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Digitized by the Internet Archive 
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FROM A VASE IN THE BRITISH MUSEUM 500-450 BC. 
 
Clartitijon ||rtss Smes 
 
 ARISTOPHANES 
 
 THE BIRDS 
 
 WITH INTRODUCTION AND NOTES 
 
 BY 
 
 W. W. MERRY, D.D. 
 
 Rector of Lincoln College , Oxford 
 
 PART I.—INTRODUCTION AND TEXT 
 
 Oxford 
 
 AT THE CLARENDON PRESS 
 
 M DCCC LXXXIX 
 
 [Ail rights reserved ] 
 
ITflttbfftt 
 
 HENRY FROWDE 
 
 Oxford University Press Warehouse 
 Amen Corner, E.C. 
 

 INTRODUCTION. 
 
 ■ - ♦ ♦ 
 
 I. 
 
 Between the eleventh and thirteenth of the month Ela- 
 phebolion, 01. 91. 2, corresponding to one of the last days in 
 March, or the first in April, B.c. 414, the play of the ‘Birds’ 
 was produced in the name of Callistratus at the City Dionysia. 
 Thus (counting only the extant comedies of Aristophanes) 
 we find a wide gap between the production of the ‘Peace’ 
 in B.C. 422, and that of the ‘ Birds ’ in 414. There is a marked 
 difference in tone between the ‘Birds ’ and the earlier dramas 
 of Aristophanes. It is not that the play of his genius is less 
 graceful, or his inventiveness less bright, but that we miss 
 the spirit of daring lampoon and outspoken political criticism. 
 It seems only reasonable to attribute this change to the 
 limitations imposed upon the comic stage by the ‘law of 
 Syracosius,’ an insignificant personage, who was probably 
 only the mouth-piece of a powerful political clique 1 . This 
 law, by restricting the 7rappr)cria of the poet, robbed Greek 
 Comedy of much of its raciness, and of that smartness of 
 personal attack, which is always delightful to a mixed 
 audience. Prof. Curtius (Greek Hist. b. 4. cap. 4) insists 
 strongly upon the noticeable effect of this law, which was 
 passed in B.c. 415, no doubt with the intention of suppressing 
 awkward allusions to the disastrous events of the past 
 summer. The ‘Night-Revellers’ ( KcofxacrTai ), produced by 
 Ameipsias 2 , though the real author was perhaps Phrynichus, 
 
 1 See Bergk, Griech. Litt., vol. IV. p.-119 foil. 
 
 2 The following verses (quoted by Plutarch, Alcib. 20) show the 
 
 tendency of the play. A. at (piXraO ’ 'Ep/xrj, tcal (pvXaoaov /b) ireccbv | 
 avTov irapaKpovcrr) teal TrapacrxV s dta3oXr]V | erepep AioteXeiSr) fiov\o- 
 pevq] teateov ti dpav. | B . <pvXa£opai' T evtepcv yap fiovXopai | 
 
 prjvvrpa dovvai, to> iraXa/xva'icp £eva>. 
 
 % ' 0 A 2 
 
4 
 
 INTRODUCTION. 
 
 to which the first prize was awarded (the 1 Birds ’ taking 
 only the second), may have caught the public taste by ‘ sail¬ 
 ing very near to the wind,’ and making risky reference to the 
 Mutilation of the Hermae, which must have been in every 
 one s mind. Certainly, Phrynichus (in his Movorpoiros, or 
 Hermit, which gained the third prize) openly curses Syra- 
 cosius for having deprived him of his best subject-matter h 
 That the prohibition introduced by this bill cannot be taken 
 to include all personal reference is plain, both from the play 
 of the ‘ Birds,’ and from the fragments of contemporary 
 comedies ; but there can be little doubt that it rendered im¬ 
 possible the production of such a play as the ‘ Knights ’ had 
 been—an elaborate attack upon a prominent politician. 
 Therefore, while in the ( Birds ’ the poet does not miss his 
 opportunities of making hits at his enemies, the allusions are 
 far slighter, or more vague. 
 
 It may be worth while to sketch very briefly the principal 
 political events which preceded the representation of the 
 ‘ Birds.’ 
 
 The death of Cleon and Brasidas at the battle of Amphi- 
 polis, in B.c. 422, removed the main obstacles to an under¬ 
 standing between Athens and Sparta 2 , so that during the 
 next spring it was found possible to conclude the treaty 
 called the Peace of Nicias for fifty years, on the basis of the 
 restoration of prisoners and of places captured in the war. 
 But this agreement was most unwelcome to some of the more 
 powerful allies of Sparta, so that she was glad soon after¬ 
 wards to form a closer separate alliance with Athens ; each 
 state being left free to manage its own allies. It was, how¬ 
 ever, impossible that such an arrangement should last long 
 
 1 The Schol. on Av. 1297, referring to Syracosius, says, bonel 5k 
 kcu iprj(picrpa reOeinevai pfj KoopcvdeicrOai ovopaari nva, u/s «£ pvvi\os 
 kv Movorpona/ (pTjcri ipu/p' ex* (*X 01 ?) ^vpaKoGLov. km(pavT)s jap 
 avrS) ical peja (?) tvxol. dcpeiXero jdp Kcvpcpbeiv ovs kireOvpovv. 
 
 2 ol paXiora 7 rpoanoXepovvTes rf) eiprjvrj ttjs 'EAAdSo? KAeaa/ «at 
 BpacrtSas rjaav Plutarch, Nic. c. 9. § 2. ^vve^rj re evOi/s percL tt/v 
 kv 'ApapiTTuXei paxTjv . . . ware noXepov pev prjbev ert aipaaOai prjb- 
 eTepovs, 7 rpds be rf) v elprjvrjv paWov rfjv jvdjprjv ci^oy Thuc. 5. 14. I. 
 
INTRODUCTION. 
 
 5 
 
 in face of so much dissatisfaction : nor did matters continue 
 on a friendly footing even between Athens and Sparta. 
 Sparta would not, or could not, restore Amphipolis, and 
 Athens refused to evacuate Pylus. It was during these 
 negotiations that the brilliant, reckless Alcibiades—the ‘ lion’s 
 whelp V destined to work so much woe for his country— 
 first comes to the front. Nettled at the rejection of advances 
 which he had made to Sparta, he employed the whole of his 
 powers to thwart Spartan interests, and succeeded in forming 
 an alliance with Argos, Elis, and Mantinea (420) ; not hesi¬ 
 tating in the next year to march into the Peloponnesus and 
 attack Epidaurus 2 , although the Peace was still technically 
 in force. But his design to secure for Athens a preponder¬ 
 ance in the Peloponnesus by alliance with Argos was frustrated 
 by the battle of Mantinea (418). 
 
 In the year 416 Athens waged a war of extermination 
 against the Melians, who had been bold enough to wish 
 to maintain their neutrality; an expression of independ¬ 
 ence which in the weaker party becomes a crime. This 
 may be taken as the supreme moment of Athenian power ; 
 and the haughtiness with which it was exercised may be 
 thought to illustrate the pride which ‘ goeth before a fall.’ 
 
 In the spring an embassy had come from the people of 
 Egesta, in Sicily (where Athens had long desired to gain a 
 firm footing), asking her aid against the citizens of Selinus, who, 
 in league with Syracuse, were threatening the Egestaeans. 
 Alcibiades saw in this invitation a chance for the develop¬ 
 ment of his far-reaching schemes. The Athenian Assembly 
 was deluded into a belief in the vast wealth of Egesta, and 
 hastily decided on the despatch of a fleet to help the sup¬ 
 pliants, and to establish Athenian influence in Sicily. The 
 preparations for the expedition were pushed on for the next 
 few months amid the wildest excitement; ambitious hopes 
 and passionate enthusiasm growing higher every day, and 
 scarcely a voice being raised against the adventure, or a 
 misgiving expressed as to its result. At the moment when 
 
 1 t/Aik'ici /xev en rure uv veos Thuc. 5 - 43 - Cp. Aristoph. Ran. 1431. 
 
 2 Thuc. 5. 52, 53. 
 
6 
 
 INTRODUCTION. 
 
 the fleet was about to sail (May 415) the whole city was 
 suddenly thrown into dismay by a midnight outrage, known 
 as the Mutilation of the Hermae. These busts of the god 
 Hermes, mounted on a quadrangular pedestal, and standing 
 at the corners of the streets and in other public places at 
 Athens, and closely connected with the religious and domestic 
 life of the citizens, were found one morning defaced and 
 broken. Everyone was aghast : partly from horror at the 
 sacrilege, partly from fear that the outrage pointed to some 
 wide-spread conspiracy. Perhaps the deed was the insolent 
 audacity of some ambitious man who designed to make him¬ 
 self despot of Athens ! Who so likely as Alcibiades ? The 
 actual outrage remained undetected ; but the commission of 
 certain other open acts of impiety was brought home to him ; 
 and, just as the fleet was setting sail, Pythonicus rose in the 
 Assembly and denounced Alcibiades as being privy to the 
 Mutilation, and personally guilty of a profanation of the 
 Eleusinian Mysteries. 
 
 Alcibiades denied the charge, and claimed to have the 
 matter investigated before his departure. But his enemies 
 saw their advantage, and postponed the trial till his return 
 from Sicily, where he was to serve as general in conjunction 
 with Nicias and Lamachus. So, over the magnificent spec¬ 
 tacle of the Athenian Armada, as it left the Peiraeus in all 
 the splendour of the summer sunlight, there hung a dark 
 cloud of suspicion ; and the most prominent commander 
 quitted his country’s shores with a terrible charge hanging 
 over his head. 
 
 The fleet sailed away. But at Athens the lightheartedness 
 which had attended the preparations for the great expedition 
 was changed to misgiving and terror, as one citizen after 
 another was accused of complicity in the outrage, and was 
 executed or obliged to save himself by flight. 
 
 But the profanation of the Mysteries was not yet expiated ; 
 and at last—in the autumn of the year—the Salaminian 
 Galley was despatched to Catana, the head-quarters of the 
 Athenian fleet in Sicily, summoning Alcibiades to return at 
 once and stand his trial. 
 
INTR OD UC TION. 
 
 7 
 
 He was allowed to come home in his own ship ; but at 
 Thurii in Italy he contrived to escape, and the state-galley 
 reached Athens without the state-prisoner. He was con¬ 
 demned to death in his absence, and his property was con¬ 
 fiscated. These were the months in which Aristophanes 
 must have been composing his play for representation in the 
 spring of the next year. The particular position of events 
 should be kept in mind, as bearing upon the various inter¬ 
 pretations that have been suggested of the poet’s purpose in 
 writing the ‘ Birds.’ It will be better to give a general 
 sketch of the plot, before attempting to deal with this ‘ vexed 
 question.’ 
 
 II. 
 
 \Prologos. II. 1-208.3 The stage represents a stretch of wild 
 country, covered with stones and bushes, ending in a steep 
 wall of rock surmounted by a solitary tree. Enter, on the 
 left, two elderly Athenian citizens, Peithetaerus and Euel- 
 pides, exhausted by long travel, and followed by a couple of 
 slaves carrying their masters’ baggage (1. 656), and certain 
 implements for sacrifice. No longer able to endure the 
 litigation, worry, and expense of the city, these friends have 
 set out in quest of a quiet home, which they hope to find 
 by aid of the Hoopoe, who, before his metamorphose, was 
 Tereus, husband of Procne, the daughter of Pandion, king 
 of Athens. Ignorant of the locality, each of the travellers 
 holds a bird upon his wrist, relying upon its prophetic 
 powers to direct their steps, Peithetaerus carrying a raven, 
 and Euelpides a jackdaw. The birds make a dead point at 
 the rock, and show by every sign that the end of the journey 
 has been reached. The rock is the Hoopoe’s house. A kick 
 against it brings out the porter, who, after his natural terror 
 at the sight of men has been calmed, goes in to wake his master. 
 
 Hoopoe comes out, dressed in a sort of shabby splendour, 
 wearing a huge crest and beak and a pair of wings, but he 
 has to apologise for the imperfection of the rest of his 
 plumage, on the ground that it is moulting-time. Learning 
 that the travellers come from ‘the land of gallant ships,’ 
 
8 
 
 INTRODUCTION. 
 
 Hoopoe has no doubt but that they are Athenian Jurymen. 
 Euelpides scouts the idea, and begs Hoopoe to direct them 
 to a happier home than Athens. He suggests some place on 
 the shore of the Red Sea: but that is open to the fear of 
 seeing some morning in the offing the Salaminian Galley 
 with a constable on board. Nor is the suggestion of Lepreus 
 or the Locrian Opus any more attractive. 
 
 While Hoopoe, in answer to questions from Euelpides, sets 
 forth the charms of bird-life, a grand idea occurs to Peithe- 
 taerus. The Eldorado of which they are in quest is to be 
 found among the birds ! No trouble there about money or 
 taxes, no difficulties about the supply of food, but a happy 
 careless existence, where all goes ‘ merry as a marriage-bell! 5 
 What a splendid plan, too, if the birds would but look at it 
 seriously, and would combine together to build a vast city in 
 the air, midway between earth and heaven ! Then they 
 would have full control not only over mankind, but over the 
 gods, whom they could starve into submission by intercepting 
 the smoke of the sacrifices on its way to Olympus ! Hoopoe 
 is charmed with the scheme, and proposes to summon all the 
 birds to a conference. 
 
 diro crKir]vfjs and -TrapoSos x°P 0 ^ ( 11 . 209-433). Hoopoe 
 wakes his nightingale-wife Procne with a pretty serenade, 
 bidding her call the birds together. A flute is heard behind 
 the scenes, and Hoopoe sings a second song of invitation. 
 
 Four stately birds make their appearance, and stalk so¬ 
 lemnly past; a flamingo, a cock from Persia, Hoopoe junior, 
 and the ‘ gobbler.’ Then the Chorus proper, consisting of 
 twenty-four birds, are seen crowding at the entrance to the 
 orchestra, and come hopping and skimming to their places, 
 eager to know who has summoned them. When they hear 
 that the visitors are two men, they are wild with rage and 
 terror. Man is their implacable foe : he must be pecked 
 and torn to death ! ‘ Quick march; charge ! 5 is their cry. 
 
 Peithetaerus is equal to the occasion. The earthen pots 
 brought in by the slaves are set up as an extempore breast¬ 
 work, and the two companions couch their sacrificial spits 
 like lances, and tie saucers over their eyes for protection. 
 
INTRODUCTION. 
 
 9 
 
 Hoopoe intervenes, and assures the birds that the men have 
 something to tell worth hearing: ‘ fas est et ab hoste doceri.’ 
 
 ’EireiaoSiov a. (11. 434-675). A truce is concluded. Peithe- 
 taerus doffs his accoutrements, and is suffered to set forth his 
 case to the birds. ‘You were once/ he says, ‘kings of the 
 universe, as Aesop could tell you, having come into being 
 before earth or gods existed. Yours is the primitive right to 
 rule the world. In days of old it was to birds and not to 
 gods that men paid sacrifice. The scarlet-crested cock was 
 lord of Persia, and the world still wakes at his call. The 
 cuckoo still summons the Egyptian farmer to his field ; men 
 still make obeisance to the kite in spring. The eagle is the 
 symbol of royalty with gods and kings; and Athena has her 
 owl, and Apollo his hawk. Birds, and not gods, were once 
 the object of men’s homage. But you have fallen from your 
 high estate, and your former worshippers have learned to 
 shoot and snare and sell and cook you ! ’ 
 
 ‘ Tell us/ cry the birds, ‘ how to recover what we have 
 lost ! 5 This brings Peithetaerus to the announcement of his 
 scheme. ‘ You must build a fenced city like Babylon the 
 Great between earth and heaven, and call on Zeus to restore 
 your rights. If he decline, proclaim a crusade against the 
 gods, and bar their passage through your realm ; and send 
 a herald down to men to claim their sacrifices as your due. 
 You have the power to bless them if they comply, and to ruin 
 them if they refuse.’ 
 
 The birds vociferously assent, and entrust the plan to 
 Peithetaerus, who then enters Hoopoe’s house with Euel- 
 pides to partake of a feast, and to eat the magic root which 
 will give them plumage like birds. 
 
 Procne is now sent forth from the house, dressed like a gay 
 lady, carrying her flute, and wearing a nightingale-mask. She 
 proceeds to play a prelude to the ‘ anapaests.’ 
 
 IIapd{ 3 acris [npoirr ]] 1 ( 11 . 676-800), The Parabasis to this 
 
 1 This is subdivided into ( a ) Koppcmov, 676-6S4 ; ( b ) Trapa(3acris 
 proper, 685-722 ; closely connected with (c) panpov or irviyos, 7 2 3~ 
 736; (d) cp5rj, 737-752 ; (e) kmpprjpa, 753 ~ 7 68 1 (/) avrcpdr], 769- 
 784 ; (g) dvTen'ipprjpa, 785-800. 
 
10 
 
 INTRODUCTION. 
 
 play is peculiar in character. Instead of the usual presenta¬ 
 tion of the poet’s personal views, or the customary admonition 
 to the spectators, the Coryphaeus, not wishing that the 
 birds should be on a lower level than the gods, sets forth an 
 elaborate Ornithogonia, parodying in a mock-philosophic 
 style the so-called Orphic Theogonies. 4 The race of birds 
 was engendered by Eros from primaeval Chaos, before earth 
 or gods came into being. And if men will but accept the 
 sovereignty of the birds, they will find them to be their true 
 benefactors, serving as calendar, as oracles, as the givers of 
 all good gifts.’ The strophe (olS/y) sung by the chorus is in 
 praise of the 4 native wood-notes’ of the 4 light-winged Dryads 
 of the treeswhile the antistrophe commemorates the 
 4 awful, jubilant voice’of Apollo's sacred swans. The epir- 
 rhema illustrates the unrestricted licence of bird-life, and the 
 antepirrhema hints at the many advantages to be gained by 
 wearing wings. 
 
 ’EireurbSiov p. (11. 801-1057). Peithetaerus and Euelpides 
 return from the feast full-fledged, and discuss the foundation 
 of their new city, which is to be called Cloudcuckooborough. 
 Athena Polias is to be its presiding deity, and the care of the 
 neXao-yiKor (humorously presented as neXapyi/coi') is to be 
 entrusted to that martial bird, the Cock. 
 
 Then Peithetaerus and Euelpides withdraw, the latter to 
 superintend the building and to despatch two heralds, one to 
 earth and one to heaven; while Peithetaerus summons the 
 priest to conduct a procession and to make a splendid thank- 
 offering. The birds sing a short song, and the procession 
 comes in, accompanied by a flute-player masked as a crow 
 —of all unmelodious birds ! But Peithetaerus soon interrupts 
 the priest’s preparations and his mock litany, summarily dis¬ 
 missing him for having provided nothing better than a skinny 
 goat, which will not afford a single mouthful to each of the 
 many bird-guests bidden to the rite. 
 
 While Peithetaerus himself is performing the sacrifice, 
 various claimants appear, representing different types of 
 objectionable classes in Athens. A pseudo-Pindaric poet 
 appears, bursting with a congratulatory ode on the new town ; 
 
INTRODUCTION. 
 
 II 
 
 he is contemptuously dismissed with a dole of clothes ; then 
 an Oracle-monger with grand predictions of the success of 
 the adventure ; then Meton, the mathematician and as¬ 
 tronomer, anxious to lay out the ground-plan of the city in 
 geometrical pattern ; then a Commissioner or Inspector with 
 certain directions for the conduct of the new state; then a 
 Vendor of Decrees, primed with a set of bye-laws for use in 
 Cloudcuckooborough. Having made a clean sweep of all 
 these interlopers, Peithetaerus leaves the stage to complete 
 the sacrifice of the goat. 
 
 IIapd{3acris [irepa] 1 ( 11 . 1058-1117). In the Ode, the Chorus 
 express their extravagant hopes of the grateful worship which 
 will be paid hereafter to the birds for all their benefactions ; 
 and in the Antode they describe the delights of bird-life in 
 summer and winter alike. The Epirrhema recites a procla¬ 
 mation, setting a price upon the head of Philocles the 
 poulterer; and the public generally is warned against keeping 
 birds in cages. The antepirrhema sets before the judges 
 such considerations as may tempt them to award the prize 
 to the author of the play. 
 
 ’Ett€iq-68iov y. (11. 1118-1469). A messenger announces the 
 completion of the building, within so short a time and on so 
 grand a scale that Peithetaerus seems to be lost in incredulous 
 wonder. A second messenger reports that some god has 
 eluded the sentinels, and entered the city without a passport. 
 While preparations for arrest are being made, the trespasser 
 appears. It is Iris, on an errand to men to bid them pay up 
 the arrears of sacrifice long due, being wholly ignorant that 
 the birds have assumed their sovereignty. 
 
 After a heated interchange of threats with Peithetaerus, 
 Iris retires. She has hardly gone when the second herald 
 returns from the earth. Men have all gone crazy, he reports, 
 in their eagerness to adopt all the bird-fashions; thousands 
 of them are on their way to get wings, and to enrol themselves 
 as citizens of Nephelococcygia; so that an immense stock of 
 feathers must be provided to meet the demand. The first 
 
 1 Shortened, as usual, to cvhrj and avrcpdr], 1058-1071 = 1088-1101 ; 
 and kmpprjpa and avremppr/pa, 1072-1087 = 1102-1117* 
 
12 
 
 INTRODUCTION, 
 
 arrival is a reprobate son, who wishes to enjoy the licence of 
 bird-land, and to attack his father like a young cockerel. His 
 hopes are dashed by learning the law that imposes filial 
 duties on the storks; but he is ultimately armed cap-a-pie, 
 and sent to fight the enemies of his country in Thrace. 
 Then comes Cinesias, a dithyrambic poet, singing his silly 
 verses, and wanting to wear the plumage of the nightingale. 
 After him, a shabby, ragged informer, who demands a pair 
 of wings to help him in his nefarious trade. Poet and in¬ 
 former are both sent about their business by the application 
 of a whip. 
 
 The XopiKov ( 11 .1470-1493), which ends the scene, describes 
 scoffingly two marvels of the world, the Cleonymus-tree, and 
 the haunts of the hero-footpad, Orestes. 
 
 ’EiT6io-68iov 8. ( 11 . 1494-1552). A figure crouching under a 
 parasol to escape the notice of the gods turns out to be 
 Prometheus. He has sneaked away from Olympus to an¬ 
 nounce that the gods are starving for want of sacrifices, and 
 are under threat of invasion from the barbarian gods, the 
 Triballi. So they are disposed to treat for peace. ‘ But,’ 
 says Prometheus to Peithetaerus, ‘ you must insist on the 
 restoration of their sovereignty to the birds, and on the 
 cession of the royal maiden, Basileia, to yourself as bride.’ 
 
 The next XopiKov ( 11 . 1553-1564), sneers at the cowardice of 
 Periander, a prominent inquisitor in the matter of the Mutila¬ 
 tion of the Hermae. 
 
 ’Ett€ict68iov e. (11. 1565-1693). Poseidon, Heracles, and a 
 Triballian god arrive, armed with full powers to make peace. 
 Heracles comes on the stage full of fury; but his greediness 
 is not proof against the delicious smell of the dainties which 
 Peithetaerus is preparing. Peithetaerus advances his first 
 claim : restoration of empire to the birds. If this be granted, 
 there will be luncheon served. Heracles gives his vote with¬ 
 out more ado, and Poseidon is soon persuaded that the rights 
 of Zeus will not suffer by the concession. The Triballian’s 
 language is unintelligible ; but it is construed to imply assent. 
 Then Peithetaerus puts forward, as if merely an afterthought, 
 his second claim—for the possession of Basileia. Poseidon 
 
INTRODUCTION. 
 
 13 
 
 will throw up the negotiations entirely if this is pressed ; but 
 Heracles, hearing how dainty a sauce is being concocted, is 
 for peace at any price; it is not worth while to go to war 
 about a woman ! Poseidon tries to impress on Heracles that 
 he is surrendering his own chance of inheritance from his 
 father Zeus ; but Peithetaerus reminds him that as a bastard 
 he has no claim upon the paternal estate. This decides 
 Heracles, and the Triballian is a consenting party. So the 
 second demand is granted by a majority. Heracles would 
 have liked to remain behind and busy himself with the 
 cookery; but ultimately Peithetaerus ascends to Olympus 
 accompanied by the ambassadors, to fetch Basileia. 
 
 XopiKov ( 11 . 1694-1705). Attack upon the pretentious 
 philosophy of Gorgias and his school, who make use of their 
 tongues to fill their bellies. 
 
 y E£o8os (11. 1706-1765). A messenger announces in glow¬ 
 ing language the return from Olympus of Peithetaerus with his 
 bride. The Chorus shout acclaim, and sing an epithalamium 
 like that which greeted the nuptials of Zeus and Hera. Pei¬ 
 thetaerus invites all the birds to his wedding-feast, and leads 
 off the dance with Basileia, while the Chorus march away 
 from the orchestra with shouts of triumph. 
 
 III. 
 
 While there is a general consent as to the singular excel¬ 
 lence of the ‘ Birds ’ as an artistic work, there has been the 
 widest divergence of views as to the intention of the play. 
 It has been variously interpreted ; now, as a detailed allegory 
 of contemporary Athenian history ; now, as an elaborate 
 scheme of political, social, or religious reform ; now, again, 
 as a mere extravaganza, like a Midsummer Night’s Dream. 
 
 The Greek Arguments prefixed to the ‘ Birds ’ refer the 
 circumstances, curiously enough, not to the first months of 
 the Sicilian Expedition, but to the Decelean war—a chrono¬ 
 logical error which robs them at once of much of the value 
 which they might possess. 
 
 The First Argument ('YnoOeais I.) represents the voluntary 
 exile of Peithetaerus and Euelpides as a protest against the 
 
14 
 
 INTRODUCTION. 
 
 action of the law courts at Athens, which made life unendur¬ 
 able. But the scene is still laid actually in the city 1 . The 
 Second Argument represents the poet as desirous to detach 
 his fellow-citizens from a State which had become completely 
 demoralised 2 ; and to commend to them a thorough change 
 in the national religion 3 . There is also a hint given, that 
 the play may be intended as a parody on the legendary 
 scenes from Greek mythology brought upon the stage with 
 so much pomp by the tragic poets 4 . 
 
 The reference to the Decelean war is repeated by the 
 earlier commentators, from the sixteenth century onwards : 
 as e.g. by Nic. Frischlin 5 , by Palmerius (Paulmier) 6 , 
 Brumoy 7 , and J. F. La Harpe 8 . Although the views ap¬ 
 proved by these commentators are incompatible with the 
 facts of history, yet they are interesting as being an attempt 
 to find in the play the substance of a political allegory. The 
 same principle, applied to Alcibiades and the Sicilian Expe¬ 
 dition, has since been worked out most elaborately in the 
 famous Essay of Prof. Silvern 9 . 
 
 Silvern laid down as his principle of interpretation that the 
 whole play is a protest against the Sicilian Expedition, which 
 had (according to him) been conceived by Alcibiades, with 
 the ambitious design of making himself despot of Athens, 
 and through Athens of all Hellas. Peithetaerus (although 
 
 1 'YiroO. a. 8vo dcrlv ’AQrjvrjQev e/cK€x QJ PV K ° T(s 5</cas . . . rj 
 
 OKrjVT) kv ’AOqvcus. 
 
 2 'YttoO (3. aXXrjv Tiva voXireiav alviTrerai, waavd avynex v P L ^ J/0JV 
 tujv KaGecrruTCDv . . . kmdvp'iav kyKaraairdpojv tois aKOVOvenv avaXXa- 
 yyvai rrjs kvearwaijs p.ox9rjpas iroXiTelas. 
 
 3 Ibid. Kaivwv yap <prjai r yv ttoXlv Trpoa8e?cr0ai $euiv. 
 
 4 tj]v tt}s yiyavTop.ax'ias <TvpuT\oKr)V eouXov d-nocpaivcuv opviGiv eSojKC 
 8ia(pkp(<r6ai vpos tovs Oeovs -rrfpl tt}s apxv s > 
 
 5 Vita Aristophanis. Francof. 1586. 
 
 6 Exercitat. in optim. fere auct. Graec. Lugd. Bat. 1668. 
 
 7 Theatre des Grecs. Tome VI. Amsterdam, 1732. 
 
 8 Lycee ou cours de litt. anc. et moderne. Paris, 1800. 
 
 9 Ueber Aristophanes Vogel. Berlin, 1827. Essay on the 
 ‘Birds’ of Aristophanes, translated by W. R. Hamilton, London. 
 John Murray, 1835. 
 
INTRODUCTION. 
 
 *5 
 
 appearing on the stage as an old man) is supposed to be a 
 double portrait, partly presenting the schemer Alcibiades, 
 and partly the famous and persuasive orator Gorgias the 
 Leontine, whose eloquence had been employed at Athens to 
 encourage interference with Sicilian affairs. Euelpides is 
 the type of those ‘ sanguine ’ Athenians T , who were easily 
 attracted by wild projects of conquest and gain. But he is 
 also taken to represent Polus of Agrigentum, a pupil and 
 companion of Gorgias. The Hoopoe with his prominent 
 crest is the gallant Lamachus, whose nodding plumes are 
 satirized in the 1 Acharnians V The Athenians are indicated 
 sometimes by the birds who found the new city, sometimes 
 by the men who visit it. The gods are the Lacedaemonians 
 and their allies. The cutting off the supplies from Olympus 
 by the fortifications of Nephelococcygia and the starving of 
 the gods into submission signify a blockade of the whole 
 Peloponnesus by an Athenian fleet. These views were set 
 forth with so much ingenuity and so much confidence by the 
 Professor, that at first they found acceptance. But—apart 
 from other difficulties—such a minute parallelism is alto¬ 
 gether foreign to the practice of Aristophanes : and if the 
 fable was sufficiently intelligible to appeal at once to an 
 Athenian audience, it is at least surprising that it should 
 have remained unnoticed till some fifty years ago. Besides, 
 it is incredible that Aristophanes should have sought to win 
 public favour by satirizing an enterprise upon which Athens 
 had staked her very existence, and which had been under¬ 
 taken with such universal enthusiasm. Nor have we any 
 right to suppose that he himself was uninfluenced by those 
 high hopes which kindled the hearts of his countrymen. 
 Indeed, we are told that the only two men of note who dis¬ 
 approved of the enterprise (if we except the characteristic 
 misgivings of the cautious Nicias), were Socrates 3 and Meton, 
 
 1 EveAmSe? ovres (TouOrjaecrdai Thuc. 6 . 34* 
 
 2 Ach. 965 Kpadaivouv rpeis KaraoKiovs \6(povs. 
 
 3 Plutarch, Nic. 13 rqv arpareiav (pofirjOels 6 aarpoXoyos Mctcuv 
 (■rjv yap kcp’ rjyfpiovias tivos Teray/j.evos') irpoaerroKiTO tt)v oiKiav 
 v(panT6iv ws y.ey.T}v<jus . . . 'ZouKpa.Tei 5c ra) ao(pq> to daipoviov ols tiwOet 
 
1 6 
 
 INTRODUCTION. 
 
 one of whom is the butt for Aristophanes’ ridicule in the 
 £ Clouds’: the other, in the present play ( 11 . 992 foil.). Nor 
 does it seem likely, if we examine the dates, that Aristo¬ 
 phanes would have chosen this particular moment for warn¬ 
 ing his countrymen against the dangerous Alcibiades. The 
 Salaminia probably arrived in Catana not later than the 
 beginning of October 415, and intelligence of the prisoner’s 
 escape may have reached Athens by the end of the month ; 
 so that in March 414 it would be absurd to represent upon 
 the stage as a dangerous and successful schemer a man who 
 had been five months in exile and had been condemned to 
 death in contumaciam. Nor would home politics be a safe 
 subject for burlesque in the presence of men who had only 
 too good cause to remember the terrible events which had 
 taken place. There are also other difficulties connected with 
 Siivern’s theory—such as the complete confusion which it 
 makes between men, birds, and gods ; and the serious inten¬ 
 tion which is supposed to run through the play leaves unex- 
 p. ined the inconsistency of giving a triumphant success to 
 Peithetaerus, if he be nothing but an unscrupulous adventurer. 
 
 Nor should it be forgotten that the same writer in his 
 Essay on the ‘ Clouds’ (p. 58, Eng. Transl.), published only 
 one year before his Dissertation on the ‘Birds,’ denies that 
 any comparison can be drawn between Peithetaerus and 
 Alcibiades whom he there identifies with the young and 
 extravagant Pheidippides, the pupil of Socrates. And if the 
 wanderings of Peithetaerus are to suggest any allusion to the 
 exile of Alcibiades, it would be necessary to identify the birds 
 with the Lacedaemonians, which is clearly impossible. It is 
 far more natural to take Peithetaerus and Euelpides merely 
 as types of character like Dicaeopolis and Trygaeus, Philo- 
 cleon and Bdelycleon : though it is not improbable that the 
 second part of the name, Peith -etaerus, may have a distinct 
 reference to the growing power of the political eratpetai, or 
 oligarchical clubs, in Athens. 
 
 (TV/aI 36\01S XPV <T ^f i(VOV CLVTOV kfXTJVVCre KCLKHVOU TOV <LK1T\OVV ItP 
 
 6\e0pco tt)s TToXeoos TTpaTTo/xeuov. 
 
INTR OD UCTION. 
 
 17 
 
 A very different view is taken by those who, insisting 
 on the analogy of the other plays of Aristophanes, are 
 of opinion that the poet sympathises with the project of 
 Peithetaerus, and shows his sympathy by according it so 
 distinct a triumph at the end of the play. They there¬ 
 fore represent his scheme to have been nothing less than 
 a radical reform of Athens in every department of public 
 and private life. Nephelococcygia is to be ‘a city into 
 which nothing that defiles can enter: ’ a new Athens 
 restored not indeed upon the old lines of primitive Athens, 
 but accommodated to the necessities of the times—a city 
 subject to laws and democratic in its principles, but yet 
 obedient to a recognised head. Such a head, perhaps, 
 Aristophanes still hoped to find in the discredited Alcibiades, 
 for whose gifts he certainly had a profound admiration, even 
 when he could not approve his policy 1 . This view has been 
 most ingeniously worked out by Dr. H. Kochly 2 (though it 
 may be said to have been more or less foreshadowed in the 
 Greek Argument, 'Ytj-66. II. 3 , and by Beck 4 in his edition of the 
 ‘ Birds ’). Similar conclusions have been adopted by Ranke 5 , 
 by W. S. Teuffel 6 , and (with a particular reference to a 
 reform in religion) by Binaut 7 . The interpretation of Kochly 
 was combated by his colleague in the University of Zurich, 
 A. S. Vogelin 8 , who finds no such definite purpose in the 
 play, but regards it only as the lively representation of an 
 
 1 ‘ The Athenians, in spite of their morbid fear of tyranny, were 
 ready to submit to a legalised dictatorship, and the position won by 
 Pericles (kyiyvero \ 6 ycp p.ev drjpLOKpar'ia, epycp Se imo tov wpa/rov 
 avdpos apxh Tliuc. 2. 65) was open to any man of sufficient ability 
 and popularity.’ Whibley, Political Parties in Athens, p. 56. 
 
 2 Ueber die Vogel. Gratulationsschrift zu Bockh’s Jubilaum, 
 Zurich, 1857. 
 
 3 See sup. p. 14. 
 
 4 C. D. Beck, Aristoph. Aves. Lipsiae, 1782. 
 
 5 De Vita Aristophanis Commentatio (in Meineke’s Edn. 
 Tauchnitz, 1S60). 
 
 6 In Pauly’s Real-Encyclopaedie. Stuttg. 1866. 
 
 7 Revue des Deux Mondes, N. S. 13 m e annee, Tom. III. Paris, 1843. 
 
 8 Ueber A. Vogel: ein Blatt an Herrn Prof. Kochly. Zurich, 1858. 
 
 B 
 
18 
 
 INTRODUCTION. 
 
 escape from the hard world of reality into the fairy-land of 
 fiction. Thus Vogelin practically reverts to the famous judg¬ 
 ment of A. W. Schlegel \ who insisted that the ‘ Birds ’ was 
 nothing more than the fantastic exuberance of poetic genius, 
 soaring with light wing into an airy region of its own crea¬ 
 tion, but yet with a shrewd eye and a sharp tongue for the 
 follies of a world from which it pretends to have shaken 
 itself free. This is in the main the view of J. G. Droysen 2 , 
 and of Bernhardy 3 —who sees in Nephelococcygia ‘the re¬ 
 flection of the restlessness of an ochlocracy seen in the 
 magnifying mirror of Comedy ’—and is in general agreement 
 with the judgment of W. G. Clark 4 , K. Kock 3 , and with the 
 Introduction to the ‘ Birds ’ in the Edition of Th. Kock 6 . 
 The late Prof. Kennedy 7 , whose translation of the play with 
 notes and introduction, is eminently bright and suggestive, 
 considered the main purpose of the poet to be a protest 
 against ‘ the suspicion and terrorism which afflicted Athens,’ 
 arising ‘ from an insane fanaticism, to which the “ Birds” is 
 meant to be an antidote.’ 
 
 It would be presumptuous to attempt to decide between 
 so many weighty authorities : but while it seems necessary 
 to discard the idea which treats the play as an elaborate 
 political allegory, and to detach it from any exclusive, and 
 indeed any special connection with the Sicilian Expedition, 
 it may still be possible to find a point of view which can to 
 some extent harmonise theories that are not essentially at 
 variance. 
 
 It may therefore be suggested that though the ‘ Birds ’ is 
 
 1 Vorlesungen liber dramatische Kunst und Litteratur. Theil I. 
 Heidelberg, 1809. 
 
 2 Des Ar. Vogel und die Hermokopiden. Bonn, 1835. 
 
 3 Grundriss der griechischen Litteratur. Halle, 1845, 1872. 
 
 4 Journal of Classical and Sacred Philology. Vol. I. Cambridge, 
 1854. 
 
 5 Die Vogel des A. Leipz., B. G. Teubner, 1856. 
 
 6 Weidmannsche Buchhandlung. Berlin, 1864, 1876. 
 
 1 The Birds of Aristophanes, translated into Engish verse, with 
 introduction, notes, and appendices. By Benj. Hall Kennedy, D.D., 
 Reg. Prof, of Greek in the University of Cambridge. London, 1874. 
 
INTRODUCTION. 
 
 J 9 
 
 thrown into the form of a fairy extravaganza, and cannot be 
 credited with a definite political design—whether openly in¬ 
 dicated or obscurely hinted at—yet it is intended to lash (in 
 accordance with the uniform custom of the Old Comedy) the 
 current vices and immoral tendencies of the day. Among 
 these should be placed that over-sanguine spirit of the 
 Athenians x , which tempted them only too often to commit 
 themselves to adventurous projects : that fickleness which 
 made them the easy prey of agitators : that self-will and 
 impatience of control, which the Spartan king contrasted 
 with the obedient spirit of his own countrymen 2 : and, lastly, 
 the growth of superstition and mysticism which was evidently 
 not incompatible with the spread of irreligion and profanity. 
 This is strongly insisted upon by Bursian 3 , who sees a direct 
 allusion to this tendency in the Cosmogony and Ornithology 
 so humorously given in the ‘ Birds,’ and in the bold parody 
 of Athenian ritual, and the open defiance of the gods of 
 Olympus. 
 
 Aristophanes, not as a pious man, but as a conservative, 
 would see infinite danger in the breaking-up of the accepted 
 forms of the state-religion, and in the disappearance of all 
 reverence (however conventional) for the national deities. 
 But of course we have to see that this protest is made under 
 all the forms of that Irony of which Aristophanes was so 
 accomplished a master. Such irony, combined with paradox, 
 is peculiarly noticeable in the bold inconsistency with which 
 the absolutely unrestrained licence of Bird-land is warmly 
 commended, while Peithetaerus is at the same time so strict 
 in purging his city of all objectionable visitants. And it is 
 the same irony which supplies the key to the enigma which has 
 puzzled so many enquirers—why the poet allows Peithetaerus 
 to reap so rich a harvest from his immoral schemes, un¬ 
 punished by the action of any law human or divine. This is 
 
 1 K. O. Muller, Lit. of Greece. Eng. Trans, p. 423. 
 
 2 ev( 3 ov\oi 8 e d/j.a 6 e(JT(pov tcuv vu'jlojv tt)s vnepoipias veiTai 8 (vp.evoi kcu 
 £vv \a\eTroTrjTi (TaMppovecrTfpov rj ware avraiv dviyKovcrreiv Thuc. I. 84. 3• 
 
 3 Ueber die Tendenz der V. (Sitzb. der K. B. Academie der 
 Wissenschaften zu Miinchen. Bd. II. 1875 , pp. 375 - 393* 
 
 B 2 
 
20 
 
 INTRODUCTION. 
 
 the finishing touch to the structure of Irony. No one—least 
 of all Peithetaerus himself—failed to appraise the real value 
 of such a splendid success. 
 
 It did not require a Solomon to preach to an Athenian 
 audience a sermon on the text : ‘the prosperity of fools shall 
 destroy them’; nor is Virgil’s Inferno the only place where 
 poetical justice metes out punishment to a Salmoneus : 
 
 Dum flammas Iovis et sonitus imitatur Olympi. 
 
 -Quattuor hie invectus equis et lampada quassans 
 Ibat ovans Divumque sibi poscebat honorem. 
 
 * * * % * * * 
 
 At pater Omnipotens densa inter nubila telum 
 Contorsit (non ille faces nec fumea taedis 
 Lumina), praecipitemque immani turbine adegit 1 . 
 
 The spectators, we may well believe, had wit enough to 
 appreciate the value and the permanence of that blaze of 
 triumph in which Peithetaerus and his dupes dance off the 
 stage. 
 
 IV. 
 
 For the following note, descriptive of the Frontispiece, 
 I am indebted to the courtesy of Mr. Percy Gardner, 
 Lincoln and Merton Professor of Classical Archaeology and 
 Art, Oxford. 
 
 ‘The design here reproduced 2 is from a Greek wine-jug, 
 adorned with black figures on a red ground, preserved in the 
 British Museum. The group consists of three male figures, 
 an auletes to the left playing his flutes, and two mummers 
 moving to the sound of them. They seem to be clad in some 
 tight-fitting garment, over which is tied the skin of a beast. 
 On their heads are the crests of cocks, the red colour of 
 which matches their beards ; fastened to their arms are 
 wings made of feathers, and a tuft of feathers projects from 
 each knee. It is noticeable that the first of the mummers 
 turns his back, the second his face to the spectator, so that 
 
 1 Virg. Aen. 6. 585 foil. 
 
 2 From Plate XIV (t88i) of the Journal of Hellenic Studies, by 
 kind permission of the Council of the Society of Hellenic Studies. 
 
INTRODUCTION. 
 
 21 
 
 they must be regarded as turned one to the other, though 
 the faces of both, drawn with the coarseness common in 
 vases of this class, seem to be turned backward. In the 
 back-ground are ivy-sprays twining; these have no meaning, 
 they are very commonly thus introduced without connection 
 with the scene. 
 
 The date of the vase, and its place of manufacture, first 
 demand a few words. That it is of Athenian origin would 
 be almost universally allowed, though it was probably made 
 for export. Mr. Cecil Smith in his interesting paper on this 
 vase, printed in the Journal of Hellenic Studies (II. 309), 
 gives the date as between 500 and 450 b. C. But in the last 
 few years the dates of most classes of vases have been carried 
 further back ; and it is likely that now archaeologists would 
 agree that the present oenochoe dates from a time not later 
 than the latter part of the sixth century. This point is of import¬ 
 ance when we turn to consider what is the subject represented. 
 
 There can be no question that our mummers are executing 
 a choric dance to the music of the flute. For the sake of 
 those unused to the interpretation of Greek vases, it is 
 necessary to observe that it does not follow because only 
 two dancers are depicted that only so many took part in the 
 movement of which the vase-painter was thinking ; he would 
 naturally put in as many as he had room for, and no more. 
 And there can be no question also that the dancers are 
 dressed to represent cocks, and are imitating the motions 
 of cocks. 
 
 Is it possible to bring them into connection with the “ Birds” 
 of Aristophanes, and to suppose that they stand for the 
 chorus in that play ? It is quite evident that the date of our 
 vase puts this out of the question; it is a century older than 
 Aristophanes. Magnes, a comic poet, who lived a generation 
 earlier than Aristophanes, also wrote a play called "Opi'ides, 
 but even Magnes is not early enough to be contemporary 
 with our vase. The picture must, in fact, belong to a time 
 before the rise of Attic Comedy. It must represent, not the 
 chorus of a comic play, but one of those mumming country 
 dances, out of which the comic chorus sprang. Almost all 
 
22 
 
 INTRODUCTION. 
 
 dancing among the Greeks was imitative; and it must fre¬ 
 quently, like the dances of uncivilised peoples in modern 
 times, have been imitative of animals. We may suppose 
 that when Aristophanes took a chorus of wasps, frogs, or 
 birds, he merely proceeded on lines quite familiar to his 
 auditors. 
 
 Probably the figures of the vase indicate satisfactorily the 
 kind of make-up usual alike in character-dances, and comic 
 choruses, when animals were imitated. To produce realistic 
 animals like those of a modern pantomine, would naturally 
 be foreign to Greek ideas. The wings and the crest would 
 be quite sufficient to indicate a cock ; and frogs, wasps, and 
 the like would be imitated by methods of similar simplicity. 
 The masks of our mummers seem to be human, but of exag¬ 
 gerated ugliness, of an ugliness beyond the custom even of 
 ordinary black-figured vases. But doubtless the masks 
 gradually became more and more realistic—certainly the 
 Trochilus and the Hoopoe wore enormous beaks ( 11 . 62, 99); 
 and the nightingale (1. 672) had a mask ending in a 
 sharp-pointed bill, which had to be removed before the 
 player could use the flute. 
 
 Mummers dressed as birds appear again on an archaic 
 vase published by Gerhard (Trinkschalen, pi. xxx); but 
 there they are wrapped in cloaks, only the heads appear 
 with crests and curious masks. An exquisite red-figured 
 vase of the British Museum in the form of an astragalus 
 gives us a delightful representation of a party of girls dancing 
 a bird-dance; but in their case there are no masks, and the 
 wings of birds are merely imitated with the fluttering ends of 
 their garments held in the hand. 
 
 It appears then that while the question whether our vase- 
 painter took his subject from the “ Birds,” must be answered 
 in the negative, it is yet quite fair to take the painting as a 
 trustworthy indication of the make-up of the chorus in that 
 play.’ 
 
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 Tijs eprjs yvvaLKOs dvTe £vyyevrj Kal cfivXeTa ; 
 xO. (foeLaopeada yap tl T&vbe pdXXov 77/xei? 7 ) Xvkoov ; 
 
 ET. 
 
 nE. 
 
 ET. 
 
 nE. 
 
 ET. 
 
 nE. 
 
 ET. 
 
 XO. 
 
OPNI0E2. 
 
 39 
 
 7 / Tivas ncraipeO ’ aWovs rcovb’ av eydcovs en ; 370 
 
 KUO*, el be rpv (fivcnv pev eyOpoi, rov be vovv elcrtv <fii\oi, 
 kclI biba^ovres tl bevp ’ iji<ovcnv vpas yprj<Jipov. 
 
 XO. 77o>? b’ av otb’ rjpds n ypricnpov biba^eiav 7 Tore, 
 
 7) <fipao-€Lav, ovres eyOpol rolcn Tram tols tols epots ; 
 
 EnO'P.aAA’ 0,77’ eyOp&v brjra noWa pavOavovcrtv ol 
 cro(f)OL. 376 
 
 7 ] yap evXa(3eia <Tco£eL iravra. irapd pev ovv <fi(kov 
 ov padocs av rov6\ 6 5’ eyOpos evOvs e^pvayKacrev. 
 avrly at Trokets 1 rap’ dvbpdov y epaOov eydpoiv kov 
 < pi\cov 378 
 
 eKTTOve'tv 6 ’ v\J/riX.a relyr] vavs re KeKrijcOai paKpas. 
 to Se pa6r\pa rovro <j(o^ei naibas, oIklov , yp7]para. 
 ecrn pev Xoycov aKovcrai rrpcbrov, ws 7)piv boKe t, 
 ypyjaipov' paOois yap av tl kcuto ra>v eyOp&v cro(f)6v. 
 otbe rrjs opyr\s yaXav el^acnv. dvay eirl crueXos. 
 
 EnO^P. Kal b'lKaiov y ecrrl Kapol bet vepeiv vpas yapiv. 
 
 XO. dXXa p7]v ovb’ a\\o crot 7rco irpayp evrjvrLupeda. 385 
 paXXov elp 7 ]vr]v ayovcnv 7) upiv' wore rr\v yyrpav 
 rw re rpvf 3 Aico KaO tei* 
 
 Kal to bopv XPVi T ° v ofieXiCTKOv, 
 
 XO. 
 
 nE. 
 
 HE. 
 
 TrepLirareiv eyovras r\pas 
 
 rd)v OTrXoav evros, Trap avrpv 39 ° 
 
 tt]v yyrpav aKpav opG>vras 
 eyyus * <*>? ov (pevKreov veov. 
 
 ET. ereov, r\v 5’ ap auoOavcvpev, 
 
 KaropvxycropecrOa 7 rod yrjs ; 
 
 I1E. 6 KepapetKos be^erat v(o. 395 
 
 bripoena yap tva racp&pev, 
 
 <p7]cropev 77/30? too ? errparpyovs 
 payopevcv rot? 'noXepioicnv 
 diToOaveiv ev O pveals. 
 
40 
 
 OPNI0E2. 
 
 XO. avay es tcl£lp ttclXlv es ravrov, 
 Kal top Ovpop Karadov Kvxf/as 
 'TTapa ttjp opypp axnrep oirXLTps' 
 KapaTTv9(Pp.e0a Tovcrbe, TLves TTOTe. 
 Kal 7 ro9ep e/xoXop, 
 
 € 7 Tl TLVa T €TTLVOiav. 
 
 XO. 
 
 tw eiroxf/, (re TOi Ka\a>. 
 
 h nO^P. /caAets be tov KXveLP 9 eXoop ; 
 
 XO. Ttves ttoO otbe Kal ijoOev ; 
 EnO ' P.fao crocpps cup 'EXXabos. 
 
 XO. rvyj] be Kota /co/xt- 
 
 7T0T aVTCO TTpoS Op- 
 PL0as eXOe'iv ; 
 
 EITO'J'. epcos 
 
 ( 3 lov biaiTYjs re aov 
 Kal £vvoiKelv re gol 
 K al ^vvelvai to Trap. 
 
 TL (pps • 
 
 XeyovcL bp TLpas A oyovs ; 
 
 EIIO*. &m<rra Kal ire pa Kkveiv. 
 
 XO. Spa tl Kepbos evdab ’ &£iov piopps, 
 ot(o TreTroiOe poL £vpcop 
 K parelp ap p top eyOpop p 
 (piXoLaip QxpeXe'ip ey^eip ,* 
 EnO^.Aeyet p.eyap tip oXfiop ov- 
 Te XeKTop ovTe ttuttop , wj 
 era TavTa ttclpto Kal 
 to Tjjbe Kal to Kelae Kal 
 to bevpo TTpocrpLfiq Xeycop. 
 
 XO. iroTepa paipopepos ,* 
 
 EnO ty.aepaTop m <ppopLpLos. 
 
 XO. ePL (ro(pop tl cj)pePL ; 
 
 400 
 
 405 
 
 410 
 
 415 
 
 420 
 
 4 2 5 
 
OPNI0E2. 
 
 4i 
 
 EPIO'P. TTVKVOTCLTOV KLVdboSy 
 
 aocf)Lapa , Kvppa, TpXppa, TraLirdXr\p oXov. 430 
 
 XO. XeyeLv XeyeLv KeXeve poL. 
 
 kXvcov yap &v av pun Xeyeis 
 Xoycov aveuTepoopaL. 
 
 EnO'P.aye bp crv Kal av rpv iravonXiav pev ttclXlv 
 
 TavTTjv Xa(3ovT€ KpepdaaTOv Tvyayadjj 435 
 
 CLS TOV llTVOV CtCTCO, llXpaLOV TOVTCKTTaTOV' 
 
 crv be rovcrb’ ecf)’ olairep toIs XoyoLS avveXe £’ eyco, 
 < ppaaov , biba^ov. 
 
 FIE. pa rov ’AttoXXoo ’yco pev ov, 
 
 t)v prj biddcovTai y o'ibe biaOpKijv epol 
 ijvTtep 6 TiiOpKOS rrj yvvaua bie0eTo y 440 
 
 6 payaipouoLoSy \prj baKveiv tovtovs epic. 
 
 XO. biaviOepaL ’yco. FIE. KaTopoaov vvv ravra poL. 
 
 XO. opvvp eirl tovtols, ttclctl vlkclv tols KpLTals 445 
 Kal to t? deara'is TraaLV. TIE. carat ravrayi. 
 
 XO. et 5e 7rapa[3aLpv, evl Kpirp vikclv povov. 
 
 EnO'P. dKOvere Xe(p’ tovs ottXl ras vvvpevl 
 
 aveXopevovs 6 &ttX' dmevai 'jiclXlv OLKabe, 
 
 (TKOirelv 5’ o rt av TTpoypacfxopev ev rot? mvaKLOLS. 450 
 
 XOPOX. EIEI0ETAIPO2. ETEAniAHS. EnO^P. 
 
 XO. boXepov pev del Kara irdvra brj rpoirov 
 7 Te<pvK€V avOpcoTTOs' crv b ’ opais Xeye /xot. 
 
 Taya yap Tvyois av 
 
 yppcrTov e£eL7rd>v 6 tl poL irapopciT, 7 ) 
 
 bvvap.lv Tiva pe t£a) 455 
 
 7 rapaXeLTTopevr]V vtt’ epijs <fipevos d^vvcTov’ 
 
 crv be tovO ’ ovpas Xey’ els kolvov. 
 
 o yap dv av Tvyrjs pot 
 
 ayaOov iroptaas, tovto kolvov eaTaL. 
 
42 
 
 OPNI0E2. 
 
 HE. 
 
 ET. 
 
 TIE. 
 
 XO. 
 
 TIE. 
 
 XO. 
 
 riE. 
 
 aAA’ ecf)’ 0T(i)7T€p 77 pay /xart 77 /y (tt]V rji<€LS yvtopir\v 
 ava7T€L(ras, 460 
 
 A eye Oappr/cras * ws ray cnrovbas ov /xt) irpoTepov 
 7Tapa(3u>pL€V. 
 
 Kal p.r]v opya> vr\ tov Ala Kat TrpoTTecfrvpaTcu Ac'yoy 
 ety /xot, 
 
 oy 5 ta/xarrety ov KcvXvei' </>epe, 77at, cr ri<pavov' 
 
 KarayeicrOai 
 
 Kara ytcpos vbcop (peperco rayv rty. 
 
 btLTTvijcrtLv /xe'AAo/xey, 77 rt; 
 /xa At’, aXXa Ae'yety (/prco TpliraXat p.eya Kal 
 Xapivbv Znos tl , 465 
 
 o rt T?)y tovtoov OpavcreL xj/vyjiv’ ovrcos vpL&v 
 virepaXycb, 
 
 otrtyey oyrey 7 jporepov fiacnXrjs — 
 
 7//xety /3aaiXi]s ; rtyos ; 
 
 v/xe ty 
 
 TTCtVTlDV 0770(7’ €(TTLV, €p,OV TTp(s)TOV, TOvb t, Kal TOV 
 
 Atoj avrov, 
 
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 Kal yrjs. XO. Kat yT/y ; IIE. y?/ roy ’AttoXXco. 470 
 
 royrt /xa At J ook k'ne r nvo-p,r\v. 
 apiaOrjs yap €<pvs kov TroXvirpaypLoov, ovb ’ Alctcottov 
 776770777 Kay, 
 
 oy ecpacrK^ Xtycov Kopvbbv TravTaiv TrpcdTrjv opvida 
 yevecrOai, 
 
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 a 7 !oQvr)(TK£iv' 
 
 ypv §’ ol»k etyat, roy 5e irpoKtlcrdaL TrepL—Talov TTjV 
 5 ’ cntopovaav 
 
 vtt ap. 7 jyavlas tov T>aTtp avTijs ey rr) K€<paXrj 
 KaTopvtjaL. 475 
 
OPNI0E2. 
 
 43 
 
 ET. 6 Trarijp apa rrjs Kopvbov vvvl kcItcll TeOveoos 
 Ke<pa\i](rLv. 
 
 nE. ovkovv brjr’ el TTporepoL piev yps, irporepoL 5e 6eu>v 
 eyevovTo , 
 
 ws 7 TpecrfivTaTMV avTcbv ovtohv 6p6u>$ ecrO’ i) 
 
 fiao-L\eia ; 
 
 ET. VTJ TCV ’AtTo'A/Yco' 7 TCIVV TOLVVV XPV f>VyX°$ j36(TK.€LV 
 ere to Xolttov ' 
 
 ovk cnrobobereL raye cos 6 Zeo? to erKpuTpov rw 
 bpVKoXcLTTTlJ. 480 
 
 nE. ovyl 6eol tolvvv ppx ov tmv avOpcbiroav to 
 
 TraXaiov, 
 
 aAA’ opvides, KafiacrlXevov, 77o'AA’ eerrt TeKjxrjpLa 
 
 TOVTCOV. 
 
 CLVTLKCL 5’ VIJLLV 77/DCOr’ eTUbeL^CO TOV bXeKTpVOV , COS’ 
 eTvpavvei 
 
 rjpX e Te YlepcrCbv TrpcoTos ttclvtoov, Aapelov kcll 
 M eya(3aC°v, 
 
 coctt e KaXeLTat. TleperLKos opvis cltto Tijs apxvs €T 
 eKeivrjS. 485 
 
 ET. bia tclvt ap ex^v kcll vvv obenrep /3ao-iAei>s- 6 
 jxeyas biafiao-Kei 
 
 €771 TTjS K€(paXrjS T1]V KVpfia<TiaV TLAV OpViOoiV p.OVOS 
 
 6p66)v. 
 
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 <■/ 5 V V ^ 
 
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 avaTTr]b6)<TLV TravTes €7r’ epyov, x a ^ K V s > Kepapfjs, 
 
 o-KvXobeyJ/aL, 49 ° 
 
 o'KVTr}$ y j3a\avrjs, aX<pLTCipoL(3oL> TopvevToXvpaer- 
 
 TiLboTTrjyOL • 
 
44 
 
 OPNI0E2. 
 
 ot 6c ftabtCova inrobrjcrapievoL vvKTcop. 
 
 ET. 
 
 nE. 
 
 xo. 
 
 nE. 
 
 ET. 
 
 HE. 
 
 ET. 
 
 HE. 
 
 €fi€ tovto y ZpcoTa. 
 
 yXalvav yap aircoXea 6 iJLoy^Orjpbs ^pvy'uov epicov 
 bia TOVTOV. 
 
 es beKarrjV yap ttote 7 -atbaptov KXr/Oels vTreTnvov 
 
 Zv a<TT€L. 
 
 KcipTL KaOevbov’ Kal irpiv beurvelv tovs aXXovs, 
 ovtos ap ’ ycre, 495 
 
 Kayco vopLtoras opdpov Zycopovv ’A XipiovvTabe, Kapn 
 
 TTpOKVTiTCO 
 
 e£co Telyovs, Kal XooTTobvTijs iraiei poitaXco pie to 
 VCOTOV’ 
 
 Kayco tAtttco, pieXXco re (3oav’ 6 b ’ aTrej3Xicre Ool- 
 piaTiov piov. 
 
 lktlvos b’ ovv tcov 'E XXr/vcov ppyev Tore Ka( 3 ao-iXeve. 
 tcov 'EXXijvcov ; 500 
 
 Kal Karebei^ev y ovtos irpcoTos fiacnXevcov 
 TTpoKaXirbeZcrdaL rots Iktlvols. 
 
 vi] tov Alovvctov, Zyco yovv 
 eKaXivbovpirjv IktIvov Ibcov’ kciO ’ vtttlos cos avayaaKco 
 o^oXov Kare^poyOicra’ Kara Kevov tov OvXaKov 
 o'iKab ’ acpelXKOv . 
 
 AlyvTTTov b’ av Kal <$>OLVLKri$ Tracrris kokkv£ j 3 a- 
 cnXevs rjv' 
 
 ycoTToO’ 6 kokkv£ e'iTtoi kokkv, Tore y ot <&olvlk€s 
 airavres 505 
 
 tovs TTvpovs av Kal ras KpiOas Zv tols Trebiois 
 ZdepL^ov. 
 
 tovt ap ’ eKe'iv rjv tovttos aXpOcos’ kokkv, \l/coXol 
 irebiovbe. 
 
 rjpyov b’ ovtco cnpobpa rpv apyijv, tocrr’ et tls Kal 
 fiacnXevoL 
 
OPNI0E2. 
 
 45 
 
 ev reus TtoXecnv tcov 'EA.A .i^voiv, ’ Ayapiepivcov ?/ 
 Mez/eA aos, 
 
 eul tcov crKijiTTpoov eKadriT opvis, /xcre^co^ O Tl 
 biopoboKoiri. 510 
 
 tovtI toivvv ovk ybr) ’yco’ Kai bpra p! eXapifiave 
 Oavp.a, 
 
 ottot e^eXOoi Tlpia/ios tis e\(t)V opviv ev toioti 
 rpayodbois * 
 
 6 8 ’ ap ’ eicrTijKei ror AvcriKpaTi] Tijp&v 6 ti bcopo- 
 boKOlTj. 
 
 o be beivorcLTov y ecrrlv cnravToaVy 6 Z,evs yap 6 
 vvv fiacriXevoov 
 
 aerov opviv ecrniKev e\oov eirl tt)s KecpaXps, /3a- 
 (riXevs &v’ 515 
 
 p 0 av ttvyarrip yXavx , o 6 AttoAAcoz; cocnrep 
 OepaTTcov UpaKa. 
 
 vi] tj]v Ar\p.rjrp > ev ravra Xeyeis. tivos ovveica 
 
 ravr dp ’ ey^ovcriv ; 
 
 iv orav 6voi>v tis eneir avrois els ryv X € w’> ^ 
 vopios earl, 
 
 ra cntXayyya bib<y, tov A 10 s avrol TTporepoi ra 
 cnrXayxva Xafioocnv. 
 
 &IAVV r ovbels tot av avOpdoTToov deov, aAA ’ op- 
 
 viOas a-navTes. 
 
 5 2 ° 
 
 Adpnroov b ’ opivver eTi Kal vvvl tov yfiv, oTav 
 e£ai rara tl * 
 
 cvtcqs vfxds irdvTes irpoTepov p^eydXovs dyiovs t 
 evopa^ov, 
 
 vvv 8’ dvbpcurob’, i)Xi6iovs, Mayas. 
 
 coonrep 8’ 7/877 tovs paivo\xevovs 
 
 fiaXXova vpias, Kav tois tepois 5 2 5 
 
 Iras tls e<p } vpuv 6pvi0evTi]s 
 
4 6 
 
 OPNI0E2. 
 
 XO. 
 
 riE. 
 
 EX. 
 
 Lcrrrj cr l / 3 po\ovs, irayibas, pafibovs, 
 tpKrj, v€(f)eXas, btKTva, TnjKTas * 
 etra Xafiovres njutXova aOpoovs’ 
 
 01 S’ QdVOVVTCU ( 3 XLpux(oVT€S' 530 
 
 kov 5 ’ ovv , enrep raora 5 oKet SpazJ, 
 
 07 TTr]crap,€V 0 L irapeOevO’ vpids , 
 aAA.’ £iTLKi>G)crLv Tvpov, eXaiov, 
 a[k(f)Lov, o£o$, Kal rpL\{/ai>T€S 
 
 KdTayyo-pLaTLOv yXvKV Kal Xiirapov, 535 
 
 KaiTZLTa KarecTKibacrav deppibv 
 
 tovto KaO ’ 't'paiz' 
 
 aVTG)V a)(T 7 T€p K€V€j 3 p€L(i)V. 
 
 ttoXv 5 7/ rroAo 67) yaAeTrcoraroo? Aoyoi)? 
 
 ijveyKas, avOpoocp’’ oktt ebaKpvad y ep, 5 >v 540 
 
 'nardpoiv KaKr)v , ot 
 
 racrbe raj rtpaj 7 T poyovcov TrapabovToov, 
 
 £tt epoo KaTeXvaav. 
 
 crv be pot Kara balpLova Kal Kara (rvvrvyjiav 
 ayad'pv 7 ]K€Ls £p,ol aam / p . 545 
 
 avadels yap eyco <ro 1 
 ra re vorria Ka\aavTov olklg) ere. 
 aAA’ o rt xp7/ Spaz;, ao btbacrKe 'irapcov' ws £r)v 
 ovk d^iov rjpuv, 
 
 et pz) Kopuovpt,e 6 airavrl rpoVa) tt)V 7/perepaz' / 3 acrtAetar. 
 Kal brj toLvvv rrp<Sra bibdcrKco ptaz> opviOcov ttoXlv 
 
 etz'at, 
 
 1 so 
 
 KcnretTa tov aepa irdvra kvkXo) kol ttclv tovtI to 
 p(€Ta£v 
 
 7T€pLT€L\L^LV pceyaXacs ttXlvOols 07rratj djanep 
 J$a(3vX(bva. 
 
 00 Ke/3ptoXa Kal Ylop<fivpLan>, ojj ap,epbaXeov to 
 TToXio-pta. 
 
OPNI0E2. 
 
 47 
 
 nE. 
 
 ET. 
 
 XO. 
 
 HE. 
 
 KaireLT rjv tovt eTravecrT7]Kr \, riyj dpypjv rev AC 
 drraireiv' 
 
 kolv iuev pci] <pj] p.7)b' eOeXijcrp pLrjC evOvs yvoom- 
 
 Haxwy, 555 
 
 iepov 7 rbXepiov Trpcavbdv avr<2, /cat rotert Oeoicnv 
 aireLTrelv 
 
 bid rrjs y^copas rrjs vp^erepas Aairep irplv yotr/ 5 ta- 
 <fiot,Tav. 
 
 Tols b' av6pU>7TOLS OpVIV erepOV TrepLxJ/CLL K7]pVKa 
 KeXevoi, 
 
 ojj dpvidcov (3aorL\ev6vTcov Ovetv opviai to Xolttov 
 K cnrtLTa deots verrepov avOis' TTpocrveLpacrOai be 
 
 TTpeTTOVTOOS 
 
 TOLO’i Oeo'icnv t&v opinOcov os dv appo^rj tcaO ’ 
 
 eKCLCTTOV ' 
 
 i)v 5 AfppobiTj] dvp, TTVpovs opv lOl (paXTjpibt dveiv’ 
 tjv be ITocretSaW ris olv dvp, vrjTrp Trvpovs KaOa- 
 yi^eiv’ 566 
 
 r]V 8’ 'Hpa/cAeet dvpcn , A ape* va<rrov s Ovetv peXt- 
 rovvras' 
 
 kolv Ait Omj j3a(TtXet Kpiov , fiacnXevs ear’ opytXos 
 opvis , 
 
 oS 'nporepey be t tov At os avrov aepepov ev6pyr\v 
 (T(f)ayLa£eLV. 
 
 ijo~07ji7 crepcfxp atpayta^opevto. fipovraTO) vvv u 
 
 peyas Zdv. 57° 
 
 /cat 7 tcos ypds voptovert Oeovs dvOpcoiroi Kovyl 
 
 KoXotOVS, 
 
 01 TreropecrOa Trrepvyds r eyopev ; 
 
 is* Kat vi] At o y hpp7]s 
 
 rrereTat 0eos Ay Trrepvyds re <popet, kuXXol ye 0eol 
 rrdvv ttoXXol. 
 
 
48 
 
 OPNI0E2. 
 
 ET. 
 
 XO. 
 
 ET. 
 
 riE. 
 
 ET. 
 
 HE. 
 
 XO. 
 
 nE. 
 
 clvtlkcl Nt/<?7 TrirtTa t TTTepvyoLV xpvcraLV, Kal vrj 
 
 At’ V E pons ye* 
 
 'Iptv he y ''Oprjpos €<fiacTK LKeXrjv etmt rpijpcovL 
 TreXei 7]. 575 
 
 6 Zevs 6’ rjpi'LV ov (3povrr](Tas 'jrepxf/eL TiTepoevTa 
 Kepavvov ; 
 
 rjv 6’ ovv i)pas pev vir ayvoias eTvai vopLerioat, to 
 pphev, 
 
 tovtovs he deovs tovs ev ^OXvpiup ; HE. Tore 
 X/)?/ <jrpov6G>v veefros apQev 
 kcu cnreppoXoycov e/c t&v ayp&v to airepp avT&v 
 amfcm/reu* 
 
 K.a7teLT aVTOLS 7] ApppTTjp TTVpOVS 7T€LVG)(TL pe- 
 TpeLTOO. 580 
 
 ovk eOeXrjcre t pa At’, aAA.’ o\J/e t irpoe^aereis avTT)v 
 7T apeyovcrav. 
 
 ot 5’ av KopaK.es t&v (evyaptoov, olcnv ttjv yrjv 
 KaTapOVCTLV, 
 
 Kal tQ)v 'npofiaT&v tovs oepOaXpovs €KKO\jsavTcov 
 eirl 7Tetpa’ 
 
 eW ’ 6 y ’A 7 toXXcov laTpos y cov lacrdco' pierOo- 
 (fiope t oe. 
 
 pp, TTpLV y av eyco ra) / 3 ot 5 apta> r«/xw 'irpeoTKTT 
 airoh&pai. 585 
 
 rjv 0 7]yoiVTai ere Oeov , ere ptor, ere oe 1 7]V, ere 
 K povov, ere Iloeretda), 
 aya& avToicnv irhvTa TrapeerTai. 
 
 Xeye hr] pot r<S^ ayaO&v ev. 
 npcoTa pev avTa>v Tas olvavOas ot 'napvoiies ov 
 KaTehovTat, 
 
 aXXa yXavK&v Xoy^os els avrovs Kal Kep^vyhorv 
 e7nTpL\j/eL. 
 
OPNI0E2. 
 
 49 
 
 XO. 
 
 nE. 
 
 xo. 
 
 nE. 
 
 ET. 
 
 nE. 
 
 ET. 
 
 XO. 
 
 nE. 
 
 eiO oi liVLTres kcu ^\rr}ves aet ras ctvkcls ov kcltz- 
 bovTat, 590 
 
 aAA’ avaXe^et navras KaOapa>s avTovs ayeXrf fita 
 KL\Xoi)V> 
 
 tt\ovt€iv be TioOev bcocrcpLev avTols ; kcu yap 
 tovtov crcpobp ’ epaxri. 
 
 ra /xc-raAA.’ avTois p.avTevop.evoLS ovtol baxrovcn ra 
 
 XPW T( *> 
 
 ras t eparoptas ra? KepbaXeas rrpos rov p.avnv 
 Karepovcriv , 
 
 cocrr’ CLTToXeLraL ra>v vavKXyjpcov ovbels. 595 
 
 710)? ovk ciTToXelraL ; 
 
 TTpoepet tls del r&v dpviOoov p,avTevop,ev(p irepl 
 rod 7tXov‘ 
 
 vvvl piT] TrXei , x €L P^ v carat* vvvl nXel, Kepbos 
 
 eirecTTaL. 
 
 yavXov KTcop.aL Kal vavKXrjpcb, kovk av /xetz'atjut 
 Trap* vpuv. 
 
 tovs Orjoravpovs r avTois bel^ova ovs oi 7 rporepov 
 KareOevro 
 
 tcov apyvpicov’ ovtol yap Icraa t* Xcyovcn be roi 
 
 rabe iravTes, 600 
 
 ovbeis olbev rov 6 r]cravpbv rov e/xor 7 tXi]V el tis 
 
 yf > 3/ 
 
 ap opvts • 
 
 7TO)Ao> yavXov , Krw/xat apuvvrjv , Kal ra? vbplas 
 
 CLVOpVTTCO. 
 
 7rwj 5 ’ vyleiav baxropiev avTois, ovcrav irapa to text 
 Oeolanv ; 
 
 rjv ev irpaTTuxT, ov )( vyiela p^eyaXi] tovt ear t ; 
 ET. a-cuf)’ lctOl , 
 
 o)? avOpcoTTos ye kukoHs irpaTTcov aTeyv&s ovbeLS 
 vyiaLvei . 605 
 
 D 
 
OPNI0E2. 
 
 XO. 
 
 nE. 
 
 XO. 
 
 nE. 
 
 ET. 
 
 nE. 
 
 XO. 
 
 ttcoj 8’ €ts yrjpas ttot cmPC^ovtcu ; Kal -yap rovr ’ 
 e<rr’ h’ 'Okvpirio. 
 
 7 } 'JiaihapL OVT CL 7 To 0 vi')(TK€lV bet / 
 
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OPNI0E2. 
 
 53 
 
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OPNI0E2. 
 
 55 
 
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OPNI0E2. 
 
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 beivorara yap tol neicr 6 pLecrO\ e/xoz, ootel, 1225 
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 ravrl Xeyovcra p.oppLoXvTTe<rOaL hotels ; 1245 
 
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74 
 
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 els Uopepvpioov avT<p tt apeay^e irpbypaTa. 
 
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 I7E. olpoi rdAa?. ovkovv eTepcocre ireTopevp 1260 
 
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 ppbe t iv lepoOvrov ava banebov ert 1265 
 
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 (TTccpavovcn kcu Ttpcocnv oi tt avTes Aeco. 1275 
 
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 ttoXXoictiv opvldoov ovopar’ ?}y Kelpeva. 
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 76 
 
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 opv ls yevdaOai fiovXopLcu 1380 
 
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 'navuai [loXtob&v, aXX ’ 0 tl X eyei? ei7re p.01. 
 
 VITO CTOV 7 TT€p(O 0 €LS fiovXopLCLl pLOTCipaiOS 
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 aepobovrjTovs Kal vupofioXovs avafioXds. 1385 
 
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 roiv biQvpap,fia>v yap tcl Xapurpa yiyvorai 
 aopta Kal cTKOTotva Kal Kvavavyda 
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 1400 
 
 1 4 c 5 
 
OPNI0E2. 
 
 79 
 
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 AY. TavvaiTTTepe 7TOLKt\a pa A.’ avOis . 1415 
 
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 belo6ai b’ eoiKev ovk oXiyiov xeXibovcvv. 
 
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 PIE. obi irapeoTiv' aXX ’ otov bet ypij Xeyeiv. 
 
 AY. TiTepSiv TTTepcov bei‘ pip irvOp to bevTepov. 1420 
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 kvkX<v irepioofieiv ra? iroXeis KaXovpevos. 1425 
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 riE. roart yap epya^ei av Tovpyov ; e’nre poi, 1430 
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 bi’Oabe 77 plv p/cetv 6 gevos. 
 
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 nPOMH0ETS. nEI0ETAIPO2. 
 
 otpoi ra\as, 6 Zevs 07ro>9 per] p o\[/€tcu. 
 
 ttov HeudeTdipos ecmv ; J495 
 
 ea, rovrl ri rjv ; 
 
 rty ovyKdXvppos ; 
 
 t<2 v 6eu>v opqs nva 
 epov kcltotuv evrddOd; 
 
 /xa Zu eya> fiev ov. 
 
 / ^ 9 ^ / -l—f T") / * } \ yf r\ t f 
 
 TLS 0 €t (TV ; 111 . TTTjVLK. eCTTLV dpCL T 7/9 IJpepdS ; 
 
 oTTrjvLKd ; crpuepov ti pera peo-rjpl 3 pidv. 
 
 aAAa cn) rty et ; nP. fiovXvros, rj irepdirepor ; 
 
 oXp a)9 ( 3 beXvrropdL ere. 1501 
 
 rt yap 6 Zei>9 7rotet ; 
 dUdiOpidCei rets veefreXdS, rj £vvve(pe t ; 
 olpa^e peya.X’. nP. oi)Va> /u.ez^ eKKeKdXvxlropdL. 
 
 S> ejrCXe YlpoprjOev. nP. 7raa€ rrdve, pi] ( 3 od. 
 tl yeep earn ; 1505 
 
 eriyd, pp KdXei pov rovvopd‘ 
 a 7 ro yap p oXets, eu p evodo 0 JLev 9 oyerat. 
 aAA’ tVa efrpdera eroi tt dvrd tclvgo 7 rpaypara, 
 rourt Xd[ 3 cov pov to (TKidbeiov vnepeye 
 dvwOev, a >9 ai> p.?/ p ’ oparenv oi Oeoc. 
 
 he. 
 
 5 \ > / 
 
 tOl> 1077 . 
 
 eS y’ eirevorjcrds dbro Kdl TrpoprjOiKcbs. 
 
 151° 
 
OPNI0E2. 
 
 8 3 
 
 virobvOi rayy 677 , Kara Oapppcras Xeye. 
 
 OP . aKove hi] vvv. PIE . a )? clkovovtos Xeye. 
 nP . cnroXooXev 6 Zevs. ITE . TTrjVLK CLTT a7T(t)\cT0 / 
 lii. ovrrep vpieis (pKLcrare tov aepa. 1515 
 
 ddet yap ovbels ovbev avOpMircov eri 
 Oeotcriv, ovbe Kvlcra pirjpiiov airo 
 civrjXOev wj ?)/xas a7r’ eKeivov tov ypovov , 
 aAA GiCT7T€pel &€CrpL 0 <p 0 pL 0 LS vrjaTevopiev 
 avev OvrjX&v' 0 1 be /3dp/3apot #eol 1520 
 
 7T€LVG)VT€S U)(T7i€p ’iXXvplol K€KpiyOT€$ 
 eTTLcrTparevcreLV <paa avooOev rw Au, 
 
 6 1 /x?; uape^ei rap-Tropt’ aveipyp^eva, 
 tv eicrayoiro cnrXayyya Kararerpippieva. 
 
 TIE. etcrtz; yap erepoi fiapfiapoi Oeot rives 1525 
 
 avcoOev vpLibv ; 
 
 np. od yap elcri j3ap(3apoi, 
 
 oOev 6 7 jarptoos eanv ’E^Keortdp ; 
 
 PIE. ovopia be tovtois rots 6eols rots (3ap/3apois 
 ti ecrriv ; IIP. o tl ecrriv ; TpifiaXXot. 
 
 PIE. pa vdavco. 
 
 evrevdev apa T0inTirpi(3etr]S eyevero. 1530 
 
 HP. piaXicrra iravToov. ev be cro 1 Xeyco crakes’ 
 proven Trpetrfieis bevpo 1repl biaXXayiov 
 Tiapa rod Aios Kal tcov TpifiaXX&v t&v aviv' 
 vpiels be fit) cr~evbecr6\ eav p?/ 7rapabib<X 
 TO CTKrjTTTpOV 6 Zei)S TolcTIV OpVKTIV TTClXlV, 1535 
 Kal ri]V EacriXeiav croi ywattc eyeiv bib(2. 
 nE. tis ecrriv r/ B acriXeia ; 
 
 HP. KaXXlCTTl] KOpj], 
 
 rjrrep rapaevei tov Kepavvov tov At os 
 Kal tuXX ’ aira^cnravTa, rrjv ev(3ovXiav , 
 rrjv evvop.'iav , ttjv <t ocxppocrvvpv, rd vea>pia , 
 
 F 2 
 
 i 54 ° 
 
OPNI0E2. 
 
 8.4 
 
 rijv Xoibopiar, rov KcoXaypeTpr, ra TpicbftoXa. 
 
 HE. airavra rap’ avTco rapuevei. 
 
 OP. pV^ eyo>. 
 
 rjr y r\v crv nap : eKeirov napaXafips, iravr eyeis. 
 tovtoov eVe/ca bevp ’ pXdor, Ira ppacraipt crot. 
 
 Cl€L HOT ardpcbliOLS yap €VVOVS €Lp’ ey(b. 1545 
 
 HE. poror decor yap bin or' anardpaKL^oper. 
 
 HP. pucrcb b ’ anavTas tovs deovs, <os olcrda crv. 
 
 PTE. rp Tor AC ael bi]Ta deopurps epvs. 
 
 IIP. Ttj acor Kadapos- aXX’ cos av anoTpeyco ijaXir, 
 
 (f>€p€ TO CTKLOibeLOV, LTCL pe KCLV 6 ZeVS Xbp 1550 
 arcoOer, aKoXovdelr boKco Karppopco. 
 
 FIE. /cat Tor bippor ye bippopopei Torbl Xaficor. 
 
 X0P02. 
 
 npbs be tols A.K.LaTTocnr Xl- 
 pn 7 tls ear’, clXovtos ov 
 
 pvyaycoyel AcoKpaTps’ 1555 
 
 erOa Kal Yletcrarbpos ijXOe 
 
 beoperos yf/vyrjr ibeir, fj 
 
 CborT eKeiror npovXme, 
 
 crpayC eycor KappXor a- 
 
 pror tlv, ps Xacpovs Tepcor 1560 
 
 ebernep ovbvcrcrevs anpXde, 
 
 KciT arpXU avTco KaTcooer 
 npos to Xalpa Tps KappXov 
 Acupepcor p rvKTepis . 
 
 n02EIA12N. TPIBAAA02. HPAKAH2. 
 IIEI0ETAIPO2. 
 
 1102 . to per noXicrpa Tps NepeXoKOKKvyias 1565 
 
 opar roSt napecrTLr, ol npeerfievoper. 
 
OPNI0E2. 
 
 85 
 
 ovtos, tl bpas ; ei r’ apivTtp ovtvos apsneyei ; 
 ov pceTafiaXels OolpcaTLov cob’ e?rt be^Lav ; 
 
 TL, b> KCLKobcupLOV ; AaLCnroblaS el T7]V (joVCTLV. 
 
 ob bripLOKpaTLa, 7701 7rpo(3L(3as rjpLas Tiore, 1570 
 el tovtovl y eyeipoTovrjcrav ol Oeol; 
 e^eLS aTpepcas ; olpcoo^e' tto\v yap br] <j eyb> 
 eopaica iravrcov j3apj3ap(oraTOv debov. 
 aye br] tl bpbopiev, 'Hpa/cAeis ; 
 
 HP. CLKTjKOaS 
 
 eptov y otl tov avdpMTTOv ayyeLV fiovXopiaL, 1575 
 octtls tiot e&Q' 6 tovs Oeovs cmoTeLyLcras. 
 
 HOS. txAA’, boy ad’, r\pi]p,ecr 8 a 77 ep\ bLaXXaybov 
 Trpeo-fieLS. 
 
 HP. 5t77Aacrt6o? piaXXov ayyeLV piOL boKel. 
 
 nE. T 1 ]V TVpOKVT]<TTLV TLS boTCO * (pipe CTLX(f)LOV’ 
 
 Tvpov (pepeToo rt?' TivpitoXeL tovs avOpaicas. 1580 
 HP. tov avbpa yalpeLV ol 6 eol KeXevop.ev 
 
 Tpels ovTes i]p.els. nE. aAA’ eTTLKvbo to ctlX^lov. 
 HP. ra be Kpia tov tovt ecrTLv ; nE. opvLOis TLves 
 eiravLaTapevoL toIs br\p.0TLK0L(TLV opveoLS 
 ebo^av abLKelv. J 5 8 5 
 
 PIP. elTa bi]Ta cr[X(f)Lov 
 
 eTTLKVCLS TTpOTepOV aVTOLCTLV ; 
 
 nE. bo x c iip\ 'PIpa/cAeis. 
 
 / V 
 
 Tl €OT6 ; 
 
 nOS. irpecrfievovTes ?//xe Is i]Kop,ev 
 
 77 apa tQ>v decov irepl tov T:oXe{xov KCLTaXXayTjS. 
 
 OIKETH2. 
 
 eXaLOv ovk eveaTLV iv Tij XrjKvOoo. 
 nE. kcu jxljv tcl y opvideLa XLTrap elvaL 'TtpeTteL. 159° 
 
 F 3 
 
86 
 
 OPNI0ES. 
 
 nOS. 
 
 tie. 
 
 HP. 
 
 nos. 
 
 HE. 
 
 nos. 
 
 HP. 
 TP I. 
 1'IE. 
 
 ?/p ,£Is re yap TToXeptovvTes ov Kepbalvopcev, 
 
 Vpcels T av l)p.LV TOLS 0€OLS OVTeS CpiXoL 
 opc(3piov vboop av el^eT * v T0 ^ s TeXpLacnv, 
 aXKVOvtbas r av ijyeO' 1 fjpiepas aei. 
 tovtcov irepl iravTcov avTOKparopts rjKopiev. , 1595 
 dA/V ovre TTporepov ttcottoO' ?//x£i? yp^apcev 
 iroXepLOV 7rpoj vpias, vvv r edeXopcev, el OOKe l, 
 eav to biKaiov aXXa vvv edeXijTe bpav , 
 cnrovbas TroieLcrOaL. tcl be binaC ecrrlv rabi' 
 
 TO CTKTjTTT pOV 7] pUV TolcTLV OpVLCTLV TTClXlV 1600 
 
 tov Ai cmobovvai,' kolv biaXXaTTcopieOa. 
 
 eTTL Tolcrbe, tovs TtpecrfieLS £ 7 r’ apicrTov v.a Aco. 
 
 epcol pcev airoxpr] radra, Kal ^(/u^o/xai— 
 
 tl, co KaKobatpcov ; 7 )Xl 6 los kol yacjTpts el. 
 
 anocTTepels tov it aTepa Tjjs Tvpavvibos ; 1605 
 
 aXijdes ; ov yap pcel(ov vpceLS ol 6eol 
 
 iaXyveT , rjv opviOes ap^cocnv kcxtco ; 
 
 vvv pcev y vtto Tals vecfieXaio-LV eyKeKpv\nievoi 
 
 KV\J/avT€s eTuopKOvcnv vpcas ol (3poTol’ 
 
 eav be tovs opvLS e^pTe (rvp.p.ayovS) 1610 
 
 oTav dpcvvr] tls tov KopaKa Kal tov Ala, 
 
 6 Kopal£ TtapeXOcov TovmopKovvTos XaOpa 
 TTpocriTTopLevos eKKOxf/e 1 tov ocfrOaXpcov Oevcov. 
 vl] tov nocretSw, radrd tol KaXois Xeyets. 
 k ajjiol boKel. nE . tl bal crv (ftijs ; 1615 
 
 va(3aicraTpev. 
 
 opcjs ; £77 aivel xodros. evepov vvv £rt 
 
 aKovcraO ’ ocrov vpias ayaOov 7TOLi]cropLev. 
 
 eav tls avOpcoTTcov lepelov t g > Oecov 
 
 ev^apcevos, elTa biacrotyLCrjTai A eycov, 
 
 pceveTol deoi, Kal pccnrobibco pucrijTLa 1620 
 
 avairpa^opLev Kal radra. 
 
OPNI0ES. 
 
 ^7 
 
 nos. tyep lba>, r(o rpoTTco ; 
 
 HE. otclv hiapi6p.G)V apyvpihiov ttj^j 
 
 ai'dpOOTTOS OVTOS, 7 j KaOpTCU kovp.eVOS, 
 
 KCLTaTTTopLevos IktIvos, ctpiracras kaOpa, 
 irpofiaroLV bvolv ri\iiyu avoLcret t (3 9 e<o. 1625 
 
 HP. TO (TK. 7 ] 7 TTpOV CtlTOboVVaL ITakLV \//r](j)L£opLai 
 
 tovtols eyco. nOS. kcu tov TpifiaWov vvv epov. 
 
 HP. 6 Tpcfiakkos, olpiooCeLv boKel <tol ; 
 
 TPT. (javvcLKa 
 
 /SciKrapLKpovcra . HP. tyr/cri\ p 1 ev keyeLV iravv. 
 
 HOS. eX tol boKel crcfvov ravra, Kaptol avvboK.6 i. 1630 
 
 HP. OVTOS , boK€i bpav TaVTa TOV (TK7]17TpOV Tiepi. 
 
 HE. kcu vfj Zac eTepov y €<ttlv ov p.v7]crv7i)v eyco. 
 tt]V jaev yap PI pav Trapabibcopu rw All, 
 
 Tpv be BacrikeLav ti]v Koppv yvvaiK ep.ol 
 €K.boT€OV €(TTLV. 1635 
 
 nOS. ov biakkay&v epas. 
 
 airtcopLev oLKab ’ avOts. 
 
 nE. okiyov /xoi p.ekeL. 
 
 p.ayeLpe , to KaTayycrpLa XPV Troieiv ykvKV. 
 
 HP. 2 ) baipiovL av6p(oiT(ov nocreidozs, ttol cpepeL ; 
 
 7]pL€LS uepl ywaiKos pacts 7 rokepL 7 ]o-op.ev ; 
 
 HOS. tl bat TTOL&piev ; HP. 6 tl ; bLakkaTT(bp,e6a. 1640 
 
 nOS. ti, 0\£vp ; ovk oto- 0 ’ e^aTraTupievos irakat ; 
 
 pkaiTTets be tol c rv cravTov. rjv yap aT7o0av7j 
 b Zevs , 77 apabovs totjtolctl T7]v Tvpavviba, 
 
 7 cevr\s fcrei crv. crov yap airavTa yiyveTai 
 
 tcl \p 7 ]ptaO’, ocr’ av 6 Zevs ai7o6v7](TK(ov KaTakimj. 
 
 HE. otpiOL Takas , olov ere T:epLcroc\)L^eTaL. 164.6 
 
 bevp ’ (os epc ai7oyu>p7]crov, iva tl ctol (Ppacrco. 
 bLafiakkeTaC cr o OeXos, 00 irovr^pe crv. 
 
 T(bv yap it aTpcooiv ovb a.Kapr\ /xeTeori col 
 
88 
 
 OPNI0ES. 
 
 HP. 
 
 nE. 
 
 HP. 
 
 HE. 
 
 HP. 
 
 nE. 
 
 HP. 
 
 nE. 
 
 HR 
 
 nE. 
 
 nE. 
 
 TPI. 
 
 1102. 
 
 Kara tovs vopovs' voOos yap el kov yvrjcnos. 1650 
 eyco voOos ; tl XeyeiS ; 
 
 cry pewoi vi] Ala, 
 cov +y €K £evps yvvaiKos. p ttcos civ Trove 
 eirLKXppov elvai vpv ’AOpvalav boKels, 
 ovcrav Ovyarep’, ovtoov abeX(f)S>v yvpcrLcvv ; 
 tl b\ pv 6 iraTpp epol 0 t 6 <p ra y^pppava 1655 
 vo 6 (p 'vroOvpo'Kcvv ; 
 
 6 vbpos avrov ovk ea. 
 
 ovtos 6 n ocreib&v Trp&ros, os erralpei ere vvv, 
 avOe^evai crov tcov TTarp^oov ypppaTcov 
 (fiacTKaiv abeXcpbs avTos elvai yvpaios. 
 epbi Se bp k al rov AoXcvvos croi vopov' 1660 
 
 N o 6 (p be pp elvai ayyicrTelav, iraiba>v ovtoov 
 yvricrLGov. eav be iralbes pip even yvponoi, to Is 
 eyywcLT 00 yevovs pieTelva l tmv ypppavcvv. 
 epol 6’ ap’ ovbev tcov TraTpcvcov ypppavcov 1667 
 p.eT€(TTLV ; 
 
 ov pevTOL pa Ala. Xe^ov be poi, 
 ijbp or 6 7ran/p elcrpyay 5 es tovs (ppaTepas ; 
 ov bpT epe ye. Kal brjT eOavpa^ov iraXai. 1670 
 tl bpv avco Keypvas aiKiav fiXerroov ; 
 aXX’ pv pe 6 ’ ppa>v fjs, KaTaaTpcroo a eyb> 
 vvpavvov, opviOoov Trape^o) ctol yaXa. 
 biKai epoiye Kal ttclXlv boKels Xeyeiv 
 7 repl Tps Kopps, Kaycoye irapabibcvpi aoi. 1675 
 
 rt bal av (ftps ; nOS. vavavvia \]/p<plC°paL. 
 ev rw Tpi( 3 aXX<y ttclv to irpaypa. tl ctv XeyeiS ; 
 KaXavi Kopavva Kal peyaXa ( 3 acnXivav 
 opvivo Trapabiboopi. HP. irapabovvai Xeyei-. 
 pa tov Al ovy ovtos ye vrapabovvai Xeyei , 1680 
 
 el pp fiaTL&L y bjairep at yeXiboves . 
 
OPNI0ES. 
 
 8 9 
 
 HE. 
 
 nos. 
 
 HP. 
 
 HE. 
 
 HP. 
 
 nos. 
 
 HE. 
 
 XO. 
 
 ovkovv irapabovvaL raty yeXibocrLV Aeyei. 
 crcpto vvv biaXXcLTTecrOe Kal £vp.(3aLveTe' 
 eyco 5’, eiieibi] crtytpv boKel, cnypaonaL. 
 rjfuv a XeyeLS <tv navra avyyoopelv boieet. 
 aAA lOl [jitU 7][jlg)v avros es* rov ovpavov , 
 tv a ri]v BacriXetav kcu tcl ttclvt' eKel Xa(3ps. 
 ey Kcupov apa KaTeKoirr/crav ovtoll 
 ey tov$ yapcovs. 
 
 168; 
 
 (3ovXecrOe brjr eyao re'coy 
 
 OTTTOO TCL Kpia TCLVTL pLCVCOV VpLC t? 6’ LT€. 1 690 
 
 o-Tqs ra Kpea ; TroXXijv ye TevOetav XeyeLS. 
 ovk el pceO’ 7]pL(bv ; HP. ev ye p^evTCLV bieTeOpv. 
 ciXXa yapLLKTjv yXavtba boToo tls bevpo p. 01 . 
 ecrri b’ ev Qavaicn Tcpos Trj 
 
 K Xexlsvbpa u avovpyov ey- 1695 
 
 yXcoTToyacTTopcov ycvos, 
 oi depi^ovcTLv re Kal cncel- 
 povcn Kal Tpvy&cn tclls yAwr- 
 
 TOLLCTl (TVKa^OVCTL T€* 
 
 l 3 ap/ 3 apoL b’ elarlv yeVoy, 17 00 
 
 Yopyicn re kcll lXlthtol . 
 kcltto tlov eyyXcoTToyacrTo- 
 p(OV eKeiVCOV TCOV ^LXLTnTCOV 
 7 tavTayov Trjs ’ArriK?/y rj 
 
 yXtoTTa \oopls TepcveTCU. i /°5 
 
 AITEAOS. XOPOS. FIEI0ETAIPOS. 
 
 AF. 2) ttclvt ayaOa upaTTOvTes, to p.et(co Xoyov, 
 to t pLcrp.aKQ.pLOV tttijvov dpvtOoov yeroy, 
 bey^ecrde tov Tvpavvov oX( 3 lols bop.oLS. 
 
 Trpocrepy^eTdi yap otoy ovve 7ra/x0a?/y 
 acTTiip Ibetv eXapLxjre ypvcravyeL bojMp, 
 
9° 
 
 OPNI0E2. 
 
 XO. 
 
 nE. 
 
 ovd tjXlov TijXavyes clktlvcov cr^Xas 
 tolovtov e£eXap.\pev, olov epx^Tac 
 *X<° V yvvatKos KaXXos ov (paruv Xeyeiv, 
 ttuXXmv Kepavvov, irrepcxfiopov Aids /3eXos' 
 ocrp.p b avcovopacrTos is j3d0os kvkXov 
 )((op€L, kclXov Oeapa' OvpiapaTcov b’ 
 avpcu bia\f/aipov(Ti irXeKTcivTjv kclttvov. 
 obi be kclvtos ianv. dXXd XPV #ea? 
 
 M ovcrps avoiyeiv iepov eixfippov aTopa. 
 civaye, 8tV)(e, tt apaye, Trapeze, 
 
 17€pLTT€T€(r6e 
 
 pciKapa paKapi avv tvxcl. 
 w c pev (pev rrjs copas, tov k&XXovs. 
 co paKaptcrTov crv yapov Tijbe iroXet yr\pas. 
 peyaXat peyaXai Kari^ovai ry^ca 
 yevos opvidcov 
 
 bta rovbe tov dvbp\ dXX’ vpevaiois 
 /cat vvp(pibioicn bex^crO' cpba ls 
 avrov /cat rrjv Bao-iXecav. 
 
 H pa 7 tot ’ OXvpiriq 
 t&v 7]XcftaToov Opovcov 
 cipxovTa QeoXs peyav 
 Motpat ^vveKo'ipicrav 
 TooZb’ vpevaiv). 
 
 Tppv ci>, f Tpevai d). 
 o b J apcpidaXps v Epco? 
 
 XpV(rb7TT€p0S 7]VLCLS 
 
 evOvve iraXivTovovs, 
 
 Z 7]vos irapoxos yapwv 
 Kevba.ip.ovos f/ Hpas“. 
 
 'T ppv d), 'Tpevai S. 
 ixa-PW vpvois, exaprjv cpbacs * 
 
 J 7 J 5 
 
 1/20 
 
 1725 
 
 1730 
 
 1 7 35 
 
 1740 
 
OPNI0E2. 
 
 9i 
 
 ayajiai be Xoycov. aye vvv avrov 
 
 Kal ras yOovtas kXij crave fipovras, 1745 
 
 ra? re 1TvpcPbeLS Aids ao-repoiras, 
 
 betvov r apyrjra Kepavvov. 
 
 XO. 2 > pieya ypvcreov acrrepoTTijs (Paos, 
 go Aids afifiporov tyyo ? irvpepopov, 
 w yOoviat ftapvayees 1750 
 
 dpL( 3 po(f) 6 poL O’ apta fipovrai, 
 ah obe vvv yOova creUi , 
 bia ere ra navra Kparpcras, 
 
 Kal irapebpov BacrlXetav eyec Ago?. 
 
 1 pu]v co, 1 pievai go. 
 
 IIE. eireorOe vvv ycipLOicnv, go 1755 
 
 </>£Aa 7 ravra crvvvopuov 
 7 trepo(p 6 p\ It eirl rtebov Atos 
 Kal Xeyos yapu'jX lov. 
 ope^ov, a) pi&Kaipa, apv 
 
 yetpa, Kal Tfrepcov epL&v 1760 
 
 Xa( 3 ovcra avyyopevcrov' al- 
 pcav be kov(P ico cr eyco. 
 
 XO. aXaXac, t?/ naujeov, 
 
 njveXXa KaXXiviKos, 2 ) 
 
 batjiovcov yrreprare. 1765 
 

 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 . . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Clamt'tmu |)ms Stries 
 
 ARISTOPHANES 
 
 THE BIRDS 
 
 WITH INTRODUCTION AND NOTES 
 
 BY 
 
 W. W. MERRY, D.D. 
 
 Rector of Lincoln College, Oxford 
 
 PART II—NOTES 
 
 Oxford 
 
 AT THE CLARENDON PRESS 
 
 M DCCC LXXXIX 
 
 \All rights reserved ] 
 
3T a it b 0 it 
 
 IIENRY FROWDE 
 
 Oxford University Press Warehouse 
 Amen Corner, E.C. 
 
NOTES. 
 
 -M-- 
 
 The name of the principal character is generally given in the MSS. as 
 IleicrOfTaipos, a form for which no analogy can be found. Meineke 
 follows Cobet in reading ITi<x 0 eT(upos, a form quoted by Rangabe from 
 an inscription ; but we look for a word that means rather 6 irdOaiv rovs 
 eralpovs than vicrros eTaipos. We are therefore left to decide between 
 XlacreTCupos like Hciatar paros, or IIciScTaipos like Ilcidayopas, n eid^vcvp, 
 TltidoAas. 
 
 The characters are thus distributed by Beer: 
 
 Protagonist : Peithetaerus. 
 
 Deuteragonist : Euelpides (1-850), Poet (940-953), Meton (992-1020% 
 Decreemonger (1035-1055), 1st and 2nd Messenger (1122-1163, 
 1170-1187), Herald (1271.-1307), Cinesias (1372-1409), Prome¬ 
 theus (1494-1552), Heracles (1565-1693). 
 
 Tritagonist : Trochilus (61-84), Epops (91-675), Priest (859-894), 
 Prophet (959-991), Inspector (1021-1054), Iris (1199-1261), Un¬ 
 natural Son (1337-1371), Informer (1410-1469), Poseidon (1565- 
 1:693), 3 r d Messenger (1706-1719). 
 
 Parachoregema : Triballos (1565-1693). [See Liddell and Scott, s. v. 
 vapaxoprjyrjpa.'] 
 
 Line 1. Op 0 T]V, sc. ofiov Uvai. Euelpides addresses the jackdaw. 
 
 1 . 2. Siappa-yei^s, ‘a curse upon you!’ So inf. 1257, Eq. 340. 
 This is spoken to the jackdaw for its absurd directions contradicting the 
 orders of the raven, which 1 croaks them back again.’ iraAiv, Schol. ds 
 Tovniao), so Lysist. 899, Eur. Or. 12^ rij? iraAiv pkpvr\a o 8 nv. 
 
 1 . 3. avM KoiTco, ‘up and down.’ So Lysist. 707 TrepivaTuv avoj Kara), 
 Demosth. p. 22 dtOvs rjv avcv kcitoj. W ith the form Tr\avv»TTop,€v cp- 
 Kivvooopai Aesch. Cho. 196, and -mcpinTopai Lucian V. H. 2. 41. 
 
 A 2 3 
 
BIRDS. 
 
 1 . 4. Join aWcos irpocj)opov|j.€va), ‘aimlessly roving to and fro.’ 
 
 7 rpocpopaoBai is technically used of the shuttle in the loom, as it carries 
 the thread of the woof backwards and forwards between the threads of 
 the warp : cp. lcttSjv 7 TaXtp&apovs uSo'l Find. P. 9. 33 ; vpocpopeioOcu is 
 used by Xenophon (Venat. 6. 15) of hounds making a cast to hit off the 
 scent; and byCallias (Com. 2. 737) of spiders moving along the web as 
 they weave it. 
 
 1 . 5. to 8’ ‘ to think that I !’ For this exclamatory infin. with 
 
 accus. see Nub. 268 to 8e prj8e Kvvrjv oiKoOtv lX6dv ... (\ovTa. Simi¬ 
 larly Ran. 530, 74T, Soph. Phil. 234. Cp. Virg. Aen. 1. 41 mene 
 incepto desistere victam ! 
 
 1 . 6. irAeiv, Attic contraction for ttXhov. So Nub. 1065, etc. 
 
 1 . 8. dirocrTroB^crai, ‘grind down.’ For SaicrvXoi used of the ‘ toes ’ 
 cp. Eq. 874. 
 
 1. 11. ’.E^Keo-TtSqs (inf. 764, 1527) was by profession a harp-player. 
 His name is introduced here because he was a foreigner, shrewd enough 
 to force his way from the most outlandish place into all the rights of 
 Athenian citizenship. 
 
 But Peithetaerus defies even an Execestides to find his way home 
 from this out-of-the-way spot. The reading in the text is that of 
 Reisig ; the MSS. give ou5’ av pa A la 7 ’ tvrevOtv, on which Porson 
 remarks that 76 does not commonly follow the name of a god in an 
 invocation. With kvrdjOei' 7’ cp. inf. 22. The conjectures ivyertide v 
 and kvytrevOev'i are at least unnecessary. 
 
 1 . 12. o8ov T<ruTT]v. Schol. tt)v ds oi'p.01, ayovaav. Euelpides had 
 cried ‘Woe’s me ! ’ ‘ You, my good sir, may take the road to woe (cru 
 p.ev) ; but / won’t.’ 
 
 1 . 14. Philocrates (see inf. 1077) is described as a ‘poulterer’ (mva- 
 KoirwXTjs, lit. ‘ one who sells trays or boards on which small birds were 
 exposed for sale ’), ‘ standing in the bird-market.’ to, opvea may be 
 compared with 01 l^vs = fish-market, Vesp. 789; oi Xvxvoi = lamp- 
 market, Nub. 1075, v/here Hyperbolus is called oiuc (6 !/c) tujv Xvxyoov. 
 This crazy fellow (p.€Aayx°^v, coupled with 7 rapacppovdv Eccl. 251) 
 had sold to the two comrades the jackdaw and a raven, on the assur¬ 
 ance that they would be safe guides to the home of Tereus, the 
 hoopoe. 
 
 This Tereus, called 6 ©pa£, married Procne. daughter of Pandion 
 king of Athens, by whom he had a son Itys. He afterwards outraged 
 Philomela, Procne’s sister, cutting out her tongue to prevent her denoun¬ 
 cing his crime. Philomela found means to inform Procne, and the 
 sisters took vengeance on Tereus by slaying Itys and serving up his 
 flesh at his father’s table. Tereus discovers what was done, and rushes 
 in pursuit of the women. But Procne was changed into a nightingale 
 4 
 
NOTES. LINES 4-16. 
 
 and Philomela into a swallow, while Tereus became a hoopoe. See the 
 story told in Ov. Met. 6. 671. The more common version makes 
 Philomela the nightingale. 
 
 1 . 16. os opvts iyever 4k twv opvewv. These words have fairly 
 puzzled the commentators. Cobet and Meineke omit the whole line; 
 others boldly substitute for 4k twv opvewv such words as dvQpwnos ttot' 
 ojv, or the like. The Scholl, give various suggestions, such as putting 
 a stop at 4 y€V€t’, and reading In twv 8 ' opvewv airedoro. Or they would 
 join Ik twv opvewv with Tw8e vuv 4pa-°' 6lv i n the sense of ‘ better than all 
 the other birds/ So much seems certain, that 4k twv opvewv, if it is to 
 be retained, has something in it of a surprise, contrasting with the same 
 phrase, as used above. Thus one Schol. says nap’ vnuvoiav eoe 1 yap 
 ‘ 4 /f twv dvOpw^wv.’ A fairly simple rendering is given by Dr. Kennedy, 
 ‘who became a (real) bird from the bird-folk ; ’ alluding to the foreign 
 (Thracian) stock from which Tereus sprang; for the language of 
 barbarians seemed to Athenian ears like the twittering of swallows ; 
 so Ran. 680 8eivbv emfipepieTai [ Opr/Kia x e ^iowv | cnl fiapfiapov e£o- 
 HevT] neraXov. See also Aesch. Ag. 1050 and s. v. x f M 5 oH£cw L. 
 and S. 
 
 This rendering however rather suggests l£ opveov than 4k twv opvewv, 
 and the suspicion remains that there is an allusion to some detail of the 
 story of Tereus, or some legend connected with the hoopoe. Thus, 
 there may be a covert reference to the strange account given in Aristot. 
 H. A. 9. 49, who quotes from Aeschylus (Frag. 291 Dind.) to the effect 
 that the eno\p, who is punningly called enomrjs twv ainov kgkwv, wears 
 in spring time the plumage of a white hawk (mpKos Xenapyos), while at 
 midsummer he has a spotted wing (<ttiktt] nrepvg), 8vo yap ovv pcopcpas 
 cpaveT | naidos re xavTOv vrjdvos puds ano. 
 
 The Hoopoe was a comparatively unknown bird in Athens, and was 
 regarded as a foreigner (Pausan. 1. 41. 8). He seems to have been 
 introduced into the nightingale story in the 5th century B. C. ; at any 
 rate, the earlier transformation of Tereus was into a icipKos. Cp Aesch. 
 Suppl. 58 ff. 8o£acret tls ukovciv ona Tas Trjpetas \ pLrjnbos oltcTpds dXoxov | 
 KipKTjXaTov t drj86vos. Similarly in Hyginus (45) we have the contents 
 of a post Sophoclean tragedy, adapted by Livius Andronicus, who says 
 Tereum autem accipitrem factum dicunt. Aristotle (H. A. 6. 7) further 
 speaks of the transformation of hawks to cuckoos, and vice versa ; and 
 Theophrastus (Plant. 2. 6) gives the same account, koi yap Kara raj 
 wpas evia 8ok(T piCTa&dXXeiv, wonep Kal d lfpa£ Kal 6 enoip nal aXXa twv 
 dpcoLwv opvewv. I am therefore inclined to think that in the words ck 
 twv opvewv we have an obscure allusion to this metamorphose from one 
 species of bird to another. Fritzsche’s (ad Thesm. 910) attempt to make 
 a contrast between dpvis and opvea , qui rex avium factus est ab (ex ?) 
 
 5 
 
BIRDS. 
 
 aviculis, does not commend itself. Nor does there seem to be any 
 point in reading ’O pueuiv, which would not carry the def. article : 
 see inf. 399. 
 
 1 . 17. ©appaXeCBou. According to the Scholl, the ‘son of Thar- 
 raleides ’ was named Asopodorus, and seems to have been ridiculed for 
 his diminutive size. It is better to read GappaXeibov from OappaXeos 
 rather than the Vulg. QappeXeidov. He is identified with the jackdaw, 
 not only because of his size, but because of his impudence and loquacity. 
 
 1. 19. ovk dp’ -rpTTjv, ‘they knew nothing else, you see, except how 
 to peck.’ The form rjoTTjv is quoted in Et. Mag. as shortened from 
 rjStLTrjv (olba). So Ran. 740 bans ye mveiv olbe . . . povov, ib. 1073 ovk 
 ijiriaTavT' aAA’ rj pa^av KaXeaai. Cobet (V. L. 381) prefers Tjo-TTjv 
 ( eipl ), quoting Ran. 227 ovbeu yap ec tt aAA’ rj Koa£. But this is no 
 parallel to the infinitival construction here. 
 
 1. 20. ti KexT)vas ; addressed to the daw. 
 
 Kara t^v ireTpwv, as we say in English, ‘ over the rocks.’ 
 
 1 . 22. aTpcuros, a narrow ‘path,’ as distinguished from a road {pbbs). 
 So Ennius ap. Cic. de Div. 1. 58, 132 qui sibi semitam non sapiunt 
 alteri monstrant viam. 
 
 1. 24. oil TaviTa Kpdj£ei, i. e. the croaking raven does not give the 
 same directions now that it did in 1. 2. (tot€), when it warned them to 
 go back. Now it gives no hint at all about the route; but keeps 
 ‘ snapping, and threatens to gnaw P.’s fingers off.’ 
 
 1 . 28. es KopaKas. To ‘go to the carrion-crows,’ like our ‘going 
 to the dogs,’ is generally only too easy. Here the jest is that the 
 comrades on their bird-quest are ready and willing ‘ to go to the 
 crows,’ or to any other birds ; and, after all (timra), they cannot find 
 the way. 
 
 1 . 30. €v Xoycp, i. e. ‘at our play.’ For a similar address to the 
 spectators see Ach. 496, 513. 
 
 1. 31. tt|v cvavTiav 2 aKa, in full tt) v evavriav eKeivrj tji/ 6 ’S.a.Kas voaei. 
 With this short form of comparison cp. Kopai Xapireoaiv opoiai II. 17. 
 51. The Persians (Hdt. 7. 64) called all the Scythians by the term 
 2a/cat. Sacas, then, is a nickname for one who being a foreigner has 
 squeezed himself into Athenian citizenship : here alluding to Acestory 
 a tragic poet, ov 01 x°P 0L proven Schol. 
 
 1 . 32. With io-( 3 lateral cp. St. Luke 16. 16, and Thuc. 1. 63. 1 
 ebote 5 ’ ovv PiaoacOaL es tt)v HoTibcuav. 
 
 1. 34. (rofiovvTOs. This word is regularly used for the * scaring 
 away’ of birds, as in Vesp. 211, 460, so that dve'rrrcp.eOa comes in 
 suitably ; but with iroooiv Euelp. slips back again to ordinary human 
 language; ‘ as fast as our legs can carry us.’ 
 
 1 . 36. ov |AurovvT€ ... to p.T| ouk etvat. This construction is really 
 6 
 
NOTES. LINES I 7-47. 
 
 normal, inasmuch as puroOvT€ is equivalent to a spiteful denial , or 
 grudging, cp. II. 17. 272 piorjffev piv nvcrl Kvppa yeveoOai. Similarly, 
 Nub. 1084 e£ei riva yvcnpyv Aeyuv ( = dw-qaerai d-napveioOai ) to /it) evpv- 
 TTpcxjKTOS elvai ; cp. Xen. Conv. 3. 3 oiideis aoi , e<prj , avnXeyei to prj ov 
 Ae£eiv. 
 
 1. 38. irdcri koivtjv. Cp. the words of Pericles (Thuc. 2. 39) rrjv yap 
 woXiv koivt)v vapexop^v teal ovk eanv ore levrjXaaiais aireipyopev riva i) 
 paOrjparos rj deaparos. The words tvairoTicrai xp^H-^Ta are a surprise 
 for some such phrase as kvoiKrjaai. ‘ The city is free to all — to pay fines 
 in : ’ in that privilege it offers perfect ‘ liberty and equality.’ There is 
 an allusion to the litigious spirit of the Athenians, specially satirised in 
 the ‘ Wasps, ’ and to the frequent fines incurred through the information 
 of the ovKocpavrai. With •wa.'ircmo-cu cp. inf. 122, Pax 1228 kvavoiraTeiv 
 yap kerr’ eiriTrjdeios tokos, Hdt. 6. 102 Kal yap rjv 6 MapaOuiv kniTT]5eajTaTOV 
 X&piov tt}s ’A TTinr\s evimrevoai. 
 
 1. 39. TtTTiyes, ‘ cicadas/ must not be confounded with grasshoppers, 
 which they in no way resemble. The cicada is a winged creature living 
 not in the grass but on the boughs of trees, of which it sucks the juice. 
 For the shrill noise made by the cicada see inf. 1096, and cp. Virg. 
 Georg. 3. 328 cantu querulae rumpunt arhusta cicad.ae, II. 3. 151 
 reTTiyes . . . 01 re Kad' xiXr/v \ devdpeev epe^upevoi ona Xeipibeaaav ieiaiv. 
 
 1 . 41. 4 m tuv 8 lkwv. We may render, with Frere, ‘perched on points 
 of law/ as the antithesis to 4 m twv KpaSwv. 
 
 I.42. JlaSov, only found here; perhaps an intentionally grotesque 
 form as npayov KeKpa^rai Eq. 487 ; ‘we gang this gait.’ 
 
 1 . 43. Kavovv. The basket probably contained salted meal, a garland, 
 and a sacrificial knife ; so Pax 948 to Kavovv rrapear’ aXas tx ov KaL 
 areppa /cal paxaipav- The crock contained lighted coals ; so Lysist. 315 
 abv 6’ karlv epyov, Si x^ T P a j T ^ v o-vOpaE egeyeipeiv, Xen. Hell. 4. 5 - 4 
 Ttepirei 5’ 6 ’ AyrjoiXaos 5e/ca <pepovTas irvp kv xtirpats. The 7 nyrtle-twigs 
 would form a wreath to be worn by the sacrificer. So Thesm. 37 
 e£epX* Ta i, I OepaTrojv tis ainov Trip ex o}V KCLL pvppivas’ | irpodvaopevos eoiKe 
 Trjs noiTjoeais. The whole apparatus belongs properly to the ceremonies 
 in founding a new state; the most important of which was the 
 bringing of the holy fire from the Prytaneum of the mother-city. 
 
 1. 44. dirpayp-ova, ‘with no business-bothers;’ a special reference to 
 npaypara in the technical sense of ‘ law-proceedings,’as in Nub. 472, 
 and Vesp. 1426 diKuiv yap ov deop.’ ov 5 e npayparaiv. Cp. AnpayotroXis, 
 Castle of Indolence, the name for the Emperor’s retreat in Capri v Suet. 
 Aug. 98) * ^ 
 
 1 . 45. oiroi to be joined with Ka 0 i 8 pv 04 vT€, as onoi av KaOt^crde 
 Thuc. 7. 77, paKapouv es alav aov KaOidpvaei @iov Bacch. 1339 - 
 
 1 . 47. 8top.€vco. nom. by constructio ad sensutn 7 for o cttoXos vuv 
 
 7 
 
BIRDS. 
 
 «ctti is equivalent to areXXopLcOa. Cp. for a similar usage Antig. icoi 
 ayvw >t‘ &KOVOJ <p9byyov dpvWwv kclkS) | icXa^ovras otarpw. 
 
 1 . 48. Tj ’irtirreTO, ‘ in all his flights lit. ‘wheresoever he flew.’ 
 
 1 . 50. <j>p<i£ei, ‘ has been signalling me upwards; ’ as the Schol. says, 
 ws avw avTTjs vtvovorjs km nva rovov vif/rjXbv, for (ppn^eiv need not imply 
 any utterance, and. according to Aristarchus, never does so in Homer. 
 
 1 . 54. oicrO’ o 8pacrov. See on Eq. 1158. The words 0T06 ’ oZv 6 
 bpaaeis Eur. Cycl. 131 would be the logical expression. Tint in this 
 idiom the impatience of the speaker breaks into the imperative. The 
 Schol. tells us that the phrase tco o-KtXei . . . -irtTpav was a joke among 
 children, like our saying, * put a little salt on his tail and you’ll catch 
 the bird.’ The full expression was Sos rb oxkXos rrj irerpa real ireaovvTCU 
 Twpvea. But the proverbial meaning lies in the back-ground here, 
 as Euelpides is really bidden to * kick at the rock,’ which represents the 
 entrance to the hoopoe’s home. 
 
 1 . 58. o.vtI toO 'ttcuSos. We might expect avrl rov t vai irai which 
 Elmsley supports (Ach. 63); but there is nothing unusual in thus 
 drawing a quoted word into the grammatical construction. So Plat. 
 Theaet. 207 E ©eaiTirjTOv ypacpcuv ns, Calpurn. Eel. 4. 97 audito Caesare, 
 i.e. the word ‘ Caesar.’ Transl. ‘Ought you not instead of (shouting) 
 ‘‘boy,” to have called “hoopoe ahoy!’” Kennedy sees here a play on the 
 word ’kvoip and kvoiroda, epic poetry. 
 
 I.61. too x acr P 1 Hl JulT0S > ‘what a yawning throat!’ For this ex¬ 
 clamatory genitive see inf. 223, Nub. 364 <£ T?/, tov <p6kyp.aTos, Ach. 64, 
 Eur. I. A. 327. 
 
 The TpoxiXos ( 1 . 79 *) generaly identified with the sa 7 idpiper, 
 which ‘runs’ (rpex e 0 swiftly along the wet sand at the water’s edge. 
 The mask worn by the servant was evidently made with a bill of 
 most disproportionate size. Aristotle (H. A. 9. 12. 3) seems to describe 
 the rpox'tXos as a species of wren : but, for the sake of the pun, we must 
 render here ‘ runner-bird,’ or ‘ scout.’ 
 
 1. 63. otjtcjs ti 8«iv6v, * such a dreadful word it is hardly right to 
 utter; ’ referring back to the title opviOoGrjpa, which the scout uses 
 in his first terror—a terror natural enough, seeing that both the men 
 carried a bird fastened by a string. 
 
 This line is rejected by Meineke and Kock, and has been altered 
 by various conjectures. The reading of Rav. is ovt wan, which contains 
 the same letters as in the text. Schol. ovSk naXov Xkyfiv to rjpas vttott - 
 rei jtoBcu toiovtovs eTvcu. ovtw bdvov irpaypca kanv ot dpviOodijpai. 
 
 1 . 65. 'TiroSeSiws, Euelpides, inventing ‘Funkling’ as the name 
 of a bird, is obliged to refer it to the unknown land of Libya. Semper 
 aliquid novi Africa affert Plin. N. H. 8. 16. 
 
 1. 66. epov rd Trpos iro8wv, ‘ enquire of what you see at my feet.’ 
 
 8 
 
NOTES. LINES 48-94. 
 
 He seems to allude to a visible mark of the birds’ terror ( merdis in- 
 quinatur albis). 
 
 1. 68. ’EmK6x°8ws (x^C")? perhaps ‘ Dungling,’ modelled on ‘ dunlin.’ 
 The famous birds from the Phasis were the ‘ pheasants.’ Possibly the 
 favourite pun on (pdas, the information given by a avKocpavrijs, may (in 
 spite of the different quantity of the a) be intended. It has been suggest¬ 
 ed that this is a hit at Andocides (son of Leogoras the great ‘ pheasant ’ 
 breeder), because he had turned approver in the matter of the Hermo- 
 copidae, and had saved his life by giving information. But this seems 
 a very unlikely refinement. 
 
 1 . 70. riTTT| 0 'ris, ‘were you beaten by some cock?’ ‘Slave’ was the 
 cant name for the defeated bird in those cock-fights, which had a sort 
 of public status at Athens. So Aelian V. H. 2. 28 fiera rrjv Kara roov 
 n epadiv vlktjv ’AOrjvaloi vbpov edevro d\€Krpvovas ayouvifcoOai dt]poaiq 
 kv rep Oearpcp. Pliny, N. H. 10. 21. 24, speaking of the losing bird, 
 says victus occultatur silens acgreque servituim patitur. 
 
 1 . 73 - «XTb with Rav. need not be altered to ex ot * Cp. Eq. 1393 
 dirkupv-rTTev avras evSov t va crv pi) Xafiys. 
 
 1. 76. d<{>vas. For the importance of these ‘sardines’ or ‘an¬ 
 chovies ’ taken in the harbour of Phalerum as an article of food, 
 especially among the humbler classes, see Eq. 645 foil. 
 
 1 . 77. ctt’ d<|>uas, ‘ to fetch so inf. 1 . 79, and k<p ’ vSa etc. Notice 
 how the Hoopoe, in spite of his metamorphose, is represented as feeding 
 himself like a man, though in 1. 82 he has been feeding on insects. 
 
 1. 79. Tptxw, rpoxtXos, see on sup. 61. 
 
 1 . 80. OICT 0 ’ ovv, see on sup. 54. 
 
 1. 85. KaK&s (tv y\ This parting curse is levelled at the slave, as 
 he goes in to wake the Hoopoe. 
 
 1 . 86. p.oL'xeTai, crasis for poi oix^rai. It is not possible to read 
 with some edd. p ot'xfTat, for o’t'xevOai cannot be construed with the 
 accusative. 
 
 1 . 89. KaTcnrco-cov. Peithetaerus must have tumbled down in his 
 terror. 
 
 1 . 92. tt|v vAtjv, perhaps intended to sound like r^v trvXpv. The rock, 
 overgrown with trees, at which the men had originally halted, represents 
 the Hoopoe’s heme; which probably had a sort of rustic door, cor¬ 
 responding to the usual palace-door on the tragic stage. Ihe line itself 
 has a sort of tragic ring. 
 
 1 . 94. TpiXo(})Las. The common Hoopoe is about the size of a 
 missel-thrush : its plumage exhibits a fine mixture of white, buff, and 
 black ; and it has a large crest of two parallel rows of feathers. Here 
 the Hoopoe seems to have worn a mask with a huge beak and an 
 enormous crest d la militaire (Ov. Met. 6. 674) > C P' Ach. 965 of 
 
 9 
 
BIRDS. 
 
 4 
 
 Lamachus Kpada’ivaiv rptis KaraaKiovs Xocpovs. The general ‘ get-up ’ 
 was evidently a caricature of the representation of Tereus in the 
 Sophoclean play of that name (ioo) : but the lower part of the body 
 must have had only an apology for feathers, which is humorously 
 excused (105), on the ground that it is the regular time for moulting. 
 
 1 . 95. p’ ol £tjto'Gvt€s. For this inverted order of the words (. Hyper¬ 
 baton) cp. inf. 1550; Thesm. 1134 pepvrjao TLepaev pi cvs dncuAtaas, 
 Soph. Phil. 1242 t is earai p! ovnutcvXvcraji' raSe ; The ‘ twelve gods ’ 
 (Eq. 235, Thuc. 6. 64) are generally represented by Zeus, Hera, 
 Poseidon, Demeter, Apollo, Artemis, Hephaestus, Athena, Ares, 
 Aphrodite, Hermes, Hestia. But the list is not a fixed one, and the 
 expression only means something like ‘ the whole hierarchy of heaven.’ 
 
 We might expect after ol SwScKa OtoC some such phrase as farovoi 
 at or irdvra aoi doitv ayaOd. Instead of which Euelpides adds 
 (as an aside) ‘ seem to have damaged you ’; alluding to the sorry 
 condition of the moulting Hoopoe. For the form el£acri for ( to'iKaai ) 
 see inf. 382. 
 
 1 . 97. "H yap. These words offer some sort of apology for his 
 shabby appearance. ‘ Likely enough my transformation is not quite 
 complete, for I was once a man .’ 
 
 1 . 100. XvjxaiveTat. Schol. tv to> yap Tqpu ^CKpo/tXrjs ktroiTjotv avrov 
 dmupviOojpkvov /cat ttjv UpoKvrjv. Tereus also feels that his character 
 was defamed in the play of Sophocles; whereas Aristophanes represents 
 him as a most respectable character, living affectionately with his wife 
 Procne. 
 
 k 
 
 1 . 102. opvts rj raws. This seems to mean ‘a common fowl or 
 a peacock.’ Peacocks were a rarity in Athens at this time, and folk 
 flocked to see an exhibition of them which was given gratis on the first 
 day of each month by Demos son of Pyrilampus (Vesp. 98). Athenaeus 
 who gives this story (9. 397), goes on to say that raws was the accepted 
 accentuation of the word in Athens, and he quotes the present verse : 
 the rough breathing representing the digamma, as seen in pavo. The 
 use of raws to express some grand show or pageant may be illustrated 
 from Ach. 63, where Dicaeopolis says of the Persian ambassadors, 
 d^dopai ’yu> irpeofiecnv, | real rois rauai rois r d\a£ovtvpaoiv . Here 
 it seems used for some monstrosity that was hardly like a bird at 
 all. 
 
 1. 105. x € '-H-a» va - It i s n °t true that all birds moult in the winter. 
 But Aristophanes makes the Hoopoe boldly state it as a fact, to 
 account for his featherless condition in March, when the play was acted 
 at the Great Dionysia. 
 
 1 . 106. €T6pa, sc. iTTtpd, involved in TTTepoppuci. 
 
 1 . 108. ttoSo/ttw to yevos ; For this, the reading of the MSS., 
 10 
 
NOTES. LINES 95-117. 
 
 Meineke and others write yevos 8\ But this hardly mends the metre, 
 as only in Vesp. 979 is a trimeter found opening with three anapaests. 
 o06v at TpiTipeis at tcaXau The words seem to remind us of the de¬ 
 scription of the Athenian fleet in the Peiraeus, as it was about to sail 
 for Sicily (Thuc. 6. 30-32) 6 gtoXos . . . oipfajs AapirpoTrjTi irepi^oyTOS 
 eyevero. 
 
 1. 109. qXiacn-a. We may preserve the jingle by ‘jurors ’ and ‘ non¬ 
 jurors.’ As there were not less than 6000 members of the ‘HA taia, or 
 supreme court at Athens, all of them over 30 years of age, it was natural 
 enough for the Hoopoe to take for granted that two such men, coming 
 ‘ from the home of the fair ships,’ must be jurors. 
 
 Note the form a-ir-^XiacrTa, where the aspirate disappears in the com¬ 
 pound, as in dnr]\LujTTji, dvTq\ios. For p.ct\Ad, i. e. p-rj (touto Ae£?7?) 
 aXXd see Ran. 103, 745 ; and cp. Eur. Med. 807 prjdeis pe (pav\rjv 
 KdoOevrj vopu^er ou, | pi]d’ TjGvxaiav, aAAa Oaripov rpunov. 
 
 1 . hi. cnreppa. The Hoopoe, speaking as a bird, is surprised to 
 think that such a ‘ seed should be sown ’ on the uncongenial soil of 
 litigious Athens. But o-Trtpp,a can easily mean a ‘ class,’ as Eur. Hec. 
 264 a\dpLGTov vpihv Guepp uaoi drfprjyupovs (p/Aovre Tipas. Euelpides, 
 keeping up the natural meaning of otreppa, says ‘ you might pick up 
 a scrap here and there off the soil ; ’ with special reference to the 
 country-folk, who liked peace and quiet. So Strepsiades (Nub. 138) 
 Trjkov yap oIkui to )v ayptvv. 
 
 1 . 112. t)X 06 tov, the reading of the MSS. Elmsley (on Eur. Med. 
 1041, and Ach. 735) sought to banish the terminaton -tov from the 
 second person of the dual in the historic tenses altogether, even at the 
 expense of rejecting the known readings of Aristarchus in Homer. 
 His view, as far as the Homeric poems are concerned, is generally re¬ 
 pudiated. But the case is not so easily settled in the Attic writers, 
 where against nine indisputable passages in favour of -r r\v are counted 
 thirteen in favour of -tov. No help can be expected from Inscriptions, 
 in which it would be most unlikely to find the second pers. dual. 
 Curtius (Verb. p. 54 foil.) rules that in earlier Greek -tov (Sanscr. 
 second dual sec. tarn) had the predominance ; but that in Attic Greek 
 the distinction of the secondary from the primary forms, which had 
 become the established rule for the third pers. dual, had the effect of 
 introducing a mistaken observance of the same distinction now and then 
 in the second pers. as well. This will suggest that t)X 0 €tov the MSS. 
 reading is to be preferred here. 
 
 1 . 115. a> 4 >uX-r]cras. The emphasis with which Euelpides describes 
 ‘ debt ’ as the normal condition of man, suggests a good reason why he 
 had to seek a new home. 
 
 1. 117. peraXXdijas <{>ucn,v ; i. e. ‘ having got in exchange for your own 
 
 11 
 
BIRDS. 
 
 the nature of the birds : ’ like Horace Od. 3. 1. 46 cur valle permutem 
 Sabina divitias operosiorcs ? Similarly pKTaXXaaaav tottov, ‘ to go to a 
 new place,’ Plat. Legg. 760 C. 
 
 1. 119. oo-airsp . . . cjjpovsls, ‘you have all the feeling of.’ 
 
 1. 121. cuepov, ‘snug:’ lit. ‘ woolly anticipating crurupav, which, 
 properly meaning a goat-skin with the hair on it, was used generally for 
 any thick rough garment to wear by day or to use as a wrap at night. 
 So Nub. 10 kv 7rtVre cnavpais ky/ceKop8vXr]p.tvos. For the construction of 
 the inf. €YKaTaKAivr]vai see sup. 38. The form is so given in Rav. as the 
 regular aor. in use in Attic : so ovyKaraicXivets Ach. 981, and Kara- 
 KXivrjvm Vesp. 1211. Other MSS. kyKaTaKXiOrjoai. 
 
 1. 123. €TT€ira = ‘ and so ; ’ as it were the summing up of the demands. 
 So Nub. 1249 eVerr’ a-rraneis ra pyupiov toiovtos d>v ; 
 
 The Schol. is probably right in interpreting tgov Kpavawv by tcuv 
 ’ AOrjvojv, i. e. from Kpavaat as Kpavaais ’A Oavais Pind. 01 . 13. 37, and not 
 from rcpavao'i, though Herod. (8. 44) gives that name to the ancient 
 Athenians. This would rather require tt)s Kpavawv (as rrj K€xv va ' lajv 
 ■noXei) which Kock proposes to read, following Schol. Rav., which gives 
 rcpavaaiv ’AOtjvcl'iqjv. K pavaos is the name of a mythical king of Athens ; 
 but the idea of ‘rugged’ (and so ‘sturdy’) may be included; as Schol. 5 ia 
 to Tpa\v Kali XenToyecvv. 
 
 I.125. ctpio-TOKpaT€i<r0ai, ‘to live under an aristocracy.’ So Plat. 
 Rep. 338 D twv TToXecuv at pLtv rvpavvovvTai, at be drjpLOKparovvTai (Ach. 
 642), at 5 g apicrTOKpaTovvTai. Such a charge was a serious one, consider¬ 
 ing all the excitement which had followed the mutilation of the Hermae ; 
 and Euelpides loses no time in disavowing it. ‘ Even the son of Scellias 
 I abominate,’ he cries; for the simple fact that he bore the ominous 
 name of ‘ Aristocrates .’ This man, who was an Athenian of wealth 
 and influence, had first become prominent in helping to negotiate the 
 Peace of Nicias (Thuc. 5. 19. 24b He was a member of the govern¬ 
 ment of the 400, and subsequently took part with Theramenes in over¬ 
 throwing it. After the return of Alcibiades he and Adeimantus were 
 elected generals of the land-forces (Xen. Hell. 1. 4. 21). He was one 
 of the six commanders at the battle of Arginusae who were brought to 
 trial and executed (b. c. 406). 
 
 1. 128. €lt], assimilated in mood to an optative suggested by the 
 question : ‘ [we should best like to find a home in a city], where the 
 greatest troubles should be such as these.’ Cp. Ran. 96 ybvip.ov 8e 
 TTOirjTrjv av o{>x evpois . . . octtis prjpia yevvaiov Xclkoi. 
 
 1 . 131. oTrios Trapfcrgt (vapupu), ‘mind you pay me a visit.’ There 
 is to be a feast; so the guests are to wash and prepare themselves for it : 
 Lysist. 1064 r)K£T ovr ris epcov | Trjpiepov’ -npv 5e XPV I tovto 8pav 
 X(Xovp.(vovs. 
 
 12 
 
NO TES. LINES 119-15 2. 
 
 1 . 133. el Sc jjltj, ‘and if you refuse, then don’t come to me when my 
 luck is—bad.’ This is a surprise for irpcmoj koAws. 
 
 1- *35- TaXaimepcov, ironically, ‘ exhausting troubles : ’ so the Am¬ 
 bassador (Ach. 68) Kal 5 t}t krpv\6piea0a napa K avarpiov | 7 seciov 
 uSonrXavovvres £oKrjvT)p.6vot. 
 
 1 . 143. SaAoucpiocv, ‘poor little chap!’ A diminutive or pet name 
 for 8 ei\atcpoi (Plut. 973), formed like paXaKiojv Eccl. 1058. 
 
 1 . 145. cpuGpdv GdXaTTav. The ‘Red Sea’ is used by Herodotus 
 (2. if.8) as including the Indian Ocean with the Persian and Arabian 
 Gulfs : but the Hoopoe is not here concerned with Geography. He is 
 directing Euelpides to some happy Eldorado, away from the ordinary 
 sphere of human life. So the sausage-seller (Eq. 1088) excites Demos 
 with grand hopes, fiaaiXevoeis Kal yrjs Kal rfjs epvOpas 7c QaXaaarjs. 
 
 1 . 147. -f) 2oAap.uda. Euelpides abominates the very mention of sea, 
 
 ‘ where (tv a) the Salaminian galley may pop up some morning with a 
 constable on board ’ to arrest him. So Ran. 1068 napa rots lx&vs aveKvipev. 
 There were two vessels in the Athenian navy especially reserved for state- 
 service. The ndpaAos (Thuc. 8. 74^ was generally used for religious 
 missions, dewp'iai, and conveyance of ambassadors ; and the 'XaXapuvla 
 seems to have been employed rather in the executive work of the Law- 
 courts. A few months before the representation of this play (Thuc. 6. 
 53, 61), the vessel had been sent to Sicily to recall Alcibiades and to 
 pi oduce him in court. 
 
 1. 149. Acirpcos (more commonly called Sk-npeov) was a town in 
 Triphylia. It probably owed its name to the bare, scaling rock (A eras) 
 of the hill side on which it was built. But stories were invented of the 
 prevalence of leprosy (A enpa) among its inhabitants. The town is only 
 introduced here to prepare for the joke in the next verse. t’AGovO’ = eXOavre. 
 
 1 . 150. o a ovk ISwv. The MSS. and Schol. give os, the Aid. ojs. 
 Bothe’s reading ooa = quantum, ‘so far as,’ is supported by Eur. I. T. 612 
 Kal yap ov 5’ eya> £(voi | dvadeXcpos elpt vXrjv oa’ ov % opuod viv. Transl. 
 ‘ Because, so help me heaven, so far as I can without ever having seen 
 it, I abominate Lepreus because of Melanthius.’ We must suppose this 
 to mean that the very name of Lepreus suggests to him the leprous 
 Melanthius. For d-rro almost in the sense of propter cp. Eq. 788 cl? 
 a7ro piKpojv evvovs avToi 6ajTrevp.aTL0Jv yeyevijaai. Melanthius the tragic 
 poet was son of Philocles, and brother of Morsimus (Eq. 401, Ran. 
 151), who was also a writer of tragedies. He was a favourite butt for 
 Aristophanes and other comic poets because of his gluttony. See Pax 
 804 foil., 1009 foil. 
 
 1. 152. Sfrepoi. ‘ Then there ’s another lot, the Opuntians of Locris. 
 These Locrians got their name from Opus (’ OnoOs, in Homer II. 2. 531 
 ’O7 ruus) their capital town, distant about two miles from the sea, their 
 
 13 
 
BIRDS. 
 
 port being Cynus. This suggests Opuntius, who is symbolised (inf. 
 1294) by a one-eyed crow, where the Schol. interprets, a/? toiovtov ttjv 
 oxpiv ovtos Kal pkya pvyx os eX 0I/T0? pvrjpovtvu avrov EviroXis. Euelpides 
 means, then, that he would not be a one-eyed swindler for a talent of gold. 
 The use of Im in this sense is rare, but it can be exactly paralleled by km 
 tou rSe, kcp’ <yre and the like = c on the condition of.’ See inf. 1602. 
 
 1 . 156. Is TTjv tpi(3t|v, ‘for spending one’s time.’ With this may 
 be compared afiav rpiPr/v P. V. 639, but the definite article here is 
 awkward and Burges’ conjecture, accepted by Meineke, Is diarpiPrjv, is 
 tempting. 
 
 1 . 158. d^etXes. Note the idiomatic use of the aorist, introducing 
 an immediate comment on the last speaker’s words, like «Ae£as, etc. 
 By Kij 38 r)Xiav he refers primarily to base money suggested by | 3 aXXavTiou, 
 and, generally, to all trickery connected with money-getting. 
 
 1 . 159. crf)o-a(xa. These seeds were a regular ingredient in wedding- 
 cakes. So Pax 869 r\ mus A e\ovrar . . . aqcrapr) ^vp-nXcmerai. Poppy¬ 
 seeds bruised in honey (prjKwva pepeXiTojpkvrjv Thuc. 4. 26) were 
 regarded as a stimulating food : but probably the use of these seeds at 
 marriages was symbolical. So Schol. on Pax 869, and Phot, k-ml 
 TToXvyova/TaTov a-qaapov. The myrtle-berries (p.vpTa') were sacred to 
 Aphrodite, and were used along with the leaves of mint (<ricrv(xj 3 piov) to 
 make wreaths for the newly-married : so Ov. Fast. 4. 869 Ctimque sua 
 dominae (sc. Veneri) date grata sisymbria viyrto. 
 
 1 . 162. 4 >ev. Peithetaerus, who had left the talking to Euelpides, 
 
 may be supposed to have been ‘ prospecting ’ all the surroundings : then 
 a sudden flash of inspiration comes on him—his great scheme for the 
 new city. On 4 >eu, the Schol. says eon pkv Kal ax^rXcaamcuv Kal 
 OavpaoriKuv' vvv 5 e OavpaariKov, — ‘ ha ! ’ or ‘ huzza ! ’ 
 
 1 . 163. p ylvoir’ av. This is Dobree’s reading for 77. It suits the 
 construction better : ‘ how it might be realised.’ 
 
 1 . 164. o ti Tri 0 T]cr 0 e; 4 (Do you ask) in what you are to comply ? ’ ocrm 
 is the regular word by which a direct question introduced by rts is repeated 
 by the person to whom it is put, as inf. 299, 608, q6o, 1234, 1499, 1640. 
 
 1 . 166. auTiKa, here in its Attic usage = £ for instance,’ lit. ‘to begin 
 with ; ’ for it introduces the frst illustration of the speaker’s point. So 
 inf. 378, 483, 786, 1000; Pint. 130. 
 
 It seems impossible to understand what particular jest or taunt under¬ 
 lies the next lines. We may translate : ‘yonder, where we live, if you 
 ask about the flutterers—“What bird is this?” Teleas will answer thus, 
 “ It’s a bird-man, restless, fluttering, fickle, never continuing in one 
 stay.’” By !k*i Peithetaerus means Athens : perhaps as he is going to 
 found a new world altogether, he employs licet as it is constantly used 
 by Plato in contrast to kvOade ,— 1 this world ’ and ‘ the other world.’ 
 H 
 
t 
 
 NO TES. LINES 1 5 6-18 7. 
 
 Doubtless ircTopevoi was a familiar term in Athens for aimless, silly 
 folk ; as we speak of ‘ butterflies.’ For tp-rj (2nd sing. subj. from epopai) 
 with an accusative of the object about which we ask cp. airqper apTi 
 XatpffpwvTa HcvKpaTr)? ipvWav Nub. 1 44 , elpopievai -rraiSds t( Kaoiyv-qTovs 
 t( II. 6. 239. Although the final t in opvts is used long in Attic comedv, 
 it need make no difficulty here, as the words are an echo from the Tyro of 
 Sophocles (Frag. 578’ Dind.), rts opvis ovtos e£e 8 pov upav eycov ; But 
 the allusion to Teleas is altogether obscure. If he is the Teleas of inf. 
 1024 (tpavKov Pt/ 3 \iov TeXeov ti), it is possible that the reference is 
 to some clerk or registrar, who might be supposed to keep a complete 
 list of citizens ; or, the allusion maybe to the Teleas of Pax 1008, where 
 he is described as a worthless glutton. Teleas is coupled by Phrynichus 
 (fr. 19) with such avujpaXoi ttIOtjkoi as Execestides and Peisander. The 
 meaning then would be that Teleas should be best able to speak of 
 ‘ men of his own kidney; ’ the silly man would best know the charac¬ 
 teristics of silly men. With av 0 pu)Tros opvts cp. avhpes tyflues Athen. 2. 
 37 D. and for the general language Plat. Phaed. 90 C dre^v <£? wantp tv 
 'Evp'nrcv ava) teal kcltoj arpetpeTaL /cal \povov ov 8 tva tv ouSevi pevet. 
 
 1. 174. a\t]0fs ; with the proparox. accent, always as an indignant or 
 contemptuous remonstrance ; ‘do you really dare to say that?’ So inf. 
 1048, 1606, Nub. 841, Ran. 840, etc. 
 
 1 . 175. kcli 8r| ( 3 \tna), ‘well, I am looking.’ So Nub. 1097 ffKoirfi 
 . . . leal Srj okotiw. 
 
 1. 177. 8 iacrTpa 4 >T]crop.ai, ‘shall I get any thing to my advantage if 
 I wring my neck?’ Cp. Eq. 175 tvhaipLov^aoj h' tl SiaarpatpiqfTopat ; 
 Some make the reference here to a squint in the eye ; but it seems better 
 to follow the interpretation of the Schol. to v Tpd-^rjkov K\dacv. 
 
 1. 179. 6pvC 0 u)v -rrcXos. He uses itu\os here not in the sense of axis, 
 but of the whole vault of heaven, as oipcviov re vd\ov vwrois d\djv 
 Aesch. P. V. 430; and then, with a sly hit at contemporary scientists, 
 makes an amusing jumble of technical language, etymologies, and bad 
 puns. Transl. ‘well now is not that (sc. olpavijs) the birds’ pole? Ep. 
 “Pole?” what does that mean? Peith. Just as you might say “site. ’ 
 Now, because this (pole’) goes rolly-poly round, and through it every¬ 
 thing has to pass, it’s called nowadays the “ pole.” But if you should 
 once for all settle it and fortify it, instead of “ pole ” as now 'tovtov it 
 will be called “polity.”’ The reading Sitp\(Tai diravra fiid tovtov, 
 instead of dnavra, 8 id tovto ye, is confirmed by the Schol. ujs avrov Tt 
 TTeprnoXovpevov Kal 8 i’ ovtov ttovtcw ip\op.tvcvv. 
 
 1. 186. MtjXio). Melos had been blockaded by Nicias a year before 
 and reduced by famine. For the expression cp. Perusina James Lucan. 
 1. 41. 
 
 1. 187. «v pterco . . . ■yrjs, ‘ midway from the earth: that is, the air 
 
 15 
 
BIRDS . 
 
 where the birds live divides the gods in heaven from the men on the 
 earth. Similarly Xen. Anab. 3. 1. 2 noTapol be bieTpyov abiafiaroi kv 
 peacv ttjs o'inabe oSov, Cyr. 5. 2 . 6 t'i b’ e<prj kv peocp earl tov ovppQai ; 
 This is parallel to the construction with peTaijv in Acharn. 433 kcitcu 
 (panujpaTa) 8’ avcvdev rwv &veoTe'ia>v parcaiv, | peTagii toiv Ti/ou?, ‘ midway 
 from those of Ino,’ i. e. between the Thyestean rags and those of Ino. 
 Wieseler (Nov. Sched. Crit. Gotting. 1883) denies this use of (jk=tci|v, 
 and would read 8777 tov ’vOev = istinc a caelo ; and in inf. 551 for p.6Ta£v, 
 
 fit 7 GLOTV ! 
 
 1 . 189. SCoSov. As the main road from Attica to the northern parts 
 of Greece lay through Boeotia, it would be difficult for the Athenians to 
 consult the oracle of the Pythian Apollo at Delphi without getting a 
 pass from the Boeotians. For the form IXvQwSe, ‘ to Pytho,’ cp. Od. 11. 
 581 TlvOub’ kpxopkvqv, and for the circumstances Thuc. 5. 47 on\a be 
 pi) kav exoyras buevai 5 ta tt)s 7 rjs ocperepas pybe ward OaXaooav fjv prj 
 ipr)(pioapeviov tojv rroXecvv tt)v S'loSov elvat. 
 
 1 . 192. This line is found inf. 1218, where it is in its proper place. 
 
 1 . 193. o\j Sia^prjcreTe (bia-eppeoS), ‘you will not let it pass through.’ 
 So Thuc. 7 * 3 2 ottcos prj biacppijoovoi (vulg. bia<pi)Oovoi) tovs iroAep'iovs. 
 Similarly eKtpprjaere Vesp. 156. 
 
 1 . 194. vecfjcXas, here, a fine ‘gauze net,’ opvidcvv XenTopirov vecpeXrjv 
 Anth. Pal. 6. 11. 2. 
 
 1 . 195. p.T) . . . -qKotxra ttcij. This cannot be explained by an ellipse. 
 The use of |xtj here, instead of ov, comes from the effect of the assevera¬ 
 tion introduced by jia. The regular use of pfj with infin. after an oath, 
 as in II. 9. 133 peyav optcov opovpai pi] irore tt)s evvr)s emfiijpevai, was 
 so well established that it passed into a use with the indie, as in II. 10. 
 330 iotoj vvv Zevs avros . . . pi) pev tois imroioiv avrjp knoxv^^Tai a\\os, 
 15. 36-42 ierraj vvv Tobe yaia . . . pr) Si’ kpi)v lurrjTa Uooeibaoov kvoo'ixQwv 
 I mjpaivei Tpwas, Aristoph. Lysist. 917 pa tov ’AvoXAct} pi) a’ kyui 
 KarafcXiva) xapa'i, Eccl. iooo pa Ti)v ’ Aippobiryv pi) ’7 u o' a<pi)Goj. But 
 the construction with ov is also found, as Nub. 627 pari)v ’Ai airvoi)v. . . j 
 ouk eibov ovTcvs avbp’ aypoiKov ovbeva. 
 
 1 . 199. f 3 ap| 3 dpous. The language of those tribes who, as being unin¬ 
 telligible to the Greeks, were called by them barbarian , was often com¬ 
 pared to the cries of birds. See on sup. 16. In Hdt. 2. 57 we are told 
 that the priestesses at Dodona were called ireXeiabes, Sioti fiapfiapoi 
 rjoav, and from this title came the story about the Dodonean doves. By 
 tt|v <J>ojvr)v he means ‘ speech ’ generally, as distinct from mere twitter¬ 
 ings ; not ‘ human speech,’ else there would be no need of an interpreter. 
 
 1 . 203. rf|v 6p.rjv crrjSova, sc Procne ; see note on sup. 12. 
 
 1 . 204. KaXoujxev, fut. ‘ we will summon.’ Epops uses the plural in 
 spite of t|j.J 3 ds and dveyeipas, because both he and the nightingale are 
 16 
 
NOTES. LINES 189-229. 
 
 to call; so v<J>v tov (pdeypiaros. Cp. Aesch. Eum. 141 evdei s; dvioTco 
 
 KaTToXcLKTlOao' VTTVOV | IddipieO' 64 X4 TOvde <ppOlfALOV /.IdTO .. 
 
 1 . 206. 6 O-Ta 0 i., ‘stand not idle:’ so II. 5. 415 tuvt) 5 ’ 6(7x77/ cas, arap 
 oild’ aXXoicn KeXeveis. 
 
 1 . 210. XOo-ov, ‘set free the strains : ’ so Virg. Aen. 3. 457 ipsa canat 
 vocemque volens atque ora resolvat. The tuneful strains may be sup¬ 
 posed to have been ‘ fast-bound in sleep.’ 
 
 1 . 211. ovs . . . 0 p-r)v 6 is . . . ’Truv. It is better to punctuate after 
 Txt/v, which will then be object to 0 p-qv€is, and oils (sc. vo/xovs) will be 
 the contained accusative in the verb: so Soph. Trach. 50 TravddfcpvT 
 odvp/xaTa | tt)v 'HpaxAeiov e£odov 70C1446V771/, Electr. 123 x1V del rafceis | a/ 5 ’ 
 dtcopearov olpicuyau [ tov . . . npodoTov ; For the story of the ‘ lamented 
 Itys’ see on sup. 12. 
 
 1. 213. 6\6\i£op.evT}s, ‘while thy brown throat is trilling with sacred 
 melody.’ The common reading is e\e\i£op.ev 7 ] diepots ( = liquids, not, 
 as Schol. Sivypois en tcov daupvcov). The emendation is Meineke’s. For 
 Upois see inf. 744 * So in Eur. Hel. mi cu did £ovQav yevvojv lAeA i£o- 
 fieva, where the general similarity of the language is so marked that it 
 suggests some common origin for the two passages. Aristophanes can¬ 
 not here be imitating Euripides, as the performance of the Helena was 
 later than that of the Birds. 
 
 I.215. pdXaKos, as in Nub. .1007, the ‘white convolvulus,’ or 
 ‘ bindweed.’ 
 
 1 . 218. avTivj/dXXtov, ‘ striking responsive to thy plaints.’ 
 
 1 . 222. oXoXuyri, ‘jubilant song;’ as e-rrojXoXv^av inf. 785, Eq. 616, 
 Lysist. 240. The word (avXei), ‘ solo on the flute,’ is a ‘stage-direction;’ 
 technically called Trapeviypacp-q. The music ‘ behind the scenes ’ is 
 intended to represent the song of the nightingale. Among such irapem- 
 ypcKpai (whether originally marked by the author, or inserted by the 
 grammarians) may be quoted Ran. 314 avXei ns evdov, 1263 oiavAiov 
 irpoaavXei, Eur. Cycl. 485 cpdi) evdoOev, Aesch. Eum. 117 pivypios, 113 
 diypios. 
 
 1. 223. toO 4>06Yp,aTO?, see note on sup. 61. 
 
 1. 224. oiov, ‘ how! ’ as inf. 1211, 1646. 
 
 1. 226. av, ‘now;’ that is ‘in his turn;’ as distinct from the instru¬ 
 mental music. So Vesp. 28 drap crv to aov au ( evvirviov) Xe£ov. 
 
 1 . 227. The syllables representing the cry of the hoopoe are variously 
 divided and variously accentuated. It would seem that the only point 
 of importance is to let the letter rr mark the divisions 077-077- rather than 
 7ro or 7707704, for the note of the hoopoe is described as a low-toned 
 utterance of the syllable ‘ hoop] whence the name ‘ hoopoe.’ 
 
 1. 229. 6|xoTrx6pa)v, ‘my feathered mates;’ he speaks as a genuine 
 bird, tis = ‘ everyone.’ 
 
 B 
 
 17 
 
BIRDS . 
 
 1 . 232. o-ircpji-oXoYcov. These ‘ seed-peckers’ are no particular species, 
 but represent all the small birds that eat grain. See inf. 579. 
 
 1 . 235. Xctttov, ‘delicately;’ the opposite of peya ( 3 oav, cp. AenraAiri 
 
 (pojvy II. 18. 571. 
 
 1. 236. dSopcva (7780/404), ‘gay,’ ‘ merry.’ 
 
 1. 237. tlo no. Blaydes quotes from a letter in the ‘Times,’ Aug. 
 30, 1859, ‘ I wanted to imprint on my memory the musical phrases with 
 which the bird (nightingale) composes its melodies. The following are 
 the most striking among them :—tiou-tiou-tiou, ut-ut-ut-ut-ut, tchitchou, 
 tchitchou, tchit-tchit, rrrrrrrrouit.’ 
 
 1 . 239. vojjiov, note accent. With KXdSeou, a metaplastic form from 
 /cAados, cp. Kplveai Nub. 911 and nom. tcpivov. Other anomalous cases 
 are nAadi and fcAadas. 
 
 1 . 240. The kotivos may be rendered ‘ wild-olive,’ or, perhaps, 
 ‘ bush-olive,’ as it is more of a dwarf-tree than the aypuAaia. The 
 icofjiapos is the ‘ arbute ’ or e strawberry-tree.’ 
 
 1 . 242. dvij<raT€ ir€Top.eva, ‘ fly with all speed;’ lit. ‘despatch [your 
 business] by flying,’ as Vesp. 1168 avvcrov noO ’ vnodr/crapevos. More 
 often we find avvoas or avvaavres in the participle with the addition of 
 an imperative; as Nub. 181, Vesp. 398, Thesm. 255, etc. 
 
 I.244. 6£u<TT6p.ous, probably not ‘shrill,’ but ‘ piercing,’ ‘ stinging; ’ 
 so o^vGTopicp pvwm of the gadfly, Aesch. P. V. 674. The gnats would 
 naturally haunt the ‘ marshy water-courses.’ 
 
 1 .249. opvis TTT€pa>v. The MSS. give opvis nreponoi/aAos, which 
 violates the metre and is inconsistent with the plurals 01 and ocra, as 
 more than one bird is referred to. The reading in the text is Meineke’s : 
 the TTTtpcov is described by Hesych. as eldos opviov, but we have no 
 means of identifying it. Trans. ‘ Widewing.’ The aTra-ycls is probably 
 one of the ‘ godwits,’ a tribe of waders belonging to the snipes : others 
 identify it with the ‘ francolin.’ 
 
 1 . 251. 'TroT-rjTaL. An adaptation from Aleman (Sto real bcopiKuis eiprjTcu 
 Schol. i. e. 7 TOTTjTai for norarai ) Frag. 21 / 3 dAt ( utinam ) 5 i) / 3 aAe KrjpvAos 
 €ir)v, [ os r ini Kvparos avdos apC dA/cvoi'eao'i noTrjrai. We may, pro¬ 
 visionally, render aArcvcuv by ‘ Kingfisher.’ 
 
 1 . 252. ireucrop-evot, notwithstanding <{>t)Xa, for the neuter implies 
 opviOes. 
 
 1- 255 - 8pipvs. This ‘keen’ old man is ‘revolutionary in his views.’ 
 Kaivos in this sense is not generally used of persons but of things; 
 as Kaivd= ‘ innovations,’ Xen. Cyr. 8. 8. 16, fcouva ootya. Eur. Med. 299. 
 
 1 . 261. KiKKa| 3 av, ‘ to-whit-to-whoo,’ the cry of the owl. So kikko.- 
 fiafciv Lysist. 761. 
 
 1 . 263. opas tiv’ opviv; The Chorus does not immediately assemble 
 in the usual way after the hoopoe’s summons, though their cries are 
 18 
 
NO TES. LINES 1 3 2-2 7 9. 
 
 audible ; but four birds make their appearance first, as a sort of advanced 
 guard,—flamingo, cock, hoopoe-junior and gobbler ( narajpayds ). 
 It is difficult to decide whether they step forward on the Xoyeiov, and 
 retire again, or whether they station themselves on the orchestra, and 
 take the part of the band, for the musical accompaniments. The latter 
 view seems probable. 
 
 1 . 266. t-n-oi^e, (Rav. iirwt£e) is rightly referred to a pres. kiro'ifa = 
 ‘scream.’ The verb enujfa ( — kir-cvafa, wov), to which the Lexx. 
 refer it, seems to mean merely ‘ brooding over eggs,’ and not 4 clucking ’ 
 or ‘cackling.’ So of Niobe, Aesch. Frag. 149 eiprjpevr] rcupov renvois 
 encode rots reOvr^noaiv. The word is uncomplimentary to the hoopoe. 
 It was said of him (sup. 226) p.c\cpdeiv Trapaanevd^erai, now he is 
 described as having gone into the thicket and ‘ screamed like a curlew.’ 
 So in Tennyson’s ‘ Princess,’ in the young lover’s attempt at ‘ maiden- 
 treble ’ we are supposed to hear the frogs croak, and ‘ the meadow- 
 crake grate her harsh kindred in the grass.’ 
 
 1. 270. ohros auTos, ‘that bird himself,’ alluding to the hoopoe. 
 The meaning will then be ‘ Hoopoe, our guide and interpreter is the 
 right person to answer these questions.’ Others would read aiirovs or 
 avrov unnecessarily. 
 
 1. 272. cjxKviKio'Os ( <poiviKi 6 us) y ‘of flaming red;’ preparing for the 
 name ‘ flamingo.’ 
 
 1 . 274. to c re toi, with Xeyco or naXui omitted; see inf. 406, Ran. 171. 
 
 1. 275 - e£e8pov x^P av *X CUV * This half-line is borrowed from the 
 Tyro of Sophocles, ris opvis ovros e^edpov x^P av where it has the 
 
 technical meaning of a 4 bird of omen occupying an unlucky quarter,’ 
 ovk ev Seovn tt)v eSpav Hesych. Here the Hoopoe seems only 
 
 to describe him as ‘ a bird with an outlandish home,’ sc. Media; and so 
 ov ruiv rjOadojv. A regular name for the cock was 6 Ylepoucos in Cra- 
 tinus, and II. opvis inf. 485, 707. The title ‘ bird of prophetic song’ is 
 borrowed from the ’HSojvoi of Aesch., but it is doubtful whether this 
 refers merely to the sound with which he ushers in the day, or to some 
 other augurial significance. The correction a| 3 po| 3 aTT]s (for dpei^arijs), 
 suitable both to the ‘ pompous strutting ’ of the cock, and to his Persian 
 origin (Aesch. Pers. 1072, where alSpofiarai is used as a synonym for 
 Persians) is due to Reisig, following the hint of Suidas and the Schol. 
 
 1 , 278. av€u KajxqXov. The Greek idea of a Mede was a regular 
 rider on a camel, which seemed indispensable to his locomotion. See 
 Hdt. 7. 86. 
 
 1 . 279. Xo<j>ov KaT€iXq 4 >ws. Here and in 290, 293 a joke is made 
 out of the double meaning of A ocpos, (1) a crest (on a helmet or a bird’s 
 poll) and (2) the crest of a hill. This Hoopoe-junior has ‘secured a 
 crest,’ which is characteristic of that bird. But this pun upon Xo<j>os 
 
 B 2 19 
 
BIRDS. 
 
 really belongs to the description of the /caraxpayds, and much of the 
 obscurity would disappear if we could transpose 1. 279 and 1. 287, so 
 as to make the j 3 a,TiTos opvis refer to Callias. 
 
 I.281. ‘PiXokXcovs. The whole passage is obscure. When Hoopoe- 
 junior appears on the stage, the original Hoopoe is asked ‘ if he 
 has a double ? ’ The answer given contains several personal hits, 
 accusing Philocles of plagiarism, and Callias of profligacy. Philocles , 
 a nephew of Aeschylus, was a tragic poet, who is said to have taken 
 the first prize against the Oedipus Rex of Sophocles. But he was a 
 favourite butt of the comic poets ; and is called by Aristoph. ‘ an ugly 
 writer of ugly plays/ alaxpos uv alaxpdis voiei Thesm. 174. And the 
 ‘ bitterness ’ and ‘ harshness ’ of his style is alluded to in Vesp. 470. He 
 is specially introduced here, as having, in his tetralogy Pandionis, 
 plagiarised the Tereus of Sophocles. So when Euelpides asks, who 
 this Hoopoe-junior is that has appeared on the stage, the answer is 
 that he is ‘ son of Philocles’ hoopoe,’ and therefore grandson of the 
 Original-Hoopoe, who was the immediate parent of the Hoopoe of 
 Philocles. This description is introduced by way of attacking Callias : 
 and so the connection of Hoopoe-junior with his grandfather, Hoopoe- 
 senior, is illustrated from the pedigree of the Callias-Hipponicus 
 family, which had most strictly carried out a common Greek custom of 
 naming each son after the grandfather. The parallel is not perfect; but 
 the two pedigrees are supposed to run thus. 1. Hoopoe-senior. 2. 
 Philocles’ Hoopoe. 3. Hoopoe-junior. Corresponding to 1. Callias. 
 2. Hipponicus. 3. Callias-junior. This famous family had enjoyed the 
 hereditary dignity of being SaSouxot at the Eleusinian mysteries. The 
 generations ran thus, 1. Hipponicus , B.c. 594. 2. Callias (? nephew), 
 
 B. C. 564. 3. Hipponicus , surnamed Ammon (Hdt. 6. 113). 4. Callias 
 
 (PIdt. 7 - I 5 1 )- 5 - Hipponicus, commanded at Tanagra, B.C. 426. 6. 
 
 Callias, of the present passage. His shabby plumage befits the beggared 
 spendthrift, who has lavished his money on debauchery. The scene of 
 Xenophon’s ‘ Banquet/ and of Plato’s ‘ Protagoras ’ is laid in his house. 
 But he seems to have been something worse than an idle profligate, so 
 that before his father’s death he is spoken of as the ‘ evil genius of the 
 family.’ 'lnirovinos kv rrj obcia. dXiTTjptov rpkcpei ... os dvarkrpofpiv 
 k/teivov tov ttAovtov, Trjv oaxppoavvqv, tov &iov anavra Andoc. de 
 Myst. § 130. 
 
 1. 288. KaTO}<j>ayas, ‘the gobbler,’ is probably only an invented name, 
 following the form and accentuation of such words as arrayds, neAenas, 
 etc. Cleonymus is represented as a glutton in Eq. 1290; but he com¬ 
 monly figures as a renegade who ‘ threw away his shield ’ (p'apaoms inf. 
 1475 foil., Nub. 353). As he was generally dno( 3 o\ifxaios tuv ottAclv, 
 Pax 629, it evokes surprise here to find him with a crest. Indeed, 
 20 
 
NOTES. LINES 281-304. 
 
 Peithetaerus notices that all the birds present are more or less crested ; 
 and he supposes that they may be going to run in that particular form 
 of the double-heat race, which was called 5 lav\os ottXlttjs, where the 
 runners were equipped in full warlike-gear, including crest. ‘ No, r 
 says the Hoopoe, ‘ the real connection of our birds with “ crests,” is that 
 they make their homes on hill-crests, to save themselves from molestation, 
 as the Carians do.’ 
 
 The Carians are described both by Herodotus (1. 171) and 
 Thucydides (1. 8) as having been the inventors of crests to helmets. 
 The double meaning of \ 6 cpos is constantly played upon here, and the 
 Carians are represented as ‘ living on hill tops,’ which may only refer to 
 a common practice of early nations; or, perhaps, to the fact that the 
 Ionians occupied the sea coast of Caria, so that the inhabitants were 
 driven inland to the high ground of Messogis, and other mountain 
 ranges. 
 
 1 . 294. KdKov opvecov, ‘ a plaguey lot of birds.’ Rather a strong 
 expression for the members of the Chorus, who only numbered 
 twenty four. Their fluttering plumage almost hides the ‘ entrance to 
 the orchestra ’ (etcroSos) from view ! 
 
 1 . 29S. TTTjveXoiJ/. It is impossible to identify all the birds. Perhaps 
 mrjvtXoij;, called by Alcaeus 7 Toifu\u8eipos, is the ‘ mallard.’ The clXkvojv 
 ( 77 ) is commonly taken to be the (hen) kingfisher, and the K-r]pvXos 
 the cock-bird of the same species. But it is impossible to follow the 
 Schol. in dividing the birds into two equal groups of males and 
 females. 
 
 Here, for the sake of a pun, the k rjpvXos is called KeupuXos, to sug¬ 
 gest Ke'ipcu and Kovpevs and so point an allusion to the well-known barber 
 Sporgihis. As though we called the bird not a ‘ dipper ’ but a ‘ clipper.’ 
 
 1 . 301. Y^ a ^ K ’ ’AOifjva^e. Euelpides forgets that he is not at Athens, 
 but, according to his own showing (sup. 9 foil.), far away. The phrase 
 ‘ to carry owls to Athens ’ is equivalent to our ‘ carrying coals to 
 Newcastle,’ or the Lat. in silvam ligna fei're Hor. Sat. 1. 10. 34. 
 The owl was not only plentiful in Attica, but it was the sacred bird 
 of Athena, and its image was common on Attic coins, such as y\avues 
 AavpiovTi/cai inf. 1099. 
 
 I.302. KtTTa, is the ‘jay,’ or ‘magpie;’ and KopuSos the ‘tufted 
 lark,’ which was supposed to have an unpleasing note, recalling the 
 unmusical Philocles (inf. 1295). cXeas is translated ‘reed-warbler’ or 
 ‘ water-ousel,’ and uTroOupis, ‘ thyme-finch.’ vtpTos, as coupled with 
 Upajj, is probably a bird of prey, and KepXVyn-vpis may be ‘ red-poll, 
 as KtfiXri = Ki(pa\r]. 
 
 1 . 304. The Trop 4 >upis is called ravvainrepos by Ibycus, but it cannot 
 be identified. Ktpxvrjs (conn, with Ktpxvos, ‘ hoarseness’) is a bird with 
 
 21 
 
BIRDS. 
 
 harsh cry, perhaps the ‘kestrel.’ sacred to Athena, is supposed 
 
 to be the ‘ bearded vulture and Spvoij/ one of the ‘wood-peckers.’ 
 
 1 . 306. mirm£oucn., ‘ twitter ; ’ the quick sound of the chirping 
 being imitated by the repeated syllables in ttottottottov and titititivol. 
 With 8iaKeKpayoT€s, ‘ screaming against one another,’ cp. dia-mveiv 
 Hdt. 5. 18, diopx^oOai Vesp. 1481. 
 
 1. 310. 7ro0 p.’ os €Ka\eo-€, with this order of the words cp. sup. 95, 
 Lysist. 905 Ka'iroi <x’ ovk £pw 7’ us ov (pi Act). 
 
 3 J 5 - > Supply -rrapu from ndpetpi in the preceding line. 
 
 1 . 317. AoYicrra, ‘ reasoners ; ’ as in Plat. Rep. 340 D. Perhaps there 
 is a reference to the Athenian A oyiarai or Board of Auditors, to whom 
 all magistrates on leaving office had to hand in their accounts ( evOwai ). 
 
 1 . 322. Trptpvov TTpayparos TrcXcapiou, ‘ basis of some gigantic 
 scheme.’ The words have a Pindaric and Aeschylean flavour about 
 them ; cp. vpkpva xOovia Pind. Fr. 58, epyov veAwpiov Aesch. P. V. 151. 
 
 1. 324. -rrjcrSe TTjs £uvov<tlcis, sc. ‘ intercourse with us birds.’ 
 
 1. 326. €l -irap’ vp.iv, lit. ‘if I am with you,’ i.e. ‘as sure as I myself 
 am here.’ 
 
 1. 329. os, sc. the Hoopoe, ‘who used to range at our side the 
 plains, our common feeding ground.’ 
 
 1- 331 - 0€o-povs, ‘ ordinances ;’ distinct from vopoi as something more 
 reverend and solemn. According to Aelian the ancient ordinances of 
 Draco were called Otapoi, and were supplanted by the vopoi of Solon. 
 
 1. 333- txdXeo-e is hardly equivalent to illexit , but definitely refers 
 to the summons issued by Hoopoe, sup. 310 ttottottov p os 1 /caAecrc. 
 4 He summoned me to fall into a trap, and exposed me before an 
 impious race, which from the time it came into being has grown up 
 in enmity against me.’ 
 
 Trapa| 3 dAA€iv is elsewhere followed by the dative, as ovriva . . . toTs 
 irap ’ eKf'ivov pioOapvovcn irapafiaXtire Dem. 136. We must compare 
 the repetition of the compounded preposition and the accus. case 
 with inirov TTpooeriOd irpus rovvopa Nub. 64, or iVa . . . prjxavas . . . 
 irpos ac /caivas iTpoocptpoj ib. 480. The word ot€ is not found in Attic, 
 but always otov , and €tt’ €p.ot is unusual in place of the ordinary 
 dative. Possibly ctt’ is the remains of £tt et, a gloss on otov. But 
 the metre here and in the antistr. suggests some greater textual 
 corruption. 
 
 1. 336. ucTTepos Xoyos, ‘a subsequent reckoning.’ 
 
 1. 337. tt|v SiKTjv, ‘the regular penalty,’ sc. rod 8ia(popr]6r)vai. Cp. 
 Soph. O. R. 552 v<pe£av tt)v 8 'iktjv. 
 
 1 . 338. ws, exclamatory, ‘how utterly we are ruined ! 5 so Ach. 333. 
 
 1. 340. €K€i0€v, sc. from Athens. 
 
 1. 341. iva p.€v [ovv, ‘nay rather, that I might cry my eyes out.’ 
 2 2 
 
NOTES. LINES 306-360. 
 
 ‘Now, there you keep talking absolute nonsense: for how can you 
 cry if you’ve once had your eyes pecked out ? ’ Euelpides uses KXaoip. 
 in its ordinary sense of «coming to grief; ’ but Peithetaerus makes his 
 point on the literal meaning of the word. For e'xcov in the sense 
 of ‘ continuance ’ cp. Nub. 131, 509 ; Lysist. 945 ; Ran. 524. 
 
 1. 344. erray’, commonly used with OTpaTombov or Kepas, and so 
 here without its noun. « Advance, charge, direct the deadly hostile 
 assault, make a cordon of wings all about them and enclose them round.’ 
 kvkXcoo-cu, imperat. aor. med.; so KvKXwoaodai rivas Hdt. 3. 257; 
 8. 10, etc. 
 
 1 . 348. pvyxet ttmpP&v, ‘fodder to our beak.’ There is no need to 
 follow Meineke in altering pvyx*i, ‘ snout,’ to pa/xcpci , 4 beak ; ’ as Arist. 
 H. A. 9. 18. 1 uses pvyxos of a bird. 
 
 I. 349. ovt€ ydp opos. This sort of exhaustive enumeration is quite 
 in the tragic style; as Eur. Med. 1296 Set yap viv t)tol y 77? cape 
 KpvcpOrjvat Kara), j r) vTrjvbv apai awfx’ es aWepos (3a9os, Or. 1375 ttoi 
 (pvyo), £ivdi, ttoXiov aWep’ djxTTTdpKVos rj ttovtov ; 
 
 1. 352 . peWcopev = cunctemur. 
 
 1 - 353 - Ta£iapxos, ‘brigadier.’ The ten Taxiarchs at Athens assisted 
 the Strategi in their military, administrative, and judicial functions. 
 They commanded the rafet? or quota of infantry supplied by each 
 (pv\ 77, the corresponding commanders of the cavalry being the Phylarchs. 
 The 8e£uov Ke'pas (see on Eq. 143) was the post of honour in battle 
 (Hdt. 6. in), and as such it was originally held by the Polemarch. 
 
 1 . 354. to-ut’ tKeivo, ‘ that’s just it..’ Euelpides means that this 
 word of command confirms his worst fears. Cp. inf. 507, Ach. 41 
 tout’ 4 /cetV ovyw ’A eyov. 
 
 1 - 357 - T “ v X VT P“ V (sup. 43). ‘To clutch the pots’ may possibly 
 have an allusion to the game x VT P LV ^P a ^ suggested by the word 
 TiXXeiv sup. In this game one player called x^ T P a held a pot in his 
 hand, while the other players running round him sought to pinch or pull 
 him. Anyone of the circle who was caught or touched by x^ T P a > had 
 to take his place. It is difficult to say why the ‘ owl will not come 
 near the pot.’ One explanation refers to a custom of putting pots on 
 the roofs to scare the owls away. The Schol. seems nearer the mark 
 in saying that the owls will not molest them did to 'Attikov eivai to 
 £ cpov, ’AttikoI be nal avToi. The Athenian drachma had a profile of 
 Athena on one side, and on the reverse an owl standing on a x^ T P a - 
 The goddess was reputed to have been the inventress of pottery. 
 
 1. 359. to is Se ya|juJ/a>vv£i ; ‘ But how shall we deal with these 
 taloned birds?’ Such as the tepaf, /tepxvys or (p-fjvrj sup. 302 foil. We 
 must supply some such words as um xpyovh^ 0 - > or Tl & (l dvrifiaWeiv ; 
 
 1 . 360. Trpo o-avTOu. So, with Bentley, for the vulg. irpos avTov. 
 
 23 
 
BIRDS. 
 
 Like a Homeric hero he is to stand awaiting the foe, with the spit 
 set up‘in front’ of him. Cp. Horn. II. 3. 135 aoirioi KercXi/xivot, napa 
 5 ’ eyx ea bUKpa ireirrjye. The Schol. seems to have read irpos (? trap') 
 avT-fjv, sc. \vTpav , as though the x^ T P a was to form a sort of bastion, and 
 the ofitX'irjKos the beginning of a palisade. 
 
 1. 361. o£v{ 3 a 4 >ov, properly a shallow bowl for holding vinegar into 
 which anyone who liked could dip his food as he sat at dinner. Then 
 it is generally used for anything like a saucer. We must imagine the 
 men on the defensive with an earthenware pot for a helmet, a spit for a 
 spear, and a couple of saucers tied on as a protection to the eyes. -n-pocrSov 
 (irpoobeiaOcu) is Haupt’s very probable conjecture for the vulg. npoodov. 
 Wieseler (nov. sched. criticae) writes irpoOov, comparing Eur. I. A. 
 1550, I. T. 1218. 
 
 1 . 363. Tais p-Tixa-vais, ‘ in engineering.’ Nicias, whom Peithetaerus 
 ‘overshoots’ or ‘surpasses’ in skill, was famous as an engineer. Cp. 
 Thuc. 3. 51 kXoov ovv and rrjs N loaias irpaiTov dvo -nvpyox irpoexovre 
 ixr/xo-vo-is Ik OaXaaoys Cp. Pint. 666 kXctttouv Se tovs 0 Xe- 
 
 ttovtcls inreprjKovTioev. 
 
 1. 364. tXeXeXev, ‘ have at them ’ (a war cry) ; ‘ move forward, present 
 beaks.’ Cp. Xen. Anab. 6. 3. 2 7 rjXa\a£ov kcll apa to. Sopara KaOiecrav, 
 that is, brought their spears to the rest for a charge. 
 
 I.366. t L p-cXXct’ . . . duoXecrai, ‘why are you minded to slay?’ 
 diff. from ov jxtXXeiv €XPh v > ‘ we must not delay.’ 
 
 1. 368. £uyy€VTj, (dual); al. gvyyevee. See on sup. 14. 
 
 1 . 369. Xvkcov; The Schol. reminds us that a reward was given, 
 under the laws of Solon, for every wolf destroyed in Attica. Plutarch. 
 Sol. 23 \vkov 5 e to) noix.ioa.VTL 7reVre dpaxp-cis edox/ee’ XvKiSea (cub) 8 e 
 pLiav. 
 
 1. 371. 8€ tt|v <j>vcriv, ‘but if by nature they are foes, yet in their 
 intentions they are our friends.’ There is no difficulty in thus making 
 8c introduce the apodosis; but Lenting reads 76, which gives more 
 point. Kock dissents from this interpretation and maintains that the 
 apodosis is never expressed because the Hoopoe is interrupted. ‘ But 
 supposing that they are hostile by nature, yet friendly in intention, and 
 that they are come here to give you some useful piece of advice —, 
 what then ? would you attack them ? ’ Cobet would read 018e for tl 8e. 
 
 375 - F° r the Latin proverb cp. Ov. Met. 4. 428 fas est et ab hoste 
 doceri. 
 
 1 . 378. auTix’, ‘ for instance,’ as supra 166. The particular 
 allusion is to the building of the city and walls and the fortification 
 of the Peiraeus by Themistocles, after the defeat of Xerxes; and the 
 decree passed to furnish twenty triremes yearly to maintain and develop 
 the fleet. 
 
 24 
 
NOTES. LINES 361-399. 
 
 1 . 382. cro4>6v. The adj. without the addition of ti as 
 rt (sup. 372) is unusual. Kock would read /cat rt for KairtS, but it 
 is simpler to read with Dobree p.a0ois Yap av ti for the vulg. / 16.601 yap 
 av ns. 
 
 1 . 383. for kcifcaoi, may be compared with loaci (ot 5 a), where 
 
 the cr seems due to the analogy of the 3rd plur. plupf. taav. So 
 t’^acn is for uK-caoi, and icaoi for 18 -aaai. See Curt. Vb. 48, 402, 
 427, 438; Monro H. G. p. 6. For the gen. opYrjs cp. Aesch. P. V. 
 256 KovSqprj xaAa kokuv, where the verb is used intrans. with partitive 
 gen. dvay’ cm o-kcXos, * draw back, step by step.' So x^P^ *7rt 
 oneXos Eur. Phoen. 1400, and avay h t 6 £lv ttoXlv inf. 400. The 
 Schol. compares II. 1. 547 yovv 7 ovvos apelfiuv. Green interprets the 
 phrase of a man slowly drawing one leg tip to the other, as he would do 
 in leisurely retreating. 
 
 1 . 384. teal Sitcaiov y’ ccttC. This refers to the determination of the 
 Chorus to hear the evidence. 
 
 1 . 385. €VT]VTuo|jie 0 a, Bentley’s emendation for the unmetrical reading 
 of the MSS. Tjvo.vTLup.e6a. P'or this variation of the Augm. cp. nad- 
 rjvdov and knadevdov, avkw£a and rjvoi£a, avrefioXovv and rjVTtfioXow 
 (rjVreP. Cobet). 
 
 1 . 387. KaGCei, ‘set them down,’ not as nodes sup. 364. Now that 
 the pot is no longer wanted for a helmet, it is used as a sort of bastion 
 flanked by the saucers, within which imposing rampart (tuv ottXuv 
 kvTos) they are to patrol, spit (spear) in hand. 
 
 1 . 390. irap’ at»TT|v tt|v x^ T P av aKpav. This seems to mean that 
 they are to keep quite close (tyY^ s ) t0 their extemporised fortifications, 
 and watch the movements of the enemy ‘just over the edge of the pot.’ 
 
 1 . 395. K€pap,€LKos. ‘The Potters-quarter’ was the famous burial- 
 place for all the greatest men of Athens, and there the funeral orations 
 were pronounced, Thuc. 2. 34-46 ; 84. Peithetaerus feels that if he 
 falls within his entrenchment of Pottery, he will really be buried in a 
 K€pap.eiKos of his own. Those who fell in battle were honoured with 
 a public funeral at the public expense (8t]p.6cria). 
 
 1 . 397* 'irpos rovs crrparrjYovs. One of the official duties of the 
 Strategi was to make arrangements for such funerals. 
 
 1 . 399. tv ’Opveats, at ‘ Birdlip ’ or ‘ Finchley ; ’ so as to make a 
 punning allusion to kv opvkois. Orneae lay between Corinth and 
 Sicyon (see inf. 967). In the year 416 (the Birds being acted in 
 414) Orneae was besieged for one day by the Athenians and Argives, 
 because certain fugitives from Argos had been settled there by the 
 Lacedaemonians. But the besieged stole away in the night, and there was 
 thus no battle at all; which gives some point to the joke in p,axop.€va> 
 rots 'TroXep.ioicriv. 
 
 25 
 
BIRDS. 
 
 1. 400. es ravirov, equivalent to our military command 4 as you 
 were ! ’ The hoplite would naturally ‘ stoop and ground his spear 
 beside his shield,’ for which the Chorus absurdly substitutes ‘ ground 
 your passion beside your anger.’ 
 
 1 . 407. rou ( — t'ivos) kAu€iv 0 «Acov ; ‘ wishing to hear what ?’ 
 
 1. 412. tpcos (3iov, 1 a passion for your life and habits, and of living 
 with you and joining you entirely.’ The reading is uncertain ; the 
 MSS. give fi'iov dtatTrjs re /cal aov, ‘ a passion for your way of living 
 and for yourself,’which seems somewhat meaningless. After £uvoik€lv 
 Meineke would read ye for re. For an infm. after tpcos cp. Aesch. 
 Ag. 332 tpcos . . . TroOeiv a pii] XPV> Soph. O. C. 367 avrots 77V tpa/s 
 dpovovs kXeoOat. 
 
 1. 416. itAutiv, not after utpa, but as a defining inf., ‘ for the hearing,’ 
 ‘ in our ears.’ Join airurta k<x! irtpa, ‘ incredible and something more ; ’ 
 so Eur. El. 1185 aXaara pteXea /cat 7repa naPovcra. 
 
 1 . 417. opa, sc. Peithetaerus, whom the Chorus accepts as the real 
 representative, thus ignoring Euelpides. 
 
 1. 418. a£iov p,ovT)s (/COV17), ‘ worth tarrying for.’ 
 
 1 . 420. 4 >lAolctlv coc^tAtiv. For the construction with the dative 
 instead of the ordinary accusative cp. Aesch. Pers. 842 cos rots Oavovci 
 ttXovtos ovdev <jj<pe\ei. 
 
 1. 425. irpoo-j3t{3a (irpoaPiPacra), ‘ he will bring you over by his 
 argument to the view that (cos) everything we see is yours—all that’s 
 here and there and everywhere.’ So Thesm. 666 /cat ra Trjde /cal rd 
 devpo 7ravr’ avaG/coiret KnX cos. The local adverbs are heaped rather 
 inaccurately together, in the eager wish to make an exhaustive list. 
 For TTpoo&tfiafav nva cos cp. Aeschin. Ctes. 93 tu> Xoycp Trpoofit&afav 
 vfjtas cos Set, etc. 
 
 I.427. dcJxiTOv ws <j>povL|ji,os ‘unspeakably sagacious;’ lit. ‘it is 
 unspeakable how (sagacious he is) ; ’ cp. Lysist. 198 t ov op/cov acparov 
 cos kvatvia). Similarly Nub. 1 oaov a-nepavTov, Plat. Euthyd. 275 C 
 c rocpiav apcqxo-vov oorjv, or (by attraction) Rep. 588 A ap.r]xava> oacp 
 vXeovt vtKTjaet. 
 
 1 . 430. Kt»pp.a, used generally for ‘ booty,’ is said here to mean ‘ a 
 practised hand,’ 6 ttoXXois kyKe/cvprj/cibs irpA-yptart, Schol. But this is 
 hardly satisfactory. rptpp.a (rp/^Scov) ‘ a sharper,’ as in Nub. 260, 
 447. TrcuTrd\ir)|Aa, probably from the penetrating power of fine meal 
 ( rranraXT]), means a ‘ subtle rogue.’ 
 
 1. 433. dv 67 TT€pcop.at (cp. inf. 1443, 5, 9), ‘am all in a flutter;’ a 
 suitable word for a Chorus of Birds. 
 
 1. 434. cr-u Kal <rv, addressed to two slaves, as inf. 656. iravo-jTXtav. 
 Hoopoe treats the ‘warlike gear’ of his friends as genuine armour, and 
 proposes they shall be hung up ‘ in the chimney ’ (els tov lirvov). So 
 26 
 
NOTES. LINES 400-454. 
 
 Dicaeopolis after making his treaty with the Lacedaemonians says 
 (Ach. 278) 77 5 ’ acmis kv ra> (peipaXcp KpeprjaeTai. But there follows a 
 sly allusion to the pots and pans and spits in the words n-X^o-iov 
 TOUTrurTaTOu, which seems to mean ‘ near the pot-rack.’ knloTarov or 
 emGTaTTjs (for it is uncertain which form Aristophanes is using) is 
 variously translated ‘ a clay image of Hephaestus, as president of the 
 hearth ; ’ a tripod ‘ or a hook, for supporting pots over the fire ; ’ ‘ a rack 
 with pegs to hang up kitchen utensils.’ Tt>xd-ya 0 fj, i. e. Tv\ri ayaOrj, 
 ‘good luck go with it!’ So inf. 675, Eccl. 131, Thuc. 4. 118. 8. 
 Equivalent to the Latin ‘ quod bonunt felix faustumque sit .’ 
 
 1. 437. The natural order is cru 84 4>pdcrov rods Xoyovs 4 <j>’ oicrrrfp 
 (on the strength of which) 4 yd) tov<x8€ (sc. Birds) crvvtXeija. The 
 relative draws the accusative A 6yovs into the dative case. But otcrrrcp 
 tois Xoyots is an unusual combination, so that for toIs Reiske reads 
 toi, Dobree teal. 
 
 1 . 440. 6 mOrjKOs. This refers to a dwarfish cutler named Panaetius. 
 His wife, who was notorious for her infidelities, was an able-bodied 
 virago. Their life was a perpetual quarrel, till they made a compact 
 (8ta8r]KT]v) that there should be no biting or scratching or any other 
 form of assault on either side. 
 
 1. 445. op.vvp,’ 4 m toijtols, ‘ 1 swear it on these conditions—that I 
 may win the prize by the unanimous vote of the judges and of the 
 spectators.’ vucav is in apposition to tovtois. The dative KpiTais 
 is probably instrumental, and is used here as equivalent to iprjcpois, 
 unless we take it as ‘ ethical dative ’ = ‘ in the judgment of.’ 
 
 1. 447. Ivl KpiTf] vucav is a surprise for vi/caoOai, to which of course it 
 is equivalent; as with the five judges that were assigned to Comedy, it 
 would give 4 : 1 against. Or, perhaps, ‘ by a majority of only one.’ 
 
 1 . 448. aKouere Xecp. This proclamation is assigned to K r)pv£ in the 
 MSS. Kock would give it to Hoopoe, who issues all orders to the birds. 
 But it seems more humorous to follow the Schol. and put it in the 
 mouth of Peithetaerus, who, together with Euelpides, forms the whole 
 army of defence; and thus disbands the vast host with appropriate pom¬ 
 posity. For the regular phrase ctKoveTe Xecp cp. Pax 551 ; Ach. 172, 1000. 
 
 1 . 450. The mvaicCa or ‘tablets’ would contain the ordinary notices 
 to the troops, as to route, rations-, etc. • 
 
 I.451. 8oXepov, ‘a treacherous creature.’ So Eur. Orest. 218 8vo- 
 dpecTTOv 01 vocrodvres, triste lupus stalnclis, etc. 
 
 1 . 453. tux oi s av e^eurcov, ‘ you might chance to express.’ For this, 
 the reading of the MSS., most edd. write k£tvptuv. 
 
 1 . 454. irapopaT 5 (i. e. impopaTai) is Bentley’s emendation for the 
 MSS. reading napopas. ‘Something which my eyes have missed,’lit. 
 
 1 that is overlooked by me.’ If we retain napopas, we may render 
 
 27 
 
BIRDS. 
 
 ‘ quod mihi inesse vides,' as in Hdt. I. 37 oxne Tiva deiXlrjv poi irapihujv 
 ovt€ advfjLiyy. Or vapopas may mean, ‘ see beyond what I can see; ’ only 
 we should then expect ep.oi and not the enclitic. 
 
 L457. ovpas, i. e. 6 o/>as, Meineke’s conj. for the MSS. reading 
 tovO’ opas. This harmonises the metre with the corresponding line 
 545, but the crasis is ugly. Bentley conj. ov 5 e tout’, <L rav, Xey. 
 
 1 . 460. Join « 4 >’ oTCprrep TTpaypan with rjiceis. 
 
 I.462. With opyco, ‘am eager,’ supply Xeyeiv, as in Thuc. 1. 140 
 opycuvres Kpivuv ra 7 Tpaypt-ara. By TrpoirecjjupaTai he means ' is ready 
 leavened,’ a process preliminary to the final kneading and distribution 
 into the loaves (8iafjuiTT€iv). 
 
 1 . 463. oil kcoXuci, used impers., ‘there is no let or hindrance.’ 
 <j>ep€, irat, crr€<{>avov, addressed to a slave. Orators, on beginning to 
 speak, put a myrtle crown (Eq. 122; Eccl. 131, 147, 163, etc.) upon 
 their brows. But the crown and the washing of the hands are the 
 ordinary prelude to a feast; which Euelpides thinks is about to take 
 place. So Vesp. 1216 vdcvp Kara \ € ^pos. ras rpanefas elacpepeiv | San- 
 vovp.(V dnovevip,p.e 9 '' 77877 airevdopev. 
 
 1 . 465. £t)tco rpC-rraXai, ‘ I have been seeking for ages and ages.’ 
 
 1 . 466. TovTcov, sc. these birds. So far he is speaking to Euel¬ 
 pides, while he seeks some weighty word ‘ which shall crush their 
 spirit.’ Then he turns pathetically and addresses the birds. 
 
 1 . 468. tovSi, sc. Euelpides, SeiKTLKuis. 
 
 1. 471. iroXuirpaypoov, generally used in a bad sense, ‘a busybody;’ 
 but here of one who is ‘ active,’ ‘ observant,’ ‘ bustling.’ Cp. the various 
 uses of airpaypLuv Thuc. 2. 40, 63. Al'a-con-ov. Aesop has the Homeric 
 privilege of a doubtful identity and an uncertain birth-place and date. 
 Perhaps the original lived about 570 b. C. and was a Phrygian slave: 
 but before long he became a sort of abstraction; the accepted source 
 and centre of the various fables, jests, and apothegms that multiplied 
 as time went on. Aristoph. makes several allusions to' him ; Socrates 
 versified some of his apologues, and at a later period Babrius made a 
 collection of the most popular and set them in choliambics. Evidently 
 the fables of Aesop were regarded in Aristophanes’ time as a repertory 
 of things that everyone ought to know : and so it is discreditable not 
 to have ‘ thumbed one’s Aesop.’ This curious use of iraTelv may be a 
 sort of slang, so Eustath. on Od. (1684.47) speaks of a proverb describing 
 those who were ready with a mocking jest ‘ ’A pyiXoxov TTenaTTjKas,’ but 
 cp. also Plat. Phaedr. 373 A tov ye Ttcrtaj/ avruv irendTrjKas afcpipous. 
 
 1 . 472. KcpvSov. The ‘crested-lark’ has the epithet emTv/xl 3 'i 5 ios in 
 Theocr. 7. 23, which the Schol. supposed to refer to the mound-like 
 topknot on the bird’s head. The grotesque story of the lark burying 
 her father in her own head, because in those early ages there was 
 28 
 
NOTES. LINES 457-494. 
 
 not yet any earth to dig a grave in, has some points resembling the 
 legend of the Phoenix. 
 
 1 . 474 - irpoK€i<T 0 cu Trep/Trrcuov, 1 was still laid out for burial on the 
 fifth day, after his death.’ What he was laid out upon, as there was no 
 earth, we are not told. 
 
 1 . 476. K€ 4 >aAf}<nv. A deme of the Acamantid tribe in Attica 
 was called KtcpaXai, which is referred to here for the sake of the pun 
 —buried at £ Headington,’ or ‘ Maidenhead.’ 
 
 1. 479. pv»YX°s Poo-kciv, ‘ to maintain a beak.’ That is to keep the 
 beak in good trim for a fight with the gods. 
 
 1 . 480. ouk a/rroScocret Tax«»>s. The emphasis lies on the adverb: 
 ‘ Zeus won’t be in any hurry to restore the sceptre to the wood-pecker,’ 
 who injures the oaks sacred to him. Meineke and others read cfs for 
 ouk, and the line should then be taken ironically : ‘ Zeus of course will 
 lose no time in restoring.’ Notice airoSwcret, of returning what is due. 
 
 1 . 483. auxLKa, see sup. 166. 
 
 1 . 484. Dareius and Megabazus are chosen as names familiar to 
 Athenian ears ; Dareius is the typical king, Megabazus the typical satrap. 
 Haupt reads very ingeniously tt porepos -navTcov Aapeicov /cal Meyafiafav, 
 comparing, for such a use of the plural, inf. 558 foil., 1222, 1701 ; Ran. 
 928, 963; Ach. 270, 710. 
 
 1 . 486. 8 iaj 3 do-K€i, ‘ straddles ’ or ‘ struts.’ The erect comb of the 
 cock represents the upright head-dress of the Persian kings ( opd-q napa): 
 their subjects wore theirs sloping backwards. Cp. Xen. Anab. 2. 5. 
 23 TTjV 67 TL tt) ne(pa\f) riapav fiacriXei \xbvop egeariv Op6r)V ex eiv - 
 
 1 . 489. vop.ov opOpiov, ‘his matin alto,’ Kenn.; with an allusion to 
 the celebrated vo/xos opdios of Terpander. See on Ach. 16. 
 
 For uird T-rjs pd>p.T]s Mein, reads drrd, with the sense of ‘dating 
 from,’ ‘ in memory of’ that former might. 
 
 1. 492. ■u'rroSTjcTcip.evoL, ‘having put on their shoes.’ Kock, followed 
 by Meineke, would read (unnecessarily) avodvaovres, thus introducing 
 a new profession with ol 8«, viz. the footpads, who rise before day to 
 ‘ strip ’ travellers of their clothes (inf. 712). So Hor. Ep. 1. 2. 32 ut 
 itigulent homines surgunt de node latrones. The adventure described 
 by Euelpides certainly favours Kock’s conjecture : for he says—‘ ay, ask 
 me about that! ’ and then proceeds to relate the loss of his cloak of 
 Phrygian wool. 
 
 1. 493. 81a toCtov, ‘ thanks to the cock ! ’ 
 
 1 . 494. 8€kcltt] v 'T7ai8apiov, ‘ a baby’s naming-feast.’ It was customary 
 on the tenth day after birth for the parents to give a banquet, when 
 the child was named and publicly acknowledged by its father, see inf. 
 922. tnrcmvov, ‘I took a drop’ (euphemism for ‘a drop too much’) 
 ‘ and had just fallen asleep, when this cock crew, before the rest of the 
 
 29 
 
BIRDS. 
 
 party sat down to dinner.’ Euelpides had walked in from the country; 
 had arrived early in the day, and, having taken a dram after his walk, 
 had fallen asleep before the dinner was served. On waking up, he 
 thought it was morning, and immediately set off to go home. 
 
 1 . 496. vojjucras op@pov, 4 thinking it was dawn, I started for Halimus.’ 
 This was a deme of the Leontid tribe, about four miles distant from 
 Athens; the birth-place of the historian Thucydides. Kapn 'irpoKVTrrco, 
 ‘ I scarce peeped out beyond the wall.’ 
 
 1 . 498. a/irepAurc, 1 robbed.’ &Xitt(lv (fieXirra) is the regular word 
 for taking the honey from the hives. Cp. Eq. 794. 
 
 1. 500. KaTfSei^tv irpoKaXivSetcrOai, 4 issued orders that men do pros¬ 
 trate themselves before the Kites.’ So Ran. 1032 ’O p<pevs rjp.iv kolt- 
 (dei£( <p6vcvv airexevQai. This salutation to the Kite was to welcome him 
 as one of the earliest harbingers of spring. Similarly, the stork and 
 swallow were saluted. 
 
 1. 502. €KaXiv8ovp,if]v. Euelpides seems to have made his obeisance 
 the wrong way, and (perhaps, still in liquor) to have rolled over on 
 his back, and so swallowed the small change he was carrying in his 
 mouth. Having lost his money, he was obliged to drag home his 
 meal-bag empty. For this way of carrying coin cp. Eccl. 818 peaTrjv 
 dnfjpa rrjv yvaOov yaXuuv ex (tiV ' I Kaireir’ (\6jpovv (Is ayopav cv dX(pira, 
 Vesp. 609 rj OvyaTrjp rrj yXduTTrj to rpiwfioXov (KKaXaparai, ib. 79 
 
 1 . 507. kokkv. The sound of the cuckoo proved that spring, the 
 harvest time of the south, had come: so that every one must look alive 
 and run out to work. ‘ Cuckoo ! to the harvest-field, ye circumcised ! ’ 
 must have been a proverb in use among Orientals. 
 
 1. 508. icai | 3 acri\ 6 vot. We can give the emphasis by rendering, 
 ‘ if anyone did come to the throne.’ 
 
 1 . 510. o Tt ScopoSoKoup The line 8c upa 6(ovs tt('l6(l, 5 cD p’ aldoiovs 
 QaaiXrjas shows that costly presents were a regular prerogative of 
 royalty. But for the sake of a fling at Lysicrates (said to have been 
 a general, notorious for his corruption) the word 8copo8oKoi-q is intro¬ 
 duced in its technical sense of 4 taking bribes.’ 
 
 1 - 5 H- tiH Attic for fjddv : contracted from tfbea. 
 
 1. 512. €^'\0Ol, 4 came on the stage,’ i. e. through the central door at 
 the back of the Xoydov. ly toicti TpaycoSois, 4 at the tragic representa¬ 
 tions.’ So Demosth. 18. 54 rpaycvdois kcuvois, and similarly in Latin 
 gladiatoribus= ( at the gladiatorial combats,’ Cic. Phil. 2. 19. 3. 
 
 1. 513. 6 8’dp’ clcrTTjKGi, 4 whereas the bird was really perched thereon.’ 
 
 1 . 514. o 8c SeivoraTov . . . o Zevs yap. For a similar explanatory 
 use of yap cp. Demosth. p. 406 6 to'ivvv /zeyccrrov avavToov . . . (3ovXo- 
 likvov yap (fj.ov, Isocr. 361 C 0 5 e ndvroov SavoraTov beiyyi mvtos ydp 
 M ev(£tvov, etc. 
 
 3 ° 
 
NOTES. LINES 496-538. 
 
 1. 5 J 5- T Tjs KecjjaX-rjs is a surprise, for the eagle is not perched 
 
 on the head, but on the sceptre of Zeus, as in the famous Pheidian 
 statue at Olympia. So Find. Pyth 1 . 10 evdei S’ ava OKcnncv Aids 
 cueTGs. It might be more accurately used of Athena and her owl: cp. 
 Eq. 1092 real povdo/cei q 6eds avrq \ ck ttoXcojs eXdeiv, teal yXav£ avrrj 
 ’TTiKaOrjaOai . Apollo is the Oepairouv of Zeus, the Aids -npocpqTqs, and so is 
 represented with a hawk (pavrinds opvis Schol.). But, as Aelian (H. A. 
 1. 47) speaks of the raven as Oepaircov /cal anoXovOos ’AttoXXojvos, it is 
 tempting to alter 0€pamov to f Jepdirov8\ 
 
 1 . 521. Lamport (see Nub. 332) was a celebrated soothsayer and 
 interpreter of oracles. He is said to have foretold the ascendancy of 
 Pericles (Plutarch. Per. 6). He seems to have felt a touch of scruple in 
 his oaths, and to have saved his conscience by swearing vq tov \qva 
 instead of vq tov Z qua. Such methods of evasion are not confined to 
 classical times. 
 
 1 . 523. Mavas. A common name for a male servant was Mavqs, inf. 
 1311, 1329, Pax 1146, and for a female M avia, Ran. 1345. Meineke, 
 following Hermann’s suggestion, would print the line vvv 5’ av Mavas , 
 which would then correspond with inf. 611. 
 
 1 . 525. Kctv Tots lepots. Birds ought to find sanctuary as suppliants 
 in the temples, as the cruel Aristodicus found to his cost, when he took 
 the nests in the temple at Branchidae (Hdt. 1. 159). But Peithetaerus 
 wishes to say that so mercilessly do men persecute birds that even such 
 rights of sanctuary are denied them. So Ion in the temple of the 
 Delphic Apollo says (Eur. Ion 106) irTqvcuv t dykXas at fiXairrovcriv \ 
 akpev' avaOqpara To^oiaiv kpiois | (pvyaSas dqaoptv, and as ibid. 170. It 
 is not worth while to make any conjectures, such as nav toioiv ay pels, 
 which seems pointless. 
 
 I.527. | 3 poxovs, ‘nooses;’ tpKq, ‘ springespaflSovs,‘limed-twigs ;’ 
 vec|)«Xas, ‘gauze-nets;’ Slktuci, ‘clap-nets;’ TrrjKTas, ‘decoy-cages.’ 
 
 1 . 530. ot S’, ‘andthe purchasers.’ p\ip.a£ovTes, ‘ pinching you,’ that is 
 with a thumb and finger on either side of the breast, to test the plumpness. 
 
 I.532. oirrr]crdp,€voi. The emphasis lies in the participle. ‘And 
 they don’t even serve you up (aor. of custom) plain-roast; ’ but they 
 must needs add insult to injury, and dish you up—as we might say— 
 devilled and curried ; in ragouts and salmis. 
 
 1 . 533. tmKvwcriv ( jcvaoj ). Grated cheese is an ingredient in the 
 Homeric Kvatoov II. 11. 639. The word only goes properly with rupov, 
 and is used per zeugma with the other articles. 
 
 1. 538. KeveppeCcov, properly, flesh of cattle that have died instead 
 of being slaughtered; like our ‘ braxey mutton.’ Then, generally, 
 ‘ carrion,’ ‘ offal.’ The aim of cookery should be to bring out the flavour 
 of the meat. It is an insult to cook the birds with piquant sauces, as 
 
 3i 
 
BIRDS. 
 
 though the very taste of them was to be concealed, avrwv is not 
 satisfactory in the sense of ‘actual; ’ Kock reads avow, ‘ dry.’ 
 
 1. 540. cjo-t’ cSaKpwd y’. This seems an almost necessary alter¬ 
 ation for w? of the MSS. 
 
 1 . 541. kcLk^v. Notice the accent. kclkt] — cowardice,’ as Eur. I. T. 
 676 rat 8 ci\iav yap real KaKrjv K€KTi)aopai. 
 
 1 . 543. 4 ir’ 4 p.ov. If this, the MSS. reading, be retained, it may 
 mean ‘ in my very life-time ; ’ as though the parent-birds had surrendered 
 these privileges, after the young generation had actually succeeded to 
 their reversionary rights, and ought to have been consulted as to the 
 abandonment of them. Others read kP kpot with one MS., comparing 
 4 </>’ vpiv sup. 526, ‘ to my harm,’ ‘ against my interests.’ So Aesch. P. V. 
 97 toiov 8 ’ 6 vios rayos paKapcov | k^rjop’ 4 rr’ kpol Secrpov aHKrj, Hdt. 1. 
 61 paOoov 8 e ... ra Troievpeva kir koJVTcv anaWdoaeTo. 
 
 1. 546. avaOeCs crot, ‘having committed to your care.’ So Nub. 
 1453 vp.iv avadels atravTa rapa tt pay para. 
 
 1 . 547. voTTia, i. e. veorria, which some edd. give, omitting re. By 
 oiKtd) (oIk'i(oj) he means, ‘ I will give you a home ; ’ so Soph. O. C. 785. 
 The MSS. give olK-qca), which cannot be right. Meineke reads 
 
 ol/C€T( VG(l). 
 
 1. 550. icai 8f|, ‘well, then: my first lesson is that there should be 
 one city for all the birds.’ Peithetaerus is thinking of the policy of 
 Theseus, who made a single state of Athens, which was before his time 
 Kara teevpas ohcioOficFa (Thuc. I. 10). 
 
 1. 551. tout! to p.€Ta|v, ‘this intervening space;’ sc. pera£v ov- 
 pavov Kal yrjs. See on sup. 188. 
 
 1 - 553 * <*> Ke^pLova Kal IIop<J)vpCcov. Kennedy renders, ‘O Gog and 
 Magog ! ’ Porphyrion is one of the giants who sought to storm heaven 
 (minaci Porphyrion statu Hor. Od. 3. 4. 54) ; and we must suppose 
 that Cebriones is another of the brotherhood. In II. 8. 318 Cebriones 
 is the name of one of the comrades of Hector. The name Porphyrion is 
 chosen, because there is a bird so called, inf. 707, 1249, and perhaps 
 Cebriones is meant to give an echo of KePhrj-nvpis, coupled (sup. 303) 
 with the iropcpvpis. 
 
 1. 554. €Trav€crTTjKr|, ‘if this (citadel) once rise to its threatening 
 height,’ so as to become a real eiuTeixtapa against the gods. 
 
 1 . 555. Yvcuo-Ljxaxirio-r), ‘bend his stubborn will.’ So Bekk. Anecd. 
 228. 27 yvaxnpaxrjcrai • to peTafiovXfvtoOai, Kal rfj-qdrj KeKvpojpevrj yveopri 
 pdx«rOai. Blaydes compares as similar compounds Oeopax^v, virvo- 
 pax*iv (Xen.), Or/piopax^iv, £vyopax*iv. The verb occurs in Herod. 3. 
 7. 25 ; 130 ; 8. 29, where see Schweighauser s. v. The older interpreters, 
 comparing such forms as pvrjcriKaKeiv, sought to render it to yvojvai Try 
 eavrov aaOiveiav rrjv tc to )v kvav t'iojv ioxvv. This may have been 
 32 
 
NOTES. LINES 540 - 574 . 
 
 suggested by the use of the word in Eur. Her. 706 XPV 7» / < vcnpiaxeiv ttjv 
 rjXiKiav. 
 
 1 . 556. iepov 'rroXep.ov, ‘a crusade.’ Cp. Thuc. 1. 112 AaKthaipLovioi 
 tov iepov KaXovfievov noXffxov karpartvoav, Kal KpaTrjoavTes tov kv AeXcpois 
 iepov vapkdocrav AeX<pois. Kal avOis vorepov ’AOrjvmoi dnox^prjcrdvTOiJv 
 avrojv orparevaavres Kal Kpar-qaavres irapkbooav ^cuKevaiv. With the 
 form TrpcjvSav for jrpoavdav cp. irpoimrus for npooTTros. 
 
 1. 562. 0ueiv depends grammatically upon the verbal notion in 
 KjJpuKa, quasi K-qpvTTovTa. The words to Aoittov do not seem to fit with 
 tKXTfpov a/u 0 LS, Beck would read to npurov. 
 
 I.563. Trpoo-veip.ao- 0 ai. The orders are ‘to assign befittingly to all 
 the gods the bird that suits best in each case/ The points of the 
 resemblance or connection between the particular deity and particular 
 bird are mere flimsy jokes on the name or habits of the bird. So, we 
 might say ‘ when one sacrifices to the Goddess of Love, one must 
 sacrifice cakes to the love-bird.’ The Lord of the Seas must be 
 associated in his rites with a sea-bird ; and the glutton Heracles must 
 be paired with a gluttonous cormorant. 
 
 There is an awkwardness in reading irvpous in 11 . 565, 6 ; 
 Meineke would, in the former line, substitute 7 vpovs, ‘ round-cakes,’ 
 ‘ bannocks.’ But the parallelism in the lines is imperfect : some¬ 
 times the offering to the god is described, and sometimes omitted. 
 Thus, no particular offering is quoted for Aphrodite or Heracles ; 
 though the Schol. may have read (Sovv after 'Hpa/cAe'et. The reading of 
 the MSS., pieXiTovTTas (i. e. pieXiToerras or jj.e\iToe< 7 cras, the fem. 
 accus.) suggests /aafas, whereas vacrrous (here and in Plut. 1142) is 
 masc., and probably refers to aprovs. I have followed Meineke’s 
 conj. peXiToCvTas, masc. But possibly the line originally ran rjv 8’ 
 'Hpa/cAeet fiovv ns, vaarovs 6vuv Xapcp rj fieXiroiiTTas. For Out] tis, 
 the reading of the MSS., we must either adopt Ovr/cn (Meineke) ; or Ovy 
 Tt (Bergk), as the a in Acipcp is uniformly short. 
 
 1. 568. opxiAos appears to be ‘ the golden-crested wren; ’ but it 
 may here be rendered ‘ bull-finch ’ to make a ridiculous parallel to 
 a ‘bull-gnat,’ crtptjjov tvopxrjv, who is to be ‘slaughtered’ for the 
 opxfAos. 
 
 1 . 570. T]cr 0 T]v, ‘I’m amused.’ Idiomatic use of aorist, commenting 
 on the words just uttered. So inf. 880, 1743* Th e comic solemnity 
 of the next words is enhanced by the use of the serious Doric dialect. 
 
 ‘ Zeus may thunder an he will; he is inferior to the finch and his 
 flies.’ 
 
 1 . 574. auTtKa. See sup. 166. The most famous statue of Victory, 
 was the ~N'lktj aiTTepos, whose Temple was near the Propylaea. She 
 was so represented to suggest that her home was fixed in Athens. 
 
 c 33 
 
BIRDS. 
 
 But the N lkt) in the right hand of the Olympian Zeus had golden 
 wings. 
 
 1 - 575 - T Ipiv. In II. 5. 778 Hera and Athena are thus described, 
 at 8k fiaTrjv Tprjpaxn ireXeidoiu W/iaO' o/xotai. This has induced most 
 editors to read "H prjv or "H pav for 9 I piv. But the Schol. reminds us 
 oi 8k kv krepois TroLrjfiaanv 'Ofirjpov <paai tovto cpkpeaOai’ elal yap avrov 
 Kal vfxvoi. And in Hymn 1. 114 the same words occur descriptive 
 of the movements of Iris and Eileithyia. 
 
 1 . 576. It is difficult to decide to whom this line is to be assigned. 
 The MSS. generally give it to Hoopoe, reading Trcp,\|j€L, as though 
 he felt some misgiving at all this record of ‘ wings,’ which Peithetaerus 
 is glibly repeating. It seems more natural to follow Bentley, in treating 
 the line as one of the unexpected and grotesque comments made by 
 Euelpides. This bit of fun is lost if we follow Meineke in making 
 the line part of Peithetaerus’ argument. 
 
 1. 577. vopiowi, sc. avQpojnoi, ‘if men in their ignorance account 
 us as nought, and regard those beings in Olympus as gods.’ Cp. 
 Eur. Rhes. 821 rj tov "E/cropa j to p,rj8kv elvai Kal Katcov vopi^ere. 
 
 1 . 579. dypcov. The initial a being regularly used short, Kock 
 would read epyojv, ‘tilled lands.’ So ’ipy 1 dvOpunraiv Od. 6. 259. 
 
 1 . 580. pcTpeiTu), ‘keep up her dole.’ Demeter is regarded as 
 the great distributer of grain. But there is an allusion to the glto- 
 800'iai, frequent, in Athens in time of scarcity. Now, these doles were 
 often scamped; and Euelpides, in his amusing comment, expects 
 to see the Corn-goddess, when reduced to difficulties by the action 
 of the birds, as fertile in excuses as the M erpovopLoi and II poixtTpqrai 
 in Athens, whose ‘ non possumus ’ was often simple unwillingness 
 (oiik cOcAiqcrei). 
 
 1 , 583. €KKo\|/dvT(ov, aor. imperat. cm mipa, * by way of test.’ 
 So Menand. 4. 104 knl irdpa 5 oi)s rpiaKovO ’ rj/akpas. 
 
 1. 584. p,icr0o<{>opei 8c, ‘he takes fees,’ which ought to imply skill. 
 No doubt there is an allusion to the grasping rapacity of Athenian 
 doctors, represented by their tutelary god. But Apollo’s /xLaOocpopia 
 alludes to payment from Laomedon for the god’s service in building 
 the walls of Troy ; and from Admetus, for his work as shepherd. 
 
 1 . 585. p,Tj. That is, ‘don’t let the birds commence their operations 
 till I have sold off my pair of bullocks, so as to be out of harm’s 
 way.’ 
 
 1 . 586. ere 0 cov, crc | 3 iov. Commentators have made various at¬ 
 tempts to improve this list. Perhaps it is best in its unimproved state. 
 ‘ Mortals will find all blessings are theirs, so soon as they realise that 
 the birds alone are the powers of earth, air, and sea : the true divinities, 
 the actual source of livelihood.’ The general result is not unlike the 
 
 34 
 
NOTES. LINES 575 ~ 6 ^ 7 . 
 
 pantheistic doctrine in Aesch. Frag. 295 Zeus konv aWrjp, Zeus 5 e 7 77, 
 Zeus 5 ’ ovpavos. 
 
 1 . 593. p.avT€vo|Aev<ns, ‘when they consult the oracles.’ There 
 seems no reason why Cobet should seek to alter t<x p-eraM’ into to. 
 fxev a\\\ We can imagine a productive mine being discovered by 
 some form of divination. But, in that case, Bergk’s conj. Seigovan for 
 Stoorovo-u, which may be only an echo of 5 cu(ro/iei/ (sup.), seems to be 
 an improvement. 
 
 1. 598. yauXos is a bluff, rounded vessel, fit for carrying merchandise, 
 like the (poprls eupefa of Od. 5. 250. These words of Euelpides are 
 a sort of ‘ aside.’ 
 
 1 . 601. 'rrXiqv ci tis ap’ opvis. So, to describe an inscrutable 
 mystery, Job (cap. 28.7) says, ‘ There is a path which no fowl knoweth, 
 and which the vulture’s eye hath not seen.’ 
 
 1 . 602. Euelpides represents the sanguine, speculative Athenian, 
 always caught by any new scheme. By t<xs uSpCas he means ‘ the 
 earthen pots,’ in which he takes for granted the treasure is safely buried : 
 Horace’s urnam argenti Sat. 2. 6. 10. 
 
 1 . 604. o-dj)’ ur 0 i. Dobree seems right in letting Euelpides break 
 in at this place, as the remark is quite in his particular vein: ‘You 
 may be sure of that; for it’s absolutely certain that no man when he’s 
 doing badly can be in a healthy state.’ This is a rough description of 
 irXovdvyUia inf. 731, Eq. 1100, Vesp. 647. For the sentiment cp. 
 Soph. ap. Stob. Flor. 91. 28 eptot S’ ouSets bo/cei | eti mi, irevrjs tbv, avooos, 
 a\\' del voaeiv. Of course kclkms irpaTToov is used in a double sense here. 
 
 1 . 609. -nrevTe. Hesiod, Frag. 163, assigns the croaking raven nine 
 generations, kvvea tol faei 7eveas XaKepvfa Kopojvrj | avdpuiv f)&<x)VTuv. 
 
 1 . 610. a’i|3oi ( admirantis , as inf. 1342), ‘Ha! ha! these birds are 
 far better kings to have on the throne for us than Zeus (can ever be) ! ’ 
 
 1 . 611. ou 7<lp ttoXXco ; see on sup. 523. If we read there vvv 
 S’ av Mcu/ds, the present needs no addition: otherwise we must 
 recognise a lacuna of two anapaests, or we must fill up the line in some 
 such way as this, ou 7 ap ttoWo> Kpeirrovs, ttoX\o> ; ‘ why, are they not far, 
 far better ? ’ 
 
 1 . 616. tois 8’ au o-epvots. The ordinary birds will be content 
 with a thicket for their home: and the ‘right-reverend’ birds of the 
 highest class will want no better temple than an olive-tree. 
 
 1. 618. AcX^ous . . , v Apptova. That is, to the oracle of Apollo 
 at Delphi and of Zeus in Libya. 
 
 1. 627. 4>l\t<xt[ 6]. Here the adjective, which should naturally 
 be in the nominative, as predicative addition to the participle, is 
 drawn into the vocative, by the effect of the interjection. So 1 heoc. 
 17. 66 K<jope , 7eVoto. But cjuXTo/re must still be construed with 
 
 c 2 35 
 
BIRDS. 
 
 irpeo-p-UTtov notwithstanding the participle. ‘ O dearest by far of old 
 men in my eyes, changing thereto from the worst of foes.’ Cp. Lycurg. 
 in Leocr. 60 avOpcuircv £cjvti eAms e/c tov /caucus 7 rpa£ai pieranecreLV. 
 
 1 . 630. €7TT]TreC\ir]o-a. So knaveiAovuTes Vesp. 670. ‘ I give due 
 
 warning.’ The aor. like ijcrOrjv sup. 570. 
 
 1 . 631. Trap 5 «p,€ Gtpevos. Modelled on the regular military phrase, 
 aveivev 6 tcr)pv£ Ti6ea6ai trap’ avrous rd onAa. Perhaps ‘ bringing your 
 counsels into close touch with mine.’ The epithets which follow 
 belong to the regular phraseology of treaties and alliances: so Thuc. 
 5. 18. 9 epcpevcu Tais ^vvOrjuats ual rats crvovdais raicrde Sttcaicus teal aSoAcus. 
 
 1. 633. cm Gcoijs, sc. ‘to attack the gods.’ 
 
 1. 635. Tpiil^Vj ‘shall handle:’ properly of things worn away by 
 constant rubbing. 
 
 1 . 637. dvd,K€iTcu, ‘are committed.’ For tm <xo£ Mein, reads hi 
 aoL But avatcacdai is generally used with eis nva as Hdt. 1. 97; 
 or with simple personal dat. as Eur. Bacch. 934. In Antiphon 5. 6 
 we find enl Trj tvxV av&tceirai. 
 
 1 . 639. p^AAoviKiav, ‘ to shilly shally Nicias-like.’ The reference here 
 is not to the delay at the siege of Pylos, but to the hesitancy of Nicias 
 in despatching the Athenian fleet on the Sicilian expedition. See 
 Thuc. 6. 25 teal reAos TrapekOcuv tls tcuv 5 AOrjva'uuv (sc. Demostratus, 
 Plut. Nic. 12) teal it a pate aAe a as tov N adav ovtc e<pr] xpV uai TfpocpaCL^eoQai 
 oitde 8iap,eAAa.v, aAA’ kvavriov airavTcov rjdTj Aeyeiv rjvnva avrat trapa- 
 ouevrjv 'AdrjvaToi iprjtplcrcovTai. Such words as pceAAovttciav have analogies 
 in every language. So we use to ‘ hector/ to 4 burke/ to 4 boycott.’ 
 
 I.642. Kap<})7] and c^pvyava, ‘chips and faggots/ are the modest 
 words with which Hoopoe describes the materials of his nest. For the 
 juxtaposition of plur. tlo-eXOeTe and dual <J>pao-aTov cp. Plut. 73, 75-6, 
 Pax 414, 5. 
 
 1 . 644. tco tC ; These words seem to belong properly to Hoopoe. 
 Most editions continue the line to Peithetaerus, and read ro; 5 eSt, see 
 sup. 11. 
 
 1 . 645. KpuoGev. This deme called indifferently K pios and K picua 
 belonged to the Antiochid tribe. 
 
 1. 648. to 8etva. ‘ Ita loquuntur quibus subito in mentem venit 
 aliquid rogare aut monere quod in rem praesentem faciat, cuius adhuc 
 fuerint immemores/ Cobet v. 1 . p. 108. Cp. Lysist. 921 tcaiToi to 
 8eiva’ WiaOus ear kgoicrrea, ib. 926, Pax 268 to 8eha yap | cutoAcvA ’ 
 ’ AOr^vaioiGLV aAerplPavos. We may trans. ‘ but, by the bye.’ timva- 
 Kpoucrai. The regular phrase is Trpvpcvav tcpoveoOai or ava/cpoveaOai , 
 ‘ to back water ; ’ ‘ come astern.’ 
 
 1 . 651. Alo-to-n-ov. The Schol. refers to Archilochus, not to Aesop, 
 the fable about the fox ‘ going shares with ’ the eagle. The eagle 
 36 
 
NOTES. LINES 630-684. 
 
 carried off the fox-cubs to its eyrie in the tree-top, and there the 
 fox, whose hole was at the foot of the tree, could not pursue. The 
 construction is a mixture of tt\v aXcuneKa Koivoovrjaai and a/y f/ aXtuirrjg 
 kKoivwvrjaev. Similarly Nub. 95 ot tov ovpavov | Xeyovres avairdOovoiv 
 ws koriv irviyevs, where A eyovres is equivalent to ccttIv Xeyopevov, in the 
 present passage. 
 
 1 . 653. <f>\aupcos, ‘ unsatisfactorily;’ to her own harm. So Hdt. 6. 94 
 Mapdoviov (pXavpoJS Trprjgavra rai oroXcp napaXvei rrj y OTpaTrjy'ias. 
 
 1 . 656. ovtco , ‘ on these terms then ; ’ = wy cD 5 ’ exovroov. SavOCa. Xan- 
 thias is the name of the slave at the opening of the ‘ Frogs,’ and ‘Wasps.’ 
 Manodorus is formed from the name Mav^y sup. 523, inf. 1329. The 
 presence of the two slaves has been implied already, sup. 434. 
 
 I.657. T< * o’TpwjxaTa, ‘ the baggage; ’ properly ‘bedding,’ as in 
 Ran. 8, 165. 
 
 1 . 663. €Kj 3 i| 3 a<Tov auToO. The Schol. interprets auToO as avToOt, kv 
 rep Ocarpcv. But, as Euelpides is already on the stage himself, we 
 should rather expect kv 9 a 5 e or SeCpo. Meineke would read avrois — 1 at 
 their request.’ The player representing the Nightingale comes on the 
 stage in female dress gaily ornamented, but wearing a mask to represent 
 a bird’s head with a sharp bill, like a pair of scissors. 
 
 1 . 670. wcrirep-irapOtvos. So in Ach. 258 the daughter of Dicaeopolis 
 is warned to take good care in the crowd of her golden trinkets (t a \P V ~ 
 01a) ; cp. Horn. II. 3. 872 oy nai xputfov ex^ v TToXepujvd ’Uv, rjvrc novp-q. 
 
 1 . 671. Kav cj)iXfjcrai p,ot Sokw. ‘I’m inclined to think that I could 
 kiss her.’ Cp. Eq. 620 ds kyu p.01 5 okSj Kav paKpdv obov SieXdeiv wot’ 
 aKovoai. 
 
 1 . 674. to X«pp,a, ‘the shell,’ suggested by aov. Probably as the 
 player could not play the flute while wearing such a mask, the coarse 
 attentions of Euelpides are used as an opportunity for its removal. 
 
 1. 675. T^xdYaefj, see on sup. 435. 
 
 1 . 682. KaXXi| 36 av avXov, here, and in Soph. Trach. 640. KptK€iv, 
 according to the Schol., is Kvp'iojs ttjv KiOapav npovav. See inf. 77 J - 
 Here used loosely of the sound of the flute. 
 
 1 . 684. apxou, ‘ lead off.’ This introductory lyric by the Chorus is 
 called the Kop.pd.TLov ( 11 . 676-684). The Parabasis proper extends 
 from 1 . 685-722 in anapaestic tetrameters. The uviyos or paKpov 
 ( 11 . 723—736) is an ordinary anapaestic system. The to8f] ( 11 . 737 ~ 75 2 . 
 corresponds to the avTcoSrj ( 11 . 769-784). Between the o > 8 t ) and 
 avTcpSiq comes the empp^pa ( 11 . 753-768) answered by the dvT€TTLppT]pa 
 ( 11 . 785-800), both in trochaic tetrameters. The Parabasis, in a tone 
 of mock solemnity relieved by many comic touches, is a parody on the 
 poets and philosophers, who had speculated on the origin of the 
 Universe, and theories of evolution. Its general form follows, no doubt, 
 
 37 
 
BIRDS. 
 
 the genealogies in the Orphic Hymns: but Hesiod is also laid under 
 contribution ; and the dicta of the Ionian physicists, of Empedocles and 
 Anaxagoras, are utilised to give a philosophic flavour to the whole. 
 Special occasion is taken to throw ridicule upon the famous sophist, 
 Prodicus of Ceos, who was still lecturing and writing at Athens. 
 
 1 . 685. d|xaup 6 | 3 ioi. Following the idea of the Homeric phrase 
 ddaiXov apavpov (Od. 4. 824), we must assign to this word something 
 of the notion of o-taoeiSea.: perhaps ‘ unsubstantial. 3 The simile of the 
 ‘ leaves ’ comes from Horn. II. 6. 146 oirj rrep cpuXXow yevcrj, toitj 8( fcal 
 dv8pwv. | <pv XXa ra pev r avepos x a l^b.8is x* 6l > &XXa 5e 0’ vXrj | TrjXeOoojaa 
 (pvei' eapos 5 ’ emylyveTcu wprp \ ws dvhp&v yeverj rj p\v (pvei r/ 8’ 
 diroX-qyu. 
 
 1. 686. 6Xi*yo8pavees, ‘ ineffective ; ’ equivalent to the Homeric dXiyrj- 
 ireXeojv. Cp. Aesch. P. V. 547 rts kcpapepicvv api)£is; ovd’ (8epxdr]S \ 
 bXiyohpaviav olklkvv | loovapov, a to cpcoTcuv \ aXaov yevos kpireirodiapevov. 
 
 In the word ir^Xo-O we have th o. princeps limus of Hor. Od. 1. 16. 
 13. With crKioeiSea cp. Soph. Aj. 125 opoj yap rjpas ovSev ovras aXXo 
 TrXrjv | (i8qjX\ ocronrep £u>pev, rj Kov<prjv anidv. In dp,evr]va we find the 
 Homeric v(kvojv dpevr/va, Kaprjva Od. 10. 521. But the word must 
 have been regarded as of doubtful meaning at Athens ; for in the play 
 of the AaiTaXijs by Aristophanes the question is asked, ti rcaXovcr' 
 apevrjva ndpr\va ; Perhaps it was indifferently referred to pevos and 
 pevoo, and might either mean ‘ weakly,’ or ‘ transitory.’ 
 
 1 . 687. TaXa-oid Though this form is not elsewhere found there is 
 nothing anomalous in it. The Schol. interprets rightly by TXijrraOds, 
 adding however, evioi 5 e to TaXaoi 8iaipovcnv &ot( elvai aXaoi. But 
 this would cause a very doubtful hiatus. 
 
 1 . 688. aiev eovcri. Note the use of the Epic dialect. 
 
 1 . 689. ac|> 0 iTa p,T)8op.€voun.v, ‘ forming designs that fail not.’ The 
 nearest equivalent to this phrase is II. 24. 88 Zei/s acpOira prjbea 
 eldcus. 
 
 1. 690. opOws, ‘ correctly ; ’ according to the accuracy of the latest 
 science, as in Nub. 638. 
 
 I.692. trap’ epo-u. Join with (Ittt\t(, as in Lucian Dial. Mort. t. 2 
 av 8e olpui^eiv avTOis irap 3 hpov Xtyc. ‘ That you may bid Prodicus, 
 with my compliments—to be hanged.’ KXdeiv, a surprise for x ai P eLV - 
 Prodicus, say the birds, was all very well, but our speculations far 
 surpass his in originality and accuracy. 
 
 1 . 693. The following Ornithogonia is impartially eclectic. It leads 
 off in the language of Hesiod Theog. 116 t/tol pev npaiTiara x<*os y ever', 
 avTap 67 reiTa | Taf 3 evpvcTTepvos, navTOUv (80s acr<paXes aid, | T apTapa t 
 rjepoevTa pvxy xQ° v ° s d>pvo8drjs, | 778’ ’'Epos, ib. 123 e/c x^eo? 5 ’ 
 ’'E p(fios T6 peXaiva re Nu£ eyevovT0. Then (Lobeck Aglaoph. 1. 
 38 
 
NOTES. LINES 685 - 712 . 
 
 470 foil.) follows the phraseology of the Orphic cosmogony, which 
 begins with dyevvyros xp^os, from which spring Aether and Chaos. 
 Chaos forms itself into an deov apyvcpeov, from which egg there 
 bursts forth a being called Phanes , otherwise known as Eros , xp vae 
 irrepvyeaai cpopevpevos evOa /cal ev6a. 
 
 1 . 694. yf| 8’ ou8’ drip. For the negative to be supplied before 
 cp. Eur. Troad. 477 ousTpajas ov 5 ’ 'EAA^vts ovde fiapfiapos | yvvfj retcovaa 
 /copiraaetev av vore. 
 
 I.695. tnrrjvejwov. The ‘ wind-egg ’ is properly the unfertilized egg 
 of a pullet. According to Pliny N. H. 10. 60. 80 quidam et vento 
 piitant ea (sc. ra viryvepia) generari. 
 
 1 . 697 avepcoKecri. So Eur. Phoen. 163 aveptu/ceos ei'Oe dpopov vecpe- 
 Aas noalv e£avvoaipi dd aWepos. 
 
 1 . 698. irrepofrVTi is an unexpected epithet for Xdo?. Perhaps ov to ? 
 xdfi (vpuievTi or yepoevn should be read; and for vuxtco, vvxios or 
 vvxiov. 
 
 1. 702. d)8e, as being the first offspring of the first god. 
 
 1 . 703* v Epo>Tos, sc. re/cva. With ttoWois = ‘ multis argumentis,' 
 cp. Ran. 1484 napa (irdpeaTi) 5e voWoicnv paOeiv. 
 
 1 . 705. c.TTO|Aa)|xoK6Tas, ‘who have abjured (love).’ irpos Tcpp-acriv, 
 apparently, ‘ on the outskirts of their prime ; ’ as reppa may mean 
 the edge nearest to or furthest from the eye. The interpretation of 
 the Schol., pera ryv veoryra, does not suit well with the character 
 of the presents, which are appropriate to the very young. 
 
 1. 707. opTv£. Keeping quails was a perfect passion with the 
 Athenians (dprvyo pavia). For irop4>vpicjv, some species of ‘coot,’ 
 see on sup. 553. 
 
 1. 710. yepavos. The ‘ screaming crane ’ migrates to the south when 
 the cold weather sets in, II. 3. 3 yvre irep /cXayyy yepavojv neXei ov- 
 pavoQi 7 rpo - | at r 5 6776i ovv x* i pwva <pvyov /cal dOlacparov dp&pov, \ icXayyy 
 rai ye verovrai en’ ’Cl/ceavoio poacuv, Hesiod Opp. et Di. 446 <ppa£ecr9ai 
 5’ cvt’ av yepavov (pcovyv e-na/covays , | y t' aporoio re ay pa <pepei /cat 
 Xdparos u/pyv | dei/cvvei bpfipypov. 
 
 1 . 711 . TT 7 ] 8 d\lOV. After putting into port for the winter, the 
 skipper unships his rudder (steering paddle), and hangs it in the smoke 
 to preserve the wood, ties. Opp. et Di. 45 aftpa /ce irydaXiov pev inrep 
 /cairvov KaraOeio, ib. 627 irydaXiov 5 ’ evepyes vnep /carrvov KpepaoaoOai, 
 
 \ avrus 8 ’ dpaiov plpveiv xpbvov elao/cev eX6y. 
 
 1 . 712 . ’OptCTTT]. Nickname of a famous footpad, whose particular 
 profession was robbing travellers (dTroSurj) of their clothes. See inf. 
 1491, Acharn. 1166 /carageie tis avrq> peOvcvv rys /cecpaXys O pearys. 
 The origin of the name is unknown : but the Schol. states that he 
 * feigned madness,’ pavlav TcpoaTroiovpevos ev tu> anbrei tovs avOpcvnovs 
 
 39 
 
BIRDS. 
 
 antSvev. The joke is, that if Orestes be provided with a warm cloak 
 for himself, he will have less temptation to rob. 
 
 1. 717. cXGovtcs, ‘for having first paid a visit to the birds (fiavrev- 
 crapevoi yap TTpcurov ht tcjv dpveop.avT(wv) you then betake yourselves to 
 your respective pursuits (ovtojs ini tcL epya xcupefre Schol.).’ 
 
 1 . 718. irpos ydjxov avSpos. For av8pos Dind. would read avSpes, 
 Meineke aAA os. Neither is convincing ; but dvSpos can hardly be justi¬ 
 fied, even by interpreting it ‘ marriage with a husband.’ This would 
 require a different subject to Tptrreo- 06 . 
 
 1 . 719. opviv. The ambiguity disappears in a translation, opvis, 
 beside the general meaning ‘ bird,’ has the special meaning ‘ omen,’ like 
 oIojvos II. 12. 243, etc. ‘You regard as a (bird of) omen everything 
 that gives an interpretation in a matter of divination.’ 4 >r]p.ir] (or K\r/ 5 uv) 
 is an augury drawn from some chance word or expression used without 
 any special intention by the speaker. So Augustine was led to the 
 study of the Bible by hearing an artless child singing the words tolle 
 lege , ‘ take it up and read it! ’ For the effect produced by 'rrrapp.os cp. 
 Xen. Anab. 3. 2. 5, Horn. Od. 17. 541. £vp,j 3 oAos (or £vp,(io\ov), ‘a 
 chance meeting; ’ objects seen by a traveller when starting upon or 
 actually engaged in a journey. To meet a Gepa/n-cuv would be one of 
 these significant £vp.fio\a. It seems impossible to distinguish <J>fjp,-r) 
 from 4>covfi, and to describe the latter as a human voice, and the former 
 as superhuman. It is more likely that 4 >wvt|, ‘sound,’ is wider than 
 < prjpr]. E. g. the significant braying of the ovos would come under the 
 head of <j>G>vf|. Cp. Aesch. P. V. 485 Kanpiva irpcuTos !£ oveipar ojv a 
 Xprj | virap yfvloOai, nXyhovas re Svcrfcplrovs | eyvcupia’ avTois, kvodiovs tc 
 ovpISoXovs, | yap.\pajvvxojv re TTTrjcnv olojvujv o/ceOpcvs | fiicupiaa. 
 
 The following is a translation in corresponding metre by Mr. A. C. 
 Swinburne of the above passage ( 11 . 685-723); appearing in the 
 Athenaetun , No. 2766, Oct. 30, 1880. 
 
 Come on then ye dwellers by nature in darkness, and like to the 
 leaves’ generations, 
 
 That are little of might, that are moulded of mire, unenduring and 
 shadow-like nations, 
 
 Poor plumeless ephemerals, comfortless mortals, as visions of shadows 
 fast fleeing, 
 
 Lift up your mind unto us that are deathless, and dateless the date 
 of our being: 
 
 Us, children of heaven, ageless for aye, us, all of whose thoughts 
 are eternal; 
 
 That ye may from henceforth, having heard of us all things aright 
 as to matters supernal, 
 
NOTES. LINES 717 - 719 . 
 
 Of the being of birds, and beginning of gods, and of streams, and 
 the dark beyond reaching, 
 
 Truthfully knowing aright, in my name bid Prodicus pack with 
 his preaching. 
 
 It was Chaos and Night at the first, and the blackness of darkness, 
 and Hell’s broad border, 
 
 Earth was not, nor air, neither heaven; when in depths of the womb 
 of the dark without order 
 
 First thing first-born of the black-plumed night was a wind-egg hatched 
 in her bosom, 
 
 Whence timely with seasons revolving again sweet Love burst out 
 as a blossom, 
 
 Gold wings gleaming forth of his back, like whirlwinds gustily turning. 
 
 He, after his wedlock with Chaos, whose wings are of darkness, in 
 Hell broad-burning, 
 
 For his nestlings begat him the race of us first, and upraised us to 
 light new-lighted, 
 
 And before this was not the race of the gods, until all things by 
 Love were united: 
 
 And of kind united with kind in communion of nature the sky 
 and the sea are 
 
 Brought forth, and the earth and the race of the gods everlasting 
 and blest. So that we are 
 
 Far away the most ancient of all things blest. And that we are 
 of Love’s generation 
 
 There are manifest manifold signs. We have wings, and with us 
 have the Loves habitation; 
 
 And manifold fair young folk that foreswore love once, ere the 
 blooyi of them ended, 
 
 Have the men that pursued and desired them subdued, by the help 
 of us only befriended, 
 
 Wit)/ such baits as a quail, a flamingo, a goose, or a cock’s comb 
 staring and splendid. 
 
 All best good things that befall men come from us birds, as is 
 plain to all reason ; 
 
 For first we proclaim and make known to them spring, and the 
 winter and autumn in season: 
 
 Bid sow, when the crane starts clanging for Afric, in shrill-voiced 
 emigrant number, 
 
 And calls to the pilot to hang up his rudder again for the season, 
 and slumber; 
 
 And then weave cloak for Orestes the thief, lest he strip men of 
 theirs if it freezes. 
 
 4 1 
 
BIRDS. 
 
 And again thereafter the kite reappearing announces a change in 
 the breezes, 
 
 And that here is the season for shearing your sheep of their spring 
 wool. Then does the swallow 
 
 Give you notice to sell your greatcoat, and provide something light 
 for the heat that ’s to follow. 
 
 Thus are we as Ammon or Delphi unto you, Dodona, nay, Phoebus 
 Apollo. 
 
 For, as first ye come all to get auguries of birds, even such is in all 
 things your carriage, 
 
 Be the matter a matter of trade or of earning your bread, or of any 
 one’s marriage. 
 
 And all things ye lay to the charge of a bird that belongs to dis¬ 
 cerning prediction: 
 
 Winged fame is a bird, as you reckon ; you sneeze, and the sign ’s 
 as a bird for conviction : 
 
 All tokens are ‘ birds ’ with you—sounds too, and lackeys, and donkeys. 
 Then must it not follow 
 
 That we are to you all as the manifest godhead that speaks in 
 prophetic Apollo? 
 
 1 . 724. |xdvT6cri Moucrais. ‘You will be able to use them as your 
 seers and poets.’ So far, all is easy ; but avpcus, a>pais, etc. seem 
 quite unintelligible. The general sense ought to be that the birds 
 will be accessible to those who wish to consult them, at all times and 
 seasons. We might read rrdaais upais, or, perhaps, as nearer to avpais, 
 we might suggest avrais wpcus, ‘at the very seasons when we want 
 them, in winter, in summer, and when the swinking heat cools down.’ 
 It does not seem possible to make avpcus equivalent to any particular 
 season of the year: e. g. ‘ the mild breezes of spring.’ Kock would 
 read avpcus Xiapais xclplwvi (or Bergk avpais r;pos xec/duvi) : mild breezes 
 in winter; and in summer, tempered heats! But this does not seem 
 the sort of promise the birds are making. 
 
 1 . 727. aep.vuvop.6voi, ‘putting on haughty airs,’ as in Ran. 1020 
 Zeus ve<pc\T]ycpcTT]s sits on a level with his clouds, keeping away from 
 human turmoil; ‘ the clouds are lightly curled, round about their 
 golden houses.’ Cp. Pax 207, of the gods, avrol S’ dvcpicioavQ' ottojs 
 dvcuTCLTOJ | iva plt) j6Ae'7 roiev piaxopLcvovs vpias eri, | /xr/d’ aVTifioXovvTovv 
 pnrjhcv aloOavolaro. 
 
 734 - •yaAd t’ opvCGcov, as inf. 1673, Vesp. 508. Pigeon’s milk is 
 our colloquial equivalent for an unattainable rarity. 
 
 1. 739. TroiKCXir], here of the nightingale’s ‘ varied note,’ 77 re Oapta 
 TpajTTtjjoa TToXvrjxia <pojvr]v Od. 19. 522. See inf. 1411. • 
 
 42 
 
NOTES. LINES 724 - 764 . 
 
 1. 745- J°i n tepovs v °H-ous p^Xcoov IlavC, ‘sacred strains of melody 
 in honour of Pan.’ The cult of Pan, the god of the Arcadian high¬ 
 lands, was introduced into Athens after the battle of Marathon. 
 He was worshipped (Pind. Pyth. 3. 78 (138)) along with Cybele, 
 
 ‘ the mountain-mother,’ whose rites passed into Attica from the coast 
 of Asia Minor. 
 
 1 . 748. €V 0 €V, SC. <X 7 TO TWV I /XU)V TtOlTjpaTOOV CUCHTep fM(\lTTa CLTUfiuaKiTO. 
 Phrynichus here is not the comic, but the tragic, poet (Ran. 910, 1299), 
 whose choric songs were especially popular in Athens. Old Philocleon 
 (Vesp. 269) goes to court humming snatches from his songs, ixkX-q 
 dpx^op.€\LCidojvo<ppwixr]P aTa ib. 220. ‘He fed on the fruit of im¬ 
 mortal lays drawing therefrom sweet song.’ Horace (Od. 4. 2. 27) 
 compares himself to the apis Matina , culling sweets from every flower. 
 
 1. 754. Sia-rrAcKeiv, sc. tov fi'iov, as in Hdt. 5. 92; 4. 205; ‘to 
 bring to completion ;’ ‘finish weaving the web.’ 
 
 1 . 755. 4 v 0 d 8 ’, sc. at Athens, in contrast to ticet Trap’ i]|xtv. 
 
 1 . 759. aipe 'irX^KTpov, metaphor from cock-fighting: ‘lift your 
 spur.’ The cocks’ spurs were armed with a sharp point of metal, 
 cfi( 3 oXa xaXxa Schol. 
 
 1 . 760. 4 <ttiy[X€vos. Runaway slaves were often branded with a 
 hot iron (< TTiy/xarias Lysist. 331). For di-Tayas see sup. 249. The 
 speckled plumage of the bird is described in Athen. 9. 387 oAoy Sk 
 Karaypacpos ra irepl to vCjtov. 
 
 1 . 763. The 4 >P u Y^ os > an unknown bird, chosen here to make 
 a jingle with ^pu : . ‘ If he be a ruffian from Phrygia, he shall reckon 
 
 as a “ruff.”’ We gather from the text that both Spintharus and 
 Philemon were foreigners. 
 
 1 . 764. For Execestides see on sup. 11. Many of the slaves or 
 mercenaries in Athens were Carians. According to Aelian the irdinros, 
 ‘ grand sire,’ was the bird in whose nest the cuckoo laid its egg: so, 
 
 o ' 
 
 perhaps, the ‘hedge-sparrow.’ Now, to make good his claim to 
 Athenian citizenship a man had to show his descent, to point to his 
 Trairirot or ancestors. Then there would be no difficulty in enrolling 
 him in his proper <ppa.Tpia, or division of the tribe to which he was 
 proved to belong. Here, by an inversion of the ordinary process, 
 a man ‘ may get grandsires in birdland,’ and ‘ tribesmen will at once be 
 found.’ In Latin, a similar pun might be worked with avis and avus. 
 Kennedy thinks that the secondary meaning in irainros here is the 
 soft down of half-fledged birds, like the ‘pappus’ of the thistle or 
 dandelion; and that in 4 >P° LT€ P 6S there is an allusion to the full 
 feathers of the mature bird. Cp. Ran. 418 6 ? enrerys dv ovk k(f>vae 
 cpparepas. The ‘ downy cove ’ might soon ‘ plume himself on his 
 family-connections. 
 
 43 
 
BIRDS. 
 
 1 . 766. 6 TleicrCov. This is said to refer to Meles, KidapcySbs kcucigtos, 
 and father of the dithyrambic poet Cinesias. The allusion to opening 
 of the gates is unknown. The Schol. suggests that the axipot are 
 some of those outlawed for their connection with the Mutilation of 
 the Hermae. This Meles , a true ‘ chip of the old block,’ or rather 
 ‘ true chick of the old fowl,’ may change into a partridge, and ‘ dodge 
 away, partridge-like.’ The partridge, like many other birds, will 
 pretend to be injured and unable to fly, and will thus draw away the 
 hunter from its nest or brood. Some see in the word eKirepSucio-at 
 an allusion to the ‘ artful dodger ’ Perdiccas, king of Thrace, whom 
 the Athenians had found to be a most untrustworthy ally. 
 
 1. 769. xoiaBe, ‘ in such wise,’ accus. adverbial, like ravra = * for 
 these reasons.’ 
 
 1 . 772. KpeKovTes (see on sup. 682) with Pofjv, as f}8v Kplnovaa 
 /i€\os Anthol. 193. 3, and upl/ccuv nkXabov ib. 196, of the grasshopper. 
 The accus. ’AxroXXco depends on I'&xov (al. lafcxov). 
 
 1 . 774. ''Ej 3 pov. The river Hebrus in Thrace, flowing from Mt. 
 Rhodope, is the scene of the tragical end of Orpheus. 
 
 1 . 781. avaKxas, sc. the gods, suggested by the word Olympus. 
 Cp. 6 eu)v aeKTjTi avcutTcuv Od. 12. 290 ; and for the expression 6 a/xl 3 os 5 ’ 
 f'/Ve Travras idovras Od. 3. 372. 
 
 1. 786. aurix’, see on 166 sup. ' 
 
 1 . 787. xpaycoScov. The dramatic performances at Athens began very 
 early in the morning. Cp. Aeschin. 3. 76 Arjp-oaOevqs a/xa rfj f/piepq 
 f/ydro tois -rrpiofitoiv els to Oearpov. Scaliger and Bentley altered 
 xpa-yo>8wv to TpvycpSuiv, as though Aristophanes was making a hit 
 at his rivals on the comic stage ; in which case €<{>’ T]p,ds (789) would 
 mean ‘to my plays.’ But the broader distinction between Tragedy 
 and Comedy seems to be in the poet’s mind. It is commonly sup¬ 
 posed that at the great Dionysia the performances began with Comedy, 
 and Tragedy came later in the day : while at the Lenaea this order 
 was reversed. 
 
 1. 797. dp’ ■u'rro'irxepov, 1 isn’t it worth anything to find oneself with 
 a bit of plumage ? ’ Evidently, it was not ordinarily possible to leave 
 one’s seat in the theatre, for any purpose however pressing. Happy 
 the man who could flit away, unnoticed, take a mouthful of food, do 
 any necessary business, and drop lightly into his place again ! 
 
 1. 798. Auxpt4>T]s. Elmsley prefers to read Aieirpicpr^s, on the 
 strength of an ancient inscription : and the Homeric dvSpeupovTrjs may 
 be quoted in support. But the quantity of the second iota in 8 uTterr]s 
 Horn. II. 16. 174, Eur. Bacch. 1268, should be sufficient to justify 
 the MS. reading. 
 
 This Diitrephes was a ‘ nobody,’ of foreign extraction whose powers 
 44 
 
NOTES. LINES 766-807. 
 
 of‘rising ’ were wonderful. He made his money by the manufacture 
 of wicker-sheathing for wine-flasks ; and these are here called his 
 * osier-wings.’ He was elected (x* L P OTOVr l 0 *' LS ) as one of the ten 
 phylarchs, or captains of cavalry ; and later he became one of the 
 two hipparchs, and lastly ‘ a brown horsecock.’ This word (see Ran. 
 932) is intended to represent a magnificent Field-Marshal (perhaps 
 in brown uniform ; if that be the meaning of £ovdos) : but the ridiculous 
 bombast of the language makes the happy transition from the sublime 
 to the ridiculous. Probably this is the Diitrephes whose duty was to 
 convey back to Thrace some mercenaries who had arrived too late 
 to accompany Demosthenes to Syracuse. On their return they made 
 a raid upon Mycalessus; but they were attacked and repulsed with 
 great slaughter by the Thebans, Diitrephes being among the slain. 
 This happened in the year after the representation of the ‘Birds,’ B.c. 
 413. See Thuc. 7. 29. Kennedy translates his final title, ‘Colonel 
 Horsecock of the Buffs.’ 
 
 1 . 801. Enter Peithetaerus and Euelpides, wearing a ridiculous 
 costume to represent birds. They had evidently partaken of the magic 
 root, sup. 654. tccuti Toicum. As we say, ‘ so much for that,’ ‘ so 
 far so good.’ Cp. roiavra pev S77 ravra Aesch. P. V. 500. 
 
 1. 803. toKmrrepa are the ‘ quill-feathers.’ 
 
 1 . 805. We may imagine that, in the picture of ‘a goose painted 
 with a view to cheapness,’ there would be no details worked in, but 
 only a pair of wings coarsely indicated. With els euTtXeiav cp. k-rr’ 
 evreAeia Ran. 405, Thuc. 8. 4 gvcrreWopevoi els cureAetav. Green 
 thinks that in o-vYy€-ypa|Ap.€va> there is an allusion to work ‘done by 
 contract,’ which was as often ‘scamped ’ then as it is now. 
 
 1 . 806. o-Kacfnov dTroT€TiAp.evGJ. We should expect cuacpiov airo- 
 KCKapfievo), as in Thesm. 838, but he is speaking of a bird with feathers 
 rather than of a man with hair; ‘ cropped bowl-wise,’ i. e. as if a bowl 
 had been inverted on the head and all the hair removed that showed 
 beyond the edge. There were various cant names for different kinds 
 of tonsure. So k eKappevos p^oiyov Acharn. 849, nepirpox^a, kt]ttov 
 iceipecrOcu, etc. 
 
 1 . 807. tout! p,€v r]Kdcrp.€o- 0 a, ‘we have found these resemblances, 
 according to Aeschylus’ rule; ’ ‘ this has come upon us through no one 
 else, but by reason of the wings of our own seeking.’ In the M vp/xi- 
 Soves of Aeschylus (Frag. 123) the story is told 08’ earl p.vOcov twv 
 AlPvcttlkwv A byos — TrkrjyevT’ arpaKTCp Toft/ra> tuv aerov | ei7retV tSovra 
 fxr)X av V v iTTep&fJuiTOS’ | ra8’ ovx utt’ aAAcuv, aAAa rots avTuiv iTTfpois — 
 aKicrKuixeoQa. This last word is omitted in the quotation. 
 
 This is a favourite simile with English poets ; so Waller on hearing a 
 copy of his own verses sung by the lady to whom they were addressed : 
 
 45 
 
BIRDS. 
 
 ‘That eagle’s fate and mine are one, 
 
 Who on the shaft that made him die 
 Espied a feather of his own 
 
 Wherewith he wont to soar on high.’ 
 
 And Byron, in his lines on Kirke White (English Bards and Scotch 
 Rev.) 
 
 ‘So the struck eagle stretched upon the plain, 
 
 No more through rolling clouds to soar again, 
 
 Viewed his own feather on the fatal dart, 
 
 And winged the shaft that quivered in his heart.’ 
 
 1 . 812. It is very doubtful to whom this line is to be assigned. But 
 if we accept the fact that Hoopoe does not reappear after line 675, we 
 have only to choose between the Chorus (i. e. the Coryphaeus of the 
 Chorus) and Euelpides, whose remarks can generally be detected by 
 their grotesqueness or their double meaning. 
 
 1 . 815. STmpTTjv. Euelpides puns on SirdpTir] and criraprr 7, a sort of 
 ‘ broom ’ ( spartum scoparium ), from which a coarse kind of rope was 
 made, called a-naprov Hdt. 5. 16. He hates the very name of ‘ Sparta, 
 so bitterly that he would never “ attach ” (0€ip.T)v) such a title to the 
 new city. Nay, he would not even “ attach ” a rope of “Esparto-grass” 
 (as we might say) to a truckle-bed, at least if he had got a cord to put 
 there.’ The x a H- e ^ V7 l is a low bedstead with a wooden frame, the 
 mattress being supported on a lacing of cords from side to side. But 
 mean as the was, Euelpides would not, unless he were driven 
 
 to extremities, discredit it by a rope of such evil significance. 
 
 1 . 819. x a ^ vov > ‘ airified ; ’ cp. Kcveav kXvidcuv xavvov reA os Bind. Nem. 
 8. 45. In Cloudcuckooborough we have the unsubstantial character 
 of clouds along with the empty, roving nature which the Greeks seem 
 to have attached to the cuckoo ; dPeXrepoKoKKv^ -qXiQios -it epupx^Tai 
 Com. Plat. 63. 
 
 1 . 822. Theogenes took part with Cleon in the blockade of Sphac- 
 teria (Thuc. 4. 27), and afterwards was one of the signatories of the 
 peace (Thuc. 5. 19). He became one of the Thirty in B.c. 404. He is 
 ridiculed inf. 1127, 1295, and the &eoylvovs vrjv'ia is derided in Pax 
 928. Aeschines (not to be confounded with the Socratic philosopher nor 
 the orator) was also one of the Thirty, and was sent on an embassy to 
 Lacedaemon. He was called as a nickname 0 'ZkXXov, * son of Selins' 
 the stock title for poor but pretentious men ( irTojxdXa^bves ). These 
 arch-braggarts kept their boasted but non-existent wealth in ‘ castles 
 in the air.’ 
 
 1 . 823. Kal Xcocttov p.€v ovv. This, the reading of the MSS., is un¬ 
 satisfactory, the conjunction kcu seeming to give a wrong colouring to 
 46 
 
NOTES. LINES 812-840. 
 
 the words. The simplest corr. is that of Bergk, naWiarov pitv ovv. 
 ‘ Nay, the finest possible name would be the Phlegraean plain, where 
 the famous battle between gods and giants came off (as we should say) 
 “ on paper ” only: and the gods “ outdistanced the giants in bragga¬ 
 docio.” ’ This sentence coolly discredits the legend of the Titan wars, 
 and reduces them to a match in ‘ tail-talk ’ between gods and giants, in 
 which the gods won. 
 
 1 . 826. Xiimpov, ‘this creation of a city is a smart one.’ For this 
 use cp. to xPW a r &v vvktuv Nub. 2. The epithet Xi-napos was 
 peculiarly attractive to Athenian ears ; cp. Acharn. 639, Nub. 300, 
 Eq. 1329. 
 
 1 . 827. £avovp.ev (Jcllvoj), lit. ‘ shall we card,’ i. e. ‘make ready.’ The 
 allusion is to the famous robe (ttcitAos), rich with embroidery, which 
 was carried in honour of Athena in the Panathenaic procession. 
 
 h 831. KA.€ut0€vt]s. His effeminacy is scoffed at Eq. 1374, Nub. 355, 
 Thesm. 574 foil. It will never do in this model-state to have a goddess 
 clad in full armour as our presiding deity, and a Cleisthenes shuttle in 
 hand, like a woman as he is.’ The lines are a parody from the Meleager 
 of Euripides, mDs ovv 4 V av yevoir av evra/tTos ttoXis | ottov ywr/ yeycvcra 
 (sc. Atalanta ) tt)v TravoirXiav | effTTjK ex ovaa ) M eXeaypos 54 tcepfclSa; 
 
 1 . 832. TToXe:.os = dupoiroXecvs, as in Nub. 69, Eq. 267. A portion of 
 the ancient wall of the Acropolis was called to TltXaayucov, built by a 
 wandering band of Pelasgi (Hdt. 6. 137). Here, the better to suit the 
 requirements of Birdland, the poet prefers to call it to IleA apyucov 
 ‘ Stork-wall.’ Both names are found. Cp. Callim. Frag. 283 T vparj- 
 vwv TeixicrpLa IleA apyucdv. 
 
 1. 835 - ’'Apecos veoxTos. According to legend, a sentinel appointed by 
 Ares to keep watch while he visited Aphrodite once neglected his duty. 
 His angry lord turned him into a cock, always doing sentinel’s work, 
 and retaining after his metamorphose the crest and bearing of a soldier. 
 Silvern sees in these words an allusion to the impetuous soldier Alci- 
 biades, whose connection with Persia might well suggest the nickname 
 IlepcriKos opvis. 
 
 1 . 836. 4 ttI TTSTpuiv, sc. the rock of the Acropolis. ws is excla¬ 
 matory, ‘ how well suited ! ’ 
 
 1 . 837. aye vvv. Peithetaerus now bids Euelpides to mount the air 
 and help the builders. By xo-^- lKa s he means rough stones ; technically 
 ‘ rubble.’ Note dtroSus (as airodvdi 934 inf., and anedv Lysist. 1023), 
 
 ‘ having stripped,’ intrans. as distinguished from transitive aor. airedvcra, 
 aTrofivaas. 
 
 1. 840. A.€Ka.vT|v, properly, any basin, is here used for the hod, in 
 which the irrjAos is carried. The sudden outburst of fun in KaTcnrecr 
 a7rd rfjs xAip-aKOs, instead of em( 3 aive tnl t. k., is so much in the tone of 
 
 47 
 
BIRDS. 
 
 Euelpides that one would be glad to assign this half line to him ; but 
 the MSS. give no hint in this direction. 
 
 I.841. to irOp cYKpv7rr’ act, ‘ bank up the fire from time to time.’ 
 This refers to the custom of keeping the embers smothered in ashes, 
 ready to be fanned into a flame when the fire was needed. So Horn. 
 Od. 5. 490 crreppLa irvpos crdvfav iva 7x77 voOev a\\o9ev avoi. 
 
 1 . 842. KooScovo<{)opajv. The regular practice of carrying a bell round, 
 to keep the sentinels on the alert. So Thuc. 4. 135 tov kuScovos irapevex- 
 Oevros. The next words, tea! Ka 0 ev 8 ’ ckci, would be much better treated 
 (sup. 840) as an aside of Euelpides. The notion of sleeping at one’s 
 post must be a joke. 
 
 1 . 846. oi.'poo£e irap’ 4 p«. This is commonly taken to mean ‘be 
 hanged to you—for aught I care ’ =per me, mea causa : on the analogy 
 of napa tovto, etc. But this meaning can hardly be supported. Euel¬ 
 pides scoffingly reiterates the Trap’ «pt of Peithetaerus, which does not 
 really fit in with oi'pco£€. The heralds must come back and ‘ report 
 themselves to me.’ ‘Yes,’ cries Euelpides, 'you had better stop he:e, 
 hang you, and report yourself to me ! ’ 
 
 1. 854. TrpoCToSia, generally used of ‘ processional hymns,’ here 
 equivalent to irpoaodoi, ‘ processions,’ as in Nub. 307. 
 
 1 . 857. rivGtds Pod. This is the riatW, described by the Schol. as 77 
 per’ av\ov yivopLevr] &or). 
 
 ' 1. 858. Xcupis, notorious as a bad flute-player, who was always ready 
 
 to force his music on an audience. This is probably what the Schol. 
 means by saying dis avTopiaTcvs emdvTos avrov rais tveoxicus-. So in 
 Pax 951 us t)v Xaipis 7}p.as idrj irpoaeicnv avXrjawv anXrjTos. In Acharn. 
 16 his sudden appearance on the stage was a terrible blow to Dicaeopolis, 
 and ib. 866 the troublesome Theban pipers are called ‘ bumble-bee 
 cubs of Chaeris,’ XcupLbrjs fiopipavXioi. 
 
 1 . 859. 4>uo-d>v, sc. tov avXov, with allusion to Chaeris. 
 
 1 . 860. toutl pa A i eyw. The construction is somewhat confused, 
 because KopaK 5 , which is the epexegesis of tovtC, is thrown into the 
 primary clause with eiSov. ‘ Here’s something, so help me heaven, 
 I never yet saw (though I have seen many and strange things)—a crow 
 rigged up with a mouth-guard ! ’ The (popPeta was a sort of leathern 
 mouth-piece worn by flute-players. It regulated the supply of wind 
 and prevented undue strain upon the cheeks. Cp. Vesp. 581 kclv 
 avXrjT7]S ye 5 ikt)v vuca, t avrrjs fjpuv errixtipa- | tv (pop(3eia tolol St-KaoTals 
 e£o8ov i t v\r)cr’ dmovaiv. 
 
 1 . 864. evxta-Qe. The language of the Priest is a parody of the 
 regular official ritual, in the old Ionic dialect. The invocation (as in 
 Vesp. 846) begins with the name of 'Ecrria, but she is metamorphosed 
 by the addition of the epithet opviOeios and, generally, there is a studied 
 48 
 
NOTES. LINES 841-880. 
 
 confusion between the names and qualities of gods and birds. The 
 introduction of prose sentences makes the illusion more real. See inf. 
 1661 foil., Thesm. 295 foil. 
 
 Each house and each corporation (cpparpia) had its hearth-goddess; 
 the central ‘EcrrCa of the whole State being in the Townhall or 
 Prytaneum. The kite (iktivos), the most rapacious bird, is honoured 
 with the epithet Io-tloOxos, which belongs properly to Z tvs epKtios, 
 ‘ lord of hearth and home.’ It seems likely that after Kal rrao-rjoav 
 some words are lost containing an allusion to Poseidon under his new 
 title. Otherwise there is nothing to suggest the comment of Peithetaerus. 
 We may imagine something like Kal ra) ttpa/a ra> 'Zovviancp, or Kal 
 YloaeiScjyi ra) 2 ovvtepaKi, an epithet composed of lepa£, ‘ hawk/ and 
 ’Zovviov the S. promontory of Attica, where Poseidon had a temple, 
 and was therefore, called tovviaparos Eq. 560. In neXapyiKe there 
 is the familiar jingle with Tl(\aayiK€, and probably a suggestion of 
 ■neXayos. Kennedy renders ‘ Hail, Sunium-worshipped Hawk; hail, 
 royal Stork ! ’ 
 
 1 . 870. KUKvcp. The swan, sacred bird of Apollo, takes his master’s 
 epithets : and Leto is not addressed as mother of Apollo and Artemis, 
 but (from her home in Delos, formerly called ’O prvyia, ‘ Quail-island’) 
 she is called ‘ Quail-mother.’ The 6pTvyop,f)Tpa is described in Aristotle 
 and Athenaeus as a long-legged water-bird. 
 
 1 . 871. ’AicaXavOis. Artemis was worshipped in the deme Myrrhinus 
 under the mysterious title of KoXarns, the similarity of sound between 
 this and d-KaXav- 0 Cs suggests the pun. 
 
 1. 875. 4>pvyCXa> 2 aj 3 a£Cco. The jingle between (JrpuyiXos and 
 is noted on sup. 763. Scibazius is the Phrygian Dionysus. So Aristoph. 
 in the ^Cipai (acc. to the Schol.) tov $pvya, tov av^Tjrrjpa, tov ’Xafia&ov. 
 His cult had only been recently introduced into Athens. The a-TpovGos 
 here, as in Ach. 1105, is the ostrich, not the sparrow (as Kock). This 
 cunts better with the epithet p-eyaX-rj (with the idea of ‘ big,’ as 
 well as ‘mighty’); and with the huge size of Cleocritus (see Ran. 
 
 1433 )- . . „ , J 
 
 1 . 880. irpocrKeip.cvois. ‘ That’s delicious I declare, “ Chians” tacked 
 
 on everywhere ! ’ The Chians were useful allies to the Athenians at the 
 beginning of the Peloponnesian war. The Schol. quotes from the 
 historian Theopompus the statement that in all public prayers the 
 Athenians used to ask the gods Xtots re SiSovcu ayada Kal acpiaiv avrois. 
 See Thuc. 4. 129, 5. 84, 6. 31, 43. But there is a lurking tone of irony 
 in the words of Peithetaerus, as though too much fuss had been made 
 about the fidelity of the Chians, who indeed revolted from Athens after 
 the failure of the Sicilian expedition (Thuc. 8. 5), and with the 
 Erythraeans went over to the Lacedaemonians. 
 
 D 
 
 49 
 
BIRDS. 
 
 1 . 882. 7rop<J)vpicovi, see on sup. 553. ircXcK&vn is rendered ‘ wood¬ 
 pecker’ by Schneider; but Von der Miihle (Beitrage zur Ornithologie 
 Griechenlands) cited by Felton ad loc. declares for pelican, ‘still called 
 in Greece tt€\(k<xvi . . . common in Greece through the whole year, 
 frequenting especially the lakes and swamps.’ The same authority 
 identifies ireXeKivco with the ‘ spoonbill ’ (platalea leucerodius). The 
 is he thinks may be one of the ‘ bloodfinches ’ ( pyrrlmla serinus), 
 ‘ common in Greece wherever there are fruit-trees. It assumes there 
 an external fiery or intense colouring. In autumn and winter it wanders 
 about the solitary fields in company with linnets and goldfinches.’ 
 Athenaeus describes the T«Tpa| as a ‘ small bird of a red-brown colour 
 with dirty-looking marks and lines..’ He says it has wattles at each 
 side of its head wonep ol aXtKTpvovts. Perhaps it may be translated 
 ‘ heathcock.’ The 4 \€&s may be the ‘water-ousel see sup. 302. If 
 Jlao-icas be the right reading, it is described by Aristot. H. A. 8. 5. 6 
 as rjrrov vtjtt rjs, and is probably the ‘ teal: ’ ‘ pretty frequent in Greece 
 in the winter,’ Von der M. eXacras (lA.atW) may mean ‘marcher’ or 
 ‘ driver.’ Felton thinks it is the ‘ bittern ;’ as its ‘ attitudes and move¬ 
 ments are stiff, like those of a soldier on the march.’ The KaTappatcT-qs, 
 ‘pouncer’ or ‘plunger,’ is described by Aristot. H. A. 9. 13. 1 as a 
 sea-bird smaller than a hawk ; and remarkable for remaining a long 
 time under water when it dives. Felton translates it ‘ shear-water,’ or, 
 
 ‘ stormy-petrel.’ The p-eXcryKopuctjos, ‘black-cap,’ is called sylvia 
 melanocephala by Von der M.; who also identifies the aiyCOaXXos with 
 the ‘ titmouse * {aegithallus pendulinus). After this word Meineke 
 and others add (from the Schol.) Kal 'qpicraX'irtYYb ‘ early-trumpeter (?) ; ’ 
 an unknown bird. 
 
 1 . 889. iravi’ ts KopaKas, ‘ plague take you, stop ! ’ as in Acharn. 864. 
 
 1 . 890. lepetov, sc. the trpo&aTiov of sup. 855 and inf. 902. 
 
 I.891. ciXicutovs, ‘ospreys:’ haliaeetos clarissima oculorum acie , 
 librans ex alto sese visoque in mari pisce praeceps in eum mens et 
 discussispectore aquis rapiens Plin. N. FI. 10. 3. 3. 
 
 1 . 893. o-T€p.p.aTa. The regular adornment of a priest, Flom. II. 
 1. 14, 28. 
 
 1 . 897. y€pvij 3 i 4 m| 3 oav, ‘ to chant it over the lustral water.’ 
 
 1 . 899. cva Tiva p.6vov. The chorus first proposes to invite the 
 Blessed Ones generally ; but immediately makes the correction—‘ nay, 
 only one of their number,’—for there is no chance of the meagre supply 
 of sacrificial meat being enough for more than one. For we 
 
 should rather expect to which e ? rt? would be the subject; ‘if he 
 is to get.’ 
 
 1 . 904. Enter a dithyrambic poet, who has heard of the foundation 
 of the new state, and comes forward with congratulatory verses, which 
 50 
 
NOTES. LINES 882 - 930 . 
 
 are more or less a Parody on Pindar’s Ode to Hiero on the founding 
 of the town Aetna (inf. 926). 
 
 1 . 909. oTpYjpos. The poet’s recollections of Homer are muddled. 
 In Hymn 32. 19 poets are called Movoacvv depairovres, but the phrase 
 6rpir]p6s OepaiTcov belongs only to servants in common life, as II. 1. 321. 
 The‘epithet is emphasised for 'the sake of pointing the pun in XrjSdptov 
 oxpTjpov (915), where it means ‘a coat that has seen a good deal 
 of service,’ with a jingle on T€Tprjp.evov —‘ pierced with holes.’ The old 
 joke may serve here of the ‘ holy servant of the Muses,’ and the ‘ holey 
 coat.’ 
 
 1 . 911. Kop/rjv €X«is. Wearing ‘long hair’—a peculiar fashion of 
 the 'iTnrrjs —was the mark of ‘ high life,’ as Nub. 14, Eq. 580. 
 
 I.912. SiSdo-KaXoi. This expression for ‘poets’ appears in such 
 words as Ka>picv 8 o 8 i 8 a<TKaAoi, Sidaaneiv rpaycvdlav, etc. 
 
 1 . 915. oiik 4 tos, ‘not without good reason,’ so Ach. 411 ovk iris 
 
 gOjKoVS 7 TOICIS. 
 
 1. 916. Ka/ra tC 8eup’ av€cj>0dpT)s ; ‘ on what graceless errand have 
 you come here ? * ‘ what ill luck has sent you here ? ’ This use of 
 avaupOdpopai is only found here, but it is identical with that of the simple 
 verb, as in Demosth. 21. 139 (pddpeoOai irpos tovs ttXovoIovs, ‘to run 
 to perdition after wealthy men; ’ so Nub. 789 ovk ds KupoKas diro- 
 (pQepei ; A similar meaning is found with dveppeiv. 
 
 1.918. KuKXia, ‘ dithyrambic lays:’ so called because they were 
 sung by ‘ cyclic choruses,’ who danced in a ring round the altar; as 
 distinct from the tragic choruses, who ranged themselves round in 
 a square (TtTpaycvvoi). 
 
 1.919. Kara t<x (fteA.7;) 2ip.am8ov, ‘after the style of the lays of 
 Simonides,’ of Ceos. See on Nub. 1356. 
 
 1. 922. ty|v Sckuttjv. The Poet cannot have composed these lays 
 ‘ long, long ago.’ For Peithetaerus is only just ‘christening’ his new¬ 
 born city. See on sup. 494. 
 
 1 . 924. The natural order of the words is dWd Moverdoov (pans d/Keia 
 •m, ‘ the utterance of the Muses runneth swiftly.’ Cp. Plut. 1003 
 8 rj\ov on tovs Tpdirovs tis oil piox^rjpds rji /. 
 
 I.925. dp-apuya. Generally used of ‘rays’ or ‘flashes:’ but cp. 
 pLappuapvyas dr/eiTo no 8 d>v Horn. Od. 8. 265, for ‘ flashing speed.’ 
 
 1 . 926. The Poet’s adaptation of Pindar’s praise of Hiero to 
 Peithetaerus is ridiculously unsuitable : 'Zvves o rot A tycv, faOicov 
 iepwv dpediwpee (sc. ’Itpcvv) iraTcp, KTiorop Airvas (a town on the spurs ol 
 Mt. Aetna). 
 
 1 . 929. Tea K6<f)aXa, i.e. hii capitis nutu. So Schol. T77 yap K«pa\T) 
 kmvtvovoiv ol / 3 aoiAds. 
 
 1 . 930. 4 p.lv T€iv. These words are perhaps intentionally absurd 
 
 D 2 51 
 
BIRDS . 
 
 4 to me on thine own account.’ The Schol. seems right in suggesting 
 that the dithyrambic style is ridiculed by this senseless accumulation 
 of Dorisms, if indeed tciv be a genuine Dorism. It is not found in 
 Pindar or Theocritus, but it occurs Horn. II. n. 201, Od. 4. 619, etc. 
 Kock reads tcojv, sc. tuoium \bonorum\. 
 
 1 . 931. to k<xk6v, ‘ this nuisance ; ’ sc. the Poet. 
 
 1. 933. ovtos, ‘ sirrah ! ’ addressed to a slave. 
 
 1 . 935. piywv ( piyooo ). This form of the infin. occurs also in Ach. 
 1146, Vesp. 446, Nub. 442 with v. 1 . ptyovv. 
 
 1. 941. vop.d8eo-<ri yap. These words are a continuation of the 
 quotation from Pindar. Strato was perhaps the charioteer of Hiero, 
 and had won for his master a chariot-race with a team of mules. Hiero 
 had rewarded Strato with a gift of the team, and Pindar merrily suggests 
 that the man had better take the chariot too. He imagines Strato 
 roaming among the Scythians (yopahas, ot tt\€ktcLs crreyas | vefiapcrioi 
 va'iova €7r’ evKVKhoLs oxols Aesch. P. V. 708), very much despised because 
 he alone has no ‘ house on wheels,’ os apagocpoprjTov obtov ov vei rnrai. 
 The Poet parodies this and comments on the unsatisfactory gift of a 
 jerkin without the smock. ‘ This poor Strato roams about among 
 Nomad Scythians; a man who has not got a loom-wrought vestment 
 (ttcjjavToSovqTOv tcrOos). Inglorious goeth—jerkin without smock.’ 
 
 1 . 945. For £uv€s o toi see sup. 
 
 I.946. ^uv-fix’ (i- e. £vvr)Ka, aor. as rjvOrjv sup. 880). The MSS. 
 read, against metre, ^vvTrjp > . The aor. is the regular usage, as Eur. 
 El. 960, etc. 
 
 1. 947. arroSuOt, addressed to the slave, as sup. 934; direXOe to 
 the Poet. 
 
 1 . 949. Join «s tt|v noXiv 'ttoit|<xoj toioSl, ‘ I will compose such lays 
 as these on the city.’ So OKwirTtiv ks rd pama Pax 740. 
 
 1 . 950. xp u<r o 0 p ove - The Lady of the Golden Throne is the Muse. 
 He speaks absurdly of the ‘ quivering shivering city,’ because it exists 
 jn nubibus. 
 
 1. 952. TroXmropa. If this reading (and not rroXvTTvpa) be right, it 
 may mean 1 traversed by many a passage,’ and so, as we might say, 
 ( draughty.’ The v. 1 . noXvcrTropa, ‘ fruitful,’ seems out of place. 
 
 1 . 953. Bentley restored the reading aXaXai, ‘hurrah’ (inf. 1762), 
 for i]\v6ov a\a\av of the MSS. 
 
 1 . 954. TavTayi. The Poet need not go on prating about ‘the cold.’ 
 The gift of the smock has made him right in that respect. 
 
 I.956. to kokov. The ‘horror’ is, that ‘yonder fellow should 
 so quickly have heard about our city.’ Herwerden would (ingeni¬ 
 ously) read tclvtt]v for toutov and remove the comma after rjXmo-a. 
 The translation would then run: ‘ By heaven, I never expected 
 5 2 
 
NOTES. LINES 931-979. 
 
 that that abomination (sup. 931) had so quickly learned about this 
 city.’ 
 
 1 . 958. av 0 is crv. Addressed to the same slave as in sup. 850. 
 
 1 . 959. Kardp^-r] tov Tpdyov, ‘don’t begin your rites on the goat.’ 
 Hesych. interprets KarapxfcrOcu tov Updov by tojv Tpix&v dirooiracrai. 
 So Virg. Aen. 6. 243 et summas carpens media inter cornua setas \ ignibus 
 imponit sacris libamina p 7 'ima. The reason why Peithetaerus is not to 
 go on with the sacrifice of the goat is given inf. 972, 3. 
 
 1 . 960. xP 7 l cr H' 0 ^°7 0 s. This signification of this word changed in 
 process of time, and became less and less honourable. According to 
 Schol. on Ran. 1065 Sophocles spoke of Musaeus as a xpV <T P'°^y° s ) 
 and in Hdt. 7. 6 Onomacritus has the same title, as SiaOerrjs xp r l a l J -^ v 
 tov M ovaaiov, i. e. collector and exponent of oracles. In the Pelopon¬ 
 nesian war, when a superstitious fondness for oracles had set in, the 
 ‘ oracle-monger * drove a very questionable trade in oracles old and new, 
 suited to the requirements of his clients. 
 
 1. 961. <|>avXa)s 4>«pe, ‘treat lightly.’ The oracles of Bacis, the 
 famous soothsayer of Heleon in Boeotia, play an important part in 
 Eq. 123 fol. See also Hdt. 8. 20, 77. 
 
 1. 966. a\\’ ovSev, ‘well, there’s nothing like hearing the verses.’ 
 So Dem. in Mid. 529 ovdev yap olov attovuv avrov tov vop.ov. 
 
 1 . 968. to p.eTa^v. There is a double allusion here, ’O pveai 
 (Finchley) lay between Sicyon and Corinth, and here serves to typify 
 Cloudcuckooborough. Again, in a fable of Aesop, the man who asks 
 the gods where he may find wealth, is told ‘ between Corinth and 
 Sicyon,’ which means either that the land was very poor or very fertile, 
 according as we decide whether the gods were helping him or 
 mocking him. 
 
 1. 970. T)’vi£a0’. ‘ Made mysterious allusions to the air.’ He implies 
 
 that the reference to ’O pveai, and, perhaps, to the lofty heights of 
 d(ppvo((Tca KopivOos was meant to suggest some place above the ordinary 
 terrestrial level. alv'iTTecrOai is generally used with es tl as in Eq. 1085, 
 Pax 47. Then he proceeds with the oracle, the infin. 0Oo-ai being 
 the quasi-imperatival use, common in laws and formulas; and so 86p.ev. 
 The Pandora of the oracle is the goddess ‘ Give-all,’ patroness of 
 beggary, invented for the occasion, and not to be identified with Hesiod’s 
 Pandora (Opp. et Di. 54 f.). 
 
 1 . 974 - to { 3 i| 3 \£ov, sc. the book containing the collection of oracles, 
 which was referred to for checking the quotation. 
 
 1 . 979 - °u8’ aieTos. This, the reading of the MSS., may perhaps 
 be defended as occurring in a ‘ nonsense-verse ; ’ but the logic of the 
 passage requires the name of some small and contemptible bird, as 
 little like an eagle as possible. Dobree conj. ovk ap.tTe\is (as sup. 304) ; 
 
 53 
 
BIRDS. 
 
 Meineke, keeping nearer to the letters in the MSS., suggests ov kaios, a 
 sort of thrush, Arist. H. A. 9. 19. Wieseler would read a’iyiOos, a little 
 hawk, as in Aristot. H. A. 9. 36, Plin. N. H. 10. 21. 204. 
 
 1 . 982. ov tyto. Peithetaerus trumps the vague oracles supposed 
 to have come from Bacis, by a very plain-spoken one, 'which he asserts 
 he ‘ has had copied out ’ direct from the mouth of the god of 
 prophecy. 
 
 1. 985. to peTaijv, an exact parallel to the to /j.era£v of sup. 968. 
 
 1 . 988. Aap/Troov, see sup. 521, and Nub. 332. AiorreiGrjs (see Eq. 
 1085) was said to be /xav loj 5 t]s. 
 
 1 . 990. oqjiot SeCXaios. The penult, is regularly shortened in this 
 phrase in Aristoph., as in Nub. 1473. 
 
 1 . 994. tls 6 KoOopvos ; This may be rendered ‘ what means this 
 tragic stride (lit. ‘ buskin’) of your coming here ? ’ Possibly KoGopvos 
 was a slang phrase for ‘ swagger.’ But the reading is not satisfactory. 
 Perhaps Meton came pacing along with measured strides, as though 
 he were ‘ stepping ’ the lengths of the proposed streets. For tls tj ’ttlvolcl 
 Wieseler suggests rj 'ninvoia = injiatus. 
 
 1. 996. yvas (from 7077s) ‘ acres : ’ for this seems a necessary cor¬ 
 rection for the MS. reading /car’ ayvias. Prof. Ridgeway, Journ. 
 Hell. Stud. 1888, gives some interesting calculations of the dimensions 
 of the 7077s, which he supposes to have been a parallelogram measuring 
 about 60 x 600 (Greek) feet; the Greek foot being to the English as 
 •277 : "301. 
 
 I.997. M€twv. A famous mathematician, astronomer and engineer; 
 the inventor of the ‘ Metonic cycle ’ of nineteen years, one of the many 
 attempts to harmonise the lunar with the solar year. He was born, 
 apparently, in the deme Leucon, but some statue of him, or some 
 engineering work of his, was to be seen in Colonus. The bathos in 
 dropping from Hellas to Colonus is, of course, intentional. ‘ Well 
 known in Great Britain and Islington.’ 
 
 1. 1000. auTiKa, as in sup. 166. 
 
 1. 1001. Kara irvLyea paXio-Ta, ‘pretty much after the fashion of 
 a muffle.’ The same simile occurs Nub. 96, from which it would seem 
 that the hollow dome of atmosphere is compared to a sort of dome¬ 
 shaped cover, used to extinguish or deaden-down the fire. 
 
 1 . 1002. kclvov’, ‘straight-edge,’ or ‘ruler.’ Putting a comma at 
 nav 6 v\ we may proceed ‘ just above it (that is, ‘ at its outer edge ’) 
 inserting this bent pair of compasses.’ Kennedy suggests avcv for 
 avcoOev, but we need not be too careful to make sense out of intentional 
 nonsense. Whether he is making a sly allusion to the impossible 
 ‘ quadrature of the circle,’ or whether he has merely struck a circle in a 
 square, and intends to treat all the roads and streets as radii is hard to say. 
 
 54 
 
NOTES. LINES 982-1022. 
 
 1 . 1007. coo-iTep dcrrepos . . . diroAdp/rroucriv. This seems the most 
 intelligible reading to adopt. currov does not refer (as most comm.) 
 to to [xeorov but to do-repos. Meton shows how it is possible to 
 combine the circular figure struck by the compasses with the straight 
 lines ruled by the Kavdv ; ‘just as from a star, which is itself circular, 
 straight rays dart forth in every direction.’ dTroAdp/n-owi (for -cuat) is 
 the 1 . of Brunck. 
 
 1 . 1013. £evr]\aTotivTai, ‘aliens are being banished.’ Alluding to 
 the Spartan £evT]\acria. The MS. reading Kal k€kivt]vt<u Ttves | ttAt]- 
 yal a-uxval Ka/r’ acrru may be rendered ‘ and a fairly good set of 
 floggings has been started in our city.’ But the tense does not harmonise 
 with (jevTjAaTO'GvTCu. (al. -eirai, - oven ) ; and crvxvat rives is an unusual 
 combination. Kock’s emendation /cal KeKivqvrat (ppeves, nkr^yal k.t.X. is 
 very abrupt. 
 
 1 . 1014. (TTao-ia^ere ; Meton asks if the citizens are ‘at variance:’ 
 ‘ O, no ! ’ answers Peithetaerus, ‘ we have one heart and one mind in 
 drubbing impostors/ 
 
 1. 1016. 8okci is almost technical—‘ resolved unanimously.’ 
 
 1 . 1017. tiTrayoiiAi Tap’ av. ‘I may as well move off then.’ ‘Yes, 
 indeed, (you had better), for I don’t know whether you will be quick 
 enough; since the blows (irXrjyai) are close upon you now.’ Most of 
 the MSS. give &>s ovk old’ ap d (pOa'njs av, but modern editors, fol¬ 
 lowing the well known line oxjk 01 5 ’ av d neiaaipu Eur. Med. 941, gene¬ 
 rally read otjk olS’ av el <(>0alT)S av. 
 
 1. 1020. avap.€Tpf)tr€is craurov, ‘ measure yourself back.’ This is not 
 the ordinary meaning of dvap-erpdv, which is to ‘ measure ’ or ‘ ap¬ 
 portion ; ’ but it is used with sneering reference to Meton’s geometrical 
 preparations, and is interpreted by the words dmuv aWaxy. 
 
 1 . 1021. ttov irpolevoi; So without the article ttov to£otvs; Lysist. 
 445. The npogevos was the recognised agent for, and representative of, 
 the state for which he acted. His position and duties were much the 
 same as those of the modern Consul or Resident. Sometimes he was a 
 citizen of the state which he represented, and sometimes a citizen of the 
 town where he resided. cirlo-Ko-rroi were ‘ inspectors ’ who were 
 occasionally sent by the Athenians to subject states, as the Lacedae¬ 
 monians sent appLoorai. These inspectors seem to have drawn a salary 
 at the cost of the states to which they were sent. The Inspector in the 
 present passage appears to have come on the stage with all the airs 
 and graces of a fashionable young attache , which makes Peithetaerus 
 compare him with the luxurious king of Assyria, Sardanapalus. ‘ W ho’s 
 this dainty don ? ’ Kenn. 
 
 1 . T022. ra Kudp.o> Aaxwv. Offices at Athens were either aiperal, 
 XeipoTovrjToi, or KXrjpajTa'i. These last were filled up ‘ by lot,’ arranged 
 
 55 
 
BIRDS. 
 
 by drawing beans ( Kva^oi ) of different colours. The officers so ap¬ 
 pointed were also called ol and Kvap,ov apxovres, or nvap.evToi. 
 
 1 . 1024. 4>au\ov Pi| 3 Xlov. This ‘ scrubby document ’ was, no doubt, 
 the warrant containing his credentials, and directions for his procedure. 
 He calls it ‘ scrubby ’ in his vexation at being sent away from home, 
 where he had, or thought he had, pressing public duties. Teleas (see 
 sup. 167) may have been, as Kock suggests, the clerk of the Thesmo- 
 thetae, who superintended the drawing of the lots in the case of such 
 appointments. 
 
 1. 1025. tov |jucr 06 v, ‘ your salary,’ sup. 1021. 
 
 1 . 1028. The Inspector wished to remain at home, and take his 
 place in the Assembly so as to continue certain negotiations which 
 through his agency had already been commenced with Pharnaces. 
 In the allusion to this Persian Satrap we have a satire on the eagerness 
 with which Athenian statesmen sought to curry favour with the Persian 
 power. See Ach. 61 foil., Eq. 478. 
 
 1 . 1029. o-urocri. His salary is a buffet. 
 
 1 . 1032. tu> KaSco. The Inspector had brought a pair of ‘ voting-urns,’ 
 for receiving the xprppoi — ayes and noes. He was going to start a 
 regular judicial system on the Athenian model; but Peithetaerus makes 
 short work with him. 
 
 1. 1033. ou Seiva; ‘isn’t it scandalous! they are actually (k<u) 
 already sending Inspectors to our city, before we have even made our 
 sacrifices.’ 
 
 1 . 1035. ’Eav 8’. Enter a Decree-monger. A natural consequence 
 of the development of the Athenian democracy was an increase in 
 the number of \prj(pLop.aTa, ‘ plebiscites,’ or ‘ decrees,' passed by a 
 majority of votes in the ennX-rjaia. This tendency is noticed by 
 Aristot. Pol. 4. 4. 3 erepov 8’ elbos bt]p.oKpaTias, Kvpiov elvai to nXijOos 
 nal piT) tov vopov. tovto be ^'iverai otclv to iprjcpicrpaTa nvpia rj aWa /xi) 
 6 vopios' ovp,t3a'ivei 5e tovto bia tovs brj/xa^coyovs. The vop .01 are 
 regarded as the fundamental laws of the state ; the ipt](plap.aTa might be 
 passed by a ‘ snap vote; ’ so that a contrast is often made between the 
 permanent character of the vbfxos, and the hasty production of the 
 ipijcpio p,a.T a. Naturally, it was of great importance to the dependent 
 states to be well posted up in the Decrees passed in the Athenian 
 Assembly ; so that the 4;'ri<{>io-p.aTO'n-coX7)s with his collection for sale 
 may have been scarcely an exaggeration. He reads aloud from his 
 book, but his first sentence is interrupted, and the apodosis to eav is 
 not forthcoming. 
 
 1 . 1040. Ne<j>e\oKOKKUYuis, i. e. -eas from nom. -evs, sup. 1035. 
 
 1 . 1041. [i|/Y]<|Ho-p.acri]. This word seems incongruous with‘measures’ 
 and ‘ weights.’ Perhaps vo/x'iayaai should be read. The ’O\o(pv£ioi 
 
 5 6 
 
NO TES. LINES 1024 - 1062 . 
 
 are the inhabitants of ’ 0 \u(pv£os, a town on the spurs of Mount Athos 
 in the Chalcidic peninsula. The name is chosen only because of its 
 similarity in sound to o\o(pvptaQai, ‘ to complain,’ ‘ lament,’ which 
 makes a sort of pun with wtotv^ioi, i. e. ol ’Ototv£lol from oroTv^tiv, 
 ‘to howl.’ The ‘Growlers’ and the ‘Howlers’ will be near enough. 
 The visitor will identify himself with The Howlers, when he feels the 
 blows of the whip. 
 
 1 . 1045. mKpous, ‘to your cost;’ so inf. 1468, Thesm. 853 mupdv 
 'T&Xtvrjv oipti rax’. 
 
 1 . 1046. koiAo-G|acu. The Inspector, who has sneaked back to the 
 stage protests against this violence: ‘ I summon Peithetaerus on a 
 
 charge of assault and battery for the April sessions ; ’ the very next 
 month to that in which the play was being acted. The Schol. adds 
 Ta> yap'blovvvxLwvL pu]vl too tapos 8 lk&£ovtcu at vpos tovs £tvovs 8 'ucai. 
 
 1 . 1047. oLX-qOes ; ‘You will really, will you, fellow? you are still 
 standing yonder are you ? ’ 
 
 1 . 1050. k<xt<x tt)v crT^Airjv. Agreements and leagues with other 
 states, and similar public notices were at Athens engraved upon 
 ‘ columns: ’ cp. Acharn. 727, Lysist. 513. 
 
 1 . 1052. Kal *Ypd({>a) ere. There seems no justification for taking 
 ‘Ypacfw in the sense of 7 pd<popai, ‘ to indict; ’ which usually is followed 
 by gen. of thing. Kock gets over the difficulty by treating the sentence 
 as incomplete. ‘ I propose that you [do pay a fine of] 1000 drachmae.’ 
 
 1 . 1054. KaTeriAas, imperf. -tiXcloj. This ‘ befouling’ of the oipKij 
 would seem especially criminal at a time when every one was 
 thinking of the Mutilation of the Hermae. p.cp.vTjo-’ followed by ore 
 is not p.kp.vr\ao the imperat., but pep-urjaai 2nd pers. indie., as in Vesp. 
 354 pLtpvrjaai 87)6’ or’ em arpaiids . . . i'tis aavrdv ; 
 
 1 . 1058. TravTo-irra. The Choreutes, in proud consciousness of the 
 assured sovereignty of the birds, adopts titles that were the peculiar 
 property of Zeus. So Soph. O. C. 1085 iu Zev, Oewu iravTapx*, 
 
 TTaVTOTTTa. 
 
 1 . 1060. euKTdtais, ‘supplicatory,’ as in Plat. Legg. 906 B tv tv/craiais 
 Tialv tncp8ais. Wieseler proposes iKralais. 
 
 1 . 1061. oittcuo) is not found elsewhere. But this is no reason for 
 altering, as most editions, to hroTrTtvcv. 
 
 1 . 1062. euGdAeis. Doric form of tv 6 r]Xtis, ‘swelling,’ ‘teeming.’ 
 Cp. tvdTj\os iropis Eur. Bacch. 727, vtodrjXta ttoitjv Horn. II. 14. 347* 
 The order of the words is rather involved and the readings doubtful. 
 For a (i. e. 77 fern.) after Grjpwv the MSS. read ol, which cannot be 
 harmonised with dirop6crK€Tat. And for (rj) the MSS. give 
 
 t(pt£op.tva pointing to a neut. plur. Join ktuvojv Trap<pv\uv Orjpuiv 
 ytvvav a tv ya'ia 8 tv 8 pto'i it ktprjpitva ytvvcn Trcipcpayois rravra Kapiruv tic 
 
 57 
 
BIRDS. 
 
 k&\vkos av£av6ptvov aTwfiooKtTai, ‘ slaying the race of swarming beasts, 
 which, in the soil or lurking in the trees, browzes with ravenous jaws 
 on all fruit as it swells from the bud.’ 
 
 1. 1070. utt’ €{jlcis -TTTepvYos ev <J>ovats oAAutcu, ‘ is massacred and 
 destroyed by the blows of my wing,’ as the Secretary-bird destroys the 
 most venomous serpents, stunning them with frequent blows. There is 
 no need to alter with Meineke irTcpuyos to (papvyos. But as the use of 
 vnro is strange there is something to be said for lvock’s en e. 7 rr. with 
 €<mv, ‘ all that is within the range of my wing.’ For 4v «J>ovcus, ‘ in 
 bloodshed,’ cp. Aesch. Ag. 446 ev cpovais naXws ireaovT . 
 
 1 . 1072. rjv diTOKTeivT). Diagoras of Melos is often alluded to as 
 aOeos, which points the meaning of the epithet 6 MrjKios given to 
 Socrates in the ‘Clouds’ ( 1 . 830). This makes it probable that 
 Diagoras was living in Athens, and was a notable character at the time 
 of the representation of the ‘ Clouds ’ 423. He is said to have thrown 
 contempt upon the national religious festivals, and especially upon the 
 Eleusinian Mysteries. For this reason he had to fly from Athens and 
 took refuge in Pellene. The inhabitants refused to surrender him, 
 though a price was set upon his head. Perhaps at the date of this play 
 he had died, which would give more point to his name being coupled 
 with the tyrants (such as the Peisistratidae) long dead and gone. In 
 rwv t€0vt]k6tcov aiTOKTeivT) ridicule is cast on the nervous fear of 
 the Athenians at the very word rvpavvos, a feeling often worked upon 
 by the dijpayajyoi. Cp. Vesp. 488 ds anavd 5 vpuv rvpavv'is eon real 
 gwajp-oTai. Even the Mutilation of the Hermae had been interpreted in 
 this direction : emorap-evos yap 6 drjpos a/cor) rr) v YleioiOT parov Kal tuiv 
 7 TaiScuv TVpawida x a ^ en V v T(\evTCjaav yevop.tvr]V . . . ecpo(3eiTO aei 
 fial iravra vttotttojs tXapfiave, Thuc. 6. 53 Kal 7 ravTa avrois edonei hul 
 £vi'ojpoaia d\iyapx<-Kf) Kal TvpavviKrj Treirpax^cu ib. 60. 
 
 1 . io 77 - t f > i\oKpaTT]. The Chorus caps the form of edict by one 
 against Philocrates the poulterer (sup. 14), who is called 6 SrpouGcos, 
 
 ‘ the sparrower’ (Kenn.), to correspond with 6 Mf)\tos. According 
 to the edict against Diagoras , the man who should slay him was to 
 receive one talent, and he who should bring him alive, two. The birds 
 improve the terms. 
 
 1 . 1079. ctttlvovs. Perhaps ‘ ortolans.’ 
 
 1. 1080. cjmcrwv, ‘ blowing them up some method for inflating the 
 skin or body, to produce an unreal impression of plumpness. 8 €ikvucti, 
 
 ‘ exposes for sale : ’ cp. the use of deiypa Eq. 979. 
 
 1. 1081. 4 yx € ^- No sensible explanation is offered of this ‘insertion 
 of feathers ’ into the nostrils of blackbirds. It may be suggested that 
 the Athenian poulterer resorted to a practice not unknown to our 
 country lads, of killing small birds by passing one of their own quill- 
 
 58 
 
NOTES. LINES 1070 - 1118 . 
 
 feathers up the nostril to the brain. This might well be recorded as 
 a piece of ‘ injury and insult; ’ and suits the words to, 'irrepd, 
 
 for which Meineke would read evnOeT irrepd. 
 
 1 . 1085. avAfj, £ court-yard : ’ an open space in the Greek house, 
 corresponding to the Latin cavwn aedium. 
 
 1. 1089. x ei | J '^ vo s, gen. of time, ‘in the winter,’ corresponding to 
 irviyovs, ‘ in the midsummer heat.’ 
 
 1 . 1095. ax^Tus, Doric form of r]X* T V s ‘ the cicada.’ ‘When 
 
 the inspired cicada shrills forth his piercing note, in mad delight at 
 the sunshine.’ Cp. Virg. Eel. 2. 12 raucis . . . sole sub ardenti resonant 
 arbtista cicadis. With T)Aiop,avr|s cp. 'yvvai/j.avrjs II. 3. 39, Sopifiavrjs 
 Eur. Suppl. 485. 
 
 1 . 1099. rjpiva, that is, ‘in early spring.’ Cp. Colum. R. R. 12. 38 
 mense dece 77 ibri fere matura sunt Tnyrti se 77 ii 7 ia. 
 
 1 . iioi. vCktjs, ‘the prize’ for the best play. With KpCvwcnv i'jpds 
 supply vucav. 
 
 1 . 1104. ’AAe|dv8pov. The Judges, like Pa7'is, have to award 
 the prize for beauty : and as the three goddesses promised Paris each 
 a special boon in the event of her success, so the Chorus promises to 
 the judges far better gifts than Paris ever gained. 
 
 1 . 1106. *y\at)K6s AavpeuoTiKcu, see on sup. 301. These ‘owls’ 
 will nest in their purses, and hatch—small change! ’ 
 
 1 . iiio. irpos dcTov. The triangular pediment at either end of 
 a rectangular building, especially a temple, was called aeros or deraj/xa, 
 probably because on the flat surface (tympanum) within the mouldings, 
 the figure of an eagle was often sculptured ; or because the sloping 
 lines had some fanciful resemblance to the outspread wings of a bird. 
 ‘ We will raise your house-roofs eagle-wise/ 
 
 1 . mi. dpxlSiov, ‘a petty office;’ as di/cidiov from 8 'ikt] Eq. 
 
 347- 
 
 1 . 1112. €S -rds x € T as - Putting this rapacious little hawk ‘into 
 their hands,’ will teach them the way to use their fingers like talons, 
 and to carry off the spoil. 
 
 1 . 1113. 'irp-rj'yoptovas. The •nprj'yopediv (or irprjyopdjv') of birds is the 
 ‘ crop ’ or bag into which the food at once passes before being received 
 into the gizzard. The advantage of such a ‘crop’ to diners would be 
 that they could take large quantities of food without losing time in 
 mastication, etc. 
 
 1 . 1114. fnrjvCcTKoiJs (as ixrjv’[a] inf.). Coverings of the shape of 
 the crescent moon, placed over the heads of statues to keep them from 
 being soiled by birds. Those men who are on bad terms with the 
 birds are recommended to ‘get some made of brass to wear.’ 
 
 1 . 1118. Ta jx€v Up’. Peithetaerus, who had withdrawn from the 
 
 59 
 
BIRDS . 
 
 stage to sacrifice (sup. 1056), here reappears, anxious to know 
 whether any report has come as to the progress of the fortifications. 
 
 1 . 1119. d\\’ ws . Kock quotes in illustration II. 21. 273 Zed narep, 
 ws ov rls p.e Ocaiv kXeetvov vnecrr] \k ttotci/xoio crawffcu, and Od. 16. 364 
 w ttottoi, ws toils’ aVSpa 6 eol KaKuTrjros eXvcav, in both which passages it 
 is exclamatory—‘ how ! ’ ‘ how strangely.’ So here ‘ how unaccountably 
 no messenger has come ! ’ others make a break at Trpdy|juxTa, suggesting 
 an unexpressed apodosis, and rendering ws , ‘ since.’ 
 
 1 . 1121. 5 AX<J)€iov itv€wv, ‘with the panting breath of a runner.’ Lit. 
 ‘ breathing Alpheus,’ with allusion to the Olympic races on the banks of 
 that river, wev/xa S’ r]peQiap.evov | butcvvcnv &s ti naivbv ayyeXc? kclkov 
 Eur. Med. 1119. 
 
 1 . 1126. npo£€vi8Tjs 6 Kop/n-acrevs. This Proxenides the ‘ Boaston- 
 ian,’ from the imaginary deme Kompasae, is spoken of as one of the 
 * vapourers ’ ( kcutvo'i) in Vesp. 324. For Theogenes see on 822 sup. 
 Herodotus makes the breadth of the walls of Babylon sufficient for a 
 red pernios to drive round their circuit. The walls of Nineveh, according 
 to Diodorus (2. 3), had room for three ap/xara. The 6 Sovpios is no 
 doubt the ‘wooden’ Trojan Horse (from 5 opv, 1 wood ’), though Euripides, 
 Troad. 13, gives a different etymology, o9tv irpbs avbpwv voTtpuv ice- 
 KXriaerai | dovpuos imros, Kpvmov dp.ir'iax ojv bopv. The word ■uttovtwv 
 means ‘under the yoke of the cars,’ ‘harnessed thereto;’ so vnayeiv 
 inirovs Od. 6. 73. 
 
 1 . 1130. p . f , Kos , ‘height.’ So of a man’s stature Od. 11. 311. Cp. 
 also p.r)Ki<TTOs avrjp II. 7 - 155. 
 
 1. 1131. iKaTOVTOpoyuiov. The dpyvia (opeyw) is the full stretch 
 from finger tip to finger tip when the arms are extended. This is a 
 ‘ fathom ’ or six feet. All MSS. give tou p-axpovs, ‘ what a height ! ’ 
 which implies a neuter noun to pa/epos, a form quoted in Schol. on II. 
 23. 419. The word is not elsewhere found, so that some edd. sub¬ 
 stitute /xerpov or fiaOovs. This seems unnecessary. 
 
 1 . 1133. Aiyu-n-Tios. With special reference to the builders of the 
 pyramids. For their powers of bearing burdens cp. Ran. 1406 ovs ovk 
 av apeuvr’ oxj8' e/tardv Alyvirnot. 
 
 1 . 1x37. KaTa'TreirwKvtcu (mvco). It was a common belief that cranes 
 swallowed stones to serve as ballast in their long flights. Cp. inf. 1428. 
 A similar story is told of bees by Virgil, Geo. 4. 194. 
 
 1 . 1138. €tvki£ov, ‘chipped them.’ The mason’s t vkos seems to 
 have been a sort of pointed hammer, used for ‘facing up’ stones, and 
 would suitably describe the long pointed bills of the water-rails 
 ( Kp € K € s ). 
 
 1 . 1139. €T€poi 8’. The same idiomatic usage as with a\Xos, ‘and 
 storks besides.’ The reading of the MSS. is eirXiv 0 o<p 6 povu ; but as the 
 60 
 
NO TES. LINES 1119-1148. 
 
 mention of uScop seems to suggest the working up of the clay for bricks 
 most edd. give enXivdovoiovv or €'jr\iv8ovp-yo'uv, as in text. See inf. 1148. 
 
 1. 1141. x a P a Spi<H, see on sup. 276. 
 
 1. 1143. XcKavaicri, which may mean any pots or pans, is here used 
 for 4 hods.’ Note the different voice in €ve| 3 dXXovTo and ev 6 { 3 aXXov. 
 How did they (the herons) ‘get the mortar put in their hods?’ The 
 geese put it in for them. 
 
 1. 1145. ■u / nroTUTrrovT€S, 4 shovelling with their web-feet, as if with 
 spades, put the clay in for them.’ Cp. kovtS) vnorvuTav ks Xi/xvrjv Hdt. 
 2. 136. 
 
 1. 1147. tC S-qra iroSes, a parody on the proverb, rt drjra x^ipes ovk 
 av e pyaoalaro ; 
 
 1 . 1148. Kal vr| At’ at vfjTTat ye. The picture is not clear in all 
 its details, nor are the readings quite certain. Perhaps the scene is 
 nearly as follows: the cranes have come and deposited the foundation 
 tones, which have been duly 4 faced up ’ by the water-rails. The 
 storks (see on sup. 832) undertake the brickmaking (reading hrXivOo- 
 ■noiovv or kirXLvOovpyovv in 1139) ; and the clay for that purpose is 
 shovelled up by the geese, and put into pans or hods on the backs 
 of the herons; while 4 the curlews and other river birds ’ bring the 
 necessary water up to the site of the city in the clouds. The bricks 
 thus made are carried to the wall by 4 aproned ’ ducks, while the 
 swallows fly aloft carrying behind them for a trowel (i'nayuyea') their 
 forked tail; the smaller birds waiting on the larger ones, like the lads 
 who help the workmen. And, accustomed as they are to carry mud for 
 building and lining their nests, so now they carry mortar in their beaks 
 for the bricklayers. This is an attempt to give a meaning to the existing 
 text, and the only alteration necessary is Kal irrjXov for tov -irrjXuv . But 
 it is not impossible that vfjrTat goes with crreTovT’ as well as with 
 €'jrXiv 0 o<{>cpovv, and the flat tail of the duck rather than the forked tail 
 of the swallow may represent the trowel. 
 
 The suggested explanation of axnrep rraiBta is by no means 
 satisfactory, nor do the MSS. give any help. Perhaps wo-rrep ttX aiaiov, 
 4 like an oblong thing’ (see Ran. 800), would not be far from the text. 
 Dobree (followed by Meineke) supposed that a line and a half, or 
 more, is lost; and Kennedy, following the hint in his translation, fills 
 up the lacuna thus :— 
 
 4 And other birds were flying 
 With trowel on their heads, to lay the bricks. 
 
 And then, like children, sucking lollipops , 
 
 The swallows minced the mortar in their mouths.’ 
 
 The v^TTat in 1 . 1148 are no doubt the ordinary wild-duck ( anas 
 
 61 
 
BIRDS. 
 
 boschas, Linn.'): the plumage of which shows a sort of white collar 
 shading down into the breast. 
 
 This might be described as an ‘ apron ; ’ cp. the phrase aotcdv e k 
 7r (pifj.Q.Tos f ‘to practise with the apron on.’ 
 
 1. 1155. nreXeK&vTes . .. dir6TreX€KT|crav, ‘ the wood-peckers pecked out.’ 
 
 1. 1158. d-rravr’ tKetva, ‘everything thereabouts.’ 
 
 1 . 1159. PePaXdvcorai., ‘ fitted with bolts.’ The fiakavos is properly 
 a ‘ pin ’ falling into a hole in the bar and preventing its being shot 
 back. See Thuc. 2. 4. 
 
 1. 1160. €4>o8€U€tcu, ‘the guards are all being visited: the bell is 
 being passed round.* ecJjoSeveiv is the technical word for ‘ going the 
 rounds,’ as in Xen. Hell. 2. 4. 24; 5. 3. 22 5 t’ airiariav kipwdevov to 
 acp ’ ko-rrfpas Kara rd reux 7 ?- For KcaScovo^opeiTai see on sup. 842. 
 
 I . 1163. a.Trovi 4 /o|xai. He ought not to have met with much dust 
 in his passage through the air! 
 
 II . 1164-9. These lines, as Dindorf remarks, are introduced to give time 
 for the First Messenger to retire, and re-appearas the Second. The ques¬ 
 tion of the Chorus implied that Peithetaerus has been plunged in deep 
 thought at the astounding news, instead of expressing his lively delight. 
 
 1. 1167. Note the humorous contrast of dX-rjGuis with xJ^Scctiv, ‘ in 
 honest truth it looks to me like—fiction.’ 
 
 1. 1169. TrvppiXT]v pXcircov, lit. ‘looking a war-dance,’ like PXi-nuv 
 J Aprjv Plut. 328, TTokcpuKT) 5 e 80/cef (Tvai rj Trvppixrj' evonkoi yap avrrjv 
 iraidfs dpxovvrai Athen. p. 630 D. Transl. ‘ with most martial aspect.’ 
 
 1. 1177. TrepiiroXovs. ‘After his eighteenth year an Athenian youth 
 was enrolled among the Ephebi, entered in the register of his deme, 
 and, after taking the oath of a citizen, was armed in the presence of the 
 public assembly. For the next two years he had to do frontier-duty as 
 irfp'urokos, before he attained his full civic rights.’ Herm. G. A. § 121. 
 They were thus a sort of ‘ cavalry cadets.’ 
 
 1 . 1178. kcit’ aGov, ‘on his track.’ So Soph. Trach. 54 ttcjs .. . 
 avdpbs Kara CjjTqaiv ov TrepLireis Tiva ; 
 
 1 . 1181. Kepxvps. See on sup. 304. Tpiopx'ns, ‘the buzzard.’ 
 Pliny N. H. 10. 8. 9 identifies the Kvp,iv8i.s (otherwise called x a ^ Kls Ik 
 14. 20) with the nocturnus accipiter, ‘night-hawk,’ or ‘night-jar.’ 
 
 1 . 1183. SoveiTcu, lit. ‘is agitated.’ Hdt. 7. I 77 ’A<707 kZovUro 
 iraaa enl rpia erea. ‘ The welkin shudders with the rush and the 
 whirring of wings.’ So iTTepuiv poifiSos Soph. Ant. 1004. tov Geov, the 
 intruder of 1172. 
 
 1 . 1191. ov v EptPos tTtK€To. This is not distinctly stated in sup. 
 693 foil. The metre and the language of this Choricon is modelled on 
 the form of the Tragic Chorus. The Aeolic, (? Doric) form -rreSapcrtov 
 for p-erapaiov is common in Aesch., as in P. V. 269, 709, 915, but is not 
 62 
 
NOTES. LINES 1155 - 1215 . 
 
 found in Soph, or Eurip. The ‘ winged sound of the gods’ whirlwind 
 course’ was produced by some machinery, by which Iris was swept 
 across the stage to the deoXoyeiov, or, as Kennedy says, ‘ to some con¬ 
 cealed ledge . . . where she is able to pause and sustain the dialogue, 
 at the close of which the machine wafts her away again.’ 
 
 1 . 1203. irAotov, Yj K-uvfj; ‘bark or bonnet?’ The folds of the dress 
 which Iris wears blow out with the rapid motion like the sail of a ship: 
 and the symbolical rainbow on her head (Kock) looks like a sun-bonnet, 
 T)XioaT(pr]s Kvvfj Soph. O. C. 313. With this frequent form of alter¬ 
 native question cp. sup. 102 norepov opvis fj raws; Vesp. 1509 6£is 77 
 (pdXayg ; Lysist. 982 t'is 5 ’ tT av ; norep’ dvdpconos rj Kov'iaaXos ; Felton 
 quotes a remarkable parallel to the present passage from Milton’s 
 Sampson Agonistes, where the appearance of Delilah is described :— 
 
 ‘ But who is this ? What thing of sea or land ? 
 
 Female of sex it seems, 
 
 That so bedecked, ornate, and gay, 
 
 Comes this way sailing, 
 
 Like a stately ship 
 Of Tarsus bound for the isles 
 Of Javan or Gadire, 
 
 With all her bravery on, and tackle trim, 
 
 Sails filled and streamers waving.’ 
 
 It has also been noted that the surreptitious entrance of Iris has many 
 points in common with the stealthy way in which Satan eludes the 
 heavenly guards in Paradise Lost. 
 
 1 . 1204. ^Ipis raxeia. She answers as if she were a nXoTov , ‘the 
 clipper Iris : ’ and the further question of Peithetaerus (see on sup. 146) 
 implies that she is the ‘ despatch-boat ’ of Olympus : but he wants to 
 know on what sort of service sent. 
 
 1 . 1206. 4 p,e £v/\Ar| 4 ,eTaL ; ‘arrest me!’ Tptopxos, ‘the buzzard,’ 
 appears sup. in the form rpiopxijs. 
 
 1 . 1208. aTOirov. Here tovtc is Subj., ‘this is a queer business! ’ 
 Such threats, that is, against a Messenger of the Gods. 
 
 1 . 1213. crc|>pa-yt8a, lit. ‘a seal,’ here equivalent to a Passport, 
 properly vise . 
 
 1 . 1214. -u-yiaiveis p«v ; For the use of ptv in such a question, with¬ 
 out an apodosis containing cp. Fur. Ion 520 eS (ppoveis \xkv, rj 
 <r’ e/xrjve Oeov tis, <£ fixdfiri ; If, as Hermann, ad Fur. Med. 1098, 
 
 ‘ p.ev tantum in figurata interrogatione poni ubi nobis prope certum 
 illud videtur de quo interrogamus,’ then the words will mean, ‘ You 
 are in your right mind, surely ? and yet you speak like a fool. 
 
 1 . 1215. 4 ncfiaXe has a double sense, as used by Peithetaerus and 
 
 63 
 
BIRDS. 
 
 Iris, ‘ Has no bird-brigadier come up and forced a permit on you ? ’ ‘ So 
 help me heaven, good Sir, no one has forced me at all.’ ‘ And in spite 
 of all that, are you flitting about thus, with nothing said ? ’ crvp.j 3 oXov 
 here is, probably, the tessera hospitalis, or license of residence taken 
 out by a foreigner. 
 
 1 . 1221. dSuceis. There is uncertainty both as to reading and mean¬ 
 ing. The MSS. give dSiKcts Be (/ ue Rav.) kcu vvv, which would mean 
 ‘ even now you are trespassing,’ or, with more technical meaning, ‘you 
 are guilty.’ There is a further doubt whether kcu vvv is to be joined 
 with dSiKets or with the following clause. Dind. and Bergk prefer 
 dSt/cef (pass. 2 sing.) 5 e /cal vvv , meaning, ‘even now you are being 
 unfairly treated, in not getting your deserts, which would be instant 
 arrest and death.’ This is ingenious : but ad lkus is far simpler. 
 
 1 . 12 22. Tracraiv TpiBcov, ‘than any Iris in the world.’ For this 
 plural denoting a class see on inf. 1701 ; and for the idiomatic use and 
 the superlative, Nub. 1132 rjv lyco piaXiara iraobbv fjpiepcbv dldoma. 
 
 1 . 1223. Trjs a£ias, sc. npicopias. 
 
 1 . 1224. dOavaTos, with initial long syllable, following epic usage. 
 
 1 . 1228. 4 v [Acpci, ‘in your turn.’ You have had the upper hand 
 till now. 
 
 1 . 1229. tcI) iTTepuy^ -Trot vavcn-oXeis; ‘whither are you steering 
 your wings?’ For this mixed language, suitable to the re?nigium 
 alarum (Virg. Aen. 6. 19) cp. Aesch. Ag. 52 vTepvyoov kpeTpcoiaiv 
 epeaaopevoi. 
 
 1 . 1232. Note the tragic style of these lines, and cp. Eur. Frag. 
 Pleisth. 5 pLT)Xo<r<payei re daipovoov en’ ecrxdpeKS. 
 
 1 . 1237. °^ s GtJTtov av-rovs, i. e. quibus sacra facere oportet eos. So 
 Eq. 72 TTOiav bdov vu> (not vwv) Tpeirreov, Thuc. 8. 65 cos ovre picrQo- 
 (pcpr/Teov eirj aWovs % tovs crrpaTevopevovs, Plat. Crit. 49 A ovdevl rpovcp 
 (pap.ev, eKuvras abiKTjreov elvai. The reading auTous is that of Rav., 
 most MSS. avToTs. 
 
 There is a fine touch of humour in using the name of Zeus in an 
 oath not to sacrifice to him! 
 
 1 . 1240. Aids p-aKcXXr), as in Aesch. Ag. 525, Soph. Frag. 7 ^ 7 - 
 TrcpiTTTVxds is a favourite word with Eurip. as retxeW 7r. Phoen. 1357. 
 
 1 . 1242. Aucvjxviats. Perhaps the ‘ Licymnian bolts’refer to a lost 
 play of Euripides, in which the hero Licymniuswas struck by lightning. 
 But Hesych. says Kepavvovrai yap -fj vaus. Kock thinks a hit may be 
 intended at Licymnius a Sicilian rhetorician, pupil of Gorgias and 
 teacher of Polus, whose style was remarkable for its affectations. 
 
 1 . 1244. AuSov ‘FplJYa. Is Iris ‘thinking to scare some stupid 
 Lydian or Phrygian slave ’ by this ‘ bugaboo ’ about the thunders of 
 Zeus ? A humorous adaptation of the taunts of Pheres, when Admetus 
 64 
 
NOTES. LINES 1221—1 273- 
 
 proposes he should die for his son (Eur. Ale. 675); -nai, riv avx^is, 
 TTorepa AvBdu fj Qpvya ( kcucois kXavvtiv apyvpoovrjTov okQev ; For p.opp.o- 
 Xtjtt€<x 0 cu, cp. Plat. Gorg. 473 D poppioXvTTei av, /cat ovk eAeyxets. The 
 verb is from pioppu), which, like ukkI, was the name of a bogie, 
 utilized by nurses to keep their children quiet. 
 
 1 . 1247. Peithetaerus caps the tragic rant of Iris, by quoting, with 
 more or less relevancy, from the Niobe of Aeschylus. The Sojjioi ’Ap.- 
 cfnovos is an unmeaning piece of grandiloquence. 
 
 1. 1249. -iropc^upCcovas (see on sup. 553) are harmless sea-birds, 
 with a terrible Titanic name. Kennedy calls them ‘ Magogian birds 
 in pard-skin uniforms.’ If ‘ a single Porphyrion gave so much trouble ’ 
 in days of old, what will 600 do? €VTjpp.evous ( 'kvairroj ) as Ran. 430. 
 
 1 . 1251. TrXeiv (rrAefoi/) e^aicocrtovs. After -nXtiov it is not unusual 
 to omit 77 as Plat. Apol. 17 D err] yeyovuis ttX eioj efidoprjnovTa. 
 
 1 . 1258. eupdfj ira.Ta£. The word evpa£ = ‘ side-ways ’ is found in 
 Homer II. 11. 251, but here the adverbs (formed like -nvmra^ fiafiaia£, 
 etc.) seem only intended to have a sort of effective jingle, like ‘ slap 
 dash,’ or, ‘ helter-skelter.’ 
 
 1 . 1261. KciTaiGaXcocreis, ‘try your blasting fires upon some young 
 fellow,’ who has not got my experience. The suggestion of the Schol. 
 that it may mean ‘excite a flame’ by your coquetries, is quite unlikely. 
 Nor had Iris taken that line. 
 
 1 . 1263. Sioyevets. This unusual epithet for the gods is found in 
 Aesch. S. c. T. 301 and Suppl. 630. It reminds us that Zeus is narr/p 
 avBpwv re Oeouv re. 
 
 1 . 1265. p.Y)S€ tiv\ The order of the words seems to be |xr)8e Tiva 
 Pp otu)v ava SarreSov en Trcp/rreiv 06 Oicrt lepoGwrov kcutvov TfjSe. But 
 
 others join UpoOvTov with BaneBov, the ‘ sacrificial floor,’ sc. of the 
 temples. TfjSe means, ‘ via our city.’ 
 
 1 . 1269. KTjpvKa, (sup. 845). This is a mixture of two constructions, 
 (1) Beivov ye tov Krjpvna p.rj vocttuu and Bhvov ye et p,r) vooTrjcrei 6 Krjpv£. 
 For a similar construction see on sup. 653. 
 
 1. 1272. yXacjmpwTaTe, perhaps ‘most highly polished'; ’ lit. ‘ smooth¬ 
 est.’ It is a word found in the other Greek Comic poets coupled with 
 Kopaf/os, derruos, and the like. 
 
 1 . 1273. 2 ) KaTaKeXevcrov. No doubt with direct allusion to the 
 Kk\evop.a of the boat-swain. Pollux (4. 93) distinctly says that «ara- 
 /ceAeueti/ is equivalent to KaTatcrjpvgcu rjavx'io-v, ‘ and so the Herald may 
 mean tell us to “easy all ; ” ’ as he has no superlatives left. Dionysus, 
 in Ran. 207, says to Charon /cara/ce'Aeue S77, to which Charon responds 
 with cbuTT, which sometimes means ‘ Avast! stop ; ’ but not always. 
 Probably the meaning is—‘ do give the time ; ’ because he has got into 
 a breathless muddle with all his epithets. 
 
 E 
 
 65 
 
BIRDS . 
 
 1 . 1281. e\aKcovo|idvovv. As a Parisian who apes English dress and 
 customs is called ‘un Anglomane,’ so Aristoph. speaks of ‘ Laconomanes,’ 
 who affected the Spartan coiffure and meagre diet, going unwashed, 
 like Socrates and his friends (yjv {mb tt)s <f>€i 8 aj\tas | ancfcdpaT’ ovSds 
 tt'jjttot' ov 5 ’ rj\e'uf/a.To, | ov 5 ds PaXavuov -qXOe Xovcropevos Nub. 835 ff.). 
 The Rav. gives tcrojKpa/nuv from crcviepaTav like peXXovuadv : al. 
 
 kGOJKpCLTOVV. 
 
 1 . 1283. The MSS. give atcvraXi' kcpopow against metre, as the a is 
 short. Porson’s conj. €o-KUTa\ioc|>6povv removes this difficulty, cp. pa( 3 - 
 docpopeiv. There is no allusion to the official Lacedaemonian aicvraX ^, 
 but only to the use of ‘ walking-sticks.’ 
 
 1 . 1287. em vop,ov. Like the ‘early bird,’ the Athenian citizen 
 took a morsel on first rising. ‘ They went hop skip and jump (kverovO') 
 to their food,’ which consisted of a bit of bread and a dram of neat wine 
 (■ oLKparos ). Some see a pun in «ni vop,6v, as though it suggested km 
 vop.ov, alluding to the fondness of the Athenians for the law-courts. If 
 so, some jingle between ‘grazing ’ and ‘ Gray’s Inn ’ might illustrate it. 
 It would then resemble the play on drjptos and djjpos Eq. 954. 
 
 1. 1288. Karfjpov, ‘settle down,’ Karaipeiv, though commonly used 
 of ships putting into harbour, can be applied to birds, as in Plut. Alex. 
 26 opviQes . . . km tov tovov Karalpovres vk 4 >e(TLV koiKores. By to. Pi{3Alo, 
 we must understand the ‘book-stalls,’ as ra opvea sup. 13. There is 
 perhaps a reminiscence of papyrus, or rushes in ) 8 i/ 3 A.ia or fivfiXla. 
 Men go down to ‘ read; ’ birds to ‘ the reeds.’ Others think that 
 f 3 i[ 3 \ia are legal treatises or documents, so leading up to i}rr]<{>ia-|xaTa. 
 
 1 . 1292. irep8i£. Why the ‘ limping huckster ’ was called ‘ Partridge’ 
 is suggested by the word k/cnepdiKiocu sup. 768, and specially alludes to 
 the tricks of the bird in leading hunters away from her nest. 
 
 1. 1294. ’OiTouvTicp, sup. 153. ‘PiXotcXeei. sup. 281 ; Oeoytvei sup. 
 822. The x' T l va ^ ) ' Tn ]£ or ‘vulpanser’ is a sort of small goose that 
 makes burrows in river banks. Probably the word was only chosen to 
 suggest that Theogenes combined the voracity or noisiness of the goose 
 with the cunning of the fox. 
 
 1 . 1296. l| 3 is. This name may have been given to Lycurgus to mark 
 his Egyptian extraction ; but more likely because of some personal 
 peculiarity like spindle-shanks. Chaerephon (Nub. 104) was thin, 
 sallow and swarthy, and probably had a squeaking voice like a bat. 
 
 1 . 1297. Syracosius was reputed to be the author of a law intended 
 to limit the freedom of the comic stage, so that he was in evil odour 
 with the poets. Eupolis (215) compared him to a yelping puppy, 
 which suits well enough with the sobriquet of kltt<x. The Meidias 
 here referred to must have been a vile fellow. He was reckoned by 
 the comic poets among the irTooxa.Xa£oves and kXottt]s twv 8 r]p,oaiojv. 
 
 66 
 
NOTES. LINES 1281 - 1335 . 
 
 ♦ 
 
 His nickname of ‘ quail ’ was given him because of some fanciful re¬ 
 semblance to ‘ a quail that had had a knock on the head from a quail- 
 flipper.’ This expression apparently comes from the cant language 
 of quail fighting. But it is uncertain whether opTuyoKorrov refers to 
 an actual match between quails, in which the challenging quail was 
 ‘ flipped on the head ’ to test its powers of endurance ; or whether the 
 dpTvyoKOTros is the quail owner who has severely ‘ flipped 1 his quail on 
 the head, as a punishment for not showing fight. According to this 
 Meidias would look stupefied and ‘ groggy,’ like a bird half stunned by 
 a blow. The MSS. read v-no OTvcpvKoirov, which according to Pollux 
 is equivalent in meaning to bpTvyotconov, as used by the comic poets. 
 
 1. 1298. i^Keiv (i. e. 77 'k€€v before a vowel, or T]K€i, rj/cee, before a 
 consonant) Attic equivalent of kcpnu. So ov 'yap rjdeiv e£tW Pax 1182, 
 ’■neno'iOeiv Nub. 1347. 
 
 1 . 1301. ciAire'iroiiqp.evT), ‘introduced’ into the composition. Such 
 songs are quoted from Anacreon, Simonides and Sappho, to which may 
 be added the famous ^A0’ rj\ 6 t xeXihcw. See inf. 1410. 
 
 1. 1303. TTTcpo'O ti, ‘ the very least scrap of a feather.’ 
 
 1. 1307. TrT€puiv o-oi, 8ct, ‘you want to get some wings somehow or 
 other for the new settlers.’ 
 
 1 . 1308. t'pyov IcrTavai, ‘not our business to stand idle,’ as in Lysist. 
 424. See sup. 206. 
 
 1 . 1309. (tv p, 4 v, addressed to the fellow-slave of Manes. 
 
 1. 1314. Ka\€i, future. Join dvOpumoov with tis, and not, as Kock, 
 with TToXudvopa. 
 
 1. 1316. Kanxovcn is here intransitive, with the sense of ‘are in 
 vogue;’ as in the phrase o Aoyos «arex ei Thuc. 1. 10, (pijpai paAAov 
 Karexovcrtv Eur. Hipp. 1466. 
 
 1. 1319. p.6ToiK€iv, explanatory addition, ‘what advantage for a 
 man is not found therein, for a sojourn there.’ The language here is 
 Pindaric. So in Ol. 13. 6 E vvopla, Aina and 'Elpava have their home 
 at Corinth; and in Pyth. 8. 1 (piXocppouv 'A<rvx ta is spoken of as the 
 mighty daughter of Aina. Cp. also Frag. 228 (Bockh) peyaXavopos 
 'Acrvx'ias to (paibpov (paos. Here ‘ the unclouded face of gentle quietude. 
 
 1. 1326. €^opp.a ( oppaco), ‘stir him up with a flogging like this. 
 u)8t can only be pantomimic show of beating by the chorus, for none of 
 them actually touch Manes. 
 
 1 . 1330. cr-u 8e, addressed to Peithetaerus. He is to lay out in 
 order the various wings of song-birds, augurial-birds and sea-birds ; and 
 to furnish every applicant appropriately ‘ with an eye to each man s 
 character.’ So Thucyd. 4. 15 QovAtveiv 7 rpos to xPVh a opwvTas. 
 
 1. 1335. crov crx'fi cro f Jlcu > 1 keep my hands off thee, sc. the lazy 
 slave. 
 
 e 2 
 
 67 
 
BIRDS . 
 
 1 . 1337. I 1 ATPAAOIA 2 . This character represents a young repro¬ 
 bate, such as Pheidippides becomes (in the Clouds) under the Socratic 
 teaching. He can hardly be called a 4 Parricide,’ unless the will be as 
 good as the deed, for he has not got further yet than being the ‘rebellious 
 son.’ He comes on the stage singing about his wish to be an eagle, 
 out of the Oenomaus of Sophocles. For u>s av 'rroTa 0 euf]v of the MSS., 
 dis dpTroraOei-pv has been conjectured ; because after such optatives of 
 wish, as yevoip,av, the final sentence is regularly introduced by cv? or 
 ottcus without av, as yevoipav tV v\dev eireaTi ttovtov TrpoPXrjp.’ . . . ray 
 i€pas ottojs npocre'nroLpev ’AOavas Soph. Aj. 1217, but the MS. reading does 
 not seem to be any more unnatural than Od. 8. 20 tcai piv p.aKpoTepov 
 Kal rraacrova OrjKev ISicrOai, | cos Kev <f?aiT]K€0(n (piXos iravTcaai yevoiro. 
 Meineke marks a lacuna after uircp, proposing to insert some word, like 
 aepo? in agreement with aTpuyerou. But this is unnecessary, as 
 aTpuy^Tou may be used absolutely for ‘the waste [of waters’], on the 
 analogy of vyprj, rjoly, {etyvp'irj, etc., in Homer. We must not be too 
 careful to judge these ‘high falutin’ dithyrambics by canons of accuracy 
 and intelligibility. 
 
 1. 1340. 4 /ev 8 a-yyeAr)cr€iv. We must gratefully accept this emenda¬ 
 tion of Bentley for the MS. reading ipevdayyeXtjs etV[at]. For \pevddy~ 
 ye\os, not -77s would be the right form. 
 
 1. 1342. al( 3 ol, generally used of disgust, is here a shout of relief 
 and satisfaction, like the sound commonly printed ‘ whew ! ’ 
 
 1. 1343. «p« • • • vo|acov. According to the Schol. there was a gap 
 after yXvKUTepov in the MSS., and 1 . 1343 is described as an inter¬ 
 polation of Aristophanes, probably the Alexandrine grammarian of 
 that name (’Apicrrocpavovs nX-rjpoup.a'). It is a needless anticipation 
 of I.1345. 
 
 1 . 1347. J°^ n KaXov opvuriv. For vo|xC£€tch most modern edd. read 
 vopi^eTt to harmonise with vop.i£opev inf. The Rav. has e written 
 above -at. Perhaps there is again the intentional play on vopol and 
 vdp.01 as suggested sup. 1287. So Schol. yvires yap Kal KopaKes irepl 
 veKpovs vkp.ovrai. 
 
 1 . 1350. irt-TrATiyT]. So. Eq. 1148 arr’ av KeKXocpoucn. Kock quotes 
 from Klassen the view that it is the subj. of the epic reduplicated aorist. 
 But that is quite needless. 
 
 1. 1352. TravT 5 «xetv, sc. as sole heir. 
 
 1 . 1354. KvpPecnv. The Kvpfieis (Nub. 448) were wooden prisms 
 revolving on pivots. The laws of Solon were written on such. 
 
 1 . 1356. 7reXapyi8Tjs, from nom. -evs, * Storklets,’ so dXanreKidrjs, Xat- 
 pibrjs, etc. The stories of the stork feeding its young with blood from 
 its own breast, and of the young storks carrying their aged parents on 
 their outspread wings are familiar. Storks have often been encouraged 
 68 
 
NOTES. LINES 1337-1385. 
 
 to make their nests on the roofs of houses, as a sort of type and omen 
 of family affection. 
 
 1 . 1358. direXavcd Tap’ av. This is the simplest corr. of the 
 MSS. yap av. ‘I should get a nice treat ( ironice ) by coming here.’ 
 Cp. inf. 1692 ev ye pievrav dieTeOr/v, Then ouStv y’ must be filled up 
 with a-ne\avoas av, ‘no you won't at all.’ Join Kal to Poctkt)T€ov, with 
 the meaning of ‘ actually having to support him,’ not only having 
 to acquiesce in his existence. 
 
 1 . 1362. col 8’, S> veavlcK’. These lines are intended to be an echo 
 of the familiar words of Theognis, 27 folk aot 8’ eyoj ev (ppoveoov vtto- 
 d-qcropLai ola-nep avros, \ Kvpv\ ai to tc av ayaOuiv irais er’ eSjv ep,a6ov. There 
 is a litotes in 011 KaKws. He means ‘ very good advice.’ 
 
 1 . 1366. aXeKTpvovos. The rebellious son is tantalised by the 
 mockery of his punishment. He is dressed up like a fighting-cock, 
 a bird os rovs narepas ap,vverai Nub. 1427, and then he is sent off to 
 garrison duty (^poupei). 
 
 There was almost always some petty war going in the Thraceward 
 districts between the Athenians and Perdiccas or the Lacedaemonians. 
 Indeed at the very moment of the performance of the play, at the 
 great Dionysia, 414 B.C., the expedition was probably in preparation, 
 which was sent out under Euetion to attack Amphipolis at the end 
 of the summer, Thuc. 7. 2. 
 
 1 . 1372. Cinesias, a dithyrambic poet, is a favourite butt of 
 Aristophanes for his impiety (Ran. 366); for his many bodily diseases, 
 and for his miserable leanness. That there was sober truth in this, 
 and not merely the licence of a comic poet, may be gathered from the 
 severe judgment passed on him by Lysias who composed two speeches 
 against him, and by Plato (Gorg. 501 ff.). The song which he sings 
 here as he comes upon the stage is borrowed from Anacreon; and as it 
 is all about flying, ‘ the affair wants a whole cargo of feathers.’ 
 
 1. 1376. d<j>o|3cp <Jpevl, ‘essaying it all fresh with fearless heart and 
 body.’ This is quite good enough for these half-nonsense verses; and 
 there is no need to write a<p6@a> (ppevds opi/iaTi yeveav with Herm. and 
 Mein. 
 
 1 - I 377 * 4 >i\vptvov. The wood of the lime tree (cfnXvpa) is yellowish 
 and very light. This may refer to the sallow Cinesias, who was ‘ as 
 thin as a lath.’ But Athenaeus (12. 551 d) interprets the epithet as 
 meaning ‘ wearing lime-wood stays,’ to support his lanky body. There 
 is probably some joke we do not understand in the question, why he 
 ‘ twists and turns his limping limb : ’ perhaps an allusion to kvkXikol 
 X°P°i- 
 
 1 . 1385. ava| 3 oAds. The ‘preludes’ (so ap.fio\ai Pind. Pyth. 1. 7; 
 avafiaWeadai Horn. Od. 1. 155) were to be drawn from the clouds, 
 
BIRDS . 
 
 and so might well be ‘ wind-flapped and snow-strewn.’ The relation 
 of the dithyrambic poets to the cloud-goddesses may be read of in Nub. 
 333 foil. 
 
 1. 1388. Ta Xapirpa, ‘the brilliant passages.’ 
 
 1 . 1393. ciStoXa. It is difficult to see sense or grammar here. The 
 ‘ phantoms ’ can hardly be in apposition with atpa. Perhaps the force 
 of Sieipi is continued, and he seems to be making his way through 
 spectral flights of birds. Blaydes conj. £ 5 w\ia, ‘ abodes.’ 
 
 1 . 1395. wott, ‘avast there!’ ‘easy!’ The boatman’s cry, as in 
 Ran. 180. 
 
 1 . 1396. tov aXaSc Spojxov, ‘ the seaward course.’ This is a natural 
 correction for the unmeaning tov aAadpopov. The Schol. gives tov 
 els aXa Spopov. 
 
 1 . 1401. x a P^ €VT< ^ While Cinesias is singing he has had feathers 
 attached to him and admires the clever device. But in the same 
 moment Peithetaerus lays the stick upon his back, and asks him ‘ how 
 he enjoys his feather-flapping.' 
 
 1 . 1404. TT6pLp,axT]Tos, ‘jealously fought for.’ The Choregus was 
 chosen by his tribe ; and his duty was to supply singers not only for the 
 tragedies and comedies, but also for the cyclic and other choruses at the 
 various religious festivals. Having procured his choreutae the Choregus 
 had next to provide a trainer (xopodidaaKaXos) , the best that could be found. 
 But the order in which the trainers were taken was, apparently, settled 
 by lot. Still there must have been some power of choice left with the 
 Choregus. When the Archon gave leave to a poet to bring out his 
 composition he Avas said to grant a chorus (x°P° v SiSovai). The 
 Choregus who was judged to have performed his duties best received 
 a tripod for a prize; and the tribe to which he belonged was supposed 
 to share the honour, and was named with him in the inscription on the 
 tripod. 
 
 From this we can understand what a keen competition there would 
 be among the tribes to get the best trainer whose teaching would 
 probably secure for them success. Leotrophides, who would be the 
 Choregus whose chorus Cinesias would have to train, is described as 
 being himself a dithyrambic poet, miserably thin and scraggy. For the 
 use of the dative cp. epol SiSdatceiv = me archonte et ludorum praeside 
 tragoediam doccre. (Holden, from Cratinus.) Similarly tjvlk efiov- 
 Xevov croi Eq. 727. <{)vXt]v may be in apposition with x°p°v> because 
 the choreutae were members of the tribe. There is some joke under¬ 
 lying KeKpomSa which we do not understand. It has been proposed 
 to read Kpe/c- 07 rt 3 a with allusion to /rpe£, ‘ the rail ; ’ or KepfccoiriSa 
 referring to those thievish imps the Keprcanres aaAio used to persecute 
 Heracles. 
 
 70 
 
NO TES. LINES 13 8 8-143 2. 
 
 1 . 1410. opviOes tiv€s. The words with which the informer comes 
 on the stage are a parody on Alcaeus: opvtOes rives oi'S’ wteeavcb yds 
 cltto irepparcvv | rj\ 9 ov iraveXoires irouaXudeppoi ravvaiirrepoi ; It is possible 
 that by oijStv i'xovTes the Informer is indicating his own impecunious 
 condition. But, more likely, it expresses his disappointment that the 
 birds in the new city have no riches, so that nothing can be squeezed 
 from them. 
 
 1. 1412. ov 4>avAov, ‘not slight,’ ‘not inconsiderable.’ 
 
 1 . 1415. Tavuo-Cirrepe paA’ au8is, ‘yet once more, O particoloured 
 bird with outstretched wings.’ Peithetaerus thinks that this popular 
 song on the swallow must really refer to the Informer’s coat, which is 
 ‘ particoloured 5 with many a patch ; and is so poor a protection from 
 the cold that it points to ‘ a want of a whole swarm of swallows 
 bringing summer in their train : ’ p.Ca x^^wv eap ov iroiel. 
 
 1 . 1418. SeOpo belongs directly to rods d<j>iKvov|juvovs. For the 
 unusual position cp. Pax 1303 vpwv . . . kvravQa rcvv pevovicvv. 
 
 1 . 1420. TTTepwv. From the Mvppudoves of Aeschylus, according to 
 the Schol. Probably the remaining words of the line come from the 
 same source. 
 
 1 . 1421. evQv IIeAAT|VK]s, ‘straight for Pellene,’ a village in Achaia, 
 famous for the manufacture of warm woollen cloaks = as we might say 
 ‘to Ulster.’ So Pind. 01 . 9. 98 (148) teal ipvxpdv evdiavov (poppaKOv 
 avpav YleXXava (pepe. Peithetaerus suggests that the only reason why 
 the Informer desires wings is that he may visit Pellene and change his 
 threadbare cloak for a warm one. 
 
 1. 1422. vtjo-lojtlkos, referring to the islands in dependence on 
 Athens. 
 
 1 . 1425. Trepicropeiv, seemingly intransitive ; ttoAcis being governed by 
 the preposition in the compound word, ‘ to swoop round all the cities.’ 
 See on 1032. 
 
 1 . 1426. irpoo-KaAet, future with the same meaning as KaAodp-evos, 
 ‘ how will you do your summoning any more cleverly with the help of 
 wings ? 5 vtto is used here in its idiomatic sense of ‘ to the accom¬ 
 paniment of;’ as in to ovpiyycvv Hdt. 1. 17, x a ^ K V s viral adXmyyos 
 Soph. El. 711. The Informer answers, ‘ Indeed, I shan’t (do it any 
 better) but (I want wings) that the footpads may not annoy me, and 
 that I may return thence with the cranes, having bolted many a law¬ 
 suit to serve as ballast.’ For this story about the cranes see sup. 1136. 
 
 1. 1431. veavias, ‘an able-bodied young man.’ 
 
 1. 1432. o-Ka/rTTeiv. Like the ‘unjust steward’ in the parable, he has 
 learned no trade nor craft, and he therefore represents himself as driven 
 to the very questionable profession of an informer, rt ironjaa); cnanreiv 
 ovk iaxvu Luke 16. 3. 
 
 7 1 
 
BIRDS. 
 
 1. 1435. rj 8iKoppa4>etv, with an intentional echo of Sikcuov, ‘ on 
 principles of law rather than constantly getting np law-suits.’ 
 
 1 . 1436. TTTfpou. Through the next lines there runs a constant double 
 meaning of irrepovv and its compounds. The Informer actually -wants 
 to be furnished with ‘ wings; ’ Peithetaerus declares that to be un¬ 
 necessary—a few words of persuasive talk ; a little encouragement to 
 extravagance; a hankering after the stage—are quite enough to make 
 a man ‘flighty,’ to set him ‘ soaring,’ to put him ‘ in a flutter,’ to make 
 him ‘high flown.’ Ultimately Peithetaerus ( 1 . 1463 foil.) uses the 
 words iTTepco (dual) for the double-lash of the Corcyrean whip, with 
 which he sends the Informer ‘ spinning like a top.’ 
 
 1 . 1441. rd p€ipa,Kia t&v. I have adopted Blaydes’ emendation for 
 the vulg. rots neipa/dois kv, for the fathers evidently are not speaking 
 to but of the lads. That this is generally felt may be seen from the 
 various conjectures: sc. rof? (pvXi-rais Meineke, or tols brjpoTais Kock. 
 The lads are supposed to be congregated in the ‘ barbers’ shops; ’ 
 and their fathers are lamenting over them as ‘ horsy,’ or ‘ stage-struck.’ 
 
 1. 1443. linrT]\aT€iv, cp. the record of the extravagant habits of young 
 Pheidippides, Nub. 15, 69, 74. 
 
 1 . 1444. o 8e tis, i. e. aXXos Se tis. 
 
 1. 1446. kcu 7TT€povvTai, ‘they really are furnished with wings!’ 
 So oltt av icai p.a 6 r) cp. Nub. 785. This Peithetaerus declares to be no 
 mere metaphor, for ‘ the mind is sent aloft, and its owner is raised 
 on high,’ by the influence of words. 
 
 1 . 1455. €v 0 a 8 t. The Informer forgets that he is no longer in Athens. 
 Ka\€crdp.€vos, ‘ having summoned,’ only refers to the early stage of 
 citing the defendant to appear. €yk€kXt]ku>s advances a stage further, 
 1 having indicted him before the judges.’ 
 
 1. 1456. kcit’ av 'ireTcop.ai. Dobree’s emendation, generally accepted, 
 for vulg. /car’ av. For the tmesis cp. Ran. 1047 KaT ’ °^ v *PaXev. 
 
 1 . 1457. w8l XtyeLS, ‘ this is what you mean.’ Join Iv 9 a 8 e with 
 (i<j>XTf)Kr| SCktjv. Peithetaerus takes up the cvGdSe in the same sense as 
 the Informer : ‘ in order that the foreigner may be cast in his suit 
 in the court at Athens before he has time to arrive.’ The Informer 
 will appoint a certain day for the trial, at which he will duly appear, 
 thanks to the speed of his wings. The poor foreigner, having no such 
 advantage, will not be present when his name is called, and so judg¬ 
 ment will go against him in default (eprjpLrjv ocpXeiv dircrjv'). 
 
 1. 1460. -TravT’ c'xeis, ‘ you’ve got it completely.’ 
 
 1 . 1461. |3€[aPikos. Cp. Virg. Aen. 7. 378 folk, where the wild 
 speed of Amata through the streets of Lavinium is compared to the 
 movement of a top ( volubile biixwn ) set spinning with a lash ( dant 
 animos plagae'). The ‘Corcyrean whip’ with double thong (TTrepcv) 
 
 7 2 
 
NOTES. LINES 1 435 - 149 2 . 
 
 seems to have been a special weapon of public chastisement in that 
 turbulent island, avvtxws 5 e irapa K ep/cvpaiois ara^'icu 7 [vovrai . bid 
 to OTaaia^iv ovv l-nenoXaGi nap ’ avrois fj pacrng Schol. Cp. Xiyvpa 
 piaaTiyi bnrXrj Soph. Aj. 242. 
 
 1. 1466. ou irTcpuYieis ; Svon’t you wing your flight?’ cp. sup. 795. 
 
 1 . 1467. aTToXipd^eis. It seems difficult to connect this with At/ 3 a?. 
 There are not a few curious words with a similar meaning, as anoXi- 
 rapyieis Nub. 1253. 
 
 1 . 1468. mKpav, ‘ to your cost; ’ as sup. 1045 and Thesm. 853 niKpav 
 'EA kvr\v oipei rax', A 1 *) Koapicvs e£as. 
 
 1. 1469. I'lpets. Peithetaerus here addresses his attendants, and perhaps 
 the K?jpvI sup. 1271. 
 
 1. 1475. KAeiowpos. For Cleonymus see on sup. 288. This curious 
 comparison of a man with a tree may have in it an echo of II. 13. 437 
 aAA’ oicrre GTX]kr]v fj bevbpeov inpiniTrjXov aTpepias Icrraora, and may 
 refer to a dull, wooden nature. But the introduction of a tree seems 
 natural enough when we remember that the Chorus of Birds are 
 describing the wonderful things they have lighted on. In KapStas 
 d-rrcDTepto there is a double meaning; either ‘further away than (Hert¬ 
 ford) Cardia,’ a town on the Thracian Chersonese ; or ‘ out of Heart,’ 
 i. e. cowardly. 
 
 1 . 1477. p-cyci. The bulky stature of Cleonymus is hinted at in 
 Acharn. 88 bpviv TpnrXaoiov KA eavvpov. Cp. Vesp. 592. 
 
 1 . 1478- too p,ev Tjpos. See on sup. 1046, where we find that the 
 suits in which £eVot were involved came on in the month of Munychion. 
 In o-vko4>civt€i there appears to be an allusion to the connection of 
 Cleonymus with the efforts to discover who had mutilated the Hermae. 
 
 1 . 1481. dtrmSas c{)uX\oppoei. The Cleonymus-tree ‘ shed its shields ’ 
 in the winter. Cp. the epithets dambofixfjs and piipaams applied 
 to Cleonymus, Nub. 353. 
 
 1 . 1484. Adxvcov €pT]pia, A parody on the famous phrase 'ZkvOwv 
 \pr)p!ia (Aesch. P. V. 2, Acharn. 704), describing the vast desolate steppes 
 of Scythia. Here, ‘ the place void of lights ’ is that quarter in Athens 
 where very few folk w r ent about with lanterns. (Vesp. 219, 246-262 ; 
 Eccles. 27 ; Nub. 613). For the streets .of Athens were not lighted 
 in the modern sense, and the windows of the houses did not give light 
 on the road. In this dark quarter of the city lives the notorious 
 footpad Orestes (sup. 712, Acharn. 1166) called a ‘hero,’ as bearing 
 the name of the son of the great Agamemnon. A very friendly and 
 companionable person, like the heroes of old, but an awkward person 
 to be in company with after dark. 
 
 1 . 1492. TrA.T]Y€is. It was usual to pass the shrines or chapels of the 
 Heroes in reverent silence (Alciph. 3. 58); and a sudden meeting with 
 
 73 
 
BIRDS. 
 
 a Hero face to face was believed to cause paralysis, so that the Heroes 
 were called ttXtjktcu (Athen. n. 461 c), as having the power to ‘ give a 
 stroke of palsy ’ (aTronXrjgla). This belief is played upon in the word 
 -n-Xipyets, which means ‘ having had a stroke ’ from the cudgel of the 
 footpad, who then ‘ stripped ’ his victim ( yvp.vos) sup. 498. 
 
 1. 1493. -iravra TamSt^ia, ‘ all down the right side,’ as is common in 
 paralysis. The Schol. seems to understand ‘ the most important parts 
 of the body.’ But this is very doubtful. 
 
 1 . 1496. ov)-yKa\v|x|x6s, i. e. 6 eyraX. Dawes’ emendation for 6 
 avyKaXv/j./j. 6 s. 
 
 I.1499. oTrqviKa; ‘do you ask what time it is?’ Notice that 
 Prometheus in his supreme selfishness takes no notice of the questions 
 of Peithetaerus. 
 
 1 . 1500. JSovXvtos, as in Od. 9. 58 rjfios 8’ fjeXios /act evIcraero fiov- 
 Xvrovde, where Eustath. defines PovXvtos as rj pieoripifipia earlv rj oXlyov 
 tl fiera jxearjpPpiav ore Poes Xvovrai tov Kapcveiv. Therefore we are not 
 to think of the evening hour to which Horace refers (Od. 3. 6. 41) as 
 finally releasing the oxen from the yoke, but rather of the midday halt. 
 Mr. J. G. Frazer (Classical Review, vol. ii. p. 250) quotes from Seebohm 
 (English Village Commun. p. 124 foil.) to the effect that in Wales and 
 Germany plowing in ancient times stopped regularly for the day at noon. 
 
 1 . 1501. 6 Zeus iimet; As we should say ‘what’s the weather 
 doing?’ With d7rcu0pia£ei, ve^e'Xas cp. Virg. Georg. I. 461 tmde 
 serenas ventus agat nubes. 
 
 1 . 1503. oi|AG)£e p.eyaX’. Peithetaerus, impatient at the impracticable 
 ways of the man, shouts out ‘ a murrain on you ! ’ At this Prometheus, 
 with grotesque cheerfulness, as if he had received some friendly in¬ 
 vitation, says ‘ Well then, on those terms, I’ 11 throw my wraps off.’ 
 Or perhaps, as Felton suggests, Prometheus is harking back to his 
 original question, to which he attached so much importance—‘is the 
 sky clear or overcast ? ’ because in the latter case I shall not be seen 
 by the gods, and may unmuffle myself. Possibly oi'jxco^e p-eyaX’, in the 
 mouth of Peithetaerus means ‘ You ’ll catch it! ’ seeing how black and 
 lowering is the sky. 
 
 1 . 1508. o-KiaSetov. Such a ‘ parasol,’ together with a portable stool 
 for resting on ( 5 'appos), was regularly carried by the daughters of the 
 Metoeci, whose duty was to wait on the high born Athenian damsels 
 ( Kavrjcpopoi ), when they took their part in the Panathenaic procession. 
 See inf. 1551. 
 
 1 . 1514. TrrjvtK’ cltt’. ‘What was about the date of his disaster?’ 
 &tt<x ( = nva, as aTTa^anva) is added to words expressive of time or 
 quantity or the like, to give a tone of indefiniteness. So Ran. 173 
 7 rod arra ; 936 iroT arra ; 
 
 74 
 
NOTES . LINES 1493-1541. 
 
 1. 15T9. 0 ecrp.o<J>opiois. The Thesmophoria was a festival conducted 
 by women in honour of Demeter, who was supposed to have established 
 laws and the usages of civilized life. It is difficult to decide the exact 
 date and duration of the feast, but it seems to have lasted from the ninth 
 to the thirteenth of the month Pyanepsion (November). After the per¬ 
 formance for two days in Halimus of certain preliminary purificatory 
 rites, there followed the main festival in Athens lasting for three days, 
 the second of which was kept as a strict fast, the women sitting as 
 mourners round the statue of Demeter. 
 
 1 . 1520. | 3 dpPapoi. This suggests the meaning of KeKptyores, 
 ‘ screeching,’ since to Greek ears the language of the ‘ outer barbarians,’ 
 always seemed like the inarticulate utterance of some wild creatures. 
 Just as savage Thracian tribes dwelt on the Northern frontier of Greece, 
 so here, Olympus is described as beset by similar unpleasant neigh¬ 
 bours. 
 
 1 . 1524. eurdyoiTO. Note this use of the optat. after a present or 
 future tense in the principal sentence, pointing back to the original 
 intent of the arrangement ; as Ran. 23 avrds fiad'ifa kcu ttovoj, tgvtov 
 8 ’ 6\vb | iva /j.r] TaAaimopoiTO, Od. 17. 250 tov ttot' kyivv . . . a£a> rrjX’ 
 ’19a.KT]s iva pioi fiiorov voXvv aX<poi. See also Goodwin, M. and T. § 44, 
 2, note 2 b, who quotes tovtov ex €l tov Tpovov 6 vopios iva pirjfie ireicOrivai 
 /xr]d’ eganaTTjOfjvai 7 evono km ra) Stj/xo) Demosth. Androt. 59 ^- * 7 > 
 where e'xei refers to the past existence of the law ; the idea being that 
 the law was made as it is, so that it might not be possible, etc. eicrd- 
 yoLTo is the regular word for the ‘ import of goods.’ 
 
 1 . 1527. irarpcpos, ‘ a family god.’ Before becoming an acknowledged 
 Athenian citizen, it was necessary to give a satisfactory answer to the 
 question et ’A Orjvaioi diaiv eKarepajOev kic rpiyovias . . . Kal el 'AttoWojv 
 karlv avTois iraTpwos. Execestides , ridiculed in sup. 11, 764 ns a sham 
 citizen, would have to find his family-god among the barbarian neigh¬ 
 bours of Olympus. 
 
 1 . 1529. Tpu| 3 aAAoi (Thuc. 2. 96). This Thracian tribe was pro¬ 
 verbial for fierceness, and the word was used as a sort of synonym 
 for savagery, as we might speak of f a regular Turk.’ The absurd pun 
 that connects €mTpi|3€CT]s, ‘ curse you ! ’ (lit. ‘ may you be smashed ! ’) 
 with Triballi may be made as bad in the English by rendering 
 ‘ Tribul-ation seize you ! ’ 
 
 1 . 1536. BacrCAeia, ‘Royalty,’ the impersonation of the sovereignty of 
 Zeus as a fair damsel. 
 
 1 . 1541. AoiBoptav. If this reading be right, we must treat it as 
 grotesquely inserted in the inventory of things inseparable from civic 
 life. So in Eccles. 142 foil, the women describing the behaviour of the 
 men in the eKKAyoia say Kal Xoibopoiivral 7 ’ ucnrep eix-nencuKuTes, j nai 
 
 75 
 
BIRDS. 
 
 tov trapoivovvT cKcpcpovar' 1 ot to£ 6 tcu. But the word XoiSopiav is certainly 
 rather startling, though no satisfactory conjecture, has been made. 
 Perhaps cpLiroplav would be as good as any. KaAcrypeTTjv. The KcuXa- 
 yptTcu (or KajXaKperai) in the earliest days were the principal financial 
 officers at Athens. From the time of Cleisthenes their duties were 
 reduced to catering for the meals in the Prytaneum. But when 
 Pericles introduced the system of jurors’ fees, the /ccuXa/cpcrai became the 
 paymasters. 
 
 1. 1543. iravT 5 «X €t S> as sup. 1 35 2 ‘ 
 
 1 . 1545. dvOpwiTots evvovs, Aesch. (P. V. 11. 28) specially com¬ 
 memorates the (piXdvOpojtTos rponos of Prometheus, who had brought 
 down fire for the use of men. In the word dir-avOp-aKL^opev, ‘ we do 
 our grilling,’ there is an intentional echo of dv9puirots , as in T/peis S’ 
 avOpcLKes Nub. 97. 
 
 1 . 1549. Tijxcjv KaOapos, c a thorough-going Timon,’ ‘ a Timon to the 
 backbone.’ Kock assigns these words to Peithetaerus, because Prome¬ 
 theus in Olympus would have had no opportunity of hearing about Timon. 
 But, surely, the amusing confusion between celestial and mundane 
 scenes, between Bird-land and Athens, is part of the fun. ‘ Timon of 
 Athens,’ familiar to readers of Shakespeare, was called d puaavOpu-nos, 
 though Lucian (Tim. 34) makes him say iravras yap ajxa /cat 0 €ovs 
 /cat dudpujTrovs puodj. The same authority represents him as the son of 
 Echecratides of the deme Colyttus. Pie is supposed to have been 
 embittered by disappointments and to have withdrawn from the 
 world, admitting no one to his society but Alcibiades. In the Lysistr. 
 808 foil, he is instanced by the Chorus as one who hated evil men but 
 was devoted to the other sex. The Movorpovos of Phrynichus (which 
 gained the first prize when the ‘ Birds ’ only took the second) introduces 
 the recluse as saying £u) Sc Tlpcuvos / 3 iov. 
 
 1 . 1550. Join I'va kclv 6 Zeus l'8r| p.e, and for the Hyperbaton of the 
 pronoun cp. sup. 95. 
 
 1 . 1552. See on sup. 1508. Prometheus hopes to be taken for one 
 of the attendant maidens and to escape the notice of Zeus. 
 
 1 . 1553. irpos 8e tois SKid-n-oo-iv. The Chorus deals here with 
 similar marvels to those which were recounted sup. 1470-93 ; and they 
 are reported in such a way as to give a hit at unpopular charac¬ 
 ters. The Shadow - feet were a fabulous tribe in Libya, who, 
 according to Ivtesias, were web-footed like geese. When they lay 
 down to rest, they held up one of these feet to screen themselves from 
 the sun. The Schol. assigns to them four legs, and represents them as 
 walking on three, and holding up one, but Pliny (N. H. 7. 2. 23) 
 improves upon the story and gives them only a single leg, which they 
 used alternately as a leaping pole or a sunshade. 
 
 7 <> 
 
NOTES . LINES 1543-1563. 
 
 \Cp.vTj. We are to imagine ourselves on the shore of some lake 
 like Avernus in Italy, where there was an oracle of the dead, pavreiov 
 dvrpov real dfpairevTrjpes to> avTpcp if/vx^youyoi. Here the part of the 
 hierophant is taken by ‘Socrates the unwashed’ (ovd’ fjXe'apaTo | ou<3’ 
 h fiaXcivdov 77A 6e Xovoopevos Nub. 837), who ‘ draws the spirits ; ’ 
 vj/uxctyoyel having the double meaning of (1) animos evocat Oreo , 
 and (2) animos iuniorum allicit docendo. But the whole scene is a parody 
 of the N (Kvia in Od. 11, where Odysseus comes and sits at the side of 
 the trench, cuts the throat of the victim, turns away for a moment, and 
 awaits the coming up of the souls of the dead with whom he wished 
 to converse. 
 
 1. 1556. IleLcravSpos was the main agent in the overthrow of the 
 democracy (Thuc. 8. 53), and the establishment of the 400 at Athens. 
 He was an inquisitor in the matter of the mutilation of the Hermae, 
 and was made Archon in 414. But after the deposition of the 400 he 
 fled to Decelea, and never returned to Athens. His cowardice was 
 proverbial (as Xen. Symp. 2. 14 os vvv 8ia to /it) 8vvaodai rals Xoyx aL s 
 avTi(3XeTTeLV ov8e avaTpareveoOai eOeXei) ; so he is here represented as 
 on the look out for his own spirit, which has deserted him! 
 
 1 . 1559. Kdp/rjXov dpvov rtv’, ‘a kind of camel-lamb,’ to be taken 
 closely together like avOpcovos opvis sup. 169, fiarpaxcov kvkvcdv Ran. 
 207. This monstrosity is chosen as a suitable victim to be offered 
 by the lumbering overgrown Peisander, 6 peyas, 6 ovos KavOrjXios 
 Hermipp. 12. 
 
 1 . 1561. dirrjXOe, ‘stepped aside.’ If we retain this reading it must 
 be interpreted as referring to the brief moment in which Odysseus may 
 be supposed to be carrying out the directions of Circe, Od. 10. 527 foil. 
 ev6’ oiv apveiov pe^eiv OrjXvv re peXcuvav | els ‘'Epeftos arpeipas, atiTos o 
 d'Trovocr(|)t TpairtcrSai, | i€[X€vos 7 rorapoio poaevv. But there is some¬ 
 thing suspicious in r]X 0 e—aTrfjXOe—dvrjXOe, besides which we want 
 to parody the ‘waiting’ of Odysseus, Od. 11. 82 van pev rjped’... 
 rjX 6 e S’ e7ri prjTpos. On these grounds Kock conjectures 
 
 KaOrjOTO. 
 
 1 . 1563. Xaip.a. If this is a Greek word at all, it may be, as 
 Kennedy suggests, ‘ a coinage of the poet, a hybrid between Xcupos, 
 throat and alpa, blood? It would be easy to write to 7 aipa. 
 
 Chaerephon , nicknamed ‘ the bat,’ is perhaps chosen because the 
 squeak of the bat is like the noise of the ‘ squealing ghosts, cp. Od. 
 24. 6 ff. co? 5’ ore WKrepldes p^XV &vrpov Oeonecnoio | rpi^ovoai noreovTai 
 co? at [the souls of the pvrjOTTjpes summoned by Plermes] Terpiyvicu ap 
 rperav. Also Chaerephon was cadaverous and sallow (7roftvo? Eupol., 
 cp. rjp'idvrjs Nub. 504) and suggested the idea of a ghost. It seems 
 difficult to follow Kock in supposing that the brave spirit of 
 
 77 
 
BIRDS. 
 
 Chaerephon (acpodpos k(p' ort opurjtrete Plat. Apol. p. 21) was sent up 
 to make up for the cowardice and want of spirit in Peisander. 
 
 1 . 1565. to p.€v TroAurp.a. Poseidon, Heracles, and the Triballian 
 appear on the scene, as a deputation from Olympus. Poseidon, as patron 
 of the Knights at Athens, naturally represents all that is most polished 
 and aristocratic. He finds fault with the gaucherie of the Triballian, 
 whose rusticity shows itself in the slovenly way in which he wears his cloak. 
 The proper method of disposing the Imamov was to throw it over the 
 left shoulder, then round the back to the right side, and finally across 
 the chest, either under or over the right arm, back to the left shoulder 
 again. This arrangement marked ‘ the gentleman: ’ it betokened a 
 vulgar person avafiaAAeo6ai firj kmoraodai km 8e£ia Plat. Theaet. 
 175 E. 
 
 1. 1569. AauriToSCas is mentioned by Thuc. (6. 105) as having 
 conducted an expedition against Sparta. He is said to have had some 
 defect in the legs which he sought to conceal by the excessive length 
 of his cloak. There may be some real or fancied connection in the 
 word with Aaio? and irovs. 
 
 1 . 1570. STjjxoKpaTta. It is amusing to^ hear Poseidon speaking of 
 Olympus as if it were a republic, electing its officers and commissioners 
 by show of hands, and, on the whole, with as bad success as at 
 Athens. 
 
 I.1572. i'jjeis &rp€|xas ; ‘do keep quiet V —we may suppose that 
 Poseidon is trying to arrange the Triballian’s mantle more decorously; 
 and that he resists the proffered service. 
 
 1 . 1575. ayx 6l - v PovA.op.ai. This uncompromising ferocity of Heracles 
 heightens the comic effect of his absolute surrender at the prospect of a 
 wood dinner. 
 
 o 
 
 1 . 1579. tt|v TvpoKV'qcrTLv. Peithetaerus goes on uninterruptedly with 
 his preparation for the dinner, as if he were unaware of the arrival of 
 the gods. 
 
 1 . 1582. €mKvw. The Schol. interprets this by kmfiaXAt. It would 
 then be the pres. mid. imperat. from km-rcva<u. Meineke would write 
 kmKvr], i.e. kmKvae , the pres, active imperat. Trans, ‘grate over it!’ 
 But kirucvaj may mean ‘ I am grating.’ 
 
 1 . 1583. tov = TLVOS. 
 
 1 . 1585. f'8o£av d8uc€iv, ‘were proved guilty.’ There are the same 
 political struggles in bird-land as in Athens, the aristocratical party 
 combining against the democratic. The guilty birds are to be baten 
 as a punishment. 
 
 1. 1590. Aurdp’ €tvai, sc. to> kAaiai. 
 
 1. 1593. v8cop av eixer’, ‘if you were on good terms with us gods 
 you would have rain-water always in your marshes : ’ a surprise for 
 73 
 
NOTES . LINES 1565-1628. 
 
 ev rots cppeaai or rais 8 e£apevais, where rain-water would naturally be 
 stored. But birds find it in the marshes. 
 
 1. 1594. dXKuovlSas. ‘Halcyon days’ are thus described by Ovid, 
 Met. 11. 745 perque dies placidos hiberno tempore septem j incubat 
 Alcyone pendentibus aequore nidis. | Turn via tuta maris, vent os 
 custodit , et arcet j Aeolus egressu. 
 
 1 . 1595. auTOKpdTopes, ‘with full powers,’ ‘plenipotentiary.’ So 
 Lysist. 1009. 
 
 1 . 1598. Join aUa vvv = nunc saltern. So Soph. El. 411 u> Oeol 
 narpcvoi, £vyyeveo 9 e y aWa vvv. 
 
 1 . 1601. Notice dn-oSouvcu, ‘to restore’ something that is due. 
 Cp. Dem. de Halonneso. 
 
 1 . 1602. dpurTov may be rendered ‘ lunch.’ It was the first sub¬ 
 stantial meal of the day. The early breakfast, aKpanopa, being merely 
 a sup of wine and a morsel of bread. 
 
 1. 1606. <x\t]0€s ; see on sup. 174. 
 
 1 . 1609. Ktaj/avTes, ‘cowering down;’ lit. ‘with bowed heads.’ 
 
 1 . 1614. vr| tov IlocreuSuj. Probably a jest lies in this unconscious 
 adjuration of himself by Poseidon. 
 
 1 . 1615. va ( 0 cuo-aTpe{). It is hopeless to get any further with the Tri- 
 ballian’s gibberish than to note that Peithetaerus chooses to interpret 
 it as implying assent. Perhaps we are intended to catch the sound of 
 vr) or vai in the word. Siivern’s proposed interpretation dva@Sjp.ev oi rpets 
 (es tov ovpavov) seems to give neither sense nor point. Nor can we 
 trust the interpretation of Peithetaerus, who reads what he wishes into 
 the unintelligible words; as the ambassador does in the scene with 
 Pseudartabas (Acharn. 100 foil.) ; and as Heracles does inf. 1629. 
 
 1.1619. €ti£djAevos, ‘after having vowed a victim takes to quibbling, say¬ 
 ing “ the gods can wait,” and does not pay his debts through greediness.’ 
 
 1.1620. p,urqTua. This word is interpreted by Photius as rj -rrpds onovv 
 axapis d-nX-rjaria, with a special meaning almost like pax^oovvrj. 
 Through the notion of dTrAijaria, the 1 . of the MSS. pia-priav has been 
 treated by some as an adverbial accus., and rendered ‘in full measure.’ 
 Professor Kennedy renders piarjTia by ‘ stinginess,’ which seems a hint in 
 the right direction. But the sense is rather ‘greediness’ or ‘grasping spirit.’ 
 
 1. 1621. &va'rrpd£op.ev, ‘ we will exact.’ 
 
 1 . 1622. apyupiSiov. The first iota is long, as in rcpKidiov Nub. 92. 
 
 1. 1623. Xoup,evos, sc. sitting in the bath. 
 
 1 . 1625. Tl[XT]V, ‘value,’ ‘price.’ The kite takes twice the value 
 of the victim so meanly withheld. 
 
 1 . 1628. 6 TpipaXXcs, ‘ Ho Triballian, have you a fancy for a good 
 cry ? ’ meaning, ‘ do you want to be beaten ? ’ The nom. is used with 
 the force of a vocative, as in <5 irais Ran. 5 21 > °‘ Togurai Ach. 54 - 
 
 79 
 
BIRDS. 
 
 The words of Heracles are quite contemptuous, as he evidently regards 
 the presence of the Triballian on the deputation as quite unimportant. 
 The question seems to have been more or less intelligible to the foreigner, 
 for the sound of pa/tr. and icpovcr. in his answer suggests the laying of the 
 stick upon someone’s back. 
 
 1 . 1633. irctpa.Bi8co|Ai,. Peithetaerus assumes a gratuitous generosity in 
 giving up what does not belong to him, as it were to stimulate Zeus to a 
 corresponding act of grace in surrendering his own Princess Royalty. 
 
 1 . 1638. Baipovu’ dvOpwircov, ‘ my good fellow.’ This sounds a 
 strange appeal addressed by a god to a god : but by and by Poseidon 
 gravely discusses the prospect of the death of Zeus (Zei/j dOavaros !) 
 and the chances of his heirs. 
 
 itoi 4>€p€i; ‘whither are you rushing off?’ sc. iroi (ppev ojv, ‘to 
 what notion.’ 
 
 1 . 1639. yvvaiKos (xias. A reminiscence of the Trojan war. 
 
 1 . 1644. crou, because Heracles is son of Zeus. Then Peithetaerus 
 takes Heracles aside, and warns him against the false hopes raised 
 in him by his uncle Poseidon. 
 
 1 . 1648. 8 ia{ 3 dA.XeTcu, ‘deceives.’ So in Hdt. 9. 116 Xlyoov roiafie 
 aep£ea dufiaXero. The Schol. quotes, as similar, the Homeric phrase 
 ’jrapa(3\r)Sr]i' dyopevccu II. 4. 6. 
 
 1 . 1649. ov8’ ctKap-f], ‘not a scrap,’ as in Vesp. 541. Properly aKoprj 
 (acc. sing. masc. aKaprjs ) agrees with XP^ V0V as dicaprj diaXnTuiy (sc. 
 Xpdvov) Nub. 496, and then is used for any ‘ indivisible ’ amount of time 
 or space. The neut. d/capes is also used. 
 
 1 . 1650. tovs vop-ous, i.e. the laws of Solon, which are represented as 
 no less binding upon the gods than upon men. 
 
 1 . 1652. ijev-rjs, sc. Alcmene, who was daughter of Electryon, king 
 of Messene, and so neither a native of Olympus nor of Athens. 
 
 1. 1653. €ttlkXt]pov, ‘heiress,’ properly ‘a daughter who having no 
 brother succeeds as heiress to her father’s estate.’ Where a daughter had 
 brothers she was not emuXrjpos but only emirpoifcos, i. e. with a claim on 
 her dowry (npoig). Peithetaerus asks how Athena could be heiress of 
 Zeus in her own right, if she had any 7 vrjaioi adeX(l>o'i, which she really 
 had in the persons of Ares and Hephaestus. He coolly takes for 
 granted that she is such an heiress and Heracles never thinks to question 
 the fact; but asks whether Zeus has not the power to will his estate (xpfp 
 pcrra) to him at death though he is a bastard. ‘ No,’ says Peithetaerus, 
 ‘ that is against the law which prohibits vuOoi from succeeding to an 
 inheritance.’ All that a father could legally do for bastard sons was 
 to leave them their voOeia as a solatium , not exceeding in amount 
 1000 drachmae. The reading of Rav. is vdQcp y £aTTo6vq<jKOJv — whether 
 we retain this form or the ordinary dnoOi'rjOKwv, it seems better to read 
 80 
 
NOTES . LINES 1633-1692. 
 
 v 60 co than Math Meineke and Dind. voOeV or ra voOeia , for the xp^fJ-aTa, 
 properly so called, are distinct from the voOeia, or ‘ bastard’s legacy.’ 
 
 1. 1658. dv 04 £ 6TaC crov. This is commonly rendered ‘ he will secure 
 instead of you,’ equivalent to avri aov igerai. But there is no parallel 
 to this construction, and it seems better to substitute o-ot for aov, 
 meaning ‘he will secure, as you will find , or lo your disadvantage.’ 
 
 1 . 1659. u 8 eA. 4 > 6 s, sc. of Zeus. For even if Athena were not in the 
 way, Heracles would find that his uncles, and especially Poseidon, would 
 have the next claim ; for a bastard could have no ‘ rights of relationship ’ 
 in cases of intestacy (a-yx^Teia), which could only be enjoyed by 
 legitimate or properly adopted children ; and these failing, the inherit¬ 
 ance passed to ‘ next of kin.’ 
 
 1 . 1669. e’urr]yay' 4 s tous cjjpaTfpas, ‘registered you among your 
 wardsmen.’ On the KovpewTis, or third day of the festival Apaturia, 
 Athenian fathers used to enter the names of their sons born in wedlock 
 in the register of their epparpla , and this registration in the noivbv 
 ypappareiov was their proof of citizenship. Zeus (who is treated 
 throughout as an Athenian citizen) could not do this for Heracles 
 because he was not yvrjaios. The registration generally took place 
 when the boy was three or four years old, which explains 'rraXau 
 
 1. 1671. aiKiav pXemov, ‘with a face threatening assault and battery.’ 
 See sup. 1169. Heracles is furious at the deception which has been 
 practised on him. 
 
 1. 1673. opviOcov ya\a, see on sup. 734. 
 
 1 . 1674. Kal iraXiv. Peithetaerus had made two claims, one for the 
 sceptre (sup. 1600), which Heracles had accepted ; and the other for 
 the Princess (sup. 1622 foil.). It is to the second claim that Heracles 
 now refers. 
 
 1 . 1678. KaXdvt. This time the meaning of the gibberish is plain 
 enough, nakijv Koprjv teal peyakyv B aalkeiav opviai Trapadldcvpi. Cp. the 
 form ’ laovav Ach. 104. 
 
 1 . 1681. p.f| | 3 aTi£ei y\ A simple emendation for the unintelligible 
 1 . of the MSS. Padi^eiv 7’. Other conj. are mopl^et 7’, 7’, 
 
 7’. Cp. Plesych. ( 3 a| 3 d£ar to prj SirjpOpojpeva \lyciv. 1 ransl. 
 
 ‘ he is only twittering.’ For this meaning of et p.f] cp. « py « no- 
 vrjpwv Eq. 186, avrrj (dcovurj I Ipairecvs’, TT. pa rco 0eco, el pi) KplroKka 
 ye Thesm. 897. 
 
 1 . 1688. KaTSKoirqcrav. The seditious birds had just been 4 knocked 
 on the head ’ in time, as meat for the wedding feast. See sup. 1583. 
 
 1 . I69I. OTTTOlS TO. Kp€CL J ‘ is it the roasting of the meat that you are 
 to undertake ? It’s plenty of dainty feeding that you mean ! ’ Cp. 
 the word irporevOat Nub. 1198. 
 
 1 . 1692. ev ye p.tvTav, as Kennedy, ‘I should have been in clover: 
 
 f 81 
 
BIRDS. 
 
 molliter sane me curassem. Cp. Thuc. 6. 57 ' ApiaroyeiTcov ov pab'uos 
 biereOq. 
 
 1 . 1694. The Chorus resume the record of the marvels they have seen. 
 The localities are imaginary, for we are not to think of 4 >avai as the 
 southern promontory of Chios, but as the ‘ Informeries,’ where the 
 avtco^avrai ply their trade (inf. 1699) ; and the KAeij/vSpa is not the 
 intermittent spring of that name on the N.W. spur of the Acropolis, 
 so much as the Waterclock, which timed the speakers in the Athenian 
 law-courts. There you will find a race of men with tongue-fed bellies. 
 eYY^TTOYacrTcpwv is a parody on Xeipoydaropts, for as ordinary persons 
 feed their bellies with the labour of their hands, so these rhetoricians 
 feed themselves by the exertion of their tongue. 
 
 1. 1701. ropyiai. Gorgias the Leontine was a famous sophist and 
 professor of oratory, who gave lectures at Athens, and stimulated public 
 interest in the affairs of Sicily. He is best known from the Platonic 
 dialogue bearing his name. ‘FiAwnrot. In the * Wasps’ 421 there is 
 a Philippus named who is called 6 Topyiov, most likely meaning 
 ‘ disciple of Gorgias.’ 
 
 1 . 1705. t) y^wtto, x a 'P^ s Tcp-verai. This is a phrase of Greek ritual 
 alluding to the practice of cutting out the victims’ tongues and treating 
 them as a special offering. The jest intended seems to be the reference 
 of this old-established custom not to its primeval origin, but to the 
 triumphs that a Gorgias or a Philip had achieved with their tongues, 
 proving it indeed to be ‘ the best member that we have ! ’ 
 
 1 . 1709. irapearls acrTTjp. Most commentators take this of the 
 moon, but on no sufficient evidence. It may be any bright star, 
 perhaps Plesper os /cdWiaros ev ovpavqj lararai dor-qp. By xpucravY^t 
 Bojjicp must be understood the ‘gold-bright dome ’ of the sky. 
 
 1 . 1711. ou 0 ’.. . toiovtov. This breaks the construction which began 
 with 010s, and makes a new sentence of what should correctly be a 
 parallel clause. 
 
 1. 1713. ou 4 >aTov \eyeiv, ‘ beyond power of words to describe.’ 
 
 1 . 1715. Is Pa 0 os kvkAov, ‘ deep into the vaulted skies.’ 
 
 1 . 1716. OvpiapaTwv 8’. For this elision at the end of the trimeter 
 see Soph. O. R. 29, 791, 1224 ; O. C. 17 ; Ant. 1031 ; El. 1017; Eccles. 
 351. ‘And from the incense offerings the breezes waft a wreath of smoke.’ 
 Cp. Hermipp. ap. Suid. s. v. avOeaiv" Aenrovs bia'^a'ipovaa irenAovs 
 uvdeojv | yepLovras. 
 
 1 . 1720. avayc. The Chorus seem to cry to some great crowd to 
 make way for the festal procession, and give them room to dance— 
 ‘ fall back, open up, make a front, give room.’ avaye (sup. 383) is 
 explained by the phrase of the Ithyphallic dancers quoted by Athen. 
 14. 622 B dvayere, dvayeTt vavre s, evpvx^piav tu> deep noieire. tor 
 82 
 
NO TES. LINES 1694-17 55. 
 
 S<-€X€ cp. Arrian. Anab. 1. I. 10 ot /rev 'yap hiioyov ttjv (paXayya. For 
 Trdpaye, a military expression, Xen. Hell. 7- 5. 22 napayayuv revs enc 
 nepcus vopevopevovs \6\ovs els peroovov, i. e. changed them from marching 
 order to a wide front. There seems to be no exact parallel to irapexe, 
 but it belongs to those quasi-reflexive uses, like napex <kjio 86 jv (sc. 
 oeavrov ) Vesp. 949, Eur. Cycl. 203. 
 
 1 . 1724. <{)€v Tfjs wpas. ‘ Ho! for her youthful bloom !’ For </xu 
 with a similar meaning cp. sup. 162, Lysist. 312. 
 
 1. 1726. Ka,T€Xouoa, ‘ are in store for,’ lit. ‘ come upon,’ ‘ occupy.’ 
 
 1 . 1733. 0 eois. It is difficult to explain this dative; if it betaken 
 with cpxcvTa, it may be compared with peya tepareets vetcveaoiv Od. 
 11. 485, where veKveaoi may be either a local or an ethical dative. If 
 with p-eyav, then it must be ethical = in the eyes of the gods. Dindorf 
 reads deal with M o?pai } Blaydes Oeov. 
 
 !• 1 737 * dp, 4 >i 0 aAris, ‘ rich with blessings.’ The accurate force of 
 dp.c|)u comes out in the technical meaning, ‘ happy in having both parents 
 living,’ II. 22. 496. By an oxymoron we find apcpidaK-qs kukois 
 Ag. 1144. 
 
 1 . 1739. rraXivTOvous, ‘with backward strain;’ so as to check the 
 speed of the 6'xo?, suggested by irap-oxos, the technical name for the 
 ‘groomsman,’ who ‘sat in the car by’ the bride. On the other side 
 of her was the vvpcpios. The post of irapoxos is here taken by V E pojs. 
 
 1 . 1744. \ 6 yu>v. For the gen. cp. ayapeu Kapdlas Ach. 489. 
 
 1. 1745. x® ov ^ as (explained by inf. i75 2 )> ‘that strike the earth;’ 
 not, as usually, ‘ subterranean.’ K\r{craT€ (/ cXp^oj ), ‘ celebrate.’ 
 
 1 . 1752. o8€ vCv, sc. Peithetaerus, assuming the functions of Zeus. 
 
 81a crc. If the reading be right, these words must refer to Zeus, 
 a sort of acknowledgment (to escape a charge of profanity) that it is 
 really his divine permission which has conceded such power to 
 Peithetaerus. But this is not satisfactory, so that Haupt and others 
 read 5 fa be vavra, divina omnia. If our reading be retained, 81a must 
 be pronounced monosyllabically = £a. 
 
 1 . 1753. Join irdpsSpov with Aios, as A ho]v ex eL ^apebpov b Z evs 
 Pint. Alex. 52. 
 
 1. 1755. ■Yap.ounv, sc. the nuptial procession. 
 
 F 2 
 
 83 
 
INDEX. 
 
 OF PROPER NAMES AND THE PRINCIPAL WORDS AND 
 PHRASES EXPLAINED IN THE NOTES. 
 
 The references are to the lines in the Text. 
 
 afipoftdrris, 276. 
 
 ' Ayapepucov, 5 ° 9 * 
 ay)(L(TTeia, 1661. 
 deros ( dieropa ), IIIO. 
 
 ’ Adrjvaia, 828, 1653* 
 
 * Adr/ualoi, 40. 
 alfSol (admirantis), 610. 
 aiyi 6 aXXos, 887. 
 A’iyvnros , 504. 
 aleros ( a’lyiOos), 979* 
 aiKiav (3Xeneiu, 1 67 1 . 
 alvLTTtcrOai npus tl, 970 . 
 a’lpeiv nXr/Krpou, 759 * 
 Alax'ivrjs, 823. 
 
 Ata\vXos, 80 7. 
 
 A’iaconos, 471 ? 65 1 . 
 
 A’lrva, 926. 
 
 *AKa\av 6 U, 872. 
 d<apr], 1649. 
 aKovere Xe&i, 448. 
 dXaXai, 953- 
 *AX e^avdpos, II03. 
 dXrjdes ; proparox., 174. 
 aXiaeroi, 891. 
 
 ’A Xipovurdde, 496. 
 dXievouLdes fjpepai, I 59-4- 
 aXtevcov, 250, 298. 
 aXouro? 2c oKparps, 1554 * 
 ’A Xcpeiov nvelv, 1121. 
 apapvyd, 925. 
 apavp 6 ( 3 i.os, 685. 
 
 apeurjuds, 686. 
 
 ^Appcov, 619, 716. 
 dtpc^iOaXifS, 1 737 - 
 ’ Ap(f)i(oi>, 1246. 
 divattoXai, 1385* 
 dvaye, 1720. 
 
 (day enl cr/teXo?, 383. 
 
 duaKeiadat ini tlvi, 637 . 
 duaperpeiv aeavrdv, 1020. 
 dva<j)6eipea6ai, 9 1 6. 
 duepdxeai, 697. 
 
 (Iv 0 pa> 7 ros opuis, 169. 
 dvveiu, 242. 
 
 duo) Karo), 3- 
 anaiOpidfciv, 1502. 
 dnaudpaKL^eiu, 154^- 
 anrfXiaaTa, IIO. 
 dniara m\ nepa, 416. 
 ano^XirreLu, 498. 
 dno 8 ovvai (restore), 1601. 
 
 dnoXi^a^eLV, 1467. 
 ’AttcIXXcoj/, 516, 584. 
 dnpdypou, 44. 
 
 "Apr;?, 835.^ 
 
 dpiaroKpareladai, 12 5- 
 ’A pLO-TOKpaTTfS, 125 - 
 dpiarov, 1602. 
 
 *Aprepis, 872. 
 
 dan Idas (pvXXoppoelu, 1481. 
 
 drpands, 22. 
 
 arrayar, 249. 
 
 85 
 
INDEX. 
 
 ’ AtTLKT /, 1704. 
 
 aVTLKCl , 166, 378, 483, 786, 
 
 1000. 
 
 a(f)arov cos <f>povipos, 427. 
 
 ’A (f)po8LTTjS, 565. 
 dcftvas, j 6 . 
 
 a^eras, 1095. 
 
 Ba/ 3 uXa)i', 552. 
 jSaSoi/ jSaSt'^eit', 42. 
 
 Bata?, 962, 970. 
 
 (HaXavovcrdai, I1 59 - 
 ( 3 ap( 3 apoi, 199. 
 
 BacrtXeta, I 53 ^* 
 
 (BacrKas, 885. 
 
 / 3 e/x/ 3 i£, 1461. 
 
 PXipdleiv, 530. 
 
 Botcorot, 189. 
 fiovXvros, 1500. 
 
 ydXa dpv'iSuw, 734 * 
 yapy\rd>vvxt s, 359* 
 yauXor, 598. 
 yipavos, 710. 
 r^-yei/etf, 824. 
 yXav< ’A0r]va£e, 301. 
 yXavKts AavpeLCOTLKal, II06. 
 7X0^,358.^ 
 
 yXcorra ^copty Tepveraij 1705. 
 yvuxTLpax^v, 555 * 
 
 Topylai, 1701. 
 
 ypdcpco ( = propose), 1052. 
 
 yi^y, 996. 
 
 A dpeios, 484. 
 deiKuvvai. 1080. 
 deiXciTos, 990. 
 deiXaicpLcov, 143. 
 
 Seim (to), 648. 
 deladai ^eXtSoi'ooi', 1417. 
 denarri Trcudaptov, 4 Q^, Q 22 . 
 AcXcpol, 6l8, 716. 
 
 3 e£toi/ Kepas, 3 S 3 ‘ 
 
 §r)p.dcria ra(f)rjpcu, 396. 
 dicifidXXtaOcu, 1648. 
 
 86 
 
 diafidoKeiv, 486. 
 duif3r]Tr]s, 1003. 
 
 A layopas, 1072. 
 
 8uiKpd£eiv, 307. 
 
 St aparreiv, 463. 
 dtanXeKeLv, 754. 
 
 diappayeirjs, 2. 
 diacTTpa(j)r]cropaL , 1 77. 
 
 dcacfip^acTe, 193. 
 
 dia\}saLpeu>, 171 7 * 
 
 Ste^e, 1720. 
 
 Aurpicpr/s, 1442. 
 
 du<oppa(f)€LP, 1435. 
 dioycvels (< 9 eoi), 1263. 
 
 Aioneidrjs, 988. 
 dpipvs, 255. 
 
 8pvo\js, 304. 
 
 Aoodoivt], 716. 
 
 "Ej3pos, 776. 
 e-j/yXcorroyao-ropes-, 1696. 
 iyKaXelp , 1455. 
 eyKaTaKXivrjrcu, 122 . 
 
 iyKpvuTtiv 7 rip, 841. 
 
 iyxh-v ra 7 rrepd, 1081. 
 
 « PV ( = only), 1681. 
 ei^ao-t, 383. 
 
 elcrdyew is tovs (ftparepas, 1669. 
 
 6K TCOV dpvicov, 16. 
 
 iKaTovTopdyvios , 1131. 
 innepbiKiaai , 768. 
 iXnaas, 886. 
 iXcas, 302, 883. 
 e’XeXeXeu, 364. 
 iXeXifco’dcu, 213. 
 ip\v reiV, 930. 
 i pnctyopQcuopivov, 861. 
 ipnoihcrOcu, 1301. 
 eV pi a co tlvos , 187. 
 iv roicri rpaycobols, 5 I 2 . 
 ivanoTLcrai , 38. 
 ivrjVTicopcOa, 385. 
 vikclv ivi Kpirrj , 445. 
 ii'opxrjs , 569. 
 egedpos, 275. 
 
INDEX . 
 
 i^IXOdv (ftrodire in seen am), 
 
 512. 
 
 Yu £ r ] Ke ( TTL $ r ] s , ii, 764, I 527. 
 
 334. 
 
 eiripov, 543. 
 
 67 rdyeiv , 344. 
 enauaKpovecrdai , 648. 
 enaneiXelv , 629. 
 eVrt (with acc.) = to fetch, 77. 
 eVi vopov, 1287. 
 
 67rt raXdvrco, 154. 
 
 ’ETTi/cf^oScos 1 , 68. 
 eniKXrjpos , 1653. 
 cniKvdv, 533, 1582. 
 
 (TTICTKOTIOS, 1022. 
 
 enLardrijs ( iniarciTov ), 436. 
 
 266. 
 
 v Epe/3or, 691, 1191 foil. 
 cp**], 5 2 7- 
 I429* 
 
 'Epp.r)s, 572. 
 
 e’poD rd 7 rpoy nodoov, 66. 
 epvdpd OaXarra, 145 . 
 
 Jir Epa)S', 574, 696 foil. 
 
 6V Kopams, 28. 
 e’? rat/rot', 400. 
 
 6*? rr)V Tpi&rjv, 156. 
 
 'Eo"ria, 865. 
 eanypevos , 760. 
 
 eVrtofvos-j 866. 
 evepos, 121. 
 evOaXrjs, 1062. 
 
 6u#d TleXXrjvrjs, 1421. 
 evpcifj nard£, 1258. 
 evreXuav (els), 805. 
 eCpodevecrdai, Il6o. 
 e^coi/ (of continuance), 341. 
 
 TjKacrpecrOa tuvtI , 807. 
 jjxeiv, 1298. 
 
 HA 610?, I49. 
 rjXOerov (r)XQerr]v), 112. 
 rjXiaard, 109. 
 
 TjXiopavrjs , 1096. 
 
 "Hpa, 1633, 1731. 
 
 'Hpa^y, 567, 1574 foil. 
 [j)picraA7ri'y£], 887. 
 
 OaXtjs, I009. 
 
 QappaXeldrjs, 17 . 
 
 Qeoyevrjs, 822, 1127, 1295. 
 Oecrpol, 331. 
 
 Qecrpo(f) 6 pia, 15 19 . 
 dprjvelu rtvd n, 211 . 
 
 6vpbv Karadclvai, 401. 
 dvreov with pers. acc., 1237. 
 
 tepo? noXepos, 556. 
 
 ’iXXvpioi, 1521. 
 
 ITTTTaXzKTpvbdV, SOO. 
 
 'l7T7rdi/tKo?, 283. 
 
 ^Ipi?, 575, 1204 foil. 
 
 Kudos, 1032. 
 
 KaOapds, I 549- 
 kcuvos, 255 . 
 
 KUKY], 54I. 
 
 KciKcbs npdrreiv, 605. 
 
 KaAAta?, 283. 
 
 KaXXiftbcts (avXos), 682. 
 KaprjXos dpvos, I 559. 
 
 Kavovv, 43. 
 
 Kavdv, 1002. 
 
 Kdp, 764. 
 
 Kapdla, 1474. 
 
 Kape?, 292. 
 
 Kar civ nereadai, 1456. 
 Karadel^ai, 500. 
 
 KaTCiKeXcveiv, 1273* 
 
 KaranIveiv Xldovs, 1137* 
 KarappaKTYjs, 886 . 
 Kardp^caOai, 959- 
 KarariXav, 1054 * 
 
 Karexeiv (intrans.), 1316. 
 Karf/pov, 1288. 
 
 KaraXpayas, 288. 
 
 KcfiXtjnvpis, 303. 
 
 K cppiovrjs, 55 3. 
 
 KCipvXoS, 299- 
 KCKpiyores, 1521. 
 
 8 / 
 
INDEX. 
 
 KeKponis, 1407. 
 
 Kevefipeia, 538. 
 
 K epapeiKos, 395. 
 
 KepKvpala nrepa, 1463. 
 Keppara, II07. 
 
 Ke PX*lisj 3 ° 4 - 
 K « paXrjaiv , 476. 
 kl(38t]\Ici, 158. 
 
 KiKKaftav, 261. 
 
 Kiy^a-ia?, 1378. 
 
 KLTTn, 302. 
 
 /cXaSecri, 239. 
 
 KAeio-^eV^s 1 , 831. 
 
 KXfxjrvdpa, 1695. 
 KXedoKpLTos, 877. 
 KXccoyvpo?, 289, 1475 foil. 
 
 K\T)Tr)p VrjCTLCiOTLKOS, 1422. 
 KoOopvOS , 994. 
 
 KOKKV, 505. 
 
 KoXatt-is-, 874. 
 
 KoXcoyo?, 998. 
 Kopapocfrdiyos, 240. 
 
 Koprjv e^ay, 911. 
 KopTrao-ev?, 1126. 
 
 K oplvOioi, 969. 
 
 KopivOos, 968 . 
 
 Kopvdos, 302, 472. 
 KOTLVorpdyos, 240. 
 
 K pavacii, 123. 
 
 KpeKeiv , 682. 
 
 Kpia>#ey, 645. 
 
 Kpoyoy, 469. 
 
 Kvapco Xa^eiy, 1022 . 
 KvfteXr), 877. 
 kvkXicl peXr), 918. 
 KVKXiodcddcrKaXos, I403. 
 KVpivdlS, I I 81. 
 
 kwi), 1203. 
 
 Kvpfcis , 1355. 
 
 Ki 3 ppa, 430. ^ 
 
 KcoSooyoe^opely, 842, Il6o. 
 K.coXa-ypeTTjis, 1541. 
 kcoXvu (impers.), 464. 
 
 Xatpa, 1563. 
 
 88 
 
 Aaunro8las , 1568. 
 AciKeftaipwv, 813. 
 XaKoovopaveiv , 1281. 
 Adpncov, 521. 
 
 AavpeicoTLKos, II06. 
 
 XeKuvr], 840. 
 
 Xeppa, 674. 
 
 A errpeos, 149. 
 
 Aea>Tpo(j)idr]s } 1 406. 
 
 Ar)rd> , 870. 
 
 Aiftvr], 710, II36. 
 
 A iftvKos, 65. 
 
 AiK.vp.vios, 1242. 
 
 XiTvapos, 826. 
 
 Xoyicrra, 319. 
 
 XoL8opio , 1541. 
 
 Xo(f)os , 279. 
 
 AvSo? z) <l>pv£, I244. 
 
 Xveiv vdpovs , 210. 
 
 Xvkoi, 369. 
 
 A VKovpyos, 1296. 
 
 Aver LKpdrrjs, 513* 
 
 Xv%vcov eprjpLa, 1484. 
 
 paKpovs (tov), 1 13 1 . 
 pdXXa, I09. 
 
 Maz^ay, 523. 
 
 Mayz??, 1311, I329. 
 Mayo'Soopo?, 657. 
 
 Mapa^coy, 246. 
 
 Meyd/Sa^o?, 484. 
 
 MeiSia?, 1297. 
 peXayKopvcpos, 886. 
 peXayxoXdv, 14. 
 
 MeXay^io?, 152. 
 peXiTovvrts [ vaaroL ], 566. 
 peXXoviKiav, 639. 
 
 MeycXao?, 509. 
 
 Meyi7T7ro?, 1293. 
 peTa(3diXX(LV OolpdiTiov, 1 568. 
 peraXXa, 593. 
 peraXXaacreiy rt, 117. 
 perpetv 7 rvpovs, 580. 
 
 Mercov, 997 foil. 
 
 P») . . fjKovcra, 195. 
 
INDEX. 
 
 MrJSo?, 277. 
 pi'jKOiV, l6o. 
 
 M t]Xlos, 186, 1072. 
 
 / xrjvLcrKos , III4. 
 
 MX°vai, 363. 
 p!Xa£, 215. 
 fucre'iv to prj ov, 36. 
 fjLLatjTLa ( av ), 1620. 
 picrdocpopelv, 584. 
 
 M otpdt , 1734* 
 poppoXvTTeaOai , 1245. 
 pvppivos, 43. 
 pvpTd, 160. 
 
 vafiaiaaTpei), 1 6 1 5 . 
 vcwaroXtlv nrepvye, 1229. 
 vepros, 303. 
 vecpeXdS, 194. 
 
 NecfreXoKOKKvyia , 819 foil. 
 
 N ecfieXoKOKKvyie'is, 878. 
 
 VLKav nctcn tois Kpirals , 445. 
 ISlkij, 574. 
 
 NlKLCtS, 363. 
 voOos {voOela), 1656. 
 vopddes ' 2 kv 6 cu, 941, 
 yopo'y (oxytone), 239. 
 vopos opdpios, 489. 
 
 VOTTld, 547- 
 VVKTepls, I 564. 
 
 ^nivnv (nenXov), 827. 
 
 ZdvOias, 656. 
 
 £ €vr)\dT(l(r 6 di, IOI3. 
 tjvpfioXos, 721. 
 
 6 / 3 oXbv KdTdfipO)( 6 l<JOl, 503. 
 
 Ol 8 u > 8 eKd 0 € OL , 95" 
 
 OlVd 6 bpcurov , 54. 
 oXiyodpovees, 686. 
 oXoXvyf], 222. 
 
 ’OX o(f)v£ioi, IO41. 
 
 OXvpniddes, 781. 
 
 "Oprjpos, 575, 910, 914. 
 opvvvdi top x*l va ) 521. 
 d£v( 3 d(f)oi', 361.' 
 
 'Ottovvtiol (os), 152, 153, 1294- 
 
 OTTTfUG), 1061. 
 opy^? xaXaiy 3 8 3- 
 ’O pea-TTjs, 712 , I49I. 
 Opdj) TlClpd, 486. 
 opBcds, 690. 
 
 \? ppea I ’ 399- 
 
 opi/i? 77 raw?, 103. 
 
 bpvLs nrepcov, 248. 
 bpvis (omen), 719. 
 
 OpTVyoKOTTOS, 1 299. 
 oprvyoprjTpd, 870. 
 opri4, 707. 
 op^iXos, 568. 
 oV OVK iSd)!', 150. 
 ’Ororu^iot, I042. 
 orprjpos, 909. 
 ovyKdXvppos, 1496. 
 ouk epyov eardvai, 1308. 
 ovpas, 457. 
 
 TvaiudXrjpd , 430. 
 
 Hai/, 745. 
 
 Ilai'Scopa, 97 1 • 
 
 TTdPTOTTTrjS, IO58. 
 
 ncimvos, 76 5. 
 
 7 rap’ epe, 846. 
 
 7 rap’ epe BearOai, 630. 
 nopdfidXXeiv, 333. 
 
 71 apaye, 1720. 
 lldpaXos, 1204. 
 
 [ 7 rap€ 77 fypa(/)i)], 222 . 
 
 7rape^f, 17 20. 
 
 7 TdpopdT (ai), 454. 
 Tvdpoxos, I 74 °* 
 
 7 TdT€lV ( = study), 471. 
 TTdTpaXoidS, 1337 - 
 Tleiadvbpos, 1556* 
 
 nfiorias 1 , 766. 
 IleXapyiKoi/, 832, 868. 
 TreXeKcis, 882. 
 
 7 reXeiavos, 882. 
 
 IIeXXj)i/?7, 142I. 
 
 7 re 7 rXr]yr), 1350. 
 
 nepiefacrpevos, 1148. 
 7T€pL7ToXoi, II 77 * 
 
 89 
 
INDEX. 
 
 7 Terdpevoi, 167. 
 nrjdaXiov, JII. 
 
 7rr)KTal, 528. 
 nrjXos, 686 . 
 
 7 rrjveXo\j/, 298. 
 
 7 rrjvLK arra; 1514* 
 nidr/Kos (IIcii'ciLtlos), 440. 
 
 7 TLKpos, 1045. 
 
 7 nvaiaa, 450. 
 
 7TLVCtKOTrOi)Xr]S, 14. 
 n Lvddpeiov enos, 939. 
 Tnmri&iv, 307. 
 rrXavvTTeiv, 3. 
 
 7 rXelv (without 7), 1251. 
 TrXriyrjvcu , 1492. 
 
 TTPL-yevs, IOOI. 
 
 TToXlS ( aKpOTToXlS ), 832. 
 ■JToXos, I79. 
 
 7 roXv 7 ropa, 952. 
 
 noXvnpdypoov, 47 r> 
 Uop(j)vpLcov , 553, 881,1252. 
 7 rop(f)vpi(i)ves, 1249. 
 
 7 TOp(f)vpi$, 304. 
 
 IlexT'etSau', 566, 161 3 foil. 
 Trpepvov, 32I. 
 nprjyopoop, 1113. 
 npia/xoy, 512. 
 
 7rpo aavTov , 360. 
 npoSiKo?, 692. 
 TrpoKaXLvhtlcrOai) 501. 
 
 7 rpoKeiadni, 474* 
 
 UpoKprj, 665. 
 
 IIpopr] 6 evs, I 504. 
 
 Up ofjevidrjs, 1126. 
 
 Trpo^fvos, 1021. 
 TrponejfivpaTcu, 462. 
 7rpoop}i(3ii£eiv, 425. 
 
 7 rpoadov, 361. 
 
 7TpOCTK€LpeVC)L (XtOl), S8o. 
 
 7 Tpocrobia, 853. 
 7 rpo 0 opetcr< 9 ai, 4. 
 TTTepoppvfiv, 106, 284. 
 nrepovv , 1436 foil. 
 nrepvye vavaroXelv , 1229. 
 
 n vdids, 857* 
 
 90 
 
 Ilu^toSe, 189. 
 nvpovs, 565. 
 irvppixrjv fiXeneiv, 1169. 
 
 7 TVTivala 7 TTepa , 798. 
 
 pa/ 3 Sot, 527. 
 pry«i> (infin.), 935. 
 pvyxos l36o-iceip , 479. 
 
 '2a(3d£ios, 875. 
 
 Saxay, 31. 
 
 ^aXapivia, 147, 1204. 
 
 2 aptiavdnaXXo?, I oil. 
 crepvvpeadai, 727. 
 arjaapn , I 59. 
 
 Sikucoi/, 968. 
 
 '2ipu>vL8rjs, 919. 
 ai(rvp.(3ptov, 160. 
 
 ( Tiavpav , 122. 
 
 a<d(piov dnoTCTiXpepoS) 806. 
 'S.KeXXias, 126. 
 uiadbeiov, 1508. 
 
 2Kidno8es, 1553. 
 criaoeidea , 686. 
 
 2 kv 6 cu , 941. 
 
 (TKVTaXioffiopel v , 1283. 
 (ro/ 3 eti/, 34. 
 
 2d\cor, 1660. 
 
 SovpiepaKos, 869. 
 
 2o(poK\e>7S', IOO. 
 
 2 TrdpTr1, 815. 
 
 arreppa , III. 
 
 < T7T(ppoX6yoi, 232. 
 
 27 Tivdapos, 762. 
 
 ( TTVIVOI, IO79. 
 
 a-7roX«? dvev xltcovos , 944. 
 277op-yiXo?, 301. 
 
 OT 77X77, 1051. 
 
 2 Tpdrcov , 942. 
 
 2 rpovOios , 1076. 
 
 < TrpovOos , 875. 
 
 < Tvyyeypnppevo 9, 805. 
 
 ( TvpjSoXou ('mfidXXeip, 1214. 
 'SiVpaKocnos , 1297. 
 
 < T(f)pciyts , 1213 . 
 
INDEX. 
 
 aooKpare'iv, 1282. 
 
 2 cOKpd.TT]S, 1555 * 
 
 TaXaoi, 687. 
 
 Ta&apxos, 353. 
 rdnide^in, 1493. 
 rdnl QpptKijs, 1369. 
 
 Tapropos-, 697. 
 
 TeXeas, 168, 1024. 
 reppaaiv (npos) copcis, 7°5* 
 Terpatj, 883. 
 
 Temyes, 39. 
 
 T^peuy, I 5 foil. 
 
 T ipcov, I 549. 
 
 Tio rto, 237. 
 
 Tiravff, 469. 
 
 to S’ epe . . nepieXOe'ii', 5. 
 rd pera^v KopiV#ou Kal 2 lkvcovos, 
 
 968. 
 
 TpifiaXXoi, I5 2 9* 
 
 T pi[ 3 a\X 6 s, 1627 foil. 
 
 [at] rpippeis ai KciXai, 108. 
 TpLXo<fiui, 94. 
 rplppa, 430. 
 
 rpiopx^s (os), 1181, 1206. 
 rpo^iXos, 6l, 79. 
 
 TVKL^eiv, II38. 
 rvxdyaOp, 435. ^ 
 
 TVpaVVOL TcOvTjKOTGS, 1073* 
 tco crKeXei Oelveiv Tverpav, 54 * 
 
 vdplai, 602. 
 
 1736. 
 
 in ay coye vs, 1148. 
 irnep drpvyeTov, 133^* 
 
 virepoKovTiCziv, 363* 
 
 vurjvepLov [woj/], 695* 
 
 'Y7 rodedicos, 65. 
 vnobrjaapevoi, 49 2 * 
 
 07 roOvpis, 302. 
 vTTOTriveii>, 493. 
 
 VUOTV 7 TT€iV, 1145* 
 
 vtyavTobovrjTOv, 943* 
 
 $aXrjpiKos, 76. 
 
 <&aval, 1694. 
 
 <bapvdKrjs, 1028. 
 
 4 ? CMTUXVKOS, 68 . 
 
 (pev ( QavpacrTiKov), 1 62. 
 
 <P*JPV, 7 20. 
 
 (pi'jvp, 304. 
 
 4 }iXrip(ov, 7^3- 
 $ iXimroL, 170I. 
 
 <&iXokX?is, 281, 1295. 
 
 iXoKpdrrjs, 14? io 77 * 
 
 < piXvpivos, 1378. 
 
 ( pXavpoos, 653* 
 
 <&Xeypas nediov, 824. 
 (fiXe^is, 882. 
 tyolvLKes, 505. 
 
 4 'oiv'lki], 504. 
 
 (povals (eV), I070. 
 
 ( pparepes, j6 5. 
 c ppvyiXos, 7 ^ 3 - 
 ^pdi/i^oy, 750. 
 
 <E»pd£, 762, 1244. 
 
 < fivaav, 1080. 
 
 Xaipe(f)G)V, 1296, 1564* 
 Xcupis, 858. 
 
 XdXiKes, 837. 
 
 Xapevvr), 8l6. 
 
 Xcios, 691 foil. 
 
 Xapires, 781. 
 
 XO-vvos , 819* 
 
 X^vaXwivr]^, 1295. 
 
 xOdvicn fipovTcii, 1745 * 
 
 Xtoi, 879. 
 
 XP^cpoXoyos, 960. 
 X^Tpa, v 43 - 
 
 XVTpwv Xap&dveiv, 357 * **> 
 
 yj/TjcpLapaToncoXrjs, 1035* 
 ■v/^o^aycoyeti/, 1555* 
 
 u>KV7TT€pa, 803. 
 d) 07 r, 1395 . 
 a^eXeiO TlVl, 420. 
 
 THE END. 
 
 9 £