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(2i;hn«ir0n "§xtss Series 
 
 ARISTOPHANES 
 
 THE FROGS 
 
 IVITJI INTRODUCTION AND NOTES 
 
 W. W. MERRY, M.A. 
 
 Fellow and Lecturer of Li?icoln College, Oxford 
 
 '/. > 
 
 Wi 
 
 AT THE CLARENDON PRESS 
 1884 
 
 \^All rights reserved] 
 
Hontron 
 
 HENRY FROWDE 
 
 OXFORD UNIVERSITY PRESS WAREHOUSE 
 AMEX CORNER 
 

 t 
 
 
 PREFACE. 
 
 In preparing this edition of the 'Frogs,' I have made con- 
 stant use of the commentaries of Kock and Fritzsche. Mr. 
 J. S. Reid, Fellow of Caius College, Cambridge, has been kind 
 enough to look through the proof-sheets, and to add some 
 
 valuable suggestions. 
 
 W. W. M. 
 
 Oxford, February, 1884. 
 
CONTENTS. 
 
 Introduction v 
 
 Text . . . i 
 
 Notes * • 59 
 
 Index i^o 
 
INTRODUCTION, 
 
 I. §1. 
 
 In the month of September B.C. 406, the Athenian fleet under 
 Callicratidas won the battle of Arginusae ; the greatest naval 
 engagement in the entire course of the Peloponnesian war. In 
 the following month the generals who had taken part in the 
 battle were prosecuted for their neglect to save the sailors on 
 the floating wrecks, and to pick up the dead bodies. Six of 
 them were arrested and executed. In August 405 the Athe- 
 nians sustained* a crushing defeat at Aegospotami from the 
 Spartan admiral Lysander. The representation of the * Frogs ' 
 falls just between the victory and the defeat : for it was pro- 
 duced at the Lenaea, in the month of January 405. 
 
 § 2. It belongs to a gloomy period of Athenian history. 
 There was at Athens a profound sense of national exhaustion, 
 which had been steadily growing ever since the catastrophe 
 that ended the Sicilian Expedition. Men were weary of what 
 seemed to be an endless struggle, and were uneasy and anxious 
 as to the future chances of the war. The excitement and 
 delight, that ensued after the battle of Arginusae, had been 
 succeeded by the outburst of public indignation that demanded 
 the execution of the generals. And now a painful reaction set 
 in, and deep regret was felt for the hasty punishment that had 
 been inflicted. There was, indeed, enough in the pohtical state 
 of affairs to make men gloomy and fill them with misgivings. 
 There was no rallying point in the city : no leader who could 
 combine or reconcile opposing parties, or inspire confidence by 
 his honesty or his genius. There was a general mistrust of the 
 oligarchical party, whose hopes lay in the weakness of the 
 constitution, and whose treachery was only too well understood. 
 There was an honest contempt felt for such demagogues as 
 Archedemus, Cleophon, and Cleigenes, men of little culture and 
 foreign origin, who, whether intentionally or not, really played 
 into the hands of the oligarchs. It seemed as if there was 
 
vi INTRODUCTION. 
 
 nothing left to be proud of. The death of Sophocles occurred 
 in the year of the battle of Arginusae : and shortly before his 
 decease, news came that Euripides had died at the court of the 
 Macedonian Archelaus, whither he had withdrawn from an un- 
 congenial Athens. Every link Wj^^ the past was slipping away. 
 
 § 3. The political and literary condition of Athens finds 
 natural expression in the play of the 'Frogs.' It is not a 
 daring manifesto, like the ' Knights : ' such independent 
 speaking was no longer possible. The national wounds were 
 too deep and too sensitive to be so rudely probed. But the 
 desolate condition of the^, stage, after the loss of the great 
 masters of tragedy, was a^^fe^e, as well as an interesting, subject. 
 It was a happy stroke of genius to represent the national god 
 Dionysus, the true type of the Athenian populace, as under- 
 taking a visit to the lower world to bring back the best of the 
 poets to the light of day. 
 
 But the play has its political side, as well as its literary aim. 
 Wise counsels are ever and anon suggested. The people are 
 warned against the empty-headed, arrogant, demagogues, who 
 will not hear of peace being made ; and against the traitorous 
 oligarchs, whose sole policy is one of selfishness. The poet 
 proposes a sort of general amnesty : a return to mutual 
 confidence, a generous, forgiving spirit, not ' extreme to mark 
 what is done amiss.' The only hope of Athens lies in the 
 employment of those good and worthy citizens, who are now, 
 as it were, out in the cold : and the one hero of them all, round 
 whom the scattered forces of the' city may yet rally, is a man 
 whom they half love, half hate^, yet with whose services they 
 cannot dispense — the exile Alcibiades. We may indeed say 
 that the whole structure of the play is not without its political 
 and social purpose. The celebration of the Eleusinian Mys- 
 teries in the world below is an effective reminder to the 
 audience oi-the debt of gratitude they owe to Alcibiades for his 
 energetic policy, which restored to them the use of^hat great 
 national festival, that had long been Tin abeyance ;*Q^ring the 
 Decelean war. And the bitter attack; upon. Euripides, as a 
 poet, is not so much a slashing, literary review, as a wholesale 
 protest against the modern spirit and growing scepticism of the 
 age, of which Euripides is selected as the incarnation and 
 
INTR OD UC TION. vii 
 
 type ; just as Socrates was taken as the type of the sophists, in 
 the play of the * Clouds,' 
 
 II. 
 
 § I. The play of the * Frogs ' falls into two broad divisions : 
 the journey of Dionysus and Xanthias to the lower world ; and 
 the poetical contest between Aeschylus and Euripides. These 
 two divisions are brought into mutual relation by the purpose of 
 Dionysus' journey ; which is to carry back to the upper world 
 Euripides, for whose poetry he has conceived an intense 
 passion. But after the poetical contest, he changes his mind, 
 and decides on bringing back Aeschylus instead. The character 
 of Dionysus (who must be in no way confounded with the 
 lacchus of the Mysteries) was something more than a mere 
 stage-device, suited to the festival of the Dionysia. Aris- 
 tophanes intends him to be the type of the general Athenian 
 public : so that the exhibition of his weaknesses and follies ; his 
 conceit and credulity ; his unreasoning partiality for Euripides 
 (till he changed his mind) ; is intended as a good-natured 
 rebuke to the political spirit and literary taste of the thoughtless 
 citizens of Athens. Even the character of Xanthias, a mixture 
 of shrewdness, arrogance, and disloyalty, is intended to be 
 a hit at the false position between servants and masters, 
 brought about by that foolish indulgence towards slaves, which 
 had grown up during the Peloponnesian war. (See on Nub. 
 6, 7 anoXoio drJTf Si TTo'Xe/xe, rroWwv ovueKa, | or' ovSe KoXda e^ecTTi 
 flOl TOVS olK€Tas), 
 
 § 2. The following is a brief sketch of the action of the 
 play :— 
 
 Prologos (11. 1-323). Dionysus, grotesquely dressed in a 
 mixed costume, half- Heracles, half-woman, and accompanied 
 by his slave Xanthias, who rides an ass, but still carries a 
 porter's-yoke and burden on his shoulders, pays a call at the 
 house of Heracles to announce his intention of going down to 
 Hades and fetching Euripides back ; and to enquire the best 
 means of accomplishing his journey with the greatest amount 
 of comfort. Then the scene changes to the banks of a lake, 
 and Charon appears in his boat, plying for hire. Dionysus gets 
 on board, and Xanthias is bidden to run round the lake and 
 
VIU INTRODUCTION. 
 
 meet his master at the Withering Stone. The boat on its 
 passage is accompanied by a crowd of noisy Frogs ^, who drive 
 Dionysus almost to distraction by their incessant croaking and 
 chattering. 
 
 Arrived at the other side, Dipnysus and Xanthias pursue their 
 journey, during which Dionysus is almost frightened to death 
 by the gloomy scenery and the supposed presence of goblins, 
 which Xanthias does his best to make the most of. 
 
 At last the distant music of pipes is heard, and the sacred 
 procession of the Eleusinian mysteries advances. Ever^^one in 
 the theatre must have felt (as Aristophanes intended that they 
 should feel) a sudden sense of gratitude to Alcibiades, who, 
 after his first return to Athens, had opened the Sacred Way 
 once more, and enabled the national rite to be again celebrated 
 with its wonted splendour, for the first time since the occupation 
 of Decelea by a Spartan garrison (cp. 1. 376 dcr4)aAws 7ravt]ij.epou 
 TToicrai re icai xopfvcrai). 
 
 Parodos (11. 324 foil.). The Chorus, on entering the orchestra, 
 invite the presence of lacchus in a strophe (11. 324-336) and 
 antistrophe (11. 340-353). Then follows an anapaestic passage, 
 intended to be an imitation of the proclamation (Trpopprjais) of 
 the Hierophant (11. 354-371), calling on the unhallowed and 
 unworthy to withdraw. Three choric songs succeed : the first 
 (11. 372-413) is an invocation of Persephone, Demeter, and 
 lacchus : the second (11. 416-430) is a reproduction of the rude 
 raillery that accompanied the procession (yecfivpiapos) : the third 
 (11. 448-459) represents the female part of the troop withdrawing 
 to keep their vigil {navvvxis), while the men remain behind to be 
 present at the contest between the poets. 
 
 Epeisodion i (11. 460-674). Here begin the varying adventures 
 of Dionysus. He knocks at Pluto's door, which is answered by 
 Aeacus, who, taking him in his costume for Heracles, charges 
 
 ^ The ' Frogs ' do not form the Chorus, which consists of a band of 
 the initiated, worshippers of Demeter (Mvarat). Probably the Frogs 
 do not appear at all : only their croaking and singing is heard ' behind 
 the scenes.' Cp. Schol. Venet. ravra KaXcirai TrapaxopT]YT|}iaTa, kneiSij 
 ovx opojVTai (V Tw Oedrpq} 01 (Sdrpaxoi, ovd^ 6 X'^pos, d.\X' '4(Toj9€v p-iyLovv- 
 Tai Tovs parpaxovs. 6 5e dkrjOcvs x^pos kfc tuv ivae^uv vcKpcbv avi/i- 
 arrjKiv. 
 
INTRODUCTION, i\ \j ■ ix 
 
 him with the abduction of Cerberus, and goes" back into the 
 house to summon his avenging spirits. Dionysus, in an agony 
 of terror, hastily changes dresses with Xanthias. Hardly is the 
 change made when the maid-servant of Persephone appears at 
 the door and bids Xanthias (who^now was posing as Heracles) 
 to a banquet. He resists the temptation, till he hears that 
 some dancing-girls are within the house. But just as he is 
 going in, Dionysus (forgetting his former fear in the delightful 
 prospect) insists on taking back his original dress once more, 
 and assuming the part of the gentleman. ' At the unlucky 
 moment two landladies {TravhoKevrpiai) pounce upon the wolild- 
 be Heracles, and charge him with having, on a former occasion, 
 eaten up all the victuals in their house, and paid for none ; and 
 they threaten to refer the wrong to their patrons (Trpoorarai) 
 Cleon and Hyperbolus. (For Athenian persons and usages are 
 reproduced in the lower world.) Dionysus is plunged again 
 into abject fear, and induces Xanthias to assume the gentleman 
 once more, and give him the part of the slave. 
 
 Re-enter Aeacus, accompanied by Thracian or Scythian 
 slaves (copies of the Athenian police, ro^drai), to arrest the 
 supposed Heracles (now, Xanthias). He denies all knowledge 
 of the theft of Cerberus, and avails himself of the Athenian 
 process, called npoKXtja-Ls ds ^dcravov, unreservedly offering his 
 slave (now, Dionysus) to be examined under torture. Dionysus 
 forgets his arrangement with Xanthias, and, to save himself, 
 announces that he really is Dionysus. To test the godship of 
 the two worthies, it is agreed that each shall have a beating, 
 blow for blow, — the first who acknowledges that he is hurt shall 
 lose his claim to divinity. Both of them ingeniously explain 
 away their cries of pain ; and Aeacus, fairly non-plussed, retires 
 to take counsel with Persephone and Pluto. 
 
 This pause is taken advantage of to introduce the Parabasis 
 (11. 675-737) ; consisting of Ode (11. 675-685) ; Epirrhema 
 (11. 686-705) ; Antode (11. 706-716) ; and Antepirrhejna (11. 717- 
 ^y]). The main subjects touched on are the worthlessness of 
 the demagogues Cleophon and Cleigenes ; and the necessity 
 of forgetting old grudges, and doing justice to worthy citi- 
 zens. 
 
 Epeisodion 2 (11. 738-813). This forms the transition to the 
 
X INTRODUCTION. 
 
 second part of the play. Aeacus reappears on the stage with 
 Xanthias, and tells him how Euripides has come down among 
 them, and claimed the tragic throne for himself : how Sophocles 
 has modestly surrendered his claim in favour of Aeschylus ; 
 how Aeschylus and Euripides are going to fight out the question 
 of precedence, and how great the difficulty is of securing a 
 proper decision — because Euripides has on his side all the 
 worthless characters {oTrep ear iv "Kihov nXiidos 1. 774) ; while 
 Aeschylus is only appreciated by the small minority of virtuous 
 and cultivated men. (oXiyov to xPW^^v ianv aarrep evddde, 
 as Aeacus says, with a sly glance at the audience, 1. 783). Who 
 then shall be umpire ? Naturally Dionysus, the patron of the 
 tragic stage. 
 
 A short song of the Chorus (11. 814-829) gives briefly the 
 main characteristics of the two combatants. 
 
 Epeisodion 3 (11. 830-904). Preparations are made for the 
 contest ; the presence of the Muses is invoked, and supplication 
 made by each combatant to the particular deities whom he 
 worships. Then follows a short song of the Chorus (11. 895- 
 904, corresponding to inf. 11. 992-1003) expressing their appre- 
 ciation of the seriousness of the contest. 
 
 Epeisodion 4 (11. 905-991). Euripides details the advances 
 he has made in the tragic art ; the skilful treatment he has 
 applied to it, when he had received it in a plethoric condition 
 at the hands of Aeschylus ; and the democratic spirit he has 
 infused into it, bringing it down to the level of every-day 
 life. 
 
 Efeisodion 5 (11. 1 004-1 098). Aeschylus contrasts the lofty 
 ideal, and high moral lessons of his poetry, with the sentiment- 
 ality and immorality taught by Euripides. 
 
 Choricon (11. 1099-1118). The Chorus encourages the rival 
 poets to carry on their contest into the very details of their art. 
 
 Epeisodion 6 (11. 11 19-1250). Criticism of the respective 
 Prologues. 
 
 Epeisodion 7 (11. 1 261-1369). Criticism of the choric parts 
 of their tragedies. 
 
 Epeisodion 8 (11. 137 8- 1499 5 introduced by a short Choricon 
 1370-1377). A pair of scales is brought upon the stage : and 
 Aeschylus and Euripides weigh the worth of their respective 
 
INTRODUCTION, xi 
 
 poetry, by reciting one verse, alternately, into each scale-pan. 
 The pan of Euripides always kicks the beam. Dionysus then 
 puts the two poets through an examination as to their political 
 views, and the counsel they think most wholesome for the 
 present crisis. 
 
 The result of the examination is that Aeschylus is successful : 
 and Dionysus determines to leave Euripides behind, and to 
 carry back Aeschylus with him — a decision in which the Chorus 
 (11. 1482-1499) heartily concurs. 
 
 Exodos (11. 1 500-1 533). Pluto speeds Dionysus and his 
 companion on their way with blessings, and bids the Chorus 
 to dismiss them with a parting hymn, full of all good wishes. 
 
 The details of the second portion of the play will be found 
 given more at length in the next section. 
 
 III. 
 
 § I. The second part of the play consists of a poetical contest 
 between the rival poets Aeschylus and Euripides, with Dionysus 
 for judge. Of course, the intention of Aristophanes is to put 
 Euripides in an unfavourable light, and to represent him as the 
 evil genius of the Athenian stage ; while Aeschylus is set up as 
 the high ideal of Tragedy. But while Aristophanes desires to 
 wean the public from their partiality for Euripides; and to 
 make them feel the superior grandeur and higher moral purpose 
 of Aeschylus ; we may think that his sword cuts both ways, 
 and that he is not unwilling to prick some weak points in the 
 Aeschylean armour. It is not fair to suppose that all the 
 criticisms of Aeschylus on Euripides are meant to be true ; and 
 all those of Euripides on Aeschylus, false ; even though Aris- 
 tophanes protests against the poetry of Euripides on principle. 
 
 § 2. The main points that are brought out by this inter- 
 change of hostilities may shortly be summed up as follows : — 
 
 Aeschylus is a true and original genius {(f)pevoT€KT03v 820; 
 avTOKOfjLos Xocpid 822) ; but not a popular poet (ovre yap ^ KOrjvaioia-i 
 (Tvve^aiv Alaxvkos 808). The characteristic of his diction is 
 loftiness {iTvpycoa-as prjfiara aefjivd 1004) ; but there is something 
 repellent about him {ravprjdop 804 ; aTroaep-vwelTai 832) ; and the 
 loftiness of his language becomes exaggerated {erepaTevfTo 834 ; 
 KOfi7ro(f)aK€\oppr]ixova 838), its forcefulness degenerates into 
 
Xli INTRODUCTION, 
 
 violence {avdaSoo-TOfioij ddvpcoTOv (TToixa 837 ; yrj-yeuel ^vcttj^loti 
 825 ; aypioTTowi ^37)i and its grandeur into bombast and far- 
 fetched expressions {jj-opixopcoTra prjiiara, ayvcoara to7s decop-evois 
 925, 6), and even into Oriental phraseology (•ypuTrai'erot, 'nnra- 
 XcKTopes, as seen on TrapaireTaanaTa Mr]8iKd 938). His dramas 
 are solemn and statuesque, so that sometimes they are cold 
 and lacking in action ; the characters remaining silent and 
 motionless {iTpocrxntio. r?;? rpaycdUas 9 1 3), while the main work 
 of the play devolves on the Chorus. The language of Aeschylus 
 is grand, because his characters are grand : they transcend 
 human stature and human circumstance ; and the expressions 
 they use are on a corresponding scale {dvayKrj \ fxeydXav yvconav 
 Koi dLavoiwu 'iaa kol to. pr]p.aTa riKreiv, etc. I058 foil.). The danger 
 in keeping the characters uniformly above a human level is 
 that they may be found wanting in human interest (61/ xpn 
 <ppd(€Lv dvdp(i)7T€ia>s 1068). 
 
 § 3. The poetry of Euripides, by contrast, is smooth and 
 fluent (y\S>a(Ta XiaTTTj 826), elegant, elaborate {do-relov koI Karep- 
 pivrjfjievov 900), and subtle {dXivbrjOpas iiraiv). The Stage with 
 him is not an ideal world of superhuman personages ; but an 
 every-day world, peopled with every-day folk. Beggars in rags 
 are there (7rTco;^o7roie 846, paKioa-vpparTTdbr) ib.), and kings in rags, 
 for matter of that ijv iKeivoX (paivoLvr elvai) ; and lame men 
 (xayXoTToiov 846) and slaves, and every class of the community ; 
 all speaking freely, with true Athenian irapp-qa-la (950 foil.). 
 Indeed one might venture to put into the mouth of Euripides 
 the boast of Juvenal, only slightly parodied : — 
 
 ' Quidquid agunt homines, votum, timor, ira, voluptas, 
 Gaudia, discursus, nostri farrago theatri.' 
 
 The ideal, the statuesque, the conventional, are boldly changed 
 to the real, the human, the sentimental, and (we might almost 
 say) the sensational. The sympathy of the audience is sought 
 or secured by emphasising that delicate balance between right 
 and wrong, true and false, that represents the actual com- 
 plication of life. Telling situations, lights and shades of 
 character, and every play of human interest, make it evident 
 that with Euripides we are leaving the grand gallery of Greek 
 sculpture to sit as audience of the Romantic drama. Aeschylus 
 exhibits the m>1:hic past of Hellenic legend : he is the hiero- 
 
INTRODUCTION. xiii 
 
 phant of the old national Gods. Euripides colours the legends 
 of the past with the tints of the present : and for him, without 
 doubt, ' Great Pan is dead :' he acknowledges to I'Stoi nves 6eoi, 
 
 KOfifxa Kaivov (890). 
 
 § 4. Both Aeschylus and Euripides agree that the duty of 
 the poet is to make men better (/SfXriou? ivoi^lv tovs dudpanovs iv 
 rah TTokeaiv 1009). They might dispute upon the meaning of 
 'better. Aeschylus boasts that he made his hearers honest 
 and vigorous and warlike {yewaiovs koI Terpanrixeis . . . nveopras 
 dopv 1014), by representing such plays as his ' Seven against 
 Thebes,' or his 'Persians.' Euripides claims to have made 
 them clever {voelv, opav, rexvdC^iv 957) and prudent {otKias oIkcIv 
 apeivov rj npo tov 976). But Aeschylus charges his rival with 
 teaching them to prate (XaXia, o-TcapvXia 1065), and making them 
 insubordinate, like the mutinous crew of the Paralus (1071 foil.) ; 
 accusing him further of lowering the tone of the citizens by 
 familiarising them with immoralities, indelicacies, and low 
 company, generally (1080 foil.). 
 
 § 5. The two rivals then proceed to details ; and sharply 
 criticise the construction, language, metre, and music of each 
 other's compositions. The first attack is on the question of the 
 Prologues to the play. This word must be interpreted not in 
 the modern sense, but according to Aristotle's definition (Poet. 
 § 12), eari ^e txpokoyos pev pepos oXov rpaycobias to npo )(opov 
 napodov, Aeschylus is accused of being d(ra(f)rjs iv rjj (ppdaet roav 
 irpaypdrcov (1122), which we may take to mean that he threw no 
 light upon the plot of the play, but left it to explain itself ; and 
 also that he used obscure expressions, susceptible of various 
 interpretations (Trarpw' cVoTrreucoi/ Kpdrr} 1126 foil.) and tauto- 
 logical words, with an implied difference (jJkco and Karepxopai, 
 Kkveiv and ciKouo-at, 1 1 57, II74). 
 
 Euripides boasts that his Prologist made everything clear to 
 the audience (aXX' ov^ioiv npoiTiaTa pev poL TO yeuos eln dv 
 evdvs I TOV dpdparos 946). But Aeschylus attacks these Prologues 
 and 'spoils them with an oil flask.' As Euripides is made to 
 quote them, in this play, each Prologue begins with a proper- 
 name, followed by participial clause or clauses (which end at 
 the penthemimeral caesura) ; and then comes the finite verb, to 
 which the proper-name is the subject. It is this half line that 
 
xiv INTRODUCTION, 
 
 lends itself with such fatal facility to the Xt^kvOlov airoikcaev 
 (1203 foil.) ; which is intended to caricature the ijionotonous 
 form of the narrative ; and perhaps the trivial and homely 
 surroundings of the Euripidean drama, and the tendency to 
 resolved feet in the trimeter. 
 
 § 6. The lyrical portions of the dramas then come in for their 
 share of criticism. Euripides seeks to ridicule Aeschylus by 
 quoting a choric song, that is more or less a cento of Aeschylean 
 lines, neither construing nor making sense ; such sense as can 
 be made being further obscured by the introduction of a refrain 
 between the verses. A second point of attack is the irregularity 
 of the metre ; which Aeschylus is supposed to have borrowed 
 from Terpander and the Lesbian lyric school (1. 1264 foil.). 
 Then Aeschylus retorts upon Euripides with a corresponding 
 parody, intended to exhibit the following short-comings : (i) the 
 very slight connection of the song with the subject of the play : 
 (2) the ridiculous grouping of incongruous objects (SeX^is, 
 fiavTe7a, (rradiovs 1319) : (3) musical innovations, like the 'shake' 
 illustrated by eieicieietetXiVo-ere (1314) : (4) the metrical in- 
 accuracy (as e.g. introducing an anapaestic base into a Glyconic 
 verse 1322). 
 
 § 7. And Aeschylus has yet one more weapon of attack 
 against Euripides, who had introduced into his plays KprjTLKas 
 fiovtodias, in which the actor sang a solo and accompanied 
 it with an illustrative dance, on the pattern of the Cretan 
 vTTopxny^oTa. Such a Monody Aeschylus professes to quote 
 (1. 1325 foil.) ; in which we may be sure that the following points 
 are assailed: (i) its general unintelligibility : (2) the in- 
 congruous grouping of persons and things : (3) the trivial 
 character of the whole scene : (4) the use of oxymoron 
 {K€\aivo(})aT]s, ylrvxav ci-^vxov) : (5) the repetition of words (called 
 crX^TXiaa-fxos, as in daKpva daKpva, e^aXov e^aXov) : (6) the general 
 muddle of metres. 
 
 § 8. So much for the mutual recrimination of the two rivals. 
 But it must not be thought that this balance of praise and 
 blame at all represents the view that Aristophanes takes of the 
 two poets. He is all for Aeschylus, and will none of Euripides ; 
 whom he hates not for being an unpopular poet, but for being 
 a popular one. T/tere is the danger. And if he can but break 
 
INTR OD UC TION. XV 
 
 down this popularity, he will have deserved well of the 
 republic. 
 
 Aristophanes was the most unreasoning * laudator temporis 
 acti.' Genius and poet as he was, he was the sworn foe to 
 intellectual progress. The old order changing and giving place 
 to the new was, in his eyes, not a natural process, but political 
 and social ruin. That a gifted man with such narrowness of 
 view should have been found in Athens, after the era of Pericles, 
 may seem surprising : but these reactionary spirits are always 
 to be found. So, seeing that Euripides had broken away from 
 the traditions of the past, and that Aeschylus was their faithful 
 representative, we can understand how, in the judgment of 
 Aristophanes, Aeschylus seemed to be the champion of the old 
 religion, pure morality, national institutions, and everything 
 that was genuinely Athenian : while Euripides was sophist, 
 sceptic, rationalist, atheist, libertine, and general corrupter of 
 the people. Indeed the hatred of Aristophanes for the poet 
 must have been very intense ; for while he knows when to 
 spare Cleon, and how to respect the memory of Lamachus, he 
 shows no mercy to Euripides ; but, as it were, persecutes him even 
 in the world below. Mommsen (Hist.Rom. bk. iii. c. 14) says that 
 ''the criticism of Aristophanes probably hit the truth exactly, 
 both in a moral and a poetical point of view :' and he charges 
 Euripides with 'political and philosophical radicaHsm ;' calling 
 him 'the first and chief apostle of that new cosmopolitan 
 humanity, which first broke up the old Attic national life.' 
 * Greek tragedy,' he says, ' in the hands of Euripides stepped 
 beyond its proper sphere, and consequently broke down ; but 
 the success of the cosmopolitan poet was only promoted by this, 
 since at the same time, the nation also stepped beyond its 
 sphere, and broke down likewise.' 
 
 § 9. No doubt it is a very difficult matter to appraise justly 
 the merits and demerits of Euripides. It is a well-worn phrase 
 to speak of any historical character as marking a ' transition- 
 period.' But it is singularly true of Euripides. He stands be- 
 tween the ancient and modern drama ; and so is, to some 
 extent, at a double disadvantage. He has not altogether thrown 
 off the shackles of the old stage, nor has he stepped into the 
 freedom of the new. 
 
xvi INTR OD UC TION. 
 
 The true answer to the question whether the judgment of 
 Aristophanes be just or not, is admirably put by Professor Jebb 
 (Encycl. Brit. s. v. Eur.) ; who remarks that his criticism is just, if 
 we grant his premises, viz. that Aeschylus and Sophocles are the 
 only right models for tragedy : but that he is unfair in ignoring 
 the changing conditions of public feeling and taste, and the 
 necessary changes in an art which could only live by continuing 
 to please large audiences. If Aristophanes was justified in his 
 bitter protest against the growing spirit of his time, he could 
 not have attacked a more complete representative of it than 
 Euripides : but there is the same sort of unfairness in the 
 method of his attack as there is in his assault upon Socrates as 
 the representative of the Sophists. 
 
 Aeschylus and Sophocles adhered faithfully to the old con- 
 ventional rules of Greek tragedy, in its close connection with 
 the national religion and national legendary history. They 
 presented broad types of human nature : the typical Achilles, 
 the typical Odysseus : the king, the old man, the sister, etc. 
 The utterances of the Chorus are also the illustration of broad 
 and general moral laws. The great innovation of Euripides 
 was the individualising of characters; surrendering the Ideal 
 for the Real. And this he did with some of the fetters of the 
 old drama about him still, in the limited choice of subjects ; the 
 relation of the Chorus to the Actors ; the use of masks prevent- 
 ing tjie possibility of facial play, etc. This last disadvantage 
 he had not the power to break away from ; but he altered the 
 condition of the Chorus, reducing their utterances to something 
 that was often little more than a lyrical interlude. His narrow 
 choice of subjects, with which the audience was familiar, he 
 more than compensated for by introducing effects, and situations, 
 and complications in the plot that kept curiosity in keen 
 suspense — and so he paved the way to the Romantic drama. 
 We, who are able nowadays to look at the work of Euripides 
 from the purely artistic point of view, uninfluenced by his 
 political or religious position, must assuredly wonder at the 
 marvellous skill by which he achieved a triumph in the most 
 unpromising field of compromise. He had to put new wine 
 into old bottles : and the measure of success which he attained 
 is the highest testimony to his genius. 
 
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 AI. KOKKV, p^eBeire Kal irokv ye KaTcDTipu) 
 
 )(a)pet TO Tovb€. ET. Kat rt ttot eort ratrtoi' ; 
 
 AI. OTL €l(T€6r]K€ TTOTapOV, eptOTTCoAtKW? I386 
 
 vypbv TTOL-qa-as tovtios a>(T7T€p Tapia, 
 
 (TV 5' €lcri6r]Kas tovttos eirT^pcopLevov. 
 ET. aAA.' €T€pov etTrarco rt Karrto-rr^crara). 
 AI. kd^eade tolvvv avOts. 1390 
 
 AI2. Kat ET. 7)1; t5ov. AI. Aeye. 
 
 ET. oi'K eoTt TleiOovslpov akko 7rA7/yA.oyosf. 
 AI2. piovos OeQv yap QdvaTos ov bcopcov €pa. 
 AI. fieOelTe /ixe^etre' Kat ro Tovbi y av pejef 
 
 QdvaTov yap ela-idrjKe ^apvTaTov KaKcav, 
 
54 BATPAXOI. 
 
 ET. eyo) 8e ireiOca y, cttos aptaT dpTf]iiivov. i395 
 
 Al. Tret^o) §€ Kov(f)6v ka-ri koX vovv ovk e^ov. 
 
 aXA' €T€pov av (i]T€l tl t&v ^apv(TTd6[X(ov, 
 
 6 TL (TOi Ka6j\^€L, Kaprepov re koX \iiya. 
 ET. ^^p^ '^ov roiovTo hr\Ta ixov(ttl ; irov ; 
 A I. cfypdcrco' 
 
 /3e/3Ar7K' 'AxtAAei;? bvo kvJBo) Kal rirrapa. 
 
 kiyoLT av, w? avrrj ^cttI Xolttt] a^i^v (Trda-LS. 
 ET. a-ib-qpo^pides r eXa/Se be^ta (vkov. 
 AIS. e^' app^aros yap a pp. a Kal i'€Kp(^ veKpos. 
 AI. i^iiTTCLTriKev av ere Kal vvv. ET. rw Tpoirco ; 
 AI. bv appear elcrriveyKe Kal v€Kp(b bvo, 1405 
 
 ovs OVK av dpaivr ovb^ kKarov AlyvTrTioL.^ 
 AI2. Koi jJLTjKir e/ototye Kar eTTO?, dAA' es roz; (rraOp^ov 
 
 avTos, TCL iratbC, r] yvvi], Kr](f)L(TO(f)(ov, 
 
 efx/3as KaO-qcrOco a-vXkaj3o)v ra /3t/3Ata* 
 
 €y&) 8e Si7 67777 rwi' €pL(£>v epw pLovov. 1410 
 
 Al. avbpes (pi\oL, Kayci) piev avTovs ov Kpiv5>. 
 
 ov yap bC eyOpas ovberipi^t yevr](Top.ai. 
 
 Tov p,kv yap rjyovp.ai aocfibv, rw 8' ijbopLat. 
 DA. ovbev apa TTpd^eis ajvirep rjkOes ovv€Ka ; 
 AT. idv be Kpivui ; 1415 
 
 ITA. rbv €T€pov XajBcdv aTret, 
 
 OTTorepov av Kpivr\s, tv ek6r]s /x?) p^drqv. 
 AT. €vbaipovoiris. (f)^p€, TTvOeu-Oi p.ov rabi. 
 
 eyo) Karijkdov eTTt iroLrjrrjv. ET. tov ^.^piv ; 
 AT. tV 17 TToAts o-oo^eto-a tov<s yopovs dyr\. 
 
 oTTOT^pos ovv av Trj TToAet 7rapaLV€(T€Lv 1420 
 
 piikkr) TL \pr](rT0Vi tovtov d^€LV p-OL boKco. 
 
 irpQiTov piev ovv Trepl 'AAKi/3ia8oi> tlv ^yjETov 
 
 yvcdjXTjv kKCLTepos ; rj irokLS yap bvorTOKel. 
 ET. ex€t 8e irepl avTov TLva yvcapuqv ; 
 
BATPAXOI. ^S 
 
 AI. TLva ; 
 
 TToOei fX€v, kyOaipei 56, (iovkerai 8' e'xeti^. 1425 
 
 dAA.* o rt voeiTov, elTrarov tovtov nipi. 
 ET. jatcro) ttoXlttiv, octtls oxpeXelv irdrpav 
 
 ^pabvs ^avelrai, fjieydXa he (SXairreiv ra)(y9, 
 
 Kol TTopipiov avT<^^ rfj TTokei 8' dixi]\avov. 
 AI. ev y, 2) Ilocreibov' (tv 8e TLva yv(ji>}xriv ex^t? / 1430 
 AI2. OL" XP^ XeovTos (rKV\xvov kv TroAet Tpi(p€Lv, 
 
 fxaXta-Ta fxkv keovra fJLT] V TroAet Tpicpetv, 
 
 rjv 8' €KTpa(f)fj TLs, roTs Tpoirois vin^perelv. 
 AI. z^t) toz' Ata roz/ crcctTrjpa, bvcTKpiTOJs y e\(jCi' 
 
 6 pL€v (TO(f)C)s yap elirev, 6 8' erepos o-a^o)?. 
 
 dAA.' ert /xtay yvcafjLrjv kKarepos etirarov 1435 
 
 Trept r?]s irokeoos rjvrtv e^^Tov croiTrjpiav. 
 ET. et rtj iTTepdoa-as KXeoKpLTOv Ktvrjarici, 
 
 atpOL€V ovpai ireXayiav virep irXaKa. 
 AI. yiXoiov CIV (fyaivoLTO' vovv 8' €\<el riva ; 
 ET. et vavixaxpiev, Kqr exozre? o^tbas 1440 
 
 paivouv €9 Ta jSXecfyapa tG)V kvavrioiv. 
 
 kyoi ixkv otba, Kal OiXoo (ppd^eiv. AI. Aeye. 
 ET. orav ra vvv onTiara ttlo-O' i]y(i>iJL€6a, 
 
 TO, 8' ovra ttlctt dmorra. 
 AI. TTwj ; ov fxavOdvoi. 
 
 dixa6i(TT€p6v ttcos eiTre koX (ra^iarepov. 1445 
 
 ET. et T(av TToXiTCdv ol(TL vvv TTLo-revofjiev, 
 
 TOVTOLS dmcTTria-aiixeVi ols 8^ ov xpcafxeOa, 
 
 rovTOLCTL y^piqcraiy^ea-Oa, aoideiriixev av. 
 
 et vvv ye bva-Tv^o^P^^i^ ^v tovtolctl, ttw? 
 
 rdvavTia irpd^avres ov o-cofot/ixe^' av ; 145° 
 
 AI. ei; y, a> rTaXd/x?78e?, S> ao<poiTdTr] (f)V(rLs. 
 
 ravrl TroVep' avTos evpes i] KrjipicrocfiCdv ; 
 ET. eya> [xovos' tcls 8' d^t8as Kri(f)Lcro(f)(iv. 
 
^6 BATPAXOI. 
 
 AI. TL bat Xeyets (tv ; 
 
 AI2. TTjV TTokiV VVV fXOL (f)pd(TOV 
 
 TTputTov, TiCTL xpT^Tai' TTOTepa Tols XPV^"^^^^ / H55 
 AI. TTodev ; 
 
 IXKTel KCLKLCTTa. AI2. TOtJ TTOvqpols 8' i]h€Tai ', 
 
 AI. ov hr\T €K€ivr} y, akXa )(p7/rat Trpoj (Biav. 
 
 AI2. 770)9 OVV TLS CLP (TUXTeie T0iWUT7]V TTOkiV, 
 
 fj fjLrjTe x.\aiva jJLriT€ a-Lovpa (TVfJL(f)ip€L ; 
 AI. €vpL<TK€ VT] AT, etTTcp avabv(T€L iraXiv. 1460 
 
 AI2. €Ket (ppdo-aifji' dv' kvdahX 5' ov ^ovkofJLai. 
 AI. /x^ ^TJra (TV y, dkX' kvOivh' dvUi rdyaOd. 
 AIS. Trjv yrjv orav vofjiLcrcocn ttjv rcav TroXefxCcov 
 
 elvai o-(f)€Tepav, T7]v 6e (T(f)€Tepav rcav iroXepLLcov, 
 
 TTopov 8e ras vavs, aTTOptav be top iropov. 1465 
 
 AI. €v, TTkrjv y 6 dtKaor^s avrd KaTaiTLvet (jlovos. 
 ITA. KpLvoLs dv. 
 AI. avTT] (T(j)^v Kpiais yevrja-^raL. 
 
 atpTJcrojutat yap ovirep rj ^vxr] ^eA.et. 
 ET. lJL€fJLVr]fX€VOS VVV TCOV 6€a>v, ovs (^{JLOcras, 
 
 Tj ixi]v dird^eiv \i otKab\ alpov tovs (piXovs. 1470 
 AI. 7} yXufTT 6/xg)ju,ok', Al(TXu\ov b alpricroixai. 
 ET. rt bibpaKas, w fjLiapcoTaT dvOpcaTTcav ; 
 AI. iyca ; 
 
 €Kpiva VLKCLV AlaxyXov. Tirj yap ov ; 
 ET. ata-^Lo-Tov epyov TTpoo-jSkiTreis fx eipyao-piivos ; 
 AT. TL 5' aicrxpov, rjv /xt) rots OeoopiivoLS boKjj ; 1475 
 ET. 2) o-;(erXt€, irepLoxj/eL /xe 8r/ reOvqKOTa ; 
 AI. rts otSei; et to f?ji; [liv kcm Kardavciv, 
 
 TO TTveXv be beLTTvelv, to be Kadevbetv Kcabiov ; 
 IIA. yjjipelTe toivvv, o) Alovvct', eXcrca. AI. rt bat ; 
 IIA. %va ^evLo-io o-^cb TTplv dTTOTTkelv. 1480 
 
 AI. ev TOL kiyets 
 
BATPAXOI. 57 
 
 V7] Tov AT* ov yap aydoixai rw 77pdy/xart. 
 XO. ixaKOLpios y avrjp exooi; 
 
 ^vv€(Tiv r\Kpi^(o\xivr]v. 
 
 irdpa be ttoXXoIo-lp ixaOelv. 
 
 ohe yap ev (fypovelv boK'qaas 1485 
 
 ttclXlv aireLo-Lv otKah' av, 
 
 €77* ayaO^ fxev rots TroAtratj, 
 
 ctt' ayaO^ be rots eavrov 
 
 ^vyyevecTi re Kal cfyiXoLcrL, 
 
 bia TO (Twerbs elvat. 1490 
 
 yapiev ovv jxr} ^oiKparei 
 
 'napaKa6ri\xevov XaXelv, 
 
 aTTolSaXovra \xov(TiKr\v^ 
 
 TCL re [jLeyLCTTa TrapaXiirovTa 
 
 TT]s ^TpaycobiKrjs reyvris. 1495 
 
 TO 6' eTTt a-efxvolo-iv Xoyoicri 
 
 K(u (TKapi<^r\(Tixo'i(Ti Xr]pc£iV 
 
 biaTpijSrjV apyov 'JTOieiadaL^ 
 
 7Tapa(f)povovvTos avbpos. 
 riA. aye br] yaipinv^ Ala-yyXe, x^P^''^ ^5°° 
 
 Kal (Tw^e TToXiv ttjv rjjieTepav 
 
 yv(i>ixais ayadais, Kal iraibeva-ov 
 
 Tovs avo-qTovs' ttoXXoI 8' elcriv 
 
 Ka\ bos tovtI KXeo(f>(avTL (fyepcav, 
 
 Kal tovtI Tol(TL TTopto-rats, 1505 
 
 MvpfjLrjKL 6' dfxov Kal NtK0ju,dx4>* 
 
 Tobe 5' ^ApxevoixcD' 
 
 Kal (ppdC avTols ra)(ea)s yJKeiv 
 
 a)S 6/xe bevpl Kal jurj piiXXeLv' 
 
 KOLV pJf] Taxecos rJKCocriv, eyo) 1510 
 
 VT} TOV ^AttoXXoo a-Ti^as avTovs 
 
 Kal (Tvimobicra'i 
 
58 BATPAXOI. 
 
 IX€T ^ AhetfxdvTov rov A€VKok6(j)ov 
 
 Kara yijs ra)(ea)s d7ro7Tejufv//"a). 
 AI2. Tavra TTOnfia-o)' av §€ rov Oclkov 1515 
 
 Tov ifjiov irapdhos 2o(^OKA€t Trjpeiv, 
 
 Kd\xo\ a-(a^€Lv, rjv ap^ eyco ttotc 
 
 hevp' CKpLKcofjiaL. TOVTOv yap eya> 
 
 a-o(f)Ca KpLvo) hevrepov elvai. 
 
 liefxvrjcro b\ ottoos 6 iravovpyos dvr}p 1520 
 
 Kol \l/€vboX6yos Koi /3a)/^oA.o)(09 
 
 IXT^beTTor' et? rov Oclkov rov ^fjibv 
 
 fxryS' aK(ov cyKadehelrai. 
 HA. (fyaivere roivvv v\x€is ro-urc^ 
 
 kapLTTahas Ipas, \dp.a TrpoTripLTrerE 1525 
 
 rolaiv rovrov rovrov fj^ik^cnv 
 
 Kol pLokiraicnv Kekabovvres. 
 XO. TTp&ra pikv evohiav dyaOi^v dmovri iroirjrfj 
 
 is (pdos opwyiivcD bore, baipioves ol Kara yaCas, 
 
 rfj be TTokeL pLeydkoiv dya6u>v ay adds kiiivoia'S. 1530 
 
 TTciyxf ydp €K pi€ydkoL>v d)(€aiv irava-aipied^ av ovrcos 
 
 dpyakioav r kv oirkoLS ^vv6b(ov. KAeoc^wr be 
 pia')(^iad(jo 
 
 Kakkos 6 jSovkopLevos rovroiv riarpiois €v dpovpais. 
 
NOTES. 
 
 The scene opens with the journey of Dionysus, accompanied by his 
 slave Xanthias, to the lower world. Dionysus is grotesquely dressed 
 in a saffron-coloured robe (46 foil,), with a lion-skin thrown over it. 
 Xanthias is naounted on an ass ; but he does not get the full benefit from 
 his beast of burden, for across his back is poised the regular porter's 
 yoke {dvd(popov v. 8), from either end of which hangs a load of packages, 
 so heavy that he is constantly wanting to shift it from shoulder to 
 shoulder. 
 
 1. I . eiTTO), ' am I to utter ? ' deliberative conjunctive, as iroT (ppevuiv 
 '4\6aj, ndrep ; Soph. O. C. 310. The negative particle used in this con- 
 struction is regularly fx-f], as inf. 5. \lt]5' 'irepov daraov ri. Cp. Xen. 
 Mem. I. 2. 36 ^775' diTOKpivoJixai ovv ; 
 
 Tuv eicoOoTcov, i. e. the stale, commonplace jokes that form the stock 
 of ordinary Greek comedy. Aristophanes is fond of claiming novelty for 
 the contents of his plays, as in Nub. 538-546 ; Pax 739 foil., where 
 special reference is made to the stale jokes of the comic SouAot. 
 
 1. 4. -qB-r] x°M- The repetition of such expressions as, ' I'm over- 
 loaded,' 'I'm being crushed,' is more than Dionysus can stomach: 'I 
 am already positively sickened by it,' literally, 'there is already anger 
 to me,' understanding an objective tovtwv, sc. * against such jokes.' 
 This is better than understanding ravra as the subject to cctt'. The 
 notion of anger is included with that of disgust ; but the words do not 
 mean, as often rendered, ' it is as bitter as gall to me.' 
 
 cj)v\a|aw, as the accent shows, is mid. aor. imperat., * keep clear of 
 that.' 
 
 1. 5. ao-Teiov. Xanthias characterises as 'witty,' or ' smart,' expres- 
 sions that were really coarse and stupid {dypoi/cov, (popriKov) ; and the 
 next gross joke that he has in store he describes as ' the height of fun ' 
 (to irdvv ■ytXoiov). 
 
 1. 12. ri 8tjt' eSei, 'why was I obliged?' The tense refers back to 
 the time when the original arrangements for the journey were made. 
 See on 24 inf. 
 
6o FROGS. 
 
 1. 13. *ptivixcs. This is the comic poet, to be distinguished from 
 the writer of tragedies (see inf. 910). He brought out the MovorpoTros 
 and took the third prize when Aristophanes was successful with his 
 •Birds ; ' and the second prize for his Movaai when Aristophanes gained 
 the first with the 'Frogs.' About Avkis nothing is known. Kock 
 suggests KdwiXvKos, because 'EmKvKos was one of the poets of the Old 
 Comedy. Ameipsias, when Aristophanes was unsuccessful with his first 
 edition of the ' Clouds,' took the first prize with a play on a similar 
 subject called Kovvos, introducing the character of Socrates and a chorus 
 of (ppovTiarai Ameipsias also gained the first prize with his Kw^zaarat 
 when Aristophanes took only the second with his ' Birds.' 
 
 1. 15. 01 o-K6vo<})opov(r', 'who always carry baggage; ' i.e. introduce 
 slaves carrying baggage. There may be a sly suggestion that these play- 
 wrights dealt only with ' scenic properties,' and not with real poetry and 
 wit in their comedies. So we have ctcevapia used of the Euripidean 
 ' properties,' Ach. 451. 
 
 Most MSS. read o-kcvt] <|>€pova', or oKevr]<popovo\ Fritzsche would 
 read uaircp for wwep and a/avocpopovs ace. plur. ; making iroiovai aKevq- 
 <p6povs = bahiloru7n personas inducunt ; cp. ^aibpav irouiv Thesmoph. 
 153. Bergk would put a mark of interrogation after t'iaiOi trouiv ; and 
 so make koI Avkis begin a new clause, ' Why ! both Lycis and Ameip- 
 sias carry baggage/ 
 
 1. 18. TrXeiv (Attic irregular contr. for -nXeLov) r\ 'viavTw, 'older by 
 more than a year,' i.e. I leave the theatre feeling more than a year older 
 through weariness. Dionysus speaks of himself as a spectator (Oeco- 
 Hevos) ; and this falls in well with the idea that he is presented here as 
 the type of the Athenian Demos. 
 
 1. 20. €p€t. Nothing is gained by altering, with Cobet, kpu to kpuj. 
 All common-place grumblings are tabooed; and the poor overloaded 
 neck may not tell its own troubles. Cp. inf. 2370 irpcuKTus . . . kyKvipas 
 (pet. Here Dionysus loses all patience at the ' insolence and utter conceit' 
 of the slave in pretending to have a grievance, though he is riding while 
 his master walks, or' (1. 22) is for ore not on, as in Nub. 7 etc 
 
 1. 22. vios Srap-viov, a surprise for vlbs Aios. 'Son of Jar,' appro- 
 priate enough to the wine-god. 
 
 1. 23. TovTov 8' OX", ' and am giving him a mount:' cp. sup. gk^vo- 
 <popov(j* . 
 
 1. 24. ToAawrwpoiTo. The optat. after the pres. indie, (see on 
 I5tt, sup. 12) points back to the original intention of the arrangement. 
 Cp. Od. 17. 250 rov TTor kyuiv .... d|a) ttjX.' 'l6aKT]s lua p.01 Piorov 
 iroKvv d\<J)oi. See Goodwin, Moods and Tenses, § 44. 2. note 2. 6, who 
 quotes rovTou exei tov rponov 6 vop-os, 'iva firjSe itHaOrjvai pLTjS' k^aiiaTrj- 
 efjvai y«voit' Itti Ta> drifio), Dem. Androt. 596. 17, where he remarks 
 
NOTES. LINES 1 3-3 8. 6 1 
 
 that exct implies also the past existence of the law ; the idea being that 
 the law ^aas made as it is, so that it might not be possible, etc. 
 
 1. 25. ou ^dp 4:€pco 'yw ; Here begins a string of quibbles and verbal 
 subtleties in the true sophistic style. 'Pray am not I the bearer of a 
 load?' ' Why, how can you be a bearer when you are having a ride?' 
 * Yes ! but still bearing all these things.' ' Bearing them how ?' ' Like 
 a sore burden.' ' Isn't it an ass that is bearing the burden which you 
 are bearing?' 'Most certainly not what I have got and am bearing.' 
 In 1. 26, the question riva rpoirov is misunderstood by Xanthias. Dionysus 
 means, 'How can you be said to be bearing when you are borne?' 
 Xanthias interprets ' hoivV to mean 'in what way?,' ' with what feeling?' 
 and so he answers ^aplcos irdvu, i. e. aegerrime fero, the word being 
 resumed in (3dpos. The humour of the passage lies in the fact that both 
 disputants are* right— the ass really bears the double burden, but the man 
 is loaded just as if he was walking. 
 
 1. 33. KaKo5ai[jiajv. Xanthias can at any rate see that he is being 
 mocked, though he cannot rebut the argument ; and he wishes he had 
 been one of the slaves who had volunteered for the battle of Arginusae, 
 for then he would have gained his freedom, and would not have been 
 subject to the oppression of a master. See inf. 693. 
 
 1. 34. Join KcoKv€iv p.aKpd, 'to howl aloud;' as olixui^av /xaKpd Av. 
 1207. Cp. Hor. Sat. i. 10. 91 itibeo plorare. The phrase is the anti- 
 thesis to xaipf.iv KiXivo). 
 
 1. 35. Kardpa. Imperat., as in Vesp. 979. The ordinary form is 
 KaTd^TjOi. Curtius (Verb. chap. xiv. §§ 37, 38) quotes cVySa Eur. Phoen. 
 193; €p,pa El. 113; (TTt^a Theogn. 847; -rrpo^a Acharn. 282; dvara 
 Theocr. 24. 36 ; describing them as thematic present imperatives from 
 (obsolete) present &dw. 
 
 1. 36. Pa8i^(ov, ' on the tramp ;' alluding to his walking while Xanthias 
 rides. With ^yy^'S «^P (^ot ^Tpn as vulg.) cp. Eccl. 1093 €771;? rj^ ttjs 
 6vpas I kXKopKvos dp,i, Plut. 767 us dv8p€s kyyvs daiv tjSt] toiv Ovpwv. 
 
 1. 37. €861, ' it was my duty,' sc. as previously arranged, see on sup. 12. 
 
 T|p,(, is not, as the Grammarians described it, the Attic form of iprjpLi, 
 but a defective verb parallel to the Lat. a-i-o; most often occurring in 
 the phrases rjv S' kyw, and rj S' os (dixi — dixit) in Plato. There is, how- 
 ever, this difficulty in connecting the Greek and Latin forms, that rnxi 
 shows no trace of the original g in a-i-o ; cp. ad-ag-ium, ind-ig-itamenta, 
 etc. Here Dionysus calls out to the slave, whom he supposes to be 
 within the house of Heracles as porter ; but the hero, who is living in 
 a humble way, answers the door himself. 
 
 1. 38. KcvxavpiKus, ' savagely,' Heracles had fought with the Centaurs, 
 and knew their brutal ways. With IvriXaO' {kv-dKXopai) cp. Soph. O. T. 
 1 261 irvXais hiaaah kvqXar.' With ocms supply ^v 6 irara^as, 'who- 
 
62, FROGS. 
 
 ever it might be.' Here Heracles peeps out, and catching sight of the 
 strange appearance of Dionysus he bursts out with — ' Do tell me, what 
 might this be?' Dionysus mistakes the expression of astonishment for 
 one of fear, and calls the attention of Xanthias to the fact ; addressing 
 him, aside, as ' slave !' (6 irats). 
 
 1. 41. \ji.r\ jiaCvoto "ye, 'yes, afraid you were crazy.' The addition of 
 7€ corrects the view of Dionysus — 'afraid he was certainly: not how- 
 ever at your formidable appearance, but only lest it was a madman 
 he had to deal with.' Compare the words of Odysseus, Soph. Aj. 82 
 (ppovovvra yap viv ovk av k^iarrju okvq). 
 
 1. 43. SdKvo). I, e. ' I bite my lips,' to keep in my laughter. 
 
 1. 45. dirocro(3Tio-ai, 'to drive away,' 'keep off.' Probably he passes 
 his hand hastily over his mouth, as with the action oi ' brushing 
 something away.' Cp. Vesp. 460 ; Eq. 60 ; where it is used of flapping 
 away flies, and the like. The KpoKcoTos (sc. x^™'') which peeped out 
 under the lion-skin was properly a woman's garment. See Eccl. 879 ; 
 Lysist. 44, 219. Coloured clothes were not ordinarily worn at all by 
 men. 
 
 1. 47. Tis 6 vovs ; 'what's the meaning of it all? what is this 
 combination of the buskin and the club ? ' i. e. the incongruous mixture 
 of hero and woman ; for KoGopvos seems to be used here rather as an 
 article of female dress than as part of the costume of the tragic actor ; 
 although this would suit Dionysus well. Schol. 6 KpoKwrbs teal 6 KoOopvos 
 yvvaiKeid kanv, 77 5e Xcovttj Kal rb ponaXov dvSpaia. 
 
 1. 48. iToi YT]s dir68Tip.€i.s ; ' where might you be travelling to ? ' in 
 such equipment. Dionysus seems to have understood noi diredrjfxeLS ; in 
 the technical sense of ' where have you been on foreign service ? ' as in 
 Lysist. 99 foil. Tovs irarepas ov TToOeiTe tovs tcov Traidicov | km arpaTids 
 dvovTas ; ev yap old' on | irdaaiaiv vpTv karlv dtroSTjixwv dvrjp. So he 
 promptly answers, ' I was serving Cleisthenes as a marine ; ' sc. in the 
 battle of Arginusae. 'E-rriPaTevetv means, to be an kvilSdTrjs, or ' fighting 
 man on ship-board,' as distinguished from the crew. Cp. Hdt. 6.12; 
 Thuc. 3. 95. The dative KXeicrOtvet follows enefiaTevov on the analogy 
 of ypapLfxaTiViiv, irpecrfieveiv rivi. 
 
 1. 49. Kal KaT€8vo-afjL6v 76 vaCs, ' aye, and what is more we sank 
 ships.' 
 
 1. 51. o-<})w; 'what, you and he together?' The words Kar' tytny 
 e^Tfi-YpofjiTfjv are spoken by Xanthias as an ' aside.' He has been listening 
 to his master's boasts, and expresses thus his sense of their visionary 
 nature ; ' and then I woke, and behold, it was a dream :' others, less well, 
 assign the words to Heracles or Dionysus. 
 
 1.53. 'Av8po[X€8av. This play, acted in the year 41 2, was evidently very 
 popular in Athens, as we may judge from the allusions to it in Thesm. 
 
NOTES. LINES 4I-72. 6^ 
 
 1018, 1022, 1070 foil. It was a play likely enough to suggest a iroOos, 
 for it turned upon the ' passion ' of Andromeda for her deliverer, 
 Perseus, irpos i\x,avT6v, i. e. 'silently'; not aloud, as was the frequent 
 practice of the ancients even when reading alone. 
 
 1. 54. irws o'iet cr<j)65pa, lit. ' violently, how think you V = ' you can't 
 think how violently.' So ttcDj SoKeis^ 'you can't think how nicely,' Nub. 
 881. The original interrogative force of the phrase has been forgotten, 
 as in TTws aM = utinam, and so it is sometimes printed without a mark 
 of a question. 
 
 1. 55. M6\cov was, probably, the protagonist in the Andromeda, as 
 he was in the Phoenix of Euripides. If he is the personage of huge 
 stature to whom the Schol. refers, p,uKp6s must be used ironically — 
 ' oh, quite small ; only as big as giant Molon.' Dionysus is described 
 as sitting on shipboard, and reading (see inf. 11 14) the play to himself, 
 as he says, irpos Ip-avTov, cp. Eccl. 880 j-uvvpofxivrj ti vpos k/xavrdv /xe\os. 
 Paley, to emphasise his view of the late introduction of reading and 
 writing, would make t7)i/ 'AvSpofiidav mean the name on the ship's side 
 or stern, eirl Ttjs vews. 
 
 1. 57. ^vviylvov Tco K., 'did you company with Cleisthenes ? ' 
 Heracles here seems to put Cleisthenes in a category by himself, not 
 woman, boy, or man, but some sexless creature, for whom Dionysus 
 might have had a misplaced passion. 
 
 1. 58. OX) 7dp dW, as inf. 192, 498, 1180; Eq. 1205; Nub. 232, 
 originally an elliptic phrase, = non enim [ita se res habet] sed. So here, 
 ' it is not a case for jesting, but I really am in a bad way.' 
 
 1. 62. €Tvovs, ' porridge.' The gluttony of Heracles was a favourite 
 point in Comedy, as in Pax 741; Av. 1581, 1689; and inf. 550 foil. 
 It also appears in the Alcestis 548, 749-760. 
 
 1. 64. ap' €K5i8do-KO) ; 'am I making my meaning plain ? ' 
 
 1. ^d. BapSdiTTet, a graphic word for a ' devouring passion.' Her- 
 acles imderstands this in the coarsest way, and wonders how any one can 
 have a 'passion' for a dead body, Euripides seems to have died the 
 year before the ' Frogs ' was acted. 
 
 1. 69. Itt' eK6ivov, as we say, ' after him;' i.e. 'to fetch him.' So Itti 
 ^ovv Xkvai; Od. 3. 421 ; Itt' uScup irefKpOevTa Hdt. 7. 193. Cp. inf. ill, 
 577, 1418. 
 
 1. 72. ol [i€v -ydp ouk€t' €tcriv. According to the Schol. from the 
 Oeneus of Euripides, where Diomede, lamenting the low estate of his 
 grandfather Oeneus, asks him av 5' wS' eprjfxos crv/xfidxojv anoWvaai ; to 
 which Oeneus rejoins with the words oi fiev ydp etc. Dionysus means 
 that the great poets, like Aeschylus, Sophocles, and Euripides, have 
 passed away; and those that are left are poor ones. 'How's that?' 
 cries Heracles, 'haven't you got lophon in the land of the living?' 'Yes, 
 
64 FROGS. 
 
 that is the only blessing we have left,' answers Dionysus, ' if it can be 
 called a blessing; for I am not quite sure even about that, how it 
 stands.' This points to the current suspicion that the plays of lophon 
 were really composed, or at any rate touched up, by his father Sophocles. 
 
 1. 76. irpoTcpov, 'superior,' as TrpcDroj/ = ' best ' in Nub. 643. Cp. 
 Plato, Laches, 1S3 B ot kclv avrol ofxoXoyrjaeiav iroWovs acpuiv irpOTepovs 
 (Tvai irpbs TO. Tov iroXefxov. 
 
 1. 77. eiTrep 7' cKetOev, ' if you mus^ bring a poet thence.' 
 
 1. 78. diroXaPcbv, 'having taken him aside all by himself alone.' 
 So Hdt. I. 209 Kvpos KaXiaas 'Taracriria kol a-noXa^ihv fxovvov eTne. 
 
 1. 79. KcoScovto-oj, ' may try what the ring is like of the poetry he 
 composes without the aid of Sophocles.' fccodcuvi^av, inf. 723, is, 
 properly, to test the goodness of money by the ringing sound of the 
 metal. 
 
 1. 80, KaXXcos, 'besides,' Dionysus doubts if Sophocles will take 
 the trouble of quitting the lower world, being 'content and happy' 
 (6<5koXos) there, no doubt, as he was in life. Whereas Euripides, scamp 
 as he was (TravovpYos), would be quite ready to break bounds and run 
 away along with Dionysus. 
 
 1. 83. 'AyciQcov belonged to a wealthy family of good position in 
 Athens. Bom about 447, he gained his first prize for Tragedy in 416, 
 and died, probably, in 400. The scene of the Symposium of Plato is 
 laid at Agathon's house, where he is found discoursing on the subject of 
 Love with Socrates, Alcibiades, and Aristophanes. His language 
 (Sympos. 198 C) is represented as reproducing the style of his master 
 Gorgias. Aristophanes calls him (Thesm. 49, 29) 6 KaXXie-rnis, 6 kXci- 
 v6s, 6 TpaycvSonoios, but notices the many novelties of diction introduced 
 by him; Kafinrei veas dipidas kirfibv, etc. Thesm. 53. Aristotle (Poet. 18. 
 §§5' 7) objects that (i) the subjects of his plays were too extensive; 
 and (2) that he introduced the practice of making the choruses irrelevant; 
 5td hixfioXifxa aSovaiv irpuTov ap^avros 'AyaOcovos tov toiovtov. His 
 feminine beauty and his fopperies are ridiculed by Aristophanes in 
 Thesm. 191, foil., where Euripides wants him to act a female part, 
 because he was fivirpoaoj-nos, X^vkos, e^vprjfxevos, | yvvaiKocpwvos. airaXo's, 
 cinrpe-n^s idcTv. His visit to the luxurious court of the Macedonian 
 Archelaus is alluded to here in the words Is jxaKcipcov cucoxiav, a phrase 
 so closely modelled on the familiar fiafcapcov vijcroi and I? ptaKapcvv cvSai- 
 fiovias (Plat. Phaed. 115 D), that we are inclined to believe that Agathon 
 had really ' passed away' from Athens, and was to be numbered among 
 those who oukct' cicriv (72) ; though it does not seem that he was 
 actually dead at this date. Perhaps \x.aK-dpot}v is intended to suggest 
 MaK-eSoj/cyi/, just as 0706^0? (84) is an echo of'AyaOaiv. 
 
 1. 86. EevoKX€Tjs, called by the comic poets the Trickster {dajdeKafXTj- 
 
NOTES. LINES 76-99. 6^ 
 
 xavoi, p.r}xo.voBi(f)T]s) because he concealed the poverty of his inventive 
 genius by scenic tricks, was son of the tragic poet Carcinus (Thesm. 
 440). Aristophanes calls him a parasite (TnwoTrjprjs, Vesp. 1 510), and 
 bad both as a poet and a man (wa/fo? ujv KaKcu? ttoki, Thesm. 169). 
 
 1. 87. irvQaYY^Xos. Nothing is known of him ; and no answer is 
 given to Heracles' question. Whether or not we are to think, with 
 Meineke, that some lines have fallen out, it is not difficult to understand 
 the impatience of Xanthias, who stands by unnoticed, still burdened with 
 his load, while Heracles and Dionysus are absorbed in their conversation, 
 and ' there is not a word said about me ! ' 
 
 1. 91. irXetv -i] (TTaSio). Cp. Nub. 430 tu)v 'EWrji'wv (Tvai fxe Xiffiv 
 kKaruv arahioiaiv dpiarov. 
 
 1. 92. €Tn4)v\Xi5€S. L. and S follow the Schol. in rendering this, 
 ' small grapes left for gleaners :' but Fritzsche seems to come nearer to 
 the spirit of the passage in taking it of ' vines of rank leafage,' where 
 leaves were in inverse proportion to fruit : like the Barren Fig-tree of 
 the parable. In the Alcmena, Euripides had called the ivy x^Xi-Bovcov 
 \iov<Tilov, which is adopted here in the sense of' choirs' or 'music-schools' 
 of swallows ; birds, whose note was (inf. 681) the type of barbarous, non- 
 hellenic speech. Cp. eiVep kcTTi fii) x^^^^^^*^^ Siktjv | dyvuira (pojvqv &ap- 
 ^apov K^KTripLivq Aesch. Ag. IC50. 
 
 1. 94. a (taking up p.(ipaKv\\ia sup. 89) 4>po-0Sa, ' who pass out of sight 
 double-quick if they do but get a play put on the stage, having only once 
 committed a nuisance against Tragedy:' meaning either that the Archon 
 would never be willing to supply them with a Chorus a second time, after 
 their miserable exhibition ; or, because they themselves would be utterly 
 exhausted after a single effort. 
 
 1. 96. Yovijxov, 'fruitful,' 'productive:' so we have yovi/xov wov as 
 distinguished from dvefxaiov, an 'addled' egg. Cp. Fertile pectus habes, 
 interque Helicona colentes | uberius nulli provenit ista seges, Ov. Pont. 
 4. 2. II. 
 
 1. 97. Join ^TjTaiV dv equivalent in meaning to ft ^tjtoi^, and cp. 7roA\' 
 av '€x<^v €T(p' dvfiv irepl avTTJs irapaXfinoj Dem. de Cor. 3. 3. 4. See 
 Goodwin, M. and T. § 42. 3. n. i. Notice the confusion between XctKot 
 optat. (as in Soph. Phil. 281 avSpa ovUv' Utottov {dpooi'), ovx oans dpK(~ 
 craev) and ^Qiy^irai fut. indie. 1. 98 ; and compare with it the change 
 from subjunct. to indie, in Homeric similes. 
 
 1. 99. irapaKeKivSwevixtvov, ' an adventurous expression,' like the 
 audaces dithyrambi of Hor. Od. 4. 2. 10. Euripides had spoken in 
 his MeAai/tTTTT?/ of oXQip oiKrjaiv Aios, and Aristophanes parodies this 
 somewhat unfairly. In the 'AAe^avSpo? of the same poet we have the 
 phrase Kal xp^^ov npov^aive novs, and in the Bacchae 888 dapdv xP'^J^oi; 
 7ro5a='a long lapse of time.' The next two lines are a travesty of 
 
 F 
 
66 FROGS. 
 
 Hippol. 612 1^ yXuxrcr' diAufiox, r) Se <ppr}v avujxoTos, which Aristophanes 
 (here and inf. 1471, and Thesm. 275), like many others, misrepresents; 
 as though Euripides justified the breach of an uttered oath on the plea 
 of a mental reservation. Whereas, what Hippolytus means is that he 
 has taken the oath, without knowing what it implies, yet nevertheless he 
 is bound by it. With Ka9' ifpwv, ' over the victims,' cp. Kara x'Ata;i' 
 Eq. 660 ; bfxvvvTOiv opKov rbv fiiyiaTov Kara Upuiv tcAcjW Thuc. 5. 
 47.10. 
 
 1.102. ISia here = x*"/"^- 
 
 1. 103. p,dXXd, i. e. [XTJ Ae7f otl hfik ravr apiaKH, dXXd, etc. So inf. 
 611, 745, 751; Ach. 458; Av. 109; 'don't ask that! why, I am more 
 than crazy with joy.' 
 
 1. 104. •?! y.-i\v (Cobet kol firjv), 'in truth this is but rubbish, as even 
 you yourself think ' — if you chose to allow it. 
 
 1. 105. \i.r\ rbv ep,6v oiKet vovv. This half-line probably comes from 
 the Andromeda, which Dionysus had been reading ; though the Schol. 
 refers to the Andromache of Euripides, 11. 237 or 581, the similarity 
 being only slight. Dionysus substitutes ^x^ii "ycip oiKiav for the original 
 ending €70; yap apKiaoj. The general meaning is ' don't take upon your- 
 self to 7nanage my views : you have a menage of your own,' sc. the 
 department of gluttony. For oIkov oIk^Iv in this sense cp. Phoeniss. 486, 
 1 231, etc. ; and cp. the phrase oIkuv ttoKiv. 
 
 1. 107. irepl k\Lov. The allusion to 'dinner' makes Xanthias feel 
 more than ever that he is left unnoticed, out in the cold. 
 
 1. 109. Kara cririv (xtp-tjaiv, i. e. even as you came with club and lion- 
 skin to fetch (tiTi as in sup. 69) Cerberus. The Greek would naturally 
 run wvTTip €V€Ka tjXOov . . ravra fxoi (ppaaov, but tovtovs (112) follows 
 the gender of tovs ^t'vovs, the nearer word. Dionysus wants to know 
 where Heracles found civil hosts and clean beds on the journey, and 
 ' entertainment for man and beast.' By dvaira-uXas he means ' resting- 
 places ;' and by tKTpoirds. ' the branchings of the road,' points at which 
 information about the route would be specially valuable. Others make 
 eKTpoTTT] almost equivalent to dvairnvXa, a place where one ' turns aside ' 
 to rest; so in Lat. deversoriae. Stairai are 'rooms.' The personal 
 word Trav5oK6VTpiat, ' landladies,' comes curiously in the list, especially 
 as it is followed immediately by ottov. There is no authority for ren- 
 dering it 'hostelries ;' so we must regard the word as a sort of echo of 
 |evovs sup. 109. Herwerden conjectures •nav'boKfX' a.pi(j6\ 
 
 1. 116. Kal o-ij 7€. It is doubtful if these words should be the begin- 
 ning of what Dionysus, or the end of what Heracles says. The former 
 has the analogy of inf. 164, and would mean ' it is not ior you to begin 
 to talk about daring and adventure.' But if we assign the whole line to 
 Heracles, w oxirXu, roXpLrjcnts yap Uvai Koi av 76 ; the meaning will 
 
NOTES. LTNES I02 
 
 be, as F"ritzsche renders it, ' fu adco cum 
 atidehis ? ' 
 
 1. 117. Twv 68wv, depending on ^po-l^, as in Soph. Trach. 1 122 rrjs 
 HTjTpui jJKc^Trjs (fiTJs (ppaaojv kv oh vvv eari. Thus we shall be able to 
 retain the MS reading oircos. Kock adopting Bergk's reading onr} joins 
 it with Toiv 65u)i', on the analogy of o-rrov -yTJs, etc. This would dispose 
 of the changed construction with ij^pd^ea' in the next line. Fritzsche 
 would write <ppd^e vwv ubov, which seems to be corroborated by the 
 singulars eeppcqv, xpvxpdv, cp. inf. 319. 
 
 1. 121. dtro KaXcu Kal Qpaviov, 'by rope and bench.' We may sup- 
 pose a pause to be made after Opaviou, so as to let Kpep-dcravTi come 
 in as a surprise. 'Towing-rope' (Thuc. 4. 25 vapa-rrXfovTOJu diro kciXw 
 h Tr}v Meaarjvrjv) and ' rowing-bench ' would represent a very natural 
 way of proceeding on a river or canal: but Kpep-dcravrt fixes the inter- 
 pretation of kolXcus to the ' noose,' and Opavlov to the ' footstool,' to be 
 kicked away in the moment of hanging oneself. 
 
 1. 122. iTviyr]p6iv, 'choky,' ' stifling,' in a double sense. 
 
 1. 123. 0-vvTop.os, 'a short-cut,' as in ra ovvropta rfjs uSov Hdt. I. 
 185. Perhaps there is an allusion in the word to the ' chopping up ' of 
 the hemlock (cp. tvTeixveiv), as there is in TerpiixpLivq, which means 
 ' well-beaten ' or ' well-pounded ; ' being equally applicable to arpa-nus 
 or Kwveiov. Cp. Plat. Phaed. 116 D iv^yKaroj tis to (pappiaKOU d 
 
 TtTpiTTTai. 
 
 1. 126. 8u<TxeLjJLepov, 'chilly,' 'bleak.' The effect of the hemlock 
 was to paralyse the lower extremities first ; the cold and the insensibility 
 gradually mounting upwards. So, in the prison, the officer who adminis- 
 tered the hemlock to Socrates kept watching the effect of the poison : 
 a<p6hpa TTteVas tuv ttoSo rjpiro el alaOdvoiro' o Se ovk ecpr}. Kal ixerd. tovto 
 avOis Tas KVT|p,as' Kal kiraviuju ovtws fnxiv kncSeiKyvTo ws ipvxoi-To re Kal 
 TT-qyvvTo Phaed. 117 E. 
 
 1. 127. KaTdv-nrj, ' downhill,' with allusion to the leap from the tower 
 (inf.). Dionysus, being ' a poor walker,' is bidden to ' stroll ' (Ka0€p- 
 TTveiv) down to the outer Cerameicus {to KaXXiarov irpodaTfiov rrjs rcuXeojs 
 Thuc. 2. 34), the burial place of illustrious citizens, on the N. E. side of 
 Athens, between the Thriasian Gate {AlttvXov) and the Gardens of the 
 Academy. There he was to climb the 'lofty tower,' said to have been 
 built by Timon the misanthrope. 
 
 1. 131. Join €VT€€0€v 0€w {OedopLai), 'watch therefrom' (cp. ^eo; p.' 
 ttTTo rov rlyovs Ach. 262), 'the torch-race starting' (cp. dcpiivat. -nXoiov 
 Hdt. 5, 42; a(p€s d-JTu ^aXlSidojv kjxi re Kal tovtov'i Eq. 1 1 59; and 
 d(peTr]pia (sc. ypa/xfirj), in the sense of the ' starting-place' in a race). The 
 common interj iretation, ' watch the flinging-down of a torch therefrom,' 
 as the signal for the torch-race to start, seems to be only an invention of 
 
 F 2 
 
68 FROGS. 
 
 the Schol. Aap-iras is frequently used as = \a>j.iTaSi^(popta, so XafiTtdSa 
 65pafi(s Vesp. 1 203. 
 
 I. 132. Kairen', 'and next, when the spectators say "start them off," 
 then do you also start yourself off,' sc. from the top of the l^wer. For 
 imperatival infinitive op. Nub. 850; Eq. 1039. 
 
 1. 134. 0pica 8t3co. This does not mean 'the two membranes, or 
 lobes, of the brain ' (Mitchell) ; but ' two brain-puddings ; ' Gpiov being 
 a sort of rissole or forcemeat, popular in Athens. Of course he means 
 'he should break his head and scatter his brains ; but he expresses this 
 by an allusion to a favourite dish — a much more likely phrase than a 
 technical and almost medical one. It is difficult to see why he empha- 
 sises 8vio. Perhaps to intensify the notion of utter and complete death ; 
 as in Lat. bis peril. 
 
 1. 137. Tbre, sc. when you went to fetch Cerberus. 
 
 1. 138. Trdvu. It seems better to take -naw as qualifying p-eyo-AT^v, 
 as rayy iravv Plut. 57 ; for the word a|3vcrcrov need "; no expletive. The 
 lake is the 'Ax^povaia \ifxvT]. 
 
 1. 139. TvvvovTcpC. Probably the hand is hollowed, to illustrate 
 jocosely the smallness of a boat 'only so big.' Cp. Ach. 367. 
 
 1. 140. 8v' o^okoi. Charon's minimum (and ordinary) fee was one 
 obol : but this may have varied with the inclination of the passengers. 
 Or Dionysus may be represented as taking a ' return-ticket ; ' his being a 
 special case. This is borne out by a passage in Apuleius (Met. 6. 18), 
 where the Turris bids Psyche to take a double fare; one to give to Charon 
 {avaro seni) on embarking, the other to pay on her return. Anyhow, 
 the particular sum is fixed upon to point the allusion to the dioj^fXia, 
 or daily allowance by the State of two obols to the poorer citizens 
 during the festivals, to pay for their admission to the theatre. Cp. (v 
 Toiv dvoTv olSoXoiv GecxjpeTv Demosth. 234. 33. The increase of this 
 allowance, and the extension of it to other entertainments; and, 
 generally, the diversion of every available portion of the revenue to the 
 Theoric fund, from which the grant was made, was an ' effective instru- 
 ment ' (ws \t.^yo. 8vvaa9ov) in the hands of Athenian demagogues. There 
 may be an allusion to the fxtaOos diKaariKus, or jury-man's fee ; and the 
 fjLiaOus hKKXrjaiaaTiKos, a compensation-fee to the citizen for his loss of 
 time in sitting in the eKKXTjaia, which seems to have been one obol 
 originally, and two later. Theseus, the typical Athenian hero and 
 founder of her popular institutions, is represented as having introduced 
 this peculiarly national fee into the lower world (0T)o-ei»s i]YciY€v). 
 
 1, 145. PcpfBopov, ' mud.' This Slough of Despond appears in Plato, 
 Phaed. 69 C 6s ai' aiivrjros nal dreXecrTos els"Aidov a.(piKr]Tai Iv Boppopat 
 Kciaerai. 
 
 1. 151, Mopo-Cjxov ()T\a-\.v. Morsimus, son of Philocles (Eq. 401 ; 
 
NOTES. LINES 132-169. 69 
 
 Pax 800), is ridiculed as a contemptible writer of Tragedy, To ' write 
 out' (€KYp<it<j)€o-Gai Av, 982) a speech from one of his plays is sufficient 
 crime to ensure punishment in the nether world. The absurd climax is 
 like the contrast between Nero and Orestes in Juvenal, Sat. 8. 217 foil, 
 'Sed nee | Electrae iugulo se polluit, aut Spartani | sanguine coniugii ; 
 nullis aconita propinquis | miscuit ; in scena nunquam cantavit Orestes ; | 
 Troica non scripsit,' 
 
 1. 153. irvppiXT] (sc. upxncns) is a war-dance in which the dancers 
 represented by their gestures and movements the various incidents of a 
 battle. Here the allusion is rather to the musical accompaniment than 
 to the dance itself. Ktviriorias, a dithyrambic poet, is a favourite butt of 
 Aristophanes for his impiety (inf. 365) ; and for his many bodily diseases 
 and miserable leanness (Av. 1372 foil.; see inf. 1437). 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 (quoted in 
 Athenaeus 12. 551 foil.) and Plato (Gorg, 501 foil.). 
 
 1. 155. IvGdSe, 'in this upper world.' 
 
 1. 157. dvSpwv yvva'.KGiv, asyndeton, as in Soph. Ant. 1079. 
 
 1. 159. ovos. The heavily-laden Xanthias, hearing of all these 
 delights, feels that he is indeed the *ass celebrating the mysteries:' 
 a proverbial phrase for one who has ' all the kicks, and none of the 
 halfpence.' P^or the Athenians, on their sacred procession to Eleusis, 
 would carry their necessary baggage on the back of an ass, whose share 
 in the festivity would thus be very unenviable. Sic vos non vobis. With 
 the phrase p,va-TY)pia aYciv (not to be taken as equivalent to <pip(iv) cp. 
 &(Gfj.o(pupia, Aiovvaia, kopr-qv, Qvaiav, aydv (Hdt. I. I47). Here Xanthias 
 flings his burden to the ground. These two lines are in by-play, and do 
 not interrupt the construction. 
 
 1. 164. X^^P^ is, properly, the salutation of greeting, and i»Yiai.v€ of 
 farewell : but X"'"/'^ ^^Y stand loosely for either. 
 
 1. 165. crt) St, sc. Xanthias, who complains of having to take up the 
 things again, ' before he has so much as set them down.' 
 
 1. 168. Tujv €K<})6pop.€vo)v, ' of thosc that are being carried out to 
 burial.' Here oo-tls follows rather than bs, because no person is as yet 
 referred to. But ocms cm tovt' tpxeTai. seems rather an unmeaning 
 phrase, and it is tempting to follow Meineke and omit the line, as a 
 needless gloss. If v/e retain it, we must render, ' who happens to be 
 coming for this purpose,' sc. enl rT)v e/ecpopdv. Or 4m tovt' may be the 
 intention of a journey to Hades, cp. Xen. Anab. 2. 5. 22 dAAd ti 5^ 
 Vfids e^ov dnokeaai ov/c lirt tovto ijXOopev ; Eur. Bacch. 967, when 
 Pentheus says km rob' 'epxoiJ.ai = ' that is my intention.' €7rt Ta{5r' = 
 ^ hither;' or km ravr' = ' to the same place,' have been conjectured, 
 
 I, 169, tot' ejx' ayeiv, ' in that case take me with. you.' This is better 
 
70 FROGS. 
 
 than to render, 'then [it will be] for me to take them;' for <f>(peiv, not 
 ayeiv, has been the regular word in use here for ' carrying.' The infin. 
 may be the exclamatory expression of a wish, as Z(v ndrfp, rj Aiavra 
 Xax^iv V TvSeos vtov II. 7. 179 ; or, more likely, there is some word like 
 €5o£€ to be supplied in the mind, as in the formal phraseology of laws, 
 treaties, etc. ; err] 8e civat rds anovScis irevTTjKovTa. Trans. ' then, 
 [resolved] that you do take me.' 
 
 I, 170. TOVTovi, 'yonder.' Meineke follows Hirschig's emendation 
 €K(p€povaiv ovroii. 
 
 1. 171. ovTOs. Dionysus hails the venpos, ' Ho there ! it is you that 
 I mean, you the dead man.' 
 
 1. 172. crK€vdpia, a coaxing diminutive, = ' a bit of baggage.' 
 
 1. 1 74, ■uTTaYcO', probably, as the Schol. says, 6 viKpos (prjai npos tovs^ 
 veKpocpopovs, 'move on upon your journey.' So vnaye Nub. 1298 ; Vesp. 
 290. Others consider the words to be addressed to Dionysus and 
 Xanthias, who were delaying the funeral procession, ' move out of my 
 way, you men !* for vTrayeiv (intrans.) generally has the force of ' moving 
 off,' and 'clearing the way.' So the Satyrs (Eur. Cycl. 53) cry to the 
 he-goat vnay', w viray w K^paara. But vjjlcis (notice he does not say acpw) 
 suggests that the words are addressed to a different set of persons from 
 those whom he has just been addressing. 
 
 1. 175. lay |vp.pw, 'to see if I can make any arrangement.' The 
 drachma contained six obols, so that the highest offer of Dionysus only 
 reaches i\ drachmae instead of the 2, which the dead man insists upon. 
 
 I. 177. dva|3ia)T)v. As a liviJig man might say, 'Strike me dead if 
 I accept it !' so a dead man may humorously be supposed to reverse the 
 anathema, and say, 'Let me rather come back again to life than that !' 
 
 1. 1 78. u)S o-6p,v6s, ' how loftily the scoundrel bears himself ! shan't 
 he suffer for this ! I will trudge along with you.' The dead man having 
 proved impracticable, Xanthias is as good as his word. 
 
 1. 180. woiT, irapaj3a\oii, 'avast there! bring the boat alongside!' 
 Charon, whose voice is heard, but whose boat is not yet in sight, seems 
 to have a rower on board ; unless we suppose him to be shouting to 
 himself. 
 
 1. 184. xo-ip' w Xdpuv. The line is said to be borrowed from a 
 Satyric drama called Aethon, by one Achaeus. Perhaps Dionysus^ 
 remembering the usual triple invocation to the dead {rph avaai Od. 
 9. 65) thought it was the proper form of address to the Ferryman of the 
 Dead. The Schol. proposes to assign one salutation to Dionysus, 
 Xanthias, and the dead man, respectively. The jingle in the line is, 
 of course, intentional, as in a popular English burlesque, ' O Medea, my 
 dear ! O my dear Medea ! ' 
 
 1. 185. dvairavXas. Charon, with the regular sing-song of a railway 
 
NOTES. LINES 170-194. 7 1 
 
 porter, runs over the list of the places at which he is prepared to disem- 
 bark passengers. 
 
 1. 186. "Ovov iroKds, a fanciful name, ' Woolasston,' thrown into 
 a plural like Qfj^ai, ^Adrjvai, etc. It seems to refer to the proverb ovov 
 Kfipeiv, expressing useless labour, analogous to our ' great cry and little 
 wool,' where, however, the reference is to the 'shearing' of the pig and 
 not the ass. Beigk's correction (followed by Meineke),''OKvov trXoKois, 
 seems more ingenious than probable. Ocnus is said to have been repre- 
 sented in a fresco of Polygnotus, as sitting and plaiting a rope of hay, 
 while an ass, standing near him, eats it as fast as he plaits it. Such 
 fruitless work as the ' plaiting of Ocnus' might be compared with the 
 punishment of Sisyphus and the Danaides. Cp. Horace's /ana caprina. 
 
 1. 187. KepPepiovs is a travesty of the Homeric YLifxyLdpiovi Od. 11. 13, 
 where the Schol. says that Kfpfiepiovs was read by Aristarchus and 
 Crates. KopaKas, = ' perdition,' comes in as a comical interruption 
 between geographical names. At TaCvapov, the S. promontory of 
 Laconia, there was supposed to be a subterranean communication with 
 the lower world : cp. ' Taenarias fauces, alta ostia Ditis ' Virg. Geor. 
 4. 467. 
 
 1. 18S. TTOv o-xT|cr€iv 8oK€is ; ' wherc do you mean to put to shore?' 
 cp. vefs iaxov ks ^riv ^Apyo\iSa X'^PW Hdt. 6. 92 ; rfj ArjKw tox^v Thuc. 
 3. 29. 
 
 1. 189. o-ov y' ovveKa, ' yes, as far as you are concerned!' Charon 
 is quite willing that Dionysus should go to — perdition. 
 
 1. 191. TTjv (sc. vavfiaxiav) irepl ruiv Kpewv. A life-d,nd-death struggle 
 is described in Vesp. 375 by the words toj/ Trepl ipvxv^ bp6p.ov Spafxeiv. 
 Analogous to this is the proverbial phrase 6 kayais riv irepl Kpeuw rpix^i, 
 i. e. 'a race for neck-or-nothing.' Thus the battle of Arginusae is called 
 here the ' life-struggle' for Athenian existence. But Charon is speaking 
 bitterly. He has a grievance respecting this battle, for the unburied 
 ' carcases' of the drowned sailors were so many fees lost to him : and he 
 seems to allude to this by the coarsest word which he can apply to 
 a dead body; using Kpeuv for oajfidroju, like the vulgar slang phrase — 
 ' cold meat.' This use of Kpewv further suggests that Aristophanes con- 
 sidered that the duty in which the generals failed after the battle of 
 Arginusae, was the picking up of floating corpses, rather than the rescue 
 of living seamen. This is the view of Diodorus as distinguished from 
 that of Xenophon. See Grote, vol. viii. 
 
 1. 192. 6<j)9aAp.icov. Ophthalmia was, probably, a favourite excuse of 
 Athenian malingerers, and was sometimes artificially produced for the 
 purpose. For o u -ydp aW see on sup. 58. 
 
 1. 194. Atiaivov. The Stone of Withering is intended to have an 
 uncanny sound, suggestive of dry bones and sapless dead. 
 
72 FROGS. 
 
 1. 196. T« gvv€TVxov €|ia)v; Xanthias says, to himself 'What 
 (unlucky thing) did I encounter as 1 left home?' Omens at the begin- 
 ning of a journey {kvuSioi avfxfioXot Aesch. P.V. 487) were supposed to 
 foretell whether it would be attended by good or bad luck : like the 
 parrae recineniis omen of Horace, or our common superstition about 
 magpies. But, perhaps, tw is masc. = 'whom?' alluding to the 'evil 
 eye.' 
 
 1. 197. et TLS €TL TrXei, " if any one else is going on board ;' a necessary 
 emendation for the MS. reading lin-nKii. The words of Charon, KaOi^' 
 €irl Kwirrjv. mean, 'sit at your oar,' for rowing. Dionysus chooses to 
 interpret them, ' sit on your oar' (/fa^i^e . . itn tov aKifxiroSa Nub. 254), 
 and proceeds to act accordingly. Perhaps 'sit to your oar' might 
 express the ambiguity. Then, when rebuked, he does indeed ' put forth 
 his hands and stretch them out,' but he sits motionless on the bench, 
 and makes no pretence of rowing. 
 
 1. 202. OTJ \ir\ 4)Xt)apTio-€ts ; Lit. ' will you not not-trifle?' i. e. 'don't 
 trifle,' as in Nub. 367; Vesp. 397; Eur. Hipp. 213 ; Suppl. 1066 ; Andr. 
 757. Goodwin, M. and T. § 89. 2 foil, speaks of it merely as a 'strong 
 prohibition,' meaning 'you shall not;' and does not arrive at it, as 
 explained above, by an interrogative force. For tx^^^ with the force of 
 'continuance' ('don't keep trifling ! '), see inf. 512; Nub. 131, etc. dvTipds, 
 • with firm planted foot,' sc. against the stretcher, or the bottom of the 
 boat. Cp. Eur. Bacch. 1126 TrK^vpaiaiv duTifidaa tov dvadaifxouos, Soph, 
 El. 575 fiiaaOns ttoWo. kulvtiBcls. 
 
 1. 204. dOaXaTTcoTos. Dionysus excuses his awkwardness on the 
 ground of his being 'a land-lubber, and no-Salaminian.' The natives of 
 Salamis were thorough-going sailors. There may also be an allusion to 
 the famous sea-fight at Salamis, and the word may be compared with 
 '^lapadojvoixaxai Ach. iSi ; Nub. 986. There may be a further allusion 
 to the decadence of the Athenian navy ; in which so many slaves 
 served. 
 
 1. 206. €p,l3dXT)«, probably x^^P^^ Kdj-nr) is to be understood ; and so 
 kfJi^dXXuv will be parallel to Lat. hictimbere 7'emis. So Od. 10. 129 
 kpL^aXUiv Kcunriai, and, as here, rt's k/jL^aXe? Eq. 602. The p-cXt] will 
 help him to keep time, like the measured chant of the KeXevarrjs, alluded 
 to inf. KaraKtXsve hr\, ' start the time then !' 
 
 1. 207. Parpax^^v kukvcov, asyndeton, as sup. 157. Bothe's conjecture 
 ^arpaxoKvKvwv, ' frog- swans,' seems a very likely emendation. We 
 may cp. such forms as limoKavdapos, i-mruKivTavpos, /cvvaXouTrt]^, OTpovOio- 
 KCLpiTiKos, and, inf. 929, ypvndiroi, 932 IvnaXiKTcop. This Chorus of 
 ' Frogs,' which gives its name to the play, is technically called -napaxopij- 
 yrj/xa, sc. 'the part of a by-chorus;' or, perhaps, ' a supplementary pro- 
 vision' by the Archon, who x^pov diSojai. The real Chorus in this play 
 
NOTES. LINES 1 96-227. 73 
 
 consists of Mvarai, the Frogs, probably, never appearing on the stage, 
 but only letting their song be heard ' behind the scenes,' as we say. 
 Similar TTapaxoprjyrj/^aTa are found in the Pax 114 ; Vesp. 248 ; Aesch. 
 Eum. 1032. 
 
 1. 215. a\L<^i, ' in honour of,' ' on the subject of.' This is the regular 
 opening of a dithyrambic hymn. The dithyrambic poets were nick- 
 named d/x(ptavaKT€s, because of the frequent commencement of their 
 hymns with the words diJ.(}H p.01 avOis dvaKra. See on Nub. 595, and cp. 
 the beginning of the (Homeric) Hymn to Dionysus (6. i)dp.tpl Aicjvvaov 
 . . /AUTjaoi-iai, and Eur. Troad. 511 dfx(pi pLoi''l\iov, Si ISlovaa, deicrov. 
 
 Nuo-Tiiov. It is impossible to localise Nysa, for, wherever the worship 
 of Dionysus was in vogue, a Mt. Nysa was sure to be found, whether in 
 Greece, Asia Minor, Ethiopia, or India. 
 
 1. 217. Ai|xvats. Thucydides (2. 15) speaks of to ^v A'lfivais Aiovvaov, 
 w rd dpxaiorepa Aiovvaia rrj SajdiKarr) TrGietrai kv fj.i]vl 'AvOeaTtjpcouui, and 
 Demosthenes (contr. Neaer. 1371) gives exactly the same account. This 
 ' primitive Dionysian festival ' is the Anthcsteria (not to be confounded 
 with the Lenaea, which was celebrated in the month Gamelion). The 
 mysteries connected with the celebration of the Anthesteria were held at 
 night in the ancient temple €v AifAvats, a low-lying part of Athens, 
 once a swamp, near 'the Ilissus. 
 
 Tjv laxTjo-afj-ev, ' which we pealed forth ; ' sc. when we were living frogs 
 in the upper world. For just as Orion (Od. 11. 572) reappears in Hades 
 still hunting the same beasts that he had hunted in life ; so there may be 
 supposed to be, as Kock says, ^arpaxaiv eUooKa KapLuuTajv in the lower 
 world, still following their old pursuits. 
 
 1. 219. x^Tpoto-i. XvTpoi was the name of the third division of the 
 festival of Anthesteria. The first day was called YliOotyia, the second 
 Xocs (Ach. 961 foil.), a .day of revelling and drunkenness, so that the 
 populace on the morning of the third day was well called 6 KpaiiraXo- 
 Kco|jLOs oxXos. On the day of the Xvrpot, pots of pulse were offered to 
 
 1. 220. €|x6v T€|xevos. The marshy ground of Aijj.vai belonged by a 
 sort of right to Frogs. 
 
 1 221. iyCi Se y'. The chant of the Frogs quickens, and forces 
 poor Dionysus to row a faster stroke. 'It's very good fun for j/ou,' he 
 says, 'but /am beginning' to get sore, Master Croakie ! though of course 
 j'Oii care nothing about that.' 
 
 1. 226. €|6\otcr9' auTcp Kod^, 'to blazes with you, croak and all!' 
 This use with avros is commoner with the plural ; but cp, avrw <pdpfi 
 Od. 8. 186; avTw yajpvToJ ib. 21. 54; avrrj Ao-y^i? Thesm. 826. 
 
 1, 227. ovStv ydp cctt' dW -q Kod^, ' for you are nothing else but 
 croak,' For ovdh d'AA' ij, i.e. nihil aliud ttisi, cp. Lysist. 427 ovhlv 
 
74 FROGS. 
 
 votSiv aX\' ^ Kanr}\aov aKoirwv. But it is difficult to decide when to 
 write a\\*[o] ^, and when dAX'[a] ^. Sometimes there is no doubt, as in 
 Xen. Anab. 4. 6. 1 1 dvdp€s ovSafirj cpavcpoi elaiv dXX' r\ Kara ravT-qv ttiv 
 oZov. Kriiger, § 69. 4. 6, suggests that ak\' ij should be written when 
 the efifect to be produced is to bring a fact into prominence ; and dw' ij 
 to point an exception. 
 
 1. 228. ciKOTtos y', S) iroXXd irpaTTcov, 'and well we may, you med- 
 dlesome fellow.' So TToWd vpoLTTOJV inf. 749- Cp. vo\vnpayiJ.oveiv. 
 
 1. 230. K6po|3dTas, variously interpreted as (i) 'God of the homy 
 hoof ,Worm'/>es ; cp. Tpayoirovs Simonid, 134; alynrodrj? h. Horn. 18. 2. 37; 
 or, (2) 'roving the mountain peaks:' cp. vif/iK^paTa irerpav Nub. 597. 
 The Schol. gives (2) ; but the former is doubtless right. 
 
 6 KaXan6<|)0oYYa (sc. AteA.77) -rraijcuv, ' who plays a lively strain on his 
 pipe;' cp. evonXia irai^eiv Pind. O. 1 3. 123. The Pan-pipe proper con- 
 sisted of a row of reeds of unequal height, Virg. Eel. 2. 32. 
 
 1. 232, ov viToXvpiov rpi^fj), 'which I cultivate at the water's edge 
 in the pools to support the strings of the lyre ;' or 'as backing for the 
 lyre.' The 86va^ seems to have been used to make the ^vyojpta in which 
 the KoWones were inserted; and the lower bar was properly called 
 tiiroXvpiov or ^0705. Here there seems to be a confusion between the 
 upper and lower bar. 
 
 1. 236, <|>Xt;KTaivas, 'blisters' on the hands from rowing. Cp. Vesp. 
 II 19 fJ-rjT€ KWTirjv piTjTe Xoyxfjv fx-Qre (pXvKraivav kafiwv. 
 
 1. 244. Kuireipov is generally identified with the marsh plant 'galin- 
 gale,' and <}>X€a)s may be the ' flowering rush.' 
 
 1. 245. iroXtJKoXvn|3oicriv jitXecro-iv (so Reisig, as the simplest 
 emendation for the unmetrical iroXvKoXviJL^oiai fxeXiaiv), ' in the music 
 of our strain, as we plunge and plunge again.' 
 
 1. 246. op-Ppov. Frogs are liveliest when rain is threatening: but the 
 joke lies in the frogs diving into the water to escape a wetting from the 
 rain ; and when there ' singing over the mazy dance of the pool in the 
 watery depths with splash and plash of many a bursting bubble.' 
 
 1. 251. TOVTi Trap' vp,uv \a\i^a.vio, ' there ! I'm getting this from you.' 
 Dionysus means he is taking a lesson from them, and emulating their 
 croak. But they understand 'getting' to mean 'robbing' you of your 
 croak; which explains Seivd rdpa ireLo-6p.€a0a, 'then it will go hard 
 with us.' ' But,' says Dionysus, ' it will go much harder with me if I 
 burst my lungs in rowing ' to the quick tune of your croaking. See on 
 sup. 206. 
 
 1. 259. oTTOcrov dv xavSdvT], ' to the full compass of our throat.' 
 
 1. 262, TovTcp "ydp. Dionysus outdoes the frogs in shouting his 
 /3/96«e«6«e£, declaring *ye shall not beat me at that:' till at last he 
 silences them. 
 
NOTES, LINES 228-297. 75 
 
 1. 266. Tw KoA|, 'with your own croak.' Others read Tov = 'till I 
 silence your croak.' 
 
 1. 268. cjieWov apa, 'I was pretty sure to stop you sooner or later.' 
 A regular phrase to express satisfaction at a successful effort, as Nub. 
 1 301 eixeWuv a' dpa Kivqaeiv cyuj. So Ach. 347 ; Vesp. 460. 
 
 1. 269. w Travc, 'avast rowing there! shove alongside with the pad- 
 dle, step out when you've paid your fare.' 
 
 1.271. Ti HavOias ; ' is Xanthias there ? ' or ^ sav9ia, ' Ho, Xanthias ! ' 
 He had gone round the lake (sup. 193) and was to await his master at 
 the Withering Stone. Dionysus is obliged to shout, as he cannot see 
 Xanthias in the darkness. 
 
 1. 275. eXcyev, sc. Heracles; sup. 145 foil. 
 
 1, 276. Kal vvvi y' opw. Dionysus looks slily at the spectators when 
 he says he * still has his eye on the reprobates.* This good humoured 
 abuse of the audience is a standing form of joke, cp. inf. 783 ; Nub. 1096 
 foil.; Vesp. 73 foil. 
 
 1. 278. TTpoievai. Xanthias suggests that it is 'best to move on,' as 
 they are just at the place which Heracles had described as infested with 
 monsters. ' He shall rue it,' cries Dionysus, ' he was exaggerating the 
 horrors to make me afraid, because he knew that I was a man of war, 
 and he was jealous of me.' 
 
 1. 282. -yavpov, 'conceited.' The line is parodied from the Philoc- 
 tetes of Euripides, where Odysseus is reproaching himself for his needless 
 braggadocio in encountering perils ; ov8ev yap ovtoj yavpov ojs dvTjp e(pv. 
 
 1. 284. ctliov Ti TT]s 660O. Dionysus would like to meet with some 
 adventure worthy of his heroic journey to Hades. 
 
 1. 285. Kal [XT)v, although regularly coming at the beginning of the 
 sentence, still keeps its force here of introducing something for the first 
 time ; so inf. 287. 
 
 1. 286. €^6incr06 vvv i0t. Dionysus betrays his innate cowardice at 
 the first alarm, and begs Xanthias to take the post of danger on each 
 occasion. 
 
 1. 291. ctt' auTTjv I'd), ' let me go after her!' 
 
 1. 293. "Ep-irovo-a, the name of a spectre belonging to the train of 
 Hecate, and haunting lonely spots at night. The Empusa seems to have 
 had something in common with the Ghoul and the Vampire ; but its 
 main peculiarity was the power of assuming different shapes, like 
 Proteus. So the mother of Aeschines is called 'Empusa' by Demo- 
 sthenes (18. 130), iK Tov TTCLVTa TTOifiv Kui wdax^'^^ /^"^ yiyv^oOai. 
 
 1. 295. PoXiTivov. Dionysus is reduced to such abject terror that he 
 accepts as so many new horrors the most ridiculous belongings that 
 Xanthias attributes to the Empusa. 
 
 1. 297. iepcv. The priest of Dionysus sat in a conspicuous place in 
 
7 6 FROGS. 
 
 the theatre; and Dionysus rushes across the stage to get his protection. 
 ' Save me, that I may sit with you at the wine party ; ' which was given 
 when the acting was over. 
 
 1. 298. OX) p.T| KaXeis. See on sup. 202. Dionysus fears to be ad- 
 dressed in his assumed character of Heracles, who was in ill repute with 
 the powers below : and the name of Dionysus was even worse, as sug- 
 gesting anything but a hero. 
 
 1, 301. 10' r\iTep cpx^i- It seems that these words must be addressed 
 by Xanthias to Dionysus, ' go on as you are going,' i. e. ' go straight on ' 
 without fear. So Lysist. 834 a; ttotvi' W dp6r]v rjvv^p epx^f^ ^W bbov. 
 Nor need we be surprised at the next words Sevpo, Seup', w Beo-iroTa, if 
 we suppose that Dionysus, too terrified to do as Xanthias tells him, 
 is preparing to run off in the opposite direction. 
 
 1. 303. w(nT€p 'HyeXoxos, sc. e\eye. Hegelochus, the protagonist in 
 the Orestes of Euripides, had to repeat the line €k KVfxaTOJv yap avOis av 
 yaXrju' (i. e. YaXijvd, • a calm ') 6pa>. But by some intonation of his voice, 
 probably by not carrying the sound of the v (after elision) on to the 6 
 in opui, he made it sound like yakijv (from yaXij, ' a weasel '). As though 
 he had meant to say, ' The storm is past : see there, how fair it grows !' 
 but made it sound like 'ferret.' Such a stor}^ is very suggestive of the 
 nicety of Greek pronunciation, and the sharp ears of an Athenian 
 audience. A play called * Loth ' was once being acted in Paris ; and an 
 actor declaimed the words // a vaincu Loth in such a way as to sound 
 like ' // a vingt culottes.' Instantly one of the audience shouted ' QuHl 
 en donne a Vauteiir P and the house was convulsed. 
 
 I. 307. a)xpi-<ia"'[a]. ' How pale I turned,' says Dionysus, 'when I 
 caught sight of her !' 'Yes,' retorts Xanthias, staring at the jolly red 
 face of the priest (sup. 297) 'and yonder priest showed his fear for you 
 with a crimson flush.' Probably there is an intentional ambiguity in the 
 vTr€p in composition with the verb, meaning not only ' he reddened on 
 your behalf,' but, 'he reddened even more than you were blanched.' 
 
 1. 311. alGcpa. See on sup. loo. Here Xanthias implies that Euri- 
 pides with his incongruous phraseology is the cause of all his master's 
 troubles. 
 
 1. 315. iTTTilavTes, 'crouching down,' so as not to be seen by the 
 Muo-rat. The whole scene is intended to represent the sacred rites of the 
 Eleusinia, and specially the proceedings on the sixth day of the festival 
 (20th of Boedromion) ; when the statue of lacchus was borne in the 
 midst of a torch-light procession along the Sacred Road from Athens to 
 Eleusis, Other references are made to certain details of the festival, as 
 e. g. to the customary badinage when the procession reached the bridge 
 over the Cephisus {y(:(pvpiafjt.6s, see inf. 416-430) ; and to the revelry 
 that was kept up through the night (iravvvxi^^^ inf. 371). Seeing that 
 
N0TE.7. LINES 298-340. 77 
 
 since the occupation of Deceleia the procession along the shore to Eleusis 
 had been discontinued, and the Mysteries conveyed by sea, this represent- 
 ation before an Athenian audience of their national religious festival 
 must have produced a profound effect. 
 
 1. 319. €<j)pa5€ vwv, sc. Heracles, sup. 154 foil. 
 
 1. 320. ovTrep AiaYopas. We know of a Diagoras, a native of Melos, 
 contemporary with Pindar and Simonides, who was a lyric poet and 
 wrote in honour of the Gods. There was also a Diagoras, a student of 
 the Atomistic Philosophy, who went by the name of 6 dOeos, and who 
 poured contempt upon the national Gods of Hellas. The question 
 remains unsolved, whether there were two personages of the same name, 
 or whether Diagoras in his later years abandoned and decried the faith 
 of his earlier life. Aristophanes appears to take him as the type of an 
 atheist ; at any rate in Nub. 830, where Socrates is slily identified with 
 him in the phrase :SajKpaTT]s 6 MrjXios. It is likely, then, that ovirep 
 Ata-yopas means 'whom Diagoras insults.' The joke consists in the 
 unexpected introduction of a name which must have been as far as 
 possible from everyone's thoughts. 
 
 1. 324. iro\iiTi|xois €v tSpais. As the under-world is a shadowy 
 reflection of the world above, we may suppose a reference to be made 
 here to the 'lavxefoi/ in the Cerameicus, though €v0dS€ really = Hades. 
 The 'richly-clustered myrtle wreath laden with berries' was officially 
 worn in the procession by the Priests and Mystae. 
 
 1. 327. Oiao-wxas, as in Eur. Bacch. 549. This chorus sounds like an 
 echo from the play of the Bacchae. 
 
 1. 334. Tifxdv. There is no need to alter this to -rroyi-nav, as Hamaker, 
 or t' ki.iav, as Bentley: Trans, 'keeping time with fearless foot to the 
 reckless sportive rite that hath the fullest share of festive joy, the sacred 
 dance kept holy for the hallowed Mystae.' Perhaps lepdv is only a gloss 
 upon oLYvdv, so that we may better read with Kock ar^vav ooiois fierci 
 jxixTTaiai xopeinv. Here TifAav means the act of worship, as paid to the 
 God, finding its nearer definition in the subsequent xopetav, which had 
 indeed been already suggested by the use of eYKaraKpoutov (cp. cyfcpovoju 
 inf. 374^- ^ 
 
 1. 338. irpocrtirvevae, impers., 'what a delicious whiff reached me of 
 roast pork !' This would be the flesh of the xo«joo' fivariKai (Ach. 764), 
 which were sacrificed during the festival. 
 
 1. 339. ovKovv dTp€^i' sfcts, 'won't you keep quiet, on the chance of 
 getting a bit of sausage ?' meaning, ' Do keep quiet, and you shall have a 
 bit.' Or, perhaps, ' Can't you keep quiet even if you do get a whiff 
 of sausage ?' But the former interpretation is more likely. 
 
 1. 340. eyeipe, ' Fan up the flame of the blazing torches ; for thou 
 hast come brandishing them in thy hands, O lacchus, morning-star of 
 
yS FROGS. 
 
 our midnight rite/ This, the reading of almost all the MSS., hails 
 lacchus as he joins his votaries torch in hand (<5 BaKx^vs §' ^x^^ irvpaojh-q 
 <p\6ya TT^vKas €k vapOrjKos diaaet Bacch. 145) and cries to him to fan the 
 flame by tossing the torch faster. Most modern editors omit ^dp tjk€i.s 
 (tjk€i in two MSS.), but without sufficient reason ; though no doubt 
 it simplifies the construction greatly, 
 
 1. 343. <j)X€Y€Tai, ' is all ablaze.' 
 
 1. 347- €TU)V . . tvtavTOvs. Cp. Od. I. 16 dW' ore 5-q eros ^A0e vepi- 
 TrXofievcov IviavTwv, where tros is the definite date, reached by sundry 
 revolutions of kviavToi = periods of twelve-months. ' The lengthy periods 
 of ancient years.' But the parallel is not close, as in Homer kviavTwv is 
 a gen. absol. Cp. Propert. i. if\l for?nosi temporis aetas. 
 
 1. 349. Ti|ias, as sup. 334, ' sacred service.' 
 
 1. 351. irpoPaS-qv, ' lead forth, O blessed one, with stately step to the 
 flowery marish-floor (so. AifjLvai) our youths to join the dance.' 
 
 1. 354. As Kock remarks, these anapaests are not pronounced by the 
 whole Chorus, but by the Leader, who represents the hierophant in the 
 sacred procession. The words v}X€is,etc. (inf. 370) are addressed by him 
 to the xop^''^"'- 
 
 l^icTTaaGai, ' withdraw himself from :' as Soph. Aj. 672 l^iaTarai Se 
 I'VKTos alavTJs hvkXos \ tt) XcvkottojXw ipiyyos ^ji^epa (pXey^iv. Cp. the 
 Lat. formula, ' prociil, proctil este, profanil! 
 
 1. 356. Mouo-wv reads like a surprise for MucttcDi/, and serves to show 
 that the sacred rites of Poetry rather than of Religion form the real 
 subject of the scene. 
 
 Join exopevaev (as well as €i56v) with opYta, the accusative being 
 analogous to such uses as 'OXvfnria viKav. 
 
 1. 357. Kparivov. To be ' initiated into the mysteries of the bull- 
 eating Cratinus ' is, similarly, a surprise for some phrase referring to the 
 'mysteries of Demeter.' The word TaupocfjaYos is obscure. It may 
 either be an epithet transferred to the votary from Dionysus himself, 
 who had a wild and savage side to his character : or it may be applied 
 to Cratinus in the sense of ' headstrong," 'reckless;' just as in Eq. 526 
 foil, he is described as a torrent sweeping the plain. Possibly the 
 ' eating of bulls ' may be supposed to have given a savage spirit, as the 
 eating of garlic (cp. Acham. 166) made the Odomanti warlike. Cp. 
 cjfjLOcpdyov x^pi-^ Bacch 1 39. 
 
 1- 358- ^ |3a)fjLoX6xots. ' or takes pleasure in scurrilous utterances, 
 when they play their part out of due season.' There is a time for all 
 things, even for scurrility : but there is no excuse for exhibiting it at the 
 wrong time. To€to iroioucrtv means ^a^uXoxov n einovaiv, as, perhaps, 
 sup. 168 km tovt' epx^rai, where see note. 
 
 ^- 359- ctAo-iv, not so much ' insurrection ' as ' party strife.' 
 
NOTES. LINES ^43-37^. 79 
 
 1. 361. apx<ov, ' captain over,' to harmonise with the naval metaphor 
 in x€'-F*^5oH-«vTls = ' storm-tossed.' 
 
 1. 362. Td-iroppTjT', 'things contraband of war;' like the ^ajufv^iara 
 Eq. 279 foil, Aegina, from its position in relation to Athens and the 
 Peloponnese, would serve as an entrepot for such illegal trade. We know 
 nothing more of ©copuKitov than that he was a ' scurvy 5 per cent, tax- 
 gatherer.' The eiKoo-TT) = ^\^, i. e. 5 per cent., was a tax on all imports 
 and exports, levied, subsequently to 413, by the Athenians on their 
 tributaries, instead of the ordinary ^opos Thuc. 7. 28. 
 
 1. 364. do-Kup,aTa (Ach. 97) seem to have been the leather linings to 
 rowlocks ; or else ' flaps ' or ' fenders ' of leather just below the oar-hole, 
 which tallies better with the passage in the Acharn., where the aa/ca;/xa 
 is compared to the Persian beard hanging over the chin. 
 
 'EiriBavpos. on the coast of Argolis, was just opposite to Aegina. 
 
 1. 366. 'EKdraia were small shrines and images of Hecate put up in 
 the streets, and at the cross-ways. The man who is said to have ' be- 
 fouled ' (KaxaTiXd) these is the Kiviqcrias of sup. 153; and what made 
 his impiety and hypocrisy grosser was that all the while he was writing 
 hymns to be ' sung in accompaniment ' (vnTaSeLv, * to accompany ') to the 
 cyclic choruses. KVKXioicrt refers especially to dithyrambic as distinct 
 from tragic choruses (TeTpd7cui'o:). 
 
 1. 367. priTcop aiv. The Schol. says that Agyrrhius (and Archinus, 
 but this is unlikely) ' pared away ' (diroTpuYciv) the stipend paid to 
 dramatic authors and actors (the Schol. says, kcv/jcvSoju). because he had 
 been ridiculed on the stage. It is not certain whether pTjTa^p wv means 
 merely * in the capacity of a public speaker ;' i. e. bringing forward some 
 motion to promote national economy : or whether we should render 
 ' though he was a public speaker,' and might have been expected to 
 support rather than to starve the poets. 
 
 1. 370. vp,€is, addressed by the Hierophant to the x'^P^'"'^'^'- 
 
 1. 371. Kal iravvvxiSas, if this, the MvS. reading, be retained, we 
 must take it with dvcyeipeTe, per zeugma, in the sense of ' keep up.' 
 Meineke's emendation Kara irawuxLSas makes it simpler. 
 
 1. 372. The slow beat of the spondaic measure introduces the stately 
 march of the Chorus. Such a processional hymn was calkd ■apoa6biov 
 Av. S54. 
 
 1. 374. eYKpovojv, see on sup. 330. The ' mockery ' and ' ribaldry ' 
 were distinctive features of the festival. 
 
 1. 377. Tipio-Ti^Tai {dpiaTCLOj) means, according to the Schol. apiarov 
 yeyevTjTai ttjs t eXerrjs — ^ we have broken our fast.' But the time of day, 
 accurately speaking, is nightfall, and the Mystae appear to have kept a 
 strict fast : so that many editors accept Meineke's conjecture, iiYio-Tevrai, 
 ' the purification has been fully done.' Brunck's emendation, ripicrTCVTai, 
 
8o FROGS. 
 
 is supposed to mean ' there has been enough of prowess in war ; ' now, 
 they want peace. But arrangements in Hades cannot be ruled by usages 
 in the upper woild; and the savour of pork that greeted the nostrils of 
 Xanthias suggests that there may have been a halt for light refresh- 
 ments, which might fairly be called dpiOTov, at any hour of the day or 
 night. 
 
 1. 378. fj^Pa, see on sup. 3^, ' step forward.' x^'"''^s dpets, ' and see 
 that you extol.' The long a shows tlaat the form must be referred not to 
 aipo} but aupoi, so that apw will be a contracted form of de/^cD. The 
 MSS. give alpeis, alpfh, and a'lprjs. 
 
 1. 380. Swxeipav. i. e. Persephone, called Kop-q "SiiTeipa on coins of 
 Cyzicus. 
 
 1. 381. es TCLS wpas = ' for all time to come,' as in Nub. 562. 
 
 1. 382. Join €T€pav v\i.viov iStav KeXaSeire, like KcXaSeTv vfxvov Pind. 
 Nem. 4. 26. Perhaps we might take tSeav as an adverbial accusative, 
 * by way of a different khid of hymn,' so as to leave ^aaiXnav as object 
 to KeXaSeiTc: but it is simpler to take it with €mKocr|jLo{)VT€S. 
 
 Kat p.6 . . iratcrai, 'and grant that I may sport.' For the infinitive used 
 in the expression of a wish see on sup. 169, and cp. Ach. 247 Si Aiovvae 
 diOTTOTa . . TTjvde TT]V TTQfXTTTfv €fji€ . . djayeiv TvxT}pu)s. Here the Chorus 
 let the truth slip out that they are not only a procession of Mystae, but 
 the actual Chorus of the play; so they very naturally express the wish 
 that they may 'win the day and be decked with the victor's ribbon' 
 (viKTio-avra TaiviovcrOai). Cp. Thuc. 4. 131 01 ^KLWvaToi tuv Bpaaidav 
 Srjixooia jx^v XP'^^V ^Tecpdvo) dvidrjcrav . . I5ia 8e €Taivtovv Kal irpoarjp- 
 XOVTO wairep dOX-qry. 
 
 1. 395. wpaiov. So Milton, ' Bacchus . . ever fair and ever young;' 
 Catull. 64. 251 'florens lacchus ;' Ov. Met. 4. 17 *tu puer aeternus, tu 
 formosissimus.' 
 
 1. 397. p,e\os, the reading of all the MSS. It can only mean that 
 lacchus ' chooses the music ;' lit. 'having discovered the sweetest song to 
 be sung at the feast.' Meineke's emendation reXos is very probable ; cp. 
 the Homeric phrases riXos eavdroio, ydfxoio, etc. ; and Aesch. Frag. 373 
 e(ppi^' epojTi Tovde pvariKov reXovs. 
 
 1. 401. av€u TTcvou, the weariness of the long way was beguiled by 
 the music and festivity. 
 
 1. 404. Kareo-xicra) (aor. med. 2 pers. Karaaxi^ai) p.€V. No doubt 
 there was plenty of rough play enjoyed, and personal liberties taken, 
 during the procession (ciKoXacrTOs, <j>i\oiTaiY[xcov Ti|xd sup. 331); ^"d thus 
 ragged garments and half-worn shoes were the fashion, so as to save 
 one's better clothes. ' It was thou that didst set the fashion of torn 
 sandal and ragged cloak that we might have our fun with cheapness ; 
 and thoxrdidst find means for our sporting and dancing without serious 
 
NOTES. LINES 378-439. 8r 
 
 loss.' As the next lines show, a girl joins in the procession with only a 
 smock, and this so much torn as to leave the bosom bare. For 
 icaT€o-xio"w |xev Kock ingeniously reads KaTaaxt(Tdfx€vos and f^fvpe?. 
 
 1. 414, <j)iXaK6Xov06s eijAi Kai, After these words the MSS. insert 
 fxer avTTfs, which is probably a gloss suggested by irai^etv, as though it 
 must mean sporting with the avutraKXTpla. These two lines are spoken 
 'aside,' for Dionysus and Xanthias (315) are concealing themselves as 
 the procession passes. 
 
 1. 416. poTj\eo-0e 8t|. Here follows an imitation of the regular 
 yfipvpicrixos sup. 316. 
 
 —17417. 'Apxe5T][xos (inf. 588) was a demagogue who began the pro- 
 secution of the generals after the battle of Arginusae by impeaching 
 Erasinides (see on inf. 1195V The point of attack against Archedemus 
 here is that he was enrolled among the cppdrcpfs by corrupt means, quite 
 late in life (being an alien, as the poet assumes) instead of in infancy, as 
 was usually the case. Cp* Av. 764 ct 5t 5ov\6s kcm koI Kdp ua-rrep 'E^TjKea- 
 TiSrjs, I (pvaaTcu irdTrnovs trap' "qfuv, kol (pavovvrai (ppdrfpfs. The metaphor 
 is from children cutting their second teeth, which they would naturally 
 do when sever^ years old. Cp. Solon, 25. 3 iraii p.\v dvq^os laiv en ptjttios 
 ipKos ohovrcx^v I 4>t)cras kfc^dWei vpurov Iv eTrr'' ereaiv. So ecfivcre here with 
 ((jparepas, put as a surprise for cppaaTrjpas (oSovras) = ' the teeth ^/la^ tell 
 the age,' Archedemus ' had been seven years at it, and yet had not got 
 a set — of clansmen.' 
 
 1. 420. €v Tots avoj v6Kpot(riv. From the point of view of the 
 dwellers in Hades, the upper world is the world of the dead ; the 
 lower, the world of life. The poet may be thinking of the Euripidean 
 paradox (quoted inf. 1477) r'ls 5' oiZev et to ^^f [xkv iari Ka-rBaveiv, to 
 KarOaueiv Se Cw ; But there may be an allusion to the circumstances 
 of the battle of Arginusae, with which Archedemus had concerned 
 himself. 
 
 1. 421. TO, irptora, 'the prime.' Cp. Eur. Med. 917 oTfiai yap vfids 
 TTJaSe yrjs KopivOias \ to, irpoJT 'iaeaOai. 
 
 1. 431. txon' dv ovv. Here Dionysus and Xanthias step forward and 
 accost the Chorus. 
 
 1. 437. aipoi' av, ' you may take up your load again.' 
 
 1. 439. Atos KopivGos. The Corinthians are said to have been never 
 tired of vaunting their descent from Zeus ; so that Aios KopivGo^, 
 ' Corinthus, son of Zeus,' became a synonym for any ' damnable itera- 
 tion ' (Find. Nem. 7. 104) ; such as Xanthias felt the repeated order to 
 be — to take up the bedding. Other allusions may lurk in the words ; 
 as, e, g. the Kopen (bugs) infesting the blankets (Nub. 709 €k <TKifirTo8os 
 SaKvovai /x 01 KopiuOioi) ; or, as Kock suggests, the trade-mark or stamp 
 on blankets of true Corinthian manufacture. 
 
 G 
 
82 FROGS, 
 
 1. 441. kvkXos, 'the enclosure,' called nepiPoXos, surrounding the 
 Tffxivos, dXaos, etc. 
 
 1. 451. KaXXtxopwTaTov. The epithet contains a reference to the 
 KaWixopov <ppiap, lying to the N. of Demeter's temple at Eleusis ; and 
 an emphasis is thrown on the second element in the compound adjective, 
 to justify the use of ^vvaYovcriv, properly used with x^P*^^' ^^ the sense 
 of ' weaving the dance.' 
 
 1. 457. 8iTiYop.€v, sc. when we were in the upper world. This 'hos- 
 pitality to strangers' was especially an Athenian characteristic, in marked 
 distinction to the Spartan ^evrjXaaia. The meaning of iSiwras is fixed 
 by the contrasted ^ivovs as = ' citizens.' 
 
 1. 461. Dionysus wants to know the particular fashion of knocking 
 at doors current among the inhabitants of the lower world (ovirixwp'-oi,). 
 
 1. 462. ov \Lr\ 5iaTptv|/6is, 'don't delay' (see on sup. 202), 'but do 
 have a try at the door.' So kfirrvpoov kyevofirjv Soph. Ant. 1005. 
 
 1. 463. o-XTJixa Kal X-qp-a, a verbal jingle ; ' lowing both fashion and 
 passion ' or ' fire and attire ' in the style of Heracles. 
 
 1. 466. 5) p.iap€. With the passionate repetition cp. Hamlet, Act 1. 
 so. V, ' O villain, villain, smiling, damned villain ! ' 
 
 1. 468. dirfilas (dvaiaao}), ' didst rush forth throttling him, and didst 
 sneak off and get clear away with him in thy grasp, the dog, I mean, 
 which I had to look after. But now thou art caught round the 
 waist.' 
 
 €X€cr0ai p,ccros is a regular phrase of wrestling, as in Nub. 1047 evOvi 
 fdp a' e'x'i' pL^aov \ Xa^uv dcpvKTov. The verbs and participles are 
 crowded together to express the furious energy of Aeacus' accusation. 
 
 1. 470. jjieXavoKdpSios. The ' solid black rock ' of Styx is transfer- 
 red to the lower world from the scenery of the Arcadian Nonacris, where 
 the waters of the Styx fall from a gloomy rock into a black basin below. 
 
 1.472. irepiSpofioi. The ' prowling hounds ' are the Furies ; called, 
 Soph. El. 13S8 p-erddpopLOt . . -navovpyijudTaju dcpvKroi Kvvfs. 
 
 1.475. jjLijpaiva, 'lamprey;' a voracious fish, one of the Ix^ves 
 wpLrjaTai II. 24. 82. The fxvpaiva of the markets was esteemed dainty 
 food : but the jxvpaiva of the poets was a venomous beast, a hybrid 
 between the lamprey and the viper. Cp. Aesch. Choeph. 994 jxvpaivd 
 y eiT ex^^v' e(pv. The epithet TapTTjaCa has a terrible sound, from 
 its resemblance to Tdpra^os. But it veils a jest ; for the Tartesian 
 lamprey was esteemed a great delicacy. Similarly the FopYOves are 
 put in a ridiculous light by being connected with Tithras, a deme of 
 the Alyr)h (pvXrj. So a Londoner might speak of ' Harpies of Black- 
 wall.' 
 
 1. 478. €4>' as, • to fetch whom (sup. 69) I will rush with racing 
 speed.' The fun of the whole passage lies in its exaggeration of tragic 
 
NOTES. LINES 441-515. 83 
 
 declamation. We may compare it with Apollo's menacing dismissal of 
 the Furies. (Aesch. Eum. 1 79 foil.) 
 
 1. 480. ouK dvoo-TTio-€i. Dionysus has slipped to the ground in an 
 agony of terror, and cries 'I'm fainting' (wpaKiw). He asks to have a 
 sponge of cold water applied to his heart to relieve the palpitation. 
 But as his terror has given him an uneasy feeling in the bowels, he 
 involuntarily claps the sponge low down on the belly. Notice the 
 Homeric form otcre, an aor. imperat. s. v. oioj {(pepoj). 
 
 1. 494. \T]|jLaTias, 'you are in plucky mood.' Aristophanes is fond 
 of the desiderative verbs in -aoj, as ai^vWidv Eq. 61 ; fxaOrjndv Nub. 
 183; KXavaidv Plut. 1099; GKorodividv Ach. 1 219. Add rondv from 
 Soph. Aj. 582 ; Oavardv Plat. Phaed. 64 B ; aTpaTrjyLdv Xen. Anab. 7. 1. 
 A v. 1. in the Schol. is Kfj^arias, a noun of the same form as (ppovqixaTias 
 (Xen. Ages. i. 24), KonnaTias, etc. If this be read, the word would be 
 parallel to dvSpelos. 
 
 1. 498. avr' (sc. avrd), the ponaXov and Xdovrrj. For ov yap dXXd 
 see on sup. 58. 
 
 1. 501. otiK MeXiTTjs. Heracles had a temple in. the Attic deme 
 Melite ; in allusion to which his title would be 6 iv MiX'nig 'HpaKXrjs. 
 But by way of preparation for a joke against Callias (alluded to in 
 a passage omitted from our text, 11. 428 foil.), who belonged to the 
 same deme of Melite, he alters 6 Iv McA/tt?, the proper designation 
 of a localised god or hero, to 6 €k MeX'iTTjs, the ordinary phrase to 
 express the birth-place or dwelling-place of a man. He finishes his 
 joke with the crushing word [xao-riYtas, ' gaol-bird.' Callias, spoken of 
 as the 'evil genius' of his family {dXir-qpLOs), was a worthless spend- 
 thrift and debauchee, vain and empty headed. 
 
 1.505. r\\\i€ {eipco), 'set boiling two or three pots of porridge of 
 split-peas.' KarepiKxa {Karepeifcoj) properly means 'bruised' or 'crushed.' 
 Heracles seems to have cared as much for the quantity as the quality of 
 his food, 
 
 1. 508. KaWio-r', liratvw, ' no, thank you ; I am much obliged.' 
 KaXws (inf. 512, 888), is the regular word to express 'declined with 
 thanks;' like the use of benigne in Latin (Hor. Ep. i. 7. 16, 62). 
 The diphthong ou makes a synizesis with the final w of 'AiroXXo), So 
 Trepidvj/OjxdTreXOovT' (irepLuipofxai.) is a crasis. Trans. ' I v^^ill not suffer 
 you to go ; ' lit. ' I will not look coolly on at your departure.' Cp. 
 inf. 1476 ; Nub. 124 d\\' ov irfpioiperai pC 6 Oilos 'M.€yaK\i7]s dvivrtov. 
 
 1. 510, dvePpaxTCv, sc. fj Qios. 
 
 1. 511. Kwvov, i. e. Koi olvov, as KwKiav {real o'lKiav) Thesm. 349. 
 
 1. 512, €X"v, see on sup, 202, cp. inf. 524. 
 
 1. 515. €T€pai, 'besides;' following the common idiomatic use of 
 dWos. 
 
 G 2 
 
84 FROGS. 
 
 1, 518. d^jaipeiv, ' to pull off the spit,' or ' take away from the fire.' 
 Cp. Ach. 1 1 19 (TV 8' d<pe\d.v 8fvpo r-qv xophrjv (pepf. 
 
 1. 519. irpu)Ti(7Ta, 'first and foremost.' Xanthias forgets his hostess 
 and everything else, at the first mention of opxTjcrrpidis. 
 
 1. 520. avTos. A word of dignity and position. So the fJLaOrjTrjs 
 describes Socrates as avros (Nub. 21 9"), reminding us of the dictum 
 of the Pythagoreans, avros 'e<pa. Here Xanthias is posing as 'the 
 master,' ' the gentleman,' while Dionysus is hailed as 6 irais. Cp. the 
 Lat. use of z/>se, to denote the master of the house, or the emperor. 
 
 1. 522. ov ri TTOv cnTovbr\v iroiet, 'you don't mean that you look 
 upon it as earnest, do you?' So (526) ou 8t| ttov Siavoct. 
 
 1. 523. €V€crK€ijacra, 'I dressed you up as.' The word used when 
 Dicaeopolis dresses himself up as Telephus, in Acham. 384. 
 
 1. 527, ov To-x' aW -qSir), ' it isn't a case of by and by, I am setting 
 about it already.' 
 
 1. 528. |jiapTtipop,at. 'I protest against this.' Like Lat. antestari, 
 the word properly means 'to summon witnesses to one's side.' So 
 in Nub. 1222, when Ameinias protests against the use of the whip. 
 Here eiriTpeirw means ' I entrust my case to ; ' as eniTpeTreiv diKaaTrj 
 Thuc. 4. 83. 
 
 1. 529. iroiois 06OIS. This is not a question for information, asking 
 'to what gods will you entrust it?' which would require rots iroiois, 
 but it means 'what sort of gods will you find for your purpose — 
 none!' The force really is 'gods — forsooth!' 
 
 1.531. 'AXKp,TivTis, i.e. 'the son of Alcmena,' sc. Heracles. The 
 order of the words in the sentence is ovk dvotjTov Se Kal kcvov [tcrri] 
 irpoo-SoKTjcrat o-e ws, etc. 
 
 1-532. 'X' O'^t', sc. the dress of Heracles. dixe'Xei, Ka\«s, 'very well, 
 it's all right,' 
 
 1- 533- irpos dv8p6s, ' characteristic of a man ; ' as trpbs iarpov ao<pov 
 Soph. Aj, 581. 
 
 1- 535- irepiirXevKOTOs. A sort of Odysseus, who has 'roamed about 
 the world.' But the word is used with special reference to the following 
 metaphor, fxeraKvXivBeLv . . Totxov, ' to shift oneself towards the com- 
 fortable side of the ship ;' sc. to the one which is well out of the water, 
 in the storm. It is a proverb with a similar meaning to 'feathering 
 one's own nest.' The Schol. quotes from the Alcmena of Euripides, 
 ov yap TTOT* eiojv "XdiV^Kov €iS tov eiiTVXV \ X^P^^"'^'^ rolxov t^j biKrjs 
 o' diroaTepeTv. 
 
 1- 53^- yiypa]i\iivr\v lo-rdvai. The words contain a hint of the 
 stiffness and want of life in Greek pictures. We may say ' to stand 
 like a graven image,' as a description of helpless immoveability. But 
 the feeling is more like the vulgar phrase, ' standing like a stuck pig.' 
 
NOTES. LINES 5 1 8-57 1. 85 
 
 1. 540. Theramenes, the typical political 'trimmer,' whose way was 
 always to take 'the comfortable berth,' had the nickname of KoOopvos, 
 or 'loose boot,' which fitted either foot equally well (Xen. Hell. 2. 3. 31). 
 
 1. 552. KttKov TJKeL Tivi, 'there's trouble brewing for some one.' 
 Xanthias means that on Dionysus will be visited the late escapades of 
 Heracles in the TravSoKeiov. 
 
 1. 554. dvT]fjLio)PoXiaia, the reading of the Rav. MS. etc; some other 
 MSS. give dvT]fiiaj0o\iiJ.aia. Most modern edd. adopt dv' rj/xiajPoKiaTa 
 as divided by Kuster. But it is difficult to see how the distributive 
 force of dvd could be expressed with an adj. signifying ' worth half 
 an obol ; ' unless we supply npea, and render ' in. bits worth half an 
 obol each ; ' i. e. ' bit by bit.' It is better to adopt the MS. reading 
 and to take dvT]jJiia)|3o\iaia as a word formed directly from the phrase 
 
 1. 557. Ko96pvovs (sup. 46). The woman suspects that the loose- 
 boot is a disguise ; as it is out of keeping with the regular club and 
 lion-skin of Heracles. 
 
 1.559. TolXav, 'my poor girl!* The masc. gender applied to a 
 woman, as in Thesm. 1038; Lysist. 102; Eccl. 124. But, perhaps, it 
 is neut. = ' poor thing ! ' 
 
 1. 560. aviTois Tois TaXdpois, 'baskets and all' (sup. 226). ttK€ktoI 
 rdXapoL, wicker baskets or strainers, are part of the rustic furniture of 
 the Cyclops, Od. 9. 247. 
 
 1. 562. €j3X6i|/6 8pL|xij. This is the sharp, menacing look, described 
 as 'a mustard-glance,' €(3X€Jpe vdirv Eq. 631. 
 
 1. 564. ovTOS 6 Tpoiros, sc. of eating and not paying. 
 
 1. 565. p,atv€o-0ai, SoKwv, ' pretending to be mad.' For this use 
 of boKuv cp. Eur. Med. 67 rjKovad tov \eyovTos ov doKu>v kKvuv, 
 Alcman. 76 opeojv fxev ov8ev SoKcaiv Se. 
 
 1. 566. KaTtjXivj;, a word of doubtful etymology, is something in 
 the way of a ' dais ; ' or, perhaps, an ' upper story ' including the ladder 
 leading thereto. 
 
 1, 567. c^a^as -yc (diaaw). The participle describes the style of 
 cc x6t', ' he went off with a quick rush, taking away with him the mats 
 (that lay on the floor).' 
 
 1. 568. Ixpriv, ' it's high time.' Like Lat. te7npus erat. 
 
 1.569. TOV TTpoardTTiv. Cleon (d. 422) and Hyperbolus (d. 411) 
 are represented as resuming in the lower world the duties and habits 
 of demagogues ; following the Homeric account of Minos, who Q^iiia- 
 T€V€i vfKveacri (Od. ii. 569), as he did in life for the living. The 
 ■navSoKfvTpiai belonged to the grade of fieroiitoi, and so required the 
 services of a patron, 
 
 1. 571. 4)dpv7^, 'glutton,' 'gormandizer.' Like Lat. j^i(/a. 
 
85 FROGS. 
 
 1. 574. pdpaOpov, a deep gulf in the deme of KeipidSai, behind 
 the Acropolis, into which criminals were thrown (Nub. 1449; Eq. 1363). 
 There was a similar gulf at Sparta called Kaiddas (Thuc. i. 134), used 
 for a similar purpose. 
 
 1. 576. KaTto-iracras, 'didst bolt.' So avros S' (Keivov ToiirKdcriov 
 KaT€(TiraKas Eq. 718 ; cp. Pax 970. 
 
 1. 577. €irt, see on sup. 69. 
 
 1. 578. €K-Trir]vi€iTat, 'will wind out;' 'worm out.' For the meta- 
 phor cp. ToXvneveiv and kKToXvneveiv. irpoo-KaXovjievos, the technical 
 word of ' citing ' any one to appear in court. So v^peas vpoaKaXaaOai 
 Vesp. 1 41 7. 
 
 1. 580. Tov vovv, ' the meaning' of this wheedling address. 
 
 1. 581. fJLtlSailWS, SC. TOVTO eiTTTjS. 
 
 1. 584. avTO, sc. TO OvfiovcrOai. Cp. tovto sup. 358. 
 
 1. 588. 'Apx€8ir]p,os. The mention of the 'purblind' Archedemus 
 (sup. 417)5 as a sharer in the curse, comes in as a surprise, merely to 
 raise a laugh by the unexpected bathos. 
 
 1. 589. KaiTt TovTois \ap,pdvci), ' and on these terms I assume the 
 character.' Cp. aroX-qv \afx(3dv€iv inf. 
 
 1. 592. €^ apX'HS irdXiv, There is uncertainty about the punctuation. 
 Fritzsche joins c^ apxfis irdXiv {rurstis denno) and takes the words with 
 6L\ir)<})as. Or we may couple them with dvaved^eiv, ' to renew your 
 youth once more.' Or a comma may be placed after 1^ apx-^s, which 
 will go with 6tX€S, leaving irdXiv to dvaved^eiv. This seems simplest. 
 
 irpos TO o-opapov, ' to vehement action. ' This reading is restored 
 by Meineke from the Schol. to Rav. MS. There is a lacuna in the 
 MSS. after dvavedjeiv. 
 
 1. 594. TO Seivov, ' that terrible glance.' Sup. 499. 
 
 1. 595. KaKpaXets fi |xaX0aK6v, ' shalt let drop any expression of 
 cowardice.' Cp. Od. 4. 403 ; Hdt. 6. 69, which show that h/cPaKeiv 
 iiTos is a regular phrase for letting some word escape you that would 
 have been better left unsaid. 
 
 1. 599. "nv xpTio-Tov r\ Ti, ' if any good chance turn up.' tovto refers 
 back to xP'70'Toi' ti. 
 
 1. 601. 6v 018' oTi has passed so completely into an idiomatic phrase 
 that it is used, although otl has been already introduced into the 
 construction. So, sometimes, SrjXovuTi. 
 
 1. 603. dv5p€iov TO Xfjixa, ' gallant in my spirit,' 
 
 1.604. opiyavov, ' marjoram;' a pungent herb. See on sup. 562, and 
 cp. Ach. 254 0keiTovaa OvfiPpocpdyov. 
 
 1. 605. 0€iv 8' €oiK€v, 'it looks as if there was need for it;' sc. for a 
 spirit of gallantry. 
 
 1. 606. \|;6<J>ov. The house-door, in Greek usage, opened outwards ; 
 
NOTES, LINES 574-630. 87 
 
 so that it was customary for any one coming out, to knock or rattle 
 at the door (tpocpcTv as distinguished from kotttciv and Kpoiiav) ; lest any 
 passer by might be struck unawares. 
 
 dvvexov. The number shows that Aeacus is, at first, accompanied 
 by two slaves. Afterwards three others, whose names are probably 
 Scythian, with allusion to the To^orai at Athens, come forward. 
 
 1. 610. Tiiirreiv tovtovC. The sense seems to require that tovtovi 
 should be the subject to Tvimw. Dionysus asks, ' Now I isn't it a 
 shame that this fellow should deal blows ' (for Xanthias was showing 
 fight most courageously), 'when he actually (irpos, lit. 'besides') is a 
 purloiner of what doesn't belong to him?' Not ashamed of being a 
 dog-stealer, he is playing the bully as well. Aeacus answers, ' Don't 
 s,2iy a shame, but something quite monstrous!' (see sup. 103). * Yes,' 
 says Dionysus, ' quite brutal and shameful.' Editors assign differently 
 11. 611, 612, to Dionysus, Aeacus, or Xanthias. It seems simplest to 
 give them only to Aeacus and Dionysus ; and to consider that the 
 latter is doing his best to make matters unpleasant for Xanthias. 
 Others, accepting tovtovi as the object of rvrmw, take the words 
 of Dionysus as a sort of ironical apology for Xanthias, which ' pro- 
 vokes the caper that it seems to chide.' 'Isn't it hard to beat the 
 poor fellow, who after all is only stealing what doesn't belong to 
 him?' The last clause, with its mock emphasis upon irpos rdWoTpia 
 (as if it was possible to steal anything but what belonged to some one 
 else !), has the effect of exasperating the angry feeling against Xanthias. 
 
 1.615. irpayn-a "yewatov, 'a very handsome offer.' By this Trpoo-zfAT^o-is- 
 Is 0daavov Xanthias cleverly turns the tables on Dionysus. 
 
 1. 618. Iv KXijxaKi 8T|<ras, 'making a spread-eagle of him.' The 
 KXTfxa^, like our ' triangles,' was used for tying up the culprit, for the 
 purpose of flogging. 
 
 1. 621. ttXCvOovs €iriTt0ets. This loading of the chest is the par- 
 ticular form of the ' peine forte et dure,' practised in feudal limes. 
 
 irpdao). It appears that masters who offered their slaves for 
 torture, could claim exceptions, so as to bar such extreme punishments 
 as might make the slave permanently unserviceable. Here Xanthias 
 bars nothing except whips of tender green leek, which would not hurt 
 at all. Nor will he claim the regular compensation (jdp^vpiov), if his 
 slave be damaged. 
 
 1. 625. oijTco, i. e. ' on these free terms.' 
 
 1.^26. avrov p,€v ovv. The answer to the suggestion in dnayaycuv. 
 ' Nay ! let us have it here on the spot.' 
 
 1. 628. Tivt, i.e. ' to anyone whom it may concern.' 
 
 1. 630. aiTidi {ahiaov), ' blame yourself.' You will only have your- 
 self to thank for it, after this warning. 
 
88 FROGS, 
 
 1. 632. 4>T|p.' €Yw, * I answer Yes' = of course I heard, 
 1. 638. irpoTifJiTio-avTd Tt, 'caring aught about it.' So elprjvT] S' ottojs \ 
 iarai -npoTL^Sja ovdev Acharn. 27; ov irpoTifJiwu eOvaev avrov iraida 
 Agam. 1 41 5. 
 
 1. 643. TrXT)"YT|v irapd irXiiY^v, supply irXrj^as, 'hitting each man blow 
 for blow.' For irapd in the sense of ' parallel,' ' corresponding ' cp. 
 ^fMp Trap' ffixipav. 
 
 1, 644. 180V, ' there you are ! ' Xanthias is all stripped and ready. 
 ■uTTOKivTicravTa, 'wincing;' used intransitively, as in Hdt. 5. 106 
 ovdiixia TTuXis vn€Kiv7]a€. Then follows a blow ; and then a pause, that 
 ought to have been filled up with a cry of pain. But Xanthias re- 
 mains silent and unconcerned, so that Aeacus has to assure them that 
 he has already dealt the blow. 'Nay, I don't fancy you have,' says 
 Xanthias. Then Aeacus crosses over to Dionysus, and informs him 
 that he is about to strike him ; and the blow descends. But Dionysus 
 takes no notice of it, and asks ' when the announcement is coming off.' 
 
 1. 647. ovK en-Tapov, ' that I did not sneeze.' As one might do if 
 tickled with a feather or a straw. Cp. ttjv plva Kvrjaas iirrape Plat. 
 Symp. 185 E. 
 
 1. 648. ovKovv dviJ(T€is Ti, ' do look sharp about it !' Lit. 'Will you 
 not use some despatch?' So says Xanthias, pretending that he has 
 not felt the second blow ; or, rather, that it has not been dealt. 
 But, in spite of his nonchalance, a sudden cry of pain or vexation, 
 * tut,' ' tut,' (oLTTarai) is forced from him, which he cleverly construes 
 into an expression of annoyance that the festival in honour of Heracles 
 (whose character he has assumed) is not taking place at its due time. 
 Diomeia was an Attic deme, where there was a Heracleum. Many 
 of the national and local festivals had fallen into disuse during the war. 
 1. 653. loti lov, ' Hollo ! Hollo !' This cry can express equally well 
 joyful surprise (Nub. 11 70; Eq. 1096; Aesch. Ag. 25) or pain (Soph. 
 O. T. 107 1, etc.). Dionysus avails himself of the ambiguity, and inter- 
 prets his cry as one of delight at seeing a cavalcade of knights ride by. 
 But he has also to explain away the tears now running down his cheeks, 
 which he does by declaring that he smells onions. 
 
 1. 654. Ti S-f^Ta KXdeis ; Aeacus rejects this explanation ; and says, 
 sneeringly, ' O yes ! /or of course (lirci) you don't care about the 
 flogging!' 'No,' answers Dionysus, 'it's no matter to me.' Kock 
 quotes Plato, Gorg. 474 B €70) Se dvOpanroji' ovdeva oifxai to ddi/ceiv rod 
 ddiKciaOai KOLKLOV ^yeiadai. eirei ai) di^aio hv fxdWov dSineiaOai rj 
 dSmeiv ; 
 
 1. 657. TT|v oLKavOav. He pretends that a thorn has stuck in his 
 flesh ; and he asks Aeacus to pull it out. Quite puzzled, Aeacus cries 
 impatiently, ' What's the meaning of all this ? ' (ti to irpdyp-a tovti ;) 
 
NOTES. LINES 632-678. 89 
 
 1. 659. "AttoXXov . , OS. He cleverly converts an appeal to 'AnuWa/v 
 dirorponaios into a quotation which he was ' trying to recall.' The 
 Schol. states that the quotation is from the iambographer Ananias and 
 not from Hipponax, and suggests that Dionysus is made to misquote in 
 his flurry. 
 
 1.661. dvep,i(xvir]a-K6jjL-r)v. The force of the tense, 'was trying to 
 recall,' is an excuse for the hesitation after the word "AttoWov. 
 
 1. 662. o-uBev TToieis, 'Yes, you are producing no effect: do dust his 
 sides for him.' ' No, certainly I am producing no effect ' (p,d tov AC, 
 sc. ovdev TTOLw). But now we will make a change and shift the blows 
 from back to front. 
 
 1. 664. n6cr€L5ov . . OS AiYaiov irpuivas. This, the reading of the 
 MSS., has no grammatical construction, imless we supply exets from 
 the former quotation (sup. 659). Scaliger suggested irpojvvs, which 
 many editors follow. The whole line is adapted from the Laocoon 
 of Sophocles, quoted by the Schol. There seems no reason to suspect 
 the passage, because it interrupts the metre, seeing that it is wrung 
 from a man in pain. But Kock would save the trimeter by retaining 
 only dXos €v PtvGeo-iv after r\\yr\a-€v ns, considering that the rest has 
 crept into the text from a marginal gloss. Anyhow, we should expect 
 d\ds €v PevOeaiv to precede the clause bs Alyaiov . . fiiScis. 
 
 1. 671. •y'^wcreTat. Cp. Od. 5. 79 ov yap t' dyvcuTes 6eol d\Kr]\OLai 
 ireXovTat | dOdvaroi, ov5' ('l tis diroTrpoOi Sdj/xaTa va'tei. 
 
 1. 677. a-o^iai, ' learned professions,' 'embodiments of wisdom,' as re- 
 presented in the Athenian audience. This with a touch of irony. Cp. 
 <jo<piai (xlv aliTiivai Find. Olymp. 9. 107. 
 
 1. 678. 4*iXoTi|Ji6T€pat, 'with more honourable ambition than Cleo- 
 phon. ' This man succeeded Hyperbolus, who had been banished from the 
 city, in his character of a turbulent demagogue. He was persistent in his 
 opposition to the oligarchical party ; and bitterly resisted all efforts for 
 bringing the war to an end. Three times he prevented a peace being 
 made with Sparta, after the battles of Cyzicus (410) ; Arginusae (406) ; 
 and Aegospotami (405) ; respectively. His fighting propensities are 
 alluded to sup. 359 and in the concluding lines of the play. But the 
 favourite point of attack against him (as in the present passage) was his 
 Thracian origin (so inf. 1533 irarplois Iv dpovpais). 
 
 44)' ov 8t| x^iXecriv, ' on whose lips of mongrel speech ' (dpLcpiXaKos, 
 not as L. and S, * garrulous,' but bilingtiis, alluding to the mixture 
 of Thracian dialect with Attic. Cp. dpKpiKecpaXos. dfj.(pil3ios, dfxtpidrjKTos), 
 ' raves horribly a Thracian swallow, perching on her barbarian leaf. ' 
 Commentators endeavour to reduce these words to reasonable sense, by 
 such alterations as vnofiapfiapov . . KeXabov, or otti ^ap^apov rjSo/j.ivp 
 mTvXov. But, before accepting any of these, we should ask whether 
 
^O FROGS. 
 
 such grotesque words as 8€ivov cirtppe^eTai, used of a swallow, do not 
 at once prove that the fun of the passage depends on the very incon- 
 gruousness of the language. The swallow from Thrace, the scene of 
 Procne's transformation, is the type of barbarous, unintelligible speech. 
 So Aesch. Ag. 1059 x^^'Soj/o? S/kt^i/, | dyvwra (pcovrjv fidpPapov KeKTrjix^vrj. 
 Cp. Hdt. 2. 57 la'j Se k^apPdpi^e opviBos rponov eSoKCi a<pi (pOiyyeaOcu. 
 The Swallow here borrows the ' lamentable ditty ' of the Nightingale, 
 because Procne and Philomela were sisters. 
 
 1.684. pv^ct, 'snarls;' another ridiculous word like €iri|3p€fi,6Tat 
 sup. The ordinary MSS. rendering is K^Xadei, of the Rav. KcXapv^ei, 
 which suggests pvC^i, Meineke's reading. Fritzsche reads rpvCei, 
 ' murmurs.' 
 
 1. 685. (Ls diroXeiTat. The burden of his song is ' that he will be 
 ruined, even though the votes (supply iprjcpoi) come out equal.' It was 
 usual for a man on his trial to have the ' benefit of the doubt,' if the 
 votes for acquittal and condemnation balanced (Aesch. Eum. 741 viKa 5* 
 ^Op€(XTT]s KOLV laoxprjipos KpiOrj). But Cleophon was so sure of a con- 
 viction, that he felt certain an exception would be made to his 
 disadvantage. Evidently some important trial was hanging over him. 
 
 1. 688. e^wrwcrat, ' to put on the same footing.' The word may refer 
 to the political Ictottjs, which had been violated during the later years 
 of the war. But it also means, generally, 'to give all an equal chance;' 
 to remove the prejudice felt against the supporters of the 400, and in 
 a word ' to close the reign of terror.* 
 
 1. 689. K61 Tis r\\jLapr€, ' and if anyone happened to go wrong, tripped 
 up by the manoeuvres of Phry^nichus, I say that a chance ought to be 
 given to those who made a slip at that time, of effacing their former 
 wrong doing, by making declaration of the cause (of their error).' 
 
 irdXaLo-fia was properly a wrestler's ' dodge ' for flooring his adver- 
 sary ; the metaphor being kept up in oXictGotjo-iv. 
 
 For €KY6V€(r0ai with the force of f^eivai cp. Pax 346 el yap knyevoiT 
 ideiv ravTTjv fj.i ttotc ttjv -Qfiepav. 
 
 Phrynichus was an Athenian general, one of the bitterest opponents 
 of Alcibiades. There were mutual recriminations between them. (Thuc. 
 8. 68). In conjunction with Antiphon, Peisander, and Theramenes, he 
 took part in the revolution that brought about the establishment of the 
 400 ; and he must thereby have involved many citizens in danger. 
 
 1. 693. (iCav, sc. vavfiax'iav, i.e. at Arginusae. UXaTaids (i.e. IlXa- 
 raiias from nXaTaevs). In their preparations for the battle of Arginusae 
 the Athenians kifTjcpiaavTo fio-qOelv vavalv kKarbv Kai dcKa ia^i^d^ovTes 
 rovs Iv TjXiKia ovras airavras, dovXovs Kal kXevOepovs Xen. Hell. i. 6. 24. 
 These slaves were granted the same rights as had been accorded to the 
 Plataeans, a restricted right of citizenship, which ^Arnold (on Thuc. 
 
NOTES. LINES 684-707. 9 1 
 
 3, 55) compares with the Jus Caeritum at Rome. Perhaps this grant 
 dates from the battle of Marathon : but, at any rate, after the destruc- 
 tion of their town by the Thebans (427 B.C.) the Plataeans became 
 'A67]vaiaiv ^vfifxaxoi Kal iroXlrai. 
 
 1. 696. voOv €XovTa, ' the only sensible thing you ever did.' Cp 
 Nub. 587 (paal 'yap SvaPovXiav \ T7J8e ttj ir6\(i Ttpoanvai. "With vovv 
 lyovra, cp. the adverb vovvtxovrojs. 
 
 1. 697. irpos 84, 'to be separated from tovtois, which is governed by 
 Trapetvat {Trapir)fx.i), 'and, besides, to those men who, like their fathers 
 before them, have many a time fought at your side at sea, and are your 
 kinsmen by blood, it is but right that you should remit this one 
 mischance, when they ask you.' 
 
 The construction that began (sup. 693) Kal yctp alcrxpov iorrt tovs 
 \ikv €ivai is not resumed after the two parenthetical lines. For airov- 
 (icvois Rav. reads airovfiivov^, sc. vfxds. as if meaning ' that you when 
 requested;' so atVey^ci/oj Theocr. 14.63. 5vp,<|)opdv is a euphemism 
 for oLTifxlav, the consequence of the dfinpTia, A common use in the 
 Orators ; like calamitas in Lat. The allusion is to the 400 and their 
 partisans. 
 
 1. 700. TT]s opYTJs dv€VT6S, 'bating somewhat of your wrath.' So 
 Eur. Med. 456 av 5' ovk dvirjs ficopias. By calling the Athenians ' most 
 wise by nature,' he implies that their acts of public folly are due to the 
 perversions of demagogues. 
 
 1. 702. Travxas dvQpwirous, limited of course to those in Athens. 
 ' Let us be ready to treat as kinsmen and enfranchised citizens all our 
 fellow men — that is, anyone who fights in our fleet.' oo-ns dv ^tjwav- 
 jjiaxxi corrects and limits the wide word irdvTas. 
 
 1. 703. €l Be ravx' dY»ccu(r6|x6o-0a. The translation must depend on 
 the punctuation adopted, and this again on our decision whether it be 
 necessary that Kal ravTa should stand the first words in a clause. 
 Putting the comma at iroKiv, we must join dwocrf p,vvvou|jie0a ttjv ttoXiv, and 
 take €XovT6s intransitively, as i^uv Kara xoupav inf. 793, ' if we shall give 
 ourselves grand airs about our city, especially at a time when we lie in the 
 trough of the sea.' (So Brunck.) But, as the verse here quoted from 
 Archilochus (Schol. assigns it to Aeschylus) runs i/^vxcis €Xovt(s kvhcltwv 
 iv dyKaXais, it is almost certain that we must join tt\v iroXiv (t\ovriS, 
 'especially at a time when we have got our city in the clasp of the 
 waves' (cp. Trfrpala dy/idXi] Aesch. P. V. 1019). The position of koI 
 raiJTa in this arrangement may be justified by Plat. Rep. 341 C kntxei- 
 p-qaas vvv yovv avKOcpavTuv, oiiSev uiv Kal ravra. 
 
 1. 706. 61 8' tyw dpOos. The verse is partly borrowed from the 
 Phoenix or the Caeneus of Ion of Chios. 
 
 1. 707. TToXvv, agreeing with xpovov inf. 714. 
 
92 FROGS, 
 
 1. 708. KXeiyevTjs 6 |jiiKp6s. All that is known about him is given 
 or implied in this passage. There is an ironical magnificence about the 
 words ' as many as be masters of ash-mixed lye of adulterate soda and 
 earth of Cimolus.' Ahpov or virpov is a native carbonate of soda, found 
 largely in Egypt. Cleigenes in making his bath-soap had adulterated 
 this alkali. Cimolus, one of the Cyclades, produced a sort of soap-stone 
 or fullers' -earth. The gap between iroXw and xpovov must be intended 
 to keep up a lively speculation in the mind as to what was to happen 
 to Cleigenes. 
 
 1. 714. i8u)v 8€ TciS', 'and having noticed all this' (sc. his own 
 unpopularity and the probability of exile) 'he is no man of peace.' 
 This is intentionally ambiguous, meaning (i) that he is an opponent of 
 any conditions of peace with Sparta ; and (2) that he is a quarrelsome 
 citizen, and so he always walks with a cudgel in his hand, for fear he may 
 be set upon as he comes reeling home, and be stripped of his clothes. 
 
 1. 718. Tovs KaXoTJs Kal Totis KaKovs. The sense seems to make this 
 correction of Velsen's imperative. The MSS. give rovs KaXovs tc 
 KayaOovs, which fails to give any antithesis between the good and bad 
 coinage. One MS. gives kukovs instead of KaXovs, which Meineke 
 adopts : but, as two classes are described, we should want tovs KaKovs 
 Kal Tovs dyaOovs. The comparison is double. The good and generous 
 citizen is discarded, like the good old Attic coinage or pure silver : and 
 the worthless citizen, like the base new mintage, has come into general 
 use. For the comparison see Acharn. 517 foil. The Kaivov xpvcriov is 
 said to refer to gold coins made in the preceding year by the archon 
 Antigenes — not only an innovation on the old Attic silver currency, but 
 themselves of base metal. These coins (see Lenormant, La Monnaie, 
 i. 226) were probably not alloyed, hut plated, gold without, and copper 
 within; so that, inf. 725, they are broadly called x^-'^'^ta' Trans. 'It 
 has often seemed to us that our state has behaved just in the same way 
 with respect to the honourable and the base among our citizens, as it 
 has with respect to the ancient currency and the new gold mintage ; 
 for on the one hand (oijtc -yap answered by twv itoXitwv 0' inf. 727) 
 we make no use of these coins which have not a trace of adulter- 
 ation, but are the finest, as it would seem, of all coins, and the 
 only ones properly struck, and tested for genuine among Greeks and 
 barbarians all over the world — but instead thereof we use those vile 
 copper-bits, struck only the other day with the very worst stamp.' 
 
 1. 721. ToiJTOicriv ov(Tiv. Meineke reads rovToiai roiaiv to avoid the 
 collision of two participles, and to make a better parallel to tovtois 
 Tots irovTjpots inf. 
 
 1. 723. opGus Koireto-t refers to the accuracy of the impression, 
 and K€Kojda}vi(r/xhois to the true ' ring' that attests the genuineness of the 
 
NOTES, LINES 708-749. 93 
 
 metal. This would be peculiarly applicable to the spurious coins made 
 of a centre of base metal, and coated over with gold or silver (Hdt. 
 
 3- 56). 
 
 TravraxoO. Xenophon (Vect. 3) notices that, as a general rule, 
 coinage did not have its value beyond the country to which it belonged : 
 but that the Athenians found it to their advantage to export their silver 
 coin, orrov yap av vojXcuaiv avro vauTaxov ttKhov rov dpxaiov Xayi^a.- 
 vovcriv. 
 
 1. 730. x'^^'^oi^s, transferred from coins to men ; by the same process, 
 but not in the same sense as our ' brazen.' Here it means ' debased.' 
 Cp. Plut. Mor. 65 A ipevdrjs Kal voOos Kal vttoxo-Xkos cpi\os. 
 
 TTuppiais, 'redheads:' properly used of Thracian slaves, but here 
 the allusion may be to copper alloy, reddening the pure yellow of the 
 gold. 
 
 1- 733- <j>app.aKoio-iv {cpapnaKos), 'scape-goats,' as in Eq. 1405. The 
 Athenians are said to have selected each year one male and one female 
 convict, to be put to death as an atonement for the whole city. The 
 use of the word is like that of KaOapfxa. 
 
 1. 735. KaTopGwcracTL ycip, ' for if you succeed it will be creditable to 
 you ; and if you do fail, you will seem in the judgment of the wise to 
 suffer death — if suffer you must — on a gibbet, that is at least a decent 
 one.' Cp. the Lat, proverb, ve/ strangiilari pulcro de ligno iuvat. 
 Hdt. 5. m VTTo d^ioxp^o} Kal diroOaviTv •fjjj.ia^a avpKpoprj. 
 
 Aeacus now returns to the stage accompanied by Xanthias. They 
 soon make it plain to the audience that Pluto has recognised the real 
 Dionysus. 
 
 1. 742. TO 8e |XT] irara^at cr', ' but to think that he didn't beat you, 
 when you had been plainly convicted !' Xanthias, emboldened by his 
 master's absence, answers, ' Well, he would have suffered for it, if he 
 had !' ' There now,' says Aeacus, ' you have just done that slaves' trick, 
 which I delight in doing:' viz. abusing his master behind his back. 
 
 1. 745. x^^^P^i-S- 'Do you take pleasure in it, prithee?' 'Nay' 
 (p,d\\', sup, 103), 'I seem to be in the seventh heaven.' Lit., 'to have 
 the full revelation,' to have the privileges of an iiroTTrt]?, who was 
 admitted to the enjoyment of the highest secrets of the Mysteries. 
 
 1. 747. Ti Be TOvOopv^cov (sc. SoKiTs from Sokw), ' and how do you 
 feel when muttering?' TOvOopti^eiv, used in Ach. 683 of the mumbling 
 or indistinct utterance of old age, is applied here to the muttered 
 remarks of a grumbling slave, who dares not speak openly. 
 
 1. 749. Tt 5€ TToXXd irpdrTcov ; ' and how do you feel when you play 
 the busy-body (sup. 228) ? ' ' Good heavens, I know no pleasure like it.' 
 ws p.d Ai' . . . eyco is generally taken as a shortened expression for 
 ovTftJs ws ovdev dWo oJda xat/aw, which harmonises with the established 
 
94 FROGS. 
 
 Latin version, Adeo hercle, ut nihil sciam duicius. It is simpler to 
 detach oiS' ty" from the construction altogether, and treat it as merely 
 an asseverative addition at the end of the clause, as ofS otl Nub. 1175. 
 Cp. Eur. Med, 947 5a;p' a KaWiaTeverai | raiv vvv kv avOpij-noiaiv, 018' 
 cyw, TToKv. 'Nothing like it, I'm quite sure!' Reiske would write 
 dXX'[o] for o?5[a]. 
 
 1. 750. ofio-yvie. He appeals to the ' Zeus of Close Brotherhood,' in 
 amaze at the identity of feeling between himself and Aeacus. 
 
 irapaKoiJcav, * eaves- dropping ;' cp. 6 Se jxoi, iravovpyos ojv, -nap' 
 avTUJV TOVTOJV avTci ravra TrapaK-qKoei" ov yap tariv dWcuv TOiavTrj 
 Co<f>ia Tuiv vvv dvOpcunojv Plat. Euthyd. 300 D. 
 
 1. 751. jiaXXd (103 sup.) irXetv (15 sup.) ij jjiaivo|xat, 'Nay, I'm 
 more than crazy with delight.' 
 
 1. 756. ofjtojiacTTLYta-s. Xanthias warms to his work ; and having 
 invoked the God of Brotherhood to witness his cordial agreement with 
 another disloyal slave, he now claims Zeus as their ' pal,' or ' fellow in 
 knavery.' * Verbero verberonem obsecrat per Jovem converberonem, ut 
 frater fratrem oraret per Jovem ofiSyviov, sodalis sodalem per eratpeiov.' 
 Bergler. 
 
 1. 759. irpayjJLa irpaYp-a. As Kock remarks, the repetition of Trpayp-a 
 and \i.iya, is quite in the Euripidean style. Cp. inf. 1353 foil. The 
 distribution of the lines between Aeacus and Xanthias is very differently 
 given by different editors. 
 
 1. 761. €K ToO ; 'from what cause?' sc. KeKivrjrai. 
 
 1. 762. diro Tuv T6XVUV. For (xtto with the force of irepi cp. Hdt. 4. 
 54 ravTa filv rd dnd Tovrecuv tojv iroTafxcbv, II. 22. 126 dno dpvos . . bapi- 
 ^eficvcu. 
 
 1. 764. Among the rewards granted in Athens to those who had 
 conferred public service on the State were (i) front seats in the theatre 
 and at the games (wpoedpia), and (2) a free meal at the public table in 
 the Pr}'taneum (<riTT]o-is ev irpuraveiw or crtVia Eq. 709). Both these 
 privileges are represented as having their counterparts in the lower 
 world ; the npoedpia corresponding to the Gpovov toO IXXovtcovos «Stjs. 
 For l|T|s = l77yJ cp. Eur. I. A. 627 k^rjs KaOrjcjo devpo {xov ttoSos. 
 
 1. 766. 6WS d(|)tKoi,To, see on sup. 24. So eSet, 
 
 1. 771. 0T6 8t|, this is the common reading, for which it would be 
 better to write ore 5e, an adversative particle being required. The con- 
 struction goes on iminterruptedly, Aeacus taking no notice of Xanthias' 
 question. 
 
 lireiSeCKvvTO, ' he began to make a display :' with special reference 
 to the rhetorical ImSct^ts, or ' show-off speech.' 
 
 1. 774. otrep, i. e. uytrep, attracted into the case and gender of 
 ttXtiGos. 
 
NOTES. LINES 750-790. 95 
 
 I. 775. ctVTiXoYiwv, 'disputations;' alluding to the sophistical argu- 
 ments for and against any thesis, in which Euripides delighted. Cp. 
 the dispute in the 'Clouds' between the AiKaios and "ASt/cos \uyos as 
 a parody on the same. 
 
 XvYto-fjiot and o-Tpo<|>ai, 'twists and twirls,' are special names for 
 'dodges' in wrestling. Cp. vdoas ^Iv orpocpas arp^ipeaBai, vdaas 8e 
 5i€^6dovs Sif^fKBuv OTpa(pfji/ai \vyi(6fx.€vos, uot€ fir) Sovvai diKTjv Plat, 
 Rep. 405 C ; ovK epyov ear ovdev crrpocpouv Arist. Plut. 1154. 
 
 1.778. KouK tp^WcTo ; 'and didn't he get pelted?' So when 
 Aeschines took to play-acting (Dem. de Cor. 314) he was pelted by the 
 spectators with various missiles, irXdco Xafx^duwv dnb tovtoju Tpavfxara rj 
 Twv dydivQJV 0V9 vfieis nepl ipvxv^ rjycuvi^eaOe. 
 
 1. 779. dvePoa Kpio-iv iroieiv. For this construction cp. Xen. Hell. 
 4. 3. 22 \ey€Tai dpa ris dvaPoijaai vapuvai tovs vpwrovs, 'shouted out 
 that the foremost should pass on.' 
 
 1, 781. 6 Twv -rravovpYcov ; sc. hfipi.os. With oiipdviov oo-ov, sc. dv(^6a 
 ('they sent up their shout sky-high'), cp. OavpLaarbv oaov and Lat. hn- 
 niane qtiantum. 
 
 1. 783. oXiYov TO xpiio"t6v, 'good folks are in the minority, just as 
 is the case here.' 
 
 evOctSe is interpreted by a wave of the hand to signify the audience 
 in the theatre, who had a similar compliment paid them in Nub. 1096 
 AA. Koi TWV OeuTcuv ovorfpoi irXeiovs <tk6tt€i. AI. koi S17 cr/cono). AA. ti 
 5j]9' opas; AI. iroXv irXeioyas, vrj Toiis Oeovs, Toiis evpvwpojKTOvs. 
 
 1. 786. irus ov, 'how comes it that Sophocles did not put in a 
 claim too?' 
 
 1. 790. KaKcivos virextop-qo-cv. This line is puzzling. The easiest solution 
 is to follow Dobree's suggestion in assigning it to Xanthias, and making 
 it interrogative. 'What ! did /le make room for him on the seat?' or 
 'give up the seat to him ?' If, however, it forms part of Aeacus' speech, 
 we must (in spite of Kock's positive assertion) refer KaKctvos to Aeschylus 
 and not to Sophocles. It may be taken as a paratactic clause, giving 
 the reason why Sophocles was near enough to kiss Aeschylus and clasp 
 his hand — ' for Aeschylus had made room for him on the seat ' — which, 
 however, he did not intend to occupy yei ; but for the present he meant 
 (as Cleidemides said) to sit as combatant in reserve. Possibly we 
 might read vnexti^pTjcr^ dv, referring to Aeschylus ; the proper pro- 
 tasis being replaced by vvvl 5' epLtW^v. If, according to one ac- 
 count given by the Schol., Cleidemides was a principal actor in 
 the plays of Sophocles, and, perhaps, his ' literary executor,' we may 
 imagine that the poet, with his characteristic modesty, had not made 
 his present intention public, but had merely confided it to Cleidemides' 
 ear. The punctuation of Meineke, vvvl 5' eneWev, ws e^ij, KKddrjfjiiSrjs 
 
96 FROGS. 
 
 m 
 
 ^(pedpos KadihuaOai — which he translates ' nunc autem, ut dicebat, tan- 
 quam alter Cleidemides, tertiarius sedere volebat' — may be all right, 
 but it gives no known meaning. The e4)6Spos sat by while one pair 
 of combatants was engaged, ready to match himself against the winner. 
 
 1. 793. €^€tv Kara x^po-v, ' he will remain as he was.' Kara x<J^P^v 
 fikviiv is the regular phrase for remaining in the ' status quo ante' 
 Thuc. I. 28; 2. 58; 4. 14, 26; 7. 49; dXA.' ovhX TO ^Xinii avTO Kara 
 Xojpav €Xft Arist. Plut. 367. 
 
 1. 794. irpos 7' EtipiTTiB-riv, ' adversus Euripidem quidem, non 
 Aeschylum* 
 
 1, 795. TO XP'^P-' «p' eo-xai ; ' will the affair come off then V So 
 Eccl. 148 /cat 7ap TO xPVf^' epya^erai. 
 
 1. 796. KctvTavOa, ' and in this very spot' (sc. before Pluto'§ palace) 
 ' the terrible quarrel will be broached.' So kivhv iroXefjLov Plat. Rep. 
 566 E. 
 
 1. 798. p,6ia7coYT|(rovcri, 'will they bring tragedy to the meat-scale?' 
 On the third day of the Apaturia, when the children of Athenian 
 parents were enrolled in their phratries, a lamb, of a certain definite 
 weight, was sacrificed for each child so enrolled. This lamb was called 
 officially KovpeTov, and colloquially jxeiov, because the members of the 
 phratries pretended to express dissatisfaction at its size, and to cry out 
 fxeiov, fxeiov, 'too small!' 
 
 1. 799. Kavovas, ' straight-edges ;' i. e. long slips of wood or metal 
 for testing surfaces. 
 
 irfixets, ' two-foot rules.' 
 
 1. 800. irXato-ia gvp,in]KTd, 'oblong frames,' or 'framed-up squares.' 
 The epithet ^vjjLinjKTd shows that the irXaiaia are not mere squares of 
 wood, but frames of four sides, like a brickmaker's mould — as Xanthias' 
 question proves, 'What! will they be making bricks?' Or TrXiv6ev€iv 
 may be used as in Thucydides (4. 67), for 'building;' and irXaiaiov 
 might be the ' hod ' for mortar. Cp. Nub. 11 26. 
 
 ir\iv0€V)crovcri ydp ; as an interruption on the part of Xanthias, is 
 the reading of Kock (followed by Meineke). The MSS. give re and ye 
 and continue the line to Aeacus. 
 
 1. 801. 8ia[i€Tpovs. The Schol. gives us the choice of taking this 
 either as ' compasses' or ' plummet.' It is hard to see how it can mean 
 either. Aid/zcTpos is properly the diagonal of the parallelogram, which 
 suggests that the word is here used for what workmen call 'mitre- 
 squares,' for testing the inclination of angles of various degrees. We 
 have then in the different articles a complete apparatus for registering 
 the weight, the correctness (6p0OTT|s), the due length and the proper 
 parallelism of verses. Lastly, wedges (cr4>Tives) are supplied for splitting 
 up the vast compound words and phrases. 
 
NOTES. LINES 793-8 14. 97 
 
 I. 802. Kar' CTTOS, probably 'verse by verse,' rather than 'word by 
 word.' 
 
 1. 804. €|3\€x|;e yovv, ' he gave at any rate a savage glance, lowering 
 his head.' The metaphor is from an angry bull, about to attack. Cp. 
 Eur. Hel. 1557 ravpos . . k^c^pvxaT ofx/x avaarpetpoov kvkXcv, | Kvprwv t€ 
 vSna Kds Kipas iTap(fjL^\iTrojv. Cp. Tavpr]8dv dva^Xiipas, used of Socrates. 
 
 1. 806. edpicTKeTTiv, sc. Aeschylus and Euripides. 
 
 1. 809. ovre ^dp 'A0T]vaCoi<n. The interruption of Xanthias in the 
 next line does not break the flow of the passage, which runs on thus : 
 ' For Aeschylus was not on good terms with the Athenians ; and all the 
 rest of the world ' (Td'X\a = Toi's dWovs, as, probably, Xrjpui eari rdWa 
 rrpbs KiVTjcriav Lysist. 860 ; crnodos 8e TuXXa, n€piic\eT]s, KuSpos, Kiixcvv 
 Alex. 25. 12) 'he considered mere trumpery on the question of knowledge 
 about poetical qualifications.' This fact made the k plats so difficult, 
 that the decision must be left to some other umpire. For this view of 
 the relations between the Athenians and Aeschylus in his lifetime cp. 
 Athenaeus 8. 347 cpiX6ao(pos Se rjv rojv irdvv 6 Alax^^^s, os icat ■^tttj6(Is 
 dSiKOJs TTore (cprj XP^^V "^^^ rpaywSias dvariOevai, dScbs on KOfxiHTai ttji/ 
 npocrrjKOvcrav Tifirjv. 
 
 1, 811. €Tr€Tp6v|;av, ' committed the decision.' 
 
 1. 813. eairovSdKwo-i (<Tvov5d^oj, perf. subjunct.), * when they have 
 set to work in earnest.' Their impatient eagerness, as the slaves know 
 to their cost, makes them exacting. 
 
 1. 814, T] TTOv. The Chorus that introduces the contest between the 
 two rival poets is intended to hit off their respective characteristics. 
 The dactylic hexameter and the Homeric phraseology with which the 
 song opens suit well as an echo of the style of Aeschylus, who called 
 his poetry refxaxi] pi(yd\ojv Seiirvajv 'Ofirjpov. On one side is arrayed all 
 that is grand, heroic, pompous, gigantic, and crushing ; on the other, 
 everything that suggests subtlety, finesse, fluency, and smartness. It is 
 the battle of the club against the rapier. ' The Lord of crashing thunder 
 will feel his wrath burn within him, as he flings his glance across, while 
 his adversary is whetting his sharp tusk for a wordy war.' The reading 
 irapiSt] is found in one MS., the rest have irep i'877. It is needless to seek 
 a defence for the gen. avTiT^xvov, as constructed with irapiZri, for it is 
 better taken as gen. absolute. In the compound b^vXdXov the emphatic 
 element is o^vs, the other part of the epithet is only generally applicable 
 to the circumstances, because they deal with a ' strife of tongues.' So 
 we have Sevdpeov vipiireTijXov Od. 4. 458 = a 'lofty' tree; the other 
 element belonging generically to all trees ; eKaro/xvoSes 'NrjpTjides Soph. 
 O. C. 718, the ' hundred Nereids' — including a thought of their dancing-; 
 itvKvoifTtpoi dr]Z6vis ib. 1 7, 'many nightingales,' which, as birds, are 
 winged. 
 
 H 
 
98 FROGS. 
 
 I. 818. €o-Tat 8', 'and there will be helm -glancing frays of words 
 with horsehair crest ; and raspings of splinters, and planishings of fine 
 workmanship, while the fellow defends himself against the high-prancing 
 utterances of the poet of true genius.' The description of the Euripi- 
 dean style begins with o-KivSaXdfjiwv. It is hard to settle the meaning 
 of irapa^ovia. If it is etymologically connected with d^ojv, it might 
 mean 'linch-pins' {d^uvcui' kurjkara Eur. Hipp. 1235), an intentionally 
 ridiculous combination with o-Kiv8aXdfjicdv. Liddell and Scott render 
 ' rapid whirlings.' Kock refers the latter half of the word not to d^ouv, 
 but to £ecu and ^oavov, and so renders ' scrapings,' or ' raspings.' Any- 
 how, the contrast is intended between the grandiose style of Aeschylus 
 and the quips and cranks and refinements of Euripides. 
 
 1. 820. <j>pevoT€KTa)v seems to describe a poet who draws upon the 
 resources of his own genius, instead of importing foreign matter and 
 adventitious aids into his compositions. 
 
 1. 821. iTriTo|3dp,ova, as crrpaTov 'Apifiaairbv ImToffafiova Aesch. P. V. 
 805. . 
 
 1. 822. 4>pi^as. With the simile of the wild boar the thought 
 reverts to Aeschylus; cp. Od. 19. 446 fxeyas avs (ppi^as eu Xocpirjv. He 
 is represented as ' bristling up the shaggy mane of a crest of home- 
 grown hair.' XacriatJX'nv is used in the Homeric hymns as an epithet 
 of the bull and the bear, and in Soph. Ant. 350 of the horse. Here it 
 is applied directly to Xo-itt]. In avroKOfjiov a ridiculous contrast is 
 once more made between the originality of Aeschylus and the false 
 adornments of Euripides. 
 
 1. 823. eirio-Kviviov. So in II, 17. 136 irdv Se t' kmaKvviov koltoj 
 tXK^Tat oace KaKvTTTOiv, said of a lion scowling in wrath. 
 
 1.824. pTiiAttTa 7ojji,4>oira-yfj, 'he will utter bolt-fastened phrj^ses, 
 ripping them off like planks from ships with monstrous blast.' The 
 picture is confused, but it seems generally to mean that he will hurl 
 forth his ponderous phrases, like some furious squall that tears ship- 
 timbers from their fastenings, and scatters them piecemeal. Or, the 
 idea may be that of a giant {"^rjyiVTjs) tearing a house to pieces, plank 
 by plank. tvGev 8t|, ' on the other side, the smooth tongue, sly crafts- 
 man of the lips, shrewd critic of verse, unrolling its full length, shaking 
 loose the rein of malice, dissecting phrase by phrase, will refine away 
 the lung's large labour of his adversary.' Again the sentence is chaotic. 
 The general reference is to the glib and polished diction of Euripides, 
 depending upon niceties rather than on depth of thought (a-TopaTovpyos 
 as contrasted with (ppevoreKTcov) ; applying the severe analysis of dialectic 
 and verbal criticism to the turgid sentences of Aeschylus. 
 
 1. 833. diToo-ejAvvveiTai, sup. 703, 'he will first assume a grand 
 reserve, his usual practice of solemn mystery in his tragedies.' Join 
 
NOTES. LINES 81S-847. 99 
 
 oircp with fTipar€Viro, lit. ' the npania which he practised on each 
 occasion' (Nub. 318). The allusion is partly to the portentous grandeur 
 of his language, and partly to the solemn silence in which his characters 
 occasionally remained, sitting like dummies through half a play 
 (inf. 911). 
 
 1. 835. ay', w Sai|x6vi6, ' come, you reckless fellow, don't put it too 
 strongly.' The over-confidence of Euripides looked like the pride 
 that goes before a fall. 
 
 1. 836. 5i€o-K€p,|xai, with mid-force, ^ perspexi^ 
 
 1-837. dypioiroiov, 'poet of savagery;' referring to the strange 
 monsters and wild scenes of the Prom. Vinct. auGaSoo-Topiov, ' of self- 
 willed utterance ;' choosing rather to be independent than to pander to 
 popular taste. The charge against Aeschylus, that he has a 'mouth 
 uncurbed, uncontrolled, unbarred,' seems to allude to his perfect fear- 
 lessness in expressing his own free thoughts in his own free way. 
 Mitchell reckons up 488 words in five plays which are peculiar to 
 Aeschylus. 
 
 1. 839. dTrepiXdXirjTOV, ' not to be out-talked ;' cp. the use of ircpi- 
 Tofeuetv Acharn. 712. KO}xiro<{)aK€\oppT|}jLova, 'spouter of bundle- 
 bound bombast.' The former of the two epithets, as applied by Euri- 
 pides, is amusing from its singular applicability to himself: the latter 
 has special reference to the sesquipedalia verba of Aeschylus. 
 
 1. 840. dXiiOes, with proparoxytone accent (Nub. 841), has always a 
 tone of impatience and sarcasm ; like our * O ! indeed.' 
 
 dpovpaCas Oeoti ; The 'goddess of the market-garden ' is Cleito, 
 the mother of Euripides, whom Aristophanes delights to represent as 
 a ' vendor of green stuff.' Cp. v-no Evpimdov rov t^s \axayoTra)\T]Tpias 
 Thesm. 387; aKavdiKo, iioi has firjTpoOev Sidcyixevos Ach. 478. The 
 line is a parody upon one of Euripides' own, d\T]9(s, w irat t^s OaXaaaias 
 6€ov ; perhaps from the Telephus. 
 
 1. 841. o-Tto|ivXuoo-v\X6KTd8ir) and paKiocrvppairTdBTj are intended to 
 have a jingle, as ' gossip-catcher ' and ' rag-patcher.' 
 
 irTcoxoiroios, like x^^O'^'O'-os inf. 846, is one who * brings beggars 
 on the stage.' The whole passage is an echo of the scene between 
 Dicaeopolis and Euripides, Acharn. 410 foil., where, among the Euripi- 
 dean repertoire, we have BeWe pocpovTrjs 6 x<y^<^s-, <^iKoKTr]T-qs 6 TrT0Jx6s, 
 and, especially, TrjXecpos x^^^^> irpocraiTcuv, aTwpLvXos, bnvbs Keyeiv, all 
 dressed in Svavivij TrenXu fxara, paKajfiara, &c. 
 
 1. 845. ov STJTa, sc. TTavcrofiai. diTo4)T|va), 'show up.' 
 
 1. 847. dpva |jicXava. Aeschylus, the (pi^pf/xiTas, is preparing to 
 * sweep forth ' (€K|3aiveiv) as a storm on Euripides. Dionysus suggests 
 appeasing the tempest by the sacrifice of a black lamb, * nigram Hiemi 
 pecudem' Aen. 3. 120. 
 
 H 2, 
 
lOO FROGS, 
 
 1. 849. KptjTiKas p,ova)8ias. The rule in Attic tragedy was that 
 the singing and dancing should be kept separate ; so that half the 
 chorus was singing, while the other half was dancing. But in the 
 Cretan vnopx^fxaTa, the actor, while singing, executed a dance descrip- 
 tive of the words of his song. Euripides seems to have introduced this 
 innovation in such passages as the fiovq^Sia sung by Electra (Orest. 960 
 foil.), by the Phrygian slave (ib. 1369 foil.), and by Jocasta (Phoeniss. 
 301 foil.). The Scholl. refer to the monody of Icarus in a play of 
 Euripides called Kprjres, or to the character of Aerope in the Kprjcraai. 
 
 1. 850. 7ajious dvocriovs refers to the connection of Macareus with 
 his sister Canace in the Ai'oXo? (Nub. 1372, inf. 1081, 1475); to the 
 fatal passion of Phaedra in the 'Itttto^vtos ; or the amours of Pasiphae 
 and Ariadne. 
 
 1. 854. Ke4>aXaia> pTi|iaTi, properly ' a principal phrase ;' intended 
 here to mean ' a phrase as big as your head.' Paley quotes dfMi^iaTos, 
 ' big as a waggon-load.' 
 
 1. 855. eKX€T), 'spill.' The word expected is of course kyKi(pa\ov, 
 'your brains;' instead of which he substitutes, as a surprise, tov TT|\e- 
 4>ov, ' the creation of your brain.' The Telephus (as Enger says) is the 
 grand outcome of the head of Euripides, as Athena was of the head of 
 Zeus. 
 
 1. 857. eXeyx'j «^«YXO"> 'criticise and get criticised.' This soothing 
 of the two combatants alternately is a reminiscence of the appeasing of 
 Agamemnon and Achilles by Nestor (II. i. 275). 
 
 1. 858. dpTOirwXtBas. The 'bake-house scold' of Greece is the 
 classical equivalent of the modem ' fish-wife.' 
 
 1.859. Trpivos. For the 'crackling' and 'roaring' of 'holm-oak' 
 in the fire cp. Acham. 666 oTov !£ avOpaKcuv irpivivojv <peipa\ot avrjXaT, 
 kpe9i^6fX€Vos ovpiq pimbi. 
 
 1. 860. ovK dva8vop,at, ' I do not shirk attacking or being attacked 
 first, as to the spoken verses, or the choric songs, or the whole (frame 
 and) sinews of tragedy.' Then he passes from general to particular: 
 •and, so help me heaven, my Peleus too, and my Aeolus, and my 
 Meleager ; and my Telephus by all manner of means.' to, emr] are the 
 iambic portions of the dialogue, as in Nub. 541 ; and by vcvipa he 
 means the whole framework and constitution of his dramas; as in tA 
 Vivpa Twv irpayfj.dTOJv Aeschin. 3. 166 ; ecu? av kKriftri uffirep V€vpa l« 
 TTJs rpvxTJs Plat. Rep. 344 B. 
 
 1. 866. €|3ovX6p.ir]v, ' it was my wish ;' but he waives it with o|xcos 8' 
 IttciSti inf. 870. 
 
 1. 867. eg i<rov, ' on equal terms.' 
 
 1. 869. «(r0' €^€1 X€Y6iv, 'so that he will have it at hand for re- 
 citing.* Aeschylus makes the quaint grievance that the ' immortality ' 
 
NOTES. LINES 849-892. 10 1 
 
 of his works puts him at a disadvantage. His dramas are still living 
 in the upper world, and so are unavailable in Hades : whereas the 
 works of Euripides ' have died with him,' and followed him down below. 
 
 1. 872. irpo Ttov <TO<j)LO'jjiaTcov, 'before these shrewd inventions come off.' 
 
 1. 873. jxovo-iKWTaTa, 'with truest criticism;' sc. ex poesis legibus. So 
 fx-ovaiKcuTaTT] TTuKis, ' a city most full of liberal arts,* Isocr. 425 A. 
 
 1. 877. "yvoafjioTtnrwv, 'sententious;' lit. 'maxim-coining;' epithet of 
 lxipL(xvai in Nub. 951. Cp. yvcvixoTwiKus as applied to Phaeax, Eq, 
 1379; 'A7a5cyi/ 7J/a;yL*OTV7r6r Thesm. 55. 
 
 els «pi.v, ' when they descend into the lists, mutually contending 
 with subtle, tortuous, tricks ' (cp. ^pvpixov TraXaia/xaTa sup. 689) ; ' do 
 ye descend to inspect the might of two mouths most clever at pro- 
 viding,' &c. 
 
 1. 881. pT|p,aTa is specially applied to the Aeschylean phraseology, 
 as sup. 821, 824, inf. 940, 1004; so that we may dispense with the 
 various conjectures of editors, who seek a stronger contrast to irapa- 
 irpCo-p-aTa, such as pcv/xara, ^Tjy/uaTa, irpe/xva tc, Kpr}p.va re. 
 
 1. 887. clvai. See on sup. 169, and cp. inf. 894. Aeschylus was a 
 native of Eleusis, which justifies his appeal to Demeter. 
 
 1. 888. KoXws, 'no, thank you !' See on kolWiot sup. 508, 512. 
 
 1. 889. 06OIS, attracted to the case of the relative, as rriv ovaiav ^v 
 KaTiXirtov OX) vKeiovos d^ia kariv. Similarly inf. 894. 
 
 1. 890. K6(ji(xa Katvov; 'novel mintage.' See on sup. 726, 730. 
 Between iSiot and iStwrai, = ' peculiar,' or 'private,' a sort of double 
 meaning is evolved : for Ihiwr-qs is technically one who has no pro- 
 fessional knowledge : and so passes into the sense of ' rude,' * vulgar,' 
 as distinguished from TrcnaidevfXf.vos Xen. Mem. 3. 12. i. So, perhaps, 
 we might render, ' Have you home-gods of your own ?'...' then make 
 your prayer to these homely gods.' Passages are quoted from Euripides 
 in support of these views attributed to him, such as Troad. 885, H. F. 
 1 263, Cycl. 354 ; but all these suggest rather a doubt as to the existence 
 of the received deities, than an attempt to suggest new ones. Cp. 
 Thesm. 450, where it is said of Euripides, vvv 5' ovtos ev raiaiv rpayw- 
 Siais TToiwv I Tovs dvSpas dvaveveiKev ovk eivai 6€ovs. In this passage, 
 the charge made against Euripides is the same as that preferred against 
 Socrates by his accusers, and worked out in the ' Clouds,' oti Kaivd 
 elarjyaye Saipovia. Cp. Acts of the Apost, 17. 18 ^ivajv Saifiov'KUV 
 KarayyiXevs. 
 
 1. 892. cjjLov |36crKTip,a, 'my nutriment.' So in Nub. 33 the Cloud- 
 goddesses irXehrovs ^oaKovai (To<piaTa.s. Soph. Aj. 559 t^cus St Kovcpois 
 TTvevfiaaiv fiocKov. In the same play Socrates invokes both 'Arjp (264) 
 and AWrjp (265), and (424) recognises a hierarchy of gods, consisting of 
 Chaos, Clouds, and Tongue. 
 
102 FROGS, 
 
 a-rpoi^iy^, 'pivot;* cp. y\ct)TToaTpo(l>€iv Nub. 792. 
 
 1. 893. |xvKTT]p6s, ' critic nostrils ;' with a covert allusion to a scornful 
 sneer ; as in ixvKrrjpi^uv, naso stispendere adunco. 
 
 1. 894. IXIyx^iv (see on sup. 887), 'to confute all the language (of 
 my opponent) that I assail.' So Plat. Phaed. 86 D koX 'yhp ov ^ovAws 
 €OiK(v diTTOfJievq) rod \6yov. 
 
 1. 896. Tivd XoYcov e|xp.cXeiav, eiriTC Satav 686v. This, the reading 
 of MSS. and Scholl., must mean, ' we desire to hear from clever men some 
 fair harmony of language ; forward on your hostile path ! ' But this is 
 very unsatisfactory, and we are quite unprepared for the sudden change 
 to the imperat. iirne (which has the variant em re and km re). Dmdorf 
 cuts the knot by rejecting efxp-eXeiav and reading riva Xdyojv (Tnre 5aiav 
 656v. Meineke adopts Kock's emendation, riua \6yojv, t'lv' kfXfXfXelas 
 (mre daiav odov, interpreting it to mean, ' what hostile path ye mean to 
 pursue in the matter of spoken verse ; and what in choric song.' But 
 none of these conjectures reconciles us to erriTe Sai'av dS6v. Bothe in- 
 geniously supposes odov to be a gloss, explanatory (if it can be called 
 'explanatory') of kfXfxeXeiav, and he takes enire batav as a natural 
 mistake in transcription or dictation for (TnTrjSdav : the whole passage 
 then running aKovcxai riva \ \6yajv kjxniXeiav kiriTTjSeiav, sermonum com- 
 positionem idoiteam. But the word SaiW finds some support in what 
 follows, yXSjaaa fxkv ^cip riypicvrai. The question becomes further 
 complicated, if we consider 11. 992-996 inf. as antistrophic to 11. 
 895-899. 
 
 1. 897. T|YpiceaTi, ' is exasperated.' 
 
 1. 899. dKCvTf]TOt, 'passive,' 'unsusceptible.' 
 
 1. 901. Tov fji€v, Euripides. 
 
 1.902. KaT€ppLVT)[X€vov, (pivT], *a file'), 'filed up,' i.e. 'polished' 
 with the /imae labor. 
 
 1. 903. TOV 8' dvao-TrwvT', ' Aeschylus, rushing upon his foeman with 
 volleys of words uprooted, as he plucks them up, will scatter at once 
 his shifty turns of verse.' Aeschylus will do battle like an Enceladus, 
 evolsis truncis (Hor. Od. 3. 4. 55), bringing down the crushing weight 
 of his tremendous artillery upon Euripides, who will try to meet it with 
 the feints and twists of the wrestling-school. For the meaning of 
 dXtv8Ti9pa cp. Eustath. dXiv8T)0pa Kvpicus fxkv 77 Kara irdXrjv Koviarpa, 
 rpoTTiKcos 5e koI rj kv Koyois. Cp. Nub. 42. With dvaa-Trtovx' cp. such 
 phrases as Xoyovs dveaira Soph. Aj. 302 ; wa-nep kK (paperpas prjixaricFKia 
 dvaairaivTci Plat. Theaet. 180 A. 
 
 1. 905. ouTO) 81, sc. XPI Ae7e£y, ' but you must speak so as to utter,' 
 &c. 
 
 1. 906. dcrT€ia implies ' smartness,' and ' neatness ; ' either of which 
 would be lost by the use of 'metaphor* (eiKoves), or 'common-place' 
 
NOTES. LINES 893-9 1 4. IO3 
 
 (of dv dWos el'iToi). Aeschylus was more extravagant in the use of 
 ('iKoves than was Euripides. Mitchell quotes a long list of these, 
 marking among the most far-fetched x^^^^^^ 'S.kvBojv ciitolkos (S. c. T. 
 728) for a 'sword;' "XaKiJivbrjcria yvdOos, Ix'^P'^^^vos vavraiai, lUTjTpvicL 
 vewv (P. V. 727) for a 'dangerous coast;' ^XdcrTTjfxa KaW'nrpcvpov 
 (S. c. T. 533) for a ' handsome man ; ' ndcns tttjXov ^vvovpos (Ag. 494) 
 for 'dust.' 
 
 1. 909. oiois T€ Tovs Oearas, ' with what devices he cheated the 
 spectators, finding them in a state of simple innocence, reared in the 
 theatre of Phrynichus.' In the dramas of this poet, the lyric prevailed 
 over the dramatic element. He employed only one actor, who furnished 
 subjects for the Chorus to express its feelings upon, instead of using his 
 Chorus to illustrate the action represented on the stage. After being 
 accustomed to the usage of Phrynichus, the audience felt they were 
 being defrauded by the introduction of a mute person, instead of the 
 actor who supplied the gist of the play, and the inspiration of the 
 Chorus. Phrynichus, for the sweetness of his choric songs, is com- 
 pared by Aristophanes to a bee (Av, 748), and his plays are called 
 Ka\d bpajuaTa (Tbesm. 166). His tunes were very popular with the 
 old-fashioned Athenian folk; cp. Vesp. 219 fiivvpi^ovres /jl€\t] dpxaio- 
 fx^XiOLhoovocppvvix'npo.Ta. 
 
 1. 911. dv KaOiacv, 'he was used to introduce a figure sitting.' 
 For av with the aor. expressing customarj' action cp. Plat. Apol. 22 B 
 61 riv€s 'idoiev itt] tovs a<p€Tipovs kiriicpaTovvTas dveOdpcTTjcrav dv. Sitting 
 was regarded as the natural posture of grief, as KpoTaos em Svo ^Tca kv 
 TTevOe'i p-e^dKcc KarrjcrTo (Hdt. I. 46) ; and 'muffling the head ' was also 
 an expression of sorrow, as Kara Kpara KaXvipdfxevos yodaaKcv (Od. 8. 92). 
 See Schol. on Aesch. P. V. 435 aicoTruai -napd iroirjTais rd Trpuawira ^ Si' 
 avOatiav ojs 'AxtAAei/? kv Tois ^pv^iv (otherwise called "EKTopos Xvrpa), 
 •^ did avix(popdv OJS 97 iiio^r} (sc. over the tomb of her children). 
 
 1.913. TpocrxTjixa, 'mere dumb-show of tragedy, uttering not so 
 much as one syllable.* Cp. ovSe ypv d-noKpivoixivo) Plut. 17. Here 
 Fritzsche says, ' quae de divino illo et Niobae et Achillis silentio hie 
 Euripides dicit propemodum scurrilia sunt.' But Euripides is incon- 
 sistent as well as unappreciative ; for e. g. in the ' Supplices,' Adrastus 
 comes on the stage at the beginning, but remains mute till Theseus 
 addresses him (1. no) a\ tov Karr^p-q x^"'*''^'0'J dviaropoj- \ \iy ix- 
 KaXvxpas Kpdra Kal Trapes yoov. So in Hec. 486 when Talthybius asks 
 where he may find the queen, the Chorus answers avrrj ireKas -cov i/wt' 
 e'xova' km x^oi/t, | TaK6vl3L€, /ceiTai, ^vyKfKkrifxivr] rriirXois. It is true, 
 however, that these characters do ultimately speak. 
 
 1. 914. o-i) SfjO', sc. eypv^ov. 
 
 b 86 xopos, 'and the Chorus would keep forcing upon us four 
 
104 FROGS. 
 
 strings of lyric verse one after another, uninterruptedly, while the actors 
 kept silence.' Kock remarks that in the Supplices of Aeschylus, after 
 the Parodos (U. 1-40) is ended, the Chorus sings eight pairs of strophes 
 and antistrophes without a break : and in the beginning of the Aga- 
 memnon we have six pairs. 
 
 1. 916. There is something delicious in the naive stupidity of Diony- 
 sus the critic, his complacent acceptance of the fact of his own dulness ; 
 and the helpless, uninterested, way in which he speaks of Aeschylus as 
 6 Bciva = ' what's his name ? ' 
 
 1. 919. vir' dXa^oveias. Euripides calls it a piece of 'astounding 
 impudence ' to keep the audience on the ^tii vwe, wondering when 
 the Silent Woman would speak ; ' and meanwhile the play was getting 
 on to the end' (8tT)€t). For KaGfiTO the optat. of the Attic form, most 
 of the MSS. give Kadoiro, the rest preserve the right reading in the 
 incomplete form kuOtjto. Comp. /xefiv^ro Plut. 991 ; Plato, Rep. 7. 518 ; 
 K€KT^To Plato, Legg. 5. 731 : KeftX^o Soph. Phil. 119; and see Curtius, 
 Verb. p. 423. 
 
 1.921. S> irajxirovTipos, 'Ha! the scoundrel!' Dionysus here ad- 
 dresses Aeschylus, who is ' stretching and fidgetting ; ' and he asks him 
 why he does so. Euripides undertakes to answer, and says it is ' be- 
 cause I am confuting him.' 
 
 1. 924. (Soeia, 'lumbering phrases.' Cp. Povirais, ^ovyaios, ^ovcpdyos. 
 
 1. 925. 6(|)pOs t'xovTa Kal X64)Ovs, 'with stern brow and lofty crest.' 
 p,op}jiopco7rd, ' goblin-faced.' 
 
 1. 927. ov8c tv. This hiatus occurs nowhere else in Aristophanes 
 except in Plutus 37, 138, 1115, 1182. Porson, Praef. ad Hec. p. 132 
 would write ou5' av tv. 
 
 p,Tj irpie, addressed to Aeschylus, who cannot contain himself. 
 
 1. 928. 2Ka|xdv8povs. Aeschylus delighted in the pomp and cir- 
 cumstance of war : his plays recall the stirring scenes of the Iliad ; 
 as e. g. the fight of Achilles with the furious Scamander, ou5e ^Kafxav- 
 Spos 'iXrjye TO ov /xevos, dXX.' en fidWov \ x^^to lirjX^iojvi, Kopvcrae Se 
 icvp.a pooio II. 21. 305; or the varying fortunes of the fight at the 
 Trench, iroWd 8e revx^a KaXd irecrov Trept t' dfj,(pi re rd(ppov \ (pevyovrajv 
 Aavaaiv, iro\ifj.ov S' ov yiyver' kpaiij II. 17. 760. The 'griffin-eagles,' 
 * horse-cocks,' and 'goat-stags,' are such fantastic monsters as may 
 be seen on Persian or Assyrian tapestry (irapaircTao-p-aTa), and illustrate 
 the Oriental influence noticeable in the plays of Aeschylus. Cp. the 
 winged car of the Oceanides, P. V. 135 ; the TCTpacrKeX-qs olojvos of 
 Oceanus, ib. 395 ; the fire-breathing Typhon on the shield of Hippo- 
 medon, S. c. T. 492 ; or the ^(plyi wfidaLros on that of Parthenopaeus, 
 ib. 541. 
 
 1. 929. iTTiroKpTjuva, * high-beetling phrases ; ' a sort of parody on 
 
NOTES. LINES 9 1 6-944. 105 
 
 the Aeschylean vxprjXoKp-quvos P. V. 5. Cp. Kprjuvowoios as an epithet of 
 Aeschylus, Nub. 1367. 
 
 1, 931. vvKTos. The jest lies in the parody of two lines from the 
 Hippolytus (395), where Phaedra says, r^S?; tot' aAAojs vvktos tv fxaKpa> 
 Xpovcp \ 6vr]TU)v €(pp6vTia rj SiicpOapTai ^ios. Dionysus spent his vigil 
 on a far more unfruitful subject of research. The ^ovOos iiriTaAeKTpvuiv 
 (with V. 1. IniraXeKTojp, as aXeKrcup and aXeKrpvwv Nub. 666) is sup- 
 posed to have actually appeared in the play of the lAvppLibovis. See 
 Pax 1 1 77; Av. 800. 
 
 !• 933- <rr]p,6tov, 'the device;' commonly painted at the stern of 
 the vessel, as Eur. I. A, 239 xpt^c^a's S' dKoaiv \ Kar dfcpa l^T]pfid€s 
 iaraarav Oeal | TTpv|jivais ffTJpi,' 'AxiA-Aetou cfTparov. The Boeotian ships 
 at Aulis were crjixdoiaLV kaTo\iap.hai' \ tois Se Kddpios rjV xP'^cr^oi' 
 SpaKovr' exojv \ dpcpl vawv Kopvpt-^a ib. 255. If Dionysus mistook the 
 iTnraXeKTpvwv for a likeness of Eryxis, it must be that Eryxis was a man 
 of superhuman ugliness, with a beak like a bird. 
 
 1- 935- ^^''■°' ^^^ the force of rejecting the excuses which Aeschylus 
 offers for his liriraXeKTpvojv — ' still, was it right to introduce a cock 
 at all (Kat) in tragedies ? ' 
 
 1. 940. olSoOcrav. The language is more or less medical ; as though 
 Tragedy, when Euripides took it in hand, was suffering from plethora. 
 eiraxOwv, ' cumbrous.' 
 
 1. 941. lorxvava, the regular word for 'reducing' swellings, and the 
 like. Cp. Aesch. P. V. 380 nai /i^ (X<ppiyu)VTa 6vp,bv iaxvaivri 0ia. 
 
 1. 942. €Trv\\iots, ' verslets ; ' the regular stock-in-trade of Euripides, 
 see Ach. 898 ; Pax 532. But as one naturally expects here the name of 
 some drug in his prescription, it is not unlikely that €Trv\Xiois is 
 a surprise here for kptrvWiois, ' wild thyme.' It is impossible to give 
 the double meaning of irepiirdTois in an English translation. From 
 the doctor's point of view, it means 'constitutionals;' from the teacher's 
 point, ' philosophical disquisitions.' Perhaps * expatiations ; ' or a play 
 on ' excursions ' and * excursuses ' might suggest the double thought. 
 
 TCtPrXia, ' beetroot ' is credited with cooling properties, iravra 
 GKXr^pd Koi olhalvovra rrdOr] Oepanevei. 
 
 1. 943. 8t5otJS, still a medical term, * administering decoction of 
 chatter, straining it off from books.' Here Euripides is made to 
 confess that his characters often speak the common-places of the text 
 books of rhetoric and philosophy. Mitchell illustrates this by the 
 moralising of Andromache (Troad. 631 foil.) ; the lecture on com- 
 petition by Eteocles (Phoen. 500 foil.) ; on ambition by Andromache 
 (Andr. 319 foil.) ; on morality by Phaedra (Hipp. 380 foil.). 
 
 1. 944. €it' dv€Tp€<|)ov, ' next I proceeded to feed it up ' (after the 
 'reducing') ' with monodies, throwing in an infusion of Cephisophon.' 
 
I06 FROGS. 
 
 This man was a slave of Euripides, and intimate in his household. 
 He was suspected of helping his master in his poetical compositions. 
 See on inf. 1408, 1452. The hemistich KTf]4>icro<})«vTa |j,iyvvs is ingeni- 
 ously assigned by Leutsch to Dionysus. 
 
 1. 946. oiiK eXripovv o ri Tvxo'-p.', ' I did not prate on any chance 
 topic ; nor by plunging headlong into the story did I create confusion.' 
 The attempts of the prologist (ov^twv) to give the ' family history ' 
 (to y€vos) of the play may be examined in the prologues to the Suppl., 
 Ion, Helena, Here. Fur., Bacch., Hec, Phoeniss., Electr., Orest., I. T. 
 
 1. 947. TO o-avTov, sc. yefos, ' your own family-history :' alluding to 
 the low extraction of Euripides. 
 
 1. 948. diro Twv TrpwTwv eirwv ovSev irapfjK' av. We should expect 
 ovSeva, but perhaps ouScv suggests Trpoffoonov . ' From the speaking of 
 the very first verses onward I suffered ' (customary aor. with dv sup. 
 911) ' no one to be unoccupied' — like your mute Niobe or Achilles. 
 
 1. 952. 8T)p.oKpaTiK6v, 'on democratic principles,' as exhibiting that 
 complete irapprjaia that was supposed to be the privilege of the 
 Athenian adult citizen; but which Euripides extends to the un- 
 privileged. 
 
 TovTo p,€v tacrov, 'come, drop that!' sc. the allusion to 'demo- 
 cratic principles,' ' for you have got but a ticklish footing upon that 
 ground;' or, 'you have got no disquisition that runs well upon that.' 
 Again we have the double meaning of TTcpiiraTos, as in sup. 242. Euri- 
 pides was supposed to have coquetted with the oligarchical faction ; 
 and, anyhow, his visit to the court of Archelaus was of bad precedent 
 for a ' Liberal,' if, as Sophocles says, oans Se irpds rvpavvov eixTropeverai 
 I Keivov 'cTTi Sovkos, Kav kXevOfpos ftoXr). 
 
 1. 954. TovTovo-i, ' the audience yonder.' There is something quite 
 Socratic about the professions of Euripides. 
 
 1. 956. €crpoXds, ' the introduction ' {Kaivas kaPoXas opZ Koyojv Eur. 
 Suppl. 92) ' of subtle rules, and triangulations of verses.' 
 
 1. 957. cpdv, 'to be in love,' seems to come in most awkwardly in 
 this list ; nor does it help much to join aTp€<piLV hpav or (rrpocpuiv epdv, 
 ' to have a passion for twisting.' It is best, perhaps, to accept €pdv as 
 an intentional surprise, referring to such dramas as the Hippolytus and 
 Aeolus. 
 
 1. 958. Kax' (fcaKa) tiiroTOTreicrGai. The suspicious temper of the 
 Athenians in Aristophanes' day is amusingly described in Thesm. 
 
 395 foil- 
 
 1. 959. oiKeta, ' domestic,' ' homely,' in which the spectators would 
 be able to catch him tripping, if he was wrong in any details. And 
 this was more wholesome for them, he says, than ' to be driven out of 
 their senses ' by bombastic words. 
 
NOTES. LINES 946-965. 107 
 
 1. Q63. KvKvovs. The fight between Achilles and Cycnus, son of 
 Poseidon, might well startle the audience ; ending as it did with the 
 transformation of the vanquished hero — ' victum spoliare parabat : | 
 arma relicta videt, corpus deus aequoris albam | contulit in volucrem, 
 cuius modo nomen habebat' Ov. Met. 12. 143. Memnon, 'Lord of 
 the team with tinkling trappings,' was the subject of two plays of 
 Aeschylus, the Mefjivcov and the ^vxocrraaia (weighing of souls). 
 
 1. 965. Phormisius is described (in Eccl. 97) as a thick-bearded, 
 formidable-looking man ; one of the Athenian demagogues, and a sort 
 of * Black Mousquetaire.' Megacnetus is called o Mat-^j (the name of 
 a slave) ; or o ^\a-^vr]^ (the Magnesian). But Fritzsche quotes from 
 Pollux, to the effect that /xai/^s or fxayvrjs is a cant term for a bad 
 throw at dice ; so that his name may have the same connotation as 
 Thackeray's ' Mr. Deuceace ; ' or if Mdyvrjs be read, with the double 
 meaning of a Magnesian stranger, and an unlucky, or dishonest, game- 
 ster, we might adopt sporting parlance, and call him the ' Welsher,' 
 These men he designates, with true pruxaO' 'nriroKprjfuva, as ' moustachioed 
 heroes of bugle and lance,' and 'grinning brigands of the pine-tree 
 springe.' This alludes to a torture invented by the bandit Sinnis, ' Qui 
 poterat curvare trabes, et agebat ab alto | ad terram, late sparsuras 
 corpora pinus' Ov. Met. 7. 441. The bent tree flew back when re- 
 leased and tore the victim in two. Cleitophon, son of Aristonymus, 
 was a companion of Plato. He had the reputation of being a lazy 
 idler, but he professed himself an admirer of Socrates. The ' smart 
 Theramenes' appears again as the lucky trimmer (see on sup. 540), 
 with that happy instinct of self-preservation that 'if he gets into troubles, 
 and stands close at hand to them, he manages to throw himself clear of 
 the danger.' This translation attempts to keep the double meaning 
 of ireiTTcoKev, which means not only ' he tumbles clear of the trouble ; ' 
 but ' his throw is a lucky one,' as in the phrase ad yap ev v'ntTovaiv ot 
 Aios KV0OI. And this metaphor seems to be continued in ov Xios dWd 
 Kcios, for Xios is the lowest throw of the dice, like the kvojv, and 
 Kwos, like Lat. Venus, the highest. But instead of writing dX\d Kwos, 
 which would make the whole phrase mean ' a man of no blanks, but all 
 prizes,' Aristophanes alters Kwos into Keios, by way of surprise, because 
 Ceos was the native place of Theramenes, That ' Chian ' means a 
 man of ill, and ' Cean ' a man of good repute, has not much point. 
 But, indeed, the whole passage is unsatisfactory. What can irX-rjcrtov 
 Trapao-TTJ mean? Velsen would read rjv KaKois tis Trepiirfcrr], 'if anybody 
 gets into trouble, and Theramenes chance to be standing by:' but this 
 is pure conjecture. It is just possible that there is some bitter allusion 
 in ir\T]crLov to the fact that Theramenes was 'as near as any one 
 else,' to the struggling sailors at Arginusae ; though he did not help 
 
I08 FROGS. 
 
 them, yet he saved himself. If we might take Kai disjunctively = ij, 
 it would be simpler to render, ' gets into trouble,' or ' finds himself very 
 near it.' 
 
 1. 971. TOiavra |X€VTOii-ya> (fiivToi eyuj), 'such sort of wisdom' 
 (ToiaOTa <J)pov€iv) ' I introduced into these spectators.' 
 
 1. 978. Kavao-Ko-rreiv, ' and to investigate — how goes this ? where am I 
 to find that ? who has taken this ?' ika^e violates the metre ; and it is 
 tempting, with Velsen, to reject 1. 979, which looks like the addition of 
 some one who did not see the point. We do not want the details of 
 household life introduced here. All that Euripides would say, is that 
 he boasts to have given the Athenians an enquiring mind. It is 
 Dionysus who maliciously extends the oikov oIkciv to the petty squabbles 
 of masters and slaves. 
 
 1. 981. clcriMV, 'as he comes indoors.' 
 
 1. 986. T€0vTiK€ lAoi, * last ycar's pot has vanished from my sight.' 
 T€0vT]K€ is jestingly used to invest the fate of an old pot with a deep 
 human interest. 
 
 1, 989. Teojs, 'up till then,' i.e. till Euripides took them in hand. 
 
 1. 990. p,a|ip.dKv0ot, said to be from fid/xfxa and KevOco, said of one 
 who hides himself in his mother's lap, = ' milksop.' According to 
 Eustath. p,6\i.Ti5ir]s is a sort of Simple Simon. Its connection with fxeXi 
 may be illustrated by the word ^KiTTOfjidixfias Nub. looi. With 
 Kexifivoxes we may compare the name given to Athens in Eq. 1263 
 
 1. 992. TctSe |Ji6v. The Mvpfxidoves of Aeschylus began with the 
 words rdSe fJ.ev Aeucro'eis, (palSiix' 'Ax'^^cu' | dopiXvfidvTovs Aavauiv 
 fioxOovs 1 ovs . . eiaoj KXiaias, spoken by the Chorus of Myrmidons to 
 Achilles when imploring his aid. The choric song 11. 992-1004 is 
 apparently antistrophic to 11. 895-904. The uncertainty of the reading 
 in 11. 896, 897 (see notes) affects 11. 993, 994. Kock and Meineke mark 
 a lacuna after oircos. 
 
 1. 994. p,T| 0-' 6 Ovfjios, ' lest your passion sweep you away, and carry 
 you beyond the olives^ i.e. off the course. At the end of the race 
 course, where the turn was made, a clump of olives was planted ; so that 
 to get * beyond the olives ' was to be out of the race altogether. 
 
 1. 999. dXXd o-vo-T€i\as, ' but after taking in a reef, and reducing 
 your sails to a mere edge, see that you speed on faster and faster, and 
 be on the look out, while you have yet the gale smooth and steady.' 
 
 1. 1001. g|€is (ataaco) is the simplest correction of the MS. reading 
 o^cts. Other suggestions are ei'^ets, or e^et (e^eifMi), both giving the idea 
 of getting away from the storm. 
 
 1. 1004. trvpyuKras, cp. the phrase 'building up the lofty rhyme.' 
 So Aristoph. writing (Pax 749) of the wise poet (meaning himself) says 
 
NOTES, LINES 971-IO23. 109 
 
 knoiTjffe rkxvqv ixeydXrjv rjniv Kdirvpycua' o'lKoSo/xrjaas \ enecri fi€ya.\oi^ Kal 
 diavoiais. 
 
 1. 1005. Kocr|XT|cras TpaytKov X-f]pov. There are two ways of taking 
 this : either to follow the Scholl. and say that X-qpov is put, Trap' vnu- 
 voiav for rixvrjv — a piece of good natured ' chaff ' from the Chorus of a 
 comic poet, who was pleased to call the composition of the rival style 
 ' tragic trumpery : ' or, less likely, we must take X-fipov as representing 
 the silliness of the tragic stage before Aeschylus took in hand to adorn 
 it : lateritiai7i invenit, marmoreani feliquit. 
 
 Tov Kpovvov d4)i6i, as we might say, ' pull up the sluices ; ' a strange 
 shift of metaphor after the picture of the reefing of the sails. 
 
 1. 1006. TT) (TuvTVxia, 'this occurrence/ 
 
 1. 1012, T60vdvai. This is a fine touch of humour in the mouth of the 
 dead. 
 
 1. 1014. T€TpaiTT|xeis, 'six feet high.' Cp. Vesp. 553. SiaSpao-nroXi- 
 Tas, ' citizen-shirks,' who disown all responsibilities, whether military or 
 political; so diadeSpaKores Ach. 601. 
 
 1. 1015. Ko|3dXovs. The K60a\oi, whom the Sausage-seller (Eq, 
 635) invokes, along with the spirits of humbug and boobyism, are 'mis- 
 chievous goblins,' ' imps ' (like Cobolds and Pucks), belonging originally 
 to the mixed retinue that accompanied Dionysus. Cp. Ko^aXiKeviaOai 
 (Eq. 270); Ko^aXiKiviiara (ib. 332), and KofiaXa (ib. 417). Here it 
 means ' arch-buffoons,' or ' rogues,' 
 
 1. 1017. liTTaPoeiovs, 'seven-hides-thick,' Properly the epithet of 
 the shield of Ajax. II. 7. 220; Soph. Aj. 576. 
 
 1. 1018. X"P«^> 'advances,' 'spreads.' See Nub. 916. 
 
 KpavoTTOiwv at) yj lirtxpiij/ei,, 'he'll be the death of me, hammering 
 away at his helmets.' The word is intended to have the ambiguous 
 meaning of ' manufacturing helmets,' and ' introducing warlike gear ' in 
 his dramas. 
 
 1.1020. Y'r\. .xaXiTTaxy^, 'don't show your spite by obstinate reserve,' 
 
 1, 102 1. "Eitt' em 0T|(3as. The subject of the play is the contest of 
 Polyneices and his confederate heroes against his brother Eteocles and 
 the Thebans, It concludes with the fatal duel between the brothers, 
 and the proclamation of the herald against the burial of Polyneices. 
 The Seven against Thebes formed the 3rd play in a Trilogy : the ist and 
 2nd being the ' Laius' and ' Oedipus,' It won the ist prize. 
 
 1. 1023. iT€iroCit]Kas, 'hast represented' the Thebans of mythic days, 
 as braver than the Argives : and, by implication, the Thebans of con- 
 temporary times, as braver than the Athenians, with whom they were 
 always at enmity. Probably also Dionysus insinuates that Aeschylus 
 has actually 'made' (jtolhv) the Thebans all the braver, and therefore 
 all the more dangerous enemies to Athens. 
 
no FROGS. 
 
 1. 1025. avT* (avTci), sc. ra voX^yuKa. km. tovt', sc. km to aoK^iv. 
 
 1. 1026. SiSd^as (cp. ZLMcTKdv xopov), ' by having put the " Persians " 
 on the stage.' p-exd tovt' introduces a difficulty : the date of the repre- 
 sentation of the ' Persians' at Athens is 472 B.C. After this Aeschylus 
 went to the court of Hiero, about 471, and there reproduced the play; 
 though with what amount of alterations it remains a disputed point. 
 Aeschylus was in Athens again in 468 ; and the ' Seven ' was probably 
 produced in the following year (467). If we seek to reconcile the dates 
 with the statement in the present passage, we must either be content, 
 with Mitchell, to render \L€ra tovt', ' besides ; ' or we must believe that 
 the date assigned by the Didascalia to the representation of the ' Seven ' 
 refers to a later reproduction of the play. The subject of the ' Persians ' 
 was the battle of Salamis, and the flight of Xerxes. 
 
 1. 1028. k\ap-T\v yovv tjvik' f)Kovo-a irepl A, This, the reading of the 
 MSS., is faulty in metre, and untrue in fact : for no news is brought in the 
 * Persians ' of the death of Darius. It had taken place long before ; and 
 in the play only his ghost appears, and foretells the further victory at 
 Plataea. Perhaps however it is not too much to charge the stupidity of 
 Dionysus with the strange muddle, and the important annoimcement of 
 stale news — like our saying, ' Queen Anne 's dead ! ' Various emend- 
 ations have been proposed, as yivik* aTT-r]yyk\Qt], which restores the 
 metre, and may, perhaps, be construed, ' when the news was brought of 
 the appearance of the shade of Darius.' But more likely under -qviKa 
 lurks viKi] or vlktiv or viftrjcrai, and irept (for irapd) is a natural mistake 
 from the misconception of the verse. We may as well adopt Fritzsche's 
 arrangement, kxa.py]V -yovv ttj vikt) uKovo-as {vIkti ^Kovaas) Trapa A. t. 
 ' I was charmed,' says Dionysus, 'at the victory' (in prospect), 'having 
 heard about it from the ghost of Darius. But all the (Persian) Chorus, 
 smiting their hands together cried ' ' Woe the day ! " ' It may be said that 
 in our edition of the Persians the Chorus does not say lavoi (unless we 
 accept Blomfield's emendation in Pers. 664) : but Dionysus is merely 
 summing up the long k6(jl/^os of lamentation by the Chorus in true 
 Oriental style. Or lavoi may be a silly invention of Dionysus (like the 
 mock word 'laovav Ach. 104) for the true Persian 6d (Pers. 116). 
 
 1. 1030. Join TavTa av8pas daKciv, ' our poets ought to train our 
 men in these things.' So do-Keiv in Plut. 47 daKeiv tov vlov tov kinxupiov 
 rpoTTOv. Conjectures are XdoKnv and cpdaKeiv. 
 
 1. 1032. 'Op4)6vs. It is now impossible to detach the real Orpheus, 
 the Thracian bard, from the marvellous stories that grew round his 
 name, and from the spurious ' Orphic h)-mns ' that were attributed to 
 him in later time, and which were constantly extended and interpolated. 
 Miiller thinks that Orpheus is really connected with the cult of the 
 Chthonian Dionysus {Zayp^vs) j and that the foundation of this worship, 
 
NOTES. LINES 10:^5-1044. Ill 
 
 and the composition of hymns for the initiations connected with it, were 
 the real functions of this poet. Similarly Motio-aios was a sort of 
 eponymous representative of the hymns connected with the Eleusinian 
 Mysteries. 
 
 <j)6vcov t' dTr€X€o-0ai, ' to abstain from d/ood ; ' for the prohibition 
 was not only against ' murder,' but against the slaying of animals for 
 food. Cp. Hippol. 953 77S7; vvv avxet, ftal St' cupvxov ^opds \ crirois 
 KairrjXiv', 'Op(p€a r dvaKT ^x^iv \ fiaKx^ve. 
 
 1. 1035. airo Tov, ' unde^ 
 
 1. 1036. IlavTaKXea. This awkward functionary, while taking part 
 in a procession (tireixTre, 770/^7717), instead of arranging the crest in the 
 helmet before putting it on, placed the helmet on his head first, and 
 tried to fix the crest afterwards. But as the Ko^os dropped through a 
 hole in the helmet and was fastened inside by a nut, or (rather) a string 
 or strap, it was impossible to fix it when once the helmet had been 
 put on. 
 
 1. 1039. ctWous, sc. €8i.5a^€v"OfMr]pos. 
 
 Aajxaxos T|pcos. Aristophanes is here true to his principle. Just 
 as he would not attack Cleon, when he was dead (Nub. 550; Pax 148 
 foil.) ; so here he takes a generous view of the soldierly qualities of 
 Lamachus, now that he had died a hero's death in the Sicilian ex- 
 pedition ; though he lashed him unsparingly in life, as in the Acham. 
 and Pax. 
 
 1. 1040. dfrojialaixevif) (fxaTTcv), 'taking the print;' more common 
 with kKjxaTTO). Cp. Thesm. 514 Xewv, Xiojv col jiyovev, avTeKfxaynd 
 aov, * your very image.' For Aeschylus' acknowledgment of his debt 
 to Homer cp. Athen. 8. 438 E 6s koL avrov rpayaiSias renaxq dvai 
 e\ey€ touv 'Ofi-fjpov /xcYdkcuv Seiirvcov. 
 
 1. 1042. dvT-lK-T6tv6wv, probably carrying out the same metaphor 
 from soft and ductile material, ' to shape himself to these models,' 
 
 1. 1043. ^atSpas. The Phaedra, in the 'l-mroXvros arecpavrjcpopos 
 which has come down to us, is an unfortunate rather than a guilty 
 woman : a victim rather than a votary of Aphrodite. But Euripides 
 had brought out an earlier play called 'lirnoXvTos KaXv-nTo/xevos, in which 
 the reckless passion of Phaedra, and the sophistical excuses she made 
 for her immodesty, were too strong for his Athenian audience. The 
 author of the Vita Euripidis speaks of it as a drama kv (S ttjv dvaiax^^- 
 Tiav kOpidpL^iVi rS}v yvvaiKOJv. 
 
 506vtj3ota (named Anticleia in Hom. II. 6. 150 foil.), is the 
 Potiphar's wife of classical story. Proetus, king of Argos, is the 
 Potiphar, and Bellerophon the Joseph. Euripides wrote one play called 
 Bellerophon, and another called Stheneboea. 
 
 1. 1044. €pwo-av. Although the plot of the Agamemnon turns upon 
 
Iia FROGS, 
 
 the guilty passion between Clytaemnestra and Aegisthus, yet that 
 passion is never paraded in the play ; though it would have given an 
 opening for many a powerful passage. The connection of Agamemnon 
 with Cassandra may be called immoral ; but she, at any rate, shows no 
 fervid love for her lord and master. 
 
 1. 1045. 'A4)po8iTT]s oviStv o-oi, as Kock neatly says, Euripides 
 means to say that Aeschylus is a /lomo invenustus. 
 
 1. 1046. ttoWti ttoWoO (as in Eq. 822; Nub. 915) 'iriKaO-fJTO, *in 
 violence she laid violent siege to you and yours, and so she laid you low, 
 your very ownself.' Notice the tmesis in Kar' otiv e|3a\c, which is quite a 
 Herodotean usage, as in Kaj ovv 'iSrjcrfv 2. 122 ; Kar' wv kKaKvipe ib. 47. 
 This may be supposed to refer to the infidelities of the two wives 
 whom Euripides married; one of whom he is said to have detected 
 carrying on an intrigue with his actor (or slave) Cephisophon. 
 
 1. 1048. d ydp €S rds dWorpias eiroieis, ' the passions which you 
 represented in the case of other men's wives — by the same have you 
 yourself got punished;' i.e. you, who have filled your plays with 
 stories of adulteresses, have found an adulteress in your own 
 wife. 
 
 1. 1051. aio-xvvOeio-as. Aeschylus ventures to speak of Athenian 
 ladies as committing suicide, because they 'have been put to shame 
 in consequence of those Bellerophons of yours ; ' i. e. the contrast of 
 Anticleia's lust with Bellerophon's chastity has cast an unendurable 
 reproach upon the whole female sex. , So Agamemnon says of Cly- 
 taemnestra (Od. II. 452) 77 5' 'i^oxo- \vypci idvia \ ot re Kar ataxos 
 ex^ve Kal kaaofxeiqiaiv bttlacrw \ OrjXvTiprjcn yvvai^l, Kai ij k evepybs 'irjcri. 
 Weil thinks that the allusion rather is to actual seduction of Athenian 
 ladies by the young gallants reared in the morality which Euripides 
 represents. 
 
 1. 1052. iroTcpov 8' ouK ovra, 'was it that I composed this story, 
 all unreal, about Phaedra?' He defends himself on the ground that 
 he did but reproduce the story in its traditional form, and did not 
 invent. The answer to which is that a tale may be only too true, and 
 had better be left untold. See Aristot. Poet. 20 2o^o«A.^j tcpri avros 
 fi€V oiovs Set iToieTv, Evpnridrjv Se olow eiori. 
 
 1. 1054. Trapd76tv, 'to bring it forward' on the stage. 
 
 1. 1056. AvKap-iiTTOvs. Mount Lycabettus in Attica, and Mount 
 Parnassus near Delphi, serve here as ty/>es of lofty mountains, repre- 
 senting the pr]iMi9' linTOKpr^ixva of Aeschylus. For Ilapvao-wv Bentley 
 and Porson read Uapv-qOcov, sc. Mount Pames in Attica. The names 
 are often confused in MSS. 
 
 1. 1058. dvOpwireiojs, the poet ought to use language 'down to 
 human level.' 
 
NOTES. LTNES IO45-IO73. II3 
 
 1. 1059. ^^°'' '^°' pW°-'^°'> '^^^ phrases that express them ought to be 
 on the same scale.' 
 
 1. 1060. KaWojs. See on sup, 80. 
 
 1. ic6i. r\\iCiv, the common brachylogical idiom in comparisons = 
 TcDv ^fjL€Ttpcov. Cp. II. 17-51 Kufxai XapiTfoaiv ofioiai=K6 fiats XapiTOJV. 
 
 1. 1062. GjjLOv, sc. a f/ioC, 'which when I exhibited (sup. 1032) quile 
 properly you completely spoiled.' Aeschylus was the pallae repcrtor 
 honcstae (Hor. A. P. 278), while the stage dresses that Euripides de- 
 lighted to use were rags (see sup. 840). 
 
 1. 1064. The order of the words is ti ouv tpXavj/a Spdcras tovto ; 
 
 1.1065. TpiT]papxeLV. The duty of equipping a ship for the Athenian 
 navy was one of the special services ({\eiTovpyiai) required of citizens 
 who had a certain property qualification. Sometimes the service wa.^ 
 performed on the most liberal and magnificent scale : sometimes it was 
 .shirked, on the excuse of poverty, by those who could well afford it. 
 That the tax did sometimes press unfairly may be inferred from the 
 permission granted to appeal to the people in cases of extreme hardship. 
 Here, of course, the complaint of Aeschylus that such unpatriotic 
 shirking was the natural lesson taught by the weeping heroes of 
 Euripides, is not serious. itXovtwv {irKovTiw), ' though rich.' 
 
 1. 1066. irepiiXap.evos (aorist of irepidkoj, -(iXecu, or -iWo;) is Cobet's 
 correction for the nepifiWofievos or -i\\u^€vos of the MSS. 
 
 1. 1067. xi-T^va ovXcav epicuv, like the ouA-at x^o'^^'ct' of Od. 4. 50. 
 
 1. 1068. dv€Kvi|;6v, 'pops up at the fish-stall.' After suing in forma 
 pauperis, and being excused from service, he next appears buying 
 delicacies in the fish-market. With rots t'x^vs Vesp. 789 cp. to, d'A- 
 ^na, 01 Xvxvoi, at fjLvppivai Lysis. 557. 
 
 1. 1071. Tovs irapdXovs, 'the crew of the Paralus,' or state galley. 
 The Schol. her-e, speaking of the UdpaXoi, says dri/jLoi 5e ovtoi rjaav, 
 which looks as if they were in disgrace for some act of insubordination ; 
 perhaps for disobedience at Arginusae, where they refused, because of 
 the storm, to attempt the rescue of the crews from the wrecks. The 
 whole crew of the Paralus, both kpirai and km^drai, were (Thuc. 8. 73) 
 freeborn Athenian citizens. They are described by Thucydides as 
 devoted to the cause of the democracy and bitterly opposed to the 
 oligarchical faction. 
 
 1. 1072, ovTaYopetigiv. The teaching of Euripides, and of the 
 Sophists generally (see Nub. passim), was to encourage the rising 
 generation to rebel against authority. 
 
 1. 1073. p-djav is the barley-cake described in Thuc. 3. 49 rjcrOiov 
 dfJLa (Xavvovres oivcv Kal hXaia> ak^ira irapvppLiva. 
 
 pvTT-rra-irat, ' pull away,' as in Vesp. 909. The patriotic horses 
 who man the vessels, as told in Eq. 602, modify this cry into i-mraTrai. 
 
 I 
 
114 FROGS. 
 
 1. 1077. vvv 8' avTiXty^W 'but nowadays (the oarsman) gainsays his 
 orders, and, refusing to row any longer, he sails about hither and 
 thither.' Probably a contrast is intended between kKavveiv and irKeiv. 
 The crew will not labour at the oar, but sai7 about at their ease : like 
 the distinction in Od. 11. 640 vpura /xev elpeair], iieriireiTa hi KaWiyios 
 ovpos. 
 
 1. 1079. irpoaYcoYotJs. Phaedra's nurse in the Hippolytus was a 
 irpoayojyos or ' procuress,' in trying to bring Phaedra and Hippolytus 
 together. Tlpoayojyoi were punishable with death by the Solonian laws. 
 In the Thesm. 11 72 foil., Aristophanes makes Euripides himself, in the 
 character of an old woman, play the part of a Trpoayojyos. 
 
 1. 1080. TLKTOvicras €v Tois iepois. In one of the plays of Euripides, 
 Auge the priestess bears a child to Heracles in the temple of Athena, 
 and then seeks to justify herself before the goddess. Cp. Thuc. 3. 114, 
 where the prohibition was made after the purification and consecration 
 of Delos, fJ-r]T€ lvavo9vT]aK€iv Iv ry vrjacv fi-qre kvTiKTeiv. 
 
 1. loSi. d86\4)OLS, as Canace with Macareus. See sup. 850, inf. 
 1485, 
 
 1. 1082. TO ^r[V. Cp. Plato, Gorg. 492 E, where Socrates says, ov 
 yap TOi Oavfid^oijjL av et 'Ev pivlhrjs dkrjOjj kv roiade Xiyei, A.e7<yi/' ris S' 
 oiSev et TO (rjv fX€V hari KarOaveiv, to KarOavdv 5e C^f. This is from 
 the Polyidus. The dogma appears in a similar form in the Phrixus of 
 Euripides. 
 
 1. 1084. {)7ro"ypa[X[xaTeciiv (see inf. 1506), so written since Hermann, 
 instead of the vulg. v-nb ypafXfxaTiOJv. The reference is obscure. Athens 
 seems to have been overrun by a swarm of these underclerks ; to the 
 lowest and commonest grade of which Demosthenes assigns Aeschines 
 when (Dem. de Cor. 269) he calls him oXfOpos ypa/uixaTevs. Cp. also 
 Fals. Leg. 371 -navovpyos oStoj Kal OcoTs kx^p^s Kal ypapLfmrevs. Per- 
 haps, however, ypafx/jiaTevs here has the meaning of a 'scribbler,' 
 dabbling in philosophy, &c. 
 
 1. 1085. S-qp-o-n-iGriKcov, 'playing their monkey tricks on the popu- 
 lace.' The mOriKos is the type of low cunning; cp. Acharn. 907, where 
 the avKocpdvTTjs is described as airep iriOaKov dXiTpias ttoKXcls irXioov. 
 
 1. 1087. XaiJL-n-aSa, ' the torch.' It was no easy matter to run in the 
 torch-race, which required both speed and caution, to reach the goal 
 first and keep the torch alight. 
 
 1. 1089. d<|)T]vdv8ir]v, {dcpava'iva}), '1 was spent (lit. 'dried up') with 
 laughter.' Perhaps with allusion to laughing oneself dry, and finding 
 excuse for a drink, as 5/^77 dipavavOTjcropLai Eccl. 146. The 'pursy, 
 pasty-faced little man' was struggling along, bent nearly double {Kvrpas) 
 with his exertions, ' distanced as he was by all the other runners, and 
 making a terrible to-do (Setm ttoiwv Nub. 3S8) about it.' He has to 
 
NOTES. LINES loyj-lllS, II5 
 
 * run the gauntlet ' through the ' men of Cerameicus ' (01 KcpajxTjs from 
 K€pafi€vs), who deal him many a slap as he passes. 
 
 1. 1094. Iv Tais TTtiXais, sc. a'l K€pafx€iicai irvXai, so called as forming 
 the communication between the inner and cuter Cerameicus. These 
 ' gates ' were also called AinvXov. 
 
 1. 1096. Tato-t -irXaTeiais, sc. x^P<^'^v, 'with the flat of the hand.' 
 These alapae gave rise to the proverb Kcpa/xeiKal TrXTjyai. 
 
 1. 1099. <{)vo-Jjv. This is explained of 'wilfully blowing out' his 
 torch, and running away. Cp. Theophrast. Ign. 6 fxev Kvxvos dnoa^ev- 
 fvrai cpvaa!fX€vos. 
 
 1. 1 100. aSpos, 'in full strength.' 
 
 1. iioi. T6IVT) jSiaius. Aeschylus 'presses on vigorously' (cp. rd- 
 viiv TToXipoio T(\os 11. 20. 101), and Euripides 'has the power to wheel 
 round on his pursuer (cp. Eq. 244 dW' dfxvvov Kd-navaOT pk(pov ndXiv) and 
 attack him smartly.' Plutarch uses the word similarly (Flamin, 81), 
 (nepeiSeiv ttjv (paXayya rivi, ' to bring the whole weight of the phalanx 
 to bear on him.' 
 
 1. 1 103. p,ir| 'v TavTw KaGfjcrOov. Cp. Thuc. 5. 7 llkiojv tojv OTparioj- 
 Tuv dxQofxivojv Tjj tS/ja, kol ov /SouAo^uetos avrovs bid to kv to) avTa> 
 fcaOrjaOai ('keeping to one spot') fiapvveaOai, dva\al3vuv rjycv. This 
 recommendation to activity and change of ground in the wordy warfare 
 is like the advice given by Socrates to Strepsiades (Nub. 703), raxfcos 5' 
 oTav (Is diTopov iT€aT)S Itt' dXXo Trr]5a vurjfia (fypevos. 
 
 1. 1 104. €to-poXaC, see on sup. 956. The word has a sort of double 
 meaning here ; both ' openings' or 'beginnings' and also 'assaults.' 
 
 1. 1 106. cTTiTov {enei/j.i), 'attack.' dvaBepecrOov, lit. 'strip off the 
 skin;' i.e. 'lay bare,' 'expose.' So Brunck for the MS. reading dvaSc- 
 perov. Bergk would read dvd 5' epeaOov, in tmesis, meaning ' question,' 
 ' examine ' each other. 
 
 1. 1 108. KcLTTOKivStivevieTOv, 'and have the hardihood.' 
 
 1. mo. u)S Tft-XcTTTo, p-T| -yvcovai, 'so as not to understand those 
 subtleties, as you utter them.' Xcyovtoiv, gen. abs. 
 
 1. II 13. €crTpaT€vp.€voi Yap eicri, 'for they have seen a great deal of 
 service.' This may mean merely that foreign wars have extended their 
 knowledge of the world ; or, generally, that they are well practised in 
 every kind of conflict, political, philosophical, literary, or social ; which 
 suits better with the following words. 
 
 1. 1 1 14. /3i|3Xtov. Euripides is himself one of those named by 
 Athenaeus as having had a large PiPXic^v Hrfjcns (cp. inf. 1409). 
 
 1. 1116. irapT^KovTjvTai (d«oma;). The native wits of the Athenians, 
 already sharp enough, ' have been whetted ' to a still keener edge. Cp. 
 Xen. Cyr. 6. 2. 33 u XoyxV^ aKovojv iKfivos nal rriv ipvxvv ri irapaKova. 
 
 1. 1 118. OcarJiv -y' ovvex, 'as far as the spectators go.' Thty are 
 I 2 
 
Il5 FROGS, 
 
 clever enough : don't be afraid your contest will be above their 
 heads. 
 
 1. 1 1 19. Kal p,Tiv, 'well, then.' crov. Here Euripides turns to 
 Aeschylus. In the next line he accosts Dionysus, and speaks 0/ 
 Aeschylus (atiTOv). This transition is very violent ; and it might be 
 better to read crot, referring it to the leader of the Chorus, and making 
 it an answer to the foregoing request. 
 
 1. 1 122. do-a(j>T|s. Meineke needlessly rejects the line. What Eu- 
 ripides means to say is that the Prologue, as used by Aeschylus, does 
 not put the spectators in possession of the plot of the play, nor make 
 the mutual relation of the dramatis pcrsonae clear. It must be observed, 
 however, that when Euripides actually comes to the ^acavos, his 
 criticisms are purely verbal, and do not deal with the matter. 
 
 1.1124. 'OpecTTcia. This includes the Agamemnon, the Choephori 
 (from which the quotations are taken), and the Eumenides, forming one 
 Trilogy ; to which was added a satyric drama called Proteus. Another 
 set of plays by Aeschylus was called AvKovpyela (Thesm. 135). 
 
 1. 1 1 26. 'Ep|xfi x0ovL€. The opening scene of the Choephori repre- 
 sents Orestes, on his return from exile to avenge the murder of his 
 father, invoking the aid of the Chthonian Hermes, with the words 
 iraTpcp' tiroTTTCTjajv Kpanr]. But what is signified by Kpd-n) ? to whom 
 does iraxpcSa refer? what is the meaning of e'lroiTTevcov ? This ambiguity 
 is the justification of the a.cd(p€ia of which Euripides complains. 
 Orestes seems to say, ' thou that keepest watch over the powers 
 assigned thee by t/iy father,' sc. Zcv? acoTrjp, which points the appeal 
 conveyed in the words o-a)TT|p 7€vo{) |xoi. Or the words (perhaps 
 directly addressed to a statue of Hermes) may be interpreted, ' thou 
 that watchest over my father's sovereignty;' a fitting address from one 
 who has come to regain his -narpZa Kparr). Euripides chooses to in- 
 terpret the expression, ' thou that dost regard the violence done to my 
 father' (so vtft^ koI KpaTi) Aesch. Suppl. 951). The passage is fairly 
 open to the charge of obscurity. 
 
 1. 1 1 30. dW ouSe -irdvTa, 'well, but these verses altogether are not 
 more than three :' and so hardly offering room for ' more than twelve 
 faults.' 
 
 1. 1133. irpos Tpicriv laji-PeCoio-t. Perhaps Dionysus gives friendly 
 advice to Aeschylus to quote no more; or else 'you'll find something 
 else scored against you besides these three iambics,' which have already 
 been credited with so many mistakes. The more you quote, the more 
 errors will be proved against you. irpoo-o(j)6i\€tv is the regular term in 
 the courts for incurring a fine in addition to the loss of the thing in 
 dispute. 'You'll not only lose your three lines, but you will be fined 
 as well.' The conversation between Aeschylus and Dionysus must be 
 
NOTES. LINES 1 1 1 9-I 160. 1 1 7 
 
 taken as a sort of by-play ; for the words of Euripides run on, un- 
 heeding the interruption, c'ikoctiv y' djiaprias, euGvs ^ap . . ocrov. Berj^k 
 would transpose 1 1 36 — AI2. opg-s on X-qpeis ; ETP. dW oXCyov yt 
 |xot p.(\€i — before 1132, in which case irapaivto croi cricjirdv will be a 
 warning to Aeschylus not to interrupt ; and the following words will 
 be a threat that, if he does, he 'shall be sconced in some verses beyond 
 the three already quoted, and so run the risk of having more holes 
 picked in his diction.' 
 
 1. 1 1 36. opoLS oTi XT]p€ts ; No transposition, however, can settle with 
 certainty the meaning of these words, and the answer to them. If 
 Aeschylus speaks them to Dionysus they must mean, 'don't you see 
 you are talking nonsense in bidding me to be silent?' And Dionysus 
 answers, ' I don't care whether I am or not.' But it gives more point 
 to make upas on krjpeis addressed to Euripides. ' Don't you see,' says 
 Aeschylus, ' that you are talking nonsense, with your "dozen mistakes," 
 and your " more than twenty," and your ovpdviov oaoi/?'' ' I don't care 
 if I am,' Euripides retorts : an amusing confession that sense and non- 
 sense are both the same to him. 
 
 1. 1 140. oiiK aXXus Xeyw, *I don't deny it,' 'I admit it.' So in 
 Hec. 302. 
 
 1. 1 144. ov 8t)t' €Ketvov, 'Nay, 'twas not ^Aa^ Hermes (sc. 'EpfATJi/ 
 doXiov implied in 86\ois sup.) ' that he addressed ; but it was the Helpful 
 Hermes that he accosted as god of the subterranean world ; and he 
 made his meaning plain by saying that it is from his sire he holds the 
 prerogative.' What the exact criticism of Euripides was going to be 
 we shall never know, as Dionysus interrupts, with the ridiculous idea 
 that such 'subterranean privileges so inherited' would make Hermes 
 out to be a 'tomb-rifler' on the father's side. For cKctvov, the Rav. MS. 
 has eK€ivos = 'OpiaTtjs. 
 
 Y. 1 150. mveis oivov, i.e. 'the wine you drink is vapid stuff;' as we 
 should say, ' it wants bouquet.' This means that the joke is coarse and 
 flavourless. 
 
 1. 1151. <Tv 8' liriTTipei, 'and do you, Euripides, be on the look out 
 for the flaw.' 
 
 1. 1159. jxaKTpav . . KapSoTTov, 'a kneading-trough,' and 'a trough 
 to knead in.' 
 
 1. 1 1 60. ou B-fira TovTo 7'. It seems hardly Greek to say ov bfJTa 
 TovTu ye TO. avrd (an = ' this assuredly is not the same,' as Kock gives 
 it. It is simple enough if we take ravr' as = To avru. Others would 
 read ravTy 'err'. 
 
 1. 1 1 61. With Qpio-T «Truv €Xov ' most excellently phrased,' cp. ev cppe- 
 vSjv '4x^iv Hippol. 462, &c. It conforms to the rules oi vp9oiTT(ia. The 
 participle perf. pass. KaTecrTMp,uXp.ev6 seems to have a further shade of 
 
Il8 FROGS. 
 
 meaning than merely ' glib-tongued fellow;' there is the notion of his 
 being ' debased with chattering.' 
 
 1. 1 162. Ka0' o Ti 8t|, ' in what sense you describe it so.' 
 
 1. 1 1 63. €\06tv is the ordinary word that would be used of one 'who 
 still has part and lot in his native land,' We say, ' he has arrived, 
 without further incident,' beyond the fact of his having been absent. 
 Or a\\T]s o-vp,4)opds may be the ' calamity' of exile, dhXTjs being used 
 with its frequent idiomatic force. But on returning from exile, a man 
 both 'arrives' (IpxcTai), and 'is restored' (KaTepxeTai). Euripides 
 thereupon introduces a new quibble to the effect that KareXOeiv is only 
 applicable to those who are legally restored by formal permission of 
 the authorities (iriOtov tovs Kvpiovs, who in this case would be Aegisthus 
 and Clytaemnestra). 
 
 1. 1 1 70. irepaLve, 'complete;' i. e. give another w/io/e verse. 
 
 1. 1 1 71. dvVJcras, ' with despatch ;' lit. ' having got your work done.' 
 els TO KaKov dTTopXeire is equivalent to ciriTTipei to p\d|3os sup. 1151. 
 
 1. 1 1 73. avGts. Bake's emendation av 5is is good. 
 
 1. 1 1 74. k\tj€iv dKoxjaat, Aeschylus does not attempt to rebut the charge 
 of tautology in these two words ; though from his own phrase (P. V. 448), 
 kKvovt^s ovk iJKovov, we might have expected him to say that there was 
 more mental process in uKoveiv. Here, however, the doubling of the words 
 has just a touch of instinctive pathos ; as in ' we have erred and strayed,' 
 ' we have done amiss and dealt wickedly.' We may compare it with 
 (inf. 1 184) TTplv cpvvai, irplv koi yeyovtvai, 'before his birth, yea before 
 he came into being.' 
 
 1. 1 1 76. ots, is commonly taken as the relative attracted into the 
 case of TcSv-qKociv, in place of the accusative, which would gram- 
 matically follow upon k^iKvov/xeOa. But there is no reason why it 
 should not follow directly on XeyovTCS, like reOvrjKocnv 'dkeye, sup. For 
 the triple hail to the dead cp. Od. 9. 65 foil. ; Virg. Aen. 6. 506. 
 
 1. 1 1 78. aTotpTjv, 'stuffing,' or 'padding.' Properly, leaves, straw, 
 and the like, for packing brittle articles ; like the (popvros, in which the 
 ovKocpavrrjs is packed (Ach. 927). 
 
 1. 1179. €^<j> TO-0 XoYov, 'unconnected with the subject.' 
 
 1. 1 180. The order of the words is ov yap dkka (sup. 58) aKovaria 
 fiOL kariv. 
 
 1. 1182. Tiv OlSi-rrovs. Prologue to the ^;//?^(7;z^ of Euripides. 
 
 1. 1 184. \ia Tov At'. The objections raised by Aeschylus are as 
 sophistical and quibbling as those of Euripides. For the tautology in 
 irpiv c{)\)vat . . irplv Kal YCYovevai see on sup. 1174 ; and cp. Eur, Phoen. 
 1595 iTplv (s cpws /xrjTpds eK yovfjs fxoXeii', dyovov, &c. It is impossible to 
 make the distinction between <pvvai. and yeyovevai of ' conceptum,' and 
 ' natum esse.' 
 
NOTES. LINES 1 1 62- 1 20 1. II9 
 
 1. 1 1 88, oil S-i^t', sc. iyevero. It was not a case of 'becoming' 
 wretched: he 'was' so from the first, and continued so. 
 
 1. 1 190, fv oo-TpaKO), 'in a crock.' The common practice of exposing 
 children in a x^'^P^ (^OJ" which oarpaKov is only a somewhat grotesque 
 equivalent) is seen in such verbs as x^rpK^^, « 7X^'''^'C'^» KaTaxvrpi^oj, 
 
 1, 1 192. f)ppTi(r€v ws n6\u|3ov, ' he made his unlucky way to Polybus,' 
 king of Corinth, cppciv is common with this meaning of 'hastening 
 somewhere, to one's own destruction ;' cp. Eq, 4 da-qpprja^v et's tt]v 
 oiKiav. So in Demosth. 560, 10 ipOeipeaOai -npos tovs irXovaiovs. 
 
 1. 1 195. 6ii5ai|j,o3v ap' Tiv, ' Well,' says Dionysus, ' if Oedipus could 
 be called "happy" under such a complication of disasters: he would 
 even have been happy if he had been colleague of poor General Erasi- 
 nides.' Erasinides was one of the six arpaTTjyoi put to death afier the 
 battle of Arginusae. The attack really began with the fining and im- 
 prisonment of Erasinides on a charge of embezzlement ; and this paved 
 the way to the public prosecution of the Generals on the capital 
 charge. 
 
 For rjV with the force of ^u av cp. koX fidXiara eiKos r|V vpds irpo- 
 opdcrOai avrd (Thuc, 6, 78), and the regular construction of eSec 
 eXPV^f <^c. 
 
 1. 1200, cItto \T]Kv0iov, Euripides had taunted Aeschylus with his 
 obscurity and pomposity, Aeschylus retorts with the charge of mono- 
 tony and common-place. The prologues which he criticises begin in 
 the matter-of-fact style of children's stories — ' once upon a time there 
 was a man who' — then follows a participial clause, and then comes the 
 fatal space for the finite verb, into which Xt]ktj0lov dTrciXsorcv fits, as if 
 made for it. So much for the monotony. But the alternatives suggested 
 (1203) for X-rjKuGtov, viz. Kco8dpiov and OvXaKtov, show that Aeschylus 
 is thinking how Euripides dragged tragedy down to the humblest levels 
 of everyday life ; which is really the boast that Euripides himself makes 
 (sup. 276), that he taught the people to look sharp after the manage- 
 ment of their homes; or »,as Dionysus parodies it) makes them cry out, 
 in their petty economy, ttov 'cnv rj x^^P^ > ''"'J '''''1^ K«paXr]v dn(Sr]5oK€v 
 TT]s fiaivldos; This is the introduction of \tjkv6iov, with a vengeance ! 
 The metrical monotony must not be over pressed, as Xt]kvQlov dTTUjXeaev 
 represents only the ordinary penthemimeral caesura. But the tribrach 
 in the fourth place is no doubt intended to exhibit the fondness of 
 Euripides for ' resolved feet ;' as we may further gather from the start- 
 ling appearance of OvXaKiov (the reading of all the MSS.) at the end of 
 1. [203 ; giving a tribrach in the sixth place. The grammarians gave the 
 name of XtjkvOlov or /xiTpou Evptni^dov to catalectic trochaic dipodia 
 [- w, - »./, - w, -] ; why, it is hard to say. 
 
 1, 1 201. d-n-o A'T]Kvi0tov, sc. dia(j)9(p€li ; 
 
I20 FROGS. 
 
 1. 1206. AiYVTTTOs, from the prologue to the Archelatis. 
 
 1, 1 20S. Karaaxwv, ' having touched at ;' as 7ro5a7ros S' oh' avrjp koi 
 iruOiv Karacrx^ yw > Eur. Hel. 1 206, 
 
 1. 1209. ov KXavcrerai; ' shall it not rue this?' This use of KXaUiv 
 shows that Dionysus is quite in the dark about \t]ki9lou, as he acknow- 
 ledges. 
 
 1. 12 II. Ai6vu<ros, from the Hypsipylc. The third line in the 
 original ended with Trapdevots ovv AtXcpiaiv. 
 
 1. 1 21 2. €v irevKaio-i, ' in the midst of his pine-torches.' 
 
 1. 1 2 15. aW ouSev, ' but that won't matter.' 
 
 1. 1 21 7. o-uK tcTTiv oiTTts, froHi the prologue to the Stheneboea, 
 The third line ended with Trkovoiav dpol irXaKa. 
 
 1. 1 2 18. pCov, 'livelihood.' 
 
 1. 1220. ■u(j)€cr9ai [JLoi 8oK€i (correction for doKfis), 'it seems to me 
 right that you should take in sail.' So v\€iv v(pHyi.ivri 5ok€i Soph. El. 
 335. This prepares us for the metaphor of the storm in irvcvtreiTai 
 
 TTOXV. 
 
 1. 1223. €KK€K64;6Tai, this time the fatal \t]kv9iov 'shall bedashed 
 from his hand.' 
 
 1. 1224. KdiT€Xov, ' keep clear of,' ' give a wide berth to.' 
 
 1. 1225. 5i8u)Vtov, from the prologue to the Phrixus : the second 
 line should end ik^t ks &tjBt]s ttuKlv. 
 
 1. 1227. o) Saip,cvt' dv5piv— addressed to Euripides — ' you silly fellow, 
 buy up (vpiafxai) the flask from him, that he may not rip up all our 
 prologues!' 'What!' says Euripides, 'am I to buy it of /li/u ?' So 
 TToaov vpicu/Mii o-ot ; Acharn. 812. Cp. hex^oOai nvt 11. 2. 186. 
 
 1. 1232. ITtXovl; 6 TavTctXeios, from the prologue to the Iphigenia 
 Taunca ; the second line should end Olvonaov ya/xei Koprjv. 
 
 1. 1235. aW" SiyaQ\ These words are addressed to Aeschylus. 
 Dionysus, in a sort of way, is making common cause with Euripides, as 
 we gather from rots irpoXo'^ovs T)p.wv (sup.). So he says, coaxingly, to 
 Aeschylus, 'Kind sir, by all means give him up the flask, even now' 
 (€Ti Kal vOv means ' though he has left it so long in your hands to his 
 own disadvantage'), ' for you 11 get a handsome and serviceable one for 
 an obol.' The majority of editors correct diroSos into a-nobov, ' sell.' 
 But there is a joke in diroSos, because the XtjkvOiov really bdojrgs to 
 Euripides, though his heroes were continually dropping it for Aeschylus 
 to pick up. 
 
 1. 1237. oxiiraj -y'j sc airoZwan. Euripides will not consent to the 
 arrangement at present, as he has some unimpeachable prologues in 
 store. If we take the words as addressed to Euripides, meaning 'give 
 up,' ' abandon ' the flask, don't fight about it any more, then we must 
 supply dn-oSwao; with ovtto; 7'. 
 
NOTES. LINES 1206-1263. 121 
 
 1. 123S. Olv€vs itot', from the prologue to the Melcagcr. The second 
 line ended, probably, ovk enatv "Aprffiiv. 
 
 1. 1242. jjLCTa^v 61JCOV, 'what, in the very midst of his sacrificing?' 
 avQ' (avTo), ' who robbed him of it ? ' 
 
 1. 1244. Zcvs, the opening line of the Mdanippc. 
 
 1. 1245. diroXct o-', 'he'll be the death of you.' Others read diroXcis, 
 meaning, 'you, Euripides, will be the death of me with all this;' i.e. 
 Dionysus is tired out with the XrjKvdiov. 
 
 1. 1247. crvKa, 'styes.' 
 
 1. 1249. ^X^^ 7' ws, habco quoinodo, 'I have means of proving him a 
 bad writer of lyric' cx'*' ^s resembles the formula, common in negative 
 clauses, ovk 4'xct;, ovk eanv, onais. But Dobree's conjecture ex^ t' ols 
 is very probable. 
 
 - 1. 1256. Tujv H€xpi. vvvi. The MSS. rwv en rvv ovtoqv. Meineke 
 elicits this better reading from the Schol. The Chorus expresses a 
 belief that, in lyric poetry, Aeschylus, ' the inspired master of the 
 tragic stage' (PaKxeiov dvaKra), will be found unassailable. But we 
 are already prepared for objections on the part of Euripides, sup. 914. 
 
 1. 1260. SeSoix'. The Chorus must mean that they are afraid on 
 behalf of Euripides, that he will meet with even worse success in his 
 new attack. The last four lines have a suspicious similarity to the 
 preceding ones. They may be the result of a second recension by the 
 author. 
 
 1. 1261. iravti y€ 0au|jLao-Td, spoken ironically. 
 
 8€L^€t 8ti, ' the fact will soon make itself plain.' For a similar 
 impersonal use cp. Vesp. 993 4'IA. nus dp' ri-ycjuiaixiOa ; BAEA. bii^tiv 
 iOLKtv, i.e. res ipsa vidctur ostcnsitra. It is more common in the phrase 
 avTo 5et^€t. 
 
 1. 1262. 6is €v 7dp. This seems to mean, 'I will reduce them all to 
 one form.' The constant iteration of the ' refrain.' and the dactylic 
 measure shall do the same for his verses as his Kt^kvOiov did for mine. 
 So the Schol. I? to avTo reXos Triparov^eva iravra. 
 
 1. 1263. \j/Ti<j)a)v. Dionysus proposes to 'take some counters, and 
 keep reckoning of them all.' 
 
 SiatiXiov TTpoo-avXct. This is a stage-direction, 'interlude on the 
 flute heard behind the scenes.' 
 
 *0lwt' 'AxiXXev. From the Mvpnihov^s of Aeschylus. A deputa- 
 tion waits on Achilles, and implores him to come into the field again — 
 ' x\chilles, lord of Phthia, why, O why, when thou hearest the sound of 
 murderous buffets, ah well-a-day, drawest thou not near to our succour? ' 
 Euripides cunningly let his first instance have an intelligible meaning; 
 in order to make his hearers seek a meaning, and find none, in the 
 subsequent lines ; when he breaks away the second line from its context, 
 
122 FROGS, 
 
 and uses it as a ' refrain ' or ' burden ' in quite a different connection, 
 where it is not intended to ' construe ; ' but to be sound without sense. 
 The * refrain ' has always been an expression of pathetic feeling ; as in 
 the -versus intcrcalarcs of Theocritus and the Eclogues of Virgil. But 
 it may^ touch tears ©r force a laugh ! We may instance ' Willow, 
 willow! ' or W. Morris' grotesque modem ballad with its burden ' Two 
 red roses across the moon!' or Mr. Calverley's happy parody of the 
 refrain — not without Euripidean maliciousness — in his ' Butter and 
 eggs, and a pound of cheese.' 
 
 1. 1266. 'Epp,dv p,€v, said by the Schol. to be quoted from the 
 ^i;xa7ct)7ot. Perhaps oi irepl Xip.vav are the dwellers on the shore of 
 the Stymphalian lake, who worshipped Hermes as the founder of their 
 stock. 
 
 1, 1270. kvSlo-t', perhaps from the T!t]\(({)os of Aeschylus. Join 
 p,dv0ave \x.ov. 
 
 1. 1274. eu<j)ajjL€iTe. From the 'Icpiytveia or 'lepeiai. 'Hold your 
 peace ! the priestesses are at hand to throw open the temple of Artemis.' 
 |X6\i(ro-ov6|a.oi. The title of the priestesses at Delphi, as well as 
 those of Artemis and Demeter, was f^eKiaaai. But it is difficult to 
 decide whether the word is connected with fxeKeaOai, curare, or fifiKicaoj, 
 propitiare, or whether there is some mystical or symbolic allusion to 
 Bees. The priest of Artemis at Ephesus was called ccro-riv, i.e. a 
 * queen ' (or, as the ancients thought, a ' king ') bee. 
 
 1. 1277. KvpLos eifjit. From the Agamem. 104. 
 c8iov, sc. ' on the voyage to Ilium.' 
 
 1. 1278. TO xpTlP'O' Twv Ko-irojv, ' this tremendous amount of buffeting-^ 
 cp. TO \pr]\ia Twv vvKTWv oaov Nub. 2. 
 
 1. 1280, vTTo Tuiv Koirojv, 'by all this buffeting about, I am getting 
 a swelling in the groin.' 
 
 1. 1281. o-xdo-tv p,€\cov. This means a 'lyric passage ;' referring to 
 the aT(icrip,ov (^e'Aos) of the Chorus; i.e. the 'regular,' 'steady' sing- 
 ing, uninterrupted by dialogue or anapaests. Here the araanxov is set 
 to a harp accompaniment, instead of the flute. To4)XaTT60paT To4>\aT- 
 ToOpar is intended, like 6p(TTav(\6 Plut. 290, or TrjvsWa Acharn. 
 1 241, to imitate the twang of the harp. Cp. such forms as tarantajitara, 
 tirra lirra, twcedledce. 
 
 1. 1285. oircos 'Axaiwv, supposed to follow in construction on Kvpiui 
 dfxi 6po€iu. The line is from Agamem. (104 foil.), where however after 
 'EXXdSos T^Pas comes (v^uppova rayav. The next words, from 'S^iyya. 
 . . . Kwa come from the ^<piy^ of Aeschylus, With Tre^jiTrei we resume 
 the passage from the Agamemnon, as far as opvts. The next line is 
 perhaps from the 2<^t7f again, and the words to o-vykXivcs Itt' Atavxt 
 are borrowed from the Qpfiacrai (^Thracian women). 8vcrap,€pidv (gen. 
 
NOTES. LINES 1266-I305. 1 23 
 
 plur.) is Dindorf's emendation for hvaafxepiav. It is hardly possible (if 
 worth while) to construe the pas-age. Perhaps the general effect is 
 something like this — (' to tell how) the ominous bird of war sends forth 
 with spear and vengeful hand the twin sovereignty of the Achaeans, 
 Sphinx of the chivalry of Hellas, foul fiend dispenser of disasters, grant- 
 ing to the eager soaring vultures to find their prey — and how the banded 
 host bearing down upon Ajax.' There it abruptly ends. Fritzsche 
 removes the t' after to ^vyKXives, making it the object of irapdo-xojv, 
 and rendering dcnsani phalangcm Aiaci adstantcm, \vith reference to the 
 Salaminian sailors. 
 
 1. 1296. Ik MapaQwvos. According to Fritzsche, because of the 
 swampy beds of rushes about the low Marathonian coast, from which 
 well-ropes (IjAoviaC) were plaited. It seems more likely that (pXarTudpar 
 reminds Dionysus of such Persian shrieks and shouts as might have 
 been heard at the battle of Marathon, in which Aeschylus had himself 
 taken part. The Schol. refers the next words to the songs sung by men 
 as they hauled up their buckets from the wells; as Callim. frag. 185 
 dei5€L Kai ttov ns di'Tjp vCaTTjyus Ifxaiov, with which we might compare 
 the x^^'ScurtV/iaTa and the (TrifxvXioi wdai. But the form of the word 
 (ip.ovLocrTp6(j)os) makes it more likely that the reference is to a 'rope-walk,' 
 where the men sing a monotonous refrain as they twist the strands. 
 
 1. 1298. €K Tov KaXov, 'I transferred them, at any rate, from one 
 honourable place to another;' i.e. from the repertory of the Aeolic 
 poets (such as Terpander the inventor of the opOios vofxos), to the tragic 
 stage. This would make a marked distinction between Aeschylus and 
 Phrynichus, whose verses were sweet and tender, and nearer to the Ionic 
 than the Aeolic muse. 
 
 1. 1301. diro irdvTcov TropviSicov peX-r] <|)6p€L. The reading of Porson 
 for the common d-no -navToov fxlv (f)€p€i Tropvidicov, which violates metre. 
 Other emendations are nopueiSiav (as if from vopvdov dimin.) ; and 
 7Topvaj5iaiv, ' lewd songs.' 
 
 1. 1302. MtXrjTos, a writer of Scolia, or 'drinking catches,' is better 
 known as one of the accusers of Socrates. He is a common butt of 
 Aristophanes and the other comic poets, as a very poor composer of 
 tragedies. Cp. Plato, Apol. 23 E MeA77Toj /xoi kntOeTo . , . vntp twv 
 TTOirjraiv d\96p.f:Vos. 
 
 KapiKuJv. The mnsic of the Carian flutes was melnncholy and 
 doleful. Cp. 'KapiKTj jjj/i ixovari TrpoTTifxirovai tovs TeXevrrjaavTas Plato, 
 Legg. 800 E. 
 
 !• 1303- xop^'-'^v, according to this accentuation gen. plur. from 
 Xopda, 'dance-tune.' The paroxytone x^P^^'^^ comes, apparently, from 
 Xopciou, 'a dancing place.' 
 
 1. 1305. Im TovTcov, ' in the case of songs like these.' The common 
 
124 FROGS. 
 
 reading tm tovtou may, perhaps, mean ' in dealing with a man like 
 this.' 
 
 oo-rpaKots, 'castagnettes,' 'bones.' 
 
 1. 1307. TTpos Tjvircp, 'to whose accompaniment these songs are well 
 fitted for singing.' 
 
 1. 1308. oviK tXco-pCaJcv. There must be a double meaning in the 
 word, (i) This Muse of Euripides never adopted the Lesbian (Aeolic) 
 style of music ; as Aeschylus did in imitating Terpander : and (2) ' this 
 Muse was never attractive enough to play the wanton.' 
 
 1. 1309. dXKv6v€s. This amusing cetito, which has the very loosest 
 grammatical construction, attacks (as Kock shows) three distinct points 
 in the lyric poetry of Euripides : (i) his grouping of incongruous pictures : 
 (2) his innovations in music ; (3) his faultiness in metre. The whole is 
 a clever skit upon the Euripidean Choric song ; with, here and there, a 
 reminiscence from some actual play (as e.g. from the Electj-a in 1307, 
 and the Iphig. Taiir. in 1309), so as to give an air of reality to the 
 whole: 11. 131 2, 1316 are borrowed, according to the Schol., from the 
 Meleager. 
 
 1. 131 1. Join irrepuv votiois pavicri, 'with drops sprayed from your 
 feathers.* 
 
 1. 1314. <j)a\a'Y7€S. This is a name given to 'spiders,' because of 
 their long jointed legs ; (paXay^ being the technical word for the bones 
 between the joints of fingers and toes. These spiders lurk ' under the 
 roof in corners twiddle-iddle-iddle-iddling their loom-strung threads with 
 their fingers.' The €ieiei6i€L€i\to-creT€ represents the musical ' shake,' 
 
 1. 1 31 6. KcpKiSos doi8ov, 'the singing shuttle,' like Virgil's argtito 
 fectine Aen. 7. 14. 
 
 1. 1317. iv' 6 <J)i\avXos fTtaWe 86X4>is. The dolphin, plunging at 
 the ship's bows, is a picture from the Electra of Eurip. 438 foil. ; the 
 addition of fxavTeta Kal o-TaStovs (perhaps intended to be accus. after 
 eiraXXe) is a mere piece of fooling, like the combination of ' thimbles 
 and hope' in the ' Hunting of the Snark.' And in the following lines, 
 the blossom, fruit, and tendril of the vine are all jumbled together in 
 happy confusion. 
 
 1. 1323. opfis Tov iroSa tovtov. Aeschylus startles us here with a 
 sudden bit of criticism, suggested by ir€pi|3aXX'. For, apparently it was 
 regarded as a metrical error to admit an anapaest {irepilSaKK', ^w-) as 
 the dasis of a glyconic system. So the song ends with — ' There 's a foot 
 for you ! ' — meaning, ' Did you ever see such a metrical fault ? ' At this 
 moment (in accordance, of course, with stage directions) the woman 
 who is playing the castagnettes pokes out her foot, which catches 
 Dionysus' eye, who promptly answers, ' O yes, I see that foot well 
 enough.' Aeschylus, surprised and pleased with what he thinks to be 
 
NOTES, LINES 1307-I375. 1 25 
 
 the critical insight of Dionysus, rejoins, ' O, you see that foot, do you ? ' 
 ' Yes,' says Dionysus again in his innocence, 'I do.' 
 
 1. 1330. fxovcpBiwv. The points of attack in this parody are (i) the 
 general confusion of the scene; (2) its paltry and trivial circumstances ; 
 
 (3) the use of oxymoron, as e.g. KiXaivocpav-qs, ipvxav dipvxov, etc.; 
 
 (4) jingling repetitions, as <puvia (povia, hciKpva daKpva, i^aKov i^aXov, 
 etc. (Mitchell quotes 16 instances of this in one passage of less than 
 150 lines from the Orestes^ ; (5) the looseness of the metre, as shown in 
 the resolved feet ; (6) the florid character of the music, as exemplified in 
 cieteieiXCo-o-ovo-t. A woman who falls asleep while spinning a skein of 
 thread for the market has a nightmare-dream that her neighbour Glyce 
 has robbed her hen-roost. This homely story is decked out with 
 invocations to Powers of night, and passionate prayers to heaven and 
 earth for help. 
 
 1. I337. p.€\avo-v6Kv-6tp,ova, * in dark funeral robes.' 
 
 1. 1342. tovt' €K6iv', 'that's what it is.' She means that her sus- 
 picions about Glyce's thieving are now verified. 
 
 1. 1345. Mdvta, the name for a female slave, as Mai/?}? for a male. 
 See sup. 965 ; Av. 523. 
 
 1. 1350. KV6<j>atos, 'in the early dawn,' 'before daylight.' 
 
 1. 1356. dXX' u) KpTJT€s, from a play by Euripides of that name, in 
 which Icarus, caught in the Labyrinth, sings a yiovwh'ia. 
 
 1. 1357. dp.ird\\6T6, 'lightly lift your feet.' 
 
 1. 1358. AiKTDwa Trats d Ka\d (the addition of "Aprffxi^ seems to be 
 a gloss), 'the Huntress-queen, daughter of Zeus, goddess of beauty.' 
 So in Agam. 140 Artemis is called d KaXa. The picture of the goddess 
 with her pack of hounds ranging the house is inimitably grotesque. 
 
 1. 1362. StiTvpovs, i.e. a torch in either hand: symbolical of the 
 cusps of the crescent moon. d^vTaTaiv, perhaps, 'piercing bright,' as 
 v^eia avy-q ijeXiov, II. 1 7. 372 ; or 'nimble,' 'quick.' Trapd4)'r]vov, 'light 
 the way to Glyce's house, that I may make search for stolen goods.' 
 (|)copav in the same sense occurs Nub. 499. 
 
 1. 1 366. oirep, i. e. to dyay^iv em tov araOfiov. 
 
 1. 1367. TO -ydp pdpos vwv, 'for it is the weight of our utterances 
 that it will test.' 
 
 1. 1368. fl'ircp -yc 8€i, 'if this is what I have to do, to sell like so 
 much cheese the poets' art.' 
 
 1. 1370. tTriirovot, ' pains- taking.' 
 
 1. 1372. QToiria is, exactly, 'queerness,' ' oddness.' 
 
 I. 1375. p.d TOV, the name of the God is suppressed, by that sudden 
 scrupulousness which makes a Frenchman stop short at Sacre I The 
 same phrase is found in Plato, Gorg. 466 E ; and the grammarians 
 describe it as an Attic usage. 
 
12,6 FROGS. 
 
 1. 1377. avTa X-ripetv, ' was talking nonsense withal.' 
 
 1. 1378, irapd TO) TrXdo-TiY-y', a huge weighing machine, with a pair 
 of scales (irXdo-TL^Ye), is here brought on the stage : and the rivals are to 
 shout one verse each into either pan. 
 
 1. 1379. XaPo^evw, 'catching hold of them ;' as inf. exo|J-e0a,. 
 
 1. 1380. KOKKvcro), • give the signal ;' by crying kokkv. 
 
 1. 1382. €10' w(j)6\', the first line of the Jl/edca. 
 
 1. 1383. 2'iT6pX€i€, the first line, perhaps, of the Philoctetes of 
 Aeschylus. 
 
 Povvop.OL t' €iTio-Tpo4)ai, ' haunts of the grazing kine.' 
 
 1- 1385. ToOSe, sc. of Aeschylus, who had wetted his verse W'ith the 
 waters of the Spercheius, and had made it thereby heavy, like a wool- 
 seller, damping his wool. Euripides had contributed the ' white %vings ' 
 of a ship ; the very type of lightness, 
 
 1. 13S9. KdvTicrTT]crdTa), 'and let him weigh it against mine.' 
 
 1. 1 390. Tiv = Lat. en I 
 
 1. 1391. Ipov, 'temple,' from the Antigone of Euripides. The next 
 verse ran, in the original, koX ^oj^los avTrjs ear' kv dvOpujircuv cpvaei. In 
 Hec. 816 Euripides speaks of Hndoj as Tvpavvos di'OpwTrojv pLovq. Here 
 the sovereign powder of Argument or Speech, as in the ' Clouds,' is made 
 a first article of belief. 
 
 1. 1392. jiovos 0€uv, from the Alobc of Aeschylus, who makes his 
 Qdvaros impervious even to li^iOw, as the next lines run fxovov l\ UdiQu 
 daifjLovcov dTToaTarei, etc. 
 
 1. 1393. p€iT6i, 'preponderates:' said of the descending scale, as 
 II. 22. 212 ptVe 5"'EKTopos aiaipLOv rjixap. 
 
 1. 1398. Ka0tX|ci, 'shall drag your scale-pan down.' 
 
 1. 1400. PtpX-^K' 'AxtXXevs, quoted from the first edition of the 
 Telephus of Euripides, where Achilles and the other captains are repre- 
 sented as dicing. Dionysus maliciously suggests to Euripides a paltry 
 and trivial verse, when he wanted something Kdpxepov Kal p-eva. The 
 .Schol. says that Dionysus also means to hint that Aeschylus had practi- 
 cally won. But two aces and a quatre are surely not good points to 
 make off three dice, when you might throw rph cf, Agam. 33. 
 
 1. 1 401. Xcyoit' av, 'be pleased to recite, as this is your last 
 weighing.' 
 
 1. 1402. o-i8T]po|3pi0es, from the Alelcager. 
 
 1. 1403, €({>' app-aTos, from the Glaums Potniens ; the next line ran 
 
 t'TTTTOt t' I^' 'ilTTTOJV TjGaV €/J,1Te(pVpiJ.et'0l. 
 
 1. 1406. AiYviTTioL, although they knew how to raise such ponderous 
 blocks of stone, as their temples and pyramids show. And, probably, 
 there is a further allusion to the common statements in Homer about 
 the superior size of men and things in the heroic age. 
 
NOTES. LINES 1377-1434. 1 27 
 
 1. 1407. Kal \iy]K(T', sc. Kpivrjs ttjv Troir^aiv rijxojv. 
 
 1. I408. Kir)(j)i(To4)wv, see on sup. 944; 1048. 
 
 1. 1409. TO, |3i.pXta, sup. 943. After 1. 1410 Fritzsche, Meineke, and 
 others mark a lacuna in the text. It seems as if some command of 
 Pluto, earlier than in 1. 1414, had dropped out. Velsen greatly im- 
 proves the sense by inserting 11. 1407-14 10, Kal p.tjk€t' . . . kpCj fxuvov, 
 between 11. 1400 and 1401 ; and letting 1. 1411 be a continuation of the 
 words of Dionysus, after Alytjittlol. 
 
 1. 141 6. dTTii = al>/dis not aln. 
 
 1. 1 41 8. €m TTOITITTIV, SCC SUp. 69. 
 
 1. 14 19. Totis xopoiJS, SC at the plays about to be produced at the 
 (ireat Dionysia, which would come on some two months later. 
 
 1. 1 42 1. |j.oi 80KW, 'my intention is.' The personal adaptation of the 
 common phrase So/ceF, €bo^4 /xot. 
 
 1. 1423. SvoTTOKet, properly used of women having hard labour in 
 childbirth. Here it seems to mean (as yvu)\i.-T\v suggests) ' cannot come 
 to a decision,' *is in agonies of perplexity.' Kock interprets it as 
 meaning, ' is in distress about her children : ' with which we might 
 compare the Homeric epithet of Thetis, dvaapiaroToKcia, II. i8. 54. 
 
 1. 1424. TToOei p,ev, imitated from the ^povpoi of Ion of Chios; 
 where Helen says to Odysseus, 0-475 ^eV, kxOacpei 5e, fiovXeTai ye 
 
 /XTjV. 
 
 1. 1429. iropip-ov, 'helpful;' d(xf,xavov, 'ineffective.' 
 1. 1430. o-u XP'H- As Euripides had given his opinion in f/iree lines, 
 we naturally expect Aeschylus to do the same : but there are textual 
 difficulties in the lines assigned to him. For PJutarch (Alcib. 16), 
 quoting the passage, omits the first line; and several MSS. omit the 
 second, which is rejected as superfluous by most modern editors, and 
 may be a Sirroypaipia. The picture is borrowed from the Agam. 717 
 foil., where Paris is similarly described : 'iOpixpev St Xeovra oiviv, etc. 
 ' 'Tis wrong to rear a lion's whelp in the state — best indeed not to rear 
 a lion at all-^but if we have let him come to full growth, we must 
 humour his temper.' Fritzsche assigns the line jxaXto-xa p.ev to Dio- 
 nysus ; and sees in it an allusion to ^.io:v (Thuc 8. 24), who appears 
 to have been originally elected among one of the ten aTpaTrjyoi (Xen. 
 Hell. I. 5. § 16). He seems to have been hardly prominent enough 
 to have thus pointed the parable. If we adopt the suggestion, we shall 
 have to write Aeovra crKvp,vov in 1. 1431. The interpretation of the 
 parable is that it would have been best never to have had an Alci blades 
 at Athens at all : but now that they have let him grow up among 
 them, they must make the best of him. 
 
 1. 1434. o-ocjjais . . . aa4>ws. It is difficult to decide which of the two 
 poets is here credited with 'cleverness,' and which with ♦clearness.' 
 
128 FROGS. 
 
 The words of Euripides read, at first sight, like a clear statement ; 
 those of Aeschylus like the dark speech of an oracle. But, on the 
 other hand, we may say that, really, the words of Euripides are merely 
 the clever commonplaces of a rhetorician ; while the parable of 
 Aeschylus has a meaning as clear as daylight. And this seems to be the 
 best interpretation, especially as Euripides is called (inf. 145 1) w 
 croc})coTaTT| <j)\Jo-is, and in 1. 1 445 is asked to speak cracjjecrTepov. 
 Meineke gets over our difficulty and points the perplexity of Dionysus 
 by reading cro^jtos in both places. 
 
 1. 1437. €1 Tis TTTepuxTas. Commentators have exhausted their in- 
 genuity in the interpretation of these lines : or have followed the lead of 
 Aristarchus and Apollonius in rejecting them altogether. It seems 
 most likely that their sense lies in their nonsense : but the nonsense 
 is so chosen as (i) to represent Euripides as playing the buffoon ; (2) to 
 give a by-blow to Cleiocritus, Cinesias, and Cephisophon ; and (3) to 
 suggest that the only course of safety for the state is entirely to reverse 
 her hitherto policy ; and, in fact, to achieve the impossible. The 
 ' impossible achievement' of making use of Cleiocritus and Cinesias is 
 phrased just like the 'impossible' contingency, suggested (Acharn. 
 915 foil.) by the informer, that the introduction of Boeotian wares, 
 such as ' wicks,' might cause a conflagration in the docks ; hOels av 
 (sc. TTjV OpvaWiSa) c? Ti(pT]V dv^p Boiojtlos \ aipas av eiaTrefJ-ipfKv h to 
 Viwpiov 1 5i' vdpoppoas, (3opiav kinTrjprjaas fieyav, \ Ktiirep ka^oiro twv 
 veojv TO vvp drra^, \ acXayoivT av €v6vs. The materials for the picture in 
 the present passage are not, indeed, a 'wick' and a ' peascod;' but the 
 fat and unwieldy Cleiocritus, who is called the son of an ostrich 
 (Av. 876), and the spindle-shanked, unsubstantial, dithyrambic poet, 
 Cinesias {fxaKpuraTos Kal XeTTTOTaros Kivrjaias Ath. 12. 551). 'If any- 
 one, having feathered Cleiocritus with Cinesias (that is, having attached 
 the light man, like a pair of wings, to the heavy one), — the breezes 
 should waft them over the ocean-surface — if they should engage in 
 seafight, and then, holding vinegar-cruets in their hands, should sprinkle 
 them in the eyes of our enemies.' The first lines have no grammatical 
 construction, and it would be a better arrangement to slip in the 
 question of Dionysus yIXolov . . . TLva ; (1. 1439) ^^^^r ^Xfi^apa Tuiv 
 cvavTiov (1. 1441); so that the words of Euripides tyu) |i,€v ot5a, etc., 
 would be a direct answer to the challenge, vovv S' cx^' "^^^^ > as they 
 stand, they merely mark the transition from nonsense to oracular 
 obscurity. 
 
 1. 1 45 1. €\) -y', w IlaXdfXTjSes. Palamedes was one of the Greeks who 
 joined in the Trojan expedition, and was treacherously murdered 
 through the jealousy of Agamemnon and Odysseus. He appears in 
 later times as the type of the inventive genius : which gives the point 
 
NOTES. LINES 1437-1468. 1 29 
 
 to the name as applied to Euripides. The allusion to Palamedes, the 
 man of inventions and dodges, proves that the commentators are wrong 
 in proposing to expunge the grotesque lines about Cleiocritus and 
 Cinesias. 
 
 1.1456. iroOcv; ' how could that be ? ' as in the frequent Demosthenic 
 formula, iroOev ; ttoXXov 76 koI 5eT. 
 
 1. 1457. TTpos p(av, 'sore against her will ;' as in Acharn. 73. 
 
 1. 1459. -^ K-T1T6 x^o-iva. The x^atva, or 'cloak,' is of finer texture, 
 and more valuable than the rough 'rug' of goat-skin (aiavpa) ; and 
 so would represent the better, as distinguished from the lower, citizens. 
 The Athenians are most hard to please. 
 
 1. 1460. ciirep dvaSucret (Fut. 2 pers. sing. dvaSvopiai), ' if you mean 
 to emerge into the upper world.' Some make 17 ttoKis the subject to 
 dvaStjcrct (act. voice), and render, 'if the state is to have a chance 
 of recovery.' 
 
 1. 1461. cKci, commonly means 'in the lower world,' and evGaSi, 'in 
 the land of living.' Here, as the scene is laid in Hades, the meanings 
 are reversed. 
 
 1. 1462. dvi€t, 'send up,' as some beneficent spirit might do. Cp. 
 Pers. 650 Aidoivevs S' avanofxirds avuirjs Aapeiov. 
 
 1. 1463. Ti^v ^-^v. Aeschylus says, that the state may yet be saved^ 
 'when the citizens regard their enemies' land as their ov^ti; and their 
 own as belonging to the enemy ; considering their ships as representing 
 their real income, and their present in-comc as only so much out-going 
 (to keep some play on -nopos and d-nopia).^ He means that their true 
 policy is to ravage the coast of the Peloponnesus, etc., but to abandon 
 Attica to the invasion of the enemy : to consider that their real strength 
 and real riches lie in their ships, the number of which should, ac- 
 cordingly, be increased : for the motiey that comes in to them at present 
 only goes out again into the purses of dicasts, etc., and so is really 
 'poverty' to the state. The first part of the advice tallies with that 
 given by Pericles (Thuc. i. 143), r\v t' km t^v x^P^v fip.wv Tre^?} 'iojolv, 
 ■qiius €TTi TTjv kKeivojv irXivaov^iOa. The recommendation to trust in the 
 'wooden walls' is older still. 
 
 1. 1466. dv, tt\t|v 7'. ' Probat quidem hoc consilium Bacchus, sed 
 veretur tamen, si quid inde boni redundaverit ad rem publicam, ne 
 id totum absumant iudices, quos imprimis odit noster, ut ex Vespis 
 aliisque eius fabulis intelligitur.' Bothe. The force of irX-qv 76 seems 
 to be that it is not absolutely true that the irvpos is diropia for every- 
 body ; seeing the dicast grows fat on it. 
 
 1. 1468. aipT)oro|xaL y6.p. This reads like a quotation from a play; 
 or the jingle of some popular game : as children sing ' take the one 
 that you love best ! ' Otherwise we should have o-noripov rather than 
 
 K 
 
130 
 
 FROGS, 
 
 ovirep. By this interpretation we gain an emphasis for avTrj, 'my 
 decision shall be this well-known one, 77/ ^ake whom I pleased 
 
 1. 1469. ovs uj|jiocras. When? The Schol. says -npiv KcvriKQilv. 
 But we know nothing about this t| yXutt' 6p,a)|xoK', see on sup. 
 
 lOI. 
 
 1. 1474. irpoo-pXtircis ; 'darest thou look me in the face?' This line 
 probably, and the next line certainly, comes from the Aeolus of Euri- 
 pides ; where Aeolus detects the incest of Macareus with Canace 
 (sup. 850), and addresses him sternly with the words ai'crxio'Tov . . . 
 irpoo-pXttreis ; on which Macareus retorts t'i 5' aiVxpoi/, t\v /.it) roiai 
 Xpcvfievois SoKfi ; which Aristophanes parodies, by making the pleasure 
 of the spectators the standard of right and wrong. 
 
 1. 1477. Tis otSev. Euripides is 'hoist with his own petard.' He 
 resents being forsaken, and left dead. 'Dead!' cries Dionysus, 'your 
 own motto (sup. 1082) says that, for aught we know, death is life, 
 and life death.' The point of the next line is, at best, but a poor 
 jingle between irvctv and Sei-Trvctv — ' breath and breakfast : nap and 
 blanket are all the same !' 
 
 I. 1479. X'^P^^TC, addressed to Aeschylus and Dionysus (as shown 
 by crcpoj inf.) ; the address returns immediately after to the more im- 
 portant personage, who is going to carry out the orders. So in 
 Vesp. 975 '^\ avTiPoXoj a', olKTeipar avrov, ui vaTcp, Kot fiij diacpOdptjre, 
 Lysist, 1 166 a.(per\ wydO', avrois. 
 
 1. 1 484. irApa 8€ iroWoicriv p-aGciv (i. e. irdpeaTi), 'one may learn it 
 by many proofs.' Euripides had vaunted the glories of ^vveo-is, a 
 favourite word with him (sup. 893) ; so that here a distinction is drawn 
 between specious and untrained ^vvems, and the same quality trained 
 and perfected (y\Kpi^(i}\iivr]v). 
 
 1. 1485. SoKTicras, 'having proved himself,' 'having been adjudged to 
 be:' as in Av. 1585 opviOes tiv(s | kiraviardfjLevoi toTs drjfiOTiKoiaiv 
 bpvkois I ISo^av dhiKiiv. 
 
 1. 1 491. xaplev. Just as we say, 'quite the correct thing ;' meaning, 
 at once, proper and advantageous. 
 
 1. 1493. diroPaXovTa jtovcruK-fiv, 'having discarded all true taste.' 
 The Chorus seeks to draw the distinction between true poetry and real 
 art, as represented by Aeschylus, and the literary trickery and sophistry 
 of Euripides ; which here, as in the ' Clouds,' was unfaiily taken to 
 represent the sum and substance of the Socratic teaching. 
 
 1. 1496. crejjLvoio-t, 'grand,' 'imposing;' as in Hippol. 952 O-qpeiiovai 
 yap I Giixvols Xoyoiaiv alaxpd y.r]XC^^^P-^voi. 
 
 1. 1497. o-Kapi<j)ificrp.oiJS, ' petty quibbles ; ' properly ' scratchings up.' 
 So aKapicpaaBai, used of the action of a fowl on a dunghill ; like ffKa- 
 \(vHv, from which comes GKaK-aOvpixdna, in a similar sense of ' quib- 
 
NOTES. LINES I469-1526. 13I 
 
 blings' (Nub. 630). ' It is the mark of a crazy man to waste idle 
 hours over fine words,' etc. 
 
 1. 1501, f|[Ji6T€pav. Scaliger corrected to vfxfripav. But a compli- 
 ment to Athens is implied in the use of f]|x€T«pav by Tluto ; as though 
 he claimed Athenian citizenship. 
 
 1. 1504. TOVTi. The Schol. says only o'xoii'ioi' -npus d7xov^i' ij n 
 ToiovTo avfi^oXov OavcLTOv. Probably the rd rpia eh Odvarov, the three 
 ' instruments of death,' are meant ; namely, ^'upos, ^poxos, and kwvuov 
 (hemlock). For tovti in 1. 1505, which makes a paroemiac in an 
 unexpected place of the anapaestic system, Bergk reads tovtovcti, 
 sc. fipoxovs, Meineke tovtoicti, as though the iropioTai were sitting in 
 the theatre. The TropiaraC were a special board established for the 
 levying of extraordinary supplies {iropoi). For Cleophon see sup. 
 679. About Mynnex and Archenomus nothing is known. If 
 Nicomachus be the person against whom the (30th) speech of 
 Lysias is directed, he was a inro-ypap,p.aT€iJS, of servile origin, who 
 was entrusted with the revision and publication of the Laws of 
 Solon : but he kept the work hanging on, month after month, 
 and altered the laws to suit his pocket and his politics. He fled 
 from Athens at the time of the Thirty ; but returned with the revival 
 of the democracy, and resumed his task, with even more discreditable 
 results. 
 
 1. 15 1 1. cTTigas, 'having branded them ;' the punishment of runaway 
 slaves. 
 
 1. 15 13. Adeimantus was a friend of Alcibiades, and his colleague 
 in the expedition to Andros (407). He was one of the commanders in 
 the battle of Aegospotami, and though he was taken prisoner, his life 
 was spared. He was impeached by Con on for treacherous aid given to 
 the Spartans in the battle. 
 
 1. 1520. 6 iravoOpYOS, sc. Euripides. 
 
 1. 1523. jiTjS' dKwv, 'even against his will.' Aeschylus, to be quite 
 sure of excluding Euripides, puts an impossible hypothesis, as if it were 
 likely that Euripides would object to occupy a seat to which he had 
 laid such passionate claim. 
 
 1. 1526. Totcriv TOiJTOv TovTOv [xtXccTtv. This is translated, 'be his 
 escort, celebrating him with his (own) lays and tunes.' Bentley con- 
 jectured roiaiv kavTov, but perhaps he may justify tovtov from Plato, 
 Lach. 200 D knfl KOLV kyw tvv HiK-qparov tovtco ^Stara (TnTpiTToifii, 
 €t e9e\€i ovTos. The lays and choral music of Aeschylus were essentially 
 dactylic, as shown by the following li,;es; which the Schol. describes 
 as modelled on a passage in the FKavKos UoTvievs. Perhaps the song of 
 the Tlpoiroiinot at the end of the Eumenides was in the mind of 
 Aristophanes as he wrote. 
 
 K 2, 
 
1^2 FROGS. 
 
 1. 1530. dYttOds 8iavoCas, cp. Eum, 1012 ftt] 5' ayadcuu dyaOrj Biavoia 
 tToKiTais. 
 
 1. 1533. iraTpiois 6v dpovpais. If he must fight, let hun fight on 
 the barbarian soil of his native Thrace (sup. 679) ; but not in Athens. 
 TovJTCDv, sc. the spectators. 
 
INDEX 
 
 OF PROPER NAMES AND THE PRINCIPAL WORDS AND 
 PHRASES EXPLAINED IN THE NOTES. 
 
 The references are to the lines in the Text. 
 
 ^KyaOoiV, 83. 
 dypioTTOids', 837. 
 ^AdeifxavTOS, 15 13. 
 ciBpos, 1 100. 
 Aiyij/a, 363. 
 
 AiyVTTTLOL, 1406. 
 
 alOep oiKTqcnv Aids', lOO. 
 a^aXarrcoroff, 204. 
 CLKpi^ovaOai, 1483. 
 aXrjdes (proparox.), 840. 
 d\iv8rj0pa, 904. 
 'A\Ki^cddi]s, 1422 foil 
 'A\Kp.^VT], 531. 
 ^Aixei-^rias, 1 3. 
 dfiTjxavos, 1429. 
 dn(f)L, 'in honour of,' 215. 
 dp,(f)iXa\os, 679. 
 dv, with pres. particip., 97. 
 dv, with aorist of frequent 
 action, 911. 
 
 dvafiLta-qv, 1 7 6. 
 
 dvabipeaOai, 1 106. 
 
 dvabvecrOaL, 860. 
 
 dvabva-€i (2nd or 3rd pers.), 
 
 1460. 
 dvaKV7TT€iv, 1068. 
 dvaved^civ, 593. 
 dvdnavXai, 112. 
 dvaaTvdv, 903. 
 dvarpeipeiv, 944. 
 'Avdpofxedrj, 53. 
 
 aveivai opyr]^, 70O. 
 dvefxipvrja-Koprjv (tense), 66 r. 
 dvijpico^oXuaa, 554. 
 dv6ocrp.ias (oIpos), 1150. 
 ai/^pcoTTeico?, 1058. 
 cii'teVai, 1462. 
 duTayopeveiv, 1 07 2. 
 dvTeKTeiveiv, 1042. 
 dvTi^aivfiv, 202. 
 ai/TiAoyiai, 775. 
 aiTioT^crat, 1389. 
 aj/L/tras', 1 171. 
 a|6tf (aiWco), 1 001. 
 aTTepiKdXrjTOS, 839. 
 dnrjdelv, 943. 
 a7rd = 7repi, 762. 
 drro^aXelv p.ov(nKrjVf 1493. 
 aTTodrjpelv, 48. 
 aTToSos (aTToSou), 1235. 
 aTroXajSeti/, 78. 
 dnoppTjTa (rd), 362. 
 dnopia, TTopos, 1465. 
 aTTOjudrrecr^at, 1040. 
 aTToXei cr (aTroXets), 1245. 
 dnoaepwueladai, 703, 833. 
 divo(To^r)(Tai, 45. 
 dnoTpoiiyeiv, 367. 
 ap"ff)^ 378. 
 
 apicrr' e^ft^' rtj/oy, 1 161. 
 dpovpaia 6e6s, 840, 
 'Apxed,]fios, 417, 588, 1 195. 
 
134 
 
 INDEX. 
 
 'ApX^vofios, 1507. 
 daaXaixlvios, 204. 
 dcra(f)T]s, 1 122. 
 
 dffKclv, with personal object, 
 
 1030. 
 aoretoj/, 5. 
 aTOTTia, 1372. 
 Avalvov \idoSy 194. 
 avdadoa-TOixos, 837. 
 avTols To2s TaXdpois, 560. 
 (ivTOKOfxos \o<pid, 822. 
 avTOTTpe/jLVos, 903. 
 ai/To'y (of dignity), 520. 
 avT^ Koa|, 226. 
 d(f>atpe1v, 518. 
 d(f)avaLV€i,v, 1089. 
 d(f)i€fM€VT] XafXTrdsj 131. 
 *A)((p6vTLos (TKoiriKos, 471. 
 
 ^aK;^eios' ava^, 1 259. 
 ^apaOpov, 574. 
 ^Xeneiv 8pip,Vy 562. 
 /Soeioy, 924. 
 ^op^opos, 145. 
 ^6(rKT]p,a, 892. 
 ^ov^tovidv, 1280. 
 Brachylogical comparison, 
 1061. 
 
 yaXjJj/ opaj, 303. 
 
 yaCpos, 282. 
 
 yey pa ij.p€vr)v cIkov' iardvaiy 537. 
 
 ycveadai 6vpas, 462. 
 
 yvyev^s, 825. 
 
 TXvKT), 1343. 
 yVCOfJLOTVTTOS, SjJ, 
 
 yo/jLCpoTTayrjs, 824^ 
 yovifios, 96. 
 Fopydj/es-, 477. 
 ypvCeiv, 912. 
 ypvndeTOi, 929. 
 yaviaapoi, 956. 
 
 SapSaTrreti', 66. 
 Seij/a TTOieti'j 1 09 3. 
 
 Sfii/a (6), 918. 
 
 fia'^61 (impers.), 1261. 
 
 Deliberative conjunctive, i. 
 
 STjfioKpaTiKos, 952. 
 
 drjfJLOTridijKos, 1085. 
 
 Aiaydpas", 320. 
 
 SiaSpacriTroXiTay, 1 1 4 . 
 
 Siatrai, 114. 
 
 SidpcTpoi, 801. 
 
 diavXiov, 1263. 
 
 8i8daKeiv (put on Stage), 1026. 
 
 Alktvvvg, 1358. 
 
 Aidp,eia, 651. 
 
 A 16s Kopii/^oy, 439. 
 
 diTTvpos, 1362. 
 
 Atn'Xas, 608. 
 
 doKTjo-as, 1485. 
 
 5oKeti' = pretend, 565. 
 
 Su' o/3dXco, 1 4 1. 
 
 bvaapepidv, 1287. 
 
 ^vcrroKeti/, 142 3. 
 
 dvax^^p^epoSf 125. 
 
 eyeipeiv Xap-nddas, 340. 
 eyKoXvnTeiv, 911. 
 iyKaraKpoveiv, 332, 374. 
 eSei (tense), 12, 37. 
 eteieieieieiXi'o-o-eii/, 13 14, 1348. 
 etKOj/es-, 905. 
 €iKo(rroXdyoy, 363. 
 eipTjviKos, 715. 
 €ts Ij/ crvvTspvciv, 1262. 
 'E/cdraia, 366. 
 eK^aX^lv Ti, 595. 
 fKyev€(r6aiy 689. 
 cKdelvai alriav, 691. 
 (KOelvai iv oarpaKO), 11 90. 
 eKKeKoyJAeaOai., 1223. 
 eKTrrjviCeardai, 578. 
 exroj rojj/ iXaSav, 995. 
 (KTpoTTal, 112. 
 
 €K(j)^p€(Tdoi, 168. 
 
 ^V3a, 378. 
 ep^aXe'ii/, 206. 
 €fji(XXov dpa, 268. 
 
INDEX. 
 
 ^35 
 
 ' EfXTTOvcra, 293. 
 
 €vr}XaTO, 39. 
 
 ev(rK€vd^€iv, 523. 
 
 e^^TjypofiTjv,^ 51. 
 
 eirjs^eyyvs, 765. 
 
 i^idTacrBai, 353. 
 
 e^KTaxTai, 688. 
 
 eTraivat, see KaXXior . 
 
 eiravaa-Tpecfrnv, 1 1 02. 
 
 enepeideaBai, 1 102. 
 
 fVi (to fetch), 69, III, 577> 
 
 1418. 
 eVl TOUT i'pxeo-dai; 168. 
 emlBaTeveLV, 48. 
 fTTL^pepea-daL, 680. 
 'ETTi'Safpof, 364. 
 emdeiKWcrdai, 771. 
 eniKadrjadai, 1046. 
 iirKTKvviov, 823. 
 eTTiaTpo(f)aL, 1 383. 
 eVtrpcTrco, 529. 
 enKpvWlSes, 92. 
 
 €7r07TT€V€LV, 745, I 126. 
 
 eTTTa^o'eio?, 1 017. 
 eVvXXta, 942. 
 ^Epacrivi8rj9, 1 1 97- 
 epiOTTCijkiKcos, 1386. 
 'Ep/iT^f ;(^dj/ios, 1 1 26 foil. 
 eppeiv, 1 192. 
 "Epu^i?^ 934. 
 fs- ray wpas, 381. 
 eV/3oXat, 956, IIO4. 
 earpaTevpevoi, ill 3. 
 er»; . . . fViavroi, 347. 
 evKoXos, 82. 
 evreXeia, 405. 
 f;(eii/ Kara ^^copai/, 793. 
 €)(ea6ai fxecros, 469. 
 f'XP^'^j 568. 
 
 e;^coz^, of continued action, 202, 
 512, 524. 
 
 *H'yeXo;(^os', 303. 
 
 T^Kfii' and /caTep;(eo-^ai, 11 27 foil., 
 I163. 
 
 ;?Mi, 37- 
 
 'HpaicXfin, 651. 
 
 ' HpaKkeio^avdias, 499. 
 
 Tjpia-TrjTai (aptardco), 377. 
 
 'Hcr/oSof, 1033. 
 
 ^\/^e (e\/^co), 505. 
 
 ^tM, 131. 
 
 QrjpapevTjs, 541, 967. 
 Qrjaevs, 142. 
 QprjKia xiKibuiVj 68 1. 
 Bplov, 134. 
 QcopvKiaiu, 363, 381. 
 
 laxw^H-^^ (tense), 217. 
 "lafcxof, 316 foil. 
 tSi'a = p^copi'y, 102. 
 Ibiarai, 459, 891. 
 lepevs {Aiovixrov), 297. 
 ti7 K6nov, 1265 foil. 
 lfxovLO(TTp6(f)os, 1297. 
 Imperatival infinitive, 132. 
 Infinitive expressing a wish, 
 
 169, 387, 887. 
 'locf)(ov, 73 foil. 
 tTTTraXfAcrpuo)!/, 932. 
 'nnro^dpLcov, 820. 
 innoKpr^pvos, 929. 
 'Ittttcovo^, 661. 
 i(rat (\l/i]Cl)oi) , 685. 
 l(Txvaiv€tv, 941. 
 tauoi, 1029. 
 t'x^vs (ot) (fish market), 1068. 
 
 Ka^' iep5>Vf loi. 
 KaBcKKeiv, 1398. 
 Kadrjadai iv tovtw, 1 103. 
 KaOi^fiv eVt KcoTT-qv, 1 97. 
 Kat /XTyj/, 285, 288. 
 KaKap6(f)doyya 7rai(eiv, 230. 
 /fdXXicrr', eVaii/co, 508: cp. 512^ 
 
 888. 
 KaXXt;^opoy, 451. 
 KaXcoff Kat dpdvLov, 121. 
 Karoi'ey €7tu>p, 799. 
 
136 
 
 INDEX, 
 
 KapiKo. avKrifiara, 1302. 
 
 Kar ovv e^aXe (tmesis), 1047. 
 
 Kard^a, 35. 
 
 KuraKeXeveiv, 207. 
 
 KaTciVTrjs, 127. 
 
 KaraTrivfiv, 1 466. 
 
 Karaairav, 576. 
 
 Karaax^lv (touch at a place), 
 
 1208. 
 KaTaax^C^o-6aL aavdaXiaKov, 404. 
 KaT€pL<Td, 505. 
 Kareppivrj^evos, 902. 
 KareoTco/xuX/ieVos', 1 160. 
 Kar^Xi\|/-, 566. 
 Kelos-, 970. 
 
 <eXa5eti' Ibeav v/jlvcop, 382. 
 K€PTavpiKQ)S, 38. 
 Kepa/iei/cds, 129. 
 Kepap.rjs (ol), 1 09 3. 
 Kep^epioi, 187. 
 KepjSepos, III. 
 Kepo^dras, 230. 
 K€(pd\aLos, 854. 
 Kijcpiaocpcov, 944, 1408, 1452. 
 KL^8r}Xevea6ai, 721. 
 Ki/icoXt'a y^, 712. 
 Kivi]<jLas, 153, 1437. 
 KXefyeVr/s, 708. 
 KXeidrjpi^Tjs, 791. 
 KXeta^eVT/s, 57. 
 KXeiTO(^a)i', 967. 
 KXed/cptros, 1437. 
 KX(o<p(iiVy 679. 
 KXecov, 569. 
 KXlp,a^, 618. 
 
 kXv€iv and aKoCo-ai, 1 174 foil. 
 Kd/3aXoi, 1 01 5. 
 Kodopvos, 47 J 557. 
 KOKKv^eiv, 1380. 
 Kop.770<paK€Xoppr}iicov, 839. 
 Kovia, 711. 
 Kdpii/^os, 439. 
 KpanraX6Ka)p.os, 219. 
 KpavoTTOulv, 1 01 8. 
 KpaTii'os', 357. 
 
 KpeoiVf nepL rcoj/, 191. 
 Kpr/Ti/cat p.ov(o8iai, 849. 
 
 KpOKCOTo'y, 46. 
 Kpovvov d(f)uvai, 1005. 
 kvkXcoi xopoL, 366. 
 kvkXos (ipds), 441. 
 Kvp-dTcov dyKoXaL, 704. 
 KvneLpov, 243. 
 KcoStoi/, 1478. 
 Kco8covi(€iv. 79. 
 KCi>8a)VO(f)aXap67T(oXos, 963. 
 Kco/cyrds, 472. 
 Kojveiov, 124. 
 Kcppov, 511. 
 
 Aapa;(0?, 1038. 
 
 Xap-^dveiv tl rrapd tivos, 251. 
 
 Xa/i77as' = Xap.7Ta8T](popia, 131. 
 
 Xncrtai';^?;!/, 822. 
 
 Xeoz/ros GKvpvos, 143 I. 
 
 Xeo-/3iu^€tv, 1308. 
 
 X-qKvdiov (aTTOiXeaev), 1200 foil. 
 
 X-qpartdv, 494. 
 
 Aip.vai, 217. 
 
 XvyL<jp.oi, 775. 
 
 AvKajBrjTTOL, IO56. 
 
 AuKiff, 13, 
 
 ^a Tov, 1375. 
 /^aCo' 1073- 
 [xaKdpcov €va>Xia, 85. 
 fxaXXd, 103, 611, 725, 751. 
 MafxjjLdKvdoi., 990. 
 Mai/r]?, 964. 
 Maj'ia, 1345. 
 liacTTiyias, 501. 
 MeyatVeros', 964. 
 /xeia-ycoyeii/, 798. 
 fxeXapoKdpbLOS, 470. 
 MeXrjTos, 1302. 
 fieXLacrovofxoL, 1 274. 
 MeXtVr;?, ov/f, 501. 
 MeXmSat, 991. 
 fxeXos (reXoy) evpdv, 397. 
 
INDEX. 
 
 "^37 
 
 fieo-os ex^cdai, 469. 
 M6\a)v, 55. 
 
 fxovcpblaL KprjTLKai, 849, 1330. 
 nop nop (OTTO a, 925. 
 Mopaifxos, 151. 
 Movoralos, 1033. 
 fjLovaiKoiTaTa, 873. 
 fivpaim, 475- 
 
 fXVKT7]p€S, 893. 
 
 MvpfXT]^, 1507. 
 
 vcKpoi, OL avco, 420. 
 
 vevpa Ttis Tpay(o8ias (to), 862. 
 
 NtKd/xa;^"?, 1 507. 
 
 voCi/ ex^iv, 696, 
 
 Nvo-?)tos-, 215. 
 
 S€J/0K\€r]S, 86. 
 
 ^uyKXii/^s-, 1294. 
 Ivmyeti^ (;^opoi/), 453. 
 ^vvTvyxav^LV Tivi, 196. 
 
 o/3oXa) (Suo), 141. 
 
 oi5' ort, 601. 
 
 oldelv, 940. 
 
 oiKfiv j/oCj^j 105. , 
 
 oicre, 482. 
 
 ofJLoyuLOs Zevs, 750. 
 
 6p.0}xa(TTiylas, 756. 
 
 oi^os ayciiv pLvarrjpia, 1 5 9. 
 
 "Ovoi; TTOKas, 186. 
 
 ojides, 1 44°) 1453- 
 
 o^fXaXoy, 815. 
 
 Optative mood after present 
 
 tense, 24. 
 'OpecTTfia, 1 1 24. 
 opiyavov, 604. 
 'Op(f)€vs, 1032. 
 oarpaKa (castagnettes), 1305. 
 
 OT [e], 2 2. 
 
 ov yap aWd, 58, 192, 498, 11 80. 
 ov8€ eV (hiatus), 927. 
 ovdev aXX' rj (dXX' ^'), 227. 
 ov fir], in strong prohibition, 202, 
 298, 462. 
 
 ov^iaiu (prologist), 946. 
 ovpdviov ocrov, 781. 
 6(j)6aXixLav, 192. 
 
 TTakaicrp.aTa, 689. 
 UaXafirjdrjs, 145 1. 
 TIavTaKKer]s, 1036. 
 napa^aXov, 180, 269. 
 Trapdyeiv, 1054. 
 TrapaKeKLvdwevpLevov, 99. 
 napaicovaaOai, 1 1 16. 
 irapaKoveiv, 750. 
 TrapaXot, 1 071. 
 Tvapa^ovia, 819. 
 TrapaTrerdapaTa Mr/Stfcu, 93^. 
 irapacpaiveiv, 1363. 
 napSoKay, 608. 
 TTopiSetv, 815. 
 Uapvacroi, 1056. 
 Trarpiois iv dpovpais, 1533- 
 Tvarpwa Kpdrt], 1 126. 
 TTfpi T^i/ Kpeav, 191. 
 neptdrjo-aadaL top X6(pov, 1037. 
 Trepi'Spopoi, 472. 
 nepuXdpevos, 1066. 
 ireptnaTOs, 942, 953. 
 TTcpiTreTrXeuKcoy, 535. 
 
 7rJ7xeiS) 799- 
 TTivaKf^SoV, 824. 
 TrXatcrm ^vprrrjKTd, 800. 
 TrXaoTiyl, 1378. 
 TrXareiai (;(eipe?), 1096. 
 nXaratet?, 694. 
 TrXfTv (TrXetoi^), 18. 
 TvKrjyr] Trapd nXrjyrjv, 643. 
 nXivdeveLV, 800. 
 ttX'lvOovs inLTtOevai, 621. 
 TTi'eiKTftcr^at TToXu, 1221. 
 TTVLyrjpa obos, 122. 
 TTodev; 1456. 
 
 TToioy (sarcastically), 529. 
 noXXa Trpdrreiv, 228, 749. 
 TToXvKoXup^of, 245. 
 7ToXvTTpuypova.v, 749. 
 7r6pip.os, 1429. 
 
138 
 
 INDEX. 
 
 TTopiorat, 1505. 
 
 TTpdaoVf 621. 
 
 npiaaSai Tivi, 1229. 
 
 7rpoaya)y6s, 1079. 
 
 TTpos ipavTov, 53. 
 
 TTpocrovpe'iv rfj rpaycobia, 95. 
 
 7rpo(TO(f)ei\€iv, 1 1 3 3. 
 
 Trpoa-TaTTjs, 569. 
 
 TTpoaxrjP'Ci rrjs rpaywSi'af, 912. 
 
 TTporepoi/ = superior, 76. 
 
 TTpoTipau Ti, 638. 
 
 rrraipeLV, 647. 
 
 TTTrja-a-eLV, 315. 
 
 Trrcop^oTroio's-, 842, 
 
 nu^ayyfXos', 87. 
 
 TTvppiai, 730. 
 
 nvpyovv prjpara, 1 004. 
 
 ^fP^Xn, 153- 
 TTcos oiet; 54. 
 
 paKioarvppaTrrddrjs, 842. 
 peVetj;, 1393. 
 pv^ecv, 684. 
 pvTnTatraL^ 1073. 
 
 o-aXTriyyoXoyp^UTTT^mST;?, 965. 
 
 crapKaa-poTnTVOKdpiTTTjs, 965. 
 
 arjpelov iv rais vavaiv, 933. 
 
 2depe^oia, 1043. 
 
 (Ticrvpa, 1459. 
 
 (rlTrjcns iv IlpvTaveico, 764. 
 
 'SKapav^poi, 928. 
 
 (TKapK^rjapoi, 1497. 
 
 2K€j3Xvas, 608. 
 
 (TKevapia, 172. 
 
 (rK€vo(f)op€lv, 15. 
 
 (TKLv^dXnpoi, 819. 
 
 (TKopbivdaBnt, 922. 
 
 Slaves in the fleet at Arginusae, 
 
 33-, 
 aptXevpara, 819. 
 aocfiiai, 677. 
 cro<pS>s, (ra^cof, 1434. 
 a-rrovdrjv noielcrBai, 522. 
 ^Tapviov vloSf 22. 
 
 orao-tr, 358. 
 
 ordo-iy (weighing), 1401. 
 
 crracris' peXcov, 1281. 
 
 (TTi^eiVj 151 1. 
 
 (TTOijSrj, 1 178. 
 
 (TTopaTovpyos, 826. 
 
 (TTpo(f)ai, 775. 
 
 orpd^iy^, 892. 
 
 Sruyo? nerpa, 470. 
 
 (TTco^vXioo-uXXeKraST^s, 841. 
 
 o-vKa (styes), 1247. 
 
 crvvTopos {686s), 123. 
 
 cruoreXXfii/, 999. 
 
 cr(})rjV€s, 801. 
 
 crxripa Kal Xrjpa, 463. 
 
 Scoretpa (Persephone), 378. 
 
 Talvapov, 187. 
 
 Taii/iouo-^at, 393. 
 
 TaXaincopo'iTO (mood), 24. 
 
 raXai/, 559. 
 
 raXapot, 560. 
 
 ra Trpcora, 42 I. 
 
 Taprj^o-tos", 475. 
 
 Tavprjb6v jSXeVeii/, 804. 
 
 Tavpocj)dyos, 357. 
 
 re/aareueor^at, 834. 
 
 rerpippevT] {686s), 123. 
 
 reurXta, 942. 
 
 T^Xe({)os, 855, 864. 
 
 Tidpaaios, 477. 
 
 rt/i)7 = religious service, 334, 
 
 TO yevos Tov dpdparos, 946. 
 TO XP^h''^ "^^^ Kdiroiv, 1278. 
 TOt;^of 6u updrTOiv, 536. 
 rovOopv^eiv, 747. 
 TO(f)XaTT66paT, 1286 foil. 
 rpayeXaf^oi, 937. 
 rpayiKos Xrjpos, 1005. 
 rpirjpapxdv, 1065. 
 Tvp^oopvxos, 1 149. 
 TvvvovToai, 139. 
 
 vyiaive, 165. 
 
 {'TTayeij' t/;? oSoC, 174. 
 
INDEX. 
 
 139 
 
 wTraSftr, 366. 
 'Ynep^oXoi, 569. 
 V7r€ peirvppiacre (rov, 308. 
 viroypafxpiaTels, 1084. 
 vnoKivelv, intrans., 643. 
 vTToXvpios, 232. 
 v(f>ecr6ai, 1220. 
 
 (jyaXayyes, 13 14. 
 
 (pappuKos, 733. 
 
 ^fp(T€<paTTa, 671. 
 
 (pi\€(os, 244. 
 
 (pXvKTaivat, 236. 
 
 ^opfxiCTios, 964. 
 
 (jipa^eiv t5)V 68a)V, 1 17. 
 
 (ppevoTeKTcov, 820. 
 
 $pwi;^os' (the general), 689. 
 
 ^pui't;^oy (the poet), 13, 910, 
 
 1299. 
 0ucrat (fipdrepas, 418. 
 (pvcrav (blow out), 1099. 
 (poipav, 1363. 
 
 XaXKia, 725. 
 ;^aXKoi, 730. 
 Xapifts, 1 49 1. 
 ;^€Xi8oi/coi/ fMovae'ia, 93. 
 ;^eXiSa)j' Qpr^Kia, 681. 
 Xioy, 970. 
 xXali/a, 1459. 
 X0X17, 4. 
 
 Xopevciv (opyia), 356. 
 Xopeicov (xopeicdv), 1303. 
 Xopov Xa^uv, 94. 
 XvXo'?, 943. 
 
 X^ITpoi, 2 I 8. 
 
 •v/reuSoXirpos-, 711. 
 ylA6(f)os dvpas, 604. 
 
 WOTT, 180. 
 
 apaloSf 395. 
 copaKio), 481. 
 
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