OlJ CORNELL UNIVERSITY LIBRARY 3 1924 079 583 609 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924079583609 GREEK SERIES FOR COLLEGES AND SCHOOLS EDITED UNDER THE SUPERVISION OF HERBERT WEIR SMYTH, Ph.D. ELIOT PROFESSOR OF GREEK LITERATURE IN HARVARD UNIVERSITY VOLUMES OF THE SERIES GREEK GRAMMAR FOR SCHOOLS AND COLLEGES. By the Editor, Prof. Herbert Weir Smyth. GREEK GRAMMAR FOR COLLEGES. By the Editor, Prof. Herbert Weir Smyth. BEGINNER'S GREEK BOOK. Prof. Allen R. Benner, Phillips Academy, An- dover; and the Editor. BRIEF GREEK SYNTAX. Prof. Louis Bevier, Jr., Rutgers CoUege. GREEK PROSE COMPOSITION FOR SCHOOLS. Clarence W. Gleason, Volkmann School, Boston. GREEK PROSE COMPOSITION FOR COLLEGES. Prof. Edward H. Spieker, Johns Hopkins University. AESCHYLUS. Prometheus. Prof. J. E. Harry, University of Cincinnati. ARISTOPHANES. Clouds. Dr. L. L. Forman, CorneU University. DEMOSTHENES. On the Crown. Prof. MUton W. Humphreys, University of Virginia. EURIPIDES. IpHIGENIA in TauriS. Prof. William N. Bates, University of Pennsylvania. EURIPIDES. Medea. Prof. Mortimer Lamson Earle, Columbia University. HERODOTUS. Books VII.-VIII. Prof. Charles Forster Smith and Prof. Arthur Gordon Laird, University of Wisconsin. HOMER. Iliad. Prof. J. R. S. Sterrett, Cornell University. Books I.-in. Books I.-III. and Selections. LYSIAS. Prof. Charles D. Adams, Dartmouth College. PLATO. Apology and Crito. Prof. Isaac Flagg, University of California. PLATO. EUTHYPHRO. Prof. William A. Heidel, Wesleyan University. THUCYDIDES. Books II.-III. Prof. W. A. Lamberton, University of Penn- sylvania. XENOPHON. Anabasis. Books I.-IV. Dr. M. W. Mather, Instructor in Harvard University, and Prof. J. W. Hewitt, Wesleyan University. XENOPHON. HeLLENICA (Selections). Prof. Carleton L. Brownson, College of the City of New York. GREEK ARCHAEOLOGY. Prof. Harold N. Fowler, Western Reserve University, and Prof. James R. Wheeler, Columbia University. GREEK LITERATURE. Dr. Wilmer Cave Wright, Bryn Mawr College. GREEK RELIGION. Arthur Fairbanks, Ph.D., Litt.D., Director of the Boston Museum of Fine Arts. GREEK SCULPTURE. Prof. Rufus B. Richardson, formerly Director of the Ameri- can School of Classical Studies, Athens. Euripides (From a photograph of a bust in the National Museum, Naples) ETPIllIAOT MHAEIA THE MEDEA OF EURIPIDES EDITED BY MORTIMER LAMSON EARLE FROFESSOR OF CLASSICAL PHILOLOGY AT COLUMBIA UNIVERSITY NEW YORK •:• CINCINNATI •:■ CHICAGO AMERICAN BOOK COMPANY Copyright, T904, by AMERICAII BOOK COMPANY ESTERED AT STATIONERS' HALL, LONDON. EARLE. MEDEA. W.P.4 PREFACE In making this edition of the Medea I have tried in the Greek text to present the hand of the author, as nearly as that might be done, and in the explanatory notes to offer on the text a commentary that should shirk no difficulty. How far I have achieved this twofold purpose I leave to the judgement of my peers. In constituting the text I have accepted a considerable number of corrections — as I believe, or have believed, them to be — made by other students of the play. I have also introduced certain conjectures of my own. The latter, of which some may have been made before me without my knowledge by others, are to be found chiefly in the following verses: io6, 133, 202, 206, 219-221, 223 (division of words), 241, 291, 300, 307, 314 (division of words), 343, 384, 435 f., 444, 459, 463, 483, 529, 550, 561, 588, 698, 70s, yyy, 840, 907, 915, 918, 926, 928, 993, 1064 (transposition of verse), 11 18, 1189, 1194, 1237 (verse condemned), 1275, 1333, 1362, 1419 (division of words). Furthermore in the Notes on the Text that are contained in the second Appendix I have included some Sevrepai (fjpovriBe; that I trust will prove to be, for the most part at least, also erotfianepai. A not unimportant adjunct to the Commentary is, as I venture to think, the punctuation of the text — a matter S 6 EYPiniAOY MHAEIA on which I have bestowed a good deal of diligence. A few rightly set points may be worth whole pages of expla- nation, though it is given to few to accomplish so much by this means as — to cite eminent examples — the late F. D. Allen did in Eur. Ale. 205 (see Hayley's edition) and as Mr Johan Samuelsson has done in Hor. Sat. 2. 5. 91 (see Eranos IV. 5). It may be noted here that the essen- tial relative clause is not cut off by a comma in my text. The practice of too many German editors in this regard is a greater source of misunderstanding than is commonly recognised. In the spelling of the Greek text I have tried to do my duty according to my lights. Among other things I have retained the preposition oweKa. The Appendix on the Metres is meant to give some- thing more than bare schemes. That the term " logaoe- dic" is used to embrace metres that cannot be handily or certainly named otherwise seems to me to be at least pardonable. I may remark here that I have never been able to accept Hermann's doctrine of "anacrusis ". In concluding these few words of preface it is at once a duty and a pleasure to me to thank those that have ren- dered me particular services in the making of the book. Miss Gertrude M. Hirst, Ph.D., tutor in Classical Philology at Barnard College, has rendered me valuable assistance in the preparation for the press of a portion of the Com- mentary and in the making of the Indexes. Professor Edward B. Clapp of the University of California most kindly obtained for me an excellent photograph of the bust of Euripides that is figured in the frontispiece. To PREFACE 7 the friendly courtesy of a French artist, M. Fr^d^ric A. Lottin of Paris, I am indebted for an excellent photo- graph of the Louvre Sarcophagus. All these I bear in grateful remembrance. 'AvSpi Toi %j06a)i' fivijfir]V irapelvai, repirvov d ri irov TrdOoi. MORTIMER LAMSON EARLE Barnard College, Columbia University INTRODUCTION EURIPIDES'S LIFE 1. Of the facts of Euripides's personal life little is or can be known. He left no correspondence behind him, at least none that has come down to us, much less did he write an „ Sources autobiography ; what he has to tell us of hunself is to be found, if anywhere, concealed in his plays. The contemporary references of Aristophanes are plainly bits of caricature, and the kernel of truth in them can hardly be extracted with any certainty. The fragments of formal biography of Euripides that have come down to us are of late composition and need to be handled with great critical care and skill; their earliest trustworthy source appears to be an account of Euripides written by Philochorus, an Attic antiquarian that flourished in the first half of the third century B.C. — more than a hundred years after Euripides's death. 2. Aristophanes's Frogs is known to have been brought out early in 405 B.C. In it a prominent place is occupied by a debate in the underworld between the dead poets Aes- gijtii ^nd chylus and Euripides, the latter of whom has claimed death the former's seat in the realm of the dead. Sophocles also is referred to as dead ; but the reference to him is so slight and so like a concession to circumstances, that it has been shrewdly, and probably justly, conjectured that Sophocles's death occurred dur- ing the composition of the play, which had been planned and begun by Aristophanes not long after the news of Euripides's death reached Athens. 'And they say too that Sophocles on hearing of his death himself came out in a grey cloak and brought on his chorus and actors ungarlanded in the proagon (i.e. in the preliminary appearance, in the Odeum, of the tragic poet with his 9 lO EYPiniAOY MHAEIA troupe), and that the people burst into tears.' From what has been said about the composition of the Frogs and from the tradi- tion that Sophocles died in the archonship of Callias (406-405 B.C.) it is evident that this would have been on the eve of the Great Dionysia in the spring of 406 B.C. Euripides died in Macedonia, and little news, if any, would have come south during the winter season ; his death, therefore, may have occurred either late in the year 407 or early in the year 406. Philochorus is authority for the statement that Euripides died at over seventy ; and it is plain that his approximate age at the time of his death might easily be known. 'Over seventy' (urre/o ra. c/38o/u,ijkoi/tj etj; ye- yovws) would mean that Euripides was born during the second Persian War. An inscription calls him a Salaminian, and Philo- chorus related that he used to write in a cave in Salamis. This would seem to mean that Euripides had property — doubtless in- herited — in Salamis. The tradition that Euripides was born in Salamis on the very day of the great battle may have no other foundation than that which has just been indicated. But this was a current belief by Plutarch's time — how much earlier we can not say — ; and it is at least a pretty invention, if not an historical tradition, that groups the three great Attic tragedians at the birth of the Athenian empire in such wise that Aeschylus fought in the battle of Salamis, Sophocles led the chorus of boys in the celebra- tion of the victory, and Euripides was born on the day when the victory was achieved. That Euripides's life and that of the Athe- nian empire were nearly coextensive is a fact and a significant one. 3. Euripides's parents were Mnesarchides, or Mnesarchus, and Clito. Their home seems to have been at Phlya in southeastern Attica. Mnesarchides is said to have been a trades- Parentage , , , , , , , ^,. man or huckster ((caTrr/Xos) and Chto a market-woman (Xa^avoTrSXts) . Philochorus emphatically denied the story about Clito and declared that Euripides's parents were of very good family. It is noticeable in the tradition that Euripides's eldest son, Mnesarchides, is called a merchant (e/xTropos). He very probably followed his grandfather's calling. Then, too, we hear INTRODUCTION ii of records at Phlya according to which Euripides as a lad per- formed the function of a ' wine-pourer ' (oivoxoos) in the worship of the Delian Apollo at Athens — a function that was regarded as an honour for what we should call a gentleman's son. But Aristophanes' s gibes about the green-groceries (Xaxava) of Eurip- ides's mother must have had some foundation to give them point. Perhaps we shall come near to the truth, if we say that Euripides was the son of farming people of means and of good stock. His mother, from whom, like other great men, he may well have inherited the germs of his genius, may have been a woman of force and something of a character in her way. But this is conjecture. We certainly know that Euripides lived the Ufe of a man of independent means. Men of letters did not live by their pens at Athens in those days. 4. Euripides must have received the customary liberal educa- tion of his country and time. Besides bodily training he was taught reading, writing, music and Greek literature, the last to be understood as Greek poetry, in which Homer — the Bible of the Greeks — and Theognis had a prominent place. Thus much for his schooling. In what we should call his higher education it would be hard to overestimate the place occupied by the tragedies of Aeschylus, which he must often have seen upon the stage as well as read and studied. It is said that Mnesarchides, following a misinterpreted oracle, tried to make an athlete of his son. If this is so, we have in Euripides but one of many cases where a desire for higher knowledge has triumphed over a father's wishes. It is said too that Euripides studied and -practised paint- ing. But we come now to the second of the two great influences which were to control Euripides's future life — influences that he was to seek always to blend without ever perfectly succeeding. This was philosophy, and his master in it was Anaxagoras of Clazomenae. This great thinker, who spans the gulf between Ionian and Attic philosophy, who by introducing mind or intelli- gence (vov's) as the great ordering principle of the universe marks the transition from the earlier natural philosophers to the later 12 EYPiniAOY MHAEIA mental and moral philosophers of whom Socrates is the first, was some twenty years Euripides's senior. He lived at Athens under the patronage of Pericles. From him Euripides seems to have derived much of his knowledge of natural philosophy, as well as his love of philosophical speculation in general. It was Anaxag- oras that said that the sun was an incandescent mass of stone or metal larger than the Peloponnese ; and it was his determined rationalistic treatment of the ordering of the universe that caused — or, perhaps better, occasioned — him to be banished from Athens on the eve of the outbreak of the Peloponnesian War. Euripides's bitter resentment of this treatment of his master seems clearly to have found powerful, if somewhat covert, expression in the Medea. The touching description by the coryphaeus in the Alcestis (904 sqq.) of the kinsman that had lost his only child, ' a lad worthy to be mourned ', yet bore his misfortune with forti- tude, albeit he was white-haired and well stricken in years, is con- jectured to be a reference to Anaxagoras, whose striking fortitude under like circumstances is recorded. This would be a testimony to the real affection that Euripides had for his master, as well as to his admiration of the latter's strong and lofty character. The fact that Anaxagoras was Euripides's master in speculative science does not exclude the influence upon the poet of other philosophers. By his own testimony (Ale. 962 sqq.) we know that he was a dili- gent student of the writers on philosophy and medicine, and he seems to have had the singular distinction in those days of possess- ing a library. The influence of various early philosophers may be more or less clearly traced in his writings. He is said to have studied under Protagoras and Prodicus, great figures among those wandering teachers that were known as sophists, and to have been a friend of Socrates, who was some ten years his junior. The rhetorical teaching of the sophists must have strengthened the impression left on Euripides's mind by the balanced arguments of the law-courts, the debates of the popular assembly, and the oratory of such men as Pericles ; but we must remember that, when Euripides was growing up, oratory and rhetoric had not yet INTRODUCTION 33 received the formal finish that was given them in the latter part of his life by the apt pupils of the sophists. 5. Euripides's first appearance as a dramatist was in 455 B.C., under the archon Callias. The leading play — or, at least, one play — of his tetralogy at that time was the Peliades, in Dramatic which the cutting up and boiling of Pelias by his daugh- career ters at the instigation of Medea was related. It is curious to see Euripides beginning his career with a play based on a northern legend. He seems to have had a sympathy with the north. He may have had, though we have no proof of it, northern blood, like Thucydides. In that case his retirement to Macedonia would have been due to a sort of homing instinct. To return to our subject, Euripides continued to write for the stage (with increasing fre- quency and steadiness, it would seem, from the beginning of the Peloponnesian War) until death checked him in the composition of the Iphigenia at Aulis. His success was less than moderate in comparison with his efforts. He gained only the third place at his first appearance and is said to have won the first place but four times during his life, the first time in 441 B.C. A fifth victory was gained for him after his death by his son Euripides, with plays presumably written in Macedonia. 6. Towards the close of the Peloponnesian War, during which he sided strongly with his native state against Sparta, Euripides retired to Macedonia to the court of King Archelaus gy^pides at Pella. It was partly a case of the prophet not with- in : , . ,T , Macedonia out honour save m his own country. He was warmly received, it appears, and held in high honour by the Macedonian king. There were other men of letters from the south at Pella, among them the tragedian Agathon. Euripides cannot have been long in Macedonia ; for his Orestes was brought out, doubtless by himself, at Athens in 408 B.C., and in less than two years from that time, as we have seen, he was dead. A tale was spread, of which Aristophanes surely knew nothing (else he would have mentioned it in the Frogs), that Euripides was torn to pieces by hunting-dogs, and a wretched mist of worthless and malicious scandal gathered 14 EYPiniAOY MHAEIA about his death. He was buried in Macedonia, in the valley of Arethusa, where his tomb was long to be seen. At Athens a ceno- taph was erected in his honour with this inscription, attributed in later times to Thucydides the historian or Timotheus the musician : Mi/^/ia fjikv 'EXXas airacr ^vpnriSov • otTTea. S * tcr;^ei •fi) MaKtSiuv, ^irep Sliaro Tep/xa fSiov • warpi'S S' 'EXXaSos 'EXXds, 'Kdrfvai ■ iroXXa ok /lowraK ripij/a's Ik. iroXX.Siv Koi rov iimivov 'X^'" ' The monument of Euripides is all Hellas, but his bones are held by that same Macedonian land in which he met his end. He was native of the Hellas of Hellas, Athens. Many were the delights that he gave by his works of genius, wherefore also from many has he his meed of praise.' There is a certain fitness in Euripides, who was to be the great poet of Hellenism, dying in that — to the Athenians, as to the Greeks in general — northern and half-bar- barous land whence should presently come with the phalanxes of Philip and Alexander that blast which should scatter the seeds of Hellenism to the ends of the earth. Euripides became, as it were, the poet of the Dispersion. Born at the birth of that which should be great, Born, as they say, upon that fatal tide When Salamis saw the Great King's navy ride Within her straits, the torrent east in spate, Yet saw it scattered by the stroke of fate. Unknowing Athens' subtle might to abide. While Grecian valour ploughed o'er Persian pride — Born with the birth of that young power elate, Thou wast the prophet of her soberer years, Thou wast the prophet of her stormy strife. Thou lookedst on her laughter and her tears, Thou saw'st her breed, unwitting, larger life ; And in the eternal Hellas that should be Thou gav'st her spirit immortality. INTRODUCTION 15 7. Euripides is said to liave married twice, liis first wife being Melito, his second Choerine or Clioerile, daughter of Mnesilochus. He had three sons, Mnesarchides, named, according Domestic to Attic custom, after Euripides's father ; Mnesilochus, ^^e'^tions named after his maternal grandfather ; and Euripides. Mnesar- chides is said to have been a merchant, Mnesilochus an actor, and Euripides a playwright. Tradition says that both Euripides's wives were faithless ; but from Aristophanes we hear of only one wife, and nothing definite of infidelity on her part. It seems not im- probable that Euripides may have had two wives, the former of whom died before 438 B.C., when the Alcestis was brought out, and that it was the "late espoused saint" of Euripides that was, in a measure, the original of the heroine to whom Milton likened his dead wife. Mnesarchides, as well as the two younger sons, may have been the son of Mnesilochus's daughter, Euripides's second wife, who also abandoned him (cp. Ale. 250 for the phrase) by death before his retirement to Macedonia. 8. Euripides is said to have worn a long beard and to have had warts or freckles on his face. He was of a grave — or even grim and thoughtful — cast of countenance, and, like Personal his master Anaxagoras, he was little given to laughter. ^^^^^^^. He seems also to have been averse to general society, teristics He was not, in short, a genial man ; in this respect, as in others, he was a foil to Sophocles the evKoXos. He was distinctly a man of the thoughtful and scholarly type — a type rare in Greece, even in Athens, in those days. " A man that never kept good com- pany, I The most unsociable of poet-kind, | All beard that was not freckle in his face ! " is the version that Browning gives of tlie tradition {Balaustion's Adventure, vv. 291-3) . The portrait of Eu- ripides that has come down to us, which is perhaps best represented by the Naples bust (see the frontispiece), tallies very well, it should seem, with the verbal tradition. It shews us Euripides as an elderly man, as those that remembered hnn longest thought of him. The face, about which the hair falls carelessly, is very grave and serious, a sternly and thoughtfully sad face, and not strikingly 1 6 EYPiniAOY MHAEIA Greek. This may well be the face that the statue of Euripides wore that the orator Lycurgus had set up at Athens in the latter part of the fourth century B.C. Whether it is based on a con temporary likeness we cannot say. 9. Of Euripides's writings there have come down to us eigh- teen plays, for the most part practically complete. Of the lost Euripides's PW^ a large number of fragments, over a thousand, wntings huve been preserved by quotation in various ancient authors and collected by the diligence of modern scholars. Bits of papyrus found in Egypt have also contributed their mite, not- ably 123 verses of the Antiope in a papyrus of the third century B.C. Euripides did not confine his poetical ability exclusively to the composition of plays ; he wrote a triumphal hymn in honour of the victories gained at Olympia by Alcibiades in (probably) 420 B.C. Of the elegiac inscription that he wrote for the monu- ment to the Athenians that fell before Syracuse during the fatal expedition (415-413 b.c.) a couplet has been preserved. The letters which are ostensibly the work of Euripides are evidently forgeries, and it may well be doubted whether any letters of his were really, for a time, preserved. It may be added here that the tragedy Rhesus, which figures as a work of Euripides, is pretty certainly not from his hand. It neither has been counted in the number of Euripides's extant plays given above nor will be re- garded in the sequel. Before passing the extant plays in review we may consider briefly the original extent of Euripides's dramatic » writings. 10. It is said that Euripides wrote ninety-two plays. The scholars of Alexandria seem to have known, presumably as pre- served in their great library, a collection of seventy-eight plays attributed to Euripides, of which number four were considered spurious. The number ninety-two, given as the total of Euripi- des's plays, would mean twenty-three tetralogies, or groups of four plays. We know from the Greek commentary to it that the Andromache (and presumably three other plays with it) was brought out elsewhere than at Athens (at Argos some have INTRODUCTION 17 thought). The Aulid Iphigenia, the Corinthian Alcmeon, the Bacchae — perhaps, too (though this is not in the tradition), the Archelaus — were brought out at Athens after Euripides's death by the younger Euripides, as has been noted above. There would then remain in the state records at Athens on which Aristotle based his AiSjio-KaXuii, or ' Annals of the Stage ', twenty-one entries of plays of Euripides from 455 B.C. {Peliades) to 408 B.C. {Orestes). We have seen above that Euripides gained the first prize first in 441 B.C. There remain now (excluding those that have just been mentioned) nineteen appearances of his plays to account for. Of these we can fix six (438, 431, 428, 415, 413, 412 B.C.), and in each case we have one of the plays. Of some of the lost plays, besides the Peliades, the date has been handed down, but of the other extant plays we can fix the dates only approximately and with varying degrees of probability. We turn now to the list of extant plays. II. Because of certain marked resemblances to the earliest surely datable of Euripides's extant plays, the Akestis, it seems probable that the Cyclops should head our list. It is a satyric play, the only example that has come down to us of that curious form of composition. The satyr-play occupied the fourth and last place in the tetralogy, as a last relic of the old crude form of tragedy,, clinging to the refined and ennobled drama of high pas- sion as a reminder of the pit from which it had been digged. The Cyclops, which may quite possibly be the fourth play of the suc- cessful tetralogy of 441 B.C., is a dramatisation of the adventure of Odysseus and the Cyclops narrated in Homer. It is doubtless a good example of its kind, but the coarseness and obscenity which were traditional in this form of composition seem strangely unsuited to Euripides as we know him from his other works, and it may well be thought that the satyr- play was not in general con- genial to him. Of this we seem to find proof in the Akestis, a drama of family-life and one in which self-devotion and selfishness are, as it were, isolated and allowed to find their fullest developement under the artificial conditions of an ancient legend. The loving MEDEA — 2 1 8 EYPiniAOY MHAEIA and faithful young wife Alcestis and the bluff and hearty adven- turer Heracles are among Euripides's most successful and charm- ing creations. The play took the place of a satyr-play in the tetralogy that won the second place in 438 B.C. We have here pretty certainly an innovation, and that too not an unimportant one, on the part of Euripides. His endeavour to refine the fourth play of the tetralogy seems to have met with no immediate success. The Medea, the great play of the revenge of an abandoned wife, was, as we learn from the remains of the argument by Aristophanes the grammarian, the first play in the tetralogy that was awarded the third place, after Euphorion and Sophocles, in 431 B.C. The Heraclidae, in which play again a woman — known elsewhere (for Euripides does not name her) as Macaria — gives an example of heroic self-devotion by offering herself a willing sacrifice to ensure the peace and safety of her brothers and sisters, the other children of Heracles, was brought out, as seems most probable, in 430 B.C. A portion of the play is lost. The Andromache, presented, as has been said, elsewhere than at Athens (perhaps at Argos) and under another author's name, ' appears ' (according to the tradition) ' to have been brought out at the beginning of the Peloponnesian War ', and there are some reasons for placing it in the year 430. Again the relations of man and woman are prominent, again the jealousy of a wife is a powerful factor, and the play has marked resem- blances to the Medea ; but in the Andromache it is the new wife that plots against the old. The Hippolytus appeared in 428 B.C. It is a second edition, greatly altered, of a play of the same name that was produced some years earlier — perhaps in 430. In it we have again a treatment of the relations of man and woman, but in a new phase. Phaedra, the virtuous wife of Theseus, falls deeply in love with the pure and austere Hippolytus, an illegitimate son of Theseus. When her passion, against which she struggles, is betrayed to Hippolytus, who meets the telltale nurse's overtures with bitter scorn and contempt, Phaedra hangs herself, but, in order to protect her character with Theseus, writes a letter \o him in which she falsely accuses Hippolytus. The latter, cursed. INTRODUCTION 19 and banished by his father, meets a miraculous death. By the interposition of Artemis, Hippolytus's guardian angel hitherto, Theseus learns the truth in time to beg and receive his dying son's forgiveness. And all this sorrow and suffering has been wrought by the machinations of Aphrodite in revenge for Hippolytus's persistent purity of life. The Hecuba, a play drawn from the Trojan cycle of legend and describing the revenge of the captive Hecuba upon Polymestor, the Thracian king that has treacherously murdered her son Polydorus (as is also narrated in Virgil's third Aeneid), seems to be of 425 or 424 B.C. The Suppliants or Suppliant Women ('iKcViSes) and the Heracles, commonly called the Hercules Furens, seem, on internal evidence, to belong to about the year 421 B.C. Indeed, it has been not unplausibly con- jectured that they are two plays of the tetralogy of 421. In the Suppliants, which is distinctly a ' laudation of Athens ' {iyKiLfiiov 'Kdrivutv) and in that character was coupled with the Heraclidae by Isocrates in his Panegyricus, the mothers of the comrades in arms of Polynices that had fallen before Thebes obtain, by the intervention of the Attic hero and king Theseus, the right to bury their dead. Very noteworthy is the sensational and spectacular incident of Capaneus's devoted wife, Evadne, throwing herself upon her husband's funeral pyre. In the Heracles the madness of the hero that gives his name to the play and his killing at Thebes of his wife and children are described. The broken Heracles, restored to sanity, finds refuge and comfort with his friend Theseus. As in the Andromache there is a savage attack upon the Spartan character, so in these two plays the feeling of hostility against Thebes is manifest. Our next date is 415 B.C., when Euripides won second place with the Alexander, Palamedes, Troades, and Sisyphus. Of this tetralogy, of which the three tragedies are all drawn from the tale of Troy, the Troades alone is extant. In it the sacrifice of Polyxena at the tomb of Achilles is the centre of pathetic interest. The sacrifice or self-sacrifice of a young woman or girl was, as we have seen and shall see further, a favourite motive with Euripides. The sailing of the Greek fleet 20 EYPiniAOY MHAEIA from the Troad, ordered at the close of the play, to meet the ruin which Posidon and Athena have determined upon in the prologue, is, as has been remarked by another, a strikingly pathetic coin- cidence ; for it was in this same year that the great Athenian fleet sailed for Sicily, there to meet its doom. The Electra, in which the vengeance of Orestes upon Clytaemnestra and Aegisthus is described, appeared, as we gather from its close, in 413 B.C. It is parallel in plot to Aeschylus's Choephoroe and Sophocles's Electra. It may well be that it was Euripides's objection to what he thought — and not unjustly — the immoral tone of Sophocles's play that led him to write the Electra. Certain it is that he criticises by implication the treatment of the subject by Aeschylus and (probably) Sophocles's treatment too. His powerful but wilful vulgarisation of the legend is one of his most singular perform- ances. The Helen, with the Andromeda, the loss of which latter is matter for deep regret, appeared in 412 b.c. In the Helen a variant of the Trojan legend that Stesichorus is ultimately responsible for is made the plot. Helen has been spirited away to Egypt, where she is kept in safety by the local king while the Greeks and Trojans fight for a phantom that Paris has carried to Troy. On his return from Troy with the phantom Helen Mene- laus finds the real Helen in Egypt. A recognition takes place, the phantom vanishes, and Menelaus and Helen outwit the new king of the country, who is hostile to strangers and has been trying to make Helen his wife, and escape home in one of the king's ships. The play reads like an unsuccessful attempt to triumph again with a plot like that of the Tauric Iphigenia. If it is so, the Tauric Iphigenia might well be assigned to 414 or 413 B.C. In the Iphigenia Orestes haunted by the Furies goes with Pylades to the land of the Taurians (the Crimea) to bring back the idol of Artemis that is worshipped there. This, according to Apollo's oracle, is to win him peace. The sacrifices made to the Tauric Artemis are such strangers as come into the country, and the priestess of the goddess is Orestes's own sister Iphigenia, who, instead of being sacrificed by Agamemnon at Aulis, has been INTRODUCTION 21 spirited away by Artemis to her shrine in the Crimea, a hind being substituted by the goddess as sacrifice at Aulis. A recog- nition between brother and sister, in which Pylades plays his part, is ingeniously brought about when Iphigenia is about to sacrifice Orestes. The king of the country is outwitted, and Orestes, Iphigenia, and Pylades escape with the statue in the ship that has brought the friends at the beginning. In the handling of a com- plicated and sensational plot this is the best play of Euripides that has survived. It was famous in antiquity and admired by Aristotle. The element of self-sacrifice, which Euripides loved, is supplied by Pylades, who offers to die for Orestes. In the Tauric Iphigenia the peculiar Attic cult of Artemis at Brauron is explained at the close of the play as that of the idol brought from the Crimea ; in the Ion Attic legend is likewise drawn upon. Ion, the son of Apollo and the Attic princess Creusa, has been spirited away in infancy, after he had been exposed in a grotto in the cliff of the Acropolis, to the temple of his father Apollo at Delphi, where he has been brought up as a sacristan. Creusa and her husband, the Euboean prince Xuthus, who has received the throne of Athens with his Attic bride in gratitude for the deliverance he has wrought for Athens, come to Delphi to seek help in their childlessness. A sham ' recognition ' between Xuthus and Ion, in which Ion figures as the illegitimate son of Xuthus, is got up by Apollo ; side by side with this a true ' recognition ' between Creusa and Ion is managed by means of the cradle and tokens that had been taken to Delphi by Hermes with the baby Ion and have been preserved by the Pythia ever since. Xuthus's ' recognition ' reaches Creusa's ears before she makes hers, which is led up to by her attempt to poison Ion in a fit of jealousy of her husband's new-found heir. Ion dis- covers the plot by accident and is about to kill Creusa, when the Pythia with the tokens of his birth intervenes. Xuthus never knows the truth. He carries back Ion to Athens, on his return thither with Creusa, as his son and as heir to the throne. Tantae molis erat lonicam condere gentem. That this play belongs with the Tauric Iphigenia and the Helen is self-evident, and the view 22 EYPiniAOY MHAEIA of those that would assign it to the same year as the latter of those two plays (412 B.C.) may be right. The Phoenissae bears likeness to the Ion in its prologue. In that long speech of Jocasta's, less well motived and managed than the prologue of the Ion, we have, as incidents, the exposure of a baby (Oedipus) and the win- ning of a native bride (Jocasta) and a throne by a (supposedly) foreign prince (Oedipus) as a reward for delivering the state. The date of the Phoenissae is one of the years 411-408 b.c, to give the widest limits; possibly, to be precise, 411 b.c. is the year. The play certainly belongs rather with the Ion than with the Orestes of 408. Its plot is that of the Seven against Thebes of Aeschylus (which play Euripides tacitly criticises, as he had the Choephoroe) — the story of the hostile brothers Eteocles and Polynices, who die by each other's hand before the walls of Thebes. There are, of course, Euripidean innovations. The Orestes, of 408 B.C., puts another old subject in a new light. Orestes, gone mad after murdering his mother, has been tended for some five days at the palace of Mycenae by the faithful Electra ; and his madness with lucid intervals is gradually pass- ing into that sanity with intervals of madness which is well depicted in the Tauric Iphigenia. It is the day on which the Argive people (drawn in the guise of the Athenian S^^ios), having already laid the matricides under the ban, are to decide whether or not they are to be stoned to death. At this juncture our old friend Menelaus arrives from his wanderings with Helen. Menelaus might be expected, under the circumstances, to help his nephew ; but he treacherously goes over to the side of Tyndareus, the father of Clytaemnestra and Helen, who manages to control the assembly so that Orestes and his sister and friend are condemned. Euripides thus lashed the perfidious Lacedaemonians and the degenerate Athenian democracy with the same whip. To return to the play, the condemned three seize Helen and Hermione her daughter (who has figured in the Andromache) and entrench themselves in the palace. Their plan is to kill Helen and hold Hermione as hostage. The former vanishes under their hands, as her phantom INTRODUCTION 23 had vanished before. Menelaus, arrived before the palace, is threatened by the defenders that they will kill his daughter and set fire to the palace (the ancient equivalent of blowing up the magazine) ; but Apollo intervenes, peace is restored, and Orestes and Hermione are betrothed. Thus ends this the most sensational and blood-and-thunder of extant Greek tragedies. There is abun- dant power in it, but it represents Euripides at his worst. In its contemporary references it is his bitter valediction to Athens and to Greece. One is tempted to say that he burned his bridges before he went to Macedonia. Never, I suppose, was he so bitter as when with the same hand he drew the portrait of the Athenian ochlocracy and pandered to it with sensational scenes. The play reads in the assembly scene hke a prophecy of the infamous execu- tion of the victors of Arginusae against which that iustus et tenax propositi vir Socrates held out in vain. Euripides's journey to Macedonia was in a sense a return to nature and to his own better nature. In his two extant Macedonian dramas, the Bacchae and the unfinished Aulid Iphigenia, we have undoubtedly two of his most noteworthy plays. The Bacchae deals with the introduction of the wild worship of Bacchus at Thebes and the opposition of the King Pentheus to the new god and his votaries. Old Cadmus and Tiresias yield to the new god and go to Cithaeron to take part in his worship, but Pentheus puts Bacchus into prison. But no bonds can confine the god, and he presently beguiles the now delirious king into going to the mountain disguised as a , Bacchanal to spy upon the women's revels. Here he is detected and torn to pieces by the women, led by his mother Agave, under the spell of the god. It is hard to determine the full significance of this strange and brilliant piece, redolent of the wild free life of woodland and mountain and heralding, as it were, a new religion while harking back to the old. It may be guessed that the prophet not without honour save with the powers that be in his own country (Dionysus) and the aged seer (Tiresias) that at one moment will hear of no sophistry with gods and at the next explains the new religion (which he gladly accepts in addition to the old) 24 EYPUIIAOY MHAEIA in a very rationalistic fashion — it may be guessed, I say, that these are types of Euripides himself But this fascinating and elusive topic cannot be pursued here at greater length. In the Aulid Iphigenia, which deals with the old story of the sacrifice of Agamemnon's daughter at Aulis, Euripides has drawn the picture of a pure, tender, loving girl at first shrinking from death with all ihe horror and dread of youth, but then nerving herself to die freely for her father and the national cause. And Euripides has drawn this figure — this " dream of form in days of thought " — as only he could draw it that above all the poets of Greece knew the heart of man and woman. The Muses of the Bacchae and the Graces of the Aulid Iphigenia worthily end Euripides's life as man and as dramatist. [The chronological list of Euripides's extant plays would be approximately as follows : Cyclops .... possibly 441 B.C., Alcestis 438 „ Medea 431 „ Heraclidae . . . probably 430 „ Andromache . . . perhaps 430 „ (but possibly considerably later), Hippolytus 428 B.C., Hecuba .... apparently 424 or 425 B.C., Supplices . . . about 421 B.C., Heracles .... about 421 „ Troades 4iS » Tauric Iphigenia . . apparently 414 or 413 B.C., Electra Helen 413 B.C., 412 „ Ion perhaps 412 „ (but perhaps earlier than the Tauric Iphigenia), Phoenissae 41 1-408 B.C., Orestes 408 k.c, Bacchae . . composed apparently 407 „ Aulid Iphigenia „ ,, 407 „ ] . INTRODUCTION 25 12. The chronological point of view must still be ours, to a certain degree, as we seek to form an adequate conception of his art, his thought, and his influence. His plays, as we „ . .^ , ° i- J ' Euiipides's know them, fall, m pomt of form and style, into two art, thought, great divisions. The first embraces the plays that ""*"' "*""* precede in date the Peloponnesian War or belong to its former part, i.e. down to 421 B.C.; the second embraces the plays that belong to the latter part of the Peloponnesian War, i.e from 420 B.C. From another point of view these are the plays of his mid- dle age and the plays of his old age. But the progress of a mature and powerful human mind is not by leaps and bounds, and we cannot draw our imaginary line too sharply. Such plays as the Supplices and the Heracles belong rather to the second division than to the first. In the plays of the earlier period the prologue, i.e. the opening speech, which Euripides made a set form of intro- duction for his plays and which enabled him to indicate in outline those innovations or peculiarities in his form of the legend which it was necessary for the audience to know at the start, is in general more closely connected with the characters and the action of the piece, is more truly dramatic, than in the later plays. In the earlier plays, too, the ' god from the machine ' (fleos airo \).t\ya.vr(i, deus ex maehind), the deity that interposes at the end of the play to cut the knot, even when, as in the Tauric Iphigenia, the knot is not dignus vindice, but is deliberately tied by the poet, is in its beginnings only. This device, which Euripides popularised, if he did not invent it, became more and more a feature of his art. In the Medea we seem to see the beginnings of the process. Here the god (Helios) does not himself appear, but he furnishes Medea with the miraculous means of her escape. In the earlier plays, too (including here, as in what follows, the Heracles and Supplices among the later plays), we find in general less of the sensational and spectacular. Strange situations in foreign lands, surprising recognitions, violent actiotis, madness — all these are prominent in the plays of the second division. The lyric forms of the later plays seem to have followed more and more the new music, and 26 EYPiniAOY MHAEIA the verse of the dialogue — the iambic trimeter — tended more and more, by frequency of three-syllable feet and by a general re- laxing of structure, to obliterate the old distinction between the stableness of the verse of tragedy and the carelessness and artful artlessness of the verse of the satyr-play and of comedy. The sophistic arguments of the later plays mark the growing influence of the new rhetoric upon poet and audience alike ; for it must be admitted that Euripides played, as we say, to the gallery a good deal and that he too often gave in parts of his plays what would catch i\\t popularis aura. But of his style we shall come to speak again presently ; we must now examine briefly the effect upon Euripides's art of that element in his education and mental de- velopement which always, though he probably never fully realised it, conflicted with the dramatic, namely philosophy. 13. Philosophy — perhaps we shall be better understood if we say speculation — had, as we have seen, played a great part in Euripides's education. To the end he was a philosopher among poets and dramatists, a poet among philosophers. Later times — perhaps even his own — dubbed him ' the philosopher of the stage ' (6 (TKi/jviKo's iX6(rooei). He seems to have had a distinct consciousness of this duality of mind and purpose, but to have believed in the possibility of blending poetry and philosophy in the form of composition he had chosen. But the problem was not to be solved by him, but by an equally great poet using a prose form — Plato in his dialogues. Euripides seems to declare ' at the threshold of old age ' how he means to " obey the voice at eve obeyed at prime ", when in the Heracles he makes the old men of his chorus sing (vv. 673-5) '■ Oil iravaojiai tom XapiTas Mouerats aruyKaTa.f>,€iyvvi dSt'cTTav crv^vytav. ' I will not cease the Graces with Muses closely and thoroughly to blend in sweetest wedlock.' If the Graces stand here for poetry and the Muses for philosophic speculation, we have Eu- INTRODUCTION i^ ripides's confession of his twofold purpose. Indeed, this purpose was, in a sense, what we should call a mission ; for there was little or no " art for art's sake " in those days, and the dramatic poet was, like other poets worthy the name, teacher and preacher. The poetic form was but the fair body — the body that must be fair — , the thought was the soul. Milton, a devoted student of Euripides, well understood the function of the Greek stage and interpreted it well when he wrote, in words that apply with special force to Euripides {Paradise Regained, 4, 261-266) : " Thence what the lofty grave Tragedians taught In Chorus or Iambic, teachers best Of moral prudence, with delight receiv'd In brief sententious precepts, while they treat Of fate, and chance, and change in human life ; High actions, and high passions best describing." But Euripides's preaching was of a new sort. His Tiresias in the Bacchae may cling to the iraTpuu irapaSoxai, to the ' traditions of the fathers ', but this means after all no more than that Euripides was no atheist, no irreligious person ; but the spell of Anaxagoras's voBs was upon him, and he applied reason to the whole order of things, the visible and the invisible, to the World, to God, to Man, to Life, to Society. As he had seen a great light, so he sought, half unconsciously perhaps at first, to lead others into it. Philosophical speculation got more and more into his plays, and even his home- liest characters talk of matters high and deep. If he treats with bitter scorn, as notably in the Ion, the gods of the popular religion, it is because they are to him as " the gods of the heathen " were to the prophet, ' If gods do aught of base, no gods are they ' (Ei Oioi Ti SpSxnv ala-xpov, ovk etcnv Ocoi), is Euripides's sentiment. But, though a philosopher among the poets, he was yet not a con- sistent philosopher, and his thought developed and shifted, like Goetihe's. A pantheist (mens agitat molem is Virgil's phrase) and no more a believer in the gods of the Greek mythology than we, a man without speculative belief in a personal immortality, a cosmopolitan in sympathy, too broad in mind to believe in such 28 EYPiniAOY MHAEIA distinctions as those of Greek and Barbarian, of bond and free, as other than accidental and conventional — such was Euripides in part. NoCs as a great separate principle in the world leads to the distinction of mind and matter and to their conflict ; it makes us also turn our attention to the mind and heart of man : Euripides was a psychologist and a keen student of manners and morals. But to such a man the slave was an object of interest as well as the free man, the woman as well as the man. We have seen what manner of women Euripides could draw. It has been said that he discovered woman for literature. But again he was called in his own time, and has often been called since, a hater of women. That is only because he sought to know their character, as well as that of men, and to reveal it in his plays as he understood it, the bad with the good, foibles side by side with virtues. We have seen modern writers little loved by women for similar truthfulness of portraiture ; but it would be as true to call Euripides a man-hater as to call him a woman-hater. Aristophanes might drag the char- acter of his countrywomen through endless filth, Aristophanes might make buffoons of the gods ; but Aristophanes was a con- servative, a hater of the new wisdom, a " laudator temporis acti se puero " — or rather avis suis pueris — , and Aristophanes could write what he chose with much applause and no complaint. He was orthodox. A passage in Euripides may be noted here in which he gives us in brief his belief, or his doubts, or both, in matters of religion. It is couched in the language of polytheism, but we can read between the lines. 'Yea, greatly', says the chorus in the Hippolytus (1102 ff.), speaking as the mouthpiece of the poet, ' yea, greatly do the dealings of divine providence, whenever they come upon my mind, remove griefs ; but because I have a spark of reason at the bottom of my faith, I am cast adrift in my con- templation of the fortunes and works of men '. (*H /xeya fmi to. QfMv iJi.eXtSrJiw.6 , oTov ^piva.tXu(Dt8ijs' p,eya\ov Sk Aios vdos e^tTeXeiTO.) Taking the references above in the older literature together with such a passage as Homer H 467-9, where there came from Leranos wine-laden ships sent by ' Jason's son Euneiis, whom Hypsipyle bare to Jason, shepherd of people ' ('li/troi't8r;s Euvi^os, | rov p Irex' 'Yij/nrvX.ri vtt' 'Iijo-ow TToifjLevi Xa<3v : cp. Hes. Theog. 1000 f., just quoted), we 38 EYPiniAOY MHAEIA cannot doubt that the outward voyage of the Argonauts, their adventures on the way, and their adventures among the Colchians, had to Euripides (as to Aeschylus and Sophocles, who wrote various plays touching on the tale of the Argonauts), in all essen- tials, the same form that they have in the fullest Greek account of the Quest of the Golden Fleece that has come down to us — the Argonautica of Apollonius Rhodius, an Alexandrian poet of the third century B.C. (Pindar, the author [in the fourth Pythian, already cited] of the fullest early account of the Argonauts, is peculiar in putting the Lemnian adventure into the return voyage. The reason of this is given in von Christ's note on Pyth. 4. 50.) It is evident, not to go into further details of evidence, that the legend of the first Eastern quest of the Greeks, as they began to develope sea-power, the old Minyan legend of the quest for gold in Aea (Aja, 'the land,' aia = yaia, yr\, as a proper name), the far eastern country of the morning, of the fleecy golden and purple clouds of dawn, and their outwitting of the ' Man of the Country', Aeetes (^kl-i]rrp from ma), and bringing away his wise daughter Medea (M»;8eta from /nijSea and = ju,i;8ea iSuia) as their chieftain's wife, and this in the generation before the other great Asiatic adventure of the Trojan War — it is evident, I say, that this old tale, told and retold by bard and genealogist, in verse and in prose, and losing naught in the retelling, was well established in all its essential features and, with Hecataeus's rationalising of its geography, was taken over simply by Euripides. But this tale had its sequel, the subsequent adventures of Jason and his eastern bride. The poet of the old Nooroi or ' Returns of the Heroes ' (from Troy) had, as we learn from a Greek preface to the Medea, told — as had, doubtless, others — how Medea had made away with Jason's arch-enemy King Pelias through the instrumentality of his own daughters ; and Euripides had used this story as the plot of his first play, the Peliades, ' the Daughters of Pelias '. But as many heroes from many parts of Greece were brought into the Colchian, as info the Trojan, expedition, so there were other local legends of Jason and Medea besides the Thessalian. One of these INTRODUCTION 39 was that of Corinth. This seems to have had varying forms; but the feature that is of special interest for us is the killing by the Corinthians of the children of Medea. (See scholion on Med. 264.) The gulf between the lolcian and Corinthian legends was bridged by the annalists Hippys and Hellanicus (the latter con- temporary with Euripides, the former more ancient) by making Jason and Medea emigrate to Corinth. This emigration, or flight, was motived (by Euripides at least) by Medea causing the death of King Pelias. So for the crimen laesae maiestatis she is sen- tenced in our play to exile from Corinth ; so in the lost Aegeus (seemingly later than, and a sort of sequel to, the Medea) she was banished by Aegeus from Athens for plotting against his heir Theseus. But to Euripides, or to a contemporary tragedian (of which latter alternative more must be said presently), seems to belong the making Medea kill her own children. Thus much for the legendary background of our play. [Bibliography. — The article Argonautai in the new edition (by Wissowa) of Paulys Real-Encydopddie der classischen Altertumswis- senschaft, vol. 11, cols. 743-787 (Stuttgart, 1895), presents a most elaborately full account (with a wealth of references) of all that has come down to us from antiquity about the Quest of the Golden Fleece and also discusses the mythological foundation of the legend. To this should be added the article Argo, ibid., cols. 721-723. Valuable, also, is Dr. Wecklein's Die Medeasage vor Euripides in the introduction to his edition oi\.ht^fedea (3d ed., Leipsic, Teubner, 1891), pp. 1-12.] 19. The question broached over three hundred years ago by PauUus Manutius, whether there were two editions of our play, still claims the attention of students of Euripides. A The theory ,. , , , ,.,-..■»>-. oftwoedi- hne that has come down to us as from Ennuis s Medea tions of the (of which more will presently be said), "qui ipse sibi Neophron* prodesse non quit sapiens, neqniquam sapit ", the Medea Greek original of which is evidently the verse which Cicero quotes as Euripides's : ft-urii (To^irrTijv oorts ov^ avrtS o-oc^js, was the /ons et origo malorum. Furthermore it has been remarked that a scholion on Aristophanes's Acharn. iig (Dind.) says that the 40 EYPiniAOY MHAEIA words i\€(TTaTa ly^diara. diadj-i. irdi ttot i^^$xi, TaXas ; KaTi(r)(i X^/xa Kal cr^.i/os OzocrTvyc^. Kol Trpoi TL TavTix Supo/xat, TV)(rjV ip.r]V opuxT tprjp,ov Kal ira.prjp.fX'qp. vrjv TTpO'S WV €^ 7jV 7]Ki(TTa. \ JLtaXpJKOt Oe QKJ TouivTx yiyv j/xtcrdx Tracr^oires kdlko, ; oi /u,^ TrpoSjjtrci;, 6u;U.', CTavTov cV Ka/cois; dl poi, 8-SoKT.f ;raTS:s, iKTo; op.p.aTun' WTriXBtT ■ TiSi ya.-> ixe tjioivux p,iXav SeSvKC Xvo-cra 6vp.ov. u) X'pf' X^P^^i Trpo's OLOV ipyov e^07rXi^6/i.£(r^a. zv, TaXatva, ToXprj's, ^ iroXvi/ Trovov Ppa\ti Swidepov(Ta Tov ip.ov ep)(op.a.i, ^odviu. Finally in a scholion on Med. 1386 we read that ' whereas others say that, in accordance with Medea's order, Jason having fallen asleep under the stern of the Argo was killed by a piece of timber falling on hira. Neophron is peculiar in asserting that he died by hanging ; for he makes Medea say to him : 'l>Oepfj Te'Xos yap airos aitrj^tV™ p,6pif Sipyj l3po)((oT6v a.y)(6vrp/ iTricnrdcras ' TOia (TE p.oipa (Tuiv KaKwv Ipyiov fxeva, StSafts aXXois /Avpiots iTqp.ipovs OtSiV VTttpOf. pj/j TTOT apatrBaj, Pporovi.' In the last passage it seems strange to prophesy to a man his sui- cide and the manner of it, and one fails to see how Jason had been guilty of exalting himself above the gods, unless it was in ignoring and violating his oaths to Medea. Apart from this criticism, the lines of this Neophron are fine lines and worthy of an able poet. INTRODUCTION 43 But they have a deeper interest for us than that : they are from a play that must have been, in its essential features, the same as our Medea — a play in which Aegeus appeared on the scene to afford Medea a chance of asylum, in which Medea killed her children after a mighty battle in her soul between passion for revenge and a mother's love, in which there was an altercation at the close be- tween Medea and Jason. If Euripides took up such a play of a contemporary to turn to his own use, he took practically the com- plete skeleton, — nay, more — and far more — , he took the very' flesh and blood nearest the heart, in taking the foundation of what is in many ways the most powerful and touching part of his own play, Medea's revelation of the conflict in her soul. The ancient notions of literary proprietorship were far simpler and looser than ours, but such a state of things as has just been described leaves far less ground for originality on Euripides's part than even a con- temporary friend would have been like to demand. We may say that Euripides, by setting himself such narrow limits of originality (assuming that the relation of the plays was what it is said to have been), forced himself, as it were, to display greater ingenuity, as in Medea's debate with her ^v/uo's, where he shews amazing power as compared with his assumed original. But this is not altogether satisfactory. Indeed, it is far from satisfactory. The question of plagiarism, as we should call it, we must resolutely set aside as such. The question is not simply whether Euripides took over and revamped another man's play ; it is whether a play that falls so neatly into place in Euripides's treatment of the legend of Me- dea iPeliades, Medea, Aegeus), that is so perfused and permeated with Euripides's spirit, as we know it from his other works, can be so much founded upon another tragedian's creation. One's instinctive answer to this is. No. And yet if one is to defend such a denial, but one course is open, namely to claim Neophron's play for Euripides. For Neophron's peculiar version of the manner of Jason's death can hardly weigh as an argument for the priority in time of the Euripidean play against the treatment of Medea's great speech and the fact that Aegeus's oracle sticks to Euripides's 44 EYPiniAOY MHAEIA play about as loosely as a bit of eggshell to a chick. In both these latter points 'Neophron ' seems clearly to have the right of way. If, then, we cannot believe that Euripides borrowed so much from a contemporary dramatist, we shall maintain that ' Neophron' is only (so far as the Medea is concerned) Euripides masquerading under Neophron's name (just as he is said to have brought out the Andromache under another's name) and that there were two editions of the Medea, of the earlier of which (brought out perhaps at Sicyon, Neophron's town ? ) we have lost all trace save the pas- sages quoted above (and perhaps vv. 725-8 of our Medea) and the tradition about Neophron's authorship. We should then ex- plain the story of Euripides's borrowing of Neophron's play as founded on the malicious gossip of his enemies. Certainly Aris- tophanes, Sophocles, and Aristotle treat the Medea as fully enti- tled to be called Euripides's work, and the story (see the schoHon on Med. 9) that Euripides received five talents from the Corin- thians for transferring the guilt of the kiUing of Medea's children from their shoulders to hers, looks in the same direction. But adhuc sub iudice lis est. [Bibliography. — Paullus Manutius'.s remarks are to be found in his admirable Commentarius in M. Tullii Ciceronis epistolas quae familiares vocantur in a note on ad fam. 7. 6 (pp. 446-450 in C. G. Richter's ed., Leipsic, 1780 ; Manutius's dedicatory epistle to the original edition is dated " Romae. Id. lun. MDLXXIX "). Manutius suggested the theory of two Medeas by Euripides, only to reject it. His own view was that two Medeas were translated by Ennius, that which we have, by the elder Euripides, and one by the younger Euripides, now lost. Manutius put together, with equal learning and lucidity, in a note not very long, though too long to quote here, practically all he knew about Medeas, — and it was a good deal. Further should be compared Dr. Wec'dein's introduction to his annotated edition of the Medea (already cited), pp. 26-30. The view (set forth above) that Neophron's Medea was by Euripides seems to have been propounded first by Ribbeck. (See Wecklein ut supra, p. 30^).) In several points my discussion of the Neophron question coincides with Ribbeck's, but my arguments were drawn up independently. Ribbeck's view that Med. 798-810 is INTRODUCTION 45 a doublet can be pretty clearly shewn to be false. His view of the early date of the ' Neophron ' play seems hardly plausible. — The quota- tions of the fragments of ' Neophron ' above are based on the second edition of Nauck's Tragicorum Graecorum Fragmenta (pp. 729-732).] 20. In making a brief examination of the characters of the Medea in supplement of what has been said above about the con- tents of the play, we may conveniently proceed from „ the less important to the more important. The old and plot of Colchian woman slave (the tjoo<^js, or nurse, as she is traditionally termed, albeit there is nothing in the play that marks her plainly as Medea's nurse) and the man slave that attends the two children (the TraiSj^ywyds) come first. The woman is deeply attached to her mistress and in full sympathy with her. She is also very fond of the children, and her anxiety is divided between them and her mistress. She philosophises on kingship and de- mocracy (vv. 119-123), on moderate means and great wealth (w. 123-130), and on the misapplication of music (yv. 190-203). She seems a sort of preliminary study of Phaedra's nurse in the Hippo- lytus. She lacks the somewhat coarse realism of Orestes's Cili- cian nurse in Aeschylus's Choephoroe (v. 734 ff.). However, she fills her place, in general, well. Both she and the TratSaymyds are curious, but they can hold their tongues when they should. This TratSayojyds is another worthy slave, a faithful old servant, and devoted to his young charges. He shews a certain vein of cyni- cism, but is less keen of wit than his woman companion. He is less fully characterised than the old slave of Hippolytus, not to compare him with such figures as the guard of the corpse in Sopho- cles's Antigone 01 that wonderful bit of concise characterisation, the watcher of the beacon at the opening of the Agamemnon . The Messenger has only to come in breathless to warn Medea to flee and then, at her request, describe the death of the bride and Creon. This he does in a fiiie garrulous narrative, with an appro- priate dash of the homely and commonplace in it and a bit of philosophising at the close (vv. 1224-1230). Thus much for the 46 EYPiniAOY MHAEIA vulgar characters of the piece. The minor characters of high rank are Creon and Aegeus. The former is a pompous person, weak and good-natured, priding himself, too, on his good-nature. He is a fond and indulgent father. He is a man, in short, in whom softness of head does more mischief than hardness of heart would have done. He is an altogether natural and vivid charac- terisation of a type. Aegeus, the chivalrous Athenian gentleman who feels that his word is as good as his bond, is a somewhat wooden figure perhaps. He is the embodiment of tv^6€ia. Still, he is neither silly nor priggish : his is ■yEi/mia eiijOeia. • Of the major characters Jason is an inimitable type of selfishness. Euripides had drawn selfish characters in his Akestis in Admetus and Pheres, but his Jason is a more perfect exemplification of that vice. Admetus lacks courage, but he is not without virtue. Ja- son's physical courage is not above question, and as for moral courage, he has none at all. He is a fine example of the handsome, charming, showy, and unprincipled Greek adventurer, the sort of man that made the name of Greek hateful among honest foreign- ers and caused a certain Persian king to remark that he had met but one Greek that kept his word. Such as he is, he is drawn to the life. It is fairly amazing that the creator of so perfect a type of the unprincipled man could be celebrated as a woman-hater. And now at last we come to the crowning figure of the play, to the heroine herself. In her again Euripides has drawn a type. Of the two sorts of women, the woman that is bound, and will- ingly bound, by ties of race and family, the woman that will sac- rifice everything, even to life itself, for her flesh and blood, and that other sort of woman that will throw away everything for the man she has fallen in love with, — of these two kinds of women Medea represents the latter. Antigone, as she stands before us in all her stern loyalty and rigid conscientiousness, in Sophocles's play that bears her name, has indeed ' a warm heart in a chilly business ', but to all beyond her nearest blood-kin she is a woman of ice. Haemon, her betrothed, may die beside her with her dead arm about his neck ; but the embrace of the living woman would INTRODUCTION 47 have had in it as much — and no more — of real personal love for him. It is only the woman that will burst and trample under foot the bonds of blood to bind herself with the fetters — if so they prove to be — of her own passionate individual choice that can be a great and glowing — albeit, perhaps, a lurid — figure of romance. And such is Medea. She has the defects of her qualities. It is the passionate intensity of her love that leads her into crime. She breaks the ties of blood with the murder of a brother ; she avenges the breaking of the ties of love with the murder of her children. So much for the outline ; for the details Euripides is his own best interpreter. 2 1 . The plot of the Medea has been sufficiently well indicated for general purposes in the story of the play that has been already given. Here a few remarks may properly be made on certain details of Euripides's treatment. Of prime importance is the formation and the execution of Medea's vengeance from the pyschological point of view. In the opening of the play (down to verse 213) we have, as it were, a chaos out of which a cosmos soon begins to emerge. At the opening of the play Medea is in a gloomy cloud of passion out of which the lightnings of her wrath ever and anon burst forth. We know not what definitely to fear : her faithless husband, his bride and her father, her own children, • — all are objects of her hatred. Then, when she has mastered herself, at least outwardly, her mind — the voi)s in the warring ele- ments — begins to work. Her interviews with Creon and with Aegeus mature the plan. After she has gained her respite from the former, she designs to kill Creon and his daughter together with Jason (vv. 369-375) ; after she has gained her asylum from Aegeus, she has her plan fully matured (v. 772), and in this the death of the children is involved : she will destroy ' the whole house of Jason ' (v. 794). Later she wavers and would save her children ; but she will not give her foes the satisfaction of kiUing either them or her, and she conceives that she cannot effect her flight with them. As it is, she escapes only by the intervention of Helios, who provides her with a winged car (or a car drawn by 48 EYPiniAOY MHAEIA flying creatures). There is a bitter irony, as one nnay say, in this means of escape that would have carried her living sons, just as well as their corpses, being provided so late. Indeed, the some- what wilful limitations that Euripides sets to Medea's magic, oi rather the way in which he forgets, as it were, the magic vis a terga in his vivid portrayal of the intensely real and human figure of Medea, may justly be counted at once a blemish and a beauty in the play. It may at least be doubted whether he would not have lost more than he would have gained had he made the story more natural and consistent in its framework. At any rate the amount of neglegentia, as a Roman might have called it, in the structure of the plot is of the smallest. Such a criticism as that Medea would not have found Aegeus at home when her car had carried her to Athens need not be seriously discussed. The greatest offence has been given to certain readers of the Medea by the episode of Aegeus. Aristotle, in the Poetics (1461 b = xxv. 19); says that irrationality (oXoyta) in tragedy is censurable when the irrational element (t6 oXoyov) is employed unnecessarily, and he cites as an instance Euripides's Aegeus (ipoi.i, ' Certainly you would obtain nothing more than on the strength of my word ', t.e. 'You would find my word as good as my bond '- Surely this is a tacit criticism of the way in which Medea as a suppliant forces Theseus's father, Aegeus, to bind himself by oath that he will not permit her e:(tradition. 23. Several of the later Greek tragedians, among them the younger Euripides, are said to have composed Medeas. The plays would be of great interest and value to us, had they been pre- served ; but they are irrevocably lost. 24. It would be a long task to collect the allusions to Euripi- des's Medea in Greek literature. It was parodied here and there by Aristophanes, by Eupolis, by Philemon. The last-named paro- died Med. 57 f. thus: is t/icpos /a* virrjKB^ yrj re Kovpavm | Xc'^at /ioXovTt tom/'ov o>s ia-Kt-utura, — a parody that is particularly interest- MEDEA — 4 so EYPiniAOY MHAEIA ing as attesting the reading fioXovarj in Euripides's text. Aristotle criticised a scene in the Medea (see above p. 48), — the same scene that Sophocles had criticised, but from another point of view. It is, perhaps, not going too far to think that Apollonius Rhodius's powerful portrayal, in the third and fourth books of his Argonautica (see above p. 38), of Medea's passion for Jason and her help of him in his adventures in Aea owes something to the writer's desire to produce a picture of Medea's early relations with Jason that shall be worthy of Euripides's picture of the ending of that great love. Certain it is that Apollonius first warms to his subject with the appearance of Medea upon the scene of action. 25. The reference to Apollonius has brought us to the time of Medea's introduction to Roman literature. Ennius (239-169 B.C.) turned Euripides's play into Latin verses. The translation aimed at literalness and was greatly admired by Cicero. But his literary judgement in this was warped by patriotism ; for the fragments pre- served for us, largely by Cicero himself, shew small literary taste or skill, and but an indifferent understanding of the original. Such as they are, however, the fragments of this early translation (made only some two centuries after Euripides's death) are very interesting and make us regret that we have not the whole. They are set forth below for comparison with Euripides on the basis of Ribbeck's publication in the Tragicorum Romanorum Fragmenta^ (p. 43 ff., Medea Exul). Utin4m ne in nemore P^lio seciiribus caesa dccedisset dbiegna ad terrdm trabes, neve inde navis incohandi exdrdium cepisset quae nunc ndminatur ndmine Arg6, quia Argiui In ea delectl viri vecti petebant p^lleni inauratam drietis Colchis imperio r^gis Peliae p^r dolum ; nam niimquam era errans m^a dome ecferrdt pedem, Medda, animo aegra, am6re saeuo saiicia. These verses represent Eur. Med. 1-8. It is curious to note that Ennius seems to have misunderstood Euripides in part (see INTRODUCTION 51 the Commentary), and that he took the same line as Timachidas (see the 'YiroOtan) in thinking that Euripides had shewn a poor taste in his arrangement of the. opening of the prologue. (With Ennius here one should compare Phaedrus 4. 7. 6 ff.) Antlqua erilis fida custos c6rporis, quid sic te extra aedis dxanimata eHminas ? = Eur. Me^. 49-51. Ennius's cusfos corporis represents Tpo<^os rather than oikcuv KTrj/xa. His copy of the text must, in the desig- nation of the characters, have named the old Colchian woman Tpo<^os. His text in these two verses was pretty certainly the same as ours. cupi'do cepit miseram nunc me pr61oqui caelo dtque terrae Mddeai mlserias. = Eur. Me^. 5 7 f. Ennius's copy had MijSeias, not SeoTrot'vijs, in V. 57. See on this variant the Critical Appendix. . . . fluctus u^rborum auras aicupant. Apparently = Eur. Merf. 131. Quad Corinthi arcem dltam habetis mitronae opulentae 6ptumates, {n6 mihi uitio u6s uortatis d patria quod dbsiem :) miilti suain rem bdne gessere et ptiblicam patriA procul ; miilti qui domi adtatem agerent prdpter ea sunt Inprobati. Intended to represent Eur. Med., 214-218. The second verse is Elmsley's practically certain restoration from Cicero's prose {ad /am. 7. 6), persuasit ne sibi uitio uerterent quod abesset a patria. This is a painful mistranslation of a harsh original. Ennius almost certainly had the same text that has come down to us in the codices, save that he very probably had Svctvoulv in v. 218. He surely read /ie/i^iyafl* in v. 215 and began his mistranslating by understanding i$rj\6ov So/xcov as ' I left home ' and fvq . . . ii.iij.\liri(rff as a prohibition. He seems to have divided v. 217 at the caesura, thus : Toiis 8' iv OvpaLOLs — ofS' d<^' ■^(rvxov ttoSos, ' while others at home — these from their quiet walk', with an anacoluthon. See further Trans, of the Am. Phil. Assoc, 32 (1901), Proe. xxviii f. 52 ' EYPiniAOY MHAEIA . . . nam tir sub armis militn uitam cdrnere qu^m semel modo pdrere. s= Eur. Med. 250 f. Si td secundo liimine hie ofKndero moridre. = Eur. Med. 352 and the first word of 354. Perhaps Ennius's copy had not v. 353. Ndquaquam istuc istac ibit : mdgna inest certitio. = Eur. Med. 365 and part of 366. Ndm ut ego illi siipplicarem tdnta blandiloqudntia — ? = Eur. Med. 368. ille trauersa m6nte mi hodie trddidit repdgula quibus ego iram omndm recludam atque llli pernicidm dabo^ mihi maerores, illi luctum, exi'tium illi, exiliiim mihi. Seemingly a free and vigorous rendering of Eur. Med. 371-5 and 398 f. fused together. Quo niinc me uortam? Qu6d iter incipiam fngredi? Domdm paternamne dnne ad Feliae filias? = Eur. Med. 502 and 504. Ennius omits v. 503. Tti me amoris mdgis quam honoris sdruauisti grdtia. From Eur. Med. 526-8. Sol, qui candentem in cadlo sublimdt facem. Perhaps from Eur. Med. 764. In that case, we should read suMmas. . . . saluete, 6ptima corpora ; cdtte manus uestrds measque accipite. From Eur. Med. 1069-72. Iiippiter tuque ddeo summe S61, qui res omnis spicis quique tuo 6i summons Jason (see vv. 820-3). If 'his is so, she does not appear with him at V. 866, or else a mute appears in her dress and mask. The cries of the two boys behind the scene (v. 1271 f.) may have been uttered by the deuteragonist and tritagonist. The two little boys, who are mute characters (kom^i Trpoo-wiro), would be reckoned in the setting of the piece as a vapaxopriyrjim. (See Haigh, Attic Theatre^, p. 264.) 32. According to the quantitative division of a Greek tragedy set forth in the twelfth chapter of Aristotle's /fc^/iVj, _. . . . the Medea falls into the following parts : the play I. IlpdXoyos, vv. 1-130; II. KapoSos (in an irregular form), vv. 131-213 ; III. 'ETrcierdStQV TrpcoTOV, vv. 214-409; IV. STacri/iOV irpS>Tov, vv. 410-445 ; V. 'ETrctcrdStov it.vTf.pov, vv. 446-626 ; VI. Srao-t/xov SeuTepov, vv. 627-662 ; VII. 'ETretcrdSioi' rpirov, vv. 663-823 ; VIII. Srao-ifiov rpirov, vv. 824-865 ; IX. 'EwtujoSuiv Tcraprov, vv. 866-975 ; X. 2T<£o-tp,ov reraprov, vv. 976-1001 ; XI. 'Ejreio-d&ov ir€/ii"rov, vv. 1002-1250; XII. STa(Tip.ov iriixirrov, vv. 1251-1292 ; XIII. 'E^oSos, vv. 1293-1419. The irregularity in the parodos consists in this, that a choral song (x-ipi-Kov), consisting of a proode (vv. 131-138), a strophic <;ouplet (vv. 148-159 and vv. 173-184), and an epode (vv. 204- 64 EYPiniAOY MHAEIA 212), is interwoven, as it were, with the anapaests of Medea and her servant. The fifth stasimon partakes of the character of a commos (ko/x,u.o»). The episodia, the connection of which with our modern " acts ", through the actus of the Roman plays, is patent, are subdivided in three cases in the Medea (vv. 35 7-363, 759-763, and, most noticeably, 1081-1115) by anapaests spoken by the leader of the chorus (/copvc^atos), who serves in this play, as in others, as a rudimentary fourth actor. It may be noted as an interesting matter of nomenclature, too often overlooked, that to Euripides, as well as to most ancient writers on the drama, the term TrpoXo-yos meant merely the opening speech. Thus in the Medea the prologue would be vv. 1-48, and vv. 1-130 would be fairly termed the Aristotelian prologue. ETPiniAOT MHAEIA MEDEA — 5 TnO©E2I2 MHAEIA2 Idarmv eis Kopivdov iXOcav iirayopLEvoi koI MjJSetav lyyuaTai kol Trjv KpeovTOs Toru K.opLv6iiov j3aavoV) ots fKiivrj ^rj(Tap,ivri Suidup£Tai. ' Kal 6 Kpe'wv Se irept- irXaxets Tij dvyarpl a.Tr6XXvTai. MTjSna 8c Toiis eavT^s iratSas otto- In this u?r4ffeiris or ' argument ' {argumeniunc), which has been trans- mitted to us prefixed to the play in Mss., we find three divisions: i) a brief and very inaccurate out- line of the play (the uTriScffis proper) ; 2) a note on the Greek poets' accounts of Medea's rejuvenation of Jason and other people and, appended thereto, Staphylus's version of Jason's death, as caused by Medea; 3) the story of Euripides borrowing the Medea from Neophron and two bits of criticism on the play. Part of 2) appears also in a different order in a scholion on Aristophanes's Knights 1318 Dind. I. liraY6|jLevos : 'introducing'. Tawdry for &,yiiiv. 1-2. lyV"*'''*' irpos 7d|iov : the last two words are tautological; and the phrase is grossly inaccurate (for Jason and the princess are already married when the play opens), unless the writer is using a bit of frippery for the plain ya/j^t. 2. rXai}KT|v : the name that is gener- ally given by the later mythologists to Creon's daughter, though some called her Creusa. Euripides gives her no name. 3. ifiVYaSciieo-Sai: = the plain classical Greek ^eilyeiv. 4. irapai- Ttjo-anivt) : viz. from Creon. — irpoi {iCav T||i^pav: for the classical pilav rifUpav. — Kal Tvxovdp/uiKa ttAW ltf/ovv avolni(Ta(Ta iviovol-qcri. Sto^vAos Se <^)jtrt 15 Tw 'Id(roi/a rpoirov tivo wo t^s MijSetas di'aipe^vai • lyKiXtwairOai, yap avrrjv ovtids virb ry irpvixvr] t^s 'Apymii KaTaKoi/jurjd^vai, /itX- Aowrijs T^s V£s 8iaA.ik(r^ai vtto toO )(p6vov' im'irt.aowTTj'S ow Trji irpv/iVTjS TovT(U Sk avTcS to /i^ ir£<;()uA,a;(;'vat t^v i-iroKpuriv rrjv MjjSaav, dWcL irpo7r€crcLV eis Saxpva ot£ i-7refiov\evcr€v IdcrovL Kol rr} yv- vtUKi. iiraLvtiToi 8« ij elcrfioX^ Sia to TraO-qTiKm^ oyav i)(iw koX tj 14. Tpo4>ots : a lost play of Aes- chylus of the contents of which we know really nothing save what we are told here. 15. Zrd^uXos: of Naucratis, in Egypt, author of a work TrepJ OerTaXui'. 17. cIStcds: anticipating the clause /leXXoiiirijs . , . XP^"""' — Here again we seem to find Jason and Medea living to- gether to old age. On this story about Neophron see Introduction, p. 41 ft 20. iiiroPaX^(r6ai : 'to have adopt- ed', a metaphor from a woman putting to her breast a child not her own. The author as mother is a figure that appears in Aristophanes ( Clouds 530). 21. AiKttCapxos Y 'EWdSos BCou : i.e. A iv Tif Tplrif (sc. pipXlif") 'E. B. Dicaearchus of Messene in Sicily, a pupil of Aristotle, was the author of a work in three books dealing with Greek civilisation ("EXXdSos /3/os) from the Golden Age to Alexander. It appears to have been the first his- torical work of its kind. It naturally included literature, -^ 'Yiro)iiV^|iao-i : ' Notes ' ( Commentariis), a lost work to be assigned, it would seem, rather to Aristotle's pupil Theophrastus. 22. )i,^|i,(t>ovTai : not Aristotle and Di- caearchus but certain would-be critics. The criticism (which refers primarily to vv. 899-905) is crude and unjust. This criticism, it has been noted, is much lilje that of Aristotle where, in Ihe Poetics (chap. 15 = 1454 a), he insists that a dramatic character be consistent and, though admitting the right of the poet to draw a 'consist- ently inconsistent ' (6/xo\Ss dxii- imKov) character, unjustly condemns the change of attitude toward her death of Euripides's Iphigenia at Aulis. Aristotle as a critic of litera- ture has enjoyed more favour than he ever deserved. — irc()>vXax^vai ttiv imSKpio-iv : i.e. played her part con- sistently. 24. {iraivclrai: presum- ably by the same critics. — cCo-poX,^: technical for the first verse,, as is shewn by the context. — ira6i)TiKus &70V txav: 'its highly emotional character ', YnO®E2I2 MHAEIAS 69 €7ref£joya(rta jiii;8' iv vdiiraKTi xai to. e^s ' O7r£j0 dyvOT/cras 25 Tt/ia;i{tSas Tip iaripia r]trl irpanm Kt.-)(prjANOT2 TPAMMATIKOT TnO@E2I2 M^oeta 81a, T^v Trpos 'Idcroi/a €)(6pav rm ckcivov y£yafi.r]Kev(U njv KpcovTos dvyaripa airfKTUvc [liv ravr-qv Kai K^scovra /cat Tois 25. ^IcpYoirCa ; ' subsequent working out', 'elaboration' (of the thought expressed in the first verse). The following words of the play as far as IleXi^ nerifSSov seem to be in- cluded in the irp^Tof KcxP'f)o'6ai : 'that he (Eurip- ides) put the cart before the horse', i.e. used the figure irpuBiffTepov. The essence of that form of expression seems to consist (though Timachidas and his kind probably did not so understand it) in visualising past events and describing first what is in the foreground of the picture. It is frequent in Homer. 27. ctfiara ktI. : said of Calypso in e 264. Aristophanes of Byzantium or Aristophanes the Grammarian (7poyn- fiariKds — ' scholar ' would perhaps be a better rendering) was the suc- cessor of ApoUonius Rhodius (the author of the Argonauticd) and the predecessor of the great Homeric critic Aristarchus as curator of the Alexandrian Library. He is said to have died at the age of seventy-seven in 185 B.C. He seems to have been the first editor of the works of the Great Tragedians, as preserved at Alexandria. His prefaces ('Tiro- Oiacis) to several plays have come down to us in various degrees of completeness. They contained be- sides the outline of the play (the iir69e(ris proper) such information as is given in the present one about the use or non-use of the same subject by the other two great tragedians, Aeschyles and Sophocles; about the scene of the action; about the make-up of the chorus; about the first speaker (6 wpoKoyl^uv or ^ irpo- XoyZfoufftt) ; about the date, the other contestant in the first three places, and the other plays of the three tetralogies. The last item of information — the date, etc. — was JO YnO®E2lS MHAEIAS (Siovs mous, i)(o)pt(r6ri 8e 'lacrovoi Aiyei crwotKijo-oucra. Trap' ovSe- Ttpio KUTOU rj p.v6oTroiia. r/ piv (TKrjVrj Tov Spa/naros VTrOKUTai iv KopivBia, 6 8e )(opbi (Tvvea-TTjKei/ ix yvvaiKuiv iroXiTi&wv. TrpoXoyi^a 5 Se Tpoos MijSetas. i8iBa.)(6ri im TIvdo&iLpov ap^ovTOs 6\vp.iria- 8os irf tTtt a. irpSiTOi Eii^o/jiW, SeuTepos 2o(^okA.^s, TjOtVos derived from Aristotle's work AiSo- CKaXlat (' Annals of the Stage,' as we might term it), which was based on the official records of the dramatic contests preserved at Athens and is now, unhappily, lost. (See Haigh, TAe Attic Theatre,"^ pp. 60-65.) One of Aristophanes's 'T7ro9^ff«s might also contain remarks at the end about noteworthy points in the play m question and bits of aesthetic criti- cism. In the present case such re- marks were either never added or have been lost. 3. ISCovs : see above on roils iavTTJt jrafSos. — Al^tl oTivoiK'0C Eii^' ue\€ (It) Siairr&o-Sai : = £i0£ fO) SieTTTaTO. ,HA. 871 a, G. 1513, GMT.734.— "ApyoSso-kA- (jios : poetical for'Apyw ; cp.v. 1335 and f.T. 1345 'BAActSos vem ctko.- JU(Tt TTE- XovTat. — 4pcT|iuo-ai : -oo) verbs derived from substantives denote commonly either (i) the making the object of the verbs that which is indicated by the noun whence the verb is derived ; or (2) the providing the object of the verb with that which is signified by the noun whence the verb is derived ; thus CjOET/ids ' oar', ipsTfiovv ' equip with oars ', 'oar' {remis instruere). The verb epcr/toCv occurs only here. Seneca Agam. 425 speaks of ad militares remus aptatus manus. 5 f. dvSpuv apicrT^<)c»v : com- mon circumlocution = apurrimv. Cp. avS/3£s woXfrai and the like. — ot . . . iieTf^XSov : a restrictive and essential relative clause and there- fore not to be set off by a comma. In prose we should have had with the antecedent an article to indicate this relation ; thus : tSv apurrim/ dt ' the chieftains that ' . — t6 ird-yxpo- r]iJ.o(Tvvri IleAtao. — Thus far we have had a vain wish — a wish for what is impossible, because the conditions belong to the irrevo- cable past. From ov yap through verse 16 is told what would not have happened in the past nor be happening in the present, could the previous wish be fulfilled. Thus in the words ov yap av to vocreT ra ijilXTara (v. 16) the story of Medea is told rhetorically from the time when she left her father's house to the time represented by the speaker. Strike out ov yap av (v. 6) and ov8' av (v. 9), and you have the plain story. — We have something similar to this in Soph. El. 1505-7 )(pfjv 8' evOvi fivai TrjvSe roll iratnv SiKiji/ | otrns Tripa TrpdiTCTav ye tIov vo/uov 0c\€i I KTCivav • TO yap iravaupyov ovK av TJv TToXv ('it ought to be right straightway for everybody to kill whoever will transgress the 76 EYPiniAOY MT^Seta TTvpyov<; yr\<; eirXevcr' 'IcoX/cias ipwTL dvfLou e/cirXayetcr lacroi'os ovh' av KTaveuv neiaacra IleXiaSas Kopa'S varepa KarcoKei TijpSe yr\v Koptvdiau ^vv dvSpl Kol t4kvoi(Tiv avhdvovcra fxkv (f^vyij TToXiTCJi' S)v dipovepov(T' (13). Theoretically we should have a p-iv after KarifKu (10) and a rf after avSavovcra here. — 12. A crabbed arrangement of the words u>v 't'^li ToXtrSv a(j>LKiTO \66va, which again are = toTs TroXirais Sv vyy avyrj and ttoXitcuv suggests the contrast between the exile ((^iryas) and the natives (TToXirai). Cp. /jLTfTpviav TeKVOLi; Ak. 305. ^ova. is poetic ace. of the goal. 13. air

^pau(r' : understand (though the ellipsis is hardly felt) Tov fuyw ' the yoke ' (of wedlock) ; cp. v. 241 f. Tr. ' in per- fect accord with '. — 14. ijirtp : at- tracted by the predicate subst. auyrripia. from the logical oirep (^= TO iravTa ^Vfi(l>epav av&pi, as is explained in a slightly different form in verse 15). HA. 631. — 15. In apposition to ^ep and added for perspicuity, though the thought could quite easily have been supplied. See the last note. The thought might (bar- ring metre) have been expressed by yvvalKa avhpl irdvTa avfi-^ipav. — (IT) SixocTTaTciv is the negative equivalent of iravTa ^vp-^ipav. — 16. Though this is logically part of the long clause begun in verse 6, it is not influenced in form by the unreal construction begun in that verse. The second half of a dependent compound sentence in Greek has a marked tendency to revert to the independent form. — I^Bpc^ irdvTa (sc. eori) is con- trasted with avhavovaa vyrj . . . xOova. Everything is hostile to Medea at Corinth, since she is opposed to the king (as we pres- ently learn). — voo-et (= o-Tao-ia- la : the vdcros of state and family is orawis) rd (\TaTa means irpoi avSpa St^^ooTOTg. The voiros tS>v tkTa.Tmv is explained in verses 17 ff. — 17. irpoSovs: 'abandon- ing '. — ainov . . . ifLi\v : a false antithesis. Note the chiasmus. — 18. 'Ido-uv : contrasted in thought (though there is no p,ev with it) with MrjSeia in v. 20. So too Xtic- TpoLs /3a(rtXiKots cvvd^erai seems to be contrasted with Kurai 8' ao-iTos KTe. (v. 24). — X^KTpois : local dative ( = ci' XeKT/jots). 78 EYPiniAOY yrifLav. — Kupei : = Tvy)(a.ve.i. — 24 flf. Euripides does not write quite clearly here. He means his speaker to say that Medea some- times does what is mentioned in vv. 21-23, at other times, by utter- ing love-sick lamentations (vv. 31-35), she breaks the mute and tearful despondency which, fasting, she has for the most part main- tained since the discovery of her husband's faithlessness in marrying the princess. If we had eifliis jitev ;8oa in v. 21 and i/Cv Sc Keirai in V. 24 the sense would be much clearer. Vv. 24-35 ''sad as though Euripides had added them on second thought, which would ex- plain the lack of clearness. — 24. (r«|i : object of crvvTi^KOViTa (25) . — ti(|>et(r' : sc. avTO, i.e. to aSt/jta ToTs d\yr]86(Xav : suggesting Medea's own language, — indeed from here to the end of v. 35 we have an informal indirect version of Medea's laments. We can even restore the words as the narrator would imagine them, thus : 'O irdrep <^'.\e. kiu ydXa oTkoC ff o«s irjOoSoW atfHKoiXTjV pjer avSpos os /!£ vuv oTi/xacras ex^'j tyvioKa 8" — 17 ToXaiva — $viiopS.i viro olov . . . -j^BovK. 32. 0^ though referring in form only to oifcovs may be referred in thought to the preceding two nouns. — a<|>(K(To : seemingly in the simple sense of ' came away '. 8o EYPiniAOY fjier' di'Spos 05 cr<^e vvv OLTifidcra^ ^X^''' iyvcjKe 8' — ij TaXaiva — crvix(j)opa<; vtro olou irarpwas fxri OLTToXeiireo'dai, )(6ov6? • crTvyel Se iraiSas ovS' oputcr eixftpaCverai, SeSoi/ca S' avTYjv firj tl /^ovXevar) viov — ^apeia yap (f>py]v, ovB' ave^eTai /ca/ccSs 'iTdcr)(ovcr' , eywSa, rfjSe — , Set/xatt^co 8e vlu firj ffrjKTOP (oar) (jxiayavov St' i^Traros, 35 40 33. &vSp&s is: 'a man that'; the rel. clause is essential. — &Ti|id(ras €X.ei : = ■^TifuiKi. This analytical perf. is noticeably com- mon in Sophocles. In such a verb as it\ei. 42. r\ KaV: 'or else'. — Tupav- vov : shewn by the context to be feminine, — 'the princess'. — yl\- jiavra : sc. avTrjv, i.e. t^v rvpavvov. This verse puts Jason's sin in the briefest and sharpest form : he has abandoned Medea to marry a powerful princess. He is utterly selfish. 41 = 380. — S6)i,ovs : poet, ace. of goal without prep. — ^^x°s : sc. TO vujuc^ucdv. The house is naturally supposed to be near Creon's palace. 43. Kaircira : z.e. ripawov tov re yTJ/iavTa KTiivntra. — |u(S«) : sc. T^s irapova-ip. The fear is that Medea may be put to death. Cp. vv. 381-3. 44 f. Seiv^ : the secondary sense of ' clever ', ' cunning ', seems to prevail here. This is shewn by what follows. The cunning consists, of course, in taking vengeance, not in getting caught. V. 43 is disregarded for the moment. — toi : intensifying, ' I can assure you '. — ^cjSCus : with KoXXCviKOv acrtTai. 45. ovrf) : sociative dat. with av/jL^aXibv £)(9pav. — Ko\X£viKov : sc. ^(T/jia. MEDEA — 6 KaWiviKov auerai is picturesque for viK-qfra. Our ' triumph ' is less picturesque but renders the essen- tial thought. Inasmuch as the speaker fears primarily for the children, and it is only her fear for the children that is realised in the play (for Jason is not killed and the princess dies in another way than that here suggested), vv. 40-45 must be held to obscure the connection of thought. They form a parenthesis ; for vv. 46-8 follow immediately in thought V. 40. Euripides doubtless felt that this speech would not form a sufficient introduction to the action of the play, if only appre- hension for the children were ex- pressed here. 46. otSc : virtually adverbial, = SSe, ' hither '. — Tp6- )^v : = Spo/uui/. Tpdj^os is to be distinguished from rpo^ds = ' run- ner', i.e. 'wheel'. Cp. rpoTros and TpoTTOs. 47. povTL^ovm and 82 EYPiniAOY TTAiAAruuroc vaXathv oiKoyv KTrjixa SecTTTOwijs e/u,'^5j TL irpos TTvXaLCTL Tiji>8' ayov;8eta XeCirecrOat, deXei.} so TPOOC riicvbiv oTTttSe Trpecr^v rSiv 'idaovo?, XP'fjO'Tola-i SowXois ivfi^opa to, SeaTTOTWv KaKOi'i irvTvovTa koL (f>p€V(t>v avOaTTTerai ' eyw yap es tout eKpeprjK aKyijoovo^ SS with the same case construction. 48. KaKuv : genitive with ivvoov/xe- voL, as with ^povTit,uv. HA. 742, G. 1 102. This is the gen. that generally takes irept'in prose. — v^a (|>povT($ : = ij Tiav viwv ^povTL<;. — ()>i.Xct: = eia)de. The proverbial end- ing of the speech is wholly in the Greek style. — The two young boys who now enter from the spectator's right (they had been in the town) are of course accompanied by an old man-servant, the familiar iratSaywyos of the Greek house- hold. The man is doubtless an old slave of Jason's family, as the woman is of Medea's. Cp. v. 53. 49. otKuv KTf))jia : practically one word, ' chattel '- The person addressed is an oiKerus, a house ser- vant. SO- a.7«iv tpriiiCav : = ip-qiiov elvai. So TTjvS ayova £pr//Atav is = oiS tprjp.O'; ovcra. 52. o-oO : with /iovj; rather than XetVecrflai, albeit a-ov p.6vrj \eiTreu9ai is = (rov airoXti-ireardai. Cp. Soph. Ai. 511 (Toru SioiVeTtti //.ova's. 53 balances v. 49 and, incidentally, introduces the new character to the audience. — T^Kvuv oiraS^ is, of course, a poetical circumlocution for Trat- SaytoyL 54 f. XPI""''*''*'''' '■ ^^' phatic, as its position in the sentence shews. — |u|jL(|>apd: sc. itTTi. — Tci. . . . irtTvovTtt : concrete for TO TO. 8tpEvuv avOdiTTCTai: cp. Ale. 108 lOiycs xjjvyrj'i, Wiyes S« (jipevuiv. 56. 7^9 : 'at all events', like the later development, parallel to -yap, viz. y ovv (jjuidem certe). This MHAEIA 83 a>o-^' Lfiep6<; fi virfjXde yfj re Kovpavw Aefai fioXovar) Sevpo Se(rTToCvrj<; Tw^as. TTAiAAruuroc ov vo) yap Tj rdXaiva Trauerai ■yooji'j TPOOC Cv^' 0) OC Ti S' icTTiv, S yepaie ; fi^ (jtdovei. (ppaaai. TTAiAAruuroc ouSo' • fjuereyi/oyv Koi to, irpocrO' elprjiieva. TPOfOC [lij — irpos yeveCov — KpvnTe crijpSovXov (redef ' (TLyrju ydp, v. XPV> ''"'^^'Se Orjcroixai irepi. TTAiAAruuroc rJKovaa, tov Xeyovros, ov Bokcov kXvclv, TTCcrcroifS irpocreXdcoi' ivda. or) TroKairepoi dd(T(rovC\a. TPOopdv £x<>' = = S(a<^i- cation. — |iS6as seems also (if we ptTou. 76. Seemingly proverbial, think of its prose sense) to cast ' Old love's a laggard in the race doubt upon the truth of the with new.' For the genitive see remark. — ^s: = dXr/^iJs. HA. 749, G. 1 1 20. 77. iKciva : 73. pov\o(|ii)v ov : velim. — o4k sc. BiofjuiTa, i.e. the household of clvai : sc. a-atjnj. The form of Jason and the princess. — roto-Sc : the negative is due to its close with a gesture towards the house, connection with the infinitive with The far and near are contrasted which it stands, unless we should in exEtva toT(tSc. 78 f. diruXd- pause after ovk and throw it back fua-9' : aorist for perfect, as often to PovXoLiJiTiv av. 74. Kalis Kcut'n- in this verb. The plural in this dignaniis. Our 'and' may intro- and the following verb includes 86 EYPiniAOY TTAIAArOJrOC dtTtt^ (TV y — ov yap Kaipos ctSevai raSe hiiTTTOivav — 'f](TV')(a.tfi koI aiya \6yov. 80 TP0<1>0C 9/9 (U TEKV , a.Koved' oios ets v/x,a? vaTijp', oXoiTo jLiei' fiT] ' Seo-TTOTTj? ydp icTT e/AO? ' wrap Ka/cds y' wi" is (f)i\ov<; dXicr/ccTai. the mistress and the maid. — op' : looking backward (inferential) and further defined by the following clause. — el irpoo-o£o-o|i«v : the form of the minatory condition is here, as often, transferred from the second person, where it took its rise, to the first. As you can say to another oXuAas ei tovto iroi^- crets ('if you will do that'), so you can say oXcoAa el tovto ttoiijctw (where, however, we cannot say, 'if I will do so and so'). The sense is 'if I ship a new wave of trouble on top of the old one before I have baled that out'. The servant fears for herself the increased violence of her mis- tress's passion. The ' we ' is rhetorical. — irplv riS' Jfi^vrXri- K^voi is strictly speaking tauto- logical, vfov and TraXaiw are juxtaposed for emphasis and con- trast and connected by the prepo- sition in 7rpoo-o:'croyno'. ToS' is = TO TToXtubv KaKov- The nautical figure is natural in Greek, espe- cially so in Attic Greek. Sea- power €py£Xous : = ' disloyal '. <^t- Xovs is practically = oikciovs, or rather, it keeps its old sense of 'own'- MHAEIA 87 TTAiAAruuroc Tis 0' ov^i dvrjTCJu; dpri, 'yfyvQ)crKeL<; rdSe, 85 oi? TTttS Tis avroi/ Tov 77eXas /i.aXXoi' (^iXet, 86 ei ToucrSe y' ew^s owe/c' ov aTepyei, iraTtjp ; 88 TPO+OC LT — ev yap ia-TO) — ScjfJLaTwv iacj, TCKva • 89 (TV S' a»s /xaXtora ToucrS' iprjixcja-a's e^e 9° fcai ju,^ TTcXa^e fjujrpl hvaOvp^ovyLCvrj • 85. tCs S' oix^ 6vT|TMv : sc. KaKos es (^tXous euriv- The old man seems proud of the worldly wisdom that makes him so cynical. Perhaps he is squaring accounts for the superior tone of V. 60. — rihe : anticipatory of the following. 86. toO ir^Xas: = TOV irX-qa-iov, ' his neighbour '- Menander seems to have taken over this remark as a proverb and Terence to have copied from him. Cp. Ter. Andr. 426 f. Verum illud verbum est volgo quod dici solet, | omnis sibi malle me- lius esse quam alteri. 88. Closely connected, of course, with the sec- ond half of V. 85 and particularly .vith the emphatic apri. — eivTjs ofivcK : contemptuou.s, = ii<^' ijSoi^s ywatKos avviK , Soph . Antig. 648 f. The contempt is heightened by the sneering ye. in ToucrSe y, 'these mere children '. Cp. Soph. O.T. 383 u t^ctSc y' opx^s auvv^ 'if for this kingship forsooth', which, as the speaker goes on to say, he had justly acquired. — m ' olSo ^— irpXv KaTacTKyjxpaC nva • i)(^0povs ye fiivToi, p.rj ^i'Kov's, Spdaeie n. 95 MHAGIA Sv(rTavoai : means ' come down on like a thim- derbolt', 'strike with a thunder- bolt' (KepawSxrai), and hence is used with the ace. The figure of the storm already introduced by the slave-woman (v. 60) is here made more definite, and we are prepared for v. 106 ff. 95. nij i|>C\ovs : strictly speaking redun- dant after i^dpoi's ye. — ti : i.e. Tt aixa-pi- — For the double ac- cusative with Spd0C too' eKeivo, <^iXoi TrctiSes ' [Ji-yJTrjp Kivei KpaSiav, Kivei Se ^oXov. crirevoere datrcrov 8&)/u,aros curw /cat fjiTj ireXda-TjT o/xjuaros eyyvs fiTjSe Trpoa-eXOrjT , dXXa (f>v\d(r(r€o$ : a thunder-cloud is of course meant. — otiiu-yais (' by wailings ', to be construed w. S^Xov) applies to the thing signified, to the anger of Medea, and not to the figurative storm. This is distinctly Greek. Perhaps the best example of the fusion of sign and thing signified is the army-eagle in Sophocles's Antigone 1 10-126. — OC i(u ju,oi p.01, 10) T\rip.(av, Tt Se crot TraiSes Trarpos djoi7rXa»ctas fieTe-)(ovTi; ti roucrS' e^^f is ; ot fiot, T€Kva, p,ij TL trddrjd' ws virepaXya). "S SucricaTaTravoToi' aA.yos and in this play V. 93 f. oiSe TravcrcTat p(oA,ou . . . Trplv Karafncrj^l/al nva. — Sr\- xScura KaKoto-iv: 'stung by inju- ries'. KaKotcrtv is = 6v€i8€(n or III. atat is ^x^^-fl meirum ; cp. t(o V. 96. — T\d|iiiiv : a mere ejacu- lation of self-pity and nom. not voc. The repetition of hraBav is passionate. For the form of the anapaestic dimeter here cp. v. 99. 112 ff. a Kardparoi iratSes : at this point Medea catches sight of the children, who have just entered with the iraiSa-yio-yds- (iotpaKvua. Toirs TratSas elcriovTai a/UL Tto iraxSaymym iiri/SoS Schol.) — o-Twytpos: active, as in v. 103, ' of a mother that hates you '. — ' ij\i'ai fiaKpw, 'and best woman of those under the sun by far'. 127. \ifrra: we return to ra fierpia, which is after all the logical subject. — rd 8" vireppdWovT* : opposed to TO. p.kv pirpia, which is the logical subject of the foregoing clause. 1 29. oAS^va . . . 6vr)Tots : = ovk wfjtcXcl OvrjTOVi. Kaipov is = Kai- piav Swa/xiv. It is acc. of inner obj. Cp. /r. 80 PporoK to, //.li^ia Twv /xecroiv tiktu voaovi;. — 8': ' nay ', ' on the contrary ' ; used in- stead of an dAAa at the head of the clause. 130. SaCjiuv : appar- ently about equivalent to rvxq, or perhaps better a sort of cross be- tween Tvyyi and 6 ^£os. — fry^ois: = Tois VTrtpPdWovfTiv. — 4ir^8i,\eei yap 6 ^eos to. VTrtpi^ovTo. ( = mtp^aXSjovTa) Travra koXovuv. Horace seems to imitate this Carm. i. lo. 9-12. Saepius ven- tis agitatur ingens | pinus et cel- sae graviore casu | decidunt turres feriuntque summos | fulgura mon- tes. In these two passages, as in the present, we have the praise of the "aurea mediocritas". 131. The repetition has refer- ence to Medea's two cries, vv. 96and 97 and vv. 111-114. 132. Sno-rd- vo« : so Medea had called herself, as they have heard (v. 96). 133. Ko\- xCSos : she is still a ^dp/iapoi, still a half-savage, to the Greek women, as they hint in calling her the Colchian when they mention her fierce cries that have brought them to the door. Yet they are full of sympathy. 131 ff. The chorus, made up of Corinthian matrons, now comes upon the scene. They explain their ap- pearance at this juncture in their first utterance. For a somewhat similar explanation of the appear- ance of a chorus of women cp. Hipp. 121 flf. Those verses read like a deliberate improvement on verses 131 ff. here. Cp. also Hel. 179 flf., where the chorus come at Helen's cry, and (as an earlier example) the coming of the chorus of Oceanids in Aeschyluss Prometheus at the sound of the riveting of Prometheus's fetters. — The chorus, although neigh- bours, do not yet know, inconsist- ent as this may seem {aXoyov Aristotle would have called it), that Jason has abandoned Medea and taken a new wife. Medea had been screaming before (v. 20 ff.), but only her attendant had heard her — another inconsistency but outside the plot of the play (1^(0 TOV /jLvOev/utroi) and so jus- tified. — o484 irpei'a pv0OL<;. 140 134 f. \^|ov : what the old woman is asked to say is not perhaps clear at the first glance. What seems to be asked for is the reason for the cries of Medea, as is implied in the following sen- tence. — d|ut>iirvXou : seemingly = irpodvpov. The reference is then to the houses of the chorus. With dfinrv\ov supply in thought ovaa. Had they not been at their doors they could not well have heard the sound from Medea's house, (eyo) ovv, oiv^'s e |u\d8pou 760V: apparently Medea's' wailing within her house '- lo-oi is then = icriaOev. I35 sq. oiiSc o-vv^Soitai : = Kai (TwaXyu) — 8i(iOTOS : = o'kov in the sense of 'household', 'fam- ily', and including Jason, of whose infidelity (as has been said above) the neighbours are not yet aware. 137- V-^ tXov : t.e. ' unloving ', ' unkind '. — K^xpavrai : = ireirpaK- Tat, TreTTOirjTai, ylyove. The ladies .suppose merely that Jason and Medea have quarrelled. — This proode seems to have been chanted by the coryphaeus as the chorus entered. 139. 86(ioi : = oikos, ' fam- ily '. — tAS' : = TO. tIj)v So/jLiov — 01 So/jMi. 140. TOV (i^v : i.e. Jason. — IX£i X^KTpa Tvpdvvuv : cp. v. 18. 141-3. Cp. vv. 20-29. — oiSevos : dependent on /xu^ots. — oiSev : om- nino non. — ()>p4va : ace. of extent (of application). — B^o-iroiva: in defining .apposition to ^ in the Homeric fashion. 96 EYPiniAOY MHAGIA aiai, Sia (lov Ke<{)a\aev ev, davoLTO) KarakvcraLfiav ^lOTOiv (TTvyepau TTpoknTovcra. '45 XOPOC aie;, w Zev kol ya koL ^ei)$, d^ai' olav a Sucrrai/os fxeXneL i>ufi()>a ; Tis croC noT€ ras airXdrov /coiTas epo?, o) fxaraCa ; anev(T€L davaTov TeXevrd • ISO 144. atal : exira metrum, as in V. III. — Sid (tov Kei)>aXas : cp. //z^/. 1351, where thedyingHippo- lytus cries, 8id jtioti Ke.<^a\r)% aaaowr oSuvai. — i|>X6J oipavCa ; = Kepavvos. <^\o^ without qualification may be used in this sense, as in Ale. 4. 146. KaToXvo-aCjiav : ' may I bring to an end'. Cp. Suppl. 1004 f. KaToXiaaua i.\i.\x,oy6av piorov. The metaphor is from the un- yoking of the animals at the end of a day's journey. 147. piordv dv: high style j3oara(. 169 f. c^KraCav: = ei- for aKOvcrciei/. 176. tt ircos : si X0C S/aetcro) TaS' drci/D (ftofios ei rreitrot 184" Seicnroii'ai' ifnjv, 185 tended and complicated by the addition of xai X^jna pa'u>v. The notion ' temper ', ' spirit ', is ex- pressed four times. The whole clause is = a ircos opyi^o/ievrj irav- (TalTO. 178. t6 y* c|ji6v irp66v|iov : = ^ ■y e/x-^ Trpodv/xia. The ye em- phasises and restricts ifiov: they would be faithful, however others may be. 179. i|>C\oi6Po$ (sc. etrrti') ct ircCo-u (fut. ind.) is = 6l3o^ p-ij ov TTiiaio (aor. subj.). Fear is expressed in the main clause, doubt in the subordinate clause. It is ' fear if for ' doubt if. This shews the blending of doubt and fear in the speaker's mind. The fut. ind. ■ Treto-o) has a potential force ('can persuade'). fOO EYPiniAOY ly- KaiToi TO/caSos hipyfxa XeaCvTj^ aTToravpovTai 8[i(o(tlv, orav ns [ivdov TTpo(j)€p(ov ire'Xas opfirjd'^. cr/catous ye Xeycjv KovBev ti trotfiovi Tous irpodde jSpoTov'; ovk av ap.dpToia.v). 1S9. |iS6ov irpoiji^puv : = /8ouXo/;i£i/ds Ti \iytiv. — ir4\os 6p|jLi]6^ : = irtXantj. 190-203. In this moralising passage Euripides makes the old slave-woman the vehicle of his regret that musi- cians have not realised the vis medicatrix musicae, the power of music to " minister to a mind dis- eased "with passion and to "soothe the savage breast ". Music is made the spice of joy, not the solace of melancholy. The connection of the thought is this, that if music had been rightly developed, it might now be used to cure Medea of her revengeful despondency. We inevitably think of David charming Saul's melancholia. 190. o-Kaiovs : = a<^poi/af, as is shewn by KovStv ti a'oovi. — \l- 7uv: 'counting', 'accounting'. 192-194. otrivES . . . TiSpovT : ge- neric clause of characteristic = qui . . . invenerint. — Iwl . . . SeCwois : adjective to v/tvovs, not adverb to MHAEIA lOI Sruyious Se fipormv ouSels XuTras rfvpeTO iiovtrr) koI noXv)(6p8ois cJSais iraueu/, i^ S>v davwroi Seivai xe rvxpn (ravoi 198. o-(|>&XXov(ri : subvertunt. — S6|iovs : = o'kov9. 199. KaCroi : argumentative and = at. 200 f. cvSciirvoi SatTis: cp. v. logand the note thereon. — T«tvo«pe- vulv V. 176 f. 205. XiYupd: prac- tically an adverb with (Boa, albeit it agrees with a^ea. — 8' : almost = ydp- 206. Tov X^xcos irpoSdrav KaKovv)u|>ou : loose object to the phrase a^ta jSoa. Tr. ' him that betrayed her wedlock (and so made it) wretched'- irpoSarav and KaKovv/Jifliov are juxtaposed as cause and effect. For \i)(^o's KaKovvfi,(l>ov cp. the note on /xtya- X.6pevw KiKTrifitOa, ' for we are accounted wise or unwise ac- cording to our success or failure '- The aorist is ' empirical ', see GS. 259 (cp. V, 255). — ^f6v)i(av: 'in- difference ', ' lack of public spirit '- On p^dv/xia see Aristotle 'Ad. woX. 8. 5. 222. 8^ : introduc- ing vv. 222-224 as an argument against living d<^' ■^6a\fiois ^porSiv • 219 iras Tis Trplu a.vhpop6vrifui Kit yvioiMT/v, as Creon puts it, Soph. Ani. 176). — ira(^u$ : reinforc- ing the preposition in iK/mdelv. 221. ScSopKiSs : = ef oi/'eo);, 'on the basis of (outward) appearance'. It is, of course, assumed through- out that the misjudged person is thoroughly good at heart. — Medea as/emme incomprise represents the misjudged philosopher. Indeed, it is pretty certain that Euripides is here pleading the cause of his master Anaxagoras lately banished from Athens. (See Introd. p. 1 1 f.) Incidentally he pleads his own cause, too, when he puts in a word for the native {aarov v. 223). The reserve and aloofness of both master and pupil had led, Euripi- des would imply, to misunder- standing of their real character. His disapproval of unsociability on the part of both citizen and alien here seems an adroit touch. He would defend his master, though in veiled terms, and he would also (for he has still his mission at Athens) screen him- self against a like fate. But, for all his protestations, his serious and reserved nature was too strong for him. The reference to music above taken together with this passage proves that there was a good deal of justice in the lines of Alexander Aetolus (Gellius N.A. 15. 20. 8) : '0 5" ' K.va.%aribpmi rpd^iifios (alumnus') XatoO (' old ') (TTpvipvis (' crabbed ') liiv l/ioiye TpoaeiireTv Kal fuiriyeKus Kal TwWfeii' ('jest') 0^9^ Trap olvov px^taBtiKihi. io6 EYPiniAOY ifiol S' dsXirTov irpayfia Trpocnreaou roSe 225 ^v^7]v hie^dapK , otxo/Aai Se koI ^iov )(apLv fiedelcra i$xpK. — oeXiTTov : predi- cative with irpotnre.uov. — T68e : looking forward, and explained by the yap sentence. 226. <|/vx{iv 8i^(|>6apK' : ' has blighted my in- ner being' (^vyriv){a-ii)iui) , 'has blasted my life '- The meaning of the bold phrase is explained by olxo/juu (= airoXoXa) . . . xprj^u). 227. \i,p\,v: 'joy' 228. 'For he on whom depended my whole well-being.' This relative clause with involved antecedent is the subject of the following verb. ovfw's irdtris (229) is in apposition to the involved subject. 230. eo-r: = ia-rlv. The accent in the text is due to the elision. — 'ia-r e|j.- \|/vxp6vr)cnv Ix^'i povu. Vs. 230 is equivalent (in Aristotelian phrase- ology) to TTOLVTUiV TU)V XoryiKusv ^wu)v. 231. -yuvatKcs : subject, not predicate, to lap.'.v. — if"'''*'' (prac- tically 'creature') is redundant. 232. virepPoXfj (lit. ' out-shoot- ing ') suggests the invidious notion of a competition for husbands, an outbidding at an auction. 233. 8eLyfiev7]v del fidvTLv elvau — /at) paOovcrav oiKodev — OTTOJS p-dkicTTa ^prjcrerai ^vevveTy. 240 Ki,7|i^vr)v : agree- ing with ywaiKo. understood. 239. |XT| |ia6ovo-av oCkoScv : ' unless she have learned at home ' (oi/co- Ocv, because she brings the sup- posed knowledge from home) — as she will probably not have done. 240. oirws |idXio*Ta \p'f[vt- Tai : ' how as near as may be, about how, she is to treat', ^uo maxnme modo. The clause de- pends on fMvriv eTvai. jioKuna is used somewhat as it is with ex- pressions of number or measure to indicate approximations, ottcos StJ would have had a somewhat similar force. 241. rdB' : i.e. to. Trpos Tov ^vewerrjv (or Trdonv), meaning, of course, the treatment of a husband irr/v tov ^vtwirofv )(prjcriv). 242. (11) . . . JV76V: explanatory of the eu after irovou- /H£i/a«riv, which belong to $vvolk^. For the familiar metaphor cp. v. 13. fjLr] pia implies as its opposite dAA. o/joXius. io8 EYPiniAOY ^ijXwTos alcjv ' el Se /jltJ, daveiu ^a/ots. dviqp y', OTav Tois iuSov d^d-qTai ^vuatv, e^cj fjioXciiu Ivrauae KapSCav dcrrj?, 24S rj irpo<; ^iKoiv Tiv rf vpo^ yjXtKa^ Tpairei? • rjijup 8' dvdyKtj irpos /itai' xfjv^'^v jSkiireiv. \eyov(TL S' rjp,d<; ws d/ciVSui'oi' /Siov tfap-ev KCLT oiKovi, 0% Se p.dpvavTai oopC' KaKw<; pOVOVVT€^. — Trap' da"irCSa (rrfjvtti : = ts juaYjyi/ KarafTT^vai- The expression is natural, inasmuch as the bulk of the Athenian army were hoplites armed with the spear (Sopi, v. 249) and the shield (aa-n-is). Ennius (see Introd. p. 52) translates is . . . aira^, nam ter sub armis MHAEIA 109 dX\', ov yap auro? ir/3os 6v, ovx} crvyyevyj p.^dopp.iopas : ablati- val. 259. Pov\^6pov irX^a: also Aesch. Suppl. 696. 264. i% dXx'fjv and ov(DT{pa : sc. rrp (.Ktivyyi, 'than hers'. — In vv. 214- 265 we find again (see on vv. 46- 95 above) a careful symmetry. The speech as a whole falls into three parts: i) vv. 214-229, 2) vv. 230-251, 3) vv. 252-266 ( — V. 262). In i) we have the arrange- ment 5-1-3+3-1-5; in 2) we have 2 (general principle) -1- 3 + 3 -t- 3 -I- 3-1-4-1-4; in 3) we find 7-1-7. This arrangement, first noted by Hirzel (/?« Euripidis in componendis diverbiis arte, Bonn, 1862, p. 26), is accepted by M. Weil, though in his present text he re- jects V. 246, which the symmetry proves genuine. For another and even more strilvya,i Aa^oStra Suraa. avv ixvTrj TCKva. In the indirect form what would have been the subject of the direct form be- comes an appositive to the direct object of the verb on which the decree, in its indirect form, depends. We cannot, of course, understand o-e iuTrov as ' I told you'. The words mean 'I decree that you '. For the aorist see on gvEfr' v. 223. — TT)v . . . M^Seiav: tristem illam et viro iratam Me- deani. — rfjirSt . . . c|»rYdSa : = nJvSe yr)v vyav. — XoPoOo-av . . . vyri. Cp. Or. 779 ex^^vai xa/culv. The latter half of the verse keeps up the figure of the fleeing ship. f.vKpoo-ouTTO'i IK/Satris is 'a land- ing ' (abstract for concrete in both Greek and English) 'easy to put in at'. 279. iiwf6a-ourTO% \s = pa&ia MHAEIA eprjcrofiiXL 8e — /cat /caK'ws Tracr^oucr' o/ius- TtVos /x* cfttTi y^s a7rocrTeA.X.€tSj Kpeov. "3 280 KPeUJN SeSoiKa o"' — ovBev Sei ira/3a)u,7rtcr^€ii/ Xoyous — /X17 /ioi Ti Bpdcrrj's iratS' dvrJKeaTov KaKov. cru/x/SaWeTai Se ttoXXo, touSc Sei/Aaros • " ' , (rocfy^ Tie^UKcis /cai KaKwv ttoWcov i8pi^, 285 XuTT^ 8e XeKTpcDV dvBpo? i(TTepr)p.4vrf, irpcKT^iptcrOax or oia paStioi Trpotr- ipiv\dgofiai,. Kpei(T(Tov hi jioL vvv tt/jo? o"' dTr€-)(6i(rdai, ywat, 29° ri fiaXOaKicrOevd^ vixTepov Karaa-TeueLV. MHAGIA . Either of the latter verbs would, barring metre, have been, perhaps, more appropri- ate here. airayyiWova-L, if taken strictly, implies that Creon has had Medea watched. 288 = tov Bovra OvyaTepa cs yafwv Koi tov yrjiuivTa TavTr/v Kol avTrfv Tr/v ya- fwvixivTjv. One article does duty for three and covers two genders. ya.fun}fi.evrjv is used, metri gratia, where yr;/taj«,e'vr)V would have har- monised better with the context. 289. Ti: of course 'something' bad (kukw) . — toOt : = to, ttoAAo o Tav%i Sdiw.Tovd6you TTyoos acTToit' d.Xdvovcn Svcrfiev^ ° 29S then (v. 306) comes to the real point at issue — the effect on Creon's mind of Sd^a in her case ((TV 8' av o^y /xe). In vv. 307 (latter half)-3ii Medea tries to clear herself of Creon's suspicion, winding up her speech with the request that she may not be ban- ished, backing it with the promise that she will hold her tongue and submit. It is pretty plain in all this that vv. 294-305, particularly vv. 294-301, are dragged in. The bitterness expressed here is Eu- ripides's own. He is holding a brief for a real person, not merely for a character of his own creat- ing. That person was in all proba- bility Anaxagoras, who had been banished from Athens on the alleged ground of impiety, but really, as Euripides would have us think, because of ignorant preju- dice and jealousy. See Introd., p. 12, and Parmentier, Euripide et Anaxagore, p. 14. 294. For 8e beginning a detailed discussion see, for example, v. 526. — XP*! o" "foS": 'ought never' for ' never ought ', as shewn by the form of the neg. — oo-tis . . . avijp : IS = rov a.pTtpova v(T€i aivSpa. The relative clause involves its an- tecedent (tlvo, in oo-tk) and is, as a whole, subj. to iK8iSdcrKta-$au. Euripides means what we call a right-minded (a-a>pova) man. The irony here is intensely bitter. 295. irtpuriras : with aoifmvi, the two together being = vir€p(T6ovi. — eKSi.8aa-K«r6ai : middle of medi- ate action ('causative middle'). See GS. 150. — o-o(|>ovs: factitive predicate to iraiSas (€K8i8a(7Ka- (rflai is = iroirjarai SiSacTKO/ievos) . 296. xiTro\oi Kiov aWoi, ' with her went also handmaids besides'. aXKup is tautological after xiop's. — dpyCas : = apy£a.i Soirp, cp. v. 218. apyuvs and the following 06vov are juxtaposed to heighten the contrast between them. 297. d\^dvov(ri : = KTuivrai. — d- o-tSv: not 'fellow-citizens'- do-rds and ^ei/os are regularly contrasted. Medea the ^evrj speaks for Anax- agoras the ^£vos. ii6 EYPiniAOY (TKaLOLcn fiev yap, Kaiva Trpocr^ipaiV (r6if>a, oof eis d^/oeios kov ao(f)0's irefjivKevai ■ Tois o av ooKovatv elSeuau tl ttolkCXov, Kpei(TcrLav. ■ — irpoir- ^ipav : sc. avTOLi {i.e. rots (TKaiols). The word means 'of- fering ' or ' proffering ', rather than 'applying to'. 299. axpctos: = a.)(pricrTOi. — ir€<|>VK^vai : = v(Tiv cTvai, or simply clvai. 300. oil : tautological with 8', as quite often. — 8oKoiS>v flvai. 301. KpeCir- !av, = cro<^ov^ : ' you will appear one whose presence in the state is vexatious ', 'a nuisance ' (and as such a fit subject for banishment). — We now. see that vv. 298-301 are a pretty, close commentary upon the general principle enunciated in vv. 296 and 297. The way in which the wise (cro<^ot) get a name for, idleness, or rather use- lessness (dpyui, which appears from V. 299 to be = dxprjcrrux), is explained in vv. 298-9; the way in which the wise became objects of jealousy (<^^dvos) is explained in vv. 300-1. A certain obscurity in the expression of the thought is most plausibly explainable by the fact that Euripides in thus alluding to the banishment of Anaxagoras is dealing with a ticklish subject. His words are intended to be (jxavavra (Tvveroi(Tiv. 302. t-yu 8c KavT'^ : ' and I too ', introducing the application of the preceding (apparent) generalities to her own case. — real airos is generally = either icai or aiiTo? simply. — Tf|cr8« tuxtis : SC. Tov apyiav (cat rj yap oucra t61<; fiij- elfi iirCxl)0ovo<;, 3°3 TOis o' av TTpocravTrj<; eifjX kovk ayav cro(f)r], 305 ail 8' av ofi-^ fie. jirj n 7rXij/i/i.cXes irddrj^ ; ov)( a)o' i)( 3°9 077WS ere dvpo^ ■^yev ' dXX' €p,ov irocnv 310 Tois o ^oTy^ata, Tols Se Oaripau rpowov WOT ES Tupdwovs avSpai i^a/jiapTaveiv 304 308 may be partly due to. the poet's' desire to round out four verses (302-306). 303. Tols iiiv : ' in the eyes of the one sort', i.e. rots 8okov-< (riv dSlvai Ti iroiKiKov. — e'ir£(|)9o- vos : sc. (11$ o>Tipa ovtra, as we gather from tha cror] ova-a at the head of the whole sentence and the contrast in 305, — to say nothing of the preceding parallel. 305. Tots 8' oii: 'in the eyes of the other sort on the contrary', i.e. Toits (TKoioXcn. For 8" av cp. V. 300. — irpoo-avTijs : = 6aT€poru TpoTTOv, IvavTia, ' the other way about', explained (and repeated) in the negative ovk ayav (Totf}-^. Cp. V. 299. — a-yav : here simply 'very', 'so very'. 306. We are here brought to the present dra- matic situation. — For the repeti- tion of 8" av cp. Soph. O.T. 230 and 233, though there the interT vention of two verses makes the repetition less striking. There, as here, 8* av appears in both the second and the third terms of a series. — irXi))i.|jicX^s : = a8iKpov(ou eSpas raSe. Koi vvv TO fiev (Tov ov (ftOovo) /caXws ^X^"' ' vviJbeveT , ev npdcraoiTe. ' TrjvSe ok ■^Oova iar c/i' OLKetv • /cai ya^ rjhiKiqfJiivoi crLyrjo-ofiecrda, Kpua-aovoiv vi/cw/xei'oi.. 3'S KPeUJN Xeycis (iKovcrat fiakdaK, dXk' ecro) (ftpevoiv 6ppo)SCa poL prj Ti ySouXcvei? KaKOv. 311. o^ S' . . . T(iSe: tauto- logical, but such tautologies are not uncommon. — o-ui^povuv : with reference to Jason's infidelity more than to Creon's conduct. 'Where- as you, I think, were playing your part in the matter chastely' (im- plying ' as Jason did not play his part') is an odd, though perhaps not altogether unnatural way of stating the case. It is perhaps not going too far to trace a cer- tain grim humour in the words. Cp. Medea's notable retort in v. 606. 312. Kal viv introduces the conclusion of the whole matter. The vvv belongs to iar (v. 314). The ftei/ clause is, as often, logi- cally subordinate and parentheti- cal. — TO crov (sc. jMcpos) is = ix,e.voi and with its construction. For the gender of this and -^SiKrifiivot above, see HA. 637 b, GS. 55, B. 423 note. The masc. is also used sometimes when women are alluded to in the p! . ; cp. Androm. 712. — It will be noted that the closing couplet of this speech is rhymed after the manner of the closing couplet in some of Shake- speare's blank verse speeches. Cp. also Androm. 689 f. — This speech of Medea's seems to have the following scheme : 2 (general principle) -I- 8 (explanation) -1- 4 (personal application) -)-8 (defence [4] and plea [4]). 316 f. In these two verses we have a variant MHAEIA 119 r .^ toctgJSc S' rjcrcrov rj ■jToipo'? TreiroLdd pcvwv : with Pov\f.v€i%. The striking position points the contrast noted above between word and deed. 317. 6p- pu8(a iioi : sc. ccrri. The phrase is = oppwSS), <^o;8ovjua(. — PouX«vpeis : for the mood see HA. 888, G. 1380, B. 594. I, Gl. 611 a. 318. Toir$Sc : to be construed with rjo-crov, but anticipating and explained by the following yap sentence — ' less by reason of the following fact'- 319. y&.p: ' to wit ', ' namely ', as often (yap explicativuni). — o|v6u|ias : ' quick-tempered ', iracunda, im- plying at the same time A.a\os (' talkative '). — avTJp : sc. o^vOvpjiK (xai XdAos). 320. (jroXdo-o-eiv : ad custodiendum, ' to keep under surveillance'. — (ria>in)X6a-TO|ios : * close-mouthed ' (and by impli- cation, though that is of no real moment here, fiapvdvfUK). Creon's remark here is, of course, in answer to what Medea had said in V. 314 f, particularly o-tyjjo-d- fi€(rda.. For the brachylogy (far more common in the somewhat laboured style of Sophocles than in Euripides) whereby two pairs of contrasted terms are fused into one, half by half, cp. Soph. O.T. 2-5 (and my note ad loc). 321. dW: marks the sharp transi- tion from argument to command. — X67ov$ : ' empty words '- 322 i. is: 'for' after imv. — ouk tx*'* Tixin\v ktI. I but Medea by v. 347 has proved that she has such an art. — |icvcis: potential future. — oSo-a: = ^T« el, quae sis, 'seeing that you are'. 324. ji^j : she was going on to say, as is shewn by V. 326, i^iXavvi /it. — irpis o-e 'yovdruv : per te tua genua oro. Cp. I20 EYPiniAOY KPeUJN Xdyous ai'aXois ' ov yap av TTCicrats ttotc — 3^5 MHAGIA aX\' e^eXas jLie Kovheu alhe MHAGIA 5 TTaTptph riKviav. See on v. 296. 330. cpuTcs: i.e. the passion of love. Cp. V. 627. — (is 1^70 : a more precise ocrov. , MHAEIA 121 KPeUUN oirtu; au, OLfiai, km irapafTTuxriv ru^cu. M HAG I A Zev, fiTj XdOoL cre to)vS' os aiTios KaKutv. KPeUUN ipir', w jLiaraia, xai ju,' dn-aXXa^oi' trovoxk MHAGIA vovov fief • Tj/teis S' ou irwct) Ke)(pij[ieda', KPEUJN , V Ttt^' ef OTTttSaii/ ^eipo? (hcrdrjcrr) j3Lq.. 335 MHAGIA /iT7 S^Ttt Tourd y', d\Xa tr' avTOfiai, Kpeav — 331. Creon answers, rather drily, 334. ir6vovf4v: 'trouble, indeed' ; ' Tliat, I fancy, depends on circum- but to Creon's ear ' trouble, for- stances'. 332. tmvS' os atnos sooth!'. This would be said with KaKuv : = OS ( = £Keti/os os) atTtds a covfert reference to her plan of £(7Ti ToivSe KaKuiv, 'the author of vengeance. — V''* S- ^^'^ caesura these miseries', i.e. Jason. The coincides with a rhetorical pause, whole clause is subject of kdOoi. — 'and we — are we not involved 333. airdXXo^ov irivou : 'rid me in trouble?'. 335. 4J oiraSuv : of trouble '. Note the difference = vtt' oiraSZv- 336. The sentence of tense between the two im- which is interrupted at the head peratives — the first denoting of this verse is continued at length the cause, the second the effect, in v. 340 ff. 122 EYPiniAOY KPeUIN o)(Kov uape^eL^, tus eoi/cas, &> ywai. MHAeiA MHAGIA fiCav fie fielvai ttjvB' iacrov rj/Jiepav Koi ^fiiTepdvai, ^povriS' y (fyev^ovfieOa iraLcriv r d.^oppr\v Toivyiiv. — iKlrcvo-a : for the tense cp. yvea V. 223. 339. t£ SaC : = ti Sj;, ' why then ', i.e. el fvr] tovO' Ik€T€v- a-d's fjxyv Tvxtiv. — PiO'^'D : explained negatively in the second half of the verse. Cp. Caesar's "Ista quidem vis est", when Cimber, feigning the suppliant, clung to his toga (Suetonius, /ul. 82). — It should be noted that this sti- chomythy of i5 vv. (324-339) is preceded by 8 vv. of Creon's (316- 323), followed by 7 of Medea's and 7 of Creon's (340-354). 340. (iCav : the emphatic position makes this = jttiav fiovav. The in- terlocked order of the words in the line throws fjuiav tijv8' -^fJLtpav into bold relief. 341. Joinrtpovai <|>pov- tC8' : = fK(t>povTi(rai. — ■g: sc. oSai, ' which way '- 342. d4iop|i,'^v : lit- erally ' start off', then, concretely, 'base of supplies', 'provision'. — J(iots : emphatic ; ' mine ; for their father', etc. 343. oiScv irpoTi|ii^ : sc. avTuiv- TTpoTifiav is used here practically like povTi^€iv. MHAEIA 123 oiKTipov avrows ' koli crv rot iraCStDV iraTrjp • 344 Tovfiov yap ov /xoi ^povTi<;, el (fiev^ovfieda, 346 Keivov? Se fcXaio) a-Vfifjiopa Ke.^(jyqp.4vov^. KPeUIN TjKuara rovp-ov ^rjp' etftv rvpawiKov, al8ovpevoVKai ■ flKoi &' IittIv ivvoidv a e)(av 345 344. otKTipOv: Cp. V. 712. Kttl 0-4 Toi : 'you too, you know '. — iroC- Suv iroT^ip : the gen. is used where we should use an indefinite article, •a father'. It is implied, if the words are to be taken strictly (as they need not, perhaps, be taken), that Creon had other children be- sides the princess. With war^p understand ci. 346. Toii)iov : gen. of TO i/wv, sc. /jLcpoi. The simple gen. (' of relation ', so-called), for which in most cases prose used irepi with the gen., occurs not only with 0povr(s but with tfipovrU^ia and its synonyms. — <^€v|oii)ie6a: = (i.iXXo[i£v (^eu^co-dou, ' must go into exile'. 347. KcCvous H: emphatic and as though Tovfuav fiiv had gone before. 'It is for them that I weep.' — o-«|M|>op^ KexP^lli'vows : casu funesto implicitos. 348. i)Ki(rTa: = mininte, ' by no means '. — ki\^' : = Bv/iOi. — TvpovviKov : in a bad sense. 349. alSov|uvos 8^ : = aXX' aiSovixivo's. The participle is = inr alSovs, 'out of regard for other people's feelings', 'out of soft- heartedness' ; cp. fmXOaKurdivff, v. 291 . — iroXXd St| 8U(t>6opa : ' I have done a deal of mischief. Creon gives with one hand and takes back with the other. Euripides has drawn in this scene, in few strokes, but sure, the character of a weakly good-natured pompous old despot. Cp. Introd. p: 46. The 81/ merely emphasises ttoXXo. 350. xal vfiv : Creon now makes an application of his mischievous magnanimity. 351 . ofius S^ : sc. ci KOI opu) fiafJMp- Tavuv. — Tov8« : = tov ttjvS' ^fjtipav li€lvai. — irpovvvliro : = irpoKeyio. 352. Xa|iir&s iiov : = X. rjXlxn} = la>s. — o^rcToi: the future indie, is minatory. See G. 1405, Gl. 648 b. 124 EYPiniAOY KoX TraiSas — eVros TrjcrSe Tepfiovcov x^oj'ds, 6apy' XekeKTai iivdo<; d«/>£uS^s o8e. 354 XOPOC (jiev <})ev, jLi^Xea tcjv activ ax^oup, 7701 i70Te Tpexjiy ; rti'a irpos ^evCav, fj Sofxov fj ^66va, a-ojTTJpa KaKCJV, ais ets airopov &e K\v8o)va 0e6^, Mi^Seia, Ka/caJi/ iiropevae. 3S8 359 360 362 MHAGIA KaKai; TrenpaKTCLt navra^-^ — tis dvTepei; — dW ovTL TovTy Tavra, fir/ So«eire, wd • 3^5 vvv 8', a fievtiv 8a, /iiftv* £<^' Tuiipav [luiv 355 ov ydio TL &pa,(Ttis Suvbv Coi,<; Kai Toicn K7)8iEvcracnv ou crfJiiKpol novoi. ooKcts yap av fjLe TovSe d(onev(ois: col- lectively of 1/v/u.^ibs and vvfi4>ri- — rouri KTiSefcrao-iv : ie. Creon, the plural being used to match vvfi- 'oK. 368. SoKcts vdp: an ex- planation put in the form of a question. Medea anticipates the question from the Coryphaeus (who is addressed in SoKets) why she should have supplicated Creon (Tt ovv r6v8' i6p.-qv and /uy Tt Kf.phaivautTav r) T£;^(i>/xtVr^v. — Ti . = Trepuraov Ti, ' something ', meaning • something special '. 370. Medea answers her own question.^ — The second oiS* is plainly not correlative to the first. Each means ' not even ', but the sentence contains an anti-climax. — X'PB^" clearly means Medea's' hands and is a natural redundancy. 371. Isautemeostultitiaeper7ienit. 372. I{6v: adversative =£7r«£^v. — IXtiv : ' arrest '. 373. iKPoXdvTi : iK^aXovTa could have stood. See G. 928. The object of the parti- ciple is of course fie, to be sup- plied from Ta/M /SovXcv/uira. — £4>fiKcv: permisit. a.^r\Kev would be dimisit. 126 EYPiniAOY fieivai fi, iv y T/oeis twv ificov i-)(dpu>v veKpov^ 6Tq\.y]crco rots ifioi^ i^dpol'; yeXoiv. 374 f. iv 5 : ' before the dose of which '. — vcKpovs 6^ : pic- turesque for airoKTivSi. veKpovs is factitive predicate to rpas tGv i/iZv i\dfmv, and 6i^(ti- k6v : I.e. the house of the newly- married couple ( = Sofjiovs iv icTTpm- Tai Xci^os). 379. Cp. V. 40. — 81' TJiroTos : sc. avrlav {}■(■ Tu)v wp,- cf>Cti>v implied in vvfi(j>LK6v). 380 = 40. She thinks, of course, of killing them in their sleep. 381. 6XX : argumentative, = ai. — '^v Ti : more emphatic than n, ' one something ', ' a something '. — irp68^6ij\'^(r(i) ^^uv : ludibrio. situ., Cp. v. 404. For MHAEIA 127 KpaTLCTTa T7)v evOcLav (o '7TeVKafiev (TO(f>oi ju,aXicrra, (jyapfjidKot^, awTous iXciv. 385 elev' KOI St) reOvacri ' Tis /^e Several 77o\is ; Tis y^f oicrvXov koX Sojxovi; i)(eyyvoy? - Revo's iTapacr)(Q)i' pvcreTai, Tovp.wSefia'S ; ouK ecrrt. /xetVacr' ovv eri crp-iKpov •^(^povov, Tjii puij TIS ly/xii/ vvp-yo<; dcrtfyakri^ (ftavrj, 390 od\&) iJiereLfiL Tovoe koI crtyfj (f)6vov. the form yeXtuv see HA. 176 D. For the sentiment cp. Heracl. 443 f- 384 f. Kpdriirra: = KparurTOv sc. €OTi. — TTiv ciSciav : 686v is to be supplied from v. 376. The phrase belongs to iXuv. — u ire<|ivKa)i,£v trocjioC : = cKEiVo) o ir. tr. For the gend. of ffo^oicp. v. 314. — <^ap|id- Kois is in apposition to the clause m . . . /joXioTa treated as a substan- tive. ' Best take them the straight way with what I am naturally most skilled in — poisons.' 386. tUv. with this interjection (connected with ton and not to be con- founded with etev from eTvat) the speaker here, as elsewhere, takes breath at the end of one division of the discourse before beginning the next. Cp. Plat. Apol. i8 E eTfv • airoXoyrfriov irq, Z> avSpes 'AOrjvaioi. ' So far so good ' repre- sents the force. — koI H\ : = ^Sij, ' already '. The particles are used here, as elsewhere (e.g. v. 1107), to introduce an imagined state of affairs. That they do not mean 'suppose now', or 'behold', seems to be shewn by //.K 867 ■^v 18011 Kal 8^ TLvdarcra Kpara, ' lo and be- hold already shakes he his head '- 387. acniXov and 4x'7'Y''o«s, ' un- robbable ' and ' furnishing secur- ity ' amount to the same thing here. Cp. trtor^joa KaKw, v. 360. 388. ^vo-crai TOv|i&v Sifias : = crw- o-ei TOVfjMv (Tuifia (= efie)- The person (8e/xas, o-S/m) is emphasised in such legal relations in Greek, like corpus in Latin. Cp. the familiar writ of habeas corpus. 389. o4k OTTi : i.e. ovk ItTTiv oo-tis TavTa TTOLT^crei. Medea speaks as though she had asked tis ifrriv ooTts pvtTiTtu. ; 390. irvp'yos dirij>a- X'^s: 'tower unshakable', if we take do-<^aA.-))s literally ; ' tower of safety ' (dtri^iA^s = do-<^aA,£tas), if we take the adjective figuratively. Cp. Ale. 3 1 1 Kai TraTs ftJkv apatpi Trarep ()(a wvpyov /leyav. — This verse is an anticipation of the com ing of Aegeus (v. 663). 128 EYPiniAOY avTT} ^io^ Xa^ovcra — Kav fieXKio davelv — KTevo) cr^e, rokfir)^ S' el/w. irpos to Kaprepov. ov yap — fjua tyjv Secnrotvav fjv iyo) ae/3o) 395 /laXitrra TrdvTcou Koi ^vepyov ^'iXop/iqv, EiKa/rrjv /au^ois vaCovcrav eorias e/i'^s — ■^aipcju Tts avT(oi> tov/mov dXywet Keap, TTiK/aous S' iyco criv Kal Xvypoii^ drjaoi ydfxovs, iriKpov 8e KiJSos koX (f)vya^ e/^ds )(0oi'6opd d|i^X<*<">s : 'overwhelm- ing misfortune', 'misfortune that drives one to one's wits' end '. — The whole verse is = ■^v St fjutj Tis ij/i.iv irvpyoi a(T''P''*' '■ **"- pune. — Tis : = ouSets. — oirwv : who are referred to is as readily understood here as in the o-<^£ of v. 394. Medea has no need to be more precise. — To4|jwiv : emphatic both in its position after the cae- sura and in its separation from its substantive. — With this v. cp. Hom. a 266, S 346, p 137. 399. iri- Kpoiis 8' : = dXXa wiKpovi piv. — l7<4 : carries on the emphasis of Tovpov. — fl'^jo-oi : see v. 375. — 7d|i,ous : prose would demand tovs yapov^. This verse refers to Jason and the princess, though , the force of which extends to the following verse, includes Creon. 400. Prose would demand to k^- ho's (Cat Tois vyws tols ipAi. The reference in this verse is, of course, exclusively to Creon. 401-409. A powerful self-exhor- tation, winding up (vv. 407-409) with a general reflection on the character of women. MHAEIA 129 d\X' eta tfteiSov joiiySef S)v eirioracrai, Mi^Seta, jSovXevovcra /cai T€-)(y(afieirq ' ipir' cs TO SeLvou ' vvv aycov £v»/»ii^ias " — 6pa<; a Tracri^eis, /cat yeXwra Sei o"' ocftXetv Tots 2tcru<^€iois Tots t' aTr' AKroi/os ydvois yeycilo'ai' ecr^Xou Trar/aos 'HXiou t' ctTTo ; eTTioracrai Sc" Trpbs Se icai Tre^wo/xei' yui'ttiKes es ju.ei' ecr^\' d/irj^ai/wraTai, KaKwu 8e iravTCiiv T€ktov€<; aocfxoTaTai. 405 401. oXX' cla : tha formula of transition is used as though she turned to speak to another person. This sense of duality, on which self-exhortation is based and which appears so strikingly in the Homeric Odysseus, appears also not only in the drama, but later in the familiar " The spirit is willing, but the flesh is weak ". — |iT|S^v: ace. of the inner object with if>d8av. — «v tirCoToo-ai : par- titive obj. to 0ct8ov and = tUv a iiriCTTacrai ( = r^s (r^S iin(JTrjii.rfi) . — By an odd play on words, the like of which would be hard to find elsewhere, the form of Medea's name is here suggested in lu/jhev, the meaning, as from fjuqSea, in im- a-raa-ai. 402. The participles are modal with eiSov ixrfiiv- With the form of v. 402 cp. vv. 369 and 382. 403-406. These verses furnish fine examples of the force of asyndeton in Greek. 403. hrh Sciv6v : cp. irpcK to KapTtpov v. 394. — vvv KT€ : = As vvv dyoj V eo'Tiv MEDEA — 9 cvi/rv;^tas (= dvSpcias). 404. 6p$s: = opas ycip. — ^^Xoira o<|i\ctv : = ludibrio fieri \ cp. v. 383 and Suppl. 846. 405. Tots Sio-viIkCois (sc. yovovi) : a contemptuous des" ignation of Creon and his daugh- ter as descendants of the robber Sisyphus. The words are = tois diro StO'v^ov. — Tois T dir' AlC(rovos y6vois : contemptuous for 'Ido-ow. The generalising plural is in place here. 406. ■yeYwcrav : = ^is "^i- ■yovas. quae filia sis. — iroTp6s : to be directly connected with ycyco- aav : the preposition in 'HAiou t' ajro indicates here greater remote- ness of descent (quaeque Sole avo sis editd) . 407 f. iirJoTairai S^ : 'but you understand', implying, 'and so there is no need of the question '. — irpis 8« : = irpos Se TOVTOts or Iti 8e. — Kal irE<|>vKa|icv 7vvaiKcs : ' by our mere nature we women are '- koj. ■Kt^\sKa.}xn; is = Kat (intensive) t^wci iap.kv. yv- vaiKVi is subject, not predicate, to irt^vKHfuv. 408 f. is So-9V : ' for 130 EYPiniAOY 4^V XOPOC av(o TTOTafxaiu lepcuu -^(opovcn irayau' KoX Si'/ca Kat TTOLVTa ttoKiv CTT/je^erai ' avhpdcn fiev SoXiai ySouXai Oecov r 410 good (deeds)'. — r^KTOves o-o<|><4- Tarai seems more graphic than ■no\v[t.rf)(a.vu>ra.ra.i. Note Te'icToves used as a feminine. — For the rhyming final couplet, cp. the close of Medea's speech in vv. 292-315. The First Stasimon (see Introd. p. 63) which follows (vv. 410-445) has two parts. In the first strophic couplet (vv. 410-430) we have general statement, in the second strophic couplet (vv. 431-445) ap- plication thereof to Medea's case. Such relation of the parts of a cho- ral ode is to be observed elsewhere. In detail the contents of the ode are as follows : Everything is turning about, men are to be deemed deceivers and perjurers ever, womankind is to be glori- ous and no more infamous (first strophe). The old songs about woman's faithlessness shall go out of fashion. Had women but had the gift of poetry, they had sung the like of men. The score of his- tory on that side is a long one (first antistrophe) . Medea is a present example, beguiled from home by misplaced love, dwell- ing among aliens, abandoned by her husband, presently to be driven from the land (second strophe). Greek faith is faithless, her father's house is shut against Medea, her husband's house is ruled by her rival (second antistrophe) . Such is this ode in its relation to the play. Possible covert references to the times are noted below. 410. Rivers flowing up hill nat- urally typify a violent reversal of the order of things. The ex- pression was proverbial {irapoifkuj. hrX tSv £is TO evavTiov Kox irapa, to irpocT^KOv fLe.TaPaXX.Ofitvayv izpay- \jAtwv Schol.). Cp. Suppl. 520. — iroTa)iuv iraYal : Homeric phrase = TTOTa/jjOL. Cp. Y 9 Kat TTTjyas Trora/iSi/ icat Trticrea iron^evTa. — Upuv: sacrorum. Cp. Horace's stratus nunc ad aquae lene caput sacrae {Carm. i. i, 22). The sa- credness, or even semi-divine char- acter, of rivers was ingrained in Greek and Roman belief. 411. The preceding verse was the sign. In this verse we have the thing sig- nified. The two Kai's are proba- bly ' both . . . and '. The couplet taken by itself must have rung ominously in the ears of the audi- ence on the eve of the Pelopon- nesian War. 412 f. dvSpdo-i : = dvSpcoi', which is avoided on ac- count of the following B(mv. — MHAEIA 131 ovKCTt iTicTTis apapc, Tai/ S' iaav eu/cXeiav €}(€iv ^LOTov (TTpe^ovcri, ^ajuai, ep)(eraL ti/ao, ywaiKeCo) yivei, ovKcri outr/ceXaSos (fxip-a ywat/fas e£ei. fiovcrai 8e TToKaiyevioiv Xij^ovcr dobSav Tai' e/Aai/ Vfjivevarai a.viCTTocT'vvav. ei yap ei/ d/ierepa yv(i)p,a Xvpa<; 0ei Sai (otracre aeamv aoidav ^o'l/3o<;, ay/jTcap fieXecDV, CTrei avrd'^'cr av v/jluou 4'S 420 421 425 In SoAuu . . . apape we have a chias- mus. With S0A.UU understand eitrt. — Oewv irCcTTLs : = op/coi. 414. Tov 8' l(idv: contrasted with dv8pa<7t fi€v and = (as is shewn in the sequel) rav Sc -ywat- Ku)!/. The contrast has occasioned a somewhat difficult order of words. Construe (Trpajiovai ^apai uxttc TOLV ipAv yStorav €vkX.€Uiv ex'tv. The inf. ^xeiv expresses result, and %Xpojiov(Ti is = (7Tporj irpdiovcri, ' will cause by their turn-about '. — • 4>a)i,ai. : rumores, ' the current talk of men ', ' the voice of the world '. 416. Repeating the thought of the preceding verse and itself repeated in the following verse, which is in form the negative equivalent of v. 415. — spxerai is, by virtue of the meaning of the verb, = a future. — Ti|jid is a vaguer evkXcui. — ■yvvaiKtCw -^iva : ' wo- mankind'- 420. Suo-K^aSos <|>d|i,a: = Sva-ffXeia. 421 f. ' Nay, the music of ancient minstrelsies shall cease hymning my unfaithfulness.' — 8^ : = aXXA after the preceding nega- tive. — (lovo-ai is plural because aoiZav is . — iroXoi7«v^o)v : epithet transferred from the poets to their works. The reference is to such things in the Greek poets as ' He that trusts Avoman trusts cheats' ( Os Se ywaiKi iri-iroiOe, iteKOiff o ye i^rjK-iftpC) in Hesiod Op. 375 and £7r£t ovkIti TriaTa. yvvai^i in Hom. A 456, according to the Scholia. We may add the poem of Semonides of Amorgos on women. — rdv Iftdv = rav yvvaiK€Tov- — v\l- vcvo-ai : the epic form is specially appropriate in a reference to epic poetry. 423. iv : as though €0t]K€, not SnracTi, were to follow. The phrase iv afitTepa. yvM/afli awraac 132 EYPiniAOY apa-evcov yivva ' ju,a/cpos S' alojv e;^et TToXXa joiei/ afierepav dvSpcov re p^oipav enruv, 43° 431 (TV 8' e/c jtAei; ot/ccoi' iraTpioiv eTrXeutras liaivofieva KpaBCa 8i8u/xovs opiaaaa JlovTOV irerpas, ctti oe gem fateis -^dovl Ta8' dvdvSpov{^) 435 KoiTa ' the grace of oaths ', is an ornate evopKia — a bit of oy/cos. — a(8(is seems best inter- preted here by 'honour'. It is more radical than opKmv x°-P'^' ^ being that from which good faith springs. Plato makes his Prota- goras (Protag. 322 C-D) tell how aiSus (in the sense, it should seem, of regard for other people's rights, knowledge of meum and tuuni) and Sho; (the giving to every man his own, the principle of suum cuique) were sent down by Zeus to savage mankind, that society might be possible. ' Sense of de- cency', 'sense of what is due to others', 'sense of honour', are phases of aiSus to the Greek mind. — 'EXXdSi T^ )ie7d\9: whether the dative is to be regarded as local or not, the phrase is = totd. Graecii, ' in all Greece ', " in the 445 length and breadth of Hellas" (Headlam) . For this use of /le'yas cp. Soph. Ant. 420 f. ev S' ifu- (TTioOrj /xe'yas | aldijp, interpreted by Sophocles himself in El. 713 iv Si Tras eiJLt(TTcD? opa. ; cp. V. 392. — us is, of course, exclamatory. 448. Jason does not proceed logically ; the yap is used as though he had said before KaOopS) vvv o Kal iroWa.Ki'S KareiSov. Even then is koI trv would have made a more precise connection of thought. — irap6v : = iiov, sc. a-oL. — ex"" '■ ' keep ' ; note the tense. 449. kovijxds i|)epoti(rt| : 'by bearing lightly', i.e. 'by bearing tamely', firj pia. epov(Tri. Cp. V 242. (^rpoDcraj/ would have been equally correct. 450. Ikitco-^ : idiomatic for tKySXiyflijoT;. 451- 454. The gist of the sentence is, ' and you may thank your lucky stars, too, that you are getting off so lightly '. The expression is com- plicated by Jason's thrusting in a reference to himself in the form of a fiiv clause. In other words, the thought would be sufficiently served by Kol ttSv icepSos ijyoi) !l,r)iu.ovfi.hi7) vyrj. Indeed, what we have here may well be an improvement of Euripides's on an original Kal /cepSos yjyov tpiifiuyvjxevT) ^vyg. 451. ovSev irpd7|j.a : sc. cort, ' it's no matter ', i.e. TO £is €/x.€ o"C KaKOL \iyuv, as explained in the sequel, vpayfw. here has the special force that it has in irpayixaTa Ix"" ^^^ irpd- y/iara ■jrap£x«v = negotium habere and negotium exhibere. MHAEIA 135 \4yovvyfj. Kayo) fjiku alel jSaa-iXecov OvfiovfievcDV 455 6pya<; a.(f>T^povv KaC a ifiovXofirjv peveiv, cri) 8' ovK di'ieis /xw/atas, Xeyoucr' del KaK(o<; Tvpain>ov<; " Toiydp iKirecrfj -)(dov6<;. o/u.((J9 8e KaK TwvB' OVK diTeiprjK(i><; ^iXous 7]KQ), TO crov Se irpoo'KOTTOvp.ei'o^, yvvai, 460 452. The prolepsis is like that (n V. 447. The 'is is probably again exclamatory, notwithstand- ing the superl. Cp. v. 62, where we have is with oiSeV. 453. Of course the /^eV clause brings the Se clause in its train. The rela- tive clause here is practically = a genitive (= avri with the gen.) dependent on ^-qfuovfievrj, ' for your insolence to royalty '- 454. Singularly expressed for Trav KepSoi 17-/01) ^riiiiovcrOai vyrj. As the verse stands we supply in thought TO TovTO irdar^eiv. 455- 458. Jason here anticipates the possible objection that he might have prevented the exile by using his influence with Creon and the princess. He throws all the blame on Medea. — pao-iX4av : Creon and his daughter. 456. i^v\6fir\v : i e. 'said that I wanted'- 457. ovk dvtcis : = ov iravrj, and with the same constr. (gen.). — Xiyova-' de- scribes the manner of ovk dvitis limpuis- 458. Tupdvvous : appar- ently with the same reference as PatTiXiatv, v. 45 5 . — Toi7£\ods describes the action from a moral point of view, ' not having re- nounced friends ' {i.e. not having turned disloyal), instead of ' not having renounced you '- For dira- yoptvuv, ' renounce ', w. ace, cp. Ale. 735 €1 8' airtarav XPW H-^ KyjpvKutv viro \ tt/v arjv irarpwav ea-Tiav, airearav av, ' were it lawful for me by public criers to re- nounce thy paternal hearth, I had renounced it'. 460. to o-iv: sc. p.epo';. The phrase is = crov. — 8^ : = aWa. after the negative. — 7«vai : probably to be under- stood as a mere formal civility, ' madam ', 136 EYPiniAOY tas, ri\de<; ex0i(JTofliK€Toi: 'draws in its wake', like an ioXKi's ('yawl'). This is another sea- metaphor. The phrase is a bit of Euripides's apt sententiousness. 463. o-iiv oiirfj is redundant after the middle in i^iXK€T(u. — ko£ : with d, ' even if. If the negative were brought to the head of the sentence, we should have owSe yap av et. — o-TVYtts : the indie, implies As (Cat iroteis, ' as indeed you do ' 464. The verse reads almost like a parody of Antigone's oiiroi awi- yOav, dAAa (TVfK^iKav €<^w, ' not for joint hate, for joint love was I born' (Soph. Ant. 523). For the form of expression we may compare also Heracl. 26 f. €y«) Sc (riiv cvyov(n avfi.tvyu> TCKvoiq \ KOI ayy KaKui's Trpao'crovq'f trtiw- irdcrx"' kokSs. — Jason's speech seems to be divided thus •.5+4 + 4 + 6. Cp. on v. 458. 465 f. et- ir«iv 7X<4v iv avdpioiroi.'i v6(Toyv TTacrciv, avaihei ' eS 8' iirovqcrw; fioXcov ' eyw Tc ya^ Xe^aira Kov(f}iadyjcrofiai, ^VXV'^ Ktt/cws crc Kai cru Kvirrjo-r] kXvuv. e/c rwi' Se rrpcoTcau irpStTov ap^op-ai Xeyetv ' eo"v aiyfia TuJv Eijoim'8o«, ' bless you for rescuing us from ( = sparing us) Euripides's s's' — a pretty plain reference to the present passage. See further the Scholia. 477. to4- t6v anticipates the notion of the first preposition in (rvviUTiP-qaav. — "Ap7$ov o-Kdifios : = A/oyoIs (TKatfiO'S, cp. V. 1. Prose would require tis for the goal (ets t^v 'Apyal). '38 EYPiniAOY TrefjLcfidivTa ravpcov Trvpnvocou eTncrTaTrjv ^eiJyXaicn /cal cnrepovvTa dafdcrcfiov yvy]v, SpaKOVToi 6' OS irdy^pvcrou a.p,ir4)(a)v 8epo? (TTTeipais ecTw^e irokvTrXoKois dvvi'o's wv KT€Lva6^VTa : = iTrel iire/ji,- <\)6-q^. The reference is to the commission of Aeetes in Aea, not to the sending of the expedi- tion by Pelias. — eirio-roTnv: the nomen agentis is used here, as elsewhere (cp. Soph Phil. 93 7re/t- dus ■ ■ ■ croi fwepyarijs), to de- note purpose and is furthermore coupled with the future participle (o-TTtjOOWTa). With the follow- ing ^tvyXauri, iiruTTdTrfv becomes equivalent to ^tv^ovra (ravpous irv/Dirvdovs t,tv^ovTa). The in- strumental l^vyXaifn is coupled with the verbal noun as though the latter were a participle. It may be added that the use of the substantive (eTrio-Tarr/v) obviates a heaping of participles ; cp. Soph. O.T. 1422 f. — 6avdcri|iav ■yiriv : cp. da.va.cTLfi.ovV v. — The figure in V. 482 seems to be derived from a beacon light. 483-485. ovrivira- T^po . . . l)i,ovs, though a participial phrase, is contrasted chiastically with Ttjv TiT]X.iu)Tiv . . . avv troi (avTov TraTipa) ((Toi and So/aovs ifiovi') {rrjv UrjXiioTiy 'IuiXkov) . MHAEIA 139 TTJI* Ti7)\l(t)TI,U eiS 'I(d\kOV iKOflTjV aw (Toi, irpoOvfio? fxaWov rj (ro(j)0)Tepa, HekCav T dneKTei.v' axrirep aXyiaTov Oaveiv, iraiooiv v<^' avTov ' TrdvTa 8' i^elkov 6/3ov. /cat Tav0' ixfi' rjiJ,S)v, u> kolkutt duSpwv, TTaOwv vpovSojKas •)7ju,as, Kaiva. S' e/cT^crcu Xej^ij, 7raC8(i)v yeycoTtov — et yap rjcrd' avrai? in, (0- T«pa : = ■TrpoOvfXorepa rj (TO^oj- Tcpa, alacrior quam sapientior. 486. fwnrcp a\7io-Tov Oavciv : = (i)(ravriDS axTTrtp aXyicrrov iam 6d- vav, ' in the very way in which death is most painful '. 487. irat- Suv v' auToi : explanatory apposi- tive to axrirep aXryiuTOv davav. — irdvra 8' l|€tXov 6Pov : forms a brief and abrupt summation and conclusion of all that has been said since v. 476, ' in short, I re- moved every fear from your path '. Menander seems to have copied this turn of phrase in his 'A8eX<^ot' to judge by Terence Adelph. 736, dempsi metum oranem. — Jason's sending by Aeetes (v. 478 f.) is balanced with Medea's flight (vv. 483-485) ; the killing of the serpent (w. 480-482) is balanced with the killing of Pelias (v. 486 f.) : hence the two groups of verses, 476-482 and 483-487 (middle) are joined by Se, their divisions being joined by t£. What Medea did for Jason in her own country, and what she did after she left it form two divisions. 488. KaC = KoiToi, is like our emphatic ' and ' for 'and yet '. Similarly ei for ei tamen. — a KaKio-r' dvSpuv echoes oJ TrayKOLKioTe. at the beginning of the speech. — iraS&v. adversative. 489. Kaivd X^xi = 'new wedlock'. Cp. v. 156. — 8': as though irpou- ScoKas plv ■^ 1x0.1 had preceded. 490. ira(S(DV yfyiltrav : very em- phatic and = Kal ravra TraiSoji/ inrap-)(6vTiov, ' and that, too, though you had children already '. — tio-e' : 'had been'. 491. avriv: 'it. would have been'. — 4pacr6Tjvai in the context is ' crave ', rather than ' be- come enamoured of. — 492. iipKuv . . . irto-Tis : cp. 439, j8c;8aK£V opKuiv )(dpK. — o48' 6X<* ■ = ovSi SiVa/xat. 493. ij : = Trorepoi/. It is the in- troductory particle of the direct in- 140 EYPiniAOY 7] Kaiva KelcrOaL decrfjn' avOpcjiroL's to, vvv, inei, avvoicrdd y ets e/x' ovk evopKo<; oiv. _ 495 Kal Twi'Se yovdrcov, cus fJLaTrjv Ke)(pa)crfie0a KaKov ir/jos di'S/ads, ikirtSoDv 8' -^fjidpTOfiev. 'J ay — (is <^tXoj ya/3 oi^Tt croi KOivcicTOfiai — SoKoGcra /xev ti TTpds ye croS irpd^eiv /caXws ; 5°° Oju,oi9 8' ■ ip(i)T7]del<; yap ala\iwv ^avrj — vvv VOL TpdvoDfiai ; irorepa vpo^ Trarpos 8d/A0us ; terrogative, like the old-fashioned ' yea ' (cp. " Yea, hath God said ? ") • — Tous TOT : sc. ap^ovras. 494. To judge from the pre- ceding verse, we should under- stand Koivd as predicative, and couple BifTfjua with to. livv. Kaiva Oifrjxia TO. vvv (= to vvv Oitrixm) K€UT$(u avdpanroK would be a more obvious arrangement, but unmet- rical and less striking. 495. iiriX a-ivoiirBi, y : ' for conscious you surely are '. — «ls V • = "'pos «/*' or irepl i/x. 497. Kol tuvSc 70v(iT ttoXX' eAa/xjSavov. — «!is \ULTt\v Kexp'^^vTi : 'as though you were a friend'. — Koi,V(iiro)i.ai : = avaKOivuxTopai. 500. SoKovo-a |i^v : as though the rest of the verse were to be nega- tive in form, as it is in thought. — irpbs yi s 8': sc. KoivuHTOjxai. — <|>av^ : = iieXeyxO'^a-ri. — This pas- sage seems to have been in Ovid's mind when he made Medea write to Jason {^Heroid. 12. 21 f.) : Est aliqua ingrato meritum exprobrare voluptas. I Hac fruar ; haec de te gaudia sola feram. 502. vSv: em- phatic, and emp^jatically placed before the interrogative, = oJtws k-)tiivru>v or «k TolvSe, ' under the present circumstances '. — irirepo : sc. rpaTTw/jai. MHAEIA 141 ou? croi irpoSouaa — Koi irdrpav — dtfjLKOfirjv ; 7) TT/Dos Takaivas IleXiaSas ; Ka\<; y dv ovv hi^aivTO fi oifcois wv irarepa KariKTavov. 505 e^et yap ovtcj • rots fiev oiKoOev <^iXois e^^^pa KadeoTT]^, ovs Se^' ovk ixPW f*'*'^? opdv croi -^(apiv iK6|jii]v : as in V. 32, which should be carefully compared with the present pas- sage. 504. KoXus : the y' points the sneering irony as in v. 500. — oui' : certe. 505. cSv iraWpa Ktuti- KTovov as substantive is subject to SifouvTo, or perhaps we might say that the antecedent of utv is con- tained in the personal ending of Si^cuvTO. — otKois is instrumental. 506. ydp: following the thought rather than the expression of it — ' I have no place of refuge ; for ', etc. — oSto) looks backward, but is further explained by what fol- lows. ' The case stands as 1 have said '. — otKoScv : the point of view is the reverse of the English. It is that of the speaker ; she thinks of the home from which she has come. 507 f. KaXi(ov iyd, 8v6tv rpiro^, 'am not I made equal with you two, a third with two ? '- 514. KoXdv V ovEiSos (in which note again the ironical ye) is patently illogical ; but in Eng- lish 'a fine reproach' might have been said under the same circum- stances. The clause is in apposi- tion to the preceding sentence, and its meaning is further defined by the following verse, which is in turn appositive to this one. (It may be that here and in a few other places [see L. and S. s.v. ov£tSo;] the word ovaSos has a good sense, perhaps through con- fusion with ovcmp.) 515. iTTw- Xois : predicative to dXotr^at, ',roam in beggary '. — ij t 'u-uo-d (r« brings us finely back to Medea's start- ing-point in v. 476. Medea is now done with Jason ; she turns with a bitter cry to Zeus. The words are = e/ne re rj fcrwira. (re. 516. rt B-Zj : cur tandem. — Ss Ktp- 8i]\.os ■g: = Tov ki/SSt^Xou. The relative clause is essential ; the omission of av is a poetic archaism. See GMT. 471. 517. TeK|iTi : emphatic. 518. dvSpuv : with (Tu>\xa.Ti. — xprj SiEiSevai : = 8i£iScu/;iev. — tov KaK6v : = (after the model of v. 516) 0% Ko.KOi rj. 519. Medea confuses her figures. Above the testing of metal was thought of; here it is the mint mark {x'^paKT-qp) of the coin ; ;^|ovo-d; suggests to the mind X/ODcrt'ov. Such shifting meta- phors, as they should perhaps be called, are not uncommon in Greek literature. — With the thought here cp. Hipp. 925-930, where Theseus wishes there were some sure sign (rtKixripLov ov, aKpotcn XaL^ovs /cpacTTreSots vneKSpafieiv '^^ c^--^ TTyj' cnji' (TTOfiapyov, o) yuvat, ■yXtucrcraX.yiai'. 525 another kind. — Euripides would seem to have suffered from felse friends and not to have been naturally quick to see through de- ceit. 520 f. The platitude of the Coryphaeus serves merely to sepa- rate the two balanced speeches. 522 ff. This speech of Jason's in reply to Medea's tirade, is of ex- actly the same length as the speech that it answers, viz. 54 vv. We have here a true a/uAAa X6ya>v (v. 546). Such exact equivalence in length of speeches in accusa- tion and defence in the drama, is due to imitation of the procedure of the Attic courts, where the speeches on the two sides of a cause were measured by the cle- psydra. For other examples in Euripides, see I/ec. 1 132-1237 (two speeches of 51 vv. each sepa- rated by [probably] 2 vv. by the Coryphaeus) and Phoen. 469-525 (two speeches of 27 vv. [v. 480 spurious] separated by 2 vv. by Coryphaeus). In Sophocles we find two set speeches of 42 vv. each separated by 2 vv. by the Coryphaeus, Ant. ()i()-T2.i (a vers*^ is lost after v. 690), and two set speeches of 24 vv. each, O.T. 380-428 (3 vv. lost after v. 409; see my notes ad loc). 522. Ja- son's tone is one of cool ironical complacency and conscious supe- riority. It is painfully natural. ' It looks as if, renders his ws louce. — (IT) . . . Xc-yciv : = Seti/oi/ fhiax Xe'yeti'. 523. wo-rt : = a>(nr€p. — voos otoKO(rTp4<|>ov : = KvPepvq- rrjv. — voos is one of the Doric forms that are used in the dialogue of Attic tragedy. 524. aKpoio-i XaC- <|>ov$ Kpa 8' introduces the main matter of the speech, as in v. 872 (cp. also Ale. loio). — This verse and what follows to v. 544 answers vv. 476-487 in Medea's speech. More particularly vv. 526- 533 answer vv. 476-482. Jason thus defends himself — and a poor enough defence it is — against Medea's i^rst charge, that of in- gratitude ; in the sequel (v. 547 ff.) he defends himself against her second charge, that of unfaithful- ness. The emphatic e-yw sets Jason's opinion against Medea's. — KaC: intensifying \!av, which (it may be noted) is tautological with rrupyoTs. — irup'yols X'^'P'" ■ ^^- aggeras beneficium (cp. Cic. pro Flancio 29. 71 : At ego nimis mag- num beneficium Plancii facio et, ut ais, id verbis exaggero). Note the similar metaphor in Greek and Latin. Cp. also Heracl. 292 f. TraCTi yap OVTOS Kijpv^L vofj-oi, \ 8ts Totra irvpyovv tcov yiyvo/u.ci'iDV, ' it's the way with all heralds to make out things twice as big as they are '. — The parenthetical i-iru clause, it should be remarked, gives not the reason for the statement made in the main clause, but the reason of the speaker for making that state- ment. .527. Kvirpiv : strongly em- phatic. It was Love, not Medea, that was the author of Jason's deliverance from the dangers al- luded to by Medea in vv. 476-482. 529 ff. (TIP 8': 'you, however,' ' whereas you ' (as contrasted with Cypris) . He was going on to say vir "EpcDTOS ^vayxacrSiys tovjmiv iKcroMTaL Sefuxs, but hesitates and shifts the form of the sentence in a tone of insincere apology. ' It is, I grant you (/ieV), subtle wit, albeit invidious speech, to rehearse how Love forced you to save me.' vovs AtTTTOs and IwCi^Oovoi Xoyos are contrasted, and that in con- verse order (chiasmus). 8ie\9eti/ with its dependent clause is the subject of lo-Tt. jtiei/ does double duty : it anticipates the contrast between vovi XeirTos and iiriOov6ov(K implies, of course, that the version of the story tliat makes Love the sole agent, reflects upon Medea by making her of no account. 531. Td^ois d<|>iKTOis goes with yvdyKacre. With iKcrlacrai we sup- ply in thought iroviov or the like. — ToA|i,ov S^fias : = Tovixbv crfi/ia (Soph. O.T. 643), a somewhat pompous i/MxvTov ('my person'). 532. In this verse Jason patron- isingly recognises Medea as the human instrument. The vovs Xett- rds of V. 529 had implied hair- splitting, the discriminating of divine author and human instru- ment. Jason now refuses to put too fine a point on the matter, and recognises — in words — Medea's free agency as a working hypothe- sis. The speculations of later phi- losophy and theology about the servitude of the will lie here in embryo. — o4t6 : = to irpSy/ia, the question of responsibility as be- MEDEA — 10 tween Love and Medea. — 8^0-0- liai : ' consider ' ; = iroirjo-oiuu in the sense of riyi^a-oijuu. Cf. Aesch. ^g'- 32 TO. SEcriroToiv yap ev ire- o-ovra di^a-ofiDLi, 'I'll consider that my masters' dice have fallen well'. 533- iMTl o"" : ' in whatever way ', whether as free agent or as the tool of Cypris. — o4 KaKus i\ti: sc. TO ovrjcrai. Practically = ov KaKuif uivq7)v opoicnv wKeis, ov/f ai* ■^v Xoyos aedev. elrj 8' ifioiye jjajre ;(/)ucros ei' 8d/i,ois /xt^t' 'Op(f)e(o<; /caXXioi' vfivrjaai joteXoSj ci /ii^ i'7ruT7]fio<; 7) TV)(r) yevoLTo (xoi. 540 you gave.' — <|>pd(r(i> : = dTroSstfo), ci/Su'^o/uu. The eyto is not egotis- tical ; it is hardly so much as self- assertive. — Jason's demonstration consists of but two points, though vpuiTov fnev (536) suggests more. He has a weak case and seeks to conceal the fact. The two points occupy respectively vv. 536-538 and vv. 539-541 ; they are the blessings of Greek civilisation (Ja- son is an early political mission- ary) and renown, — the benefits which Medea has gained by fol- lowing him to Greece. 537 f. %Ur\v . . - xpf[iTiaA : = either hUrfv imcTTacrai vofwvi re or SiKrj imcTTacrai. vdjuots tc )(p^po)v, eira croi /xeyas <^iXos >cat iraicrt roicrt croicrit' — dXX* e^' ijcrv^os. / 545 cop^oAii/ov Kat (TTpsTTTov )(pvv : ' a match of arguments '. Jason means to say, 'you accused me and I must defend myself. 547. The relative clause, like a fuod clause in Latin announcing the subject of discussion, seems to stand as a sort of caption for what follows. It is resumed by the following €v TipSe. 548. Jason states the heads of his argument like a court-pleader. irptaTov filv . . . ewtiTo. . . . etra are =primum . . . deinde . . . turn. — For the construction of yeyws, see HA. 98 1 . 549, ircipci>v : Jason means that he was not moved by passion for his new wife. — (t^vas (|iC\os : for i>% aXtjOSxi ^i\vyapouvv7i (see crio^piov v. 549) . — Kaivfjs vip(i,<|ms is an echo of Medea's Kaiva 8 cxTT/tro) A.tX'/ (v. 489) • — t(Up

o|iai. : sc. airovs ois ov iroXXovi ovras. 559 f ri |i,ev (U'yio'Tov : a 551. Common Attic usage would place an explicative yap after /xctottijv. The asyndeton in such a place is common in Herodotus. — \(iov6s: prose usage requires a prep, (dird) . 552. ^^X- K(i)v : Jason harks back to what he had said about exile in v. 462 f. — iru|xi|>opds di|i.i]xdvovs : a ' helpless misfortune ' (^afi-^^avos av().<\iopa, a stock phrase) is a misfortune that renders helpless, one that afirj)(a.vov Tov avOpumov ttoiei. The classical discussion of a.p.ri- T^avos ov<; toIctlv e/c cr49e.v tckvols es favTo detriv Kal ^vvapr>j(Ta^ yevr) evoaLfiovoifiev ■ aoi re yap iraihrnv /xeXei, e/ioi re Xuei Toitrt fieWovcnv tckvols TO. ^wi/t' ovrjcraL. fiwv jSeySouXeujuai /ca/cws ; ou8' av cri) aCr)v 4(i.mv : refer- ring to Jason's inherited royalty. 563. Touriv 4k ri\ri's €'miJ.in€Tai ei 6 eKttTOjixjSijs, where the neglect of prayer or sacrifice is meant. For the contemptuous use of Xt'^os cp. Soph. Ani. 573. 569 f. h too-oStov iiK«9' uo-Tc : eo venistis ut. The subject of ^kS, viz. ywaiKes, is transferred to the subordinate clause. — op9o«- |UvT|s : the metaphor is probably from a ship sailing on even keel. Cp. Soph. Ant. 163, 167, I go, O.T. 51. — tivfjs: giving variety to the expression between Ae^"? (568) andXc'xos (570- 57i- "V^vi- Toi : sc. i^iv. — Is : 'in respect of. 573. T(9«r9c : = vofuZ,(.rt. (570). Cp. V. 532. — xpjv : see HA. 834, 897 ; G. 1400 ; B. 567, i, and 607 ; Gl. 460. — op' : i.e. because women are so troublesome. 574. flftX« 8' . . . Y^vos takes the place of the -7 £K yvvaxKwv which would naturally follow aSXfSkv TToOev. 575. oStws : z.e. el SiXXodev iroOev fipoTol TraiSas TeKvov(r6(U iSvvavro, d^Xv 8' ovk rjv yeVos. — Vv. 573-575 do not, of course, express the real sentiments of either the character or the author. In the play, we must remember, they are the impatient outburst of a man that is working his own ruin by his passion for a woman. In the //ippolytus (616 ff.) the fervent wish that men might be rid of women and buy children, every man according to. his wealth, by offerings to the gods, is put in the mouth of the ascetic Hippo- lytus, who is scandalised by the love of his stepmother, Phaedra, for him. 576. f-iv : concessive, ' I grant you '. — iKio-pitja-as : ' mar- shalled ', ' set in order ', (rvvira- |as: a military metaphor. Cp. Plato Apo/. 17 B-C, where Xdyous K€Koa-iJi,r)i/.ivov — So/ceis TrpoSoiis (rrjv a,X.o)(ov ov St/cata Spav. MHAGIA 7} TToWa ■jToXXots eifiL 8id,opo$ : sc. •n)V yviip.-i]v. 580. 4|ioC : ' in my judge- ment ', niea sententia, meo iudicio. — oo-Tis: best rendered here, as often, by reversing the parts, ' any- one that '. — (roi|>6s X^-yeiv : elegant equivalent of the common slang Setvos Xiyuv (cp.v.58s). 581. tti- <}>vKC : = etrTt. — jT||xlav oXio'Kd- vei : legal phrase. Medea treats herself as a judge. 582. avxuv : = a strong k\Trit,uni- — ircpio-Te- \elv : ' cloak ', ' deck ', ' trick out ', a figure from dress. 583. iravovp- 7«iv : ' to be a Travolpyos ', ' to play the knave '. — htti : ' is in reality ' Note the force of the emphatic position. a7av iroifios : cp. v. 305. 584 f. Logical would be: As xat crii vvv eis (.p. f.vrTyri\x.uiv yevo/ievoi Kiyciv T£ Savbi ovK ayav (ro<^ds €(■ £v yap ktL, but the words that Euripides has put in Medea's mouth are the more vigorous and natural for their lack of strict logi- calness. — Kal o-ii : i.e. ov fiovov oi aXXoi oi toiovtol dAAa xai av. — vOv, notwithstanding its posi- tion, is temporal, and marks the 152 EYPiniAOY Xeyetv tc Seivds ■ ev yap e/CTevet cr' eiros ■ XPV^ ^\ etTTcp Tjcrda //,■>) /ca^ds, ireicravTa jjie yajxelv ydjxov TOvSi', dXXa fxr) (Xtyrj ^LXoiv. 585 lACUJN KttXcijs y dv, otixai, tojS' virrfperovv ydfjio), Ao/a et (joi Xdyov KareiTTOv, 17715 ouSe I'ui' ToXfjias iMeffetvai, /ca/aSias fieyav ■^oXov. 590 MHAGIA ov ToGrd cr' €9(ei'5 aXXa fidpfiapov Xej^ds 77/305 yrjpa? ovk cvSj^ov i^e/SaLve aoi. present case. See the paraphrase above. — tiop5.i tSiV TnwTOVTUlV KoX eKTiivo/jiiviDV £IS TO f8a0i a.d\n)TS>V VTTO TU>V avTiTraXum Schol.). — tiros: the argument contained in the next two verses. 586 f. \fi\v -yafieiv : = iydfieis av- The present inf. in the one phrase, the unreal imperf. indie, in the other, refer to the ac- tion in its inception : ' you should have undertaken to make this mar- riage '. — (iirep : ' if in fact '. — \i.-f\: in this position we should expect, barring metre, ov. — vda-avr : ' af- ter persuading'. Briefly put for ilTTOVTa /JLOL Kol TrtLfTaVTO, /Xt. o-i-yp : quasi-preposition and al- most = XaQpq. {clam). <|>"^«>v : ' of whom I am one ', she means. Cp. V. 29. The use of the generalising plural puts the individual act in the class of crimes. 588. 7' points the sneer. Cp. v. 504. The par- enthetical oi/iuu is also sarcastic. — wirt|p^Touv : 'should I have been helping '. Past unreal, as is shewn by the following aorist. 58gf. Kar- eiirov : aorist to Karayopivio. The word belongs to the legal world (Medea has just spoken in the tone of a judge) : iix-rivvaa gives very nearly its force. 'Divulge' gives the tone. — titis . . . roXnqis : quae ne nunc quidejii possis. The generic relative in Greek renders a change in the form of the verb unnecessary. — roXpic^s : ' endure ', ' bring yourself. — xapSCas . pro- bably best taken with j^oXov. 591. TovTo: i.e. the motive set forth by Jason in vv. 559-565. MHAEIA 153 lACUJN eS vvv ToS' icrdu, firj yvvai,KO<; ovveKa yrjliai fie XeKTpa /3a(rtXea)v a vvv ex' ijSov^s I yuvaiKos ovv€K iK^d- A.gs, ' my son, don't let your pas- sions run away with your reason over a woman '. Jason is again protesting his o-ox^potrwi/. He refers not to the motive that she assigns here, but to the other mo- tive, his passion for the princess. See V. 555 {. — X^KTpa Pao-iX^uv: = ydpxyv /SatrtAtKov. Cp. v. l8. XeKTpa (or rather its equivalent yd- fwv) would require in prose an arti- cle or demonstrative to anticipate the relative. The relative clause is essential. Barring metre, a vvv l\vpeva. lACUJN oTcr0' w? fierev^ai koX (ro(j)aiT€pa avy ; TO. ^pijcrra [itj crot XvTrpa ^aLvepiva repeats the notion of Xv- Trpos £v8ai//.(i>v (Si'os in inverse order. 599. kvCJoi takes its mood from yevouro. Cp. v. 544. Medea seems to borrow xn^ot from Jason (v. 568). 600. The command fiinv^ai (' change your prayer ') koI aoi^ioTipa. ^avfj (' you will shew yourself wiser ') is placed in dependence in a manner that the Eng. impera- 605 tive does not admit of. See GMT. 253. We must render : ' Do you know how to change your prayer so as to shew yourself wiser?'- 601 f. The infinitives re- present the optative in oratio recta and depend on an tv^ai, ' pray ', to be understood from /xeVtv^at. The direct form of the prayer sug- gested to Medea would be to. xprj- (TTO, IXt] /AOt \vTTpa (jialVOlTO TTOTC, /xi;8' evTV\ov(Ta Svcttut^^s tlvax So- KOLijv. 603. airo'fj : concrete, 'place of refuge '- 605. rah': i.e. your present fortune as exile. MHAEIA 155 MHAGIA Ti opajcra ; fiu>v yafiovaa koI vpoSova-d vyrl^ Trpoa-axfyeXtjfia ■)(p7)p.a.T eavT^s ix£T€(TTpal/fv Schol.). ■irpoSovaa is prior in time of action to yafu)v(ra, notwithstanding its position and the icat. Translate: ' By abandoning you and marrying another woman '. For /ioiv cp. v. 567. 607. Such corrective sen- tences commonly contain jxiv ovv (inmw vera) . — Tvpivvois is gen- eral : Medea has committed the crimen laesae maiestatis, the first person to be guilty of which in Greek literature is Thersites (cp. Horn. B r<3 ovk ov fiaaiX^i dra (TTOfji, f)((ov ayopcvoK^ . 608. 'Yes; and to your house, too, am I curse- ful, as good luck will have it.' Jason does not, of course, realise the full purport of the dark threat involved. 609. The i\r)pa. Jason is now making the offer of assistance he mentioned in v. 461. 156 EYPiniAOY Xey', ft)S eVoi/ios a.66va) Sovvai X^P'' feVois re ire^nreLv (TVfi/3ok' ol hpdaovat cr' eu. /cat raura /at^ ^eXovcra ficopavei^, yvvai,, Kyj^aaa S' 6pyrjl\oi). The Scholia explain the custom thus : 01 iiriievovixevoi ti- (Tiv aaTpdyaXov KaTarifivovTei Ba- repov /xev avTol Kareixov fiipo^, ddrtpov Si Karekifiiravov rots inro- St^aixivoi^, Iva, d Se'oi irdAtv avToiis ^ Toil's Ikclvihv €7n4ivovcr0ai tt/oos aWriXovi, «7ra-yd/i£voi to rjixuxtTTpa- ydXiov avevtdivTO rrjv i^viav (' they that enjoyed the hospitality of any would cut in two a knuckle- bone and, retaining the one half themselves, leave the other half to them that had given them hospi- tality, to the end that, if either they themselves or their children should need to enter into guest- ship with one another, they might bring the half-knuckle-bone and' renew the guestship'). For an example of the use of avix,j3oXa see Hdt. 6. 86 . 614. ravTa: i.e. what I have just offered. — jii) 8^- \ovo-a: = lav fi.y) jBiXt)^. 615. X'/j- |o9g is cO' ordinate with eyi) fikv . . . 6i\i\v toiou- rwv epa>Tiav Tapa)(al tok avOpiawoi's (ni/iPaCvova-L. An admirable par- allel to the present passage is /.A. 543-557 : jiaKapti ot furplas Oiov I iitTa T£ po(Tvvai p-tri- \ a\ov XiKTpiov 'A<^joo8iTas, I yakavtiq. \pr)(Td.p,tvoi I pjawoKSiv oiorpcuv, 061 8^ I SiSvp,' 'Epws o xpvaoKopas | t6^' ivTiLverai )(a.piTiov, \ to piv iir tvaiwvi voTpM, \ to 8' CTrt crvy- Xyuii PlotS.^. I wrctvejria viv aperi- poiv, I KijTrpt KaAAicTTa, BaXapiav I £17J 8' ipOL piTpia pev I X^P'Si ""O- 6oi 8' ocrtoi, I Koi ptTexpipi rai 'A^po8i'|Tas, TToWav 8' airodtipav- 627. "EpuTcs should be, by virtue of its position, the subject of the whole sentence, of both members of the piv — 8e complex. But in- stead of the second member being £t 8' aXts i\.6ouv, OVK aXXo oi8€v €v)(a.pi ovTws or the like, Kurrpis is brought in as a new subject. Cp. the way in which the Kuirpiv of v. 527 reappears, as it were, as 'E/oo)s in v. 530. — iiircp a-yav : a bold phrase, as though we had super quam nimis est (instead of satis est) or ' over too much ' (in- stead of ' over much '). 629. oLpe- t4v : = evTVxiav- — irop48Kav : the more modern form for TrapE'Soo-av. The aorist is gnomic. 630. av- Spdaiv ^ = ayOpiinrQii, else we MHAEIA 159 ,^. ^ fjutj TTOT, J) 8e€irj<; Ifiepo) ')(piaa(T avKTov oIcttov, 634 OTepyoLfjLi. Se cro}i\d70u$ . . . vcCkt| : quarrels with a husband like that of Medea with Jason must be meant. Cp. for the phi-aseology Soph. Ani. in veiKeaiv i$ dfti^i- \6yoiv, which may have been in Euripides's mind. 639. Bvfibv «k- irX'iiJaa-' seems to mean here 6/oyi- puv . . . 7vvaiKuv seems to mean ' with keen discrimination keep asunder different mates of one man ', so that, that is to say, the wrongfiil mate may not cross the rightful one's path, and thus trou- ble arise. Though the Chorus pray for calm affection, natural jealousy is here tacitly assumed. 643-662. Second Strophic Coup- let. ' May I never be an exile. Medea's present woes prompt this prayer. A curse upon the disingenuous ! ' There is no con- nection between this and the former strophic couplet save that both couplets are prompted by Medea's acts and circumstances, the former couplet by the preced- ing scene with Jason, the latter by her impending exile, and — more particularly — the scene with Aegeus, Medea's future protector in exile, which is to follow. But it is all charming poetry. 644. SfjT :■ in a tone of urgence. 645. riv: 'that' rather than 'the' r6v a|i,T)xavCa$ Svo-ir^parov allov is a description of exile. 648 f. We have here an illogical jumbling of Trapos Sa/xeiriv irplv afitpav tolvS (i.e. the day of exile) l^avva-ax and ^ jaaAAoi/ Zajxuriv a/xipav Tav8' i^avv- a-aaa. — Oovdru : perhaps rightly to be written with a capital letter. Death is here the victor under whose hands the vanquished falls. dfiipav is poetical accus. of the goal with i^avvcracra. 650. vircpScv r\ : = ju,«f(i)v TOV. 652. ctSofuv : very emphatic and with the force of aSo/jiev airai, as is shiewn by the sequel. MHAEIA i6i [jLvdov €X^ (ftpdaaadai, ■ ce^yap ov ttoXis, ov LXovp(i(rao'6ai, : to be closely coupled, ' a tale to tell '- I56 f. Note the strophic rhyme in Savirara 7ra6iav and otKTpiSTaTov a^iav. 658-661. axdpio-Tos : 'un- friended' (lit. 'unfavoured'). — The clause Stu ('any one to whom ') . . . <|>pevo»v is the subject of oXoiff. — irop€pcvuv : I.e. ' not to be frank toward friends * Jason's disin- genuousness is censured here, as Medea censures it at vv. 586 f. To us it would be more natural were his faithlessness cursed.- — xaSapav dvoC^avra xXjSa <|>Ppivai, ' by opening a clean heart ', i.e. by being honest and frank. Of course you can't very well open a key, especially a Greek key. The Greeks used ex- pressions of opening and unlock- ing pretty loosely. — Ijiol \Uv : = f/wC ye (e/iotye) . The affirmation has, as elsewhere, faded into a mere restriction. In the Third Episodion, which MEDEA — H follows (vv. 663-823), the first half (vv. 663-758) has been se- verely censured by modern critics. It has been denounced as a mere piece of gallery-play dragged in by Euripides to please his Athe- nian audience with the portrayal of the chivalry of an ancient Attic worthy, Aegeus, father of the great Attic hero Theseus. It has been said that Medea with the magic chariot which we afterwards find that she receives from the Sun, has no need of Aegeus's help. But this is not true. Means of escape and place of refuge after you have made your escape are two very different things. We must also, however little we may like the scene between Aegeus and Medea, not overlook the fact that it is pretty closely bound up with the plot of the Medea as Euripides conceived it. It is distinctly fore- shadowed in vv. 386-391, which in turn are but part of Medea's long reply to the Coryphaeus's query about a place of refuge in l62 EYPiniAOY Airevc Mr^Seia, X°''^P^ — rovSe yap irpooLfiiov KaW-Lou ouSets oiSe Trpocr^coveiv ^iXovs. MHAeiA w X'*'/'^ '^"'^ ''"'^J "''*'' (^0(f>OV YloWOLOVO?, Aiyev. vodcv -y^s r^crS' ini(rTpco(f>S, ireSov j Airevc (^oi/3ov TTaXatoi" iKXincov 'x^prjo'TTJpLOV. 665 vv. 359 f. See Introd. p. 34. — With this scene between Aegeus and Medea should be carefully compared the scene in the Helen (68 ff.), where Teucer comes to consult the seeress Theonoe (t^v BiaTtuo^v ®(.ov6-i\v )(prj^uiv iSeCv, v. 145) about the carrying out of an oracle. In several places in that scene Euripides is clearly copying the present scene. 663 f. For the form of the sentence cp. vv. 465 f. — ToSSe : i.e. rov xaipeiv Xeyuv {salver e tuber e). — irpo(ri|><>)- vetv ({iCXous : ad amicos alloquen- dos. For the construction of the infin. see HA. 952, G. 1526, B. 641, Gl. 565. 665 f. xatpc Kttl o5 : according to the Scholia this is a mere orna- mental epithet of Euripides's. But it would please his audience to hear an Attic king so qualified. — Medea's naming of Aegeus serves incidentally to introduce him to the audience. It has been asked how Aegeus and Medea could have become acquainted, and it has been suggested that Euripides was thinking of some version of the story of the Quest of the Golden Fleece in which Aegeus was one of the ship's company. Euripides would very likely have smiled his grim smile at both question and answer. Nor would he perhaps have thought much of the suggestion that ktruTTpux^^ im- plies that Aegeus was no infrequent visitor at Corinth. The words used imply no more than Unde hanc terram invisis f. — ■yijs Tfja^ov 7f)S. 6cS6v : 6fia\6s was used for the central point (as in Homer's d/^<^aA69 ^aXacrcrijs) . Delphi was supposed to be the centre of the earth (regarded as a plane), and there was a sacred stone there bound with fillets known as the o/a- <^jiAos. — lo-TdXi]s : profectus es. 669. Note the combination of pro- lepsis and interlocked order of words. The tame arrangement would be ipiwwv ottcds TratStov atrepixa yivoiTO [loi (= TraiSes ye- voivTo /ioi). 017101 yivoiTo is the indirect form after secondary tense (ipevvSiv depends on an under- stood ia-TdXrjv) of TTois ytVijTot;' 670. 7dp : as often in a surprised question (yap admirantis), where we say ' why ' The literal sense of yop as thus used would be more ex- actly given by ' really then '. — Ssiip' del : adhuc semper, usque ad hoc tempus. Time is expressed in terms of space. — Te(v€is ptov : = ^^s, but with an implication (which also lies in Seup' deO that Aegeus is no boy. 671. A more pious — and circum- stantial — way of saying aTratSes ovTEs Tvy)(avofJi,ev. 672. 8d|iapTos 060-1)8 : sc. (701, the phrase being = Sa/xopT* txtav- — \^xo«s direipos : inexact for ' unmarried ' (Sd/japT ovK ix'^^)- ^P- ^^^ following verse. 1 64 EYPiniAOY Airevc ovK i(Tfi€u evvijs d^rrye^ ya/jLrjXCov. MHAeiA Ti 8:770 $01/805 ei77e o-ot TTaiScov nepi ; Airevc (ropev6^. MHAeiA TL StJt e)(pr]cre ; \4^ov, et ^e/i,is icXueii/. 67s 673. civi)S ii.^v7cs 7a|XT|\Cov : = aya/xoi. The notions of a^vf (figurative) and ayafio^ (literal) are fused in the phrase used. Cp. a^vyes yaixinv Hipp. 142s- 674. Medea comes back at length to the substance of Aegeus's an- swer in V. 669. — 8i)Ta : i.e. eiretS^ 6ii.a\.6v yrjs Oarmw&bv eo'TaA.r/s TTdi'ScDv ipevvSiv fTTripfx, ottcos ye- voiTo CTot. The same sense would be given by ovv- 675. 'Words too wise for a man to make out the meaning of, sapientiora verba quant pro hiimana coniciendifacul- tq.te. With Kor avSpa understand £(tt;'. As used here, avi^p is con- trasted with something higher ('a mere human being') and so has the same range, as regards sex, with av6p(oiros. Cp. v. 630. 676. 9i\i.i9 }iiv: sc.ifTTi. '■ Fasne estf For jtieV in a question without answering 8e cp. V. 1 129, Hipp. 316, Ion 520. 677. 'Certainly; for, you see (rot), a good head is just (xat ) what they need' (viz. to their interpreting). — lidiXio-T : = maxime, as rJKUTTa is = minime. fidKurra is the common affirmative particle in Greek to-day. 678. Sf[T : i.e. iirii 6kp,{,o : hardly more than kolvuxtid. 686. Tptpuv : ' versed in ', like ffiweipoi with the gen. Cp. iv- Tpi;8^s. — Tol ToidSc : = pd(rov Sutr^uyxias. MHAGIA aSiKet jLi' 'idcrcjv ov8ev i$ ifiov iradtov. Airevc Tt XPVH'<'- S/oacras ; (f>pd^e p.0L aa^eaTtpov. 690 stichomythy — what Mr. Browning calls " the thrust and parry of bright monostich " — , which is brought to an evident close here by Medea bidding Aegeus godspeed. This stichomythy consists of twenty-two verses (667-688) and is followed by a second stichomythy of (as the text has come down to us) twenty verses (689-708). 689. Instead of taking his leave at once, Aegeus, observing Medea's appearance more closely, begins a new dialogue (stichomythy) with a surprised personal question. For ■yap adniirantis cp. v. 670. — 88« : where our idiom demands an ad- verb; and where even in Greek we should expect, metre apart. (SSe. Cp. Ale. 1 143. — Medea's appear- ance is the result of the fasting and weeping described in vv. 24- 29. 690. Aegeus's question gives Medea her opening, and she breaks out with, 'Aegeus, I've got the worst husband in the world'. 691. Aegeus can hardly believe his ears. — us is emphatic. — Siio-6u|iCa« : ' the reason of your despondent feelings ' is, of course, the meaning. 692. Medea puts the case generally and declares her own innocence at the start. — 4^ «l«>v: in ordinary Attic prose vtt ifwv. — iraBiiv is treated as the passive to irmrjcra'S (act. KaKov TTOieiv, pas.s. KaKov 7rd(r)(eiv). 693. Spdo-as : as though Medea had said ^SiKrjo-e in place of aSi- K€L. — According to the Scholia this verse occurred also in tji? Peliades. [68 EYPiniAOY MHAGIA Airevc ov TTov TeToXfiTjK epyov awr^tcTTOf ToSe ; MHAGIA fra

MHAeiA < > MHAGIA dvBpuiv Tvpdvvmv KrjSo<; rjpdcrdr) XaySeu'. 700 Airevc SiSwcri 8' auTftj Tis j Trepaivi fiou Xoy.ov. , MHAGIA KpecDv, 6v- torical present ; hence ' gives ', not 71180 : in prose cK/SaWct simply. * offers '. We understand Ovya- 707. ouSe toOt : ' not that (con- T£/oa(oricdpj;v)£iriya/Aa). 703. oTry- duct) either (on his part)'. —iinj- yvoa-rii \virei9-9ai : cp. Ale. 138 f. v«ra : for the aor. see on v. 223. lyo EYPiniAOY MHAGIA Xoyoj jiev ovxh KapSia 8e /SouXerai. — dXX' — dvTOfJLaC ere r^crSe irphs yev€i,aZov l^iirnov : 'into (lit. with) your land and as an inmate of your house '- So/imv iicrTiov, it is because Medea is ap- pealing as a suppliant. 7i4f. owrais: like sic in a Latin conditional blessing. — cpus iraCSuv : z'.e. your wish to have them. — irpos 6«mv : = viro Oexov. — T«XedpiiaKa. Airevc TToWmv e/cart riyi/Se trot Sovvat ')(a,piv, •yvi/ai, irp66vp,6pov86dp|i,aKa: this form of expression, native to English as to Greek, is logically a reversal of the order of cause and effect. Logical would be roiaSe 8' olSa tfrnp/jaKa, wrre Tmv(rpovSos : = d/i^j(avos. — «Y ywai, irpop/qOCav f/i-(r7^„jSu aW , €1 oo/cei croi, SpSf raS' ovk duTTaiiai ' ilioi re yap raS' eorii' d(ra\eaT€pa, iXoi as much as to /jLeOci' av. Indeed, in vv. 735- 739 we have an expansion of tov- TOK, koyms v ctvcu- /lOTOs, i\os yevoL av kt\. 736. a7ouiriv : * seeking my ex- tradition', ayav is the regular technical term. — cjU: hardly specially emphatic. The longer form seems to be used here, as elsewhere, to fill out the last foot of the trimeter. 737. \6yois Sc irv)ipds : contrasted with opKiauri. fiiv firyets and further explained by the following phrase, which shews that Xoyois means 'mere words'. — 6«wv: objective gen., as in 0€u>v opK(K ' an oath by gods ', 'an oath taken in the name of gods'- 738. <^C\os 7^voi' ov: = iriOoi av, as is shewn by what immediately follows. — liriKTipvK**- (lOTtt : 'diplomatic overtures', look- ing to my extradition. See iviKr)- pvKevoiuu in L. and S. Cp. the scene in the Heraclidae (vv. 55- 287, particularly vv. 236-287), where overtures are made to Demophon by Eurystheus's herald concerning the surrender of the Heraclidae. 741. iroW'fiv: em- phatic and impatient. We have the same emphasis on the same word in modern Greek, e.g. iroki Tov S(8as 'you are giving him too much'. Aegeus means to say that Medea is displaying too much caution. 743. \fa(. re ^Ap : cp. crot TE ya/jv. 565. 744. Seem- ingly a crabbed way of saying <7K^tl/iv (= ■7rp6Uyt : short way of saying waOctv eux!?' note the tense and cp. iripaivi fwi 755. We understand for the con- koyov V. 701 — 749 f. airds and struction vdOoifU. MHAEIA 175 MHAGIA ■^aCpav TTopevov' irdvTa yap Kokai^ ^X^'* Kayo) ttoXlv cttjv 3.vTaL Tutv ip,S)j fiovXevfLOLTcav' e/c ToCS' a.va^6iJi€(r6a TTpvfivTJTrjv KoKav 77° p,o\6vTe€ iroXe/Ai'as im x6ov6; coKoiCTL -rraiha ^acriXeicus /cravw 783 nefju^o) yap avrous Smp' i^ovras iv ■)(epo'iv, 784 XeTTTov re TreWXoi' /cai ttXo/coi' ^(pvcrTjkaTOv ' 786 Kavirep Xa/SoCcra Kocr/Mov dixtfyidrj XP°h KaKw? oXeirai ttcis ^' os ai^ ^17)7 ko/otjs. Toioio-Se xp^(f(^ (^app.a.Koi'i Sw/arf/naTa. — -^ evTavua p.ei/Toi tovo aTraXXcicrcrcu Xdyoi/j ^iii^w»<-4ipovTw; T-qvhi fjoi (fytvyav xOova 785 783. iraiSa Poo-iX^us : Creon^s child is sharply contrasted with Medea's own children. 786. Note the graceful chiasmus — ' dainty robe and wreath of beaten gold '. 787. Ktfir|iov : of the ircjrXos and ttXokos collectively ; 'finery', mun- dus, munditiae. — d|i^i6'g xpo'' = = ivSvrj- 788. iras os av 6(7x1 '• ^he expects that this will include Creon. — Kdpi)s : for avr^s. Cp. Hipp. 46, when Qi.& is used for avr<3 referring to Eloo-eiScuv in v. 45. 789. For the form of expression, cp. v. 718. 790. Here begins the second part of the speech, the transition being sharply marked by the words Ivtom- Oa fievToi. 791 f . ipav yap xpV ''o SovXiov ^vyov 'the master — my master ; for bear I must the slave's yoke' (Cassandra speaking of Agamemnon) and Ag. 13 f. tv- VT)v ovtipoK ovK iirurKOnravpAvrfv \ t/xijv • 6Poi yap kt\. ' a bed by dreams unvisited (like other beds) in my case ; for ', etc. Here we might have had (barring metre) oil yap TK kt\. The asyndeton is causal. For .the form of expres- sion cp. Ale. 848 OVK ta-Tiv oo-Tis avTov ItaLprjderai ' no one shall take him (Death) out of my (Herades's) hands'. 178 EYPiniAOY Sojuoi/ T€ TrdvTa avYXeaa ^Idcrovo^ cfet/Ai yaias ^LkraTtxiv iraiooiu (jiovov 795 v TratSoiv rStv ifULVTTJi Tov ^Cov iKXnrav, ' so as to commit perjury against my own children before I depart this life '. Similarly, probably, Horn, a 57 ff. avTap '0&vcr£vioiJuu, dXXa X.ri(j>d€ie IloXe- p-apX^t oiJ're (f'^Xov mr aWov ov- Seva, aWa. tov ivavTiov, To5 dSiKov. — ciKXc^crraTos pCos : = oiKXiicrTa- rds Ecrrtv 6 jSibs. 811. {KoCvwo-as : cp. v. 685. 812. viiiois ppoTuv: rather = to Slkmio than referring to statute laws. Special statute laws, whether laid down by a lawgiver (e.g. Solon) or enacted by an assembly; customs recog- nised by the Greeks at large ('EAAi/vtKot vd/u,oi) ; general prin- ciples of right conduct (aypa^oi vopjoi, vopipa aypaiTTa, vdjuot Ppo- rS>v) — all these came under the head of vd/uos or vd/xoi to the Greek. 813. |vXXa|iPdvovo-a : 'lend- ing a helping hand to', wrjjpe- ToStra. — 6,irtvviin> : = awayoptvoi. 814. oiK fo-Tiv &XXpo- vEtf li Sco-iriiTais : the plural substantive generalises, ,'if you are indeed a loyal servant ' ( = ei- TTip ■7ri(TTri €t SovXi;). — The ser- vant departs on her errand. Medea does not retire within, but awaits Jason's coming. In the following Third Stasi- mon (w. 824-865) the charms of the land to which Medea is going, Attica, are described in the first strophic couplet (vv. 824-845) ; in the second strophic couplet (vv. 846-865) it is naturally queried how such a land can receive a mother stained with the blood of her children, and Medea is appealed to in affecting terms to desist from her dreadful purpose. l82 EYPiniAOY \fr XOPOC 'Epe)(det8aL to iraXaLov oX^toi Kol 0ea)v TratSes /JiaKcipcov, lepas j^wpas dnopdyjTov T diro^epjSofji.evoL 824 825 824. 'EpcxSetSai : = 'Afljjvaiot. So called from the old hero and king Erechtheus. — to iraXaibv : in the context clearly ' from of old'. — SXPioi: sc. eio-iV. 825. Oeuv iraiSes : according to the scholia because they were children of Erechtheus, who was, in a sense, a son of Hephaestus and Earth. But we need not be too precise where patriotism and poetry are blended. — Upas : because under the patronage of the gods, particu- larly Athena. 826 f. airopO^rov: the circumstances of the times lend a special pathos to this word in the retrospect. By the midsummer of 431 Attica was trampled under foot of a Peloponnesian army. As a matter of fact, after the invasion of Xerxes neither Attica nor Athens could be called dirop- Orfoi. but Salamis had wiped out that disgrace. — &.iro<|>cpP6|i.e- voi KXcivoTdrav o-o<|>(av: Aristo- phanes's use of aTrojSoo-Keo-flat (a homelier a.iroepl3£cr6ai) of in-' sects which Sci'Specri e<^€^oj«.£va Kapirov wiroPotTKCTai (JBirds 1066) suggests that Euripides in this figurative phrase, as charming as it is unclear and elusive, was thinking of the earth-born cicada, the symbol of the autochthonous Athenian. Perhaps the best com- mentary on this difficult passage is to be found in Plato's eloquent words on the influence of envi- ronment on the young (jRep. 401 B-D). In his ideal city the poets are to put the likeness of good character (jtjv Tens ayaBm Akovo. yfiovi) into their poems, nor must the other artisans — particularly painters and architects — be al- lowed to put baseness, intemper- ance, vulgarity, and uncomeliness (to KaKoificM Km. aKoKsxaTov kox aveXevdepov /cai awxiy/xoi/) into their handiwork, 'in order that the guardians (of the state) may not, by being reared among images of vice as amid vicious herbage, gather daily, as they browse, many portions piecemeal from manj things and so imperceptibly com- bine in their soul a great evil' (iva /Mr} iv KaKiai eiKOCTi Tpti^6p.i- VOl fjplv ol v\aKK, UXTTTtp iv KaKtj PordvYj, iroXXa kKdtTT-q- ovT€^ d^pws aWepos evOa, irod' ayva,% 830 ivvia IlicpiSas Moucra? Xeyovcrt ^avOoiv 'ApfiovCav (ftx/revcrai • 834 geniously to track out the nature of the fair and comely, iva, mcnrep ev £yietv<3 tottcu oikoSvtcs, 01 vioi airb TravTOS u}e\5)VTaL, ottoOcv &v auTois djro Toii' KaXSv ipytav ^ wpos oi/ftv 17 irpos aKOijv Ti irpofr- PaXr/, iMT'Trep avpa ipov(Ta airo )(priikiav Kal (jvp-^an/uw Tv- ffts] niay lead them impercepti- bly into likeness and friendship and harmony with spiritual beauty' [t<3 koAo! Adyu)]). With the latter part of this passage we should compare vv. 835-845. Euripides may well have been in Plato's mind when he wrote what has just been quoted. 827 f. aUl . . . al6«pos : any man that has been young in ^th^ns and that has walked abroad of a spring morning through that wonderfully clear air that makes the chest expand and the foot fall lightly, will re- member how he thought of Eu- ripides's words then and will know that none ever fixed in words for all time a nobler bit of simple and complete descrip- tion of a noble region and cli- mate. The Athenians breathed a subtler air — aWijp, not di;o. 830 ft. 'ivia iroe" : ' (in that land) where once'- It is a bold touch to give nine mothers to one . daughter, but the scholia are probably right in making 'Appo- VUJ.V the object, not the subject, of ^vrtva-ai. The Muses im- planted, nay, engendered. Har- mony — all concord and perfect fitting together of parts, lyhether in music or musical instmaients or education — in Attica, and Har- monia, as a personification, is a fair woman with hair of the heroic colour. Cephissus and the cooling of its irrigating streams and the rose-gardens with Aphrodite in their midst crowning herself with the blooms come next. The Cephissus is the main stream of Attica ; the llissus a mere brook- 1 84 EYPiniAOY ToO KaWivdov T airo K7)(f>L(rov /5oas Toll/ KvTrpa/ kXtj^ouctii' a^vaa-oixiuav j^w/)as KaTOLTTvevaai joter/aias dueixtov r)Bvnv6ovi {t') avpa.<;, aiel S' iTTt/BaWofjuei/av ^aCraLaiv eicoSr) poBemv ti^qkov dvdioiv 70, (To^Ca irapeS/aovs rrefMireiv epci}Tav(r(ro|iivav : irrigation poetised. 840. {|Sinrv6ovs : an an- ticipation of the roses. — attV 8' : echoing aid 8 — of the strophe (strophic rhyme). 841. jtoiiav &v94av: = pdS(i)v. 843. The Loves — for this is a sort of anticipation of the multiplied figures of Eros in later Greek art — that sit beside Wisdom like an Archon's ad- sessors (irapeSpot) is a charming hint at that ardent enthusiasm which went hand in hand with the highest Attic philosophy, as exemplified by Plato. One can- not help thinking of the opening of the Ph^edrus here — a passage that inspired a modern poet, the German Holderlin, to write in his Griechenland of the " Schatten der Platanen, | Wo durch Blumen der Ilissos rann, | Wo die Jiing- linge sich Ruhm ersannen, | Wo die Herzen Socrates gewann". One thinks, too, of Aristophanes's exquisite verses {Clouds 1005- 1008) dA\' as 'AKaSTy/ieiai/ Kanojf VTTo Tais /xopuus (' the sacred olives ' — for this is the Academy of which Milton wrote, "The olive groves of Academe, | Plato's re- tirement, where the Attic bird trills his thick warbled note the .summer through"; cp. Soph. O.C. 670-673) aTroOpiiy | orc^a- Vdxra/icvos KaXafiio XtvKio fiera (Tuxftpavoi ■qXiKLioTou (' com- rade'), I liiXaKOi o^tav koX airpa- ■y/iooTJfrjs Kal XeuKijs <^uXA.o;3oAoj5- crtji (' white poplar with dancing leaves '), | ijpos iv uipa, )(a.ipo>v oiro- rav irXaravoi irrcXiq. ^i&vpi^-g (' as often as the plane tree is whisper- ing to the elm'). Cp. also the passage from the Republic quoted above. In the language of the MHAEIA 185 TTtus ovu lepmv TTorafiZv 846 irojLiTTi/xos ere X'^P"' TCI!' iraiSoXeTetpav efei — Tai/ ovj( ocriav fied' ayvSiv} 850 cTKQJjaL TeKecov TrXaydv, (TKQJiai. (f>6vov otov dpy • J^i ''w*^ K . *' , ' p.'t] — 77/305 yovdroiv tre iravrg irdpTO)^ iKeTevOfiev — T€Kva oveSaig^. 855 present passage there is some- thing like an echo of a phrase in the great *Ep(i)s chorus in the An- tigone (781 fF.), where the t/tcpos ivKoiTpou vv/xi^as 'yearning for a winsome bride ' — a phase of *Ep(i)S — is described as rfii' jucyoAuv irdpfSpfK iv apxaXi deKT/jMy, where (though we should perhaps read iw6pov(K ap)(a.U) the metaphor is the same. 846. Upuv irorafiuv : this in- cludes the Ilissus, as well as the Cephissus. The genitive seems to belong only to iroXis, but its posi- tion (if the text be sound) is a very strange one. It is to be noted that Euripides uses the same rhythm, and possibly the same melody, here as in the for- mer reference to 'sacred rivers' (v. 408). 847 f. <|>(Xuv ird|jiiri)ios : the reference is to welcoming the coming not to speeding the part- ing guest. Euripides here forces n-djuTn/uos (lit. 'escorting', 'setting on the way ') with tftikiau into the sense of ^iXd^cvos, and seems later (^Pkoeniss. 984) to use ird/x- iniws alone as = 0iA.d^cvo9> One would have thought Scktikos a fitter word. 849. iraiSoX^rcipav : = iraiSoKTOvov. 850. rdv . . . d'yvuv: a loose apposition to the preceding. 851. irXaYdv: t.e. which you have in view. In the next line the thought is more com- pletely expressed. 852. i^6vav olov 1 ApB : = otov 6vov dp-g (' are about to take upon you ', with reference to the burden of guilt). The con- struction is indirect exclamation. 853. irpos -yovdruv a-i : the com- mon order is rather irpds o-e yovd- Tptv6i ri X"P' i^o-P^"} T£ A.'^'/'iy T€KvoK uidfv huvav irpouayovcra ToX/iav ; ' whence can you get boldness either of mind or for hand and heart in applying (= so as to apply) to your children fearful daring? '- The dat. x"P' w'" then be a substitute for the gen. that would match p€v6i and will have been used meiri gratia. It is to be noted that v. 856 echoes v. 846 in the initial interrogative pron. and in the rhyme Bpacro^ rj ^pe- voi rj parallel with the rhyme itpu>v TToraixuiv. 861. aSaxpuv . . . 4>6vov : ' refrain from weeping over the thought of their murder' is the sense (lit. 'keep tearless the fate [or 'portion'] of murder') 863. Ik«tov iriTvbvToiv : ' kneeling (before you) in suppliance', i.e. as you threaten them with the sword. 864. T^-y^ai <)ioiv(av : ' stain with blood ' ( = ^oiVLav Troi^crai Tcy^affa). 865. tXAjiovi 6ti|i.$: 'siccis oculis', as Horace would have said, though that thought has already been expressed. In the following Fourth Epi- sodion (vv. 866-975) we have the sham reconciliation between Medea and Jason — whose selfish and egoistical wishes to have things smoothed over blind his judgment — and the sending of the children with the fatal gifts to the Princess. 866. KcX€iio-6cCs : 'at your bid- ding ', ' as you bid '. — koI o«t\a. iyo) o' ifiavry Sia Xoycov d^iK6p/r]v KoXoioopTjcra' S^erXia, tC fiaivofiaL /cat ovcrfievaivo) roicri fiovXevovcriv €v, i^Opa Se yaias KoipdvoL<; Kadia-TapLaL 875 vocreL 0', OS ijju.ii' Spa rd (Tvpv' ctvai : = (Tvyyvut/iriv ixeiv. — opYds : ' fits of temper '. We can imagine that, notwithstanding v. 13, Medea had not always been an easy woman to live with. 871. imi . . . ^I\a: 'because of our long and loving intercourse as man and wife' she means. The preposition in meip- yaurrai gives the notion of secrecy and intimacy. 872. So much by way of prelude ; now to the matter in hand. For eyw 8' op. v. 526. — 4)i.avT'g . . . di|>iK6)i.T|v : ' had an inter- view with myself. For the phrase cp. Sia AoycDv lei/ai. See HA. 795, I d; G. 1206, I (e) ; B. 404, i: 873. Kd\o(S6pT|ira : 'and scolded myself.' She then rehearses in popular (and epic) manner the scolding she gave herself. We have something like this in the scolding that the watcher's heart gave him in Soph. Ani. 228-230. 874. Pov\cvov(riv <{! : z.e. for you. The reference is, of course, to Jason, though put in the general form. She comes down to par- ticulars in v. 876, as though woa-a were a different person. But that verse really repeats and explains (with the following verse and a half) this verse. 1 88 EYPiniAOY ■vT^jLia? Tvpavvov Kai Kaa-iyvrjTov; tckvoi^ e'/Aots (f)VTev(i)v; ovk. anaWa'^drjcroiiaL Ovfiov — Tt Trd(T\oi; — deu>v 'nopil,6vTvT€ti(Dv : the action of yrjimi is completed, that of <^uT£ij(ov just begun. 879. t£ ird on ovk airaXXa^fliytro/tiai KTe. — iropi£6vT«v kclXws : = ev Stodv- Twi/. Cp. the prayer cv 8oL7)i {Ale. 1004 )(<|>poi'cIv : purely mental here, as shewn by the contrasted afjapoiv (v. 885). 885 . k{)8os . ■ . irpoo-XaPuv : = on K^Sos . . . Trpoo-e'XajSts. — KfjEos : ' alliance by marriage ', = ■ya/xoi', \f\oi ( = y waiKa) . — tiiitv irpotr- Xa^iiv : = ■^/uv ■7rpbT}v re KrjSevovcrav ijSeadaL aedei/. aX\ ip = Toumrov olov ecr/xcv) the predicate. — oSv : t.e. tirtiS^ KaKov etr/aev yv- vaiKes. — o- : i.e. as a man. — a|u(pco-6ai : ' answer reproaches with reproaches ' (lit. ' make return with reproaches'). Kaica is here, as often, = ovei&rj. Cp. Androm. 154 vjuas fiJkv ovv ToiaS' avTanu- jSouat \6yots. 891. A repetition of the thought of oOk . . . Kaxots : ' nor answer the fool according to her folly ' gives the sense. A man, says Medea in effect, is so far superior to a woman that he ought not to — argue with her, we should expect, but Medea with a grim humour goes ferther and says — quarrel or wrangle with her. 892. Note the asyndeton. It gives an added force to the em- phatic expression of surrender. 893. t6t' : shewing that we have here the oratio obliqua of Kaxm €fj>povmiJ.€v (or i^povovfuv T&ri). At the same time, tot* is expressly contrasted with the following vw. — TiSSe : accus. of inner (effected) object = ToSe To ^ovXevfia or iSt. The reference is to the exemplifi- cation of change of mind which I go EYPiniAOY S TCKva TeKva, Sevpo XeCneTe crreya^, i^eXder', acrnda'acrde Kal irpoo'eLiTaTe 895 irarepa jxeO' rjiJiSiv KcCi 8Lak\a.^07]9' a/xa T^s Trpoadev ey(Opa<; es T€Kv, ovTCj /cai TToXiiu ^(Sfres xpovov 6/3ov irXea' Xpovco Be veiKO's ■naTpo's i^aipovpevrj 6}piv ripavav tcovS" eTrXijcra BaKpvav. 905 she seems at once dramatically to give in calling out the children. We are to understand that at her call the two little boys appear with (probably) the paedagogus. 894. Cp. Heracl. 48 f. a> riKva. TtKva, Scvpo Xaix^avtad' i/xSiv \ ■Triirkaiv, ' come here and take hold of my robe '- 896. a|i,a : = fj^ff yifiMV. 897. h (Xovs : a general way of describing Jason. Cp. vv. 39, 459. — ixi^rpos yAra. : tautologi- cal after a/na. The two phrases taken together are = una cum matre. 'Mother' rather than 'your mother' gives the proper force. 898. T|(»iv: sc. es <^tXot)s cttrtV. — |i€6^(m)Kcv : sc. ^fixv- 899. Xdpco-ee : Xa/jiPdvav has the construction of Ixav, Xa/JL^dvea-Ocu that of its synonym d-TTTViOax. — XEipos 8<$i.as : iVIedea seems to mean her own hand. It seems that Jason, Medea, and the chil- dren are to clasp their right hands together to seal the reconciliation . As the children, at Medea's bid- ding, put out their hands to her she gives way and, weeping over them, utters the following words from ol /x.ot to uiXiv-qv in v. 902. Raising her head, she feigns to apologise to her friends (the chorus), in the next sentence, for her weakness. — Kaxuv: to be construed with rStv KCKfiVfi/xivtov in the next verse (tw KeKpvij,fA,€- vtov KaK&v). 900. is: 'how'. Srj intensifies ivvoov/juii like our ' do '. 901 f. ovTu : i.e. as you are just doing. — Ka(: 'really', as elsewhere. 902. riXaiv iy& : per- haps best understood as vocative. 904 f . ' But the long-delayed recon- ciliation with their father makes me weep over them ', is, in MHAEIA 191 XOPOC KafjLOL KWT oTcroiv '^Xmpov oipfi/qOri haKpv, z^-^'- ILT\ KOX Vo^aiTJ IL^tfiV J] TO VVV KaKOV. lACLUN aivZ, yvuai, raS', ou8' iKelva fiefjitftoficu' 6IK0; yap opyas OrjXv iroieia-dai yo/os, yajLtou? Trapeyt/rroKSiVTO'i dXXoious, Trdcrei. 910 effect, what Medea says. — XP^v(j>: local (temporal) dative, emphatic and emphatically placed. — iro- Tp6s: objective gen. with vitKOi. — e|aipov|icvii : ' taking out of my way ', 'getting rid of. 905. r^peivav: ' chubby ' is our nearest term, but it has not the tenderness of the Greek term. — tmvS": i.e. run/ ri- KviDv. The word is emphatic and contrasted with iraTpos. Medea's tears have fallen upon the faces of the children as she bent over them and, perhaps, kissed them. go6. Kar: 'down from'. — x^"" pov: surely not of colour. It is an ornamental poetic epithet the precise meaning of which, to the mind of a Greek poet, it is hard to determine. It is used here where we should say ' warm ' or, perhaps, an even stronger term, as in Byron's "My own [eyes] a burning tear-drop laves | To think such breasts should suckle slaves". — upli'fjOT) : 'starts'. The aorist is used much as in v. 223. 907. |iT| Kal 'iroPaCi] ktI. : ' (for fear) lest there even result a greater than the present evil'- Medea's words and the answer of her friends are a bit of ' tragic irony' that conveys no special meaning to Jason. — (icl^ov t] to VVV KaK6v : = /xci^ov kukov ■t] ro VVV (KaKOV €(TTiv). The ' present evil ' is the marriage of Jason and Medea's banishment. 908. rdS': i.e. your present speech and con- duct. — iKciva : i.e. your former speeches and conduct, gog. 6p- ^As TTOwto-Boi ; = 6pyit,tadai. — OfjXu 74vos : ' female kind ', i.e. ' womankind ' {to ywaiKiiov yi- vos). 910. 7&)L0ii$ irapc|iiroXuvT05 aXXoCovs : ' when he (sc. aiiTov, referring by anticipation to iroa-ti) smuggles in alien wedlock', i/iiro- XSv is to 'traffic', to buy or sell as merchants do. The addition of irapa as prefix suggests contra- band trade. — ■ir6o-«i : ' a husband ' (generic) and dat. with opyai Troiela-Oai. as with opyi^eaOoLi. It is to be noted that ttoo-k has no genitive in the Attic poets. We 192 EYPiniAOY dXX' es TO \aov arov fiedearrjKev Keap, eyv(i)povTLcrT(t)^ TraTrjp 914 iroXKrjv iOrjKa — avv deol^ — irpofirjOCav' 9'S olfiat, yap vfia^ TTJaSe yrj^ Kopi.vdCa'i TO. irpciT €crecrdai crvv Ka(TiyvrjToi<; en,. dW avidvecrOe, rdWa 8' i^epyd£,0fjiai. iraTTfjp re. koX deuu ocrns iarlv ^vp.eviq- trav is = TTjv X • cp- ^- 9°4' 9'4- Thus far Jason has spoken to Medea, now he turns to the children. In such transitions we expect oXAa rather than 8e. — irar^p: instead of iyai, because Jason is empha- sising his paternal relation to the children. 915. cOtiko : = cn-oHjcro- fiijv. — iriv Oeols : the result of Jason's care-taking rests 'on the knees of the gods '- He would not speak boastfully of his efforts. For the phrase cp. v. 625. Cp. for the thought v. 918 f., where the notion of triiv dcoti is expanded^ 916. oXfuu, : still preserving the modest tone. 917. rd irpfira : neuter used of persons, as else- where. Cp. Aesch. Pers. i f. TaSe filv (meaning ' we ') Ilepo-fiv tZv olxoixevtov I 'EAAaS* « atav Trurra. (' faithful retainers ') KoXetrai. — Sti : 'yet', i.e. notwithstanding the present exile. 918. dX\' : where we should say ' only '- 919. iro- TpovTi- ^ov(ra. The thought is anxious thought. 930. CTiKTOv : the aorist £T£Koi' (as a practical perfect; 'I bore', 'I am a mother') is the strictly correct form, but. because of its frequent awkwardness for the verse, the Tragic Poets appear to have admitted Itiktov at times as its equivalent. — avrovs : masc, though referring to reKvoK. Sex gets the better of gender. — 8t' Ifrjuxoi): referring to v. 920 f. '94 EYPiniAOY elv\aKTOV 6iv6viJ.uii viro. — eirV SaKpuois : = apTiSaKpvv (903) ' prone to tears '. 932. Medea now dries her tears and comes down to business, as it were. — els c|i.oii$ i\K(i9 XdYODS : = ts Xdyous i/xot ^KEts. For the phrase es Xdyous epx^o-Oai (livai) with the dat. cp. Xen. Anab. 2. 5. 4 ; 3. I. 29. The phrase takes the^ construction of 8taA.eyecrflat. — ■HKSis : sc. KeXctio-^ets (866). 933. |i.vTi' eyw. 944 ywaiKa iratSas TjJvSe /x.^ tvy(.iv x^ova. 943 938. T||i.Ei$ dirapov|i,Ev : ' we will lift ' (sc. ayKvpav), solvemus. Another nautical metaphor, ij/iets is, of course, = eym. 939. oirws ov : 'that haply', 'that so'. 940. The oratio obliqua represents iraiSes Tjyi/Se /u.-^ evy6vTiov \66va. 941. o^K olS' olv: the av belongs, logically and grammatically, to Treib-atfit. For its position cp. Ale. 48 ov yap 018' av d Treto-atm : = irciroifla, as in AU. 853 f. Kal TreTTOiO' a|«v avtu | 'AA.KijcrTti'. 196 EVPiniAOY MHAeiA eivep yvvaiKciv iart tojv aWcDv fiia. 94S (Tv\\i]\pofiaL Se rouSe croi Kayw ttovov ' iTe/i,i/(6) yap avrfj Scop' a KaXXicrreueTai ToUv vvv iv avdpwTroLatv, oTS' eyw, iroXii 948 iraiSas tpepovTa^. — dW ocrov rd^o^ ■)(p€0)v 950 Koajj^ov KOfLi^eiv Sevpo Trpocmokcov tlvo,. — evSaifiovTjcrei, 8' ov^ If ,dXXa jxvpia, XiiTTOv rt TTorXov KoX irXoKOv )(pvtnq\a.TOV 949 945. Not at bottom a mere piece of flattery on Medea's part, but a bitter reflection how she herself had yielded to Jason. Cp. her words in v. 801 f. — twv aXXuv : the illogical Greek usage, common with the superlative and imitated in Milton's well-known "Adam the goodliest man of men since born I His sons, the fairest of her daughters Eve" (^Paradise Lost, 4. 323 f.). We should say here 'like the rest of women'- We might have had tcov itoXK&v for tS>v aXX(ov; cp. sum pauUo in- firmior, multorum unus (= tS>v TToAAGi/ els) Hor. Sat. 1.9. 71 f. 946. o-oi ; with the epovTaS' — KoWuTTtvieTai. : = KaXXuTTo. €(jTi. 948. otS' lyiS : cp. v. 39. In such phrases the speaker takes the responsibility emphatically upon himself; hence the expressed pronominal subject. — iroXv : with emphasis at the end of the sentence. Cp. e.g. Ale. 151 -yvi/j^ T apiCTTr) tGv u^ ■^Xlu) /laKpiS (where /uiKpw is = TToXv). 950 f. Medea breaks off her speech to Jason for a moment to give her order, after the giving of which one of her attendants, several of whom we may suppose to have been by her, goes within to execute it. For a similar paren- thetical command cp. Soph. Ant. 491 Kai nv KoXiiT. — Sipov- ras cp. f.T. 1329 f. ^;u,as p^ev, ovi (TV 8ecr/«L uvfiTTtpira'S ^iviov €\ov- ra^. gs2. iv: accus. of inner object and = p,iav cv8aip,ovuw. — liOpia: hardly more than iroAAo. Only two eiSai/ionat ('pieces of good fortune') are mentioned in what follows. But then Jason is MHAEIA 197 avopo's T apicTTov crov tv)(ovepovTes ■ ov tol Swpa fiefiTTTo. Sef erai. lACLUN Ti S', w /xaraia, rwi/Se eras Kevots ^e/aas; 955 a host in himself, and the gifts are of divine origin. — The distinction /xvpioi 'very many' and [wpioi ' ten thousand ' is a figment of the grammarians. 953- avSpos &pC6- vov, and for the plural Plat. Proi. 319 AiroteTv avSpas dyaSoiis iroXi- Tas (simply 'good citizens')- — (Tov : ' in you '- The double geni- tive with Tvyxdveiv is simply an extension of the double accus. with TTOiiLv. For the phrase cp. Ale. 10 f. ocrioa yap avSpb's ocrio's uiv iTvy)(a.vov | iratSos ^iprjTO^ ' I always found Pheres's son a pious man'. 955. irorpos iror^p: cp. V. 746. — SCSuiriv: the gift was given once for all, but is con- tinually handed on. Hence the present. 956. The maid has returned meantime with the gifts. — XAJuo-Oe : = \a.p,pd.vtT€. — <|>^pvas : so called because they are given to a bride, though not merely as a wedding gift. 957 f. ixaxa- pt^ : a congratulatory interjection. ' happy creature ! '. paKapi^a (one might say) rijv vvii^rjv 17 MjjSeta elpiaviKai's. — Sore ^povTEs : Ho- meric phrase. Cp. 9 482 v . . . W-qKi. — oii Toi : to be joined closely with p^ep-Trrd.. — (itiiirrd : bitterly ironical. The gifts are in reality weapons ' not to be despised '. The magic robe and diadem are here openly displayed and given to the two children i such wise that one boy carries the robe, the other, the diadem. The gifts are magic gifts ; the poison, magic poison. The poison is to take effect only on the Prin- cess and whoever touches her after she has put on the fatal ornaments. Cp. v. 787 f. For this free treatment of the poisoned objects and the possible objection to it as lacking verisimilitude see Introd. p. 59. 9Sg- ruvSe : said with a gesture toward the gifts. — ords is emphatic. igS EYPiniAOY '?v.<_ So/ceis (TTTavilfiLv Scofxa /SacrtXiKov, irenXciiv, So/ceis Se ^pvaov; cr^^e, jjir] StSou raoe' eivep yap rjfia^ d^iol Xoyov Tivos yvpij, Trpodija-ei. ■^(^prip.droiv, 618' iycj. 960 MHAGIA fiij fioL (TV ' ireiOeiv Stupa /cat deov's \oyos, ')(pv(TO'i Se KpetcTcrov p,vpioiv \oyoiv y8/30TOts. ^"kcii'tjs 6 SaLficDV, Kelva vvv avfet ^eds, I'ea, Tvpavpel' tcov S' e/x&Ii' iraiScav (jivya^ 965 g6o f. The epanaphora in SoKCK • • • SoKcTs 8£ is to be noted. Jason speaks in a rhe- torical tone, in fact, with a certain pompousness. — ' oI8' iy& : cp. V. 948. 964. \>,i] |ioi a-i : sc. Tavra kiye. The emphatic (tv be- cause the speaker herself knows better. — mt,9uv . . . \6yoi : Xoyos (sc. icTTiv) is = froverbium (or verbutn) est. The ' saying ' is an old hexameter Aoipa Seoiis Truda, Butp' alBoLovi jSatriX^as ' gifts blind the eyes of gods and reverend kings '- This is quoted in the Scholia and by Plato, Hep. 390 E. Xoyio or Adyois was often added to 7ret(9eiv to indicate that it had its more legitimate sense and did not mean ' to bribe '. 966 f . The frequent asyndeta are to be noted. Medea jerks out her sentences sharply. We feel that she is forcing herself to play a part. — KcCvTjs and Kttvo ( = Ta Ket'vjjs) are a good example of epanaphora. — 6 1 SaC)i.uv : practically 17 tu'x'? or, more precisely, ^ eiyrvxui. 967. v^o: sc. ecTTt. — 4|i«3v, though merely attribute to waiSwy, marks the an- tithesis and contrasts Medea with Jason's bride. Strictly speaking, the contrasted sentence should have begun with cyw 8c. — (|>uYd$ : ' exemption from banishment ' is meant. The word is plural be- cause of the plural Trai'Stov. MHAEIA * 199 t|rux^s av dWa^aifieO', ov xpvcrov /jlovov. — aX\ , ft) T£Kv , elcrekdovre ttXtjctious So/aous ^<-'-*-"^ TTatpos J^eof yvvaiKa, BecnroTLV S' e/xr^v, 97' i/cereuer', efaiTeicr^e /u,^ (jyevyetv x^ova Koa-fiov SiSoi/res ' rouSe yap /naXtora Sei, es X^'/*' ^K^t^vrfv SftSyoa Se^aadac raSe. r^' a»s ToixtcrTa, it/qTpl S'mv ipa Tvx^^i^ evdyyeXoi yevoicr^e Trpd^avres KaXws. 975 968. «|nixiis : =dvTi tj/v^^i, gen. of price, see HA. 746, G. 1133, B. 353) Gl. 513. — aXXo|aC(«e': plural notwithstanding ifxCiv just above. Such shifts of number in the case of the first plural for singular are not uncommon. — xpvo-oB : here, as in vv. 961 and 965, with reference to the diadem. 969. tUr(K96vTt : dual among plurals as elsewhere. — irXT|o-Cov$ 86|ious : the epithet sug- gests that Medea points toward the house in directing the children. The house was, apparently, not represented by the scenery. See Introd. p. 62. 970. SEo-irdriv 8' if.i\v : she swallows her pride, for the sake of the end in view, and speaks like a servant (cp. v. 17). The particle Si is regularly used with the expression of the second of two relations in which the same person stands. 971. iKtrtiieT, c|aiT€io-6E : such asyndeton be- tween a pair of words at the head of a trimeter is not very uncom- mon. — (It] <^0K0(iy)£pvai. 986. SpKos : the robe and diadem are likened to the toils in which wild beasts are caught. Cp. w£)0<^£u^£Tat V. 988 and the note thereon. 987. (xotpav 6avd- Tou : practically = aTav. Cp. /jloZ- pav £ : ' unfortunate in wedlock '. clause is essential. 1000. & : — Kr|S<|u&v: affinis\ more spe- ace. of inner obj. with owoikH. cifically = gener, 'son-in-law'. looi. ir6js, Kal Scjpa vvfji.(f>y} /SaatXis dcrfievrj xepotv iSe^ar, elpjjvq 8e TaKeWeu tckvols- — ea, /couK da-iiem] tovS" i^ ifjiov S^X?? ^oyo"? 1005 1CX37 MHAGIA aiai. TTAiAAruuroc TaS' ov fwajSa toIctlv i^7]yye\iiii/oi^. MHAGIA Tt (r^j/ etTTpei/'as I/xttoXiv iraprjiSa 1006 1002. The Paedagogus enters with the children (■jralSes oiSe). His tone is joyful until he is struck by Medea's ominous gloom and silence. He had expected a cheer- ful answer to vv. 1002-1004, after which he pauses. 1003 f. pao-iX(s : = Tvpawdky]v euayyeXou; MHAeiA rjyyeika^ oT ■^yyeiX.as ' ou ere iJi€fioiiai. TTAiAAruiroc Ti Sal KaTTjepovov(T' ip/rj-^^avriadp.rjv. TTAiAAruuroc ddpaei' /carei toi /cat av irpos rexvcov eri. 1015 loio. 8d$T)S cjiayy^ov : ' the fame of having brought good news ', for which there might be, and commonly was, a substantial reward. Messengers in tragedy are elsewhere found seeking the Sofa evayyeXos, e.g. the Corinthian in the Oedipus Tyrannus (particu- larly V. looj f.). For the phrase Sofa cuayyeAos = ^^a. roB evayye- A09 ('a messenger of good tid- ings') dvax cp. Aesch. Ag. 274 evayyiXouTLv iXiriaw. loii. Cp. V. 889 dAA' ia-jjjkv oiov Itrfuv — OVK ipSt KaKOv. 1012. 8a£ : seem- mgly a vulgar S^. — KaTt\^is. sc. ea-Ti. Cp. Heracl. 633 KaTiy^cs o/i./i £X"*' The phrase KaTi;<^« ojujua is = KaTri^iai. 1013 f. dva^KTi : sc. SaKpvpposiv. — 6eol . . . l)i,T|xavT|(rd|tT|v : cp. v. 919 f. From KaKu>'s povov(T i/X'^^avrjcraL- lirjv the appropriate pi. must be retroactively supplied with 6toi. A Kaicri povXrj has pleased both the gods and Medea. 1015. Kd-i Tei : practically fut. pass, to Kara-' yell/, the regular term for restoring from exile. — koI o-ii : as though the children had really gone into exile and come back. — ?ti: cp. 917, where Jason is speaking of restoring the children from exile when they shall be grown. 204 EYPIIIIAOY MHAGIA aXXovs Kard^o) Trpoadev t) ToKaiv kyU$ 4>ip»v : opposed to fiapiuK <^epuv = ;^a\£7r(0s €pecv. — flvuriv fivTO : = ocTTts dvtjTOi ioTiv. — There is an intentional jingle in if>ipeiv (TVHopa.i. loig. Spdo-o rdS' : i.e. Kovfjxai mtrta. Cp. v. 927 for the phrase. Medea speaks with a certain dryness in both cases. She sends the man about his business with scant ceremony. The pres. ^Saive indicates that the action is one that the Paedagogus is about to do — or should be about to do. 1020. A command apparently to prepare food for the children as part of his daily service to them. The slave then retires within doors, leaving the children with their mother. — xp^ '• sc. vyas trpiv a-(f)mv ovaadai, KavLSelv evSaCjjLova?, TTpiv kovrpa Kal yvvalKa /cat ya/xrjXious ^j euj/as dy^Xat XajHTraSa? t avaa")(e.6€.v. 205 1025 purpose that makes us feel the words as = /teTao-Tavrcs jStou (cp. Ale. 21). 1023. olKiriircT ak( : cp. An- tigone's description of the tomb in which she is immured as an oiK-qfTi^ aUifppovpos (Soph. Ani. 892 ) . Under proper circumstances Medea's words need mean no more than ' you will live your life long'. 1024. et|ii hf\: a sort of forced antithesis to Iotj St; above. I02S. fiva Zev, fiaTufv ap o/xdyajaw (J €KT»)(Tajin;v, ' O Zeus, to no pur- pose then (ap') did I become hus- band of one wife with thee '. The (mTrjv in the passage just cited is = oAAcug here. 1030. 4)i,6x6ovv and KaTe|dv6T]v irdvois are cause and effect. Note the difference of tense. The former action cul- minates in the latter. 1032. 'ij (i^v: 'yea verily', a strong ex- pression, especially used to intro- duce an oath. — iroO' : 'once', emphatic and contrasted with vvv in V. 1035. 1033 f . iroXXds : she means simply 'more than one', but the exaggeration is natural. See on /xvpia v. 952. — ■yipo- Poo-Kyjo-civ and ircpio-TcXetv are indirect discourse infinitives in apposition to eATrtSas. 1035. Sr)- XuTov : neuter (prob. accus.) in loose apposition with the preced-* ing infinitives. Such a fortune as Medea had hoped for is ' a thing looked upon with envy by mankind', inasmuch as each craves it for himself. — Sfj : see on v. 1021. 1036. <)>povtCs: practically = eXTTts. 1037. ii&^ia : degam, ' spend '. — ptoTov : = /JiW. — 4^(4 : contrasted with the following vp.oM. 103S. d|i|iaaL8pov ws elSoi/ reKvtov. ovK av 8vvaifi7)v' ^at/aerto /SouXeu/Aara Ta irpocrOev d^co TraiSa? c»c yaias e/AOu?. 1045 Ti oei /nelTrarepa rwi'Se Tots touto)?' Ka/cois XuTToGo-ai' avrrjv Sis Totra kto. j-Qai KaKoi; ov SrJT eycoye' ^aipercu l3ov\evfiaTa. — KttiTot Ti Tracr^w; ^ovkofiav yiXwr ocjAetv 1039. See above on v. 1021. Death as another form of life is hardly a touch of Orphic mysti- cism, though it has been so under- stood. It is merely an incidental expression of belief in a future life. 1040. o)i,)i.ao-iv : a oictu- resque touch, not a tautology. 1042. Spdo-u: aor. subjunctive. — KapSCa means here 'resolution', OaptTOi. 1043. iivvoXKt% ■- the members of the Chorus. — o|ji|i.a : seemingly collective. — us ttSov : = eirei eiSov, ' since I have seen ', ' now that I have seen ^ 1044. ov SvvaC|i.T|v : potential as well in form as in the meaning of the verb. ' Could not be able ' is the literal meaning. — Note the abrupt- ness of this highly emotional pas- sage as marked by asyndeton. 1045. cjiovs : a defiant assertion of proprietorship ; cp. v. 793. 1046. TovTuv : resuming ruvSe. Cp. Soph. Ant. 189 f. ^8' (the ship of state) icrTLv ^ crcu^oucra kw. TauTijs cTTt ('on board her') | irAeovTts opdrjs ttXoCs KaAoiis (Mss. TOiis <^tXous) rroioC/iE^a. For the opposite, oSe resumed by o5tos, cp. Soph. Ani. 296 ff. oItos as a resumption, not differ- ing practically from the oblique cases of avro;, is common in prose. Then, too, avruiv would require predicate position here. 1047. \viroiio-av : conative and = Tre.ipu>fx,ivTi)V Xvttm/, dum dolor e affi- cere studeo. — air^v : contrasted with 'jrarepa rSivSi- — 8\s T6. — 1055 were (with the words kclIxoi ti ira(r\a) ;), from a dream of maternal love to the reality of vengeance. — y(Kar' 0()>XcCv : sc. avrol's, i.e. €\dpoti ToTs i/wti. Cp. vv. 383, 404. 1051 f . ToX|ii]T&v tAS' : ' I must screw my courage up to this '. — &\\d rffi l|iif)s KdKT|s KTE. -. ' nay, fie upon my cowardice that I should even', etc. Both genitive and articular infinitive seem to be ex- clamatory. We find a parallel in Ale. 832 dWa (Tov TO jjiT] pa.rTai, ' but shame upon you that you did not tell me', perhaps more literally, ' but you ! not to tell me!'- 1053-1070. Medea orders the children within doors and, as though preparing for sacrifice, issues a ' Procul este, profani '- Then she checks herself, and then with a bitter cry and appealing to her passionate heart (Ovfie), as though it were some TratSay*)- yds turned murderous, she bids it spare the children. Even though they be not with her, yet the knowledge that they are alive will be a constant source of joy to her. ' What ? leave them here to the tender mercies of my foes? By all the fiends, it cannot be. The die is cast ; they cannot es- cape; the princess is dying' — and by their gifts, she would imply. 'Well, we are come to the parting of the ways. I will bid them farewell.' For the parallel to this passage, said to be from Neophron's Medea, see Introd. p. 42. 1053 ff. x'^P'^c : here Medea makes as though to dismiss the children within — Stc^ . . . |M\yjcr«i : a warning to the Cho- rus not to interfere, but couched in the terms of a sacrificial formula excluding the profane. 1054. 6^|i.ts: sc. luTi. — 96cptl> : seemingly ' I will not let my hand be corrupted, bribed', i.e. turned from its purpose. Cp. J/ec. 597 {. 6 8' iardXo's icrOXoi, ovSt cru/x<^Ojoas viro \ (jtwriv 8U6ap', dXka ^(p-qa-rm tor dci, ' but the MHAEIA 209 a. a. fiTj 81770., Ovfii, [irf (TV y' ipyda-f) rdSe " eaarov avTovs, w rdkav ' eicrai, TCKvcav * - Koi (fxTj) fJLeO' rjixatv ^wvres eixftpavovai ere. ■ fj.a Tov(s Trap' AiSr; vepripovi d\daTopa yjfieis KTavovfJiev, otirep i^ecftva-afjiev ' Kal 8-^ inl Kparl (rrei^avosj iv TreirkoLoru 8e vvfij)rj TvpoLwos oWvTai, cra^' oTS' eyw. — dW — eljLit yci/) Sii) T\7)fjiovecrTa,Triv oSov — iraiSas Trpocrenrelv /8ouA.OjU,ai. Sot', ai Tinva, ZoT daTToaaaOai p.7)TpL Se^idv X^P'"- w voroifi.cv Se (as we should read for the traditional St;) iral- 8as, 'and I bore children too'. 1065. The clause that begins here gives (though there is no yap in it) the reason of Travrios a-cj}' OLvdyKT] KaT0aV€LV. — KaV Zi\ : = TjSri 'already'. 1066. o-tt<|>' 0I8' iyii : cp. v. 963. 1067-1070. The vision of her dying rival has risen before Medea's eyes. But she takes no pleasure in it now ; she thinks only of its dread signifi- cance for her and turns from it abruptly (dAA') to bid farewell to her children as though she were literally starting upon a journey — her journey into exile. Her audi- ence understand that she is going — to kill the children. 1067. S'fj: with et/ii, 'going I am'. 1068. irifu^a: parallel in tense with dfii, which is practically future. io6g. For ■TTpocrayopeveiv (to which TrpoawKtiv is aorist) used of parting words cp. Ale. 195. 1070. da-irdo-ao-Sat : 'to kiss' (= Kucrai; cp. v. 1141) ; final infin. used like ad osculan- duin. — The children give Medea their hands. 1071 f. Exclamation rather than address. The sub- stantives seem best taken as nominatives. The address to the children follows. Cp. Aga- memnon's words over Iphigenia I. A. 681. — v /SpOTOis 1079 1080 1073. cvSaifiovotrov : a more expressive xa'pfov. — 4k«i: 'yon- der ', z.£. in the other world, which is often thus vaguely referred to. — TO 8" IvSdSE : sc. cvSai/xovitv. — The words dXK' . . . a.(t>eiXeT can have no meaning for the children. 1074 f. u . . . TEKvuv: again ex- clamation. The substantives are in the nominative. Medea embraces the children and fondles them as she speaks. irpocrySoXi; means ' con- tact' with reference to the em- brace. — That Euripides has very perfectly understood and very perfectly expressed a mother's feelings here may be seen from the words which a modern woman- novelist, Mrs. Humphry Ward, puts in the mouth of her Eleanor {Eleanor, Chap. V, near end), ■with reference to the latter's dead child: "He was so warm and sweet always in his sleep. The touch of him — and the scent of him — his dear breath — and his curls — and the moist little hands — sometimes they used to intoxi- cate me — to give me life — like wine." There could be no better parallel. Keble {Praelectiones, p. 596), while he admits the charm of the maternal love shewn by Medea here, thinks that such affec- tion is unsuited to the fierce Colchian witch. "Nequa etiira dulcissima ilia, quibus Medea valedicit pueris suis, quorum ipsa jamjam exitio imminet, quidquam sapiunt, quod proprie pertineat sive ad Colchidem sive ad magam, sive ad atrocem ipsius indolem : maternos tantum, opinor, amores spirant, ac tenerrimos quidem." Mr. Keble in his criticism seems almost to have taken a hint from the Hypothesis. (See p. 68.) 1076-1080. Medea drives the chil- dren into the house as though they were not to see her go away. ovk^t' ktX. forms an aside and rounds out the dose of the speech. 1078. |iav6dvu : ' real- ise '■ Cp. Ale. 940 apTi (lavOdvio, EYPiniAOY XOPOC iroX.Xa/ci? '^Bt) Sio, XeTTToreptav fivOoiv efioKov Koi tt/sos d/AtA.Xas drjXvv ipevvav ' stA- £A , ■^y *■ — ^^ dXXa yap icrnv p^ovcra /cat rj/itz^ ' I am just realising '. — ota: = tus small among them, Sara. 1079. Tmv Ijiuv Pov\ev- (idruv : ' my reason ' gives the proper psychological turn. The conflict in which reason suc- 1081 1085 Cp. the moralisings of the old Colchian women, vv. 1 19-130, 190-203. 1081 f . iroXXaKis 'ejioXov : for the aorist see v. 293. For the idiom cumbs is, from another point 8ta fivdiov ifrnKov (= rjXOov) cp. of view, one between lust for v. 872. But here the sense is revenge and a mother's natural different; fivOtov is = koyuiv in affection. the sense of ' speculations '. 1081-1115. Medea, it appears, 1083 f. liXOov: synonymous with does not go within after v. 1080, e/noXov. As a general rule in but remains without silently wait- Greek when, for the sake of ing to have her expectations about avoiding repetition of the same the bride confirmed (see v. notion by the same word, a rarer 1 1 16 f.). In the meantime the synonym is used in one place, it Coryphaeus delivers a speech in stands, as here, in the former anapaests. The metre seems to place. That seems to mean that keep time to Medea's footsteps a Greek writer regularly formed as she paces to and fro — like a his sentence fully in his mind tigress, one is tempted to say. The Coryphaeus's reflections deal with the sorrows attendant upon having children and are in so far connected with the plot. But before he wrote it down and* thus checked the repetition in advance. — y""*'' B^i^vv : = to yvvaiKitov yevoi Or, simply, yv- vaiKas. 1084. Ipevvav shews that • such meditations as she indulges djUtAAas are 'struggles' or 'efforts' in are felt by the Poet to be likely to seem to some unnatural, and he makes the woman explain that women are not all ignorant and incapable of philosophic specula- tion, albeit the learned class is of thought, subjects of medita- tion. See on ixvdutv just before. 1085 f. tt\X.eL 7Ap : ' but, you see '. — [lovira ■^ irpoo-0|j.i\ci a-o<^(as SSvtKcv is a circumlocution for cro^la or ui Kol ■qntv : i.e. oi> MHAEIA 213 1} TT/aocro/iiXei cro(f>Cas iycKev — •^-•/K TTacrauTL fiev ov, iravpov Se yivov oItiv4<; elcnv vafiirav aweipot /xijo' e^vr^vcrav iratSas iTpoepei,v et§ evTv^iav TCJv ycLvafi^vo)!/. "^Z^t.^ 1090 Hovov rots a.v8pdT)|iC: emphatic,as often, and = ' I affirm '. — pporuv . . . iratSas is practically a substantive in the ac- cusative and subject to irpoi^ipav. The genitive jBporutv is partitive and depends on omvcs . . • TraiSas. The words eto-iv . . . TraiSas express the same thought twice. 1092. irpo- ^^p. The asyndeton is employed where we should naturally have had (barring metre) ol fi.ev yap KT€. 1096. riXiiovir : = ticriv. — oix'' TuxiivTes : sc. avTu>v, i.e. TToWiov ix.6y(0u>v, which is rather to be construed with a.Tre:)(ovTai. 1097. dir^x""'''''''^ = not to be taken literally, but = iXevOepot tla-i. 109S f. TCKviov YXvKcpov pxd- o-Tt|(ji' : = T€Kva. The clause otcrt TCKVdiv . • . pXaaTrfp, is object to i\avpai$ and ivi xpiotoIs are nearly equal to irnip (jiXavpotv and inrip )(prjcrTpoSSos: sc. eo-TtV. The phrase is = otxefai. — • "AiSov : sc. Sujjua, oikov, or the like, mi. 0dvaTos: seemingly the mes- senger of Hades here as in the Al- cestis. — irpoi|>«p(i>v : the preposition seems to have the same force as in the famous Homeric Trpouulia/ (A 3), which Euripides seems to have been thinking of here. But it is interesting to notice that here it is (TiiifioLTa, in the Iliad il/v)(a.i, that are sent untimely Hadesward ("AtSt, for which we have elsewhere, as ^ II, 'AiS)(t8i = is 'AiSou). That is due to the material refer- ence above (v. 11 08 o-uJjLia t h TjPrjV rjXvOc TiKVdiv) and to the form of that reference. We can infer from Euripides's language here that the explanation of the preposition in iTpoiaxj/ev that has come down to us in the Homeric scholia was taught in the schools of his day (irpotai/'cv oSv, l/SAai/'c ■jrpo Tov opov TrapairepAJ/atTa tio AtSij, toSt ecTTt Trpo tov Trpiirov- Tos avOputTTOK Oavdrov, Schol. 11. Dindorf, III, p. 2) ; for he is speaking of untimely death (wpb TOV irpivovTOS dvdp(j)Troi'; Bavd- Tou). 2l6 EYPiniAOY ircSs o^v Xuei tt/jos tois dXXoi? TIKI'S' eri Xynrji/ a.viapora.T'qv naCScov eveKeu ms 1116 MHAGIA ^iXai, TToKai rot vpocrfievova'a ttjv tv^tjv KapahoKO) TOLKeWev y 'iro^yjaeTox, KoX nrjv SiSopKa roi'Se tS>v 'lacroi'os otci^oi/t' OTTaSoiv, TTvevp,a 8' -^pedia-fjievop '^uxruu> Seti eiKWCTLP cos Ti Kauvov dyyeXi eL KaKov. ArreAOC Mi/Seta, (jievye . — ll (dL)iroP'fi(rcTai : practically = indirect question, although rela- tive in form. 1118. xal |i<|v: ' and lo ', introducing a new- comer. — t6v8€ : practically = o)8« rtva. iiig. T|pc6iv(TCL<; (f>apiJ.dKO)v rmv (ra>v vno. 1125 MHAGIA KaXkLCTTOv eiTTtt? fjAidov iv S' evepyerai^ TO XoiTTov T]or] /cat <^iXois e/iois iarr]. y ArreAOC Ti (^i^s; pQV€i<; fjiev opdd kov fiaCinf, yvvax, y\Tivy^% ; With Tuy;(av£t supply 01/. 1125. aprtus: with oAwXev. The interlocked order here seems indicative of breathless excitement. Both this and the following verse seem to come out bit by bit. 1128. to Xoiirov ijSn : ' from this time forth'. 1 129. uAv. 'really', with- out corresponding 8 '. 1130 f. IITIS XaCpcis : quae gmtdeas. — For the construction of yKurfi 'vrj with x//A£V. 1140. ia-ml- messenger, but she begs him to o-Bai : ' had made up ' (lit. ' had have his say out. 1133. CXos: traced'). 1141. ns: redundant, used as vocative, as in Homer. — 1142. iyit Koiris : this common* Medea here paves the way for the phraseissometimes = e-yo)(ashere), ayyeXiKTi pfja-ii, which the audience sometimes = auTo;. We can rarely are expecting. This calm speech feel the force of all its elements, after the messenger's previous ex- 1143. o-r^'yas 7uvaiKMv : = yvvu- citement is somewhat like Medea's KwvtnSa. — o-iv and S,\i are both long, calm harangue, v. 214 ff, tautological with eo-Tro/tijv. But after her passionate outburst. such tautology is quite common 1 136. T^Kvuv . . . yovl\: bombastic even in prose. 1144- 8^ds : demand the article to anticipate singular in sense like aedes. For the relative. — 6av|id^o|uv : ' pay MHAEIA 219 irpiv fi€v TeKuwv acov eicriSeii' ^vucopCSa 1145 irpouvixov el^' o^dakiiov eis '\dcrova, ejTUTa fievTOL TrpdukaXyxjiaT op,p,aTa XevKTjv T avearpe^' ep/irakiv irapr^Sa TTaiocav p,vcra^6eLcr' ettrdSous " ttoctis Se cros opya'S a(f}rjpei, Kai )(6kou vedvuBo? 1150 Xeymv 7a8' " Ov fxr) Sva-p.evrj's eari <^i\ois; iravcrrj Se dvpov /cat irdXiv crrpei/feis ndpa (jyikovs vop.it,ovcr' ovcnrep Kal Trdcrts criOe.v, Se^T) Se Swpa icat TrapaLTij&y] Trarpos iftvya,^ da.vov dfil ^o(rTpv)(OL's 1160 Xafiirpm KaroiTTpa) cr^Tj/iaTt^erai KOfjiTjv dxfrvyov ei/fw TrpoayeKmcra crw^aTO?" KanetT dvaaTacr' Ik dpovoiv Step^eTat oreyas d^pbv jSaCvovcra iraWevKco ttoSi Sofi,evr] SiecKOTTfiTo (' she was re- garding ') . — S|i|>,ao-i : ' with all her eyes', 'with admiring gaze'. 1167. Cp. Soph. O.T. 1267 Stij/a 8' rjv TavdevS' bpav, which reads like an echo of Euripides. — r\v I8ttv : ' was to be seen ' ; but probably ihuv is subject of ^v and Oiajx object of iSeic. MHAEIA ■)(poiav yap dXXd^aa-a ke^pia ttoXlv ^w/JEi TpefjLova-a /cwXa /cai /aoXis (f)daveL, dpovoiaiy ifinea-ovj-a, (jltj ^ap,al trecrelv. Kai Tis yepatd irpocrirokoiv So^acrd nov 7) Ilai'os opyd's rj tlvoi deS>v fiokeiv dvciiX6kvt,e — irpCv y opa 8ia crrG/xa Xoupovvra XeuKJv d(f>pjv ofifjLdrcov t avta K6pa<; arpecjiovcrav atfid t ovk ivbv XP°h cir dvTLfxoXiToy rJKev oXoXvyrjs p^iyav ^ ^ KCJKVTov. V evuv<; o i] p-ef es narpos oo/xous cjpfiyjcrev, -fj Se wpo<; tov apTL(ii<; ttoctlv ^pdcrovcra. vijfi(f>y}<; crvp.'popd^, diracra Se 1170 "75 1 1 68. xpoidv d\Xd^a6a.vti. The construction is strange. We should expect kol HoXjs fl>0d.vu OpovoidLv «jU7recroS(Ta (supplementary partic. with tjiddvei) irplv ^dfuii iretrav. 11 71. irov: = oifmi, '1 presume'. 1172. The old woman thought it was a faint- ing fit. Pan sends 'panic terror '- Here he is a possible author of fainting. In ffipp. 141 ff. (Tl av y ivOtos, 0) Kovpa, | eiT ex Ilavos eWExaras | 7j cr€p,v!iiv KOpvfidvrtav oi-\Tas 1) fuiTpoi optta^;) Pan is the author of temporary mad- ness. II73- av(ii\.6XvJc : such a cry as women raised at religious rites, over portents, and over events of good omen. — The woman's religious — or rather superstitious — emotions are short lived. She at once sees that some- thing very serious is the matter. — irpCv 7": 'until, that is to say'. 1175. kvt6v: ' a cry of lamenta- tion'. 1177-80. The hurry and confusion of the servants is as admirably as it is briefly described. We fairly hear the patter and tramp of feet in v. 11 80. EYPiniAOY (TTeyy) ttvkvoI(tiv iKTyneb hpafjjrjfiaaiv. l-Ct-t'H) 1180 r^t] 8' a.v cXkcdv kwXov iKwXedpov Spojxov |^ - '' Ta^ws /SaStcTT'^s Tepfxavcov dvOrjiTTeTp, ■^ 8' i^ avavSov Kal [x.v(rj».vTO? o/A/xara 8e«/ov arevd^acr — 17 TaXaiv' — rjyeipeTO' hnrXovv yap avrrj Trrjp,' iireaT par ever o' "85 ^/aucroOs p^ev dpd'yow: 'devouring', 'con.suming' For the irav-adj. in this place in the verse cp. vv. 5 and 30. 1188. evyeL S' ava^aa-' e/c dpovcuv Trvpov/jiei/r) (reCovaa ■)(aiTr]v Kpard t oXKot dWoae plxjiai dekova-a (TTecfyavo-^ ' dW dpsLp6TCi}ai : = aTToppapai. 1 193 f. Iirel co-cio-c : 'after she had shaken ', for iirel aaa-eu ' when- ever she had shaken '. — )i,aWov Sis Too-u : ' twice as much again ' (lit. 'more by twice as much"). 1195. bt ouSas : = )(a.p,3.L. ligS. rlf riKdvTi : = Tv4s: predi- cated and = tieiS/s. ii99. vp|i4vov : cp. Ak. 496 (of the mangers of the man-eating mares of Diomedes) alpacTLv vivpp.ivaS' ' Clotted with fire ' is a bold phrase. 1200. The oozing resin ] of evergreen trees is still called SoLKpvi by the Greeks. — With this ' v. cp. v. 1217. 1202. 6ca|ia': probably accus. indicating the re- sult of the preceding action. 224 EYPiniAOY 8et,vov deafia. naa-i 8' ^v 6l3o? Obyelv veKpov ' Tu^ffv yap el)(OjJif.v BiodcrKakov ' irarrjp 8* — 6 tXt}p.(ov — avfi^opas dyvacrui a^vci) irapeXdcov Scofia TrpocnriTvei, veKpw, w/Awfe 8' evdi)? koL TrepiTrru^as X^P*^ Kvvel irpocravhmv TOidh' ' 'D, ovaTTjve Tratj Tis ct' (S8' a.Tlp.m^ haLp.6vu>u dTTwXecre; Tis Tov yipovra Tvp-fiov op<^avov creuev Tidrfcriv; ol fx.oi, crwddvoiyiL croi, tekvov, eirci 8e Oprjvcav kol yocov eiravcraTO, ■^py^cju yepaiov i^ava(TTrj(Tai h4fjLa.<; 1205 opas &7V(i>(r(<}: he h^d not witnessed his daughter's death and so tv^j^iji' ovk (l\cv hihaaKoXov- 1205. irapeXOi&v: cp. v. II37. — Sufia : probably ' the room '. — •irpoo-irCTV£i : ' lights upon ', or 'stumbles upon'. 1206. irepiirTv^os X^pas : ' embracing ', sc. tov vtKpov. Cp. Ale. 183 Kvva. 8c TrpotTTriT- vov(Ta. 1208. drCfius : we should say positively 'shamefully'. 1209. t6v 7^povTa ru)iPov: sc. /xe (cp. Soph. O.T. 1 153 /nil Srjra — Trpos ^eSv — TOV yipovTo. p! ai- Kia-ifs). *Me an old man with one foot in the grave ' we should Say ; but Euripides says, more boldly, 'aged tomb'. So in Heracl. 167 old lolaus calls him- self yepw Tvp-^oi (yipovTOi oS- vcKa I Tv/xPov, TO p.rjSkv ovtos, av6v is predicative with Tidtf (TLV, and aiOev is ablatival geni- tive with it. 1211. Cp. Ale. 185 eiret 8e ttoAAGv SaKpvtav €a-\£v (eT^cv Mss.) KOpov. The genitives here are = Op-qviav koL yoiifjievoi. 1212 f. XPtiS'"' ^nd irpoo-eCxeO' are coincident in time. We might have had the thought expressed (barring metre) by i)(pri^€ piv ■ ■ ; 7rpOvT}? XcTrrottri TTCirXots, Seii'd 8' ^i/ 7ra\atcr/*aTa * 6 ju.ei' yap ■i^^eX' i^avacrTrjcrat yoiw, 1215 ^ 8' direXa^ur' • et 8e Trpos ^lai/ ayoi, /C^ aapKas yepaids ia-irdpao'a air oariciv. XP°^V ^' oLiricr^-q /cat fJieOrj)^ — 6 Bvcrfiopo^ — ^^XV^ ' f oif ov yap ovk4t r/v vneprepo?. KeluTai 8e i/e/cpol Trats re /cal yepcov iraTTJp 1220 TreXas — irodeivri SaKpvqta-L (Tvp-^opd, KOLi fiOL — TO fjiev crov e/CTToSwj' icrrco Xoyov • yv(oa"g yap avrrj ^Tj/iias diTO(TTpo(j)7Jv — f^c^f^^ TO. fft^rjTd S" ov vvv irpSiTov •f)yovp,ai opa.) on the vanity of human happiness. 1222 f. The speaker puts Medea's present case aside as he moralises. — p.01 : as though not ■^yovfw.i (TKidv but Sotca ov9 /Sporfiv 1 225 SoKoCvTas eivat xat /jLepifivrfrai Xdycuv — TouTows /xcyMTTijv t,i]iJ.uiv 6\i(TKa,vtiv ' 1227 uj tA^ju.ov, (US troO (rujU.<^opa.s OLKTipofiev, 1233 Kopi; KpeovTos, ^Tis eis 'AiSou TruAas "'X!? yo^lJ-'»v iKaTi tS)v IdiTovos- 1235 iratSas KTavavcry •nj(T&' aij)opixa<7$(U x^ovoi 1237 1228-1230. The yap introduces a substantiation of the general sen- timent of v. 1224. The sentiment here has a striking lilceness to Solon's famous remarks to Croe- sus, as given by Herodotus in I. 32 — a passage that was doubt- less familiar to Euripides. There Solon distinguishes the oXjSios (= €vScufji.o}v in Euripides) from the evTvxqs, and says that if a man have been svtvx^s all his life, and have ended his life well, he is the happy man that Croesus is inquiring about — the man that deserves to be called oX/Jtos (oStos fKeivoi Tov ail ^ijreas, o oX^ioi KiKXrjaOai a^ids eo-Tt). But the sweeping assertion that Solon is made to make before this, ttSv iC\.Ta6', ft)? {o"(^') ertK-res, dXXo, riji'Se ye Xai^ou fipax^iOLv r/fiepav TraiScov creOev Kaireura Oprjvei • /cat ydp ei /crei'eis cr^ , o/xws (f>CXoi y iv(Tav, Svorru^^rjs S' eyw yui'ij. 125° iravTOJS ovcv(rai: infinitive of the goal = ad caedem. — Sii'^oi v': 'dear at all events'- Cp. Hec. 417 oucrpa 228 EYPiniAOY XOPOC ift) Va re Kot Tra/u.^a'^s olktIs 'AXCov, KarCSeT iSere rap oKojxiuav yvvaiKa irpiv (jiotvCav TeKUOL6j3o<; in avipoiv. aWa. viv, S) (j)a.o<; Stoyei/es, Koreip- ye, Kardnavcrov, efeX.' olkcju, (j)ova- 125 1 "5S (TV, TtKVOv, aOKia ( = SucrT«x';s) 8 eyo) ywj;. — The following choral song consists of (a) a prayer to the sun (the earth is only inci- dentally included) that he may interpose to avert the doom of his descendants, Medea's children (strophe) ; and (6) an apostrophe to Medea, lamenting her fruitless motherhood and expressing horror of the deed she is on the point of committing (antistrophe) 1251. ira|u|>a^$: nom. for voc. 1252. oLktIs 'A\Co« : circumlocu- tion for "AXie. The last syllable of aKTi's, usually shortened, is here kept long. — KarCSiT ISert : repeti- tion of a compound verb by the use of its simple or, better said, an instance of a preposition pre- fixed to the same verb doubled. Cp. Bacch. 1065 Kar^-yev ^yev ^ytv « lifXav ireSov, ' downward he drew, drew, drew it to the ground ' 1253. o\o|i6Pos :' a fearful thing ' ; sc. ia-Ti. — av^piDv: sharply contrasted by its position with the emphatic 6€ov. 1258. dWd: 'nay', in strong protestation. — viv : =aiTi7v, mean- ing Medea. — Sioycv^s : seemingly in the primitive sense of 'sky- born'. 1259. The hindrance (Karapye) is to lead to a positive stopping (/caraTravo-ov) and to an utter removal (e^eX' oikwv). There is thus a climax marked not only by the meaning of the verbs, but also by the change of tense from present to aorist. MHAEIA 229 aav aXaoi> t '^puvvv vir a XaaTopw v. 126c fiarav fi6)(^9os e/ogei reKvoav, 1261 lidray { ) yei>o<; e^iXioi/ ere/ces, S Kvaveav XiTToCcra XvfjuTrkqydhwv irerpav d^evcoTaTav ia-fiokdv. oeiXaia, ti ctoi pevofiap'^^ 1265 j^oXos TTpoamTvei. koX ^afievrjs ( ) ^oj'os d/xei^erai ; j^aXcTra yap /3poTol^ ofioyevrj [Lid- CTfiar (eTTt yaZav avro6vTai,s ^vay oa) ueodef ttItvovt im. Sdjoiois ax'V' '*7° < TTAIAGC > XOPOC dfcoueis )8odi' dicouets reKvoiV, 1273 loj rXafioVf co KaKOTV^e^ yivax. 1274 1260. 'EpiWiv : appositive to 'succeeds' (to the love you had for viv. — 4ir' a\ao-T6p 1267. dfuCpcrai seems to mean simply resumes the iio. 230 EYPiniAOY 7TAIC A oi /xoi, Ti Spd(TO) ; TTol e (jyiXraT ■ oWv^^crda. yo-P' '272 XOPOC irapeXdco Sofiovs ; dprj^ai <^6vov TeKvoi,ov ov ere/ces dpoTov avToxeipi fiotpa KTeveL<;. 12S0 1 281 1271 f. This brief despairing dialogue of tlie two boys beiiind tiie scenes is very unnatural in tone but apprises us of what is going forward. It is like the cries of Polymestor behind the scenes in I/ec. 1035, 1037, 1039 f For the way in which these brief parts were talcen see Introd. p. 63. 1 274 f . irap^Sw : subjunct. of appeal. These words are ad- dressed by one of the ladies to her neighbour — by the Coryphaeus to his neighbour, in terms of the Chorus — and are overheard by the boys, who answer from within with one voice. — Apfj^ai . . . Sokci : a shift of construction equiv. to dpi;f (o (fiovov T€KV0K ; , or apriqio- [itv 6vov T€KVOK ; . aprj^ai is = afiMvai. 1276. TTpos Ocuv : SO. iKiTcvo/j^v or the like. — iv S^ovri ^dp : sc. dpiJ^ETc. ydp, instead of (US, avoids repetition and ambigu- ity here, us is the common causal particle after an imv. 1277. -y' : emphasising is just as it does iirel. — $Ci|>otis weakens the metaphor in apKXKDv (for which cp. v. 986) by explaining it. But 'toils of the sword' is still a strong phrase. 1279. op' : the confidantes of Me- dea now first fully realise her re- lentlessness. 1280! Stis KTtvets: MHAEIA fiiav o^ k\v(o fiiav twv irdpo^ ■ywat/c' iv yvuaLKCjp Xej^os ttoXvttovov, ocra l3poTol<; Ipefas •^Stj Kaxd. 231 1282 1285 1290 1292 fuae interfectura sis. — t^kvuv apoTov : ' tilth of children ', = TeWa simply. Were the metaphor carried out, KTcvets should (barring metre) give place to Kara/xijo-eis (cp. Soph. Ant. 601). — avrdxeipi (loCpf:: 'a fate made by thine own hand '- 1282. fiCav %i\: 'just one', further emphasised by the second fiiav. Note the repeated word in the same place in this verse as in the corresponding v. 1273. 1283. ht . . . PaXetv : = kfx.^aX€.v. — Such a rhyme as we have here is not uncommon in dochmiacs. 1284. 'Iv<5 : Ino (the wife of Athamas of Thebes) driven mad by Hera (because she had nursed Dionysus) throws herself into the sea with her two children. This seems plainly to be the simple version of the legend followed here. In his Ino (produced in pne of the years 430-426 B.C.), Euripides appears to have made the story much more complicated. — £K 6eiiv : = iTTo QfSiv. The phrase is a general one ; the next clause shews that Hera was the author of the madness. 1286. <|>6vvyfj ; 1295 §€1 yap vvv ri tol yrjs crwy5 : = litOetTTr/KO' vyovcTa = iri^euyev. 1296. ^Ap: used as though the sentence were simply Sd yap viv Tvpavvuiv Sii/Jiacnv SoBj/ai SiKr/v. Jason enquires for Medea because (yap) .she will be wanted for pun- ishment and is in danger. Are we to understand that Jason (not knowing as yet that Medea has killed the children) is unwilling that she should fall into the hands of the Corinthians ? V. 1 30 1 reads so. But, after all, he leaves her in the next breath to the avengers. — vvv : = opa, and explained in ti fir] ktL — Toi : emphasising the pair of alternatives, notwithstand- ing its position, not the first al- ternative merely. — «r<^« : = avrqv. 1297. irrr)Vov apav o-u)!. : = ava- irTOLO-OaL. In many of his plays Euripides seems bound to make somebody or something fly. Here we have an anticipation of the Mnouement, of Medea's escape in the car drawn by winged serpents. 1298. ct (IT] . . . Siio-ci : 'unless she means to give', said with a touch of irony. — rupdwuv Sci^ia- s T^KVCDv : = ou yaio ouTMS auT^s (' not so much for hpr ') As TiKviov. out). 1304. (loi: dat. of disadvantage. — n : i.e. ti KaKov. — 8p4v TeKvcav ^p6vTil,e hrj. lACUJN TTOu ya/j viv iKTe.iv ; ivros rj e^adev Sofxcav ; XOPOC TTvXas ai/oifas O'wi' tckvcov orjjy (f)6vov. 1307. ov.'ydp ov l<|>6^7|(D : sc. sc. dAAot Te^vEcoToiv, hence the neg. et y^a-Oa. 1308. tC 8' ^otiv : sc. is not changed under the influence TO KaKov rovTO — ofi irov . . . OAei : of the imv. The gen. is probably hardly to be justly interpreted as to be construed directly with <^pw- an expression of craven fear. rife (' pray think of your children Jason is a moral, not a physi- as dead'). 1312. •ydp: 'why', in cal, coward. It is said rather a tone of horror and surprise in a tone of scornful incredulity., ('yap admirantis'). 1313. A 1309. iraiSes : emphatic, though solemn and formal statement, in the normal position of the The pathetic force of the o-Sv can subject. Trans. 'No, it is your be best appreciated by substitut- children', etc. — (iTirpcai;^: here, of ing for it here and in v. 131 1 the course, 'their mother's'. Cp. on colourless rSv. — ^6vov: far more V. 1305. 1310. X^Jcis : = Xeyeiv expressive than vexpous. It means ^e'Aet?, 'mean', i^ii. oinir &yt»y : ' ipurdered bodies '• MHAEIA 835 — -^i'^ lACUJN j^aXare wX^gSas ws Ta^LcrTa, Trpoa-irokoif eKXved' apfjLOv^, ois tSco StirXoCt' KaKov, 1315 Tous /iev davovTaSf ttjv 8e — TeCa-co/iai ^6v^. MHAeiA Ti Tovo-Se Kti'er? Kavafio^XeveLs Xoyou? veKpov^ ipevvwv icdjae ti^v elpyacp.ivqv', Traxxrai ttovov touS', ei S' e/xou -)(puav ex^'*> Xey* et ti jSovXtj, X^^P' S' ow «/»ai;creis irore ■ 1320 1314 f. kX^Sus : not to be taken in the sense of ' keys '- ' Slacken the keys ' would be non- sense. xaXarc icAgSas seems to mean no more than the following iKKveff apiioTk, 'undo the fasten- ings' (sc. tZv 7rv\5)v). Inasmuch as the door was fastened from within, Jason's words to his at- tendants are an order to break open the door. — xp6o-iroXoi : ad- dress to the attendants that had come with Jason. 1316. Instead of ending, rather flatly, with something like Trjv 81 ravr dp- ya, Jason falls back' into the construction of is tSw and bursts out into Teia-wfioi tftovio. 1317. Medea here appears above the roof of the house mounted in a chariot drawn by winged ser- pents and with the dead bodies of the two boys. (See Introd. pp. 35, 59 f.) This was effected in the theatre by a sort of crane, the famous fir/xavT^ of the 6tbi avo lj.r])(a.v^i, deus ex machina. — ' Why are you disturbing and pry- ing open these words ? ' must mean ' why do you talk thus of disturb- ing and prying open ? '- Aris- tophanes makes plain reference to the strange phrase when he makes the Coryphaeus in the Clouds (1397) address Phidippides with the words Zt KaivHv iirS>v (ctvr/ra /cat /ioxAeuTa. See further Ap- pendix on the Text. 13 18. elp7o- ir|UVT]V : sc. Tov 6vov. 1319. «' 8' . . . ixfii : ' and if it is I that you want '. 1320. €t n PoiX'g : = oTi PovXa. — X'^P^ 8' . . . irori : manu vera me tanges nuttiquam, 'but with hand thou shalt touch me nevermore'. The emphasis of these words, particularly of yap'i, gives a retroactive emphasis to Xey'. We have a phase of the familiar contrast of Xoyos and 236 EYPiniAOY ToidfS' ox^jna 7raTpo5 'HXtoj irarrfp lACLUN w fjuTo^, ft) fieyKTTov i')(dC(TTr) yvvax deol? re Kdju.01 it^lvtl t avd putiroiv yej/ei, i^Tis TeKvoKTL aoL(TLi> i^ji^akei/ ^C(f>o<; 1325 erXTjs TC/foOcra xa/A* aTraiS' dwcokecra^ Kal — Tavra S/aacracr' — TyXiof tc irpoa^'Keire.i'i Kol yalav epyov rXacra hvcrcreBeaTaTOf, oXoL. iyci) Se vvu (j)poi'S), tot' ov ^poi'(ou OT Ik Sojxcav are j3ap8a,pov T dtro )(dovo Si: as though oKoio ftev av had gone before. — <|>povu : ' un- derstand ', ' realise '. 1330. S6)iuv : we must supply from the sequel fiapPipoiv. 1331- Kaxtfv : in ap- position with ere. MHAEIA 237 irarpo'S re koX y7Jo? • 1335 yjp^ta pev ck ToiMvSe • wp^evdeia-a Se Trap' avhpX rwSe koX T€Kova-d poL reKva evvTJ<; licari koI Xej^ows (Ttj) airos : cp. 1 . 1336. f\pi |icv Ik ToiuvSc : resumptive, ' that was the way you began '- The end of the course thus begun is given in the next clause. 1337. rtKoBo-a T^Kvo : Homeric in tone ; cp. ^ tc'/ce TfKva. 1338. evvf|s Kal X^xovs: emphatic tautology. Cp. v. 1367. 1339. 'E\Xt|vls yvvf\ : emphatic and = £t 'EAAr/fis yvvr] kov ftap- jSapos ^v. — It may well be that from this passage Sophocles took a hint for his patient and gentle Greek Deianira, a complete foil to the passionate Barbarian Medea and more like, though finer than, Euripides's Andromache. 1340. uv: construction according to sense a:s though we had had before 'EXXi;vi- Biov yvveuKutv. — yt : ironical, ' fot- sooth '. — irpio-dcv : of preference, 238 EYPiniAOY yrjiiai, 6ve • ifiol Se Toi' e/ioi' SaC/xov' ala^av Trdpaf OS oure XcKTpoiv veoydfioiv 6v7]cro[Jiai, oil TraiSas ous e<^ucra Ka^edpexffdfirjv e^Q) vpocreLTTeli/ ^wi/ra?, dW d7rw\ecra(s). I34S a more expressive di/Tc'. — riJtow: the imperfect, because he has re- pented of his folly. — iy& : the emphasis implies ' fool that I was ' (/icojotav 6(j>\i(TKa.vmv)- 1341. KriSos: ace. of inner ob- ject to y^/MU. We should under- stand KTJSos (yevoixevov) (' that has proved') lyQpov oXidpiov t i/xoL The word is here practically = ya- fjiov. 1342. XIaivav : in apposition to ere. — Tvpo-iiv£Sos : this geographi- cal specification makes the rant and fustian of this and the follow- ing verse still frigider. Jason seems unable to indulge in plain, honest passion. That this is an intentional — and not unhappy — touch on Euripides's part seems pretty plain from v. 1359, where Medea satirises Jason's Tupcriyvt'Sos 5kuA\ijs in ^KvWav rj TvpoTjvbv (pKT/crev Tre'Sov, ' Scylla that lived in Tuscany'. As a contrast to this cold particularising cp. Alcestis's ej(tSi/i/s ovSiv lyinuyripa. (Ak. 310). I3S0 1344. Both cri and ixxpCoK are strongly emphatic. 1345. 8dK0i,|ii: - 'sting'. — Toi6v8': cp. v. 1321. 1347. l)i,oC . contrasted with ai in V. 1344. Cp. also eyi) hi in v. 1 329. — t6v Ifiov SaCfiov : = t^i/ Ipiqv rvxqv. The emphasis of ipjoi is carried on in tov i/jtov, which is = Tov ipjxvToru. — irdpa : = Trdpecm. The force here is that of 'must' rather than ' may '. 1348 ff. The relative clause is = £yii) yap ktL, a mere explanation and statement of fact, not a characterisation ; else we should have the neg. /ti?;, if not " also ocTTK. — ofire : followed by oi instead of ovre, as not unfrequently. — X^KTpcov vcoydfiuv : = yvvaiKQS veoyd/juyv. — ovf\a-o\Mi : for the spe- cial sense cp. A/c. 335, when Ad- metus says to Alcestis aov yap om wv^/ieda, because she is dying be- fore her time. 1350. '^a : = Svvi^- troiiax. — irpos ayaOd. — oto : = is kuko. 1354. The emphatic av helps with the adversative S" to make the transition to the body of the speech (cp. vv. 526, 872), and is also con- trasted with Ta/i.' and with ifioi in the next verse. — o4k cpicXXcs : ' you were not going to ' means ' I was not going to let you'. 1356. fi ri- pavvos : cp. v. 42. — 6 (roV irpocrScW -ydiious : cp. v. 288. 1357. avort : = the idiomatic ;^atpo)V. 1358. irpos toOto : defiant. Cp. Aesch Prom. 1043 (which may have helped to set the tone for the phrase in later tragedy) irpos Ttan iir i/uil pi- TTTiaBia fiev | Trvpos afi^yKrf; P6- piva. MHAeiA OTvyei • iTiKpav Se j3a^Lv ixda-Cpco aidei/. ^- t ' lACUJN Kai ^'^i' ey&) a-qv • paSiok 8' ciTraXXayai. 1375 1369. ir&^pav : i.e. not over- tort. — tjple Tnnioviis : = ^p^c irj/- passionate. Cp. v. 635 ff. 1370. /«w'vo)v = ^/o|evd8iKai/' was the first An abrupt transition. Taunt is to wrong the other '. 1373. Sflra: answered by taunt, but the sub- 'indeed'. — diriirTvo-Tov : with ref- lect of the taunt is difierent. — erence to the expression of loath- 7'' marks the latter half of the ing by spitting upon the ground, verse as giving the reason for a custom still common among the utterance of the former half. Greek peasants. The word is = 1371. Cp.v. 1364 for the parallelism 'loathsome', 'abhorrent', and is in form with the preceding verse. naturally answered by (jTvyv, ■ — The meaning is that the aveng- ' loathe ', ' abhor '. 1374. Ix^afpu . ing spirits called up by the murder we should say 'scorn ' 1375. ^^- of the children (epii/i)es),orperhaps 8101 ktI. : 'but it is easy for us to their ghosts, will hound Medea, settle our differences '- The plural 1372 f . Another parallelism in re- suggests mutual relations. MEDEA — 16 242 EYPiniAOY MHAGIA w5s ovv ; tC hpdao) ; Kapra yap Kaya> dikoi. lACUUN dd^ai v€Kpov<; p-oi Touo"8e koI /fXaCtrai vape?. MHAGIA ov SrJT, CTTCi aa<; t^S' iycu 6a,\f/m X^P' <^e/)oucr' es "Hpas Tepevo<; 'A/f/jatas ^eoC, o)? ju,?; Ti9 auToui Trdkep.itav KaOv^ptcrri Tvpj3ov<; dvqxrvMV • yfj 8e TrjSe SicnJc^ov crepvfiv iopTTjv Kal tcXt^ Trpoard^opev TO koiTTOv diTi ToBSe SucrtreySous ^ovov 1380 1376. 6^0) : sc. diraXAax^''<"j as though we had had before paSiov 8' dwaWa^&rjvai. Medea wants to be done with Jason for- ever and leave him behind her in every sense. 1378. ir<|>as: em- phatic as contrasted with air-q in V. 1384. 1379. if^poiiir': related to the fut. dai/'oi as to an aorist denoting the culmination of the participle's action. — The sanctu- ary of Hera of the Promontory would seem to have been remote and was perhaps on the promon- tory now called Perachora over against Corinth. The words'Hpas 'Aicpatos are to be taken as ap- positive to Oeoiv: cp. flea Kwpis Hipp. 2. 1 38 1. 4vairir«v: 'tear- ing open'. — Y^ 8e T^8e Sio-ii^ov: cp. v. 404. There seems to be the same contempt for Corinth here as there. — Euripides here gives the reason for a festival held at Corinth in his own time at which rites were performed in ex- piation of the death of Medea's children. Euripides was some- thing of an antiquarian and was fond of making his plays explain local cults and usages. So the origin of the cult of Hippolytus at Troezen is explained in Hipp. , 1423 ff. (quoted below on v. 1383), the origin of the worship of 'A' 'Iir7roXuT dpyjveis ' ftO'C Kal y'iqpaal tS>v SaL/utvimv, ' many are the forms of things supernatural ', stands in the stead of voXXiSiv rafiXai Zeiis iv 'OA.«/i7ravoviTa. How much of this stereotyped tag- ging of the ends of plays (some- thing like the rather set prologue form at the beginning) is due to Euripides himself no man can say. APPENDIXES 1. ON THE METRES Vv. 1-95 are iambic trimeters acatalectic (commonly called simply trimeters), the ordinary dialogue metre of developed Greek tragedy. Like all the trimeters of the Medea they are carefully and strictly written and have few three-syllable feet. Thus we have the dactyl in the third place (D 3) in vv. 2, 18, 21, 31, 51 ; the tribrach in the first place (T i) in v. 10, in one whole word, as regularly iirarkpa) ; the tribrach in the fourth place (T 4) in v. 9. Vv. 96-130 are three anapaestic hypermetra (or systems), vv. 96-110, 111-114, and 115-130. Each hypermetron ends in a paroemiac. Vv. 131-137 are sung by the Chorus (or the Coryphaeus) and form a proode to the following strophe (vv. 148-159) and anti- strophe (vv. 173-184). They fall into three sequences, thus : Vv. 131-132 anapaestic dimeter followed by anapaestic mono- meter. Vv. 133-136 dactylic hypermetron in tetrapodies, thus: V. 137 trochaic tetrapody, thus : Vv. 138-147 are anapaestic hypermetra, w. 138-143 and 144- 147. Vv. 148-159 are a choral strophe = 173-184, the antistrophe. The strophe falls into four sequences, thus : 24ii APPENDIXES 249 Vv. 148-150 (=w. 173-175) two anapaestic dimeters followed by a monometer. Vv. 151-154 (= vv. 176-179) logaoedic, thus: '-~y^ W_:_W_:__:. —^ W_:_w_:__:_ ^ w w_: :_ Vv. 155-159 (= vv. 180-182) chiefly logaoedic, thus: ^ w .^ w .^ trochaic tripody catalectic. Vv. 158-159 (= w. 183-184) logaoedic, thus: _: -—W \J -^ \J — :_ Vv. 160-172 are three anapaestic hypermetra, w. 160-167, 168-170, 171-172. Vv. 173-184 are the antistrophe to vv. 148-159. Vv. i84°-203 are an anapaestic hypermetron. Vv. 204-2 1 2 are the epode to the strophic couplet, thus : 204 :__i.w.^| w.i.v^.:.*-'.^ dochniius + iambic tripody. 205 \j\ii\j\j\ywwvj\j\j.^ iambicdimeter(ortetrapody), mostly resolved. 206 .j_\j\j.^\jy^.^^\j^ dactylic tetrapody. 207 www^wwww-^w trochaic dimeter, partly resolved. 208-210 not, perhaps, certain. [If the text is sound, the verses should probably be divided thus: Ti,v liifvii hpKlav Oiiuv & viv e/Savcv 'EXXdS' is ivrlvopov, and be scanned ^vz-^w-^-wvy-i- logaoedic. \y\j.i^\j.i^\j\j.^^\j\j.^ logaoedic] 211 \j\ij\j\j\z/\j\j.^\j^ iambic dimeter (or tetrapody) with resolutions. 212 _^ t.\j\j— :. logaoedic (pherecratean, the fami- liar close of the glyconic system). 250 EYPiniAOY MHAEIA Vv. 214-354 are trimeters. They contain three-syllable feet as follows: T i, v. 273; T 2 (tribrach in second place), v. 324; T 3 (tribrach in third place), vv. 255, 293, 376 ; T 4, vv. 224, 324. V. 324, it will be noted, has two three-syllable feet. V. 237 has caesura media with the regular elision. Vv. 358-363 are an anapaestic hypermetron. Vv. 364-409 are trimeters, containing three-syllable feet as follows : T I, V. 378 ; T 2, V. 375 ; T 3, v. 376 ; A i (anapaest in first place), v. 397. Vv. 410-445 are a choral ode made up of two strophes with corresponding antistrophes (strophic couplets). The metrical scheme of the strophes is as follows : Vv. 410-420 = 421-430. 410 i=!_^w w..i.wvyj J.<-». 411 -:.W-:..l..I-«.y W.1.N-/ \J ^ 412 -l-^J W_2_W ^^ .1-J:^^\J Jm 413 -l-W \J .Z-\J 0.:.^ 414 -I- w _; i_ww_i. 4'5 WW.: • ' ' • • 4^" .s- W .: =- W .i :_ W ^ 420 .^^\J W.:_W \J ^ : L-WJ.^ There seem to be three sequences, as indicated by the spaces. The metre is logaoedic save in v. 416, which is a trochaic tri- meter (or hexapody) catalectic. The varying quantities indicate the differences between strophe and antistrophe. The first half of V. 410 is specially marked as being a movement that occurs quite frequently in this play and which may have had the same musical accompaniment at each occurrence. It is a fine example of an ascending rhythm. It is similarly marked in the sequel. Note that v. 412 is metrically v. 411 backwards. Vv. 431-438 = 439-445- 43' w .i. W.S...I. W W.i. W .L..:. 43^ .^-^ ^ .^\j \j -i-^ \j ^\j \j ^\j ^^ 433 w .:. w w .1. w J. 435 — :-wvj-v-s— V APPENDIXES 251 437 i=!-:-v^ w ^w —^ 438 w -1- w w _: :_ There seem to be two sequences, as indicated. The metre is logaoedic. Vv. 446-626 are trimeters. Three- syllable feet occur as fol- lows : D 3, w. 455, 502, 504, 509, 547, 554, 557, 578, 607 ; T 2, vv. 483, 497; T 3, vv. 481, 580, 594; T 4, vv. 479, 505, 508, 572. 579, 597; A I, V. 486. It should be noted with what fine artistic effect the compara- tively frequent three-syllable feet are employed in Medea's power- ful and passionate speech vv. 465-5x9. Vv. 627-662 are a choral ode of two strophic couplets. The metrical schemes of the strophes are as follows : Vv. 627-634 = 635-642. 628 ^\^_: ■ V / . 629 ^v^ ».^_i_w *^^_;__:_ 631 _i_w_:__: :_ w v-" -^ w vy _^_ 032 _i_w_:__i__^ww_^ww-i_ -W-l -—W-^ 633 634 __w. - w _:_ vy The metre is logaoedic and iambic. Vv. 628 and 633 are iambic dimeters catalectic. V. 634 is the same acatalectic. The type of verse employed in vv. 629 and 630 is repeated in the latter halves of w. 631 and 632 (the second time with catalexis), each time with -^w^_^ prefixed; cp. v. 411. On v. 630 see the Appendix on the Text. Vv. 643-651 = 652-662. 643 _:-ww_:._:.wv./-:- 644 _:^ w w -1- w _:. _:_ 64s w w _:_ vj w-;- w -^ 646 w -1- W ^ W -^ ^ 647 _^ w w w w -^ 252 EYPiniAOY MHAEIA 649 .z^KJ -—.^\jw..^\j^ 650 _: i.W \J ,— \J^ 651 _:_ w v^ -^ w .: i. These verses seem to fall into three sequences. In the first the metre is iambic, partly in the form of choriambi ; in the second it is logaoedic and iambic (v. 646) ; in the third it is logaoedic, the last two verses being a very brief glyconic system made up of a second glyconic and a first pherecratean. Vv. 663-758 are trimeters, containing three-syllable feet as follows : D 3, w. 706, 710, 746, 752 ; T i, v. 697 ; T 2, v. 734 ; T 3, v. 684; A I, vv. 692, 710. V. 710 has two three-syllable feet. Vv. 759-763 are an anapaestic hypermetron. Vv. 764-823 are trimeters containing three-syllable feet, as follows : T 3, V. 781 ; T 4, vv. 783, 796. Vv. 824-865 are a choral ode with two strophic couplets. The scansion of the strophes is as follows : Vv. 824-834 = 835-845. 024 i=!-:->^w.^v^wj.w.i.vyj. 825 .^\j ^ :_w w-^ww-s. 82b --\j ^ ^WW_^WW.i. 827 -^WW_:_WW_: i-WW^^-WWJ. 830 i-WW.I-.^WW.l.WW-: i. «3t «:_W W.^W \J -1 :.W-^-^ 834 -: —*^ W-i_^-'-= The metre is logaoedic. Note the recurrent motive of v. 410 in w. 824, 826, 827. Vv. 846-855 = 856-865. 046 :_ w w -i- w \^ ^ 048 .i. w _^ \J -l^ -^ 850 ^ W W -I- W -:-.£• 851 ^ww.: :. APPENDIXES 253 853 — -:- W v^ .1. W J_^, 854 J- W W _u W .1. There seem to be two sequences here. The first is logaoedic with the exception of v. 848, which is trochaic. V. 846 is the recurrent motive and is used here, as in the first instance, of water. The second sequence is also logaoedic and ends with the familiar versus adonius (" terruit urbem "). Vv. 866-975 are trimeters with three-syllable feet as follows : D 3, vv. 872, 957 ; T I, V. 896 ; T4, v. 960. Vv. 976-1001 are a choral ode of two strophic couplets. The scheme of the strophes is as follows : Vv. 976-981 = 982-988. 97" i-^^ \J .l^\J \J ,Z~ .^^^\J ^m 977 -:-w _;._:._:_ w w _:_w w J. ^ 978 ..z-\J -i^.:-.^\J \J .:-\J SJ J^^ 979 ^\J — — —yj ^^ 980 .; •_\j w_; ^\_»J.J. 981 _i_v.^-l-|-i-w_uvy.i-_i_ There seem to be two sequences. The first is logaoedic. The sequence begins with the recurring motive. The second sequence is logaoedic (v. 980) and trochaic (dimeter catalectic'i with prefixed cretic. Vv. 989-995 = 996-1001. 989 \j .^\j \j ^\j \j .1. logaoedic. 990 v./ .^ w .^ w ^ -^ iambic dimeter catalectic. 991 .^w^w-i.-:. ithyphallicus. 992 ww.i.ww-i.ww.i.ww-i- anapaestic. 993 w-i-ww-i-ww— logaoedic (= 989). 99S -^yj .^\ .2-^ .:-\j .i-.:- iambic monometer + ithyphallicus. The metre is, as indicated, logaoedic, iambic, and trochaic. Vv. 1002-1079 ^'"^ trimeters. Three-syllable feet occur as follows : D 3, vv. 1003, 1037, 1065 ; T 2, v. 1046. On the divi- sion between two speakers of v. 1009 see the Commentary. 254 EYPIIIIAOY MHAEIA Vv. 1081-1115 2.re anapaests in four hypermetra, vv. 1081- 1089, 1090-1097, 1098-1104*, 1105-1115. Vv. 1 1 16-1250 are trimeters. Three-syllable feet occur as follows : D 3, vv. 1 158, 1 160, 1192; T 3, v. 1192 ; T 4, v. 11 76. Vv. 1251-1292 are a commos. Vv. 1251-1270 may have been sung by the whole chorus; vv. 1 273-1 292 seem to have been delivered by the coryphaeus and by the boys (or an actor repre- senting them) behind the scenes. The death of the boys pre- vents their taking part in the antistrophe — an unique and effective dramatic stroke. There are two strophic couplets, vv. 1251-1260=1261-1270 and vv. 1273-1281 = 1282-1292, the latter couplet forming the coramos in the stricter sense of the term. The metrical scheme of the strophes is as follows : Vv. 1251-1260= 1261-1270. 1251 w-^-=-w-^-^w-:- dochmius -I- cretic. 1252 vJ_;__i,^_:_v^v:/v^v^v^v^_L- dochmiac dimeter. 1253 www-^w-^w-^-^w-;- (( (( 1254 W-^-^W-l-W-^-l-W-i- (( (( 1255 *—-2-'^^\y^ w-^ , dochmius -|- cretic (paean) 1256 \U ^~~^ KJ ~ \y \J -:^\J JL. dochmiac dimeter. I2S7 W W W ^-"^ -^ dochmius. 1258 — \:^w^-w-^wv^'w_i.w.i. dochmiac dimeter. 1259 v^ \:/ w^w-^w-^-^w-^ (C II 1260 wvi* w^w_^\-y \^ w-i-W..^ II « Vv. 1273-1281 = 1282-1292. 1273 w_:__:_W_i.v.y_:__:_W_;. 1 274 w-^-z-w-i-wvyw-i-w^ 1 27 1 iambic trimeter. . 1272 1274 w^ — 1. w-:-l^.i--l.^./ J. 1275 w-i-_w^ 1276 iambic trimeter. 1277 " " 1279 v/ _:.-i.>_(.ji.vj vy w J. v./ — 1200 ^^ _^^^_ i^ _^ \j ^ yj ^^ dochmiac dimeter. dochmiac dimeter, dochmius. 1281 \j vy w-^w-:-v_/-i--^-W-i- dochmiac dimeter. dochmius + cretic (paean), the last syllable being anceps. dochmiac dimeter. APPENDIXES 255 This is a good example of dochmiac metre and shews its highly emotional character (^6os). Vv. 1 293-1388 are trimeters with three-syllable feet as follows : D 3, vv. 1322, 1332, 1348, 1355, 1379, 1380; T 2, V. 1347 ; T 4, VV. 1305, 1322, 1341. Here, again, we have in v. 1322, as in vv. 324 and 710, two three-syllable feet in one trimeter. These are the only examples in the play. Vv. 1389-1419 are anapaests in two hypermetra, one of which is divided between Medea and Jason (vv. 1389-1414) — divided even to the extent of assigning the halves of a dimeter to differ- ent speakers (vv. 1397, 1398, 1402), whereas the other (vv. 1415- 14 1 9) is delivered by the coryphaeus. On the latter passage see the Commentary. The unique form of the parodos of this play is to be noted. With it should be compared, as steps in the development, the parodi of Aeschylus's Supplices and Persae and Sophocles's Ajax and Antigone. This remark has special reference to the use of the anapaests. 2. ON THE TEXT a. The Manuscript Testimony The most scientific and accurate critical edition as yet published of the extant plays of Euripides, exclusive of the fragments, that of Prinz and Wecklein {Euripidis Fabulae. Ediderunt R. Prinz et N. Wecklein. Lipsiae in aedibus B. G. Teubneri) was completed in 1902 by the issue of the sixth part of vol. IH containing the (spurious) Rhesus. The Medea appeared, edited by Prinz alone, as vol. I, pars I, in 1878 j the second edition, by Wecklein, ap peared in 1899. In the matter of manuscripts the principles which govern this great edition of Euripides are primarily due to Adolf Kirchhoff's famous critical edition of 1855 (2 vols., Berlin, Reimer). Professor Kirchhoff had previously published a critical edition of the Medea (Berlin, Hertz, 1852). Kirchhoff is justly 256 EYPiniAOY MHAEIA to be regarded as the father of the systematic study of the text of Euripides. In his edition of 1855 he distinguished two classes of Euripidean codices, one of which he held to represent an ancient edition of nine plays {Hecuba, Orestes, Phoenissae, Medea, Hippolytus, Akestis, Andromache, Troades, and the spurious Rhesus) ; the other, an edition of the nineteen plays (including the Rhesus) that have survived. To the codices of the former class, especially to Codex Marcianus 471 (which he called A) in the library of San Marco at Venice and to Codex Vaticanus 909 (which he called B) in the Vatican library, both of which codices were written in the twelfth century, Kirchhoff assigned much greater authority than he did to the codices of the second class. Of this latter class the chief representatives are two : Codex Lau- rentianus 32, 2 (fourteenth century, called by Kirchhoff Flo- rentinus) and Codex Palatinus 287 (fourteenth century). The former is preserved in the Biblioteca Mediceo-Laurenziana at Florence, the latter in the Vatican library. Von Wilaraowitz- Moellendorff (in his Analecta Euripidea) affirmed that both these codices are directly derived from a lost codex written not earlier than the twelfth century. From this he thought that the Codex Laurentianus was copied early in the fourteenth century, the Codex Palatinus towards the end of the same century (op. cit. PP- 3-9)- Later investigation has made it quite plain that Kirchhoff was wrong in assigning as great authority as he did to the codices of the former of his two classes. August Nauck in his Euripideische Siudien (two parts, St. Petersburg, 1859 and 1862) had occasion to notice the superiority of the text of the Laurentian and Palatine codices (cp. e.g. II, p. 63). Von Wilamowitz-Moellendorff wrote (op. cit. p. 2, note 2) : " In Alcestide et aliquotiens in Troadi- bus codicibus PC [the Palatine and the Laurentian, Kirchhoff's BC] vere fidem a Kirchhoffio derogatam restituit Nauckius "i Prinz in the preface to his edition of the Medea (see above) wrote thus (p. ix) : " Pretium duarum classium non prorsus par est, cum numerus vitiorum et interpolationum primae classis minor sit,;sed APPENDIXES 257 secunda classis non multo deterior ac nequaquam hercle contem- nenda est". What we have, in fact, as it now appears, in Kirchhoff's two classes of Euripidean codices are the surviving representatives (in a garbled form, it is true) of two very ancient forms of the text, or a part of the text, of Euripides's plays. The two forms would appear to be as early as Ennius's time {i.e. to go back at least to the time of the Byzantine scholars) ; for in Medea 58 Ennius seems clearly (see Introduction, p. 51) to have had before him the (corrupt) text of the second class of codices and in V. 215 to have followed the same text. The study of the second class of codices has been advanced since the issue of Prinz's edition of the Medea (1878) by the demonstration by Vitelli (see Wecklein's Praefatio to the new critical edition of the Medea, p. viii) that the codex P (as the Palatine will hereafter be designated, with Prinz and Wecklein) was derived in the Medea not from the same archetype as L (the Laurentian) but from P itself. Though this view, with its natural corollary, was opposed (see Hayley's Alcestis, p. xxxvi ff.), it has been most searchingly examined by Wecklein and apparently con- firmed. Wecklein's conclusion (Praefatio, p. ix) is that " liber P ex codice L derivatus in fabulis quas altera codicum familia habet et in Bacchis ex altera familia nunc deperditis correctiones et supple- menta accepit et nisi in Bacchis nullam propriam ad recensendas fabulas habet vim nisi quod prima manus libri L eis locis quos manus correctrices mutaverunt saepe ex libro Pcertius cognosci potest ". The symbol, therefore, that Prinz had used to represent the inferred reading of the archetype of L and P is used by Weck- lein (and in this I follow him) to represent the agreement of the codices L and P in any reading. The symbol might be used more often than it is, if the inaccuracies of the scribe of P were to be disregarded. In the critical notes on tny text (see below) I follow faithfully, in citing and quoting the codices, Wecklein's critical notes. The following table, derived from the Praefationes of the Prinz-Weck- lein critical edition of the Medea, will make plain the symbols MEDEA. — 17 2s8 EYPiniAOY MHAEIA used and give information about the other codices cited and quoted besides those that have been already referred to. B = Codex Vaticanus 909 (KirchhofF's B ; see above). B^ = the first hand, b = the second and third hands. ^° = a reading written over the original reading in B. E = Codex Parisinus 2712 (thirteenth century; contains, besides seven plays of Sophocles and Aristophanes respectively, Euripides's Hecuba, Orestes, Phoenissae, Andromache, Me- dea, and Hippolytus ; belongs, with B, to the first class of codices). E^ = the first hand. E? = the second hand. a = Codex Parisinus 2713 (thirteenth century, elegantly and clearly written). «' = the first hand, a^ = the second hand, a' = sev- eral more modern hands. This beautiful codex, which I examined for the text of the Alcestis and Phoenissae in 1894, is ranked by Kirchhofif (vol. I, p. V f.) among the representatives of a Byzantine grammarian's edition of the text of the first class of codices. But this is an unjust estimate, a contains valuable readings found in no other codex. Prinz's view that a holds a sort of middle place between the codices of the former and those of the latter class (" medium quendam locum tenet a ") is probably about the truth. 5 = the consensus of the two following codices that represent the second class (see above) : L = Codex Laurentianus 32, 2. 1} = the first hand. /= a more modern hand. P= Codex Palatinus 287. /" = the first hand. / = a more modern hand. To these codices are to be added the following : /"= Codex Marcianus 31, 15 (fourteenth century; contains. APPENDIXES 259 among other things, Euripides's Hecuba, Orestes, Phoenis- sae, Medea 1-42 [together with the hypotheses] ; shews a mixed text). ^= Codex Florentinus 31, 15 (fourteenth century; contains Euripides's Hippolytus, Medea, Alcestis, and Andro- tnache) . c = Codex Florentinus 31, 10 (fourteenth century; contains, be- sides the extant plays of Sophocles, Euripides's Hecuba, Orestes, Medea, Phcenissae, Alcestis, Andromache, Hippo- lytus, and the Rhesus; corrected by a Byzantine gram- marian) . These two codices are classed by Kirchhoff (vol. I, p. vi f.) with a, which they are said to resemble closely. C — Codex Havniensis 417 (at Copenhagen, whence the name; fifteenth century ; contains the Medea, Hecuba, Orestes, Phoenissae, Hippolytus, Alcestis, Andromache, Troades, and the Rhesus ; derived from the same source as B, but contaminated and interpolated). Von Wilamowitz-MoellendorfT {Analecta Euripides, p. 2, note 2) treats this codex with contempt (" arbitror librum ilium omni auctoritate carere "), but it sometimes alone bears witness to the right reading. h = Codex Hierosolymitanus, a palimpsest of the tenth century at Jerusalem containing parts of the Orestes, Hippolytus, Medea (76-255), Phoenissae, Hecuba, Andromache. Its noteworthy readings and some lines in facsimile are given by Papad6poulos-Kerameiis in his "lepoo-oXv/iiTOc^ BijSXto- B-t^Ki], St. Petersburg, 189 1, I, pp. 108-112. It appears to approach most nearly to B. It has been noted above that Ennius in the extant fragments of his Medea bears witness about the Greek text in a not unimpor- tant way. A purer text than that of the codices was that referred to by the Scholia, as may be seen in several places in the critical notes. The text followed by the writer of the Christus Patiens 26o EYPiniAOY MHAEIA (Xpio-Tos nacr;^(i)v) (see Introduction, p. 30) was often older and purer, it would seem, than any other known to us directly (see the critical notes, and especially on vv. 790 and 131 7). That text was, it seems (if it was a single one), nearer to that of 5, and in some places may represent the purer form of the text rep- resented in the codices by S. At v. 737 it seems to stand alone with a ; at v. 743 alone with C. (Cp. Brambs's Teubner edi- tion, 1885, which I follow. See also his Praefatio, p. 7.) Though the text of Euripides was perhaps most seriously corrupted in the period between the author's death and the time of the orator Lycurgus (see Haigh, The Attic Theatre, p. 100 [second edition]), yet it is not true that the corruption of the text by the substitu- tion of synonymes and the like belonged entirely to that period. (Cp. the scholion on v. 739.) But the antiquity of corruptions in the text may be seen not only from what we know of Didymus's text (see critical note on v. 739), but also from the two following sources — our oldest direct witnesses to the text of the Medea. The Papyrus Didot (see Weil, Un Papyrus inedit du Louvre, Paris, 1879, and Blass, Rhein. Mus., new series, 35, 82 f.) of the third century B.C., which contains Medea 5-12, written apparently by some ignorant person, shews Sepos in v. 5, but it also shews the corrupt dpicTTcuv in the same vs. The mutilated papyrus fragment of the third century a.d. of Medea vv-. 710-715 lately discovered at Oxyrhynchus (see The Oxyrhynchus Papyri, part III, London, 1903, p. 103) seems to contain an ancient error in v. 713 (see the critical note in loc). It may be noted here that a valuable addition and, in a sense, commentary to Wecklein's critical apparatus is to be found in his Beitrage zur Kritik des Euripides, published in five parts in the Sitzungsberichte der philosophisch-philologischen und der his- torischen Classe der K. b. Akademie der Wissenschaften zu Munchen for the years 1895-1899 (cited as Beitrage in the notes on the text). Here may also be named Wecklein's Studien zu Euripides in the 7th Supplementband of the Jahrbb. f. class. Philologie, pp. 307-448. APPENDIXES 261 b. The Editions In 1867-1868 Professor Kirchhoff published an editio minor (Berlin, Weidmann), which has the advantage of following Din- dorPs numbering of the lines. The only other editions as yet completed (of Murray's new Oxford critical text edition only the first volume, containing Cyclops, Alcestis, Medea, Heradidae, An- dromache, Hecuba has appeared) of the extant plays of Euripides, besides the Prinz-Wecklein edition, cited above, that belongs strictly speaking to what may be called the Kirchhofiian period of Euripidean study are those of F. A. Paley and W. Dindorf. Paley's edition with English introductions and commentary ap- peared in three volumes, London, 1858 and i860 (second edi- tion, 1872, 1874, 1880). The edition is not without value, but is on the whole disappointing. Dindorf s edition forms the third part of the fifth edition (1869) of his Poetae Scenici Graeci (Leip- sic, Teubner). Practically to the Kirchhofiian period belongs the text edition of August Nauck (Leipsic, Teubner, 1854 ; second edition, 1858; third edition, 1871). The first volume contains a valuable treatise, De Euripidis Vita Poesi Ingenio (see Intro- duction, p. 31). The third volume contains the fragments (of which the edition par excellence is Nauck's Tragicorum Graecorum Fragmenta, second edition, Leipsic, 1889). Nauck's important Euripideische Studien maybe named again here (I. 106-139 deals with the Medea). Very important in this period is Weil's Sept tragedies d'Euripide (Paris, 1868; second edition, 1879; third edition oi Medea, 1899) with French introductions, critical notes, and commentary. A small edition of Weil's Medea was prepared for school use by Dalmeyda (Paris, 1896). Of separate editions of the Medea we have in this period a considerable number, which may be briefly mentioned as follows. In 1871 appeared Bauer's small school edition with German notes (Munich) ; in 1873 Hogan's school edition (London and Edinburgh), a work of sipall value, and Wecklein's school edition with German intro- duction, commentary, and critical appendix (Leipsic, Teubner; 262 EYPiniAOY MHAEIA second edition, 1880; third edition, 1891), an admirable piece of work. In 1876 Paley issued a small school edition (London) and F. D. Allen likewise a small exegetical edition useful for young students but of little independent value. In 1881 appeared Mr. A. W. Verrall's brilliant and valuable but somewhat erratic edition (London). The same scholar issued a small edition, con- taining some matter not in the larger edition, in 1883 (London). In 1886 Siegfried Mekler, who had published a valuable little volume of Euripidea at Vienna in 1879, issued at Gotha (in the Bibliotheca Gothand) a school edition of the Medea with brief German notes ; and Th. Barthold, whose Kritiseh-Exegetische Untersuchungen zu des Euripides Medea und Hippolytus (Ham- burg, 1887) are important for our play, issued his critical text edition, the metrical schemes of which are by W. v. Christ (Prague and Leipsic). In the same year appeared at Berlin (Weidmann) Hans V. Arnim's Medea with German commentary (including some notes by von Wilamowitz-Moellendorff) and an over-brief critical appendix, at Oxford C. B. Heberden's little edition (re- issued in 189 1). The latter is without independent value. In 1887 K. Kuiper published his edition of the Medea (Leyden, Brill) with brief commentary in Dutch and a valuable Latin ad- notatio critica. The Greek edition, of some critical value, of G. M. SakorrAphos appeared at Athens in 1891. Another Greek exegetical and critical edition of the Medea (very conservative in the treatment of the text) appeared, together with the Hecuba and Hippolytus, in the second volume of D. N. Bernarddkes's edition of Euripides at Athens in 1894. (The first volume, a huge edition of the Phoenissae with irpoXe.y6itx.va, had been issued in 1888.) Professor Clinton E. S. Headlam's Medea (Cambridge, 1897) is careful and scholarly, though it offers little that is new. A revised edition of Allen's Medea by Professor C. H. Moore appeared at Boston in 1900. The latest edition of the Medea known to me is the text edition of Oskar Altenburg, published at Leipsic in 1902. This editor follows Wecklein and Barthold, but with independence of judgement in constituting the text. APPENDIXES 363 Blaydes's Adversaria Critica in Euripidem (Halle, 1901) should also be mentioned here. Before reverting to the earlier editions the recent publications of the Italian scholar L. A. Michelangeli may be noted here. Michelangeli's Saggio di note critiche al testo delta Medea di Euripide and his Note critiche alia Medea di Euripide (two series) were issued at Messina in 1898, 1900, and 1902 ; and his Italian translation {La Medea di Euripide Volgariz- zamento in prosa), based on his revision of the text and close enough to shew what that text is, appeared at Bologna in 1901. W. DindorPs edition of the scholia appeared at Oxford (4 vols.) in 1863 ; Schwartz's edition at Berlin in 1887. Though KirchhofTs great critical edition of 1855 (or rather his edition of the Medea of 1852) marks the beginning of the system- atic critical study of Euripides, the modern period of Euripidean study begins one hundred years earlier with the publication of Valckenaer's edition of the Phoenissae at Franeker in 1755, — or, perhaps, rather with the publication at Leipsic in 1 754 of Reiske's Animadversiones ad Euripidem. et Aristophanem. Valckenaer followed up his Phoenissae with his famous Diatribe in Euripidis deperditorum dramatum reliquias (Leyden, 1767) and an edition of the Hippolytus (ibid., 1768). Heath's Notae sive Lectiones ad Tragicorum Graecorum veterum Aeschyli, Sophoclis, Euripidis, quae supersunt, dramata, deperditorumque Reliquias was issued at the Clarendon Press, Oxford, in 1762. In the same year Samuel Musgrave published at Leyden his Exercitationes in Euripi- dem, a. forerunner of his edition of Euripides, Oxford, 1778 (4 vols.). In 1779 Brunck published at Strasburg his Aeschyli Tragoediae Prometheus Persae etSeptem ad Thebas, Sophoclis An- tigone, Euripidis Medea. A valuable review of the Medea in these two publications appeared in Wyttenbach's Bibliotheca Critica, vol. II, pars I, Amsterdam, 1780, pp. 36-76. An im- portant year in the annals of Euripidean study is 1797, when Richard Porson (Richard the Third among the great Cambridge Hellenists) issued at London his edition of the Hecuba. The edition was attacked in a nearly contemporaneous publication, 264 EYPiniAOY MHAEIA Gilbert Wakefield's hasty Diatribe Extemporalis in Euripidis Hecubam (London, 1797). Porson proposed Wakefield's health with a Shakespearian quotation : " I'll give you my friend Gilbert Wakefield; 'What is Hecuba to him, or he to Hecuba?'". (See Kidd's Tracts and Miscellaneous Criticisms of the Late Richard Porson, Esq., London, 1815, p. Ixxii.) Person's Hecuba marks an epoch in the study of the dialogue metres of Greek tragedy. What had been put too briefly in the first edition appeared at length in the second edition of the Hecuba (Cambridge, 1802). Person's Medea appeared first at Cambridge in 1801. I have used the edition of 1808 and Scholefield's third edition of 1851 (with the Hecuba, Orestes, and Fhoenissae). The great Oxford Hellenist Peter Elmsley, the worthy successor of Porson in Eng- land, published his Medea in 1818 at Oxford. It is one of the most thorough, accurate, and scholarly editions of a Greek text ever made. I have used the second (posthumous) Oxford edition of 1828 (issued together with the second edition of Elmsley's Heraclidae), which has appended to it Gottfried Hermann's Anno- tationes ad Medeam ab Elmsleio editam, extracted from the Eng- lish Classical Journal. Elmsley was surely Hermann's master at that time. The Annotationes may also be found in the third volume of Hermann's Opuscula. The other editions of Euripi- des's extant plays and of the Medea that belong to this period may be more briefly mentioned. Matthiae's edition of Euripides (Latin notes) appeared at Leipsic in nine volumes, 1813-1829 (a tenth volume, containing the Greek index, by Kampmann in 1837). The great Glasgow variorum edition of Euripides of 182 1 (g vols.), containing, besides much else, Valckenaer's Diatribe and Person's Supplementum ad Praefationem, is a most valuable repertory of Euripidean scholarship to the time of its publication. Bothe's two-volume edition of Euripides (Latin notes) was issued at Leipsic in 1825 and 1826. Hermann's edition (Latin notes), never completed and not embracing the Medea, was issued at Leipsic, 1831-1841. Pflugk and Klotz's edition (Latin notes) was begun by Pflugk in 1829, but Wecklein's new edition of Klotz's APPENDIXES 265 Hercules Furens appeared in 1877. Klotz's third edition of the Medea appeared in 1867. A sort of forerunner of Wilhelm Din- dorfs edition of Euripides in the Poetae Scenici of 1869 (the first edition of which work appeared in 1830) was Ludwig Dindorfs edition of 1825 (2 vols., Leipsic). Other editions by Dindorf (as the Oxford edition of i860) contain a Latin commentary. Fix's edition (Greek and Latin) published by Didot, Paris, 1843, con- tains a discussion of the dates of the plays, a subject to which Hermann Zirndorfer's prize dissertation Chronologia Fabularum Euripidearum, Marburg, 1839, is a contribution worthy of men- tion. The discussion of this period of Euripidean study may be closed here by the mention of Hartung's Greek and German edition of Euripides, Leipsic, 1848-1878 {Medea, 1848 and 1878) ; Schone's edition of the Medea, Berlin, 1853 ; and Witzschel's text edition of Euripides, Leipsic, Tauchnitz, 1855-1857. The earliest period of modern Euripidean study, from the first printing of any portion of Euripides to the eighteenth century, maybe summed up briefly as follows. About 1496 (the book is undated) the Greek scholar Janus Lascaris edited four plays of Euripides {Medea, Hippolytus, Akestis, Andromache') at Florence. The book (to which I have not had access) is printed in capitals and the copies vary. It is extremely rare. According to Kirch- hoff (ed. mai. I, p. xi) Lascaris used a fifteenth century (" sec. XVI. ineuntis ", ibid. p. x, note, is plainly an error for " sec. XV. in- euntis") copy of the Laurentian (which copy is now Parisinus 2888) and in the Medea also Paris. 2818. Aldus's edition, Venice, 1503 ("editio Aldina"), 2 vols., contained eighteen plays (the Electra not being included). This edition followed for the most part the Palatine codex, but took account of the readings of the editio princeps of Lascaris in the plays which that contained. The Helena and Hercules Furens were added from a copy of the I,aurentian (now Paris. 2817). Aldus's editor appears to have been the Cretan Marcus Musurus. It is interesting to observe that the earliest editions followed the S class of codices. Next come the three editions published by Hervagius, Basle, 1537, 266 EYPIIIIAOY MHAEIA 1544, 1551. The first is a reprint of the Aldine, the second a reprint of the first with some changes. In the third (said to be otherwise a reprint of the second) the Electra appears for the first time as part of a collected edition — unless, perhaps, this honour belongs to the Brubach edition, which was issued, appar- ently, about the same time as the third Hervagian, but without date, at Frankfort. The Electra had been first published by Vic- torius at Rome in 1545 (a second edition the next year). The scholia were published by Hervagius (ed. Arsenius) in 1544. The next edition was that of Stiblinus, Basle, Oporinus, 1562 — the first Graeco-Latin Euripides, containing, besides the editor's notes, Micyllus's collectanea on the life of Euripides and some notes by Brodaeus. This was followed by Canter's little edition issued at the Plantin press, Antwerp, 1571, and containing emen- dations by the brilliant editor. An edition exhibiting for the first time the spurious fragment of the Danae and containing notes by Aemilius Portus and a revision by the same of Stiblinus's Latin version was issued by Comraelin at Heidelberg in 1597. The edition of Paulus Stephanus, a compilation of the earlier editions beginning with the third Hervagian, appeared at Geneva (though no place is indicated on the title-page) in 1602. In 1694 Joshua Barnes published an edition of Euripides at Cambridge, containing, besides the scholia, a Latin translation and notes (including some by Scaliger, on the source of which see Barnes's Index in Scholia et Annotationes s.v. Scaliger), a scanty collection of the fragments (first satisfactorily treated by Valckenaer in his Diatribe), and the letters attributed to Euripides. About the letters Barnes, whose " great perseverance " was coupled with an " incredible want of judgement ", had an amusing controversy with the great Bentley, who shewed excellent reasons for regarding the letters as forgeries. (See Monk's Life of Bentley, I, p. 53.) Barnes's edition was re- published with additions (including, among other things, Mus- grave's notes and Beck's index verborum), at Leipsic in 3 vols., 1 7 78, 1 779, 1 788. This brings us into the second period of the his- tory of the printed text of Euripides. Totov 8' oTrt/Sij to'Sc TrpSyfia. APPENDIXES 267 [For the bibliography of Euripides from 1496 to 1830 see espe- cially the first part of F. L. A. Schweiger's Handbuch der clas- sischen Bibliographic, Leipsic, 1830.J c. Notes on the Text of this EnmoN In the following notes on the text that I have adopted the Greek words that follow the sign : are either the reading of the manuscript authorities, when only a reading with an editor's or other scholar's name precedes the sign ; or the reading of the rest of the manuscript authorities, when one or more such are cited before the sign ; or the reading of certain authorities, when such are cited with the reading that follows the sign. I have tried to furnish information useful to students of Euripides by indicating, so far as it was necessary and possible, the places where the scattered corrections of the text are to be found. That I have not been more fully successful in this is due to the wide dispersion of the material. In some cases I have relied solely on Wecklein's apparatus. I note here that Scaliger is quoted by me from Barnes (see above), Reiske and Heath (see above) from the Glasgow variorum edition, Tyrwhitt from the edition of his Conjec- turae in Euripidem appended to the Leipsic ed. of 1823 of Valckenaer's Hippolytus. 2. Perhaps KdXxCKeTo (footnote in ed. crit.) may be right. (dc^t/ccTo also Chr. Pat. 946.) 34. (Tvix^opS>v (for (ru|topas) Chr. Pat. 53, 950. 35. The reading of Chr. Pat. 54 is due to a gloss on otov. 37. For PovXcv£Xa Tournier (Exercices critiques de la confirence de philologie grecgue de VEcole pratique des hautes etudes {v aoUt 1872- l" aoUt 187s), Paris, 1875, P- 102) : exeTvos and <^iAos (also Chr. Pat. 119s). 80. rdSc 5" : rdSc. APPENDIXES 269 84. KaK6$ y S: KaKos. 86. Elmsley proposed tSiv ireXas, referring to the Scholia (which see). Perhaps this is right. 87. Rejected by Brunck (cp. the Scholia). The sense would be 'some unselfishly, others even selfishly (cp. Her ad. 2-5). The verse is plainly unsuitable to the context, though it may be by Euripides and derived from another play by way of a marginal parallel. The original form may well, as Reiske thought, have had toC in place of Kat. 89. €OT(\av K^Kpavrai. 140. Tov Musgrave : 6. 141. r-^Ku (ioT Ti.Kti) E. — Pi0Tr|v Dindorf : /Siorav. 143. irapaSoXiroix^vi) B : irapadaXirofilva. 144. fioi' (for (iou) Naber (Mnemosyne [N.S.] 10. 10) — perhaps rightly. Naber would make the same correction at Hipp. 1352. — K£(i\^s (for KC(|>a\as) B and Hierocles (on Aur. Carm. p. 99). 148. rs and $0)5 Leo (Hermes 15, 317). 149. dx^" Elmsley : ia;^a.i'. The blunder is a very common one in the Mss. 151. dirXdrov Elmsley : dirXaorTov BEa, aTrXiyo-Tov Sa'^. 153. o-ireviX.oicnv oTreo-Tu). The reading ^i] toi rests on the authority of BaL (/jlol is written over t'C of L [for toi] by /) . 182. i|)£\a Kal ToS' oiSa corrupt. Verrall's ,(l>i\a, d TaS' aiSa (mean- ing ,iX.r], el TotdSe A.eyei) gives excellent sense and may be right. 183. a-Trevaai (for o-irtOep4puv) BE. — op)i,r)8^ Brunck : opfmOrj. 191. irpocrOev (for irpdo-et) BE. — d/iaprjjs ("ot sup. ij scr. 6") BL. A good example of scribal syntax. 193. Perhaps we should read Iv t* etXaTriVats. The traditional scheme of prepositions here is ugly. 194. »|vpovT d\pov Leo {Hermes 13. 318, comparing I.T. 454) : ev- povro ySibv. 202. 1^' ouToB (per se) Earle : d<^' avrov. The context demands the correction. 203. •yoo-Tpos Nauck (Melanges Grdco-Romains tirSs du Bulletin de VAcadlmie impiriale des Sciences de St.-PHersbourg V. 209) : SaiTos. 204. dxav Dindorf: lo-yh-v. See note on v. 149. — TroXvaTovan/ (for iroXiBO-rovov) d^. — 7<5(i»v / and Chr. Pat. 809 (yd * * Z) : ydoi/ ("on sup. ov scr. £■!"). 206. X^x'os and KaKovv|X()>ov Earle : hi X-e^ei and KaKcwp.^av. 207. 8' aSiKa Eal: 8e t ahiKo. (8e rdSoca B). Possibly 8' d8u(a is corrupt. 208. tAv is deleted by v. Christ. — Zavos (for Znvos) Brunck — per- haps rightly. The fact that this passage is in an epode makes it im- possible to correct with much certainty. For the division of lines see the Appendix on the iVIetres. 211. (liix^'"' Lenting: vvxlov. "Idem vitium Hesiod. Theog. 991" (Wecklein) — where, unfortunately, Rzach retains vxyyiov in the text. 272 EYPiniAOY MHAEIA 212. Milton's conjecture aTrepavTov (for dirfpovrov) (see Museum Criticum I. 285) is probably wrong. See the Commentary. 215. |i,c')jii|>T|o-6' Ennius (see Introd. p. 51), Z : i).ifx.\^oixr& P (seemingly a mere blunder for fLifiAprjo^O'), /xe/u,<^»;o-6' Ea, iJLiiJ,oia-6' B. 218. Svo-voiav Prinz, apparently supported by the Scholia (see his note) : 8ijcrKA.£iav (where we require a word that denotes temper, habit, or disposition). Ennius seems to have read hvavow-v (see Introd. p. 51). 2ig-22i placed between 224 and 225 by Earle. Wyttenbach {Bi- bliotheca Critica I. i. 52) perceived that yap in v. 219 is wrong with the traditional context. See further Proceedings Am. Philol. Assoc. 32. xxix. 223. o4 8' Earle : oiS". 224. The right interpretation of d)i,a9Cas wo is due to Weil. 219. ^v€0ji\iiottn (for 6<|>6aX|iots) BE. 220. iros Tts Earle : oo-tk. The traditional text means that there is no justice in the eyes of any man that (fiporSiv o Vt/ijjtra TOts po- vovcriv sv. 243. x^pis Wecklein : xpetav. 245. KapSias Si(Triv (for KapSCav furris) Olympiodorus on Plat. A/cii. p. 188 Creuzer. The Aldine gives xapSuxi xokov (on which see Elmsley). APPENDIXES 273 246. <|>(\ci>v dC (see also Elmsley) : rj (which I would read rois 8' diratSeijTots ivavTia cl/jl Kol ovK ayav i^, or el/jl ov8' dyai/ 7j) : elfu 8' ovk. 307. «xci) Toi Earle : ix'"-f^ °^ 'X" Z'*"' {■S'^)- The sense requires the correction ; see the Commentary. 308. The general sentiment that Medea is not inclined to Use-majesti is utterly out of place here. Medea is dealing with her personal rela- tions with Creon. Incidentally the verse breaks the symmetry. I have been anticipated in condemning the verse by Kuiper, whose critical note should be compared. 309. uv yap TL p.' (for tC ■ydp a-v jj.') S. 310. Bircos Earle : oto). The sense requires the correction. The same corruption and correction in v. 240. 314. iar 8(1.' Earle : ecTte p. But the contrast requires the emphatic form of the pronoun. See the Commentary. 315. One might have expected -^a-crdpevoi instead of viKcifxEvoi. 317. PovXevcis Wecklein (as I had also conjectured) : ^ouA.£iJ(rgs. Elmsley proposed /JouXevgs. 318. y (for 8") S. 320. ir6vois partly Musgrave (Jjpa.LV for 8' ea-Tiv [Mnemosyne (N. S.), 15, 329], a change that occurred also to me independently). The whole verse weakens the close of the preceding. O. Menzer (ace. to Weckl.) has anticipated me in con- demning it. 351. a-£ (for ^jMcpav fiuiv. 357. Omitted in .y and deleted by Seidler (ace. to Weckl.). 359. irpo^evlav (for irpos JevCav) P. 361. Due to the reading irpo^a/iav in v. 359. Deleted by Wecklein following Elmsley (•' non male abesset c^cup^crets "). 364. iravTaxoC (for iravTo\^) Chr. Pat. 1063. 367. O-JllKpot .S": fUKpOL. 368. iroT av (for irorl) S. 373. «|>fiKEv Nauck : arjKev. 377. oiroCav Blaydes (op. cit. at v. 163) : (mom, {otroto. B, oiroux B^ "i subscr. et v superscr. i v del. m. rec"). The accus. is used as in v. 384 (avToiis KTaveiv being understood). 382. wireo-poCvovo-a Housman (Class. Rev. IV. 10): wep^at'vovtra. 383. Oavofio-' 6(j>X'ol Tate and Dalzel (see Museum Criticum I. 329) : crot^i (which Pprson mistakenly defended, ibid. p. 334). See further Elms- ley. — KTovSv (for eXeiv) Sb' (a gloss). 386. 8d/xos (for ir6\is) E. 388. hkpa% Td8e (for toujiov S^nas) Chr. Pat. 890, quite possibly rightly (as Weckl. also thinks) . 393. avTo (for aixTi) Barthold. — kov Hartung (soc: see Wecklein's Appendix) : ku. The sense is etiam si moriturus ero, not etiam si moriturus sum, the whole case being in the future. 403. TO. Savot (for to Seiv^v) Chr. Pat. 481. 276 EYPiniAOY MHAEIA 404. Ko\ L : ov (due to failure to appreciate the fine rhetorical ques- tion). 405. Tots T dir' Alo-ovos ■y*'''"'* Weil (hesitantly) : Tot's r \axrovoi 412. T Lenting: S'. Continuation, not contrast, is to be expressed. We have the scheme jAv (. . . re) ... 8c. See on v. 264. 416. irTp^<|fo«o-i Elmsley : (TTpitjxnxri. 421. X'/jJouo-' Heath : Ai)|ouitjq. of d^ by a^. 425. tTri/evorc (for Smaa-t) a (aiTracrc ai^). 431. irarpCwv Aldine edition : TraTpuxov- 432. The sense requires II6vtov, as I have printed, not ttovtov. 435. T§8' avdvSpov(s) Earle : ras avavSpov. 436. X^KTpwv Earle : XiKTpov. Note the strophic rhyme in v. 443. 440. ixifM/a (for \Uvfi) ES. 444. Earle. T-'dX- here echoes Ta\- in v. 437 (strophic rhyme). 445. iiriirra, S: €ir«rTij Ea, avifTTT) B. 451. lo) (ov) (for (ir)) Sauppe (ace. to Weckl.). I am inclined now to think this right. 452. 'Ido-ov Elmsley : 'Idaaiv. Normal syntax requires, and the metre allows, the accus. 457. dvieis Brunck : avCiji or avias. 458. Deleted by Vitelli. This may well be right, as I now think. The latter part of the verse is pretty flat; and v. 457 read with- out stop, so that antis (= iravrj) shall construe directly with . Xe'yovo-', is vigorous and self-sufficient. The verse probably arose from the filling out of the meaning of Xiyova-' (by KUKWi rvpawovi). But cp. v. 622. 459. <|>C\ovs Earle: tX.0K (with Chr. Pat. 246). See the Com- mentary. 460. TO a-ov ye (for t6 'nrti>v (for A(«r^«v) the Aldine edition. This may be right; cp. l.T. 1245-1248 (of the Python) Spaxcuv . . . d/t^£ire I /lavreiov yOoviov. — 8ipos U)" : Sepas. Cp. the critical note on V. 5. 482. Kot/xfio-' (for KTctvao-') Barthold (cp. op. cit. on v. 421, p. 5, and his edition). This is ingenious and may be right. A fragment of Ennius (see Introd. p. 53) seems to favour it, as does the contrast with dvirvos o)v in V. 48 1 . 483. o4tov Earle : avri). Medea does not contrast herself with any one else here ; aiirov gives a pathetic touch. 487. vif avToS Elmsley: vtt aiiTov. — t' (for 8*) 5". — 8d/iov (for i^i- Pov) S and a?- marg. 491. (n>77vii(rT ov S: a~vyyvo>arTbv. 493. vofii^o) (for vo|i(^cis) Scholia Aeschin. p. 350 Sch. (ace. to Weckl.). 494. Oia-fii iv B, d&rfii Iv a (for e^ir|ii') . Hence Weil — very plau- sibly — conjectures iv jSporoi^ for dv6piSiroi,s. Cp. Chr. Pat. 250. 278 EYPiniAOY MHAEIA 498. eA.7rt8os (for IWtSwv) E. 503. d.7riox6fii.r]v (for d<|>iKi|j,Tiv) Wecklein ("fort."). Cp. v. 32 and the critical note thereon. 504. 7' av ouv 6' : t av ovv BE, to. vvv a. 505. Trarcp' aircKTavov (for irarepo KttT€KTttvov) E. 509. av "EXXaSa a: 'EAAaSa (Herodian /Je Schematis p. 590 Walz and Zonaeus De Schematis p. 678 Walz) or koB' 'EAXaSa {BE) or 'EAAT/vt'SdJv (Sb'^ and Alexander De Schematis p. 451 Walz) (see Wecklein's critical notes). This is an excellent example of haplo- graphy and subsequent (and strikingly stupid) attempts to restore the text. 511. o-ifwov (for irio-Tov) Alexander De Schematis (see preceding note). This may indicate corruption. But it seems too bad to spoil the grim pun (as it looks to be) in iroaw (jnaritutn and potionem) koi TTUJTov (^fidelem and potabilem ; cp. Aesch. Prom. 480). (See also J. B. Bury, Class. Rev. III. 220.) 512. y\ (for et) Elmsley, perhaps rightly. — 76 C and the Codex Havniensis of Herodian De Schematis (see preceding notes) : tc BEa, SeS. 513. So/io))/ (for ()>'^<'v) Herodian and Zonaeus (see Weckl.). — jxovoi's iJLovrj (for \i6vr\ ixivois) Zonaeus and several codices of Herodian. 514. rlf veMo-rl vv|t(|>C(fi aPi: Tuiv veocrTt vu/x<^iW BE (" i sub utroque 0) scr. b ") L. 527 f. Ti]pCas '1 vavKXT]pov Nauck (crwTriptai vavKkr/poi Kai avTos yevofiivo's) : vavKXiypias | awTupav. 529. Earle : o-oi. See the Commentary. 531. To^ois dv Sb". 532. avTo, (for o4t6) .S". S33- <(!> added by F. W. Schmidt (^Krit. Studien z. den. Gr.- Dramatikern II. 336). 537. SiKj; T (for 8CKr]v) Elmsley. 538. The scholion to xa.piv ypa^crax Opdcrei perhaps preserves the true text, xoiptv being a gloss on Trpos. The sense of the verse with irpos lo-j^w'os 6pa.(T€i at the end would be ' and to use laws, not boldness in the interest of strength'. 545. (i^v eii7€i(v> and <|)iX«i Earle (Class. Rev. X. 3) : <^eijy£i and <^iXo$. APPENDIXES 279 562. TE (for 8t) .S". 565. cvSai,|j,ovoi)iev Elmsley : evSai/iovoiiji'. — jiAci Elmsley : TtStT;. 568. KvL^a (for KvCJoi) S. 573- a,p' Porson : yap. 575. owrws 8' >S': ^^ourojs. The latter I now see to be preferable. 577. A.eyo) (for «pu) S. 588. otfiai. Nauck: ow mj BE, ovv fioi S, ovv a. — mn\pirovv Earle: inn]piT€Ls (l^rnnqpiTU's a). — 7ttnaCvEexl|o|i.ai Dindorf with d: <^eu|oi)jU,at. The less heavy form seems preferable. 608. apaio's ovcra (for dpaCa 7' oilo-a) Blomfield (ace. to Weckl.). I think now that we should read koi trots y dpatos ovaa. 610. eiri^ (for e(|>ECT|s) Naber and Blaydes. This is pretty cer- tainly right I cp. V. 373 and the critical note thereon. 635. o-T6pYoi|i.i Sc po(Tvva. 642. XdxTi Earle: X^XV- The same corruption probably occurs Soph. Ani. 1225 (corr. Bergk), TracA. 27 (corr. van. Herwerden), and elsewhere. 643. Sc4|iaTa Nauck : SZfia (8wfxa * * L, 8S>fjia t kfiov f). 645. dpa)(a-vla.<; Elmsley, perhaps rightly. 647. olKTpdroTov Musgrave : olKTporaTiav. 28o EYPiniAOY MHAEIA 649. I would now read (firj) toS' a/mp for T||i.lpav t4v8'. Cp. the conjectures in Wecklein. 650. Tt's (for 8" o«K [ovK a]) Elmsley — rightly, as I now believe. 654. (ivfiov Nauck : fiv6a)v. 656. ijiKTMrEV Musgrave : uKTupe {wKTupcv S). 659. irapia-TH Badham {Philologus 10. 338) : irdpeaTiv Sa, irdpean BE, irapecTTai I. 660. KuOapdv Badham (Joe. cit. on preceding v.) : KaOapav. 660 f . oLVoi^avTi (for avo(|avTa) Sa^. 664. '7rpoa-ipav iKoK (for irpoar(t>VEtv i)>C\ous) Barthold — rightly, I am now inclined to think. Cp. Wecklein's critical notes. 668. i/cavets (for 4w <|>i\eiv Earle : irKTrh^ (tticttos 8' E) ovk i (for o-ou) Porson, perhaps rightly. 725-728. Condemned by KirchhofF. The verses appear clearly to be a doublet of 723, 724, 729, 730. See Introduction p. 40. The verses may possibly have been taken from another play of Euripides. 735. TovTois Wecklein : tovtok 8 (tovtoktl 8 £a) . 736. ]u6tl' L : p.eB&tXos) Badham (I.e. on v. 659), a conjecture which occurred to me also, but seems needless ; see the Commentary. — Kowri- Ki^pvKcviiara Didymus (first century B.C.) and the Scholia: KainKrjpv- Kcvfjuunv (or Kam KripvKtv/juicn^v)) . See on the next verse. 739. rdx' ov Jacobs (Curae Secundae in Eur. Tragoedias, Leipsic, 1796, p. 45) and Wyttenbach (Bibliotheca Critica I. i) : ovk a.v. — irCSoi ajo^ a. The variant of v. 746 (quoted above) was probably a variant of this verse. In the variant o-eySas is probably a scribe's blunder for o-c'Aas. But it is possible that we should read here (as Musgrave suspected) . oforvjxi Paiav HXibu 6 ayvov creXas. 753- enneveiv G. H. Schafer (ace. to Weckl.) : ijxixiviiv. 755. /SpoToii (for PpoTuv) is the (false) reading of S and Chr. Pat. (789)- 767. Condemned by Bothe. The verse is a mere gloss on v. 765 f. Incidentally it helps to ruin what seems to have been the original symmetry of the speech ; see Commentary at v. 763. 768. dvT)p Porson : avr]p. 777. ToXXa Earle : ravra. 778 f . Condemned by Porson (v. 778 condemned already by Reiske). These impossible verses are seemingly made out of a gloss on v. 777. Cp. the critical note on v. 767. V. 779 shews in 6" the interesting variant elpyaafieva ; see my critical note on Soph. O.T. 1369. 781. XCirw £ Burges (see Elmsley) : Xurova-a. 782. Rightly condemned by Brunck as derived from v. 1060 f. 785. Omitted by C and condemned by Valckenaer (on Phoeniss. 1286. 87. 88). 786. (TTecjjo^ (for t\6kov) E. 790. p.iv o-ot Chr. Pat. 837 and the scholion on the present verse. This shews that the author of the Christus Patiens used a text older than any known to us directly. [i,iv o-ot may well be the right reading. 798. Jflv.?: t^vlri. The variation is interesting. The writing of In ^(iKTaiv for i^uxraLV seems to be responsible for the corruption of Soph. Ani. 3. 799- " yp- a-n-aXXayi^ superscr. a^.'" APPENDIXES 283 802. Suo-ei (for T{«)C(rti) 5. Cp. Wecklein Beitrdge V. 318 f. 805. o-Trep/i.' (for iraiS") F. W. Schmidt (/£>. Stud. II. 338). This I now believe to be right. — KaKi]v kokus Eab' : Ka.KSi% KaKrjv. 811. iKoivutcro) (for cKoCvoio-as) £. 816. o-6v a-ir^p|jia .S": crai iratSc (ffov TraiSa a). 822. X^ft|s Ehnsley : Acfets.. 840. T|8virv6ovs omitted except in ^ and in i (where it is added after avpas). — (t) Earle. 847. Tf irdXis r\ (|>CXv 3" : tj iXovcua-T|s Brunck : ixrj ov€v(7rji. 857. T^Kvois Reiske : tckviov. 858. crvi (for re) Kayser (ace. to Weckl.), perhaps rightly. 862. (|>6vov (mostly written 6vov in the codices, see Wecklein) may be due to a gloss on fimpav. — Van Herwerden proposes {Mnemosyne 5 [N.S.J. 25) . 894. Sevpo Elmsley: Sevtc (with Ch. Pat. 688). 895. ■n-pmriXOoLT (for l|«X.e£T ) Chr. Pat. 468. 899. Xo^EcrSe Chr. Pat. 469. Hence Elmsley proposed (perhaps rightly) Xd^va-Oi. 904. TO irdpo's (for irarpos) Mekler — rightly, as I am now inclined to think. 905. T^peivav Barnes: Ttpuvi)v (rtptivriv B). 906. Oepfwv (for xXwpov) Chr. Pat. 479. 284 EYPiniAOY MHAEIA 907. lit) Kttl Dindorf: Koi jxyj. — 'iroPaCi) Earle : irpo/iairj. — fiMoro-ov (for |ui^ov) Cobet (^Variae Lectiones 600). — to, (for to) Elmsley. I am now inclined to think that the verse read /x,^ kox irpo/iaii] iw.': VVV. Porson's cruj/ may be right. 913. Condemned by Lenting. ^ovX-^v was a supplement (and a wrong one) to Trjv vtKUKrav ; the rest was added to make out a verse. 915. 'i6r\Ka Earle : lO-qKC For the idiom (often obscured in the codices) cp. v. 926 and Ale. 167. — a-ioTripiav (for irpo|ji,T]6[av) S. 918. l$£p7d^o|iai Earle : e^epyct^erai. See the critical note on v. 915. Cp. Beitrdge I. 482. 926. tv Tol TuvSe S'^orofiai irar^p Earle (eil ra roivSe O-qtrtTca Trarijp Prinz) : eu yap rSvS' c-yo) B-quui irepi B (" Qr)(Tu> in Oi^<7op,a.i corr. et yp. 6rj(Tu> superscr. b ") EL, tv yap vvv twvS' iyw 6i^ Oi^ao) irepi (see his v. 761 ; his v. 230 is a conflation of Med. 926 and Hipp. 709). Prinz's ingenious correction is based on the assumption that a TTHP (= TraT^p) at the end of the verse was not understood. Cp. the critical note on v. 904 and Class. Rev. VII. 450. For the first person in the present verse cp. the critical notes on vv. 915 and 918. 927. ovTi (for 08 Toi) S. 928. (xp^il'''''') tAfl' 8aKpvy€Lv (for c|>cu7civ) 5*. 972. ipovTK (for SiSdvTEs) L. 976. Jias Porson : ^uas. 978. dvo8e(r(idv Elmsley (dvaSecr/xSv Porson) : dvaSecr/xon'. 979. Suo-ravos Aldine edition : d Swravos S, SvarrjiXK BEa. 980. "AiStt Brunck : 'AiSa. 981. avTol Sb' : avTTi BE, om. a. 982. ircTrXou (for iriirXcov) S6'. Elmsley's irsTrXov (with )(pva-6TiVKT6v (te) 3.vov in the next vs.) I now think right. 983. yjma-orivKTov {tc) (add. Reiske) Avo« Klotz: ^(pvaeoTevKTov {XpvcTOTevKTov C) crT€<^avov. 985. 8' omitted by BE. — irdpa vv)u)>OKO|i.'fio-Ei Aldine edition: vdpa wp.OKO(Tfirj(Ta L6, ■n-apavvp.^oKop.rjiTi.L BE, ■irapa.vvf).^oKO(Tp.ri(yti E^aP. Lehrs's irdpa. vvp-^oKop-rjaajL (with which rf^-r) would have the commoner meaning of 'already') is accepted by Wecklein and may be right. 988. v7riK(l>€v^erai (for wir6pes Cobet {Variae Lectiones 591): KaTjj^eis (with Chr. Pat. 731). 1013. Tola (for TttiiTa) Weil — perhaps rightly. 1015. Kdrsi Porson : xparets. 1017. tSvS' (for aiSpov) aC. 1045. Rejected by Kvicala. Cp. the Scholia. 1046. XP'7 (fo'' 8") Wecklein ("fort."). Perhaps this is right; cp. the critical note on v. 1018. 1048. The scholion in a yp. 8e liu iravop-ai /3ov\£«//.aTo>v may preserve the true reading; cp. the critical note on v. 1040. 1052. irpo(r^Xavpois) El. But the sense demands ^Xawpois ( = KaKois) . mo. ouTws ^" (ouTo) Z) : mno'i BEaPl. The sense seems to call for the adverb. — "AiSou Earle {^Class. Rev. X. 3): ^AiSr/v BEa, 'AiSav S(sic). 1113. eriELb': tm.. 1 1 16. 8^ (for Toi) a, which Elmsley accepted. 1117. ■g (^) C (with Chr. Pat. 743) : 01. — 'iroP^jo-eTai Lenting : irpo- p-rjcrtTai (^TTpo^ria-erai a) (with Chr. Pat. 743). The acceptance of Lenting's conjecture is decisive in favour of y instead of ol. 1118. utiv Earle : S^. The sense seems to require the change. See the Commentary. Chr. Pat. 124 gives koutol. — tmv ad' (with Chr. Pat. 125) : rov- ing. tnroSSv &• (with Chr. Pat. 125): oTraSdi/. The scribes were mostly rationis metricae unice securi. — irvcv|ia 8' Hermann : TTvevfm T . 1 120. KttKiv can hardly be sound after Katvov (cp. on V. 705). irapuv seems to have been read by the author of Chr. Pat. (see Chr. Pat. 127). See Wecklein's critical notes and appendix. 1121. Omitted by Ca, added in margin by «', condemned by Lenting. The verse is grotesquely out of keeping with the panting announced in v. 1 1 19 f. and expressed in v. 1122 f. 1 122. vAiov Wecklein (" fort.") : vaiav. %e.e. BeitrageV . 1130. hrrio.vS: oiKuxv. 1130 f . 'gKio-)i^vi] I x''''p<^s kXvovo-o t" ov Kuiper (a conjecture that had occurred to me independently) : ijKur/xevijv | xaipws KKvofjaa kov. 1132. Toio-Se Lascaris : row yt (toio-i C). 1 134. Sc ttGs (for 8' oirus) .5". 1136. 8uip' txov(ra (for koI irap{)\6e) is suggested by Barthold (after Stadtmiiller's 8Sp' I;;^oi'T£, op. cit. on v. 421, p. 36). Ingenious and quite possibly right. APPENDIXES 289 1139. oCkuv Weil (from the scholion ttoXiis V ° A,oyos Kara ti]v oiKtav 0WLX.€\v(r6ai v/iSs) : iortav. 1 150. opyas T (for op7d$) S, possibly rightly. — xokov vedviSoi {for V. x<5Xov) 5'. 1 156. us 5": UMTT . 1 158. TiKva (for irdiSas) SE. The strangeness of the phraseology of the traditional text here (see the Commentary) did not escape Elms- ley (whom see), iraripa koX T-eKv atrft-ivq Stadtmiiller (o/. cit. on v. 421, p. 37), perhaps rightly (o-e'flev was omitted in L and added by /). 1159. TJiiirCiTxeTo C: ^iXTriaxiTo (including C^). 1160. PofTTpv)(oxK (for Poo-rpixow) ^^ 1161. Befiai (for Kdf.i)v) B (sic). 1 164. Kivovaa TToWiVKov TToSa (for PaCvovo-a iroXX^vKiy iro8£) C seems to be due to would-be correction of the last two words after fiaitiova-a had been made to look (in minuscules) like Ktvovcra by Ihe careless omission of the first a. See further the Commentary. 1 167. piKT6v (for&tvov) Chr. Pat. 1209, possibly the original text; but see Soph., O.T. 1267 (where we should probably rrari, as I now think, Scii/dv ^v Toiv6ev8' opav, assuming an imitation of the present passage) . 1169. rpcxova-a {for Tpcfiauira) ^ (sic). 1173. avuX.6Xu£€ Earle : ava)XdAu^. — Kara (for SiA) S. 1 174. T.S": S'. ^ ova Reiske : an-o. 1179. trv/x^opav (for o-v|u^opds) 6". Cp. the Scholia. 1180. iSpajj^^ao-iv Cobet (Variae Lectiones 604) : ^poii.-^fuicnv. 1 181. «cirX^6pov Reiske : liKirKeBpov (tKTrXeBpov L). 1 183. o)i.)uiTa Chr. Pat 906 and (as a v. 1.) 1332 : SfijjiaTiK (<«u/«itos £ [sic]). Cp. Duehner Phiiologus 25. 236. 1184. airuiKKvTO (for TJ7€iptTo) ^ {" yp. ^yci/oero I in marg."). 11S6. Kodfxjoi (for srKdKos) B (sic). 1 188. Sti": TE. 1 189. Xcvpdv Earle (from Aesch. Prom. 369 : see the Commeirtary) : \t.irfrjv or XfMKf]v (aC). I conjecture \cirTr]v to have been a gloss on Axupo)'. iiigo. dv(^aav'• '206 and Sefms in the present verse (see above). Perhaps it were better to read here efavao-T^crat yow (for it is rising that is primarily thought of) and f^avacnrda-ai Sipai in v. 1215 (where separation is primarily thought of). 1214. Xem/oio-t (for XeirTotiri) E (sic). 1215. See on v. 1212. 1216. &vTt\6X,vT S (and the lemma of a scholion) : avTeXafer' including p. Cp. the reading of Chr. Pat. in v. 899. 1218. dir^o-pt] Scaliger : oirco-Ti; (but Chr. Pat. 880 seems to testify to airejTTiq) . 1225-1227. Suspected by Prinz as made out v. 580 f. That need not be the case, but the verses clearly do not belong in this context. They were read by the author of the Chr. Pat. (see his vv. 1012 ff.). 1228. oA./3u)s ^v(T!U (for ev8aC|i,(i)v dv'> Brunck. — o-e (for -yO ■S' (ye/) (sic). 1250. 7" /'("inras."): t (S* Z). 1252. 'AXtow Hermann : 'AcXtov. 1253. yuvaiicai' (for Y^valKa) E (sic). — itiotvtav Aldine edition: 1254. TfKVOUTl (for T^KVOls) •S'. 1256. deiov (for BeoO) a^ — perhaps rightly. — ir(^i) irtrvciv Weck- lein. The n that follows alfia in E and (as part of the same word) alfui in Ba may be an original TT. At any rate Wecklein's conjecture seems to be right. 1259 f. i^ovu I o-av (so previously Kirchhoff) dXaiv t Heimsoeth (ace. to Weckl.) : tjiovuiv rdXaivdv t. It may be noted that <^ovuucnv for t^vwroMnv is the corrupt reading of the codices in Soph. Ant. 1 17 f. 1262. itdrav^S": fiaTav apa. The latter is a poor attempt to fill a gap that should probably be filled with Barthold's &^ or Hermann's rot. 1266. ta)icvi)s Porson : 8v(T/xcv^f . The ( > should perhaps be filled with Wecklein's tentative fl>6vov. 1269 f. For the various conjectures see Wecklein's critical notes and Appendix. Perhaps the original text was ;(aA.Eira yap PporStv (Earle) bfwyevfi fua. | apar eiriytipev (Weil) avToh/T(wi (suggested by Weck- lein) fwui I 80 OtoOev trirvovr iwl S6p,oK a^r; — a sentence in which Ppormv bpxryevq pjAjtrpaT would be the subject. 1271 f. Transposed as in the text by Schenkl, who proposed to insert TTAIAeC. otai auji between 1270 and 1273. 1276. Wkvois v) may be right. 1333. oI6v v crav &' S). 1339. oiiK ecTTi TovT r/Tn (for ouk So-rtv -qris tovt &v) .S, whence Her- mann ovK iuTL TOVT av TfTK — rightly jxcthaps. 1350. dir<6\co-tt(s) Wecklein. I35I- V ./"^P av t$€T£iva Toi(T& evaovTva. S. 1353. ola 8' dpyairai Elmsley. 1356. o4S' . . . o48' Elmsley : ovO' . . . ouC. APPENDIXES 293 1357- Possibly spurious ; see the variants in Weeklein. I3S9- The author of the gloss (rnrj ( = (rinjXxujov) on ir^8ov in E is thought by Musgrave to have had reference to a text in which aWos occupied the place of iriSov. Possibly this is right. Possibly, too, the whole verse is spurious, as Verrali thinks. For a difficulty in the syntax see the Commentary. 1360. XPV" (^°^ XP'l) Reiske — perhaps rightly. 1362. Xv{« KTJjCoioros .S" : tr^e y' ij^wutras. 1369. v) Chr. Pat. 1 280, but probably only to avoid the three-syllable foot. 1382. T£\os (for tOvtO the Homeric scholia (K 56), the Etymologicum Magnum, and Choeroboscus (see Weeklein). But the parallel in the Hippolytus (see the Commentary) seems to prove that the Euripidean codices are right. — irpoo-rajoiiev Naber (^Mnemosyne [N.S.] 10. 11): Trpo Porson: yrjpai. The scansion seems clearly to demand this, and the sense is rather improved by the correction. 1398. Ikovss Elmsley : £KTav£s (eKTas/). — rniiiatvovor' / : vrjijaivova-a. 1404. Xoyos (for «ros) Sb" (sic). 1405. On the variant in the scholia opas (for cLkovcis) see Weeklein. — dircXavv6|i.e6' Bentley Phalaris, p. 142 : direAawo/xe^a. 1409. Kairi6cd|u Blomfield : KaTnOodim. See Cobet Variae Lec- f zones, p. 590. 141 1. TeKva KTeivaa-' (for riiev diroKxtCvao-') ^S*. 294 EYPiniAOY MHAEIA 1414. 6ivofi€i'ovi (for <|>6i.|i^vovs) >? (sic). 1416. o£A.7rTa (for d^Xirrus) Stobaeus Florileg. III. 6. This is probably wrong. 1419. Totov 8' Earle : roiovS. We have not a reversal of cause and effect here, but a putting of a species under a genus. Hence the connective (8') is demanded. INDEXES I. GREEK [The Arabic numerals refer to the lines of the text.] &Ppiv PaCvciv 1 1 64. &ppus PaCvEiv 830. a70v ' very ' 305, 583. a7eiv of extradition 736. d^TjXai 1027. atS^p of the Attic air 830, atv«rai = {nro(irvXov 134. dydiTTCiv intransitive 107. dvao-irdv 'tear open' 1381. dvoo-xcSeiv 1027. dWjvao-Sai = aToiriiajiai 237. dvVjp generic 801, 953. ,avSp«s = AvSpdiTOi 630. (But see Appendix on the Text.) d^iovv X670V 962. diraY^eXXciv 287. dirci.pT)KQ>s i^CXovs 459. direvv^iro) = d7ra7opei)^ ' place of refuge ' 603. clpa 78. dp^Ca = Apylas S6^a 296. dpET^ = eirvxta 629. 'App.ovCa (laughter of nine mothers _ 834. dcKbs 679. do-irdcrao-Bai ' kiss ' 1070. drdp for S4 84. av8dST)s 223, aiT6x«p |iotpa 1281. d4>iKlir6ai ' come away ' 32, 503. dxp'^p.uv 461. Poo-tXCs 1003. PCOTOS = Plo! 1037. PKdrav irp6s riva 247. Poi)v TcCvciv 20I. PovXTJo-oiiai for ^oiXofuu 259, PpaPciis 274. yafutv of the woman 606. 7dp.ovs irap6)i'n'oXdv 910. 29s 296 EYPiniAOY MHAEIA 7dp ' at all events ' 56; ' then ' in ques- tion 59 ; lip explicativum regu- larly used 319, 792 ; irregularly used 448, 506; "iip admirantis 670. y ap* 122, 703. 7t 80, 88, 292, 495, 512, 514, 698. 'Y«\uv 6(|>\Etv 383 ; 7^(iit' oifiXelv 404, -y^puv TvfiPos 1209. 7tis irtSov 665. Sa( 1012. S^ explicative 717. ScS6Ki)irai = SiSo^ai 763. ScSopKtis = i^ ifeai 221, Scivos 44. SE(rir6Tr|S (rv l4>^irTios 713. So|d^a} = iriTTOida 944, Sopv^cvos = ain/juixos 687. Spao-chiv 93. SvpciK6v 378. Sci))idlTiiiv i^ivuti = Su/juiTUv e|(s 544. 4ir' ovSas = x^Mo' II95- Ipa(r9f|vai ' crave '491, 700. kpiT]LOVV 4, cpT))i(av a^civ = epr)pov elvai 50. cpufia 597. Cp(l>T€S 627. eTiKTOv = Itckov 930, eiSa[|j.(i>v pios = eiSaipA)vla 598. I()>^Xkeiv 552,; liji^Kco'Sai 462, iif rffXv = &,vt' ipjov 694. lXos 550. tJPt)S t^os 920. ■i]Sii = eiWs 985. ■fj ^i\v 1032. "Hpa 'AKpata 1379. 6avil(ri|i,os 7vT|s 479. Oavdrou reXewrd = Sivaroi 153, 6aT^pou Tpdirou 808. 6^os 'unfortunate in wedlock' 989. INDEXES 297 KaWCviKov 46«V'4.$. KaWCviKOs with genitive 765. KaWio-Tcverai = xdWirTi iari 947, KaXov ovci8o9 5^4.- KoXuS 278. KapSC^i contrasted (like tpyif) with 'K&yif 708. Kwris 166. KardYciv 1016. KaroiPttTiilHii. 94, KariEvai 1015. KCKpavrai = y^^ave tyj. Ki]Sc|ic&v ' soB-in-law ' 9901 KoivoCir6ai = dvaicoiraSoF^at 499. Koivuirai = avuioi/vGnrai 685. Koivuirai 0^01 = Kaimlxror 685. Koir|i£lv 5761 Kov^uis ^ipav 10.18. KWja-ao-Bai ' win a name for ' 21 & Xdjvi ' husband's house ' 443- 445- \670vs X^Y^iv 321. (laKpos aliiiv ' time ' 428. IjidX* avSis 1009. |i^as = ioius 440. f.iya9 <^(\os 549. |u6op|i(Coi =: miuplos Kal viiupti 366^ fywamiinp 1392; oIS iy^ 948, 963. o(kuv icT{)|jLa ' chattel * = oln^ri* 49. SXeOpos Ptoras =: ffiimras' 992, £p.|ia collective 1043. op<|>i 849. ica(Suv pi^Tiip'a mother' 997 f. iraCSuv irar^p ' a father ' 344. irdXXcvKOS 30. irapapiirUrxci'V 282. irap^8«iKav for itapiSorav 629. woptXeetv = eta\'fjs 390. irvp^ovv X^P^v 5^^* irus civ 97. a-i9tv 65, 541. o-cfiviSs 'haughty' 216. 6s X^Yciv 580. irir^p|i.a of mother 816. (rirXd'YX*"'*' ^^O- vriycu, YwaiKuv = 7vvaiK(i)K(ru 1 143. (rT{)vai trap' do"irC8a 250 f. (rT6)iap70$ ^XuiriraXYta 525. SriYios 195. nrX(i7e?up|Uvav irvp( 1 199. 2u|tirXT|YdSES I. irvv 6ccp 625. opd Kcxpi||i^vos 347. (Tui^povciv 311. TafiCos 1415. rd irpura of persons 917. Wkvuv yov^ 1 136, T^KVuv oiraSis = Tratiavciryi: 53* tIvuv 1 1 66, T(6cavXos = iffSev^s 807. (^r||i,C emphatic 1090, <|>[Xo$ as vocative 1 133. ■jidPos cl 184. <|>ovCa AIkt) 1390, 4>pavTC$ = iXwls 1036. XaCpuv iropcvou = x"'^^ 756, Xdpis * charm ' 982; 'joy ' 227, 243, X6c(pciv 1055. xXupJs 906, Xpoidv dXXdo-(rfiv 1 168. tfKr\a'fv 'lived in' 1359. is exclamatory 62, 447; after impera- tive 274. 2. MISCELLANEOUS [The Arabic numerals refer to the lines of the teict,] Accusative, double 95, 261 ; of inner object 120, 158, 893, 952 ; of goal (without preposition) 649; of specification 729; of result 1202; of extent 25, 92, 143. Adjectives in -10$ in Euripides 1122 f. Aeschylus 263. Afterthought by Euripides 592. Anapaests 96. Anaxagoras 220, 293. Antiquarianism in Euripides 138 1. Antithesis, false 17 ; forced 1024. Aorist = aoristic present 223, 272, 707, 791; for perfect 78, 214, 467. Aphrodite with bow 634. Arrangement of words 12, 669. Asyndeton 120, 157, 182, 183, 403- 406, 476, 551, 721, 892, 966 f., 971, 978, 1044. Attraction 544, 599. Augment omitted metri gratia 141 3. Balanced phrases 216 f. Browning 278 f. Chiasmus 17, 255, 366 f., 412 f., 483- 485, 786, 1025. Chorus, entrance of, motived 1318. Cicero 480-482. Circumlocution 1060 f. Dative 6, 18, 25, 45, 93, 260, 283, 503. Deus ex machina 13 1 7. Divorce 235-237. Doric forms 96 f., 523. Dual among plurals 969. Ejaculations 20, 34, 957, 979. Exclamation, indirect 23, 35, 852. Ennius 214. Epanaphora 960 f. Future condition 78 f., 346; doubly future 393; potential 323, iioi f. Genitive 48, 104; ablatival 258, 633, 799; of cause 358. Herodotus 125, 1228-1230. Hesiod 439 f. Holderlin 843. Homer 119. Homeric style 141 f., 410, 422, 957 f., 1111,1337- Horace :3o. Imperfect 310. Indirect exclamation 23, 35, 852. Infinitive 316, 1061. Interlocked order 39 f., 340, 669. Ionic form for sake of metre 1392. Irony 958, 1016. 299 300 EYPiniAOY MHAEIA Irrigation 830 H. Juxtaposition 7, 116. Keble 1074 f. Lysias 250 f. Medea's name 401. Menander 86, 487. Metaphors. 2&i., 54 f.„ 60, 105, tS^, 258, 278 {., 306, 442, 519^ 524, 544, 569, 584 f., 585, 938, g86i,988, 12 14, 1218, 1277. Milton 195, 843; 945. Moralising characters 119-130. Negatives 3., Nominative, exclamatory 61. Optatival unreal condition 568. Order, interlocked 39 i.,. 34«J, 669^ Ovid 501. Participle 19, 24, 467, 472, 794. Particle doing douUe duty 11, 21 f., 126, 192-194, 529 f. Peliades, verse repeated frcmi 693. Perfect, analytical 33; aorist for, ySj 214, 467. Plato 826 f., 843. Play on words 275. Plural, generalising 405, 803. Potential future 323, i loi U Present with perfect force 470. Prolepsis 447, 452, 669. Prophecy explaining local rites 1381. Proverbial expressions 76, 618, 964. Purpose expressed by substantive 478. Relative clauses 5, 192-194. Repetitian 13,1 ;. of compound verb by simple 1252. Rhyme 408 f. Rhythm and- (perhaps) melioify re- peated 846. Scenic matters I, 106 ft,, 112 ((., 269 f., 709 f., 823, 893, 899, 922 f., 950 f., 957 f-. 969.. 975. ri22f., 1389-1414. Self-exhortation 401. Sigmatism 4761 Sophocles 1339. Spitting as an expression of loathing •373- Strophic rhyme 656 £, 987-, 1287. Substantive with semi-synonymous ad- jective 109 f. Superlative, double 1323. Symmetry in dialogue 95, 269 f., 315, 339. 364. 464. 5^2 ff., 688, 1305. Synonyms 1083 f. Tautology 78 f., 311, 526, 1143. Terence 86, 284, 487. Trimeter divided between two sipeakers 1009. Ward, Mrs. Humphry, 1074 f.