parts, xál'ä oía ris kotiv ĥ rgaywdía, fable, manners, diction, sentiments, decoration, and music. Of these parts, two relate to the means, one to the manner, and three to the object of imitation; and these are all." If, moreover, we look to the sense in which exles and its derivatives are used by the Tragedians, we shall find that it is erroneous in all cases to translate them by dancing. See Donaldson, Theatre of the Greeks, p. 41, who declares the signification of the verb to be acting in general, for which gesticulation should be substituted. In this way it is applied to the Orators by

Lucian, Περὶ Ὀρχησέως, c. 32. Cf. Smith's Dict. of Greek and Roman Antiqq. s. v. DANCING. Certain it is, that when the Tragedians wish to express dancing they use the word xogsúsv. (Cf. Æsch. Agam. 31; infra, 653; Antig. 147, 1097; Ed. Tyr. 896, 1093; Eur. Cycl. 156; Bucch. 114, 132; Herc. Fur. 686.) In our own passage, the Chorus simply say: O Pan, Pan, Pan, wanderer over the sea, appear, O king, who leadest the dances of the gods, that in company with me thou mayst essay the Nysian Gnossian self-taught dances, for now I wish to dance. The Chorus simply express anxiety to dance; and add nothing which sustains the inference that they were actually engaged in dancing. We have already observed, in our note to v. 333, supra, that every thing which happens on the stage is expressly indicated to the audience, either by the Chorus or one of the actors. "No one enters without being previously announced, or leaves the stage without having afforded some intimation of his purpose. The Chorus begin no hymn, no dirge, no dunce, without some previous indication. The actors never approach each other without our being informed of it by the poet. Their feelings of friendship or enmity, the very appearance of joy or sorrow which is reflected from their countenances, are invariably described in terms the most precise." The silence of the Tragedians in regard to dancing is therefore very noticeable. On the other hand, singing, which is a necessary part of the Chorus, is expressly mentioned by Eschylus (cf. Prometh. 555-557, P'ers. 568, 618, 624, 685, 936, 1039; Theb. 825, 834, 854, 867; Agam. 106, 120, 992; Choeph. 148; Suppl. 111-115, 120, 805, 1022), and in Sophokles the Chorus speak plainly enough of cries and songs. It is, moreover, to be added that the satyric plays of Euripides give express and distinct indication of the accompaniment of dancing. (Cf. Cycl. 34. 167-170; Bacch. 57, 199, 1151.) This silence of the tragic writers is to us conclusive. Lastly, if we reflect on the singular and incongruous spectacle which such a supposition involves, · a party of venerable old men "dancing one way while singing the strophe, and another dancing the antistrophe, then

standing still, and anon performing the evolution which dancing-masters call pousser during the epode," on the unmeaning and inappropriate relation in which it would stand, no less to the moral aim than to the lofty and severe grandeur of Greek Tragedy, we shall be disposed, on purely artistic grounds, to deny the fact of its existence. LEWIS. On the dative wrι see Jelf's Gr. Gr. 607, and on the Doric form aveτTóμav, for which the MSS. La. Harl. and others read averάunv, see note to v. 269, supra. The metre of the following verse is dochmiac.

659. ἁλίπλαγκτε. The MSS. Mosq. B. Dresd. a. b. Aug. C. Flor. г. and the margin of Turnebus exhibit àλíλants. Cf. note to v. 573, supra. "The Scholiasts suppose that this epithet is applied to Pan, ri ißoúdnos τοῖς ̓Αθηναίοις ἐν τῇ ναυμαχίᾳ (see Theætet. Epigr. III. 515. Τ. ΙΙΙ.) ἢ ὅτι τὸν Τυφῶνα δικτύοις ἤγρευσε (allured by fish according to the account of Oppian, Hal. III. 16) ἢ ὅτι οἱ ἁλιεῖς τιμῶσι τὸν Πᾶνα ὡς νόμιον θεόν. See Pind. Fragm. LXV. 594. Ausonius Mosell. 172, represents a number of Panes as sporting in the waves, and in the sea-fight of Liber Pater described by Nonnus, 43. 214, Pan, as ἀβάτοισιν ἐν ὕδασι κοῦφος ὁδίτης, is especially preeminent. He is also mentioned as one of the Dii Litorales; see the Interpp. to Theokr. Id. V. 14; and as the guardian deity of fishermen in Agath. Ep. XXVIII. Hence it is evident that Pan, although not expressly enumerated among the marine deities, could nevertheless be styled λíλayxTos, and in this place is so invoked by the Chorus in the words, Tu, qui maria pervagari soles, adesdum mare Ægæum transvectus.” LOBECK. Hermann and Bothe direct us to join ἁλίπλαγκτε φάνηθι, per mare huc ades, in the same way as venias hodierne. See Krüger de Attractione, p. 77 sqq. Lobeck, on the other hand, objects that no example of this assimilation can be produced from the more ancient Greek writers; for the instances given by Matthiä, Gr. Gr. 312, and Bernhardy, Synt. p. 465, ὦ δύστηνε φανεὶς, ὦ πολύκλαυτε θανών, are constructions which correspond exactly with that employed in the other cases, i woλúxλavtos θανὼν, θανόντος αὐτοῦ πολυκλαύτου, etc., and cannot therefore be compared with passages in which we find an imperative or optative. See Jelf's Gr. Gr. 479. 4. • Κυλλανίας. 'Sophokles mentions Kyllene in preference to Psyttalia, on account of its being the most celebrated residence of Pan. See the Scholiast to Esch. Pers. 447." LOBECK.

661. Θεῶν χοροποί ̓ ἄναξ. Compare Pind. Fragm. 67. p. 593, χορευ TÙY TEλEŃTATOV bay. Creuzer, Symb. III. 247. Klausen, Theol. p 133. 662. Νύσια Κνώσι ὀρχήματα. By the first of these epitheta Lobeck understands those dances which the Satyrs born at Nysos and the Nymphs

who reared the infant Dionysos celebrated, and by the second, those which were performed by the Curetes in order to drown the cries of the infant Zeus. SCHOL.: τῶν μὲν ὀρχήσεων ἡ μὲν Βερεκυνθιακὴ λέγεται, ἡ δὲ Κρητικὴ ἡ καὶ πυῤῥίχη· Νυσίας γὰρ ἡ Βερέκυνθος. Cf. Jungermann. ad Polluc. IV. 99, and Lobeck, Aglaoph. T. II. 154. abrodan, self-taught, extemporary. SCHOL. : αὐτοδαῆ· αὐτομαθῆ, ἃ ἐκ φύσεως ἔχεις, οὐ διδακτά. See Ellendt, Lex. Soph. s. v. With ἰάπτειν ὀρχήματα, compare Ar. Ran. 328, ἐγκατακρούων ποδὶ .... χορείαν. Virg. n. 6. 639, pars pedibus plaudunt choreas.

66

664. Ικαρίων.... εὔφρων. "The Scholiast supposes that the adjectives εὔγνωστο; and εὔφρων are associated in the following sense: φανερὸς ὢν ὅτι sügav kori, favoris manifestus; but I cannot agree. The Chorus had invited Pan to lead the dance, and nothing could be more appropriate than the presence of Apollo, as a festive god and as dwelling in the immediate neighborhood." LOBECK. Although assenting to Lobeck's interpretation of the word yvwrros, I must nevertheless refuse belief to the statement that Apollo is invoked by the Chorus, as a festive deity, to be witness of their exultation. It is, on the contrary, from the belief which the Athenians entertained that recovery from the dangers of disease was due to his assistance, and in order to render him their thanks for having removed by his interposition the malady of Aias, that the Chorus here implore his presence, and the continuance of his favor to themselves and their posterity. In very similar circumstances the Chorus in the Trachiniæ, v. 205 sqq., upon receiving intelligence that Herakles is on the point of returning home in safety, address a hymn to the same deity. In our own passage the Chorus describe two things; the first, that Apollo would take part in its gladness; the second, that he may be propitious to their descendants. The words εὔγνωστος . . . . εὔφρων seem therefore to bear this sense: εὔγνωστος ἐμοὶ ξυνείη ὑπὲρ πελαγίων Ἰκαρίων μολὼν καὶ διὰ παντὸς εὔφρων sin. WUNDER.

....

....

666. ἔλυσεν . . . . "Αρη;. SCHOL.: ὁ Αἴας ὁ ̓Αρήϊος· ἢ Αρης, ὁ πόλεμος ὁ περὶ τὸν Αἴαντα, ἔλυσεν ἡμῶν τὸ σκότος καὶ τὴν κατήφειαν· ἀπὸ τῶν ὀμμάτων τοῦ Αἴαντος. Αρης] ἡ λύσσα, ἡ μανία. The common copies read vos yág. See Elmsley to Eur. Hek. p. 66; Hermann, Elem. Doctr. Metr. p. 122 sq.; Seidler, Ep. ad Lobeck. p. 438; Purgold. Emendd. p. 39; Porson to Eur. Orest. 573. The reading in the text is sustained by the authority of the MS. Laur. a. The god Ares was esteemed the author, not merely of the disasters attendant upon war, but also of every other kind of calamity. See Ed. Tyr. 190; Elektr. 1385; Hom.

Il. 13. 569; Esch. Choeph. 152, 447, 918; and many other passages. The name itself is, for this reason, frequently employed in poetry to denote any impersonation as it were of Ares, any agency or thing done (see v. 242, supra, Esch. Suppl. 702) in his spirit or likeness. Musgrave supposes that the pestilential influence of the planet Mars is here referred to, and quotes Ovid, in Ibin. v. 215, Cicero, Somn. Scip. c. 4, Claudian, Epigr. 26, with many other passages from later Greek and Latin writers, in support of his hypothesis. Lobeck, Aglaoph. p. 426, has shown that such an explanation is inadmissible, because the superstition alluded to had no existence in the days of the Tragedians. In what manner the same deity who has been represented as the author of the insanity of Aias is here said to have removed it, has been explained in note to v. 638, supra. On the second explanation given by the Scholiast, see note to v. 51, supra.

669. Νῦν, ὦ Ζεῦ, πάρα λευκόν. SCHOL. : νῦν πάρεστιν ἡμέρα λαμπρὰ ἡμῖν, ὥστε ἐγγίσαι τῶν νεῶν· πρότερον γὰρ ἐξετρεπόμεθα ἐπιμίγνυσθαι τοῖς “Ελλησι διὰ τὴν αἰδῶ. Musgrave observes correctly that λευκὸν εὐάμερον φάος is a simple periphrasis for the more common expression, λευκὴ ἡμέρα. See note to v. 637, supra; Lobeck to Phryn. p. 473; Pierson ad Moer. p. 477; Peile to Esch. Agam. 649. Wex ad Antig. 559, erroneously directs us to consider pάos vs as said for spes salutis in navibus posita, but the genitive vev is dependent upon λára, according to Jelf's Gr. Gr. 510. Cf. Philokt. 1327, Χρύσης πελασθεὶς φύλακος. Oι πάρα πελάσai for wiλácu, Lobeck observes, "Sophocles fortasse sine exemplo, certe insolentius dixit." Compare Esch. Choeph. 960, rúga re Qãs ideīv. Ibid. 972, πάρα τὸ φῶς ἰδεῖν.

670. Θιᾶν ὠκυάλων νεῶν. SCHOL. : ἀντὶ τοῦ θοῶν. The common reading is ov, which is retained by Hermann and Lobeck. The reading in the text is that of the MSS. La. Lb. I. Heidelb., and is supported by vv. 609, 838, 839, 896.- Θοᾶν ὠκυάλων. With this conjunction of adjectives possessing the same, or nearly the same signification, Lobeck compares Hom. Od. 7. 34, νηυσὶ θοῖσι πεποιθότες ὠκείησι. Hymn. in Apoll. 107, ποδήνεμος ὠκέα. Hes. Theog. 786, ἠλιβάτοιο ὑψηλῆς. Theokrit. VII. 15, λασίοιο δασύτριχος. Oppian. Cyn. II. 566, διεροῖσιν ἐν ὑγροπόροισι βένθεσι. Quint. Cal. XII. 114, ἀθάνατος θεὸς ἄμβροτος.

671. Λαθίπονος. SCHOL. : ἐπιλήσμων τῆς λύπης, ἐγένετο δηλονότι. Cf. Trach. 1021.

672. Πάνθετα θέσμια. Equivalent to θεσμούς πανσέπτους, all hallowed ordinances. The Chorus allude to the intentions expressed by Aias, at

vv. 618, 630, supra. Wunder, to Trach. 51, observes, that y in composition signifies either prorsus (see his note to Antig. 776), valde, or multum. Cf. Elektr. 105, 687, 1139; Philokt. 728; Trach. 506, 756.

673. μαραίνει τε καὶ φλέγει. SCHOL.: φλέγει, ἀντὶ τοῦ ζωπυρεῖ. The reading in the text is exhibited without exception by all the manuscripts. "Suidas cites this verse s. v. pasy. Heath has properly erased Te xai paśys, and these words do not appear to have been read by Stobæus, Ecl. Phys. I. 9. 24. p. 234. The whole verse is probably an imitation of the language of Simonides, Hymn in Memor. See Philostrat. V. Ap. I. 14; Dionys. Hal. Antt. II. 3, i závra pagaivwv rà xaλà Xgóvos.” PORSON. In this decision all succeeding editors have acquiesced except Hermann and Lobeck, who retain the common reading. "I believe that some words have perished from the corresponding strophic verse, and that the reading of the books is genuine. The Greek poets are exceedingly partial to the employment of similar antitheses in all such sentiments as that before us. Cf. v. 610, supra: ἅπανθ ̓ ὁ μακρὸς κἀναρίθμητος χρόνος φύει τ ̓ ἄδηλα καὶ φανίντα κρύπτεται. In a precisely similar way, the verb pay, accendere, is put in opposition to μagaive." HERMANN. "Reisig, Comm. Critt. ad Ed. Kol. p. 364, emends, ráve' i xgóvos paźɣwr pagaívs, in opposition to the sense and vigor of the passage. If we are to believe that the omission of either verb is necessary, we must retain qayɛ and sacrifice pagaívss. For the meaning of the Chorus cannot be, that nothing is to be pronounced impossible, because time destroys all things; but that there is nothing which may not happen at some future time, because ὁ χρόνος πάντα φλέγει, i. e. προφαίνει, εἰς τὸ φανερὸν παράγει, or, to use the language of Sophokles himself, in a fragment preserved by Stobæus, Ecl. I. 9. p. 222, πάντ ̓ ἐκκαλύπτων ὁ χρόνος εἰς τὸ φῶς ἄγει. We may add to this consideration, that the sentiment expressed in the words xgóvos Távra μagaívs is so hackneyed as to render it extremely probable that it crept into the text from being written as a mere gloss upon the margin of some ancient copy. See Diodor. Excc. T. II. 556, Xgóvos é závra pagalvwv. Philostr. V. Ap. 1. 14. p. 17. Nicet. Ann. III. 5. 57, πάντα ὑπὸ τοῦ χρόνου μαραίνεται. Dionys. Antiqq. II. 3. p. 80, ὁ πάντα μαραίνων τὰ καλὰ χρόνος. Plutarch. Cons. ad Uz. p. 102. Α, χρόνος ὁ πάντα πεπαίνειν εἰωθώς. Since, however, φλέγει by itself is not suficient for the metre, have followed Hermann's opinion, that the vulgate must be retained, and that some words must be assumed to have perished from the corresponding strophic verse. From the observation of the Scholiast, τὰ ὑπὸ Αἴαντος διὰ πολλῶν εἰρημένα (i. e. at v. 610, supra) διὰ βρα