( T^EIBRARY 3 
 
 
 
Digitized by tine Internet Archive 
 in 2007 witii funding from 
 . IVIicrosoft Corporation 
 
 littp://www.arcliive.org/details/frogsofaristopliaOOarisricli 
 
Edited by 
 Professor T. G. Tucker, Litt.D. 
 
 Thucydides. Book VIII. Fcap. 8vo. 
 
 3s. Gd. [Classical Series. 
 
 The Supplices of Aeschylus. With Trans- 
 
 hition. 8vo. 9s. net. 
 
 {^Classical Library. 
 
 By Professor T. G. Tuckkk, Litt.D. 
 
 Life in Ancient Athens. The Social and 
 
 Public Life of a Classical Athenian 
 
 from Day to Day. With Illustrations. 
 
 Extra crown 8vo. [Jn the press. 
 
 [Handbooks of Archaeology 
 
 and Antiquities. 
 
 LONDON: MACMILLAN & COMPANY, Ltd. 
 
Claaaical ^txus 
 
 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; &gt 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 
 
 OF THE 
 
 llUNIVERSITYj 
 
 Printed by '^ & R. Clark* Li^^ed. Edinburgh. 
 
MACMILLAN'S CLASSICAL SERIES FOR COLLEGES AND SCHOOLS. 
 
 Fcap. 8^•o. 
 
 AESOHINES.— IN CTESIPHONTA. By Rev. T. Gwatkin, M.A., and B. S. 
 
 Shuckburgh, M.A. 5s. 
 AESCHYLUS.— PERSAE. By A. O. Prickard, M.A. With Map. 2s. 6d. 
 SEVEN AGAINST THEI3ES. School Edition. By A. W. Verrall, Litt.D., 
 
 and M. A. Bayfield, M.A. 2s. 6d. 
 PROMETHEUS VINCTUS. By E. E. Sikes, M.A., and St. J. B. Wynne 
 WiLLsoN, M.A. 2s. 6d. 
 ANDOOIDES.— DE MYSTERIIS. By W. J. Hickie, M.A. 2s. 6d. 
 ARISTOPHANES.— THE WASPS. By W. J. M. Starkie, M.A. 6s. 
 ATTIC ORATORS.— SELECTIONS PROM. By Sir R. C. Jebb, Litt.D. 5s. 
 CAESAR. -THE GALLIC WAR. By Rev. John Bond, M.A., and Rev. A. S. 
 
 Walpole, M.A. With Maps. 4s. 6d. 
 CATULLUS.— SELECT POEMS. By F. P. Simpson, B.A. 3s. 6d. The Text of 
 
 this Edition is carefully expurgated for School use. 
 CICERO.— THE CATILINE ORATIONS. By A. S. Wilkins, Litt.D., Professor 
 of Latin, Owens College, Manchester. 2s. 6d. 
 PRO LEGE MANILIA. By Prof. A. S. Wilkins, Litt.D. 2s. (3d. 
 THE SECOND PHILIPPIC ORATION. By J. E. B. Mayor, M.A. 3s. 6d. 
 PRO ROSCIO AMERINO. By E. H. Donkin, M.A. 2s. 6d. 
 PRO P. SESTIO. Bv Rev. H. A. Holden, Litt.D. 3s. 6d. 
 PRO MILONE. By F. H. Colson, M.A. 2s. 6d. 
 PRO MURENA. By J. H. Freese, M.A. 2s. 6d. 
 SELECT LETTERS. By R. Y. Tyrrell, M.A. 4s. 6d. 
 THE FOURTH VERRINE ORATION. By P. W. Hall, M.A. 3s. 6d. 
 PRO PLANCIO. By H. W^ Auden, M.A. 3s. 6d. 
 PRO CLUENTIO. By W. Peterson, Litt.D. 3s. 6d. 
 DEMOSTHENES.— DE CORONA. By B. Drake, M.A. Seventh Edition revised 
 by E. S. Shuckburgh, M.A. 3s. 6d. 
 ADVERSUS LEPTINEM. By Rev. J. R. Kino, M.A. 2s. 6d. 
 THE FIRST PHILIPPIC. By Rev. T. Gwatkin, M.A. 2s. 6d. 
 PHILIPPIC I. AND OLYNTHIACS L-HI. By J. E. Sandys, Litt.D. 5s. 
 THE PEACE, PHILIPPIC II., THE CHERSONESUS, AND PHILIPPIC [IL 
 By J. E. Sandys, Litt.D. 5s. 
 EURIPIDES.— ALCESTIS. By M. L. Earle, Ph.D. 3s. 6d. 
 BACCHAE. By R. Y. Tyrrell, M.A. 3s. 6d. 
 
 HIPPOLYTUS. By Prof. J. P. Mahaffy, D.D., and J. B. Bury, M.A. 2s. 6d. 
 ION. By M. A. Bayfield, M.A. 2s. fid. 
 IPHIGENIA in TAURIS. By E. B. England, Litt.D. 3s. 
 MEDEA. By A. W. Verrall, Litt.D. 2s. 6d. 
 TROADES. By R. Y. Tvrrell, LL.D. 2s. 6d. 
 ANDROMACHE. By A. R. F. Hyslop, M.A. 2s. 6d. 
 GREEK MELIC POETS.— SELECTIONS FROM. By Prof. H. W. Smyth. 7s. 6d 
 HERODOTUS.— BOOK III. By G. C. Macaulay, M.A. 2s. (id. 
 BOOK VI. By Prof. J. Strachan, M.A. 3s. 6d. 
 BOOK VII. By Mrs. Montagu Butler. 3s. 6d. 
 HOMER.— ILIAD. Edited by W. Leaf, Litt.D., and Rev. M. A. Bayfield, M.A 
 BOOKS L-XII. 6s. BOOKS XIH.-XXIV. 6s. 
 ILIAD. BOOKS I., IX., XL, XVI.-XXIV. THE STORY OF ACHILLES. By 
 the late J. H. Pratt, M.A., and Walter Leaf, Litt.D., Fellows of Trinity 
 College, Cambridge. 5s, BOOK IX. separately. 2s. 
 ODYSSEY. BOOKS XXI.-XXIV. THE TRIUMPH OF ODYSSEUS. By 
 S. G. Hamilton, M.A., Fellow of Hertford College, Oxford. 2s. 6d. 
 HORACE.- THE ODES AND EPODES. By T. E. Page, M.A. 5s. (BOOKS I. 
 IL, III., IV., and EPODES separately, 2.s. each.) 
 THE SATIRES. By Prof. Arthur Palmer, M.A. 5s. 
 
 THE EPISTLES AND ARS POETICA. By Prof. A. S. Wilkins, Litt.D. 6s. 
 JUVENAL.— THIRTEEN SATIRES. By E. G. Hardy, M.A. 5s. The Text is 
 carefully expurgated for School use. 
 SELECT SATIRES. By Prof. John E. B. Mayor. XII.-XVI. 4s. 6d. 
 
 MACMILLAN AND CO., Ltd., LONDON. 
 
MACffllLLAN'S CLASSICAL SERIES FOR COLLEGES AND SCHOOLS. 
 
 Fca'p. Sw. 
 LIVY.— BOOKS II. and III. By Rev. H. M. Stephenson, M.A. 3s. 6d. 
 
 BOOKS XXI. and XXII. By Rev. W. W. Capes, M.A. With Maps. 4s. 6d. 
 
 BOOKS XXIII. and XXIV. By G. C. Macaulay, M.A. With Maps. 3s. 6d. 
 
 THE LAST TWO KINGS OF MACEDON. EXTRACTS FROM THE 
 FOURTH AND FIFTH DECADES OF LIVY. By F. H. Rawlins, M.A., 
 Assistant Master at Eton. With Maps. 2s. 6d. 
 LUCRETIUS.— BOOKS I.-III. By J. H. Warburton Lee, M.A. 3s. 6d. 
 LYSIAS.— SELECT ORATIONS. By E. S. Shuckburgh, M.A. os. 
 MARTIAL.— SELECT EPIGRAMS. By Rev. H. M. Stephenson, M.A. 5s. 
 OVID.— FASTI. By G. H. Hallam, M.A. 3s. 6d. 
 
 HEROIDUM EPISTULAE XIII. By E. S. Shuckbukgh, M.A. 3s. 6d. 
 
 METAMORPHOSES. BOOK VIII. By Professor C. H. Keene, M.A. 2s. 
 
 BOOKS XIII. and XIV. By C. Simmons, M.A. 3s. 6d. 
 
 BOOKS I.-III. By the same Editor. \ln the Press 
 
 PLATO.— LACHES. By M. T. Tatham, M.A. 2s. 6d. 
 
 THE REPUBLIC. BOOKS L-V. By T. H. Warren, M.A. 5s. 
 
 CRITO AND PHAEDO (Chaps. 57 to end). By C. H. Keene, M.A. 2s. 6d. 
 
 MENO. By E. S. Thompson, Litt.D. 6s. 
 
 SELECTIONS. By Dr. L. L. Forman. 7s. 6d. 
 
 PHAEDO. By H. Williamson, B.A. 3s. 6d. 
 PLAUTUS.— MILES GLORIOSUS. By R.Y. Tyrrell, M.A. 2nd Ed., revised. 3s.6d. 
 
 AMPHITRUO. By Professor Arthur Palmer, M.A. 3s. 6d. 
 
 CAPTIVI. By A. R. 8. Hallidie, M.A. 3s. t3d. 
 PLINY.— LETTERS. BOOKS I. and II. By J. Cowan, M.A. 3s. 
 
 LETTERS. BOOK III. By Professor John E. B. Mayor. 3s. 6d. 
 
 SELECTED LETTERS. By Prof. E. T. Merrill. 6s. 
 PLUTARCH.— LIFE OF THEMISTOKLES. By Rev. H. A. Holden, Litt.D. 3s. 6d. 
 
 LIVES OF GALBA AND OTHO. By E. G. Hardy, M.A. 5s. 
 
 LIFE OF PERICLES. By Rev. H. A. Holden, Litt.D. 4s. 6d. 
 POLYBIUS.— THE HISTORY OF THE ACHAEAN LEAGUE AS CONTAINED 
 
 IN THE REMAINS OF POLYBIUS. By Rev. W. W. Capes, M.A. 5s. 
 PROPERTIUS.— SELECT POEMS. By Prof. J. P. Postgate, Litt.D. 2nd Ed. 5s. 
 SALLUST.— CATILINA and JUGURTHA. By C. Merivale, D.D., Dean of 
 Ely. 3s. 6d. Or separately. 2s. each. 
 
 BELLUM CATILINAE. By A. M. Cook, M.A. 2s. 6d. 
 SOPHOCLES.— THE ELECTRA. By Rev. M. A. Bayfield, M.A. 2s. 6d. 
 
 THE ANTIGONE. By the same. 2s. 6d. 
 TACITUS.— BOOK VI. By A. J. Church, M.A., and W. J. Brodribb, M.A. 2s. 
 
 THE HISTORIES. BOOKS I. and II. By A. D. Godley, M.A. 3s. 6d. 
 
 BOOKS III.-V. By the same. 3s. 6d. 
 
 AGRICOLA AND GERMANIA. By A. J. Church, M.A., and W. J. Brodribb, 
 M.A. 3s. 6d. Or separately. 2s. each. 
 TERENCE.— A DELPHOE. By Prof. S. G. Ashmore. 3s. 6d. 
 
 HAUTON TIMORUMENOS. By E. S. Shuckburgh, M.A. 2s. 6d. With 
 Translation. 3s. 6d. 
 
 PHORMIO. By Rev. John Bond M.A., and Rev. A. S. Walpole, M.A. 2s. 6d. 
 THUCYDIDES. BOOK I., BOOK II. By E. C. Marchant, M.A. 3s. 6d. each. 
 
 BOOK III. By the same Editor. [In preparation. 
 
 BOOK IV., BOOK V. By C. E. Graves, M.A. 3s. 6d. each. 
 
 BOOKS VL and VII. By Rev. Percival Frost, M.A. With Map. 3s. 6d. 
 
 BOOK VI , BOOK VII. By E. C. Marchant, M.A. 3s. 6d. each. 
 
 BOOK VIII. By Prof. T. G. Tucker, Litt.D. 3s. 6d. 
 TIBULLUS.— SELECT POEMS. By Prof. J. P. Postgate. 5s. 
 VIRGIL.— AENEID, BOOKS II. and III. By E. W. Howson, M.A. 2s 
 
 AENEID. BOOKS I.-VI. By T. E. Page, M.A. 5s. 
 
 BOOKS Vn. -XII. By the same Editor. 5s. 
 
 BUCOLICS AND GEORGICS. By T. E. Page, M.A. 5s. 
 
 XENOPHON.— THE ANABASIS. BOOKS I. -IV By Profs. W. W. Goodwin 
 and J. W. White. With Map. 3s. 6d. 
 HELLENICA. BOOKS I. and II. By H. Hailstone, B.A. With Map. 2s. 6d. 
 CYROPAEDIA. BOOKS VII. and VIIL By A. Goodwin, M.A. 2s. 6d. 
 MEMORABILIA SOCRATIS. By A. R. Cluer, B.A. 5s. 
 HIERO. By Rev. H. A. Holden, Litt.D., LL.D. 2s. 6d. 
 OBCONOMICUS. By Rev. H. A. Holden. With Lexicon. Fifth Edition. 6s. 
 
 MACMILLAN AND CO., Ltd., LONDON. 
 
RETURN TO the circulation desk ot any 
 University of California Library 
 or to the 
 NORTHERN REGIONAL LIBRARY FACILITY 
 BIdg. 400, Richmond Field Station 
 University of California 
 Richmond, CA 94804-4698 
 
 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS 
 
 • 2-month loans may be renewed by calling 
 (510)642-6753 
 
 • 1-year loans may be recharged by bringing 
 books to NRLF 
 
 • Renewals and recharges may be made 4 
 days prior to due date. 
 
 DUE AS STAMPED BELOW 
 
 JUN 1 2000 
 
 12,000(11/95) 
 
YA 00047 
 
 U.C.BERKELEY LIBRARIES 
 
 CDMbbm3ET 
 
 ^C ' 
 
 THE UNIVERSITY OF CAUFORNIA UBRARY 
 
 i