THE UNIVERSITY OF ILLINOIS LIBRARY P 5 -U.TTV CLASSICS Return this book on or before the Latest Date stamped below. University of Illinois Library NOV 3 q 1962 my i 1965 M o m SEP 2 5 1973 NOV 1 0 p4 pEC 2 0 1994 ; in: L161 — H41 \ Pitt Press Series ION CAMBRIDGE UNIVERSITY PRESS Hotttrott: FETTER LANE, E.C. C. F. CLAY, Manager Oftjm&urflfc: ioo, PRINCES STREET Berlin; A. ASHER AND CO. fUfoifl: F. A. BROCKHAUS iJUfaj Horft: G. P. PUTNAM'S SONS Bomfms antj Calcutta: MAC MILL AN AND CO., Ltd All rights reserved PLATO ION WITH INTRODUCTION AND NOTES by J? v M? MACGREGOR, B.A. Late Senior Exhibitioner, Balliol College, Oxford Reader in Greek in the University of London Cambridge : at the University Press 1912 Camfirttrge * PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS 86i PREFACE FOR the matter contained in the first two sections of the Introduction acknowledgment is due to the various histories of Greek philosophy, in particular to those of Ritter and Preller and of Zeller, and to the monograph o on Plato by the late Professor D. G. Ritchie. The section on the MSS. is based upon the writings of Schanz and ~ Professor J. Burnet, to whom I am also indebted for > information concerning the sources from which the various . readings are derived. Especial thanks are due to Professor * Henry Jackson, who read the Introduction and Notes in ^ the manuscript and added to former kindnesses by forward- ^ ing a number of valuable and suggestive comments. Something should perhaps be added concerning the 4 references given in the Notes to Rutherford's School Greek Grammar. In the criticism of Classical Education during the past few years not a little has been said concerning the futility of the abstract teaching of Greek and Latin grammar. Experience has shown a tendency on the part of students 4953 15 vi PREFACE to interpret this criticism as absolving them from the necessity of using, or even possessing, a text-book on the grammar of the language which they profess to be studying. It therefore seemed desirable, especially in the case of young students, such as those for whom this edition is intended, to indicate the vital connection between a formal Greek Grammar and the writings of Greek authors. J. M. M. LlSCARD, September 1912. CONTENTS PAGE Preface v Introduction Life of Plato ix Plato's Writings xii Analysis of the Ion xv The Characters of the Dialogue . . xix The Dramatic Date of the Dialogue . xxi The Manuscripts xxii Text i Notes 22 Appendices 41 Indexes 43 INTRODUCTION LIFE OF PLATO. Several accounts of the life of Plato have come down to us 1 . These accounts however are all of late date; the statements which they make do not always agree ; and they contain much which is obviously fabulous and not a little which appears to be based upon erroneous inferences from Plato's own works 2 . With such material to work upon it is impossible to arrive at certainty. It is true that we have some incidental references which rest upon a better authority, e.g. the statement of Aristotle (Metaphysics, h 6) as to the philosophic doctrines which exercised an influence upon Plato. It is possible also to draw some conclusions with certainty from the philosopher's own writings, e.g. his interest in statesmanship, as evidenced by the Republic and the Laws. But in the main we have to depend for our knowledge of Plato's life on uncritical and unreliable authorities. Plato came of an aristocratic family. His father's name is given as Ariston and through his mother, Perictione, he could claim kinship with the great Athenian law-giver, Solon. He was born in the year 427 B.C. at Athens, or, as another account has it, in Aegina, where his father had had land assigned to him under the Athenian military 1 See Appendix 1. 2 e.g. Plato is said by some to have met the Magi, by others to have failed to do so ; he is described as the son of Apollo ; his visit to the Magi was perhaps inferred from the mention of Zoroaster in the First Alcibiades (121 E, 122 a). M. b X ION occupation of the island 1 . According to tradition Plato 2 was trained in music by Dracon, a pupil of the famous Damon, in letters by Dionysius and in gymnastics by Ariston of Argos. His prowess, we are told, was exhibited at the great athletic festivals of Greece, at Olympia, Delphi, Nemea and the Isthmus, but the accounts vary and there is probably much exaggeration. As a young man Plato would naturally serve in the army in the last period of the Pelo- ponnesian war. The names of contests, in which he bore a part, are given, but it is chronologically impossible for him to have fought in the well-known battles at Tanagra (456 B.C.) and Delium (424 B.C.). The mention of these engagements would seem to be due to some confusion in the minds of our authorities 3 . In his early days Plato is said to have devoted himself to painting and to poetry. Some verses ascribed to him have come down to us. But later, abandoning these pursuits, he gave himself up entirely to philosophy and burned, so the story runs, a tragedy with which he was about to compete. From Aristotle {Metaphysics I. 6) we learn that Plato as a young man came under the influence of the doctrines of Heracleitus — an influence which is strongly marked in some of the Platonic writings. Afterwards he turned his attention to the Pythagorean and Eleatic Schools, while, most im- portant of all, he fell under the spell of the personality and teaching of Socrates. The intimacy between the two philo- sophers is attested by a passage in Xenophon {Memorabilia, 1 The Athenians expelled the Aeginetans from their island and occupied it with cleruchs in 431 B.C. 2 He is said to have been called after his grandfather Aristocles, but to have received the name Plato because of his broad (wXarvs) shoulders or forehead or, according to others, on account of the breadth of his style. 3 Antisthenes the Cynic is said, in Diog. Laert. VI. i. 1, to have been present at the battle of Tanagra, and Socrates fought at Delium (Plato, Symposium, 221 a). INTRODUCTION xi in. 6. i), where we are told that Socrates was favourably inclined towards Glaucon, the son of Ariston, for the sake of Charmides, the son of Glaucon, and for the sake of Plato. At the final scene, when Socrates was compelled to drink the hemlock, Plato was not present. But in the Phaedo he has described the fortitude and magnanimity of his great teacher on that occasion and has paid tribute to his master in one of the noblest passages in all literature. The writers of Plato's life all agree in stating that he travelled widely. The desire to bring the Greek thinker into contact with the wisdom of the ancient civilizations of Egypt and the East seems to have led Plato's biographers to infer from passages in his works that he had consorted with the Magi in Phoenicia and the priests in Egypt 1 . Similarly the occurrence of the name of Theodorus of Cyrene, the mathematician, in the Theaetetus has perhaps given rise to the statement that Plato himself visited that country. It would appear that after the death of Socrates in 399 B.C. Plato withdrew for a time to Megara. That he visited Sicily on more than one occasion, and probably South Italy as well, seems certain. According to the tradition Plato first went to Sicily to view the island and witness an eruption of Mount Etna. While there he came in contact with Dionysius, tyrant of Syracuse, who displeased with the philosopher's political views caused him to be sold as a slave. His friends, how- ever, procured his release and a garden was bought for him in the Academy, where he taught his doctrines. When the elder Dionysius died, Plato returned to Sicily hoping to secure from Dionysius, the late tyrant's son and successor, land and citizens wherewith to establish his ideal common- wealth. Failing to obtain these he returned to Athens, but later visited Sicily a third time in order to make peace 1 For the Magi, cf. sup. p. ix. n. 2. Plato's biographer treats Socrates' oath in the Gorgias (482 b), * By the dog, the god of the Egyptians,' as evidence of a visit to Egypt. b2 xii ION between his friend, the statesman Dion, and the younger Dionysius. He did not succeed, however, in effecting a reconciliation and coming back to Athens continued his teachings, until he died at an advanced age and was buried in the grove of Academus. PLATO'S WRITINGS. In addition to the verses mentioned above there have been handed down as Plato's a collection of letters, a will, and a number of prose works. Of the letters some were rightly regarded as spurious by the Alexandrian critics and modern scholars have been disposed to doubt the genuine- ness of the rest. The will has perhaps a better title to be considered authentic. It has been observed that it contains no reference to the philosopher's books — a point not likely to be omitted by a forger in a later age. Among the prose works attributed to Plato several of minor importance were clearly not written by him. The spuriousness of some of these was recognized by the scholars of Alexandria. Almost all the works of Plato are written in the form of dialogues or conversations between several speakers. Among a people of lively intellect and social instincts, who enjoyed moreover a large amount of leisure, it was not unnatural that enquiry should take the form of a discussion and that instruction should be imparted through the medium of conversation. That this was the practice of philosophers in Sicily and Southern Italy in the early years of the fifth century B.C. may be seen from the fragments of the comic poet Epicharmus (flor. circ. 480 B.C.). In more than one passage 1 this writer presents to us in verse, apparently by way of burlesque, philosophic and quasi-philosophic argu- ments in a manner strongly resembling that afterwards 1 See Appendix 11. INTRODUCTION xiii employed in prose by Plato. In particular at Athens Socrates sought for truth rather by questioning individuals and examining their answers than by listening to the formal discourses of professing teachers. By his interrogations Socrates aimed at convicting his interlocutors of obscure and inconsistent thinking and at stimulating them to better methods and renewed effort in the pursuit of knowledge. It was with the same objects in view and in imitation of the conversations of Socrates that the dialogues of Plato were written. ' The choice of the dialogue in preference to other literary forms was doubtless due also in great measure to that dra- matic instinct which to a very marked degree Plato possessed. A reader of the dialogues can scarcely fail to be struck by the combination of strength and delicacy which the writer exhibits in his powers of characterization 1 . If we may trust the tradition, Plato had in this regard an excellent model. So great, we are told, was the esteem in which he held the mimes of the Sicilian writer Sophron that he slept with them under his pillow. Sophron's writings have unfortunately not been preserved. But if we may judge from Theocritus' fifteenth idyll ('The women at the festival of Adonis')? which is said to be based upon one of Sophron's mimes, his work was marked by an insight into character and by a skill and vigour in its portrayal which may well have excited the admiration of Plato. Apart from the dramatic interest with which it enables a writer to invest a subject, the use of dialogue possesses several advantages. A literary form which professes to reproduce the conversations of actual life cannot fairly employ, at any rate without explanation, a technical phraseology unintelligible to all but a few special students of a particular science. There is further no need to have recourse again and again to stereotyped formulae in order to 1 On the delineation of character in the Ion, vide pp. xix — xxi. xiv ION introduce objections to the argument or to furnish additional explanations. The natural pauses and lively interruptions which are used in Plato's dialogues to signalize points of transition compare favourably with such expressions as the of Aristotle {Nic. Eth. II. 4). Another advantage of dialogue has been pointed out by Plato himself {Rep. 348 a). If, he says, we have a mass of arguments on the one side arrayed against a mass of arguments on the other, we require a jury to decide between them. But if we proceed step by step, testing and establishing each point in the argument before advancing to the next one, we arrive at a conclusion based on a solid foundation and avoid the necessity of having to strike a balance between conflicting opinions. On the other hand the dialogue may at times become merely formal and the interlocutor pass into little more than a personified iravv \x.lv ovv or tt(os yap ov; In such passages the dramatic interest naturally tends to disappear. It may also be urged with some force that the language of everyday life cannot provide an adequate medium for the expression of philosophic truth. Thoughts which transcend the range of those which our usual words express require a special, technical terminology. Further, scientific accuracy can ill tolerate the looseness with which our vocabulary is ordinarily employed. Thus it is that Plato finds himself compelled to limit and define the meaning of certain terms which he employs. It must be remembered too that in dialogue it is the author who both asks and answers the questions. He can therefore frame his query in a special manner so as to suggest a particular reply. Thus he has an opportunity, if he so desires, of evading difficulties or at least of passing over them in a plausible fashion. INTRODUCTION xv ANALYSIS OF THE ION 1 . The Ion is a brief dialogue between Socrates and the rhapsode Ion. The main lesson to be drawn from it is that a mere unreflecting appreciation of poetry must not be con- founded with an intelligent and reasoned criticism of it. The argument may be analysed as follows : — (i) Introduction (530 A — d). Ion of Ephesus, a rhapsode, arrives at Athens from Epidaurus where he has secured the first prize at the festival of Asclepius. Socrates meeting him and learning of his success expresses the hope that he may be similarly fortunate at the Panathenaea. He remarks upon the enviable position of the rhapsode who wears a fine costume and occupies himself with the study of the poets generally and Homer in particular in regard both to their language and meaning. For the rhapsode must be ac- quainted with the poet's meaning, if he is to interpret him to an audience. Ion agrees, declaring that this part of the art is his peculiar excellence ; in fact he deserves to be crowned by admirers of Homer for his services in it. (ii) The critic must understand poetry as a whole (530 D — 532 b). Socrates will take an opportunity of hearing Ion some day. At present he will only enquire if Ion confines himself to Homer. Ion replies that this is so, but that he can expound other poets equally well when they say the same things about a subject as Homer. Homer and Hesiod both speak about the art of the seer and Ion confesses that a seer would expound their meaning better than he could, whether what the poets said concerning the art was the same or different 2 . Socrates asks if poets have not a general 1 In the ancient classification of Plato's writings the Ion is ranked as a \670s 7retpa(m/c6s, i.e. a tentative discussion. 2 This line of argument is developed later in the dialogue, 537 A— 540 r>. XVI ION subject-matter ; Ion admits this is so, but says they treat it differently. By 'differently,' he explains, he means 'better and worse.' Socrates enquires if the man who knows when a man speaks well about numbers is the same as he who knows when a man speaks ill. Ion answers that he is the same man, the arithmetician. Similarly it is the same man, the physician, who knows both good food and bad. Know- ledge of the 'good' and the 'bad' is found in the same person. Hence the critic of good poetry must also know bad poetry, and we shall not be wrong in declaring Ion's skill to apply to other poets as well as to Homer. (iii) The argument is supported by the analogy of other arts (532 B — 533 c). What is the reason then, asks Ion, of his apathy and inattention when other poets are the subject of discussion, and his eagerness and enthusiasm about Homer? Socrates thinks he can guess the reason. He is sure that Ion cannot speak about Homer from art and knowledge. Has Ion ever seen a painter who could only explain the works of Polygnotus and treated all others with indifference ? Or a sculptor devoted solely to Theodorus the Samian ? Has he ever found a man who could tell what was good and what was bad only in the performance of a single artist, be he a player on the flute or lyre, a singer to the guitar or a rhapsode ? (iv) The 7iature of Ion's appreciation of Homer is explained 1 (533 C — 536 d). Ion allows his inability to dis- pute the argument but reiterates that upon Homer he speaks better than anyone, is never at a loss and receives universal approbation. Socrates replies that this is because he is filled with inspiration by the god. The god's influence is like that of the magnet, which not only attracts iron rings itself but infuses into them a similar power. Like the bacchant, the poet is no longer his own master when he composes, but simply the mouthpiece of the god. This is 1 The explanation is of course tinged throughout with irony. INTR OD UCTION xvii shewn by the fact that the several poets compose in several different styles. If a poet knew the art of poetry as a whole, he would be able to write in each and every style. The poet is filled with enthusiasm by the god, the rhapsode by the poet, the audience by the rhapsode, just as an iron ring is endowed with the power of attraction by a magnet, a second ring by the first, a third by the second. One poet is inspired by one Muse, another by another. One rhapsode is fired by one poet, another by another. As worshippers indulge in ecstasies of dance and song only when they hear the strain of the god who possesses them, so it is only when mention is made of Homer that Ion's eloquence finds utterance. (v) The application of certain arts to the Hojneric poems is indicated (536 D — 539 e). Ion is still doubtful if his praise of Homer springs from inspiration and not from knowledge. Socrates, he thinks, would agree with him, if he were to hear him speaking. Socrates declares he would willingly do so, but asks first which is the part of Homer's subject-matter upon which Ion speaks best. All of it, replies Ion. Homer in many places speaks of special arts, e.g. chariot-driving (//. xxili. 335). Ion admits that here the chariot-driver will judge Homer better than he. Each particular art under- stands a particular subject-matter and one art differs from another when it deals with a different subject-matter. To understand the same subject-matter we must use the same art, but a different art for a different subject-matter. There- fore a rhapsode cannot understand a passage where Homer speaks of chariot-driving, of mixing a potion (//. xi. 639), of casting a line into the sea (//. xxiv. 80), or of the prophetic art (Od. xx. 351 ; 77. xn. 200). For these we require the chariot-driver, the physician, the fisherman and the prophet. (vi) Where does Ion's art apply? (539 E — 541 d). Which portions then of Homer's writings belong to the rhapsode ? All of them, asserts Ion. But he has forgotten his former admission that the art of the rhapsode has a separate xviii ION subject-matter (537 d) and is therefore a separate art (538 b). Ion then cannot claim the parts of the poems which belong to other arts. Accordingly he qualifies his former 'all' by the addition of * except what belongs to other arts.' This, he explains, includes 'what it befits a man or woman, a slave or free man, a ruler or subject to say.' But Socrates points out that this becomes the subject-matter of different arts according to the circumstances in which the speaker is placed. It is the sea-captain who knows what a man in command ought to say in a storm, the neatherd who is aware of the proper language for a slave to use when his kine grow restive. Ion maintains that the rhapsode knows how a general should address his troops, and that he knows this in virtue of being a rhapsode, since there is no difference between the arts of the rhapsode and the general. Ion, says Socrates, is the best rhapsode in Greece ; therefore he must be the best general. It is strange then that the Greeks do not employ him. Athens has made other foreigners her generals. (vii) Conclusion (541 E — 542 b). Socrates declares that Ion is not acting fairly, if he really can praise Homer from art and knowledge. Ion promised to shew him many fine things which he knew about Homer and has not even explained how his skill applies to the poems, but has evaded the question and turned out at last a general. Yet if Ion's appreciation of Homer is due not to knowledge but to the inspiration of the god, Socrates allows that he has not been treated unjustly. Ion must choose between being considered unjust and being regarded as inspired. He prefers the latter alternative. INTRODUCTION xix THE CHARACTERS OF THE DIALOGUE. Slight as the dialogue is, the characters of the speakers are vividly presented to the reader by a few graphic touches. Ion's natural vanity has been exaggerated by his recent victory at Epidaurus and he regards with self-satisfaction the coming contest at the Panathenaea 1 . He is flattered by Socrates' reference to the splendid dress and lofty calling of the rhapsode and boastfully maintains his superiority to all other critics and his great services to the study of Homer 2 . So proud is he of his art that he twice makes an attempt to display it to Socrates 3 , seizing eagerly on the opportunity for recitation afforded by the other's defective memory 4 , and shewing apparently a disinclination to stop once he has begun 6 . He no doubt trusted to produce as powerful an effect as that which usually attended his efforts 6 . But Ion's ignorance is equal to his vanity. In reply to Socrates' questions he at once reveals his inability to conceive the true scope of the art of criticism, imagining that the work of one poet may be studied in complete isolation from that of all others 7 . He cannot clearly distinguish what it is in the poems that forms his peculiar subject-matter but becomes confused and ridiculous when interrogated upon this point 8 . He is an artist unable to indicate his material Thus in reality he is not a critic at all, but, as Socrates declares, a man inspired with an ecstatic enthusiasm by the genius of Homer, one whose admiration for the poet's work is un- bounded, but at the same time unreflecting and unintelligent 9 . And in default of being able to shew where the knowledge to 1 53° A - 4 537 a. 7 531 A. 2 530 C, D. 5 cf. dp/cet, 537 B. 8 539 E- 3 53o r>: 536 D. 6 535 e. 9 533 D— 536 d. XX ION which he lays claim is applicable to Homer, Ion at last, characteristically enough, consents to be regarded as filled with a divine inspiration 1 . Yet this concession is not made without a struggle, for in Ion vanity and ignorance are, as is usually the case, allied with obstinacy. While attracted by the idea of being considered inspired he is yet unwilling to admit his lack of art and knowledge 2 . We find him taking refuge in idle and unfruitful distinctions 3 , in an appeal to personal feeling 4 , or in simple reiteration of a previous statement 5 , when he realizes that he can no longer resist the weight of his op- ponent's argument. Finally he does not hesitate to set facts at defiance and to fly in the face of all experience 6 , in order to avoid the necessity of allowing himself to be mistaken. Yet on the whole Ion was probably not an unpleasant man to meet. He seems to have been a grown-up child ; with the vanity, unreflectiveness and mutinous spirit of childhood; but with its enthusiasm also and no doubt something of its attractiveness. To Ion Socrates affords an effective foil. His modesty is in striking contrast to the rhapsode's boastfulness and he disclaims for himself the title ao(f>6s 7 . While acknowledging the other's accomplishments and professing his readiness some day to listen to a display of them he endeavours by questioning Ion to discover exactly what they are 8 . He would be convinced by reason rather than stirred by an appeal to feeling. Accordingly he more than once politely evades Ion's attempt to indulge in quotation, and when at length the rhapsode, not to be denied, avails himself of the opportunity offered of declaiming a passage, he brings the performance to a close. So too Ion's ignorance serves to throw into relief Socrates' 1 542 a. 4 533 C: 536 d. 7 532 d. 2 536 d. 3 531 d: 540 a. 6 539 E: cf. 536 E. 6 540 D: 541 C 8 531 A. INTRODUCTION xxi superior powers of dialectic. The philosopher's persistency in argument is more than a match for the rhapsode's obstinacy. Socrates indeed seems actually to find a pleasure in throwing his opponent into confusion 1 . The distinctions drawn by Ion are submitted to scrutiny and proved invalid. His reiterations and denials are met un- failingly by a further examination of the facts. Whereas Ion appeals to feeling, Socrates relies upon the facts of experience 2 . In short, he stands forth in the dialogue as a type of matured and reflecting reason, seeking ever after truth, and seasoned with a humanity and a humour, a little cynical perhaps, but never morose or unkindly. THE DRAMATIC DATE OF THE DIALOGUE. The date at which the conversation between Socrates and Ion is supposed to have taken place is not a point of great importance nor is it possible accurately to determine it. The mention in 541 D of the appointment of Phanosthenes the Andrian to a command in the Athenian service, taken in conjunction with the statement in Xenophon, Hellenica, I. 5. 18, that Phanosthenes was sent in 407-6 B.C. to succeed Conon as general at Andros, might seem to suggest that the dialogue took place later than that date. But Phanosthenes may have been employed as general on a former occasion or Plato may have been guilty of an anachronistic reference to his appointment in 407-6 B.C. On the whole, however, although certainty is impossible, there seems to be no objec- tion to placing the encounter between the philosopher and the rhapsode about 405 B.C. during the concluding stage of the Peloponnesian war. 1 e.g. 540 e. 2 54 1 C, D. xxii ION THE MANUSCRIPTS. The writings of Plato were arranged by Thrasyllus (ist cent, a.d.) in groups of four, styled tetralogies, the Ion being the third member of the seventh tetralogy. These tetralogies appear subsequently to have been distributed between two volumes, the first volume including tetralogies I — vn. The two leading manuscripts of Plato, the one in the Bodleian Library at Oxford (Cod. Bodleianus, MS. E. D. Clarke 39) and the other at Paris (Cod. Parisinus 1807), have each suffered the loss of one volume, the Paris manuscript present- ing only the second of the two, and the Bodleian the first. In addition the Bodleian manuscript has been deprived of the last, the seventh, tetralogy of the first volume. For the text of the Ion therefore we have to seek the aid of other manuscripts. The most important of these is in the Library of St Mark at Venice (Cod. Venetus Append. Class. 4 cod. 1) and is denoted by the letter T. This manuscript, which belongs perhaps to the tenth century, was copied from a good original ; there are very few omissions and practically nowhere is the text presented wholly unintelligible. In several places this MS. alone appears to preserve the genuine reading. Indications of change in the order of words are inserted by the writer, as well as corrections and variant readings in the margin. The scribe appears to have been a man of some education. There are also two Vienna manuscripts, Cod. Vindobo- nensis 54 supp. phil. Gr. 7 denoted by the letter W and Cod. Vindobonensis 55 supp. phil. Gr. 39 denoted by the letter F. The first of these W which was brought to Vienna from Florence approximates in some places to the Bodleian MS., but in others to the Venetian T. In other places again it INTRODUCTION xxiii preserves a reading apparently old but differing from those of both the Bodleian and the Venetian. It contains in the margin a very large number of variant readings. The second MS. F is derived from a source differing from those of both T and W. It has suffered from interpolations at the hands of a Byzantine scholar, but it is noteworthy that the quotations from Homer in the Ion have not been corrected to agree with the text of the poet. In addition there is a second Venetian manuscript, Cod. Venetus Marcianus 189 denoted by the letter S. So far as the text of the Ion is concerned this manuscript seems to be derived from the same source as the Vienna manuscript F. Later writers such as the makers of anthologies like Stobaeus (date uncertain) occasionally quote passages from Plato. The evidence for the text afforded by such quota- tions, made possibly from memory, cannot be regarded as very weighty, but it is interesting and may at times prove of service in supporting the reading of one MS. against another. The present edition follows in the main the tradition of the Codex Venetus (T). Variations from the readings of that MS. will be found indicated in the notes at the foot of the text. I Q N TA TOY AIAAOrOY IIPOSGIIA SfiKPATHS, IQN. I. 3 I. T6v"Icova yaipeiv. iroOev ra vvv rjpfiv iiriSe- SrffJLTjtcas ; rj otKoOev ef 'E<£e r/p,lv ; /cal nrcos ti rjycovLcrco ; KIN. Ta rrpcoTa tcov dffXcov rjvey/cdpLeOa, co 2ft>- io Kpares. B Sn. E5 Xeyeis ■ a9 /cat Ta Ilaz/a^^axa IflN. 'AW' ear at ravra y iav debs eOekrj. 2fl. Kat yu^i/ iroWd/as ye e^rfXcoaa £7*0*9 tovs 15 patyephovs, co u \cov, ttjs re^vrjs* to yap apa p,ev to atofia Ke/cocfjifjcrOai del irpeirov v/jlcov elvac tt) Te^vrj /cal cos KaXkicTTOis alvea6ai, dfjua 8e dvay/caiov elvai ev T€ aXXots TrotrjTais SiaTpifteiv ttoXXols teal dyad- 069 teal 8fj Kal fidkicTTa ev 'O/xr/pco, tco dpicTTco /cal 20 deiOTOTcp tcov TroirjTcov, Kal ttjv tovtov hidvoiav M. I 2 FIAATQNOZ eKfiav6dvetv> fir) fiovov ra eirr), ^t/Xcotov eaTtv. ov yap C av yevovro irore payfrcpSos, el fir) avvetrj tcl Xeyofieva ifiro tov ttoitjtov. tov yap payfrcpSbv epfirfvea Set tov iroir)TOV r^9 Stavotas ylyveadat rot? clkovovgi • tovto 5 Be fcaXcos irotetv fir) ycyvcoa/covra 6 Tt Xeyet 6 TrotrfTr)? dSvvarov. ravra ovv iravra a%ia tyXovcrdat. II. IflN. ^AXrjOr) Xeyet<;, d> HcoKpare?' ijuol yovv tovto irXelaTOV epyov irapeo-ye tt}? Te'%^779, Kal olfiat KaXkiaTa dvdp(07rcov Xeyetv irepl r Ofir]pov ) &>? io ovt€ MrjTpoSaypos 6 AafityaKrjvbs ovtc XTrjatfiftpoTOS D 6 ®dato<; ovt€ TXav/ccov ovtc aXXos ovSels tcov TrayiroTe yevofievcov ecryev elirelv ovtco 7roXXd<; /cal /caXas Btavoia? Trepl 'Ofirjpov, 6Va? eyco. SO. E5 Xeyets, c3 "Icov BrjXov yap OTt ov 15 fyOovrjaets fioi eirthet^at. IflN. Kal firjv a%tov ye a/covorai, do XoitcpaTes, cE>9 ev KeKoa firftca tov "Ofirjpov &&Te olfiat virb 'O/irjpiBcov a%LQ$ elvat ypvao) crT€/cpt\?; K€aXr) "law, oraz/ 7T6/H dpiOfiov 7roXXoov Xeyovrcov els rt? apiara Xeyy, yvaxrerat hrjirov res toj> eu Xeyovra ; io IflN. gty/u. E 2A. IIoTepo^ o£z> o avros, ocnrep teal rovs tea/cas Xeyovras, rj aXXo?; IflN. f O avrbs Srjirov. 2 A. Ovkovv 6 rrjv apiOfirjTucrjv re^vrjv e%a>i/ 15 ovros eanv ; IflN. Nat'. 2 A. Tt 8', OTaz/ 7roXXc3i/ Xeyovrcov irepi vyieivoov airtcov, oirold eanv, eh n$ apiara Xeyy, rrdrepov erepos fiev ns rov apiara Xeyovra yva>- 20 aerai on apiara Xeyei, erepos 8e tov kclkiov, rj 6 air 6s ; IflN. ArjXov Brjirov, 6 avros* 2 A. T/9 ovros ; n ovofxa avra>; IflN. 'IaT/309. 25 2A. Ovkovv iv KecfraXaicp Xeyofiev, cos 0 avros yvcoaerai aet, 7re/n tcwz/ avrcvv ttoXXcov Xeyovrcov, oaris re ev Xeyei teal oar is KaKcos* rj el fir) yvcoaerai 532 tov KaKcos Xeyovra, hrjXov on ovSe rov ev, irepi ye rov aifTOV. 20-21 6 avrds F : avros T W 25 X^yoyuep W : Xtyupev T 5 IflN. Oiirm. 2f2. Ovkovv 6 avro<; ylyveTai heivb? irepl d/jLj)<; KaV'Ofirjpov Kal rou9 aXXov<; 5 Troirjrds, iv o?9 /cal 'H0-/0S09 Kal 'Ap^tXo^o? ecrTi, irepL ye t9 rbv "Icova \eyovres irepl 'OfJbrjpov re hecvbv elvai Kal irepl roov 15 dXXcov iroirjToov oi)% dfiapTrjao/jLeBa, eireihrj ye avrbs OfioXoyei tov avrov ecreadat icpiTr\v l/cavov iravnov, ocroi civ irepl toov avroov Xeycoai, tovs he. iroirjTa? a^ehbv diravia^ rd avrd irouelv. IV. IflN. Tl ovv irore to clltiov, do Hoj/cpares, 20 otl eyoo, otclv puev Tts Trepl aXXov tov itoltjtov Bta- C XeyrjTai, oiire irpocreyoo tov vovv dSvvaroo re /cal otlovv crvp,f3a\ecr0aL Xoyov d^tov, dXX* dre^vco^ vvcrrd^co, eireihav he tls irepl 'Ofirjpov puvqcrdr}, evQvs re eypr)yopa Kal irpoae^oj tov vovv Kal eviropoo 6 tl 25 Xeyco ; 212. Ov ^aXeirbv tovto ye eiKacrai, 00 eTalpe, dXXa iravTi hrjXov otl Te^vrj Kal eiricrTrj/jir) irepl 'Ofirjpov Xeyeiv dhvvaTO? eh el yap Te^yrj ? cpavXov teal ISccotikov iart teal TravTos dvSpbs yvcovat 0 eXeyoVy ttjv avrrjv eivai cr/ceyfrcv, iiretSdv tis oXtjv Tiyyr)v Xdftrj. Xaftcofxev yap too Xoycp' ypacpLKt) yap t/? iari re^vrj to oXov ; ION. Nat. 20 2fi. Ovkovv Kal ypa€i$ iroXXol Kal eial Kal yeyovaaiv ayaOol Kal (pavXot; IftN. Udvv ye. 2H. "HS77 ovv tlvcl eZSe?, ogtis irepl fjuev HoXv- yvcoTOV tov ' AyXao(f)(bvTO<; Seivos Zcttlv diroc^aLveLVy a 25 ev T€ ypdcf>€t Kal a jjlt], irepl 8e tcov aXXcov ypacfyecov d$vvaTO$ ; Kal eTreihav /zeV T£9 tcl tcov aXXcov £00- 533 ypdfycov epya iTriSeiKVvy, vvaTa^et re Kal diropet Kal ovk e%66 6 tl GvpbftdXrjTaL, eirethav 8e ire pi 12 vTTOKpirai F : oi viroKpirai TW 28 ^x«WF: * X flT 7 HoXvyvooTov r) aXXov otov fiovXec tcov ypacfrecov ei/orjvacT0ai yvcbfirjv, eyprjyope re /cat Trpoaex^L tov vovv /cat eviropel 6 tl etirrj ; IflN. Ov fid tov At &5? y eyco olfiaL, ouS' ev avXrjaet ye ovBe ev Kidapiaei ovBe ev KiOapcpBLq ovBe ev payfrcpBiq ovBeTrcoiroT elSe? dvBpa, octtls Trepl fiev C 'OXv/ittov BeLvo? eo~Ttv e^rjyelaOaL rj Trepl ©ajivpov rj i$ Trepl 'Opcpecos rj irepl r)fiiov tov 'lOa/crjaiov payfrcpBov, irepl Be "Icovos tov 'EcfyecrLov diropel teal ovk €%ei crvii/3aXecr0aL, a T€ ev pa^coBel ical a fir). IflN. Ovk e%co ctol Trepl tovtov avTtXeyeiv, co HcbicpaTes' dX)C eicelvo ifiavTco avvoiBa, otl irepl 20 'Ofirjpov koXXlctt dvOpcoTrcov Xeyco teal evTropco fcal oi dXXoL TrdvTes fie cfracrLv ev Xeyetv, Trepl Be tcov aXXcov ov. tcaiTOi opa tovto tl eaTiv. V. 2fl. Kat opa), co "lcov, fcal epyofiaL ye croc D aTrocfyaivo/jLevos, 6 fioL Bo/cel tovto elvac. cgtl yap 25 tovto Teyyt) fiev } ovk ov Trapd crol Trepl 'Ofirjpov ev XeyeiVy 0 vvv Brj eXeyov, dela Be BvvafiLS, rj ere klv€i> coairep ev tjj XlOcd, fjv JLvpiirLBr}? fiev M.ayvr)Tiv 18 pove<; ovres bpyovvrai^ 15 ovtco /cat oi fJueXoTTOtol ovk e/juj>pov€$ 6We9 ra KaXa * fieXr) ravra iroiovaiv> dXX > erreihav e/ifiwaiv e/9 rr\v dpjjLovLav Kal eis rov pvOfiov, ftaKyevovai Kal Kare^- ofievoi, warrep ai fiaKyai dpvrovrai eV rwv rroray^wv fieXi Kal ydXa Kareyofievai^ e^pove^ he ovaai :qjj, 20 Kal rwv fJLeXorroiwv rj ^jrv^V rovro epyd^erai, orrep avrol Xeyovai. Xeyovai yap hrjrrovOev rrpos oi rroirjrai, on drrb Kprjvwv fieXippvrwv eK M.ovawv B KYjirtov rivwv Kal varrwv hperrofjuevoi ra fjieXrj r\p!iv cfiepovaiv &airep ai fieXirrai, Kal avrol ovrco rrer- 25 o/nevoi* Kai dXrjOrj Xeyovai* KOvcj>ov yap %py]p>a rroirjrrj^ eari Kal rrrrjvbv Kal iepov, Kal ov rrporepov olo? re rroieiVy rrplv av evQeos re yevrjrai Kal €K(f)pwv 2 tiyei om. T 6 Kai 8aKTv\Lwi> del. Hermann 9 avr-q F Stobaeus : clvtt) TW 17 ^aKx^vovai F Stobaeus : Kai fiaKxeuovai TW 18 apvovrai WF Stobaeus: But cf. Phaedrus 253 A IQN 9 /cal 6 vovs fjLTjfceri iv avroj ivy* eo)9 av tovtl to /crfj/JLa, dBvvaro? iras iroielv avOpcoiros iariv /cal XprjafuoBeiv. are ovv ov re^yrj irotovvre^ /cal TroXXd Xeyovres /cal KaXa irepl rwv Trpay/judrcov, wairep av C nrepl 'O/jbrjpov, dXXd deiq fio'ipa, rovro /jlovov 0*09 re 5 k'/caaros iroieiv /caXu><$> i b rj MoOcra avrov &pfirjaev ) 6 fxev BuOvpafi^ov^, 6 Be iy/coo/juia, 6 Be' vrropyruxara^ 6 o° eirr), 6 S' Idfifiovs' rd o° aXXa (f)av\o<; avrdov eicacrTo*; ianv. ov yap reyvr] ravra Xeyovacv, dXXd deLa Bvvd/jbei, eirei, el rrepl evo<; re^vrj /caXdo<; rjirlaravro io Xeyeiv, kclv irepl roov aXXcov dirdvrcov Sid ravra Be 6 0eo9 e^aipovfievo^ rovrcov rov vovv rovroi^ XPV Tal VTrrjperai? /cal T0Z9 Xpija/jbroBols /cat rots fxavreai rols D Oeiois, tva rj/jiels oi d/covovres el8do/jLev y on ovy^ ovroL eiaiv oi ravra Xeyovres ovrco 7roXXov afjca, oh vovs 15 /jltj irdpeanv, dX)C 6 #609 avros ianv 6 Xeycov, Bed rovrcov Be cpOeyyerat irpos r)p,a<;. fieycarov Be re/c- firjpiov rco Xoyco Tvvvuyp*; o XaX/aSei^, 09 aXXo pkv ovSev ircoiror eiroirjae Troirj/jia, orov Tt9 av d%i(iaeie fivrjaOrjvai,, rov Be rraLtova ov irdvre? aBovai y a%eB6v 20 ri rrdvrcov fieXcov /cdXXiarov y dre^vcS?, oirep avrbs Xeyet, evprjpbd ri ^lioiadv. iv rovrco yap Brj fidXtard E fioc Bo/cel 0 #609 ivBei^aadai r)pXv y Xva iirj Biard^cofieVy on ov/c dvOpcoirivd ian rd KaXa ravra iroLrjfxara ovBe dvOpwTTCov, dXXd 6ela /cal Oecov, oi Be iroirjral 25 ovBev dXX' rj epfJbrjveh elal rcov BedoVy /care^ofievoi i£ orov av e/caaro^ /cari^rjraL ravra ivBei/cvv/Juevos 6 #609 i^eirlrriBes Bed rov avXordrov iroirjrov to 6 KaXws WF: icaXos T 22 evprj/nd rt Stephanus : evprj/uLaTL TWF io nAATQNOZ fcaXkiarov fieXos ycev rj ov Sokoo aot d\rj0rj Xeyeiv, 535 00 icov ; IAN. Nal fid tov Ala efiouye' airreL yap 7Tft>r E^6 St] fjioc roSe elire, go "loop, Kal fir) airo- B tcpvtyrj 0 ti av ere epcofiav orav ev etirrj^ eirrj kol eKTrXrj^rj^ fidXiaTa tol>9 Oeoofievov*;, r) tov 'OSvaaea , 15 orav eirl tov ovhbv efyaXXofievov aSrjs, itctyavr) yiyvb- fievov to?9 fivrjcrTrjpcn Kal eKyeovTa tou9 oigtovs irpo toov irohoov, rj 'A^dXea eirl tov f/ E/cropa opfioovTa, rj Kal toov irepl ^ Kvipofid^qv eXetvoov ti r) irepl 'E/cdfirjv rj irepl Yiplafiov, rore iroTepov efipcov el, rj e^co 20 aavTOv ylyvet Kal irapa tcw irpdyfiaaiv oteTai C aov elvai r) 'yfrv^V ol? Xeyei? evQovcria^ovaa, rj ev WaKrj ovatv r) ev Lpoia rj ottoos av Kai Ta hrr) exo; IflN. f fl? evapyes /jlol tovto, 00 2ft>/cpaTe9, to 25 TeKfxrjpcov eiTres* ov yap ere diroKpvyJrdfievo? ipoo. iyob yap oTav eXeivbv ti Xeyoo, SaKpvcov efiirvnXavTaL fiov ol 6(f>0a\fjLOL' OTav re o/3epov rj Secvov, 6p9al al Tplxes XcrTavTai vtto l\lols, 5 ^rjhevb^ airohvovTos fxrjhe dScKovvTOS ; IfltN. Ov fid rov A/a, ov irdvVy go HwKpares, $9 ye Ta\r)0€<; elprjaOai. 2fl. OlaOa ovv otl Kal tgov dearwv rom iroXXov? ravrd ravra u/xefc epyd^eaOe ; 10 E ION. Kal fjbdXa icaXws olha* Ka6opdo yap efcdarore avrovs dvcoOev diro rov firjfxaTOs KXdovTa? re Kal Beivov ijjbfiXeTTovTas Kal avvOafifiovvTas to?9 Xey ope vols. Sec yap /xe Kal acfroSp' avTols tov vovv irpocreyeiv a>9 idv fiev xXdovras avToi>s KaOLacOy 15 avros yeXdaofiau dpyvpiov Xafi/3dvoov y idv Se yeX- dovra^y avro? KXavaofiat dpyvpiov diroXXv?. VII. 2f2. OlcrOa ovv ore ovtos icrrtv 6 Oearr)? tgov Sa/crvXicov 6 ea^aro^y gov eyob eXeyov viro T779 ^YipaKXeiooTihos XlOov air dXXrjXoov ttjv Svvaficv 20 Xafifidveiv ; 6 Se /jueaos aij 6 payfrcpSds /cat vTroKptrrj^y 536 6 Se irp&Tos avTOS 0 iroi^rr}^* 6 Se 0eo$ Sid irdvTGov tovtcov eXicec ttjv yfrv^rjv oitoi av fiovXrjrai, toov dvdpcoTTcoVy dva/cpe/jLavvvs dXXrjXcov ttjv Svvafiiv. Kal MO~7T€p €K TYf? XLOoV €K€LV7)<; Opfiadd? TrdflTToXv? 2$ e^rjprr}raL yopevTGov re Kal StSaaKaXcov Kal vtto- ^ihaaKaXooVy €K TrXayLov i^pTrjfievGov roov 7779 Mouo-7/9 eKKpe/xa/Juevcov SaKTvXtcov. kol 6 fiev roov ttoltjtgov aXXr}? Mouo-779, 6 Se ij; aXXr)? e^rjpTrjTai' ovofid^ofiev 1—2 t6t€ TOVTOV WF TOVTOV t6t€ T 12 T7AATQN0I he avro /caT€%€Tai y to he earn irapairXrjaLov e^eiaL B ydp % etc he tovtgov tgov irpGOTcov haKTvXLwv, tgov iroLrjTGov, aXXoL if* aXXov av r/prrj/nevoL elal Kal evOovaLa^ovaLv, ol puev ef y OpeG00ey!;7]Tai T£9 /te\o9, ev6i><; eyprjyopas /cat opyeiTai io gov r) yfrv^r) Kal eitiropeh 6 tl \e7779 • ov yap Teyyri C ov8* eTTiaTTj^rj irepl 'Ofirjpov Xeyei? a Xeyeis, aXXa 6ela fjLoipa teal Karofccoxf)' Goairep ol tcopvfiavTMovres ifceivov puovov alaOdvovTaL rov p,eXovs o£ea>9, b av y rov Oeov orov av KaTeycoviaL, koX eh eicelvo to • 15 fjueXos Kal o-%r) /jlcltcdv Kal prjpLaTGOv eviropovaL, tgov Be aXXcov ov ev c OpLi]pov eviropeh, irepl he tgov 20 aXXcov ov, otl ov Te^vrj aXXa Qela jxolpa 'OpLrjpov heLvos el eiraLveTrjs. VIII. IflN. 2u fJiev ev XeyeLS, go ^cb/cpaTev 0av/jLd£oL/j,L fievT av el ovtgos ev eliroL^, coaTe pue dvairelaaL, a>9 eyco KaTeyop^evo^ Kal puaLvofievos 2$ f/ OpL7)pov eiraLvd). ol/xaL he oih' av aol ho^aLpa, el piov aKovaaLS XeyovTos irepl 'Opujpov. Kai purjv eOeXco ye aKovaaL, ov fievTOL irpoTepov irplv av poL diroKplvt) Tohe" gov "Opbrjpos E 23 ei ovtus F: ovrm ei TW IQN 13 \eyei irepl rLvos ev Xeyets ; ov yap Brjirov irepl dirdvr- cov ye. IftN. E5 cadty co XcoKpares, irepl ovBevos orov ov. 2ft. Ov Brjirov Kal irepl rovreov, cov av fiev Tvy%dv€i$ ovk eiBobs, "Ofirjpos Be \eyei. IftN. Kal ravra irold icrriv, a ff Ofxrjpo^ fjuev \eyet, eyco Be ovk olBa; 537 2ft. Ov Kal irepl reyvcov fjuevroc Xeyet iroWayov e/ 0/j,r)po$ Kal iroXkd; oXov Kal irepl r)vioyela<$ — eav /jLvrjadcb rd eirr), eyco aoc (j^pdaco. IftN. 'AXX' eyco epcb* eyco yap fiejAvrjixai. 2ft. l&lire Brj fjioi a \eyec Necrrcop 'AvriXoxq) to) vlely irapaivcov ev\a/3r)0r)vai irepl rrjv Kafiirrjv ev rfj iiriroSpo/jLia rfj eirl THarpoKXoo. IftN. K\tv0fjvat, Be, pa) rfK eV dpiarepd tollv drap rbv Bei~ibv Xirirov B Kevaat 6/jLOK\rjaa<;, el£ai re oi rjvia yepcriv. ev vvaarj he rot Xiriros dptarepbs iyxpificfrOrjrco, co? dv tol irXrjfivr] ye Bodcraerat aKpov iKecrQai kvkKov irocrjToco' XiOov 8' d\eao~0ai eiravpelv. 2ft. 'ApKei. ravra Brj, co "Icov, rd eirt] elre C 6p0a)$ Xeyei "OfjLrjpo? elre firj, irorepos dv yvoirj dfjueivov, iarpbs r) rjvLoyos. IftN. 'Hvlo^os Brjirov. 2ft. Horepov on reyvrjv ravrrjv eyei rj Kar &\\o ri; IflN. Ovk, aW' ore reyvrjv. 2ft. Ovkovv eKaarrj rcov reyycov diroBeBoraL ri 1 \tyeis Comarius : \%o$, 10 IHN. Na£ 2fl. f H Be payfrcpBifcr) re^vr} erepa earl rr}? KIN. Nat. 2fl. Et apa erepa, irepl erepcov /cal eiriarrjLLr] 15 Trpay/judrcov eariv. ION. Nat. 2H. Ti Be Br}, oTav r/ OfjLr)po$ Xeyrj, 009 rerpco/jLeva) C tc3 Ma%aoz/t ^/capbrjBr] i) Ne<7Topo9 TraXXaKrj tcv/cecova irlveiv BiBcoai ; ical Xeyet 7r&)9 ovtcqs ' 20 otW Tlpa/JLveiG), (frrjaLv, eVt cV atyecov tcvrj rvpbv KvrjcrTL ycCXKelrj* irapa Be Kpofjivov ttotco o^rov* ravra etre opOcos Xeyet "Opuripos elre Lir}, irorepov laTpL/crjs iarl BtayvSyvau /caXcos rj pa\jr(t)Bifcr)<; ; ION. 'larpLK7]<;. 25 2H. Tt Se, oraz/ Xeyrj r/ Op,7)po<$ ' D 97 Se LioXvftBaLvr) 1/ceXr/ e'9 ftvaaov 'Uavev, 16-16 *ai iinepova-a* ravra irorepov tywpiev aXievTLter)<$ elvai re-fty 7 )* fiaWov teplvai rj pay^whtKr)^, arra Xeyet teal etre AcaXw? efre 5 M ; IflN. ArjXov c3 Xootepares, on aXtevritefjs. 2fl. Uteeyfrai Srj f aov epo/ievov, ei epoio fie • eirei^r) Toivvv, oS Xootepares, tovtcov t&v Teyy&v ev *Ofir)p

oiq) r elvai Siayiyvaxrtceiv, etre ev etre teateojs ireiroiriTai — crtceyfrai &>? paSicos re teal dXr/Orj eya> ctol aTro/cpwovfiat. iroWa^ov fiev yap teal ev 'OSvaaeia Xeyei, olov teal a 6 rwv 15 Me\a/j,7ro8i8o!)v \eyei fidvns 7rpo? tovs fivrjo-TTjpas, ®eote\vfievo<; • Sai/jLovcoL f tL tea/ebv r68e irda^ere ; vvterl fiev vfiecov 539 eikvarai teecfraXal re Trpoacoird re vepOe re yvla, olfiwyrj Be 8e8r/e, SeSdtcpvvrai 8e irapeiaL* 20 ei8(o\cov re ifXeov irpoQvpov, ir\elr) he teal avXrj le/ievcov epefiocrSe vtto £6(f>ov rjeXios Se ovpavov €^a7roXct)Xe, teater) S' eiriSeSpofiev d%\v$* B TroWa^ov be teal ev 'IkidSi, olov teal eirl TeL'Xpp.a'xLq' \eyet yap teal evravda* 25 opvts yap aepcov ovv^ecrerL ireXwpov, C £oo6v, er dairaLpovra' teal oiiirco \rj6eT0 ydpfir)<$. 14 a ante 6 om. T 19 5t5r)€ W : 8t5r)ai T IQN 17 Kotye yap avrbv eyovra Kara arr)6o^ rrapa heipr)v ISvcodeU OTTiacOy 6 8' dirb eQev r\Ke ^afxd^e dXyrjaas oBvvyo-i, A^creo e?79, go "loov, diravra 9 rj ovrco? eiriXrfa/jLGov el; /caLrot ov/c av irpeiroi ye eTriXrjG fiova elvai payfrcoBbv dvSpa. 540 ION. Tl Se Sr) eiriXavOdvofiai ; 20 2f2. Ov /jLe/JLvrjo-ac on e^rjaOa rrjv payjrooSiKrjv re^vrjv erepav elvac rr)<$ rjveo^/c/cr)^; IX2N. Me/jLvrj/juai. 2X1. Ovkovv /cal erepav ovcrav erepa yvGoaeaOat, GOfioXoyeis ; 25 IflN. Nat. 2X2. Ov/c dpa irdvra ye yVGoaerac r) pa^pSt/cr) Kara rov gov \6yov f ovoe 6 payfr(p86s. 2 dirlaw WF : diriffacj T 3 iytcdpfiaM, corr. iyKa^aV T : ivKa/ipaV W : evl /ca/x£a\' F M. 2 18 nAATQNOI IX1N. TlXrjv ye iacos ra rouavra, g5 2cw/cpaTe?. Sfl. Ta tolclvtcl Se Xeyet? ttXtjv ra tcov aWayv B re^vcov a^ehov tl* dWa irola Brj yvooo-erac, iireiSr/ ov^ diravra; 5 KIN. *A nrpeirei, ol/jlcu eycoye, dvBpl elirelv /cal oirola yvvaifci, /cal oirola 8ov\(p /cal oirola iXevOeptp, /cat oirola dp^ofievcp /ecu oirola dpyovn. 2H. * Kp oirola apftovri, Xeyets, ip OaXdrrrj yeiiia^ojjikvov irXoLov irpkirei elirelv, 6 patycohbs 10 yvwaerat koXKlov rj 6 /cvftepvrjTrjs ; IflN. Ov/c, dWa 6 fcvfiepvrjTri*; tovto ye. Sfl. 'AXX' oirola ap'xovTi /cd/uLvovros irpkirei C elirelv, 6 patyqyBbs yvooaerat koXKlov rj 6 tarpon; IflN. OvSe TOVTO. 15 Sfl. 'AW ola SouXft) irpkiret^kyeis ; IflN. Nat. 212. Olov f3ov/c6\(jL) Xkyet? 8ov\a> a irpkireu elirelv dypiatvovacov ftowv irapa/juvOov/MevG), 6 payfrpSos yvcocreTai, aXX' oi!% 0 fiov/cokos ; 20 IflN. Oi5 BrjTa. 2fl. 'AW' ola yvvauci irpkirovid eo~TLV elirelv TaXacTLovpycp irepl eplcov ipyaaia? ; D IflN. Ov. 2fl 'AXX' ola dvBpl irpkirei elirelv yvcoaeTat 25 cTTpaTTjycp o-TpaTMOTais irapacvovvTt ; IflN. Nat, ra TOiavTa yvooaeTai 6 payfrwSos. XI. 2fl. Tt Si; 7] paty whiter] rkyyfl o-TpaTrjyi/cr} icTTiv ; 11 cLXXa 6 W : dXXa Acai 6 T 12 kcl/jluoptos F : kol/jlvovti TW 26 TWF ION 19 IflN. TvoLrjv yovv av eycoye ola arparrjybv irpeirei eiirelv, SO. if l(TQ)<; yap el tcai arparrjyt/co^, "Icov. teal yap el ervy^ave^ iTTTrcfcb^ gov dfia koX Ki0apicrTi/c6<;, E eyvcos av ittttovs ev zeal rca/cay? iirira^ofjievov^' a\\' ei 5 a eyco rjpo/jL7]v y irorepa Brj Te^yrj, go "Igov, yiyvGoaiceis tou9 ev lirira^oyLevov^ Xirirovs ; rj iinrevs el r) rj KiOapKTTrjs ; tl av /jloc aireKpivoo ; II2N. iTTTrevs, eyooy av. 212. Ovkovv ei teal rov? ev KiQapL^ovjas 8ie- 10 yiyvaxTKes, GOfioXoyecs av, fj KiOapiGTr)? el, ravrrj &iayiyv(6(TKeiv y dX)C 01)% fj iinrevs. K2N. Neacov ov% alprjcreraL arparrjybv Kal 1 /xrjv F : fxev TW IQN 21 Ti/jLtjcret, eav Sokj) a£io$ Xoyov elvai ; ri Se ; ov/c 'AOrjvaiot fiev ecrre oi 'Eicfyeaiot, to dpyalov, /cai rj E"Ee0-O9 ovSe/uua? eXarrcov iroXecos ; dXXa yap crv, go *\gov, el p,ev aKrjOrj Xeyeis, &>9 Teyyrj /cai eirtcrrrjfirj olos re el "OfjbTjpov eiraivelv, dot/cets, oaris i/juol viro- 5 crypixevo^, a>9 iroXXd /cai /caXd irepl 'Ofjurjpov iirioTa- cai, ical (f>diav. el fiev ovv re^vi/cos gov, oirep vvv Sr/ eXeyov, irepl 'Opripov viroayo/juevo^ eiriSel^ecv e^airarqs fie, dSi/cos eh el Se p,rj re^vi/cos 15 el, dXXd 9eia fjboipq /careyo/ievo? ef 'Ofjujpov firjcjev elScbs iroXXd icaX icaXa Xeyeus irepl rod irocrjrov, &crirep eyoo elirov irepl gov, ovSev dSi/cecs. eXov ovv irorepa fiovXet vofil^ecrOat, viro tj/jloov dSi/cos dvrjp elvai rj deioepei, go %(6/cpare 530 A. tov "lava \a{p€iv, sc. /ceXetfw. Cf. Theocr. xiv. 1 X^Wv ToXXd rbv avdpa Qv€8a>v. Rhapsodes were professional reciters of the works of the poets. They carried a lyre as a symbol of their art ; possibly they played a few notes upon it at the beginning and end of their recitations. They also gave explanations of the meaning of the poet (cf. 530 c). /ca£ = also. ifya>vC£ou ti r\\ilv.. .r\yu>vipos...€'yw. The sentence was begun apparently as a comparative one (ojs = in such manner as) and the predicate would naturally be £c/x e " simply = was able to speak. But to the verb eiirelv is appended an object Siavo'ias and thus there is added a fresh comparison ovtuj 7roXXas Kal /caX&s oaas 4yu. For the irregular construction of the sentence we may compare 534 ab. The irregularity might be removed either by reading, with 24 ION Mr H. Richards, uW for u>s, or by taking the conjunction in a causal sense = since. 530 D. X.€*y€is= * I am glad to hear it.' Cf. supr. 530 B. '0|Jir|pi8wv. The word 'Owpidai- occurs elsewhere in Plato (Rep, 599 E ; Phaedr. 252 b) always in the sense 'devotees of Homer.' These 'OjuLTjpldai must not be confused with the clan in Chios mentioned by Strabo as bearing that name. frri Troirjcrojxcu crxoXrjv. Observe that the Middle Voice (7rote?- crdai), not the Active (iroidv), is used with a noun to form a peri- phrasis equivalent in meaning to a simple verb (e.g. here (rxoXdorw). i Some day I shall take an opportunity.' ToorovSe. As a rule toctovtos refers to what has preceded, roffdade to what follows. 531 A. 'OjJtijpov. Homer is the name given to the putative author of the Iliad and the Odyssey. Other works too were attributed to him in antiquity such as the Thebais (Paus. IX. 9. 5), the Cypria and the Epigoni (Herod. II. 117; IV. 32). Of Homer nothing is known. It is probable that the Iliad and the Odyssey as we have them are not the original work of a single man but have undergone a process of interpolation, alteration, and addition at the hands of several poets. 'HorioSov. Hesiod was a Boeotian poet of early but uncertain date. The chief works attributed to him are (i) "Epya ko1 'H^pcu, (ii) Qeoyovia, (iii) 'heirls 'H/oa/cA^ovs, (iv) rj otcu. The last of these has not come down to us. 'Apx^o\ov. Archilochus, a lyric poet belonging to the island of Paros, flourished in the 1st half of the 7th century B.C. He is credited with the invention of the iambic line and the most striking characteristic of his verse was its trenchant vigour (cf. Horace, A. P. 79 Archilochum proprio rabies armavit iambo). Fragments only of his poetry are extant. 531 B. aXrj. So 'carum caput' is used in Latin. Cf. Verg. Aen. iv. 354; Hor. Car?n. 1. 24. 2. 531 E. ircpl iryi€ivo>v cn/rCtov oiroia €aXaia> ad summam, 4 briefly,' 4 in a word.' 532 A. ovhk t6v €v, sc. \4yovra yvuverai. Observe the force of ot)6V; 'will not know the man who speaks well either J i.e. any more than he will know the man who speaks ill. 532 B. rC ovv iroT€ to cUtiov. For the use of wort in a question, vid. sup. 531 c. oTav |A€v Tis...8ia\fyT|Tai...€'jr€i8dv 8e Tis...fivn i cr0Tj. Notice the change of conjunction and tense : 'when a man is talking... after he has mentioned.' 532 c. evTropw on Xeyid. Xtyu is pres. subj. in an indirect deliberative question. R. § 247. irouyriKij -yap irov cVri to oXov. Notice the emphatic position of to oXov. 'Surely it is the whole that is poetry.' By rb 6\ov is meant the whole which includes every part of poetic activity, the work of Hesiod, Archilochus, and the rest, as well as that of Homer. Cf. infr. 532 E ypa = (lit.) 4 let us apprehend it with the argu- ment'; i.e. 'let us argue it out.' -ypcufHio] -yap ris corn. The details of a discussion are regularly introduced by ydp. Kal ypa^CiS = painters as well, i.e. as an art of painting. IIo\vyvc£tov. The celebrated painter Polygnotus flourished in the middle of the 5th century B. c. A native of Thasos he received the citizenship of Athens where his chief works were to be found in the Temple of Theseus, the Anaceum, the Stoa Poikile and the Propylaea. He also exercised his art to adorn the temple of Apollo at Delphi. His subjects were generally drawn from Homer and other poets of the Epic Cycle. dirocuv€iv. Epexegetic or Explanatory Infinitive defining the activity in which skill (deivds) is exhibited. a €v T€ 7pd€i Kal a pi- We should have expected rather d re ed ypd. €virop€i o ti cl'irn. Vid. supr. 532 C. AaiSdXou tov MiyrCovos. Daedalus is a mythical character, the personification of skill in working in wood and stone ; hence his name, Cunning the son of Craft. The legend relates that he was an Athenian, who jealous of his nephew's superior skill murdered him. Condemned to death by the Areopagus he fled to Crete where he won the friendship of Minos. He fashioned the NOTES 27 labyrinth in which the Minotaur was kept, but incurring the hostility of Minos fled from his wrath on wings constructed by himself. According to one version of the story he first descended to Earth at Cumae in Italy and dedicated there his wings. (Verg. Aen. VI. 14 ff.) 'Eimov tov Ilavoirccos. Epeus with the help of Athena built the wooden horse by means of which Troy was captured. Cf. Horn. Od. VIII. 493 lirirov Kdc/nov aeiaov | dovpartov rbv 'E7retds iiroirjtrev 8ia. Observe the repeated oddt. 'No, nor in flute playing, nor again in playing the lyre, nor in singing to it either, nor yet in rhapsody, have you ever seen,' et cet. 'OXvp/rrov. Olympus was a mythical Mysian flute player be- longing to the Mysian and Phrygian school of music, the chief figure in which was Marsyas whose pupil Olympus is sometimes said to have been. Oapupov. Thamyras was a celebrated Thracian lyrist who challenged the Muses to a contest and was struck with blindness for his presumption. He is represented in art with a broken lyre in his hand. Cf. (Eurip.) Rhesus 925 (the Muse is speaking) Qd/jLvptv 6s TjfJiQp 7r6\X' eSevvarrev r^x vy ) v \ Horn. 77. II. 595. 533C. 'Op<(>€a)S. Like Thamyras, Orpheus was a famous Thracian lyrist. So great was the power of his music that it drew rocks and trees after him (cf. Verg. Eclog. III. 46 Orpheaque in medio posuit silvasque sequentes), tamed the wild beasts, and even 28 ION overcame the most inexorable of deities, Hades. (Verg. Georg. IV. 455 ff.) ^rjfjiiov. Phemius was a minstrel who was constrained to sing for the pleasure of the suitors in the hall of Odysseus in Ithaca. Cf. Horn. Od. xvm. 331. "I«vos. Nothing is known of Ion beyond what we learn in this dialogue. kcutoi opa tovto ti &rTiv = lit. 'And yet do you look at this, what it is,' i.e. * However, look what this is.' For the subject of the subordinate clause made the object of the verb of the principal clause, cf. supr. 531 E, rbv cipLcra \4yovra yvuxrerai 6tl &pio~Taiv6|ievos. In Herodotus and in Plato gpXo/JLCLL is used with the Future participle in the sense, ' I intend to,' 'I am about to.' But in Plato, Phaedo 100 b (tyxofjicu. einx^P^ v col iindei^aadaC) and here it is used with the present participle in the same meaning. Similarly ptWeiv is followed both by the present and by the future infinitive. 533 D. -yap serves to introduce the detailed explanation. Cf. supr. 532 E. ouk 6v irapa cu = 7r/)^7reo>), is here extended to the substantive verb itself, so that icrTi.,.ovK 6p = ovk fori. 6 vvv 8i] '(keyov. Supr. 532 c. wcrircp 4v ttj \{0a>, sc. St^a/xi's 4av7]s Xidos - crystal. EvpiirtS^s. Euripides, one of the three great Attic tragedians, flourished in the latter half of the 5th century B.C., the dates traditionally assigned for his birth and death being 480 B.C. and 406 B.C. He was a friend of Anaxagoras, the philosopher, and keenly interested in physical enquiry. Cf. e.g. frag. 271. MaYVT]Tts = of Magnesia, a town in Caria near the river NOTES 29 Maeander. Pliny (N. H. xxxvi. 127), citing as his authority for the statement Nicander, declares that the stone was so called from the name of its discoverer, Magnes. 'HpaK\€ictv = of Heraclea, a town in Caria some 25 miles south of Magnesia. But popularly, no doubt, the adjective was under- stood to connect the stone owing to its power of attraction directly with Heracles, the embodiment of physical force. «ktt€ 8vva<' A string hangs suspended.' 534 A. kclI 01 pAoiroiou The subject is repeated after the intervening uWep clause. Kal is added in reference to the other members of the comparison, viz. ol KopvfSavTi&vTes. €ts rr\v dpp.ov£av Kai els tov pv0p.ov. A harmony is a com- bination of notes. Rhythm depends upon the order in which stressed and unstressed syllables are arranged. Kal KaT€\6jji€V0t...i] tyv\i\ tovto 4pYa£€Tav\os. Accusative of Respect, R. § 79. tovtois xprjTOi wT)peTOis» Observe vir^phais, used predicatively without the article, = * as servants.' Cf. infr. 537 c t£x v V v ra&rrjv 534 D. ots vovs irdpecmv. For the negative cf. sup. 531 B. Tvvvtxos 6 XciXki&vs. Tynnichus is only a name to us. We hear of him in a story told of Aeschylus, which relates that the latter refused to write a paean, a choral hymn of thanksgiving and praise proper to Apollo, on the ground that the paean of Tynnichus, like an ancient statue, possessed a venerable sanctity which no new work could hope to rival. Chalcis was a city of Euboea so called from the copper mines (xaX*:6s) near it. aT€xvws (to be distinguished by its accent from dr^ws = un- skilfully) =' exactly,' 'precisely,' and modifies the clause oirep aMs {i.e. Tijviuxos) \£yei. Cf. supr. 532 C drex^s uvo-t6l^u = 'I simply nod.' oirep clvtos Xt'-yci. The antecedent to the relative is the phrase evprjfAa tl MoHTav, not evprjjJLd ri alone. Mourdv = "M-ova-Qv. The form is due to the fact that the phrase is a quotation from Tynnichus. Cf. infr. 535 B. 535 A. a*jrT€i...Ttjs ^X 1 ! 5 ' Verbs of Touching are followed by the Genitive. R. § 112. NOTES 3* 535 B. o ti tfv fxpa>v el tj ^cd o*avTov ytyv&>. The idea that the poet when engaged in composition is no longer himself but is possessed by an alien power — an idea here extended to apply to the rhapsode — is found in Plato also in Phaedrus 245 A; Apology 22 B ; Meno 99 C; Laws 719 c. Compare Aristotle's division of poets into €vveis and jxaviKol, the latter being further defined as eKaraTLKol (Aristot. Poet. 1455 a 32). The thought has reappeared in modern literature, e.g. in Shakespeare, Midsummer Nighfs Dream, Act v. Sc. 1 'The poet's eye in a fine frenzy rolling Doth glance from heaven to earth, from earth to heaven.' 535 c< kfy^s. The Relative is attracted into the case 01 its antecedent. Cf. supr. 532 E, R. § 41. 'I0cikt|. Ithaca, an island off the coast of Acarnania to the west of Greece, was the home of Odysseus. Tpota. Troy was a district in the north west of Asia Minor. Its chief city was Ilium, the capital of Priam, which was taken and sacked by the Greeks after a siege of ten years. Its site has been identified with the modern Hissarlik where important archaeological discoveries have been made. SaKpvcov IjiirCjiirXavTai. Words denoting fullness and the reverse are followed by the Genitive Case. R. § 113. 6p0al al Tptxcs ftrravTai. Observe the tense and the position of the adjective=' rises on end.' viro <|>6pov. vird is employed with the Genitive to denote cause especially with words denoting feelings, which may be thus easily personified. 32 ION 535 D. kXcld T€...-fj opTjTcu. For 7} answering to re cf. Theaetetus 143 C at fiera^v tQv \6ywv dLrjyrjcreis irepl avrov re... 77 afr irepl rod airoKpivo/j.e'vov. "irXcov lj €V SurjJLvpCoiS dvOpco-jrois. So in Xenophon, Oec. 21. 3 ir\iop rj iv dnr\as 7c Ta\rj0€s etprjorOai. The Infinitive with cbs is often used absolutely with a limiting or defining force. Cf. ws tiros elirelv — 'so to say'; cos vvveXovri elirelv — 'to speak concisely.' R. § 340. tcov Ocarcov toiis iroXXovs ravTa ravTa Ip7d£€ dtivafuv Xajx^dveiv. Strictly these phrases should espies tne mutual reaction of A on B and B on A. But they are applied to denote the repetition of an action in a fresh direction, as the meaning evidently is that the magnetic power passes from A to B and from B to C, not that it passes back again from B to A. 4k 7rXaY^ov...8aKTvXCa)v, 'suspended sideways from the rings that hang from the Muse.' 536 AB. Kal d p.h> t<5v iroiT|Tcov...^x 6Tai Y*p. 'And one of the poets is in dependence on one Muse, another on another. We use the expression "is in the possession of." But it is the same thing. For he is in her grasp.' avro = i£r)pT7}Tai. Observe the article to used as a pronoun. Cf. 537 A TOUV. 536 B. 'Op€ into the gender of rkxvr\v cf. R. § 51. ovkovv ckclo-ttj Twv nyyav. . .yiyvuHTKiw. Compare the argu- ment supr. 531 B. There the mastery of a particular artist over a particular subject-matter was developed to shew that Ion's skill, if an art, should apply to all poets ; here it is used to prove that Ion can know nothing of any poet. The contradiction is only apparent. Ion is ignorant of the scope and standards of criticism. Hence he is an equally incompetent critic of all poets and is further unable to distinguish the subject-matter of the art, to which he lays claim, from those of seamanship, medicine, strategy and the like. 537 D. tt)v ykv cT€pav...TT)v 8* €T€pav. Observe that krtpav is predicative. * Do you say that one art is one and another another?' dpa wcrircp eyco T€KfxaLpop.evos, 6t Kal os followed by the Genitive Case cf. infr. 540 A; Thuc. I. 28 $. The quotation is made up from three lines, viz. //. XI. 639-40 (olV xaX/cefy) and ibid. 630 with sub- stitution of irapa for iiri. (pTjaiv is of course parenthetic ( = inquit) as supr. 537 A. otvo) IIpauv€ia>. Pramnian wine was a rough, strong brand, so called according to the Ancient Scholiasts from a Mount Pramne which was placed by them in various localities. Kvrj. Epic Aorist, kv&oj^'I scrape,' *I grate.' €¥t€ opOu>s €i'T€ p.T]. Cf. on supr. 537 c. laTpiKT{s...pa\|/a)8iKifjs. Sc. re^^s. For the Genitive Case cf. 532 E, R. § 106 (2). 538 D. ij hi p.oX/u|3SatvT) k.t.X. The quotation is from //. xxiv. 80-2 describing the descent of Iris from Olympus by command of Zeus in search of Thetis. The variations from the received text of Homer are (i) Xicavev for opovaev, (ii) e^e/iawa for ejuLpepavia, (iii) /-ter' ixGtivi for ex' ixOu, (iv) 7r%a for Krjpa.. I}i|i€p.avia. Perfect Participle, equivalent in force to an adverb, ' furiously.' <(>c3|j.6v= ' Are we to say?' R. § 227. dXuirriKTjs T€'xvT|s,,.pa\|/cu8iK'qs. Cf. supr. 538c. Kpivai. Epexegetic or explanatory Infinitive, defining in what regard these verses belong to the art of the fisherman or the rhapsode. Cf. supr. 532 E. v, aXTjOrj TavTa Xey€is = 1 And you, Ion, are right in saying so.' Kal T)p.i. The answering clause with 54 is left to be supplied (e.g. oi 8e HXXol oS6s = 1 nor the rhapsode either.' Cf. supr. 532 A. 7rXijv 7€ I'o-ws tcI TOiavTa, sc. iravra yvuaeTat 6 pa\f/(?86s. NOTES 37 540 B. Td TOiavra $k Xe^eis k.t.X. ra toiclvtcl is the object of the verb; the clause ir\T)v...Texv&v is a completion of the predicate. "By * such passages ' you mean something like (ax^ddv n) * with the exception of what belongs to the other arts.'" We should have expected however rather tt\t)v de rd roiavra k.t.X. but the expression is colloquially inexact. Cf. R. § 68. 540 c. ovSfc tovto, sc. yvws -yap & Kal Sos lariv. The first Kai ( m * further,' * again ') adds this proposition to the preceding converse one (6') ; the second Kai ( = *also,' 'too') marks the parallelism between pa^ySos and arparrjyos. €K€ivo u-qv. (xty, a strong form of fxtv, emphasizes the pronoun. Cf. on supr. 539 E. 33 ION 541 B. Kai TavTa ^€ €K twv 'Op/rjpov |ia6(ov. /cat raOra (cf. Latin idque) is used, generally with a participle, to add some circumstance upon which emphasis is laid. Cf. R. § 358. rl 8tj itot' ovv. Notice the accumulation of particles. * Why then, pray, why.' dp.oT€pa= * in both respects. 5 Cf. supr. 534 c ra 5' tiXka dv(p «TT€<|>avG>p,4vov. For the splendid attire of the rhapsode cf. supr. 530B; 535 D. r\ [l\v ydp iijJL€T€pa...ir6Xis...Tj 8£ v^tripa, sc. Ephesus (supr. 530 a) and Athens. After the defeat of the Persian invasion in 478 B.C. a league was formed by the Greek states to protect them- selves, especially those of their number who dwelt on the east of the Aegaean sea, from the power of Persia. In the beginning no single state had suzerainty over the rest, but in the course of time the predominance and activity of Athens enabled her to reduce her fellow-members of the league to a position of dependence. In return for money contributions Athens undertook to equip and maintain a fleet and to suppress any Persian attempt at aggression. The money so obtained was used indeed to form a fleet, but that fleet was employed against recalcitrant allies. Thus cities like Ephesus ceased to have their own foreign policy and therefore no longer required generals. ovk dv p.€ i:\oiTO frrparr\y6v . For the double Accusative after aipeiadai cf. infr. dv...p&£ov /3p£r€ E€0'(.oi to dp\atov Kal 1] "E€CTOS ovScfiias cXaTTwv iroXcws; Observe that y£v is here answered by kcu, antithesis passing into coordination. Cf. sup. 535 D where co- ordination {k\&t) re) passes into alternation (tj (pofirjrcu). to apxiav. This sentence is repeated in a shorter form in 542 A, ei nev o$i>...&8iko$ eZ, and is, in this shortened form, contrasted with the sentence el de fir) tcxvlkos ...Ovdfr &5iK€lS. oo-Tis...do-K(i>v eiri8ei|€iv e|airaT^s. Observe that the relative oT€vs. Proteus was a sea-god who possessed prophetic powers but would only display them if caught and held securely in spite of the diverse forms which he assumed. Cf. Od. I v. 455 ff.; Verg. Georg. IV. 440. &os T€X€VTwv...dv€dvTjs. ews referring to a definite point in past time is followed by the Indicative Mood. reXevruv, the present participle of reXevTw ( = lit. ' ending'), is used as the equivalent of an adverb 1 at last.' rr[V ir€pl '0|iT{pov o-cxjn'av. Cf. supr. 534 C rd 5' dXXa atiXqais ri irpdy^a; B. rrdvv n4v tov. A. avOpiowos tov atiXrjcrls 4o~tiv; B. ov8a/x&$. A. l'5w, tI 5' atiXrjTas; tIs etjx4v rot doKet; dvdpwiros rj ov ydp; B. rrdvv fxev tov. A. ovkQv Sokcl oflrws 4x €LV tol Ka i V€ pl rujyadov; t6 ya dyadbv tl it pay p? elfiev kclO' avQ'' 6e{e> 5e??, 541 E ,, ,, i/JLirifAirXaadai, 535C „ „ frepos, 538 b; 40 a „ „ fr\ovp, 530 B „ ,, QpovTlfriv, 536 c iafxfios, 534 C I5iuyrr)$, 531 C; 32 D Indicative in Consecutive Clause, 533 E Infinitive Absolute with d>s, 535 D ,, in Consecutive Clause, 533 d ,, Explanatory, 532 E ; 38 D ical, emphasizing sentence, 539 e; 40 A; 41 A Kal ravra, 541 B 'Malignity' of Plato, 541 c fifr solitarium, 539 e answered by Kal, 541 D 1X7) with Participle, 530 c; 35 d; 42 A „ in Indirect Question, 537 c; 38 B, c 44 INDEXES in Relative Clause, 531 B; 32E; 34D Ph v i 541 A 6-nrus with Future Indicative, , 530 B os 76, causal force of, 541 E fans „ „ „ 541 E ov54 f repeated, 533 b outw, summing up a clause, 537 D irai&v, 534 D tt&Xcu, with Present Tense, 541 E Periphrasis for simple verb, 530D Poet compared to bee, 534 A Poetic ecstasy, 535 B ttoios in Question, 536 e; 41c irori in Question, 531 C; 32 B Predicate, Completion of, 534 c ; 37 c, d; 40 b paxf/ydds, 530 A; 35 D Reciprocal Pronoun, Use of, 536 A Relative Pronoun, Attraction of, 532 e; 33A; 35E; 38B Relative Pronoun, with clause as Antecedent, 534 a, d ; 42 A Subjunctive, Direct Deliberative, 538 D ,, Indirect Delibera- tive, 532 c; 33 A, B; 36 B re answered by ^f, 535 D ,, transference of, 532 E ro(roo-5e, 530 D vird with Genitive of Cause, 535C Mpxgpa, 534 c f 54I E Variation of tense, 530 A; 32 b; 33 e ; 40 D Verb, Omission of governing, 530 a Verbal jingle, 536 c II PROPER NAMES 'AyXcuxpQp, 532 E 'Adrjvaioi, 541 C, D "^Aidys, 531 c "Avdpios, 541 D 'Avdpofi&xv, 535 B 'Apt/Xoxos, 537 A 'Airo\\65u)pos, 541 C 'ApxiXoxos, 53 IA J 3 2A 'Ao7cX?77r£eta, 530 A 'AxiXXetfs, 535 B I TXaiJKwv, 530 D Aal8a\os, 533 A 'E/cd^, 535 B 'EKari&n, 538C "Ektw/), 535 B "EWrjves, 541 B, C 'Ett^s, 533 A 'EirtSatfptoi, 530 a El)pt7Tt57/S, 533 D 'E0l6s, 530 D MayvTjTis, 533 D Maxct^, 538 c MeXa/nrodidcu, 538 E Mrjriw, 533 A Mrjrpodupos, 530 D Mouo-a, 533 e; 34 C Movaai, 534 B, D Movo-aios, 536 B N^rwp, 537 A; 38C 'Odvaaela, 538 E; 39 D '05v Nubes, Vespae Graves 3/6 each »> Acharnians >> 3/- Peace 3/6 Demosthenes Olynthiacs Glover 2/6 >> Philippics I, II, III G. 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