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THE 
 FROGS OF ARISTOPHANES. 
 
SonDon: C. J. CLAY and SONS, 
 
 CAMBRIDGE UNIVERSITY PRESS WAREHOUSE, 
 
 AVE MARIA LANE. 
 
 Cambridge: DEIGHTON, BELL, AND CO. 
 Heipjtff: F. A. BROCKHAUS. 
 
^itt f «ss Sum. 
 
 THE 
 
 FROGS OF ARISTOPHANES 
 
 BY 
 
 W. C. GREEN, M.A, 
 
 LATE FELLOW OF KING's COLLEGE, CAMBRIDGE; 
 ASSISTANT MASTER AT RUGBY SCHOOL. 
 
 
 ED /TED FOR THE SYNDI^S^l^m^jnilVERSITY PRESS 
 
 ^>> OF nas «3^ 
 'ITHITSKSITTI 
 
 OTambnligc : 
 
 AT THE UNIVERSITY PRESS. 
 1888 
 
 \All Rights resei'ved.\ 
 
^^^n 
 
 
 Cambridge t 
 
 PRINTED BY C. J. CLAY, M.A. AND SONS, 
 • . AT THE UNIVERSITY PRESS. 
 
rrr 
 
 INTRODUCTION "to THE FROGS. 
 
 TAe Frogs was exhibited at the Lenaea in the archonship of 
 Callias, that is to say in January B.C. 405. Thus it was separated 
 from The Birds by an interval of eight years. It was brought 
 out under the name of Philonides, as had been also The Wasps. 
 Aristophanes gained the first prize with this play, Phrynichus 
 being second with The Muses, Plato third with The Cleophon. 
 And so greatly was it admired, especially for the Parabasis, 
 that it was, as Dicaearchus tells us, exhibited a second time in 
 the same year. 
 
 Thus much we gather from the Greek arguments. 
 
 Probably no play of Aristophanes has been more often 
 edited, translated, and read: for in its political, religious, and 
 literary bearing it is of exceptional interest. 
 
 Some knowledge of the course of events in Greece for the 
 few years preceding the exhibition of The Frogs is necessary in 
 order to understand the state of Athens at the time. A careful 
 and able review of the history of these years, and of the political 
 situation, is given by Kock in the first section of his introduc- 
 tion. No doubt the more fully we know the history of the states 
 of Greece from the Sicilian expedition to the downfall of Athens, 
 the more fully we understand the mining and countermining of 
 oligarchs and democrats, the better we shall appreciate all the 
 political and personal allusions in a play written at such a 
 critical time. But the general student will not need more than 
 a clear view, of the main facts, and of Aristophanes' political 
 opinions, which are tolerably consistent throughout all his 
 
VI INTRODUCTION 
 
 comedies. For the full details of history he may consult Thirl- 
 wall or Grote. And the literary aspect of the play, the com- 
 parison and criticism of the two great tragic masters Aeschylus 
 and Euripides, will be for modern scholars the most interesting. 
 Perhaps the clearest arrangement will be to give : 
 
 I. A brief historical sketch to the year when The Frogs was 
 brought out. 
 
 II. The argument and substance of the play itself. 
 
 III. A view of its political, religious, and literary drift. 
 
 I. 
 In the year B.C. 405 the Peloponnesian war was approaching 
 its end. From the failure in Sicily B.C. 413 Athens never 
 recovered. New fleets indeed were manned, and successful 
 battles fought : but internal dissension prevented unity of pur- 
 pose and paralyzed all effort. Alcibiades, the one man whose 
 genius might possibly have saved his country, was for a time 
 active against it, then was restored to it for a brief space, but 
 soon again distrusted and disgraced. While Attica was hard 
 pressed by the occupation of Decelea, the operations of war were 
 chiefly in Asia Minor. And here was more negotiation than 
 fighting. To detach the Persian king from the Lacedaemonians, 
 and thus win by Persian gold, was the aim of the oligarchical 
 party at Athens ; who were working themselves into power, and 
 purposed at the same time to substitute aristocratic for demo- 
 cratic government at home. Alcibiades gave them some help 
 in these negotiations, though he does not seem ever to have 
 gone with them heartily. This change of government they 
 efl"ected: the Four Hundred were established: communications 
 with Sparta were opened. But it was a short triumph. The army 
 and fleet in Asia stood firm for democracy. Even at Athens 
 there was a split in the oligarchical camp. Theramenes held 
 back from the extreme measures of his party. Phrynichus, the 
 most decided oligarch, who was prepared to betray all to Sparta 
 and establish oligarchy at the expense of liberty, was slain 
 in the market-place. The Four Hundred were put down: 
 the assembly of Five Thousand established. Of this limited 
 
TO THE FROGS. vii 
 
 democracy Thucydides (viii. 97) says that it was the best polity 
 which Athens had seen in his lifetime, being a reasonable com- 
 promise between oligarchs and democrats. Indeed brighter 
 days seemed to be dawning. The successes of Thrasybulus 
 Thrasylus and Alcibiades about the Hellespont (B.C. 410 — 408) 
 led to Alcibiades' return amid general rejoicing. But this was not 
 to last. Overtures of peace made by Sparta were disdainfully 
 rejected; full democracy was reestablished; and, as a conse- 
 quence, the oligarchs were roused to new efforts. Both these 
 and the extreme democrats strove to ruin Alcibiades. He was 
 sent to Asia Minor with a fleet, which during his temporary 
 absence sustained a defeat through the folly of his subordinate. 
 For this mishap Alcibiades being held answerable was deprived 
 of his command : thus he was lost to his country, never again 
 to reappear. Whatever may have been his faults of ambition 
 and selfishness (and doubtless they were great), he appears on 
 his return from exile to have been honestly bent on doing good 
 service to his country: nor can it be doubted that his final 
 retirement hastened the downfall of Athens. 
 
 One more brilliant success preceded the disastrous end. 
 Conon, Erasinides and eight other generals succeeded to the com- 
 mand of the fleet (B.C. 406). Conon being defeated and shut up 
 in the harbour of Mytilene, the Athenians, roused to a desperate 
 effort, manned another large fleet, embarking citizens, resident 
 aliens, and even slaves with promise of freedom. The Spartan 
 admiral Callicratidas, leaving some ships to confine Conon, 
 met the enemy with the remainder, and sustained a signal 
 defeat. To follow up the victory and release Conon by surprising 
 and overwhelming the squadron that imprisoned him, was one 
 plain duty before the generals: they also had to rescue the 
 crews of their broken vessels from a now rough and stormy sea. 
 Theramenes with a small part of the fleet was to do the latter: 
 the main part was to sail for Mytilene. But a more furious 
 storm made both tasks impossible ; and when this had abated, 
 it was too late, the shipwrecked sailors were lost: Conon how- 
 ever had escaped and joined the Athenian fleet, but his block- 
 aders had escaped also. This victory (so often alluded to in The 
 
viii INTRODUCTION 
 
 Frogs), though its completeness was somewhat marred by the 
 storm, was decisive. And had it been used with moderation, 
 Athens might yet have retrieved much. But offers of peace 
 (which seem to have been renewed by Sparta at this crisis) were 
 again rejected at the instance of Cleophon : and the very 
 generals who had won the victory were cruelly condemned by 
 an ungrateful country for not performing the impossibility of 
 rescuing the crews. Their trial, condemnation, and the exe- 
 cution of those who ventured to stand the trial, appears to have 
 been utterly against law, fairness, and prudent policy. Grote 
 regards the whole business as an outburst of popular indigna- 
 tion, a kind of lynch-law. But from the fact that the generals 
 were democrats, and from the part that Theramenes plays in 
 the matter, it is probable that this popular indignation was 
 fomented by the oligarchs for party purposes ; that they, in fact, 
 cunningly hounded on the demos to put out of the way its best 
 defenders. Kock says of the trial and condemnation of the 
 gei. als that "it was the first link in a chain of measures which 
 were to bring about the subversion of the democracy, the be- 
 trayal of the State to Sparta, and the supremacy of the oligarchs 
 or of Theramenes." How this programme was carried out— the 
 defeat or betrayal at Aegospotami, the siege and final sub- 
 mission of Athens — need not here be detailed : our play comes 
 just between Athens' last success and her fall, 
 
 II. 
 
 The argument and substance of the play are as follows. 
 
 The gad Dionysus, being utterly disgusted with the degene- 
 racy of the drama now that the three great masters are dead, 
 resolves to descend to the nether world and bring back thence 
 Euripides his favourite tragic poet. Attired as Hercules, and 
 attended by a slave Xanthias, he goes first to his brother 
 Hercules for instructions. Duly instructed, the pair make 
 their way to the infernal lake: Dionysus is ferried across it, 
 Xanthias goes round it, and after several amusing adventures 
 they come to the bright fields where the Mystae, the initiated of 
 the Eleusinian mysteries, are enjoying their happiness. Here 
 
TO THE FROGS, ix 
 
 they pause awhile and listen to the hymns of these blessed 
 spirits (who are the true Chorus of the play), with which are 
 ll interspersed passages of political meaning and personal satire. 
 [I These form the first part of the Parabasis. After this the 
 ) Chorus direct the travellers to Pluto's house, at whose door they 
 knock. Aeacus, who acts as porter, receives the supposed Her- 
 cules with abuse and threats of punishment for the theft of 
 Cerberus. While he is gone for assistance, Xanthias changes 
 dress with Dionysus, but being invited to a feast is forced by 
 Dionysus to resign his borrowed character, which however he 
 is again persuaded to take when two hostesses alarm the 
 cowardly god with threats of retaliation. At this point Aeacus 
 returns with assistants and prepares to arrest Xanthias: who 
 denies his crime, and ingeniously offers his slave Dionysus for 
 examination by torture. Dionysus alarmed pleads his divinity : 
 and, when the proposed ordeal by scourging fails to shew which 
 is the true god, they are taken indoors to Pluto. 
 
 This ends the first half of the play. le^ 
 
 The Chorus in the Parabasis counsel the state to use leniency 
 towards bygone errors of citizens, and to employ the honest and 
 noble in place of the rascal demagogues. 
 
 The second half of the play consists of the contest between 
 Aeschylus and Euripides, which ends in Aeschylus being chosen. 
 
 Aeacus and Xanthias return. The true Dionysus has been 
 discovered by Pluto and Proserpine. And his arrival proves 
 most timely; for Euripides is on the point of contesting the 
 tragic throne of the nether world with Aeschylus, and Dionysus 
 is just what theywanted — a judge. 
 
 The competitors enter, and after mutual recriminations 
 
 inaugurate the contest by prayer and sacrifice. Euripides 
 
 I pleads first, pointing out Aeschylus' faults of bombast, ob- 
 
 ij^curity, mysterious marvels; and his own reforms in tragic 
 
 art by introducing clearness, common sense, smart dialogue. 
 
 Dionysus frequently interrupts, favouring Euripides, the speaker, 
 
 on the whole, but with some covert satire : while the Chorus 
 
 j» plainly show a preference for Aeschylus. Then Aeschylus 
 
 replies, stating that the mission of a poet is to ennoble his 
 
 G. R. h 
 
X INTRODUCTION 
 
 audience : this he claims to have done by high heroic themes 
 treated grandly : whereas Euripides has chosen meaner sub- 
 jects, spoken of crimes which should be left untold, and 
 encouraged quibbling argument rather than noble action. 
 Dionysus is somewhat won over to Aeschylus by this reply ; 
 the Chorus encourage the combatants to do their best. 
 
 The prologues of the two poets are compared. Euripides 
 criticizes in detail one of his adversary's prologues, which 
 he blames as obscure and tautological. Aeschylus retorts 
 on those of Euripides, first finding fault with their sense, then 
 charging them all with a monotony in form and rhythm. In 
 this part of the contest Aeschylus is left with the last word 
 and the approval of Dionysus. 
 
 Next they take each other's choruses. Exaggerated patch- 
 work and parody are given by each from the other's lyrics, 
 till Dionysus cries Hold, enough ! to the sham Euripidean 
 chorus. Then Aeschylus proposes the test of weight. This 
 is so arranged that Aeschylus comes out superior in every 
 case. Yet Dionysus is so pleased with both that he is loth 
 to offend either. As however he must take one, or he will 
 have had his journey for nothing, and as he wants a poet 
 for the public good, he determines to make political wisdom 
 the crucial test. Both poets give their advice, on politics 
 generally, and about Alcibiades and some other citizens. The 
 result is that Dionysus chooses Aeschylus, to Euripides' sur- 
 prise and indignation. 
 
 Jhey retire to a farewell banquet with Pluto, after which 
 Aeschylus is to be taken back to upper earth, Sophocles being 
 left to keep the tragic throne. The Chorus light them in, 
 offering their congratulations, and auguring peace and pros- 
 perity for Athens. 
 
 III. 
 
 The purpose and drift of this play may be considered as 
 threefold : political, religious, literary. 
 
 The attitude of Aristophanes in the pohtics of this time 
 is easily seen. He is, in The Frogs ^ still true to his old po- 
 
TO THE FROGS, xi 
 
 litical convictions. As in the Acharnians, Knights^ Peace ^ 
 Lysisirata^ so now he is an advocate for peace (1530 — 1533), 
 and is bitter against demagogues, such as Cleophon and others, 
 who opposed it. He shows a decided preference for the well- 
 bom, the noble, the Athenians of the old school (whom alone 
 he thinks likely to save Athens), a contempt for the base rabble 
 and spurious upstarts (727 — 737). Yet he would not have 
 called himself exactly an aristocrat, or at least not an oligarch : 
 and he certainly had no sympathy with the party who were 
 traitorously preparing to make over everything to Sparta. The 
 government of the Four Hundred he alludes to as a mistake 
 not to be too severely visited on the offenders, misled as they 
 were by Phrynichus : he advises reconciliation and amnesty 
 (687 — 692). And it would have been well for Athens had she 
 followed this advice. 
 
 Aristophanes' sentiments with regard to some of the chief 
 events and leading men of his time should be noticed. On 
 the condemnation of the generals at Arginusae, which was 
 fresh in every one's recollection, he is guarded in his ex- 
 pressions. Yet plainly 1. 1196 implies pity for the victims: 
 and 1. 191 probably is a sneer at the judgment of the Athenians, 
 for making so much of the loss of a few of the men, so little 
 of the gain of the brilliant victory. 
 
 Of Cleophon, the demagogue who more than once prevented 
 peace, he speaks most bitterly. Theramenes, the turncoat, 
 he plainly detests : he is a clever knave who extricates him- 
 self by sacrificing his friends (541) ; a worthy pupil of Eu- 
 ripides (967), but Euripides' school is our poet's aversion. 
 
 Of Alcibiades he speaks in ambiguous terms : indeed it 
 was hard to do otherwise. Euripides is made to condemn 
 him, though not by name, as the citizen slow to help, swift 
 to harm his country, whose resources are used only for his 
 own selfish advancement (1426 — 1429). But Aeschylus — who 
 is ultimately preferred — counsels that the lion's whelp, now 
 that they have bred him up, must perforce be humoured 
 (1431 — 1432). And indeed Alcibiades' second disgrace and 
 removal from command proved ruinous to Athens : as Keck 
 
xii INTR OD UCTION 
 
 well says, 'the hasty Athenian people trusted the young lion 
 too much at first, too little at last.' 
 
 Such appears to be the political bearing of the play. That 
 it won approval at the time is shown by the fact that the play 
 gained the first prize and was re-acted mainly because of the 
 reasonable views expressed in the Parabasis. It is worth noting 
 that of the other two competing plays, The Muses of Phrynichus 
 was on the degeneracy of the drama. The Cleophon of Plato was 
 against the demagogue of that name ; one literary, the other 
 political. Aristophanes with a purpose and plot in appearance 
 mainly literary combined much that was political. Indeed, as 
 we shall see presently, his severe handling of Euripides was 
 prompted by his political feeling. 
 
 Let us now look briefly at the religious drift of the play. 
 Upon this Mitchell in his Introduction has written fully, 
 holding that at least one chief object of this play was to 
 uphold the declining influence of the Eleusinian mysteries, to 
 enforce the distinction between the old mystic lacchus and 
 the reveller Dionysus, and to ridicule this new god. To the 
 neglect of the Eleusinia Aristophanes and his party would, 
 he thinks, attribute much of the disaster of the war. And as 
 Aeschylus in the Eumenides upheld the court of Areopagus, 
 so Aristophanes here upholds the sanctity of the Eleusinia, 
 the blessings of initiation in this world and the next. 
 
 No doubt Aristophanes held in great honour the ancient 
 rites of worship : the renewal of the Eleusinian procession on 
 Alcibiades' return after enforced disuse, was greatly to his 
 mind ; and therefore the Mystae are prominent as the Chorus, 
 with their hymns and processions (1. 340 — 459). But into the 
 details and mysteries of this old worship few will now care to 
 enter : the results of Mitchell's learning and research will 
 find few readers : and, after all, the religious object of the play 
 seems unimportant as compared with the literary and political. 
 One point indeed, on which Mitchell insists, should be clearly 
 recognized : that Dionysus and lacchus in the play are quite 
 distinct. When' the Chorus are invoking lacchus, Dionysus 
 does not take their hymns to concern himself. The lacchus 
 
TO THE FROGS. xiii 
 
 of the mysteries (as Paley says) probably represents the Sun- 
 god : whereas Dionysus is simply the god of feasting and 
 jollity, and the patron of dramatic art, at whose Dionysia plays 
 were brought out. It is true he proves but a sorry critic, and 
 is constantly making himself ridiculous. Hence jVlitchell sup- 
 poses that there is a deliberate intent in this play to discredit 
 Dionysus as a new-comer, in comparison with the older 
 lacchus. But this will not explain the levity with which so 
 many deities are treated in Aristophanes' comedies. This is 
 indeed a curious feature in our poet, this presentation of deities 
 in a ridiculous light. Averse though he is to atheism and 
 rationalism, he yet makes fun of the gods whom he puts on 
 the stage. They act with no dignity, have exaggerated human 
 faults : as may be seen in several plays in the case of Hermes, 
 Prometheus, Hercules, Poseidon. It is hardly possible to set 
 up any thoroughly consistent defence of this : for religious 
 men to ridicule the deities recognized by their own rehgion 
 is an anomaly and irreverence. But no doubt, when in much 
 of their own mythology even devout Greeks saw extravagance 
 and absurdity, a comic poet felt that he might without offence 
 use the ridiculous traits of the deities in order to raise a 
 laugh. Indeed the gods, when dressed as men on the stage, 
 were hardly gods, but rather representatives of certain human 
 types of character. An audience could laugh at Hercules the 
 glutton who yet would reverence Hercules the champion and 
 pioneer of civilization. And in The Frogs under the name of 
 Dionysus we have a fat pursy little man, boastful but cowardly, 
 and of a judgment and taste ridiculously misbecoming the 
 divine patron of dramatic art. He is (as we have said) not 
 lacchus, nor the Dionysus of Herodotus. But neither is he 
 the Theban Dionysus, the Dionysus of the Bacchae. Rather 
 (as Kock has well shown) in the person of Dionysus the 
 Athenian public, the audience at the Dionysia, seems typified. 
 With all his failings he has some good quahties : though 
 boastful, he is yet really venturesome and determined to carry 
 through his undertaking : while deficient in education and 
 taste, easily led by and dependent on others, he has yet 4- 
 
xiv iNTRODUCTIOJSr 
 
 ground-work of common sense and feeling and makes the right 
 choice at last. He started to fetch back Euripides, but is 
 converted to better views and takes Aeschylus. Aristophanes 
 is bold to rebuke the Athenian public to any extent, as in the 
 presentation of Demos in The Knights: yet in this play while 
 he says that the Athenians did not appreciate Aeschylus, he 
 adds that none in the world but the Athenians could pretend 
 to be critics of poetry (1. 807 — 810). In the mythological 
 Dionysus there were contradictions : a womanish softness, 
 yet at times an avenging strength (as seen in Euripides' 
 Bacchae). Such a contrast we have in the Aristophanic parody 
 of the deity : his woman's dress with lion's skin and club, his 
 double nature, now human, now divine, as the requirements 
 of the comedy suggest. 
 
 But enough of the religious aspect of the play. Aristo- 
 phanes doubtless welcomed the renewal of the Eleusinian wor- 
 ship, and gave it a prominent place in order to impress on his 
 audience the importance and holiness of the celebration. That 
 he meant (as some suppose) to reprove his countrymen for the 
 unavoidable intermission of the procession in time of war seems 
 doubtful : that, as a lover of peace, he rejoiced at the possi- 
 bility of the renewal, seems certain : and by reminding his 
 audience of the joys of these rites and the blessings they 
 entailed hereafter, he was arguing the cause of peace. 
 
 For us, however, the literary aspect of the play is of chief 
 interest. To recover one of the great tragic masters was 
 Dionysus' aim, announced at the very outset of the play : the 
 contest between the two determines that Aeschylus shall be 
 approved and taken, Euripides rejected and left. 
 
 Shortly before the exhibition of The Frogs, Euripides and 
 Sophocles had died, leaving no worthy successors. Aristo- 
 phanes takes occasion of this to make a final grand attempt 
 ' to wean the people from their great partiality for Euripides ' 
 (Cookesley). That Euripides was popular, increasingly popular, 
 more so than Sophocles, is beyond a doubt. We have it on 
 Plutarch's evidence that Athenian captives after the Sicilian 
 failure obtained freedom or an alleviation of their lot by 
 
TO THE FROGS. xv 
 
 reciting Euripides to their captors. Aristophanes himself, in 
 the expressions of love which he puts into the mouth of 
 Dionysus, is a witness to the fact. Nor was this popularity 
 transient : it continued through later centuries in Greece, and 
 many modern scholars have ratified their verdict of approval. 
 Yet Aristophanes pursued Euripides with invective and ridicule, 
 not merely once or twice, but persistently in both his early and 
 late plays, and notably in the Achartiians^ Thesmophoriazusae^ 
 and Frogs. Cleon he spares after death {Pac. 648), Lamachus, 
 so ridiculed in the Acharttians, he honours as a hero after his 
 fall : but Euripides he will not allow to rest even in the grave. 
 
 We naturally enquire. What were the grounds for this 
 hatred.'' Was it honest. f* Was it fair? 
 
 As criticism of poetical merit we may at once pronounce it 
 unfair. Indeed we cannot suppose Aristophanes himself was 
 blind to Euripides' genius or to the beauties of his poetry.^ The 
 explanation of his enmity is to be sought in his views on politics 
 and religion, and in his deep-set conviction that the effect of 
 Euripides' writings was bad. And the more attractive his dramas 
 were, the more dangerous were they ; and as this danger did 
 not cease with Euripides' life, so neither did Aristophanes' 
 enmity. We must not forget the close connexion existing in" 
 Greece between art and public life. This was universally re- 
 cognized. The poet was bound to educate, teach, improve, 
 ennoble his audience (cf. 1. 1009, 1015, 1055). \ And we find, as 
 a matter of fact, art and the state mutually influencing each 
 other, and a sort of correspondence of the great artists to the 
 times in which they lived. In an age of heroic effort against a 
 mighty foe there is an Aeschylus to inspirit his countrymen. 
 The more peaceful age of Pericles, with greater leisure for re- 
 finement and cultivation, produces the calmer and more perfect 
 creations of Sophocles. Then, as party spirit increases, and 
 sophistical argument comes in fashion, with doubts of the old 
 faith and religion, Euripides comes forward with rhetorical 
 style, quibbling, and scepticism (combined of course with real 
 merit), just suited to charm his audience. 
 
 Now Aristophanes was one of the old school: he was from 
 
xvi INTR OD UCTION 
 
 honest conviction what we should call now a Tory : he saw in 
 many of the innovations of his time the seeds of corruption : he 
 looked on the bitter animosities of party as sure to ruin his 
 country, to destroy its liberty. He believed this disunion and 
 dissension to be fostered by the spirit of doubt, sophistical dis- 
 putation, and rationalism fast gaining ground. He therefore 
 combated these with all his power. In The Clouds the Sophists 
 (of whom Socrates is for him the representative) are assailed. 
 But more dangerous even than these — for philosophy is never 
 likely to attract the multitude — were the plays of Euripides, 
 the friend of Socrates, where doubt and scepticism were com- 
 mended by poetic beauty, the poisoned draught as it were . 
 sweetened and presented in a golden chalice. Hence while one 
 grand attack on Socrates contented him, Aristophanes has in 
 three several plays made Euripides a conspicuous victim. Of 
 course the inconsistencies of the Greek mythology were too 
 glaring to escape notice; and Aristophanes himself does not 
 scruple (as we have seen) to treat them with ridicule. But he 
 yet held that the new philosophy, if it had nothing to put in the 
 place of the old religion, would lead to evil by pulling down 
 without building up; Cronos, Zeus and the rest were better than 
 mere abstractions, such as Aether, or the personal powers of the 
 worshipper (cf. 1. 892). In the old faith, with all its contradic- 
 tions, confusion, and anthropomorphism, there were yet under- 
 lying ideas of reverence for a higher power, a God that ruled 
 the earth — a trust in whom was a motive for moral action: 
 whereas the Euripidean scepticism, as Aristophanes conceived 
 it, could lead to nothing but selfishness, disunion, and subver- 
 sion of morality. 
 
 And, besides the religious objection, Euripides' writings 
 seemed to our poet likely to corrupt in other ways. On family 
 duties and ties, especially the relations of marriage, they ap- 
 peared to be of a very questionable tendency. This might not, it 
 is true, be intentional: Euripides and his defenders might urge 
 that crimes were a fact, and that the criminal in his dramas 
 does not go unpunished. Yet the whole impression left on the 
 vulgar mind, when right and wrong are minutely argued about, 
 
TO THE FROGS. xvii 
 
 is not sure to be for the right : and some things it is better not 
 to mention at all than to mention even in order to reprove (1. 
 1053). Cleverness, cunning, and glibness of speech, do appear 
 to be encouraged at the expense of simple straightforward 
 honesty. 
 
 Then again, to Aristophanes, Euripides appeared to degrade 
 tragedy merely as an art, to diminish its elevating effect on the 
 audience, by reducing it to the level of everyday life, putting 
 his kings and heroes into undignified positions, and vulgarizing 
 their talk. Here of course there was, and is, room for wide 
 difference of opinion. Euripides does not deny the charge : but 
 he boldly says that it is better to teach men by talking down 
 to them than to risk being unintelligible from a desire to be 
 grand. Aristophanes holds to the idea that the hearer will be 
 raised rather by what is above him even though it be mysterious. 
 Probably the truth lies between the two : and in this part of 
 Aristophanes' criticism and its exaggerations (1. 980 — 991) we 
 must remember that Euripides is a representative character, 
 and that his tendencies in this direction may have been carried 
 further by other poets. For as in The Clouds Socrates is an 
 exaggerated representative sophist, so in The Frogs Euripides 
 (though the portrait or caricature is closer to the original) may 
 be regarded partly as the representative of the degenerating 
 tragic art of the day. 
 
 Thus Aristophanes pursued Euripides relentlessly (i) be- 
 cause he thought his influence bad, subversive of religion and 
 of morality public and private, and likely to encourage a spirit 
 of dissension which would ruin Athens : (2) because he thought 
 that Euripides was debasing poetic art. 
 
 But was he justified in this persecution? 
 
 With regard to (i), it would be a bold assertion that Aristo- 
 phanes was altogether wrong ; though he may have over-esti- 
 mated Euripides' share in the evil. Euripides was the effect, as 
 much as the cause, of a change which was inevitable : and in 
 advocating recurrence to the manners of a previous generation, 
 — the reversal of the stream— Aristophanes was simply striving 
 for an impossibility. And we can never judge Euripides from 
 
X viii INTR on UCTION 
 
 the same point of view. Though at that crisis he may have 
 had a share in corrupting the Athenians, we cannot feel that 
 he will corrupt us. 
 
 With regard to (2), Euripides' merit as an artist, tastes 
 will always differ. As Paley says "it is the duty of the in- 
 telligent student to estimate Euripides by his own knowledge 
 of him, and not by the gibes of Aristophanes." He has found 
 enthusiastic admirers in every age : among the moderns are the 
 great names of Milton and Porson. 
 
 But into the general question of Euripides' rightful position 
 as a dramatist we need not enter : reason has been shown why 
 Aristophanes disliked him and endeavoured in this play to 
 lower him in the estimation of the Athenians. 
 
 Further he felt that it was not enough to do this ; that he 
 must set before them some other poet in his place. Who was 
 this to be? It might perhaps have been expected that he 
 would take Sophocles, whom plainly he held in high honour. 
 But certainly as a contrast to Euripides he would not have 
 suited : he has little or no political element, and a strong anti- 
 dote to Euripides' views was wanted. If it be true (as has been 
 supposed) that Phrynichus in his play of The Muses set up So- 
 phocles as an adversary to Euripides, we can at once see that 
 Aristophanes judged better as an artist in this play, where 
 Sophocles is entirely at one with Aeschylus, but contentedly sits 
 in the background, to combat Euripides only in the event of 
 Aeschylus' failure. For Aeschylus is just the contrast required. 
 First there is the contrast of the two pleadings with which the 
 competitors begin : then that of the prologues, lyrics, and 
 weight of the lines, all admirably managed, though of course 
 with exaggeration. Dionysus is thus made gradually to incline 
 more and more to Aeschylus, until at last the crucial test of 
 political wisdom decides him to give up Euripides entirely. 
 Political wisdom, be it remarked, is the last test ; which shows 
 (as has been argued) that Aristophanes' bitterness against Eu- 
 ripides rested on public grounds and not from incapacity to 
 appreciate him as a poet. 
 
 In fact, upon the whole, Aristophanes' view of Socrates, the 
 
TO THE FROGS. xix 
 
 Sophists, Euripides, the main questions religious and political 
 of his own day, is fairly consistent throughout : and, though we 
 may not agree with him, we need not doubt his sincerity and^f 
 honesty. In this play, as in others, he is the enemy of extreme \ 
 democrats, the advocate of reconciliation and union between 
 citizens ; the advocate of peace if honourably possible, of 
 respect for the main truths of religion and the ancient rites of 
 worship. And as a representative of this new school, and a 
 most attractive and dangerous teacher, he attacks Euripides. 
 
 IV. 
 
 A word or two on the title, The Frogs. Aristophanes' plays 
 are often named from the Chorus : and IVasps, Birds, Clouds 
 are names of the same quaint character. But as the true Chorus 
 of this drama are the Mystae, we might have expected that to 
 be the name. It seems however that these quaint names w^ere 
 preferred: for we have (in Eq. 522 — 3) a list of Magnes' plays 
 given, Tratraff 5* v\Civ cfyoavas lels /cat ylraWav koi 7rTfpvyi^a>v koI 
 \vbi^a>v Kn\ ylrrjvi^oiv Ka\ ^anrojjifvos ^aTpaxeiois I where the last 
 words probably imply a title T/ie Frogs. Nor indeed are quaint 
 and striking titles, easily remembered but of little apparent 
 connexion with the main subject of book or play, at all uncom- 
 mon in modern literature. 
 
 The Greek argument pronounces the play to be rav «' naw 
 Koi (jiiXoXoyas Tr€iroirniev(ov. To this verdict a general assent has 
 been given, as the multitude of translators and editors shows. 
 I must acknowledge obligations to all preceding commentators ; 
 among whom I should name especially Fritzsche's most com- 
 plete commentary, Mitchell, Cookesley, Kock (especially in the 
 Introduction), and Paley. 
 
TABLE OF THE READINGS 
 
 OF 
 
 DINDORFS AND MEINEKE'S TEXTS. 
 
 
 DINDORF. 
 
 MEINEKE. 
 
 20. 
 
 ep€L 
 
 ipd 
 
 27. 
 
 oiivos 
 
 6V0S 
 
 50. 
 
 rpiffKaideKa 
 
 rpeicTKaldeKa 
 
 63. 
 
 flVpLOLKlS 
 
 fivptaKis 7' 
 
 67. 
 
 Kol raOra 
 
 HP. Kai Tavra 
 
 68. 
 
 KovdeU 
 
 AT. Kovdeis 
 
 83- 
 
 TTOu 'oTLv ; AI. airo\LTrd)V fi 
 
 TTOu'ffd'; AI. Sttov 'a-T^; diroKiTdiv 
 
 
 airoixeTai 
 
 /i' otx^rai 
 
 87. 
 
 Tlvdd'yyeXos 8^; 
 
 indicat lacunara 
 
 90. 
 
 TrXe?!' ■^ /j-vpta 
 
 AI. irXeiv 17 p^vpia. 
 
 92. 
 
 AI. iiTKpvWides 
 
 imcpvWiSes 
 
 116. 
 
 livai ; AT. /cat avye 
 
 Uvai Kal avye; 
 
 117. 
 
 jxriUv ^TL 
 
 AT. fiTjS^u irt 
 
 118. 
 
 Bttus 
 
 dirri 
 
 124. 
 
 Oveias 
 
 dvia^ 
 
 155- 
 
 kvddbe 
 
 ivdaU 
 
 164. 
 
 M 
 
 Aia 
 
 168. 
 
 ruiv..JpxeTai 
 
 omittit 
 
 169. 
 
 fJ'V 'xw 
 
 p.^ €Vp<j} 
 
 170. 
 
 (KCp^pOVaL TOVTOl/l 
 
 eKCpipOVCTLJ/ OVTod 
 
 180. 
 
 X^P^IJ-^v...Trapa^a\oj 
 
 omittit 
 
 i8r. 
 
 TOVTO Xip-Vf} 
 
 TOVTO] Xip-VT] 
 
 186. 
 
 6vov 7r6/cas 
 
 oKvov TrXoKas 
 
 187. 
 
 ^alvapov 
 
 rdprapov 
 
 207. 
 
 /Sarpdxw?/ kvkvuv 
 
 ParpaxoKiiKVOOv 
 
 208. 
 
 (hbrr oTT iooir ow 
 
 U) diroTT CO onbir 
 
 227. 
 
 dXX' 7; 
 
 d'XX' fi 
 
 245. 
 
 iv TToKvKoKdpL^OLin 
 
 iroXvKoXvp.^oLCTLV 
 
 251- 
 
 pp....Kod^ 
 
 iteratur a Dionyso 
 
DINDORrS AND MEINEKES TEXTS, xxi 
 
 DINDORF. 
 
 MEINEKE. 
 
 262. Pp....KOu^ 
 
 iteratur a Dionyso 
 
 266. K&f fte 5§ 
 
 K&ud^v 
 
 271. ^avdlas 
 
 ^avOia 
 
 304. ydXrjv 
 
 yaXiju 
 
 310. amcto-w/iai 
 
 airidcrofiai 
 
 324. trdXvTLfjirjT' 
 
 irokvTijxoLS 
 
 335- ^^P°-^ oaioLS fJi{/ffTais 
 
 6(Tiois fiera fiiffraia-i 
 
 340. X^P^'' TLvdaacav 
 
 Xepcrt yap -qKei Tivdaaicv 
 
 355. 7vciAiT7 
 
 yvwfxrjv 
 
 369. To^Tois auScD 
 
 Toial5^ dirav82 
 
 371. Kai 
 
 Kara 
 
 aJ rybe irpeirovsLV 
 
 Kal Tyde irp^Trovaav 
 
 377. i)pl<XT7)Tai. 
 
 i]yi(TT€VTat 
 
 381. ffW^lV 
 
 adoaeiv 
 
 398. /iAos 
 
 tAo5 
 
 404. KaTe(rx^(^(^ /^^^ 
 
 Karaa-x'-o'dfxep.s 
 
 407. Ka^evpes 
 
 i^evpcs 
 
 414. ^Lter' aur^s 
 
 omittit 
 
 444-7. ^7(I)...o!f(rwj/ 
 
 Dionyso tribuit 
 
 483. Xa/3^. AI. irpoadov. EA. ttoD 
 
 Xa^i, irpoadov. AI. ttou ^<ttlv', 
 
 Vrti'; w 
 
 SA. c5 
 
 494. XrjfiaTi^s 
 
 X-rjIj-aTias 
 
 502. atpoj/xai 
 
 &pwfxai 
 
 505. KarepiKTuv 
 
 KarepeLKTQv 
 
 519-20. tdc...€L(TipxopLai 
 
 omittit 
 
 546. aj;r65 
 
 Kairbs 
 
 561-2. /f (Sttcit' . . . KafiVKUTO ye 
 
 HAN. KdTreLTa...Kdfjt.vKa.T6ye 
 
 568. Tovpyov. dXX' 
 
 Toiipyov. HAN. dXV 
 
 570. HAN. B. (T.) b\.:tv4p^o\ov 
 
 omittit 
 
 571-3. h\..(l>opTla, 
 
 totum primae cauponae continuat 
 
 574. ^7w...<re 
 
 omittit 
 
 575. e7(b5^ 
 
 ^7UJ U ye 
 
 581. 'Hpa/cXijs af 
 
 'H/aa/cX^s a 5 
 
 582. *A\K/X7)ur]s 
 
 'AXKfl-qCTJS 
 
 593. di/aved^eij/ * * * 
 
 avaued^cLv irpbs rb ffo^apbv 
 
 595. /cal /SaXeis 
 
 KdK^aXeis 
 
 597. VriJ/ 
 
 Vrat 
 
 607. oiJ /A^ TrpoffiTov; A. elej', fxax^'t', 
 
 fXTj TrpSffiTov. A. eUv, Kal (idxei; 
 
 608-9. A£riJXas...royr(^i 
 
 omittit 
 
XXll 
 
 TABLE OF THE READINGS OF 
 
 
 DINDORF. 
 
 MEINEKE. 
 
 6ir. 
 
 SA. /xdW 
 
 AIA. /xdXX' 
 
 612. 
 
 AIA. (rx^TX£a.,.56ii'd 
 
 Xanthiae tribuit 
 
 623. 
 
 cot 
 
 (XOV 
 
 637. 
 
 XW7r6re/)o»' 
 
 xCoTrbrep'ov 7' 
 
 644. 
 
 AI. Ibov. SA. cKoiru 
 
 idov, ffKoirei 
 
 645. 
 
 SA. ov fih M\ AIA. ov8' ifxol 
 
 SA. ov fid At' OVK ijJLol ' 
 
 649. 
 
 laTTarai AIA. tL rdrrarar; 
 
 laTTarat laTTarai 
 
 665. 
 
 TrpQvoi 
 
 irpHvoL^ 
 
 673. 
 
 TTOirjcraL 
 
 vorjcraL 
 
 682. 
 
 iirl pdp^apov...iriTa\ov 
 
 vrro^dp^apov . . . niXaSov 
 
 699. 
 
 aiTOVfiivoLS 
 
 alrovfiifovs 
 
 724. 
 
 iv r€...TavTaxou 
 
 post V. 725 locat 
 
 731- 
 
 els diravTa 
 
 odcri Trdvra 
 
 758. 
 
 Xw Xoi5o/97;(r/Li6s ; AIA. Alax- 
 
 post V. 760 locat, ut totiim Aeaci sit 
 
 759- 
 
 a. AIA. Trpdy/xa 
 
 ATA. a Trpdy/JLa 
 
 765. 
 
 SA. iJ.avdciv(a 
 
 p.avddveis ; 
 
 783. 
 
 iuddde 
 
 ivdaU 
 
 791. 
 
 els i4>r) KXeidTjfJiidrjs 
 
 ws I0?7, KXecdrjfjLiSrjs 
 
 800. 
 
 TrXipdevaovaL ye 
 
 S. wXivdeOaova-i yap ; 
 
 804. 
 
 b' oZv 
 
 yovu 
 
 812. 
 
 Srav 7' 
 
 oirorav 
 
 815. 
 
 6^v\d\ov irep torj 
 
 d^vXdXov Tapidrj 
 
 »> 
 
 dbbvras 
 
 656vTa 
 
 826. 
 
 Xicnrrj 
 
 XLa<pr} 
 
 841. 
 
 ffi) 577 fxe 
 
 ab 5r] '/i^ 
 
 847. 
 
 fdXaivav 
 
 /uLiXaua 
 
 853 
 
 diraye 
 
 fij'a7e 
 
 888. 
 
 idi vvv eirides b^ Kal au 
 
 eirides Xa^C:v Kal 8r] ffb 
 
 890. 
 
 TLves aov 
 
 rivh (roL 
 
 895. 
 
 Tjfxe^s 
 
 Tjixeh 7' 
 
 896. 
 
 riva \6yuv — 
 
 riva Xbywv tIv' i/xfxeXelas 
 
 905- 
 
 5. Dionysi sunt 
 
 Chori sunt 
 
 911. 
 
 ha TLv' dv 
 
 ha yi TLva 
 
 919. 
 
 KaOoiTO 
 
 Kadyro 
 
 932. 
 
 iKirakeKTpvbva 
 
 imraXiKTopa 
 
 937- 
 
 iTTTraXeKTpvoyas 
 
 iTTraX^KTopas 
 
 964. 
 
 KdfJLOV 7' 
 
 Kafioiis 
 
 96,5. 
 
 Mdyvrjs 
 
 fiaPTJs 
 
 991. 
 
 MeXrjTiSai 
 
 fieXiTTidai 
 
DINDORFS AND MEINEKES TEXTS, xxiii 
 
 
 DINDORF. 
 
 MEINEKE. 
 
 1028. 
 
 iTnjyyiXdT) irepl 
 
 lav iJKOva^ dirb 
 
 1030. 
 
 affKcTf 
 
 XdffKeiv 
 
 I045- 
 
 ov8^ yap yjv 
 
 ov yiip iirijv 
 
 1057- 
 
 llappT^dujy 
 
 UappacQu 
 
 1058. 
 
 XP^ 
 
 Xprjv 
 
 1064. 
 
 ^^Xa^pa tI 
 
 i^Xaypd Tl 
 
 1066. 
 
 ir€pi€ik\6fX(voi 
 
 irepuXd/nevos 
 
 1076. 
 
 dvTiKiyeiv kovkIt'' i\a6p€ip 
 
 dpTiXeya KOVKer' Aa-Vajf 
 
 1077. 
 
 Kcd TrXet*' 
 
 rrXei 
 
 1086. 
 
 i^airaTUJ/TCOv. . . ael 
 
 omittit 
 
 IC89. 
 
 uxtt' iira^avdvdtjv 
 
 cCVre 7' d(p7jvdi'6r)v 
 
 1 106. 
 
 dvaMpeadov 
 
 dvd 8' ^peadov 
 
 1122. 
 
 daa(l)7)^ . . .Trpayfidrcjv 
 
 omittit 
 
 »'35- 
 
 oi>pdvi6v 7' 
 
 ovpdvLov 
 
 1 136. 
 
 AI. aXV.../iAei 
 
 Aeschylo continuat 
 
 1 162. 
 
 Ka9^ 6ti 5rj X^7ets 
 
 Kad' 6. TL8r]X4yw, 
 
 1 163. 
 
 iXeelv 
 
 riKtiV 
 
 »» 
 
 fierv 
 
 fierrjv 
 
 1173- 
 
 add IS 
 
 av 5ls 
 
 1220. 
 
 ^a-Tiv 
 
 ^ad' 
 
 1243- 
 
 taffov 
 
 ka avrhv 
 
 1249. 
 
 (is 
 
 oh 
 
 1257-60. 6avfJLdl^a}...airoO 
 
 omittit 
 
 1263. 
 
 \oyioui.(.ai Tuvra 
 
 Xoyioliial 7' avTCL 
 
 1265. 
 
 ll^KOVOP 
 
 It] Kcirov 
 
 1286. 
 
 ro<i)XaTTbdpaT TO<p\aTT60paT 
 
 (piXaTToO paTTO (pXarrodpar 
 
 1305. 
 
 TOVTOV 
 
 T06t(i}V 
 
 1307- 
 
 Tdd' iffT' 
 
 ravr' 
 
 1315- 
 
 iffTbrova 
 
 IffTdirova 
 
 1324- 
 
 ribal 
 
 Tldi 
 
 1335- 
 
 vvKThs Traida 
 
 iraWa vvktos 
 
 1343- 
 
 ripara 
 
 ripoL 
 
 1362. 
 
 b^vrdraiv 
 
 d^vrdras 
 
 1384. 
 
 /MfOeTre 
 
 fiideade 
 
 1393. 
 
 fiedeire 
 
 fiiSeaee 
 
 1394. 
 
 KaKUV 
 
 KaKbv 
 
 1416. 
 
 6ir6T€p0V...fldTT]V 
 
 omittit 
 
 1420. 
 
 napaiv^ffeiv 
 
 irapaiviarj 
 
 1421. 
 
 fl4\X-Q Tl 
 
 fJLaXXov Tl 
 
xxiv DINDORrS AND MEINEKES TEXTS. 
 
 DINDORF. 
 1424. ET. tx^L..Mvo. 
 1428. (fiaveLTai 
 
 1432. IJ,d\L<TTa...Tpi(p€LV 
 
 1434. ^'■f/'os cracpuis 
 
 1437-41- 
 
 1448. xPl^^^P-^<^^°- (TojBeiTjfiev 
 
 1449-50. 
 
 1452-3. 
 
 1460-66. 
 
 1474. irpo<T^\iTr€LS (1* elpyaajuhos 
 
 1480. ^eulao) C(pio...€Z toi 
 
 1 10 1. TjfieT^pav 
 
 1505. tovtI 
 
 15 [7. Kct/xot ffJo^eiv 
 
 MEINEKE. 
 
 omittit 
 
 7ri(pVK€ 
 
 omittit 
 
 erepos cro(pujS 
 
 omittit 
 
 XpT^aa^^ecr^' i'crwj ffcoOei/LLeu 
 
 omittit 
 
 omittit 
 
 omittit 
 
 /x ipyacrdfxepos Trpoa^Xeireis 
 
 ^eplffco '7W cr0aj...fi5 
 
 ifieripav 
 
 rovTOial 
 
Uiri7BRSIT7] 
 
 TnoeEXis. 
 
 Ma^wv Trap* 'HpaKXeovs Atoi^vcros Trjv 0801/ 
 
 7rpo9 Tovs Karcixoixivov^ Tropcvcrai, XafSoiv 
 
 TO Scpfxa Koi TO o"Kt;raXov, cti^ayeiv OiXwv 
 
 'EvpLTTiSrjv' XtfjLvrjv T€ SU^atvev Kctro). 
 
 Kttt Twi/ ^aTpd)(()}V avcKpayci/ evcfirjfjLO's x^P^^' 
 
 €7r€tTa ^VCTTwi/ ckSo^^t^. IIXOVTCOI/ 8' tSoji/ 
 
 COS *HpaKXet 7rpo(T€Kpovae 8ta toi' l^ipjSepov. 
 
 <os 8* av€<j>dvr], TtOeTai TpaywStas aywi/ 
 
 Kttt 87} aT€<JiavovTaL y Al(TxvXo';. Tovrov 8' ayei 
 
 Atoj/rcros €is </)a>s, ov;(t /xa At* ^vpinLOrjv. 
 
 AAAOS. 
 
 Aiovvo-os €0-Tt fi€Toi OepaTrovTO^; Saratov Kara Evpt7ri8ov 
 TTo^ov ct9 ''At8ov KaTtcov' e;^et Si XeovTrjv Koi poVaXov Trpo* to 
 TOts ivTvy\dvovaLV eK-rrX-q^iv Trapex^tv. eX^ojv Se ws toi/ 
 
 HpaxXea Trporepov, tVa i^irdaYj Tct KaTot Tas oSoOs, -^ Kat avTos 
 CTTt Tov K-ip/Sepov ^x^'''^* '^^'' oXtya aXXa Trept twv TpayiKwv 
 TOVTW 8iaX€^^€ts opixdrai Trpos to TrpoKct/xevov. CTret 8e Trpos t^ 
 
 Ax^povcTLa Xifivrj ytVerai, o p.ei' Hav^ia?, 8ta to /at; (rvi^vcvav- 
 p^axrjKevaL t-^v rmpl *ApyLVOV(ja<s vavpiaxtcLVj viro tov ^dp(x)vo<; 
 ovK avaXr]<jiO€L? tc^tJ rrjv Xipvuv kvkXw Tropevcrat. d hik Atdvvcros 
 8vo o/SoXtZv TrepaLovraij 7rpocr7rait,(DV a/xa Tots KaTct tov -rropov 
 aSovcTL jSaTpdxoLS kol ycXu)T07rot(ov. /xeTot TaOra cv ''At8ou twi/ 
 TrpayfidTiav rjBrj ^cipt^o/xcvwv ot tc fxvaTai x''^P^'^ovt€<s iv tw irpo- 
 G. R. 1 
 
2 TnO@ESlX. 
 
 cjiavet KOL Tov "laK^ov aSovrcs iv x^P^^ (Tx^f^o-Ti KaOopiovTai, o T€ 
 Atwvo-o? /xeTct TOV Oepdirovro^ ct? ravroi' epx^rat tovtol<s. T(oj/ 
 Se TrporjSLK7)ixev(s)v vno 'HpaKXeovs TrpoairXeKoixcvwv to) Atovwo) 
 Ota 7^1/ CK T179 (TK€V7J<; ayvoiaVf {J^^XP^ P-^^ Tivos ovk aycXotws 
 X^ifJ-d^ovTaL, etra fxivToi ye ws toi' IlXovTcova Kat t?;i/ IIcpo-c- 
 (fiaTTav Trapay^OevTiS dXewpYJf; Tvyx^v over lv. iv 8e tovto) o /x€V 
 t(5j/ /jLvcTTiov ;(opos Trepi tov tt^v TroXLTetav i^Lawaai kol tovs 
 art/xovs evTLfJLovs Troa/o-at ;>^dTepo)v Ttvwi/ Trpos T7;v * KBiqvaLinv 
 ttoXlv StaXeyeTut. Ta Se AotTra tov SpdfxaTO<s fxcivoKioXa, aAXcos 
 8e TcpTTvrjv KoX (f>LX6Xoyov Xajx/^dvcL crvaTacnv. TrapeicrdyeTaL 
 yap EvptTTtSTy? AiVxvAo) Trept t^? TpayLKrj<s ^La<pep6ix€vos, to //.ev 
 e/XTTpoaOev Aicr;(vAov Trapa to) AiSr; (3pafi€L0v ex'^'^'''^'^i t6t€. Se 
 EvptTTtSov t^s Tifxy]<i KoX TOV TpaywSiKov Opovov avmroLrja-ajxivov. 
 (TV(TT'^aavTO<; 8e tov IlXovroovos avTOts tov AtoVvcrov StaKOvctv 
 €KdT€po<; avTOiv Xoyovs ttoXXovs Kat TroiKtAov? TrotetTat, Kat TeAos 
 TravTa eXcy^op' Kat Trao-av (Sdaavov ovk aTTt^avw? eKarepov Kara 
 Tr]<s Oarepov iroirjcreois 7rpoa-ayay6vro<;, Kptvas Trapa irpocr^OKLav 6 
 Atoi'vo-os Ato-_;)(vXov viKaVy e^wv avTOV cas tovs tfivra's dvepx^Tai, 
 
 To 8e Spdfjia Tiuv ev 7rai/v Kat <^tA.07rovo)s TreTrotrjfiivoiv. cSt- 
 BdxOr] cTTt KaXXtov tov juctci ^AvTiyevr] Scd ^tXtoj^tSov cts Aiyvata. 
 TrpwTos ^i/* ^pwt;>^os SevTepos Movo-ats* IIXaTcov TptVos KXco- 
 (fitovTL. ovTO) Se kOavp-da-Qy} to Spafxa Sta t>Jv ev avrw irapd- 
 (Saa-LV ^(TT€ KOL dveSiSdxOrjj ws ^T/ort AtKatap^j^os* ov SeSiyXcoTat 
 /xev 6V0V ecTTtv 77 crK-qvrj, cvAoycoTaTOV S' ev ®7]^aLs' kol yap 6 
 AioVvoros €K€W€V Kat Trpos tov 'HpaKXea a^iKvetTat S-rj/SaLOV 
 Qvra. 
 
TA TOT APAMAT02 nPOSnnA. 
 
 HAN0IAS. 
 
 AIONYSO:^. 
 
 HPAKAH^. 
 
 NEKPO^. 
 
 XAPfiN. 
 
 HAPAXOPHrHMA BATPAXHN. 
 
 XOPO^ MYSTON. 
 
 AIAKO^. 
 
 ©EPAHAINA nEP2E<I>0NH^. 
 
 HANAOKEYTPIAI AYO. 
 
 EYPiniAHS, 
 
 AI^XYAOX 
 
 nAOYTON.^ 
 
BATPAXOI. 
 
 EA. EtTTO) tl'tcoi/ elco^cTcovl w SecnroTa, 
 
 €({> olq aeil'yek(i&Lv olI Oeco/ievoi ; 
 A I. vrfjrov/Ac o rif povXeclye, irXim Trieaofiac, 
 
 TOVTO oe pyi^aHdir iraylu yap ^ajr 'qorfyjikr], 
 BtA. firjEi' ereaov aajreiop /ti ; ( . ' 5 
 
 A I. ^ ' ifkrjv N W9 6\l&0fiaL. 
 
 SA. Tt hrjrf eBet/jULe Tavjra to^I aKevr) id)€p6cv, 
 ^Trepl TTOirjacj fjbrjpev I wvm-ip ^pufji')(p<i 
 elLcoue TToiecv Koi Avkl^J /cafjL€L}lna<; ; f 
 
 [aKevrj (pepovcrl eKdafrar ev lkoofJLwoLa7\ 15 
 
 AI. fjbif vvtJ i7rou]^<;' HcxJ; eyoo'OecofjLevoi, 
 oiav tI tovtcov twv ao(j)L(TfjLdrcop lBco, 
 ifKelv rj ^vtavTO) irpea^vrepo^ d'n'€p')(pfJLaL. 
 HA. cS TpL(7KaKoBaL/jLQ)v ap* 6 Tpd'^rfKo^ ovtoctI, 
 
 oTt OXlfierac fiev, to Be yeXotop ovk ipet 20 
 
 A I. ecT ovx v^pi^ ravT icrrl koX iroWrj rpv^rj, 
 OT iyco fjL€v d>v AUvvaof;, vlo^ ^rafjLvlov, 
 avTc<; ^aBl^o) koX ttovco, tovtov S' o;^ct), 
 Lpa fir] TaXaLTTcopoLTO firjB' d'^0o<; <^epoi', 
 SA. ov yap <f>ipa) ^yoo ; 25 
 
 AI. TTcS? <f>€p€L<; ydpf ^9 y 6^€l; (L 
 
 HA. (fyepcov ye ravrl. AI. rcpa rpoTTOp; vT* » 
 
 sA. pape(o<; irdpv. 
 
6 APISTO^ANOTS 
 
 AI. ovKovv TO fiapo<; tov6\ o av ^epei^, ovvo<; <f>ep€L ; 
 ^A. ou o?7C7 o 7 e^ft) 7C0 /cat (pepco, fxa tov /\l ov. 
 A I. TTcG? 7ap (fyepet^, 09 7' ai>T09 i5</)' krepov (j>ep€c ; 
 HA. oi}/c oI8'' 6 8' toyO-o? ovioal irie^erai. 39 
 
 '^I. en) S' oyt' eTTeiBrj tov ovov ov ^rj<i a (ocpeXeLV, 
 
 iv Tco fiepeo av tov lvov dpdfjievo<; (pipe. 
 HA. ot/jLOL KaKoBaljjLOJv' Ti yap iyco ov/c evaviMCi')(pvv ; 
 
 Yj Tciv ere KcoKvecv av i/ceXevov fJuaKpa. 
 AI. KaTajSa, Travovpye. koI yap €771)9 t^9 Oipa^ 35 
 
 97 S?; ^aSl^cov elfjbl Tr]aB\ ol TrpcoTo, fie 
 
 eSec TpaireaOai. TraiSlov, Trai, 7]/m, iral.^^ 
 HP. Tt9 Tr)v Ovpav iiraTa^ev) C09 KevravpLKoo<; 
 
 ivqXaO' o(TTL^' eliri julol, tovtl tI rjv ; 
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 XO."Itt/c;^', (V "IaK)(^6. 
 
 Ha. tout' ecTT* eKelv, w he(nro6\ ol /jLefivrjfiiioL 
 
 evravBd irov Tral^ovo-iv, 01)9 e^pafe i/c3i/. 
 
 aBov(7L yovv tov *'\aK')(ov ovirep Aiayopa^. 320 
 
 AI. Ka/JLol BoKovacv, r)av')(^iav Toivvv dyeiv 
 
 ^ekTicTTOv iariv, (w? dv elSw/jLev aa(j)cij<;. 
 /XO. "la/c;^*, w iroXvTifjbrjT ev eSpai,^; ivOdEe vaicov, arp. 
 
 ^'latc-^ (o "laK^e, 325 
 
 eXOe Tovh^ dvd XeijJioiva ')(opevaaiVf 
 
 oalov^ €9 OiacrcoTa^y 
 
 iToXvKapirov fiev rivdaacov 
 
 irepl Kparl o-oS ^pvovra 
 
 aTe(f)avov pLvprcou, Opaael 8' eyKaraKpovodv sso 
 
 TToSt TOLv aKoXaaTov 
 
 <f>L\o7raL<y/jiova Ti /Jidv , 
 
 ')((OipiT(t)v ir\el<TTOv e-)(ovaav fJiepo<;, dyvdv, lepdv 335 
 
 6<TiOL<; p.varai'^ ')(0peLav. 
 Ha. w TTOTVta TToXvTL/jirjTe AT]fnjTpo'; Koprj, 
 
 (W9 T^Bv fjLOL TTpoaeiTvevcre ')(^0Lp6i(ov /cpecS". 
 AI. ov/covv drpifju efetv, rjv tc koI %o/3S/;9 Xd/Srjt; ; 
 XO. eyeipe (l>\oyia^ A,a/i,7raSa9 €i> X^P^^ V"/^ ^'^^^ rivda- 
 
 aCjOVf dvT. 340 
 
BATPAXOI. \^ 
 
 vvKTepou T€XeTJ79 (f>coa^6po<; dcmrjp. 
 
 <f>Xoyl (jiiyyerac Be Xecfjuoou' 
 
 tyovu TrdWeTai yepovTcoV 343 
 
 CLTToaeLovTai Be XuTra? 
 
 ')(poi^LOV^ T eToov iraXaiwv ivLavTov?, 
 
 lepd^ virb tl/jlci^. 
 
 av Be Xa/jiTrdBi (^eyycov 350 
 
 7rpo^dBr)u e^ay eir dvdfjpov eXetov BdweBov 
 
 yopoTTOiOV, jjuaKap, y(3av. j / / 
 
 €V(pr}^eLV ')^pr) /Ka^LaTa(TUai\woL<; r]iJ^eTepof,aL ')(opoL(JLV 
 
 oaTl<; aTreipQ^J ruLOOvBi" XW/covlj tj yvcofirf purf \ Kdua- 
 
 pTxkr, I 355 
 
 rj yevvaccov/ opyia movaojv /pLiqT etoev p^rjT/ e%oy 
 
 pevp-ev, ^ _ -^ 
 
 fjLTjBe^KpaTivdv Tov Tdvpo(j)dyov// yXooTTT)^ pdjcxeL 
 
 er'iXta/Oi^ 
 TJ pcopLoXoyoL^ eireaiv '^^aLpeLfJiJir) v Kaipco tovto 
 
 TToVoVC^LVy 
 
 7] araaiv e^upau fir] KajaXveiy' pLTjO evKoXo<; ecm 
 
 TrbiXtraL^if 
 aAA. aveyeipei Kai piTrL^LyKepCoLV lolcou eiriUvfjicou, 360 
 7] Trj<; TTOAeo)? ')(^ei/jba^ofjLei>7]<;//ap-)(^cop Karaowpobo- 
 
 Kelraiy 
 ?7 TrpootOiocnv/cppovpLOV tj vav^^f ri^ra'jTOppTjT / airo- 
 
 irTfJLijeL 
 ef KtyTvrf^ ScopvKKDv wVy neLKoaToXoyd^ KaKooatfjicov, 
 a(TKWpbaTa Kai Xiva kcli iriTTav J pLaTTepbirw^ eiy 
 liTLoai/pov, 
 
 v' 
 
 'FjirLoaJpov, . 
 
 If y^prjp.ci^ra rcu<^/r(jov avjiiroK^Sv Ivava^iv \!Tdptyeiv\ 
 
 a ireiveis '' 
 
 Ttva Treiuei, '' 365 
 
 G. R. 2 
 
1 8 APIXTO^ANOTS 
 
 17 KaTOfWlXa Tcov 'EKdralc^vn KyKkfoLcIt, ')(ppolaliv 
 
 VTrabcov, 
 rj Tov<; l/jLLadov^i t(ov TroijrjToowlprjTcop oov etr diro- 
 
 Tpooyei, 
 
 fcco/jbw^rfOw ev rot? irarpLOL^ T^ 
 
 erat? rai^ tov 
 
 Alovvoiov 
 
 TovTOL<;laCB(ji) KavOis dwavBco iKav6c<; rro JTpiTovj fiaX! 
 
 dirau^oi) , 
 
 e^iaTaauat fivcrraLirt x^P^''^' ^A^^^? ^ oveyeipere 
 
 pLoKirrjv , 370 
 
 /fat 7ravvv'XL0a<^ Ta<; r]/jLeT€pa^Jjab rrjoe TrpeTfovcnv 
 
 ^ X^P^^ ^^^ '^^^ dvSpelo)^ (TTp. a , 
 
 C9 rov^ evav6el<i Kokirov^- 
 Xeifxwvcav iyfcpoiwv 
 
 KdiriaKoinTTwv 375 
 
 KoX Tral^cov koI xXevd^wv. 
 TJpiarrjTaL 3' i^apKovvT(o<;. 
 
 d\7C e/uL^a ^j^co'tto)? dpeU dvr. a. 377 
 
 rrjv Xooreipav fyevvaico<; 
 rfi (po)i^7] ixoXird^coVj 
 V '^W X'^P^^ ^^^ 
 
 KCLV ScopVKLCOV pUTj ^Ol^TJTai. 381 
 
 dye vvv erepav v/jlvcov Iheav ttjv Kap7ro(f)6pov ^aai- 
 ^' ' Xeiav 
 
 [ Ar'jprjTpa 6edv eiriKoapLovvre^ ^a6eoL^ iJbokiral^ 
 
 J KtKaheLTe. 
 
 ArjfJb7)Tep, dyvoov cpylcov crrp. fi'. 
 
 dvaaaa, o-v/Jb7rapacrTdT€i, 385 
 
 Koi aco^e tov aauTrj<; X^P°^' 
 
BATPAXOI. 19 
 
 Kai fJb do-<l)a\oo<; Travrjfiepov 
 iralaal re koX ')(opev(TaL' 
 
 Kol 'TToWd fiev yeXotd fi et- dvT. ^'. 
 
 irelv, TToWd he (nrovhala^ koX 390 
 
 T^9 cr^9 eoprrj^; d^ico<i 
 Traiaavra koX aKooyjravra VL- 
 Krjaavra TaLViovaOai, 
 
 dXhJ ela 30i 
 
 l^Ux»-\vvv Kai 70V (opatov oeov TrapafcaXecTe oevpo 395 
 a>Sa2atj icv ^vvefJUTTopov rrjaSe T379 ')(ppeia'^. 
 "laK^e TroXvTL/jbTjTe, /z-eXo? kopTrj<^ 
 ijBcaTOv evpwv, Bevpo ovvaKoXovOei, 
 
 ""X^ TT^O? TYjV OeOV KoX Bel^OV cJ? 4C0 
 
 dv€V iTovov TToWrju oBov 7r€paiV€i<^. 
 
 "luK'^e (j)i\o')(^op6VTd, o-ujULirpGTrejjLTre ixe. 
 
 (TV yap KaT€a^L(7(o fjuev eVl jeXajTC 
 
 Kdir evreXela rov re o-avBaXta/cov 405 
 
 Kai TO pdKo<;, tcd^evpe^ (loar 
 
 d^rjfjLiov^ iral^ecu re Kai ')(opeveiv, 
 
 ^'laK^e (f)CXo')(op6VTd^ avfJUTr poire iJLire fie, 
 AI. iyd) S* del tto)? (j)tXaK6Xov66<; elfxi Kai 
 
 Tral^cov %opei5eiz/ ^oyXofiaL. HA, Kciyajye irpo^. 
 XO. /3oiXecr6e Brjra KOivfj 1.0...,^-: *^^ 
 
 o-Koo'xlrco/jiev 'Ap)(^eSrj/jLov ; 
 
 09 eineTr]^ wv oik €^cr^ j^paT^pa^, 
 
 vvvl Be BrjfjLaycoyel 
 
 ev T0i<; dpci) veKpolai, 420 
 
 Kaarlv rd Trpcora rrj^ eKel ixo^Or]pLa^. 
 AI. e')(pLT dv ovv (f)pdaaL vwv 
 
 UXovTcov' oTTou 'vddB^ OLKel; 
 
 ^ivQ) yap ecTfiev dpTia)<; dcpiyfievco. 
 
 v/^ 
 
20 API2TOOANOTS 
 
 XO. /jLTjSev fjiaKpav direkOrj^y 
 
 /jltjS^ avOi^ eiTaveprj fie, 435 
 
 dW' XaO' iir avT7]v rrjv Qvpau d<f)L<yfiepo^. 
 AI. aipoC dv avOc^, « Tral. 
 Ha. tovtI tl rjv TO Trpajfjua 
 
 aXX* rj Ato9 K6piv6o<; ev rol^ (TTpce/JLaa-iv ; 
 XO. '^topecre 440 
 
 vvv i€p6v dvd kvkKov 6€d<^, dvdocf)6pov dv* dXao^ 
 
 iral^ovTe^ ot? /neTovala OeoipiXov^ eopr^?. 
 
 iyoo Se avv ralacv Kopai^ elpa kol yvvai^lv, 444 
 
 ov Travvv')(^L^ova-Lv 6ea, <j)iyyo^ lepov oXawv. 
 
 ')((opw/jL€v e? 7ro\vpp6BoiJ<i arp. 448 
 
 Xei/ioiva^ dvOefjLcohei^, 
 
 TOP yfierepov rpoirov 450 
 
 TOP KaWi'^^opcoTaTOV 
 
 7raL^ovTe<;, op oX/Slul 
 
 Malpai ^vvdyovacv.. 
 
 jJLOVOL^ yap r]pLLv rj\io<i avr. 
 
 Kol cj^iyyo'; IXapov iarip, 455 
 
 oaot iiejJLvrjjxeO' ev- 
 
 ae^rj T€ Bi7]yofiep 
 
 TpoTTOP irepl Tot<; fez^ou? 
 
 KOL T0U9 IBccoTa^;. 
 Z\J. aye or/ ripa rpoirop rr^v uvpay Koyco ; TLPa , 
 
 7rft)9 epOaS* opai KoiTTOvcrip binn')(wpLOL\ 
 SA. ov ^r)^LaTpi'\^eL^, oXka yeyael t^? 6upa<^j 
 
 KaO" 'Hpa/^Xea to a'y^fj/jia koI to Xtj/jC e^cop i 
 AI. Tral TTOL, A I A. rt? ovro^ \^ , 
 AI. / i^hipaKXrj^'o KapTepo<; 
 
 AIA. w ^S^eXvae Kaiiiia')(ypfre koI/ ToXfirJpe av 
 
 Kol /juapT KalJ Trafi/jiLapi koI i fxcafXtirciTe, 
 
 4C0 
 
 463 
 
BATPAXOI. 21 
 
 09 Tov Kvv rifijoov eHeKacTa^; hov Kfppepov / 
 
 ov iyoo * (fAXaTTOV. dXXia vvv €-)(6C fiiao^' 
 Tola Xrir/oi/a-e fji^XalvoKadhiO^j irerpa 470 
 
 *A.')(^epovTc6'; re a-KOireko^ al/jLaTOo-Tayr}<; 
 (ppoupov(n, }s.(dKVTov re irepiapopbOL Kvve% 
 ^E')(^iBvd 0^ eKaToyfce(f>aXo<;, rj/ rd airXdyyya crov 
 Bia<T7rdp^6i, TrXevdovcov/ T Z-vQa-^^alT 
 ^apTr)(Tlh avpawa' Too'veSpco B& aou , 475 
 
 avTOunv eirrepou&cv n/jLaromiva} a;^<i>»r.^--*^'^ 
 BtadfrraaovTay Todyove<;/TL6pd(rLat, 
 ^. €(p 'a? eym opofiaLov opfirjaco irooa. 
 
 Ha. w KaTayiXaar , ovkovv avaarrjaeu ra^i) 480 
 
 TTplv TLvd a IBelv aXXoTpiov ; 
 
 AI. , dXX copaKLoo. 
 
 dXX^ ol(/e TTppynjv Kadhiav Lov G(^oylyCav, 
 
 BA^lSoS Xa^t dl. irpociL^.r ^ I , 
 
 5 A. I irov J<TTiv\ lo 'vpvaol/OeoL^ 
 
 ivravO' €)(^6L(; ttjv KapSlav ( ^ j / 
 
 AI. ^ Beicraaa ydp 
 
 eh TrjV Kdray.fiov KoCXiavl KaQeipirvcrkv. 485 
 
 SA. cS BeLXordTe/ dedcv au KavupljdiTwv, 
 
 AI. iydi ; 
 
 7rft)9 heiXo^, 0(7769 a-(j>oyycdv yrTjcrd ere; 
 
 HA. dvBpeld y, w 11 oo-e^Soi^. 
 
 A I. ^' ^ _ olixav vrj^Aia. 
 
 Gv S* ovK ehei&af; tov '>^o(\)ov / toov prjflaTCOV 
 
 Kcu Ta9 d/rrecX^a^ ; HA. oy iia AC ova iSpovTcaa. 
 
 AT ^Z)"^ ^ / "^ ^y5/^^-'/^^'~ / '-S^ - ^-^ -Tt- ^ 
 
 AJ. LUC vvvj eireioirj XTji^arua^i Kavop6LO<; ety 
 
 (TV fikv yevdv '70)/ to pofraXov tovtI Xa^wv 495 
 /cal T^v XeovTijV, elirep dcj)ofica7rXay'^vo^ el' 
 
22 AEIST0cI)AN0T2: 
 
 ijw S' eao/JLai aoi aKevo(j)6po^ ev to5 fiepei. 
 
 Ha. (j)ep6 Brj rayiw^ avr' ov yap oWa ireKneov' 
 Koi fiXiyjrov eh rov 'HpaKXeco^avOiaVf 
 el BeoXo^ ecrofiat kol Kara ere to Xrjfi e')((ov. 5fo 
 
 AT. /xa At" aX}C a\7]6(o^ ovic MeXtr?;? /jbacrTtyia<;. 
 (j)6pe vvv, iycv to, arpwixar atpco/iiat TaBl. 
 
 ©E. w (^'CKraO* rjKeL<^ 'Hpa/cXet? ; Bevp^ elcnOL, 
 rj yap 6e6<; cr <W9 eirvOeO' rj/covr, €v6€(0<; 
 eireTjev apTov^i, '^'^e KarepcKToop ')(juTpa<; 505 
 
 ^TVOv<; Sv rj rpeh, /3ovv aTrrjvOpafCL^^ o\ov, 
 irXaKovvra^ doTrra, KoXXd/3ov<;. dXX* e'laLOi. 
 
 Ha. KaXXiGTy eiraLvw, 
 
 0E. jxd TOP 'AttoWo) ov ^t) a eyco 
 
 TrepLoyjro/jidTreXOovT J eirei tol kol Kpea 
 dve^paTTev opviOeia, koI rpayrj/JiaTa 510 
 
 €(j)pvye, KMVov dveKepdvvv yXvKinarov. 
 dXX^ etaoO^ afi e/jLoL EA, irdw KaXw^. 
 
 ©E. Xr]peh e^wv' 
 
 ov ydp (J d(j>T,(T(o. KOL yap avX7]TpL(; ye aoL 
 TJBrj ^vBov eaO^ opaioTQrrj Koop')(^7j(TTpLBe<^ 
 erepac ov rj rpei^, 3 15 
 
 EA. TTcw? XeyeL<i) bpxV^'^P^^^'^ > 
 
 ©E, aXV ei(Ti6\ W9 /ndyetpo^ rjBrj rd re/jLa^r) 
 CfieXX dcpaipdv ')(fi rpaire^ elo-rjpeTo. 
 
 EA. 161 vvVj ^pdaov 7rpcoTL(TTa rah 6p')(r}aTpicnv. 
 
 rah epBov ovaat<; avro^; (o<; el(Tep')(piiaL. 520 
 
 6 irah, dKoXovOeb Bevpo rd aKevrj ^epcov. 
 
 AI. €7r/(7;)^e9 ovto?. ov tl ttov airovSrjv iroiel, 
 oTLrj ae irai^cov 'HpaxXea ^veaKevaaa ; 
 ov fiTJ (j)Xvap7]aei^ ^'%^^> ^ HavOia, 
 dX}C dpdfievo^ olaei<; irdXiv ra aTpcojiaja ; 525 
 
BATPAXOI. 23 
 
 P,A. TL 8' ea-TLv; ov Bij ttov fi d(^eKea6aL Biavoet 
 
 ^ ciB(DKa<; avTC<;; 
 AI. ov rd')^, dX}C tJBt} ttolco. 
 
 KardOov to Bip/ia, 
 ^i^A. ravT iyoo jxapTvpoixai 
 
 KCLi To?9 OeolcTLV iiTLTpeircc, 
 A I. iroloL'i 6eoL<; ; 
 
 TO Be TTpoaBoKrja-al a ov/c dvorjrov koI Kevov 530 
 
 <W9 BovXo<; wv KoX 6vr)To^ ^ AXKfjbijvTjf; ecrec ; 
 a A. dfxekeiy Ka\co<i' €)^ avr , Laco^ yap rol irore 
 
 ifiov BerjOeLT}^ dv, el Oeb'; OeXoo. 
 XO. Tavra fiev ttjOO? dvBpo^ ecrrt arp, 534 
 
 vovu expvTO^ Kot <f)peva<; Kal 
 
 TToWd irepnreTfkevKOTo^;, 535 
 
 /jLeraKuXivBeiv avrbv del 
 
 7rpo9 TOP ev TTpdrrovTa toI')(ov 
 
 jjuaXXov rj ryeypafifiivrju 
 
 elKov eardvaij Xa^ovO* ev 
 
 (7j(f]iJLa' TO Be fieTa€rTpe<\)ea6aL 
 
 7rp6<; TO fiaXdaKooTepov 
 
 Be^LOV 77/309 dvBp6<; e<7TC 540 
 
 Kal (pvaec @r}pafjLevov<;. 1 __ 
 
 HAN. A. HXaOavT]^ HXaOdvrjjBevp €X0\ o 7ravovfj/yo<i 
 ovToai, A 1 ' 
 
 09 6i9 /TO irav/boKeiJov eicfeXpoav ttotc 5% 
 
 eKKoloek^ apjrov<i KaTe^d^ rjLwp. 
 UAN.bJ / ^. / / vr^Yaj^ 
 
 eKelifot; avfro<; S^iTpV S A. kcIkovJ rjlcei 't)lvL . 
 DAN. A. KaL Kpealye irpo^ To-Jroiarif java^paa-T eCiJoGiv 
 
 av .r{JimB^^aJd:^ SA. pwfreT TTyBvicriv, I 
 JlAl<[.AjKd7TSr&K^SBt^lTdf'/roXXi^/ 555 
 
24 APISTO^ANOTX 
 
 A I. Xr}ffeL<;f co yvvaiy 
 
 KOV/C OLdO'l o Ti X^etk. 
 ITAN. A. J ovl tiev ovv iie irpoa-ehjaKa^;, 
 
 OTLrj/Kovofjvov<; etw9, av ^^vaivai & ere ; 
 
 TL Eai'j T^ TToXi) rdpL^o<; ov/c eLprjKci irco. 
 riAN. B. fjia AT, ovSe TOP rvpov ye top 'xXcopiv, rdXav, 
 
 ojf 0UT09 avTOL<i Tot9 raXdpoL^; /carrjadcev. 560 
 
 KaireiT iTreiBrj TapyupLOV iTrparTOfirjv, 
 
 e^Xe-^ev el? fxe ^pLfiv KafjuvKaro ye. 
 HA. TovTov irdvv rovpyov, ovto<; 6 Tp6'Tro<; 'TravTa')(OV. 
 IIAN. B. KoX TO ^L(j)o<; y iaTrdro, fxaiveaOaL Bokwv, 
 ITAN. A. vrj Ala, rdXaiva. 565 
 
 HAN. B. vol) 86 BeLcrdcra ye irov 
 
 iirl TTjv KaTr]Xi(f> evOu<; dpe7rr]Sijaa/jiev' 
 
 6 S' (pX^T ePdPa<; y^ rou? 'y^riaOov^ Xaffccy. [ 
 BA. Koi Tovjo Tovjov To^pkov. (pOC exp^vJTL hpav. 
 IIAN. A. Im Srj fcdXeaov ^tov Trp/oo-Tdrrjv Kkecovd fMOi. 
 HAN. B. ^y S' ejJLOvy, edvirep iTTLTi/xV^) "^'^ep^oXov, 
 
 571 
 
 IIAN. A. / / / co/iiiaoa /(baovy^. 
 
 i\i\. r>. frv o eaoiy , eavirep eTrcTv^y^, i-^ref 
 Lu avjov eTTp-ffiY(tflJ'^V' t , , 
 
 5)9 riteco^;/ nv ctov/XlUq} lymx; yajm)tQjj(s 
 KOTTTOiiJi' av, 0T9 -fio'v fcarecpdye'^l rd (f^opria. 
 
 HAN. B. €7« 8' dv €9 TO ^dpaOpov ifi^aXoLfii ere, 
 IIAN. A. eyco Be Tov/Xapvyy dv a^Tt/iiomV aov, .575 
 
 Bpeiravov Xa^oixr, S Tfa9 ^pXika^ faTeairaaa^;. 
 
 aX,V elp! eVt tov KXecov, 09 avTov Tijfiepov 
 
 efCTn]VLelTai TavTa TTpoaKaXovfjuevo^;. ^ 
 
 A I. KdfCiaT diroXolfJbrjV, ^avOtav el fjurj (j^tXS. 
 SA. 0Z8' olBa TOV vovV irave Trade tov Xoyov. 580 
 
 OVK dv yevoLjXTjv ^HpaKXrj<; av. 
 AI. fjiTJBafjiax;, 
 
BATPAXOI. 25 
 
 (w Sav6l8cov. 
 SA. Kal TTcS? av * AXKfirivr)<; iym 
 
 vf'09 yevoifirjVy Bov\o<; afxa Kal Ovrjro^ oov; 
 AI. olS* olS* oTi OvjJLot, Kol SiKaico^i avTO Bpa<;' 
 
 K(lV €i fJb6 TVTTTOL^j OVK aV CLVTellTOifJii (TOL. 585 
 
 aXV rjv ae tov Xolttov ttot a^eKftyfiai '^ovov, 
 
 TTpOppL^O^ aVTO^, T) ^VVr), TO. TTaiBla, 
 KCLKLO-T d7ro\oi/Jb7]V, Kdp')(^eS7]fjL0(; O ryXaflCOV. 
 
 Ha. Be-^^ofiai, TOV opKOVy kclttX tovtol^ Xa/ifidvco. 
 
 XO. pvy aov epyov ear, eTreiBrj dvT. 590 
 
 Trjv CTToXrjv €L\r}(f>a<^, rjvTrep 
 " el%e?, ef cip')(ri<; ttoXlv, 
 
 dvaved^etv * * 
 ' Kal jSXeTreiV avOi^ to BsLvoPf 
 
 TOV Oeov fie/uLvrj/jbivov 
 
 wTrep elKa^et^; aeavrov. 
 
 el he TrapaXrjpoov dXwaet 
 
 Kal fiaXeU tl fjuaXOaKov, 595 
 
 av6i<; aXpeaOai a dvdyKtj 
 
 ^(jtIv irdXiv ra (TTpwpLaTa. 
 HA. ov KaKM^y wvSpe<;, irapaLvetT , 
 ^'^dXkd KavT6<; Tvy^^^duco ravr 
 
 dpTL avvvoov^evo^. 
 
 OTL fiev ovu, rjv ')(^p7]<nov fj ri, 
 
 ravT d(f>aLpe2a0aL irdXcv ireL- 
 ♦ paaeraL fju ev oib on. 
 
 dXX! o/ijL(o<; iyu) Trape^co 
 
 ^ fJbavTOv dvSpelov to Xrj/jia 
 
 Kal ^XeiTovT oplyavov. 
 
 helv S' eoLKev, w? dKovoy 
 
 T79 Ovpa<i Kal Brj yfr6(l)ou. 
 
 coo 
 
26 , APlST0c|)AN0T2 
 
 " ' 605 
 
 ATA f^ ^■'^L^ ** ^1 '-' ^ J^ r" L^ ^ ^A ' 
 
 AlA. ^vvoetfre Ta')(^Gco^ tovjovi frov KvvoHxoirov^ 
 
 Lva ow 0LK7)v avvefrov, Al. rikCL tm kukov. 
 £iA. ou/c €<^/ KopaKa^l'j ov ixr) iirpoaLTov, _ 
 
 AIA. j' / . ' elev, fjLa')(^et ; 
 
 '^copeije cMvpi /cat i/jiaxeoPe tovtml. ^ 
 
 Al. eiT ov^t o€Lifa ravta, TVjrTeiy tovtovv 6io 
 
 KTCeTrTOvlrfi nTlpo<;JTaXkoTpibt'J AlA. /IdTpC I vTreacj^va, 
 AI. <7')((^7\^a fjbev otv kai Ztiva, I .^ 
 
 eZ TTco^OT rf)^ov ^evpl i^eXco jr^OvrjicevaL] 
 "w ^KXpylJcf tQuI <Tmv aSiov fn fiat /TciLyo^, 
 Kai (Toi liroiracD TTpaj/jia fyeipaiov iravv 6i5 
 
 paaaviLe fyap top TrqLipa tovtovv jKapaJVi 
 Kav TTore (/jl e\?79/ aBLKOvv/r\ aTTokTJELiwv /y aycop. 
 
 ATA. /cai 7r(2<; ^ao-avI(T(o; I ' / . 
 
 SA.. ' Travha Tpoirovj ev k\limikl 
 
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 fJUYj TviTTC TovTOV fi7]Se yrjTelo) veq). 
 
 AIA. BUaiof; 6 \cyo<;' Kav tl irrjpooao) yi aoi 
 Tov iralha tvtttcov, Tapyvpiov <tol Kela-eTai. 
 
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 AIA. avTov fJL€V ovv, Xva aoi kot o^QoXyLov^ ^^777. 
 KaTaOov (TV TCL GKevT] Ta^eo)?, ^a)7r&)9 epel^i 
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 AI. dyopevco Ttvl 
 
 ifjb€ firj l3aaavL^€LV dOdvaTOv ovt ' el he firj, 
 ai)T09 aeavTov aiTioo. AIA. \eyeL<; Be tl) 630 
 
 AI. d6dvaT0<; elval (^rjiii ^i6vvao<i At,c<;, 
 
BATPAXOI. 27 
 
 rovTOP Be BovXov. AIA. ravr aKovei^i ; 
 
 KoX TToXu 76 fjboXXov iart fjLaaTLy€OT€o<i' 
 
 etirep ^eo9 7ap iarcv, ovfc aladrjo-erai. 
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 ou Kal av TVTTTeL Ta9 caa<; 'rr\7jya<; i/moi', 
 a A. BiKaio<i 6 \6jo<;' '^((jo'jTOTepov av vwv iSy<i 
 
 KkavaavTa irporepov rj TrpoTi/jurjaavrd tl 
 
 TVTTTOfievov, elvac tovtov rjyov fjurj Oeov. 
 AIA. ovK eaO' o7rco<; ovk el av yevvd^a'i dvijp' 640 
 
 '^(opeU yap eh to hUaiov. diroBveade Bi]. 
 S A. TTto? ovu ^aa-aviel^ va> BLfca{co<; ; 
 AIA. paBl(o<;* 
 
 7r\t]yr}v irapd irXrjyrjv eKorepov. 
 SA. KciXm \eyei^. 
 
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 ATA. ijBr] ^Trdra^d a. 645 
 
 ^A. ov fjba Z\t , ov/c efjLOL oo/cet?. 
 
 AIA. dX)C elfjb cttI TovBl kol Trarafft). AI. TnjvUa ; 
 AIA. KOL 8?7 ^irdra^a. AI. Kara 7ro5<; ov/c eirrapov ; 
 AIA. OVK olBa' TovBl B^ aiOc^ dTroireipda-ofiai. 
 S A. dvKovv dvvaei^ ; larTaial. 
 AIA. t/ raTTarat; 
 
 yLtwj/ (LBvvr}Ori<; ; 650 
 
 HA. ou /Aa A/', a\X' i(f)p6vTi(7a 
 
 OTTod^ 'HpdnXeia top AiofieLOL^ yiyverac. 
 AIA. dvOpwTTo^ iep6<;. Bevpo irdXiv ^aBiareov. 
 AI. lov lov, AIA. t/ eartv; AI. i7r7rea<; opoo. 
 AIA. Tt 8r;Ta ^Xaet? ; AI. KpofijULVOov 6cr<f)paLuofjLai. 
 AIA. eVefc TrpoTifiaf; y ovBev. AI. oJSei' /tot fieXei. 655 
 AIA. ^aBiareov Top iaTlv iirl tovBI irdXiv, 
 
28 APISTO^ANOTS 
 
 Ha. oX[JLoi. AIA. TL eart ; HA. r^v a/cavOav efeXf 
 AIA. TL TO TTpdyfia TOVTL', Bevpo nraXiv jSaBiaTeov. 
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 E A, 09 Alyalov Trpwvas rj yXavKa<; fieB€L<s 665 
 
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 7" XO. Movaa x^P^^ lepwv eTrlfirjOL koX eX0* eirl Tepyjnv 
 doiBd<; ifjbd^i, arp. 675 
 
 Tov TToXvv oyjrofjievrj Xaoov o^ov, ov ao^uaL 
 
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 i^iaooaai, Tov<i 7roXiTa<; Ka^peXelv Ta Bei/jbaTa. 
 
BATPAXOI. 29 
 
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 iyyevecrOac (j)rjfu ')(^pr]val, rot? cKiaOovaiv Tore 690 
 alrlav ijcdel ai Xvaai ra? irporepov afiapTla<;, 
 elr drifJLov <f>r]fjLi, '^prjvat, /ubrjBev elv ev rfj iroXei. 
 KoX yap ala')(^p6v earL Toi)^ fiev vavp.a')(f)(TavTa<i 
 
 fiiav 
 Kal nXarata? evOv^ elvai | kuvtI SovXcov , Seo-Trora?. 
 KOvBe ravT eyeoy ex^oifju av fjurj ov /taXcG? ^da/c6iv 
 
 eX^tVy ^ 695 
 
 dX}C eTracvGo' fiova yap avrd vovv e^ovT iBpaaare. 
 TTpo^; he TovTOL^ etVo9 v/jLd<;, ot fjueO' v/jLoov iroWd Brj 
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 rrjv fxiav Tavryv Trapelvai ^vfjL(f>opdp alTov/jLevoL<;. 
 dXkd T^9 6pyrj(; dvevT€<i, w aocpooraToi, (f>va€L, 7oo 
 7rdvTa<; dvOpcoirov^ eKovTe^ avyyevel^i KTrjcrcofieda 
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 {>a-Tepa) Xpovw ttot avOi^ ev ^povelv ' ov ho^ofxev. 
 el 5' €70) 6p6c<^ ISeiu ^Lov dvepo^ rj rpoirov o(ttl'^-^ 
 
 er ol/JLco^erai, dvr. 
 
 ov TToXvv ovK 6 7rLdr]Ko<; ovro^ 6 vvv evo')(\(ioVy 
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 Kal J^i/jLcoXia^ 7^9, 
 , Xpovov evhtarpi'^eL' IBciov Be rdB* ovk 
 elp7)viK6<; ea6\ iva fjurj irore KairoBvOfj fieducov d- 715 
 vev ^vXov /SaBi^cov. 
 7roWa/ct9 7' T^fj^LV eBo^ev t} ttoXc^ ireirovOevai 
 
30 APIXTO^ANOTX 
 
 ravTvvj €9 T€ To^v TToXnodv Tov<^ Ka\ov<; re Kciyadov^, 
 e? T6 rap'^^acov vofjua/jua koX to kulvoi/ '^pvaiov. 720 
 ovre 'yap tovtolo-lv ovctlv ov KeKi^hrfKevfJievoi^, 
 aXKa KaWla-TOL^; diravrwi', a5«? hoKel, vofJuafJuaTCOV, 
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 ' Koi Tpa^evTa<; ev irakaLdTpai^ koI %opot9 fcal 
 
 fJLOVdLKy, 
 
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 7ru^££at9 730 
 
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 rjv TL Ka\ irda'X'rjTe, Trdcrxecv Tot9 <TO(j)ol<; BoKrjaeTe. 
 
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 6 8eo-7roT7;9 cov. 
 
 SA. 7raj9 yap ovx^i' yevvdBa<;; 
 
 AIA. TO Be firj iraTa^ai a i^eXeyx^^vT dvTLKpv^, 
 OTi BovXo^ wv €(j>aaKe<; elvau BeaTroTrj*^. 
 
 SA. wfiw^e fjuevTav. 
 
 AIA. TOVTo fievToc BovXlkov 
 
 evOv<; iTewoir]Ka<;y oirep iyco %a/pft) ttoloov. 
 
BATPAXOI. 31 
 
 SA..;;^at)oet9, Ik€T€U(o; 745 
 
 AIA. fiaX)C iiroTTTeveLv Bofcoo, 
 
 orav Karapacrco/jLai, \d9pa to3 Beaworr}. 
 SA. TL Be TovOopv^wv, r}VLic au 7r\r)ya<; Xa/Scov 
 
 7ruWa<; dTrir)^ dvpa^e; AIA, teal roO^ rjBofjbaL. 
 
 Ha. TL Be TToWa TTpaTTCOVj 
 
 AIA. (W9 fia AC ovBev olB^ iyw. 
 
 SA. cfioyvce Zev' fcal irapaKovcov BeairoTcov 730 
 
 ciTT OP XaXaxTL ; ATA. fxaXXa irXelu rj /jbaivo/JLai. 
 
 HA. w ^oip^ " AttoXXov, efJL^aXe fioi rrjv Be^Lav, 
 
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 7/9 ovTO<; ovvBov earl 66pvfio<; ^^; ^orj 
 
 ;)^ft) \oLBopr}a/ji6<; ] AIA. Ala)(vXov KevpnriBov. 
 
 HA. a. 
 
 AIA. 7rpdyp,a irpdyfia fieya KeKLvrjrac fieya 
 
 iv Tot9 veKpolai fcal aTciai^; ttoWtj irdvv. im 
 
 Ha. €/C TOV'j 
 
 AIA. 1/6/1,09 Ti9 ii'OdB* earl Kel^ievo^ 
 
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 AIA. 60)9 dcj)LfcoiTO TTju Te^v7]v aocjxaTepo^ 
 
 €Tep6^ T«9 avrov' TOTe Be 7rapa')(^cope2v eBec. 
 
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 AIA. €KeLvo<; et;^e tou TpaywBLKov Opovov, 
 
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 AIA. oTe Be KarfjXO' YiVpLTrlBij^;, eireBeUvvro 
 
 Toh XtOTToBvTaL^ KOL Tol(TL ^aXXaVTLOTO/jLOL^ 
 
 Koi TolaL iraTpaXoiaLCTL kol TOL')(^[i)pv'^OL^, 
 
32 APISTOOANOTX 
 
 0TT€p ear iv "AiSov irXrjOo^, ol 8' dfcpooo/iievot 
 
 Tcov avTiXoyLcov kol Xvyccr/jioou /cat crTOOcboov 775 
 
 virepeixavrjaav, Kauofiicrav ao(j)CbTaTov' 
 
 KciireiT iirapOei'^ avTeka^ero rod Of^vov, 
 
 tV Ala-)(y\o^ KaOPjaro. HA. kovk i^aWero \ 
 
 AIA. fia At , 6i\V 6 Sfj/jLo<; ave^oa Kplaiv iroielu 
 
 07roT6po<; ei7] rrjv ri'^vrjv crocfxcrepo^;. 780 
 
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 SA. jjuej ALa')(y\ov B' ov/c rjaav erepoo GvpLfjLay(OL ; 
 
 AIA. oXlyov TO '^p7]cr:6v eaTtv, ooawep ivddhe. 
 
 SA. ri hrj0* 6 TiXotToav Spdv TrapaaKevd^eTai ; 
 
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 KuXey^ov avToov tP]<^ re^v7]<^. 
 
 ^A, KaireiTa ttw? 
 
 ov KOL ^o<j)OKX6r](; dvreXd^eTo tov Opovov ; 
 
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 ore Srj KarrjXOe, Kave^aXe rrjv Se^idv, 
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 €(j)€Spo<; KaOehelaOaC Kav fih AtV^uXo? fcparf), 
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 BcaycovielaO^ 6(l)aaKe tt/jo? 7' ^vpuirihrjv. 
 
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 AIA. vrj A/', oXiyov vcrrepov, 
 
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 KOL yap raXdvTcp /jbovaLK)) aTad/uirjaeraL. 
 
 HA. TL Bi; fieiaycoyrjaovari rr/v rpaywBlav ; 
 
 AIA. KOL Kav6va<i i^olo-ovai, koX irrj-^eif; eVcti/, 
 
 KoX TrXaiaia ^vfjLTrrjKTa, S A. TrXcvOevcrovaL yap ; 800 
 
 AIA. Kal Biafxerpov^ koI a(f>r]va<i. 6 yap ^vpnriBr]^ 
 icar €7ro<; ^aaavLelv (l>r]aL ra? rpaycpBla^. 
 
BATPAXOI. 33 
 
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 ATA. effXeyjre yovu ravprjSov iyKvyfrw^ kutco. 
 
 HA. Kpivel he hrj rt? ravra ; 805 
 
 AIA. TOVT TjV BlO-KoXoV* 
 
 (To:l)a)v yap dpBpoov airopiav evpiaKeTqv. 
 
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 HA. 7ro\Xoi)9 tVo)? ivofic^e tov<; Toi')(aypv^ov^. 
 AIA. \rjp6v T€ toKX rjyelTO rov yvcovai irepc 
 
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 dvTLT€'^vov' TOTS Brj fxavia^ viro Becvrj^; 
 
 ofifxara aTpo^rjcreTai,. 
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 a-)(LvhciXdfJba)v re '^oja^cma, afjuLXevfJuard r epytov, 
 
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 TrXevfjLovcov iroXvv irovov. 
 
 ET. ovK dv fieOeifirjv rov Opovov, firj vovOirec, sso 
 
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 AT. Ala'^vXe, rl aiya<; ; alaOdvei, yap rov Xoyov. 
 G. R. 3 
 
34 APISTO^ANOTS 
 
 ET. diToa-eiJbvvvelrai vrpooTOV, airep ifcdaTore 
 iv rah TpaywSLaLcnv irepareveTO. 
 
 AJ. o3 BaLfiouL di^Spoov, fir) /xeydXa Xlav Xeye. 835 
 
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 dvOpayiTov dypLoiroLov^ avOaSoarofMoVj 
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 airepCkak'qTOV, KOfjuirocpaKeXopprj/jLova. 
 
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 dXX ov TL 'xaipcov avT epet?. 
 
 A I. 7rav\ Al(7')(vX€, 
 
 Kal firj Trpo? opyrju airXdyyya 6ep/Jbrjvr}<; kotm. 
 
 AIS. ov Bfjra, irpiv y dv tovtov dTro^rjvo) ca^oo? 8*5 
 
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 yd/jLov<; 8' dvoalov^ eL(T(f>epcov eh rrju Te^vr^v, 850 
 
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 ET. GTOifio^ elfjb eycoye, kov/c dvaBvofJuat, sm 
 
 BaKveiv BaKveaOai irporepo';, el tovtco BoKel, 
 TCLTTT}, TCL fiiXrjj TO, vevpu Trj<i Tpay(cBla<;y 
 
BATPAXOI. 35 
 
 KoX vri Aia Tov JJrjXea ye koI top A'loXov 
 
 Kal TOP MeXeaypop, kcitl fiaXa top T7]\€(j)0P. , 
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36 APISTO^ANOTS 
 
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BATPAXOI. . 37 
 
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BATPAXOI. 39 
 
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BATPAXOI. 41 
 
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BATPAXOI. 43 
 
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44 APlST0cE>AN0T2 
 
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BATPAXOI. 45 
 
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BATPAXOI. 51 
 
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 AI. eav Be Kplvco ; his 
 
 DA. TOP erepov Tui/Scov anrei, 
 
 oirorepov av Kpivy^^ Xv eXOrj^ jirj p.drijv. > 
 
 AI. €vBacfiovoL7]<;. (f^epe, irvOecrde jjlov raBt. 
 
 iyco KarrfkOov iirl iron^rr^v. ET. tov 'X^cipLv ; • 
 
 AI. Xv Tj. 7r6XL<; (TcoOelaa tov<; ')(opov^ ^V' 
 
 OTTorepo^; ovv av rfj iroXeu irapaiveaeiv 1420 
 
 fjueXkr) Tb '^(^pTjcrTov, tovtov a^ecv puoL Bo/cdo. 
 iTpwTov fxev ovv ire pi ^AXKi/ScdBou rlv €')(€tov 
 yvoo/jirjv eKarcpo^; ; 77 itgXl^; yap BvcTTOKel. 
 
 ET. e^et Be ire pi avrov riva yvoofjur^v ; 
 
 A I. TLva\ 
 
 iroOel puev, i'yOaipeu Be, ^ovXerat 8' e-^ecv. 1423 
 
 dW^ o TL voelrov, eiTrarov tovtov irept,. 
 
 ET. yLtfcro; TToXiTrjv, 6aTi<; axjyeXecv irdrpav 
 
 ' ^paBv<; 7ri(f)VKe, fieydXa Be fiXdiTTecv Ta'^v<iy 
 Kal TTopLpbov avTcp, TTJ TTokei 8* djjbri'yavov. 
 
 AI. ev y , w YioaeiBov' av Be Ttva yvwfxrjv e^et? ; 1430 
 
 Al2. \ov '^prj \60VT0<; a/cvfivov ev TroXec Tpecpecv.^ o'v*^ 
 pbdXiaTa fiev XeovTa firj V TroXei Tpe<j)eLVf 
 Tjv 8' eKTpe<^rj tc<;, toU TpoiroL^ VTTijpeTeiv, 
 
 AI. vrj TOV Ala TOV crodTripa, Bvo-KpiTa)<; y e')(^(o* 
 6 fjiev (T0^6[j<i yap eiTrev, 6 B* €T€po<; cra(j)(i.<;. 
 
BATPAXOT. 57 
 
 aX)C en fiiav yvoofi7]v e/carepo? ecTrarov 1435 
 
 Trepl rfj^ TroXeco^ tjvtlv e-y^erov acorrjpiav. 
 ET. [et T69 7rT6p(6cra<; KXeoKptrov 'Kuvriaia^ 
 
 alpoiev avpai ireXa^iav virep irkaKa. 
 AI. ryeXoLov av cf)aivoLTO' vovv 8' e^ei Tiva ; 
 ET. el vdu/jba'^0L6v, Kar e^^oi^re? o^l^a<^ 14^0 
 
 palvoiev .69 Ta ^Xecpapa rwv ivavricov.^ 
 
 iycij fjblv ol8a, koI OeXco (jipd^etv. AI. Xeye. - 
 ET. orai^ ra vvv ainara Triad riyoofieOa, 
 
 rd 8' opTa irlar dina-Ta. 
 AI. TTW? ; ou [xavOdvoD^ 
 
 d/jLaOearepov TTfw? etVe /cal aacfiiarepov, 1443 
 
 ET. et Tojz^ itoXltwv ol(n vvv Tno-revofjiev, 
 
 TovTOL^ dincnrjcraifiev, ot<; 8' oi> ^poj/^e^a, 
 
 TOVTOKTi '^prjcraLfiecrda, cra)6€ir]fi6v dv. 
 
 \_el vvv ye hv(nv')(oviJiev iv tovtol(tl, ttco? 
 
 rdvavTLa irpd^avTe<i ov aay^OL/jbeO' dv ; 1450 
 
 AI. €v y\ w IlaXd/jbrjSe<;, do aoc^ctyrdrr) (j)va-L<;, 
 
 ravrl irorep avTo<; evpe^ rj Kirjcjitaocjidov ; 
 ET. iyco fiovof;' Ta^ 8' 6^lBa<i K.r](j)ccro(f)(jov.~\ 
 A I. TL Bal Xiyec^ crv ; 
 AIS. T?)i^ ttoXlv vvv jXoi <f>pdaoV 
 
 TTpcoTOVj rial %p57Tat* irorepa rot? 'X^prjarol^ \ 1455 
 AI. TToOev ; 
 
 fiiael Ka/cLara. AI2. tol<; irovrjpol'^ 8* r}BeTai\ 
 AI. oi) 8/7T' eKeiVTj y\ dXXd '^prJTac tt/jo? ^lav. 
 AI2. TTcS? oyi/ Tt9 dv acoaeLe TOiavrrjv iroXiVj 
 
 rj fjLTjTe VXcuva^ furpe accrvpa avfKJiepeL ; 
 AI. evpLaKe vrj AT, etirep dvaBvcei irdXiv. 14C0 
 
 AIX. eKel <f)pdaai/Jb dv' evOaKl 3' ov ^ovXafxai, 
 AI. ^iTj Brjra av y, aXV evdevS' dviec rdyaOd, 
 
58 APIXT0<J)AN0T2 
 
 Al2. TTjV yrjv orav vo/jbio-coa-t rrjv tmv TroXe/jLLcov 
 elvai <7^6Tepav, ttjv Be acperepav toov iroke^icov, 
 TTopov Be ra? vav^;, diropiav Be rov ircpov. - u&i 
 
 AI. eVj irXrjv 7* 6 BiKaarrj'i avTci KaTairivet, jjuovo^. 
 
 IIA. KpLVOL<; dv, 
 
 AI. avrr) cr(j)(pv Kp[crL<i ^evr\creTaC 
 
 alprjaofjuai yap ovirep r) '^V'^rj 6eXei„ 
 ET, fjb6fivr]fievo'i vvv toov Oewv, 01)9 Q)//.0(7a?, 
 
 rj jULTjv dird^eiv jx olKaS\ alpov toi)? (J)l\ov<;. 1470 
 AI. 77 yXooTT ofjbWfjio/c\ Kla')(vkov S' aiprjaofjLai, 
 ET. TL BeBpaKa<;j 00 fjnapcorar dvOpooTTCov ; 
 AI. iyc6; 
 
 €KpLva vLKav Ala'^vXov. rcy ydp ov ; 
 ET. ala-^icrrov epyov 7rpoafi\e7rei<; fi elpya(rfj,evo^ ; 
 AI. rl 6' ala^poVi rjv firj tol<; Oeco/jLevoc^ BoKrj ; 1475 
 
 ET. w ax^rXie, irepto'^ei, ixe Br) TeOvrjKora ; 
 AI. Ti'9 olBev el to ^tjv fiiv earc KarOavelv, 
 
 TO TTvelv Be BecTTvelv, to Be KaOeiBeiv kwBlov, 
 TiK,')((ope'iTe tolvvv^ do Al6vuo-\ eio-co. AI. tl Bat; 
 HA. Lva ^eviaco acf>co irplv diroirkelv. um 
 
 AI. eu TOL Xeyei^ 
 
 vrj Tov A/'' ov yap d^OopbaL tm TrpdypiaTi, 
 XO. /JiaKdpt6<i y dvrjp e%a)i/ 
 
 ^vveaiv TjKpL^cofjLevrjv. 
 
 Trdpa Be iroXKolaiv fiaOelv. 
 
 oBe yap ev (f>poveiv BoKrjcra^ i485 
 
 irdXiv direiaiv oIko^ ay, 
 
 eir dya6a> jxev tol<; 7ro\LTaL<;j 
 
 eir dya6(£t Be toI<; eavTov 
 
 ^vyyeveaL re kol ^i\oL<n, 
 
 Bid TO avveTo^ elvai. im 
 
BATPAXOI. 59 
 
 ^(apLev ovv firj XcoKpaTCV 
 TrapaKaOrj/xevov XaXetv, 
 airopakcvra /jLOVcTiKrju, 
 TO, re fieyLara irapaXnTOVTa 
 
 Trj<i rpajQiSiKT]^ T6'^vr]<;. 1495 
 
 TO S* iirl ae/JLvoiaiv XoyoLaL 
 Kol (TKapi<f)7](T/Jbo2a-c Xrjpcov 
 Bcarpi^rjv apyov iroielcrOaL 
 'jrapa(f)povovvTO<; dvBp6<;. 
 HA. aye Brj ')^aipct>v, Ala')^vX€, ')((i'pet, i500 
 
 KoX aoo^e TToXiv rrjv rjfjbeTepav 
 yvwfiat<^ dya6aL<;, koI TraiSevaov 
 TOi)? dvorjTov<^' iroXkol 8' elalv 
 Kol 5o9 tovtI KXeo(f)oovTi (pepcou, 
 fcal TOVTL Tola-i TTopLarai';, i-05 
 
 'M.Vp/JiTJfcl 0* OfJLOV KOL N lKO/JLd)(QJ' 
 
 ToBe 8' *Kp')^ev6pL(d' 
 Kol c^paf avTot<; Ta')(e(D^ vKecv 
 G)9 i/jLe Bevpl Koi fjurj fieXXecv* 
 
 Kav firj Ta')(e(o^ yKcocriv, iydo loio 
 
 inj Tov 'AttoWg) (TTi^a^ airov^ 
 Kol a-vfjL7roBl(Ta<; 
 
 fl€T ^ABetjUidvTOV TOV AevKoXocffOV 
 Kara yrj^ Ta')(i(o<; d7roTT6fJbyjr(o. 
 AI2. ravra 'Trocijaa)' a"d Be tov Oclkov 1515 
 
 TOV i/jbbv irapdBo^ '^ocpOKXel Trjpelv, 
 Kdfiol (T(6^€LVy rjv dp* iyco iroTe 
 Bevp d(f)iKOi)fiai. tovtov yap eyoo 
 G0(f>la Kplvco BevTepov elvai. 
 
 fie/xvrjao B\ otto)? 6 iravovpyo^ avrjp 1S23 
 
 KoX yjrevBoXoyo^; Kal fia)/JLoX6)(p^ 
 
6o APISTOc|)ANOTS batpaxoi. 
 
 fjb'qheTTOT eU Tov Oa/cov tov ifiap 
 /jb7]S^ aKcou iyKaOeSecrat. 
 
 HA. (fyalvere toluvp vfiei^ rovrcp 
 
 \a/jL7rdBa<; ipa^, X^f^^ irpOTTefiTrere . i525 
 
 TolaLV TOVTOV TovTOP fieXeaLv 
 KOL fJLokiralcrLV Ke\aSovvT6<i. 
 
 XO. irpooTa fiev evohlav dyaOrjv diTLovTL TroLrjrrj 
 
 €9 (l>do<; opvv/iiiva) Bore, haifiove^ ol Kara yaia^, 
 rfi he moKei /JbeydXcov dyaOoov dya6d<; iirivoia^' 1530 
 Trdy^v yap eic fieydXayv d')(e(Dv iravcraifxeO' dv oi;t&>9 
 dpyaXicov r ev oirXoL^ ^vvoScov, K.Xeo(f>a)V Se 
 
 /cdXXo<i 6 ^ovXojievo^i tovtcov irarploL^ ev dpoupac^. 
 
 
NOTES. 
 
 1—37. Dionysus and Xanthias his slave are on their way to Hades. 
 Dionysus, clad half like Hercules, half in woman's dress, is walking : 
 Xanthias is riding an ass and carrying Dionysus' luggage. Xanthias, 
 proposing to beguile the way with jokes, is forbidden to use any of the 
 stale and degenerate wit of the stage. While arguing about Xanthias' 
 hard case they reach the gate of Hercules' dwelling and knock. 
 
 r. efTTw] The deliberative or interrogative subjunctive: 'am I 
 to say?' 
 
 doiddTOjv] Aristophanes [Mtd. 538, Pac. 739) takes credit to himself 
 for avoiding the common-place jests to which Dionysus here so strongly 
 objects. Instances where he himself uses the same are easily found 
 {£^. 998, Lys. 314). But they form a very small portion of the Aristo- 
 phanic wit and humour, and one that could be spared : with the come- 
 dians whom he blames it may not have been so. 
 
 3. irU^ofiac] Say anything you like, except the word irti^ofiac. 
 This and one or two other expressions of fatigue, pain, etc. Dionysus 
 forbids. 
 
 4. <ptj\a^ai] Imperative middle, as the accent shows, and indeed 
 the sense, * beware of, guard against.' In the next clause the subject to 
 i(TTi is TovTo {t6 TrU^o/xat) : ' this word is absolutely gall and bitterness 
 to me.' The opposite to this is the Horatian • Hoc juvat et me/ii est.' 
 
 II. tI dijr' ^dei] * Why was I to carry all this baggage, if I mayn't 
 ease myself by some of our common stage jokes ? ' 
 
 13. ^ptjpcx°^] All 'these three were contemporary comic writers. 
 Phrynichus gained the second prize against the Frogs, Ameipsias was 
 successful against the Clouds. Of Lycis we know nothing certain. 
 
 15. cKiiti K.T.\.'\ This line can hardly be right as it stands. 
 Porson proposed ot <rKevo<popovff', ' if I may not do anything which P. 
 L. and A. do, who carry burdens in their comedy.' Bergk (followed 
 by Paley) punctuates after iroLecVy making Ai5/cis Kdfi€i\l/[as subject to the 
 verb (p^povffL. Holden reads aKev7j<p6povs in apposition to and explana- 
 tory of jj.rjd^i'. 
 
 1 7. ao^ia-fidruv] Tricks and devices to raise a laugh. 
 
62 THE FROGS. [1. i8— 
 
 1 8. 7r/)eo-/3i;Te/)os] The Scholiast quotes from Homer, Od. r. 360, 
 aX-^a yap kv KaKdTrjTi ^poroi KaTayrjpda-Kovcrcv, probably the earliest ex- 
 pression of this idea. Cf. Cic. de Or. il. 59, Senium est cum audio. 
 
 20. €peZ\ As his neck is galled by the weight of the burden, which 
 he carries slung over a porter's stick, he says that his neck is unhappy 
 in not being able to relieve itself by speaking. There seems nothing 
 beyond fair comic license in attributing the speech to the neck. 
 Meineke, following Cobet, reads ^pt2. The change of person is then 
 harsh and abrupt. 
 
 21. elr' ovx v^pt^] Dionysus is roused by Xanthias' complaints to 
 prove that after all he is better off than he deserves. The * insolence 
 and conceit ' are on Xanthias' part. 
 
 22. 6V] ore, not on, for the Attic writers never elide the final t of 
 ort. Cf. JVtid. 7, where the same caution is needed. 
 
 vlbi Zrafjiplov] An unexpected substitute for At6s. * Son of Jar ' 
 instead of ' Son of Jove.' 
 
 ^3- ^X'*'] Cf. Xen. Hipparch. 4. i, 5e? rov 'iwwapxov irpovoeip ottws 
 avaTra^rj roi/s Ivirias rod ^aU^eiv, ixirptov fx-ev oxovvra, where oxe?^ is 
 * to cause to ride, to let ride.' On the principle of 'qui facit per alium 
 facit per se,' the use is intelligible enough. The passive is used of the 
 rider, as in 1. 25. 
 
 24. TaXatirwpoLTd] Irregular sequence after the present tenses, but 
 it refers to Dionysus' past intention. * I walk, my intention at the 
 outset being that he might not, etc' Indeed the present tenses jSaStfw, ' 
 irovu}, ox^ embrace the whole past time of the journey: 'I have been 
 all this time trudging afoot and toiling and letting him ride, that he 
 might not be overworked. ' 
 
 25. TTus^dxet] 'how can you carry if you are carried ?' No very 
 cogent argument. 
 
 26. ravTc] X. points to the burden on his shoulder in proof that 
 he is a carrier. D. rejoins, * how, in what sense, can you be said to 
 carry this?' X. mistaking the riva rp. says 'how do I carry this? 
 Why, very painfully.' 
 
 27. oiVos] = 6 6i'os. Meineke reads 6vos M'ith Rav. MS. Fritzsche 
 finds an additional joke in Buos, applying it to Xanthias. This seems 
 needless : the discussion is merely whether, when a donkey carries a 
 man, and a man a bundle, the donkey or the man more truly carries 
 the bundle. But * a donkey ' would do about as well as ' the donkey.' 
 
 28. ^x'*' '7'*'] Meineke would prefer iyw \(a. Hamaker rejects 
 26 — 29: on which M. remarks "if they were not there, no one would 
 miss them, but this is not sufficient reason for condemning lines in 
 themselves unobjectionable." A sensible remark; but does M. him- 
 self always act up to it ? 
 
 30. ovK oIS'] X. gives up arguing the matter. Much in the same 
 way, in Nub. 403, Strepsiades, puzzled and muddled by Socrates' phi- 
 losophy, says OVK old'' drhp eS <r(> X^yeiv (paivei. The whole argument is 
 in ridicule of those who dealt in such quibbles. 
 
1. 48.] NOTES. (^Z 
 
 33. ^7w o\}k\ Cf. Vesp. 416 roi)5' 670) ou ixed-qaofMi, Ahib. 901 aXV 
 dvarp^xj/io '70; af^r'. 
 
 ^i/au;uc{xov»'] Had X. been present at the sea-fight of Arginusae, he 
 would have received his liberty, and might then have snapped his 
 fingers at his master. This battle was fought B.C. 406, in the year 
 before the Frogs was played. Xenophon mentions the fact of slaves 
 serving in the fleet there. Of their enfranchisement we read again 
 below, 1. 693. 
 
 34. KtJKveiv iK.] So in L.atmjtideo plorare, 'Ibid you go and be 
 hanged.' The doubled dv is not uncommon. Cf. JVtid. 783, 840. 
 
 35. ^77i>s /3. el/jd] *I am now, in my travel, near the gate.* el/jd 
 is not to be taken with ^abi^tav. So in Eccl. 1093 6771)5 ^'817 t^s ^upas 
 i\K6fji€v6s dfx\ 
 
 38 — 164. Hercules himself answers the door. Dionysus tells him 
 the reason of his visit : his wish to bring back Euripides. After some 
 conversation about the Tragedians, he asks him of the ways to Hades, 
 for which Hercules gives him directions. 
 
 38. KevravpLKu^] A suitable comparison in the mouth of Hercules 
 who fought with Centaurs. 
 
 39. ivrfKad'''\ Cf. Soph. Oed. Tyr. 1260, where it is said of Oedi- 
 pus in his frenzy b^ivhv 5' au(ras...7ri;\ais StTrXats ev'r]Ka.T\ e/c 5^ vvd/j-ivcov 
 ^k\lv€ KoiXa K\y6pa. The word is from ivdWo/xai. With oVrts supply 
 ijv, ' whoever it was. ' 
 
 elvi fioi] Hercules then stops in amazement at Dionysus' strange 
 appearance. The next two lines are aside between Dionysus and 
 Xanthias, D. affecting to believe that Hercules stopped in fear of him. 
 
 41. VT] Ala, fiT]] 'Yes, by Zeus, he was afraid, afraid, that is, you 
 were crazy.' This is certainly the right rendering : and so the Scho- 
 liast : u7r^Xa/3^ (xe fialpecdai 6 "Hpa/cX-^s. Kock well compares PhiL 684 
 TaXdvraT' dvdpcov, ovk idedoiKets rbv dedp ; K. vrj Toi>s ^€oi>s ^uye fxr) 
 (fiddcreii fxe ivrl rrjv x'^'^P^^ i\6(^v. 
 
 45. diroo-o^ijaai] A curious use of the word. In £^. 60, Vesp. 
 460, it has its proper sense 'to scare away,' as birds from corn-fields. 
 Hercules' da-^effros y^Xw persistently returns despite his efforts, as birds 
 or flies might do : hence the application of diroa-o^ija-ai. 
 
 46. /cpo/cwry] A woman's dress. Cf. Lysistr. 44 yvvaiKes KpoKOjrd. 
 (pipovaai. 
 
 47. d vovs"] * The meaning ' of this compound of hero and woman. 
 The K66opvos is in Lysistr, 657 and Eccl. 346 a woman's shoe; but was 
 also special to Dionysus. In Thesm. 140 Mitchell notes astonishment 
 at a similar combination, ri% 5ai KaTdwrpov koU ^i<povs Koipuvia ; 
 
 48. TTOi yijs K.T.X.] Hercules asks whither D. was bound in such 
 strange guise. D. explains that while on ship-board he was suddenly 
 seized with a longing to recover Euripides. 
 
 iTr€pdT€vov] = iTri^dTr)s rjv, 'I was serving as marine.' KXeiadivei^ 
 'for Cleisthenes, ' under Cleisthenes as trierarch. In ^^. 1374 Cleis- 
 
64 THE FROGS, [1. 49 — 
 
 thenes is an effeminate youth. If the same man be meant here, Dio- 
 nysus' boast of his naval exploits with him is all the more alDSurd. 
 The dative is rendered by some ' on board the Cleisthenes,' as put itapb. 
 TrpoadoKiav for the name of the ship. 
 
 49. /cdj'au/^ctxTjo-as] i.e. at Arginusae. 
 
 51. (T^ci] ' You two? ' . You and Cleisthenes : a pair of cowards. 
 
 /cpr',..e^.] *I awoke and behold it was a dream:' in contempt 
 of Dionysus' romancing. Perhaps the words are better in Xanthias' 
 mouth, as Fritzsche and Kock give them. D. doeS not remark the 
 sneer, but goes on with his explanation. 
 
 53. ^Afdpoiiiidaif] A play of Euripides, acted B.C. 412. But Paley 
 thinks the ship was named Andromeda, and that Dionysus 'read the 
 name Andromeda on the ship's side.' This would suggest Euripides' 
 plays, and stir up a desire for the poet. The question is, how far was 
 reading of books usual at that time? And Dionysus, the patron god of 
 the drama, might be supposed to read plays, if any one did. Altogether 
 the usual interpretation seems the better one. 
 
 54. irQs oiei (T(p6bpa\ Cf JVtib. 881 ^arpaxovs iirolei vCJs 5oKe7s. 
 'You can't think how strongly' is the sense: all interrogative force 
 being lost in this colloquial use. 
 
 55. MoXwj/] An actor of Euripides' plays, and of great stature : 
 it is a surprise to put Molon after fXLKpos. Some however say that there 
 was another Molon, a small man, and a robber. 
 
 62. ^Tj/ous] Hercules' greediness leads D. to explain his desire 
 by comparing it to a craving for pea-soup (iruos), a favourite food of 
 athletes. 
 
 64. eK^LdaffKco] Indic. * am I making my meaning clear ? ' Tliis 
 half-line is said to be from Euripides. 
 
 66. SapdairTei] Used also in A^t^b. 711: it is an Homeric word, 
 proper of wild beasts, but used metaphorically in Od. ^. 92. 
 
 67. Kal ravTo] Hercules throws in this question in wonder: D. 
 continues, ' Yes, and no one shall dissuade me.' 
 
 69. iir^ iKeivov] 'after him, to fetch him,' as below 11. in, 577. 
 iKeivoi expresses a person remote, esp. one in the other world. Cf. 
 iKel in 1. 82. 
 
 70. KaTuripco] D. is ready to go to Hades below, and even to any 
 region below that below. There seems no special idea of Tartarus in 
 his mind, though that is below Hades. He is merely expressing 
 strongly that he will go anywhere to recover Euripides. 
 
 72. ol fikv /C.T.X.] A line from the Oenens of Euripides. 
 
 73. 'lo^wv] Son of Sophocles, a tragic poet of some merit, but 
 suspected of being helped by his father, or of bringing out his late 
 father's tragedies as his own. 
 
 74. d Kal TovT^ dpa] * if after all even this is a good thing : ' per- 
 haps after all it is a deceptive good, lophon being not worth much 
 really, apa throws doubt on what goes before. 
 
1. 92.] NOTES. 65 
 
 76 — 79. If the son won't content you, and you must have one of 
 the original three, why not Sophocles ? Because lophon may possibly 
 replace Sophocles. 
 
 76. Trpbrepovl * better ' rather than * older.* 
 
 79. KcoSwvicrco'l A metaphor from a bell or other metal, coins espe- 
 cially, tested by the sound. Cf. Demosth. 19. 167 e/cetvoj 97/xas 5te/c«- 
 8ibvi}^€v diravras. Cf. below, 1. 723. Also Lysistr. 485 aKudunarov idv 
 vpdyfxa, * to leave a matter untried, unproved.' 
 
 80 — 2. Besides Sophocles will be too contented and orderly to 
 break rules and run away. 
 
 83. *Aydduv] A wealthy Athenian, of great beauty, at whose house 
 Plato has laid the scene of his Symposium. As a poet he appears to 
 be commended here: in Thesnu 100 — 130 we have probably some 
 fragments of his lyrics. His style was marked by flowery ornament and 
 antithesis. He was a luxurious liver, and passed some time at the 
 court of Archelaus, king of Macedonia. The date of his death is un- 
 certain : some think he was dead before the Frogs was played, some 
 that he lived a few years later. 
 
 85. ^s ixaKapuv eiycux'a;'] We should expect vqaovi or evdai/xoviav, 
 for which eixax^av is substituted, to suit Agathon's character. But the 
 line is not decisive as to the date of his death. For if he left Athens 
 for Archelaus' court, and livgd there in lujcury with po intent to return, 
 he might be suitably spoken of as * gone away to the happy banqueting 
 boards.' Might there not also lurk in fiaKapuv n slight suggestion of 
 'MaKeddvuv? As a parody on the happy islands of the blessed dead, 
 /x. evuxia would suit the heaven pf Scandinayian mythology even better 
 than that of Greece. 
 
 86. ^epoKXdrjs] This poet, with his brothers and Carcinus their 
 father, is repeatedly ridiculed by Aristophanes. Cf. Fac. 781 — 95, 
 JVud. 1261, Ves/>. 1500 — 14. 
 
 87. ni;^a77eXos] Of him nothing is known. Meineke leaves here 
 a space for an answer of Dionysus. But silence with a contemptuous 
 gesture is enough. And Xanthias breaks in impatiently. 
 
 gi. crraStV] Cf, JVud. 430 ricv ''BWrjuuv elyaf. pt-e \iyeiv iKurbu 
 ffTodioKTiv Apiarcy, 
 
 92. iirKpvWldes] * mere leaf-growth, rank luxuriant leaves.' The 
 word is explained ol KoXoipLevoi iirlTpayoi, 'the wasteful shoots of a vine,' 
 which the dresser prunes, in order that the productive force may go into 
 fruit-bearing. Thus Kock explains the word, following Fritzsche 
 nearly. 'These wretched poets, with mere chatter and no force or 
 sense, are as vines rank and luxuriant in leafage but not productive 
 {y6vipL0L) in fruit.' Fritzsche renders * uppiges Weinlaub ohne Trauben :' 
 Kock * geile Ranken und Blatter.' The derivation of iwi<pv\\ls sup- 
 ports this meaning. L. and S. however, and most commentators, have 
 taken iiri^vWldes to mean 'small grapes left for gleaners,' in which 
 sense the Septuagint has it in Judg. viii. 2 : 'small grapes that do 
 not ripen.' Sound without sense is more aptly figured by 'leaf without 
 fruit,' than by 'mere gleanings, imperfect grapes.' 
 
66 THE FROGS. [1. 93— 
 
 93. %. ixov(seiaL\ A neat adaptation from Euripides, who had spo- 
 ken of a leafy bower as xe^t56j'a;i' pjovadov. The swallow is constantly 
 the type of barbarous and meaningless chatter : as is the nightingale of 
 song. 
 
 94. xop^" ^O * To obtain a chorus ' is the regular phrase for * to be 
 allowed to perform a play.' So we find also aire?*' xopoj', Eq. 513. If 
 once these sorry poets exhibit, their power is all spent. 
 
 99. Trapa/c.] * boldly-hazarded.' 
 
 100. Ai6s 5.] Euripides in the Melanippe VfxoiQ 6,avvfjLi 5' ipbv aid dp* 
 oiK-qaiv At6s, quoted in Thesm. 272. The change to dijiidriov makes E. 
 dare more than may become a poet. xP'^vou 7r65a is in Eur. Baah. 888, 
 and in the Alexandrus. 
 
 10 1. 7\ (pp^m K.T.X.] A paraphrase of the well-known line in Eur. 
 Hipp. 612 7} y\(ib<T<T dfxuf/xox'} V 5^ <PPW o.v(Jo]j.otos. It is again referred 
 to below, 1. 147 1, and Thesm. 275. 
 
 «-a^' UpCiv\ ' over the victims.' Cf. Thuc. V. 47 djxvvvTwv Karh lepCip 
 reXeicov, and £q. 660 Kara x'^^w €vxr]v Troiifjcraadai x'^iapwr. 
 
 102. iirLopK-ri<Ta(Tav'\ There is no reason to take this word out of 
 its usual sense, * forsworn,' as some do, translating ' linguam quae 
 juravit.' For if the mind did not swear and the tongue did, the tongue 
 v/ould have sworn an oath meant to be broken, and this is iviopKeiv. 
 
 103. fiaWa] fjt.^ dXXd, a frequent combination in Aristophanes: 
 ' do not say so, but.' It is corrective here of the word apiaKei: ' Don't 
 say "please nie," why I'm more than mad with delight at them.' 
 Comp. below 11. 611, 745, 751, where the force is just the same: in 
 each passage some word too weak and inadequate to the occasion is 
 corrected. 
 
 104. KoX coL\ You too, though you profess to like them, must 
 really think these phrases vulgar tricks to catch the public. 
 
 105. oUeil Every one has a right to dwell in and manage his own 
 house: cf. Eur. /. A. rbv ifibv oheLv oTkov ovk idaofiai; Androm, 581 
 17 rbv a/xbv oXkov olK-qaeis : and Euripides had used the phrase fxr] rbv 
 i/x6v oiKCi vovf, as the Scholiast tells us. ' Don't take on yourself to 
 arrange what I am to think,' Dionysus means : Hercules' province is 
 not criticism of poetry but of eating: there he is *at home.' 
 
 108. uivTrep] Neuter, * the objects for which I came : ' and in strict- 
 regularity it should have been followed by raCra <ppd<Tov fioi, but this is 
 changed to to&tous by the nearer noun ^ivovs. * What I came for... that 
 you might tell me of your hosts ; of these tell me.' 
 
 III. ixP<^] ixpdov. Most texts have ^XP^^' ^ut older editions 
 iXP^ ' which seems correct according to rules of accentuation. 
 
 113. dvaTrauXas] Plato {Le^or, 625 b) speaks of 'shady resting- 
 places by the way among lofty trees. ' iKTpoiras, ' turnings, places where 
 the road branches.' L. and S. say *a place /o which one turns,' a 
 resting-place, inn. The Latin * deverticulum ' appears to have both 
 meanings, but the dije first given best suits this passage. 
 
1. I40.] NOTES. 67 
 
 114. 5ta/ras] * lodgings, rooms:' in private houses perhaps: dis- 
 tinguished apparently from inns open to all {ira.v5oK€la), which were 
 at that time often kept by women. 
 
 116. KoX a<! 7e] *Yes, I shall go; and speak you no more on 
 this head, but tell me the best way.' Join rwy bh'^v with %-ktq * by 
 which of the ways.' Comp. to? 7^5, -^o'j 7^?. Fritzsche, reading cJtws, 
 alters the rest to v((>v 6d6v. 
 
 12 1. dirb kolXw k. 6.1 *by rope and bench.' This might, as 
 Fritzsche and Kock say, first suggest a way by sea, by towing and 
 rowing: then Kpe/xdaavTi (xavrbv 'if you hang yourself changes the 
 whole sense, the tow-rope becoming the halter, the oarsman's bench 
 the bench or stool on which the man climbs to hang himself, kicking 
 it away (as the Scholiast says) when the noose is fixed. This way D. 
 rejects ' as stifling:' he had stipulated for a way 'not too hot.' 
 
 123. ^vvrofios TCTptfifihrj] *a short cut well-beaten' in a double 
 sense, the path being well trodden, the hemlock well pounded, and 
 also cut up small. 
 
 125. yj/vxpdv 7e] Too cold is this way. The chilling effects of 
 hemlock are described by Plato in relating the death of Socrates : 
 iireira (rcpodpa Trtiaas aiiToO rbv irbda rjp€TO ei aiaddvoiTo, 6 5' ovk ^(pr)' 
 Kai fJL€TOL TOUTO avdLS Tus KVTj/xas' Kul iiravLUiv ovr 00s i}iuv iirehdKVVTO 
 Stc \l/vxoiTb T€ Koi TT-qyvvTO. Phaed. 1 1 7 E. 
 
 128. dvros] Suppl. e/AoD, 'since I am a poor walker.' D. is fat and 
 pursy : cf. 1. 200. 
 
 129. Kepa/xei/foj'] The outer Ceramicus is meant, through which 
 the course lay. D. is to watch for the start, and then start himself 
 down from the tower. 
 
 136. rov TT<}pyov\ Called Timon's tower : it was near the starting- 
 point of the race. 
 
 131. d.(f)te/j,ivr)v'] The order is Oeco hrevdev d(f). ttju\. 'look thence 
 at the starting of the torch-race.' When the spectators impatiently call 
 upon the starter to start [elmL) the competitors, then D. is to start 
 himself on his downward way. 
 
 133. eluat] Imperative in sense. This aorist is far commoner in 
 compounds {d^eivai, KadelvaL etc.) than in the simple verb. 
 
 134. iyK. dpi(jj\ In Aristophanes dplov is a ball of meat wrapped 
 in a fig-leaf: we have rapixovs dplov Ach. nor, by]fxov dptov Eq. 954. 
 Here D. comically speaks of his brains as ' two brain rissoles or 
 puddings.* * Zwei Klosse Gehirn ' Kock. Indeed it appears from 
 Eustathius and Schol. on Eq. 954 that ^yo/a eyKcc^dXov were an actual 
 dish. 
 
 139. TvvvovTi^il 'only so big,' showing its size. Hercules wants 
 to frighten D. 
 
 140. 5u' (5/3oXcb] Charon's fee is generally put at one obol. Ar. 
 perhaps doubled it that it might be the same as the dicast's fee, or the 
 ecclesiast's fee, or the deiopiKdv : which last however appears to have 
 varied. 
 
^8 THE FROGS. [1. 142— 
 
 142. G?7(T6i!'s] As an Attic hero, Theseus introduced the Attic use, 
 when he visited Hades to carry off Persephone. 
 
 145. pop^opop] Cf. Plat. Phaed. 69 C 0% dv a/JLvrjTOS /cat UTiXea-ros 
 €ls"Ai5ov dtpUrp-ai, iv ^op^opcp Kela-erai. 
 
 151. 17 Mopaifiov Tts] 17 ei Meineke proposes: Cobet pTJaiv riv 
 for Tts pT](Tiv : they think the repetition of rts awkward. After men- 
 tioning heinous moral crimes, which Aeschylus, Virgil, and others 
 have spoken of as meeting retribution in the nether world, he ridicu- 
 lously adds as a crime the copying out a speech from the bad poet 
 Morsimus : for whom see Eq. 401, Fac. 801. 
 
 153. 'Ki.v'qalovl A dithyrambic poet ridiculed in the Birds 1. 
 1383 — 1409 : he had written the accompanying music or song to the 
 weapon-dance. 
 
 154. evreidev] From the torments of the wicked H. passes to the 
 joys of the initiated. These are described by Pindar, in a fragment of 
 his Threni. 
 
 155. hBaZe\ 'here' on the upper earth; because in the world 
 below the light was generally dim. Cf. Virg. Aen. vi. Largior hie 
 campos aether et lumine vestit purpureo. 
 
 159. tvQ^ dyi)3V nv(TT7]pia\ irapoi/xla iirl rCov ir^pois KaKOTradovvrtov. 
 Photius. As dyeiv Atoi^vata, de<Jixo<f)6pia means *to celebrate the Dio- 
 nysia, Thesmophoria,' so ayuv ixvcrr-qpia 'to celebrate the mysteries.' 
 The ass celebrated them by carrying the baggage of the multitude who 
 went out to Eleusis from Athens : thus he had the trouble, they the 
 holiday. And so, while Dionysus and Hercules are amusing them- 
 selves, Xanthias is labouring under his burden. There is no reason 
 for supposing that 6.y€LV fi. can mean ^ipeiv rdi. tQv /xvartov iepd, 'to 
 carry the mystic vessels.' Xanthias takes up the word ixep.v7)ixivoi : 
 ' Initiated mystics ! it's I who in truth take the donkey's usual part 
 in the mysteries : all the work : none of the play. ' Therewith he 
 throws down his burden : which however he soon has to resume. ' 
 
 160. raura] the burden which X. carries. 
 
 165. irylaivil Used at parting as in EccL 477, dW dp.L' ab 
 8' vyLatve. 
 
 165 — 270. After parting from Hercules, Dionysus and Xanthias 
 go on to find the lake j having vainly tried to make a bargain with a 
 corpse to relieve X. as porter. They find the lake and Charon, who 
 takes p. on board, refusing X. ; they cross the lake escorted by the 
 frog chorus. 
 
 168. eTri tovt''] sc. iirl to iK(pipe(r6ai *to be buried.' 
 
 169. ifJi' dyeiv] 'take f?ie.' So Bergk and Paley, for vulg. roVe 
 fi dyecv. 
 
 172. ffKcvdpL'] 'some light luggage ;' rather depreciating its weight. 
 
 174. i57rd7e^' v/xeh] 'Move forward on your way, you bearers.' 
 The dead man scorns to bargain, and is in a hurry to get on ; and in 
 spite of Dionysus' avdjueiuov will not come to terms. Others (less well) 
 take vir. vfj.. to be addressed to D. and X., ' move out of the way.' 
 
1. 191.] NOTES. 6g 
 
 I 'J "J. dvapi(pr]v] an amusing inversion of diroXoifxTjv well suited to 
 a dead man. 
 
 178. w$ o-e/xj'os OK.] *What airs the \vTetch gives himself !' Cf. 
 I^lut. 275 ws ffeiJLVOs ovirirpnTTOs. 
 
 180. wott] K^Xeva/xa KaraTavov rV Kcarrfkaaiap, Schol. irapafiaXov 
 *lay the boat alongside the land.' So below, 1. 269. In £^, 762 it 
 is of laying one boat alongside another. Charon seems here to be 
 addressing one who helps in the rowing. Why then, asks Keck, does 
 he make Dionysus row? Chiefly that D. may raise a laugh by his 
 clumsiness. Kock suggests that Charon may be landing a passenger 
 on the far shore of the lake, whom he makes row, as afterwards he 
 makes D. row : that he is not visible till he returns to the near shore. 
 The supposed extent of the lake {Xi/MVTj fieydXri irdpv) is against this : 
 the whole scene is on the hither shore of it. And granting Charon to 
 have a rower under him, Dionysus' extra weight might necessitate extra 
 rowing. 
 
 i8r. TovTo '^ The old reading toCto Xl/ivr} vrj Ala avrrj ^ ffriv was 
 corrected by Dobree, whom most editors have followed. Perhaps 
 another correction would be admissible : tovto Xlfivr} vi/ A. a^rij 'ariv 
 'this is ^/le very lake he mentioned.' With Dobree's correction the 
 passage runs : X. 'What is this?' D. ' This? Why, this is the lake.' 
 
 184. X'^^P w X.] Said to be from a play of Achaeus. The Scho- 
 liast suggests that the triple greeting should be divided between 
 Dionysus, Xanthias, and the dead man who has refused to be porter. 
 It is very unlikely that the dead man comes on again : and Dionysus' 
 thrice repeated * Hail I' (esp. as it suits the metre) needs no abstruse 
 reason. ^ 
 
 186. tvov irl>Ka.i\ ' Donkey's Woolton,' an imaginary town, because 
 to shear an ass [fivov Keipeiv) was a proverb for an impossibility. 
 
 187. Kep^epiovi] Parodied from the Kijut-n^pioi, with reference to 
 Cerberus. The Cimmerians dwelt in outlandish darkness, none could 
 say where : so they are localized in Hades. And so of * the crows.' 
 Taenarus was the south promontory of Laconia, where was fabled to- 
 be an entrance to Hades : * Taenarias fauces, alta ostia Ditis ' Virg. 
 Meineke objects that Taenarus is not in Hades : he reads Tdprapov. 
 He also reads 6kvov irXoKdi in the line before. There appears to have 
 been a picture by Polygnotus (Paus. 10. 29. 2), called okvos, of a man 
 twisting a rope which a she-ass gnaws to pieces again : an emblem of 
 labour in vain. But how should the words be rendered here ? what is 
 the sense of 'the twistings of delay,' or 'Ocnus' rope,' as applied to 
 the shades below ? 
 
 188. ffxv<^^i-^] Nautical use, as in Thuc. II. 25 axovres is ^eidv 
 id-ffovv Tr)v yiju. The compounds Kara<7x«»'> irpoaffx^^" in this sense 
 * appellere ' are also of frequent use. 
 
 189. aov 7' ovueKa] 'just for your sake;' you deserve no better 
 landing-place. 
 
 191. TTju ire pi Tuv Kpeiov] Of the whole passage the sense plainly 
 is this : ' I ferry over no slave, unless he has fought in the battle of 
 
70 THE FROGS. [1. 192— 
 
 Arginusae and so won his freedom.' It is also plain that ry]v irepl tijov 
 KpeQv is simply to define the vavfxax^o. in which the slave must have taken 
 part. The explanation generally accepted is this. The Greeks have 
 a proverb t6v irepl ^vxv^ bpajxuv ' to run for very life ;' and also a more 
 vulgar form o Xa7d;s tov irepl tQ)v npedv rpix^i. Hence a contest for 
 very life may be more rudely termed 7re/.i tCjv KpeQv * for body and 
 bones.' Such was the fight at Arginusae, on which the very existence 
 of the Athenian State depended. But though of momentous issue, 
 Arginusae was not more a struggle for life and body than many other 
 battles : this does not seem a good definition of it : especially to an 
 Athenian, as the Athenians won a signal victory. The better ex- 
 planation seems to be that rrjv irepl tQv npeCjv refers to the distinctive 
 fact about Arginusae, the failure to save the wrecks and their crews, 
 for which the generals were impeached and condemned. Charon calls 
 the sea-fight ' the one about the carcases ;' where such a stir was made 
 about picking up the crews, whom Charon contemptuously speaks of 
 as Kpetiv. Perhaps a sneer is intended at the Athenians for thinking 
 so much of this, and so little of the main issue of the battle. Brunck 
 vthus explains the passage, and part of the Scholiast's note seems to 
 favour this view, though it is not clearly worded. 
 
 192. ov yap dXX'] 'for indeed' is about the force of this combi- 
 nation. Cf. £r/. 1205, JVtilf. 232, and below 11. 498, irSo. It may 
 be explained 'not something else, or anything else, but,' which is 
 plainly equivalent to an emphatic assertion of the special fact. 
 
 194. Avaipov] 'the stone of withering :' because the dead are dry 
 and withered. The Sdioliast says there was a stone so named at 
 Athens. If so, probably it was named after some person, but is adopted 
 here with reference to the meaning. 
 
 196. fxafddvo}] X. quite understands that, as before, he is to have 
 all the trouble, and wonders what evil token met him as he started, 
 to bring on him such a train of misfortune. 
 
 199. I'^wVi K(L7r7]i>] D. sits on the oar instead of* to the oar, ready 
 for rowing.' Charon gives him exact directions. Most editors adopt 
 ovirep from MSS. Rav. and Ven. for olwep. Either reading is un- 
 objectionable. 
 
 202. ^xwi'] adds a notion of continuance, ' don't go on playing 
 the fool, but row.' Cf. JViid. 131, 509, rl tuvt' ^x'^" o-rpayyevo/xai; 
 ri KVirrd^eis ^x^^ » 
 
 ai/rtjSds] ' pressing your foot against the foot-board or stretcher.' 
 
 204. air. dd. d(T.] 'Unskilled, untried at sea or Salamis :' the 
 last word may be either 'no Salaminian' = no native of Salamis, they 
 being good sailors j or ' no sailor such as fought at Salamis. ' 
 
 207. /Sarpdxwy AC.] Probably in apposition, ' swan-frogs ' or 'frog- 
 swans :' i.e. frogs musical as swans. Meineke adopts Bothe's compound 
 paTpaxoKVKvuv. This seems needless. Indeed ^arpdxoov kvkvwv might 
 be 'frogs and swans,' as dvdpQv yvvaiKixiv above in 1. 157 'men and 
 women.' Charon gives the time (Kara/ceXeuei), and the frogs take up 
 the chant. 
 
1. 230.] NOTES. 71 
 
 209. ppeKCKCKk^ ff.T.X.] The frogs, though a secondary Chonis — 
 for the true Chonis are the Mystae — have given their name to the play. 
 During their song, which is to give time to the rowers, and probably 
 becomes quicker and quicker, driving poor Dionysus to desperation, 
 the boat crosses to the opposite shore. The frogs are not visible, ace. 
 to the Scholiast : they may have been so, being either actors dressed 
 up, or dummy figures, while their croaking was made by persons con- 
 cealed, as Paley suggests. 
 
 212. ^i'vavXou] Cf. Eur. El. 879 frw ^vuavXoi ^od. A flute ac- 
 companied the chant of the frogs. The gist of the first strain is 
 'Sing we here in the nether marsh that song which erst we sang in 
 praise of Dionysus at his festival in the marshes.' laxvca-fJ-ev is aorist 
 m the simplest sense, the frogs below being the ghosts of frogs above. 
 Kock suggests x^po^ for xwpet in 1. 219, but that seems unnecessary. 
 
 215. 'Nua-qiojf] Nysa was the fabled home of the infant Dionysus : 
 it is variously placed in Greece, Arabia, Aethiopia, India. 
 
 217. Alfxvatffiv] Dionysus' oldest and holiest temple was in the 
 district called Alfivai, south of Athens: it was called the Lenaeon. 
 Demosthenes (1371) tells us that it was opened once a year, on the 
 1 2th of Anthesterion. Cf. Thuc. Ii. 15. There were three days of the 
 festival, IlidoLyia, X6es, Xvrpoi. Cf. Smith Dt'cf. Anf. under Dionysia. 
 
 2 1 8. Kp. t>x\o%\ ' the revel rout with splitting heads ' from yesterday's 
 drinking at the Xoes. 
 
 219. i/uLov] The marshes are the frogs' special demesne, particularly 
 in spring when they begin to croak. 
 
 226. avTip Kod^] ' coax and all :' a construction commoner with 
 plurals. See note on Ves^. 1 70. 
 
 227. iar] 'you are nothing else but coax :' cf. Av. 19 tc1> S' ovk 
 dp 7}<TTT]u ov8h dWo TrXV SaKPCtv, and Zys. 139 ovd^v ydp ifffiev ttXtji* 
 TLoa-eidQv koI (TKd(l>rj. Meineke edits here dXX : which seems more 
 correct, especially where it is the nominative case and predicate in a 
 sentence. 
 
 229. ifik yhp /c.r.X.] Of course I sing; for the Muses, Pan, and 
 Apollo, love my song, and I shall not stop it for your meddlesome 
 objections. The frogs do not recognize the god in Dionysus: even 
 Aeacus does not do so : it needs a brother god Pluto. Cf. 1. 670. 
 
 330. Kcpo^dras] Three explanations are given, (i) *that treads 
 the mountain peaks :' cf. Nub. 597 ixpcK^para Trirpav; compare also such 
 names as Matterhom, Schreckhorn. (2) * horn-footed ' = goat-footed, 
 supported by Homer's hymn to Pan 1. 2, alynrbbriv dcK^pura, <ptK6- 
 KpoTov. (3) * the homed walker or dancer :' the emphasis being on the 
 first part of the compound, as in Soph. 0. C. 718 iKaTopLirodup l^rfpT^duv 
 is probably 'the hundred dancing Nereids.* And Homer's dcK^pcara 
 might be quoted to support this, horns being the characteristic of Pan. 
 All three interpretations are mentioned by the Scholiast. 
 
 Ka\afM6(f>doyya v.] 'who draws merry music from his reed.' ' 'Pan 
 primus calamos cera conjungere plures instituit.' Virg. 
 
72 THE FROGS. [1. 233— 
 
 233. 5oVa/fos] The reed was used of old in place of horn. And 
 the horn, or tortoise-shell, was a kind of sounding-board to the lyre. 
 'In fidibus testudine resonatur aut comu.' Cic. N. D. 2. 57. 144. 
 Homer {Hymn to Hermes 47) describes the making of the first lyre : 
 vri^e 8' ap iv fiirpoiffL rajxdiv douuKas KaXdfxoio ireiprjuas Sia p&ra 5id 
 pivolo xeXcivT^s. d/JL^l 6^ 8^p/xa rdwaae jSoos Trpairi^eaaiv irjai, Kal t-^x^s 
 iu^drjK, iwl 8i ^vyov rjpapev dficpoiv' eTrrct 5^ av/xcfyibvovs otwv eTavvccaro 
 XopSds. Plainly both shell and dova^ form the back or sounding-board 
 of this lyre, for the arms, or sides, and the cross-piece, or bridge, are 
 distinctly mentioned afterwards. The union of dovaKas KoKdjuLoio 'reed- 
 stalks ' shows that these two words need not be distinguished, as some 
 have fancied. The fragment of Sophocles : ixpypidrj aov KdXa/xos uxnrepet 
 "Kvpas 'the reed sounding-board, as it were, of your lyre is removed' 
 = you are as weak as a lyre without a sounding-board' is aptly quoted 
 by Fritzsche. Hence 5. viroXvpcos is certainly ' the reed that backs the 
 lyre,' that forms the sounding-board. And Hesychius has KdXafios : 
 TO i/iroTiOifxevov ry Xvpg, i/jx^^ov. 
 
 241 — 9. We will sing now, if ever we did in weather line or wet. 
 
 245. iroXvKoXv/ji^oLji fi.] 'strains of song broken by many a dive:* 
 a sort of accompaniment of 'flop' going on at intervals, as the frogs 
 plunge down. 
 
 247. xopf/ai'] * choric song accompanying our dance. 
 
 249. TTo/j.cf).'] * with bursting bubbles' seething sounds :' a word 
 imtransferable to our tongue. 
 
 250 — 2. Dionysus mimics their croak, as below, 1. 262, to Xeyeiv 
 ^p€KeK€K^^ Trap' v/xuv ^fjiadov, Schol. 
 
 253. Td,pa] = TOL dpa. Cf. Ack. 323 Setva Tapa irdaoixat. 
 
 257, D. pretends indifference, dismissing them with a curse. 
 
 260. xa^Sdi'Ty] Cf. Horn. //. X. 462 yjvaev oaov KecpaXyj ^ciSe 
 0a;r6s, * he shouted with all the voice-power of mortal head.' 
 
 265. 5^77] Pronounced as one syllable: soiwFlut. 216 Kap dirj fji* 
 dirodavetv. Some write it 5^. 
 
 268. ^/xeXXov dpa] *I was destined after all...' = I thought I 
 should do it at last. In Ack. 347, JVzd^. 1301, Ves^. 460 the same com- 
 bination is used, but with dpa. The infin. is future inf. in every place 
 but Ach. 347. 
 
 271 — 322. Dionysus hails Xanthias, who has made his way round 
 to the landing-place. They advance through the dim light, D. being 
 terrified by strange sounds and sights. When clear of these they hear 
 the strains of an approaching Chorus, which proves to be the Mystae. 
 
 271. r\ Sa»'^/as] 'Is it Xanthias? is Xanthias there?' Some 
 read Say^t'a: then ^ is an exclamation, 'Hi ! Xanthias.' 
 
 272. lav\ X. shouts to be heard, because it is so dark that they 
 cannot see well. 
 
 273. TavTavdi] ' where you are or have been.' 
 
 275. iXeyep] sc.'HpaKXijs. See above, 11. 145 — 51. 
 
1. 3°3] NOTES. 73 
 
 276. VT(] rov n.] As X. has seen them, D., not to be outdone, has 
 seen them too: and then turns to the spectators: as in Nub, 1096, 
 Vesp. 73. 
 
 281. dh^% K.r.\.'\ Knowing my prowess (says D.) Hercules wanted 
 to frighten me by exaggerations, lest I should encounter and overcome 
 these monsters, he wanting to keep all the honour of such deeds to him- 
 self. The next line is parodied from Euripides Philoct. ov8iv yap ovto) 
 yaOpou us a.vr\p ^<f>v. 
 
 284. dyuviff/x' a^.] Some deed of high emprize to match our 
 travel. 
 
 285. p^ rbv Aia' koX fiT^v] 'By Zeus, yes. And hark ! I hear a 
 noise.' X. affects to assent to his master's wish for adventure, and 
 invents a monster. It is strange that all the older editors except 
 Fritzsche should have removed the stop after A^a. The instances given 
 by Kock of vt^ top Aia placed (as he thinks) too early in the sentence 
 are little to the point: in all of them {Nud. 652, Visp. 217, Lys. 609) 
 the words can be translated naturally in their actual order; and the 
 asseveration in two of them refers to what goes before. Kal fxrjv con- 
 stantly introduces some new person, seen or heard. So in 1. 288, 
 where X. first sees the creature. 
 
 293. "EfjLirovaa] A spectre supposed to be sent by Hecate to scare 
 travellers in the gloom, a monster of Protean variability. 
 
 294. (TkAos X-] D. suggests 'and it has a brazen leg' — perhaps 
 from some popular notion about the Empusa. X. accepts this, and 
 gives it another of absurd material. 
 
 297. iepeO] He looks to the priest of Dionysus, who had a con- 
 spicuous seat in the theatre, and was, we may suppose, a wine- bibber, 
 and of ruddy complexion. He is again referred to in 1. 308. 
 
 298. 'Hpd/cXets] He appeals to Hercules the deliverer (oXe^kaKos): 
 and D. was dressed like Hercules. But D. does not want to be recog- 
 nized as H. , thinking that this may bring him into trouble ; as indeed 
 it does afterwards. 
 
 ica\e?j] Future tense. 
 
 301. id^ rjirep ^.] To the Empusa, whom he supposes to pass on. 
 Then turning to D. devpo, 8€vp\ So Mitchell explains : and certainly 
 Wi, 'go on thy way,' does not suit with devpo, * come hither,' addressed 
 to Dionysus. Unless there is a distinct interval : * Go your way for 
 a coward as you are,' contemptuously to D. who is flying : then, after 
 a while, thinking the joke has gone far enough, 'Master, come back, 
 we're all safe.' Without stage directions, points like this must remain 
 doubtful. 
 
 303. 'H7A0XOS] Hegelochus was acting Orestes in Euripides' 
 play of that name. In speaking 1. 279, which is here quoted, he so 
 pronounced 7aXT7J'' 6/)c5 as not to mark the elision, but make it yaXijv 
 opa, 'I see a cat,' in place of 'I see a calm.' This mistake became 
 quite famous, and was ridiculed in several comic passages noticed in the 
 Scholiast. In the line, as given here, editions vary: the older have 
 
74 THE FROGS. [1. 308— 
 
 70X171'', Fritzsche, Meineke, and Kock 70X^1*. Fritzsche argues that 
 Xanthias says, *we may now say as H. did, for after a storm I see 
 a cat' H. did not say ' after a storm I see a calm.' But the sup- 
 porters of 7aX')Jj'' may reason thus: Xanthias says, * We may now speak 
 as H. did; for after the storm I (Xanthias) see a calm.' Xanthias 
 might say 'we may speak the line which Hegelochus spoke,' or even 
 ' as Hegelochus spoke it ; ' and yet he, Xanthias, might then apply it 
 as Euripides wrote it. In fact the gist of the whole is, * We may 
 apply to our case Euripides' line which Hegelochus spoke so absurdly.' 
 
 308. 65i] * This priest of yours ' blushed with sympathetic fear or 
 shame for you. 
 
 311. oXQkpa. /f.T.X.] 'Is it Aether or Chronos?' Euripides' dei- 
 ties ; see above, 1. 100. Some give the line to Xanthias, spoken sar- 
 castically. 
 
 314. eicr^TTvei/o-e] 'Yes I heard the breath of flutes, and also a 
 breath of fragrance from torches reached me.' The flame would be 
 perfumed by incense. Cf. below, 1. 338, w$ y\hv fioi irpoa-eirvevae xotp^iup 
 Kpe'w. 
 
 318. ^/ce7f'] That which Hercules had told them, 11. 154 — 7. 
 
 320. bvirep ^Laybpas\ g^dei is the natural word to supply. But as 
 Diagoras of Melos was a despiser of the gods, some have supposed that 
 there were two persons of the name, one a dithyrambic poet. It is also 
 possible that the Melian Diagoras in his early life wrote odes to lacchus. 
 For this Diagoras cf. Av. 107 1. ^deiv rbv "Iukxov^ 'to sing the lacchus 
 hymn,' as 4^eiv top 'ApjULodiop, ' to sing the Harmodius lay.' 
 
 324 — 413. While D. and X. are standing aside, the Chorus enter: 
 they call on lacchus to lead the dance with flaming firebrand, and wel- 
 come his appearance (strophe 324 — 336, antistrophe 340 — 353). Then, 
 in the anapaests (354 — 371), they make proclamation that all tasteless, 
 quarrelsome, traitorous persons get them gone. They then encourage 
 themselves to sport and mirth, calling upon the saving Persephone, on 
 Demeter, and again more fully on lacchus. Without doubt this whole 
 interlude is an imitation of the procession and ceremonies of the Eleu- 
 sinian mysteries : especially of the sixth day, when the statue of lacchus, 
 with myrtle garland and bearing a torch, was carried from Athens to 
 Eleusis with shout and song. At the bridge over the Cephissus jests 
 and ridicule of the passers-by were customary : called yecpvpicfjioi : imi- 
 tated 11. 416 — 30. For particulars of the Eleusinia see Smith, Diet. 
 Ant. 
 
 The Eleusinian procession had been discontinued since the occupa- 
 tion of Decelea by the enemy : the mystic treasures had been carried by 
 sea. Only in the year 407, under a strong military escort led by 
 Alcibiades, was it renewed for once. Hence this exhibition of some of 
 its ceremonies in the under-world would be attractive to the Athe- 
 nians, 
 
 324. iroKvTlix-rjT^'] irokvTifiois Herm., Fri., Mein., Kock. The MS. 
 woXvTifn^Tois needed correction. The frequent use of the vocative tto- 
 T^VTifirjTe, cf. 11. 337, 397, in addressing a god makes for Dindorfs read- 
 
1.357.] NOTES. 75 
 
 ing. lacchus, son of Demeter, must not be identified with Dionysus, 
 son of Semele : they are quite distinct. 
 
 329. ^p6ovTa (TT. [x6pTU}v\ * berry-laden myrtle- wreath. ' /i. genit. 
 from /xvpTou the fruit. 
 
 334. TLfiav] ' service,' i.e. dance in honour of a deity : cf. below, 348. 
 But the apposition of this word to X'^P^'-"-^ ^^'^^ its connexion with 
 iyKaraKpovuju is harsh. Hamaker proposed irofiirav, Kock edits r' iixdv 
 here, and <p\4yuv in 1. 350. For the sense t' ifxau is not veiy good. 
 There are a few other verbal differences in the texts at the close of this 
 strophe, but not important to the sense. With Dindorf's readings it 
 runs, ' beating with bold foot the free and sportive measure, abounding 
 in graces, even the chaste sacred dance for the holy mystae.' The 
 dative may be because lacchus is called on to lead the dance, to give 
 the time, as it were, for them. Or (Schol.) if from iyKaraKpovuiv, 
 'among the holy mystae.' Or with Upau, ' held sacred by the mystae ' 
 (Paley). 
 
 338. x^'-P^^^v Kpewj/] The customary victims at the mystic rites. 
 Cf. Ach. 764 x^^pov^ jULvaTLKcis. From these X. gets ' a whiff.' The 
 impersonal constr. with the genit. is as VcsJ). 1058 twp i/xariuu o^rjaei. 
 
 340. ^yeipe] * Arouse thee : ' said by the Chorus to itself, 
 lacchus obeys their summons and is come. Meineke's text, explained 
 after Fritzsche, has been taken. 1. 341 is merely exclamation, and 
 {pLocrcpopos a(TT7]p nominative to -^kcl. But by (pwacpopos dcrri^p is meant 
 lacchus himself. Kock reads "la/cxos for the two vocatives : the sense 
 is then the same. As there are three syllables too much in 1. 340, if 
 rivd<jd(av be kept there, Fritzsche inserts another "laKx^ at the end of 
 1. 324- 
 
 345 — .8. The old forget their age and dance. As do Cadmus and 
 Tiresias in Eur. Bacch. 185, 
 
 347. mai;roi>s] * cycles ; ' hia.vTo% being used for a number of 
 years. We find mention of an iv. of eight years : also of nineteen. 
 
 348. VTTO Tt/xas] * under the influence of the sacred service : ' cf. 
 above, 1. 332. 
 
 354. €V(f>r]pL€tu xP'n] The leader of the Chorus speaks in the cha- 
 racter of the Hierophant, the proclamation being an imitation of the 
 real one at the mysteries. These tetrameter anapaests appear to be 
 something like a parabasis : and it should be remarked that the later 
 and true parabasis (675 — 737) has no anapaests. 
 
 356. Mouo'wj'] The uninitiated in poesy are warned off : ' procul 
 este, profani.' KuOapevei, 'is true or pure in taste.' Cf. VesJ>. 1015 vvv 
 aSre Xecp irpScrcrx^Te top vovv direp Kadapbv ri <f>i\€iT€. Compare also 
 Ves/>. 631. Kadapos poetically is 'pure, genuine, the real thing.' The 
 actual word in its religious sense may have been in the hierophant's 
 proclamation. 
 
 357. Kparivov K.r.X.] * whoever is not initiated into the mysteries 
 of the tongue of the bull-eating Cratinus.' Dionysus is termed ravpo- 
 (pdyos and ufxrjjTTjs ; therefore, they say, Cratinus as his votary is so 
 
76 THE FROGS. [1. 358— 
 
 called. The epithet is Intelligible enough as applied to the god, when 
 we remember the Bacchanalian frenzy of his worshippers (Eur. Bacch. 
 737 — 47); but its transference to a poet, of whose drinking powers we 
 hear much, but nothing of his Tavpo(t>a'yla in the savage sense, is not 
 very natural. Fritzsche interprets it ' dithyrambic, dithyrambic prize- 
 winner,' because a bull was the prize for the dithyramb. This explana- 
 tion the Scholiast gives first : then tj, 6tl (piXoivos rjv, Sia tovto iiriderop 
 avTip Tov Aiovvaov iinTideaaiv : i. e. because he loved wine he is called 
 * bull-devouring : ' a questionable piece of reasoning. Two other hints 
 for explaining r. are given by the Scholiast, which have been unde- 
 servedly neglected, in the words roXfirjpov, Xaifiapyou, 'bold, gluttonous.' 
 Now ' bold ' is preeminently the word for Cratinus : cf. * audaci afflate 
 Cratino,' Pers. SaL I. 123, and his character by Aristophanes in £^. 
 526 — 8. Or, though not a raw-flesh eater, we may believe the great 
 drinker to have been a great eater also. In either of these senses ravpo- 
 <f)dyos could be used without violence : a man recklessly bold might be 
 called * a bull-eater,' much as we term one who affects such a character 
 *a fire-eater.' There may be also some allusion to Dionysus and to 
 the dithyrambic prize. The antiquarian explanations of the word may 
 be to the point, but a plain meaning for the Greek word applicable 
 to Cratinus known character is what we want, and is best supplied by 
 interpreting it ' bold, dauntless. ' 
 
 358. TOVTO TT.] i.e. p(ii3fio\oX€vofx4voi^, or iroLova-L ^wfioXox^EVfiaTa. 
 The use of tovto iroieiv, dpdv instead of repeating an active verb is 
 common : it is rather different here, but the sense is plain. 
 
 359. (TTaa-iv] The bitterness of party spirit at Athens was at 
 this time great. The audience might fit these remarks to whom they 
 pleased. 
 
 362. raTTo/jpijr'] * Contraband of war,' as in £^. 282 v^ AC i^dytov 
 ye TairbppTjd'. The island of Aegina lay convenient for the exportation 
 of such forbidden stores. 
 
 363. dKoaToXbyoil * About this time the Athenians imposed on 
 the subject states in place of the tribute a tax of one-twentieth on goods 
 carried by sea, thinking thereby to increase their revenue.' Thuc. vii. 
 28. This was in B.C. 413. The farmers of such taxes were ctVoaro- 
 \byoi. Plainly Thorycion had abused his position and opportunities. 
 
 364. cto-Kti/iara] * rowlock-paddings,' cf. ^^/i. 97. 
 
 366. 'E/cara/wi/] * Shrines or images of Hecate,' the patroness of 
 street-corners. Cinesias, a song-maker for cyclic-dancers {kvk\lo5l- 
 8d(7Ka\oi, Av. 1403), is said to have thus insulted the shrines of Hecate. 
 Cf. Ecd. 330. 
 
 367. prrruip] Archinus and Agyrrhius did this, ace. to the Scho- 
 liasts here, and on £ccL 102. 
 
 369. TovTois ai5u)\ The MSS. have tovtol^ aVauScS ; editors correct 
 for TovToii variously Toi(nb\ olacv, tovtov. Brunck corrects avSQ for 
 dtravhS}. And there is no objection to this reading : the three com- 
 mands thus rise in force most neatly: aiJow, ctTrauSoj, /iaX' diravbQ. The 
 mistake of altering the first auScS into djrauSw would be easy. The 
 
1. 404] NOTES. 77 
 
 compound arauSw cannot be rendered 'Turbid,' as the infinitive has no 
 /x^ to complete the prohibitive sense. 
 
 370. kl^. x^potj] * to make vv^ay for, give place to:' kilcracQci 
 takes dat. of the person for whose advantage or honour one departs 
 from a place. So Virgil {Georg. II.): Tmolius assurgit quibus, 'to 
 whom T. rising gives place.' 
 
 371. KoX xawux^Sas] Meineke's changes here rest on no authority: 
 is it certain that iyelpeiv iravwxl-das is * ineptum '? 
 
 374. iyKpovuv] ^aiv(j}v elpvdfius Schol., cf. above, 1. 330. 
 
 376. 7}pl<TTT]Tai.] * we have feasted enough.' To this it is objected 
 that the Mystae fasied at this time of the mysteries: also that an dpiarov 
 could not be mentioned in connexion with nocturnal rites. The first 
 objectors read -qylffTevTai, * the purging rites are fully done.' Others 
 7]pi<TT€VTai, Sve have had enough of victory (and war).' The devotees 
 cannot have fasted throughout the Eleusinia : -npiaTT/jrai might perhaps 
 be understood of any sacred banquet. Nor is the conduct of the mystae 
 below necessarily an exact copy of those above. Penally, as Paley 
 points out, the mystae certainly /lave been feasting, or whence the whiff 
 of roast pork and the chance of tripe, at 1. 338? 
 
 377. opeis] The a long from deipca, depC;, as Porson shows on Eur. 
 Med. 848. 
 
 378. l,(aT€ipav] Persephone had this title, as we learn from coins : 
 and she is doubtless meant here. 
 
 380. is rds c^pas] * to the coming seasons,' i. e. to every coming 
 season, for ever. Cf. N^u^, 562 is ras uipas rds iripas, and Thesm. 950 
 iK rCiv (hp(2v is rds uipas. 
 
 383. dye vvp] The anapaests again spoken by the leader: the two 
 stanzas by the whole chorus, or each by a semichorus. 
 
 387. Kal fi* d(T<pa\Qs rraiaai] Supply 56s : as also to the other in- 
 finitives. 
 
 393. raivLova-Oai] The victor in the jests at the bridge on the 
 return from Eleusis was crowned with a head-band or fillet. But the 
 Chorus mean also to pray for victory in the rivalry of comedies. 
 Translate viK-qcravTa with raiviovadaif but valffavTa Kal <tk., ' after sport- 
 ing and jesting.' 
 
 395 — 6. The leader calls for g, hymn to lacchus. 
 
 395. Cipaiov] ' blooming, ever young. ' Called * florens lacchus ' 
 by Catullus : ' puer aeternus ' and * formosissimus ' by Ovid. 
 
 398. fiiXos] riXos Mein , /xipos Kock. Of these the first seems the 
 better : riXos eopTrjs, the sacred rite of the festival. But the common 
 text is perhaps defensible. 
 
 400. Oeov] Demeter at Eleusis : the ' long way ' is the way 
 thither. 
 
 404. /far6<rx/(raj] lacchus set the fashion of rent garment and 
 sandals, which his worshippers followed : thus mirth and laughter were 
 promoted and expense saved. Ragged garments were in fashion at the 
 
78 THE FROGS. [1. 414— 
 
 Eleusinia. Fritzsche, however, thinks that the (rx£<rros X'^wi' and 
 (rXtorat, a particular kind of woman's robe and slipper, are meant. 
 The word d^-rjfxiovs, ' without loss, expense,' seems to confirm the first 
 explanation. 
 
 414. iyw] Dionysus and Xanthias profess their willingness to join 
 the dance : aside to each other, not aloud to the Chorus. Plainly it is 
 not till 1. 431 that they come forward. Kock, objecting to D. and X. 
 taking part in dialogue with the Chorus here, supposes the two lines to 
 belong to two members of the Chorus. But explaining them as an 
 'aside' removes the objection. 
 
 416 — 21. An imitation of the ye^vpia/jiSs. See on 1. 324. 
 
 417. 'Apx^^Tjfjiov] The accuser of Erasinides, one of the generals 
 at Arginusae. He is attacked as being of foreign extraction. See 
 below, I. 588. 
 
 418. ^TTThrjs K.r.X.] * in seven years did not get fellow-clansmen:' 
 did not get enrolled in a (pparpia, as every true Athenian child was 
 bound to be soon after birth. There is also a play on 0pacrr^pas d56v- 
 Ttts, the teeth which children have at seven years: there was (Schol.) a 
 proverb iirT^rrfs dv odopras ovk ^(pvaev. 
 
 . 420. dVw peKpolai] Cf. above, 1. 177. 
 421. rd vpcoTa] 'the very head:' the neuter as in Latin, 'prima 
 virorum,' Lucret. 
 
 431 — 459. Dionysus coming forward asks the way to Pluto's 
 house : he and Xanthias proceed thither : meanwhile the Chorus finish 
 their strain and go to their reserved and flowery paradise. 
 
 439. Albs KdptvOos] The Corinthians plumed themselves on their 
 descent from Corinthus son of Zeus ; whose claims they brought forward 
 even to the weariness and disgust of their hearers. Hence Aibs K. 
 became proverbial for anything repeated tist/tie ad nauseam. Xanthias 
 therefore saying ' What is this but Corinthus son of Zeus in the 
 bedding?' means 'what is this but the old order to take up the 
 bedding, the order which I am so tired of hearing?' Besides this 
 Fritzsche supposes the ffTpdo/xara may have been of Corinthian make, 
 Corinth being famed for them, and marked in some way with K6- 
 ptvdos. And many suppose a further reference to KSpcLs, as in A^t^L 
 709 : but this seems very doubtful. In £cci. 828 the application of 
 At6s K. is rather different. Chremes is speaking of a scheme for 
 enriching the state which promised well, but failed : 6're dr] 5' dvaaKo- 
 TTOvjuL^vois ^(})alv€TO 6 Aios KdpLvdos Kol rb irpdyfJi' ovk "^pKecrey. * Much 
 profession little performance, much cry little wool ' seems the force of 
 the proverb there. The expression is used in Pind. JVem. vii. 155. 
 
 440. x^P"''^ Ac.T.X.] Again the chorus-leader speaks as the priest 
 or torch-bearer {8q.dovxos) of the procession. 
 
 441. KiK\ov\ = ir€pL^oKov 'enclosure.' 
 
 450. rp. Ka\\....^vvdyov(TLv] 'sporting after our fashion in the 
 fairest dance which the blessed Fates join.' In KaWixopiliTarov is 
 implied x^^P^^t hence ^uvdyciv. 
 
I. 480.] NOTES. 79. 
 
 458. ^ivov%\ To strangers the Athenians were friendly, the Spartans 
 just the opposite. Cf. Pericles' funeral oration in Thuc. 11. Idiwras 
 = iro\lTas. 
 
 460 — 502. D. and X. arrive at Pluto's gate and knock. Aeacus 
 comes to open, and on seeing, as he thinks, Hercules, abuses him for 
 his theft of Cerberus, and threatens terrible punishment. He goes 
 out to fetch ministers of vengeance. D. is faint with terror: and as 
 X. professes not to be alarmed, he proposes an exchange of dress 
 and character, which they make accordingly. 
 
 461. ovirixi>}pioi\ ol i7riX(^pioi> 
 
 462. y€ij(T€i] Rather a curious application of the verb : but it is 
 used = * to try ' in almost any sense. For ov firj with the two future 
 indicatives 'don't do this, but do that,' see above, 1. 202 : Bergk's 
 yevaai (imperat. ) is no improvement. 
 
 463. Kad'"Rp ^xw;'] 'With the spirit as well as the dress of 
 
 Hercules.' D. shows some hesitation, and is told not to stand loitering 
 there, but knock in Herculean wise. <txvi^ and X^/xa have a rhyming 
 neatness. 
 
 464. TOL TToi] Summons to the porter Aeacus. So in Av. 57 
 Trat TTOi, to the porter Hoopoe. 
 
 465 — 78. A furious torrent of abuse : the first two lines repeated 
 from Pac. 182 — 3, where Hermes as porter greets Trygaeus. It is in 
 ridicule of exaggerated tragic speech or acting. 
 
 468. ttTT^^as] i. e. awrfC^as, from airatacoj or airq.aaw, * you hurried 
 away.* The old texts have dTriJ^as from a.ird'yojy a rare aorist. 
 
 469. ^x"Me'o"os] a. Ach. e^-ji, Eq. l%S. 
 
 470 — 75. This is said by the Scholiast to be a parody on expres- 
 sions in the Thesetis of Euripides. 
 
 472. '^(jiKvrov K<jve<i\ The Erinnyes. 
 
 475. T. ^x{)pa.lvo^^ 'Tartesian lamprey: a supposed voracious sea 
 eel. Tartessus in the unknown west (perhaps Cadiz) is supposed to 
 produce strange monsters. Orestes compares his mother (Aesch. Choeph. 
 994) to a ixvpaivo. or ^x^dva. There can be no doubt that all the 
 expressions of Aeacus were meant to convey unmixed terror to Diony- 
 sus. If (as Fritzsche and Kock think) 'Tartesian lamprey' is also 
 meant to suggest a delicate morsel, it can be only to the Athenian 
 audience. 
 
 477. TiOpdaiaL] A new locality for the Gorgons, who commonly 
 are placed in Libya. Tithras was an Attic deme, whose women were 
 foul-tongued. Gorgons of Tithras is a comic substitution. But for 
 Dionysus this also has of course a terrific sound. 
 
 478. dpofxaiov] A favourite word with Euripides. Cf. Pac, 160 
 dpofiaiav TTTipvy iKTeivuv. He simply means 'to fetch whom I will 
 go post-haste.' 
 
 480. dvaari^aei] D. has fallen fainting on the ground. X. bids 
 
8o THE FROGS. [1. 487— 
 
 him rise. D. asks for a sponge : and when it is brought, and X. asks 
 him where the pain is, points to his stomach. 
 
 487. TTiSs SfiXos] His presence of mind in asking for a sponge 
 proved him no coward. 
 
 494. >77/iaTi9s] A verb of the same formation as (n^vWiav Eq. 
 61, ixadriTLav Nub. 183, and others. All these verbs have the notion 
 of sickness : they express a diseased craving for something, cr the 
 possession of a quality perversely or excessively. Thus ori^vWiq. * is 
 sibyl-sick, has a craze for prophecies.' fxadrjTioj *I have the scholar 
 fever on me.' Here XT^/Aartg^s ' you have a plucky fever or fit.' Com- 
 pare 6<f)da\,uiav and the comic Xo(pdv in Pac. 1211. Even in prose 
 (Dem. Xen.) we find (TTpaTrjyiciv. In this line some read XrifiaTias as 
 an adjective. 
 
 498. ov yap dXXa] Cf. note on 1. 192. 
 
 501. ovK M, yaacrrr/tas] * the rascal from Melite :* by some said to 
 be Callias, who lived in the deme of Melite, and had once in battle 
 worn a lion-skin in imitation of Hercules. By others it is understood 
 to mean simply Hercules, who was worshipped at Melite. Dionysus 
 certainly seems to mean no compliment : ' you look an impudent rogue 
 enough for anything ;' whether the rogue be Hercules or Callias. 
 
 503 — 533. No sooner is the exchange made than a maidservant 
 comes out and invites the supposed Hercules to a feast, X. is about 
 to enter, but D. now makes hini change parts again. 
 
 504. 7] Beds] Persephone, 
 
 505. Kar. xurpas ^tvovs] * pots of soup made of bruised peas :' cf. 
 above, 1. 6^. Provision is made as if for a regiment. 
 
 508. KdWiar'] A politg refusal : so in 1. 512 tomv KaXds. 
 
 oil fiT] Trepid^ofxaL] A rare constr. is this oi) jxr] with j^rs^ person 
 of future indie. It occurs also in Soph. El. 1092. It is a strong 
 negation. See note on Pac. 1039 for the general distinction between 
 ov fiTj with future ind. or aor. subj. 
 
 510. dpyldeia Kpia\ ^pdultry, chicken.' opvi,^ is specially used of 
 the domestic fowl. 
 
 512. ?X'«"'] As in 1. 202, 
 
 518. &(t>aipetv\ 'to take away' frprn fire or spit. Cf. Ach. 1119 
 cif 5' dcpeKCov 5evpQ ttjv x^P^V^ <P^P?' 
 
 520. airbs] 'myself,' A servant would use the term of his master : 
 a pupil of his teacher, as in ATud. 219. Xanthias in his new dignity 
 uses it proudly. 
 
 522. air. TTOtci] 'you don't, I fancy, take it in earnest, do you?' 
 
 523. 'vecTKevada] The same compound in AcA. 384 idffare iu- 
 GKevdaaadai /x ' let me dress myself up.' 
 
 526. oi 5»; TTov /x] ' you don't surely mean do you ?' Such appears 
 to me the force of this: and in Av. 269 od 8-qirov races 'it isn't surely 
 a peacock, is it?' It is a negation which the tone shows to be a 
 mistrustful one, and equivalent to a question. In form it seems to 
 
1. 554] NOTES, 8i 
 
 claim a negative answer, but with some fear or idea of an affirmative. 
 This affirmative here follows, for Dionysus replies * I don't intend it 
 presently, but I do it at once.' In Av. 269 the bird turns out not 
 to be a peacock, though Euelpides may have had an idea it would be 
 one. Fritzsche distinguishes, as almost opposites, ov rl ttov and ov 
 5^ TTOV, the former as expressing a false opinion, the latter a true one. 
 As regards the first he makes out his case {JVu^. 1260, Pac. 1211) : as 
 regards the second he appears to fail ; for in his first instance {Av. 269), 
 there is no answer to show that the bird was a peacock, rather the 
 reverse : while in this passage the substance of Dionysus' answer is 
 indeed affirmative, but surely the whole pathos of Xanthias' appeal 
 vanishes if we suppose it "in re satis probabili gravem interrogationem" 
 (Fri.), and render it *are you not indeed etc' The other passages, 
 Ach. 122 OX) 5r]irov ^rpdrwu, and £ccl. 327 ov drjirov BX^irvpos, appear 
 quite similar: 'not surely Straton? not surely Blepyrus?' though in 
 this last case it is Blepyrus. 
 
 529. irolois] Cf. AcA. 62, 109, £(/. 32, etc. for this contemptuous 
 form of question. 
 
 530. TO 5^ K.T.\.] Arrange ovk avb-qrov U {jjv) Kal kcvou to Trpoado- 
 KTJaai K.r.X. 
 
 531. 2. X. resigns himself, with a hint that his turn may come. 
 534 — 4^« The Chorus commend Dionysus' cleverness in getting the 
 
 best for himself, and changing like Theramenes. 
 
 535. irepLTreTrXevKOTos] A sort of Ulysses, &vdpairo\vTpoTrov (Homer), 
 with allusion possibly to Dionysus' own travels. 
 
 537. To7xov] oil yap iror etoov liBivikov els rov eiiTVXV X^P'^^^'^^ 
 TOixov TTJs BLktjs a diroarepe'Lu, Eur. Alcniena. Cf. also Eur. Orest. 
 885. The metaphor is from sailors shifting to that side of the ship 
 which is uppermost and out of the waves. 
 
 541. 0'>7/)a/*^voi;s] Proverbially a turncoat or weathercock, and 
 hence nicknamed Kodopvos, a shoe that would fit either foot. His 
 cleverness in this way is again commended 1. 970. 
 
 549 — 589- Two landladies come in : they recognize the thievish 
 Hercules who stole and ate their provisions, frightening them out of 
 their wits. They now prepare' vengeance, sending for help to bring the 
 rascal to trial. Then D. wheedles X. into taking Hercules' character 
 again. 
 
 549. TLXaOavT]] The other landlady : they had each a maid- 
 servant, cf. below, 1. 569. Apparently the two were partners keeping 
 the same inn. 
 
 552. Tivi] * Somebody's in a scrape :' * somebody will pay for it :' 
 the somebody is Dionysus. 
 
 554. d;/' V^wjSoXiata] 'each worth half an obol.' Thi3 is the 
 sense : but the- reading is very doubtful. Some editors speak of ' the 
 distributive sense of dvd,' and appear to think this enough. Of course 
 the use of dvd with substantives, cardinal numbers, etc. is well known : 
 dva irdaap ijfxipav, dvd e/cardv, di>d TrePTrjKovTa 'in hundreds, in fifties.' 
 
 G. R. 6 
 
82 THE FROGS, [1. 557— 
 
 And so aj/' rj/xM^oXiop would be right enough, ' at the rate of a half- 
 obol.' But ijfiiojjSoXiacos is an adjective meaning 'worth half an obol :* 
 how can the preposition be explained with it? In English we might 
 say * He ate twenty threepenny loaves' ('threepenny' being an 
 adjective) : or ' He ate twenty loaves at the rate of threepence.' But 
 we could not say 'twenty loaves at the rate of threepenny.' The 
 Scholiast reads avrj/j-iw^oXLoia as one word : and Holden following 
 Meier accepts this. The adjective would be a curious one : it is as if 
 we should say ' twenty at-a-penny or penny -apiece buns ;' but that avb. 
 should govern the adj. rj/xLco^oXioLa appears impossible. Probably the 
 syllable dp is corrupt, iravd' rjfi. might be suggested. 
 
 Obol portions and half- obol portions are mentioned in some comic 
 fragments. 
 
 557. Ko96pvovs] women's shoes : see above on 1. 47. 
 
 558. tI dai ;] In sudden remembrance of a fresh charge of theft. 
 
 559. x^^poi'] The fresh cheese was kept in baskets : cf. Horn. Ocf. 
 L. 247, avTLKa 5' 7Jfjt.i(xv iikv dp4\pas XevKolo ydXaKTos rXeKTOcs ev raXapoicriv 
 dfjLTjadfxevos KaridrjKev. 
 
 564. SokQv] ' pretending :' a common use of this verb, expressing 
 not merely 'appearance, semblance ' but 'intentional putting on of 
 such appearance.' 
 
 566. KaTrfKicp'] 'upper room, loft:* a word only found here, and 
 once in Lucian, where the words are ' having climbed up to the /car^- 
 XL(pa. ' It is said by old grammarians to be the same as fxeadd/jiT] : but 
 what the fiecrodjjir) of a house was, is conjectural. 
 
 569. TrpoxTTdTrju} 'patron,' not drj/xov TrpoaTdrris, but 'protector,' 
 the person who for /jl^tolkol at Athens looked after their interests, esp. 
 in legal matters. When alive, Cleon, in Fesp. 409, is sent for to 
 uphold the cause of the litigious old men. Therefore in Hades he 
 and Hyperbolus are still similarly employed. Cleon had died in 422, 
 llyperbolus in 411. 
 
 570. (Ti) 5'] To her maidservant, as is 1. 569 to the other's maid- 
 servant. 
 
 576. ^] certainly refers to Xdpvyya. For KaTacxirdv similarly used 
 of gulping down cf. Eq. 718, avro^ 5' eKelvov rpiTrXdciov Karia-TraKas. 
 
 578. After this verse the landladies go out. 
 
 581. firjda/jiciis] Do not say so : do not refuse to become Hercules. 
 
 583. dovXos K.T.X.] referring to Dionysus' own words: cf. above, 
 1. 531. 
 
 585. Kcip] The af is repeated in ovk Slv divrdiroiu. 
 
 587. TrpappL^os K.T.X.'] A solemn form of imprecation made ridi- 
 culous by the addition of Archedemus to the devoted company. For 
 whom cf. above, 1. 417. 
 
 589. iirl ToiJrots] The terms being such, X. would be sure of 
 Archedemus' destruction by way of compensation if D. should break 
 faith. 
 
1. 6 1 8.] NOTES, 83 
 
 590 — 604. The Chorus exhort X. to courage if he wants to remain 
 as Hercules. X. says he will be up to the mark. 
 
 592. dvaved^Lv'] intransitive: * to become young again,' not * to 
 make young again.' The syllables wanting are suj3plied by irpoi rb 
 ao^apov in Meineke's text : which words are written as a gloss in 
 some MSS. Fritzsche inserts tt/oos to yavpop. Either is fairly good for 
 the sense. 
 
 595. /3aXe?s] 'shall let fall, utter.' iKpaWeiv in this sense is 
 commoner, hence some read KaK^aXels^ cf. Ves/>. 1 289. 
 
 599* '7" XPV<^'^o^] If anything good is going, as was the invitation 
 to a feast at Tersephone's, D. will want to be Hercules again in order 
 to get it. 
 
 601. 618' 6'ti] In spite of the Srt above it is repeated, being very 
 common with oZ5', eu old', in this position. 
 
 603. dplyavov] Cf. ^Xiireiv vairv, Kcipdafia, Eq. 631, Vcsp, 455. 
 
 604. KoX St?] 'even now.' Cf. Ecd. 786 koX 8r) fxh o?}v * nay rather 
 I am already doing ' in answer to a question ' Are you going to do ?' 
 
 605 — 673. Aeacus returns with slaves, whom he bids arrest the 
 dog-stealer. Xanthias shows fight, protests his innocence, and offers 
 his slave for torture, that the truth may come out. Then Dionysus 
 asserts his divinity, and warns Aeacus to desist. To find out which is 
 the god, it is settled to whip both. But this test fails : they manage 
 to turn their cries of pain into quotations. At last in despair Aeacus 
 takes them indoors to Pluto who, as a god, will know the truth. 
 
 606. avviTop] Two slaves at first seize Xanthias : then his re- 
 sistance makes more force necessary, and three more are summoned. 
 Dionysus says rJKet ri^ KaKov in mimicry of Xanthias at I. 552. 
 
 610. elr ovxl 8€Lva k,t.\.'\ The dialogue here is dift'erently 
 
 arranged by different editors. And riineLv TdWorpia is very 
 
 differently rendered. With the text adopted the connexion I take to 
 be this : Dionysus means to urge on Aeacus against Hercules, ' Isn't 
 it a shame that this fellow should use blows when, besides, he is a 
 thief?' i.e. that he should add to the crime of theft the crime of 
 violence. ' Say rather it is monstrous,' replies Aeacus. ' Nay it is 
 intolerable and a shame,' says Dionysus. But others make tovtovI 
 object of TVTTTeip, not subject : ' Isn't it a shame to beat this poor 
 fellow?' This must be ironical, for Dionysus is glad to see Xanthias 
 beaten : so must also /aciW' virefxpvd be, if given to Aeacus, but some 
 give this to Xanthias. And the irpos raXXorpia, 'and that too other 
 people's property,' is rather perplexing with this interpretation, tt/jos 
 is certainly adverbial, as in 1. 415 Kayuye irpos. Some read Trpo's r' 
 (tt/joj re). 
 
 615. yeuvaiQv irdpv] 'I will act quite the gentleman with you.' 
 Xanthias cleverly brings Dionysus into the scrape. 
 
 618. KXlfxaKi] i]Tis oti(Ta tpyavov (iacraPKTTiKbv dia(TTp4(p€L to. crw/uaTa 
 tQv ^aaav 1^0 [iiv(av. Suid. 
 
 6—2 
 
84 THE FROGS, [1. 621— 
 
 621. liKivOovil Some think this means 'hot bricks,' a kind of 
 ordeal by fire : others a torture simply by weight of bricks laid on the 
 victim. 
 
 Trpdaip] This would be mere play : X. excepts such torture. Mas- 
 ters were accustomed to except the severest torture in offering their 
 slaves : X. does just the reverse. He also declines compensation for 
 possible injury. With jxtj StJt' ^fxoiy^ supply Kuradys Tapyvpiou. 
 
 626. aiiTov] adverb * here.' 
 
 62S. dyopevco] Reminding us of Dionysus to Pentheus in Eur. 
 Bacch. 504, auSw ;tte /xtj Seiv (xiacppovQiv ov cruxppoaiv. 
 
 630. alrico] imperat mid. contracted from alrLaov : * blame your- 
 self for the consequences.' 
 
 632. 4>rjfx' eyui\ assent to the question : *yes, I hear it.' 
 
 635. Oebs] Hercules : for X. was dressed up as Hercules, and had 
 made no claim to be Dionysus. 
 
 643. 7r\r)yriu irapcn tt.] The first TrXtjy^v is governed by some verb 
 or participle supplied from ^acravi^io : ' striking, inflicting.' irapa, 
 * corresponding to, for.' 
 
 644. Idov] ' There, I'm ready.' Xanthias strips. 
 
 645. '^5?; /C.T.X.] Aeacus strikes : X. does not move. Aeacus says, 
 *I have already struck you.' X. 'No, I don't think you have.* He 
 then goes to D. who equally well dissembles all feeling. ' "When will 
 you strike ? ' Ae. ' I have even now struck. ' D. * How was it I didn't 
 even sneeze ? ' 
 
 649. aVucrets] Kock reads dvv<T€LS re; dTTarai, that Xanthias' ex- 
 clamation may be repeated exactly by Aeacus in ri TdTTarai. Meineke 
 reads tarrarat, ^arrarat, as Xanthias' exclamation, Aeacus then asking 
 fx'2v d)5. 
 
 651. Aio/xeLoLs] Diomea was an Attic deme, where was a temple 
 of Hercules. X., who is playing Hercules, was sadly thinking when 
 his own festival would be kept, which the war had interrupted. 
 
 653. lov iov] This may be simply an exclamation on the sudden 
 sight of anything. Cf Aesch. A^. 25, where the watchman greets the 
 beacon-fire with it. So here it is a watchman's cry at seeing a com- 
 pany of horsemen. 
 
 655. eTret] ' For of course you don't care at all.' Aeacus affects 
 belief in Dionysus' reason. ' I suppose it is onions that make your eyes 
 water, since of course you don't care for tha blows.' 'Not a bit,' 
 replies D. 
 
 657. aKavOav] Here he lifts his foot as if he had a thorn in it. 
 
 659. "AttoWov] This he completes as an iambic line to disguise 
 the cry of pain. So in 1. 664 — 5. The Scholiast says it is a line from 
 Ananias, who appears to have been a contemporary of Hipponax. 
 
 664. UoaeLdov] It does not seem Dionysus' turn to receive a blow: 
 hence Kock supposes something lost after 1. 663. Rather let this ex- 
 clamation UdaeidoVf and its continuation 8s Aiyalov, be given to Xan- 
 
1. 682.] NOTES. 85 
 
 thias. Then -nXyriffiv ris from Dionysus will correspond to ip^yrjcrev of 
 Xanthias in 1. 660 : and his quotation of Sophocles to the other line 
 from Hipponax. In 1. 663, fia rhv Af a\V ijbt) tt. t. 7. will be Aeacus' 
 amendment on the suggestion to lash the flanks. * No, better than 
 that, I will touch up your stomachs : do you present yours.' 
 
 665. 7rpwj/as] Partly from Sophocles' Laocoon. As /x^Sets governs 
 the genitive, Trpwvbs is proposed. Others understand ^eis to be sup- 
 plied to TTpiSvas. Kock objects to the lyric passage among iambics, and 
 supposes dX6s iv ^ivdecnv may have originally completed the iambic 
 after TJXynaev tis, but that some marginal note-writer inserted the rest 
 of the passage from Sophocles. 
 
 668. TTw] 'yet:' even after such a severe trial I cannot yet find 
 out the truth. 
 
 674 — 737. While they are gone to settle the question, the Chorus 
 speak the Parabasis. This consists of a strophe, 675 — 685, an epir- 
 rhema, 686 — 705, an antistrophe, 706 — 716, an antepirrhema, 718 — 737. 
 The strophe and antistrophe ridicule Cleophon and Cleigenes. The 
 epirrhema gives advice, counselling a fairer assignment of honours and 
 disgrace, and some leniency for faults in men who had done good 
 service. The antepirrhema blames the state for preferring the base to 
 the honest and good, both in coins and men. 
 
 675. iTri^rjdt] The muse is invited to come and see the Athenian 
 public, whose voice thousands are seated to hear. 
 
 677. <pL\. K\eo(f>'dvros'] 'more zealous for honour than Cleophon:' 
 who was <pi\6TLiuLos, but no good citizen in Aristophanes' view. His 
 Thracian origin is alluded to in the last line of this play, and Aeschines 
 {F. L. 76) says of him KXeo^wi' 6 \vpovoi.6s, ov iroWol dedefx^vou iv Tri8ai.s 
 ifjLVTjfJLovevov, irapeyypa^eis aiaxP'^^ TroXiTrjs Kal di€(p6apKcbs vofx-^ XPVf^^- 
 T(au rbv drj/xov, diroKd^eLv rjireiXeL fxaxa-tpg- rbv rpdxvXov et rts elprjurji 
 fivr](x6rjcr€Tai. He withstood every proposal of peace. The comic 
 dramatist Plato is said to have written a play against him and named 
 after him ; and the description of a violent and ignorant demagogue in 
 Euripides' Orestes (1. 892) perhaps has reference to him. 
 
 679. a/x0tXdXois] L. and S. render ' chattering incessantly : ' but 
 such compounds as diji(piy\(V(T(xos = diyXioaaos, d/xcpido^os, and the like 
 suggest that it means ' chattering with double tongue,' speaking a mixed 
 jargon of Attic Greek and Thracian. 
 
 681. 6. x^^'Swi'] Cf. above, 1. 93, and Av. 1681 pa^pdi^ei 7' cScirep 
 al x€XtS6;'es. Also in Aesch. A^. 1050 xeXiSjvos dUrju dyvCora (p(avr]v 
 ^dp^apov KeKT7]/j.ivr} is said of Cassandra. 
 
 682. i^ofjt.iv'n'] There may be some corruption in this verse. To 
 speak of the 'Thracian swallow clamorous upon Cleophon's lips' as 
 'sitting on a barbarous leaf seems meaningless. Birds do not sit ^« 
 leaves : nor is iirl with accusative suitable : the swallow is perched on 
 Cleophon's lips {iirl x^^^^<^'-^)- Yet Meineke's viro^dp^apov k^oixiv-q 
 K^Xa5ov is not satisfactory; the qualifying virb spoils the epithet. 
 Bergk proposes dirl ^dp^apov rjdofiivg irLryXov : but a * joyous ' voice is 
 out of place, and ttLtvXov an unlikely word, not admissible on mere con- 
 
86 THE FROGS. [1. 683— 
 
 jecture. Kock M j3. alpofiivrj KiXaSov, 'raising {iTraipSfxevr}) a barbarous 
 cry.' I cannot think e^o/xevrj is wrong : comp. Fac. 80 r, 8rav rjp^a^u^v 
 (pojvrj xeXtSwj' e^ofi^T] KeXaSfj. The last word rather confirms KiXadov, 
 Meineke's conjecture ; and with it ottI might be substituted for iiri. 
 The position of e^o/x^rj seems defensible {pace Kock) in lyric language. 
 We then have ' on whose lips perched the Thracian swallow clamours 
 forth terribly with her voice her barbarous chatter.' If the common 
 text be retained, render iirl /3. e. TreraXov, 'sitting close-nestled to the 
 barbarous leaf,' the 'barbarous leaf being Cleophon's lip. But with 
 €(f) ou xetXfO"'" this is strange language. Can it be purposely made so 
 by the poet, to ridicule Cleophon's bad Thraco-Greek ? The swallow 
 ' twittering a nightingalian strain ' in the next line is rather a mixture. 
 
 683. aVoXeTrat] Cleophon was plainly in danger from some trial. 
 The rule was that in case of equal votes the accused escaped ; as is seen 
 first in Orestes' trial, Aesch. £um. 753, where Athene pronounces 
 acquittal : durjp 65' eKirecpevyev a't/xaros 5lk7]u, lcxov yap iari Tapid jxiq^ia ruv 
 TrdXwv. 
 
 688. i^iacoa-aL] The chief 'equalizing' and 'removing of appre- 
 hensions ' here meant by the poet seems to refer to the Four Hundred 
 and their adherents. A. advises that they should no longer be looked 
 on with mistrust, but the mistakes into which they were led by Phry- 
 nichus condoned. 
 
 689. ^pvuixov] A supporter of the Four Hundred, assassinated m 
 411 B.C. 
 
 690. iyyeviaOai k.t.X.'] To those who made this slip a chance 
 should be given of clearing themselves and redeeming their character. 
 Paley objects that Xvaaadai would be more proper, and renders it 'it 
 ought to be allowed us, in respect of those who then made a slip, to put 
 away the charge and to forgive their past mistakes.' But this appears 
 rather a forced arrangement of the words : dXiadovaiv naturally seems 
 governed by iyyeveadai. And iKdelcnv ahlav, * having set forth, made 
 known, the cause,' seems as likely as the other rendering. 
 
 692. art/iov] To such citizens as have lost civic rights they should 
 be restored. Such a measure of restitution was passed after Aegospo- 
 tami. Cf. Xen. Hellen. 2. 2. 11. 
 
 693. ijla.v\ Sc. fJ-oLxnv, at Arginusae. For the slaves who fought 
 there received their freedom and Attic citizenship. ' It is a shame,' 
 says A., 'that, while the slaves who fought but in one sea-fight are 
 made equal to Plataeans, those citizens who have fought side by side 
 with you so often should be eternally disgraced for one fault.' The 
 Plataeans, on the loss of their city in the Peloponnesian war, were adopted 
 
 as Athenians. The sentence is broken by the parenthesis kovU 
 
 idpaa-are, and then resumed with a different construction. The regular 
 form would have been aiV%p6j' ecrrt rods fj-ku vav/naxw^J'Tas fiiav iXevde- 
 povadai Toiis 5^ TroXXd vav/xaxifjcravTas ixr,beixias ^vyy fwfj.'rjs ruxetj'. This 
 form of sentence is frequent; and it must be noticed that it does not 
 mean ' it is a shame for the slaves to be freed ' absolutely ; but only, (f 
 citizens are to be so harshly treated. In translating such a sentence it 
 
I. 714.] NOTES, 87 
 
 is well to render the fih by * while, whereas,' the 5^ by *yet,' or to 
 omit it : then the weight of the sentence falls on the second clause. 
 
 695, 6. KovU ^.T.X.] You are right enough in rewarding faithful 
 slaves; only don't be implacable to fellow-citizens. 
 
 697. irpb^l Adverbial : besides this reward to slaves, you ought to 
 grant indulgence to these citizens. 
 
 698. dt...xol 7rdre/Des] * Who, as well as their fathers, fought.' 
 
 699. ^vix(l)opav\ A word to lessen the impression of these men's 
 offence, 'misfortune, not fault.' 
 
 700 — 5. Let bygones be bygones: if we are so exclusive, proud, 
 and quarrelsome, we shall repent it, dangerously placed as we are. 
 
 703. Kairo<r€iivvvovixeda t. 7r.] ' And give ourselves airs about our city.' 
 This punctuation seems best. Fritzsche, Meineke and Kock punctuate 
 after KciiroffeiuLi'vvov/jt.ida, and Kock thinks ttju ttSXiv kuI tuvt ^x^^t^^ is 
 the same as Kal ravra rr/u TrdXiv ix^^T^^- His instance from Plut. 546 
 iridaKvrj^ irXevpdu ippdoyvcav Kal ravTrjv is a poor parallel. The passage 
 in Plato's J^ep. 341, vvv yovv ^Trexet/j^o-as, oiidh <Jou Kal ravra, means 
 * At all events just now you tried to do so, though you failed in this 
 too ' — not ' and that too though you failed.' Nor is there any objec- 
 tion to an accusative with diroaeiivvveadai, though it be without one in 
 1. 833. 
 
 704. Kal raur' ^x^vres] Repeat irb\Lv, 'And that, too, though we 
 hold our city rocked in the arms of the waves,' cradled in a billowy sea 
 of turmoil. Cf. 1. 361, ri]^ 7r6\ews x^'-f^°'-^ofjLevT]s. The Scholiast says 
 that the expression is from a line of Aeschylus: ^vxdi ^xoi^res Kv/xdrcou 
 iv dyKoXais. 
 
 706. et 5' iyCj /c.r.X.] Said by the Scholiast to be from the tragic 
 poet Ion. 
 
 708. iridrjKos] Cf. below, I. 1085, 5r)ixoin9i]KU}v, and Eq. 887 iriQri- 
 Kifffiois of Cleon's tricks. Who this Cleigenes was is unknown. 
 
 710. jSaXaj/ei/s] Bathmen were a despised class at Athens. Cleon 
 when disgraced is condemned TrSpvaiai kuI ^aXaveucri dtaKeKpayiuai, Eq. 
 1403. The bathmen appear to have sold the lye or potass, or whatever 
 served for soap, and often to have cheated in that, making it of bad 
 Xirpov and adulterating it with ashes. 
 
 712. Kt/AwX'as] Cimolus is one of the Cyclades: it supplied a kind 
 of earth possessing cleansing properties and therefore used as soap. 
 Kparova-iK. y^s, 'hold sway over Cimolian earth,' has a mock-tragic 
 sound. 
 
 714. ISoJv rdd' ovK dp. ^o"^'] Knowing that his time is short, and 
 that every one hates him, he is not peaceable, but goes about armed 
 with a stick against street robbers. * Peaceable ' may also mean * fa- 
 vourable to peace between Athens and Sparta.' A time of war and 
 danger would give excuse for going about armed. Stealers of clothes 
 appear to have been numerous at Athens. Cf. Av. 1491, Ach. 1166. 
 
88 THE FROGS. [1. 718— 
 
 718. TToWaKis K.T.X.] The city behaves in an equally foolish 
 manner to the good old citizens and to the good old coin. 
 
 719. KoKovs re Kciyado-us] Kock, and Meineke in his latest critical 
 notes, read kukovs for KaXovs to obtain the double antithesis of the bad 
 and good citizens to the new and old coinage. Dindorf observes *' plena 
 oppositione non est opus." And the inversion of order in KaKol...dyadol 
 ...dpxatov...Kati'6i' is rather unlikely. The KaXoKayadol are compared 
 to the apxahv vdfxtafxa, the subordinate comparison of this with rb Kaivbv 
 Xpvalov is an afterthought. 
 
 7-21. TovTOLaiv odaiv] TovToiai tolo-lv, Mein. , Kock, to avoid the 
 union of the partic. odcnv with K€Kc^dr]\ev/j.epots. Cf Eur. Jlec. 358, oiK 
 elcodos ov. The addition of participle to participle probably came from 
 regarding a participle like eiw^os simply as an adjective. Whether 
 K€KL(38r]X€VfjLevos was so regarded is questionable. 
 
 713. 0. KOTreTcTi] The opposite to this is TrapaKeKOfifiho?. In Ac^. 
 517 we have a similar application of terms of coining to the character of 
 men : the worthless being called dudpapta fxoxdrjpd, TrapaK€KOfiiJ.€pa, drifAa, 
 Kal irapdaT]fj.a. Cf. my note on that passage. 
 
 /ce/cwSwftcr/zeVocs] ' having the true ring.' Cf above, 1. 79. Meineke 
 and Kock transpose this and the following line, Meineke objecting to 
 opdcos KOTreTai /cat KeK. ev ^apjSdpoiai, as not applicable to Athenian coin. 
 But the line & te . . .iravraxov need only be connected with KeKoodojviafiS- 
 voLS, ' coins tested by ringing and accepted as good among Greeks and 
 barbarians everywhere.' To this sense there is no objection : there was 
 plenty of traffic between Greeks and barbarians, and therefore doubtless 
 Kcodo}PL(7fxds of the coins. 
 
 726. x^^^ '''^ '^^^ TrpdoTjvl A year or two before the ' Frogs ' was 
 exhibited. The Athenians were short of good metal for money after 
 the Sicilian failure, and therefore put in circulation a base coinage, 
 which probably soon fell below its nominal worth. 
 
 727. tC)v TToXiTUiu d""] Here begins the second part of the compa- 
 rison, corresponding to o{jt€ yap k.t.X. 
 
 730. TTvppiaLs} 'redheads:' a name of slaves, cf. ^avOias, 'Sandy.' 
 XoXkols about = ' Brummagem metal.' 
 
 731. KdK TTOvTjpcop] ' rascals and rascals' sons.' Meineke's o^ai 
 iravra for eb diravTa appears needless and sounds awkward. The defi- 
 nite article tols, carried on to i,kvoLs, iryppiais, irovrjpoh, can be equally so 
 to e/c irovqpQvf then rois iK irovrjpQu needs no supplement. 
 
 733. ^app.aKoia-iv'] ' men whom the city in old times would not 
 lightly (ei'/c^) have used even as victims.' As these 'scape-goats' were 
 worthless men, 0ap/ia/cos in £(/. 1405 is used simply as a reproach. 
 
 735* xpw^^---'XP'^<^TOL<nv\ The play on words lends force and 
 neatness to the advice. 
 
 Karopduxxaai] Conditional participle : ' if you succeed it will be 
 creditable, and if you fail, better be hung from a good tree,' as the pro- 
 verb says. * Aeneae magni dextra cadis ' in Virgil expresses the same 
 sentiment. 
 
1. 771.] NOTES. 89 
 
 738 — 813. Aeacus and Xanthias return, Pluto having discovered the 
 true JDionysus. While they are exchanging confidences a noise is heard 
 within. Aeacus explains to Xanthias that there is to be a great contest 
 of dramatic skill between Aeschylus and Euripides; the latter having 
 challenged Aeschylus' right to the tragic throne. Dionysus is to be 
 arbiter. 
 
 738. y(vva.5as\ ' a real gentleman.' Xanthias replies that of course 
 he is, meaning that he lives an idle, luxurious life. A further proof of 
 it is given, that he did not punish his slave for taking his character. 
 Upon which Xanthias begins to boast and express contempt for his 
 master. This opens Aeacus' heart, and the two servants become fast 
 friends. 
 
 741. TO U fiTj IT.'] Exclamatory, * To think that he did not flog 
 you ! ' So in Ahib. 268, and elsewhere. 
 
 743. roDro] This contemptuous remark, *he'd have paid for it, had 
 he flogged me.' 
 
 745. x^^P^'-'^i iKerevu}] * What ! do you delight in this, pray ?' 
 'Nay, delight isn't a word strong enoagh,' says Aeacus, *I am in the 
 seventh heaven when I can let out a sly curse at my master.' To 
 be an iir^TTTrji or witness of the holy mysteries was the height of bliss. 
 
 749. TroXXa irpixTTUv] ' meddling ' as in 1. 228. 
 
 d}s...ov5^v oIS' iy(I)] *I so rejoice at doing that as I know not that 
 I rejoice at doing anything else.' ovto) x^'-P^ ttoWcl Trpdrrup ws ol5a 
 Xo-'i-pf^v ovdiv. Briefly ' I know no joy like that.' 
 
 750. ofidyvie ZeO] In astonishment and joy at finding a brother 
 rascal Xanthias appeals to the patron of their family. 
 
 vapaKovwv'] ' Eaves-dropping, hearing wrongly when you are not 
 meant to hear.' Paley suggests also 'mis-hearing, misunderstanding 
 an order.' But that would not suit well with XaXwcrt, it would have 
 been rather 'K^yooai. 
 
 756. ofiofiaffTLjlas] 'fellow-rascal,' and therefore patron of us 
 rascals : but the word certainly seems to imply an irreverent assumption 
 on Xanthias' part that Zeus was such an one as themselves. The 
 Scholiast rightly supposes Xanthias to break off the intended question 
 after ofio/xaaTcyias, and then suddenly hearing a noise within, to ask 
 the meaning. 
 
 759. a] An exclamation of astonishment, or to denote that 
 Xanthias does not yet quite comprehend : ' Eh ! what !' 
 
 761. ivOdd'] Here in Hades. As in Athens public service, so 
 here excellence in art is rewarded by free commons in the Prytaneum. 
 
 766. &(f)iKotTo] As if yo/ios iKctro had gone before, so 15a in next 
 line. Cf. above on 1. 24. 
 
 ^ 771. 8t€ 5^] Better than 5^. Aeacus goes oh, not heeding Xan- 
 thias' question, ' But when etc' 
 
 eiredeiKvvTo] The verb is often used in Plato * to make a show ;' 
 also the noun iiridec^is. 
 
90 THE FROGS. [1. 775— 
 
 775. \\y^i(T\xQ>v\ A term from wrestling: the verb Xvyi^^'eip occurs 
 VesJ>. 1487, irXevpav \vyl<TavTos virb pvjurj^. 
 
 *]*]*]. iwapOeh] As in JVu^. 42 yrj/xai iirrjpe * put me up to marry.' 
 
 778. i^dWero] eXido^oXetro. Schol. 
 
 781. o Tdv IT. ;] 'The rascal mob ! did they?' Ae. * Yes by Zeus, 
 they did (so shout) sky-high.' The last phrase Aristophanes illustrates 
 himself in A^7ib. 357, ovpavo/xrjKT] prj^are ^covrjv. In construction it is 
 like davixdaLov Scrou. 
 
 783. iv6d5e] ' here in the theatre :' the world below being for a 
 moment forgot. Just so above in 1. 276 /cat pvui y 6p(b. 
 
 788. ^/ceti/os] * Not he indeed : but on coming down he greeted 
 Aeschylus as a brother — and he (Aeschylus) had vacated (or offered 
 room on) the seat to Sophocles.' I do not see how the second cKelvos 
 can be Sophocles, as Kock takes it. iKecpos is always emphatic, and 
 there can be no emphasis if the subject to vTrex^PV^^ he the same 
 as to ^Kvae Kav^jSaXe. The line KdK€iuos...dp6vov is parenthetical: then 
 Aeacus goes on to say that Sophocles was prepared to do battle with 
 Euripides in the event of Aeschylus being defeated. Meanwhile he 
 would sit as ^(pedpos, the odd combatant awaiting the winner of a 
 pair. 
 
 79 r. KXeidrjfMLdrj^] Probably an actor of Sophocles: but why 
 mentioned here, is not plain. Meineke punctuates cos ^<p7], KXetdrjiuLdris 
 ^(pedpos K. " magno sensus discrimine." This punctuation Holden 
 interprets * But now Sophocles, as he said, was going to sit like 
 another Clidemides as a third combatant.' But why like a Clidemides? 
 Paley supposes Meineke to mean ' Clidemides was going, as he said, 
 to contest the throne with Euripides, if Euripides should overcome 
 Aeschylus.' On the whole it is best to suppose Sophocles the subject 
 to ^[leXXev : but the explanation of ws ?0?7 K\. must be left open, since 
 we know nothing of the man. 
 
 795. KdvTa.vda\ * Here ' in Pluto's palace, into which they go 
 at 1. 812. 
 
 798. fxeiaywy-f^ffovtrCl * will they weigh tragedy like butcher's meat ?' 
 It is said that when a victim was provided at the Apaturia the by- 
 standers clamorously said pLeiov pieiov 'too little, too little,' if it was 
 not up to the prescribed weight. Hence to test whether it was short 
 weight came to be called pLeLaycoyelv. 
 
 799. Kavopas:] 'rules and cubit measures and oblong frames.' The 
 last word suggests brickmaking ; so Xanthias throws in * What ! are 
 they going to make bricks?' For vulg. irXcpdeuaova-i ye continued to 
 Aeacus, most editors have accepted Keek's correction. 
 
 801. Kal 5.] Aeacus continues not heeding the interruption 'And 
 diagonals.' These would test the correctness of bricks, hewn stones, 
 etc. 'Wedges' would serve to split open any part of the structure. 
 No doubt all the words here used were familiar to masons or car- 
 penters. 
 
1. 819.] NOTES. 91 
 
 804. 7oi5v] Much better than 8' ovv. As elsewhere, so here 
 7ou^ gives a proof of the previous conclusion. See note on Ach. 87, 
 ' at any rate, at all events.' 
 
 807. ffvv^paLv] ' he did not hit it off with the Athenians, and yet 
 he thought that all the rest of the world were fools as critics of poetry.' 
 raXXa in 1. 8og = Toi>s dWovs : Paley aptly quotes Lys. 860 \ijp6s 
 ijTL rdWa irpds Kivrjalav. 
 
 813. K\av/j,a6'] Blows await the servants if absent from duty when 
 their masters are earnestly set on anything. 
 
 8j'4 — 829. The Chorus describe the impending contest in Aeschy- 
 lean style. They combine metaphors from lion, wild-boar, and horse- 
 racing ; and then in well-chosen words express Euripides' subtle 
 versatility and refinements. The galloping dactylic measure is suitable 
 to the subject : it is arranged in four stanzas of four lines each. 
 
 814. ^ TTou] The first four lines describe Aeschylus in his wrath. 
 He is Moud thundering' like Zeus (Hom. //. V. 624): he rolls his 
 glaring eye-balls like a lion when he sees his adversary, wild-boar-like, 
 whetting his tusks (//. V. 475). 
 
 815. d^vKdXov K.T.\.] ' When he catches a side-glance at his rival- 
 craftsman as he whets his sharp-spoken tusk.' The strict construction 
 
 -appears to be dvr. d-qyovros gen. absolute, and irapidr} without an object 
 expressed. Others take irapibri odovra avTirix^ov 6, Others again 
 irapiSr] avTirexvov d-qyovros dSovra, supposing Trapibrj might (as a verb 
 of sense) take a genitive. The meaning is the same any way. o^uXdXov 
 as epithet of dbovra need not offend. The tusk would properly be 
 6|i's : but for a war of bitter words it may be o^vXakoi. 
 
 8i8. ^o-rai S' iTrTr.] This stanza describes the contest. lTnro\6(f>(av 
 is near the Homeric Ittttoko/xovs rpvcpaXeLas, and KopvdaioXos is Homeric. 
 Why Fritzsche prefers v\pL\b(pu}v I cannot see. The words of 1, 818 
 describe Aeschylus especially, those of 1. 819 Euripides 
 
 819. cTKLvb. Trapa^6vLa\ It is hard to say exactly what this means. 
 (TKLvbaXapLoi. are 'splinters' and we have in Nub. 130 Xoyuv r' aKpL^Qjv 
 a-KivbaXap^ovs fiadrjaofiai. * Subtleties ' might be called (XKLvddXafioi. 
 Most commentators take irapa^ovia. from d^wv, and L. and S. render 
 it 'rapid whirlings.' Fritzsche thinks it means 'linch-pins.' Neither 
 of these two explanations makes much sense. Kock takes the word 
 to be from irapd and |^aj, and to mean ' chips, shavings,' like irapa- 
 irplfffiara in 1. 88 r. Perhaps this is better as a description of Euripides' 
 language and weapons. Paley suggests ' hair-breadth encounters ' as 
 where axle grazes axle in the race. But the genitive 'of spl-'n':ers' 
 is not easily explicable on this view : we should expect * splinters from 
 collisions' not 'collisions of splinters.' 
 
 CfxiXevfxaTa] rd iK^aXXo/xeva dwb (TfjdXrji, Schol. The whole passage 
 is in effect about this : ' And there will be of horse-plumed words 
 helm-flashing combats, and splintered chips withal, and fine shreds of 
 carven work, while the poor wight (Euripides) wards off the high- 
 prancing phrases of his inventive foe.' 
 
92 THE FROGS. [1. 822— 
 
 822. (Ppi^as /f.T.X.] Homeric phrases: Od. r. 446 (ppi^as ed \o(piT]v 
 irvp 5' 6(p6a\fjt.ocaL dedopKus : and //. p. 136, wdv 54 r' iirtaKuPLOv /caVo) 
 A/cerai oo-cre KoKvirTwv. Aeschylus is the royal lion : but the next 
 metaphors are from the dockyard : ' he will hurl bolt- riveted phrases, 
 rending them off plank-wise, with Titanic heaving lungs.' Mitchell 
 quotes compounds of y6fj.(pos from Aeschylus. 
 
 826. ^vdev K.T.\.] Euripides is now described. * Then on the other 
 side with craft of mouth, testing each word and smooth, the other's tongue 
 will uncoil, and shaking the loose reins of malice will dissect words 
 and subtly waste to nought the outcome of his foeman's labouring 
 lungs.' Euripides is (XTo/j.aTovpybs, he works with mouth not with 
 mind ((ppevor^KTidv) : he gives loose reins to his malice {(pdovepoi)^ k. %.) ; 
 he does away with, consumes (xard in KaTakeirToXoy-qaeL) Aeschylus' 
 laboured woi'k. 
 
 830 — 874. Dionysus, Aeschylus, and Euripides come on. Eu- 
 ripides maintains his own superior excellence ; Aeschylus is disdainful ; 
 Dionysus tries to moderate, and persuades them to a calm trial of the 
 case. He then prays to be led to a right decision. 
 
 833. diroaeixvvvelraC] 'He'll try the grand air, as he always used 
 to do with his marvels in his tragedies.' Such were his Achilles and 
 Niobe, who spoke not, but 'looked the more :' see below, 1. 912. For 
 ereparei'ero cf. Eq. 627 dvappiryvvs 'iirr} T€paTev6/j.ei>os rjpeLde Kara tQv 
 linreiou. 
 
 835. (3 8aifi6vL dudpuv] To Euripides, whom D. warns not to 
 boast too soon. 
 
 836. iy(pda k.t.X.] Euripides feels sure that he knows his man 
 to be a bombastic talker of nonsense, whom he can easily expose. In 
 describing him he rather takes a leaf out of his opponent's book with 
 his compounds. dxdXivo^ is Euripides' own: Bacch. 385, and dQv- 
 pbyKbiaao'i in Orest. 903 is like ddvpwrop (XTo/JLa. 
 
 839. ctTreptXaXT/roj'] 'not skilled in neat periphrase.' Or 'that 
 cannot be out-talked. ' But this last hardly suits Aeschylus, who can 
 hardly be called chattering or talkative, though fond of long words : 
 binding bombastic words together in bundles {KO/xwocpaKeXopp-rjixcou) like 
 sticks in a faggot. 
 
 840. a'X7;^es] Expressing surprise and indignation ; cf. £q. 19, 
 JVud. 841. 
 
 TT]S dp. deov] ' of the garden goddess :' in allusion to Euripides' 
 mother being a herb-seller, cf. AcA. 478, JE^q. 19. The line is a parody 
 from Euripides, dpovpalas being put for daXaaaias. Fritzsche thinks 
 the line was from the Telephus and addressed to Achilles son of Thetis. 
 
 841. ai) dr] V^] It seems best thus to emphasize both pronouns. 
 Vulg. ffif drj fie. Kock quotes Ach. 593, Tavrl X^yeis ai) rbv crparriybv 
 TTTcoxos uiv ; Lamachus is there dealing with Dicaeopolis in the rags 
 of Telephus j Aeschylus here with Telephus' poet. 
 
 (jTU)p.vXLO(TvXXeKTa.bri] ' Chit-chat collector, and beggar-maker, and 
 rag-patcher.' The whole scene in Ach. 412 — 435 illustrates the two 
 
1. 875-] NOTES, 93 
 
 last names. The second explanation of f^aKioffuppairrddrj^ given by 
 the Scholiast, 6 to. tlop &\\u}p ttoitjtCjv avW^ywv Kal oUeia iavroO 
 \oyi^6/x€yos, though not the chief meaning, may yet be implied. 
 
 844. /XT] -rrpbi 6pyT]v k.t.\.] Comparing 1. 856 and 1. 997, Sttws 
 fiT] wpbs opyrjv avTiXi^eis, in both of which passages Aeschylus is ad- 
 dressed, we cannot doubt that this line means simply 'do not be 
 angry ;' and not, as Fritzsche says, ' do not by your wrath inflame 
 Euripides' heart to anger. ' The line is perhaps a quotation. 
 
 846. xwXoTrotif] Cf. AcA. 411, ohs uu dpaavv^Tai 'what he really 
 is, for all his impudence.' 
 
 848. ry^cbs] To the storm-spirit a black lamb was the proper 
 offering : * nigram hiemi pecudem, zephyris felicibus albam,' Virg. 
 
 849. 'Kp7)TLKas\ With reference to Phaedra (a Cretan) in the 
 Hippolytus^ or, as the Scholiast says, to a monody of Icarus in the 
 Cretes, or to Aerope in the Cressae. For yd^xoi dv. cf. Ntid. 1372. 
 Canache and Macareus in the Aeolus are meant, and perhaps others. 
 
 851, 2. iroXvTlfitjT ...trov^p'] These two epithets may be looked 
 on as prophetic of the ultimate issue. The first is especially applied 
 to gods, and almost = ' divine ' contrasted with * you rascal.' 
 ^ 854. Ke^aXaiit}] 'big as your head,' an unusual sense of the word, 
 but no doubt the true sense, as Paley says. ' Bump against Euripides' 
 head will come a cannon-ball of a word as big as the head, and will 
 spill all the head-lining (eyKecpaXop) ;' only for this the poet substitutes 
 Telephus — the play for the brains that hatched it. 
 
 856 — 9. cb hh /C.T.X.] Calm argument, not abuse, becomes poets. 
 That dproircoXidei were scolds we see in Vesp. 1388 — 1410. We should 
 perhaps select fish-wives as most abusive. For the quick flaring-up of 
 irpivos cf. AcA. 666. 
 
 860. ^ToifMos] Euripides professes himself ready for the fight. 
 hdKveiv, a term from cock-fighting : cf. Eq. 496, ixijxvTjcl) vvv baKveLv^ 
 SiapdWeiv, roi/s \6(povs Kareadieiu. 
 
 862. Td7rr}...Tpayip5ias] ^irrf the dialogue, fxiXrj the lyric parts. 
 vevpa seems not to be a third distinct part, but rather a metaphor in 
 apposition to the whole, 'even the very nerves and sinews of my 
 tragedy,' which he offers as it were for dissection. 
 
 863. IlT^X^a] This and the other plays mentioned are now lost. 
 The Aeohcs and Telephus have just been attacked : of the Meleager a 
 specimen is ridiculed in 1. 1238. Of Telephus and Peleus Horace 
 speaks {A. P. 96) with some praise : ' Telephus and Peleus, when 
 poor and exiled, dismiss swelling language and long words, if they 
 wish to move the pity of the audience. ' 
 
 868. 6'ti y\ TT.] Aeschylus'' poetry still lives up above; Euripides' 
 has died with him : therefore Euripides will have his at hand, Aes- 
 chylus will not. 
 
 871. Wt. vvv XijSaj'ojToj'] A preliminary offering of incense and 
 prayer : as before the comic trial of the dogs in Vesp. 860. 
 
 873 — 906. The Chorus call the Muses to witness the contest be- 
 
94 THE FROGS, [1. 877— 
 
 tween the two poets. The rivals are told to pray, which they do, each 
 in his own fashion. Great things are to be expected from both : 
 subtleties from one, tremendous vehemence from the other. 
 
 877. 'yv(jiiioT\]Trwv\ Cf. Nub. 951 7i'w/xori;'7rotj ii.epiiiva.i<i : also 
 Thes77i. 55, Eq, 1379. 
 
 ot,vixepiixvoi{\ Toh fxercL ffKixJ/ecos evpnTKoixivoLs, Schol. Tricks of 
 rhetoric are compared to tricks of wrestling: cf. above, 1. 775, \vyiafj,wv. 
 
 880. dsiPOTOLToiv] Join with iropio-aadaL 'most clever at inventing.*' 
 
 881. prjixaTo] 'fine phrases:' the Schohast says these refer to 
 Aeschylus, the irapaTTf.ia/j.aTa to Euripides' XeirToXoyovyTa. Many editors 
 think pT^fiara corrupt. Kock proposes irpi/xva re, Meineke Kprjinvoi re, 
 Thiersch pevfiara, Stallbaum p-^y/xara. One might add KVT)p.a.Ta 
 'scrapings, filings :' yet perhaps 'nihil mutandum,' as Holden says. 
 
 886. Aij/xrjTep] Aeschylus, a native of Eleusis, prays to its patron 
 goddess. He had probably himself been initiated; and Fritzsche 
 guesses these lines to have been the opening lines of his play the 
 'EXevainoc. 
 
 887. eZj/at] Supply 5os here and in 1. 894. 
 
 888. KaXQs] As above in 1. 508. Euripides declines to offer 
 incense. 
 
 890. Ko/nfjLo] * coinage.' So in Ni/d. 247 — 9 Socrates speaks of 
 gods not being v6/j.ia/xa with him and his disciples, and Strepsiades 
 asks if they have an iron currency to swear by. 
 
 891. Idcwrais 6.] ' your amateur gods.' A term more contemptuous 
 than t5toL : it contrasts Euripides' special private committee of gods 
 with the gods who in their high office are supreme rulers of all : whom 
 Aeschylus terms aeXpLa crepivov r]p.€uoi in ^o. 183. 
 
 892. aidrjp K.T.X.] * Ether my pasturage, and thou pivot of my 
 tongue, and apprehension, and keen-scenting nostrils.' Socrates in 
 A^tib. 329 — 31 calls the clouds gods, and says they feed {^oaKovai) 
 numbers of sophists. 
 
 895 — 906. The Chorus express their eagei^ness to hear the trial : 
 there will be elegance and subtlety on one side, giant force on the 
 other. 
 
 897. Hlte k.t.X.I The text is Dindorfs. lp.fiiXetav is in MSS. 
 and Scholia. Holden, with Kock and Meineke, has riva Xoywp, riv' 
 e/iytteXetas ^. 5. d. ' We are eager to hear what hostile path of words, 
 what hostile path of melody ye will enter on.' Kock supposes Xoyoiv 
 to refer to the tragic dialogue, ip.p.eXeia% to the choruses. Line 897 
 ought to correspond to 1. 996. 
 
 001. Tov pikv] Euripides : Toj' 5^ Aeschylus. Euripides is the poet 
 for dcTela and Kop.\pd : cf. the compound Kop,\J/evpLTnK(jos, Eq. 18. 
 
 903. dvaaTTwvT aur.] The constr. is ' that the other will with 
 uprooted words, tearing them up, fall on and scatter etc' Aeschylus 
 is as one of the giants fighting the gods. Paley aptly quotes from 
 Horace 'evulsisque truncis Enceladus jaculator audax.' 
 
1. 914-] NOTES. 95 
 
 904. aKi.vZridpai ^ttCov] arpocpds \ewTo\oyias ttXokcls tov "Eupnridov, 
 Schol. Aeschylus will batter and rout with his heavy artillery the 
 words of Euripides which will in vain roll and twist about to escape. 
 This appears the most probable meaning. But L. and S. render 
 dXivdrjdpas iir(2u 'long-rolling words,' that is, of Aeschylus; and then 
 ffvaKeddu must be ' will discharge in volleys.' The proper meaning of 
 dXivdi^dpa is said to be ' a place for horses to roll in :' hence it might 
 come to mean (as Kock and Paley think) *thf place of the combat 
 or scrummage.' But how could any one be said <Tu(XKeddu * to scatter' 
 a place ? 
 
 907 — 970. Euripides blames the general character of the plays 
 of Aeschylus : his characters sit mute : then come a few big unin- 
 telligible words, marvels to astound the vulgar. Whereas he himself 
 has improved the drama : has done away with turgid bombast : has 
 increased the dialogue, introduced argument, spoken of common and 
 intelligible things. Aeschylus trains big lubberly fools, Euripides 
 clever statesmen. 
 
 907. Kal fiT]v...etiJ.i] On this tetrameter iambic metre Frere re- 
 marks, in his translation of the Knights, "it is so essentially base and 
 vulgar that no English song afforded a specimen fit to be quoted." 
 A friend however suggested to him the first line of *' a song, vulgar 
 yet inoffensive : ' A captain bold of Halifax, who lived in country 
 quarters.'" Frere notes further that "this metre is always appro- 
 priated in the comedies of Aristophanes to those scenes of argumentative 
 altercation in which the ascendancy is given to the more ignoble 
 character ; in this respect it stands in decided contrast with the ana- 
 paestic measure." Instances in point are the dialogue between the 
 sausage-seller and Cleon, Eq. 335 — 460 : the argument of "ASi/cos X670S 
 Nub. 1036 — 1082, whereas AiKatos \6yos speaks in anapaests, 1. 961 
 — 1008 : the criticisms of Euripides here, answered by Aeschylus in 
 anapaests at 1. 1006 — 1076. 
 
 910. fjLLopovs X.] Aeschylus found the public fools, and deceived 
 them and kept them so. Phrynichus, the disciple of Thespis, was one 
 of the founders of tragedy. He flourished from B.C. 511 to 476. The 
 structure of his plays was simple : there was but one actor. Aristo- 
 phanes praises him Av. 750, Fesp. 220, Thesm. 164. 
 
 911. dv Ka.Ql(xev\ 'He would introduce some character seated, 
 muffling it up.' The aorist is transitive : for the dv giving a sense of 
 'habit' comp. 1. 913, 924. No doubt Aeschylus and his predecessors 
 did bring on dumb characters for show ; indeed to see was originally 
 as much a part of tragedy as to hear. The Chorus were meanwhile 
 singing their odes. Such a visible picture of emotion deserves no 
 blame. Niobe doubtless was silent in grief: Achilles is represented 
 as mute for a long while in The ransom of Hedar, or The Phrygians. 
 
 913. 7/)ufoi'ras] So ohlh 7pO 'not a syllable' in Demosth. 353. 10. 
 
 914. rjpeLdev 6pfxadoi)s] Cf. £(/. 627 dvapprfyv^s ^ttt] repaTevS/uCevos 
 "^peide Kara tCov lirir^uv, where -^peide as well. as dpapprjypi/s seems to 
 
96 THE FROGS. [1. 917— 
 
 govern Ittt?. ^ The verb is also used intransitively, Nich. 558 Trdi^rcs 
 ipeidovaLV els ^^irip^oKov, 
 
 917. riXWios yap] In sense 7ap is better than ^fp' which Fritzsche 
 and Bergk read to make a tribrach in place of an anapaest. Perhaps, 
 as Paley suggests, rjXidios was pronounced as a trisyllable. For the 
 same metrical reason Meineke and others change liriraKeKTpvbva in 1 
 932 to iiriraX^KTopa, as also in iVul>. 1427. 
 
 919. Kadolro] A doubtful form : several editors correct to KaOrJTo, 
 follo^ying the analogy of ep.rr\fiix7)v Ach. 236. And in Lys. 149 kolQ^- 
 ii^Qa is found. But such forms as ei'Scbs and oZ5a, e//c6s and oi'/cos, show 
 how readily the sounds et and 01 were interchanged. And ol may have 
 occasionally supplanted 774 in this optative, much as in Ti6oifji.r]v for 
 TLdelixTjy. 
 
 920. rh 5pap.a 5' dv S.] 'The action of the play would be going 
 on,' but the spectators would be only attending to the mute figure and 
 so miss its imperfections. 
 
 922. cKopdiv^] Aeschylus makes gestures of weariness and disgust. 
 924. ^jem] 'ox-like, huge :' the words are like nondescript animals 
 with grim brow and mane, and hobgoblin face. 
 
 926. dyviOTo] From dyvuros. There are three forms, ayvdos, 
 dyvcjTos, dyvuxTTos. The first form is not used in the neuter gender, 
 ace. to the Scholiast. 
 
 927. ovU 'iv] Some editors write this as one word ov^eiu. To 
 use it as a trisyllable, without elision, became commoner in the later 
 comic poets : in the Plutiis of Aristophanes ai-e four instances : 1. 37 
 
 V^d'i fJi7)d^ y. 1. 138 OVK &W' 0V8^ €V. 1, I I 15 OVK dXX Ovd^ €V. 
 
 1. 1 182 vvv 5' ovd^ ds. Porson (in his preface to Heaiba) suggests 
 that in this passage of the Fi'ogs, an earlier play than the Plutus, 
 Aristophanes probably wrote ovb' dv 'iv. 
 
 928. 'ZiKaixdvbpov'i] There seems nothing to carp at in the mere 
 mention of the Scamander {^^. 511, 1157, Choeph. 564, Eum, 398): 
 but Euripides objects to Aeschylus' constant choice of Homeric sub- 
 jects as well as to his big words about them. In From. Vinci. 395 he 
 speaks of Ocean's four-footed griffin. 
 
 930. a ^vpL^aXelv k.tX.] 'to guess whose meaning was not easy.' 
 Compare Phidippides' similar estimate of Aeschylus in Nzcb. 1366, 7. 
 
 V7] Toiis deoi/s K.T.X.} ' Yes, indeed : for instance I have passed many 
 a sleepless night trying to make out Aeschylus' horse-cock.' Dionysus 
 appears to be parodying from Eur. Hipp. 375 r\'h-r\ ttot'' d'XXws vvktos 
 iv jjiaKpi^ Xp'^^V Ovr)T(dv ecppovria rj diecpOapTaL /Sios. This compound 
 animal, of which Aristophanes makes fun in Pac. 1177, Av. 800, is 
 said to be in the Myrinidons of Aeschylus. That poet seems indeed 
 to have had a fancy for strange monsters ; taken (1. 938) from Persian 
 or Assyrian embroideries. That the figure-head on a ship should be 
 a little out of the common way seems allowable enough. Several editors 
 read linraXiKTopa, liriraXiiiTopai in 1. 932, 937. Cf. note on 1. 917. 
 
 934. "ISipv^Lv] ovTOS yap us dfiopcpos /cat drjdrjs Sta/SdXXerai, SchoJ 
 
 ;i 
 
1. 949-] NOTES. 97 
 
 935. iXr kxpy^A Cocks are absolutely out of place in tragedy, 
 argues Euripides. You have put worse things in your plays, retorts 
 Aeschylus. But not mysterious monsters like yours, rejoins Euripides. 
 
 938. TrapaireTdfffmaiv] The monstrous figures on Eastern tapestry 
 are well known. Some might be fanciful, some intended for really 
 existing creatures. Pliny says (N, H. 8. 33, 50) that the TpayiXatpos 
 was found near the river Phasis. 
 
 939. TrapiXa^ov k.t.\.] Euripides speaks as a physician of a 
 patient, whom he has reduced by dieting. Most of the terms used 
 are medical. From Aeschylus' bad treatment the patient had become 
 swollen, heavy, and pursy: Euripides set to work to remedy all 
 this. 
 
 941, tcTxvapa] Kock quotes Hippocrates for this word used me- 
 dically. The prescriptions for making Tragedy thinner were iTnLfWia 
 * dainty phrases ' in place of /co/i7rd(r/xaTa ' bombast ;' * constitutional 
 walks' {TrepliraToi) with some reference to the other meaning * philo- 
 sophical discussion:' and * beet-root,' which appears to have been 
 applied to reduce tumours. In Aesch. Prom, Vlnct. 377—80, there is 
 rather a similar use of medical terms : i2K. d/jv^s voaovcnjs eiaiu larpol 
 \5yoi. nP. idp Tis iv Kaipip ye fiaXOdaar} K^ap, Kal fi^ (T(ppLyQvTa dvfxdv 
 IjXi'o.lvjj pig.. 
 
 943. x'^^<^*'] By way of purgative a thin juice strained from 
 philosophical books was given. 
 
 944. elr av^Tpe(t>ov\ After the thinning process, to get rid of all 
 superfluous bulk, the patient had to be fed up, on ' monodies,' of which 
 Euripides was fond, see 1. 849, 1330, with Cephisophon infused. 
 Cephisophon, it is insinuated, helped Euripides in his plays : cf, below, 
 1. 1408, 1452 — 3. Some say he was a slave of Euripides, others an 
 actor. In Ach. 395 he appears to be living with Euripides, as also 
 in 1. I408 of this play. Plainly he is here an ingredient to make the 
 brew more nutritious. 
 
 945. iXi^povp 6 TL ri^xot/*'] *I did not talk the first nonsense that 
 came uppermost, nor plunge into my subject and make a jumble.' Cf. 
 Eg. 545 iffinid^cras i^Xvdpei. 
 
 946. ov^iwv] 'The actor who came out.' Euripides in his pro- 
 logues makes the actor clearly state what has happened before, who 
 the characters are, or, as he calls it, tell ' the family history ' of the 
 play. Almost any play of Euripides will illustrate this, e. g. Ion, 
 Hecuba^ Iphigeitia in Tauris. This gives occasion for a hit at Eu- 
 ripides' family. On elTr' dv it should be noticed that the elision of*the 
 e of the third person before dv is rare ; yet perhaps not so rare, nor so 
 objectionable on any known reason, as to justify us in changing the 
 text here or elsewhere. Certainly the dv is best retained for the sense, 
 cf. iraprJK'' dv, ^Xeyep dv below. 
 
 949. iXeyev k.t.X.] ' Every one used to speak in my plays.' * For 
 which you ought to have been punished.' *No : it was true republican 
 spirit that led me to act so.' 'The less said about that the better. 
 You have no very good argument {-n-epiiraro's) to help you out there.* 
 
98 THE FROGS. [1. 954— 
 
 Euripides had too often shown sympathy with oligarchs to set up now 
 for a democrat. There may also be alhision, as Hermann and Kock 
 think, to his residence with king Archelaus in Macedonia. 
 
 954. rovTov(jX\ * these spectators,' the Athenian pubHc. Euripides' 
 claims to have taught his countrymen argument, perception, art, etc. 
 rather recal Prometheus' speech detailing his gifts to mortals (Aesch. 
 From. Vinci. 442 — 61). Mortals were helpless babes before, confusing 
 everything (^(pupov ehrj irdpra): so were the Athenians (d/SeXrepwrarot 
 KcxnvoTes 1. 989) till Euripides came abroad as their schoolmaster. 
 
 956. ccrjSoXds] Supply again iSida^a: 'And I taught them the 
 introductions.' Cf. \. 1 104. for eh ^oXas ffocpKrfMdTOijv. With, yojviatxfioi/s 
 eirdv 'squaring of phrases' compare above, 1. 799 — 801. 
 
 958. (pTjfJil Kdyd!)] That he did teach all this, Aeschylus grants; 
 that it was good teaching, he denies. 
 
 959. oUeta TT.] I spoke of things * familiar in their mouths as 
 household words :' so that I could be brought to book if wrong ; 
 whereas Aeschylus astounded and mystified his audience with unin- 
 telligible marvels. 
 
 961. eKOfXTToXaKovv] Cf. Ac/i. 589 ko/xtoKukvOov 'the brag-bird' 
 on Lamachus' helm. 
 
 963. KvKPovs] Cycnus and Memnon were heroes slain by Achilles, 
 and doubtless introduced in some Aeschylean dramas. In Aesch. Sepi. 
 c. Theb, 385 Tydeus has bells to his shield : im d(r7r^5os 5^ r^J xaXK-l]- 
 Xaroi KXd^ovat Kudcoves (pb^ov. 
 
 965. ^opixlcxLos] Apparently a hairy man, ^^<r/. 91. Subsequently 
 he took part in the recal of the people on the fall of the Thirty tyrants. 
 Of Megaenetus we know nothing, nor why he was Mdyvrjs or Mavrj^. 
 The Scholiast says he was avdoihris Kai dpcdcrdrjTos. The word M.av7js 
 is supposed by Fritzsche here to mean 'an unlucky dice-player,' and 
 Maj'^s to have been a name for a bad throw of the dice. It is a com- 
 mon name for a slave. 
 
 966. aaXTriyyoXoyxvTryjvddai] 'Trompeten-lanzen-knebelbarte' Voss. 
 The long untranslateable compounds are in ridicule of Aeschylus. 
 
 ffapK.] The robber Sinis was the inTVOKdfxirTrjs, who killed his 
 victims by fastening them to bent pines and then loosing the trees. Cf. 
 Ovid Mef. 7. 441. Aeschylus' terrible blusterers are like Sinis, who 
 may have been described or painted with a dog-like grin (<xapKa<xp.6s). 
 Perhaps 'pine-bender' had passed into a proverbial expression for 'a 
 bully, a fire-eater.' Thus Kock renders it ' Hohnlachel-eisenfresser.' 
 
 967. K\etTo0u'»'] Probably the same who is mentioned in Plato 
 Rep. 428 B. The Scholiast says he was 'idle' dpybs. Theramenes' 
 cleverness has been already spoken of 1. 540. 
 
 969, 70. os...Ketos] The whole meaning is 'If any one is in a 
 scrape, and Theramenes is his neighbour or comrade, Theramenes 
 manages to tumble out of it and light on his feet, getting good and 
 not evil out of it.' But the exact explanation of the last phrase is 
 doubtful, Heindorf (on Plat. Frot. 341 e) says that the Chians were 
 
1. looi.] NOTES. 99 
 
 proverbially bad, the Ceans good. Dindorf says : 'he is like the bat 
 in the fable, mouse or bird, as suits his interest :' Chian or Cean, as 
 suits his purpose. Others suppose that there is reference to dice, of. 
 which Xios was the worst throw, K^jos the best : but that Keros is 
 substituted for the proper contrast K<pos in order to make a hit at 
 Theramenes' Cean descent. This appears not so good as the other 
 explanation. Theramenes vrill always get out of a scrape cleverly, and 
 by some change and trick (no greater than the difference between the 
 two Greek words Xioy and Ketos) he escapes hurt and discredit, and 
 wins profit and honour, turns out ' no Chian but a Cean.' 
 
 971 — 991. I have taught my fellow-citizens to be clever and acute 
 in everything, says Euripides. Indeed you have, says Dionysus ; they 
 are all sharp and suspicious now, whereas they were before simpletons. 
 971. fihrovyijii (f)poveLv'\ fxivToi iyu) 0. Some read ixivToi (xu}(f)pov€tu, 
 973. evdeU ry t^X'^TJ] ^7 introducing into tragic art argument 
 and examination Euripides has taught his countrymen to be argu- 
 mentative and suspicious in common household matters. 
 
 979. TovT iXa^e] The tribrach at the end of short iambic verses 
 occurs in JVu5. 1386, 8, 9. But here, at. the end of the speech, this 
 solitary instance sounds ill. Bentley proposed rod' iXa^ey, an ending 
 precisely corresponding to 1. 988 Trapirpayev, dactyl followed by iambus. 
 
 980. yrj Toi/s deovs k.t.X.] Dionysus gives absurd instances of 
 Athenian acuteness in detecting the loss of a sprat, a plate, garlic, olive. 
 For elaiCov * when he goes indoors ' cf. Thesm, 395, where the same 
 kind of thing is mentioned. 
 
 990. Ma/i/ict/cu^ot] 'babies' or 'boobies:' derived by some from 
 fxafifia and Kev'du). MeXT/rtSai or MeXiTrLdai 'sweet simpletons.' rjdvs 
 is used for ' silly :' and perhaps ^XLTo/uLdfi/na^ which L. and S. compare 
 with MapLfidKvdos combines the elements of the two {fi^Xt, fidfi/ia). 
 
 992 — 1005. The Chorus caution Aeschylus to curb his wrath and 
 answer carefully his adversary's charges. 
 
 992. TttSe K.T.X.] The first line of the Myrmidones of Aeschylus. 
 The Chorus there appeal to Achilles to help the suffering Greeks : the 
 second line is dopiXvixavrovs AavaQv uox^ovs. 
 
 993. Sttws] Kock and Meineke mark a lacuna here. Nothing is 
 positively wanting to the sense: in the antistrophic line 897 the reading 
 is rather doubtful. The sense is ' only take care {3pa supplied) lest etc' 
 
 995. iXaQv] A line of olives marked the course within which the 
 runners must keep. Aeschylus is warned not to run wildly out of 
 the course in his answer. 
 
 999. ffva-TeiXas] A different metaphor, from a ship. ' Reef your 
 sails while the wind is violent, when it abates you can put on more 
 speed and be down on your adversary.' For ava-TeiXas cf. £^. 432 
 iyCt) 5^ ffuareiXa^ ye tovs aXXavras elr^ a'^Tycrw Kara kv/jl' kfiavTOv oUpiov : 
 also -£"<j^. 440 — 41. dKpoifft XP' '^- io-rlots 'using but the edges of your 
 sails.' Cf. Eur. Mec/. 524 — 7, quoted on £(/. 432, 
 
 100 r. A^eis] As the nautical meaning of this is questionable, 
 
loo THE FROGS. [1. 1002— 
 
 various corrections have been proposed : q.^u<i 'you will speed on, put 
 on sail' Fritzsche : of^eis 'vela pandes' Bergk, which is very unlikely 
 to have been written. fiaXXov aaaov cf^as 'you will bring your ship 
 nearer to your enemy' Meineke. To which might be added l^et 
 comparing E(/. 760. 
 
 1002. 0u\a$eis] Svatch' for a chance of attack, when you have 
 got the wind calm and settled. The whole passage means * Don't let 
 your passion get the better of your judgement.' 
 
 1004. 7ru/)7t6(Tas] Cf. Fac. 749 kirolriae t^x^V^ fieydXrjv ijfuv /ca- 
 TTvpycoa oiKodo/Jiriaas ^ireaiv fxeydXois. 
 
 1005. Xrjpov] By surprise for r^x^V ', spoken in goodnatured joke. 
 Others take it as if Aeschylus found tragedy Xrjpos, but made it some- 
 thing better. 
 
 Kpovvov a0^et] 'let forth your flood, open the sluice-gates' of your 
 eloquence. Aristophanes combines in one word Kpovvos and Xrjpos in 
 £(/. 89 KpovvoxvTpoXrjpaios. 
 
 1006 — 1097. Aeschylus makes his defence. The art of poetry 
 ought to elevate men and inspire high thoughts; this I have done, he 
 argues ; but Euripides just the opposite. He mentions the plays in 
 which he has done this, being now and then interrupted by criticisms 
 from Dionysus. But Euripides has encouraged wrongful passion, and 
 brought prominently forward things which should be hidden. His own 
 grandiloquence he defends, because high thoughts require high words : 
 whereas Euripides' common mean characters have taught meanness and 
 cowardice. This Dionysus confirms by an instance or two. 
 
 1006. ^vvrvxl^g-] 'the chance, the circumstances in which I am 
 placed,' i. e. the fact that I Aeschylus have to speak at all against this 
 fellow. 
 
 1007. <pd(TKr]] He abruptly turns from addressing Dionysus or the 
 Chorus to address Euripides. I should not prefer ^ao-zci/s, which 
 I'aley suggests. Aeschylus says * I don't think I ought to have to 
 argue with such a fellow, but lest he say I am nonplussed — Answer 
 me, sir.' 
 
 1012. reOudvai] In his hurry to pronounce the deserved punish- 
 ment Dionysus forgets that death is an impossible penalty in Hades. 
 
 1014. yevvaicvs Kal rerpaTr.'] 'Noble six-foot heroes:' cf. Vesp. 
 553 &v5p€s fieyaXoL Kal reTpatrrixec^. And for the 'shirkers' of public 
 duty cf. AcA. 601, veavias 5' otous (xi> diadebpaKdras. 
 
 10 1 6. TTv^ovTas dltpv] breathing war: each article of armour offen- 
 sive and defensive being named, and the list closing with the epithet of 
 the shield of Ajax in Homer, ' souls of seven bull-stoutness.' 
 
 10 1 8. t6 kukSv] This plague of Aeschylus' warlike words. Cf. 
 Az/(5. 906, tovtI Kal drj x^pe? rb KaKdv. 
 
 1019. Kal tL] Kock gives this line to Euripides, whose question 
 Aeschylus does not answer : therefore Dionysus in 1. 1019 bids him 
 speak and not give himself grand airs. 
 
 102 1. "Apeus pie(TTbv\ A fit term for the play, as Mitchell shows by 
 
1. 1038.] NOTES. 10 1 
 
 reference to 11. 42 — 52. 'Any one,' says Aeschylus, ' seeing it would long 
 for battles.' ' But it improved the bravery of the Thebans, our ene- 
 mies: that was a bad thing,' objects Dionysus. 
 
 1025. aifr'] aiJrA, that is tA woKeniKd. 
 
 1026. /xera tovt^] The Persae was exhibited before the Septem c. 
 Thebas^ as the Scholiast tells us : but he sensibly remarks ttX^ ovhk ry 
 voirjTy iyKKrjTiou' oi ydp iffriv dKpl^uxrn rb tolovtov. Indeed Aeschylus 
 is not thinking of the chronological order of the plays, but in claiming 
 to have taught a warlike spirit he takes first his most warlike play : 
 
 * then next to this, after this, by the Persae I taught a desire for victory.' 
 Kock, however, thinks that we must conclude from this passage that 
 the Persae was played after the Septcfn c. Thebas, but that the latter may 
 have been played again at a later date. 
 
 1028, rjvlK' airrjyyfKOyj] Neither this (Dindorfs) nor any correction 
 from the corrupt yivU^ -qKovaa^ is fully satisfactory. In the Persae there 
 is no 'news of Darius' death,' if Trepl Aapeiov Tedveiaros be so understood. 
 If Aapeiov TedveQro^ mean * the ghost of dead Darius,' there is no passage 
 where the Chorus clap their hands and say lavoi. Paley suggests that 
 at 1. 662 of the Persae we might read Aapet' lavoi for Aape/av oX. The 
 Choms are there calling on the spirit of Darius. Bothe proposes Trapd 
 Aapeiov, 'from Darius,' supposing the reference to be to 1, 790, etc. 
 Dionysus' recollection may, as Paley says, refer to an earlier edition of 
 the play. 
 
 1030. aaKeiv] \d(XKeiv, Meineke from Hamaker, unnecessarily : 
 
 * poets ought to study and practise these subjects' is intelligible enough. 
 
 1032. 'O/)0ei!'s] Cf. Plat. Rep. 364 E, ^i^\wv bk SfiaSop irap^x^vTac 
 Mov<raiov Kal 'Op<^^ws, Ka6' as OvrjiroXovai^ Treidovres us &pa XOaeis re /cat 
 Kadapfioi d8iKr)/jt.dT0}y 8id dv<Tiwv elcnv, ds Sr; reXeras KoXovcriv. Horace 
 {A.P. ^Si) says, 'Silvestres homines sacer interpresque deorum caedibus 
 et victu foedo deterruit Orpheus.' Many other passages could be 
 quoted showing that Orpheus and Musaeus were held instructors in 
 religious mysteries. 
 
 1033. 'HcrtoSos] In his Worh and Dajys. 
 
 1036. rd^eis /c.T.X.] There is surely plenty on these heads in our 
 Homer, without supposing ' Homer ' (as Paley suggests) to have a wider 
 sense. Horace {A. P. 73) calls Homer's subjects 'Res gestae regum- 
 que ducumque et tristia bella.' And Horace certainly meant our 
 Homer. 
 
 UavraKXia] In a Panathenaic procession (rjpiK^^ireiJ.Trev) this unfor- 
 tunate wight put on his helmet before fastening the crest, which mistake 
 earned him this ridicule and the epithet c/catds from Eupolis. A poet 
 Pantacles is mentioned by Antiphon : it is thought that this was the 
 same man. 
 
 1038. Tepi5'r](Tdfi(voi...iTi8'/i<r eip] Surely both unobjectionable words. 
 Herod. IV. 176 and Ar. Jtec/. 118, 122 support the first. The second 
 Herodotus (i. 171) uses in the middle voice, but the active is exphcable 
 enough. Plaving tied the helmet on himself, the man goes on to tie 
 a crest on that. Kock's irepnrrj^d/j.evos is (to me) astounding ; Bergk's 
 
I02 THE FROGS. [1. 1039-- 
 
 iTTLd-fjffeiv needless. Kock says, * den Helm kann man nicht umbinden.^ 
 ' Warum, gelehrte Kock, warum?' 
 
 1039. Act/xaxos] The hero of the earlier part of the Peloponnesian 
 war : conspicuous in the scene of the Acharnians 1071 — 1142. He fell 
 in Sicily, Thuc. vi. 103. 
 
 1040. odev] referring to Homer. diro/Ma^a/jLivr}, ' having taken an 
 impression' as from a seal. Cf. TAesm. 514., avTiK/xayfxa adv, 'your 
 very image or copy.' 
 
 1042. auT€KTeipeip] To strive to equal them in measure, to come 
 up to their standard. 
 
 1044. ou5' oIS' ov8eU /c.t.X.] Paley observes that this is untrue, for 
 the Agamemnon proves the contrary. Kock points out, however, that 
 the love of Aegisthus and Clytaemnestra is not the chief motive in that 
 play, and it is so dealt with that none could be cornipted by it. Cer- 
 tainly our whole impression of Clytaemnestra, the woman * of a manly 
 mind ' {avhpb^ovKoi), is not that she is yvvt) epc^a. But of course the 
 assertions on either side in this contest are beyond the exact truth of fair 
 criticism. 
 
 1045. ovS^ yap Tjv] Kock would read fX7}8e yap etrj in the second 
 half of the line : Bothe and Meineke ov yap eirrjv in the first half. Paley 
 prefers /ier-Jji' and /xereirj : * you never had a grain of love in your compo- 
 sition.' The yap in the first clause seems to me (as to Fritzsche) un- 
 doubtedly genuine. Also the ye in the second is quite natural. And 
 though we might expect en; to correspond exactly to tju, yet Helvai is 
 common enough in this use, and the next line ewl roi ad rather con- 
 firms it. 
 
 1046. ttoWt] ttoXXoO] The use of ttoXi/s as part of the predicate 
 with a verb is common: compare iroXiis pet irora/xos and such phrases. 
 Hence ttoWt] '-n-LKadrjTo, ' sat heavy.' The genitive TroXXoO is combined 
 with it in £t/. 822 TroXXoO de iroKvv fxe xpcvop iXeX-qdrj^ : and in A^zid. 915 
 6pa<Ti>s el ttoWou. It appears to mean 'much, exceedingly.* Paley 
 suggests '/c TroXXoO, ' long since,' here and e«- TroXXoO in A^ttd. 915. But 
 no such change could be made in £(/. 822, where TroXXoO begins the line 
 and sentence and is combined with Tro\i)u XP^^^^- The three passages 
 together seem to bear out the simple adverbial use of TroXXoO. The 
 fact meant by the whole sentence is that Euripides was unfortunate in 
 his marriage. 
 
 1047. Kar* ovv i^a\ev\ A tmesis common in Herodotus: z{. Ntih, 
 "jgi airb yap oXou/naL. 
 
 tovt6 yi Toi brj] apparently means 'this indeed is just the fact.' 
 
 1 05 1. Kiiveta TTLeLu] It is hard to believe that any honest women 
 really did poison themselves from very shame for their sex : but some 
 suicide may have been attributed to this cause. Fritzsche thinks that 
 there may have been some such deaths caused by the distress of the 
 times, and that Aristophanes maliciously throws the blame on Euri- 
 pides. 
 
 1052. ovK gj/ra] Join these closely, * was it an untrue story ? No, 
 true enough.' That is to say Euripides did not invent the facts, but 
 
1. 1089.] NOTES. 103 
 
 used the story as it was really told. The passage shows the respect of 
 the Greeks for their legends. 
 
 1054. rois iJLkv yap tt.] As boys are taught by a schoolmaster, so 
 are grown men by us poets : therefore we have a responsibility on us, 
 and must teach good things. 
 
 1057. Tlo.pva(T(2v\ Some read liapvqdwv, because Parnes, like Ly- 
 cabettus, is in Attica. But Parnassus is more a representative big 
 mountain : and Euripides is here speaking of Aeschylus' love for talk- 
 ing of big things and using big words, prjfiad' iTiroKp-qfiva of 1. 929. 
 
 1058. 8j/ xpv\ ^v is relative to ' you : ' we should say ' whereas 
 you ought.' To speak avOponrdtas is to speak as man may speak and as 
 man may understand. 
 
 1059. TlKTeiv] The subject to the infinitive is rbv Troirjr^v or rjfias, 
 * one must bring forth big phrases to match big thoughts.' 
 
 1062. ap.ov] a is governed by both Karadei^avTos and SLeXvfii^vu, 
 *■ all which when I had set forth excellently, you spoilt.' See below, 
 1. 1078, for Karadei^ai in the same sense. 
 
 1065. oHkovv k.t.X.I Your putting kings into rags to move pity 
 has suggested to ouf rich men the plan of shirking their duties : cf. 
 above, 1. 1014. 
 
 io65. 7rc/)tet\X6/r€j'o$] Variously read TrepuXXd/xevos^ TepteiXofievos, 
 irepuXd/jLevoi. The pres. part, seems quite as good as the aorist. The 
 word is plainly from the same stem as the Latin volvo ; and o^m' in 
 the next line is from the same. 
 
 ro68. aykKvy\/€v\ Cf. Pac, i\*i apaK}jil/€TaL...<iu}dtv 17 'Zakap.ivla: 
 see also the passage from Plat. Phaedo 109 E there quoted, ^x^y?, *the 
 fish-market:' so used in Vesp. 789: cf. Eq. 1375, Lys. 557. The 
 Athenians were especially extravagant in spending money on fish. 
 
 1070. TrapaXows] Probably * the crew of the Paralus or state galley.' 
 Fritzsche thinks that they had disobeyed orders at Arginusae. The 
 Scholiast says KOLv(a% hk TrapdXovi roi/s €k t(3v Tpirjpuv vauras. There is 
 also a local meaning, ' people of the sea coast : ' and the sailors might 
 come chiefly from this class. The charge is of course an absurd one. 
 Euripides has taught every one to argue and contradict: even our 
 sailors. 
 
 1073. pviriravai] Cf. Vesp. 909, £q. 602. 
 
 1077. irXeTv 8cvpl k. ^.] ' to go about at random, to and fro, aim- 
 lessly.' Paley says, * the sailing seems opposed to the rowing, as giving 
 the sailors less trouble.' But irXciu does not usually imply going by 
 wind rather than oar : but merely by water and not by land. 
 
 1 08 1, ov ^v t6 trjv] In the Phrixus and the Polyidus this para- 
 dox is found. Cf. below, 1. 1477. 
 
 1085. h-t]p.o-KLQ-}]K(av\ Cf. Eq. 887, ol^ots iridTjKCfffxoh p-e irepieXaijueis. 
 Meineke thinks the next line spurious: it is perhaps rather like an 
 explanation of the compound 5rjpi.0Tn.QifiK(av. The ape is a proverbial 
 flatterer and deceiver. 
 
 1089. iiratpaviivdriv] This compound implies the aspirated auafvo;!*^ 
 
I04 THE FROGS. [1. 1093— 
 
 and a*os. It is a curious phrase, * to laugh all the moisture out of one's 
 body.' 
 
 1093. Ke/)a/*^s] The race was in the Ceramicus, cf. above, 1. 129. 
 The -Kvkai were the Thriasian gates, called also Dipylum. 
 
 1096. TrXare^ais] Supply X^P""^* 
 
 1098 — 1 1 18. The Chorus anticipate a vigorous contest, and urge 
 the combatants to do their best, assuring them that they will have an 
 appreciative audience. 
 
 iroi. oixlv...bhK\ Aeschylus and Euripides: at least retpT^ ^lalcos 
 suits Aeschylus best. The words iTavaarpicpeiv, iirepddeadaL appear to 
 be military terms. The second word is less well explamed as airepei- 
 deadai, ' hostem propellere,' by Kock. 
 
 1 104. eia^oXal cr.] Cf. above, 1. 956. But da^oXal here might 
 be ' assaults,' keeping up the military metaphor. 
 
 1 106. dvaS^pecrdov] So Brunck, Bothe, Dindorf. As a middle 
 form it is doubtful, and a passive sense does not suit the rest of the 
 passage. Fritzsche reads KavaUperov. duaMpeiv is 'to bare or rip open 
 an old wound.' Meineke, Holden, and Paley acquiesce in dvd V 
 ipecdov, 'question, examine.' But this seems weak: whereas Xiyerov 
 iiTLTov should be followed by a word of more force : ' speak, attack, 
 slash open.' ret TraXata Fritzsche connects with dvabiperov, rd Kaivd 
 with XeycTou irLTov. Perhaps both may be taken generally * argue, 
 attack, wound in every way, old and new.' 
 
 1 1 12. ovK ^d'''\ 'no longer:' whatever the public may have been, 
 they are now well-taught and intellectual: they have served abroad, 
 studied at home, and are naturally clever. So in Eq. 230, t6 7d/j 
 diarpov de^idy. 
 
 1 1 19 — 1250. Euripides first criticizes the prologues of Aeschylus : 
 he accuses him of obscurity and tautology. Aeschylus in turn blames 
 the prologues of Euripides, first as to their sense and diction, then as 
 monotonous in metre or cadence. Dionysus appears to think Aeschy- 
 lus has the best of it so far. They then go on to the lyric parts of their 
 plays. 
 
 1 1 19. (Tov] He addresses Aeschylus, but in 1. 11 20 turns to Diony- 
 sus, hence avrov in 1. 1121. 
 
 1 122. da-a^yjsl Meiiieke rejects this line, saying 'nihil in prologo- 
 rum Aeschyleorum censura Euripides reprehend it quod ad dictionis 
 obscuritatem in rebus enarrandis pertineat.' Surely he does so in 1. 
 1141— 3. 
 
 1 1 24. 'Ope<rr6tas] The trilogy consisting of the ^^<a;/«^w;«^;/, C^<?^- 
 phori^ Eumenides. It is the prologue of the second play that is quoted : 
 and the MS. of Aeschylus, as we have it, is deficient here : so we owe 
 the opening verses of the play to this quotation. 
 
 1 1 26. Trarpip' iir. Kpdrtj] The line is perhaps fairly open to the 
 charge that it may mean more than one thing, ( i ) ' that dost look to the 
 duties assigned to thee from thy father, (2) who dost watch over my 
 father's sovereignty, the rule which my father had.' Of these Aeschylus 
 
1. II53-] NOTES. 105 
 
 himself (or Aristophanes for him) chooses the first : Fritzsche, with 
 Arislarchus, the second. Euripides' third explanation is of course not 
 likely to have been the meaning intended. 
 
 1 119 — 31. 5w5e/fa.. etKoalv 7'] Twelve faults in three lines: then 
 • twenty in each line.' Astonished Dionysus tells Aeschylus to hold his 
 peace or he will make bad worse. 
 
 1 133. rrpb^ Tpi,fflv...(pav€'i] * Besides the three iambics you will be a 
 debtor of something more.' If Aeschylus is proved guilty of twenty 
 mistakes per line, his lines are worse than worthless, and the fewer he 
 recites the better. This seems to be the meaning. Meineke suspects 
 the whole passage, 11 32— 6, needlessly. 
 
 1133 — 5. Fritzsche's arrangement of these lines has been followed 
 as the best for the sense. * Ae. What ! I hold my tongue for him ? 
 D. Yes, if you'll take my advice. Ae. Don't you see what nonsense 
 you're talking ? D. Well, I don't care a button for that.' Or Diony- 
 sus may mean * well, it doesn't matter to me, if you come in for a worse 
 penalty now it's your look out.' Then Euripides, after this aside be- 
 tween Dionysus and Aeschylus, continues in explanation of his last word 
 afiaprlas, ' For at the very outset he has made a monstrous mistake. ' 
 
 1 140. oi>K dXXws X^yoS] *I don't deny your statement so far, 
 granted.' 
 
 1 141 — 3. voTep* otu...i<j)ri\ Euripides interprets the first line of 
 Aeschylus ' thou that regardest {^iroTrrevwv) the deed of violence {Kpdrr]) 
 wrought upon my father (Trarp^ia):' which he paraphrases by eiroTTTeijeiv 
 (is d irarvp diruXeTo ^laLujs, adding e/c ywaiKeias k.t.X. to make it 
 plainer. And perhaps 56\ots X. is added (as Paley says) because Hermes 
 was the god of deceit. 
 
 1 144. iKe?vov] * He did not address that Hermes, Hermes in that 
 character, 56Xtos, but the helper Hermes of the nether world.' Some 
 editions, however, raad iKcluos, comparing 1. 788 and 1457: * Not he, 
 he (Orestes) did not mean that.' 
 
 1 145. KoiS-rjXov] He made his meaning clear enough by saying 
 that he held this office (of ipiovvios, auTrjp) from his father. Here 
 Aeschylus (or our poet for him) gives his comment on himself. 
 
 1147. fJi'^i^ov} What this was we cannot exactly know. Paley 
 suggests as completion, * Zeus must have usurped the prerogatives of the 
 powers below,' or *Zeus himself might rather have been invoked as 
 Preserver.' 
 
 1 149. ovToj K.T.\.] Dionysus takes x^'^^'^os as 'earthy' or 'earth- 
 grubbing,' and so makes out thnt Hermes will be ry/AjScopuxos* ' a- dig- 
 ger up of graves' by his father's side, rvfi^copvxos seems to be used 
 only for one who profanely opens graves, not for * a sexton.' 
 
 1 150. ovK dvdoff/xlap] The flavour of his wine being bad makes his 
 wit bad also. In place of ' bouquet ' it has a mouldy smell. 
 
 Ii53« Vi^^ f<»^ KaTipxo/xai\ This use of KaT4px^<^0O't, Kardyeiv is 
 very common in Attic Greek. 
 
io6 THE FROGS, [1. 1155— 
 
 1 155. ciciTret] Look carefully at the phrase, and I will point out 
 the tautology. Euripides then repeats the line. 
 
 1 158. v-T] rhv Af] Dionysus is throughout a foolish critic, and 
 easily assents to the last speaker. fiaKvpa and Kcipdoiros are two words 
 for the same thing. 
 
 1 1 60. KaTeffTcofivXiuLive] Is this deponent or passive? The present 
 tense is commoner as deponent, cf. Thesm. 1073, Ran. 107 1, Pac. 995. 
 Paley however renders it ' talked at ' in vain, on whom words leave 
 no impression. The force of the perfect tense and of the Acard, if we 
 take the verb as deponent, must be ' who have talked yourself out, 
 spent all your sense in chatter.' This seems preferable. 
 
 1 161. dpiar'' iirCov ?xo^] The construction is dpicrra (adverbial) 
 ^XOJ' * very well arranged,' i-jruv 'in respect of expressions,' ^x^ip with. 
 adv. is frequent : and as KaXws ^xet = KoXdv icnv, so dpcaTa ^x^^ 
 
 — dpLCTOV 6v. 
 
 1 163. ^\dav K.r.X.] Any one may be said * to come' eXdetv, even 
 a man who has not lost his country : and r}K(i} = the perfect tense eX-f)- 
 \v&a. Meineke's change 17/cetv is needless. 
 
 1 164. (Tvp.4>opds] 'misfortune' or simply 'fortune, chance, acci- 
 dent, circumstance.' Aeschylus means that eX-qXvdev or i]K€L would be 
 used of any one who had ' come ' without defining any accident or 
 circumstance of his * coming.' Whereas a banished man ' comes backJ' 
 The special use is seen in 1. 462 of the Etimeitides /cd7c»j KareXdCdv top 
 irpo Tov ^e&ycov %/)oVoj'. 
 
 1 168. Xddpa] Orestes' coming back was not a legal restoration, 
 therefore the legal term should not have been used. 
 
 1 1 73. av 5ls] 'Here again he says another thing twice over.' 
 Cobet's au 8ls is very neat and a great improvement on avdts. As to 
 the tautology, Euripides himself, as Fritzsche shows {Phoen. 919, Hipp. 
 362), couples the same words. No doubt d^-oCdTzi means more in this 
 passage than kXvuv. The first verb is ' to listen to, give ear :' the 
 second really ' to take into the mind. ' Paley quotes from Prom. Vinct. 
 448 /fXuofres o\)k -qKovov. But this distinction could not always be 
 pressed. 
 
 1 1 78. ffTOL^T]v\ (Twpelav Xe^itav ^^w tov vp^irouros Schol. Un- 
 necessary rubbish beside the point, 'stuffing, padding.' 
 
 1180. ov yap fiovarlv dXX'] Arrange ov yap dXXa olk. fi. e. *I 
 cannot choose but hear.' The elliptical oiiK dXXd is very frequent in 
 - Aristophanes, cf. above, 1. 58. 
 
 ii8i. "ijv K.T.X-I From Euripides' Antigone. Aeschylus objects 
 that Oedipus could not be called evdalpwu even at first, when it had 
 been foretold to Laius before his marriage and his son's birth that 
 this son should kill his father. Of course Euripides was speaking of 
 Oedipus' external and apparent prosperity. 
 
 1 184. Kpvvai pih] This has no answering 5^: probably Aeschylus 
 might have gone on to tell of Oedipus' early perils in infancy with an 
 
1. 1229-] NOTES. 107 
 
 flra 5^. But Euripides l)reaks in with his second line: then comes 
 again vpCoTou /j.h...€lTa. 
 
 1 190. 6(rTpdK({)] A wretched substitute for a cradle: this and 
 Xftfiuivos 6uTos heighten the misery. But Thesm. 505 dai<pepc ypavi 
 e'v X'^'^P'i- "^0 iraidiov, quoted by Paley, shows that such a receptacle 
 was not unusual. And the Scholiast on Fesp. 289 speaks of e/crt- 
 Oeixivwv Tralbwv eV xi57"pais. 
 
 1 192. •fjppifi'jev] 'came in, luckless wight!' cf. £q. 4 elai^pprjaev 
 els TT]v otdav. His feet were swollen from the piercing of his ancles 
 described in Eurip. Phoen. 25 — 7, and hence his name Oedipus. 
 
 1 195 — 6. rjv ^.T.X.] Happy indeed was he : he only wanted to 
 be a colleague of Erasinides to complete such happiness. Ironically 
 said of course. Erasinides was one of the generals condemned and 
 executed after Arginusae. 
 
 1200. ctTTo \t]KvQlov\ This of course sounds absurd to Euripides 
 at first : so in wonder he exclaims *■ you destroy my prologues and from 
 an oil-flask I' Then Aeschylus explains his meaning. It is the mono- 
 tony of rhythm from the great prevalence in Euripides' lines of the 
 penthemimeral caesura that is chiefly assailed. The \r\K{)QLov diruiXeo-ev 
 fits on metrically. It also fits on grammatically to the prologues here 
 quoted, but not (as Paley remarks) to others of the extant plays. 
 
 1202. airav] Any word of this length and quantity. 
 
 1206. AiyviTTos] From the Archelaus, 'Aegyptus, as the current 
 tale is told, with sons two-score and ten in well-oared barque At Argos 
 landed and — An oil flask lost.' 
 
 1209. 7ovtX\ This is better given to Dionysus, as Kock has it. 
 
 12 1 1. Atoj/vffos] From the Hypsipyle. The Scholiast completes 
 the third line for us with irapdivois ai/u Ae\(piaii' : and the next instance 
 with irXovaiav apoc irXaKa. 
 
 1217. oiiK iffTiu] From the Stheneboea. In the first three specimens 
 of prologue two lines and a half precede the fatal oil-flask : in the next 
 two one line and a half : then half a line : then, on a protest against 
 that, one and a half again : then Dionysus ends this part of the proof, 
 and bids them go on to lyrics. 
 
 1220. x}<i)i<TBa.C\ Cf. Soph. El. ttKuv y^et^^y^? So/re?. Certainly 
 5o/c6t is better than the vulg. ZoKeXs, which could only mean 'you seem 
 to reef sail :' not * you ought, I think, to reef sail,' as is plainly needed 
 for the sense. The XtjkvOiov is spoken of as a dangerous gale, which 
 will wreck the prologues. 
 
 1225. Xl8u)vlov] From the Phrixus. 
 
 1227. dTTOTplu] ' Buy away from him,' aor. imperat. to diruviofxai. 
 Meineke's idea that the compound word here makes e7d> 'iroTrplcjfxai 
 necessary in 1. 1229 seems fanciful : and his proposed dye xplco in this 
 line is quite needless. 
 
 1229. ryS';] Cf. AcA. 812 iroaov irpiufial aoL rd xof/3^5ia ; Pac. 
 1 261 TouTip rd ddpara tovt' wj/^cro/Aat. For the indignant exclamation 
 cf above, 1. 1135. 
 
io8 THE FROGS. [1. 1232— 
 
 1232. IleXoi/'] Yxoxa. \.\\e Iphigenia in Tauris. 
 
 1235. d7r6Soi;] *sell' addressed to Aeschylus: ciTroSos most MSS. 
 and some editors, which reading Fritzsche explains 'pay the money 
 for it and get it, you will get it cheap.' This use of dirodoCuai is not 
 natural, it means generally * to give back.' Nor is this a good expla- 
 nation of 1. 1236, which rather means ' you will get another very good 
 flask quite cheap.' Kock supposes Aeschylus to be addressed, but 
 retaining dirodos renders it ' leave it to him, let him have it.' The 
 middle voice * sell it ' suits better with irploj/xat, diro-rrpio} above. 
 
 1238. Oluei/s] From the Meleager. The Scholiast tells us that 
 these are not the very first lines of the play, and that the conclusion of 
 the sentence after Qvoiv aTrapxds was ovk ^dv<rev 'ApW/xiSt. In this the 
 sense, probably, but not the exact words, is given. Fritzsche proposes 
 OVK ^Tiaey "Aprefxtv. Oeneus omitted to honour Artemis duly, who 
 therefore sent the wild boar at whose hunting Meleager was present. 
 
 1243. iaaov] ia avrov Meineke and others, in support of which 
 may be quoted Lys. 945 dyaBov ia ailr' oS daifiovia : and Soph. Oed. 
 Col. 1 1 82 a'XX' ea avrov. eiai x^^ipoi^ yoval KaKcd. But ^aaov is a v. 1. 
 in this last. 
 
 1244. Zei/s] From the Melanippe. How long it might have been 
 before the XrjKvdcop would fit on to this we cannot tell. 
 
 1245. ttTToXei a'] Fritzsche and others read dwdXeXs 'you'll be 
 the death of me, do stop !' The text means ' he (Aeschylus) will be 
 the death of you and your prologue.' This reading has also the 
 advantage of continuing the construction of Zei>s k.t.X. in a sort of way. 
 Dionysus interrupts Euripides who began * Zeus, as the true tale runs — 
 Will be your destroyer, for in the end he'll say A. a. 
 
 1247. avKo] ' Feig-warzen' Kock: 'fig- warts' or * fig-styes.' 
 
 1249. €X(^ ws ctTToS.] As ovx €x^ oTTWs ov and ovk ead^ ottws ov 
 are good Greek, there is no strong reason against the affirmative ^x^ 
 u?s, 'I have means by which, I know how.' But as it is against use, 
 Meineke reads ^x^ 7' oh. 
 
 1250 — 1297. After a few words from the Chorus, Euripides ridicules 
 Aeschylus' lyrics, quoting an unmeaning patch-work from several plays. 
 Dionysus puts in a remark now and then. 
 
 1252. iycay ^xw] Paley proposes eyu ovk ex'^- The text must 
 mean *I have enough to puzzle me in imagining how Euripides will 
 find faults in Aeschylus' excellent lyrics.' And this is rather need- 
 lessly and tamely repeated in 1. 1257 — 60: therefore Meineke throws 
 them out. Kock and Holden print them as doubtful. Certainly 
 Euripides' irdvu ye jj.i\rj OavixaaTd 'O yes, wonderful lyrics!' comes in 
 better thus. 
 
 1256. twv €Ti vvvl] Meineke tQv fiixP'- ^^^^' Fritzsche T(av en 7' 
 ovTWv. The MSS. had t(2v ert, vvv ovruv. 
 
 1259. j8. dvaKTo] As king and master in the tragic art. 
 
 1260. avTov] must mean Euripides, kov didoix' is also proposed 
 with avTov referring to Aeschylus. 
 
1. 1287'.] ' NOTES. 109 
 
 1263. Tttura] Dobree's 7' a^a is taken by most editors. Why is 
 it so decidedly preferable? ravra. refers to iik\y\ : * I will count these 
 lyrics which you are going to reduce all to one model, ' i. e. to prove 
 monotonous, all one and the same in metre. 
 
 1 26+. 4>^iwr' 'A.] From the Myrmidones, a summons to Achilles 
 to help the Greeks in their stress. Probably kottov in the original 
 passage of Aescliylus was to be joined with cti'SpoSciiKroj', *why on 
 hearing the man-slaying toil, ah woe ! do you not come to help ?' The 
 line is absurdly repeated by Euripides, to fasten on Aeschylus the 
 charge of repeating a useless refrain, and of unintelligibility. But 
 iT]KQTrov as one word is taken to be a noun agreeing with dv5po8dl'KTov. 
 Lobeck renders it 'planctus caesorum ;' * cadentium ' would perhaps be 
 better. 
 
 1266. 'Epfidv /C.T.X.] From the ^vxayoiyol. The dwellers wepl 
 \ifivav are explained by the Scholiast to be the Arcadians near lake 
 Stymphalis, Hermes being specially worshipped in Arcadia. Fritzsche 
 thinks them rather to be those round lake Avernus, who worshipped 
 Hermes x^o'^tos or ^vxo-yf^os. They were probably the chorus of 
 the play, 
 
 1269. 5ilo] Dionysus counts up the faulty strains by the catch- 
 word Koiros : at the same time this line may mean * Here's double toil 
 and trouble for you, Aeschylus.' 
 
 1270. Kiidiar 'A.] Probably from the Tehphiis. 
 1273. cu^a/ieire] From the i/>/^z"f^«zVz probably. 
 li^i(T(JovofXQC\ The priestesses of Artemis were called fiikiacrai, and 
 
 apparently this word means the same. Why /x^XLaaaL, is uncertain. 
 Paley thinks from fi^Xeiv ' care-takers ' rather than from /xAt. * the 
 priestesses are near, to open the temple of Artemis.' 
 
 1276. Kvpios] From Again. 104, and 1. 1285 is from Agam, 109. 
 The probable meaning of this line is ' I have full power to tell of fated 
 victory of men from wayside omens.' 
 
 1278. 70 XPWC- T' f-] Cf. A^ul>. 2 TO XPW^ T'^V VVKTUV OffOV. 
 
 1279, eZ$ TO p. /3ou\o/Aat] 'Die Ellipse ganz wie bei uns' says 
 Kock : and in English too ' I will to the bath ' is natural. But natural 
 though the ellipse be in English and German, if it were used in Greek, 
 one would expect more instances. None are given. Paley thinks 
 ^ovXofiaL may have been repeated by error for epxofiai, because ^ov 
 caught the transcriber's eye from the next verse. 
 
 1 281. <TTd(7tv] The crrctcris or crrao'tMoi' was distinguished from the 
 irdpodos or e^oSos : a song of the Chorus neither on entrance nor exit, but 
 during the play : q,^ov<nv IffTdfievoi ol xopcyraf. 
 
 1285. oTTws K.r.X.] A patchwork partly from the Agamemnon, 
 partly from other plays. 
 
 1287. 20^770] Supposed to be from a play the ^^J/ww^f. dva-afiepidv 
 genitive pi. is Dindorf 's correction for Svcra/neplav. The Sphinx is called 
 *the hound the president of mischances,* perh. = * introducer of mis- 
 haps.' It is useless to try and make sense of this : the next words are 
 
no THE FROGS. [1. 1294— 
 
 again from the Agamemnon, and 1. 1291 may have meant 'having given 
 them for the swift air-roaming hounds {= eagles) to light upon.? Cf. 
 Aesch. Prom. Vinct. 1020, A gam. 139. The refrain ro^Xarro^pdr or 
 (pXaTTodpaTTO may be an imitation of the cithara. 
 
 1294. TO (TvyKkLvksl Obscure, as indeed it is meant to be. Fritzsche 
 renders the whole : qiioinodo Achivoncm duplex imperitim Graecae jit- 
 ventutis Sphingem, momtriim inforhinio praefectum mittat {Trojam) 
 cum hast a et mamc ultrice bcllkosus ales {aq^iila) qui ad praedam praebuit 
 audacibus avibus in aere volantibus phalangem Ajacis. And this Sphinx 
 needs a modern Oedipus : the Latin is as hard a riddle as the Greek. 
 
 1297. i}xovio(jTp6(^ov\ As Ijxovia is a well- rope {Eccl. 351), it is 
 supposed that i/novLoarpocpoL 'water-drawers' sang at their work: and 
 the Scholiast quotes from Callimachus deidei Kal irov tis dvr]p vdarrj-yds 
 Ifiaiov. Why ' from Marathon ' is not certain. Fritzsche thinks rushes 
 to make ropes were obtained from Marathon : Paley suggests an allusion 
 to Aeschylus having fought at Marathon. And Kock supposes the 
 length of the lines to be meant, * interminable lines long as ropes,' 
 whereas Euripides' lyrics were of shorter lines. 
 
 1298 — 1363. Aeschylus retorts by giving a parody of Euripides' 
 choral style, a nonsensical ode made up of scraps which are partly from 
 real plays of Euripides. 
 
 1298. dW odf K.T.X.] My lyrics were at all events from a good 
 source, Phiynichus, and used for a good purpose ; but altered to suit the 
 requirements of tragedy. Of Phiynichus Aristophanes speaks in Av. 
 745 — 50 vofiovs hdev (harrepel /j-eXiTTU ^pivixos ajx^podlojv fxeXiuu aire- 
 ^6(TK€T0 Kapirbv. 
 
 1302. MeX 17x01^] A song-writer, whom the Scholiast supposes the 
 same as Socrates' accuser. 
 
 KapcKCou avX.] Cf. Plato, Legg. Vll. 800 E ol fitadovfxevoL KapiKy 
 TLvl fjLoOari TrpoTrefXTrovac rods TeXevTrjaavTas. The Carian flute music was 
 doleful [dprjvQdes), we are told by the Scholiast. 
 
 1303- x°P^l'^'>^] From xopeiov, * a place for dancing, ' if the accent 
 is thus placed. If from x^P^'-'^ it should be xo/'ft'^j'. 
 
 1305. ^irl TovTov] 'for him, Euripides, this fellow.' The other 
 reading is iirl tovtwv, sc. g.(^p.dTOJv, ' in such lyrics as these.' 
 
 1306. KpoTovaa] Some figure of the Muse came in rattling the 
 castanets. Fritzsche thinks there is allusion to Hypsipyle, whom Euri- 
 pides had introduced quieting her nursling Opheltes with a rattle. 
 
 1308. ovK eXea^ia^ev] 'No Lesbian Muse was she:' had nothing 
 of Lesbian melody in her. Perhaps also ' had no Lesbian charms of 
 coquetry ; ' the Lesbian women being noted that way, while the figure of 
 Euripides' muse was ' old and ugly,' as Paley suggests. 
 
 1309. dXKVoves K.T.X.] Partly resembles Eur. -^/;. in Taur. 1089. 
 The halcyons, spiders and dolphins are combined with some gram- 
 matical but no logical coherence (as Fritzsche says) : and all or nearly 
 all the lines may be from actual plays of Euripides. 
 
 13 14. eieieteietetXtVo-ere] The repetition is to imitate some repetition 
 
1. 1350.] NOTES. Ill 
 
 of the musical notes or shake. ** Recentior Euripidis musica non dubi- 
 tabat imam syllabam vel sexies repetere ut senis notis pro una locus 
 daretur. " Fritzsche. This Aeschylus ridicules. 
 
 1315. \(jrbrova\ Some read io-roTroi'a, 'worked at the loom.' In 
 the next line fieX^ras is in apposition to ir-nulafxara. There is no con- 
 clusion of the sentence to show what the halcyons and spiders are 
 called on to do. 
 
 131 7. iV 6 (pl\av\os] From Eur. El. 435, where (with elXiffai- 
 /xevos added) it means * where the dolphin gambolled rolling about the 
 dark ships' prows,' irraWe being intransitive. Here the addition of 
 fiavreia k. a. makes nonsense. 
 
 1320. olydvOa^] These lines are supposed to be from the Hypsi- 
 fyle. 
 
 1323. rhv 7r65a] The faulty foot is supposed to be the anapaest in 
 1. 1322. But what the repetition of the question in 1. 1324 refers to is not 
 plain. Bergk thinks there should be but one line for 11. 1323, 4. One 
 MS. omits 1. 1324. 
 
 1325 — 28. And you who make such bad lines yet blame mine, you 
 who write lyrics with tricks of metre as base as the arts of Cyrene (a 
 well-known courtezan of the time). The phrase duiSeKafxrixavov affrpou 
 is said to have been used by Euripides in the Hypsipyle^ of the sun 
 which passes through the twelve signs of the zodiac. 
 
 1331. w Nu/cT^s /C.T.X.] An amusing parody of Euripides. A luck- 
 less spinner while busy at her work has her cock stolen from her poultry 
 yard, and appeals to all powers mortal and immortal to help her in 
 recovering it. Many of the lines are doubtless from plays of Euri- 
 pides. 
 
 1332. riva \xoi K.T.\^ Something like Hecuba 67 seqq. in general 
 sense. 
 
 1333. TrpjTToXov] 'minister, attendant.' Kock reads irpbtioKov 
 'fore-runner ' from MS. Rav. The Scholiast explains by Trpodpoixov. 
 
 1334. ^vxav dxpvxov] An oxymoron in Euripides' style. 
 
 1337 — 8. ^6vta..Jxo^T<^] Probably from some passage different 
 from the last few lines. Fritzsche thinks that much of this monody is 
 from the Temenidae. 
 
 1340. d7ro/cXi;crw] This idea of cleansing guilt and averting evil by 
 ablution often meets us in the ancient writers. Kock refers to Aesch. 
 Pers. 2or, Ap. Rhod. 4. 660, Persius Sat. 2. 16. Paley quotes aptly 
 from the Hippolytits 653, or/^ pvTols vacrfxalcrLv i^ofxop^o/xai els c5ra 
 /fXi/fwj'. 
 
 1342. TovT^ iKcHv'] 'This is the thing meant, what the vision por- 
 tended.' The contrast between the horrors of the vision and the petti- 
 ness of the theft is amusing ; as is also the association of the ' mountain 
 nymphs ' with the kitchen-maid Mania. 
 
 1350. KV€<paios] 'In the morning twilight,' as in Vesp. 124. So 
 Virgil's cheese-maker takes his cheeses early to market, ' Sub lucem 
 exportans calathis adit oppida pastor.' Gecfr^. 3. 402. 
 
112 THE FROGS, [1.1352— 
 
 1352. 6 5^] Namely the cock. Seidler remark's that 'almost in 
 every play of Euripides something flies through the air. ' The appeal to 
 the Cretans to help is said to be from the Cretes of Euripides, in the 
 mouth of Icarus when in the Labyrinth. Perhaps this may have been 
 in the same play, about his flight. The repetitions of dviirTaT^ aviirTar, 
 i^aXov i^dXop, are to ridicule Euripides' practice, if not his actual 
 words. 
 
 1358, Ku>\a dfiirdWeTe] 'Nimbly ply your limbs.' 
 
 1359. "Aprefxis] Kock and Holden omit this word, reading KoKa 
 and d /caXd. Artemis and Hecate, hounds torches and all, and the 
 quarry — a cock ! 
 
 1362. diirijpovi \.] -' two blazing torches,' one in each hand. Bergk 
 would read dfxcpiwvpovs: and for o^vrdraLv he and Meineke d^vrdras. 
 This last change simplifies and improves the sense; but is it therefore 
 (in such a parody) an improvement ? 
 
 1364 — 1 4 10. Weighing is proposed as the only sure test. Each 
 poet stands by the scale of the balance, and speaks a verse into it. 
 Aeschylus' verse in every instance proves the heavier. Then Aeschylus 
 proposes to weigh two verses of his own against all Euripides' poetry 
 and household. But Dionysus thinks of another plan for deciding the 
 question. 
 
 1367. vi^u] This verse is a more distinct explanation of the pre- 
 ceding one. ' The balance is the only thing that will test our poetry, 
 for it will put to the proof the weight of our words. ' Kock and Holden 
 read j'cb : then to ^dpos is nominative, * for the weight of our words will 
 put us to the proof.' 
 
 1368. Kai rovTo] Sc. Troi^ffai, for which is substituted the more 
 exact TvpoirioXijaai. So (as Paley quotes) i^ tovto jxkv oiidiv 8ei iavrou 
 dpx^iv ; Georg. 49 1 D. 
 
 1369. TvpoTro}\r](Tai Tix^rjv] ' To deal cheese-monger- wise with the 
 art poetic' 
 
 1374. fid rbv] Sometimes, from reverence, the name of the deity 
 was suppressed. An instance occurs in Plato, Georg, ^66 E, fid rbv, ov 
 cvye. 
 
 1375. tQv €TrLTVx6pT(i}v] ' of chance persons : ' if any ordinary per- 
 son had told me this 1 should not have believed it. 
 
 1378. irapd TO) irX.] The two poets are to stand each by one scale. 
 All the meanings of irXda-ny^ are probably referable to irXrjcraco, either 
 active or passive. 
 
 1379. Xa^ofiivo}] Sc. rwv TrXaa-Tiyyuv. They were to lay hold of 
 or touch the scale and also speak into the balance. Thus the weight of 
 their words might be conveyed into it doubly. 
 
 1382 — 3. etd' co(p€\\. JiriffTpocpai] The opening line of the Afedea, 
 and of Aeschylus' Philoctetes. 
 
 1385. rhTQ\jW\ Aeschylus' side of the balance. raifrtov = T6 afrtoK 
 Meineke writes Tq.Tiov. 
 
1. 1413] NOTES. 113 
 
 1386. ^ptoTwXt/rcDs] As wool-sellers damp their wool to increase 
 its weight. Euripides' line was about the Argo's ' swift flight,' and 
 therefore * feathered.' There may be a slight remembrance of Homer's 
 f n-ea itrepoivTa in the phrase. 
 
 1390. Tjv lhoi>] As in Fac. 327, Eq. 16. 
 
 1391 — 2. oi)K...ipq.^ From the Antigone and Niobe respectively. 
 The neatness of Aeschylus' capping his rival's persuasion with Death, 
 who alone is proof against persuasion, is seen from the rest of the pas- 
 sage in the Niobe^ ov8' &u tl 6vo3v ov8' ivicnr^vdcou Xd^oii, ou5' iarl pufibs 
 ovdi iraiuvi^€Tai' fidvov 5i ireidui dat/xduuv diroaTaTec. 
 
 1400. P^^Xtjic* 'A.] It is said that this line is from the Telephus, 
 in which Achilles and others are introduced playing at dice. The 
 Telephus is constantly ridiculed. Some think it means ' Aeschylus 
 (Achilles, see above, 1. 992) has made a better throw than his rival.' 
 13ut from whatever play it comes, it seems suggested mockingly by 
 Dionysus as a weighty verse, whereas it is a trifling one on a trifling 
 subject. The ancients played with three dice: hence rpts ?^ ^aXelv 
 (Aesch. Ag. 33) for the luckiest throw. Two aces and a four would not 
 be very high. 
 
 1401. trrdo-is] * weighing,' as in 1. 1389, dvTLffT-qtriTO). 
 
 1402. ffibrjpo^pidh t'J a massive verse from the Mel eager ; but 
 Aeschylus was equal to the occasion with one from the Glaucus Potnieus. 
 tTrTrot 6' ^0' I'TFTrois ^trav €fjt,7re(f)vp/x4voL is the next line. 
 
 1406. AiyiiTTioi] Cf. Av. 1 133, AlyviTTLos ir\ivdo<i>6poi. The 
 Egyptians appear to have been looked on as bearers of burdens. 
 
 1407. ijl7}k4t* #. K. #.] Supply (TTda-is yeviffdu, or something equi- 
 valent. Cephisophon was, as we have seen, and shall see below, sup- 
 posed to have helped Euripides in his plays ; and by some is thought to 
 have been an actor. 
 
 1 4 10. 5i;' iirri] As these two lines are not quoted, Bergk and 
 Meineke suppose something lost, and mark a gap. But this is quite 
 needless. Dionysus has said that the weighing is finished : Aeschylus 
 has won by that. Still he does not wish either to lose, so he says he 
 will not decide. Pluto suggests then that he will have had all his 
 labour for nothing. He then thinks of another practical test of the 
 respective usefulness of the two poets. 
 
 141 1 — 1481. Dionysus bethinks him that he can ask Aeschylus 
 and Euripides their views on political questions and leading statesmen, 
 on plans for the city's welfare. He does so. Their answers are curious 
 and rather oracular. He decides for Aeschylus in spite of Euripides' 
 indignant protestations, and they go into Pluto's palace to prepare for 
 the home voyage. 
 
 141 1, dvdpes (piXoi] ol Avdpes dalv (f>i\oi. 
 
 1413. rbv pt,^v...r(^ d^] * Euripides I think clever, Aeschylus I like 
 best.' So the Scholiast, Fritzsche, Kock. And below, 1. 1468, 8virep 
 V ^vxv (f^Xet of Aeschylus, and 1. 145 1, <3 ao<puTdTrj (pv^ris of Euripides. 
 And also in 1. 1434, ao(p<as is of Euripides. 
 
 G. R. 8 
 
114 THE FROGS. p. 1415— 
 
 I4r5. ^kv II /r/9tVw;] * Supposing I decide, what then?' •You'll 
 take back one,' says Pluto, * and not have come in vain.' ' Blessings on 
 you for the suggestion,' says Dionysus, and then turning to the rivals 
 tells them that the test shall be their political wisdom. 
 
 142 T. 6.^eiv fxoi doKU)'] *I mean to take.' This sense of 'design, 
 purpose * comes naturally enough from ' I seem to myself to be about to 
 do.' Kock gives three instances from Plato: Phaeih', 230 E, Theaetet. 
 183 D, Euthyd. 288 C. 
 
 1423. Suirro/cei] ' Has a hard time of it ' in settling what course to 
 adopt about Alcibiades : ' vehementer dubitat,' as Bothe renders it. 
 This is certainly right, and not Kock's and Holden's ' hat Ungliick mit 
 ihren Kindern, 'quod ad liberos mala fortuna utitur.' The word is 
 explained by the verse -wod^'i k.t.X. 
 
 1424. ^x" f.T.X.] Meineke rejects this line. It certainly were 
 better away. There is no reason for Pluto interrupting : and if the first 
 part be given to Euripides it is out of place to make him ask ' what the 
 city thinks ' when he has just been told that ' the city doesn't know what 
 to think.' The riya for rjvTtva. at the end of the verse is also ob- 
 jected to. 
 
 1425. TToOeZ] (Tcyq. fiev, ixOatpei dk, ^odXerai ye fx-qv is quoted by 
 the Scholiast from the ^povpol of Ion. 
 
 1427. fjLLa(3 K.T.X.] Applicable to Alcibiades. The antithetical 
 style is just in Euripides' manner. 
 
 1 43 1, ov XPvl Either this or the next line appears superfluous : if 
 there were two editions of the Frogs, one line belongs to one, one to the 
 other. Editors differ as to which we should retain. The ' lion ' is of 
 course Alcibiades. The idea of bringing up a lion's whelp which proves 
 a bane to the house occurs in Aesch. Agam. *]i*j. If line 1432 only be 
 retained, the infinitives rpic^eiv, vir-qpereiv depend on something like 
 boKu fjLoi in answer to riva yv. ^x^is ; * It seems right to me, as the best 
 course {fidXiara ixkv) not to rear a lion.' 
 
 1434. (ro(f)Qs — ora0cDs] The one 'cleverly,' the other 'clearly.' 
 Euripides aocpQs, Aeschylus (7a<pt2s. For Euripides' advice (though we 
 might judge it to be plain enough) was given in vague and general words 
 and with rhetorical antitheses: that of Aeschylus, though a parable, 
 is brief, homely, and forcible. I fail to appreciate Meineke's objections 
 to the text: he reads (j-o(pcjs...(rc<pws, 'both the one and the other have 
 spoken cleverly.' 
 
 1437. et Tis TTTepdsaas /f.r.X.] Most editors reject or bracket these 
 five lines, and 11. 1449 — 53. Exactly as they stand they cannot be 
 right : but it is not easy to account for their insertion. The anacoluthon 
 in the first two may be paralleled from Fac. 933 (if the text there be 
 retained) : and Paley improves the sense by a transposition. I should 
 propose one differing slightly from his, as follows : 
 
 ET. ei TLS irrepucas KXe^KpLTov KivrjaLq. 
 atpoiev avpat TreKaylav virkp irXdKa, 
 €i vav/xaxoiep, ki^t' ?xo»'7'f5 d^idas 
 paiyoiev is ret p\4(papa tQv ivavTlwV 
 
1. 1463.] NOTES. £15 
 
 AI. '^iKoiov ap (fyalvoiro' vovv 8' ?x« rlva ; 
 ET. ^7w fih olba koX diXu <Ppd^eiy. AI. Xiye. 
 EX. Btop k.t.\. 
 Eur. * Supposing, when one had winged Cleocritus with Cinesias, the 
 breezes were to bear them over the sea, if there were a sea-fight going 
 on, and then they holding vinegar cruets were to drizzle vinegar into 
 the enemies' eyes — .' Di. ' Indeed 'twould be laughable, but what 
 sense and meaning has it ? ' Eur. ' I know, and am willing to tell you.' 
 Di. 'Speak on.' Eur. * When we trust what we now mistrust, etc.... 
 we shall do well.' Euripides having proposed a ridiculous and unheard of 
 plan, explains that the State must quite change its measures and men, 
 meaning perhaps, his Cleocritus- Cinesias plan merely as a parable, *we 
 must as entirely change our policy as we should did we adopt the strange 
 method of naval warfare which I have described.' Of course Euripides 
 is meant to be absurd and incoherent, and to find sense in nonsense. 
 Cleocritus is supposed to have been a big man (cf. Av. 876). Cinesias 
 was a dithyrambic poet : there is a long passage about his 'flights' in 
 Az/. 1372 — 1409. They seem joined by way of contrast; but there may 
 be an allusion to some joke unknown to us. 
 
 1445. dfiadeaTepoy] The Scholiast quotes as a proverb <Ta(f)i(XTepSv 
 ixoi Kap-adiarepov (ppdaov. This request to Euripides to speak * more 
 clearly ' confirms the explanation given of 1. 1434. 
 
 1449 — 50. el vvv ye K.T.X.] Rather needless repetition, but not 
 indefensible. 
 
 1451. e5 y, w n.] Perhaps a quotation from the Palaniedes of Euri- 
 pides. Anyhow Euripides may be well addressed by the name of this 
 inventive hero. The next two lines are omitted by those who reject 11. 
 1437 — 1441. But the passage does not look like an interpolation. For 
 Cephisophon see above, 11. 944, 1408. 
 
 1455. r/o-i x/37)rai ;] Aeschylus asks * whom does the city use?' 
 Not the good (he is told), nor yet does it like the bad. How then can 
 a city so hard to please lie saved ? 
 
 1459. M^T'f "xXo^va. pi-qre ai<Tvpa] The %\a?i/a of finer texture may 
 represent the koXoI Kdyadoi, the aicrvpa a rough skin the rude dema- 
 gogues ; the one being xpT^crroi, the other irovrjpol in Aeschylus' eyes. 
 
 1460. evpiffKe K.T.X.] Meineke rashly strikes out these seven lines. 
 There seems no good reason for this : dvadvaei is second person of dva" 
 Svaopac. Aeschylus has said, ' There is no way to save such a perverse 
 State ?' Dionysus rejoins, * You must find a way, if you are to return 
 to the upper earth.' 
 
 1462. dviei] * Send up ' as a beneficent spirit might do. The 
 Scholiast quotes as a proverb, iKu ^Xeirovcra devp dfiei rdyadd. 
 
 1463. Ty]v yijv K.T.X.] He means that they are to ravage the Pelo- 
 ponnesus and make themselves as it were at home in it, and to endure 
 having their own land invaded. Pericles had advised much the same, 
 Thuc. I. 143. And by the last line he means that their ships are their 
 true wealth, their money-revenues no really useful revenues at all, since 
 they all go to dicasts and the like. 
 
ii6 THE FROGS. [1. 1466— 
 
 1466. e5, ttXt?!' 7'] No commentator has noticed the want of co- 
 herence in this * Well said, but.' The sense wanted after ' their money 
 revenues are poverty' is 'True, for,' or 'Yes, since the dicast alone 
 swallows all.' One might suggest ditep 7'. The meaning of a.\nb. must 
 be rb. 'Xfi'qP'a.Ta, top irbpou. 
 
 1467. KplvoLs dv] ' Come give judgment, please.' Cf. above, 1. 14OJ, 
 X^7otT' &v. 
 
 1469. wAtofTtts] No mention has been made of such an oath; but 
 Dionysus had originally come down with intent to fetch Euripides. He 
 however admits the oath but evades it by Euripides' own sanction, 
 alluding to Uipp. 6\2, as above at 1. 102. 
 
 1475- "^t 5' ctiVx/'^J'] Euripides had said in the Aeolus, ri 5' aiffxpov 
 'rjv fiT) Tol<n x/>w/A^;/ots 5oac^ ; It was a philosophical doctrine of some that 
 right and wrong were dependent on ' opinion ' and * seeming.' 
 
 1477. Ti's oWev\ A reproduction of a line in Euripides' Polyidtis, 
 and he had written much the same in the Phrixiis, Then Dionysus 
 adds a punning jingle in irvuv hk denrvelv. Kock objects that irveiv and 
 deiirveiv are no contrast and the wit poor: he therefore with one MS. 
 would read iroveiv. But it is not necessary that Dionysus' addition to 
 Euripides' line should be very witty. The more nonsensical, the moie 
 of a snub for Euripides. 
 
 1479. x<j}p^'LTe\ To Dionysus and Aeschylus. So in Vesp. 975, 
 olKTcipar avTov, <S irarip, because Bdelycleon was one among many 
 dicasts. 1 he invitation is a neat way of leading them off and conclud- 
 ing the play. A feast ends several of Aristophanes' plays, e. g. the 
 AcharnianSy Peace, Birds. 
 
 1482 — 1533. The Chorus congratulate Aeschylus, contrasting his 
 wisdom with Euripides' folly. Pluto tells him to teach the Athenians 
 wisdom, and to send certain rascals down to him with all speed. 
 Aeschylus asks Pluto to see that the tragic throne is kept for him by 
 Sophocles till his return. Then all go off in a torch-procession, the 
 Chorus auguring all good from the poet's return to the light. 
 
 1484. Trdpa] ndpeaTL, ' it is possible.' iroWoiaw is the dative in 
 the sense of Latin ablative, ' by many proofs.' 
 
 149 1, xcipiei'] It is a pretty thing (and a profitable) for a poet not 
 to keep company with or follow Socrates— as Euripides did : such studies 
 are mere craziness. 
 
 1496. aefivoTatv X.] Fine pretentious words and scrapings from the 
 nonsense of philosophers. CKapKfyaadai, is said to be properly used of 
 a hen scratching up anything with her claws. aKa\advpp.dTLa in Nub. 
 630 seems about the same. 
 
 1504. ToxnX] A sword, rope, and poison are supposed to be the 
 three things sent by Pluto. In the next line the Ms. reading, Toxrrly 
 makes a paroemiac verse, which seems out of place. Kock reads rov- 
 Tovffl, namely fipoxovt, 'halters.' Meineke tovtoktI with less sense. 
 Myrmex and Archenomus are unknown. The iropcaral, ' finance com- 
 mittee,' we may suppose had mismanaged matters in Aristophanes' 
 
1. I53I.] NOTES. 117 
 
 opinion. There was a Nicomachus, a ypafifxarei/s against whom Lysias 
 spoke an oration, who had drawn up certain laws. 
 
 151 1. <rr/^aj] Like slaves. 
 
 1513. A€VKo\6(f>ov] Adeimantus, son of Leucolophides, was an 
 Athenian general of oligarchical views: he was at Aegospotami, and 
 was spared by his Lacedemonian captors because he had favoured their 
 Spartan interests. He is called son of ' Leucolophus,' either for conve- 
 nience of metre, or with some allusion the force of which is lost. Paley 
 suggests a * charge of cowardice ;' but does ' the while feather ' in Greek 
 convey any such imputation? 
 
 15 15. ad 8^ K.r.X.] The poet in return gives Pluto a commission 
 about his seat: Sophocles is to occupy it : Euripides is excluded. 
 
 1523. M^5' aKOJv] Of course it was not likely that Euripides would 
 decline any honour, but even if he did, the throne would be disgraced 
 (Aeschylus means) by his merely sitting on it. Kock quotes from 
 Aeschines 2, 153 dt^dpuiros yorjs /cat irovrjpus, 6s ouS' dv ukup dXrjdes oidh 
 
 €LVOl. 
 
 iyKadedeirai] The contracted Attic future is common in verbs end- 
 ing in -i'w. In those in -i^w the final consonant of the stem is dropped 
 as KOfxiu) ovfxai from K0fu5-, In 'iiofxan. the stem is ^5, compare Lat. 
 sedes etc. 
 
 1526. TovTov] Aeschylus is to be escorted to the music of his own 
 lyrics. The Scholiasts tell us that the final hexameters are from the 
 Glaucus Potnieus of Aeschylus. The line they quote is not very close 
 to the text here. Some phrases may have been from other plays. The 
 whole has rather an Aeschylean character. ' Grant him a prosperous 
 journey, and grant him to devise good for our state.' 
 
 1 531. irdyyy ykp k.t.X] Thus we shall have rest: let Cleophon 
 and his like fight, but not here ; in Thrace, where he comes from. See 
 above, 1. 679. Paley quotes a similar sentiment from Aesch. Eumen, 
 864. He also notices that the torch-procession off the stage resembles 
 that in the Eumenides^ 1. 959. And Eum. 932, T012 resemble 1. 1531. 
 
INDEX 
 
 A 
 
 'Ayiieiav, 83 
 dyvo3Tos, ayvi)^, 926 
 'AdeifxavTos, 1 513 
 AiyiJiTTioi, 1 405 
 dXeKTpvoov ^ 935 
 dkLvbrid pai, 904 
 dfJi.(pi\a\os, 679 
 dv...a.v, 34 
 dvahipeaOov, 1106 
 dvaKVTTTeiv, 1068 
 dvaCTrav, 903 
 ^Avdpofxeda, 53 
 dvdocfxla, 1 1 50 
 dvrLKPTjfiLa, 126 
 a^ets, p^ets, loor 
 dTrepiKdXrjTos, 839 
 aV^|as, dTTTj^as, 468 
 d7r6 /cdXoj, 121 
 ctTroSoL'i'ai, dwodSadai, 1235 
 ctTTO/cXi^^et^, 1340 
 diroaeiiivvveadai, 703, 833 
 dTTOffoPrjaai, 45 
 dTTi^XwTOS, 838 
 dpovpaia debs, 840 
 'Apxi^vfJ-os, 417, 588 
 dtraXa/xiytos, 204 
 d<TKO}p.a, 364 
 Auatwu Xt^os, 194 
 avrdTrpe/xvos, 903 
 
 B 
 
 /SaXayei)?, 710 
 BeXXe/oo06j'T7js, 105 1 
 Pp€K€KeK^^, 209, etc. 
 
 70X^1/, 70X7)1'', 304 
 7j/w/x.oTU7ros, 877 
 yop-cpoirayriSf 824 
 
 ySpL/noi, 96 
 7oO»', 804 
 ypvirderoi, 929 
 
 SapdaTTTetu, 66 
 5r]fX07rL6r)K0l, 1085 
 Ataydpas, 320 
 diadpaaiTroXtTai, 10 14 
 diairat, 114 
 AiKTVuua, 1359 
 Aiofieia, 651 
 Atos K6piJ'^os, 439 
 5o«:a)v piaiveadai, 564 
 8vcrap.epLav, 1287 
 
 ci'etf tetf tetXicrcrei J', 1314 
 eiKoaToXSyoi, 363 
 ett/at, 133 
 etTr' ctf, 946 
 'E/caraitt, 366 
 e/CTOs Twi' eXaQv, 995 
 eK^poiral, 113 
 "EyUTTOucra, 293 
 ivTjXaTo, 39 
 iTra(pavi,Lieiv, 10S9 
 iiTL^aTeveLv, 48 
 
 CTTt KdOTTTJU l^eiV, 1 99 
 €TrL(pvX\i8€S, 92 
 
 iTTOTTTeveiv, 745, 1 126 
 ipeideiv, 914 
 ipioiruXiKws, 1386 
 ^ppeiv, 1 192 
 ^5 rds c3pas, 380 
 ea^oXal, 956 
 icpedpos, 792 
 
 f^i' 0^ fiyj', 1082, 1477 
 

 INDEX, 
 
 H 
 
 KOfiTToXaKeii', 961 
 
 'H7A0XOS, 303 
 
 K/jaTtvos, 357 
 
 fj/itwjSoXittios, 554 
 
 KpoKunoy, 46 
 
 fjv I80V, 1389 
 
 /fi7/3oi, 1400 
 
 iipLaTrjTai, 376 
 
 KiJ/ci'os, 963 
 
 'Raiodos, 1033 
 
 /cwSwvi^cty, 79, 723 
 
 e 
 
 A 
 
 Qrjpan€vr]S, 541, 967 
 
 Aajuaxos, 1039 
 
 077<rei>s, 142 
 
 A60-/3idfetJ', 1308 
 
 epiov, 134 
 
 Aeu«-6Xo0os, 1513 
 
 QupvKiwy, 363, 381 
 
 XrjKvdLov, 1200 etc. 
 
 
 X-qpLCiTiav, 494 
 
 I 
 
 AifJiuaL, 217 
 
 'lairxos, 316 etc. 
 
 XvyKTfiol, 775 
 
 lauoi, 1029 
 
 
 iStWTtti deol, 891 
 
 ^I 
 
 ifxovco<TTp6(pos, 1297 
 
 Ma7J'77S, Mai'';7y, 965 
 
 'lo^cDi/, 73, 78 
 
 /xaKapiov eu«x'*5 85 
 
 liriraXeKTpvuv, 932, 937 
 
 yudXXct, 103 
 
 l(TXvaiv€i.Vf 941 
 
 Ma/xfxaKvdoi, 99O 
 
 
 fieiaywyeXi', 798 
 
 K 
 
 MAt/tos, 1302 
 
 <ca5' le/JtSj' 6fi6(Tai, 10 1 
 
 fieXia-ffovofJioi, 1 2 73 
 
 KaOocTO, KadrjTO, 919 
 
 MeXir?7, 501 
 
 KdWicTTa, KaXm, 508, 5t2 
 
 MeXtrriSat, 991 
 
 KaptAcd, avXrifxara, 1302 
 
 Me/xvajj/, 963 
 
 KaTaawdu, 576 
 
 ju^o-os ^x^crOai, 469 
 
 KaTipx^<^daL, 1153 
 
 /xTjS' d'/ccoj', 1523 
 
 KaTeaTOJfivXfxevos, iiCo 
 
 MT^Si/cd Tra/jaTrerdo-yUara, 938 
 
 Ka.T€axi'(y<^, 404 
 
 MoXwi/, 55 
 
 KaTTfjXirp, 566 
 
 Mi^/)/Ai7|, 1506 
 
 /car' o5»' i^aXev, 1047 
 
 
 Keios, 970 
 
 N 
 
 KCvravpiKcos, 38 
 
 vauMttxeti', 33, 49' iQi, <>93 
 
 KepafiTJs, 1093 
 
 yr; Aia...7e, 41 
 
 KepaMetK^?, 129 
 
 vbixL<jp.a, 720 
 
 KepP^pioL, 187 
 
 Ni/cT'^tOJ', 215 
 
 /cepo/Sdras, 230 
 
 
 KetpaXalov prjixa, 854 
 
 s 
 
 KifxwXta 7^, 712 
 
 ^fVOKX^IJS, 86 
 
 Kti/Tjo-taj, 153, 1437 
 
 ^VVTOp.0%, 123 
 
 KXeidriijUdTjs, 791 
 
 
 KXetcr^^j/T^s, 48, 57, 422 
 
 
 
 KXetro^cDi', 967 
 
 6j3oXw, T<b SJo, 140 
 
 KXeoKpiTos, 1437 
 
 "Op-vpoi, 1034 
 
 KXeo^wJ/, 677, 1504, 1532 
 
 5i'os d7w;' /xvarifiptay 159 
 
 /cXi/itt^, 618 
 
 6i'ou TTO/cas, 186 
 
 Kbdopvos, 47, 557 
 
 'OpeffTcia, 1 124 
 
 )c6^/ta, 726, 890 
 
 'Op<pevi, 1032 
 
 119 
 
I20 
 
 INDEX. 
 
 6<TTpaKov, 1190, 1305 
 6ti not elided, 22 
 o{) fi^ with future, 508 
 ou 8i^ TTou, 526 
 <5x€ty, 23 
 
 II 
 
 HavTaKXTjs, 1036 
 irdpaXoi, 1076 
 irapa^ovia, 819 
 Trapair plfffiara, 88 r 
 napj/a<ros, 1057, 12 12 
 Trepidrjad/xepos, 1038 
 'TreptetXXo/iej'os, 1066 
 TreptTraros, 942, 953 
 TTcpiTreTrXei'/cws, 535 
 rT^X"S, 799 
 vL6t]kos, 708 
 TrXaiVta, 800 
 TrXdcTiY^, 1378 
 nXarajciS, 694 
 TToXXrj TToXXou, 1045 
 Trofji<po\vyoTra<p\dcrpiaTa, 249 
 irpocrTdTTjs, 569 
 ni'^d77eXos, 87 
 trvpyovv pT^fxara, 1004 
 jrws otet, 54 
 
 paKioavppaiTTddrjs, 842 
 pvirnairaif 1073 
 
 <rxT)<reti/, of ships, 188 
 Sa;ic/9dT77y, 1491 
 2c6rei/)a, 378 
 
 l^alvapos, 187 
 
 raivtovcrdai, 393 
 
 Taprrjcria fiOpaiva, 475 
 
 Tavpo4>dyos, 357 
 
 TeTpaiT'rixvs, 1014 
 
 T€TpifMfjiiprj 6dos, 123 
 
 T7jXe0os, 855, 864 
 
 Tidpaaiai Topydve^, 477 
 
 t6 with inf. of exclamations, 74 1 
 
 Totxos vewj, 537 
 
 rpayi\a(f)OL, 937 
 
 TvpoTTcaXetp, 13^*9 
 
 'Ttt^P/SoXos, 570 
 VTToXvpios, 233 
 v<p4adai, 1220 
 
 (f)ipixaKol, 733 
 ^opfxicnoi, 965 
 <ppaT€pas (pietv, 418 
 4'yoi/;'iXos, comic, 13 
 
 tragic, 910, 12 99 
 
 statesman, 689 
 
 0yXdTTea^ai, 4 
 
 o-aX'7rt77oXo7xi^T77»'d5at, 966 
 a-apKaafjLOTnTVOKdfiiTTai, 966 
 aia-6pa, 1459 
 XKdfiavdpot, 928 
 <TKapi(pdadai, 1496 
 ffKivdaka/JiOL, 819 
 <T0(p(2s, aatpojs, 1434 
 crdats, 1401, 1281 
 arr^crai, to weigh, 1389 
 ffToi^T], 1 1 78 
 arpo^iy^, 892 
 aTU}p,vXto(rvX\€KTddr}i, 84 1 
 <rOfca ^tt' dipdaXfiols, 1247 
 avariXXciv, 999 
 
 XeXtSajv, 68 1 
 XeXiSoJ/w^ fxovffela, 93 
 Xtos, 970 
 XXati/a, I459 
 Xopov Xa/Seij', 94 
 XP^/Att, 1278 
 XuX6s, 943 
 
 XwXOTTOtOS, 846 
 
 \l/€v56Xt,Tpos, 'J I I 
 
 Q 
 
 -^H(5&rji8o 
 
 talVBRSITYj 
 
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