHANES
Ach. 733 TTorex^T Ifxlv — tclv yao-repa (for tov vovv\ Av.
134 fiy^ fioi TOT eXOrjS) orav eyo) irpaTTio — Ka/ctos (for
KaAws), Vesp. 243 rj/cetv €\ovTas rjixepwv opyrjv Tpuiov
(for (TiTia).
(c) Parody^ burlesque, quotation and allusion are too
completely interwoven with the whole structure of a play
for us to illustrate them satisfactorily in extracts.
Tragedy, dithyramb, the hexameters of oracles, skolia,
and other forms of verse are fair game for the comedian.
In the dialogue it is particularly tragedy, in the lyrics
particularly dithyramb, which suffer. The Athenian
audience was entirely familiar with the style of the
messenger's speech {dyyeXov pyjcns), with the recognition-
scene (dvayviopiCTis) and with the ^forensic dis]3ute,' or
argument and retort (e'Aeyxos), of the tragedian. It
would therefore at once apprehend the humour of the
comic burlesque of such passages, especially when the
actor struck an attitude and intoned his words after the
manner of some tragic 'star' whom they had recently
seen performing in a play of Sophocles or Euripides.
Thus Eq. 625-682 and Plut. 627 sqq. travesty an
dyyeXov prjcns, Eq. 1232-1253 and Rail. 745 sqq. an
dvayviJopiCTis, Pac. 124-154 a tragic discussion, Thesm.
331 sqq. the proclamation of a Krjpv^, Lys. 1124-1156 a
tragic speech, Av. 685-702 an epic theogony. Sometimes
a part of the plot as well as the language of a tragedian
is happily burlesqued, as in the Thesmophoriazusae, where
portions of the Helena and Andromeda of Euripides are
so treated.
It must be remembered that the whole Athenian
populace attended the theatre at the festivals of Dionysus
to listen to both tragedies and comedies, and that they
similarly witnessed and heard the dithyrambic choruses.
From the plays then performed they carried away vivid
recollections of whole scenes. Moreover the plays were
subsequently circulated and read. Lines of dialogue
^^ei
INTRODUCTION li
icame popular, either on tlieir merits or because of some
humorous perversion which might be made of them.
Passages of lyrics ^ took ' with the people and were sung
and quoted. Moreover Homer and the great lyric poets
were taught at school to every properly educated Athenian
boy. Certain ^blia had been sung at symposia and else-
where for generations. It was therefore quite safe for a
comedian to burlesque, quote, or allude to epics, dramas,
dithyrambs and other lyrics with a feeling that his
audience would be with him in ready appreciation.
(d) Colloquial Metaphor or Athenian Slang. — The
Greeks had a love of metaphor, i.e. of similitude com-
pressed into the use of one figurative word. The notion
that they were sparing or timid in such use is a mis-
conception. Aeschylus is as figurative as Shakespeare
and the Athenian populace as much so as the modern
American. It is true that critical writers like Aristotle
and Longinus utter cautions against excessive indulgence
in this figure, but the cautions would have been un-
necessary if there had been no tendency in that direction.
What was really insisted upon was that a metaphor
should be a happy one, that it should not be feeble or
far-fetched {(r\oXa(TTiKri). If very bold, it was con-
sidered well to qualify it with terms like m enreiv (cf.
quad). The Athenians loved clear thinking ; therefore
similitudes must bear examination ; they must *go on
all fours.' But they also loved the imaginative clearness
which perceived likenesses between things. Hence both
their fondness for metaphor and their discriminating use
of it.
Metaphor was therefore very common in colloquial
Attic, and especially that humorous metaphor which
cloaks the disagreeable under another name. It is
naturally the part of comedy to make full use of such
sprightly expressions, and Aristophanes is rich in them.
For example, among words expressive of punishing by
Hi THE FROGS OF ARISTOPHANES
beating we have SevSpoTo/netv to vwroVy KvvoKOTrelv to
vu)Tov, dXoav, (TTToSetF, Sepeti/, a7ro8e/oetv, AeTretv, Kara-
^aiveiv, TrXvveiv^ /xurrwrei^etv, </)Aav etc. (cf. the English
' flay/ * skin,' * give a hiding/ ' a dressing/ ' dust one's
jacket ' etc.). So we have \op^eveiv rot Tr/Doty/xara,
€KKOKKt(€iV TotS TToAet?, €K/3oX/3t^eiV TLvd, OTTToiv (of
teasing), Karare/xvetv rtvol KaTTVfiaTa (* cut him into bits
of leather '), dTro^Atrretv rt. A man in anger or ill-
temper is said /SX^iretv o-kvttJj vaTrVj opuyavoVj ottof,
KapSafjLa ; he Xvec tyjv vv. Eating has names like
ipetSecVf (nro8eiv, (f>Xdv^ iraUiv. To cozen is virkpyeoSaLj
TTeptep'x^ecrOaL^ irepieXavveiv^ 7r€pi8pap.€ir, fSovKoXeiV.
A schemer Kepafxevei (rrjv ttoXlv) or vcjyaLvei.
How far these were already current slang, or how
many of them Aristophanes invented and made current,
we can hardly tell. It is only reasonable to suppose
that it was part of a comedian's business to strike out
new phrases, and that some at least make their first
appearance in the Aristophanic plays.
(e) Words humoroushj manufactured. — The ease with
which compound words were systematically constructed
in Greek gave the comedians an opportunity for coining
facetious terms of whatever length they chose. Some of
these were more or less puns upon existing compounds ;
others were parodies of them, and these were particularly
numerous in those lyrics in which the comic poet
burlesqued the dithyramb. According to Aristotle
{Poet. 22) compound words /xaAto-ra dp/uLOTTet tols SlOv-
pdfjb/SoLS and Aristophanes is ready to show his skill in
travestying the ovo/xara TroXXarrXd of that style. His
6p0pocf)OLTocrvKO(f)avToSiKOTaXai7r(i)pos is, doubtless, an
extravagant example, but Kpo/mpLvo^vpey pitas^ ^a/x/xaKo-
o-ioydpyapa are not far from the typical.
If there is a term op^op^r^Tpio^ the comedian will
invent o/xo/xacrrtyta? ; from rptVaAat he will make
XtAtoTraAat ; he will turn Avcrt/xa^os into KAai;crt/xa;(os.
INTRODUCTION liii
He will speak of /xeAos fieXXoSenrvLKOv and of veoirXovTo-
TTovrjpo^. Similarly he will invent humorous verbs, e.g.
icriOKpoLTovVy nouns, e.g. (j^povrio'Tiqpiov, superlatives, e.g.
avTOTaTos. He will play with genders, as in 7} o-rpaTrjyos,
r) ypajjifMaTevs, or with the voice of the verb, as in
peyKerai (because another middle has preceded). He
' will make foreigners, such as the Triballos or the Scythian
police, talk broken Greek, e.g. opviro { = 6pvi6os)j Kayio
Aeyi, wept ( = <^e/3€t9), 'Attlkos /xeAts {='Attlkov /xeAt) ;
or he will mimic a lisp, as in oXas { = opas). Sometimes
he will imitate stammering, as in fSperereraSj or the
sound of a musical instrument, e.g. dperrav^Xo, ro^Aar-
ToOpdr, /So/jL/SaXo/SofJilSd^. There is in Greek no word
TTwATys, but after the mention of o-TVTnreiOTrwXrjs a
character will say ets ovtoctI " ttioXtjs" separating the
latter part of the compound.
(/) Diminutives. — Colloquial Greek, like modern
Italian, had a fondness for diminutives, expressing affec-
tion, pity or contempt. These were formed in a variety
of ways. [In the speech of Dominus Hyacinthus in
Browning's The Ring and the Book the intensives and
diminutives applied to the same person occur as Cinone,
Cinozzo, Cinoncello, Cinuolo, Cinicello, Cinino, Ciniccino,
Cinoncino, Cinucciatolo, Cinotto, Cinarello etc.] The
following are the regular types affected by the comedians,
viz.
1. -ioVj e.g. 7rat8-tov, yepovT-tov, Ovydrptov^ Xvpiov,
2. -tS-tov, e.g. yvojfjLi8iov, 8t/ct8fov, vocSlov, yySiov^
ypdSiov, ^iDKpaTL8iov, ^avOcStov.
[When the stem of the word ended in -to- or -ta
the result was -t -f lSlov and thence -iStov, e.g.
ovcrtSiov, l/JLaTiSiov, oLKtSiov (from otKta), dpyv-
pfSiov (from dpyvpLov).'\ Similarly a//<^op€t8tov,
*Eyo/xet5tov^ l\9v8iQV.
3. -dpiov (contemptuous), e.g. Trai^dpiov, irXoidpiov^
dvSpdpLOv.
liv THE FROGS OF ARISTOPHANES
4. -iS-dpLov^ e.g. /3oi8apLOi\ KcpSdpiov, PipXi^dpiov.
5. -L(JKOS^ -KTKTI^ e.g. 6vXaKL(rK0S, OLKtCTKOS, p.€tpaKL(TKrj.
6. -LCTK-tOV^ e.g. KOTvXi(TKiOV, xXaViCTKLOV.
7. -i(rK-iS-Lov, e.g. )(Xavi(rKL8iov.
8. -i;AA-tov, e.g. fxetpaKvXXioVj eTrvXXtov.
9. -vS/otov, e.g. eXKvSpiov.
To intensify the diminutive still further the word'
fjiiKpov may be added, as in SlklSiov fxiKpov.
(g) Expletives. — Athenian conversation must have been
liberally garnished with expletives. Oaths, chiefly intro-
duced by fjLOL or i/>), and appeals to the gods, with or
without introductory a>, are therefore scattered throughout
the pages of comedy. Such expletives are generally
expressive of excitement, wonder, and keen interest ; but
it is by no means always possible to discern any special
appropriateness in the choice of deity invoked. In verse
the metre naturally has something to do with the question,
but a comedian would not, for the sake of metre, run
counter to conversational use. An appeal to Zeus is, of
course, possible in any case. For the other deities it is
presumable that originally — and perhaps at all times in
studied speech — a choice was made of the god or goddess
whose function it would be to lend help, deliverance or
enlightenment, or to punish breach of faith^ in the
particular circumstances. Thus Apollo is the god, and
Herakles the hero, of deliverance. As dXe^iKaKoi they
would be invoked when danger threatened or when a
portent was seen. So in matters of taste one might
swear vr) ras Xaptras and in matters of love vr) rr^v
'A<j)po8tTr)v. To some extent this principle of choice was
always present. But it is impossible to suppose that the
ordinary conversation of the people consistently main-
tained any rational distinctions. Each speaker would
have his favourite expletives. There are, however, some
limitations. The oath by rw Oew (Demeter and Perse-
phone) belonged to women only, as did vrj Trfv^ApTefitv,
INTRODUCTION Iv
In comedy it will be found that oaths, introduced by
fxa (less often ov /xa) and vrj (less often val /xot), are most
commonly by Zeus (Ata or rov Ata indifferently). Next
in order come the group Apollo, Poseidon, Demeter (vy)
or /xot Tov 'AttoAAw, tov IlocretSa}, rrjv At]fjLr]Tpa, with
the article). Then follow Dionysus, Hermes and Herakles
(tov Al6vv(tov, tov *Ep/x7}v, TOV "HpaKXea). Other deities
are less frequent (tyjv 'A(f)po8iTr]V, ttjv *EKaT7yv, ttjv
'AO-qvatav^ tols XapiTas). Sometimes we have generalisa-
tion in Tovs Oeovs^ or enlargements for more serious
asseveration, e.g. Wy tou Afa tov 2coT^pa, /xa tov Ata tov
'OXvp.Tnov, When an appeal is made (with or without (o)
it is generally to the aAe^tKaKot, e.g. Zeu, Ze{> </)tATaT€,
Zeu SecTTTora, Zeu koL Oeot, Oeol kol Saifioves Kal Zev, or
"AttoAAov, "AttoAAov aTTOTpoiraie^ ava^ 'AttoAAgv Kat
deol, (fitX "AiroXXoVj ^oi/3^ "AttoAAov, or *H/)aKAet9,
cSva^ *H/)a/<Aets, TToXvTijJbrjff' "^HpaKXeiS, or c5 AtocrKO/)a),
or (5 FtJ, or (o IlocretSov. Occasionally 'AAe^tVa/ce or
'ATTOTpoTrate is used alone, and sometimes vaguely Oeot,
cfiiXoi 6eoi^ TToXvTLfJirjTOi Oeoi.
In adjurations with irpos (or w tt/jos) the commonest
expressions are tt/jo? (twv) ^ewr, 7r/)b9 {tov) Alos ; some-
times Trpo? TrdvTii)V ^ecov and 7r/)o§ tt/s TtJ?.
There can be no doubt that the language of comedy
would have seemed to Athenian ears unnatural and
un vivacious without a liberal seasoning of such expletives,
just as would have been the case with English drama in
the prae-Puritan days.
(h) Terms of abuse, contempt etc. — Attic conversation, at
least among the lower orders and the dyopaiot, must also
have been remarkably free in abusive epithets, execrations
and epithets of pity. These can seldom have been either
meant or taken very seriously. The tone, of course, counted
for much, but a little experience of the modern East (for
example) or of the less refined walks of a modern European
city will teach the observer that a speaker may attribute
Ivi THE FROGS OF ARISTOPHANES
to another the most shameful defects of character and
habits without meaning anything in particular. Comedy
therefore — doubtless exaggerating the practice for farcical
purposes — indulges freely in words expressive of moral
turpitude, e.g. /xtapos, 7ra/x/xtapos, fxiapa K^cj^aXi]^ f38€Xvp6s,
TTOvrjpos^ TrafJLTTOvqpoSj Oeols ^X^P^^^ KardparoSj KaOappio.^
/?w/xoAoxo§? ovSev vyies ; of stupidity and ignorance, e.g.
o^Kato?, OLTratSevToSy /xwpos, r^XtOios^ 7ra;>(us, dpLaOijs,
dv6r]Tos, /3€KKe(T€Xr]vos ; of cowardice, treachery, or greed,
e.g. 8efcAo9, SeiXaKptiov^ ^eva^, aAa^cov, wiOrjKos, Orjpiov,
^pvv(x)v8asy Xdpos, yXicrxpiov. Speakers fling at each
other such titles as Upoa-vXos, XcoiroSvrrjs, /SaXXavrio-
Top.oS') KAeTTTT;?, TOLxaypvxos, KOTTpoXoyos, [That such
ternis are often to be taken in a * Pickwickian sense ' ;
that at least they possessed less grossness of sound, or fell
upon thicker skins at Athens than with us, is clear from
the scurrility which marks the Athenian orators, even the
best.]
With abuse goes execration or threat, and extremely
common are such phrases as h KopaKas, /3dXX' es KopaKas,
OVK et is KopaKas ; Stappayetyys, eTTLTpLJSeLrjs, diroXoio^
ofc/xw^e, aTToAet KdKKTTa.
On the other hand there are plentiful exclamations of
pity, e.g. (0 KaKo8afc/xwF, (5 /xeAe, (o^vpe^ rdXav (frequent
among women), SvcrT-qve, crx^rXie^ SetXatos etc.
Without these also comedy would have lacked some-
thing in convincingness.
E. The Text
The present text is conservative in the sense that
the reading of the best Mss., when metrically correct
and grammatically tolerable, is always retained, if it
yields such a meaning as Aristophanes may very well
have intended. No attempt has then been made, nor
I
INTRODUCTION Ivii
can legitimately be made, to substitute something
which might seem more prettily idiomatic or even
more humorous. If an editor thinks he can perceive
some reading which might be an improvement, and
which he would like to think that Aristophanes
actually wrote, he is entitled to offer it in his critical
notes, but scarcely to insert it in his text.
Where the best MSS. differ, it is for the critic
to use his sagacity in determining which of two
readings, if either, is the more likely to have been
prior to the other. He may choose the one or
deduce both from some common source. How far,
when the best MSS. alike show an untenable reading,
some inferior copies are to be taken as authority, is
one of the nicer matters of textual criticism. Often
the readings of such copies simply represent the
conjectural efforts of early mediaeval or renaissance
critics. Nevertheless, since we cannot always tell
upon what basis of authority these texts are formed,
it is on the whole safer, when the best MSS. fail us,
to accept from the inferior MSS. a tolerable reading
in which a number of them agree, than to ignore it
in favour of a modern conjecture. The best stratum
of scholia is also often to be pressed into the service,
as of at least equal value with the later order of
MSS. Nor are the quotations by Suidas to be
ignored, although verbal accuracy in quotation was
by no means rigorously insisted upon until long after
the era of printed books. But when all the texts are
impossible or extremely unsatisfactory, new conjec-
tural emendation has its place. Whether or not such
emendation shall be incorporated in the text depends
upon the degree of its convincingness as judged by
the most dispassionate critical faculty of the editor.
lyiii THE FROGS OF ARISTOPHANES
Of the Frogs there are a large number of MSS.,
Of these the authority of two entirely outweighs
that of the rest. They are the Bavennas (R) and the
Venetus (V). These two are not always right ; each
occasionally corrects the other ; both occasionally
require correction from other MSS. or from conjecture.
But the most casual survey of their readings in
comparison with those of other MSS. will show that
they have been copied with greater accuracy from
originals which have undergone much less corruption.
These are known as the codices vetusti, the rest being
recentiores. For most of Aristophanes E is the
sounder MS. but this is scarcely the case in the
FrogSj in which many of the better readings are
derived from Y. When we have to choose between
R and V we must first look to the indications of the
other MSS. and to the scholia, and then fall back
upon our critical judgment.
The scholia, or notes in the margins of the MSS.,
particularly those in R, have an appreciable value
for criticism, but require cautious handling. They
comprise two chief strata, the one ancient, dating,
(or derived) from the comments of the Alexandrian
ypajjLfjLaTLKOL from at least the third century B.C. A
great compiler of such comments, to whom the
annotators of our scholia often refer, was the famous
Didymus of the earlier age of Augustus. The other
stratum is relatively modern, dating from Byzantine
scholars and editors of MSS.
The Frogs having been (like the Knights, Clouds,
Acharnians and Plutus) one of the plays most com-
monly read and therefore most continually and
carefully copied, its text is comparatively pure.
In the present edition the innovations will be
INTRODUCTION lix
their speakers (e.g. 570, 574), in punctuation or
accent (e.g. 66, 279, 285, 455, 507, 574 sq., 605,
610 sqq., 896 sq., 1210) and in a discrimination
between the matter of the two versions of the play
(1437 sqq.). Conjectures of the editor are included
in the text at 645 (ovv for ot58'), 665 (<7re/ot>
TTptJvas), 957 (eptv for €pav), 1130 (correction of
order), 1305 (eVt tovtov for cTrt tovtov), 1307.
Farther suggestions are added as queries in the
critical notes to 15, 77, 83, 193, 286 sq., 705, 935,
1012, 1028, 1203, 1256, 1285, 1298, 1393, 1403,
1405, 1439 (=1440), 1517. The MS. readings
have been retained and defended in several cases
where they are generally rejected without sufficient
reason (e.g. 197, 665, 1235, 1249).
An attempt has been made to restore the proper
orthographies as indicated by Attic inscriptions and
other evidence, e.g. in cfidpv^, cfipdrepe^, dvaPioly^v,
avvT€Tov, rpetCTKaL^eKa, TeiOpdcnaL, rjvpov, (toj^o), kioSlov,
K(i)Sdpiov, 7rv€V(T€Tat, \dOpa, irevKYjcri, (r)(^LvSaXdiJLix)v.
TToeTv, TTOTjo-M Gtc. are written (generally with MS.
support) wherever the metre permits of a short initial
syllable.
DEAMATIS PEESOKAE
SAN0IAS (slave of Dionysus)
AI0XT20S
HPAKAHS
NEKPOS (on his way to burial)
XAPON
AIAKOS (doorkeeper of Pluto)
GEPAHAINA HEPSE^ONHS
HANAOKETTPIA
IIAA9ANH (servant of the inn)
ETPiniAHS
AI2XTA0S
nAOTTON
XOPOS MTSTON (also heard, but not seen, as BATPAXOI)
Supernumeraries (/cw0d frpoa-wTra) include corpse-bearers, per-
sons at the Mysteries (other than the chorus proper), slaves
of Pluto under Aeacus, train of Pluto.
[For the identity of the Mystae and the Frogs see 209 n. ; for
Aeacus 464 n. ; for the assumption of only one landlady,
549 n. ; .for the Coryphaeus 354 n.]
The better the actor the more he would perform, so far as
the piece permitted. Hence the parts were probably divided
as follows. That four actors are on the stage at once is seen
from 552 sqq., 1444 sq.
Protagonist : Xanthias, who also plays Euripides (see n.
after 1499).
Deuterasjonist : Aeschylus, who has previously played
Herakles, Charon, Aeacus, Landlady, and perhaps Perse-
phone's maid. ^ «
Tritagonist : Dionysus.
Fourth Actor : The Corpse, Plathane, Pluto.
Ix
BATPAXOI
SANe)IAS. AIONTSOS
SA. EI'ttco tl tmv el(o6oTO)v, 0) Seo-TTora,
icj)* oh del fyeXcbaiv oi Oecofjuevoi ;
AI. VT] Tov A/' o TL ^ovKet ye, irXrjv
TTce^ofjiaL •
TOVTO Se (j)vXa^aL • irdvv jdp ear rihrj
Xokrj.
Ha. /xt/S' erepov dcrrelov tl ;
AI. ttX'^v y\ ft) 9 OXi^ofxaL, 5
flA. Tl hal ; TO irdw yeXotov etirw ;
AI. vrj Aia
Oappcbv y' ifcelvo fiovov otto)? fjur) '/DeZ?,
SA. TO TL ;
AI. /jL€Ta^aW6fievo<; Tavd^opov otl %ef??T6a9.
[As a rule only R and V are quoted. Where another reading is not
stated to be a correction it is implied that it is found in other mss.
al, =some other ms. than those named, cett. =all other mss. vulg.=
most MSS, Ed. and Qu. =an emendation or suggestion by the present
editor. —> = see note in commentary.]
3 /3oi/Xei MSS. Aristophanes probably used the form jSoiJXr/
(Meisterhans^, p. 131) ; cf. inf. 462 crit. note 4 yap ^(tt'
RV. —> 7 MSS. vary between OappQv ye' fibvov iKciv' and
the text. R omits iKcTv'
IE 1 B
2 BATPAXOI 12-29
SA. Ti BrJT eSei fie ravra ra a/cevrj (f)ep€LVy
elirep irorjaco fJbrjSev Sivirep ^pvviyo^
€00)06 TTOcelv Kol A.vKi^ KafJbei-^ia^
o'Kevr)(f)opov(T e/cdcrror ev /cco/jbafSia ; 15
AI. fiT] vvv iroTjar)^* cb? e'ycb Oeddjjbevo^y
orav Ti TOVTcop tmv cro^LcrfidTCdv ?S&),
ifKeiv Tj vcavrS Trpecr^vrepo^ aTrep'^^o/jLat*
SA. ft) Tpt(TKaKoSaLfjbcop dp^ o Tpd'^rjXo^; ovtoctl,
ore OXi^erai fjuev, to Se yeXotov ov/c ipeX, 20
AI. cIt ov'^ v^pL<^ TavT iaTL fcal ttoXXtj
TpV(f)7],
OT ijco fjbev MP Atovvo-o^;, vlb<; %Ta/jiVLov,
avTo<; ^aSi^co kol ttovS), tovtov 8' o^w,
*^ Xva fir} TaXaoTrcopOLTO firjS* d^6o^ (pipot ;
SA. OV ydp (f)€pCO ^ryCO ,*
AI. 7rco9 (f>€p€L<; ydp, 09 7' p^et ; 26
SA. (j>ep(ov 76 TavTL, AI. Tiva TpoTrov ;
SA. - ^apeco(; irdvu.
AI. ovfcovv TO ^dpo^ Tov6\ b (TV (^epei^^i
ovvo^ <f>epei ;
SA. OV SrjO^ 6 7' e^ft) 7ft> koI ^epco, fid
TOP Lii OV.
AI. TTW? ydp (f>6p€t,^, 09 7' aVTO^ V(j> €T€pOV
(^epei ;
13 iroLTjcrco vulg. : 7ror}(Toj RV. The omission of t (before e-
sounds) is correct when the quantity is short ; before o-sounds
I remains (Meisterhans^, p. 44). These variations will not
be noted henceforth 15 aKcijij (p^pova R : (TK€V7}(popov<T' V
al. : ot aK€vo<popov0-' S : (TK€V7](p6povs Fritzsche. Dind. brackets
the line. -^ Qu. <«s> aKevocpopova' ? 16 vvu RV
20 6'rt Mss. : corr. A. Palmer. — > 27 6vos R : oOi'os (or
odvos) cett. and Eustath. ->
30-46 BATPAXOI 3
SA. ovk; olS*' 6 S' &/jLO<; ovroal — Trce^erat. 30
AI. av S ovv iireiST] rov ovov ov (prji; a
iv T(p fiepei (TV top ovov apdjievo^; (ftepe.
3A. otfjiOL KaKoSal/JLcov tl yap iyo) ovk ivav-
fj^axovv ;
rj rdv ae Kcoicveiv av ifciXevov fiaKpd.
AI. Kard^a, iravovpye. Kal yap iyyv^; t^9
6vpa<; ' 35
rjSrj ^aSi^cov elpX rrjaS^ ol Trpcbrd fie
eBet TpaireaOau, iratBiov, Tral, r/fiij iral.
HPAKAHS
HP. Tt9 Tr]v dvpav iirdra^ev ; cw? K€VTavpcKcb<;
ivrfKaO^ oari^;' eiire /jlol, tovtI tl tjv ;
AI. 6 TraZ?. HA. TL ecFTLv ; AI. ovk iveOv-
firjdv^ ; . '
BA. ^ to TL ; 40
AI. 0)9 G-(j>6Bpa jx eBeocre, SA. vrj Aia, /nrj
/JbaivoLO ye.
HP. ov TOi /jid TTjv A7]/jLr}Tpa BvvafjLaL /xr)
yeXdv*
KaLTOc SdKVco y ifiavTOV dW ofioif; yeXw,
AI. ft) SatfjLovie, TrpoaeXOe' Seofiac ydp tl aov.
HP. dW ou^ oIo9 T €Lfi dTToao/SrjcraL tov
yeXwv, 45
opMV \eovTrjv iirl KpOKcoTS KeLfievrjv.
36 elfXL R. — > 42 ArjfjLrjTpav (R) illustrates a common
error with this word
HP.
BATPAXOI 47-64
Ti9 o vov<; ; tL KoOopvo^ Koi poiroXov
TTol y7]<; a7reS7]/jb6L<; ; AI. iTre^drevov KXet-
AI. /cat Karehvaafjiev ye vav<;
Tcov TToXefjiLcov Tj BcoSeK Tj TpeiaicaiheKa,
HP. cr(f>(o ; AI. vrj rov ^AiroWco,
HA. Kar^ €jo)j e^7]ypofji7jv, 51
AI. fcal Btjt eVl Ti;9 z^eo)? dvaytyp(O(TK0VTL
jJLOL
TTjv ^AvSpop^eSav tt/jo? ifiavrov i^ai(f)V7]^
IT 6 60^
rrfv KapSiav iirdra^e ttw? oteu <T(po8pa.
HP. TToOo^ ; TToao^ TL<^ ; AI. fJLLicpo^ rfKiico^
M6\(Dv, 55
jiTj aKMirre fx, wSeX^'* ov yap dW e^o)
KaK(o<;'
TOiOVTO^ L/JL€p6<i fJL€ ^iOkVjJLaLveTaL.
HP. 7roio<; TL^, o)Se\(f)LBLOv ;
AI. ovfc e^ft) ^pdaai. 60
oyLtft)? 76 jievToi aoi hi aivLyficov ipco.
ijBrj iroT iireOvp^rjO-a^ i^ai(j)vr)<; 6TV0V<^ ;
HP. ervov^ ; ^a^acd^, fJbvpidKL^ y iv too /3/ft).
AI. dp iK^ihdaKoy to aa(f>e<;, rj Tepa
(ppdcrco ;
48 Van Leeuwen rightly omits the stop usually placed aftei
K\€L(Td€V€L. — > 50 TpiaKaideKa MSH., but see Meisterhans^,
p. 41 51 Some Mss. (not RV) give ko^t ^7^7' kt\. to
Herakles. — > 63 ixvpidKis iv V, but 7' is more vivacious
65-79 BATPAXOI 5
HP. firj Srjra irepl ervov^ ye' ttclvv yap
fiavddvo). 65
AI. TOLovToal TOLVvv fie SapSaTrrec 7ro6o<;
^vpLTTiSov. HP. Kol ravra rov reOvrj-
k6to<; ;
AI. /covSeL<^ ye /j, av ireiaeiev av0p(i)7rcov to
fJUT) OVK
ekOelv eir e/cetvov. HP. Trorepov el<;
' AlBov Karco ; 69
AI. Kal vr) At' ell tl y eanv en Karcorepo).
HP. TL ^ov\o/jievi)(; ;
AI. Beofiai TTorjTov Be^cov.
ol fjuev yap ovKeT elcriv, ol S' 6vTe<;
KaicoL
HP. Tl 8'; ovfc ^Io(f)a)v ^jj' ;
AI. TOVTO yap TOt Kal /jlovov
€T ecTTl XoLTTov ayaOov, el Kal tovt dpa*
ov yap aa<p oto ovo avTO tovu otto)? e'^et.
HP. elT ov'^l Xocj^oKXedy TrpoTepov ovt l^vpc-
ttlBov, 76
fieWec^ dvdyeiv, eiirep y eKeWev Bel a
ayetv ;
AI. 01), TTpiv y av ^lo(j>a)VT\ dnroXa^cdv avTov
fJLOVOV,
dvev %o<^OK\eov^ o ti iroel kcoBcovlcto).
65 The punctuation jult] dijra- irepi ervovs ye irdvv yap is
nearly as probable. (Even a later position of yap is frequent in
comedy) 76 elr ov ^ocpoKX^a Bentley, etc. — ^ || irpSrepov
avT A. Palmer. — > 77 etirep iKeWev RV against the metre
{dvd^etv Halm). 7' may be a stop-gap, in which case etirep
<&p*> may be right. Qu. et-rrep 7' iKeWev Be? <r* Apa ?
6 BATPAXOI 80-100
KaWa)<; 6 fxev y ^vpLirihr]^, 7ravovpyo<;
Siv, 80
KCLV ^vvaTToSpdvac Sevp" eiTi')(eLprjaeie fjuor
S' €VKo\o<; fjbev iv0dS , €VfcoXo<; 8' e/ceZ*
HP. ^AjdOcov Be TTOv ^artv ; AL aTroXcTrcov fi
diroL'^eTaL,
dyadb^; 7ro7]Tr)<; kol irodetvo^ toI^ (^lKol^,
HP. irol yr]<; 6 tXtj/jlcop ; AT. e? fiaKdpcov
evco^tav. 85
HP. o Se Sez/o/cXe?;? — AI. i^oKotro vrj Ala.
HP. TlvddyyeXo^; Be ;
3A. TTepl ifjbov K ovBel(; X0709
eirLTpijSojjbevov rov &fjiov ovrcocrl (r(f>6Bpa.
HP. ovKOvv erep* ear ivravda fieipaKifWia
rpaycpBia^ iroiovvra irXelv rj fivpta, 90
ISiVpLTTiBou irXelv rj araBicp XaXicTTepa ;
AI. eTTK^vWiBe^ ravT earl /cal (TTCo/jivX/jbaTa,
'^eXtBopcov jjuovaela, Xco/Srjral re^vrj^,
a (f)povBa Odrrov, rjv fiovov X^P^^ Xd^y,
yovi/jLov Be Trotrjrrjv av ovy^ evpoi<^ en 96
^TjTMV dvi ocFTi^ pr}fjia yevvalov Xdnoi,
HP. TTw? yovifjiov ;
AI. (joBl yovifjLoVi ocrrt^ (pdey^erat
TOtovTovi TO Trapa/ceKLvBvvev/jievoPy
alOepa Ato9 BcofidrcoVy rj ^povov
TToBa, 100
81 Kal MSS. : corr. Dobree 83 oifxerai RV : diroixeTai
vulg. : ^/M ofxerat Dind. : iroO <7roT'> . . OLxerai Cobet : Qu.
ji* 6-o-oCx6Tai ? — > 86 Usually a question-sign is put after
A€uok\^7)s. -$► 90 fjivpias Dind., but a corruption was
more likely to be the other way
10I-1I8 BATPAXOI 7
rj (f)p€va fiev ovk e0e\ovaav ojioaai
fca6^ lepcbv,
ryXcoTTav S eTTLOpicrjcraoav Ihia rrjf;
(})p€v6<;.
HP. ere Se ravr dpeaK€c ; AI. fidWa ifKelv
Tj fjuaivofiai. 103
HP. Tj fjbrjv KO^cCKd 7 iariv, co? fcal aol BoKet.
AI. fiTf Tov ifjbov oiKei vovv e^j^et? yap oliciav.
HP. KoX /jLTjv are^z^w? ye TrafiTrovrjpa (^aiverai.
AI. heiirvelv fie SiBaaKe. HA. Trepl ifiov S
ovSel^; \6yo<^.
AI. cOOC Mvirep eveica rrjvBe rrjv aKevrjv e')(wv
rjXOov Kara o-tjv /Jbifirjcriv, iva jioi rov^
^evov<; 109
Tov<; aov^ (j)pdcr€La<?y el Beoifir)v, oIctl crv
iXP^ ToO , rjvLK rfX6e<; eirl tov J^€p/3epov'
TovTOVf; (fypdaov fjioi, \i/jLeva<;, dproTrooXia,
TTOpvet*, dvaTravXa^, €fCTp07rd<;, Kprjva<;,
TToXei?, Soaira^f TravSoKevrpia^;, ottov
KopeL^ oXiyiCTTOi, aA. Trepl ifjbov S'
ovBel^ X0709. 115
HP. 0) o-^erXcey ToXfirjcrei^ yap lev at ;
AI. /cat av ye
fJLTjhev en 7rpb<; ravr, dXXd (ppd^e rwv
oSmv
OTTOx; rd'x^to-T d(j)L^6/jieO^ et? '^AtSov Kdro)'
103 jULoXKa V : yudXa R (cf. 745 fidXX R : fjiaXa V) 111
The punctuation KepSepov • is better than K^p^epop, ->
118 OTTWS R : oirrj V. ->
8 BATPAXOI m-t37
Kol firjTe depfirjv /jltjt ayav ^frv'^pav
(j>pdar)<;,
HP. </)ep6 877, TLV avTcov aoL cj^pdaco Trpcorrjv ;
TLva ; 120
fjbla fiev yap eariv diro KaXco kol 6pa-
ViOV, . . .
KpejjbdaavTi cravrop, AI. wave, Trviyrjpav
Xeyec'^,
HP. dW' 6(TTLV dTpaiTo<^ ^vvTOfjLO<; rerpi/Ji/JievTj,
rj Sea Oveia^, AI. dpa Kcovecov Xeyei^; ;
HP. fidXiard ye.
AI. y^rv^pdv ye kol hv(T')(eifJbepov* 125
evdi)^ yap diroirrjyvvcn rdvTifcvrjixia.
HP. ^ovXec Ta')(elav Kal Kardprr] croc (ppdaco ;
AI. vrj Tov Au , CO? 6Vto9 ye fjurj ^aStarL/cov.
HP. tfadepTTvaov vvv e? Kepa/jbeiKov. AI. elra
Ti ;
HP. dva^d<; eirl top irvpyov tov v'^^nffKov.
AI. Ti SpM ; 130
HP. deface fievrjv rrjv Xa/jUTrdS' evrevOev deco •
KCLireiT iTTeiSdv ^waiv at Oedo/ievoi
elvaiy TO0* elvai Kal crv cravrov.
AI. TTOi ; HP. Kdro).
AI. dW aTToXeaai/ji dv iyK€(j>dXov Opico Svo,
ovfc dv /SaSicracfjit rrjv oBov Tavrrjv,
HP. Ti Sal ; 135
AI. rjvirep crv rore KaTrjX9e<^.
HP. dXX^ 7rXov<; TToXv^.
ev6v<^ yap iirl Xl/jLvtjv /xeydXrjv ri^et<; irdvv
124 dvlas (R) is a wrong spelling
t38-i6o BATPAXOI 9
a/3v(T(T0v, AI. elra irm nrepaiwOr^aofiai;
HP. iv TrXoiapicp rvvvovrcpl a avr]p ^yepcov
vavTTjt; Scd^et Bv 6/3o\(o pLiadov Xa^cov,
AI. (f>6v, ft)9 fJiiya hvvaaOov iravra'^ov too
Sv 6^o\(o, 141
7rw9 rjXOerrjv Ka/cecae ;
HP. @7]a€v<; rjryayev.
fiera ravr o(f)e^9 Koi Brjpl o'sfrec fjuvpia
SecvoTara.
AI. f^V /^^ €fC7rXr]TT6 pLTjSe Bei/jLarov
ov yap fjL dirorpe'yfretf;,
HP. elra ^op^opov iroXvv 145
Kol a/cayp detvcov* iv Se tovtcd Keijievovf;
€L TTOV ^eVOV TC^ ^SiK7]<T€ TTCOTTOTe,
^ IJb7]Tep TjXoT^aev, rj 7raTpo<; yvdOov
eTrdra^ev, rj ^iriopKov opKov Mfioaev, 150
7] yiopalfjiov TL(; prjCLv i^€ypd^jraTO.
AI. Vrj T0U9 6eOV^ ^XP^^ ^^ 7r/309 tovtolctl Kel
rrjv iTVppi')(7)v Ti^ ejjiaOe ttjv liLivrjauov,
HP. ivTevOev avXcjv ri^ ere TrepUtcnv ttvot],
oyfret re <^W9 KaKkiarov, axrirep ivOdSe, 155
Kol /jbvppLvcova<;, fcal 6idaov<; evBaipLOva^
dvSpojv yvvaiKMV, kol Kporov '^eipwv
TTOXVV.
AI. ovTOi Be Br) TiV€<; el(Tiv ; HP. ol fiepivrj-
fjievoLy 158
aA. vrj Tov At' ey(o yovv ovo(; dyo) /jLvarripia,
drap ov KaOe^co ravra tov irXciO) '^povov.
149 TJXolrjo-ev MSS. (the epic form) : rjXoTjaev Said. 151
fj el Mopaiimov Meineke. — > 159 dyo} RV : dycov al. ->
10 BATPAXOI - 161-176
HP. 01 COL ^pdcrova aira^aTravO S)v av her).
ovTOi -yap iyyvrara Trap avrrjv rrjv ohbv
iirl Talat rod UXovtcovo^; oIkovctlv Ovpai^.
Kal x^^P^ 7roW\ (bSe\(f)€.
AI. vrj A La Kal av ye
vyiatve' av Be ra arpco/jbar avOc^; Xdfi/Save.
Ha. Trplv Kal KaradeaOac ; AI. Kal ra^^eco^;
fievTOL irdvv. 166
HA. fjuTj hrjd\ CKerevco a, dWd /jbiaOcoaal nva
TMv €K(f)epo/jievo)Vy oart<; eirl tovt ep-^erai.
AI. eav Se fjur} eiipo) ; HA. Tore fju ayeiv.
AI. Ka\o)<; \eyet<;'
Kal yap Tive<; (j)epovaL tovtovI veKpov.
ovTO^j ae \eyco fjuevrot, ae rov TeOvrfKOTa*
avdp(oire, /BovXet aKevdpu eh '^AlSov
^epeLV ; l72
NEKPOS
/ » >r AT /
TToa arra ; ZaI. ravrt.
NE. Svo Bpa'x^fjLd<; fjbiaOov reXeZ? ;
AI. fia Ai\ dXV eXarrov. NE. virdyeO^ vfiel<;
T?}9 6S0V.
AI. dvdjjbeivov, S) Sai/jiovc, edv ^v/jl^m tl aoc.
NE. el firj KaraOrjaei^ hvo Bpa^^/jid^y fir) Sta-
Xeyov. - 176
169 firi evpu) or /xrjifpco (RV) Mss. : fir] ^xw var. lect. ap. schol.
For the synecphonesis see Introd. p. xlii. || tot ^/jl Bergk. — >
170 TLues iKcp^povcTL (a gloss) al., whence tlv €K<p^povat Elmsle}'. -->
175 iVa ^vjx^G) R : ^cuv al. : tVa hv V. The errors arose from
daifjiovLtap
177-18
BATPAXOI 11
AI. Xa/3' ivv6 6/3oXov<;. NE. ava^ioirjv vvv
iraXiv,
HA. 0)9 <T6fjbvo<^ 6 Kardparo^ • ovk olfico^eraL ;
iyo) ^aSiov/jLat,
AI. '^prjo-To^ el Kol yevvdSa^,
')(^copa)/jL€P , iirl to rrrXolov.
XAPX2N
I woTT, irapa^aXov, 180
Ha. tovtI ri eari ;
AI. TOVTO ; \i/jLV7} vr) Aia
avTTj (ttIv rjv €(l>pa^€, koX ifkolov y opco.
tt A. VT) ^Tov UoaeiSco, Kaan 7' ^dpcov ovrocrL
AI. %aZ/? ft) ^dpcov, %afc^' & X^dpcov, X^^P^
ft) X.dpcov. 184
XA. Tt9 €69 avairavXa^ iic KaKMV kol Trpay/Jbdrcov;
Tt9 €69 TO A7]9r)<; irehiovy rj eh ovov iroKa^,
Yj '9 Kep^epiovf;, rj '9 KopuKa^^, rj Vt
Talvapov ;
AI. €'70). XA. Ta^eft)9 ejipaive,
AI. TToO a^V^^i'V hoKeU ;
e'9 Kopaica^ ovT(o<; ;
XA. z^al /xa A /'a, croO 7' eXveKa,
m dva^n^r)v (or -^kjotjv) mss. : corr. Cobet, etc. (With
ava^LO-i-q-v ct de-irj-v) 181 AI. tovtI ri '4<ttl ; aA. tovto ;
XifivT}. AI. v-^; Ata /f.r.X. Van Leeuwen 186 i) 's "Oi/ou
7r6/cas RV : -^ ets al. The latter is correct before vowels. "Okvov
irXoKOLs (Bergk) is no improvement 188 irou RV : ttol al. -^
189 eXvEKa R : ^;/e/ca V : ovveKa al. Prose inscriptions show
only 'heKa. For statistics as between ovveKa and eiVe/ca see
Meisterhans^ p. 177. These are more in favour of ovveKa, but
probably both forms were in use
12 BATPAXOI
190—204
€aj3aLve Zrj, AI. iral, Sevpo.
XA. BovXov ovfc dyo), 190
el fir] vevavfjid'^7)K€ Tr)v irepl roiv Kpeoyv.
ttA. fxa Tov Aiy ov yap cOOC erv^ov 6(f)da\-
/jLCCOV.
XA. ovKovv irepiOpe^eu Srjra rrjv Xifivrjv kvkXw ;
HA. TTOV hrjT dvafxevM ;
XA. irapa tov Kvaivov \i6ov,
iirl Tol^ dvairavKai^. AI. fiav6dv€i<; ;
3A. irdvv fiavOdvcd, 195
otpLOi KaKoSal/Jicov, T<p ^vverv^ov i^Loov ;
XA. Kd6i^^ iirl KcoTTTjv, eo Ti<; eirnfXeli
(TTrevSeTco.
ovTO<;, Ti iTOiel^ ;
AI. ' O TL TTOLM ', Ti S' dWo J rj
^ L^o) VI KcoTnjv^ ovirep eKeXevh />te av ;
XA. OVKOVV Kadehel SrjT ivOaSl, ydcTTpcov ;
AI. ISov. 200
XA. OVKOVV nrpopaXel tco %eZp6 KaKTevec^; ;
AI. ISov.
XA. ov fir} (j)\vap7]cr6L<; ^X^v, aXV dvTi^d^
iXdf; 7rpo6vfjb(D^.
A I. KaTa 7rco<; hwrjaofiaL,
direipo^ dda\dTT(OTO(; daa\afiivco(;
190 ^(T^aLve RV : ^fi^aive al. The variation from v. 188
may very well be deliberate 191 veKpCov al. — > 193
KTuKKip VR : Tp^x^v al. Qii. Tpdxft) (cf. curriculo currere) ?
194 avaiuov MSS. The Attic is at*- 197 ^tl irXeT Reiske
and most editt. without need. —> 199 odirep RV : olirep
al. cf. 188 il iKiXevcras al. — > 201 Accidentally omitted
in R from obvious cause 204 ddaXaTrevTos Kock, but cf.
ipcTjULivaai x^P^^ (Eur. Med. 4)
20S-223
BATPAXOI 13
oiVy elr ekavveiv ;
XA. pacrr'* aKovaei 'yap /Jie\7] 205
tcaXkiCTT, iireihav ifi^aXy^ aira^, AI.
Tivcov ;
XA. ^arpd^cov kvkvcov dav/jLaard, AI. fcara-
fciXeve Srj.
AA. COOTT OTT, COOTT OTT.
BATPAXOI
^p€K€K€/C€^ Kod^ Kod^,
^p€KeK€K€^ Kod^ Kod^, 210
Xifxvala Kp7]vo)v re/cva,
^vvavkov v/jLvcov ^odv
(j>6€<y^d)/jie6\ €vyr)pvv ifxav doihdv,
Kod^ Kod^y
fjv d/ii(f)l ^varjiov 21^
A^o? Accovvaov iv
Aifivaccriv la^rjo-afxev,
971/6^ o KpaL7ra\o/cco/jbo<s
TO 49 iepolai ^vrpoiac
^((opeL Kar^ ifiov t6/jL€vo^ Xacjv 0^X09.
^p€K€K€/ce^ Kod^ fcod^. 220
AI. iyo) Be y dXyecv dp^x^o/juai
Tov oppov, 0) Kod^ Kod^'
vfjbLV 8' fcro)9 ovSev fieXei.
207 ^arpaxoKVKV(i)v Bothe. — > 215 fjv MSS. The lyric
(so-called 'Doric') forms are very inconsistently used in the
MSS. (thus ^oav, doLddv, (pop/JLLKras, dfjL^paicrLP, but fiv, Kp7]vG)v,
eHyqpvv, rjvix', euTjXioLi). In comedy it may have been enough
to give some salient words this lyric colour 216 Aidwcrov
MSS. : corr. Hermann (for metre)
14 BATPAXOI 225-253
BA. /3p€K€KeK€^ Koa^ Kod^, 226
AI. cOOC i^oXocad aifTtp Kod^,
ovSev ydp ear dX)C rj Kod^.
BA. etKOTcof; j\ & iroWa nrpdr-
Tcov • ifie yap ea-rep^av evXvpoL re Movaat
Kol KepojBdra^^ Tiav 6 Ka\a/jL6<p6o<yya
irait^cdv • 280
TTpoaeirLTepTreraL S o <pop/jicfCTd^ ^ AttoWcov,
€veKa iovaKO^, ov viroXvpiov
evvBpov iv Xifjuvat^ Tpe(j>co,
^p€f€€f€€Ke^ Koa^ Kod^. 235
AI. iyco Be .(^Xvicraiva^ y ^X^'
dW\ & (j)LX(pBbv yevo<^, 239
iravaaade.
BA. /jLoXXov fjiev ovv
(f>d€y^o/jiea6\ el Bt] ttot ev-
r)\LOL<; iv dfiepaua-LV
rjXd/jLeaOa Bed KVireipov
KOI (f)Xeco, j(aipovre^ ft)S^9
7roXvKoXv/ji07]TOLaL fieXeaiVi 245
Tj Acb^; ^€vyovr€<; 6/jL^pov
evvBpov iv ^vd(p '^opelav
aloXav ic^Oey^djxeaOa
7ro/jb(f)oXvyo7ra(pXd(T/jiaaLV,
AI. /3p€K€/C€f€e^ Kod^ Kod^. 260
tovtI irap* vficov Xafi^dvo),
BA. Becvd rdpa Trecaofieo-da,
245 iroKvKokvix^oLCL fjL^XeffLv RV : corr. Fritzsche : ttoXvkoX^iul-
^oicTLv fi^Xeaaiv Reisig 253 r' dpa V ; yap R : y' dpa al. ;
corr. Elmsley
254-273 5ATPAX0I 15,
AI. Secvorepa S' eycoy , iXavpcov
€i Scappayrjcrofiat, 255
BA. /3p€K€/C€fC€^ KOa^ Kod^,
AI. oL/jL(o^eT' ov yap fioi fjieXet.
BA. aXka fir}v KeKpa^ojjbeadd y
7} (j)dpv^ oTToaov av rjjJLMV
'^avSdvy Sc rjixepa^, 260
AI. l3p€K€K€Ke^ KOa^ Kod^,
TovT(p yap ov viKrjaere.
BA. ovhe /jltjv r}fjLd<; av TrdvTox;.
AI. ouSeTTore* fceKpd^ofiac ydp,
fcdv fi€ Sfj Sl rj/Lvepaf;, 265
€0)9 dv vjjLMv iTTLKparrjaa) rcS Kod^.
^p€/€€K€Ke^ Kod^ Kod^,
efJieXKov dpa iravaeiv ttoO' vfid^ rov Kod^,
XA. CO Trade Trade, Trapa/3a\ov too KcoTriO),
eicpaLv, aTToSof; top vavXov, AI. ep^e hr)
TOt)/3o\ci), 270
6 ^av6ia<;. ttov aavOia^ ; rj 'B<av6ia<;,
aA. lav, AI. ^dSc^e Bevpo, HA. %a^p', &>
SeaTTOTa.
AI. TL eart ravravOol ; SA. <tk6to<; /cat
^op^opo^, .V • '
258 birbaov ij (pdpvy^ (or (pdpv^) hv MSS., an impossible order,
-> : corr. Bachmann : <f)dpv^ (R) appears to be correct, (pdpvy^
being due to Xdpvy^ ; cf. Herodian i. 45. 4 and the oblique case
(f)dpvyos 266 Kdv fie drj V [drj R) : d^y or del cett. ->
267 rd RV : ry al. The line is iambic trimeter 270 dTrodoiJS
Halbertsma, but the curt imperat. is more characteristic || to
vavXov al. Callistratus (in schol.) vouches for the masc. as
the older 273 rdvTavOi Dind. The text has the pregnant
sense ' in that direction '
16 BATPAXOI
274—290
AI. /caretSe^ ovv irov tov<; TrarpaXoia^; avroOi
/cal Tov<; iiTLopicov^y ov^ eXeyev tj/jLlv ;
SA. crv S' oi ; 275
Al. vrj Tov Tiocretho) ycoye, koI vvvl 7' opw.
aye hrj, ri hpoyfiev ;
SA. Trpolevai fBekncna vmv,
ct)9 ovTo^ 6 T07ro<^ earlv ov ra Brjpia
TCL heiv ecj^acTK iK€lvo<i —
AI. fo)9 ol/jLco^eTac,
rj\at^oveve6\ Xva (f^o^rjdeirjv ijQ), 280
€iS(i)(; fie p^a^ifjiov ovra <^i\oTLfxovfievo<;,
ovSev yap ovrco yavpov iaO 0)9 'Upa-
K\rj<;.
iyoo Si y ev^aufjurju av ivrv^elv tlvl,
\apelv T dycoviCTfjb d^iov n T7]<i oBov,
HA. VT} TOV Ala' Kal firjv alaOdvopbai '>^o(j)ov
Ttvo^. 285
AI. irov ; irov ^cttlv ; ^A. i^oiriaOev, AI.
i^OTTtaO Wl,
Ha. oXK! iarlv iv ray irpoaOe. AI. irpocrOe
vvv Wi.
HA. Ka\ fjbfjv opM VT) TOV A/a Orjpiov [xeya,
AI. iTolov TL ;
HA. heivov TravToSaTTov yovv fyiyveTav
T0T6 fJbev ye ySoi)?, vvvl 8 opevf;, TOTe S'
av yvvT} 290
279 eTuaL ra deiv' ^(paaKcv Hamaker, etc. , but the sense is never
completed (Ed.) 285 vrj rbv Ala Kal k.t.X. mss. and editt.
Punctuation Ed. 286 i^binade vvv Wl vulg. : i^dirLadev ad
Wt V : i^dTTLo-dev Wi, R : i^oirtad' Wl Dobree. Qu. SiricrOcv o€v
Wl ? 290 t6t€ . . Tore RV : ttot^ . . ttot^ al. (Both are Attic)
,UNIV^ERSITYJ
\^ Of J
29i-^%^^JfoM^I^:;^AT?AXOl 17
WpaiOTCiTT] Ti^. AI. TTOV ^(TTi; (f>€p ilT
avTr)v Ilco.
SA. aXX' ovKer av yvvij ^anv, aX)C ijSr] kvq)v,
AI. "^/jbTTOVcra TOivvv icrrL
SA. TTvpl 'yovv Xd/jbireraL
dirav TO Tvpoawirov. AI. kol aK€ko<^
')(a\icoi}V e')(ei ; 294
SA. vrj TOP UocreiSMy koI ^oXitlvov ddrepov,
V, cra^' taOt, AI. ttol Brjr av rpairoL/jiTjv ;
SA. " TTOL S' iyd) ;
AI. UpeVy BtaipvXa^ov fi , Iv (h aoi ^v/ji7roTrj<;,
iziA. d7roXov/jL€d\ a)va^ UpaKXet'^.
A I. ov iiTj Kakel<; fi,
o)v6p(o^\ iKerevo), /jL7)8€ Karepel^ rovvofxa,
SA. ^iovvcre roivvv. AI. tovto y 60* rjrrov
Oarepov, 300
SA. lO fj'TTep ep'X^ec, Sevpo B€vp\ o) heanrora^
AI. T6 S' eart ;
SA. ddppei' TrdvT dyada nTeirpdyafjieVy
h^earl 6 coairep ^H^eXo^o? 7]fjbiv Xeyetp"
i/c /cvfidrcov yap av0(.'^ av yaXrjp
Qpco.
rj/JLTTovaa ippovSr], AI. Karofioaov, ^A.
vrj TOP Aba. 305
AI. Kavdi'^ KaTOjioaov, SA. pr) At'.
AI. ofjioaov, ttA. PT] Ala,
AI. OL/jioc rdXa^, ct)9 oy^piaa avrrjp ihwv
300 Tovrb y (without '^d') RV : Tovr6 7' 'ead' al. : rovrb y ^6*
D: rovT ^d' Fritzsche, etc., but 7' seems essential. There is
no trustworthy rule of division of anapaest after the first short
syjl. (St^rkie, Vesp. Jntrod. pp. xjsc^.)
18 BATPAXOI 308-325
Ha. 6Sl Se Setcra^; VTTepeirvppiaa-e aov.
AI. ot/JLOL, TToOev jJLOL TCL KaKCL Tavrl TTpoae-
irecrev ;
TLV aLTidcrofjbai Beoyv /jl airoWyvat ; 310
alOepa Aio^; Sco/jbciTLov, 7) '^povov
TToSa ;
SA. ovto^, AI. TL ecTTiv ; HA. ov icarrjicov-
G-a<; ; AI. tlvo^ ;
Ha. avkoiv irvoTj^.
AI. eycoye, kol BaBcov ye fxe
avpa Tf.9 elcreTTvevae /jLVcrTL/ccoTdrrj.
dX)C rjpe/iil TTTrj^avre^ d/cpoao-co/jieOa. 315
XOPOS MTSTI2N
"la/c^ , 0) ' la/c^e.
HA. Tovr ear eKelv, & heairoO^' 01 [lefjivrj-
/juevoo
ivravdd irov irail^ovorLV, ov^ e<ppa^€ vmv.
aSovai yovv tov XaKyov ovirep St' dyopd<;,
AI. Kdfjbol BoKOvaiv. r)crv^iav roivvv dyetv 321
^eKriarov eariv, ft)? dv elhoyfjuev cra^w^.
XO. ^'lafc^i 0) iTokvTifjbaL^; ev eSpai^; ivOdSe
vaicov, •
"la/c^'j ft) "laK'^6, 325
308 aov R : fiov al. (originally assigning the verse to AI.)
310 airidacofiaL Dind. -> 320 tuKxov rather than "laKxov
should be written. — > 8l dyopds V, Apollodorus Tarsensis,
Hesych. : Aia76pas R al. — > 323 iroXvTtinrjTOLs h edpat^
RV : iv om. £^1. : corr. Hermann
326-351 BATPAXOI 19
iXde Tovh' ava Xeificova '^opevacoVy
iroXv/capirov fjuev rivdaacov
Trepl Kparl <rc3 /Spvovra 329
aTe(^avov /juvprcov, Opaael 8' e^icaTaKpov(ov
TToSl rap cLKoXaarov
^iXoirai'yfjbova nixav
'^apLTCDV TfXelaTOV c'^ovaav p.epo<^i ar^vaVy
lepav 335
oaioi^ jjLvaTai^ '^opelav,
3 A. S) ITOTVia 7ro\VTL/Jb7]T€ A7]fji7)TpO<; Koprji
ft)9 7]hv fJiOL irpoaeirvevae ^(OipeKDV Kpecop.
AI. ovfcovv arpejJb e^ei^, rjv tl koI ')(ophrj^
XO. €<y€ip€ (fyXoyea^; Xafiirdha^' iv X^P^^^ ^^P
7]K€L . 340
vvKripov reXerrji; cf)coacf)6po<^ daTTjp,
(pXeyerat Srj (pXoyl Xeijjuwv
yovv iraXXerai yepovTcov > 345
dTToaeiovTai Be Xvira^
XpovLov<; T irodv iraXaiMV ipiavrov^
lepa<^ VTTo Tifjidf;.
(TV he Xafjunrdhi (j>ejj(ov 350
irpo^dSijv e^ay eir dvOrjpov eXeiov Bd-
ireBov
340 ^yeipe (fAoyeas Aa//,7rd§as ij/ x^P^'- 7<^P 7?/^^^ TLvaaawv RV :
^/cets cett. : TLvdao-cov om. al. ; corr. Tliiersch. Others omit yap
•f^KCL. — > 344 0Xo7t (peyyerai de R al. : 0X071 (pX^yerat
de V al. : corr. Hermann 350 (f>\iyo3v mss. ; corr,
Bothe
20 BATPAXOI 352-366
')(opoiroL6vy fiaKapj, 7]/3av.
KOP. €V(j)rj/jL€LV '^prj Ka^icTTaaOaL toI^ r)fi€TepoL(Tc
'^opolaiv
b(7TL<; aireLpo^ roLOivhe \oycov, rj ypcofii]
fjur] KaOapeveiy 355
r] yevvaicov . opyca ^lovcrcov fxr^r eiSev
fitjr eyopevaev,
fjurjSe YipaTiVov rod ravpocfxiyov yXdorrrj^;
^aKyei ireXea-OT),
rj ^(Ofio\o'^oL<; eireaiv '^aipec /jLtj \ Katptp
TOVTO TTOLOVCTLV,
rj ardcnv e')(6pav pur] KaraXvei, pufjK
€v/co\6<; i(TTL iroXiTai^,
aXK aveyeipei koI piTri^ei KepScov ISicop
iiriOvp^oiVi 360
7) T7]<; TTokew^; '^ec/jia^op^epr]'; dp-^cop Kara-
BcopoSoKeiraLi
rj irpoSiScDcnp (fypovpiop rj pav^, rj rairop-
pTjT airoTrepbireL
i^ Alylprjf; ScopVKLcop o)P elKOcrrokoyof;
KaKoSaipicop,
dafcoop^ara koX Xipa Kal iriTTap StaTrepiTrcop
€69 ^TTiSavpop,
V %PW^'^^ '^^^^ '^^^ dpTLTToXcop pavalp
irapc'^eLP rcpd ireiOeiy 365
fj KaraTcXa tcop "EiKaraicop kv/cXlolcto
'^opocaip vTraScop,
355 yvdbfir} RV : yvcbfxrjv al. — > 359 TroXirrjs al. For
absence of article see -^ 361 KaradcopodoKec tl Blaydes. — >
366 *^KOi'Tei(^)v Blaydes, -> 1| v'ir(}dwv V ; ^irq^bojv R
367-333 BATPAXOI 21
t /
77 Tov(; /jitauovf; tmv ttolijtcov prjrcop mv
elr dTTOTpooyeCf -
K(o/jL(pS7]6€l<; iv Tai<^ iraTpLOL^; reXerac^;
Tai<; Tov Alovvctov'
TOVTOL^ TTpCOvSo) KavOi'^ TTpCOvhcO Kavdi^i
TO rpiTov fidXa TrpcovScS
i^iaracrOai fjuvcrraicn '^opOL<;' vfiel^ 8
dveyeipere }Jio\iry]v 370
KoX iravvv^iha'^ rd^; rj/jberipa^, at rfjSe
TTpeTTOvaiv eoprfj. ^
XO. X^P^^ ^^^ '^^** dvSp€Lco<;
69 TOi'9 evavOel^ koKttov'^
XeifJbdivcov i^KpovccfV
KaTTiO-KCOTTTCOV 375
Kal Tral^cov koL xXevd^cov.
rjpiarrjTai 8' i^apKovvTco<;.
dX)C €fjif3a n^w 770)9 dp€t<;
rrjv %cl)T€cpav y€vvai(o<;
rfi (j)cov7j fjioXird^cDV,
(T(p^€LV ^r}(T €9 Ta9 &pa<^y
Kciv ScopvKLCov jjuTj ^ovXrjTac. 381
KOP. dye vvv erepav v/jlvcov IBeav rrjTf Kapiro-
(fyopov /BacriXecav,
Arjfir]Tpa Oedv, iirikoo-jjiovvTe^ ^a0eoi<;
pboXiral^ KeXahelre.
369 To{)TOLS dTrauSw Kaddis airav^Co . . /jloX dTravdd) R : tovtols
avdQ V and Aul. Gell. Praef. : corr. Blaydes. — > 372
07] vvv RV (by a frequent gloss on vvv ; cf. 891, 1378) : vvv al.
377 afpets R: aip-qcreis V (i.e. atprjs corrected by -ets) : corr.
Scaliger 380 crdbaeLv Cobet. ->
22 BATPAXOI 384-413
XO. A7]/jb7}T€p, dyvcov opjicov
dvaacra, aviiirapacTTdTei 385
Kai cr^^e rov cravTrj^; '^opov
Kai fjb d(T<pa\co(; iravrjfxepov
TTolcrai re /cal ')(opev(Tai'
fcal TToWd fjuev yeXocd fi el-
irelv, TToWd Be airovhala, koI 390
T?79 (TT^ €OpTr]<; d^io)^
iraio-avra kol o KCty>\ravTa vi-
icnfjcravTa TatviovaOai.
KOR dX}C ela 394
vvv KOI Tov dipaiov Oeov TrapafcaXeire
Sevpo 395
(pSalcTL, TOV ^vvefiTTopov TTjahe tt)? '^opela^,
XO. "lafc^e 7roXvTi/jbr}T€f /xeXo? eoprrj^;
7]St(TT0v evpddv, Sevpo avvaKo\ov0et
7r/?09 rrjv Oeov /cal Sel^ov d><; 400
dvev TTovov TToWfjv oSbv nrepalvei^,
'la/c^e (fycXo-^opevrdy av/JLTrpoTre/ju'Tre fie,
(TV yap Kareo-'^LG'Ci) /juev iirl jeXcori
/cdir evreXela tov re aavhaXiaKov 405
teal TO pdKo<^, Kd^7]vp€<; coaT
d^r^fjiiov^ irai^eiv T6 Kai '^opeveiv,
"laK^e (j)L\o'^opevTdy avfJurpoirefJiTre fie,
Kai yap irapal3Xe'>\ra<i tl fieLpaKiG-K7f<^
i>vv Stj KaTelhov Kai fJbdX' evTrpoacoTrov
^'laKj^e (f)cXo'^opevTd, avfiir poire /iiTre fjue, 413
397 fx^pos Kock : tAos Meineke. -> 404 /carao-xtVw jjih
R with i^evpes in 406 ; whence Karaaxf-c^oL/uievos . . i^rjvpes
Kock. — >
414-449
BATPAXOI 23
AI. iyco 8' aei tto)? <^L\aKo\ov6o<^ elfjuL koX
Trau^cov ')(ppeveLV ^ovXofiai, ttA. Kaycoye
TT/OO?.
KO. /SovXeade Brfra kolvjj , 416
c^f€c^)^fr(OfJb€V ^Ap'^eB7]/jLov,
09 €7rT€T7](; cov ovK 6(\>V(T6 (f)par€pa^,
vvvl he hrjfiaywyel
iv Tol^ avco veKpolaL, 420
fcacTTlv ra Trpcora Trj<; ifcel iiO')(dnf}pia<^ ;
AI. ^^XOiT av ovv (ppdaat i'(pv
Ti\0VT(DV OTTOV v6dK ol/C€L /
^€vco yap ecTjiev dprico^ d(j)iy/jiev(o.
KO. fjbrjhev fia/cpav direXOrji;,
/jLtjS av6i<^ iiravepT] fjue, 435
dW Xaff eiT avrrjv rrjv Ovpav d(f)cyfievo^,
A I. aipoL dv av6i<;, m iral.
ttA. TOVTi TL TjV TO TTpdy/jia
dW Tj Alo<; }^6pLv6o<i iv tol<^ arpcoixacnv ;
KO. '^(Dpelre 440
vvv lepov dvd kv/cXov ^ea?, dv6o(f)opov dv
dXcro^
irai^ovre'^ ol^ fjueTovaia 6eo^i\ov<; eoprrj<^.
iyo) Se (jvv Tolaiv Kopat^; elfxi zeal
yvvat^lv 444
ov Travvv^i^ovo-Lv 6ea (\)eyyo<; lepov otawv.
XO. ^copMfiev 69 TToXvppoBovf; 448
Xec/JLMva^ dv6e/iicl)8eL<;y
414 MSS. add fxer avrijs at end of the line. -> 415
Traij^eiv Naber 418 (ppdropas MSS. — > 432 JVKotutwv
RV : IWovTwv^ al. 444 sq. Some editors give these lines
to AT., others to KOP. 445 ^eai V al.
24 BATPAXOI 450-466
TOP r}/jieT€pov Tpoirov ^ 450
Tov KaWi^opdyTarov
7raL^0PT€<;, ov oX^cac
fiOLpao ^vvdyovcTLv. >
/jlovol^; jap rj/jucv r/Xiof;
Kol (f>6yyo<; IXapov ccttlv, 455
OaOi /Jb€/JbV7]/JL€9^ €V-
(T€J3ri T€ ScT^y ofiev
rpoTTov ire pi tov<^ ^€vov<;
Koi Tou? Ihtiora^.
AI0NTS02. SAN^IAS. XOPOS
AI. aye Brj riva rpoiTov rrjv Oipav Koyjrco ;
TLVa ; 460
TTO)? evOdK apa KoirrovaLV ovTTL'^copcoL ;
SA. ov /JUT] Siarpi^jrei^^y dWa yevaei T979 dvpa^;,
Ka0 'UpaKkea to a'^rjiia koi to Xtjix
e')((Dv.
iral Tval.
AI.
AIAKOS
Tt9 ovTO<; ;
AI. llpaK\ri<; 6 KapT€po<;. 464
A I A. 0) /3S'€\vp€ KdvaioT'^vvTe fcal ToXfjurjpe crv,
Kal /jLcape Kal Trafi/niape Kal pboapcoTaTe,
453 ^ftpai Meineke. -> 455 lepbv RV (the best MSS.
thus showing an inferior reading) : iKapbv icrriu vulg., but ^o-tiv
seems required 462 yevaai V : ye^arji R (the true form ;
cf. sup. 3 crit. note)
467-486 BATPAXOI 25
09 Tov Kvv r]fx(hv i^eXdcra'^ rov J^ep^epov
airfj^a^; ci'y^wv Kairohpa^ ^'%ou Xa/Sciov,
OP iycb ^(f>v\aTTOp. aWa vvv €.yei [leGo^'
Toia Zrvyo^ ere jLi€\avo/cdpSLO<;
Trerpa 470
'An^6y9oz/T609 re a/coireXo^ al/jbaro'
arayrjf;
(l>pOVpOV(TC, l^COKVTOV T€ IT 6 p ihp O fJLO i
"E^iSz^a 6^ eicaroyicec^aXo^, rj ra
(T'7r\dy/^va aov
Siacnrapd^et, TrXev/jiovcov r' dvOd-
yjreraL
Taprriala jjbvpaiva' rco v€(j)pco 8e crov
avTOLCTLV ivrepoicTiv rjfiarcojjbevo) 476
Stao-TrdaovTac Topyov€<; TeiOpda-iaiy
e^' a9 iyoi) Bpofialov opfjuijcrco TroSa.
ttA. ovro<^, TL SeSpa/ca^; ; ov/c dvao-riqaei Ta"^v,
TTpiv TLvd or Ihelv dXkorpiov ;
AI. dXk (hpaKico, 481
aXV oZcre 7rpo9 rrjv KapSiav fiov acffoyycdv.
HA. ISov XajSe. TTpoaOov.
AI. TToO (TTiv ; aA. c5 '^pvaoc OeoL,
ivravd e'^ei^ rrjv /capBlav ;
AI. heiaaaa yap
eU rrjv Kdro) fiov KotXcav Kadeipirvaev,
SA. S) SeiXorare 6eMV av KavOpdiircov. 486
474 irXevfjibvojv (RV) is the older form (cf. piilmo, Skt.
kloman) : irvevfidvcov vulsj. 477 1^0pd(nai MSS. : TeLOpda-iai
inscriptions 483 The mss. wrongly give irpoaOov to AI. ->
26 BATPAXOI 486-504
AI. €70) ;
TTw? Se^Xo?, oan^ (Tcj^oyycav ^rrjcrd ae ;
iyo) S' avearrfv Koi irpoaer dTreyfrrjo-d/nrjv.
PiA. dvBpetd y\ o) TLoo-ecSov.
AI. olfjuai vrj Aia. 491
av S' ov/c eheucra^ top 'y^ro^ov tmv prj-
fidrcov
KoL rd^ d7r€L\d<; ; ^A. ov fjid AT ovB
i(f)p6vTLcra.
AI. Wc vvv, iireiST] XTj/jbarta^ KdvSpe2o<; el,
(TV jjbev yevov '70b to poirakov tovtI
Xa^cbv 495
Kol Tr}v XeovTTJv, etirep d(^o^oaiT\ay'^vo<;
iyco S' €(TOfiaL aoi a/€€vo(f)opo<; iv tw fxepet.
ttA. (f>€p€ St] Ta'^€co<; avT ' ov yap dWd
Treto-riov
KoX ^Xe^ov eh rbv ^JipaKXeLo^avdlav,
el Se^Xo9 eaofiat kol Kara ae to Xrijju
e'^cov. _ 500
AI. fid Al* dW dXrjOoi^ ovtc M.e\LT7]<; /jca-
cTTcyLa^.
(f>epe vvv iyo) Ta cFTpcofiaT acpcofiai TaBi.
©EPAITAINA
60 (pi\TaO^ TjKei'^ '^pdic\ei<^ ; Sevp^ etaiOi.
7] ydp Oeo<; a &>? eirvOeO tj/covt , evOeco^;
494 X-qfiarlas is a var. lect. (V and schol.). — > 499 is
Dind., but the nniformitj of treatment before consonants is
not so certain as before vowels (Meisterhans^, pp. 174 sq.)
504-523
BATPAXOI 27
eTrerrev aprov^, rjyjre /carepeLKTMV '^vrpa^;
€TV0V<^ Sv rj Tpel^, ^ovv aTrrjvOpdici^^
oiXov, 506
irXafcovvTa^; coirra, KoWd/3ov<;—aW etaiOL.
SA. KoKkiar, eTracvco.
0E. fia Tov AttoWco ov jjurj a ijo)
TrepLoyJro/jidTreXdovT , iirei rot koL Kpea
dve^parrev opviOeia, /cat TpayijfiaTa 510
eippvye, Kcpvov dve/cepdvvv yXvfcvTarov,
aXV elaiO^ dp! ep^oL SA. irdvv koXm^,
(B)E. \7]p€t(; e'^cov
ov ydp a dc^r^aw, koX yap av\r)Tpi^
ye aoi
rjSrj ^vhov eaO^ oypatordrr} Kwp'^rjaTpiSe^
erepai hv rj rpel^.
a A. 7rco9 \ey6L<^ ; op'^rjarpihe^ ; 515
@E. dW etcnd\ &)? o p^dyeipo^ r/Sr] rd repid'^T)
epeXX! dc^aupelv 'yr] rpdire^^ elaypero,
^A. L0L vvv, (j>pda-ov TrpcoTcara tol^; op'^rj-
(TTpiaiV 519
Toi^ evhov ovaat^; avTo<; on elaip'X^opLai,
o 7rafc9, d/coXov0€L Bevpo rd cTKevr] (j)€p(OP,
AI. iirKT'^e^ ovTo^, ov tl ttov crTrovSrjv Troet,
OTcr] (76 Trai^cop ^Upa/cXea ^veaKevacra ;
505 KarepiKTcop RV : KarepcLKTuv al. 507 5e0p' eio-iOi R
(from 503). It seems best to punctuate and mark aposiopesis
as in text (Ed.). — > 509 TrepLSfo/naL direXdupr R [irepLb^oix
V): corr. Porson : Trepioxl/ofxai eiraivovvT A. Palmer 513
avXrjTpis re V 520 on R : or V : ws al. (to avoid hiatus.
See Introd. p. xlii) 522 Troiei V : Troets R al. The latter
is quite possible. — > 523 'UpaKX^a 7' iaKeijaaa vulg. (with
the ordinary stop-gap) : ijpaKXe eo-Keijaaa R : corr. Elmsley. — >
28 BATPAXOI
524-541
aXK dpd/ji€vo<; otcret^ irakiv rd o-rpco/jbaTa*
aA, Ti 8' €(TTiv ; ov St] ttov /jL d(j)€X€cr6aL
Scavoel 526
dScjjKa<; avTO^ ;
AI. ov rd')^, dXK rjSrj ttolco.
KardOov to Bepfia.
SA. ravT iyo) /jLaprvpOfiaL
KOi Tot^ OeolcTiv eTTCTpe'Trco.
AI. iTOiOL^ Oeol^ ;
TO he irpocrhofcrjcrai a ov/c dvorjTov /col
K6V0V * 530
ft)9 Sov\o^ cov /cal OvrjTO^ AXKfJLrjvrj^ eaei;
SA. dfxeXeif koXm^* e^' avT, liaco^ ydp too
ITOTe
i/jbov heT^OeiT]^ dv, el 9eo^ 6e\oi»
XO. TavTa fiev Trpo? dvSpo<; icTTt 534
vovv e'^ovTOf; Kal (f)peva<; Koi
TToWd irepLireTrXevKOTOf;, 535
fjueTa/cvXivBetv avTov del
irpo^ TOP ev iTpdTTOVTa Tolyov
pbdWov Tj ryeypa/jL/jievrjv
euKov ecTTdvai, \a^ov6^ ev
(T'^rj/iia* TO 8e fjueTacTTpec^eaOaL
TTpo^ TO pbokOaKdoTepov
Be^cov TT^o? dvBpo^ ecTTi 540'
Kol (f>vo-eL ^rjpafjbevovf;.
526 ov ri TTOV V 531 a\K[i^v7}s (i.e. 6 'AXfc.) Lenting^
etc. — > 536 fj,€TaKv'\ivd€Lv R : fieTaKvXLvdeiv V. —>
549-563 BATPAXOI 29
HANAOKETTPIA
JlXaddvrj, HXaddvT], Sevp^ €\d\ o irav-
ovpyo<; ovToatf
09 eZ? TO iravhoKelov elcreXOcov irore .550
eKKaiSefc aprov^ /caT6(f)ay , rj/jucov,
HAABANH
vrj Ala,
6Kelvo^ avTO^ Srjra, aA. KaKov r}Kei nvi,
IIAN. Kol icpea ye tt/^o? tovtoktiv dvd^paar
eiKoaiv
dv TjixKo^oXiala* HA. hcoaei n^ Slk7]v,
TIAN. Kol rd (TKopoSa rd rroWd,
AI. Xr^pel^, & yvpac, 555
KovK olcrO' 6 TO Xiyeo'^,
nAA. ov fxev ovv /xe irpoaehoica^y
OTLT) Kodopvov^ ^^%^?> ^^ yvoivai a ere
HAN. TL Sai ; to ttoXv Tdpl'^o^; ov/c eiprfKa ttco,
riAA. fid At', ovBe TOP Tvpov ye top '^Xcopov,
TdXav, 559
ov ovTO(; avToU tol<^ ToXdpoL^ KaTrjadiev,
HAN. KaireLT iTreiBrj TapyvpLOV eTrpaTTOfirjv,
e^Xe-yfrev elf? fie Sptfiv, icdfivKaTO ye.
Ha. To^fTov irdvv Tovpyov, ovto^ 6 Tpoiro^
iravTa^ov. ,
551 For WKadoLvr] (R al.) some MSS. prefix er^pa iravboKevrpia.
-> 554 dvrjfiLco^oXLaTa al. — > 1| irdvd' ijfi.. Van Leeuwen.
(The true spelling appears to be -PeX-) 557 dvayvQvaL
MSS. : corr. Elmsley. — ^ ^60 R has lost tols after avrqls
30 BATPAXOI 564-581
IIAA. KoX TO ^t(/)09 7' eaircLTO, fjuaiveaOai Sokmv,
ttA. vrj Ala, Tokaiva.
IIAA. v(o Be heiadcra ye irov 565
eVl TTjv KaTrjXiCJ)' evOv^ dv€7r7]S7jaa/jLev'
6 S' ^X^'^^ ^'?^?^^ 7^ ^'^ '\jfLd0ov<^ Xa^cov.
SA. fCal TOVTO TOVTOV TOifpryov. dW ^XP^^
TL Bpdv.
HAN. c6i Sf) Kokeaov top TrpoaTdTrjv KXecovd
fJbOi —
AI. av S' €fjLOLy\ edvirep eV^TU^?;?, Tnrep^oXov —
HAN. 'iv avTov e7rLTpLy{rco/jL€V.
ft) fJLLapd (pdpv^, 571
ft)9 rjBeco^; dv crov Xidcp tov^ yo/ji(j)iov<;
fcoTTTOLfi dv, ol^ fjbov KaTe(f>aye^ Ta ([)opTia.
AI. iyci) 8e y e? to /SdpaOpov i/jb^dXoL/jbt aL
HAN. eyd> he tov Xdpvyy dv i/cTe/jLoc/jH crov 575
Speiravov Xa^ova, cS Ta9 ^j^oXt/ca? fcaTe-
aTracra^,
dXX^ el/jL eirl tov KXeft)z^', 09 avTOV Trjfxepov
eKTrrjVielTai TavTa TrpoaKaXovfjuevo^.
AI. Kd/ciCTT dTToXoLfjLTjv, JUavOiav el fir} (f>iXco,
HA. oW olSa TOV vovv Trade irave tov Xoyov. 580
ovK dv yevoi/jb7]v }ipaKXrj<; dv.
565 The speaker of vt) Am, raXaiva differs in MSS. || Setddcra
RV : deiaaaaL al. : voj 8e dr] deiaavTe ttov Meineke. — >
570 MSS. give this speech to irav doKeijrpta /3' : corr. Ed. — >
571 (pdpvy^ al. Cf. 259 crit. note 574 ^yw d' hv Elmsley
needlessly. -> The line is usually given to IIANA or IIAAG
with ifjL^dXoLfjLi ae : corr. Ed. — > 575 iKriixoiixl <tov mss. :
Accentuation Ed. 576 ro^s koXikus RV : rds al. There
is no k6Xl^ ; the corruption arose from the substitution of k6\-
XiKas for x6XiAcaj and adaptation of the aiticle. Corr. Schaefer
581 a,d Hirschig for the second dv, wrongly. — >
581-596 BATPAXOI 31
AI. fir]SafJL(0(;,
ft) aavOiBiov.
Ha. fcal 7rw9 av KXKiirjvrj^ iyco
vlo<=; y€V0L/ji7]v, SovXo^; a/jua kol Ovrfro^ cov ;
AI. oI8' olh OTi Ovjjbol, /cat SiKaLco<; avro Sp^9*
Kav €i fJi€ TU7rT069, ovK uv avTeiiroifjii aoi, 585
a}OC rfv ae tov Xocttov ttot dcpiXco/JLat
TTpoppt^o^ avTO<;, rj yvvrj, ra iraihia,
KaKiCTT aTToXoi/jLTjv, Kap'^€Sr]/jLO<; yXd/jLcov,
SA. he-xpixai tov opKov, kuttI tovtol^ Xa/ji/Sdvco,
XOPOS
vvv (TOV €pyov ear, eTretBr] 590
rrjv '(TToXrjv ei\7](\>a<;, rjVTrep
el%69, e^ ^PXV^ TToXtv,
dvaved^etv < . . >
KOI ^Xeireiv avdi^ to Bclvov,
TOV deOV fJL€/ilV7]/JL€V0V
(pirep €l/cd^€L(; aeavTov,
€1 Se TrapaXrjpodv dXdycrei
KaK^aXel^^ tl puaXdaKOv, 595
avdi^ aipeaOal a avd^KT)
^GTai irdXiv tcl aTpcof^aTa.
582 Meineke ejects cD (i.e. *B<(ivdUiov). — > || aXKfirjvTjs Meineke ;
cf, 531 crit. note 591 The comma should not be
placed after e^ oLpxrj^. ~-> 592 dvaved^eiv RV : dvaved^eLv
cravTov del al. (a feeble completion of the metre), dv. <7rp6s to
(To^apbvy Meineke from schol. More probably another infin. in
-d^ecv has been lost. — > 595 KdKJSdXrjis V : Kai jSdXrjis R :
/cat jSaXets al. : corr. Hermann 596 Vrat Daweg. 'arlY;
gm. it : ns al,
32 BATPAXOI 597-611
XA. ov /caKM<;, S)uSp€<;, TrapaiveiT ,
aXXa KavTo<; rvy^dvco ravr
dpTi (TVVVOOVIJi€VO^,
on fjuev ovVj rfv '^prjarov fj rt,
ravT ac^acpelaOai irakiv Tree- 600
pdaerai /jl ev oIS' ore,
dX)C o/xft)9 iyco Trape^co
jjuavTov dvhpelov to Xij/jua
KoX ^XeirovT opiyavov.
Secv S* eoLKeVy ct)9 dicovo)
Ti)^ 0vpa<; Kol Br) '>^r6(^ov,
AIAKOS. AI0NT20S. SAN(h)IAS
AI A. ^vvSelre ra'^eo)'^ tovtovI tov kvvokXoitov, 605
Iva SgS Si/crjv dwrerov. AI. riKet Tft)
KaKOV.
Ha. ovk 69 KopaKa^; fjirj irpoairov,
AIA. eleVy koX pud'^eL;
6 AcTvXaf; ^o) ^K€^\va<; ^w Uap86Ka<;
'^(opelre Bevpl kclI pud'^eaOe rovrayL
elr ov-^l Secvd ravra, rvirreLv rovrovl 610
KkeiTTOvTa irpo^ TaXkorpta; AI. fidXX^
V7r€p(f)vd.
600 ed old' iyu) Yelsen. — > 606 dvjjerov MSS., inoorrectly
for Attic 607 ovk is KbpaKas ; jut] irpdaLTov MSS. : ovk is
KdpaKas ; ov fxi) Tpocnrov ; Elmsley (subsequently omitting /cat).
The only change required is in the punctuation (Ed.). — > ||
/xdx« (Mx??) MSS. : ixaxa. Dind. -> 608 ^iraphoKas V
(cf. Thuc. 2. 101) 610 sqq. The usual distribution is AI.
etr' ovx^ ' . raWorpia ; AIA. fio^W vwep(pvgi. ^1. crp^^rXict
K.T.\. : corr. Ed. — ^
612-632 BATPAXOI 33
A I. G-'^erXia fiev ovv koL Becvd,
SA. Kal fJbTjv vTj Ala,
el TTCOTTOT fjXdov S€vp\ iOeKco Te6vr)KevaL,
rj VXe-vIra t6)v crcov d^iov tl kol rpc^of;.
Kal aoL TTorjao) Trpdy/Jia yevvalov irdw 615
l3ao-dvL(^€ yap rov iralha tovtovI \a/3(ov,
Kav TTore fi eXrj^; dSiKovvr, diroicTeivov
fjb dywv.
AIA. /cal TTW? ^aaaPLO-Q) ;
SA. Trdvra rpoirov, iv KXlfxaKi
hr)aa<^f Kp€/jidaa<;, vo-TpL'^lhi fiaariyoiVi
Sipcov, 619
arpe^XcoVy ere S' e? ra? pLva<^ 6^o<; iy^ecoVf
ttXIvOov^ i7rcTL6el<;, Trdvra rdXXa, ttXtju
irpdacp
fjbrj TVTrre tovtov /ji7)Be yrjrelcp vew,
AIA. hlicaio^ 6 Xoyo^' Kav n Trrjpcoao) ye (tol
rov iralSa tvittwv, rdpyvpLov aoi Kelo-erac,
SA. /jLT) BrJT e/uLOLy . oirco Se ^aadvu^^ dira-
yayd)v, 625
AIA. avTOv fxev ovv, Xva adl Kar oc^OaXjiov^^ ^^7?7'
KardOov av rd (TKevrj Ta'^eco<;, '^co7rco<; epet<;
evravOa fjbrjhev i|rei)So9.
AI. dyopevw nvl
i/jue fjurj ^aaavl^ecv dOdvarov ovr • el Be /jltj,
avTO<^ creavTOV alnoy. AIA. Xeyet^ Se rl ;
AI. dOdvarof; elval ^rffjn Alovv(to<^ Alo^;, 631
TOVTOV Be BovXov. AIA. TavT dKovei^;
618 §a(Tavi(TU) V : ^aaavl^w R al. 626 croi, MSS. : cot
Dind.
D
34 BATPAXOI 632-650
SA. </>^/^' ^7^'
Koi TToXv y€ fJbdWov ian fxaariycorio';'
etirep Oeo^ yap iartv, ovk alaOr^creTai,
AI. Tt hrjT , eireihr] koI av cj)rj<^ elvai d60<;, 635
ov /cat (TV Tvirrei ra^; i(Ta<; TfKrjya^ ifioi;
SA. SiKaLO<^ 6 \6yof;' '^ooirorepov av vSv cBjjf;
icXavaavra irporepov rj TrportfjLTjo-avrd tl
TVTTTOfievoVj elvai tovtov rfyov fxr) deov,
AI A. OVK €cr9 07rco<; ovk el av yevvdha^ dvr}p • 640
')(^copec<; yap 669 to BiKatov, dirohveaOe 87;.
SA. 7rw9 ovv jBaaaviel^ vco ScKaicof; ;
AIA. paSiOf;'
7rXrjyr]v irapa TfKrjyrjv eKarepov.
iz^A. Ka\(b(; \ey€t<;.
AIA. ISov. SA. (TKOTrei vvv rjv yH viroKivrj-
aavT iorjf;,
AIA. rjBrj ^TTara^d a\ SA. ov fia AC ovv
ifjbol SoKei<;,
AIA. dX)C eljjb eTTi rovSl Kal Trard^co. AI.
TTTJVLKa ; 646
AIA. Kal Srj ^irdra^a. AI. Kara nco^; ovk
eirrapov ;
AIA. OVK oiSa' tovBl S av6i<=; diroireipdaop^ai*
SA. ovkovv dvvaei<; tl; aTTaTal,
AIA. Tb aTTaTal;
jJLOiv 0)Svv7]drj(; ;
645 ov5' ijj.oi 8oK€2s MSS. : 5o/ce? (or doKw) Bentley (giving
the words to Aeacus) : ovk iixol boKeis Bothe. || oOv ibr oi)5' is
simplest (Ed.)- -> (otherwise ov /jlcl Ai\ oHk, ifioi doKcTv might
be suggested) 649 dv^o-eis iarraTaL rl larTaTal (or the
like) MSS. : corr. Thiersch. —>
650-670 BATPAXOI 35
SA. ov fjbci At , aXX itppovTLaa 650
OTTod^ 'HpaKXeia rap ALOfi€Loc<; jLyverai,
AIA. avdpMiro^ i€p6<i» Sevpo ttoKlv ^aSiareov.
AI. lov lov. AIA. TL eariv ; AI. linTea^
opco,
AIA. TL Srjra fcXdec^ ; AI. Kpofifivcov 6a(j>pai-
vofjuai,
AIA. irrei TrpoTLfiaf; 7' ovSiv. AI. ovhev fjuoi
fjLekei. 655
AIA. ^ahiareov Tap' iarlv eVl topSl iraXiv,
SA. oifjLOi. AIA. TL eaTL ; a A. ttjp d/cav-
Oav e^eXe.
AIA. TL TO irpdy/jLa tovtl ; Sevpo ttoXlv
^ahLCTTeov.
AI. ^'KiroWov — 09 TTOv ArjXov rj Yivdcov
tiA. rj\yr]aev* ovk r/KOVcra^; ;
AI. ou/c €ycoy\ eTrel 660
Xajjb^ov 'l7nrcovaKTO<i dve/jLLfMvrjaKO/jLrjv.
SA. ovSev TToeZ? 7ap* aXXa Ta9 \ayova<; aTroBeL.
AIA. //,«- Toz/ Ar, aW r/S?; irdpe'^e ttjp yaaTepa.
AI. Iloo-etSoz^, a A. rjXyrjcrev tl<;.
AI. 09 Alyaiov <7r€pl> 7rpcova<; rj yXav-
KCL^ /JL€BeL<; 665
aXo9 eV /3ev0€aLV.
AIA. ou rot /Lta ttjv AijpurjTpa Bifvafial ttco jiaOelv
OTTOTepO^ V/JLMV icFTL 6€0<^. dXk! etcTLTOV
o S€cr7roTrj<; yap avTb<; vfia^ yvcocreTaL 670
652 dvOpojiros Dind. — > 665 <'ir€pl> add. Ed. -> ||
TTpcovbi Scaliger
„.J
36 BATPAXOI 671-689
^?7 ^eppe(^aT6\ dr ovre KaK€ivco deco,
AL 6p6o)<; X6y€L<^* il3ovX6fi7]v S' av tovto ere
TTporepov Trorjaac, irplv ifie Ta<; irXn^ya^
Xa^elv. i.
xovot
M.ovcra XopMV lep6)v inri^riOi teal e\6^ eirl
repyjrtp doiSd<; ifid^;, 675
TOP TToXw oylrofjievr] Xacov o'^Xov, ov cro(j)Lai
fjbvpiai Kd0r}VTai
(fxXoTCfjLorepac KX€0(f)(ovTO^, e^' ov Sf)
'^eiKeatv djJb^CXdXoi'^
he LVOV iTTi^pefxerac 680
^pr)Kia 'X^eXiBoDV
iirl /Sdp^apov i^o/juevr) ireraXov
pv^€L S' iiTLicXavTOv drjBovcov vofiov,
ft)9 diroXelTaiy
KCLV taai fyevcdvrai, 685
In Tov lepov X^P^^ Bi/caLov iorrt ^pT/crra rrj
TToXei
^vjjbTTapaivelv /cat BiBdcrKeiv. irpwrov ovv
rj/JLLV BoK€t
i^Laaxrac rov^ iroXira^ Kd^eXetv rd
Bei/jbara,
fcec Ti<; rjixapre acpaXek ri ^pwi^pv ira-
Xaior^aaiv,
671 ^ep(xi(paT R : ^eppidar V. — > 673 vorj<7aL V attrac-
tively. The confusion is found elsewhere ; cf. 1373 i| irplv ifxe
R : irpiv fie cett. 678 (pCKoTLjjLOTepa Van Leeuwen 683
Ke\(xp{)^u R ; /ceXaSet V al. || pi^^et Dind. — >
690-703 BATPAXOI 37
iryfyeveadai (j)r)/jLl '^prjvai tol<; oXiaOovaiv rore
airiav i/cdelo-c Xvaat Ta<; irporepov d/jbap-
ria^, 691
elr aro/jiov (f)7jfjLt '^prjvac fjLTjSiv elv iv rfj
TToXec,
fcal yap ala')(^p6v iarc tou9 /^ev vavfjua'^rj-
aavra^ fjbiav
Kol HXaracd^; evOv^ elvai fcdvrl BovXeov
BeaTToraf; —
KovSe ravT eyoyy ^'^o^/^' a^ H'V ^^ koXm'^
(j)dcrK€LV G'^GLV, 695
dX)C iTraivco' fjuova yap avrd vovv 6'^ovt
iSpdaare —
7r/309 Be TovTOL<; el/cof; vjid^;, ot fieO vficov
TToWd Bt}
'yol irarepe^ ivavfjidj(r]aav Kal irpocrrjKovatv
yev6i,
rrjv jxiav ravrrjv irapelvaL ^vfjL<f)opdv
alrovfjievoL^.
d'XXa T^9 6pyrj<; dvevTe<^, o) crocjxoTaTOL
^V(T€Ly 700
7rdvTa<; dvOpdoirov^ eKovre^ avyyevel^ fcrrj-
orcofieda ,
Kd7riTlfjbov<; Kal 7ro\iTa<;, 6aTi<^ av
^vvvav/jia')(r],
el Be ravT oyKcoa-o/jLeaOa KaTroaefivvvov-
fieOay
690 iKyeviadat al. 691 iKdv(TL Hjerwerden 699 ahov-
fxivovs R (first hand) : -ois cett. and R corrected. ^> 703
raur' RV : tovt al.
38 BATPAXOI 704-722
rrjv TTokiv Kol ravr €')(^ovTe^ KV/jidrcov
varepcp '^povco ttot avOt^ ev (ppovetv ov
So^ofiev, V' 705
el S' iyoo 6p6b<; ISetv ^iov avepo^ rj
TpOlTOV 0(JTi<; €T ol/JiOO^€TaL,
ov iToXvv pvS^ 6 TTidrjKO^ o5to9 o vvv
ivo'^cov,
KX€L<y€V7]<^ 6 IJbLKp6<;,
o TTovqporaro^ l3a\avev<; oiroaot /cparovo-t
/CVK7)CnT€^pOV 710
yjrevBoXirpov /covla^;
Koi J^t/jLcoXLa<i 7^9,
'^povov ivBcaTpiyjreL' IScov Se rdS* ovk .
€lp7]ViK0<^ €(t6 y Iva fJbrj 7roT€ KaTToSvOfj
fjueOvoyv a- 715
vev ^vkov /SaSl^cov, A
TToXkcLKi^ 7' rjiMV eho^ev rj ttoXl^
TTeTTovOevai
TavTov €9 re rcov ttoXltcov tov^ /caXov<;
T€ KayaOovi;
€9 re rdp^aiov vofiiafjua koi to Kaivov
'X^pvatov. 720
oiire yap rovroiaiv ovctlv ov fceKi^BrjXev-
fjuevoi^y
aXka KaXXiaroi^ diravrcov, &)9 Sokcl,
vofjbiafxdrcovy
704 Others punctuate KairocrejULvvvovjuLeda \ rrjv ttoKlv, kol raur'
-~> 705 Qu. ov8* '^5o|X€V ? 711 xj/evdovirpov al. (the
later and less Attic form) 714 eiSws Mss. : corr. Bentley
719 Tovs KaKous re Kayadoiis a few late copies. — >
723-737 BATPAXOi 39
Koi fiovoL^; 6p6o)<^ KoireldL kol fceKcoScovi-
G-jxevoL^;
ev T€ Toc<^ ^^KXXrjaL kol tol<; ^ap^dpOLcn
iravra'^ovy
"X^pcofjueO^ ovhev, aXka tovtol<; toI^ 7rov7}po2<;
'^oXklol'^ 725
p^0€9 T€ /cat rrrpayrjv Koirelai rcS KaKiarcp
/co/jifiarif
TMV TTOXCTCOV 6 0L>? fieV t(Tfji€V €Vy€V€C<;
Koi (r(o(j)pova(;
dvBpaf; ovTa<; koX BiKaLov<; koX Ka\ov<; re
Kdya6ev<;,
KoX Tpa(l>evTa<; iv TraXalarpaif; koI '^opot^
KOL fjLOVCTLKf/,
irpovaeXov/jLev, TOi<^ Be ')(a\Koi<; kal ^evot^
KOL TTvppiaL^ 730
KOL 7rqvr]pol<^ kclk irovrjpcjv eZ? airavra
'^pcofiedd
vcrrdroLf; d(j)cy/ii€V0LO-Lv, olaiv r) 7r6\c<;
TTpb TOV
ovBe (^apfxaKolcTiv elKrj paBlox; i'^prjcraT dv.
dXkd KOI vvvy &vorjTot, fiera^aXovre^
Tov<; Tpo7rov<;,
'^prjaOe toI<; '^prjarolo-LV avdi^' Kal Karop-
6d)cra(Ti yap 735
eifXoyov Kciv n a(j>a\7]T , i^ d^iov yovv
TOV ^vKov,
Tjv Ti Kal 7rd(T^r]T€, Trda'^eop to?? (TO(i>ol^
SoK7]<T€T6.
40 BATPAXOI 738-757
AIAKOS. 3AN@IAS. XOFOt MTSTON
AIA. vrj Tov Aba TOP acoTTjpa, yewdSa^; dvrjp
o 8ecr7roT7;9 crov.
Ha. 7ra)9 yap ov'^l y€vvdSa<; ; 739
AIA. TO Be jJUTj Trard^at a i^eXey-^Oevr avrt/cpv^y
on BovXof; cov e(^ao-K€^ elvat SeaTrorrjf;,
Pi A, aifico^e fievTav.
AIA. TOVTo fjbivTot BovXlkov
evOij^ 7r€7rorjKa<;y oirep iyco '^atpco ttolcov,
SA. '^aipet'^, iK€T€vco ;
AIA. /jbdX)C e7ro7rT€V€iv Sokm, 745
orav Karapdcrcofjiai \d6pa tm BecrTrorj}.
PiA, TL he TOvOopv^cov, rjvLK dv 7r\rj<yd<; Xa^cov
7roXkd<; dirirj'^ Ovpa^e ; AIA. kol tov6^
rjSo/Jiai,
SA. Ti 8e TToWd irpdrrcov ;
AIA. ft)? ^a At' ovSev olS iyoo.
pA» ojJboyvie ZeO' koX irapaKovcov heairoroiv 750
CLTT dv \aXo)(Ti ; AIA. /xdWd ifKelv rj
/jbaivo/jbat.
Ha. ft) ^OL^^ "AiroWov, efJb^aXe jjlol rrjv Be^cdv,
/cal S09 /cvcrai, KavTO<; kxxjov, Kai fioi
(j)pd(TOV, 755
TTpo^ At09, 09 '^fuv ianv ofjuofjuaanyia^; —
rk ovTO<; ovvSop iarl 06pv/3o<i koX ^orj
745 see 103 crit. note 746 \dOpg. R : \d6pa V cf. Meister-
hans2, p. 114. Inf. 1168 RV have XdOpg. 748 Kai r6^'al. ->
751 orav V al. for arr' hv 757 Kai RV : XV cett., but
dSpv^os Kai /So'A? form one notion and 6 \oidopr)(Tfji,6s another
758-776 BATPAXOI 41
vft) XoiBoprja/JLOf; ; AIA. Kla^xikov Kevpt-
ttlSov.
a. TTpdy/jba irpdj/jLa fiiya KefCLvrjrat
fjiiya 759
iv T0Z9 veKpol(7i fcal araai^ ttoWt) iravv,
SA. etc Tov ;
AIA. vofJLO<; Ti<; ivddh' iarl /ce/yu-ez^o?,
CLTTO TMV re'^vcov, oaai fieyaXat kol Be^iuL,
TOP dpLCTTov ovra tmv kavrov avvre'^vcov
airrjcnv avrov iv irpyraveicp Xa/jL^dvecv
dpovov re tov J1\ovt(ovo<; e^r}^, ^A.
fiavOdvo). 765
AIA. €0)9 d(f)LKOLTo rrjv TE'^VTjv ao<pcoT€po(;
€T6p6<; Ti<; avTov' Tore Se irapa'^copelv eSet.
SA. tl Brjra tovtI redopv^rjKev Alo-'^iiXov ;
AIA. €Kelvo<^ eZ^6 tov Tpay(pSiKOV dpovov,
ft)9 Ct)V KpdTCaT0<f T7]V T€'^V7]V, PiA, VVVL
Be TL<; ; 770
AIA. 0T€ Sr] KaTrfkO^ ^vpL7rLBrj<i, iireheiKvyTO
Tol<i \co7roSvTaL<; KoX Tola I ^aXkavTio-
TOyU;069
K(u Tolai iraTpaXoiaicn koX TOL'^wpv^Oi<^y
OTrep eaT iv ^'Kihov 7r\rjdo<;, 0/8' aKpoco-
fievot
Tcbv avTiXoytcov koX XvyLa/xcov /cat
(TTpO^MV 11^
VTrepe/Jbdvrjaav, fcdvo/juco-av o-o(f)coTaTov'
759 V accidentally omits the first fiiya : some other Mss.
have yap or acpddpa in its place 772 ^aWapTtorofioLs R :
^dXavT- V. MSS. cannot be trusted with -X\- or -era-, but Simonid.
fr. 181 shows that at least the first syllable was long
42 BATPAXOI 777-798
KaireLT iirapdel^; avTekd^ero rod Opovov,
Xv hl(jyy\o^ KaOrjaro. 3A. kovk i^dX-
\€T0 ;
AlA. [jua Ai , aXX 6 S7]/jbo<; dve^oa Kpicnv iroelv
OTTorepof; etrj rrjv ri'^vr/v ao(f)coT€po<;. 780
SA. o tcov Travovpycov ; AIA. vr] Ai\
ovpdvLOv 7' oaov.
aA. fi€T Alo-'^vXov S' ovfc rjaav erepot
(TV/ji/jLa'^oL ;
AIA. oXlyov TO '^prjcTTov iaTiv, &(T7rep ivOdSe.
aA. TL St}^' 6 UXovTcov Bpdv Trapao-Kevd^erat ;
AIA. dycbva iroLelv avru/ca fjbdXa koi Kpiaiv 785
KoX^yyov avTMV ttj^ Te^V7j<;.
HA. ' Kaireira 7rcb<i
Gv fcal So(f)OKXe7]<; avreXd^ero rod Opovov;
AIA. fjia At ovK iK€Cvo^, dXX eKvae fiev
Ala'^vXov ■
ore Br) KarrjXOe, Kave^aXe rrjv Be^idv,
KdK€LVo<; vTre'^coprjaev avrw tov Opovov 790
vvvl 8' efxeXXev, co? €(j>7} K.X€LSrjfiL87]<;,
e^eS/309 KaOehelcrOai* Kav jiev Ala'^vXo^
Kparfjy
e^eiv Kara '^copav el Be pbrj, Trepl rrj^
Te^V7]<;
BiaycovLeiaO ecf^aa/ce 7rp6<; 7' ^vpLiriBrjv.
Ha. to XP^/^^ ^P" ear at;
AIA. vr) Al\ oXljov varepov. 795
KavravOa Br) ra Becvd icLvr)Or)aeTai,
fcal yap raXavroy jxovcrLKr) araOfujcrerai,,
Ha. tl Be; fieLaycoyrja-ovcTL Tr)v TpaywBiav;
799-8i8 BATPAXOI 43
AIA. Kol icavova<^ i^oiaovai /cal irrj-^ei^; iircov
Kol nrXaiaca ^v/jLTrrvKra a A. irXivOev-
(Tovcrc yap ; 800
AIA. KoX SLa/ji6Tpov<^ /cal acjirivaf;. o yap
^vpL7riSrj<;
Kar eiro^ ^aaavielv (\>ii(tl Ta<; rpaywhia^.
SA. rj TTov ^apeo)<; olfiai rov Alor'^vXov (l>ep€cv.
AIA. €^X€^fr€ yovv ravpTjSov iyKV'\\ra^
Karco.
HA. KpLvel Se hr] rk ravra ;
AIA. TOVT rjv Bvo-fCoXov ' 805
crocpMV yap avhpMV airopiav rjvpKTKerrjv.
ovre yap ^AOrjvaiOLcn avve^aiv Ala^^iiXo^;,
ttA. TTOWOL'? t(Tft)9 ivOfJLt^€ TOV<; TOL'^C0pV'^OV<;.
AIA. Xrjpov T€ ToXX rjyeiTO rov yvcbvac irepL
(^iaei^ iror]T(jdv • elra to3 ctgS SeaTTory 810
iirerpeyjrap, otltj Trj<; t6'^v7]<; efjLireipo^ rjv,
dXX €l(TiO)/jL€v • ft)9 orav y ol heairorai
ia-TTOvSa/ccoaL, KXavfiaO rj/jLtv yiyverai,
HM.a' Tj TTOV Seovbv ipc/3p€/JL€Ta<; '^oXov evSoOev
e^ec, 814
rjvLK av o^vXaXov TrapiSj) Orjyovro^ oBovra
dvTLT€')(vov • t6t6 Btj fjiavia<^ vtto SeLvr]<;
ofi/jLara aTpo/B'tjcreraL.
HM./3' earai S' LTrTroXocjxov re Xoycov fcopv-
OaioXa veL/crj,
800 (TVjULTrTVKTa Suid. and a few late MSS.: cri5/x7rri;/ca R : ^^fiirvKTa
V : ^vfiTrrjKTa al. — > 804 youv V : 5' odv R : ^^Xexpev odv
al. 806 evpLaK^TTju MSS. Meisterhans'"^, p. 136 814 For
the distribution see -> 815 irepidy R : irapidr) V. —>
818 v\pL\6(pu}v al. II ix'r)K7] (for velKt)) Salmasius
44 BATPAXOI 819-836
(T')(^LvSaXd/jLcov re irapa^ovia, a/jbtXev/jLard
T epycov, 819
<^a)T09 dfjivvofjievov (ppevore/crovof; dvBpo^
prjfxaO iTTTro^dfjiova.
HM.a (l>pi^a<; S' avroKOfiov Xo(^ta9 Xaaiav^eva
hetvov eTTLa/cvvLov ^vvdycov /Spv'^oojjievo';
7](r€L
prjixara yofjucj^oTrayi], TrivaKrjSov dirocnrayv
yr^yevel (^varjjjbaTi * 825
HM.yS evOev Brj aropbarovpyo^; iirMV ^acravi-
(TTpta XiCTTrrj
yXaxTcr dveXi(TcrojjLevr}, (^Oovepoi)^ Kivovcra
'^aXivov'^y
prjfjbara Satofjuevr} KaTaXeTTToXoyrja-ei
irXevfJbovcov iroXvv irovov.
ETPiniAHS. AI0NT20S. AlSXTAOS.
XOPOS
'ET. ovfc dv /jb€OeifjLr)v rov Opovov, /jltj vovOerec,
KpecTTcov yap elvai (prj/jn rovrov rrjv re^^vr^v.
AI. Al(T')(vXe, TL (Tiya<; ; aiaddvei yap rov
Xoyov. 832 -
ET. d7roa€/Jivvv€LTaL irpcorovy direp eKdarore
iv ral^ Tpaywhiaiaiv ireparevero,
AI. & haLjjbovi dvSpcoVy firj fieydXa Xiav Xiye,
ET. iycpha rovrov /cal BieG-KefXfiai irdXaiy 836
819 aKivdaXdfjLcop RV. Moeris gives x ^^ Attic, k as Hellenic.
— > 830 fJLedeifjLTjv V al. : fiedeirjv R 833 ovep V
837-858 BATPAXOI 45
dvOpcoTTOv dypcoTTOLOv avdaBoaro/jLov
e'^ovT cb'^aKivov d/cpare^; dOvpcorov arofjua,
aTrepiXdXrjTov KOfJbTTO^aKeXopprjfJLOva.
AlS. dXrjOe^, & iral ttj^ dpovpaia^; 6eov ; 840
ai) Srj ^ fie ravr, S) orrcofivKioovWeKrahr)
KOL TTToy^OTroLe Kal paKLOorvppaTrrdBi] ;
dXk ov TO '^aupoov avr ipel^.
AL. 7rav\ Alo-'^vXe,
Kal fif) 7rpo9 opyrjv cnrXdy^va 6ep-
fJbTjVrj^ KOTCp,
AlS. ov SrjTa, TTpiv y av tovtov d7ro(f)rjvco o-a^co^
TOP '^coXoTTOLoVf olo^ MP 6paavp€rai, 846
AL dpp* dppa fieXapa TralBe^ i^epeyfcare *
Tu0ft)9 yap eK^aLpeip Trapao-Kevd^erai.
Al2. & KprjTLKaf; /JL6P avXXeycop fiopcpBta^, 849
yd/jiov^ B dpoaiov^ elacpepcop eh rrjp ri'^PTjp,
AI. eTTtcrp^e? ovto<;, & TroXvTi/jbrjr Ala^^vXe.
diTO Tcop '^aXa^cop B\ S) iroprjp^ l^vpiTTiBr},
dpaye oreavrop eKTroBcop, el aaxppopel^;,
Xpa /Jbrj Ke(f>aXai(p top KpoTacftop aov pruxaTb
6ep(op VTT 6pyrj<^ ^^'X^V '^^^ ^rfke^op' 855
(TV Be fiTj TTpo^ opyrjVy Alo-'^vX\ dXXd
Trpaopcof;
e\e7^, iXey^ov XoiBopelaOai S' ov Trpeirei
dpBpa<; TTOTjTa^ coairep dpTOTTcoXcBa^,
838 ddijpojTov R Suid. : dinjXcoTov V cett. 841 ai/ St] ifik
Meineke 843 wad' V : irava R 847 fi^Xaivav V al. :
fi^Xava R (with at least better metre) 853 dvaye R :
diraye cett. The sense referre (pedem) is somewhat preferable
855 d^vcav R : Belvoov al. : corr. Bloomfield 857 irpiireL
RV : d^fiLs al. (perhaps from some unconscious reminiscence)
46 BATPAXOI 859-881
(TV S' €vOv<; loairep irplvo^ i/iTrprjaOel^; j3oa<;.
ET. eroL/jLOf; el/jL eycoye, kovk avahvo^at, 860
SaKveiv hcLKveaOai irporepo^, el rovTcp SoKeiy
raTTJ], ra fieXr}, ra vevpa rrj^; rpaycpBiaf;,
KoX VT] Ala TOP JiTjXea ye koI tov AcoXov
Kai TOV yieXeaypov, kcitl fiaka tov TtjXeipov.
AL (TV Se Srj TL l^ovKevei iroelv ; Xey\ AtV^uXe.
AlS. i^ovXo/jirjv fxev ovk epi^eiv ivOdSe • 866
ovK e^ taov yap eaTiv aywv v<2>v. AL
Ti hai ;
AI2. OTL 7] irorfai^ 0^%^ crvvTeOvrjice fiot,
TOVTCp he (TvvTeOvrjKev, coaO'' e^et Xeyetv,
ofjbco^ h^ eTreihrj ctol Bo/ceL,Spdv TavTa XPV' ^^^
AL cOl vvv Xt^avcoTov Sevpo tl<; /cal irvp Botco,
OTTO)? av ev^cofjuai rrrpo tmv aocfyca/jidTcov
dycova KpLvai\TovSe fiovatKcoTaTa'
vfjbel^ he Tal^ M.ovaai<; tl yaeXo? viracraTe,
XO. & A ^09- eyvea ir-apOevoi ayvaX 875
^ovaaii XeiTToXoyov^ ^vveTa^ <^peva^ at
fcaOopaTe
dvSpMV yvcofjLOTVTTCov, oTav €69 epLv o^vfie-
pijjiVOt^
eXdcoai (TTpe^Xoldi iraXalafjbacnv dvTiXo-
yovvTe<;,
eXOeT eTroyjro/jievat hvvafjbiv
BetvoTaTOCP aTOfiaToiv iropicraaOaL 880
prjfjbaTa Kal Trapairpicr/jLaT eiroiv,
863 76 V : re R al. 865 (Tv de 8r] ri one MS. : 8tj om. R :
TL 8al (TV V (attempting to cure the metre of (n> d^ ri) 867
dycbv RV : dycbi' Dind. 868 avpr^dvrjK ijxol Bothe, but the
emphasis is on the verb
883-900 BATPAXOI 47
vvv yap dyoov ao(^ia<^ 6 fxeya^ X^P^^
7rpo9 epyov rjSrj,
AI. ev'^eaOe Srj koI crc^co tl, Trplv rairir]
\eyeip. 885
AYZ. Arjfir)T€p T) Opeyjraaa rrjv ifxrjv (fypeva,
elvai /jb€ Tcov <jo)v a^cov jJbvaTTjpicov,
AI. eiriOe^ Xa^cov St) ical av Xc^avcorov.
ET. KaXoi^ '
erepoL yap elaiv olacv ev'-^ofiat dtOL<;,
AI. lBcol Tcve'i aov, KOfifia Katvov; ET. Kal
/ fxaXa, 890
AI. Wl vvv TTpo(T6V')(ov Tolauv IBtcoraL^ 6eot<;.
ET. aiOrjpy i/jLov ^oo-Krjfjia, Kal yXcoTTrj^; arpo-
(f)cy^,
Kal ^vveai Kal /jbVKTTJpe^; 6a^pavT7]pioL,
6p6(Jt)<^ fjb eKey^eiv mv av aTrTco/jiai Xoycov,
XO. Kal fjLT^v r)/jL€L<^ y iinOvfioiixev 895
Trapa cro<pOLV avhpolv uKOvcrac nva Xoycov
i/jL/jLeXecav ^
eirire, hatav ohov.
yXo)(T(ra jjuev yap rjypicoraiy
Xrjfia S ovK aroXfiov d/jLcpoli^,
OvS* CLKLVr^TOi (j)p€V€<i,
TTpoahoKav ovv euKO^ iart 900
883 o5e fx^yas RV : corr. Hermann 888 The text is that
of vulg. : V adds Xa/3wi/ again after Xi^avoirbv : R has Kal drj
ai> Xi^avooToi/ \a(3(J}v. Hence iirides Xt^avcorbv Kal ai) dr] \a^d)v
Fritzsche, with mucb probability 889 0€6is R al. : 0€oi
V. — > 890 (Tov R : cot V: aoi al. : {crov is slightly inferior)
891 dr] RV: vvp al. Cf. 372 crit. note 896 For the
punctuation in the text see -^ 898 yXQo-aa MSS. : yXCorra
Dind., but the passage is parody
48 BATPAXOI 901-913
TOP fjbev aarelov n Xe^eiv
KoX Kareppcvrj/jLevov,
TOP S' dpaorTTMPT avTOTrpejJbPoi^
T069 \oyoiaip
ifxireaopTa crvaKehap iroX-
Xa? aXipB7]0pa<; iTrcop. 904
•/
XOPOS. ETPiniAHS. AIONTSOS.
AISXTA02
AI. dW ft)9 rd'^La-Ta '^prj XeyetP • ovrco S'
OTTO)? ipecTOp
darela koX fir)T elKOPa^ /jltjO^ oV dp
clX\o<^ eLTTOi,
ET. Kol firjp i/juavTOP fiep j€, rrjp TroirjaLP
0I09 elfjbty
ip Tolaip vo'TdToc<; (f>pd(TC0y tovtop Be
TTpcoT iXey^co,
ft)9 ^P d\a^o)p fcal (f)€Pa^, OLot<; re T01/9
deard^;
i^7)7rdTa, /jL(opov<; \a^d)p irapd ^pvpi^(p
Tpa^epTa^. 910
TrpcoTicTTa 'fjL€P yap €Pa tip* dp KaOlaep
iyKaXvy\ra<;,
A'^tWia Tip^ Tj l^io^rjp, to irpoawTTOP
ov'^t BetKPV^,
Trpoo-'^TjfjLa T^9 TpaycpBla^;, ypv^opTa^; ovBe
TOVTl •
901 X^^ai R : Xe^etv V al. : \4^aL is good in itself, but the
flit. {(rv(TK€ddp) follows 911 ^pa tlpcl KadKrev R : ha tlv^
iKadiaev V : corr. Bekker. — >
914-927
BATPAXOI 49
AI. fxa TOP Ar ov SriO\
ET. 6 Se %opo9 7' r^peihev op/jLa0ov<; av
jxeXoiV e(/)e^?)9 rerrapa^; ^vveyo)^ av ' oi
K icri^cDV, 915
AI. e7ft) S 6')(aipov \fj aicoTrrj, Kai fi€ tovt
erepirev
ov'X^ rjTTOv rj vvv ol XoKovvre^,
ET. rjXiOLO^ yap rjada,
ad(f> cadi,
AI. Ka/jiavT(p BoK(b. TiSeravT eSpaa ohelva;
ET. VTT oKa^oveia^i Iv 6€aTrj<; TrpoaSoKcbv
KadrjrOy
OTTO^' rj Nto^r} TL (fyOey^erai • to Spdfjia
8' av Scyec, 920
AI. CO irafXTrovripo^y oT ap* i(f)evaKt^6fjLr)v vir
avTov,
Ti (TKOpBcva Kal Sva(l>op€L<; ;
ET. oTi avTov i^eXeyx^o),
KCLTreiT iireihrj TavTa Xijprjaete Kal to
Spafjua
rjirj fxeaoiT), prj/juaT av ^oeua BcoBeK elirevy
6(j)pv^ e'^ovTa Kal Xo^ov^, SetV ciTTa fiop-
fiopcorrrd, 925
dyvcoTa TO69 0€(o/jL€VOL<;, AIS. ol/jLOc TdXa<;.
AI. atcoTra,
ET. aa(f)€<; S' av elirev ovBe ev. AI. fir)
irple T0v<; oSovTa^.
919 KadoLTO RV : KaSrjro al. : corr. Dobree. — > 926 &y-
vijjTa R : dyvcoara schol. in R. A consistent distinction between
dyvcoTos and dyvuxxros cannot be maintained (Jebb on Soph.
0. T. 361)
E
50 BATPAXOI 928-941
ET. aX)C Tj ^Kafjbdvhpov^, rj rdcfypovf;, r)
V dairihwv eTTovra^
ypviraterov^; '^aXKyXdrov; /cal prj/juaO^
l7r7roKpr)/jiva,
a ^v/jb^aXelv ov pahi rjv.
AI. vr) T0U9 Oeov'^, eyco yovv 930
97S7; TTOT iv fia/cpM XP^^^ vvfcrbf; Strjypv-
Tov ^ovOoi/ liriraXeKTpvova ^r]Tcov,
Tt9 icTTlV OpVL<;,
AIS. crrj/ui€Lov iv ral^ vavaiv, M/JiaOecrTaT,
iveyiypaTTTO.
AI. iyco Se tov ^iKo^evov y aifjirjv' Epv^cv elvai,
ET. elr iv Tpaywhiai^ ixP^^ Koke/crpvova
Trorjaat ; 935
AlS. (TV B\ & Oeolaup ix^P^> ttoIcl y iarlv
arr i7roL€L<; ;
ET. ovx iTTTraXeKTpvovaf; pua AC ovSe rpay-^
€Xd(pov(;, drrep crv,
av Tolai TTapairerdcr jjiacTiv roh M.r]SLfC0L(;
ypd(f)OV(TLv •
aXX' ft)9 irapeXa^ov rrjv rex^^V^ irapa
(TOV TO irpodTov €vdv<;
olBovcrav viro KO/jiTracrfjudTcov koI prjfidTcov
iirax^ff^v, 940
XcTxyava fiev TrpcoTcaTov avTrjv /cal to
^dpo9 dcfyeiXov
929 ypviraiirovs V al. ; ypvTreairovs E : ypvTrairovs editt., but
-> 930 p^5i' 9jv RV : pg,diov 9}v al., whence pq.diov Bentley.
But pg.dt' was taken for padi (where ' = -ov) 935 iroid 7'
R : TTolaTT V : Troi' &rr^ al. — > Qu. irot* &p' ?
942-955
BATPAXOI 51
iirvWioL^ KoX TrepiTrdroL^ koL revrXioiac
'^vXbv StSot'9 <7T CO fjbvXjjidTcov, dirb /Sc^Xlcov
dTTTjOoyv •
elr dverpe^ov fjuovcphiai^ }^7](f)L(T0(pwvTa
eiT ovK ekrjpovv 6 re rv'^oiiJi, ovK
ifjbireacbv €(f)Vpov, 945
dX}C ov^ccbv TrpcoTLCTTa fiev /jlol to y€vo<;
€L7r av euczf?
TOV 8pd/JLaT0<i •
AlS. fcpecTTOv yap rjv aoi vrj A/' -37 to (ravTov.
ET. eireiT diro tmv TrpcoTcov iircov ovSev
iraprjic av dpyov,
dX\! eXeyev t] yvvrj t€ fioi ^o) SovXo<;
OvSeV TjTTOV
^ft) SeaTTOTTj^; ^?; irapOkvo^ ^7; ypav^ av
AlS. elTa SrJTa 960
ovfc dirodaveiv ae TavT e^prfV ToX/jLcovTa ;
ET. fid TOP AttoXXco'
SrjfjLOKpaTCKov yap avT eSpcov,
TovTo fxev eacroVj & Tav.
ov (Tol ydp i(TTL TrepLTraTo^ /cdXXco-Ta
irepl ye tovtov,
ET. eireiTa tovtovctI XaXelv iSiSa^a
Al2. (f)7)/jbl Kayco.
ft)9 Trplv SiSa^ac y w^eXe? pueao'^ Siappa-
yrjvai. 955
942 XevKOLs RV : ^iiKpols al. (a gloss to the diminutive)
948 wapiJK Siv ovbev Blaydes. — >
AI
52 BATPAXOI 956-968
ET. XeTTTCov re /cavovcov ia^oXa'; eircov re
voeivy opavy .^vvievauy arpe^eiVy epiv
T€^vd^eiVy
KCL"^ viroTOTTeladaiy irepivoelv airavray
ET. oLKela Trpdy/juar eladycoVy 0I9 ')(p(Ofji€6 ,
ol? ^vveafjbevy
yap ovTOL 960
rfKey^ov av fjLov rrjv re'^vrjv aXX! ovk
i/cofjUTToXaKOVP
diro Tov (j)pov€LV d'Tro(Tirdaa<^y ovB' i^i-
ttXt^ttov avTOv^
KvKPov^ TToicov Kal M.€/jLvova<i fccoScovo-
(f>aXap07r(o\ov(;.
ypcoaec Se tou9 tovtov re Kd[xov 7'
eKarepov /jLaOrjTd'^,
tovtov/jL€vI ^opfiicTio'^ M.€yaiveTO^ 6^ 6
Mavrj<^y 965
aa\7nyyokoy')(yirrjvdhai crapKao-fiOTrtTVo-
/cd/JLTTTaiy
ovjjiol he KXetTocj^MV re /cal @7}pa/jL€vr)<;
KOfiy^of;.
AI. ^ripajievri^ ; ao(^o'^ y dvrjp Kal Setvof;
69 rd TrdvTay
957 ipdv, Texvd^eiv MSS. : corr. Ed. -> 964 Kafiov y
V : KCLfiov R : Kd/movs Dobree. — > 965 fiav^qs RV : fJLCLvrjs
or fiavTJs al. : fidyv-qs one MS. and Suid. The accentuation is
dubious, but analogy in proper nouns points to Mdvt^s unless
the word is hypocoristic abbreviation 967 ovfihs R
969-992 BATPAXOI 53
09 rjv KaKol<; ttov irepnrearj /cat TrXrjaLov
Trapaarfjy
TreTTTcoKev e^co rcov KaKMV, ov %to9,
aXXa Ke60 9. ;~" 970
ET. Totavra /jbevrovycb (ppovetv
TOVTOLCTLV elarjyTjad/jirjv,
Xoyia/jbov evOel^ ttj re'^vj)
Kol a/ceyjnv, war rj^rj voelv
airavra koX BiecBevai 975
rd T aXXa kol tol^ 0LKia<;
OLKecv afjueivov r] irpo rod,
KavaaKoirelv, 7rco<; tovt €'^€L ;
TTOV jjboi Tohi ; TL<i TOVT e\a^€;
AI. VT) TOL'9 6eov<^, vvv yovv ^Adrj- 980
vaicov dira^ Tt9 elaccov
KeKpaye irpo<^ tov<; otKera^;
^r]T€l re, ttov ^(ttlv rj '^vrpa ;
t/9 Tr]v K€(j)a\r)v direhrjZoicev
T7]<; /jLaLViBof; ; to rpv^Xiov 985
TO irepvaivov reOvijKi jjuoc
TTOV TO (TKOpohoV TO '^Oc^iVOV ;
TL<; Tr/(; eXda^ irapeTpayev ;
TeCD<; S* d^€XT€p(OTaTOL
K€'^7]voT€<; Ma/jifjid/cv6ot 990
M.€Xr]TiSai KaOrivTO. X
XO. Tdhe p,ev Xevaaei^^i ^aiSL/jb 'A^tWeO*
970 K(^os Aristarchus in schol. 971 ju^vtol '70? (ppovetv
vulg. : fjihroL (yw(t)pov€tv R : corr. ^othe 979 r65' Bentley
for TOVT. — > 987 x^eo-t^/^i/ Mss. : corr. Lobeck 991
MekiTlbai MSS. : fieXLTTidat, Fritzsche : MeXTjTidai Gaisford. ->
(/cat MeX. of several MSS. illustrates a common adscript)
64 BATPAXOI 993-IOIO
crif Se TL, (j>€pef Trpo^ ravra Xe^eL<; ;
fjbovov 07rco<; *
fit] (T 6 OvfJbo^ apirdaa'^
iKTo<^ otaei rcov iXacov ' 995
Setva yap /caTrjyoprjKcv.
cMC ottco^;, & yevvdha,
firj 7r/509 opyrju dvTiXe^eif;,
dWa (TvareiXa^, dfcpoLai
'^pcofiepo^; Tol<i Ig-tiol^, 1000
elra jjuaXKov fiaXXov d^€i<;,
Koi <pv\d^€c<;,
rjvLK av TO irvevfjia Xetov
KoX KaOeaTTjKo^; \d^r)<;.
KOP. dX>C 0) iTpMTO^ Tcbv '^Wtjvcdv TTvpycoaa^
pij/nara (refiva
KoX ico(TiJLrjaa<; rpayiKOV Xrjpov, dappwv top
Kpovvov d(f)i€L, 1005
AI1<. Ov/jLovfiat fiev tt) ^vvTV^ia kul fxov to,
airXdyyv dyavaKTely
el 7r/)09 TovTov Sec fi dvTCkkyeiv* Iva fir]
^dcrKj} 8' aTTOpelv /xe,
aTTOfcpivai fjboii tlvo<; ovveKa '^prj Oavfjid^etp
dpSpa 7ro7]Tr]p ;
ET. S€^coT7]TO<^ Kol pov0eaLa<;, otl /^eXrtou? re
iroLov/jiep
T0U9 dpdpcoTTovf; ip Tai^; iroXeaip.
AI2. TOVT ovp el fir) ireiroriKa^, 1010
1001 d^eis RV. Needless conjectures are et^eis (Lenting),
oi^eis (Bergk), q.^€is (Fritzscbe) and dpels. — > 1008 XP^
V : bet R. The substitution is among the most frequent.
Xpy] of the moral obligation is right
toii-23 BATPAXOI 55
aX)C ifc '^pTjarcov koL yevvaicov fxo'^6'r]po-
TL iraOelv 07;cre^9 d^io<^ elvat ;
AI. reOvdvai' /jurj rovrov ipcora,
AlS. aKe^lrat tolvvv oiov<^ avTOv<; Trap i/jLOV
TrapeSe^aro Trpcorov,
el fyevvaiovi koL TerpaTrrj'^ei^, koI firj
hiahpaaLiro\LTa<^
fiTjS' ayopaiov<; /jurjBe Ko^aXov^y axTTrep vvv,
firjSe 7ravovpyov<;i 1015
aXka 7rv€0VTa<; hopv koL Xoy^a^ Koi
Xeu/coXo0ou9 rpvi^aXeia^
KOL TTljXrjKa^ KOL KVTJ/JilSaf; KOL dvjjLOV^
eTrra^oeiov^.
ET. /cal Srj %ft)/oe6 rovrl to KaKov KpavoTTOtcov
av fJL iTTLTpLylrei,
AI. KOL TL av 8pdaa<; ovtco^ avToij<; yevvaiov^
Kia^vKe, \e^ov, yu-T/S' avOaBco^ ae/mvvvo-
fi€vo<; '^a\€7raiv€, 1020
AlS. Bpd/Jia TTOTjcrai; "Ap€co<; jJueaTOV. AI.
irolov ;
AlS. Tov^ eiTT iirl %rj^a^'
o 0€a(7d/jL€vo<; Tra? dv rt? dvrjp rjpdadr]
Bdio^ elvat,
AI. tovtI fjbev (JOL Kafcbv ecpjaaTac' Srj^alovf;
yap ireirorfKa^
1012 /loxOyjpoijs R : /xoxOrjpOTipovs r V. Qu. (iox0T]poi(S dvT-
a-TrcSetlas ? 1018 iinTpi\j/€LS V 1019 /cat ri ab R : /cat
<ri> TL V II dvbpeiovs (for yevvaiovs) V
66 BATPAXOI 1024-36
avSpeiorepov; eh rov TroXefiov kol tovtov
y ovv€/ca tvtttov,
AlS. a)OC vfjblv avT i^rjv aciKelv, aXX' ov/c
iirl Tovr irpaTreG-Oe, 1025
elra 8LSd^a<^ Jl€p(Ta<; fiera tovt einOv-
fjbelv i^ehiha^a
vc/cdv ael Tov<i avTiiraXov<^, /cocr/jiTJaaf;
epyov dpco-Tov.
AI. i^dprjv yovv, rjviK 'frjKovo-a'f ire pi Aapeiov
redveMTo^^
6 %oy909 S' evdv<; rco %e6p' coSl avyfcpovaa^;
elirev lavol,
Al2. ravra yap avhpa<; '^prj TvoiT^ra^ daKelv.
(Tfceylrac yap dir cLpyr]^ 1030
CO? 0)(j)eXc/jb0L Tcbv iroirjTMv 01 yevvaloi
yeyevrjvrai,
'Opc^eu? jJiev yap rekerd^ 6 rjfjuv KareSec^e
(f)Ova)v T aTre^ecrdaL,
^ovaaLO^; S* i^afcecrec<; re vocrwv Kal
'^pr)a-/jbOV<;, 'Hcr/oSo? Se
yrjq ipyacTLa^, Kapiroiv copa<;, dpoTov<;* o
Be OeLo<i ^ 0/jL7]po<;
aTTO Tov tl/jLtjv Kal K\eo<; ea'^ev 7r\r}v
TOvS\ OTL '^pTjcTT iSiSa^e, 1035
rd^eif; dpeTa<; oTrXicreL^ dvBpcov ;
AI. Kal fjirjv ov UavraKXea ye
1024 €V€Ka RV : elVe/ca or ovveKa al. Cf. 189 crit. note
1026 Toi>s Il^po-as al. (unmetrical adscript). — > || idiSa^a MSS. :
corr. Bentley 1028 ijviK TJKovaa irepl RV : tivLk airriyyiXdy}
wepl al. : ijulKa (pdafi' icpdvrj Aapeiov Dind. Qu. i^v^Ka y* i\v
cIkovs ir€pu ? — >
1037-49
BATPAXOI 57
iBiSa^ev ofjLco<; TOP aKaiorarov Trpoirjv yovv,
rjVLK €7r€/jL7r€V,
TO Kpdvo^ TrpcoTov TrepiBrjad/jievof; rov
\6(f>ov 7]fjL€W eTTihrjaeLV,
AlS. dX\! dWov<; roc iroXKov^ dyaOovf;, &v
Tjv KoX Xdjia'^o^ r}pco<;'
o9ev rj/jbt) (f)p7]v dirofia^aiJievri 7roX\a<^
apera^ iTrorjaev, 1040
Uarpo/cXcov, TevKpcov Ov/jioXeovTCOv, lv
€7raLpoL/ji dvBpa TroXirrjv
dvT€fcr€iV€Lv avTov TOVTOL<;, OTTorav adX-
7n<yyo<; dicovarj*
dXX^ ov fjid Ar ov ^aiSpa^ eTroiovv
iropva^ ovBe ^Oeve^oia^y
ovS" oIS' ouSel? TjVTLV ipcoaav ttcottot
iTTOirjcra yvvalfca, 1044
ET. fid At , ov <ydp iTrrjv TYj<i ^ K<^pohiTri<^
OvBeV (TOL.
AIlS* fi7]Be J eTTeirj.
dXX! iirl TOL (TOL kol T0fc9 aoLO-LV ttoXXt}
TTOXXOV 'TTL/CadrJTO,
co(TTe y€ fcavTov ere KaT ovv e^aXev,
AI. vrj TOP Ala TOVTO yi tol Brj,
a yap e? ra? dXXoTp[a<^ eTroeL^i avTo^
TOVTO La LP €7rXr)y7]<;.
ET. KOL TL ^XdiTTOva y 0) a')(eTXL dpSpcop,
Tr}p ttoXlp d/jLOL %6epe^0LaL ;
1037 TTpiprjp RV : Trpdorjv cett. 1039 Kayado^s RV (a good
instance of the tendency to insert Kai for the idiom) 1045
ovd^ yap iirijv V : ovd^ yap 9jv "R: ov yap iirijv vulg. — >
1046 'iriKadoLTo RV (from identity of pronunciation)
58 BATPAXOI 1050-62
AI2. on r^evvaia^ koI yevvaicov dvSpcov aX6'^ov<;
aveTT6i<Ta<; 1050
Kcoveta TTielv, alcr'^vvd€Lcra<; Sta tov<^ croi'9
B6W€po(f>ovTa<;.
ET. irorepov S' ovic ovra \6yop tovtov irepX
Tr]<; ^aiSpa<; ^vviOrjKa ;
AIS. /bLCt At', dX)C OVT * oXK! aTTOKpUTTTeLV
'^prj TO TTOvrjpov rov ye TrorjrrjVj
Kol firf irapdyetv fiTjSe hihdaKeiv. roc^
fjuev yap TraihapioLcnv
ecTTC StSdcrKaXo<; ocrri<; (ppd^eL, tol<; rj^cocnv
Be TTorjrai, 1055
Trdvv Brf Bel '^prjard Xeyeuv r)/jbd<;.
ET. rjp ovv (TV \eyrj<; Av/ca^r)TTOv<;
^ KoX Uapva(T(T(ov rj/Mv /jLeyedrj, tovt earl
TO "^prjcTTd SiBdcr/ceiVj
ov '^pr) (f>pdl^eLV dvOpwireicd^ ; '
AlS. dXK , c5 KaKoBaifiov, dvdyicrj
fieydXcov yvcofjucov kol Bcavoicov taa koI
TOL prj/jbaTa TiKTeiv.
KoXkco^ elico^ T0v<; rj/jLcOeov^ toI<; prjjjbaai
/jbel^oaL '^prjautcL' 1060
KOL yap T0t9 l/jLaTi0i<^ rj/jbcov '^pcovTac ttoXv
a-€/jLVOT€poicrcv.
d/JLOV '^prjaTcb^; Kai-ahei^avT0<; BieXvfjbTjvco
av,
ET. TL Bpdo-a<; ;
1055 Tolcnv 5' y^^Qai R : roh 5' 7)^<2ai cett. : ro?s tj^Oktiv de
Bentley 1057 Uapvaacrojv RV : UapvaaQv vulg. : TLapvijdwv
Bentley. — > 1058 xp^^ Fri^zsche ; but the reference is
general (not to aij)
f
1063-80 BATPAXOI .59
AlS. TTpcoTOV fiev T0U9 ^aaCkevovTa^; paKi
a/jLTTLCT'^cov, Iv iXecvol
TOt<; avOpcoTTOif; (^aivoivr elvac.
ET. TOVT ovv e^Xa'y^a rl hpda-a^ ;
AlS. ovKovv ideket ye Tpcr}pap)(€LV ttXovtmv
ovhel^; Sea ravra, 1065
dWa paKiOL^ irepuWopuevo'^ KKaei koX
(j^rjarl Treveadat.
AI. vrj rrjv ATjfjurjrpa, '^LTcovd y ^X^^ ovXcov
ipicov virevepOev
Kav ravra Xeycov i^aTrarrja-rj, irapa Tpv<;
IxPv^ dveKV-yfrev,
Alz. elr av XaXodv iTrirrjSevaao kol aroyfjivXiav
fj ^e/cevcoaev Td<^ re iraXaiarpa^; Kai tov<;
7rapdXov<; dveireicrev 1070
dvrayopeveLV rolf; dp^ovo-iv. KaiToi t6t€
y\ rjvLK iyco ^cov,
ovK rjiria-ravT dXX rj fid^av KaXeaat /cat
pvirirairal elirelv,
AI. vvv S dvTiXey€L,\KOVKeT iXavvcov irXei
Sevpl icavOi'^ i/celcre,
A IS. TToicov Be fca/ccov ovk atrLO^ ear ;
ov 7rpoaycoyov<^ fcareBei^^ ovro^;,
KOL TLKTOV<Ta<; iv TOL^ Upol^, 1080
1063 i\€€LvoL Mss. Bentley restored the Attic form
1064 (paiuoLPr' R : (palvwvT V 1066 dXXa paKLOis R : dXV
iv paKLois V. (mss. often show ignorance of the lengthening
before p) j| irepuWd/jLevos R (made from -etW-) V : TrepieiXo/nevos
vulg. : irepuXdfxevos Cobet. — > 1076 iXavvei /cat VR :
iXaijveip Kai TrXetu viilg. : corr. Dind.
60 BATPAXOI 1082-1106
KOI (^aaicovaa^ ov ^rjv to ^rjv ;
Kar ifc TovTcov rj 7ro\c<; rj/jbcov
viroypa/jijjiaTecov av€/ui€crTO)07]
/cat ^co/jLoX6^(ov Srj/jUOTriOTJKCOV 1085
i^aTTarcovTcov rov Stj/jlov aei •
XafjbTrdSa 8' ouSel? 0^09 re ^ipeiv
VTT ayvfjLva(7La<; en vvvL
AI. fia AC ov hrjd y &aT i'Tra^7)vdv6r]v
n.ava6r]vaiOLO-L yeXoyVj ore Sr) 1090
yS/)a8u9 dv9p(j07r6<; Tt9 €0€l Kv\jra<;
XeL'/C09 TTLCOV V7roX€L7r6/Ji€VO(;,
Kol Seiva TTOLMV KaO^ oi }^€pa/jb7]<;
iv Talai 7ru\aL<; iraiovo- avrov
yacrrepa irXevpa<; Xa'yova<; irvyrjv * 1095
o Se TVirT6fJbevo<i Toiat 7r\aT€Lac<;
(f)vcr(x)v rrjv Xap^irdS €<p€vye. ,|"
XO. fieya to Trpdy/jia, iroXv to velKO^, dhpo^
o iroXefJbo^ ep^eTat.
^(CikeiTov ovv epyov Bcatpecv, 1100
OTav o fjbev Teivrj ^taico^,
6 S' i7rava(7Tp6(f)€LP BvvrjTai KaTrepelSe-
aOai Topco^,
dWd fir) V TavT(p KaOrjaOov*
ela^oXal ydp elai TroXkal '^aTepat
(T0(pL(T/JidTCOV,
6 TL irep ovv e^6T0v ipi^eiv, 1105
XeyeTov, kiTLTOv, dvd Se hepeTov
1086 Ejected by Bergk 1089 eir' d^avdv6r}v R : dira-
(pavdvdrju V : ^iracpavdvdrjv al. : corr. Bentley 1106 dvadi-
perov Mss. except one {dvaUpeadov) : corr. Thiersch. Others
read dvad^pea-dov or dvd 5' ^peadov
II07-26 BATPAXOI 61
rd T€ TraXaia koI tcl Kaivd,
KaTTo/ccvSweverov Xeirrov ri kol ao^ov
el Se TovTo Karaite ^elcT 6 ovy //-?; tl^
dfjuaOia IT p oar]
Tol^ OecofievoLo-LVy co? ra 1110
Xeirra /jltj yvcovac XeyovrotVy
firjSev oppcoSelre tov6^' 0)9 ovk e6 ovrco
ravT e^€i,
icTTpaTevfievoi ydp elau,
^L^Xiov T €'^o)p €KacrTo<; fiavOdvei rd
Se^id •
at (^vaet^ r dWco^; KpdrtcrTat, 1115
vvv Se Kal iraprjKovrjvTai,
fjb7)hev ovv heiarfTOVy dXkd
irdvT iire^LTOVi dearcop y ovv€'^\ &)?
OPTCOV (TO(j)(hv,
ET. Kai fjLTjv iir avrov^ tov<; 7rpo\oyov<; aov
rpiy^ofxai,
07rft)9 TO TTpMTOV tt}? Tpaycohia^ fjuepo^ 1120
TrpcoTLCFTov avTov ^aaavLOi tov he^iov.
daa(f>r]<^ ydp rjv iv rrj cj^pdaec tmv irpay-
fidrcov.
AI. fcal TTolov avTOv ^aaaviel^ ;
ET. 7roXXoL'9 irdvv.
irpcorov Se fioi tov i^ ^Op€aT€La<; Xeye,
AI. dye Brj atcoTra 7ra9 dvrjp. \ey\ Ala'^vXe.
AI2. ^^pfjiTj ')(^66vLe, TraTpoji* eTroiTTevcov
Kpdrr) 1126
1119 aoL al. (to prevent change of person addressed)
62 BATPAXOI 1127-46
(Tcorrjp yevov fjuoi (TVfifia'^o<; r
alTOV/ji€V(p.
7]/ca) yap €9 yijv rrjvhe fcal Karep'^ofjuai,
TOVTcov 6^669 ^^reyetv Ti ; ET. nrXelv r)
hdohefca. 1129
AI. oKK ovSe irdvra y iarl ravr aXk! rj rpia,
ET. e^ef- 8' eicaarov eiKocriv y afjuapTia^.
AI. AtV^uXe, irapaiVM aoc auoirav el Be /jltj,
7rpo<; Tptalv La/i/SeLOLcn TrpoorocpeiXcov (f^avet.
AIz. iyco (TLCOTTCO Tc3S' ; AI. iav Treidy y i/juoL
ET. €v0v<; yap rj/jbdprrjKev ovpdvtov y oaov. 1135
AIS. opa<; on \rjp€c<; ; aXX' oXiyov ye fioL fjueXec
7r&)9 <^^9 fi dfjuaprelv ; ET. av6i<^ i^
^PXn^ Xe^e.
AlS. 'Eipfjurj '^Oovie, Trarpcp iTroTrrevcov
/cpdrrj
ET. ovKovv OpecTTTjf; tovt eirl tm tv/jl/Sm Xeyet
r(p Tov 7raTpo<; reOvecoro^ ;
Alz. ovK aXXco<; \eyco. 1140
ET. TTorep ovv tov ^Yipfirjv, (09 6 Trarrjp dTTcoXero
avTOv ^Lai(o<; €k yvvaiKeia^ X^P^^
SoXof-9 \a6 paioL^y ravr eTroTTTevecv
€(f)7] ;
AI. oi SrJT eKelvo^i dWa tov epiovviov 1144
h^c^ 'Fjpfirjv ')(^6ovLOV Trpoaelire, icdhrjXov \ey(ov
oTLTj TraTpMOV TOVTO KeKTTjTai yepa<;.
1129 ro^JTcov ^x^Ls \peyeLv n; is given to AI. in RV, and some
editors so assign 1130 1130 dXX' ovU wavra ravrd 7' ear
V al. : ravra Trdvra y ear R al. : corr. Ed. — > 1136
For the distribution see -> 1138 KpaT-q. vulg. : Kparfj
Ed, — > 1144 ^Keivos R : iKetvov Y. — >
1147-68 BATPAXOI 63
ET. €TL jjuel^ov i^)]^apT€<; rj 'yco ^^ovXofirjv
ei yap irarpcpov to '^Ooviov ep^66 yepa^,
AI. ovTCo y av etrj irpo^ irarpo'^ TV/ji/3(opv'^o<;,
AlS. Atovvcre, Triveis olvov ovk. avdoajjilav, 1150
AI. \ey erepov avrco* av S iirLrripeL to /3\d^o<;,
Al2. acoTTjp yevov /jloc av/ji/jba')(^6(; t
aiTOv/jieva).
7JKC0 yap €9 yr/v TTjvhe /cal /caTep'^o/Jbat,
ET. SI? TavTov tj/jllv elirev o cro(f)o<; Alcr'^vXo^,
AlS. TTco? S/9 ;
ET. aKoirei to pr/fji' * iyco Se (tol cfypdcrco, 1155
7]K(0 yap €9 yr/v, (f)7]crL, fcal KaTep')(^o fjuac
rjK€iv he TavTOv iaTi tw KaTep')(^o^ai,
AI. vr] Tov AC, (ocnrep y el tl<^ etirou yeiTovt,
'X^pijcTov (TV fid/CTpav, el Se ^ovXec,
KapSoTTov.
AlS. ov Sr/Ta TOVTO y\ o) fcaTeaTco/jbvX/jieve 1160
dvOpcoTre, TavT eaT , aXX dptaT eirwv e'^ov,
AI. 7rco9 hrj ; SiSa^ov ydp jme Ka6 o tl Br)Xeyet<;.
AlS. eXOelv jiev eh yrjv ea6^ otm /JbeTrj TrdTpa^'
p^&)pi9 yap dXXrj<; o-vfji(f)opd<; eXrjXvOev'
(fyevyoyv S dvrjp rfKet re ical fcaTep'^eTai.
AI. eVf vrj TOV AttoXXco. tl o-vXeyeL<;,¥jvpi7rLSrj ;
ET. ov (f)rj/M TOV 'OpeaT7]v KaTeXOelv oi/caBe'
Xddpa ydp r/XOev, ov ttlOcov tol'9 fcvpiov^;.
1147 fiet^ov V : fidXKov R 1149 ovto) y SlvY : o()tws av R
1155 Others give ttws 5ts ; to AI. 1157 t^kclv d^ MSS. :
TJKca d^ Aul. Gell. 13. 24 and editt. It is hard to see why
i]K€Lu should have been substituted for a genuine 7jk(o. It is
imaginable Greek to say 'to come (iJKeip) is the same thing
as your Kar^pxcfiaL '
64 BATPAXOI 1169-88
AI. €V, vrj TOP ^Fipfirfv 6 tl X€y€C<; 8^ ov fiavOdvco,
ET. irepaive tolvvv erepov.
AI. Wl irepaive av, 1170
Kl(T')(v\\ avvaa<;' av S* eU to KaKov
arrro^XeTre,
AlS. TVfjbpov S' eV o'^0(p TcpBe K7}pva<Tco
Trarpl
K\v€iV, cLKOvaac,
ET. Tov6^ erepov av Si? Xeyec,
K\v€iv, cLKovaaif ravTov ov cracf^eo'TaTa.
AI. redvY^KOcnv yap ekeyev, & iio')(6rjpe av, 1175
069 ovhe rpl<; \eyovr€<; i^LKVovfieOa,
AlS. (TV Be 7rw9 eTTOtet? tov<; 7rpo\6yov<^ ;
ET. iyco (^pdaoy
icav TTOV SI9 ecTTco ravTov rj cnoi^riv cSrj^
evovaav e^co tov \oyov, KardTTTVcrov. 1179
AI. Wl St) Xey' ov yap pbovarlv aXX* aKovarea
TMV CTMV irpoXoycov Tri<; 6p6oTr)TO<; tmv iircbv,
ET. ^v OlSlttov^ to irpcdTOv evBal/Jicov
dvTjpy 1182
Al2. p^a TOV Ar ov BrjT , aXXa KaKoSal/jicov (f^vaec,
ovTLvd ye, irplv <pvvac jxev, diroWcDV ecjyr)
aTTOKTevecp tov iraTepa, irplv fcal yeyovevai'
7ra)9 ovTO^ rjv to TrpMTov evSalfjicov dvrjp;
ET. elT eyeveT av6 L^ d6\i(i)TaT0(; ppoTMv,
AlS. jJiCL TOV A/' ov BrjT' ov puev ovv eiravcraTO,
1173 aS^ts MSS. : corr. Bake ; cf. 1154 1182 eurux'^s
RV (apparently a gloss) : evdaijmwv al., cf. next line 1184
Trptp (pvvai fxev RV : irplv -^ {fj Kal) (pOvat al. : Trplu 7r€<pvKiv'
Blaydes, with much probability. -^ 1186 evrvxv^ MSS. ;
e^daifjLOfv editt.
II89-I208 BATPAXOI 65
7ra)9 'yap ; ore Srj irptarov fjuev avrov
y€VOfl€VOV
^efc/iwz/09 6W09 i^eOeaav iv oarpaKw, 1190
iva fjuT] ^Krpa(j>el<; yevoiro rov Trarpo^ <^ovev^*
eW^ ft)? TioXv^ov rjpp7}aev olho)v rco iroSe'
eireiTa ypavv eyrj/juev avTO<; cov veo<^,
Kol 7rp6<; y€ tovtol<; ttjv eavrov jjbTjrepa*
elr i^6TV(^\(oaev avrov,
AI. evBaLfJLCov dp yjv, 1195
el Kaarpar'^yrjcrev ye fier ^^pacnvihov.
ET. \r)pel<^* iyo) Se roi)^ irpokoyov^ Ka\ov<; iroiw,
AlZ. Kai fjLTjv fjua top u.i ov fcar €7ro9 je
(Tov /cviaco
TO prffi €Ka(TTOp, aXXa avv Tolaiv Oeol^
airo XrfKvdiov crov tov<^ irpoXoyov^ hia^Oepo),
ET. airo XtjkvOlov av tol'9 ejjLOv^ ;
AlS. €1^09 fJiOVOV. 1201
TToceU yap ovTcof; > evapixoTTeiv dirav
Kal KoySdpiov /cal X7)kv6lov /cal OvKolklov,
iv T0?9 lajju^eioiCTi, hei^co S* avTLKa.
ET. IBov, cri) Sei^et^; ;
AlS. (j)7]/jbi. Kal St) '^pr) Xeyeiv. 1205
ET. KtyviTTO^y 0)9 o TrXelo-To^ eairapTat
X0709,
^vv iracal irevTrjKovTa vavTiXtp TrXaTj)
"Apyo<; KaTaa')(^(ov AlS. Xrj/cvdiov airco-
Xecrev.
1197 KoXo^s RV : koXCos vulg. 1202 ivapfib^eiv R (a
form not of the best Attic) 1203 Qu. Kara KwSdpiov? -^:
Kioddpiov Mss. : corr. Dind. -> 1206 Others give /cat 8t]
XpV Xe'7etf to AI.
F
66 BATPAXOI 1209-26
AI, tovtI tl r]v TO XtjkvOiov ; ov KXavcrerai ;
Xey erepov avrS irpoXoyov, Iva koX yvo),
iToKiv, 1210
ET. Acovvcrof;, 09 OvpaoLai Kal vejBpMV
BopaL<;
KaOairro^; iv irevKrjcrL Uapvaaaov
Kara
TrrjSa '^opevcov AlS. \rjKv6iov airdiKeaev,
AI. otfjbOL TreTrXrjr^fieff* avOi^ viro Trj<=; XtjkvOov,
ET. aXX^ ovSev ecrrat Trpajfjua' 7rpo<; yap
TOVTOvl 1215
Tov irpoXoyop ou^ e^et TrpocrdyjraL \r}icv6ov.
ovKeaTLv ocrTt<; irdvr avrjp evBai/novel'
Tj yap nre^vKcb^; ia-QXo^ ovk ey^ei ^lov,
fj hvayevT)^ (ov AES. XrjKvdtov diroiKeaev.
AI. FivpLTTiSr}' ET. TL eaTLv ;
AI. v(^ea6aL fioL BokcI' 1220
TO \7]KV0LOV yap TovTO TTvevaeTai iroXv,
ET. ovS" av fict TTjv A'^firjTpa (f>povTL(Tac/iiL ye'
vvvl yap avTov tovto y iK/ce/coyJreTaL. 1223
AI. L0L Sr) Xey €T€pov, fcaTre'^ov ttj^ XtjkvOov,
ET. StScOVCOV TTOT dcTTV KaS/i09 iKXcTTOOV
'A777 I/O/DO 9 7rafc9 AlS. XrjKvdiov aTrcoXeaev,
1210 A comma seems required after yvto : yv(^ Ranke. ->
1212 TrerjKTfa-L V al. : ire^KaKn R vulg. Tragedy certainly used
locative-dative forms in -tjo-l, and the Mss. often duly record
them (see Introd. to Aesch. Cho. pp. ci sq. by Ed.). It is
quite unwarrantable to suppose that such forms are corruptions,
when corruption was only likely to be the other way. Cf.
Meisterhans^, pp. 94 sq. In Eg. 659 diriKoairja-L is retained by
Neil. Cf. Av. 867 1220 doKeh MSS. : doKcl most editt. ->
1221 irvevaeiTai MSS. : corr. Dind. — >
1227—47
BATPAXOI 67
AI. ft) haifiovi dvSpcbvy aTroTTpLco ti]v XrjKvOoVy
%va yur] hiaicvaiari tov<; TrpoXoyov^; rj/jucbv,
ET. TO TL ;
iyco Trplco/jbac tSS* ; AL eav ireiOr) j ifioL
ET. ov BrjT , iirel ttoXXou? 7rpoX6'yov<; e^(o
Xeyeiv 1230
LV ovTO^; oif^ e^ec TrpoG-dyjraL Xtj/cvOlov,
Ile\o^p' TavTd\€LO<; et? Tilaav /jbo\a)v
Ooatcrtv L7r7roc<; Al%,\r}KvOiov dirdikecrev,
AL opa<^, irpoarj'y^rev avOi^ av rrjv \rjKv6ov.
dW\ S)ydO\ €TL Kol vvv diroho^ irdcrrj
TC'^vj}' 1235
Xriy{r€i yap o^oXov irdvv Kokrjv re KdyaOrjv.
ET. p.d TOP Ar ovirco y ' en yap elcri /jloc av^voL
Olvev<; TTOT ck 7979 AlS. XrjKvOtov
dircoXecrev,
ET. eaaov elirelv irpwd^ oXov fie rbv (tti')(ov,
Olv€v<; TTOT eK yrj<; TroXv/juerpop Xa^oDP
ard'^vp, 1240
6vcop dirapj^^a^; AlS. XtjkvOlop dircdXeaep,
AI. /jbera^if dvcop ; ical Ti<; av6 v<^eiX6T0 ;
ET. ea avrop, o) rap' 7rpb<; roSl yap elirdrco,
Zeu9, ft)9 XeXe/crat t^9 dXrjOeia^; viro,
AI. diroXel^' ipel ydp, X7]k.vQiop dirdiXeaep,
TO Xr)Kv6cop yap tovt iirl to 69 irpoXo-
yoLori aov 1246
&airep rd (tvk iirl rolcnp 6^6aX/jbOL<; €(j)v,
1231 XtjKijeLov R al. : X-qKvOov V al. For the final tribrach
cf. 1203 n. and Introd. p. xxxviii 1235 aTrbdov one MS. and
many critics. -> 1243 ea avrov V : ^acrov R : '^a y airrSv
(or ^aaov avrdv) al. -> 1245 diroXels R : diroXeL a V. — >
68 BATPAXOI 1248-67
aX)C €9 ra jxeXr) irpo^ rcbv 6e6)v avrov
TpaiTOV,
ET. KoX fjbrjv €')(w y ft)9 avrov iTnSei^co icaKov
fjuekoiroiov ovra koI TTOiovvra ravr aeL 1250
XO. Ti TTore TTpdyfjia yevrjcrerat ;
(j)povTi^€LV jap eycoy ^%6),
TtV apa fjuejiy^riv iiroiaei
dvSpl T(p TToXij ifKelara Bfj
Kal fcaWiara /jueXr) iroirj- 1255
aavTi TO)v p^e^po vvvi,
6avp.d^co yap eycoy oirr)
IJbep,'>\reTai irore rovrov
Tov ^afc^eiov dvaKray
Kal SeSoc^ virep avrov. 1260
ET. nrdvv ye p^iXrj 6av/jiacrrd* helmet Brj rd'^a.
66? €P yap avrov irdvra ra p^iXr} ^vvre/Jbcb.
AI. /cal fjurjvXoyiovpjac ravra rodv 'y^rjcfxiyv Xa/3(ov,
ET. ^Oiayr^ A^^XXei), rl iror dvSpo-
Sdifcrov d/covcov
Irj KOTTov ov ireXdOei^ ernr dpcoydv ; 1265
'l^pfidv fjbev TTpoyovov rlofiev yevo<^ ol
irepl Xip^vav,
Ir} KOTTOv ov 7reXd0ei<; iir dpcoydv ;
1249 oXs (for cos) Dobree. — > i| iindeL^cj R : airodei^o) V. — >
1252 <f>povTl^o3v conj. Blaydes and Ed. (with different render-
ings). — > 1256 rG)v ^tl vvv 6vtwv RV : ruv vvv ^r 6vto3v
al. : tG)v fi^xpf- ^^^^ Meineke (led by schol.) : tQv ^tl vvvi
Bentley. Qu. twv eiridvTwv ? -> 1257t1260 Bracketed
by some editors. See note (— >) at 1260 1263 Xoyiovfiai
y avra Dobree. But ravra opposes these to the previous
quotations. There is a stage-direction diavXiov irpoaavXeZ ris
in the mss. -->
1269-88 BATPAXOI 69
AI. Svo arol KOTTco, AtV^uXe, tovtco,
ET. Kvhtar ^ Ky^aioiv ^Arpeco^; iroXvKoipave
fjbdvOave fjuov iral, 1270
Ir] KOTTOv ov nreXdOei^ iir dpw^ydv ;
AI. TpLTO<^, Al(T'^v\€, (Tol K07rO<; OVTO^,
ET. €V(j)afi€tT€* /jieXLcrcrovofioL So/Jiov 'A^re-
fitSof; TreXa? otyeiv -v;,^— -^
Irj KOTTOV ov TreXdOeL^ iir dpcoydv ; 1275
Kvpi6<; elfiL Opoelv ohcov Kpdro^; atacov
dvSpcov
Ir) KOTTOV ov TveXdOei^ eir dpcoydv ;
AI. & Zev ^aauKev, to '^prjfia rcov kottwv oaov,
iyco fiev ovv e? to ^aXavelov ^ovKofiair
VTTO TCOV KOirCOV jdp TO) V€(f)pd) jSoV^OVLCO.
ET. firj, irplv 7 av dKovarj<^ ycuTepav GTaaiv
fiekoyv 1281
e/c TOiv KiOapcpScKcov vo/jlcov elpyaa/jievrjv,
AI. idc Srj irepatve, koX kottov firj irpo(TTi6€L,
ET. 07ra)9 ^A'^atcov BiOpovov KpdTo<;, 'EX-
XaSo9 rj^a^,
TOcpXaTTodpaT TO(^\aTT66 paT' 1285
X(f>Lyya hvcrafJuepLav TrpvTaviv Kvva
TrifjLTrec,
TO(j>\aTTo0paT TO(j)\aTT66paT.
1276 6(TLov V vulg. : Sdiop al. and Aesch. Ag. 104 : 6s diov in
R represents 5 written in correction over o- 1281 Trpiv y
dKovcrrjs Mss. : corr. Elmsley. Even a tragedian will hardly dis-
pense with Slv in his colloquial style 1285 ^/3as RV :
ij^av al. as in mss. of Aesch. Ag. 110. Qu. Tjpctv (of the several
contingents) ? 1287 dvaafjiepiav mss. : corr. Dind.
70 BATPAXOI 1289-1307
(Tvv Bopl Kal X^P^^ irpcLKTopi 6ovpLO<;
OpVi^,
TO(j>\aTT6dpaT TO(j>\aTr66 par. 1290
Kvpelv Trapacrxfov LTa/ubal^ Kvcrlv
d€pO(j>OLTOC<;,
TO(j>\aTToOpaT TO(f)\aTTo6paT,
TO (TvyKXtvef; r inr Klavn.
TO(j>\aTTo9 par TO(^\aTTo6 par. 1295
AT. Tb TO (j^XaTToOpaT TOVT icTTiv ; iic
M.apa6cbvo<;y rj
iroOev <Tvve\€^a<; l/jiopLOcrTp6(f)ov /jlcXt) ;
AI2. aX}C ovv iyo) fiev e? to koXov iic tov koKov
rjveyKov av6\ Xva fxr] tov avTov ^pwix^p
Xec/jiMva M.ovcrcov iepov ocjyOelrjv
Bpeircov' 1300
o5to9 S airb nrdvToyv fieXi (f)6peL irapocvlcov,
<T/coXiCDP MeXT^TOu, l^apiKOiv avXrijxdT(dv,
dprjvcovt xPpeiMV. Taya Se Br}X(o07](T€Tac,
iveyfcaTQ) tl^ to Xvpcov, fcaiTot tl Sec
Xvpaf; iiTL tovtov ; ttov aTtv 97 tol<;
6crTpajcoc<; 1305
avTTj KpoTOVcra ; Sevpo M.ova ^vpiirihov,
irpo<; YjVTrep iiriTrjBeLa TaBi 7 aheuv fieXrj.
1298 Qu. dW odp iyu) fiiv <y'y ? 1301 fiev MSS. : jul^Xl A.
Palmer. — > || TropvLdiiov MSS., but iropveLUoiv would be required by-
metre : irapoLvioov (Kock) gives at least a welcome text 1303
Xopeiwv RV : xopeicDi/ one MS. — > 1305 eirl tovtov V : eirl
TovTovTov R, which shows an alteration of toijtov to tovtov : corr.
Ed. -> : i-rri tojjtcjv one MS. and several editt. 1307 Tad' €<jt
vulg. : Tay' ^(tt R : TavT* ^ctt V : Tdde y Hermann, but the
article would be required ; with raSi 7* (Ed. ) it is not necessary
1308-32 BATPAXOI 71
AI. avrr} iro0* rj Mova ovk iXecr/Sia^ev, ov,
Al2. d\Kv6v€^, at Trap" aevdoL^ 6a\daai]<;
KVfjbaa-c (TTcofjbvWeTe,
Teyyovcrac potlol^ Trrepcbv
pavLCTL %/>oa Spoat^ofievaL'
at 6^ vTTcopoipLot Kara ycovlaf;
eleLeLeLei€i\i(T(TeTe Ba/cTv\oc<i(f)dXayy€(;
laroTTOva iT7]viafJbaTa, 1315
fcepKiSof; doiSov fieXira^;,
LV 6 (j>L\av\o<; eiraWe BeX-
^69 irpcppaL<^ fcvav€/JL^6\oL^
fiavrela /cal crTahLov<;,
olvdv6a<i ydvo(; dfnreXov, 1320
^orpvo^ eXiKa Trava-Lirovov,
irepi^aW , w reicvov, o)Xeva<;,
6pa<; Tov TToSa tovtov ; AI. opco,
AlS. Ti Sau ; TOVTOV opa<; ; AI. opo),
Al2. TOtavTl fiivTOC av ttolcov 1325 ^
ToXfia<; Tdpbd fieXr} yfreyeiv ;
TCL fiev fjbeXr) crov TavTa, ^ovXofiai S'
eTc
TOV Tcov fjuovayScMV Sce^eXOelv Tpoirov, 1330
& Nu/CTO? /c€XaLVO(j)ar)^
Op(j>Va, TLVa fJLOL
1314 The number of 'shakes' in eleiet . . varies in the MSS.
from four to seven. So 1348 (three to six) 1315 laroTova
V : laTbirovcL R 1316 /cat KcpKidos V al. 1329 (Tol ?
van Leeuwen
72 BATPAXOI
*333-5i
hvcrravov ovecpov
TrefJLTrecf; i^ d(f)avov<;,
AtSa TTpofjioXov,
yfrv^av dyfrv^^^ov €'X,ovra,
/jueXatva^ Nu/cto9 TraiBa, 1335
^pcKcoBrj heivav o'y^riVi
fJb€\aVOV€KV€LfjLOVa,
(fyopta (j)ovca hepKOjievoVy
fieyakov; ovv^a^; e')(0VTa ;
aWd fJiOL dfjb(pL7ro\oc \vyvov d-y^rare
KaXirKTi T eK Trora/jbcov Spoaov dpare,
Oep/juere S iiBcop,
ft)9 av Oelov oveipov dTroKXvaw, 1340
led TTOVTie SalflOVy
TovT eKelv ' Ico ^vvolkol,
rdSe ripa OedaacrOe,
TOP dXeicrpvova /jlov crvvapirdaaaa
(fypovSrj TXvKT],
^vfK^ai opeao-iyovoL,
& Mavia, ^vWa^e. 1345
iyco S d rdXaiva irpoae'-^ova^ ervyov
ifiavTTJf; epyoKTi,
\ivov fiecrrov drpafcrov
elececeLeLetXlao-ovo-a ')(^epOLV,
KXcoaTTJpa iroiovcr\ oirco^
Kve(palo^ eh dyopdv , 1350
^epova dirohoijjiav'
1333 irpbiioKov RV : irp6iroKov (irpoa-) al. 1342 to, 8
^T€pa R : rdSe repara V : corr. L. Dindorf. -^ 1348 Cf.
1314 crit. note
1352-71
BATPAXOI 73
o S' aveTrrar^ avkirraT e? alOepa
fcov(f>OTdTaL<; irrepvycov aKfjual^;'
ifiol S' <^%e' ^X^^ KareXiTre,
SaKpva Bd/cpvd r' cltt ofJbfJbdTwv
e^aXov €^aXov d rXd/jbcov, 1355
dW\ & Kpr]T€<;, "ISa^ reKva,
ra To^a \a^6vT€<; eTrafjuvvare,
ra KcbXd r dfJbirdWeTe, kv-
KXoVjJbeVOl TTJV OiKLaV.
a/jua Se AiKTVVva iral^; d koXct
TCi^ Kvvi(TKa<^ e'^ovcT i\6eT(o 1360
hid hojjbwv Travra'^T],
(TV h\ & Ato? SL7rvpov<; dvi'^ovaa
Xa/jL7rdBa<; o^vrdra^ ^e-
polv 'Kfcdra, irapd(^r]vov
€9 i Xv/C7j<;, OTTco^ av
elcreXOovcra <\>(opda(o,
AI. iravaaa-Oov rfSr) rcov fJueXcov,
Al2. Kafiocy aXt?.
€7rl TOP araOfiov yap avrov dyayelv
^ovXofjLat, 1365
oirep i^eXey^ec rrjv irorjaiv vcpv fjuovov
TO yap ^dpo<; v(o ^aaavtel tmv prj/jidTcov.
AI. LT€ Sevpo vvVj elirep ye Set Ka\ tovto /jl€,
dvBpcbv TTOTJTcbv TVpOTTCoXTJaat TB'XVTJV.
XO. ^ iiTLTrovoi y ol Be^ioL 1370
ToBe yap €T€pov av T€pa<;
1359 TTois "AprefjLLs koXol mss. : corr. Kock 1362 d^vrd-
Taiv al. -> 1366 Sairep i^eX^y^ei (or 7' iX^y^et) and ijl6vos
al. — > 1367 vu) RV : pi^y some editt. from one MS.
74 BATPAXOI 1372-87
veo-^/jLov, aroTTLa^; TrXecov,
o T69 av eirevoTja-ev dWo<; ;
fjba Tov, iyco jjuev ovK av el Tt<;
eXeye jjuol tcov iirLTv^ovrcoVy 1375
eTnOofJbTjv, aXX' wo/jltjv av
avTov avra Xrjpetv,
AIONTSOS. AISXTAOS. ETPiniAHS.
HAOTTUN
AI. Wl vvv Traplo-raa-Oov irapa rco irXdorrijy ,
AI2. ET. ISov-
AI. Kol Xa^ofievco to prj/ju €KdT€po<; ecTrarov,
Kol fjUT) fjueOrjcrdov, irplv av iycb a^MV
KOKKVaCD' 1380
AlS. ET. lyopueOa,
AI. Tov7ro<; vvv Xeyerov 6^9 tov aTaOfjuov.
ET. €i6^ wc^eX' 'Apyov<^ fjurj BcaTTTaadat
(TKd(f)o<;
AlS. %7r€p')(^€Le iroTdfJue ^ovvo/jlol t' iirL-
(TTpo^aiy
AI. KOKKV, fjueOeaOe' Kal iroXv ye KaTcoTepco
X^P^^ T"o TovSe. ET. fcal tl ttot eVrl
TaTLOV ; 1385
AI. OTL elcreOrj/ce iroTapbOv, epioirwXiKO}^
vypbv 7ror}cra<; TOV7ro<^ coairep Tapia^
1373 eirevo-naev V: eTroirjaev R ,1378 Wi drj RV : Wl
vvv al. ; cf. 372 1384 fiedetre MSS. and in 1393 : /nedeade
Porson, but it is not easy to see why the corruption occurred.
/jLc&tere may possibly be right
1388-1404 BATPAXOI 75
(TV 8' elaeOr^Ka^ tovtto^ iTrrepco/jLevov,
ET. aW' €T€pov eLTrdrco ri KavTcarrja-dTQ),
AI. \d^€cr0€ TOLVVV avOi^,
AIS. ET. ^v Ihov, AI. XeV- 1390
ET. ovK ean Ile^^oi}? Ipov dWo ttXtjv
AlS. fjiovo^ decbv jdp ^dvaro^ ov Bcopcov
epa,
AI. fjbiOeaOe' fjueOeaOe* koI to rovSe y av
peirer 1393
Odvarov yap elaeOnrjKe ^apyrarov Kaicov.
ET. eycb he Trecdco j, eVo? dpiar elpT^fxevov,
AI. TrecOo) Se KQXf<^ov icrrc koI vovv ovk. e'^ov,
aXV erepov av ^r/rei n rcov ^apva-rdd/ncoVf
o Ti (Tot KaOeX^eii /caprepov re fcai jjueya,
ET, ^ipe irov tolovto hrjrd pbovari ; ttov ;
AI. (fypdaco'
^e^Xrjfc 'A^iXXeu? Bvo fcv/3co Kal
Terrapa. 1400
XeyoLT dv, ft)9 avrnj Vrl Xoltttj crcfxpv
crrdo'L';.
ET. (TLSrjpo^pcOe^ t' eXa/Se Be^ca ^vXov.
AIZ. e<^' dp/biaTo<; yap dpfia Kal veKp(p
veKpo^ —
AI. i^7]7rdTr)K€v av ere Kal vvv, ET. rw
TpOTTCp ;
1393 fiedetre /uLcdelre Mss. : corr. Person, but perhaps jji€0^9*
f€T€' is right, cf. 1384. — > Van Leeuwen gives Kal rb rovdi
kt\. to Euripides 1394 KaKov RV : KaKwv al. 1403
Qu. Kav (for /cat) ? — >
76 BATPAXOI
1405-24
AL Sv apfxar elarjve^ice /cal veKpoy hvo, 1405
01)9 ovK av apaiVT ovK eKarov AiyvTmot,
AlS. KoL /jbrjKer e/juocye Kar eiro^, aXX! €9 tov
aradp^ov
avTO^, ra nraihii rj yvvt], K.7] (j)L(TO(f>(ov,
efJbjBa^^ Kadrj(T0(o avWa/3ot)v ra ^c^Xla'
iyco §6 Sv eirr] rcov ifjuxov ipco fiovov. 1410
AI. avhpe^ (^lKol, Kayco fxev avTov^ ov Kptvco.
ov yap Sl e'^Opaf; ovSerepo) yevrjaofjuai,
TOV fJbev yap rjyov/jial' (TO(j)ov, toS S' . . .
TjSojJLaL,
TIA. ovBev dpa 7rpd^€L<; SyvTrep rjX66<; ovveKa.
AI. eav he /cpivco ;
IIA, TOV €T€pov Xa0cov cLTrei, 1415
oTTOTepov av Kpivrj^, %v eXOy^; firj /jLaTrjv*
AI. evhaifJbovoir)^, ^epe, irvOeorOe /jLov Tahi,
iyco KaTYJXdov iirl irorjTrjv, ET. tov
Xdpcv ;
AI. Lv r) 7roA,fc9 crcoOeccra tov^; '^opov^ ^yj]*
OTTOTepo^^ ovv av tt} iroXei Trapacveaecv 1420
fieWrj TL 'Xpr)(TT0v, tovtov d^eiv /jlol Bokm.
TTpMTOV fJUeV ovv TTepl AXKL^idSoV TiV
e'^eTov
yvcofjLTjv kiccLTepo^ ; rj 7roXi9 yap BvaTOKel.
ET. e'^^et Be irepl avTOv Tiva yvcofjurjv ;
1405 ela-qveyKe R : ela^Or^Ke V. The common source may-
have been da-iv^a-e (' piled in ') Ed. 1406 6a Dobree, but
the gender may be attracted 1410 /jlovov R : fxova V.
Both are correct, but the sense slightly differs 1411
avdpes MSS.: corr. Dind. || 0/Xoi R: ao(poi V. The preceding
-s might either produce an a- or cause its loss ; but 0£Xot
better suits the next line 1411 avrbs R, which is possible
1424-38 BATPAXOI 77
AI. TLva ;
iroOel fiev, i'^Oaipet Be, ^ovXerai S'
€')(6iV, 1425
aX)C 6 Ti voelrov, eiTrarov tovtov Tripe,
ET. jjbio-o) ttoXlttjv, oaTi'^ a)(^e\elv irdrpav
/3paSv(; ^avelraty \xe^a\a Be /3Xa-
TTTeiV Ta^U9,
Kal TTOpL/Jbov avTw, rfj TroXet S' afjurj-
'^avov. 1429
AI. €v y y & UoaeiSoTJ* crv Se riva yv(Ofir)v eye^?;
AIS. \0V XpY} XeOVTOS (TKVfJLVOV €V TToXct T/3€<^€tV.]
IxoXiara fxev Xeovra jjlt] v iroXet Tpe(j)€LV,
fjv S' i/crpacj)'^ tl<;, TOL<i rpoirot^ vTnjperelv,
AI. vr] TOP Ata TOP (TcoTrjpay Bv(TKpLTco<; y '^X^'
6 fiev ao(f)cb<; yap elirev, 6 K erepof;
cra(f>a>(;.
aXV €TL fiiav yvcofiTfv eKcuTepo^ eiirarov 1435
irepl TYj^ iro\€co<; rjVTtv* e^^Tov acorrjpiav,
ET. iyoo fi€v olBa koX OeXco (j>pd^eLv,
AI. Xe7e. 1437 ( = 1442)
ET. €L TL^ TTTepcoaa^ KXeoKpCTov KivrjaLa
1438 ( = 1439)
1428 (pavelrai R Suid. : Tr^<pvK€ V : 7r^<pavTaL {Tr^cprjpe ?) Ha-
maker. -> 1431 sq. Editors are divided as to which of
the two lines is to be retained. 1432 is omitted by V al.,
but — > 1432 iKTpacpy MSS. : eKTp^(pri Pint. Ale. 16. —^
1434 6 5' ^repos (To<pC}^ Meineke, with great probability. ->
1437 ( = 1442 of ordinary text) sqq. For the arrangement
here (Ed.) see — >. Editors have necessarily recognised the
impossibility of the text as it stands and the confusion
of two versions. But there is no reason to suppose any of
the verses spurious. 1437 ( = 1442) Kad^Xo) is no improve-
ment. ->
78 BATPAXOI
1439-57
alpoLev avpat TreKa^iav virep ifKaKa,
AI. yeXocov av (^aivoLTO* vovv S* €')(eL riva;
ET. el vaviiayplev, Kar €'^ovt6<; 6^iha<; 1441
paivoiev €9 Tci ^Xe<^apa tmv ivavrlcov.
AI. €v <y , & UaXd/jLTjBe^;, & cro(f)0)TdTr) (j)vaL<;,
ravTi TTorep avro^; 7jvp€<; r) 1^7](j>L<jo(j)(bv ;
ET. iyco /JiOvo<;' Td<; S o^iha^^ K.rj(j)Lo-o(f)MV,
1445 ( = 1453)
ET. oTav Tavvv aTTLO-TaTriarO' rjyiDfieOaj 1446 ( = 1443)
ra 8' oVra ttlctt airKTTa.
AI. TTois; ou fiavOdvo),
d/JLa0e(TT6p6v 7ra)9 etTre Kafc cracfyecrTepov.
ET. et Twv TToAtTwv ofo-t vvv TTio-Tevopev,
TOVTOis dTTiCTTrjO-aLfJieVy ols 8' ov xpiopeOa,
TOVTOKTl y^prj(raip€.(Td , fcOrcOS (T(i)06tp€V dv.
el vvv y€ SvcTTvxovpev iv tovtoco-l, ttws
rdvavrC dv Trpdrrovres ov crM^oiped* dv ;
1453 ( = 1450)]
AI. Ti Sal Xey€L<; gv ;
AlS. T7}v ttoXlv vvv pioi (ppdaov
irpMTOV, Ti(Ti '^(^prJTac' irorepa rol^; Xprj-
arol^; ;
AI. iroOev ; 1455
fiLcret KaKLcrra, AI2. T0Z9 irovr)pol<^ S'
rjSerai ;
AI. ou S?7T ifC€iV7j y\ oKXa ')(p7jTaL irpo^^iav.
1439 ( = 1440) Qu. dlpiov dpai? 1441 ( = 1442) Kar-
^XOi'TesRV 1444 ( = 1452) edpes MSS. ; cf. 806 1451
( = 1448) Text V: XPV<^(^''I^^(^^^ o-ajdeiv/xev dv R: x/^Tyo-af^teo-^'
forws (Tiadelriixev hv al. — > 1453 ( = 1450) TCLvavria MSS.:
corr. Dobree || irpdrrovTes V : Trpd^avres R
1458-78 BATPAXOI 79
AlS. 7r&)9 ovv TL<; av acoaeie Totavrrjv ttoXlv,
rj fjb7]T€ 'yXalva fir^re aiavpa o-v/jb(j)€p€t ;
AI. evpLCTKe vrj Al\ elirep avahvaei iraXiv, 1460
AlS. eKel ^pdaatfjb av • ivOaSl S' ov j3ov\o/jLac.
AI. fifj Brjra av y\ aXX' ev6evh avtei rofyaOd,
AlS. Tr]v f^rjv orav vofiiacoaL Trjv rcov TToXepbicdv
elvat (T<f)€Tepav, ttjv 8e acf^erepav rcov
TToXe/jLLCOVy 1464
TTOpov Be Ta<; vav<^, diropiav Se tov iropov,
AI. 6v, TfKrjv J 6 SiKaarrjf; avra KaTairLvei
/jLOvo<;.
HA. Kpivoi'^ av,
AI. avTT] acj^wv Kpiac^ jevTjcrerat.
aipr}(70fiai yap ovirep rj '^f%^ Oekei,
ET. /jie/jLvr}/jievo<; vvv twv Oecov, ov? wjioaa^y 1469
ri /Jb7]v dird^eiv jju ocKaB , alpov tov<; (f)i\ov(;,
AI. 77 yXcoTT o/jicofjbOK, AlcT'^vXov S alpTJaofjLat,
ET. TL heBpaKa'^, & fjicapcoraT dvOpcoTrcov ;
AI. . iyd) ;
€KpLva VLKOLv Al(T'^v\ov. TLT} yap ov ;
ET. ala')(^i(7Tov epyov 7rpoa-/3\€7ret<; jjl
elpyacTfJbevo^ ;
AI. TL K ala'X^pov, rjv /jltj toZ? 0€cojiievot<;
SoKj] ; 1475
ET. S) G-^erXie, TrepLo-^lrec fie Sr} TeOvrjKora ;
AI. T69 olBev el to ^rjv fjuev iaTi fcaTOavecv,
TO TTvetv Be hetiTvelv, to Be KaOevBeiv
kwBlov ;
1474 ^pyov elpyaafihos Trpoff^X^ireLS R (//,' ipyou V) : ^pyov fji'
epyaad/xevos al. : corr. al.
80 BATPAXOI
1479-1503
HA. ^G>petT€ Toivvv, & Aiovva, etaco, AI.
Ti Sal ;
HA. Iva ^eviaco a<p(o irplv drroTrXecv,
AI. €v TOi X€y€C<; 1480
vrf TOP Ar* ov yap a')(jdoixai T<p TTpdyfiaTL,
XO. fjbaK&pio^ y dvr}p e')((ov
^vveaiv rjKpi^co/jiivTjVj
irdpa he ttoKKoIctlv fiadelv.
oSe yap ev c^povelv hoKTjaa^ 1485
ttoKlv direLCTLv ocKaS* av,
iir dyaQQ) [juev rol^ 7ro\iTaL<;,
iir dya6(p he TOi<; eavrov
^vyy evecTi re Kal (^lKolctl^
Bed TO crvveTo<; elvat, 1490
'X^apiev ovv fjirj XcoKpdreo
irapaKaOrjfjLevov XaXetv
diro/BaXovTa /jLovaiKrjv
rd re jjueyidTa irapaXiirovTa
TT]^ Tpay(pScKri<; ri'^vr]^. 1495
TO S' eirl ae/JbvOLcriv XoyoiaL
Kal aKapK^rjO-fJiolai Xrjpcov
SiarpL^rjv dpyov iroeladai
7rapa(f>povovvTo<; dvSpo<;,
IIA. dye Br) ')(aip(ov, Ala'^vXe, '^copety 1500
Kal (Tcp^e TToKiv rrjv '^fjuerepav
y yvco/jbaL<; dyaOacf;, Kal Traihevaov
^ Tov<; dvoTjTov^ • iroXXol S' elaiv
1482 /uLaKdptds y RV : fxaK^piov schol. 1497 aKapL<pL-
(r/jLOLCTL al. , but the verb-stem is aKapi^a- 1501 The con-
jecture v/jLCT^pav is an error. -$►
1504-1528 BATPAXOI 81
KoX So? tovtI KXeo(f)a)PTi (f>epcov,
fcal tovtI Tolat Tropiarat^;, 1505
M.vpfJbr)Ki 0" 6/jLOv Kol NiKOfid'^a)'
ToSe S' Wp'^€v6/ji(j)'
KOL (jypd^^ avTol^ ra^eca? rjKeiv
0)9 ijjie Sevpl kol fir] fjueXkeiv
Kav fjirj Ta;^eft)9 r/Kcoaiv, iyco 1510
vr) Tov AttoWco aTi^a<; avTOv<;
KOL avfiirohiaa^
fJL€T ^ ABet/jidvTOV TOV A€VK0\6(f)0V
Kara 7779 ra^eo)? diroTrefjL'yJrco,
AlS. ravra irorjcro)' crv Be top Oclkov 1515
TOV i/jLov irapdho^ ^o^oKkel Trjpelv
KOL Biaa-a)^€iv, tjv dp iyco ttotc
Sev/o' d(f)LKcofjiai, tovtov yap iyoo
aoipia Kpivco hevTepov elvac,
jjbejJbvriao 8' oirw^ o iravovpyo^ dvrjp 1520
KOL yfr€vSo\6yo(; kol ^(o/jio\6'^o<;
firjSeTTOT eh top Oclkop top ifiop ^
firfS* d/ccov ey/caOeSeiTai,
HA. ^aipeTe tolpvv v/jl€l<? tovtw
\a/jL7rdSa<; lepd<;, X^/^^ irpoTreiiireTe 1525
Tolaip TovTOV TOVTOV fiekeaip
KOL /jLoXTralacp Ke\aSovpTe<;.
XO. TTpcoTa fiev evoSiav dyaOrjv diTLOPTi 7ror)Trj
1505 TOVTO R : toijtoktlY: tovtI al. : rovroval (sc. toijs ^p6xovs)
Bergk : rovTovyi Elmsley. — > 1515 6p6vov RV : dCoKov al. :
corr. Bentley ; cf. 1522 1517 koI dLaaib^ecv "R : Kal ado^eiv
cett. : Kai ijlol aip^eLv Bentley : Kciel <rw^€tv (Ed. ) is a likely
common source of the readings 1522 dolKOP RV : Owkov al. ;
cf. 1515
G
82 BATPAXOI
1529-33
€9 (j>do<; opw/iievcp Bore, Baifiove^ oi Kara
Trj §6 TToiXei fjLeyaXcov dyaOcov djaOd^
iirivoia^, 1530
ira^'yy ^yap etc fie^yaXcov dykwv nravaai-
fieO av ovTco<;
dpyaXecDv r ev oirXoi^ ^vvoBcov, ' KXeo-
<pMv Be fia'^ecrOco
/caXXo9 o ^ovKofjuevo^ rovrayv irarpioi^
iv dpovpai^,
1529 yalas R : yalav cett. The influence proceeds ' from
beneath.' Cf. (barely with that excuse) Aesch. Cho. 473 deCov
tQ)v Kara yds 6'5' ij/uLvos
NOTES
Enter Dionysus, dressed in a saffron -coloured xitc6v and
wearing the soft high boots called Kbdopvoi. Over his effeminate
tunic (see 46) he has thrown a lion's skin Q^eovTrj) in imitation
of Herakles, and is also carrying a club {pbirdKov). As a
traveller he is probably wearing a brimmed hat {ir^Taaos).
Xanthias is mounted on a donkey, but is carrying across his
shoulders a pole {dpd<f)opov), from either end of which hang
bundles of travelling baggage {(TKe^rj including (rrpw/^aroSeo-yua).
[The ass is got rid of at the first change of scene. ]
The names of slaves were chiefly derived from (1) the colour
of their complexion and hair, e.g. ^avdias, Ilvppias, (2) the
country of their origin, e.g. Zvpos, ^pv^, Tiras, (3) names
frequent in their own country {iyxiopia ovofiara), e.g. Tt/3tos
(Cappadocian), (4) names of kings of such countries, e.g.
M^5as (from Phrygia), (5) names of good promise, e.g. Zwc/as.
1. T«v €la)0OTa)v : sc. X^yeadai. The use of this neut.
partic. as a simple adj. { = 7]dd8a}j/) is frequent.
Though Aristophanes chooses to ridicule the cheap buffoonery
and clap-trap phrases which pleased the more vulgar part of the
audience (dearpov), and though he is here presumably ' putting
a spoke in the wheel ' of his rivals (as in Vesp. 58), he is him-
self occasionally guilty of the same device (/r. 307 Dind. ). In
Pac. 748 he claims to have done away with the stock jokes of
whipped slaves and similar /ca/cd Kal ^bprov kol ^wfioXox^^l^f^T^
dyevvri, but here he is insidiously introducing them while
pretending to despise them.
2. €<|>* ots . . YcXwortv : i.e. in amusement, while & yeXCoaLv
would express scorn.
ad is cutting : 'they never fail.' The audience come in for
their share of the reproof.
3. 6 Ti povXci -y^ • 7^ gives an intonation ; ' whatever you
like.'
83
84 THE FROGS OF ARISTOPHANES 3-9
ttXtiv irUtoixat. There is a slight pause before these words,
and then he forbids the very phrase which Xanthias would have
chosen and which he does eventually manage to drag in (30).
TTL^^oixcLL and cos dXi^ofiaL were some of those cant and vulgar
terms which enjoy a vogue for a time without much humour in
themselves.
4. travv . . xo\i\, ' it has become positively sickening '
(not only to the speaker, but to people in general). Writing ^ar
we may compare (the subject being tovto) Ach. 125 ravra dijr
ovK dyxovT] ; and contrast Hor. Sat. 2. 6. 32 hoc iuvat et melli
est. This seems more natural than ^ar ( — ' for by this time
there is utter disgust with it ').
XoX-^ : cf. Hor. Ep. 1. 19. 20 hilem . . . vestri mover e
tumultus. An anonymous epigram has ws /cat rod ixiXiros to
irXiov iarl x^A??.
6. HtT|8* : sc. etTTw.
do-Tciov : urhanum : ' smart,' ' piece of pretty wit.' Cf. 901,
906. That which (to use eighteenth-century language) takes
' the town ' is chic and up-to-date. The opposite is dypoiKdv,
Aristophanes is sarcastic at the prevailing notions of wit.
6. TO TTcLvv -yeXoiov, ' what really is funny ' ; lit. ' that
really funny phrase.' But Di. anticipates his ' really funny '
phrase and forbids it ; whereupon Xa. is in despair. [yeXoTov
is not the Attic accentuation.]
7. lK€tvo : ilhcd : ' that (favourite or notorious) phrase.'
TO tC ; The article is prefixed to tl or irolos mostly when
the question refers to something already mentioned (cf. lequel?).
Like the present place is Plat. Phaedr. 277 A SO. vvv drj iKeiva
ijdr} 8vvdfjL€da Kpiveiv. $AI. rd, iroTa ; (Kuhner-Gerth, Gr. Synt.
§ 465. 2).
8. jJi€TapaXX6(j.€vos : middle because the action is reflexive.
The bearer who shifts the pole from shoulder to shoulder gives
himself a change.
Tavd<t)opov. The dvd<f)opov (or daiWa) is a carrying-pole like
that of the Chinese rather than the milkman's yoke. The
latter would not be changed from shoulder to shoulder. Xa. is
carrying rd (rrpciyuara (Xen. Mem. 3. 13. 6) tied on one end and
the other baggage (aKeij-q) on the other. For illustration see
Smith, Diet. Ant. i. p. 211.
Sti x^tTTias, ' that you are fit to burst.'
9. tC 8f]T ^Sct K.T.X. : not = 5eZ, but sarcastically: 'what
was the use of your giving nie the baggage to carry (before we
9-15 NOTES 85
came upon the stage), if it was not simply to enable me to
make the common jokes ? ' The comedians often satirise their
own proceedings, the stage-machinery, and the audience.
TavTtt TO, a-Kivt], ravra (ista) is frequently contemptuous
(cf. Tovrcov in v. 14)= 'your old baggage.'
13. €l'ir€p iroifio-a) . ., ' if I am not going to do . . .' More
commonly elirep fieWo} troLrjaeiv. For this fut. cf. 20 {ipel),
1460, Av. 759 aXpe irXrjKrpov, et /uaxe?, Ves}). 1263 /iiaOrjreov rdp'
iarl TToWoijs tCjv Xbyiav, \ eiTrep diroTeiaw fJLTjdiv.
4>pvvixos : a rival comedian now competing with Aristophanes.
His MoOffat won the second prize. [He must be distinguished
from (1) the general who figures in the revolution of 411 B.C.,
and who was assassinated in that year ; (2) the tragic poet,
who had been dead for two-thirds of a century (see inf. 910).]
We must not take too seriously the attacks of the comic
poets upon each other. Their reciprocal charges of staleness,
plagiarism and other literary sins are only part of the Dionysiac
game. The schol. says that in the extant works of Phrynichus
there was nothing of the kind here mentioned.
14. cl'wOe iroLctv : playing upon the senses ' do ' and * compose
poetry.' This justifies the repetition of the word and also gives
the contemptuous point, ' I could make as good a thing as P.'
AvKis : possibly a nickname. If there was a writer named
Lycis he is unknown. Kock, however, reports that the
letters ATKIS appear in a fragmentary inscription recording
dramatic victories, and therefore it is too bold to read the
conjecture KdiriXvKos.
*A(j.€n|/Cas : a distinguished rival, who won the first prize
against the Birds of Aristoph. (414 B.C.), and was second when
our poet was third with the Clouds (423 B.C.).
15. <rK€VT]<(>opoOo-*. The reading is doubtful and the line
may be spurious. One note among the scholia ' implies that
the annotator's text ' did not possess it (Rutherford). [It
might even be suggested that vv. 14, 15 are both interpolated,
the former being added under the misconception that the
grammar of v. 13 was incomplete.]
Keeping the line (with aKevrjcpopova and the common punctua-
tion) the construction is etirep ttotjctw fjLrjdev Todrojp direp ^pdvLXos
etcjde iroLetv Koi {oLTrep) Avkls Kdfji,eL\pLas aK€V7j(f)opov(TL, i.e. 'if I
am to do none of those things which P. is accustomed to do (or
' put in his pieces ') and (which) Lye. and Am. do when carry-
ing baggage.' The idiom /irjdh (hvirep . . (rK€V7)<popov(n is
sufficiently Greek in itself, the accus. being internal. Thus
S& THE FROGS OF ARISTOPHANES 16-20
ravra aK€vr)(popou(XL=^ in this way do they carry baggage ' =
'they do this when carrying baggage.' Of. inf. 833 direp
CKdaroTe \ iv ra?s rptxyLpdiaKTLv irepareijeTO, Ach, 647 eKeivojv <hv
epav/j,ax'n<^cLfJ'ev, Dem. 18. 198 drjXoLs 8^ Kai i^ Sjv ^tjs ('from the
way in which you spend your life '). In Greek a writer is said
to do what he represents others as doing, and a comedian there-
fore ' carries baggage ' in making his characters do so. It
might be objected that we should expect the relative to be
repeated (x^j' A.tukls). Even so yUT^S' rather than Kal would be
normal. But in a conversational sentence of some length such
awkwardness as exists is not unnatural.
[We might also punctuate (with Bergk) after iroieiv and
translate ' Also Lycis and Ameipsias always carry baggage in
comedy.' But (apart from the abruptness) the point is not
that they carry baggage, but that their baggage-carriers always
make poor jokes. In a reading toi)s aK€vo(p6povs (Fritzsche) the
accus. should depend on iroielvj i. e. ' if I am to do none of those
things which P. and L. and A. are wont to do to their baggage-
carriers.' Possibly, if further conjectures are permissible, we
might suggest <tbs> aKevocpopova ' when they . . .']
16. [li] vvv TTo^cTTis: sc. aird or ourws ; cf. Soph. Aj. 1155 et
yap iror)(T€Ls, tadi irrj/jLavov/xevos, Verg. Aen. 1. 62 7iifaciat, Eel.
2. 44 et faciei .
eyo) 0€w|i€vos, 'when J am a spectator.' The statue of
Dionysus was placed in the theatre before the play began, and
there is a humorous allusion to this.
17. TovTCDV : cf. 13.
18. irX€iv . . direpxoixai, ' I go home an older man by more
than a year.' These old jokes 'age a man so ' ; cf. Cic. de Or.
2. 59 senium est cum audio. The schol. quotes Hom. Od. 19.
360 (xXyj/a yap ev KaKbrrfTi ^poTol KarayTipdaKovai. So stale and
weary jests are said aTroWijvaL, diroKvaieiv, ccfydrreLv. [TrAetr
should not be called a ' contraction of irXeov. ' ]
20. 5t€ : clearly better than Srt. In the sense of the latter
the comedian would have preferred et. GXCpcrai : slyly
getting in the forbidden w^ord (5). to yikoiov, 'the (usual)
funny thing.'
ovK €p€i, 'is not to (be permitted to) say' ; cf. 13. Those
who alter to ipoo have but a captious sense of humour. The
neck is personified, and it gets 'all the kicks without the
halfpence ' ; it has borne all this trouble simply to get a chance
of 'speaking its piece,' and now this reward is denied.
21—25
NOTES 87
21. €tT * : indignantis, as often. For the form of expression
cf. Lys. 659 ravr ovx v^pLS ra irpdyixaT earl ttoWt} ;
22. 8t* : i.e. ore {6tl cannot suffer elision).
Ai<5vv(ros vibs Srajivtov. Dionysus is the freeborn Athenian
master with a patronymic (lilie Ni/ctas '^LKrjpdTov, ArjjuoadevTjs
Arjfioadevovs), while Xanthias, being a slave, 'has no father.'
Cf. 631 n. So the breadwoman in Vesp. 1396 cries o^Vot fia
Tib 0e(j} KararrpoL^ei, Mvprias | rrjs 'AyKvXiwpos dvyarepos /cat
l^warpdTTjs ( = ' I would have you know I am a ireeborn
Athenian woman '). The metre here is in keeping with aggrieved
dignity.
STajxviov. A ardfivos or arafiviov is a wine-jar, and Di. is
the god of wine. But there must be some joke beyond the
substitution of 'Zraixvlov for Atoy. Zeus had many titles, and a
Zei>s ardjULVLos is invented on the analogy of Zei/s cptXios, ^evLos,
etc. Possibly also there is a pun on rafjiiov. In default of
anything better we may substitute 'son of Juice' for 'son of
Zeus, ' while the tone may be given by ' Dionysus FitzDemi-
john.' [It might perhaps be guessed that there was some
contemporary Athenian of drinking propensities with a name
which ^Tafxvlov would recall.]
23. avTos : implying * the master ' {ipse). See 520 n.
oyja, ' give him a mount ' (more commonly ' carry '). Cf.
Xen. Hipp. 4. 1 bet rbv tinrapxov irpovoelv ottws dvairavrj robs
linrias rov ^adl^eiv, iiirpiov jxev dxovvra k.t.X.
24. tva ix-f) TaXawrcDpotTO k.t.X. The opt. depends on the
historical tense (oxeto-^ai eiaaa) implied in the thojight, viz.
' I permitted him to ride (when we set out).* Cf. 766, Fesp.
110 \pi)(f>wv be deiaas fi7] deyjdeLT) Trori, \ ip^ '^x^'- ^LKd^ecv, alyiakhv
evdov Tp^<f)eL (i.e. avv^Xe^ev (bcrre rpecpetv), Deui. 22. 11 tovtov ^xet
Tov rpbirov 6 vo/jlos, tva jx-qbe TreLadijvaL . . yivoLT eVi t<^ drjfKp
(i.e. iridr} (hare ^x^lp). Kiihner-Gerth § 553. 4 a.
The line sounds like a quotation, with dx^os <{>€poL originally
metaphorical. This gives point to what follows.
25-30. ov 7ap (f>€pa) '-yw. Here follows a brief skit on logic
and jugglings with words as practised by those who cultivated
the society of the sophists (or, as Ar. would imagine, of Socrates).
There are also secondary meanings for which it may be unpiofit-
able to seek. Xanthias cuts short the logic with a philistine
appeal to facts, ' all I know is that this shoulder — TrU^eraL ' (30).
26. <f>€pcov 76 TavTL : sc. 0^/ow, (why, I am bearing) by bearing
this.' There is quibbling with various senses of the words in
<|>ep(o, Ttva Tpdirov, papecos, pdpos. To rCva rpoTrov I ' how ? '
88 THE FROGS OF ARISTOPHANES 29-35
(logically), Xa. answers as if it had meant ' in what manner ? '
Papccos Trdvv plays upon the physical sense and the
mental { = moleste, aegre ferre) : 'it makes me sore enough.'
TO pdpos T0\)6* takes up ^apeoos, 'your said burden (and
your said soreness).'
27. oijvos : better than 6vos (which would more naturally
be substituted in mss. than vice versa). ' Isn't the donkey
bearing that sore burden ? ' is the natural inquiry, and it con-
trives to call Xa. a donkey quite as plainly. Xa. indignantly
replies ' I 'm no donkey.'
31-32. <rv . . <ri> . . : the first cri) belongs to (prjs only, ' since
yoic (unlike me) say the donkey does you no good, it is your
turn to carry the donkey.'
33. rC 70,9 kyia ovk lvav[j.dxovv ; lit. ' why was / not for
joining in the sea-fight ? ' = ' why did I decline to join ? ' ' The
negative imperf. commonly denotes resistance to pressure, or
disappointment. Simple negation is aoristic' (Gildersleeve,
Gk. Synt. § 216). Of. Dem. 21. 163 o^k av^^atv ewl rrjv vavv
' he would not go on board ' (lit. ' he was not for embarking ').
Xen. Cyr. 1. 4. 21 i/Jidxero ovdeis, dXX' d^axTyri aTribWvvTO
('nobody would fight ').
The reference is to the battle of Arginusae in the previous
year (406 B.C.). See Introd. p. xxv. Slaves as well as free
men were included in the great armada which the Athenians
made a supreme eff'ort to send out, and those who took part
in the battle were given their liberty (cf. 693). If Xa. had
been one of these he could have snapped his , fingers at his
master.
34. KcoKveiv jxaKpd, 'along be-hanged,' instead of 'a long
farewell' (xatpei//). Cf. Vesp. 584 Kkdeiv rjfieTs /JiaKpoL t^v
K€(pa\7]v eiirdvTes rrj diadrjKri, Hor. Sat. 1. 10. 91 te . . iubeo
plorare. [juiaKpd is not strictly identical with fxeyaka,
'loud,* but = (l) 'long' in duration; (2) sounds which carry
far (Homeric fiaKphv avTecv).]
35. Kttrdptt : the intrans. aor. of imperat. compounds of
^aiuu) is formed either thus or (more commonly) w^th -^Tjdi.
The latter represents the imperat. ending -Ol (in Wi, tadi) added
to the root ^d (Attic (Srj), while the former is the root-grade ]8a
with imperat. ending -e (in 0^/oe, etc.). Thus we have /card-
jSd-^t or Kard-jSa-e. Similarly iri/jLTrXd.
35-37. Kat ^dp kyyv'S . . rpair^a-Gai. The rhythm points
to parody or semi-quotation. In that case we may join elfil
with ^ah^oiv by what is known as the schema Chalcidicum.
35-39
NOTES 89
Cf. 761, Soph. Aj. 1320 KXtjovris itrfiev, ibid. 1324 dpcov ykp 9jv
Toiavrd yue, Eur. Cycl. 381 9jTe irdaxopres, etc. Otherwise we
should better construe €771^5 elfiL ttjs Oijpas, ^adi^ojv ('as I
trudge,' opposed to oxoi^yue^os) = ' my trudging has at last
brought me . .' Cf. Eccl. 1093 6771)5 ^§77 ttjs dvpas \ eXKdfievds
eljJLL, Plat. Lys. 204 b irSppcv Tjdr) el wopevS/jievos rod ^pojTos.
37. ^Sci : as part of my plan.
iraiStov, irat, i\\iC, irat. [The hiatus is allowable in the
colloquial phrase.] The porter (dvpojpos) is called three times
(the tragic iv TpLrois irpoacpdeyfiao-Lv) as in Nicb. 1145 -rrat, rj/j,i,
ircu, Trat, Aesch. Cho. 651 rpirov rod' iKiripafia dwixdrwv koKG).
The call is accompanied by loud knocking, either with the
knocker {pbirrpov) or more generally with beating upon the
door {Kpoijetv, Kdrrreiu) with fist or stick. 'What ho! there!
boy ! what ho ! '
i\\i.i. The only parts of the verb which are found are tj/jlIj
Tfcri and the aor. ijv (5' eyJj), fj (5' 6s, 5* ij).
38. Herakles himself appears at the door. The Athenians
would in all probability understand that he is ' at home ' in the
temple of H. Alexikakos in Melite, the WNW. quarter of
Athens. Introd. B, p. xxxiii.
It was part of the regular stage-business (taken from real
life) for the porter to show surly annoyance when knocking was
impatient (cf. Nub. 133 sqq.). Herakles, acting as his own
porter, keeps up the tradition.
ws K€VTavpiKtos. The Centaurs were proverbial for v^pLs
(Xenophanes 1. 22). Among his other deeds as pioneer in
civilisation and desti'oyer of monsters Herakles had fought
with the Centaurs. The story of Nessus is also well known.
Hence the choice of this word RS = v^pi(rrtKCos. 'A savage way,
indeed, to knock at a man's door ! ' Cf. Plant. True. 2. 2. 1
quis illic est qui tarn proterm nostras aedes arietat ?
39. Iv^XaO* : an exaggeration, but suited to the act of a
Centaur. Literally in Soph. 0. T. 1261 ir^ikais dtTrXals ivfjKaT',
eK dk TTvdfJL^vujp I ^k\lv€ Ko7\a Kkyjdpa. That kicking at doors
was sometimes resorted to appears from Terence (who imitates
Attic comedy), Eun. 2. 2. 54 istas {sc. fores) . . calcihus insultabis
frustra. [Greeks and Romans ' kicked ' with the heel, as the
make of their shoes would prompt them to do.]
ScTTts : quicumque. We should rather supply ivrfKaro than
^v. More fully 6(ttls might be 6Vris 5i7, 6'o-ris ttot^, or 6aTLS
d-rjirore. Cf. Hor. Od. 2. 13. 1 ille et nefasto te posuit die,
quicumque primum (sc. posiat).
90 THE FROGS OF ARISTOPHANES 39-46
tovtI Tt TJv ; 'what might this mean ? ' So 1209 and Ach.
767 TovTL ri fjv TO TTpdy/uLa; The imperf. as in v. 48 ttol 7^5
aireb-qixeLS ; (' Where might you be going abroad ? '). The use is
akin to that of ^v dpa ('is, as it seems '), and logically the basis
is 'what was this (without our knowing it)?' See Goodwin,
M. and T. § 39, Gildersleeve, Gk. Synt, § 220 (where the tense
is called the imperf. of ' sudden appreciation of the real state of
affairs ').
Herakles is first amazed at Dionysus' appearance, gives a
start, and is then convulsed with laughter. Di. attributes the
start to his own formidable aspect.
40. 6 irats. The nom. with art. is more lordly than the
vocative, cf. 271. We must supply e.g. aKovirw.
41. y.^ jjLatvoid 7c : sc. 'ebeiae, ' Yes ! afraid you might be
mad.' ye stresses /naivoLo.
42. ov . . Svvafjiai jx-f) •ycXclv. The negative infin. after the
negative ov d^va/jLai would more commonly take /jlt] ov (Kiihner-
Gerth § 514. 5, Goodwin, M. aTid T. § 815), but [xi] alone is
found too often to provoke suspicion (K.-G. 5 h). Cf.
Aesch. P. V. 106 dXX' oiire (jiyav oiire fir] cnyav ri/xas | olov r4
fioL rda-d' earl. Metre of course lends no criterion, since fxrj ov
forms one syllable. Both uses are combined in Xen. Mem. 34
oijTC fJLT] fjL€fj.vT]cr6ai dvvaimaL avrov, oijre /mefJLvrjfx^vos firj ovk eiraLvelv.
[Though we cannot always find a special appropriateness in
oaths (Introd. pp. liii sq.). Demeter may here be chosen as
a goddess of silence.]
43. ScLkvo) cfJiavTov. From biting the lips comes a colloquial
expres>^ion ' to bite ' in the sense of putting on restraint. Cf.
Nub. 1369 Tov dv/j.bv daKdbv. More explicitly Soph. Track. 976
dX\' Lcrx^ daK<hv \ (rrofia <j6v.
45. diroo-oPijo-ai. There may be a play upon diroa^iaaL (cf.
7e'Xa;s dcr/Secros), but there must also be some further reason,
lost to us, for the present peculiar application of diroao^eLv.
TOV "yeXcov is a irapd irpoa^oKiav for, e.g., rbv cpo^ov ; diroao^etv is
used of keeping off flies (the persistent or ' shameless ' fly of
Homer) ; and there may have been some Athenian cant phrase
which lent humour to such a remark as * Bother this laugh ! I
wish it would go away,' accompanied by a gesture.
7€X(«)v and YcXwra both occur in comedy, the former being
specially Attic.
46. €Trl KpoKcoTcG KeL[j.evt]V : i.e. the XeovTTJ is a sort of lixcltlov
to the KpoKWTov { = xi'TO)v KpoKiorSs). The latter was a saffron-
yellow garment worn for show by women over the x'-'''^^ proper.
47-51 NOTES 91
but without itself being IfidrLov {Diet. Ant. i. p. 564). Only-
very effeminate men could think of wearing this colour, but —
like the Kodopvos — it was part of the ceremonial attire of the
statue of Dionysus (Poll. 4. 117, Ath. 198 c). This was not
unnatural for the god of festivity.
47. tCs o vovs ; ' What is the meaning of it ? ' Of. Av. 994 rts
7) 'irlvoLa ; So the verb voeiv, e.g. Plat. Euthyd. 287 E i^pov, 6 tl
voolr} TO pjjfjLa.
rC KoBopvos . . |vvT]X06TT]v ; Of. Thesm. 140 tIs Sac Kardw-
Tpov Kal ^iipovs KOLvuvia ; (of Agathon the 7u^?'ts). The Kddopvos
is a woman's boot {EccL 346, Lys. 657), soft, and capable of
being worn on either foot. Its effeminacy appears also from
Hdt. 1. 155, wliere Croesus, recommending Cyrus to make the
Lydians yvvaiKas avrl dvdpQv, would have them wear Kbdopvoi.
[The use of cothurnus for the tragic buskin is not Greek, but
Roman.] In ^vvTJkdiTriv the dual is deliberately used to
emphasise the peculiar ' pair ' the two things make.
48. iroi 7fjs dirtSTjp.cts ; For the tense see v. 39. These
strange additions to the ordinary costume of Di. are taken to
mean that he is about to travel.
lirepdTcvov KXeicrOcvcu. The sentence is interrupted.
Dionysus begins his explanation at the beginning, viz. how he
came to be reading Euripides on board a ship. Lit. ' I was
serving Cleisthenes (my trierarch) as a marine,' the dat. being
used as in ypa/mfiaTeveiv tlv'l etc. For the sense cf. Thuc. 8. 61
'AvTiadevcL iin^dTrjs ^vve^rjKde. The iiri^dTaL {milites dassiarii)
were the fighting men, who generally numbered ten to the
trireme. Cleisthenes is to Aristoph. the type of effeminate and
dissolute youth [Eq. 1374 etc.), and the notion of either
Cleisthenes as trierarch (a duty imposed as a Xyrovpyia) or
Dionysus as fighting man would be sufficiently absurd.
49-50. There was doubtless much boasting after the battle
of Arginusae, and such braggadocio is here satirised. i\ ScoSek*
il Tp€t(rKa£8€Ka : ' it may be a dozen, it may be thirteen ' ; it
was difficult to keep count exactly of such a trifle.
51. o-(|)w ; i.e. 'a pair of fellows like you ! '
Kar* (iyay' i^r\yp6\s.'r\v : * And then / woke.' The words are
much more probably an aside by Xanthias than a comment by
Herakles. Besides their appropriateness in the mouth of the
former, a dramatist always finds it desirable to keep his personae
from inactivity on the stage (Ath. 190 e). Xanthias of course
indulges in derisive gestures, but he must occasionally also
speak (cf. 87). ^7a>7' should be noted. It is not as if he
92 THE FROGS OF ARISTOPHANES 52-55
sarcastically completed the tale for Dionysus, 'and then I
woke^' but ' and then / woke (if you did not). '
52. Kal 8f]T* : resumptive of v. 48 ; ' and, to come to what
we were saying . .' Cf. Vesp. 13, Plat. ProL 310 c.
dva7i7v<o(rKovTi . . t^v 'AvSpojieSav : a very popular play
of Euripides produced in 412 B.C. Much use is made of it in
burlesque in Thesm. 1018 sqq. [Paley's notion that the ship
was named Andromeda and that D. read the name on the ship's
side is not only extremely unnatural but is disproved by the
article. D. would not there read Hhe Andromeda.']
54. irws otei : grammatically a parenthetical question. The
corresponding English is ' you can't think how much. ' Cf.
Nuh. 881 KaK rCov (Tidiojp | ^arpdxovs iiroiei ttCos doKeis ('you
can't imagine how well '), Plut 742 etc. The use is found in
tragedy, comedy and prose. Cf. Plat. Symp. 216 d dvoixOds
TTOcrrjs oteade yifieu aoocppoaijprjs.
55. TT^Bos ; iroo-os Tis J Point is given to this query only if
we assume that Herakles draws himself up at the word eTrdra^e
and is prepared to deal with the irddos which has ' struck ' his
* little brother ' (60). ' Struck you, did he ? How big was he V
(xtKpbs TjXiKos MoXwv. The precise sense of these words is
perhaps not now discoverable. It is altogether improbable that
Dionysus would reply that his ttSOos was fxiKpos. Even if
ironically spoken the word seems to lack humour. There
appears at first sight to be an almost exact correspondence with
Plant. Cure. 1. 2. 14 (taken from Attic comedy). A. Sitit
haec anus. B. Quantillum sitit? A. Modica est, capit quad-
rantal. But in modica est there is a sarcasm on the thirst of
old women in general : ' this one is moderate.'
Moreover, we are uncertain as to Molon. The name was not
rare, and we are told that among its bearers there was an actor
of Euripides (Dem. 19. 246), and also a footpad (XcottoSi^tt^s).
While Eustath. (p. 1834. 27) states that M6\b3ves = ol irafxixey^-
decs, the schol. reports from Didymus (ob. circ. a.d. 10) that
the \o)TrodvTi]s was a small man. The actor would necessarily
be of good stature.
That the -rrodos is meant to be great is clear. If, therefore,
we do not (1) take the answer of Di. to be simply ironical, *a
little one (of course), the size of — Molon,' we may perhaps (2)
render fiiKpos riXiKos M.6\(i)v by 'as big as Little Molon,' under-
standing (6) MtKpSs to be an ironical nickname applied to a
huge man (cf. ' the Woolwich infant ' and the like). Cf. luv.
8. 32 nanum . . Atlanta vocamics and context. Such nick-
names were frequent. Cf. Xen. 3fe7}i. 1. 4. 2 'ApiaT6d7}/j.ov rhv
58-64 NOTES 93
MiKpbv i'jn,Kd\o{ifjL€vov, Strab. 14. 2. 26 6 MaXaKbs 'AiroWdbvLos.
The objection to the order (if we do not actually transpose with
TjXiKos (JiiKpbs McJXcov) is perhaps met by regarding the words
as partly quoted (in parody) and arranged so as to convey a
surprise, the promise in the first word fjLLKpbs being contradicted
by the last MdXcjv.
58. ov 7dp dW* K.T.X., 'for, really, I am in a bad way' : a
common elliptical expression. Cf. 192, 498. [There was
apparently an early confusion between 01^ yap dX\o {eariv if) . .
and ovycLp {tolovtoos ^x^l or the like), dXXd . . But the analysis
of such combinations is generally a slippery matter, and ov ydp,
dWd . . ('it is not so, but . .') may after all be the origin.]
59. TotovTos i^ji€pos K.T.X. His painful case calls for the
tragic style, in which he is naturally an adept, as god of the
theatre and lover of Euripides. iJjicpos is scarcely conversational
Attic, though employed in the higher prose of Plato. Cf.
8apdd7rT€L (6(5).
60. ovK 'i\(a <j>pd<rai, ' I cannot (find words to) express it.'
61. 5p.a)s ye p.€VToi k.t.X. The rhythm suggests tragic quota-
tion. By alvi7|xos (or atviy/j-a) is meant any indirect, alluf^ive,
figurative form of expression, in place of speaking aTrXws, cf.
Aesch. P. V. 637 o{!k iixirXiKojv aivlyixaT d\X dirXdp \6yip, Anaxil.
ap. Athen. 558 at XaXova' dirXCos jxh ovd^v, dXX' ip alvtyixoh riai.
62. ij8T] . . ^Tvovs ; Herakles will understand an appeal to
his appetite, which was proverbial, as became the patron of
athletes (for whose greed see Eur. fr. 284. 7). Cf. 550 sqq.,
Eur. Ale. 749 sqq., Jon fr. 29 vrrb de ttjs €V<j)ri/Jiias {vrjvlas ^ |
KaT^TTLve Kal rd /caXa /cat rot's dvdpaKas, and the proverb 'H/oa/cX'^s
^evi^eraL. In Athen. 411 there is an elaborate description of
his ddrjtpayia. In Vesp. 60 Aristoph. affects to be tired of
Herakles ' cheated of his dinner ' and in Pac. 741 considers the
exhibition of his gluttony a stale jest. Yet he does not disdain
the subject here and Av. 1689. The joke is similar to that
concerning aldermen and turtle-soup.
^Tvovs : soup or brose of peas or pulse ; cf. Uq. 1171 ^tvos
iriatvov. The schol. tells us that it was a favourite strengthen-
ing food for fighting men. [^tvovs is brought out after a brief
pause, as a half surprise, in place of something more noble.]
64. dp* €K8i8d(rK(o k.t.X., 'Do I make myself clear, or shall
I express it another way ? ' According to the schol. half the
line is from the Hypsipy'le of Euripides. With €T€pa cf. raiJTri,
rybe, and for the synecphonesis {r) iripa) or prodelision {rj \^pq)
— whichever may be correct — see Introd. pp. xli sq.
94 THE FROGS OF ARISTOPHANES 66-73
66. SapSdiTTCi : see 59 n.
67. Kal Tavra tov t€0vt|K<5tos J usually Kal ravra is joined
with a participle (cf. 704 n.), but that construction is here
prevented by the article. There is, however, no special virtue
in a participle to give Kal ravra its meaning, which is simply
' and that too ' {idque), and is theoretically capable of a wide
use. With the present place cf. Aesch. Eum. 628 ov ydp tl
ravrov &v8pa yevvalov daveiv \ Kal ravra Trpbs yvvatKos. The
article rod might possibly (as Blaydes suggests) distinguish the
dead Euripides from the living Eur. (his son or nephew), but
more naturally it is generic, 'actually for a person who is
dead ? '
68 sq. KovScCs "y€ (jl* dv trcCo-ciev . . rb iifj ovk k.t.X.
Though in practice ro jult] with infin. comes to be equal to coare
/XT) (cf. Lys. 1196), in strict grammar it began as a contained
accus. (here of the persuasion administered). Cf. Aesch. P. V.
950 ovdkv yap avrc^ raCr' iTrapK^acL ro jxi) \ veaeTu drifiuis (of the
kind of iirapKeo-Ls). A freer use followed ; e.g. Av. 36 avrrjv iikv
ov jULiaovvr eKelvqv ryjv iroKiv \ ro jxi) ov fieydXrjv elvat (p^aei (where
fxiaovvre contains the notion of 5ta luaos apvovfihia).
kiT €K€ivov, ' to fetch him.''
70. KaTwWpo). The word is mouthed, in answer to Karu) :
* Yes, indeed ; and if there is any place downer down.'
71. TToriTov 8€|iov, 'a poet who understands his business,'
i.e. technically a good craftsman. Cf. de^idrrjros 1009 n.
Dionysus is the god of the theatre and is alarmed for the
theatrical prospects of the city Dionysia. Introd. p. xii.
72. ol (i^v ydp K.T.X. From the Oeneus of Euripides. The
schol. quotes two lines of (rnxoP'VdLa, viz. <A.> o-i) 5' ojS' ^prjfios
^vfifjidx'^v dwoXKvcraL ; <B.> ol fih ydp k.t.X. It is commonly
assumed that the first line was spoken by Diomede, while the
second is the reply of the unhappy Oeneus, his grandfather.
73 sq. *Io<j)«v : the son of Sophocles. He had produced
numerous plays with success during his father's lifetime, from
at least as early as 428 B.C., when he obtained the second prize
in competition with the Hippolytus of Euripides ; but it was
suspected that Sophocles lent him help (hence 78 sq.). Never-
theless he competed against Sophocles himself.
[There was also a younger Euripides, whom Ar. does not
notice. Among poetic relatives of Aeschylus were his son
Euphorion and his nephew Philocles, the latter of whom Ar.
ridicules elsewhere {Thesm. 168, Fesp. 461).]
ji^-Sz NOTES 95
TovTo 7dp Toi K.T.X., 1.6. ' Ycs (that only bears me out), for,
in point of fact, he is the only king left to bless us' (not =
TovTo TO dyadbv Xolttov eari). Kal is a regular part of the phrase :
cf. Thesin. 81 rovr'' avrb yap rot KairoXeiv ixe TrpoadoKto.
d Kal toOt* Apa, * if even that (is such) after all.'
76. 2o<f>oKX.€a : scanned with synizesis (2o0oAcXea). So
perhaps HrjX^a 863 n. and certainly 'H/oa/cXea Thesni. 26. In
tragedy such pronunciation is not rare.
irpoTcpov, 'preferable.' So priorem=superiore7n. Cf. Nub.
643. Palmer's irpbrepov olvt' is very attractive, but not
necessary. With the expression he compares Eccl. 925 ovbeh
yap ws (T€ irporepop eiaeia^ dvr i/xov.
77. €K€i6€v, 'from the other world.' Cf. 82 n.
78. diroXaPwv avTov p.6vov, ' getting him all by himself ; '
cf. Pac. 508 avToi 8r] jxovol Xa^io /jlcO' ol yeiopyoi.
79. 5 Tt iroet : not merely ' what he can do ' but ' how he
can compose.'
kcdScdvCo-cd : cf. 723 KCKOidiovLa/jLivoLS (of coins) and d/cwSw^/io-ros.
Properly Koodcjvi^etp is to 'treat like a bell,' and the word is
therefore appropriate to the ringing of a coin in order to test
the metal.
82. 6 8* ei'KoXos k.t.X. The rhythm suggests a tragic
original. For cvGdSe ' in this world ' and its opposite €K€i cf.
Plat. iiep. 330 D ol Xeyo/mevoL juLvdot irepl rdv iv "Acdov, ws tov
iuOdbe ddLKrjaavTa dec e/ce? diddvac diKTjv, Eur. Med. 1073 evdai-
IxovoItov, dXX' iKel. The amiable character of Sophocles appears
incidentally from Plat. Hep. 329 B.
83. *AydQo>v : Agathon, a rich, handsome and accomplished
pupil of the rhetorical sophists Gorgias and Prodicus, was born
about 447 B.C. and had won success with tragedies by the year
416. Cf. Ath. 217 A, Plat. Symp. 175 ^ i] 8k ar] <To<f)ia . . irapd
(TOV v^ov 6ptos oirrcx) (r(p65pa i^kXa/bLtpe k.t.X. The scene of Plato's
Symposium is laid at his house. In 407 B.C. he had withdrawn
(as Euripides had previously done) to the court of King
Archelaus of Macedonia. In the Thesmophoriazusae he is
satirised as a fop, but the present place shows that both his
literary and social merits were placed high. Aristotle {Poet. 9)
states that he was original and inventive in his plots, but also
(ibid. 18) that he was the first to disconnect the choric lyrics
from the real matter of the play.
diroXiirtov \i dTroCxcrat, 'he has departed and left me.'
See crit note. oi^x^Tac of the best Mss. gives the best sense.
96 THE FROGS OF ARISTOPHANES 85-86
The passage is meant to sound as if Agathon was dead.
o'txerai suggests this, and in the next line ciYaGbs ttot^t'^is k.t.X.,
' a good poet and regretted by his friends, ' recalls an obituary
notice ' a good citizen (iroXiTrjs) and respected by all who knew
liim. ' It was not, indeed, tlie approved Athenian custom to
place upon a tomb a complimentary inscription beyond the
word xp^<^T^^' Of. Theoph. Char. 13. Nevertheless such
expressions may very well have been a sort of formula,
particularly used in the e-n-aivos at the funeral feast.
For this notion aTroix^TaL is less good, but in ^/x' otxeraL (of
Dind.) the emphatic pronoun is out of place. It is therefore
not impossible that, simulating the tearful emotion of the
funeral eiraivos, Dionysus says with broken voice {iv TrapoXK-rj)
airoknribv fi o-o-oixeraL. This trick was a natural one for
comedy. Cf. £q. 32 ^perer^ras (in fear), Av. 310 iroTroTrowoiroVf
Plant. Most. 316 (a tipsy man) 0-0-ocellus es mens.
85. 6S jxaKcLpcDv evt>)\iav : keeping up the play in olxerat.
There is an obvious suggestion of /uLaKapcov vqaovs or /jiaKdpcvv
evdac/JLoviav. Cf. Plat. Fhaed. 115 C olx'n^^ofxai ainwu els fiaKOLpcou
8r) TLvas evdaLfiovias. But since Agathon (a good diner, t7)v
TpdTrei^av Xafiirpds, according to the schol.) has gone to
Macedonia, there is a pun upon MaKeddvcov and a substitution
of evioxicLt^ for evdaLfxoviau. He has gone ' to the Banquets of
the Blest ' (or, to adapt a modern phrase, ' where good men go
when they di — ne '). Macedonian eating and drinking were
proverbial (Ath. 126 e). Doubtless, also, there is an allusion
to the blessedness of those who can manage to get away from
the present trouble and poverty of Athens.
86. 6 8^ 3€vokX€t]s — : With this punctuation Dionysus does
not let Herakles finish his sentence, but finishes it for him,
as if he knew what he was necessarily about to say : H. ' And
Xenocles — ' D. 'Be hanged, by all means.' This gives a
more natural use of vt] Aia than if we put a question at
jEjevo/cX^77S. No words are wasted on Xen. ; he is beyond
redemption.
H^vokXciis. For the form (not '^cvokXtjs) see 787 n.
Carcinus, a tragedian of the date of Aeschylus and an inventor
of dances, had three sons, of whom Xenocles was also a
tragedian, while Xenotimus and Xenarchus were x^P^^'''^^-
The whole family incurred the ridicule, not only of Aristophanes
(e.g. Vesp. 1500 sqq.), but of other comedians (e.g. Pherecrates
and Plato). According to Ar. {Thesm. 169) 6 5^ 'iElevoKX^rjs Cbv
KaKbs KaKws iroel, and both our poet and the comic Plato
satirise his recourse to tricks of plot and scene. We may best
understand Pac. 792 fi'r)x,civo5L(p7}s and Plato's dcodcKafiifixcLvos to
87-92 NOTES 97
refer to his frequent introduction of melodramatic mechanical
devices. The schol. on Pac. I.e. says that Xenocles So/cet
firixavas Kal repareias elcrdyeLv iv rots dpdjULaaiv. Nevertheless, he
won a dramatic victory over Euripides (and his Troades tetra-
logy) in 415 B.C. Aelian {V.ff. 2. 8.) calls the verdict y^Xoiov,
but this opinion was easy to express when the lapse of centuries
had eliminated Xenocles from the canon of the tragedians.
87. IIvOdYYcXos 8^; Nothing is known of Pythangelus.
Since there is no reply to this question we may suppose that
the answer is a sort of 'silence of Ajax,' or at most a con-
temptuous shrug of the shoulder. The latter would give point
to the following remark of Xanthias, whose time has come to
say or do something (see 51 n.). * (You shrug your shoulder),
but (while you are talking about all these people) there is no
talk about me and my sore shoulder.' [It is, indeed, possible
that there was some well-known story relating to Pyth. and
his shoulder — he may have had a thrashing or been a hunch-
back — and Xanthias may consequently break in with * Talking
of shoulders, etc' Others suppose that a line has been lost,
and Tyrrell would read HP. nu^a77eXos d^ ; <AI. irepL ye tov8'
ovdels \6yos \ ir\riv TovTrirpL^eLTjsy. |EJA. irepi ijxov 5' k.t,\.
If anything is to be supplied this could hardly be bettered ;
but the first explanation seems sufficiently natural.]
90. irXciv '^ fi,vpia : more typically Attic than irKelw (nXiova)
ij . . But it is flouting the evidence to deny the use of the
latter.
91. irXctv ^ frraSlia XaXCo-rcpa : a metaphor from the
SSXixos or long foot-race ; ' they could give him two hundred
yards and beat him.* Cf. Nub. 430 tQv 'EWifjvwp elvai fie
\iy€Lv eKarbu cTTadiotcrLv dpicTTov. A similar metaphor, but from
the short race {aTadLov), occurs in a fragment of Eupolis {ocrirep
ayadol dpo/nijs \ e/c 5e/ca ttoBCov ypei X^yojv roi)s p-qropas ( ' after
giving them ten feet start '\
92. €irw(>vXXC8€S. The precise meaning of this word is un-
certain. Explanations given are : (1) vines which grow rank
Avithout bearing grapes (Fritzsche) : cf. the Barren Fig-tree.
But for this there is no proper evidence ; (2) vines which bear
poor little grapes at the tops above the leaves ; (3) poor little
grapes growing in such a position, and therefore not worth
gathering ; (4) little bunches of grapes attached to the larger
bunches (a sort of leafage to them). The last is one of the
explanations of tlie scholia. So far as the formation of the
word is concerned we may compare it with i-maroiuLis, eTridopaTis,
iiriyXcoTTis, and these point to something which either grows
H
98 THE FROGS OF ARISTOPHANES 92-94
upon leaves or (more naturally) is itself a leafage to something
else ; they certainly lend no support to the notion of a vine.
The whole weight of evidence (Steph. Thesaur.) is for the sense
poTpijdLa or exiles racemiy even if we cannot be more precise.
We may suspect that whereas the proper (FTacpvXai grow clear
with full fruit, the im^vWides are the miserable little bunches
which seem to belong to the leaves. Sufficient notice has
hardly been taken of Dionys. Hal. Hhet. 18 ijyovvraL roi/s
eTriKoyovs &cnrep iv deiirvc^ TpayrjfJiara er]:'ai tQv Xdyojv Kal Cbairep
iTTLcpvXXidas Kal aTUfi^Xfiara, which at least puts out of court
the meaning of ' vines. ' That interpretation seems indeed to
have been due to a misapprehension of fMovaeia as denoting the
place instead of the persons.
<rTcofi.vX}jLaTa, 'chatterboxes' ; lit. 'pieces of chatter.' The
neut. abstract of a person is not rare : cf. XdKrjfjLa (Soph. Ant.
320). The act. sense ( = 6s XaXet) is rare as compared with the
passive, e.g. iraibevixa ( = 6s TratSeuerat).
93. x^^'-Sovwv (Aovcrcia, 'choirs of swallows.' ixovaelov (like
deoLTpov, diKaa-TripLov, 'choir,' 'school') may be used either of a place
or of the gathering in it. [The schol. here quotes Eur. fr. 88
(Nauck) 7roXi>s 5' avetpire klcto-os, e'u(pv7]s K\ddos, | xfXt56?/wi'
fiova-eTov. There is obviously a corruption in this for d-qddvojv
jxovffelov (Meineke), the substitution being a slip of the schol.
due to our context in Aristophanes. Cf. Eur. Hel. 1107 ch rdv
iva^Xois VTTO devdpoKOfioLS | fiovaela . . ivi^ovcrav . . fieXo^dop
drjdova. Swallows do not gather to sing in the ivy, and, as
songsters, they can only be treated with disdain.] xeXiS^j/wj/
jULovae'ia is a humorous oxymoron, with a parodist's perversion of
the Euripidean d-q^bvojv.
The twittering of the swallow was to the Greek the embodi-
ment of the unintelligible or inarticulate (and hence the story
that the tongueless Philomela or Procne — according to different
accounts — was turned into a swallow). Cf. 681 n., Aesch. Ag,
1034 xeXi56j'os biK7)v \ dyvQiTa (pcovrju ^dp^apop kckttjiul^vtj. So
X'^Xibovl^eLv = ^ap^apl^etv. Not only (1) the jmetpaKijXXia cannot
express themselves in intelligible Greek, but (2) they are
garrulous. For the latter characteristic of the swallow cf.
Verg. Georg. 4. 307 garrula . . . hirundo, Theoph. Char. 5 x^Xi-
bbvo3v XaXicrrepos.
XwpTlTal TexvT]s, 'who outrage Art.' The article is absent
because of the personification.
94. d : reverting to the gender of ravr : sc. rd fjLecpaKijXXLa.
OciTTov, 'double quick.' Like ocius, the word came to be
duse as a positive. It acquired this meaning partly because
94-97 NOTES 99
(like 3l<t(tov from ^7x0 it was no longer felt to be the obvious
comparative of raxi^ (which it originally was), tclxiop or rax^repop
having been invented, and partly because of the common
military use OoLttov (r) ^d8rjv)= 'quick march.'
^^v jxovov xopov XdpT), ' if only they once get a play accepted.'
A poet who wished to be one of the competitors at the dramatic
festival must first apply to the archon for a chorus { = xopbi'
aheTv), to be provided and trained at the expense of a xo/)??76s.
If he succeeds, he is said x^po^ Xa^eiv ; the archon x^P^^ bidwat.
It is not known exactly on what principle the archon acted,
but it is evident that he gave the preference to those who had
previously won or approached success [ol evdoKijuLovvres Kal
doKi/jLaffd^vTes says a schol. on Plato), and he must have used
his best judgment in the case of new blood. The Athenian
audience expressed its opinion freely by hissing, disturbance
and refusal to listen { = €ko-vpLtt€lv, iK^aXXcLv), and a playwright
who made an egregious failure would ' disappear ' from the
arena. For the expression cf. £Jq. 513 ^aaavl^eLv ttws ovxl TrdAat
Xopov aLToirj Kad' iavrdu, Pac. 801 brav X^P^^ • • f^V XQ
M6p(TLIiL0S.
96. 7dvt}xov, ' virile,' having fertility in matter and ideas, like
a (Tir^pfia ybvtpiov from which something will grow. An egg is
yovLfiop when it will hatch into a chicken ; otherwise it is
dve/iiLatop.
. . &v ovx ciJpois : a somewhat unusual position of &v. Cf.
Pac. 137 dX\', S) fiiX, &v /jloi (tlt'lwv BlttXQv ^det, Eur. Tro. 416
drap X^xo5 ye rrjad' Slv ovk iKTrjo-dfJLyjv.
97. The rhythm of this line is tragic, and XdkoL suggests
quotation.
5<rTts . . XdKot (followed by 6o-Tts . . <|>0€'y|€Tai) : instead of
XaKTjoreTac, Goodwin (if. and T. § 57) calls the use 'final,' but
this cannot be substantiated. Parallel is Soph. Ph. 279
{bpCovra) , . dvdpa 8' ovMv^ hrowop, \ oi>x ficTis dpKiaeieVy ov5'
8<TTLs vbcrov I KdfivovTL (TvXXd^oLTo, where Jebb explains the opt.
as the past indirect of the delib. subjunctive. He treats e.g.
Track. 903 Kprjxpaa iavr^v, hOa ixr) ris elaidoL as an extension of
the same. But we have again to consider e.g. Aesch. Cho.
171 OVK ^ariv 6(TTLS ttXt^v ^julou Kelpacrb vlv and the like. These
are rightly treated by Goodwin (§241) as potential. Other
potentials without dv survived in poetry e.g. Aesch. Ag. 557 rd
fiiv TLS eS Xi^€L€v, Herond. 3. 74 ovdeU a' eiraLviaeLev, Eur. I. A.
418 (bare T€p(p6€ir}s Ibibv, and in prose and comedy in the
expressions ws db^cLev, cus etiroL ris (see note on Plat. Proem to
Ideal Commonwealth 360 b). There is also a well-known
100 THE FROGS OF ARISTOPHANES 97-100
tendency to 'assimilate' the verb of a relat. clause to an
optat. of the introducing clause, but such instances are capable
of a better explanation than the word ' attraction. '
It is generally recognised by comparative philologists that
the best ascertained original sense of the opt. was potential
('may' or 'can,' and, after a past tense, 'might' or 'could'),
and that the opt. of the wish (for example) is derived from
this. The addition of &v is later, the particle serving as a
help-word. It was not &v which justified the optative ; it only
assisted the sense. Is it not, therefore, easiest to suppose that
when, in relat. clauses attached to a sentence containing an
opt. (potential or of wish), the opt. (commonly called ' assimi-
lated ') is used, it is really nothing but the pure potential more
easily retained in such a neighbourhood ? This is apparently
the view of Brugmann {Griech. Gramm. § 560). A so-called
' final ' opt. or ' remote deliberative ' falls easily under this
heading. So the instance here = 'one who could utter.'
Similarly in wishes, e.g. Eur. Hel. 435 rls av irvXwpbs €k dofiojp
fi6\oL, I bans dLayyeiXeLe ('who might announce').
We are apt to be too much influenced by the fact that Attic
Greek had practically ceased to use the &v-\ess potential in
prose (except in one or two phrases) and therefore to look for
too recondite a reason for such an opt. when it occurs with the
assistance of another. Doubtless the opt. in evpots dv helps to
retain the potential 6Vrts XolkoLj but it does not create it.
Meanwhile we call the fut. So-tls (pd^y^erai one of * purpose,'
but the two constructions are in reality simply 'you would
not find a poet who could deliver himself of a fine expression,
i.e. one who will utter . . '
7€vvaiov = * prime,' 'first-rate.' Cf. Plat. Legg. 844 e t7]v
yevvaiav vvv XeyojUievrjv (TTa(t>v\T]v ^ rd yevvaia crvKa, Rep. 372 B
fxa^as yevpaias. pfj^a is not a ' word ' (as the context shows),
but a phrase or expression.
XoIkoi suggests a kind of oracular deliverance. Cf. Plut.
39 TL dT]Ta ^oT^os ^XaKcv ^k rQ>v (jTeixixdriav ; Eur. I.T. 976
TpLTTodos eK xp^<^od XaKCjv \ ^oT^os.
99. TrapaK€Ktv8vv€vjjL€vov, 'boldly ventured'; i.e. an ex-
pression which takes some risks in respect of being received
with approval (inf. 1108). Cf. Hor. Od. 4. 2. 10 seu per
audaces nova dithyramhos \ verba devolvit.
100. al0^pa Albs 8(«)|xdTiov, 'apartment of Zeus' {lovis
cuhiculum), a prosaic burlesque of a prj/ma in the Melanippe of
Euripides dfivvfii 8' lepbv aW^p ohrjcnv Aids (quoted again in
Thesm. 272), cf. 311. There could be no objection to the ex-
loo-ioi NOTES 101
pression 'Zeus dwelling in the sky,' since Homer has Zei)s
aiOipL vaiiov, and therefore we must conclude that, to Ar. at
least, the noun otKrjaLv Al6s carried with it a rather ludicrous
or prosaic suggestion not belonging to the verbal phrase,
perhaps rather like * domicile. ' In doj/uLaTLov the dimin. should
be noted. The vast air is, it appears, but a dw/mdrcov. With
the comic result cf. Plant. Amph. 3. 1. 3 (luppiter) in
superiore qui hahito cenaculo.
Xpovou TToSa. Euripides had said {Bacch. 888) dapbv xp^vov
7r65a ('stride') and/r. 42 n zeal xpovov irpov^aive ttoiJs, personi-
fying Xpbvos. Shakespeare also {A. Y.L.I. 3. 2) has * the lazy
foot of Time. ' Greek literature was cautious with metaphors,
since a quick intelligence was apt to visualise the notion, and
so discover incongruities and frigidities which might escape
those who have no habit of reducing a phrase to distinct
apprehension.
101. <|)p4va ^\v ovK K.T.X. : referring, though not directly,
to Eur. Hipp. 612 i] yXQaa ojunb/xox', V 5^ <ppr]v dvibfjLoros, which
the comedian wittily brings home inf. 1471, as he does also in
Thesm. 275. The meaning of Eurip. is that Hippolytus has
sworn without due cognisance and that his conscience is there-
fore not bound. He had not sworn with full judgment {(ppw)
of the circumstances. Cicero (Of. 3. 29. 107) explains and
upholds the saying. Cf. Ov. Her. 21. 135 quae iurat mens est ;
nil coniuravimus ilia : Ilia fidem dictis adder e sola potest. But
this attitude opens the gate for much casuistry, and the
business of Athenian life could hardly have been carried on if
oaths had not been felt to be absolutely binding.- The bpKos
entered into so many relations of political, social and judicial
affairs in which it was almost the only safeguard (cf. irpowixodia,
dvTCJfJLoala, vTrwfMoaia, i^ufjLocria etc.) that, if the prevailing
superstitious belief in the penalties of perjury were destroyed,
the very existence of society was threatened. The old school,
therefore, regard the Euripidean line as extremely dangerous.
In Arist. Hhet. 3. 15. 8 a certain Hygiaenon, during a law
case, charges Eur. with dai^eia in this verse. But Eur. was
quite innocent of the meaning that the lips might swear while
the mind had no intention to keep the oath.
Commentators do not, however, appear to have noted the
form and rhythm of the present line, which are very different
from those of the verse in the Hippolytus, and, indeed, only
just escape not making a verse at all. It looks as if there were
some other passage in the mind of Aristophanes, which he
proceeds to garble. We should not print (with Blaydes,
Holden, etc.) both lines as quotation, but mark at least eTrtop/c^-
102 THE FROGS OF ARISTOPHANES 101-106
craaav idig, tt]s (ppevos as a irapa TrpoadoKiav, i.e. 'a mind which
refuses to swear by victims, but a tougue which — perjured
itself without regard to the mind.' Euripides had probably-
said in some natural connexion only (f)pha ovk id^Xovcrav ofidaaL
Kad' l€pQ}v. This will explain the difference of tense, idiKovaav
being in the quotation, but iiriopKrjaaa-av Aristophanes' account
of the subsequent action. [If 'tongue' was in the parodied
passage the form would there of course be yXQao-av not
yXQrrav.li
Ka0* Up&v, lit. ' down upon the heads of victims ' = ' while
devoting victims.' Of. Thuc. 5. 47 6/iip6vTU}v 6pKov rbv
[xiyLcrrov Kara iepCjv reXeioov, Eq. 660 /card ^iX^o;?' iraprfveffa \
evxhv TrorjaaadaL XiMpwj'.
103. <r^ . . dp^o-K€i ; Both dat. and accus. are Attic with
dp^aKciv, the ace. being more idiomatic to that dialect. The
emphasis of <r^ must not be overlooked : ' do yoic like that sort
of thing ? ' i.e. * some people do, no doubt ; but do you ? '
(jidXXd : i.e. jult] (X^ye ^' dpiaKCL*'), dXXd k.t.X. 'Don't say
' ' like it " ; I am worse than mad after it. ' Of. 745, and so in
Plato.
104. •?! fXT|v KoPaXd 7* co-tiv, ' I'll swear it's arrant humbug.*
Ko^aXeia' rj irpocnroiTjTLKT) yuer' dTrar^s TraiSid (Harpocrat.). The
particles ^ \ii\v asseverate, as in an oath. Cf. Eur. Ale. 692.
y€ emphasises the adjective.
(OS Kai <rot 8oK€i : (1) ' and you think so, too,' or (2) 'as even
you think (and you are not particularly bright).' The latter
is at least the most humorous.
105. \i.i\ Tov €[j.bv oi'K€i vow : playing upon two senses of
oUelv : (1) ' dwell in ' (2) ' manage ' (inf. 976). When Euripides
{fr. 144 n) says firj rbv ifxov oIk€l vovv • iyCo yap apK^aoo the
whole expression is the tragic and dignified equivalent of
'mind your own business.' So /.^. 331 ovxl deivd ; rbv i/mbv
oIk€lv oXkov ovk idcrofjLaL ; ('manage my own concerns'), Andr.
581 IT Cos ; ?j rbv dfibv oIkov olKr)<J€LS juloXwv \ devp' ; ovx ctXts (Tol
rCov Kara liirdpTTju KpareTv ; Prose would use 8lolk€?p and Ar.
plays with the other sense. In fir] top ifxbp oUei povp- ^xets
yap — oLKiap there is also perhaps the point ' for you have ' —
but then instead of ' a povs of your own, ' he will only go so
far as to admit that Herakles has 'an oi'/cia.' ['My mind can
mind itself: never you mind.']
106. Kal \i^v ar€\y(os y^ : join Kal /jltjv . . 7e, or, in other
words, ye belongs to the sentence. Lit. 'indeed, and it appears
wretched stuff ' = ' well, I can only say, it appears . . ' In
107-115 NOTES 103
iraiATrovqpa there may be either a moral or an aesthetic sense,
or both.
107. Seiirvciv |X€ 8t8a(rK€ : i.e. that is your forte. Cf. 62 n.
108-112. wvircp ^v6Ka . . I'va \i.oi . . tovtovs. If we
punctuate, as is commonly done, with comma at Kip^epov,
the construction is 'but the matters for which I came, (viz.)
in order that you might tell me your friends . . tell me them,'
where ' them ' should grammatically be raOra, looking back to
the rather distant divrrep 'iveKa, but is diverted to tovtovs by the
intervening ^hovs. But it is more idiomatic to put a period
at K^p^epop and render *but the reason why I came (was this,
viz.) in order that . .' Cf. Plat. Hep. 330b od tol eveKo.
7]p6/Jir]v, ^v 5' e7c6, 6tl jjloi ^do^as ov <r(p6dpa dyaTrdv rd xP'HI^^t^
('why I asked was this, because - . '). Cf. Fhaedr. 248 b,
Lack. 184 B etc.
109. Kara tri\v |jL^|JiT]<riv : even comedy does not require
r7]v (TTjv, since the meaning is 'in an imitation of you.'
110. €l 8€oC(j.T]v : primary tenses would have given ^pxofiai
Lua (ppdarjs, idv 86p(x}/jiaL.
€Xp« = ixP^o^- It does not appear why the natural accent
of Mss. has heen so frequently altered to ^XP*^*
€Trl Tov K€pp€pov. Tlic twelfth labour of Herakles was
' to fetch ' Cerberus.
112. \i,(i.4vas, dpTOTTcoXia k.t.X. The words arc spoken with
calculating pauses.
113. avarrav\as = dva7rav(TTTf}pLa, 'resting-places by the road ' ;
cf. Plat. Legg. 625 b dudTravXat Kara t7]v odbv, Cjs clkos, irpiyovs
6vTos rd vvv iv rols vxprfKoh Hvbpeaiv elai (TKiepal. For travel
in ancient Greece see Becker's Charikles [Becker- GoU], first
scene and Excursus.
eKTpoirds : places where one could get off the road, e.g. to
' outspan ' for a while. Not the same as the Latin deversoria,
which were inns {KarayibyLa, KaraXijaeis) ; cf. [Eur.] Bhes. 880
veKpoijs I ddirreiv Keke{i€iv Xeujtpdpovs /far' iKVpoirds (bends or
recesses beside the highway).
114. Siairas : apartments, lodgings, or 'flats.' Cf. diaeta
when borrowed into Latin : Plut. Mor. 667 c A.U'qxpos (a spa)
XOiipiov KaT€(TK€va(T/uLhov oiKrqaedL koX ^ta^rats Ath. 270 C.
•n"av8oK€VTpCas : humorously instead of irav^oKeia. Inns
were frequently kept by women (cf. 549) of unrefined class.
115. KopcLS : still a great plague in the common Greek inns,
104 THE FROGS OF ARISTOPHANES 117-121
so that travellers often sleep in a sort of bag. The ancients
carried their own o-rpw^cara.
117. ^^pd^c Twv 68(01/ SiroDS k.tA. The gen. of that concern-
ing which one speaks is illustrated by Soph. Tr. 1122 rris
lULTjrpbs ijKO) TTJs ifiTJs (ppdawp iv oXs \ vvv ianv, Ph. 440 cLva^lov
fih (pcjTOS e^epyjaofxai | . . rt vvv Kvpel, Plat. Ilep. 439 B rod
ro^drov ov /caXws ^xet X^yeiv otl k.t.X. It will, however, be
perceived that in these instances, as in the present case, the
gen. does not stand alone with the verb, but is followed by a
clause which defines that matter, appertaining to the thing or
person in question, which is to be told or asked. In the
simple Tov KacriyvifjTou ri <pr}s ; (Soph. El. 317) the order might
be rl rod Kaa-LyvrjTov (prjs ; ' what matter of ( = appertaining to)
thy brother ? ' This is the same partitive construct, as in
toutS crov OavjULOL^cj. We may next substitute for the single
words TL or tovto a whole phrase, as in the text and the
illustrative passages. For (ppd^e tCov odQv rr^v raxl<yTr)v or
OTTola TOLXt-crTa d(f)i^6jUL€da we get <f>. rCov odwv ottws k.t.X. ('how'
. . virtually = ' that way by which ' . . ).
120. rCva.; For the repetition of reflection cf. 460, 1399.
121. [kia jJL^v ^dp K.T.X. There are three chief roads to death,
called in modern times 'dagger, cord, and bowl.' Among the
Greeks these were ^icpos, ^poxos, Kobveiov (Zenob. 6. 11), although
in schol. to Pind. 0. 1. 97 the third is varied, viz. ^icpos, dyxovrj,
KprjfxvSs. To these (alternative) combinations refers the pro-
verbial expression ra rpia r&v els ddvarov. See Meineke Com.
Frag. ii. pp. 867, 1165. Herakles here enumerates ^p^xos,
KdjveLOv, Kpriixvbs.
dirb KoXia Kal Opaviou, 'by way of Rope-and-StooL' The
humour cannot be translated. The expression contains (1)
probably a irapd irpoadoKlctv and possibly a pun, the words ActtXw
Kal dpaviov coming instead of some locality from which one
might start, and of which the name was not unlike part at
least of KdXii) Kal dpaviov (cf. rj did dvelas 124) ; (2) certainly a
play upon the sense {a) dirb KdXw (ttXcTv, ^XKcadat,) as used of
being ' towed,' and d-rrb dpaviov {-rrXeiv) = ' by means of upper-
bench rowing' (i.e. making a voyage by means of tow-rope and
upper rower's bench), and another sense {b) of mounting a stool,
fastening the noose, and then kicking the stool away (see
Theoc. 33. 49 sqq. ).
The dpavTrai were the highest or inmost tier of rowers in
a trireme and were in the best places. Herakles is describing
a fairly pleasant way of travelling. It is probable that in some
circumstances, while a vessel was towed, the towing was assisted
122-128 NOTES 105
by rowing on the one tier only. This would be not simply
TrXelv dirb KaXo) but tt. dirb KdXca Kal Opaviov.
For dirb of the resources and working material of. dirh
XyjKvdiov 1209 n. This use is extended till it becomes purely
modal, e.g. dirb (nrovdijs or dirb iroiov hv rdxovs dirocpijyoi
(Xen. An. 2. 5. 7).
122. Kp€ji.d(ravTi travTov : a concluding surprise.
•7rav€. As an exclamation * Stop ! ' it is Attic to say either
Traue or iravaaL (but neither iraijov nor iravaov). Especially cf.
At. 889 TraO' is KdpaKas^ iravaai. koXCov. This use of the active
is permitted (though it is not frequent) even with a genitive
(cf. 580) or a participle {Pac. 326 irave TraO' dpxoiJfJ-evos). The
intrans. use of the trans, irave in this exclamation began with
the sense * stop (it ' or ' things ').
irvi^r]pdv. He had asked for a road not dep/jLjjv dyav (119).
This one is positively ' stifling. '
123. |vvTO(i.os T€Tpt|X(i€VT] : (1) as applied to a road=*a
short cut, a well-beaten track'; (2) as applied to hemlock =
'shredded and pounded.' In Plat. Phaed. 116 d (of the hem-
lock of Socrates) iveyKdro) tls t6 (pap/iaKov, el TirpiirTai, el d^
jXT), rpLxj^droi 6 dfdpojTros, 117 A to (pap/iaKov ev ktuXlkl cpipovra
TeTpi/JLjUiivov. For ^{/vtojulos cf. the use of ri/JLveiv, ivri/xveiv
^dpfiaKa.
124. Tj 8id 0v€(as : in which the hemlock is pounded ; cf.
Pac. 230. Doubtless there is a play upon some local name,
e.g. Qpia (there was a Thriasian gate of Athens) : 'the way
through — Mortar.'
125-126. x|/vxpdv 7€ . . : sc. X^yets. The first effect of hetn-
lock is to chill and deaden the extremities ; cf. Plin. H.N. 25.
13. 95 semini et foliis (cicutae) refrigeratoria vis. Quos enecat
in&ipiunt algere ah extremitatibus corporis. The numbness
ultimately reaches the heart. The best comment on this
passage is Plato's account of the effect on Socrates {Phaed,
117 e) €r(p6dpa Trtecas avrou top 7r65a ijpero el aladdvoiTo, 6 5'
ovK ^(pT). Kal fierd tout addts rds KV-q/jLas. Kal iwavKjuv ourws
7]fjuv iTredelKVVTO 6tl xj/^xo'-'''^ t^ /^ctt irrjypvTO.
128. «s ovTos 7€ \i.i\ PaSwTTiKOv, 'since I am not much of
a walker'; lit. 'on the assumption that . .' In such cbs-
clauses /jlt) is regularly used in virtue of the imperative (here
(ppdaov understood) ; cf. Soph. Ant. 1063 ws /jlt) 'pLTroXTfjaiov
'iadi T7]v ifiT]v <f>pha, and with gen. absol. Thuc. 7. 15 cos
T(Jbv (TTpaTKaTcou fxT] /jLejuiTrTCov yeyev7]fjt,4po}V, ovtco ttjv yvd!}/j.7]v ^x^'^^t
Plat. Hep. 827 C cos roivvv firj aKovaoixivoiv, ovtco diavoe^ade
(Kiihner-Gerth ii. p. 200).
106 THE FROGS OF ARISTOPHANES 129-134
129. KaOcpirvcov. The temple of Herakles Alexikakos was
on the heights of Melite and the Cerameicus lay below {Kad-)
to the north. Cerameicus lay both inside and outside the
AiirvXov gate, the part called 6 ivrbs reixovs running from the
gate to the Agora, while 6 ^^w lay between the gate and the
Academy. According to Pausanias (1. 30. 2) torch-races (Xa/i-
iradrjdpofJLia, \a/x7rds, less often \aixTrabr](f)opla) began at the altar
of Prometheus (as irvpcfibpo^) in the Academy and continued to
the city, probably inwards as far as the Prytaneum (see infra
1093 sqq. n.). There were also torch-races in honour of
Hephaestus and Athena (at the Panathenaea), but we have
no definite information as to details.
€s K€pa}j.€iK(5v. The article is commonly (but by no means
always) omitted after a preposition with the name of a recognised
part of the city, e.g. ayopa, 7r6\is (when = d/f/)67roXts), TrpvTavelov.
130. Tov iripyov. Some have fancied this to be the tower
of the solitary Timon Misanthropus (Pans. 1. 30. 4), a character
referred to (without mention of a tower) in Lys. 809, Av. 1549,
and by other comedians, Plutarch and Lucian. Shakespeare's
Timon of Athens gives a very free treatment to the theme.
Bat we may be tolerably certain that Aristophanes would
have brought in the name [rhv 7r{>pyov tov Tl/jloovos). The most
natural explanation is that the allusion is simply to some
particularly high ir^/pyos, commonly known as 6 v\l/r)\6s irvpyos,
among those on the walls of Athens, used as a look-out.
131. d<|)i€fj.€VT]v T^v XajJLirdSa, 'see the torch -(race) being
started.' So 'Kafxirdda rp^xeiv, vlkclv ; cf. Plat. Hep. 328 A
XafJiTTCLS ^ffraL irpbs €(nripav rrj deep. In the torch-race of the
Cerameicus the simpler form seems to have been used (Pans.
1. 30. 2), viz. with single competitors instead of relays or ' sides.'
IvTcvOcv : with ded.
132-133. €'7r€t8dv <|>o)(rtv . . civat, 'when they say "let
go," do you be good enough to let yourself go.' The infin.
does not depend on 0w(riv (for KeXeijcaatv), but quotes the
spectators' own word, i.e. an infinitive-imperative like the
cXvai o-v following. Cf. Vesp. 386, Mtb. 850, Thuc. 5. 9 av 8i,
KXeapiSa, al<pvidi(x}S rds irijXas dvot^as eireKdetv /cat iireiyeadaL,
Xen. Oec. 3. 12 irdvTOJS, & Kptr6/3ouXe, diraXridevaaL vpos i]iJ.ds.
The force of such infin. is 'he kind enough to . .' dvai for
dcpeivai belongs to the older language, surviving in a phrase of
the games.
134. diroXcoratix' dv . . 8vo : playing on two senses : (1)
'I should waste two brain-rissoles,' (2) 'I should dash out
the two lobes of my brain.' A dptov is soft or minced meat'
137-139 NOTES 107
fish, marrow, eggs, etc., seasoned, and wrapped and cooked in
fig-leaves. Eq, 954 drfixod ^oeiov dpiov, Ach. 1101 Bpiov rapixovs.
They were delicacies, and Dionysus would not care to waste
a couple of them. The two halves of the brain in their
membranes suggest such 0p?a.
137. liCYcLX-qv . . irdvu. After these words there is a slight
pause, and then dpucro-ov intensifies the previous description :
*a lake — a very big one — bottomless.' Exactly similar are
the position and intonation of deivoTara in v. 144. Herakles
is trying to frighten Dionysus. The boat is only a miserable
little one (irXoiapCw), ' only this size ' {rvvvovnaC, accompanied
by a gesture). Charon's boat is a crazy thing in Yerg. Aen.
6. 413. The lake is, of course, Acheron ; cf. Luc. Luct. 3 i]
'Axepovaia Xl/jlvt} irpoKeLTai irpibrr] dexofJ-^vr) tovs diravTQvras, fjv
ovK €VL diairXevaaL i) TrapeXdeiv avev rod iropdjj^oj'i* ^adela yap
irepdaai tols iroa-l Kai diavrj^aadaL iroWrj, Verg. Aen. 6. 295 etc.
For the probable references to Athenian topography see Introd.
p. xxxiii.
139-140. dvi?|p y€p(av vavrqs Stdjct : rather render ' an old
man will carry you across as waterman ' than join di/T]p y^pwv
vavT-qs. For Charon's age cf. Verg. Aen. 6. 304 iam senior, sed
criida deo viridisque senectus.
8v* opoXo) : (1) it might seem natural to explain that the
sum is for Di. and Xa. (since Herakles can hardly anticipate
the refusal of Charon to carry the latter). It is true that he
says ae . . dcd^et and not o-(f>do, but Dionysus might ' include '
his slave. Yet in v. 270 Dionysus pays ra?j8oXc6 for himself
alone. (2) We may suppose that the usual fee of one obol is
here raised to two simply to introduce a humorous reference.
So Murray explains ' Charon traditionally took one obol . .
But Theseus, the fountain-head of the Athenian constitution,
has introduced the two-obol system in Hades.' (3) The two
fares to and fro may be combined (Merry, who quotes Apuleius
Met. 6. 18 in ipso ore duas ferre stipes of Psyche's fare). This
is perhaps rather too much to extract from the words, and it
is not altogether likely that Dionysus would pay for his return
in advance and say nothing about it (270). (4) Perhaps a
dub^oKov (or 5i;' o^oXdo) was sometimes treated as the proper
fee for Charon. (So the schol. here, but he is probably only
led to say this by our passage itself. )
It is certain that the 8avdKr} or KartT-qpiov was commonly
regarded as a single obol ; cf. Luc. Lnct. 10 o^okov . . ixiadbv
tQ TTopdfie? TTJs vavrCKias. Such an obol has been found in the
mouths of Greek skeletons. Juv. (iii. 267) has trientem. On
108 THE FROGS OF ARISTOPHANES
141-145
the whole, therefore, the explanation (2) given above is most
probable.
141. ws }i.iya 8vva(r9ov k.t.X., *How might)'^ everywhere are
those two obols ! ' (like the useful 'threepenny-bit'). This
is said with special allusion to recent legislation introduced
(Arist. Co'ust. Ath. 28. 3) by KXeo^wi/ 6 Xvpoiroids, 6s Kal ttjv
dico^eXiav iirbpLcre irpQros. The dico^eXia is the fund {to OeojpLKOv)
from which were dispensed on each day of the Dionysiac
festival two obols to each citizen who claimed them. The
innovation is ascribed to Pericles on much later and weaker
authority (Plutarch and Ulpian). 'The Diobelia appears in
the accounts for the first time in 410 B.C.' (Gilbert, Greek
Const. Ant. Eng. tr. p. 343). The audience would readily
take the point, especially those who sat ep rotv bvotv o^oKoiv
(Dem. de Cor. § 28).
Besides the theoric two obols, that sum played its part
in other connexions. For example it was allowed as the
(TLTrjpicnoi^ (ration-allowance) for a hoplite (Dem. Phil. 1. 4.
28) ; it was sometimes pay for a seaman ( Vesp. 1188) ; and it
was a common fee for seers and dream-readers {Vesp. 52).
But there is no proof that the ixiados diKaarLKos was ever two
obols, and the fjnadbs €KK\7}<Tia(TTLK6s (which did take the form
of a dtdo^oXov for a time) was not yet instituted. We may
conclude that two obols represented the daily 'living wage'
of an Athenian about the end of the fifth century.
142. KOLKCio-c : cf. 77 {iKeidev), 82.
0T]<r€vs. The two obols are a specially Attic institution,
and in Hades they are due to no less a person than the time-
honoured Attic hero. It is as if we accredited King Alfred
with the uses of the omnipresent threepenny-piece. Theseus
had helped Peirithous in his attempt to carry off Persephone
from Hades, and had been kept in durance there till delivered
by Herakles. Herakles can therefore speak personally of what
Theseus had done.
i^-yaYCV : sc. avro. Such an omission is not of the most
frequent ; cf. Hom. 11. 6. 124 rts dk (Jtj iacn, (pipLare, KaTadvTjTcov
dvdpibTTojp ; I ov fJL€v ydp tot 'oTrwira (sc. ae). (Kiihner-Gerth
§597. 2 b.)
144. Sctvc^Tara : see 137 n.
^KtrX-nTTc, 'try to frighten.' Goodwin, M. and T. § 25,
Gildersleeve, Gk. Synt. § 192.
145. poppopov : burying in mud specially awaited the
uninitiated ; cf. Plat. Phaed. 69 c 6s hv clihijtjtos Kal uT^XeaTos
146-15 1 NOTES 109
els "Aidov d(piKr}TaL ev ^op^dpip Keiaerai. But the wicked in
general had a similar fate : Rep. 363 D toi>s 5e avoaiovs Kai
ddiKOvs eis TrrjKbv nva Karop^Trovo-LP 4v "Acdov, Luc. Alex. 25
ipojxivov yap tlvos tI irpdrreL ev "Aibov 6 'EiriKOvpos ; MoXf/SSiVas,
^077, ^x^^ TT^das €P ^op^dpcp Kddrjrai. Vergil {G. 4. 478) speaks
of limus niger in the locality here described. A similar notion
occurs among the punishments in Dante's Inferno.
146. Kal cTKoip dcCvcov, ' and filth that ever flows ' : an
obvious burlesque of something more dignified, e.g. ijdwp deivcop.
148-151. tX irov . . €|€7pd\|/aT0. The sins which merit this
punishment are those of the traitor, the fjLriTpdXolas and irarpa-
\oias, the perjurer and — the admirer of Morsimus' poetry.
All is delivered with great solemnity. We can have little
doubt that there was a well-known formula connected with the
less esoteric part of the mysteries, setting forth the chief
classes of sinners whom the pure and initiated will see punished
in Hades. From this source Aeschylus would draw {Bum.
269) his t^pTj 5^ Ket tls dWos ifkLTep ^porup \ rj deop ^ ^cpop \ tip'
dae^Qp Tj TOK^as (piXovs, and Vergil his hie qidhus invisi fratres^
diom vita manebat, \ pulsatusve parens, autfraus innixa clienti,
etc. {Aen. 6. 608). The humorous climax comes the more
effectively to the audience from their familiarity with this
section of the 'catechism.'
151. '^ Mopo-CfjLov Tis K.T.X. The repetition of tls has led
to the suggestion ^ cl by Meineke. But with the distance
since the introduction of the sentence Greek did not feel the
awkwardness. Of. Thesm. 335-345 et tls iirL^ovXeijeL tl Tip drifxip
KaKbp . . I . . ^ 'TTLKTjpvKe^eTaL I ISiVpLTridr] . . j -^ Tre/JLTro/JLi^pr)
TLS dyyeXias ^pevde^s <pip€L, \ ^ /jlolx^s et tls e^airaTq. xj/evdrj Xiywp \
. . j "^ dCopd TLS 8i5(x)(Ti ypavs /c.r.X., Eur. Hec. 1178 et tls yvpoiKas
tCjp irplp etprjKep KaKws, \ i) pvp X^yiop tLs icTTLP.
Mop(ri}xov : grand-nephew of Aeschylus and a bad poet of
tragedy. Various scholiasts call him iroprjpSs, &ixeTpos, virb-
\pvxpos ; cf. the terrible imprecation Eq. 400 ei ak jultj ixlgQ, . .
dLdaaKoifjLTjp Trpo<Tg,5eLP 'M.opaifxov Tpayipdiap, Pac. 801. He is
said, however, to have been a 'good eye-doctor' (schol.).
€^rypd\|/aTo, ' (ever) got copied out ' (or ' copied out for
himself). An author ypd<p€L, his amanuensis eKypd(peL, but
a person who makes or gets made a copy for his own use
iKypd(peTaL. So when one writes down for his own use what
another says ; cf. Av. 981 6 xpv<^f^^^ . . \ 6p iyuj vapd TdirdWcopos
i^eypa\l/dfjLT]P, Vesp. 538 Kai firjp 6(t' Slp Xi^rj y d-rrXQis /mprjiuLda-vpa
ypdxpcj 'yd), Soph. Phil. 1325 Kai raGr' iiriaTii} Kai ypdcpov
ippepQp ^(TOJ.
110 THE FROGS OF ARISTOPHANES 152-155
162. i\pi\v 76 TTpbs TovToiori Kel . . : brachylogic for ixpW
. . elireiv Kel. In usual prose perhaps we should have had
^XPW TTpoaKeladai rb Kel . . For the conversational omission
of an infin. cf. 1279.
153. T-^jv 'jruppC\'t]v . . rfjv Kivno-Cov : the iryppixv was a
quick dance in armour derived from the ancient war-dance,
and recalling the crouching, springing, bending aside, etc., of
actual fight (Plat. Legg. 815 a, Ath. 630 d). Here the name
is applied to the song and music which the dance accompanies.
Cinesias was a dithyrambic poet of whirling words and of
ill repute, not only with Aristoph. {Av. 1372 sqq.) but also
with Plato the philosopher [Gorg. 501 e), Plato and Strattis
the comedians, and Lysias the orator (Ath. 551 d). He was
remarkably thin (Ath. I.e.), and that peculiarity is referred to
inf. 1437. The art. t-^iv must allude to a notorious composi-
tion invented (perhaps recently) by Cinesias.
154-157. The after-life of the initiated is described in terms
which (like those concerning the uiiblest, 148-151) belong to
the current exoteric doctrines of the fjujarai. That there was
such a recognised account is clear from the similarity of this
passage to one in Pindar {Thren. fr. 1): Unto them shineth
the might of the sun, and in meadows of dcep-hucd roses is their
deTnesne, shaded with incense -trees and heavy with golden fruits.
And in horses and in games some take their joy, and some in
harps, and a perfume is shed throughout that place delectable.
Cf. Verg. Aen. 6. 638.
It should be noted that Aristoph* ventures no travesty with
this. Nevertheless it appears very probable that in the words
^<rTr€p €v6dS€, in Oidcovs €v8aC|xovas dv8p«v ^vvaiKwv, and
especially in Kporov x.€tpoav ttoXvv, he is making allusion to
the festive audience in the theatre. When the chorus comes
in there will be Kpdros iroX^s in the shape of clapping. This
underlying meaning would be assisted by the actor's gestures,
but is not inartisticall57- pressed.
154. cvT€v0€v, 'next.'
avXcdv : in Pindar the (pdpfjLty^ is played among the blest.
But the ai;\6s was used at the mysteries, and the choric lyrics
(which the /xvcrrai are to sing, 312 sqq.) are accompanied by
the flute.
irepCewriv = ' will float around you' ; cf. Soph. Ant. 1209 r^J
5' ddXias dcrrjiuia irepi^alvei ^oijs.
155. <|)ws KoXXnTTOv »<nr€p €v0d8€ : the ivOadi of Meineke
is wrong. The meaning is 'in this world,' not 'on this spot.'
1 56-1 66 NOTES 111
The light of the underworld is for the most part only darkness
visible, but in the abodes of the blest there is bright day,
XdfjLweL ixivos deXiov (Find. I.e.), or, as Vergil expresses it {Aen.
6. 640), largior hie campos aether et lumine vestit \ picrpiireo,
solemque suum sua sidera norunt. So inf. 454 fibvoLs yap i]fup
tjXlos I Kal (peyyos VKapbv ^(ttiv.
156. [xvppivwvas : Pindar has (poiviKopodois t evl XeiixdovecrdL
irpodcTTLov avrCbv Kal Xc^dyq) (TKiaphv Kal xputr^ois Kapirois fSejSpLddSy
and Vergil {I.e.) speaks of locos laetos et amoena vireta \fortuna-
torum nemorum.
157. dvSpwv ■yvvatKwv : i.e. dvdpibv Kal yvvaLKCov. Such
asyndeton is not very frequent in comedy ; yet cf. Ach. 625
TTCoXetj' dyopd^eiVf inf. 861 daKvecp ddKveddaL. In Vesp. 1081
avv 86p€L aijp dairidL is an echo of tragedy. For the latter cf.
Soph. Ant. 1079 dvdpCjv yvvaiKihv crois 56fiots KcoKij/uLaTa, Aesch.
JEum. 1028 Traidcop yvpaiKcop.
159. vi\ Tov A^tt . . |JLv<rTif]pi.a, ' (talking of mysteries) I, at
any rate, am playing the donkey's part at them.' 7o\iv =
* true, so far.' There was a sarcastic proverb 6pos dyei ixv^ri^pia^
derived from the fact that the sacred utensils were carried from
Athens to Eleusis by donkeys, whose only part in the cele-
bration was the hard work. There is a play on the senses of
&.y€LP '. (1) 'keep,' 'celebrate,' as in Eyeip eoprrip, (2) 'bring,'
' carry ' (like pijes <p6pTop dyovcn, an old use, generally replaced
by <f>^p€LP, but retained in an old saw). The modern coster's
donkey similarly has his 'day at Epsom.' For the form of
expression Svos dy<» k.t.X. cf. Lys. 695 derbp TiKTOPra KapdapSs
(ere) ixaieTuaoixaL, Cephisod. (Com, Frag. ii. 883) iyCo 8k Toh \6yois
6pos ijofjiaL, Verg. IJcl. 9. 36 (videor) argutos inter strepere anser
oloreSf Cic. de Or. 2. 57. 233 docebo s^is oratorem.
160. TttvTa, 'this baggage.'
TOV irXcCo) xpovov : not a rare use of the article with xpo^o^ ;
cf. Thuc. 4. 117, 5. 15, Aesch. Ag. 626 is top ttoXvp . .
KapTTovadai xpovop. The time which is yet to run on is set
against e.g. top fi^xP'- ^^^ xp<^''of.
[These two lines are an aside, and do not interrupt Herakles.]
161. 8€T|: 2nd pers. of 5^o/xat (cf. 110) rather than 3rd
from 5e?.
164. Kttl x**'»'P*> 'and so, good-bye.' x^^P^ can be used
both at meeting and parting {salve and tWg)^: 'good-day,'
while vyiaipe commonly = 'ya^^, and was generally restricted
to that sense.
166. TTplv Kal KaTa0€<r0ai ; ' before I have so much as got
112 THE FROGS OF ARISTOPHANES 166-174
it down ? ' Xanthias is annoyed at the small respite he has
had, and speaks hyperbolically.
ji^VTOt : of affirmation {/j,4v tol), * certainly,' 'I'm telling
you' (cf. 171); a frequent use in both positive and negative
sentences.
167. jJi-fi 8f]0* : sc. TOVTO etirris (KeXeijarjs).
168. T«v €K<))€pojJL€va)v : iK(popd is the common term for a
funeral.
6<rTis : not 6s, since one of a class is meant, not a definite
person.
kiri TovT* ^px€Tai, 'is on that errand,' or 'has that (express)
object'; sc. to visit Hades (not t6 4K(p^p€(rdaL). The phrase
iirl TOVTO (or Tode) ^pxeadat should be recognised as correspond-
ing to the Latin id (hoc) agere. For the rather vague reference
of TOVTO cf. 358 ^(t)fio\6xoLS iirecTLv x^^P^f- f^V '^ Kaipip tovto
iroLomiv {id agentihus), and for the particular expression Eur.
Bacch. 967 AI. iiria'qixov 6vTa iracnv. TIE. eirl Tod' ^pxopiaL
('that is my object'), Xen. An. 2. 5. 22 dXXa tl 8r}, vfids i^bp
dTToXiaai, ovk eirl tovt ijXdofiev ; ('why did we not make it our
business ? ')
169. TOTC \i &-y€iv, 'then take me' (mss.) and t<5t* 'i\L*
iLyeiv (Bergk) are equally possible, but there is no superiority
in the latter.
&76IV : either as imperat. (cf. elvaL 133), or we may supply
KeXeiju) from UeTcijo} (167) despite the intervening fMicrdwaat.
170. [The bearers and corpse are a irapaxopriyTjfjLa or irapa-
(TK'f)VLov (the proper term is disputed ; see Diet. Ant.).]
rovrovC, ' a corpse yonder. ' [The reading of the best Mss.
is better than Elmsley's tiv* €K<(>^pov(ri. The sense is 'for
certain persons are carrying a corpse yonder ' = ' for yonder
are certain persons bearing a corpse.']
172. PovX€i : not = i6i\€LSj but 'dx) you want . . ?'
o-K€vdpua, ' a bit of baggage, ' depreciating the amount.
173. TcXcis : either present ('are you paying?*), or, less
vivaciously, future (cf. 176).
174. vircLYeO* vjxcts ttjs 68ov. He turns away from Di. to
his bearers ; hence v/meTs, ' get on, you men ! ' This sense of
virdyeiv is frequent. The gen. is strictly partitive ('some of
the way ') ; cf. Xen. An. 1. 3. 1 o^k i<l>a(Taif thai tov 7rp6(rw,
Herod. 3. 105 wpoXa/jL^dveLv ttjs odov, Soph. Aj. 731 dpafJLov(ra
TOV irpoaojTdTio. [Not 'get out of our way,' which makes a*
I75-I8I
NOTES 113
doubtful construction and takes from the contemptuous in-
difference of the corpse.]
175. w 8aijidvt€ : expostulatory, as often in Plato.
€av SvijlPw, 'in case I can come to terms'; cf. 339, 1517,
Thuc. 2. 5 Xbywv irpCoTov yevofiivoiv, ijp tl ^vfi^aiv oj/Jiev.
177. €vve* opoXovs : a drachma and a half, as a compromise.
dvaPiotT]v, ' strike me alive (if I will) ! ' Being dead he
cannot say the usual airoddvoLixi or airokoifxiqv,
180. wdir, irapaPaXov : the voice of Charon is heard, and
the boat comes into sight immediately afterwards. We may
suppose that some sort of boat enters the orchestra on rollers,
and that at v. 270 it is withdrawn in the same fashion. The
change of scene, if not wholly imagined, would be produced
by a change of the painted hangings which hung upon the
temporary wooden structure {irpoaK-qviov) serving as back-
ground. Possibly the weplaKTOL may already have been used
as the easiest way of suggesting new surroundings. It should
be noted that the change would occur at v. 184. Here there
is not sufficient pause even to prevent the line from being
metrically completed by the new speaker.
wdtr. In V. 208 cuott, Btt is used in setting the time for rowing.
(hSir cannot therefore be limited (with schol. on Av. 1395) to
the stopping of the rowing (i.e. = ' easy ! ' or ' avast ! '). At v.
208 (q.v.) a schol. calls it iXariKbu iiri(pd€yij.a. There is
nothing in the passages containing wdir to show that it was
more than neutral, i.e. a KeXev/ma calling attention, but depend-
ing for its application on the circumstances or attendant words.
irapapaXov : lit. 'bring your boat alongside (i.e. to shore).'
The middle may be used without an object (cf. 269) or with
one {Eq. 762 ttjv dKarov irapa^dWov). In the former case we
may either supply to ttXolov or regard the verb as intrans. (cf.
the act. Trapa^dWetv). The use of the middle is due to the
reflexive sense implied, viz. 'bring yourself (in your boat)
alongside.' So evrideaBai, e^aipeiadai regularly in regard to
goods in one's own ship. Charon is apostrophising himself;
there is nothing unnatural in a boatman, as he reaches shore,
singing out ' Easy ! lay her to ! ' [The notion that he has
another person assisting on board is contrary to the legends of
Charon, is dramatically inconvenient, and leaves no reason for
the subsequent treatment of Dionysus.]
181 sq. XffxvT] v^ ACa | ai)TT]VTlv t\v k.t.X., 'why, this is a
lake, one which ' . . (not ' the lake '). aijT-r] by attraction for
TovTo, according to the common, but not invariable, practice.
I
114 THE FROGS OF ARISTOPHANES 182-185
(Kiihner-Gerth i. pp. 74 sq.) Cf. Nub. 200 ST. ri yhp rod'
iariv ; eiir^ juol. \ MA. dffTpovojuia jxkv avT-qi.
182. ^v ^(|>pa^€, ' which he was telling us about ' [Hihernice,
'was after telling us of). Cf. 275 oOs ^Xeyev, Plat. Phaedr.
230 A ov Tode fjv to devdpov, icf)' oirep 9jy€s 7j/j.ds ; so Yerg. Aen.
6. 160 multa inter sese vario servione serehant, \ quern socium
exanimini vates . . . | diceret.
184. X^-*-?' ** Xdptov : for the three irpocTcpdeyixara see 37 n.
The schoL, on the authority of the ancient grammarian
Demetrius, says that the line is taken from a satyric play of
Achaeus. If so, Aristoph. is deriding it, after the manner
in which Thomson's ' Sophonisba, Sophonisba, ! ' was
ridiculed.
185-187. Tis €ls dvairavXas k.t.X. These lines are evidently
a parody of the cries heard in the Attic harbours when a boat
or ship was about to depart and was ready to take passengers
(e.g. for Salamis, Aegina, Epidaurus, and farther). They
correspond to the old London calls of the omnibus-conductors,
e.g. ' Who 's for the Bank ? ' ' Who 's for Blackfriars' Bridge ? '
First comes the general destination of the boat to the places
' where the wicked cease from troubling and the weary are at
rest ' ; then some of these are enumerated. In all probability
there are puns upon the names of places familiar to the
audience. It is of course rather hopeless to guess what these
were, since it is part of the humour of Aristoph. to jumble in-
congruously the names of foreign parts, Attic demes, etc.
Moreover a Greek pun is very elastic. Murray ingeniously
suspects that in A-qdrjs irediov, 6vov 7r6ifas, Taivapov we have a
reference to ' a proposal, by some member of the war-party, to
take the offensive against Sparta by sailing round the Laconian
coast — as Tolmides had done — and landing at Ae^Krjs iredioy,
"Ovov Vvddos, Haiuapou.' Without being too definite it appears
highly probable that the (otherwise strange) addition of Taivapou
is justified by some contemporary circumstances. That word
then becomes a revealing irapd irpoadoKiav, the other places
being imaginable localities in Hades itself. We may render
' Who 's for Peace-and- Quiet, Oblivion Plain — or Cuckoo's Nest ;
for Deadmin's Rest — or the Deuce — or — Taenarum ?'
Perhaps as an alternative suggestion to that of Murray, it
may be guessed that, in the present acute stage of Athenian
troubles (/ca/ca /cat TrpdypLara, and see Introd. p. xxiii), there
were those who, being (like Dionysus) faint-hearted, had
mooted some project of leaving Athens for a new home (as
many of the Phocaeans left Phocaea for Corsica Hdt. 1. 165,
and as some Athenians proposed at the time of the Persian
i86-i87 NOTES 115
invasion Hdt. 8. 61). Perhaps various places, mostly distant,
were suggested and Aristoph. satirises the notion as visionary
and impossible ; to him such places are but A'f)d7]s ireUov and
''Ovov irdKes — in fact to go to them is to go is /c6pa/cas. See the
following notes.
186. Aifj0T]s TTcStov : the first region across the lake in the
topography of Lucian {Luct. 5 irepaiojOevT as de ttjv XifjLvrjv is rb
€L<T(a \€Lfji<hp virodex^Tai jmiyas, Tip dacpodiXii} Kard<pvTos, /cat irorbv
/iivrjfjLTjs TToXijULLOP. Arjdrjs yovv dLCL tovto (bvo/jLacrrai). Plato {Be]).
621a) also calls it ireUov ; Vergil {Aen. 6. 709) has campus,
his topography, however, being different. [There is no river
Lethe in classical Greek.]
^ €ls : with synecphonesis ; not ij 's, since is is not used
before vowels in comedy.
6vov iroKas : 6pov irbKes (or ttokol, a form wokul being very
doubtful) is among Greek expressions for the futile or im-
possible, K€Lp€Lv 6vov bciiig as much a waste of time as irXivdov
irXijpeLv, ddKbv HWeiu (Phot. 338. 8). It is to be observed that
one use of AtjOtjs ireStov also is as a proverb iirl tup ddvpdTcjp^
and the line may therefore be understood as is Tb Aifjdrjs Trebiop
— f) els 6pov irbKas ; i.e. 'Who is for Lethe Plain?' and then,
in a sort of aftertone, ' or (for the matter of that, any other
impossible region, say) Donkey Fleece ' (which according to
Zenobius 3. 8 also belongs to rd dpriPVTa). Exactly in the same*
tone he adds — ^ 's KopaKas after ^ els Kep^epiovs. [Nothing is
gained, and probably something would be lost, by reading
Bergk's"0/ct'ou TrXo/cds.]
187. K€pp€pCovs : 'the deme of Cerberus,' but with an
allusion to the Kep^epLot, another name for the KLjuLjULiptoL of
Homer, actually read l3y certain ancient critics (e.g. Crates) in
Od. 11. 14. Sophocles seems to have had the word in this
sense (/r. 957 n). To the contemporaries of Aristo])h. the
Cimmerii would suggest the eastern Crimea, and it is con-
ceivable that would-be emigrants had thought of the Euxine.
'^ *s KopaKas : partly prompted by the alliteration, but also
emphasising the ' very mischief of the Utopian scheme.
187. ^ VI TaCvapov. It is true that a cave at Taenarum
was regarded as one of the entrances to Hades (cf. Verg. Georg,
4. 467 Taenarias etiam fauces, alta ostia Litis, \ . . ingressus
Manesque adiit regemque tremendum). Through it Herakles
had brought up Cerberus. But that point is surely irrelevant
to Charon's boat, which is not proceeding thither. Establish-
ment of Athenians at Taenarum may very well have been one
116 THE FROGS OF ARISTOPHANES 188-192
of the proposed impossibilities (and ' the deuce *) ridiculed by
the poet.
188. iroO o-xyj(r€iv 8ok€is ; ' Where do you think of putting
in ? ' Thucydides frequently used crxeiv (with es or less often
the dat.) in this sense {appellere). Of. Trpoaax^iv, Acarao'xeii'.
The better mss. give ttoO, others tto?, which at first sight looks
necessary. It is, however, common enough for a Greek verb
implying previous motion to be joined with the adv. of rest,
when the motion is supposed to be already completed. Thus
Lys. 1230 iravTaxoO irpea^eijaofiev, ' we shall (go and) act as
ambassadors everywhere,' Thuc. 3. 71 roi)s e/cet KaTaTre<p€vy6ras =
' those who (had fled into and) were in exile there,' Soph. Track.
40 oTTou ^€^7)K€v ovdcis or5e=' where he (has gone to and) is.'
So here : ' where will you (get to and there) find a destination ? '
Kiihner-Gerth i. p. 545.
191. el (1^ v€vav|jLdx'nK€ k.t.X. : unless he fought at Arginusae
(33). The perf. (rather than ivav/mdx'na-e) = ' unless he is a naval
hero.' T-fiv x€pi k.t.X., so. fiaxw or vav/jLaxiav. In such ellipses
it is generally edsy to supply the particular feminine verbal
noun {686v, jut-axv^, xprjcpov, TrXTjyrjp, etc.), e.g. Eq. 50 cKdiKdaas
fxiav (sc. diKTjv). The omission of a masc. is less common, e.g.
Luc. Dial, Mar. 2 ws ^aObv iKoifjLTjdyjs (sc. ijirvov) and the
proverb 6 Xa7tbs top Trepl rCov KpeQv t'P^X^'- (sc dpSfiov or dywva).
The latter explains our passage. When the hare runs for his
life (to ' save his bacon ') he runs Trepl rCov KpeCov. The phrase
is an old colloquial and facetious application of an earlier literal
meaning, 'to run for the meat-prize' (Trepl of the prize at stake).
The meat at stake in the case of the animal is his own ; hence
vepi tCov KpeQ}v = ir€pl rijs \pvxris. Thence proverbially of the
human being. At Arginusae the Athenians were fighting for
their very existence, and Aristoph. is not afraid to confess it.
With the form of expression cf. Vesp. 376 top Trepl ypvxv^ dpofXov
dpa^eip, Hdt. 8. 74 Trepl rod Travrbs ijdr) Bpbfiov diovres, Eur. El.
1264, etc. [The reading of a certain Ixion, recorded by Photius,
viz. Trepl tQ)v veKpQp, is absurd. There was no fight 'for the
(unrecovered) dead.' More untenable still is the notion that in
KpeCop the comedian is playing upon the sense veKpQsv. This is
not only open to the previous objection, but it outrages
Athenian sentiment, which was very sensitive in this particular
matter.]
192 = ov YCLp (€vav(idxT]<ra or vavptax^iv €8vvirj0T]v), dXX*
^Tvxov K.T.X. This is the usual analysis of the phrase. But ov
yap dXXct has passed beyond the stage of strict analysis. See
68 n. and cf. 498, 1180, Eq. 1205.
o^OaXfxiwv. Diseases of the eyes were common in Greece,
1 94-1 9^ KOTES 117
as well as in Egypt and the East (cf. /r. 181 Dind.), and such
ailments afforded a ready excuse for cowards and malingerers.
They conld doubtless be produced artificially (like the thumb-
less condition of the modern conscript). For the malady itself
among soldiers cf. Xen. Hell. 2. 1. 3. In Hdt. 7. 229 two of
the Spartan 300 are disabled by ophthalmia, but one insists on
being led by his helot into battle, while the other, Aristodemus,
returned to Sparta, where he was disgraced and nicknamed 6
rpicras. [It is more natural to suppose that Aristodemus was
accused of an old malingering trick than that the trick was
considered to date from him : nevertheless his case probably
became proverbial throughout Greece.]
194. irov Sryr* ava[i.€v« ; There is something sufficiently
humorous in this naive burlesque of the XifMvr) ixeyaXi) irdvv
and the traditional necessity of crossing it. After all, you can
run round it^ if you like. In the theatre we are to imagine
Dionysus working his passage across the orchestra in the roller-
boat, while Xa. runs round and sits down. Note also the
sarcasm in avafievQ} : he will have to wait for them. The Attic
comedians frankly convert their own (obvious) stage-devices
into a joke. Cf. Pac. 174, where a character begs the stage-
engineer to be careful, and/r. 234.
irapa tov AvaCvov XCGov. The accus. is used after Trapoi,
even with an apparent verb of rest, when the sense is 'near,'
'about' {iuxta) and a certain extension is given to the space
occupied or moved in. Cf. Xen. An. 7. 1. 12 'EtcSvikos eiari^KeL
wapa TCLS irvXas, Hdt. 4. 87 odros KaT€\€[(p07] irapa rbv vrjou.
The special point of Avaivov is probably lost. It is obvious
that there are contained (1) an execration in the imperat.
avalvov ('be shrivelled ! '), in answer to the sarcasm of Xanthias:
(2) a reference to some stone in the theatre, beside the orchestra,
to which Charon naively points ('go and stop over there').
Among the seats to the right of the priest of Dionysus in the
front row, there was one of the ' stone - bearer ' (Haigh, Att.
Theat. p. 310). We know nothing of the stone in question,
but we may venture the guess that it is here referred to. Nor
is it out of the question that the stone-bearer on this occasion
may actually have been named something like Avauvos. With
this direct allusion must go the consideration that distinguish-
able stones, placed by nature or man, often existed as landmarks
and rendezvous, e.g. ^eL\r}vov Xidos (Paus. 1. 23. 5). We may
further suggest that the dvairavXat are actually the resting-
places for the chorus, to which the dancers retired beside the
orchestra when they were not engaged in performance.
196. T« ^vvirv\ov I^kov ; ' What (unlucky thing) did I meet
118 THE FROGS OF ARISTOPHANES 197-202
with when I was coming out (this morning) ? ' The ordinary-
Athenian was even more superstitious than the modern believer
in signs and portents. Only superior minds and sceptics
derided the deio-idaifjiovLa described by Theophrastus {Char.
16, where, for instance, a weasel runs across the road). Of
particular significance were these ^p68lol a^fjL^oXoL (Aesch. P. V.
503). Horace {Od. 3. 27) gives specimens. At a later date
Lucian {Pseudol. 17) speaks of the terrors caused by what one
sees €vdi>s i^Lojv TTjs otKias. The first sight is the most important
of all : cf. Phot. 41 6t(^ ^vvavr-qcraLixL irpCorov i^ubv.
197. €t' Tis lirnrXct, ' if any one is (to be) a passenger.' The
change to ^ti irXci is a mistake. iinirXeiv is the proper word of
those who sail on a ship 'in addition' to the crew (who TrXeouo-i).
Thus it is used of the soldiers carried by the ships in Hdt. 7.
98. 184 and Thuc. 2. 66. In Demosthenes and elsewhere it is
used of a supercargo. The natural Greek for a captain's phrase
' we had a passenger on board ' would be 7}^uv iireTrXei.
198-199. oStos, tL iroicts ; k.t.X. Charon has looked away
while delivering his call. He now turns and sees his passenger
sitting down on an oar. Dionysus has chosen to interpret hcX
K<oirT]v ^ to an oar' (cf. Hom. Od. 12. 171 oi §' iir' iper/xa \
e^ofxevoi) as ^ on an oar,' and has acted accordingly. In the
latter sense kwl with accus. follows the idea of motion : cf. Nub.
254 Kadi^e roivvv eirl rbv lepbv aKLfXTToda, inf. 682. t^o) is not
' I am sitting,' but 'am taking a seat.' [KibTryjv without article
is 'an oar,' but it is natural to suppose that Charon's kolOl^' iirl
Kdoirrjv was an old phrase ( ' sit to oar '), dispensing with art.
after prep. (cf. eirl ddpv, iir* dcnrida, is x^^/oas, Trpbs yriv).
Dionysus pretends not to understand nautical terms.]
198. 6 Ti iroLci) ; Where the person questioned repeats the
question, he regularly (though not always ; cf. Av. 608, 1233,
etc.) uses the indirect bans, ottoTos, etc. in place of the direct.
We must supply the thought thus : XA. tl iroLels ; AI. {ipwrq-s)
6 TL TTOtCO /
rC 8* dXXo 7* "ii . . : 8c (like Fr. mais) is used in questions
with a touch of remonstrance ; cf. Nub. 1495.
199. %(o. The simple verb is rare in Attic, but, as there is
no special excuse for it here, it must have been recognised ;
cf. Epicr. fr. 3 iirl tojjs vecos L^ovcn TreLvQvres /caKcos.
o^ircp : see 188 n. ckcXcvcs : for the tense cf. 182,
but in KeKeTueiv it is almost the rule.
202. ov p.-?! <|>XvapT|cr€is . . aXX* IXas : cf. 462, 524, Eur.
Bacch. 343 ov /jltj Trfioaolaeis X^^P^i ^aKx^^o'^t.s 5' Idov, j /irjd'
202— 204
NOTES 119
e^ofxbp^ri fiwplav ttjv <tt}v ifMoL Goodwin, 3f. and T. § 298. The
simplest explanation of the construction is that in full it would
be oi) {d^os iarl) jut] <p\., dXX' Aas=:' there is no fear that you
will keep on playing the fool, but you will row.' There is no
question, but an assertion. The full expression is found in e.g.
Plat. Ap. 28 B ovdei^ deivov fxr] iv i(iol crrfj, Xen. Mem. 2. 1. 25
ov 06j8os fjLT) (T€ dydyco. [Words of fearing are followed by firj
with fut. in the sense 'fear that one is going to . .,' and with
subj. in the sense 'fear that one may . .' Hence there is no
other distinction between ov /ht] woL'qaeLs and ov /jltj iroirjcrys. In
other words, the former in effect='you shall not' and the
latter 'you will not' or ^cannot,' the former being thus the
more determined and emphatic. If now a positive assertion
of what is to happen in the future is to be joined to the neg.
ov JIT] TroLTjaeLs, it is connected by dXXct (sometimes 5^), but is
independent of the ov /ult]. When another clause reverts to the
neg. (as in Eur. I.e.) it is naturally connected with the ov jultj
clause by imrjd^, the intervening clause being parenthetical.]
<j>XvapTJo-€is ^X"Vj 'keep on playing the fool,' ^x^^^ (lil^e
(fy^pbjv, Xa^ibv) being joined to verbs as an expletive, particu-
larly to those of wasting time ; cf. 512, Nub. 131 H ravr '&xj^v
(TTpayyeiJOiJLai ; Eccl. 1151 rt 5^ra biaTpi^eis ^X^^ j Theoc. 14. 8
Traiadeis, Sjydd', ^xwx/.
dvTipds : pushing against the stretcher.
203-205. Kara . . cIt : the first etra introduces the
expostulatory question, the second=:*in such case' ('neverthe-
less ').
204. Aircipos K.T.X. , 'unskilled, un-sea-sonedandun-Salamised'
(Lowell). The three privatives in d- represent a poetic habit
which Aristoph. parodies ; cf. Aesch. Cho. 53 d/maxov dddfiarov
dirdXefjiov, Eur. Hec. 669 dTrais dvavdpos diroXts, Soph. Ant. 1071
dfjioipov dKT^pLffTov dvbcTLov. So in English, Milton P.L. 2. 185
unrespited, unpitied, unreprieved and 5. 899 unshaken, unseduced,
unterrified. Nor is it unknown to oratory, e.g. Dem. Phil. 1.
36 druKTa ddiopdwra dopLara.
We need not press the possible differences in the meaning
of the three words, but roughly they correspond respectively
to a liability to clumsiness, sea-sickness, soreness. That the
last is one sense at least of d(raXa|iCvLOs is made probable by
Uq. 785 Lva /jltj rpi^rjs rrjv iv "EaXafuvL. At the same time there
is a reference to (1) the battle of Salamis, of which the
Athenians were never tired of hearing ; (2) the Salaminia, or
state mission-vessel, in which only good oarsmen could row ; (3)
the seamanship of the islanders of Salamis {Eccl. 39), numbers
of whom would be in the theatre.
120 THE FROGS OF ARISTOPHANES 205-209
[Commentators generally consider that Di. is tliroughout
the play meant for an embodiment of the easy-going and (as
Aristoph. considered) not over-intelligent Athenian public, and
that the present lines therefore glance at the decline of the
Athenian navy.]
205. dKovorei Yoip \LiKr] k.t.X. : i.e. you will work more easily
to music (cf. marching to the band). There is nothing said
about seeing the frogs, and it is an error to suppose that they
actually appear. Their croaking and singing were performed
from behind the scenes by the persons who are afterwards the
chorus of/uiij(TTaL. They are, therefore, not a irapaxop-nyrj/uLa, since
they imply no additional equipment. For the title Bdrpaxot
given to the play see Introduction p. xxvii.
206. lixpdXtjs, 'lay on' (='get to work'). It is usual to
supply ras xeipas rg Kibirr}, but ras xeZpas should not be in-
cluded. ijuL^diXcLv is intrans., as in Hom. Od. 10. 129, and the
sense is that of Vergil's incumlite remis. The absolute use,
as here, occurs in Xen. Hdl. 5. 1. 13.
207. Parpdxwv kvkvcdv : cf. the combinations drjp Xicjv, 6pvis
ar}8u)v, jSoOs ravpos, dvTjp TroLrjTTjs, in which one noun in apposition
defines or limits another. So in comedy dvOpuiros 6pvLS {Av.
169) = 'a man-bird,' KdixrjKov dfjLvbv (ibid. 1559)= 'a camel-
lamb.' Here 'frog-swans' are frogs which sing like swans,
lit. swans which bear the shape of frogs.
KaTaK€X.€V€ 8tj, 'well then, begin to set the time.' The
KeXeva-rrjs is the officer ('boatswain') whose KiXevfia {(hbir, tir)
conducts the rowing, while a rpnjpavXrjs plays an inspiriting
accompaniment on the a^X6s. Cf. Plut. Ale. 32 avXetif fxkv
dpecTtav roh eXavvovcn Xpvddyovou, KeXeveiv d^ KaWnnridTjp. In
Latin the KeKevcfTrjs is Iwrtator and his position and function
are described in Sil. Ital. 6. 30 mediae stat margine puppis | qui
voce alternos nautarum temperet ictus \ et remis dictet sonitum.
One sound Sir was meant for the forward and one b-rr for the
backward stroke, co- being introductory.
209. pp€K€K€K^| K.T.X. ! a souud commouly heard from the
frog in Greece. The sub aqua S2ib aqua of the Latin (Ov. Met.
6. 376) represents a difi'erent hearing of Kod^ Kod^ { = co-dhsh
co-dhsh). One Australian frog says (according to the aborigines)
DugulUk, but another has a more continuous sound, which
answers very well to the spelling of Aristoph., if we read it as
w-r-r-r-ek-ek-ek-esh. In the absence of digamma from Attic
/8 is the nearest approximation to the i^;-sound. The termina-
tion in Kod| meanwhile suggests the human ^a^atd^, wvinrd^,
ird^y etc.
2II-2I6 KOTES 121
[The frogs begin slowly, but get too quick for Dionysus.
The increasing rapidity appears in the metre.]
211-220. Xt|ivata Kpr\v(av TCKva k.t.X. The fun of this
passage lies in the incorporation of individual words and whole
phrases taken from a serious lyric poem and partly applied
humorously, partly burlesqued by the inclusion of e.g. Kpanra-
XoKa>p.os in place of a compound of more dignity. The frogs
are proud of their own singing, and after the self-complacent
€ijy't]pvv €fjidv {'the singing for which I am justly famous')
they give a striking specimen in a harsh ' KodJ Kod|.'
One may suspect (from kvkvujv 209) that, in the original,
swans were the subject, and that the details are travestied just
enough to suit frogs. This would add point to XifjLvaia reKva^
eijyrjpvv, and the delight of the Muses and Apollo in the
singer. Also the whole passage 242-249 gains new significance
when it is retranslated into its original application to the
cygnus musicus.
[Something of the tone may be retained in a rendering —
Come^ children of the fount, folk of the lake^
Let us awake
Andin its fullest sweetness loud upraise
Our hymn of praise
— GoaJish ! Codhsh! —
The hymn of Nysa's story.
Of Dionysus' glory,
The same we carolled in the Marsh that day,
When on the Feast of Pots
The noble throng of sots
Through my demesne with headaches wends its way. ]
211. Xijivata . . T€Kva. In the pseudo-Homeric Batracho-
myomachia 12 the frog is \Lfjivoxap7}s iro\Tu<p7)ixo^.
215-216. dfi.<|)l, 'in honour of.' Hymns and dithyrambs
often began with a promise, or an appeal to the Muses, to sing
concerning {d/ii<pi) a god or hero ; cf. Hym. Horn. 21. 1 aix(f>l
Yio(T€Lbdo)va, debv fx^yav, dpxofi deideLU, 18. 1 dfJicpL jjlol ^'Ep/naiao
c(>l\ov yovov ^vpcire, Movaa. So in tragedy Eur. Tro. 511 dya0/
fioL "IXlov, cD MoOca, . . detaov.
Nvo-i^tov Albs Ai(6vv<rov : with an eye to the imaginary
derivation Aio-waop ; cf. Apoll. Rhod. 2. 905 Ai6s Nva-^Lov via.
As Merry remarks, 'it is impossible to localise Nysa.' Dr.
Jane Harrison {Proleg. to the Study of Gk. Relig. p. 379), after
observing that Homer's Nuo-ijtoj' was in Thrace — with which
region the worship of Di. was originally connected — says ' as
122 THE FROGS OF ARISTOPHANES 217-227
the horizon of the Greeks widened, Nysa is pushed farther
and farther away to an ever more remote Nowhere.' It in
fact recedes from Thrace to Asia Minor and thence to India or
Libya.
217-219. Ai|JivaicrLv : not Xifivataiv, which would be point-
less (especially after Xi/uLvaTa). Mfxvai was the low-lying portion
of SE. Athens in which stood the old temple of Dionysus, and
north of which the great theatre was built in the next century.
Cf. Dem. Neaer. 1370 iv rep dpxcm-OTdTij} iepQ tov Acov^aov . . iu
AlfjivaLS, Isaeus 8. 48, Thuc. 2. 15 rb iv MfxvaLs Aiovvaov, <J ra
dpxO'i'^repa Aiov^aia iroLelTaL kv /jltjuI 'AvdeaT-qpidvL. For the
reference to the Aiithesteria (in X-vrpoiai) see Introd. p. xxxii.
That festival lasted for three days, called respectively JlLdoLyia^
X6es, XvTpoL. On the last the drinking excesses of the previous
day would have rendered the procession KpaLTraXoKOj/uLos.
lax'^<rap.€v, TjvtKa . . xwp€t. There is no real difficulty in
the tenses. iaxQcraiiev cannot indeed be gnomic in the rel.
clause, and can only refer to a past act ; ' we gave it loud
utterance,' i.e. once, when we were frogs on earth (cf. 244).
For the rest 7]VLKa xwpet= 'at that time (of the year) when the
crowd is wont to go. '
k^ov T€fX€vos: humorously of the marshy ground. Xawv
in plur. (cf. dKoiere Xecp) dated from the time before the closer
unification of the Athenian 7r6Xis, and was retained in certain
formulae and phrases.
On the day of the X^/rpoi there were dyQves and the 6xXos
would naturally pass to them by way of the M^vai.
221. e-yw 84 k.t.X. : Dionysus half sings this in irritated
mimicry of the frogs.
222. ^ Koa| Kod|, ' my friends (or ' Messrs. ' ) Coahsh
Coahsh.* The comedian Alexis uses a similar turn ovxi tCjv
fxerpiuiv . . dXXa tCov jSajSat jSa^at ('those who are always
exclaiming ^a^ai ').
226. avTw KodJ. It may be noted that this circumstantial
or comitative dat. with avrbs is used in comedy with or without
article in both sing, and plur., but only of things ; in tragedy
only in plur., but of both persons and things (Starkie on Vesp.
119).
227. ovS^v 7dp Io-t* dXX* -i^ . . : cf. Lys. 139 ovbh ydp iafiev
7r\r}v lioaeidwu Kal aKacpr], fr. 25 yipovres ovdep eajxev dWo irXrjv
6xXos. The latter example might seem to point to the more
logical dWo here rather than dWd, but ovdev &XXo ij . . and
ovdh dWo, dXXa . . overlapped each other and caused a con-
fusion of expression (Klihner-Gerth ii. § 534. 6). [Though it
228-230 NOTES 1^3
must be remembered that accents were not in use in the time
of Aristoph., and that we have, therefore, to rely upon later
tradition, confusion of expression is clear in irXrju dXXa . . and
ttXV 7j . . . Also dXXo ^ could not directly give us e.g.
jUTjderepovs d^x^adai dXX' r) fjLLq. V7)i (Thuc. 3. 71), and it is
clear that, however accentuated, the combination has become
simply = 7rX97;/. We may, therefore, very well accept dXX' 7) as
the probable accentuation.]
228. CLKOTcos, * I have good right to sing ' (for the reasons
next given).
TToXXd TTpdTTwv, 'mcddlcr.' Cf. iroKvirpayixoveiv and Eur.
Hipp. 785 TO TToXXd TrpdrreLV ovk iv d(r0aXe? ^iov.
229. ^crT€p|av : gnomic.
229-233. eiJXvpoi . . KaXafx6<j>0oYYa . . <j>opp,iKTds. The
deities to whom these words belong are all indebted to the
frogs, who are the proper owners of the water-side and look
after its products, especially the reed. /cdXa/xoi were used for
making the pan-pipe, and 56mK:es (a smaller species, but not
always distinguished, see Hymn. Merc. 47 bbvaKes KoXd/uioio)
for forming a Ijridge or fret across the hollow tortoise-shell of
the lyre. Over this bridge the strings were drawn from the
bottom of the shell to the ^vyov. This is the account in Diet.
Antiq. But Hymn. Merc. I.e. implies that the reeds were
fixed across the shell to serve as a foundation for a drum-like
skin. Fritzsche quotes a frag, of Sophocles ixpypedrj aov KdXafjLos
ujairepel X^pas, which illustrates the use of the KaXafios but
leaves its application indefinite.
There were two chief forms of stringed instrument, the Xijpa
with its oval tortoise-shell and curved horns {Trrjxets), and the
Ktddpa, a wooden case, more quadrangular, with hollow project-
ing arms instead of the ir-rix^i-s. The ^opjuny^ is commonly
identified with the latter, or regarded as a particular species
of it. Nevertheless its sounding-board can be referred to
equally as viroX^jpiov (adj.).
230. Kcpopdras : lit. ' going upon horn ' = cornices, 'hoofed.*
Pan is called alyL^drrjs (Theoc. ep. 13. 6), alyLirddrjs {Hym.
Horn. 19. 2), rpayoTTovs (Simon, fr. 33). Horace {Od. 2. 19. 4)
has capripedum Satyrorum. The schol. also records the title
Tpayo^dfiwv. [Other scholiastic explanations 'horned walker'
and 'walking on the mountain peaks' are fanciful, and the
former practically impossible.]
Ka\a|JLo<f>0o77a : contained accus. : cf. Find. 0. 13. 123
ivoirXia irai^eLv, Verg. Georg. 4. 565 earmina qui lusi pastorum.
The favourite instrument of Pan was the cvpty^ {fistula) made
124 THE FROGS OF ARISTOPHANES 230-^51
of seven KoXaixoL or dovaKe^ cut in unequal lengths so as to form
an octave. These were fastened together with wax and the
whole was then bound round, cf. Yerg. Ed.- 2. 32 Pan
primus calamos cera coniu7igere plicres \ instituit.
TTOultfav : pastoral minstrelsy was regarded as sportive and
without pretentions to the higher art and themes of the harp.
So Yerg. JScl. 1. 10 ludere quae vellem calamo permisit agresti.
242-249. el hi\ ttot* . . The habits of frogs are described
in Ov. Met. 6. 370 sqq. iuvat esse sub undis \ et modo tota cava
suhmergere membra palude, | nunc proferre caput, summo modo
gurgite nare, \ saepe super ripam stagni consistere, saei^e \ in
gelidos resilire lacus, etc. The notion of their escaping from
the rain is a humorous misapplication of the original. In
[Pseudo-] Plat. Bpig. 5 we have rbv Nu/^^wt' depdirovra, (piXofx-
^piov . . ^drpaxov.
243. KVTriipov, 'galingale.' ^\4(a, 'rush.'
244. iroXvKoXviJipTJToio-i : we may perhaps render ' many
and divers strains.' In the original here parodied the word
may have been e.g. TroXvKdfjLirToiai. The variations on the
song are played by diving.
246. Alos 6[i.ppov : a frequent expression of poetry, since
Zej>s v€L (Alcaeus, fr. 34).
247 sq. xopciav . . €<t>0€7fd|j,€<r0a, 'we sang a dance,' i.e.
the dance-music. According to Plato {Legg. 788 a) xope^a =
^px^o'is Kal (fdr), and the latter element is considered here : cf.
150 {TTvpplxnv). [Reversely xop^^<^o.a6aL j3odv {Thesm. 103).
Such expressions are part of the lyric style and do not belong
to the comedian's own language. Even tragedy, which would
readily use (ppoifxiov x^P^^^^^l^^f- (Aesch. Ag. 31) — since the
' prelude ' is itself the dance — would be slow to use ^odv
XopeijaofiaL.] aldXav = ' varied, ' not monotonous.
249. 'iro}x<(>oXv70Tra(}>Xd<r[i.acrtv : a burlesque of dithyrambic
compounds (cf. 99 n.). [In pronouncing it should be
remembered that (f> = ir\ not /.] 'With bubbly plop-
plop -plopping.' The dat. is not of the instrument, but of
accompanying circumstances (Kuhner-Gerth i. 425. 6), and is
virtually modal. Cf. Horn. 77. 3. 2 KXayyrj r iuowrj r taav,
Xen. An. 1. 7. 4 Kpavyrj iroWfj iiriaaiv.
251. tovtI Trap' vfxwv Xap.pdv«. Dionysus makes an absurd
and derisive noise and adds ' I am picking that up (or ' catch-
ing that trick') from you.' The proper word for learning a
thing from a person is irapaXa/jb^dveiv, the simple Xafi^dveip
meaning ' borrow.' Cf. Arist. Poet. 22, where the highest quality
253-269 NOTES 125
in poetic expression is rb fi€Ta(popiKbv elj^at, because fiSvov tovto
oijre Trap &\\ov ^ari Xa^eiv eixpvias re ffrjixeibv iffTi^ Luc. Pise. 6.
253. 8€tvd rdpa 7r€t<r6(JL€<r9a, 'it seems we are to be badly
treated ' ; an Attic phrase of remonstrance ; cf. Ach. 323 ovk
OLKova-ofieada drjra answered by deivd r&pa ireiaofiaL (* then it
will be a shame '). The frogs want copyright.
258. T| <|>dpv| oTTOcrov &v tjjjlwv : so Bachmann for bv-ba-ov i}
(pdpv^ hv 7)ixC)v of Mss. If there is one rnle of Greek more
certain than another it is that, when &v belongs to a relat. and
subjunct. construction, it cannot be separated from the relative
by more than the light particles ^l€v^ 54, ye, yap, and com-
paratively seldom even by these. There is one instance of
separation by o?)v, viz. inf. 1420 oTrbrepos odv hv . . fxeWri.
For details see Starkie on Vesp. 565 (Appendix).
\av8dvT| : cf. Hom. H. 11. 462 ijvaev baov K€<f)a\r} x^^^
(pcorbs and French crier a pleine tite : ' as wide as our throat
can hold.' The throat of frogs is proverbially wide: cf. Ov.
Met. 6. 377 injiataque collet titmescunt, \ ipsaque dilatant patulos
convicia rictus.
8t* i^p.epas : with KCKpa^bfieada.
264. ovSeiroTC : sc. vcK-fiaeTe, resuming his own words and
ignoring theirs.
265. Kdv fj.€ 8fj : the best MSS. support this reading, and in
Phtt. 216 the kSlv del of mss. plainly points to kSlp d^ and not
K€i del. In Vesp. 616 we have ^yxv^ ( = ^7X^??5)» and the
evidence for contracted forms in the subjunct. from be? is quite
sufficient (see Blaydes' crit. note to this place and Kiihner-
Blass, Gk. Gramm. § 245. 3). Vowels of like character (e and
e, e and -q) contract more easily than others, and for birj to
become bri (or x^V XV) ^^ more interferes with the general rule
of non-contraction of bew x^w than do the forms bels bel, x^^^ X^^-
268. ^fi€X.\ov dpa iravo-eiv iroG*. The frogs stop croaking
(since they are to appear through the irdpobos as the chorus at
V. 316) and Di. claims a victory. Lit. ' I was to stop you, it
appears, in the end ' := ' I knew I should stop you.' So Ach.
347 e/tteXXer' dpa irdvrws avrjaeLv t-j^s ^orjs. Nub. 1301. The
idiom is as old as Homer, and the infin. is always in the future.
269. irav€ : 122 n. irapaPaXov : 180 n.
T(^ Kwiritj) : these words (apparently superfluous) are added
in the sense ' give a little pull with your oar and bring to ' or
'give her a touch of the oar, etc.* This also explains the
diminutive,
126 THE FROGS OF ARISTOPHANES 271-284
271. At this line the scene is supposed to change (of. 273,
278). We have left the lake and are in the adjoining country
described by Herakles (143-153). The scene was no more
actually represented than the darkness of v. 273.
ogaveCas: 40 n., 608.
^ gavGias, ' Hullo ! Xanthias !' Cf. Nub. 105 ^ ^ (nibira.
Others keep the accentuation 9j, and read as a question 9j
^avdlas ; (sc. 6uto}s €(ttlv, as the schol. explains), i.e. 'Is it
really Xanthias ? ' But Di. cannot see Xa. in the darkness,
and the slave's lav (not = ioi^, but, as Suidas states, of disgust
= ' heugh ! ') is heard in the distance (hence pd8i^€ Scvpo).
275. ^X€7€v : see on '^(ppa^ev 182, and cf. 'i<f>a<jK 278.
276. Kal vvvl 7* opw : he pretends to be peering into the
dark, with his eyes fixed on — the spectators. The Dionysiac
festival is a time of universal flouting, and the audience must
bear its share (cf. 783). In Nub. 1096 one character actually
mentions the spectators {01 dearai) and asks the other what he
sees among them ; to which the reply is that for the most
part they are a very loose lot.
277. vwv : not superfluous, but= 'ive'd better get on.'
278. o5 TOL 0T]p£a Ttt Seiv 'd^aa-K* : it is difficult to supply
elvat. The sentence should be taken as cut short by the
contempt of Dionysus. o5 can hardly be the gen. ( ' the place
whose monster's . .') since (pdcTKeLv does not appear to take an
accus. of the kind. This verb frequently contains the sugges-
tion of pretence. For the tense cf. 182 n.
281. €l8ws [X€ K.T.X. The participles are to be related in the
sense ^LXoTLfiovfievos, 6tl ydei fie . .
282. ovS^v 7dp oi^rw ^avpov . . : Euripides in his Philoct.
{fr. 788) had written ovdkv yap ovtcj yavpov Cos dvrjp ^^v, a line
which seems to have attracted attention through the surprise
in its naive-looking conclusion : ' There is nothing that gives
itself such airs as — man.' It is quoted by other writers, e.g.
Plutarch and Dion Chrysostom.
283. €70) 8c 7' : the 4yu) of the boaster (cf. 280), implying
* but I am not that sort of person ; give me adventures ! '
[This line and the next are tragic in metre and are delivered
with an air.]
284. d7wvi<r|jLa : not literally a contest (which in any case
Xa^eiv hardly suits), but something won {^TraOXov Suid.) in a
struggle, i.e. 'the honours of combat' ; cf. Thuc. 1. 22, 3. 82,
7. 86 and the notes of Poppo-Stahl.
284-294 NOTES 127
Tf]s 680V, ' our journey (all this way).'
285. Kal [ii\v : lit. 'and, in fact . .,' et vero. Kal fir)v ('by
the way,' 'well') are the common particles in the dramatists
for drawing attention to a new arrival just appearing or about
to appear (cf. 287). The use here is much the same, but with
a shade of difference. When Di. says '/ want adventures,'
Xa. replies 'Of course ! And, by the way (talking of adven-
tures), I hear a noise.' [Since Kal jultjv regularly begins its
clause, it is surely more natural to punctuate vrj rbv Ata* koL
(xr]v . . than vtj top Aia /cat iJi.7]u . . Xa. assents to Dionysus*
bragging : 'certainly !'] Xanthias is of course only pretending
to see sights and playing on the nerves of his master.
289. It is possible to punctuate AI. -iroidv ti ; Scivov J QA.
iravToSairbv 70VV k.t.X. This gives a natural enough sense to
yovv, and the form of reply is that of v. 293. Dionysus would
be prompted to ask if it is detvbv by the expressions in 144
and 279. But there is no sufficient reason for deserting the
traditional arrangement.
291. wpaioTOLTT] Tts : with adjectives ns (like quidam)
practically = ' quite. '
293. "Eixirovo-a : Di. concludes that it must be Empusa
because of its metamorphoses. Empusa was a spectre of the
dark sent by Hecate, or a manifestation of Hecate herself,
frightening travellers. Sometimes (at least in later Greek)
the name is generic and used in the plural (= 'bogeys'). The
special mark of "E/xirovaa (as distinguished from Mopfidb and
other fjLopfioXvKeta) is that she kept changing her shape ; cf.
Dem. de Cor. 130 (of the mother of Aeschines) ^v B/jLTrovcrav
airavT€s taaai koXovjul^utjp iK rod iravra iroielv Kal iraa-xjELV Kal
ylyveadai, Luc. Salt. 19 ttjp "l^fMirovcav t7]v is fivpias fJLop(pas
fjL€Ta^aX\ofi€vrjv. One of her attributes was the leg of an ass
{'OpokojXos, 'Ovoa-KeXis). In many mythologies (e.g. Indian and
Arabian) demons and malevolent powers have misshapen legs,
and the pede Poena claudo of Horace is derived from the same
notion.
irvpl -yovv XdixircTai k.t.X. : i.e. ' (I should think it is
Empusa), at any rate it has the orthodox characteristics of the
nursery description.' She is quite en regie.
294. dirav to irpoo-wirov : rather accus. of respect than
nominative ; cf. Eur. I.T. 1156 o-w/xa XdpLirovTai irvpL
Kal (TKcXos x<*^*^o^v ^x^t ; Di. wishes to make sure : ' And
has she a bronze leg (as she ought to have)?' In Soph. M,
490 ;;(aX/c67roi;s 'EpLviJS denotes tirelessness (cf. xaXKivrepos).
128 THE FROGS OF ARISTOPHANES 295-302
295. poX^Tivov. The point of the jest is lost and probably
not worth seeking. There may be a pun upon iioKv^8lvov
(/36Xi/3os being another shape of the word for ' lead '), but that
in itself is insufficient. If we may trust Athenaeus (566 e)
Cratinus also used the expression ^oXLtlvov ^x^^ Odrepop aKeXoSy
but we do not know in what connexion. There may have
been some Athenian catchword of the kind.
297. Upiv : the priest of Dionysus Eleuthereus, who
naturally occupied the middle seat of honour in the front
row. There were numerous other seats for other priests in
his neighbourhood ; the inscriptions in the existing remains
of the theatre (though they are of a later date, temp. Hadrian.)
show at least forty-five such in the first row. See Haigh, Att.
Theat. pp. 305, 309 sq. The humour of the stage Dionysus
appealing to his own priest for protection scarcely requires
remark.
Iv <a cot JvjjnroTiis : i.e. after the performances, when the
priest of Dionysus gives a banquet, to which the successful
competitors are invited, including (as is clear from this place)
the actors. Of. Ach. 1085 iirl deiirvov rax^ \ ^ddi^e . . \ 6 tov
A,iovv(Tov yap cr' iepeds yueraTr^yttTrerai, £Jcd. 1180, and inf. 1480.
There is an amusing vapa irpoadoKtap in iepev, hiacpvKa^bv fx\ lv'
— c& aoL ^vixirbTTjs.
298. wva| 'HpdKX.€is. Xanthias uses the customary apo-
strophe of appeal to Herakles Alexikakos ; but Dionysus is
masquerading as that divinity, and he takes the words directly
to himself.
ov y.^ KttXcts : 202 n.
300. TovTo 7* ^9' fJTTov. Herakles was in ill odour in
Hades through his previous visit (cf. 464), but it was safer
to pose as the redoubtable Herakles than to be known for the
coward Dionysus.
301. ^0* fjirep ^px^^ = to the Empusa. The words were
apparently a formula addressed to ghosts and supernatural
powers = 'pass on your ways (we have no wish to meddle with
you, and therefore do not meddle with us).' Cf. Lys. 832 &vdp
dvdp' opQ) TrpocnSvra irapaTreirXrp/ix^vov, \ rots r-^s 'A<f)po8ir7]S opyiois
elXtjfifJL^vov I S3 irbrvLa, K67rpov KaiKvdrjpuv Kal lld(f)OV | fjLe8iov(7\
W 6pdr}v rjvirep 'ipx^^ t'V obov. Xa. pauses, and then, pre-
tending that the goblin has passed, calls to Dionysus. [The
common notion that 'go straight on' is addressed to Di. is
very weak, nor is ^pxet the proper verb.]
302. irdvT d7a9d, 'nothing but good.' So Av. 1706, Ach.
982 {irdvT dyad' ^x^vras). [To be distinguished from Trdvra
rdyadd , .]
303-308 NOTES 129
303-304. (ii^€(rri 0* tSo-irep . . opw. Hegelochns, who acted
Orestes in Euripides' play of that name, should have pro-
nounced V. 281 as iK KVfxdrojv yap a^Ois ad yaXrjv' opQ (i.e.
yaXrjvd, ' I see calm after storm '). By a slip of the tongue
he said ya\rjv (*a weasel,' the animal which took the place of
the cat in Greek houses). The same slip is referred to by
Strattis and Sannyrion, of whom the latter has (pip el yevoifjirjv
. . 7aX'^ • I dXX' "RyiXoxos odrds fxe ix'qvvaeiev hv \ 6 TpayiKds,
dvaKpdyoL r Slv els ^x^P^^^ fxiya \ ' e/c Kv/j.dra}v yap adOis ad
yaXijp opw.' The difference lay in the complete ignoring of
the elided syllable, which should only have been slurred, and
also in the accent (or pitch) of the vowel 77. This is one of
several passages which show how keenly the audience observed
an actor's articulation and also how distinctly words were
heard in the theatre. [In the confusion of rrjvde p-ovaav
eladyoiv with T-qvd' e/novaav elcrdyuu recorded by Athen. 616 C
there was a deliberate purpose.] Cicero {Orat. § 173) remarks
of the Athenians in versu theatra tola exclamant, si fiUt una
syllaha aut hrevior ant longior, and {de Or. § 196) in his si
jpaulum modo qfensiim est, ut aut contradione brevius fieret aut
produdione longius, theatra tota reclamaiit. The voice of a
tragic actor was a first consideration, and a false articulation
was as bad as a false note from a great singer (see Haigh,
Att. Theat. pp. 249 sq.).
aJo-irep 'HyA-oxos : sc. eXirev ; cf. Thuc. 5. 29 irbXiv drj/mo-
Kparovixev-qv Cbcnrep Kal avroi, Herond. 2. 28 8p XPW • • ^^ ^7^
^(V€LV, Soph. Aj. 525 ex^i-u a' hv oXktov ws Kdyib (ppevl \ deXoLfi
dv, Lucr. 3. 455 ergo dissolvi quoque convenit omnem animai \
naturam, ceu fumus. It ought to be perceived that in all
these instances the nom. is the proper case. Here an
alternative ibairep 'H7eX6xy would be wrong, since the meaning
is not 'we may say, as Hegelochus {might) . .'
308. 681 h\ Scto-as k.t.X. : either pointing to some red-haired
man in the audience, or else to the statue of Dionysus, which
was brought into the theatre, and of which the face was
ruddled (Pans. 2. 2. 6). In the latter case the statue of
Dionysus blushes for his stage representative. There is a
irapd TrpoadoKiav in vTrepeirvpplaae. ' How faint (and pale) I
grew,' says Di., and Xa. replies : ' Yes, and he yonder — (and
then, instead oF 'grew pale ') — grew red for your sake.'
It must be remarked, however, that irvppbs is rufus, and
can scarcely be used for epvdpbs of the complexion alone. By
putting together the notes of the scholiasts and of Hesychius
it has been conjectured that the priest of Dionysus was irvppdSf
and ie/)ei)s Aiovijcrov seems to have been a sobriquet for a red-
K
130 THE FROGS OF ARISTOPHANES 31(^316
headed man. If so, the priest is the man pointed at ; nor
would there be any rudeness in this if the priest regularly
appeared at the festival with red hair and beard, and probably
red face also. Cf. Tibull. 2. 1. 55 agricola et minio suffusus,
Bacche, rubenti (at the country festival) ; Pliny, H. N. 33.
Ill (of the statue of Jupiter at festivals) ; Plutarch, Quaest.
Horn. 98 (of the ruddling of old statues in general). It is
perhaps not too bold to suggest that this colour was attributed
to the (Thracian) god of wine, and that originally the priest
representing him must necessarily be equally irvppos, whereas
later the redness, symbolically retained, might be artificial.
The priest of Dionysus might then well be said to ' get irvppos
for the sake of Dionysus. Moreover it is otherwise hard to
see why Eupolis should call Hipponicus * priest of Dionysus '
because of his irvppoTTjs.
310. alTtd<ro|i.at : nothing is gained by altering this ('whom
am I going to blame?') into arndtrw/xai ; cf. Eur. Ion 758
etirca/xev rj (nyCoixev ; ^ t'l dpdaofjiev ; Ach. 312 elr iyu aov
<p€L(rofjLaL ; Gildersleeve, Gk. Sy^it. § 268.
cnroXXvvat, ' trying to ruin me ' ; cf. 144.
311. al0€pa K.T.X. : see 100 n.
[After this verse the Mss. give a stage-direction {-nap-
einypa(p7]) avXei tis 2v8ov. ]
316 sqq. The Chorus, numbering twenty-four, is heard
approaching (but is not yet visible ; cf. irov 319). It makes
its entry [irapobos) at v. 324 in a manner which is naturally
a fair imitation of the evening (343) procession and dancing
at the time of the Lesser Mysteries (see Introd. B.). Usually
the comic chorus entered Kara arolxovs, i.e. with front of four
and depth of six, probably led by the flute-player ; but where
some more free and realistic manner was required it was
adopted (as. in Aves and Ecclesiazusae). The dresses are in
keeping with the customs of the procession, but, according
to the convention of comedy, were rather amusing than
sumptuous (cf. 403). iral^ovaLv (319) shows the spirit in which
they behave. It is of course the only aspect of the cele-
brations suited to comedy. We may assume that the order
of proceedings at the Lesser Mysteries was in ^general similar
to that at the Greater, including a irpdpprjaLs, the carrying of
lacchus, yecpvpiajuids and iravvvxl's ', but, the distance being
short, the whole procession would be at night. The comedian
introduces as much as he chooses of the public or exoteric part
of the ceremonies, ixvarai include the initiated of all grades ;
the completely initiated were iirbirTaL.
316-327 NOTES 131
316. "laKX*, »"IaKX€: the regular shout, whence ta/cxos
itself='the cry of the mystics' (320) ; cf. Eur. Cycl. 69 taKxov
laKxov ipdav fieKiroj, Hdt. 8. 65 /cat ol (paiveadai t7]v <pwv7]v
elvai rbv fivartKov taKxov. The word afterwards came to be
made into a proper name and was applied as a title to
Dionysus in his connexion with the Eleusinia (Harrison,
Proleg. pp. 414, 541 sqq.). The day of his procession was
also known as"Ia/fxos (Suid.).
[The temple of lacchus at Athens was called the 'laKX'etov,
and was presumably the same as that of Demeter containing
* lacchus with a torch,' mentioned by Pausanias (1. 2. 4)
as situated inside the gate entered from Peiraeus. But we
are not here (and 324) concerned with that 'laKx^lov^ but with
an afterworld counterpart of another shrine by the Ilissus.]
318. TovT* ^o-T* €K€uvo, ' this is the thing ' (which Herakles
told us of, viz. 154 sqq.). From this expression iarlv is more
idiomatically omitted (cf. 1342).
319. %at€ : cf. 182, 275, 278.
320. q.8ov(ri -yovv rhv I'aKxov Svircp 8l* d'yopds : sc. q.dov(riv ;
cf. Eq. 408 ^aKx^jBaKxou q-aai. The mystics in Hades are
singing the same lacchus-song which the mystics sing at
Athens through the market-place (when proceeding to Agrae).
It is remarkable, not that the scholiast, but that modern
editors also, should always write Aiaydpas, and imagine that
the sentence is incomplete, an offensive word being generally
taken as suppressed. There was, indeed, a well - known
Diagoras of Melos called 6 ddeosy who may possibly have
flouted "la/cxos (or the lacchus-song) in some unseemly way.
The schol. on Av. 1073 relates (with authorities) that he
TCL fjivarripLa evriXi^ev. Others understand another Diagoras
(if it is another, and not rather the same man at an earlier
and more pious stage), a lyric poet, who hymned the deities ;
these supply q^bet. But there is no apparent comic point in
saying 'they are singing the lacchus of whom Diagoras sings.'
Rather the procession at Athens, in passing from the laccheum,
sings the taKxos through the dyopd, [For the absence of the
article see 129 n.]
324-326. ?8pais : see 316 n. The meadow in Hades (Pind.
Thren. fr. 1) is identified with (or answers to) that of
Agrae.
327. oo-iovs €s Otao-cSras : the epithet should be noted, as
also the insistence in hr^vav lepdv oaioLs inf. 335, 384. The
comedian has no desire to be accused of belittling the mysteries.
He respects their serious side while availing himself of their
132 THE FROGS OF ARISTOPHANES 327-339
jocose element. Possibly also he is upholding the reputation
of the iravvvxI-Ses against some attack.
Oiao-MTas, '(your) fellow-revellers,' like ifibs TroXtrT^s, civis
meus, etc.
329 sq. ppvovra <rT4<|>avov |xvpTwv, 'a wreath laden with
myrtle-berries ' (^ai/pra). ^pijeiu is used with either dat. instr.
or gen. of fulness ; cf. Soph. 0. C. 16 x^po^ ^pijcop \ 5d4>vr]s,
iXaias. [To render fivpruv as from fiijpTos (gen. of material
with crricpavov) is to leave ^pvovra but awkwardly attached.]
Myrtle {ixvpcrlvq) was worn in the procession by at least the
lepocpdvT'qs, 5g,dovxoSf and other officials. The statue of the
child lacchus also wears the wreath and carries a torch (340).
330. 0pa<r€i : i.e. without fear of condemnation as d/c6Xa(rrot
(331).
lYKaraKpovtov, 'beating in time to the measure' (cf. 374).
Ti}xdv, 'rite,' 'service' (with \op€iav in explan. apposition)
is cognate or internal accus. ; cf. Verg. Ae7i. 6. 639 pedibus
plaudunt choreas.
331. TCLv dKcJXao-Tov . ., * the (recognised, orthodox) free . .*
335. xapCrcDv : half personified. It has ' a greatest share
of the Graces,' i.e. of charm and delight ; cf. EccL 582 ws rb
rax^veiP xaptrwj' /jLer^x^'- Tr\€L<TTOv irapd rolaL dearcus. The
words are both a promise to the spectators and a claim of the
dramatist.
336. 60-iots p-vo-rats : the dat. does not depend directly on
iyKaraKpojjcov, but is either (1) loosely joined to the general
sense as dat. commodi (i.e. 'as your pious mystics pray you') ;
or (2) with dyvdu iepdp, * a dance pure and holy in the eyes of
pious mystics.' The latter is simple ; cf. Soph. 0. C. 1446
civd^LaL yap Trdalv icrre dva-rvx^lv : Dem. 20. 54 6 \6yos aiaxpbs
rots (TKOTrOVjJ^VOLS.
337. Arjp.'qTpos KopT] : to whom the Lesser Mysteries specially
belonged (as was natural for the spring), while the Greater
Eleusinia (of autumn) belonged to Demeter herself.
338. «s T|8v . . Kp€wv, ' what a delightful whiff of pork ! '
The impers. construction as in rjdij 6^ei, dird^ei tlvos ; cf. PluL
1020 6^€Lv re ttjs xp6as ^(f>a<TKev ijdij fioi. Another construction
to be noted is that of Vesp. 1059 rdv lixariojv o^^o-et be^ibTfyros.
In the mysteries pigs were the staple sacrifice ; cf. Ach. 747,
764 ; Pac. 374 ^s x^'-P^^'-^^ ^^^ f^^'- ^d^'eicroj' TpeXs dpaxf^ds' | del
yb,p fJLvrjdyjvai fie irplv TedvTjK^vai.
339. ^v Tt Kttl . ., 'in case you may even . .' ; cf. 175.
340-351
NOTES 133
340-343. ^7€ip€ <|)Xo7€as XapiirdSas • €V X^P*'"^ ^^-P '^•^^i . .
<|>a)o-<j)dpos doTTifip : this is the simplest reading for both con-
struction and metre. The change to i\K€is on the part of most
(but not the best) Mss. was due to ^yeipe, and the unmetrical
addition of Tivdoro-cov was caused by the inclusion of a marginal
note written under a misapprehension. On the other hand
the words ^dp i\K€i cannot have been so added.
The chorus apostrophise each other, 'stir the torches to
flame {(fAoy^as being proleptic) ; for in our hands there is
borne — lacch' lacche ! — the light-bringing star of our nightly
revel.' "la/cx' cD "la/cxe is parenthetical, like lo triumphe, evoT,
etc. In the strophe the deity was invoked to come forth ;
with the antistrophe he is brought out.
340. ^7€ip€ : by brandishing. Cf. Stat. Silv. 8. 5
quassamus lampada mystae. [Some, keeping nvacawv in
violation of the metre, punctuate ^yeipc ^Xoyias 'Kafnrddas iv
X^pcrl yd.p k.t.X. In this case ^yeipe is used absolutely (like
^Treiyej (fioive), not 2,8 = iy€lpov, but with a relevant accus.
supplied. The late position of yap would in itself be justifiable :
cf. Antiph. ap. Ath. 339 B e-rrl rb TdpLx6s iarip wpfJLTjKvTa ydp,
ibid. 572 a al fxev (5i\Xat roijvo/JLa \ ^XdirTOVji roTs rpoirois ydp.]
€V X^P*'"^ 7^P "^^^^^ ' vi^- 0^ *^® laKxaycoyoi or ceremonial
nurses (fern.), whose title is found in connexion with the
Eleusinia.
343. <f)a)(r<(>6pos do-T-^p : viz. lacchus, who bears a torch.
Cf. (though in another connexion) Soph. Ant. 1146 x^P^y
&aTp(j)v, applied to Dionysus. There is an oxymoron in the
combination of wKripov with (puxKpdpos ('morning-star').
344. S-?! : better than 8^, as well as more metrical. They
have called upon their comrades to 'rouse the torches,' and it
is done (drj) = ' So ! The meadow is all ablaze. '
345. yovv TrdXXcTai yip6vT<av. So the aged Cadmus and
Teiresias dance under the Bacchic inspiration (Eur. Bacch. 184
sqq.), and Cadmus observes iiriXeX-nafied' ^5^ws | yipovres 6vt€s.
348. Itwv . . €viavTovs = ^rtD?' kijkXovs (Eur. Hel. 112), since
^Tos = ' year, ' while iviavrbs — ' round ' or ' recurring season ' ;
cf. Hom. Od. 1. 16 dXX' 6Ve St; Iros fjXde TrepLTrXo/jL^vwv ivLavrwv.
349. Upds vTrh Ti|xds, ' thanks to (or ' to the accompaniment
of) this holy service' ; cf. 333.
350 sqq. crv 8^ . . ^dKap : lacchus (one of the fidKapes
Oeol) is now in the hands of the bearers, and he is bidden to
advance with the procession into the dancing space.
351. dv9T]pbv '^Xeiov : see Introd. p. xxxiii.
134 THE FROGS OF ARISTOPHANES 354-356
354-371. The anapaestic tetrameters, recited by the cory-
phaeus (who is probably the hierophant, but may be the KTJpv^),
are in humorous imitation of a Krjpvy/jia or Trpbpprjcns which was
made before the mystic rites proper began. Before the Greater
Mysteries a proclamation was made publicly in Athens itself in
the Stoa Poikile by the Hierophant or Daduchus (although one
would rather have expected it to be the KTjpv^, and our
authorities may be incorrect). But there is nothing to prevent
another and final TrpSpprjo-is on the actual field of the celebra-
tions, and at Agrae, so easy of reach from Athens, this was
probably part of the proceedings after lacchus had been brought
forth. We need not suppose that Aristoph. adheres strictly to
the order of ritual, but he necessarily worked upon a general
basis of similarity.
While in the mysteries those are bidden to retire who are
uninitiated or impure or have committed certain specified sins,
the Chorus here banishes those who are uninitiated or corrupt in
literary judgment or who have committed political crimes.
This affords an opportunity for a number of personal hits.
The double reference to the mysteries on the one hand and the
comedian's views on the other is well maintained by plays upon
words.
354. €v<(>'r]jjL€tv XP*^ • i-®* ^^^ present must favere Unguis,
whereas i^ia-raa-Bai refers only to those hereafter mentioned.
IJCorraa-Bai k.t.X. For the interdiction itself cf. Callim.
Hym. Apoll. 2 e/cds e/cas o(ttls dXtrpos, Yerg. Ae7i. 6. 258 procul
procul este profani. We should also compare for the literary
application Hor. Od. 3. 1. 1 Odi profanum, { = diuLvr]Tov) volgus
et arceo. \ Favete Unguis : carmina non prius \ audita Musarum
sacerdos | virginibus puerisque canto.
Tots iq[JL€T€pot(rt xopolcriv. The words suit (1) the fiijo-rai,
(2) the comic choruses competing for the prize.
355. dircipos . . Ka0ap6V€i : an application of two clauses of
the actual formula at the mysteries, viz. (Theo Smyrn. p. 22)
6(TTLs TCLS x^^pct^ f^l Kadapos and 6<ttls (f>u)V7]v dajjveros.
ToicavSc XoYwv : suiting (1) the mystic doctrines, (2) the 'fit
and proper literature ' of comedy.
*yvw(XT), 'judgment,' substituted for x"/'^^ of the formula.
The comedy must be judged with right taste and without bias.
For the loc. or instrum. dat. in place of the accus. of respect cf.
Xen. Oyr. 1. 3. 10 rats yvib/xais (T<pa\\ofji€vovs, Eur. Bacch. 683
adtfiaaiv Trapetixevai, Herond. 3. 32 'dixfxaaiv kolixvojv.
356. 7€vvaiwv . . MoiJ<r«v : i.e. not the vulgar sort of
356-357 NOTES 135
composition; 'literature lit for gentlemen.' Mo\j<r«v, of
course, replaces the half-expected jj,vaTU)v.
^p'yia . . €l8€V : not = ra iepa elSev with allusion to the
crowning revelation to a full eiroTTTTjs, since not all juLrjarat
were such. 6f>yia are not the sacred things, but the sacred
rites, though these also are arcana, and could only be seen or
danced by some grade of /jujarat. The accus. (cognate) can
therefore be joined to xopem^ ('celebrate in dance ') as well as
to opav (direct obj.). Cf. Eur. Bacch. 488 ttcLs dvaxope6€L
^ap^dpoov Td8' 6pyia. Here Spyia MovaQv et5e»'=:'has iDcen a
spectator of drama' ; ixopevaev = ^ has actually taken part in a
chorus.'
357. Kparivov tov Tavpo<|)d'yov : a compliment, as the
context should show. Aristophanes wishes to be judged by
those who have been initiated into the revels of Cratinus, i.e.
who know what good comedy is. Cratinus had probably been
dead about sixteen years, and though Aristoph. satirises him
when alive, in 424 B.C., as senile and a drunkard, such satire
was in keeping with the custom of comedy, and is to be dis-
counted by the fact that Cratinus was still neither too senile
nor too sodden to defeat Aristoph. himself in 423 B.C. His
excellence as a comedian is proved by his nine victories
unanimously adjudged. His merit in the eyes of Aristoph. is
that he typically represents the ' Old ' comedy, with its fearless
personal satire, which was supposed to be in the interests of
society {TraidaywyLKrjv irapprjaiav exovaa Marc. Aurel. 11. 6).
This privilege had been denied, restored, and threatened several
times before 405 B.C. and was already on the decline, but our
poet endeavours (as Cicero puts it de Rep. 4. 10) ut quod vellet
comoedia de quo vellet nominatim diceret ; cf. inf. 367-368.
On the technical side also the work of Cratinus was of a high
order, particularly in the choruses.
That he was a drunkard is a commonplace with his contem-
poraries, and was admitted by himself in his last play {HvtIvti) ;
but this vice was (as often in modern times) treated rather as
matter for jest than for scorn. Almost certainly along with
the present compliment there goes an allusion to his tipsiness,
since Kparivou ^aK^cia at once suggests Alovij(Tov fSaKx^'ia, and
since the wine-god is himself called Tavpo<|)d7os (Soph. fr.
Tyro). The term is borrowed from (1) the Orphic mysteries of
the (hfio^ayia (Harrison, Proleg. pp. 482 sqq.) at which a bull was
slain and eaten in honour of Dionysus, (2) the offering of a
bull to Dionysus by the Ephebi at the City Dionysia (Haigh,
Att. Theat. p. 13), Dionysus was also ravpo/jLopcpos, ravpSKepcos
(a bull-god), and the audience would readily take the equation
136 THE FROGS OF ARISTOPHANES 357-361
and realise that Cratinus was virtually being substituted for
'the wine-god.'
But ravpocpdyos has a further application to the winner in
the dithyrambic contest, where the prize was a bull, which
served as a feast. The lyrics of Cratinus were specially
dithyrambic, although we have no knowledge as to his com-
peting in dithyramb proper. But ' eater of bulls ' may very
well have become proverbial for 'prize-winner.' Add to this
that the eater of a thing was supposed to be penetrated with
the power or spirit of that thing ; and hence probably the story
of the athlete Milo, who 'ate a bull.' Thus Cratinus is full of
bull-like courage in his comic attacks.
[We may sum up by saying that Kparivov rod Tavpocpdyov
is substituted for Aiov^aov rod ravpocpdyov, the god of special
mysteries, and that, as applied to Cratinus, the epithet
implies (1) wine-drinker, (2) winner of victories, (3) fiercely
courageous. ]
7XwTTT]s PaKX€ta : to be closely joined. His tongue was
reckless, carried away with ardour and licence of Dionysiac
possession. ' Those who have been initiated into the revels of
Cratinus' tongue ' = ' those who have learned to appreciate the
free-speaking of the old school.'
paKX^i* IreXe'crGT] : cognate accus. ; cf. Plat. Phaedr. 249 c
reX^ofs del reXerds reKovfievos.
358. ^TTCcrtv, 'verses,' not 'words,' is the sense of ^tt^ in
ordinary comic dialogue ; but in anapaests, while the former is
the surface sense, the latter is not excluded. ' Delighting in
ribald words ' has its reference to the mysteries \ ' in black-
guardly verses ' to the drama. There is a hit at the competitors
of Aristophanes (cf. 13 sqq.). rb ^uijxokbxov is that which
' plays to the gallery ' ; cf. Nuh. 970 (in connexion with music).
TOVTO oroLOvo-LV : id agentihus, sc. ^ajfxoXox^vofiivoLs, cf. 584
oW old' 6tl dvjULOL, /cat diKaioos avrb 8pg,s and, more nearly, Plut.
522 ^arai . . oi/5ets dvdpairodLcrrrjs 1 • . • ris ydpTrXovTwv^deXrjaeL
I KLvbvve{)wv irepi ttjs 4'^XV^ '^V^ avrou tovto TroLTJaai ; See also
168 n.
359. TToXtrais, 'where citizens are concerned.' The article
would be more inclusive ' (all) the citizens ' (regarded as a
ttSXls).
360. dv€Y€^p€i : sc. o-rdaiv (not avroius). The reference is
probably to Cleophon and his adherents.
361. fipx<*>v, 'while holding (some) office.'
KaTa8wpo8oK€iTau The middle (or passive) also in Ar. Pol.
362-364 NOTES 137
2. 9. 26 (paivovTai de koI KaTad(jjpo5oKoij/J.€uoL /cat Karaxapt-t^/J-evoL
iroWa TU)v kolvQv. The simple 5wpo5o/feii/ classically =' receive
bribes ' ; in later writers it = deKa^etp or x/aij/xao-t 6ia(p6€ip€iv
' bribe ' (Cobet, Nov. Led. p. 502). The compound with /cara-
expresses 'ruin (betray) a thing through bribe-taking' (cf.
Lysias p. 178 birorav raura . . kX^tttuo-l /cat /caTaSw/ooSo/cwcrt).
The use is well-known in KadtinroTpocpelv tl and the like. In
Vesp. 1035 TOLOVTov Idcov repay oij (prjaLv deiaas KaraSajpodoKijaaij
f d\X' vTT^p vfiQv '4rL /cat vvvl TroXe/xet we should supply vjxas, ' to
betray you for bribes. ' If a person ' corrupts himself — gives
himself away — by receiving bribes' he may be said /cara-
diopodoKeip eavrdv, or, as its equivalent, KarabuipoboKeladai.
362. -J^ TTpoSiSwcriv <()povptov -i^ vavs : part of a public
formula; cf. Lys. 31. 28 et fxev tls (ppoijpLdv tl irpoijbwKev ^ vavv ff
arparoTredov tl . . . rats ^crxdrats hv ^rjjuLiaLs e^TjjULOVTO, Poll. 8.
52 dyivoPTo elaayyeXiaL kutcl tQp irpodopTWP ^poijpiop 7) (jTpaTLav
^ vavs, Lycurg. c. Leoc. 155. 59.
TaTrdppTjTa, ' contraband of war ' (at the same time suggest-
ing the secrets of the mysteries). Cf. Eq. 278 tovtovl top &pdp
eyu) 'pdeLKPVfiL /cat 0^At' e^dycLP \ tuictl HeXoiropvijo-icop TpLifjpeaL
^wfievjuaTa followed by i^dyojp ye rdiropprjO' (282). The for-
bidden exports were particularly materials for shipbuilding
(e.g. ropes, sails, pitch), and corn. So Dem. de F. Leg. 433
^pax/zep, dp TLS cos ^LXlttttop BirXa dywp dXc^ 7) (TKevrj TpLTjpiKdy
ddpaTov €LPaL t7]p ^TjfJiiap.
363. 4J Al-yCv-qs. Aegina was now part of the Athenian
empire, the Aeginetans having been evicted at the beginning of
the war and replaced by settlers from Athens (Thuc. 2. 27).
Disloyal Athenians were able to make it a basis for communica-
tion with the Peloponnese, since it was ttj TLeXoiropprjaci)
iTTLKeLfiipT] (Thuc. I.e.). Epidaurus was the nearest opposite
port.
0ft)pvkta)v «v, 'being a Thorycion,' i.e. 'as bad as
Thorycion.' Cf. 541 and fr. 92 cD fiLap^ /cat ^pvpupda Kai
TTOP-qpk G<). Nothing further is known of the man.
cIkoo-toXcJ^os The €lko(ttij was a duty of five per cent on
all goods carried by sea in the Athenian empire. It was
imposed in 413 B.C. in place of the (popos or direct quota-pay-
ment of the allies, and was collected in all their ports. Cf.
Thuc. . 7. 28 TTjv €LKoaTT]P virb tovtop top xP^^op tCop /card
OdXaaaap dpH tou (f>6pov toTs vTrrjKdoLS iirideaap, TrXeico pofiiaapTes
B.P (T<pLcrL xP'hP-o.Ta ovto) TrpoaLCPaL.
364. do-Kw|iaTa : leather pads for the oars in the rowlocks.
Etym. Mag. 155. 17 says rd ddp/naTa tcl iwippaTrTo/uLepa rats
138 THE FROGS OF ARISTOPHANES 365-366
Kibirais dia r6 /jltj ela^peTp ro 6a\dcr(nop vdcop, i.e. ' leather bags
fitting over the oar at the oar-ports, to prevent the wash of the
sea from entering ' {Did. Ant. ii. p. 223). Cf. Ach. 97 &aK03[x
^X^is TTov irepl top 6(f)da\fibv Karco (after uaixpapKTOV jSX^Trets), i.e.
* a pad ' or ' bagginess. '
365. xp-fiiiara. . . xcCOci. Such assistance to the enemy
had come from Persia (Xen. Hell. 2. 1. 11), but there can
hardly be an attack here upon Alcibiades (cf. 1432). The
* persuasion ' on the part of Ale. , when he was estranged from
Athens, had been exerted seven years earlier than this play,
and the position had entirely changed.
366. T<Sv 'EKaratwv. 'E/cara?a are either (1) 'E/cctri?? deiirva,
messes of poor food or even offal put out at the cross-roads (iv
rpiddoLs) on the last of the month as a purificatory ceremony.
These might be eaten by dogs or by the miserably poor. (2)
'Ekolt^s dydX/iiara, statues or emblems of Hecate irpoirvkala (or
irpodvpaia). (3) 'E/cdr?;? lepd, little shrines of Hecate placed iu
Tpiddois. In the last sense most editors prefer the spelling
*EKaT6ia (cf. Qr}(T€Lov, 'UpaKXeiov, MovcreTov, 'OXv/xTrie^ov) and
this is highly probable. [There is, however, nothing to prove
that 'E/caratoj/ is an impossible form in the same meaning, since
the suffix was originally -lop simply, and only spread as -elop
through analogy with, e.g., "H/)a/cX6(feo-)-iov, Q7]cr€{F)-L0P.'] But
here it is not safe to make the alteration, since we do not know
whether it was belirpa, dydX/nara or lepd which were defiled.
Av. 1054 {aTTjXris) suggests that it was one of the street
emblems.
The defiler referred to is said by scholiasts to have been
Cinesias, and, though this may be a guess, it is supported by a
passage in Eccl. 330. Moreover Cinesias was a KUKXtodtddaKaXos,
composer (and teacher to the chorus) of dithyrambs, and a
contemptible person (cf. 153), of whom Lysias (ap. Ath. 551 f)
states that he was dcre^iaraTOS dirdPTojp dpdpibircjp, and that he
did things 8l tols &XXols ahxp^^ f^^"' /^^ctt Xiyeip.
kvkKCoio-i xopoto-iv viraScov, ' leading the music of dithy-
rambic choruses,' is not merely a periphrasis for ' being a
dithyrambic poet,' but implies that such a person should be the
last to commit this profane outrage.
The k^kXlo's x^P^s of fifty danced and sang round the altar
of Dionysus, and is thus distinguished in name from other
choruses, which were rectangular {rerpdycopoi). Five (tribal)
choruses were composed of men and five of boys, and the offence
is somewhat emphasised by the latter consideration. The con-
tests of such x^poi took place in the theatre at the Dionysia.
vTTijSwv, lit. 'leading with singing' (or the flute) = t*oc6 (or
367-369 NOTES 139
tibia) praeire. viro- of accompaniment strictly expresses the
guidance or impulse under which a thing is done : cf. 874,
Callim. H. Dian. 241 sqq. (after kvkXip \ (irriadfxevaLXopov evpvv).
v7rif)€Lcrav dk XiyeLai \ XewraXeov avpiyyes. The same sense
appears in viravXeXv, vireiireLv {fr. 479 iyoi 5' virepCj rbv 6pKov=:
verba praeibo). On the other hand irpoffq-beiv is said of the
chorus (Plat. Legg. 670 b).
It was theoretically the business of the Ku/cXioSiSdcr/caXos to
train his own chorus, but he might employ a uTroStSdo-zfaXos,
and it is enough to suppose that the composer here chants his
words and tune in general guidance.
367. Tovs [iior0ovs k.t.X. The schol. onEccl. 102 states that
Agyrrhius ' cut down the payment made to poets,' i.e. managed
to reduce the payments made to the selected writers for the
dramatic and lyric competitions. The schol. on the present
place blames Archinus ('and perhaps Agyrrhius'). All the
competitors were paid, but on a scale proportioned to their
place in the result.
p-^JTcop &v cIt* : elra (practically = oyuws) implies that, if any
one had a right to reduce the scale, it certainly was not for a
piiTicp to do it. Cf. 205, Ach. 496 fi-f} fioi <p6ovr)a7jT . . | et
TTTWXos ibv 'eireiT iv 'AOrjuaioLs X^yeiv \ yu^XXw. The offender was
a ' professional talker,' and a poet was better than a * talker.'
Moreover a prjTcop is a public man and must put up with the
consequences. The p-qropes ( = oi drj/nq) <tv/x^ov\€vovt€s Kai ip r<p
drjiunp dyop€vovT€s Suid.) theoretically enjoyed no credit, but in
practice were powerful.
368. Ka)|ia)8if]9€ls, 'because satirised in comedy.' .
€V rats TTttTpiots . . Aiovvo-ov : these words contain the
excuse for any freedom taken with Archinus or Agyrrhius. No
man ought to bear malice when the poets are simply following
the old-established practice {Trarplois) on a privileged occasion ;
cf. 357 n. Aristoph. chooses the word TcXcrats, not merely
instead of eoprrj as applicable to the mysteries, but in emphasis
of the excuse. 'Initiation' involves more or less unpleasant
probation, and the prjrwp was only 'going through the mill.*
369. TOvTois irpwvScI) : an excellent correction of Blaydes
(see crit. n.). •Apart from the metre, to^tois dTravdQ . .
i^icTTaadaL is very improbable Greek for diravdib fij] irapelvai or
ai)5cD e^laTaadai. This difficulty could be partially got over by
punctuating at the end of the line and treating i^iaraadaL as
imperat. (cf. Ach. 1001 dKovere Xeip- /card rd Trdrpia roi/s xoct? '
I iriueLv). [The change to the imperat. dveyeipere would be no
embarrassment, since that word is addressed directly to other
140 THE FROGS OF ARISTOPHANES 369-372
persons (with vfieXs), while i^iaraadat is general and formal.]
Nevertheless even with such punctuation dTrauSw would still be
unnatural. The correction (1) explains the corruption, the
crasis for Tpo-av8u} being rare and apparently restricted to this
word, in which it occurs Av. 556 lepbv iroXefxov irpwvbav avTip,
(2) suits the notion of a TpdppTja-Ls, as in irpdk^yo}, irpocpwvu}, (3)
restores a normal construction.
Ka^Ois rh TpCrov p-dXa, Join Ka^Ois . . (laXa. Cf. Aesch.
Cho. 875 0L/J,0L /idX' aS^ts iv rpiroLs irpoacpdeyixaaiv. In phrases
of repetition this use of ixaKa is habitual, cf. Aesch. Cho. 649,
Ag. 1344, Eur. Phoen. 1067, etc.
370. }JLvo-Tai(n. : adj. =^tuo-riicois. Cf. Anth. Pal. 7. 219
/uL^arrjs Xvxvos, Eur. Ion 1373 olKirrjv ^iov, Xen. An. 6. 5. 9
X6xoi (p^tXaKes. [Not ' our rites,' but any such.]
371. Kal -Travvvx^Sas : sc. dyeLV (or iroLeiadaL) dpxeade to be
gathered by a sufficiently easy zeugma from dveyeipere.
TOLS ^[iCT^pas at k.t.X. : words of defence or excuse (cf. 327,
335).
372 sqq. Commentators do not appear to have realised the
difficulty of relating the present situation to that which has
preceded. At v. 324 the mystae call upon lacchus to come
forth from his shrine ; at v. 340 he is borne forth ; at v. 350
he is bidden to lead the procession (i.e. the dances) into the
flowery level (i.e. the orchestra) ; at v. 352 the coryphaeus
makes the irpbpp-qaLs before the dance begins. But immediately
after commanding the mystae to 'raise the song etc' we here
find every one (Tras) ^ now ' {vvv) bidden to move to the ' flowery
recesses of the meadows.' We might take this to be a repetition
of the command in v. 350 ; but now — if we seek a natural
interpretation of words — it is daytime (376, 387, 455). The
Mystae have taken their dpLarov and go into the meads to sport
and dance ' all day.' What too is the meaning of ' summoning
hither lacchus' (395), w^hen he has already been summoned
and has come (340) ?
Unless we are to suppose (as we need not) that the two
editions of the Frogs have been confused (Introd. p. xxvi), it is
necessary that we should here assume a change of time. After
the proclamation of v. 371 the chorus perforin their dance,
representing the iravvvyis., and this fills the night. We are thus
brought to the next day ; an interval is supposed to have
elapsed for rest and the dpLcrrov : and the celebrations are now
' continued in special honour of Kore (379), next of Demeter
(383), including lacchus (396), who has been again lodged
(after the iravvvxi^ and during the interval) in his shrine by
372-379
NOTES 141
the meadow. The assumption of a lapse of time has often to
be made, and the Frogs, with its frequent changes of scene,
especially demands this liberty.
372. X"?^'' K.T.X. The metre, which is that of a slow and
steady march and consists of anapaests entirely spondaic, was
affected by the Spartans in their efi^arripLa (cf. ^fi^a 377).
dvSpcCws is playfully borrowed from the marching song of war-
time : ' march like a man — to the flowery bays. '
373. Is rovs €vav0€is koXttovs Xcijjlwvwv. The absence of art.
from \€LjJnbvwv is due to the close connexion of KSXirovs-Xeifioovwu
into one notion, the gen. being practically an adjective. In
such cases the gen. may come between art. and noun, as in
Soph. Aj. 664 7) jSpoTcop irapoL/jLia, or after the noun, as Eur.
Bacch. 29 ttjv ajuLapTtau X^x^vs, El. 368 at (pijaeis ^porQv. [Where
there is already a qualification of the noun (as cvavdets here)
the other attributive w^ord (here a gen.) may naturally be
expected to follow rather than precede.]
374. I'yKpovcov : cf. eyKaraKpoTuiav 330 n.
375 sq. eTrKrKwirTwv k.t.X. : with reference to the CKtbfifiaTa
and y€<pvpL<jfjLbs at the mysteries. At the same time the chorus
is pleading its right of mockery in the theatre. See Lucian
Prom. Q 7} bk {Kojfii^dia) wapadovaa rtp ALovtJcrip iavTTjp Oedrpip
ufjLiXeL Kal ^w^Tratfe kuI iyeXcoToiroieL /cat eTT^cr/cwTrre, and (later)
iin(TK(JoirT€Lv Kal tt)v AiovvaLaKr)v iXevdeplav Karaxetv (rtfos).
377. i?|pio-'rr]Tai 8* IJapKovvTws : cf. Nicostr. ap. Ath. 693 B
lKavQ)s Kex^praajULai yap. On the one side it means that the
mystic fast has been broken, on the other it introduces a
favourite jest. The meals of the Chorus were supplied by the
Xopvy^s, and the appetite of the xopeurat was proverbial (Haigh,
Att. Theat. p. 80, where the pertinent authorities are cited).
Comedies were performed after the dptarov and the Chorus
admits that it *has had not a bad meal.' Cf. 403 sqq. for a
similar reference to their clothing as supplied by the X0/37776S.
That the comedians could jest at their own choruses appears
from Suidas (in voc. (papvyivdrjp) aKdoirTovres rrju yacTTpifxapyiav
rCJv xop€VTU)v 'AttlkoI ovtcj X^yovat. [The mistake of supposing
that the proceedings are still those of night has caused doubts
and alterations of the text.]
378. dpcts, 'uplift (in song),' 'extol' {tollere). Usually a
predic. adj. is joined to the verb, e.g. fi^yav, v\priXbv aipetu nva :
here the following words give the definition. Cf. Aesch. Pers,
549 K:d7cb 5^ jxbpov tQv oixofi^vtov \ aipia doKlficos TroXvirevdi).
379. T-^iv 2cST€ipav : i.e. ^epp^iparrav (the name specially
142 THE FROGS OF ARISTOPHANES 379-389
borne by Kore at Agrae). That Persephone is meant is clear
from the following mention of Demeter and lacchus, and that
she bore the title Swreipa appears from Pans. 3. 13. 2 vabs
K6p7)s ^ojTeipas (in Laconia), 8. 31. 1 (Arcadia), and from coins
of Cyzicus. Cf. Aristot. lihet. 3. 18. 1 rrjs reXer^s ruv rrjs
Swre/pas lepCov.
7€vvaCa)S, in ' first-rate ' style : cf. 97 n.
381. <r«^€tv, 'acts as St6retpa.' This is better than o-wacLv ;
she says ' I am your preserver for ever.'
©wpvKCtov : cf. 363.
382 sq. These two anapaestic tetrameters are spoken (or
chanted) by the coryphaeus. The next service is due to
Demeter, and the metre is of quite another kind (Irepa iSia.) to
that of the lines referring to Persephone. The construction is
€T€pav ij[LV<av ISc'av KcXaSeirc, eiriKoo-jJiovvTes ti?|v k. p., cf.
Pind. iV. 4. 26 vfxvov KeXddrjae KaXXiviKov. The fern, form 0€dv
is not part of the language of sheer comedy, but belongs to the
higher style admitted outside the trimeter ; yet to Persephone
at least this form seems to have been peculiarly applied
(Meisterhans, Att. Insch. § 47 a 4).
The words Ai^[JLif]Tpa Oedv, which are not strictly necessary,
lend more solemnity and recognition of greatness : ' the fruit-
bringing Queen, Demeter, goddess . . '
384. ayv&v : with the same insistence as in 327 n.
387. Kai \k d(r<(>a\«s k.t.X. This use of accus. and infin.
belongs to the language of prayer, and depends on the thought
dbs or eiixoiJi'O.L unexpressed (Klthner-Gerth ii. p. 22). Cf. 887,
892, Aesch. S.c.T. 239 6eol iroXiraL, fx-f} yU.e dovXeias tvx^^J^, Ach.
247 Si ^ibvvae d^cnrora, \ Kcxcipto-fihojs <tol Trjvde tt)v tto/mxtju
€iik I irijxypavTd /cat dijaavra /xera rQv oIk€tQ}v \ dyayeiv rvxvp^s
rd /car' dypovs ALOvij(na.
Speaking as ixmrai they mean * may I sport and dance with-
out offence towards the goddess and her ritual ' ; as xop^^rai of
the comedian, ' may I jest without offence (in the eyes of the
audience) or danger (from individuals), and dance so as to win
the prize.' [An allusion to safety from the Lacedaemonians is
also very probable. The position was critical : see Introd.
p. xxiii.]
irav'f\\i.€pov : through the day's ceremonies (1) of the mysteries,
(2) of the dramatic performance,
389. iroXXd [ilv ^cXoia k.t.X. : the maxim of the comedian,
who claims a serious purpose. Cf. Plut. 3for. 68 B ^vei koI tois
KcafiLKoh iroKKd irpbs to diarpov avcrTTjpd /cat iroXutKa iTreiroirjTO.
392-404 NOTES 143
392. iraCo-avTa . . viKTJcravTa raivtovcrOai, '(grant that)
after jesting . . I may gain the victory and be honoured with
the fillet.' For the combination of participles cf. Aesch. S. c. T.
3 otaKa vcofxCov ^\i(papa /jlt) kol/ulCcv uTrz/y, Plat. JRep. 366 A
\i(ra6fJL€U0L virep^aivovres Koi djULapTavovTes TreWovres avrods d^rjfJiLOL
diraWd^ofieu, i.e. Treidovres avrovs \L<ra6fJi€P0L {~rip XicTaeardac)
virep^alvovTes {^OTrdrav vTrep^aipufiev).
393. TaivtoOo-Gai. The raivia was a band or ribbon bound
round the head of the victor, while the ends floated behind like
streamers. In art it figures at full length in the hands of Nike.
[Though this proceeding relates to the chorus in the theatre,
there is at least a probability that even in the (r/cwytt/Aara and
Traiyfiara of the mysteries there was some recognition of pre-
eminence.]
395. wpaiov : cf. Catull. 64. 251 fiorens . . lacchus, Ov.
Met. 4. 17 (of Bacchus = lacchus) tu puer aeternus, tu formo-
sissimus.
396. Tov IwcjJLTropov : i.e. who is (always) the (recognised)
companion, etc.
397. |Ji€Xos lopTTjs -fiSio-Tov cvpwv, ' discoverer of the sweetest
festal tune' (not = r^(7§e ttjs ioprrjs, for which at least the article
would be required). The tune which lacchus invented (viz.
the lacchus-song) is called the most grateful or welcome tune
known at any festival.
400. irp^s T-^iv 0€bv : Persephone, to whose shrine they are
proceeding.
401. dv€v irdvov k.t.X. lacchus is but a babe, and the
journey is, therefore, relatively iroXXi?!. Nevertheless he is a
god, and the gods know no irovos : cf. Hes. Op. 112, Eur. Phoen.
689 irdvTa 5' evireTTj deoh, Lucr. 5. 1182 nullum ca'perc ipsos
inde labor em. [Probably the expression was actually used each
year when the start was made from the laccheuni, whether to
Eleusis or to Agrae. ]
404. KaT€(rxicrco |j.^v . . , ' didst cause to be slit up. ' There
can hardly be a reference to the ax^f^fos xirc6i' or the shoes called
(rxicrraf, since these were neither ridiculous nor necessarily
cheap. The allusion is rather to the old clothes which were
worn (1) at mysteries (as was natural in view of the iralyixaTd
and the night-revels), (2) frequently in the comic chorus. In
the latter to yiXoiov was of course consulted, but an economical
Xopvyos took advantage of that requirement, when he could, to
supply his Chorus with hired dresses which had seen much
service (Haigh, Att. Theat. p. 83). The chorus here hits
144 THE FROGS OF ARISTOPHANES 404-414
satirically at this practice. lacchus 'had our clothes slit up to
create laughter — not to mention economy ! ' <rav8aXCo-Kov
(' bit of a sandal') and paKos ('rag') are humorous disparage-
ment ; these things do not deserve the name of * shoes ' and
' clothes. '
KaT€<rxCcra) [ikv . . Kd^iivpes. If this reading is correct we
have an instance of |j.€v answered irregularly by Kal (Kiihner-
Gerth ii. p. 271, who quote e.g. Hom. II. 9. 53, Od. 9. 49,
Xen. Cyr. 1. 4. 3). But one best MS. has Karaa-\Ca-(ti [i.\v . .
€|T]vp6S and Kock's KaTa<rx.iard}ji€vos . . e^t^vpcs is highly
probable.
407. dt-qfi^ovs, 'without loss' (through expense in things
spoilt, but with the further suggestion of dramatic impunity in
the matter of persons or things mocked).
414. €Yct) 8* act irws k.t.X. The speaker, attracted by the last
words, exclaims ' Tm in a general way rather given to escorting
(taking up avvaKoXovdei), and I should like to dance, playing
the while.' For the expression cf. Eur. Hipp. Q66 del yap odv
TTcis €L(n KCLKeiuaL KaKai. The sense of ttws, though it qualifies
del, is felt with the adj. also. With another order Plut. 246
eyw dk To^TOV rov rpbirov ircbs elfx del.
But who is the speaker ? Some mss. give the words to
Xanthias ; editors commonly assign them to Dionysus, but
some to prominent persons in the Chorus (which appears less
natural). A sufficiently humorous situation is created if, when
the attractions of the procession become manifest, the travellers
are eager to take part. The lines being attributed as in the
text, we may assume either (1) that Di. and Xa. speak them
aside, or (2) that they advance and speak so that the /xiVrat
can hear. In the latter case we may take this as a suggestion
of the yecpvpLo-fjLds proper, in which the spectators bandied jests
with the procession. The next words of the Chorus would then
be addressed to the two travellers, and both Bi\ra and Koivfj
would lose nothing in appropriateness, while o€v (422) would
perhaps gain. Perhaps it is best to suppose that the two come
forward with a display of lively eagerness.
[The MSS. have fjLcr* avrfjs at the end of v. 414. For metrical
reasons either these words must be omitted or their equivalent
in scansion must be added to the next line so as to create a
couplet of iambic tetrameters. The addition might take the
shape of K&ycoye <j8oi5XoyLtai> irpds or K&y(j)ye irpds, <.ad(p' Ladiy.
But it is not easy to see why the loss should occur, whereas
the addition of both eifiL and avrijs (adscript) might be fore-
seen if the original were the trimeters AI, kyo> 8* deC irws
416-418 NOTES 145
<)>tXaKdXov9os, Kal jicrd (adv. cf. avec) \ iraC^wv \opiv%w PovXopiai.
gA. Kd7a>7€ TTpds.]
416. PovXco-Gc 8f]Ta . . : spoken by the coryphaeus, * pray,
would you like . . V cf. Av. 16S9 ^oOXeaBe drjr eyo) ricos \ dirTU}
ra Kp4a ravrl fjAvbJj/ ; If addressed to his fellow choreutae,
KoiVTJ='all together,' i.e. not jesting at one another but all
alike turning on Archedemus (cf. Lys. 1042). If to Di. and
Xa. after their desire to 'join in,' it=' Would you then like
to join us in . . V [The yecjjvpLajxbs (cf. tcl i^ a/xd^rjs and the
(TT7)VLa of the Thesmophoria) was a free use of rough ^nter,
chiefly at the Cephisus bridge as the procession passed to
Eleusis (Strab. 9. 400 and see Sikes-AUen on Horn. Hym. 2.
195), but of course employed in similar cases and other festivals
at other bridges (e.g. over the Ilissus), and thence generically.
A bridge was a convenient standing-place, since everyone must
pass. y€(t)vpl^€Lv thence becomes = c/cwTrrt/cws v^pi^eiu.]
417. 'Apx€8t]jxov : mentioned by Xenophon {Hell. 1. 7. 2)
as 6 Tou drjfiov Trpoe(TT7]KO}S /cat ttjs diw^eKias iiniJ.e\6iievos at the
time of the battle of Arginusae, by Lysias (14. 25) as yXdfiwv
(inf. 588) and an embezzler of public money when Alcibiades
was a youth, and by Aeschines (de F. Leg. 76) as a corrupter
of the people by largesses. As the accuser of Erasinides (inf.
1195) he was naturally suff'ering much odium at the date of
the Frogs.
418. kTzrirrys &v ovk 'i^vcn. <|>pdT€pas. The last word is a
punning irapa irpoadoKiav pronounced with a drawl, as if it were
to be ^pacTTTJpas (sc. ddduras). These were the second teeth,
which came at seven years of age ; cf. Solon, Fleg. -25. 1 Trats
fiev dvTj^os i'Jjv €tl vrjirLOS epKos 686pt(*}p | (pvaas iK^dXkei irpGiTov
iv eiTT 'ereaLv. So wisdom-teeth are called (Tw<ppovLaT^p€s or
KpavTTjpes. For ' had not grown (his) second teeth ' the comedian
substitutes 'had not grown (his) clansmen,' i.e. he was no
legitimate Athenian. [Such charges were very common ; cf,
679 n.] A similar expression occurs in Av. 764 ei de dov\6t
i<TTL Kal Kd/) ihairep '^^TjKearidrjs, \ (pvo'dro} irdTTTOvs Trap' rjfuv Kai
(pavovvTai (ppdrepes. Every true-born citizen was registered in
early childhood in the (pparepiKov ypa/jL/uLareTov of a ^parpla, i.e.
in a division of a tribe which claimed a common descent and
a share in a peculiar worship of special clan - divinities. A
citizen by adoption of the people {drj/jLOTroirjros), but originally
a foreigner or a slave, had not passed through this enrolment,
but, upon his adoption, he was admitted to a ^parpia with a
limited recognition {Diet. Ant. i. p. 905).
[The spelling varies between ()>pdT€pas and <f>pdTopas. Here
the Mss. give the latter, as in Eq. 255. The grammarians,
L
146 THE FROGS OF ARISTOPHANES 420-438
however (e.g. Steph. Byz.), tell us that <ppdrrjp is the Attic form,
and this answers to /rater and to e.g. trar-qp, fJLrjrrjp, dvydrTjp.
Attic inscriptions always show -ttjp (Meisterhans^, p. 103).]
420. €v TOLS &v« vcKpoio-i : (1) by a surprise for ^wcri, im-
plying that the Athenians are stupid enough to be dead.
Aristoph. elsewhere calls them wpd^ara, and veKpoi were more
helpless still ; cf. Sen. Ep. 60 quosdam ne ani7nalium quidem
sed Tiiortuoruyn loco numeremus (quoted by Blaydes) ; (2) there
may also be a reference to the famous lines of Euripides ris
oldev el rb ^rju fxiv ian KaTdaueh, j to Kardaveiv bk ^tju kclto) vofit-
^erai ; (3) meanwhile dvw perhaps alludes to the Pnyx and its
stupid deliberations (cf. avoj Kadija-dai). It is quite in keeping
with the condensing genius of Aristoph. to suggest all these
notions at once. [A reference to ' making political capital out
of the dead at Arginusae ' is not likely.]
421. ToL irpwra : cf. Hdt. 9. 87 Aol/jlttojv . . AlytvTjT^ojv rk
irpdra, Eur. Med. 912 Kopivdias ra irpCora, Lucr. 1. 87 ductores
Danaum deledi, prima virorum.
€K€t, ' on earth ' (reversing the usual sense).
jioxOilptcts : instead of an expected drjfiayojyias or TroXtretas
(schol. ) ; more antithetical, perhaps, aocpias or dpeTrjs.
431. ^x®''''"* ^v o^^ K.T.X. : odu is somewhat difficult if Dionysus
has not already addressed the mystae. Possibly, however, it
may be a conversational idiom, ' Well now (when you have
said your say), could you tell us . .'
432. oirov *v0d8*, 'where hereabouts': cf. Soph. Phil. 16
(TKoiretv 6' oirov 'ar ivravda dicrTOfxos ir^rpa \ T0Ld8\
433. leva) -ycip k.t.X. : a line of tragic rhythm and delivered
in appropriate tone. This and line 436 are perhaps taken
directly from some tragedy, the latter being quoted again in
Plut. 962.
435. |XT]8' a59ts €7rav€pT| : because there is no need.
437. ai'poi &v : sc. rd (TTpibfxaTa ; cf. 602.
438 sq. tL fjv : 39 n. ctXV i\ : 227.
Albs KopivGos : a proverb (cf. Ecd. 828, Pind. iV. 7. 104)
for nauseating repetition. Xanthias is tired of hearing nothing
but al'poi' dv. The origin of the expression is thus explained :
A Corinthian envoy, calling upon the Megarians for certain
claims, kept repeating that 6 Atbs KopLvdos (legendary founder
of Corinth) would have reason to be vexed if the claims were
not met. Weary of the threat the Megarians shouted iraTiE
irate rbv Atos 'Kbpivdov^ and expelled him with blows.
440-457 NOTES 147
But Xa. is also punning upon the insect (KSpii) which was
the plague of Greek bedding. These are humorously called
' Corinthians * in Nub. 709 ^k tov o-KifMirodos \ daKvovai /ul'
e^ipirovres ol Koplvdioi. [That arpiJofmra were especially manu-
factured at Corinth appears irrelevant].
440 sqq. x<«'P^^'''^ ^^^ • • ^® have reached a new stage in
the proceedings. The kvkXos is the sacred enclosure [irepl-
^o\os), within which was the &\aos or 'lawn,' Oed being
Persephone. The priest himself chooses the better part
(444 sq.)-
445. iravwxC^ovo-iv 0€a : the dat. of the recipient of honour.
Cf. Lys. 1277 opxH^o^lJ-^voL deoTaLV, Nub. 271 iepdu x^P^^ IVrare
'Nij/ii(pais, Xen. Ifell. 4. 3. 21 <TT€<pavovadaL r^ de(^. The order
is ol'o-cov <()€770S o^ IT. 0. They are not actually now at the
iravvvxi-^, but he will go with them to the usual place and will
carry a torch when they revel this evening. Neil {Eq. 1319)
shows that <j>€yyos is particularly used of mystic lights.
448. iroXvppdSovs. There were several species of wild rose
in Greece as well as the cultivated rose ; but the word is
apparently used in a wider sense than with us. In any case
the pb^ov is the typical flower {TLdrjvqix ^apos ^KirpeiricrTaTov
Chaeremon,/r. 13). To the happy meadows of the /ui^crrat (and
presumably of Agrae) the expression is appropriate (cp. Prop.
4. 7. 60 mulcet ubi Elysias aura beata rosas).
450. TOV i\\i.ir€pov . . ^vvoiyovcriVj * sporting in our (own
special) manner, the manner of loveliest dance, which (our)
happy fortunes bring together,' i.e. we are blest by the dis-
pensation of fate, which permits us to join together (here) in
our dance, the finest of all dances that are. While the other
departed dwell in gloom, the initiated are uniquely happy, in
that they are able to meet thus in a region of special light.
^vv6iyov<riv = ^vvdyeiv rjfxds irotovcriv (or edaLv) and 5\piai
^oipai are virtually personified (as if =dXpo86T€LpaL MoTpaL). Cf.
Av. 1731 "Hpg. ttot' 'OXvjULTrig, \ . . dpxovra . . fx^yav \ Moipat
^vveKofxiaoLv. There is a slight laxity in 8v, which implies a
previous x^P^^ ii^ place of KaWLxopurarov.
There is meanwhile an allusion to the present Chorus, which
has a peculiar and excellent manner of dance and wit, happily
put together and deserving of the prize.
454. jjidvois "ydp rjixiv . . : cf. 156 n., Soph. /r. 753 TpLa6\(3LOi
I KeTi/oi ^pOTwv, OL ravra bepx^^vres riXr) \ fxbXtoa is"AL5ov' roicrd^
yap ixbvoLS CKet \ ^rjv ^<jti, tols 5' &\\oi(tl Trdvr iKci /ca/cd,
457. SiTJ-yoixev ; viz. when on earth.
148 THE FROGS OF ARISTOPHANES 458-465
458. TTipX Tovs^ivovs Kttl Tovs IStwras : (1) the formulae of
the mysteries in all probability insisted on evae^eia towards
^€POL and (e.g.) the helpless ; (2) the Choruses in Aristophanic
comedy do not attack ^€pol and 'private citizens* ; they confine
themselves to legitimate satire of public characters. Other
comedians, it is hinted, may be less scrupulous. As usual, an
expression appropriate to the fxixTTai is deftly applied to the
play, with a irapa Trpoadodav in I'Siwras. [That IStcoras should
— iroXiTas in opposition to ^^vovs is impossible. Nor can there
be any natural reference to the Spartan ^e^7;\ao-^a.]
460. The scene has changed only to the extent that the
door (cf. 436) now appears, and the travellers approach it.
The chorus is still close by (see 532).
462. ov ^i\ 8iaTpC\|/€is, dXXa k.t.X. : see 202 n.
7€V(r€i = 7reipdo-et, a humorous application of the verb, which
is, however, frequent enough as a metaphor with words like
irovov, KLvdvvov, or of blessings {iXevdepias, etc.). Nearest to
the present place is Soph. Ant. 1005 evdds de delaas i/mirvpoju
iyevdfirju.
463. rh cr\i\\La koX to Xi]}jLa, 'look and pluck.' Xrjfjia is
not a word of common life or prose. Here its use is deter-
mined by the jingle (which assists the sarcasm) ; cf. Ach. 269
fiax^y Kai AayLtaxw^, and (more seriously) Plat. Menex. 238 b
birXiav KTTJcriv re /cat xp^o'tt'.
464. irai irai : see 37.
Aeacus is represented as the (slave) doorkeeper ; cf. Luc.
Dial. Mort. 20. 1 olba c^, otl irvXiapeh (Menippus to Aeacus,
who is acting as his rrepLTjyrjTrjs in Hades). In works of art
he was depicted as carrying the keys. [The usual account,
however, makes him one of the three judges in Hades, his
special province (according to Plato) being to deal witli
Europeans.] His manners are typical of the dvpwpos (39 n.),
although here his anger has its excuse.
HpaKXfjs 6 Kaprepos : said with an air and an attitude.
Kaprepos is itself a word of the higher style.
465-479. The whole of this speech is more or less a travesty
of some tragic passage. The scholia tell us vaguely that the
original was in the Theseus of Euripides ; others suspect it
to have been in the Peirithous (or rather Perithous), in which
Theseus is engaged, but which is quite a different play. We
know hardly anything of the Theseus, except that it was con-
cerned with the Minotaur expedition, whereas the Perithous
deals with the expedition of Perithous and Theseus to Hades,
465-47^ NOTES 149
and includes the descent of Herakles to fetch Cerberus. [The
play was sometimes attributed to Critias. ] In antiquity dramas
are not rarely cited under wrong or alternative names, and the
probabilities are evidently in favour of the Perithous.
465 sq. « pSeXvp^ k.t.X. = 'You shameless, impudent, audacious
creature ; | You wretch, you utter wretch, you prince of wretches.'
All the words (including pScXvp^ ; cf. Ach. 289, Theoph. Char.
11, Plat. Rep. 338 d) express shamelessness. The accumulation
of abuse is paralleled in Pac. 182 ; cf. fr. 92. Similarly Hamlet
says, * villain, villain ; smiling, damned villain ! ' A final
<rv is part of the phrase in such cases. [See Introd. p. Iv.]
467. Tov Kvv* T||i<ov : as Aeacus is the dvpcopos, so Cerberus is
the house-dog, which was under the care of the porter and was
kept in the irpoOvpov or in the porter's lodge ; cf. Eq. 1025
and Theoc. 15. 43 rav k^v ^cro} KoXeaov^ rav avXeiav dTr6K\q,^ov.
l^cXdo-as : from his post.
468. dirfjlas . . XaP«v : the tautology of grievance, the
metre also being tragic in its indignation.
469. €7w : hence the special vexation, ' / was responsible
for him.'
'4x€i [kia-os : a frequent metaphor from wrestling ; cf. Nuh.
1047 evOvs yap a ^x<^ fjjeaov \ \a^Cov d<pvKTOP ('I have you on
the hip ').
470. Toia K.T.X. : roia (for roiaijTT]) shows that tragic diction
is beginning.
Srvyds . . trirpa : the real Styx (of which a copy was
transferred by the imagination to Hades) was a lonely and
gloomy waterfall in N. Arcadia, near Nonacris. The precipice
of the Aroanian mountains from which it fell is the sheerest
and highest in Greece, and is extremely forbidding. The water
itself was (and still is) considered to be deadly, whence a
modern name Mavpav^pLa, 'Black Waters.' The notion in
(ji€XavoKdp8ios is that of a thing black and hard to the core.
The blackness is that of iron (Hes. Op. 151 /xeXas 5' ovk ^(tk€
o-idTjpos), the unbending ; cf. Find. fr. 88 6s /jltj iroOip KVfJLaiverai,
i^ dddfjLavTos \ ^ aiddpov KexdXKevrai fi^XaLvav Kapdlav.
472. ircpCSpojiot kvv€S : the Furies, who are ' dogging ' or
' hunting ' fiends ; cf. Aesch. Cho. 923, PJum. 246, Soph. Ul.
1387 fierddpofJiOL KaKQv iravovpyqixdTojv \ dcpvKToc Kvves. [But
there is also an allusion (cf. 477) to yvua?K€s wepidpo/jLOL (Theogn.
581), 'wantons,' who are kjjvcs as being shameless, and Kw/curoD
Kvves as being ruinous. ]
150 THE FROGS OF ARISTOPHANES 473-481
473. "ExiSva : the monster of Hesiod, Theog. 298 ^fxLcrv iikv
vviuL(p7ju iXiKcoTTida KaWnrdprjop, \ ij/jnav 5' adre iriXojpov 6(pLv
deivdp re fieyav re. There is no record that she was hundred-
headed (an epithet of Typhon), but poets were free in such
inventions. [In Eur. H. F. 883, where Vopyyikiv Maaa employs
eKaroyK^cpaXa 6<p€U}v taxi^/xara, the notion is simply of a hundred
snakes hissing about her.]
475. TapTT]<r{a [ivpatva : this sounds as if it should be
something very terrible. Taprrjala (with delay on the first
part) suggests Taprapeia 'of Hell,' and in one of its senses
fi^paiva was a venomous sea-snake, between lamprey and viper,
whose very touch might mortify ; cf. Aesch. Cho. 992 tl ctol
doK€L ; jXTupaLvd y etr ^x'-^^' ^0*^? I (T'rjTreij/ dtyova dv ; Ath.
312 b. With the usual condensation of Aristophanes the words
suggest yet another notion. Tartesus (i.e. southern Spain
about the mouth of the Guadalquivir), and particularly Cadiz,
was notorious for vice, and a 'Tartesian bloodsucker' was a
shameless woman (cf. 7aX^ Taprrjala and the explanation of
Phot. 280. 7 that fi^patva is a by-word for Karacpep-qs, from the
habits of the animal).
Meanwhile, however, fujpaiva is the lamprey, of which the
choicest came from Tartesus (Poll. 6. 63, Aul. Gell. 6. 16. 5).
Dionysus is, therefore, — if he chooses to take it so — threatened
with 'luscious lampreys.' But he is already in such a state
of terror that the very sound is sufficient.
477. rop7<5v€S TctOpdo-iai : we do not know what adj. stood
in the parodied original. Ai^vo-TLKai would suit the Gorgon s,
but bears no resemblance to TeidpdaLaL. Tradition placed them
variously — in the remote west, in Africa, or in Hades (Horn.
Od. 11. 633). In any case Aristoph. substitutes creatures
equally terrible, viz. women of the Attic derae of Teithras,
who must have been of low repute.
478. €<!>' ds, 'to fetch whom.' The line is fully tragic in
both metre and language. op\i.i\a-<>} is most probably intrans.
with cogn. accusative ; cf. Eur. Ale. 1153 vbanixov 5' ^XOols
irSda. Such expression is favoured in tragedy, and the comedian
makes the most of it. The same construction should be assumed
in Soph. Aj. 370 ovk &\poppov €Kve/JLrj irdda ; ibid. 40 irpos rl
8va\6yL(rTov c55* rj^ev x^P^i; 42 voifj.vaLS rrjvd' eirefnrlTrTeL j^daLV,
etc.
479. Dionysus collapses. He has a sinking in the pit of
his stomach, is fainting, and requires refreshing with a sponge.
481. Tiva . . dXX<5Tpiov, ' some stranger ' (not one of our-
selves).
482-494 NOTES 151
482. oto-€ : a unique form of imperat. for Attic Greek (viz.
with -€ from an a- aorist). This common colloquial word has
alone retained a formation which was once common (Brugmann
Gk. Gram. p. 319, § 378).
irpbs Tir|v KttpSCav : apparently the usual place to apply the
cold water in cases of fainting. When the old man in Vesp.
995 is about to faint he cries otfjLOL, irov V^' vdwp ;
483. irpoo-Gov, 'apply it (to yourself).' The word must be
said by Xanthias ; as an order of Di. it would have been
irpoades. For a good example of the difference of voice cf. Uq.
1227 Karadov rax^ws top <TT€(pavop, tv 670; tovtcjjI \ avrbv irepidCo,
irov '(TTiv ; viz. the sponge. On receiving it, he does not
apply it to his heart, but lower.
Xpvo-ot : often applied to gods ; cf. iroXvrifjLrjTOL.
485. els Ti?|v Kara p.ov KOtXCav : it is a rule of Greek that,
when a simple noun and article are used with avrov, v/jlCov, tjiulQu,
avTU)v, these words either follow the noun or precede the
article ; i.e. r) /xov KoiXia is not Greek for 7/ KotXia /xov or fiov 17
KoiKia. The Mss. of Aristoph. give one instance to the con-
trary, viz. Lys. 417 tt)s /jlov yvvaiKos, which all editors reject
for TTJs yvvaiKds fiov. But the rule does not apply to a case
like the present, in which another qualifying word comes
between art. and subst. ; cf. Thuc. 1. 144 rds oheias ijfiwv
a/jLaprias, Plat. Syvip. 189 D 17 xdXat rjfiQv cpTuats.
486. « SciXorarc 9€«v crv KavOpwircov : in addressing a
human being Xa. would have said deiXorare dvOpcofrcjv. With
a laughable novelty he is obliged to say deQv, but he adds —
'and (for the matter of that) of men.' No human being could
be worse. But he is led to this by a reminiscence of e.g.
S) OeCiv Tijpavve Kdpdpd)7r(t}u'''Eip(t)s.
487. -irws SciXbs k.t.X. : i.e. to call for a sponge means a desire
to fight it out.
490. d'7r€^t]<rdfJtT]v : cf Eq. 572 (after one fell) tovt direxl/r}-
cavT &v, etr' rjpvovPTO fir] ireirTWKivai.
491. dv8p€id 7* : sc. TreiroLrjKa^ or etprjKas. The ye is regular
in such brachylogy (which is not always sarcastic) ; cf. JtJq.
609 dcLvd y, & USaeidov, Eur. /. T. 619 &lr)Xd 7', Sj vedvi.
494. XT]|j.aTias, 'have an itch for pluck.' The termination
-idv is used of morbid desires {fxadrjTidv, o-TpaTrjytdv) or con-
ditions {d(p6aXfjLLdv, vavridv). But adj. -nouns in -ias often
express similar affections or dispositions. It matters little,
therefore, whether we read XT^jLaTi^s or Xr^jiarCas. In either
152 THE FROGS OF ARISTOPHANES 498-505
case there is probably a pun upon Xrjixav, Xrnmri, the blear-eyed
condition of 6(l)da\fiLa, the coward's excuse (192 n.). Dionysus
sneers at the pretended courage of his slave.
498. <|>€p€ hi\ Ta\i<os aiir, 'come on! quick with them!'
(sc. the club and skin), elliptical for 0epe, 56s avrd. [That
avrd should mean ra aKevrj, understood from aKevocpopos, is a
less likely answer, though by no means impossible in construc-
tion (cf. 1025, 1466). Moreover, he would say Xa/3^, not 0^/3e.]
499. Tov 'HpaKXciogavGCav, 'the Heraklised Xanthias,'
' Xanthias ct la Herakles ' ; cf. jmei^dXevKos = fMeiKrCos XcvkSs^
y\vK}j7rLKpos = y\vK^cos iriKpSs. Doubtless there is also a sug-
gestion of a combined statue of two deities on one pedestal,
like 'EpiJ,a9r}i/7), 'EpimrjpaKXTJs, TirjvoTroffeidCbv, etc. But for this
directly the formation should be "RpaKXeo^avOiav. It is not
out of the question that the comedian should venture on
'Hpa/cXeto-, but it is not necessary to assume this, and the
sense is less good.
pX€i|/ov €ls : like diro^XiTreLv els, of looking at a model.
501. jjia AC : sc. ov detXos iaei, ' certainly you won't, but
you will be really and truly the Melitean — (hero). '
ovK MeXtTT^s (xacTTfyCas : the last word is a surprise for, e.g.,
^pu3s or dXe^LKaKos (the proper title of Herakles in his temple
at Melite (38 n.). The expression forms an equation with
'HpaKXeio^avdias, the ' Heraklised X.' being paraphrased by the
* Melitean rascal.' But there must be some further point, and
ovK MeXirrjs alludes to some well-known person. According to
the schol. this was the licentious Callias, who lived in Melite
and who wore a lion's skin d la Herakles in battle (a practice
referred to by Aristoph. in 428-430 of the full text of this play.
KaXXiav . . 0aa'i . . Xeovriju vavfxax^'iv evyjjxixevov).
505. ^ir€TT€v, 'set about cooking.' Persephone acts like
the ordinary Athenian house -mistress, w^ho herself does or
directs the cooking, except for the special dinner-parties, when
professional fidyeipoL were engaged from the Agora.
KaT€p€iKTb)v xvTptts ?Tvovs, ' pots of soup uiadc of ground
pulse.' No definite noun need be supplied, but dairpiiov or
Triauiv would come nearest ; cf. fr. 88 '^ireiT ^pei^ov i-rrt^aXova
bnov iriaovs, Colum. 2. 10. 35 cicera fressa. For the fondness
of Herakles for ^tvos cf. 62 n. [The spelling of Mss. varies
between epeiKTwv and IptKTwv, and the question (as with
(TrLTTTb'i o-TeLTTTds) can hardly be settled. On the one side we
have dXcLTTTos, ^evKros, /ul€lkt6s, deiKTos, and on the other irLcrbs,
&(pvKTos. The rule is for the diphthong to be retained, but
probably both forms were often in use.]
507-518 NOTES 153
507. KoXXdpovs, 'scones' or 'rolls' {/uLiKpol dpria-Kot schol.
Pac. 1196). One comic iragm. describes them as yaXaKTo-
XpO)T€s. It is best to mark an aposiopesis. The maid is
describing with gusto, but on reaching KoWd^ovs she thinks
it useless to continue the catalogue, and cuts herself short with
— dXV cl'criOt. This accounts tor the apparent abruptness of
the single word. [Those who have felt this abruptness have
joined irXaKovvras KoWd^ovs (cf. ^ovs ravpos and 207 n. ) ; but
/c6\Xa/3ot are apparently not ir\aKovvTes.'\
508. KoXXto-T, €Traiv« : a polite refusal (made to tease
Dionysus). Xa. is acting up to his new dignity. For 'No,
thank you ' Greek said also /caXws or (512) irdw koKCos (sc.
X^7ets='you are very kind'), and koKCos ^x^^ oi" KdWiar' ^x^*-
(sc. /uLOL='l am quite content'). With /caXXio-r' here we must
supply Xeyets, not ex^L, which cannot be omitted. Latin says
henigne (Hor. Ep. 1. 7. 16, 62), but its nearest equivalent to
KdWiaTf iiraLvCj is beiie {vocas), tarn gratia est (Plaut. Men. 2.
3. 36).
508 sq. |xd tov 'AirdXXo) ov |itj . . 7r€pidi|/o|i.d7r€X66vTa : for
these strong instances of synecphonesis and crasis see Introd.
p. xlii. For wepLopQ with aor. participle see Goodwin, M. and T,
§ 148. In ultimate analysis the phrase = idv dir^XOys, ov
Trepioxl/o/ULaL.
510. Tpa^^ixaTa = T/ow7dXia, hellaria, 'dessert,' including
fruits (walnuts, chestnuts, figs, beans, etc.) and sweetmeats.
(f>ptry€iv ('roast') refers to the fruits.
512. dfJL* €)jLoC : the form ifioi is pleading (' to please me ').
irdw KaXws : 508 n. XT]p€is 'iyjav : 202 n.
513. avXt^Tpis : flute-players and dancing-girls come in at
the iroTos or symposium.
515. '^T€pat diff'ers from &\\aL ('as well ') by implying opposi-
tion or comparison. These women are different, a second set,
with other points and performance.
•ir«s X€7€is ; opxtio-TpiScs ; It spoils the attitude if these
words are read as surprised and eager. They are said in a
reflective manner, as if, after all, the matter were worth
considering : ' Ah, dancers, eh ? ' or ' H'm ! dancing-girls ? '
518. d(|)aip€iv : sc. from the fire, as we say ' take off (the
kettle'), or from the spits {o^eXoi, djSeXiaKOi) ; cf. Ach. 1119
and d(p€\K€Lv (ibid. 1005 dva^pdrrer, i^oTTTdre, Tpeirer, dcp^X-
K€T€ I rd XajLpa rax^ws).
Tj Tpdirtta : not at rpdire^ai ; there is to be no dinner- party,
but only a meal for Herakles.
154 THE FROGS OF ARISTOPHANES 518-528
€l<rTJp€TO = €lo-€(p4p€To. The word a'i:p€Lv — (pipeiv was commonly
applied to the light tables, which were lifted up and carried in
at the beginning of a meal, removed again for the sweeping
before the trbros, and once more brought in. But colloquially
(in the imperative especially) atpeiv was synonymous with
<pip€Lv in certain phrases by survival of an old use. Cf. Pac. 1
alp' alpe fxd^av (hs rdxos Tip Kavddpcp, Pherecr. fr. ireraX. 7
irp6craip€ rb Kapovv, el be ^ovXei, irpdacpepe, Soph. Aj. 545 alp'
avrbv, alpe devpo.
519-520. TTpwTio-Ta : other matters may bide their time.
The pompous fulness of expression in rats opx'qo-Tpicnv rais
?v8ov oi}<rais should be noted : ' your said dancing-girls, who
are within.'
avTOS, 'the gentlema,n,' ipse ; cf. the well-known avrbs e(pa
('the master said it'), the Scotch hiinseV, Plat. Rep. 327b
7)p6iuLr}v (from the slave) birov avrbs eir}, Theoc. 24. 50 avaTare
djui^es raXacricppoves' avrbs avrel.
^Tt clcrcpxofJiat : for the hiatus see Introd. p. xlii.
522. <nrov8f|v iroei, * take it in earnest ' ; cf. 6pyr]v iroLeLadai
^opyl^eadaL and the like. But here iroieladai i)ears more
obviously the frequent mental sense * consider' (cf. av/xcpopcLv
IT., deivbv IT.). [The support of the Mss., however, is in favour
of o-'Trov8'f|v iroeis, and this is quite possible in the purely
objective sense 'you are making it into (forcing it to be) real
earnest.']
523. o-€ . . 'HpaKXca *v€(rK€vao-a, 'dressed you up as
Herakles ' ; cf. Ach. 383 edaare | ivaKevdo-aadai //,' olov dd\nb-
Tarov. So far as evaKcvd^o) differs from o-Kevd^cj it is in the
limitations of the former, which is applied only to dress and
equipment, while the latter is used also of preparing food, etc.
[Ach. 1096 is recognised as corrupt.]
For the construction ('Hpa/cX^a proleptic) cf. Ach. 739 xo^pws
. . yjJL^ (TKevdaas. It is identical with e.g. iraideijeLV rivd ao<p6u
{ = &(rT€ (TO(pbv elvai).
527. ov ToLx', oiXX' ij8ri ^010) = * I 'm not going to do it ; I 'm
doing it' ; cf. Eur. Supp. 551 evrvxovffi bk \ ol fxkv rdx, ol d'
iaavdis, ol 5' '^drj ^porCov.
528. ravT kyu) p.apTvpo|xai . . eiriTpeirco : the language
(including the formal 670?) is legal. The loosely constructed
ravTa with jxapT^jpoixai recurs in Plut. 932. Usually we have
either ixaprdpoixal nva, * call to witness ' (antestari), or fi. otl
{Nub. 1222). But neut. pronouns (originally internal accus.)
are rather freely used where English would say (1) 'herein,'
529-536 NOTES 155
e.g. rovTo xatpw, ravra treiOeis jxe ; cf. inf. 703, 748 11., or (2)
« Vtherefore ' ; cf. Nub. 318 ravr dp' . . ij \f/vxv Mou ireiroTrjraL,
Soph. 0. T. 1005 TOVT* a.<f)LK6ixrjv, oircos . . ed Trpa^aifxl tl.
529. TToiois 0€ois J a familiar form of retort ; cf. Nuh. 367.
' What gods (are you talking about) ? ' = ' Gods, indeed ! '
Dionysus can pooh-pooh an appeal to his like.
530. TO 8€ irpoo-SoKfjcrai <r* k.t.X. It is doubtful whether we
should take this as simply = ou/c dvdrjTov d^ Kal Kevov ean rb
Trpoa-doKTjaai ae, ws . . ; or, more vigorously, and perhaps more
in keeping with the order of the words, as an exclamation, rb
d^ TrpoadoKTJaai <t€ . . (hs broken by a parenthetic explosion
ovK dv. Kal K€v6v : i.e. 'But the idea of your expecting — Isn't
it ridiculous? — that you. . .' The exclamatory infin. may
either take the article, as inf. 741, N%ib. 268 {rb bk firjde Kvvrjv
. . iXdeXv i/Ji^ . . '^xovTo), or not.
531. «s 8ovXos K.T.X. A tragic line, and probably a quota-
tion. The art. is not required (i.e. dXKfiifivTjs), the sense being
*a son of Alcmena.'
532. d|X€X€t, KaXws * ^x* aiir : sulkily : ' Never mind ! all
right ! take 'em.' avr (cf. 498) is probably for avrd (sc. rb
dipfia Kal rb poiraXop) rather than aM (sc. rb dipfia of 528).
533. Ijxov 8€T]0€£t]s dv K.T.X. : another tragic line, but OA.01
is good Attic for ed^Xoi in this particular phrase (see Introd.
p. xxxvi). Elsewhere, unless in parody, it is rare. Yet cf. Eq.
713 iyu) 5' iKelvov KarayeKQ) y 6<tov ^Aw, Lys. 1216.
534. Tavra jjl^v : there is no answer to fih^ since 5^ of 538
only carries on the same notion.
vovv ^xovTos Kal <(>p4vas. It is only in this combina-
tion that KppTjv is a word of ordinary life. Cf. Thestn. 291.
Orators sometimes use it in their higher style (see Rutherford,
New Phryn. p. 9).
635. iroXXcL ircpt'irc'TrXcvKdTOS = * one who knows his way
about.' Much experience teaches the modern traveller (par-
ticularly the commercial) how to make himself comfortable
in trains, ships, or hotels. Long journeys among the Greeks
were chiefly by sea. There may be an allusion to the iro\{>-
TpoTTos or TToXvfjiTjTts 'Odv<T(re6s (6s fidXa iroXXd TrXdyx^V Hom.
Od. init.), but we need not press it ; cf. 1113.
536. fJi€TaKi»XCv8€iv. It is disputed whether Attic writers
used Kv\Lv5eio = Kv\iv5(o, and some assert that kv\Ip5o} is the
only active form, while in the middle the choice is between
KvXlvdofjiai and Ka\Lv8ov/jLaL> But this dictum can only be
156 THE FROGS OF ARISTOPHANES 537-549
upheld by considerable and arbitrary changes of mss. See
Ktihner-Blass ii. p. 453 against e.g. Cobet {N. L, 454, 459,
637). Still KvXivdw is the better supported for Aristophanic
dialogue.
537. irpbs rhv cfi irpaTTOVTa toixov, 'to the comfortable
side (of the ship) ' ; cf. Eur. fr. 89 I^BiveKov els rbv evTVxn \
X(^povvra tolxop, Or. 895 iirl rbv eurvxv (sc. roixov) \ irri^iJba
del KTjpvKes.
yiypa[i\i.ivr\v cIkov* : like the English *a graven image.'
The notion is of lifelessness. Blaydes quotes Hamlet 2. 2
So like a painted tyrant Pyrrhus stood, \ And, like a neutral
to his will and matter, \ Did nothing.' Cf. Aesch. Ag. 253,
and dvdpiavTos dcpctJuoTepos.
641. 0T]pajx€vovs, 'and a natural — Theramenes,' an effec-
tive TrapcL TrpoadoKiau for e.g. (ppovi/iiov ; cf. 363 QcopvKLCov &v.
Theramenes, called the KoOopvos (the boot which fits either
foot), was treated by his opponents as a political weathercock.
Modern historians are, however, inclined to regard him rather
as the most far-seeing statesman of the day. In 411 B.C. he
was one of the revolutionaries who established the 400 with the
understanding that the number of voters in the constitution
should be 5000. Finding that a narrow oligarchy was being
threatened, he worked for the recognition of the 5000, and
assisted the overthrow of the 400 and the subsequent restora-
tion of the democracy. In 406 B.C. he was a trierarch at the
battle of Arginusae, and, among the charges and counter-
charges between generals and captains, he became a prominent
accuser of the generals. [The truth of the Arginusae matter
will probably never be known.] His connexion with the
oligarchy of 404 B.C. and his temperate behaviour in it belong
to the year after this comedy. Aristotle {Ath. Const, c. 28)
expresses a high opinion of him and sums up the position
excellently. He was not so much concerned with the forms of
government (of which the best might depend on temporary
conditions) as with their wisdom and justice. Such a man
is sure to please no party.
549. A female innkeeper appears upon the scene (the inn
itself not being visible), and taking Di. for Herakles, calls to
her servant. It is usual to speak of two innkeepers, presumably
partners, and some texts mark them as TravdoKevrpia a and j8'.
This strange notion is apparently based on a wrong attribution
of V. 570 (q.v.). The schol. rightly describes Plathane as the
maid. The business of innkeeper was one in low repute.
Travellers of position were generally housed by ^^vol. Those
who resorted to an inn brought their own o-rpcu/xara, which
549-554
KOTES 157
they laid on mats {yj/ladoL). They might also bring their own
provisions, or give the landlord money to purchase them, or
'board.' Theophrastiis {Char. 6) gives it as a mark of airbvoia.
that a man is beLvbs iravdoKevaat . . /cat /jLyjde/jLiav ipyaaiav
aicrxpoiv dirodoKifJidcraL ; of. Plat. Legg. 918 D. A iraudoKevrpia
required a shrewish tongue. Sometimes Athenian women
undertook this occupation, but the woman here is, more
characteristically, a /jlctolkos (see 569).
nXaGdvT] : invented from irXddavov, a kitchen * shape ' or
'mould' (TrXdcrtrw). Cf. Tlieoc. 16. 115 ei'Sara 8' ocraa yvvaiKes
iirl irXaddvo) irov^ovraL. We may perhaps render ' Patty ! '
6 iravovpYos ovtocti, ' yonder is the rascal. '
551. cKKaCScKa. Greek frequently says ' sixteen ' (cf. Luc.
Prom. 3, Tim. 23, etc.), for our * baker's dozen' or * score.'
For a smaller indefinite number it uses rirrapes (914).
552. €K€tvos avTOS Sfjra, * yes, (it is) that man's very self.'
KttKov ^Ki\. TivC, 'somebody is in trouble' (viz. Di.). The
allusive tls (cf. 554) is common in threats and sly or malicious
references ; cf. Theoc. 5. 120 ^5?; tis, Mbpacov^ TrLKpaiverai,
Soph. Aj. 1138 TovT eis dvlav rodiros ^px^rai rivi, Aesch. S.c.2\
389, etc.
553. Kp€a. The plural of Kp^as would naturally be Kpea (i.e.
Kpea-a), but Kp^d (from the analogy of neuters of other stems)
is the only comic scansion.
554. dv iqp.ia)PoXiaia, 'at the rate of half-obol pieces each
time' or 'in mouthfuls worth half-an-obol each.' Those who
render ' twenty plates of meat worth half-an-obol each ' are con-
fusing dv' i)iJLLO}^o\Lcua with either the simple ijimLw^oXiaia or (rd)
dv' r)iuLLU)^6\Lov or (rd) rjfino^oXiov. It might be urged that, to a
iravdoKe^Tpia, such confusion of expression is quite possible.
In fact, however, the comedians do not make vulgar people
talk a vulgar Attic, the normal language being broken only in
the case ot ^evoi. [Others write as a compound dvT]|xia)PoXiaia,
in a sense ' three -farthings -apiece plates of meat,' the adj. being
= (rd) dv' 7jijllo)^6\lov. For the price itself cf. Eupolis ap. Ath.
328 E 7)ixl(jo^€\lov Kpia. The compound is nevertheless curious
and illogical, and cannot be supported by e.g. KoXoKdyadia.
Such an expression as that of Timocles {Kaw. 1) rQv dv' oktuj
Tov^oXov might just conceivably, but not very probably, be con-
verted into an adjective in which the termination -a?os (as in
Spaxfii-atos) is combined with the dv{d) which is synonymous
with it. But since the dv- is, after all, redundant, another
specimen should be forthcoming before we accept such a form.]
158 THE FROGS OF ARISTOPHANES 554-564
'fjfjLicoPoX.iata. The spelling of Attic inscriptions is y^ixiw^eXiov,
the being used only where another immediately follows
the X. Thus rpido^oXov, but dtoo^eXia (Meisterhans^, p. 18).
555. TO. o-KopoSa, ' those cloves of garlic' The supply of
garlic was part of the business ; cf. Lys. 458 cD aKopodoTavdoKev-
TpLapTOirdiKides,
556. sq. ov (JL^v oSv . . ^Tt : not a question, but =* nay, you
fancied . . .' The idea that the KbOopvoi (46) would form a
disguise is facetious enough.
cIx^S : assimilated to the tense of TrpoaedoKas. The clause
6tl7} elx^s might be represented by ^x^^i ^^^ time of which is
that of irpoaeddKas.
dv ■yvwvaC <r* ^ti. The difficulty of dva^vcovai is not in the
tense without av, since irpoadoKcLv with aor. is good Greek
(Goodwin, M. and T. § 135), but dvaytyvojaKoj is not used for
' recognise. ' Moreover, the break with stop in the anapaest of
fourth foot is of doubtful allowance.
559. ov^k Tov rupdv 76. The characteristic feminine emphasis
(or vocal underlining) is well illustrated by the recurring ye
here and in 562, 564, 565, 567.
ToXav, ' dear dear ! ' ; a favourite word with women.
But raXav is scarcely to be taken as voc. of rdXas used as
feminine (T^esm. 1038 proves nothing). It may very well be
neuter, equivalent to (cD) raXav irddos {xpv/^^ etc.)= 'dreadful ! '
This would account for its use in commiseration of one's self, e.g.
Lys. 102 6 yovu e/x6s TJdrj irevre jxrjvas^ Sj rdXav, \ aireariv ; cf. the
identical interjectional use of Latin malum.
560. TOis TaXdpois : wicker baskets {irXeKTol rdXapoL Hom.
II. 18. 568, Od. 9. 247) into which fresh cheese was put to drain
(Theoc. 5. 86).
KaTTJ<r8t€v : the imperf. is ' panoramic ' : ' There he was,
eating (or trying to eat) it, baskets and all. '
561. €TrpaTTdp.T]v, * tried to get from him. '
564. |JiaCv€(r8ai 8ok«v, ' with the appearance of a madman '
(not 'pretending'). The words have a tragic sound and
suggest the Mad Herakles of Euripides. [The certain use of
doKeiv as = Trpo(nroie?a6aL is practically confined to negative
sentences, in which ov doKdv Trotelv ' not seeming to do ' (what
one is doing) = ' seeming not to do,' as Pac. 1051 /jlt) vw bpdv
doKt^jULcu avTov ; cf. ov (prj/uLi, ov ^ovXofiai, etc. But, as in
English, while 'seeming not to . .' often =' pretending not
to . .,' the positive use of 'seem' in this sense is by no means
565-569 NOTES 159
so familiar. Apparent exceptions must be regarded carefully. ,
Thus Lys. 179 dvcLv doKoiJo-acs really= ' being thought to be at
.sacrifice,' and similarly Eupolis 159. 10. But here 'being
thought' is not in point.]
565. vw 8i Scwrdcra ye irov. The particles are exculpatory.
[The fem. dual form detadja is denied for Attic by many
critics (see Cobet, F. L. p. 70), who quote Plat. Phaedr. 238 d
Mo TLvi iarov Ibia dpxovre /cat dyovre, and maintain that the
dual possessed but one form in nom. and ace. Many (but not
the best) Mss. have 8€i<racraC, and it is suspected that deio-dcra
has been substituted for this because of vib. Similarly in Soph.
0. C. 1600 rw . . fjLoXovaaL of the best MS. appears as rw . .
jxoKoTjaa in others ; ibid. 1676 Idbvre Kal iraOovca seems im-
possible {iradovarat some MSS.), and it is argued that the same
copyist who altered iradovre would have altered Ibbvre if metre
had permitted. In Eccl. 1087 ^Xkovtc is fem. Inscriptions do
do not help much (Meisterhans^, p. 96). Cf. Kuhner-Gerth ii.
pp. 73 sq. We may conclude that the form in -ovre was
clearly the older, but we know that usage (beginning among
the people) did create an analogical form in -ovaa, and there
must have been a time during which both were used, -ovre
being the more strictly literary.]
566. KaTi^Xt<|>', 'loft.' Hesychius defines /car^Xn// either as
the beam supporting the roof or 'better (as he says) iKpLu/ia
(scaffolding or raised platform) rb ev rip olKip. ' Second stories
were common enough in Greek houses, but humbler buildings,
or certain rooms, would have a half-floor or loft (like those of
barns) accessible by a ladder or stairs. This would be used for
stores, and, according to the schol., the domestic poultry
roosted upon it. Another name was /jLeadd/jLT}.
567. Tois \|/id0ovs : supplied in the inns to sleep upon.
568. expi]v : like tempus erat (Hor. Od. 1. 37. f 4). ' (Instead
of standing still) you should have been doing something.' The
tense looks to the time of making the choice of conduct.
569. rbv xpoo-TCLTTiv KXcwva. In Hades the dead dema-
gogue would naturally be patronus of the same vulgar class
which he affected in life. A jul^tolkos, or £^- manumitted slave,
could have no legal standing except through a irpoo-Tdrrjs, who
represented the alien to the drjfios, and was also in a measure
responsible for the conduct of his client. The characters of
patron and client were judged by each other. [The technical
expression for the /jl^tolkos was Trpoardrrjp fefietv.] Cleon died
in 422 B.C., but had not been forgiven by Aristophanes. For
Jiis patronage of the rabble cf. Vesp. 409,
160 THE FROGS OF ARISTOPHANES 570-579
570. <rv 8' ^ixoL-y'. It is usual to give these words to an
alleged 'second hostess,' who also sends a slave. Besides being
extremely unnatural, this spoils the joke. On being threatened
with Cleon, Di. turns to Xanthias and says sarcastically ' and
you fetch me Hyperbolus.' Dionysus (an alien in Hades)
pretends also to have a patron, and one who can out-Cleon
Cleon. Hyperbolus, who had a worse character with less
ability than Cleon, had died in 411 B.C. (Thuc. 8. 74). Cf.
Eq. 1303 avBpd fioxdrjpbv TroXiTrjj/, o^ivrju 'Tirip^okov.
571. <f>apv| ; in place of the usual K€(pa\'ri. Latin also has
" ^ of a person.
573. KOTTTOLix* dv. It does not appear why a Greek should
not say ' I should like to hit your teeth with a stone ' as well
as 'knock out your teeth,' Though Phryn. may have rods
yofiipiovs oLiravTas i^€KO\p€ and Semonid. {fr. 7. 17) ovb' ei xo^codels
i^apd^€L€v \id(i} I odduras, these are no argument against KoirTeiv.
[Of course KowTeLV cannot itself =^/c/c67rr6t^,]
574. €70) 8€ 7* Is TO pctpaOpov €npdXot}j.t ai. The line should
be thus assigned and accentuated, as a retort. Omission of du
is not infrequent when the previous context supplies it. Cf.
Plat. Bep. 352 E "E<t(?' orcp clv dWc^} tdoLS r^ 6<t)da\p.oh ; Ov diJTa.
Ti de ; aKoiKrais dWcii 7) ojaiv ; Aesch. Ag. 1049 -KdQoC &v, el
TreidoC ' direLdoirjs 5' I'o-ws. Kiihner-Gerth i. pp. 248 sq.
TO pdpa9pov : properly a pit (Spvyfia) or^ully, about 60 ft.
deep, outside the wall to W. of the fiiyx, into which
criminals and the bodies of the executed were thrown. To use
this expression is equal to calling a person a Kadapfia, but
^dpadpov itself eventually came to possess little more definite-
ness than e.g. is KopaKas.
577. dW* ctp.' K.T.X. She has already sent the maid (569) ;
here she goes herself.
T-qixcpov : a frequent use in threats, expressing certainty.
So hodie in e. g. Yerg. Ucl. 3. 49 nwniquam hodie effugies, Ter.
Phorm. 5. 3. 22.
578. kKrrr\vielrai : from weaving. Trrjviov is the bobbin from
which the thread of the woof {kpSkt]) is wound off. To wind
upon the reel is irrjui^ecrdai, dvawqvl^eadai ; this is the contrary.
•7rpo(rKaXov|j.€vos : 7rp6<TK\r}ai,s is the regular term for the
serving of summons, but the simple kXtjctls and KaXeiadaL are
also used.
579. [I^^xit Landlady. An awkward pause follows ; then
Di. speaks an intentionally audible aside.]
V
580-587 NOTES 161
580. irav€ tot) \6yov : see 122 n. ; cf. Av. 1243 Traue rwz/
TracpXao-fidTCJV.
581. ovK dv YCvoCji-qv'HpaKXfjs &v. It is quite arbitrary to
read a^* for the second dv. It is in any case doubtful whether
the comedian would use the simple ad for irdXiv (or irdXiv aS^is,
aS TTctXti/, addis ad or even adOis ad iraKiv). Moreover the re-
peated &v helps the tone, ' I wouldn't — no ! — I wouldn't.'
The * rhetorical ' repetition of 6lv (Kiihner-Gerth i. p. 247) is
frequent. Cf* Eur. Hipp. 961 rives \byoL \ ttJctS' hv yhoivr dp ;
Tro. 1244 d(pavd% hv 6vt€s ovk Slv vfjLVTjdei/xev dv.
|JiT]8afJii(os : sc. tovto et-rrris (TrotTycrTys).
582. « gav9t8iov : from ^avdos. From 'fiiavdias the dimin.
would have been fil^avdi-ibiov ^avdtbiov (Introd. p. liii). %avBias
itself is but a formation from ^avdbs ( = ' Tawny Boy ') and the
wheedling diminutive goes back to the primitive. Analogy
also assists (cf. l^coKpartdiov, EvpLTrtdiov).
Kal ir«s K.T.X. Retorting vv. 530 sq.
584. avTo 8pas, *you do it,' is as good Greek as English ;
cf. Thuc. 1. 69, hat. Eep. 358 c.
585. K&v €t K.T.X. A sentence of this kind illustrates the
origin of the use of Kdu as simply emphatic Kal. Here dv may
indeed be said to look forward to dvTeiiroi/iJLi, but in many
sentences no verb follows to which dv could refer. Particularly
was a combination Kdiv el favoured for Kel (e.g. Plat. Men. 12 g
Khv el TToWal elaiv, ^v 7^ tl eWos ravrbv diraaai ^xov(Tt), the
development being probably assisted by a dim feeling of Khv
as = /cat idv . . As this use was established before the date of
Aristophanes (Kiihner-Gerth i. pp. 244 sq.) it may be the actual
one here.
686. Tov Xotirov \p6vov : the gen. is regular in negat.
sentences, while the accus. is as regular in the positive. The
explanation is simple : ' I will not do a thing at any point of
the future,' but ' I will do a thing throughout the future.' This
equally accounts for the apparent exceptions. Thus rb \oLirbv
ov TroL'r)cr(t}= ' I will, throughout the future, abstain from doing'
(Thuc. i. 56 €Ki\evov . . rb Xocirbv /jlt] S^x^^^ctt oOs . . ^irefMirov),
and, conversely, in the present place, ' if at any point of the
future I rob you. '
(TC . . d(|>€Xci}^ai : sc. avrd (skin and club).
587 sq. avTos, t| yvvf], to. oraiSia. This, with i] oUia, is the
fullest curse invoked in an oath. Cf. Dem. 1160 el dLOfiel . ,
avTos Kal 7} yvvTi Kal rd Traidla^ Kal KaTapdaeaOe avroh Kal ry
M
162 THE FROGS OF ARISTOPHANES 587-603
olKLq.. Humour lies in the fact that Dionysus has no wife or
children. For a climax he adds the irapa irpoadoKiav, ' — and
so may the blear-eyed Archidemus ' (417 n.)- This would
naturally be a great inducement to Xa. to risk it. YXdjjiwv is
applied to Arch, by Lysias also (c. Ale. 536).
d'TroXoCp.'r]v : sing, as if his ego included the parts airbs, ij
yvv-q etc. ; cf. 1408 sq., Xen. An. 1. 10. 1 ^aoriXeJjs /cat ol avv
avTip diibKWv elairliTTeL.
589. Xajjipdvw : sc. the skin and club (not rov 6pKov)
590-604. These lines convey a suggestion of the admonition
and the answering pledge at some initiatory proceeding.
590-591. €'ir€i8'?| . . €i'X'r]<|)as . . €| dpx'qs irdXtv, 'since
you have once taken (lit. begun by taking) back . . ' ttoKlv
(or addis) i^ dpxv^ (or virapxv^) is a common phrase, cf. Flut.
221 o^K, ijv ye TrXovrrjacjacv i^ cLpxTJ^ iraXiv. [We should not
join ttoKlv pleonastically with avaved^eLv, nor untruthfully with
dvav€d^€tv : syllables — w ^=^^ — are missing. Scholia supply
the note aeavrbv irpbs rb ao^apbv. Of this aeavrbv is merely a
way of saying " dvaped^eiv is here intrans. for dvav. ueavrbv"
and TTpbs rb ao^. explains in what sense Xanthias can be
said to grow young again. Meineke and others actually read
irpbs rb ao^apov in the text, treating the Avords as a marginal
restoration of something accidentally omitted. Such Amission
is, however, difficult to account for, and more probably there
has been a loss of another verb in -d^av.
593. TO Seivov, ' that terrible look ' (familiar to Herakles).
595. KdKpaXeis ti [xaXOaKov, ' let slip any weak (cowardly)
word.' The verb implies either inadvertence or recklessness.
Cf. Aesch. Cho. 48 cpo^ovfiaL 5' ^ttos t68' iK^aXelv, Jiom. Od. 4.
503 virepcpidXov 'eiros 'iK^aXe, Hdt. 6. 69 {dvolri iKJ3.), Vesp. 1289.
599-601. 8ti |ji^v . . : answered by dXX' ^pcos .
8ti . . ircipdcrerai . . cf) ot8* 8ti. The phrase ed oIS' 6tl ' I
know that (it is so) ' at the end of a sentence, or parenthetic,
came to be regarded as simply='I'm sure,' Cf. Lys, 154
(nrovdds TroL-qaaivT dv Tax^(jos, ed old' 6tl. So adcp' old' 6tl, ed tad'
oTL. The 6tl thus lost separate recognition, and hence here
(especially at the distance) the first 6tl does not prevent the
second. For the hiatus see Introd. p. xlii.
603. pXeirovT oplyavov, 'looking marjoram' (cf. 'looking
daggers,' 'look thunder'), i.e. with a tart or pungent look.
^Xi-nreLv takes contained accus. in the shape of a neuter adj.
6o4-6io NOTES 163
(dptfi^ 662) or a noun. Familiar are ^XiireLv vairv^ Kap^afia,
o-KVTT}, 6iJ.(paKas. Cf. the tragic (f)6vov )3\., "Apy dedopKibs, and the
pretty ^ap opdojcra of Theocritus. [Sometimes an infin. is used,
e.g. Tifidv jSX^TTw Vesp. 847.]
604. 0vpas . . +<$<|>ov. Greek doors (in two leaves) moved
on pivots {arpo^rjs) working in sockets in the threshold and
lintel, and unless these were frequently oiled a considerable
noise was made in opening. Cf. /oris concrepuit in Plautus
{ = €\p6<pT]K€v 7} dijpa of his original). It is incorrect to say that
the door opened outwards in the classical time {Did. Ant. i.
p. 987).
Kal S-f), lit. *even as it is' = mm nunc. Cf. 647, Pac. 942
6 yap ^oofios d^jpaai Kal drj, Soph. 0. 0. 173 01 A. irpbadiy^ v(fv
fiov. ANT. i//ai;a; Kal d-q.
605 sqq. Aeacus, who had gone to fetch the officers (485),
reappears with two policemen, and afterwards calls for more
(608).
606. dvvT€Tov, 'be quick;' The dual shows that there
were a pair of them.
. •fJK€t Tw KaKov : D. retorts upon Xanthias (552).
607. ovK €S KopaKas \Li\ irpocrtTov. This has been misunder-
stood, or editors would never have meddled with it. For oO
fjLT] irpbdLTov see 202 n. is KbpaKas is inserted expletive
(like the familiar Latin malum) = ' You shan't come near me,
confound you ! ' For the separation ovk . . p.^ cf. Soph. Aj.
560 oiiroL cr' 'Axcu-dov, otda, /xrj tls v^piarj, Ant. 1042 ovb' Cbs
(jiiaofMi TovTo fiTj Tpicras iyo} \ ddirreLv iraprjaoj. For the inter-
polation of the expletive cf. Aesch. S. c. T. 238 ovk is (pdbpov
<nyG)ff duaaxMv rdde ; and Nicophron (Mein. Com. Frag. ii.
p. 848) OVK is KbpaKas rw x«p' diroiaeis iKirodcbv ;
€l€v : pronounced eTep, and not as opt. of el/ii (Ktihner-Blass
i. pp. 113, 639). 'So!'
Kal p.dx€t ; 'Jighting, are you ? ' Xanthias begins knocking
them about with his club.
608. 6 AiTvXas k.t.X. The Athenian police {To^brat) were
Scythians, and the names in -ijas and -6/fas are to match (see
Blaydes crit. n.). In a country where the police are mostly
Irishmen one may perhaps render ' O'Rourke, O'Reilly, and
O'Rafferty ! '
610. cIt* ovxl 8€ivd K.T.X. , lit. 'Now isn't this frightful,
that this fellow should be dealing blows, when he is, besides,
a thief and a robber ? ' To assign these words to Dionysus,
164 THE FROGS OF ARISTOPHANES 610-621
who is now acting the slave of Xanthias, is to put him in a
very unnatural position. It is sufficient if he annoys X. by
responding sympathetically with ji-f) ctXX* v'7r€p<|>vd.
Tvirretv : used absolutely, as in the Homeric Zi<pvpos XaiXairi,
tOtttwv {IL 11. 306).
611. KXeiTTovTa, 'being a thief,' the present (of a condition)
in a quasi-perfect sense. Cf. (peijyctjv, ddiKiov (617), vlkQv and
(poetically) tLktujv, dv^aKwy (Kiihner-Gerth i. p. 137).
irpbs = Trpoo-M : cf. 415. jji'fi dXX* : 103 n.
616. Pao-dvite : he neatly punishes D. for his remark. The
torturing of slaves was permitted only with the consent of the
master, either on his offer or after a challenge (in either case
'TrpbKX'rja-LS is ^daavov). The conditions were determined by him
{kuO' 6 TL ^aroLL 7} ^daavos Dem. c. Steph. 1120), and compensa-
tion had to be made for damage done to the slave (Dem. c.
Pantaen. 978). The usual form was racking (arpe^Xovv) on the
wheel (rpoxos), but whipping and other methods might be
adopted by agreement.
618. €v KXtfxaKi Srjo-as . . \i.ci(rriy<av. The rendering is un-
certain ; either (1) 'by whipping him with a cat-'o-nine-tails
after fastening him to a ladder or hanging him up, ' the aorists
being antecedent to fxaarcyCiVy and KXlfia^ being a ladder on
which the subject is fastened (man-o'-war fashion), or (2) 'by
fastening him on a KXIfia^, by hanging him up (i.e. with a
weight on his feet), by whipping him ' (the aorists representing
single actions, left to take their effects, while the present
denotes a continuous proceeding).
The latter is distinctly the better for two reasons : (a) the
variety of methods is increased, (b) the kXT/jlu^ was apparently
a kind of rack. Suidas explains as 6pyavov ^aaavLar-qpLov which
dLa(TTpi(f)€L rd adj/MaTa. Cf. Com, hicert. iv. 622 tt) /cX^/xa/ct |
dcacrrpiipovTaL Kurd fjiiXy) (rrpe^Xo^/JLevoL. In its action this
answers to the Latin fidicula {Did. Ant. i. p. 858), but we
know very little of ancient instruments of torture. [Probably
the KXt/jLa^ was a framework which gradually widened out in
sections.]
619. -ucTTpix^Si : cf. Fac. 746. The word is dimin. of ijo-rpi^
(* porcupine') and the instrument was evidently full of bristling
points. This was more severe than the ordinary leather /xcto-rt^,
but less so than the /udo-ri^ daTpayaXiaTrj, a knout with knuckle-
bones strung on the thongs.
621. irXCvOovs ciriTiOeis : cf. the peine forte et dure.
irXiiv irpdo-^ k.t.X. : a ludicrous reservation, delivered with
623-643 NOTES 165
solemnity, as if some very extreme method were to be for-
bidden. (pijWov irpdaov was a proverb for the extremely weak
or brittle. Cf. Plut. Symp. 1. 5. 1, where he quotes <piu\\(^
irpdaov | rb tCjv 4p(hvT(t}v (TwdederaL ^aWdvTLOv. But there is
an allusion also to the practice of whipping with shoots of
plants in certain ceremonies, in which a symbolic castigation
was substituted for one that had been originally of a serious
nature. In the case of the (pap/maKoi, or human scapegoats,
who were annually beaten out of Athens, the ritual required
that it should be done with shoots of fig and squills (c/c/XXat),
which were considered purgative (Harrison, Proleg. pp. 100-
102). The fidXdxv (mallow) was also used : cf. Theoc. 7. 106.
623. 6 Xd^os, 'the proposal' or * terms.'
624. Tttp-yvptov : what Demosthenes (978) calls tj rifiT] rov
Traidds, or at least the part of the price corresponding to the
Kdcr€rai = Kara^e^Xi^a-eTai, 'shall be paid at once.'
625. oiir(>i = sic, 'just' (take him and torture him). Cf.
ttTrXcos ovTOJS, Soph. Aj. 1204 /cet/xat 5' dixipLjivos ovrios, Plat.
Symp. 176 E ovrtt) Trlvovras irpbs Tjdovrju.
626. KttT 6(|>0aX)jiov9 : cf. prepositional phrases Kard o-ro/xa,
is x^^pct^? ^^^ O^pais etc. without article, and see 197, 199 n.
628 sq. d7op€va> tiv(, * I give notice to people (all and
sundry)'. A point has been commonly overlooked. dOdvarov
(otherwise rather pointless) plays on 'Adrjvatov, and the whole
is a protest of the civis Romanus sum order. An Athenian
citizen could not be tortured. Dionysus gives his pedigree
(cf. 22n.)in V. 631.
The lengthening dOdvarov is epic, but is found in comic
trimeters in Ach. 53 and in anap. tetr. Av. 688 ; here Di. is
uttering the word with the dignity of a whole Iliad.
632. <|>ifj[i.* €7« : sc. dfcoiyeij/, ' Yes, I hear.'
635. tC . . ov TviTTCi ; = quin vapulas ? equal to an im-
perative.
639. ctvai toOtov tj^oO |jff| 0€ov : not identical with /xrj tovtov
ijyov K.T.X. The position of fir] is determined by the sense, not by
metrical convenience : ' consider that one to be no god ' (dXX'
dvOpia-rrov). Cf. 1416 IV '4\dris fiT] fidrriv {dWd wpoijpyov), Soph.
JEl. 992 el (ppevQv \ ir^yxaJ^' avTT} jult] KaKcov (dXX' dyadCov).
643. irXiryfiv irapd 'irXT]'Yifiv, ' stroke for stroke ' ; an adverbial
expression like yrjv irpb yrjs (iXaiLivofiai), the first irXrjyrjp being
strictly a contained (or cogn.) accus. with ^aaaviQ understood.
166 THE FROGS OF ARISTOPHANES 644-650
644. I80V, ' there you are ! * Aeacus gives him a blow ;
Xanthias pretends to be waiting for it : ' well now, look out,
in case I wince ' (not indirect question, cf. 175, 339) ; and
Aeacus answers ' I 've hit you already. ' ^
645. ov [xd AC K.T.X. The reading of mss. ov |JLd At* ov8*
€fj.ol 8oK€ts is difficult. If correct, we must distribute thus :
SA. oi fj.cL Ai'. AI. oi)5' ifjLol doKets (sc. aia-Oeadai, which must be
very awkwardly supplied from the general context), i.e. * No.
/ don't think you did either ' (viz. feel it). Others read ov fxb,
AC, ovK i/Jiol SoKcXs (sc. Trard^ai).
The reading in the text =' well, I can only say you don't
seem to me to have done it.'
646. TTTivCKa; 'at what o'clock (does the performance
begin) ? '
647. Kal8^: 604 n., 1205.
K^Ttt TTois OVK ^TTTapov ; ' Then I ought to have sneezed.' A
lash with a whip might have been expected to affect him at
least as much as a tickling straw or feather (Plat. Symp. 185 e)
or a draught of air. A sneeze comes of external influences ,
which are often imperceptible. Probably there was a saying at
Athens ' it did not even make me sneeze.'
649. QA. oiJKOvv dvv(r€is ti ; drTaTat' AI. tL aTraTai ;
MSS. agree in ovkow avijaeis, but the rest is variously written
and distributed. Editions commonly give ©{Ikovv dvv<r€is J
laTTarai laTTarat, but the text is far preferable, since (l) it is
obviously better for X. to be driven only so far as one ejacula-
tion (cf. 657, 659, 664), (2) the formula would rather be dTTaroL
laTTarai {Thesm. 223), (3) dvijo-eis tl is livelier than avrjaeis, (4)
the confusions are explained.
TCdTTarai; * What's the meaning of "Oh dear"?* Cf.
Diph. {Com. Frag. 4. 419). A. -rrd^. B. tI ird^ ; Eur. Ale. 806
HP. 86fX(x)v yap '^Qxtl tuvSe deairdraL. 9E. H ^Cocnv ; Phoen. 1725
OIK. dcLvd Mv eycb rXds. AN. tl rXds ; Plant. Riidl 736 TR.
numqui minus hasce esse oportet liberas ? LA. Quid liberas ?
650 sq. €<|)p<5vTto"a oiroB* 'HpaKXeia k.t.X.., *an anxious
thought struck me, as to when my festival at Dioneia takes
place.' Dioneia was a deme forming the NE. suburb of
Athens, and contained a temple of Herakles outside the walls.
The celebration of his festival had been interrupted by the
war : cf. Dem. 19. 86 rd 'Hpd/cXeta ivrds Teixovs Oveiv (a resolu-
tion of war-time).
We might have expected yevrjaeTai, but a present is often
used with a future reference, cf. Eq. 121 b xPWt^os dvriKpvs
652-659 NOTES 167
'KiycL I (Jos irpCora jxh (rrvirireLOTrdjXrjs yiyverai, 1087 '4(Ttlv i/xol
X/wytr/Aos . . | aUrbs ws yiyvet Kal Trdcr^s yrjs jSao-iXeiJeis, Eupol.
fr. 182 dKove vvv Ueicravdpos ws cLTrdWvTaL (Klihner-Gerth i. p.
138). Such a use is, however, almost restricted to prophecies
(prophetic realisation), and we should understand that suggestion
here. The pseudo-Herakles is not simply wondering ' when it
will take place,' but making up his mind when it is to take
place. 'Let me see; when does my festival take place ?' =
* when do I decide that it will . . V His aTTarat is due to
his sudden recognition of a neglected duty.
652. dvGpwiros Up(Js : editors mostly write duOpcoiros. Yet
the former is in no way improbable : ' (He) is a sacred being.'
Cf. 968 Q-qpafjL^vqs ; (T0(p6s y dvr]p Kal detvds 4s tcl irdvra, where
the metre has prevented similar alteration to dprjp.
tcpos, 'extraordinary,' as being under special protection of
some god. Cf. Plat. Ion 534 b Kovcpov ydp XPVI^^ iroirjTTjs Kal
Up6v.
653 sq. lov lov : an exclamation of various emotions,
depending upon the tone. Dionysus explains it as a cry of
admiration or surprise, ' Ho ! Ho ! ' But his tears need
further explanation.
iirireas 6p« : the actor would look at a portion of the
audience.
Kpo(ji[jLva)v 6<r<|)paivo|jiai. Aristoph. probably means a com-
pliment to the warlike behaviour of the lirirris. With the
common people onions formed a staple article of military food
(and perhaps, like the garlic, were supposed to impart spirit).
Cf. Pac. 529 rod ixkv (sc. the knapsack) yap 6^€l KpofjLfivo^vpey/jiias.
In Uq. 596-610 the knights are praised for undertaking the
same hard labour and eating the same poor food as the humbler
655. Iirel irpoTijjwjs y* ovSiv, '(you say that) because, of
course, you don't mind (the beating) at all.'
657. ol'p.ot . . Ti\v &Kav9ttv ^gcXe : it is absurd to suppose
that X. pretends to have a thorn in his foot. If he w^ere a
god he ' would not feel it ' (634). Nor is there any humour
in the excuse. As a simple explanation of a passage which
seems to have baffled commentators, it may be suggested that
there was a current song containing the words ol/jlol t7]v
aKavdav ^^eXe, and that, having let otpLOL slip out, he breaks
into the song to complete his sentence. The device is thus
the same as in v. 659 [as if, e.g. '0 (!) — to be in England ! '].
659-661. "AtroXXov : sc. diroTpdwaie. The cry is forced from
168 THE FROGS OF ARISTOPHANES 659-665
him, but he immediately turns it into the beginning of the
quotation of 'an iambic line which I was trying to recall.'
According to the schol. the verse was not by Hipponax, but
by Ananios. Hipponax of Ephesus (circ. 540 b. c. ) ranks after
Archilochus and Semonides as poet of iambi. Ananios was a
contemporary, and the two were evidently coupled, since the
invention of the scazon (or choliambic line) is attributed to
each. The ancients were no more infallible than moderns in
the ascription of lines to their authors.
8s TTov Ai]Xov K.T.X., 'whose dwelling is somewhere in Delos
or Delphi,' the exact sense of '^x^lv being to 'hold' (as owner,
occupier, or tutelary deity) ; cf. Thesm. 316 xpvaoKTupa . .
AtjXov ds ^x^i5 lepdv, Aesch. Bum. 24 Bpo/nLos ^x^i rbv x^po*'.
The next lines (as quoted by schol.) ran ^ '^d^ov ^ MLXrjTou ^
deiav KXdpov, \ lkov Kad' Up\ fj 1,Ku6as dcpi^eai. ['0 gracious (!)
— emperor, gentle Aaron ! ' (Shak. Tit. And. 3. 1).]
662. ovS^v TTOcis yoLp : nihil enim agis, ' you are doing no
good.' ydp refers to the thought, ' (He can act so) because . .'
o-irdSci : Introd. p. li,
663. |xa Tov AC* : sc. 01^ rdt XayovcLS airodi^ao}, aXKa . .
ri\v yatrripa : cf. Herondas 5. 33 /rat xtX/as fih is to vCotov
iyKOTpai I avTip KiXevaov, xtX^as 5k ry yaarpl.
664. IlocrciSov . . : as if, e.g. * Caesar (!) — thou canst not
die by traitors' hands | Unless thou bring' st them with thee *
(Shak. /. a 5. 1).
665. 8s AtYttCov . . pivB^a-iv : comedy does not object to
departing from the iambic trimeter or other regular metre in
a quotation or an established formula of prayer or proclamation
{eireiddv evx^v ^ xj/rjcpLa/JLa eicrdyiaaiv says schol. on the prose
passage in Thesm. 295 (q.v.)).
The schol. tells us that these words come from Sophocles'
Laocoon {fr. 342), but he quotes thus : 8s Alyaiov fiiSeis \
TrpQvas ij yXavKcis juL^deis | evavijULov Xijuivas ^0' vxpr/Xais (nnXddeo-cn
(TTOjULdrcav. Dionysus also is 'trying to remember.' In the
text of schol. the first jmideLs is plainly an error, and in neither
text has irpCbvas any construction (since fxideis requires genit.).
The emendation <'ir€pl> irpwyas is based upon the ease of
losing irepl in its form P. [crTOfidrccv in schol. may be a
misreading for ^7ropd8wv.] For the whole cf. Soph. Ant
1118 kXvtclu ds d}X(f)iireLS \ ^IraXiav, fiiSas de \ irayKoivois 'EXeu-
(nvias \ At^oOs iv koXtols. A question arises as to whether 7rpc6^
(cf. si7ius) is a spur of the sea (i.e. a gulf) or into the sea (a
cape). The former occurs in e.g. Aesch. Ag. 318 'ZapwvLKov |
670-674 NOTES 169
TTopOfiov KaroTTTov irpCovoL. Here it is more naturally the latter,
with special reference to the worship of Poseidon at Sunium
and Geraestus ; cf. Eq. 560 cD deXcpivcov fxediwv "ZovvLdpare, \
& Tepala-TLC iral Kpdvov, Eur. Cycl. 294.
670. 7vw<r€Tai : cf. Horn. Od, 5. 79 ov yap t dyvCjTes Beol
dWrjXoKTL TT^XovTai.
671. <l>€pp€<|>aT9' : the Attic form (Meisterhans^, p. 76).
Other forms, chiefly poetical, are ^epcre^aco-a, IXepj-e^ao-ca,
^€p(T€<p6v7], Il€p(T€(p6v7J.
673. irp^Tcpov . . irplv . ., ' earlier . . (namely), before . . ' ;
not the mere pleonasm sometimes found.
674-737. Dionysus, Xanthias, and Aeacus have entered the
palace. There follows the interlude known as the Parabasis,
a usual (but not indispensable) portion of the play, in which
the Chorus 'comes forward,' leaving the proper theme of the
piece and addressing the audience on contemporary matters,
whether concerning the poet or the state of politics. It con-
sists here of <rrpo<pr] or (^5?7 (674-685), iirlpp'qixa (686-705),
duTL<TTpo(prj or dvri^^ (706-717), dvreTripprjiiia (718-737). This
is the simplest structure of a irapd^aas, consisting of what is
technically known as the ' epirrhematic ^v^vyia,' without
certain occasional additions, e.g. the irvlyos. The strophe and
antistrophe (sung with dance by half-choruses facing each
other) are attacks on the two popular leaders, Cleophon and
Cleigenes ; the epirrhema and antepirrhema (or parabasis in
the narrower sense) give good advice to the public. It is
doubtful whether these (which were in recitative) were delivered
by the coryphaeus alone, by the coryphaeus and irapaaTdrTjs,
or by half-choruses. The second seems on the whole the most
probable. •
We must understand that throughout the lyric strophe and
antistrophe there is parody of passages known to the audience,
but at which we can only guess. [For the political attitude
of Aristophanes see Introd. p. xvi, xxi sq. ]
674-685. An onslaught upon Cleophon. By both Aristoph.
and the comedian Plato (who wrote a Cleophon) he was re-
garded with animus, as a low-born and self-seeking demagogue ;
but these are the one-sided views of the aristocratic section
of Athenian society. History tells us only thafiie was con-
sistently opposed to the peace with Sparta which was desired
by the oligarchical party. After the successes of Cyzieus (410
B.C.) and Arginusae, and also (later in this year) after the
defeat of Aegospotami, Cleophon would hear nothing of peace.
He was made away with late in 405 B.C.
170 THE FROGS OF ARISTOPHANES 675-677
In these lines the comedian charges Cleophon with lack of
public spirit, with foreign birth, inability to talk Greek, and
enmity to peace. The charge of foreign descent was one of
the commonest at Athens. It might mean that a man was
only drjjULOTroLTjros (418 n.), that he had got his name foisted
on the rolls without claim [irapeyypairros), or that he was only
of citizen birth on one side and therefore vbOos. The last was
the alleged position of Cleophon, whose mother was said to
be Thracian. Such assertions could easily be made in a city
where [jAtolkol, ^evoi, and slaves were numerous, and where
* purification of the rolls ' was no infrequent necessity. Against
Cleophon, however, the charge seems to have been made with
some consistency ; cf. Aeschin. F. L. 76 KXeo0wi/ . . irapey-
ypa(pels aicrxpws irokiTT}'; koI diecpdapKihs vofifj xPVf^^T^^ '^^^
dijimou, axoKb\p€LV rfiretXeL fjiaxo^ipg' rbv rpaxn^ov el' ns elprjvrjs
livrfffd-qaerai.
675. xop&v : with iTrCpTiGt ; cf. Hes. Op. 659 (of the Muses)
^vda fJL€ TO irpCoTov Xiyvprjs iTr^^rjaav doLdrjs ( ' set me upon sing-
ing'). Soph. Phil. 1463 do^rjs oiiirore rrjad' ein^dvTes, Hom. Od.
23. 52, etc. xopwj' combines the notions ' dances ' and ' bodies
of dancers,' and iiri^-qdi is used of (1) 'entering upon,' (2)
* mounting upon' (to guide like a steed or car). It is thus
neither possible nor desirable here to separate the senses ' enter
upon sacred dances ' and ' guide (the) sacred chorus. '
i€pcov : apart from its primary application to the mysteries,
the word implies a claim to protection for freedom of speech.
Iirl T€p\|/iv, ' for delight of . . * ; including both ' to find '
and ' to make ' pleasure in . .
676. Tov iroXvv . . Xawv 6xX-ov, 'yon mighty throng of
folk,' viz. the spectators, practically the whole body 0/ citizens.
For \aCbv see 219 n.
6\|fOfi.eVT] : the sight is worth seeing. <ro<|)iai, ' talents ' (of
all sorts) ; a more or less ironical compliment on their literary
taste and political wisdom.
677. jJLvpCai, ' countless. ' The word describes the sorts of
ability ; it is not a literal calculation (10,000) of the number
of the audience, which Aristoph. would rather exaggerate than
the contrary. We do not know precisely how many persons
could be sealed in the theatre of 405 B.C. Plato {Symp. 175 e)
puts the spectators of a play of Agathon at TpLafiijpLOL, and this,
in round numbers, answers to the calculation of 27,500, which
some have gathered from the remains of the stone theatre of
the next century. There can be no doubt that the seats were
closely packed. [Demosth. {Androt. § 35) calls 'the citizens'
678-683 NOTES 171
irXeiovs rj /Mvpiovs (if the text is sound), but this is not meant
to be all-inclusive (see Wayte, ad loc). They are commonly
calculated at 20,000 at least ; cf. Vesp. 700 dvo /nvpidde, Aristot.
Ath. Const. 24. 10, but JSccl. 1132 irXetovoyv Tpiafivpicov.]
678. <|)iXoTi[JLOT€pai, * more public-spirited.' For this favour-
able sense cf. Lycurg. Leoc. 15 Trpbs roi)s Oeoi^s evae^Cos Kai wpbs
Tot/s yopeXs oaicjs Kai irpbs rrjv irarpida (piXoTL/jLOJs, Xen. Mem. 2.
3. 16.
djJL<(>tXdXois : as speaking (1) a jargon, half-Greek, half-
Thracian ; (2) with duplicity ; cf. dfJi<piy\it)(T(Tos ( = diyXcoaaos,
which has both these meanings). For the former cf. dfKpL-
jUL-^TpLos, for the latter dfji(j)L'irp6ao)Tros.
680. 8€tvbv lirtppcixcTai, 'cries terribly.' For the middle
verb cf. Pind. N. 11. 8 \vpcL d4 (T(pc /Sp^/xerat /cat doidd, Aesch.
S. c. T. 335 /SXaxat . . rCov eirLjxaffTidLwv . . ^pi/xovTaL.
681. 0pT)KCa x^^'-Swv : for the inarticulate swallow cf. 93 n.
QprjKLa is doubly appropriate, alluding (1) to Cleophon's
mother, (2) to the story of Procne and Philomela, and their
successive marriages to the Thracian Tereus. [In the parodied
original the nouns, adjectives, and verbs would refer to the
nightingale ; here they are travestied to fit the swallow.]
682. Iirl pdpPapov e|op.€VT] ireraXov : the phrase recalls a
commonplace concerning the nightingale ; cf. Av. 215, Hom.
Od. 19. 520 (hs 8' ore . . dr}5u}v \ KoXbv deidrjcriif . , | devdpiojv
iv 7reTd\oL(TL Kade^ofiiurj TrvKtyoiaLu, and (of the swallow) Fac.
800 Srav rjpivd . . xeXiScbi' e^ofiivq KeXadfj. For €^o[ji€vt] IttI
with accus. cf. 199. The tt^toKov ^dp^apov is Cleophon's
tongue. Those who quarrel with the expression 'on whose
lips a swallow cries . . seating itself upon a foreign leaf are
hardly constituted to deal with comic parody. [In the original
it may have been the xe^X?/ of some stream on which the
Daulian nightingale sang her loss of Itys. ]
683. pv^CL : so Dindorf for KcXapv^ei (with variant K€Xa8€t).
Cleophon 'snarls you an 'twere any nightingale.' The word
is exactly of the condensing sort which the comedian would
use, if Cleophon's manner was of the kind. An interlinear
adscript /ceXaSet to piu^ei would account for the Mss. readings.
eir^KXavTov, ' accompanied by tears. '
dT]8<5vtov vdjjLov : (1) he is a swallow trying to act the nightin-
gale (a barbarian trying to talk Greek), (2) d-qBovios vdfxos itself
implies tearfulness, (3) we may suggest that there is an allusion
to "HSwi'oi, a Thracian people, whose name was often given to
Thracians in general.
172 THE FROGS OF ARISTOPHANES 684-687
684 sq. (OS diroXciTai, kB,v Xcrai yiviovrai : generally rendered
'he is sure to perish, even if there prove to be equal votes
{\f/7](poL),' it being assumed that he was at this time threatened
with a trial (or with ostracism, a process which had been
discredited by the case of Hyperbolus, but which had probably
not been abolished). We know nothing of any such trial ;
nor is it easy to see how — unless possibly as a moral result —
Cleophon could be undone by equal votes. By Athenian law
equality of votes meant acquittal : cf. Eur. EL 1268 Kal ro7(n
XoLTToTs 65e vSfjLos reOi^aeTaL, | vlkcLv tcrats \l/'r)<poLaL rbv (fyevyovr de£,
Aesch. Eum. 744, Aeschin. Ctes. § 252. It appears, it is true,
(from Hesych. and elsewhere) that ac^^ea-dai kSlv iVai yhiavTai
was proverbial for ' escaping by the skin of the teeth ' (or
rather 'a miss is as good as a mile'). It might, therefore, be
suggested that dTroAeirat is substituted irapa irpoadoKLav for e.g.
<rci}0rjo-€TaL. Yet, to have any point, the order would need to
be ' that, even if the votes prove equal, he will — be done for.'
We shall do better to supply (nrovdai in place of xJ/rjipOL :
'that he will be done for, even if fair terms are got' (from
Sparta). The comedian thus humorously applies the proverbial
Khv tacLL yivujvTaL in a new sense. Cleophon's political position
depends on the continuance of the war, and he will be ruined
by peace, even if just and fair (or 'equal') terms are obtainable.
Ellipsis of a noun {yvibfiT], xj/rjcpos, dUrj, ir\r]yi^, /loipa, etc.)
occurs where the word would naturally suggest itself. No
further rule can be laid down, nor does the context necessarily
contain the cognate verb : cf. Soph. 0. T. 810 ov /xrjp ijrjv y
[We may perhaps render the strophe thus :
Muse, inspire our sacred choir.
And lend all joy to my song :
See, wisdom and wit, without end they sit
In this grand Athenian throng.
Of higher sort their aim
Than Cleophon's selfish game ;
On whose lips, that habile their mongrel Greek,
A swallow doth gobble with fearsome shriek,
And sits on a leaf.
And snarls its grief.
Its Thracian tale of the nightingale ;
That tearful strain how, when we've won
The fairest of terms, he's dead and done.]
686. Upbv : 675 n.
687. Ivjiirapaivctv : more modest than irapaivetv ; the chorus
687-693 NOTES 173
simply * lends its help ' to the good cause. The force of ^vfi- is
felt with 8i8dcrK€iv also. Cf. Soph. Ant. 537 /cat ^ufx/meTiax^
Kal 4>^pu> TTJs alrtas, Xen. Cyr. 7. 1. 1 irpoff'qveyKav ifXTnetv koI
i^(j.tv 8oK€D, 'we move that . .'
688. €ji<r«o-ai : explained by the following words. There
is no special reference as yet to the franchise (692), but to the
removing of prejudice and party oppression.
689. Kd Tis . . iraXaCcTjiao-Lv. Phrynichus is treated as
the prime mover (with Peisander and Theramenes) in the
oligarchical revolution of the 400 in 411 B.C. Cf. Thuc. 8. 68
Trapiax^ 5^ 6 ^pijvix^s iavrbv dca^epdvrws irpodvixbraTov is ttju
dXijapxiav. He was the most stubborn in upholding it, and
was assassinated in the Agora in consequence. Aristoph. is
not without sympathy for the party, and it is convenient to
blame the dead Phrynichus. The feeling of the Stj/jlos had not
died out in the intervening years, and the justice of its
suspicions was proved by the events of 404 B.C.
o'<|>aX€Cs . . TraXaCo-jxacriv . . oXicrGovonv : sustaining a
familiar metaphor from the palaestra. Phrynichus had been
too clever for simpler people.
691. alriav €K9€i<rt. The legal expression ' declared cause '
dispenses with the article. The poet does not wish them to
rake up old questions, but merely to ' state a case ' which shall
amount to an acknowledgement, a plea, a request for pardon.
For the active Xvo-ai, of ' undoing ' an obligation by paying, cf.
riXr] \6eLv and Soph. Phil. 1224 \}j(T03v 6(t' iirjiiapTOP, Ath. 227 F.
692. dr )( irpCoTov 687.
dnixov K.T.X. This advice was followed when, later in the
year, Athens found itself besieged by Lysander : Xen. Hell,
2. 2. 11 Toi)s ariixovs iTrtTljuLovs iroL-qaavTes iKapripovv. Public
enemies and debtors, embezzlers, persons bribed, deserters,
insulters of magistrates, etc. were visited with drLfiia in various
degrees of severity. To propose formally in assembly the
restitution of citizenship in a particular case brought a severe
penalty on the mover, but Aristoph. suggests it in the theatre
as a general policy under cover of his lepbs xo/x^s.
693. Tovs [ijkv vavfxaxi»l<ravTas k.t.X. The sentence begins as
if an antithetical toi)s d^ iroWa 87] vavfJiax''^o'avTas arifMOvs fiheip
(or Tois de IT. vavixax'n<yo.(TL jxif} irapeipaL fuav ^vfx^opdv) was to
follow. But after v. 694 the writer thinks it well to prevent
misconception as to his attitude, and so begins a parenthetic
174 THE FROGS OF ARISTOPHANES 693-701
qualification, into which the 5e-clause becomes incorporated.
The reference is, of course, to Arginusae (33, 191).
\i.iav : 191 n.
694. nXaraids. Long after their assistance to Athens at
Marathon the Plataeans had shown extraordinary loyalty to
the Athenian cause in 427 B.C., when the Peloponnesians
besieged and destroyed their town. They had then been allies
for ninety-three years (Thuc. 3. 68). Those who escaped, to
the number of 212, made their way to Athens (ibid. 24).
By a decree of the people (ap. Dem. Neaer. 1380) it was resolved
nXaratas el^at 'Adrjpaiovs ivrijULOvs Kaddirep ol aXXot 'AdyjvaLOL koI
fiere'ivaL avrois (hvirep 'AdrjvaioLs jmer^o-TL ir&vrwv ; cf. Lys. 23. 2.
The sense of the present line has sometimes been strangely
misunderstood. It does not mean that the slaves were not
made full Athenians, but had only qualified ' Plataean ' rights.
There is nothing to show that the Plataeans were in any such
position. The sufficiently obvious meaning is that the slaves
were treated as heroes, receiving as much recognition as the
brave and much enduring people of Plataea.
697. irpbs Sc : adverbial, ' but in addition ' (tovtois depend-
ing on irapcuvai). Cf. Eur. Med. 410 irpbs bk kclI TrecptJKafjieu
yvvoLKes. [It is less neat to join irphs bk totjtols and supply a
dat. antecedent to ol'.]
698. \o\ iraT^pcs : grammatically parenthetical, otherwise
strictly xwv ol w. or ibairep /cat ol ir. would be needed.
699. T^v jxtav : which disfranchised them. jxCav : stressed
in contrast to ttoXXcl h^. TavT-qv is added with a certain
contempt (12, 724 n., 1533). {vjji4>opdv : euphemistic for
afiapriav, as if it had been more their misfortune than their
fault.
aiTov|j.€vois. It is hard to decide between this and alrov-
jjL€vovs (passive with vfids). For the middle cf. Aesch. Cho. 2
(TiOTr]p yevov jjlol ^{ffifiax^s r' airovixhi^ ( = inf. 1127), S. c. T. 246,
and for the pass. Cho. 478 alro^fiej/ds /jlol 56s Kpdros tQv aCov dofiwv,
Theoc. 14. 63.
700. <ro4>c6TaToi 4>^<r€i : i.e. naturally sensible, but misled
by demagogues.
701. €KovT€S : iiUro. They should rather off'er than wait to
be importuned or forced.
(Tvyyevels KTi]<rt6|ji€9a k.t.X. : not merely = TrotT^crttJAte^a, but
'let us get them (for we need them) for kinsmen, and for fully
franchised, and for citizens.' The three words are intended to
703-708 NOTES 175
cover all the ground. Aliens {ixctolkol and ^et'ot), &tl/jlol and
slaves are all to be raised to (1) (rvyyevels, (2) eirLTifioL, (3) iroXLTai.
703. TttVT* oYKOMrofxco-Ga, ' if we are to be on our dignity in
these matters.' Of. 528 n., 748 (/cat rovd' TJdo/naL), Horn. II.
5. 185 rdde fialperai, and in Latin e.g. illud stomachor.
704. T-^iv irdXiv Kal ravr' ^x.ovt€S k.t.X. : (1) lit. 'and that
too though our country is in the trough of the waves,' the last
words being from Archilochus {^I/vxcls '^x^vtes KVfidTOiv eV
dyKoXaLs) ; cf. Eur. Hel. 1062 7reXa7ioi;s is dyKaXas, Aesch. Cho.
585 TrSvTiai dyKaXai { = KoiXoTrjres schol. ). For the metaphor
cf. 361 TTJs 7r6Xews xei/^a^o/x-ej/T^s. Kal ravra, when =praesertim
cum, usually begins its clause, but there is no binding rule.
Blaydes quotes Diodor. [Com. Frag. ii. 546) ttjv iaofihrjv Kal
ravra ixeroxov rod ^iov. In any case emphasis will justify
unusual order, and rrjv iroXiv is emphatic. (2) It is not unlike
Aristoph. to pack with this another sense : ' though we hold
our country in the arms of the sea,' i.e. though our existence
depends on our sea-power.
[The punctuation diroo-cfJivvvovpeOa | tt^v irdXtv, Kal . .
makes a strange accus., gives ^x^pres, though without adv., the
sense of 6vr€s, and ignores the evidence of Archilochus for
joining rrjv ttoXlv ^x^^^^^-j
706. €l 8* €70) 6p6bs I8€iv k.t.X. From the Phoenix (or
Caeneus) of Ion of Chios (schol. ), but Aristoph. substitutes
'^ rpoTTov . . ol^wfcTai for cD iroXLTJrac of his original. The
infin. follows opObs as it might t/ca^6s, duvards, dyadds, d^ijs
(Thuc. 1. 70).
6<rTis : not = 5s, but either (1) describes the class or (less
naturally) (2) is indirect question.
707. ov8* : no more than Cleophon (684).
6 orCBiiKos oStos : odros of the well-known and with con-
tempt (699, 724). iridrjKos to the Greeks was the type not
so frequently of mimicry as of malicious cunning. According
to Eubulus {Com. Frag. iii. 260) it is iirl^ovXov KaKbv. Cf.
Ach. 907 ^Trep irldaKov dXtrpias iroXXds irXicov, inf. 1085. In
FJq. 887 OLOLs TTidriKLaixoh fie irepieXa^veLs some ancients ex-
plained by dirdrais, others by jxifx-qixaaiv (Neil). It here includes
both.
708. KXcfyevqs : nothing is known of him beyond this
passage. The nickname 6 fxtKpbs was not rare (cf. 55 n.), but
C. need not actually have borne it. [There is, of course,
parody throughout these lyrics, and the original — we may
perhaps guess — contained references to ^aatXevs 6 ixiyas
( = paXav€i>s 6 [JiiKpds), xPV'^t^t'^tos ( = iroviipcJTaTOs), who
176 THE FROGS OF ARISTOPHANES 710-715
ruled over the Lydian river which brought down the golden
sand from the Tmolian soil (e.g. Av8o-, kovlos, T/xwXias y7js =
4/€v8o-, Kovias, Kip-wXCas 7^s). This would also give a point
to Kparovcrt.]
A paXaveiJs was held in low esteem {Eq. 1403).
710-713. 6 irovTipoTaTOS, 'most niggardly' (cf. malignus).
k The keeper of public baths, to whom a small fee was paid,
could be mean with the soap {pvfifia), which might be
adulterated or made with inferior materials. Modern soap is
a compound of fats with (in the ordinary kinds) potash and
soda. For Greek prjfi/na potash and soda formed a powder, and
sometimes this, sometimes Cimolian clay (which contained
soda), w^as used as soap.
The Kovia is called KVKT]crCT€<|>pos because the making
involves the stirring of wood - ashes in water to produce
* lye ' by extracting the alkaline salts. After evaporation
the result is potash. To this is added vlrpov (or, in Attic,
Xirpov), ' carbonate of soda. ' In cheap soap the vlrpov would
be bad, and the ' lye ' (or Kovia) mixed with such adulterated
vlrpov is x|/6v86XtTpos.
710. TTovTipoTaTos . . oirocroL : i.e. rotjrt*)v (or irdvrojv)
birbaoL ... Cf. Hom. Od. 6. 150 el jxiv ris Beds iari, rol
oupavbv evpifv '^xovcn, Xen. An. 5. 1. 8 eldevat rrjv 8{>vajuiLV i(f>
oDs hv LOJfJiev.
712. KijJLwXtas 7fjs : playing on the senses ' ruling the
land ' and * owning the earth (clay) ' of Cimolus, a small island
of the Cyclades, just N. of Melos, whose soil afforded a natural
soap (7^ (TfjLTiKrpls). Cf. Ov. Met. 7. 463 cretosaque rura
Gimoli.
715-717. ovK clpT]viKos : he belongs to the war-party.
dv€u |vXov paSitwv. Surely this means 'without his staff
(or baton) of office,' not his 'walking-stick' (which every
Athenian carried), but such as was borne by the dikasts, etc.
We do not know what his office was, but it is certain that
many citizens secured public positions through the war and
would lose them if peace were made. In such a case Cleigenes
would be at the mercy of his enemies. The official staff was a
protection, since to assault a magistrate meant drifjila. Aristoph.
chooses to put it humorously that, ' with his drunken habits,'
he might perhaps, ' if he had no stick,' meet with a footpad.
[Lines 706-717 may perhaps be rendered thus :
If I can scan the life of inan,
And tell who shall smart and how,
Not long shall we see that chimpanzee
Who is such a nuisance now,
718-725 NOTES ■ ' 177
Our Gleigenes the small,
Most mean of bathmen all
Who wield their sway o'er the ash-stirred lye
And Cimolia's soil and had alkali.
With this fact in his mind
He 's to peace disinclined,
For fear some day, as he ivends his way
The worse for drink and without his stick,
The footpads may play him a nasty trick. 1
718. ircirovOevat ravrbv = rbv avrbv rpbirov diaKeiaOai, * to
be in the same state of mind toward . .'
719 sq. ?s T6 . . ?s T€ . . 'on the one side towards those
citizens who are gentlemen, on the other towards the old
currency and the new gold coinage.' The 'new gold coinage,'
struck in the previous year from the figures of Nike (as the
schol. tells us on good authority), appears (like the ' old
currency') to have been exceptionally pure, to judge by the
extant specimens. These are opposed to the debased currency
consisting of bronze pieces coined 'the day before yesterday.'
[Prof. Murray in his translation rightly accepts this complete
explanation from Mr. G. Macdonald.]
721. oi5T€ . . 0* (727), 'as we do not . . so . .'
TovToiGTtv : viz. the dpxcuov vbfXKrixa (of silver) and the Konvhv
Xpvcriov.
ofitrtv ov KCKipSriXcvpLcvois. The treatment of participle as
adj. is not specially rare, and hence another participle (of elfii)
comes to be attached. Cf. Xen. ITell. 2. 1. 28 dieo-Kedaafjihojv
. . tCov dvOpdoTTiav 6vT(jjv, frag, adesp. 470 ^lov dC(pK7]a 6uTa
irplv irecpvpixevov. The development is a natural outcome of e.g.
KeKi^brjKevfxevoL elai. So in act. Eur. Hec. 358 ovk eluidbs 6v,
722. KaXXCo-Tois : in purity (rather than in form).
«s 8oK€t : i.e. 'as is admitted.'
723. opOois KOTTcto-t, 'honestly struck.' Contrast with Lucian,
Adv. Indoct. 2 Ki^drjXa Kal vbSa koI irapaK€KO[Mixha.
K6Ka)8<i)vio-[j.€vois : 79 n.
724. iravTaxov : as in modern times certain coins (e.g. the
English sovereign and the French twenty- franc piece) are
readily accepted and even sought for abroad. Xenophon ( Vect.
3) tells how the Athenian silver coin was exchangeable Travraxov
at a profit.
725. TovTois Tots TTovqpois : for the contempt in to^tois cf.
Plat. Grit, 45 A ovx bpq.s to^tovs toijs (TVKO(pdvTas, (hs ei^reXeis;
N
178 THE FROGS OF ARISTOPHANES 726-732
and 707. The xct^'^^ci ('mean bits of bronze') are referred to
in Eccl. 815 toi)s xaX/coOs 5' (kcLpovs rjviKa \ €\pr](pL(Td[i€d' ovk
olcrda, to which the reply is /cat ica/coV 7^ fxoi \ rb ko/jl/ul' iyiver
iKelvo, for, when in the act of using it, the purchaser was pre-
vented by a proclamation that bronze was to be out of currency
and silver money to be used. The schol. tells us that the
bronze coins were struck 406 B.C., while the Ecclesiazusae
belongs to the year 392. [Those who have thought that * the
new gold coinage' is attacked have been obliged to take
xaX/fiots as a contemptuous term for gold debased with,
bronze. ]
726. \^i% . . Koireto-i : not rots x^^s k.tX., but ' though
struck . . ' or ' struck as they were . .'
T(p KaKCo-Tw KOfjLjJiaTi, ' with that most vile stamp of currency
(known to us all).'
729. TraXa^o-Tpais : i.e. properly trained in yv/ivaariKr} :
Xopots, in religion and its ceremonies : jxov<rtK^, in music
and letters ; i.e. well-educated gentlemen. Cf. Xen. Pol. Lac.
2. 1 TrifiirovaLV els didaaKaXwv /JLadTjao/uL^vovs Kal ypd/uL/xara /cal
IUL0V(TLKT]V Kal TCL ^v TraXaiarpg.. Only citizens could take part
in the gymnasia or dance in the xopo^*
730. xo-^Kots, cheap and worthless ; J^vots, of foreign birth ;
TTvppiais, 'red-headed,' i.e. quondam slaves from Thrace and
Scythia. While the three words are applied to the new
citizens they are equally suitable to the base coins, as being
of bronze, foreign to Attic usage, and red in tint. Ilvppias
(like Xanthias) was a frequent name for a slave (cf. Luc. Tim.
22), and was even used generically for dovXos (e.g. Pherecr. in
Co7n. Frag. ii. 327 MlXtjo-los tls irvpplas). Cf. the comic Latin
rufuSf implying servus. Among comic masks red hair and red
cheeks were ' the mark of a roguish slave ' (Haigh, Att. Theat.
p. 239, from Pollux). Yan Leeuwen suspects that Cleophon
was red-headed. For a similar metaphorical application of
words of the coinage cf. Ach. 517 avSpapta jxoxByfpd, irapaKeKOfi-
fiiifa, I &TLfxa Kal irapdarj/jLa Kal irapd^eva.
731. Kal TTOViipOLS KOLK TTOVTipcov : i.e. Kal {tols) irovrjpoLs-KaK-
irovTjpoop, rather than Kal (tols) irovqpols Kal {tols) iK irov'r)pG}v.
The expression was virtually a compound; cf. Dem. 614 Soi^Xous
Kal iK do^Xcov KaXQv eavrou (SeXriovs Kal ^k ^eXridvoju, Soph.
Phil. 384 Trpbs rov KaKlarov kolk KaKcov ^Odvaa^ws, Eur. Andr.
591 Cj KdKiare KaK KaKCbv. Cf. also dovX^KdouXos.
732. vcTTCLTOts d<f>L'y[Ji€V0Kriv : without article (cf. 726) =
' last arrivals as they are. '
733-741
NOTES 179
733. ov8^ (|>apfxaKoia-iv €Iktj paSicos k.t.X., lit. 'would not
without scruple even have used at random as scapegoats. *
p^Sicos has the sense seen in f)q,dLovpy6s ('with a careless
conscience '), while cIktj means ' without picking and choosing
among them.' For the absence of cos from proleptic (papfxa-
KoicTLv cf. Antiph. Co7n. Frag. iii. 57 tQv 8' aKovr'nav \ avvhovvres
6p6a Tpia Xux^'e/y Xp^M^^^t-
(|>ap|xaKoC, sometimes called loosely by the more general
word Kaddpimra, were two persons (one for the men and one
for the women) kept in readiness, beaten, driven out, and put
to death in purification of the state at the festival of the
Thargelia (May). At this date they were in all probability
condemned criminals, utilised for a rite which would otherwise
have become merely symbolised. According to the schol.
deformed persons were chosen. [The original notion of ^ap/maKds
was 'medicine man' or 'magic man,' whose expulsion and
destruction were supposed to have the effect of magic 'medicine'
in curing the community (Harrison, Proleg. pp. 95sqq.).]
735. xP'n°"®€ ''■o^s xpT]o-Toicrtv : a jingle intended to bring
home the et5rmology ; utimini utendis ; cf. 1455.
Kal KaTop0«<racrt -ydp : koI does not belong to yap, but
answers to Kdv : ' on the one hand . . on the other . . . '
736. €| d|tov 70VV Tov {vXov. There was a proverb dirb koKov
^ij\ov KOLV cLTrdy^ao-daL (schol.) ; cf. Publ. Syr. 911 vel strangulari
pulchro de ligno iuvat. It is an aggravation of hanging to be
hanged ex infelici arhore (like John Brown ' on a sour apple-
tree'). Herodotus (5. 11) has the similar virb d^idxpeco Kal
dwodavelv rjixiaea <ivfji<popi^.
737. ^v Ti Kal irdo-XTiTC, Trd<rx€tv k.t.X. The tenses should
be noted (' If you come to any grief) you will, even if you are
(in that case) suffering anything, be thought by the wise to be
suffering "on a respectable tree." '
738. An interval has elapsed, during which Dionysus has
been recognised by Plaio and Persephone, entertained by them,
and acquainted with the situation between the rival poets.
7€vvd8as dvTJp, ' a real gentleman ' ; cf. 179.
740. TO 8^ \ki\ Trard^ai <r : exclamatory ; cf. 530 n.
741. 6ti . . ^<j>ao-K€s : a construction naturally substituted
here for the more typical i^eXeyxOrivai with participle. ^^eXe7x-
devra (pda-Kovra is by no means impossible Greek, but it would
have been intolerable to combine i^eXeyxO^vra 8ov\oy 6vTa
(pdaKOPTa elvaL beairbrriv.
180 THE FROGS OF ARISTOPHANES 742-756
742. TOVTO J1.6VT01 SovXiKov €v6vs K.T.X. , ' HOW, in doing that,
you have at once done a thing which marks the slave,' viz.
in the useless and vapouring threat that the master 'would
have suffered for it.'
€v9vs in the sense 'to begin with' includes that of 'for
instance,' the notion being that we need not wait any longer
for an example ; of. Aristot. Rhet. 3. 4. 6 iocnrep ^ipov evOiJS. So
avrUa {Av. 166) and avrUa rrpCoTov (Plat. Gorg. 472 0).
745. XO'^P^'-S, lK€T€va) ; Uereijcjj is an expletive = ' pray ' (so.
tell me). ' Do you really, now ? '
|j.^ dXX* : 103 n.
eiroTTTcvciv, ' to be in the seventh heaven. ' The ^tSttttjs was
the highest grade of fi^o-rrjs, who had beheld the most sacred
arcana and made sure of his place in the future life ; cf. 155,
454. According to Plutarch {Demetr. 26) the step was from
the Little Mysteries to the Greater, and then eirwirrevov rovXd-
Xf-CTov dirb rCov fieydXcju iviavrbv biaKeiirovTes. At the mysteries
themselves the iiroTrrrjs was filled with an ecstatic rapture.
747. tC 8^ TOvGopv^cov : sc. iroLets (or rather irdax^iv doKcTs,
to be supplied from the last words).
748. Ka\ Tot)0' -fiSop-ai : 703 n. Kuhner-Gerth i. 298 sq.
749. a>s fid A^ ovS^v otS* kyot : sc. 7)d6fJL€vos, lit. 'in such
degree as I do not know (that I rejoice) in anything (else) ' =
' more than in anything I know of. ' For the absence of &Wo
cf. PhU. 901 AI. (TV (pLXdrroXis koI xPV^t^^ » 2T. ws oiidels y dv-qp,
ibid. 247.
750. 6fj.<57Vi€ Z€v : an exclamation of growing excitement.
The exact point of the humour of this passage appears to have
been missed. There is a burlesque of the tragic dvayvdbpiais or
'recognition-scene.' In melodrama the 'long-lost' relative
used to be discovered by various indications. ['Have you a
strawberry-mark on your left arm ? ' ' Yes ! ' 'Then come to
my arms, my long-lost che-ild ' (which is here represented by
752 sq.).] Xanthias recognises his brother by common family
traits. ' Do you mutter ? Are you meddlesome ? Do you eaves-
drop ? — Then you are he ! '
ofioTvios Zevs is Zeus in his capacity of guardian of the rights
of kinship ; cf. Zei)s ^hios, (piXios, epKeios, Soph. Ant. 670 Aia
^TuvaLfxov, Eur. Andr. 922 dXV dvrofjLai ae ALa KaXoua bixbyviov.
Conversely a kindred clan recognise the common patron {deus
gentilicius).
. 756. op-oixacrTiytas : a surprise for e.g. S/nai/uLos, ofioTrdrpLos,
757-764 NOTES 181
djuofiTjTpLos. For * the patron of our common birth ' there is
substituted ' the patron of our common worthlessness. ' We
must by no means render pointlessly and irreverently ' who is
a /JLaaTiyias like us.' Fellow fxaaTiyiaL have as common patron
in this relation a Zei>s ofiofMaaTLyias (see last note). We might
perhaps render, 'God of the bond that lashes us together.'
757. tCs o6tos k.t.X. This, as a schol. saw, was not the
question which X. had meant to ask, but the noise within breaks
off his sentence. He might perhaps have continued with e.g.
' What have you been doing all these years ?
769. d. TTpa^jjia irpctYfjia k.t.X. The mention of the tragedians
suggests a tragic expression, the present couplet with its re-
peated words (cf. 1353-1355 n.) being plainly a parody. To
give & to Xanthias is to weaken the impressive solemnity of
Aeacus.
irpd-yjia probably contains the sense (also found in irpdyo^
of tragedy) ' legal action ' or dispute (causa) ; cf. 1099, Aesch.
Ag. 1537 iir' d\\o Trpdy/uLa . . pXdjSris.
761. eo-Tt K€{[i6vos : cf. 35-37 n., 'there exists a law in
force,' whereas Kelrac would='a law is in force.'
762. d'TTo T«v T€xvwv K.T.X. It is an error to join these words
to K€L/jL€vos, as if dird could mean vTrb, They belong to what
follows. The use of the resumptive avrhv (764) shows that the
preceding line (763) belongs to ciTro k.t.X. Thus lit. 'There is
a law that the best among his fellow-craftsmen out of (de) all
the arts which are distinguished and require ability (that man)
is to receive . .* Had the order really been vSfios ris ian
KGLfievos dirb tG}v r^x^Oiv^ (viz.) rov dpLcrrov k.t.X. there would have
been no occasion for avTbv. The best artist is 'taken from'
each department.
[JLC-ydXai: i.e. not /Sdj/auo-oi.
764. crCTT]<riv k.t.X. Rewards to Athenians who had deserved
well of their country included o-iTrjaLs ev irpvTaveLq} and irpoebpia
at public gatherings. Among such persons were Olympic and
other victors, and the same rule here holds in Hades.
avTbv : the resumptive is more commonly tovtov^ but cf.
Eur. Bacch. 202 TraTpiovs irapadoxds as d' o/ii^Xt/cay XP^^V I
KEKT-jfjied', ovdels avTd /cara/SaXet Xdyos, and Eubul. ap. Ath. 8 B.
[It is possible, though far less natural, to render a(>T6v as
ipsum, i.e. solum, 'by himself,' apart from the ruck of his
confreres. ]
Iv irpvravti<a : equally good with iv Tip TrpvTaveiip : cf. 129,
320, Eq. 709 Tdv irpvTaveiip (TiTia.
182 THE FROGS OF ARISTOPHANES 765-778
765. fJiavOdva). The dramatist puts a word into Xanthias'
mouth simply in order to break his inaction, since there is no
by-play or 'business' to engage him during this narrative.
Good instances of this technical device may be seen in the
conversation between Prospero and Miranda (Shak. Temp, 1. 2).
766. ^cos d((>CKOiTO K.T.X. For the opt. (as if eridr} 6 vbjxos
had preceded) see 24 n., and particularly the quotation from
Demosthenes. Add Eq. 133 b /cat rl rovde XPV iradelv ; \ A.
KpcLTetv, ecjs erepos dvrjp ^deXvpibrepos j avTOv yivotro. For the
same reason we get (iSei (sc. cos ^(pri 6 vofios).
768. tI SfJTa . . AlcrxvXov ; a quiet assumption that
Aeschylus is of course safe enough. His vvvl Se tCs ; is spoken
with amazement.
769. Tov Tpa^wSiKov Gpdvov, 'the chair for tragedy,' i.e.
the TTpoedpia in that particular department.
771. 6t€ 8^ KaTTjXG*, 'no sooner did Eur. come down.'
The death of Euripides occurred fifty years after that of
Aeschylus (456 B.C.). For Aristoph. and these poets see
Introd. pp. XV sqq.
lireScfKvvTO { = iirid€i^LV iiroLeTTo), 'he began to show off ' to
his favourite and congenial audience, one which would appreci-
ate his immoral casuistries.
772. Pa\XavTioT<$(ji.ois. The ^aWdvTiov {marsuphmi) was
a leather pouch hanging from a girdle. Thieves cut this purse
away (hence Plat. Hep. 348 D Toi>s tcl /S. diroTifivovTas). When
the money was carried in the girdle {^(bvr)) itself, the girdle
was cut {sector zonarius Plant. Trim. 4. 2. 20),
774. Smp 'icrr cv"At8ov irXfjOos : an attraction for oL-rrep elal
TrXrjdos ('who are a multitude ') rather than (bvTrep iari . . Of.
Hdt. 5. 108 T7]v aKprjv, at KoXevvrai KXrjtdes, Verg. Aen. 6. 611
quae maxima turha est (after plurals), and e.g. Pompeius^
quod populi JRomani lumen fuit (Cic. Fhil. 5. 39).
775. Twv dvTiXoYtwv, 'his argumentations.' XD-yiorjjLoC
and o-Tpo4)a{ are words from the wrestling-school, the latter
being so frequently applied to tricks of argument or rhetoric
that it was borrowed by Latin (stropha). Aristoph. is not
thinking of the dialectic skill so much as of the casuistry,
encouraging a loose morality welcome to these criminals.
778. KaOfjo-To. The allowable forms of the 3rd pers. are
in Attic Kadrjaro (most common), KadrjTO, eKdd-rjTO (but not
eKadrjaro). Kiihner-Blass,^ ii. p. 227. [The root is ^a- and
the forms in -tjto are later than KadijaTo.]
778-791 NOTES 183
KovK €pdXX€TO ; ' and did he not find himself pelted ? '
(imperf. ).
779. 6 8i](JLOS : as if there was an iKKXrjaia in Hades.
Kpicriv TTOiiv : not = Kpiv€iv (which would require iroLeladaC),
but ' to institute (arrange) a trial.' Cf. 785 and iKKk-qaiav
iroLelv )( TroLelcrdai.
781. ovpdvidv Y 5(rov : sc. ave^oa. The shout went ' sky-
high ' (cf. it clamor caelo). So Nuh. 357 ovpapo/iirjKTj pTj^are
(t)03vrjv, Vesp. 1492 (Tk4\os ovpdvLou y iKkaKri^wv.
783. aSonrcp cvOdSc. Aeacus and Xanthias can boast of little
Xprjardu between them. The actor meanwhile makes a gesture
including the audience ; cf. 276 n.
785. d7cova iroteiv : 779 n. The division of the tribrach
after the second syll. in aurka /uLoXa is permissible through the
close union of the two words. See Starkie, Vesp^ Introd.
p. xl.
787. 2o<|)OK\€'ns. Aristoph. does not use the contraction
ZocpoKXijs. The sole exception occurs in anapaestic dimeters
inf. 1516 "ZocpoKXei (q.v.). But he uses "HpaKXijs, as do even
the old inscriptions (Meisterhans^, p. 104), and Qefxia-TOKXrjs.
The variation appears to be purely rhythmic, i.e. the contrac-
tion may be used in words in -kX^tjs when the fourth syll. from
the end is long, but not (in comedy) when it is short. Hence
^euoKXeris (86), UepLKXerjs (Ach. 530).
788. jxd AC ovK Ikcivos : exactly our English ' not he \' ;
lit. *not that (right-minded) man ' ; cf. 1144 ov Stjt eKeivoSj
dXU . . and 1456.
^Kvce [lIv : answered by vvvl 8* (791); 'but he kissed
Aeschylus, I mean {Si\) when he came down . . and now . .'
790. KdK€ivos vircxtop-qo-cv k.tX., 'and he' (once more
emphatically, Sophocles) ' conceded the chair to him
(Aeschylus).' The conduct of eKelvos is thus strongly opposed
to that of Euripides. [The rendering ' and he (Aeschylus)
yielded him a share in his seat ' can only have been offered in
desperation, through failure to note this force of iKetvos. Two
persons cannot share a OpSvos, and if Aristoph. had meant
anything so improbable as that Aeschylus was prepared to
make such an offer, he would have said vir€x^p€i.]
791. vvvl 8* ^ficXXcv, * and now (in the present circumstances)
he was (viz. when I left them) intending . .'
cos '4^r] K\aZr]\LiZr\s. We can only guess at the meaning.
Alternatives are (1) that Cleidemides was a gossip, who knew
184 THE FROGS OF ARISTOPHANES 792-799
all the latest news, or at least the news about Sophocles, (2)
that we should render * as Cleidemides once said ' = ' to quote
(the famous remark of) Cleidemides,' the allusion being to a
person of that name who had once declared his intention to sit
as ^<pedpos, probably in circumstances suggesting the modern
political attitude of * sitting on a rail.' For a similar use of
(ws) ^077 cf. Vesp. 1183 Co (jKatk KaTraidevre, Qeoy^vrjs ^<pr)f \ fuvs
Kal yaXds jUL^Weis X^ycLV iv avdpdcn ;
792. ^<|)€8pos, ' third man out ' (suppositicius), who waits,
not necessarily (as the present place shows) to fight the winner,
but to take the place of the beaten man if that man is the one
whose cause be favours ; cp. [Eur.] Hhes. 119 vlkQv 5' ^(pedpop irald'
^X^Ls TOP UrjXiojs (' you have him to contend with in turn '),
Xen. An. 2. 5. 10, Aesch. Cho. 865 n.
794. irpds 7* Evpi7r£8T]v : the 7^ is contemptuous, ' Avith (a)
Euripides, at any rate.'
796. KdvravGa 8^, 'and therefore, be sure . .' [The line
suggests a tragic origin.]
TcL Scivd : the generic or comprehensive article, as in Soph.
Aj. 312 (='the whole range, or all sorts, of clever devices') ;
cf. Aesch. >S'. c. T. 581 i^ ^s ra Kcdva ^Xaardpei ^ovXeij/xaTa, Dem.
1017 (f>avep(x}s TCL \pevdrj /JLe/jiapTvprjKaaiv.
797. jJiovcruK'fi : not * their {i}) literary art,' but generic.
798. ji,€ta7a)7TJ<rov(rt tt|v TpaYcp8^av ; ' are they going to test
Tragedy by butcher's weight ? ' .lit. ' to act the jxeiaywybs by
tragedy ? ' The verb takes accus. partly on the analogy of
yepoPTayooycLv, iraLdaycoyeiu nva, but more because of the sense,
which approximates to laTavai * weigh.' See also Tvpo-
irwXTJo-ai T^x^W 1369 n. The usual explanation of ixeiaywyetv is
that on the third day {Kovpecons) of the Apaturia, when a child
was enrolled in its (pparpia (418 n.), a sheep was offered as
lepelov (i.e. certain parts were to be burned in sacrifice, the rest
to be eaten by the (ppdrepes). On the sheep being brought to
the scales — since it was not permitted to exceed a certain
maximum, in order to avoid invidious distinctions, and, on the
other hand, must not fall below a certain minimum — the
{ppdrepes called out /JieTov, fxeiov ('too small!'). That such a
sacrifice was actually offered and called fxelov is undoubted,
but the explanation of the latter word is probably a Volks-
etymologie. The Kovpeiov was different.
799. Kavovas, 'rules,' i.e. straight pieces of wood or metal
placed along surfaces to see that they are level or in line ;
TrVix.6is, ' cubit- rules ' for measuring; 7rXaC<rta |v|XTrTVKTa :
8o2-8o9 NOTES 185
oblong frames, built so as to open or shut into wider or
narrower shapes, in order to test the angles of rectangular
bodies, or to serve as moulds. [The reading IvixTr-qKra is less
to the purpose and was less likely to be changed.] 8ta(X€Tpovs,
'mitre-squares' (Merry) or 'bevels,' for measuring or making
angles of various widths ; cr<|>f]vas, to split the big words and
phrases.
802. KttT ^TTos, 'verse by verse.'
804. ^pX€\|/€ 'yovv : a tragic line, and in all probability taken
from Aeschylus himself.
806. •qvptcrK€TT]v : preferred to rjvp^rrjv. The process of
seeking was protracted and ' they found themselves discovering
a want of competent persons.' The sense is perhaps similar
to that of the neg. imperf. (i.e. oix TjvpKTKeTrjv <To(poi)s &p8pas) of
disappointment (Gildersleeve, Gk. Synt. § 216), but both this
and the following imperfects are best taken as descriptive or
panoramic.
807. o{Jt€ "ydp *A8T]vaCotori cruvepatv A'wrxvXos. The imperf.
refers in the lirst instance to the same time as rjvpiaK^Trjj/, not
to the time of Aeschylus' life on earth. He ' refused to meet
(come to terms with) the Athenians (in Hades),' i.e. to accept
them as judges; cf. 175 ^av ^vjm^Co ri <tol. The reason of this
refusal is to be sought in the alternative interpretation of
which ov (Tvvi^aive admits, viz. 'he did not agree with the
Athenians (when alive).' It is quite in the manner of Aristoph.
to play thus upon a primary and a secondary meaning in a set
of words. [The real cause of his disagreement could hardly
have lain in their want of appreciation of his poetry, for the
proofs of that appreciation were numerous both before and after
his death. More probably it was due to their dislike of his
aristocratic attitude, which was doubtless one of the reasons for
bringing up against him the convenient charge of dai^eia in
divulging mysteries. His withdrawal to Sicily was apparently
due to this unpopularity, which may also have caused some
unfairness in judging his plays. It is true that Plutarch {Cim.
8) has vLK-qaavTos rod llo(poK\^ovs X^yerai rbv Alax^^ov irepLiradri
yevbixevov koI ^aplujs iveyKbvra xp^vov ov irdX^v 'Adr}vri(n dLayayelv,
€LT^ OLxecrdaL 8l dpyrjv eis XiKeXiav, and Athenaeus (347 e) speaks
of his being ifTTrjOels ddiKW, but X^yerai is not convincing, and
there is nothing in our passage to show that it is the taste of
the Athenians which is impugned.]
809. Xfjpdv T€ rdXX* t|Y€ito k.t. X. , * and he thought everything
else (the rest of the world) a farce in the matter of forming an
opinion about poets* abilities ' ; cf. Lys. 861 Xrjpos iart rdWa
186 THE FROGS OF ARISTOPHANES 811-815
TTpbs Kiprjcrlav. irepC in this sense is more often joined with
accus., yet cf. Plat. Ap. 19 C et tis ireplrCbv TOLodroov aocpds icm,
Xen. Cyr. 1. 6. 15 (ppovl/iiovs irepl toijtwv.
811. kirirpe^av : sc. diaLTTfTrj.
oTi-fj . . ^)jLir€ipos fjv : as being the god of the Dionysia.
^v refers to the time of their decision ; cf. ^5et 767.
812 sq. «s Srav . . 7i7V€Tat : a moral reflexion, ending the
speech and scene after the sententious manner of Euripides ;
probably a parody.
€<rirov8dKwcri, is perf. of a state or condition (cf. redaiJixaKa,
irecppovTLKa, Tre(f>6^r)ixcLi). There is a resemblance to the familiar
quicquid delirant reges, plectuntur Achivi (Hor Ep. 1. 2. 14),
which might suggest a common source.
814-829. This chorus is of course a parody, but we do not
know of what. There is no sign that it travesties the style of
Aeschylus, nor should it be expected to do so, since the
reference is no more to him than to Euripides. Their styles
are contrasted, and we should not omit to observe how, in
describing the behaviour of Euripides (826-829), the language
is delicately made to slip along in sibilants {t6 alyixa rb
^vpnribov), while in describing that of Aeschylus (822-825)
there is a no less deliberate massiveness of sound. As we have
lost the original we are compelled to miss most of the humour
of the burlesque.
In point of arrangement it seems best to attribute the four-
lined stanzas alternately to rj/MLxSpia a and jS'- Thus the half-
chorus A describes Aesch. as the lion preparing to fight with
the boar ; B then depicts a battle of chariots and horses rather
from the point of view of Euripides (820) ; A returns to Aesch.
with a mixture of metaphor between a lion and a storm- wind ;
after which B pictures Eurip. weathering the storm. [We may,
perhaps, be permitted to guess here and there at the original
words. Thus in stanza 1 (814-817) olvtitcxvov suggests
dvTLirdXov and 6|vXaXov perhaps o^vXa^rj ; in stanza 2»(818-821)
Xo-ycov may = X6xwi', aKLdva/jLevojv irapa^ovicov is probable, and
pT|}jiaTa possibly answers to apfiara ; in stanza 4 (826-829)
xXevfjLovcdv represents irvevixaTwv, and it is probably a ship which
is steered (i/ai/s dveXtacTo/jL^vr}) dividing the waves {Kijfiara
daLOfi^vT]).']
814. €pi|3p€jx6Tas. The context (cf. 822) shows that the
allusion is not to Zeus {II. 13. 624) but to the lion, the noun
being understood, as in (pep^oiKos ('snail'), tdpis ('ant'), etc.
815. t|v£k* dv . . iraptST), ' when he takes a sidelong glance
at'; cf. Aristot. H.A. 9. 45. 5 is to irXdyiov irapopdv. The
8IS-82I NOTES 187
construction of Orj-yovTos is either (1) gen. absol., or (2) after
odbvTa, i.e. Trapidr} 6^ij\a\op odovra (tov) dvTiTex^ov, drjyovTos
{aiuTov). [ircp i'S-p of most Mss. gives an unusual position to
irep, which should belong to rjpiK' &v. One similar instance
is, however, found in Horn. II. 11. 86 ^fxos bk dpvrdf^os irep dvrjp
(hirXicra-aTO beXirvov (i.e. -^/^s Trep).]
ofijXaXov . . 68dvTa : the adj. is humorous ; the goring tusk
consists of sharp talk. [If o^vXa^ij were in the original it
would mean ' keen to seize an opportunity.']
Otjyovtos oSdvTtt : a commonplace concerning the wild boar ;
of. Eur. Phoen, 1380, [Hes.] Scut. 386, Yerg. G. 3. 255
dentesque Sabellicus exacuit sits.
818 sq. linToko^av . . Xoyav : with a change of metaphor
to a chariot-fight. The language of Aesch. on the one side
(t€ 818) is heroic, wearing the glancing helm and the horse-hair
plume (cf. 925) of the epic ; that of Eur. on the other (t€ 819)
is * axle-boxes of quibbles ' and fine ' carvings of deeds.' These
latter expressions are difficult, and, without the original, their
choice can hardly be appreciated. But ^pya are deeds in
battle i^pya fJidx'ns, iroXe/jbrjia ^pya, ^pyujv ^eadai), and o-|xiA.€v-
^xara l^ywv are 'fine chisellings '=' subtle finessings' in the
way of such operations, irapoldvia are either ' linch-pins ' or
'naves (axle-boxes),' and this part is used for the whole
('chariot -wheels') by a common poetic device in order to
direct attention to the 'whirling' of the words. The gen.
defines the peculiar Trapa^Svia in this case : ' there will be
whirling wheels — of quibbles. '
(TxivSaXdfjLtov. For the application of 'splinters' to quibbles
cf. Nub. 130 \6ycov aKpi^Qv (Txi-v^dXdfiovs, and inf. 881. [o"xiv8-,
not o-KtvS-, is the Attic spelling, being the nasalised form of
(rxt5- ' chop.']
820. <(>«Tbs d[jLvvo|JL€vov K.T.X. : either (1) 'of Euripides, as he
defends himself from the mounted phrases of Aesch., the crafts-
man of brain,' or (2) 'of Eurip. the subtle, as he defends himself
from the hero's mounted phrases.' The former is much to be
preferred since {a) the bare dv8pbs would be awkward and
unrhythmical without a qualification and unrelated to the
adjoining gen., (&) <(>p€VOT€KTovos sounds more like a distinct
compliment, Euripides being arofxarovpybs (826). The stock-
in-trade and teacher of Aesch. are his own brain, whereas Eur.
is the product of sophistry. <Po}t6s, when placed in antithesis
to dv5p6s, naturally suggests a certain attitude of pity.
821. pif|p.a9* lir'iropdp.ova, ' phrases mounted on horseback '
(or ' in chariots ') ; cf. 929 pruiiad' linrdKprjfiva. The expressions
of Aesch. are anything but ire^d {pedestria). pfjjjia is wider
188 THE FROGS OF ARISTOPHANES 822-828
than 6vo/iia ('word'), and includes either a phrase compressed
into a word or a phrase itself (cf. 1155). The reference is not
to the length of the compounds of Aesch. (for in point of fact
examination shows that these do not exceed those of Eur.),
but partly to the boldness of these, partly to the boldness
of his condensed metaphors ; cf. Pac. 521 p^/xa fivpLdfx(popov and
the expression ajxa^iala prj/uLara.
822-823. <|>pC^as . . ppvx«H^€Vos. We return to the lion
(cf. II. 17. 1136 Trap d^ r' eirKJKvvLov Karia eKKeraL 'daae KdXtJTTToov,
and note ^pvx^fJ^^vos), but he is speedily confused with a Giant
storm-wind. Though (ppiaacLv is strictly intrans., it may of
course take accus. of the hair or other part affected ; cf. Horn.
Od. 19. 446-0pi^as ed \o4>ir}v, [Hes.] Scut. 391.
avTOKojjLov. There is nothing artificial (no irrjvLKT) or (pev&KT))
about Aeschylus. When his terrible hair bristles up, it is his
own.
824-825. pTJiiara 70[x<i)0Tra'yT] . . <(>v(rTJ|j.aTi. It is impossible
to relate this logically to what precedes. The ^iJo-Tjima is that
of a 7i7as, e.g. Tu^coy (848) or other hurricane-powers ; cf.
Aesch. Ag. 696 Zecpijpov yiyavros aifpg,. Such a wind tears off
the close-rivetted timbers {dojjpara y oixcpoir ay if) of ships and
buildings. Here, since the p-^fxara are those of Aesch. himself,
we must take it that thej are heavy phrases from his own
works, which he rips off and sends whirling at the enemy.
With diroo-TTcov cf. 902.
826. (TTOjJiaTOvp'yos )( (ppevor^Krovos (820).
Iirwv paoravitTTpia : to be joined ; cf. 802.
827. dv€Xicr<ro[j.€VT], 'unwinding itself (as being supple);
but there is also an allusion to a ship in a storm, which
eXiao-eraL in answer to the rudder. In xO'^'-vovs the nautical
metaphor ('tackle') also underlies the more obvious sense of
' shaking the reins ' (i.e. giving full speed ; cf. aeieiv xaXi»/oi5s).
By 'tacking about' and dexterously 'managing the ropes'
the ship brings to nought the ' labour of breath ' of the storm.
828. p^jfiara Saio^evT] : breaking up the p-fjixara of Aeschylus
and whittling them away by critical carping in detail.
[814-829 =
A. With dreadful wrath of his inmost heart
Will he rage, that lion of Tnighty roar.
When he looks askance at his rival smart
Giving his tusk, like a cunning hoar,
Its keenest edge for a wordy war.
In frenzy of soul
His eyes will roll.
/
830-836 NOTES 189
B. Then will he frays where the helmets shine.
Frays of words with the horse-hair crest :
A whirl of quibbles, and chisellings fine
Of the chieV who does his manful best
To repulse each charge of the prancing line
Manoeuvred amain
By the man of brain.
A. But up will he bristle his bushy mane,
The crest that is all his genuine hair ;
He'll grimly frown and he'll roar again ;
From their clamps like so many planks he'll tear
The massive words, and hurl 'em amain
With a blast loud blown
As the Titan's oum.
B. The other his slippery to7igue will unwind,
Fine taster of words, fine judge of effect :
To envy and malice and all that 's unkind
He 'II give loose rein ; he 'II mince and dissect.
Till he quibbles away all the sense he can find
Contained among
That labour of lung.]
830 sq. The scene is now the interior of Pluto's palace.
There would be a number of /cw0a irpixrojira present besides the
principals Aeschylus, Euripides, Dionysus, and Pluto. The
two slaves, Xanthias and Aeacus, are now performing the parts
of the poets. iJL-fj vo-u0€T€t is plainly not addressed to
Aeschylus nor to Dionysus, but to some one represented as
dissuading Euripides. [|jl€8€it]v cannot stand, since the
act., as in dviyjiuLi, is only used with gen. when one lets go
'some degree' of a thing, e.g. x<^^o^3 f^^XV^-]
832. Tov \6yov, 'the plea' or 'statement of the case,' not
'his words,' which would be flat and would require tQv Xdyoiv.
833 sq. dTTOo-cixvDveiTat (sc. ravra) . . dircp . . €T€paT€v€TO.
For the contained accus. cf. 12 n. 'He will put on the fine
airs of reserve with which he used to act the wonder-monger. '
835. w SaijjLovi' dvSpcov: in remonstrance (175) to Euripides.
\i.i\ \LiyaXa \iav "kiye, 'do not take too high a tone.' We
should not render ' boast, ' since there was none in the remark.
fiiya (and fieyaXa) Xiyeiv takes its precise meaning from the
context.
836. l^wSa TovTOv : sc. oTroLds i(TTL ; cf, Eur. Med. 39 iy(}8a
190 THE FROGS OF ARISTOPHANES 836-841
8i€<rK€(jifi.at irctXai : not to be confused with the idiomatic
present TrctXat Siatr/coTrw. The perf. represents a conclusion
long ago reached.
837. dYpioiroidv. Since all the rest of the terms refer to
style and expression, we must not take this of his subject
matter in the sense of the schol., dypiovs eladyovra Kal (bfio^s
Toijs ijpcoas, but as = ay picas iroiovpTa, ' writing like a savage ' (as
Voltaire said of Shakespeare).
838. dxaXivov aKpar^s dGvpcorov : see 204 n. With dOij-
pwTOv cf. ddvpoarofjios, Eur. Hipp. 886 rdde /jlcv ovk4tl o-rofJiaTos
iv TTijKaLs Kad^^oj, and the Homeric iroXoif ae ^ttos (pvyev epKos
oddvTCOv ;
839. aTTcpiXaX-riTov : a w^ord commonly misinterpreted. Lit.
' uninstructed in irepikaXia,' just as in the famous firjdeis
dyeco/jL^TprjTos elalru) the adj. = ' uninstructed in yeiopLerpia.' To
Euripides the true style is that of the TreptXaXos — chattery and
circumlocutory. Of that poet himself the comedian Teleclides
{Com. Frag. ii. 372) has BvpLiridTjs 5' 6 rds rpayipdtas iroiCov \ rds
TrepiXaXo^aas odros ean rds ao<pds. The schol. is, after all,
right, though inadequate, with his ovk elddra XaXeip. [The
usual rendering loquacitate non superandum (Blaydes), 'not
to be out-talked' (Merry), can indeed be got from the word,
but is quite inappropriate. ]
Kop.'iro(f>aKeXopp'i]|i.ova : i. e. he makes pT^/nara which are
faggots {(paKcXoL) of condensed expression and are bold and pre-
tentious (KOfiTTibdeLs). The reference is not to compound words
but to close-packed phrases.
840. « irat ti]s dpovpaias 6€ov, * son of the agricultural
goddess.' Cleito, the mother of Euripides, is called by Aristoph.
{Thesm. 387, cf. ibid. 456) Xaxavo-moXriTpLa ('green-grocer'),
and, according to Aulus Gellius (15. 20), she was said by
Theopompus (fourth cent. B.C.) agrestia Tiolera vendenteTn vidum
quaesisse. Cf. Ach. 478, Fq. 19. For the same taunt the
comedian here utilises one of Euripides' own verses, dX-qdes, S)
irai rrjs daXaaaias deov ; (i.e. Achilles, son of Thetis), probably
from the Telephus.
841. <rv 8"^ *|x^ ravT ; sc. X^7eis. MSS. have 8tj |j.e ; but the
sense is manifestly ' you talk that way of me ? ' (3f. Ach. 568
TavTL X^yets av rhv aTparrjybv tttcox^s &v ;
o-T(0[jLvXiocr-uXX€KTd8T]. Comcdy is fond of patronymics (cf.
966) used with various belittling implications ; 'you (son of a)
scraper-together of babble ' = ' you poor gleaner of small talk ' ;
i.e. the matter of Eur. is often trivial chatter, and unoriginal
at that,
842-849 NOTES 191
842. TrTco)(^07roi^ Kal paKioo-vppaTTTdST], ' poet of beggars
and stitcher of rags.' Aristoph. dislikes the stage-devices of
Euripides for exciting compassion by outward signs of misery.
The true artistic manner of arousing the ^Xeos /cat <p6^os of the
spectators is, according to the best Greek taste and the reason-
ing of Aristotle, by means of the structure (o-i^crracris) of the
piece and the inherent appeal of the tragic situation itself.
Eurip. had brought Oeneus, Philoctetes, Bellerophon, Telephus,
Thyestes, Ino and others upon the stage in poverty and rags ;
Bellerophon, Philoctetes and Telephus were also lame (hence
XwXoTTotoj' 846). The whole passage in the Acharnians 410-455
should be read. Cf. inf. 1063.
843. oi} Tt : no longer part of current Attic (for ovbev) except
in this phrase.
844. Kal [x-fj . . KOTO) : evidently a line of Aesch,, quoted
against himself.
845. ov 8f]Ta : sc. iraijao/JLai.
846. \<a\oTToi6v : 842 n. Note, however, that x^^^^ can be
used of any maiming.
847. dpv' Apvtt jxcXava k.t.X. Victims (a-0d7ta) to the
Chthonian powers, including the Titanic and Earthborn (e.g.
Typhos), were black ; the animals offered (lepeTa) to the celestials
were white. In Verg. Aen. 3. 120 nigram Hicmi pecude^n,
Zephyris felicibus alham the distinction implies that the
Zephyrs, being kindly, are treated as celestial (Harrison, Proleg.
c, ii (jcpdyia).
848. Tv<()«s : personified, otherwise irapaaKevd^eTai would
scarcely be used. Typhos (or Tu0w»', Tu^wei^s) was son of
Tartarus and Gaia.
CKpaCvciv : i^^pxeo-dat is a vox propria of winds ; cf. Uq. 430
i^et/XL ydp (TOL Xafiirpos ijdr} /cat fi^yas.
849. KpT]TiKas . . p.ovw8tas. The allusion appears to be
double : (1) to what were considered the immoralities in plays
of Euripides dealing with Crete or Cretans (e.g. the KpTjres,
KprjaaaL, and possibly Phaedra in the Rippolyhcs), (2) to what
was regarded as inartistic innovation in his introduction of
Cretan viropx'niJiCLTa into his tragedies. In the Cressai Aerope,
in the Cretes (apparently) Pasiphae, were concerned in matter
open to reproach. In the latter piece there was a fiovcpSLa of
Icarus (schol.). The u-rrdpxwcL consisted of a solo in which the
singer accompanied his song with a more or less pantomimic
dpxwis. Instances are to be seen in Or. 960 sqq., 1369 sqq.,
f^JiQen. 301 sqq. By introducing these Euripides reduces the
192 THE FROGS OF ARISTOPHANES 849-861
part of the chorus in favour of the stage. For dramatic fiov-
i^dlaL in general see Haigh, Tragic Drama of the Greeks, p. 363.
* Cretan ' defines the species particularly objected to. Cf. Ath,
181 B KpTjTLKa KaXovcTL TO, inropx'fllJ'Oira.
<ruX\€7a)v : the word denies his originality.
851. « 'jroXvTC[j.T]T ; addressing him as if he were a god —
the god of hail. Cf. Ach. 759 (corn is) TroXvTL/JiaTos, g-irep rol
deol. Plato {Euthyd. 296 d) has cD iroKvTiiM'qTe Evd{>8r)jUL€, but
the ironical application of words in Plato has always to be
taken into account.
852. Trdv^p*, ' wretched ' ; cf. Thuc. 8. 97 irov/jpoiv tCov
irpay/uLarcov yevofievcjp. [The gi'ammarians tell us that irovqpbs,
/jiox^vpos is the accentuation in the moral sense^ otherwise
irovrjpos, /;t6x^^/>os.]
854. K€4>aXaCa) p^jxari : variously interpreted as (1) 'a
phrase as big as your head,' the termination -aios (regularly
-Lolos) being suggested by e.g. afia^ioLos, tttjxvol^os. If this
were so, we might suspect that exceptionally large hailstones
were sometimes called KecpaXLaiat ; (2) 'a topping phrase'
(capitaU), i.e. one fit to form the KecpaX-r) of a structure ; cf.
KejiokLT-qs \idos, ypcoviaiov pijfxa. The latter has the better
warrant, and includes the point ' with a stone which is a head-
stone indeed' (in that it strikes the head).
855. Qeva)v vtt 6pyr\s : the line is tragic in metre and is
evidently a semi-quotation.
Tov TtjX€<j>ov : humorously for t6v eyKCipaXov. Euripides'
brains are represented by his Telephus (and, in the opinion of
Aristophanes, that does not say much for them).
857. ^X€7X* IXeyxov : cf. 861 daKveiv ddKveo-Oat. The
vivacious omission of Kai or re /cat (Plat. Gorg. 462 A ^Xeyx^ re
Kal A^7xou) occurs chiefly with words expressive of either re-
ciprocity or antithesis. Cf. Eur. Suppl. 700 ^Kreivov iKrelvovro.
859. a)(r7r€p -n-pivos IjiTrptio-Ocls poas. The rhythm rather
makes for joining the participle to crv than to -irpivos, and the
sense 'you at once, when you get on fire, begin crying out,
like holm-oak ' is in the Greek manner. In any case €v6vs
belongs to ^oas, since it is not the kindling of irpXvos which is
immediate, but the crackling which ensues immediately upon
the kindling. Among plants which made a loud crackling
were irptvos, ddcpvrj (Diogen. Com. Frag, vi. 52), dfiireXos {Pac.
612). For the irplpos cf. Ach. 667.
861. 8aKV€iv 8dKV€<r0ai : 857 n. The metaphor is from
cockfighting or q^uailfighting. Of. Eq. 495 /jLifivrjad vvv \ daKP^t-v,
862-871 NOTES 193
dia^dWeLV, tovs Xo^ovs Kareadieiv. The words T&ini, to. ^cXt]
etc. (accus. resp. with MKveadai) answer to parts of the bird's
body. (icXt] ('lyric tunes') manifestly puns on the sense
* limbs,' and v€vpa= 'sinews' in both the physical and meta-
phorical meanings. The other words (n-rjXea etc.) doubtless
also contain similar puns which we cannot trace.
862. TdiTT], ' the verses ' (of the dialogue), i.e. their qualities
as such. TO. |jl€\t] : the lyrics and their music, to. v€vpa : the
firm-knit structure of the piece. Together these cover what
Aristotle in the Poetics calls X^^is, fj^eKoiroda and ^lv^os (or
(TViTTaaLS rCiv TrpayjUbdrcvv).
863. Kal v^ Aia tov IlTiXca k.t.X., lit. 'yes, and my
Peleus etc' Of all these plays we possess fragments. The
tone in Kal ptj Ala does not imply that Eur. thinks less of
these plays than others (though Ar. may), but rather the
contrary. The Aeolus and Telephus have (at least by implica-
tion) been assailed by Aeschjdus, and Eur. is willing to submit
them to the test. In Kdri pidXa tov TirjX€<|>ov he permits even
his chef-d'oeuvre to be treated in this way.
IlT]X€a : either n-qX^a (a quantity occasionally found in
Euripides, e.g. <t>ovid Hec. 882, El. 763) or Ilr\\Ia. (cf. 76, Soph.
Aj. 104 'Obvaa^a etc.). The scansion here (whichever it may
be) is identical with that in Soph. fr. 434 Hiikia tov AldKeiov
oiKovpbs /jl6v7] . .
866. €povX<5|jiT]v : not = ^/3. dv but lit. '1 was wanting
(before the decision was come to).' The idiom is not rare in
this word; cf. Aeschin. Ctes. 2, Lucian, F.A. 17, Ti7n. 52 etc.,
and the similar uses of ^5et, ixpV'' etc. Goodwin, M. and T.
§§ 415 sq.
868. 6ti f| iroT^o-LS ovy). <rvvT€0vT]K€ jjloi : a neat turn. When
Eur. died, his poetry died, while that of Aesch. lived on.
There is also an allusion to the unique distinction bestowed
upon Aeschylus in permitting his plays to be reproduced after
his death in competition with the ' new tragedies ' (schol. on
Ach. 10 says this was done \p7]<j)L(TfiaTL koiv(^). See Haigh,
Tragic Drama etc. p. 59. During the next century, however,
when old plays were habitually reproduced, it was Sophocles
and Euripides, not Aeschylus, who were popular (ibid. p. 121).
869. 6S<r0* ^^€1 X^7€iv, *so that he will be in a position to
quote.'
871. XtPavtoTov K.T.X. : trials and contests, like other great
undertakings, were inaugurated with sacrifice ; cf. Vesp. 860.
Dionysus is here the dyiofodiT-ns of a wrestling-match.
O
194 THE FROGS OF ARISTOPHANES 872-881
872. Sirws &v €iJ|t«)|jLai : Aristoph. uses 6'7rws dp with subjunct.
or oTTws with fat., but not ottws alone with subjunctive.
<ro<j)to-|xdT«v : substituted for e.g. iraXaiaiJ.dTuv, as in the
next line [xovtriKwraTa for e.g. Si/caiorara or oanbrara.
873. d-ywya . . tovSc k.t.X. The line is tragic in metre
and in the omission of the article. [For the latter, however, it
must be said that, since the article proper was no part of the
older language, the omis^iou may have been familiar in an
old-established formula of prayer.]
874. rais Movcrats : here the representatives of the ivayujvLoi
deoi (including the Xct/otres) at the games.
viratraTC, 'sing to accompany (my offering).'
875 sqq. In these lyrics we must assume a play upon certain
agonistic or gymnastic words at which we can only guess.
This is sufficiently indicated by arpe^XoLo-L TraXaiafxaaLv and the
general tone, which is in keeping with the last speech of
Dionysus ; cf. 902 sqq. n. [•yvwjxoTvirwv (877) suggests
dpTLT^TTcov or tlic like, o-TojxaTotv (880) represents aojixdroiv, and
probably p'/jfxara (881) = aya/^ara or (rrp^/xftara. The word
irapairpCo-jiaTa (881) is at least connected in the mind with
irpiojin the sense 'grip,' for which cf. Soph. Aj. 1030 ^ojctttjpl
irpiadeh Ittttlkuv i^ dvrijycov and Trpicrimos — ^iaia Karoxv (Hesych.).
Jebb quotes Oppian, Hal. 2. 138 iVx" r' ifiirpLeL re. See
editor's note also on Aesch. Cho. 424 d7rpi/cT67rXa/cTa.] In
wrestling the Greeks (like the Japanese) laid special emphasis
on nimble devices as opposed to mere strength. These were
carefully studied (hence the suitability of |vv€Tds, 6i,v\i.€pi\t.vois,
iroptcrao-Gat). Plutarch {Symposiaca 2. 4. ) has it that wrestling
is Te%j/t/cwraTOV Koi iravovpyoTarov tQiv ddXrj/naTwv.
877. •yvcop.OTVTTWV : cf. Eq. 1378 crvvepKriKos ydp iarL /cat
irepavTLKbs, \ kol yvcofiorvirLKbs /cat (Ta(p7]s /cat KpovaTLKos, Thesm.
53 (of Agathon) yvco /uLOTVireX. It was an aim of sophistic train-
ing in rhetoric that the student should coin yvCoixai (sententiae).
Cratinus invented a word yvu) /uLodubKTrjs ; cf. 1059.
879. 8vvap,iv : cf. \byix3v dvpajULLs (eloquence), dwarbs X^yetv.
880. TTopCa-ao-Oat : with SclvotcLtoiv.
881. pTJfjiaTa : this word refers specially to Aeschylus,
irapaTTpto-fjiaTa to Euripides. The '(big) phrases' of Aesch.
(839, 854) are compared with the other's '(fine) bits sawn off*
(for this seems the natural meaning of TrapairpiaixaTa, not
'sawdust'). With the latter cf. Plat. Hipp. Ma. 304a
Kviafxard Toi ian koL TrepLT/uLrj/jLara tQv Xbyuv. Iirwv belongs
886-892 NOTES 195
only to irapaTTpiaixaT. [For the play on wrestling terms see
note to 875 sqq.]
886. AifjjJiiiTcp K.T.X. The schol. calls this a line of Aeschylus,
and Fritzsche naturally guesses that it comes from his
Eleusinioi. The tragedian was born at Eleusis, or, as the
technical phrase went, ^v 'EXevaivios tQv 5^/xw^ {tov Btj/jlou
wrongly schol. ).
887. dvai (jlc k.t.X. : 387 n.
888. KaXws, ' No, thanks ! ' cf. 508.
889. ^T€pot K.T.X. There is no justification for this charge in
the extant works of Euripides. He is a sceptic as to the
traditional character of the gods of the myths, and sometimes
clearly expresses such philosophic doubt (e.g. Tro. 884 sqq.),
but he introduces no new deities.
Scots : the attraction (for deoi) is hardly to be illustrated
by 894 (q.v.) but rather by e.g. Aesch. Suppl. 1040 irdOos g, t
ovdev dirapvov \ reXidet OiXKropL Ilet^o?, Eur. Hec. 771 irpbs dp8p'
ds &px^' TTJcrde UoXvfJLTjcrTCjp x^^^^^r Thesm. 502 er^pav 5' e7y5'
^ '(pa(TK€v (hdiveiv yvv/j, Ter. Andr. (prol.) populo ut placerent
quas fecissent fabulas.
890. KojJLjJia Kttivdv, * a new coinage ' ; cf. Nub, 248 deol \
7]/jl2v vd/JLia/ii ovK iari. So Socrates was alleged Kaiva daifidpia
eiffdyeLV.
891. l8i«Tats: not = i5ioLs. The word takes its meaning
from the context, being opposed either to a public man or to
any sort of rexvirTjs, as the layman or non-expert tp the pro-
fessional. The gods of Euripides are 'unprofessional,' not in
public 'practice.'
892 sq. alOVjp k.t.X. The sounds are made suggestive of
real divinities. Thus 6a<f)papT'/)pioL recalls such titles as npoa-ra-
TrjpLot, dXe^TjTifjpLOL, and fJivKTfjpcs has a formal kinship with e.g.
(TWTrjpes. In view of po(rKT]p.a it is perhaps natural to find in
•yXwTT'qs <rTp<5<(>t"y| a play on yXuyrrrjs rpoKpevs, especially as
aTpo(p€iJS is another form of <rTp6(piy^. It was common to deify
r^ ; then why not AldTfjp ? The divinities chosen are those of
sophistic acuteness and glibness. Euripides is classed with
Socrates as belonging to the school of Anaxagoras, of which
the popular conception was, of course, quite inaccurate. In
the Clouds Socrates says (264) & bia-rror dva^ d/uL^Tprjr 'Arjp . .
\aixirpbs T AWifip, and ibid. 424 he enumerates as a trinity to
Xdos tovtI Kal rds Ne0Aas Kal ttjv yXufrrav, rpia Tavri. In
the case of Euripides it was easy for a contemporary to suppose
that 'Air' was his god ; cf. his frag, incert. 941 opjs rbp v\pov
196 THE FROGS OF ARISTOPHANES 892-901
rbvd^ dircLpou aidipa \ . . tovtov vbixi^e Ziijpa, rdvd' i]yov OeSp
(translated by Cicero, N. D. 2. 25. 65). Democritus also
identifies diyp with Zeus {fr. 5).
IjJLov pdo-KT]jxa, * my nutriment * ; cf. Nub. 569 /uLeydXibw/uLov
7)ix4T6pov irarep \ aidipa (re/jLvdraTOP ^toOp^fxixova irdvTwv and
ibid. 330. It is implied that the air is an unsubstantial and
flatulent diet, lit for a sophist's brain.
7X«TTT]s o-Tpd<|>t75 ■• cf. Nuh. 792 yXioTToaTpocpelp.
893. (AVKTTJpcs. On the one hand we have fjLVKTrjpi^eiv,
IJ,vKTr]pL<Tfi6s of sneering or ' turning up the nose ' (cf. Hor. S.
1. 6. 5 naso suspendis adunco), on the other the sense (shown
in 6(j<t)pavT7}pLOL) of sagacious' sniffing or ' nosing out ' a matter
{piva KpLTLKrjv Poseid. fr. 1 ). The two meanings may very well
go together.
894. opOws ^ k\i-^xi\.v : 387 n., 887.
wv dv d7rT«|iai \6yuiv. Though this may be taken as an
attraction for \6yovs (cf. 889 n.), it is equally possible to con-
strue 'that I may bring confutation, whatsoever arguments I
come to grips with. ' ATTTcopiai keeps up the wrestling metaphor.
895. Kal (JL-fiv Tj(ji.€is 7*, ' well, we may tell you, ive . . ' ; cf.
106 n.
896. rCva. \6y(t)v cjXfji^Xciav ^ttutc 8atav 686v : so Mss. Apart
from the uncertain metrical question, the construction (which
is taken from some parodied lyric) is simple enough. Lit.
'what \6ycov i/nfi^Xeia you will enter upon, (in) hostile onset.'
SaX'av 68<Jv is the cognate or adverbial ace us. with ^Trire, while
i/j,fi^\€Lap is the direct accus. of the thing traversed or
treated [obire). [Some might prefer to call da'i'ap odop * accus.
in apposition to the verbal action.'] There is a play upon
different senses of ifi/miXeia as (1) rb ifM^eX^s^ elegance of speech,
(2) the tragic dance (opposed to the comic Kbpda^ and (tLklppls),
'(tragic) dance of argument.' We may perhaps render by
' what elegant tragic dance you are going to lead each other.'
897. 7X«<rcra . . T|7pCt»)Tat. If we reduce these words to
terms of the palaestra, yXdcraa stands for aCofxoL and iiypiujTtu
for 7]Kpi^u}TaL ( ' trained to perfection ')
899. ov8* dKCvT]Toi ((>p€V€s, 'nor are their wits (for strata-
gems) sluggish.' That this is the meaning of <f>p€pes should
appear from the natural list of a wrestler's qualities, viz.
condition {cribfjLa, here yXooa-aa), pluck {XrjfjLa), quick wit
{(pp4p€s) ; cf. note to 875 sqq.
901. sq. rhv (i^v : Euripides.
901-903 NOTES 197
KaT€ppivT)|X€vov, 'fined down/ with a play upon the senses
of 'filing' a literary or rhetorical style (cf. limatus, limae
labor) and of fining down the body ; cf. Aesch. Suppl. 747
ddXiret ^paxi-ov ed Karepptv-q^ihovs, where the schol. explains by
fcaXcDs iv rjXiip yeyvfivao-fjiivovs.
903 sqq. tov 8* dva<rirwvT* k.t.X. The wrestling style of
Aeschylus is less cunning but more vehement. A clear and
consistent sense of the whole passage is rather diflBcult to
elicit. That the metaphor of the palaestra is kept up is
evident from dXivS-qOpas. The dXivdrjais or kj^Xktls was the
form of wrestling in which, as opposed to the irdXT} opOi], the
opponents struggled on the ground. The dXLv5rj6pa is the
place for such a contest (17 Kara irdXrjv Kovlarpa Eustath. ; cf.
Kpefiddpa, KoXvfjL§7]dpa etc.), and there is no authority for
making it equivalent to dXivdr}crLs itself. The explanation of
a schol. (TTpo4>dSf irXoKas tov Evpiiridov is but a loose guess, and
the 'long-rolling words' of Liddell and Scott is untenable.
[The rendering cannot be ' wrenching up (sc. the words), will
inish in and scatter many rolling-places of verses with w^ords
root and all.' This does not correspond to anything done in
wrestling, nor is the construction of avaKcddv defensible. The
only natural rendering of o-vo-kcScLv dXtv8if)0pas is ' scatter the
wrestling-ring all about ' (i.e. the sandy ground). Nor can we
accept 'falling upon him with words (torn up) root and all,
he will make havoc of many a rolling-place of verses.' In
wrestling one does not fall upon an opponent with a club after
the manner of the giant Euceladus {evolsis truncis Hor. Od. 3.
4. 55).]
We are therefore reduced to a choice between (1) 'Snatching
him up, with his arguments root and all, he will fall upon him
and make havoc of many a wrestling-ground of verses ' ; i.e.
Aesch. will lift his opponent, throw him, and go through the
dXiv57}(TLtf scattering the dXipdrjOpa about in his vehemence : =
dvacnrdaeL avrbv Kai ifiireaCov avaKcdg,, the present dpacnrQvTa
expressing the repeated action of the several bouts, while
ifjLTreadvra is modal with avo-Keddp ; or (2) ' (but the other) using
his words root and all, as he tears them up, will fall upon him
etc' In this case dvaairwvra . . XdyoiaLv (modal dat, ) is
descriptive of the style of Aeschylus in the verbal wrestling,
not of any weapon. This gives to dvaaTrdv a sense elsewhere
found of language (Xoyovs dv^cnra Soph. Aj. 302), makes an
antithesis of the great unpolished diction (Xdyot avroirpejuivoi)
of Aesch. with the ' fined ' language of Euripides, and is there-
fore to be preferred.
iroXXas dXivSTJOpas €ir«v : the gen. is necessary for definition.
198 THE FROGS OF ARISTOPHANES 905-910
The several sets of verses which are to be treated form the
wrestling-grounds for successive bouts.
905. oUrci). We might construe (1) oi/rw de {xpv X^7ei»'), oVws
epeiTOv . . , (2) 6'7rws 5k ovtw{s) epetrov dareTa ('see that you
just say bright things,' (3) ' see that you talk in the following
way, viz. smart things. ' The last is rather awkward ; the
second is easily supported, so far as ovtc*) is concerned (see 625
oOtu) dk ^aadvL^' dirayayibv and note), but the position of Sirws
is unusual ; the first is without objection, and ovtojs 6'7rajs was
a recognised combination ; cf. Soph. El. 1296 ourw 5' Httojs
fiTfir-qp (T€ fi^ ^TTLyvibaeraL (i.e. ovrco 5k iroiei oircos . .), Ach. 929
^vdrjaov . . ovT(x)S oircos /jlt] /cat (pkpwv Kard^eL.
906. dcTTcta : 5 n. In this line Aristoph. virtually re-
assures his audience as to what is coming.
cUdvas : not 'similes,' but * drawing comparisons,' in the
sense of the etKaajULa w^hich was aKUfifxa KaO' ofxotdTTjTa ; cf. Vesp.
1308 etr avrbv w? eld', -^Kaaev Avaiffrparos ('drew a comparison'),
"^ot/cas, S) TTpeajSura, veoirXovrip ^pvyi, \ KXrjTrjpl r' els dxvp/mbv
dirodedpaKdri." Such 'odious comparisons' were a familiar
exercise of Athenian wit, and were one form of the hackneyed
(ol* fl.v dXXos clVot) ; cf. Nub. 559 where the comparison of
Eq. 864 is called eUibv. [Otherwise we might render ' neither
similitudes (such as Aesch. is fond of), nor platitudes (such as
Eur. affects '). But this is rather too much to extract from the
words. Moreover Euripides and Aeschylus both employ
similes and metaphors, and at least metaphors are freely used
in the coming altercation.]
907. Kai \i.i\v . . 7€ : to be joined ; cf. 106 n.
908. €v Toio-tv -ucTTdTois K.T.X. This, with the forensic
TovTov, sounds like a commonplace in rhetorical exordia.
910. |j.cSpovs K.T.X. : the opinion of the innovator Euripides,
not of Aristophanes, who admired Phrynichus.
irapd #pvvCx*?j *i^ ^^^ school of Phrynichus.' Phryn.
produced plays 511-476 B.C. In the development of tragedy
he lies between Thespis (circ. 535) and Aeschylus (flor. 499-
456), and may be regarded as the first to give it a true artistic
shape, by constructing a serious (though slender) plot, compos-
ing lyric choruses of a higher type in both language and music,
and devising dances of greater excellence. His chorus (consist-
ing still of fifty persons) sang the bulk of the play. His best
known pieces were the MlXtitov dXcoais and the ^obiaaai. For
the appreciation of his songs cf. Av. 750, Vesp. 220. To him
belongs the famous line (borrowed by Gray) Xd/x7ret 5* iirl
TTopcpvpiaLS irapycri 0co? ^pcoros.
gn-gi^ NOTES 199
911. ^va Ttv* dv KaOtcrcv : for the iterative &v with aor. see
Goodwin, M. and T. § 162, and inf. 914, 920. [KaOTcra is the
older, iKadiaa the later Attic form. Kadelaa. is epic and lyric]
^va is to be reckoned with : ' some solitary person.'
lYKaXv^/ctS : in sign of grief ; cf Horn. Od. 8. 92 /cara Kpara
KaXvipdifMevos yoda(TK€v, Eur. Suppl. 110.
912. *Axi\X€a : in the ^pvyes (= Ekto/)oj X^rpa) says the
schoL, and the writer of the Life of Aeschylus states that in
this play 'AxiXXeus ^yK€Ka\viJ,fjt,4vos ov (pdeyyerat ttXtjv iv dpxa??
oKiya TTpbs 'Bp/Jirjv dfjLOi^aia.
NtdpTiv : in the Niohe she is represented as sitting speechless
at the tomb of her children for the third part of the play (Auct.
Vit. Aesch.).
TO TTpoo-coirov K.T.X., * not showing who the character
(persona) was ' (rather than ' their face ').
913. irpocrxi^fia : the sense of the word depends on the
context. It is something *put forward,' whether as a pretext
or a fine sample. In Plat. Hipp. Ma. 286 A irpoaxv/^^ ^^ f^oi
ian Kol dpxv roidde ra rov \6yov the use is similar to that here,
which is rather hard to crystallise in English, but amounts to
'a showy introduction.' The picture in front of a modern
show, or the setting-out of a shop-window (cf. Fr. etaler),
would be a irpbcrxqixa. In Aeschylus the piece (r? rpayifdia)
which is to come is thus showily advertised.
7pvtovTas ov8^ rovrC, * without even thus much of a mutter '
( = ' without so much as a mutter'). Cf. Plut. 17 Kai ravr
diroKpLvo/JLivif} rb irapdirav ovdk ypv. The lax plural is adapted
to the sense, tovtl is deictic, with a snap of the fingers : cf.
TVVVOVTl^l 139.
914. ov 8f]9* : sc. eypv^ov ovdip.
^p€i8€v . . &v, 'would go on hurling' (cf. 911). The
* strings of lyrics ' are sufficiently illustrated in the Supplices
and Agamemnon. Any recognised arrangement of the lyrics,
e.g. strophe + an tistrophe -f epode, would form one 'string.'
T€TTapas is not to be taken literally, but = 'three or four' {Eq.
442, Ach. 2) ; cf. the use of o/crti, cKKaideKa (551).
918. 6 8€tva, ' What's-his-name,' 'our gentleman,' 'the
party.' The expression may (but does not necessarily) imply
contemptuous or irritated impatience or forgetfulness (cf.
Thesm. 620 sq.). Here it is commonly taken to refer to
Aeschylus, but there is nothing dramatically natural in making
Dionysus appear to have forgotten that poet's name, and, if it
200 THE FROGS OF ARISTOPHANES 919-929
really so refers, we must regard it as a colloquial indirectness
(like rts 552, 554) = ' why did a certain person act like this ? '
But why should it not rather mean the silent character in his
plays ?
919. KaOTJTo. Mss. give KaOoiro, but there is no doubt
about the real 'athematic' form { = Ka6-7)-i-To) as in KCKXyfirju,
K€KTy/j,7)i/, iut.€fMV7ifj,7)v, in wMch thc -7)- IS au indispensable part of
the root. Copyists found these forms strange, and corruption
was made easier by the identical pronunciaticn of -7;- and -ot-
in later Greek. [In Lys. 149 the mss. have kept ei . . Kad-fjixed'
simply because the word was thought to be indicative. In
Plut. 991 all good mss. have ixeixvfiTo.l
920. TO 8pd)j.a 8* &v 8it]€i, * the play would be getting on '
(towards its end, while the spectators were still waiting for the
figure to say something).
923. lirciS"^ XT)pi^<r€i6 Kal . . |jL€(roiT] : the tenses in the
frequentative opt. are as much to be distinguished as in eireidr]
iX-qp-qae Kal rb dpd/jLa {'fjdr}) ifxiaov.
924. pocia, 'fit for an ox,' i.e. of ponderous size and
bellowing sound. The writer doubtless had in mind the
magnificatory compounds in /Sou-, e.g. ^ovKifios, ^oCbins.
925. 6<(>p0s ^x*^^'''**' K.T.X. : i.e. of haughty and intimidating
sort ; cf. 60/)Os a'ipeiv, dreX/crats 6<ppijaL aefxvds and supercilium.
Antipater {Anth. Pal. 7. 39) says of Aesch. 6 TpaytKov ^dvrj/jLa
Kal 6(ppv6e<j(Tav dotdrjif \ Trvpydoaas. With X6<j>ovs cf. 818. In
Aesch. S. c. T. 317 Tydeus rpeh KaraaKiovs \b(f>ovs \ aelu in
terrorem.
926. o\^|xoi TcLXas : in self-commiseration, with impatience.
928. 6XK '^ : either (1) in continuation, aa^h 5' Slu elirev
oude iv dXX' ?) . ., 'nothing else except' (cf. 227 n.), or, simpler
and better, (2) beginning a new sentence, 'but (he gave
utterance to) either Scamanders, etc'
' 2Ka|JLdv8po-us ' T] ' Td<j>poTJS. ' It is not easy to realise the
precise objection here. There is presumably something said by
Achilles (912) in the Phryges with reference to his fight with
the Scamander {II. 21. 305), and at the trench of the Greek
camp (ibid. 18. 215 sqq.). Perhaps if we possessed the play we
should find obscurities of phraseology in the context. It is
unsatisfactory to suppose that it is merely the warlike talk of
great exploits which is considered too 'robustious.'
929. 7pv'n'aUTovs. alerds is the spelling of Aeschylus (e.g.
Cho. 246) and is alone found in Attic inscriptions of the best
929-933 NOTES 201
classical time (Meisterhans^, p. 25). A * griffin-eagle ' is an
* eagle of the griffin species ' ; of. okiaieTos, pvKTaieTos. In
Aesch. P. T^. 829 d^vard/jLovs yap Zrjvbs cLKpayeTs Kijvas \ ypuiras
<l>(j\a^aL the kinship of eagle and griffin is implied. In the
common conception the griffin has a lion's body and an eagle's
head and wings.
€ir* do-irC8a)v . . x*^'^'n^^'''o^s. Aeschylus is fond of
descriptions of warlike blazons and emblems on shields. See
S. c. T. 479, 526.
i'inr<5KpT]fi.va : cf. 821 prj/jxtd* lirTro^dfjiova, 1056, and Kprjixvo-
TToibs as epithet of Aeschylus {Nub. 1367). There is no need to
read i)\(/{KpT]jiva (from e.g. P. V. 437). Compounds in tiriro-
often express size ; cf. iinraXeKTpvdva 932 n. It is true that
these are regularly nouns, but there seems no reason why, if
once Itttto- had acquired the force of fieyaXo- orv\l/7}\o-y adjectives
should not be similarly constructed. = ' Big beetling phrases.'
931. ^Sr] iroT Iv [xaKpu k.t.X., 'in a weary length of (wake-
ful) night ' ; from Eur. Hipp. 375 -fjdrj ttot' dWais vvkt6s iv
/jLaKpip XP^^^ I OvTjrQv i^pdpria' y dUcpdaprai /3tos, to which (or
an equivalent lyric passage) allusion is made also in Bq.
1290 sqq.
932. Tov |ov0bv tiriraXcKTpvova. [The anapaest in the fourth
foot as in Nub. 1427 (TKexpat 8k rovs dXcKTpvdvas /cat rdWa jSord
Toiavrl and inf. 937. To alter to iTnraX^KTOpas is a most arbitrary
proceeding, especially in view of the ease with which v and t
are slurred as semi-vowels. Cp. yevijcov, 'EpLviJwi', etc. in tragic
lyrics. ] The creature here meant is said by the schol. on Pac.
1177 (q.v.) to have been mentioned in the Mvpfiiddves of
Aeschylus, and the compound evidently amused the comedian
(cf. Av. 799), who chooses to regard it as a hybrid of horse and
barn-door fowl. For the real sense of iTriro- cf. 929 and e.g.
linroa-iXLPou, lirirofxijpfiri^y also the English ^orse- (radish, etc.).
In Pac. 181 Aristophanes' own iinroKdvdapos is meant to play
upon both senses.
|ov0bv. It happens curiously that this word possesses two
distinct meanings, viz. 'brown' [fulvus) and 'clear -voiced'
(argutus), and it is often impossible to tell which is meant (as
in ^ovdrj drjddbp, ^ovOrj fj.4Xicr(Ta). But in the present connexion,
and generally where drjddbv is in case, the more natural reference
is to the voice. The loud call of the giant Chanticleer is more
significant than his colour, and in the picture it would be
denoted by his attitude.
933. <rT]|i€iov : such emblems {arjfxeTa, iirlo-rjfjLa, Trapdarjfjia,
insignia) are commonly said to have been carved or painted on
^02 THE FROGS OF ARISTOPHANES 933-938
the prow, while the tutelary gods were placed in effigy at the
stern (of. Yerg. Ae7i. 10. 171 aurato fulgebat Apolline puppis).
But this is to make ariixelov answer to 'figurehead,' which is
individual to a given vessel, whereas cr-qfieiov is the distinguish-
ing sign or badge of a whole contingent (somewhat corresponding
to our flag). That this is the notion here is shown by the
plural 6v rats vavcrtv (presumably the ships of the Myrmidons).
We may take it that each vessel bore a picture of a ^ovdbs
linraXeKTpvibv at the stern, which is the position of the <t7)ii€lov in
Eur. /. A. 255, where the Boeotian ships are arj/uLeioLo-iv iaroXi-
fffx^vai' I Toh S^ Kadfios ijv \ xP^^^op dpdKovr^ ^X^^ 1 o^fKpl vaCov
Kbpvfi^a^ ibid. 275 rrp^/juLPas arj/jia raypbirovv . . 'AXcpedv.
€V€Y€"Ypa7rT0 : i.e. iyyeypa/LLfi^vos ^v 6 iTnraXeKTpvibv. The
tense indicates the previously existing circumstance which led
Aeschylus to use the expression : * it was a painting . . to
serve as a (njfjLe'iov.*
934. "Epv|iv : either an ugly bird-like person (as the schol.
guesses), or possibly a person with a loud crowing voice.
935. iroTJcrai, 'to represent in poetry.' In Kal oKeKrp^ova
the particle throws a sarcastic tone upon the noun only : ' to
poetise a cock ! '
936. iroid 7* IcTTtv. The Mss. favour this as against irot*
drr , though the latter might easily be corrupted, ye is some-
what difficult, but (1) may belong to the sentence and not to
TTota, forming (with Se) a retort (see Neil, Append, i. to Eq.,
where he also states that most uses of ye are developments of
'well,' e.g. 'Oh, well . .'). Yet <tu 5e y, Co . . would be the
natural order ; (2) may throw a peculiar tone upon 7ro?a (= 'of
what precious sort'). The latter is perhaps preferable; but
see crit. n.
937. Tpa7€Xd<|)ovs : cf. 929. Though treated as entirely
fabulous by Plato {Rep. 488 a olov ol ypacprjs rpay€\d(povs Kal rh
Toiaura fxiyv^vres ypdcpovcn) and Aristotle, the notion of the
animal was probably derived from a bearded antelope of SW.
Asia (Pliny, H. N. 8. 33. 50).
938. irapaTTCTdcrixao-iv : hangings or tapestries. With rots
M-pSiKots there is some contempt. These monsters are all very
well on Persian tapestries, but not in Greek poetry. For this
Persian (or Babylonian) work cf. Hipparchus {Com. Frag. iv.
431) 'ex^i daTridtov ep dyaTrrjrbp ttolklXop | Hepaas ^x^^ '^"' ypviras
e^ibXeis TLpds | tcop UepaiKoop. 'ypd<)>ov<rtv is used of any delinea-
tion ; here with the needle {acu Mart. 8. 28. 17). Cf. ^i^ypdcjieLP
of such embroidery.
939-942 NOTES 203
939 sqq. Ǥ irapiKa^ov k.t.X. Euripides 'took over'
Tragedy (personified) from Aeschylus and found her dropsical
or suffering from excessive corpulence. Acting as her physician
he reduces her by exercise and a thinning diet. [Quintilian (2.
10. 6) has the same simile of distention in style.] The words
used of the ailment and the cure are all puns or plays upon
medical terms. Thus it has been pointed out that xcpwroLTois
is both ' walking exercise ' and ' argumentations ' (cf. 953), and
CTTvXXtois suggests epirvWlois (Merry). Similarly KOfnraa/jLdTOjp
and p-qixoLTiov glance at words implying indigestible or flatulent
diet and its results, pTjjidTwv almost certainly standing for
pevfjLdrayv ( ' humours '). tcvtXCokti is probably meant to suggest
T€VTd^€Lv (of fussy trifles). o-TwjivXjxdTcav alludes to some
pounded herb medicine, and PipXiwv at once recalls rpv^XLwv.
irapeXapov . . -rrapa <rov : the repetition of the preps, after
the compound verb is usual in Aristoph. and becomes regular
in prose ; cf. 962, 1013.
€v0vs : with (hs irapiXa^ov. The word which would in the
English idiom belong to tax^^^^^ is in Greek rather joined to
the temporal relat. or participial clause (corresponding to the
familiar tov dipovs evdijs dpxojJihov ol HeXoTrovprjaLOL icri^aXov
Thuc. 2. 47). Here we might have had irapaXajScov €vdi>s ttjv
T^X^rjv, * immediately on taking over.'
941. t(r\vava. [Not taxv^va. For the facts concerning
aorists of -alvu) see Rutherford, New Phryn. pp. 76-78.] The
word is medical ; cf. Hippocr. 1254 a oi^ixara . . laxvo^ivei,
Plat. Rep, 561 C v8poTroTu>v koI KaTLGx^OLLvofxevoSy Aesch. P. V,
396.
TO pdpos : the weight of flesh ; though in reality Eur. also
reduces the gravitas of the poetry. d<)>€iXov : frequent of
removing vexations, etc.
942. lirvXXtots, 'versicles.' The same dimin. is applied to
the lines of Euripides in Ach. 398, Pac. 532. They are light
and slight things as compared with the packed line of
Aeschylus.
ircpnTdTois : with allusion to the other sense 8iaTpLBaii (cf.
953).
revrXioia-i Xcvkois, 'white beets,' which had a mild laxative
effect {evKoiXioL Dioscorides). Cf. Plin. If. N. 19. 8 candidis
{hetis) solvi alvos modice, nigris inhiheri, Mart. 3. 47. 9 pigroque
ventri non inutiles betas. There is also a play on revrd^eip,
and X€VKots in the secondary intention implies ' bloodless ' or
* colourless ' commonplace.
204 THE FROGS OF ARISTOPHANES 943-949
943. aTTo pipXCcDv : of e.g. Anaxagoras (cf. Plat. Ap. 26 e).
The expression both denies originality to Euripides (cf. 841)
and also mocks at his philosophic originals, which are, after
all, but (TTOjfjLuXfxaTa. For the reading of Eur. see his own
Alcestis 962 sqq., and, for his collection of books, Athen. 3 A.
Tpv^Xiiov is suggested in ^i^Xnav (cf. Alexis, Com. Frag. iii. 448).
944. dv€Tp€4)ov jJLOvwSiais k.t.X., *I began to feed her up on
monodies, with a blend of Cephisophon.' p.ova)8tais plays upon
some light species of food and IiT](|>i(ro^(ovTa is pungently
substituted for ' vinegar. ' That Cephisophon and '6^os were in
some way connected {6^os or o^is being perhaps his nickname)
appears from v. 1445 ( = 1453). There is a double sting in the
name : (1) Cephisophon, an inmate of his house (cf. 1408), was
reputed to help Eur. in his plays, particularly in the lyrics
(schoL). Cf. 1444 ( = 1452) and the frag, of Aristoph. mVit.
Etirip. : (2) the character of Cephisophon was said to be in
keeping with the ' Cretan ' immorality of the monodies (849 n.).
945. 5 Ti Tvyjo\.^\ 'the first thing that came (up).' The
dramatic method of Euripides was not to 'rush in (to his
subject) and create a muddle,' but to begin in an orderly and
lucid manner with an explanatory prologue (at which prosaic
proceeding Aristoph. is, of course, mocking) ; see, for example,
the Ion, Hecuba, and Bacchae.
Iliirccrcav ^<|)vpov : cf. Eq. 545 kovk clvotjtojs eawTjdrjaas (on to
the stage) e^Xvdpei, Hdt. 3. 81 wdeet iixTrearibv tcl irpdyfiara
dvev vov.
946. TO 7€vos . . Tov 8pd(JiaTOs, ' the pedigree of the play,'
i.e. the happenings which had led up to it, or events which
engendered it. The word yhos is chosen for the sake of the
familiar hit at the birth of Euripides (cf. 840 n.).
948. ovSev k.t.X., *I permitted no idle (element) in the
play,' i.e. every character had something to say or do. This
might have been expressed by ovd^va (no persona). With ovSlv
no definite word (e.g. irpbaoiirov) should be supplied.
949. ovS^v ■^TTov : i.e. as freely as the iXevdepos and deaTrorrjs.
The women and slaves of Eur. are permitted to speak with as
much Tightness and understanding. This was unusual, and
Aristotle {Poet. 15), while requiring that ijdrj in tragedy should
be XPW''^} 2,lso requires that they should fit their several
classes, /cat yap yvvrj icTiv XPV^^'^V /^ct^ dovXos, Kairoi ye tacos
roTurwv t6 jAv (the woman) x^^P^^) ^^ ^^ (^^^ slave) bXojs
<f)avX6v iariv. In the Agatnemnon of Aesch. the large part of
Clytaemnestra is explained by her possessing dvdpd^ovXov K^ap.
Origen (c. Cels. p. 356) says that Eur. Kwixi^jMrai because he
952-959
NOTES 205
puts into the months of pdp^apoL ^ yvvaiKes ij 8ov\oi the
language of philosophy (cf. Ach. 400 sq.)-
952. S-qfjLOKpaTiKdv : i. e. on the principle of the equality
of man.
TovTo (x€v = roL'T6 7^, a use frequent with demonst. and
personal pronouns (Ktihner-Gerth ii. p. 140).
953. ov <rol ^dp . . KaXXicTa, ^yoio are not the man to
make the best of a case about that.' The adverb is used
(instead of kolXXlo-tos) with an eye to the sense, which = ou
<ri> irepliraTov hv iroioTo. TTcpCiraTos = discussion of a theme
(originally carried on wdiile walking). The reference is to the
aristocratic leanings of tlie Socratic circle, including Plato,
Xenophon, Critias, and Euripides. Some suppose an allusion
to the withdrawal of Eur. to the court of Archelaus.
954. TovTovcrl: always deictic, 'these spectators here.'
956. Xeirrtov re Kav6v(av €<rPoXds : sc. idida^a (avroijs). Eur.
taught the audience new finical and carping methods of
mechanical criticism. Among the abilities implied in XaXetv
w^as the ability to talk ' literary judgment ' ; cf. 799.
eo-poXds: not = Trpo(T^oXds ('applications'), but 'invasions'
or 'introductions' ( = 'new fashions'); cf. Eur. Suppl. 102
KaLvcLs ecTjSoXds opcD Xbywv, inf. 1104.
ktrSiv . . 7«viao-jj.ovs, 'tests of the corners of verses,' viz.
to see if their angles and edges are true.
957. voetv k.t.X. : the intellectual and moral results of the
smartness of biivoia exhibited in the Euripidean drama.
?ptv T€xvd^€iv : Mss. give Ipdv, but all editors feel that the
word is out of place. It could only be defended as a deliberate
surprise, but even the surprise is clumsy. The comedians do
not, in a considerable list of words, insert one and one only
which is out of keeping with all the rest, ^piv T€xvd^€iv=
'contrive a disputatious caption' ; cf. ipiaTLKoi and inf. 1105
OTLTrep odv ^x^'''^^ ipi^eiv X^yerov.
958. Kax* viroToircto-Oat : in all probability Aristoph. is
hinting at the suspicious jealousy entertained by the people as
to the designs of the oligarchical party.
959. olK€ta •irpd7jJLaT' k.t.X. : this is not merely a claim to
be a realist from the artistic point of view. He claims also
that his themes, touching everyday realities, are a useful
practical lesson. For the supposed function of a poet as
teacher see 1008 sqq. n. The repetition in ols XP^^K*^^*' <*^s
|vv€ar}iev is intended to press home the point. For the ex-
206 THE FROGS OF ARISTOPHANES 959-964
pression cf. Kesp. 1179 /ul't] ^/jlo'l ye /jlijOovs, dXXa tQu dpdpcoTripojv, |
OLovs Xiyofxev fj-dXicTTa, roi)s /far' oiKiay. In 980-88 Dionysus
reduces these lessons of the ot/ceta to the absurd.
clo-d-ywv : the proper word of ca theme, as wapdycov (1054) is
of a irpoawTrov, brought on the stage.
962. dirb tov <|>pov€iv dTroo-Trdcras : for the repeated preps,
cf. 939 n. Editors take diroaTrdaas transitively, ' having torn
them from their reason,' but it is worth while considering the
alternative of an intrans. use (as in dTroao^eiv). For this cf.
Xen. An. 1. 5. 3 ttoKv yap diriaira (pevyovaa, Lucian, Icar. 11
eTret de Kar avTTjv rrjv aeXrjvqv iyevd/xrju irdixiroKv tCov v€<f>e\Cbv
dTToairdaas. 'You got off the track' (lit. 'pulled off ') is the
more probable meaning.
€|€irXiiTTOv : imperf. of attempt. Aristotle {Poet. 25) desires
^KirXrj^LS in tragedy, but that effect must come froni the intrinsic
power (if the situation, not from any trick.
963. KvKvovs : Cycnus, son of Poseidon and ally of the
Trojans, was defeated by Achilles in battle. The peculiar
fight with the invulnerable Cycnus and his transformation
into a swan w^hen throttled by Achilles are told by Ovid {Met.
12. 72 sqq.).
Me'fjivovas : Memnon, also on the Trojan side, was son of
Eos and Tithonus. Aeschylus wrote a Memnon, in which that
hero (who possesses Tj^aidrdTevKTov rravoxXiav) is slain by
Achilles, but obtains immortality through the prayer of his
mother. The ^uxoo-rao-ta of Aesch. also dealt with these
events.
KCD8a)vo(f>aXapoircS\ovs : driving horses with bells on their
trappings. Bells, as a means of creating <p6pos, appear in
Aesch. S. c. T. 373 under the shield of Tydeus, and in [Eur.]
Rhes. 306 on the frontlets of the horses of Rhesus (cf. ibid. 383
Kd/JLTTOVS K(*}d(x}VOKp6TOVs).
964. Tovs TovTov T€ Kd^ov Y* : the reading is somewhat
dubious (KdfJiov 7* and Kdjtoii with hiatus being the variants).
Dobree's Kdjiovs recalls two common idioms : (1) gen. parallelled
by possessive adj., e.g. Eur. H. F. 213 irarrip hv eir] a 6s re koX
TovTcov, Bacch. 1277 eyUT? re /cat irarpbs KOLvooviq, ; (2) possessive
adj. accompanied by gen. of the same person, as in rd ifid
KUKd TOV KaKodai/jiopos or nostros vidisti Jlentis ocellos. On the
whole it is better to choose the reading for which there is
MS. support. 7' belongs to the whole expression, i.e. =yv(b(Tei
be TOVS ye fiadrjTas e/car^pou.
}xtt8T]Tds : not in the strict sense, but as representing the
965-966 NOTES . 207
respective influences. A poet has 'disciples' in the shape of
those who affect him and who mould themselves on his
characters.
965. TovTovfJL€vl : a frequent position of the deictic -i ; cf.
vvv/jLevi, vvpdi, rovroyi. ]\Iore curious is the position of fx^v and
ye in evixevrevdevi, ivyerevdevl.
^opptfo-ios : this proper name is used in Eccl. 97 as a
synonym of 'hairy part.' Hence the following reference to
vir-qv-r) ('moustache'). A Phormisius was one of those who
* came back with the people ' after the tyranny of the Thirty
(403 B.C.). But this does not prove that our P. was this
popular leader.
McvaCvcTos 6* 6 Mavfjs : we know nothing of Megaenetus.
A variant is Md"yvT]S. The schol. (who appears to be guessing)
says that he was avdddrjs Kai tQv (TTpaTTjyiibvTOjp. If Md7i/77S
is right, there may very well be a reference to the proverbial
v^pLS of the Magnesians (Ath. 525 C, Theogn. 603 roidde /cat
M.dyv7]Tas dinJoXea-ev ^pya /cat v^pts), i.e. he is 6 v^pLarrjs. [Also
there might be a hint at non- Attic parentage. ] The alterna-
tive Mavfjs (or (xdvT]s) has been variously explained as (1) a
common name for a Phrygian slave (Zvpot ij Mavijs Dem. 1127);
but this is quite unsuited to the context ; (2) = ' unlucky
gambler,' since, according to Pollux (7. 204), fxdvrjs is the
name for an unlucky throw. Merry renders this notion by
'Mr. Deuceace.' But we may also, and with more probability,
suggest that it refers to the game of Kdrra^os. In this the
lidvTjs is a bronze figure, upon the head of which the irXdariy^
descends when the Xdra^ strikes it fairly. Such a fxdv7}s
may have had a conventional appearance, which Megaenetus
strikingly resembled.
966. <raXiriYyoXoYX'"'n"nvd8at : for the patronymic cf. 84 n.
The sense is ' sons of trumpet, lance, and moustache ' = ' Black
Mousquetaires ' (Merry). But (since no compliment is in-
tended) the sense is perhaps more exactly 'whiskered to
suggest lance and trumpet,' i.e. with hair^'^ faces which look
swaggeringly martial, while their owners may be little of the
sort. A proverb for a fire-eater was X67xas eadicov ; cf. 1016
TTviovTas 86pv /cat \6yxas- For soldiers and hair, cf. luv. 14. 194.
o-apKa(r)jLO'Tri'ruoKd|Ji'irTai : they are TrirvoKdjuLirTai so far as
their sneering looks go. The reference is to the legendary
brigand of the Isthmus, Sinis (or Sinnis), who tied his victims
between the heads of two pines which he had dragged together,
and then let the trees fly up and apart. He was himself
treated by Theseus in the same manner (Plut. Thes. 8, Ov.
208 THE FROGS OF ARISTOPHANES 967-971
Met. 7. 441). Henoe 7riruo/cdAi7rr7;s =* merciless bandit,' and
the men named put on that appearance. The schol. is pro-
bably right in his ws crapKa^ovras fxeu /cat TrpoaTroiovfi^vovs tcl
TToXefiiKd, ovK oiKrjdQiS dk tolovtovs.
967. KX€iTo<|>a)v : probably the man whose name is given to
a dialogue falsely attributed to Plato. He belonged to the
Socratic circle (Plat. Hep. 428 b). The schol. apparently
possessed more information, since he explains ws dpybs
(iKOJ/bL({}d€LTO.
©•qpajxevTis: 54$ n.
968. o-p<|)ds 7* dv^p : 652 n.
969. ^v KaKots TTOV tripiiria-vi koX irX-qorCov irapacrrrj. This
is quite sound, and there is no need to attempt tis for irov or
to make Kal^-^. irepLiriari is not 'incur' (i.e. 'suffer from'),
but 'get in the way of { = hTvxv)' Following a certain path
Ther. may ' find himself meeting trouble and get very close
to it.'
970. ir€7rTcoK€v : pref. of complete (and also immediate)
realisation: 'there he is, (at once), clear outside.' This, as
well as the aorist, forms a gnomic tense (Gildersleeve, Gk. Synt.
§ 257, Goodwin, M. and T. § 154). Cf. Vesp. 492 fjv fxh wurjrai
TLs 6p(f>u)s, jLiefJL^pddas 8k fir] 'deXr], \ ei)^^ws etpr)x ircSkCov k.t.\.,
Eq. 717 ry ixkv dXiyou ipridTjs, \ aurbs 5' iKeivov TpLTrXdaiou
KariairaKas, Theogn. 109 etc. The metaphor is from the fall,
lucky or other wise> of dice. Theramenes is always in luck.
Cf. Soph. fr. 763 del ydp ed iriTTTovaLV ol Ai6s k^^ol, Aesch.
Cho. 967, Shak. Ilaml 4. 7. 69 It falls right.
OX) x^os oiXXd Keios. In dicing with darpdyoKoL (marked od
four sides) the worst throw was called xios, the best k<^o^
(corresponding respectively to the Latin canis and Venus).
Aristotle {ff. A. 2. 1. 34) gives rd Kcpa as the inner, rd yxa as
the outer sides of the knuckle-bones, and probably these
words had originally nothing to do with the islands of Chios
and Cos, although such an association would naturally be
imagined. Since Theramenes (Plut. Nic. 2) eh dvayiveiav cbj
^kvos iK Kew Xe\oL86pr}Tai, Aristophanes substitutes the sneering
word KeTos for k(^os, punning upon the names of the two
islands. There seems, however, to have been no real ground
for the charge of Cean birth.
971. [Euripides sings the following lines and Dionysus then
takes up the tune. ]
ToidvTa : with <j>pov€iv. For the crasis in |X€vtov7« cf. Eccl.
410 ixhToii<f)a(jK€V, Vesp. 159 fxoijxpW^v.
976-992 NOTES 209
976. ToLs oUtas oIkciv ; 105 n.
979. Tts to€t ^Xap€ ; Bentley's t<J8* ^Xap€ is based on the
frequent confusion of rdde and tovto, but the metrical objection
is not certain. In Nub. 1386-1389 there are three lines of the
scansion — = f ^ — ! — — | ^-^^-^^ against one of the scansion
^zz I vy — I — = I w^, and even in the trimeter dialogue a
tribrach sometimes stands in the last foot (Introd. p. xxxviii).]
980 sq. Dionysus playfully speaks as if the extremely
economical habits just now prevailing at Athens were the out-
come of Euripidean teaching. In reality the pinch of the war
was being severely felt, and it interfered with the previous
conception of behaviour becoming to a gentleman {^Xevdepos).
The word 'AQr\vaCo)v has its point. [There may also be a hit
at parsimony and suspicion in public expenditure.]
981. clo-iwv : sc. otVaSe.
983. T| \vrpa : some cheap crockery pot, which nevertheless
he misses.
985. |jiaiv£8os, ' sprat ' : a poor little cheap fish (Mart. 12.
32. 15 inutiles maenas).
rb TTcpvcrtvdv, ' which I bought (only) last year. ' Even an
earthenware basin and its date are remembered. t^0vt]K€
suggests parody.
987. tJ) x.^t^tv6v, 'left over from yesterday.' Cf. luv. 14.
129 hesternum . . minutal.
990. k€xt]V<Jt€s : a proverbial expression for gullibility. Cf.
Eq, 755 (of the Stj/ulos) and 1263 rfj Kexw^f-^^ iriXeL.
Ma(JLfi.dKv9oi. The word is plainly connected with fidfi/jLTj
(cf. ^XLTOfidfifias Nub. 1001), and was used proverbially like
Map7tT?7s, M.€XLTidr}s, Kdpoi^os etc. for a ' simple Simon ' or
'Milksop.'
991. MeXiiTtSai. Whatever may be the true spelling of the
ordinary word, this is to be here accepted, as being an attack
upon a Meletus (cf. 1302). MeXtHd-qs, the current form, is
apparently connected with /jl^Xl (cf. ^XLTTo/xdfifjLas). But the
familiar use of ijdijs and yXvKiJS as * sweet innocent ' (Plat. Eep.
337 D, Hipp. Ma. 288 b) suggests that sense rather than
' Sugar- Baby.'
[992 sqq. This chorus is supposed to be antistrophic to 895-
904. The assumption involves difficulties (otherwise unfelt) in
the metre of both portions, and it appears better to admit a
general similarity without pressing exfict correspondence,]
P
210 THE FROGS OF ARISTOPHANES 992-1005
992. ToiSe (X€v X€v<rcr€ts k.t.X. The Myrmidons of Aeschylus
began with this line. We may assume that the passage eon-
tains further parody or semi-quotation. Aesch. is identified
with his own Achilles, through the same characteristic qualities
of anger and sullenness.
995. €KTbs olVct Twv cXatov : a metaphor from chariot-racing.
The particular race-course at the end of which ' the olives ' were
planted is naturally one familiar to Athenians, used especially
at the Panathenaea. A driver should round the turn short of
these, but an unmanageable team might carry him out beyond
them. Cf. Aesch. Oho. 1021, P. V, 909 for the expression 'i^oj
(dpbfJLOv) (pipeLv.
999. (Tuo-TcCXas ^Kpowri k.t.X., 'take in reefs, and, using
but the edge of your sails, then bring her (round to the wind)
gradually.' d^cis appears to be a nautical expression. While
the gale of his anger is strong he should shorten sail, but, as it
settles down, he may come round to the gentle wind of an even
temper.
&Kpoicri : i.e. not catching the wind on the full sail, but
only on a narrow strip at the top when reefed. Cf. Eur. Med.
523 (hare vabs Kebvbv olaKoarpdcpov \ &Kpot(n \ai(povs KpaaTr^SoLS
vweKdpaiJLeTv. ^
1001. |xaXXov (JLclXXov, 'more and more' ( = 'gradually').
Cf. Eur. /. T. 1406 fJLoXXou d^ /xdWov irpos irirpas fjet aKacpos,
Catull. 64. 275 mfcgis magis increbrescunt.
1004. dXX* « K.T.X. Before what is technically known as
an dywv of the following kind, it is regular for the Coryphaeus
to speak two lines of exhortation beginning with dXXa . . and
adopting the metre to be employed (Zielinski).
irvp-ycocras p-^fJiaTa crcjivd : i.e. Aesch. first raised tragic
diction to dignity (<r€}JLvd being proleptic). Cf. Hor. A. P.
280 {Aeschylus) docuit magnumque loqui nitique cothurno and
Antipater (quoted in v. 925). For the metaphor cf. Milton's
' build the lofty rhyme, ' and Aristophanes' owm claim to have
done a similar service to comedy, Pac. 749 eirol-qae r^x^rjv
HieydXrjv ijfuu KaTnjpyoja^ olKodo/uLrjaas \ '^ireaiv [xeyoCKois koI
dLavoiaLS k.t.X.
1005. Koo-jx-Zio-as Tpa-yiKov Xfjpov. It may be suggested that
point is given to this expression if there is an allusion to the
proverbial XirdpTav Aax^s, ra^rav k6(t/j,€l. Aeschylus had for
his province tragic diction, and that he adorned. Xfjpov also
gains if it is thus a -jrapd TrpoadoKiav pun upon KXrjpov ('demesne'
or 'province'). The Coryphaeus does not mean that all
1005— IOI4
NOTES 211
tragedy is \7jp0s, but that, ' when Xrjpos occurs in tragedy, you
knew how to give it a fine air.'
rhv Kpovvbv a^Ui, lit. 'set the spout going.' Cf. Eq. 89
KpovvoxvTpoXrjpaLou el, Cratin. fr. 186 dwdcKaKpovvov to crbfjia
(with allusion to the public fountain 'YiweaKpovvos).
1007. cl . . 8€i : rather than bn Set after verbs of the sense
of ayavaKTeiv (e.g. fjL^/jL(f)€(rdaL, deivbi^ iroieiadaL etc). Cf. Plat.
Lach. 194 a dyavaKTU) el ovrwal & voCj fir} oUs t el/il eiirelv.
1008. diroKptvat : turning suddenly and accosting his
opponent.
6av(jLdt€tv, ' pay respect to.'
1009. 8€|tdTT]Tos K.T.X. As is shown by the use of Kal . .
T€ . . (which cannot = /cat . . /cat . .), there are only two
grounds given, viz. (1) be^Lor-qs, (2) vovdeaia 6tl re ^eXriovs
K.T.X. The r6- clause is in fact exegetic or amplificatory to
vovdeaia. [The slight misplacement of t€ is frequent (Kiihner-
Gerth ii. p. 245). Cf. 1070.]
ScltoTTjTos : not with any special reference to what Aristotle
calls the didvoLa or intellectual power pervading tragedy, but in
the sense of technical ability as playwright. Cf. 71 biofxai
iroTjTov de^Lov, 762.
vov6€(rCas : the moral and intellectual influence upon the
audience, through the wise yvQjjiaL uttered and the high ijdri
delineated.
6ti PcXtCovs t€ K.T.X. Aristophanes is with those "vyho treat
a poet as a teacher (1054 sq.). This was the common Greek
view, the notion of the poet as simply an artist being held by
a minority. See Butcher, Aristotle's Theory of Poetry and
Fine Art, cap. v., and cf. Strab. 1. 3 ttoltjttjv yap ^(prj (sc.
Eratosthenes) irdvTa (rroxa,fe(7^at i/'i;xa7W7/as, ov didaaKaXias.
TovvaPTiov 8' ol TraXaLol (j>LXoao(f)lav tivcl Xiyov(Ti Trpdjrrjv ttjv
TroLTjTLKrjv , eicrdyovaav els rbv ^iov Tjfjids iK vewv Kal diddcTKovaav
rjOrj Kal wddr) Kal irpd^eis fied' ijdovrjs. See also Hor. A. P. 333 sqq.
1012. iraOetv : the full legal formula is iradeXv ^ diroTelaai.
<|)ifjor€is, 'will you admit ' (/cara^Tycreis), as in e.g. Soph. Ant.
442 07? s ij KaTapvfj ixi) debpaKivac Tdbe ;
T€0vdvai. Dionysus forgets that he is not in the land of
the living. For the perf. cf. 970 n. and Thuc. 8. 74 tva, ^v
(XT] viraKOVcocTi, TedprjKCoaL.
1013. Trap €(JLOv irapeSclaTO : cf. 939, 962.
1014. TCTpaiTTi^^ciS, * sixfooters.' Cf. Vesp. 553 dvbpes fxeydXoi,
212 THE FROGS OF ARISTOPHANES 1014-1019
Kal rerpaTTifjxeLS, Shak. Bich. III. 1. 4. 156 Spoke like a tall
fellow ! The tttjxvs was 18^ inches.
SiaSpao-iiroXiTas. The proper translation is 'citizens of
Diadrasipolis ' or ' men of Shirkton. ' According to the classical
Greek idiom the said town would be named AcaSpdo-ews ttoXis
(not Atadpaa-ixoXis). Thus ' Megalopolis ' is Me7dX7; TroXts,
with ethnic MeydXoTroXiTrjs. In £Jq. 817 /uLLKpoTro\iTas= ' citizens
of MiKpa TToXts, ' Ach. 635 xcti^^OToX/ras = ' men of Xavvrj irdXis.'
At V. 1114 the schol. has the expression 8La8i5pd(TKovTas ras
aTpareias, and the allusion here is to that sense. Cf. Ach.
600 opQu TToXtoi)? /iih dudpas ev rais rd^ecTL, \ veavias d* oXovs cif
diadedpaKdras.
[As merely equivalent to ' shirking citizens ' the compound
would be irregular, though tragedy has such forms as dpLard-
fiavTLs, TTpojSovXSTraLSj KaWiirais, in which the first element is
equal to an adj. qualifying the second. We cannot, again,
understand it a,s = dia8L8pdaK0VTas ttjv ttoKlv (i.e. its duties).
This would be 8La8paaLTr6\eL$ (cf. 0iXo7r6Xeis). ]
1015. KopdXovs : 104 n.
1016. TTVCovras 86pv k.t.X. Cf. Horn. II. 24. 364 pLevea
irveiovTas 'Axo-lovs, [Eur.] Ehes. 786 Bv/jlop irviovcraL, Cic. ad
Att. 15. 11 Marteni spirare dicer es. Xd-yxas probably refers
to the cavalry, 86pv to the infantry.
1017. lirTaPocLovs : with a play upon (1) the proverbial
shield of Ajax {ewra^deLov II. 7. 219, eTrrd^oLov dpptjKrov adKOS
Soph. Aj. 572), and so implying 'courage of an Ajax,' and (2)
'equal to seven oxen,' 'of seven ox-power' (Paley), with an
allusion to ra^pov dvfxbs.
1018. Kal 8^ X^^P^^ K.T.X., 'There you are! the trouble is
upon us ' ; a current colloquial expression. Cf. Nub. 906 tovtI
XW/oet Kol 8r} to kukov, Vesp. 1483. /cat 87} lit. = ' e'en in fact ' ;
thence practically = -^St;.
Kpavoiroiwv afi, ' hammering away at his helmets ' (Merry),
referring to Tpv<|)aX€ias and Tr^XTjKas. Aeschylus is charged
with a particular fondness for introducing helmets and crests
{KpdvT} Kal \6(povs 8Lr]yo}jfi€vos schol.). In -ttolQv there are the
two senses ' make ' and ' poetise ' (helmets). It should also be
observed that afi is frequent in indignation, though more
especially in questions. Cf. Eq. 336, 338.
liriTpCxI/ci, ' will be the death of me ' (with boredom). Cf.
dTToXeis 1245 n.
1019. oUtws, ' as you say ' (cf. 1014).
•y^vvaCovs €|€8i8a|as : without e?j/ai. Cf. Eur, El, 37^
I02I-I026 NOTES 213
{irevia) 8Ldd<TK€t d' &vdpa rrj XP^'-^ KaKdv, Med. 295 XPV S' oi^rrod^
. ... TraiSas irepiffaCbs iKdiddaKeadaL ao(f)oiJS.
1021."Ap€a)s |X€<rTOV, ' full of the war-like spirit ' (cf. d(ppo5lT7}
= ' spirit of love '). So Aesch. S. c. T. 53 Xebvrwv dprj dedopKd-
Tcovy Plut. 3Ior. 757 B rois to fJiax^TiKOV iv tj/jup Kai did(popov Kal
Ovfioeid^s "Aprju KeKXrjadaL vofxi^ovcnv. According to Plutarch
{Mor. 715 e) it was Gorgias who applied this expression to the
Seven against Thehes.
Tovs ^iTT* cirl 0iqpas : sc. irorjcras. This was the recognised
name for the seven champions, and not merely for the play of
Aeschylus (cf. Dem. 1390, Ath. 22 A iv rep 6px€i(T6aL roi)s ^ttt
iirl Qrj^as). [For Atti(^ two expressions would be normal, viz.
ol eirrd oi iirl Qrj^as (sc. arpaTevcravTes) or ol iirl Qri^as crrpare^-
cavres eirrd. Our phrase must, however, have been derived
from ol '^TTT iirl 9. (A^6^res)= ' those who came against Thebes
to the number of seven,' but eVr' eirl GiJ/Sas had come to be
regarded as virtually a compound.]
1022. av . . -fipdo-GT]: frequentative. Cf. 911, 920, 924.
Sdios : a poetic word introduced with deliberation ;
' doughty,' ready for deeds of ' derring do.'
1023. TovTt [X€v : see 952 n.
KttKov €l'p7a(rTai, 'has been a bad piece of work on your
part.' [Not 'has done you damage.']
ireiroiiKas k.t.X. : not = ^7ro^77(ras (which would refer to the
time of the production of the piece), but 'you have made them
the more courageous for the (present, i.e. Peloponnesian) war.'
The perf. expresses the result which has been left.
[The schol. and some editors take it as ' you have represented
the Thebans as more brave than the Argives in their war.'
But this is not true in fact, it would be pointless if true, and
the perf. is less good. ]
1024. TovTov Y* o{^v€Ka, ' so far as that point (or claim) is
concerned.' Cf. 1118.
1025. v^Xv : emphatic, a^r* : sc. ra dvdpeta or iroXefxiKd
understood from the context. Cf. 1466, Plut. 502 xoWol fxev
yap tQv dvdpihircou 6vt€S xXovtouctl Tropyjpoi, I ddLKCJS avrd ^vWe^d-
IxevoL (sc. TO. xp'niJ'^^Ta).
Iirl TOVT* : see 168 n.
1026. ctra Si8d|as II4p<ras fjiCTCL tovt k.t.X. According to
such authorities as we possess the Persae was produced in 472
B.C., while the Septem belongs to 467 B.C. This information
is not necessarily correct, but, if it is so, we may here suppose
214 THE FROGS OF ARISTOPHANES 1026-1028
either (1) that Aristoph. is in error as to the dates (a by no
means unlikely circumstance, since the ancients were no more
infallible than the moderns in speaking of a literary event of
sixty or seventy years ago), or (2) that neither clra nor [xctol
TovTO refers to time relative to the Septem, but both are to be
taken in another sense. Thus dra may =' and in the next
place' (as opposed to the previous example), while |ji€Td tovt'
may be joined to l-iriOujjietv ' I taught them to be eager there-
after ' ( ' as a consequence '). Since the expression ' Then again,
by producing the Fersae, I taught them thereafter to be eager
to beat the enemy ' contains nothing unnatural, it seems better
not to raise here the question of chronological sequence. It
is true that in Av. 809 we have irpGjTov &voixa ttj irokeL \ dladai
TL fiiya Kal k\€ip6v, elra rots 6eoh \ dva-ai jxera tovto, and that
^TreiTa fxercL tovto occurs in comedy, but the argumentative use
is not disproved by instances of the chronological use.
8i8d|as, * produced ' ; the regular word applied to the poet,
who originally trained his own chorus and idtbdaKe rbv xopov
rb dpdfia. Of. xopo^^^^^/fciXos, didao-KaXia and Hdt. 6. 21
iroLiriffavTL ^pvvix(i> dpdfia MtX-^rou akoocnv /cat biM^avTi.
n^pcras. The titles of plays (merely as such) are commonly
quoted in Greek without article, as throughout Athenaeus and
in the brief notices called bidadKoklaL. Cf. 1124.
1028. i\6i.pr\v 70VV K.T.X. Dionysus was of course present
at the production of the Persae. The true reading is perhaps
beyond recovery. Most mss. have the unmetrical ixo.py\v yovv
i^vCk -IJKovo-tt ircpl AapcCov t€0v€wtos, the poorly supported
(but old) variant tjvCk* dirTjY'yeX.OT] ircpl . . being obviously an
attempt at emendation. In point of sense the latter is out of
the question, since no report is brought of the death of Darius.
Unfortunately our texts of the Persae contain no exclamation
lavoX to show us the reference. [Bloomfield, it is true (from
the present passage), suggested that in Pers. 667 we should read
^dcTKe ir6.T€p &KaKe AapeT, lavot for Aapidv oX, but €v0vs indicates
that something had just taken place or been said, whereas
Bloomfield's emended line comes in the midst of a choric song.
We can hardly expect every isolated interjection on the part of
a chorus to be preserved in our mss. , and the loss of an lavot is
little more wonderful than the loss of the hand-clapping.]
Since the ghost of Darius appears in the Persae, it is possible
that -JiKouo-a contains the gen. cIkovs (' phantom,' cf. Eur. H. F.
1002). If this is governed by the following iripL we have Ixdp-qv
70VV tjvCk* v^ — cIkovs ircpt A. tcOvcwtos. There exists an idiom
of Greek, too little recognised, but not especially rare, of which
the readiest example is Eur. /. T. 813 iJKovo-a, xp^<^V^ dpvos tjvIk
1030-1038 NOTES 215
^v iripL, ' when it was a matter of the golden lamb ' (though
most editors wrongly supply '4pLS from the context). Cf. Eq.
87 irepl irbrov yoOv icTTL (tol, Lysias 12. 74 ov wepl TroXtrem? v^iullv
^o-rai, dXXa irepi acorrjpias, and (so far as ^ari is concerned) Fesp.
240 eVrat AdxT/rt vvvi. So here we may suggest Ixap-qv yovv
TJvCK<a 7* -fjvS cIkovs ir€pi. A. t. , i.e. Svhen it was a matter
of a phantom of Darius, he being dead ' (not rod redveCoros).
y is open to no objection ; the special delight of Dionysus was
at that. The gen. elKovs = elK6vos occurs in Eur. Hel. 77. So
a.y)5ovs (Soph. Aj. 629), 7X77x01^5 (Hippocr. 7. 160). Other
cases from the -oa- (instead of the -ov-) stem are ras clkovs
[Nub. 559), (r^v) ekw (Eur. Med, 1162).
1030. &v8pas: with ttohitcIs ; cf. 1008. [Very much less
probably we might construe XPV TroLrjras daKeiv dv§pas ravra
' poets should train men in this way.']
dir* dpx^S : with y€y€vii]vrai.
1032 sq. *Op<)>€vs K.T.X. The association of the Thracians
Orpheus and Musaeus is frequent (cf. Plat. Hep. 364 e, Prot.
316 D, Ion 536 B, [Eur.] Hhes. 943). Both are poets and
minstrels, both agents of civilisation. To Orpheus belonged
the Orphic TcXcraC, or purificatory rites of initiation, which
were a sacramental preparation for a happy future life of the
immortal soul ; to Musaeus the oracles (xpT]cr|ioQ, which were
extant and registered (cf. Her. 7. 6, 9. 34). Plato (Eep. 364 e)
has ^l^\(j3V bk 6/iadov irapixovraL Movaaiov Kal 'Op^^cos . . Ka6*
dj durjiroKovcTLV, Treidovres ds &pa Xiktcls re Kal Ka6apfJLol ddLKT}-
jULOiToop did dvcnCov /cat TratSias rjdovQ)v eial fxkv ^tl ^Cxtlv, elai d^ Kal
TeKevT-qaaaiv, As Sr; reXerds KoKovcnv. See Harrison, Proleg. cap.
ix. for Orpheus and Orphism. With the vegetarianism of
<|>dva)v T* d-TTcxccrOai cf. Hor. A. P. 391 silvestres homines sacer
interpresqiie deorum \ caedibus ac victit foedo deterruit Orpheus,
Eur. Hipp. 952.
Along with the founding of mysteries and oracles of advice
there went musical 'magic' That Musaeus joins xpWf^oL with
€|aK4(r€is vocrcov is in keeping with the profession of the aucient
iaTpojiavTL'i, the more refined outcome of the savage 'medicine-
man.' Certain writings on herbal *Ak^(T€ls "^dacop actually went
under the name of Musaeus.
'HorCoSos : in the"Ep7a Kal "HjjL^pat.
1036. IlavTaKXea : called UavTaKXTJs (TKaios by Eupolis (schol.).
1037. (iirt\nrev : i.e. was forming one of the military escort
to a procession (in all probability at the Panathenaea).
1038. TO Kpdvos irpcoTov k.t.X. : i.e. instead of fitting the
216 THE FROGS OF ARISTOPHANES 1038-1043
crest into its socket and fixing it from inside the helmet, he
put the helmet on first and then tried to fasten the plume on
top. In treptST^a-dfjievos the middle is necessary and also irepi-,
since he fastens the helmet 'on himself round (his head),' cf.
ireptd^crdaL Kvvrjv, dtddTjfjLa, etc. (the use of eVi- being late Greek) ;
but for fastening a crest above a helmet both the active and
eTTi- are alone correct. The helmet is ' bound round ' the head
by its chin-strap.
%€XV : the comedian would not use this form for ^juceWe in
an ordinary trimeter.
1039. Adjiaxos i\p<as. Lamachus had somehow acquired
the sobriquet or standing title of ijpcos. During his lifetime it
is mocked at in Ach. 575, 578 cD Adjmax rjpojs (425 B.C.), but
here Aristoph. is evidently speaking with respect. Lamachus
was one of the three generals sent in charge of the Sicilian
expedition of 415 B.C. and was slain in a sally of the Syracusans
in the next year (Thuc. 6. 101). From Plutarch and Plato we
learn of his great physical courage, and we may assume that
some feat of prowess, or perhaps of strength, had won him a
name fit for Herakles or Theseus. The title is the more apt
here, since a ripws was generally understood as one of the semi-
deified dead.
1040. 89€V — d</)' od (sc. 'Ofiijpov) ; strictly ' from which
source.' So unde frequently = c& quo (of persons). According
to Ath. 347 E Aeschylus said ras avrov rpayu^dias refidxv ehai
tCov 'Ofirjpov /Ji€yd\(i)v deiirvwv.
diroiialajjievT], ' taking impressions ' (or ' copies '). Cf. Thesm.
514 avT^K/xay/uLa abv ('your very image'). The metaphor is
from wax modelling : cf. KijpLvov iK/xayeiop Plat. Theaet. 191 c.
iroXXds dpcrds kiroria-tv, 'represented (in poetry) many
types of excellence. '
1041. IlaTpoKXwv : in the Myrmidons. TevKpwv : probably
in the Salaminiae. 0vp.oX€<5vTcov : a w^ord of Homer (cf. Coeur-
de-Lion).
1043. ^atSpas : as Euripides did in the Hippolytus.
Aristoph. elsewhere objects to such characters in tragedy
{Thesm. 153, 546). Aristotle {Poet. 15) similarly insists that
the characters should be xpV(^t^, but he would have seen that
the Phaedra of the extant Hippolytus is not simply vicious.
Doubtless the allusion is rather to the 'earlier Hippolytus'
(linrdXvTos Kokvirroixevo's), in which female passion was much
more fiercely dealt with.
29€V6poias. Stheneboea, wife of Proetus king of Argos, had
I044-IOSO NOTES 217
calumniated Bellerophon as Potiphar's wife did Joseph.
Euripides portrayed this woman in his Belleroplion and his
Stheneboea.
1044. cpwcrav. Positive passion in a woman was repulsive
to Greek sentiment. It is the motive of the piece in the
Euripidean plays above mentioned, but nowhere in Aeschylus.
His Clytaemnestra in the Agamemnon is represented as moved
chiefly by injured pride and a desire for revenge ; her passion
for Aegisthus is kept quite in the background. Plato {Rep.
395 d) forbids his poets to represent a woman ipCxrav.
1045. ov 7ap iTrijv ttjs *A<j)po8CTTis k.t.X., 'you bore no
stamp (or gift) of the Goddess of Love,' i.e. 'you had nothing
charming about you.' 'AcppodirT] is here first the divinity, and
next 'charm' (1021 n. and cf. venus). Lucian {Scyth. 11) has
T0ffa{>T7)v 'AcppodiTTjv iirl rrj yXibrrrj 6 veavidKOS ex^i. For iiriju
cf. Nub. 1025 <hs 7]d}j (TOL ToicTL XSyoLS (rdbcppov '^irecTTLv &v6os, and
e.g. ^irecTTL tlvl aldios, x^P*^? ^tc. [R. has ov8^ ^dp -fjv with a
difference of meaning, viz. ' you never enjoyed such a thing as
love.']
1046 sqq. dXX^ M roi o-ol k.t.X. Euripides had been
unhappy in both his marriages, and one of his wives was said
to have been guilty of infidelity with Cephisophon (cf. 944).
iroXX'^ iroXXov VtKaGfjTo, * she sat right heavily upon you.'
Cf. Eq. 822 iroWov d^ ttoXijp jxe xp^vov koI vvv iXeXrjdrjs, Nub.
915 Opaavs el iroXXov. In its origin the adverb iroXXov was a
gen. of price ('at great cost' or 'worth much.') With •iroXX'f|
cf. Eur. Hipp. 443 Kij-rrpLS yap ov (poprjrds, ^v iroXXr] pvfj, Thuc.
4. 22 iroXds iv^Keiro.
CTTtKaGfJTO : cf. Theogn. 649 S ^eiXr} irevLT), t'l eixotcn Ka6r)fihrj
&fioLs K.T.X. Well-known expressions of an overwhelming and
crushing power are ifiTriTveiVj i/n^abeiv, evdXXeadaL. To these
^TTiKadrjadaL ensues. Cf. Propert. 2. 30. 7 instat semper Amor
supra caput, instat amanti^ \ et gravis ipse super libera colla
1047. xar* o€v ^PaXev. So-called tmesis is not very rare in
Aristoph. (e.g. Ach. 295, Fesp. 437, Plut. 65), though usually
only a particle intervenes. It should be observed that, when
only odv (the familiar Herodotean S)v) is interposed, th^ verb
is always aorist, whether preterite or gnomic.
Tovrp yi toi St) : sc. iwoiriaev rj 'A<f)podiTTj ; ' that she did,
indeed.' Cf. Nub. 372 vi) rhv 'AirdXXo) tovto yk tol 8t] t^j j/vu
Xdyip ed irpoaicpvaas.
1050 sq. dXdxovs : a poetical word, allowable in anapaests.
218 THE FROGS OF ARISTOPHANES 1051-1054
and suited to the dignity of the remonstrance. There may be
an allusion to some actual case of suicide which had gained
notoriety. That any number of women should have drunk
hemlock because their sex had been shamed through the
Bellerophons ' whom you are always talking about ' (tovs crovs),
is of course highly unlikely, but it is quite possible that such
plays of Euripides had created unjust suspicions in certain
households, and that some Athenian Desdemona had felt her
Othello's behaviour so keenly as to commit suicide. [We are
not obliged here to discuss the question of the attendance of
women at the theatre, beyond remarking that they were almost
certainly present at the tragedies.]
1051. KcSvcia : the plural refers to the several instances
('doses of poison ').
1052 sq. "TTOTCpov 8* ovk ovra Xd70V tovtov k.t.X. : not rbv
\6yov rovTov, but lit. ' was it as an unreal story that I put this
(one) together concerning Phaedra ? ' Of. Soph. El. 584 (tktjxI/lv
oiuK odaau, ^vviBr]Ka combines the senses cmnponere and fingere
(of falseness, cf. ^{)vdeTos). Euripides, adopting a familiar
argument of the realist, disclaims responsibility ; ' the thing
was so, and I described it. ' The answer is that the choice of
subject lies with the artist, and that, if an ugly thing exists,
its existence is enough (and too much) without our obtruding
it in art. diroKpvTTTciv xp*^ tJ> irovnpov agrees with Aristotle
{Poet. 15), who objects to such a TrapddeLy/na irovqpias ijOovs fir)
dvayKatov as the Menelaus of the Orestes. In tov ye 'jroT]Tifiv
the particle implies that, whatever others may do, at least that
artist who is a moral teacher should beware of familiarising us
with such examples.
1054. •irapd'Y€iv : see eladyeLv 959 n. to irovqpbv is treated
as a character — an embodiment of baseness.
8i8d(rK€iv : either (1) teach the chorus as xopodiddaKaXos
(1026), or (2) teach the audience. The latter agrees with what
follows, while the former gives both a comparatively unim-
portant point and also a wrong chronological order to irapdyeiv
and dL8d(TK€Lv.
Tots \i.lv 7dp irai8ap£oi(riv k.t.X. It appears to have been
easy to slip into the error of rendering ' for children have {^ari)
a teacher, who (i.e. 8s, not Scttis) tells them.' [Blaydes even
makes the curious blunder of suggesting oo-tls <f)pd^ri = qui dicat,
for which the Greek is, of course, oVrts (ppdaei.] The correct
translation is 'for to little children whoever tells them (a
► thing) is their teacher, but . .' See 1009 n.
1056-1065 NOTES 219
1056. irdvv Bi\ k.t.X. : the particle sums up with emphasis ;
'yes, plainly . .'
AvKap-i^TTovs. Mt. Lycabettus is the most prominent
object in the immediate scenery of Athens, being a bold and
massive hill close on the NE. Aeschylus 'talks mountains'
with his prj/iaO' linrhKprjfxva (929).
1057. riapvdcrcrwv. The conjecture IIapvT|0a)v (Bentley
and Porson) is plausible, but not convincing, since the much
higher Parnassus was visible in Attica. [The -or<r- is supported
by Attic epigraphy (Meisterhans*'^, p. 75). ]
1059. |i€7aXwv Yvtoptwv . . tCkt€iv, lit. 'of great maxims
and thoughts one must bring forth the expressions also with
the same greatness. * For yv(o/jLai expected of a poet cf. 877 n.
didvoLa is one of Aristotle's six elements of a tragedy (the others
being /jlvOos, ^dos, X^^ts, Sxj/is, ixeKoiroda).
tCkt€iv : the mind is supposed to be in labour with these
great conceptions.
1061 sq. Tots ifJiaTCois k.t.X. To Aeschylus is attributed
the introduction of the long and padded tragic robe, the high
ifi^drrjs, and the imposing mask. Cf. Hor. A. P. 278 post hunc
(sc. Thespis) personae pallaeque repertor honestae \ Aeschylus
et modicis instravit pulpita tignis \ et docuit magnumque loqui
nitique cothurno. See Haigh, Trag. Drama of the Greeks, p. 68,
where he quotes Philostr. mt. Apoll. p. 220 (TKevoirodas ^yparo
elKacTfiivrjs toU tu)v Tjpiboju etdecriv . . iaS-fiixacri re wpCoTos iKoafJiT]-
(yev, d ■7rp6(T<popov Tjpojai re Kal rjpcoiaiv TjadrjadaL.
Tjfxwv : this is not a comyaratio compendiaria (i. e, for * than
our clothes '), but is entirely good Greek (though less frequent)
for ^ 7}iUL€?s. Cf. Flut. 558 tov HKoijtov irap^x^ ^eXriovas dv8pas
{ = 7) 6 nXoOros), Xen. An. 3. 3. 7 ol KpiJTes ^pax^repa tC}v
YlepffCov irb^evov.
1062. a(xov = a ^yitoG, in which d refers to both rd prj/jcaTa
and Tot9 ifjLaTLOLS, as is shown by ttowtov a^v (1063) . . dra
(1069).
1063. pdKt* ajtirwrxoav : 842 n.
1064. TOVT* o{)v ^pXa\|/a Tt Spdoras; i.e. ri odv ^^Xaxpa,
dpdaas tovto; Others read rather weakly ^pXa\|/d ti; 'did I do
any harm ? '
1065. oi;KO'uv IGcXci y€ k.t.X. The real reply would be
concerned with artistic principle, but it is time that the
comedian returned to levity, although the humorous answer
doubtless contains a political truth. *
220 THE FROGS OF ARISTOPHANES 1065-1071
oiJKovv . . 7€ : regularly with an intervening word (Neil
Append, to Eq. p. 195).
Tpt-qpapxcCv. Among the XriTovpyiaL imposed upon the rich
the TpLT]papx^cL would be the most frequent during the critical
times of the Peloponnesian war. The ship and tackling were
supplied by the state, their material upkeep by the Tpi-fjpapxos.
With the reduction of wealth during the war it became neces-
sary to associate two persons in the duty {avvrpLrjpapxoi).
The first recorded instance of this practice dates from the
year of this play (Gilbert, Greek Constitutional Antiquities, p.
370, Eng. tr.). In Antiphanes (Jr. 204) the elacpopd, x^PVl^^^
and TpLrjpapxioL are complained of, and it is said x^PVy^^ alpedeis \
IjULOLTLa xpucra irapacrx'^v rdp x^PV P^kos (popei.
irXovTwv = AcaiVe/) ttXovtCov.
1066. ircpuXXop.cvos. The pres. particip. is generic or
frequentative, and should not be altered to irepuXafjiepos (with
Cobet). The Mss. vary in their spelling (e.g. ircptciXX-,
ircptciX-). It is at least certain that -etXew is late and out of
the question. The choice lies between -etXw and -iWu), the
latter being (so far as MS. evidence goes) preferable in the
sense 'roll.' In Mtb. 762 the best MS. has iXXe, the rest etXXe.
[For discussion see Klihner-Blass ii. p. 412, Rutherford, New
Phryn. xxii., Jebb on Soph. Ant. 340 (Appendix).]
1068. Trap a TO vs Ix^^s dv€Kv\|/€V : gnomic; 'he pops (bobs)
up alongside the fish '= 'at the fish-market.' The part of the
market in which an article was sold commonly went by the
name of that commodity, e.g. ra dXcptra, 6 xXwpo? rvpds, al
Xvrpai, 6 olvos (see Pollux 9. 47). Cp. Vesp. 789 dpaxP'W • •
dL€K€pfiaTi^€T' iu rots IxOvcriv, Eupol. fr. 304 irepirfKBov els to,
(TKopoda /cat ra Kpdfifxva | Kal rbv Xi^avoirbv k.t.X. Fish was
the favourite luxury {6\I/op) of Athens, and to purchase fish
freely was a mark of the o^ocjidyos rpvcpCbv. There is a special
humour iu dveKv\|/€v, which is itself used of fishes (Plat. Phaed.
109 e). At Athens marketing was done by the men them-
selves, a slave being usually in attendance to carry home the
purchases.
1070. €|€K^vci)<r€V Tols T€ iraXato-Tpas. Logically t€ is situ-
ated as if some other 'emptied ' place was to follow, e.g. /cat rd
yvfivdata. The result is a real ' trajection ' of the particle.
Cp. 1009 n.
1071. Tovs TrapdXovs : the crew of the state galley called
the HapaXos, of which both the oarsmen {ipirai) and the
marines {iin^dTaL) were necessarily freeborn Athenians. These
were the pick of the navy and received somewhat higher pay.
I07 3-1084 NOTES 221
The Paralus, like the Salaminia, served either as warship or
on special missions (e.g. with dispatches, the ^6pos, etc.).
The crew were always strongly democratic (Thuc. 8. 73). We
do not know the circumstances to which Aristoph. is alluding,
but there may be some reference to Arginusae, where, according
to Diodor. Sicul. (13. 100), the men did avTiXiycLv irpbs rrjp
avaipeffLV tQv veKpCov.
1073. |xatav KaXeVai, 'call for barley cake,' the staple
article of diet, composed of d\<pLTa mixed with oil and wine
(Thuc. 8. 49 and Hesych.). So ra d\(f)LTa = ' out daily bread.*
This use of KoXelv tl is comparatively rare, but cf. Aesch. Cho.
651 iKirepafxa dw^icLTwv koXoo, and a similar use of ^oau tl
{Av. 60, Find. F. 6. 36, Soph. Track. 772). It was probably
derived, not from the frequent KaXeip nva (of a person), but
from a brachylogy Kokiaai ^ fia^av (dSre).' Cf. Vesp. 103
K^Kpayev ' i/x^ddas,' Xenarch. /r. 7. 13 ^og. 54 ris ^vdcap v5u)p.'
pvuirairat, ' ye-ho ! ' the rowers' cry on beginning (^/xjSdX-
\€Lp). In Vesp. 909 to pvTnrairaL = Tb vavTLKbv^ and in Eq. 602,
when the horses (i.e. the knights) row, they appropriately call
out iTTTTaTrat.
1077. vvv 8' dvTiXc-yei. The abrupt change to the singular
is rather frequent. Cf. Vesp. 553 Trjpova eirl ToiaL 8pv(pdKTois |
dvbpes fJLeydXoL KalTeTpaTrrjx^i'S' KdireiT evdbs irpoaibvTL \ ejx^dWei.
fjLOL TTjv x^^p' oLiraX-qv (with Starkie's note).
'Tr\€t 8€vpl k.tA. : not as the wind carries them, but as they
keep changing their minds.
1079. TTpoaYco^ovs. In the extant plays of Euripides the
name might be applied to the nurse of Phaedra in the
Hippolytus. Handling such matters was considered so charac-
teristic of the poet that in Thesm. 1172 sqq. he is himself
made to act the part of a ypavs irpoaywybs.
1080. TiKTOvo-as K.T.X. : like Auge in the lost play of that
name. Such an occurrence was prohibited [Lys. 742).
1082. <|>a(rKov<ras ov \r\v rh Xf\v. In his Polyidus and
Phrixus respectively Eur. had such sentences as tLs 5' oUev el
Tb ^7]u fjiiv i(TTL KaTdaveiv, \ Tb KaTOavelv bk ^p KaTco POfii^eTai ;
(quoted by Plat. Gorg. 492 e) and ris 5' oXbep el ^ijp tovO' 6
K^KXriTaL daP€?p, | r6 ^tjp d^ OprjcTKeLP icTTi ; "We do not know
what female characters may have used these or the like ex-
pressions. A humorous recoil is made on the author infr. 1477.
1084. viro-ypafjiiiaTlcov. The word is elsewhere also used
with contempt (Dem. 415, Lys. 186). The schol. is probably
'right in his comment jQv ypafM/maTeijeip ^ovKofj^ivdiv kqll fxri
/.._,
222 THE FROGS OF ARISTOPHANES 1084-1094
(TTpareijeaOaL, Certain civil servants naturally escaped military
service. While a ypafifiareds of the higher sort was an officer
elected by lot or by xei/)OToi/ta for a certain period, the viro-
ypoLiJ^ixare^s was either a slave or a citizen of inferior standing,
who served as paid iinder-clerk, doing the actual amanuensis
work. They, of course, acquired a special expert ability which
made them in demand, and, though they could not serve in
the same clerkship twice, they could probably find similar
employment continuously. Demosthenes {de Cor. 314) taunts
Aeschines with having been a ypa/jLfiareiJS (i. e. a vTroypafjLfiaTeiJs)
of this kind.
The influence of Eur. is alleged to have diverted men from
manly pursuits to take refuge in occupations requiring a poor
sort of smartness.
dveixeo-TwOT] : the vTroypafjLfiarijs are regarded as a sort of
plague or disease. Cf. dvaTrXeus, dvairifnrXTj/jLi, avd/ieaTos.
1085. STUJLOiriGTiKwv : see 707 n., and, for the compound,
dTjfjLOKoXa^, diovvaioKoXa^, drjfiepacrTrjs. They ' play monkey to
the people.' Perhaps also there is a play upon irddeLv rbv
dij/jLov.
1087. Xa(jLTrd8a : 131 n.
1089-1097. Part of the humour of this passage would lie in
the fact of Dionysus singing in the metre and tune of Aeschylus,
while dropping into a trivial anecdote.
1089. €ira<|>'qvdv6T]v . . ^eXwv : i.e. 'I laughed at it till I
cried all the moisture out of me.' Cf. Xen. JSymp. 3. 24
dixl/cojULev iirl aol yeXCovres.
1092. XevKos irioDv : cf. Sosicr. {Com. Frag. iv. 591) Xeu/cos
dvOpuiTTos Traxvs, Hor. Sat. 2. 2. 21 pinguis vitiis albusque.
1093. Seivd iroicov, ' making a terrible exhibition of himself,*
while deipd iroLovfjievos would express the state of mind ('terribly
put out'). As stated by Dobree deivd TroLetv = tumultuari, 8.
TTOLeiadaL = indignari.
01 Kcpajxfjs : the people of Cerameicus. For the topography
cf. 129 n.
1094. Iv raio-t irvXais : the AiirvXov or KepafieiKal inuKai
(also called QpLddtaC). It appears from the schol. that the
young men of Cerameicus stood at the gate and slapped the
hindmost runners with the flat of their hands. Hence came
a proverb KepafieiKal irX-qyai. From the same source we learn
that in the first edition of the Plutus there occurred the words
tCov \ainradrj(f)6po3v re irXeiaTOP aiTiav roh vardroLS TrXaretwj'.
1096-1114 NOTES 223
1096. raia-i irXarciais : sc. xepci. Gf. TroXiat (sc. rpixes)
and 191 n. The article signifies 'the usual ' proceeding.
1097. <|>vo-wv : to keep it alight. ^<|>€V7€ : not = ^rpexe^,
but ' ran away ' from his tormentors.
1099. 'irpSiy[i.a = causa (cf. 759).
1101 sqq. ^Tttv 6 p.€v . . : sc. Aeschylus. The terms which
follow are military: tcCvx) ('press hard '), €'iravao-Tp€<|)€tv ('wheel
to the counter charge'), lirepeiSco-Gat TOpws ('attack smartly,'
Eq. 244), €V ravTw Ka0f](r0ai ('remain inactive ' or 'entrenched,'
Thuc. 5. 7), €l<rpoXaC ('ways of finding an opening.' Cf. 956).
TOpws : cf. Plat. Theaet. 175 E ropdos re kol o^^ws diaKove'Lv.
1106. ^TTiTov, ' make your attacks ' {^(podos).
dvtt 8€ 8€p€Tov. See crit. n. For the tmesis cf. 1047.
The common emendation is dvoi 8' ^p€(r6ov (from dvepeaOaiy
'cross-question'), but this is flat and does not account for the
corruption. If dvd . . Seperov is correct, there is a colloquial
metaphor, 'take the skin off your (devices) new and old' =
'furbish up' your skill. There is, of course, a zeugma, since
dvad^peLv strictly suits only rd TraXaid, while with rd Kaivd we
must supply e.g. irpocpeperov.
1110. «s . . p.*^ -yvcovat. Aristophanes would not use ws
for ware in ordinary dialogue. It occurs once in Thucydides,
seldom in Plato, but is common in Xenophon, as in poetry.
See Goodwin, M. and T. §§ 608 sq. In reality Aristophanes is
perhaps a little doubtful as to the appreciation by the audience
of the coming discussion. He hopes it will live 11 p to this
compliment. Cf. Eq. 233 to yap dearjiov de^idv. rd XcirTa,
'your subtleties.'
XcYovToiv : gen. absol., *when you say them.' This and
similar passages, e.g. Nub. 810 aif 5' dvdpbs iKirerrXriyiiivov . .
yvoi)s dTro\d\j/€LSi should not be quoted as examples of a gen.
after a verb of knowing.
1112. ovK ^0* oiJTOD ravT* ^x€t. It is commonly supposed
that there is an allusion to the failure of the Clouds in 423 B.C.
But this was surely too long ago, and the words are sufficiently
explained in what follows.
1113. €(rTpaT6vp.€voi "ydp €l<ri, ' they have seen service ' (and
therefore can judge of tactics). [The expression was perhaps
also proverbial of one who has seen the world and learned
'what's what,' in the same way as the dv7]p iroWd irepi-
ireirXevKd^s of 535 n.]
1114. pipXiov T* ^^«v. Perhaps we may guess that some
224 THE FROGS OF ARISTOPHANES 1115-1124
small book of military exercises and tactics had recently been
issued (a sort of soldier's guide) and that Aristoph. has been
leading up to an allusion thereto. [The idea that at a second
performance of the Frogs the piece was already (with marginal
references) in the hands of the audience, and that the present
passage belongs to the second edition, seems highly im-
probable. ]
1115. at <|>vo-€is, ' their natural abilities ' ; cf. 700.
&XXci)S, ' in any case ' ; cf. Aesch. Cho. 676 iirelirep dWcjs, &
^iv\ els "Apyos Kiets.
1119. Iir' avTovs tovs irpoXi^Yovs <rov, *your very pro-
logues,' i.e. to begin at the very beginning. In the later
technical phraseology the irpdXoyos is defined (Arist. Foet. 12)
as fi^pos bXov Tpayifdias rb rrpb x^P^^ irapddov, but the word
is here used in the very natural sense of the ' speech setting
forth the circumstances' (7/ (ppdaLs rCbv irpayimdroop 1122).
This line is addressed to Aeschylus ; at the next line Eur.
turns to Dionysus and explains his procedure. Hence avrov
in place of aov.
1120 sq. Sirws . . Pacraviw. It is an idiom almost peculiar
to Aristophanes (in Attic) to use Sttws with fut. indie, in a
purely final clause, when no verb of striving, precaution, or
command has preceded or been implied. It is, of course,
possible to supply mentally after Tp^\|/o|iat such a participle
as (TkottCjv, a-rrovdcL^cov,' or irpaTTiav, but this is to strain the
rule. Of. Vesp. 529 5et rt XiyeLP Kaivbv, Sttojs (pavrjaei k.t.X. :
Fac. 431 vTrex^ rrjv (pidXTjv, Sttws | epyip '(pLoKovjuLev : Fed. 783,
etc. There are a few instances in the tragedians of the neg.
dirws firj similarly used (Klihner-Gerth ii. p. 384. 4).
avTOv depends on ttjs rpa-ytoSCas.
1124. Tov ej 'Op€<rT€ias, 'the prologue from the Orestea.^
For the omission of the article cf. 1026 n. The lines actually
quoted are some of those lost in our mss. from the beginning
of the Choephori (see appendix to the present editor's edition of
that play). There is no doubt whatever as to their proper
place.
Strictly *Op€<rT€ta (sc. StSac/caXia or Troirjais, cf. AvKotjpyeia,
Oldnrbdeta) was the name given to the set of plays dealing
with the Orestean story, viz. the trilogy of the AgaTiumTwn^
Choephori^ and Ftimenides. But since Orestes only becomes
the principal character in the two latter, and makes no appear-
ance in the first, it was natural that the Orestea proper should
be regarded as beginning with the Choephori. Hence Eur,
means * the prologue frgm your story of Orestes/
II26-II34 NOTES 225
1126. 'Epfif] \06vi€. K.T.X., lit. 'Tliou Nether Hermes, in
stewarding powers (or commands) that are thy sire's, be my
preserver and my ally, at my prayer. For I am come to this
land and am seeking my return (from exile).'
At the opening of the Choephori Orestes, who has come into
Argos secretly from his (virtual) exile, is standing upon the
mound which serves as the tomb of his father Agamemnon.
Upon or beside the rijfji^os (or x^l^^) stands an emblem of
Hermes. As xpvxoirofXTros, and intermediary between the two
worlds {KTJpv^ tG}v (ipoj re Kal koltcj Cho. 123) Hermes is
naturally addressed by Orestes in his Chthonian or underworld
capacity. As agent of Zei>s H^corrjp he is implored to aid
Orestes by using in his favour the powers of that ^ojTrjp.
The words are, doubtless, open to certain other interpreta-
tions, mostly captious, and it is on this score that Eur. charges
Aeschylus with dad(p€ia. Thus KpciTT] might also mean ' deeds
of strength' (cf. 1141-43), liro'irTeiicov might also mean
'witnessing,' irarpwa might refer either to (a) Zeus or (b)
Agamemnon, and, in reference to the latter the adj. in irarpwa
KpoLTt] might represent either the subjective or the objective
gen. (power exerted ' by ' or * over '). But the whole discussion
is intended to lead up to certain jests, and the criticisms are
strained for that purpose.
[It is common to punctuate 'Epjifj xQovn, irarpw* liroirTcvcDv
Kparq, | o-wT-fjp k.t.X., making the participle vocative. It
seems more pointed and compact to join it with the predicate,
as in the rendering.]
1130. dXX* ov8€ TrdvTa 7* ccttI ravr* dXV i^ TpCa, 'but the
ivhole number of them is only three.' The line (like the first
part of 1129) should be given (as by Bergk) to Aeschylus, as
1132 appears strongly to show. The exact reading is uncertain
(see crit. n.). There has obviously been some displacement,
and the arrangement in the text is here given on the ground
that TttOra bears no stress, while ovSc iravTa y gives precisely
the emphasis required. For dXX' ij cf. 227 n.
1133. TTpbs Tpwrlv lafjLpeCoio-L k.t.X., lit. 'you will not
only owe three iambic lines, but will be in debt besides.' If
each line contains twenty faults, the lines have more faults
than words. If each fault is to be regarded as something to
be paid off (cf. t6 pXd^os 1151 n.), then Aeschylus must pay
away every word in the lines and still owe for faults. His
assets become a minus quantity, and he is left with liabilities.
['7rpooro<j)€iXa)v must not be confused, as it is by some
editors, with 7rpo(ro0Xc6v. ]
1134. €70* a-Kotru t«8 ; ' am I to be silent t o please him ? '
226 THE FROGS OF ARISTOPHANES 1136-1144
(or 'at his bidding'; ; cf. 1229, Lys. 530, Livy 3. 41 negant se
iwivato retlcere.
1136 sq. opas Btl XT]p€ts ; k.t.X. Aeschylus retorts 'Don't
you know you are talking rubbish ? — However, little I care ! —
How do you mean, etc.' It is hard to see any objection to
this arrani^ement, whereas the distribution of the words be-
tween various speakers, with oXiyov ye /jlol fieXet given to either
Eur. or Dionysus, results in inanity. [The emphasis is, of
course, on oXi^ov [xeXci, not on (aoi.]
1138. 'Epfifj x9ovi€ K.T.X. It is an error to place a stop
after these words. The sense is not completed. Euripides is
waiting to pounce upon details, and he descends on the first
possible ambiguity.
1138 sqq. Euripides chooses (1140-1143) to make iraTpwa,
in Orestes' mouth, mean 'm^ father's' (Agamemnon's), and
KpdTT] =' deeds of strength,' whereupon his criticism amounts
to this : ' Doesn't Orestes say this at the toynb of liis father,
the father being deadV (The Greek is not rov Trarpos tov
redveCoTos.) Aeschylus replies 'I'm not denying it.' 'Then,'
asks Eur., 'was it liow his own father perished violently ^ By
stealthy guile een at a too7nans hand ' — I ask, was that what
he said Hermes stewarded?': i.e. Eur. urges that, since Orestes
is speaking at his own father's tomb, irarpwa should naturally
refer to that father, and the Trarpwa KpaTT) are 'deeds of strength
done upon his father ' (by Clytaemnestra).
1142. avTov : ipsius, in the emphatic place. This line and
the next are tragic in metre and diction (as in €k for viro), and
at least ^k yvvaLKeias x^pos 86\ols \adpaioLs has the appearance
of a verbatim quotation, probably from Aeschylus himself
(and possibly from the lost lines of the Choephori). We must
suppose the words to be mouthed tauntingly.
1143. 80X01S XaGpaioLS. Hermes, being the god of stealth
(§6Xios), might naturally be supposed to steward this action of
the murderess.
1144 sq. ov Sf|T* Ikcivos, 'not he, indeed,' i.e. Orestes
meant nothing of the kind ; cf. 788 n. tov epiovviov :
i.e. not r6^ doXtov, but 'the luck-bringer.' The word is prob-
ably derived from ipt-Foa-v-Lo-s ('bringing much profit'; cf.
u3vos = F(j}(j-vo's) and in that case is akin in sense to efnroXaios,
K€pd(^os 'Ep/iirj9. [If late grammarians sometimes explain by
KaraxdovLos, vttoxOovlos, such a notion could only arise after
the etymology had been lost and the meaning merely guessed
at in connexion with 'EpjuLTjs x^^^'-^^ or Troinratos. It simply
1146-1155 NOTES 227
shows that ipcovpLos came somehow to be specially applied to
Hermes in his Chthonian character.]
Render, ' but it was the Luck-hringing Hermes Chthonius
whom he addressed, and he went on to show it, by saying that
he possessed the function as a prerogative from his sire,' i.e.
'in addressing Hermes Chthonius as holding a function from
his sire (the Olympian Zeus) he is necessarily appealing to him
in his benign character of ipLovvtos, for that is the only trait
in which the Chthonian Hermes can be said to represent his
father.' [It is much inferior to construe 'he called the
Eriounian Hermes "Chthonius."']
1146. oTii*! Trarpwov k.t.X. : not tovto to yepas, but Trarpwov
7€pas is predicate.
1148 sq. €1 "ydp irarpwov k.t.X., 'for if he possesses his
underground function from his father — . ' Euripides was about
to add ' then his father must be Chthonian, and you are making
Hermes the son of Zei>s KaraxOovios or Pluto.' But Dionysus
breaks in with a specimen of his own literary and logical
acumen, 'then he must be a grave-robber on his father's side,'
i.e. 'if Hermes got from his father his business of going imder-
ground on errands of gam [ipiovvLos), then his father must have
been a grave-robber. '
1149. TVjxPcDpvxos : here = d roi)? tv/ul^ovs diopvTTOjv ; cf.
Toix<^p^X^^' The usual meaning is ' grave-digger ' (6 r. r. dp{>TTwv) ;
but cp. Sext. Emp. adv. Math. 7. 45 Tv^^u}p{>xos Xiyerat Kai 6
iirl Toi)s v€Kpoi>s tovto irpaTToiv (sc. digging).
1150. -n-Cvcts otvov ovk dvOoo-fxiav. Aeschylus turns upon
Dionysus and tells him in one phrase that his judgment is that
of a drunkard and his breath unpleasant, for which reason he
had better not give the company too much of it. oLpdoajuLias
was wine with a bouquet (evojdrjs) ; cf. Xen. Bell. 6. 2. 6
^<f>aaav tovs (rTpaTtdoTas els tovto Tpv<p7js iXdeiv CbuT ovk idiXeiv
TTLveiu, el /JLT] dvdo(T/jLias eirj, Verg. G. 4. 279 odorato Baccho.
See Athen. 32 a.
1151. \v{ ^Tcpov : sc. ^TTos. TO pXd|3os : not 'the
fault ' (which is too weak for the word), but figuratively, * the
damages ' to be paid ; cf. 1133.
1154. 6 <ro<|>bs. Like doctus, (T0(p6s was a stock epithet of
poets, who were supposed to possess, not only literary skill and
taste, but knowledge of all sorts and wisdom fit for ypQ/xai ;
cf. 1413, Nub. 520, Dem. 419 r(? o-o0y 2o0oKXet. Here the
question is of literary culture.
1155. TO pfjp.', 'the expression' ; cf. 821 n.
228 THE FROGS OF ARISTOPHANES 1155-1165
I7W 8^ <roi 4>pdcra> : i. e. Aeschylus need not repeat it, ' /
will quote it ' (and of course he does so with sarcastic emphasis).
[Not ' I will explain, ' which misses the force of eyib. ]
1157. "TJKciv" 8€ TavT(5v IcTi T« "KaT€pxo|iai," 'is the same
as your Kar^pxo/JiaL.' To this Aesch. makes the obvious reply.
The distinction is quite familiar. Why then does Eur. cavil
at the words ? Simply in order to lead the comedian up to the
retort (1167 q.v.). The completed action in i\K<a is also to be
distinguished from the incomplete in Kar^pxofJ^aL. Orestes has
arrived, but is only 'trying to get back (i.e. restored) from
exile.' Even had there been an accumulation of practically
synonymous words Eur. should not be the man to object ; cf.
his own ^TTiard/jiecrda /cat ycy vibaKOjULev {I. T. 490, Hipp. 380).
1159. XP^°"°v ^^ [idKTpav . . KcLpSoTTOv. The two words
being synonymous, we must understand this to be a current
form of Attic cheap witticism (as if one said ' Lend me a
sovereign, or, if you prefer it, a pound will do as well') ; cf.
Pherecr. Her. 7 Trpbaaipe rb Kavovv, el de jSoi^Xei, Trpoacpepe.
1160. KaT€(rT(ojj.vX}i^V€ : addressed to Euripides. The word
is the passive of Karaa-ToofiijWio rather than the middle and-
' bemused with small talk.' For this use of Kara- cf. 361 n.
1161. TaiJT*= TO avTo. Lit. 'that (which you are talking
about) is not a case of the same thing (over again) ' = tovto
\iyeLV ovKiarl \4yeiv rb ai>r6. Cf. 1173 sq.
dXX* &pi<rT* c-irtov 'i\ov : either (1) 'but the most excellent
of verses,' i.e. ^x^^ dpcara iirCou (Trdvrcov) = dpiarov 6v inQv, after
the pattern of e.g. ddXicbrara dvOpibiriav ^%w = d^Xitoraros et^t
dvdpibiriov ; or (2) ' excellent in respect of phrasing ' ; cf. ed
(ppevcov '^x^Lv. The latter narrows iirQv to the sense which is
non-comic. See 1181 n. For 'itrr . . i\ov ; cf. Pac. 334 ^cr'
dvayKalws ^x<^v, Plut. 371 iffrlv . . iripws ^x^v, and so frequently.
1163. IXOeiv jx€v K.T.X., ' (simply) to co7;zc into a country is
possible for the man who has a share in a fatherland. ' The
language and metre are tragic in the mouth of the tragedian ;
hence the use of Htw [WttJ for Sry hv /xerrj and the poetical
TTCiTpas for Trarpidos.
1164. \<ap\s . . AXX-qs <n)fJL<|)opds, ' without any misfortune.'
jvfjicpopd (cf. calamitas) is frequent for loss of status {drifxia,
exile, etc. ). The idiom of the redundant ^XXos is well known.
In its origin it = ' else, ' ' over and above ' the matter in hand,
'otherwise to be considered.' Cf. Eur. Med. 298 x^P^^ y^P
dWrjs ^s '^x^^"^^^ dpyias \ (pdovov wpbs darCbv dXtpdvovai dvafxeprj.
1165. ^€vyu)v . . KaT€pX€Tat k.t.X. : cf. Aesch. Ficm. 465
II66-II72 NOTES 229
/fd7tl; KareKdCov top irpb rod (pe^ywv xpot'o^', and the words Kadodos,
Kardyeiu, Karadex^o^daL.
1166. vi\ Tov 'AttoXXw : the god of letters, as 1169 v^i tov
*Epp.f]v, the god of hiterpretation. See Introd. p. liv.
1167 sq. ov <|)Tj(xl K.T.X. To treat this as a genuine critical
objection is to misconceive the manner of comedy. There is
beyond doubt a political allusion to some contemporary, who
has ' come back ' to Athens without formal allowance by ' the
authorities.' This was not precisely what had happened in
the case of Alcibiades, who in 407 B.C. had been elected
cTparriybs though considered an exile (Xen. Hell. 4. 8). He
had come back with considerable apprehension (ibid. § 18), but
not \d6pa. Nevertheless there may be an allusion to this
unconstitutional proceeding. When Dionysus joins in (1169)
with ' Capital, i' faith ; but I don't understand what you
mean,' it is to be understood that he understands perfectly.
At the some time the answer is intended to satirise popular
applause, ' Excellent ! not that I presume to understand it. '
1168. ov TTiOwv Tovs Kvpiovs : an old legal formula, otherwise
ireiaas is the current Attic aorist.
1170. ir€paiv€ : a word frequently used of saying out one's
say, whether in narrating or quoting ; cf. PluL 648 iripaive
Tolvvv 6 TL \^yeLS avijaas irore, Aesch. Pers. 700 firj tl fiaKiarTJpa
ixvdov dWa (jdvTOixov Xiycav \ etV^ Kal irepaive iravra, S. c. T. 1042.
1172. tvjjlPov 8* CTT* 6\Qfa k.t.X. We cannot be sure that
these are the very next words in the Choephori. Euripides
only quotes such lines as suit his (i.e. the comedian's) purpose.
Orestes stands on the tomb, as a Krjpv^ regularly stands on a
^rjixa or on rising ground (cf. Verg. Aen. 5. 44 tuimUique ex
aggerefatur). The full meaning is 'upon this for my mound,
the mound of a tomb, I proclaim — 't is to my father — to hearken
and give ear.' The synonyms form no mere tautology, but
add solemnity or insistence ; cf. Thesin. 381 alya aiihira, Eur.
Tro. 1303 k\ij€T€ fiddere. But the difference in tense should
also be noted, and oiKova-ai (cf. viraKoveiv) suggests the notion
of responding. From e.g. Aesch. P. V. 464 kXvovt€s ovk tjkovov,
Eur. Phoen. 919 ovk ^kXvov ovk iJKovaa it might perhaps seem
that when the words are juxtaposed k\v€lv refers to the ear
and dKov€Lv to the mind. But our own 'hearing, they heard
not' will show that the distinction is rather drawn from the
tone and the oxymoron than from the actual words. This is
borne out by e.g. Sappho, fr. 1. 5 et irora Kdrepura \ rds ifxas
avdojs dioLaa irrjXvL \ €k\v€S, Aesch. Ag. 685 Toaavr aKovaas
t(T0L TdXrjdrj kXvojv.
230 THE FROGS OF ARISTOPHANES 1175-1182
1175 sq. T€0vi]Ko<n.v. Dionysus again represents the naive
popular understanding of a literary point, and is highly
* pleased with his own perverse perspicacity. ols follows
Xc-yovTcs, since e^iKvovjicOa in this sense would require the
genitive. For the notion (of addressing the dead e// rpirots
irpo(T(f)d€yixa(TLv or the conclamatio) of. Horn. Od. 9. 65 irpiv
TLva tQ)v beCKCov erdpcop rpls iKaarov dO(Tai, Verg. Aen. 6. 506
magna Manes ter voce vocavi.
1179. €|a) Toii Xd^ov, 'irrelevant' ; cf. Arist. Poet. 14 rd, ^^w
rod dpa/JLaros.
1180. ov •ydp . . dXX' : 58 n.
1181. Twv o-wv TrpoXd^cov k.t.X., lit. 'the verse -correctness
of your prologues.' Such double genitives, one defining or
descriptive and one possessive, are frequent ; cf. Aesch. Cho.
182 Kapdias KXvddbviop | X^X^s, Soph. M. 681 'EWddos irpbaxVP-'
dyCovos. [An accumulation of genitives occurs in Thuc. 4. 10
06j3cfj veCov deiporrp-os KardTrXov,]
TTJs 6p06TT]Tos TWV €7r«v. Thcrc may be a direct allusion
to the dpdoeireia cultivated 'by Protagoras and referred to in
Plat. Phaedr. 267 c. The exact use of the term in connexion
with that sophist is disputed (see Thompson, ad loc), but
Dionys. Hal. {Dein. p. 1035) calls Plato himself Kavwv opOo-
eireias in respect of his 'pure style,' and the word naturally
suggests the sense 'correct expression.' Here also, of course,
it is ' correct expression ' which Aesch. is testing, but (so far
as exact rendering of the Greek word goes) ^irr} cannot in
comedy simply mean 'expressions.' The sing, ^ttos in occasional
phrases retains its old sense (e.g. in ws ^ttos elirelv, ovdh -rrpos
eiros, etc.), and a compound like opdoeireLa, eveirris^ is legitimate
as = TO opdujs elireLu, ed elirelv dvvdfievos. But in current Attic
^7r77= 'verses,' though here, it is true, they are looked at
primarily from the standpoint of their language, as in Nub.
638 irdrepa irepl ixirpwv rj pvOjxCjv ^ irepl iirCbv ; The best com-
ment is the passage in Plat. Prot. 338 e i}yovfiaL . . dvdpl
iraideias ixeyLarov jmepos eTvai irepl eirCov betvov elvat' '^cttl be tovto
rd virb rCov TroLrjrQv \eybixeva olbv r elvat ^vvievai d re cpdQs
TreTroLTjTaL /cat d firj. Protagoras' contemporary Prodicus of Ceos
also devoted himself particularly to correctness of diction and
expression.
1182. ^v GlSiTTOvs K.T.X. The beginning of Euripides'
(lost) Antigone. In to irpwTov and €v8a^p.«v is meant the ' first
])rosperity' as Theban king before the dreadful revelation.
Aesch. presses the words in a rigidly literal sense, 'at the first,'
and ' with a good genius.'
1184-1192 NOTES 231
1184 sq. 6vTivd 76. . , ' seeing that he . . '
TTplv <(>vvat . . irplv koX "^iyovivai : a deliberate and effective
repetition ; ' before he was born . . beloie (I say) he so much
as existed.' Aesch. appears to be glancing at Euripides' own
words in Phoen. 1595 cD ixoip, dir* dpxv^ ws /><-' €(pvcras aOXiop \
. . . \ 8v Kai rrpiv is (pCos fJLTjrpbs e/c yovijs fxoXeTv \ dyovop 'AttoXXwj/
AacXp fi ideainae \ (povea yevecrdat irarpos.
<j)\)vat [ilv . . There is no sudden interruption by Eur. to
explain the absence of the 5^-clause. Aesch. finishes his
criticism (1186). But, except for such interruptions, fxev
solitarium is restricted to pronouns and a few recognised
phrases, e.g. oT/^tac fiev or ovTwcrl julcv dKovaat (Kiihner-Gerth ii. p.
272). Blaydes therefore is probably right in suggesting irpiv
'7r6<j)VK€v' (for the elision see Introd. p. xli). If ^vvai fih is,
after all, correct, we must suppose that Aesch. interrupts his
own thought (which he resumes at 1189 sqq.) with the insistent
irplv Kal -yc-yove'vai ; i.e. he was about to say e.g. irplv (pvvai fiev
. . elra 5e i^eTeOr) Iv 6(Trpa.K<j^ k.t.X., but the temptation to
repeat the notion of Trplv <pvvaL has diverted him from his
course.
1188. ov 8f]T : sc. eyhero ddXubraros. ' No, he did not
become most miserable ; rather say he didn't stop (being
most miserable).'
1189. 6t€ 8^: causal { = quandoqiudem). Cf. Eq. 1112,
Dem. 1. 1 6t€ rolvvv ravd' ovrcjs ^X^*? irpoarjKei irpodvfiojs edfKetv
dKovetp.
TTpwTov : with 'Y€vd}JL€VOV ( = evdius yevofievov). [Not TrpG)Tov
ixkv 'in the first place,' which leaves yevofxevov extremely flat.]
1190. l|€0€o-av €V oo-TpaKO) : the exposed child was commonly
placed in an earthenware x^^P^^ for which 'oarpaKov is here a
contemptuous substitution. In Hdt. 1. 113 we have simply
a77os. Aesch. {fr. 122) used x^'^P'-^^'-^ iii ^^^ Lains. Cf. Vesp.
289 eyxvTpLeTs and commentators there.
1192. rjppT^o-cv, 'went with a mischief upon him.' The
mischief in eppeiv may be either one which we inflict on others
(e.g. Eq. 4 e^ ov yap eiarippTjaev els t7]v oiKiav \ ifKrjyds del
irpoaTpL^eTat toIs ot/ceVais) or one which we aie ourselves doomed
to incur. But to the Greek mind the latter involves the
former, and the unlucky man is requested diro-<f)deip€<jdaL and
not to 'wipe off' {e^oixopyvvadaC) his ill-luck on liis neighbour.
Cf. (pOeipeadaL, eKcpOeipeadai Trot or irpos nva. Av. 916 Kara ri
deup' dv€(pOdpr)s ; Eur. Andr. 708 ei jultj (pdepy rijad* ds Tdx(.(rT'
dwb ariyrjs.
232 THE FROGS OF ARISTOPHANES 1 192-1202
olStov T« irdSc. The story attempted to etymologise liis
name ('Swell-foot'). Cf. Eur. Phoen. 28 acpvpCbv aLdrjpd Kevrpa
dtaireipas fiecrop, \ odev vlv 'EWas Covofia^ev Oldlirovv. It should
be remembered that irovs can be used of the whole leg, just as
X^lp can be used of the whole arm. [The oracle went that
Laius, king of Thebes, should be slain by his son, if he had
one. Oedipus was born, and, to prevent the fulfilment, he
was exposed upon Mt. Cithaeron, with his ankles riveted
together. But he was taken up by a herdsman, carried to
Corinth, and brought up by King Poly bus. Having journeyed
to Delphi to inquire as to his parentage, he accidentally met
Laius, whom he slew in a quarrel. Proceeding to Thebes he
solved the riddle of the Sphinx, married the wife of Laius (his
own mother), and became a 'prosperous' king. When the
truth was discovered he blinded himself.]
1195 sq. €v8aip.a}v dp* ^v k.t.X., lit. '(if he was cvbalfxwv
in that case) then he was evbalixoov (also) if he was one of the
colleagues of Erasinides.' There is no equivalence here of ^v
with ^v dv. The particle -ye throws stress on the unhappy
notion of rb crparriyeLv fier' 'Ep. The allusion is once more to
Arginusae. Erasinides was the first of the arpaT-qyoi to be
attacked (by Archidemus, sup. 418). Six of the ten were put
to death (Xen. Hell. 1. 7).
1197. XT]p€ts : addressed to Aeschylus. Cf. 1136.
Tovs irpoXo^ovs KaXovs iroiw, ' I com^^ose my prologues in
good style.'
1198. KttT* ^iros, ' verse by verse. ' kvCo-w, 'nag at.'
1199. <ri>v TOi(riv Scots : either this or avv deols (the old, and
therefore anarthrous, phrase) may be used, but the fuller and
more solemn expression is juxtaposed for humorous purposes to
the following trivial notion of a XrjKijdLov. In the sing, the art.
is regularly omitted when no special deity is meant ; yet Soph.
Aj. 383 avv rip Oeip (Jebb, n.).
1200 sq. dirb XtikvOCov . . 8ia(|>6€pM, ' I will ruin your
prologues with (nothing but) one little oil-flask (to work with).'
For airo of the stock-in-trade cf. 121 airb kolXo} koL Opaviov,
Thuc. 2. 77 dirb rCbv irapjvrwv beivCov eXeiu ttjv ttoXlv, 7. 67.
Kllhner-Gerth i. p. 458.
1202 sqq. iroiets Yoip oiirws k.t.X. The full humour of the
following dialogue is lost to us through our ignorance of
contemptuous colloquialisms, and also, we may believe, of
certain pastimes. Editors have been for the most part content
to state : (1) that there is an attack upon the sameness of
manner, both in metre and syntactical structure, with which
I202 NOTES 233
Eur. opens his prologues. This uniformity was such that at a
certain point of an early line both grammar and metre might
be completed by the addition of such words as X-^kWiov
oLTribXeaep : (2) that Aristoph. intends to ridicule Eur. by the
very triviality of the words used, as if such words were not out
of keeping with the style of the poet (cf. 959). There is,
however, nothing trivial in the real sentences of Eur.
subsequently quoted, and the comedian can hardly mean that
XrjKvdiov cLTTibXeaev Avould be an ending suitable to the style of
the beginning. We may, therefore, leave this second suggestion
out of the account. Undoubtedly the words chosen are meant
to form a farcical conclusion to a sentence, but Aristoph. is only
sliowing how easy it is to ' fill in ' always with the same absurd
formula.
Then why does he choose this particular class of diminutive ?
In the first place, it is to be feared, because the words Xt]ki>0iov,
KwSdpiov, OvXciKtov possessed a vulgar application, with which
he is playing to the gallery, in order to relieve what might
have been a tedious piece of criticism for a great part of the
audience (see 1109 sqq.). In the second place one may guess
with some confidence that the Athenians had a forfeit-game, in
which it was 'one to me' if I could fit on (Trpoo-dTTTciv) a
certain tag to something being said. In such a case the
winner cried * forfeit ! ' in some such expression as ' (you have)
lost this or that' (whatever might be at stake). If, on the
other hand, the tag could not be affixed, the payment was the
other way. If Eur. could get through one prologue without in-
curring the \t)kv6lou he would 'get it back.' With such an
assumption we are at least in a position to give , a rational
meaning to irpoo-dxl/at (1216, 1231, 1234), diroTrptw 'buy back'
(1227), diroSos 'give back' (1235). Meanwhile some of the
remarks of Dionysus refer to other, and occasionally unedifying,
uses of XrjKvdLov. Natural articles to stake or forfeit would be
the XrjKvdLOP 'little oil-flask,' OvXclklov 'little bag ' (wallet or
purse, Vesp. 314), Kipbdpiov 'little rug' ; but particularly the
XtjkuBlou, which was carried for a variety of purposes. A XrjKudos
was a small narrow- necked vessel in which were carried oil
for the bath or for gymnastic exercises, perfumes, and sometimes
wine. They were commonly of earthenware and of little value
(cf. 1236). Aeschylus is prepared to start with a stock of only
a single X-qK^Siov (Ivbs jxovov 1201) and win. [It is apparently
from this passage that the later grammarians gave the name
X-qKvdiov or iMTpov EvpLiridetov to the part of a verse correspond-
ing in xpoi^oL to — v^ ^^=i^ ^ — v^ — .]
1202. Trot€ts "ydp K.T.X. , lit. 'for you compose in such a
way that there fits into your iambic verses anything — either
234 THE FROGS OF ARISTOPHANES 1203-1214
KLpboipLov or \7}KvdLov ov OvXcLKiou.' TliG sciise of Airav is defined
or limited by what iollows, niid Kal . . Kal . . = ' wliether it
be . . or . .' [It must bo admitted that there is some
awkwardness in this, and it is possible that for the first Kal we
should read Kara ^d frequent corruption ; of. 1393), 'anything
after the style of Kc^jdaptop, etc.' Of. Hdt. 1. 98 dWot irorafjioi ov
Kara rbv '^eTKov eovres /jieyddea, Plat. Ajwl. 17. 13 6iJ.o\oyoLr)v
CLP ov /caret toijtovs elvai prjrojp,]
1203. GuXcLKiov : for the rare tribrach in sixth foot see
Introd. p. xxxviii.
1206. A'j^YvxTos K.T.X. : from his Archelaus,
^o-iraprai Xo-yos : cf. Xen. Cyr. 5. 2. 30 6 X670S oCros -rroXm
7]8rj ^(TTrapTat, Theodect. fr. 16 TroXvaTrepei . . (prj/uLr}.
1208. "Ap7os Karao-xwv, 'having put in to Argos,' poetical
accus. of destination; cf. Eur. Ilel. 1206 irodeu /careVxe yw ^'
Soph. Phil. 270 /careo-xoj/ devpo vav^drr] (ttoKij).
1209. tovtI Ti f]v K.T.X. : cf. 1296, and, for ^v, 39 n.
[There is no improvement through punctuating tovtI tC ^v \
TO Xt^kvGiov ov KXav(r€Tat J]
ov KXavo-€Tai ; a form of threat or imprecation; cf. 178
ovK oijjuh^eTOLL ; Dionysus humorously identifies himself with
the cause of Eur. here and in 1214, 1220, 1228.
1210. I'va Kal -yvw, 'so that I may get an idea.' The
function of Kal is to throw a tone upon the verb, and the
whole is practically equivalent to our 'let me see.' TrdXtv is
best joined with XeY ^Tcpov irpoXoYOv. [Others read -yvw,
•' so that he may be taught a lesson.']
1211 sqq. Aiovvcros k.t.X. : from the Hypsipyle. The words
completing the third line, biit not the sense, were wapdevoLs
(Tvu A€\(piaLv (schol. ).
0vp<roto-t : wands tipped with a pine-cone and wreathed in
ivy. The word is joined to KaOairTos ('decked in ') by a slight
zeugma, the whole d^paois Kal ve^pCov dopats being regarded as
the dress or aKevr] (cf. [Eur.] Rhes. 202 aKevrj TrpeTrovTcos cw/x'
efiov KaddxI/ojULai), For this aKevri of the Bacchanals cf. Eur.
Bacch. 176 dupaovs avdirTeiv Kal vejSpQv dopds ^xet?/.
1212. €v ircvKTicri, ' amid pine-torches ' ; cf. JVub. 603, Eur.
Bacch. 306 (also of Parnassus). For the form in -tjo-i see crit. note.
TTif^Sa \opiv<av : Eur. Bacch. 307 TrrjdQvTa criiv Trei^/catcri,
Ion 1125.
1214. oi'jxot 7r6TrX'i]"Y(x€9' av0is : apparently an echo of tragedy :
I2I5-I22I NOTES 235
cf. Aescli. Ag. 1344 co/ulol fxaX aS^is devrepav ireTrXrjyfMevos. In
that case iiirb ttis XT)K^6ov is probably a irapa irpoaboKiav for
some tragic expression (e.g. rrjs ^vfjicpopds) : 'All me! again
they smite us with — the flask.' It is in the comic vein for
Dionysus to bewail his own loss of a \7]kij6loj/ as described in
what happened to ALowaos k.t.\. Here, if anywhere, lie must
make common cause with his poet.
1215. ovhkv (ca-Tfxi TTpay\i.a, ' it won't matter ' (we shall make
up for it yet) ; cf. Trpdyfiara ^x^lv, irapexeLV and Eur. Med. 451
KdfjLOL jxcv ovdei^ irpdyfia.
1216. 7rpoo-d\|/ai, 'tack on.' See introductory note to 1202
sqq.
1217 sqq. ovk ^(ttiv k.t.X. ; from the Sthenehoea (schoL).
The third line was completed with irXovaiav dpoi TrXaKa.
1218. 'ir€<()VK«s €<r9\bs : if this means 'of good birth,' in
the aristocratic sense of io-dXas^ bonus, we have a violation ol
the rule that yeyom, irecpvKa eadXQs is used of birth and rank
(cf. 'well-born'), but yeyova, irecpvKa eaOXos of character or
form. The rule is upheld by Cobet, V. L. pp. 157 sqq., with
gi^eat cogency, although (as too often) he is compelled to defy
MSS. in at least one instance of yeyovevai (Lysias 19. 12). In
reality the rule, if good for yeyova, will not hold for 7re0u/ca
with the adverb. Even, if Soph. £Jl. 989 to2s KaXccs iretpvKbaLv,
Antiphon 115 iKavibs -rrecpvKdres, be considered ambiguous or
comprehensive, in Isoc. 190 ovtoj yap rives dvaKoXws irecpiJKaaLv
is decisive enough. It is hardly to be assumed therefore that,
OQ the other hand, the rule with the adj. was absohitely
inviolable. Nevertheless it is probable that in the present
instance the rule is observed, and that the proper rendering
is 'of good type.' It is hardly in the spirit of Euripides to
prize social rank as against character, and (assuming that the
sentiment is his own) iaOXos to him would mean 'good' in the
moral sense (found in evyevrjs), while dvayevrjs also is moral.
piov= 'livelihood.'
1220. ■iKJ>€(r9ai jxoi 8ok€l, 'we had better lower sail' {suh-
7nittere, contrahcre vda) ; cf. 999 n., Soph. El. 335 vvv 5' iv
KaKOLS fxoL irXeTv vcpeL/jLCvrj doKe?, Pint. Lucull. 3 /^e^' rjpi^pau fxev
v(p€ifjL€VOLS irXeoiv tols larioLS /cat raireLvol's, vvKrcop 8e iiraipofJiivoLS.
[The MSS. reading 8ok€is could only mean ' you seem to me to
have shortened sail.']
1221. TO Xt]kv0iov k.t.X. ; the comparison of the X-qKvOiov
to a gale (which has prompted v(pccr6aL) must be induced by
some lost trick of phraseology or pun (e.g. upon some wind
236 THE FROGS OF ARISTOPHANES 1223-1238
ffimiliar to sailors). irvevcrcTai trokv as in (iveixos irvel fxeyas,
TToKvs, XajJiirpos, etc. [The Mss. agree in irvcvcreiTat, as they do
in TrXevcrecadai in TIiuc. 8. 1. These 'Doric' forms are, how-
ever, very donbtfal in Attic of the best period. (pcv^ou/j.ai as
well as (pe^^ojuat is warranted by the metre in Euripides and
Aristophanes, but the evidence for irpevaou/jLat, irXevaovfiaL,
KXavaovfjiaL, pevaeirai is very weak. See Rutherford, New Phryn.
xxiii. It can scarcely be an accident that the letter v occurs
in the root syllable of all the verbs affected. We can but
suppose that it exerted some assimilative influence.]
1223. €KK€Ko\|/€Tat : the fut. perf. implies 'once for alL'
1225 sq. 2i8wvi<$v itot k.t.X. : from the Phrixus. The
concluding words were IVer' is Qr)(3ris irebov, or, in a second
version of the same play (as reported by Tzetzes circ. a.d.
1150), -^X^e Qr)^aiap x^^^^ I ^olvl^ Tre^n/cws. The 'son of
Agenor ' is Cadmus.
1227. « Saifxdvt' dvSpwv : to Euripides, in remonstrance
(cf. 175).
diroTrpio), 'buy back the (forfeited) flask.' See Introd.
note to 1202 sqq. and cf. 1235. Euripides has lost it to
Aeschylus, diro- has the same sense as in dirodtdovaL, dwo-
\afi(3dueLu.
1228. i\\L(av : Dionysus more or Jess ironically identifies
himself (cf. 1209) with the cause of Euripides.
1229. €"yw irpitoiiat tw8* ; ' What, / buy it from ( = to please)
himV For the dat. cf. 1134, Pac. 1261 ro(>Tij) ra dopara ravr
(hvrjcrofjiai, Ach. 812 wdaov irp'uxjfiai (tol tcl xotp/Sia ; He will
not buy it, but will simply get it back, by defeating Aeschylus
with a prologue which he cannot fit with the X-qKuOiov.
1232. n€Xo\|/ K.T.X. : from the Iphigenia in Tauris. The
completion was Olvofidov yafiei Koprjv.
1235. <^ydQ' : to Aeschylus, ^ti Kal vvv : sc. though you
have won it and held it so long. dTroSos, ' give it back. ' The
slightly supported variant d7ro8ov ('sell it'), which originated
in conjecture, spoils the sense.
1236. Xir|x|/€i : Xafi^dveiv is frequent in the sense of ' get ' =
' buy ' ; cf. Theoc. 15. 20 Trevre ttS/ccos ^'Xa^S' ix^^s. As Blaydes
points out, the Latin emere also originally meant ' take ' (cf.
eximo, demo).
1237. oiiTTO) y : sc. dwoddjaet rrjv \rjKv6op.
1238-41. Olv€vs ttot' K.T.X. : froin the Meleager. The schol.
tells us that this was not the actual beginning of the play.
1 243- 1 247
NOTES 237
but came 'after a number of lines.' commencing with Ka\v8(hv
ixh i^de yaia UeXowias x^ovos. But Fritzsche is probably right
in supposing that such an exordium was a later addition of
(perhaps) the younger Euripides. A late schol. quotes for the
ending of the second line ovk 'idvaev 'ApTe/mtdt, but this is, of
course, unmetrical, and can only represent the general sense.
[Many editors show some favour to a conjecture of Fritzsche,
OVK ^Tiaep (better 'ireLdev) ^Apre/JLLV ; but unhappily Attic cannot
use ^retaa in the sense of iTifMrjaa.] It seems idle to guess at
the exact words.
1243. ^a avTOV : pronounced ^a avrdu ; cf. Lys. 945 ea aiir
and Introd. p. xlii. ' Let him alone (he does not matter) ' is
the sense.
1244. Z€vs, cos XeXcKTai k.t.X. : generally supposed to be
from the play called MeKaviTnTf) i] (xocpr) (the other being
MeXaviirTTT} 7) dea/JiCjTLs). There is a difficulty here, since,
according to Plutarch {Mor. 756 c), the play originally began
with Zei)s, 6(TTLs 6 Zei^s, ov yap olda ttXV '^oycf), but in conse-
quence of the displeasure which met this irappTjcria (Luc. Jvp.
Trag. 41) it was altered to Zevs, ws X^XeKrat rrjs dXyjOeias vwo.
According to Gregory Cor. p. 1312 the second verse of the
latter began with "EXXt^j^' ^tlkt€v. But to this the XtjkvOlov
could not be attached. Gregory, indeed, tells us that the
same verse occurs in the Peritho^is ; but in the fragment
preserved (N. 591) it stands as the fourth line, and where
the Xr)K^6Lov is equally impossible. We are forced to suppose
that the second line of the Melanijppe contained not "EXXr^v
^TLKT€u, but '"EXXrjva tIktujv. This Dionysus foresees, and it
ought further to be assumed that Aristoph. shrinks from
flatly finishing his usual sentence in the case of Zeus. Hence
the interruption of Dionysus.
TTJs dX-qGeCas i^'iro : the form of expression personifies dX-qOeia.
1245. dTToXcts : Mss. are divided between this and diroXci <r\
The latter='he will undo you,' viz. with his XyjK^dioi^. The
former is either (1) 'you will be the death of us' or 'weary
us to death,' viz. by always trying and always failing; cf.
Vesp. 1201 $IA. TCLs x^pci/cas vcpeiXSfirjv. \ BAE. cLiroX€?s fie.
TToias x^pa/cas ; JEccl. 775 dTroXeh dTTLaru^v iravTa. In the same
sense the comedians use diroKvaieiv, diroTrvlyeLv, iiriTpi^eiv (cf.
enecare) ; or (2) ' you will be the death of us (by making him
actually say this of Zeus).' The former is more natural, is
supported by analogies, and is suitable to the winding up of
the subject.
1247. rd <rvKa : warts or sores on the eyelids. Cf. aiJKwa-Ls.
238 THE FROGS OF ARISTOPHANES 1 247-1 249
(i^v : gnomic (Kiilmer-Gerth i. pp. 160 sq.). Though an
aor. ^cpvp came to be used in tragedy as a simple present ( = ' I
am'), it does not belong to the language of comic trimeters;
still less could it be so used when there is no adjective.
1248. TO, ixeXi], 'his (lyrics and their) tunes.' Cf. 1329 n.
It is not the language but the music which Eur. is about to
attack. All educated Athenians studied ixovaiKr] in the narrower
sense, including non-professional performance on the lyre and
comprehension of the modes. The dramatist was his own
composer of tunes or melodies. The matter was much more
simple than in modern times, inasmuch as the Greek apixovia
included none of our 'harmonies,' but represented only the
* fitting sequence ' of notes according to keys which could be
almost mathematically studied. In the following scene the
criticisms can hardly be fully apprehended without hearing
the tunes, but it is clear that Aeschylus is blamed for making
his melodies too monotonously dactylic and simple. Given
one line, or set of bars, you could (says Eur. ) always follow on
with a certain sequence which fitted into the system as readily
as the XrjKvdiov into the iambics of Euripides. You could, for
instance, after a verse like 1265 sing on with ii] kottov ov
ircXdGcts CTT* dpco'ydv (i.e. te-Mm-te te-tum-te te-tilm-ie te-tum
turn), and that set of notes would do equally w^ell in all sorts
of places in his lyrics. Or, when the songs were accompanied
by the harp, you could strum on, after each line, with To<|>XaTTo-
0paTTO((>XaTTo9pdT (1286) { = twdngle tivdngle twdngle twang).
The criticism has been much misunderstood. It is not
meant that Aesch. uses a meaningless refrain, e.g. It] kottov k.t.X.
There would be no truth in such a statement. The carping is
purely musical, as if we said that his tunes were all 'common
metre.' According to Euripides his great sentiments or
phrases are followed by absurdly simple and monotonous
banjo-notes. Meanwhile the objection made to Euripides by
Aeschylus, from the musical point of view, is that he picks
up all sorts of airs — from catches and dirges and (to give a
modern equivalent) music-halls — and mixes them incongruously,
adding plenty of ' shakes.' He has series of rapid notes which
take from the dignity of tragic lyric. With these faults there
also go faults of language, e.g. repetitions and the blending of
trivialities with higher poetic diction.
1249. Kal \Li]V (ix<a 7 «s . . €Trt8€i|a). There is little to
choose between liriScilw of R (cf. Dem. 1020, etc.) and d7ro8€t|a>
of the other MSS., but since iinbeLKvvjXL more clearly conveys
the idea of offering specimens in proof, while dTrodelKPu/uLc rather
suggests argumentation, the former is to be preferred. Editors
I252-I2S9
NOTES 239
(after Dobree) mostly read ois for «s on the ground that cos
could not stand for 6wm ('I have the means to . .'). -But (1)
since exw /ca/cws, /caXws, ovtojs, etc., are good Greek, it may be
that ^xw cos iTTLdei^oj is also colloquially good in the sense ' I
am so situated that . .' ; lit. ' I am placed how ( = in the way
in which) I shall': (2) that cbs, though less frequent, can be
used in a formula of this kind for owcos appears from Soph.
Ant. 750 Tavrrju ttot ovk ^crd^ cos ert ^Qaav yafxeTs, Phil. 196
ovK ^ffd^ cos ov deCiV Tov ixeKirri {Trovei).
1252. <|)povTi^€tv YcLp ^70)7 iyjm. As there appears to be
no parallel to e'xw (ppovri^eLv in any other sense than 'I am
able to be anxious' (which is an absurd expression), it seems
probable that we should read <|>povTit«v . . ^xw, ' I keep
troubling my mind.' It is true that ^x^ is not comnionly
joined with other participial tenses than the aorist, but the
perfect occurs two or three times (e.g. Soph. 0. T. 701, Phil.
600), and the present is found in Eur. Tro. 317 Trarpida (piXav
KaracTTevova ^x^ts. Nor is there anything a priori remarkable
in this apf)lication of the intrans. ex^* ^s iroliqaov avvaas nnd
avvaov Trotrjaas, (pOdvcj ttolCov and ttocco (pddvoju are quite inter-
changeable, so \7]p€is ^x^^) T'- €(TTr)K €x<^v ; (cf. 202, 512) are
theoretically interchangeable with \yipQv e'xco, tL earCos ^x^;
The instance from Euripides shows this to be more than theory,
and the verse here is lyric and parodied from some higher
style.
1256. Twv [t-ixpi vvvi. The Mss. give the unmetrical twv
?Ti vvv 6vT<av, with variant twv vvv ^t ovtwv. The reading
in the text is borrowed from the explanation in the schol. rtoi/
fjiexpt- vvv 'ovTOjv TTOLrjrQv. But it is not good to press such
merely necessary words in an exegesis. Bentley regarded
6vT(x)v 3>s an adscript, and read twv ^tl vvvC. Yet, judging from
the two positions in mss., it is v€v which is the adscript, in-
corporated in different positions by different texts. Possibly,
therefore, w^e should read twv Ittiovtwv, 'his successors.' The
idiom by which a person is said to be KdWiaros tCov eirLovrwv
is too familiar to need more than the reminder of d^LokoyuiTaTov
tCou irpoyeyevqfjiAvwv.
1259 sq. TOV PaKxciov dvaKTa : implying (1) 'the inspired
lord (of song),' (2) 'king of the Bacchic stage.' The words
strongly indicate parody. In the Orphic Hymn 30 the ex-
pression is applied to Dionysus himself. inr^p avTov : sc.
Euripides, for his daring and probable defeat. [Many editors
suspect the last four lines, partly because they repeat the
notion of 1252-1256, and partly J3ecause they separate fiiX-q
(1255) rather widely from the retort of Euripides (1261).
240 THE FROGS OF ARISTOPHANES 1261-1270
Possibly, of course, there is a blending of the two editions of
the play (Introd. p. xxvi), but the arguments are not strong,
particularly when we remember that the whole passage is
probably an adapted semi-quotation.]
1261. 8€i|€L : impersonally. Of. Yesp. 993 $IA. ttcDs yap
i]yu)VLaix€da ; BAE. dei^eiv ^olkcv, Dem. 24. 1 doKel 5' ^/xoiye
dei^cLv ovK els jxaKpav. More usually a subject is expressed in
the shape of avrb or rodpyov avrd, e.g. Eur. Phoe^i. 624 avrb
(T-qixavet.
1262. €ls ^V . . |vvT€jjLw, ' I will cut them all down to one
(pattern).' See introductory note to 1248. [In (jlcXt] there
may also be a play upon the sense 'limbs'='I will make
mincemeat of him.' Of. KaraxopdeijeLV, /uLvrTcoreveLu.]
1263. Twv \|/TJ<j>(i)v, 'some of the counters (which are here).'
The art. in such cases is really demonstrative.
1264. Preceding this line there is in the mss. a stage-
direction dtaijXLOv irpoaavKei tls, i.e. there is a passage of music
on the flute serving as interval. Such irapeTnypacpai are rare
in MSS., but a well-known instance is that of fxvyix6s and dyixos
as stage-directions in Aesch. Eum. 117 sqq.
1264 sq. ^0L«T ^Ax^XXev k.t.X. The envoys {irpea^eis)
thus address Achilles in the Myrmidons. ' Achilles, hero of
Phthia, why, when thou hearest the blows of slaughter
(befalling the Greek army through thy absence), dost thou
not come to the rescue ? ' Euripides of course chants this
to the flute in exaggerated mimiicry of the actual tune of
Aeschylus.
1266. 'Epiidv |x^v K.T.X. : from the Psychagogi, where it is
sung by the Arcadians about Lake Stymphalus, who claimed
to be descended from the Hermes so closely identified with Mt.
Cyllene.
1267. I'fi Koirov k.t.X. The words are simply repeated from
1265 to show that, musically, the same bars will do. There
is no notion of ridiculing a meaningless refrain (see note to
1248 \ Such ephymnia as Aeschylus uses are in no way
irrelevant, nor are they of characteristic frequency.
1268. 8vo (Tot Koirco k.t.X. Dionysus joins in, sarcastically
chanting in the same dactylic tune. He takes two of his
counters (1263), and says 'that's two Kbirot to you, Aeschylus.'
/foTTw not only refers to It] kottov, but means that Euripides has
succeeded in getting in two 'blows.' So 1272.
1270. KvSicTT 'Axaiwv k.t.X. : variously said to be from
1273-1284 NOTES 241
tlie Telepluis or the IjiMgenia of Aeschylus. Construe p,ov
with }i.dv0av€.
1273. €v<|)a(JL€iT€ K.T.X. : from the 'lepeiaL. The construction
is TreXas {elaiv, (hare) otyeiv k.t.X. The |i€Xicr(rovd}i.oi are
priestesses of Artemis, one of whose titles was M^Xio-<ra.
Priestesses themselves, both of Artemis and of other divinities
(Cybele, Demeter, etc.), were also called /x^XicraaL. Cf. Pind.
P. 4. 60 AeX0t5os /meXiaaas. No satisfactory explanation of
the word is yet forthcoming. It is very probably a Graecizcd
form of some foreign term.
1276. Kvpios d[Li 0po€iv K.T.X. : from the Agamemvon (104).
' I have warrant to tell of the favourable omen of victory
(seen) upon the going forth of the brave (to Troy).' The next
words are the dact}lic eKreXecou 'in yap OeLdev KaTairveieL . .
The omen was that of two eagles rending a hare.
1278. TO )(^pf]jjia Twv kottwv 8(rov, 'what a lot of kgwolI'
(lit. ' what a business of the kottol '). Cf. Nub. 2 & Zed
(3a(nXev, to XPVf^^ '^^^ vvktcop ocov.
1279. Is rh paXav€tov povXcjiai, ' I want to go to the bath.'
He professes to be suffering so much from kottol (in the other
sense of 'exhaustion ') that he must seek the orthodox remodj^
Cf. Arist. Prohlem. 1. 39 rot's fikv Oepivovs kottovs Xovrpc^ laadat
oe?, Toj)s 5e xei/xepij'oi's dXelfji/uiaTi. The idiom (ellipse or brachy-
logy) by which the verb of going is omitted is readily yiaralleled
(though Apollophanes, Com. Frag. ii. 880 iirl tt]v rpdire^av
^ovXofiat is not in point). Cf. Theoc. 15. 147 lopa o/icos ktjs oTkov,
Xen. Hell. 2. 3. 20 KeXeija-avres iirl rd oVXa, Cic. ad Alt. 6. 7
Rlioduiii volo jnieroruin causa, Milton, Sams. Agon. 1250 He
will directly to the lords. The omission of other verbs is less
frequent, but sometimes occurs where the sense is obvious.
Cf. Herond. 1. 3 ris ttjv d{)pr]v ; (so. eVo^^e).
1281. o-Td<riv (X€Xcov, 'set of lyrics.' It is natural to compare
this with the technical word ardaLixov (fiiXos) used of a lyric
passage sung by a chorus when in position (i.e. not marching) ;
but ardcris may simply ^o-i'o-rr^^a (Kock).
1282. €K TWV Ki6apa)8iK<Sv vofjicov, ' out of the (several
recognised) modes for the harp,' as formulated by Terpander
and subsequently elaborated. Eur. proposes to show how
monotonous are the arpeggi which complete the musical system
of the lyrics.
1283. irepau'c: 1170 n.
1284. (i'lrcos 'Ax.a,icov k.t.X. : from Agam. 110. The passage
runs (after dpoeXv sup. 1275) ottws Wx^lCov bidpovov icpdros,
242 THE FROGS OF ARISTOPHANES 1284-1291
'EWddos i]^as {rj^av MSS. of Aesch.) | ^I'/icppova raydv, | irifnreL
^iiv 8opi Kal xepi {dtKas MSS. of Aesch. in place of Kal xepi,
evidently from an adscript to the next word) irp&KTopi \ OoijpLos
8pvLs TevKpid' iir' alav. [The present place lends mnch help to
the correction of the Aeschylean mss.] Aristoph. makes Eur.
jumble these and other lines together for comic ])nrposes, but
their intention is not to attribute any such incoherence to
Aeschylus, but to illustrate the point that musically ' it is all
the same.'
8t0povov KpoLTOs : Agamemnon and Menelaus, the joint
commanders.
'EXXdSos. If -fjpas is right, this='EXX77»'i«:^s or 'WKk-qvibo^.
Cf. Soph. Phil. 223 (TXV/^(^ ■ • 'EXXctSos aroKTjs.
fjPas : cf. 7j\LKia, inventus, pubes. [For a probable i^pdv see
crit. n.]
1285. <()XaTT60paT : an imitation of one species of harp
accompaniment {Kpovats), as dperraveXd is of another {Phit. 290).
In Thesm. 48 ^o/m^aXo^oim^d^ represents one sound of a trumpet,
as Ennius' taratantara does another.
1286. 2<|>C'y'Ya k.t.X. : from the Sphinx, the satyrie drama
which went with the Aeschylean Oedipodea or trilogy of Laius,
Oedipus and Seven 'against Thehes.
8v(ra|j.€pidv trpvTaviv, ' who presides over (dispenses) mis-
fortunes ' (to Thebes). Cf. Find. P. 6. 24 (XTepoirdv Kcpavvwv re
irpTL}TavLV.
Kwa : of a dogging agent, sent by some malevolent power.
Cf. 472 n., Soph. 0. T. 391 '66' i] paxpifidbs ivddo ^v ki:>wv.
1289. o'vv 8opl K.T.X. : Agam. 113.
irpaKTOpi, 'avenging.' The masc. form of adjectives of the
agent in -rrjp -rcop is frequent in verse with fem. nouns. Cf.
Aesch. aS'. c. T. 713 7rai5oXeraj/3"Epis, Suppl. 1050 d^XKropc Ilet^o?,
Soph. PJl. 850 L(TTcop (of a woman). In Aesch. Mim. 320 the
Erinyes call themselves irpdKropes atfiaro^.
Oovpios 6pvis, ' an omen inspiring fierce courage ' (the 68iov
Kpdros of 1275).
1291. Kvpeiv irapao-xwv k.t.X. : from an unknown source.
Lit. * having given (it, or them) to the reckless hounds that
range the air, to light upon (and treat as they will).' For kvo-Iv,
here apparently of vultures, cf. 1287 ; in Aesch. Ag. 141, P. V.
1053 of eagles. The meaning is defined from the oxymoron,
as in Kvixa x^ptraioj' (Aescl^. *S^. c. T. 64), Trravoiatv kvctl {Ag. 141),
diTTepoL neXe/aSe?, etc. With Kvp€tv cf. Horn. 11. 17. 272 Kval
I293-I299 NOTES 243
K^pfia yeviadaL, Od. 3. 271 KoXKLiriv olwvoicnv eXcop /cat Kvpjua
yev^adai.
1293. TO crvyKXtv^s k.t.X. : from the QpficraaL. The meaning
appears to be 'the combination (or league) against Ajax.'
1296 sq. Ik MapaGcovos k.t.X. The most natural interpreta-
tion of this passage is that in the swampy plain at Marathon
there grew a species of rush (0X^ws schol. ) which was used for
making ropes (like axoTvos), and that the rope- twisters {Ijulovlo-
(TTp6(poL) at their work in the rope-walk, sang a monotonous
'chanty.' Most Greek occupations had their special form of
beguiling ditty. Thus Atlienaeus (618 d) speaks of the ^tti/jlvXios
of millers, the atXivos of larovpyoi (weavers), tht^ tovXos of
ToXaaLovpyoL (spinners), the XcTveparjs of harvesters, and alludes
to different tpdai of agricultural la]}ourers, bathmen, etc. There
was, it is true, an IfiaTos, which is described variously as a song
of millers (Ath. 619 b), or, as used by Callimachns (quoted by
schol. here), of water-drawers (de/Set Kai ttov tls dvrjp vdaTrjyds
iixaiov). The schol. is therefore led to explain l/jLopLoaTp6<pov
here as referring to the latter. But (1) there seems no reason
for connecting this occupation specially with Marathon, {2}
the similarly formed (7xoij/io(7T/)60os (Pollux) or crxoLvoarpo^os
(Pint. Mot. 473 c) = (Txoivo'7r\6Kos, ' rope- twister.' [Possibly
there may be included an allusion to the interminableness as
well as the monotony, with a glance at the use of axoi-vorevris
(cf. Pind. fr. 47 axotvor^veia doidd), but there is no need to
press this.]
1298. dXX* oyjv iyo} \i.kv, * well, at any rate I (for my part)
took them from a good source (and applied them) to a good
purpose.' [Probably we should read dXX' oSv lya \i.(v y\ For
d\X' oiV . . ye cf. Aesch. P. V. 1091, Soph. Jj. 535. The
combination /ueV ye is also very common.]
1299 sq. tva p,"f| tov avTov k.t.X. The expression is rather
condensed and = ' (and I chose to adopt these simple melodies
which you dislike) in order that I might not trespass on the
preserves of Phrynichus,' i.e. Aesch. deliberately avoided
similarity to the proverbially * honeyed' lyrics of that poet,
preferring to go back to the plain and regular vofioi of Terpander
(1282 n.).
^pvvixw. The chief characteristic of the melodies of Ph. was
their sw^eetness. The Elizabethans would have called them
'sugared,' as the Greeks called them 'honey.' Cf. Vesj). 220
a.pxoLiO!xe\L(nb(j3voct)pvvLX'f]paTa, Av. 750 '4vdev (hcnrepel jULeXiTia |
^p^viXO'; dfi^poaicou fieXcov dwe^odKeTn Kapirbv del (p^lpcjv yXvKe7av
(podp. Hence the following metaphor of the ' meadow\"
244 THE FROGS OF ARISTOPHANES 1 301-1303
Lucian {Pise. 7) varies this figure with tov Xeiixwva eKuvov (of
Plato's writings) avaireTdaavres ovk eKioX^aafJiev dp^Treadai k.t.X.
The metaphor from the bee occurs also in Plat. Ion 534 a e/c
M.ovau)v Kifiiroov . . dpeird/JLevot tcl /jLeXrj rjfuu (pepovcnv ibairep at
fJiiXiTTat.
1301. o5to9 . . irapoivW, ' but this fellow gets (his) honey
from all sorts of drinking-songs.' [xeXi is A. Palmer's perfect
emendation of the meaningless \i\v of mss. (MEN = MEAT).
uiXL keeps up the metaphor, supplies an obj. to <|>€p£i, and its
sarcasm is obvious. xapoiviW (Kock) is by no means a certain
emendation of the mss., but it is at least convenient, -rrapoipia
{aar/JLara) are songs sung Trap' oivcp.
1302. cTKoXitov. The (tk6Xiov was a convivial catch sung to
the lyre at a banquet. Among the Athenians ' its prevailing
characteristic is, in a simple form, to reproduce or twist the
thought of some famous poem, to amplify some well-known
sententious utterance, or to picture some scene from a popular
story ' (Smyth Greek Melic I'oets, p. ciii). How the word was
derived from some sense of the adj. (tkoXlos is a problem much
discussed (ibid. pp. xcv sqq. ). It had probably nothing to do
with a succession of singers zigzagging round the symposium ;
but it may very well have been deduced from the very 'twist-
ing ' mentioned above.
McXtjtou This man, an indifferent tragic poet who also
composed amatory pieces (Ath. 605 e), is often assumed to be
the same as the accuser of Socrates (Plat. Ap. 23 e MAryros fxev
eirideTo virkp r(bv 7roLr}Tcov dxd^/^evos). There is, however, a
great difficulty in the fact that Plato speaks of Meletus as
young and unknown at the date of the trial of Socrates (399
B.C.). Moreover, a poet Meletus w^as referred to in the Georgi
of Aristophanes as early (apparently) as 425 B.C. ; and it is out
of the question that a man who was young and unknown in
399 B.C. should have composed (tkoXlcl wdiich were in vogue
during the activity of Euripides. Different persons of the same
name occur too often in Athenian history for us to identify
the bearer of the name MeAr/ros in this facile manner. The
Meletus here may have been the father (or even the grandfather)
of the accuser of Socrates, and the defence of the poets on the
part of the latter may have been taken up either for his father's
sake or becauso he was walking in his father's steps.
KapLKwv avXTjixciTtov : commonly of a dirge-like character.
Pollux (4. 75) has Oprjvwdcs yap to dvXrjjjia to KapLKov. Cf. Plat.
Legg. 800 e.
1303. )(op€!cov, 'dauces,' i.e. dance-music (cf. 247 n., and a
1304-1309 NOTES 245
fragment of Pratinas dKoue rav iixav Awpiav xopetai/). With the
accentuation xopeiwv the sense is 'dancing-places.' But xop^iov
appears to be a late word and is out of keeping with the other
nouns in the list.
1304. rh Xvpiov, 'the (usual) lyre (for accompaniments).'
1305. kiil TovTov. The common reading is cirl to€tov 'to
attack him with,' but this can hardly be the sense, which is
rather given bv the variant lirl tovtcdv, ' in the case of tunes
like these.' [eirtTOVTOvTov of R. plainly points to i-jrl toijtov
with -TOP superscribed in supposed correction.] For the gen.
is quoted Plat. Eep. 399 A Tavrais eirl TroXejjLLKoov dvdpwv 'iad' 6
TL XP^^^'- '■> ^dd Isoc. 6. 41 eirl jxev ttjs rj/JLeripas iroXews ovbev e'xw
TOLOVTOV elireiv.
Tois ocTTpoKots, 'with the castanets' (of earthenware). The
tunes of Euripides are fit to be accompanied, not by the lyre,
but by the ' bones. ' Aeschylus looks round for a female figure
(a TrapaxoprjyrjfjLa) who has been brought on the scene, and who
is using the castanets. He calls her forward ('w^here is that
woman who is rattling with the bones ? ') and says, ' come here,
you Muse of Euripides (i.e. who are good enough for his Muse).'
The said Muse is, of course, of slovenly appearance, and she
has a remarkable pair of feet (1323 n.).
1307. irpbs fivircp, lit. ' with an eye to whom ' = ' to whose
lead ' ; cf. ad (of the standard), Eur. Ale. 346 irpbs M^vv
XaKeiv \ avXdv.
1308. ovK IXeo-pia^cv, 'did not act the Lesbian,' with a play
upon two senses, (1) 'practised no true music learned from the
Lesbians' (Terpander, Sappho and other lyrists), (2) 'had not
charms enough to play the part of the Lesbian women ' (who,
though of loose character, exercised fascinations). Theimperf.
and TroTc refer to the time when Euripides was writing. [We
must not render 'never used to practise the Lesbian.' This
in comedy would be oudeirore eXea^La^ev. Aristoph. would not
use oi^TTore, still less iroO' . . ov. Lit. 'in days gone by she was
not one to practise Lesbian arts. ']
1309 sqq. Aeschylus sings illustrations of the lyric melodies
of Euripides. The 'Muse of Euripides' preludes with the
'bones' and, after each few bars, rattles a set of notes in
keeping with the Euripidean style of music. These Kpoijaeis,
which are not marked in the Mas., are to be assumed, as corre-
sponding to the (pXarrodpaT of the harp- accompaniment of
Aeschylus (1286, etc.). The following jumble of passages is to
be considered as punctuated by the castanets at least after vv,
1312, 1316, 1318, 1319, 1321. While it is true that the absurd
246 THE FROGS OF ARISTOPHANES 1309-1315
medley is intended to be amusing as such, the immediate object
is not to ridicule any alleged incoherence of Euripides himself.
Aesch. is concerned with the peculiarities of the music, which
he considers to be wretchedly irregular and undignified
{xapaKT7)pi^€L TCL ^vpLTridov /jl^Xt] ws iKXeXvfieva schol.). We do
not possess any precise understanding of the principles involved,
but it is clear that the arrangements of the xpo^ot (the manner
in which the short and long syllables were arranged) and the
introduction of 'shakes' (1314) were regarded as unworthy
departures from the orthodox manner of tragedy. They were
better suited to crKdXia, dprjvot and the like (1301 sqq.). The
audience would, of course, recognise the tunes. The lines are
necessarily almost verbatim quotations (except for such a word
as arw/ii/Were 1310), but their sources are only partially known
to us. 1317 sq. are from Meet. 435 sq. ; 1322 from the
Hypsipyle, but for the remainder we can find only slight
suggestions of resemblance. Thus in /. T. 1089 occurs a re-
ference to the halcyon, but there all likeness to v. 1309 ends.
1309. ciXkvovcs k.t.X. : cf. Eur. /. T. 1089 6pvLs & irapa
Trerpiuas \ ttovtov deipddas, dXKvibv, | ^Xeyov oUrpov deideis.
There irapa (with accus.) shows the bird flying, here (with dat.)
sitting or standing.
1310. <rT«jjLvXX€T€ : a prose word humorously substituted for
one more poetical, but also hinting at the frequent (alleged)
trivialities of Euripides.
1311. voTiots irTcpwv pavia-i, 'with showers of spray from
your plumage.' The combination of vonos or vypds with pauis
and the like is used to limit the noun, which alone would not
bj definite in meaning.
1314. €l€t6L€i.Xi<r<r€T€. The shake or prolongation (iireKTaats)
is a feature of the Euripidean music, whereas in the older style
of Aesch. one syllable meant one note. In Ul. 436 the second
hand of L gives eielXLaabiievos for the common reading elXidab-
[xevos. The musical fragments discovered at Delphi mark
repetitions of certain notes, although they do not indicate them
more than twice.
(|>(iXa77€S, 'long-legged spiders,' are substitutes for e.g.
yvvcuKes, as is shown by the following words concerning the
loom and the singing shuttle. In such an original v-n-wpd^LOL
would mean 'indoors,' but Aristoph. converts it into 'under
the ceiling.'
1315. to-Toirova, 'wrought upon the loom.' The variant
Lo-TOTOva would = 'stretched upon . .' TTT^vta-iJiaTa : see
e/cTTTyj/tetrat 578 n.
1316-1330 NOTES 247
1316. KcpK^Sos dotSov (JLcXcVas, lit. 'the exercises ( = studied
productions) of the musical shuttle,' in appos. to TrTjuia/JLaTa.
For the humming of the KepKis cf. Verg. Aen. 7. 14 arguto
percurrens pedi7ie telas, G. 1. 293.
1317 sq. W 6 4>^^<»'V^os . . K\>av€|xp6Xois : verbatim from
EL 435. The fondness of the dolphin for music \Yas proverbial
(cf. the story of Arion). He would be attracted by the flute
of tlie TpLr}pav\7]s (sup. 205) ; cf. Plin. H. N. 9. 8 Delphimis
■mulcetur symphoniae cantu etpraecipue Jiydrmtli sono.
^TraXXe : occasionally iutrans. ( = e7rdX\ero) ; cf. Lys. 1304.
TTpupais : not local, but dat. commodi. The)' dance ' to the
prows,' as if in their honour; cf. xopei/eti/, opx^'LaOat, x^P^^
iardvaL tlvI and 445 n.
Kvav€|j.p6Xois ; cf. Eq. 554 Kvape/i^oXoL . . rpi-fipeis and the
Homeric KvavoTrpiispos. Aeschylus {Pers. 562, SupjJl. 751) has
KvavuwLdes. The word is restricted to ships of war, and may
have been derived from a facing of blue steel.
1319. jiavT€ia Kal (rraSiovs : a new quotation without refer-
ence to the preceding clause. Doubtless we might make the
words depend on eiraWe as a contained accus., 'it leaped in
(=so as to give) omens and (so as to perform) races.' But the
preceding lines are quoted directly, and there is nothing in the
context to correspond to this. Aesch. is simply singing an
odd bar or two, well known to the audience, to illustrate the
musical and metrical point. The same may be said of the next
two lines.
1322. TTcp^paXX* K.T.X. : from the Hypsipyle. On quoting
this the actor seeks to embrace the ' Muse of Euripides.'
1323. opas Tov iroSa tovtov ; This may be a quotation from
the Telephus or the Fhilodetes, where a maimed leg was in
question. There is, of course, a reference to the peculiar
metrical feet of Euripides, and, in illustrating, the actor would
display first the one foot of the 'Muse' and then the other
(1324). The two feet would be a comically shapeless and ill-
matched pair.
1329. TO. [kiKt] : in the restricted sense of the choral as
opposed to the monodic melic. In 1364 the monodies are
included.
1330. ixovwSiwv : see 849 n. The monody which follows is
one of the 'Cretan' kind, as is shown by KpfJT€S (1356) and
AiKTvvva. (1359). We must suppose that Aesch. sings and
dances this in caricature of some Euripidean viropx'ni^o, familiar
^48 THE FROGS OF ARISTOPHANES 1331-1339
to the aiidieuco, and that his jiurpoae is to ridicule the whole
style of composition and performance, from a musical, literary
and scenic pnnt of view Hen e tlic characteristic repetitions
of words and the lapses into utterly pro.saic diction and ttivial
matter. The whole is nn excellent burlesque, containing enough
reminiscences of the original Euripides to imp irt verisimilitude,
while affording opportunities for the gentle 'art of sinking in
poetry '
1331. K€Xaivo<j>aT')s 6p<|>va : an oxymoron, 'gloom whose
light is (but) blackness.'
1334. \|/vx^uv d\|/V)(^ov : cf. Hrc. 610 vv/xcpTju r avvfx(f)0v
irapdevov r' aircLpdevov. S'^ch expi'cssions are no special mark of
Euripides ; they belong to tragic language in general, and are
sufficiently frequent in Aesch. ijimself (e.g. Pers. 682 j/aes dvaes,
Clio. 42 X^P'-^ clxa/)ij/).
1336. pi6Xayov€KV€iji.ova, 'clad in the black garb of the dead,
i.e. a ghost-bogey. The denizens of the underworld appear in
black ; cf. (of the Furies) Aesch. Eum. 372 rj/uLerepaLs i^odois
fMeXaveijuLoaLv, and (of ordinary ghosts) Lucian Pldlops. 32 Kal
TLPes tQv veavlaKOiv, ipecrxv^^^^ ^ovXofMei^oi ai'Tov (sc. Democritus)
/cai beiixarovv, aTeiXd/JLeuoL veKpiKoos iadrJTL fxekalvrj k.t.X.
cj)6via <f>avta : such excited repetitions are frequent in
Euripides. See specially Ilec. 688 sqq., and Or. 1426 ^pvyioLS
ervxoi' ^pvyioLCFL vofioLS \ irapa ^oarpvxov avpav avpav \ 'EXivas
'EXeVas evirdyL KVKXct} { . . aaawv, Hel. 648, etc.
1337. jJie^dXovs owxas : as becomes a bogey.
1338. dXXd |J.ot d}i<|>iTroXoL k.t.X. : from the Tcmenidae
(schoL).
1339 sqq. 6k iroTajiwv . . dtroKXvo-w. After an evil dream
it was customary to perform a purificatory ceremony with either
running water or water from the sea ; cf. Aesch. Pers. 203 /cai
ravra ixev §17 vvktos elaidetv Xiyo}' \ iirel 5' dvearrju teal x^P^^^
KoXippbov I expavaa. Trrjyrjs k.t.X., Apoll. Rhod. 4. 660, Pers. 2.
16 nodem jiumine purgant. Technically this was called
CLTT o^Loiroixir eta 6 ai.
tiSwp : the epic quantity, suited to the hexameter ; cf. Hom.
Od. 8. 426.
dTroKXvoro) : of washing away from one's self the middle would
be more usual (cf. dirovi^ofiaL, aTroKadaipeadaL, dTroire/jiTro/iiaL, etc.).
Nevertheless there is nothing to prevent a Greek writer from
treating the action objectively, simply as it affects the thing
removed.
1341-136S NOTES 249
1341. Tr6vTi€ SaijJiov : Poseidon. Whatever may have been
the motive of the invocation in tlie oii^dnal, it is here brought
into shar[) and sudden contrast with the prosaic tovt €K€ivo.
' God of the Sea ! — so tliat 's it ! ' (i.e. ' 1 see what the dream
meant ; it is that my neighbour Glyce has stolen my rooster').
1342. TcLSs T€pa, 'tliese portents (and tlieir meaning).' The
usual plur. is repara, but the present form answei'S to yepa, Kpea,
etc. It is supported also by a declension (found in Herodotus)
o{ TCpoLS repeos alternative to repas reparos (Kiihner-Blass i. pp.
431 sq.). It is also just the form which a comedian would
burlesque. [The reading rdS* ^rcpa ruins all the sense.]
1344. vv\L^ai opio-a-iyovoi. After invoking the Oreads
there is a drop to another nymph in the shape of Mania
(' Betty ') the maid. Mavia (fem. of Ma^^s, cf. 965 n.) was
a Phrygian name frequent with slave-girls ; cf. Ath. 578 b.
1348. cUiciciXio-crovo-a : 1314 n.
1350. KV€<j)aios : in the dark before dawn ; cf. Verg. G. 3.
4:02 sub lucem exportans calathis adit opjnda 2ycistor. The adj.
expressing the time of the action is a common idiom even in
current language ; cf. Vesp. 124 6 8' dvecpdprj Kveipaios iiri ry
KiyKXidt, ibid. 774 ixearijx^pLvos, Xen. An. 4. 1. 10 KaT^^aivov ijdr}
(TKOToioi. So in Latin verse Verg. G. 3. 538 nocturnus obambulat.
1353. cLKfJiats, ' swiftest (or strongest) effort ' ; (lit. with
wings at their tip-top). So irodCjv, x^'-P^^ clkjult} or d/c/xat.
1356. « KpT]T€S: from the play of that name (schol.). With
TO, To^a following it is here converted into a poetical way of
calling for the police (605 n.).
1358. T-^v o'lKtav : an unpoetical word, deliberately sub-
stituted for something in higher style.
1359. AiKTvvva: the Cretan Artemis as huntress (cf. Skruo*').
1360. TOLS KvvicTKas : the prosaic dimin. is a burlesque. The
female hound was considered the more keen-scented.
1362. olvTaras, 'at their brightest,' ' with keenest light ' (as
required for the search).
1363. <|)ft)pd(ra) : the regular word for searching for stolen
goods. Cf. Nub. 499 dXX' ovxi- (piopdau)v ^7(07' ela^pxofiai, Plat.
Lcgg. 954 A.
1367. TO -ydp pdpos v« k.t.X., 'for the weight of our phrases
will test us.' The specific gravity of a pTJ/ma depends on the
weight and dignity of the matter pressed into it.
1363 sq. cl'irep 76 8et . . T€xvt]v. It is easiest to place a
250 THE FROGS OF ARISTOPHANES 1370-1380
comma at }jl€, to supply Troirjaai, and to treat the next line as
exegetic of toOto (TroLrja-ai). Of. Plat. Gorg. 491 D ij tovto ixev
ovdev 5ei, aurbu eavTou dpx^Lv ; Dem. de Cor. 139 dvoiif avrhv
dvdyKT] Bdrepov, ij ix7)8ev eyKoketv k.t.X., Soph. Phil. 310 CKelvo
5' oudeis, rjVLK av juLvrjadui, deXcL, j (Tcoaai fx is olkovs. [It is,
however, quite possible to construe el del fxe tovto TvpoTrwXrjaai
Texvqv 'if I am to do this cheese-selling of poetry,' tovto being
adverbial (contained) accus., as in tovto aeXvirQ, rreiOu}, ttoloo, etc.
(cf. 13-15 n. ).] TvpoirwXfjo-ai is treated as a trans, verb, 'treat
after the manner of cheese-selling ' = Ti'po7rwXi/cd's diade'ivai. Cf.
Pac. 747 idevdpoTOfJirjcre rb v(aTcv^ and sup. 798 fjcetaycoyrjaovaL ttjv
Tpayipdiav.
Sinc3 V. 1369 is mock-tragic, this might account for the
absence of the article with Texvf)^, but that absence is more
naturally to be explained by the sense ' to weigh out art '
(i.e. quantities of it).
1370. IttCttovoi, 'strenuous.' They do not give up a
difficulty.
[1373. After this verse editors commonly mark a lacuna, on
the assumption that 1370-1377 should answer to 1482-1490.
But there is no indication of hiatus in the sense here, and the
supposed antistrophic correspondence is by no means certain.]
1374. |J.d Tov. For the omission of the name of a deity cf.
Plat. Gorg. 466 e (prjixl ixh odv ^7W7e. SO. ^ta tov^ ov av ye. So
/x,d T?7J/ ( Pint. Cleom. 4). Considering the freedom with which
the names of the deities were used it is hardly likely that this
suppression came of reverence. It more probably originated in
indecision or indifference as to which god should be sworn by.
It may also be suspected that a name was sometimes deliberately
withheld, when an oath was not taken seriously. The
consequences of- even accidental iinopKLa were thus avoided.
The schol. here explains that the ellipse is evKafielas xd/jij/, and,
whatever he may have intended to convey, the expression is
more true than if he had said eixre^eias xdptz^.
1375. Twv eiriTvx.dvTcov : after ouSe this is a humorous Trapd
TTpoaBodav ; ' not even if I had been told it by a — man in the
street,* lit. 'man I met with' (cf. 6 tvx^^v-, ewnbv). We
should have expected e.g. tCov (Ta(pu)s eldoTcov, avToirrCoPj
irapedTTjKOTwu or the like, but Aristoph. satirises our common
credulity, which so readily takes the word of the first gossip.
1379. Xapofi.€V(o : sc. avTolv. Each is to hold his scale while
he speaks into it.
1380. KOKKvo-o), 'crow.' kokkij^clv is used not only of the
cuckoo but also of the cock. Cf. J^ccL 31, Cratin. Com. Frag.
1382-1401 NOTES 251
ii. 186 KOKKv^etv rbv dXeKrpvdu ovk aj'^xoi^rat, Anecd. Bekk. 21.
24 q.8eLV dXeKTpvovas 'AttlkCos' to 8^ kokkv^elv KoifJLLKol \(^youaiv
(i.e. they use that word also). [The 'cuckoo-clock' originally
represented Chanticleer.]
1382 sq. €'i!0' w<|)€X* K.T.X. To the first line of the Medea
Aescli. responds from his Philoctetes.
1384. Kal iroXv 76, ' very much more . .' Kal (etiam) goes
closely with the adverb.
1388. e-n-TCpwiAcvov : referring to diairTdadaL.
1391. ouK 'ia-Ti IletBovs k.t.X. : from his Antigone.
* Persuasion has no temple except reasoning words. ' The next
line ran /cat ^oj/jlos avTjjs iar^ iv dvOpcbirov (f)^o-€L.
1392. (Jiovos 6€«v -ydp k.t.X. : from the A^'iobe {fr. 161 n).
The passage continued with oi)5' dv tl Ovcjjv ovd' eiriaTriudcjv
dvoLS, I ou5' ^(TTi /3w/u6s ovde iranopi^eTat, \ /jlovov d^ ITei^d; daLjadvwu
diroaTdTei. In this instance the matter of the reply is suggested
by his rival's quotation.
1393. ji€9€o-0e' fJL€0€<r0€ : see crit. n. The abrupt rhythm (if
correct here) is justified by the conversational repetition. Cf.
Thesm. 1184 Kdrrjao Kdrrjao.
Kal TO rovSiy aS piir^i, 'and (lo and behold !) once more
his scale descends.' Kal must (with y^) be used in a tone of
sarcastic impatience '(well, you have let go), and, of course . .'
It obviously does not emphasise to Tovde, and its position prevents
us from joining it to a5 ('once more ').
1395. ^iros dpio-T* €lpT](xevov, ' an excellently exjiressed verse.'
Cf. 1161.
1400. Pe'pXTiK* 'AxtXXeus k.t.X., 'Achilles has thrown two
aces and a four.' This is from the Telephus, in which the
Greek chiefs are playing dice. It is true that metaphorical
allusions to dice are not rare in serious poetry (e.g. Aescli. Ag.
32 Tpls ^^ ^aXovarjs TTJad^ /jlol (ppvKTWpias, Cho. 967), but the
introduction of an actual scene in which the characters are
dicing, and also of a line so hopelessly prosaic and trivial, was
left for Euripides to venture. Three dice were used, and the
highest throw was Tpls ^4. Besides its commoner sense kv^os
(properly the 'pip' on the dice) has the special meaning of
fjLovds ('ace'). The throw is, therefore, a poor one and the
' weight ' of the line would be small. Dionysus is doubly
sarcastic.
1401. aiiTi] '(ttI XotTT^ (r<t>wv o-tcLo-is : not avTT] i) aTdcns nor
7) Xoiirrj. Lit. 'this (only) is left for you as a weighing.'
252 THE FROGS OF APJSTOPHANES 1402-1414
Greek often dispenses with the word for 'only,' an emphasis
being assumed upon the word to which it would belong. See
the editor's note on Plat. Rep. 333 e ei irpbs ra dxp^cra (sc.
fibvov) XPWI'M'OU OP TvyxdvcL.
1402. ort8T]poPpi0€s K.T.X. : from the Aleleager. The adj.
suggests /Sdyoos enough, but the line is easily beaten.
1403. €<|>* dpfxaros k.t.X. : from the Glaucus Potnieus. The
schol. on Eur. Phoen. 1194 quotes the next line as 'LinroL §' i(f)
LTTiroLS i)aav iixirecpvpixevoi. This may account for the dat. V€Kp(p,
which can anticipate IttI . . Of. Pind. /. 1. 29 peWpoial re
AipKas €<pavev kul trap' 'ElvpdiTg., Soph. Ant. 366 irore jxev KaKov,
dWoT €ir' eadXov epTrei, and, in comedy, Fq. 610 firjre yfj fxrjT^
ev daXdrrr), Av. 740 vcLiranjl re /cat Kopv(f>ah ev opeiais. [Other-
wise it is easy to read kolv veKpdp, nor is it improbable that the
sentence should here be complete. ]
1406. oOs ovK dv dpaiVT* k.t.X. There is probably only an
accidental similarity between this and Eur. Or. 2 (Tvix(f)opa
derjXaTos, \ fjs ovk Slv dpuLT dxOos avOpihirov (pvais. The Egyptians
were proverbially dxdo(t>6poL (schol. here and at Av. 1133
AiyviTTLOS ir\Lvdo^6pos).
1407. Kal ji.t]K€t' : sc. ^acrdvi^e tt]v Troiricnv rjfxQv, or ^cttuj t)
(jTCLcns. The force of Acat is ' yes (i.e. no doubt he is outweighed
as you say), and (we may go further) . .'
1408 sq. avT<5s, to. irai8i* . . Ka0TJ<r0« ; for both construction
and thought cf. 587 ; for Cephisophon as collaborateur see 944 ;
for TOL PipXCa 943.
1410. It is not very clear why some editors assume a lacuna
after this line. Dionysus has already said (1401) that the
weighing would stop with the next quotations. After Eur. is
again beaten, Aesch. boasts that he would be prepared to meet
any odds. But, since his test is but a ' sporting offer ' which
manifestly cannot be adopted, Di. ignores it and proceeds.
1413. Tov \ikv ^cip T|7ovp.au k.t.X. Dionysus still represents
the popular opinion, but beginning to doubt itself. He cannot
but realise now that Aeschylus (tov p.€v) as poet is cro06s
{dodus, cf. 1154 n.), but he also knows that he finds pleasure
rather in Euripides (tw 8' ). [Others reverse the application of
the demonstratives, but this misses the above point and itself
contains none.]
1414. ovS^v dpa TTpdlcis : i.e. ctTrpa/cros ^(rei, 'your journey
will have been in vain.' Pluto means that only a distinct
choice will entitle one of the poets to depart. Hence the
following question of Dionysus.
1416-1424 NOTES 253
1416. Xv' ^X9t)s (JL-fi fJiaTT]v : not = lVa fi7] ^XOris ixdrr}v. See
639 11.
1417. 6v8at|xovoCT]s : a form of thanks when accepting. Cf.
Eur. El. 231 evdaLjULovoirjs, fxtadbv ijdiaTwv Xoycou. ' Blessings
upon you ! '
1419. tv' TJ itoXls <ra)0€io-a k.t.X., i.e. ' So that the country,
being saved (by the poet's wisdom), may (continue to) hold the
proper choric festivals (which belong to me, and which I
naturally desire to see maintained).' The function of the poet
as teacher of wisdom (1009 sq.) is here put at its highest. In
the theatre he can influence the largest Athenian gathering
(678) under privilege (686 sq.) more effectively thnn any prjTup
in the assembly. Dionysus therefore proceeds to test tlieir
aocpia in the way of political irapaivecreLs. [There is no special
allusion to the next Great Dionysia which are to follow in a
few weeks. The tragic poet could not ' save the country ' in
that interval. The reference is general.] The feeling of danger
at Athens is clear from this and other places. See Introd.
p. xxiii.
1421. [ac'XXy], ' is likely to ' (when he gets back to earth).
d^€iv jAOt SoKo), 'I am minded to take* { = 8oku /jlo? dyayeiy) ;
lit. ' I seem (to myself) that I will take.' [From this use of
the future there came a (rarer) use of the present infin. in a less
decided sense : e.g. Vesp. 177 t6v 6vov ^^dyeiv 8okQ (which
editors should not change to e^d^eiv), Aesch. Ag. 16 Srap 5'
deidcLV rj fiLvijpeadaL doKuj. ' I seem to myself to be doing this
or that ' is surely a tolerable idiom of the anticipatory or
panoramic present used for the future (Kiihner-Gerth i. p.
138).]
1422. ircpl *AXKipid8ov. See Introd. p. xxiv. Alcibiades
was at this time in the Thracian Chersonese. It can hardly
be doubted that this discussion is a ' feeler.' The audience
would signify its approval or disapproval of the sentiments
expressed, and the supporters of Alcibiades would derive hints
for their course of action.
1423. 8vo-TOK€t, 'is in slow travail,' i.e. in bringing to birth
a definite yvcbjuT] on the subject.
1424. Ttva ; The general rule is that when an interrog.
pronoun, or pronominal adj. or adverb, is repeated by the
person questioned, he puts it in the indirect form ; i.e. we
should expect TJunva ; { = €pu3Tas ijvTiva yvcvfirjv ^'%ei ;). But a
general habit does not preclude other uses. Blaydes quotes
Av. 1234, Fed. 761, Fac. 847, etc. in illustration of the direct
form. [Doubtless we might here save the rule — if it were worth
254 THE FROGS OF ARISTOPHANES 1425-1432
while— by giving this riva also to Euripides ; but the question
is then too eager and the answer less vivacious.]
1425. iroGci |x^v k.t.X. : parodied from the ^povpoi of Ion of
Chios atya fxh, ^x^aipet 5i, ^orjXerai ye jjLrjp (schol. ).
1427. |j.Lo-w TToXiTiiv K.T.X. : apparently quoted (with more
or less modification) from one of his own plays, since irdTpav is
tragic, as in 1163. This may account for the variant •Tr€<j)VK€
for <|)av€tTai. The rather difficult future is not likely to have
been wrongly substituted here for an easy perfect. Probably,
therefore, in tlie original context the word was TricpvKe (or
Tri(t>rive), but here Eur. is making no explicit statement as to
what is or has been the case with Alcibiades. He only hates
a man ' if he shall (8<rTts = ef tls) prove to be ' of this character,
at the same time broadly hinting that he probably will so
prove.
1429. Kal iropip,ov avrw : made to agree with ttoXCtt^v, as if
the relative clause liad taken the shape of (pavovi^ievov ^pabvv
K.T.X. [Changes from a relat. clause to an equivalent of another
form (or vice versa) are not very common. Yet cf. Simonid.
5. 7 Trpd^as yap ed ttcLs avT)p dyados, \ KaKos d\ el /ca/cws, Xen.
Hell. 1. 4. 4 raur' odu CLKo^ovres . . Kal iTreidi] Kvpou eldov^ Aesch.
Cho. 569 sq. n.]
djJiirjxavov probably combines the active and passive mean-
ings (1) ' resourceless ' for his country, (2) a 'hopeless' person
for it to deal with. For the former (which is rarer) cf. Eur.
3Ied. 408 yvvalKes is fiev '^adV djJLiqxavdoTaTaL, \ KaKuJv 8^ irdvrwv
T^KToves (TocpdoTaTai.
1431 sq. ov xp"^ XeovTos k.t.X. It is out of the question
that both these lines should stand together. Either we have a
combination of the two editions of the F7'ogs, or (more likely)
1431 was the original line, which Aescliylus somewhere wrote,
but which lie is here quoting in an altered shape in 1432,
Some early reader probably noted the original words in the
margin or between the verses. In favour of this view it should
be observed (1) that the line with jidXicrra \t.ev has the less
tragic appearance, (2) that Plutarch {Ale. 16), quoting from
Aristophanes, gives that line but not the other. [Some mss.,
it is true, omit 1432, but their authority is not so ancient as
that of Plutarch.] The notion of nurturing a dangerous lion's
whelp was apparently used by Aesch. in other places besides
the well-knowm ylg. 718 sqq.
1432. €KTpcw|)fj Tis : sc. Xeojp. [The Mys. of Plutarch have
€KTp€(t>T], but the likelihood of ms. corruption was from €KTpa<(>'ri,
not to it.] It would have been better not to have permitted
1433-143^ NOTES 255
such a dominating and wayward character as Ak\ to be
developed in Athens, but, since it has been done, it is best to
' put up with his ways. '
1433. T^v o-coTf]pa: the form of the oatli is deliberate, since
the whole question is of (7WT?7/oia. CI". 1166, 1169.
1434. 6 p,€v <ro<j)cos . . <ra(|)ws: so the MSS., but commentators
have naturally been at a loss to decide which has spoken o-a^ws,
or rather which has not. Each has been allusive, but the
opinion of each is clear. Not only is the perplexity removed,
but a capital point is made by reading (Avith Meineke) ao(pios
for cra0ws : * the one has spoken wisely, and the other . .
wisely.' Dionysus hesitates and seems to be thinking over a
word, and then confesses (probably after glancing round the
theatre) that there is nothing to choose. Aristophanes in fact
leaves the matter of Alcibiades to the audience. [The appear-
ance of o-a<j)<os is not difficult to explain. Some early reader or
copyist would expect a contrast between 6 (Ji€v . •. and 6 Se . .,
but finding none, and missing the point, would 'emend' with
cra0ws.]
1437 (1442). iy<a fiev otSa k.t.X. In the distribution here
offered of this much confused passage it has been assumed that
eight lines of the first edition of the play were removed in
favour of eight new lines. In some old copy or copies the text
of one edition was accommodated in the margin of the other,
where it could best find room, part being written high on the
page and part lower down. Hence the first five lines of edition
a precede the eight lines of edition h (which are written
correctly together), while the last three lines follow them. We
have, of course, no means of deciding with certainty which of
the two editions was the earlier, but, since the troubles of
Athens nnist have been rapidly increasing, it is perhaps to be
guessed that the earlier edition would contain the lighter
passage. Lines 1437-1441 were declared spurious by the
ancient critics Aristarchus (200 B.C.) and Apollonius (a.d. 10).
Kal OcXw : since it is a tragedian speaking moi^e suo it is
unnecessary to suggest KddiXoj.
1438 ( = 1437) sqq. The apparent fooling of the following
lines is to be explained (1) as burlesquing some of the far-
fetched devices for victory suggested in desperation (cf. jic?(.
915), (2) as parody of certain passages of the Palamedes of
Euripides (see 1443 = 1451). That play is the subject of
burles()ue also in Thesm. 770 sqq., where olb^ e'^cb Kal dr] iropov \
€K rod Y[a\afir)8ov^ has a suggestive resemblance to the present
place. Ibid. 847 it is said of Euripides ovk ^crO' ottojs \ ov rbv
256 THE FROGS OF AFJSTOPHANES 1438-1446
lIa\a/uL7j87]v xpvxpop 'ovt'' aicrxuverat. In fr. 578 (from the
Palamcdes) occur the words iroprias virep irXaKos. Much of the
humour is necessarily lost in the absence of the |;arodied
original. At the same time Aristoph. makes an attack upon
peculiarities of Cleocritus, Cinesias and Cephisoplion.
1438 ( = 1437). €l' Tts iTTcpwo-as k.t.X. A nom. pendens is
anything but rare (cf. Aesch. Eum. 95, 100, 480, Sioppl. 455,
Eur. /. T. 947, Rec. 970, Hom. //. 5. 135, etc.). An instance
(and there are many) as striking as the present is Eur. /r. 411
Trpos dvdp' eLTTLbv eva, \ ttijOolvt olu clcttoI TrdvTes. [Except for so
many parallels it might be ten)pting to suggest el' Tts irTcpctfo-as
. . I dcpiov &pai, 'were to lift him into the air.' The form
dpaL for dpete is quite admissible in a mock-tragic passage which
includes irXaKa, and the resemblance of a^piov and atpoiep, and
of apat and avpai, is very close.]
KXcoKpiTov KivYjcrta. Cleocritus (cf. Av. 878 o-rpovO^, fiTJTcp
KXeoKpLTov) was a large and ungainly person with some fancied
resemblance to an ostrich {ttju '6\f/Lv arpovddodTjs schol. I.e.). To
enable such a bird to fly he must be ])rovided with wings in
the shape of Cinesias (see 153 n.), who was very tall and thin.
Ill the Gerytacles of Aristoph. (Ath. 551 c) the latter is reckoned
among the unsubstantial ddorpoLraL. The jest went that he was
obliged to wear a board at his waist to prevent him from
doubling up with his length and slendei-ness.
1440 ( = 1439). vovv 8' ^x^'' '''^^a ; ' But what is the idea (or
purpose) of it ? '
1441 ( = 1440). vavp,axoi€v . . 6^18 as : the jest turns upon
a vulgar application of these terms underl\ing their literal
meaning.
1443 ( = 1451). €5 7*, <S naXd|iT]8€S : evidently quoted from
that play ; 'an excellent device!' <(>va"Ls =' genius. ' [In the
ordinary position of this line it is entirely pointless.] The
inventive genius of Palamcdes (of whom Odysseus w\as jealous,
and whose death he compassed) was proverbial. Cf. Eupol.
[Com. Frag. ii. 547) UaXaimyjdLKov ye rov^evprj^a Kal aocpSv.
1444 ( = 1452). KTi<(>icro<|)«v : as collaborateur. See 944 n., as
also for his connexion with the vinegar-cruet.
[1446 ( = 1443) sqq. Alternative passage from the other
edition.]
1446 ( = 1443). Brav : i.e. (rcorrjpia earaL, orav . . Cf. 1463.
TO, vvv diricTTa k.t.X., 'when we regard as trustworthy
that in which we now put no trust, and regard as untrust-
1448-1460 NOTES 257
worthy that in which we do put trust.' It is little wonder
that Di. finds this perplexing. dTnara commonly means
' untrustworthy' or 'disloyal,' and rd 8' Svra irwrTd, 'what is
really loyal.' But Eur. means by the former ' what is now
distrusted ' and by the latter 'that in which we trust.* Doubt-
less also the combinations of sound ra vvv airto-Taxto-O and
rd 5' ^i/raTTio-TaTTwrTa, if not most carefully pronounced (cf.
304 n. ), would lead to a fine 'derangement of epitaphs.' The
former might become rd uvv d-mcrT dirLaO' and the latter either
TOL 5' 6vT diTLaT dTTiara or rd 5' 6vTa iriaTCL Trio-rd. It is most
probable that Aristoph. intends to satirise advice capable of
such indefiniteness. [In point of fact it is only the subsequent
explanation which tells us how to read and interpret the
words. ]
1448 ( = 1445). d}jLa04<rT€pov, 'less learnedly.' The Greek
comparative is very often used where we should expect ^rrou
with the opposite adjective or adverb (e.g. crKaidTepos iK€ipov =
fjTTOV de^Los).
1451 ( = 1448). Xa-as <ra)0€i(j.€v &v. The reading of R . .
XpT](rat|Ji€(r9a o-wOc^fxcv dv is due to accidental omission through
the similarity of -crws and crwO-, and an attempt to remedy
the consequent defect of metre. Not only is the sense too
positive, but the form ffitideirjjULev is un-Attic. (Rutherford,
Neio Phryn. p. 454 sq.)
1455. XP^'^**'- • • XP'n*'"^®'^^ : 735 n.
ird0€v ; * of course not ' (cf. the scornful Trotos ;).
1457. ov SfJT IkcCvt] 7* : 788, 1144.
1459. v^ ji.'i]T6 xXatva k.t.X. : evidently a proverbial expres-
sion. We may perhaps render ' if neither soft cloak nor rough
cloak agrees with it.' xKalva and aiaijpa are opposed also in
Vesp. 739, 1132-1138. With the Greeks the terms for body
clothes and bed-clothes are not always distinguished, and each
of these words is applied in both meanings. Thus in Av. 122,
N'ub. 10 the a-ia-ijpa is a bed-blanket, a sense in which x^ali/a
is also frequent. We can hardly decide which application is
intended here. Both -xXatva and o-Lavpa are thick and warm for
winter, the difference being that the xXai»/a was commonly
made of wool and might be beautified, while the aiavpa was a
rug made of skins (sheep or goat) with the hair inwards. Cf.
X^cufa iixdriov x6i/ie/)ij/6?' (Hesych.), and rj cnaiupa Trepi^Xrjfia hv
e'LT) iK ^Lipd^pas (Poll. 7. 70). By the x^aiva Aesch. means the
more refined public men ; the aiai'>pa is the rougher sort.
1460. cl'irep dva8v<r€t irdXiv, ' if you are to get above ground
again ' = eiVe/) jUL^Weis dvadijaeadaL (13 n.).
3
258 THE FROGS OF ARISTOPHANES 1461-1468
1461 S(j. €K€t <|>pd(raip.' dv : the surface meaning is 'in the
other world ' (cf. 82). But we may jjerhaps guess tliat the
actor makes a sign towards the Pnyx, and signifies that he
prefers to give his polilical views in what the politicians call
'another place.' This would also suit dvt€i in tlie next line,
since the theatre lay below the level of the place of assembly,
in which the people were said Kadrjadac dpcxj (Dem. 285). Good
advice may find its way up to that hill. Meanwhile dpirj/jLL,
CLP aire fjLTTco are the regular words for sending up influences by
the nether powers. With ji-fi Sfyra supply tovto TroL'/i<T7)s or
1463 sqq. tt|v 7fjv Srav k.t.X. With drap cf. 1446 ( = 1443).
The utterance is intentionally rather cryptic. The meaning
commonly found (after the schol. ) is that the best policy is to
leave the enemy to invade Attica, and meanwhile to attack his
country with the fleet, making a special point of keeping up
the navy as the true resource {wdpos) of the country, the present
revenue {irbpos in a somewhat dilferent sense) being in reality
airopia, a cause of helplessness, inasmuch as it simply creates
an idle state-fed class. Pericles (Thuc. 1. 143) had urged ^p iirl
T7]P %w/)ax' ij/uLiOP ire^rj tiafftp, rjfiels eTri rrjp eKeipojp irkevaofxeda.
But this is scarcely the attitude of Aristophanes, who belongs
to the party of peace. It is probable that the words rather
mean 'when we (stop the war and can) treat the enemy's
country as ours and ours as theirs (i.e. so far. as intercourse and
trade are concerned), and when we treat our ships as our
resource (i.e. spend our money upon them with a view to re-
cuperation and a stronger future revenue), and regard the
present (way of dealing with the) revenue as (the cause of)
helplessness.'
To this Di. replies 'Capital ! only the jurymen swallow it
up all by themselves.' The sense of avrd is derived from the
context ( = ra x/J^/^ctra implied in the iropos) : cf. 1025. We
might have expected the fut. /caraTTierai, but the sense is ' but,
no matter wliat revenue we have, the jury-courts always get it
for themselves (and will continue to do so).' Dionysus is
naturally interested in the deoopiKOP, and he hints that there
would be more of this if less were paid to juries. Aristoph.
himself would have been glad of any reduction in the payment
of the assembly or courts, since its existence was all in favour
of the power of the S^/xoj. Cf. in general Eq. 1350 d aoL dvo
Xeyoirrjp prjTope, | 6 juep iroeiffdaL pads fxaKpds, 6 5' erepos ad j
KaTa[XL<jdo(f)oprj(TaL Toud\ 6 top fxiadop \iywp \ rbp rd? TpLrjpeLS
TrapadpaixCop hp cpx^TO.
1468. aip-^o-ojiat k.t.X. The line (whicli is parenthetic and
1469-1491 NOTES 259
is lingered over in order to prolong the suspense of Euripides)
is tragic in metre and expression (in the use of f| ^x^ ^^^^ ^^
Q(Kt\. = ^ovXeTai). With ScXct supply alpeiaOai.
1469. ofts &)(io<ras. Though Di. came down intending to
fetch Euripides, the statement that he has ' sworn ' is but
hyperbolic assertion of the eager poet, and meets with a crush-
ing answer from his own Hippolytus. Cf. 101 n.
1472. « jxtaptoTttT* dvOpwircov : an abusive combination so
frequent that Eur. uses it in forgetfulness of the divinity of
Dionysus — not that (in Aristophanes' view) he would care
much for divinity. Cf. Av. 1637 (Herakles to Poseidon) cD
baifibvt' avSpihiriov TLbaeidov,
1475. tC 8' alo-xpov k.t.X. Once more Eur. is hoist with
his own petard. In the Aeolus he has the line ri 5' alaxpoj^,
7}v 1X7] Toiai xpw^erois doKrj ; It adds to the humour if the
previous line is also an echo of the Aeolus. Plutarch relates
that, when Antisthenes (others say Plato) heard in the theatre
this questionable doctrine that it is ' only thinking makes it
so,' he retorted alaxpov r6 7' aiaxpbv, kSlv doKy Kdiu firj doKrj. In
humorously substituting rots 0€(«)[j.€vois the actor looks for
the iirKTTjfMaaia which will show how the audience takes this
verdict in favour of Aeschylus.
1477. rCs oI8€v k.t.X. : from the Phrixus. See 1082 n.
1478. TO TTVciv 8€ 8€i7rv€iv. The jingle and alliteration
point the sarcasm. He means that such talk is \rjpos. It
gives no practical satisfaction. 'You might as well say that
"breathing's breakfast and lying down is eider-down.'"
1479. xaapiln: i.e. you and Aeschylus. Cf. Ves}). 975 W
dpTL^oXco a\ olKrlpar avrbv, cD irdrep, \ koll fXT] dLa^deiprjTe.
1480. I'va JcvCo-cD. They are to be wished ho7i voyage
with a 'send-off' dinner. But Aristoph. is also alluding to
the banquet to which he assumes that he will be invited as
successful with his play (297 n. ).
1481. ov 7dp dx^^K'^'' '*'*? irpcL^ixaTt, lit. 'it is a business
(or trouble) I don't object to ' ; a colloquial expression corre-
sponding to the English ' I don't mind if I do.' So the schol.
T(^ iaTidaai (rather earidcTdai).
1482. dvirjp : not dp-Zip (Aeschylus), but in general.
1484. iroXXoio-tv : by many signs and tokens.
1485. SoKi^o-as, 'having been considered.'
1491 sq. x.^pi€v, ' a proper thing. '
260 THE FROGS OF ARISTOPHANES 1491-1504
ji,-?! 2a)KpdT€t K.T.X. Euripides is regarded as one of the
circle of Socrates and as possessing the same taste for sophis-
tical discussion and scepticism. Aulus Gellius (15. 20) says
of him auditor fuit physici Anaxagorae et rhetoris Prodici, in
morali autem philosophia Socratis, but the last statement can-
not be true in the sense that he was a ' pupil ' of Socrates, who
was twelve years his junior. Also Soc. had no 'pupils,' but
only fellow-seekers, and of these Eur. was one. For Aristo-
phanes' conception of Socrates see the Clouds (423 B.C.).
irapaKa0irj|jL€vov. The Socratic group regularly seated itself
round him. Cf. Plat. Theaet. 169 B ov pg.dLOP, cD ZdoK pares, aol
irapaKad'TjfJLevov jult] didovaL \&yov.
1493 sq. diroPaXdvTa (AOv<riK'/jv k.t.X., 'rejecting cultured
taste and neglecting the most important elements of the tragic
art.' ixovdLK-q here includes both 'music' and 'literary judg-
ment.' Aristoph. believes in the rightness of the old education
(cf. 729 n. ) and also of the old dramatic art as represented in
the dignified simplicity of Aeschylus.
1496. <r6(jivoio-iv : in the unfavourable sense of ' pretentious ' ;
cf. 178.
1497. <rKapi<f>ii<r|xoio-t, lit. ' hen-scratchings.' Hesych. tells
us that diaaKaptcprjcraL is properly used iirl dpviiav rCov tols 6vv^i
(TKokevbvTOJV TT]v yrjv.
1498. dp7bv. It would be very awkward to make this
masc. with the subject of iroLetadaL. Siarpipi^v tcoilcrQai is
not here simply the ordinary resolved form of dLarpi^eiv, since
bicLTpL^riv contains, besides the notion of wasting time, the
sense of 'philosophic discourse,' which does not attach to the
verb.
1500 sqq. The chorus is supposed to have filled in the
interval occupied by the farewell banquet. Presumably Pluto
comes on with Aeschylus, Dionysus and Xanthias, who are to
make the return journey. [Hence it is Xanthias who lias
played Euripides.] The anapaestic measure implies a kind of
procession (1525), with which the play ends.
1501. rfjv T|(jL€T4pav. Athens is naturally to be considered
the favourite city of the gods (lepuirdr-qs Eq. 582), including
Pluto. The Athenians &yovaLv iopras dLirXacriovs ij oi dWoL
([Xen.] Bep. Ath. 3. 8). But, as the schol. points out, Attica
is the special country of Kore (= Persephone, wife of Pluto).
1504. 8bs TOVTi K.T.X. For the three ways of death see 121
n. They are here indicated by appropriate presents, which
Pluto is sending to certain of Aristophanes' pet aversions.
1505-1524 NOTES 261
They are nice little gifts which Di. brings home from abroad.
We cannot tell which particular favour Cleophon (678) is to
receive in tovtI, or Archenomus in roSe. In regard to the
second gilt the reading is uncertain. If tovtl is right, it would
naturally be the kujuclov, since it has to be divided. Bergk's
TovTovo-l cures the paroemiac verse (which comes in rather
strangely) and, if we understand roi)s ^poxovs, the presentation
of a number of halters would make an effective little picture on
the stage.
1505. Toio-i iropto-Tats : little is known of this board {apxh)'
It appears to have been a kind of expert committee which
suggested ways and means, probably in times of special
emergency {Did. Anit. in voc. ).
1506. Mvp|XT]Ki K.T.X. : these are not the wopiaTal, other-
wise ofJLov would not have been added. Nicomachus is
apparently the subject of Lysias' Orat. xxx. Myrmex and
Archenomus are unknown.
1511. <rTi|as : as if runaway slaves (dpair^raL), who were
usually so punished {Av. 750 dpaireTrjs iaTiyixhos). It is thus
hinted that at least some of them are not genuine citizens ; cf.
678 sqq. n.
1513. fi.€T* 'A8€t}i.dvTov K.T.X. : Adeimantus commanded
with Alcibiades against Andros (407 B.C.), was a general
during the present year, and took part in the battle of
Aegospotami, where he in all probability behaved as a traitor.
The proper name of his father was Leucolophides (Xen. Hell.
1. 4. 21). The anapaestic metre would not, it is true, admit
of A€VKo\o(l)i8ov, as it will not of So0o/cXeet (1516), but, since
it was not essential to introduce the father's name, we may
assume that X€vkoX6<|)ov is a humorous substitution. 'Adei-
mantus of the white crest' is Ad. the general, who makes
a display of his \6<pos (cf. 1016, with 925).
1516. 2o<f)OKX€«: : see 76 n., 1513.
1517. -Iiv Up . . d<t)tK<«)|xai, ' in case I ever come back.' In
dcpLKveTadaL the sense is often ' come home ' (cf. dirodLddpai,
dTToKa/ii^dpeLP, etc.).
1523. ji-qS* 6.K0iv, ' not even by accident ' ; cf. Aeschin. 2.
153 dvdpcxJTTOs 'TOVTjpos, 6s ovd' dv dKcav dXyjdes ovdev e'iiroL. ^-..-^
1524 sq. (|>aiv€T€ . . XajxirdSas : the mystae have their
torches (313, 340), and are now to form a procession escorting
the departing Aeschylus. To ' show a liglit ' is good Greek ;
whence also (omitting the noun) (f>aiv€Lv = ' give a liglit ' ; cf.
Theoc. 2. 11 dWd, SeXdt'a, (paTve Ka\6v.
262 THE FROGS OF ARISTOPHANES 1526-1532
1526. Toto-tv TovTov TovTov : the repeated pronoun is em-
phatic, lit. ' honour him with the tunes of him (and no one else).'
'For Aeschylus the tunes of Aeschylus,' i.e. the old dactylic
measures (1264 sqq., 1285 sqq.), such as the following
hexameters. Even the actual words are probably a close
adaptation of Aeschylean lines, possibly (as the schol. suggests)
from the Glaucus Potnieus. The language is of epic quality
(e.g. iraYxv, Is <|>dos opyvjAevw).
1530. ctYaOtts €irivoCas : i.e. through the advice of Aeschylus
(1419 sq.). There is a reminiscence of Aesch. Eum, 1013
et-q 5' dyadujv \ ayadrj SidvoLa iroklraLS. There is, indeed, here
a general suggestion of the close of that play, with its
irpoTToixTrol and their torches (ibid. 1006).
1532 sq. dp7aX.€<ov . . JvvoSwv : instead of the pleasant and
profitable ^vvoboi of peace. dp-yaX^os is used ' specially of the
litigious temper' (Neil on Eq. 978).
KX€0(|)a)v Z\ |Aax€<r9w k.t.X. : i.e. we shall make peace ;
and, if Cleophon (with other opponents) wants to keep on
fighting, let him go and do it in his own country (678 sqq.).
According to Aeschines (2. 80) Cleophon went alDout after
Arginusae threatening diroKoxpeiv /Maxaipg^ rbv rpdxv^ov et rts
elp-qvrjs /JLvrjadrjaeTaL.
TovTwv : not ' of these spectators, ' which would rather
require tovtcovI (cf. 954), but 'of that set,' 'those fellows'
contemptuously.
INDICES TO NOTES
I.__GREEK
d- (three privatives) 204
d- (oxymoron) 1334
dyeiv (senses) 159
dyKokaL [KV/jjdTWp) 704
dypioTTOLds 837
dydbviafjLa 283
del irws 414
derds, alerbs 929
d-qbovLos {vdfJLos) 683
ddijpcjTov {(jTbfia) 838
aldipa Atos doj/jLariov 100
Ai^?7P (as divinity) 892
alviy/JLos 70
atpeiv { = (p€p€Lv) 518
('extol') 378
airiav iKdeivai 691
aiTov/iievos 699
OLKavdav {tt]!/ . . e^eXe) 658
d/cyu?7 ('best effort ') 1353
dKoveLV )( k\v€lv 1172
d/c/)a io-rta 999
ct/cwj/ (/at;^' — ) 1523
d\ivd7](TLS, dXivdrjdpa 903 sqq.
dX/cuoi/es 1309
dXX' -^ (oi)5^»/ . .) 928
aXXos (idiom) 1164
dXX' odv . . (7e) 1298
dXXws ('ill any case') 1115
dXoxos 1050
diJi-qx^vos (pass.) 1429
dixcfil ('in honour of) 215
diM<f)L\a\os 678
dz/ (repeated) 581
(iterative) 911
(omitted with opt. ) 574
(position) 96
(with rel.) 258
dva^Loirjv 177 (crit. note)
dvayvCovai 557
dvadepeti/ 1106
dvaKTuirreLV 1068
dvaixeorrbw 1084
dvaved^ELV 591
dj/dTrauXat 113
d^a(7Trdv 903
dvd(popov 8
di'SpcDj/ yvvaLKihv 157
dveXiaaeadac 827
avrj/uLno^oXiaTa 554
dj/Tjp TroLTjTTjs. ctc. 1008, 1030
dvdoafiias 1150
dvTeirippT^ixa 674
dj/rt {irpdrepos — ) 76
d|toj/ ^i/Xoz/ 736
d7rau5w (with infin.) 369
dTreptXdXTjros 839
diriara (passive) 1446
dTTo )( i'7r6 762
dTTo (resources) 121, 1200
diro- (compounds) 1227
dTTodeiKVVflL i^TTL-) 1249
dwb AcdXw 121
263
264
THE FROGS OF ARISTOPHANES
AttoWov 659
dirdWvfxL ('bore to death') 1245
cLTTO/JidTTeadaL 1040
aTTOTrpiaadai 1227
cLTTopprjTa 362
diroao^elv 45
diroairdv (intrans.) 962
dpeaKCLV (accus. ) 103
"Aprjs, dprjs 1021
dppa fiiXava 847
daaXafxlvLos 204
dcrKOjfjLa 364
dareiou 5
drt/xos 692
auXrjrpis 513
auXos 154
ai^rd (vague reference) 1025,
1466
avTo dpdv ( ' do so ') 584
avTOKO/JLOs 822
auroj/ (resumptive) 764
auros ('master') 23, 520
avT(^ (r(p) /cod^ 226
d(f>aLpetv 518
d(f)LKV€?<TdaL 1517
^A(ppodiT7) ('charm') 1045
-/3d (/card/3a, etc.) 35
^aXavetjs 708
^aXKavTLOToiuLos 772
pdpadpov 574
j3ap4o}s (senses of . . ) 25 sqq.
/Sdpos 941
^aaav i^€Lv 616
/3i3X^a 943, 1114
i8\d|8os 1151
^X^ireiv {oplycLvov) 603
/Soetos 924
p6pj3opos (in Hades) 145
]8ou- 924
^ovXofxat {is TO ^aXavelov) 1279
^p€K€K€K€^ 209
jSpi^et^/ (gen.) 329
^cjjfioXdxos 358
7dp (position) 340
yaarrip (whipped) 663
ye (force of) 3, 964, 1052
(in question) 936
(women's emphasis) 559
yeXdv iiri tlvl )( tl 2
yiXoLos (accent) 6
yiXu3v, y^Xixira 45
7ei'i/atos ('prime') 97, 379
yevvalws 379
yevojxaL (nietaph.) 462
y€(f)vpLff/x6s 375, 416
yXCbaaa [ofiib/jiOKe) 101
7^a;/zat (of poets) 877, 1059
yVWIXOTVTTOS 877
yoVLfXOS {TTOLTjTrjs) 96
ypd<p€iv 938
ypvTraieTos 929
yc*}via(Tfji6s 956
daifiovLe (c& — ) 175
Sdios 1022
daKveiv [eavTov) 43
5etJ/a (6 — ) 918
Seifd ireiaofxai 253
§e»'d TTOtelv, iroieladaL 1093
5e/^et (impers.) 1261
5e^i6s, de^idTTjs 71, 1009
57^345
577 ( = 5er7) 265
drjjULOTriOrjKOs 1085
5?7Ta (/cat — ) 52
5i' dyopds 320
diadpaanroXiTrjs 1014
diaira 114
dtdfierpos 801
dtaTpL^T} 1498
diddaKCLv {dpdfJia) 1026
Aios K6/}i^6'os 438
Aios 6;U|S/)os 246
diw^eXia 141
5o/cetj/ (' pretend') 564
5o/ccD d^eti/, d7eiv 1421
5/)dj/ auro ('do so ') 584
dvvaiLLLs ('eloquence ') 879
dv' d^oXd) 140
dvaroKcTv 1423
GREEK INDEX
265
-ea -^a 863
iav ('to see if) 175, 339, 644
i^ov\6ixr}v (without 6.v) 866
eyKaXuTTTCLP 911
iyKaraKpoveiv 336
^^eaSat eiri tl 682
et' ( = 6't0 1007
-ei -77 (2nd pers.) 30 (crit. note),
'462 (crit. note)
-eta (trilogies in — ) 1124
eleceieLKiffaeLV 1314
eUv 607
eUy )( pq,dLOJS 733
eiKoaroKdyos 363
ei/ccu;/ (lifeless) 537
('ghost') 1028
('comparison') 906
eiXw, rXX(o 1066
elfii (with particip.) 35 sqq.
elvat (omitted ?) 278
€LV€Ka 189 (crit. note)
elffd'^eLv )( irapdyeiv 959
elcraipeiv (Tpdire^av) 518
elra {indignantis) 21, 76
(force of) 367
/uera roCro 1026
€K (TTOVTJpbs KCLK TTOVTJpCov) 731
'E/caraia 366
iK^dWeiv (words) 595
iKypd<f)€(r6aL 148
e/cei (Hades) 82
€K€?VOS [OVK ) 788
CKKaideKa 551
€Kir7]VL^eadaL 578
eKTidevai alriav 691
^/cr6s ro;?' eXaQv 995
iKTpoiral 113
Aaw;/ (e/cTos — ) 995
'EXXds ('EXX771/1/C97) 1284
ijUL^dWeLv (/fwTracs) 208
e/x^arrjpLa 372
^/leXXoi/ (ipa 268
e/JifiiXeLa 896
ep^ireadov 945
"E/>t7rou(7a 293
ivdWeadaL {6vpq.) 39
eVe/ca, elVe/ca 189 (crit. note)
evddde (on earth) 82
ivLavTos )( eros 348
^j/oStot 196
ivaK€vd^(x} )( (T/cefd^o; 523
^^ dpxijs irdXiv 591
i^r]yp6iuL7]v {Kq.T e76(;7' . .) 51
^|W TOU X6701' 1179
eTra(pavalvofjt,aL 1089
iiretvai (attributes) 1045
^ttt; ('senses') 358
)( fjieXr) 862
iiri (with accus.) 675
(I'^ei^ iiri tl) 198, 682
TOVTOV )( ^TTt roi^Tou 1305
tout' ^pxeTat 168
iirL^ciiveLv [xopCov) 675
iTTL^are^eLP 48
iirt^pefJieTaL 680
iinbdKvviXL )( dTro- 1249
iirtde'iv )( TrepideladaL 1038
eiTLKadriadaL 1046
iinirXelv 197
iirippTjfjLa 674 sqq.
ilTLTpi^eLV 1018
iiTLcpvXXides 92
^TTOTTTeveLV 745
€7rTaj36€LOs 1017
eirrapop (ttws ou/c . . ;) 647
"Ettt' ^TTi e^/3as 1021
iiruXXta 939 sqq., 942
epdj/ (on part of women) 1044
^/07a (in battle) 819
ipl^p€/J^TT]S 814
ipLOTUVLOS 1144
^pis 957
^ppei^ 1192
^pXeadai iirl tovto 168
ia^oXai 956
^s KdpaKas (position) 607
^(TTt Trept Ti^os 1028
idTparevjJLevos 1113
€T€paL )( dXXat 515
^TVOS 71
evdaifJLOvoirjs 1417
ei)^i7S ('for instance ') 743
266
THE FROGS OF ARISTOPHANES
ed old' 6tl 601
ed irpdTTU)if tolx^s 537
ev(pr)fxclv 354
e0e5pos 792
e0u 1247
ex^t-v (of tutelary deity) 661
"ExtSj'a 473
e'xo/xat jxeaos 467
^Xo^ {^(ttIv — ) 1161
€XPW )( XPV 568
e'XW cus . . (flit.) 1249
^XW cfipOVTL^WV 1252
exwj/ {(pXvapeis) . .) 202
^771/ (oiJ^^vr^i-.) 1082
^('hulloa')27l
9j fi-qv (76) 104
-Tj -et (2nd pers.) 30 (crit. note),
462 (crit. note)
ijiii 37
T^v, idv ('to see if) 339, 644
"H.paK\€Lo^avdias 499
TJpws (Laniachiis) 1039
-Tjo-L (loc. dat.) 1212 (crit. note)
-yro (opt.) 919
OoLTTOv ( = Taxfws) 94
Bed 382
<9Aco (intin. omitted) 1468
)( m\o3 533
drjyeLu odhvTa 815
OiaadoTrjs 327
^pZoj/ 134
^uei'a 124
duXoLKLOv 1202 sqq.
dijpav {Kpo{i€Lv, etc.) 37
(9i^/)(jos 1211
dvpojpbs (manners of . . ) 38
laKxcLycoyds 340
'la/cxeioj/ 316, 324
i'a/cxos, "IttAcxos 316
-laj/ (verbs) 494
-Las (adj.) 494
muot 1028
IdiwTTjs 458, 891
tepeus Aiovvcrov 297, 308
iepos dvdpuoiros 652
i^eii/ eTTt Tt 198
l'^' xi-^ep ^px€L 301
iKere^o) (expletive) 745
I'Ww, eiXw 1066
LlxovLoaTpbffios 1297
linraXeKTpvcov 932
iTTTT^as opw 654
tTTTTo- (compounds) 929, 932
Linro^dixwv 821
iinroKpTjfjLvos 929
lTnr6\o<f)os 818
iVai ((TTToi'Sat) 685 sqq.
icrroTTOvoj, laroTovos 1315
IffXvoiivoo 941
i'X^us (ot — ) 1068
KoidTj/jLai (augment) 778
/ca^^To (opt.) 919
/ca^' lepwj/ oixv^vai 102 ,
/cat (force of) 166, 935, 1210,
1393
(omitted) 157, 857, 861
(confused with /cara) 1202
/cat Br) 604, 1018
/cat 5?7Ta (resumptive) 52
/cat /t77J/ 106, 285
/cat ravra 67, 704
/cai . . re 1009
KdXajULos (in lyre) 229 sq.
(pan-pipe) 230
Ka\€Lu Ti ('call for') 1073
/caXXtcr', liraivCo 507
/caXws (refusal) 507
/c^j/ et . . 585
Kavibv 799
Kapi/ca avK-qjxara 1302
/cara ('like') 1202
(confused with /cat) 1202
/cara/3a 35
/cara yaiav, 7atas 1529 (crit.
note)
KaTad(x)po8oK€L(TdaL 361
KaraKeXeikiv 209
GREEK INDEX
267
Karaax^'^v (of ships) 1208
KarepeiKrds, KarepLKTos 505
KaTeppiPTjfxevos 901
KaT^pX€(r6aL 1165
KaT€(TT(x)fMv\fl€VOS 1160
K(iTri\L\p 566
Ke\aivocf>a7]s 1331
K^Xevfxa (ships) 180
KevravpLKios 38
KepafxecKal TrXrjyai 1094
Kep^^ptoL 187
KepKls doLdos 1316
K€po(3dTT]S 230
K€(pd\aLOv pijfjia 854
K€XW^^ 990
K7}(f)Lao(pQv 944
Ki/xwXia 77/713
KXavaeraL {ov . , ;) 1209
KKiirTCLv (without obj.) 611
-/cX?)s, -k\^7]S 76
KXifia^ (torture) 618
K\v€Ly )( aKo^eLV 1172
KV€<f)aLos 1350
Kodopvos 47
KOKKu^eiv 1380
KoWa^os 507
/c6/A/ia 726, 890
KOfnro(paK€\opprj(JHi)v 839
Acoj^ia 710 sq.
KOTTTeiV, eKKOTTTeiP 573
/c6p6ts 115
K6piv0os {Al6s — ) 438
/cp^a 553
KpeCov {irepl rCov . .) 191
KpTjTLKT] jxovi^bia 849
KpOKUJTOV 46
Kpo/jifiva (and iTTTr-^s) 654
Kpoijeiv {d^pap) 37
Kpovpbp d(pL^paL 1005
Kvap^/jL^oXos 1318
/ci;^os 1400
KVKr](TLT€(f>pos 710 sqq.
kvkXios x^P^^ 366
kvkXos ( — TreptjSoXos) 440
KvXiPdeiv, KvXipdeip 536
Kvpeip 1291
/cuwj/ (friend) 472, 1286, 1291
(watchdog) 465
K({}8dpiop 1202 sqq.
KCodcOPl^CLP 79
KwdwpoipaXapdwwXos 963
Kix3KV€LP fJL^ya 34
/c(^os (dice) 970
KCOTTIOP 269
/cw0d irpbdiaira 830 sqq.
XdSpg,, Xddpa 746 (crit. note)
XoLKelp 97
Xafi^dvu) ('catch ') 251
('buy') 1236
Xa^Trds 129, 131
Xaoi 219
Xiyeip AvKa^rjTTOiLis 1056
Xeo-^Sidfeij/ 1308
Xeu/f6s dpOpioiros 1092
Arjdrjs Trediop 186
XfiK^diop 1202 sqq.
X^//,a 463
X7]fjLaTLdp 494
XyjpLaTias 494
X-^pos ^orrt Trpos . .809
XL^apcjrds 871
Xt'^os (Ai'at»'ou) 194
At/ij/at 217
Xtrpo^ 710 sq.
X670S ('plea') 832
XotTTou (toC), Xolttop {to) 586
X60OS 925
Xi^eij/ ('pay') 691
XcOTToSiyTT/S 716
-yua (e.g. XdXrjfjLa) 92
A^d roj/ 1374
Md7^?7S 965
fiadrjTrjs (of poets) 964
fiaipls 985
jxaKapwp eucox^a 85
jxaKpd {kU)KV€Lv) 34
/xdXa (with repetitions) 369
jxaXXop jxdXXop 1001
MafjL/xdKvdos 990
Maj'^s, /Jidprjs 965
268
THE FROGS OF ARISTOPHANES
Mauia 1344
fxapTvpofJLai rt 528
fi^duj 665
fieiayooyelv (and acciis.) 798
fjiedirjiuLL (and med. ) 830
fjieXavoKapdios 470
/j,e\apou€KV€LfXiov 1336
fjL^Xr} )( ^irri 862, 1248
MeXT^riSat 991
/jL€\iaaov6iJLOL 1273
/i^Wet;/ (^/^eXXoi/ &pa) 268
/^ei/ . . Kal (?) 404
At^i/ {solitarium) 533, 952, 1023,
1184
(in TovTov/xevi) 965
/xe//roi (affirmative) 166
/Jiiaos ^x^f^^'- 467
fi^TOLKos (and patron) 569
At?? (with ws and gen. abs. ) 128
{ = 1X7) ov) 42
(position) 639, 1416
117) aXKd. 103
fxbvov (frequent omission) 1401
fiopcpdia 849, 1330
yLtou, (Tov, etc. (positiott) 485
fxovffeiov 93
jULovaLKT) 1493
IJiVKTTJpes 893
fiipatva 475
fxvppLvoiv (in Hades) 156
fJLVpTOV 329
lxv(TT7)pLa {6vos dyet) 159
IJLijaT7)s (adj.) 370
j/e/cpot (stupid) 420
j/o^(rat, TTOTJaai 673
//o/xot (of harp) 1282
vovdeaia (poetic) 1009
j/ous (' meaning') 47
Nu<7)7tos 215
^avStdiov 582
^ou^os 932
|i7\oj/ (of office) 717
ii^Xoi/ (^t^ioj/ 736
<5jSoXt6 (rcb 6i)' . .) 140 sq.
6'5e (without art.) 873
6 5eti/a 918
6§6i'ra OrjyeLv 815
6^et rij/6s 338
o^ej/ ( = d0' o6) 1040
orSd Tii'tt 836
oXb' 6tl 601
olKiau olKeiv 105, 976
olcre 481
'dfxvvfXL Kad* lepQv 102
'Oai67I'ios Zetjs 750
'Ofio/JLaaTLyias Zei^s 756
5z/os ^764 fjLvarrjpLa 159
"Ovou 7r6/cas 186
o^i^s (of light) 1362
67rl80
^TTtos (with fut., pure final)
1120
6'7rws di/ 872
5p7ia 356
'Opiareia 1124
opBoeireia 1181
6/)(96s (with inf.) 706
opiyavov ^Xiireiv 603
opfxadbs fJLcXiop 914
op/idi' (construction) 478
dpx7)<^Tpis 513
cio-Tis )( 6's 168, 706
( = 6Vris d7)^p) 39
oarpaKa 1305
6Vai/ (condensed use) 1446, 1463
6're (causal) 1189
6tl )( dVe 20
6' TL (repeated quest.) 198
OTL (redundant) 601
OTL {i^eX^yxeadat . . ) 741
ov yap dXXd 58, 192, 498
/JLT) {(pXvapTjaeLs) 202
TOix dXX' ijdT) 527
od 'evcKa (brachyl.) 108 sqq.
ovde Tovri (deictic) 913
ovdh dXX' ij 227
ovdep iar fi 227
ovdev ^arai irpdyfxa 1215
ovbev TTOLeiv 662
GREEK INDEX
269
ov8^v TpoLTTeiv 1414
o^u (force of) 431
(in tmesis) 1047
ovveKa 189 (erit. note)
ovpdvLov 6aov 781
odros (contempt) 9, 17, 707
724, 1533
oirru) ('just') 625
d(p6a\fiLdu 192
6(f)pvs 925
oxeTv ('give a lift') 23
Trai^etv (minstrelsy) '230
TrdXata-fjLa (metaph.) 689
irdXLU i^ dpxns 591
TrdXXeLv (intrans.) 1317
TravdoKe^rpia 114, 549
iravvvxl^eLv tlvl 445
irdvT dyadd 302
irapa^aXou 180
irapdyeiv )( elcFdysLV 959
irapaK€KLv5vpevjj^pos 99
UdpaXoL 1070
irapa^bvia 819
TrapairiTaa/jLa 938
irapaTrpLafJia 881
TrapacTKrjVLOV 170
Trapaxopriyr)/j.a 170
Trapeinypacp'r] 1264
irapideTv 815
napj/ao-o-os 1057
irapoLVLa 1301
Trarpi^a 1138 sqq.
TraCe, iravaaL 122
Tr^fxireLV {tto^tttiv) 1037
■jreirovdd rt 718
irepaiveiv 1170
Trept (with gen., ace.) 809
Tij/6s eo-Ti 1028
ruj;/ KpeCov rpex^iv 191
irepLbeLcrdaL )( eTndeTv 1038
irepidpofJLOs 472
Tepiipx^crdat (of sound) 154
TrepuWSfxevos 1066
Treplxaros 939, 942, 953
TreptfreTrXevKias (metaph.) 535
TrepLTTLTrTeiv 969
irecpvKa iadXds, iadXCos 1218
ir-qviov 578
TTLe^ofjLaL (stock jest) 3
irid-qKOS 707
irLTTTeip (dice) 970
TTio-rd (passive) 1446
IliTuo/cd/xTrTT;? 966
nXal9d;/77 549
nXaratTys 694
TrXareittt (xe?/)es) 1096
TrXetj/ (-^ aradici) XaXlcrrepa) 91
irXeijfjLcjv 474 (crit. note)
7rXr]y7)v wapd irXriyl^v 643
wXlvdovs iirLTidevaL 621
TT^eZj/ Sopu 1016
TTveiJO-ofiaL, irvevaovixaL 1221
woTJaai, voTJaai 673
TT^^e?/; 1455
TToieij/ (omitted) 1047
(combined senses) 14
(without obj., /X77 TTOtiyo-r^s) 16
(and TToetj') 13 (crit. note)
(oi)5^j/ . .) 662
)( iroieiadaL {deivd . .) 1093
)( iroLeladaL {Kpiaiv) 779, 785
)( TTOieTcrdaL (airovdrjv) 522
rouTo (^c? agere) 358
TTotos; 529
TToXXd irpdrreiv 228
iroXXoO ( ' very ') 1046
iroXvppodos 448
WoXvTiflTJTOS 851
TTovqpos ('mean') 710
('wretched') 852
TToj/os (and gods) 401
TopKTTai 1506
TToO (Txw^ } (and tto?) 188
7roi>s xpovov 100
TTpdyfia {ov8h ^arai . .) 1215
{ = causa) 759
irpdKTup (fem.) 1289
irpdaov (as whip) 621
wpecr^vTepos (figuiative) 18
TT/oivos (burnt) 859
TTpoayiayds 1079
270
THE FROGS OF ARISTOPHANES
wpoXoyos 1119
WpoS {=TrpO(T^TL) 611
('to ' accompaniment) 1307
irpbs 54 697
TrpocTKaXeiadaL 578
7rpO(TO(p€i\€LV 1133
TrpoaTOiTTjs 569
7r/)6(7X77/xa 913
irpbrepos ('superior') 76
irpvTOivLS 1286
irpibv 665
Trpwra (ra . .) 421
Trpcovdu) 369
TTijpyos {v\pT]\6s) 130
irvpyow {p-qjULara) 1004
TTvppias 730
TTvppixy) 150
p^Stws )( etAC»7 733
p^yaa 97, 821
py)TU)p 367
p65a 448
p^^eiv 683
p^r/uLfia 710 sqq.
pvTirairaL 1073
craXTi77oXo7XU7rr;i'(£5at 966
aapKaafMOTnTvoKOLfiTTTaL 966
o-e/>ti'6s 1496
(TTjfjLe'iov (ships) 933
(TKTvpa 1459
orLTTjaLS {ev irpuTaveiip) 764
(TKapLcprjafjLos 1497
(TKevd^eLV, ivaKevd^eLP 523
(TK€Urj(pOpe'LP TL 12
(TKoKia 1302
(TKopoda 555
(TO(piaL 676
(7-o06s (poet) 1154
cnreipeLv \6yov 1206
(Tirovdrjv iroieiv, iroietcydaL 522
(TTab'njp (XaXicrrepa) 91
STd/xj/ios Zeiys 22
(TrdcTLS fJieXQv 1281
arl^eLv 1511
(TrwfivXLoavWeKrddrjs 841
arujfJLvXfJia 92
crO/ca (warts) 1247
avfi^aiveLV tlvI 807
(TVfxirapaiveiv 687
av/xTTTVKTa 799
avficpopd 699, 1164
(7i>j^ Toia-LV deoh 1199
o-i;j'ri'7xai'eiz/ (omens) 196
avpLy^ 230
crfcr/ceSaj'i/iyj/at 904
axt-vSaXafJios 819
2t<I}T€Lpa 379
raivLovcrdaL 392
rdXaj' 559
rdXapos 560
TapTTjcraia /jLvpaiva 475
Tavpo(pdyos 357
re (position) 1009, 1070
TeiOpdaLaL 477
TeXeadrjvaL (accus.) 357
reXerat 368, 1032
repa {=T€paTa) 1342
TeTpdrrrjxvs 1014
TerpLfiix^vj) 123
revrXia XevKd 942
T7}fjLepop (in threats) 577
Ti ( ' what is meant by ? ') 649
Ti 7dp . . oi) (imperf. ) 33
ri . . oi) 635
Tit/a; (repeated quest.) 120
Tis (with superl.) 291
('all and sundry') 628
(allusive, in threats) 552
roio? 470
rotxos (of ship) 537
TO /^?7 = W(Tre /.try) 68
rdrt'; 7
t6 xPVI^^ '^^^ • ' 1278
Tov TrXeiw xp^^ov 160
To^brai 608
ropu)s 1101
ToO XOLTTOV, TO XoLTtSp 586
Tourt rt '^i' / 39
Touro (matter in hand) 168, 358
ToOro 7d/) rot /cai . . 73
GREEK INDEX
271
tovt' iKeivo 318, 1342
rovTovfxevl 965
Tpay4\a<f)os 937
TpayrjixaTa 510
TpeKTKaideKa 50 (crit. note)
rpix^i-v rbv irepl . . 191
Tpia {tcl els ddvarov) 121, 1504
rpLTjpapxe'iP 1065
rpiTjpaijX'rjs 209
TVfM^OJplJXOS 1149
Tvirreiv (absolute) 610
TvpoTTioXelv (aceus.) 1369
Tvipdos 848
-Twp (fern.) 1289
vdojp 1339
virdyeiv {rijs 65ov) 174
virq.8€Lv 366
yTTo- (compounds) 366
vwoypafifxaTevs 1084
i/vroXvpLos 229 sqq.
vrrbpx'nfJt'OL 849
vTr(i}p6(f>ios 1314
mrpLxis 619
vcpieadai 1220
<j)alv€LV Xajuirdda 1524
(papfJLaKos 621, 733
0d/[)i'^ 258 (crit. note)
^eppecparra 671
07? Act ('admit') 1012
iptXavXos (5e\0is) 1317
(f)iX6TL/iJLos 678
(pXaTTodpar 1285
(ppdrepas (pvaai 418
(ppdrepes, (ppdropes 418
(f)peV0T€KT03V 820
0/017^ (in comedy) 534
(ppiaaeiv (accus.) 822
(pvffaL (ppdrepas 418
^wpa;/ 1363
0a;s (in Hades) 155
0wr6s )( dj/5p6s 820
Xatpe 164
XaXi;/6s 827
X0iv8dv€LV 258
xdpLTcs 335
X^Xidibv (inarticulate) 93
xdovLos 'Epfjirjs 1126 sqq.
Xios (dice) 970
xXa?j/a 1459
X6es 217
X0X77 ecrt 4
Xope/a 247, 1303
Xopeveiv (accus.) 356
Xopevrai (appetite) 377
Xopbv XafJL^dueiv 94
Xopos (meanings of) 675
(ici5/fXios) 366
X/)77, 56? (confused) 1008 (crit.
note)
Xp'ncFTbs, x/o^o-^at 735
Xpbvov Trot's 100
Xpvo^ol deol 483
XVTpi^eLV 1190
Xl5T/30t 217
X(*}p€'t TO KaKdv 1018
\l/€vd6XiTpos 710 sq.
^i'ai^os 567
i/'Oi^os (^i^pas) 604
(D daL/j.6vi€ 175
d;*/ (with particip.) 721
w67r 180
wpatos (lacchus) 394
ws (=a>(rre) 1110
( = 07rws, in exco ws . .) 1249
(gen. abs., with fiTf)) 128
ioa-rrep (cases after) 303
II.— ENGLISH
Accent (7^010^) 6
Accusative (of respect) 294,
822
(continued and cogn.) 12,
247, 336, 356, 357, 478,
643, 748
(of destination) 1208
(adverbial (with fiapnjpofiat
etc.)) 528, 703, 833, 896
(with dpiaKciv) 103
(with U€tv €Tri) 198
(with TvpoiruiXeLv) 1369
(with juieiayioye'iv) 798
Acheron 137
Actors (pronunciation) 303
Adeiraantes 1513
Adjective (as adverb [Kvecpouos))
1350
(proleptic {dLddcrKetp)) 1019,
701
(with Tri(f>vKa) 1218
(predicative (with iiriKad-
ijadai)) 1046
Ad sensutn construction 587
sq., 698, 710, 913, 1025,
1408 sq., 1466
Adverb of rest (for motion)
188, 199
Aeacus 464
Aegina (as basis) 363
Aeschylus (and actor's dress)
1061
(and Homer) 1040
Aeschylus [dypioiroLb^) 837
{Persae) 1026
{Septem) 1021
(tragic diction) 1004
(and Athenians) 807
(shields and helmets) 929,
1018
(Phryges) 928
(Eleusis) 886
(plays reproduced) 868
Aether (as divinity) 892
Agathon 83
Agon (lines introducing) 1004
Alcibiades 1422
Ameipsias 14
Anacoluthon 148
Ananios 661
Anapaests (spondaic) 372
Andromeda 52
Antepirrhema 674
Anthesteria 217
Aorist (tmesis with odv) 1047
(gnomic) 229, 1247
(iterative with &v) 911
Apposition {^arpdx^v k'jkvujv)
209
Archidemus 417
Arginusae 49, 191
Article (absent) 373, 691
(exclam. infin.) 530
(with tL) 7
(with nom., =voc.) 40
(force of) 67, 160, 1263
272
ENGLISH INDEX
273
Article (absent from phrase)
109, 198
(absent from local name with
prep.) 129, 320, 764
(absent from name of play)
1026, 1144
(generic with adj.) 796
Athenian names 628
Athens (favoured by gods) 1601
Atimia 692
Attraction (gender of demoiist.)
181
(gender of relat.) 774
(of case to relat. ) 889
Audience (satirised) 276
(number of) 677
Barathrum 574
Boar (and tusks) 815
Boobies (names of — ) 990
Brachylogy 39, 108 sqq., 149,
297, 491, 498, 747, 749,
841, 1279, 1368
Broken syllable (stammer) 83
(shakes) 1314
Carian tunes 1302
Centaurs {(j^pis) 38
Cephisophon 944
Cerameicus 129, 1094
Cerberii 187
Charon 139
Choes 217
Chorus (cyclic) 366
(clothing) 404
(appetite) 377
(of Frogs) 316
Chutroi 217
Cimolus 713
Cinesias 150, 366, 1438
Citizenship (widening) 701
Cleigenes 708
Cleisthenes 48
Cleitophon 967
Cleocritus 1438
Cleon 569
Cleophon 674 sqq., 1532
Cock-fighting 861
Coinage 719 sqq.
Comedy (old) 357
Compound names 499
Constructio ad sensum 587 sq.,
698, 710, 913, 1025, 1408
sq., 1466
Contraction {5fj) 265
Cratinus 357
Cretic monodies 849, 1330
Cycnus 963
Dative (circumstantial) 226
(commodi) 336, 1134, 1229
(of honour) 445, 1318
{iiTL^aTeijeLv rivL) 48
(locat. for accus. respect.) 355
Death (three ways) 121
Deictic (pronoun) 139, 913
Diagoras 320
Dialectics (travestied) 25-30
Dice (in tragedy) 1400
(metaph.) 970
Diminutives 269
(quantity in) 582
Dionysus (and dramatic poets)
71
(ritual dress) 46
(and theatre) 16
(priest of . . ) 297, 308
(and Nysa) 215
(and Bacchantes) 1211 sqq.
Dog (of house) 465
Door (noise of) 604
(calling at) 37
(kicking at) 39
Doorkeeper 464
Dramas (choice of) 94
(victors in) 297
Dreaifis (and purgation) 1339
Dual (fem. partic.) 566
Echidna 473
Education 729
Egyptians {dx^o<l>6poi) 1406
T
274
THE FROGS OF ARISTOPHANES
Empusa 293
Epirrhema 674
Erasinides 417, 1196
Euripides (and deities) 889,
892
(answered from himself)
1471, 1475
(phrases ridiculed) 100, 105
(moral teaching) 101
(realism) 959, 1052
(family affairs) 1046
(monotonous style) 1202 sqq.
(lyrics) 1309 sqq.
(his mother) 840
{irTuxoiroiSs) 842
(xwXo7roi6s) 842, 846
(his characters) 949, 1043
(his library) 943
{Andromeda) 52
(Melanippe) 1244
Fee (of poet) 367
(of offices) 141
Fish (luxury) 1068
Flute-playing 154
Foreign birth 674 sqq.
Frogs (habits of) 242
(cry of) 209
Future (indie, final with Sttws)
1120
(indie, and aor. subjunct. in
questions) 310
('Doric' form) 1221
( = At^XXeisc. infin.) 13, 1460
Garlic 555
Genitive (double) 1181
(of comparison) 1061
(absol.)lllO
(partitive \piyeLv, etc.) 1129
(partitive rod Xolttov) 5B6
(partitive (ppd^e tQv 65o)v)
117
(partitive iirdyeiv ttjs odoO)
174
(with Trade) 680
Genetive (with 6^€i) 338
Gnomic aorist 229
Gods [dirovoi) 401
Gorgons (of Teithras) 477
Greetings 164
Hades (and initiated) 145, 154
sqq., 450
Hecate 366
Hegelochus 303
Hemlock 123, 125 sq.
Heracles (temple) 38, 129
(appetite) 71, 107
Hermes (and Arcadia) 1266
(Chthonius) 1126 sqq.
('Epioi^^ios) 1144
Hipponax 661
Hyperbolus 570
lacchus 316
(cbpatos) 394
Infinitive (and accus., prayer)
387, 887, 894
(exclam.) 530, 741
(as imperat.) 132, 169
(after dpdds) 706
Initiated (in Hades) 145, 154
sqq., 450
Imperfect (conatus) 144, 561,
962
(panoramic) 560
(force of) 9, 33, 36, 39, 48,
806, 866
(idiom of) 182, 568
Inns 549
Innkeepers 549
lophon 73
Jingles 463
Knights (and onions) 654
Kore (Soteira) 379
Lamachus 1039
Lethe 186
Light (in Hades) 155
ENGLISH INDEX
275
Limnae 217
Lycabettus 1056
Lycis 14
Lyre (and reeds) 229 sqq.
Lyrics ('strings' of) 914
(of Euripides) 1309 sqq.
(of Aeschylus) 1248 sqq.
Magnetes 965
Malingerers 192
Manes 965
Mania 1344
Marathon (rope-making) 1296
Melanippe 1244
Meletus 1302
Melite 501
Memnon 963
Metics 569
Metre (effect on names) 1573,
1576
Middle (force of) 8, 180, 483,
1038, 1093
Molon 55
Monodies 849
Morsimus 148
Musaeus 1032
Music (Greek) 1248
Myrtle (and Mystae) 329
Mystae 316 sqq.
Mysteries (conduct of) 316
sqq., 354 sqq.
(clothing at) 404
(doctrines) 148 sqq.
(respect for) 327
Nicknames 55
Nominativus pendens 1438
Noun omitted 191. 685, 693,
1096
Nysa 215
Oaths 101
Obol (Charon's) 140
Obols (the two — ) 141
Oedipus (name) 1192
Omens {ivb^ioC) 196
Omission {ixa t6v) 1374
(of noun) 191, 685, 693,
1096
(of verb) 491, 498, 747, 841,
1047, 1279, 1407, 1462
(of antecedent) 710
(of &v) 574
(of«aO 857, 861
(of eli/at) 1019
Optative (after primary tense)
24, 766
('assimilated ') 97
(tenses in frequentative) 923
{of KdOrj/jLai etc.) 919
(pass. aor. 3rd plur.) 1451
Orestea 1124
Orpheus 1032
Oxymoron 344
Palamedes 1443
Pan {(Tvpiy^) 230
Pantacles 1036
Parabasis 674 sqq.
Paralus 1070
Parnassus 1057
Participle (several combined)
392
(pass. perf. with &v) 721
(with elfii) 35-37
Patronymics (comic) 841
Persae 1026
Phaedra 1043
Philomela 681
Phormisius 965
Phratries 418, 798
Phryges 928
Phrynichus (politician) 689
(tragedian) 910, 1299
(comedian) 13
Pityocamptes 966
Plataeans 694
Plural (changed to sing.) 1077
(/fwx'eta) 1050
(verb with voc. sincr.) 1479
Poets (as teachers) 1419
(function) 1009
276
THE FROGS OF ARISTOPHANES
Poets (and yvQfjLai) 877
Police 608
Preposition (repeated after
compound verb) 939, 962,
1013
(understood with first noun)
1403
Present (prophetic) 651
(infin. with doKuj) 1421
(force of) 310, 381, 607, 737
Priest of Dionysus 297, 308
Privatives (in d-) 1334
Procne 681
Prologues 1119 sqq.
Pronunciation (of actors) 303
Puns (sustained) 814-829, 708
sqq., 861, 875 sqq., 399
sqq.
Pyrrhic dance 150
Relatives with dv (position)
258
Repetition (of words in tragedy)
759, 1353 sqq.
(of interrog. pronoun) 1424,
198
Sacrifice (dycxjvod^TTjs) 871
(to nether powers) 847
Sails (raetaph.) 999
Scene (changed) 271, 460
Schema Chalcidicum 35, 761
Scythians (police) 608
Seven against Thebes 1021
Ships (and piper) 209
Sinis 966
Slaves (torture) 616
(at Arginusae) 191
(names) init.
Sneezing 647
Soap (Greek) 710 sqq.
Socrates 1491
Songs (of occupations) 1296 sq.
Sophocles (character) 82
(and lophon) 73
Stammering 83
Stheneboea 1043
Storm-winds ( = Giants) 824
Styx 470
Swallow (inarticulate) 93, 681
Synizesis 76, 863
Syzygy (Parabasis) 674
Taenarum 187
Tautology (alleged) 1172, 1185
Terpander 1282, 1299
Thanks (formulae) 507
Theatre (number of audience)
677
(seats of priests) 297
(stone in) 194
Theramenes 541, 968 sqq.
Theseus and Hades 142
Thracian swallow 681
Thrice addressing 37, 184, 369,
1175
Tmesis 1047
Torch-race 129, 131
Torture (slaves) 616
Tribrach (6th foot) 1203
Typhos 848
Wrestling (metaph.) 689, 775,
875 sqq.
(skill required) 875, 899
Xenocles 86
Zeus (titles of) 750
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