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THE PUBLIC SCHOOL SERIES 





LAE PUGS Or. AnRISTOPAANES 


GEORGE BELL & SONS 


LONDON : YORK STREET, COVENT GARDEN 
NEW YORK: 66, FIFTH AVENUE, AND 
BOMBAY: 53, ESPLANADE ROAD 
CAMBRIDGE: DEIGHTON, BELL & CO. 


THE 


Follies 


ARISTOPHANES _ 
| eee wee aes 


EDITED. , . 
WITH INTRODUCTION AND NOTES 


BY 


M. T. QUINN, M.A. 


PRINCIPAL, PACHAIYAPPA’S COLLEGE, MADRAS ; FELLOW AND LATE 
EXAMINER, UNIVERSITY OF MADRAS ; 
SOMETIME LATIN EXHIBITIONER AND SENIOR 
CLASSIC, UNIVERSITY OF LONDON 





LONDON 
GEORGE BELL AND SONS 
: 1896 


CONTENTS: 


PAGE 
PREFACE . f : ‘ : : ‘ : 5 I 
INTRODUCTION 3 : : : : , 3 
THREE PERIODS OF ATTIC COMEDY . : : ; 19 
GREEK THEATRES . : : 20 
THE PLUTUS: . : : : ‘ : : : , 23 
NOTES : ; : ; ; 61 
INDEX TO NOTES . : : : no. $109 


$30239 


Digitized by the Internet Archive 
in 2007 with funding from 
Microsoft Corporation 


https://archive.org/details/plutusplOOarisrich 


PREFACE. 


THE present is an expurgated edition of the “ Plutus” 
of Aristophanes, based on the text of Bergk, and 
designed to meet the wants of public schools, and of 
private students preparing for University and other 
examinations. The different readings in disputed 
lines, together with their various interpretations, are 
fully discussed in the Notes. 
I oes eB 


LONDON, 
March, 1896. 


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Ir is strange that we should be so singu- 
larly ill-informed about the personal history 
of the greatest comic poet of Greece. Two 
Greek biographies—one by Thomas Magister, 
the other anonymous—a notice by Suidas, a short con- 
temporary sketch in Plato’s Symposiwm, and such scraps 
of information as we can gather from his own plays, supply 
the materials for the Life of Aristophanés, and still leave 
us in doubt as to the time and place of his birth and death. 
Athens was probably his birthplace, although his father 
Philippos had property in Adgina. His Attic citizenship 
is shown indirectly, for when at a later time Kledn, then 
the foremost man at Athens, was smarting under the 
comic lash, he prosecuted the poet on a ypady Eevias as 
being a foreigner exercising civic rights, but even Kledn 
could not procure a conviction. Again, his first play, the 
Aatadjs (Banqueters), came out in 427 B.c., when he must 
have been a young man. Thus his birth would probably 
fall between 450 and 4448.0. Plato pictures him as an 
easy-going, pleasure-loving, gay young aristocrat, mixing 
in the most fashionable society of his time, and always 
expected to turn everything into ridicule. Happily, we 
know a good deal about his writings. In the fourth year 
of the Peloponnesian War his Aaradjs received the 
second prize. It was aimed at recent innovations, especially 
the teachings of the Sophists, and praised the simplicity 
of the old conservative education. Next year (426 B.c.) 
appeared his Babylonians, in which he satirised Kleén so 
mercilessly in presence of envoys with tribute from the 
subject cities, that the indignant demagogue prosecuted 
him on the ypady evias mentioned above. Of these two 


The Author. 


4, ARISTOPHANES’ PLUTUS. 


plays we have only fragments. The fact of his prosecution 
is mentioned in the Acharnians (425 B.c.), the first of the 
extant plays...This play obtained the first prize. It 
compares tke hardsbips of war with the happiness of 
peace, and concludes by Lamachos, the swashbuckler 
general, being led in wounded, while Dikaiopolis, the 
advocate of peace, enters under the mellow influence of 
Bacchos. The object of the play was to expose the folly 
of the war, and to support the aristocratic peace party 
against the Jingoism of the democracy. In 424 B.c. the 
first prize was won by the Knights (‘Immjs), which was the 
first play produced by the poet in his own name. It per- 
sonifies the Athenian Démos as an easy-going, dull-witted 
old man with three slaves, Nikias, Démosthenés, and Kle6n. 
By bullying his fellow-slaves and flattering his master, 
Kleon has obtained the ascendancy, till a sausage-seller 
supplants him and gives Démos some sound advice. No 
actor could be got to take the part of Kle6n in this play, 
and Aristophanés himself had to impersonate the dema- 
gogue. Between the ultra-conservative poet and the rough 
but resolute champion of the people there could be no 
truce. It is, however, a great error to receive these cari- 
catures of Kle6n and of the democracy as faithful historical 
portraits. Grote, in his famous History, has shown how 
far they are from the truth. In 423 B.c. appeared the 
Clouds, of which the extant play is a second edition. In 
this play Sdkratés and his Phrontistérion (Thinking-shop) 
are singled out for ridicule; but his bravery at Délion 
in the previous year, and the knowledge that he was 
an honest noble-minded man, induced the Athenians to 
reject the clever but unjust caricature, and it was beaten 
by the Uvrivn (Wine-Flask) of Kratinos, and the Kévvos of 
Ameipsias. Though the caricature is so broad that we may 
acquit the poet of any hostile intention, especially when 
we remember that Plato in the Symposium introduces the 
philosopher and the poet as boon-companions, yet it is to 
be feared that some of this dramatic vilification of the 
purest of heathen philosophers stuck, and must be con- 
nected with the prosecution which twenty years later 
forced Sdkratés to drink the hemlock. But we must not 


6 


-~ 
ae 


INTRODUCTION. is 


forget that the Kévyvos of Ameipsias was on the same 
subject, and was preferred by the judges; and any censure 
that can apply to Aristophanes in this matter applies with 
just as great force to Ameipsias. In 422 B.c. appeared 
the Wasps, which is still extant. It ridicules the Dikasts, 
luckless Athenian citizens, who for three obols a day spent 
their lives as jurors in the law-courts. In the following 
year the first edition of the Peace came out, with the 
object of recommending the then expected peace of Nikias ; 

and this object was favoured by the recent death of Kleén 
and Brasidas. In 414 3B.c. Aristophanés produced two 
comedies, the Amphiaraos and the Birds, of which only the 
latter is extant. In the Birds, Ned euanontey ( Cloud- 
cuckoo-town) is a satire on the wild hopes of young Athens 
of founding a Mediterranean empire in Sicily, whither an 
expedition had sailed in the previous year. This piece is 
full of the most sparkling wit and brilliant imagination. 
The Lusistraté (Disbander of Armies) came out in 411 B.c., 
and represents all the women of Greece firm in their 
resolution to live apart from their husbands until peace 
is proclaimed. Next year appeared the Thesmophoriazousat 
(Celebrators of the Thesmophoria), containing a fierce 
onslaught on the morals of the Athenian women. The 
first edition of the Ploutos appeared in 408 B.c. The Frogs 
came out in 405 B.c., a little before the battle of Aigos 
Potamoi, when Théramenés was the foremost man at 
Athens and Alkibiadés was in exile. This play is of deep 
interest to us on account of its literary criticism. Dionusos 
goes to Hadés to find a good poet, Sophoklés and Euripidés 
having both died in the preceding year. Aischulos and 
Euripidés contend for the palm, which is finally awarded 


to the former. The Hkklesiazousat (Women’s Parliament) 


came out about 393 B.c., and is valuable for the history of 
Socialism and the theory of Woman’s Rights. These 
theories must have been long in the air at Athens before 
they found expression in Plato’s Politeia; and they are here 
satirised by making the women meet in the Assembly, 
dressed in their husbands’ clothes, and decide that for 
the future they must assume the reins of government, with 
full participation in everything. The Ploutos, as we have 


Ig 
~ and the Aiolosikén. Shortly after this the poet died (pro- 


6 ARISTOPHANES’ PLUTUS. 


it, was put on the stage in 388 B.c., and is the last of the 
eleven plays that have come down tous. The writer of 
the Greek argument to the Ploutos tells us that this was 
the last play Aristophanés exhibited in his own name, and 
that he took the opportunity afforded by it of introducing 
to the public his son Arards, who put on the stage in his 
own name the last two plays of his father, the Kékalos. 


bably about 380 B.c.), in all likelihood at Athens, the scene 
of all his triumphs and of all his glory. There are about 
730 Fragments of Aristophanes, all short and void of 
interest. We have the titles of forty-four plays (see 
Dindorf), and thirty are said to have been read by John 
Chrysostom, but Suidas only knows our eleven. 

These eleven comedies are of very high historical in- 
terest to us because they present us with such an admirable 
series of caricatures of the most prominent men of that 
day, and with numerous parodies of the great tragic poets. 
Aristophanes dealt the hardest blows to Euripidés, of 
whose greatness a strong proof is afforded by the fact 
that his popularity was able to overcome the most brilliant 
comic genius of Greece arrayed against it during the period 
of its development. The personalities in which Aristo- 
phanés indulged often descend into coarseness and inde- 
cency ; sometimes he indulges in obscenity even for its 
own sake, and makes a merit of it. This is the outcome 
of the Naturalism of Greek religion as compared with 
Christian Asceticism. Many things would be tolerated on 
the stage by Athenians of the most refined taste, that among 
us would be looked upon as shocking grossness. For such 
a public the poet catered only too well: and hence the 
occasional omissions imperatively demanded in school 
editions even of the Ploutos, the purest of his plays, by 
the standard of modern taste. The ingenuity of the poet 
in the way of mechanical artifice is seen by his making 
frogs croak choruses, pigs grunt a series of iambics, and 
by the enormous length of some of his words. Of these 
the most remarkable is one of 170 letters, at the end of 
the Hkiklésiazousai. Throughout all his plays, wherever 
politics enter, Aristophanés consistently attacks the ad- 


INTRODUCTION. vé 


vanced Republicans and works for the Conservative party in 
the State. In religion, although he was the champion of 
orthodoxy against the new physical school represented by 
Sokratés and Huripidés, yet he does not hesitate to in- 
dulge in orthodox profanity, and to present the popular 
religion in a ludicrous light when it suits him. If he 
roundly abused the people, he tells them it was for their 
own good. The judgment passed by his contemporaries 
on the great comic poet is crystallised in Plato’s pointed 
saying, that the soul of Aristophanés was a temple for the 
Graces :— 


Ai Xdpites Téwevds Tt AaBetv Orep ody) Tecetra 
Zntovoa wuxnv evpov “Apiatopdavous. 


The Ploutos was first exhibited when 
Dioklés was Archén Epénumos at Athens 
(p.c. 408); but the play which has come 
down to us, and which is presented in the 
following pages, is a later reconstruction of that earlier 
play. The difference between the two plays is probably 
very considerable. Although the work of the same poet, 
they are separated from each other by a space of twenty 
years, and belong to two different epochs in the history of 
Greek comedy. It was not till 388 B.c., when Antipatros was 
Archon, that the second edition—the play as we have it— 
appeared. The earlier play, with the usual license of the 
Old Comedy, would probably be more pointed and personal, 
and more full of political allusions than the present one, 
which has all the characteristic marks of the Middle 
Comedy. A singular fact connected with this play is that 
there were five poets in the competition, whereas in all the 
other plays that have come down to us only three are 
mentioned, who always obtain the first, second, and third 
prize according to merit. It is likely enongh that only 
one prize was offered among the five; but, whether the 
judges awarded it to Aristophanes or not, we do not know. 
The plot of both plays appears to have been the same— 
the restoration of his sight to Ploutos and the consequent 
redistribution of wealth. This we infer from the remark 
of the scholiast on line 115, that the words tavrys aaddagew 


The Play. 


# 


8 ARISTOPHANES’ PLUTUS. 


ae THs 6PGarpias belong to the first play, and that this 
line was changed in the second to tis Evppopas tadrns oe 
mavoev, Hs exes, and from an extract preserved by the 
scholiast on Ranae, 1120. 

Different theories were held about this 
play, until Ritter wrote his famous preface 
with the object of showing that the work 
before us is not the first play, nor a mixture 
of the first and second, and in which he clearly proves that 
it can be nothing but the second play. Here are a few of 
the reasons. Verses 290, 292, 296, and 298, we are told 
by the scholiast, were written to ridicule Philoxenos of 
Cythéra. This Philoxenos was a distinguished dithyrambic 
poet, who was born in 435 B.c., and died about the same 
time as Aristophanes himself (380 B.c.).. He lived at the 
court of the elder Dionusios, tyrant of Syracuse. To avenge 
an insult offered him by the tyrant, he wrote a dramatic 
piece called KvxAwy, in which Dionusios was carica- 
tured under the name of the monster that gives the piece 
its title, and a female flute-player was Galatea, while Phi- 
loxenos himself was represented by Odusseus. Now, Dio- 
nusios first obtained supreme power at Syracuse in 405 B.c. 
Therefore it was after this date that the poet lived at his 
court, and as the result of a disagreement wrote his lam- 
poon. Hence Aristophanés could not imitate the KixAwy 
of Philoxenos in the first edition of his Plowtos (408 B.c.), 
but he could and has done so in the second (3888 B.c.). 
Again, Lais, who is mentioned in line 179 and satirised in 
line 309 as Kirké, was only fourteen years of age in 408 
B.c., and could not then be so very notorious for her former 
(ror) mischief. Athenian mercenaries are mentioned in 
line 173 as being then in Corinth, and this can only refer 
to the War of the Allies, which lasted from 395 to 387 B.c., 
when the war was brought to an end by the Peace of 
Antalkidas. Line 1146, pa) pvyotxaxyjoys, «i od BvdAHV 
xatéAaBes, must have been written after the capture of 
Phulé. by Thrasuboulos in B.c. 404. Many other proofs 
are adduced by Ritter to show that this is the later play, 
and the evidence is so convincing that no room is left for 
doubt. 


Date of play. 


INTRODUCTION. 9 


Although the play belongs to the Middle 
Persons Comedy, we find some contemporaries satirised 
Satirised. by name. Chief amongst these are Dionusios, 
Agurrhios, and Timotheos. Thrasuboulos is 
named, not in satire, but merely to give point to a joke by 
reference to a well-known event in the political history of 
Athens. Agurrhios is mentioned in an omitted line, 176. 
It is said of him in the Hkklésiazousac (393 B.c.) that 
hitherto he was as unheard of as a woman, but now 
mMpaTTe TA pleyiot’ ev TH TOA. The reason of his sudden 
fame was because he had, a short time before the repre- 
sentation of the Hkklésiazousai, won the favour of the mob 
by raising the pay of those who attended the public 
assembly (ywo60s éxxAyovaorixds) to three obols. On the 
death of Thrasuboulos, Agurrhios was elected in his place 
to command the fleet cruising around the islands off the 
coast of Asia Minor. Dionusios the tyrant, the oppressor 
of the Sicilians, is contrasted (line 550) with Thrasuboulos 
who restored Athenian liberty. Timotheos, Konén’s son, 
soon to become famous as a naval hero, is already known 
for his extravagant taste in architecture (line 180). We 
know something of Pamphilos (line 174, but different 
from the Pamphilos mentioned in line 385) from a frag- 
ment of Plato the comic writer, which has been preserved 
by the Scholiast— 


“Kal vy AV ei Mdugiddy ye pains 


4 \ (does ee dee 
KAETTELY TA KOLY Gua TE TUKOPAYTELY, 


upon which the commentary of the Scholiast is, that 
Pamphilos had embezzled public money, for which he was 
punished by having his property confiscated and by being 
driven into exile. The same authority tells us that the 
Needle-Seller (BeAovorwAys, line 175) was a hanger-on of 
Pamphilos; and Dindorf states that, from scholia not yet 
published, we know his name to have been Aristoxenos 
Phildnidés (line 179) was an ugly old man, famous for 
his wealth and luxurious living. Patroklés (line 84) was 
a tragic poet and a man of wealth, but very miserly in 
character, and, through his zeal for Spartan manners, not 
remarkable for his cleanliness. .Philepsios (line 177) was 


10 ARISTOPHANES’ PLUTUS. 


a marvellous story-teller who had acquired a local reputa- 
tion at Athens for his wonderful yarns, but like Patroklés 
he is known to us only through the Scholiast. Pausén 
(line 602) was a painter who did not thrive by the brush 
and palette, and the Scholiast tells us that from him arose 
the proverb Havowvos rrwxotepos. Another Greek proverb 
—Neoxdeidov kXertiotepos—found in Suidas, is traceable to 
the NeoxAeééns mentioned in line 665, who was notorious as. 
a public speaker, sycophant, and swindler. 


Turning from the persons laughed at in the 

Political Plowtos, we find that the allusions made to 

Allusions. contemporary politics are very few. We might 
expect it to have been otherwise. The twenty 

years that elapsed between the first and second represen- 
tation of the Ploutos were the most eventful in the whole 
range of Athenian history. Athens proved herself Queen 
of the Waves at Arginousai, and with blind fatuity im- 
mediately afterwards executed six of her conquering 
captains on trumped-up charges. Then followed in rapid 
succession the disaster of Aigos Potamoi, the blockade of 
Athens by sea and land, the triumphal entry of Lusandros,. 
the Government of the Thirty, the capture of Phulé by 
the exiled Thrasuboulos and his restoration of the demo- 
cracy at Athens, followed by a general amnesty, the form- 
ation of an Anti-Spartan League after an interval of nine 
years, the battle of Corinth, Konoén’s annihilation of the 
Spartan fleet off Knidos, the massacre of Corinth, the re- 
building of the walls of Athens by Konon, and the victories 
of the Athenian commanders, Thrasuboulos and Iphikratés, 
over the Spartans. Only two of these events are glanced 
at in the play—the capture of Phulé (404 8.0.) and the 
proclamation of an amnesty by the triumphant democracy 
is metaphorically introduced in line 1146, and in line 173 
the poet tells us that it is gold that maintains the Athenian 
mercenaries at Corinth. This refers to the League against 
Sparta, organised in 395 B.c. by Tithraustés, a Persian 
satrap, in order to thwart the progress of the valiant 
Spartan king Agésilaos. Agésilaos had just won a series 
of splendid victories over the Persians in Asia Minor, and 


INTRODUCTION. a ta | 


was preparing to penetrate into the heart of the Persian 
empire; but the gold of Tithraustes induced the three 
states of Thebes, Corinth, and Argos to form an Anti- 
Spartan League; and Athens, unsolicited and unbribed, 
longing for political vengeance alone, gave her enthusiastic 
support to an alliance that seemed to offer a ready means 
of wiping out her national dishonour and of humbling her 
successor in the supremacy of Greece. Corinth was the 
headquarters of the allies, and hence we find Athens 
maintaining a body of mercenary troops at Corinth in 
388 B.c. This war was brought to an end the following 
year by the Peace of Antalkidas. A very obscure line— 
n Evppaxia 8 od da oe rots Aiyurrios (line 178)—has caused 
endless trouble to commentators in their endeavours to 
reconcile it with history. Ritter has clearly shown that 
it refers to a revolt in Egypt against the King of Persia 
in 389 n.c. We have the authority of Isokratés (p. 69, 
D.E.) for the fact that such a revolt did break out in 
Egypt three years before the war between the Persians 
and the Cyprian chief Huagoras. Now, the Cyprian war 
began in 386 B.c.; hence it follows that this Egyptian war 
began in 389 B.c., the year before this play was exhibited, 
and the passage in our text proves that the Athenians 
helped the Egyptians in their struggle. 


Na A Greek Play, whether comedy or tragedy, 
pene has the following divisions—(1) the Prologos, 
Greek Play, (2) the Parodos, (3) the Epeisodion, with 
choral odes inserted between, and (4) the 

Ezxodos. The Parabasis is peculiar to comedy. The Pro- 
logos corresponds to the First Act of a modern play, and is 
the part that precedes the Parodos, or first entrance of the 
Chorus into their places in the orchestra. The Parodos 
was so called because the Chorus effected a side-entrance, 
instead of entering on the stage and descending therefrom 
by the steps to the orchestra. The H'peisodion (what comes 
in besides) is the name given to all those portions of 
dialogue that lie between the choral songs from the Parodos 
to the Hxodos. When the Chorus has sung the last ode, 
the portion of the play that still remains is called the 


12 ARISTOPHANES’ PLUTUS. 


Heodos. The Parabasis of a Greek comedy bears a con- 
siderable resemblance to the Prologue of a Latin play in 
its general purpose, and because it was wholly disconnected 
with the main action. It received its name from the fact 
that the Chorus came forward from its usual place, and 
advanced towards the spectators to deliver an address to 
them. This address was delivered in the author’s name, 
and touched upon matters of public interest or matters 
personal to the poet himself, calling attention to his own 
merits and criticising his rivals. It differed, however, 
from a Latin Prologue inasmuch as it was always de- 
livered somewhere in the middle of the play, and as a rule 
soon after the first Chorus; whereas the Prologue of a 
Latin comedy was spoken before a play began. Only 
three of the plays of Aristophanés are without the Para- 
basis. One of these is the Ploutos, the other two are the 
Ekklésiazousat and Lusistraté. In our play the Prologos 
extends as far as line 252, at the end of which Chremulos 
and Ploutos leave the stage, while Karién and the chorus 
come round by a side entrance into the presence of the 
spectators. The Parodos of the Chorus begins at line 253, 
and continues till the entry of Chremulos at the end of 
line 321. The first part of the Hpeisodion begins at line 
322 and goes down to line 626, when a Choral interlude 
was probably sung. The second part of the Hpeisodion 
_ brings us down to line 770, when the Chorus probably 

sings again. Then follows the third part—a very short 
scene—in which Ploutos is introduced with his sight 
restored. At line 801 he leaves the stage, and there is 
another interlude to allow Ploutos time to visit and 
enrich the family of Chremulos, which enrichment is then 
described by Karién, who begins the fourth part of the 
Epeisodion at line 802. This goes on until the final dis- 
appearance of the Informer (line 958). Then follows the 
scene between the affected old woman, Chremulos, and the 
young man (Il. 959-1096), which forms the fifth part. The 
sixth and last part of the Hpeisodion is the scene between 
Hermés and Karién (11. 1097-1170), at the end of which 
the Chorus sing their last ode. Thus the Epeisodion of the 
Ploutos has five parts, and lasts from line 322 to line 1170. 


INTRODUCTION. as 


The Hzodos of the play (1. 1171 to the end) is taken up 
with the scene between the priest of Zeus, Chremulos, 
and the old woman, as they move off to enthrone Ploutos. 


On turning from the different parts of the 
Metres of | play to the metres in which they are written, 
the Ploutos. we find the whole of the Prologos consists of 
iambic senarit. In the Parodos, ll. 253-289 
are iambic tetrameter catalectic. In the two strophes— 
290-295 (there is an omission in 1. 295) and 296-301— 
the first three lines and the last line of each strophe are 
iambic tetrameter catalectic, but the fourth and fifth lines 
in each case are zambic dimeter acatalectic. In the next 
two stropkes—ll. 302-308, and 809-315—the first, second, 
and fourth lines are in each case tambic tetrameter catalectic 
(but in 1. 312 a spondee and an iambus are omitted in this 
text); the third and fifth lines are iambic dimeter acatalectic ; 
the sixth line is an 7ambic senarius, and the seventh an iam- 
bic dimeter catalectic. In Karién’s admonition to the Chorus 
the first and last lines (ll. 316 and 321) are zambic tetra- 
meter catalectic, while the four intervening lines are zambic 
dimeter acatalectic. In the first part of the Hpeisodion (ll. 
322-486) the metre is the ordinary tumbic senarius ; but 
at 1. 487 it changes to anapaestic tetrameter catalectic, and 
this metre is continued as far as the end of 1. 597. Here 
begins a series of dimeters consisting of spondees and ana- 
paests, or a combination of both, down to the end of 1. 618. 
From 619-626 the verses are tambic senarti. The second 
part of the Hpeisodion — 1]. 627-770 — consists of iambic 
senarw alone, and this is also true of all its remaining parts. 
The Haodos, likewise, consists of tambic senarit from its 
beginning (1. 1171) to the end of 1. 1207, and the last two 
lines of the play are anapaestic tetrameter catalectic. Thus 
from 1. 619 to 1. 1207 the verses are exclusively iambic 
senarit, The metres of this play are easy on account of 
the absence of Choral odes. 


ema What strikes one most in reading through 

era pent the Ploutos is this absence of the choral odes 
ine Bioning and of the Parabasis. The absence of both 
e one and the other is due to the same 


cause. When the triremes of Athens swept the Aegean, and 


* 


14 ARISTOPHANES’ PLUTUS. 


the glory of Athenian Ascendency was still unshaken in 
Hellas, the richest of the citizens voluntarily, by rotation 
or by appointment, undertook the performance of public 
duties involving heavy expenditure. The Chorégia, or 
defraying of the cost of the solemn public Choruses, was 
the heaviest of these Lettowrgiai or public duties. The 
Chorus in the Old Comedy always consisted of twenty- 
four. All of these had to be paid, trained, fitted out with 
appropriate costume, and maintained for a considerable 
time at the cost of the Chorégos. Still there were men 
who had the public spirit to do all this, when they had 
the means of doing it, in the old days of the greatness of 
Athenian democracy. But, when the whole navy of Athens, 
except a few ships, were given over to the Spartans, when 
Athens was forced to recognise Spartan supremacy on land 
and sea, when the Long Walls were made level with the 
ground to the strains of the Spartan flute, then, in the 
midst of a humiliated and impoverished people the cir- 
cumstances of the case seemed to require the total aboli- 
tion of the Chorus: od yap ért mpobvpiav efyov of “APnvaior 
TOUS xopHyous Tovs Tas dardvas Tots xopevTats TapéxovTAs xELpO- 
toveiv, aS Platonios, quoted by Dindorf, says. This might 
well be so, after the fateful 18th day of Mounuchion, B.c. 
404, Another reason is supplied by Horace, Ars Poetica, 
1. 282, &. :— 
‘In vitium libertas excidit et vim 
Dignam lege regi; lex est accepta chorusque 
Turpiter obticuit, sublato jure nocendi.’’ 

No doubt this reason exercised a strong influence in the 
same direction. When, by the law of Antimachus, it was 
forbidden évopacrti kwuwdetv, and the poets’ audience could 
no longer be gratified by ludicrous caricatures of swash- 
buckler generals, hke Lamachos in the Acharnians and 
Peace, and Kleén in the Knights and Wasps, of a great 
philosopher like Sdokratés in the Clouds, or of a distin- 
guished poet like Euripidés in the Frogs, but had to 
remain satisfied with a Comedy of Life and Manners that 
was of universal application, and resembled in some degree 
the comedies of Vanbrugh and Farquhar; then comedy, 
having lost its old personal and political interest, would 


INTRODUCTION. 15 


naturally decline, and the Chorus would consequently 
suffer. 

Yet, the Chorus was not wholly abolished, as we may 
see from the present play. They enter at line 257, in com- 
pany with Karién, and, when they hear the good news, 
they express their desire to dance (GovAopar xopetoat, 1.288), 
which they proceed to do, led by Karioén. The strophes 
sung by them during their dance are, in 1. 316, called 
oxoppata, Karidn now invites them to quit these oxip- 
para and turn their attention éz’ adAN efdos, thereby clearly 
contrasting what they have been doing with something 
they are just going to do. The scholiast says that the 
words éx’ GAX’ cidos refer to another kind of song different 
from the rude jests that have gone before, and the word 
xopov is here and elsewhere used in the text to mark the 
place where it was sung. 


This xopod is explained by Dobree and 

Meaning of Ritter as ra tov xopov, i.e., choral odes. 
Xopod. Dindorf explains it as pyow or Koppdriov 
xopod. What the Chorus did at the places 

marked xopod is a matter of conjecture. Ritter is of 
opinion that the Chorus here sang odes as in the Old 
Comedy, but that these odes were never inserted in the 
play as it appeared before the reading public at Athens, 
and were only composed to be sung in the orchestra, and 
were, moreover, much inferior in merit and style of com- 
position to the beautiful choral odes of the Old Comedy. 
He believes they were lost from the play because they 
had never been inserted in the text of the play, and 
that they were only given to the members of the Chorus, 
and only sung to suit the needs of stage management. 
Dindorf holds a different view. He thinks that, no matter 
whether it was the grammarians or the poet that wrote 
the word yopot, all that the word implies is that on such 
occasions the actors should have a considerable rest, such 
as would have been filled up by a choral ode in the Old 
Comedy days. This seems very improbable. Dindorf and 
Ritter agree in thinking that both the number of persons 
in the chorus and the number of the choral songs were 


16 ARISTOPHANES’ PLUTUS. 


very much decreased, so that the small part played by the 
Chorus in this comedy was played by a chorus of eight or 
twelve, 7.e., only one-third or one-half the strength of an 
ordinary comic chorus; and thus the expense would be- 
come very small. Blaydes takes the words daAX’ «dos to 
refer to dancing alone, unaccompanied by any song. 
Besides Il. 290-315, which were sung by the Chorus while 
they danced, Il. 637, 639, and 640 were also sung by the 
Chorus in this play. The Chorus, then, was still retained 
in the Middle Comedy probably to sing odes of a less diffi- 
cult and less ambitious kind, which served as interludes 
and allowed the actors time to breathe, and the stage- 
manager time to get everything ready for the next scene. 
The Chorus was also retained to converse with the actors, 
for which see ll. 257-260, 487-488, 962-963, &e. 


The Ploutos is an Allegory, of which the 
following is a brief sketch. Chremulos was 
the Ploutos, 2 good old Attic farmer, a just, honest, God- 

fearing man, yet poverty-stricken withal. 
He went with his slave Karién to consult Apollo, and see 
whether the god would advise him to throw over honesty, 
and bring up his son to be dishonest like everybody else. 
This he did because he saw that it was only the dishonest 
who became rich, while men of righteous lives were sunk 
in poverty. The reply of the oracle was indirect. It only 
told him to follow the first man he met when he left the 
temple. He meets an old blind man, whom he follows as 
directed. Karién soon grumbles at their following the 
blind old man, and Chremulos then tells him about the 
oracle. By having recourse to threats, they force the old 
man to tell who he is. He tells them he is Ploutos, and 
gives the reason why Zeus struck him with blindness. 
Then they form a plan for restoring his sight by placing 
him in the temple of Asklépios. Blepsidémos, an informer, 
appears, and wants to get to the bottom of the reports he 
has heard in the barbers’ shops, and undertakes to arrange 
the matter for a small consideration so that Chremulos 
shall not be prosecuted by the people. Poverty, when 
she hears of the unholy plot to drive her out of Greece, 


Argument 
i! 


INTRODUCTION. V7 


comes in and pleads her cause with good, sound logic; but, 
in spite of all her arguments, Chremulos is determined 
not to be persuaded by her, even if she shows him she 
is right. Ploutos is then removed to the temple of 
Asklépios, where his sight is restored. Then he enriches 
every one distinguished for piety towards the gods and 
justice towards their fellow men, while the impious suffer. 
Mercury comes down from the gods, complaining that, 
since the good had grown rich, the gods had received no 
sacrifices ; and he finally takes service with Chremulos and 
abandons Zeus. A priest of Zeus, the Saver, enters in a 
state of starvation, as all his perquisites have now disap- 
peared. He, lhkewise, abandons his old post and takes 
service under Ploutus, the true Zeus. Then they all escort 
Ploutos to the temple in procession, and there he is in- 
stalled to reign instead of Zeus. Addison, in his excellent 
little sketch of this play (Spectator, No. 464), does not 
appear to have caught the object with which the poet 
wrote it. That object can hardly be anything else than 
to satirise the irregularities and injustices of society and 
the apparently false distribution of wealth by the gods. 


In this play the poet tears himself away 
Character from the great political interests of the State, 
et the constant theme of all his earlier comedies. 
His satire in the Ploutos is of universal appli- 
cation to all races and ages of men, inasmuch as it 1s aimed 
at defects and perversities that we meet in every-day life. 
The conception on which it is based is of lasting signi- 
ficance ; and the persons have the general character of 
their conditions and employments. The language is more 
decent and less offensive than in the earlier plays of the 
poet, but at the same time the fun is not so jovial and 
boisterous. These facts, coupled with the absence of the 
Parabasis and Choral Odes, stamp the Ploutos with all the 
salient features of the Middle Comedy. 


ie The derivation of the word kwpwédia is 

peu not certain. By those who see the origin 

Greek Comedy. of comedy in the Phallic choral songs, it 

is derived from xpos, and explained to 

mean the revel-song. Aristotle rejects this derivation, 
B 


* 


J 


18 ARISTOPHANES’ PLUTUS. 


traces the word to copy, and explains it as the village-song. 
He says the Dorians invented comedy, and quotes the 
terms used as evidence: “for the outlying villages which 
the Athenians called cjpor, the Dorians called xémar, as 
comedians were so called, not from joining in the pro- 
cession of revellers (k®pos), but on account of their wander- 
ing through the villages, because they were held in no 
repute in the city.” This derivation is probably the 
correct one, and is not at variance with the term tpvywdia, 
the song of the vintage feast, the lee-song, as it would pro- 
bably be at vintage time that people would be in the 
frame of mind for their jovial village processions, and 
would smear their faces with wine-lees and hurl licentious 
jokes and personal jibes at everybody they met. Athenian 
comedy was probably borrowed from Megara, the birth- 
place of Susarion, who introduced it among the Athenians 
early in the sixth century B.c. After him we find a long 
list of comic poets, such as Chionidés, Euxenidés, Mullos, 
Magnés, and Ekphantidés, who are little more than names 
to us. 


INTRODUCTION. 19 


THREE PERIODS OF ATTIC COMEDY. 


Attic Comedy is generally divided into three periods 
—the Old, the Middle, and the New. The first great name 
in the Old Comedy is Kratinos, but by far the greatest 
name in the whole range of Greek Comedy is Aristophanés, 
whose best plays belong to this first period. The usual 
date assigned to the Old Comedy is 458—404 B.c. Its 
distinguishing mark is political caricature. It had a 
Chorus of twenty-four, who danced the xdpdag, a sort of 
cancan, with immodest gestures and licentious movements. 
It had choral odes and a Parabasis, the nature of which 
latter has been already explained, as well as the cause of 
the decline of the Old Comedy. The Middle Comedy 
lasted from 404 B.c. to 338 B.c., 7.e., from the conquest of 
Athens by Lusandros to the conquest of Hellas by Philip 
at Chairdneia. After Aristophanés, three of whose plays 
—the Lusistraté, the Ekklésiazousat, and the Ploutos—are 
classified as belonging to this period in character, the best 
known poets of the Middle Comedy are Antiphanés and 
Alexis. The satire of the Middle Comedy was general, 
and not particular ; it criticised philosophical systems and 
discussed the merits of litératewrs; it largely travestied 
mythology, and parodied great poets. Its plot often 
turned on a love intrigue; it had no Parabasis, and its 
Chorus was diminished or wholly dispensed with. It 
never attacked anybody by his own name, as did the Old 
Comedy, but sometimes it attacked well-known personages 
under an assumed name, as in the Ploutos. The New 
Comedy lasted from 338 B.c. to the Roman times, and 
found its best exponents in Menandros, Philémon, and 
Diphilos. It reproduced in a very generalised way a 
picture of everyday life, had no Chorus whatsoever, and 
discarded the thinly-veiled personalities, the caricature, 
and the parody, which had still remained in the Middle 
Comedy. Its spirit, and often its letter, was faithfully 
reproduced on the Roman stage by Plautus and Terence, 
and its general character still survives in the modern 
comedy of life and manners. 


. 


20 ARISTOPHANES’ PLUTUS. 


GREEK THEATRES. 


All theatres throughout Greece and Asia Minor were 
built of stone, situated on hill-sides, and modelled after the 
theatre at Athens, which was on the south-east slope of the 
Akropohs. In all of them the place for the spectators 
formed the north-west, and the stage the south-east part, 
while the orchestra lay between the two. A small entrance 
fee, usually two obols, was exacted at Athens, and men 
alone were allowed to be present at comedies. The dpyyjorpa 
(dancing-place) was nearly in the very centre of the 
theatre. It was a perfect circle, and about three-quarters 
of its circumference was surrounded by the benches of the 
spectators, while next to these benches were two broad 
spaces (dpodot) on the right and left for the entry of the 
chorus. A small segment of the orchestral circle still 
remained, and here the stage was always placed. The 
orchestra was lower than the lowest benches of the 
audience, and it was in it that the chorus performed its 
evolutions. The stage was raised above the level of the 
orchestra, and was connected with it by steps at either 
side. By these steps the chorus, whenever it took a real 
part in the action, probably ascended the stage; but its 
usual position was between the Ouyeédyn (or altar of 
Dionusos, which was in the very centre of the orchestra) 
and the stage. The Greek curtain, unlike ours, did not 
conceal the stage; it concealed nothing but the oxyv%, or 
wall representing the scenery at the back of the stage. 
The stage, in our sense of the word, was always visible 
in a Greek theatre. It was called zpooxyyov, and extended 
trom the oxnv7 to the edge of the stage next the orchestra. 
Its front part, where the actors spoke, was called the 
Aoyetoy or dkpiBas. Again, unlike ours, the Greek curtain 
was not raised or rolled up when a play began; it was 
lowered or rolled down till it finally disappeared beneath 
the stage. It was called zaparéracua or aidaia. The 
Scenery painted on the oxyvy, in a comedy, generally 
represented the front of a dwelling-house. Throughout 
the whole of the Ploutos the scenery represented the house 


INTRODUCTION. 2 


of Chremulos. The @éarpov (seeing-place), in its narrower 
sense, as denoting that portion of the entire structure 
where the spectators were seated, was sometimes called 
KoiAov, as it was generally a real excavation from a rock, 
and the seats were for the most part cut out of the rock 
and consisted of rows of benches rising tier above tier 
It had room for about 30,000 spectators, and, like the 
orchestra, had no roof. The Archons, generals, ambas- 
sadors, and people of distinction were accommodated with 
the seats nearest to the orchestra, and the occupants of 
these seats, but no others, seem to have had sometimes 
the luxury of a covering overhead. 


TA TOY APAMATOS IIPOSOIIA, 


_ 


KAPION. 
XPEMYAOS, 
TWAOYTOS: 

XOPOS ATPOIKON, 
BAEVIAHMOS. 
TIENIA., 

PYNH XPEMYAOY, 
AIKAIOZ ANHP. 
ZYKO®ANTHS. 
PRAY: 

NEANTAS., 

EPMEHS, 

TEPEYS AIO3, 


KAP. 


XPE. 


APISTO®ANOYS ITAOYTOS. 


, , a , 
‘Os dpyadeov mpayp’ éotiv, & Zed Kai Geol, 
dovAov yeveaOar mapadpovorvtos Seamdrov. 
qv yap Ta BeAtiICO 6 Geparwv Eas THyN, 
ddén O€ pn Spay Tadita TO KexTNMLEVY, 
petéxe avayKyn Tov Geparovta TOV KaKOV. 
TOV THMATOS Yap OVK €G. TOV KUpLOV 
lal e 8 / 3 \ ‘\ ) 4 
Kparetv 0 daipwv, GAAG TOV éwvnpevor. 
i radta pev On Tadta. Tw de Aoki 
Kal T pev On . Te Qy 
os 0 del Tpizrodos € da 
Os Oeomimdet Tp s €k XpvoyAdrtov, 
4 , 4 , 4 
peu Oukalav méengopat TavTyV, OTL 
Py React \ , ” , 
iarpos ®v Kal pavTis, ws Pac, TOPOS, 
lal > eh / , \ 4 
perayxorGvr’ aréreuwe prov Tov derrdrny, 
4 > A , FE) id a 
datis akoAovbel Kato avOpwrov tupdAod, 
aA \ aA A ~ 
ToavTiov Spav 7) TpoaHK avT@ 7rovetv. 
ot yap BXErovTes ToLs TUPAdts 7yoUpeFa: 
outros 0 akoAoviet, Kame tpoo Bidlerar, 
Kal TAT’ GTOKpLWOLEVH TO TapaTray ode ypd. 
SuaN X > pee avatuecg , 
eyo mev odv ovk EoO’ Orws orynoomat, 
9 lal A 
qv pn ppacys 0 Te 7a axoAovOotpeEv Tore, 
@ d€o7o7’, GAAG cou TapéeEw Tpayparta. 
ov yap pe TUTTHTELS OTEPAVOY EXOVTA. YE. 
pa Ai’, GAN adedov ye orépavor, iv AuvmyAs Ti pe, 
va paddov adyyjs. KAP. Ajpos: od yap mavcopar 
SS xv / - deer) N e 4 
apiv av ppaoys po. tis mor’ eotiv ovToct: 


»” XN » / (2 / 
evyous yop Gv Go. TuvOdvopat TavY oPddpa. 


10 


15 


20 


25 


24, 
XPE. 


KAP. 
XPE. 


KAP. 
KAP. 


XPE. 


XPE. 


KAP. 


RB 


ARISTOPHANES’ PLUTUS. 


> ) » , an Wale! \ > A 
GAN’ ov TL Kpvwr THY Euov yap oiKETOV 
“ \ 
TLOTOTATOV TyOUMAl TE Kal KAETTLCTATOV. 
2% \ SN 4 x 32S 
eyo OeooeBis Kat dikaros Ov aVi/p 
la \ = a 
KaK@S empatTov Kal Tevns Nv. KAP. olda Tow 
i SS) if. e é (fay 
erepo. 0 erAovTovy, tepoovAot, pyTopes 
\ 
Kal ovKopavTat Kal Tovypot. KAP. zeGopat. 
> >] 
ETEPNTOMEVOS OV WKOMNV ws TOV Oedv.- 
‘ 5 A SA 
TOV COV Mey GUTOU TOV TaraLTWpoU aXECOV 
4” ‘A wn 
non vopi~wy exterogeto Our Biov, 
\ b) 7 4 xX z 2 
Tov 0 vidv, doTEp GV Ovos [OL TYYXAVEL, 
, SI / 
TEVTOMEVOS €i xp7) meTaPadovtTa TOvs TPOTOUS 
2 a » € \ We: 4 
elvar Tavoupyov, GdiKov, bytes pnde Ev, 
c Tad , Cates) aN , / 
ws TO Biw TovT’ atTo vouioas cuudéepew. 
lal ~ »” lal 
ti 6nta PotBos eAakev ek TOV OTEUMpAT ; 
/ la \ 3 \ > o fe 
mevoe. capas yap 6 eds elré ror TOOL 
ci A ~ re , 
oTw EvvavTntayu TpOTov eLwy, 
) ld 7 \ 4 7: 7,” 
exeAeve ToVTOV py peOierOai p’ Ett, 
4 ’ A lal 
meiGew 0 éuavt@d EvvaxoAovbety olkade. 
AN A A ~ 
Kat TO vvavrTas Snta mpwTw; XPE. rovrwr. 
koe) > , \ 5 ay, A A 
eit’ ov Evvies THY ezrivotav TOU Heo, 
, > ig id / 
ppaloveav @ oKxaioTaté cor cadéotata 
“~ \ 
GOKELV TOV ViOV TOV ETLXWPLOV TPOTOY ; 
A / id a XN \ 
T® TovTo Kpivets; KAP. dyAov bry Kal TupPAG 
yvavat Soxel Tov6’, ws opodp’ eati cupdépov 
TO pnodev aoKelv byes ev TO VdV xpovw. 
3 ” bis WA ¢€ x b) A e 7 
ovk €of orws 6 xpnopos eis TOTO permet, 
? , A x b) an 
GAN’ eis Erepov Te petsov. iv 0 Hulv dpacy 
9 Ny , N A 
OOTLS TOT ETL OUTOTL, KAaL TOU yap 
\ la) fe ad A / 
Kal Tov Seduevos NDE pera vov evOadd, 
4 9 oN SN x e lal 4 A 
mvOoine? av TOY xpNTMOV UAV O TL VoOEL 
»” , \ , Nee ue > ‘ 
aye 54, od ToTEpov GavToY doTIS et, Ppdcets, 
x Stev N , a / \ \ 4 
} Taml TovToLs SpO; A€yelv xpi) TAXY wave. 
eyo pev oimacev A€yw cor. KAP. pavGdvers 


30 


35 


40 


45 


50 


58 


KAP. 
XPE. 
KAP. 
IIA. 

KAP. 


XPE. 
DEAS. 


XPE. 
IIA, 
TIA. 


XPE. 


XPE. 


XPE. 
IIA. 


ARISTOPHANES’ PLUTUS. AS, 


os dyow evar; XPE. cot Aye Tovr’, otk enol, 
a \ > a \ a 2 , 
okaLas yap adrovd Kat yaderOs exTrvvGaver. 60 
> 9 » l4 3 AY a7. Vd 
GXN’ et TL xaipers avCpds eddpKov Tpdats, 
eyot ppacov. IIA. KAdewv éywye cot A€yw. 
/ ‘\ + ‘ \ + a A 
d€xov TOV avdpa Kat TOV Opviv TOU Heod. 
+ XN ‘\ A , + 
ov Tor pa THY Anuntpa xaipyoets ert. 
3 XN Le / 3 / 3.9) lal sy lal 65 
ei wy) paces yap, A770 o OAD KAkOV KAKOS. 
@ Tav, adTadAdyOyrov an’ éuov. XPE. ropada. 
Kal pnv 0 Aéyw BeAtiotov éot’, & d€a7oTa. 
G70 Tov avOpwrov Kakirra TouTOVi. 
3 A es Sen / ’ aN ‘ 
avabeis yap ert kpnuvov Tw’ avTov KataAuTov 
ame, Ww’ éxeOev extpaynroby Teor. 70 
> a a 
aXN’ atpe taxéws. ILA. pydapas. XPE. ovxovv épeis ; 
XN BY 9 ¢ 
arn iv wiOyoGé pw? otis Ei’, Ed O10? OTE 
J , b Tees } if > 3 hi 
Kakov Ti pm’ epydceabe KovK apycerov. 
w ‘\ \ (4 A ’ oN 4 , 
vn Tovs Geovs yuets y’, av Bovdry ye ov. 
peer be viv pov mpatov. XPE. Hy, webieuev. 75 
> , iz A X\ e »” UZ 
dkovetov by. det yap ws EOLKE mE 
Neyew & KpUTTEW 7) TaperKEvacpLEvos, 
éyo yap eiut TAotros. KAP. & papurare 
avopav aravtuv, eit’ éaiyas [Xotros wv; 
ov IXottos, ottws db6Aiws Siakelpevos ; 80 
® Boi?’ “AzodAXov kal Geot Kai datwoves 
A a) Cl la 
kat Zed, te pys; éxeivos ovtws eh od; TIA, vat, 
a Go 
éxeivos avtos; IA. aitératos. XPE. rev otv, Ppacov, 
atyuav Badiles; ILA. éx Ilatpoxdéous epxopat, 
a ) 2 , tise) Lg ees 85 
ds ovk eAovoat’ é€ OrouTep eyéevero. 
x AS \ \ lal ” , Ue 
Tout O€ TO KaKOV TOS Eemales ; KATELTE MOL. 
6 Ze’s pe radr’ &pacev avOparoas Plover. 
SieN X\ by) A > ir 2 9. 
éyo yap dv peipaxtov n7elAno’ OTL 
e \ 8 , \ \ ‘\ (A 
Ws TOUS CLKalous Kal Tomous Kal KOT [LLOUS 
povovs Badivoiunv: 6 d€ p’ éroinoey tudor, 90 
iva px Svayryveokole TOVTMOV wNdEva. 


XPE. 


XPE. 


XPE. 
IIA. 
XPE. 
TEN: 


IIA. 


XPE, 
IIA. 
XPE. 


KAP. 
TEA: 


LB BANS 
XPE. 


ARISTOPHANES’ PLUTUS. 


° ear} A A a 
oUTWs ExElvos TOLL ypNoToLcL POovel. 
Kal piv Oud TOS xpyoTOVs ye TYLATAL povoUS 
kat Tous duxatous. ITA. opodoy® co. XPE. dépe, ri ody; 
ei wadw avaBreWevas GoTrEp Kal TPO TOD, 95 
hevyous av nd ToUs movypovs; ITA. yy’ eyed. 
vA 
as Tous dukatous 6’ av Badios; ILA. rave pev ody 
a ‘\ 3 A 3 Cf 4 , 
ToAXOd yap aUTOUS OVX EOpaKa Tw XpovoV. 
kal Gadua y’ ovdev: ovd' éya yap 6 Bréruv. 
aderov me viv. totov yap non Tam’ éuod. 100 
pa At’, GAAG TOAAG padAov éLouerGa cov. 
OvK WYOpEvov OTL TapéLetv TpayLara 
éweAXerov or; XPE. Kat ov y’, avriBoAG, 780d, 
Kal pn pe aroAirns: od yap etpycets é.00 
fntav ér avdpa tovs tporous BeAriova: 105 
pa tov At’+ ob yap éarwv adXos TAHy eyad. 
\ f , Lae eet | , 
taut Néyouot wavTes* Wvik’ av O€ pov 
, > 3 A A / 7, 
Tixu0 GAnOs Kal yevwvtar TAOVOLOL, 
atexvas trepBadrover TH oxPnpia. 
” x ” + ee ? 3 tf , 
EXEL LEV OUTWS, ELTL 8 ov mavtTes Kakol. 110 
pa Ac’, ddd’ aragamarvres. KAP. oiudéer waxpd. 
N 8’ e 5) ion ¢ er lygta an | , 
gol 8 ws ay €idns doa, rap’ nuty AV peévys, 
, 1.5 , / \ a ” ? 
yevnoer’ ayaba, rpoaexe Tov vovr, tva TUOy. 
be) ¢ > S) “ hegee elec 
olwar yap, oiwat, adv Ged 0’ cipyoerat, 
tauTys arah\akew oe THS OdOadpias, LES 
Brébar wojoas. ILA. pndapas totr’ épydon. 
od BovrAopwa yap madw avaprAéyor. XPE. ri dys; 
»” eV 2 »” ti 
avOpwros ovtds eat abdLos pice. 
¢€ 7, \ \ ie to’ ¢ \ / Pe \ 
6 Zevs pev obv 010’ @s, Ta TOUTWV pap’ eel 
mvbour’ av, érurpiver pe. XPE. viv & od rotro dpa, 120 
OOTLS TE TPOTTTALOVTA TEPLVOTTELY EG ; 
> SQ? 32 5S 9143 a > ~ 4 
ovK 00's éyw 0° éxeivov 6ppwde Trav. 
adnbes, @ derAdTaTE TAaVTWY SaLLOVUW ; 


” \ > \ \ , 
OLEL Yop ELVQL TYV Atos TUpavvida, 


TTA, 


KAP. 


XPE. 
KAP. 
XPE. 


XPE. 


ITA. 


KAP. 


XPE. 


KAP. 
XPE. 
KAP, 
XPE. 
XPE. 
ITA. 


ARISTOPHANES’ PLUTUS. 27 


Kal TOUS KEpavvors aélous TpLWBdAov, 125 
oN 3 / ‘\ xv ~ jA 
eav avaBreys od Kav pLKPOV xXpOvor ; 
d, pay A€y’, & movynpé, Tad7?’. XPE. € yovxos. 
ae eN X > lf “A \ ‘ 
eyo yap arodei€w oe Tod Atos rod 
petCov duvapevov. ILA. éué od; XPE. vi) tov otpavov. 
atrika yap adpye Oud tiv’ 6 Leds trav Oewv ; 130 
dua Tapyvpiov: wAEloTov yap éor’ atta. XPE. dépe, 
ris ov 6 mapéxwv éotiv aire tov’; KAP. 6d. 
yi, 5) 3 aA AY ye } 3 SS VA 
Giover § atta dua tiv’; od dua TovTovi ; 
ea ‘i (go) + , aA » 
kat vy At’ evxovrai ye wAovTety GvTiKpUs. 
ovKouv 00° early atttos, Kal padiws 135 
mavce av, et Bovtdoito, tad0’; ILA. éruyp ri On; 
4 CTANE icy ® , 3 , » 
OTe ovo av eis Ovoeev aVOpwTrow ETL, 
ov Bodv av, ody Waiorov, ovk GAA’ ove EV, 
pn BovrAopevov cov. ILA. was; XPE. orws ; od« é’ Grws 
> Va 6 {d N AY bs ny 
avyceta Ontovdev, Hv od py Tapov 140 
autos das Tapyy, i v Atd 
DS TAapyupLov, Wate TOV ALoS 
S , BI A , , 
mv Ovvapw, QV AvTA TL, KaTaAvoeLs [LOVOS. 
/ , FERN, , 3 Lao RE a 2 
Ti A€yes; Ov ewe Piovow aita; XPE. dyy’ eyo. 
‘N Ni 4) ” ‘ bee ‘\ \ \ 
Kat vy Ac’ et thy’ €ote Aaumpov Kal KaAov 
XN s 3 , \ XN , 
7 xaptev avOpdrroics, dud oe yiyveras. 145 
dmravra TO tAovTElv yap eo8 br7jKo~.. 
4 / \ Ds > / 
eywyé Tou dua puKpov apyupid.ov 
A , .Y ‘\ \ lal + 
SovAos yeyevnpat, 51a TO pty) TAOVTELY ious. 
téxvat Oe Tacar dua oe Kal codicpata, 160 
> ~ 3 , 7 > ’ e / 
év tolow avOpwrousiv éo8’ evpypeva. 
6 pev yap adtav oKuTOTOMEl KaOyLEVOS, 
LA XN , e XN 4 
erepos O€ xaAxKevet Tis, 6 Oe TeKTALvETaL. 
e€ XS “A , \ “A iA 
6 d€ ypuaoxoet ye, xpvoiov Tapa cot AaBuwv, 
6 d€ Awmroduret ye v7 Ac’, 6 dé Torxwpvxel, © 165 
6 d€ kvahever'y’. KAP. 6 O€ ye tAWEL Kwc.a, 
6 de Buptodeet y. KAP. 6 d€ ye twAct Kpdupva. 


olpot TaAas, Tavti mw’ éAdvOavev maAat. 


a 


KAP. 


KAP. 


TIA. 
XPE. 


APH. 


XPE. 
XPE. 


TTA. 


IIA. 


ARISTOPHANES’ PLUTUS. 


peyas cé Bacwreds odxi did TotTOV Koua ; 170 
re uA ’ EEN ny lat / 
éexkAnota 8° odxt dua TOvTOV yiyverat ; 
Vd tA ‘\ a > \ “ > la 
Ti O€ ; TAS TPLNpELS OV OV TANpots ; cimé pot. 
\ Pp) / ‘ > ba , 
70 0 ev KopivOw Eevixov ody otros tpépe ; 
6 Idudiros 8 odyt dua Tovrov KAavoetat; ~~ Sr er 
6 BeAovoraAns 8 odxt peta TOU Tlaydirov; 175 
Direwuos 8 ody Evexa cov pvOovs Eyer ; 
id / ’ > ‘\ SS “A ° / 
7 €vppaxta 0’ od dua oé tots Atyurriots ; 
épa dé Aals od dua ce Pirwvidov ; 
6 Tiyobéou dé ripyos XPE. éuréoou yé cou 180 
‘\ \ f 2: t Tete’ x \ rh / 
Ta C€ TpaypyaT odxt bia Te TAVTA TpaTTETAL ; 
povuatos yap €l ov TavTWY alTLOS, 
Ce te A Nin #3 a >» 79 
Kal TOV KakKOV Kal TOV ayabav, ev to6” OTL. 
KpaTovot yovv Kav Tots TOAEMOLS EKAOTOTE 
€d’ ots Gv ovTos émukabelyntat povov. 185 
éyw Tocadtta Suvatos eip’ els dv Tovely ; 
Kat val pa Ata tovTwv ye TOAAG mXelovas 
LA ’ INN \ A , ’ 5} \ , 
WaT Ovde LETTOS TOU yeyov’ OVCELS TurOTE. 
lal N SS » 2 \ , , 
TOV pev yap GAAwY éotl TavTWY ANT pOVN: 


epwros KAP. aptwyv XPE. povouns KAP. Tpa- 


ynpatwv 190 
tyns KAP. zAakovvrwy XPE. avdpayabias KAP. 
icxadwv 


pirotipias KAP. palns XPE. otparnyias KAP. daxjs. 
A Pda) , > 3 \ ‘\ 2) / 

cov 8 éyéver’ ovdels peotos odderwroTe. 

GAN’ Hv tadavra Tis AGB Tpraxaideka, 

Tord padrdov éerOvpet AaBetv éxxaideka 195 

Kay TadT avvontal, TeTTApaKovTa Bovrcrat, 

4 3 \ e a x le 

n Pyow ov Pwrov attw Tov Biov. 
> , ” , , 

eb Tou A€yew Enorye haiverOov rave: 

aAnv ev povov dedotxa, XPE. page, tov répr. 

ows eyo THY Svvapml Hv tpets hate 200 


exe pe, TUVTYS Seao7rOTNS yevnoopan. 


f } 
att: nal 


XPE. 


XPE. 


ITA. 


XPE. 


ITA. 


TIA, 


XPE. 


ITA. 
XPE. 


XPE. 


KAP. 


APE. 


ARISTOPHANES PLUTUS. 29 


vy tov Ai’s GANG Kat A€yovat TavTes ws 
deAdrardv éo0’ 6 mottos. ILA. jxirr’, GANG pe 
iA 5 / > | e) bY / 
ToLxwpvxos Tis Su€Badr’. eiadds yap more 
ovK elyev eis THY Oikiay ovdey AafeElr, 205 
evpov amagamavra KataKekAeyreva* 
ip Ral ee ER a i \ 4 , 
eit’ @vomacev pov THY mpovotay OeLAlav. 
, / / € 2N / 
pn vev ped€Tw Gor pNdev" ws, eav yevy 
avnp mpoOvpos airos eis TA Tpayyara, 
PXA€rovr’ arodeigw o d€vTEpov TOD AvyKéws. 210 
wn > , ~~ ~ \ 4 
TOs ovv dSuvycet TOUTO Spacat OvyTos av ; 
exo Tw’ ayabiv edrid? e& dv elrré prow 
6 Poifos airos Ivbixnv ceicas dadvnv. 
Ka.Keivos obv cvvole TatTa; XPE. pyy’ eyo. 
dpare. XPE. py hpdvrice udev, dyable. 215 
S7EN UA Bo Colne) vn a ee) a 
€yo yap, ev TovT’ toh, Kav dy p’ arroaveiv, 
airos duarpagw Tatra. KAP. Kav BovAn y’, éyo. 
moAAot 6 €GovTat yaTepot vav Evupaxot 
REREP OL VEY SUM OKO, 
9 , > 5) os + 
dGols OLKaloLs OVW OvK HY aAduTA. 
a , eG Cael! , ¢ 
Tamat, Tovnpovs y’ €lras Hulv Tvpupdaxous. 220 
»¥ + VA 5) 3 “ 4 
OvK, HY ye TAOUTHTWTW e& apyns Tad”. 
GAN’ iOt ov pev taxéws Spapwv. KAP. ri dp; deye. 
\ tes / / e us 6’ 4 
Tous Svyyewpyous KaXecov, evpynoels 0 Lows 
ev TOS aypots avtovs TadarTHpoupEvous, 
” so» ¢ ° n \ 
OTws av Loov exacTos évTav¥ot Tapov 225 
e lal (4 A A V4 / 
nui petacyxn Tovde TOD ITAovrov pépos. 
Kat 01 (adil: Toutod! TO Kpeddtov 
Tov éevdobev Tis eiveveyKatw AaBuv. 
° \ , Lote A ’ 3 aes) , / 
€uot peAnoer TOUTO y+ GAN’ avucas TpEXE. 
ov 8’, ® kpatiore TAotre ravtwv daovev, 230 
4 3:79 A Cota } y+ p, ¢ x Sed: 
elow per” e.00 Oevp’ eloid’: 4 yap oikia 
N a 
avTn otiv Hv Set ypnuatwv oe THWEPOV 
peotyy Tomoat Kal dukaiws KadlKws. 


GAN’ dxGopat pev eioidoy vy ToLs Geods 


PE, 


XPE. 
KAP. 


XOP. 


KAR: 


XOP: 
KAP. 


XOP. 


ARISTOPHANES’ PLUTUS. 


eis oikiav ExaotoT adXotpiav mavu- 235 
by N X > / b] IOV > an , 
ayalov yap aréXavo’ ovdev aitod mumore. = 
jv pev yap eis pevdwAov ciceAOov TVXM, 
evs Katupr&ev we KATA THS ys KaTw: 
Kav Tis TpoTeAOyn xpynoros avOpwzros dhidos 
aitav Aapetv Te piKpov apyupto.or, 240 
»” “ ° LSSI 3 “~ , 
seve eote pnd ety je TaroTe. 
iv & ws py, dvOpwmov eloeA Gov TUXY, 
4¢ “i 7 
TOpvaLTL Kal KU{IOLTL FapapeBAnpevos 
yupvos Oipal’ eererov ev axapel ypovw. 
s X 2 \ > cea! , 
/eTplov yap avdpos ovK emréeTvXES TuTOTE. 245 
‘of aN be z a / , CaaS Teal Beet ¢ 
€yw 0€ TOVTOV TOV TpOTOV TS €Eip’ Gel. 
, ‘\ if. ce > \ x ed 
XAlpw TE yap Peddpevos ws ovdels avijp 
/ >} ? lal (< Atak er | z. , 
madw T avadav, yvik’ av TovTou Sen. 
GAN’ cigiwpev, ws idety we ovrAopat 
\ \ ~ \ ‘ ex \ Vg 
KQl THV YUVAatKa Kal TOV ViOV TOV [LOVOY, 250 
ov eyo PirO padtota peta oé. ILA. we(Gomar 
/ \ 4 + eS \ X > A f 
Ti yap Gv Tis OvXL TpOs GE TAANOH AEyor ; 
> \ \ A ) \ , , 
® TOAAG On TO SeorOTH TaiTov OYpov paydvTes, 
»” , \ , \ A Anta , 
avopes pidou kal Onuotat Kal TOD Tovely epacTai, 
iT €yKOVEtTE, OTEVOED’, ws 6 KaLpOs OdXL EAXELY, 255 
a} 2 oF thane er 2 aes a > e e fal , cee) , 
GAN’ er’ ex adrys THs aks, y Set mapovT’ Gpvvelv. 
OUKOUY Opas Sppwpevous Has TAAL TpOHipwS, 
e ee dl > > a U m” y” 
as €ikos €oTlv dolevets yépovTas avdpas 707 ; 
\ baw | n + Ta XN a Q , 
ov 0 a&tots tows pe Ociv, piv TatTa Kal ppaoae pot 
oTov Xap pm’ 6 deamoTys 6 GOs KEKANKE OEtpo. 260 
> / 14 4 \ b) = Nes > 3 4 
ovkovy 7adat Syrov Aeyw; od 8’ adtds ovK akoves. 
e / / e A ig / oe 
6 dearroTns yap dynow tpas 7Oéws GravrTas 
Wuxpov Biov kai dvaKodov Cyoew araddayevtas. 
» \ \ , \ , \ m= ano oo 
éotiv O€ 67 TL Kal 7doMeV TO gd das tov? 0 drow; 
EXOV, adixgay detipo mpeo Burny Tu’, @ ToVvypot,, 265 
ys ian 
ponibvra, KODOD, aOALov, p puoor, ae yosor. 
® xpvoov ayyei\as érav, Tas hys; Tadw Ppacov por. 


KAP. 
XOP. 


KAP. 
XOP. 
KAP. 


XOPR. 


KAP. 
XOP. 
KAP, 
XOP. 


KAP. 


XOP. 


ARISTOPHANES’ PLUTUS. 1 


dnXAots yap attov Gwpov HKELV KPNMATWY €XOVTA.. 
mpeo BuTiKOV pev OV KAKOV eywy’ EXOVTA TWpOV. A View 

lal =) a St ¢ A > & 
pov a&.ols hevakioas nuas aradAaynvat 
3 , N (oat? ree} “~ te ” 
aCHMLLOS, Kal TAT éEuov PakTypiav ExXOVTOS ; 
TAVTWS yep pecneneny dice: Towovtov eis TA TaVTA 

yea Fe be elvau kopoey a ay rot byes elreEcy ; 

pee) Ko ee 
o oepvos ot mipurros: al kvAar O€ cov Booow 275 
iovd iov, Tas xoivikas Kat Tas Tédas robotcan. 
€v TH Topa vuvi Aaxov TO ypappa cov diKxalery, 
av © ov Badileis; 6 O€ Xapwv 70 EipPodov didwcrv. 
lie ¢ , s \ ’ , 

duaopayeins. ws "oOwv et kat Pvoet koBados, 
ootis pevakilers, pacar 0’ ovrw TéTANKAS HMLVY 280 

74 , a ge: / ¢€ \ U a 
[orov xapw p 6 deardrns 6 wos KeKANKE Sevpo: | 

a \ , > + a , 
ot TOA poxOnoavtes, otk OVENS TXOARS, TpOOIBwS 
detp nrADopev, TOAAGY Oipov pilas dueKTEpavTes. 
GAN’ ovdker’ av Kpiayue. Tov IAodrov yap, Gvdpes, nKeEt 
” e id a CaN ip , 
ayov 6 dearroTys, OS tuas TAOVTLOUS TOLNTEL. 285 
dvTws yap €or TAOVTLOLS Aral HLLW Elva. ; 
vn Tous Geovs, Midas pev ovv, jv Or’ ovov AaByTE. 
os HOOMAL Kal TéepTomat Kal BovrAopar XopEetoat 
ud’ Hoovis, elmep Nevers OvTwWS OV TadT’ GAnOH. 
kal pry eyo Bovlncomar OpettaveNd tov KixrAura 290 
MLMOVLEVOS Kal TOLY TOdOLY MOL Tapevoadetwv 
ipas ayev. adQ’ ela téxea Gap’ éxavaPourres 
BAnxopevol TE TpoBatiov 

7 A / , 
aiyav te KivaPpwvTwv wedn, 
erece. 295 
npets O€ y’ av Cytjoopev Opettavedd tov KixAwra 
BAnxXopevor, Ge TOTOVi TWaVTA KaTadaovTEs, 
mpav €xovta Adyava 7 dypia Spocepa, KpaiTaovra., 
NYOUMEVOV TOLS TpoPartots, 
eiky O€ KatadapOevTa Tov, 300 
peyav AaBovres Tupevov odykickov éxtvpArocat. 


Oe ARISTOPHANES’ PLUTUS. 


KAP. éyo 6 tiv Kipxny ye tHv Ta bappak’ avaKkvKdcay, 
N Tous éTaipous TOD Bitwvidov wor év KopivOw 
ETELOEV WS OVTAS KATpPOUS 
(1 rn ry , FN ees fy Le] 
pepaypevov oxap eobiev, airy 0° Ewarrev adrois, 305 
PLLNTOMAL TAVTAS TPOTOUS" 
bpets 2 ypvdilovtes tro PiAndias 
erecOe pntpt xotpor. 
XOP. ovxotv cé tHv Kipxny ye thy Ta happak’ dvakvKooay 
Kal , AY , ~ e , : 310 
payyavevoveav woAvvoveay TE TOS ETALpoUs, 
AaBovres b7o PiAndias 
tov Aaptiov py.ovjevol Kpeuaper, 
piwOdcopev 6 dorep Tpayou 
‘ en ‘\ eat 4 e / . A 
tiv pivas ov 0 ’ApiotvdAXdos troxacKwy épets: 
ereoOe pntpi xorpor. 315 
KAP. ay’ da viv tov cKwppatwy draddayevtes 707 
pets én’ GAN’ cidos tpérecO, 
ae oN P aes DY » , 
eyw 0’ iwy ndn Aabpa 
BovAncopa Tod SexrdTov 
AaBwyv tw’ aptov Kal Kpéas 320 


/ \ iN 4 A / a 
PagwMEVvos TO ourov OUTW TW KOT Evvetvat. 


AOPOY. 
XPE. yxalpew pev tuds éoriv, Ovdpes Onpuorat, 
apxatoy nOn mpocayopeve Kal campov" 
> LZ, 7 c ‘ UJ 4 
aomalopat 6’, dTLn mpobvpus HKETE 
Kal OUVTETAapEvWS KOU KaTePAaKEYJLEVWS. 325 
i / x ” / 
OTws O€ pot Kal TaAAAG CUUTApacTaTaL 
—éxeabe kal cwrnpes OvTws TOD Heod. 
XOP. Odppea Br€rav yap avrikpus does p’ “Apy. 
> / > 4, x 7 
dewvov yap, ei TpLwBodAov perv eEtveKa. 
aotiloper? Exaortor ev THKKANTIO, 330 
avrov dé tov IlAotvrov rapeinv Tw AaPeiv. 


XPE. kal pv 6p@ kai BAeWidnuov Tovrovi 


BAE. 


XPE. 


BAE, 


XPE. 


BAE. 
XPE. 


BAE. 


XPE, 


ARISTOPHANES’ PLUTUS. 


, aA Cine) AN 7 _ , 
mpocidvta: OnAos 8’ early OT TOV TmpaypwaTos 
3 7, , a” /, \ ta) Jf 
QKYKOEV TL TY Padioe: Kal TO TAXEL. 

con > N A b) EL a 14) XN f. i. 
ti dy ovv TO Tpayp’ ein; ToOev Kal Tie TpdTH 
Xpeuvros wemAovrTyK’ earivys; od weiHopat, 
Kaito. Adyos y’ Hv Vv} TOV “Hpaxdéa roAds 

\ (a. lal 
éml ToLoL KOUpEloLoL TOV KAOnLEVOY, 

e > / CLEN , , 
ws eLamivys avip yeyévntat tovcwos. 
ay la ma 9 DEN , 4 
got O€ prot TOUT’ avTo Gavydacuov, dws 

\ 
XpNTTOV TL TpaTTwY TOUS Pirovs peTaTEwreETAL. 
ovKouy érixwpLov ye mpayy’ épyderau. 
GAN’ oddev arokpvifas ep: vi Tovs Oeots, 
bd \ 
® BAeWidnu’, dwewov 7 xOes mpatropev, 
A f > \ “A id 
More perexerv eLeotu* et yap Tov hiruv. 
yéyovas 0 dAnOas, ds A€yovat, tAOVCLOS ; 

> DI 

ETomat pev ovv avTixa par’, nv Oeds Gedy. 


y+ , ” / 5 > a , 
€Vvl yp TLS, EVL KLVOVVOS EV TO TPAaAyPare, 


335 


340 


345 


moiss Tis; XPE. otos, BAE. Aé€y’ dvicas 6 m1 dys more. 


ED! X , > 4 A 
hv pev katop0dowpev, «0 mparrew del: 
vA a 
qv d€ chadadperv, éritetpipOat TO Taparray. 
XN \ UL ‘\ 4 
TouTl Tovnpov paiverat TO poptiov, 
4 3 > : Weg , ‘\ b) / ” 
Kal ovK GpeoKel, 76 Te yap eLaipvys ayav 
C2 e a Ne 9 f 
ovTws UmepTAouTEtv, TO 8 ad SedorKevae 
\ 3 5 SY 3Q9\ e , b) ? > , 
Mpos avdpos odvdev wytés €or’ eipyacpevov. 
lal A 
mas 8° obdev bytes; BAE. et 7 kexAogus vy Ala 
3. A 9 > , NX , 
exeiVev NKELs GpyUpLov 7] Xpvolov 
Tapa TOU Oeov, Kazett’ tows oor peTapede 
” 
AzrodAov amrotpérrase, wa Ai? eyo pev ov. 
Tavca prvapav, ByA0’> oida yap cadas. 
‘\ x > one he lA 
ov pyoev eis Eu’ Erovdes ToLvovTovi. 
“A e 3QXn 3 a e U > 3 4 
hed: ws ovdev arexvas tyes eoTiv oddeVds, 
3 9, oN MnY 9 9 
GAN’ eicl TOU Kepdous Graves ATTOVES. 
» NURS ’ xe , a 
ov To. pa THY Anuyntp’ vytaiverv pot Soxets. 
e ‘ , RS 23 -, 9. / 
@s TOAD pebéoTny av TpdTEpov Elxev TPdTWY. 


300 


355 


360 


365 


34 


XPE. 
BAE. 


XPE. 


XPE. 
BAE. 
BAE. 
XPE. 


XPE. 


BAE. 


APE. 


BAE. 


XPE. 


XPE. 


BAE. 


BAE. 
BAE. 
APH. 
XPE. 


ARISTOPHANES’ PLUTUS. 


bed 2 X\ \ > 4 
pedrayxXor\Gs, avOpwrre, v7) TOV Ovpavdv. 
GAN’ odd TO BAEup? abTo Kara xwpay ExeEL, 
3 ak ‘ are sr x 4 9 at, 
GAN’ éotiv éridyAov ti weravotpyny’ Ott. 
s ‘ BQ A Uy e > A f 
ov pev 010’ 0 Kpwlers: ws ewov TL KexkNoddros 
Cyteis petadaPetv. BAE. peradaBetv Lytd; tivos; 370 
\ 8’ 2 >t > cag 3 ek es ” 
70 0 é€aTiv ov ToLOUTOV, GAN’ ETEpws ExOV. 
fav od KéexAodas, GAA’ Hpraxas; XPE. Kxaxodatpovas. 
> , 3QX XN 3 td / 2, > U 
GAN’ ode pny arectépynkas y’ ovdeva ; 
ov Ont’ éywy’. BAE. & ‘HpakAes, Pepe, rot tus av 
Tpamo.to; Tadybes yap ovk Cera ppdoa 375 
KaTyyopels yap mpiv pabety To mpayud pov. 
@ Tav, éyw Tou TOUT’ ard OpLKpOd TavU 
COédw Stampagar rpiv wvbécbar tHv wow, 
70 oom’ emiBioas Képpacw Tov pnTdopwv. 
kal wnv pirws y’ av pou Soxels vy Tos Geods 380 
Tpeis vas dvahwoas Aoyicacbar dwdeka. 
GLA 1 Vie BeaeN a , (/ 
Op@ ti’ ért Tov Bypatos Kabedovpevor, 
ikeTypiav €xovTa peta TOV Tradiwv 
Kal THS yuvalKkos, Kov dvoicovT’ avTiKpUS 
tov Hpaxdeddv ovd’ dtiodv trav Tlappirov. 385 
4 > 4 > ‘\ \ ‘ / 
oUK, ® KaKddatpov, GAA TOYS xpHaTOVS OVOUS 
” \ \ \ ‘\ , 
eywye Kal Tovs deEtods Kal odppovas 
amapti tAouTnoa Tojow. BALE. ti od Aéyeus 5 
ovTw Tavu TOAAG KéxAopas; XPE. olpou tov Kakdv, 
dmoXeis. BAE. ot pev otv ceavtov, ds y’ éuot Soxets. 390 
ov Ont’, éet tov [lAotrov, & poxbnpée ov, 
lal lal 'é 
éxw. BAE. ot TWdoctrov; rotov; XPE. atbrov tov Oedv. 
a lal 5] 
Kat Tov otw; XPE. évdov. BAE. wov; XPE. zap 
a 
éuot. BAE. wapa cot; XPE. zavv. 
A 4 
ovk és Képaxas; IlXodtos wapa col; XPE. v7 rods Geous. 
eyes GAO}; XPE. dni. BAE. pos tis “Eorias ; 895 
, \ 
vy tov Tlocedd. BAE. t6v Oadarriov A€yets ; 


> +’ ¢ / fal \ °¢ 
el 0 €or erepds Tis Llomerdav, Tov Erepor. 


BAE. 
XPE. 


APE: 
XPE. 
BAE. 
BAE. 
XPE. 
BAE, 
XPE. 


BAE. 
XPE. 


XPE. 
ITEN. 


TIEN. 


ARISTOPHANES’ PLUTUS. 35 


elr’ ov dvamréumers Kal mpds UGS Tovs didrous; 

> ” \ / IS , ¢ 7 
OvK €OTL TW TA TpayyaT ev TOUT. BAKE. ti dys; 
od TO petadodvac; XPE. pa Alia. Set yap mpdra 

BAE. ti; 400 

Brépar rorjoa vo. BAE. tiva Brdéebar; ppaoov. 

\ a e \ 4 Lipay 4 / id 
tov IIXotrov ws TO zpdrepov Evi yé Tw TPOTY. 
TupArds yop ovtws éoti; XPE. vy tov ovpavov. 
25) SN bn aa ED) HAG vO , 
oUK éTds ap’ ws em’ NADEV ovderrwzoTE. 
GAN Hv Oeot GeAwan, viv adigerar. 405, 
ovKovv iatpov cicayayetv éxpyv Twa. ; 

. Lgiaty lim J ig 3 aA > a 4 
tis Snr iatpos eats viv év TH TOA; 

» Ss ¢€ \ SNM INES SF, b) xf) € , 
ovre yap 6 pucdds ovdev Er’ €or OVf? 7 TExV7. 
oKxoTadpev. XPH. GAN otk eotw. BAE. ovd’ enor Soxel, 
pa Al’, dAXN Orep mara Tapeckevalounv 410, 
éyo, katakAtvew avtov eis "AcKAnTL0d 
Kpatiotov eoTt. BAE. woAd péy ovv vip Tovs Oeods. 

, 4 1a 59 9.34. , ¢ , 
py voy dvatpiB’, GAN’ avue mparrwv ev yé tT. 
kai pnv Padilw, BAEK. oetdé vv. XPE, rotr7’ add Spa. 
* \ + Se of ‘ , 
® Oeppov epyov Kavoctov Kal Tapavomov 415, 
ToApavre Spay avOpwrapiw KaKodaipove, 
Tot mot; TL pevyet’; ov pevetrov; BAE. “HpakAes, 

Eye a \ eA 2 a iN an 
eyo yap buds €€oAd Kakovs Kakds* 
TOAUNLA yap TOAWaTOV OvK avacxXeETOV, 
GAN’ olov ovdels GAAOS OvdeTdroTE 420 
ovte Geds ovr’ avOpwros: wor’ droAdAarTov. 

OSG 7 > \ N N > - a 
ov 0 ei Tis; dXpa pev yap elvai pot doxels. 
+ > , 3 > 7, 
lows “Epis éotw é« Tpaywoias: 

/ , , X\ , 

PrEret yé ToL wavikdv TL Kal TpaywouKoV. 
GAN’ ovk exer yap dadas. BAH. ovxoty krXavoerar. 425 
oleae 0 civan riva pe; XPE. zavdoxevtpiay, 
Nv / > \ vn x 
7) AexGorwdw. od yap av Tocovrovt 

4 e “a 3QXn > , 
evexpayes Huy oddev HoiKNMEVN. 

+ > \ Ue eh 
adyfes; ov yap devotata dedpaxaror, 


36 


XPE. 
ITEN. 
BAE. 
TIEN. 
BAE. 
XPE. 


BAE. 


XPE. 
APE. 


BAE. 


XPE. 


ITEN. 


XPE. 


IITEN. 


ARISTOPHANES’ PLUTUS. 


Cytoivtes ex Taons me xopas exaretv ; 430: 

y+ e 4 4 ‘\ , id 
ovkouv vroAouTov aor 70 Papadpov yiyverat; 
3 > of > / p ae) ie) eee 4 
GAN’ yrs et Aeyew ao Expyy aitixa pada, 
a X\ 4 g a AW 
7 ThO TOLNTW THEpoV Sodvvat OikynVv 
av?’ dv éue Enretrov evOes adavicat 
Lhe ai | ‘ € \ e a , ied 
ap éotw 7 KarnXis HK TOV yeTOvur, 435 
a a , ee 4 , 
H Tals KoTUAas det pe SucAvpaiverat; 

ay a a 

Ilevia pev ovv, 7 obadv Evvorkd 7oAN Eryn. 
dvaé “Azro\Xov Kat Geoi, rot Tus poyy ; 

e y an Ss 4 ‘\ 4 
ovTos, Ti Spas; @ deAdratov od Onpiov, 
ov Tapapevers; BAKE. yKuota ravrwv. XPE. ov pevets 3440: 
GAN’ avope dbo yuvaika pevyomev pay ; 
Ilevia yap éorwv, ® rovnp’, 7s oddapod 

3QN\ , a 3 / 
ovdev mepuxe Cdov éEwAéoTepov. 
o770’, avTiBorG oe, or. BAE. pa At’ éyw pev ov. 
Kal pnv A€yw, Sewdtatov epyov mapa rod 44.5; 
” € "4 > zi ed > \ ~ 
€pywv amdvtwy épyacoue’, ei tov Geov 
épnuov aoAumovte to pevSovpcba 
THVOL SedidTE, pd Srapaxovpeba. 

4 4 nv , U 
motots OrAovow % Svvaper TemoLOores 3 
motov yap ov Odpaka, woiav 8 dorida 450: 
ovK évéexupov TiOyoLW 1 papwrarn ; 
Dapper pdvos yap 6 Gebs odtos 01d’ Ort 
TpoTatov av OTHTALTO TOV TAUTYS TPOTWY. 
, x \ a Ss , 

yprvlew O€ Kal TOAMaTOV, ® Kafappate, 
ex” avtopwpy deva dpdvt’ etAnppevo ; 455: 
ov 8’, ® Kakior’ azroAovpern, ti Nowdopet 
eon en) NG e a 28 , F 
Hptv mpooeA0ovo’ ovd’ oTLovy adiKO’pLEVY § 

3Q\ A. > A n a / 
ovdev yap, © mpos TOV Oedv, vopilere 

> rN Ni fal na , 
aoukety pe TOV IIXodrov Tovety TeLpwpEvw . 

a ‘ 

Brépar matw; XPE. ti ody adixovpev TodTd oe, 460° 
ei Tac avOpwmoiow éxropiComev 


dyabov; ILEN. 7i 8 dv ipels dav eevpol’; XPE, 6 715: 


TIEN. 


ITEN. 


XPE. 
TIEN. 


XPE. 
IITEN. 
XPE. 


XPE. 
TIEN. 
XPE. 
BAE. 
ITEN. 
XOP. 


XPE., 


ARISTOPHANES’ PLUTUS. ot 


oe mpatov éxBaddvtes ex THS EAAdOos. 
9 SS , \ oN / 
eu’ exBadovtes; Kal ti dv vomilere 
a 4 
KaKkov epyacacGan peiCov avOporos; XPE. ots 465 
ei TovTo Spav peddAortes ériAaboipeba. 
Kal pv wept TovTOV opov eHerAw Sodvar Adyov 
TO TpOToV aitov: Kav pev arodyvw povnv 
> la) e€ Id > SZ, cy 
ayabav drdvrwy otcay aitiav éue 
tpiv Ov ewe te CovTas twas: et dé pan, 4:70 
an »” ano 7 x ny an lal 
TOLetTOV HON TOVO’ 6 TL Uy Upty SoKy. 
‘ \ a = U4 / 
TavTi ov TOAUGS, ® plapwratyn, A€yew ; 
\ , id , \ 3 e V4 
kal ov ye OudaKour mavy yap oipar padiws 
LY 5) fe / / bye ao) i Sah, 
amav0’ dpaptavovTa oa dodeifew eyo, 
el Tous duxaious dys womoew TAovaiovs. 475 
7 (4 \ , > 9. ae 
® TUpmava Kal KUpwves OvK GpHere ; 
ov de? oxerAualew Kat Body piv av pabys. 
\ / UU 91 IN X “A | ea Rt oa | 
Kat tis Ovvatt’ av py oay iov iov 
a 
towavr akovwyv; ILEN. doris éotiv ed dpovav. 
a , n~ 
ri Ord cou tiny’ ercypaww TH déky, 480 
eay GAGs; ITEN. 6 tu cou Soxet. XPE. xadés Aé€yets. 
\ x VND IN e a 6 iN \ 6 La) a] a 
TO yap avr’, éav yTTGoGe, Kat odw det raetv. 
e ay 4 an fP »” 
ixavous vopilets Onta Pavatovs €ikoow ; 
TAUTH ye VOV dé dv’ aroxpyjoovow pove. 
ovk dv Pavoitov TovTo mparrovT’: 7 Ti yap 485 
éxou tis dy Sikavov dvteirely Ere; 
> eA ip) iA e “a x a , \ 
GAN 78y XpHv Te AEyewv tas Gopdv © viKHoeETE THVOL 
>. a / ) 4 \ > 39 , / 
év Totat Ndyous dvTiAéyovtest padaxov 8’ evddoere wndev. 
pavepov pev eywy’ olor yvovat TovT’ elvar Tac dpoiws, 
7 AY \ a A) , S , ° \ 4 
OTL TOUS xpyoTots TOV aVOpoTov ed mparrew eort Oi- 
KQLoV, 490 
\ \ \ ‘\ \ 3’ , > / , 
Tous d¢ movnpovs Kal Tovs aBéous TOUTwY TavavTia SHTov. 
ye) > e fal 5 ~ 2. WA ov , 
TovT ov Hers erGupodvTes pddus evpopev WoTe yever bau 
BovAevpa kadov Kat yevvatov Kal xpyowov eis Amav Epyov. 


hv yop 6 TAotros vuvt Bre Wy Kat py TUPASs dv wepwoorh, 


38 


BAE. 
XPE. 


TIEN. 


XPE. 


ARISTOPHANES’ PLUTUS. 


e ‘ 3 ‘ a 3 , § a 3 5) 
@s Tous adyabovs tov avOporwv .Badvetrat KovK dzro- 
eter, 495 
A ms ‘ ‘ ‘ 2’ a > , 
Tous d€ Tovypods Kal Tods aOéous pevketrarr Kata Tojcer 
TAVTAS XpNoTOvs Kai TAovTOvYTas SHOU Ta TE Geta ceé- 
Bovras. 
, U a > , , NN ° , Sw. 
Kaito. ToUTOV Tots avOpwrots Tis Uv eEevpor ToT’ apewov ; 
) ‘ »” 3.78 , , de (A 3 33 , 
ovdels GV* €yw TOUTOU papTus’ pydEv TavTHY y’ avEpwTa. 
ws pev yap vov yutv 6 Bios tots avOpdrors Sidkertar, 500 
7K > e (Vek PANE. 22 , 5 iy 5 + a 
tis Gv Ovx WYOUT’ €ivat paviav, KaKodatpoviay 7’ éTt wadAov; 
\ \ ni a > , ” aA , 
modAol pev yap Tov avOparwv ovtes tOVTODEL ToVNpot, 
adikus adta Ev\rAcEapevor- ToAXot 8 dvres wavy ypyotot 
Mpatrovol KakOs Kal TelvGow peTa TOU TE TA TAELoTA 
ovveioey. 
> Lal 
ovkovy elval py’, ef mavoar Tair’ auBdrebas zrob’ 
TIAovros, 505 
ear 9 Pay al . 7 ° 47fAI N , - 
6d0v Hy Tis inv Tots avOpwros aya? av peiLw ropicetev. 
> te 2 iA ea 33. , ? / ? > e , 
GAN @ mavtwv pact’ avOpiruv avareobévr’ ody tytatvew 
U , , a lad ‘ , 
dto mpea Bra, EvvOiacwra tod Aypely Kai Taparratew, 
cal A r “ A 
ei tovto yevoul’ 6 rofei® speis, ov pyy’ av Avotredely 
opuv. 
et yap 6 IlAotros BréPere wadw Sdtaveimeev 7’ toov 
auTov, 510) 
»¥ / v a ° ie Eee Se ' , 4 
ovre Texvnv av TOV avOpwrwv ovr’ dv Godiav pedeTaY 
obdels: apdoiv 0’ Rey Tovrow ees: eOehy get 
é yl yt ys » 
tis 5 xaNedeu § v7) vaiyary ev 7 SamTeEly 7. Fpoxomouele 
° Ray PHAR - Voy, 2 Lf MS0ZOG), Ht 
y FKUToFOpELY qT. wy oupyewy 7 TAvvEL tobepety 
ys apdtpos pygas ddredov Kaprov Anods Hepi- 
cacba, old 
mY Py el A ° a ee) , Zz 9 A 
nv e&n Sav apyots ty tovTwv Tavtwv dpedodov ; 
Ajpov Anpets. Tatta yap nuivy wav?’ doa viv dy KaT- 
i: 
é\cEas 
ot Oepdrrortes poxPynoovow. TIEN. rddev ovv é&ers bepa- 
TOVTAS ; 


XPE. 


TIEN. 


ITEN. 


X PE. 


ARISTOPHANES’ PLUTUS. 389 


l4 3 , A 
avycoue? apyvpiov Syrov. ILEN. tis 8 éorat mpdrov 6 
TwrOv, 
9 > , 3: A »” , ld 
OTav apyuploy Kakeivos €xn; XPE. kepdaivery Bovdd- 
/, 
LEVOS TLS 520 
»” 4 3 / | Nie ok ee ? aA 
europos nKwv €kK MerraXias tap’ arictwy avdparodicrov. 
GAN’ ovo’ Extra TPOTOV GravTwv ovdels ovd’ avdpamod.oTns 
S “ , a \ , , 4 Q a 
Kata tov Adyov ov av Aé€yes Syrov. tis yap mrovTaov 
b] , 
eAjoet 
, QA A wn nw e nw A A 
KiOuvevwv Tepl THS WuxNs THs atTov TodTo TouAoaL ; 
wor avtos apoty éravayKxacOeis Kal oKxamrew tarda Te 
poxGeiv 525 
dduvnporepov Tpivers Biorov roAd Tod viv. XPE. és xe- 
hadny col. 
ert 8 odx e€ers ovr’ ev Kdivy KatadapHeiv: od tba éxovTaue | 
OW, 
ovr’ ev damicw" Tis yap thaivery ede xXpvalov ovTos; 
OUTE pUpoow pupicaL oTaKTols, bday viudyv ayd- 
ynobov: 
ov? ivatiwy Barrdv Sardvais Koopjoar moiropdp- 
pov. 530 
7 Z, 4 A »” 4, , > A 
Kaito. Ti wA€ov wAOUTELY EOTAL TOVTWY TAVTWY amTopodVYTA; 
733 A >” Anz » fi bee ak Dew a) e A 
map éuov 0 éotw Tatr’ evropa trav’ ipiv dv detcbov: 
eyo yap 
‘ s ge , ; Pilie  ) 44 , 
Tov xElpoTexvnv WoTeEp Séorow’ eravaykalovoa KaOnuar 
dia THY xpelav Kal THY Treviav Cytety rdbev Blov eet. 
ov yap av Topica ti diva’ ayabdv, tAnv Podwv ek Ba- 
Aavelov 535 
Kal raidapiwy dromevovTwv Kal Boo KoAoCUpTOV ; 
WAS 2 45 L 
Pbeipav 7’ apiOuov kal KwvioTov Kal pees ovoe heye oot 
td Tov wANOovs, at BopBortoat wept THY Keharny aviacu, 
° , \ 7, , > 952 , 
emeyetpovoat Kal ppalovoa, mewjoets, aAN eraviorw. 
x , -. > b at 3 Z \ ” en7. ) Q Q 
mpos O€ ye TovToLs avO imatiov pev exe pakos: avti dé 
KAS 540 


ey , , y a i) aS eet, 
oTiBa a TXOLVWV KOPEWV [EOTYHV, 1) TOUS EVOOVTAS EVELpEL* 


40 


ARISTOPHANES’ PLUTUS. 


~ \ ” 3 AN 4 / 3 ‘\ XN 
kal hoppov exe avi tarytos campdv: avtt S€ mpooKe- 
padaiou, 
Nov ebueyeOn rpods TH Senet Baa & dyti pev aptov 


1 Dow ot ys pwaddxns aroplous, avi dé pays Cae, loxyiy ses 


TIEN. 


XPE. 


vidwv, a 
4 * 
dvtt dé Opdvov orduvov Kepadjv Kateaydtos, ave be pdicetonsce 
Tpas 545 


td XN > aA \ 7 > / ~ 
mibaxvys tAEupay eppwyviay Kat TavTHV. apa ye toANO@v 
> lan a Aes , > i 5 ew > 
ayalav racw Tots avOparos aropaivw oa’ aitiov ovcay ; 
‘ N > \ ON 4 ” \ A a 6” € 
ov pev ov Tov e€uov Biov EipnKas, TOV TOV TTWXaV O’ UTE- 
Kpovow. 


> a , a , , N > > s 
ovKody Syzov THS TTwWXElas Teviay papev elvar adeAPyy. 


€ “a ’ 7 \ , 4 > 7 
TIEN, tyets y’ oirep kat OpacvBovAw Acovicrov efvat oporov. 


XPE. 


GAN odx ovpos TodTo mérovOev Bios od pa Ai’, oddé ye 
pede. 551 

an \ \ / aA \ Z A PY \ + 
TTwxov pev yap Bios, ov od eyes, Ghv éotw pndev exovTa: 
Tov de méevytos Cyv Peddpevov Kal Tots Epyous mpocéxovta, 

/ >] > tal 4 ‘\ ye ee) 4. 
teprylyvec Oar 8 aitad pycev, py wévror pnd’ émdeirewy. 
ws paxapirnv, ® Adpuatep, tov Biov aitod karéAeEas, 555 
ei hevtdpevos kal woxOynocas KatadeiWer pnde tapjvar. 


TIEN. oxorrev reipa Kat Kwpwdely ToD orovddlev dpedjoas, 
& t 


XPE. 
TIEN. 


XPE. 


ov yryveorKov Ort ToD TdovTov wapéxw BeAtiovas avdpas 


‘\ ‘ 4 \ XN 2Q7 X\ ~ ‘\ Xx 
Kal THV yvopunv Kal THY idéav. Tapa TO wev yap 7od- 


Py ypOvre 
* Cekay® 

Kal yaoTpwoes Kal Fan une Kal miovés €iow doed- 

yas, 560 


9: 3 \ 8 +} \ N 79 A lal by 6 nw > fr 
map eso & icxvoi kat opykddes Kat Tots éxPpots aviapoi. 
> x. A > A NX ” > A \ BY) XN 7 
G7rd ToD AyLod yap tows avtots TO oPyKwdes Gv Topilets. 

\ / ” vA n - 

Tept cwppoctyys non Tolvuy Tepave opov KavadidaEw 
4 / 3 a) ? > a ~ (A We i) ‘ 
OTL KOopLOTNS oiKel per eov, Tov TAovrTou 8 éotiv 
wBpilev. 
, a , , Dongs \ N , ~ , 
wavu yovv KAérrew KoopmLov éoTLV Kat TOUS TOLxOUS CLOpUT- 


TEL. 065 


[BAE. 
TIEN. 


XPE. 


TIEN. 


XPE. 


TIEN. 


XPE. 


ARISTUPHANES’ PLUTUS. 4] 


vn tov Av’, ef det AaHeEty airov, THs obxt KdopLY eorte ; | 
/ , ° na , x (eels e € , ‘ 
oxéevat Tolvuy év Tats ToAEoW TOUS pPyTopas, ws dadTav pev 
> , \ . n \ x “4 SuN Vd 
@ou wévyTes, Tept TOV Onov Kal THY TOAW ciol diKaLoL, 
mrovtycavtes 0 Gro TOV KolVOv TapaxpH’ dduKou yeyé- 
VHVTAL, 
, A la) ind 
émiBovrevovat Te TO TANVEL Kai TO OHpuwW TOAEMOdaLY. 570 
GAN’ od Pevoe ToUTwY y’ oidev, KaiTEp TPodpa PaoKavos 
. ouca. 
S25Ni 3 La a ’ Doe , be id / 
drap obx yTTOV y’ ovdev KAaYoEL, pNdeV TAYTH ye KOUHoNS, 
lal A > An 
étuy Cyrels TovT’ avaTeiVew Huds, os EoTW apelvwv 
mevia TAovTov. TIEN. kat ov y’ édéyEar p’ ovrw Sivacat 
TEpt TOUTOV, 
lal ~ x lal 
ara pdrvapels kat mrepvyiles. XPEH. kat tds hevyovat 
o amayres; YAS) 
, lat 
ote BeATiovs adTovs Tod. oKkeacba 0 eoTt wardtora, 
> la’ f a 
amd TOV Talcwv: To’s yap Tarépas hevyovot, Ppovotvras 
dpirra. 
> a 9 , \ lal be) iy , 
avTots. ovTw divayryvwoKe xaderov Tpayy’ €or ScKaLov. 
X / , be ghee 3 =) an vA \ , 
tov Ala dyjcets dp’ ovk dpOas duayryvooKew TO KpaticToy: 
> a \ XN A ” / ere > 
KaKELVOS ‘yap TOV wAOUTOV exer. BAE. tavryv 8 yyly aro- 
TE[LTEL. 580 
adr’ @ Kpovixats Ajpais ovrws AnwOvtes Tas Hpevas audw, 
6 Zevs Syrov réverar, Kat TovT’ non pavepas oe dudatw. 
5 . ) yA an xv n \ 3 x 3. NN A 
ei yap érAovTEL, TOS dv TOLOV TOV "OAvpTLKOV adTos ayava, 
cy ? 
iva Tous “EXAnvas aavtas aet dv’ €rous wéeumtou svva- 
yeipet, 
2 , la > la ‘ a i 
AVEKNPUTTEV TOV ATKYTOY TOUS ViKaVTAs oTEpavwoas J85 
kotivw otepavw; Kaito. xpvod paddov éypyv, eimep 
é7AovUTEL. 
3 nw , we an an \. A 3 nw 
ovKovy TOUTH SyToVv CHAO? TYLOV TOV TAODTOY exelvos: 
peddmevos yap Kai HovrAdpevos TovTov pydev darravacOan, 
Anpots avada@v Tos viKoVTas Tov TAODTOV €& Tap’ EavTO. 


TOAD THS mevias TPayy’ aiocyov Eytets aito wepidwar, 590 


42 


XPE. 
TIEN. 


ITEN. 
XPE. 
IITEN. 
XPE. 
TIEN. 
XPE. 


HEN, 


XPE. 


BAE. 


XPE. 


ARISTOPHANES’ PLUTUS. 


ei tAOvaLOS dy dvedevOepds éo8’ obtwol Kal diroKepdys. 

GANG Ey’ 6 Zeus €EorEcerev KoTiVH OTEhavyw OTEhavecas. 

TO yap avti€yew ToALGay bas ws ob wav’ err’ dyad? Suty 

dia THY Heviayv. XPE. rapa ris “Exaryns eeatw rodro 
rvbécbat, 

elite TO AOvTEty eiTe TO Tey BeATLOv. dyot yap arn 595 

TOUS meV ExovTUS Kal wAOVTODVTAS SeirvOY TpoTdyeW KATE 
ae ee 

A Oe , a > 4 e , a lal 

Tous d€ TevnTas Tov avOpdrwy apralew mpi KaraGelvat. 

GAA POeipov Kai uy ypvéys 

€rt pnd’ StLodv. 

ov yap Treicets, ovd Nv weEions. 600 

& Tous “Apyous, kr\veb” ota A€yet. 

Tlavowva kadeu rov Evoourov. 

, , , 

ti raOw TAHpwv ; 

»” 7.3 , “A S Sages Ue Joa Sea 

épp’ és kopaxas Oarrov ad’ hud. 

elu O€ Tot ys; 605 

és Tov Kigwv’s GX’ ov péAXrew 

xpn a, GAN’ avveuw. 

> ‘ 3 ‘a Yb b n 

7] pny vpets y’ ere p’ evtavot 

perarréeuweo Gov. 

ToTe vooTyces* vov dé dheipov. 610 

KpetTTov ‘yap jot TrAovTELY eoTiy, | 

oe 0’ €av KAde paKxpa THY Kepadyy. 

vy At’ éyw yotv é6€Aw mAovTOV 

eWwyeloGar peta THY TaLduv 

THS TE YuvatKkos, Kat Novodpevos 615 

Aurapos ywpov ex Badravetov 

TOV XELPOTEXVOV 

\ a , A 

kat THs Ilevias Katamrapdety. 

QUTN pev HLY YTITpiTTOS oLXETAL. 

éy o€ Kal ov y’ @s TAXLOTA TOV Geov 620 


> ~ 9 »” ° > wn 
éyxatakAwovvT’ aywuev eis AoxAnzlov. 


BAE. 


XPE. 


KAP. 


XOP. 


KAP. 


AXOP. 
KAP. 
XOP. 


Ns 


KAP. 


KAP. 


ARISTOPHANES’ PLUTUS. 


‘\ ‘\ O fA , ‘\ Le = 
Kal wy OlvaTpiBupev ye, wr) wadw Ts ad 
> SS , la) »” lal 
EOwv diaxwlvian Te THY mpotpyov mrotelv. 

A K , \ , de ge lf Ja9 gs 
mat Kaptwv, ra orpapar’ éxpépery o° expyy, 

teed >” ‘\ Le) e / 
avtov T aye Tov IIXovrov, os vopilerat, 

\ » t bee. (gee ) ‘ 
Kat TaAN’ Oo” eotiv evoov edtpemiopéva. 


| XOPOY. 
© mrEiota Onceiows pepvotiAnpévot 
yépovres avdpes ex’ dAryicros addirois, 
as eiTvyEil’, Os paxapiws Tempayate, 

* Bee, , A A , 
dAXo & soos pérecte ToD xpyoTod TpdTov. 
ti 8 éotw & BéAticTE THY GavTOd dirwy; 
daiver yap new ayyedos xpyorod Twos. 

6 deordrns rémpayev eitvxécTata, 

paddAov 8’ 6 Todros airds: avtl yap tupd0d 
2 , \ , , 
eSwppatwrat kal Aekaumpuvrat Kdpas, 
"AckAnTiod Tratdvos etpevods TuXW. 

Aeyets poe xapay, A€yes rou Body. 

, - ” , >” v4 
mapeote xatpew, nv te BovrdyoW Hv Te py. 
> 4, \ yy \ 
avaBodcopat Tov evraida Kat 
peéya Bpototor Péyyos “AckAnmidv. 

rig i€ A 3,19 i ea Mee a 
tis 9 Bon mor’ éotty ; dp’ adrayyeAed 
xXpnoTov TL; TOTO yap 7oOota’ éyw madau 
évoov KaOnuat Teptevovea TovToVi. 

/ / hind > > / > ¢ 
Taxews TaXEws Hép’ olvov, ® dé€arrow’, iva 
KaiTy Tins: didrcts dé dpdo’ aito odddpas 
as ayaa ovrAAnBenv dravtad cor pépw. 


Kai Tov "oti; KAP. éy rots Aeyouévors eioer Taxa. 


(i id 7 2 SLAs, , 
mTépawve TOLvUY O TL A€yets AVUGAS TOTE. 
»” , \ U4 
GKOVE TOLVUY, WS eyo TA TPAyLaArTa. 


, 4 2 
€k TOV TOCOV és THV Kehadny Got TaVT’ Epo. 


43 


625 


630 


635 


640 


645. 


650 


py oar enor’ és rv Kepadrnv. KAP. yy tayaba 


a A , N N > \ , 
& vov yeyevytar; TY. py pev ovy 7a rpayyara, 


AA ARISTOPHANES’ PLUTUS. 


KAP. as yap tayior’ adixopefa pos Tov Oedv 
” »” , x > VA 
ayovres avdpa TOTE pwev GOAWTaTOV, 
viv 0 et Tw’ GdXov pakdplov Kevdatpova, 
TpOTov mev avtov emt Oararray yyomev, 
exeit éhotwev. TY. vy A’ etvdaluwv ap’ jv 
dvip yepuv Wuxypa Gadarry ovjpevos. 
»” ‘ \ , 5 aA A 
KAP. evetta mpos 70 TEpeEvos Huev TOD Heod. 
. ‘\ “~ , \ 
evel 0€ Bwyd woTava Kat OvAnpata 
xabwowby wéeAavos “Hpaicrov pdroyé, 
, \ a Y 3). aN - 
katekAwwapev Tov IIXovTov, womep €ikos hve 
¢ 56 Fie. , 7 
pov 0 exaotos oT1 Sada TapEeKaTTveETo. 
TY.  joav d€ tives KadXor deopevoe TOD Deod ; 
KAP. cis pev ye NeokXetdns, os eore pev TuPprAds, 
o sy X he e fe 
KAertwv d€ Tovs PXA€zovTas UrEepyKovTiKey 
a ie. ‘ AS , 
€TEpot Te TOAAOL TaVTOOATA VoonmaTa 
»” e ‘\ ‘ , > , 
Exovtes: ws d€ Tovs AvXVOUs arog Bécas 
Cle , 9) ts) , a A 
Hpi mapynyyer’ eyxadevdev Tod Geov 
€. , , 4 ” »” , 
© mpoTroAos, €izwv, nv Tis aicPyTa Woon, 
OLyGv, GTAVTES KOTpLlWs KaTeKElWEeJa. 
Kayo KaGevdew otk eduvaynv, GAAG pe 
> , o ° / , 
GOapas xUtpa Tis eEeANTTE KEyevn 
oALyov arwbev THs Kepadfs Tod ypadtov, 
2 9 A ° , / > , 
eh’ nv ereOvpovy datpoviws epepTicat 
éreit avaBA<pas op® Tov tepéea 
tovs PUois apaptalovta Kat Tas icxadas 
amo THS Tpamelns THs lepas. pera TovTo Se 
mepinAOe Tovs Bwpovts aravras év K’KAW, 
€l TOU TOTAVOV EN TL KaTAAEAELLLEVOV® 
eveita TALC’ Hyiev eis TaKTaY Tia, 
Kay vouioas TOAAHY balay TOU Tpay~aTos 
eT THV XUTpav THY THS GOapas avicTapat. 
TY. taddvrar’ avdpov, ok ededoikes TOV Oedv; 


KAP. v7 tovs Oeovs eywye py Pbdoe€ pe 


655 


660 


665 


670 


675 


680 


685 


ry. 


EX 
EY. 


I bs 


KAP. 


ARISTOPHANES’ PLUTUS. AS 


LAA ‘ U 2 XN ” \ , 
émt THY XUTpav EAPov Exwv TA OTe LATA. 
€ \ e ‘ So) aA -) yee 
0 yap lepers adrov pe mpovdidagarTo. 
»” 
TO ypadiov 8 ws yobeto Tov pov tov Wodor, 
nn “~ 3S 
THY XElp’ Urepype’ Kata oupi~as eya 
60a€ eAaBounv, ws mapeias dv ods. 690 
eon 3497 \ a , Bi, 
7 © eiOéws THY xXElpa Tad dvéeorace, 
/ ? © \ 2 / 3: 16, coe 
Katéxeto 0 avtTyy evtvAi~ac’ yovy7. 
Kayo TOT’ Hon THS GOapas ToAAHY eprov: 
€meut ézreion) pecTOs NV, dverradAounv. 695 
6 5é Geos tyty od mpooyew; KAP. oddézw. 
‘ a) ‘ ‘ 2 AN s ie 
peta TavT’ éyw pev evOvs évexaduauny 
4 > a 3749) , \ fd 
deioas, éexetvos 0 év KUKAM Ta VooHpATA 
aw , 
TKOTOY TEPLNEL TAVTA KOTLLWS AVY, 
ereita Tais ad’T@ ArOwov Oveidiov 710 
fb X / \ fa 
mapeOnke Kat SoiduKa Kat KuBurtuov. 
iOwov; KAP. pa Ac’ od df7’, odxi 76 ye KiBartrov. 
x \ a e/ Ss vA 23) , 
ov dé Tas édpas, & KaKLoT’ GroAovpeEVE, 
Os éykexadidba dys; KAP. dua rod tpiBwvriov. 
Omas yap €ixev ovK dAiyas wa Tov Aia. 715 
mpatov 6¢ mavtwv TO NeoxAcidn bapyaxov 
katamAacrov évexeipyoe TplLBery, euPpadov 
oKopddwy Kepadas tpets Tyviwy. exer’ pra 
év TH Oveia. cuprrapapiyvvwv drov 
Q a > > >> a 7 , 
Kal oXivov" «lr Ofer CLepevos Bhyrriv, 


KatérAacev aitod Ta A€pap’ exoTpeWas, wa 


NI 
to 
© 


dduvGTo paddov. 6 d€ Kexpayas Kat Boov 
epevy’ avatas: 6 dé Feds yeAaoas Eby: 
evtavda viv Kibyoo KatameTAacpEvos, 
det ee] Ve , fal ry , 4 
iw’ éropvipevoy Tavow oe THS ekkANoLas. 725 
as pird7oNs tis eof 6 daipwv Kat codos. 
“ A A , 44 

peta Tovto TO TAovtwvt rapexabelero, 

‘\ la \ \ an a 5 , 
Kat mpota pev b7 THS Kepadys epywaro, 
»” x ¢ y2 A 
éreita Kabapov yuttviov AaBov 


46 


KAP. 


sh 


ARISTOPHANES’ PLUTUS. 


7a BrA€hapa wepeyoev: 7 Tlavaxea be 
, ’ 3 lal A \ 4 

Katerérae’ avtov Thy Kepadny howiKide 

‘\ “ X / Sf)? e x = z, 
Kal TaV TO TMpocwrov: «0 6 Oeds érommucer. 
eéngatnv ovv vo Spakovt’ ék Tod vew 
breppvets TO péyebos. TY. & pidor Oeoi. 
tovTw 0 bro THv howrkid’ trodivl jovyy 
Ta rA€papa mepreAerxov, ws y’ Ewovddxet 

x 4 4 > A ” / 
kal mpiv oe KoTUAas exmuety olvou b€xa 
6 [IAotros, & d€a7ow’, avertyKe: BA€TwV? 
SN be ‘\ Cole oe) z, 3 71e > ex A 
€yw O€ TH XElp’ aveKpdtyna’ id’ Hovis, 

x C , b ae, & € \ eee AVL 
Tov CearroTyy T Hyetpov. 6 Oeds 0’ edOews 
> / CEN 9 9:59, > A , 
Hpavicey AVTOV OL 7 Opes cis TOV VEwV. 

Lda, Bia , ? 2 A a i} 
ot 8 éyKatakeiwevor Tap’ aiTd wos Soxets 
tov IlAotrov jordlovto Kal tiv vix0’ oAnv 
2 , 7 , c fe 
eypyyoperay, ews dveAapwev Hepa. 
> SS 6’ > , \ \ , / 
éyw 0’ érnvovv Tov Oeov ravy opddpa, 
ore BrErew exoince Tov I1XodTov Taxv, 
tov d€ NeoxXelonv adXov éxoincev TUPAdy. 
oe ” N , Ss / 
oonv exes THY OUvapuy, @vag S€a7roTa. 


730 


735 


740 


745 


atap ppadcov pot, wrod ’of 6 TIXotros; KAP. epxerau. 


Tle 8 
GAN’ Hv wept avrov dxAos treppurs Owos. 
e MS , i ” \ z 
ol yap Sixatoe mpotepov ovrTes Kat Biov 
»” 3 7 Lee > / AN 
€xovres OALyov aitov noTalovTo Kat 
3 a A Ct eA Ie a 
edckiovv? aravres trO THS NOOVS* 
Bid pia | , pained ST ee < 
dco. 0’ erAovTOvY oiaiayv 7 eixov cUXVHY 
> 2 i ‘ i Ie 54 
OvK ék OtKalov TOV [lov KEKTNMEVOL, 
> ~ A > / / ba 
opps cuvnyov éeoxrOparralov CO dpa. 
e 2 2 4, / $3 te 
ot 0 HKoAOVOovy Katorw eorehavwpevol, 
an c) A ’ an X 
yAavres, edpywotvress ExtuTreito be 
3 SS rd > vd , 
euBas yepovtwy eipvOuors tpoBnyacw. 
8 
GAN’ et’ aragaravtes & Evds Adyov 
a a N 
6pxetabe Kat oKipTare Kal Xopevere* 
3 ‘ ‘ CAN > A > al 
ovdels yap tytv cictotow adyyedet 


750 


700 


760 


ARISTOPHANES’ PLUTUS. 47 


@s aAdur’ odk everti ev TO OvAGKY. 
TY. 9) tHv “Exaryy, kayo 8 dvadjoat BovrAopar 
evayyehida oe KpBavwTav 6ppala, 765 
To.atr’ amayyeAavtra. KAP. py vv pédd’ er, 
e bug 2 , > + n a 
as avopes éyyus eiow 7dn TOV Oupdv. 


TY. = fépe vv ioto’ iow Kopicw Kataxiopata 
? , > Ee Re 
ooTEp vewvyToLoly 6pPUadpots eye. 
KAP, éya & aravrncat y’ éxeivors Bovopau. 770 
XOPOY. 


TIA. xat rpooxvvd ye mpata péev tov “HXiov, 
éreta ceuvns IlaAdados KXewdv 7édov, 
Ud A , 4 > 26 , 
xXwpav Te Tacav Kéxpomos, 7 p’ edekarto. 
3 vA \ \ > A , 
aicyivopat dé Tas é“avTod cuudopas, 
olois dp’ avOpwros Evvav eAdvOavov, (do 
‘\ 3 ¢&/ XN ‘ Swen e P. 
Tors agious dé THs euns dpirias 
epevyov, eidws ovdev? & TAHpwv eyo. 
e EA ee | oa Jie Mee J + And. Ss an A 
@s ovr’ éxetv’ ap’ ovre Tat7’ 6pOas pws 
GAN’ atta mdvta wadw avactpéas eyw 
deiEw 76 Aorov Tacw avOpwrots Ott 780 
GKwv €“avTov Tots Tovypots emedicouv. 
XPE. Bard’ és Kdpaxas: ds xaderdv ciow of Piror 
ob hatvomevor Tapaxphy’ OTav mpaTTy Tus ev. 
vitTrovet yap Kat prAGou TavTiKVHpWLA,, 
> , o » lé id 
EVOELKVULEVOS EKATTOS EVVOLAY TIVO. 785 
3 A ‘ va 3 an n 3 » 
€ue yap Tis od Tpocetre ; Totos OK OyAOS 
Tepieatepavwcer ev ayopa tpeoButiKds ; 
TY. © ¢idrrar’ dvdpav, kat od Kal od yxalpere. 
pepe vv, vomos yap €or, TA KaTAXVO PAT, 
TavTt Kataxéw cov AaBotoa. ILA. pndapds. 790 
€“ov yap elouovTos eis THY oiKiay 
mpwtioTa Kat BAdpavros oddev exepetv 


mpeTOodEs €oT, GAAG pwadrXov ciodepetv. 


48 


rx 
IIA. 


DY, 


KAP. 


AIK. 


AIK, 


ARISTOPHANES’ PLUTUS. 


5) SN z a \ 7, 
cir’ ovxt defer Snta Ta KaTaxvopata ; 

” QA \ (2 lA 7 la 
e€voov ye Tapa THY €otiav, doTEp vOMOS* 
+ \ \ / > tf y¥ 
eTelTaA Kal TOV PdpTov expvyowyev av. 

3 \ n / > a , 
ov yap mpeTOdés eott TO OidackddAw 
> , ‘\ / aA , 
icxddia Kat tpwydAva Tots Gewpevors 
mpoBarovr’, eri tovtows ett’ dvaykalew yeAGy. 
> 4 4 e id “4 b] e x. 
eb wavu déyes: ws Ackivixds y’ ottoct 


ee 4 jie Je , <9 , 
avioral WS APTATOMEVOS TAS ioxadas. 


XOPOY. 
e HOU , > 5 ” ’ vO. , 
WS YOU TPATTELY, MVOPES, ETT EVOALLOVS, 

‘ A \ > Leak ae A 
kal TadTa pydev ekeveykovt’ otKobev. 
CLA ‘\ 3 lal \ 3 ‘ DF 
Hut yap ayabav cwpos eis THY oiKkiav 
rc) Me EBNSS 5 V4 
CTELOTETALKEY ODOEV TPOLKNKOOLW. 

9 \ Aes 's e Qn lay , 
[ovrw 76 mAovtety eat Hdd rpaypya 87. | 
€ XN A [ae lal > 7 
nN pev ovrin peaty ote Aevkov addituv, 

e eas) A ” , > / 
ot 0 audopys oivov péAavos avOocpiov. 
aravra 0 nuiv apyupiov Kal xpvalov 

X , 77 ) , o , 
TA oKevapia TANPN aoTiv, OoTe Oavpacat. 
To dpéeap 8 eAaiov peatov: at dé AnKvOor 

4, , \ 7.-1€ at > t 
pvpov yenovat, 70 8’ drepdov icy aduv. 


dis O€ waca Kal AoTadiov Kal yUTpa 


XaAKH yeyover Tovs dé mivakioKovs To’s Gampods 


\ 3 XN > A 4 ae “~ 

tors ixfunpods apyupods rapecP Spay. 
€ oO 2 \ , IMC eres 2 , > iA 
6 0 ives yéyov’ nut eLamivns éhepdvtwos. 

“~ > ec , > td 
otatnpat © ot Oeparrovtes aptialopev 

A (4 8 / \ ” 6 “ 
xpucots. 6 deamdorys pev evdov BovOuret 
ty kal Tpa@yov Kal Kplov éeorepavwpevos, 
FN a3 , < t > ole >. 
ewe 0 eEereuev 6 Kavos. ody olds Te yap 
évoov pevery HV. edakve yap Ta BrAEpapa pov. 
o 9 3) na , a \ \ AY 
€7r0v eT’ E00 TaLddpLloy, iva mpos Tov Oedv 
twyev. KAP. éa, tis éo@ 6 mpoowy ovtoat; 
SEN lé \ »” A ) > tA 
avnp mporepov ev aOALos, viv 0’ edrvxys. 


795 


800 


805 


810 


815 


820 


825 


AIK. 


ARISTOPHANES’ PLUTUS. 


A ° nw Qn ‘ 
OnXov Ott TOV ypNnoTav Tis, ws EoKas, El. 


49 


padior. KAP. éxeta tov dé; AIK. mpds tov Oedv 


7 vA v2 > \ > aA »¥ 
kw. peydruv yap movoTiv dyabav aitwos. 
éyo yap tkavyv ovciav Tapa. TOU TATpPOS 
ih Lal n 
AaBav erypKovy Tots deomévors TOV pilwy, 
> / , \ aN 4 
elvan vouilwv ypyoy.ov pos Tov iov. 
ss 
7 TOU TE TaXews ErreALTTEV TH. YpHuaTa. 


830 


Kopucn pev ov. KAP. ovxoty pera tadr’ Ao@’ GAs. 


a S a SreN SN tA a , 
KOMLOH MeV OV. KAYO Mev WUNV OUs TEwsS 
3 / lA 7 / 
evnpyeTnoa Seopevous ew pidous 
» HA 3 i ls 
ovtws BeBaious, ei Senfetny more: 


€ Q> 9 , 325 INS eon ey 
ou r) egetpemovTo KOUK €00KOUV Opav fL eTl. 


kat kateyéAwy 0’, ev 010’ ott, AIK. xopidy pév ovv. 


3 ‘ Ni By aA , ce if 
adxpos yap ov TOV oKEevapiwv p’ ardderev. 
A \ 
GAN’ odxi viv. avO’ dv éya mpds Tov Oedv 
e&/ 4 , > , 
mpocevEdpevos Hkw Oukaiws evOade. 
\ , Sy l4 iA XN \ i4 
TO TeLBdviov dé ti SvvaTat pds Tov Oedv, 
a / XN A ‘ , id 4 
0 epet peta GOV TO TaLdapLov TouTi; dPpacov. 
\ Ax) 33 lA + x \ ME, 
Kat TovT’ avabyowv épyopat mpos Tov Oedv. 
A E) , [oleae Pat) 3 A ‘ , 
pav éeveuvyOns O77 év adT@d Ta peydAra. ; 
+ 3 bak) £ 77” , 
ovK, GAN’ éveppiywo’ rn TpiaxaideKa.. 
7a 0 euBddia; AIK. kai ratra cvveyeudlero. 
Kat tavr’ avabyowv épepes ovv; AIK. vy tov Ala. 
, , 32D, Oo A 6 a , 
XaplevTa y HKEls OWpa THO Vew hepwv. 
, 4 
Olp0L KaKOdaipwY, OS aTdAwAa Seidaos, 
4 
Kal Tpls KAKOOALMWY KAL TETPAKLS KL TEVTAKLS 
\ ?. A , bes Stet Pay A 
Kal dwoexakis Kat pupiaKus: tov tov. 
4 / / - 
oUTw ToAUPOpH GvYKEKpApLaL Oaipwove. 
» 
AzokAXov arrorpémate Kai Peoi Pidor, 
? Po ak \ 7 Lb LA , 
ti ToT éeotlv 0 Te merovOev avOpwros KaKOV ; 
> ‘\ vA , \ 4 
ov yap oxéTAia rérovOa vuvi mpdypara, 
> \ 9 > “A ate, 
amToAwAeKos aTravTa TAK THS OiKias 
DS \ \ A ‘ Caer \ 
dia Tov Gedv Todrov, Tov eodpevov TUPAdY 
D 


835 


840 


845 


855 


50 


AIK, 


KAP, 
YK. 


KAP. 
KAP. 
SYK. 
KAP. 


SYK. 


AIK. 


SYK. 


AIK. 


KAP. 


SYK. 


KAP. 
SYK. 
KAP. 


ARISTOPHANES’ PLUTUS. 


Tadw avbis, qvrep py AACrwow at dikar; 
€yw oxed0v TO mpaypa yryvockety SoKd. 
MPOTEPXETAL YAP TIS KAKS TPATTWY aVNp, 
€ouxe 8 elvae TOD TOVNPOD KO/LMATOS. 

vn Ata, adds tolvev trovov aroAAvran. 

Tov Tov ‘oO’ 6 wovos amavTas Huas tAOovaLoUS 
brocxopevos ovTos once eves, 

et radw avaBrdperev @ dpyns; 6 dé 

ToAv padXov éevious eotiy eLodwAekds. 


Kal Tiva dedpaxe Onta TOUT; SYK. ue rovrovi. 


> lal lal 
n TOV Tovnpav Hoa Kat TOLYWpPvXuV ; 

DS ‘9 > X > ane: \ Con > ¢ 
pa Av’, od pev ovv eo bytes budv ovderds, 

> a + ea 3 ” 4 ‘\ I 
KovK €06’ Orws ovK ExeTE OV TA XpNMaTA, 
ws coBapos, & Adpartep, eioeAnAvbev 
5 ovkopavtns. SnAov ore BovdAwua. 

\ \ > > 5 2S U2 > 5 / 
ov pev eis ayopay iwy Taxéws ovk av POavois. 
SN A A \ “A 5 A 7} 
rl TOU Tpoxod yap det a” éxed oTpEeBAovpcvov 

A 4) 
ciety & wemavovpyynkas. KAP. oipuwédpa ov. 
vy tov Aia tov owrnpa, woAAod yy’ aétos 
~ Ff es 

amact Tots EAAynow 6 Beds otros, ei 

\ , > a N an 
Tous ovxodavtas efoAct Kakovs KakOs. 
OL 1X : la x SS / Na £ 

por TAAGS* POV KaL OV pETexwV KaTayedGs ; 
érret 700ev Ooipmatiov eiAnpas Tod ; 
exes 0° éxovr’ elddv o” eyo TpiBwrior. 
ovdey TPOTIUL® Gov. PopH yap mpidjevos 
Tov daktTUALov Tovel wap’ Evdnpov dpayxpns. 
GAN’ ovk évertt ovKopavTov O7yparTos. 
Gp’ ovx UBpis tadvr’ ott ToOAAH; TKWwTTETOV, 
6 TL Oe trovettov é€vOad’ oik eipyKatov. 
ovk én’ dyad yap éevOad’ éorov ovdevi. 

~ A »” ” 

pa tov Av’ ovkow TO ye oG, oa’ io ort, 
3 S A 2 lal x \ x , V4 
Gro Tov éuav yap vat wa Ala deurvyceror. 


ws 01m GAnOela od peTa TOD apTUpOS 


860 


865 


870 


875 


880 


885 


890 


=YK. 


AIK. 
SYK. 
AIK. 
AIK. 
AIK. 
AIK. 
AIK. 
AIK. 
SYK. 
AIK. 
ZYK. 


AIK, 
SYK. 


AIK, 
AIK. 


AIK. 


ARISTOPHANES’ PLUTUS. 51 


Otappayeins, pndevos y’ eumdrjpevos. 
F) A » > , > , 
dpvetoOov ; evoov éoTiv, ® pmapwraru, 
TONY XpHUA TEeWaXOv Kal KpEOV OTTNLEVOW. 
DoDTDVIVIVIE DG. 895 
KaKdcalpov, dappaiver tu; KAP. rod Wixous y’ ious, 
érrel TOLOvTOV y’ aurréxerat TPLBwviov. 
fey lage ET) (de Toa) , > A \ , 
TavT’ ov dvacxér’ eoriv, ® Zed kal Geot, 
, e , ee (eae We »” 
tovTous vBpicew eis Eu’; op’ ws AxPopan 
9 lal 
OTL xpnoTos dv kal pirdmoAs TaTXW KAkOs. 900 
ov dirdrrods kai ypnotds; YK. ws ovdeis y’ avip. 
\ \ ’ ; ‘\ > / Pd x / 
Kal pv erepwTnbels amoKxpwai pot, SYK. 76 ti; 
yewpyos e&; LYK. pedayxoday p’ ovtws ole; 
GAN’ éurropos; YK. vai, oxymropat y’, orav Tvxw. 
> 
ti dai; téxvnv tw’ cuales; SYK. ov pa tov Ala. 905 
la s 8 t b! 0 be a 
Tas ovv Ouelns 7 TOPE pndev ToLdv ; 
TOV THS TOES Ei’ ErEANTHS TPaypaToOV 
Kal TOV idtwy mavrwv. AIK. ov; ri pabwov; SYK. Bov- 
oman. 
na > vA + , S , 
TOS OV AV ELNS XPNOTOS, ® TOLYwpKE, 
€l Gol TpooHKov pnodev El amrexOavel ; 910 
Ov yap TpooHKel THY e“avToOd pot TOALY 
> a 5 , 7° x , 
evepyetetv, ® kere, kal’ doov av cbevw; 
evepyetety ovv éoTL TO TOAUTPAyLOVELY ; 
\ A -~ A 
TO pev ovv BonOety Tots vdprots Tots KELpevots 
x Ne? , tyes > ie 
Kal pn wuTpeTety eav Tis CLapapTavy. 915 
+ \ ‘2 / e , 
ovKovy Sixacras egemitndes 4 TALS 
apxew Kabiornow ; ZYK. xarnyopel de tis ; 
6 Bovdopevos. LYK. ovxotv éxetvos eip’ eyo. 
9 99, rie A ’ \ , 
WOT Els EL NKEL THS TOAEWS TA TpayWaTa. 
‘ 4 / y+ , ” 920 
vy Ata, movypov Tapa mpoorarny éxeL. 
3 a) , > A bcd e / ” 
éxetvo 0 ov BovAou’ av, Hovxiav exw 
fav apyos; SYK. adda rpoBariov Biov A€yers, 
ei py haveitar dvatpiBy Tis TO Bio. 


52 


AIK. 


AIK. 
AIK. 
VK. 


zYK. 
ACE. 
DK 
AIK. 
YAR. 
SYK. 


AIK. 
KAP. 


KAP. 


AIK. 


KAP. 


ARISTOPHANES’ PLUTUS. 


a G ‘ A 
ovd’ dy perapabous; LYK. ovd? dy «i Soins yé por 
tov [IXotrov atrov kai 70 Barrov otdduov. 
s 
kataov taxéws Goiwariov. KAP. otros, ool déyet. 
eref’ ixddvoat. KAP. ratra mavra col Aéyet. 
\ \ / \ SN) ECL NS > \ 
Kal may tpooeNOerw pos eu’ vuov évOadt 
6 BovAdpevos. KAP. ovxoty éxetvds ciw’ eyo. 
»” a > , oe Sa Ne 
oimor TaAas, arodvopat mel? nuepav. 
\ \ 3 a > , / > 4 
ov yap agvois TaANOTpLa Tpatrov eo Ole ; 
Opas & rove; Tadr’ eye papTipomat. 
3 b ” , a e) / 
GAN’ otxeTat hevywv Ov €elyes wapTupa. 
oipot TepteiAnupar wovos. KAP. vuvi Boas ; 
oipor par’ avfis. KAP. dds ov pou 70 TpiBanor, 
7-5" 5 ihe \ / / 
ww apdiecw TOV GvKOpaVvTHV TOUTOVL. 
py O78 iepov yap eure tod TAotrov waXau. 
” es! ie b} , 
€reita Tov KdAALov avatebnoerat 
7] TEPL ToVNpOY Gvopa Kal TOLYWPvYOY ; 
TIAodrov O& Koopety twatiors weuvots mperet. 
nw } ° , i: , 4 b] 4 
tois 0 éuPBadious ti xpnoetal Tis; eimé pot. 
x A XN \ U 3 4 ‘ / 
Kal TAUTA TPOS TO LeTWITOV aiTika 57) Lada, 
worep KOTiVW TpoTTAaTTAAEvaw TOUT. 
” z \ ” By \ 
ATELY YlLYVOTKW Yap ATTwY Ov TOAD 
ipaov- édv d¢ atlvyov AGBw twa 
Kat GUKLVOV, TOUTOV TOV iaxUpoV Gedv 
€yo Toijow THLEpoV Sodvat Sikny, 
c3 \ , a“ x eatin / 
Orin KaTadver TEpipavas Els OY MOVOS 
\ ve »~ ‘ 53 » 
Tv OnpoKxpatiav, ovte THY BovAny miOav 
THY THV TONITOY OUTE THY ExkANoiav. 
N X\ 2) ‘\ \ ia ‘ > ‘\ 
Kal pyv errelon THY TavoTAav THY EunV 
exuv BadiLes, eis 76 Badavetov tpéxe 
+ Pe ist dpi} “a € N ia 
emTelT EEL KOpUatos EaTynKws O€pov. 
U s 
Kayw yap elxov THY OTAaW TATHY TOTE. 
, 
arr’ 6 Badaveis EAEea Opal’ airoy AaBdv. 
‘\ 8 bY tf 7 tr, \ 6 , 
vo 0 cigiwpev, iva, tpoaevén Tov Oedv. 


Sd 


925, 


930 


935. 


940 


945 


950° 


955 


TP. 


XOP. 


PP; 
XPE. 


tA a 


XPE. 
XPE. 
DP, 


XPE. 
aE: 


XPE. 
PE. 


XPE. 


VP, 


ARISTOPHANES’ PLUTUS. 


XOPOY. 
La Pe , , SEN es tS tad 
ap’, ® pidrou yepovtes, Et THY oikiav 
> ie > ee. la , , A 
adiype? ovtws Tod véou TovTov Oeod, 
‘\ wn ~ 
2) THS Od0v TO TapaTav HuapTHKaper ; 
GAN’ to’ éx’ aitas Tas Gipas aduypery, 
S a 
@ pelpakiokn Tuviaver yap wpiKas. 
et ied SN A 4 2 4 
pepe voy eyo Tov evdobev Karteow Ta. 
py ONT’ eyo yap adros eeAjAvOa. 
GAN 6 tt padior’ éAndAvOas A€yew o” expyv. 
mérovOa Sewse Kal rapavop’, ® pidrtate 
ad’ ov yap 6 Geds ovtos npgato Bérewv, 
3 i > iA U \ / 
aPiwrov elvat wou memolnke TOV Piov. 
/ 8’ » 3 \ ‘\ bg 
TLO €OTL; 1 TOV Kal OV GvKOmavTpLA 
ev Tais yuvargiv noba; TP. pa Ai’ éyd pey ov. 
IAN ov Aa Ov 9)»: ° mf) 4 . 
a. v Aaxovo’ Eres Ev TO ypaupart ; 
, StoN X , 4 
oKoTtes: eyw O€ Katakéxviopat OetaKpa. 
OUKOUV epEls avUTAaGA TOV KVLOLLOV TiVva ; 
» , > , 4+ , 
QkOvEe VUY. 7V LOL TL mELpaKLoV dtAor, 
5 4 ” ’ > 4 N \ 
mevixpov péev, GAAws 0° edTpdowrov Kal KaOv 
\ 4 > / , Sb. 
Kal xpyorov: ei yap Tov denleinv eyo, 
ATAVT €TOLEL KOT PLWS MOL Kal KAAOS* 
sneN 6 > 4 / TSN oY , 
éyw 0 éxetvw tavT’ av avOumnpéerovr. 
, eh 4 ie + Kanes Vou itt i a 2 £ 
TiO HV 6 7L Gov padwoT’ €detG’ ExacToTeE ; 
> / XN \ > 4 9 > , 
ov ToAAa* Kal yap ekvomiws ph YOXUVETO. 
aN paar , 5 yen hire? >» 
GAN’ apyvplov Opaxpas av ATNT’ ElKooW 
Meee / > \ 20 3 BAe , 
eis tuartiov, OxTw 6 av cis UrodnpaTa: 
wv lal ° lal > / t 
Kal Tals adeAats ayopacat xiTwYLOV 
° / 4 lal 4, 7 e id 
exeAevoev av, TH pytpi GO iwaridiov: 
a nN 25 , 6 or / 
mupav T av deny pediuvwv TeTTApWV. 
od TOAXG Toivey pa TOV "ATOANW TaAvTa. ye 
elpnkas, dAAa OnAoV OTL a YoXUVETO. 


\ Lal o 4, 
Kal TAUTA TOLVUY OVX EvEKEV LONTIAS 


53 


960 


965 


970 


975 


980 


54 


XPE. 
EP: 


tie 


XPE. 


LP: 


XPE. 


CE. 


XPE. 
PE. 


XPE. 
fa be. 
XPE. 
LP. 
XPE, 
Pr. 


ARISTOPHANES’ PLUTUS. 


aiteiy yp epacKev, GAAG hiAlas ovveKa, 990 
a EN e Uj A ~ sf 
iva TOUMOV imaTiov Popav MELVATO Mov. 
4 lal 
Aeyers EpovT’ avOpwrov exvopidtara. 
aX’ odxi viv 6 Bdedupos Eri TOV vodv exe 
TOV avTOV, GAA TOAD peOeaTyKEv TAVY. 
3 A ‘\ 3 A“ A A \ 
€“OU Yap avT@ Tov TAAaKOUVTA TOUTOVL 995 
kal TaAXG Tal TOU TivaKos Tpaynuara 
son v2 e U ah 
érovTa TeuWaons vremovans BO’ ort 
eis Eorepay noun, XPE. tio’ pac’; elzé por. 
ALNTA TpocaTEeTEUEv YLv TOUTOVL, 
Ae a A 
ep wr éexeioe pnoemore py’ eOety Err, 1000 
Kal mpos él TOUTOLS ElTEV ATOTEUTWOV OTL 
Tada. tor noav aAKiwou MiAdyoror. 
a ¢ \ , > Meee 
dnAov OTL TOUS TpPOTOUS Tis Od MoXOnpos Hv. 
eretta TOUTOV OVKED NOeTaAL paky: 
mpo TOD 0 wTO THs Tevias GmavT’ éernober. 1005 
\ \ XN A bam 4 / ‘\ ‘\ \ 
Kal pyv mpd Tod y donuepar vy TH Gew 
DN ‘\ , > 4 EN \ eee: 
emt tHv Oupay éBadilev cei THY eunv. 
ex’ éxhopav; IP. pa Al’, ddAAGa THs hwvis povov 
épav axovoat. XPE. rot AaBety pev odv yap. 
kat v7) Ai’ ei Avroupevnv alcOoird pe 1010 
U 5) \ / ¢e , 
vnttaplov av Kat Bariov breKopicero. 
” 74 ” 2 Nn > ¢ Nu 
ret’ laws THO Gy eis trodnmata. 
lal / 
pevotyplots d€ Tots peyadoure vy Ato. 
el THs duagys OTL TpooeBAEWEV ME TLS, 
erurTouny Ou TOVO GAnY THY HLEpar. 1015 
bal 
ovTw ohddpa LndotuTos 6 veavickos nV. 
{ X\ WA ’ e ” > , 
povos yap 70€6’, ws Eoixev, er Oiwv. 
XN 4 “ , »” ree. J 
Kal TAS ‘ye X€lpas TayKaAas Exe pm Ey. 
67rdT€ mpoteivorey ye Spaxpas €EKOCLV. 
ry ‘ 
olew TE THS xpoas Epackey HOU pov, 1020 
3 / SAL 2. / %3 if 
el Oacrov évéxess, eikoTws ye vy Ata. 
/ 
TO Bréupa 8 ws éxouut padaKkov Kal Kadov. 


XPE: 
cP: 


XPE. 
PP. 
XPE. 
DR; 
XPE. 
EP, 


NEA. 


ERP; 
XPE. 
iP. 
XPE, 


gD oe 
NEA. 


iP: 


NEA. 
NEA. 
NEA, 


ARISTOPHANES PLUTUS. 55 


Tavt ovv 6 Deds, & pir’ avep, ovk dpOas mrorel, 1025 
ta A ~ 3 A Sew 4 
dackwv Bonfety tots ddukovpevols Gel. 
, x iA Ye XN 4 
Ti yap moujnon; ppace, Kal wempagerar. 
3 iL / le 2 Ni A 
avaykaoat dikatov éote vy Ata 
\ > Laney byt WA aE) a , I-39 Dede a 
Tov ev TaGovl im’ éod mad p’ avr’ ev TroLety: 
7 pnd Stiodv ayabov Sixads éor’ exe. 1030 
GAN’ obd€rore pe COcav aroXciew ey. 
> A A 16 ? 4) , A »” 
6p0as ye: viv O€ o ovKére Lhv olerau. 
€ XN A XN ” 4 ’ 2. , 
U7T0 TOU yap adyous KaTaTEeTyK’, @ PiAtate. 
ovK, GAA KaracéonTas, ws y’ €uol Soxeis. 1035 
\ ie? \ BiF phan , 
dud. OaxtuAtov pev obv euey’ av dueAkvoass. 
3 , ad , EY , 
ei Tuyxavot y’ 6 daxtirtos dy TyAias. 
KAL LIV TO MELPAKLOV TOOL TpoTepxeETa, 
ovmep TaAaL KaTNYOpOdcaA TYyXAvu" 
gouxe 0 emt kOpov Badilew. XPE. daiverar. 1040 
Vi 4 \ AQ) + / 
arepavous ye Tot Kai O48’ exwv Topeverat. 
aomacona. XPE. oé dysw. NEA. dpyaia didn, 
TOMA YEyEVYTAL TAXV ye V7) TOV Ovpavor. 
Tadaw’ eyo THs VBpeos As bBpiComau. 
€ouke Ota 7oAAOU xpovou a Eopakévat. 1045 
fd lg 4 b] ed pa ek) XN X\ > 
mrolov xpovov, TaddvTa’, Os map’ euot xOes Hv; 
3 vA / lal lal yy 
Tovvaytiov TérovGe Tots ToAAOLS apa: 
4 +t e m” 3 Ve le 
peOvwv yap, os €oixev, d€0Tepov BXrEmet. 
y+ > re lé / 5) 33 4y \ / 
ovK, GAN’ akoAacTOS ETTLY GEL TOUS TPOTrOLS. 
® Ilovroméceidov Kai Geot mper Butixol, 1050 
° Lal / n~ e , 7 » 
év TO TpOTHTH TOV PUTiOWY OTAS EXEL. 
Le 
a a, 
Tv dada pn por tpdadep. XPE. ev pevror déyet. 
2X \ S3eLN 3! , X / 
eay yap atti eis pwovos oriwOnp AaBy, 
womep Tadaay eiperwovyv KavoETaL. 
BovAec dua xpdovov mpds pe tatcar; I'P. rot, radar; 
airov, AaBovoa kapva. IP. maduav tiva ; 1056 


mooous exes GdovTas. XPE. dAda yvwoouat 


XPE. 


XPE. 
XPE. 


NEA. 


NEA. 


FP: 


NEA. 


EP. 
XPE. 


KAP. 


ARISTOPHANES’ PLUTUS. 


a I 
Kaywy'* Exel yap TpELS tows 7 TETTApas. 
> l4 i ~ la 16 A 
amoTiTov: Eva yap youd.ov povov opel. 
taravtat avopov, ovy byratvew por doxels, 1060 
TAvVOV LE TOLMV EV TOTOUTOLS AVOpac~V. 
4 / ” m” > 4 if 
Ovalo pPeVTAV, El TIS ExTAVVELE CE. 
> as ° ‘\ A AS a ” 
ov Ont, eel VOY ev KamrnALKa@S EEL, 
Ny ete a a \ , 
ei © exmAvvelttat TOvTO TO Wipvétov, 
ower KaTadnXa TOU TpoTwTOV TA PAK. 1065 
yépwv avnp ov odx vytaivey por Soxets. 
GAN’, © veaviok’, 0K E@ TH j 
: ; nV pLeipaka 
pucety oe Tavtnv. NEA. add’ eywy’ ireppidd. 
x. \ a“ , ie ~ 
Kal nv KaTyyoper ye Gov. NEA. ti xaryyopet ; 
i , eee , \ , wd 
elvat o bBpioryy poe kat A€yewv Ort 
maXau ror Hoav aAKkiwot MiAyjocor. 107 
Scan \ , 3 A / \ , 
eyo TEpl TAVTNS ov paxovpat cot. XPE. 76 ti; 
aig vvopwevos THY WALKiav THY OV, erel 
> my See f (eae ee] / Y Pabeee Seee A 
ovk av mot GAAw TOUT emeTpeEyy eyw ToLEty 
viv 0’ aru xaipwv cvANaBav THY pelpaka. 
GAN eto? eicws To Ged yap Bovropuat 
eMav avabetvar tors otepavors Tovcd’ ods exw. 
eyo O€ y’ ait@ Kat dpacat tt BovAoman. 109 
4 nw 
ey O€ y’ ovk eloeyt. XPE. Odppe, pi poor. 
ov yap Buaoerat. NEA, zévv xads totvur déyets. 
/ ? ye , , ) if 
Badri’: eyw d€ cov Katorw ecic€épyopmat. 
> a) a 
ws evtoves, © Zed Sacred, 7d ypadiov 1095 


A / 
doTep AeTTAaS TO pwetpakio TPLOLaYXETAL. 


XOPOY. 
y, »# foe ’ N , Cuma 
tis €o0’ 6 KoTTWY THY BUpav ; ToUTL Ti HV; 
ovdels €otxev? GAAG SATA TO Giprov 
Pbeyyopevov GAAws KAavowd. EPM. cé rot rEyu, 
® Kapiwv, dvapevov. KAP. otros, eizé pou, 1100 


x y i ” ¢ \ / 
ov nv Bvpav exo TES OUTWOL OPddpa ; 


EPM. 


KAP. 


EPM. 


EPM. 


KAP. 


ARISTOPHANES’ PLUTUS. BY; 


pa. Av’, GAN ewedrXov: el’ dvewkas pe dOacas. 
3 bee ted 4 X\ LA , , 
GAN éxxdAre Tov decrorTHV TpexwV TAY, 
ETELTA THY Yvvatka Kal TA TaLcia, 
ereita TOUS Oepazrovtas, eita THY Kiva, 1105 
” , i S Ks tye 2 
eveiTa GavtTov, eta THV vv. KAP. etzre pot, 
ti 0 éotw; EPM. 6 Zevs, & zovypé, Sovderat 
2 \ ig lad A a 
és TAVTOV Umas TvyKUKHOAS TPUBALOV 
atagaTtavtas €is TO Bapabpov éuf3aretv. 
1 YAOTTA 7B KypuKt TOVTWY yiyveTa.. 1110 
arap da Tl dy Tavr’ ériBovdevet Trorety 
nuas; EPM. dry deworara ravtwv tpaypatwv 
cipyacl’. ad’ ot yap npkar’ e€ dpxns Brérew 
6 I1Xotros, obdets od ALBavwrdv, od dadvyy, 
ov WatoTov, OvX Lepetov, OVK GAN’ OvdE EV 1115 
hpev ert Ode Tots Geots. KAP. pa Ai’, odd€ ye 
@ , las SN 2 ee Je xe an / 
Yoel. KaKkOs yap éreweAcioW yuaov TOTE. 
x la XN Sd a > / 
Kal TOV pev GAAwWY rot Ge@y HTTOV péXeL, 
eyo 0 admdAwAa Karurétpiypot. KAP. owdpoveis. 
, SS 4 \ X A We 1120 
TpOTEPOV yap Elxov pev Tapa Tats KamnAtoLw 
a KL a eG) 2D” 3A , 
mavT ayad’ ewfey evOvs, olvodttrav, peAt, 
2 , CE Jee We 2 2 ec a 2 / 
iaxadas, 00” eikos eotiy Eppnv éobiev: 
‘\ X\ an > Z. > ifs 
vovi O€ TEeWov avaBadnv avaTravopat. 
»” , 7 ° , fe 
OUKOUV OLKaLWs, OOTLS emroles Cyptav 
éviore TowadT’ aya@’ éxwv; EPM. oipoutadas, 1125 
Olot TAAKODVTOS TOD ’V TETPAOL TETEMLEVOD. 
moles TOV ov TapoVTA Kal waTnv KaXels. 
” \ “A a aa WN , 
oipoe O€ KwWANS HV eyo KaTHCOLov: 
e) sf 5-5: A X\ x 3 4 
aokwXrial’ évtadt0a mpos tHv aifpiav. 
omhayxvov Te Oeppav adv eyo Katno Gor. 1130 
SN, RN , a # , / 
odvvn oe TEpt TA OTAGYXV’ EOLKE TIS OTPEPELV. 
¥ Sep eer, ” ” oot 
oipot Oe KUALKOS LOOV Low KEKpapLeV7S. 
, 2 \ > , > XN 6 id : 
TAUTHY eTUTLOV aTOTPEXWV OvK AV POavots ; 


Gp’ abheAnoats av TL TOV GavTOd pido ; 








58 


KAP. 
EPM. 


EPM. 


KAP. 


EPM. 
KAP. 


EPM. 


KAP. 
EPM. 
KAP. 
EPM. 
KAP. 
EPM. 
KAP. 
EPM. 


EPM. 


EPM. 


EPM. 


KAP. 


ARISTOPHANES’ PLUTUS. 


el Tov dee y Gv OuvaTos Ei a” @pedeiv. 
El Lol TOpiaas ApTov TW’ €v TETEUMLEVOV 
doins KaTapayely Kal Kpeas VvEaviKoV 
dv We’ byets Evdov. KAP. GAX’ ovk éxdopa. 
Kal pv OTOTE TL TKEVAPLOV TOU OeaTOTOU 
tpérou’, éyw a av AavOdvew errolovy del. 
525-9) , ceed G 2 4 
Eh W TE [LETEXELY KAUTOS, W TOLXWPUXE. 
® > 
NKEV yap av ToL vacTos EU TETEU[MEVOS. 
~ a 

€reita TovTOV y’ avTos av KaTyoOLes. 

3 X Lal \ ” ‘\ > 4 
Ov yap MeTEtyes TAS Laas TANYyaS enol, 
c ‘é rh / 2) / 
omore TL Anbbetnv tavouvpyyaas eye. 

XN UA > \ bs / 
Hy) pvnoikaknons, el ov Pvdnv kateAaBes. 
GAA Evvoxov pds Gedy SéEacGE pe. 
¥ > 93 ‘ \ \ > 42 a 
ereit amroAuTwv Tovs Geovs evOace pevels ; 
Tu yap map’ byty eote BeATiw Todd. 

, re 2 wn > ~ > Sf nw 
Tl O€; TadTopodrcty aoretov elvat cot doxel ; 

at vn 
Tatpis yap €or. waco” Ww’ av mpatty Ts ev. 
ti Ont av eins Opedos Hutv evOad’ cy ; 
\ ‘\ 4 “A e , /, 
Tapa tTHV Ovpay otpopatoy idpicacGé pe. 
“A ” al 
otpopatov; aAX’ ov« Epyov Eat’ ovdev oTpOpar. 
lal > A 

GAN’ éuzroAatov. KAP. adda zAovtodmev: ti ody 
‘Eppnv madcyxarnrov nas det tpepew ; 

> IN 
ara ddduov totvev. KAP. ddAtov; AKirra ye: 

lal ” > lal 

od yap doAov viv Epyov, AAA’ arAav TpdTwv. 
add’ iyepovwov. KAP. add’ 6 beds dn BrEreL, 
LA I 1€ / 3QN Lé Peet J 
ao yyewovos ovdev SenooperO Er. 
evayoOvLos TOWWUY Egomat. Kal TL eT epets; 
IIXovtTw yap éote TovTO cuppopwraror, 
TOLELY GYOVAS [LOVTLKOVS Ka yuLVLKOUS. 

€ > Baek Yee , . ” 
ws ayabov éot’ erwvupias TohAGs Exel: 

ey \ 2 , Ca A / 
ovTos yap eevpnkev att@ Brotiov. 

> ere. 9 e , x 
ovdK eros amavTes of Ouxalovtes Japa 


orevooval év 7o\Aots yeypapba ypappacw. 


1135 


1140 


1145 


1150 


1155 


1160 


1165 


EPM. 


IEP. 
XPE. 


XPE. 
IEP. 
TEP. 


XPE. 


XPE, 


EP: 


ARISTOPHANES’ PLUTUS. 59 


ovdkovv ert TovTas eiaiw; KAP. Kat rrivé ye 
‘y A IN x ‘\ te \ , 
avTos TpoaeAOav mpos TO Ppéap TAs KoLALas, 
iv’ edOews CuaKovixos €ivar SoKys. TEZAO 


XOPOY:, 


ris ay ppacee Tod ate Xpeuvros por sagas ; 
TiO éotw, © BéAtiote; TEP. ti yap add’ 7) Kakis ; 
ad’ ov yap 6 TAodros otros npfato Berar, 
a7dAwN’ b7rd Aywov. KaTapayely yap ovK exw 
N. A lal A e \ Dy if 
Kal TadTa TOD GwTHpos lepeds wv Atos. 1175 
¢ ? teow - 7 > 3 \ an a 
7] 0 aitia tis éotiwv, © Tpos TOV Bear ; 
Ovew &r’ ovdeis a€tot. XPE. tivos ovvexa; 
L74 4 SN t / / 
OTL TAVTES Eliot TWAOVELOL’ KaLTOL TOTE, 
SP Dic EN 307 ¢€ NaeeN v ” 
dT’ elyov ovdev, 6 ev av YKWVY EuTOpOS 
€Ovcev tepelov Te cwbeis, 6 d€ Tus dv 1180 
/ 2 , ¢ >on 2 TD, 
Scknv atopuyav: 6 0 av éxadXtepetro Ts, 
M Yoret Aare ash aed \ e /, a NY SUSU Nie eet 
Kae y EKaAeL TOV LepEa* VUV O OvCE Ets 
, \ / 3 Sp 3Q) > / 
Over Td Tapamav oddev, ovd’ eiaepyerau. 
\ a , SX a Sey, a 
tov ovv Aia Tov GwTHpa Kaitos Lot SOK 
, S77, 2 IN? 3 a , 
xaipew eacas evOad’ adrod Katapevew. 
Odpper Kad@s eoras yap, jv Geds Gedy. 
¢€ ‘ e \ ‘ 4 3 , 
6 Zevs 6 cwrip yap tapeotw evOade, 
aitéuatos éhOov. IEP. ravr’ dyaba toivey A€yes. 1190 
¢ Z ’ > e Mees Lao We > \ / 
idpvo duel” ovv attixa pad’, GAG Tepiweve, 
\ A e t2 Ss ¢ 4 
tov IIXovrov, ovrep tpoTepov Hv idpupevos, 
N, 3 l4 SUN 4 A A 
Tov dricOddomov det Pvrdatrwv THs Oeod. 
> 13 v. a A ¢ Z 
GAN’ éxdoTw Tis detpo dadas Hupevas, 
A A cs) A 
iv’ €xwv mponyy TH Ged ov. IEP. wavy pev oy 1195 
dpav tatta xpy. XPE. tov WAotrov é&w tis kare. 
eyo d€ ti mod; XPE. ras xvtpas, ais tov Gedv 
idpvcopeba, AaBovo’ emt THs Kehadrgrs héEpe 
a + Ie Se! SN , 
ceuvas: éxovoa 0 AGEs aity moukida. 
av © ovver’ HADov; XPE. ravra cot wempagerar. 1200 


60 ARISTOPHANES’ PLUTUS. 


” \ e 4 9 oe e f 

née yap 6 veavicKos ws a” eis Eorrepay. 
TP. arr el ye pevtoe vy AV? eyyva ov pot 

4 IA 3 ” 9 ” \ , 

NEEL EKELVOV WS EM’, OlOW TAS yUTPAS. 
XPE. kat pnv rodv Tov GhAwV xUTPoV TavavTia 

avTat ToLovat Tals mev GAAaLs yap yUTpaLs 1205 

7 ypaus erear avutatw, TavTns dé vov 

THS ypaos errumoAns erevow ai yvTpac. 

3 na 2 3 nw 

XOP. vvk €te roiver eixos weAAew ob’ HLGs, GAN’ avaxwpeiv 

> » lal \ , 2 ” 4 

cis ToUriaGev det yap Karémw TovTwv adovras erecOat. 


NOTES. 61 


NAO CS. 


——==§ 


1—50. Enter KariOn, Chremulos, and Ploutos. Karidn behind is 
grumbling that his master Chremulos is downright mad, in 
that he aimlessly follows, instead of leading, a blind man. 
Karién determines to know the secret of their following the 
mysterious stranger. Chremulos reveals the reply of the 
oracle. Karién interprets the same. 


2. mapadpovotvros: ‘‘crazy.’’ The slave of ancient comedy is 
generally represented as wiser than his master ; and the master 
usually, at least in the later Greek comedy and its Roman 
imitators, as on his guard lest he should be tricked by an 
artful slave. 


3. Ta PéATLoTa A€Eas TEX: ‘‘ should happen to recommend the best 
course.’’ For the construction A€~as téxn, see Goodwin’s School 
Grammar, § 279 (4). 


4, 8dfy, k.7.A.: “but seem to his master not todo so.’’ pth is at- 
tached to Spay, not to dd&y. The verb xrdoua and its derivative 
KkT7jua are often used to express the relation of slave to master 
or mistress in Ancient Greece. Cp. Pollux III., 73, @pivixos ev 
Sarvpois Toy Seaomdr ny KexTnéevov wvduacev; Ekklesiazousai, 1126, 
THs euns KextTnuevns; Arist., Rhet. I.,4, SodA0s nrHpd Te Eudvxove 


5. avaykn: the ellipse of éor: after this word, of which construction 
we have here an example, is very frequent. 


6. edHparos: governed both by xvpiov and by xparety. “Does not allow 
the natural owner (?.e., the slave himself) of the body to rule 
the body.”’ kparéw governs a genitive by virtue of its com- 
parative meaning, xpeittwy eiui. See Goodwin’s School Gram- 
mar, § 175 (2). 

8. tratra pév $i Tadta: sc. éoriv, ‘these things indeed are so.”’ 


Aogtas: a common epithet of Apollo, viewed as the god of 
prophecy. The adjective Aofdés = indirect, ambiguous, was 
applied to his prophecies by the ancients, who appear to have 
derived Aogtias from Aotés. However, the word probably comes 
from Aéyw, Adyos. Aof, afeminine form of Aogias, was an 
epithet applied to Artemis. 


62 


10. 


ids 


12. 
. katémy: here used as a preposition governing av@pwmov (cp. 


14. 


16. 


Lie 


18. 
20. 


21. 


ARISTOPHANES PLUTUS. 


. In this line, and several other places in the play, Aristophanes 


uses the solemn language of tragedy with ludicrous effect. 
For éeommbde?, cp. Aesch. Agam., 1161, and Eurip. Phoenissae, 
959. For xpvonddrov, cp. Aesch. Theb., 644, and Soph. Oed. 
Tyr., 1268. 


pew, K.t.A.: “I have this just cause of complaint against 
Loxias.”’ 

Apollo had in all seven attributes (for which see Smith’s Classical 
Dictionary), only two of which are mentioned here. As pdvtis 
the name Aotlas is suitable to Apollo, but as iatpés he was 
identified after the Homeric age as Mav, Nady, or Mahwv, the 
physician of the gods, and invoked with the shout ijue Taudy. 
Cp. Aesch. Agam., 146, and Soph. Oed. Tyr., 154. 


perayxoravr’: ‘stark mad.” 


Equites, 625, evOds yap adtod kardmy évoévd i€uny), although it 
is usually an adverb. The word at best is pleonastic. 
akoAovdéw, by itself, would require a dative case. Cp. line 19, 
infra. 

Trovvayriov ... i: évayrios is mostly followed by a genitive, but 
also by a dative. The construction we have here is occasionally 
found elsewhere, and is perhaps to be explained by an ellipsis 
involving a comparative—“ doing the opposite (rather) than 
doing what he ought to have done,” i.e., ‘‘ doing the opposite 
to what he ought to have done.”’ 


ottos: Chremulos. kat mpooBidterar, ‘“‘and he compels me 
likewise (to do the same).”’ 


arokpwopevw, K.7.A.: ‘and that although he (the blind man) 
does not vouchsafe us at all even a single syllable in reply.’’ 
Bentley reads amroxpivduevos, and is followed by Meineke and 
Holden. This would mean that Chremulos does not deign to 
reply to the enquiries of Karidn. Another reading is 
amokpivouevov, a genitive absolute, which might refer to either 
Chremulos or Ploutos. But the best reading appears to be 
the one in the text, which is governed by dkoAovOe? in the 
previous line. 

ovk 00’ Strws oryHoopar: ‘it is impossible that I will hold my 
tongue.’” Cp. Goodwin’s School Grammar, § 217. 

col rapéew modypara: “I will worry you”; more literally, ‘‘I 
will cause you trouble.”’ 

tumTyoes: this is the usual form of the future of témtw in Attic 
Greek. 

orépavov, k.T.A.: it was the custom for all who went to consult 
the oracle of Apollo at Delphi to wear laurel-wreaths till they 
returned home ; and to strike such a person while he wore the 


22. 
25. 


27. 


30. 


34, 


35. 


37. 


39. 


43. 
48. 


NOTES. 63 


wreath and was under the protection of the god would be 
regarded as sacrilegious. 


pa At’: ‘* Nay, by Zeus.’? Understand od before pd. 


tmuvOdvopat: ‘“‘I make the enquiry.’’ The phrase mavu opddpa 
modifies edvous. 

KXertiotatov: this is an instance of the figure known as 
Tapa mpocdokiay (contrary to expectation), a kind of joke much 
relished by the Greeks. 


pytopes: Aristophanes is fond of attacking the orators. Other 
instances in this play are to be found in lines 379 and 567. 


exterotetoOar: ‘to have been spent.’’ Life is here likened to a 
quiver full of arrows, which are shot away, one by one. 


tov & vidv ... elvar mavodpyov : acc. and inf. dependent upon xpf. 


byvés pdt &v: ‘‘ without even a single atom of honesty.”? Observe 
that byiés is neuter agreeing with &, whereas the preceding 
adjectives are masculine to agree with vidv. 


The mock solemnity of this line isa parody on the language of 
the tragedians. Cp. Eurip. Med., 674; Orest., 162; Soph. 
Trachin., 824. 

me(Oery 8’: supply éxeivor. 

SHAov Oru, K.T.A.: 7.¢., Ti TodDTO SoKel SRAOV Kal TUPAG yvavat, 
ws, &c. ‘* Because this seems clear even for the blind to com- 


prehend, that,’’ &c. 6S7Aov étiy is not the same as S7Aov br1, 
which occurs below in lines 826, 8738, and 1003. 


51—100. Chremulos disagrees with this interpretation, and thinks the 


53. 


55. 


57. 


58. 


best thing to do is to ask the blind man who he is. The latter 
reluctantly, and after much pressure, reveals that he is Ploutos, 
and then expresses a desire to go away. 

eis rotro péret: ‘‘ inclines in this direction.”” The metaphor is 
from scales. 

ottool: nom. to gpdon. Tod in this and the following line is 
the Attic form of rivos. . 

Xpnopov : an example of the nom. of a relative clause being 
attracted into the accusative by the preceding verb. ‘‘ We 
might learn what our oracle means.’’ For this construction 
cp. Acharn., 649 ; Aves, 1269. 

Tam Tovros Sp4: ‘‘am I to take extreme measures?’ 6p@ is 
deliberative subjunctive mood; ram rovros, ‘‘ the measures 
consequent (on your refusal).’’ 

oilpatev: ‘‘to go and howl,” or ‘to go to the deuce.”” The 
verbs of(w and aid¢w are formed from the interjections o? and at, 
just as this verb is from ofwo. Cp. Germ. dchzen from ach ! 
and the Eng. expression ‘‘ to pooh-pooh a thing.”’ 


64 


58. 


61. 


63. 


64. 


65. 
66. 


69. 
70. 


i, 
72. 


ARISTOPHANES’ PLUTUS. 


pavOdves: Karién being somewhat taken aback at the gruff 
reply of the blind man, affects to misunderstand him, and says 
to his master, ‘‘ Do yow understand who he says he is? ’’ but 
Chremulos, who is alive to the situation, says, ‘“‘It is to you 
he makes use of that (rude expression), and not to me.”’ 


This line is addressed to Ploutos by Chremulos, who thinks that 
Karion failed to elicit an answer on account of his threats. 
The mild language of Chremulos is equally unsuccessful. 


‘* Welcome your (honest) man, and the omen of the god.’’ 
Karion says this in triumph at the discomfiture of his master. 


8pvis is frequently used for the prophecy taken from the cry or 
flight of birds, like Lat. avis for auguriwm ; and sometimes, as 
here, for an omen in general, without any direct reference to 
birds ; cp. Aves, 719-722. 

Chremulos being a farmer, swears by Démétér, the goddess of 
farmers, that the mysterious stranger shall no longer escape 
unpunished, if he does not make known who he is. 


ard o OAM: tmesis for ar0AG ce. 


® tav: clearly dual in this passage. It is generally singular, but 
is also found in the plural. The Scholiast on Plato’s Apologia 
writes of this word :—‘‘@ tav: @ obTos, ® éTaipe, & TdAay, 
@ were? TavTa mapa ToIs vewTepois brd THY yuvaiKkov A€yeTat udvwv, 
mapa 5¢ Tots maAaois Kal Um’ avdpav. moAAdKis dé Kal em) TAHGovs 
gaol To & Tay, ws mapa KrnoipavTi, of 5€Attixol Thy mpadrnv 
avAAabhy mepiom@ot, Thy 5€ Sevtépay Bapvvovor. ‘The word is 
probably an old form of rv, tivn, thou, Sanskrit tvam. The 
gloss of Hesychius is ‘‘ ray: od Arrixés,’’ in which he makes 
the word a perispomenon, contrary to the Attic custom men- 
tioned by the Scholiast on the Apologia. The ancients wrote 
it variously as @rav, wrav, and wrdy. Some modern editors 
write @ ’rdv, taking it as a vocative of érdy; others @ ray 
without the apostrophe ; others again & ’rav, as if it were the 
voc. case of érns, with which it may possibly be connected ; 
but, on the whole, the reading adopted in the text appears to be 
the most in conformity with Attic usage. Translate, ‘‘ My 
good friends, go away from me, both of you.’’ The student 
should distinguish between this ray, or ray; ray, crasis for 
7a ev; and r&yv, Attic crasis for To: tv. momadra = oddauas. 


dvabels...kKaTadumeév: asyndeton for avabels kal KaTadimav. 

ektpax nro merdyv: ‘may fall and break his neck.” Cp. Nudes, 
1501, and Lysistrata, 705. 

Observe the distinction between ovkoiv, therefore, then, and ovxovr, 
not... therefore; not... then. . 

»: here represents ué, although the genitive is required by the 
regular construction. 


NOTES. OD 


74. tpets y’ sc. abtoopev: ‘we will let you go away (wherever you 
like).”? éd&v BovAn ye av, ‘6 if you wish (to go away).’’ 

75. peer Oe, k.7.A.: “ then first let go your hold of me.’ pwédecde 
implies that Ploutos was actually held by their hands, whereas 
aphoeroy refers to his desire to get away from their company. 
hy = idov. 

77. 4: a contraction of éa, as 75n of #5ea, Ist p. sing. Usually 
written jv. 


79. dvdpav: used as if he were addressing a mortal. Cp. Aves, 1638. 
80. dOXlws Stakelwevos: ‘in wretched plight.” 


83.. avrétatos: ‘‘his very self.’ Cp. Lat. ‘ipsissimus in Plaut. 
Trinum. IV., 2, 144. The comparative atrérepos is found in 
Epicharm. Fr., 2. The word is a comic superlative like 
ovetatos in line 182. Other examples of this kind are 
Aavaétaros, érapdtatos, BariAevTepos, mpoBarepos, and oidTepos. 


84. é IlarpoxXéovs: “from (the house of) Patroklés.’”? This 
Patroklés appears to have been a wealthy Athenian, who 
practised the Spartan disregard for the toilet. See Aves, 1281. 


86. rourt To Kkakov: blindness. 
89. as: the preposition = Zo. 


93. kal piv: used here with an adversative force (‘‘and yet’’), con- 
trary to its ordinary usage. 


95. mpd rot: ‘before this (time).’? Here rod is the demonstrative 
pronoun, and in prose the phrase is sometimes preceded by the 
article, ¢.g., €v TG mpd Tov xpdvw, Thucyd. I., 32. 

98. Brunck’s reading, éwpwy 5:4 xpdévov, seems preferable to that 
given in the text. Cp. 1045, infra. The sense required is, 


‘‘T have not seen them for a long time,’’ whereas o#7w means 
“not yet.” 


99. Even Chremulos, with his excellent sight, had not been able for 
a long time past to see an honest man at Athens. 


100. tam’: either for ra ém! or ra awd. In the former case, which is 
the more likely, ram’ éuot = ‘‘ everything in reference to me’’; 
in the latter, ‘‘all (you want to know) from me.” 


101—253. Chremulos and Kari6n, finding out that the mysterious 
blind man is Ploutos, break their promise, and will not let 
him go. They succeed in persuading him to remain with them. 
Chremulos shows that Zeus and his thunders are not worth 
three-halfpence, and that if Ploutos refused supplies, he could 
easily overthrow the supremacy of Zeus. All the arts and 
trades depend on Ploutos, and nobody can ever have enough of 
him. Chremulos tells Karién to summon his friends, the other 
farmers, to see Ploutos and share in the luck. 


E 


115. 


119: 


120. 
121. 


126. 


128. 


130. 


134. 


ARISTOPHANES’ PLUTUS. 


. thyv: often, as here, used as an adverb after &Ados, jus like #, 


Lat. quam. 


. aTEXVGs, K.T.A,: ‘‘ they simply go beyond all bounds in their 


villainy.’’ 


. olpmger pakpd: ‘‘ you shall pay dearly (for your low opinion of 


us all.’’ Lit., ‘you shall howl, so as to be heard a long way 
of” 


. gol: dependent on yevfcer’, ‘‘ shall be thine.’’ 
. This verse is a parody on the thoughtful and pious language of 


the tragedians. Cp. Soph. Elect., 459, ofua uév odv oiua. For 
the second part, cp. EHurip. Medea, 625, viupev’ tows yap, adv 
beg SF eipjoera, yamers, K.T.A. 


We are informed by a Scholiast on this line, that this play was 
twice put on the stage at Athens—first in the Archonship of 
Dioklés (n.c. 408), and again when Antipatér was Archon in 
n.c. 388 ; and that this present line, although in the text of 
the earlier, did not occur in the later play, but had substituted 
for it the line—rjs ouupopas taitns ce nadvoew fs %xeis. 
Karion, out of courtesy, calls the dlindness of Ploutos 6p0arula, 
a curable affliction of the eyes. 


This line and the following hemistich are very corrupt. For 
o18’ms we find efdés, and idéyv in other readings; for ére) we 
find €u’ei, érn, and éry ei. The reading of the MSS. is 6 Zebs 
mev ovv eldas TA TOUTwWY pap’ eu’ ei wUO0LT’ ky emirpivere, Which 
involves a contradiction. ‘he simplest emendation of this is 
perhaps to substitute of’ as for eféas with Brunck and Holden. 
This gives us as the meaning, ‘‘I am sure that if Zeus only 
learnt the foolish (plans) of these men he would annihilate me.” 
The reading in the text should be translated, ‘‘ I am sure that 
Zeus will annihilate me, seeing that he is certain to learn the 
foolish (plans) of these men.”’ 


TovTo Spa: sc. émrpiBe: ce. 


‘¢Jnasmuch as he allows you to ‘stumble against things as you 
walk about.’’ 


kay: for xa) éay, ‘* even if it were for a short time.’’ 
ént ov: the pronouns alone are repeated in Greek, whereas in 


English we should say, ‘‘ What! you show me to be more 
powerful than Zeus ?”” 


avtika: ‘‘for example.” Cp. Aves, 378 and 1000; Zhesmoph., 
151. egy is governed by &pxe, not by riva. 


avtukpus : ‘‘openly,’’ without any disguise. Cp. Pax, 1320; 
and Juvenal, X., 23 :— 
‘¢ Prima fere vota et cunctis notissima templis, 
Divitiae ut crescant, ut opes.” 


136. 
138. 


142. 
143. 


160. 


166. 


169. 


470. 


NOTES. 67 


Observe the distinction between dytixpus, openly, and avtixpd, 
over against, straight on. 

ory te Sy; “how so, pray?’’ Cp. Nubes, 755, 

Woaurrov : this occurs again in line 1115, and is put for the 
sacrifice of the poor, as Bovs for that of the rich. It is said by 
the Scholiast to mean &Aeupoy édAaiw Sedevuévov, a cake of 
ground wheat mixed with oil. Translate ‘‘ wheat cake.” 

iW AvG te: ‘if he (Zeus) annoys (you) in any way.”’ 

This and the following line appear to be a parody of Pindar, 
Ol. xiv. 5, cby yap buly Ta TeprVvd Kal TA yAUKEéa ylyveTa TdYTE, 
Bporois, et copds, ei KaAdS, ef Tis AyAads avjp. Cp. Hor., Sat. IL, 
ie aoe ‘¢ Omnis enim res, 

Virtus, fama, decus, divina humanaque pulchris 
Divitiis parent.” 

T® TAovTEtv ITHKOa: ‘subject to the sway of wealth.’’ smhkoos 

18 more usually found with the genitive case. 


. apyuptStoy : this diminutive is here used to express contempt. 


‘¢ For a paltry little trifle of money.”’ 


. Sa Td ph wAovTety tows: ‘through not being as rich as others; ”’ 


lit., ‘‘through not being rich equally (with others).”? Some 
editors, as Dobree and Holden, give this hemistich to Ploutos, 
but this seems weak and without point, whereas it is quite 
natural that Karion should explain the reason of his having 
fallen into slavery. If the words are assigned to Ploutos, tows 
may be translated as above, or by ‘‘ perhaps.”’ 


Some editors give the whole of the list of trades that follows to 
Chremulos. Into this list clothes-lifting (AwmoduTe?) and 
burglary (tTo:xwpuxet) are introduced by way of comic surprise. 

Kvagever: others read yvapever. The Scholiast says that xv- was 
the older Attic form. By common usage the e of 5¢ should be 
short before xv-, whereas the text here requires it long to form 
the second syllable of an iambus ; but the reading in the text 
is not by any means the only instance of a deviation from the 
strict rule. 

‘“These things were long unnoticed by me.”? tav7, Attic for 
TavtTa. ovros was often strengthened in Attic, exeept in the 
tragedians, by the addition of the demonstrative -i, just as -ce 
was added in Latin hicce, istic, &c., and -ci in French celui-ct. 


Sia totrov kopa : ‘“‘gives himself airs on account of this man 
(Ploutos).”” The Great King (of Persia), on account of his 
immense wealth, can give himself airs. The King of Persia at 
the time of the first exhibition of this play was Darius II., 
surnamed Nothos. He was succeeded, in 405 z.c., by Arta- 
xerxes II., surnamed Mnémon, who was the reigning monarch 
in 388 8.c., the date of the second exhibition of this play. 


68 ARISTOPHANES’ PLUTUS. 


171. &kAynoia : three obols (about 43d.) apiece were given to 
those citizens who attended the public Assembly. This was 
called the picbds éxxAnoiactixds, and its institution is some- 
times attributed to Periklés. Cp. lines 329-380, infra, and 
Ecclesiazousai, 302-310, where reference is made to the 
increase, from one to three obols, in the pay given to those who 
went to the Assembly. 


172. tpinpes: the reference is to the tpinpapyia, or fitting out of 
triremes for the public service. Wealthy citizens, either 
singly or jointly with 6thers, according to circumstances, had_ 
to fit out triremes for the public service, and were at the same 
time responsible for the command. This burden was the 
weightiest of the extraordinary Ae:roupyia at Athens. 


173. Td év KoplvOw Eevixov: ‘‘ the (Athenian) mercenaries at Corinth.” 
An Athenian force was at this time stationed at Corinth to 
co-operate with the Thebans, Argives, and Corinthians against 
the Spartans. The allies are spoken of in Pausanias as the 
Cori rinthian League, because Corinth was the seat of war. The 
officers in command of the Athenian contingent were Kallias, 
Chabrias, Iphikratcs, and Polustratos (vid. “Demosth., Philip. 
I., 23). Diodoros gives the date of this alliance as 395 B.c,, 
thirteen years after this play was exhibited for the first time, 
and it t lasted till what is known as the Peace of Antalkidas was 
formed between Artaxerxes IT. (Mnémon) and the Greek 
States in_387 z.c., the year after the second exhibition of the 
Ploutos at Athens. 


174. Pamphilos was an Athenian demagogue who had embezzled 
“funds belonging to the State, and he is here satirised while 
awaiting his trial. The Scholast says that Aristoxenos was 
the real name of Belonopélés (*« The Needle-Seller’’), who was 

a dependent of Pamphilos, and who would therefore be a loser 
by his patron’s misfortune, even if he was not guilty of the 
same misconduct as his master. 


177. Philepsios is said by the Scholiast to have been an expert in 
telling marvellous stories, by means of which gift he obtained 
his livelihood. But in Demosth. Contra Timocrat. mention is 
made of a Philepsios as having been imprisoned with Agurrhios 
for peculation, and this line may refer to him. 


178. Euppaxia: Ritter takes this to refer to a treaty formed between 
the Athenians and the Egyptians in the first year (389 B.c.) of 
the war between the ie vphane and Persians. According to 
the Scholiast, Athenian aid was given in return for a_large 
supply of grain. ‘Two other explanations are given. One 
says that this refers to an expedition in the reign of Amasis, 
king of Egypt, whereas others understand it of the expedition 
of Chabrias. Neither of these stands the test of chronology, 


179. 


180. 


182. 
185. 


189. 


200. 


204. 
210. 


213. 


215. 


216. 


NOTES. 69 


as the former was ancient history which would have no point 
for a witty Athenian audience, and the latter took place long 
after the second exhibition of the Poutos. 


PiroviSov: Philonidés was an ugly man of great wealth. He 
is mentioned again in line 303. 

© Tipo0éov mipyos: ‘‘ Timotheos’ princely pile.’? mvpyos here 
means a lordly mansion built at great cost. Cp. Hor. Od. L., 
iv., 18, Regumque turres. The Scholiast says that this refers to 
Timotheos, the Athenian commander, son of Konon, and that 
he was very wealthy and built a palatial residence, for which 
he was satirised by the comic poets. Karidn was going to 
say, ‘‘ Was it not built through you?’’ when Chremulos in- 
terrupts him by a wish that it may fall on him some day. 


povatatos: see ncte on line 83, aitératos. 


émuke.0é{yntar : the Scholiast supposes the metaphor to be from 
scales. It seems better to regard it as drawn from a bird 
perching on the helmet of a soldier in war, as in the Roman 
legend of Valerius Corvus. émxaéjou is used in this sense 
in The Knights, 1093. Cp. also Aristot. H. A., 9, 10, 1, for 
Kabicec@a, used of birds alighting. 


The following lines look like a parody of Homer, Il. V., 636-7. 
The gross material pleasures enumerated by the slave stand in 
ludicrous contrast with the cultivated pleasures mentioned by 
his master. 

TH Sivapiv Hv: for Tis Suvduews Hv, the genitive being attracted 
into the case of the relative. Cp. Soph. Elec. 1364, and Verg. 
Aen. I., 573, ‘* Urbem quam statuo vestra est.’’ 


Construction—eicdvs yap more eis Thy vikiay obK elyev ovdev AaBely. 

Avykéws: kelvou yap émxOuviwy amdvtwy yéver’ dfvTaTov bupma. 
—Pindar, Nem. X., 62. 

Another line of tragic sound. The Scholiast on this line say8 
that close to the tripod of Apollo’s priestess in the temple at 
Delphi stood a bay-tree, which the priestess shook as she 
revealed the will of the god. Cp. oiov 6 raméAAwvos évetouro 
dagvivos dprnt, Callim. H. in Apoll., 7; ‘* Tremere omnia visa 
repente Liminaque Jaurusque dei,’? Kc., Verg. Aen. V., 90; 
‘¢Pythia, quae tripodi e Phoebi /auroque profatur,” Lucr. 
1 Ose 

Pl. ‘‘ Take care.’’ Chr. ‘‘Don’t be in the least alarmed, my 
good friend.”’ 


kav 84: the contraction of 57 for 5¢n is doubtful. To meet this 
difficulty, Meineke and Holden read xpj7. 


. ‘*Even now I go.”’ tovrod) is for Tour) 5€. Kpeddioy refers to 


the remnants of meat carried from Delphi by the slave, after 
the ceremony. 


70 ARISTOPHANES PLUTUS. 


233. xddSikws: this sounds strangely in the mouth of the virtuous: 
Chremulos, and is perhaps to be explained by reference to lines 
104—110, so that the change in the morality of Chremulos: 
proves the truth of Ploutos’ statement. Cp. Hor. Ep. I., 64, 

‘Rem facias, rem 
Si possis recte, si non, quocunque modo rem.” 

235. madvv modifies &y@oua:. Ploutos has very strong objections to 
going into a strange house, because he is either hidden away 
under the ground, or forced to supply his host with funds for 
debauchery and the gaming-table, and is then ruthlessly 
thrust out of doors. 

236. avrov: sc. Tod eiclevat. 

238. Observe the repetition of nara. ‘They bury me deep down 
under the ground.”’ 

241. ‘‘ He denies even his having ever seen me.’’ Cp. Herod. ITT., 
67. eapvos Hv wh mev amokrevar Suepdiv. 

244. év dkapet xpovw: another reading has ypdvov. akape? is the dat. 
neuter ot the adj. axapis (a priv., and keipw, I cut). The word 
was originally and properly applied to hair too short to be eut 
hence the idea of short. 

245. ‘* (Yes), for you never yet met with a reasonable man.”’ 

249. o&: object of idetv. ‘‘As I wish my wife and only son to see 
you.”’ 

51. me(Qopar: ‘I believe you’ 

253—332. Karion left the stage at his master’s bidding (line 229), to 
summon the farmers who now appear. On learning that 
Ploutos is in the house of Chremulos, the farmers, led by 
Karién, perform a comic dance accompanied with rude jests. 
Chremulos greets them warmly on their arrival. 


’ refers specially to wera oe. 


moAda 81): ‘very often.”’ 7 T@ Secmdtn TavTdy Ovmor, ‘‘ the same 
poor fare as my master.’’ tavrdv, more usually written tairdv, 
is an Attic contraction for Tb aitd or Td adrdév. Ovmov, derived. 
from 6iw, probably because it was first used to burn in sacrifice 
on the altar, was a mixture of thyme with honey and vinegar, 
much in use as food among the poor of Attica. 


254. Snpdorar: at Athens this meant ‘‘men of the same deme.”’ 
When the ten local tribes of Kleisthenés took the place of the 
four older tribes, each of the ten tribes was subdivided into 
ten duo: or country parishes, admission into some one of 
which was necessary for the full status of an Attic citizen. 


255. ws 6 Katpos, K.T.A.: ‘Sas it is not the time to tarry, but is at the 
very limit when one should assist with his presence.’ The 
metaphor is from the edge of a razor. For the full expression, 
cp. Herod. VI., 11,.éml Evpot yap axuns ExeTa Huty Ta TpHypaTa.. 


268. 


273. 


HEE 


NOTES. re 


Xpvodv érHy: lines 262 and 263 imply that the farmers were 


sent for by ‘‘the master’’ for some good object, and Karién’s 
description of the decrepit old man, ‘sans hair, sans teeth,’’ 
leads them to think that it is some wealthy old man who is 
going to make them all rich. So they regard his message as 
‘‘ gold of words,’’ i.¢., words full of golden promise. Karion 
holds them somewhat longer.in suspense with his banter, till 
he reveals his secret in line 284. 


‘‘ No doubt ye take me to be a man naturally like this (i.¢., a 
deceiver) in all respects, and believe that I never have any- 
thing good to utter.” 


év TH Tope, K.T.A.: ‘your letter having obtained (for yon) by lot 


the post of dikast in (the court of) the coffin,”’ i.e., you ought 
to be dead and in your coffin. The judicial power, civil as 
well as criminal, at Athens was transferred by Periklés to 
numerous dikasts (ditcacrat, from diKd¢ew, to judge) or panels 
of jurors selected from the citizens, 6,000 of whom were 
annually drawn by lot, sworn, and then distributed into ten 
panels of 500 each, the remainder forming a supplement in 
case of vacancies. The magistrate, instead of deciding causes 
or inflicting punishment by his own authority, was now con- 
strained to impanel a jury, #.e., to submit each particular case 
which might call for a penalty greater than the small fine which 
he himself could inflict, to the judgment of one or other 
among these popular dikasteries. Which of the ten he should 
take was determined by lot, so that no one knew beforehand 
what dikastery would try any particular case, and thus the 
dikasts could not be tampered with. Each of the ten dikasteries 
was represented by the letters of the alphabet up to and in- 
cluding K; and on coming to the courts each dikast drew by 
lot the letter (ypéupya) marking the court in which he was to 
serve. ‘The letter he drew was marked ona short staff of a 
particular colour. He next proceeded to that dikastery which 
was marked with the colour and letter corresponding to those 
on his staff. On entering the court he received a ticket or 
counter (¥uBodrov) from an official inside ; and on presenting 
this ticket when his day’s business was over, he received three 
obols from the ‘treasurers, who were called Kodlakretae 
(KwAakpérat). This must not be confounded with the three 
obols given to the Ekklesiasts (or citizens who attended the 
public Assembly), referred to in line 171. Boéckh states that 
‘‘nearly one-third of the citizens sat as judges every day.”’ 
Although this is an exaggeration, it is sufficiently near the 
truth to account for the large use of legal metaphors in the 
Attic poets. The joke here is that the old man is represented 
as having drawn the letter = (whereas K is the highest letter), 
and would therefore have to go to the court beginning with 


72 ARISTOPHANES’ PLUTUS. 


that letter, the court being comically called % Sopdés, the 
Coffin; and Charén, the ferryman of the Styx, is therefore 
represented as the legal official who is ready to offer him the 
counter (EvuBodAor). 


281. This verse is the same as 260. It is somewhat out of place 
here, as is shown by the use of the singular ye between the 
two plurals juiv and of; and it was probably repeated by some 
meddlesome scribe. 


283. modA@v, k.t.A.: ‘ passing by the roots of many thyme-plants”’ 
(see note on line 253), without stopping to pluck them for a 
meal. 


. MiSas: acc. plural, although the dative might be expected 
after tAovoiois in the preceding line, where, however, Porson 
and Dobree read mAoucious. 

‘‘Nay, by the gods, ye may all become perfect Midases, an 
ye get the ass’s ears.’’ Midas, king of Phrygia, was called 
upon to decide in a musical contest between Apollo playing on 
the lyre and Pan on the pipe. His decision was in favour of 
Pan, whereupon Apollo changed his ears into those of an ass. 
Cp. Persius I., 121, where the original reading was, ‘‘ Auriculas 
asini Mida rex habet.”’ 


9 0—321. This portion of the Parodos is taken up with rude jests 
(okéupara), in order to allow the chief characters time for rest. 
These cxadupata are different from the choral odes. See note 
on line 317. 


OperravedXd : a sound in imitation of the sound of the cithara, 
something like ‘‘tra-la-la’’ in English. Karién begins to 
imitate the rude Cyclops dance (rov K’xAwma), and tells the 
farmers to follow him (the Cyclops) as his flock. Cp. Hor. 
Sat. I., 5, 68, ‘‘ Pastorem saltaret uti Cyclopa rogabat”’ ; 
and Hor. Epist. If., 2, 125. 

‘¢ Ludentis speciem dabit et torquebitur ut qui 
Nunc Satyrum, nunc agrestem Cyclopa, movetur.” 


291. &81 wapevoadetwv : here he cuts a caper to show them the kind 
of dance he means. 


291. GAN’ ela téxea, K.7.A.: ‘but come, children, ofttimes shouting 
and bleating the calls of sheep and noisome goats, follow me.”’ 
He calls the old farmers his children, because he is playing the 
part of Poluphémos, and he likens them to his flock. 


296. Order—juets BAnxdmevor, katadaBovTes ce, TOY KikAwta, AaBdvtes 
uéeyav oonkionov ... Cntnoopev extuprA@oat (ce). 

302. Kipxnyv : here Karion assumes the role of Kirké. The Cyclops 
who has just been mentioned was blinded, when asleep, by 
Ulysses; and this story reminds Karién of what occurred to 
the followers of Ulysses when they visited Kirké. See Odyssey 
X., 203-243. 


NOTES. 1D 


3038. Providou: this character has been already mentioned in line 
179. His name is here put mapa mpocdoxiay for Ulysses, and 
Corinth for Aiaia, Kirké’s isle. The name of this Corinthian 
Kirké is given in line 179, supra. 

312. tov Aapriov pipotvpevor Kpenapev : ‘‘ we, imitating (Ulysses) the 
son of Laértes, will suspend you.’’ For the form Aapriov, cp. 
Soph. Ajax, 1, ’Ael wév, & mal Aapriov, Séd0pKa oe. 

Adptios tor Aaéprns is very rarely found. Ulysses himself 
should be Lartios, not, as here, the son of Lartios; Lartios 
being properly a possessive adj. formed from Laértes. Cp. 
Laértia regna, “the realms of Laértes,’’ Verg. Aen. III., 272; 
Laértius heros, i.e. Ulysses, Ovid, Meta. XTII., 124. 

The word xpeuouev probably has reference to the punishment 
of Melanthios by Ulysses. Melanthios tried to steal into the 
storehouse for arms, but on being caught he was bound hand 
and foot, ‘‘and they made fast to his body a twisted rope, and 
dragged him up the lofty pillar till he came near the roof 
beams,’’ where they left him swinging. Hom. Od. XXII., 
170-200. 

314. ’AptorvAXos : ws is understood, ‘‘ but you, like another Aris- 
tullos, with gaping mouth, will say.’’ This person is referred 
to elsewhere in Aristophanés as a man of very depraved habits. 
Bergk thinks that Aristophanés is here ridiculing Plato, whose 
real name was Aristoklés, Plato being only a nickname given 
him from his broad (rAarvs) shoulders. 


317. ém’ UN’ eiSos Tpérreo O’: “turn your attention to another strain.”’ 
Karion probably means the choral ode and dance, usually per- 
formed in the interludes to the accompaniment of the flute. 
The word XOPOY, at the end of line 321, is to mark that the 
&AA’ efd0s, the words of which are wanting, should here be 
performed. 


321. TO kétrw Evvetvar : “ grapple with the work.’’ 


322—391. Chremulos welcomes the Chorus, who promise to help him. 
Blepsidémos, a sycophant, hears there is something in the 
wind, and he posts to the house of Chremulos to try and find 
out all about it. He finally learns that Ploutos is there. 


322. “To bid you welcome, my fellow-demesmen, is an old and 
stale (form of greeting).’”? For dnudra, see note on line 254, 
supra. 


325. cuvrerapevws Kov KaTeBAakevpévws : ‘with zealous, and not 
with careless pace.’’ These adverbs are formed from the perf. 
participles passive of cuvreiyw and nrataBAaxedw respectively. 
guvTeTauevws is Bentley’s excellent emendation for curretaypevos. 


326. Stws...érecbe : Spare must be understood here as in Eyuites, 
222, 760; Acharn., 253, 955, and many other places—‘“‘ see 
that ye be.”’ 


74 


328. 


329. 


332. 


338. 


340. 


7. KaTa xopay gxev: ‘remains unmoved. 


ARISTOPHANES’ PLUTUS. 


Prérevv, k.7.A.: “for you shall think I look downright war.’’ 
Cp. the English expression, ‘‘to look daggers.’? For &vrixpus, 
see note on line 134, 


tpwwBdAov : see note on line 171. ‘‘ It were strange if for three 
obols we jostle one another at every meeting of the Assembly, 
and I were to allow anyone to take away. Ploutos himself.’’ 
mapeinv is 2nd aor. opt. of mapinut. 

Bre(Snpov : the Scholiast explains this common name of syco- 
phants to mean ‘‘ 6 mpds toy Siuov BAétwy, Kak To’TOV Ta Tpds 
(why mopiCouevos.”” 

koupetoiot : barbers’ shops in Greece and Rome were the centres 
of gossip in the days of Aristophanés and Terence as much as 
they are throughout modern Europe. Cp. Eupol. II., 499— 

Kal woAA’ Euadov ev Tota. Koupelos eyw 
ar dmws KabiCwr. 
Bor. Sat:L.,7;.3,. * Notum: tonsoribus ’” ‘Ter: Phorm.-1.,-2, 
38— ‘“* Ex adversum ei loco 
Tonstrina erat quaedam. Hic solebamus fere 
Plerumque eam opperiri dum inde iret domum.’’ 

TOUT’ avTd Bavpacroyv: Porson reads ‘‘ davuaoroy aitd Tove’ 
érws.’’ Blepsid¢@mus thinks there must be something wrong 
when an Athenian, who has come in for luck, sends for his 
neighbours ; it was so contrary to the usual custom. 


. ve: for verti. 
. Qtotpétave : ‘‘averter (of evil),’’ another epithet of Apollo. 


See note on line 11, above. 


. ‘With what absolute certainty is there nothing sound in any 


man!’ 


*» Another reading is 


a 
EXELS. 


. GAN éorly, k.t.A.: ‘but it is quite clear that he has done some- 


thing wrong.’’ Dindorf reads éwidnAdv ti mwemavoupynkdte. 
Then the meaning becomes, * but it tells against him (as) having 
done something wrong’’ (i.¢., that he has done something 
wrong); and the dative depends on emt in éridnAov. Meineke’s 
reading is éridnAov bri weTavovpynke Th. 


. Kakodawovas : ‘‘ you are possessed.”’ 
7. awd opikpod mavy Siampatar: ‘‘ to arrange (hush up) at very 


small expense.’’ Cp. tor this use of amb, Aguites, 538, amd 
TuiKpas Saravyns buas apoTiCwr. 


. ty’ refers to Chremulos. It is elsewhere used, as here, to 


denote, as it were in vision, somebody who is present on the 
spot. Cp. Ranae, 554; Acharn., 1158. Blepsidémos implies 
that he will intorm against Chremulos, who in consequence 
will be put on his trial, and to excite the pity of the judges will 
bring his wife and children with him into court. 


384, 


388. 


390. 
394, 


395. 


396. 


NOTES. Figs 


Kov Stolcovt’, k.t.A.: ‘and who will not differ in any respect 
whatever from the Hérakleidai of Pamphilos.’’ On the death 
of Héraklés, his children, the Hérakleidai, were persecuted by 
Eurustheus, prince of Tiruns, and, driven out of the Pelo- 
ponnésos, they took refuge in Attica, where shelter was given 
them in spite of the threats of Eurustheus. Wherever they 
went for refuge they found that envoys from their persecutor 
had preceded them with offers of friendship to such states as 
drove them away, and threats of war against any state that 
received them, until they finally reached Athens. Thither 
they were pursued by the tyrant, whom they now defeated and 
slew. Then they returned to their birthright in the Pelo- 
ponnésos, but a pestilence soon broke out, in which they 
recognised a divine intervention, and accordingly they returned 
into exile in Attica. Ere long they tried to return, but were 
driven back, and remained for a hundred years in exile, till, 
aided by the Dorians, they conquered the Peloponnésos. 'T'wo 
kings of their race thenceforward continued to rule simul- 
taneously at Sparta, down to the conquest of Greece by the 
Romans. Athenian poets and orators boasted that their 
ancestors had befriended the exiled Hérakleidai. Athenian 
painters and sculptors may have celebrated the story in their 
works of art. 

Who Pamphilos was is not certain. One Scholiast says he 
was a painter. In that case he painted a picture of the 
Hérakleidai, in the Stoa Poikilé or elsewhere, as suppliants 
before the Athenian people. Bergk and Dindorf take this 
view. Another Scholiast says he was a poet; in that case a 
drama called Hérakleidai is referred to, and this is actually the 
name of an extant drama of Euripidés. 


araptt: ‘‘from now, henceforth,’’—so Liddell and Scott. The 
word also means ‘ exactly,’’ and ‘‘just the opposite’’; but 
henceforth is most suitable here. 

weavTov : understand amoveis. 

ovk és Képakas ; ‘‘ won’t you (go) to the ravens ?”’ 7.¢., ‘go and 
be hanged (for telling les)!’’ Similar expressions are és 
pOdpor, eis dAcOpor, and sarcastically és wakaplay ; Lat., in malan 
rem, im erucem. 

“Eorias: Chremulos said that Ploutos was in his house; there- 
fore Blepsidémos asks him in the name of Hestia, the guardian 
goddess of hearth and home, if he is speaking the truth. 


Qadrarriov : ‘‘ Do you mean the sea-god?’’ ‘‘ Yes, and if there 
is any other Poseidén, by the other as well.’ Bergk points 
out the obscurity of @addrriov, and the fact that in Wudbes, 83, 
Strepsiadés is unwilling that his son should swear vy} tdv 
Tlove:5@ tovtovt toy tmmov. The reason he suggests is that if 
Chrem#ulos used the epithet @addrriov, it might be concluded 


76 ARISTOPHANES PLUTUS. 


that this Ploutos, or wealth, had come by sea. But,as Dindorf 
says, there is really no difficulty, for the whole affair seems so 
incredible to Blepsidémos that he does not believe the other’s 
oath by Poseidon, but goes on to ask whether he really means 
the sea-god by whom he is accustomed to swear. 


398. ‘*Then do you not send him about also to us, your friends ?”’ 
‘« Things have not yet reached that point.’? ‘‘ What do you 
say’ Not yet reached the distribution point ?’’ The force of 
did, IN diamwéeurers, is distributive. 

401. Brat, k.7.A.: ‘* that we should make (him) see.”’ 

402. evi, k.7.A.: ‘in some one way or other.”’ 


408. The poet here has a slap at the degeneracy of the medical pro- 
fession, which was neglected in Athens through being under- 
paid. 

411. katakAlivey avrdv eis “AckAnmod: “to (conduct him) to (the 
temple) of Asklépios, (and) make him lie down (there).”’ 
After ’AckAnmov understand vedy, the acc. being governed by 
eis, to denote the motion to the temple. Cp. Vesp., 122, where 
the same expression occurs. This method of cure, by which 
the sick spent the night in a temple hoping to be healed while 
asleep, was called éykolunats. 


413. dvve mpdtrrwy év yé tu: “be quick and do something or other.”’ 


415—610. Poverty enters in a state of alarm lest Ploutos, being re- 
stored to sight, should drive her away altogether. In a long 
and ingenious argument, she contends for her own rights, and 
only retires before the threats of Chremulos. 


415. Beppov : ‘‘rash,’’ as in Vesp., 918, Oepuds yap avhp. Aeschyl. 
Sept. contra Theb., 599, vavraot Oepuots. ‘* Hot-headed,”’ as 
applied to persons, has the same idea. 


416. av@pwrapiw : this diminutive expresses contempt. 


417. Héraklés is here invoked, says Brunck, as aAetixaxos and tamer 
of monsters. Cp. Plaut. Mostell. II., 2, 94. 


419. This same cognate accusative is found in the Ecc/., 106, réAunuu 
ToAU@mev. TOAUnua Occurs in the singular in Eurip. Phoenissae, 
1676, but it is mostly plural, and very frequently used by the 
tragedians, especially Euripidés. As Green points out, this 
line is of tragic sound, and perhaps this is one reason why 
Blepsidémos suggests, in line 423, that the intruder is a Fury 
from a tragedy. But another reason is given by Blepsidémos 
himself in line 424. 


421. otov : acc. governed by éerdAunce, understood. 


422. Sor’ dmrodddaTov : ‘so that ye are both undone.’’ Here she 
regards their ruin as actually complete, although, in lhne 418, 
she spoke in the future tense. 


423. 


425, 


427. 


429. 


431. 


435. 


439. 
. wapa Todd: ‘by far.’? ‘This phrase is rare in comedy. 
447. 


NOTES. WL 


’Epwis ék tpaywdias : this contains a special reference to the 
Eumenides of Aischulos, where a chorus of fifty Furies is in- 
troduced. So terrible was their aspect that disastrous results 
followed to the women and children in the audience, according 
to the biographer of Aischulos; and Julius Pollux, IT. 15, 
relates that in consequence of this a law was passed reducing 
the number of the tragic chorus. See Bergk, ad loc. 


‘‘ But (no), for she has no torches.’’ ‘‘ Then she shall suffer 
for it.’”’ The Furies were always represented with torches. 
Seneca, Med. 16, speaks of the Furies as ‘‘ Atram cruentis 
manibus amplexae facem.”’ 

ov yap av TorovtTovl évéKpayes Hptv: ‘‘ (otherwise) you would 
not have bawled out at us so loudly.”’ 

SeSpdxatov, {ytotvtes : observe the dual verb with plural par- 
ticiple. 

BapuSpov: this was the name given at Athens to a yawning cleft 
beyond the Akropolis, in the deme of Keiriadai, which some 
say belonged to the tribe Oineis, others to the tribe Hippotho- 
ontis. Criminals were thrown into it, and we learn from a 
passage (VII., 133) in Herodotus, who makes the earliest 
historical mention of it, that it was into this pit the envoys 
from Darius were thrown when they came to demand earth and 
water. It was also called dpuyua, and hence the terms 6 ém to 
dpvymuat: or 6 mpds TE 6ptyuari for the executioner who hurled 
down the criminals. The word is no doubt formed from the 
root BOR of BiBpéokw, Lat. vorare, Eng. devour. It cor- 
responds to the Spartan raiddas. Cp. also line 1109, infra, and 
Equites, 1362, &c. Translate—‘‘ Then isn’t the pit left for 
you? But you should tell at once who you are.’’ 


q KatnAlis, k.7.A.: ‘‘ the neighbouring chap-woman, who always 
cheats me so grossly in my pints.’’ kamndAls is connected 
etymologically with chap in chap-woman, also with German 
kaufen (= to buy), Lat. caupo, copa; Eng. cheap, chipping, 
chafer. kK =%7 ék. The Attic korvAn was a liquid measure of 
Six kvaGor or a half géorns, nearly half a pint, but here it may 
be freely translated by pint. The woman sold wine, and 
always gave short measure to Blepsidémos. 


ovtos: “ho, you there!”’ 


a&moAurdyre : observe the dual participle and the plural verb, 
and cp. lines 415-417, supra, where the plural gevyer’ is in- 
serted in the midst of duals. 7a: is out of place, but neverthe- 
less it should be taken as modifying geviovpmeda. 


. €véxvpov tiOnow : ‘puts in pawn.’’ It was forbidden by law 


at Athens to pawn arms, and the poor often had no choice left 
but to break this law. See Boeckh, Rep. Att. I., 142. 


78 


453. 


467. 


473. 
474. 
476. 
47S. 
480. 


483. 


ARISTOPHANES’ PLUTUS. 


tpdétwy : there is a play on the words tpomatoy and rpérwy, both 
of which are derived from a common verb tpérw, to turn— 
‘* Will set up a record to commemorate the reverse he inflicted 
on this versatile person;”’ lit., ‘* Will set up a trophy over 
her ways,”’ 7.¢., ‘‘ will defeat the plans of Poverty.’? Some- 
times the aorist optative with &y has about the same force as 
the future indicative, as here, so that orjaair’ &y = orhoera. 
This is due to Greek politeness, which often expressed as mere 
probabilities actions which were regarded as quite certain to 
occur. <A Tpotatovy was a monument set up to commemorate 
the turning (rpown) or defeat of an enemy, and consisted of 
spears, shields, helmets, &c., taken from the enemy in war, 
and fixed upon posts or trees on the battlefield. The party 
that allowed a trophy to be set up thereby acknowledged its 
own defeat, and after that the trophy was looked upon as 
inviolable, being under the protection of Zeus Tropaios. 


. 6tt: observe that ri becomes 67: when the question is repeated 


by the person of whom it is asked, before he answers it. Cp. 
Ranae, 198, otros, Ti woets ; Dion., 871 word ; The subjunctive 
mood is the Latin equivalent, e.g., ‘‘ Quid fecisti?’’ <‘‘ Quid 
fecerim ?’’ = ‘‘ What have youdone?” ‘‘ What have I done, 
do you ask?”’ 

mepl TovTov...avTod: ‘‘on this very subject.” ‘* Why now, 
on this very subject, I am willing in the first place to offer an 
explanation; and if I make it clear that I alone am the cause 
of all good things to you, (well and good).’’ The ellipse of 
KaAd@s éorai, or some such words, is often found when « uév, 
éayv wey, in the protasis of one sentence, correspond to ei 5¢, édy 
dé, in the protasis of a second. 


kal ov ye Su8doKov: “and do you be advised.”’ 

a&mav0’: ‘in every respect.”’ 

‘*O cudgels and pillories, won’t ye help (us to punish her) ¢”’ 
tov: a shout of indignation, ‘‘Oh!’’ Cp. Nudes, 543. 


‘¢ What penalty, then, am I to fix for you in the suit, if you are 
vanquished?’’ In an Athenian law-court, the penalty was 
either fixed by the judge, or only declared by him, according 
to some estimate made before the cause came into court. It is 
this latter kind of trial, the ayav ariunros, that is referred to 
here. The plaintiff fixed the penalty from his own standpoint ; 
the defendant generally fixed it at a much lower figure; and 
then the judge finally settled it. Cp. the comic trial of the 
two dogs in the Vesyes. For the full form of procedure see 
Smitu’s Dictionary of Antiquities, article Timema. 


‘¢ Think you, then, a score of deaths about enough ?’’ ‘‘ Yes, 
for her (Poverty).”’ 


485. 


487. 
488. 


492. 


497, 


499, 


507. 


511. 


NOTES. 79 


ovk, «.7.A.: ‘¢ Let both of you make haste, and do this (¢.¢., die 
the twenty deaths): for what just plea can one any longer 
urge against (it) ’’’ The idiomatic expression ov« ay pédvortov 
TovTo mpdttovr’ (= ‘‘you cannot be too quick in doing this,”’ 
‘‘make haste and do this’’) usually expresses a strong exhor- 
tation or an urgent, impatient command. 


ti copov: ‘‘some clever (argument).’’ 


parakoy 8° évddcere pndév: ‘ye shall not shew any softness in 
yielding.”’ évd:ddvar = to give in, yield. Cp. Herodot. ITI., 
105, ras 5€ @OnAéas avamipyynoKouevas @y EdiTov Téxvwv évdiSdva 
pudaxoy ovdey (shewed no sign of flagging): 


TOUT’ ov, K.7.A.: ‘‘ we then, desiring this, have with difficulty 
hit upon a scheme, excellent and noble and useful for every 
purpose, so that this idea may be carried out.” 


‘© And, then, he will make all men good, and rich of course, and 
full of respect for things divine.’? The contention is that the 
wicked, when they see that Ploutos neglects them and will go 
to the good alone, are sure to give up their wicked ways, and 
follow piety when it pays to do so; and in this way Ploutos 
will make all men pious. 


ovdels dv: This is the reading of the best MSS., but ods eye oor 


Tovtov is the common reading. ‘The former is more forcible. 


. aUTa: SC. TA xphuara, understood from wmAovrovc1, which is 


curiously inserted between two words that must be taken 
closely together. 


. peta ood, K.7.A.: ‘‘and with thee do most consort.”’ 


. ‘Therefore I declare, if Ploutos were to recover his sight, and 


put an end to this state of things, there is no way by walking 
in which one could provide greater blessings for mankind.’’ 
mavoa is read by Bekk., Dind., and Bergk; matoce: by Porson 
and Meineke. tavrny BAéwus is the reading of Porson, Bekk., 
Dind., and Meineke; tat7’ & BAdlas of the MSS. is corrected by 
Bergk into tadr’ auBAévas. Holden reads ei mratoe: tad’tny 


Brévas. 


‘*Q ye who of all men have been the most easily persuaded out 
of your sound senses, ye two old dolts, fellow-gossips and 
fellow-lunatics, if, &c.’’ For dyaivew in this sense instead of 
its ordinary sense, ‘‘to be healthy,”’ cp. 1. 364, supra. 


téxvynv otre codpiav: ‘craft or profession.’ However, | the 
Scholiast says: ‘‘ Sogiay évrat0a Kade? Thy meph Tas Téxvas 
mavoup'ylay Kal KNX avy, TEXYNY dé Thy petaxeipiow avTyy Kar 
evepyeav. Thus codia and réxvn might refer to the same art, 
the former to the theory, and the latter to the practice. 


80 


520. 


526. 


529. 


531. 


536. 


540. 


541. 


ARISTOPHANES’ PLUTUS. 


5. This line, says the Scholiast, savours of the Middle Comedy. 


What he means is that’the poets of the Middle and New 
Comedy used high-flown tragic language, such as is found in 
this line, for the sake of ornament, and not to raise a laugh, 
which would be the only effect in the days of the Old Comedy. 
This is one of the lines that was not in the earlier Plowtos. 


Cur. “Some merchant bent on gain will come from Thessaly, 
from the treacherous slave-dealers.”” Another reading is rapa 
mdelotwy (instead of rap’ amiotwy), ‘‘ from the numerous (slave- 
dealers).’’ ayvSpamodov, a slave, from which comes avdparodiorhs, 
a slave-dealer, has tor its epic dative pl. avdparddecor (17. VIL., 
475), which appears to confirm the derivation of the word from 
av5po-, stem of ay%p, and wovs; because, as the Scholiast ex- 
plains, ‘‘the slave is subject to the master as the foot to the 
whole body.” 


és kehadiy ool: translate: “On your own head be it.’’ This is 
a formula for averting evil, and appears to be borrowed from 
the Egyptian ceremony of cutting off the head of the ox to be 
sacrificed, imprecating evils on the head, and then selling it to 
aliens, or flinging it into the Nile. The formula in that case 
was, ‘Se% Ts meAAL F ooHlot Toto Bvovar } Aiyittw TH cvvamdon 
Kakov yeverbat, es Kepadny Taltny TpawéesOu,’’ Herod. IL., 39. 
Cp. Verg. Aen. VIII.,484, ‘‘ Di capiti ipsius generique reservent.”’ 


‘Nor will ye be able to anoint her with trickling perfumes 
when each of you brings home a bride, nor to deck her with 
expensive dyed garments of various designs.” 


‘And yet what advantage will it be to be rich, if you have to 
do without all these things?’’ The common reading is azo- 
poovtas ; Meineke has azopovvtt. 


With the reading in the text, rAjv must be taken adverbially, 
and KoAocuptov as the acc. atter wopioa. Then pgdwy, radapiwv, 
and ypatdiwv depend on koAoauprév. ‘‘ Except a crowd of blisters 
on coming from the bath, of starveling ragamuffins, and of 
old crones.’’ But koAocvprod seems a better reading—‘‘ except 
blisters, and a noisy rabble of starveling ragamuffins and old 
crones.’’ ‘The Scholiast says the blisters would be caused by 
the excessive heat in the baths, or the reaction of the cold when 
they left them. 


The Zxeiv in this line and in 1. 542, as well as orreto@a in 1. 543, 
depend on mopiom inl. 535. 


‘¢ A rush-mattress alive with bugs,”’ ‘“‘a rotten mat,”’ ‘‘ mallow- 
shoots’’ and ‘‘ dry radish tops ”’ for food, ‘‘ the head ofa broken 
jar’’ as a bench, and ‘‘a broken cask-side”’ as a kneading- 
trough, are among the boons of Poverty to her votaries. This 
picture, no doubt, is drawn faithfully from life by the artist. 


NOTES. 81 


545. kehadhy : governed by éxew in line 540. Note that kareaydros 
and éppwyviay are the second or intransitive perfects of katdyvupe 
and of pjyvum. 


546. éppwyviav Kal travitny: ‘and that (side) too a broken one.” 
The collocation is very common. Perhaps, however, the 
meaning is—‘‘ this as well as the other broken.”’ 


548. trexpotow : ‘‘you have harped upon.’’ épbéyiw, avexpotow, 
says the Scholiast, adding that the metaphor is taken from a 
harp or other musical instrument which is said xpovec@a. 
Kuster thinks the word has here the same meaning as in the 
active voice Acharn., 1. 38, “ Boav, broxpovev, Aoidopety Tovs 
phropas,”’ i.e., to attack. Liddell and Scott also take this to be 
the meaning here. Blaydes compares Shakespeare’s Macbeth, 
IV.,i., 74, ‘Thou hast harped my fear aright,’’ and translates 
it, ‘‘ You have touched upon.’’ Poverty complains that the 
whole of Chremulos’ assault is upon Beggary, and has nothing 
whatever to do with herself, Poverty. 


550. tpets y’: ‘oh yes, of course, ye who think that unlike things 
are like, and that there is no difference whatever between 
Dionusios (the Sicilian tyrant) and Thrasuboulos (who expelled, 
the thirty tyrants from Athens), may well imagine that 
Poverty and Beggary are sisters.’’ This line shows that this 
Ploutos is the later play, for the first play was exhibited in 
408 n.c., and it was not till 405 p.c. that Dionusios the elder 
was appointed sole general a acuse with full powers, and 
this is the date at which we may fix the beginning of his long 
tyranny of thirty-eight years. 

Thrasuboulos is the great Athenian democrat who was 

mainly instrumental in the overthrow of the Four Hundred in 

B.c. 411, He was banished from Athens as soon as Lysander 

set up the government of the Thirty Tyrants, 404 B.c, ; but 

with Theban aid he returned and re-established the democracy, 

(403 B.c.). oe 

551. totro trérovOey : ‘is in this sad condition.”’ 


555. pakaplrny: a term that was commonly used, according to 
Stobaeus, in reference to death, was yap Aéyer Tis, ‘O wakapitas 
otxera. In the Persai of Aisch., 1. 635, we find, ‘‘# p’ die 
pov pakapitas icodaiuwy BactAevs’’? where the Chorus is singing 
of the dead King Darius. The Scholia on this say—ioréoy 5é 
b7t wakapitns 6 TeOvews uardpios 6 (av. So that Bergk rightly 
says, ‘‘ Comicus noster, quoniam pauperes paucis vitae com- 
moditatibus fruuntur, eorum vitam, quasi non esset vita, dixit 
Biov wakaptrnv, quod de mortuis dici solet.’’ Here it has the 
double meaning of happy and dead. ‘‘ How happy that dead 
life of his you have recounted, if with all his sparing and 
toiling he shall not even leave the wherewithal to be buried.”’ 


¥ 








559. 


562. 
563. 


566. 


567. 


572. 


576. 


577. 


581. 


ARISTOPHANES’ PLUTUS. 


. The natural meaning of this line would be, ‘‘I produce better 


men than Ploutos (whom I have produced).’’ The intended 
meaning is, ‘‘ than Ploutos produces.’’ In this sense # MAodros 
would be the more usual form. 


iSéav: ‘‘figure.”? mapatro: ‘with him.’’ Poverty contrasts 
the wiry, wasp-like character (for which see Vespae, ll. 1070— 
1090) of her own followers with the gouty, pot-bellied followers 
of Ploutos, who have grown fat by riotous living (aveAyas). 

amd rod Aywod : ‘by starving them.’’ 

avabiddém: ‘I will teach you (contrary to the received 
opinion).’’ 

All the MSS. contain this line, yet it is bracketed by Bergk 
on account of its irregular metre and obscure sense. The 
sense required is, ‘‘ Stealing is not contrary to decorum, pro- 
vided the thief is not caught,’ which would not be inappropriate 
in the mouth of Blepsidémos, who is himself a thorough rogue ; 
and this was, moreover, in conformity with the Spartan 
custom, which allowed the young Spartans to steal if they 
were only adroit enough to escape detection, but punished 
them if caught. Thoukudidés says of the early Greeks (Book I., 
5), ‘‘hpmagov, kal Td wAcioTOov Tov Blov evTEvOev emoLodyTO, OvK 
éxovTds mw aitxvvny Tov’ToV Tov Epyou, pépovTos Sé Ti kal Sdéns 
PaAAov: SnAodar 5€ TAV TE NTElpwTwy TivEs ETL Kal VOY, ois KdTMOS 
KaA@s TovTO Spav.”” 

As the line stands it must be translated—‘‘ Yea, by Zeus, if 
he must escape detection, how can it be other than orderly ?”’ 


The poet often attacks the demagogues. There is a passage 
very like this in Démosthen. contra Timocr. ottw 5€ kad obra 
of phropes ovK ayanaow ek TeviTwy TAovo.n ard THs TéAEWS 
yiyvouevor GAAG Kal mpomnAakiCovor Td TARHOos (= are not content 
with rising from poverty to riches by their politics, but in 
addition, &c.). 

Construction—kaatoe: bri) Cnrets. The words ndtv tatty ye 
koounons are parenthetical, and mean ‘‘ do not plume yourself 
on that.’’ 


mrepvyites : ‘‘ you flap your wings.’ Others explain it to mean 
ovdev davies, nihil proficis. The metaphor in either case is 
taken from birds, but in the latter case it implies that the birds 
are so young that their endeavour to fly is vain. 


hpovotvtTas dptora avrois : ‘‘ who mean the very best for them,” 
2.¢., who intend to teach them wholesome lessons by beating 
them. 

Kpovikats Aqpats : ‘with fossilised prejudices,’’ prejudices as 
old and out-of-date as the days when Kronos was king. 
Kpovixds, the adjectival form of Kpévos, is found in the com- 
parative degree in Plato, Lusis, 205, C. & 5& 7 méALs BAn Gbee 


583, 


584, 


586. 


589. 


592. 


593. 


594, 


595. 


597. 


601. 


602. 


NOTES. 83 


mep Anuoxpdtous kal mavTwy mépt TOY Tpoydvwv, mAOUTOUS TE Kal 
immotpopias kal vias Mv0ot Kal IoOuot nal Neuég TeOpinmas TE 
kal KéAyol, TavTa Toet TE Kal A€yet, mpds SE ToVTOLS ETL TOUTwWY 
Kpovik@Tepa. Anunis properly a humour that gathers in the 
corner of the eye, rheum; but here applies to the prejudices 
that blind, as it were, the eye of the mind. 

THs dy toy, k.T.A.: ‘how would he, when establishing in 
person the Olympic contest, where he invariably every fifth 
year gathers together the whole of the Hellénes, proclaim the 
victorious competitors, by crowning them with wild olive as 
a crown, if he had great riches ?”’ 

8.’ grous méurtov: the inclusive method of reckoning, according 
to which Pindar also calls this festival revraernpis. An interval 
of four elapsed between each celebration of the festival, 
and this term was called an Olympiad. So high did this 
celebration rank in the minds of the Greeks that it became 
their recognised method of reckoning time. Olympia is the 
name of a small plain to the west of Pisa in Elis, where the 
festival was held. 

kotlyw : this must here be taken as a noun in apposition to 
otepavw. Porson suggested kotiv@, an adjective from kdtiwos 
as xpucovs from xpvods. Dindorf reads korivov. 


‘¢ By binding (the brows of) the victors with trifles, he leaves 
the wealth with himself.’’ 

Chremulos being worsted in logic about Zeus, falls back on the 
system of ‘‘ No case ; abuse the plaintiff’s attorney.”’ 

‘¢'The idea of your presuming to argue that you have not every- 
thing, and through poverty!’’ (i.e., that Poverty does not 
confer on you all sorts of blessings). 


“Exarns : the reference is to the feast of Hekaté, or the Moon. 
At the time of the new moon a feast. used to be set out 
in her honour at the crosswa A description of a similar 
custom among the Ethiopians is mentioned by Hérodotos, 
pW Roce 


airy : refers to Hekaté. «ard in the next line is distributive. 


‘¢ Whereas the poor folk snatch it away before (those who have 
brought it can) set it down.”’ 

@ modus "Apyous: from the Télephos of Euripidés; KaAveé ofa 
Aéye: is from the Médeia, 1.169. 'The whole line is in Equites, 
1. 813. 

TIatowva Kader: ‘‘call upon Pausédn_your messmate.’’ ‘The 
Scholiast says this man was a painter, It appears from other 
passages in our poet that he was a_yery poor man. Cp. Thesm. 
949, and Acharn., 854, where he is associated with Lusistratos,- 
who had to fast more than thirty days a month. 





84: 


603. 


ARISTOPHANES’ PLUTUS. 


ti 7waQo tAHpwv; taken word for word from Aisch. Persai, 
1,596. 


610—770. Chremulos is at last able to carry out his plan, since his 


612. 


619. 


623. 


626. 


627. 


631. 


troublesome visitor has now departed. The god is sent to the 
temple, where he is cured, and then returns to make all his 
friends happy. Meanwhile, Karion gives an amusing descrip- 
tion of the restoration of the god’s sight. 


oe kehadhy : ‘Thy Kepaddhy appears to be in a kind of apposition 
to oé. The head, as the noblest part, or the part chiefly 
affected, stands for the whole person in such phrases as yévyaov, 
dvoTnvov Kdpa, és Kepadrhy ool; cp. Lat. ‘*multum fleturum 
caput.’’ In this passage kepadyy can hardly be (as Bergler 
takes it) accus. of object to nAdew.—Green. 
Translate—‘‘ And as for you (it is best for me) to bid your 
head (= you) go weep for many a long day.”’ 


hptv olxerar: ‘‘is gone for us”’ = ‘‘ we have got rid of.’’?  #a- 
TpinTOS = 7 ewiTpiTTOS, 1.€., 7 akla TOU émTeTplpoOa, ‘this cursed 
wretch.”’ 

tl tv mpovpyou Trovety: ‘‘ doing some of the needful things.’” 
Observe that mpotpyou (= mpd €pyov) is compared, mpoupy:aitepos, 
mpovpyialtaros ; the superl. form mpovpy:éotatos being doubtful. 


TudAN’: governed by éexpépew (1. 624). Karidn had to carry out 
the bedding for Ploutos to lie on, in the temple; and also every- 
thing else indoors that had been got ready for the ceremony. 

At the end of this line there is missing a choral ode to fill up the 
time between the departure of the god for the temple, and the 
news of the recovery of his sight. ‘‘ kavrav0a yap xopdy &Sperre 
Oeivat kal diarpipar mixpoy &xpis ay Tis ek "AgKANTLOdD avacTpeere, 
Thy Tov IlAovTOU amayyéAAwy avadBAeliv.”? Schol. 


@ mAetora, K.T.A.: ‘©O ye aged men who at Théseus’ feast have 
sopped up much soup with very little bread.’’ So Liddell and 
Scott. The wvoridn from which the verb is derived is explained 
as ‘‘a piece of bread, hollowed out as a spoon, for supping soup 
or gravy.’’ 

Blaydes understands rAciota as saepissime, and takes the 
meaning to be ‘‘O ye aged men who very oft at Théseus’ feast 
have had a poor banquet on very little bread.’’ The idea is, 
that heretofore their general fare has been very bad, and not 
much to boast of even at the Thescia ; but now they have come 
in for good luck. Bergk thinks they celebrated the festival at 
their own expense, and therefore,'on account of their poverty, 
had a very spare meal; but it is possible that some public dis- 
tribution of food to the poor is alluded to. 


Tov cavtod dfdwyv: another instance of rapa mpocdoklay. BéATioTe 
**ovK &AAwY TIV@Y, GAAG TOY duoiwy cot maotiyt@y.’” Scholiast. 


637. 
639. 


643. 
645. 


650. 


605. 


657. 


NOTES. 85 


. The Scholiast informs us that this line of tragic sound is taken 


from the Phineus of Sophoklés. Translate :—‘‘ He has been 
restored to sight, and has received clear vision in his pupils.” 
éfoupardw would naturally mean ‘to bereave of sight,’’ a mean- 
ing it actually has in a fragment of Euripidés— 
‘¢ puets 5€ TloAvBou wats’ epetoavtes TedW 

eEouuatodpuey Kad SudAAvmEV Képas.”” 
In Aisch., Prom. 506 (Paley), we find— 

ae proywme oHmaTa 

ekwupdtwou, mpdcber byt’ émdpyeua,”’ 
where the word has the same meaning as in the present passage. 
Observe that AcAdumpuyTa is 8rd pers. sing. 


Body: ‘‘ cause for exulting shouts.”’ 


e¥rrarsa : The children of Asklépios are said to have been 
Machaon, Podaleirios, Iasd, Panakeia, and Hugicia. Panakeia 
is mentioned in line 780, infra. Cp. Orest., 1. 984, avaBodcouat 
marpt TavTddw. 
rouvtovi: KariOn. 
iva kav? mins: The poet in Zhesm., 1. 735, satirises this weak- 
ness of Athenian women— 
““@ Oepudratat yuvatkes, @ moTloTaTat 
Kak TayTds Buets UnXaveueval TeV, 
@ péya karharoas ayabdy, nuty 8’ ab Kakdv.”” 
For the participial construction, which is uncommon, after 
pire; cp. Vesp., 1. 1535, ef re Gidetr’ dpxovmevor. The words 
pres 5¢ Spao” avTd opddpa are spoken as an ‘‘aside.’’ 


‘¢T shall tell you the whole story from head to foot,’’ 7.e., from 
beginning to end. go} is purposely placed after the words és 
Thy Kepadyv to make the phrase resemble the usual imprecation 
(for which see note on 1. 526, supra), in which sense it is under- 
stood by the woman. ‘Not, I pray, on my head,”’ she exclaims. 

‘What! not the blessings that have fallen to our lot ? 
Oh, it is the troubles that I don’t wish on my head,”’ 
as she understood mpdyuara in line 649 to mean troubles, a 
meaning often conveyed by the word. 


ei tw’ GAAov: for e% tis &AAos. It is attracted by its proximity 
into the case of warapiov, which agrees with &vdpa. 


éXotpev: The Scholiast says this is for éAdouev from Adw, the 
original form of Aovw; So Aovmevos for Aoduevos, in next line. 
The uncontracted forms éAovouev, eAcuduny, are rejected as not 
truly Attic by Phryn., 1. 188, though copyists have often in- 
serted them in the older authors. The root is AoF as appears in 
Aovw (= AbF-w), Ad-etpov (= AdF-erpov), AodTpov, Lat. lav-o, 
lau-tus. ‘This root is lengthened into Av-, from which comes 
Av-wa, AD-Opov, Lat. al-luo, col-luv-ies, lu-strum. 


86 

657. 
659. 
660. 


661. 


663. 


665. 


668. 


673. 
675. 


677. 
681. 
682. 


685. 


ARISTOPHANES’ PLUTUS. 


evdaluwv: This is sarcastic. The woman insinuates that Ploutos 
was lucky indeed if a cold sea-bath did him any good. 


THEY : : ibamus. 


‘* And when on the altar, the cakes and offerings were dedicated 
by the flame of murky Héphaistos. ” The common MS. reading 
is mpoOvuara (= ‘‘ the preparatory offering’’) for @vAjpara. 


péAXavos: This is Bergk’s emendation for réAavus. méAavos means 
‘*a clotted mixture,’’ and if we retained the word, it would be 
in apposition to, and explanatory of, mémava kal @PvAnwara (or, 
mpoduuara) ; but although zéAavos is often found as a sacrificial 
term, it could not fairly be taken to explain the two former 
words ; and to explain the word, by asyndeton, as being another 
nominative to cka@wo1H6n, would be harsh. Bergk’s emendation 
is very plausible, and is approved of by Meineke. This descrip- 
tion of the sacrifice is in imitation of tragic diction, if it is not 
actually borrowed from some lost tragedy. 


‘And each of us made up from little odds and ends a bed for 
himself.”” ‘‘ é« puxp@v Kal moAA@Y Thy oTiBdda ndTpeTi Comer.” 
Scholiast. mapakartvw is strictly ‘‘to sew on beside,” or ‘‘ to 
patch up.”’ 

Neoxhe(8ns : mentioned also in EFkkilés. 11. 254 and 398, as 
NeoxAeldns 6 yAduwv, “the blear-eyed.”? He was an orator. and a 
azcophant, and his character is preserved for us in a proverb of 

das, NeoxAel5ov KAenTloTeEpos.. 





‘¢ But when the minister of the deity put out the lights and told 
us to go to sleep.” 


éérAnrre: ‘‘arrested my attention.”’ 


ed’ ulan “0 which pitcher of porridge I strangely desired to 
creep.’’ He had an eye on the porridge, which was brought 
into the temple as an offering by the old woman; and in lines 
689-690 he passes himself off as one of the sacred serpents, 
by hissing and biting the woman’s hand when she thrusts it 
out to protect her offering. The word épepriom, strictly used 
of serpents, looks forward to this, 


P8ois: the Attic contraction for pO@dias, acc. pl. of pOdis, -ios, 
Wa cake.” 

Hyttev eis odktay trad: ‘He consecrated them into a certain 
wallet.’’? This is rapa mpoodoxiay for ém Toy Bwudv. 


vopioas, k.7.A,: “And I, believing that there was great holiness 
in this proceeding. > Understand eiva: after éatav. 


‘¢ Yes, by the gods, I (was afraid) lest he with his fillets should 
reach the pitcher before me: for his priest had already given 
me a lesson,’’ to get all I could as quickly as possible. 


688, 


689. 


690. 


694. 


708. 
(az. 


713. 


NOTES. 87 


as yo8erd rod pov Tov Wédov: ‘As soon as ever she perceived 
the noise I made.’’ Another reading is os 7obdverd mov, ‘Sas 
soon as she began to perceive, &c.”’ 


Thy xetp’ brepfpe: ‘‘ Lifted up her hand over (the pitcher to 
protect it).’’ Thy xetpa was probably written as a gloss on the 
margin, and so crept into the text. hv xeip bpyper, the com- 
mon reading, is retained by Dindorf, and can only mean ‘‘ she 
tried to draw away her hand.’’ But no mention has been made 
of her hand being thrust out, whereas in 1. 691, infra, we find 
THY xElpa maéAW avéomace, Which implies that it has been. To 
balance the sentence, then, some change must be made in this 
line to reconcile it with 1. 691, where there is no doubt about 
the reading. The reading proposed by Hemsterhuys, approved 
by Dobree and Meineke, and adopted by Holden, &pao’ iprper, 
removes all difficulty. ‘‘ Having raised (her hand), she was on 
the point of drawing away (the pitcher).’’ &pac’ is a constructio 
ad sensum, as if ypais had been written instead‘of ypadiov. xvTpav 
bopper, ‘‘ was on the point of drawing away the pitcher,’’ would 
be preferable to the common reading. The Scholiast’s inter- 
pretation, éxreive: Thy xelpa Kata THs xUTpas, va undels adThy 
AdBn* kal Mévavdpos: eEdpaytes emikpothoare, was certainly 
written @ propos of some other reading, and &pas’ dpyper is the 
best suggestion that has been made. 


mapelas: a species of serpent, so called from its puffed cheeks 
(waperd, the cheek). Its bite was harmless, and it was sacred 
to Asklépios, and kept in his temple. Cp. Lucan. [X., 721, 
‘¢ Contentus iter cauda sulcare pareas.’’ The word is variously 
written mapovas, mapéas, and mapeias, and is supposed by Liddell 
and Scott to be a reddish brown snake on the analogy of rapoas 
trros, a chestnut horse (uetatd Teppov kai muppod, Photius). 


iPaate pee I See han aes “*daav, ‘cum crepitu quodam 
rangere, omfield. 


éxetvos refers to Asklépios. 


The woman’s suspicions are aroused, and she begins to think 
from a phrase of Karion’s that there is more imagination than 
history in his narrative. A@vov, from its position in line 710, 
might qualify Soldvea and KiBdétiov, as well as @veidiov. So she 
wants to know whether not only the mortar and pestle, but the 
wooden box (kiBétiov) was of stone. He admits the wooden box 
is not. Then, she wants to know how he could possibly see, if, 
as he said, he was wrapped up. The ready answer is that 
there were holes in his cloak. 


® KdkKLoT dtrodovpeve : lit., ‘‘thou who art doomed to perish 
most vilely,’’ ‘‘ thou wicked scoundrel.’’ 


88 


716. 


143. 


719. 


720. 


725. 


727. 


129, 


730. 
733. 


ARISTOPHANES’ PLUTUS. 


pappakov katatAacrdy : ‘‘a plaster.’? The different kinds of 
gpdpuaca, or medicines for outward application, were xpiotd, 
éyxpiota, emixpiota (olntments), and maord, éwimacta, KaTa- 
mAaota (plasters); while those taken inwardly were Bpdcima 
and rétiua, mora, miata. See Aisch. Prom., 1.479, seq.,and note. 


okopddev, k.t.A.: ‘three cloves of Tenian garlic.”? The 
Scholiast says that Tenos, which is an_island of the Cyclades, 
was noted for the fierceness of its serpents and of its garlic. 


émds : ‘‘the acid juice of the fig-tree. Cp. Lat. sap -or, suc- us, 
A.S. s@p (sap). From émés comes bmoyv, opium. 

oxtvov: Scillam maritimam (i.e., squill), ‘‘natam,’’ says 
Pliny, “‘aceto exacuendo.”’ 

Svéwevos : 2nd aor. part. mid. of diénu, ‘‘ having diluted.”’ 


Zytriw : Sphéettos was a deme in Attica belonging to the tribe 
Akamanti8. Sphettian” vinegar was very sharp, and the 
Scholiast says Taterantae Sphéttioi themselves were mixpo) kad 
oukopayvra. Hvery item in the prescription is very bitter and 
painful, whether the garlic, ‘‘ the acid fig-tree juice,”’ ‘‘ squill,” 
or ‘‘ Sphettian vinegar,’’ and is an amusing cure for sore eyes, 
the complaint of Neokleidés. See note on line 665. 


ETOMVUpEVOY : éerduvucba, lit., “to swear after, or accordingly,”’ 
as a legal term = dméuvucda, which is perhaps the verb that 
should be read in this passage. dduvvcbau is ‘‘ to interpose by 
oath,’’ but in Attic law it meant ‘‘to make oath (either per- 
sonally or by proxy) that something serious prevents a person’s 
appearing in court at the proper time,’’ and so, to apply for a 
postponement of a trial, to bar proceedings by an affidavit, &c. 
Translate—‘‘ That I may stop you from going to the Assembly, 
having (for once) a real excuse.’’ Dindorf and Bergk have 
the reading given in this text. But Dindorf proposes tats 
éxkAnoias, which Holden accepts. The meaning would then 
be, ‘‘that I may put an end to your obstructing public 
business at the Assemblies by false pleas.”’ 


TIdottav: ‘roy TlAotroy MaAo’tava etme mal(wy.’’ —Schol. 
Ploutos is here identified with Ploutén (Pluto), the god of the 
nether world, who as well as Ploutos was considered a god of 
riches, O71 ék Tis yhs aviera 6 wAovTos. Others regard TMAovTwy 
as an endearing diminutive of MAodros, as yAvKwv of yautis, Kc. 

HpitvBiov : this, according to Pollux, 7, 71, is an Egyptian 
word meaning ‘towel.’’ It is often found wrongly spelt 
uttvuBiov in the MSS., doubtless from a desire of the copyists 
to find some meaning in the name. 

For Mavdkeia, see note on line 639. 

ék Tov ved : the invalids were in the sacred enclosure (Téuevos) 
around the temple, not in the temple itself. See line 649. 


736. 
737. 


742. 


749. 
760. 


756. 


757. 
758. 


760. 
765. 


767. 


768. 


NOTES. 89 


€novddker: for euol eddner. 


This novel method of measuring time comes as a surprise to the 
audience, and is a second reference to the feminine weakness 
mentioned in line 646. 

mas Soxeis: adverbial to jomd¢ovto, ‘‘ greeted him, you can’t 
think how (i.e., very enthusiastically),’’ lit., ‘‘ greeted him, 
how do you think ?” 

In this line the woman apostrophises Asklépios. 

dxAos. trephuis Boos: ‘a marvellously great crowd,”’ lit., ‘‘a 
crowd, marvellous how great.’’ The relative écos is often 
joined to an adjective in this way, a8 davyaotby boov, aunxavov 
dcov, &C.; auhxavoy dcov xpdvov = an inconceivable length of 
time. Cp. Lat. mirwm quantum, immane quantum, &c. Similarly 
the adverbial forms, imeppuads as, dunxaves ws, &C. 

épis ouvijyov, k.7.A.: “ knit their brows and were gloomy the 
while.’”? Cp. Nud.1. 582, tas dppds Evvfjyouev ; Ach., 1. 1069, 
Tas dppvs avecrmakws. This verse seems borrowed from some 
tragedy. 

ot 8’ : this refers to of dixoso (line 751). 

éxtutretro : the passive of xrtuméw in its causal meaning, ‘“‘ the 
shoe was made to resound.’? Cp. Thesm., 1. 995— 

Gul 5€ col erumetra 
Kidatpovios 7X@. 
Dobree points out as undoubted examples of the passive use of 
this verb, VPhilostr. p. 201, xrumetrai tis evtavda bm avrov 
&kuwv; p. 358, nrumetc0at SuKodytos Ta ta brd evvolus imméewv. 
The passage in the text, éxtumeiro ... rpoBijuacw is of tragic 
sound and is likely enough a tragic imitation. 

é€ évds Adyou: ‘at once,’’ lit., ‘‘at one word.”’ 

evayyéAua : acc. of reference depending on dvadjow. ‘I wish 
to wreathe you with a garland of loaves for good tidings, on 
your reporting such news as this.’’ 


&v8pes : for of &vdpes, Ploutos, Chremulos, and their friends the 
just men. 


Kataxtopara: handfuls of figs, nuts, and sweetmeats, which used 
to be showered (kataxéw) over the bride, and over a new slave, 
by way of welcome on their entering their home. Cp. 
Theopomp., com. II., 797— 

pepe ov Ta KaTaxvouaTa 

TAXEWS KaTAXEL TOD Vuudlov Kal TIS Kdpns. 
Cp. Vergil, Ecl. 8, 31, sparge, marite, nuces. Ploutos, on re- 
turning with his new acquisition (¢.e., his sight) must be 
greeted as if he were bringing home a blushing bride or newly- 
purchased slave. The Scholiast says that éd@adpots 18 mapa 
mpogdoxtay for SovAois. Kkouiow is the aorist subjunctive, like 
kaTaxéw in line 790. 


90 


ras 


772. 


773. 


774. 


778. 


784. 


ARISTOPHANES’ PLUTUS. 


The choral ode which should precede the entry of Ploutos is 
missing, and it is very probable that several verses are also 
missing, because Ploutos would hardly begin with the words 
kal mpookuy@ ye. With regard to the three opening lines, they 
are in tragic style, but the Scholiast tells us nothing of their 
origin, and they are not to be found in the extant tragedies. 

‘« Adorat sive salutat solem, cujus lucem longo post tempore 
jam videt, ut solemus amicos salutare; deinde terram Atticam, 
quae eum quasi hospitio excipiat. Cf. Hy., 1. 156, thy yr 
mpdakvoov.”’—Bergk. 


oepvijs [ladddbos kXevvdv éSov : ‘ the famous plain of honoured 
Pallas,” i.e., Athens, of which city Pallas Athéné was the 
tu 


Xepav te Tacav Kékporos : ‘‘the whole land of Kekrops”’ is 
Attica, of which land this hero is said in the legends to have 
een the first king. He is said to have founded Athens, the 
citadel of which was called Cecropia in his honour. The later 
reeks believed that he came from Sais in Egypt with a colony, 
and introduced Egyptian civilisation into their land; but 
modern criticism shows this belief to be unfounded.. The name 
Kéxpoy is probably a redup. of the root kapm-, seen in xaprés, 
and means Fruitful. 





cupdopas : his misfortunes were ‘‘ consorting unawares with such 
(evil) men, and unwittingly shunning those worthy of his 
society.” 

éxetv’: ‘‘the former,”’’ i.e., consorting with the wicked. Lat. 
alla. 


tatr’: ‘* the latter,’’ or shunning the honest. Lat. haec. 


. UTA TavTa TaALW avactpéfas: ‘having adopted a diametrically 


opposite line of conduct.”’ 


. éred(Souv : so Meineke and Bergk ; évedidouv: vulgo, ** gave 


(myself) up to.” 


. BaAN’ és kdpaxas: understand ceavrdv. ‘‘ Take yourself off to. 


the crows!’’ i.¢., ‘‘to the deuce with you!’’ Lat. Apage in 
malam rem, or in malam erucem. These words are spoken by 
Chremulos to one of the crowd of newcomers that try to force 
their friendship on him now that he has become rich. Then 
he falls into a soliloquy. 


‘* For they poke and bruise one’s shins, each anxious to show 
some sign of goodwill.’’ Observe that éevdexvduevos is not 
plural to agree with the verb, but is attracted to the nom. sing. 
by €xaoros. Cp. Homer, I/. O, 1. 668— 

étt 5€ uvhoacbe ExacTos 
maidwv 45 arddxwv. 
Also Bay 6’ twevar Kelovres Ed mpds Sdual Exactos, Od. o, last line. 


NOTES. 91 


787. meprerteddvwoey : ‘* surrounded.”’ 
788. & pidtar’ dv8pav: this to Ploutos probably ; nal od kal od to 


Ploutos and Chremulos. The Scholiast understood it é MAodre 
kal @ &vep nal & BAeWiSynue. 


789. Katraxvopara : see note on line 768. 


790. Kkarayxéw : aorist subjunctive. 
792. Observe the double superlative mpériora, ‘‘ for the first time.’’ 


796. ** Then in addition we shall avoid the charge of vulgarity. For 


it is not seemly in a dramatist to fling figs and fruit to the 
audience, and then to force laughter at these things.’’ 
d:ddoKados refers to Aristophanes himself, and the force of the 
epithet is that he himself, like other dramatic poets, taught or 
superintended the rehearsals of his own choruses. 

For yedav én, ‘‘ to laugh at,’’ cp. Aisch. Lum., 1. 560, yeag 5€ 
Saluwy em dvdpi Oepug, and I/. B., 1.270, én adte@ 75d yéAaccar. 
But én) rotros might also mean ‘‘at this cost,” i.¢., the cost of 
vulgarity, or ‘‘in addition’’; yeAay, in both these cases, being 
used absolutely. 


800. AeEfyukos : supposed by the poet to be the name of one of the 


spectators, who, as soon as the wife of Chremulos came in with 
the nuts, had started to his feet to be ready when they were 
scattered among the audience. 


802—958. With the choral ode which should be sung between lines 


803 


804 


801 and 802, but which is now lost, the catastrophe of the play 
is reached. Henceforth all goes aright, for on Ploutos re- 
gaining his sight all the good wax rich and evildoers are 
reduced to poverty. Karién enters and gives a comic sketch 
of the good things the god has given to his master. A Just 
Man comes to see the god and thank him, and to offer up his 
wretched old clothes as a memorial. An Informer enters to 
bemoan the loss of his trade, but he finds no sympathy, is 
stripped, then clothed in the miserable old rags of the Just 
Man, and finally sent to the baths. 


pndev eEeveykdvr’ olkobev : “without any cost,’’ lit., ‘ having 


borne nothing out of the house (in exchange).”’ 


. The idea in this and the next line is that wealth was generally 


secured by dishonest means in Athens, yet wealth has now 
come tumbling in tumultuously to the household of Chremulos. 
although they had done nothing evil to deserve it. 


805. émeomérauey: this is explained by the Scholiast to mean 


806 


elcenndnoev, and he adds that it is a military term chiefly used 
of an invasion. ‘‘ Has riotously invaded (the household).”’ 


. This verse was rejected by Bentley, and certainly looks suspicious 


when compared with line 802. 


92 


806. 
810. 
815. 


816. 


$20. 


ARISTOPHANES’ PLUTUS. 


ottw: ‘“‘On these terms (7.e., having done nothing wrong to 


deserve it) wealth is a pleasant thing indeed.” 
gpéap: ‘oil jar.” 7a éAnoddxa &yyeta. Scholiast. 
imvdés : various interpretations of this word are given, but the 


meaning of ‘lantern ’’ (gavds) appears to be the most suitable 
to the present passage. 


otatipot §’: ‘And we servants play at ‘odd or even’ with gold 


staters.” The Stalér (= standard) was tne chief gold coin in 
Greece. It was also called Chrysus (xpvcots); and Darie, 
Aapends or otathp Aapeds, from the coinage of Darius 
Hystaspes, just as Louis and Napoleon were names given by the 
French to gold coins. The Athenian gold statérs were a little 
heavier than the darics, but were current at the same rate. In 
weight they were equal to ¢wo, and in value to twenty, Solonic 
silver drachmae. The Athenian statér and the Persian daric 
were each worth about £1. 2s, 

dptidfopev: ‘‘ludere par impar,’’ Hor. Sat. II., 3, 248, called 
by the Greeks aptia¢ew, &pria i) wepittd, or Cuya } &Cvya, was a 
game in which one had to guess whether the number of things 
(coins, nuts, &c.) held in the hand was odd or even. 

With the triple sacrifice mentioned in this line cp. the Roman 
suovetaurilia. Properly speaking, Bovéuvrety should only be 
used of the sacrifice of oxen, but here it is used freely for Ove. 


§23. mat8dpiov: diminutive of mais, a slave. A young slave is carry- 


$43. 


ing the old tattered cloak of the Just Man. 

In the following scene, from this line down to line 965, the 
dialogue is carried on between the Just Man, Karion, and the 
Sycophant. Chremulos is now engaged indoors with the 
sacrifice, and remains off the stage till he enters again in line 
965 with the words ‘‘ uh d77+ eyw yep adtds ekeAhAvda.”” The 
authority of the MSS. is in favour of this view, which is the 
one accepted by Bergk, Blaydes, and Holden. 

The theory that Chremulos should be substituted for Karion 
throughout the scene is maintained by Hemsterhuys, Brunck, 
and Dindorf. The Scholiast leaves it doubtful, observing only 
@ (Sikaiw) diareyerat 7) 6 Xpeuvrdos 7) 6 oikérns. 


. “ You are clearly what you seem to be, one of the honest.’’ 
. KovK €Sdkouv opav : ‘‘and they pretended not to see.”’ 
. avxpos: ‘for the drought that befell my coffers was the ruin 


of me.”’ 


. “And of what use to the god is the old cloak?’’ If dedv, the 


MS. reading, be followed, the meaning becomes ‘‘ What, in 
the name of the gods, is the meaning of this old cloak? ”’ 
Observe that lines 840, 842, and 844 end with mpbs rdv Oedr. 
routt: this word should be taken with rpiBdviwy, and not with 
matdapiov. 


NOTES. 93: 


844. With this line cp. Hor. Od. I., 5, 15— 
‘¢ Suspendisse potenti 
Vestimenta deo maris.”’ 


845. ra peydda: understand uvorhpia. The reference is to the great 
festival and mysteries of the Eleusinia, celebrated in honour of 


It was customary to dedicate the garments in which one had 
been initiated at Wisse mysteries ; and this is why Kari6én asks 
the Just Man if these are his initiation garments. What he 
means is, ‘‘ You have now been initiated into the mysteries of 
Ploutos. Is that why you wish to dedicate your cloak to him, 
as they do at the Eleusinia?’’ 


849. xapteyra : This is ironical. 


850. SefAavos: The penult is short, and the word is written SefAaos in 
the Ravenna MS. 


853. The metaphor in this line is borrowed from wine which is so 
strong that it is able to bear a large admixture of water without 
losing its goodness. So the Scholiast, Bergk, and Dindorf. 
‘Even if this be the right explanation of moAvddpos, yet to 
press the metaphor in ovyxéxpaya: would make the sufferer to 
be the water mixed with (and weakening) his own calamity. If 
Aristophanes meant this, he meant the whole phrase to be in 
ridicule of his tragic contemporaries. It is not likely that 
Sophoklés and Aischulos meant Kexpdo@at dda, otktm otherwise 
than ‘to be plunged in.’’ And zodAvddpw is also explained 
TOAAG Kaka pepovts. Of land it means ‘‘ fruitful,” ‘‘ bearing 
much good’’: therefore why not of fortune ‘‘ bearing much 
evil?’’ Green. This is probably the correct interpretation of 
ovykéxpaua, although Bergk and others regard it as a continu- 
ation of the metaphor. But roAuddpos undoubtedly has reference 
to the mixture of wine and water. Cp. Hquwites, 1188, as 7dvs, 
Zev, kal Ta Tpia KaAds hépwy; Kratin, II., 117, dp’ ofce: rpia ; 
Galen. 11, 93, &c. 

Translate: ‘‘So much in need of tempering is the fortune 
in which I have become hopelessly involved.”’ 


859. at S{kar: ‘‘ The informer must have redress, if there is law in 
Athens.’’ The mention of Sika gives the Just Man a clue to 
the character of the new-comer, whom, in the language of the 
mint, he declares to be “‘ of a bad stamp,’’ and Karién, chiming 
in, gives him little comfort by assuring him that ‘‘it is very 
obliging in him (i.e., serves him quite right) to be ruined.’’ 

864. The informer takes it for granted that he himself was one of the 
good, the only class that Ploutos was to enrich. 


94, ARISTOPHANES’ PLUTUS. 


867. éotly &ohwdexads: Periphrastic perfect for éfoAdAexs. This con- 
struction is far more common in the pluperfect. 


870. “‘ By Zeus, there’s not a bit of honesty in any one of you,’’? Cp. 
1. 363, supra. 
872. @ Adparep: Observe this Doric form of Anunrep. Doric forms 
were occasionally used by the comedians; and this very one has 
been already used in line 555. 
‘“‘O Démétér, with what swagger the informer has come in. 
It is clear that he is ravenously hungry.”’ 


875. The informer wishes to give them a stretch on the wheel, to 

make them confess their villainy. 

876. oipwEdpa: crasis for oiuwte: &pu. 

883. ‘*I don’t care in the least for you. MHere’s a ring I am wearing 
that I bought for a drachma from Eudémos.’’ The point of 
this remark is that the ring is a magic one, and would protect 
its wearer from harm. Evdapos is Doric for Evsnuos. 


885. dAN ovK verti: The Scholiast explains this to mean GAA’ ovK 
isxver ovtos 6 SaxtvAwos mpds Td Siyua Tod cuKopdvTov. The 
general meaning must be ‘‘ Your ring can’t guard you against 
the bite of the informer.” But how is this arrived at? The 
Scholiast’s explanation is that @dpuakoy is understood: ‘‘ There 
is no cure in it (the ring) against an informer’s bite ;”’ so that 
dfyuaros depends on ddpuakoy which is implied in danrdacos, 
because the ring was a dakrvAtos papuakirns. 

Raper explains it thus: ‘‘There is not in the list of the 
virtues of this ring the words ‘ aux. 57y.’ Vendors of amulets 
possibly gave the purchaser a list of the healing powers of 
the amulet as follows—rotro 7d mepiauma ioxver Kat’ Spews 
dhyuaros, and so forth.” 

One Scholiast says that 54yuaros isthe genitive after daxTvAuos, 
and Holden believes od yap éort to have been his reading, %.¢., 
‘‘the ring is not the ring of an informer’s bite.’? Others think 
the line should be written, GAA’ ov« everti ‘‘ SuKopavtov Shy- 

aros.”” 
‘ Dobree’s explanation is ‘‘ It is impossible (od« éveart) to buy 
an amulet against the bite of an informer,’’ in which sense ov« 
éveortt is often found. 

Holden takes the line as it stands to mean ‘‘ There is no 
informer’s bite in his words,’’ making Sfyyaros a partitive 
genitive, and suggests émady or Yaous for &veott. 

It seems most satisfactory to understand gdpyakoyv with the 
Scholiast. 

889. otkovv To ye oo: ‘‘ Certainly not for your (good), you may be 
quite sure of that.’’ 

891. ém adnbela: ‘in truth.’? Cp. Aisch., Supp., 1.622 (Paley) ; and 
Theok. VILI., 1. 44, wav én’ dAadeig memAacmevoy ex Aids Epvos. ‘The 


NOTES. 95 


sdptus is a witness whom the informer had brought with him, 
so as to be able to summon the others for trial. The witness, 
who takes no part in the dialogue, disappears before 1. 933, infra. 
Translate :—‘‘ Would, in truth, that you and your witness may 
burst, but not with eating (dit., ‘being filled with nothing ’).” 
éumAhwevos, Syncop. aor. pass. part. of éumiumAnu. 


894. The informer perseveres in his assertion that they are going to 
dine at his expense, and tells them that ‘‘ there is inside a large 
quantity of sliced fish and roast meat.” 


896. Observe the change of case after dogpaive:, first an acc., and then 
the genit. Yvyous. The latter is the usual construction ; but 
neuter accusatives may be used with all verbs. 


897. ‘‘ Since he is wearing such a wretched cloak.” 


904. oxyqmropar: ‘‘ He is not so mad as to be a farmer, but he pre- 
tends to be a merchant when it happens to suit him.” Merchants 
were free from the public burthens at Athens on account of the 
help they gave in importing grain ; therefore, when the informer 
wishes to escape some tax, he poses asamerchant. Cp. Démosth., 
p. 893, éml TH mpodpdoe: TOU eurropedecOa cuKopayTodyTas. 


906. pdtv wody: ‘Jf you did nothing.” odd mov would mean 
actually ‘‘ doing nothing.” 


908. rl paSev: These words are often found, like ri ra@év, at the 
beginning of a question in Attic Greek, and though both 
phrases might be freely rendered by ‘‘ wherefore ?”, yet the 
former indicates some wados, and means more exactly ‘‘on what 
knowledge (belief or persuasion) ?” The latter indicates a md6os, 
and might be rendered ‘‘ on what compulsion (or inducement)?” 


BovAopar: At Athens it was a constitutional principle that any 
one who wished (6 BovAduevos) might make proposals at the 
Iikklésia for the amendment (abrogation, &c.) of laws, bring 
forward an impeachment, &c., but a check was imposed by the 
Graphé Paranom6n. BovAoua: in this line, and 6 BovAduevos in 
line 918, refer to this practice. 


910. e& wor, k.7.A.: ‘If you are odious for things that don’t in the 
least concern you.” mpocjxoy is used absolutely. Lit., “If, 
it concerning you not all, then you incur hatred.”’ 


912. Kémce : “Opveoy Smep pire? appdy Oadrdttiov écBiev. Scholiast. 
‘* Noodle, booby.’’ The verb kerpovcdm, ‘‘to be gulled,” is 
used by Cicero, ad Attic, XIII., 40. 


913. ‘* Is inquisitive interference a thing to benefit the state P”? ‘* No; 
but to uphold existing laws, and not to allow any one to do 
wrong, is.”’. ‘*Then, does not the state for this very purpose 
appoint dikasts to hold office?” “But who accuses?” 
‘* Whosoever chooses.” ‘* Well, I am that man.’’ 

The laws were examined annually by the Zhesmothetai, and 


96 


ARISTOPHANES’ PLUTUS. 


any changes they deemed advisable were reported to the Nomo- 
thetai, a legislative committee of the dikasts. Public advocates 
were appointed for the formal defence of all the laws attacked, 
and the citizen who proposed a change had to make out his case 
against this defence, to the satisfaction of the assembled Nomo- 
thetai. See Grote’s History of Greece, chap. xlvi. 


925. 71d Barrov ofdd.ov: ‘the silphium of Battos.” Battos, other- 


926. 


942. 


945. 


wise known by the name of Aristotelés, migrated from Théra, 
one of the Cyclades group of islands, and led a colony ac Altica, 
where he became the founder of Cyrenae (631 B.c.) Cyreneans 
stamped their goins with his image, holding in one hand the 
plant si/phiwm (Lat. laserpicium). This plant was very valuable, 
and was exported far and wide on account of its excellence both 
in medicing and cookery. Hence it was an important source of. 
eee aa the Sisnee Barrov alAguiov cated into a proy 
‘for a very magnificent and costly gift. Catullus (7, 4) speaks 
of laserpiciferae Cyrenae. 

Just Man. ‘“ Put down your cloak at once.’? Kar. (to Informer) 
‘¢ Ho, you fellow! it is to you he is speaking.” J. Man. ‘‘ After 
that, take off your shoes.” Kar. (to Informer) “It is to you 
he says all this.” Inf. (defiantly) ‘‘ All very well, but just let 
whichever of you chooses come up here to me.” Kar. (mimick- 
ing the Informer’s words in line 918) ‘‘ Then that man am I.”’ 
Then Karidn sets to work to undress the informer, who pro- 
tests against his being stripped ‘‘in open day” (ue@ juépar). 


. trdAvoat: 1 aor. imperat. mid. As drddnua, the wnder-bound, is 


a shoe ; 80 troAdw, to loosen under, is the appropriate word for 
unfastening a shoe from the feet. 


. pas: the Informer’s appeal is to the witness, whom he calls 


upon to give evidence of these doings. 


. olpor par’ atOis: borrowed from Soph. Elect., 1416. 


Sos, K.7.A.: addressed either to the Just Man himself or to his 
slave (see line 823). 


kal tatta: “them too I will this very moment peg to this 
fellow’s forehead as to a wild olive-tree.’? ‘The Scholiast’s 
explanation is—déri ém) Tay koTivwy kai &AAwv Sévipwy wavtaxov 
éyv Tots lepois mpoomaTTadevouct Ta avabhuata. 
cifvyov ... kal ovKivov: observe the alliteration. kat cvKiwov is 
generally explained here as meaning ‘‘ even a weak (partner),”’ 
because the wood of the fig-tree was regarded as soft and of 
little use. Cp. Theocr. I., 45— 
odtiyyeT’, GuarrAodérat, TA Spdywata, uh Tapiav TLs 
ely Svuwor &vOpes, amwAETO xovTos 6 mods, 
where cvxivor means acbevets, and Hor. Sat. I., 8, 1, ‘‘ Olim 
truncus eram ficulnus, inutile lignum.’’ But it has been stated 
by the Informer in the previous line that he is much weaker 


NOTES. 97 


than his opponents. Thus, a weak partner would be of no use 
to him, as he would need a very strong partner to cope with 
them successfully. It is far more forcible to regard cvxivoy as 
a pun on oukodpayvtns, as they contain the common element 
ctov, afig. ‘If I get for fellow-worker even one of my own 
feather,’ 7.e., another informer. 

Bergk thinks there is a reference to the proverb cukivyn 
émikoupia, ‘a poor help,’’ and that this is contrasted with 
TovTov Toy iaxvupody Oedy of the next line. Liddell and Scott 
take otxivos in this passage to mean false, treacherous. 


950. For the Bovag and the ’ExxAnola consult Smith’s Dict. of Antiq. 
951, wavomAtay: the old cloak and the shoes. 


952. Badavetov: the poor went thither to get warm (see line 536, 
supra), and the Just Man who had been ‘‘ King of the Beggars’’ 
there in his poor days, now hands over that office to the 
Informer. 


959—1096. The Chorus, after the departure of the actors, sang an 
interlude after line 958. Next an affected old woman enters, 
who wishes to be thought young and handsome. She had a 
young lover who loved her when he was poor, but since Ploutos 
has changed everything he scorns her. The young man enters 
and continues to mock her, in which he is joined by Chremulos, 
although Chremulos pretends sympathy. 


959. dp’, ® dtAov: the usual mode of asking the way to a house. 
Cp. Soph., Oed. Rex, 934— 
ap av map buav, ® kévot, udOorw’ Sov 
T& TOD Tupavvov SHmaT éotly Oidimov ; 
960. véov: referring to his newly-recovered sight. 
962. add’ io 6’: for this predicative use of the participle, cp. Ranae, 
' 1,486, dar’ to em adrhy Thy Oipay apiymévos. 

968. ® pepakioky: ‘‘my pretty maid.’’ The old woman is thus 
addressed ironically. ‘The word isa dimin. of wetpat. apikads 
= vewTepik@s, ‘as becomes your youthful bloom.’’ The old 
woman gives herself youthful airs and talks in a mincing way. 


965. Chremulos enters saying there is no need for her to call, as he 
has himself come out, and would know her business. 


970. ovKohdvtpia: probably coined by Aristophanes, like copiocrpia 
by Plato. Other examples are roijrpia, wabntpia, woAculoTpia. 
His last visitor was a cvxopdytns, and he suspects that this is 
another of the same genus. 


972. See note on line 277 for a full explanation of the dikasts getting 
their ypduua to determine the order in which they were to sit 
for the day, and judge (Smd¢ew). But instead of saying 
édixotes Chremulos mapa mpocdoxiay says émves. The order of 
drinking was settled by lot (probably by drawing letters, as in 

G 


98 


973. 


979. 


982. 
987; 


989. 


Sole 
992. 
996. 


So 


999. 


ARISTOPHANES’ PLUTUS. 


the case of the dikasts). Cp. Hor. Od.,I., 4, 18, Nee regna vini 
sortiere talis, and II., 7, 25, Quem Venus arbitrum dicet bibendi. 
Translate—‘‘ But did you drink without its having fallen to 
your lot by letter to do so ?”’ @.e., “ Have you been drinking 
out of your turn (or unfairly)?’’ He implies that she is a 
tippler, and thus lost her money. 


éy 8, k.7.A.: ‘but Lam wretched, and suffering from an itching 
desire.” 


‘¢ And I performed every service for him in return.’”? Holden’s 
reading, éyw 8 éexelvy y at Ta mdvO brnpérouy, gives the same 
meaning and is more elegant. 


av qty’: ‘‘he would have asked,” and hence ‘*he would 
(i.e., was accustomed to) ask.’ 


This is ironical. ‘‘It is quite clear that he must have been shy 
with you when his demands were so modest.”’ 


prontias : there is a dowble-entendre in this word. It sometimes 
means /wst, which Liddell and Scott wrongly give as its meaning 
here, and. sometimes it means greed, which is clearly the 
meaning in this passage. ‘The joke is maintained if we trans- 
late ‘‘ He used to say that he asked me for these things, not 
from lust for gain, but because of his affection for me.’’ 


pepvyto: 3rd per. sing. opt. of wéuynua, which is the perf. mid. 
of uurhoKw. 

ékvoprmtara : ‘‘ most inordinately,’ the superlative of the adv. 
used by herself (line 981). 


Taml...éroyra: ‘(the other fruits) that are upon this tray.” 
The repetition of ém is redundant. 


trevrovons : ‘‘ and having added that I would come in the 
evening.’’ Dobree and Blaydes take tmre:movons to mean 
Quum praedixissem, a meaning in which the word is often found. 


‘¢ He sent me back this milk-cake along with my present, on 
condition that I should never again go thither.’’ The &uns 
was probably richer and better than the wAaxovs sent by her, 
and was intended to show that the young man had now become 
rich, and had no further need of the old woman. 


1002. mdAat rot’ Hoav dAktpor Mudjoror: for the former prosperity 


of the Milesians, see Herod., V., 28, where Milétos is called 
“the ornament of Ionia,” This line i is attributed fo. Anakreén, 
who u cused it even if he did not originate it. The Scholiast says 
it was the reply given by the oracle when the Karians inquired 
whether they should ask the alliance liance of the Milesiangs In War, 
Fence it passed into a proverb, to denote the loss.of former 
greatness, The young man meant that just as the Milesians 
were once great, so the old woman was once young and hand- 
some. 





1003. 


1006. 
1008. 


1014. 


1012. 
10138. 


NOTES. 99 


‘Tt is clear that he was not a bad sort of fellow. Afterwards 
growing rich, he is no longer satisfied with lentil soup; though 
before, on account of his poverty, he used to eat up every- 
thing.” There is something very unsatisfactory about ére:ra 
in line 1004. Holden takes it to mean ‘‘ And so, therefore, 
since things are thus, or since he is of this character ’’; but 
érerra can hardly bear this meaning. Perhaps ére:ta looks 
back to the past time implied in jv; or it may be that line 1005 
should precede line 1004. Dobree and Meineke conjecture 
érel CawAouToyv, Bergk émiveota mAouTov. 


rd 06: Démétér and Persephoné. 
ér’ éxdopav : ‘‘for your burial’’ or ‘‘to carry away your 


goods.’” 

‘*He used to call me endearingly his little duck and his little 
bird.’’ This line stands vntdpioy &y nad Baroy bwexopifero in 
the Ravenna MS., which is the best and oldest MS. of Aristo- 
phanes. The Scholiast read wrdpioy kad Bdtiov, which he says 
were kinds of plants ; and adds that she wishes to say the young 
man spoke of her as of choice flowers. But Bdriov would then 
be a diminutive of Bdtos, a prickly bramble, and wrdpiov is 
not found elsewhere. Then, again, these two words were ex- 
plained to be diminutives of proper names, Nitaros and Batos, 
effeminate men. Others explain Barioy as a diminutive of Batos, 
a kind of fish, perhaps the vay. All thisis very unlikely. But, 
if Baroy is the correct reading, it may possibly be explained as 
Baris, ‘‘a bird that frequents bushes’’ (Lat. rubicola), from 
Bdaros, a bramble-bush. Cp. Plautus, Asin. 3, 3, 103, 

‘‘ Dic igitur me anaticulam, columbulam, catellum, 
Hirundinem, monedulam, putillum, passerillum.’’ 
However, this passage from Plautus seems to me to confirm 
the brilliant emendation of Bentley, vytrdpiov dy kal parrioy 
bmexopiCero, ‘‘she used to call me endearingly her little duck 
and her little dove.’’ Bentley’s reading would, however, leave 
a tribrach followed by an anapest, and although there are other 
examples of this, yet it is contrary to the metrical canons. To 
remedy this defect, Porson read vyntrdpiov brekopicer’ av rab 
gartiov. Meineke and Holden read paBuiov for gatriov. padBiov 

is a diminutive of ody, a wild pigeon, stock-dove. 

qTyo” &v: see note on line 982. 

puortnyplois 8 Tots peyadourt: see note on line 845. This might 
be on the fourth day of their celebration, when the women, 
with ae eee ee hands, followed in procession the 
basket of pomegranates and poppy-seeds, as it was_carried on 
a waggon drawn by oxen; or, perhaps more probably, on the 


C7. seventh day, when the initiated returned from Eleusis to 


thens amid jests and raillery. The term péyada was applied 
to these mysteries, because there were also the uixpa wvorhpia, 


100 


1017. 


1020. 


1021. 


1025. 


1033. 


1036: -** 


1040. 


1042. 


1044. 
1046. 
1048. 


1050. 


ARISTOPHANES’ PLUTUS. 


which were held at Agrai, on the Ilissos, and were only a 
purification (mpoxd@apors) for the real mysteries. 

The common reading in this line is dxouuévny instead of 
vy Ala. ‘ And because some one looked at me at the 
Great Mysteries when I was on the waggon, I was worried for 
this the whole of the day. So very jealous was the young 
man.’’ 


‘SO yes, no doubt,” says Chremulos; ‘‘ but the real reason 
apparently is because he preferred to eat up all your sub- 
stance, without the aid of an intruder.”’ 


é{ev: impersonal. ‘‘ He used to tell me that there was a sweet 
fragrance from my skin.’’ 


e Naturally, by Zeus, if you were pouring out Thasian wine for 
him.”’ évéxers = évéxees, imperf. of éyxéw, to pour wine into 
a vessel. 


‘So, then, my good friend, herein the god is not acting aright, 
although he gives out that he helps those who are wronged at 
any time.”’ 

o’ ovkért Liv olerar: This contains the same joke at the old 
woman’s expense as that in line 1008. 


I am so wasted with grief,’’ she says, ‘‘ that you might pull 
me through a ring.” ‘* Yes,’’ says Chremulos, ‘‘ provided it 
were not a finger-ring (daxrvAtos), but the ring round a sieve.” 

dia SakTvAlov €AkvoOjva was a proverb used of those who 
through grief or disease had become thin. 


‘¢ He seems to be going to a revel.’’ ‘‘ That’s clear.’’ Observe 
the difference between @oiure and qaivera:, which is clearly 
brought out in this line. 


oé dyow: ‘It is you he means,’’ says Chremulos to the old 
woman. ‘The usual reading in this line is ti gnow. It is a 
better reading, and is given to the woman, who, as soon as she 
hears domdCoum, a rather intimate form of greeting, interrupts 
the speaker by a request addressed to the others present to 
note, as a proof of her story, the familiar terms which existed 
between herself and the young man. But his next words show 
the real state of affairs. 
iBpeos: The genitive termination for nouns of this class in 
Attic was -ews and in Ionic -eos. 
motov xpdvov: for molov moAAod xpévov ; 7.e., ‘* Long since! 
How so? Why, he was with me yesterday.” 
dfvTepov Bere: cp. Hor., Sat. I., 3, 26, ‘‘ Cur in amicorum 
vitils tam cernis acutum 2°’ 
mperButikol: comically put for madairepo, because the woman 
is old. Cp. Aesch., EZwm., 691 (Paley), 
Phil areaee vecioue TaAQLT pols 
Oeots &ripos ef ov. 


99 


1061. 
1053. 


1055. 
1057. 


1071. 
1076. 


1077. 


1089. 
1090. 


1096. 


NOUNS cern as 11 


Tv putTidwv Sous: cp. THs abdpns TOAATy, line 694, styra.3>. | 

‘‘For if only a single spark catcltes’ her, it will consume her 
like an old wool-bound harvest-wreath.’’ The eipeciavn was 
an olive harvest-wreath, wound round with wool (épiw), and 
used to be carried about by singing-boys at the two festivals 
of Mvavéyia and @OapyfaAia. With the reading BdAn (for AdBn) 
translate ‘‘ should light upon her.”’ 


Sia xpdvou: ‘after (this long) interval.” 


mooous, K.T.A.: the same kind of game as that already men- 
tioned in line 816, except that in the present case it is required 
not merely to guess whether the number is odd or even, but 
to guess the precise number. As the woman is angry at this 
proposal, Chremulos banteringly takes it up and says, ‘‘ Nay, 
I too will make a guess,’’? and commits himself to her having 
three or four. ‘‘ Pay up,” says the young man, ‘‘ for she has 
only a single grinder.’’ Thereupon she objects to being made 
a wash-tub (mAvyéds) in the presence of so many. 


“But, young man, I will not permit (¢., I do not allow) you 
to hate this damsel.’’ 


to tl; ‘‘ Wherefore?’’ It is the same as ti; or 777; The 
Scholiast says ‘‘ Of yaderaivovtes obtws eAeyov, Tb TL;” 


‘‘T respect your years. That is why I make her over to you, 
though I would never entrust her to another. So now take 
the damsel and go your way, and joy attend you.” 


ods xa: Meineke and Holden read as éyw = “just as I am.” 


‘‘T also want to say a word to the god.’ This is because she 
wants to follow the youth. ‘‘Then, I won’t go in,”’ says 
he. ‘‘Courage, don’t fear; for she won’t offer violence,” says 
Chremulos. Then both enter the house to see Ploutos, and 
Chremulos, being left alone on the stage, says, ‘‘O sovereign 
Zeus, how vigorously the old woman sticks to the youth, as 
if she were a limpet.”’ 


The choral ode that followed this line is missing. 


1097—1170. There is a knock at the door; Karidn answers it, but 


1098. 


cannot see anybody, because Hermés, true to his thievish 
ways, hides after knocking, and then appears when Karion is 
going in again; and on being questioned denies having 
knocked. He gives a humorous list of people and things that 
are to be brought out and mixed in a dish and flung into the 
pit, because Zeus is angry at men’s neglect of the gods, who 
have received no presents since men became rich through the 
agency of Ploutos. He bemoans his own losses, but finds 
Karidn very unsympathetic, and finally makes terms for 
himself, and begins with very menial employment. 


ovdels Zoukev: 7.¢., ws Gounev. ‘* Nobody at all, apparently.”’ 


192 ' SRISTOPHANES’ PLUTUS. 


109v. "AAAws : Sin vain,” “for nothing,’’ ‘ without cause.” 


KAavoug: a desitlerative form of the verb kKAaiw, **to weep.’ 
Verbs in -ceiw, and several in -dw and -idw, have a je 
tive meaning, ¢.g., dpacetw, I desire to do; povaw, I want to 
murder ; mabntiaw, T long to be a pupil. Some of those in -ide 
indicate bodily weakness or illness, as é@0adpidw, I suffer in 
the eyes ; wxpiaw, I am ofa sickly pallor. I think it likely that 
this idea of illness is involved in the present passage. ‘‘ The 
door suffers from an attack of whining (kAavota), and makes a 
noise without cause (pbeyyduevov &Adas).” This is also 
Green’s view, and seems preferable to ‘‘ wants to weep, or to 
get itself beaten,” 7.e., ‘shall suffer for it,’’ as Meineke, 
Holden, and Liddell and Scott interpret. In this latter sense 
kAavoeta is the word that was commonly used. 


oé Tou Aé€yw : ‘‘holloa! Karion, it is you I mean, stop!’ 
1102. ‘* No, by Zeus, but I was just going (to knock). Then, before 


Thad time (to knock) (lit., anticipating me), you opened the 
door.’’ 


1107. ‘“* Why, you villain, Zeus wishes to mix every one of you 
together in a heap in the same dish, and fling you into the 
pit.’’ 

1108. ravrév: also written radtdyv, is crasis for 7d adrdv. 

tpvBAvov: this word is diminutive only in form. 
1109. Bapabpov : see note on line 431. 


1110. 4 yA@rra, k..A,: ‘‘the tongue belongs to the herald of these 
things.’’ The tongues of victims were consecrated to Hermés 


as the Interpreter of the gods; and Athenaeus informs us that 
libations used fo be poured over the tongues. Karidn recog- 
nises whom he is speaking to, and virtually says, ‘‘ Oh! you are 
the person to whom the tongues of victims are given; you are. 
Hermés.’’? For yiyvera, a common reading is téuvetat, which. 
is ambiguous. It may either mean ‘‘ The tongue of victims 
is cut (and set apart) for the bearer of this news,” or ‘‘ The 
tongue of one who bears such news as this is generally cut 


out,’’ i.e., the news is bad and you deserve to lose your tongue 
for it. 


1114. Since the restoration of Ploutos to sight, nobody any longer 
offers up to the gods frankincense, bay, barley-cake, victim, 
or any one single thing of any kind. 

1118. ‘‘ It is not so much the other gods that I am concerned about, 
but I myself am undone and utterly destroyed.’’ Kar. ‘‘ Oh, 
you are quite right (in looking after yourself).’’ 

1120. karnAtoiww: these huckster-women offered their wine-cakes, 
honey, and dried figs as bribes to Hermés, that he might 
enable them to cheat their customers. 


1123. 


1124. 


1126. 


L120. 


1129. 


NOTES. 103 


avaBadnv: ‘with my legs up.’’ This is the best meaning 
here, and is confirmed by the Scholiast, ‘ &vw éxw tobs mddas 
kotudmevos,”” and he adds that slaves slept in this position lest 
their feet should become swollen by their continual running 
in the daytime. 


‘¢Doesn’t it serve you right for allowing the huckster-women to 
be punished sometimes although you were so well treated by 
them ?’’ They were prosecuted for adulterating the wine 
they sold, and Hermés did not save them. 


Terpaou: the fourth day of the month was sacred to Mercury, 
and his name still occurs in the French and Italian for 
Wednesday—Fr. mereredi, It. mercoledi. 


memeppevov : from réttw (rértw or méoow), not from méumw, as 
Meineke thinks. Cp. line 1142, infra. The cake was baked, 
and offered to Hermés on the day sacred to him. 


‘¢When Hercules lost Hylas in the Argonautic expedition, 
and cried aloud for him ‘ ut littus Hyla Hyla omne sonaret’ 
(Verg., Hel., 1V., 44), a voice was heard from the sky saying, 
moGets Toy ov TapdyTa kal waTny Kadcis,’’—Bergk. The verse 
is very probably taken from a tragedy. 


doKxod(at’: this is a pun on the kwajs of the previous line. 
KwAH, a contr. of kwAéa, is the ham of a swine ; and donwAridew 
is to dance on a wine-skin, as they did at the "AckéAi. The 
’Aocka@Aa took place on the second day of the Rural or Lesser 
Dionusia (Atovicia kat’ &ypovs, Or wikpd), When the Athenians 
used to dance with one foot on greased goat-skins full of 
wine. Goats were sacrificed to Dionusos because of their 
destructiveness to the vine. Their skins were used to hold 
wine, and whoever could dance longest on the greased wine- 
skin got the skin and its contents as his prize. 
This dance was a source of great merriment, and is connected 
with the rise of comedy at Athens. Cp. Verg., Geor., IT., 1. 380: 
‘¢ Atque inter pocula laeti 
Mollibus in pratis wnetos saluere per utres.” 
The joke in the text is next to impossible to render into 
English. ‘*Ah me, for the ham of the swine that I used to 
devour.’? Kar. ‘* You may dance on this wine here, out 
under the open sky.”’ 


1131. omdayxv’: this refers to the entrails of Hermés himself as well 


as to those of the victims, whereas in the previous line it 
refers to those of the victims alone. 


1132. ‘* Ah me, for the cup mixed half and half!’’ This mixture is 


stronger than was customary among the Greeks. The usual 
proportion of the mixture was three measures of water to two 
of wine. 


104 


1133. 


1137. 


1138. 


1140. 


1146. 


(a3 


ARISTOPHANES’ PLUTUS. 


Drink this up, and run away as fast as you can.’’ Karidn 
treats Hermés throughout with good humour, and here offers 
him a cup of wine. 


Kpéas veavikdv: ‘‘a fine large piece of meat.’? Cp. Eurip., 


Hipp., 1204, péBos veavixds, a great fear. 


ékgopa: this isafem. noun. “ But there is no carrying out 


ce 


(allowed).’? The form &cpopa which is read here by some 
editors is neut. pl. of €cepopos. The Scholiast says that this 
formula was used in some sacrifices, and quotes Theopompus, 
elow Spauov altnoov’ add ovx éexpopd. In the present passage 
the word has no reference to burial, as in line 1008, though 
even there the word may refer to the carrying away of 
goods. 


Whenever you purloined anything, I always caused you to 
escape detection.’’ ‘*Oh yes, on condition that you yourself 
should get a share of the spoil; for a cake well baked would 
fall to you.”’ ‘Yes, and you would eat it.”? ‘* Well, why 
shouldn’t 1? You got none of the blows, if J were caught 
stealing.” 


PvAjv: ‘Don’t rake up old scores, even if you have captured 


Phulé.”’ As the first edition of this play came out in 408 B.c., 
and Phulé was not taken till 4Q3 3.c., this line clearly belongs 
to the second Ploutos of 388 B.c. 

Thrasuboulos was among the exiles who had to quit Athens 
under the régime of the Thirty Tyrants. He fled_to Thebes, 
and with the aid of the Theta seized Phule, which was a 
fortress on the confines of Attica and Boidtia. Thence he 


(Hellén., II., 4, 48) says, dudcavres Spkous H why wh pynoika- 
Khoew, rt kal viv duod Te woAtTevovTat, kal Tots BpKois éumever 
6 Sjuos. Converting the metaphor into a simile, we get ‘‘ As 
the Democrats did not take revenge when they conquered the 
Tyrants, so you should not now wreak your vengeance on me 
for my former ill-treatment of you, because you are now rich 
and can punish me.”’ 


1151. This line is probably taken from some tragedy, perhaps one 


dealing with Teukros’ departure for Salamis (in Cyprus), when 
banished by his father. Sophoklés and I6n wrote dramas called 
Teukros. ‘The sentiment is common, and suits the practical 
views of Hermés. Cp. Eurip., Phaeth. Fr. 774, as maytaxod 
ye twatpls 7 Béckovca yj. Ibid. Frag., aca 5¢ xOdv avdph 
yevvaiw matpis. Menand., Sent. Mon., 1. 716, Te yap Karas 
mpaocoovT, macau yn matpis. Ovid, Fasti, I., 1. 493, ‘‘Omne 


NOTES. 105 


solum forti patria est.’? Publius Syrus, 623 Z, ‘‘ Patria erit 
vestra ubicumque vixeritis bene.’ Cic., Zusc. Quaest., V., 
37, ‘‘ Teucri vox ... Patria est ubicunque est bene.’’ 


1153. orpodaiov: “as god of turning,’’ of the hinge (orpégryé). On 


1155. 


1167. 


1168. 


1170. 


1172. 


the principle of ‘‘set a thief to catch a thief,’”’ statues of 
Hermés were set up at the doors of houses em) amotpomy Tay 
&AAwy KAerta@v, as the Scholiast says, Karidn pretends to 
misunderstand him, and replies that they don’t now want any 
of his ‘‘ tricky turns (orpopéyv).”’ 


Hermés next desires employment as the god of Traffic, but they 
are rich and don’t need him to preside over petty traffic. Then 
he applies as the god of Guile, but they are honest folk; as 
the god of Guidance, but Ploutos can now see; and finally as 
the god of Games, in which capacity he takes service in the 
family of Chremulos. The Scholiast says, ‘‘Aéyetau 5€ 6 ‘Eputjs 
oTpudatos, €utoAatos, Kepd@os, SdALos, Hyeudvios, evarydévios, Bid- 
kovos. Of these jyeudmos is general, and he was called évddu0s, 
as guide of the living, and either roumatos or x@émos, a8 guide 

of the dead. 


ypdppacw: see note on line 277, supra. There was, as is 
evident from this passage, some fraudulent way by which a 
juror could enter his name on more jury-panels than one, 
though how this could be done is quite uncertain. There were 
in all ten panels, and therefore only ten letters, at the outside. 
The object of course would be that, if one panel had no case 
to try, the fraudulent juror, having several other strings to 
his bow, might be sure of getting his three obols in another 
panel. In the same way Hermés, having many strings to his 
bow, is always sure of employment in some capacity. 


éml rovrous: ‘on these conditions.’? But no conditions have 
been specified; hence it is probable that some lines have 
dropped out before this line, and that they referred to his 
rejection as évaydévios, and his employment as diakovikds. 
According to the present text he is employed as évay#nos, but 
is first set to qualify for it by performing menial service. 


Exeunt Hermés and Karién. Enter the Priest and Chremulos. 
The Priest of Zeus the Saver is starving. Nobody thinks of 
sacrifice now. Zeus is nowhere honoured since men have 
grown rich, and his priest’s gains are gone. So the Priest 
bids good-bye to Zeus the Saver, and enters the service of 
Ploutos; and all prepare a procession to Athéné’s temple to 
enthrone Ploutos as the true Zeus. 

A choral ode is missing at the end of line 1170. 


kaka@s: understand éyw. ‘What is the matter, my excellent 
friend ?’’ ‘*How can I be otherwise than in a wretched 


H 


106 


ib Ware 


LISt. 


1186. 


1189. 


119%. 


1193. 


1194. 


1199. 


1204. 


ARISTOPHANES PLUTUS. 


plight ?’’ But this answer is hardly satisfactory, and Holden 
puts a comma after kaxés, which he thus connects with 
amdAwd’, changing the intervening line to aq’ obmep obtos 6 
debs Hptaro BAérew, and regarding it as parenthetical. 


ovdels déot: Nobody thinks it worth his while to sacrifice 
when he is rich, because there are no dangers from which 
Zeus could save him. 


Sikynv amopuyeyv: ‘having been acquitted in a law suit.’’ dtenv 
diacet is ‘to be the prosecutor in a trial” ; Sikyny pevyew, to 
try to escape, i.e., ‘to be the defendant in a trial”; Sixnv 
5:ddvar = (1) dare poenas, to suffer punishment; (2) and more 
usually, swmere poenas, to inflict punishment. 


ékadAtepetro : ‘‘ And another in sacrificing would obtain favour- 
able omens, and, as I was the priest, he would bid me to the 
feast.” 


pol Sox@: note the personal construction. 


Xalpev éaoas: ‘having bidden good-bye to,’’? having re- 
nounced. 


Zevs: Ploutos is meant. He is the real Saver. 


USpvodped’: “ we will straightway enthrone Ploutos, only wait 
a little.” 


omic8dSopnov: ‘The back-chamber’’ was the name given to 
the Athenian Treasury, because it was situated at the back of 
the temple of Athcnéc, on the citadel. 

The allusion is to the fact that by lengthened_way, and 
political changes at Athens, the Treasury,had become quite 
exhausted. But on the banishment of the Thirty and the 
‘restoration of the democracy, Athens again began to grow 
strong, and Aristophanes here predicts that wealth will soon 
return to the Treasury, odrep mpdrepov jv idpouevos. 


THs Geod: Pallas Athéne. 


Lighted torches are brought out, and the priest leads the way 
for the god. The old woman bears a hand in the ceremony. 





tmoukida : understand iudria. The Scholiast tells us that they 
dressed in purple and in various gay colours for the pro- 
cession. The old woman had come already decked out in 
this way. ‘‘And you came of your own accord dressed in 
gay attire.” 


Chremulos concludes with a pun which we cannot translate 
literally into English. ‘pais in line 1206 means the curds, 
scum, &c., as of boiled milk, and was a rustic luxury, and in 


NOTES. 107 


the next line has its usual meaning, ‘‘an old woman.’’ 
Similarly in English we have ‘‘ goody,’’ which means ‘‘ good- 
wife,” ‘* go0od-woman,’’ also used for “‘ the bonbons given to 
children.’’ Some idea of the pun is given if we translate, 
‘¢ Why, look you, these pipkins are doing quite the reverse of 
all others. For in the case of the other pipkins the goodies 
are on the very top, but these pipkins are on the very top of 
the goody.” — 





INDEX TO 


A 
akapei, 244 
avaBadny, 1123 
avadnoa evayyeAa, 764 
avdparrod.oTnc, 521 
ayTikpuc, 134 
arapri, 388 
apyupicioy, 147 
’ApiorudAoe, 314 
apriazey, 815 
"AokAnmLoc, 411 
aokwhiaZev, 1129 
aitixa, 130 
avroraroc, 83 


B 
Bapadporv, 431, 1109 
Bary, IOII 
Barroc, 925 
BedXovorwAne, 175 
Brérevv "Aon, 328 
Brebidnpoc, 332 
BodtdrAopat, 908 


1B 
yAorra, LILO 
yeappa, 277, 1167 
ypave, 1206 


A 
Caxridwoc, 884, 1036 
Adparep, 872 
Gethauog, 850 
Aséixixoc, 800 
Onpora, 254 
Ovewevoc, 720 
Oualey, 277 
Oikny aropuywy, 1181 
Avovistoc, 550 


E 
cipeowyn, 1053 
Exarn, 594 
é 





éxkAnoia, 171 
éxTeToeevolat, 34 
éxedopa, 1008, 1138 
édovpev, 657 
évéyupov, 451 
éEouparovy, 635 
evretoTraisty, 803 
émucabiZecOar, 185 
éropvucbat, 725 
’"Epivde, 423 

éc Kegadry coi, 526 
‘Eoria, 395 


Z 
Zebve 0 owrnp, 1189 


H 


npuTbB.ov, 729 
“Hpardeidne, 385 


8 
Oeppoc, 415 
Opact’Bovroc, 550 
Operravedo, 290 


I 
imvoc, 815 


K 
katnXic, 435 
KarakNivey, 411 
KaratAaoroc, 717 
Karayiopara, 768, 789 
KareBAAKEVpEVWC, 325; 
Karomuw, 13 
Kéxpomroc ywpa, 773 
KéTpoc, 912 
Kipxn, 302 
kAavotay, 1099 
KNETTIOTATOC, 27 
Kvagevery, 166 
kodoouproc, 536 
Kkopay, 170 





NOTES. 


KopivOoc, 173 
KoTwvoc, 586 
corihn, 435 
Koupetoyv, 338 
KOEUWMEV, 312 
Kpovoc, 581 
Krureia0a, 758 


A 
Aapriov, 312 
Aaywy, 277 
Aehautpuvrat, 635 
AtEac rvyn, 3 
Ajpat, 581 
Aokiac,. 8 
Avykev¢, 210 


M 
pacapirnc, 555 
peyara pvorijpia, 845). 

1013 
péyac Baowede, 170. 
pebeode, 75 
Midac, 287 
MuAnotot, 1002 
jucnria, 989 
pevnowcakeiv, 1146: 
provwraroc, 182 
puorivac8a, 627° 


N 
VEAVLKOC, 1137 
Neok\eiOne, 665, 
— 


ey 


Eevucoyv, 173 
EvuBoror, 278 
Evupayia, 178 


0 
0Zetv, 1020 

o(pwZev, 58, III 
‘Oduprikody aydva, 583 





oricOddopoc, 1193 
omoc, 719 
bpric, 63 
Oru, 48 
ovk av ¢0dvore, 485 
ovK tof Orrwe, 18 


OpOarpia, 115 


II 
Tladdddoc midov, 772 
Tlapodrog (1), 174 
Tlappiroc (2), 384 
Tlavaxeva, 639, 730 
TapakatTuey, 663 
Tapappovety, 2 
mTapeiac, 690 
TlarpokAje, 84 
Tlatowy, 602 
médavoc, 661. 
TETTEMpPEVOC, 426 
TlAotrwy, 727 
Toloc, 1047 
todugdpoc, 853 
mTrepvyiley, 575 





IIo 


Twpara, 66 
mc OoKEic, 742 


E 
puTiowy bac, 1051 


= 
seicac Oagyny, 213 
aiigtoyv, 925 
gopoc, 277 
orarnp, 816 
orépavov tye, 21 
orpopatoc, 1153 
ovyKéxpapa, 853 
ovKvoc, 946 
oOUVTETAPEVWC, 325 
LontrTwc, 720 
oxivoc, 720 


dt 
Thre, 718 
ri paw, 908 
Tipoféov mipyoc, 180 
Tpipecc, 172 





’ 


TpwwPorov, 329 
TpdTaLoY, 453 


sf 
UmEKopiceTo, IOII 
UTEPpUIC bOOC, 750 
vTokpovscbat, 548 
Uropvucbat, 725 


P 
pPoic, 677 
PiréWoc, 177 
dAwviOne, 179, 303 
grav, 694 
Pu), 1145 


bs 
Waoroyv, 138 


Q 
® 7c “Apyouc, 601 
@ Tay, 66 


- 


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MASON. Analytical Latin Exercises By c. P. MASON, B.A. 4h 
eattton Part Ii; ts..0d, Part: 112," 25.°62, 

— The Analysis of Sentences Applied to Latin. Post 8vo, Is. 6d. 

NETTLESHIP. Passages for Translation into Latin Prose. Pre- 
ceded by Essays on :—I. Political and Social Ideas. II. Range of Meta- 
phorical Expression. III. Historical Development of Latin Prose Style 
in Antiquity. IV. Cautions as to Orthography. By H, NETTLESHIP, 
M.A., late Corpus Professor of Latin in the University of Oxford. Crown 
8vo, 35. A Key, 4s. 6d. net. 

Notabilia Quaedam; or the Principal Tenses of most of the Irregular 
Greek Verbs, and Elementary Greek, Latin, and French Constructions. 
New edition. 5. 

PALEY. Greek Particles and their Combinations according to Attic 
Usage. A Short Treatise. By F. A. PALEY, M.A., LL.D. 25. 6d. 

PENROSE. Latin Elegiac Verse, Easy Exercises in. By the REV. J. 
PENROSE. JVew edition. 25. (Key, 35. 6d. net.) 

PRESTON. Greek Verse Composition. By G. PRESTON, M.A. 5¢h 
edition. Crown 8vo, 4s. 6d. 

PRUEN. Latin Examination Papers. Comprising Lower, Middle, and ' 
Upper School Papers, and a number of the Woolwich and Sandhurst 
Standards. By G. G. PRUEN, M.A., Senior Classical Master in the Modern 
Department, Cheltenham College. Crown 8vo, 2s. 6d. 

SEAGER. Faciliora. An Elementary Latin Book on a New Principle. 
By the REV. J. L. SEAGER, M.A. 25. 6d, 

STEDMAN (A. M.M.). First Latin Lessons, By a. M. M. STEDMAN, 
M.A., Wadham College, Oxford. 2d edition, enlarged. Crown 8vo, 2s. 

— Initia Latina. Easy Lessons on Elementary Accidence. 2nd edition, 
Fcap. 8vo, Is. 

— First Latin Reader. With Notes adapted to the Shorter Latin Primer 
and Vocabulary. Crown 8vo, Is. 6d. 

— Easy Latin Passages for Unseen Translation, 2nd and enlarged 
edition. Fcap. 8vo, Is. 6d. 

— Exempla Latina, First Exercises in Latin Accidence. With Vocabu- 
lary. Crown 8vo, Is. 6d. 

— The Latin Compound Sentence; Rulesand Exercises. Crown 8vo, 
Is. 62. With Vocabulary, 2s. 

— Easy Latin Exercises on the Syntax of the Shorter and Revised Latin 
Primers. With Vocabulary. 37d edition. Crown 8vo, 2s. 6d. 

— Latin Examination Papers in Miscellaneous Grammar and Idioms. 
3rd edition, 2s. 6d. Key (for Tutors only), 6s. net. 

— Notanda Quaedam. Miscellaneous Latin Exercises) On Common 
Rules and Idioms. 2d edition. Fcap. 8vo 1s. 6d. With Vocabulary, 2s. 

— Latin Vocabularies for Repetition, Arranged according to Subjects, 
3rd edition. Fcap. 8vo, Is. 6d. 

— Steps to Greek. 18mo, Is. 6d. 

— Easy Greek Passages for Unseen Translation. Fceap. 8vo, 1s. 6d. 

— Easy Greek Exercises on Elementary Syntax. [lu preparation. 

— Greek Vocabularies for Repetition. Fcap. 8vo, Is. 6d. 

— Greek Testament Selections for the’ Use of Schools. 2d edition. 
With Introduction, Notes, and Vocabulary. Fcap. 8vo, 2s. 6d. 

— Greek Examination Papers in Miscellaneous Grammar and Idioms. 
2nd edition, 2s. 6d. Key (for Tutors only), 6s. net. 


A 3 


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THACKERAY, Anthologia Graeca. A Selection of Greek Poetry, 
with Notes. By F. ST. JOHN THACKERAY. 5¢h edition. 16mo, 4s. 6d. 

— Anthologia Latina. A Selection of Latin Poetry, from Naevius to 
Boéthius, with Notes. By REV. F, ST. JOHN THACKERAY. 6¢h edition. 
16mo, 45. 6d. 

— Hints and Cautions on Attic Greek Prose Composition. Crown 
8vo, 35. 6d. 

— Exercises on the Irregular and Defective Greek Verbs. 1s. 6d. 

WELLS. Tales for Latin Prose Composition. With Notes and 
Vocabulary. By G. H. WELLS, M.A., Assistant Master at Merchant 
Taylor’s School. Feap. 8vo, 2s. 


HISTORY, GEOGRAPHY, AND REFERENCE BOOKS, 
ETC. 


TEUFFEL’S History of Roman Literature. 5¢h edition, revised by 
DR. SCHWABE, translated by PROFESSOR G. C. W. WARR, M.A., King’s 
College, London. Medium 8vo. 2 vols. 30s. Vol. I. (The Republican 
Period), 15s. Vol. II. (The Imperial Period), 15s. 

KEIGHTLEY’S Mythology of Ancient Greece and Italy. 4th edition, 
revised by the late LEONHARD SCHMITZ, PH.D., LL.D., Classical Examiner 
to the University of London With 12 Plates. Small post 8vo, 55. 

DONALDSON’S Theatre of the Greeks. 10// edition. Small post 8vo, 


$; 

DICTIONARY OF LATIN AND GREEK QUOTATIONS; in- 
cluding Proverbs, Maxims, Mottoes, Law Terms and Phrases. With all 
the Quantities marked, and English Translations. With Index Verborum. 
Small post 8vo, 5s. 

A GUIDE TO THE CHOICE OF CLASSICAL BOOKS. Byyj. z. 
MAYOR, M.A., Professor of Moral Philosophy at King’s College, late 
Fellow and Tutor of St. John’s College, Cambridge. 37d edition, with 
Sd Serpe as Sept Crown 8vo, 45. 6d. 

PAUSANIAS’ Description of Greece. Newly translated, with Notes 
and Index, by A. R. SHILLETO, M.A. 2 vols. Small post 8vo, 5s. each. 

STRABO’S Geography. Translated by w. FALCONER, M.A., and H., Cc. 
HAMILTON. 3 vols. Small post 8vo, 5s. each. 

AN ATLAS OF CLASSICAL GEOGRAPHY. By w. HuGHEs and 
G. LONG, M.A. Containing Ten selected Maps. Imp. 8vo, 35. 

AN ATLAS OF CLASSICAL GEOGRAPHY. Twenty-four Maps 
by W. HUGHES and GEORGE LONG, M.A. With coloured outlines, 
Imperial 8vo, 6s. 

ATLAS OF CLASSICAL GEOGRAPHY. 22 large Coloured Maps, 
With a complete Index. Imp. 8vo, chiefly engraved by the Messrs, 
Walker. 75. 6d. 


Educational Catalogue. 19 





MATHEMATICS. 


ARITHMETIC AND ALGEBRA. 


BARRACLOUGH (T.). The Eclipse Mental Arithmetic. By TITUS 
BARRACLOUGH, Board School, Halifax. Standards I., II., and III., 
sewed, 6¢.; Standards II., III., and IV., sewed, 6d. net; Book III., 
Part A, sewed, 4d.; Book III., Part B, cloth, 1s. 6d. 

BEARD (W.S.). Graduated Exercises in Addition (Simple and Com- 
pound). For Candidates for Commercial Certificates and Civil Service 
appointments. By w. S. BEARD, F.R.G.S., Head Master of the Modern 
School, Fareham. 37d edition. Fcap. 4to, Is. ‘ 

— Se PENDLEBURY. 

ELSEE (C.). Arithmetic. By the REV. C. ELSEE, M.A., late Fellow of 
St. John’s College; Cambridge, Senior Mathematical Master at Rugby 
School. 14¢h edition. Fcap. 8vo, 35. 6d. 

[Camb. School and College Texts. 

— Algebra. By the REV. C. ELSEE, M.A. 8th edition. Fcap. 8vo, 4s. 

[Camb. S. and C. Texts. 

FILIPOWSKI (H. E.). Anti-Logarithms, A Table of. By H. Ez. 
FILIPOWSKI. 37d edition. 8vo, 15s. 

GOUDIE (W.P.). See Watson. 

HATHORNTHWAITE (J. T.). Elementary Algebra for Indian 
Schools. By J. T. HATHORNTHWAITE, M.A., Principal and Professor 
of Mathematics at Elphinstone College, Bombay. Crown 8vo, 2s. 

MACMICHAEL (W. F.) and PROWDE SMITH (R.). Algebra. 
A Progressive Course of Examples. By the REV. W. F. MACMICHAEL, 
and R. PROWDE SMITH, M.A. 4th edition. Fcap. 8vo, 3s. 6d. With 
answers, 45. 6d. [Camb. S. and C. Texts. 

MATHEWS (G. B.). Theory of Numbers. An account of the Theories 
of Congruencies and of Arithmetical Forms. By G. B. MATHEWS, M.A., 
Professor of Mathematics in the University College of North Wales. 
Part I. Demy 8vo, 12s. 

MOORE (B. T). Elementary Treatise on Mensuration. By B. T. 
MOORE, M.A., Fellow of Pembroke College, Cambridge. New edition. 
35. 6d. 

PENDLEBURY (C.). Arithmetic. With Examination Papers and 
8,000 Examples. By CHARLES PENDLEBURY, M.A., F.R.A.S., Senior 
Mathematical Master of St. Paul’s, Author of ‘‘ Lenses and Systems of 
Lenses, treated after the manner of Gauss.” 8¢h edition. Crown 8vo. 
Complete, with or without Answers, 4s. 6¢. In Two Parts, with or 
without Answers, 2s. 6d. each. 

Key to Part II. 75. 6d. net. [Camb. Math, Ser. 

— Examples in Arithmetic. Extracted from Pendlebury’s Arithmetic. 
With or without Answers, 6¢h edition. Crown 8vo, 3s., or in Two Parts, 
Is. 6d, and 2s. Camb. Math. Ser. 

— Examination Papers in Arithmetic. Consisting of 140 papers, each 
containing 7 questions ; and a collection of 357 more difficult problems 
3rd edition. Crown 8vo, 2s. 6d. Key, for Tutors only, 55. net. 

* 


20 George Beli & Sons 





PENDLEBURY (C.) and TAIT (T. S.). Arithmetic for Indian 
Schools. By C. PENDLEBURY, M.A. and T. S. TAIT, M.A., B.SC., 
Principal of Baroda College. Crown 8vo, 3s. [Camb. Math. Ser. 

PENDLEBURY (C.) and BEARD (W. S.). Arithmetic for the 
Standards. By C. PENDLEBURY, M.A., F.R.A.S., and W. S. BEARD, 
F.R.G.S. Standards I., II., III., sewed, 2a. each, cloth, 3¢. each; IV., 
V., VI., sewed, 3d. each, cloth, 4d. each; VII., sewed, 6d., cloth, 8d. 
Answers to I. and II., 4¢., III.-VII., 4d. each. 

— Elementary Arithmetic. 37d edition. Crown 8vo, Is. 6d. 


POPE (L.J.). Lessons in Elementary Algebra. By L. J. POPE, B.A. 
(Lond.), Assistant Master at the Oratory School, Birmingham. First 


Series, up to and including Simple Equations and Problems. Crown 8vo, 
Is. 6d. 


PROWDE SMITH (R.). See Macmichael. 

SHAW (S. J. D.). Arithmetic Papers. Set in the Cambridge Higha 
Local Examination, from June, 1869, to June, 1887, inclusive, reprinted 
by permission of the Syndicate. By s. J. D. SHAW, Mathematical 
Lecturer of Newnham College. Crown 8vo, 2s. 6d.; Key, 45. 6d. net. 

TAIT (T. S.). See Pendlebury. 


WATSON (J.) and GOUDIE (W.P.). Arithmetic. A Progressive 
Course of Examples. With Answers. By J. WATSON, M.A., Corpus 
Christi College, Cambridge, formerly Senior Mathematical Master of the 
Ordnance School, Carshalton. 7+h edition, revised and enlarged. By w. 
P, GOUDIE, B.A. Lond. Fcap. 8vo, 2s. 6d. [Camb. S. and C. Texts. 

WHITWORTH (W. A.). Algebra. Choice and Chance. An Ele- 
mentary Treatise on Permutations, Combinations, and Probability, with 
640 Exercises and Answers. By W. A. WHITWORTH, M.A., Fellow of 
St. John’s College, Cambridge. 4th edition, revised and enlarged. 


Crown 8vo, 6s. [Camb. Math. Ser. 

WRIGLEY (A.) Arithmetic. By A. WRIGLEY, M.A., St. John’s College. 

Fcap. 8vo, 35. 6d. (Camb. S. and C. Texts. 
BOOK-KEEPING. 


CRELLIN (P.). A New Manual of Book-keeping, combining the 
Theory and Practice, with Specimens of a set of Books. By PHILLIP 
CRELLIN, Chartered Accountant. Crown 8vo, 3s. 6d. 

— Book-keeping for Teachers and Pupils. Crown 8vo, Is. 6¢. Key, 
2s. net. 

FOSTER (B. W.). Double Entry Elucidated. By B. Ww. FOSTER. 
14th edition. Fcap. 4to, 3s. 6d. 

MEDHURST (J. T.). Examination Papers in Book-keeping. Com- 
piled by JOHN T. MEDHURST, A.K.C., F.S.S., Fellow of the Society of 
Accountants and Auditors, and Lecturer at the City of London College. 
3rd edition. Crown 8vo, 35. 

THOMSON (A. W.). A Text-Book of the Principles and Practice 
of Book-keeping. By PROFESSOR A. W. THOMSON, 8.SC., Royal 
Agricultural College, Cirencester. 2nd edttion, revised. Crown 8vo, 55. 


Educational Catalogue. 21 





GEOMETRY AND EUCLID. 


BESANT (W. H.). Conic Sections treated Geometrically. By w. 
H. BESANT, SC.D., F.R.S., Fellow of St. John’s College, Cambridge. 
oth edition, Crown 8vo, 4s. 6d. net. Key, 5s. net. [Camd. Math. Ser. 

BRASSE (J.). The Enunciations and Figures of Euclid, prepared for 
Students in Geometry. By the REV. J. BRASSE, D.D. Mew edition. 
Fecap. 8vo, Is. Without the Figures, 6d. 

DEIGHTON (H.). Euclid. Books I.-VI., and part of Book XI., newly 
translated from the Greek Text, with Supplementary Propositions, 
Chapters on Modern Geometry, and numerous Exercises. By HORACE 
DEIGHTON, M.A., Head Master of Harrison College, Barbados. 37d 
edition. 45. 6d., or Books I.-IV., 3s. Books V.-XI., 25. 6d. Key, 5s. net. 

[Camb. Math. Ser. 
Also issued in parts :—Book I., 1s. ; Books I. and IL., 1s. 6¢. ; Books 
I.-III., 2. 6¢.; Books III. and IV., 1s. 6d. 

DIXON (E. T.). The Foundations of Geometry. By EDWARD T. 
DIXON, late Royal Artillery. Demy 8vo, 6s. 

MASON (C. P.). Euclid. The First Two Books Explained to Beginners. 
By Cc. P. MASON, B.A. 2nd edition. Fcap. 8vo, 2s. 6d. 

McDOWELL J.) Exercises on Euclid and in Modern Geometry, con- 
taining Applications of the Principles and Processes of Modern Pure 
Geometry. By the late J. MCDOWELL, M.A., F.R.A.S., Pembroke College, 
Cambridge, and Trinity College, Dublin. 4¢ edition. 6s. 

[Camb. Math. Ser. 

TAYLOR (C.). An Introduction to the Ancient and Modern Geo- 
metry of Conics, with Historical Notes and Prolegomena. 15s. 

— The Elementary Geometry of Conics. By c. TAYLOR, D.D., Master 
of St. John’s College. 7¢h edition, revised. With a Chapter on the Line 
Infinity, and a new treatment of the Hyperbola. Crown 8vo, 45. 6d. 

[Camb. Math. Ser. 
WEBB (R.). The Definitions of Euclid. With Explanations and 

. Exercises, and an Appendix of Exercises on the First Book by R. WEBB, 
M.A. Crown 8vo, Is. 6d. 

WILLIS (H. G.). Geometrical Conic Sections. An Elementary 
Treatise. By H. G. WILLIS, M.A., Clare College, Cambridge, Assistant 
Master of Manchester Grammar School. Crown 8vo, §s. [Cam6. Math. Ser. 


ANALYTICAL GEOMETRY, ETC. 


ALDIS (W. S.). Solid Geometry, An Elementary Treatise on. By w. 
S. ALDIS, M.A., late Professor of Mathematics in the University College, 
Auckland, New Zealand. 4th edition, revised. Crown 8vo, 6s. 

[Camb. Math. Ser. 

BESANT (W. H.). Notes on Roulettes and Glissettes. By w. H. 
BESANT, SC.D., F.R.S. 2d edition, enlarged. Crown 8vo, 55. 

[Camb. Math. Ser 


22 George Bell & Sons 





CAYLEY (A.). Elliptic Functions, An Elementary Treatise on. By 
ARTHUR CAYLEY, Sadlerian Professor of Pure Mathematics in the Univer- 
sity of Cambridge. 2nd edition. Demy 8vo. 15s. 

TURNBULL (W. P.). Analytical Plane Geometry, An Introduction 
to. By w. P. TURNBULL, M.A., sometime Fellow of Trinity College. 
8vo, 125. 

VYVYAN (T. G.). Analytical Geometry for Schools. By REv. T. 
VYVYAN, M.A., Fellow of Gonville and Caius College, and Mathematical 
Master of Charterhouse. 6¢2 edition. 8vo, 45. 6d. [Camb. S. and C. Texts. 

— Analytical Geometry for Beginners. PartI. The Straight Line and 
Circle. Crown 8vo, 2s. 6d. [Camb. Math. Ser. 

WHITWORTH (W. A.). Trilinear Co-ordinates, and other methods 
of Modern Analytical Geometry of Two Dimensions. By w. A. WHIT- 
WORTH, M.A., late Professor of Mathematics in Queen’s College, Liver- 
pool, and Scholar of St. John’s College, Cambridge. 8vo, 16s. 


TRIGONOMETRY. 


DYER (J. M.) and WHITCOMBE (R. H.). Elementary Trigono- 
metry. By J. M. DYER, M.A. (Senior Mathematical Scholar at Oxford), 
and REV. R. H. WHITCOMBE, Assistant Masters at Eton College. 2nd 
edition. Crown 8vo, 4s. 6d. [Camb. Math. Ser. 

PENDLEBURY (C.). Elementary Trigonometry. By CHARLES 
PENDLEBURY, M.A., F.R.A.S., Senior Mathematical Master at St. Paul’s 
School. Crown 8vo, 4s. 6d. [Camb. Math. Ser. 

VYVYAN (T. G.). Introduction to Plane Trigonometry. By the 
REV. T. G. VYVYAN, M.A., formerly Fellow of Gonville and Caius College, 
Senior Mathematical Master of Charterhouse. 37d edition, revised and 
augmented. Crown 8vo, 35. 6d. [Camb. Math. Ser. 

WARD (G. H.). Examination Papers in Trigonometry. By Gc. H. 
WARD, M.A., Assistant Master at St. Paul’s School. Crown 8vo, 2s. 6d. 
Key, 5s. net. 


MECHANICS AND NATURAL PHILOSOPHY. 


ALDIS (W. S.). Geometrical Optics, An Elementary Treatise on. By 
W. S. ALDIS, M.A. 4th edition. Crown 8vo, 45. {[Camb. Math. Ser. 

— An Introductory Treatise on Rigid Dynamics. Crown 8vo, 4s. 

[Camb. Math. Ser. 

— Fresnel’s Theory of Double Refraction, A Chapter on. 2d edition, 
vevistd. 8vo, 25. 

BASSET (A. B.). A Treatise on Hydrodynamics, with numerous 
Examples. By A. B. BASSET, M.A., F.R.S., Trinity College, Cambridge. 
Demy 8vo. Vol. I., price 105. 6d. ; Vol. II., 12s. 6d. 

— An Elementary Treatise on Hydrodynamics and Sound. Demy 
8vo, 75. 6a. 

—A Treatise on Physical Optics. Demy 8vo, 16s. 

BESANT (W. H.). Elementary Hydrostatics. By w. H. BESANT, 
SC.D., F.R.S. 16th edition. Crown 8vo, 4s. 6d. Solutions, 5s. net. 

[Camb, Math. Ser. 

— Hydromechanics, A Treatise on. Part I. Hydrostatics. 5/4 edition 

revised, and enlarged. Crown 8vo, 5s. [Camb. Math. Ser. 


Educational Catalogue. 23 





BESANT (W. H.). A Treatise on Dynamics. 2nd edition. Crown 
8vo, Ios. 6d. [Camb. Alath. Ser. 

CHALLIS (PROF.). Pure and Applied Calculation. By the late 
REV. J. CHALLIS, M.A., F.R.S., &C. Demy 8vo, 15s. 

— Physics, The Mathematical Principle of. Demy 8vo, 5s. 

— Lectures on Practical Astronomy. Demy 8vo, Ios. 

EVANS (J. H.) and MAIN (P. T.). Newton’s Principia, The First 
Three Sections of, with an Appendix; and the Ninth and Eleventh 
Sections. By J. H. EVANS, M.A., St. John’s College. The 5th editzon, 
edited by. P. T. MAIN, M.A., Lecturer and Fellow of St. John’s College. 
Fcap. 8vo, 45. [Camb. S. and C. Texts. 

GALLATLY (W.). Elementary Physics, Examples and Examination 
Papers in. Statics, Dynamics, Hydrostatics, Heat, Light, Chemistry, 
Electricity, London Matriculation, Cambridge B.A., Edinburgh, Glasgow, 
South Kensington, Cambridge Junior and Senior Papers, and Answers. 
By w.-GALLATLY, M.A., Pembroke College, Cambridge, Assistant 
Examiner, London University. Crown 8vo, 4s. [Camb. Math. Ser. 

GARNETT (W.). Elementary Dynamics for the use of Colleges and 
Schools. By WILLIAM GARNETT, M.A., D.C.L., Fellow of St. John’s 
College, late Principal of the Durham College of Science, Newcastle-upon- 
Tyne. 5th edition, revised. Crown 8vo, 6s. [Camb, Math, Ser. 

— Heat, An Elementary Treatise on. 6/2 edition, revised. Crown 8vo, 
4s. 6d, [Camb. Math. Ser. 

GOODWIN (H.). Statics. By H. GOODWIN, D.D., late Bishop of 
Carlisle. 2d edition. Fcap. 8vo, 35. (Camb, S. and C. Texts. 

HOROBIN (J. C.). Elementary Mechanics. Stage I. II. and III, 
1s. 6d. each. By J. C. HOROBIN, M.A., Principal of Homerton New 
College, Cambridge. 

— Theoretical Mechanics. Division I. Crown 8vo, 2s. 6d. 

* * This book covers the ground of the Elementary Stage of Division I. 
of Subject VI. of the ‘‘ Science Directory,” and is intended for the 
examination of the Science and Art Department. 

JESSOP (C. M.). The Elements of Applied Mathematics, In- 
cluding Kinetics, Statics and Hydrostatics. By C. M. JESSOP, M.A., late 
Fellow of Clare College, Cambridge, Lecturer in Mathematics in the 
Durham College of Science, Newcastle-on-Tyne. Crown 8vo, 6s. 

[Camb. Math. Ser. 

MAIN (P. T.). Plane Astronomy, An Introduction to. By P. T. MAIN, 
M.A., Lecturer and Fellow of St. John’s College. 6th edition, revised. 
Fcap. 8vo, 4s. [Camb. S. and C. Texts, 

PARKINSON (R. M.). Structural Mechanics, By R. M. PARKINSON, 
ASSOC. M.I.C.E. Crown 8vo, 45. 6d. 

PENDLEBURY (C.). Lenses and Systems of Lenses, Treated after 
the Manner of Gauss. By CHARLES PENDLEBURY, M.A., F.R.A.S., Senior 
Mathematical Master of St. Paul’s School, late Scholar of St. John’s 
College, Cambridge. Demy 8vo, 5s. 

STEELE (R. E.). Natural Science Examination Papers. By 
R. E. STEELE, M.A., F.C.S., Chief Natural Science Master, Bradford 
Grammar School. Crown 8vo. Part I., Inorganic Chemistry, 25. 6d. 
Part II., Physics (Sound, Light, Heat, Magnetism, Electricity), 25. 6d. 

[School Exam. Series. 
* 


24 George Bell & Sons’ 


WALTON (W.). Theoretical Mechanics, Problems in. By w. wAL- 
TON, M.A, Fellow and Assistant Tutor of Trinity Hall, Mathematical 
Lecturer at Magdalene College. 37d edition, revised. Demy 8vo, 16s. 

— Elementary Mechanics, Problems in. 2d edition. Crown 8vo, 6s. 

[Camb. Math. Ser. 





DAVIS (J. F.). Army Mathematical Papers. Being Ten Vears’ 
Woolwich and Sandhurst Preliminary Papers. Edited, with Answers, by 
J. F. DAVIS, D.LIT., M.A. Lond. Crown 8vo, 2s. 6d. 

DYER (J. M.) and PROWDE SMITH (R.). Mathematical Ex- 
amples. A Collection of Examples in Arithmetic, Algebra, Trigono- 
metry, Mensuration, Theory of Equations, Analytical Geometry, Statics, 
Dynamics, with Answers, &c. For Army and Indian Civil Service 
Candidates. By J. M. DYER, M.A., Assistant Master, Eton College 
(Senior Mathematical Scholar at Oxford), and R. PROWDE SMITH, M.A. 
Crown 8vo, 6s. [Camb. Math. Ser. 

GOODWIN (H.). Problems and Examples, adapted to ‘‘Goodwin’s 
Elementary Course of Mathematics.” By T. G. VYVYAN, M.A. 37d 
edition. 8vo, 5s.; Solutions, 37d eaztion, 8vo, Qs. 

SMALLEY (G. R.). A Compendium of Facts and Formulae in 
Pure Mathematics and Natural Philosophy. By G. R. SMALLEY, 
F.R.A.S. Mew edition, revised and enlarged. By J. MCDOWELL, M.A., 
F.R.A.S. Feap. 8vo, 2s. 

WRIGLEY (A.). Collection of Examples and Problems in Arith- 
metic, Algebra, Geometry, Logarithms, Trigonometry, Conic Sections, 
Mechanics, &c., with Answers and Occasional Hints. By the REV. A. 
WRIGLEY. 10¢h edition, 20th thousand. Demy 8vo, 3s. 6d. 

A Key. By J. c. PLATYS, M.A. and the REV. A. WRIGLEY. 2nd edition. 
Demy 8vo, 55. net. 


MODERN LANGUAGES. 


ENGLISH. 


ADAMS (E.). The Elements of the English Language. By ERNEST 
ADAMS, PH.D. 26th edition. Revised by J. F. DAVIS, D.LIT., M.A., 
(LOND.). Post 8vo, 4s. 6d. 

— The Rudiments of English Grammar and Analysis. By ERNEST 
ADAMS, PH.D. 19¢h thousand. Fcap. 8vo, Is. 

ALFORD (DEAN). The Queen’s English: A Manual of Idiom and 
Usage. By the late HENRY ALFORD, D.D., Dean of Canterbury. 67% 
edition. Small post 8vo. Sewed, Is., cloth, Is. 6. 

ASCHAM’S Schoilemaster. Edited by PROFESSOR J. E. B. MAYOR. Small 
post 8vo, sewed, Is. 

BELL’S ENGLISH CLASSICS. A New Series, Edited for use in 
Schools, with Introduction and Notes. Crown 8vo. 

BACON’S Essays Modernized. Edited by F. J. ROWE, M.A., Professor of 

English Literature at Presidency College, Calcutta. (Preparing. 

RBROWNING’S Strafford. Edited by &. H. HICKEY. With Introduction by 
S$ R. GARDINER, LL.D. as. 6d. 


Gn 


Educational Catalogue. 2 





BELL’S ENGLISH CLASSICS—continued. 


BURKE'S Letters ona Regicide Peace. I. and II. 
M.A., C.LE. 35.3 sewed, 2s. 

BYRON'’S Childe Harold. Edited by H. G. KEENE, M.A., C.L.E., Author of “fA 
Manual of French Literature,” etc. 3s. 6¢. Also Cantos I. and II. separately ; 
sewed, Is. 9d. : f eas 

— Siege of Corinth. Edited by Pp. HORDERN, late Director of Public Instruction in 
Burma. 1s. 6d.; sewed, rs. 

CHAUCER, SELECTIONS FROM. Edited by J. B. BILDERBECK, B.A., 
Professor of English Literature, Presidency College, Madras. 2s. 6d. ; sewed, 


Edited by H. G. KEENE, 


1s. od. 

DE OUINCEY’S Revolt of the Tartars and The English Mail-Coach. 
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FRENCH CLASS BOOKS. 


BOWER (A. M.). The Public Examination French Reader. With 
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BARBIER (PAUL). A Graduated French Examination Course. 
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Crown 8vo, 35. 

BARRERE (A.) Junior Graduated French Course. Affording Mate- 
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— Elements of French Grammar and First Steps in Idioms. With 
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— Récits Militaires. From Valmy (1792) to the Siege of Paris (1870). 
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CLAPIN (A. C.). French Grammar for Public Schools. By the 
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Lond. Crown 8vo, 2s. 6d. 

DAVIS (J. F.) and THOMAS (F.). An Elementary French 
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and FERDINAND THOMAS, Assistant Examiners in the University of 
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Easy French Poetry for Be=- ; Manuel Etymologique. 2s. 6d. 
ginners. 2s. Synoptical Table of French 
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ESCLANGON (A.). The French Verb Newly Treated: an Easy, 
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30) George Bell & Sons 





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GOSSET (A.). Manual of French Prosody for the use of English 
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LE NOUVEAU TRESOR;; designed to facilitate the Translation of 
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Educational Catalogue. 31 





FRENCH ANNOTATED EDITIONS. 


BALZAC. Ursule Mirouét. By HONORE DE BALZAC. Edited, with 
Introduction and Notes, by JAMES BOIELLE, B.-és-L., Senior French 
Master, Dulwich College. 35. 


CLARETIE. Pierrille. By juLES CLARETIZ, With 27 Illustrations. 
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DAUDET. La Belle Nivernaise. Histoire d’un vieux bateau et de son 
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FENELON. Aventures de Télémaque. Edited by c. J. DELILLE. 
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GOMBERT’S FRENCH DRAMA. Re-edited, with Notes, by F. E. A. 
Gasc. Sewed, 6d. each. 








MOLIERE. 
Le Misanthrope. Les Fourberies de Scapin, 
L’Avare. Les Précieuses Ridicules. 
Le Bourgeois Gentilhomme. _ L’Ecole des Femmes, 
Le Tartuffe. L’Ecole des Maris. 
Le Malade Imaginaire. Le Médecin Malgré Lui. 
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RACINE. 
La Thébaide, ou Les Fréres Britannicus. 

Ennemis. Phédre. 
Andromaque. Esther. 
Les Plaideurs. Athalie. 
Iphigénie 
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Le Cid. Cinna. 
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VOLTAIRE.—Zaire. . 
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SAINTINE, Picciola. Edited by DR. puBuC. 16th thousand. Fcap. 

8vo, Is. 6d. 
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GERMAN CLASS BOOKS. 


BUCHHEIM (DR. C. A.). German Prose Composition. Consist- 
ing of Selections from Modern English Writers. With grammatical notes, 
idiomatic renderings, and general introduction. By Cc. A. BUCHHEIM,PH.D., 
Professor of the German Language and Literature in King’s College, and 
Examiner in German to the London University. 1442 edition, enlarged and 
revised. Witha list of subjects for original composition. Fcap. 8vo, 45. 6d. 


32 George Beld & Sons’ 





A Kkry to the Ist and 2nd parts. 3rd edition. 35. net. To the 3rd and 
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BUCHHEIM (DR. C. A.), First Book of German Prose. Being 
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CLAPIN (A. C.). A German Grammar for Public Schools. By the 
REV. A. C. CLAPIN, and F. HOLL-MULLER, Assistant Master at the Bruton 
Grammar School. 6¢4 edition. Fcap. 8vo, 2s. 6d. 

— A German Primer. With Exercises. 2d edition. Fcap. 8vo, Is. 

German. The Candidate’s Vade Mecum. Five Hundred Easy Sentences 
and Idioms. By an Army Tutor. Cloth, 1s. For Army Prelim. Exam. 

LANGE (F.). A Complete German Course for Use in Public Schools. 
By F. LANGE, PH.D., Professor R.M.A. Woolwich, Examiner in German 
to the College of Preceptors, London; Examiner in German at the Victoria 
University, Manchester. Crown 8vo. 

Concise German Grammar. With special reference to Phonology, 
Comparative Philology, English and German Equivalents and Idioms, 
Comprising Materials for Translation, Grammar, and Conversation. 
Elementary, 2s.; Intermediate, 2s. ; Advanced, 3s. 6d. 

Progressive German Examination Course. Comprising the Elements 
of German Grammar, an Historic Sketch of the Teutonic Languages, 
English and German Equivalents, Materials for Translation, Dictation, 
Extempore Conversation, and Complete Vocabularies. I. Elementary 
Course, 2s. II. Intermediate Course, 2s. III. Advanced Course. 
Second revised edition. 1s. 6d, 

Elementary German Reader. A Graduated Collection of Readings ir, 
Prose and Poetry. With English Notes and a Vocabulary. 4th 
edition. 15. 6d. 

Advanced German Reader. A Graduated Collection of Readings in 
Prose and Poetry. With English Notes by F. LANGE, PH.D., and 
J. F. DAVIS, D.LIT. 22d edition. 35. 

MORICH (R. J.). German Examination Papers in Miscellaneous 
Grammar and Idioms. By R. J. MORICH, Manchester Grammar School. 
2nd edition. Crown 8vo, 2s. 6d. A Key, for Tutors only. 55. net. 

PHILLIPS (M. E.). Handbook of German Literature. By MARY 
FE, PHILLIPS, LL.A. With Introduction by DR. A. WEISS, Professor of 
German Literature at R. M. A. Woolwich. Crown 8vo. [ Shortly. 

STOCK (DR.). Wortfolge, or Rules and Exercises on the order of Words 
in German Sentences. With a Vocabulary. By the late FREDERICK 
STOCK, BD, LIT.; M4 As Caps Ovo, 1s.:6d; 


KLUGE’S Etymological Dictionary of the German Language. 
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AUERBACH (B.). Auf Wache. Novelle von BERTHOLD AUERBACH. 
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MACDONELL, M.A., PH.D.. 2d edition. Crown 8vo, 2s. 

BENEDIX (J. R.). Doktor Wespe. Lustspiel in fiinf Aufziigen von 
JULIUS RODERICH BENEDIX. Edited by PROFESSOR F. LANGE, PH.D. 
Crown 8vo, 2s. 6d. 


Educational Catalogue. 33 





EBERS (G.). Eine Frage. Idyll vonGEorG EBERS. Edited by F. STORR 
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Crown 8vo, 2s. 

FREYTAG (G.). Die Journalisten. Lustspiel von GUSTAV FREYTAG. 
Edited by PROFESSOR F. LANGE, PH.D. 4th vevisededition.. Crown 8vo, 2s. 6d. 

—SOLL UND HABEN. Roman von GUSTAV FREYTAG. Edited by 
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GERMAN BALLADS from Uhland, Goethe, and Schiller. With Intro 
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GERMAN EPIC TALES IN PROSE. I. Die Nibelungen, von 
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Edited by KARL NEUHAUS, PH.D., the International College, Isleworth. 
Crown 8vo, 2s. 6d. 

GOETHE. Hermann und Dorothea. With Introduction, Notes, and Argu- 
ments. By E. BELL, M.A., and E, WOLFEL. 2d edition, Fcap. 8vo, Is. 6d. 

GOETHE. FAUST. Part I. German Text with Hayward’s Prose 
Translaticn and Notes. Revised, With Introduction by c. A. BUCHHEIM, 
PH.D., Professor of German Language and Literature at King’s College, 
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GUTZKOW (K.). Zopfund Schwert. Lustspiel von KARL GUTZKOW. 
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COOKE (S.). First Principles of Chemistry. An Introduction to 
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STOCKHARDT (J. A.). Experimental Chemistry. Jounded on the 
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WILLIAMS (W.M.). The Framework of Chemistry. Part I. Typical 
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Educational Catalogue. 37 





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Specially adapted for candidates in the examinations of the City Guilds 
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This Manual contains chapters on Notation, Harmony, and Counterpoint ; 
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38 George Bell & Sons 


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HEATON (MRS.). A Concise History of Painting. By the late Mrs. 
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Educational Catalogue. 39 





LELAND (C, G.). Drawing and Designing. In a series of Lessons 
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MOODY (F. W.). Lectures and Lessons on Art. By the late F. w. 
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— Maria Stuart. By v. KASTNER. 1s. 6d. 


MODERN FRENCH AUTHORS. 


BALZAC’S Ursule Mirouét. By J. nojerie. 25. 
CLARETIE’S Pierrille. By J. Boigrie. as. 6d. 

DAU DET’S La Belle Nivernaise. By: BOIELLE. 25. 
GREVILLE’S Le Moulin Frappier. By J. Boig.ie. 3s. 
HUGO’S Bug Jargal. Byj. BoizLtR. 3s. 


MODERN GERMAN AUTHORS. 


HEY’S Fabeln fiir Kinder. By rpror. LANGE. rs. 6d. 
— — with Phonetic Transcription of Text, &c. 2s. 
FREYTAG'S Soll und Haben. Byw.u. crump. as. 6d. 
BENEDIX’S Doktor Wespe. By PRoF. LANGE. 235. 6d. 
HOFFMANN'S Meister Martin. Ry pror. LANGE. 15. 6d. 
HEYSE’S Hans Lange. By A. A. MACDONELL. 28. 
AUERBACH'’S Auf Wache, and Roquette’s Der Gefrorene Kuss. By 
A. A. MACDONELL. 25. 
MOSER’S Der Bibliothekar. By pror. LANGE. as. 
EBERS’ Eine Frage. By F. sTorR. as. 
FREYTAG'’S Die Journetieicd: By PROF. LANGE. 28. 6d. 
GUTZKOW’S Zopf und Schwert. By pror. LanGE. 2s. 6d. 
GERMAN EPIC TALES. By pr. KARL NEUHAUS. 285. 6d. 
SCHEFFEL’S Ekkehard. By pr. H. HAGER. 38. 


The following Series are given in full in the body of the Catalogue. 


GOMBERT’S French Drama. See page 31. 

BELL’S Modern Translations. See page 34. 

BELL'S English Classics. See pf. 24, 25. 

HANDBOOKS OF ENGLISH LITERATURE. Sce page 2. 
TECHNOLOGICAL HANDBOOKS. See page 37. 

BELL’S Agricultural Series. See page 36. 

BELL’S Reading Books and Geographical Readers. See pf. 25, 26. 





CHISWICK PRESS :‘—C, WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE. 








_ UNIVERSITY r bec Chie: eee : 
_ BERKELEY ms 
Return to desk from which borrowed. ie 
This book is DUE on the last date stamped below. © 








Sep11'48E 7 


REC'D LD 
80 Apr54EL wu 6 Bet | | 
80AprS4Kw 
IN STACKS 


APR 16 1954 


JAN 2 01956 Lu 








SUL 3 1961 


100m-9,’47 (A5702s16) 476 





nS OO) 26 





830239 


THE UNIVERSITY OF CALIFORNIA LIBRARY 





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