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THE FROGS OF ARISTOPHANES
APIZTO®ANOTZ BATPAXOI
THE
FROGS OF ARISTOPHANES
EDITED WITH INTRODUCTION, COMMENTARY AND CRITICAL NOTES
BY
T. G. TUCKER, Lirt.D. (CAms.)
HON. LITT. D. DUBLIN ; PROFESSOR OF CLASSICAL PHILOLOGY IN THE UNIVERSITY OF MELBOURNE; LATE FELLOW OF ST. JOHN’S COLLEGE, CAMBRIDGE
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PREFACE
THOUGH it is hoped that tli¢’ present 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 alm 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
1755559
lV 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 ¥
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 Review, 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, Rutherford’s Scholia Aristophanica, and Mr. Starkie’s edition of the Wasps. I regret that I could not see the work of Mr. Rogers till my own was printing. Had the late Mr. R. 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.
CONTENTS
INTRODUCTION— A. Date and Motives of the Play .
B. The Mysteries referred to in the Frogs.
C. The Language and Metre of Comedy D. Some Features of the Comic Style E. The Text
THE PLAy (with Critical Notes) COMMENTARY
INDICES—
1. Greek 2. English .
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PAGE ix XXViil XXXIV xlvii lvi
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263 272
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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 J/usae 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 rd yéAovoy, or the presentation of 7d aicypdv (in its wide sense) on the ludicrous side. With the Old Comedy the laughter of the audience (75 Géatpov) 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 simply good-natured banter,
1X
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 a8 yedupurpds 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 Kwpwdnfeis ev Tats matpiow TedeTais Tats Tov Awvioov (v. 368) to bear their onslaughts, as Soerates 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 ‘éwr7ns (v. 459), but there were few Athenians who were absolutely (Sura: in the sense that they were neither brought officially, nor in some way brought 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 xl
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 toy ed ravu Kai drdo- Adyws Terounpevov, 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 Arnold. Of — the numerous ‘minor poets’ with pretensions to succeed the great masters, Agathon was apparently
xii 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 Kuripides had done, to a quieter abode in Macedonia. Iophon, 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 xill
pides. Though without any studied formality, Aristophanes virtually anticipates the analysis which Aristotle makes of the elements of a tragedy, namely the plot (6 ptdos or ra rpdypara), the characters (ra 70), the thought (7) dudvo.a), the language (7) Aéé:s), the music (7) peAoroua), and the scenic effects (:) éyis). 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’ (€Aeyxos) so beloved by an Atheniair audience, 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- equivocally 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 a
who is gradually converted to sounder taste and gives his verdict in favour of Aeschylus. It is doubtless true that Aristophanes 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 effect 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 (deEids) from his claim to wisdom and knowledge (ropia) and sound admonition (vovfecia) in the
XVI THE FROGS OF ARISTOPHANES
domain of boni 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- dominance of men of birth and culture—for such is the meaning of his xaAot kdyafot or BeAtwrror ; 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 XVil
and defects of taste he probably had reason enough to contemn, but who may have been as able and honest as any xadds kdyafos 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 pent: 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 both 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
XVill THE FROGS OF ARISTOPHANES
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 LEuripidean 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 Bc. there had prevailed no confidence or sense of security between parties,
INTRODUCTION <x
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 ¢dpos 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 (rpoorarat Tov Sjpov) 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 ARISTOPHANES
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 XX1
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 laugh at the strongest caricature of its leader,
XX 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 /rogs 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 zappnoia, 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.
INTRODUCTION xxiii
Though politics are not the primary subject of the Frogs, the references to them are sufficiently numerous, while (except as usual in the parabasis) they come in without awkwardness or forcing. The tragic poet’s qualifications, it has been said above, included practical codia, and his function included teaching and admonition. Therefore, in choosing between Aeschylus and Euripides, it was necessary to give prime consideration to the advice (yvepn) 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 Arginusae 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 kupdrwv év aykdAais (704). The assumption throughout is that the best for which there is hope is cwrnpia. The prayer of the mystae is for cwrnpia (381, 386); the advice demanded of the rival poets is to be such as will secure cwrnpia (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 ARISTOPHANES
possibility of now obtaining a treaty on reasonable terms. T’he 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 dripo., 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 war 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
XXxVi 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 must have been very great and the signs of exhaustion unmistakable.
It was amid such circumstances that Aristophanes brought on the /rogs at the Lenaea of February 405 B.C.
According to the trdGer1s, 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 Xirpo. 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 XXVil
of copies of the play, in which their comprehension of the points was assisted by notes of reference. vy. 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 poorat, While the frogs are but a comparatively inconsiderable zapacxyjviov. Why, then, did not Aristophanes call the play Miora:? Two reasons may be assigned, each sufficient in itself. The sacredness of the mysteries would suggest that Mvorac 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 (X¢ijxes, Wives, 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 piora: and Bdrpayou (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 élatnns on both the grounds above stated.
The choice of the pvora: is prompted by fairly obvious motives. What equally suitable body of
XXVIll 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 /'ROGS
It has been universally assumed that the picras in the Frogs are represented as carrying Iacchus 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 etoeBeva 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 zpoppyars 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 GAade prorat, ‘and this by sacrifices. On the 19th—
INTRODUCTION Xx1x
20th the initiated went in procession to the ‘Iaxyeiov in the city, took thence the statue of the child Iacchus, and carried it with shouts, songs, and ceremonies through the Sacred Gate and along the Sacred Road 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 wavvvyides. 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 Iacchus and Bacchus were commonly identified in the popular mind, and therefore there would be a certain justification for the comedian thus introducing the Eleusinian Iacchus 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 “Iaxy’, & roAv- Timois ev edpais évOdde vaiwy? Where is évOdde? There was apparently no Iaccheum at Eleusis. And what is meant by the next words éAGé rovd ava Aetpaova xopetowv? Where is ‘this’ meadow? Are we to suppose that it was near the said temple of Tacchus in Athens? Yet it is hardly conceivable that there was any meadow thus near the temple, i.e. on the way from the Iaccheum as one started towards Eleusis. If it is argued that the allusion is to the temple in which Iacchus 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 Iacchus 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 Iaccheum 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 tpéppyno.s may have been made at the Taxyxetov 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 Iacchus was there installed, we shall be obliged to modify our views concerning the reticence demanded of those—only piorac—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? 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 Kleusis but to the Lesser Mysteries at Athens. These, which were called év “Aypas (or “Aypais) and
XXxli 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 [lissus 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 Xvrpou 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.
(b) The temple in which Iacchus dwells (ev@dée), beside a marshy meadow (révéde Aexpova, also called in v. 352 €devov Sdredov), is most easily conceivable as a temple of Dionysus-Iacchus by the Ilissus.
(c) The Agrae mysteries were particularly in
INTRODUCTION XxXxili
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.
(¢) The emphasis laid upon Acipova (325), avOnpdv ddmedov (352), edavOcis KdArovs Aewpovov (373), avOo- dopov aAgos (441), Acwwovas avOeuwders (445) surely points to the spring festival of the month Anthesterion and not to the late autumn. Whether “AvGeorijpva is or (more probably) is not derived from davOos, popular etymology inevitably associated the words. The repeated reference to dv0y is a seasonable anticipation of the “Avdecrijpi. 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.
(f) Dionysus and Xanthias have come down by way of the house of Heracles to the Aiuvy 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 Aiuvai, 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
XXX1V THE FROGS OF ARISTOPHANES
the Agrae precincts would be more readily appreciated and less open to religious objection.
C. Tur LANGUAGE AND METRE oF COMEDY AS COMPARED WITH 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 patiora yap Aextikdy TOV peTpoV Td iapPeEtov ecTiV® onpetov d€ tovtov’ rAciota yap tapPeta A€youev Ev TH duarextw TH Tpds dAAnHAovs) ; correspondingly 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, oriambic. 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 zapaxatadoy?.) 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 gesticuluting) 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 Senarvus.—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 poreiv, Anpa, kAvew, 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 speaker 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 podetv or kAvevv 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 exponr 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
ran enn OF TIE €eareas eo Om em 4 mr a7
Xxxvi THE FROGS OF ARISTOPHANES
in 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 yA@7ra and the Kiptov dvopa), 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 (kvp.a ovoyata), and the occurrence of such words as érAnv or tayos 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 oOévos and piv are to be called poetical words (the current equivalents being poyn and vovs), and yet the phrases ravrti oOever and vovv €xovra Kat dpevas 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 GéXeuv for eOéAevv is poetic, yet nv Oeds GeAn (‘God willing’) survived as a phrase of ordinary life. The
INTRODUCTION XXXVIl
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 KAewvds, edie, Tapmrnoia, KEap.
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 womep; where tragedy says ovrote comedy must say ovderote. The tragic use of mpos or ex for v7 (‘by’), which is not allowed in Attic prose, is not allowed in the comic senarius. In tragedy mpiv, et, €ws, Os and other relatives may be joined to the subjunctive without dv, eg. ews €AOy, Os 7. This is a remnant of the older Greek use of a pure subjunctive mood. The subsequent addition of ay to the relative had nothing to do with determining the mood, but it was 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 dv prevailed, until in ordinary life it became an indispensable attachment to the relative when used with the subjunctive. The comedian must therefore write mpiv dv €AOy, os av 7. Here again quotation, burlesque (rapatpaywdia), or ‘mouthing’ would at once show itself by the use in a comic senarius of Tpos = v1rd, Os = GoTep, ds = 0s 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
XXxViili 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, eis dyopdv, cis dypov, ew Teixous, és moAw, 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, ie. 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 eds warp in the simple sense of ‘my father,’ but when it wishes to say ‘my father,’ or affectionately ‘my own father,’ it uses 6 épds. Comedy, like prose conversation, must always (in ordinary dialogue) use 6 euds. 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, eg. ayopd, modus (=dkporoXs), tpuTavetov, aypos (which were treated by an Athenian as practically proper names), or in stereotyped phrases, e.g. kat’ OPOadports, Kara yiv, ete.
(ii.) Metre of the Comic Senarius.—(a) The iambic tri- meter of tragedy admits of the following variations :—
IC
VVYwY VWVYWY VvVYY WwWVYY VvVY
Besides these an anapaest is occasionally allowable in other feet than the first in a proper name which could
INTRODUCTION XXX1X
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: eg. ejdirva (Antiph. “Apx. 3), deAlpaxca
(Eubul. ApddO. 9), cap|xidva (Diph. AA, 2), Anx|bOvov
~_~—_—~
(Anon. 40) and in Aristophanes youlpidvov (Ach. 777)
Ov\Aaxcov (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 — UV can be separated at the end of the line, the previous syllable is short. Thus a line could not end with woAA@ wAciova nor with toAXovs TOV Adywv, The exception is that a long syllable may precede the final —w™ when the said long syllable is a monosyllabic word organically connected with the —U¥ following, as in a preposition followed by its case (€« mpaypdrwv) or an article followed by its noun (Tas Evyopds). [One can, without violating the rule, say nov yap yépas, 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 ToAA®@ wXeiova or roAXovs Tov Adywv 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
x] THE FROGS OF ARISTOPHANES
seems to be that a tragic line must not be capable of severance into three equal parts, Thus
” lal 5 / > ¥ eimw Te TOV | eLwOdTwv, | & derroTa ; ” ec / >] > / ~ ” or KaAXdws 0 pev y | Evpuridns | ravotpyos 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. Luu or —vv or vv -—) 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
thie: aay 3 4 5 6 We Bis: lum ws a OE u~ i ats | sinieies snk vuvuluvye INT ASE TP CIS NT RD uv (rarely) | iret AN Mina heel SE em leak ee AC NY ele, AP A 1 Ae ENS ena Beas
(with no regard to caesura or ‘ final cretic’).
It may be said in general that a true comic line will Kither it shares an anapaest
very seldom scan as tragic.
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 afoot 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
x 4 A ‘ 3 3 > Se <3 A / 7) b€ mpoc|Sokj|oai o ovK | avdy|rov Kat | Kevov is the natural line of conversational comedy, its successor — aa PA _ 2 hy . = ws dovrAos Ov Kat Ovytds “AAKkpHvyns ever
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, 7, 5, 9, 7, 8, $) followed by one of the liquids (p, A) and (except for y, 5, 8) by one of the nasals (u, v). Thus in UBpis, aypos, rarpos, irvos 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 Class. 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 dypos or tidAds or vBpis is impossible. When we find such lengthenings we may be sure that we have more ‘ mouthing.’
(f) The senarius of comedy differs also markedly from that of tragedy in respect of freedom in Elision, Prodeli- sion, Crasis, Synecphonesis and Hiatus.
Elasion,—Comedy, unlike tragedy, may elide -ae in
xlii THE FROGS OF ARISTOPHANES
the verb-terminations of the infin. and of the Ist and 3rd persons passive ; e.g. wapeiv’ €s Tiv TiKVG, Siaywvieia’ epaoke, Séop’ ovdev, Kordc’ e€errt, yevnoer’ dyad, It may also elide -ov in otpor ; €.g. olw ws.
Prodelision.—In comedy the initial ¢« of a word follow- ing a final vowel is freely dropped from thie scansion ; e.g. eya ’vOelKVUpt, OVK GELO yw *wavToY, drrov ’vOa8’, 06 ’pvjcOyv, olopas ’ywy’. In tragedy the instances are much less bold and are mostly restricted to prepositions.
Crasis in comedy is very free. Striking instances are SnEopap (Sn€opar apa), yavdpes (kat ot avdpes), pevTovpuckey (wevTot Eparkev), TYXayaBH, KaLTOUK, cTovdwkev, Movyyvs, EypxKounv.
Synecphonesis.—W hat comedy can do in the slurring together of final and initial vowels may be seen
a from eg, pa Tov “ArdAAw ov, ga atrdv, ed 88 eat ee ee, ey -” NPELS, eyu ELT OLMAL, PF” WPA.
Hiatus, which very rarely occurs in tragedy (perhaps only in ré otv) is frequent in comedy after Ti, or, mepi. We have Ti eort, Ti dpa, Ti ov, Ti ad, TL eirras etc., dT. dv, OTe OVK, OTL, OTL eloeOnKe etc., Tept étvous, wept "A@nvav, rept epyod ete. Also ovde ev, ed ioO, ed oda, & “HpdxAes, & obros, and (at least in the New Comedy) pexpe av, mpd NLEPas.
It would have been impossible to write a natural language without these privileges. Thus the article cannot be omitted asin tragedy. Since so many words begin with vowels, a crasis with the article was necessarily very frequent, eg. Oovdaros, Onperepov. Such crases 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 xiii
character of comic language if the writer could not have employed ri, 67. or wept before a vowel, or if a familiar phrase like tvyyn ayaOy 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. 7ptv, duty are not allowed, nor the monosyllabic use of eds.
2. vov and tocviv are correct, not viv or Toiviv.
3. diw, Oiw, ve1, impe are the proper quantities, although perhaps iu is occasional.
4. dpaypy and dpdypy are both in use; €a is commonly pronounced as one syllable; ciow (not €ow) is correct.
5. The vowel or diphthong ending is shortened before deictic -i, e.g. TavTyl, TovTwl, ovTOL, Exetvolt.
6. eis is necessary before a vowel; a comic senarius cannot say €s aypovs. Before a consonant és is perhaps the proper form, but this cannot be proved; nevertheless in scme phrases, eg. €s Kopakas, it would be quite incorrect to write «is.
7. The following quantities are optional, viz.:—
ot in rovety (axountis etc), ofos, rotos, ToLovTos, _, ott (oinPjva.), Bowwrés :
at in deiAasos, [Lecpaceds :
c in dvuts, tar pos :
& in dei, dpa (dpa) :
Also IIpwréws or TIpwréws ete.
8. The following alternative forms are equally avail- able :—
-OlS, -olol, -ovolv in dat. plur. :
xliv
THE FROGS OF ARISTOPHANES
duddac", Siddacr, Siddacrv and the like (paragogic -v being added at pleasure) :
-peo Oa and -pe8a :
eavTor, éauTov and wavTov, avrov :
ctor, TVVVOUTO (ete.) and eixooy, TvvvovToy (ete) :
olopat, popny and ofpat, @pyny :
éav or HV:
peiCova, nTToVves (ete.) and peifw, ATTOVs (etc.) :
treOvynkevat, TEAvnKGS and TeOvavat, TEOVEWds :
elveka, and evexa:
-oiaTo, -aiaTo and -ouvTo, -a.vTo :
-ars and -evas in opt. 2nd pers. :
€oukévat, €oikact and eikévat, eiface :
Tov; TM; and Tivos; Tin;
dpviv, opvis, yéAwv and dpviBa, dpviOas, yéAwra :
hevfouar and devEovpan :
xXpnv and eyphv:
ouv- and €ur-:
9. On the other hand it is not permitted to use forms
like woot, rovots for rovoiny, rovoins, nor dud0t for didwo1, but the rule of contemporary prose applies also to comedy. If -yeoOa and -ouw 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. avd Tol pe
weiGets.
(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 :—
Pee eeu id on oe ele
with a caesura after the 4th trochee. Variations in the _ several feet were allowed, the first 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:
1 2 3 4 5 6 7 8 — pit J ae er am en ale et eraek © | a4 wv wve Www Wwe wvy WwWwaywe WY we wWwYweywvT Wa NP Se
Lf Sy. = as = PAs Sn e.g.
aXdxXa. | Kal vov dvd|nrou | petaadlsvres | rovs tpdlmrous
or
SuxiSilov o-pux|pdv payloun’ av | ev Aolrddu welrveypeviov 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 that 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.
d
xlvi THE FROGS OF ARISTOPHANES For example : SeEud\rnros | Kat vou|Geo tas || ori BeAlrious re ToL |mev or dd Tod | TUpayy Kad Kdéos | eoryev || Ty T0080)” br xpior| eBidalgey This metre is suited to marching movement and is
also a favourite in comic disputes and passages of arms accompanied by motion. 7
(c) The tambic 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 Ist, 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 , 8 ws = yo yo vo wo we v= = NW pk dade as SR | a ad muy —wy | at in ame a | RTT ae ee e.g.
eéniadra | pipors i daBov | rapa a Sprlvixy | rpapér|ras mpuriora pee | ee eva | Tu ay | Kaior eV ey|kadviPas "AyidlAéa | tev’ 7 | Nis Byv | 73 > rpdcwlrov odlyt Secxivis.
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. evyopar et, OcuirtokAet avtidepifers, pummamat etiretv, Xarpeov
vldos, eva aoerpiy, Seorotvy ’"A@nvain. [If it be observed that these diphthongs end in z or v, which may be made consonantal (=y and w), we have still to reckon
with e.g. KAeurGevyn eidov.]
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. aypa@v, woyAds), and words of poetical colour are sometimes used, e.g. ovrote, KapTa, poxGetv, atre, derOar, krA€os, ExaTw, edus.
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
xl viii THE FROGS OF ARISTOPHANES
or undiscoverable ; but he should have little difficulty with the grammar, What he should be prepared for is |
puns :
surprise words (rapa mpocdokiay) :
‘ 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 :—
Eq. 55 pagav pepaxotos ev IlvAw Aakwvixiy (suggesting wveAwm and conversely payynv peuaynpéevor),
INTRODUCTION xlix
ibid. 279 raiow tpijpect (oped pata (sug. drofopara), 1182 dayeiv €AaTHpas (‘cakes’), tva Tas vats eLadvvo- pev Kadds, Ran. 418 ovx efrvoe Ppartepas (sug. dpactjpas), 489 Avds Kopiv Gos (Kopts), Pac. 431 vrexe Thv pidAny, drus epyy ’pradrotperv, Eccl. 686 kaTra . wa kartoo.v, Lys. 91 sq. yaa (plays on yaoKw), Ach. 35 sq. mpiwv and mpiw, 348 av@pakes (and avOpwrot or avdpes), Vesp. 30 THY TpdomTLV TOU TpdypaTos (=Tdv Tpdmorv), Av. 121 réAw evepov (sug. evdepor), 179 woAos and woAts, Nub. 23 sq. kommariav and efexomnv. So in the line of an unknown comedian imd ToD yéAwrTos eis l'eNav adigouas and (Anon, 350. 11) ovnoidpdpa . . dvos pépen (b) Surprise words (rapa mpocdoxiav).—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 (Ilapao. 2) :— mpaypa S exti por peya ppeatos evdov WuypoTtepov— A pdporos,
For ‘colder than ice’ is substituted ‘more frigid than Araros, Wvxpds being the Greek for dull and tedious. Soin Aristophanes: Eq. 59 Bupoivyny éxwv | Seurvovv- Tos exTwSs arocoPet—rTovs pyntopas (instead of Tas pvias), 457 ® yevvikwrarov Kpeas (for Képa), 1176 €t pr) pavepas pov vrepetxe THV—yUTpav (for yeipa), 1863 €x Tov Adpuyyos exxpeudoas— YrépBorov (for e.g. A’Mov), Ran. 421 coTw TO TpoOTa THS Exei—poxOnpias, 855, Keharaiw pipate . . exxen TOv—TyAehov (for éyxepadov), Plut. 26 TOV E“ov yap oiKeTOV TLOTOTATOV HyYOUpal we KaL— kXertiotatov (for eg. xpnotdotatov), Lys. 103 areotw ext Opaxns pvddtrwv—Kixpatn (for tovs woAeuiovs),
l THE FROGS OF ARISTOPHANES
Ach. 733 moréxeT euiv-—rtav yaorépa (for Tov vovv), Av. 134 pa pou TOT EAOns, Otay eyo TpaTTw—Kakos (for Kados), Vesp. 243 jKew €xovTas pepov Opynv Tpiov (for ouTia).
(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 (ayyéAov pyois), with the recognition- scene (avayvapiris) and with the ‘forensic dispute,’ or argument and retort (eAeyxos), 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 Hq. 625-682 and Plut. 627 sqq. travesty an ayyédou pho, Hq. 1232-1253 and Ran. 745 sqq. an dvayvopiris, Pac. 124-154 a tragic discussion, Thesm. 331 sqq. the proclamation of a kypvf, Lys. 1124-1156 a tragic speech, Av. 685-702 anepic 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
INTRODUCTION on hi
became popular, either on their 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 we ool to every properly educated Athenian boy. Certain skolia 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) Colloqual 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, bnt 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 (cyoAaotixy). If very bold, it was con- sidered well to qualify it with terms like ds eizety (ef, quasi). 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
hii THE FROGS OF ARISTOPHANES
beating we have devdpotopety TO voTov, KUvoKoTeEtv Td vatov, aAoav, oodeiv, Seperv, admodeperv, A€rewv, KaTa- Eaivew, wrAdvewv, puTtwtevev, pAav ete. (cf. the English ‘flay,’ ‘skin,’ ‘give a hiding, ‘a dressing,’ ‘dust one’s jacket’ etc.) So we have yopdctev ta mpdypata, exkokkifew Tas modes, exBorPifew Tivd, omrav (of teasing), Katateuvery Twa KaTTipata (‘cut him into bits of leather’), amoBAirrev tr. A man in anger or ill- temper is said BAerew oKityn, vary, dpiyavov, ody, kdpoaya; he Ave. tiv tv. Eating has names like epeidewv, oTodetv, PAG, Tate. To cozen is trépyer Oar, TeprepxerOat, mepreAavvery, mepiopapetv, PBovkodAciv. A schemer Kepapeves (tv 7oAwv) or paver,
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 humorously 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 paAwora appdtre: Tots diOv- papPors and Aristophanes is ready to show his skill in travestying the dvouara woAAarAa of that style. His opOpopoitocvKodpavTodikotaAairwpos is, doubtless, an extravagant example, but kpoppvogvpeypias, WappaKo- cwydapyapa are not far from the typical.
If there is a term opopajtpvos the comedian will invent opopactiyias; from tpizaAa he will make xtAvdraAat; he will turn Avoipaxos into kAavoipayos.
INTRODUCTION lit
He will speak of peAos peAAoderrvixov and of veorAovto- mévypos. Similarly he will invent humorous verbs, e.g. eowkpdaTovy, nouns, e.g. ppovtiaTipiov, superlatives, e.g. avtoratos. He will play with genders, as in 1) cerpatnyés, ) ypapparevs, or with the voice of the verb, as in peykerat (because another middle has preceded). He - will make foreigners, such as the Triballos or the Scythian police, talk broken Greek, e.g. dpvito (=dpviOos), Kayo Aeyt, wept (= éepers), “ArriKds pedis (= Atrixdy péeAr) ; or he will mimic a lisp, as in oAgs (= 6pas).. Sometimes he will imitate stammering, as in [pereréras, or the sound of a musical instrument, e.g. OperraveAd, topAar- ToOpdt, BouBaAroBopBag. There is in Greek no word mons, but after the mention of orvmmeordAns a character will say «fs ovrool “‘wwAns,” separating the latter part of the compound,
(f) 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 ete] The following are the regular types affected by the comedians, viz.
4 -LOV, @.8. TaLd-Lov, YEpovt-Loy, Ovydrpiov, Avpiov.
2. sa, e.g. yvenptovoy, dixidiov, voiduov, yyS.ov,
ypdd.ov, Zwxparid.oy, Har Qisior.
[When the stem of the word ended in -vo- or -.a the result was -1+.dsov and thence -i00¥, e.g. ovotdsiov, twatidiov, oiktidvov (from otkia), apyv- pidiov (from apyvp.ov).| Similarly shales dailies: “Eppeidiov, tx Obdcov.
3. -dpiov (contemptuous), eg. rawdd ploy, si
avdpaptov.
liv THE FROGS OF ARISTOPHANES
4. -18-dpiov, e.g. Boddpiov, Kwddépiov, BidAWdprov.
5, -toKos, -ioxn, e.g. OvAaKkiokos, oikiokos, melpakioky. 6. -ioK-vov, e.g. KoTvAicKLov, yAaviok.ov.
7. -wrk-id-vov, e.g. yAavirKidvov.
8. -vAA-Lov, e.g. perpaxvAXtov, ér’dAALov.
9, -vdpiov, e.g. EAKVdptov.
To intensify the diminutive still further the word puixpov may be added, as in duKidcov pxpov.
(9) Brpletives.— Athenian conversation must have been liberally garnished with expletives. Oaths, chiefly intro- duced by pa or v7), and appeals to the gods, with or without introductory ©, 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 — is the god, and Herakles the hero, of deliverance. As ddc€ixaxor they would be invoked when danger threatened or when a portent was seen. So in matters of taste one might swear v7) Tas Xapitas and in matters of love v7 tv "Adpoditny. 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 tow Qew (Demeter and Perse- phone) belonged to women only, as did v7 riyv"Aprepuy.
INTRODUCTION lv
In comedy it will be found that oaths, introduced by pa (less often od pa) and v7 (less often vat pa), are most commonly by Zeus (Aia or tov Ata indifferently). Next in order come the group Apollo, Poseidon, Demeter (v7) or pa Tov “AmdAXw, Tov Llowedo, tiv Ajpntpa, with the article). Then follow Dionysus, Hermes and Herakles (rov Avovucov, tov “Epynyv, rov “HpaxdAéa). Other deities are less frequent (tv “Adpodirnv, thy “Exarny, tHv "AOnvaiay, Tas Xdpuras), Sometimes we have generalisa- tion in tovs OJeovs, or enlargements for more serious asseveration, e.g. v7) Tov Ala Tov Lworjpa, pa Tov Aia rdv °OXAvparvov. When an appeal is made (with or without @) it is generally to the dAcéixaxor, e.g. Zev, Zev pidrrare, Zed Serrora, Zed Kat Oeoi, Oeot cai daipoves kat Zed, or "ArodAov, "AroAXov aotpérate, avaE “ArodXov Kai Oeoi, fiX “AmoAAov, Poi?’ “ArodXov, or “HpdxdAcis, — évak “ApdxAes, todvripn® “HpdxdAets, or & Avooxdpo, or © IH, or & Ildcedov. Occasionally “AAcEixaxe or *Arotpdmase is used alone, and sometimes vaguely Geo/, hiro Oeoi, toAvTipyros Geoi.
In adjurations with zpds (or © zpos) the commonest expressions are mpds (Tov) Oeav, pds (Tov) Atds ; some- times zpds mavtwv Oeov and rpos THs Ijs.
There can be no doubt that the language of comedy would have seemed to Athenian ears unnatural and unvivacious 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, contenvpt etc—Attic conversation, at least among the lower orders and the ayopator, 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
lvi 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 g. prvapos, TOfLILLA.POS, pLLa.pa Kepahy, BdeXAvpos, Tovnpos, rap dvnpos, Geois EXO pos, KaTaparos, Ki.0appa., Bwporoxos, ovdev vyves ; of stupidity and ignorance, e.g. oKa.os, amatdevTos, pMpos, nAios, maxis, apabrs, avontos, BexxeréAnvos ; of cowardice, treachery, or greed, e.g. detAds, SecAakpiov, pevaé, adrAdlwv, riOnKkos, Onpiov, Ppvvevdas, Adpos, yAicoxpwv. Speakers fling at each other such titles as tepdovAos, Awroditns, BadAavrio- Topos, KAErrTns, ToLXwpvxos, KoTpoAdyos. [That such terms 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 €s Kopaxas, BAAN és Kdpakas, ovK «f €s Kopaxas; Siappayeins, eritpuBeins, amoAovo, oipwe, amroXet KAKLOTO.
On the other hand there are plentiful exclamations of pity, eg. & kaxodaipwv, & pede, dCupe, TdAay (frequent among women), dvarnve, TXETALE, SecA autos ete.
Without these also comedy would have lacked some- thing in convincingness,
E. Tur 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
INTRODUCTION lvl
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.
lviii 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 Ravennas (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 R is the sounder MS. but this is scarcely the case in the Frogs, in which many of the better readings are derived from V. 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 ypappartixot from at least the third century B.c. A creat 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
found to consist chiefly in the ascription of lines to 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 (otv for ovd’), 665 (<repi> mpovas), 957 (épw for épav), 1130 (correction of order), 1305 (éxi rotrov for émi rotvrov), 1307. Further 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 ¢apvé, pparepes, dvaBvoiny, GVUTETOY, Tpeurkaidera, TevO paca, mpoy, aww, K@dz.ov, Kmoapiov, mvetoetat, AdOpa, Tevknot, TxLvdarapor. Tociv, monow etc. are written (generally with’ Ms. support) wherever the metre permits of a short initial syllable.
DRAMATIS PERSONAE
ia na Ae of Dionysus) AIONT=
savin
NEKPOX (on his way to burial) XAPON
AIAKO2 (doorkeeper of Pluto) OEPAITAINA ITEPZEbONH>S ITANAOKETTPIA
TIAAOANH (servant of the inn) EYPINIAH=
AIZXTAOZ
ITAOTTON
XOPOZ MYTZSTON (also heard, but not seen, as BATPAXOT)
Supernumeraries (kwa mpdowra) 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). Deuteragonist: Aeschylus, who has previously played
Herakles, Charon, Aeacus, Landlady, and perhaps icles phone’s maid.
Tritagonist : Dionysus. Fourth Actor: The Corpse, Plathane, Pluto. lx
BATPAXOI
EANOIAS. AIONT OF
n / 95 BA. Elva ti tov ciwOoTtwy, @ d€éoToOTAa, > >) a oN lal . ¢e , ep ols ae yeAoou of Oew@pevor ; Al. wm tov A’ 6 te BovrAer ye, WAHV mweéCopas* ‘tovto 5é€ diAakas: Tavu ydp éot Hon
yoXn. EA. pnd étepov aoteiov tt ; Al, Trnv y, OS OriBopat. 5 BA. ti dat; TO mavu yédoloy élTo ; Al. vn Nia Oappav y+ éxeivo povoy Orrws pu) ‘pets, EIA. te TEs
Al. petaBarrdpevos tavadopov ote ye Ent as.
. [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 Bove. MSS. Aristophanes probably used the form PovAy
(Meisterhans”, p. 131); cf. inf. 462 crit. note 4 yap ear RV. > 7 MSS. vary between Oappdv ye’ wdvoy éxetv’ and
the text. R omits éxety’ Eich 1 B
2 | BATPAXOI 89
EBA. ti dnt ev pe TtadTa Ta oKevn dépew, elmrep Tronow pnoev wvirrep Ppvyyos
” lat \ / > /
elwOe trovety kai Aveis Kxapeurias
aKxeunpopova éxdoTtoT év Kapmdia; 15 AI. wx vuvy ronons: es eyo Oewpevos,
éTav TL ToOUT@Y TaV codicpaTor ida,
~ ay oe a / /
Theiv 7) ViavT@ TpeaRuUTEpos aTrépyopmat. mA Xx 5 / ge BS / x e / EA. @& Tptcxaxodaipwv ap o Tpdyndos ovToci,
dre OriBeTar pév, TO Sé yeAOLvoy OVK pet. 20 AI. cir’ ovy wv8pis, tadt éati Kal odd?
. | Tpupy,
¢? 3 b x \ XN / e\ = /
é6r éy@ pwev wv Avovvaos, vios {Tapviov,
3 UN / \ val an > b] n
avTos Badifo Kail mova, TodTov 8 oye, » J / \ ee aa) no BA Q / 3
iva py TadavT@potta pnd axdos épor; EA. ov yap hépw ‘yo;
Al. Tas pépes yap, Os y Over; 25 EA. dépov ye tavti. AI: riva tpomov; — EA. . Bapéws travv.
Al. ovxovv to Bdpos Tovl, 56 ov dépers, ovvos épe ;
BA. od 870 6 y éyw ‘yo Kab dépo, pa tov At’ ov. |
Al. mds yap pépets, 8s y adres id’ érépou péper ;
9
13 rowjow vulg.: mojow RV. The omission of ¢ (before e- sounds) is correct when the quantity is short ; before o-sounds « remains (Meisterhans?,- p. 44). These variations will not be noted henceforth 15 oxe’n pépovo’ RB: oxevndopotc’ V al. : of sxevopopotc’ S$: oxevnddpovs Fritzsche. Dind. brackets the line. —> Qu. <@s> cKevodopoia’ ? 16 viv RV 20 é7. Mss.: corr. A. Palmer. —> 27 dvos R: oivos (or obvos) cett. and Eustath, —
30-46 BATPAXOI 3 EA. ovx 010: 0 & @pmos ovtToci—mLéfFeTat, 30 Al. oad 8 ovv érevdy Tov dvov od dys b n @penety, b] La J \ \ 4 b / / év T@ MEpeL TU TOV OVOY apamevos éEpe. =A 5] 5 / / \ aN > ? EA. olor kaxodaiwwv: ti yap éy@ ovK évav- [eaxouv ; h Tav ce KoKvev av éxédevoy paxpd. AI. «atdBa, Twavovpye. Kal yap éyyds Tis Oupas - 35 non Badifav ciwi tHod, of tmpaTd pe éde tpatrécOar. tavdiov, mat, nui, Trai. HPAKAHS> a ae 4 4 HP, tis thv Ovpay ératakey ; ws KevTaupLKas See TR > / \ oS évnrad doris: eitré pot, TouTl Ti Fv; Al. 6 mais. BA. ti dorw; Al. ote éveOv- / : . ‘ - pnOns; EIA. mat ean TO Ti; 40 Al. os ocdhddpa pw eure. EA. vy Ala, py paivoo ye. | HP. ob tot pa tiv Anpntpa Svvapar pi) yerav Kaito. SaKvw y é“auTov: AAN Spws vero. Al. @ dampome, mpdcerdOe Séopmar yap Ti cov. HP. add ody ofos Tr ci arocoBioa Tov yérov, 45 op@v eovThy él KpoKaT@ Keipéevnv. 36 clue R. > _ 42 Anuyrpav (RK) illustrates a common
error with this word
4 BATPAXOI . 47—64 tis 0 vods; Tt KO0Oopvos Kat pomranov EvynrAGErnp ; Tot yhns amednmets ; Al. éreBatevov Krev- o0éver— HP. xavavyaynoas ; Al. Kal KaTedvoapéev ye vais cal 7 x / > NX sf TOV Todepiov 7 S@dEeK 7 TpELaKaideKa. HP. of; AI. vy Tov ’AmodXo. BA. Kat eyory éEnypoynv. 51 an? * n > Al. «ai Ofr émt Tihs vews avayuyvooKorTi Loe Thy “Avdpopédav mpos ewavtov é&aibyns mo0os Thy Kapdtay ématake TAS ole THodpa. HP. 000s; mocos tis; Al. puxpods HrLKos Monov. 55 pn TKOTTE pb, BEAD? Ov yap ann EXW KAKOS* | fa) C/ / f ToLovTos tpwepos pe Svadvupaiverar. HP. roids tis, wderdiduor ; Al. ovK exw ppdoat. 60 duos ye méevTor coe Ou alviypav épa. yA > » / > / 4 non ToT émeOvpnoas éEaidvys ETvous ; HP. érvouvs; BaBava&, pwupianis y ev To Bio. 59 ? ey / \ / Xx 1 Me 3 Al, ap éxdtddaKw TO capes, TEpPa ppac ; 48 Van Leeuwen rightly omits the stop usually placed after Kreocbéver. —> 50 tpicKaldexa MSS., but see Meisterhans?, p-. 41 51 Some mss. (not RV) give kar’ @ywy xkrr. to
Herakles. —> 63 pupidcs év V, but y’ is more vivacious
ae BATPAXOI 5
HP. px Sita mepi érvovs yet Tavu yap
pavavo. 65 AI. rovovtoal toivuy pe Sapdartes moOos Evperrioov. HP. cat radta tod teOvn- KOTOS ; AI. xovdeis yé pw av reiceev avOpeérav To 1) OUK é\Ociy én eéxeivov. HP. orepov eis “Avdov KaTw ; 69 AI. kai vm A’? et ti y éotw ett KaTwrépo. HP. ti Bovrdpevos ; Al, Soar tronrod dekvod. ol ev yap ovKéT elciv, of O bytes KK Ob. HP. 166°; ovx Today on; Al. TOUTO yap TOL Kal Hovey
ES ia \ \ ét éotl Novtrov ayabor, ei Kal ToDT aipar 5] \ Ld 509 xO) wo N anf? ¢ yy ov yap gap ol0 ovo avTo TovuO omras EVEL. HP. é¢ir ouxl Loponhéa, T pOTEpov ovT EKvpi-
' TLOOU, 76 pedrers avaryewy, elmep y éxetOev Sei o yew ; ; AI. od, mpiv y av ‘lodavt’, aro\aBov avTov jLovov,
bla / va) / dvev Lopoxréouvs 6 TL Toe KwdHViCW.
65 The punctuation uh dfra: mepl érvouvs ye mdvu yap is nearly as probable. (Even a later position of ydp is frequent in comedy) 76 eir’ ot Zopoxréa Bentley, etc. —> || mpdrepov avr’ A. Palmer. —> 77 elrep éxetOev RV against the metre (avdgew Halm). ‘y may be a stop- gap, in which case etzep <tip’> may be right. Qu. elrep y’ éxeiOev Se? &” dpa ?
6 | BATPAXOI 80-100
KadArwS 0 pév xy Kvpurldns, tavodpyos Ov, 80 x ca) Pa / / kav Evvatrodpavar Sevp émuyerpnoeré poe: 0 © evKoXOS pev evOd0, evKorOS 8 exer: HP. ‘AydOov Sé wot ’otw; Al. amodurav p aTrolyeTat, ayabos montis Kat todewwds Tots pidoss. HP. ot ys o tAnwov; AT. és paxdpov eva iay. 85
HP. o 6¢ Bevoxréns— Al. e&ororto vy Ala.
HP. Iv0dyyeros 6é ;
SA. Tept éuod & ovdels AOyos ’ f \ a e \ /. €mLTpLBouevouv TOV @mov OUTwWaL ohodpa.
HP. ovKouY érep gor évtadla peipaxvrAdua Tpayodias TovobvTa mrelv 7 pupa, 90 EKvpetridov mreiy 7) otabdio NadioTepa ;
Al. émugudNides TabT éotl Kab cropdd\paTa, YeMLOovov pmovceia, NwBnTal Téxyvns,
\ na an aA / \ /
a& ppovda Gatrov, Hv povoy yopov AaABn. yovemov O€ Tromntny av ovy ebpors ett —96 Cntav av, GoTLs pHua yevvatov NaKoL.
HP. was yovrmov ;
Al. @OL yourpov, daTis POéyEcrar TOLOVTOVL TL TAapaKEKLVOUVEUpEVO),
bd / \ - X / atOépa Aros Swpatiov, i ypovov 7004, 100
81 xal MSS.: corr. Dobree 83 olxerar RV: arolyerau vulg.: & olxerat Dind.: mod <mor’> . . olxerar Cobet: Qu. » 6-0-ofxerat? —> 86 Usually a question-sign is put after mevoxhéns. —> 90 mwuplas Dind., but a corruption was more likely to be the other way
1or—118
HP.
HP. Al. HP. Al.
Al.
HP. AI.
BATPAXOI ”
> , ) bpéva pev ovK €0éXovVGaV Opocat > an Kad LEepar, an > a a / t Ot a yAotTav 6 émlopKncacay wig THs / Ppevos. an / \ A aé b€ Tav’T apéoxer; AI. pardra Treiv x / 7) paivomar. 1038 \ / > / val m pnv KoBara y éotiv, os Kal cot Soxel. fal P fn TOV emov oiKEL vodv Exes yap oLKLaY. a / Kal pay aTeXVaS ye TauTovnpa paiveTas. a al ’ Sevmvety pe Sidacxe. EA. rept euod 8 > \ / ovoels Oos. b 7 o@ / / \ \ 54 ann’ wvirep evexa THVSE THY TKEUnY EXWV HAGov KaTa anv pipnow, iva por Tovs / Eévous 109 \ \ / > / \ Tovs aovs dpacevas, ei Seoiunv, otc od n ‘7p > # eypa TOO, nvix HAOEs emi Tov KépBepor: TouTous dpdcoy por, ALypévas, ApToTe@ALA, ad Topvel, avaTavdas, éKTpoTds, KpiHvas, e he odovs, . / , Ca Se e Tones, dtaitas, TavdoKeuTpias, Strov / | ea | an b Kopels Odiytotor. HA. epi éeuov 8 / ovdels ROyos. 115 9 / / \ +/ @ oKXETALE, TOAMNTELS Yap LEVaL ; Kal ov ye \ \ nan? fa pnoev ett mpos TadT, adrAa hpdle Tav tan 0O@V 4 bd / / oTws Taxyiot adiEouel ets “Avdov Kata:
103 wadd\a WV: pdda R (cf, 745 wadX’ R: pdda V) 111 The punctuation KépSepoy * is better than KépBepor, > 118 érws BR: bry V. >
HP.
HP.
HP. Al.
HP. AI. HP.
HP.
HP.
BATPAXOI i190—-137
Kal pynte Ocpuiny pnt ayav w>Wuypav ppacns. / / ” de | b] (a) / 2 pepe 57, Tiv avTav co. dpdow TPwTNHV ; Tiva ; 120 4 \ \ ” b] \ / >| pia pev yap éotiw amo KadXw Kal Opa- 7 eae / / a“ \ Kpeuacavts, cavtov. Al. rave, triynpav reyes. ? >: b) \ / / arr éoTti atparros EvyTomos TeTpLLpevn, ¢ PS \ / oe / / » Ova Oveias. Al. apa Kaverov RéEeyers ; parwoTa ye. poxpay ye Kab duaxelpepov: 125 evOus yap amomnyvuct TEV TURD I [bd BovrAe Taxeiav Kal KaTavTn cor dpacw; \ \ Av? ¢€ 4 \ 5 n vn tov At, ws ovtos ye pn PBadsotiKod. J / b] / 5 gkabéptrucov vuy és Kepapecxov. Al. etra Th ; avaBas émt tov muipyov tov wtyndov. AI. ti dpe ; 130 adiepéevnv tiv Naprad évTedOev Oecd: KaTELT ETreLloav haatw ot Oewpevot civat, TOO eivat Kal ov cavTov. mot; HP. karo. GX’ atrorécayw av éyxepdrov Opiw Ssvo. > XN / \ €Q\ VA ovk av PBadicayus THY Oodovy TaUvTHDY. HP. ri dat; 135 yvTep ov ToTe KaTHrOes. aXN’ 0 TAOVS TONS. evOvs yap emt Aipvny peyadrnv HEevs mavu 124 Ovias (R) is a wrong spelling
138—160
HP.
Al.
HP.
Al.
HP.
Al.
HP.
BATPAXOI 9
aa na / aBvocov. Al. eita was TepatwOnoopar; év ovaplm Tuvvo’T@L o avnp Yépov vaorns did&er S0° OBorw picOov AaBov. ded. os péeya Stvacbov Tavtayod Tw dv. oBore. 141 n b] / > rn TOS HAGETHV KAKELCE ; 3 Oncevs Hyayev. \ Ps DOE \ Pp / peta taut ders Kat Onpi drew. wupia / dewvoTata. / > + \ / pn mw exmAnTTe pnde Setuatov' / ov yap m arroTpérers. eita BopBopov moAvy 145 Kal cKop daeivovs év S€ TOUT KELpEVOUS et tou Eévoy Tis HOlLKNOE TWTOTE, Xx {9 b) / xX \ / 7) wntép nronoev, 7) TaTpos yvabov b] / re 4 / e/ 7 émaTtakev, 7) TiopKov OpKov wmocev, 150 X / Cn > / 7) Mopoipouv tis phow e&eypaato. vm Tous Oeovs éypiv ye 7 pos TOUTOLOL Kel THY Tuppiyny TEs ewale THY Kuvqatov. évtev0ev avrX@V Tis cE mepievow TVON, Ores Te HAS KdANCTOV, WaoTrEp EVOdOe, 155 Kal puppwavas, Kal Oidcovs evdaipovas la} n / a avop@v yuvaLKov, Kal KpOTOY xELpav TONUD. outro. dé 6 Tives eiciv; HP. ot pepun- / pévot, . 158 \ \ /) EM” an v BA / vn tov At éy@ your évos ayw puoTnpia. atap ov KabéEw tadta Tov TAciw Ypovor.
149 jrolnoev MSS. (the epic form): 7Adqoev Suid. 151 }) ei Mopotuouv Meineke. —> 159 dyw RV: dywv al. >
10
HP.
NE. Al. Al. NE.
BATPAXOI . 161—176
vf / t Rene 3 / al & BY dé ot cot ppacove amakdravl wv av en. ® / > \ \ eQ\ OUTOL-yap éyyU’TaTa Tap avTiy THY OdoV a a / A / éml tator Tov IINovtwvos oixodaw Ovupais.
Kat Vai pe TOAN, WOEAPE.
vn Alia kal ov ye by taive ov O€ TA OTpOpaT avlis AdapBave. py Kab catabec ban ; ; AL. nal raxéos pévTOL Tavv. 166 ra 670, ixetevw o, GAA piobooai TWa Tov éxbepopévor, darts éml TodT Epyerat. dav S& un etpw; BA. toTe pw aye. Kadw@s érvyets* Kal yap Tiwes pépovat TovTovi vexpov. oUTOS, T& Aéyw pévTOL, oe TOV TEOVHKOTA* avOpwre, PBovrde ocKevdpr eis “Ardov pépew ; 172
NEKPOS
a) 4 / moo attra; Al. ravti. dvo dpaypwas putcOov tenes ;
pa AC, AWN érartov. NE. brrdye® tpeis
THS OO0d. 5) / iy , > +\ (al / avapeivov, @ Satmove, €av EvpBO Ti cot. et pn KaTabncers Ovo Spayuds, pn S1a- Aéyou. 176
169 ui) eUpw or undpw (RV) Mss. : wy éxw var. lect. ap. schol. For the synecphonesis see Introd. p. xlii. || 767’ &’ Bergk. 170 rwes éxpépovor (a gloss) al., whence tw’ éxpépovor Elmsley. —> 175 iva EvpBO R: éay al.: wa dv V. The errors arose from
Oalmovieav
e
177—189 BATPAXOI 11
Al. r»aB’ ewe GBorod’s. NE. avaBioiny vv Tan.
EA. > ceuvds 0 KaTdpatos: ovK oipw€erat ;
éya Badvodpar.
Al. xpnoTos ei Kal yevvddas. —xwpapev, él TO Trotov. XAPON
\ @o7, mapaBadod. 180 EA. rovtt tl got; Al. TovTO ; rAipvn vy Ala ef ? \ A BY \ al 9S eno avTn oTw nv eppate, Kat TAOLOY y Opa. EA. v-rov Tloceda, cdott y 0 Xdpwv ovtoat. an? 5 / n 3 / nm? Al. yaip @ Xdpwv, yaip Xdpov, xaip ® Xdpov. 184 , > d- / > nm pee. / " XA. Tis eis avaTravXas €x KAKOV Kal TpaypLaTor; “4 > % / / XN > ” / tis es TO AnOns Trediov, 7} eis OvoU TrOKas, xX > / x > / xX 9 \ 7 s KepBepious, $s Kopakas, 4 ‘Ti Taivapov ; Al. éyo. XA. tayéws euBauve. he “rod axynoew Soxeis ;
¢
O fe @
%
jean és Kopakas OvTas ; n / XA, vat pa Ala, cod y elvexa.
177 dvaBinv (or -Biudnv) Mss.: corr. Cobet, ete. (With dvaf.o-in-v cf. Ge-in-v) ‘ 181 AI. rovri ri ort; ZA. Totro ; hiuvyn. AI. vy Ala x«.7.X. Van Leeuwen 186 7 ’s “Ovou | mokas RV: 7 eis al. The latter is correct before vowels. “Oxvov m)oxds (Bergk) is no improvement 188 ro RV: ot al. —>
189 elvexa R: &vexa V: otvexaal. Prose inscriptions show only évexa. For statistics as between otvexa and elvexa see Meisterhans?, p. 177. These are more in favour of otvexa, but probably both forms were in use
12 er BATPAXOI 190-204
éxBawe oy. Al. rai, devdpo. XA. SovAoY ovK ayo, 190 el py vevaumaynKe THY TEPL TOV KpEwD. EA. pa tov At’, od yap adr érvyov 6pOar- MLOV. XA. ovKovy trepiOpéEes Sta THY Nipwyy KUKA® ; BA. cod fr dvapeve ;
XA. mapa tov Avaivouv diOor, aay cal > / / él tais avaravias. Al. pavOavers ; EA. mavu pavOava. 195
7 / aA ae > , oifot KaKodaipwv, TH Evvétrvyov eEidyv ; XA. xaQil ért Kornv. et Tis érriTnrel,
/ OTTEVOETO). OUTOS, TL TrOLELS ; rn b ] / > XS Al. 6 7 Tow; TiO ad\AOY
~ 2 z « Dem Bs / / : ifm Tl KWITNV, OUTED EKENEVES ME OU; XA. ovKxovy Kabedet Shr évOadi, ydortpar ;
Al. iédov. 200 XA. ovKovy mpoBarei Tw yeElpe KaKTEvels ; AI. (dou.
XA. ov py phrvapynces ~xov, AX avTiBas > n vi éXas mpolvpas.
Al. KaTa ToS SuVHToLAL, / > / > ? atreipos aBahatTwTos acadapivios
190 éoBoave RV: éuBave al. The variation from v. 188 may very well be deliberate 191 vexpav al. —> 193 Kuk VR: rpéxwv al. Qu. tpdx@ (cf. curriculo currere) ? 194 avaivov Mss. The Attic is ab- 197 érc wie? Reiske and most editt. without need. —> 199 otrep RV: oizrep al. ef. 188 || éxéXevoas al. —> 201 Accidentally omitted in R from obvious cause 204 a@addrrevros Kock, but ef. éperudoat xépas (Kur. Med. 4)
205-223 BATPAXOI 13
A 3.3 / MV, eT éAaUVELD ;
XA. pador* aKkovoer yap médXn 205 KaAMoT, érevdav éuBaryns arak. Al. Tivev ;
XA. Batpayov kikvev Oavpactd, Al. Kata- KéNeve 02. XA. ‘@oT O17, woT OT.
BATPAXOI
BpexexeneE xoak xoa€,
BpexexexeE xoak xod€. 210
Aimvaia KpHnVOV TéKVA, |
Evvavrov tyvov Boav
POeyE@pucl’, edynpvy euav aodar,
Koaé Koaé, |
A > \ N / a
Hv audi. Nvoniov 21
Avos At@vucoy év
Nipvarow tiaynoaper,
mvix, O KpacTraroK@pos
TOLS bepotar Xvrpwgy, y
CLAY A ©
NOpEel KAT EMLOV TEM“evos AAV by Ros.
BpexexexcE oak xoa€. 220 AI. éyo Sé xy adyeiv dpyopat
Tov Oppov, @ Koak Kodak:
Ae > + >Q\ UA
bpiv & tows ovdéev péreu.
207 Barpaxoxixvwy Bothe. —> 215 jv mss. The lyric (so-called ‘ Doric’) forms are very inconsistently used in the mss. (thus Body, doddv, popuxtas, auépatow, but Hv, Kpnvar, edynpur, jvix’, edmrios). In comedy it may have been enough
to give some salient words this lyric colour 216 Acdvucov Mss.: corr. Hermann (for metre) |
14
BA. Al.
BA.
Al.
Al.
BA.
BATPAXOI 225-253
BpexexexeE xoak xod€. : 225 arn é£oroc8 aitad Kodak. ovdev yap éoT adr % Kodé€. eat A > 9S \ / ELKOTMS Y, ® TOANA TpPAaT- b] \ \ ” BA / re Tov’ eu“e yap éotepEav evrvpoi te Movoar kal KepoBaras Ilav o Karapopboyya f TraLOV 230 mpogemvTepTer ant o 0 PoppiKTas "Amor, &vexa Sovakos, dp UToNvpLOV | évudpov év Ripvats TPépo.
BpexexexeE xoak xoa€. 235 pi 8 \ / ; 9) Ae
éyo S€ pdruKtaivas y exo:
GAN, @ hird@odov yévos, 239 mavoaa Ge.
MaGANOV pev ovY bOeyEOmecO, et 8H ToT ev- nrLows év apépatow — nraperOa Sua KuTreipov Kal pr<w, YalpovtTes @dHs TOAVKOAUULBHTOLTL [MéNECLD, 245 7 Avos devyovtes buSpov évudpov év Bv0@ yopeiav aiorav épbeyEduccba TouporvyoTrapAdc pact. BpexexexcE xoak Kod€. 250 TovTl Tap vpov ANauPava. ded Tapa TrevcoperOa.
245 modvKod\vuBoior wérXeow RV: corr. Fritzsche: mrodvKodvp- Bow pédreoow Reisig 253 7 dpaV: yap R: vy dpa al.: corr. Elmsley
254-273 BATPAXOI 15.
Al. Seworepa © éywy, édavvov et Svappaynoopas. 255 BA. BpexexexéE xoak xoak. Al. oip@ger’> ov yap pou pérer. BA. adda pnp KexpakoperOa Yy ¢ / j e / Xx ¢ on » papvE omocov ay nuov yavoavy dc’ 7épas. 260 Al. BpexexexéeE Kodak. xod€. TOUT@ yap ov viKnoeTe. BA. ov0€ pnv nuds od TavToas. AI. ovdémote: Kkexpatouar yap, > an ’ P Kav pe On Sv apépas, 265 Ews av vuav émikpaTnow T® Kod€. \ \ / BpexexeneE coat xod€. euedXdov apa travoev oO bas Tov Kod€. XN foal nr ; a A , XA. @ Tate Tave, TapaBadod TO KoTio. &xBaw’, arodos tov vadrov. AI. eye 87 TwOBOAD. | | 270 0 Bavlias. cov BavOias; Zavbias. EA. iad. Al. Badile Seipo. EA. yaip’, @ déo7r0Ta. Al ti ott =tavtavOoi; HA. oKotos Kal
BopRopos. n/* pou
258 omdcov 7 pdpuyé (or Pdpvé) av Mss., an impossible order, —>: corr. Bachmann: ¢dpvé (R) appears to be correct, pdpuyé being due to Adpvyé ; cf. Herodian i. 45. 4 and the oblique case pdpvyos 266 kdv we Of V (67 RB): déy or det cett. > 267 ro RV: r@al. The line is iambic trimeter 270 dodovs Halbertsma, but the curt imperat. is more characteristic || 7d vadrov al. Callistratus (in schol.) vouches for the masc. as the older 273 tavravdi Dind. The text has the pregnant sense ‘in that direction’ |
16 | BATPAXOI 274—290
nA \ /
AL. KQTELOES OUV Tov TOUS TATpanoias avTob. \ / a /- n
Kal TOUS €7LOpKoUS, ods Edeyev Hiv ;
EA. ov 6 ov; 275 ; Aas fal Al. vy tov Iocedd yorye, Kal vuvi y ope. dye On, TL Spoper ; BA. mpoievar BéATicTA VOD, f ® @s oUTOS Oo TOTTOS éoTlv ob Ta Onpia \ ' px) + bd 3 an Ta dey Epack éxetvos— Al. Ms olpoferar.
mratoveved’, iva pon Geinv eyo, 280 ElO@sS Le pee pov ovTa piroripovpevos. ovdév yap ovTw@ yadpov éo0 ws “Hpa- KS. éry@ O€ sf evEaiuny av evTuxely TLL, Na Beiy 7” ayonope “akiby TL THS) OOOD. BA. vy tov Ala: Kal pnv aicOdvopa ~Wodov TLVOS. 285 AI. ov; mod ’oTw; BA. é€omicbev, Al. éforicO iO. BA. adr éot &v TO tpdcbe. AI. rpdcbe vuv t0c. EBA. kal piv op® vy tov Aia Onpiov péya. Al. ‘otov tT; BA. Sewvov' TavTodaTov your fliweras: TOTE [ev 76 Bods, vurt 8 bpevs, tore & av yuv”n 290 279 elvar Ta Sel’ Epackey Hamaker, ete., but the sense is never completed (Ed. ) 285 vy Tov Ala xal x.7.’. MSS. and editt. Punctuation Ed. 286 éfdmioGe viv it vulg.: é&dricber ad
10. Vi: é&dmricbey te R: é&bric0’ te Dobree. Qu. dmicbev ody ix 2 290 rére.. Tore RV: wore. . woré al. (Both are Attic)
, i , Eames £x }> >
OF THE
(UNIVER =i
291-3 CALIFORNIA ATPAXOI 17 aparorarn tus. Al. wot ’ots; hép er avray io. EA. aA ovKeT av yur) ‘oT, aXn’ 481 KUOD. Al. “Eyutrovea toivuv éoti. BA. | Tupt yoov Nauretar
émav to mpocwrov. Al. kat oKédos
Xarcodv EXEL ; | 294
BA. vn tov ITocedd, Kab Boditwov Parepov,
wt aap’ t ict. Al. aot S47 dv TPaTOLpmY ;
BA. ” got 8: éyo ;
Al. feped, StadvrAakov i iv @® cou Evptrotns. -BA. artrodotvpel’", ovat ‘Hpaehets.
Al. : ov pn Kanrets fs
avopod, iKeTevey, ponoe Karepels TOUVOpA.
EIA. Atovuce toivuy. Al. todTo y &@ Arrov
Oarépov. 300 EA. i0 aarep épye. Sedpo Sedp’, @ SéomoTa, Al. Ti. 8. eate EA. Odpper: mavt ayaba mempayaper, teatl O damep ‘Hyéroyos typiv réyew: é€k kKupadtav yap avdsis ado yarhp Ope. humovoa ppoven. Al. xatopooov. BA. vn tov Aia. 305 Al. xavOis xatopocov. EA. vm Av. Al. duocov. KA. vm Ala,
Al. oipor tddras, ws wypiac adtiy ido:
300 robré y (without 20’) RV: Tobré y &o0 al.: rotré vy’ &6° D: rotr’ &@’ Fritzsche, etc., but y’ seems essential. There is no trustworthy rule of division of anapaest after the first short
syll. (Starkie, Vesp. Introd. pp. x1 sq.) CG
18 BATPAXOI 308—325 EBA. 00) d€ deioas trreperuppiacé cov. AI. olor, wo0ev por Ta Kaka TavTl mpocé- TEE ; | ‘ mee} > / an > ? / Tiv atTidcopar Oe@v fw amroAAvVVaL; 310 >] / x / x 7 al@épa Atos Swpatiov, xXpovov jTwooa; EA. ovtos. Al. ti éotw; BA. ov Karnxov- cas; Al. tivos; EA. avrov mvojs. | oY ee OU / Al. — éywye, kat dadov yé pu avpa Tis eloéTVEVTE [MUTTLKMTATN. aXnN Hpeut wrnfavtes axpoacwpeba. 315 — XOPO® MTZTON “laxy’, ® “laxye. ‘laky ; @ “laxye. BA. ovr éor éxeiy, @ Seomr00’: of pemun- [LEVOL | évtav0a tov raifovow, ods eppave ver. doovet yoov Tov taxyov Ovmep Ou’ ayopas. b) \ fa ¢ / rae ” AJ. «apo Soxovow. novyiav ToLvuy ayew 321 Bérrictov éotiv, as av eiddpev capes. XO. “laxy’, @ modvtTipots &v Edpars évOdde VaLwv, Fe ‘ “lary A) ‘lake, 325 308 cov R: pov al. (originally assigning the verse to AI.) 310 airedowuar Dind. —> 320 taxxov rather than “Iaxyov should be written. —> 6 dyopaés V, Apollodorus Tarsensis, Hesych.: Acaydpas R al. —> 323 moduTimjrors ev Edpacs
RV: év om, al.: corr. Hermann
326—351
BATPAXOI 19
EXGE TOvd ava elpwova yopevowr,
oatiovs és OacwTas,
ToNUKapTOY Mev TLVATOWY
jTept Kpatl o@ Bpvovta vet 329
orépavor. HUpTOY, sate S cpr apaiay
Tool Tay GKONATTOD )
rrorratrypova Type | ,
yapitov TrEloTov ~xoucay pépos, ayvar, lepav “935
oo lous pvotats yopelav. |
@ TOTVLa TonuTipmre Anpntpos Opn,
Os 760 pot MpocémvEevce Yotpeiwy KPEOV.
ovKovy atpéu e€es, hv Te Kal yopdhs AaBys ;
eyeupe provyéas NapTradas év xp yap Jusounia 340
“lary, @ "laxye—
puxtépov TereTIs hwohdpos aorip.
préyeta 5 hroyl remwov:
yovu mdddeTat yepovTwr: . 845
atocelovta, dé AVTaAsS
ypovious T éTaV TadaLav éviavTods
* al Se. one. \ Pe oe lepas UTO TLMas.
av 6 Aaprrads peyyou 350 TpoBadnv tay én Bese scsie ENetov ba- TeOov
340 éyeipe provyéas Aapmddas ev xepol yap Hee Tidoowy RV: hers cett. : twdocowv om. al.; corr. Thiersch. Others omit yap
HKeEL, —>
344 groyl péyyera O¢ KR al.: groyl Preyerac
dé V al.: corr. Hermann 350 gdéywv MSS. ; corr,
Bothe
1
20 - BATPAXOI 352-306
XOpoTroLov, paKcap, Bar. KOP., evpnpely xpn Kakicracbar TOLS NMETEPOLAL
‘Xopotow boris dimespos toavde Oyor, i) youn pn Kabapever, 855
BD / ” nt (fees Wed
i) yervaiov . dpryoa Movody pnt elder BHT éxopevcer,
pndé Kpativov tod tavpoddyou eens Baye éreréocOn,
}) Baporoyoss éreow yaiper py “vy KaLp@ TOUTO TOLOVGLY,
x / b] a \ f >
H oTtacw éyOpavy pn KaTadver, pnd eVKONOS é€oTL ToONTALS,
GXN aveyeipes kab pumiler KEpoay tol@v
eTrLOupor, 360 ) THS ToAEws Yeiwalouevns apYwv KaTa- Swpodoxettar, §
eight. / / XA n X b] / Tpodidwow dpovptoy % vads, 7) TaTrop- > pNT aroTrémmes é& Alyivns Owpuvkiov ov eikoaTodoyos KAKOOaLMOY, | | ipl / \ / \ et / ATKOMATA Kal iva Kab TiTTaY dvaTré“TTOV ets “Eidavpov, Xpiparas Tals TOV aVTUTaXwY vavolY Tapéeyvew Tuya melOet, 365
Se
/ n KATATUNG “TOV ‘Bxatalov KUKALOLOL Yopotcww vTdowr,
355 youn RV: yrounv al. —> 359 moXirys al. For absence of article see —> 361 Karadwpodoxet 7. Blaydes. —> 366 “Exarelwy Blaydes, —> || drddwy V; érddwy R
‘
367-383 BATPAXOI | 21
i) TOUS po0ods TOV ounrisy prjrop ov er dmrotparyet, nf
Kopwonbels “ev Tails matplos TedeTais tats tov Avovicov: :
TOUTOLS mpaved Kavis rupee Kavbes TO TpiTov para Tpwavde =
Ige/ Va aa) e Taal 9 éEictac0at pvotaioct xopois: wtpeis 46
aveyelpere poNt7v 4 878 Kal tavyvyioas Tas meTépas, ai THdE TpéTovol €OpTh. :
XO. yoper vuv tas avdpelws és Tovs evavOeis KOoXTrOUS Aelovov eyKpovov KATO KOT TOV 375 Ka Twailwv Kal yrevatov. nplornTat & eFaprowTas. ON euBa yoros apets THY YoTepayv yevvatws 7H pary pormralov, |
n- THY XOpav | 380 \ ef ;
optew dyo és 143 wpas, |
Kav Supucior pr BovrAnrar. -.. 381
KOP. dye vuv érépav tyvov iStav rip ogee dopov Basinevay, , Anpuntpa Gear, émrukoo podvtes tablou. portals KeNadelre. ie
369 rovros dravd® kabOis dravd® . . udd aravdd R: rovrois avé® V and Aul. Gell. Praef.: corr. Blaydes. — 372 6H viv RV (by a frequent gloss on vuv ; cf. 891, 1378): vor al. 377 aipers R: aipjoecs V (i.e. aipys corrected by -es): corr. Scaliger 380 odoev Cobet. —>
aang en Se BATPAXOI 384-413
XO. Anpntep, ayvdv opyiov dvacoa, CupTapactate, 385 Kal o@fe Tov cavThs xopov: kai pp acharas Tavnpepov matoal Te Kal yopedoat: Kal TOANA pev yérord pm ei- “ety, ToAXa S€ oTrovdaia, Kal 390 THs os éoptns akiws maicavta Kal oxonpayta vW- KnoavTa Taiwovcbas.
KOP. avd ela 394 vov Kal TOV @patov Oeov mapakandeite dedpo 395
@daiot, Tov Evvéwropov thade THs Yopelas. XO. “larye ToNVTLUNTE, féXos EopThs Hotstov evpov, Sevpo cvvakonrovbet mpos tHv Oeov Kat Sei€ov ws 400 dvev Tovov ToAAY OddV TeEpaivers. "laxye piroxyopevtd, cupmpotrepurée pe, ov yap Katecyiow pev él yédorTe Kat evTedela TOV TE GavdaicKoY 405 Kal TO padKos, KaEndpes wor atnpious taivey Te Kal yopeverv. "laxye pidroyopevtd, cvprmrpotemré pe. Kal yap TwapaPréras Te petpaxioKnns vov 5) KaTetooy Kal par evmpoowmov: "laxye pidoyopevTd, cupmrpoTewmée pe. 413 397 uépos Kock: ré\os Meineke. —> 404 xaracyiow pev
R with é&edpes in 406; whence kxaracxicdmevos . . e&nipes Kock. —>
BATPAXOI | 23
414-449 Pan aN ~~) Su37 / ? / 5] . Al. éym & det twas PidakonrovOos eps Kai Tailov yopeve Bovropa. FHA. Kdywrye Tpos. KO. Bovrccbe Sita Kow? Oe: "416. oKanfreopey “Apxéonpov, Os emrerys QV OUK épuce ‘pparepas, pur 88 Snuaywrye? év Tois avo vex poict, Rh sa KaoTly Ta Tpara THS €KEL poxOnpias ; ; AI. éyour’ av oty dpacat vO@v TlXovtav baov *vOdS oiKel ; Eva yap éopev aptiws aduypévo. KO. yndév paxpay aédOns, ’ 5 > / pnd avlis erravepy He; 435 ar ich em avrny Thv Ovpav aduypévos. Al. aipow av abt, G) Tal. EA. toutl ti hv TO mpdypya , Bh \ / 5) n / : arr 7 Avos Kopw6os év tots otp@pacw ; KO. yopeire 440 vov tepov ava KvKrov eds, avBopopor av aNoos maifovres ols petovoia Deopiroos cop Tass éya O€ avy Taicw Kopats ecips, Kal yuvarély 444 & / ; A / e \ yy ov Tavyvyifovow Gea heyyos tepov olcwr. XO. yapapuev és modvppodovs ing) pas epavas avbepwders, | . 414 mss. add wer’ airjs at end of the line. are 415 matvew Naber 418 pdropas MSS. —> 432 IIovrwv RV: ID\ovrwr’ al. 444 sq. Some editors give these lines
to AI., others to KOP. 445 deal V al.
24 BATPAXOI 450—466
\ ¢ / / ‘
TOV 1/{4ETEPOV TpoOTrOV — 450 TOV KANLYOPWTATOD |
/ A /
matCovtes, Ov ONGBtaL poipas Evyayovow. - “povois yap nuiv HrLOs
Kal péyyos tNapov Earp, 455 door pepunwed ev-
ceBH Te Sunyowev
Tpotrov ep tovs Eévous
Kal ToUs toLwras.
AIONT>O3. HANOIAS. XOPO®
AJ. dye 67 Tiva TpOoTrov Thy Ovpay Koro ; Tiva ; 460 hee. 4 f i$ ,
Tos €vOadd apa KOTTOVOW ovTLY@pLOL ; .
EA. ov pr Svatpinvers, Ada yevou Ths Ovpas, ] id / \ an \ \ n 3
ka@ “Hpakdéa tO oxjpa Kat TO hp
Eyov.
Al. wait tat.
~~
~ATAKOS.
TiS OUTOS ; Al. Hpaxdijs O Kaprepos. 464 AIA. @ BBEAvpE avate guar’ Kal Tohpmpe ov, Kal puape Kal Tappiape Kal plapwrTare,
453 “Qpa Meineke. —> 455 iepdivy RV (the best mss. thus showing an inferior reading): idapdéy éorw vulg., but éorw seems required 462 yedoar V: yevon: R (the true form ; ef. sup. 3 crit. note)
467—486
BATPAXOI 25
os Tov KUY nuav éeXdcas TOV KépBepov > n& BA 2 | PS \ v7 AaB / amntas ayyov KaTrodpas @xou OV, A b] \ ] / >] ie: an xy ‘ / ov éy@ hvdaTTov. adda VOY Evel METOS* Toia Xtvyds ce peravoxrdpo.os wi " ; TET Pa : 470 3 / £ , e AxyepovTeos TE CKOTENOS AlmaTo- oTAaYyNS ppovpovar, Ka@xutod te wepidpopmot KUVES, : "Eyidvad @ Eéxatoyxéparos, 1) Ta omNayYVa cov ; / / ’ > / StacTapa€kes, TrevuLOvav T avOa- areTat Taptncia pvpatva: To vedpw Sé cov AUTOLTLY €VTEPOLTLY HLAT@MEeVw 476 Staomdacovrat Topyoves TesOpaorat, b] 25a > \ a e / / ed as éym Spopatiov oppynce Toda. ovTos, TL Sédpakas ; oOvK avacTHaEL TAXU; / , ws val > / mpl Twa o (dety adXOTPLOY ; 3 GXN @pakid. 481 GNX’ oice Pos THY Kapdiay wou ohoyyiar. idov rae. _Tpoabod. Tov eras BA. ® ypuool Deol, évradd eyes tiv Kapodiay ; Seicaca yap > \ / / / eis THY KaT@ pov KoltNiav KaleiprvuceD. @ deirAoTaTte Oedy od KavOporror. 486
474 mevpdvwv (RV) is the older form (cf. .pulmo, Skt. kléman) : mvevpdvwv vulg. 477 TiOpdova MSS. : TecOpdorac inscriptions 483 The ss. wrongly give mpocdod to AI. —>
26
Al.
EVA.
Al.
Al.
lil >
Al.
BATPAXOI 486—504
ery ; an / 4 \ v / TOS OetrOS, boTLS ThHhOYyyLaY TNOA GE; te ‘a ee a \ fT oF / éyo © avéotny Kal. TpocéT arreWnodmny. b) as > 9 / avopeta y, @ Ilocesdov. , oiwar vy Aia. 491 \ > \ / a av 8 ovx éecas Tov Wwohov TeV p7y- / PaTOV ompl b bd Kal tas ameidds; BA. od pa Ai’ ovd / eppovTica. 10. vuv, érrevd7) AnwaTtias Kavopelos Ef Hn Anparias Kévdpetos éi, \ \ a Pb] \ \ id ov pey yevod “y® TO poTradoy TovTi \ AaBov 495 \ \ an / Kat THY deovTiV, eitrep aboBootAayyvos E€ e : ioeae / / b) fal / éyo 6 Ecopat cor cKEevopopos ev T@ pépet. VA \ / af 3% > \ b \ dépe On Tayéws avT* ov yap adda TeloTéov* \ / Kat Brépov ets Tov “HpaxrevoEavGiar, > \ 4 \ \ \ \ nn? ei Oetdos éoouat Kal KaTa cé TO Hp 4 EY OV. B _.. $006 \ / , an f pa Av’ adr ardnOads ove Meritns pa- / oTuyias. / > \ \ / > x di pépe vuy éy@ TA OTP@paT aipwpat Tadt.
ev
®EPAITAINA
@ pirtal” hres “Hpaxnreus ; dedp’ e’orOe. ¢ \ / b) e b) / 7 oe % bia WA n yap Ocos o ws érv0eO ‘HKovt, ev0éws
494 Anuarias is a var. lect. (V and schol.). > © 499 és Dind., but the uniformity of treatment before consonants is not so certain as before vowels (Meisterhans?, pp. 174 sq.)
504-523 BATPAXOI 27
/ @ n 4 ETETTEV APTOUS, WE KATEPELKTOY YUTPAS by 4% xX A n > / >] Ervous Ov % Tpeis, Bovv amnvOpakt OXOV, 506 rn v J >] TNAKOVYTAS WTTTA, KOANdGBovs—arn Sees me > an EA. xKdANoT, érayo. \ > / / > \ OE. pa Tov AmroA\Xw ov pn o eyo / > / > b] / \ / meptorouamreN Govt , €mrel ToL Kal Kpéa > / > / \ / avéBpattev opviPera, Kal Tpaynwata 510 4 s / / Eppuye, K@VvoY aveKepavyy yAVKUTATOV. b , — ‘ n GXrX clot? au éuot. KA. travy Kkaros.
OE. Anpets Exov ov yap o adyjow. Kal yap avdrnTPpis yé oot
Hon ‘vdov éo8 wpatoratrn KwpxynoTpioes i aig dv. 1) Tpeils.
BA. TOS Neyets 5 : opynompives ; ; OE. ard’ eiciO, es o pdryerpos On Td veulie Gwenn’ adhaipety yn tpamel eionpero. EA. i0¢ vuv, dpacov siege Tails opyn-
otpiow 519
Tals évdov ovaats avTos Ott elo Epxopiat.
0 mais, axorovbe, Sedpo Ta cKkevn pépar.
Al. emiaxes OUTOS. ov Ti Tov orrovdiy Tet, oTin oe trailwv ‘Hpaxréa *verxevaca ;
505 Kxarepixtav RV: xarepecxrdy al. . 507 detp’ eloihi R (from 503). It seems best to punctuate and mark aposiopesis as in text (Ed.). 509 mrepi6Wouwae dredOdv7’ R (rrepidou’ V): corr. Porson: mepusfoua éravodvrT’ A.Palmer . 513 avdyrpls te V 520 orc R: or’ V: ws al. (to avoid hiatus. See Introd. p. xlii) 522 moe? V: moets R, al. The latter is quite possible. —> - §23 “Hpaxdéa VY éoxevaca vulg. (with
the ordinary stop- gable hpakdre éoxevaca R: corr. Elmsley. >
20 |
EIA.
BATPAXOI 524—541
> \ ae ES hme ov un prvapyces eyov, @ Bardia, BJ > > / ‘ By / \ / QaXX apapevos oioels TAN TA OTPMMAaTA’ / ] / 4 >] ti & éotw; ov 5n Tov p adheréobar dvavoet 526 A 3 Ron GOWKAS AUTOS ; > a ov Tay’, AXN On ToL. / \ / KkataBov TO Séppa. aed / TAUT éy@ papTvpomaL \ a n Kal Tots Oeotow émiTpéTro.
Al. motos Oeors ; \ \ ol / > > » an \ TO O€ TpocdoKhaai o ovK avonToYv Kal KEVOV 5380 as SodAos Oy Kal Ovntos "AXKunvns ever; SA : De A an Tad =e By] / f EA. apedel, KAXWS* EX AUT. lows yap TOL TOTE éwod Senbeins av, ef Beds Oédot. XO. tadta pev mpds avdpos éote 534 voov éyovtos Kal ppévas Kat TONAA TTEpLTETAEUKOTOS, 585 / ¢ \ DUG METAKVALVOELY AUTOV aeét mMpos Tov ev TpaTTovTAa Tolyov PaAXOV 1) Yyeypaypméevny Meat ee Dale. 4 MA I 9. elxov éotavat, AaBovl’ év a \ \ / oyna: TO bé petactpéper Bar mTpos TO parOakwTepov SeEvod mpos avdpos éott 540 \ / / Kat pvoet Onpapevors. & 526 ov rl mov V 531 ddKxunvys (i.e. 6 “AXx.) Lenting, etc. —> 536 weraxvAlivoew R: weraxvdwvdew V. —>
549-563 BATPAXOI 29
ITANAOKETTPIA
IIkabdvn, UWrabavn, Setp’ 0, 0 rav- ovpyos ovTodi, |
Os els TO TavdoKelovy elaeXO@v ToTE .550
e , 5 ¥ / > € ral
éxxaidek aptous KaTépay. nuav.
ITAA@ANH vn Lia,
b) an ory N an ‘oe \ To /
éxeivos autos OnTa. BA. Kakov HKet TL. TIAN, wal xpéa ye mpos Tovtowcw avdBpacr
ELKOO LW
av npwoBormaia. EA. deceu tis diKnp.
TIAN. «cal ta ocKopoda Ta TodXda.
Al, Anpels, @ yUval, 555 J § > e / KovK olo@ O TL EyeLs. ILAA. ov pev ovv pe TpocEdoKas,
¢ \ / 5 A a / * oTtn KoOopvous etyes, av yvoval o €TL’ TIAN. ti dai; TO TOAD Tdpiyos ovK EeipnKa To. TIAA, pa Av’, od6€ tov tupov ye TOV yAwpor, TaNay, 559 a a oe eur n / / Ov OUTOS avTOis Tols TaXdpos KaTHO OLED. 7 ’ > \ b / bd] / TIAN. xamecr’ émrevdn Ttapyvpiov émpattouny,. bf BA ey / > na / éBrevreyv els pe Sptuv, KapuKaTo ye. EA. tovtov mavu Ttobpyov, ovTos 6 TpoTros
L
551 For Il\addvy (RB al.) some Mss. prefix érépa mavdoxevrpia.
TAaVTAYOD.
— 554 dvnuiwBoriata al. —> || rdv0’ hu.. Van Leeuwen. (The true spelling appears to be -Bed-) BBT dvayvavat
MSS. : corr. Elmsley. — 560 R. has lost Tots after avrots
30 | BATPAXOI 564—581
TIAA. cat ro Eidos y éomato, paiverOar Coney. BA. vy Ala, rarawva. ITAA. vo o€ Setcdoa yé Tov 565 él tTHy KaTndud evOds averrndjoapev’ 08 @yeT é&dEas ye Tas Widbovs AaBov. EA. «alt tovto tovTov Tovpyov. adn éyphv Te pap. TIAN. 0: 6% KaddXecov Tov mpootatny Kréwva pLor— Al. ot 8 wouy’, édvrrep éritiyns, TrrépBorov— TIAN. & avrov émitpivroper. @ papa papvé, 571 ¢ eQ/ YA / \ / @s noéws av cov ALO@ Tos youdious KOTTTOLML GV, ols pov KaTéharyes TA opTia. Al. éyw &€ y és TO Badpabpov éuBarouw ce. TIAN. éya dé Tov Adpuyy av ExTéwotps GoD 575 Spéravov aBovao’, @ Tas YoOrKas KaTé- oTACAs. arn ei’ ert Tov Krav’, 05 avTov THmeEpov €EKTNVLELTAL TAUTA TPoTKANOUMEVOS. Al. Kdxicr aroXoipnv, RavOlav ei pr diro. EA. 010 oda Tov vodv: made Trade TOD NOYov. 580 ovK av yevotunv Hpakdijs av. 565 The speaker of vi Ala, rd\ava differs in MSS. || deodoa RV: deicaca al.: va dé 6H deicavré ov Meineke. —> 570 Mss. give this speech to ravdoxedrpia B’: corr. Ed. > 571 pdpvyé al. Cf. 259 crit. note 574 éyw 5 av Elmsley needlessly. —> The line is usually given to ILANA or ITAAO with €uBdroul oe: corr. Ed. —> 575 éxréuouul cov MSS. : Accentuation Ed. 576 rovs kd\uxas RV: ras al. There is no K6\é; the corruption arose from the substitution of Kéd-
Nikas for xéAckas and adaptation of the article. Corr. Schaefer 581 ai Hirschig for the second dy, wrongly, —>
581—596 BATPAXOI 31
Al. pnodapos, 9 Lael ® Fav0tsvov. an 3 > / EIA. kal Twas dv AdXKkpynvns éyo e\ / a) e/ \ x 4 vios yevoimnv, SovrOS apa Kai OvnTos OV; Jem a / \ a AI. ofS 085 OTe Ovupot, Kat Stxaiws adto Spas: xX BA / b] xX > / / KAV El LE TUTTTOLS, OUK AV AVTELTTOLLLL TOL. 585 n a » By GXN jv ce TOU RovTrod ToT adéX@pat / “povov, / eee ¢ / \ 7 mpoppifos avTos, yu, Ta TraLoia, f > ae. / b) / oe / KAKLOT GTrONOLmNY, KapYXEdNnMWOS 0 yawn. FA. déyouar Tov Gpxov, Kat) TovToLs AawBave — ® 5 .
XOPOS vov ody épyov got, érret6y) 590
Thv oTOAnVY ElANhas, tvirEep
eiyes, €€ apxyhs manu,
> /
avaveafew <.. >
kal Brétrewv adOis TO Sewor,
Tov Geod pewynuévov
Otep eixalers oceavTor.
? \ an c t
et O€ Tapadnp@v adowcet
KakBarets te padOaxor, 595
5 54 / b) > /
avéis aipecPai a avayKn
‘oTa TahW Ta oTPOmaTa.
582 Meineke ejects & (i.e. RavOtdiov). —> || adxujvns Meineke ;
ef. 531 crit. note 591 The comma should not be placed after €& dpyjjs. —> 592 dvavedgvew RV: dvavedgew
cavrov del al. (a feeble completion of the metre). dv. <mpds TO goBapév> Meineke from schol. More probably another infin. in
-agew has been lost. —> 595 KaxkBddys V: cal Barns R: kal Badeis al.: corr. Hermann 596 ora Dawes. “orl V;
om. BR: Tis al,
o2 | BATPAXOI 597-611
KA. Ov KAKOS, @VOPES, TapawelrT , > \ > \ / “> ANNA KAVTOS TUYYaVW TAVT apts TvvvoOvpEVos.
OTL péev odv, VY YpNOTOV H TH, TavT apatpetoOar maddy TeEl- 600 / / > 5 Om NS e/ paceTat fe ev 010 OTL. aAr ouws eyo trapéEw ’ a na pavTov avopetoy TO Awa 3
kal Brérovt optyavor. dely 6 Eoixev, @S aKkovm
n / \ \ / Ths Ovpas Kal 6 odor.
AIAKOS. AIONTSOS. BANOIAD
AIA. Euvdcire tayéws Tovtovt Tov KUVOKAOTrOY, 605 oa n , ey ee iva 6@ dixnv: avutetov. Al. Hee To
KAKOV.
BA 5) > / \ /,
EA. ovx és Kopakas pn) TpootTov.
AIA. Elev, Kal axel; 0 Auttras yo YKeBrAvas yo Lapdoxas yopete Seupl Kal payerbe TovT@l. oR eee \ na / iy eit ovyl Sewa TavTa, TUTTEW ToVTOVi 610 KrérrrovtTa mpos TadrOTpLa; AI... warn
vTeppua. 600 «@ 0/5’ éyw Velsen. —> 606 dvverov MSS., incorrectly for Attic 607 ovx és Képaxas; ph mpdcvrov MSS. : evK és
Képakas ; o0 uy mpdotrov ; Elmsley (subsequently omitting kal). The only change required is in the punctuation (Ed.). — || _ paxer (udxn) MSS.: payed Dind. + 608 Xrapidkas V (cf. Thue. 2. 101) 610 sqq. The usual distribution is AI. elr’ ovxt.. TadddAdTpia; ATA. warrN’ dreppvd. AL, oxérALa, K.T,A, ; corr, Ed, —> 3 |
612—632
Al. BA.
BATPAXOI | 33
/ \ 5 \ , oxéTM\ia pev ovv Kal Sed. \ \ \ , Kat pnv vn Lia, / >) 5 an 3 / et Ta@ToT nAOov devp, EOéA\w TEOvnKEeVat, x 9 n n 4 / \ / ) Kea Tov cov abvoy TL Kal TPLYXOS. / an a / Kal oOb TONTW TPayLa yEevyvaltoyv Travu* 615 / \ \ a \ / Bacdavife yap Tov taida Tovtovi NaBor, bY / Jemmn 4 5) fa) b) OE / Kav TwoTé pw E€AnS AOLKODYT, aTrOKTELVOY > » jb ayov.
AIA. cal 1as Bacavico;
BA. .
Al.
Al.
Dind.
/ 5 / TAVTA TPOTTOV, EV KALMAKL dyoas, Kpe“doas, voTpixyids pactiyor, \/ : dépar, 619 n 4 $59 \ en A > / aoTpeBrov, Ett 0 és Tas plvas d€0s éyyxéwr, / \ mrivOous émitiOeis, TWavTa TaAXNA, TAHV Tpdow \ / ‘a \ / / pn) TUTTE TOUTOY wNde YyNTEiM VEw. we / 4 / / dixavos 0 NOyos' Kav TL TNPOTwW YE TOL A / / /
Tov Talda TUTTMV, TAapYUpLOV TOL KEioETAL. \ a >» »+ > ec \ / > 5) pn Onr euowy. ovTw dé Bacal atra-
yayov. ; : 625 rn f + ee \ / avTov pev ovv, va col KaT OPParpovs Ey.
\ \ / / f n KaTabov ov Ta oKEVN TAYEWS, YOTTWS EpEls F nA \ an 5 évravla pnbdev r>reddos. St aryopev@ Tut > \ \ / > / 7 , b>] be / éue pn Bacavilew abdvatov dvT* Ee dé wn, ‘\ \ fal / \ / avtos ceavtov aitia. AIA. réyets de Ti; / / aGdvatos eivai dynut Atovucos Axos, 631 lal al n 9 / tovtov 66 dovAdov. AIA. tavr axKovets;
618 Bacavlow V: Bacavifw R al. 626 co. MSS.: col
D
AIA,
EA.
AIA.
BLA. AIA,
AIA. AIA. AIA, AIA.
BA. AIA,
BATPAXOI 632-650
De ea / bie oe \ d va / b / Kal ToA\U ye MaAAOY EOTL PaATTIY@TEOS: / eitrep Oeos yap éotwv, ovK aicOnoerat. , Bese 5 , TL ONT, €mrEldn Kal ov dys eivar Oeos, 635 \ / ov Kal ov TUTTEL TAS ioas TAN YAS epol; / ¢€ / > / xX a y diKaLos 0 horyos yaToTEpoy avy vev ions / xX e / KNAVTAVTA TPOTEPOV 7) TpoTLLnoaVTAa TL / 5 a n \ f TUTTOMEVOV, ElVaL TOUTOV HYyoU p41) Oeor. > 4 ef > 5S \ rd > / ovK éo8 Grrws ovK ci aU yevvaoas avnp* 640 a \ > \ OL > 4 é / Ym@pels yap els TO Sikatov. aTrodvedOe Sy. an > a \ / TOS ovv Bacaviels vo dLKalas ; e / : | padios: \ \ \ e / TANYHY Tapa TwWANYHV EKaTeEpov. ‘al f KAXWS EYELS. bd / Looms | / yA A / idov. HA. oKores vuy nv pe vToKWwn- : 3 cavtT tons. ’ Laer non watakd o. BA. od pa A’ ovp éuolt doxKels. > 3S 9 GAN ¢iu émt Tovdl Kal tratdéo. Al. / THVLKA 5 646 \ \ >] / > A kat on ~watata. Al. Kdta mas ovK ET TApoD ; YK OLOa* dt 8 atOus a L ove oda: Tovdl 6 avbus amomerpdcopas. uA an OUKOUY avUGELS TL; aTTaTal. / nn TL aTTaTai; fal ’ / av mouynOns ;
645 od’ éuol doxe’s MSS.: Soxe? (or Sox) Bentley (giving the words to Aeacus): ov« éuol dSoxets Bothe. || odv for ovd’ is simplest (Ed.). —> (otherwise od ua Al’, ok, éuol Soxety might be suggested) 649 advices larrara ti larrarat (or the like) mss.: corr. Thiersch. —>
BATPAXOI 35
ov pa Al’, arr édpovtica 650 e ‘yp ¢ / b 4 / o700 HpakrXera trav Aropeiois yiryverac. 4 e / a / / avOpwiros tepos. Sevdpo maduv Badiotéov. iov tov. AIA. ti éorw; Al. imméas
Opa. pees te Onra Kkrades; Al. Kpoupiav oodpai- vopat. émret mpotimas y ouvdév. Al. ovdév poe pede. 655
fe = SPE \ erie pia. Baétoréov tap éotiv émt tovdt made. — : ; oijmot. AIA. ti ote; BA. tHv adxav- Pav é&ene. |
Ti TO mpayya Tovti; dedpo maduy Badicréov.
"AqmoXrXov—és mov Afrov H Ilvéor EV ELS.
HAYNoEV* OVK HKOVaAS;
Al. ouK éywry, émrel 660 | lawBov ‘Inm@vaxtos avemimyvynoKopny. EIA. ovdéey Troeis yap: adda Tas Nayovas o7rddeL. AIA. pa tov A’, GAN Hdn Tapexe THY yaoTépa. AI. Ilocesdov, BA. Hrynoév Tos. AI. 6s Alyaiov <rep> mrpavas } yrav- KaS pmédets 665 anos év BévOecuv. AIA. ov tov wa Thy Anuntpa Stvapai tw pabeiv omOTEpos Uuav éote Beds. GAN elovToV: 0 SeomroTns yap avTos buds yvooetar 670 652 dv@pwros Dind. —> 665 <mept> add. Ed. -> ||
mpwvos Scaliger
36 -« BATPAXOI epee
yn Deppédatl’, dt dvte Kaxeivw Deo. Al. 6p0ds Aéyeus: éBovrAouny & av TodTO ce TpOTepov Tonoal, mpl ewe Tas TWANYAs -AaBerv.
XOPO > 3 .
Moica yopav iepav émiBnOs Kai EXO” eri Tépiruv aoldas éuas, 675
TOV TOA) OrYfouevn NadY dyXoV, oF codtiat
pupiar KaOnvrat
dirotimotepat Kreopavtos, éb ov 7 yeiheow appirdross
Sewvov émuBpéuerat 7 680
Spyxca VENLO@V
ért BapBapov éComevyn wétandov:
puter © émikXavTov andoviov voor, Ws amconeirau,
Kav loas YEVOU TOL. : 685
} TOV iepov xopov Sikatoy éoTe ypnora ™
TONEL Evutrapaweiv cal didacKew. mpOTov ovv nuiv SoKEl . éEuc@oat Tovs toditas Kadedely Ta Seluara. 7 e / / Kel TLS Huapte oparels tL Ppvviyou tra- Aalicpacw, 671 Peprépar’ R: Deppéar’ V. —> 673 vojnou V attrac- tively. The confusion is found elsewhere ; cf. 1373 || mpiv éueé
R: mplv ye cett. 678 diroTiworépa Van Leeuwen 683 Keraptger R: xedade? V al. || pygee Dind. > |
a
690-703 BATPAXOI 37
> / \ A a > ca) /
eyyevécbar dnp ypivat Tots OAL Oovow ToTE na an /
aitiav ékOeiot N0TaL TAS TpOTEpoY apap-
Tias. 691 5 9 +” / nm Y Be. 5 9 5 aA €lT ATLLOV Ppt VY pPNVat pondév ely €V TH TONEL.
Kal yap aio pov €oTL TOUS meV vavpayy- cavTas play : \ 5 4 kat IIlXatasas evOvs elvat KaVvTte SovA@Y
SeamoTas— Kovoe TavT eyay yom’ av a OU KaXOS packew eXEW, 695 > \ > \ fa) by4 b] aXN éeTawa* pova yap abta vovv éyovT édpadcaTte— \ \ / 31 oN Cs A LA ete | Mpos O€ TOUTOLS ELKOS Upas, ol wel UE@V TOANa 62) yoi TaTépes evaupaynoay Kal TpoonKovow ryéver, \ / / a v TV 8=lav §=6TavTny § Trapetvar Evppopav alTOUMEVOLS. 3 \ n > fal » ey = / ana THS Opyns avevtes, W TopwMTAToL pice, 700 Tavtas avOpwmous éExovTes ouyyeveis KTN- capella | KaTLTimous Kal modrjiTas, Gots ap Evyvavpayy. b] \ a 3 D] a ’ / ee 6€ TavT dyKwoomed0a KaTrOTEpVUVOU- pela, 690 éxyevéc Oa al, 691 éxdio. Herwerden 699 airov- pévous R (first hand): -ous cett. and R corrected. => 703
Tatr’ RV: rTot7’ al.
38 BATPAXOI 704—722
\ / \ A Bi , THY TOMY KAL TAVT EYXOVTES KUMATOYV év ayKkanrats,
3 / / bp] 8) 8) n > VaoTéep~ xXpovm ToT avOis ev poveiv ov de :
dofopev. YW 705 \ a x e O éya opOos deity Biov avépos 7 / f b] TpoTrov dots ET oipwkerat, > \ +993 ¢€ / & e na ov modvv ovd oO TiOnKos ovTos oO voY EVOXAOY; ¢ / Kyeuyévns 0 puKxpos, £ / \ id / a 0 Tovnpotatos BaXaveds oTrocoL KpPaTovGL / KUKNOLTEppov 710 if / arevdoXiTpov Kovias ~ Pf a Kat Kiporias yas, | / \ > xpovov évdvatpiyrer: tOwy 5é Tad OvK . > \ +” ’ ~ / > a elpnvikos €00, wa pn Tote Katrobv0n peOvov a- 715 / 4 ; vev EvUrXov Badifov. 3} > a / / jod\AdKis y nu dokev 1 Tors / Tetrov0évat : > Somes" 54 a) la) \ / TAUTOV &$ TE TOV TOALT@Y TOUS KaXOUS \ te Kaya0ous f a / \ és Te Tapyatoy voyicpua Kal TO KaLVOV
Npua tov. 720 + J 95 oY OUTE yap TOUTOLOLY ova ov KEKLBONAEv- MEVOLS, > \ / e / e n ‘ GQXNa KaAXNioTOLS aTavTMY, ws doKél, VOMLELATOV, 704 Others punctuate Karoceuvuvovpeba | rhv modu, Kal Tadr’ > 705 Qu. ot5’ oper ? 711 wevdovirpov al. (the later and less Attic form) 714 e/dws Mss. : corr. Bentley
719 rov’s Kaxovs re Kayabovs a few late copies. —>
723-737
’
BATPAXOI 39
Kal povors op0as KoTeice Kal Kexwdwvi- o MEVOLS
éy te Tois “EXAnoe cal tois BapBdpoor TAVTAYOU,
xpowed OUOEV, AANA TOVTOLS Tots 7 Oe Xarniors ; 725
yOés TE Kal mrp@NV KoTELoL TO KaKicT@ KOMMLaTL,
Tov tokutav @ ods pev topev edyevets Kab CRP POOS
avépas dvTas Kal OuKatous Kal ekogs TE naryabovs,
Kal Tpadévtas év TadaioTpais Kal yopois Kal [ovolKkn,
mpovoerodpev, Tois d& yadrkols kal Eévous
/ Kal Truppiats 730 . “ fal > Kat Tovnpois KaK Tovnpav els aTravTa ypopweba e / > / ®@ e / voTaToLs adiypévotowv, olow % mToOdLS \ n Tpo TOU
ovde happakoiow eikn padias éypyncaT a pe n padlos éxpycar’ av.
> \ \ a a /
AXAa Kat VUV, wVOnToL, peTaParorTes
/
TOUS TpoTroUS,
xpnole Tos ypnotoiow adOus: Kal KaTop- dacact yap 735 edoyor" Kav TL opanijr , é& akiov yor TOU Evhou,
WY TL Kal TacyNTe, Taoyewv Tois coors OOKNCETE.
40 : BATPAXOI 938-757
AIAKOS, ZAN@IAS. XOPOS MYSTON
AIA. vy tov Aia tov coripa, yevvddas avnp 0 SeomoTNS Gov.
EA. TOS yap ovxXl yevvddas ; 739 AIA. 70 8 un wardkai o eEedeyyOévt avtiKpus, c/ n xX ” 5 /
btt SovAOS Ov Edhackes civat deorroTNs. pom wv / 4 EA. @pwke pevtav. AIA. TOUTO pevToL SovALKOV evOvs TemonKas, OTEep ey@ yalpw TroL@D. BA. Yaipels, iKETEVO ; ee Marr erromtevery SoK@, 745 bray Katapdcwpar AGOpa TO SeorrdTy. EA. i &8& rovOopvfwv, vik dv mAnyas NaBov Todnas amins Ovpave; AIA. Kal tool?
HOOMAL. EA. ti d& wod\a mpdtror ; ATA. as pa A’ ovdev oid’ eyo.
EA. opoywe Zed: kat mapaxovor decmotay 750 art av Aad@or; ATA. parra mreiy 7 paivopas. BA. @ Doi "AmodXov, éuBaré por THv deEvav, Kal 00S KUOaL, KaUTOS KUGOV, Kal LoL ppacor, 755 \ x A Ae b ¢ / mpos Atos, 0s nuivy éoTW OpmopacTtiyias— tis ovToS ovvdov éott BopuBos Kal Bor 745 see 103 crit. note 746 \d0pa R: Ad@pa V cf. Meister- hans’, p. 114. Inf. 1168 RV have Ad@pq 748 kai 740’al. —>
751 drav V al. for dtr’ dy 757 cai RV: x7 cett., but OdpuBos kai Bor form one notion and 6 Ao.dopnopdés another
758-776 BATPAXOI Al
yo Rovdopnopos; ALA, Aioyvrov xKedpt-
TLOov. ad. mpayma wpadypa péya KeKlyntar pméeya 759
év Tois vekpoiou Kal oTdols TOA Tavv. EA. é« Tov; | AIA. vomos tis évOad éott Keipevos, amo TOV TeXVOV, doar peydrat Kai Seksat, Tov dpiotoy dvTa THY EavTOD ovYTéEyVoV citnow avtTov év mpuvtaveiw NapBavew Opovov te tov Ildovtwvos éf%s, EVA. pavOavo. 765 AIA. &ws adixotto tiv téyvnv copwtepos érepos TIs AVTOU: TOTE Sé TapaywpeEtV det. EA. ci dnta tovtt tePopvBnxev Aioydaror ; AIA. éxeivos eiye Tov Tpaywdixov Opovor, @s ay Kpatiatos THY Téxvnyv. EA. vovi dé Tis ; 770 AIA, dre 8) Katnr@ EKdpiridns, éredeixvuto Tols AwTodUTaLs Kal Toict PBadXavTio- TOMOLS : (Kal Tolot Tatparoiaot Kal Tovrywpvxors, Strep gor év “Avdov wAHG0s, oi 8 axpow-
EVOL la) > lal \ aA \ TOV avTihoyiwv Kal AVYlOMo@V Kal oTpopav 775
/ t UTepewavyncayv, Kavoylcay copwTaTor’
759 V accidentally omits the first uéya: some other Mss. have yap or opddpa in its place 772 BadrAavtiorduos R: Baravr- V. Mss. cannot be trusted with -AX- or -oo-, but Simonid. Jr. 181 shows that at least the first syllable was long
- 42
BLA. AIA.
EIA.
BATPAXOL 777-798
Katert éerrapbels avTerdBeto Tod Opovov,
ivy Aioytros xabijoto. EA. kod éBan- AETO; |
pa At, aX’ oO oijjos realion Kplow Toetv
omoTepos ein THY Téeyvny copwTepos. 780
0 TOV Tavoupyor ; AIA. wy Av’, oupdaviov xy’ bcov. !
per Aicytrov 8 ovx Aoav érepor obppaxor 3
odiyov TO xpnoTov éoTiv, waTrep évOdbe.
ti On8 o dotTav Spar mapacweyaterat ;
ayava Toleiy avTixa para Kal Kpiow 785
KaNEYXOV AVTOV THS TéxVNS. . cs y ‘
KATELTA TOS
\ / a / cv Kal Lohokwréns avtexaBero Tod Opcvov; : \ 4) b] 5) an 5) 3 y \ pa Ai ove eéxetvos, ANN ExuvoE eV
— Atoydnor-, bre 81 Karine, xdveBade tiv deEvdy, KAKELVOS T bmexopnoev avT@ Tov Opovov: 790 vuvi & euedrev, ws eon Krevdnuidys, Epedpos Kabedeicbar Kav pev Aicydros KpaTn, éewv Kata yowpav: et Sé pH, mept THs TEYVNS Siaryovieiad ehacke mpos y Evperidny. TO xphu ap’ cara 5 va Ai, bdiryov botepov. 795 cavtav0a 61 Ta Sewa KivnOnoeTat. Kal yap TadavT@ povoikyn oTabunoeTat. ti 6€; petaywynoovot THY Tpaywdtar;
799-818
BATPAXOI i
/ / \ ; lal
Kal Kavovas é£oicoveot Kal THYELS eT OV = / jon / Kal wraiowa EvurTucTa EA. rrivbev-
govot yap; 800 Kal Stapétpovs Kal ofhvas. o yap Evpurioys © |
kat étros Bacavietv sai TAS Tpay@oias. % Tou Bapéws ola tov Atoyvrov hépew. éBrewe yodv tauvpndov éyKvwas KATO. | | kpwel d€ 6n Tis TadTa; ; pees TOUT my Biobekop * 805. cohav yap avdpav atropiay nipicKétny. ovte yap “AOnvaioicr cvvéBaw Aioxdros, Torrovs laws evopsle Tovs Tovrywpvyous: AHpov Te TAAN HyelTo Tov yv@var Trépt dices TonTav: eita TO OM SeoTOTH 810 érétpewav, OTL THs Téxvns epwrerpos Fv. GNX’ eiciwopev: @s OTav y of SeamoTat éorrovddKwot, Kratpal huiv yiyveras.
HM.a % ov Sdewvov épiBpeuétas ydrov évdobev
éfeu, 814 nvik av o€vXaXov Trapidy OxnyovTos dd0vTa avtTuTéyvou’ Tote 7 pavias bd Sewnhs Oupata otTpoBHceTaL,
HM. éorac 8 inmorodwv te Roywv Kopv-
/ / Paiora veiKn,
800 cvumrvu«cra Suid. and afew late Mss.: cUumrucka R: Evra
Vi: &urnkra al. —> 804 yoiv V: 5 oty R: éBrewer ody al. 806 cipicxérny Mss. Meisterhans*, p. 136 814 For the distribution see —> 815 wepldn R: rapidn V. >
818 vWirdgpov al. || ujxy (for veixn) Salmasius
a4
BATPAXOI 819-836
/ / / / ocyiwoardpov te tapakovia, cpidevpaTa T épyor, 819 \ b) / / b] \ PwrTos auvvopevou ppevoTtéKtovos avdpos pnuad immoBdpova.
HM.a dpi€as 8 avtoxopov rAogids Naciavyeva
VaiTay, dewvov émicxivioy Evvayov Bpvxopevos NOEL phuata youdhorayh, mivakndov atoomav ynyever hvonpate* 825
HM.8 &Oev 8) oropatoupyos érav ‘Baddle
oTpla oN yrAaoo avedtcoopuevn, POovepors Kivotca yadwvous, pijpara Savopméevn KaTaneT Tohono et TAEVLOVOY TONVY ToOVOD.
ie he a AIONTSO%. “AISXTAOS.
ET.
Al.
ET.
XOPOS>
> XN l4 an / : \ J ovK av peOeinv tov Opovov, un vovOErTer. / \ 5S / / \ / KpElTT OV yap Eivat pny TOVTOV THY TEXVND. b] 4 / aA ’ / \ an Aioxyure, Ti oiyads; atobaver yap Tov
/
Noyou. 832 - n lal ‘A ATOCELVUVELTAL TP@TOV, ATEN EKATTOTE
a / / év tals tpay@odiatow éTepaTevero.
/ 43 n \ / / / Samo avdpav, uy meyada lav éye. 5 nm \ y nae éy@oa TOUTOV Kab OvET KEL MWAL TanNat, 836
v So
819 oxwdSadhduwv RV. Moeris gives x as Attic, x as Hellenic.
—
830 ucbeiuny V al. : webeliny R 833 drep V
837—858° BATPAXOI 45
avOpwrov aypiotrowov avOadocTopov éyovt aydduvov axpates AOvpwrov cropma, aTrEp\ANdANTOV KouTropAaKeNoppyHmova. AIX. aGAnOes, ® Tai Tis dpovpaias Oeod; 840 av 6 “we TadT, @ oTTw@pUALODVANEKTAONH Kal TTWYOTTOLE Kal paKLoouppaTrTdoy ; GAN ov TL yalpwv ait épeis. Ak.. Tad Aicx dre, | Kal mH Tpos Opynv omrrdayxva Oep- LHVNS KOTO. | AIS. ov dfta, rpiv y av rodTov arodnve cadas TOV Xw@XoTrOLOV, olos wv Opacvverar. 846 Al. dpv dpva pérava traides éFevéyxate Tugdos yap éxBaivew tapacKevaverat. AIxy. @ Kpnrixas pey TUNNEYOV por@dias, 849 ‘ya pous 8’ dvocious eiadépav els THY TEXV NY, Al. _emiaxes ovUTOS, @ TohuripnT Aloxdne. ato Tov yaratov 8, ® tovnp Evperidn, dvaye oeavTov éxTrodwy, eb cwdpovels, iva pn Kehadaiw Tov KpoTtadov cov phyate Oevav tr opyis exxen Tov Tnredov: 855 ov 6€ pn pos dopyny, loge GNA Tpaovers heyy, Edéyyou: Aowdopeia as & ob T peTrel avdpas Tontas woTep apToT@ALoas.
838 aOvpwrov R Suid.: dr’dwrov V cett. 841 od Oh euée Meineke 843 rad’ V: rato’ R 847 wédawvay V al.: véhava R (with at least better metre) 853 dvaye R: dave cett. The sense referre (pedem) is somewhat preferable
855 Oévwv R: Oeivwy al. : corr. Bloomfield 857 mpéres RV: 6éms al. (perhaps from some unconscious reminiscence)
46
ET.
Al. AI>.
AIS.
Al,
XO.
BATPAXOI _ 859-881
od 8 eb0ds Sorep mpivos eumrpnabels Boa S p mptvos éumpnabets Boas. c/ / 2S By 4 > > / ETOLMOS Ely eywryE, KOUK dvadvopar, 860 OadKVEW daxver Pat mporepos, el TOUT@ Soke, Tarn, Ta pern, Ta vevpa Tis rpaypdias, kat vy Aia tov IIndéa ye xat tov Aionrov kai Tov Medéaypov, care wara Tov THr\edov. av Sé 61) Ti Bovdever Troeiv; Aéy’, Aioydre. / éBovrounv pev ovK épiverw évOdde* 866 > b] 54 / > id \ A . oux €& icov yap éotw ayov vor. Al. TL Oat ; c/ € / / / OTL 1) Tonats ovxl auvTéOynKée por,
/ \ / ef a / TouTw dé cuvtébynKev, wal EEL Neyer dpws & érresdn cor Soxel, Spav Tadra xP”- 870 (Oc vuv AuBavwrov Seipo Tes Kal Top SoTa, otras av evEwpas TPO TOY codicuaTov ayava Kpivar’ TOVOE povovewrara:
‘tpeis dé rats Movoas Tt peehos UTaCaTE.
@ Acds! épvéa TmapOevot ayval 875
Modcat; NerTodyous EvveTas ppévas al _xaboparte
avopiiv yvopoTuTa@v, étav eis Ep o&vpe- pluvots
EMwot sTpEeBNotat Taraicpacty avTtXo- ryouvTes,
EXOer érrovropevae Svvapev
SewvoTatow otopatow tTopicacba — 880
pyyata Kal Tapatpiopat émav.
863 ye V: re Ral. 865 od O¢ 6H Ti one MS.: 67 om. R: ri dal ob V (attempting to cure the metre of od dé 7/) 867 ayov RV: ayov Dind. 868 cuvTébynk’ éuot Bothe, but the emphasis is on the verb
883—g00 BATP AXOI AT
viv yap ayov codias o péyas yopet | mpos épryov On. AI. evyecbe 8) Kal ohm Tt, Tpiv Tan Neveu. 885 AIS. Anyunrep 4 Opévaca tiv éunv dpéva, éival be TOV COV agvov puoTn pion. Al. = émrides AaBaov 57 Kat ov ALBaverTov. ET. | KaNOS* Etepor yap eiaw olow evyouat Oeois. AJ. duo tuvés cov, Koppa Kxawov; ET. kal J para. 890 Al. i@c vuv mpooevxou TOLO LW en at Qeots. ET. aiOyjp, éuov Booxnua, Kal yA@TTNS TTpO- Hurts Kab Fvveot Kal MUKTHPES or ppaytTnpiot, opFas we eheyxew o Ov av atTTopat hoyov.
XO. «Kai Hayy nels em iOupodpev | 895 Tapa copoiv avdpotpv éxodoat Tiva oryov €UpLeXELav ; |
émite, dSatav odov.
yAoooa pev yap nypiwrat,
Aja & ovK AtorAmov apdoir,
ovd axivnto. ppéves. :
Tpocdoxay ovv eikos éote 900 883 dde uéyas RV: corr. Hermann 888 The text is that
of vulg.: V adds \aBwy again after Baywrdv: R has kcal dy ov NiBavwrdv AaBwv. Hence érides \uBaywrdy cai od 6H AaBwv
Fritzsche, with much probability 889 Geots R al.: Geol V.— 890 covR: col V: coal.: (cod is slightly inferior)
891 67) RV: vuy al. Cf. 372 crit. note 896 For the punctuation in the text see —> 898 yAdoou MSS. : yA@TTa
Dind., but the passage is parody
48
Al,
RT.
BATPAXOI 961-913 -
Tov pev aoreiov Te réEELY
Kal KaTEppLVn-Eevor,
Tov © dvaocTevT avToTpéuvots
Tois AOyotouw
éuTETOVTAa TUTKEOaY TOA-
ras aduwdnOpas érrav. 904
XOPO>. ETPIIIIAH>. AIONTSOX.
AISXTAOS
> aXX ws TayLoTAa yp éyewV: OvT@ O Omws €pelTov > a \ | Pee ’ / / fs)? @) x aoTela Kal pnt etkovas pn ot av A 7 aNXOS ELTTOL. \ Kal pny é“avTov pév ye, THY TolnowW / ol0S bps, b] an c / / nr \ éy Toiaw vaTdatos dpdow, TovToy 6é ile 4 TpaT érEvEo, as nv aratov Kat dhévak, oloits te Tovs Oeatas \ éEnrata, pwpovs AaBov trapa Ppuviyw / TpagevTas. 910 / we \ c AA a TpoTicTa ev yap é&va Tw av Kabicer b] / eyxaduwas, 5 / / Aycan tw % NioBnv, TO tTpoocwrrov ov! SELKVUS, ™poaxnpa THs Tpaywdias, ypvtovras oude TOUT *
901 Adéac R: AdEav Val.: Afar is good in itself, but the fut. (svcxedav) follows 911 éva Tid Kdbicey R: Eva tiv’ éxdOicevy V: corr. Bekker, —>
BATPAXOI | 49
914-927 — AI. pa tov At’ ov one. ET. o &é Xopos y mpetdoev oppadovs av MENOV epebijs Téttapas Evvey@s av: ot & éciyov. 915 Al. éyo 8 éyarpov “tH ciwmy, Kat pe ToT ereprey ovy HTTOV ) VvoV Of NaXODdYTES. ET. nALOLOS yap jaa, cap Al. KAPAVT@ S0Ka. TL Seradr Spec’ SBeiva; ET. ot daraloveias, iv o Oeatrs mpoadoKay Kadyro, om00 % NioBy te POéyEerar> TO Spadpa & dv Sunes. 920 Al. & wapmovnpos, of ap ébevaxiSounv bm avuTov. TL oxopdwa Kal duvadopets ; ET. OTe avtov éferéyyo. KaTeLT émreld2) TATA AnpHoEve Kal TO dpaua HON pea oln, pnyar’ dv Boeva S@dex’ eizrev, oppus exovra Kal NOdous, Seiv’ arra jop- popomd, 925 dyveta Tots Oewmévors. AIS. olwor rddas. Al, CLOT A. ET. cadés 8 adv eimev oddé & AI. pu) mpte Tovs dddvTas. 919 Kafotro RV: xafijro al. : corr. Dobree. —> 926 dy- vwra R: dyvwora schol. in R. A consistent distinction between
dyvwros and d&yvworos cannot be maintained (Jebb on Soph. O. T. 361)
EH
50
ET.
Al.
BATPAXOI 928—945
GXN’ i) > Kapavdpous, yy) Tappovs, 7 ‘Tc aoTidwy émovTas 5 Sa er bf ypumTaéTous YaNKHnAAaTOUS Kal pnuad / iTToKpnuva, fupBanetv ov peer DY. v)) TOUS Deous, éy@ ryoov 930 On TOT ev paKp@ xpovm vuKtos Sunypv- TVNTa / la! tov Eov0ov immarextpvova fnTor, Tis €oTuv Opvis. lal n 9 3 onpetov év tais vavolv, wpabéotat, everyeypamro. éy@ O¢ Tov Pirokévov y’ ounv MP tes elval. ’ cir év Tpaymdias éyphy KadexTpvova TOHT AL ; ; 935 » ] > \ av 0, @® Geotow ev Opé, Tod y éoTty atT érroies ; b] ¢ / \ /? »Q\ : ody immanrextpvovas pa Ai ovdé tpay~ / v4 / ehagous, amep av, av Toiot Taparerdopacw Tots Mnédzxois ypadovow * b) > e / \ A \ aAX ws wapéhaBov tHv Teyvnv Tapa cod TO mpaTov evbus oidovoay UTO Ko~TAacLaT@YV Kal pnuaTov evra Pan, 940 loyvava pev TpPWTLTTOV avTIY Kal TO
Bapos adetrov
929 ypuraérous V al. : ypureairous R: ypuvraérovs editt., but
—> 930 pddu Hv RV: padcov Hv al., whence fpddiov Bentley. But fd6c was taken for pad: (where ‘ =-ov) 935 mod 7
R: moiérr’ V: mot’ dtr’ al. —> ‘Qu. trot’ dp’ ?
942-955
Al>. ET.
AI. ET. Al.
ET. AI.
BATPAXOI 51
> / \ # \ / ETUANLOLS KAL TEPLTTATOLS KAL TEVTALOLCL AEevKOLS, vrOV dLb0vs cT@pVALATOY, aTO BLBNIoV NUAS? # aTrnov * eiT dvérpepov povediats Knyndicopovta puryves 5 9 / ef , > 7a? eéiT ovxX éANpovV O TL TUYOLMW, OVd éuTec@v épupor, 945 > > ig \ J / \ / GXN ovEl@v TPWTLOTA MEV MOL TO YyEéVOS eit av evs ToU dpamatos: an \ 5 \ 42> x “\ nr KpettTov yap Hv cor vn At 7) TO cavToDd. eTeitT ato TOV TpweTwV éTa@V ovdeY n / Tapnk av apyov, / A GX édeyey 4 yuvn Té pot yw SodAos ovoey TTOV > / > / > lal v7 yao SeoTroTNS %7 dicho xa pais ay: eita OnTa 950 ov atrolaveiy ce TAT expr TOAPLGVTA 5 ; fea TOV. ‘AmoAXo: OnMmoKpaTiKoy yap avT edpav. TOUTO pev éacov, @ TED. 3 \ / > / / ov ool yap éoTt Wepitatos KaddAMoTA Tept ye TovTov. émetTa TovTovol Nareiv edidaka : Pn Kayo. / ws mpiv didakar y wheres pécos dtappa- ynvar. | 955
942 AevKois RV: ytxpots al. (a gloss to the diminutive) 948 map7K’ ay ovddv’ Blaydes. —>
52 , BATPAXOI 956-968
a / X24 n ET. Aertav te Kavovwy écBoras éma@V Te
yoviac mous, n ¢ n / / »” voeiv, opav, .Evvievar, otpepev, ep Texvacew, KaX vTotoTretabat, Tepivoety amravta, AIS. pnut Kayo.
ET. oixeia mpdypar cicdywv, ois ypapel’, ois Evverper, é& ov vy adv é&nreyyounv: Euvvedotes
\ & yap OvToL 960 ” ” \ / > ? > nreyyov av pov THY TEYVNV*' AAN oOvVK éXOMTONAKOUY
> \ la) a b] / 2 Q) 3g-/ ato Tov poveiy amoomdaas, ovd é&é- \ TANTTOV AUTOUS / n / Kvxvovs mov kat Méuvovas xwdmvo- / parapoT@Xovs. \ / A 3 yvooe. 6€ TOvS TOvVTOV TE Kam“oD ¥ / / Exatépov pmadnras. \ / / / b] e Tovtovpevt Popyicros Meyaiveros @ o
Mavis, 965 cadtiyyokoyxuTnvadat capkacmoTiTvo- KAT TAL, oupot oé Knrevtropav te kal Onpapévns 6 Kop-rbos.
Al. Onpapévns; copds y avnp Kab Sevos és Ta TavTa, | |
957 épav, rexvdsew MSS.: corr. Ed. —> 964 Kdpuod y V: xdpyod R: xduot’s Dobree. —> 965 paris RV: warns or pavys al. : udyvns one MS. and Suid. The accentuation is dubious, but analogy in proper nouns points to Mdvys unless the word is hy pocoristic abbreviation 967 ovpos R
969-992 BATPAXOI | 53
Os VY KaKkois Tou TepiTécn Kal THOLOV Tapacth, mTémtT@Key @&@ TOV KAKOV, OV YLOs, arra Ketos. 970 ET. tosadta pévtovy@ povetv
‘
TOUTOLOW elonynoapny, Aoytopov evOeis TH TEXVY \ / 4 > BA a Kal oKxéeyw, WoT On voEiv amavtTa Kal dverdévar 975 / ’ yA \ \ > SN Ta T ANAA KAL TAS OLKLAS a“ 3 \ a oikely Apewov %) Tpo TOV, a an eee KaVaTKOTTEL, TOS TOUT EYEL; a / f a Ieee Meret jwov mot TOOL; Tis TOUT EéEdXaPeE; / an an AI. vn tovs Oeovds, viv yoov “AOn- 980 vaioy amas Tis elolwv | \ Kéxpaye Tpos TOvS oLKETAS al MoD / Cntet Te, TOU oTLY H KXUTPAa; * Tis THY KEharnV amedndoKev n / \ THS patvidos; To TpvRALOV 985 \ \ TO Tepvatvov TEOYHKE pot’ fa) \ / \ / Tov TO GKOpodoY TO yOLCLVOD ; / n Tis THS EXdas TapéTpayer ; / 3 b] , téws 6 aPEeXTEepwTaToL , Keynvotes Mappaxv@or 990 Merntida: xabjvto. 4 / / la} XO. rade pév Aevocess, Paidip “Ayidred-
970 Kos Aristarchus in schol. 971 pévro ye poverty _vulg.: wévrot cwopoveiv R: corr. Bothe 979 760’ Bentley for tod7r’. —> 987 xdecwdy Mss.: corr. Lobeck 991
MeNridac Mss. : medurridac Fritzsche: Mednridac Gaisford. —> (kat Med. of several mss. illustrates a common adscript)
54 ; BATPAXOI yeg=4000
av 6€ Ti, hépe, mpos tadtra ékess ;
pLovov Tras : , > € \ ¢€ / un o Oo Ovpos apiracas €xTOS oloes TOV éXAOV" : 995 dewa yap KaTnyopnKev. aXX bres, @ yevvaca, \ \ > \ > f 1) Tpos Opyny avTire&ets, GXAa gvoTelrAas, AKpoLot / n id / ; NPWMEVOS TOLS LOTLOLS, 1000 eiTa paAddov padrrov akets, Kat pvrdéers, el A SW \ fa) n NVikK AV TO TVEUvpLa ELOY kal KabeotnKos NABs. KOP. daar & patos Tov “EXAjvev Tupydécas pymaTa ceuva Kal KoopHnoas TpaytKoyv Ahpov, Oappav Tov \ > / Kpovvoyv adie. — 1005 4 n \ fa) / hd \ AT>. Ovpodpat pev TH Evvtvyia Kat jou Ta 3 a oThayyY ayavaxTel, ’ \ mn a ee / vA \ €l Tpos ToUTov Set pe avTidéyetv? iva jor) dackn 5 aropeiv pe, | b] / / / WA \ / aToKpwai mot, Tivos ovvexa ypr OavpdCeu avopa jwonTny ; | ET. dce&0rntos kal vovOecias, Ott BeXtiovs Te
TOLOUMEV \ > , ’ n / : tovs avOpw@movs év tais ToXeow. | a tk! > \ / AI. TOUT oOvV EL pn TeTrONnKaS, 1010
1001 des RV. Needless conjectures are eifes (Lenting), olfeis (Bergk), géecs (Fritzsche) and dpeis. —> 1008 xpy V: Oe R. The substitution is among the most frequent. xph of the moral obligation is right
TOII—23 BATPAXOI 55
> bs b] fa) \ / aXnN é€K XpNOTaV Kai yevvalwv poxOnpo- Tatous amrédeEas, ti tradety diyoeas akvos eivas ; / \ a Sa 7% Al. TreOvavat’ pn TOvTOV épwTa. > na AIS. cxéae toivuy ofovs adtods map épuod TapedéEato TP@TOY, ef yevvaious Kal TeTpamnyels, Kal pr)
Siadpacvrodiras pnd dryopaious poe KoBanrous, @oTrep VOY, ponoe Tmavoupryous, : 1015
aXvAa mTvéovtas Sopuy Kal oyxas Kal NevKOACHOUS Tpudareias : \ / \ las \ ee
Kal wHAnKas Kal KYnpidas Kal Oupods baiddes ants te
ET. kat on) Kopel TOUTL TO KaKOV* Kpavorroudy
ad pw emeTpinpet. Al. «al ti ov dpdcas ottws adTovds yevvaious
é&edtdakas, Aioyvre, réEov, pnd’ avOadas cepvuvo- pevos yarérrawe. 1020 AIX. Spaéwa moncas “Apews peortov. Al. eae TOLOD ; AIS. tous €rt émri OnBas:
A 7 A v > \ > / 0 Oeacdmevos TAS av Tis avnp HpdcOn | ddtos eivas. Al. = rovti pév cot Kaxdv eipyactar’ OnBaiovs yap TremonKas
_ 1012 poxPnpo’s R: pwoxOnporépous 7’ Ve Qu. pox Pnpots si amédeEas ? 1018 émirpivers V 1019 kcal riod R: ov Ti V || dvdpetous (for speraious) V
56
AIX.
Al.
AIS.
Al,
BATPAXOI 1024—36
b) / > \ ‘4 \ / avoOpeloTépous els TOV TONELOV* Kal TOUTOU y ovveKa TUTTOU. ann wpiv ait é&fy acKelv, adr ovK éril TouT éTpamecbe. 1025 eita Sudaéas Ilépcas peta todT érvOv- pety e&edloaka vikav ael Tovs avTiTaddous, KoTpHCAS Epyov apiotop. > / _aA Ce 7 \ / éydpnv your, nvix’ +ijxovoat epi Aapeiov TeOvewTos, € \ >] > \ \ A_3 egy 7 0 xopos 8 evOds TH Yelp’ wi cUyKpovoas eitrev Lavol. TavTa yap avdpas ypn TomTas aoxelp. / \ » Lite, > n oKxewat yap amr apyns 1030 @s @dédimot TOY ToLNTaY ot yevvator ryeyevny ra. ‘Opgevs pev yap Tereras 0 nyt Karedevee hovev T atréyer Oat, Movoaios 8 é€axéceits Te voowy Kal ¥. € A \ xpnopovs, “Halodos dé na na / ¢ ys épyacias, KapTa@v wpas, apoTtovs: o val / 5é Oetos “Opnpos b] \ n \ \ / 4 \ aTOo TOU TLYLnY Kal KXEOS EoYEY TAY Todd, Ste ypnat édidake, 1035 / b \ ¢ / > la) Takes apeTas oTAicels avdpov ; \ \ > / kat pnv ov Ilavtakrea ye
1024 évexa RV: elvexa or otvexa al. Cf. 189 crit. note 1026 rovs Ilépoas al. (unmetrical adscript). —> || edtdata MSS. : corr. Bentley 1028 jvix’ AKovoa mepl RV: jvtk’ darn yen
mept al.:
quixka pdcu’ épdvn Aapelov Dind. Qu. fhvlka y’ fv
elkots arépe ? >
1037-49
BATPAXOI 57
€d(daFev Ouws TOV TKALOTATOY* TP@NV Your, vik eTrEwTreD,
TO Kpadvos TpOToV TeptOnodpevos TOV Aohov perr rriOjoew.
AIS. dA adddXous Tot ToAdovs ayabov’s, av nv kat Adpayos hpws: dbev nun dpnv amopakapevn moddas apetas éroncer, 1040 Ilatpoxrwv, Tevxpwv Ovporeovtwv, iv érraipoim avopa moXriTnv avtextelvey avTov TovTOLS, OTOTaY Gad- Tuyyos aKkovcn: Gyr od pa At’ ov Paidpas érroiovy Topvas ovde YOeveBoias, >© 5S) b \ ¢ b) ea / > ovd 010 ovdels HvTW €Ep@oav TwTOT éroinaa yuvaika. 1044 ET. pa At’, od yap ériv ths ~Adpodirns OvOEV OL. AI>.. pndé y ézein. GNXN él Tol col Kal Tos cola TOAN) ToD ‘MeKalHTo, e | gee d bY ® / | @oTE ye KavTOY oe KaT ovv EBarev. Al, vy tov Ala rovTo yé Tot 8y. A ‘ > \ > / > / iN a yap €s Tas adXAOoTpias ETrOELS, AUTOS ToUTOLoW émANYNS. ET. «al ti Brarrove’, & oxétdu avdpor, \ , e \ / THY TOAW apa OevéBovar ; 1037 rpa@nv RV: mrpwny cett. 1039 Kxdyalols RV (a good instance of the tendency to insert xal for the idiom) 1045
ovde yap érjv V: ovdé yap fv R: od yap érjv vulg. —> 1046 ‘rixafoiro RV (from identity of pronunciation)
58
AIX.
ET.
ATS.
AI>.
ET.
BATPAXOI toso—62
4 / \ / 5) n > / OTL Yyevvaias Kat yevvaiwy avdpav adoyous
avéTTELT as | 1050 Kovela Tel, aioyuvOeicas Sia Tods cos Bedrcpopovras. TOTEpoV 8 ove dvta doyov, TodTOV mept THS Paidpas Euvelnna ; pa A’, adrX dvT> adn aroxpirteww Xph TO Tovnpov TOV ye TonTHD, kal pn twapayew pnde SiddoKew. Tois bev yap Tratdapiovcw éort OuddoKanros doTis Ppdler, Tois jBdowv d€ TonTat. 1055 wav on Set ypnoTa réyev Has. Wy ovv av éeyns AveaBarrovs Kal Haprasody 7 LL peryeOn, TouT éoTl TO xpnera OLOdT KEL, ov xpn ppalew dvOpareins ; arn’, @ Kaxodarpor, avaykn peyanin Pepe Kal dtavoiav ica Kat Ta pypara TLKTELW. KaAXwS ElKOS TOvs HuLOéovs Tois PHuact peitooe xphabau 1060 Kal yap TOUS (parious MOV XpP@VTAL TON Teporepolaiy: apod XPNTTAS | ratrabelEarros OveAULHVO ov.
4
/ 7 TL Spacas ;
1055 rotow & 7BGo. R: rols & nBdor cett.: rots HBGow 5é
Bentley
1057 Iapvaccévy RV: Iapvacdy vulg.: Hapyibwv
Bentley. —> 1058 xpiv Fritzsche; but the reference is general (not to ov)
re
1063—80 | BATPAXOI 59 AIS. wpatov pev tols Bactrevovtas paxe apmuryev, iv’ édevvol 3 n b) / / > - tois avOpwtros paivowT’ eivat.
ET. TovT ovv éBraWa ti Spdcas ; > > A a) n AIS. ovxovv é0érer ye Tpinpapyeiy mrovTav | > \ \ a 4 ovoels Ola TavTa, 1065
adra paxiois TepuAdOpevos KAdEL Kal not méveo Oat. Al. wy Thy Anpntpa, yiTava y éyov ovrAwY éptov uTrévepOev: kay Tadta Néyov éEaratioy, Tapa Tovs ix0bs avéxuwev.
AIX. er ad Nadsay éritndedcat Kal Mntabe
/ édidakas, res | / 4 - / \ \ H Eexévwoev Tas Te TadaiotTpas Kal TOUS TapdXous averreroev 1070
aytayopevew Tois adpyovow. Kaitou TOTE y, nvik eyo. Cov, ovUK HTloTAaVT adXrX % palav Kadécat Kal puTTarat Evrety.’ ; Sa AI. viv 8 dytiréyer,. xodnér edabvov mr — Seupt KatOis éxetce. AIS. colwv &é KAKO@V OUK aiTios €oT 3: ov Tpoaryoyous: wearedeck oUTOS, Kab TLKTOUGAS ép “TOUS lepots, 1080
1063 édeewol Mss. Bentley restored the Attic form 1064 dalvowr’ R: dalywrr’ V 1066 dAdd faxlois R: adn’ év pakios V. (Mss. often show ignorance of the lengthening before p) || mepuAduevos R (made from -e\d-) V: Meprerhdevos vulg.: mepudduevos Cobet. —> 1076 é\atver kal VR: dhatvew kal whety vulg. ; corr. Dind.
60
Al.
XO.
BATPAXOI 1082—1106
\ / b] ‘al \ an Kat phackovoas ov Civ to Env; eo 2 3 / e / e an Kat eK ToUT@DY 7) TONS OV e > / VITOYpaUwaTewv ave“ecT@ON / Kat Boporoyov dSynpmotiOnkwv 1085 éEarratovTwy Tov OHmov adel: b] el AapuTadsa 5 ovdels olos Te Hépery b ] vr ayupvacias éTt vuvi. : n b] ; pa A’ ov 640, dot éradnuavOny IlavaOnvaiotce yerov, Ste 67 1090 / Bpadds avOpwros tis eOer Kvras / U AevKoS Tiwy UTroNELTTOMEVOS, \ 5 x ae i0 e K nan Kat Sea Troidv: Kal’ ot Kepapijs a / > a év Taiot TUAaLS Traiove avToU / yaotépa mevpas Nayovas Tuynv: 1095 e / n o 6 TUMTOPEVOS THLTe TAATELALS puoay THY Naprad epeuye. Pee al peya TO m pay pat TOAD TO velKos, dOpos O TONEMWOS EpYeETAl. yaneTrov ovy Epyov Siacpelr, 1100 e , ” OTav o pev teivn Biaiws, ¢ > 3 / d 3 / o 8 éravactpéhery Suvnta Kartrepeide- aOat Topas. V9 an an GdAa pn v tavT® KabjcOor: c > \ / > \ U egBodkal yap eélot Toddal YaTepat copicpLatov. 6 TL Tep ovv éxeTov épifer, 1105 NéyeTov, EriTov, ava dé Séperov
1086 Ejected by Bergk 1089 én’ ddavdvOnv R: ara- pavavOny Vi: éradavavOny al. : corr. Bentley 1106 dvadé- perov MSS. except one (dvadépecOov): corr. Thiersch. Others read dvadépecOov or ava 8 epeabov
1107—26
KT.
Al. ET.
Al. AIS.
BATPAXOI 61
/ \ \ \ 4 Ta TE WaAaWa KaL Ta KaLVa, > / / \ \ KaTroKuvOuveveTov AeTTOY TL Kal coor évyetv. | \ a a / e& 6€ TovTo KatadoBeicbov, pwn Tis / va) apatia Tpoon a my 2 \ tots Oewpmévorctv, ws TA 1110 \ \ n / AETTA LN YyVoVat REyoVTOLY, \ 5) a ng? ¢ Fe vf)? e/ pndev oppwdeite Tovl’> ws ovK €6 ovTa a..3 f TAUT EYEL.
€oTpatevpévor yap étot,
/ Ma’ v4 / \ BiBrXtov +t eExov Exaotos pavOaver Ta beEva* |
4 at dvoes T AAAwS KpaTLCOTAL, 1115 n \ / vov 6€ Kal TapnKovnyTat. \ 9S penodev ovv delontov, adra / ’ Dae He n ? e/ ? ¢ mavt emétitov, Geatav y ovvey, ws dvTwV coda. \ \ > ee b] \ \ / Kal fnVv eT AUTOUS TOUS TpOOYoUS Tou at , Tpewropuat, A \ n a / / OTTOS TO TPWTOV TNS Tpayo@otas fepos 1120 / n a a an TpwtTiaTov avtov Pacavim Tod deEvod. > \ \ 9 b n / lal acaghns yap nv ev Tn Ppdce. TOV Tpay- paTov. | \ na an a Kal Trotov avtTov Bacaveeis ; AUT HS TONNOUS Tavu. a / \ i Tp@Tov o€ por Tov €& ‘Opecteias réye. A \ / - A b aye 6n cwwTa Tas avnp. éy, Aloydtnre. ¢ A / b / KppH yOoviec, ratp® éromtevav / Kpatyn 1126
1119 co al. (to prevent change of person addressed)
62
Al, ET. Al.
AIS. ET. AI.
AT>.
AI.
BATPAXOI 1127—46
a ‘ / cwTnp Yyevod pot acippayos T ? / alTOUMEVO. HKO Yap ES YY THVOE Kal KATEPY oma. a x TovTwy eyes eye Te; EY. mrciv 7 dadexa. 1129 5) > a b) GNX ovde TavTa y éotl TavT AN 1%) Tpia. éyet 6 Exactoy eixociy y apapTias. / n a Aicyvre, Tapawe cot ciwmav: e 5é pn, \ \ > / / fal Tpos Tplow lauPeEloror TpocopeirAwv aver. é \ nA Oo. < Al >\ (0 ne / YO clLwaTo TOO ; . €av TeiOn y €pois »>\ \ ¢ / b / f Xo evdus Yap NMAPTHNKEV OVPaVLOV Y OGoOV. 11385 C. s.—y a + AB, / / / opas OTe Anpels ; AANA OALyoV YE pot MéEL” al b] n Tas ons p apapreiv; ET. adds é€& > nan / apyns eye. ‘EB an Ao as > / pehH xGovie, Tatp® émomtevarv / Kpatn o "0 / PS LAN ‘Ge / 8 rE ovKovy Opéotns TOUT él TO TUULBO NéyeEL tal fa} \ nm T@ TOU TaTpos TEOvVEwTOS ; ovUK GAAwS REéyo. 1140 / b] i \ ¢ A id ¢€ \ b] / ToTep ovv Tov Kpuny, ws 0 waTnp amTwdeTo al / , \ avTov Biat@s €K yuUVaLKEias VEPOS / / a> > Me dodXots AaPpators, Tad’T éTomTEveEery 7 si EDN ; an 9 va \ ov Ont ékelvos, GXAA TOV éptovYoy 1144 ¢ a) / a“ / Kpynv yO oviov mpoceire, Kadnrov Aéyor ¢e \ n n OTL) TATP@OV TOVTO KEKTNTAL Yépas.
1129 rovrwy éxes Wéye TL; is given to AI. in RV, and some editors so assign 1130 1130 ddd’ ovdé ravra Tatra y’ ear’ V al.: raira rdvra vy éor’ R al.: corr. Ed. — 1136 For the distribution see —> 1138 xpdrn. vulg.: xpdrn
Ed, —>
1144 éxewos R: éxetvov Y, —>
1147-68 BATPAXOI 63
ET. éru pettov éEnuaptes 7) "yo *Bovrounr:
ei yap TaTp@ov TO xGovov eyes yépas, Al. ovTw x dv ein mpds TwaTpos TUUBwpvyos. AId. Atovuce, rivers otvov ove avOocpiav. 1150
Al. éy’ érepov a’ta@: av 8 éeretHper TO BXABos. AIX. coTynp yevod pot atppayds T ALTOUMEVO.
Heo yap és yqv THVOE Kal KaTEpYopmas. ET. dis tavrov hpiv eimev 0 copds Aiacyvaros. AIS. was Sis; ET. oKoTres TO phys éym Sé cor Hpdow. 1155 HK@ yap és ynv, pynot, Kal KaTépyopac: HKetv S€ TavToV éeoTt TO KaTEpYopmat. AI. vy tov Av’, dorep y et Tis EizroL yetTout, xphaov av paKktpav, et dé Bovret, Kap domo. AIS. ov d9ta TodTO y, @ KaTecTOpVApéeve 1160 dvOpwre, TavT éot’, GAN ApioT eTrav éyov. Al. asdy; didakov yap pe cal’ 6 Te 81)-Aéyens. ATS. édOeiv pév eis yhv éo@ btm weTH TaTpas: xopis yap adAns ocupdopas édndrvOev devyov & avnp hKet Te Kal KaTépyeTat. AI. bd, vy Tov ’AmrodA@. Ti od Aéyets, Edpitridy ; ET. ov dnl tov ‘Opéctny xaterbeiv oixade: AdOpa yap HAGEv, od TLO@Y ToOvs KuUpious.
1147 wetfov V: wadrAov R 1149 otrw y dv V: otrws dv R 1155 Others give rés dis ; to AI. 1157 ixewv dé MSS. :
‘Keo dé Aul. Gell. 13. 24 and editt. It is hard to. see why jxew should have been substituted for a genuine jjcw. It is imaginable Greek to say ‘to come (few) is the same thing as your MOT SPXOB SL
64 BATPAXOI 1169—88 AI. ed, vy TOV “Epphy: 6 Te Néyeus 8 od pavOavo. ET. sépawe roivuy érepov. Al. \0c wépawe ov, 1170 Aioyvr, dvicas: od 8 eis TO KaKov > / aTroPNeTre. / > Do wits y Op Pee. f Ald. tipBov & ér bx0m@ THbde KNptoow TwarTpt z > n KNUVELV, AKOUCAL. ET. Tovd érepov av dis réyer, KNVELY, AKODTAaL, TavTOYV Ov cadéoTatTa. AI. = teOvnKoow yap Erevyev, @ woxOnpée cv, 1175 ois ovdé Tpls AéyorTes eEtxvotpeOa. AIS. od 6€ rds érrotets Tovs mTporoyous ; ET. éya dpdcw: yA \ / + ary \ \ y Kav trov ous elm TavToyv }) oToLByy idys bd fa ” fa) / / ‘ evovoav é&w@ TOU NOYou, KATaATTUGOV. 1179 AI. = i@- 87) Néy’s od yap podotiv aXN axovotéa TOV TOV TpodOyav Ths opOdTnTos TOV éTav. ET. jv Otdirovs TO Tpe@Tov. evdaipov b) / avynp, 1182 AIX. pa tov A’ od df’, ddrd Kaxodaipov dices, ¢ / \ a f e / 4 OvTWad ye, Tpiv hdvar pév, ATOArNWY Edy aTOKTEVELY TOV TATEpA, TplY Kal yeryovévat: TOS OVTOS HV TO TPATOV EVOALiWaV AVP; ET. eit éyévet adOts dOXLHTaTOS BpoTap. AIS. pa tov A’ od S47 od pev odv éravcaro. 1173 av@s Mss.: corr. Bake; ef. 1154 1182 edruyys RV (apparently a gloss): evdaluwy al., cf. next line 1184 mpl pivac pev RV: mplv } (4 kal) diva al. : mplv wedpuxév’ Blaydes, with much probability. —> 1186 evruxi)s MSS. :
evdalumy editt.
1189-1208 BATPAXOI 65
Tas yap; Ste dy mpaTov pev avTov yevouevov
xeuavos dvTos é&éfecay ev daTpaxy, 1190 iva wn KTpadels yévouTo TOV TaTpos povevs* ei? as IlorvBov hppncev oiddv Te 1rdde° éretta ypabv eynuev autos ov véos, Kal pos ye TOVTOLS THY éavTov pntépa’ eit’ é£eTubAwoev avTov.
Al. evdalpov ap ip, 1195 ei KaoTpaTnynoéy ye peT "Epacwidov. ET. dAnpeis: éyw S€é Tos pordyous Kaos TOLO.. AIS. xal pov pa tov At od Kat ros yé cov Kviow \ Cane v4 b] X \ al na TO phe ExacTov, adr\ga avy Totow Oeois amo AnKuOiov cou Tovs TpoAdyous SiadOepa. ET. ao XAnkvOiov cd Tovs enous ; AIX... évds povov. 1201 Towels yap ovTws wot évapmoTTew array Kat K@ddploy Kal AnKVOLOV Kal PuvAAKLO?, > a > / / ? + EN év Tots tauBetorot. Seiéw 0 avTixa. EY. id0v, od delEeus ; | AIS. prt. Kal 8 xpi) Aéyewv. 1205 ET. Aiyumtos, @> 6 WreEloTOS com apt as Novos, Edy TALTL TEVTNKOVTA VAUVTIAM TAATH "Apyos catacyov AIX. AnxtOov aro- AETEDV. 1197 kado’s RV: kadds vulg. 1202 évappdgfev R (a form not of the best Attic) . 1203 Qu. kata kwdSdpiov? —>: kwOdpioy MSS.: corr. Dind. —> 1206 Others give kal dy
xpn Aéyew to AL.
F
66 | BATPAXOI _ 1209—26
\ / 9s \ / > / Al. TovtTi Ti HY TO ANKVOLOY ; Ov KAaVGETAL 5 XE > ¢ > n a ¢ \ an éy €TEpoY aAVT@ TpOoNOYyor, iva Kal yVO,
TaNwv. 1210 ET. Avovucos, b5 Ovpaotot Kal veBpav Sopats \ > / \ kalartos é€v mevenot Lapvaccor KaTA
7™nda xopevov AIX. AnKvOvov amadnrecer. AI. = oioe TreTAHYpEO adOus bro THS AnKvOov. ET. addr ovdev éotat mpayyua: mpdos yap TOUTOVL 1215 \ / > v4 / / TOV Tpodoyov ovy &&et Tpocdrpat AjKVOo?. OUKETTLYOOTLS TAVT AVP EvdaLMoveEr: x \ \ b \ > 4 / n yap TepvKws €oOXos ovK Eves Bior, i Svayevns oy AIS. AnkvOcov amr@nrecev. AI. LEvpiridn: EY. ti €orwvy ; Al, tpécbat pour Soxei: 1220 \ / \ fa) 4 if TO AnKVOLOV yap TodTO TvEevoETAL TOU. ET. 008 av pa thv Anpntpa dpovticapi ye" yuvl yap avTod ToDTO y éxKeKoeTaL. 1223 AI. 101 81 réy’ Erepov, Katréyou Tis AnKvOov. ET. ScdSeveov wor dortv Kddpos éxrurav Aynvopos mais AIX. AnxvO.ov aa@recer.
1210 A comma seems required after yv@: yvG Ranke. 1212 wevcnot V al.: mrevxaco. R vulg. Tragedy certainly used locative-dative forms in -yo., 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. 94sq. In Zq..659 diynxoolno. is retained by Neil. Cf. Av. 867 1220 doxe?’s Mss. : Soxet most editt. —> 1221 mvevoeirar MSS.: corr. Dind.
1227—47 BATPAXOI 67
Al. @ Sapovs’ avdpav, arotpio Tthv AjKVvOor, iva pn Siaxvaion Tos TpoOAOYoUS HUOv. ET. 7 TO Tl; eyo Tpiwapar Tod ; Al. éay meiOyn xy epoil. ET. ov dr, eel moddovs mporOyous é€o Neve 1230 iy ovtos ovy &&ev mpocdrypat AnKvOvov. Il éXow 6 Tavtranretos eis Wicav porov Ooatcowv trmots AIS. AnKiOtov are@rXecev. Al. pds, mpoctrev adOis ad thv AnKvOor. Grr, wya?, éts Kal viv amodos tracy TEYUN’ 1235 Ayres yap 6Borod wdvu Kadi Te Kayabny. ET. pa tov Al’ obtrw y"* tt yap eiot poor ovyyvoi. Oivets wor é« yas AIS. AnKvOsov | aTr@NETED. ET. éacov etreiv Tpar ONov pe TOV oTiXOV. Oiveds mor éx ys ToNUmeETpoV raBov
-
oTAX UD, 1240 Ovovatrapyas AIX. AnKvOov arenrecer. AI. petrakéd Ovav; xal tis av’ bdeireto ;
/ 95 mw NS. ET. €éa avtov, ® Tav’ Tpos Todt yap eitraTo. / / an ZLevs, OS AEXEKTAL THS aAnNOEias Uo, > mn. A / Al. = amroneis* Epel yap, AnKvOLov aTeXece?. \ 4 \ a9 pe al U TO AHKVOLOY yap ToT éeml Tots Tpodo- / yolol aou 1246 @otep TA DK él Tolow opOarpois edu.
1231 AnKvOcov RB al.: AjKvdov V al. For the final tribrach ef. 1203 n. and Introd. p. xxxviii 1235 daédov one Ms. and many critics. —> 1243 ga avrévy V: gacov R: é@a vy avrov (or éagov avrév) al. —> 1245 amodeis R: diode o V. >
68 | BATPAXOI 1248—67
Gn és Ta pédAn Tpos TaV Deady avTod TpaTrov. ET. Kai pny eyo y ws adtov émidciEw KaKov peXoTroLoy OYTA Kal TrOLODYTa TAUT aE. 1250. XO. ti Tote Tpadywa yevnoeTat ; > dpovTivew yap éywoy eyo, | Shed A / > / TI apa peyrpiy eTroloes avopt To ToAv TAcioTa 57 Kal KaXNLOTa péAN TOLN- 1255 caVTL TOV pexpl vuvt. / \ oY He ef Gavpalo yap éywy on pémrpetat mote TovToY Tov Bakyelov avakta, \ / Ik \ > a Kal dSédory virép avTod. 1260 ET. wavy ye pédn Oavpacta’ deifer 69 Taya. eis ev yap avTOU TavTa Ta méXn EvYTELO. Al. kat pavrAoyodpas TadTa TOV Whdov AaBor. an 9 n ET. @6:67° AytdrXed, Ti tmoT avdpo- SadikTov akover | > i?) KOTOV OU TWEAAOELS ET Apwyay ; 1265
4 a / : Eppav wéev mpoyovov tiomev yévos ot / wept Nipvav. >\ 4 bd , > ae b) / in KoTOV ov werdbets ET aApwyar ;
1249 ois (for ws) Dobree. —> || émidelfw R: drodel&w V. —> 1252 dpovrigwy conj. Blaydes and Ed. (with different render- ings). —> 1256 trav én viv dvTwy RV: ray viv ér’ dyTwV al.: trav péxpt vuvi Meineke (led by schol.): vay é@u vuvl Bentley. Qu. tdv émudvrav ? —> 1257-1260 Bracketed by some editors. See note (—>) at 1260 1263 Aoyoduat y attra Dobree. But raira opposes these to the previous quotations. There is a stage-direction diav\vov mpocavdel tis in the Mss. —>
4
1269—88
Al. RT.
Al. KT.
Al.
ET.
Al. KT.
BATPAXOI 69
/ \ / > / / dv0 col Kota, Atcyvnre, TOUTM. Kvdotat Ayarav Atpéws ToAvKOipave pavOavé pov Tat. | 1270 >\ / > / See ee / in KOTOV Ov TEAAOELS ET Apwyar ; / b] / \ , & TpLTOS, Atoyvne, Gol KOTFOS OUTOS. > sede gah: / / ’ , evhapette’ wedtocovomot Oopov Apté- potoos méXas olyeuv ee >\ t 5 / > 9 3 / nage in KOTOV OV TWEAAOELS ET ApwYav ; 1275 4 / > a ¢ / / KUpLos ett Opoetyv OdLov KpaTos aiatov avdpov 3\ / > / 5] > > / in KoTrov ov TwerdOets Ew aApayar; 9 val a \ n an / e @ Lev Bactred, TO Yphua THY KOTTMY OTOP. > \ \ 9 > \ an 73 / éy@ pev ovv és TO Badavetov BovrAopat:. ¢ \ n / \ \ \ n UTO TOV KOoTTMV yap TH vedpw PovBoMd. > p), wplv y av axovons xatépavy otdow PEND 1281 éx Tov KiOap@diKOVv vomwV ecipyaocuernv. y OA / Pee / \ , 1@c 82 wépawe, Kal KoTrov pr TpooTibes. dTas “Ayatav Si@povoyv Kkpatos, “EX- f 7 Adbos Bas, | , toprattoOpat topraTtToOpar: 1285 > / 5 an / / piyya Ovoapmeptav mpvtaviv Kvva TET EL; : / toprattoOpat todrXaTToOpar.
1276 dovov V vulg.: dd.ov al. and Aesch. Ag. 104: és dtov in R represents 6 written in correction over o 1281 piv y dxovens MSS. : corr. Elmsley. Even a tragedian will hardly dis- pense with ay in his colloquial style 1285 jjPas RV:
Bay al.
as in Mss. of Aesch. 4g. 110. Qu. 4Pav (of the several
contingents) ? 1287 dvcauepiay Mss.: corr. Dind.
70 ae BATPAXOI 1289-1307
ou dopt Kab vept TpakTope Oovptos dpvts, TopratToOpar Top\atToOpar. 1290
Kupelvy Tapacyov itapats Kvolv aepopottoss, ToprNatToO pat ToprNatToO par.
TO ouyKkAruvés T Om Alapvte. topratToOpat topAraTtroOpar. 1295 Al. ti 7d dratroOpar tovtr éotiv; ék Mapadovos, To0ev cuvérctas ipovioatpopov pméAn ; AIS. Gd odv éya pév és TO Kadov €x TOD KaXOd 4 rep \ \ >t eae oe nveyKov avd, iva pn Tov avtov Dovviyw Netw@va Movoadyv itepov odbeinv Spétov’ 1300 ovTos © amo TavT@Y pmért héper Tapowiov, oxoriav Mernrtov, Kapicdy avrAnpaTov, Opnvev, xopeav. taxa O€ dyrwOrjoeTas. éveyKaT@ TLS TO AVpLOV. KaiToL TL Sel - Avpas él TovTOV; Tov ‘oTW % Tots Oo TPAKOLS 1305 avTn Kpotovoa; dedpo Moda’ Kiperidov, \ Cee , Fo nes ae L Tpos Hvmep eTiTNOELA TAOL Y GdEeLY MEAN. 1298 Qu. dA’ obv éyw per <y’>? 1301 wey Mss. : médc A. Palmer. —> || ropvidiwy Mss., but ropvecdiwv would be required by metre: wapowlwy (Kock) gives at least a welcome text 1303 xopelwy RV: xoperev one MS. —> 1305 émi rovrov V: émi rovrovrov R, which shows an alteration of ro’rov to rodrov: corr. Ed. —>: él rodrwy one Ms. and several editt. 1307 745 éo7’
vulg.: ray’ éor’ RB: ratr’ gor’ V: rdde y Hermann, but the article would be required ; with ta&{-y’ (Ed.) it is not necessary
1308—32
Al. AI>.
BATPAXOI 71
> An / Ud attn mo8 % Moto’ ovx édeoPialer, ov. ? f AN ae , “@ / GNKUVOVES, aL Tap aevaots Varagaons / KULATL TTMMUANETE, Téyyougas voTiots TTEPOV ¢ me / / , pavict ypoa SpoctCopevas ~e s— He / \ / at @ tmrwpodiot Kata ywvias / / 4 ELELELELELELALT OETE OAKTUAOLS Harayyes / toToOTOVva THVYLO MATa, | 1315 / > nA / KepKkloos adoLldod pendéTas,
iv o piravaros éranrdr€ Ser- his mp@pars KvaveuBorors
— pavTeta Kal otadious.
AIX. ATS.
oivavOas yavos apréXou, 1320 Botpvos éXtKa TavoiTovop. 3
> 9 / mTepiBarr, ® TEKVOV, WrEVAS.
ec on \ eo A Ca opas Tov moda TtovTov; Al. ope. / / n ee tc wn ti Sat; Tovtov opds; Al. ope. \ / \ n 4 TOLAVTL MEVTOL DU TOLWY . 1325 a > \ / / TOAMAS Taua meAn Weyer ; . \ \ / a / ? Ta pev péAn oov tavta. PBovrAouar 6 ert an n a / Tov TaV pov@diav dieEeAOeiv TpoTrov. 1830 5 \ \ o Nuxtos xedatvodans dpova, TiVa poe
1314 The number of ‘shakes’ in elevee . . varies in the MSS. from four to seven. So 1348 (three to six) 1315. icrérova V: isrérova R 1316 Kal Kxepxidos V al. 1329 co ? van Leeuwen
72
BATPAXOI vageoet
SvaTavov dveEtpor
/ 4 b] an méumers €€& adhavods,
"Aida mpoponror, \ BA 4 yuxyav atruyov exorta, / \ a peraivas Nue«tos tatoa, 1335 ppikadn Seivav Opev, feNavovEeKvEipova, hovia hovea SepKopevor, peyarous dvuyas Exorta ; GNAG “ol auditorot NVYVOY aaTe KaNTLol T EK TOTALOY Spocov apaTe, / Pd Oéppete 5 dap, as av Octov dvetpov atoKAvow. 1340 / a iw wovtte Salmon, (one 5] n 3 5% *e TOUT éKkelv* t@ EvvoLKol, -. re , Tade Tépa Dedoadbe, / TOV GNEKTPVOVA fLoV oUVapTrdcaca hpovdn Irven. Nvpdat dpecciyovor, ® Mavia, EvAXNaBe. 1845 ae Mee 3 / z t 2. 0, éyo 6 ad TaddaLva TpOTexXOVG ETVYXOP EWAUTHS Epyoct, Néivouv pweaToyv aTpaKToV ELELELELELELALTTOVTA YEpoLD, KNwWOoTHpa ToLoda, OTS Kvedatos eis ayopav 1350 dépove’ atrodoipav:
1833 mpduorov RV: mpdrodor (mpoc-) al. 1342 ra 6
Erepa R:
1314 erit.
Ta6e répara V: corr. L. Dindorf. — 1348 Cf, note
1352-71
BATPAXOI 73
¢ >] > / > | > / ’ > POE . 0 0 avémtat avéemtat és ailépa
/ a KovboTatats TTEPVYoV akpals: > \ > 4 > YA / éuol & aye ayea KaTerTe, Sadxpva Sadxpuad T am dppatav éBarov éBarov a TAApOD. 1355 arr’, @ Kpfres, “Idas réxva,
/ / / “Ta Toka AaPorvTes ETAapvUVATE,
ie ’ TAQ KONA T GpTardETE, KU- KOU MEVOL THY OLKiaY. dua dé Aixruvva wais a Kara > Tas Kuvickas youve éXOET@ 1360 dia Sduov travtTayy. \ ? oy \ / > / av 6, ® Atos durvpous avéxovoa NapTadas ofvTatas yxe- n id / / poty Exata, tapadynvor 3 / v4 x és [Xvens, Oras ap cicedovoa pwpdcw.
Al. avcacOov 45n TaY pedOr. AIS. Kapouy ars. émt tov otadwov yap avTov dayaryeiv BovrAopat, 1365 e/ > / \ / n / One éEenery Eas THM: WONT VGN, OROH: TO yap Bapos vo Bacaviet TOV pnwaroov. AI. ire Sedpo vuv, elrep ye Set Kal TodTO pe, | avopaiv TonT ay TupoTwAHCaL TeXVHDY. XO. , émitrovoi x ob bef col. 1370 T0de yap €repov av Tépas 1359 mats “Apreuis kahd Mss.: corr. Kock 1362 dévurd- Taw al, —> 1366 do7ep aenéyEer (or y’ éAéyéer) and pudvos al, —> 1367 v» RV: v@v some editt. from one Ms.
74 | BATPAXOI ‘1372-87
/ > / | / VEOXMOY, aTOTTiAaS TEWD, A / \ b) / 7 0 TLS GV eTrevonoevy AXXO ;
\ / > \ ae SCRE) oh y pba TOV, éym pev ovd av el TUS BY f lal ? /
ENEYE MOL THY ETTLTUYOVTOD, 1375 > / b) b he Xx émlOounv, AXrN mony av \ \ a QUTOV avTa Dypeiv.
AIONTSOS. AISXTAOS. ETPITIIAHS.
TMAOTTON AI. (0: vuv rwapictacbov Tapa To TAAOTLYY » AI. ET. | idov: AI. kali AaBopévw TO pw ExdteEpos elraToy, - kal pn peOncOov, mpi adv éya od@v KOKKUT@* 1380 AIS. ET. — éyopeda. Al. ToUTrOS VUV AéyeToV eis TOV oTAO MOP. ET. ¢10° ddher “Apyods py Statracbar oKapos AIS. Sarepyece wotadpée Bovvomou tT étre- oTpopai, AI. koxkv, péOecbe: Kal Torv ye KaTwTépw yapet TO Tobe. ET. gai ti mor éotl TATLOV ‘4 1385
Al. 6ru eicéOnne TroTapmov, épvoTT@NtKOs = / “a. Uypov Toncas ToUTOS WaTEP TApLas
1373 émrevénoev V: érolncey R 1878 ic 67 RV: tr vuv al. ; cf. 372 1384 wedeire MSS. and in 1893: péOecbe
Porson, but it is not easy to see why the corruption occurred. meOtere may possibly be right
1388—1404 BATPAXOI 75
\ b) > / 9 b] / av © eicéOnxas TovTos émTepwpévor. EY. add €tepov eidtw Te KavticTnoaTo. AI. rAdBeobe troivuy addres.
AIS, ET. jw idov. Al. réye. 1390 EY. ov« éots IlesOotds tpov adXO TAHY
NOyos.
Al>. povos Oedv yap Odvatos od Swpor épa.
AI. péOecOe: péOecbe: Kal To TovdE xy ad c/s péres’ 1393
Oavatov yap elo éOnke Bapvtatov KQKOD. ET. éyw 6€ wes0e xy, eros dpioT EL pNLevov. \ \ an Ee 5] \ na > 54 Al. metOm dé Kavpov €EOTL KAL VOUY OUK Exo. . ann’ Etepov ad Enter Te TOV Bapucrab pon, 6 Te coe Kabér€en, Kaprepov Te Kal peya. ET. gépe rod towotto SjTad povoti; Tov;
Al. dpaca: BéBrAnk ~Aywrreds Sto KvBo kat TEéETTApA. ~ 1400
deyour’ av, Os we ‘ott AOLTH Thor oTACLS.
ET. oudnpoBpibés T éraBe Sefua Evrov.
AIS. és’ dpparos yap adpua Kat vexp@
veKpos— Al. é&nratnkev ad ce xai viv. EY. ro TPOTT® ;
1393 peOeire uebeire MSS.: corr. Porson, but perhaps pebted’ tere is right, cf. 1384. —> ‘Won Leeuwen gives kal 7rd roddé KTr. to Euripides 1394 xkaxdv RV: kaxy al. 1403 Qu. Kav (for cal)? —>
76 | BATPAXOI 1405—24
AI. 60° dppar’ eionveyxe kal vexp@ dvo, 1405 a > x 4 > xO? ¢ \ >] f ods ovK av apawT ovd éExaTov AlyvmTuoL. AIS. kat ponnér Ewouye Kat émos, aXN és TOV arab op avTOS, Ta TaLol, % yuVN, Ky puoper, éuBas Kadnodw ceo Ta BuBria: 0. A \ eee A n 7 A Pde / éyo O€ Ov ern TOV éEua@v ép® povoy, 1410 Al. dvdpes hiro, Kayo pev avTods ov KpLWa. ov "yap ov exFpas ovdeTépo yevmoopat. TOV pev yap Hyovpay copor, To & HOOmat. IIA. ovdév apa mpakews @virep 7AOEs ovveKa. AI. éav 6€ xpivo ;
ITA. Tov repov AaBov ame, 1415 )
a ne 5 / > >of \ s * omToTepov av Kpivyns, Ww EhOns wn pwarny. AI. evdarpovoins. hépe, wvOecOE pov Tadd. éya KaTnrOov 'ért montnv. ET. tod Yap ; AI. ty % rods cwbeica tods yopods ayy. ¢ / 9 x n / / OTTOTEPOS OVY AY TH TrOAEL TrapaLVETeELY 1420 MEAN TL XpNETOV, TOdTOY aEEW poi SoKe. a \ i \ 9 10 i> mpatov yey ovv tmept AXKiBiddov tiv eyeTov yvenpny exaTepos 3 H TWoNss yap Ova ToKel, ET. éyev O€ wept avtod tiva yvopnv ;
1405 clonveyxe R: elcé@nxe V. The common source may
have been eioévynoe (‘ piled in’) Ed. 1406 do’ Dobree, but the gender may be attracted 1410 pdvov R:. péva V. Both are correct, but the sense slightly differs 1411
dvdpes MsS.: corr. Dind. || dio R: codol V. The preceding -s might either produce an c- or cause its loss; but oid better suits the next line 1411 avros R, which is possible
1424-38 BATPAXOI 77
Al, Tiva ; Tole pév, €vyOaiper dé, BovrAeTas S 4 EVEL. 1425
GXX 6 TL voeiTov, eimatov TovToU Trépt. ET. ptoe Tronritny, dots @perety TaTpav Bpadd’s daveitar, peyadda Se Bra- —Tew Taxvs, Kal TOplmov AUTO, TH TWONEL © apn-- Yavov. 1429 AI. ed y, & Tlocedov: od 5 tiva yropuny exes; AIS. [0d xpi) A€ovros cxdbpvov év réd|ew Tpéperv.] pddtoTa pev A€ovTa pn Vv Tore TpEedewy, hv & éxtpadn tus, Tots Tpomows Uarnperety. Al. wv) tov Ata tov cwrihpa, dvcKpitas y eyo: 0 pev copas yap eimev, 0 8 €rEpos Tapas. GN ETL miav yvoOpNV ExaTepos elTraToV 1435 Tepl THs Toews HvTw exeTov cwTnpiav. ET. éyo per oida Kai Oérw dpaterv. - Al. eye. 1437 (= 1442) ET. e tus rrepdoas Kreoxpetov Kuvyoia 1438 (=1489)
1428 gaveirac R Suid.: répuxe V: mépavrar (wédnve ?) 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 éxrpadp MSS. : éxtpépy Plut. Alc. 16. —>
1434 6 0° repos cop&s 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) xa0é\w is no improve- ment. —>
78 , BATPAXOI 1439-57
7 9 / e \ / aipoley avpat TedNaylay uTép Taka, / / rn > Al. = yédovov av daivorto: votv & éyeu tiva; > lal bd EY. et vavpayotev, nat éyovtes d€idas 1441 aR ? \ / na 2 f patvorey €s ta BrEhapa ToV évayTioV. Al Dy, @ ladapnses, @ t j - €vy,® lladayunoes, © copaTtaTyn duos. \ / 9 b} \ & XK nw TaUVTL ToTEep avTOS nupes 7 Kndicopar; \ / \ ’ a EY. éy@ povos: tas 8 d€idas Knduicoddv.. 1445 (=1453) ["Exédoors ’. EY. é6rav ta. vbv drvora ric’ nyopeOa, 1446 (= 1448) ta 8 OvTa trict drucTa. Al, TOS; ov pavOavu. b] A / > x \ A apaberrepov mus eire kal cadéeorrepov. ET. = ci tOv wodtTov oict Viv TicTedvoper, rovTos amutyoaipev, ois 8 ov ypdpeba, tovToi. xpnoaiperO, iows owleipev av. ei vov ye SvoTvxovpev Ev TOUTOWL, TOS TavavTl av mpattovTes ov awloine? av ; 1453 (=1450)] / 7 AI. i dat Ayers ov;
AIS. THY TOY VOY por dpdcov Tp@TOV, Tiol YpHTas: mWoTEpa Tots xpN- OTOL }
Al. moev ; 1455 pices kaxvota. AIX. tols tovnpois 8
MOETAL ; | AI. ov dr éxeivn y, ara xphnta mpos. Siar. 1439 (=1440) Qu. dépiov dpar? 1441 (=1442) xar- éxovres RV 1444 (=—1452) edpes Mss. ; cf. 806 1451 (=1448) Text V: xpnoaliuecOa cwlelnucy dv R: xpnoatuecd’ isws owbeinuev dy al. —> 1453 (=1450) rdvavtia MSS. :
corr. Dobree || rpdrrovres V: mpdéavres R
1458-78
AIX. Al. AIX.
Al. AIS.
Al.
ITA. Al.
ET~ Al. EY. AL, EY. Al.
ET. Al.
BATPAXOI 79
A i 3 / / TOS OU TIS AV GMOELE TOLAUTHY TOXLY, A / / / ) Te xYAaiva pynTEe clovpa cuphéeper ; y | eUpioxe vy Ai’, eirep avadvcet Taw. 1460 a 3 / éxet dpaca av: évOadi & ov Bovdropar. nN ] pn Sta ov y, adr évOévd avier Tayabd. a \ ca) / THY Yhv OTaV Vopicwol THY TOV TrONELLWY 5S / \ / A civat odetépav, Thy dé oheTépay TOV TONELLOD, 1464 / \ \ a b) / \ \ f Topov S€ Tas vais, atropiay O€ TOY TropoP. > / e \ \ / ev, TANVY Y O OLtKATTHS aUTAa KaTaTriVEL / fLOvos. , Yd Kplvos av. WA n / / auTn opwv Kplois yevnoeTat. e / \ ¢ e \ / aipnoopar yap ovrep 1) >Wuyn Oéreu. an fal f pepvnjevos vuv TOV Gedy, oS Wpmocas, 1469 5 \ > / > 5y bs] e an \ / h pny amakew pw oiKad, aipod Tovs didous.: ¢€ an ) a | / b] ? / > id / HYA@TT opwpmox, Atcyvrov 5 aipnoopar. , / S ? / TL O€0pakas, @ plapwTat avlpwror ; eye ; BY 4 n ? / \ \ 7 expiva vikav Aioyvdov. Tin yap ov; y > alcyiotov épyov mpooPBréTeELs p / elpyaopévos ; / 5 > / x \ A fa / Th alaypov, Hv pn Tos Oewpévors S0Kk7 ; 1475 a , / \ /
@ oyeTde, Treproirer we 61 TEOvHKOTA ; / 76 > \ A / > ra Tis oldev E6 TO Chv pév Eats KaTOavet?,
\ A \ a x \ / TO mvel bé SeiTrveiv, TO S€ KabevdeLv K@OLOV ; fy
1474 Epyov eipyacuévos mpocBdéres R (uw Epyov V): epyov pw’ épyacdmevos al.: corr. al.
80
IIA.
ITA. Al,
XO.
BATPAXOI 1479-1503
@pette Toivuy, -@® Atovuc, elow. Al. Xp
f /
TL dal;
/ / \ \ > a wa Eeviow of@ mpiv arroTeiv.
ev ToL Déryers 1480 \ \ /9 3 \ ” n / vn Tov Aus ov yap axyPopat TO TPaypyaTt. pardpios y avnp éyav Evveow nKpiBopéevny, mapa dé TodXolow pabeiv. dde yap ed dpovely Soxnoas 1485 TAaNW aTELTLW OlKAS ad, ee > mm \ n / é7 aya0@ pev Tots ToXtTaLs, pe: b] “ \ a ¢e n ém ayale@ Sé Tois éavTod / \ f Evyyevéot Te Kat didowcs, Ova TO GUVETOS Eivat. 1490 xaplev ody pn Loxparer TapakaOnwevov aneiv > / \ ATOBAXOVTA MovoLKHV Ta TE péyloTa TapadiTrovTa THS Tpay@douchs Téxyvys. 1495 To © éml cepvoiow Royoot Kal oxapipynopotor Ajnpeov SuatpuBnv apyov trocicOas Tapappovouvtos avdpos. dye 6 yalpwv, Aicytre, yadper, 1500 \ / / \ € Ud id ow@le TroAw sie icab ee >] nw yvropas ayabais, Kat tratdevcov \ > / \- > > / TOUS avontous* ToAXol 6 eiciv:
1482 wakdpids y RV: waxdproy schol. 1497 cKapigi- gpotor al., but the verb-stem is cxapidpa- 1501 The con-
jecture duerépay is an error. —>
1504—1528 BATPAXOI 81
cat dos tovtt Kreoparvts hépar, KAL TOUTL TOLoL TOpLa Tats, 1505 / / > ¢ a \ / Mippnki @ opod cai Nixopay@ / Fi-¥ / Tooe & “Apyevouq: \ 4 & > na / c/ Kat ppag avtois Tayews Kew & HX \ \ \ / @s éue Sevpl Kal pn pédrewv" XN \ / 4 FAN KAV PN TAXEWS NKWOLV, EYW 1510 vy tov AmroAXw otit~as avtovs Kal oupTrodicas per “Adexdvtov tov AevKorodou KaTa YAS Taxéws amroTréuapo. AIS. tatdta rojow: avd dé tov OaKov 1515 \ > ee. / an a Tov éuov trapddos Lopoxdel Typeiv Kal diacwdlew, iv dp éyo Torte dedp adbikwopat. TodvTov yap éyw copia Kpiva Sevtepov civas. / 2 ee: 4 ¢ a ee, PELVNTO & OTws oO Tavoupyos avnp 1520 Kal vrevdoroyos Kal Bwpordoyos pndérot eis Tov OaKkov tov épov - > A > an pnd axov éyxabedetrat. IIA. daivete toivuy tpets TovT@ Aapmddas lepds, yada WpotéumeTe 1525 TOloLY TOUTOV TOUTOV péAECL) . Kal poATraiowv KeNAdODYTES. XO. mpata pév evodiay ayabny amvovte TonTh 1505 rotro R: rovrow. V: rovti al.: Tovrovai (sc. rods Bpdxous) Bergk : rovrovyi Elmsley. —> 1515 Opdvov RV: Oéxor al.: corr. Bentley ; cf. 1522 1517 Kal diacwfew.R: kal owfey cett.: kal wo omgfev Bentley: xdel o@few (Ed.) is a likely
common source of the readings 1522 OGxov RV: O8xor al.; ef. 1515
G
82
BATPAXOI 1529—33
> / > / / / id \
és dos opvupévw Sote, Saipoves of Kata yatas,
™ O€ Tore peyadtov ayalav ayabas > / ETTLVOLAS. (1530
Tayxv yap ek peyddov axyéwov Tavoai- (ped ap obras
apyaréov T év Ordos Evvodor. ’ Ky¢o- pav & payécOo |
KaAXNos 0 BovdAdmevos: To’TwY TaTpioLs éy apovpats.
1529 yaias R: yatay cett. The influence proceeds ‘from beneath.’ Cf. (barely with that excuse) Aesch. Cho. 473 @edv
ef
Tay KaTa yas 60 tuvos
NOTES
ENTER Dionysus, dressed in a saffron-coloured xirwy and wearing the soft high boots called xé@opya. Over his effeminate tunic (see 46) he has thrown a lion’s skin (Aeovr}) in imitation of Herakles, and is also carrying a club (pé7adov). As a traveller he is probably wearing a brimmed hat (7éracos). Xanthias is mounted on a donkey, but is carrying across his shoulders a pole (dvdgopov), from either end of which hang bundles of travelling baggage (cxe’y including orpwyuarddecpua). [The ass is got rid of at the first change of scene. ] i
The names of slaves were chiefly derived from (1) the colour of their complexion and hair, e.g. Zav@ias, Iluppias, (2) the country of their origin, e.g. Zvpos, Ppvé, Téras, (3) names frequent in their own country (éyxwpia dvduara), e.g. TiBros (Cappadocian), (4) names of kings of such countries, e.g. Midas (from Phrygia), (5) names of good promise, e.g. Dwolas.
1. tdv eiwidtwv: sc. AéyecOa. The use of this neut. . partic. as a simple.adj. (=70ddwv) is frequent.
Though Aristophanes chooses to ridicule the cheap buffoonery and clap-trap phrases which pleased the more vulgar part of the audience (@éarpov), 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 (77. 307 Dind.). In Pac. 748 he claims to have done away with the stock jokes of whipped slaves and similar kaxa& kal pdprov kal Bwyoroxetmar’ ayevv7, but here he is insidiously introducing them while pretending to despise them.
2. ép ois . . yeAGouv: i.e. in amusement, while & yedGow would express scorn.
ae{ is cutting: ‘they never fail.’ The audience come in for their share of the reproof.
Phe & te BotAe ye: ye gives an intonation; ‘whatever you tke.
83
84 THE FROGS OF ARISTOPHANES 9
TwAHY weetonar. 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). méfouar and ws OAlBouar were some of those cant and vulgar terms which enjoy a vogue for a time without much humour in themselves.
4. wavv.. xodn, ‘it has become positively sickening’ (not only to the speaker, but to people in general). Writing éo7’ we may compare (the subject being roiro) Ach. 125 ratra djr ovx ayxovn; and contrast Hor. Sat. 2. 6.32 hoc tuvat et mellt est. This seems more natural than éo7’ (=‘for by this time there is utter disgust with it’).
xoAq: cf. Hor. Hp. 1. 19. 20 bilem . . . vestri movere tumultus. An anonymous epigram has ws kai rod uédros 76 mwhéov é€otl XoX7.
5. pyd’: sc. clr. i
doretov : urbanum ; ‘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 dypoxdr. Aristophanes is sarcastic at the prevailing notions of wit.
6. To mdvu yédouv, ‘what really is funny’; lit. ‘that really funny phrase.’ But Di. anticipates his ‘really funny’ phrase and forbids it; whereupon Xa, is in despair. [yeAotov is not the Attic accentuation. |
7. ékeivo: tllud: ‘ that (favourite or notorious) phrase.’
to tl; The article is prefixed to ri or wotos mostly when the question refers to something already mentioned (cf. lequed ?). Like the present place is Plat. Phaedr. 277 A 2Q. viv dn éxetva Hon Suvdueba xplver. PAI. ra wota ; (Kiihner-Gerth, Gr. Synt. § 465. 2).
8. peraBadrAduevos: middle because the action is reflexive. The bearer who shifts the pole from shoulder to shoulder gives himself a change.
ravadopov. The dvddopor (or dovdda) 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 Ta oTpwpara (Xen. Mem. 8. 18. 6) tied on one end and the other baggage (cxe’n) on the other. For illustration see Smith, Dict. Ant. i. p. 211.
dru xeLnrids, ‘that you are fit to burst.’
9. tl Sr We u«.t.A.: not=det, but sarcastically : ‘what was the use of your giving me 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.
Tatra Ta oKei’yn. Tatra (iste) is frequently contemptuous (cf. rovrwy in v. 14)=‘ your old baggage.’
13. elrep wojow . ., ‘if ] am not going todo...’ More commonly eizep wédAX\w tojoev. For this fut. ef. 20 (épet), 1460, Av. 759 alpe wrAKrpor, ef waxel, Vesp. 1263 uabnréov rip’ €oTt modXovs Tav Adywr, | elzep arorelaw under.
Ppivixos: a rival comedian now competing with Aristophanes. His Motoa: 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. elw0e wrovetv: 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.’
Adis: possibly a nickname. If there was a writer named Lycis he is unknown. Kock, however, reports that the letters ATKIZ appear in a fragmentary inscription recording dramatic victories, and therefore it is too bold to read the conjecture xd7l)ukos. ;
"Apenplas: 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. okevnhopoto”. 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 oxevngopodo’ and the common punctua- tion) the construction is elrep rojow undev TrovTwy d&mrep Ppivixos elwOe moteiv Kal (darep) Avxis kdperwlas cxeuvngpopodor, i.e. ‘if I am to do none of those things which P. is accustomed to do (or. ‘put in his pieces’) and (which) Lyc. and Am. do when carry- ' ing baggage.’ The idiom pydev dvrep . . oxevndopoicr is sufficiently Greek in itself, the accus. being internal. Thus
86 THE FROGS OF ARISTOPHANES 16—26
Ta0Ta oKkevnpopovo.=‘in this way do they carry baggage ’= ‘they do this when carrying baggage.’ Cf. inf. 833 dep éxdorore | év Tals Tpaywdlaow éreparevero, Ach. 647 éxelvwy av évavpaxnoauev, Dem. 18. 198 Snrots dé cal é& dv FFs (‘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 (xwv Avs). Even so wd rather than cal 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 moety and translate ‘Also Lycisand 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 rov’s oxevodédpous (Fritzsche) the accus. should depend on soveiy, i.e. ‘if I am to do none of those things which P. and L. and A. are wont to do éo their baggage- carriers.’ Possibly, if further conjectures are ee we might suggest <ws> sxevopopoto’ ‘when they .
16. pa vuv Tonoys: sc. avrdé or olrws; cf. Soph. Aj. 1155 ef yap twojoes, ict mnuavovpevos, Verg. Aen. 1. 62 ni faciat, Hel. 2. 44 et factet.
éy® Oedpevos, ‘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. rotvtwv: cf. 13.
18. mwAeiv . . damrépxopar, ‘1 80 home an older man by more than a year.’ These old jokes ‘age a man so’; cf. Cic. de Or. 2. 59 seniwm est cum audio. The schol. quotes Hom. Od. 19. 360 ala yap év kaxéryntt Bporolt KaraynpdoKover. So stale and weary jests are said dmoAvvat, drroxvalev, oparrev. [ret should not be called a ‘ contraction of wéov.’ ]
20. Sre: clearly better than rv. In the sense of the latter the comedian would have preferred ei. OAtBerar: slyly getting in the forbidden word (5). Td yéXovov, ‘the (usual) funny thing.’
ovk épei, ‘is not to (be permitted to) say’; cf. 138. Those who alter to ép@ 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. cir’: indignantis, as often. For the form of expression cf. Lys. 659 tadr’ ovx UBpis Ta mpdypmar’ earl wodd7 ; 22. Sr’: i.e. dre (67 cannot suffer elision).
Audvucos vids Zrapviov. Dionysus is the freeborn Athenian master with a patronymic (like Nexias Nexnpdrov, Anuoobévns Anuoobévouvs), while Xanthias, being a slave, ‘has no father.’ Ct. 631 n. So the breadwoman in : Vesp. 1396 cries ovro pa Ta Oe Karampoléee Mvuprias | ris “AyKuAlwvos Ouyarépos Kal Xworpdrns (=‘I1 would have you know I am a freeborn. Athenian woman’). The metre here is in keeping with aggrieved dignity.
XTapviov. A orduvos or crapuvioy is a wine-jar, and Di. is the god of wine. But there must be some joke beyond the substitution of Zrapuviov for Avs. Zeus had many titles, and a Zevs orduyios is invented on the analogy of Zevs piduos, tév10s, etc. Possibly also there is a pun on raylov. 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 Zrayviov would recall. |
23. avros: implying ‘the master’ (ipse). See 520 n.
6x6, ‘give him a mount’ (more commonly ‘carry’). Cf. Xen. Hipp. 4. 1 det rov tmmrapxov mpovoeivy brws dvaraty Tovs imméas Tov Badifew, uérprov pwev dxovvTa K.T.X. .
24, Wva pi} tadaurwpotro x.t.A. The opt. depends on the historical tense (éxetc@ac elaca) implied in the thought, viz. ‘I permitted him to ride (when we set out).’ Cf. 766, Vesp. 110 WHdwv dé deloas ph SenOeln toré, | tv’ xou Suxdfew, aiyranddv évdov rpéper (i.e. cuvédetev Ware Tpéperv), Dem. 22. 11 rodrov éxeu Tov Tpdtov 6 vduos, tva unde meoOqva . . yévor éml Te Shuw (i.e. éré0n wore Exe). Kiihner-Gerth § 553. 4a.
The line sounds like a quotation, with dx@os ¢épo originally metaphorical. This gives point to what follows.
25-30. ov yap dépw yo. 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 unprofit- able to seek. Xanthias cuts short the logic with a philistine appeal to facts, ‘all I know is that this shoulder—méferac’ (30).
26. dépwy ye tauti: sc. pépw, (why, I am bearing) by bearing this.’ There is quibbling with various senses of the words in dépw, tiva tpdrov, Bapéws, Bapos. To tiva tpdirov; ‘how 2?’
88 THE FROGS OF ARISTOPHANES 290-35
(logically), Xa. answers as if it had meant ‘in what manner ?’ Bapéws wavy plays upon the physical sense and the mental (=moleste, aegre ferre): ‘it makes me sore enough.’ Td Bapos rod0’ takes up Bapéws, ‘your said burden (and your said soreness).’
27. otvos: better than dvos (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. ob... ob. .: the first od belongs to pis only, ‘ since you (unlike me) say the donkey does you no good, it is your turn to carry the donkey.’
33. Tl yap éy® otk évaupdxovv; lit. ‘why was JZ 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). Cf. Dem. 21. 163 otk dvéBaw’ émi rHv vadv ‘he would not go on board’ (lit. ‘he was not for embarking’). Xen. Cyr. 1. 4. 21 éudyxero ovdels, GAN’ dwaxnrt adrwddurTO (‘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 effort 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. kaxtew pakpd, ‘a long be-hanged,’ instead of ‘a long farewell’ (xalpew). Cf. Vesp. 584 kddew tyuets paxpa Thy Kepady eimrévres TH SiaOnKyn, Hor. Sat. 1. 10. 91 te . . tubeo plorare. [uaxpd is not strictly identical with meydra, ‘loud,’ but=(1) ‘long’ in duration ; (2) sounds which carry far (Homeric paxpdv avreiv). ]
35. xataBa: the intrans. aor. of imperat. compounds of Balvw is formed either thus or (more commonly) with -Byé. The latter represents the imperat. ending -@: (in i@:, tc 6) added to the root Ba (Attic Bn), while the former is the root-grade Ba with imperat. ending -e (in pépe, etc.). Thus we have xard-
Ba-Ot or kard-Ba-e. Similarly riuha. 35-37. kal yap éyyts . . tpaméoOar. The rhythm points
to parody or semi-quotation. In that case we may join eiui with Badigwr by what is known as the schema Chalcidicwm.
35-39 NOTES 89
Cf. 761, Soph. Aj. 1320 kdiorrés éopev, ibid. 1824 dpdv yap jv rowatrad pe, Eur. Cycl. 381 fre rdoxovres, etc. Otherwise we should better construe éyyts eluc ris Ovpas, Badigwy (‘as I trudge,’ opposed to dxovmevos)=‘my trudging has at last brought me. .” Cf. Hecl. 1093 éyy’s 4dn ris Ovpas | EAXxdpevds elut, Plat. Lys. 204 B réppw Hon ef mropevduevos Tod Epwros,
37. er: as part of my plan.
madtov, mat, mpl, wat. [The hiatus is allowable in the colloquial phrase.] The porter (@vpwpéds) is called three times (the tragic év rpiros mpoopbéyuacww) as in Nub. 1145 wat, rut, mat, mat, Aesch. Cho. 651 rpirov 768’ éxrépaya dwudtrwr Kare. The call is accompanied by loud knocking, either with the knocker (jérrpov) or more generally with beating upon the door (xkpovey, kdrrew) with fist or stick. ‘What ho! there! boy ! what ho !’
mpl. The only parts of the verb which are found are jul, got and the aor. jv (8 eye), H (8 bs, & 9H).
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. Nuwb. 133 sqq.). Herakles, acting as his own porter, keeps up the tradition. |
@s Kevtavpikas. The Centaurs were proverbial for tSpis (Xenophanes 1. 22). Among his other deeds as pioneer in civilisation and destroyer of monsters Herakles had fought with the Centaurs. The story of Nessus is also well known. Hence the choice of this word as=dpiorik@s. ‘A savage way, indeed, to knock at a man’s door!’ Cf. Plaut. Zruc. 2. 2. 1 quis tlic est qui tam proterve nostras aedes arietat ?
39. évydad’: an exaggeration, but suited to the act of a Centaur. Literally in Soph. O. 7. 1261 atdats durdaits évjrar’, éx 0€ mruOuévwr | Exdiwve Kotha KAjOpa. That kicking at doors was sometimes resorted to appears from Terence (who imitates Attic comedy), Hun. 2. 2. 54 istas (sc. fores) . . calcibus insultabis frustra. [Greeks and Romans ‘kicked’ with the heel, as the make of their shoes would prompt them to do.]
Sotis: guicumque. We should rather supply év7j\aro than jv. More fully doris might be Soris 54, boris moré, or doris dqmore. Cf. Hor. Od. 2. 13. 1 tlle et nefasto te posuit die, quicumque primum (sc. poswit).
90 THE FROGS OF ARISTOPHANES 39—46
rourt tl qv; ‘what might this mean?’ So 1209 and Ach. 767 rourt rl fv 7d mpdyua; The imperf. as in v. 48 ot yijs dredjues ; (‘ Where might you be going abroad?’). The use is akin to that of jv 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. o mais. The nom. with art. is more lordly than the vocative, cf. 271. We must supply e.g. dxovérw.
41. pi palvoud ye: sc. eee, ‘Yes! afraid you might be mad.’ ‘ye stresses uatvouo.
42. ov . . Sivapar pi} yeAav. The negative infin. after the negative ov d’vauac would more commonly take ui od (Kiihner- Gerth § 514. 5, Goodwin, MZ. and TJ. § 815), but ui alone is found too often to provoke suspicion (K.-G. 5 h). Cf. Aesch. P. V. 106 aX’ ot're avyav ore wn ovyadv rixas | ofdy Té pot T4060’ éorl. Metre of course lends no criterion, since uy ov forms one syllable. Both uses are combined in Xen. Mem. 34 ore un meuvjcOar d’vamar avTov, oTE peuvnuevos UH OUK eratvely.
[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. Sdxvw guavtév. From biting the lips comes a colloquial expression ‘to bite’ in the sense of putting on restraint. Cf. Nub. 1369 rov Ovpdv daxdv. More explicitly Soph. Zrach. 976
ard’ toxe daxwv | crdua oor..
45. aroooBfjcat. There may be a play upon drocBéoa (cf. yéhws doBeoros), but there must also be some further reason, lost to us, for the present peculiar application of dzocoPeiy. Tov yéXwv isa mapa mpocdoxiay for, e.g., Toy PdBov ; drocoBelv 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.
yé&Aov and yé\wra both occur in comedy, the former being specially Attic.
46. él KpoKwTo@ Kepevyv : i.e. the Acovr7 is a sort of iudrior to the xpoxwrév (= xiTav kpoxwrés). The latter was a saffron- yellow garment worn for show by women over the xiTav proper,
47-51 - , NOTES 91
but without itself being tudriov (Dict. Ant. i. p. 564). Only very effeminate men could think of wearing this colour, but— like the «d@opvos—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. tis6 vots; ‘ What is the meaning of it?’ Cf. Av. 994 ris n wivoa; So the verb voeiv, e.g. Plat. Huthyd. 287 E Hpov, 6 re vooln TO phua.
tl KdBopvos . . EvvyndASérnv; Cf. Thesm. 140 ris dai xardér- Tpov kal Eigous Kowavia ; (of Agathon the yivus). The xd0opvos is a woman’s boot (Hecl. 346, Lys. 657), soft, and capable of being worn on either foot. Its effeminacy appears also from Hdt. 1. 155, where Croesus, recommending Cyrus to make the Lydians yyuvaixas dvri dvdp@v, would have them wear xé@opro. [The use of cothurnus for the tragic buskin is not Greek, but Roman.] In fvvnddérny the dual is deliberately used to emphasise the peculiar ‘ pair’ the two things make,
48. wot yfjs amedqpers; 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.
émeBarevov Krdeodéve. 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 ypapparevery rivi etc. For the sense cf. Thue. 8. 61 "Avtiobéver émiBarns EvveEnAOe. The émiBdra (milites classiariz) were the fighting men, who generally numbered ten to the trireme. Cleisthenes is to Aristoph. the type of effeminate and dissolute youth (Hg. 1374 etc.), and the notion of either Cleisthenes as trierarch (a duty imposed as a Ayrovpyla) 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. % 8o8ex’ H tpeokalSexa: ‘it may be a dozen, it may be thirteen’; it was difficult to keep count exactly of such a trifle.
51. oH; i.e. ‘a pair of fellows like you!’
Kat’ tywy’ éEnypdpnv: ‘And then J 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. 1908). Xanthias of course indulges in derisive gestures, but he must occasionally also speak (cf. 87). é@ywy 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 J woke (if yow did not).’
52. kal Sr’: resumptive of v. 48; ‘and, to come to what we were saying. .’ Cf. Vesp. 13, Plat. Prot. 310.
avaytyvookovTe . . Thy “Avdpopédav: 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 ‘the Andromeda.’]
54. ws ole. : grammatically a parenthetical question. The corresponding English is ‘you can’t think how much.’ Cf. Nub. 881 kak rév odiwy | Barpdxous émrole m&s Soxeis (‘you can’t imagine how well’), Plut. 742 etc. The use is found in tragedy, comedy and prose. Cf. Plat. Symp. 216 D dvorxOeis wbons olecbe yéwer cwppootvys.
55. md00s; mdéoos tis; Point is given to this query only if we assuine that Herakles draws himself up at the word érdrate and is prepared to deal with the 1600s which has ‘struck’ his ‘little brother’ (60). ‘Struck you, did he? How big was he ?’
pixpos HAtkos Moéd@v. The precise sense of these words is perhaps not now discoverable. It is altogether improbable that Dionysus would reply that his 7660s was puxpds. Even if ironically spoken the word seems to lack humour. There appears at first sight to be an almost exact correspondence with Plaut. Cure. 1.°2. 14 (taken from Attic comedy). A. Sitit haec anus. B. Quantillwm 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 (Awmodvrns). While Eustath. (p. 1834. 27) states that MéA\wves=ol rappeyé- Ges, the schol. reports from Didymus (ob. cire. A.D. 10) that the AwrodvTns was a small man. The actor would necessarily be of good stature.
That the 7é0os 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 puxpds HAikos MéAwv by ‘as big as Little Molon,’ under- standing (6) Mcxpéds to be an ironical nickname applied to a huge man (cf. ‘the Woolwich infant’ and the like). Cf. Iuv. 8. 32 nanum .. Atlanta vocamus and context. Such nick- names were frequent. Cf. Xen. Mem. 1. 4. 2 ’Apiorddnuov rov
58—64 NOTES 93
Mixpov émixadovpuevory, Strab. 14. 2. 26 6 Madakds ’Amoddwri0s. The objection to the order (if we do not actually transpose with HAtKkos pukpds Médoyv) 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 pixpds being contradicted by the last Médwv.
58. ov yap GAN’ x.7.A., ‘for, really, Iam in a bad way’: a common elliptical -expression. Of. 192, 498. [There was apparently an early confusion between ov yap dAdo (éoTiv #) . . and ov yap (rocovrws éxex or the like), dAAd . . But the analysis of such combinations is generally a slippery matter, and ov ydp, d\\d . . (‘it is not so, but . .’) may after all be the origin. |
59. Tovotros twepos K.t.A. His painful case calls for the tragic style, in which he is naturally an adept, as god of the theatre and lover of Euripides. tpepos is scarcely conversational Attic, though employed in the higher prose of Plato. Cf. dapddmrer (66). :
60. otk txw dpdoar, ‘I cannot (find words to) express it.’
61. Spws ye pévrorw.t.A. The rhythm suggests tragic quota- tion. By aiveypds (or alvvyua) is meant any indirect, allusive, figurative form of expression, in place of speaking dm)d@s, cf. Aesch. P. V. 637 ob« éumdéxwr aiviymar’ adX’ arr@ Adyw, Anaxil. ap. Athen. 558 at Aadoto’ ardGs péev ovdév, AAN Ev alviypols Tot.
62. #5n . . érvovs; 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., Kur. Ale. 749 sqq., lon fr. 29 twd dé ris etbpnuias (inrias *) | karémie kal Ta KGa Kal Tos dvOpaxas, and the proverb ‘Hpaxdjjs éevigerar. In Athen. 411 there is an elaborate description of his ddngayia. 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.
€rvovs: soup or brose of peas or pulse; cf. Hg. 1171 érvos tiswov. The schol. tells us that it was a favourite strengthen- ing food for fighting men. [érvovs is brought out after a brief pause, as a half surprise, in place of something more noble. ]
64. dp éxSiSdoKw «.t.A., ‘Do I make myself clear, or shall I express it another way?’ According to the schol. half the line is from the Hypsipyle of Euripides. With érépg cf. ravry, THE, and for the synecphonesis (7 érépg) or prodelision (4 ’répq) — whichever may be correct—see Introd. pp. xli sq.
94 THE FROGS OF ARISTOPHANES 66—73
66. Sapddamre: see 59 n.
67. Kal Taira tod TeOvyKdros; usually xai ratra 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 radra its meaning, which is simply
‘and that too’ (idque), and is theoretically capable of a wide use. With the present place cf. Aesch. Hum. 628 od ydp rt ratrov dvdpa yevvatov Oaveiy | kal radra mpds yuvaixds. 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. Kovdels yé p Av meloeev. . TH pr odK «K.T.A, Though in practice ro uy with infin. comes to be equal to wore en (cf. Lys. 1196), in strict grammar it began as a contained accus. (here of the persuasion administered). Cf. Aesch. P.V. 950 ovdév yap a’tw Tabr’ érapkéoa Td wh | weceiv aripws (of the kind of érdpxeows). <A freer use followed ; eg. Av. 36 adrhv peév ov micodvr’ éxelvny Thy Tod | Td wh Ov peyddAnv elvar Pioe (where pucodvre contains the notion of da picos dpvoupérw).
ém’ éxetvov, ‘to fetch him.’
70. Katwrépo, The word is mouthed, in answer to kdrw : ‘Yes, indeed ; and if there is any place downer down.’
71. tonrod Seftod, ‘a poet who understands his business,’ i.e. technically a good craftsman. Of. de&drnros 1009 n.
Dionysus is the god of the theatre and is alarmed for the theatrical prospects of the city Dionysia. Introd. p. xii.
72. ot pev yap K.t.A. From the Oeneus of Euripides. The schol. quotes two lines of ortxouvOia, viz. <A.> od 3 Gd Epnuos Evuudxywv ardddr\voa ; <B.> oi ev yap k.7.rX. 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. “Iobév: 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, Vesp, 461), |
73-83 NOTES 95
Todro yap Tou K.T.A., ie. ‘Yes (that only bears me out), for, in point of fact, he is the only king left to bless us’ (not= Tovro Td dyabdv Nouréy €or). Kal isa regular part of the phrase: - ef. Thesm. 81 rotr’ aird yap Tou KaroXety we TpocdoKe.
el kal rotr’ dpa, ‘if even that (is such) after all.’
76. Lodokdéa: scanned with synizesis (Sogoxdéa). So perhaps IIn\éa 863 n. and certainly ‘Hpaxdéd Thesm. 26. In tragedy such pronunciation is not rare.
mpdtepov, ‘preferable.’ So priorem=superiorem. Cf. Nub. 643. Palmer’s mpérepov avr’ is very attractive, but not necessary. With the expression he compares Eccl. 925 ovdeis yap &s oe mpérepoy etoeio’ avT’ Euod.
77. éxetOev, ‘from the other world.’ Cf. 82 n.
78. dtrokaBav adrov pdvov, ‘getting him all by himself ;’ cf. Pac. 508 atrol 6h wovor AaBupe’ oi yewpyol.
79. & tT. mod: not merely ‘what he can do’ but ‘how he can compose.’ .
Kodeviow: cf. 723 cexwiwvicpévors (of coins) and dxwddvoros. Properly xwédwvigfew 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 evdKodos k.t.A. The rhythm suggests a tragic original. For év@a8e ‘in this world’ and its opposite éxet cf. Plat. Rep. 330D of reydpuevor pOOo wept tev ev “Acdov, ws Tov év0dde ddiknoavTa det éxet diddvac Sixny, Eur. Med. 1073 evda- povotrov, add’ éxet. The amiable character of Sophocles appears incidentally from Plat. Rep. 329 B.
83. “Ayd0wv: 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 E 7 6€ of copia . . mapa gov véou dvtos otrw opddpa e&éNauwe x.7r.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.
amokurev p arotxerat, ‘he has departed and left me.’ See crit. note. olyera 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. olxerat suggests this, and in the next line ayads ronris k.7.X., ‘a good poet and regretted by his friends,’ recalls an obituary notice ‘a good citizen (woXlrns) and respected by all who knew him.’ It was not, indeed, the approved Athenian custom to place upon a tomb a complimentary inscription beyond the word xpyords. Cf. Theoph. Char. 18. Nevertheless such expressions may very well have been a sort of formula, particularly used in the éauvos at the funeral feast.
For this notion dmolxyera is less good, but in &u’ ofyerar (of Dind.) the emphatic pronoun is out of place. It is therefore not impossible that, simulating the tearful emotion of the funeral @rawos, Dionysus says with broken voice (éy mapoAkq) amokirwv mw 6-o-olyerat. This trick was a natural one for comedy. Cf. Hg. 32 Bpereréras (in fear), Av. 310 rororororod, Plaut. Most. 316 (a tipsy man) 0-0-ocellws es meus.
85. és pakdpwv evwxlav: keeping up the play in olxerat. There is an obvious suggestion of paxdpwv vicous or wakdpwr evdamoviay. Cf. Plat. Phaed. 115 © olxnoomar daria eis paxdpwv 54 Twas evdatuovias. But since Agathon (a good diner, rhv Tpdmegav Raumpds, according to the schol.) has gone to Macedonia, there is a pun upon Makedévwy and a substitution of evwxlay for evdamoviay. 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 £). 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 FevoxAéns—: 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—’ JD. ‘Be hanged, by all means.’ This gives a more natural use of vy Ala than if we put a question at mevoxdéns. No words are wasted on Xen.; he is beyond redemption.
fievokAéns. For the form (not Zevoxd\fs) 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 xopevrat. 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 6¢ EZevoxdéns av kakds Kak@s moet, and both our poet and the comic Plato satirise his recourse to tricks of plot and scene. We may best understand Pac. 792 unxavodidns and Plato’s dwiexayjxavos to
87—92 NOTES 97
refer to his frequent introduction of melodramatic mechanical devices. The schol. on Pac. l.c. says that Xenocles doxez unxavas kal Teparelas elodryev év Tois Opduwaciv. Nevertheless, he won a dramatic victory over Euripides (and his 7’roades tetra- logy) in 415 B.c. Aelian (V.H. 2. 8.) calls the verdict yédovor, but this opinion was easy to express when the lapse of centuries had eliminated Xenocles from the canon of the tragedians.
87. IIv@ayyedos 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 51n.). ‘(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. Ilv@d-yyedos 5é; <AI. epi ye Todd’ ovdels Névyos | rAnv TovmitpiBelns>. BA. mepl éuod 8 x.7.r. If anything is to be supplied this could hardly be bettered ; but the first explanation seems sufficiently natural. ]
90. mety 7 pipra : more typically Attic than rdelw (rdéova) % .. But itis flouting the evidence to deny the use of the latter.
91. mAetv 4 oradiw Aadlorepa: a metaphor from the dddxos or long foot-race ; ‘they could give him two hundred yards and beat him.’ Cf. Nub. 430 rév ‘EXAjvev cvai pe Aéyew Exarov cradloow dporov. A similar metaphor, but from the short race (orddcov), occurs in a fragment of Eupolis éomep ayabol Spots | éx déxka today jpec Néywv tovds pHropas (‘after giving them ten feet start’.
92. émupvdAdSes. The precise meaning of this word is un- certain. Explanations given are: (1) vines which grow rank without 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 the scholia. So far as the formation of the word is concerned we may compare it with émicropis, éacdoparis, émvyhwrris, 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. Thesawr.) is for the sense Borpvd.a or exiles racemt, even if we cannot be more precise. We may suspect that whereas the proper oragvAai grow clear with full fruit, the éri@vdXides are the miserable little bunches which seem to belong-to the leaves. Sufficient notice has hardly been taken of Dionys. Hal. Rhet. 18 iyyodvra rods émidoyous domep év Selrvw Tpayjuata elvat Tov Adywr Kal dorep émigudAlbas kat grwutAuara, Which at least puts out of court the meaning of ‘vines.’ That interpretation seems indeed to have been due to a misapprehension of sovoeta as denoting the place instead of the persons.
orapirApata, ‘chatterboxes’ ; lit. ‘pieces of chatter.’ .The neut. abstract of a person is not rare: ef. AdAnua (Soph. Ané. 320). The act. sense (=dés \ade?) is rare as compared with the passive, e.g. maldevua (=ds madeverat).
93. xedi8dvev povoeta, ‘choirs of swallows.’ jovcetoy (like béarpor, Sixaornptov, ‘choir,’ ‘school’ ) may beused either of a place or of the gathering in it. [The schol. here quotes Eur. fr. 88 (Nauck) wodvds 8 dvetpre xicobs, evpuvhs Kddbos, | xedddvwv povoetov. There is obviously a corruption in this for dndévwv povoetov (Meineke), the substitution being a slip of the schol. due to our context in Aristophanes. Cf. Eur. Hel. 1107 cé rap évavrois vd devdpoxduors | pwovoeta . . évigovoay . . pedwddy dndéva. Swallows do not gather to sing in the ivy, and, as songsters, they can only be treated with disdain.] xedddvwv povoeta is a humorous oxymoron, with a parodist’s perversion of the Euripidean addy wr,
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 xediddvos Sixny | dyrdra dwvhnv BdpBapov Kexrnuévyn. So xed Oovifev = BapBaplfev. Not only (1) the wepaxdrAdua 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 xeX- ddvwv NaXlorepos.
AwByral réxvys, ‘who outrage Art.’ The article is absent - because of the personification. d
94. &: reverting to the gender of rair’: sc. Ta merpaxddNa.
Garrov, ‘double quick.’ Like ociws, the word came to be duse as a positive. It acquired this meaning partly because
94-97 NOTES 99
(like Gooov from d&yx-) it was no longer felt to be the obvious comparative of raxv (which it originally was), rdxvov or TaxUTEpor having been invented, and partly because of the common military use 0arrov (7 Bddyv)= ‘quick march.’
iv povov xopov AdBy, ‘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 (= xopdv airety), to be provided and trained at the expense of a xopnyés. If he succeeds, he is said xopdv AaBety ; the archon xopdy dtdwor. 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 (oi evdoximotyres kal doxywacbévres 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 (= éxovpirreiv, éxBddAdrev), and a playwright who made an egregious failure would ‘disappear’ from the arena. For the expression cf. Lg. 513 Bacavifew was odxi madac xopoy airoln xa’ éavrdv, Pac. 801 Srav yxopoy . . ph xy Mépoipos.
96. yovwpoy, ‘ virile,’ having fertility in matter and ideas, like a omépya yoviywov from which something will grow. An egg is yovyuov when it will hatch into a chicken ; otherwise it is dvepiatov.
. . Gv odx efpois: a somewhat unusual position of dy. Cf. Pac. 137 adn’, & per, dv wo oiriwy SiurdGv @5er, Eur, Tro. 416 drap Néxos ye THT’ Gv ovdK exTyoAdnP. |
97. The rhythm of this line is tragic, and \dko suggests quotation.
boris. . AdKor (followed by doris . . POEyEerar) : instead of Aakyjoetat. Goodwin (M. and T. § 57) calls the use ‘ final,’ but this cannot be substantiated. Parallel is Soph. Ph. 279 (6payra) . . dvdpa 8 ovdév’ evroror, | ov>x Baris dpkécerev, odd boris vcouv | KauvovTt cvANdBotro, where Jebb explains the opt. as the past indirect of the delib. subjunctive. He treats e.g. Trach. 903 xpi Wao’ éavrjy, vOa wy Tis eicidor as an extension of the same. But we have again to consider e.g. Aesch. Cho. 171 ov« éorw Boris wAIy éwod Kelparrd vw and the like. These are rightly treated by Goodwin (§241) as potential. Other potentials without d&y survived in poetry e.g. Aesch. Ag. 557 ra pév tus 8 AéEecev, Herond. 3. 74 ovdels o° érawéoeer, Eur. J.A. 418 wore repbcins idév, and in prose and comedy in the expressions ws ddfeev, ws elo. tis (see note on Plat. Proem to Ideal Commonwealth 360 Bs). 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 dy is later, the particle serving as a help-word. It was not dy 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 (@riech. 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 ris Gv mudwpds éx dduwv Moro, | Saris Suayyeiheve (‘ who might announce’).
We are apt to be too much influenced by the fact that Attic Greek had practically ceased to use the dyv-less 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 etpas dv helps to retain the potential éc71s AdKxor, but it does not create it. Meanwhile we call the fut. doris pOéyéerac 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 . .’
yevvatov=‘ prime,’ ‘first-rate.’ Cf. Plat. Legg. 8445 rip yevvalay viv Neyouévnv orapudiy i rd yevvaia cixa, Rep. 372 8B pagas yevvaias. pihpais not a ‘word’ (as the context shows), but a phrase or expression.
Adkor suggests a kind of oracular deliverance. Cf. Plut. 39 ri OfTa PoiBos frdaxev éx tev oreupdrwv; Eur. 1.7. 976 Tplrodos éx xpvood Aakwv | PoiBos.
99. mapakekivSuveupévov, ‘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 sew per audaces nova dithyrambos | verba devolvit.
100. aiépa Ards Swpdriov, ‘apartment of Zeus’ (Jovis cubiculum), a prosaic burlesque of a pjua in the Melanippe of Euripides duvuue 8 tepdv aidép’ otknow Ards (quoted again in Thesm. 272), cf. 311. There could be no objection to the ex-
100—I01 NOTES 101
pression ‘Zeus dwelling in the sky,’ since Homer has Zevs aidép. vatwy, and therefore we must conclude that, to Ar. at least, the noun olkynow Ards carried with it a rather ludicrous or prosaic suggestion not belonging to the verbal phrase, perhaps rather like ‘domicile.’ In dwudriov the dimin. should be noted. The vast air is, it appears, but a dwudriov. With the comic result cf. Plaut. Amph. 3. 1. 3 (Luppiter) in supertore qui habito cenaculo.
xpdévov wdé8a. Euripides had said (Bacch. 888) dapdv xpdévov méda (‘stride’) and fr. 42 N kal ypdvouv mpovBaive movs, personi- fying Xpévos. Shakespeare also (4.Y.L.J. 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. hpéva pév ovk x.7.X.: referring, though not directly, to Eur, Hipp. 612 7 yAGoo’ buwpmox’, 7 5€ Pphy dvamoros, 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 (¢pyr) of the circumstances. Cicero (Of. 3. 29. 107) explains and upholds the saying. Cf. Ov. Her. 21. 135 quae iwrat mens est ; nil coniuravimus tla: Tila fidem dictis addere 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 dpxos entered into so many relations of political, social and judicial affairs in which it was almost the only safeguard (cf. mpowpoaia, dvrapocla, trwuocia, é&wuocla 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. Rhet. 3. 15. 8 a certain Hygiaenon, during a law case, charges Eur. with doéBeva 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, ete.) both lines as quotation. but mark at least émvopK%-
ie wel i
102 THE FROGS OF ARISTOPHANES 101—106
cacav idia THs ppevds aS a mapa mpocdoxiar, i.e. ‘a mind which refuses to swear by victims, but a tongue which—perjured itself without regard to the mind.’ Euripides had probably said in some natural connexion only ¢péva ov« é0édoveay budooL ka’ iepav. This will explain the difference of tense, é0é\oveay being in the quotation, but émiopxjcacav Aristophanes’ account of the subsequent action. [If ‘tongue’ was in the parodied passage the form would there of course be yAdooav not yAOrrav. |
Kad’ iepdy, lit. ‘down upon the heads of victims’=‘ while devoting victims.’ Cf. Thuc. 5. 47 duvivrwy Spxov tov Méy.orov Kata tepwv Terelwv, Hg. 660 Kara xiAlwy mapyveca | evxXi Tojncacba xiudpwr.
103. o& . . apéoxer; Both dat. and accus. are Attic with dpésxew, the acc. being more idiomatic to that dialect. The emphasis of oc must not be overlooked: ‘do yow like that sort of thing?’ i.e. ‘some people do, no doubt ; but do you ?’
ParAAG: ie. wh (Adve ‘Sdpéoxe”), dAAG K.7.r. ‘Don’t say ‘*like it” ; I am worse than mad after it.” Cf. 745, and so in Plato.
104. 7 piv KéBada y’ éorly, ‘I'll swear it’s arrant humbug.’ KoBanela* 1 tpogmontiKy per’ ardryns madd (Harpocrat.). The particles 4] piv asseverate, as in an oath. Cf. Eur, Ale. 692. ye emphasises the adjective.
as Kal ool Soxet: (1) ‘and you think so, too,’ or (2) ‘as even yow think (and you are not particularly bright).’ The latter is at least the most humorous.
105, py Tov ewdv olke. votv: playing upon two senses of oixew : (1) ‘dwell in’ (2) ‘ manage’ (inf. 976). When Euripides (fr. 144N) says wh Tov éudv olka votv: éyw yap apxécw the whole expression is the tragic and dignified equivalent of ‘mind your own business.’ So J.A. 331 ovxl dewd; rdv eudv oikeiv otkov ovK édooua; (‘manage my own concerns’), Andr, 581 was ; 4 Tov adv olkov olxhcers worwy | detp’; obx drs cou ToY KaTa Lrapryv Kparety; Prose would use droety and Ar. plays with the other sense. In ph Tov enor olka vodv: exes yap—oixiay there is also perhaps the point ‘for you haye’— but then instead of ‘a vods of your own,’ he will only go so far as to admit that Herakles has ‘an ofxia.’ [‘My mind can mind itself: never you mind.’]
106. kal piv arexvas ye: join kal why . . ye, 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
mopadvnpa there may be either a moral or an aesthetic sense, or both.
107. Samvety pe SiSacke: ie. that is yourforte. Of. 62 n.
108-112. dvmep tvexa . . tva por . . Tovrovs. If we punctuate, as is commonly done, with comma at KépBepor, 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 ratra, looking back to the rather distant dv7ep évexa, but is diverted to rovrovs by the intervening éévovs. But it is more idiomatic to put a period at KépBepov and render ‘but the reason why I came (was this, viz.) in order that...’ Cf. Plat. Rep. 330B 00 ro évexa Hpounv, hv & éyw, bri poor Edogas od} cHbdpa adyamdv Ta xphuwara (‘why I asked was this, because -.’). Cf. Phaedr. 248 8, Lach, 184 B etc.
109. kara otv pluynow: even comedy does not require Ti ohv, since the meaning is ‘in an imitation of you,’
110. e Seofunv: primary tenses would have given épxouac iva ppdoys, av dvvwmat.
éxp=éxpdov. It does not appear why the natural accent of ss. has been so frequently altered to éxpa.
éml roy KépBepov. The twelfth labour of Herakles was ‘to fetch’ Cerberus.
112. Awsévas, dpromadta K.t.A. The words are spoken with calculating pauses.
113. dvatratAas = dvaravornpia, ‘resting-places by the road’ ; ef, Plat. Legg. 625 B davdmravAa kara THv Oddy, ws elkds, mviryous dvros TA viv év Tots bWyrols Sévdpeciy elot oxcepal. For travel in ancient Greece see Becker’s Charikles [Becker-Goll], first
scene and Excursus. :
éxtpomds : 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 (kataywy.a, karadNvoes); cf. [Eur.] Rhes. 880 vexpovs | Odmrew Kedevew Newpdpouvs Kar’ éxtpomds (bends or recesses beside the highway).
114. Siatras: apartments, lodgings, or ‘flats.’ Cf. diaeta when borrowed into Latin: Plut. Mor. 6670 Alényos (a spa) xwplov KkaTrecxevacpévov oixjoect kal diairacs Ath. 2700.
twavdokeurpfas: humorously instead of zavdoxeta. Inns were frequently kept by women (cf. 549) of unrefined class.
115. képes: 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 orpwyuara.
117. pate trav 684v Stas k.t.A. The gen. of that concern- ing which one speaks is illustrated by Soph. Zr. 1122 ris Myrpos Hkw THs éuns ppdowv év ols | viv éotw, Ph. 440 dvaklov Mev pwros ékepjooua. | . . Th viv xupet, Plat. Rep. 439B rod rogérov ot} Kah@s exer Aévyew Sri x.7.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 rod kagvyvjrov ti pis; (Soph. “7. 317) the order might be rl rod Kaovyvjrov dys; ‘what matter of (=appertaining to) thy brother?’ This is the same partitive construct. as in Touré cov Oavudgw. We may next substitute for the single words ri or rodro a whole phrase, as in the text and the illustrative passages. For opdfe trav dav Thy taxlorny or drola raxioTa agitdueba we get d. Tay ddGv Srrws K.7T.d. (‘ how’
. virtually = ‘that way by which’. .).
120. rlva ; For the repetition of reflection cf. 460, 1399.
121. pla pev yap «.7.A. There are three chief roads to death, called in modern times ‘ dagger, cord, and bowl.’ Among the Greeks these were élgos, Bpdxos, xwvevov (Zenob. 6. 11), although in schol. to Pind. O. 1. 97 the third is varied, viz. Eidos, ayx6vy, kpnuvos. To these (alternative) combinations refers the pro- verbial expression 7d rpla trav eis Odvarov. See Meineke Com. Frag. ii. pp. 867, 1165. Herakles here enumerates fpdxos, Kwvevov, Kkpnuvds.
ard Kédw kal Opavlov, ‘by way of Rope-and-Stool.’ The humour cannot be translated. The expression contains (1) probably a rapa mpocdoxiay and possibly a pun, the words kéAw kat @pavlov coming instead of some locality from which one might start, and of which the name was not unlike part at least of kéddw xal Opaviov (cf. 7 did Ovelas 124); (2) certainly a play upon the sense (a) dd kddw (adeiv, EX\xerPar) as used of being ‘towed,’ and did Opavlov (rXetv) =‘ 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 Opavtrac 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 mdety amd Kddw but mw. dd Kddw kal Opaviov.
For amd of the resources and working material cf. dé AnxvGiov 1209 n. This use is extended till it becomes purely modal, e.g. dad oovd7js or amd molov av tdxouvs aropi-yor (Xen. An, 2. 5, 7).
122. KpepaoavtT. cavtdv: a concluding surprise.
mate. As an exclamation ‘Stop!’ it is Attic to say either mave or madoa (but neither ravov nor maicov). Especially ef. Ar. 889 mad’ és képaxas, matdoa xada@v. This use of the active is permitted (though it is not frequent) even with a genitive (cf. 580) or a participle (Pac. 326 mate rai’ dpxovuevos). The intrans. use of the trans. wade in this exclamation began with the sense ‘stop (it’ or ‘ things’).
aviuynpav. He had asked for a road not Oepuiy aya (119). This one is positively ‘stifling.’
123. Edvropos rerpuspéevyn: (1) as applied to a road= ‘a short cut, a well-beaten track’; (2) as applied to hemlock= ‘shredded and pounded.’ In Plat. Phaed. 116pD (of the hem- lock of Socrates) éveyxdrw ris TO pdpyaxov, el rérpimTa, ei dé un, Tpryarw 6 dvOpwmos, 117 A 7d pdppaxov év KidNiKt PépovTa TeTpyipevov. For édvrowos cf. the use of réuvew, évréuvev pdpyaka.
124. 4 81a Ovelas: in which the hemlock is pounded ; cf. Pac. 230. Doubtless there is a play upon some local name, e.g. Opia (there was a Thriasian gate of Athens): ‘the way through — Mortar.’
125-126. uxpdv ye . .: sc. Ayers. The first effect of hem- lock is to chill and deadén the extremities ; cf. Plin. H.W. 25. 13. 95 semini et foliis (cicutae) refrigeratoria vis. Quos enecat incipiunt algere ab 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 £) cPddpa miécas abrod Tov méda Fpero ei aicOdvoito, 6 8 ovK py. Kal wera Totr’ adfis Tas Kvywas. Kal éraviev otrws huw éredelxvuto re Wixord Te Kal myyviTo.
128, as dvros ye pit} Badiotixod, ‘since I am not much of a walker’; lit. ‘on the assumption that . .” In such @s- clauses wy is regularly used in virtue of the imperative (here gpdcov understood); cf. Soph. Ant. 1063 es wh "wrod jowr ich thy éuhvy gppéva, and with gen. absol. Thuc. 7. 15 os TOV OTPATLWTOV Un meuTTOY yeyevnuévwr, oTw Thy yvwunv ExeTeE, Plat. Rep. 327 c¢ ws tolvuy ph dkovoouévwr, ottrw Siavoeicbe (Kiihner-Gerth ii. p. 200).
106 THE FROGS OF ARISTOPHANES — r29—134
129. kaSéprvcov. The temple of Herakles Alexikakos was on the heights of Melite and the Cerameicus lay below (xaé-) to the north. Cerameicus lay both inside and outside the Alrvdov -gate, the part called 6 évrés reiyous running from the gate to the Agora, while 6 éw lay between the gate and the Academy. According to Pausanias (1. 30. 2) torch-races (Aap- madndpouta, Naumrds, less often Aapradngpopia) began at the altar of Prometheus (as rvup@épos) 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,
és Kepapecxdv. 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. dyopd, wédus (when =dxpdmodis), rpuTaveior.
130. tov mipyov. Some have fancied this to be the tower of the solitary Timon Misanthropus (Paus. 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. But we may be tolerably certain that Aristophanes would have brought in the name (rdv wrvpyov tov Tiuwvos). The most natural explanation is that the allusion is simply to some particularly high wépyos, commonly known as 6 bWydos rvpyos, among those on the walls of Athens, used as a look-out.
131. ddiepévny tiv Aaprdda, ‘see the torch-(race) being started.’ So Napmdda rpéxew, vixdv; cf. Plat. Rep. 3284 ANawmras tora mpos éomwdepay Ty Oe. In the torch-race of the Cerameicus the simpler form seems to have been used (Paus. 1. 30. 2), viz. with single competitors instead of relays or ‘sides.’
évrev0ev : with Ged.
132-133. éredav ddow .. evar, ‘when they say ‘‘let go,” do you be good enough to let yourself go.’ The infin, ‘does not depend on ¢gaow (for Kededworv), but quotes the spectators’ own word, i.e. an infinitive-imperative like the evar od following. Of. Vesp. 386, Nub. 850, Thuc. 5. 9 od dé, KrXeaplia, aipyidiws ras midas dvolfas érexbety cal émelyeoBat, Xen. Oec. 3. 12 wdvrws, & KpirdBoure, aradnbetoa mpos juds. The force of such infin. is ‘be kind enough to. .’ etvar for ddeivar belongs to the older language, surviving in a phrase of the games.
134. drokécay av . . 800: playing on two senses: (1)
‘I should waste two brain-rissoles,’ (2) ‘I should dash out the two lobes of my brain.’ A Opiov is soft or minced meat’
137—139 NOTES 107
fish, marrow, eggs, etc., seasoned, and wrapped and cooked in fig-leaves. Hq. 954 dnwot Boelov Optov, Ach. 1101 Opiov raptyous. 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 pia. »
137. peyadnv . . wavv. After these words there is a slight pause, and then &Bvocoy intensifies the previous description : ‘a lake—a very big one—bottomless.’ Exactly similar are the position and intonation of dewdrara in v. 144. Herakles is trying to frighten Dionysus. The boat is only a miserable little one (wAourplw), ‘only this size’ (ruvvouvrwt, accompanied by a gesture). Charon’s boat is a crazy thing in Verg. Aen. 6. 413. The lake is, of course, Acheron; cf. Luc. Luet. 3 7 "Axepovoia Niuvn mpdxertac mpwrn Sexouévyn Tovs dwayTovras, iv ovK éve diamdedoar 7) mapedOety dvev Tod Topbuéws: Babeta yap Tepdoat Tots Tool kal duavjgacbac mwoddAH, Verg. Aen. 6. 295 ete. For the probable references to Athenian topography see Introd. p. XXxiil. ;
139-140. avijp yépwv vatrys Sidfer: rather render ‘an old man will carry you across as waterman’ than join dyjp yépwr vavtns. For Charon’s age cf. Verg. Aen. 6. 304 tam senior, sed cruda deo viridisque senectus.
$0’ 6Bord: (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 ce. . dudéec and not fe, but Dionysus might ‘inciude’ his slave. Yet in v. 270 Dionysus pays r#Bod\w 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 du@Bodov (or dv’ 680\d) 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 davdkcn or xariripiov was commonly regarded as a single obol ; cf. Luc. Luct. 10 éBoddv . . pucOdr T® TWopHuet THs vavriXlas. 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. as péya Sivac8ov x.7.4., ‘How mighty everywhere are those two obols!’ (like the useful ‘threepenny-bit’). This is said with special allusion to recent legislation introduced (Arist. Const. Ath. 28. 3) by KXeopav 6 Avporrords, ds kal Thy diwBeriav érdpice mpwros. The diwBerla is the fund (7d Oewpixdv) 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 év rotvy duo dBodoty (Dem. de Cor. § 28).
Besides the theoric two obols, that sum played its part in other connexions. For example it was allowed as the o.tnpéotoy (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 pucbds dixacrixéds was ever two obols, and the micOds ExxAnovacrixéds (which did take the form of a diwB8orov 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. Kkdketoe: cf. 77 (ExetOev), 82.
Onoevs. 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.
Hyayev: sc. av7d. Such an omission is not of the most frequent ; cf. Hom. J/. 6. 124 ris dé ov éoor, pépiore, KaTabvynTov avOpwrwy ; | od pwev yap mor dmwma (sc. oe). (Kihner-Gerth § 597. 2 b.)
144. Sevdrara: see 137 n.
tkmAnrre, ‘try to frighten.’ Goodwin, MZ. and T. § 25, Gildersleeve, Gk. Synt. § 192.
145. BépBopov: burying in mud specially awaited the uninitiated ; cf. Plat. Phaed. 690 8s av duinros cal dréXeoTos
146-151 NOTES 109
eis "Acdov ddixnrac év BopBdpw Keloerar. But the wicked in general had a similar fate: Rep. 363D rods d€ dvoctous Kal ddlikous eis mnddv Twa Karopttrovew év “Acdov, Luc. Alex, 25 épouevou yap Tivos rl mpdrre: év "Acdou 6 ’Emlxoupos ; ModvBéivas, édn, éxwv mwédas év BopBdpw KdOnra. Vergil (G. 4. 478) speaks of dimus niger in the locality here described. A similar notion occurs among the punishments in Dante’s Jnferno.
146. kal oxdp delvwv, ‘and filth that ever flows’: an obvious burlesque of something more dignified, e.g. tdwp delywv.
148-151. et mov .. éeypdyaro. The sins which merit this punishment are those of the traitor, the wntpadolas and rarpa- Aolas, 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 (Hum. 269) his wy dé cel tis GAXos FrLTev Bporav | H Oedv H E€vov | rw’ dceB&v } Toxéas pidous, and Vergil his hic quibus invisi fratres, dum vita manebat, | pulsatusve parens, aut fraus innixa clienti, etc. (den. 6. 608). The humorous climax comes the more effectively to the audience from their familiarity with this section of the ‘ catechism.’
151. % Mopotyov tis k.t.A. The repetition of 7s has led to the suggestion % et by Meineke. But with the distance since the introduction of the sentence Greek did not feel the awkwardness. Cf. Thesm. 335-345 ef ris émiBovdAever Te TH SHuw kakov .. |. . # ‘mexnpuxedera | Evpurldy . . | 4 mwewroudvyn Tus ayyenrlas Wevdels péper, | } uorxds el Tis ELarrara Wevdh r€éywr | .. | ) OGpa ris Sldwor ypads x.7.d., Eur. Hec. 1178 e& tis yuvatkas Tov ply elpnkey kak@s, | } viv Néywv Ths éorw.
_ Mopeipov: grand-nephew of Aeschylus and a bad poet of tragedy. Various scholiasts call him zovypds, duerpos, dré- Wuxpos ; cf. the terrible imprecation Hg. 400 ef oé wh puod,. . didacKkolunv mpordbeww Mopcivov rpaywoiay, Pac. 801. He is said, however, to have been a ‘ good eye-doctor’ (schol.).
éeypdparo, ‘(ever) got copied out’ (or ‘copied out for himself’), An author ypdde, his amanuensis éxypdde, but a person who makes or gets made a copy for his own use éxypadgerat. So when one writes down for his own use what another says ; cf. Av. 981 6 xpnopuds. . | dv eye mapa Ta1rdd\dwvos é£eypavdaunv, Vesp. 5388 Kxal why bo’ dv AéEq 7’ GrdADs pynudovva ypdwu “yo, Soph. Phil. 1325 xal rair’ émicrw kal ypddov ppevav éow.
110 THE FROGS OF ARISTOPHANES = 152—155
152. éxpiv ye mpds tovrows Kel . .: brachylogic for éxpiy
. eiweiy xei. In usual prose perhaps we should have had expiv wpocketoba TO kei . . For the conversational omission of an infin. cf. 1279.
153. tiv muppixnv . . tiv Kwwyotov: the upplyn 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 4, 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), Plato and Strattis the comedians, and Lysias the orator (Ath. 551p). He was remarkably thin (Ath. Z.c.), and that peculiarity is referred to inf. 1487. The art. tiv 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 unblest, 148-151) belong to the current exoteric doctrines of the wvcra. 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 deep-hued roses is their demesne, 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 ts 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 domep évOade, in Ordcous cddaipovas avipav yuvaikay, and especially in kpdtov yxeipav modtv, he is making allusion to the festive audience in the theatre. When the chorus comes in there will be xpéros odds in the shape of clapping. This underlying meaning would be assisted by the actor’s gestures, but is not inartistically pressed.
154. évredOev, ‘next.’
avAGv: in Pindar the Pdpuryé is played among the blest. But the aids was used at the mysteries, and the choric lyrics (which the wiora are to sing, 312 sqq.) are accompanied by the flute.
meplecov = ‘will float around you’; cf. Soph. Ant. 1209 rg 0 a0Xlas donua mepiBalver Bojs.
155. das Kdddurrov domep évOdSe: the <vOadi of Meineke is wrong. The meaning is ‘in this world,’ not ‘on this spot.’
156—166 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, Adpares wévos dedlov (Pind. 7.c.), or, as Vergil expresses it (Aen. 6. 640), Zargior hic campos aether et lumine vestit | purpureo, solemque suum sua sidera norunt. So inf. 454 pdvois yap jyiv Hrvos | kal péyyos ihapdv ~orw.
156. pvppwavas: Pindar has gowixopddas 7’ evi Newdveoor mpodorioy avray Kal uBdvy oKxiapdrv Kal xpvoéots Kaprrots BeBp.Ods, and Vergil (/.c.) speaks of locos laetos et amoena vireta | fortuna- torum nemorum.
157. avipav yuvatkav: i.e. dvdpav cal yuvarxdv. Such asyndeton is not very frequent in comedy ; yet cf. Ach. 625 mwrew ayopafev, inf. 861 ddxverv daxverOa. In Vesp. 1081 av ddpe av dowids is an echo of tragedy. For the latter cf. Soph. Ant. 1079 dvdpev yuvarkav cots Sduos kwxvuara, Aesch. Eum. 1028 ratdwv yuvaker.
159. vij tov Ala . . puoripia, ‘(talking of mysteries) I, at any rate, am playing the donkey’s part at them.’ yotv= ‘true, so far.” There was a sarcastic proverb évos dyer uvorijpia, 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 diyew : (1) ‘keep,’ ‘celebrate,’ as in dyew éopriv, (2) ‘bring,’ ‘carry’ (like vijes péprov dover, an old use, generally replaced by ¢épev, but retained in an old saw). The modern coster’s donkey similarly has his ‘day at Epsom.’ For the form of expression évos &yw «.7.A. cf. Lys. 695 derdv rixrovra KdvOapd6s (ce) waedoouwat, Cephisod. (Com. Frag. ii. 883) éya dé rots Nyos dvos Youn, Verg. Hel. 9. 36 (videor) argutos inter strepere anser olores, Cic. de Or. 2. 57. 233 docebo sus oratorem.
160. tatra, ‘this baggage.’
Tov mielw xpdvov: not a rare use of the article with ypédvos ; ef. Thuc. 4. 117, 5. 15, Aesch. Ag. 626 és rov rod. . kaprovo@a xpéivov. The time which is yet to run on is set against e.g. rov méxpe viv xpdvor. .
[These two lines are an aside, and do not interrupt Herakles.]
161. 8éy: 2nd pers. of Séowac (cf. 110) rather than 8rd from de?,
164, kal yxatpe, ‘and so, good-bye.’ yatpe can be used both at meeting and parting (salve and vale) =‘ good-day,’ while tyiawe commonly=vale, and was generally restricted to that sense.
166. mply Kal Karabéc Ban ; ‘before I have so much as got
Lie THE FROGS OF ARISTOPHANES 166—174
it down?’ Xanthias is annoyed at the small respite he has had, and speaks hyperbolically.
pévrou: of affirmation (uév ro), ‘certainly,’ ‘I’m telling you’ (cf. 171); a frequent use in both positive and negative sentences.
167. pt 540’: sc. roiro elas (Kedevons).
168, tTdv éxdepopévav: éexdopd is the common term for a funeral.
Saris: not ds, since one of a class is meant, not a definite person.
: él todr’ pxerat, ‘is on that errand,’ or ‘has that (express)
object’; sc. to visit Hades (not 7d éx¢épecOar). The phrase él rodro (or 7dde) EpxerPar should be recognised as correspond- ing to the Latin id (hoc) agere. For the rather vague reference of rotro cf. 358 Bwuoddxos érecw yalpe ph ’v Kaipy Todro moovow (id agentibus), and for the particular expression Eur. Bacch. 967 Al. értonuoy bvta maow. IIE. émi 768’ epxouae (‘that is my object’), Xen. An, 2. 5. 22 adda rh 54, duds ékdv “dmokéoat, ovx ért totr’ #AOouev ; (‘why did we not make it our business ?’)
169. tore ps’ dyew, ‘then take me’ (Mss.) and tér’ &y’ dyew (Bergk) are equally possible, but there is no superiority in the latter.
dyew: either as imperat. (cf. eva: 133), or we may supply kehevw from ixeredw (167) despite the intervening plcOwoat
170. [The bearers and corpse are a rapaxopiynua or mapa- oxjviov (the proper term is disputed ; see Dict. Ant.).]
tovrov(, ‘a corpse yonder.’ [The reading of the best Mss. is better than Elmsley’s tw’ éxdépovor. The sense is ‘for certain persons are carrying a corpse yonder’=‘for yonder are certain persons bearing a corpse.’ ]
172. BotAa: not=ééres, but ‘do you want. .?’ oKevapia, ‘a bit of baggage,’ depreciating the amount.
173. tedets: either present (‘are you paying?’), or, less vivaciously, future (cf. 176).
174. imdye0’ ipets ris o800. He turns away from Di. to his bearers ; hence dyes, ‘get on, you men!’ This sense of vmdyew is frequent. The gen. is strictly partitive (‘some of the way’); cf. Xen. An. 1. 3. 1 odk @pacay idvac rod mpdcw, Herod. 8. 105 rpodauBdvew ris 6500, Soph. Aj. 731 dSpapyotca Tov mpoowrdrw. [Not ‘get out of our way,’ which makes a
175—181 NOTES 113
doubtful construction and takes from the contemptuous in- difference of the corpse. ]
175. ® Saipdvie: expostulatory, as often in Plato.
éav EvpBS, ‘in case I can come to terms’; cf. 339, 1517, Thue. 2. 5 \6ywr rp@rov yevouévwr, Fv Te EvuBalywper.
177. évvé’ 6BoAots: a drachma and a half, as a compromise.
avaBioiny, ‘strike me alive (if I will)!’ Being dead he cannot say the usual dro@dvoius or droXolunv.
180. adm, tapaBadod: 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 (mpockjviov) serving as_ back- ground. Possibly the aepiaxroc 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.
dm. In v. 208 wéz, dr is used in setting the time for rowing. wér cannot therefore be limited (with schol. on Av. 1395) to the stopping of the rowing (i.e. = ‘easy!’ or ‘avast!’). Atv. 208 (q.v.) a schol. calls it éXarexdv éripOeyua. There is nothing in the passages containing #ém to show that it was more than neutral, i.e. a xéXevua calling attention, but depend- ing for its application on the circumstances or attendant words.
TwapaBadod: lit. ‘bring your boat alongside (i.e. to shore).’ The middle may be used without an object (cf. 269) or with one (Hq. 762 rhv dxatov mapaBdddov). In the former case we may either supply 76 wAotov or regard the verb as intrans. (cf. the act. wapaBddAecv). The use of the middle is due to the reflexive sense implied, viz. ‘bring yourself (in your boat) alongside.’ So évrifecOa, é&aipetcOac 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. Atuvy vi Ala | atryn’ ory hy k.7.A., ‘why, this is a lake, one which’ . . (not ‘the lake’). atry by attraction for rovro, according to the common, but not invariable, practice.
I
114 THE FROGS OF ARISTOPHANES —182—185
(Kiihner-Gerth i. pp. 74 sq.) Cf. Mud. 200 ZT. ri yap 758 éotiv ; elmé wow. | MA. dorpovoula péev adrni.
182. fv ebpate, ‘which he was telling us about’ (Hibernice, ‘was after telling us of’). Cf. 275 ois &\eyev, Plat. Phaedr. 230 A ot rdde Hv 7d dévdpov, ep’ Brrep fryes Huds; so Verg. Aen. 6. 160 multa inter sese vario sermone serebant, | quem socium exanimem vates . .. | diceret.
184. xatp ® Xdpwv: for the three mpoopbéyuara 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 ‘O Sophonisba, Sophonisba, O!’ was ridiculed.
185-187. tis els dvatravAas 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, ete. Moreover a Greek pun is very elastic. Murray ingeniously suspects that in A7ns mediov, dvov méxas, 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 Aevxns medlor, "Ovov T'vd6o0s, Talvapov.? Without being too definite it appears highly probable that the (otherwise strange) addition of Taivapov is justified by some contemporary circumstances. That word then becomes a revealing mapa mpoodoxiay, 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 Deadman’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 (kaxd kal mpdyuwara, 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
186—187 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 A7@ys mediov and “Ovov méxes—in fact to go to them is to go és képaxas. See the following notes.
186. A7Oys med{ov: the first region across the lake in the topography of Lucian (Luct. 5 repawévras d€ tiv Nuvny és 7d elow Neu UrodéxeTat péyas, TH aopodérXw KaTaduTos, Kal trorov pvhuns todk€usov. AnOns yodv dia TotTo wvdmacra). Plato (Rep. 621A) also calls it wediov ; Vergil (den. 6. 709) has campus, his topography, however, being different. [There is no river Lethe in classical Greek. |
# eis: with synecphonesis; not 4’s, since és is not used before vowels in comedy.
dvov mékas: dvov méxes (or mdxor, a form méxac being very doubtful) is among Greek expressions for the futile or ayn possible, xelpew dvov being as much a waste of time as mAlyGor wrivew, aoxoyv Ti\rew (Phot. 338. 8). It is to be observed that one use of AnOys medlov also is as a proverb éml tay dduvdtwr, and the line may therefore be understood as és 7d AnjOns rediov —% eis dvov moxas; 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 7a dvjvura). Exactly in the same’ tone he adds—% ’s xépaxas after 4 eis KepBeplovs. [Nothing is gained, and probably something would be lost, by reading Bergk’s”Oxvou roxas. ] |
187. KepBeplouvs: ‘the deme of Cerberus,’ but with an allusion to the Kep@épio., another name for the Kiumépioe of Homer, actually read by certain ancient critics (e.g. Crates) in Od. 11. 14. Sophocles seems to have had the word in this sense (fr. 957N). To the contemporaries of Aristoph. the Cimmerii would suggest the eastern Crimea, and it is con- ceivable that would-be emigrants had thought of the Euxine.
%°s k6pakas : partly prompted by the alliteration, but also emphasising the ‘ very mischief’ of the Utopian scheme.
187. 4 mi Talvapov. It is true that a cave at Taenarum was regarded as one of the entrances to Hades (ef. Verg. Georg. 4, 467 Taenarias etiam fauces, alta ostia Ditis, |. . 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. wot oxhoew Soxets; ‘ Where do you think of putting in?’ Thucydides frequently used cxeiv (with és or less often the dat.) in this sense (appellere). Cf. mpoocxeiv, xaracxeiv. The better Mss. give zo’, others ot, 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 ravraxod mpecBevoouer, ‘we shall (go and) act as ambassadors everywhere,’ Thue. 3. 71 rods éxe? xararepevydras = ‘those who (had fled into and) were in exile there,’ Soph. 7'rach. 40 87rov BéBnxev ovdels olde =‘ where he (has gone to and) is.’ So here: ‘where will you (get to and there) find a destination 2’ Kiihner-Gerth i. p. 545.
191. et pr vevavpaxnke k.T.A.: unless he fought at Arginusae . (33). The perf. (rather than évavudynoe) = ‘unless he is a naval hero.’ tiv wept k.7.X., sc. wdxnv or vavyaxlay. In such ellipses it is generally easy to supply the particular feminine verbal noun (d06v, waxnv, WHpov, wrny7Hv, etc.), e.g. Hg. 50 éxdtxdoas ptav (sc. dikynv). The omission of a masc. is less common, e.g. Luc. Dial. Mar. 2 ws Baddv éxouundys (sc. trvov) and the proverb 0 A\ayws Tov wept Ta KpeGy TpéxeL (SC. Spduov or ayava). _ The latter explains our passage. When the hare runs for his life (to ‘save his bacon’) he runs wepi rév xpeGv. The phrase is an old colloquial and facetious application of an earlier literal meaning, ‘to run for the meat-prize’ (aepi of the prize at stake). The meat at stake in the case of the animal is his own; hence wept Tav Kpe@v=mept THs Wuxis. 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 rév repli Yuxijs Spdmor’ Spauetvy, Hdt. 8. 74 wept rot mavrds Hdn Spduov Odovres, Kur. Ei. 1264, etc. [The reading of a certain Ixion, recorded by Photius, viz. wept r&v vexp&v, is absurd. There was no fight ‘for the (unrecovered) dead.’ More untenable still is the notion that in kpeOv the comedian is playing upon the sense vexpav. This is not only open to the previous objection, but it outrages Athenian sentiment, which was very sensitive in this particular matter. ]
192=o00 yap (évavpaxynoa or vavpaxetvy éSvv7Oyv), GAA’ érvxov k.t.A. This is the usual analysis of the phrase. But od yap ad\\d has passed beyond the stage of strict analysis. See 58 n. and cf. 498, 1180, Hg. 1205.
opbadprdy. Diseases of the eyes were common in Greece,
194—196 NOTES 117
as well asin Egypt and the East (cf. fr. 181 Dind.), and such ailments afforded a ready excuse for cowards and malingerers. They could 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 tpéoas. [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. mod Sir’ dvayzeva; There is something sufficiently humorous in this naive burlesque of the Niuvn peyddn wav 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 dvauev@: 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 fr. 234.
mapa tov Atatvov A{Gov. The accus. is used after apd, even with an apparent verb of rest, when the sense is ‘near,’ ‘about’ (¢wata) and a certain extension is given to the space occupied or moved in. Cf. Xen. An. 7. 1. 12 ’Eredvixos elorhxer mapa Tas midas, Hdt. 4. 87 otros xaredelpOn mapa riv vor. The special point of Avaivov is probably lost. It is obvious that there are contained (1) an execration in the imperat. avalvou (‘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, Ait. 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 Avawos. 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, LevAnvod Aidos (Paus. 1. 23. 5). We may further suggest that the dvdmavAat 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@ Evvérvxov éEidsv ; ‘ 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 decrdarmovia described by Theophrastus (Char. 16, where, for instance, a weasel runs across the road). Of particular significance were these évéd.0. ciuBoru (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 evOus éficw rijs oixias. The first sight is the most important of all: cf. Plut. 41 8rw Evvayrjoayme mpGrov esusv.
197. el ris émumAet?, ‘if any one is (to be) a passenger.’ The change to éru wAet is a mistake. ézum)et is the proper word of those who sail on a ship ‘in addition’ to the crew (who m)éovot). Thus it is used of the soldiers carried. by the ships in Hadt. 7. 98. 184 and Thuc. 2. 66. In Demosthenes and elsewhere it is used of asupercargo. The natural Greek for a captain’s phrase ‘we had a passenger on board’ would be jut érérde.
198-199. otros, rl movets; K.7.. 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 éml Kony ‘to an oar’ (cf. Hom. Od. 12. 171 of & én’ éperpa | egduevor) aS ‘on an oar,’ and has acted accordingly. In the latter sense é7i with accus. follows the idea of motion: cf. Nwb. 254 KkdOcge rolvuy éri tov tepdv oxiuroda, inf. 682. tw is not ‘I am sitting,’ but ‘am taking a seat.’ [xw2nv without article is ‘an oar,’ but it is natural to suppose that Charon’s xd@c¢’ émi kwrnv was an old phrase (‘sit to oar’), dispensing with art. after prep. (cf. émt Sdpuv, ém’ domida, és xetpas, mpos viv). Dionysus pretends not to understand nautical terms. |
198. 8 ti wows; Where the person questioned repeats the question, he regularly (though not always; cf. Av. 608, 1233, ete.) uses the indirect ders, émotos, etc. in place of the direct. We must supply the thought thus: XA. rf mois; AT. (€pwrds)
8 Te Tow ;
vi 8’ dAdo y’ H. .: 88 (like Fr. mais) is used in questions with a touch of remonstrance ; cf. Vwb. 1495.
199. t{w. The simple verb is rare in Attic, but, as there is no special excuse for it here, it must have been recognised ; ef. Epicr. fr. 3 émi rods vews tfovor wewavres Kaxds.
ovmep: see 188 n. éxéeves: for the tense cf. 182, but in xeXevey it is almost the rule.
202. od ph ddvaphoes . . GAN Edas: cf. 462, 524, Eur. Bacch. 343 od ph mpoooloes xetpa, Baxxet’oers 8 iv, | ud?
202—204 NOTES ¥E9
éfoudpén pwplay rhv onv éuol. Goodwin, M. and T. § 298. The simplest explanation of the construction is that in full it would be ov (Séos éorl) uh Pr., GAN é€AGs=‘ 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. 28B ovdév dewdv ph ev euol orp, Xen. Mem. 2. 1. 25 od pbBos un ce aydyw. [Words of fearing are followed by pi 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 uh romjoes and ot uh mojons. In other words, the former in effect=‘ you shall not’ and the latter ‘you wild 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 wh tojoes, it is connected by dda (sometimes dé), but is independent of the od uy. When another clause reverts to the neg. (asin Eur. /.c.) it is naturally connected with the od uy clause by unde, the intervening clause being parenthetical. ]
drvapyoes txwv, ‘keep on playing the fool,’ éywyr (like pépwrv, \aBdv) being joined to verbs as an expletive, particu- larly to those of wasting time; cf. 512, Nub. 131 ri ratr’ wv otpayyevoua; LHecl. 1151 ri dfjra diarpiBes éxwv ; Theoc. 14. 8 matodes, Gyd0’, éxwv.
avtTiBas: pushing against the stretcher.
203-205. Kata . . er: the first «fra introduces the Cae NOES question, the second= ‘in such case’ (‘ neverthe- ess’).
204. darevpos k.7.A., ‘unskilled, un-sea-sonedand un-Salamised’ (Lowell). The three privatives in d- represent a‘poetic habit which Aristoph. parodies; cf. Aesch. Cho. 53 duaxov addmarov dmédenov, Eur. Hec. 669 darais dvavdpos drods, Soph. Ant. 1071 duotpov axrépiorov dvdo.ov. 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 drakta adiipOwra dépiora.
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 doadaplvios is made probable by iq. 785 iva ph rpiBys rhv év Dadauin. 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 (Zcc/. 39), numbers of whom would be in the theatre.
120 THE FROGS OF ARISTOPHANES ~—= 205—209
[Commentators generally consider that Di. is throughout 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. akovoe yap péAn K.T.A.: ie. 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 uwicra. They are, therefore, not a rapaxopnynua, since they imply no additional equipment. For the title Bdrpayou given to the play see Introduction p. xxvii.
206. éuBddys, ‘lay on’ (=‘get to work’). It is usual to supply ras xelpas 7TH kway, but ras xetpas should not be in- cluded. éu@dddew is intrans., as in Hom. Od. 10. 129, and the sense is that of Vergil’s incumbite remis. The absolute use, as here, occursin Xen. Holl. 5. 1. 13.
207. Barpdxwv kixvov: cf. the combinations np Aéwv, dpris dnduv, Bods ravpos, avnp movnrhs, in which one noun in apposition defines or limits another. So in comedy &vOpwros bpyis (Av. 169)=‘a man-bird,’ xdundrov duvdv (ibid. 1559)=‘a camel- lamb.’ Here ‘frog-swans’ are frogs which sing like swans, lit. swans which bear the shape of frogs.
KkarakéAeve 84, ‘well then, begin to set the time.’ The keXevoTys is the officer (‘boatswain’) whose xéAeva (wWdm, dr) conducts the rowing, while a rpenpavAns plays an inspiriting accompaniment on the avAds. Cf. Plut. Ale. 32 addeiv pév elpeclav Trois éhavvovot Xpvadyovov, Kedevew 5é€ Kadderridnv. In Latin the xeXevorhs is hortator and his position and function are described in Sil. Ital. 6. 80 mediae stat margine puppis | qui voce alternos nautarum temperet ictus | et remis dictet sonitum. One sound é7 was meant for the forward and one éz for the backward stroke, w- being introductory.
209. Bpexexexté «.7.A. : a sound commonly heard from the frog in Greece. The sub aqua sub aqua of the Latin (Ov. Met. 6. 376) represents a different hearing of coat xod§ (=co-ahsh co-ahsh). One Australian frog says (according to the aborigines) Dugultik, 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-ck-esh. In the absence of digamma from Attic 8 is the nearest approximation to the w-sound. The termina- tion in kodf meanwhile suggests the human PaBaidé, rummdé, waé, ete.
211—216 NOTES 121
[The frogs begin slowly, but get too quick for Dionysus. The increasing rapidity appears in the metre. ]
211-220. Awvata Kpyvev rékva «.t.A. 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. kpawra- Adskopos in place of a compound of more dignity. The frogs are proud of their own singing, and after the self-complacent . edynpuv éuav (‘the singing for which I am justly famous’) they give a striking specimen in a harsh ‘Kod koaé.’
One may suspect (from xixvwy 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 \wuvata réxva, e’ynpuvy, 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 ~ And tin its fullest sweetness loud upraise Our hymn of praise —Codhsh ! Cochsh !— 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 tts way: |
211. Auwvata . . rékva. In the pseudo-Homeric Batracho- myomachia 12 the frog is Nuvoxapihs rodkvgypos.
215-216. apdl, ‘in honour of.’ Hymns and dithyrambs often began with a promise, or an appeal to the Muses, to sing concerning (du@i) a god or hero; cf. Hym. Hom. 21. 1 audi Tloveddwva, Oedv péyav, dpxow’ deldev, 18. 1 dudl wo “Eppaiao gpirov yévov évvere, Motoa. So in tragedy Eur. 77o. 511 audi pot “IXov, & Movoa, . . dewov.
Nvuojiov Avds Atdvvoov: with an eye to the imaginary derivation Avé-vvoov ; cf. Apoll. Rhod. 2. 905 Avs Nuojioy 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 Nuojov was in Thrace—with which region the worship of Di. was originally connected—says ‘as
Fy iBRARy OF THE
122 THE FROGS OF ARISTOPHANES 21y—224
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. Atuvatow: not Aluvacow, which would be point- less (especially after \uvata). Aluvac 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. Weaer. 1370 év r@ dpxaordryw iepG tod Avovicov . . év Atuvas, Isaeus 8. 48, Thuc. 2. 15 7d év Aiuvais Atovicov, w Ta dpxatdrepa Aroviowa trovetrac év pnvi ’AvOeornpiavr. For the reference to the Anthesteria (in Xvrpoor) see Introd. p. xxxil. That festival lasted for three days, called respectively Il@ovyia, Xdées, XUrpor. On the last the drinking excesses of the previous day would have rendered the procession kpavraddxwpos.
iaxjoapev, Hvika . . xwpet. There is no real difficulty in the tenses. lax7joapuev 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 jvika xwpet = ‘at that time (of the year) when the crowd is wont to go.’
épov tésevos: humorously of the marshy ground. Aadv in plur. (cf. dxovere eg) dated from the time before the closer unification of the Athenian és, and was retained in certain formulae and phrases.
On the day of the Xvrpo there were dyaves and the 8xXos would naturally pass to them by way of the Aluva:
221. éyd 8€ «.7.A.: Dionysus half sings this in irritated mimicry of the frogs.
222. ® Koak Kodé, ‘my friends (or ‘Messrs.’) Coahsh Coahsh.’ The comedian Alexis uses a similar turn ov’yi Trav petpiov . . GAG Tov BaBal BaBal (‘those who are always exclaiming BaBat’).
226. avro xodé. It may be noted that this circumstantial or comitative dat. with avrés 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. ovdév yap éor’ GAN 4. . : cf. Lys. 139 oddév ydp éopev trHY Mocedav kai cxddn, fr. 25 yépovres obdév Exper XO HV bxAos. The latter example might seem to point to the more logical &\Xo here rather than dda, but oddév G\\0 F#.. and ovdeév ddXo, dAAA . . overlapped each other and caused a con- fusion of expression (Kiihner-Gerth ii. § 534. 6). [Though it
228—230 NOTES 123
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 mAyv dANa . . and mryv 7... Also &ddXo H could not directly give us e.g. mnderépovs déxecOar adr’ H wig vyl (Thue. 3. 71), and it is clear that, however accentuated, the combination has become simply=7)\jv. We may, therefore, very well accept aA)’ 74 as the probable accentuation. |
228. eikdtws, ‘I have good right to sing’ (for the reasons next given).
ToAAG mpdtrev, ‘meddler.’ Cf. rodvmpayyovety and Eur. Hipp. 785 76 moda mpdrrev ovK év dopane? Biov.
229. torepav: gnomic.
229-233. etAvpo. . . KarapdhOoyya . . doppikras. 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. xddapor were used for making the pan-pipe, and dévaxes (a smaller species, but not always distinguished, see Hymn. Merc. 47 dévaxes kadduoro) for forming a bridge 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 fvyév. This is the account in Dict. Antiqg. But Hymn. Mere. l.c. 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 dpnpé0n cov kddamos womepel Avpas, which illustrates the use of the xddapos but leaves its application indefinite.
There were two chief forms of stringed instrument, the pa with its oval tortoise-shell and curved horns (myers), and the kiOdpa, a wooden case, more quadrangular, with hollow project- ing arms instead of the mye. The pdpuryE is commonly identified with the latter, or regarded as a particular species of it. Nevertheless its sounding-board can be referred to equally as droXvpiov (adj. ).
230. kepoPdras: lit. ‘going upon horn’ =cornipes, ‘hoofed.’ Pan is called aiyiBdrns (Theoc. ep. 18. 6), alyirddns (Hym. Hom. 19. 2), rparyérous (Simon. fr. 33). Horace (Od. 2. 19. 4) has capripedum Satyrorum. The schol. also records the title TpayoBduwy. [Other scholiastic explanations ‘horned walker’ and ‘walking on the mountain peaks’ are fanciful, and the former practically impossible. ]
kadapdp0oyya: contained accus.: cf. Pind. 0. 18. 123 évorhua talgew, Verge. Georg. 4. 565 carmina qui lusi pastorum. The favourite instrument of Pan was the cipuyé (fistula) made
124 © THE FROGS OF ARISTOPHANES = 230-261
of seven xdAamor or Sévaxes cut in unequal lengths so as to form an octave. These were fastened together with wax and the — whole was then bound round, cf. Verg. Hel. 2. 32 Pan primus calamos cera coniungere plures | institutt.
twal{wv : pastoral minstrelsy was regarded as sportive and without pretentions to the higher art and themes of the harp. So Verg. Hel. 1. 10 ludere quae vellem calamo permisit agresti.
242-249. el 89 wor’ .. The habits of frogs are described in Ov. Met. 6. 370 sqq. twvat esse sub wndis | et modo tota cava submergere membra palude, | nunc proferre caput, swummo modo gurgite nare, | saepe super ripam stagni consistere, saepe | in gelidos resilire lacus, etc. The notion of their escaping from the rain is a humorous misapplication of the original. In [Pseudo-] Plat. pig. 5 we have rov Nuudav Oepdrovra, piddu-
Bptov . . Barpaxovr. 243. kutelpov, ‘galingale.’ déw, ‘rush.’
244. twohkvkodkupBAToWoL: we may perhaps render ‘many and divers strains.’ In the original here parodied the word may have been e.g. moAvkdumroo. The variations on the song are played by diving. |
246. Avds 8uBpov: a frequent expression of poetry, since Zevs ter (Alcaeus, fr. 34).
247 sq. xopelav . . épOeyEdperba, ‘we sang a dance,’ i.e. _ the dance-music. According to Plato (Legg. 788A) xopela= dpxnors kal wdH, and the latter element is considered here: cf. 150 (avuppixnv). [Reversely xopevcacGac Body (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 gpoluiov xopetcoua. (Aesch. Ag. 31)—since the ‘prelude’ is itself the dance—would be slow to use Body xXopevooua.] aiddav =‘ varied,’ not monotonous. .
249. trowdodvyoradAdopaci: a burlesque of dithyrambic compounds (cf. 99 n.). {In pronouncing it should be remembered that g?=7', not f.] ‘With bubbly plop- plop-plopping.’ The dat. is not of the instrument, but of accompanying circumstances (Kiihner-Gerth i. 425. 6), and is virtually modal. Cf. Hom. J2, 3. 2 kr\ayyn 7 évorn 7’ icar, Xen. An. 1. 7. 4 xpavyn moh ériacw.
251. rouri rap ipav AapBavw. 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 mapahauBdvew, the simple AauBdvew meaning ‘borrow.’ Cf. Arist. Poet, 22, where the highest quality
253—269 NOTES 125
in poetic expression is 7d weradopixdy elvar, because pdvoy Tobro ovre map &ddovu ort AaBew evprvias Te onpuetdv éott, Luc. Pisce. 6.
253. Sed tipa meodpeoOa, ‘it seems we are to be badly treated’; an Attic phrase of remonstrance ; cf. Ach. 323 ovx dxovoduerOa Ofra answered by dewd rapa meloouo (‘then it will be ashame’). The frogs want copyright.
258. 1 dapv— ordcov av hav: so Bachmann for érdécov 7 papvé avy queov of mss. If there is one rule of Greek more certain than another it is that, when dy belongs to a relat. and subjunct. construction, it cannot be separated from the relative by more than the light particles pév, 5é, ye, yap, and com- paratively seldom even by these. There is one instance of separation by oy, viz. inf. 1420 omdérepos oy av . . médd7. For details see Starkie on Vesp. 565 (Appendix).
xavddvy: cf. Hom. J7. 11. 462 fuse boov Kegparyn xdde gwros and French crier a@ pleine téte: ‘as wide as our throat ean hold.’ The throat of frogs is proverbially wide: cf. Ov. Met. 6. 377 inflataque colla tumescunt, | tpsaque dilatant patulos convicia rictus.
Su Apépas: with xexpakduecda.
264. ovSémrote: sc. vixjcere, resuming his own words and ignoring theirs.
265. «iv pe 84: the best mss. support this reading, and in Plut. 216 the «ay det of mss. plainly points to «av 69 and not kel Set. In Vesp. 616 we have éyxis (=éyxéns), and the evidence for contracted forms in the subjunct. from de? is quite sufficient (see Blaydes’ crit. note to this place and Kiihner- Blass, Gk. Gramm. § 245. 3). Vowels of like character (e and e, € and ») contract more easily than others, and for déy to become 67 (or xéy x7) no more interferes with the general rule of non-contraction of déw xéw than do the forms devs de?, xe7s x7.
268. éuehNov ipa tmavcew od’. The frogs stop croaking (since they are to appear through the mdpodos 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 éuédder’ dpa mdvTws avjcev ths Bons, Nub. 1301. The idiom is as old as Homer, and the infin. is always in the future.
269. mate: 122n. mapaBarod: 180 n.
t® kwtiw: these words (apparently superfiuous) 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 (cf. 273, 278). We have left the lake and are in the adjoining country described by Herakles (148-153). The scene was no more actually represented than the darkness of v. 273.
6 BlavOlas: 40 n., 608.
4) ElavOias, ‘Hullo! Xanthias!’ Cf Nwb. 105 4 4} cuba, Others keep the accentuation 4, and read as a question 7 HavOlas ; (sc. dvrws éoriv, as the schol. explains), ie. ‘Is it really Xanthias?’ But Di. cannot see Xa. in the darkness, and the slave’s tat (not=/ov, but, as Suidas states, of disgust = ‘heugh !’) is heard in the distance (hence Babufe Setpo).
275. theyev: see on éppager 182, and cf. épack’ 278.
276. kal vuvl y’ op®: 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 Nwb. 1096 one character actually mentions the spectators (oi Gearai) 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. vev: not superfluous, but=‘we’d better get on.’
278. od Ta Onpia ta Sely’ Ehack’: it is difficult to supply elvat. The sentence should be taken as cut short by the contempt of Dionysus. of can hardly be the gen. (‘the place whose monsters . .’) since @doxew 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. elSés we .t.A. The participles are to be related in the sense @iAoTimovmevos, Sri HOer me . «
282. ovdtvy yap ottw yatpov . .: Euripides in his Philoct. (fr. 788) had written ovdév yap ot'rw yatpov ws avip dv, 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. éya 8€ y': the éyw of the boaster (cf. 280), implying ‘but J 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. dyoviopa: not literally a contest (which in any case AaBeiv hardly suits), but something won (éra@\ov Suid.) in a struggle, i.e. ‘the honours of combat’; cf. Thue. 1. 22, 3. 82, 7. 86 and the notes of Poppo-Stahl.
284-294 NOTES 127
THs 0500, ‘ our journey (all this way),’
285. kal phy: lit. ‘and, in fact . .,’ e¢ vero. Kal why (‘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 ‘Z want adventures,’ Xa. replies ‘Of course! And, by the way (talking of adven- tures), I hear a noise.’ [Since xal wiv regularly begins its clause, it is surely more natural to punctuate vy tov Ala’ xai uy .. than vy rov Ala kcal wv. . 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. wotév tt; Sevdv; GIA. tjTayrodatoyv youv k.T.A, This gives a natural enough sense to yoov, and the form of reply is that of v. 293. Dionysus would be prompted to ask if it is devédy by the expressions in 144 and 279. But there is no sufficient reason for deserting the traditional arrangement.
291. apatoraty tis: with adjectives tis (like quidam) practically = ‘ quite.’
293. "Eyrrovea: 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 “Euovoa (as distinguished from Mopus and other popuodvuxeta) is that she kept changing her shape; cf. Dem. de Cor. 130 (of the mother of Aeschines) jv Eumovcav dmavres icact Kadouuévny é€x Tod mavTa Toe Kal mdcxev Kal ylyvecOa, Luc. Salt. 19 rhv "Ewrovoay tiv és pupias pmopdas peraBardouévny. One of her attributes was the leg of an ass C?Ovdkwros, Ovocxedls). 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.
mupl yodv Adprerat K.7.A.: ie. ‘(I should think it is Empusa), at any rate it has the orthodox characteristics of the nursery description.’ She is quite en régle.
294. &tav To mpdowmov: rather accus. of respect than nominative ; cf. Eur. 7.7. 1156 cpa Adurovrac rupl.
Kal okéXos xadkodv exer; Di. wishes to make sure: ‘And has she a bronze leg (as she ought to have)?’ In Soph. £7. 490 xadxérous ’Epivis denotes tirelessness (cf. xadxévrepos).
128 THE FROGS OF ARISTOPHANES —29s—302
295. BoAtrwov. The point of the jest is lost and probably not worth seeking. There may be a pun upon podvBdiwor (8d\.Bos being another shape of the word for ‘lead’), but that in itself is insufficient. If we may trust Athenaeus (566 &) Cratinus also used the expression BoNirwor éxwv Odrepov ckéXos, but we do not know in what connexion. There may have been some Athenian catchword of the kind.
297. teped: 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, Aft. Theat. pp. 805, 309 sq. The humour of the stage Dionysus appealing to his own priest for protection scarcely requires remark,
tv’ @ wou uprdrys: 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. Cf. Ach. 1085 émi detrvov raxd | Bddige . . | 6 Tob Avovicov ydp oa” iepeds peraméumera, Eccl. 1180, and inf. 1480. There is an amusing 7rapa.mpocdoxiay in ieped, Siaptdakdv pw’, tv’ —® co Evurorns.
298. ava—t “HpdxAes. 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.
od p} KaAels: 202 n.
300. todtd y 8’ rrov. 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. 10 qmwep epxer: 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 dvdp’ dvip 6p mpooidvra wapamrem\nyuevov, | Tots THs Appodirns dpyioss eiAnupévov: | & wérvia, Kirpov kai KvOjpwv cat Tago | wedéovo’, 10’ dpOhv twmrep epxe tiv 666v. 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 épyec the proper verb.]
302. mavr’ aya0a, ‘nothing but good.’ So Av. 1706, Ach. 982 (rdvr’ aya’ éxovras). [To be distinguished from mdvra rayada . «|
303-308 NOTES 129
303-304. tkerrl 0’ Gomep . . 6p. Hegelochus, who acted Orestes in Euripides’ play of that name, should have pro- nounced vy. 281 as ék xuudtrwy yap adds ad yarn’ dpa (i.e. yadnvd, ‘I see calm after storm’). By a slip of the tongue he said yadfv (‘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 ¢ép’ ef yevolunv . « yarh: | gdAN “Hyédoxos obrés we punvicerey dv | 6 Tparyixés, dvakpdyo. 7 dv eis éxOpovs uéya | ‘éx Kupdrov yap avis ad yaniv opd.’ 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 y. 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 ride potcav elcdywv with rid éuotcay eicdywv recorded by Athen. 616c there was a deliberate purpose.] Cicero (Orat. § 173) remarks of the Athenians in versu theatra tota exclamant, si fuit una syllaba aut brevior aut longior, and (de Or. § 196) in his si paulum modo offensum est, ut aut contractione brevius fieret aut productione longius, theatra tota reclamant. 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. ).
aomep “HyéXoxos: sc. elev; cf. Thuc. 5. 29 médrw Sypo- Kparoupevnv domep kal avrol, Herond. 2. 28 dv xypiv . . ws éyw fwew, Soph. Aj. 525 eyew o” av olkrov ws Kaya ppevi | Oédowp’ dv, Luecr. 3. 455 ergo dissolvi quoque convenit omnem anima | naturam, ceu fumus. It ought to be perceived that in all these instances the nom. is the proper case. Here an alternative domep ‘Hyehéxw would be wrong, since the meaning is not ‘we may say, as Hegelochus (might) . .’
308. 081 Sé Seloas k.7.A.: 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 (Paus. 2. 2. 6). In the latter case the statue of Dionysus blushes for his stage representative. There is a mapa mpocdoklay in vreperupplace. ‘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 muppés is rufus, and can scarcely be used for épv@pés 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 zruppés, and iepeds Avovdcov seems to have been a sobriquet for a red-
K
130 THE FROGS OF ARISTOPHANES 310—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. WN. 33. 111 (of the statue of Jupiter at festivals); Plutarch, Quaest. fom. 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 wuppés, whereas later the redness, symbolically retained, might be artificial. The priest of Dionysus might then well be said to ‘ get avppés for the sake of’ Dionysus. Moreover it is otherwise hard to see why Eupolis should call Hipponicus ‘priest of Dionysus’ because of his zuppérns.
310. airtdcopar: nothing is gained by altering this (‘whom am I going to blame?’) into airidowua; ef. Eur. Lon 758 elrwuev oryouev; } Ti Spdoopev; Ach. 312 eir’ éyd cov geicouat; Gildersleeve, Gk. Synt. § 268.
amodAvvar, ‘trying to ruin me’; cf. 144.
311. aiێpa x.7.A.: see 100 n. [After this verse the mss. give a stage-direction (zap- emiypapy) addrct Tis vBov. |
316 sqq. The Chorus, numbering twenty-four, is heard approaching (but is not yet visible; cf. wov 319). It makes its entry (wdpodos) 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 xara orotyxous, 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). matfovow (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 mpéppnots, the carrying of Iacchus, yedupicuds and mavvvxis; 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. tora include the initiated of all grades ; the completely initiated were éwémra..
316—327 3 NOTES 13]
316. "Iaxx’, ® "Iaxxe: the regular shout, whence iaxxos itself= ‘the cry of the mystics’ (320) ; cf. Eur. Cycl. 69 taxyov taxxov wddav wédmw, Hdt. 8. 65 Kat of gaivesOar tiv dwyhv elvac Tov pvoTikdv taxxov. 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" Iaxyos (Suid. ).
[The temple of Iacchus at Athens was called the ‘Iaxyetor, and was presumably the same as that of Demeter containing ‘Iacchus 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 ’Iaxyetov, but with an afterworld counterpart of another shrine by the Ilissus. ]
318. totr’ tor’ éxeivo, ‘this is the thing’ (which Herakles told us of, viz. 154 sqq.). From this expression éoriv is more idiomatically omitted (cf. 1342).
319. eppate: cf. 182, 275, 278.
320. Gover yotv tov taxxov Sviep Su’ ayopas: sc. Gdovow ; ef. Hg. 408 BaxxéBaxxov doa. The mystics in Hades are singing the same Iacchus-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 Acaydépas, 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 &eos, who may possibly have flouted “Iaxxos (or the Iacchus-song) in some unseemly way. The schol. on Av. 1073 relates (with authorities) that he Ta pvothpia evrédigev. Others understand another Diagoras (if it 7s another, and not rather the same man at an earlier and more pious stage), a lyric poet, who hymned the deities ; these supply gée. But there is no apparent comic point in saying ‘they are singing the Iacchus of whom Diagoras sings.’ Rather the procession at Athens, in passing from the Iaccheum, sings the taxxos through the dyopd. [For the absence of the article see 129 n.]
324-326. pais: sce 316 n. The meadow in Hades (Pind. Thren. fr. 1) is identified with (or answers to) that of Agrae.
327. oolouvs és Oiacwras: the epithet should be noted, as also the insistence in dyvdv iepav dclos 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 ravvvyldes against some attack.
Q<iacatas, ‘ (your) fellow-revellers,’ like éuds moXtrys, civis meus, ete.
329 sq. Bptovra oréhavov piptwv, ‘a wreath laden with myrtle-berries’ (uvpra). Bpvewv is used with either dat. instr. or gen. of fulness; cf. Soph. 0. C. 16 xG@pos Bpiwy | dadvas, édaias. [To render plprwy as from pidpros (gen. of material with orépavov) is to leave Bpvovra but awkwardly attached. ] Myrtle (uvpolvn) was worn in the procession by at least the iepopavrns, Sadotxos, and other officials. The statue of the child Iacchus also wears the wreath and carries a torch (340).
330. Opacet: i.e. without fear of condemnation as dxéddacror (331).
éykatakpovov, ‘beating in time to the measure’ (cf. 374). Tunav, ‘rite, ‘service’ (with xopelav in explan. apposition) is cognate or internal accus. ; cf. Verg. Aen. 6. 639 pedibus plaudunt choreas.
331. tav axdAacroyv . ., ‘the (recognised, orthodox) free . .
>
335. xaplrwv: half personified. It has ‘a greatest share of the Graces,’ i.e. of charm and delight ; cf. Hecl. 582 ws rd Taxvvew xapirwy pwetéxer mreloTov mapa rotor Oearais. The words are both a promise to the spectators and a claim of the dramatist.
336. dofors piorats: the dat. does not depend directly on éyxaraxpovwv, but is either (1) loosely joined to the general sense as dat. commodi (i.e. ‘as your pious mystics pray you’) ; or (2) with dyvav iepav, ‘a dance pure and holy in the eyes of pious mystics.” The latter is simple; cf. Soph. 0. C. 1446 dvdévac yap wacly éore Sucrvxew: Dem. 20. 54 0 Adyos aicxpds TOLS TKOTOUMEVOLS. .
337. Anpynrpos képyn: to whom the Lesser Mysteries specially belonged (as was natural. for the spring), while the Greater Eleusinia (of autumn) belonged to Demeter herself.
338. as 750. . Kpedv, ‘what a delightful whiff of pork !’ The impers. construction as in 760 fe, drdge rwds; cf. Plut. 1020 dfew Te THs xpbas packer 7d wor. Another construction to be noted is that of Vesp. 1059 rav inariwy éfjoe degtdryros. In the mysteries pigs were the staple sacrifice ; cf. Ach. 747, 764; Pac. 374 és xoipldidv viv por ddvercov Tpeis Spaxpds: | det yap munOjval me mplv TeOvnkévat.
339. Hv tuKal.., ‘in case you may even . .’; cf. 175.
340—351 NOTES 133
340-343. eyepe Aroyéas Aaprddas’ év yepol yap tke. . gdwoddpos adornp: this is the simplest reading for both con- struction and metre. The change to Kes on the part of most (but not the best) Mss. was due to é@ye:pe, and the unmetrical addition of rwacowv was caused by the inclusion of a marginal note written under a misapprehension. On the other hand the words yap tke. cannot have been so added.
The chorus apostrophise each other, ‘stir the torches to flame (pdoyéas being proleptic); for in our hands there is borne—lIacch’ O Iacche !—the light-bringing star of our nightly revel.’ “Iaxx’ & “Iaxxe is parenthetical, like Jo triwmphe, evot, etc. In the strophe the deity was invoked to come forth ; with the antistrophe he is brought out.
340. %yepe: by brandishing. Cf. Stat. Siv. 8. 5 quassamus lampada mystae. [Some, keeping tiwdoowr in violation of the metre, punctuate éye:pe* proyéas Aaumddas ev xepot yap «.7.X. In this case @yeipe is used absolutely (like érevye, dative), not as=éyelpov, but with a relevant accus. supplied. The late position of yap would in itself be justifiable : cf. Antiph. ap. Ath. 339 B éml 7d rdpixds eoriw wpunkvia yap, ibid. 572 A ai uev &AXax Tobvoua | BAdrrover Tots Tpdrors yap. |
év xepol yap ter: viz. of the laxyaywyol or ceremonial nurses (fem.), whose title is found in connexion with the Eleusinia.
343. dwoddpos aoryp: viz. Iacchus, who bears a torch. Cf. (though in another connexion) Soph. Ant. 1146 yxopdy’ dorpwy, applied to Dionysus. There is an oxymoron in the combination of vuxrépov with g@wodépos (‘ morning-star’).
344. 81: better than 8é, as well as more metrical. They have called upon their comrades to ‘rouse the torches,’ and it is done (67)=‘So! The meadow is all ablaze.’
345. yovu madera yepdvrwv. So the aged Cadmus and Teiresias dance under the Bacchic inspiration (Eur. Bacch. 184 sqq.), and Cadmus observes émireAjopued’ Hdéws | yépovres dvres.
348. érav . . éviavrots=éréy Kxvxdous (Eur. Hel. 112), since éros= ‘year,’ while éviavrds=‘round’ or ‘recurring season’ ; cf. Hom. Od. 1. 16 aX’ ore bh eros HAGE mepiTrAOMEvwv eviavT@r.
349. iepds td tTinds, ‘thanks to (or ‘to the accompaniment of’) this holy service’ ; cf. 333.
350 sqq. ov 8 . . pdxap: TIacchus (one of the pdxapes Geoi) is now in the hands of the bearers, and he is bidden to advance with the procession into the dancing space.
351. avOnpdv fAcov : 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 xfpvué), are in humorous imitation of a xjpvyua or mpdppnots 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 xfpvé, and our authorities may be incorrect). But there is nothing to prevent another and final mzpédppyots 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 Iacchus 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 si an views on the other is well maintained by plays upon words.
854. ednwetv xpi: ie. all present must favere linguis, whereas éiorac@ar refers only to those hereafter mentioned.
eloracba «.t.A. ‘For the interdiction itself cf. Callim. Hym. Apoll, 2 éxas éxas boris additpés, Verg. Aen. 6. 258 procul o procul este profant. We should also compare for the literary application Hor. Od. 3. 1. 1 Odi profanum (=dpdnrov) volgus et arceo. | Favete linguis: carmina non prius | audita Musarum sacerdos | virginibus puerisque canto.
Tois tperépoiot xopoto.v. The words suit (1) the porn, (2) the comic choruses competing for the prize.
355. daeipos . . kaSapever: an application of two clauses of the actual formula at the mysteries, viz. (Theo Smyrn. p. 22) doris Tas xEipas uy KaBapds and baTis Pwvhy aovveros.
Tovovde Adywv: suiting (1) the mystic doctrines, (2) the ‘ fit and proper literature’ of comedy.
youn, ‘judgment,’ substituted for xefpas 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 ef. Xen. Cyr. 1. 3.10 rats yramars cpaddopuévouvs, Eur. Bacch. 683 cwpacw rapemévat, Herond. 3. 32 dupacw kdurer.
356. yevvaiwy . . Movodv: ie. not the vulgar sort of
356—357 NOTES 135
composition; ‘literature fit for gentlemen.’ Movodv, of course, replaces the half-expected uvordr.
dpyia . . eldev: not=7d iepd efdev with allusion to the crowning revelation to a full éwérrys, since not all wwora were such. dpya 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 piorm. The accus. (cognate) can therefore be joined to yopevew (‘celebrate in dance’) as well as to dpay (direct obj.). Cf. Eur. Bacch. 488 mas dvaxopever BapBdpwy 74d” dpyia. Here dpyra Movody cidev=‘has been a spectator of drama’; éxdpevoev=‘ has actually taken part in a chorus.’
357. Kparlvov rot tavpopdayov: 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 (madaywyichvy mappnoiav éxovoa 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 (IIvrivy) ; 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 Kparivov Baxxeta at once suggests Avovicov Baxxeta, and since the wine-god is himself called Tavpopdyos (Soph. /r. Tyro). The term is borrowed from (1) the Orphic mysteries of the ®uopayla (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 tavpépopdos, Taupdkepws (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 ravpogdyos 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 Kparlvov rod ravpoddyou is substituted for Avovicov rod ravpopdyouv, the god of special mysteries, and. that, as applied to Cratinus, the epithet implies (1) wine-drinker, (2) winner of victories, (3) fiercely courageous. |
yAorrys Paxxeta: 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.’ :
Baxxet’ éreAéoOn: cognate accus.; cf. Plat. Phaedr. 2490
Tedéous del TEAETAS TENOUMEVOS. :
358. recov, ‘verses,’ not ‘words,’ is the sense of éry 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.). 7d Bwpuodrdxov is that which ‘plays to the gallery’; cf. Nwb. 970 (in connexion with music).
TovTo Trovotew : id agentibus, sc. Bwuoroxevopuévors, cf. 584 otd’ of8’ bre Ovjot, Kat Stxkalws avrd Spas and, more nearly, Plut. 522 écrar. . ovdels dvdparrodiorys |. . . Ths yap mdouTav ebedAyoet | kwduvevwy mepl Tis WuxAs Tis abrod Totro mojoa; See also 168 n.
359. troAlrats, ‘where citizens are concerned.’ The article would be more inclusive ‘ (all) the citizens’ (regarded as a mods).
360. dveyelper: sc. ordow (not avrov’s). The reference is probably to Cleophon and his adherents.
361. dpxewv, ‘while holding (some) office.’ katadwpodoKeirat. The middle (or passive) also in Ar. Pol.
362—364 NOTES 137
2. 9. 26 daivovrar dé kal Karadwpodokovmevan Kal KaTaxapifduerot To\\a Tov kowHv. The simple dwpodoxety classically = ‘ receive bribes’; in later writers it=Jdexdfev or xphuace diapbelpew ‘bribe’ (Cobet, Nov. Lect. p. 502). The compound with xara- expresses ‘ruin (betray) a thing through bribe-taking’ (ef. Lysias p. 178 orérav ratra . . KdémTwot Kal Katadwpodoxder). The use is well-known in xaOtrmorpogew ri and the like. In Vesp. 1035 rowotrov idwy répas ot pyow deloas KaTadwpodokjcat, [ GAN’ brép buy eri Kal vuvi wodeue? we should supply dyuas, ‘ to betray you for bribes.’ If a person ‘corrupts himself—gives - himself away—by receiving bribes’ he may be said xara- dwpodoxeiy éavrdv, or, as its equivalent, caradwpodoxetc ba.
362. mpodlSwow dpovpiov % vats: part of a public formula; cf. Lys. 31. 28 ef uwéy ris ppovpidy Te rpotdwxev 7} vaiv 7 oTparémedév Tt. . . Tals éoxdras av Snulats efnusodro, Poll. 8. 52 éyivovro eicayyeNlat kata Tov mpoddvTwr ppovprov 7 oTpaTiav i) vats, Lycurg. c. Leoc. 155. 59.
Taméppyra, ‘contraband of war’ (at the same time suggest- ing the secrets of the mysteries). Cf. Hg. 278 rovrovi rév dvdp’ éya 'vdelkvume Kal pnw’ éédryew | rator IleXorovynciwy Tpijpecc fwuevpata followed by é&dywv ye rdamdppy?’ (282). The for- bidden exports were particularly materials for shipbuilding (e.g. ropes, sails, pitch), and corn. So Dem. de F. Leg. 433 éypayev, dv tis ws Bidurmov Srda dywv ag 7} oKe’y TpinpiKd, Odvarov eivar Thy Sylar.
363. é Alylvyns. 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 (Thue. 2. 27). Disloyal Athenians were able to make it a basis for communica- tion with the Peloponnese, since it was 7H IleAorovvjow émexemévyn (Thue. J.c.). Epidaurus was the nearest opposite port.
Owprkiwv dv, ‘being @ Thorycion,’ ie. ‘as bad as Thorycion.’ Cf. 541 and fr. 92 & puapé cal Ppvvdvda xal movnpé oJ. Nothing further is known of the man.
eixootoddyos. The elxocri 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 @épos or direct quota-pay- ment of the allies, and was collected in all their ports. Cf. Thue. 7. 28 rip eixooryy bd rTobrov tov xpbvov Tray Kara Odraccay avril rod pépou Tots irnkbas érébecav, wreiw vouloayTes av odiot xphuata otrw mpoorévat.
364. aoKopara: leather pads for the oars in the rowlocks. Hiym. Mag. 155. 17 says ra dépuara ra émipparripeva rats
138 THE FROGS OF ARISTOPHANES 365—366
kwmats Oa Td wh eloppetv rd Oaddooroy Vdwp, i.e. ‘leather bags fitting over the oar at the oar-ports, to prevent the wash of the sea from entering’ (Dict. Ant. ii. p. 223). Cf. Ach. 97 doxwp’ éxeis Tou mepl Tov dpOahuov Kdtw (after vaipapxrov Brérrets), i.e. ‘a pad’ or ‘ bagginess.’
365. xpfpara . . me(0er. Such assistance to the enemy had come from Persia (Xen. Held. 2. 1. 11), but there can hardly be an attack here upon Alcibiades (cf. 1432). The ‘persuasion’ on the part of Alc., when he was estranged from Athens, had been exerted seven years earlier than this play, and the position had entirely changed.
366. tav “Exataiwv. ‘Exarata are either (1) ‘Exdrys detrva, messes of poor food or even offal put out at the cross-roads (év Tptddors) on the last of the month asa purificatory ceremony. These might be eaten by dogs or by the miserably poor. (2) ‘Exdrnys dydduara, statues‘or emblems of Hecate rporvAala (or mpoOupaia). (3) ‘Exdrns iepd, little shrines of Hecate placed éy tpiddos. In the last sense most editors prefer the spelling “Exareta (cf. Oncetov, “Hpaxdelov, Movoeiov, OAvumtetov) and this is highly probable. [There is, however, nothing’to prove that “Exarafov is an impossible form in the same meaning, since the suffix was originally -cov simply, and only spread as -efoy through analogy with, e.g., “Hpaxde(Fec)-cov, Oyce(F)-cov.] But here it is not safe to make the alteration, since we do not know whether it was detrva, adyd\uara or iepd which were defiled. Av. 1054 (or7dns) 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 Hecl. 330. Moreover Cinesias was a xvx\od.ddoKados, composer (and teacher to the chorus) of dithyrambs, and a contemptible person (ef. 153), of whom Lysias (ap. Ath. 551 Fr) states that he was doeBéoraros ardvrwv dvOpwHrwy, and that he did things & rots G\dos aloxpdy ort kal Néyew,
kuKAloist xopotow tradev, ‘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 xvx«duos xopds of fifty danced and sang round the altar of Dionysus, and is thus distinguished in name from other choruses, which were rectangular (rerpdywvo.). 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 xopol took place in the theatre at the Dionysia.
trqdewv, lit. ‘leading with singing’ (or the flute)=voce (or
367—369 NOTES 139
tibia) praeire. two- of accompaniment strictly expresses the guidance or impulse under which a thing is done: cf. 874, Callim. H. Dian. 241 sqq. (after KixrXw | ornodpevar xopdv edpir). brheoav dé Nliyecar | Newradéov ovpryyes. The same sense appears in vmavAety, vreretv (fr. 479 éyw 8 brepd Tov Spkov= verba pracibo). On the other hand mpocgdew is said of the chorus (Plat. Legg. 6708).
It was theoretically the business of the kuxdv0dcddoKandos to train his own chorus, but he might employ a vrod:ddoKanos, and it is enough to suppose that the composer here chants his words and tune in general guidance.
367. rovs picBods k.7.A. The schol. on Eeci. 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.
pytwp dy eit’: eira (practically=éduws) implies that, if any one had a right to reduce the scale, it certainly was not fora pyrwp to do it. Cf. 205, Ach. 496 uy por POovicnr’.. | e mrTwxos dv érecr’ ev "AOnvalos réyew | uéAXw. The offender was a ‘ professional talker,’ and a poet was better than a ‘ talker.’ Moreover a p7rwp is a public man and must put up with the consequences. The piyropes (=ol Sjuw cupBovdrevovTes kal ev TO Snuw ayopevovres Suid.) theoretically enjoyed no credit, but in practice were powerful.
368. KwpwdnOels, ‘ because satirised in comedy.’ ,
év tais matpios . . Avovioov: 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 (zarpiois) on a privileged occasion ; ef. 357 n. Aristoph. chooses the word teAerais, not merely ‘instead of éopry as applicable to the mysteries, but in emphasis of the excuse. ‘Initiation’ involves more or less unpleasant probation, and the fj7wp was only ‘going through the mill.’
369. rovTois mpwtdH: an excellent correction of Blaydes (see crit. n.). sApart from the metre, ro’ros dmavdd . éfloracOat is very improbable Greek for dravdé uh rapetvar or avd éicracba. This difficulty could be partially got over by punctuating at the end of the line and treating éficracOa as imperat. (cf. Ach. 1001 dxovere Ne: KaTad Ta wadrpia Tovs Xda | wivev). [The change to the imperat. dveyelpere would be no embarrassment, since that word is addressed directly to other
140 THE FROGS OF ARISTOPHANES = 369—372
persons (with tuels), while é&oracAa is general and formal. | Nevertheless even with such punctuation aravd6 would still be unnatural. The correction (1) explains the corruption, the crasis for rpo-avd@ being rare and apparently restricted to this word, in which it occurs Av. 556 lepdv rédewov mpwiday ata, (2) suits the notion of a mpdppyots, as in mpodéyw, mpopwvd, (3) restores a normal construction.
KatOis Td tplrov pada. Join katOis .. pada. Cf. Aesch. Cho. 875 otwor war’ abOis év rpiros rpoopbéypuacw. In phrases of repetition this use of «dda is habitual, cf. Aesch. Cho. 649, Ag. 1344, Eur. Phoen. 1067, ete.
370. piorator: adj.=pvorixots. Cf. Anth. Pal. 7. 219 utotns AYxvos, Eur. Jon 1373 oixérny Blov, Xen. An. 6. 5. 9 Adxoar PiAakes. [Not ‘ owr rites,’ but any such. ]
371. kal tmavvvx(das: sc. dyew (or moreicbat) dpxeobe to be gathered by a sufficiently easy zeugma from dveyelpere.
Tas hpetépas at K.7.A.: 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 Iacchus 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 pdppyors before the dance begins. But immediately after commanding the mystae to ‘raise the song etc.’ we here find every one (7as) ‘now’ (viv) 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 d&pucrov and go into the meads to sport and dance ‘all day.’ What too is the meaning of ‘summoning hither Iacchus’ (395), when he has already been surnmoned 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. 871 the chorus perform their dance, representing the mavvuxis, and this fills the night. We are thus brought to the next day; an interval is supposed to have elapsed for rest and the dporov: and the celebrations are now “continued in special honour of Kore (379), next of Demeter (383), including Iacchus (396), who has been again lodged (after the wavvvxls and during the interval) in his shrine by
372-379 NOTES 14]
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. xa@pe. x.t.A. The metre, which is that of a slow and steady march and consists of anapaests entirely spondaic, was affected by the Spartans in their éuBaripia (cf. EuBa 377). avSpelws is playfully borrowed from the marching song of war- time: ‘march like a man—to the flowery bays.’
373. és Tovs evavOcis KdATrouS Aetvov. The absence of art. from Aeudvewv is due to the close connexion of cdAmovus-Aetmwmvwr into one notion, the gen. being practically an adjective. In such cases the gen. may come between art. and noun, as in Soph. 47. 664 7 Bpordv maporuta, or after the noun, as Eur. Bacch. 29 riv auapriav Néxous, El. 368 ai pices Bporsv. [Where there is already a qualification of the noun (as evavéeis here) the other attributive word (here a gen.) may naturally be expected to follow rather than precede. ]
374. éyxpotev: cf. éyxaraxpovwy 330 n.
375 sq. émoxotrwv «.t.A.: with reference to the cxappara and yedupicués at the mysteries. At the same time the chorus is pleading its right of mockery in the theatre. See Lucian Prom. 6 7 5é (kwu@dia) rapadovca rH Atoviow éavriy Oedrpy autre. kal Evyémrave kal éyehwrorole: kal éréoxwrre, and (later) émickwmrew Kal Thy Acovuciaxiy édevdeplay karaxety (Twos).
377. qptornrar 8 &apkotvtws: cf. Nicostr. ap. Ath, 693 B ixav@s Kexdpracuac ydép. 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 xopyyés, and the appetite of the xopevrai was proverbial (Haigh, Att. Theat. p. 80, where the pertinent authorities are cited). Comedies were performed after the dpicrov and the Chorus admits that it ‘has had not a bad meal.’ Cf. 403 sqq. fora similar reference to their clothing as supplied by the xopryés. That the comedians could jest at their own choruses appears from Suidas (in voc. dapvyivinv) oxamrovres Thy yaoTpimapylav Tov xopevTdy ’Arrixol orw Aéyouor. [The mistake of supposing that the proceedings are still those of night has caused doubts and alterations of the text. ]
_ 878. dpets, ‘uplift (in song),’ ‘extol’ (tollere). Usually a predic. adj. is joined to the verb, e.g. uéyav, byydv alpew rwd : here the following words give the definition. Cf. Aesch. Pers. 549 xdyw dé udpov rev oixouévwv | aipw doxiuws moduTevO7.
379. tiv Lorepav: i.e. Peppédarray (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 Iacchus, and that she bore the title Zwrepa appears from Paus. 3. 13. 2 vads Képyns Zwreipas (in Laconia), 8. 31. 1 (Arcadia), and from coins of Cyzicus. Cf. Aristot. Rhet. 8. 18. 1 ris redXerHs Tov Tis Zwrelpas iepav.
yevvatws, in ‘first-rate’ style: cf. 97 n.
381. cwfew, ‘acts as Xwreipa.’ This is better than cadcew ; she says ‘I am your preserver for ever.’
Owpru«lwv : 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 (€répa idéa) to that of the lines referring to Persephone. The construction is érépav tpvev iddav Kedadeire, ErikoopodvrTes Thy «. B., cf. Pind. NV. 4. 26 tuvov xeXddnoe xaddivixov. The fem. form Oedv 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 Ajpytpa Vedv, which are not strictly necessary, lend more solemnity and recognition of greatness: ‘the fruit- bringing Queen, Demeter, goddess. . ’
384. ayvav: with the same insistence as in 327 n.
387. Kal uw’ aodadds «.t.A. This use of accus. and infin. belongs to the language of prayer, and depends on the thought dds or efxouar unexpressed (Kiihner-Gerth ii. p. 22). Cf. 887, 892, Aesch. S.c. 7’. 239 Oeot modtrar, un je Sovreias Tuxeiv, Ach. 247 & Ardvuce Séorora, | Kexapiouévws cor THvde THY Touhy éue | réuwavra Kal Odcavra werd Tov oixeray | dyaryeiy TYXnpis Ta Kar’ aypovs Acovicia.
Speaking as wwora they mean ‘may I sport and dance with- out offence towards the goddess and her ritual’; as xopevrai 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- Xxili. ]
awavhwepov: through the day’s ceremonies (1) of the mysteries, (2) of the dramatic performance.
389, twod\Aa piv yéAouw K.7.A. : the maxim of the comedian, who claims a serious purpose. Cf. Plut. Mor. 68 B émei xal rots Kw@puKots TONAG pds TO O€arpov avornpa Kal TodiTiKad émreTroinTo.
392—404 NOTES 143
392. mwalcavra . . vikhoavTa Tatviote bar, ‘(grant that) after jesting . . I may gain the victory and be honoured with the fillet.’ For the combination of participles cf. Aesch. 8. c. 7’. 3 olaxka vwudv Brépapa wy Koay trvw, Plat. Rep. 366 A Nico dpuevor UrepBaivovres Kal auapravovres TeiPovres avTOvs aLHuLOL dmahddéouev, i.e. melOovres atrov’s Aicodmevoe (=TH AlocerOar) brepBaivovres (=omdbray vrepBalvwuer).
. 3893. ratviotoGar. The rawia 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 oxwyupara and mwatyuara of the mysteries there was some recognition of pre- eminence. |
395. wpatov: cf. Catull. 64. 251 florens . . Lacchus, Ov. Met. 4. 17 (of Bacchus=Iacchus) tu puer aeternus, tu formo- SiSSUMUS.
396. Tov Evvéurropov: i.e. who is (always) the (recognised) companion, etc.
397. pédos EopTiis Sirrov etpwv, ‘discoverer of the sweetest festal tune’ (not=rTjode rijs €opr7js, for which at least the article would be required). The tune which Iacchus invented (viz. the Iacchus-song) is called the most grateful or welcome tune known at any festival.
400. mpds tiv 8edv: Persephone, to whose shrine they are proceeding. :
401. dvev movov «.t.A. ITacchus is but a babe, and the journey is, therefore, relatively wodAy. Nevertheless -he is a god, and the gods know no wévos: cf. Hes. Op. 112, Eur. Phoen. 689 rdvra & evwerH Oeois, Lucr. 5. 1182 nullwm capere ipsos inde laborem. [Probably the expression was actually used each year when the start was made from the Iaccheum, whether to Eleusis or to Agrae. ]
404. katerylow piv . ., ‘didst cause to be slit up.’ There can hardly be areference to the cx.ords xirdv or the shoes called oxioral, 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 malyyara and the night-revels), (2) frequently in the comic chorus. In the latter 76 yé\ovov was of course consulted, but an economical xopnyés 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 4o4—414
satirically at this practice. Iacchus ‘had our clothes slit up to create laughter—not to mention economy!’ ocavdadrloKov (‘ bit of a sandal’) and pakos (‘rag’) are humorous disparage- pent 3 these things do not deserve the name of ‘shoes’ and ‘clothes.’
Kkaterxlow piv. . KaeEndpes. If this reading is correct we have an instance of pév answered irregularly by kal (Kiihner- Gerth ii. p. 271, who quote e.g. Hom. J/. 9. 53, Od. 9. 49, Xen. Cyr. 1. 4. 3). But one best Ms. has katacylow pév. . eEnipes and Kock’s katacyirdpevos . . éEndpes is highly probable.
407. afnplovs, ‘without loss’ (through expense in things spoilt, but with the further suggestion of dramatic impunity in the matter of persons or things mocked),
414. éyd 8 acl wwsk.t.A. Thespeaker, attracted by the last words, exclaims ‘ 7m in a general way rather given to escorting (taking up cuvaxodovGa), and I should like to dance, playing the while.’ For the expression cf. Eur. Hipp. 666 del yap odv mws elo. Kaxetvar kaxal. The sense of rws, though it qualifies del, is felt with the adj. also. With another order Plut. 246 éyw 5é rovrou Tod Tpbmov Ts elu’ 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 ptorar can hear. In the latter case we may take this as a suggestion of the yedupicuds 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 8fra and kow7 would lose nothing in appropriateness, while otv (422) vical perhaps gain. Perhaps it is best to suppose that the two come forward with a display of lively eagerness.
[The ss. have per’ atrfjs 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 kéywye <BotAowat> mpds or Kavywye tpds, <cdd’ icf. But it is not easy to see why the loss should occur, whereas the addition of both eu: and avrijs (adscript) might be fore- seen if the original were the trimeters AI. éyd 8 del mows
416—418 NOTES 145
diraxdrovlos, kal pera (adv. cf. avec) | walLwv xopetery BovrAopar. BLA. Kiywye mods. |
416. BotdAceoOe Sra . . : spoken by the coryphaeus, ‘ pray, would youlike . . ?’ cf. Av. 1689 Bovd\eade Sir’ éyw réws | dr7h Ta Kpéa Tauri pévwv; If addressed to his fellow choreutae, koww7 = ‘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 tojoin usin. . ?’ [The yedupiopds (cf. ra €& audéns and the orjvia of the Thesmophoria) was a free use of rough banter, chiefly at the Cephisus bridge as the procession passed to Eleusis (Strab. 9. 400 and see Sikes-Allen on Hom. Hym. 2. 195), but of course employed in similar cases and other festivals at other bridges (e.g. over the [lissus), and thence generically. A bridge was a convenient standing-place, since everyone must pass. ‘yepupifew thence becomes=cxwmrixds vBpifer. ]
417. “ApxéSynpov: mentioned by Xenophon (Hell. 1. 7. 2) as 6 Tov Ojuou mpoeoTnKws Kai THs wwBerias émimedduevos at the time of the battle of Arginusae, by Lysias (14. 25) as yAduwr (inf. 588) and an embezzler of public money when Alcibiades was a youth, and by Aeschines (de #. Leg. 76) as a corrupter of the people by largesses. As the accuser of Erasinides (inf. 1195) he was naturally suffering much odium at the date of the Frogs.
418. errérys dv odk Epvoe hpatepas. The last word is a punning rapa mpocdoxiay pronounced with a drawl, as if it were to be dpacrhpas (sc. dddvras). These were the second teeth, which came at seven years of age; cf. Solon, Hleg. 25. 1 mais Mev dvnBos éwv Etc varios Epxos dddvTwv | Pioas ExBdANeL parov év rr’ érecwv. So wisdom-teeth are called cwopovicripes or kpavrjpes. 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; ef, 679 n.] <A similar expression occurs in Av. 764 ef dé doddds éort kal Kap &omep Hénxeoridys, | puodrw mdmrmovs rap” jpiv Kal gpavotvrat ppdrepes. very true-born citizen was registered in early childhood in the ¢parepixdvy ypaumaretov of a dparpia, 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 (Snuorolnros), but originally a foreigner or a slave, had not passed through this enrolment, but, upon his adoption, he was admitted to a gparpia with a limited recognition (Dict. Ant. i. p. 905).
[The spelling varies between o@pdrepas and dpdropas. Here the Mss, give the latter, as in Hy. 255, The grammarians,
L
146 THE FROGS OF ARISTOPHANES 420-438
however (e.g. Steph. Byz.), tell us that dpdrnp is the Attic form, and this answers to frater and to e.g. raryp, wArnp, Ovyarnp. Attic inscriptions always show -ryp (Meisterhans?, p. 108). ]
420. év trois dvw vexpoio.: (1) by a surprise for (Gor, im- plying that the Athenians are stupid enough to be dead. Aristoph. elsewhere calls them mpé8ara, and vexpol were more helpless still; cf. Sen. Hp. 60 quosdam ne animalium quidem sed mortuorum loco numeremus (quoted by Blaydes); (2) there may also be a reference to the famous lines of Euripides ris oldev ei TO Shy pév €ore kaTOavety, | TO kaTOaveiy 5é Shy KaTw vopt- ferat; (3) meanwhile &vw perhaps alludes to the Pnyx and its stupid deliberations (cf. dvw xa0jcac). 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. ra mpata: cf. Hdt. 9. 87 Adumrwy . . Alywnréwy ra mpara, Eur. Med. 912 Kopw6ias ra para, Lucr. 1. 87 ductores Danaum delecti, prima virorum.
éxet, ‘on earth’ (reversing the usual sense).
poxOypias: instead of an expected dyuaywylas or wodirelas (schol. ) ; more antithetical, perhaps, codias or aperjjs.
431. txour’ dv odv «.t.d.; ody 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. Sov ’v048’, ‘where hereabouts’: cf. Soph. Phil. 16
ckomew 0 brrov ’or’ évradOa Slatouos wérpa | Todd’.
433. févw yap x.7.X. : a line of tragic rhythm and delivered in ap «ae tone. This and line 436 are perhaps taken directly from some tragedy, the latter being quoted again in Piut. 962.
435. yd’ ats éravépy : because there is no need. 437. alpot dv: sc. Ta orpwuara ; cf. 502. 438 sq. tl fv: 39 n. GAN FH: 227.
Avds Képiv00s: a proverb (cf. Hecl. 828, Pind. NV. 7. 104) for nauseating repetition. Xanthias is tired of hearing nothing but aipo’ dy. The origin of the expression is thus explained : A Corinthian envoy, calling upon the Megarians for certain claims, kept repeating that 6 Avs Képwos (legendary founder of Corinth) would have reason to be vexed if the claims were not met. Weary of the threat the Megarians shouted mate maie Tov Ards KépuvOov, and expelled him with blows,
440-457 NOTES . 147
But Xa, is also punning upon the insect (xdpis) which was the plague of Greek bedding. These are humorously called ‘Corinthians’ in Nub. 709 éx rot oxliwmodos | Sdxvovot pw é&éprovres of KoplvOix. [That orpapyara were especially manu- factured at Corinth appears irrelevant]. ,
440.sqq. xwpeire viv . . We have reached a new stage in the proceedings. The kv«dos is the sacred enclosure (zepi- Boros), within which was the ddoos or ‘lawn,’ 0e4 being Persephone. The priest himself chooses the better part (444 sq.).
445. mavvux({ovorw ea: the dat. of the recipient of honour. Cf. Lys. 1277 épxnoduevor Oeotow, Nub. 271 lepdv xopdy torare Nvydas, Xen. Hell. 4. 3. 21 credavoicbar r@ Oeg. The order is olcwv héyyos ob mw. 8. They are not actually now at the mavvuxis, but he will go with them to the usual place and will carry a torch when they revel this evening. Neil (Zg. 1319) shows that é€yyos is particularly used of mystic lights.
448. todvppddouvs. 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 pddov is the typical flower (riOjvnu’ Eapos éxmrperéorarov Chaeremon, fr. 13). To the happy meadows of the uwiora (and presumably of Agrae) the expression is appropriate (cp. Prop. 4. 7. 60 mulcet ubi Elysias aura beata rosas).
450. Tov jpérepov . . Evvdyouow, ‘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.
Evvdyourw=tuvdyew tds roiodow (or éGow) and dABrar potpar are virtually personified (as if=éABodédrerpac Motpac). Cf. Av. 1731 “Hpa mor’ ’Odupria | . . dpxovta . . wéyar | Motpar Euvexdjmucay. There is a slight laxity in 6v, which implies a previous xopod in place of caddyopwrarov.
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, pdvois yap hiv . .: cf. 156 n., Soph. fr. 753 rpurddBuot | ketvor BporGv, ot Tara Sepxbévres TéAn | wddAwO’ és“Ardov: Toigde yap movors éxet | Shy ort, Tots F dddowor Wav’ exe? Kad,
457. Sijyopev: viz. when on earth.
148 THE FROGS OF ARISTOPHANES 458—465
458. tepl tovs Eévovs kal Tois i&tHTas: (1) the formulae of the mysteries in all probability insisted on edoéBea towards févo. and (e.g.) the helpless ; (2) the Choruses in Aristophanic comedy do not attack gévo 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 pvora is deftly applied to the play, with a rapa mpocdoxiay in iéwras. [That t8éras should =moNlras in opposition to £évous is impossible. Nor can there be any natural reference to the Spartan fevn\acla. ]
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. ot p12) Starpiers, GAAG K.7.A. : see 202 n.
yevoe=reipdoer, a humorous application of the verb, which is, however, frequent enough as a metaphor with words like méovov, kwdvvov, or of blessings (é\evdeplas, etc.). Nearest to the present place is Soph. Ant. 1005 evOds dé deicas éumripwr eyevounv.
463. To oXfjpa Kal rd Afjpa, ‘look and pluck.’ Ajua 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 paxav kat Aaudxwv, and (more seriously) Plat. Menex. 238 8B drwy KTHoly Te Kal xpjow.
464. tai mai: see 37.
Aeacus is represented as the (slave) doorkeeper; cf. Luc. Dial. Mort. 20. 1 oi6a oé, S7t rudAwpets (Menippus to Aeacus, who is acting as his mepinynrjs 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 with Europeans.] His manners are typical of the @vpwpds (39 n.), although here his anger has its excuse.
Hpaxdfjs 6 kaptepds: said with an air and an attitude. kaprepés 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 Zheseus 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—472 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. ® BSedvpé k.7.A. = ‘You shameless, impudent, audacious creature ;| You wretch, you utter wretch, you prince of wretches.’ All the words (including BSeAvpé ; cf. Ach. 289, Theoph. Char. 11, Plat. Rep. 338 D) express shamelessness. The accumulation of abuse is paralleled in Pac. 182; ef. fr. 92. Similarly Hamlet says, ‘O villain, villain; smiling, damned villain!’ A final ov is part of the phrase in such cases. [See Introd. p. lv.]
467. Tov Kiv’ hav: as Aeacus is the Ovpwpds, so Cerberus is the house-dog, which was under the care of the porter and was kept in the mpdéd@vpoy or in the porter’s lodge; cf. Hg. 1025 and Theoc. 15. 43 rav xiv’ ow Kddeoov, Tav addelay amoKdgéor.
é&eAdoas: from his post.
468. amytas . . AaBdv: the tautology of grievance, the metre also being tragic in its indignation.
469. éy®: hence the special vexation, ‘Z was responsible for him.’
exer péoos: a frequent metaphor from wrestling; cf. Nub. 1047 edOvs ydp o éxw pécov | \aBwv &duxrov (‘I have you on the hip’).
470. rola x.t.A. : tola (for rovair7) shows that tragic diction is beginning. 2rvyés . . wérpa: 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 Mavpavépia, ‘Black Waters.’ The notion in eXavoxdpdios is that of a thing black and hard to the core. he blackness is that of iron (Hes. Op. 151 pédas & ovK eoxe aldnpos), the unbending ; cf. Pind. fr. 88 ds wh 160 Kupaiverat, €& ddduavros | } ovddpov KexddAKevTar wéavay Kapdiav.
472. twepl(Sponor Kives: the Furies, who are ‘dogging’ or ‘hunting’ fiends; ef. Aesch. Cho. 923, Hum. 246, Soph. Zi. 1387 werddpouo Kaxav ravovpynudtwr | aduxro kives. [But there is also an allusion (cf. 477) to yuvatkes mrepidpouoe (Theogn. 581), ‘wantons,’ who are xiéves as being shameless, and Kwxurod kives as being ruinous. |
150 THE FROGS OF ARISTOPHANES = 473—481
473. "Kydva : the monster of Hesiod, Theog, 298 Huov perv vingny ékwmida Kaddurdpnov, | ucv 6 avre wédXwpov dquw dewdv Te wéyav 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 Topyav Avcoa employs exatoyKképara dpéwv iaxjuara, the notion is simply of a hundred snakes hissing about her. ]
475. Tapryola pipawa: this sounds as if it should be something very terrible. Taprnola (with delay on the first part) suggests Taprapela ‘of Hell,’ and in one of its senses pUpaiva Was a venomous sea-snake, between lamprey and viper, whose very touch might mortify; cf. Aesch. Cho. 992 ri co doxet ; pvpawd vy elr’ exidv’ epv, | onwew Oyodo’ dv; Ath. 3128. 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. yad Taprnoia and the explanation of Phot. 280. 7 that uipava is a by-word for xaragepis, from the habits of the animal).
Meanwhile, however, uvpawa is the lamprey, of which the choicest came from Tartesus (Poll. 6. 68, 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 stat of terror that the very sound is sufficient. é
477. Topydéves TeOpdora.: we do not know what adj. stood in the parodied original. Ac8vorixat would suit the Gorgons, but bears no resemblance to Tes@pdo.w. Tradition placed them variously—in the remote west, in Africa, or in Hades (Hom. Od. 11. 633). In any case Aristoph. substitutes creatures equally terrible, viz. women of the Attic deme of Teithras, who must have been of low repute.
478. ép as, ‘to fetch whom.’ The line is fully tragic in both metre and language. opphow is most probably intrans. with cogn. accusative; cf. Eur. Alc. 1153 vdorimov 6 &dOors 766a. Such expression is favoured in tragedy, and the comedian makes the most of it. The same construction should be assumed in Soph. 47. 370 od« doppov éxveuj moda; ibid. 40 mpds ri duchiytorov 5 néev xépa; 42 woluvats THvd’ éemeurimre Baow, ete. :
479. Dionysus collapses. He has a sinking in the pit of his stomach, is fainting, and requires refreshing with a sponge.
481. twa. . dddAdtpiov, ‘some stranger’ (not one of our- selves).
482—494 NOTES 151
482. otoe: a unique form of imperat. for Attic Greek (viz. with -e from an o- aorist). This common colloquial word has alone retained a formation which was once common (Brugmann Gk. Gram. p. 319, § 378).
mpos tiv Kapdlav: 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 otuor, rot ’of’ Uowp ;
483. mpooQot, ‘apply it (to yourself).’ The word must be said by Xanthias; as an order of Di. it would have been mpocbes. For a good example of the difference of voice cf. Eq. 1227 xarabod taxéws Tov crépavor, ty’ éyw TovTwl | adrov TEpLOd.
mov ’oriww; viz. the sponge. On receiving it, he does not apply it to his heart, but lower.
Xpvoot: often applied to gods ; cf. wodutiuyro..
485. els Thy kato pov KotWlay: it is a rule of Greek that, when a simple noun and article are used with avrod, tuav, nudr, airaév, these words either follow the noun or precede the article ; ie. # wou Ko.Ala is not Greek for 7 Kowa pov or pov 7 ko.Nla. The mss. of Aristoph. give one instance to the con- trary, viz. Lys. 417 rijs wov yuvatkds, which all editors reject for THs yuvaixds pov. 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 oixelas judy dpaprias, Plat. Symp. 189D 7 radar Hua pvors.
486. ® Serdrare Oedv od KavOpemwv: in addressing a human being Xa. would have said de:Nérare dvOpérwv. With a laughable novelty he is obliged to say #edv, 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.
& dedv ripavve KavOpwrwv ”Epws.
487. mwas Sedds k.7.A. : i.e. to call for a sponge means a desire
to fight it out.
490. amrebynodunv: cf. Hg. 572 (after one fell) Toor’ arew7- cavrT’ dy, eit’ HpvovvTo wh wemTwKevat,
491. dvSpetd y’: sc. remrolynxas or elpynxas. The ye is regular in such brachylogy (which is not always sarcastic); cf. 9. 609 dewda y’, & Idcedov, Eur. 7.7. 619 &fra y’, & vedi.
494. Anpatias, ‘have an itch for pluck.’ The termination -vav is used of morbid desires (ua@ynriadv, orparnyiav) or con- ditions (6@0ahmay, vavriav). But adj.-nouns in -fas often express similar affections or dispositions. It matters little, therefore, whether we read Anpatids or Anparlas. In either
152 THE FROGS OF ARISTOPHANES 498—sos
case there is probably a pun upon Andy, Aju, the blear-eyed condition of 6¢@ahula, the coward’s excuse (192 n.). Dionysus sneers at the pretended courage of his slave.
498. dépe 5 Taxéws adr’, ‘come on! quick with them!’ (sc. the club and skin), elliptical for @épe, dds adrd. [That avrdé should mean ra oxety, understood from cxevodédpos, is a less likely answer, though by no means impossible in construc- tion (cf. 1025, 1466). Moreover, he would say \aBé, not Pépe.]
499. rov “HpakdeogavOlay, ‘the Heraklised Xanthias,’ ‘Xanthias & da Herakles’; cf. metédrevkos = wecxrds devkés, yAukUmikpos =yhuxéws mixpds. Doubtless there is also a sug- gestion of a combined statue of two deities on one pedestal, like “Epuabyvn, ‘Epunpaxdys, Znvorocedav, etc. But for this directly the formation should be ‘Hpax\eogfarOlay. It is not out of the question that the comedian should venture on ‘Hpaxdevo-, but it is not necessary to assume this, and the sense is less good.
Brépov eis: like droBdérew eis, of looking at a model.
501. pa Al’: sc. od deidkds oe, ‘certainly you won’t, but you will be really and truly the Melitean—(hero),’
otk MeXitrys paorrylas: the last word is a surprise for, e.¢., Hpws or ddegixaxos (the proper title of Herakles in his temple at Melite (38n.). The expression forms an equation with ‘HpaxdevogavOias, the ‘ Heraklised X.’ being paraphrased by the ‘Melitean rascal.’ But there must be some further point, and ovk MeXéirys 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 @ Ja Herakles in battle (a practice referred to by Aristoph. in 428-430 of the full text of this play. KadXlav . . pace . . AeovTAv vavyaxety évnupévor).
505. Srerrev, ‘set about cooking.” Persephone acts like the ordinary Athenian house-mistress, who herself does or directs the cooking, except for the special dinner-parties, when professional udyecpo. were engaged from the Agora.
KaTEepeKTOY XUTpas Ervous, ‘pots of soup made of ground pulse.’ No definite noun need be supplied, but dcmpiwy or miswy would come nearest; cf. fr. 88 reir’ Epeckov ériBadodo’ ouod micouvs, Colum. 2. 10. 85 cicera fressa. For the fondness of Herakles for érvos cf. 62 n. [The spelling of mss. varies between épextdév and épixrav,.and the question (as with orimrés orecmrés) can hardly be settled. On the one side we have dd\eurrés, fevKTds, mecxros, Secxrds, and on the other miorés, dpuxros. _The rule is for the diphthong to be retained, but probably both forms were often in use. ]
507—518 NOTES 153
507. KoAAdBous, ‘scones’ or ‘rolls’ (uKpol dpricxo schol. Pac. 1196). One comic fragm. describes them as yaXaxro- xp@res. It is best to mark an aposiopesis. The maid is describing with gusto, but on reaching xo\\dBous she thinks it useless to continue the catalogue, and cuts herself short with —aAXr’ elor8. This accounts tor the apparent abruptness of the single word. [Those who have felt this abruptness have joined wdaxotvras KodAdBous (cf. Bods ratpos and 207 n.); but xdAXa Bor are apparently not mAaxodvres. |
508. KdAAtor’, érawa: a polite refusal (made to tease Dionysus). Xa, is acting up to his new dignity. For ‘No, thank you’ Greek said also xad@s or (512) mdvu xad@s (sc. Aéyers = ‘ you are very kind’), and xad@s éxer or Kdddor’ exer (sc. woc=‘I am quite content’), With xdddor’ here we must supply Aéyes, not éxe., which cannot be omitted. Latin says benigne (Hor. Hp. 1. 7. 16, 62), but its nearest equivalent to Kkdd\doT’, €rawe is bene (vocas), tam gratia est (Plaut. Men. 2. 3. 36). | 508 sq. pa Tov “Amdddw od ph . . mepidopamedOdvra: for these strong instances of synecphonesis and crasis see Introd. p. xlii. For wepiopS with aor. participle see Goodwin, WM. and T. § 148. .In ultimate analysis the phrase =édv dwé\Oys, od meprowouat.
510. tpayhpatra=tpwydhia, bellaria, ‘dessert,’ including fruits (walnuts, chestnuts, figs, beans, etc.) and sweetmeats. pvyew (‘roast’) refers to the fruits.
512. dp épol: the form €uol is pleading (‘to please me’). Tavv KaAds: 508 n. Anpets Exov: 202 n. |
513. avAntpis: flute-players and dancing-girls come in at the wéros or symposium. 615. &repar differs from &\dax (‘as well’) by implying opposi- tion or comparison. These women are different, a second set, with other points and performance.
TOs A€éyers; dpxyorplSes; 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. adaipetv: sc. from the fire, as we say ‘take off (the kettle’), or from the spits (68eXoi, d6BeNoKxor); cf. Ach. 1119 and d@pédxew (ibid. 1005 dvaBpdrrer’, étorrare, rpémrer’, apéd- kere | Ta Nay@a Tax€éws).
4 Tpdmefa : not ai rpdrefa ; there is to be no dinner- party, but only a meal for Herakles.
154 THE FROGS OF ARISTOPHANES ~— 518—s28
eloyjpeto=eicepépero. The word alpew = dépew 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 wéros, and once more brought in. But colloquially (in the imperative especially) alpew was synonymous with gépev in certain phrases by survival of an old use. Cf. Pac. 1 aip’ atpe pafav ws taxos TH KavOdpw, Pherecr. fr. werad. 7 mpdcatpe TO Kavobv, ef d€ Bovrer, mpdogepe, Soph. Aj. 545 aip’ avrév, aipe dedpo.
519-520. mpdticra: other matters may bide their time. The pompous fulness of expression in tats épxynotpiow tats évSov otoats should be noted: ‘your said dancing-girls, who are within.’
avros, ‘the gentleman,’ zpse; cf. the well-known airis eda (‘the master said it’), the Scotch himsel’, Plat. Rep. 327 8B npounv (from the slave) drov avrds etn, Theoc. 24. 50 dvorare uses Tadacippoves* avros dure.
Sri eioépxopar: for the hiatus see Introd. p. xlii.
522. omovdiv moet, ‘take it in earnest’; cf. dpyhv movetoOae =dpyifecbac and the like. But here moeicOac bears more obviously the frequent mental sense ‘consider’ (cf. cupdopay m., dewdv m.). [The support of the Mss., however, is in favour of orovdiv toeits, and this is quite possible in the purely objective sense ‘you are making it into (forcing it to be) real earnest.’ | "
523. oc . . “Hpakdéa “verxedaoa, ‘dressed you up as Herakles’; cf. Ach. 383 éacare | évoxevdcoacbai pw’ olov dOAwW- tatov. So far as évoxevdtw differs from oxevdtw 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 (“Hpax\éa proleptic) cf. Ach. 739 xolpws
. tue oxevdoas. It is identical with e.g. madeve ra copov (=dore copdr eivat).
527. ov Tay’, GAN HSy tors =‘ I’m not going to do it; I’m doing it’; cf. Eur. Supp. 551 evruxoior dé | of pév ray’, of 8 écavdrs, of 0 Hdn Bporar.
528. ratr éya paptripopar . . émitpérw: the language (including the formal éyw) is legal. The loosely constructed Tatra with uapripowa recurs in Plut. 932. Usually we have either paprvpoual ria, ‘call to witness’ (antestari), or mw. Ore (Nub. 1222). But neut. pronouns (originally internal accus.) are rather freely used where English would say (1) ‘herein,’
529-536 NOTES 155
eg. Toiro xalpw, tatra elders we; cf. inf. 703, 748 n., or (2) «ttherefore’ ; cf. Nwb. 318 rair’ dp’. . 7 ux mov mwemérynra, Soph. O. 7. 1005 rotr’ ddixiunry, dws . . ed mpdéail te.
529. wolois Oeots; a familiar form of retort; cf. Nub. 367. ‘What gods (are you talking about)?’ = ‘Gods, indeed !’ Dionysus can pooh-pooh an appeal to his like.
530. Td S¢ wpocdoKfioal o x.7.A. It is doubtful whether we should take this as simply=ovx dvénrov dé kal Kevov éore 7d mpocdoxioal oe, ws . .; or, more vigorously, and perhaps more in keeping with the order of the words, as:an exclamation, 76 dé rpocdoxjoal oe . . ws broken by a parenthetic explosion ovK dv. kal kevov: 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, Nuwb. 268 (rd 6é unde xuvqv
. €Oety Eve . . ExovTa), or not.
531. os SotAos «.t.A. A tragic line, and probably a quota- tion. The art. is not required (i.e. d\xujvys), the sense being ‘a son of Alemena.’
532. dpéder, Kaddas: &y’ att’: sulkily: ‘Never mind! all right! take ’em.’ air’ (cf. 498) is probably for a’rd (sc. 7d dépua kal ro pdradov) rather than avro (sc. 7d dépua of 528).
533. €400 SenOe(ns dv «.t.A.: another tragic line, but @éAor is good Attic for ¢@é\oi in this particular phrase (see Introd. p. xxxvi). Elsewhere, unless in parody, it is rare. Yet cf. Zq. 713 éyw & éxeivov karayend y’ doov OédXw, Lys. 1216.
534. tatra péev: there is no answer to pév, since dé of 538 only carries on the same notion.
votv €xovros Kal dpévas. It is only in this combina-
tion that gpyv is a word of ordinary life. Cf. Thesm. 291. _ Orators sometimes use it in their higher style (see Rutherford, New Phryn. p. 9).
535. mwoAAd amepuerevKdros = ‘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 zrodv- Tpowos Or moNvuntis "Odvoceds (ds pdda woAd\d wAdyxXOn Hom. Od. init.), but we need not press it ; cf. 1113.
536. peraxvAlvdev. It is disputed whether Attic writers used xvdwdéw=xKvdAlvdw, and some assert that xvAivdw is the only active form, while in the middle the choice is between kvAlvdouat and xadwdotua. But this dictum can only be
156 THE FROGS OF ARISTOPHANES — 537—s49
upheld by considerable and arbitrary changes of Mss. See Kiihner-Blass ii. p. 453 against e.g. Cobet (WV. LZ. 454, 459, 637). Still «vAivdw is the better supported for Aristophanic dialogue.
537. mpos Tov ed mpdtrovta trotxov, ‘to the comfortable side (of the ship)’; cf. Eur. fr. 89 Z0évedov eis rov edrux7F | Xwpotvra totxov, Or. 895 émi rov etruxH (se. Totxov) | rnddo" del KipuKes.
yeypappevynv eikdv’: like the English ‘a graven image.’
he 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 dvdpidvros ddwvdrepos.
541. Onpapyévovs, ‘and a natural—Theramenes,’ an effec- tive mapa mpocdoxiav for e.g. ppoviuov; cf. 363 Owpukiwr dv. Theramenes, called the xé@opvos (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 zravdoxev’rpia a’ and fp’. 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 éévo. Those who resorted to an inn brought their own orpwuara, which
549-554 NOTES 157
they laid on mats (Yia@a). They might also bring their own provisions, or give the landlord money to purchase them, or ‘board.’ Theophrastus (Char. 6) gives it as a mark of dmévora that a man is dewds wavdoxetoa . . Kai undewiav épyaciay aisxpav dmodoxidca ; cf. Plat. Legg. 918 D. A mavdoxe’rpia required a shrewish tongue. Sometimes Athenian women undertook this occupation, but the woman here is, more characteristically, a “éroixos (see 569).
TIAaSdvy : invented from mAddavoy, a kitchen ‘shape’ or ‘mould’ (rAdoow). Cf. Theoc. 16, 115 eféata 5 bc0a yuvaixes él m\abdvw movéovrat. We may perhaps render ‘ Patty !’
6 travotpyos ovroot, ‘ yonder is the rascal.’
551. éxxalSexa. 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 rérrapes (914).
552. ékelvos avros Sfjra, ‘ yes, (it is) that man’s very self.’
Kakov Ke Til, ‘somebody is in trouble’ (viz. Di.). The allusive ris (cf. 554) is common in threats and sly or malicious references; cf. Theoc. 5. 120 7#6n tus, Mépowv, mixpaiverat, Soph. Aj. 1138 roit7’ eis dviav rotros Epxerai rw, Aesch. S.c. 7’. 389, etc.
553. kpéa. The plural of xpéas would naturally be xpéa (i.e.
kpea-a), but xpéa (from the analogy of neuters of other stems) is the only comic scansion.
554. dv tyrwBodrrata, ‘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’ nutwBodata with either the simple jucwPorata or (7d) av’ nurwBdrLov or (Ta) NucwBoriov. It might be urged that, toa mavdoxevrpia, 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 of éva. [Others write as a compound avynpiwBodraia, in a sense ‘ three-farthings-apiece plates of meat,’ the adj. being =(rd) dv’ HutwBdrvov. For the price itself cf. Eupolis ap. Ath. 328 E juwBeriov kpéa. The compound is nevertheless curious and illogical, and cannot be supported by e.g. xadoxdyalia. Such an expression as that of Timocles (Kavuv. 1) rv dv’ éxrw rovBorod might just conceivably, but not very probably, be con- verted into an adjective in which the termination -atos (as in dpaxuatos) is combined with the da»(é) which is Synonymous with it. But since the dy- is, after all, redundaut, another specimen should be forthcoming before we accept such a form. ]}
158 THE FROGS OF ARISTOPHANES — 554—s64
HproBoAaia, The spelling of Attic inscriptions is yumwBédduor, the o being used only where another o immediately follows the A. Thus rpewBorov, but duwBedia (Meisterhans’, p. 18),
555. ta oKkdpoda, ‘ those cloves of garlic.’ The supply of garlic was part of the business ; cf. Lys. 458 & oxopodoravdoxev- TplLapT om wALOES,
556. sq. od pév ody. . ért: nota question, but=‘ nay, you fancied . . ... The idea that the xd@opyvo. (46) would form a disguise is facetious enough.
exes: assimilated to the tense of mpocedéxas. The clause oTty elxes might be represented by éywy, the time of which is that of mpocedéxas.
av yvaval o er. The difficulty of dvayvavar is not in the tense without dv, since mpocdoxév with aor. is good Greek (Goodwin, MW. and T. § 135), but dvayryywoxw is not used for ‘recognise.’ Moreover, the break with stop in the anapaest of fourth foot is of doubtful allowance.
559. obS¢ rov Tupdv ye. The characteristic feminine emphasis (or vocal underlining) is well illustrated by the recurring ye here and in 562, 564, 565, 567.
Tadav, ‘dear O dear!’; a favourite word with women. But rddav is scarcely to be taken as voc. of rddas used as feminine (Zhesm. 1038 proves nothing). It may very well be neuter, equivalent to (®) rddAav wdbos (xphua etc.) = ‘dreadful !’ This would account for its use in commiseration of one’s self, e.g. Lys. 102 6 yotv éuds H5n wévre whvas, ® rddav, | dreorw; cf. the identical interjectional use of Latin malwm.,
560. tots taddpois: wicker baskets (a\exrol tédapo. Hom. Il, 18. 568, Od. 9. 247) into which fresh cheese was put to drain (Theoc. 5. 86).
KkatnoOuev: the imperf. is ‘panoramic’: ‘There he was, eating (or trying to eat) it, baskets and all.’
561. érparrdépny, ‘tried to get from him.’
564. patverOar Soxav, ‘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 doxety as=mpooroetcOa is practically confined to negative sentences, in which od doxav moeivy ‘not seeming to do’ (what one is doing)=‘seeming not to do,’ as Pac. 1051 wh vuv opav doxauev avrév; cf. of gnu, od BotAoucs, 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 Ove Soxovoas really=‘ being thought to be at
. sacrifice,’ and similarly Eupolis 159. 10. But here ‘being ¢ thought’ is not in point. ]
565. va & Secdoa yé wov. The particles are exculpatory. [The fem. dual form deodoa is denied for Attic by many critics (see Cobet, V. LZ. p. 70), who quote Plat. Phaedr. 238 p d0o riwwé éotov idéa dpxovTe kal &yovre, and maintain that the dual possessed but one form in nom. and acc. Many (but not the best) Mss. have Secacatl, and it is suspected that dacdca has been substituted for this because of y#. Similarly in Soph. O. C. 1600 rm . . podotoa: of the best Ms. appears asTw. . porovca in others; ibid. 1676 iéévre kai rafotca seems im- possible (xafoica: some MSs.), and it is argued that the same copyist who altered zafévre would have altered idévre if metre had permitted. In Kccl. 1087 €\xovre is fem. Inscriptions do do not help much (Meisterhans?, p. 96). Cf. Kiihner-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 -ovca, and there must have been a time during which both were used, -ovTe being the more strictly literary. ]
566. katnAid, ‘loft.’ Hesychius defines xar7jd\ty either as the beam supporting the roof or ‘better (as he says) éxplwua (scaffolding or raised platform) 76 év 7@ otkw.’ 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 peodduy.
567. Tas d0ovs : supplied in the inns to sleep upon.
568. éxpijv: like tempus erat (Hor. Od. 1. 37. 4). ‘(Instead of standing still) you should have been doing something.’ The tensé looks to the time of making the choice of conduct.
569. Tov mpootatny KXéwva. In Hades the dead dema- gogue would naturally be patronus of the same vulgar class which he affected in life. A pérocxos, or axmanumitted slave, could have no legal standing except through a mpoordrys, who represented the alien to the Sf#uos, 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 péroxos was mpoordrny véuew.] Cleon died in 422 B.c., but had not been forgiven by Aristophanes. For his patronage of the rabble cf. Vesp. 409,
160 ‘THE FROGS OF ARISTOPHANES — 570-579
570. ov 8 ory. It is usual to give these words to an alleged ‘second hostess,’ who also sends aslave. 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. 1803 &vipa pmoxOnpov rorirny, d&ivnv ‘TrrépBorov.
571. dapvé ; in place of the usual cepady. Latin also has — gula of a person.
573. kémrow 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 rovs youdious &ravras éééxove and Semonid. (fr. 7. 17) ov6’ ef xoAwOeis éLapdéecev MLOw | dddvTas, these are no argument against «ézrew.
[Of course xérrev cannot itself= éxxédmrrevy, ] :
574. éya S€ y' és Td Bapabpov énBadroupnt oé. The line should be thus assigned and accentuated, as a retort. Omission of dy is not infrequent when the previous context supplies it. Cf. Plat. Rep. 352% "Eo btm av &d\rw tors } dPOadyois ; Ov SFra. Ti 6€; dkovoas dd\d\w 4} woly; Aesch. Ag. 1049 meifo’ dv, ef melGou * ameBoins 5 tows. Kiihner-Gerth i. pp. 248 sq.
7 Bapadpov: properly a pit (dpvyua) or gully, about 60 ft. deep, outside the wall to W. of the Pnyx, into which criminals and the bodies of the executed were thrown. To use this expression is equal to calling a person a xd@apya, but BdpaOpor itself eventually came to possess little more definite- ness than e.g. és képaxas.
577. GAN ely’ «.7.X. She has already sent the maid (569) ; here she goes herself.
THhpepov: a frequent use in threats, expressing certainty. So hodie in e.g. Verg. Eel. 3. 49 numquam hodie effugies, Ter. Phorm. 5. 3. 22.
578. éxmnyvictrar: from weaving. mnviorv is the bobbin from which the thread of the woof (xpéxn) is wound off. To wind upon the reel is rnvifecOa, dvarnvigerOa ; this is the contrary.
Tporkadovpevos : mpdokAno.s is the regular term for the serving of summons, but the simple xdjovs and kadetoPar are also used.
579. [Exit Landlady. An awkward pause follows; then Di. speaks an intentionally audible aside. ]
580—587 NOTES a
580. wate tod Adyov: see 122 n.; cf. Av. 1243 rave rap TAPAATMAT WV.
581. ovK« av yevolunv “HpakdA‘s dv. It is quite arbitrary to read af for the second dy. It is in any case doubtful whether the comedian would use the simple av for radu (or radu adfis, ad wdduw, ad@cs ad or even ai@is at mddiv). Moreover the re- peated dv helps the tone, ‘I wouldn’t—no !—I wouldn't.’
The ‘ rhetorical” repetition of &v (Kiihner-Gerth i. p. 247) is frequent. Cf. Eur. Hipp. 961 rives \doyou | riod av yévowr’ dv ; Tro. 1244 ddavets dy dvtes ov dv buvnOeiuer dv.
pydapdas: sc. rodro elrys (rovjoys).
582. ® GavOlSiov: from ~avOds. From Zavélas the dimin.
would have been Zav@.-cdvov ZavOtévov (Introd. p. liii). ZavOlas itself is but a formation from éav@és (=‘Tawny Boy’) and the wheedling diminutive goes back to the primitive. Analogy also assists (cf. DwxpartOvov, Evpurtdcov).
Kal wHs K.T.A. Retorting vv. 530 sq.
584. avrd Spas, ‘you do it,’ is as good Greek as English ; cf. Thuc. 1. 69, Plat. Rep. 358.
585. kdv ei «.7t.A. A sentence of this kind illustrates the origin of the use of xév as simply emphatic cal. Here dv may indeed be said to look forward to dyrelroju, but in many sentences no verb follows to which év could refer. Particularly was a combination «dv ef favoured for xei (e.g. Plat. Men. 72 xav ei toddal elow, &v yé Te eldos TavTov Gmraca exovor), the development being probably assisted by a dim feeling of Kav as=xai diy .. As this use was established before the date of Aristophanes (Kiihner-Gerth i. pp. 244 sq.) it may be the actual one here. :
¥% 586. Tod Aowrod xpdvov: 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 7é ourdv ov rornow = ‘I will, throughout the future, abstain from doing’ (Thue. i. 56 éxéXevov . . 7d Nowrrdv uh SéxecOa ods . . ereutrov), and, conversely, in the present place, ‘if at any point of the future I rob you.’
we. . adbéA@par: sc. avd (skin and club).
587 sq. airds, } yuvq, Ta Tadia. This, with % olka, is the fullest curse invoked in an oath. Cf. Dem. 1160 ef diopet. . avros Kal ) yuvh Kat Ta madla, Kal KarapdoecOe avrots Kai TH
M
ri
162 THE FROGS OF ARISTOPHANES = 587—603
oixia. Humour lies in the fact that Dionysus has no wife or | children. Fora climax he adds the rapa mpocdoxiay, ‘—and so may the blear-eyed Archidemus’ (417 n.). This would naturally be a great inducement to Xa. to risk it. yAdpoy is applied to Arch. by Lysias also (c. Adc. 536).
arodo(unv: sing. as if his ego included the parts avrés, 7 yury etc.; cf. 1408 sq., Xen. An. 1. 10. 1 Bacireds Kal of civ avT@ duwKwv elowimrer.
589. AapBdvw : sc. the skin and club (not 7dv Spxor)
590-604. These lines convey a suggestion of the admonition and the answering pledge at some initiatory proceeding.
590-591. éreid} . . etAndas . . & apxfis mad, ‘since you have once taken (lit. begun by taking) back ..’” mddw (or ad@s) €& apxis (or brapxjs) is a common phrase, cf. Plut. 221 obk, Av ye mrouvTicwow €& adpxjs mad. [We should not join rdw pleonastically with dvavedgew, nor untruthfully with elxes. |
dvavedtew: syllables -U““—aremissing. Scholia supply the note ceavrov mpos Td coBapéy. Of this ceavrdv is merely a way of saying ‘‘dvavedgev is here intrans. for dvav. ceavrév” and mpds 7d oof. explains in what sense Xanthias can be said to grow young again. Meineke and others actually read mpos To coBapdy in the text, treating the words as a marginal restoration of something accidentally omitted. Such omission is, however, difficult to account for, and more probably there has been a loss of another verb in hvew.
593. 7d Sewvdv, ‘that terrible look’ (familiar to Herakles).
595. KaxBadets TL podOakdy, ‘let slip any weak (cowardly) word.’ The verb implies either inadvertence or recklessness. Cf. Aesch. Cho. 48 goBodua & eros 740’ éxBadetv, Hom. Od, 4. 503 bmeppiarov eros éxBade, Hdt. 6. 69 (dvoln éxB.), Vesp, 1289.
599-601. Sri pév . .: answered by GAN’ Spas .
Stu. . Teipdcrerar . . €& 000 Sr. The phrase e@ of6’ bru ‘1 know that (it is so)’ at the end of a sentence, or HAA Soe came to be regarded as simply=‘I’m sure.’ Cf. Lys. 154 orovdas rojoawr av Taxéws, ed 010’ 8rt. So odd’ oi8 Sr, cd iol’ drt. The érc thus lost separate recognition, and hence here (especially at the distance) the first 87: does not Peeves the second. For the hiatus see Introd. p. xlii.
603. BXérovr’ dptyavoy, ‘looking marjoram’ (cf. ‘looking daggers,’ ‘look thunder’), ie. with a tart or pungent look. Bdérew takes contained accus.. in the shape of a neuter adj.
604—610 NOTES 163 (Spud 562) or a noun. Familiar are BAérew varv, xdpdapa, oxiTn, Supaxas. Cf. the tragic dévoy BX., “Apn dedopxws, and the pretty éap dpdwoa of Theocritus. [Sometimes an infin. is used, e.g. Tyudv Brérw Vesp. 847.]
604. Oipas . . Wddov. Greek doors (in two leaves) moved on pivots (orpopfs) working in sockets in the threshold and lintel, and unless these were frequently oiled a considerable noise was made in opening. Cf. foris concrepuit in Plautus (=éWéodyxev 7 Odpa of his original). It is incorrect to say that the door opened outwards in the classical time (Dict. Ant. i. p- 987). : :
kat 87, lit. ‘even as it is’>=cam nunc. Cf. 647, Pac. 942 6 yap Bwuds Odpact kal 54, Soph. O. C. 173 OIA. rpbcbiyé viv pov. ANT. Pato kal 57.
605 sqq. Aeacus, who had gone to fetch the officers (485), reappears with two policemen, and afterwards calls for more (608). :
606. avirerov, ‘be quick: The dual shows that there were a pair of them.
_ kev to kaxév : D. retorts upon Xanthias (552).
607. odk és Képakas pj mpdotrov. This has been misunder- stood, or editors would néver have meddled with it. For ov un mpboirov see 202 n. és xképaxas is inserted expletive (like the familiar Latin malwm)=‘ You shan’t come near me, confound you!’ For the separation oik . . py cf. Soph. 47. 560 oro o° “Axadv, olda, wn tis wBplon, Ant. 1042 od’ ds placua Tolro un Tpécas éya | Odrrev mapyjow. For the inter- polation of the expletive cf. Aesch. S.c. 7. 238 ot« és POdpov aiyao dvacxjoy Ta5e; and Nicophron (Mein. Com. Frag. ii. p- 848) ov és kbpaxas Tw xeEtp’ dmolcets Exroduy ;
elev : pronounced elév, and not as opt. of e(ué (Kiihner-Blass i. pp. 118, 639). ‘Sot’
Kal payer; ‘ fighting, are you?’ .Xanthias begins knocking them about with his club.
608. o Atrtdas k.t.X. The Athenian police (roférac) were Scythians, and the names in -vas and -éxas 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. cir’ odyxl Sewa «.7.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,
f J j
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 pi adAX trepdva.
Tturrew: used absolutely, as in the Homeric Zépupos Aaihare tumreyv (Ii. 11. 306).
611. KAérrovra, ‘ being a thief,’ the present (of a condition) in a quasi-perfect sense. Cf. pevywv, adixGv (617), vixdv and (poetically) rixrwy, Ovpoxwv (Kiihner-Gerth i. p. 187).
ampos=mpocére: cf. 415. pt} GAN’: 103 n.
616. Baodvife: 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 mpoxAnots és Bacavov). The conditions were determined by him (xad’ 5 re ora 7 Bdoavos 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 (orpeBdodv) on the wheel (rpoxés), but whipping and other methods might be adopted by agreement.
618. év kAlpake Shoas . . paoriyov. 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 pacrvyéy, and xdtwag being a ladder on which the subject is fastened (man-o’-war fashion), or (2) ‘by fastening him on a xdtuat, by hanging him up (i.e. witha 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: (qa) the variety of methods is increased, (d) the «Aquat was apparently a kind of rack. Suidas explains as dpyavov Bacavioryjpiov which Siacrpéper Ta cdpara. Cf. Com. Incert. iv. 622 ry Kdpaxt | Siacrpépovras Kara pédn orpeBrovmevo. In its action this answers to the Latin jfidicula (Dict. Ant. i. p. 858), but we know very little of ancient instruments of torture. [Probably the x\tuaf was a framework which gradually widened out in sections. ]
619. torpix(d.: cf. Pac. 746. The word is dimin. of torpg (‘porcupine ’) and the instrument was evidently full of bristling points. This was more severe than the ordinary leather udorié, but less so than the wdorté dorpayadwr}, a knout with knuckle- bones strung on the thongs.
621. mAlvOovs ériribels: cf. the peine forte et dure. TA tpdo K.t.A. ; a ludicrous reservation, delivered with
623—643 NOTES 165
solemnity, as if some very extreme method were to be for- bidden. v\Xov rpdcov was a proverb for the extremely weak or brittle. Cf. Plut. Symp. 1. 5. 1, where he quotes @v\\w mpdcov | To Tav Epdvrwy cuvdéderac BaddAdvTiov. 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 gapyaxol, or human scapegoats, who were annually beaten out of Athens, the ritual required that it should be done with shoots of fig and squills (cxédAdax), which were considered purgative (Harrison, Proleg. pp. 100- 102). The wardxn (mallow) was also used: cf. Theoc. 7. 106.
623. 6 Adyos, ‘the proposal’ or ‘ terms.’
624. Ttapyvpiov: what Demosthenes (978) calls } Tywh Tod matdés, or at least the part of the price corresponding to the
BX4Bn. | kelorerat=KkaraBeBryjoerat, ‘shall be paid at once.’
625. otrwm=sic, ‘just’ (take him and torture him). Cf. amA@s otrws, Soph. Aj. 1204 Ketwac & dpuépyvos otrws, Plat. Symp. 176 E otrw mlvovras pds Hdovjv.
626. kat dp0adpors: cf. prepositional phrases kara ordua, és xelpas, él Ovpas etc. without article, and see 197, 199 n.
628 sq. a&yopedw tii, ‘I give notice to people (all and sundry)’. A point has been commonly pierlodied: a&0dvarov (otherwise rather pointless) plays on ’A@nvatov, and the whole is a protest of the civis Romanus sum order. An Athenian citizen could not be tortured.. Dionysus gives his pedigree (cf. 22 n.) in v. 631.
The lengthening a@dvaroy is epic, but is found in comic trimeters in Ach. 53 and in anap. tetr. dv. 688; here Di. is uttering the word with the dignity of a whole Iliad.
632. hyp éyo: sc. dxovew, ‘ Yes, I hear.’
635. tl. . od timre; = quin vapulas? equal to an im- perative.
639. elvar rotroy tyod pt Sedv: not identical with uh robroy nyo x.7.X. The position of uy is determined by the sense, not by metrical convenience : ‘ consider that one to be no god’ (aA dvOpwrov). Cf. 1416 iv’ 2\O@ns wh udrnv (adda mpovpyov), Soph. El. 992 ei ppevay | ériyxav’ atirn wh kav (add ayadGr).
643. Anyi apa wAynyhy, ‘stroke for stroke’ ; an adverbial
expression like yjv mpd yijs (éXavvouac), the first rAnyiv being strictly a contained (or cogn.) accus. with Bacar. understood.
166 THE FROGS OF ARISTOPHANES 644-650
644, i800, ‘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. od pa Al’ «7.4. The reading of mss. od pa AV’ 0d8’ éuol Soxeis is difficult. If correct, we must distribute thus : HA. od ud A’. AT. 08d’ éuol doxeis (sc. alcbécOar, which must be very awkwardly supplied from the general context), i.e. ‘ No. J don’t think you did either’ (viz. feel it). Others read ov. ua Al’, ov éuol Soxeis (sc. rardéa).
The reading in the text=‘well, I can only say you don’t seem to me to have done it.’
646. myvika; ‘at what o’clock (does the performance begin) ?’ 647. kal 8: 604 n., 1205.
KGa was ovk errapov; ‘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 &) 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. EIA. otkovw avioes tr; arrarat: AI. rl drrarat; MSS. agree in ovKovy avices, but the rest is variously written and distributed. Editions commonly give ovkow davices; iarrarat iarrarat, but the text is far preferable, since (1) 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 drrara? larrarat (Thesm. 223), (3) avicers 7c is livelier than avdceis, (4) the confusions are explained.
tlarrarat; ‘What’s the meaning of ‘‘Oh dear”?’ Cf. Diph. (Com. Frag. 4. 419). A. r4é B. ri wdé; Eur. Ale. 806 HP. dduwv yap (Gorrdvde Seaméra. OH. ti fGow; Phoen. 1725 OIK. dewa dei’ éyd rhds. AN. ritdds; Plaut. Rud. 736 TR. numgui minus hasce esse oportet liberas? LA. Quid liberas?
650 sq. ébpdvtica od? ‘Hpdkdew «.7.A., ‘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 ra ‘Hpdxrera évrds relxous Ove (a resolu- tion of war-time).
We might have expected yevijoera, but a present is often used with a future reference, cf. Hg. 127 6 xpnomos dvrixpus
652-659 NOTES 167
Aéyer | Ws mp@ra méev orummevoTwArns ylyvera, 1087 gorw épuol xpnouos . . | alerds ws yiyver kal mdons yijs Baoievers, Eupol. Jr. 182 dkove viv Ileicavdpos ws dwéddvrac (Kiihner-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 7s to take place. ‘Let me see; when does my festival take place ?’= ‘when do I decide that it will... ?’ His drraraz is due to his sudden recognition of a neglected duty.
652. dvOpwiros tepds: editors mostly write dv@pwros. Yet the former is in no way improbable: ‘(He) is a sacred being.’ Cf. 968 Onpamévyns ; codpds y’ dvhnp kal dewds és Ta wdvTa, where the metre has prevented similar alteration to avip.
tepds, ‘extraordinary,’ as being under special protection of some god. Cf. Plat. Jon 534 8B xodgov yap xphua months Kal iepdov.
653 sq. tod tod: 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.
trméas op®: the actor would look at a portion of the audience,
Kpopptiov éodpaivonat. Aristoph. probably means a com- pliment to the warlike behaviour of the immfs. 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 wév (sc. the knapsack) yap dfe Kkpoujvotévpeyutas. In £q. 596-610 the knights are praised for undertaking the same hard labour and eating the same poor food as the humbler classes.
655. érel mpotisds y’ ovdév, ‘(you say that) because, of course, you don’t mind (the beating) at all.’
657. olpo. . . tiv dkavOav Ede: it is absurd to suppose that X. pretends to have a thorn in his foot. If he were 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 ojo rip dxavOay éeXe, and that, having let otuo: slip out, he breaks into the song to complete his sentence. The device is thus the same as in y. 659 [as if, e.g. ‘O(!)—to be in England !’).
659-661. "AtrodXov: sc. drorpémae. 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.
Ss tov Afjov k.t.A., ‘whose dwelling is somewhere in Delos or Delphi,’ the exact sense of éyew being to ‘hold’ (as owner, occupier, or tutelary deity); cf. TZhesm. 316 xpvoodvpa . . Ajjrov bs éxes iepdv, Aesch. Hum. 24 Bpdmos exec Tov x@por. The next lines (as quoted by schol.) ran 7 Ndéov 4 Midnrov 4 Gelay KXdpov, | tkov kal’ iép’, XKdOas adléea. {[*O gracious (!) —emperor, O gentle Aaron!’ (Shak. Zit. And. 3. 1).]
662. ovdtv tocis yap: nihil enim agis, ‘you are doing no good.’ ‘dp refers to the thought, ‘(He can act so) because . .’ omdde.: Introd. p. li,
663. pa rov Al’: sc. od Tas Aayovas orodjow, GANA. .
viv yaorépa: cf. Herondas 5. 33 cal xidlas ev és 7d veTov éyxbwat | adr@ KéXevoov, xiAlas bé TH yaorpl. »
664. IIdceSov . .: as if, e.g. ‘Caesar(!)—thou canst not die by traitors’ hands | Unless thou bring’st them with thee’ (Shak. J. C. 5. 1).
665. ds Atyalov . . BévOeoww: 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 — (éreddy edxtv 7 Whdiopa elodywow says schol. on the prose passage in Zhesm. 295 (q.v.)).
The schol. tells us that these words come from Sophocles’ Laocoon (fr. 342), but he quotes thus: 68s Alyatov péders | mpavas 7 yaukds péders | evavéwou Aiuvas ép’ UWydals oritdderot croudtwv. Dionysus also is ‘trying to remember.’ In the text of schol. the first wédevs is plainly an error, and in neither text has rpvas any construction (since uédes requires genit.). The emendation <mepl> mpdvas is based upon the ease of
losing epi in its form P. [oroudruy in schol. may be a
misreading for Zropddwyv.] For the whole cf. Soph. Ant. 1118 kAurav bs audémes | Iradlav, wéders dé | raryKolvas *EXev- owvlas | Anots év xéd\rrois. A question arises as to whether rpdyv (cf. stnus) 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 Zapwrixod |
670-674 NOTES ~ 169
mopOuod Kdrorrov mpava. Here it is more naturally the latter, with special reference to the worship of Poseidon at Sunium and Geraestus; cf. Hq. 560 & deddivwv pedéwv Lovridpare, | & T'epaicrve rat Kpévov, Eur. Cycl. 294. ,
670. yveoerat: cf. Hom. Od. 5. 79 ot ydp 7’ ayvaires Beol GAAjAoLoL TENOVTAL,
671. Peppépare’: the Attic form (Meisterhans’, p. 76). Other forms, chiefly poetical, are Pepoégacca, Mepsépacca, Pepcedivyn, Ilepcepdvn.
673. mpdrepov . . mplv. ., ‘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 orpopy or @dn (674-685), éippnua (686-705), dytiustpoph or dvTwdn (706-717), dvremippnua (718-737). This is the simplest structure of a rapdéBacrs, consisting of what is technically known as the ‘epirrhematic éufvyla,’ without certain occasional additions, e.g. the mvityos. 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 zapaorarns, 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 that' de was con- sistently opposed to the peace with Sparta which was desired by the oligarchical party. After the successes of Cyzicus (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 67s5—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 dSyuorolnros (418 n.), that he had got his name foisted. on the rolls without claim (zapéyyparros), or that he was only of citizen birth on one side and therefore vé@0s. 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 péroixo., €évo., 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. /. ZL. 76 KXeopdv . . mapey- ypadhels aicxp&s moNdirns Kal dtepOapkws voun xpnudrwv Tov Ojuov, amoxdWew nether waxalopg tiv Tpdxnrov el Tis elphyyns pvnoOnoerat.
675. xopav: with émlBnbr ; cf. Hes. Op. 659 (of the Muses) év0a pe TO Mp@Tov Avyuphs éréBnoav dod7js (‘set me upon sing- ing’), Soph. Phil. 1463 d6Ens odrore riod’ émiBdvres, Hom. Od. 23. 52, etc. yopav combines the notions ‘dances’ and ‘ bodies of dancers,’ and éiBn6: 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.’
tep@y : apart from its primary application to the mysteries, the word implies a claim to protection for freedom of speech.
émi tépuv, ‘for delight of . .’; including both ‘to find’ and ‘to make’ pleasure in. .
676. Tov modtv . . Aadv SxAov, ‘yon mighty throng of folk,’ viz. the spectators, practically the whole body of citizens. For Aadv see 219 n.
épouévy: the sight is worth seeing. codlar, ‘talents’ (of all sorts) ; a more or less ironical compliment on their literary taste and political wisdom.
677. puplar, ‘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 seated in the theatre of 405 B.c. Plato (Symp. 1758) puts. the spectators of a play of Agathon at tprouvpio, 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
arelous 7) wuplous (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 dv0 wupidde, Aristot. Ath. Const. 24. 10, but Hecl. 1132 rrecdvev tpicpupiwr. |
678. pirorindrepat, ‘more public-spirited.’ For this favour- able sense cf. Lycurg. Leoc. 15 mwpds rods Geods edoeBGs Kal mpos rovs yoveis dolws kal mpds Thy marplia piroriuws, Xen. Mem. 2. 3. 16. |
a&ppirddors: as speaking (1) a jargon, half-Greek, half- Thracian ; (2) with duplicity; cf. dudiyAwooos (=<diywocos, — which has both these meanings). For the former cf. dugu- panrpros, for the latter audirpbowros.
680. Sewodv émiBpeuerar, ‘cries terribly.’ For the middle verb ef. Pind. MW. 11. 8 Adpa 5é ogi Bpéuerar Kai dordd, Aesch. S.c. T. 335 Braxal . . trav émipacridiwy . . Bpéuovrat.
681. Opyxla xedvSdv: for the inarticulate swallow cf. 93 n. Opyxia 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. él BapBapov éfopévyn méradov: the phrase recalls a commonplace concerning the nightingale; cf. dv. 215, Hom. Od. 19. 520 ws & bre . . dnddv | kaddv delinow . . | devdpéwv év merddoto. Kabefouévyn muxwotcow, and (of the swallow) Pac. 800 drav jpiwd . . xeddwv Efouévyn Kedhadf. For efopévy éart with accus. cf. 199. The zéradov BdpBapov 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 yeldn of some stream on which the _ Daulian nightingale sang her loss of Itys. ]
683. pvfer: so Dindorf for keAapd{e. (with variant kedadet). Cleophon ‘snarls you an ’t were 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 xedade? to pvgec would account for the Mss. readings.
érlkXavrov, ‘accompanied by tears.’
a&ySéviov vopov: (1) he is a swallow trying to act the nightin- gale (a barbarian trying to talk Greek), (2) dndédvios vduos itself implies tearfulness, (3) we may suggest that there is an allusion to “Héwva, a Thracian people, whose name was often given to Thracians in general. |
.
172 THE FROGS OF ARISTOPHANES 684-687
684 sq. Os arodetrar, Kav oar yévwvrar: generally rendered ‘he is sure to perish, even if there prove to be equal votes (WHpor),’ 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. Z7. 1268 kal rotor Aoutrots bbe vduos TeOjoerat, | vixav toas Whpoiot Tov PevyorT’ del, Aesch. Hum. 744, Aeschin. Cfes. § 252. It appears, it is true, (from Hesych. and elsewhere) that o@fecOa kav ica yévwvrac 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 dzodetra: is substituted mapa mpocdoxlay for e.g. cwOynoerat. 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 ozovdai in place of ida: ‘that he will be done for, even if fair terms are got’ (from Sparta). The comedian thus humorously applies the proverbial kay tocar yévwvrat 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 (youn, Pidos, dikn, mrnyh, pmotpa, 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. O. 7. 810 od phy tony ereoev. :
[We may perhaps render the strophe thus:
O 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 babble their mongrel Greek, A swallow doth gabble 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. tepdv: 675 n.
687. Evptrapaivety : more modest than wapaiveiv ; the chorus
687—693 NOTES 173
simply ‘lends its help’ to the good cause. The force of Evp- is felt with Si8doKew also. Cf. Soph. Ant. 537 kal Evuperioxw kal dépw THs airlas, Xen. Cyr. 7. 1. 1 mpoojnveyxay éumceiv cal payetv.
fpiv Soxe?, ‘we move that. .
>
688. éicaoar: 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. Kel Tis . . twadalopaciw. 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 mapéoxe dé 6 Ppdyixos EavTov diadepdvTws mpobvudrarov és TH d\vyapxlav. 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 djmos had not died out in the intervening years, and the justice of its suspicions was proved by the events of 404 B.c.
opadeis . . taralopacw . . ddtcotow: sustaining a familiar metaphor from the palaestra. Phrynichus had been too clever for simpler people. |
691. airfav éxQetor. 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 Atoat, of ‘undoing’ an obligation by paying, cf. Ten Avew and Soph. Phil. 1224 Avowr bo’ eEjuaprov, Ath. 227 F.
692. elt’ )( mp&rov 687.
&rusov «.7.A, This advice was followed when, later in the year, Athens found itself besieged by Lysander: Xen. Heid. 2. 2. 11 rods driuous émitivous tmowjoavres éxaprépovv. Public enemies and debtors, embezzlers, persons bribed, deserters, insulters of magistrates, etc. were visited with dita 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 iepds xopés.
693. Tovs piv vavpaxqoavTas K.T.A. The sentence begins as if an antithetical rods dé rod 04 vavyaxnoavras drimouvs mévew (or Tots d€ 1. vavyaxjoace i) wapetvar piav Evudopdv) 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 6é¢-clause becomes incorporated. The reference is, of course, to Arginusae (33, 191).
play: 191 n.
694. IIdaraas. 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 TlAaraas elvan "AOnvatouvs évriuovs kabdmep of dd ’AOnvaio Kat peTetvar avtois Gvmep ’AOnvatos peréore ravrwv ; 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. mpds St: adverbial, ‘but in addition’ (rotrois depend- ing on twapetvar). Cf. Eur. Med. 410 mpds dé xal redpixaperv yuvaixes. [It is less neat to join pds 5é rovros and supply a dat. antecedent to ol. ]
698. yxol mwarépes: grammatically parenthetical, otherwise strictly xav of 7. or &orep Kal of r. would be needed.
699. tiv play: which disfranchised them. pfav: stressed in contrast to moAAd 8}. ‘Tadtrynv is added with a certain contempt (12, 724 n., 1533). §vpbopav: euphemistic for duaptiav, as if it had been more their misfortune than their fault.
airoupévois. It is hard to decide between this and airov- pévous (passive with duds). For the middle cf. Aesch. Cho. 2 owrhp yevod wor EUppaxds 7’ alrouuévy (=inf. 1127), S.c. 7’. 246, and for the pass. Cho. 478 alrovmevds jor dds Kpdros TY cGy Obpuwr, Theoc. 14. 63.
700. copotaro. dice: i.e. naturally sensible, but misled by demagogues. |
701. éxdvres: wltvo. They should rather offer than wait to be importuned or forced.
ocvyyevets KTHTOEa K.T.A.: not merely=onodpeda, 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 (uérocos and gévor), driwor and slaves are all to be raised to (1) cvyyevets, (2) émiripor, (3) rodtrac.
703. tatr’ éykwodperOa, ‘if we are to be on our dignity in these matters.’ Cf. 528 n., 748 (kai rod’ fdouac), Hom. JI. 5. 185 rade walvera, and in Latin e.g. il/ud stomachor.
704. tiv wodw Kal ratr’ gxovres x.7.A.: (1) lit. ‘and that, too though our country is in the trough of the waves,’ the last words being from Archilochus (Wuxdas é@xovres xupdrov év aykddaus) ; cf. Hur. Hel. 1062 wedaryilous és dyxddas, Aesch. Cho. 585 mévtiat ayKddat (=Kovddrnres schol.). For the metaphor cf. 361 rijs médXews xeymafouérys. Kal Tatra, when=praesertim cum, usually begins its clause, but there is no binding rule. Blaydes quotes Diodor. (Com. Frag. ii. 546) rhv écopévny Kai Tatra wéroxov Tod Biov. In any case emphasis will justify unusual order, and ryv wédw 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 arocepvuvotpeba | thy améAw, Kal. . makes a strange accus., gives éxovres, though without adv., the sense of dvres, and ignores the evidence of Archilochus for joining ryv wéduv éxovrTes. |
706. el 8 éyd dp0ds iSetv «.t.A. From the Phoenix (or Caeneus) of Ion of Chios (schol.), but Aristoph. substitutes tpdtov . . oipagerar for ® modiAra of his original. The infin. follows dp@ds as it might ixavds, duvards, dyads, dévs (Thue. 1. 70). |
Sotis: not=Jds, but either (1) describes the class or (less naturally) (2) is indirect question.
707. ov8’: no more than Cleophon (684).
_ © alOnKos obtos: ofros of the well-known and with con- tempt (699, 724). i@yxos to the Greeks was the type not so frequently of mimicry as of malicious cunning. According to Eubulus (Com. Frag. iii. 260) it is ériBovdov xaxdy. CF. Ach. 907 Gmep ridaxov ddurpias modGs wAéwv, inf. 1085. In Liq. 887 oiows wiOnxicmots we mepedavvers some ancients ex- pat by dardras, others by wipjuaow (Neil). It here includes © oth,
708. Kadeyévns: nothing is known of him beyond this passage. The nickname 6 mixpds 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 Bacideds 6 péyas (= Badaveds 6 puKpds), xpnoréraros (= movynpdétaros), 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. Avdo-, xévios, TuwXlas yijs= Wevdo-, kovias, KipwAlas yfjs). This would also give a point to Kparotor. |
A Badaveds was held. in low esteem (Hq. 1403).
710-713. © tovnpdétaros, ‘most niggardly’ (cf. malignus). The keeper of public baths, to whom a small fee was paid, could be mean with the soap (f%uua), 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 pupa potash and soda formed a powder, and sometimes this, sometimes Cimolian clay (which contained soda), was used as soap.
The xovia is called kvkynolrehpos 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 virpov (or, in Attic, Aérpov), ‘carbonate of soda.” In cheap soap the virpov would be bad, and the ‘lye’ (or xovia) mixed with such adulterated virpov is Wevdddurpos.
710. twovnpdétatros . . omdcot: i.e. To’Twy (or mdvTwr) dméco.. . . Cf. Hom. Od. 6. 150 ef pév tis Beds ear, Tol ovpavoy evpdv éxovor, Xen. An. 5. 1. 8 eidévar rHv Sivayuv ed’ ods av twuer.
712. Kuywdrlas ys: 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 (v7 opnkrpls). Cf. Ov. Met. 7. 463 cretosaque rura — Cimolt.
715-717. ov« eipnvixds: he belongs to the war-party.
divev EvAov Badifwv. 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 driuta., 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 man,
And tell who shall smart and how, Not long shall we see that chimpanzee Who is such a@ nuisance now,
718—725 | NOTES a ss
Our Cleigenes the small,
Most mean of bathmen alt Who wield their sway o'er the ash-stirred lye And Cimolia’s soil and bad alkali.
With this fact in his mind
He’s to peace disinclined,
For fear some day, as he wends his way
The worse for drink and without his stick,
The footpads may play him a nasty trick. ]
718. werovOévar tatrov = rdv avrdv rpdrov diaxetoOa, * to be in the same state of mind toward . .’ f
* 719 sq. és te. . & te .. ‘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. otre . . 0 (727), ‘as wedonot..so..
rovrouriv: viz. the dpyatov vduopua (of silver) and the xauvoyv xXpuatov.
otow od KextBdnAcupévors. The treatment of participle as adj. is not specially rare, and hence another participle (of eu) comes to be attached. Cf. Xen. Hell. 2. 1. 28 dvecxedacuévwv
. Tov avOparuwv srvTwv, frag. adesp. 470 Blov digKno’ bvra mplv repuppévov. The development is a natural outcome of e.g. KextBdnrevpévoe eict. So in act. Eur. Hec. 358 ovx eiwOds dv.
722. kadAXiorois: in purity (rather than in form),
ws Soke: i.e. ‘as is admitted.’
723. 6p0Gs Koretcr, ‘honestly struck.’ Contrast with Lucian, Adv. Indoct. 2 KiBinda Kai vb0a Kal wapaxexoupéva. —
kekwdovirpévois: 79 n.
724. twavraxod: as in modern times certain coins (e.g. the English sovereign and the French twenty-frane piece) are readily accepted and even sought for abroad. Xenophon (Veet. 3) tells how the Athenian silver coin was exchangeable ravraxod at a profit.
725. Tovro.s Tots wrovypots: for the contempt in rovras cf. Plat. Crit, 45.4 obx dps rovrous rods cuxoddyras, ws evreNels ;
N
>
178 THE FROGS OF ARISTOPHANES 726—732
and 707. The xadkia (‘mean bits of bronze’) are referred to in Eecl. 815 ro’s xarkots 8 éxelvous jrixa | éWndiocdped’ ovK otc@a, to which the reply is cal kaxdv yé mou | 7d Kopp’ éyéver’ éxeivo, 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 cclesiazusae belongs to the year 392. [Those who have thought that ‘the new gold coinage’ is attacked have been obliged to take xadktos as a contemptuous term for gold debased with bronze. ]
726. x0és . . Kometou: not rots xOés x.7.r., but ‘though struck . .’ or ‘struck as they were. .’
To kaklorm Koppate, ‘with that most vile stamp of currency ~ (known to us all).’
729. wadalorpais: i.e. properly trained in yuuvaorixy : Xopots, in religion and its ceremonies: povo.y, in music and letters ; i.e. well-educated gentlemen. Cf. Xen. Pol. Lac. 2.1 wéurovow eis didacKkddov pabynoopévouvs Kal ypdumara Kal povoiky Kal Ta év madalorpg. Only citizens could take part in the gymnasia or dance in the xopol.
730. xadxots, cheap and worthless ; €évows, of foreign birth ; amupplats, ‘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. - Ilupplas (like Xanthias) was a frequent name for a slave (cf. Luc. Zim. 22), and was even used generically for dotdos (e.g. Pherecr. in Com. Frag. ii. 8327 Midjowws ris wvpplas). Cf. the comic Latin rufus, implying servus. Among comic masks red hair and red cheeks were ‘the mark of a roguish slave’ (Haigh, Att. Theat. p. 239, from Pollux), Van Leeuwen suspects that Cleophon was red-headed. for a similar metaphorical application of words of the coinage cf. Ach. 517 dvdpdpia moxOnpd, wapakeKop- péva, | dria Kal mapdonua Kal mapdteva,
731. Kal movypots Kak Tovynpav: i.e. Kal (Tots) wovypots-KdK- mwovnpav, rather than kat (rots) movnpois kal (rots) é€x movnpar. The expression was virtually a compound; cf. Dem. 614 dovAous kal éx dotA\wy KahGv éavrod Bedrlouvs Kal éx Bedridvwv, Soph. Phil. 384 mpds rod xaxtorov Kak xaxdv ’Odvocéws, Kur. Andr. 591 @ kdkiore Kak kaxav. Of. also dovAéKdovdos.
732. toraros adrypévoroiv: without article (cf. 726)= ‘last arrivals as they are,’
733-741 NOTES 179
733. ovSt happakotoww eiky padlws «.t.A., lit. ‘would not without scruple even have used at random as scapegoats.’
padiws has the sense seen in pgdcoupyds (‘with a careless conscience ’), while eixy means ‘without picking and choosing among them.’ For the absence of ws from proleptic ¢apya- koiow cf. Antiph. Com. Frag. iii. 57 rév 0 dxovriwy | cvvdodyres 6p0a rpla AvXVElw XpwmeEOa.
pappakol, sometimes called loosely by the more general word xa@dpyuara, 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 ¢apuakés 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. 95 sqq.).]
735. xpijo0e tots xpynotoiow : a jingle intended to bring home the etymology ; utimint utendis; cf. 1455.
kal katop0ecac. yap: «al does not belong to yap, but answers to Kdv: ‘on the one hand . . on the other. . .’
736. é a&lov yotv rod EvAov. There was a proverb dd Kahod Evdou Kav amrdyiacPa (schol.); cf. Publ. Syr. 911 vel strangulari oe de ligno twat. Itis an aggravation of hanging to be
anged ex infelici arbore (like John Brown ‘on a sour apple- tree’). Herodotus (5. 11) has the similar trd détéxpew xal amobaveiv juloea cupnpopy.
737. Hv tuKal waoyxyTe, TacXew K.T.A. 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 Plato and Persephone, entertained by them, and acquainted with the situation between the rival poets.
yevvadas avip, ‘a real gentleman’; cf. 179. 740. 7d Sé wt) wardéar o” : exclamatory ; cf. 580 n.
741, St. . &pacKes: a construction naturally substituted here for the more typical éfe\eyxO7jvac with participle. éfedevx- dévra padckovra is by no means impossible Greek, but it would | have been intolerable to combine ééedeyxOévra doddov dvTa packovta eivar decwdrny.
180 THE FROGS OF ARISTOPHANES 742—756
742. rotro pévror SovAtKkdv evOds k.7.A., ‘now, 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.’
ev0ds in the sense ‘to begin with’ includes that of ‘for instance,’ the notion being that we need not wait any longer for an example ; cf. Aristot. Rhet. 3. 4. 6 Gomrep (Gov edO's. So atrixa (Av. 166) and a’rixa mp@rov (Plat. Gorg. 472¢).
745. xalpes, ixerevw; ixeredw is an expletive= ‘pray’ (sc. tell me). ‘Do you really, now ?’
pr) GAN: 103 n.
éromrevewv, ‘to bein the seventh heaven.’ The érérrys was the highest grade of utorns, 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 érwmrevov rov)dd- xXicTov amd Tay weyddwv éeviavTov diadelrovres. At the mysteries themselves the érémrns was filled with an ecstatic rapture.
747. rl 8 rovOopi{wv: sc. moveis (or rather mdoxew Soxe?s, to be supplied from the last words).
748. Kal rod0” HSopar: 703 n. Kiihner-Gerth i. 298 sq.
749. as pa Al’ oddév ofd’ éyd: sc. 7dduevos, 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 &)\Xo ef. Plut. 901 AI. od @iddrrons kal xpnorés; ZT. ws ovdels y’ avip, ibid. 247.
750. opdyvie Zed: 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 dvayvuépiows 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 752sq.).] Xanthias recognises his brother by common family traits. ‘Doyou mutter? Are you meddlesome? Do you eaves- drop !—Then you are he!’
dpdyvios Zevs is Zeus in his capacity of guardian of the rights of kinship; cf. Zeds éévios, pidvos, Epxetos, Soph. Ant. 670 Ala Evvaiuov, Eur. Andr. 922 ad’ dvroual ce Ala kadodo’ opudynov. Conversely a kindred clan recognise the common patron (deus gentilicius).
756. opopacriylas: a surprise for e.g. duamos, ouomdrptos,
757—764 NOTES 181
éuounrpos. 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 paotiylas like us.’ Fellow pwaorvylae have as common patron in this relation a Zeds ououacrryias (see last note). We might perhaps render, ‘God of the bond that lashes us together.’
757. tls ottos «.t.A. 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 ?
759. &. mpaypa mpaypna x.t.A. 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. |
mpaypa probably contains the sense (also found in mpayos of tragedy) ‘legal action’ or dispute (causa) ; cf. 1099, Aesch, Ag. 1537 ém’ Xo tpaGypa . . BAdBas.
761. €or. Kelwevos: cf. 35-37 n., ‘there exists a law in force,’ whereas xetrac would = ‘a law is in force.’
762. aro Tav TexvOv K.t.X. Itis an error to join these words to xelwevos, as if dad could mean brd. They belong to what follows. The use of the resumptive adrév (764) shows that the preceding line (763) belongs to dd x.r.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 véuos tis éort kelwevos ad THY Texvorv, (Viz.) Tov dptorov k.T.X. there would have been no occasion for airév. The best artist is ‘taken from’ each department.
peyarar: i.e. not Bdvavoo,
764. ofryow k.t.A. Rewards to Athenians who had deserved well of their country included cirnots év mpuravelw and mpoedpia at public gatherings. Among such persons were Olympic and other victors, and the same rule here holds in Hades.
avrov: the resumptive is more commonly rodrov, but cf. Eur. Bacch. 202 marpiovs mapadoyas ds 0’ dunduxas xpdvy | kexTHpe0’, ovdels adta KaTaBade? Adyos, and Eubul. ap. Ath. 8 B. [It is possible, though far less natural, to render airdy as ipsum, i.e. solwm, ‘by himself,’ apart from the ruck of his confréres. |
év movravelw: equally good with év r@ mpuravelw: cf. 129, 320, Hq. 709 ray mpuravely ouria.
182 THE FROGS OF ARISTOPHANES 765—778
765. pavOdvw. 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. ws aplkoiro x.t.AX. For the opt. (as if éré0n 6 vduos had preceded) see 24 n., and particularly the quotation from Demosthenes. Add g. 1338 kal ri rovde xphn madeiv; | A. Kparetv, €ws repos avynp Bdedupwrepos | avrod yévorro. For the same reason we get @eu (sc. ws én 6 vouos).
768. ti Sita . . Aioytdrov; a quiet assumption that Aeschylus is of course safe enough. His vuvl 8é tis; is spoken with amazement.
769. Tov tpaywSiKdv Opdvov, ‘the chair for tragedy,’ i.e. the mpoedpia in that particular department.
771. Ste 8 KarHAO’, ‘no sooner did Eur. come down.’, The death of Euripides occurred fifty years after that of Aeschylus (456 3.c.). For Aristoph. and these poets see Introd. pp. xv sqq.
émedelkvuto (=érldeéw érovetro), “he began to show off’ to his favourite and congenial audience, one which would appreci- ate his immoral casuistries. 5
772. BadAavriordpots. The BadAdvriov (marsupiwm) was a leather pouch hanging from a girdle. Thieves cut this purse away (hence Plat. Rep. 348D rovs Ta B. dmroréuvovras). When the money was carried in the girdle ({wvy) itself, the girdle was cut (sector zonarius Plaut. Trim. 4. 2. 20),
774. Strep tor’ év” Ardou mAf90s: an attraction for olmep eict w7HO0s (‘who are a multitude’) rather than @viep éort . . Cf. Hadt. 5. 108 ryv a&xpnv, at xadedvrac Kdyldes, Verg. Aen. 6. 611 quae maxima turba est (after plurals), and e.g. Pompeius, quod populi Romani lumen fuit (Cic. Phil. 5. 39).
775. TOv ayTivoyiay, ‘his argumentations.’ Avytopol and orpodat 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. ka0fjoro. The allowable forms of the 3rd pers. are in Attic xa0jcro (most common), Kka@jro, éxdOnro (but not éxdOnoro). Kiihner-Blass,* ii. p. 227. [The root is #o- and the forms in -77o are later than xa@joTo. |
778—791 NOTES 183
kovk éBdddero; ‘and did he not find himself pelted?’ (imperf. ). 779. © Sipos: as if there was an éxxAnola in Hades.
kptow moev: not=xplvew (which would require roeicAar), but ‘to institute (arrange) a trial.’ Cf. 785 and éxxAnolay moe )( movetoba.
781. ovpdvidy y’ Scov: sc. dveBda. The shout went ‘sky- high’ (ef. it clamor caelo). So Nub. 357 ovtpavoujnn pigate pwviv, Vesp. 1492 oxédos odpdvidy y’ éxaxtifwv.
783. Sormep évOade. Acacus and Xanthias can boast of little xpnorév between them. The actor meanwhile makes a gesture including the audience ; cf. 276 n.
785. adyava mouiv: 779n. The division of the tribrach after the second syll. in avrixa udda is permissible through the close union of the two words. See Starkie, Vesp, Introd. p. xl.
787. Lodokdéyns. Aristoph. does not use the contraction LopoxAyjs. The sole exception occurs in anapaestic dimeters inf. 1516 Logoxde? (q.v.). But he uses “Hpaxdjjs, as do even the old inscriptions (Meisterhans*, p. 104), and OQemicrokdfs. The variation appears to be purely rhythmic, i.e. the contrac- tion may be used in words in -«Aéys when the fourth syll. from the end is long, but. not (in comedy) when it is short. Hence evoxdéns (86), ILepuxréns (Ach. 5380).
788. pa Al’ od éxeivos: exactly our English ‘ not he!’ ; lit. ‘not that (right-minded) man’; ef. 1144 ov O77’ éxeivos, dye . . and 1456.
tkvoe pev: answered by vuvi 8’ (791); ‘but he kissed Aeschylus, I mean (84) when he came down . . and now. .’
~ 790. Kadketvos trexdpynoev «.t.A., ‘and he’ (once more emphatically, Sophocles) ‘conceded the chair to him (Aeschylus).’ The conduct of éxetvos 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 éxeivos. Two persons cannot share a Opdvos, and if Aristoph. had meant anything so improbable as that Aeschylus was prepared to make such an offer, he would have said tarexwpe.. }
791. vuvi 8’ tueAXev, ‘and now (in the present circumstances) he was (viz. when I left them) intending . .’
os yn KrednplSns. We can only guess at the meaning. Alternatives are (1) that Cleidemides was a gossip, who knew
184 THE FROGS OF ARISTOPHANES = 792—709
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 épedpos, probably in circumstances suggesting the modern political attitude of ‘sitting on a rail.’ For a similar use of (ws) pn cf. Vesp. 1183 & oxaré xdmaldevre, Oeoyévys gn, | mis kal yahds wédXNers Aé-vyew év avdpdor ;
792. &pedpos, ‘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.] Rhes. 119 uxadv & epedpov raid’ éxers Tov IIndéws (‘you have him to contend with in turn’), Xen. An, 2. 5. 10, Aesch. Cho. 865 n.
794. mpds y’ HipurlSnv: the ye is contemptuous, ‘ with (a) Euripides, at any rate.’
796. kavrat0a 87, ‘and therefore, be sure. .’ [The line suggests a tragic origin. ]
Ta Seva: the generic or comprehensive article, as in Soph. Aj, 312 (=‘the whole range, or all sorts, of clever devices’) ; cf. Aesch. S.c. 7. 581 é€& #s Ta Kedva Bracrdver BovrAedpara, Dem. 1017 davep&s ra Wevd7j wewapruphKacw.
797. povorky : not ‘ their (7) literary art,’ but generic.
798. pevcaywynoovor tiv tpaywdlay; ‘are they going to test Tragedy by butcher’s weight?’ lit. ‘to act the weaywyds by tragedy?’ The verb takes accus. partly on the analogy of yepovraywyeiv, madaywyeiv twa, but more because of the sense, which approximates to iordva: ‘weigh.’ See also rupo- Twrjoat Texvnv 1869 n. The usual explanation of peaywyeiv is that on the third day (xkovpe@ris) of the Apaturia, when a child was enrolled in its ¢parpla (418n.), a sheep was offered as iepetov (i.e. certain parts were to be burned in sacrifice, the rest to be eaten by the ¢pdrepes). 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 gparepes called out petov, petov (‘too small!’). That such a sacrifice was actually offered and called peiov is undoubted, but the explanation of the latter word is probably a Volks- etymologie. The xovpetov was different.
799. Kavdvas, ‘rules,’ i.e. straight pieces of wood or metal placed along surfaces to see that they are level or in line; whxes, ‘cubit-rules’ for measuring; mAalow, FdpmrrvKta :
802—809 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 dparyxra is less to the purpose and was less likely to-be changed.] dtapérpovs, ‘mitre-squares’ (Merry) or ‘bevels,’ for measuring or making angles of various widths ; odfjvas, to split the big words and phrases.
802. Kat’ ros, ‘ verse by verse.’
804. Bebe yotv : a tragic line, and in all probability taken from Aeschylus himself.
806. nipiokérnv: preferred to nipérnv. 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. otx nipicxérny codpovs dvdpas) of disappointment (Gildersleeve, Gk. Synt. § 216), but both this and the following imperfects are best taken as descriptive or panoramic.
807. otre yap AOnvatoict cvvéBary Aioxtros. The imperf. refers in the first instance to the same time as nipioxérny, 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 édv EvpBS rico. The reason of this refusal is to be sought in the alternative interpretation of which od ovvéBawe 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 ad 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 dcéBea 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 vixjoarros Toh Lopoxdéous Aéyerar Tov AloxvAov wepiTah yevouevov kal Bapéws éveykdvTa xpbvov ov ronddv AOHvyct diayaryeir, eit’ olxec Oar bv dpyiv eis Xixediav, and Athenaeus (347 &) speaks of his being #rrnels ddixws, but Aéyerar is not convincing, and there is nothing in our passage to show that itis the taste of the Athenians which is impugned. ]
809. Afjpdév TeTUAN Hyeiro «.7.A., ‘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 Afpds dor. Tada
186 THE FROGS OF ARISTOPHANES = 81r1—815
mpods Kwyolay. mept in this sense is more often joined with accus., yet cf. Plat. Ap, 19 c ef ris repi rv ToLovTwy codpds éoTt, Xen. Cyr. 1. 6. 15 Ppovisous rept rovrwr.
811. émérpeav: sc. dear 7.
oTu) . . eprreipos Av: as being the god of the Dionysia. fw refers to the time of their decision ; cf. @de. 767.
812°sq. ws Stay . . ylyverar: a moral reflexion, ending the speech and scene after the sententious manner of Euripides ; probably a parody.
éorrovdakwor is perf. of a state or condition (cf. reOavuaxa, mweppovrika, trepoBnuat). There is a resemblance to the familiar quicquid delirant reges, plectuntur Achivi (Hor Lp. 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 (7d otypa 7d Evpuridov), 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 7ucyépia a and 8’: 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. [Wemay, perhaps, be permitted to guess here and there at the original words. Thus in stanza 1 (814-817) dvruréxvov suggests dvrirddov and 6§Aadov perhaps dévAaB7 ; in stanza 2«(818-821) Adyov may=dxwr, cKidvauévwv mapatoviwy is probable, and prpatra possibly answers to &puara; in stanza 4 (826-829) tmAEevpdvev represents rvevidrwr, and it is probably a ship which is steered (vats dvedocouévy) dividing the waves (kvmara datouérn). |}
814. ép.Bpewéras. The context (cf. 822) shows that the allusion is not to Zeus (J7. 18. 624) but to the lion, the noun being understood, as in depéoixos (‘snail’), tpis (‘ant’), etc.
815. hvlk’ dv . . mwaplSyn, ‘when he takes a sidelong glance at’; cf. Aristot. H.A. 9. 45. 5 és 7d wAdyov mapopav. The
815—S2t NOTES 187
construction of O@qyovros is either (1) gen. absol., or (2) after odévrTa, i.e. mapldn d&dAadov dddvta (Tov) dvTiTéxvov, AnyorTos (airév). [aep t8y of most Mss. gives an unusual position to mep, Which should belong to jvix’ dv. One similar instance is, however, found in Hom. J7. 11. 86 jos 6é Spuréuos wep avinp wrdicoaro Setrvov (i.e. Huds ep). |
dftAaAov . . 686vra: the adj. is humorous ; the goring tusk consists of sharp talk. [If éévAaBH were in the original it would mean ‘keen to seize an opportunity.’]
Ohyovros 686vra : a commonplace concerning the wild boar ; ef. Eur. Phoen. 1380, [Hes.] Scwt. 386, Verg. G. 3. 255 dentesque Sabellicus exacuit sus.
818 sq. immodddov . . Adywv: with a change of metaphor to a chariot-fight. The language of Aesch. on the one side (re 818) is heroic, wearing the glancing helm and the horse-hair plume (cf. 925) of the epic ; that of Eur. on the other (re 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 épya are deeds in battle (Epya waxns, wodeura epya, tpywv execOar), and oprcd- para Epywv are ‘fine chisellings’= ‘subtle finessings’ in the way of such operations. mapafdévu. 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 rapaééyia in this case: ‘there will be whirling wheels—of quibbles.’
oxwdartdpov. For the application of ‘splinters’ to quibbles cf. Nub. 1380 Adywr axpiBdv cxwdardmous, and inf. 881. [oxw6-,. not oxw85-, is the Attic spelling, being the nasalised form of oxvd- ‘ chop.’]
820. dwrds dyvvopévov «.t.A.: 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 dvSpss would be awkward and unrhythmical without a qualification and unrelated to the adjoining gen., (b) dpevoréxrovos sounds more like a distinct compliment, Euripides being crouaroupyds (826). The stock- in-trade and teacher of Aesch. are his own brain, whereas Eur. is the product of sophistry. gwrés, when placed in antithesis to dvdpds, naturally suggests a certain attitude of pity.
821. prpad’ immoBdpova, ‘phrases mounted on horseback’ (or ‘in chariots’); cf. 929 pjuad’ imméxpnuva. The expressions of Aesch. are anything but etd (pedestria). ofa is wider
188 THE FROGS OF ARISTOPHANES = 822—828
than évoua (‘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 pjua pupidudopov and the expression duaéiata pyuara.
822-823. plas . . Bpvx@pevos. We return to the lion (ef. 22. 17. 1186 wav 5é 7° ériokdvioy KdTw edxera doce KadvTTwY, and note Bpvxmuevos), but he is speedily confused with a Giant storm-wind. Though ¢plocew is strictly intrans., it may of course take accus. of the hair or other part affected ; cf. Hom. Od. 19. 446 dpléas ed ANodinv, [Hes.] Scut. 391.
avroképov. There is nothing artificial (no ryvixn or pevdxn) about Aeschylus. When his terrible hair bristles up, it is his own.
824-825. phyara youdotray .. dvoqpatt. It is impossible to relate this logically to what precedes. The d’onua is that of a ylyas, e.g. Tudwds (848) or other hurricane-powers ; cf. Aesch. Ag. 696 Zepipov yiyavros atpg. Such a wind tears off the close-rivetted timbers (dovpara yyougorayh) of ships and buildings. Here, since the fxyuara are those of Aesch. himself, we must take it that they are heavy phrases from his own works, which he rips off and sends whirling at the enemy. With aroomay cf. 902.
826. wropatoupyos )( dpevoréxrovos (820).
érav Bacaviorpia: to be joined ; cf. 802.
827. aveAtooopnévyn, ‘unwinding itself’ (as being supple) ; but there is also an allusion to a ship in a storm, which éXlooerat in answer to the rudder. In yadwodts the nautical metaphor (‘tackle’) also underlies the more obvious sense of ‘shaking the reins’ (i.e. giving full speed ; cf. celew xadwovs). By ‘tacking about’ and dexterously ‘managing the ropes’ the ship brings to nought the ‘labour of breath’ of the storm.
828. prpara Sacopévyn: breaking up the pjuara 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 mighty roar, When he looks askance at his rival smart Giving his tusk, like a cunning boar, lis keenest edge for a wordy war. In frenzy of soul His eyes will roll.
830-836 NOTES 189
B. Then will be frays where the helmets shine, Frays of words with the horse-hatir crest : A whirl of quibbles, and chisellings fine Of the chiel’ who does his manful best To repulse each charge of the prancing line ; Maneuvred 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 own.
B. The other his slippery tongue will unwind, Fine taster of words, fine judge of effect : To envy and malice and all that’s unkind He’ ll give loose rein ; he’li 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 kwoa mpdcwra present besides the principals Aeschylus, Euripides, Dionysus, and Pluto. The two slaves, Xanthias and Aeacus, are now performing the parts of the poets. wi, vovéres is plainly not addressed to Aeschylus nor to Dionysus, but to some one represented as dissuading Euripides. [peOe(nv cannot stand, since the act., as in dvinuw, is only used with gen. when one lets go ‘some degree’ of a thing, e.g. xédou, waxns. |
832. Tod Adyov, ‘the plea’ or ‘statement of the case,’ not ‘his words,’ which would be flat and would require rv Néyur.
833 sq. Grocepvuvetrat (sc. Taira) . . dmep . . ereparevero. For the contained accus. cf. 12n. ‘He will put on the fine airs of reserve with which he used to act the wonder-monger.’
835. @ Saidve avSpav: in remonstrance (175) to Euripides.
pi) peydda Alay Aéye, ‘do not take too high a tone.’ We should not render ‘ boast,’ since there was none in the remark. péya (and meydda) Aéyew takes its. precise meaning from the context.
836. éy@da totrov: sc. droiés éo7.; cf, Eur. Med. 39 éygda THE, Jeuaivw Té ver, |
190 THE FROGS OF ARISTOPHANES 836—841
Siéokeppat mada: not to be confused with the idiomatic present mda dtacxord. The perf. represents a conclusion long ago reached.
837. ayptoroidy. 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., dypious elodyovra Kal wmods Tovs Hjpwas, but as=ayplws mootvra, ‘writing like a savage’ (as Voltaire said of Shakespeare).
838. dxdAwov dkpatés GbUpwrov: see 204n. With dév- pwrov cf. d0vpdcrouos, Eur. Hipp. 886 rdde pev otxére orduaros év midats kabéew, and the Homeric motév ce eros piryev epxos 60dvTwYr ;
839. GreptAdAnrov: a word commonly misinterpreted. Lit. ‘uninstructed in epi\adia,’ just as in the famous pndels dvyewuérpnros eicirw the adj. =‘ uninstructed in yewperpla.’ To Euripides the true style is that of the wepi\ados—chattery and circumlocutory. Of that poet himself the comedian Teleclides (Com. Frag. ii. 372) has Evpirléns & 6 ras rpaywdtas roby | ras mepikadovoas odrés éort Tas copds. The schol. is, after all, right, though inadequate, with his ov« eldéra dade. [The usual rendering loquacitate non superandum (Blaydes), ‘not to be out-talked’ (Merry), can indeed be got from the word, but is quite inappropriate. |
Kowtromakedoppypova: i.e. he makes pyuara which are faggots (@dxedor) of condensed expression and are bold and pre- tentious (kowmrwdes). The reference is not to compound words but to close-packed phrases.
840. ® tat Tis dpovpaias Geod, ‘O son of the agricultural goddess.’ Cleito, the mother of Euripides, is called by Aristoph. (Thesm. 387, cf. ibid. 456) Aayavorwhjrpia (‘ green-grocer ’), and, according to Aulus Gellius (15. 20), she was said by Theopompus (fourth cent. B.c.) agrestia holera vendentem victum quaesisse. Cf. Ach. 478, Hg. 19. For the same taunt the comedian here utilises one of Euripides’ own verses, &\7es, & mat THs Oaracolas Oeod ; (i.e. Achilles, son of Thetis), probably from the Telephus.
841. od Sipe tadr’ ; sc. Adyers. MSS. have 8H pe; but the sense is manifestly ‘you talk that way of me?’ Cf. Ach. 568 TauTl Aéyers od TOV OTpaTHYydV TTWXOs Gv ;
oropvdrvtorvAdexTadyn. Comedy is fond of patronymies (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, :
rs
842—849 NOTES 191
842. mwrwxoTo Kal paxioovpparTédy, ‘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 é\eos cai dos of the spectators is, according to the best Greek taste and the reason- ing of Aristotle, by means of the structure (cvcraovs) 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 xwrorodv 846). The whole passage in the Acharnians 410-455 should be read. Cf. inf. 1063. .
843. ot tL: no longer part of current Attic (for oddév) except in this phrase.
844. kal pi. . Kétw: evidently a line of Aesch., quoted against himself. 3
845. ov Sita: sc. ravooun.
846. xwAotrovdv: 842 n. Note, however, that xwAdés can be used of any maiming.
847. dpv dpva pédava «.t.A. Victims (oddyia) to the Chthonian powers, including the Titanic and Earthborn (e.g. Typhos), were black; the animals offered (iepeta) to the celestials were white.- In Verg. Aen. 3. 120 nigram Hiemt pecudem, ZLephyris felicibus albam the distinction implies that the Zephyrs, being kindly, are treated as celestial (Harrison, Pro/eg. c. li opayia). P
848. Tudas: personified, otherwise mapackevdgerac would
scarcely be used. Typhos (or Tugdwy, Tugwevs)' was son of Tartarus and Gaia.
éxBatve : é&épxecOar is a vow propria of winds ; cf. Hq. 430 feu yap cor Aammpos On Kal mévyas.
849. Kpyrixas . . povwdlas. 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 Kpjres, Kpijooa, and possibly Phaedra in the Hippolytus), (2) to what was regarded as inartistic innovation in his introduction of Cretan tropyjuara 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 povwdia of Icarus (schol.). The trépxnua consisted of a solo in which the singer accompanied his song with a more or less pantomimic dpxnots. Instances are to be seen in Or. 960 sqq., 1369 sqq., Phoen, 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 pov- wdlac in general see Haigh, Tragic Drama of the Greeks, p. 363. ‘Cretan’ defines the species particularly objected to. Cf. Ath. 181 8B Kpnrixad kadodor Ta Uropxjuata.
ovdAdéywv : the word denies his originality.
851. @ wodvtipyr : addressing him as if he were a god— the god of hail. Cf. Ach. 759 (corn is) roduriuaros, diep Tol Geol. Plato (Huthyd. 296D) has ® rodutiunre Evdvdnue, but the ironical application of words in Plato has always to be taken into account. |
852. wovyp, ‘wretched’; cf. Thuc. 8. 97 movipwy Trav mpayudrwv yevouévwy. [The grammarians tell us that ovnpds, poxOnpos is the accentuation in the moral sense, otherwise tovnpos, “ox Onpos. | ~
854. Kkepoaralo pnpat.: variously interpreted as (1) ‘a phrase as big as your head,’ the termination -aos (regularly -catos) being suggested by e.g. duatktatos, rnxvatos. If this were so, we might suspect that exceptionally large hailstones were sometimes called xepadtatac; (2) ‘a topping phrase’ (capitalt), i.e. one fit to form the xegady of a structure ; ef. Kepanrirns AlOos, yywvlaov phua. 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. Oevdv tm’ dpyfis: the line is tragic in metre and is evidently a semi-quotation.
tov THAehov: humorously for rév éyxépadov. Euripides’ brains are represented by his 7Z'’elephus (and, in the opinion of Aristophanes, that does not say much for them).
857. deyx’ éAéyxov: cf. 861 ddxvew dSdxvecOa. The vivacious omission of xal or re kai (Plat. Gorg. 462 A @eyxé Te Kat é\éyxouv) occurs chiefly with words expressive of either re-- ciprocity or antithesis. Cf. Eur. Suppl. 700 éxrewov éxretvovro.
859. Somep mptvos éwarpyoels Bods. The rhythm rather makes for joining the participle to od than to mpivos, 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 ed@vs belongs to Bods, since it is not the kindling of zpivos which is immediate, but the crackling which ensues immediately upon the kindling. Among plants which made a loud crackling were mpivos, dagvn (Diogen. Com. Frag. vi. 52), dumedos (Pac. 612). For the mpivos cf. Ach. 667.
861. Sdxvew SdxverOar: 857 n. The metaphor is from cockfighting or quailfighting. Of. Hg. 495 wéuvnod vuv | ddxvew,
862—871 NOTES 193
diaBddrrewv, Tos Adgous Katecbiew, The words té&ry, Ta per: _ ete. (accus. resp. with SdxveoGac) answer to parts of the bird’s body. péAy i lyric tunes ’) manifestly puns on the sense ‘limbs,’ and vetpa=‘sinews’ in both the physical and meta- phorical meanings. The other words (IInAéa etc.) doubtless also contain similar puns which we cannot trace.
862. tésn, ‘ the verses ’ (of the dialogue), i.e. their qualities as such. td péAn: the lyrics and their music. ta vetpa: the firm-knit structure of the piece. Together these cover what Aristotle in the Poetics calls \ééis, weXorota and pidos (or ovoTAoLs TOV TpAayUaTwv).
863. kal vi) Ala rov IIndéa «.7.X., lit. ‘yes, and my Peleus etc.’ Of all these plays we possess fragments. The tone in kal vi) Ala does not imply that Eur. thinks less of these plays than others (though Ar. may), but rather the contrary. The Acolus and Telephus have (at least by implica-’ tion) been assailed by Aeschylus, and Eur. is willing to submit them to the test. In k&tt para tov THAepov he permits even his chef-d’ewvre to be treated in this way.
IIndéa: either IImkéa (a quantity occasionally found in Euripides, e.g. povéd, Hec. 882, El. 763) or TIndéa (cf. 76, Soph. Aj. 104 ’Odvecéd etc.). The scansion here (whichever it may be) is identical with that in Soph. fr. 434 IIn\éa rév Aldxecov oikoupos wovn . .
866. €BovAdpnv: not=é8. dy but lit. ‘1 was wanting (before the decision was come to). The idiom is not rare in this word; cf. Aeschin. Ctes. 2, Lucian, V.A.17, Tim. 52 etc., and the similar uses of @de., éxpjv etc. Goodwin, UM. and T. §§ 415 sq.
868. Sti h ménots ody) ouvrébyynKé por: a neatturn. 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 yWndiopar: cow). See Haigh, Tragic Drama ete. 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. oo’ te Aéyewv, ‘so that he will be in a position to quote.’
871. ABavwrdv «.7.d.: trials and contests, like other great undertakings, were inaugurated with sacrifice ; cf. Vesp. 860. Dionysus is here the dywveGérns of a wrestling- -match,
O
194 THE FROGS OF ARISTOPHANES 872—881
872. Straws dv eVEwpar: Aristoph. uses dws dv with subjunct. or drws with fut., but not dws alone with subjunctive.
codiopatev: substituted for e.g. maacudrwr, as in the next line poveixotara for e.g. dicardrara or dowwrara.
873. ayava . . Tovde K.7.A. 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 omission may have been familiar in an old-established formula of prayer. ]
874. tats Motcais: here the representatives of the évaydviot Geol (including the Xdpires) at the games.
imgoate, ‘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 orpeBXotor madaicuacw and the general tone, which is in keeping with the last speech of Dionysus; cf. 902 sqq. n. [yvopotirwy (877) suggests dvritvTwv or the like, oroparow (880) represents cwudrov, and probably phpara (881)=duuara or orpéupara. The word mapampiopata (881) is at least connected in the mind with mpiw in the sense ‘grip,’ for which ef. Soph. 47. 1030 ¢worfpe mp.obels immixdy € avrvywv and mpiouds = Biala karoxy (Hesych.). Jebb quotes Oppian, Hal. 2. 1388 toye 7’ Eumple re. See editor’s note also on Aesch. Cho. 424 dmpixrérdaxra.] 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 uverds, é&vpseplyvors, tmopitcacGat). Plutarch (Symposiaca 2. 4.) has it that wrestling is Texvixwratov Kal mavoupyérarov Tav dOAnuaTwr.
877. yvopotitev: cf. Hg. 1378 ocuvepxrixds yap éore Kal mepayTikos, | kal yrwuorvmixds Kal capys Kal Kpovarixds, Thesm. 53 (of Agathon) yrwpuoruret. It was an aim of sophistic train- ing in rhetoric that the student should coin yrauar (sententiae). Cratinus invented a word yvwpodimxrns ; cf. 1059.
879. Sivapiw: cf. Adywr Sdvayus (eloquence), Suvards héyerv. 880. twoplcacbar: with Savorarouw.
881. phpara: this word refers specially to Aeschylus, Twapatplopata 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 wapampiouara, not ‘sawdust’). With the latter cf. Plat. Hipp. Ma. 3044 kvicuard rol éote kal wepitujpara Tov NOywr. érdv belongs
886—892 NOTES 195
only to mapampicuar’. [For the play on wrestling terms see note to 875 sqq.]
886. Anpyrep k.t.A. The schol. calls this a line of Aeschylus, and Fritzsche naturally guesses that it comes from his Eleusinioit. The tragedian was born at Eleusis, or, as the technical phrase went, jv ’EXevolvios tev Show (Tov Siwov wrongly schol. ).
887. elval pe k.T.A, : 387 n. 888. Kadds, ‘ No, thanks!’ cf. 508.
889. trepo. k.t.A. 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. Z’ro. 884 sqq.), but he introduces no new deities.
Qeots: the attraction (for @eof) is hardly to be illustrated by 894 (q.v.) but rather by e.g. Aesch. Suppl. 1040 ré0os a 7 ovdév dmrapvov | reNéOer OéAxrope IlevOot, Kur. Hec. 771 wpds dvdp’ bs dpxe THode Tlokuujotwp xOovds, Thesm. 502 érépay & éyod? } packey wdivew yun, Ter. Andr. (prol.) populo ut placerent quas fecissent fabulas.
890. Képpa Ka.wdv, ‘a new coinage’; cf. Nub. 248 Geol | nu vouop’ ovk éori. So Socrates was alleged kawd datudria . eloaryev,
891. isiirats: not=/dios. The word takes its meaning from the context, being opposed either to a public man or to any sort of rexvirns, as the layman or non-expert to the pro- fessional. The gods of Euripides are ‘unprofessional,’ not in public ‘ practice.’
892 sq. ai€fp «.t.A. The sounds are made suggestive of real divinities. Thus éc@pavrjp.ox recalls such titles as mpoora- Thpro, ddeENTHpior, and puKrTpes has a formal kinship with e.g. cwrnpes. In view of Béoxnpa it is perhaps natural to find in yAorryns orpdédry— a play on yAdrrys Tpodevs, especially as atpopevs is another form of orpddvyé. It was common to deify I'9 ; then why not Ai@jp? 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) & décor’ dvat duérpyr’ ’Ajp. . Aaumpés 7’ AlOjp, and ibid. 424 he enumerates as a trinity 76 Xdos rouri kai ras Nepédas cal rhv yAO@rray, rpia ravri. In the case of Euripides it was easy for a contemporary to suppose that ‘Air’ was his god; cf. his frag. incert. 941 dpds Tov bod
196 THE FROGS OF ARISTOPHANES 92-901
rove’ daeipov aidépa | . . Tolrov vémfe Lfva, rvs’ hyod Oedby (translated by Cicero, NV. D. 2. 25. 65). Democritus also identifies d4jp with Zevs (fr. 5).
épov Booknpa, ‘my nutriment’; cf. Nub. 569 weyaddvupor nuérepov marép’ | aidépa ceuvdrarov Biobpéupova mdavrwv and ibid. 330. It is implied that the air is an unsubstantial and flatulent diet, fit for a sophist’s brain.
yAarrns orpddry§: cf. Nub. 792 yrwrrocrpodeiv.
893. puxriipes. On the one hand we have puxrnplger, Mukrnpiouds of sneering or ‘turning up the nose’ (cf. Hor. S. 1. 6. 5 naso suspendis adunco), on the other the sense (shown in édog¢pavripior) of sagacious sniffing or ‘nosing out’ a matter (ptva Kpircxqy Poseid. fr. 1). The two meanings may very well go together.
894. dp0ds p’ Ehéyxeww: 387 n., 887.
av av &rropa: Adyov. Though this may be taken as an attraction for Adyous (cf. 889 n.), it is equally possible to con- strue ‘that I may bring confutation, whatsoever arguments I come to grips with.’ &mrrepat keeps up the wrestling metaphor.
b
895. Kal pv pets y, ‘well, we may tell you, we. .’; ef. 06 n.
896. tlva Adywv énpéAcray Erire Satay 686v: so Mss. Apart from the uncertain metrical question, the construction (which is taken from some parodied lyric) is simple enough. Lit. ‘what Adywr éupéXeca you will enter upon, (in) hostile onset.’ Satav 68dv is the cognate or adverbial accus. with émre, while éupédecavy is the direct accus. of the thing traversed or treated (obire). [Some might prefer to call datav 6dé6v ‘accus. in apposition to the verbal action.’] “There is a play upon different senses of €uuédeva as (1) 7d eupedés, elegance of speech, (2) the tragic dance (opposed to the comic xépdaé and oixwmus), ‘(tragic) dance of argument.’ We may perhaps render by ‘what elegant tragic dance you are going to lead each other.’
897. yAdoou . . hyplwrar. If we reduce these words to terms of the palaestra, yA@ooa stands for cHua and 7ypiwrar for jKpiBwrar (‘ trained to perfection ’)
899. od’ axlvnro. dpéves, ‘nor are their wits (for strata- gems) sluggish.’ That this is the meaning of ¢péves should appear from the natural list of a wrestler’s qualities, viz. condition (cua, here yAéooa), pluck (Ajua), quick wit (ppéves) ; cf. note to 875 sqq.
901. sq. Tov péev: Euripides,
901—903 | NOTES 197
Kateppiyynpevov, ‘fined down,’ with a play upon the senses of ‘filing’ a literary or rhetorical style (cf. dimatus, limae labor) and of fining down the body; cf. Aesch. Suppl. 747 Oddre: Bpaxlov’ ed Kareppwnypuévovs, where the schol. explains by Karas év nrAlw yeyuuvacpévous.
903 sqq. Tov 8’ avacravr’ x.t.A, The wrestling style of Aeschylus is less cunning but more vehement. A clear and consistent sense of the whole passage is rather difficult to elicit. That the metaphor of the palaestra is kept up is evident from dAwdHOpas. The drjvdyois or xidiors was the form of wrestling in which, as opposed to the wddy 6p6%, the opponents struggled on the ground. The ddwd70pa is the place for such a contest (7 Kxatad wddnv xoviorpa Eustath. ; ef. Kpeud@pa, KoduuBnOpa etc.), and there is no authority for making it equivalent to dXivdnors itself. The explanation of a schol. orpopds, roxas To Evpuridov 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 rush in and scatter many rolling-places of verses with words root and all.’ This does not correspond to anything done in wrestling, nor is the construction of cvoxedav defensible. The only natural rendering of cvoxedav aAwd78pas 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 aNivdnots, scattering the ddwd76pa about in his vehemence := dvacmdce avrov Kal é€umecov ovoxeda, the present dvacrdrra expressing the repeated action of the several bouts, while éumecdvra is modal with ovoxedav ; or (2) ‘ (but the other) using his words root and all, as he tears them up, will fall upon him etc.” In this case dvacrévra . . Adyouoww (modal dat.) is descriptive of the style of Aeschylus in the verbal wrestling, not of any weapon. This gives to dvacmay a sense elsewhere found of language (Aéyous dvéora Soph. Aj. 302), makes an antithesis of the great unpolished diction (Aéyor adrémpeuvor) of Aesch. with the ‘fined’ language of Euripides, and is there- fore to be preferred.
Todas adwvhyOpas érHv: the gen. is necessary for definition.
198 THE FROGS OF ARISTOPHANES —9os—o10
The several sets of verses which are to be treated form the wrestling-grounds for successive bouts. :
905. ottrw. We might construe (1) otrw dé (xpi Aéyeuv), dws €petrov . . , (2) Smws dé ot'rw(s) épetrov 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 ofrw is concerned (see 625 otrw d¢ Bacdug’ drayaywv and note), but the position of dws is unusual ; the first is without objection, and ofrws érws was a recognised combination; cf. Soph. Hl. 1296 otrw & dws LATHp ce pH 'rvyvwcera (i.e. oUrw 5é mole dmws..), Ach. 929 évdnoov . . otrws drrws uh Kal pépwv Kardéer.
906. doreta: 5 n. In this line Aristoph. virtually re- assures his audience as to what is coming.
eixdvas: not ‘similes,’ but ‘drawing comparisons,’ in the sense of the elxacua which was cxdppa cad’ 6uodrynra ; cf. Vesp. 1308 efr’ adrév ws eld’, Kacey Avolorparos (‘drew a comparison’), **€ouxas, @ mpecBira, veordovTw Ppvyl, | kAnrhpl 7’ els axuppov dmodedpaxért.” Such ‘odious comparisons’ were a familiar exercise of Athenian wit, and were one form of the hackneyed (ot’ Gv GAXos elzror); cf. Nwb. 559 where the comparison of iq. 864 is called efxav. [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. kal piv .. ye: to be joined; cf. 106 n.
908. év rotow tordrois «.t.A. This, with the forensic tovrov, sounds like a commonplace in rhetorical exordia.
910. papovs x.t.A. : the opinion of the innovator Euripides, not of Aristophanes, who admired Phrynichus.
tapa Ppuviyw, ‘in the school of Phrynichus.’ Phryn. produced plays 511-476 B.c. In the development of tragedy he lies between Thespis (cire. 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 MiAjrov dAwois and the Polvcca. For the appreciation of his songs ef. dv. 750, Vesp. 220. To him belongs the famous line (borrowed by Gray) Adware 8 én toppupéas mapnat pds epwros.
9ti—918 NOTES 199
911. éva tw’ av Kabicev: for the iterative dv with aor. see Goodwin, MZ. and T. § 162, and inf. 914, 920. [xa0tca is the older, éxd@:o0a the later Attic form. xaGeioa is epic and lyric. ] éva is to be reckoned with: ‘some solitary person.’
éyxadvWas: in sign of grief; cf. Hom. Od. 8. 92 kara kpara kadupdpevos yodackev, Kur. Suppl. 110.
912. “AxtAdéa: in the Bpiyes (= Exropos Avrpa) says the schol., and the writer of the Life of Aeschylus states that in this play “AxiAdeds eyKexaduppévos od POéyyerar ANY Ev apxats dAtya mpos ‘Epujv dpuoBaia,
NidByv : in the Niobe she is represented as sitting speechless at the tomb of her children for the third part of the play (Auct. Vit. Aesch.). :
vo «mpdowmov «.t.A., ‘not showing who the character (persona) was’ (rather than ‘their face’).
913. mpdoxynpa: 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 mpdcxnua dé pol éort Kal dpxh Todde Tis TOU Adyovu 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. étaler), would be a mpécxnua. In Aeschylus the piece (4) tpayqwdia) which is to come is thus showily advertised.
ypifovras od8€ rourl, ‘without even thus much of a mutter’ (=‘without so much as a mutter’). Cf. Plut. 17 kati ratr’ dmoKpwouevw Td tmapdmav ovdé ypt. The lax plural is adapted to the sense. ovuri is deictic, with a snap of the fingers ; cf. TuvvouTwl 139.
914. od 570": sc. eypufor oddév.
Hpedev . . dv, ‘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+antistrophe+epode, would form one ‘string.’ rérrapas is not to be taken literally, but-=‘three or four’ (Zq. 442, Ach. 2); cf. the use of dxTwW, éxxaldexa (551).
918. 6 Setva, ‘ What’s-his-name,’ ‘our gentleman,’ ‘the party.’ The expression may (but does not necessarily) imply contemptuous or irritated impatience or forgetfulness (ef. 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 asa colloquial indirectness (like vis 552, 554)=‘why did a certain person act like this ?’ But why should it not rather mean the silent character in his plays ?
919. kaOyTro. MSS. give KaSoiro, but there is no doubt about the real ‘athematic’ form (=xaé-n-t-ro) as in KexAyuny, . KEKTH UNV, “e“uvyunv, in which the -7- is an indispensable part of the root. Copyists found these forms strange, and corruption was made easier by the identical pronunciaticn of -y- and -o- in later Greek. [In Lys. 149 the Mss. have kept ef . . kaOjue0’ simply because the word was thought to be indicative. In Plut. 991 all good ss. have peur77o.]
920. To Spapa 8 av Siye, ‘the play would be getting on’ (towards its end, while the spectators were still waiting for the figure to say something).
923. émeidt) Anpfoee Kal . . peooiyn: the tenses in the frequentative opt. are as much to be distinguished as in érecdy EAnpnoe Kal TO Opaua (dn) éuéoov. .
924. Bdaa, ‘fit for an ox,’ i.e. of ponderous size and bellowing sound. The writer doubtless had in mind the magnificatory compounds in Bov-, e.g. BovAwos, Bowmis.
925. ddpis txovra k.t.X. : i.e. of haughty and intimidating sort ; cf. dppits alpev, dvedkrais dpptor ceuvds and supercilium. Antipater (Anth. Pal. 7. 39) says of Aesch. 6 rpayixdov dovnua Kal éddpvdecoav dodyv | rupywoas. With Adovs cf. 818. In Aesch. S.c. 7. 317 Tydeus rpe?s xarackiovs Adgpovs | cele. in terrorem.
926. olpot réXas: in self-commiseration, with impatience.
928. GAN i: either (1) in continuation, cagés & av cirev ovdé év dXN’ } . ., ‘nothing else except’ (cf. 227 n.), or, simpler
and better, (2) beginning a new sentence, ‘but (he gave
utterance to) either Scamanders, etc.’
‘XKapdvdpous’ 7% ‘tadpovs.’ 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 (J/. 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. yputratérous. 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’; cf. adialeros, vuxrateros. In Aesch. P. V. 829 d&vaorémous yap Znvos axparyets kivas | ypd7ras gvragac 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.
ér domidev . . xadknddrovs. Aeschylus is fond of descriptions of warlike blazons and emblems on shields. See S.c. T. 479, 526.
trraéxpynpva : cf, 821 pjual’ trmoBduova, 1056, and xpnuvo- mods as epithet of Aeschylus (ub. 1367). There is no need to read i(kpnpva (from e.g. P. V. 437). Compounds in irro- often express size; cf. immadexrpvdva 932n. It is true that these are regularly nouns, but there seems no reason why, if once tm7o- had acquired the force of weyado- or bWndo-, adjectives should not be similarly constructed. =‘ Big beetling phrases.’
931. 45n wor’ év pakp@ x.t.X., ‘in a weary length of (wake- ful) night’; from Eur. Hipp. 375 én mor’ dddws vuKrds év BMakp@ xpovw | Ovnrav éppdvric’ 7 SiépOaprar Blos, to which (or an equivalent lyric passage) allusion is made also in £y. 1290 sqq.
932. tov Eovldv immadextpvdva. [The anapaest in the fourth foot as in Nub. 1427 oxépar dé rods ddexrpvdvas cal Tada Bora rovavriand inf. 937. To alter to tmmadéxropas is a most arbitrary proceeding, especially in view of the ease with which v and are slurred as semi-vowels. Cp. yeviwv, Epiviwy, etc. in tragic
lyrics.] The creature here meant is said by the schol. on Pac. 1177 (q.v.) to have been mentioned in the Mupyddéves 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 tmao- cf. 929 and eg, | immocéhworv, imropvpuné, also the English horse-(radish, etc.), In Pac. 181 Aristophanes’ own immoxdv@apos is meant to play upon both senses,
Eoubdy. 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 f0v0h dndwy, Eovbh wédicoa). But in the present connexion, and generally where dyddv 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. onpetov: such emblems (onpela, émrionua, rapdonua, insignia) are commonly said to have been carved or painted on
902 THE FROGS OF ARISTOPHANES 933-038
the prow, while the tutelary gods were placed in effigy at the stern (cf. Verg. Aen. 10. 171 aurato fulgebat Apolline puppis). But this is to make onyetov answer to ‘figurehead,’ which is individual to a given vessel, whereas onuciov 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 év tats vavotv (presumably the ships of the Myrmidons). We may take it that each vessel bore a picture of a éovdds immadextpvov at the stern, which is the position of the onyetoy in Kur, J. A. 255, where the Boeotian ships are onpelouiv éoroX- ouévar* | trois 5é Kdduos Hv | xptceov Spdxovt’ éxwv | dugdl vader képuuBa, ibid. 275 rptuvas ofjua Tavpdrovv . . ’Addedv,
éveyéyparrro: i.e. éyyeypaupévos Fv 6 immadextpuwv. The tense indicates the previously existing circumstance which led Aeschylus to use the expression: ‘it was a painting. . to serve as a onpetov.’
934, *"Epvfiv: either an ugly bird-like person (as the schol. guesses), or possibly a person with a loud crowing voice.
7
935. twofjoa, ‘to represent in poetry.’ In kal ddexrpvova the particle throws a sarcastic tone upon the noun only: ‘to poetise a cock !’
936. twoia y’ éoriv. The mss. favour this as against rot’ arr’, though the latter might easily be corrupted. ‘ye is some- what difficult, but (1) may belong to the sentence and not to moia, forming (with 8€) a retort (see Neil, Append. i. to £7q., where he also states that most uses of ye are developments of ‘well,’ e.g. ‘Oh, well. .’). Yet ov dé y, & .. would be the natural order ; (2) may throw a peculiar tone upon rota (= ‘ of what precious sort’). The latter is perhaps preferable; but see crit. n. :
937. tpayedddous: cf. 929. Though treated as entirely fabulous by Plato (Rep. 488 A ofov of ypadpis rparyehdgous Kal TH rowaira puyvivTes ypdgpovor) and Aristotle, the notion of the animal was probably derived from a bearded antelope of SW. Asia (Pliny, H. NV. 8. 33. 50).
938. wapaterdopaciw: hangings or tapestries. With tots My dukois 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) éxet Samldiov év d-yamrnrov toikidrov | Ilépoas éxov Kal yptmas éfdders Twas | Tv IlepouxGv. ‘ypadovorw is used of any delinea- tion ; here with the needle (acw Mart. 8. 28.17). Cf. (wypddew of such embroidery.
939-942 NOTES 203
939 sqq. @s mapéX\aPov «.t.A. 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 twepumdrois is both ‘ walking exercise’ and ‘argumentations’ (cf. 953), and érvAdlois suggests éprvANos (Merry). Similarly cowracudrwr and pyudrwy glance at words implying indigestible or flatulent diet and its results, pnydtrev almost certainly standing for pevndrwy (‘humours’). tevrAcoicr is probably meant to suggest reuvrdgew (of fussy trifles). orTwpvApdrev alludes to some pounded herb medicine, and B.BAtwy at once recalls tpyBXiwv.
mapéhaBov . . rapa cod: the repetition of the preps. after the compound verb is usual in Aristoph. and becomes regular in prose ; cf. 962, 1013.
evO0s: with ws mapékaBov. The word which would in the English idiom belong to toxvava is in Greek rather joined to the temporal relat. or participial clause (corresponding to the familiar tot Oépovs evOds dpxouévov oi IleNorovyjow. éoéBadov Thue. 2, 47). Here we might have had mapadaBav ed0ds rhv Téxvnv, ‘immediately on taking over.’
941. toxvava. [Not icxvnva. For the facts concerning aorists of -aivw see Rutherford, New Phryn. pp. 76-78.] The word is medical; cf. Hippocr. 1254 oldjuata . . ioxvatve., Plat. Rep. 5610 bédporordv Kal xaticxvawdpuevos, Aesch. P. V. 396.
76 Bdpos : the weight of flesh ; though in reality Eur. also reduces the gravitas of the poetry. addetdov: frequent of removing vexations, etc.
942. érvdXlots, ‘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.
tepirarois: with allusion to the other sense dcarpiBais (cf. 953).
revtAlourt AevKois, ‘white beets,’ which had a mild laxative effect (edxoi\vor Dioscorides). Cf. Plin. H. N. 19. 8 candidis (betis) solvi alvos modice, nigris inhiberi, Mart. 3. 47. 9 pigroque ventrt non inutiles betas. There is also a play on rtevrdgew, and Aevkois in the secondary intention implies ‘bloodless’ or ‘colourless’ commonplace.
204 THE FROGS OF ARISTOPHANES 943—949
943. amd BiBAlwv: of e.g. Anaxagoras (cf. Plat. Ap. 26 8). The expression both denies originality to Euripides (cf. 841) — and also mocks at his philosophic originals, which are, after all, but orwutd\uara. For the reading of Eur. see his own Alcestis 962 sqq., and, for his collection of books, Athen. 3 A. TpuBAlwy is suggested in BiBXiwv (cf. Alexis, Com. Frag. iii. 448).
944. avérpehov povwdlais k.7.A., ‘I began to feed her up on monodies, with a blend of Cephisophon.’ povedtas plays upon some light species of food and Kydiropdvta is pungently substituted for ‘vinegar.’ That Cephisophon and dgos were in some way connected (éf0s or dls 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. in Vit. Eurip. : (2) the character of Cephisophon was said to be in keeping with the ‘ Cretan’ immorality of the monodies (849 n.).
945. & ri. rixom’, ‘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 Jon, Hecuba, and Bacchae.
éutreadyv Epupov: cf. Hg. 545 Kxovx dvojrws éorndjcas (on to the stage) égrvdpa, Hdt. 3. 81 w0ée eumecav ra mpdyuara
dvev vov.
946. Td yévos . . Tod Spdparos, ‘the pedigree of the play,’ i.e. the happenings which had led up to it, or events which engendered it. The word yévos is chosen for the sake of the familiar hit at the birth of Euripides (cf. 840 n.).
948. ovdév x.7.A., ‘I permitted no idle (element) in the play,’ i.e. every character had something to say or do. This might have been expressed by ovdéva (no persona). With odvdév no definite word (e.g. rpédcw7ov) should be supplied.
949. ovStv Arrov: i.e. as freely as the é\evGepos and deorérns. The women and slaves of Eur. are permitted to speak with as much rightness and understanding. This was unusual, and Aristotle (Poet. 15), while requiring that #07 in tragedy should be xpnord, also requires that ‘they should fit their several classes, kal yap yuvyn éorw xpnorhn Kal dotdos, Kalror ye tows rovrwy Td mev (the woman) xelpov, 7d dé (the slave) ddws patrdv éorw. Inthe Agamemnon of Aesch. the large part of Clytaemnestra is explained by her possessing dvdpdBovAov kéap. Origen (c. Cels. p. 356) says that Eur. xwymdetrar because he
952-959 | NOTES 205
puts into the mouths of PBdpBapo 7 yuvatkes 7 Sof\xn the language of philosophy (cf. Ach. 400 sq.).
952. Snpoxparikdv: i.e. on the principle of the equality of man.
* rotro pev=Totré ye, a use frequent with demonst. and personal pronouns (Kiihner-Gerth ii. p. 140).
953. od gol yap .. KdAAtoTa, ‘you are not the man to make the best of a case about that.’ The adverb is used (instead of xdA\toros) with an eye to the sense, which=od ov tmepirarov ay mowto. tmeplraros=discussion of a theme (originally carried on while walking). The reference is to the aristocratic leanings of the Socratic circle, including Plato, Xenophon, Critias, and Euripides. Some suppose an allusion to the withdrawal of Eur. to the court of Archelaus.
954. rovrovol: always deictic, ‘these spectators here.’
956. Aerrav Te Kavdvev éoBords: sc. édidata (avrov’s). Eur. taught the audience new finical and carping methods of mechanical criticism, Among the abilities implied in Aadeiv was the ability to talk ‘literary judgment’; cf. 799.
éoBodds: not=mpocBords (‘applications’), but ‘invasions’ or ‘introductions’ (=‘new fashions’); cf. Eur. Swppl. 102 kawas éoBords op Adywr, inf. 1104.
érav . . yaviarpovs, ‘tests of the corners of verses,’ viz. to see if their angles and edges are true.
957. voetv «.t.A. : the intellectual and moral results of the smartness of didvoa exhibited in the Euripidean drama.
epiv texvatev: MSS. give épav, 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. &pw texvatev= ‘contrive a disputatious caption’; cf. épo7iol and inf. 1105 brurep obv exerov épifew Néyerov. :
958. Kdx” trototmeiobat: in all probability Aristoph. is hinting at the suspicious jealousy entertained by the people as to the designs of the oligarchical party.
959. oixeta mpdypar’ «.7.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 xpdpeb’, ois Evveopev is intended to press home the point. For the ex-
206 THE FROGS OF ARISTOPHANES 9s9—064
pression cf. Vesp. 1179 uy ’uol ye utOous, ddd TOV dvOpwrivey, | olous Aéyouev wddiora, Tovs Kar’ olxiay. In 980-88 Dionysus reduces these lessons of the o/xeta to the absurd.
eiodywv: the proper word of a theme, as rapdywy (1054) is of a rpscowrov, brought on the stage.
962. ard Tod poveiy Groomdoas: for the repeated preps. ef. 939 n. Editors take droordoas transitively, ‘having torn them from their reason,’ but it is worth while considering the alternative of an intrans. use (as in dmogoetv). For this ef. Xen. An. 1. 5. 3 word yap aréora de’yovoa, Lucian, Jcar. 11 émel 6¢ kar’ abrhy riv cedhvnv éyevounv waumodv TéY vededdv droomdoas. ‘You got off the track’ (lit. ‘pulled off’) is the more probable meaning.
&érdyrrov: imperf. of attempt. Aristotle (Poet. 25) desires éxmAnéus in tragedy, but that effect must come from the intrinsic power of the situation, not from any trick.
963. Kuxvovs: 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 when throttled by Achilles are told by Ovid (Jet. 12. 72 sqq.).
Mépvovas: Memnon, also on the Trojan side, was son of Eos and Tithonus. Aeschylus wrote a Memnon, in which that hero (who possesses ‘paorérevxtov mavomNlav) is slain by Achilles, but obtains immortality through the prayer of his mother. The Wuvxocracia of Aesch. also dealt with these events.
Kwodevohadapoterovs: driving horses with bells on their trappings. Bells, as a means of creating é8os, appear in Aesch. S. c. J. 373 under the shield of Tydeus, and in [Eur. ] Rhes. 306 on the frontlets of the horses of Rhesus (cf. ibid. 383
Kéutrous KwOwvoxpdrous).
964. Trois tovrov te Kapod y : the reading is somewhat dubious (kapod y’ and Kapod with hiatus being the variants). Dobree’s kapovs recalls two common idioms: (1) gen. parallelled by possessive adj., e.g. Eur. H. F. 213 marnp av ein obs re Kal rovutwv, Bacch. 1277 éuf re kal mwarpds Kowwvig ; (2) possessive adj. accompanied by gen. of the same person, as in ra éua Kaka TOU Kakodaiuovos or nostros vidisti flentis ocellos. On the whole it is better to choose the reading for which there is MS. support. vy’ belongs to the whole expression, i.e. =yvwret dé Tovs ye wabyTras ExaTépouv.
padnras: not in the strict sense, but as representing the
965—966 NOTES , BOF
respective influences. A poet has ‘disciples’ in the shape of those who affect him and who mould themselves on his characters.
965. rovroupevt: a frequent position of the deictic -(; cf. vuvuevl, vuvdi, Touroyl. More curious is the position of uév and ye in évuevrevievi, évyerevdevi.
Popplovos: this proper name is used in Eccl. 97 as a synonym of ‘hairy part.’ Hence the following reference to iain (‘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.
Meyatverés 0? 6 Mavis: we know nothing of Megaenetus. A variant is Mayvns.. The schol. (who appears to be guessing) says that he was av0ddnys kal trav orparnywvTwr. If Mayas is right, there may very well be a reference to the proverbial UBps of the Magnesians (Ath. 525c, Theogn. 603 rodde kai Mdyvyras drwecev Epya kal UBpis), ie. he is 6 UBpiorys. [Also there might be a hint at non-Attic parentage.|] The alterna- tive Mavfjs (or pavys) has been variously explained as (1) a common name for a Phrygian slave (Zvpos 7) Mavijs Dem. 1127); but this is quite unsuited to the context; (2)= ‘unlucky gambler,’ since, according to Pollux (7. 204), udvys 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 xérraBos. In this the pavns is a bronze figure, upon the head of which the mAdorvyé descends when the Adraé strikes it fairly. Such a pdvns may have had a conventional appearance, which Megaenetus strikingly resembled.
966. cadtruyyodkoyxurnvddat: 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 hairy faces which look swaggeringly martial, while their owners may be little of the sort. A proverb for a fire-eater was A\édyxas éofiwy ; cf. 1016 mvéovtas Odpu kali Néyxas. For soldiers and hair, ef. Iuv. 14. 194.
capkacpomitvokdpmrar: they are mirvoxdumra 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. Zhes. 8, Ov.
208 THE FROGS OF ARISTOPHANES 967—971
Met. 7. 441). Hence airvoxdurryns= ‘merciless bandit,’ and the men named put on that appearance. The schol. is pro- bably right in his ws capxdgfovras pév Kal mpoomotoupévous Ta ToNemtkd, ovK aAnOds dé ToLovTous. ;
967. Kderopav: probably the man whose name is given to a dialogue falsely attributed to Plato. He belonged to the Socratic circle (Plat. Rep. 4288). The schol. apparently possessed more information, since he explains ws dpyds EKWULMOETO.
Onpapévys: 549 n.
968. copds y¥ avip: 652 n.
969. iv Kakois trov Tépiréoy Kal tAnolov trapacry. This is quite sound, and there is no need to attempt tts for tov or to make kal=%. mepiréoy is not ‘incur’ (i.e. ‘suffer from’), but ‘get in the way of’ (=évrvxy). Following a certain path Ther. may ‘find himself meeting trouble and get very close to it.’
970. wérrwxev: 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 Hv peév dvijrai Tis 6ppuws, meuBpddas 5é wh *OEXy, | edOEews elpny 6 TwdrOv K.T.X., Eq. 717 r@ pev drlyov évrlOns, | adrés 5 éxelvov rpimddovov karéoraxas, Theogn. 109 ete. The metaphor is from the fall, lucky or otherwise, of dice. Theramenes is always in luck. Cf. Soph. fr. 763 del yap e& mlarrovow of Ards xvBo, Aesch. Cho. 967, Shak. Hamil. 4. 7. 69 Jt falls right.
ot xios GAAG Ketos. In dicing with dorpdyadko (marked on four sides) the worst throw was called xios, the best x@os (corresponding respectively to the Latin canis and Venus). Aristotle (H. A. 2. 1. 34) gives 7a xa as the inner, 7a xa 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. Wic. 2) eis dvoyévecay ws Eévos éx Kéw NeAorddpynrar, Aristophanes substitutes the sneering word Ketos for x@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. }
ro.wtra : with ppovetv. For the crasis in pévrobvyé cf. Eccl. 410 névrotpmackev, Vesp. 159 nov>xpncer.
976—992 NOTES : 209
976. tas oixlas oiketv; 105 n.
979. tis todr *aBe; Bentley’s 768’ daPe is based on the frequent confusion of 76de and rovro, but the metrical objection is not certain. In Nub. 1386-1389 there are three lines of the scansion ~=/ U—| “=| ww against one of the scansion “= |U-—| =|, 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 (€\ev@epos). The word ’A@nvaiwv has its point. [There may also be a hit at parsimony and suspicion in public expenditure. ]
981. elovay: sec. olkade.
983. xitpa: some cheap crockery pot, which nevertheless he misses.
985. patviSos, ‘sprat’: a poor little cheap fish (Mart. 12. 32. 15 inutiles maenas).
7d mepvowwdv, ‘which I bought (only) last year.’ Even an earthenware basin and its date are remembered. Té@vnxe suggests parody. 7
987. Td x@fivdv, ‘left over from yesterday.’ Cf. Iuv. 14. 129 hesternum . . minutal.
990. kexyvores: a proverbial expression for gullibility. Cf. Eq. 755 (of the djuos) and 1263 rH Kexnvaiwv mode.
Mappdxv0or. The word is plainly connected with udupun (cf. BrArrouduuas Nub. 1001), and was used proverbially like Mapyirns, Medcridns, Képo.Bos etc. for a ‘simple Simon’ or ‘ Milksop.’ .
991. MeAnriSar. 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). Medridys, the current form, is apparently connected with pédc (cf. BrArrrouduuas). But the familiar use of 76s and yAuxvs as ‘ sweet innocent’ (Plat. Rep. 337D, Hipp. Ma. 2888) 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 exact correspondence, |
Ms
210 THE FROGS OF ARISTOPHANES 992—1005
992. Tade pev Aedooes K.T.A. The Myrmidons of Aeschylus began with this line. We may assume that the passage con- tains further parody or semi-quotation. Aesch. is identified with his own Achilles, through the same characteristic qualities of anger and sullenness.
995. éxrds oloe THv éEXadv': 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. Cho. 1021, P. V. 909 for the expression éw (dpduov) péperv.
999. ovoredas Ukpowor K.T.A., ‘take in reefs, and, using but the edge of your sails, then bring her (round to the wind) gradually.’ d&&ews 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.
d&kpo.rt: ie. not catching the wind on the full sail, but only on a narrow strip at the top when reefed. Cf. Eur. Med. 523 dore vads Kedvov olaxoorpdgov | &kporot Aalpovs Kpacmédors YrekOpamev. |
1001. padAov paAAov, ‘more and more’ (=‘ gradually’). Cf. Eur, J. 7. 1406 muadrov 5é waddov mpds mérpas je oKxddos, Catull. 64. 275 magis magis increbrescunt.
1004. GAN @ «.t.A. Before what is technically known as an aywy of the following kind, it is regular for the Coryphaeus to speak two lines of exhortation beginning with ddd . . and adopting the metre to be employed (Zielinski).
Tupyooas phpara oepva: ie. Aesch. first raised tragic diction to dignity (weyva 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’ own claim to have done a similar service to comedy, Pac. 749 émolnce réxvnv peydrnv juiv Kdaripywo’ olkodoujoas | érecwv peyddos Kal Ovavolats K.T.A.
1005. Kooptjoas tpayiKdv Affpov. It may be suggested that point is given to this expression if there is an allusion to the proverbial Zrdpray @daxes, ravray Kdouer. Aeschylus had for his province tragic diction, and that he adorned. Afjpov also gains if it is thus a apa mpocdoxiay pun upon KAjpov (‘demesne’ or ‘province’). The Coryphaeus does not mean that all
1005—I014 NOTES 211
tragedy is \fpos, but that, ‘when Afpos occurs in tragedy, you knew how to give it a fine air.’
Tov Kpovvoy dadle, lit. ‘set the spout going.’ Cf. Hg. 89 KpovvoxuTpoAnjpacov ei, Cratin. fr. 186 dwidexdxpovvoy 7d ordua (with allusion to the public fountain ’Evvedxpovvos).
1007. et . . Set: rather than é7c det after verbs of the sense of dyavaxrely (e.g. péuderOar, Sewdv moetoPa etc). Cf. Plat. Lach. 194A dyavaxr® ei ovrwol & vod pi otds 7’ eipi elzety.
1008. dméxpwat: turning suddenly and accosting his opponent.
Oavpatev, ‘pay respect to.’
1009. Se—idtHTOS k.T.A. Asis shown by the use of kal. . te. . (which cannot=xai.. xal..), there are only two grounds given, viz. (1) deéérns, (2) vovdecla Sri re BeXrious k.7.’. The re-clause is in fact exegetic or amplificatory to vovlecta. [The slight misplacement of te is frequent (Kiihner- Gerth ii. p. 245). Cf. 1070.]
SeEvdTHTOS : not with any special reference to what Aristotle calls the didvo.a or intellectual power pervading tragedy, but in the sense of technical ability as playwright. Cf. 71 déoua monrov de&o0, 762.
vov0eo(as: the moral and intellectual influence upon the audience, through the wise yrGua uttered and the high #67 delineated.
Stu BeAtlovs Te k.7.A. Aristophanes is with those who 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, Avristotle’s Theory of Poetry and Fine Art, cap. v., and cf. Strab. 1. 3 morhy yap én (se. Eratosthenes) mrdvra oroxydfecOar wWuyaywylas, od didacKkaNnias. rovvavtiov 5 ot madaol gdirocodiay twa éyovot mpwrnvy Thy TwonTikhy, eladyouoav eis Tov Blov Huds é€x véwy kal diddoKovoay HOn kal rdOn kal rpdéeas wel’ Hdovjs. See also Hor. A. P. 333 sqq.
1012. mwaGetv: the full legal formula is radety # daoreion,
pyces, ‘will you admit’ (xaragpjees), as in e.g. Soph. Ant. 442 pis 7) xarapya uh dedpaxévar rdde ;
reOvavar. Dionysus forgets that he is not in the land of the living. For the perf. cf. 970 n. and Thue. 8. 74 iva, fy
Ly Urakovwot, TEAVAKWOL. 1013. tap’ uot twapedéEaro: cf. 939, 962. 1014. tetpamh ets, ‘sixfooters.’ Cf. Vesp. 553 dvdpes meyddou
212 THE FROGS OF ARISTOPHANES to1rg—t1019
kat terpamyyes, Shak. Rich. III. 1. 4. 156 Spoke like a tall fellow! The rixus was 18} inches.
StadpacimoAiras. The proper translation is ‘citizens of Diadrasipolis’ or ‘men of Shirkton.’ According to the classical Greek idiom the said town would be named Acadpdcews mods (not Acadpacirois). Thus ‘Megalopolis’ is Meyddn 7éXus, with ethnic MeyadoroXirns. In Hq. 817 wixporodtras = ‘ citizens of Mixpa drs,’ Ach. 635 xavvoroNlras=‘men of Xavvyn drs.’ At v. 1114 the schol. has the expression diadidpdoxovras Tas orparelas, and the allusion here is to that sense. Cf. Ach. 600 dpa&v moriods pev dvdpas év tals rdéeor, | veavias 5’ olovs od diadedpaxdras.
[As merely equivalent to ‘shirking citizens’ the compound would be irregular, though tragedy has such forms as dpioré- pavtis, mpoBovrdmas, kaddlarais, in which the first element is equal to an adj. qualifying the second. We cannot, again, understand it as=dvadidpdoxovras Thy mod (i.e. its duties). This would be dsadpaccrdrecs (cf. pirordXets). ]
1015. KoBddovs: 104 n.
1016. mvéovras Sdépv x.t.A. Cf. Hom. Jl. 24. 364 pévea mvelovras ’“Axaovs, [Eur.] Rhes. 786 Oupdv mvéovea, Cic. ad Att. 15. 11 Martem spirare diceres. dbyxas probably refers to the cavalry, Sd6pv to the infantry.
1017. émraBoelous: with a play upon (1) the proverbial shield of Ajax (érraBdeov Il. 7. 219, érrdBorov dppnxrov ocdxos Soph. 4j. 572), and so implying ‘courage of an Ajax,’ and (2) ‘equal to seven oxen,’ ‘of seven ox-power’ (Paley), with an allusion to ravpou Oupds.
1018. Kal 8} xwpet «.7.A., ‘There you are! the trouble is upon us’; a current colloquial expression. Cf. NWub. 906 rovuri xwpel kal 6) 7d Kaxdv, Vesp. 1483. Kal d4 lit. =‘e’en in fact’ ; thence practically = #67.
Kpavotro.ay ad, ‘ hammering away at his helmets’ (Merry), referring to tpvdadelas and mfAnxas. Aeschylus is charged with a particular fondness for introducing helmets and crests (xpdvn Kal Nédous Sinyovpevos schol.). In -odv there are the two senses ‘make’ and ‘ poetise’ (helmets). It should also be observed that ad is frequent in indignation, though more especially in questions. Cf. Hq. 336, 338.
érurpliper, ‘will be the death of me’ (with boredom). Cf. dro\e?s 1245 n. . .
1019. ottws, ‘as you say’ (cf. 1014). yevvatous é€ediSatas: without eva. Cf. Eur, 27, 376
102I—1026 NOTES 213
(revia) Siddoxer & dvdpa tH xpela xaxdv, Med. 295 xpi 5’ ovrro6” .. waidas mepicods ExdiddoxerOar coors.
1021. ” Apews perrov, ‘full of the war-like spirit’ (cf. dppodirn
= ‘spirit of love’). So Aesch. S. c. 7. 53 Nedvrww dpyn dedopkéd- rw, Plut. Mor. 757 B rots 7d waynrixdy ev juiv Kal didgopor Kat Oumoerdés “Apnv KexAjoOa voulfovow. According to Plutarch (Mor. 715 &) it was Gorgias who applied this expression to the Seven against Thebes.
tovs ert’ érl OnBas: sc. rojoas. This was the recognised name for the seven champions, and not merely for the play of Aeschylus (cf. Dem. 1390, Ath. 224 év r@ dpxetoOar Tovs err’ éri O7nBas). [For Atti¢ two expressions would be normal, viz. oi érra oi érl O7Bas (sc. orparevoavres) or of émi ONBas orpared- cavres értd. Our phrase must, however, have been derived from oi @mr’ émi O. (ehOdvres) = ‘those who came against Thebes to the number of seven,’ but ém7r’ émi O7n8as had come to be regarded as virtually a compound. ]
1022. dv . . Hpdoby: frequentative. Cf. 911, 920, 924.
Sd.os : ny og word introduced with deliberation ; ‘doughty,’ ready for deeds of ‘ derring do.’
1023. tovtl pév: see 952 n.
kakov elpyacrat, ‘has been a bad piece of work on your part.’ [Not ‘has done you damage.’]
memonkas K.T.A.: not==éolycas (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. rovrov y’ otvexa, ‘so far as that point (or claim) is concerned,’ Cf. 1118, |
1025. ipiv: emphatic. air’: sc. ra dvdpela or modemiKd understood from the context. Cf. 1466, Plut. 502 aodXol pév yap Trav avOpmrwv bvTes rovTOvGL Tovnpol, | ddikws abra EvArNeEA- pevot (SC, TH Xphuara),
émri rotr’: see 168 n.
1026. etra Siddtas Tlépoas pera totr’ 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
914 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 etra nor pera tovro refers to time relative to the Septem, but both are to be taken in another sense. Thus eira may =‘and in the next place’ (as opposed to the previous example), while pera totr’ may be joined to émuupetv ‘I taught them to be eager there- after’ (‘as a consequence’). Since the expression ‘Then again, by producing the Persae, 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 mp&rov dvoua rH wore | OéoOar TL péya Kal Krewdy, elra rots Beots | Oicat werd TodTo, and that éreira “eTa ToUTO occurs in comedy, but the argumentative use is not disproved by instances of the chronological use.
S.Sdtas, ‘produced’; the regular word applied to the poet, who originally trained his own chorus and édvddoxKe Tov yopoy TO Spaua. Of. xopodiddoxaros, Sidacxadia and Hdt. 6. 21 womoavTe Povvixw Spdua Midrgyrov ddwow kal dvddéavte.
Ilépoas. The titles of plays (merely as such) are commonly quoted in Greek without article, as throughout Athenaeus and
~ in the brief notices called didacKxardia. Cf. 1124.
1028. éxdpyv yotv «.t.A. Dionysus was of course present at the production of the Persae. The true reading is. perhaps beyond recovery. Most mss. have the unmetrical éxapynv yotv fvik HKovoa mepl Aapelov tebvedros, the poorly supported (but old) variant Avlk’ aarnyyéAOn mepl . . 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 favot to show us the reference. [Bloomfield, it is true (from the present passage), suggested that in Pers. 667 we should read Baoke warep &xaxe Aapet’, favot for Aapidy of, but ed0ds 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 éavo? is little more wonderful than the loss of the hand-clapping. ]
Since the ghost of Darius appears in the Persae, it is possible that #kovoa contains the gen. elkods (‘ phantom,’ cf. Eur. H. &. 1002). If thisis governed by the following wép we have éxapnv yoov fvik’ Uv — elxots mépr A. reBvedros. There exists an idiom of Greek, too little recognised, but not especially rare, of which the readiest example is Eur. . 7. 813 fxovoa, xpvofs dpvds jvix’
1030—1038 NOTES 215
fv mwép., ‘when it was a matter of the golden lamb’ (though most editors wrongly supply épis from the context). Cf. Hg. 87 mepi mwérov yodv éori cor, Lysias 12. 74 od mepi wodirelas buiv rat, d\XG wept cwrnplas, and (so far as éorl is concerned) Vesp. 240 crac Adxynr: vuvi. So here we may suggest éxapynv yotv jvik<a y fv> eikots mépt A. t., i.e. ‘when it was a matter of a phantom of Darius, he being dead’ (not rod reOvecros), 7 is open to no objection ; the special delight of Dionysus was at that. The gen. elxods=elxévos occurs in Eur. Hel. 77.. So dndobs (Soph. Aj. 629), yAnxots (Hippocr. 7. 160). Other cases from the -oc- (instead of the -ov-) stem are Tas elkovs (Nub. 559), (rv) etkw (Eur. AZed. 1162).
1030. d&vdpas: with mounrds; cf. 1008. [Very much less probably we might construe xpy moiyTas doxety dvdpas Tatra ‘poets should train men in this way.’]
am’ apxfs: with yeyéevynvrar.
1032 sq. “Opdevs k.t.A. The association of the Thracians Orpheus and Musaeus is frequent (cf. Plat. Rep. 364 8, Prot. 316 bp, Jon 536 B, [Eur.] Rhes. 943). Both are poets and minstrels, both agents of civilisation. To Orpheus belonged the Orphic reAeral, or purificatory rites of initiation, which were a sacramental preparation for a happy future life of the immortal soul; to Musaeus the oracles (xpynopol), which were extant and registered (cf. Her. 7. 6, 9. 34). Plato (Rep. 364 B) has BiBrwv dé buadov mapéxovrar Movoalov cal ’Opdéws . . Kab? &s Ountodotow, melfovres ws dpa Adoes Te Kal KaBapuol ddiKn- patov ud Ovor@v Kal madids Hdovdrv elci pmév Ere SGorv, eiol dé kal TenevTHoaow, ds OH TeXeTas Kadodow. See Harrison, Proleg. cap. ix. for Orpheus and Orphism. With the vegetarianism of ddvev tT aéxerSar cf. Hor. A. P. 391 silvestres homines sacer interpresque deorum | caedibus ac victu foedo deterruit Orpheus, Eur. Hipp. 952.
Along with the founding of mysteries and oracles of advice there went musical ‘magic.’ That Musaeus joins xpyopol with e€axéoers vdowv is in keeping with the profession of the ancient iarpouavris, the more refined outcome of the savage ‘ medicine- man.’ Certain writings on herbal ’Axécers Néowy actually went under the name of Musaeus.
“Hetodos: in the”Epya kal ‘Huépar 1036. Ilavraxdéa: called Tavraxd7js cxaéds by Eupolis (schol.).
1037. érepmev: i.e. was forming one of the military escort to a procession (in all probability at the Panathenaea).
1038. Td Kpdvos mpOtov x.T.A.: 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 mepidnodpevos the middle is necessary and also zrept-, since he fastens the helmet ‘on himself round (his head),’ ef. mepibécOar Kwv7v, diddnua, etc. (the use of ém- being late Greek) ; but for fastening a crest above a helmet both the active and émt- are alone correct. The helmet is ‘bound round’ the head by its chin-strap.
Hpedd’ : the comedian would not use this form for @weAXe in an ordinary trimeter.
1039. Adpaxos tpws. Lamachus had somehow acquired the sobriquet or standing title of #pws. During his lifetime it is mocked at in Ach. 575, 578 & Aduay’ Hows (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 #pws was generally understood as one of the semi- deified dead.
1040. S0ev=d¢’ of (sc. “Ounjpov); strictly ‘from which source. So unde frequently=a quo (of persons). According to Ath. 347 & Aeschylus said ras atrod rpaywdlas reudxn elvan Tov ‘Ounpou meydd\wv Selrrvwr.
a&trropagapéevny, ‘taking impressions’ (or ‘copies’). Cf. Thesm. 514 avréxuaywa ody (‘your very image’). The metaphor is from wax modelling: cf. xjpivov éxuaryetov Plat. Theaet. 191 c.
mokAas aperas émdnoev, ‘represented (in poetry) many types of excellence.’
1041. IlarpéxAwv: in the Myrmidons. Tedxpwv: probably in the Salaminiae. @vpodredvtrwv: a word of Homer (cf. Coeur- de-Lion).
1043. Paldpas: as Euripides did in the WHippolytus. Aristoph. elsewhere objects to such characters in tragedy (Thesm. 153, 546). Aristotle (Poet. 15) similarly insists that the characters should be xpyord, 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’ (‘Imméduros kad\urrduevos), in which female passion was much more fiercely dealt with.
LBeveBolas. Stheneboea, wife of Proetus king of Argos, had
1044—1050 NOTES | 217
calumniated Bellerophon as Potiphar’s wife did Joseph. Euripides portrayed this woman in his Bellerophon and his Stheneboeu.
1044. épdcav. 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 ép&car.
1045. ob yap émrfjv ek "Adpod(rns x.7.A., ‘you bore no stamp (or gift) of the Goddess of Love,’ i.e. ‘ you had nothing charming about you.’ “A¢@podirn is here first the divinity, and next ‘charm’ (1021 n. and cf. venus). Lucian (Scyth. 11) has Tocavrnv ’Adpodirny émi ty yAwrTn 6 veavioxos €xer. For ériyv cf. Nub. 1025 ws 750 cor rotor Adyois cHppov ereortiv dvOos, and e.g. éreorl rin aldws, xdpis, etc. [R. has od8€ yap Fv with a pee of meaning, viz. ‘you never enjoyed such a thing as ove,’ ]
1046 sqq. GAdA* él tor oot «.7.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).
ToAAT Toddod “arikabfjTro, ‘she sat right heavily upon you.’ Cf. Eq. 822 moddot dé rod’v we xpdvov kal viv édedHOns, Nub. 915 @pacds ef roddod. In its origin the adverb toAAod was a gen. of price (‘at great cost’ or ‘worth much.’) With modAj ef. Kur. Hipp. 443 Kirpis yap od gopyrés, jy odd) pug, Thuc.
4, 22 rodvs évéxetro.
émuxabiro: cf. Theogn. 649 & dekh mevin, Ti éwotor Kabnuévn duos k.T.. Well-known expressions of an overwhelming and crushing power are éumirveyv, éuBalvev, évddrecOa. To these émixabjoba ensues. Cf. Propert. 2. 30. 7 instat semper Amor aut caput, instat amanti, Pet gravis wpse super libera colla sedet.
1047. kar’ otv @Badev. So-called tmesis is not very rare in Aristoph. (e.g. Ach. 295, Vesp. 437, Plut. 65), though usually only a particle intervenes. It should be observed that, when only oéy (the familiar Herodotean v) is interposed, the verb is always aorist, whether preterite or gnomic.
Tours yé rou 84: sc. erolnoev 7 ’Adpodirn; ‘that she did, indeed.’ Cf. Nub. 372 vip rév ’AwdAXw TodTS yé TH 5H TE viv Abyw ed rpocédveas.
1050 sq. aGAdXxovs: 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’ (rods wots), 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. kovea: the plural refers to the several instances (‘doses of poison ’).
1052 sq. mwérepov 8’ odk SvtTa Adyov TotTov k.T.A. : not Td Aéyov rodrov, but lit. ‘was it as an unreal story that I put this (one) together concerning Phaedra?’ Cf. Soph. £7. 584 cxf ovx otoav. EvvéPyka combines the senses componere and fingere (of falseness, cf. £dv@eros). 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. dmroxpiwrev xpi Td Twovnpdv agrees with Aristotle (Poet. 15), who objects to such a mrapddevyua movnpias HOovs mH dvayxatov as the Menelaus of the Orestes. In tov ye tronrhv 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. wapdyew : see eicdyew 959 n. 7d rovnpdr is treated as a character—an embodiment of baseness.
SiddoKev: either (1) teach the chorus as xopod:ddoxados (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 wapdyew and dcddoKeuv.
Tots perv yap tmawaploiow K.T.A. It appears to have been
easy to slip into the error of rendering ‘ for children have (éc7:)
a teacher, who (i.e. és, not Saris) tells them.’ [Blaydes even
makes the curious blunder of suggesting doris ppdgy=qui dicat,
for which the Greek is, of course, dc71s gpdoe.] 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. madvv 87 k.7.A.: the particle sums up with emphasis ; ‘yes, plainly. .’
AvxaBarrovs. 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 pjua’ immdxpnuva (929).
1057. Ilapvdoowv. The conjecture IlapvqSev (Bentley and Porson) is plausible, but not convincing, since the much higher Parnassus was visible in Attica. [The -oo- is supported by Attic epigraphy (Meisterhans?, p. 75). ]
1059. peyakOv yvopav . . tlkerev, lit. ‘of great maxims and thoughts one must bring forth the expressions also with the same greatness.” For yra@uar expected of a poet cf. 877 n. didvora is one of Aristotle’s six elements of a tragedy (the others being uidOos, AAs, Aééts, SYus, wedo7roiia),
tixktey: the mind is supposed to be in labour with these great conceptions.
1061 sq. rots tparfois x.7.A. To Aeschylus is attributed the introduction of the long and padded tragic robe, the high éuBarns, and the imposing mask. Cf. Hor. 4. P. 278 post hune (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. vit. Apoll. p. 220 cxevoroias Hyaro elxacuevns Tols THv Hpwwv eldecow . . éEcOHpacl Te mp&ros éxdoun- cev, & mpdogpopov Hpwot Te Kai Nopwlaw jojo Gat.
— Hpav: this is not a comparatio compendiaria (i.e. for ‘ than our clothes’), but is entirely good Greek (though less frequent) for 7 jets. Cf. Plut. 558 rod IdXovrou rapéxw Bertlovas dvdpas (=% o Todos), Xen. An. 3. 3. 7 of Kpfres Bpaxtrepa trav Ilepoay érdgevor.
1062. apod=a éuod, in which & refers to both 7a pjyara and rots iuarlos, as is shown by mp@rov pev (1063) . . etra (1069).
1063. pak apmoxav: 842 n.
1064. totr’ otv eBraa th Spdoas; i.e. ri ody Brava, dpdoas rovro; Others read rather weakly Brad ri; ‘did I do any harm ?”
1065. ovkouvv éé\e. ye x.t.A. 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
ovkovv . . ye: regularly with an intervening word (Neil Append. to Eq. p. 195).
tpinpapxetv. Among the Ayrovpyiac imposed upon the rich the rpenpapxia 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 tpijpapxos. With the reduction of wealth during the war it became neces- sary to associate two persons in the duty (cuvrpijpapxor). The first recorded instance of this practice dates from the year of this play (Gilbert, Greek Constitutional Antiquities, p. 370, Eng. tr.). In Antiphanes (/r. 204) the elopopd, xopnyia, and rpinpapxla are complained of, and it is said yopyyds aipebels | iudria Xpvcd trapacxwv TE Xopw pdKos Popet.
tovTaY = Kkalarep TouTaY,
1066. tmepuddAdpevos. The pres. particip. is generic or frequentative, and should not be altered to wepuddpevos (with Cobet). The mss. vary in their spelling (e.g. mepvedd-, meprerd-). It is at least certain that -e:Aéw is late and out of the question. The choice lies between -e(Aw and -iA\w, the latter being (so far as Ms. evidence goes) preferable in the sense ‘roll.’ In Nub. 762 the best ms. has tAXe, the rest efAXe. {For discussion see Kiihner-Blass ii. p. 412, Rutherford, New . Phryn. xxii., Jebb on Soph. Ant. 340 (Appendix). ]
1068. mapa tots ix Ois avéxupev : guomic; ‘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 dAgira, 6 xAwpds Tupds, ai xUTpat, 6 olvos (see Pollux 9. 47). Cp. Vesp. 789 dpaxunhy . . diexepuarifer év rots ixbvow, Eupol. fr. 304 wepipdOov eis ra oKkopoda> kal ra Kpbupva | Kal rov ALBaywrdv x.7.X. Fish was the favourite luxury (8yov) of Athens, and to purchase fish freely was a mark of the dWoddyos tpypSv. There is a special humour in advéxuipev, which is itself used of fishes (Plat. Phaed. 109 zr). At Athens marketing was done by the men them- selves, a slave being usually in attendance to carry home the purchases.
1070. éexévwoev tas te tadalorpas. Logically re is situ- ated as if some other ‘emptied’ place was to follow, e.g. kal ra yuuvdoww. The result is a real ‘trajection’ of the particle. Cp. 1009 n.
1071. tovs mapdXovs: the crew of the state galley called the IIdpados, of which both the oarsmen (épérac) and the marines (ériBdrar) were necessarily freeborn Athenians. These were the pick of the navy and received somewhat higher pay.
AY
107 3—1084 NOTES 221
The Paralus, like the Salaminia, served either as warship or on special missions (e.g. with dispatches, the ¢édpos, 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. (18. 100), the men did dvridéyew mpds rh dvatpeow Tov vexpwr.
1073. patav Kadéoar, ‘call for barley cake,’ the staple article of diet, composed of &Agira mixed with oil and wine (Thue. 3. 49 and Hesych.). So ra dgita=‘ our daily bread.’ This use of xadeiv te is comparatively rare, but cf. Aesch. Cho. 651 éxrépaua Swudrwy cad, and a similar use of Body ri (Av. 60, Pind. P. 6. 36, Soph. Trach. 772). It was probably derived, not from the frequent xadetv tia (of a person), but from a brachylogy xadéoar ‘uadgav (ddre).’ Cf. Vesp. 103 xéxparyev ‘ éuBddas,’ Xenarch. fr. 7. 13 Bog dé ris ‘ bdwp Vdwp.’ | pummatat, ‘ye-ho!’ the rowers’ cry on beginning (éuBdX- New). In Vesp. 909 7d purmarat=76 vavrixdy, and in Hg. 602, when the horses (i.e. the knights) row, they appropriately call
out lrmar7ra.
1077. viv 8 dvriAéyer. The abrupt change to the singular is rather frequent. Cf. Vesp. 553 rnpoto’ éwi roto. dpuddxracs | dvdpes weyddou kal rerpamnjxes* Kader evOds mpoordyre | EuBddre poe Thy xeip’ dmradnjv (with Starkie’s note).
whet Sevpl k.7.A.: not as the wind carries them, but as they keep changing their minds.
1079. mpoaywyots. 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 Zhesm. 1172 sqq. he is himself made to act the part of a ypais rpoaywyds.
1080. tuxtotoas «.T.A.: like Auge in the lost play of that name. Such an occurrence was prohibited (Lys. 742).
1082. dackoticas od {fv rd ffv. In his Polyidus and Phrixus respectively Eur. had such sentences as tis 0’ oidev ei TO hv pév éore xarOaveiv, | rd xarOaveiv bé¢ Shy Kdtw voulfera ; (quoted by Plat. Gorg. 492%) and ris & oldev el Shy rove’ 6 KéxAnrat Oaveiv, | 7d fAv Sé OvioKew éori; “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. iroypappargov. The word is elsewhere also used with contempt (Dem. 415, Lys. 186). The schol. is probably right. in his comment rév ypaypareve Bovdouévov Kal pH
222 THE FROGS OF ARISTOPHANES 1084—1094
orpareveoOa, Certain civil servants naturally escaped military service. While a ypaumare’s of the higher sort was an officer elected by lot or by yerporovia for a certain period, the do- ypaymarevs was either a slave or a citizen of inferior standing, who served as paid under-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 ypaymareds (i.e. a Uroypaypareds) 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. |
aveperron: the troypaumarns are regarded as a sort of plague or disease. Cf. dvdmdews, dvariumdnut, dvdueoros.
1085. SypomiOqKwv: see 707n., and, for the compound, Snuoxddrak, diovvoroxddrAak, Snuepacryjs. They ‘play monkey to the people.’ Perhaps also there is a play upon mel@ew rodv O7jmov.
1087. Aapardda: 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; éradnuavOnv . . yeAOv: ie. ‘I laughed at it till I cried all the moisture out of me.’ Cf. Xen. Symp. 3. 24
duP@mev Eri col yedOrres.
1092. AevKds tiwv: cf. Sosicr. (Com. Frag. iv. 591) XevKds d&vOpwiros maxvs, Hor. Sat. 2, 2. 21 pinguis vitiis albusque.
1093. Seva movdv, ‘making a terrible exhibition of himself,’ while dea rovovuevos would express the state of mind (‘terribly put out’). As stated by Dobree dewa rovetv=twmultuart, 6. moet Oat = indignarr.
ot Kepayjjs: the people of Cerameicus. For the topography ef, 129 n. |
1094. év taiow mvAais: the Almrudov or. Kepapecxal widar (also called Opidorac), 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 Kepauecxal rAnyal. From the same source we learn that in the first edition of the Plutus there occurred the words Tow AauTadnpdpwv Te rEtoTov airiay Tols UoTdTas mAaTELOY, ;
1096—I114 NOTES 223
1096. taiow mAarefais: sc. xepoi. Cf. modai (sc. Tpixes) and 191n. The article signifies ‘the usual’ proceeding.
1097. dvoay: to keep it alight. ehevye: not =érpexer, but ‘ran away’ from his tormentors.
1099. mpaypa=causa (cf. 759).
1101 sqq. Stay 6 pev . .: sc. Aeschylus. The terms which follow are military: telvy (‘press hard’), éravacrpépew (‘wheel to the counter charge’), émepelSerOar topds (‘attack smartly,’ Eq. 244), é€v rairo xa8fjoG8ar (‘remain inactive’ or ‘entrenched,’ Thue. 5. 7), elo Boral (‘ ways of finding an opening.’ Cf. 956).
Topas: cf. Plat. Theaet. 175 £ Topas re kal d&éws diaxovety. 1106. émurov, ‘make your attacks’ (&podos).
ava Sé Séperov. See crit. n. For the tmesis cf. 1047. The common emendation is dva 8 épecOov (from dvepécOar, ‘cross-question’), but this is flat and does not account for the corruption. If ava . . Séperov 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 dvadépew strictly suits only 7a madod, while with 7a xawd we must supply e.g. mpopéperor.
1110. as... ph} yvavar. Aristophanes would not use ds for ore 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 up to this compliment. Cf. Hg. 233 76 yap Oéarpov degcdv. Ta AeTTTG, ‘your subtleties.’
Aeydvrow: gen. absol., ‘when you say them.’ This and similar passages, e.g. Nuwb. 810 od & dyvdpds éxremdAnypévov . . yous admohdWes, should not be quoted as examples of a gen. after a verb of knowing.
1112. odk &€” ottw tatr’ gxe. 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. éotparevpévor yap eior, ‘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 dvip moA\a tep- mem)eukws of 535 n.]
1114. BiBAlov +’ éxwv. 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 mioes, ‘their natural abilities’; cf. 700.
&ddws, ‘in any case’; cf. Aesch. Cho. 676 éwelrep dddXws, & éév’, els “Apyos xiews.
1119. ér’ avtods toils mpoddyous cov, ‘your very pro- logues,’ i.e. to begin at the very beginning. In the later technical phraseology the mpéddoyos is defined (Arist. Poet. 12) as pépos bdov Tpaywdlas 7d mpd xopod mapddov, but the word is here used in the very natural sense of the ‘speech setting forth the circumstances’ (7 ¢pdois Tov mpayydrwy 1122).
This line is addressed to Aeschylus; at the next line Eur. turns to Dionysus and explains his procedure. Hence avrod in place of cov.
1120 sq. 8mrws . . Bacavd. It is an idiom almost peculiar to Aristophanes (in Attic) to use érws with fut. indic. 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 tpéopar such a participle as okoT@y, orovddfwy,* or mpdrrwy, but this is to strain the rule. Cf. Vesp. 529 det re Néyew Kady, Srrws pavyjcer K.T.r.: Pac. 431 trexe rhv giddy, Srrws | Epyw *piadoduev : Eccl. 783,
etc. There are a few instances in the tragedians of the neg. Brws uh similarly used (Kiihner-Gerth ii. p. 384. 4).
avrod depends on tis tpaywdlas.
1124. tov @ ’Opeorelas, ‘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
lace.
. Strictly "Opéoreva (sc. Sudacxadla or molnos, cf. Avxovpyeia, Oidurddeca) was the name given to the set of plays dealing with the Orestean story, viz. the trilogy of the Agamemnon, Choephori, and Eumenides. 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 Choephort. Hence Kur, means ‘the prologue from your story of Orestes,’
1126-1134 NOTES 225
1126. ‘Eppf xOdve x.7.A., lit. ‘Thou 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 rvuBos (or xGua) stands an emblem of Hermes. As wWuxorourds, and intermediary between the two worlds (xfpvE trav dvw te kal xdtw Cho. 123) Hermes is naturally addressed by Orestes in his Chthonian or underworld capacity. As agent of Zeds Zwrip he is implored to aid Orestes by using in his favour the powers of that Zwrnp.
The words are, doubtless, open to certain other interpreta- tions, mostly captious, and it is on this score that Eur. charges Aeschylus with dodg@ea. Thus kpérn might also mean ‘deeds of strength’ (cf. 1141-43), émrorretwv might also mean ‘witnessing,’ watp@a might refer either to (a) Zeus or (0) Agamemnon, and, in reference to the latter the adj. in warpoa Kparyn 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 “Hppf x@dvie, rarpa’ érorretwv Kparn, | cwrhp «.t.A., making the participle vocative. It seems more pointed and compact to join it with the predicate, as in the rendering. ]
1130. dAN oS wdvra y’ éorl tadr’ GAN 7 tpla, ‘but the whole 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 ratra bears no stress, while ot8€ mavra y gives precisely the emphasis required. For dX’ # cf. 227 n.
1133. mpds tpiciv tapBeloirt «.7.A., 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. 7d BAdBos 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.
[tpocodefkwv must not be confused, as it is by some editors, with rpocop)uv. ]
1134, éyd owwrd rod ; ‘am [f to be silent to please Aim ?’
Q
226 THE FROGS OF ARISTOPHANES 1136-1144
(or ‘at his bidding’); cf. 1229, Lys. 580, Livy 3. 41 negant se privato reticere.
1136 sq. dpas Stu Anpets; «.7.A. Aeschylus retorts ‘ Don’t you know you are talking rubbish ?— However, little I care !— How do you mean, ete.’ It is hard to see any objection to this arrangement, whereas the distribution of the words be- tween various speakers, with éXlyov yé wou wéXer given to either Kur, or Dionysus, results in inanity. [‘lhe emphasis is, of course, on 6Atyov péAe, not on por. |
1138. ‘Epp xOdve x.t.A. 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 tarpaa, in Orestes’ mouth, mean ‘my father’s’ (Agamemnon’s), and Kkpatyn = ‘deeds of strength,’ whereupon his criticism amounts to this: ‘ Doesn’t Orestes say this at the tomb of his father, the father being dead?’ (The Greek is not rod rarpds Tob reOvedros.) Aeschylus replies ‘I’m not denying it.’ ‘Then,’ asks Eur., ‘was it how his own father perished violently ‘ By stealthy guile een ata woman's 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, matrp@a should naturally refer to that father, and the rarp@a xpdry are ‘deeds of strength done won his father’ (by Clytaemnestra).
1142. adtod: tpsius, in the emphatic place. This line and the next are tragic in metre and diction (as in é« for td), and at least éx yuvaixeias yepds dédrAois AaPpalos has the appearance of a verbatim quotation, probably from Aeschylus himself (and possibly from the lost lines of the Choephort). We must suppose the words to be mouthed tauntingly.
1143. 8ddo1s AaOpalors. Hermes, being the god of stealth (d6Xc0s), might naturally be supposed to steward this action of the murderess. |
1144 sq. od Sir’ éxetvos, ‘not he, indeed,’ ie. Orestes meant nothing of the kind; cf. 788 n. TOV EpLovVLoY : i.e. not Tov déddvov, but ‘the luck-bringer.’ The word is prob- ably derived from épi-Foo-v-co-s (‘bringing much profit’; ef. @vos=Fwo-vos) and in that case is akin in sense to éuroXatos, xepd@os ‘Epufs. [If late grammarians sometimes explain by KaTaxOdvios, vroxdvios, such a notion could only arise: after the etymology had been lost and the meaning merely guessed at in connexion with ‘Epujs xAdvios or mwouratos. It simply
T146—1155 NOTES 227
shows that épio’vios came somehow to be specially applied to Hermes in his Chthonian character. |
Render, ‘but it was the Luck-bringing 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 épcovvios, 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. oti) watpe@ov K.T.A.: not TovTo Td yépas, but tatp@ov yépas is predicate.
1148 sq. et yap mwatp@ov «.T.A., ‘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 Ze’s xaraxy@drvios 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 under- ground on errands of gain (éprovmos), then his father must have been a grave-robber.’
1149. tupBwptxos: here =o rods tiuBous diopirrwrv; ef. Ttoxwpvxos. ‘The usual meaning is ‘grave-digger’ (67. 7. ép0TTwv); but ep. Sext. Emp. adv. Math. 7. 45 rupBwpixos Néyerau kal 6 éml Tos vexpovs ToUTO mpaTrwy (sc. digging).
1150. ives otvov ovk avOooplav. 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. dvOoopias was wine with a bouquet (edwdns); cf. Xen. Hell. 6. 2. 6 épacay To’s orpariworas eis TodTo Tpupis eAOety war’ ovK eOédeLY tive, ef ph avOooulas etn, Verg. G. 4. 279 odorato Baccho. See Athen. 324. :
1151. éy erepov: sc. eros. to BAdBos: not ‘the fault’ (which is too weak for the word), but figuratively, ‘ the damages’ to be paid ; cf. 1133.
1154. 6 gods. Like doctus, codds 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 yrduar ; ef. 1413, Nwb. 520, Dem. 419 rw comm Zodoxde?. Here the question is of literary culture. |
1155. TO pip’, ‘the expression’; cf. 821 n.
228 THE FROGS OF ARISTOPHANES 1155—1165
éy® 8€ cor dpdow: i.e. Aeschylus need not repeat it, ‘Z will quote it’ (and of course he does so with sarcastic emphasis). [Not ‘I will explain,’ which misses the force of éyw. ]
a? iG
1157. “Hew” 8 rabrdv éoti To “Karépxopat,” ‘is the same as your xarépyoun,’ ‘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 fe is also to be distinguished from the incomplete in karépxoua. 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 émiordpecOa Kal yryvwoxouev (I. T. 490, Hipp. 380).
1159. xpfioov od pdxtpay . . Kdpdorov. 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 doas well’); ef. Pherecr. Iler. 7 wrpécatpe 7d Kavody, ef 6é Bove, rpdagepe.
1160. kareorwpvApéve: addressed to Euripides. The word is the passive of karacrwuidd\w rather than the middle and= ‘bemused with small talk.’ For this use of cara- cf. 361 n.
1161. tadr’=7d aird. Lit. ‘that (which you are talking about) is not a case of the same thing (over again)’=roiro héyewv ovK éorl Néyew 7d atrd. Cf. 1173 sq.
GAN’ diptor’ érdv Zxov: either (1) ‘but the most excellent of verses,’ i.e. €xov dpiora érGv (rdvTwv)=dpicrov bv éerwy, after the pattern of e.g. dO\wrara dvOpirwy éxw=aOMWTards elute avOpémrwyv ; or (2) ‘excellent in respect of phrasing’; cf. ed gpevav éxewv. The latter narrows ér@v to the sense which is non-comic. See 1181n. For ter’ . . tyov; cf. Pac. 334 gor’ dvaryKalws éyov, Plut. 371 éorlv . . érépws éxov, and so frequently.
1163. éXOctv pév «.7.X., ‘(simply) to come 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 8tm pery for drm dv werH and the poetical matpas for rarploos.
1164. xwpls . . &AAns ovpdopas, ‘ without any misfortune.’ suugopd (cf. calamitas) is frequent for loss of status (aria, exile, etc.). The idiom of the redundant d))os is well known. In its origin it= ‘else,’ ‘over and above’ the matter in hand, ‘otherwise to be considered.’ Cf. Eur. Med. 298 xwpis yap aidrys Hs éxovow apylas | POdvov rpds dor&v adpavover Sucpery.
1165. hevywv . . Karépxerat x.7.A.: cf. Aesch. Hum. 465
1166—1172 NOTES 229
Kayo KaTeNOwv Tov mpd Tov pevywv xpdvov, and the words xd@odos, KaTayew, KaTadéxecOat.
1166. vj Tov “AmddAdw: the god of letters, as 1169 vi Tov “Eppfv, the god of interpretation. See Introd. p. liv.
1167 sq. od pynpi k.t.A. 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 otparnyos though considered an exile (Xen. Heli. 4. 8). He had come back with considerable apprehension (ibid. § 18), but not Ad@pg. 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 mibay tovs Kuplovs: an old legal formula, otherwise
- gretoas is the current Attic aorist.
1170. wépawe: a word frequently used of saying out one’s say, whether in narrating or quoting; cf. Plut. 648 wépawe towuv & Te éyets dvicas toré, Aesch. Pers. 700 wy Te paxioripa LOOov GAG oUvTOMOY A€ywr | elré Kal mépawe mavra, S.c. TJ’. 1042.
1172. topBov 8 én’ dxOw x.7.4. We cannot be sure that these are the very next words in the Choephort. Euripides only quotes such lines as suit his (i.e. the comedian’s) purpose. Orestes stands on the tomb, as a «fpvé regularly stands on a Bjua or on rising ground (cf. Verg. Aen. 5. 44 tumulique ex aggere futur). 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. Thesm. 381 ciya owdsra, Kur. Tro. 1303 kdvere wdbere. But the difference in tense should also be noted, and dkotoat (cf. traxovew) suggests the notion of responding. From e.g. Aesch. P. V. 464 xXvovres ovK Fxovor, Kur. Phoen. 919 otk &xdvov odk Fxovoa it might perhaps seem that when the words are juxtaposed xdvew refers to the ear and dxovew 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 ef mora xarépwra | ras guas avdws dloroa mpdu | ExdXves, Aesch. Ag. 685 rocair’ dxovouas ig@t TaANOH KAVY?.
230 THE FROGS OF ARISTOPHANES 1175—1182
1175 sq. teOvyxdow. Dionysus again represents the naive popular understanding of a literary point, and is highly aS with his own perverse perspicacity. ois follows €yovres, since é€tkvotpeOa in this sense would require the genitive. For the notion (of addressing the dead é rpirots tpoopbéyuaciw or the conclamatio) cf. Hom. Od. 9. 65 mpiv Twa Tov Sedkdv érdpwv Tpis Exacrov ditoa, Verg. Aen. 6. 506 magna Manes ter voce vocavi.
1179. tw rod Adyov, ‘irrelevant’; cf. Arist. Poet. 14 ra ew TOU Opduaros.
1180. od yap . . GAN’: 58 n.
1181. tév cdv wpoddyey 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 kr\vdwviov | yoARs, Soph. E7. 681 ‘ENAddos apdoxnp’ ayavos. [An accumulation of genitives occurs in Thuc. 4. 10 poBw vedv Sewdrnros kardm)ov. |
THs SpOdrnTos Tv érGv. There may be a direct allusion to the dp0oérea cultivated*by Protagoras and referred to in Plat. Phaedr. 2670. The exact use of the term in connexion with that sophist is disputed (see Thompson, ad Joc.), but
Dionys. Hal. (Dem. p. 1035) calls Plato himself xavaw dp@o-
ereias 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) éry cannot in comedy simply mean ‘expressions.’ The sing. éos in occasional phrases retains its old sense (e.g. in ws €mos elmety, ovdev mpos érros, etc.), and a compound like ép0oérea, everis, is legitimate as=7d dpOds eimeiv, cd eirety Suvduevos. But in current Attic émn=‘verses,’ though here, it is true, they are looked at primarily from the standpoint of their language, as in Nw. 638 mérepa mepl wérpwv 7) puduadv i) wept érav; The best com- ment is the passage in Plat. Prot. 338 ‘yodua . . avdpl maoelas wéyiorov mépos elvar mepl érav devdv eivar: arte Oe TOUTO Ta Urd TOV Tointev eyoueva oldv Tr’ eivar Evviéevac & TE dpOGs wemolnrat kal & uh. Protagoras’ contemporary Prodicus of Ceos also devoted himself particularly to correctness of diction and expression.
1182. qv Ol8lrovs «.7.A. The beginning of Euripides’ (lost) Antigone. In 7d mp@rov and edSalpov is meant the ‘ first prosperity’ 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—I192 NOTES 231
1184 sq. SvTwa ye. ., ‘seeing that he. .’
ply diva... mplv Kal yeyovévar: a deliberate and effective repetition ; ‘ before he was born . . before (I say) he so much as existed.’ Aesch. appears to be glancing at Euripides’ own words in Phoen. 1595 & wotp, dm’ apxis as mw Epvoas Oop | . . . | dv Kal mplv és Pas unrpds Ex yov7s modely | &yovov ’Amd\\wy Aaty w ebéamice | povéa yervécOar rarpds.
pivar pév . . There is no sudden interruption by Eur. to explain the absence of the dé-clause. Aesch. finishes his criticism (1186). But, except for such interruptions, péy solitarium is restricted to pronouns and a few recognised phrases, e.g. ofuac weév or ov Trwol wév dxovoa (Kiihner-Gerth ii. p. 272). Blaydes therefore is probably right in suggesting piv amepuxev’ (for the elision see Introd. p. xli). If pivac perv is, after all, correct, we must suppose that Aesch. interrupts his own thought (which he resumes at 1189 sqq.) with the insistent mpl Kal yeyovevat; i.e. he was about to say e.g. mplv divar peév eita dé éfeTéOn ev dorpdxw x.7T.r., but the temptation to repeat the notion of piv diva has diverted him from his course. :
1188. od Sf7’: sc. éeyévero dOAWWTaros. ‘No, he did not become most miserable; rather say he didn’t stop (being most miserable),’ .
1189. Sre S57: causal (=quandoquidem). Cf. Ey. 1112, Dem. 1. 1 dre roivuy rat’ otrws éxet, mpoonKker mpodtiuws €0édewv aKovely.
mparov: with yevdpevov (=evOds yevouevov). [Not mparov uev ‘in the first place,’ which leaves yevduevov extremely flat. ].
1190. <é0erav év d0Tpdkw: the exposed child was commonly placed in an earthenware xv’rpa, for which écrpaxov is here a contemptuous substitution. In Hdt. 1. 113 we have simply dyyos. Aesch. (fr. 122) used xurpigev in his Laius. Cf. Vesp. 289 éyxurpre’s and commentators there.
1192. tppyoev, ‘went with a mischief upon him.’ The mischief in éppew may be either one which we inflict on others (e.g. Hg. 4 €& ob yap elonppnoev eis Thy oiklay | rrAnyds del mpoorpiBerat Tots oikéras) or one which we are ourselves doomed to incur. But to the Greek mind the latter involves the former, and the unlucky man is requested dio-@0eipecOar and not to ‘wipe off’ (€Eoudpyrvve0a) his ill-luck on his neighbour. Cf. p@eiperOa, ExpOeiperOai mo or mpds Twa. Av. 916 Kara Ti dep’ avepOdpys ; Kur. Andr. 708 ef wh POepy trios’ ws Taxco’ amd oréyns.
232 THE FROGS OF ARISTOPHANES 1192—1202
oisav ta méde. The story attempted to etymologise his name (‘Swell-foot’), Cf. Eur. Phoen. 28 oupdv odnpa xévrpa diatrelpas pécov, | d0ev vw ‘EANas wyduafer Oldirouvv. It should be remembered that zrov’s can be used of the whole leg, just as xelp 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 Polybus. 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. evdaluev dp qv «.7.A., lit. ‘(if he was evdaluwvr in that case) then he was evdaluwv (also) if he was one of the colleagues of Erasinides.’ There is no equivalence here of qv with jv dv. The particle ye throws stress on the unhappy notion of 7d orparnyetv wer’ "Ep. The allusion is once more to Arginusae. Erasinides was the first of the orparnyot to be attacked (by Archidemus, sup. 418). Six of the ten were put to death (Xen. Hell. 1. 7).
1197. Anpets: addressed to Aeschylus. Cf. 1136.
-Tovs MmpoAdyous KaAdovs tou, ‘I compose my prologues in good style.’ 1198. kat’ éros, ‘ verse by verse.’ Kviow, ‘nag at.’
1199. ovbv Totcw Geois : either this or civ Oeots (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 AnKi@ov. In the sing. the art. is regularly omitted when no special deity is meant ; yet Soph. Aj. 383 olv T@ Dew (Jebb, n.).
1200 sq. Grd AnkxvOlov . . Siadhbepa, ‘I will ruin your prologues with (nothing but) one little oil-flask (to work with).’ For amé of the stock-in-trade cf. 121 amd Kkdd\w Kal Opaviov, Thue. 2. 77 drd rév rapivtwy Sewav édety rhv word, 7. 67.
Kiihner-Gerth i. p. 458.
1202 sqq. ‘rotets yap otrws x.7.A. 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
1202 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 Aynxv@cov dméeoev : (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 Ankv@.ov dmrwrecev Would 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 showing 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 AnktOrov, K@Sdproy, GuvAdKLov 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 (wpoodtrew) 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 AyKiéov he would ‘get it back.’ With such an assumption we are at least in a position to give:,a rational meaning to mpoodwar (1216, 1231, 1234), atromplw ‘ buy back’ (1227), ammdS0s ‘give back’ (1235). Meanwhile some of the remarks of Dionysus refer to other, and occasionally unedifying, uses of AnxvGiov. Natural articles to stake or forfeit would be the Ankvov ‘little oil-flask,’ @vAdKiov ‘little bag’ (wallet or purse, Vesp. 314), xwddpov ‘little rug’; but particularly the Ankv@cov, which was carried for a variety of purposes. ~A AjKkvos 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 Ankv@ov (€vds pdvov 1201) and win. [It is apparently from this passage that the later grammarians gave the name AnxvGcov or pérpov Hvpiridecov to the part of a verse correspond- ing in xpéva to — US“ U-V —.]
1202. toveis yap «.t.A., lit. ‘for you compose in such a way that there fits into your iambic verses anything—either
234 THE FROGS OF ARISTOPHANES 1203—1214
kwdapiov or AnktOcov 0; OvAdkKvov.’ The sense of &rav is defined or limited by what follows, and kal. . kal. .=‘ whether it be . . or. .’ [It must le admitted that there is some awkwarduess in this, and it is possible that for the first kat we should read kara \2 frequent corruption ; cf. 1393), ‘anything after the style of xwddpiov, ete.’ Of. Hdt. 1.98 ddXox roramol ob kata Tov Netdov édvres peydbean, Plat. Apol. 17. 13 ouodoyotnv av ov kata TovTous eivat pATwp. |
1203. 8vAdk.ov: for the rare tribrach in sixth foot see Introd. p. xxxviii.
1206. Atyutros x.t.A. : from his Archelaus.
trmaptat Adyos: cf. Xen. Cyr. 5. 2. 30 6 Adyos obros odds Hn Ecmapra, Theodect. fr. 16 wodvomepel . . pyun.
1208. "Apyos karacyxov, ‘having put in to Argos,’ poetical accus. of destination ; cf. Eur. Hel. 1206 wéd0ev xaréoxe yh ; Soph. Phil. 270 xkaréoxov deipo vavBaryn orddy.
1209. rovti ri fv «.7.A.: cf. 1296, and, for jv, 39 n. [There is no is niet through punctuating Toutl rl qv; To AynKVOLov od KAatoeTaL 5]
ov KAatoerat; a form of threat or imprecation; cf. 178 ovx oluwéerac; Dionysus humorously identifies himself with the cause of Kur. here and in 1214, 1220, 1228.
1210. tva Kal yva, ‘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.’ mwadw is best joined with Aé€y’ érepov mpdodoyov. [Others read -yvq,
‘so that he may be taught a lesson.’]
1211 sqq. Avdvucos x.t.A.: from the Hypsipyle. The words completing the third line, but not the sense, were map@évas av AeXdiorv (schol. ).
Qipoower: wands tipped with a pine- -cone and wreathed in ivy. The word is joined to ka®amrds (‘decked in’) by a slight zeugma, the whole @vpros Kal veBpav dopats being regarded as the dress or oxevy (ef. [EKur. ] Rhes. 202 oKxevn mperovTws cap’ éudv KabdwWoun). For this cxevy of the Bacchanals ef. Eur. Bacch. 176 Ovpoous avarrew kai veBp&v dopas exe.
1212. év wevkyor, ‘amid pine-torches’; cf. Nwb. 603, Eur. Bacch. 306 (also of Parnassus). For the form in -yotsee crit. note.
wyda xopevwv: Eur. Bacch. 307 wydavra ovv revxacot, fon 1125.
1214. olor wemA Hyped’ adOus: apparently an echo of tragedy ;
-’ '. =
I215—1221 NOTES 235
ef. Aesch. Ag. 1844 @mou par’ abOis devrépay wemdnyuévos. In that case trd THs AynKidov is probably a mapa mpoodoxiay for some tragic expression (e.g. ris Evupopds): ‘Ah me! again they smite us with—the flask.’ It is in the comic vein for Dionysus to bewail his own loss of a AyxvGov as described in what happened to Acdvugos x.r.d. Here, if anywhere, he must make common cause with his poet.
1215. ov8tv torat mpdypa, ‘it won’t matter’ (we shall make up for it yet); cf. mpdyuara éxew, wapéxew and Eur, Med. 451 Kamol ev ovdev Tpayua.
1216. mpocdpar, ‘tack on.’ See introductory note to 1202 sqq.
1217 sqq. ov« éorw x.t.A.: from the Stheneboea (schol. ). The third line was completed with mAovolay dpot maka.
1218. mehuxas éoOdds: if this means ‘of good birth,’ in the aristocratic sense of é¢O@dés, bonws, we have a violation of the rule that yéyova, répuxa éoOAGs is used of birth and rank (ef. ‘well-born’), but yéyova, mépuxa éoOdds of character or form. The rule is upheld by Cobet, V. Z. pp. 157 sqq., with sreat cogency, although (as too often) he is compelled to defy MSS. in at least one instance of yeyovévac (Lysias 19. 12). In reality the rule, if good for yéyova, will not hold for wépuxa with the adverb. Even,if Soph. £7. 989 rots kadk@s mrepuxdow, Antiphon 115 ixav@s meduxéres, be considered ambiguous or comprehensive, in Isoc. 190 ow ydp twes ducKdAws mepiKacwy is decisive enough. It is hardly to be assumed therefore that, on the other hand, the rule with the adj. was absolutely 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) éc@\és to him would mean ‘good’ in the moral sense (found in evyevyjs), while dvoyev7js also is moral.
Blov = ‘livelihood.’
1220. tdérbar por Soxet, ‘we had better lower sail’ (swub- mittere, contrahere vela); cf. 999 n., Soph. #7. 335 viv & & KaKots mor mrelv bpeuévyn Soxe?, Plut. Lucull. 3 wel’ nuépay pév dpermevors tA€wv Tots icrios Kal TaTrevois, VUKTWP OE ETralpomevoats. [The mss. reading 8Soxets could only mean ‘you seem to me to have shortened sail.’]
1221. rd AnKkdO.ov «.7.A.: the comparison of the AnKi@ov to a gale (which has prompted t¢écGar) must be induced by some lost trick of phraseology or pun (e.g. upon some wind
#236 THE FROGS OF ARISTOPHANES 1223-1238
familiar to sailors). MVEVOETAL TOAV as in dvemos vel éyas, tots, Kaumpds, etc. [The Mss. agree in avevoeirat, as they do in m\evoeioOar in Thue. 8. 1. These ‘ Doric’ forms are, how- ever, very doubtful in Attic of the best period. gevéoduar as well as gdevéoua is warranted by the metre in Euripides and Aristophanes, but the evidence for mvevoodmat, mrevooiua, KAavoovmar, pevoetrar 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. éxxexderat: the fut. perf. implies ‘ once for all.’
1225 sq. 2Sevidv mor «.7.A.: from the Phrixus. The concluding words were ixer’ és O7Bns médov, or, in a second version of the same play (as reported by Tzetzes circ. A.D. 1150), 7A\@e OnBalav xOdva | DotmE wepuxws. The ‘son of Agenor’ is Cadmus.
1227. & Sausdve av8pav: to Euripides, in remonstrance (cf. 175).
amompiw, ‘buy back the (forfeited) flask.’ See Introd. note to 1202 sqq. and cf. 1235. Euripides has lost it to Aeschylus. do- has the same sense as in dmod.ddval, drro- AapBaverv.
1228. jyav: Dionysus more or less ironically identifies himself (cf. 1209) with the cause of Euripides.
1229. éya mplwpar rod’ ; ‘What, J buy it from (=to please) him?’ For the dat. cf. 1134, Pac. 1261 rovrw ra Sédpara tair’ avyicowat, Ach. 812 mécov mpiwuat co. Ta xoupliia; He will not buy it, but will simply get it back, by defeating Aeschylus with a prologue which he cannot fit with the AnKvGov.
1232. Il&o «.7.A.: from the Iphigenia in Tauris. The completion was Oivoudou yapel xdpnv.
1235. @ya0’: to Aeschylus. @r kal viv: sc. though you have won it and held it so long. dmddos, ‘give it back.’ The slightly supported variant dmé8ov (‘sell it’), which originated
In conjecture, spoils the sense.
1236. Ane: AauBdvew is frequent in the sense of ‘get’= ‘buy’; cf. Theoc. 15. 20 wévre moxws af’ éx0és. As Blaydes points out, the Latin emere also originally meant ‘take’ (cf. eximo, demo).
1237. ote y’: sc. drodwoe Thy AjKvOov.
1238-41. Oivets mor’ «.7.d.: from the Meleager. The schol. tells us that this was not the actual beginning of the play,
1243-1247 NOTES 237 «
but came ‘after a number of lines? commencing with Kadvdwy pev Oe yata Iedorias xovds. 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 ov« @Ovcev ’Apréuids, but this is, of course, unmetrical, and can only represent the general sense. [Many editors show some favour to a conjecture of Fritzsche, ovx éricev (better érewcev) “Apreuuv ; but unhappily Attic cannot use érecoa in the sense of ériuyoa.] It seems idle to guess at the exact words.
1243. ta adrév: pronounced éa avrdv ; ef. Lys. 945 éa air’ and Introd. p. xlii. ‘Let him alone (he does not matter)’ is the sense.
1244. Zets, as A€XexTar K.7T.A. : generally supposed to be from the play called Medavirrn 7% copy (the other being Medavirryn 7 Secuaris). There is a difficulty here, since, according to Plutarch (Mor. 756c), the play originally began with Zev’s, doris 6 Levs, od yap olda wiv Adyw, but in conse- quence of the displeasure which met this rappynoia (Luc. Jup. Trag. 41) it was altered to Zevs, ws NéNexTae Tis adnOelas Urro. According to Gregory Cor. p. 1312 the second verse of the latter began with “EAXyv’ érixrev. But to this the AyK’@ov could not be attached. Gregory, indeed, tells us that the same verse occurs in the Perithous; but in the fragment preserved (N. 591) it stands as the fourth line, and where the AnkvOov is equally impossible. We are forced to suppose that the second line of the Melanippe contained not “EAXnv’ érixrev, but “EAAnva tixrwv. 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.
THs GAnPelas tro: the form of expression personifies dA7Oeca.
1245. daodcis: mss. are divided between this and aroXc o”. The latter=‘he will undo you,’ viz. with his Anx’@in 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. ras ydpaxas bpetdunv. | BAE. drrodels we. totas xdpaxas; Eccl. 775 doXels dricrGv rdvra. In the same sense the comedians use dmoxvaiew, dmomviye, émirplBev (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. ta oka: warts or sores on the eyelids. Cf. ctKwars.
238 THE FROGS OF ARISTOPHANES 1247—1249
épv: gnomic (Kiihner-Gerth i. pp. 160 sq.). Though an aor. épuy 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. Ta wéAn, ‘his (lyrics and their) tunes.’ Cf. 1329 n. It is not the language but the music which Kur. is about to attack. All educated Athenians studied wovorxy 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 apyovia 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 Anxv@.ov into the iambics of Euripides. You could, for instance, after a verse like 1265 sing on with ih Kérrov od medabers er” apwydv (i.e. té-tum-té té-tiim-té té-tum-lé té-tim tum), and that set of notes would do equally well 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 ropAarro- OparropAatrobpar (1286) (=twingle twangle twangle twang).
The criticism has been much misunderstood. It is not meant that Aesch. uses a meaningless refrain, e.g. i) kémov K.7T.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 piv tw y os. . émbdel—&o. There is little to choose between émdelEw of R (cf. Dem. 1020, etc.) and d&rodelEw of the other mss., but since émidelkyuye more clearly conveys the idea of offering specimens in proof, while drodeixvum rather suggests argumentation, the former is to be preferred, Editors
1252—1259 NOTES 239
(after Dobree) mostly read ois for @s on the ground that ws could not stand for é7ws (‘I have the means to . .’). ‘But (1) since éyw Kkaxas, kad@s, ows, etc., are good Greek, it may be that éyw ws émideiEw 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 ws, though less frequent, can be used in a formula of this kind for érws appears from Soph. Ant. 750 ravrnv wor’ ovK éc80’ ws ere SGoav yapets, Phil. 196 ovK 60’ ws ov Oewv Tov medN€éTy (7rover).
1252. dpovrifav yap éywy exw. As there appears to be no parallel to éyw gpovrifew in any other sense than ‘I am able to be anxious’ (which is an absurd expression), it seems probable that we should read gpovrifwv . . go, ‘I keep troubling my mind.’ It is true that éyw is not commonly joined with other participial tenses than the aorist, but the perfect occurs two or three times (e.g. Soph. 0. 7’. 701, Phid. 600), and the present is found in Eur. 7'ro. 317 warpida idav kataorévovo’ éxeis. Nor is there anything a priori remarkable in this application of the intrans. éyw. As roincov avicas and dvvoov tojoas, P0dvw modv and row POdvwy are quite inter- changeable, so Anpeis éxwv, Ti éornk’ Exwv; (cf. 202, 512) are theoretically interchangeable with Aypay éxw, Ti éoTas exw ; The instance from Euripides shows this to be more than theory, and the verse here is lyric and parodied from some higher style.
1256. TOv péxpt vuvi. The mss. give the unmetrical tév tr. viv Svtwv, with variant tav viv é dvrev. The reading in the text is borrowed from the explanation in the schol. rap wéxpt viv dvrwv tronrav. But it is not good to press such merely necessary words in an exegesis. Bentley regarded évrwy as an adscript, and read tév ért vuvl. Yet, judging from the two positions in Mss., it is viv which is the adscript, in- -corporated in different positions by different texts. Possibly, therefore, we should read r&v émidvtwv, ‘his successors.’ The idiom by which a person is said to be cdANoros Tay émidvTwr is too familiar to need more than the reminder of déto\oywrarov TOV Wpoyeyernuev wv,
1259 sq. tov Baxyxetov dvaxra: 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. trép avrotd: sc. Enripides, for his daring and probable defeat. [Many editors suspect the last four lines, partly because they repeat the notion of 1252-1256, and partly because they separate péAn (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. SelEe.: impersonally. Cf. Vesp. 993 BIA. ras yap qywviopeba; BAR. delfev gorxey, Dem. 24. 1 doe? 5’ Euovye delEew otk els waxpdv. More usually a subject is expressed in the shape of avré or totpyov avré, e.g. Eur. Phoen. 624 atrd onMavet.
1262. eis €v . . Evvrepd, ‘I will cut them all down to one (pattern).’ See introductory note to 1248. [In péAy there may also be a play upon the sense ‘limbs’=‘I will make mincemeat of him.’ Cf. karayopdevev, uwutrwreverr. |
1263. trav WHpev, ‘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 diav\vov mpooavdet ris, i.e. there is a passage of music on the flute serving as interval. Such waperiypadai are rare in Mss., but a well-known instance is that of uvypuds and wypuds as stage-directions in Aesch. Hwm. 117 sqq.
1264 sq. POadr “AxwdAdrAgcd k.t.A. The envoys (mpécPeis) thus address Achilles in the A/yrmidons. ‘ 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 mimicry of the actual tune of Aeschylus.
1266. ‘Hppav pév «.t.A.: 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 Kérov k.t.A. 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. 800 wou KéTw «.7.A. Dionysus joins in, sarcastically chanting in the same dactylic tune. He takes two of his counters (1263), and says ‘that’s two xémo to you, Aeschylus.’ kérw not only refers to i) xérov, but means that Euripides has succeeded in getting in two ‘blows.’ So 1272.
1270. kidior’ “Ayxatdv «.7.A.: variously said to be from
1273—1284 NOTES 241
the Telephus or the Iphigenia of Aeschylus. Construe pov with pavOave. .
1273. evpapetre k.7.A.: from the ‘Tépea:. The construction is mwéas (elciv, wore) olyev x.7.X. The pedtooovdpor are priestesses of Artemis, one of whose titles was MéNooa. Priestesses themselves, both of Artemis and of other divinities (Cybele, Demeter, etc.), were also called wédwcom. Cf. Pind. =P. 4. 60 Aedpidos pericoas. No satisfactory explanation of the word is yet forthcoming. It is very probably a Graecized form of some foreign term.
1276. Kupids eipt Opoety k.7.A.: from the Agamemnon (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 dactylic éxredéwy @rue yap OedOev Karamvela . . The omen was that of two eagles rendiny a hare.
1278. Td xpipa trav Kétav Scov, ‘what a lot of Kéra!’ (lit. ‘what a business of the xémra’). Cf. Nub. 2 © Zed Baowred, TO XpHua THY vUKToV door.
1279. és rd Baravetov BotrAopar, ‘I want to go to the bath.’ He professes to be suffering so much from kéro (in the other sense of ‘exhaustion ’) that he must seek the orthodox remedy. Cf. Arist. Problem. 1. 39 rovs pév Oepivods Kdmouvs NovTp@e ldcPac det, Tovs dé Yemepwvovs dreiupart. The idiom (ellipse or brachy- logy) by which the verb of going is omitted is readily paralleled (though Apollophanes, Com. Frag. li. 880 éwl rhv rpdmegav BovNoua is not in point). Cf. Theoc. 15. 147 dpa duws Kjs oikor, Xen. Hell. 2. 3. 20 KeXevoavres émi Ta Sada, Cic. ad Att. 6. 7 Rhodum volo puerorum 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 riv Ovpny ; (sc. Exowe).
1281. ordow peddy, ‘set of lyrics.’ It is natural to compare this with the technical word ordoipov (uédos) used of a lyric passage sung by a chorus when in position (i.e. not marching) ; but ordois may simply = ot’ornua (Kock).
1282. €« rév KibapwduKGv vipwv, ‘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. mépawe: 1170 n.
1284. 8trws ’Ayadv «.t.A.: from Agam. 110. The passage runs (after @poetvy sup. 1275) drws "Axatdy diPpovov Kpdros,
R
249 THE FROGS OF ARISTOPHANES 1284—12091
‘EAddos HBas (#Bav Mss, of Aesch.) | Evudpova raydy, | réurer &lv Sopl Kal xepi (dikas Mss. of Aesch. in place of Kal xepl, evidently from an adscript to the next word) rpdxrop: | Povpros dpvis Tevxpld’ én’ aiay. [The present place lends much help to the correction of the Aeschylean mss.] Aristoph. makes Eur. jumble these and other lines together for comic purposes, but their intention is not to attribute any such incoherence to Aeschylus, but to illustrate the point that musically ‘it is all the same.’
S(@povov kpdros: Agamemnon and Menelaus, the joint commanders.
‘EdAddos. If HBas is right, this="EAAniKjs or “ENAnvidos. Cf. Soph. Phil. 223 cxijua . . “EAAdbos orodfs.
HPas: cf. jrcxla, iwventus, pubes. [For a probable #Bay see crit. n.]
1285. pdatrdbpar: an imitation of one species of harp accompaniment (xpotous), as Operravedd is of another (Put. 290). In Thesm. 48 BouBadoBouBag represents one sound of a trumpet, as Ennius’ taratantara does another.
1286. Udlyya «.7.A.: from the Sphinx, the satyric drama which went with the Aeschylean Oédipodea or trilogy of Laius, Oedipus and Seven against Thebes.
Suvcapepiav mpvraviv, ‘who presides over (dispenses) mis- fortunes’ (to Thebes). Cf. Pind. P. 6. 24 oreporay xepaivwy re 1 puTaviy.
Kiva: of a dogging agent, sent by some malevolent power. Cf. 472 n., Soph. O. 7. 391 66’ 7 pawwdds év0d5 Hv Kbwr.
1289. ov dopl «.7.A.: Agam. 1138.
mpakropt, ‘avenging.’ The masc. form of adjectives of the agent in -ryp -Twp is frequent in verse with fem. nouns. Cf. Aesch. S.c. 7. 718 madodérwp” Kpis, Suppl. 1050 0éXxropr MWecOot, Soph. £7. 850 isrwp (of a woman). In Aesch. Hwm. 320 the Erinyes call themselves wpdxropes atwaros.
Bovpios Spvis, ‘an omen inspiring fierce courage’ (the 8éd.0r xpatos of 1275).
1291. Kupeiv mapacyev «.7.A.: 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 kvow, here apparently of vultures, cf. 1287; in Aesch. Ag. 141, P. V. 1053 of eagles. The meaning is defined from the oxymoron, as in kOua xepoatov (Aesch. S. ¢. 7’. 64), wravotcw xvol (Ag. 141), darepot edelades, etc, With nupetv cf. Hom. J7. 17. 272 xvoi
1293-1299 NOTES 243
KUpua yevésOat, Od. 3. 271 KddXurev olwvoicw ewp Kal Kipua yevéc bar,
1293. 1d ovykAwés k.t.A. : from the Op7oca. The meaning appears to be ‘the combination (or league) against Ajax.’
1296 sq. é« Mapadavos x.r.A. The most natural interpreta- tion of this passage is that in the swampy plain at Marathon there grew a species of rush (¢Aéws schol.) which was used for making ropes (like cxotvos), and that the rope-twisters (iuovio- oTpdpo) at their work in the rope-walk, sang a monotonous ‘chanty.’ Most Greek occupations had their special form of beguiling ditty. Thus Athenaeus (618 D) speaks of the émiuvrALos of millers, the atdwos of icrovpyot (weavers), the tovAos of Tahactoupyol (spinners), the Aurvépons of harvesters, and alludes to different wdai of agricultural labourers, bathmen, etc. There was, it is true, an iwatos, which is described variously as a song of millers (Ath. 619 8B), or, as used by Callimachus (quoted by schol. here), of water-drawers (deidec kai mov tis dvnp vdarnyds iwatov). The schol. is therefore led to explain iuovioorpddov here as referring to the latter. But (1) there seems no reason for connecting this occupation specially with Marathon, (2) the similarly formed cxowocrpdgos (Pollux) or cxowoarpsdos (Plut. Mor. 473 ©)=cxoworddxos, ‘rope-twister.’ [Possibly there may be included an allusion to the interminableness as well as the monotony, with a glance at the use of cxorvorer7s (ef. Pind. fr. 47 cxoworévera dodd), but there is no need to press this. ]
1298. add’ odv éyd pév, ‘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 GX’ ody éya pév y’. For aX’ ofv . . ye cf. Aesch. P. V. 1091, Soph. Aj. 535, The combination pév ye is also very common. ]
1299 sq. Wa ph tov airov «.7.A. 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 véuo. of Terpander (1282 n.).
Ppuvixw. The chief characteristic of the melodies of Ph. was their sweetness. The Elizabethans would have called them ‘sugared,’ as the Greeks called them ‘honey.’ Cf. Vesp. 220 apxarouehiodwvoppurixjpara, Av. 750 évOev worepel pédcrra | Ppvvixos auBpociwy wehGv ameBdoxeto Kaprov det Pélpwv yduKeiav @ddv. Hence the following metaphor of the ‘meadow.’
244 THE FROGS OF ARISTOPHANES 1301-1303
Lucian (Pisce. 7) varies this figure with rov Aeudva éxetvor (of Plato’s writings) dvarerdcavres od éxwrtoapuev SpérecOat K.T.X. The metaphor from the bee occurs also in Plat. Jon 534 A éx Movodv xkirwv . . dperduevor Ta men Huty pépovow woTep ai MELT TAL.
1301. otros . . tapowlwv, ‘ but this fellow gets (his) honey from all sorts of drinking-songs.’ péAu is A. Palmer’s perfect emendation of the meaningless pév of mss. (MEN=MEAIT). uédt keeps up the metaphor, supplies an obj. to épe, and its sarcasm is obvious. ‘tapotviwy (Kock) is by no means a certain emendation of the mss., but it is at least convenient. apoiva (aouara) are songs sung map’ olvy.
1302. oxoXlwv. The oxddcov 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 Poets, p. citi). How the word was derived from some sense of the adj. oxoduds 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.
Medjrov. 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 » Médnros peév éré0ero tmrép Tav TonTav axObuevos). There is, however, a sreat 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 was 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 oxéd\va which 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 MéAnros 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 because he was walking in his father’s steps.
Kapukdv avAnpdatrey: commonly of a dirge-like character. Pollux (4. 75) has OpnvGdes yap 7d diAnua 7d Kapexdv. Cf. Plat. Legg. 800 &.
1303. yopedv, ‘dances,’ ie. dance-music (cf. 247 n., and a
1 304—1 309 NOTES 245
fragment of Pratinas dkove rav éuav Awpiay xopeiav). With the accentuation yopetwv the sense is ‘dancing-places.’ But xopeiov appears to be a late word and is out of keeping with the other nouns in the list.
1304. rd Adprov, ‘the (usual) lyre (for accompaniments).’
1305. éri rovrov. The common reading is émt totrov ‘to attack him with,’ but this can hardly be the sense, which is rather given by the variant éml tovrwv, ‘in the case of tunes like these.’ [emirotrotroy of R. plainly points to ém rovrou with -rov superscribed in supposed correction.] For the gen. is quoted Plat. Rep. 399 A ravrais éwi modeuxay avdpa&y ec0 & Ti xpyjoec ; add Isoc. 6. 41 él pév Tis Nuerépas modEws ovdev exw To.ovrov eimety.
Tots 6aTpadKots, ‘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 mapaxopyynua) who has been brought on the scene, and who is using the castanets. He calls her forward (‘where 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. mpos tviep, lit. ‘with an eye to whom’= ‘to whose lead’; cf. ad (of the standard), Eur. Alc. 346 mpds AlBuy Naxety | avdrdr.
1308. ov« éheoBlafev, ‘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). The imperf. and tworé refer to the time when Euripides was writing. [We must not render ‘never used to practise the Lesbian.’ This in comedy would be ovdérore éXecBiagev. Aristoph. would not use odzrore, still less 700’. . 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 xpovceis, which are not marked in the mss., are to be assumed, as corre- sponding to the ¢darréd@par of the harp-accompaniment of Aeschylus (1286, ete.). 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 (xapaxrnyplfer ra Hvpirldov wédn ws éxdedupuéva schol.). We do not possess any precise understanding of the principles involved, but it is clear that the arrangements of the ypdva (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 oxddca, Opfvo 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 orwuvAdere 1310), but their sources are only partially known to us. 13817 sq. are from lect. 435 sq.; 1322 from the Hypsipyle, but for the remainder we can find only slight suggestions of resemblance. Thus in J. 7. 1089 occurs a re- ference to the halcyon, but there all likeness to v. 13809 ends.
1309. dAxvdves «.t.AX.: cf. Eur. 7. 7. 1089 dps & mapa metpivas | mévrov Seipddas, adKxudv, | édreyov olxrpov deldets. There mapa (with accus.) shows the bird flying, here (with dat.) sitting or standing.
1310. orwptddere : a prose word humorously substituted for one more poetical, but also hinting at the frequent (alleged) trivialities of Euripides.
1311. vorfois mrepdv pavlor, ‘with showers of spray from your plumage.’ The combination of vérvos or bypéds with pavis and the like is used to limit the noun, which alone would not bs definite in meaning.
1314. eievererAlooere. The shake or prolongation (éréxraocts) is a feature of the Euripidean music, whereas in the older style of Aesch. one syllable meant one note. In £#. 486 the second hand of L gives eieiAuccduevos for the common reading eidiood- pevos. The musical fragments discovered at Delphi mark repetitions of certain notes, although they do not indicate them more than twice. Y
pddrayyes, ‘long-legged spiders,’ are substitutes for e.g. yuvaixes, as is shown by the following words concerning the loom and the singing shuttle. In such an original drwpddror would mean ‘indoors,’ but Aristoph. converts it into ‘under the ceiling.’
1315. iordérova, ‘wrought upon the loom.’ The variant iprérova, would=‘stretched upon . .’ THVITPATA: See éxmyvietrac 578 n.
1316—1330 NOTES 247
1316. Kepx(Sos dovdod pedéras, lit. ‘the exercises (= studied productions) of the musical shuttle,’ in appos. to mnvicuara. For the humming of the xepxis cf. Verg. Aen. 7. 14 arguto percurrens pectine telas, G. 1. 2938.
1317 sq. tv’ & fdavdos . . Kkvavep Boros: verbatim from Hi. 435. The fondness of the dolphin for music was proverbial (cf. the story of Arion). He would be attracted by the flute of the rpiunpavAns (sup. 205); cf. Plin. H. N. 9. 8 Delphinus muleetur symphoniae cantu et praecipue hydrault sono.
émadAe: occasionally intrans. (=émd)Xero) ; cf. Lys. 13804,
awpwpars: not local, but dat. commodi. They dance ‘to the prows,’ as if in their honour; cf. xopevew, dpxetoPat, yopor iordvac Tui and 445 n.
kvavep Porous ; cf. Hy. 554 xvavéuBorto . . rpufpes and the Homeric xvavérpwpos. Aeschylus (Pers. 562, Swppl. 751) has Kvavwrides. The word is restricted to ships of war, and may have been derived from a facing of blue steel.
1319. pavreta Kal oradiouvs : a new quotation without refer- ence to the preceding clause. Doubtless we might make the words depend on ézaAXe 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. wep(Badd’ «.7.A.: from the Hypsipyle. On quoting this the actor seeks to embrace the ‘ Muse of Euripides.’
1323. opgas Tov 7é8a TotTov; This may be a quotation from the Telephus or the Philoctetes, 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. ta pédXn: in the restricted sense of the choral as opposed to the monodic melic. In 1364 the monodies are included.
1330. pov@diey: see 849 n. The monody which follows is one of the ‘Cretan’ kind, as is shown by Kopfjres (1356) and Alkxruvva (1359). We must suppose that Aesch. sings and dances this in caricature of some Euripidean taépynua familiar
\
248 THE FROGS OF ARISTOPHANES 1331—1339
to the audience, and that his purpose is to ridicule the whole style of composition and performance, from a musical, literary and scenic print of view. Hen-e the characteristic repetitions of words and the lapses into utterly prosaic diction and trivial matter. ‘The whole is an excellent burlesque, containing enough reminiscences of the original Euripides to impart verisimilitude, while affording opportunities for the geutle ‘art of siuking in poetry ’
1331. KeAawodars dphdva: an oxymoron, ‘gloom whose light is (but) blackness.’
1334. wWoxdav dbvxov: cf. Hee. 610 viudny 7 dvuppor mapbévov T amadpfevov. Such expressions are no special mark of Euripides ; they belong to tragic language in general, and are sufficiently frequent in Aesch. himself (e.g. Pers. 682 vaes dvaes, Cho. 42 xdpw dxapiy).
1336. peAavovecve(wova, ‘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. Hum. 372 huerépats épddors pedavelwoow, and (of ordinary ghosts) Lucian Philops. 32 kal Ties Tov veavioxwy, éperxnrew Bovrdmevor avrov (sc. Democritus) Kal deymarovv, oreiAdevoar vekpiK@s Eo O7Te medalvy K.T.A.
dovia divia: such excited repetitions are frequent in Kuripides. See specially Hec. 688 sqq., and Or. 1426 Ppvyias éruxov Ppvylo: vouos | mapa Bdorpvxov atpay atpay | ‘EXévas ‘EXévas edraye kikiw |. . doowv, Hel. 648, etc.
1337. peydadous dvuxas: as becomes a bogey.
1338. GAAG por dudimodo. «.7.A.: from the Temenidae (schol. ).
1339 sqq. ék jwotapav . . adroxAvow. 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 xai Tatra wév 5) vuxros eloideiy Aéyw | éwel O° dvéornv Kal xepot kadippbou | @~avoa mnyjs x.7.r., Apoll. Rhod. 4. 660, Pers. 2. 16 noctem flumine purgant. Technically this was called amod.oroumetc Oa.
vdwp : the epic quantity, suited to the hexameter ; cf. Hom. Od. 8. 426.
aroxAtow : of washing away from one’s self the niddle would be more usual (cf. drovifoua, droxabalperOat, droméurouat, etc.). Nevertheless there is nothing to prevent a Greek writer from treating the action objectively, simply as it affects the thing removed.
1341—1368 NOTES 249
1341. movrie Satpov: Poseidon. Whatever may have been the motive of the invocation in the original, it is here brought into sharp and sudden contrast with the prosaic totr éketvo. ‘O God of the Sea !—so that’s it!’ (i.e. ‘1 see what the dream meant ; it is that my neighbour Glyce sp stolen my rooster’).
1342. rade répa, ‘these portents (and their meaning).’ The usual plur. is répara, but the present form auswers to yépa, xpéa, etc. It is supported also by a declension (found in Herodotus) of répas répeos alternative to répas réparos (Kiihner-Blass i. pp. 431 sq.). It is also just the form which a comedian would burlesque. [The reading 148’ érepa ruins all the sense. ]
1344. vipdar dpecoiyovor, After invoking the Oreads there is a drop to another nymph in the shape of Mania (‘ Betty ’) the maid. Mayia (fem. of Mars, cf. 965 n.) was a Phrygian name frequent with slave-girls ; cf. Ath. 578 B.
1348. eleverecdiooovoa: 1314 n.
1350. kvedhatos: in the dark before dawn; cf. Verg. G@. 3. 402 sub lucem exportans calathis adit oppida pastor. The adj. expressing the time of the action is a common idiom even in current language; cf. Vesp. 124 6 0 dveddvyn xvepaios émi TH KiykAlo., ibid. 774 weonuBpivds, Xen. An. 4. 1. 10 xaréBawov 75n oxoratot. So in Latin verse Verg. G. 3. 538 nocturnus obambulat.
1353. akpais, ‘swiftest (or strongest) effort’; (lit. with wings at their tip-top). So rodav, xe.pov dxuy or dkuat.
1356. ® Kpfjres: from the play of that name (schol.). With 7a Toga following it is here converted into a poetical way of calling for the police (605 n.).
1358. tiv oikfav: an unpoetical word, deliberately sub- stituted for something in higher style.
1359. Aixruvva: the Cretan Artemis as huntress (cf. dixrvor).
1360. tas kuviokas: the prosaic dimin. is a burlesque. The female hound was considered the more keen-scented.
1362. d€vTatas, ‘at their brightest,’ ‘ with keenest light’ (as required for the search).
1363. dwpdow: the regular word for searching for sialon goods. Cf. Nub. 499 adn’ otxl dwpdowv @ywy’ eicépxouar, Plat. Legg. 954 A.
1367. To yap Bapos vo x.7.., ‘for the weight of our phrases
will test us.” The specific gravity of a fjua depends on the weight and dignity of the matter pressed into it.
1368 sq. elmep ye Set . . Téxvyv. It is easiest to place a
*
250 THE FROGS OF ARISTOPHANES 1370—1380
comma at pe, to supply rorjoa, and to treat the next line as exegetic of totro (mojoa). Cf. Plat. Gorg. 491 D 4 rodro peéev ovdev del, avrov éavrod dpxew; Dem. de Cor. 139 dvoty atrov avayKkn Odrepov, 7} undév éyxadelv x.7.d., Soph. Phil. 310 éxeivo 0 ovdeis, Hvix’ av uvnoO&, Béde, | cHoai ww’ és olkous. [It is, however, quite possible to construe ed de? we Toiro TupoTwdfoa réxvnv ‘if I am to do this cheese-selling of poetry,’ rofro being adverbial (containéd) accus., as in rodré ce \uTA, welOw, word, ete. (cf. 13-15 n.).] tTvpomwAfoar is treated as a trans. verb, ‘treat after the manner of cheese-selling’=vvpomwdixds drabetvar. CF. Pac. 747 €devdporéunoe 7d vOrov, and sup. 798 peaywyjoover Thy ~ Tpaywolav.
Since v. 1369 is mock-tragic, this might account for the absence of the article with réxyvyv, but that absence is more naturally to be explained by the sense ‘to weigh out art’ (i.e. quantities of it).
1370. émimovor, ‘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. pa tov. For the omission of the name of a deity cf. Plat. Gorg. 466 E dnl pev obv @ywye. TQ. wa Tov, ob ct ye. So pa THY (Plut. 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 émopxia were thus avoided. The schol. here explains that the ellipse is evAaBelas ydpu, and, whatever he may have intended to convey, the expression is more true than if he had said evocBeias yapw.
1375. Tév émitvydvtev : after ov8é this is a humorous rapa mpocdoxtay ; ‘not even if I had been told it by a—man in the street,’ lit. ‘man I met with’ (cf. 6 ruxwv, 6 émmv). We should have expected eg. Trav capis eiddTwy, avbrorray, mapeotnkorwy or the like, but Aristoph. satirises our common credulity, which so readily takes the word of the first gossip.
1379. AaBopévw: sc. adroiy. Each is to hold his scale while he speaks into it.
1380. KoxKtow, ‘crow.’ Kxoxkifew is used not only of the cuckoo but also of the cock. Cf. Hecl. 31, Cratin. Com. Frag.
1382—1401 NOTES 251
ii. 186 Koxxdgew Tov ddexrpvdv’ otx avéxovra, Anecd. Bekk. 21. 24 ddew ddexrpvdvas “Artik@s* Td O€ KokkUfew Kwyckol éyouow (i.e. they use that word also). [The ‘ cuckoo-clock’ originally represented Chanticleer. ]
1382 sq. el@ dheX «.7.A. To the first line of the Medea Aesch. responds from his Phi/octetes.
1384. kal woAv ye, ‘very much more. . closely with the adverb.
1388. émrepwpévov : referring to diartdoba,
1391. odk %or. Tleots x«.7.X.: from his Antigone. ‘Persuasion has no temple except reasoning words.’ The next line ran kal Bwuds airijs €or’ év dvOpwrov pice.
1392. pdvos Gedy yap «.7.A.: from the Niobe (fr. 161 N). The passage continued with odd’ dv re Oiwv ot émiorévdwy divas, | 008’ gore Bwpds odde mramwvlferar, | wdvou dé Tea darmdvwv admootate?. In this instance the matter of the reply is suggested by his rival’s quotation.
1393. péBerOe péeoGe: see crit. n. The abrupt rhythm (if correct here) is justified by the conversational repetition. Cf. Thesm. 1184 karnoo xaryoo.
Kal Td Todde y ad péret, ‘and (lo and behold!) once more his scale descends.’ Kal must (with ye) be used in a tone of sarcastic impatience ‘ (well, you have let go), and, of course . .’ It obviously does not emphasise 76 Todd, and its position prevents us from joining it to ad (‘once more’).
,
Kal (etiam) goes
1395. eros dpior’ eipnpévov, ‘an excellently expressed verse.’ Cf. 1161.
1400. BéBAnw’ *AxAAeds «.7.A., ‘Achilles has thrown two aces and a four.’ ‘This is from the Zelephus, in which the Greek chiefs are playing dice. It is true that metaphorical allusions to dice are not rare in serious poetry (e.g. Aesch. dg. 32 tpls && Barovons ricdé por ppvxtwplas, 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 zpls €. Besides its commoner sense kvfos (properly the ‘pip’ on the dice) has the special meaning of wovds (‘ace’). The throw is, therefore, a poor one and the ‘weight’ of the line would be small. Dionysus is doubly sarcastic.
1401. atry ‘orl Aourh ohdv ordois: not airy } ordovs nor H Aor}. Lit. ‘this (only) is left for you as a weighing.’
”
252 THE FROGS OF ARISTOPHANES 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. 3335 ef mpds Ta &xpnoTa (sc. pLdvov) xphotmov dv TUYXaVEL.
1402. odypoBpibés x.7.A.: from the Meleager. The adj. suggests Bdpos enough, but the line is easily beaten.
1403. ép’ Gpyaros «.t.A. : from the Glaucus Potnieus. The schol. on Eur. Phoen. 1194 quotes the next line as tra 0° 颒 immo foav éurepupuévo. This may account for the dat. vexpa, which can anticipate emt. . Cf. Pind. J. 1. 29 pel@poict Te Alpxas €pavev kal map’ Hipwre, Soph. Ant. 366 roré pev Kkaxdr, diddor’ ém’ écOXov pre, and, in comedy, Eg. 610 mare yn mar’ év Oadarryn, Av. 740 vdraci re Kal Kopupats év dpelars. [Other-. wise it is easy to read Kav vexp@, nor is it improbable that the sentence should here be complete. ]
1406. ods otk av dpawr’ k.t.A. There is probably only an accidental similarity between this and Eur. Or. 2 cupdopa Oendaros, | is ovK dv Apa’ &xOos avOpwrov picts. The Egyptians were proverbially dx@opdpo (schol. here and at Av. 1133 Alytrrwos mXwv8opédpos).
1407. Kal pynkér’: sc. Bacdyige tiv molnow udev, or éoTw 7 ordo.s. The force of cal is ‘yes (i.e. no doubt he is outweighed as you say), and (we may go further) . .’
1408 sq. adrds, Ta madi? . . Kabqobw : for both construction and thought ef. 587 ; for Cephisophon as collaborateur see 944 ; for ra BrBAla 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 pev yap Hyotpar «.7.A. Dionysus still represents the popular opinion, but beginning to doubt itself. He cannot but realise now that Aeschylus (Tov pév) as poet is cogds (doctus, cf. 1154n.), but he also knows that he finds pleasure rather in Euripides (ro 8’). [Others reverse the application of the demonstratives, but this misses the above point and itself contains none. |
1414. oddStv dpa mpdgées: i.e. dmpaxros goa, ‘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. tv’ 2XOns ph parynv: not=iva wih 2Z\Ons udrynyv. See 639 n.
1417. evSaovolns: a form of thanks when accepting. Cf. Eur. £7, 231 evda:movoins, uicbdv jdlorwy AdOywv. ‘ Blessings upon you!’
1419. wv’ 4 mdédts cwPeioa K.T.A., ie. ‘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 (1909 sq.) is here put at its highest. In the theatre he can influence the largest Athenian gathering (678) under privilege (686 sq.) more effectively than any p7j7wp in the assembly. Dionysus therefore proceeds to test their copia in the way of political mapawéces. [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. Xxill.
1421. péAAy, ‘is likely to’ (when he gets back to earth).
dEew pot Soca, ‘I am minded to take’ (=doke? wot ayayeiv) ; 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 riv évov é&dyew Soxd (which editors should not change to é&déev), Aesch. Ag. 16 bray 8 deidew 7) uuwiperOar doxd. ‘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 (Ktihner-Gerth 1. p. 138). ]
1422. wept “AdxiBiddov. 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. Svoroke?, ‘is in slow travail,’ i.e. in bringing to birth a definite yywun on the subject.
1424. tiva; 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 qvrwa ; (=épwrds Hvrwa yrouny éxe;). Buta general habit does not preclude other uses. Blaydes quotes Av. 1234, Eecl. 761, Pac. 847, ete. 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. roe pév «.7.A.: parodied from the @povpol of Ion of Chios ovyé uév, éxOalpe dé, Botdreral ye wv (schol. ).
1427. prod wodlrnv x.t.A,: apparently quoted (with more or less modification) from one of his own plays, since waétpav is tragic, as in 1163. This may account for the variant wépuxe for bavetrar. The rather difficult future is not likely to have been wrongly substituted here for an easy perfect. Probably, therefore, in the original context the word was réquxe (or mépnve), but here Eur. is making no explicit statement as to what is or has been the case with Alcibiades. He only hates aman ‘if he shall (8o0ris= et 71s) prove to be’ of this character, at the same time broadly hinting that he probably will so prove.
1429. kal mépysov aitr®: made to agree with roAlrny, as if the relative clause had taken the shape of d¢avotmevov Bpaddy k.7.A. [Changes from a relat. clause to an equivalent of another form (or vice versa) are not very common. Yet cf. Simonid. 5. 7 rpdéas yap eb was dvip dyads, | kaxds 6’, ef kakG@s, Xen. Hell, 1. 4. 4 rair’ ofv dxovovres . . Kal émevdy KOpov eidov, Aesch. Cho. 569 sq. n.]
apAXxavov 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. - Med. 408 -yuvaixes és ev @o ON’ adunyarwrara, | kaxOv 6¢ rdvrwr TEKTOVES TOPWTATAL.
1431 sq. ob xpi Agovros «.7.A. It is out of the question that both these lines should stand together. Either we have a combination of the two editions of the Frogs, or (more likely) 1431 was the original line, which Aeschylus somewhere wrote, but which he is here quoting in an altered shape in 1482. 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 pédtora pév has the less tragic appearance, (2) that Plutarch (Alc. 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-known 4g. 718 sqq.
1432. éxtpoapy tis: sc. A¢dwy. [The mss. of Plutarch have
éxtpépy, but the likelihood of ms. corruption was from éxrpady, not to it.] It would have been better not to have permitted
1433-1438 NOTES 2955
such a dominating and wayward character as Alc. to be developed in Athens, but, since it has been done, it is best to ‘put up with his ways.’
1433. tov cwrtipa: the form of the oath is deliberate, since the whole question is of cwrnpia, Cf. 1166, 1169.
1434. 6 pév codds . . cadds: so the Mss., but commentators have naturally been at a loss to decide which has spoken cadgds, 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 (with Meineke) co@ds for cagés: ‘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 cadds is not difficult to explain. Some early reader or copyist would expect a contrast between 6 pév .-. ando 8. ., but finding none, and missing the point, would ‘emend’ with capes. |
1437 (1442). éyd pév oiSa «.t.A. 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 b (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 must 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 8€\w: since it is a tragedian speaking more suo it is unnecessary to suggest Ka0édw.
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. Ach. 915), (2) as parody of certain passages of the Palamedes of Euripides (see 1443=1451). That play is the subject of burlesque also in Thesm. 770 sqq., where of6 éya kai 5) mépor | €x Tod Hadkaujdous has a suggestive resemblance to the present place. Ibid. 847 it is said of Euripides ov« éc0’ drws | ob Tov
256 THE FROGS OF ARISTOPHANES 1438—1446
Tlaraujdnvy wuxpdv dvr’ aicx’verar. In fr. 578. (from the Palamedes) occur the words rovtias brép wakés. Much of the humour is necessarily lost in the absence of the jarodied original. At the same time Aristoph. makes an attack upon peculiarities of Cleocritus, Cinesias and Cephisophon.
1438 (=1437). el tis wrepdoas k.t.’. A nom. pendens is anything but rare (cf. Aesch. Hum. 95, 100, 480, Swppl. 455, Eur. J. 7. 947, Hec. 970, Hom. J7. 5. 135, etc.). An instance (and there are many) as striking as the present is Eur. fr. 411 mpos dvdp’ elrwv eva, | wUOowrT’ dv dorol mdvres. [Except for so inany parallels it might be tempting to suggest ev tus wrepdoas . . | Géptov dpa, ‘were to lift him into the air.’ The form dpat for dpece is quite admissible in a mock-tragic passage which includes mAd«a, and the resemblance of dépiov and atpoery, and of dpar and atpa:, is very close. ]
Krcdxptrov Kiyyoia. Cleocritus (cf. Av. 878 orpovbé, uijrep KXeoxpirov) was a large and ungainly person with some fancied resemblance to an ostrich (rhv dy ocrpovdddns schol. l.c.). To enable such a bird to fly he must be provided with wings in the shape of Cinesias (see 153 n.), who was very tall and thin. In the Gerytades of Aristoph. (Ath. 551) the latter is reckoned among the unsubstantial adomotra. ‘The jest went that he was obliged to wear a board at his waist to prevent him from doubling up with his length and slenderness.
1440 (=1439). votv 8 éxyea rlva; ‘But what is the idea (or purpose) of it?’
1441 (=1440). vavpayotey . . d€(Sas: the jest turns upon a vulgar application of these terms underlying their literal meaning.
1443 (=1451). ed y, & Iladdpndes: evidently quoted from that play ; ‘an excellent device!’ gtoi.s=‘genius.’ [In the ordinary position of this line it is entirely pointless.] The inventive genius of Palamedes (of whom Odysseus was jealous, and whose death he compassed) was proverbial. Cf. Eupol. (Com. Frag. ii. 547) Tladaundixdr ye rovéedpnua cal copér.
1444 (=1452). Kyndiroddv: ascollaborateur. See 944 n., as also for his connexion with the vinegar-cruet.
_ [1446 (=1443) sqq. Alternative passage from the other edition. ]
1446 (=1443). 8rav: i.e. cwrnpia éora, drav . . Cf. 1463.
Ta viv &mora «.t.A., ‘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. dmira commonly means ‘untrustworthy’ or ‘disloyal,’ and ra 8’ dvtra mora, ‘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 viv amortamo® and ra 8 dvramuctamiotra, if not most carefully pronounced (ef. 304 n.), would lead to a fine ‘derangement of epitaphs.’ The former might become 7a viv dm’ dic and the latter either 7a 8 bvr’ dmicr’ dmiora or Ta 8 bvTa micTA MioTd. 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). apabéorepov, ‘less learnedly.” The Greek comparative is very often used where we should expect jrrov with the opposite adjective or adverb (e.g. oxavdrepos éxeivou= Atrov dek.ds).
1451 (=1448). tows owlctpev dv. The reading of R. Xpyoralperba owbeinpev dv is due to accidental omission through the similarity of -cws and ow@-, and an attempt to remedy the consequent defect of metre. Not only is the sense too positive, but the form ow@elnuev is un-Attic. (Rutherford, New Phryn. p. 454 sq.)
1455. xpfirac. . xpyorois: 735 n. awo0ev ; ‘of course not’ (cf. the scornful rrofos ;). 1457. od Sir’ éxelvyn y : 788, 1144.
1459. 4) pire xAatva «.7.A.: evidently a proverbial expres- sion. We may perhaps render ‘if neither soft cloak nor rough cloak agrees with it.” xAaiva and o.cvpa 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, Nub. 10 the cic’pa is a bed-blanket, a sense in which xdatva is also frequent. We can hardly decide which application is intended here. Both yAatva and cicv’pa are thick and warm for winter, the difference being that the yAaiva was commonly made of wool and might be beautified, while the cic¥pa was a rug made of skins (sheep or goat) with the hair inwards. Cf. xAatva iudriov xemepivdv (Hesych.), and 4 oictpa repiBrnua ay ein €x OupOépas (Poll. 7. 70). By the yAatva Aesch. means the more refined public men ; the ov.cvpa is the rougher sort.
1460. elrep avadice maw, ‘if you are to get above ground again ’=elzrep uédNes dvadvcerOa (13 n.).
)
258 THE FROGS OF ARISTOPHANES 1461-1468
1461 sy. kel dpdcaw’ dv: the surface meaning is ‘in the other world’ (cf. 82). But we may perhaps guess that the actor makes a sign towards the Pnyx, and signifies that he prefers to give his political views in what the politicians call ‘another place.’ This would also suit adver in the next line, since the theatre lay below the level of the place of assembly, in which the people were said xa0fc@a dvw (Dem. 285). Good advice may find its way up to that hill. Meanwhile dvinw, dvamréumw are the regular words for sending up influences by the nether powers. With pi dSfra supply roiro movjons or
elrrys.
1463 sqq. Thy yfv Stav «.t.A. With drav cf. 1446 (=1448). 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 (wdépos) of the country, the present revenue (mdpos in a somewhat different sense) being in reality dmopia, a cause of helplessness, inasmuch as it simply creates an idle state-fed class. Pericles (Thuc. 1. 143) had urged jp émi THY XwWpavy Huav ef two, huets ert Thy éexelvwy mrevodpcOa. 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 ara is derived from the context (=7Ta& xpjuara implied in the médpos): cf. 1025. We might have expected the fut. xaramlera:, but the sense is ‘ but, no matter what revenue we have, the jury-courts always get it for themselves (and will continue to do so).’ Dionysus is naturally interested in the @ewpixdy, 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 djuos. Of. in general Hg. 1350 ef co dvo Aeyolrnv prrope, | 6 pev roetcOar vats pwaxpds, 6 5° Erepos ab | KaTau.cbopopjoa. Told’, 6 Tov pucbdv byw | Tov Tas TpLHpers mapadpauwv dy wxero.
1468. aipfoowa: «,t.A, The line (which is parenthetic and
1469-1491 NOTES 259
is lingered over in order to prolong the suspense of Euripides) is tragic i in metre and expression (in the use of Wuxi and of GéAe.=BovAerar). With Oédrev supply aipetoOae,
1469. ods dpooas. 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. ® piapotar’ avOpemmev: 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) @ daimdve’ avOpwruwv Idcedov.
1475. tl 8 aloxpdv «.t.A. Once more Eur. is hoist with his own petard. In the Aeolus he has the line ri 8 aicxpédv, qv un rotor xpwuévas Soxn; 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 aicxpdv 76 vy’ alcx pdr, Kav doxn Kav wh Sox. In humorously substituting tots Sewpévors the actor looks for the émonyacia which will show how the audience takes this verdict in favour of Aeschylus.
1477. tls ofSev «.7.A.: from the Phrixus. See 1082 n.
1478. rd mvetvy S€ Seurvetv. The jingle and alliteration ‘point the sarcasm. He means that such talk is Nfpos. It gives no practical satisfaction. ‘You might as well say that ‘breathing ’s breakfast and lying down is eider-down.””’
1479. xwpetre: i.e. you and Aeschylus. Cf. Vesp. 975 16 dvTtBorG oa’, oixripar’ avrév, ® warep, | kal uh SiaPelpyre.
1480. tva Eeviorw. They are to be wished bon voyage with a ‘send-off’ dinner. But Aristoph. is also alluding to the banquet to which he assumes that he will be eri as successful with his play (297 n.).
1481. od yap &xPopar ro Tpaypare, 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. TH éoTiaoae (rather égridigGat).
1482. dvfp: not avjp (Aeschylus), but in general. 1484. modXotow: by many signs and tokens. 1485. Soxyoas, ‘having been considered.’
1491 sq. xapuev, ‘a proper thing.’
260 THE FROGS OF ARISTOPHANES 1491—1504
pi} Bokpare «,7.A. 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 physicti 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.).
tmapakadhwevov. The Socratic group regularly seated itself round him. Cf. Plat. Theaet. 169 B od fddiov, & Dwxpares, col Tapakabnuevov uy Ovddvar Adyov.
1493 sq. adroBaddvra povoiny «.T.r., ‘rejecting cultured taste and neglecting the most important elements of the tragic art.’ jovotxy here includes both ‘music’ and ‘literary sadn 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. oepvotow: in the unfavourable sense of ‘ pretentious’ ; ef. 178.
1497. ckapipynopotor, lit. ‘hen-scratchings.’ Hesych. tells us that diacxapipijoat is properly used émi dpvéwy ray Trois dvvse oKadevdvTwY THY vv.
1498. apyov. It would be very awkward to make this masc. with the subject of moe?cOa. SvarpiByv mocicbar is not here simply the ordinary resolved form of diarpiBew, since diarpiBiv 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 has played Euripides.] The anapaestic measure implies a kind of procession (1525), with which the play ends.
1501. tiv twerépav. Athens is naturally to be considered the favourite city of the gods (iepwrdrys Hg. 582), including Pluto. The Athenians dyovow éopras durdaciovs } of Gddox ([Xen.] Rep. Ath. 3. 8). But, as the schol. points out, Attica is the special country of Kore (= Persephone, wife of Pluto).
1504. Sos routl «.7.A. 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 tovtl, or Archenomus in téSe. In regard to the second gilt the reading is uncertain. If rovri is right, it would naturally be the xdéveorv, since it has to be divided. Bergk’s Tovtovel cures the paroemiac verse (which comes in rather strangely) and, if we understand rov’s Bpdxous, the presentation of a number of halters would make an effective little picture on the stage.
1505. roto. mopiorats : little is known of this board (dpx7%). It appears to have been a kind of expert committee which suggested ways and means, probably in times of special emergency (Dict. Ant. in voc.).
1506. Mippyxe «.t.A.: these are not the ropioral, other- wise 6p00 would not have been added. Nicomachus is apparently the subject of Lysias’ Orat. xxx. Myrmex and Archenomus are unknown.
1511. orifas: as if runaway slaves (dpaméra:), who were usually so punished (Av. 750 Spamérys éorvypuévos). It is thus hinted that at least some of them are not genuine citizens ; cf. 678 sqq. n. ;
1513. per “Adeusdvrov «.t.A.: 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 Aevxododldov, as it will not of Zogoxdéer (1516), but, since it was not essential to introduce the father’s name, we may assume that AevKoAddov is a humorous substitution. ‘ Adei- mantus of the white crest’ is Ad. the general, who makes a display of his Adgos (cf. 1016, with 925).
1516. DodoxAd?: see 76 n., 1513.
1517. qv dp . . adikwpat, ‘in case I ever come back.’ In agixvetoOar the sense is often ‘come home’ (cf. dmodsddvat, amohkauBavev, etc.).
1523. pnd’ dxov, ‘not even by accident’; ef. Aeschin. 2.) 153 d&vOpwrros ‘rovnpds, ds 005 av dkwv adnOes ovdév eizrot.
1524 sq. datvere . . Aapmddas: the mystae have their torches (313, 340), and are now to form a procession escorting the departing Aeschylus. To ‘show a light’ is good Greek ; whence also (omitting the noun) gaivew= ‘give a light’; ef. Theoe. 2. 11 add, Derdva, patve xandv.
262 THE FROGS OF ARISTOPHANES 1526—1532
1526. toio.y tovtov Tottov: the repeated pronoun is em- phatie, 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. mayXY, és dos dpvupéva).
1530. dyaSds érwolas: ie. through the advice of Aeschylus (1419 sq.). There is a reminiscence of Aesch. Hum. 1013 ein 5 ayabdv | dya0h didvova modlras. There is, indeed, here a general suggestion of the close of that play, with its mporoumrot and their torches (ibid. 1006).
1532 sq. apyadéwv . . Evvddov: instead of the pleasant and profitable Evvoda of peace. dpyadéos is used ‘specially of the litigious temper’ (Neil on Zq. 978).
Krcopdv 8 paxéoOw «.7.A.: ie. 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 about after Arginusae threatening dmoxédpev paxalpa rov tpdxnrov el Tus elpyyns pv noOncerat.
routTwv: not ‘of these spectators,’ which would rather require rovrwv! (cf. 954), but ‘of that set,’ ‘those fellows’ contemptuously.
INDICES TO NOTES
IL—GREEK
a- (three privatives) 204
a- (oxymoron) 1334
dye (senses) 159
aryKkddae (kupdrwv) 704
dyptotrovbs 837
aywricua 283
del mws 414
aerds, aierds 929
anddévios (véuos) 683
advpwrov (ardua) 838
aidépa Ards dwudriov 100
Al@yp (as divinity) 892
aiviyudos 70
aipew (= pépe) 518 (‘extol’) 378
airiav éxdeivar 691
alrovevos 699
dxavOav (riv . . &eXe) 658
ak (‘best effort’) 1353
axovev )( kAvew 1172
dxpa ioria 999
dxwy (und? —) 1523
adivdnors, addivdjOpa 903 sqq.
adkvdves 1309
aN’ 7 (ovdév . .) 928 dos (idiom) 1164
adr’ ody . . (ye) 1298 &édws (‘in any case’) 1115 ddoxos 1050
aunxavos (pass.) 1429
aul (‘in honour of’) 215
dudiraros 678
dv (repeated) 581 (iterative) 911 (omitted with opt.) 574 (position) 96 (with rel.) 258
dvaB.olny 177 (crit. note)
dvaryvavar 557
avadépe 1106
avakvrrew 1068
dvaueoTow 1084
avavedgeav 591
avdmavva 113
avacrav 903
avagopov 8
avipa@y yuvarxev 157
aveNiacecO0ar 827
avnuwBoriata 554
avinp monrhs, etc. 1008, 1030
avOocpias 1150
avremippnua 674
avr (wrpérepos —) 76
divov EvNov 736
amavd (with infin.) 369
amepthkdAnTos 839
dmirra (passive) 1446
amd )( bard 762
amd (resources) 121, 1200
| aro- (compounds) 1227 admodeikvupe (éme-) 1249 | ard kddw 121
263
264 THE FROGS OF
AmrodXov 659
amé\\um (*bore to death’) 1245
amrouaTrrecbar 1040
amomplacba. 1227
amdppnta 362
amogoBetv 45
amoomay (intrans.) 962
apéoxew (accus.) 103
"Apns, dpns 1021
dpva wéhava 847
doadapmivios 204
doxwua 364
doretov 5
d&riuuos 692
avAnTpls 513
avrds 154
avrd (vague reference) 1025, 1466
atrd dpav (‘do so’) 584 avToxomos 822
avréy (resumptive) 764 avrés (‘ master’) 23, 520 alr@ (T@) Kodé 226 adatpety 518
adixvetobar 1517 "Adpodirn (‘charm’) 1045
-Ba (kardBa, etc.) 35 Badavets 708
Baddavriorduos 772
Bdpabpov 574
Bapéws (senses of . .) 25 sqq. Bapos 941
Bacavifew 616
BiBrla- 943, 1114
BAGBos 1151
Brérew (dpiyavov) 608
Bdevos 924
BdpBopos (in Hades) 145
Bov- 924
BovAouat (és TO Badavetov) 1279 Bpexexexé&é 209
Bpvew (gen.) 329
Bwpordxos 358
yap (position) 340
ARISTOPHANES
yaornp (whipped) 663
ve (force of) 3, 964, 1052 (in question) 936 (women’s emphasis) 559
yedav éri rive )( Te 2
yéXovos (accent) 6
yérdwv, yédwra 45
yevvatos (‘prime’) 97, 379
yevvalws 379
yevouar (metaph.) 462
yepupiopuos 375, 416
yAdoou (6uwpoxe) 101
yaa (of poets) 877, 1059
yvamorvtos 877
yovimos (rronrns) 96
ypagpewv 938
yputateros 929
ywviacudos 956
darmovie ( —) 175 ddtos 1022
ddkvew (éauvrdv) 43 detva (6 —) 918
dewa treicouat 253
dewa mroveivy, movetobar 1093 delfe. (impers.) 1261 de&iés, SeEvdrys 71, 1009 54 345
57 (=dén) 265 SnuotlOnkos 1085
Onra (kai —) 52 -
du’ ayopas 320 dtadpacirorirns 1014 dlarra 114
dudwerpos 801
dat piBH 1498
diddoxew (dpaua) 1026 Avds KépivOos 438
Atés duBpos 246 diwBedia 141 doxety (‘ pretend’) 564 dox@ déewv, dyew 1421 dpav ard (‘do so’) 584 divams (‘eloquence’) 879 60’ 6Borw 140
dvoTokety 1423
GREEK
-€a4 -€a 863
édv (‘to see if’) 175, 339, 644
éBovdounv (without dv) 866
éyxadvmrew 911
éyxarakpover 336
ever bau émt Tt 682
ef (=6rc) 1007
-e. -y (2nd pers.) 80 (crit. neter
462 (crit. note)
-eva (trilogies in —) 1124
elececetNiooew 1314
eiév 607
eixy )( padiws 733
eikoaToNbyos 363
eixwv (lifeless) 537 (‘ghost’) 1028 (‘comparison ’) 906
eihw, tAAw 1066
eiut (with particip.) 35 sqq.
eivat (omitted ?) 278
eivexa, 189 (crit. note)
elodyew )( maparyey 959
eigaipew (rpdmegvav) 518
eira (indignantis) 21, 76 (force of) 367 pera TovTo 1026
éx (movnpos Kak trovnpav) 731
‘Exataia 366
éxBddXev (words) 595
exypagerOar 148
éxet (Hades) 82
éxeivos (ovK —) 788
éxxaldexa 551 .
exrnviverbar 578
éxTiOévar aitiav 691
éxTos Tav éNady 995
€xtpotai 113
€hadwy (éxrds —) 995
“EdAds (“EAAnviKy) 1284
éuBarrAev (Kwmats) 208
éuBarjpia 372
éuedXov dpa 268
éEupéreca 896
eutrecwv 945
"Eutrovea 293
evddrer Oar (OUpa) 39
INDEX 265 évexa, eivexa 189 (crit. note) év0dde (on earth) 82 éviaurés )( éros 348 évddo 196 évoxevasw )( oxevagw 523 €& dpxis madi 591 cEnypounv (kar’ éywy’ . .) é&w Tov Adyou 1179 éeragpavalvoua 1089 érretvac (attributes) 1045 érn (‘senses’) 358 )( wédn 862 émt (with accus.) 675 (igew él rt) 198, 682 Tovrov )( émi rovrov 1305 Tour’ €pxerat 168 émiBaivew (xopev) 675 émiBarevew 48 émiBpéwerar 680 émdeixvup )( amro- 1249 émidety )( mepideto@ar 1038 émikabjoba 1046 émutde 197 érippnua 674 sqq. émiTpiBew 1018 émipurrtdes 92 émomrevew 745 émraBdeos 1017 Errapov (rds ovK . .;) 647 "Enr’ éri O7Bas 1021 ervAdia 939 sqq., 942 épayv (on part of women) 1044 épya (in battle) 819 épiBpeuéerns 814 éprovvios 1144 Epis 957 éppey 1192 épxecbar eri TovTo 168 éoBoral 956 és képaxas (position) 607 éore wepi Tivos 1028 éoTparevpévos 1113 Erepar )( dAAae 515 érvos 71 evdarmovoins 1417 evdus (‘for instance’) 743
51
266 THE FROGS OF ed 010’ dru 601
ed mpaTTwy Tolxos 537 evpnueiv 354
Epedpos 792
€pu 1247
éxew (of tutelary deity) 661 "Exedva 473
Exouar wéoos 467
éxov (€oriv —) 1161
exphv )( xph 568
éxw ws. . (fut.) 1249
exw ppovTifwy 1252
éxwv (prvapeis) . .) 202
cHv (od Shy 7d ¢.) 1082
# (‘ hulloa’) 271 H pny (ye) 104
-y -et (2nd pers.) 30 (crit. note),
462 (crit. note) Hut 37 Hv, édv (‘to see if’) 339, 644 “Hpakderoéav bias 499 hpws (Lamachus) 1039 -now (loc. dat.) 1212 (crit. note) -yTo (opt.) 919
Garrov (=Taxéws) 94 bed 382 : dédw (infin. omitted) 1468 fC €0€X\w 533 Oyrye dddvTa 815 Qacwrns 327 Opiov 134 Oveia 124 OvAdKtov 1202 sqq. Ovpay (kpove, etc.) 37 Avpoos 1211 Ovpwpds (manners of . .) 38 iaxxaywyds 340 "Taxxetov 316, 324 taxxos, "laxxos 316 -.av (verbs) 494 -las (adj.) 494 lavot 1028
ARISTOPHANES
lduwrys 458, 891
iepevs Acovicov 297, 308 iepds dvOpwros 652
igew éml re 198
0’ Hep Epxer 301 ixeredw (expletive) 745 thAw, ethw 1066 imovioarpddpos 1297 immadexTpuwy 932 tmméas op 654
immc- (compounds) 929, 932 immoBapev 821 immoxpnuvos 929 irmédogos 818
ioat (orrovdal) 685 sqq. istémovos, iorérovos 1315 ioxvaivw 941
ixOds (of —) 1068
kdOnua (augment) 778 Kabiro (opt. )} 919 Kal? iepow duvivar 102 kat (force of) 166, 935, 1210, 1393. (omitted) 157, 857, 861 (confused with cara) 1202 kat 64 604, 1018 kal djra (resumptive) 52 kal ujv 106, 285 kal radra 67, 704 kai. . Te 1009 kddaos (in lyre) 229 sq. (pan- pipe) 230. kadelv te (‘call for’) 1073 KdAdor’, éraw@ 507 Kad@s (refusal) 507 Kav et . . 585 Kkavwv 799 Kapixa avrAjpara 1302 kara (‘like’) 1202 (confused with xat) 1202 karaBa 35 KaTa “yatar, note)
yatas 1529 (crit.
| katadwpodoxetc bat 361
karakeNeve 209
GREEK
katacyxeiv (of ships) 1208 KaTepeckTos, kaTepixtds 505 Kkareppuvnuévos 901 KkarépxerOar 1165 KkarecTwuvrApevos 1160 kaTtpruy 566 Kedavogans 1331 kéXevya (Ships) 180 Kevravptxas 38 Kepaperxai wdnyai 1094 KepBépioe 187
kepkls docdds 1316 KepoBarns 230
Kkepddatov phua 854 Kexnvws 990
Kngicopar 944 Kiuwrla v7 713 kAavoeTat (ov . . 5) 1209 kNérrev (without obj.) 611 -KAfjs, -KAéns 76
kAtuaé (torture) 618 krvewv )( axovery 1172 kvedatos 1850 KoOopvos 47
Kkoxkv fev 1880
KoANaBos 507
Kkoupa 726, 890 Koutrogakenoppynuay 839 kovia 710 sq.
Komrew, €xkomrew 573 Képes 115
KépivOos (Ards —) 438 Kpéd 553
Kpew@v (rept rav . .) 191 Kpyrixh povmdia 849 Kpoxwrdév 46
kpoupva (and. immfs) 654 Kpovewv (Ovpav) 37 Kpouvov agrévar 1005 kvavéuBoros 1318
KUBos 1400
kuxnotreppos 710 sqq. KUKMLos Xopds 366
KUKNos (=7repiBodos) 440 kuv\lwdew, kudwwdeiv 536 kupewy 1291
INDEX 267
ktwy (friend) 472, 1286, 1291 (watchdog) 465
K@ddaprov 1202 sqq.
Kkwdwvifew 79
ee 968
kwkvew péya 34
k@os (dice) 970
Kkwriov 269
Kkwoa mpdowma 830 sqq.
AdOpa, AdOpa 746 (crit. note)
Nakety 97
AauBdvw (‘catch’) 251 (‘buy ’) 1236
Aapmds 129, 131
Aaol 219
Aéyev AvxaByrrovs 1056
Nec Bidgew 13808
Aeukos dvOpwiros 1092
AnOns mediov 186
Ankv@.ov 1202 sqq.
Ajua 463
Anmatiav 494
Anuatias 494
Ajpos €ore mpos .
AiBavwrds 871
AlOos (Avaivov) 194
Aiuvas 217
Nirpov 710 sq.
Néyos (‘ plea’) 832
Aovrrod (Tod), Novo (7d) 586
Adgos 925
Avew (* pay’) 691
AwtroduTns 716
. 809
~ya (e.g. AdAnua) 92 - pa Tov 1374 Mayvns 965 padnrhs (of poets) 964
| mawwls 985
pakapwv evwxia 85
baKxpa (AwKvev) 34
pada (with repetitions) 369 bGAXOov waddXov 1001 Mappdxvéos 990
Mavis, udvns 965
268 THE FROGS OF
Mavia 1344
papTrvpouatl Te 528
pmédw 665
pecarywyev (and accus.) 798
eOinus (and med.) 830
MeNavoxdpd.os 470
peAavovekveluwv 1336
wérAn )( rn 862, 1248
MeAynrida 991
Medooovouoe 1273
éAXNev (EuedrAov dpa) 268
pev . . kal (2) 404
pév (solitarium) 533, 952, 1028, 1184
(in rovroupevl) 965 peévrou (affirmative) 166 péoos éxouar 467 pérotkos (and patron) 569 uh (with ws and gen. abs.) 128 (=ph ov) 42 (position) 639, 1416 bh adrd 103 povov (frequent omission) 1401 povmdla 849, 1330 ov, gov, etc. (position) 485 ovoetiov 93 fovotky 1493 puKTHpes 893 pbpava 475 puppivwy (in Aades) 156 pwprov 329 pvorhpia (dvos dyer) 159 porns (adj.) 370
vexpot (stupid) 420 vonoa, wonta 673 vouot (of harp) 1282 vouvfecia (poetic) 1009 vous (‘meaning’) 47 Nvonuos 215
mavOtdsrov 582 Eov0ds 9382
Evdov (of office) 717 EvNov dévov 736
ARISTOPHANES
6Borw (Tw dv’ . .) 140 sq.
66e (without art.) 873
0 detva 918
dddvTa Oyryew 815
bfec Tivds 338
d0ev (=a ov) 1040
oldd Tia 836
oid’ dre 601
olxiay oixety 105, 976
oice 481
duvupe Kad?’ iepov 10%
‘Oubyvios Leds 750
‘Onouacriylas Zevs 756
évos dyer wvoTHpia 159
“Ovov méxas 186
d&vs (of light) 1362
da 180
érws (with fut., pure final)
1120
drrws dv 872
dpyta 356
’Opéoreva 1124
6p9o0émreva 1181
6p06s (with inf.) 706
éplyavov Brérewv 603
Opuadds wedhav 914
dpuay (construction) 478
épxnorpls 513
doris )( bs 168, 706 (=6orts dn Hr) 39
doTpaxa 1305
drav (condensed use) 1446, 1463
dre (causal) 1189
bru )( dre 20
5 ru (repeated quest.) 198
dre (redundant) 601
bre (€£eXeyxecOa . .) 741
ov yap adda 58, 192, 498 BH (prvaphoers) 202 Tax’ GAN’ Hon 527
ov évexa (brachyl.) 108 sqq.
ovdé TouTi (deictic) 913
ovdev GA’ 4 227
ovdév €or’ 4 227
ovdev €orat mpayma 1215
ovdev toeiy 662
GREEK
ovdév mpdrrew 1414 obv (force of) 431 (in tmesis) 1047
otvexa 189 (crit. note)
ovpdviov dcov 781
obros (contempt) 9, 17, 707, 724, 1533
otrw (‘just’) 625
dpbarhmay 192
oppts 925
éxety (‘give a lift’) 23
maifew (minstrelsy) 230 mddatcua (metaph.) 689 wad €& apxjs 591 wade (intrans.) 1317 mavooxevTpia 114, 549 mavvuxlvev tii 445 ravr ayabd 302 mapaBarov 180 mapayew )( elodyev 959 mapakekivduvevpéevos 99 IIdpado. 1070 mapacévia 819 TapaTéracpua 938 Tapatpicua 881 tmapacknviov 170 Tmapaxopyynua 170 Taperiypapy 1264 mapidety 815 Tlapvacods 1057 mapotvia 1301 matp@a 1138 sqq. mave, mavoat 122 méutrew (roumnjv) 1037 métovd Tt 718 mepaive 1170 wept (with gen., acc.) 809 Twos éote 1028 TaV Kpe@v Tpéxew 191 mepidetobat )( émidety 1038 mepldpomos 472 mepiepxerOar (of sound) 154 mepurdduevos 1066 mepitaros 939, 942, 953 mepirem\evKws (metaph.) 535
INDEX 269
mwepiminrew 969
wépuka €o Orbs, €gOADs 1218
anviov 578
méfouat (stock jest) 3
wiOnxos 707
mimrrew (dice) 970
mtd (passive) 1446
Ilirvoxdumrns 966
Il\adavyn 549
IIXararjs 694
mraTeta (xetpes) 1096
whetv (7) oradlw Aadlorepa) 91
wrevpwv 474 (crit. note)
TANYHY Tapa wrAnyHv 643
wrivOous émitiBévat 621
mveiv Odpv 1016
mvevooual, mvevoovmat 1221
Tonoa, vojoar 673
miBev ; 1455
movetv (omitted) 1047 (combined senses) 14 (without obj., uy moons) 16 (and zroety) 13 (crit. note) (ovdev . .) 662 )( moveto Bar (ded . .) 1098 )( movetoOar (xplow) 779, 785 )( moveto Oar (cmrovdjy) 522 TovTo (id agere) 358
motos ; 529
TOANG Tparrew 228
moddXov (‘ very’) 1046
toAvppodos 448
tmoduTlunros 851
movnpds (‘mean’) 710 (‘wretched ’) 852
mévos (and gods) 401
mopioratl 1506
Tov oxhow ; (and mot) 188
tovs xpdvov 100
Tpayua (ovdev Eorar . (=causa) 759
») 1215
‘| wpaxrwp (fem.) 1289
mpdgov (as whip) 621 mpecBurepos (figurative) 18 mptvos (burnt) 859 mpoaywybs 1079
270 THE FROGS OF
mpbdorvos 1119 mpos (=mpogért) 611
(‘to’ accompaniment) 1307 mpos dé 697 mpookanretabar 578 mpocopethew 1133 mpoorarns 569 mpooxnua 913 mporepos (‘superior’) 76 mpvTavis 1286 apwy 665 mpara (Td . mpwtd@ 369 mupyos (uWyrds) 180 Tupyow (pjuwara) 1004 mupplas 730 muppixn 150
.) 421
padiws )( exp 733 phua 97, 821 pyTtwp 367
pdda 448
pugew 683
pvupa 710 sqq. pummamat 1073
cadmriyyooyxXuTnvdadar 966 capkacmomiTvokdumrat 966 ceuvds 1496
onuetov (ships) 933
o.cvpa 1459
cirnots (év mpuravelw) 764 oxapipnopudos 1497 okevagew, évoxevagery 523 oKevnpopety Te 12
oxdda 1302
oxdpoda 555
copiat 676
gopés (poet) 1154
omelpew Ndyov 1206 omovdny toveiv, movetc Oat 522 oTadlw (AaXlorepa) 91 Xrdpuvios Levs 22
ordo.s weNov 1281
origew 1511 oTwuvrtogv\NeKTaOns 841
ARISTOPHANES
oTrmpvrAwa 92
adxa (warts) 1247 oupBatvew tiv 807 cuptapavety 687 ovmmrukta 799 cvuugopd 699, 1164 ovv Toto Beots 1199 ovvTrvyxavev (omens) 196 codpuyé 230 gvoKkedavyivar 904 oxivdddapmos 819 Lwretpa 379
Taiviovcbar 392 Taddav 559 Tddapos 560 Taprynccia pvpawa 475 Taupopayos 357 ! Tre (position) 1009, 1070 TecOpdova 477 TereoOfvas (accus,) 357 TereTal 368, 1032 tépa (=répara) 1342 Terpadmnxus 1014 TeTpyupevyn 123 TeuTAla NevKd 942 Thuepov (in threats) 577 ri (‘what is meant by ?’) 649 rl yap . . ov (imperf.) 33 Ti. . o8 635 tiva ; (repeated quest.) 120 ris (with superl.) 291
(‘all and sundry ’) 628
(allusive, in threats) 552 rotos 470 rotxos (of ship) 537 TO UN =WoTE L7H) 68 76 Th; 7 TO xpjua Tov . . 1278 Tov wrelw xpdvov 160 Totéérat 608 ropws 1101 Tod Novrod, Td Notrrév 586 TouTi Ti Hv; 39 rovro (matter in hand) 168, 358 rovro yap Ta Kal. . 73
GREEK
Tour’ éxeivo 318, 13842 TovTouuevi 965
Tpayéhagos 937
Tpaynuara 510 Tpecxatdexa 50 (crit. note) Tpéxew Tov wept. . 191 Tpia (Ta eis Pdvarov) 121, 1504 Tpinpapxetv 1065 TpinpavrAns 209
TuLBwptxyos 1149
Tumrew (absolute) 610 Tupomwnety (accus.) 1369 Tudws 848
-Twp (fem.) 1289
Vdwp 1339
bmdyew (THs 6000) 174 brddew 366
jiro- (compounds) 366 vroypauparevs 1084 UroNvptos 229 sqq. vrdpxnua 849 vrwpdgios 1314 voTpixls 619
vdlecbat 1220
galve Naumrdda 1524 gappakds 621, 733 papvé 258 (crit. note) Peppéparra 671
pnt (‘admit’) 1012 iravros (deApis) 1317 pirdtimos 678 pratrd0par 1285 ppdrepas pica 418 pparepes, ppdropes 418 ppevoréxruv 820
gphv (in comedy) 534 pplocew (accus.) 822 pioa ppdrepas 418
INDEX 271 gupav 1363
pos (in Hades) 155
pwrds )( dvdpds 820
xatpe 164
xarives 827
xavddvew 258
xapires 335
xedcdwv (inarticulate) 93
xX dvi0s “Epufjs 1126 sqq.
xtos (dice) 970
xAatva 1459
Xdes 217
XOAH éote 4
xopeia 247, 1303
xopevew (accus.) 356
xopevral (appetite) 377
xopov AauwBavew 94
xopés (meanings of) 675 (k¥KXLos) 366
xp, det (confused) 1008 (crit.
note)
xpnords, xphoda 735
xpovou trovs 100
Xpvoot Beol 483
xuTpigew 1190
Xvrpo. 217
xXwpet 7d kaxdv 1018
Wevddrxrpos 710 sq. Wiados 567 Wogos (Avpas) 604
® daiudvie 175
dv (with particip.) 721
wor 180
wpatos (lacchus) 394
ws (=dore) 1110 (=6rrws, in éyw ws . .) 1249 (gen. abs., with u7) 128
womep (cases after) 303
Il.—ENGLISH
Accent (yéXovov) 6 Accusative (of respect) 294, 822 (continued and cogn.) 12, 247, 336, 356, 357, 478, 643, 748 (of destination) 1208 (adverbial (with papripomou etc.)) 528, 703, 833, 896 (with dpécxev) 103 (with iew ért) 198 (with ruporwrety) 1369 (with wecaywyetv) 798 Acheron 137 Actors (pronunciation) 303 Adeimantes 1513 Adjective (as adverb (xvegaios)) 1350 (proleptic (d:ddcKev)) 1019, 701
(with wéguxa) 1218 (predicative (with émixaé- joba)) 1046 Ad sensum construction 587 sq., 698, 710, 918, 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
272
Aeschylus (dyptorods) 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 ov) 1047 (gnomic) 229, 1247 (iterative with dv) 911 Apposition (Barpdxwy kixvwv) 209
Archidemus 417 Arginusae 49, 191 Article (absent) 373, 691 (exclam. infin.) 530 (with ri) 7
(with nom.,=voc.) 40 (force of) 67, 160, 1263
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) 1501 Atimia 692 Attraction (gender of demonst.) 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 (UBpis) 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 7138 Cinesias 150, 366, 1438 Citizenship (widening) 701 Cleigenes 708 Cleisthenes 48 Cleitophon 967 Cleocritus 1438 Cleon 569
Cleophon 674 sqq., 15382 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 (67) 265
Cratinus 357
Cretic monodies 849, 1330
Cycnus 963
Dative (circumstantial) 226 (commodi) 386, 1134, 1229 (of honour) 445, 1818 (émiBarevew til) 48 (locat. for accus. respect.) 355
Death (three ways) 121
Deictic (pronoun) 189, 913
Diagoras 320
Dialectics (travestied) 25-30
Dice (in tragedy) 1400 (metaph.) 970
Diminutives 269 (quantity in) 582
shake (and dramatic poets)
1
(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 Drearfis (and purgation) 1339 Dual (fem. partic.) 566
Echidna 473
Education 729
Egyptians (4x0opdpor) 1406 Tr
274 THE FROGS OF
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
(wrwxotods) 842
(xwAomotds) 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 (ery of) 209 Future (indic. final with dws) 1120 (indic. and aor. subjunct. in questions) 310 (‘ Doric’ form) 1221 (=édXevs c. infin.) 13, 1460
Garlic 555
Genitive (double) 1181 (of comparison) 1061 (absol.) 1110 (partitive Yéyev, etc.) 1129 (partitive rod Norod) 586 Sede ppage Tav ddor)
11
(partitive drdyew ris 6000) 174
(with mate) 580
ARISTOPHANES
Genetive (with dfe) 338 Gnomic aorist 229
Gods (dzrovor) 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. (’"Eprodvios) 1144
Hipponax 661
Hyperbolus 570
Iacchus 316 (wpatos) 394 Infinitive (and accus., prayer) 387, 887, 894 (exclam.) 580, 741 (as imperat.) 182, 169 (after 6p6ds) 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 Iophon 73
Jingles 463
Knights (and onions) 654 Kore (Soteira) 379
Lamachus 1039 Lethe 186 Light (in Hades) 155
ENGLISH INDEX
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 Noun omitte - 1096 Nysa 215
endens 1438 191, 685, 693,
Oaths 101
Obol (Charon’s) 140 Obols (the two —) 141 Oedipus (name) 1192 Omens (€véd:0r) 196
275
Omission (ud rév) 1374 (of noun) 191, 685, 693, 1096 (of verb) 491, 498, 747, 841, 1047, 1279, 1407, 1462 (of antecedent) 710 (of dv) 574 (of kat) 857, 861 (of elvac) 1019 Optative (after primary tense)
(‘assimilated ’) 97 (tenses in frequentative) 923 (of kdOnuac ete.) 919 (pass. aor. 3rd plur.) 1451 Orestea 1124 Orpheus 1032 Oxymoron 344
Palamedes 1443
Pan (cipryé) 230
Pantacles 1036
Parabasis 674 sqq.
Paralus 1070
Parnassus 1057
Participle (several combined)
392
(pass. perf. with dv) 721 (with efi) 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 (kwvera) 1050 (verb with voc. sing.) 1479
Poets (as teachers) 1419 (function) 1009
276 THE FROGS OF Poets (and yv@uat) 877 Police 608 Preposition (repeated after compound verb) 939, 962, 1018 (understood with first noun) 1403 Present (prophetic) 651 (infin. with doxé) 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) 2 Repetition (of words in tragedy) 759, 1353 sqq. (of interrog. pronoun) 1424, 198
Sacrifice (aywvoérns) 871 (to nether powers) 847 Sails (metaph.) 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
ARISTOPHANES
Soap (Greek) 710 sqq. Socrates 1491 Songs (of occupations) 1296 sq. Sophocles (character) 82
(and Iophon) 73 Stammering 83 Stheneboea 1043 Storm-winds (= Giants) B24 Styx 470 Swallow (inarticulate) 93, 681 Synizesis 76, 863 Syzygy (Parabasis) 674
Taenarum 187 Tautology (alleged) 1172, 1185 Terpander 1282, 1299 Thanks (formulae) 507 sabes (number of audience) 677 (seats of priests) 297 (stone in) 194 Theramenes 541, 968 sqq. Theseus and Hades 142 Thracian swallow 681 Thrice addressing 87, 184, 369, 1175 Tmesis 1047 Torch-race 129, 131 Torture (slaves) 616 Tribrach (6th foot) 1203 Typhos 848
Wrestling (metaph.) 689, 775, 875 sqq. (skill required) 875, 899 Xenocles 86
Zeus (titles of) 750
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