nutshell, commentators ought not to lose sight of æsthetical considerations. Some of his most difficult passages yet await a solution by these means. The word xúnλos must not be understood here in the same sense as that in which it is found at Antig. 412, λαμπρὸς ἡλίου κύκλος, where it means orb, but as denoting the rounded vault of the sky. Cf. Philokt. 804, rí τὸν ἄνω λεύσσεις κύκλον; Eur. Phœn. 553, νυκτός τ' ἀφεγγες βλέφαρον, ἡλίου σε φῶς | ἴσον βαδίζει τὸν ἐνιαύσιον κύκλον.” The whole expression νυκτὸς αἰανῆς κύκλος is periphrastie for αἰανὴ νύξ, i. e. the melancholy night. φέγγος φλέγειν. 637. Τῷ λευκοπώλῳ.... ἡμέρᾳ. Compare Æsch. Pers. 392, ἐπεί γε μέντοι λευκόπωλος ἡμέρα πᾶσαν κατέσχε γαῖαν εὐφεγγὴς ἰδεῖν. Eur. Troad. 848, λευκοπτέρου ἡμέρας. Theokrit. 13. 11, οὐδ ̓ ὅκα ἁλεύκιππος ἀνατρέχει ἐς Διὸς ἀώς. As white in distinction from black is a sign of joy, the epithet λευκόπωλος is here used in opposition to αἰανῆς, in precisely the same way as in Æsch. Pers. 301, λευκὸν ἦμαρ νυκτὸς ἐκ μελαγ χίμου, a happy day after a night enwrapt in gloom. The infinitive is added to supply a more precise definition, according to Matthia, Gr. Gr. 532. d, or because, in addition to the principal verb, the mind of the reader supplies another with the idea of effecting, so as to render the expression ἐξίσταται τῇ ἡμέρᾳ φλέγειν equivalent to ἐξιστάμενος τῇ ἡμέρᾳ ποιεῖ αὐτὴν φλέγειν. So below, v. 1004, ἐνήλλαξεν πεσεῖν is ἐναλλάξας ἐποιήσε πεσεῖνο See Matthiä, Gr. Gr. 423, Obs. 638. Δεινῶν . . . . πόντον. SCHOL. : λείπει ἡ ὑπό. ὑπὸ δεινῶν πνευμά των στένοντα πόντον, ἄημα πρᾷον ἐκοίμισεν αὐτόν. Such an explanation will be felt to be no less deficient in taste than in knowledge of the language. Musgrave and Jacobs, ad Anth. Pal. Vol. III. P. II. 210, correct λείων, citing Ar. Ran. 1003, πνεῦμα λεῖον, Heliod. V. 1, and similar passages, because δεινὰ πνεύματα augment, instead of lessening, the fury of the roaring main. The Scholiast vindicates the reading of the books by a second and more subtle explanation than that already given : πνοὴ μετ γάλων ἀνέμων κατεπράϋνεν ἠχοῦντα πόντον παυσαμένη δηλονότι καὶ ἡσυχά σασα, which is apparently embraced by Schäfer. "This learned commentator, in his note upon this passage, observes, that, upon the same principle that sleep is said, in the next verse, to release by its discontinuance τὸν τέως πεπεδημένον, is the δείνων ἄημα πνευμάτων represented by its cessation κοιμί ζειν τὸν τέως πεπεδημένον πόντον. And it is in truth an old and trite maxim, pro defectu et absentia rei, ipsa res ponitur. But the two passages in question differ most widely from each other; for with verba solvendi, laxandi, remittendi, the notion of withdrawing and annulling is so inti mately connected as to be incapable of separation from the meaning of the verbs themselves. Hence, in the expressions ὅταν γλυκὺς ὕπνος ἀνῇ με, Theokrit. 10. 22, and "Αρης ἔλυσεν αἴνον ἄχος ἀπ ̓ ὀμμάτων, no one can possibly suppose that it is necessary to supply the participles λιπών Οι πανσausvos, because the ideas conveyed by these participles are already preexistent in the verbs λύειν and ἀνιέναι. But κοιμίσαι, since it belongs in no respect to this class of verbs, can only be defended upon the ground that it is preceded by the verbs εἴκειν, ἐκχωρεῖν, and ἐξίστασθαι, and that the idea of ceasing which they contain is reflected upon the verb ixoiuios, not, indeed, that we are to understand procella mare tumidum temperat, which, taken apart from the context, and regarded simply by itself, would involve a contradiction, but rather this remittit aliquando, ceditque serenitati, ut luci tenebræ, hiems veri." LOBECK. If we have interpreted the remarks of this transcendent scholar correctly, it seems to us that his explanation is, in this instance, equivalent to none at all. Whatever words may precede, two things, at least, are certain; the first, that xμy can never lose its transitive signification, to lull to rest; the second, that upon this the accusative σrivovra Tóvtov immediately depends. The poet says in express terms, that the blast of violent winds allays the roaring sea, deivwv ἄημα πνευμάτων ἐκοίμισε στένοντα πόντον, and consequently attributes to the storm the power of pacifying the raging waves. How it can be represented as effecting this, is the point to be explained, and all our efforts to do this must fail, if the verb xop is taken in the intransitive meaning which it is evidently made to bear in the translation, remittit aliquando ceditque serenituti. The explanation of the Scholiast, which assumes the omission of a participle like zavráμevov, is justly rejected by Lobeck, upon general considerations connected with the usages of Greek writers, and is open to the additional objection, that the notion it expresses is already present in the words themselves. The yielding or retrogression of the storm has for its immediate consequence the tranquillity of the sea, which it had previously roused into commotion. Now it is undeniable that the poets sometimes represent that which is a consequence following the action of certain objects in such a way as to make it seem an action produced by the direct agency or working of these objects. Thus in the Elektra, v. 19, the expression μέλαινά τ' ἄστρων ἐκλέλοιπεν εὐφρόνη, standing, as it does, in manifest antithesis to the preceding words, λαμπρὸν ἡλίου σéλas kwa niveî, x. 7. λ., poetically represents the presence of dark night, a consequence attendant upon the appearance of the stars, as produced by the shining of the stars, in the same way as the clear light and life of day are produced by the appearance of the sun. In a precisely similar way, the poet, in this verse, expresses the simple thought which the preceding words had led us to expect, the storm gives way or yields, by the storm allays the troubled sea, inasmuch as the pacification of the raging ocean is a consequence that follows or attends the yielding of the storm. Hence, in the words before us, the idea supplied by Schäfer already exists; since the sentence, the storm allays or pacifies the excited sea, is equivalent to the sentence, the storm gives way, or yields. It is, therefore, quite unnecessary to assume that xiv is used in the neuter sense of yielding or receding. Wunder accurately observes, that both Greek and Latin writers frequently impute to the divinities as actual operations what is strictly a mere consequence of their absence or departure. In the example which he cites from Cicero, N. D. 2. 19, Sol ita movetur, ut cum terras largâ luce compleverit, easdem modo his, modo illis partibus opacet, we have an excellent illustration of this usage. For the sun has just as little the power of producing darkness as the raging wind that of tranquillizing the ocean; nevertheless, the language used imputes directly to the agency of the sun that which is a mere consequence of his disappearance. Compare Hor. Carm. Sec. 5. 9 sq., alme Sol, curru nitido diem qui promis et celas; Od. 1. 3. 16, quo non arbiter Adriæ major, tollere seu ponere vult freta; and the additional examples quoted in his note. On the aorist ixoipios, cf. Matthiä, Gr. Gr. 502. 3. 639. y '. Moreover. See Elmsley to Ed. Tyr. 27; Jelf's Gr. Gr. 640. 2; Dorville to Charit. p. 126; Liddell and Scott, s. v. 642. 'Eyà d'. Supply γνώσομαι σωφρονεῖν, or more briefly σωφρονήσω, from the preceding verse, and compare Esch. Choeph. 75, iμoì d'áváɣnav γὰρ ἀμφίπτολιν θεοὶ προσήνεγκαν, where the particles δέ . . . . yág are em. ployed in a similar elliptic usage to that of the more common collocation daλà yág. See Matthiä, Gr. Gr. 615. 643. ἐχθαρτέος. All the manuscripts read ἐχθραντέος. “ I have already noticed, on Eur. Or. 292, that the tragic writers always say ixbaigw, never ixlgaiva. In Antig. 93, Aldus has correctly edited xlag, but Brunck has passed it over. For ixlgavrios, the second Juntine edition has a various reading ilagros in the margin; and that Suidas read in the same way is evident from the order of the letters." PORSON. The genuine reading is exhibited also as a correction from the first hand in the margin of the MSS. La. Lb. 644. s T Tov píλov. Quod attinet ad amicum. See Jelf's Gr. Gr. 625. 3. c. On ὡς with the participles φιλήσων and μενοῦντα, in the sense as if, upon the assumption that, see note to v. 271, supra; Matthiä, Gr. Gr. 568. 1; Ellendt's Lex. Soph. II. p. 1003. In illustration of the sentiment expressed in these lines, Lobeck quotes the precept of Bias found in Aristot. Rhet. II. 13. 765. Ε, XXII. 780. Ε, φιλεῖν δεῖ ὡς μισήσοντας καὶ μισεῖν ὡς καὶ φιλήσοντας. Diodor. XII. c. 20, καλῶς εἴρηται τοῖς παλαιοῖς (i. e. the laws of Zaleukos) ὅτι καὶ φιλίας κοινωνητέον μὴ ἀπογινώσκοντας ἔχθραν καὶ προσκρουστέον ὡς φιλίας ἐσομένης. Add Cic. Lal. c. 16, Negabat ullam vocem inimicorum amicitiæ potuisse reperiri, quam ejus, qui dixisset, ita amare oportere, ut si aliquando esset osurus: nec vero se adduci posse, ut hoc, quemadmodum putaretur, a Biante esse dictum crederet, qui sapiens habitus esset unus e septem; sed impuri cujusdam, aut ambitiosi, aut omnia ad suam potentiam revocantis, esse sententiam. 647. Taigias. This is the reading of the MSS. La. Lb. г. A. ☺. Lips. a. b. and Suidas s. vv. änμa and aμv. See Porson to Eur. Orest. 1070. The common copies and the remainder of the manuscripts exhibit iralgias, which is retained by Brunck and Lobeck. 648. σὺ δὲ . . . . τελεῖσθαι. .... "Observe the inverted order in which the poet has arranged these words. A prose-writer would have placed them thus: σὺ δὲ ἔσω ἐλθοῦσα, γύναι, θεοῖς εὔχου διὰ τέλους τελεῖσθαι, κ. τ. λ.” WUNDER. dià riλous. These words may be considered as said for dià Tavròs Toữ xgóvou, (cf. Esch. Eum. 64; Eur. Hek. 1193,) and connected with the principal verb in this sense: pray continually to the gods, or, as Lobeck prefers, may be regarded as equivalent to is ríos, and joined with the infinitive ratiodas, to consummate completely, to carry to its complete and perfect fulfilment that which my heart desires. HESYCHIUS: diù riλous dià avros, i. e. by brachylogy for right through to the end, completely. See Matthiä, Gr. Gr. 580. g. 651. ταὐτὰ .. μοι τιμᾶτε. .... "Honoris causa mihi tribuite. Compare Antig. 520, πῶς δῆτ ̓ ἐκείνῳ δυσσεβῆ τιμᾷς χάριν. Pind. Pyth. 4. 481, Παιάν σοι τιμᾷ φάος. Append. Epigr. n. 282, Ἑρμῇ, δέξο θυσίην, ἣν σοι λοιβαῖσι γεραίρω.” LOBECK. Tyds. The dative, rds, depends upon Taurá, and refers to Tekmessa. .... 653. Μέλειν . ἡμῶν. With the employment of the genitive and the personal use of the infinitive, compare Æsch. Agam. 380; Elektr. 342; infra, 934; Matthiä to Eur. Herc. F. 753; Jelf's Gr. Gr. 496, Obs. 2. 656 - 676. SCHOL.: χρείας ἕνεκα τὸ χορικὸν νῦν παρείληπται· ἐξελ. θόντος γὰρ τοῦ Αἴαντος ἔδει βραχὺ διάλειμμα γενέσθαι, ἵνα μὴ καταληφθῇ ὑπὸ τοῦ ἀγγέλου· διὸ καὶ τὴν ὄρχησιν ποιοῦνται· ἔνθεν καὶ βραχύ ἐστι τὸ χορικόν, ὡς πρὸς χρείαν εἰλημμένον. "Αλλως. τέρπεται ὁ χόρος ἐπὶ τῷ παύεσθαι τῆς νόσου τὸν Αἴαντα καὶ φησίν· ὑφ ̓ ἡδονῆς ἔφριξα καὶ βούλομαι χορεῦσαι. εὐεπίφορος δὲ ὁ ποιητὴς ἐπὶ τὰς τοιαύτας μελοποιΐας, ὥστε ἐντιθέναι τι καὶ τοῦ ἡδέος. 656. Ἔφριξ ̓ ἔρωτι. "Ellendt understands gwr to mean joy; Wunder, a desire to dance. The first interpretation involves an awkward tautology, the second somewhat anticipates matters. By gwr may, I think, be understood the strong emotion which the gratifying declarations of Aias -more particularly in regard to the great change which had taken place in his feelings towards the gods (vv. 618 sq., 630) had caused in the Choral mind, that emotion being accompanied, as all strong emotions are, by a convulsive shuddering of the bodily frame (pia). The emotion terminates in an exuberant feeling of joy (#ıgıxagńs), and such an action upon the lower members of the body as could only be worked off by a dance. The dance itself would naturally partake of the frame of mind which gives it birth. Instead of the grave and dignified uμsλsía of Tragedy, it becomes one of those lively extemporaneous (avrodañ) movements, in which Pan and his companions may be supposed to have indulged, when celebrating the birth of the wine-god at Nysos, or his union with Ariadne at Gnossos (infra, 662). Such appears to be the sense, and, if we may so speak, the philosophy, of this little Chorus. If it is to be considered as a specimen of the ancient Satyric dances, the metrical element, which entered into such dances, will here be found capable of some analysis." MITCHELL. It would be out of place to discuss at any length, in a note upon this passage, the various reasons which lead us to disbelieve the statement that dancing formed an element of the Greek Tragic Chorus. The language of Athenæus, p. xiv. 630. D, τρεῖς δ ̓ εἰσὶ τῆς σκηνικῆς ποιήσεως ὀρχήσεις, τραγική, κωμική, σατυρική, refers, not to dancing, but to dramatic gesticulation, as will be evident from comparing his words at 1. 21. C, πολλὰ σχήματα ὁρχηστικὰ αὐτὸς ἐξευρίσκων ἀνεδίδου τοῖς χορευταῖς. Aristotle, who in his Poetics enumerates with circumstantial minuteness all the elements of Tragedy, defining with the greatest care its peculiarities of rhythm, melody, and metre, and describing with infinite particularity the decoration (4) and the singing, never mentions dancing. One or two passages may be adduced in proof. At vi. 4, he writes : ἐπεὶ δὲ πράττοντες ποιοῦνται τὴν μίμησιν, πρῶτον μὲν ἐξ ἀνάγκης ἂν εἴη τι μόριον τραγῳδίας ὁ τῆς ὀψέως κόσμος· εἶτα μελοποιΐα καὶ λέξις· ἐν τούτοις γὰρ ποιοῦνται τὴν μίμησιν. In vi. 10, he expressly states, in summing up these elements, that "all tragedy must consist of six |