MASTER NEGATIVE NO 93-81612-4 MICROFILMED 1 993 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK as part of the Foundations of Western Funded NATIONAL ENDOWMENT FOR THE HUMANITIES made Columbia COPYRIGHT STATEMENT ThA rnnvriaht law of the United States ■ Title 17, United The copyrignT law oi I ^^^j__ q. nhotocopies or productions of copyi soecified in the law, libraries and accept would involve violation of the copyright law. A UTHOR: EURIPIDES TITLE: EURIPIDOU ANDROMACHE PLACE: LONDON DA TE: 1852 COLUMBIA UNlVin^ITY LIBRARIES PRESERVATION DEPARTMENT Master Negative U _!I3_- v;.v DIDLIOGRAPHIC MICROFORM TARCRT RestricI 8KS/SAVE Book Original Material as Filmed - Existing Bibliographic Record FIN PN EURIPIDES AND TP FUL/BIB UNI NYCG93-B420 ANOROMACHEff - Cluster 3 of 19 - SAVE Acquisitions record ID:NYCG93-B420 CC:9668 BLT:am RlYPia ST CP:enk PC:s HMD: 040 100 L:eng P0:1852/ OR: 300 LOG QO POL DCF:? CSC:? HOD INT:? 6PC:? BIO REP:? CPI NNC^cNNC Euripide DM RR: :s FRN: -9 SNR: -9 FIC: ■ 9 • • FSI: COL: MS EL NYCG-LNF 7 ATC CON ILC EML 777? • • • • ???? II:? GEN: AD:01-12-93 UD:01-12-93 BSE 240 10 Andre mache 245 10 Euripidou And romach_et:h[microforni].^bThe Andromache of suggestions and questions at the foot of us grammatical and critical notes placed at th a brief introd pal tragic metres V. J. Edwards . . . uccory account of the Greek d 60 London, |:bBentley,{:cl852 intended to be read and the Rev. C. Hawk Euripides, with 10 wi rama, dialects, and princi Re ach page, together with cop the end of the play; also as a first Greek play;j:cby the ins XIX, 169 p.j:cl9 c RLIN 01-12-93 m TECHNICAL MICROFORM DATA FILM SIZE: 3S >. REDUCTION RATIO: ID IIB INITIALS___2^_ HLMED BY: RESEARCH PUDLICATJONS^ INC WOODDRIDGE, CT ' ^K. 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THE ANDROMACHE OF EURIPIDES, ■WITH SUGGESTIONS AND QUESTIONS AT THE FOOT OF EACH PAGE, TOGETHER WITH COPIOUS GRAMMATICAL AND CPvITICAL NOTES PLACED AT THE END OF THE PLAY : ALSO, WITH A BRIEF INTRODUCTORY ACCOUNT OF THE GREEK DRAMA, DIALECTS, AND PRINCIPAL TRAGIC METRES: INTENDED TO BE READ AS A FIRST GREEK PLAY. BY THE \'C EEV. J; EDWAEDS, M.A., Trin. Coll. Camb. SECOND MASTER, KING'S COLLEGE SCHOOL, LONDON ; AND THE EEV. C: HAWKINS, L.C.L., Cir. Cn. Oxoif. AND OP Christ's hospital, Hertford. LONDON; EICHAED BENTLEY, 8, NEW BUELIKGTON STKEET. 1852. J- / 4 . « • '#ttf ^ D is: ci LONDON : GILBERT & RIVINGTON, PRINTERS, ST. JOHN'S SQUARE. €1 f\ ADVERTISEMENT. If I am right in supposing that a book, introductory to the reading of tlie Greek Plays, especially to Porson's selection, as edited by Dr. Major, has long been a deside- ratum, T shall stand excused for the attempt to supply this want by the preparation and publication of the Andromache of Euripides. The collection of the materials forming the notes I have been making for some years ; and I trust these materials will be found to be not ill adapted to their obvious purpose. In order to secure as great accuracy as possible, as well as judiciously to enlarge the extent of my annotations, I sought for and was happy to obtain the aid of my friend, Mr. Hawkins, upon whose critical skill and extensive knowledge, both as a scholar and an instructor, I felt assured I could fully and safely rely. The introductory matter is intentionally compressed as much as possible ; our design being that what is stated there with such brevity should form, as it were, the nucleus A 2 O, 1 ^ C '/**-! '• * <.u t U 'i^ U 8 _ ,^ » ,^i KS-»»v; IV ADVERTISEMENT. around which the learner should collect his subsequent knowledge. In drawing up the short account of the origin of Tragedy, and of the Athenian Stage, I have made use of the Essay on the subject, edited in English by Mr. Arnold, from the Gernian of Witzschel. Mr. Arnold's excellent book cannot too soon be subsequently placed in the hands of the learner. I will venture, in conclusion, to direct particular atten- tion to the parallel passages, which have all been carefully selected to illustrate peculiarities either of verbal usage, or of construction. The pupil, therefore, should be desired to make himself master of these as a part of his lesson. J. E. K. C* Jj. Nov, 1851. % INTRODUCTION. I. TRAGEDY AND THE STAGE. (I.) On the Origin and Progress of Greek Tragedy. The Drama, according to Aristotle, derives its origin from that principle of imitation which is inherent in human nature ; a view confirmed by the fact, that we find dramatic representations to have existed from the earliest times, in countries which could not have borrowed them from each other ; in China, for instance, in Hindostan, and Peru. In the very early period of Greek history, a hymn, called the Dithyramhus, was sung in honour of Dionysus, or Bacchus. This was done, without any strict regard to regularity or arrangement, at the festival of the god, by mummers in fantastic dresses as satyrs. The derivation of this word Dithyramhus is very uncertain. It was origi- nally of the nature of a fcw/uog, which differed from a x^p^k in these particulars. Both terms denoted a hand of singers and dancers engaged in the worship of some deity ; but the chorus was always accompanied by the lyre, and had an exarchus, or leader, who sang the hymn, the other members merely joining in the dance ; the kw^oq, on the contrary, was rather a procession, in which every one who chose joined in the song ; and it was always accompanied by the flute. Subsequently, Arion (of Corinth) raised the Dithy- A 3 VI INTRODUCTIOX. rambus to a higher rank of poetical composition, adapting it to the lyre, and causing it to be sung by a trained choir with mimetic and appropriate gesticulations ; all express- ive of boisterous joy or frantic grief. The hymn, as one of exultation and mirth, was sung in the early spring ; as a hymn, expressive of melancholy and grief, it was sung at the beginning of winter, a season typical of the captivity and sufferings of the god \ To this latter form, as moulded and adapted by the hand of Arion, we must look for the origin of tragic representations. He retained the satyrs of the original song, introducing into his Dithyrambics the praises of other heroes besides Bacchus. The satyrs were afterwards introduced with metrical speeches as a sort of subordinate accompaniment, still further to amuse the spectators and to enliven the scene by their loud merriment and uncouth gambols. The dithyrambic song, of which we have hitherto spoken, was that which was cultivated in the Doric states of Greece, particularly Sicyon and Corinth. At Athens, the dithy- rambic ode was early developed into the dramatic form of tragedy. The term tragedia {rpayioUa) has three reasons assigned for its derivation,— rpayoc, a goat, and w^)), a song. The" satyrs above spoken of were vulgarly called goats from their shape, that of the goat (rpayoi;) ; hence Tpaytolia = the song-of'the-goat ; or it may derive its name from the singing of the hymn, by the chorus, around the altar on 1 According to Aristotle and Horace the early Bacchic festivals took place at the end of the autumn, after the vintage ('' condita post frumenta," Her. ii. Epist. i. 140). But the Athenian Dionysia ^^'ere always held in the spring. These festivals were three in number :- 1. Td Kar aypovg, or the rural Dionysia, were held in all the country towns and villages throughout Attica, in noda^tt;;^, the sixth Attic month, answering to part of December and January. 2. Ta Anvaia or Td, Iv Ai/ivaig, so termed from Mtivai, a part of the city m which was the Anvaiov, a sacred enclosure of Bacchus. This festival was held in 'Av0e(7ri,pic;>r, the eighth Attic month. .3. Td Kar' acrrv or rd fifydXa Aiovuaia, held in 'E\a^^?/3o\iwi/, the ninth Attic month, iu which the annual contests with the new tragedies took place. INTRODUCTION. Vll which the goat (rpayoc), the ravager of the vineyard, was sacrificed in honour of the god of the vine. Hence rpayo)- cla would be the song-{in'honour'Of'the'Sacrificeyof'the' goat. A third and still more common explanation is, that a goat was the prize of the successful competitor. Each derivation would be suitable to the origin of the word as above explained. The invention of tragedy, or rather its translation from the dithyrambic song, is assigned to Thespis, a native of Icarius. It is uncertain whether the satyrs of the Doric states formed part of the Attic Dithyrambus. But, at any rate, they were discarded, or not introduced by Thespis, whose great step was that of the introduction of a single actor. The duty of this actor {hnoKptrrig) was to recite some mythological story, in which the chorus took part by questions or exclamations ; and on this were founded the various changes and improvements which afterwards took place. It must be observed that this one actor repre- sented various parts, in the representation of which he was aided by the change of dress, and especially of masks, which last, in their rudest form at least, were the invention of Thespis. Thespis appeared on the stage in the 61st Olympiad, 536 B.C., and was succeeded by Phrynichus, Choerilus, Pratinas and his son, the originators of the custom of producing tragedies agonistically ; that is, as poems, the authors and exhibitors of which contended for a prize. Phrynichus introduced the representation of female cha- racters, personated by males in female attire, both in the dialogue and in the chorus; the use of the Trochaic Tetrameter ; and the invention of a regular plot. Pratinas is known as the inventor and introducer of the satyric drama. In the first year of the 70th Olympiad, 499 B.C., iEschylus, then in his 2r)th year, appeared as the rival of Phrynichus and Pratinas. The erection of a permanent theatre of stone now, for the first time, replaced the old A 4 ^»..»M.-,..^.„..»-,.,«,»„ 3«3ralWSS»*.:a}Sa!?WR;»:aBa m'sir.j^f'ia^^'S'^^^m^mm^^ VIU INTRODUCTION. and incommodious wooden framework on which the dra- matic representations had hitherto been conducted. The alterations and improvements which jEschylus, and, after him, Sophocles and Euripides, introduced into ancient tra- gedy, were the mask in its perfect form, the addition of a second, and afterwards of a third actor, the abridgment of the choral songs, the erection of a complete orchestra, the in- troduction and extension of the trilogy and tetralogy ; and, lastly, the more artistical arrangement of the stage, the chorus, and the actors. From the improvements which he introduced, ^schvlus has hence been called the " Father of Tragedy." ' From this period we may date the commencement of a long-continued practice, under which each poet, in contend- ing for the prize, produced not one but three plays ; these formed the trilogy (rpiXoym). The trilogies of jEschylus related, each of them, to successive portions of the same story ; thus forming, in fact, not three but one complete tragedy. To the trilogy was added a satyr-play, in which the satyrs were the chief characters ; no doubt with a view of keeping the dramatic representations, in some degree, sub- ordinate to their first origin, — a religious ode in honour of Bacchus. The only satyric drama which remains to us is the Cyclops of Euripides. The three tragedies and the satyric drama formed the four competing compositions called the Tetralogia. The metre employed in the dialogue of the older tragedy was the Trochaic Tetrameter, which was soon in a great degree replaced by the nervous and lively Iambic Trimeter, It must, lastly, be remembered that the drama in Athens was a national solemnity, a religious festival, the consecra- tion of the best and noblest talent to the service of their gods. INTRODUCTION. IX (II.) On the Greek Theatre and the Scenic Representation of Tragedy. 1. The Theatre, The Greek Theatre consisted of three parts : — 1 . The theatre properly so called ; ^. e. the part appro- priated to the spectators. 2. The stage. 3. The space between the stage and the theatre, called the orchestra. » 1. The theatre consisted of a series of concentric cir- cular benches, rising above one another backwards, in gra- dual succession. The centre of these circles was the centre of the orchestra ; and the benches extended to about two-thirds of the whole circles. The occasional broad cir- cular passages, unoccupied by benches, and called ^ta^^w- ixara (or KaTaTOfxal), were used as a ready means of reach- ing the different parts of the theatre ; as were also the KXlfiaKsg, or stairs, which ran upwards, dividing the benches into clusters of seats, in form like wedges, and called KepKiSeg, in Latin cunei, 2. The circular area, thus partly inclosed by the thea- trum, w^as appropriated partly to the orchestra and partly to the stage. The orchestra occupied about three quarters of this circular space. It was used for the evolutions and dances of the chorus, and it communicated with the stage by steps, by which, as occasion required, the chorus as- cended to the stage. The centre of the orchestra was occupied by the Thymele, an elevated altar of Bacchus ; upon its steps the flute-players and the rhabdophori (con- stables) were generally placed, probably out of sight of the audience. 3. The remainder of the circular space, of which the orchestra was a part, formed the stage. The wall at the a 5 t' ««W«««S»ft';iKWi>a^KE>-S«.iS ^... :r,v-^-^6fe/.:.g.iga^.^g^^g^'^^''^^^^^feg>'^*^»^^^^ X INTRODUCTION. back was called (TKrirri or scena, the open space on which the representation took place was the Trpoaicrji'ioy (prosce- nium). On the right and left of the proscenium were two projecting buildings called irapaatcnvia^ or side-wings. Be- tween these and the theatrum were the entrances to the orchestra. The back wall of the stage generally represented a palace, which had three doors ; the central one of which was appropriated to exits and entrances of the kings ov other royal personages of the play ; while the others were supposed to lead to the women's apartments, to offices, and the like. The scene, however, was varied according to the requisitions of the play ; a change sometimes (as in the Ajax of Sophocles) being made in its course. These changes were effected by two triangular frames, revolving upon a pivot, and upon the three sides of which different scenes were depicted. These frames were called TrepiaKToi. For certain stage effects, the principal machines were, 1st, the eccyclema and the exostra : the first, a sort of wooden stage moveable on wheels, the latter also of wood, but, as the word implies, pushed forward upon the stage ; 2nd, the jjrjX^vriy sl stage by means of which the gods were made to appear in the air (hence the expression, Oeoq airo fJLrtxayfjg) ; and, akin to this, was the OeoXoyeloyy for exhibiting the gods in the upper regions ; 3rd, fipovreioy, a thunder-machine; 4th, dvaTrud/iara, trap-doors; and lastly, xapwJ^ctot fjX/juafcec, Charon's ladders, for the appear- ance of ghosts, &c., from the shades. 2. Laws of Dramatic Representations. The great dramatic exhibitions of Athens took place at the high festival of the Dionysia. On these occasions, when a poet wished to bring out a play, he gave notice to the presiding Archon ^ and was thus said x^poi^ aiTely, " to 2 If the poet intended to represent at the Lensea, he applied to the king-archon {dpx^v PaffLXtvg) ; if, at the greater Dionysia, to INTRODUCTION. XI demand a chorus :" if the demand were granted, the con- cession was called x^P^'' StSorat. The expenses were generally met by some wealthy citizen, hence called x^p^- yoQ, choragus, who provided the singers, dances, costumes, and decorations. If the poet were not already supplied with actors, he had a sufficient number assigned to him at the expense of the state. The actors were carefully trained in their parts by the poet, who was thus said ^pa/xa ciSd- (TKeiv, docere fabulam. Five judges {ayi^vodiraL) decided on the merits of the representations. To extend the privileges of the theatre even to the poorest class, every citizen had the right of receiving from the state two oboli as entrance-money. Every tragic Si^afficaXia or representation consisted of three tragedies and one satyric drama, or, as it has been called above, satyr-play. The competitors, on each occa- sion or ayiov, amounted to three, and the victor was led forward and publicly crowned with a wreath of ivy. The names of the Archon, of the successful choregus, of ^ the poet, and of the principal actor, were inscribed on a tripod dedicated to Bacchus. The general laws for the construction of a tragedy af- fected the chorus and the actors. The dithyrambic chorus consisted originally of fifty per- sons. This number was, in the tragic chorus, limited sub- sequently to fifteen, and then to twelve. The leader of the chorus was termed the coryph(^us (fcopu^aloc), who performed the part of spokesman for the whole body ; and the chorus performed their dances and songs in the orchestra. The choral hymns, properly so called, generally consisted of strophe, antistrophe, and epode ; but how they were sung (in reference to grouping, cadence, tone, and so on), is very uncertain. The only instruments for musical ac- companiment were the flute, and occasionally the lyre. The structure of ancient tragedy seems to admit, with an the chief archon {apx^v kirdiwuoQy so called because he gave his name to the year). A 6 Xll INTRODUCTION. easy adaptation, the law that was generally established, that the play should have not more than three principal characters and actors. The three principal actors were called respectively Trpwraywytorr/c, ^evrepaywvtcDyc, rptT- aywvLffTriQ ; other characters who appeared upon the stage were called Ktocpa wpoffcjira, ** mute persons ;" and, besides these, guards, attendants, &c. The learner must bear in mind, that whenever a new character was introduced, his approach was announced by some one already on the stage ; and that one important arrangement of the drama was that by which a messenger or other suitable character detailed to the audience those events, which were supposed to take place off the stage, and the knowledge of which was necessary to the under- standing of the denouement of the plot. As regards dress, each character wore that which was exactly suited to the circumstances of his position ; but, to give height and stature to the principal male character, the actor wore the Kodopvog {cothurnus), or buskin, a sort of thick-soled and high-heeled shoe ; and this effect was in- creased by the oyKog, or lofty head-dress of hair. Lastly, to aid the expression of the features, they used the mask, {TrpoffWTTov, 7rpo(T(jj7reiov), *' persona ;^^ and this was con- sidered necessary, because the natural features of the face would be lost in the vast size of the theatre, and by the distance of the spectator from the stage ; and, it may be added, that perhaps the mask answered the purpose, from its peculiar construction, of a modern speaking- trumpet. ^^«g^£M^>w.s«i«»Q)>SM8iiM«tMltiiHMi INTRODUCTION. XIU II. ON THE PRINCIPAL TRAGIC METRES. The prosodiacal feet referred to in the following rules are, — Trochee, _ ^ Pceon Primus, ^ ^ ^ ^ Pceon Quartus, ^ ^ ^^ __ Proceleusmaticus, ^ v-y v^ ^ Dactyl, _ v^ v^ Spondee, Tribrach, ^ ^j ^ Anapcest, ^ ^ — Iambus, ^ _ ' A line, or verse, is said to be acatalectic, when it is com- plete as to its number of feet and syllables. It is said to be catalectic^ when it is defective by a syl- lable. It is said to be hypercatalectic when it has a syllable too much. It is said to be brachycatalectic when it has a foot too little. 1 . On the Tragic Anapcestic Dimeter Acatalectic. The following scheme shows the construction of the Anapaestic Dimeter : — ^^ v^ — w w — WW — W >^ — — WW — KJ KJ - W W — W W The line consists of four feet, every one of which may be an anapaest. The anapaest may be replaced in every case by a spondee or a dactyl ; the only limitation being that a dactyl seldom precedes an anapaest. The end* of the second foot always closes a word, as does the end of the line. The quantity of the last syllable in the line is not, as in most other kinds of verse, common ; but it is to be con- sidered, in this respect, as depending upon the beginning of 3 From KaTa\r]yHv, ' to cease.' * Sometimes, though rarely, a proceleusmatic is admitted. u/j.iiM'iwfe'isi, «i a*i. -nx '■ ^>«* -»■ » B»^^x^fts(^,»ti^^!^j»^4;^^'»j XIV INTllODUCTIOX, INTRODUCTION. XV the line that follows. This prosodiacal uniting of the lines, in respect of quantity, is called st/naphea {(Twdcpeia). A system of anapaests often contains an anapsestic mo- nometer, consisting of any two feet admissible into the anapaestic dimeter, with the limiting exclusion of the dactyl and anapaest in succession. It is also closed by a line called Versus Parcemiacus, so named because proverbs (Trapoifxiai) were often expressed in this form of verse. The parcemiac verse is the anapcestic dimeter catalectin, and in form it is generally/, though not always, the end of the common hexameter ; when it has not such a termination, the first foot is a dactyl \ 2. The Tragic Iambic Trimeter^ or Senarius. The following scheme shows what feet are admissible in the Iambic Senarius : — v^ — * 4& \y — "^ KJ KJ \y \J KJ KJ KJ ^ \^ ^^ \J — — — — — V^ <^ KJ KJ — \y \J -^ O* V^ — V^ W — — ^J KJ — KJ \J ^ — \^ Ky KJ \J ^ In proper Names vy v^ The Iambic trimeter ^ or senarius, consists of six feet. When every foot is an iambus, the verse is a pure senarius ; as, ^a/iup Sodelaa TraiSoTroioQ "Efcropi, v. 4. A tribrach, being isochronous with the iambus, may re- place the iambus in every place except the last ; as, Trarrjp re diydTpl' MeyeXecjg avv^p^ rah, v. 39. * The anapsestics in this play, from 1. 515 to 523, and from 1. 537 to 544, are illustrations of the rules here laid down. ° When one foot only is taken at a time, as in Dactylic verse, it is scanned by the Monopodia, and one foot constitutes a metre. When two feet are taken at a time, the verse is scanned by the Dipodia, and two feet constitute a metre. The Latins appear to have scanned verses by the Monopodia only ; hence the name Senarius. A spondee is admissible into the uneven places, the 1st, 3rd, and 5th ; as, Kciyu) SofxoiQ rolff^' dpffev evTlKTil) Kopov, v. 11. A dactyl is admitted only into the first and third feet ; as, w p.iyd\a Trpdcrcriov aiTiag fXLKpdg Tript, V. 386 : ^vyj^opTa vaiijj ireSC, 'Iv t] daXaaaia^ v. 16. An anapsest is admissible into the first only, except in the case of proper names, such as 'AepoTriy, 'Avnyoviy, 'I^tyeVeia, which, if anapaests were entirely excluded, could not be used in this kind of verse ; and, in this latter case, the limitation is that the anapaest must be contained in the same word ; as, '^EXfci'^v epicrdaL xpv^ ^"3', rjTig ek Sofxiov, V. 601 : €7r£t Se TYiv AaKULvav 'EppXoprjy ya/xel, V. 28. The Ccesura. The rhythm of the senarius depends upon the caesura, which is of two kinds, — the penthemimeral caesura, and the hephthemimeral caesura. The former divides the third, the latter the fourth foot ; that is, the middle of the third or of the fourth foot closes a word ; as, dayovT EpeiSov *, Trat^a 3* oy tiktio iroaei, V. 8 : Kal TTplv fxev iv KaKolffi * KeLp,ivrjv ofxioQ, v. 24. The Quasi'Ccesura. There is another division of the iambic trimeter, called the quasi'Ccesura ; and this occurs when a word suffers elision at the end of the third foot, or when any one of the elided forms, y, h\ fi\ a\ t\ is added to the third foot ; as, (S T£KVOVy 7J TEKOVad ff *, U)Q ffV fXYJ BdvYIQy V. 413. It very rarely occurs that either the third or the fourth foot consists of an entire word ; and it is universally true that the third and fourth feet never form one word. ( fllfci iniiWitTf nfH^TB v^?" TiiirTii '^-■'^- XVI INTRODUCTION. INTRODUCTION. XVll The Pause, A cretic foot {pes creticus) is __ ^ __. If a senarius ends with a word, the syllables of which form a cretic, and which is preceded by a word of more than one syllable, the fifth foot is an iambus ; as, ScLfiap lodeiaa TraiSonoLOQ "Eicropt, v. 4. This is true, when the cretic is made up of two words forming a trochee and a long syllable ; as, Tpolay a(j)ei\ov Uplajjiop loSe ^aDXog wy ; v. 325. It is also true, when the cretic is made up of two words forming a long syllable and an iambus, provided the long syllable belongs to the following word rather than to what precedes, such as an article or a preposition ; as, yajjLei Se rig viv ; >/ c^' avavipov iv Sofxoigy v. 347. In this last case, if the long syllable adhere rather to the preceding words, then the fifth foot will not necessarily be an iambus. Words of this latter kind are enclitics, such as fioi, viv, (Toi, TLQ : or words that cannot begin a sentence, such as yap, yovVf fiEv, Ixv ; as, vvv S* k^Qpa TTouV rfjvS' eireXdeip ovv OiXiOf v. 734. The apparent deviations from this rule, (such as quasi- quinquesyllabic terminations,) which occur in the following play, are noticed and explained as they occur. 3. Tragic Trochaic Tetrameter Catalectic, This verse, frequently used by the tragedians, is so called because it consists of four pairs of trochees (or their rhythmical equivalents), with the omission of one syllable at the close of the line. If to the beginning of a common iambic senarius there be added a cretic, or a first or fourth paeon, there will result a trochaic tetrameter ; this limitation, however, must be ob- served in the senarius, that the anapaest is no where admis- sible, and the penthemimeral caesura ^ is always used. IV. ON THE GREEK DIALECTS. The Greek tongue was spoken by all the tribes of Pe- lasgian origin, a term which properly denotes ** those come over the sea.'* These were settled not only in Greece Proper, but also in the south of Italy, Sicily, and along the coast of Asia Minor. They originally had one common language, from which the dialects subsequently branched out. Out of this original tongue the language of Epic poetry next arose, best known to us from the writings of Homer and Hesiod, and sometimes styled the Homeric dialect. It was based upon Ionic, intermixed with varieties of ^olisms, and arose in Ionia. The sources and order of the dialects are shown in the following table : — Old ^oUc. I Old Ionic. I ^olic Proper, Doric, as spoken as used in in the Pelopon- Boeotia. nesus. New Ionic. Attic. 1. Old. 2. Midd. 3. New, The language of the Pelasgic Dorians, the ancestors of the Spartans, was very harsh and unpolished, and very far removed from the Epic form. Peculiar to this dialect is the frequent use of the vowel A, which in grammar is termed TrXareiac/ioc. The jEolians also kept the old language very close to its primitive forms, and thus, in many points, their dialects concurred with the Doric ; hence they have sometimes been regarded as identical, but they are rather closely connected by affinity, as shown in the foregoing table. The strangeness of its forms, and its 7 For examples of this metre, see Dr. Major's edition of Porson's Preface to the Hecuba. I XVIU IXTRODUCTIOX. wide departure from the Epic dialect, made it scarcely in- telligible to those Greeks who were not -^olians. Hence Pindar retained only those of its peculiarities which it had in common with the Doric. The lonians, in the formation of their dialect, kept more closely to the Epic, with which it has sometimes been confounded. It is remarkable for its softness, which it attained by accumulating as many vowels as possible without contraction, and by terminating words in soft and feeble syllables. The Attic dialect, which was of later improvement, soon excelled the other Greek dialects in refinement, whilst it equally avoided the Doric harshness and the Ionic softness. The Ionic is to be regarded as its parent, and the three varieties mentioned in the table are merely different periods of the same dialect. As long as Greece retained her independence, each state employed its native dialect ; but after the period of the Macedonian conquest, the language of Athens, from her pre-eminence in literature and the arts, was generally adopted, though not in its strict purity ; and this universal dialect, under the name of Common {koivov) is assumed as the basis of Greek Grammars. The literature of Greece is usually divided into two great periods, viz. the Prae- Attic and the Attic. (1.) Prce- Attic Poetry. 1. Efic, the peculiarities of which are mentioned above. 2. Elegiac^ expressive of the softer feelings. This also arose in Ionia, and nearly resembled Epic, but it contained more lonisms. A specimen of it occurs in this play, line 103. 3. lamhicy from Iambus^ * a satire,' also Ionian. The Epodes of Horace are an imitation of the Iambics of Archilochus of Paros. 4. Lyric, adapted particularly for music, whence it derives its name. The first master of Grecian music was Terpander of Lesbos, who flourished b.c. 670. Lyric poetry consisted, 1st, of songs set to be sung by a single «i~. ..^!i^*f^»w?-'"Mr*!a«s«; INTRODUCTION. XIX person ; such were the writings of Sappho and Alcaeus (of Lesbos), in ^olic Proper : 2ndly, of odes, more complicated and sung by a number of persons ; they were divided into strophe, antistrophe, and epode. Of these Pindar presents the most perfect specimen. The Lyric poets wrote in a dialect peculiar to themselves, based upon Ionic but with many Dorisms. This dialect was adopted by the Tra- gedians in the choral odes. Prce- Attic Prose originated in Ionia. The principal writers were Cadmus and Hecataeus of Miletus, who wrote Chronicles. Hella- nicus, an -^olian of Mitylene, and Herodotus, a Dorian, both wrote in the new Ionic. And we may here remark that particular dialects became appropriated by custom to particular kinds of composition. This period ends with the Persian war. (2.) Attic Period, The Old Attic approximated to the Ionic. Tyrtaeus, Theognis, and Solon wrote in it. . The Middle, or transition Attic, is represented by the writings of Thucydides, the earlier plays of Aristophanes, and the dialogue of the Tragedians. The New Attic comprehends the orators, Plato, and the writers of the New Comedy. EYPiniAOY ANAPOMAXH THE AEaUMENT. Neoptolemus, having received Andromache, the wife of Hector, as his reward at the capture of Troy, had by her a son called Molossus ; but subsequently he married, during her life, Hermione, the daughter of Menelaus. And having in former times demanded satisfaction for the death of Achilles from Apollo at Delphi, he returned to the oracle to propitiate the god, in consequence of having repented of his request. But the Queen, being jealous of Andromache, sent for Menelaus, and plotted her death ; whilst the latter placed her boy in a place of concealment, and took sanctuary herself in the temple of Thetis. But Menelaus and his attendants discovered the child, and treacherously induced her to leave her asylum ; and, when they were on the point of puttmg them both to death, they were prevented by the appearance of Peleus. Menelaus, therefore, returned to Sparta ; and Hermione, dreading the presence of Neoptolemus, repented of her design. In the meantime, Orestes, havmg arrived, carried Hermione away with him by persuasion, and laid a plot to destroy Neoptolemus ; whom, shortly after, certain persons brought m murdered. Thereupon Thetis appeared to Peleus, as he was be- ginning to wail over the dead body, and commanded him to bury it at Delphi, and to send away Andromache with her son to the Molossi. She then added that immortahty awaited him ; and, having been made partaker of this, he was translated to the islands of the Blest.-~The scene of the Play is laid at Pthia ; the Chorus consists of women of Pthiotis ; the Prologue is spoken by Andro- mache. B •v. DEAMATIS PEESON^. EYPiniAOY ANAPOMAXH. ANDROMACHE. MAID-SERVANT. CHORUS. HERMIONE. MENELAUS. MOLOSSUS. PELEUS. ANOTHER MAID-SERVANT. NURSE. ORESTES. MESSENGER. THETIS. \% ANAPOMAXH. ^AaiaTL^OQ yrig cr^^jua, 0?jj3ata TToXig, oOev TToO" edvijjv avv TroXv^pixru) x^^iSyj TlpiafjLOv Tvpavvov kcFTiav a^iicojLtrjv, Sdfiap SoOeiara Trai^OTroLog ^'EnTopL, t^rtXwTog iv ye ti^ irplv ^ AvSpoiJ,d\r] XP^^V^ vvv S\ €1 Tig aXXrjj SvgrvxecFTarri yvvri' [ejuLOv 7ri(j)VKeV} rj yevrjcTerai Trore.] rjTLg TTomv julv "Ektop^ i^ 'A^iXXcwc B avovT tgetoov^ irai iSi lica u OV TIKTU) TTOaSL 1. How is 'AfficLTiSoQ sometimes written ? Explain the adjective terminations in -artg and -aTrjg. Sean the line. Give the deri- vation and meanings of (txvH'^' Explain Orjpaia. 2. Give the successive meanings of tdva. What is the Epic form of this word? Give similar instances of a change in breathing. What is the quantity of the penultima in 7ro\vxpv(^(i> ? (See 1. 147.) 3. How, in respect of declension, is rvpavvog here used ? Give similar instances. How is dtpiKOfirjv construed in the Tragic Poets ? What is its common construction in Homer ? What in prose ? Give an example from Herodotus. 6. What is the force of the article when placed in close con- nexion with the adverb ? Scan this line, and state in what places and with what restrictions the anapsest is admissible. 6*. Distinguish accurately between ting, ocrrig, and og av, 9. What is the force of k here ? Trace accurately the principal meanings of this preposition, and show how it differs in its primary sense from airo. What would here have been the more usual con- struction ? Distinguish between ttoVij/ and ttoo-ii^. Explain the meanings and conjugations of the obsolete verb £i^w ; and go through olla and yUiv according to the Attic usage, b2 4 EYPiniAOY pKpOiirra Trvpyojv 'Acrruava/cr aw opQmv^ lo Izrei TO Tpoiaq d\ov "EAXrjvfc ttcSov, avr^ St SovXtj, rwv fXeuSfpwrarwv oi'fcwv voiuLi(T9et(j\ 'EAXaS' elgatpLKOfxriv^ T(^ VY)(jib)Tiri NeoTTToXijuK^ SopoQ yipag coOsLcra \eiag TpwiKrig i^aipBTOv. 15 ^Oiag Se rrigde koI ttoAcwc ^apaaXiag KvjXopTa vaib) TrfSf, tV 17 OaXaaaia nrjXct Suv(j>/c€i X^P^C avOpdjTTwv Oirig ifizvyovd ojuiXov' Qt(j(TaXbg Si viv Acwc Gfr/o££ov aioa 0fac Vapti; vviKbevtxdTwv* 20 evu oiKov eaxe rovbe iraig Ax^AAfccuCj Ilr]\ia 8' avcLGGUv yrig Iq, <^apGa\lag, t^iovTog yepovTog cTKriiTTpov ov OeXiov AajSety. Kayu) Sofxoig ToTgd^ apcrtv Ivtlktio jcopov, 10. Scan this line. What are the two meanings of opOiog I Give an example from the " Antigone." 11. Whence was the appellation "EWrjvsQ derived, and when was it first applied to the collective Greek people ? What names are applied to them by Homer ? What is the force of the aorist ? and, in relation to it, of the imperfect ? Give an example from the *^ Anabasis," 12. State the rule for the comparison of such adjectives as s\ev- 9spog, 13. What Latin word corresponds to olKog'i and so to oJvog 'i Explain the construction of oc/cwv. 14. In what case is Xa'ac, and why ? Scan the line. Explain the declension and dialects of ^6pv. What custom, as to the spoils of war, is here alluded to ? Give the Latin phrases, and quote from Virgil, iEn. ix. 267. 16. How does the accent of ttoXicjq affect the scanning of the line ? 17. Derive, and explain the construction of, ^vyxopra. Why has Trediov a paroxytone accent ? Is there any peculiarity in the aorist of vaiio ? 18. Give the two futures of 06vyw : which is properly Doric ? Give examples of similar double futures. Of what verb is (piv^u) the future ? For what pronominal forms is viv used ? For what in this instance ? What is the Homeric form ? 20. How is x^P^^ used here ? What are the two accusatives of Xaptc ? Which is least frequently used by Euripides ? 22. Scan this line. What is the quantity of the a in HiyXsa ? In what word is this a shortened by Euripides ? On what principle is dvd(T(TtLv followed by a genitive ? What is its frequent construc- tion in Homer ? 24. Why is there not i suhscriptum in the crasis in /cdyw ? In what cases would the a, in a crasis, have i suhscriptum 1 30 35 40 ANAPOMAXH. 5 irXaOud 'AxtAAtwc TratSi, SecnroTt} y l/iol. 25 Koi irpXv filv Iv icaicotcn Keifxivriv opayg iXirig p! aCi frpogriy^ (jwOivrog reKVOV aAk'TJV TLV avpBLV KaiTLKOVpridLV KaKWV* lireX Se rriv AaKaivav 'EpjuiovTjv ya^el Tovpov irapwaag SeaTrorrjc SouAov X^xog, icaicoTc irpog avrrig (TxerXloLg iXavvopat' Xiyu yap wg viv (^appaKOig icBKpvfifxivoig ridnii airaiSa Ka\ Trooret pi(TOvpivr}v, avrfi Se vaUiv olkov avT avrfig OeXio t6vS\ iKJSaXovaa XUrpa raicetvTjc ^3^9* 'ayw TO TrpvjTOV ovx ^kovct tSe^afirjv, vvv 8' fcicXeAoiTra- Zevg raS' elSetti peyag^ wg ovY tKOvaa rt^fS' iicoLV(A)Oi}v Xix^L, dXX ov (T06 TTtiOa)^ jSouAerat Si fie Kravtiv, waTTip re OvyarpX MtviXewg (jvvSpq raSe. Koi vvv Kar OLKOvg Ut, airo STrdprTjc poXwv 25. What meaning has TrtXa^o* in the older language ? Explain the formation of the poetical aorist kirXderiv. Is there any peculi- arity in the scanning of this line I r •' • r 26. How is ofjiu}Q to be taken « Give a similar use of o/xwg, m ime 1085, below. . , , » t * ' ^,r^« 27. What is the quantity of the penult, m asi ? Is aiei ever used 1 Give similar instances. What tense is Trpoartys ? bhow that the sense requires that tense. What case is tbkvov, and why « 28. Translate kTriKovprjaiv KaKwv into Latin. 29. Of what is Aaicatva the feminine form 1 Give similar m- stances. Some words in -iov have what form m the femmme j Give instances. Distinguish Jt)etween the usages of the active and middle of yauiXv. ,«, « ,-. i, * „«« „n 30. What two forms of the future ha« w0la> ? From what are all the other tenses formed « In what sense is irapi^Qtiv constantly used ? Give an example from Orestes, ver. 627. How is Sov\oq here used ? Give a similar usage of serms in Horace. Whence is ^ovXoQ derived, and how does it differ ivomavbpa'KoSov ? ^ 31. What Latin word corresponds to IXavro/iot ? Quote a simuar usage in Horace. 32. Why is w'c thus accentuated % . , r , 34. To whom do avrri and avrriQ respectively reter ? ^ 36. What is the quantity of a in aye;., and why? ro Trp^rov. Give other instances of the accus. used adverbially. s/cXEXoiTra. Give other instances of 01 in the penult, of the perfect. 37. What are the different modes of expressmg a wish m Greek ? (See notes, 294 and 523.) . ., . x^ *i„-e« 39. (T0I. What other enclitics are similar m usage to this? What Latin word is derived from f^olXoiiai \ Scan this line, and the next. b3 6 EYPiniAOY iw avTo Tovfo' deijuaTov/jiivr} S* eyu) cojLiwv wapoiKOv QiriSog blq avctKTOpov uaGCTd) ToS' kXOov(j\ rjv fxe K^Xvcry Oaveiv* TlrjXevg re yap viv ekjovol re Ui^Xiiog (Ti(5ov(JLv, tpjLirivtvfxa Nrjp^Soc jafxtjv, og S' i(TTi iraig jxoi juovoc, vTreKwiiuLTrd) XaOpq, aAXouc fC oiKovg^ juifj Oavrj 0oj3ou/i£vij. o yap (j)VTev(Tag avTov ovt Ifxol Trapa 7rpog(jj(l)i\riaaL^ waiSi t ovdiv icrr, aniov AcX^wv KttT alavy iv9a Ao^lq, Si/crjv SlScom jiaviag^ r\v ttot Ig TLvQii) jmoXiov yTtjae $o7/3ov iraTpog' ov ^rivei SiKr}v^ a TTwg TCL wpoaOe Gc^aXjiaT e^aiTovfiivog 6eov 7rapd(j)(oiT Ig to Xoittov evfxeviii* 45 50 55 41. In what words is i final never elided? In what words, seldom? Give an instance of the latter, from the " Hippolytus." Why is the last syllable of diro here long ? Give a similar instance, in Virgil. 42. What is Buttman's distinction of etti with dative and accu- sative after a verb of motion ? Does this hold here ? State the prin- cipal meaning of tTrt with the gen., dat, and accus. 43. Give an example, from Herodotus, of ndpoiKog {near to) with a dative. 44. Of what is r)v properly a contraction ? What is it in Homer ? Explain fully and accurately the difference between edv and d. What word must here be supplied, for the ellipsis ? Give a similar in- stance from Homer ; explaining the latter passage carefully. 46. Is there any thing peculiar in the form Ni/py^oc ? What is the primary meaning of i()fjir)vivfia, and what its meaning here ? 47. Explain accurately the construction of the relative pronoun in this line ; illustrating this usage by a similar one in Horace. Ac- count for the accent in Itrrt. What is the force of the preposition in VTTf (CTrlftTTw ? (See ver. 435.) 49. What is the effect of the accent being thrown back in irdpa, tTTi, and the Ionic evi ? And why are did and dvd exceptions ? What is the peculiarity of the infinitive TrpoQU)(pe\fi(Tai, in reference to construction I What case does this govern in Herodotus ? note the Example. 52. Distinguish between fxaviag and fiavidg. What is the pecu- liarity of accent in the accusative of nouns in -a> ? How are the only two nouns in -wg accentuated ? What are they ? What derivations are given of the word UvOu) I What is the peculiar construction here of yrriffs ? Account for the t subscriptum, 53. TrarpoQ' explain the construction of this genitive, ov 'ktivu, put for what ? What is the force of the preposition ? 55. Explain distinctly the five usages of the middle verb. ANAPOMAXH. 60 65 70 eEPADAINA. 8l(nroiv , £7^ ^^^ ^^^^^^' ohjevyi^rS^^ KaXuv (j\ lirdmp koI Kar oIkov rj^iouv Tov aov, TO Tpolag vvU' u^Kovfiev irehov' ,ivovg Se Ka\ crol ^wvri' r ^v tw oio Trocra, icat vvv ^ipovad aoi vkovg nKioXoyovg, iboQio iiiv, H rig SetTTTorwv al(T0^(T£rai, oiKT^ li rc^; (!({;• Savi yap ^ovX^v^rai MevlXaoc ec a^ Tratc &. ^ gol ^vXaKT^a. ^ ^ AN. w tXrarr, (tuvSouXe, avvlovXog yap a rp 7rpo(70' avdaarj rySt, vvv Se ^vgTVX^h Ti ^pwai ; TToiag finX'^vag TrXiKOV ^r\Ta' pr}Slv tovt oveiSicrrjg ip.oL aXX eifXy eird tol kov Trepij^XETrrog (iiog dovXrjg yvvaiKog^ riv tl koi iraOu) KaKOv. AN. X^P^^ ^^^* VfJ-^Q 8\ olgirep lyKeifxead^ act 90 at the beginning. In what cases is it generally used ? Account for the accent in diro. 74. Distinguish between apa and apa, 76. After what verbs (with which we commonly use the infinitive) is the participle used in Greek I 77^ What is the force of the repetition of d.v in this line 1 Explain accurately this usage of dv. What is its form in the Epic writers ? Decline tprfjjioQ. How is it used in Homer ! 79. Explain the usage and meaning of wq and ot€ in the oratio obliqua. Give an example from Thucydides. 80. ygpwv . . . wQTs, What is the usual form of this mode of expression ? Give an instance (without wgrt) from Herodotus. 81. How is firji/ used generally ? Give an instance from the " Alcestis." What is the force of dWd iiriv \ What is the force of liSiv ? Explain the meaning of (ppovril^Hv^ when put with a genitive or accusative respectively ; and give examples. 85. Explain accurately the force of dv when used with the tenses of the optative ; giving examples. 86. What is the quantity of the i in (TfiiKpog ? Give the com- parison, both regular and irregular. 87. Give the meaning (here) of aTravdau) : are there any verbs analogous to this ? ^i\oi % On what principle is the y in 'iXr^ short here ? How is ya/xog here used ? 104 mdytT, To which use of the mid. verb is this instance to be referred ? (See 1. 55.) Give the corresponding Latin form. 105. Decline ^opi. Derive ^ijcaXwrog. Quote an instance m which the a m*'Ap??c is long. ^, n i -it^or 106. Give a parallel passage from (Ed, toLy lObo. B 5 10 EYPiniAOY icat Tov IfJiov jieXiag iroaiv^'EKTopa, tov irepL Telxn ei\KV(je ^i(j)ptviov ttoXq aXiag Qbtlcoq' avTCL 8' £ic OaXdfJLWv ayojuLav lirl &Lva OaXatrcrag^ SovXodvvav (TTvyspav ajU(|)t|3aXo5(7a Kapq. ^ HO TToXXa 88 SciKOvd fxoL KargjSa XP^og, aviK eXenrov a(JTv T£ /cat OaXdfiOvg koX ttoctlv Iv Koviaig*^ c^juot lyii> fieXla, tl ijl[ Ixpriv in (^iyyoq opacrOai^ 'Epfxiovag dovXav ; aq viro THpofiiva irpog Tod' dyaXfxa Oeag iKirtg irspl x^p^ (daXovaa 115 TaKOfxai, wg irerpiva iriSaKoeaaa Xipag, XOPOS. (5 yvvai, a Qirc^og SaTreSov icat avuKTopa Qdaaug iapovj ov^l XdiTHgy 107. Explain fully the peculiar construction of the pronoun l^or, giving similar instances in Latin. How is tov used here 1 How do the accounts differ, in Homer and Virgil, as to the treatment of Hector's dead body by Achilles ? 108. What is the syntax, generally and here, of ^i^pcuw ? Give the exact meaning of di(l)poQ, 109. Give the two forms of 9ig, and illustrate two-form words by other examples. Give also the primitive and derived meaning, and the gender, of 9ig. 110. What is the construction of dficpiPaXovaa here and else- where ? What is the Ionic form of Kapa ? How is its dative marked ? What other obsolete forms supply the cases ? Trace them. What peculiar form of this word occurs in Sophocles 1 ^ 111. Give the Ionic declension of XP^^» Xpwoc 112. Decline Troffig, and give other similar words. What analogy do nouns in -tg, which do not take a consonant in the genitive, follow ? Distinguish between Troaiv and Troffiv, What is the quantity of the I in Kovia, in Homeric and common Greek ? 113. Explain the usage and the accentuation of the interjections w/ici, and w. What is the peculiarity of form and accentuation in Xpi]v and expriv ? What is the peculiar usage of opaaQai here ? 114. Account for the accentuation of VTTO. 115. Derive and give the various meanings of ayoKjia, Give the masc. form of iKkriq ; and the two fem. forms of decnroTtig, 116. TTSTpivoc. What is the general meaning of proparoxytoa adjectives in -ivog \ Name any exception.— Trt^afcotic. Generally, what do adj. in -nc, with i, i;, or o preceding, denote? To what Latin termination do they correspond ? Are they used here in their strict sense ? 117. Explain the peculiar declension and accentuation of ywi}. Give the two vocatives of aVa^, and state with what limitation one of them is used.— Oa^Tdac. How is this commonly used as to govern- ment ? Give examples. ANAPOMAXH. 11 t 130 135 ^diag Qp.(j)g sjHoXov ttotI aav 'AcnriTida yhvav^ ei Tl aoL SvvaifjLav ^20 CLKOg TWV SvgXvTWV TTOVWV TejdHV, OL ae Kal 'Epfxtovav ipidi arvyepq. (TUvefcXydav, TXafiov, ttju^l XeKTpwv ^idvfxwv imKOivov lov(7av aficjii TratS' 'Ax^XXtwc* 125 yvCJOt Tvxav, Xoyiaai to irapov icaicov, elg oirep i]Keig. ^tairoTaig ctfiiXXq^ 'iXiuc ovaa Kopa, Aa/ccSatjuovoc hyeviTmcn \ XaTTC 8£^(jLll]XoV Sojuov Tag irovTiag 0€oO. tI (toi Kaipog aTvZ,ofxivq dejuiag aiKiXiov KaTaXeipeiv SecTTTOTiov avayKaig ; TO KpaTOvv 81 povovGav cloy. EPMIONH. Koafjiov jULev dfictn KparX xpvtrfac X^*^^^ (TToX/uLOv re ^pwTog rovSe TroiKiAvJv TriirXiov, ov Twv ^ Axi\X((i)Q oif^e Ur}Xi(OQ inro SojULijJv airapxag Sevp^ ^'x^'^^' a. 156. Give Buttman's explanation of the use of 6k\(jj and iOkXbj. f 160 165 170 ANAPOMAXH. ^3 Tovg^e, (TTvyovfxai 8' avSpi (t>apfiaKOi(n croTc, vr)dvg 8' oiKVfxwv dia povr)fiaTU)V iTTvKaL Taireiviiv, TrpogiredHV t Ifiov 70VV, Gaipuv r£ Swjua TOV^l6v, k x^vcTrjAaTa^y Tevxiiov x^pl mrdpovaav 'Ax^Xtoou fc^o^rov, ov Uplafiog. oiSe xP^oc, aXX EXXac ttoX^c- ig TovTO 8' rjKac dfjaOiagy 8v(TrT)V£ (tv, ^ 7rm8l Trarpoc, og ahv SyXeaevirocJiv, ^ ToXudg ^vvs^Setv Kal tUv avOevTOV irapa tUthv. TOiovTOV irav Th ^ap^apov yevog' \%\ ^[v^'^iS.v ; and explain the four uses of a in com- ^1'^ir'of what is ^HTTScpuircg a fern, form ? Derive it ; and explain the cL^t^cS o^f SrcLsl Derive, and show the formation of, ICO. Explain the form of .^t9ov6v TL XPW^ drikHtov £^U, Kat ^vyycLjULOLGi 8ucjU£V£C fxaXtar deL AN. 0£l) 0€V. Kaicov ye Ovr}Toig to veov, tv re rc^J V£(j> TO jUT] Si/catov ocTtc av0p(t>7rwv ^X'^' tyw Se Tapjiio fxrj to EovXbvhv fii croi Xoywv diniXTig^ ttoXX' ^x^^^^^ ev^iKa^ rjv S" av KpaTTjaii), fifj Vl Tt^S* o^Xw /3Xapi]v' ol yap TTviovreg jiByaXa Tovg KpUGcrovg Xoyovg TTiKpwg (ptpovdt Twv iXaM^ frequently used ? Derive OrjXeiCJv, e^v. In what sense and force is the aorist often used ? Quote Demosthenes. Distinguish between t(pvcfa, i(pvv, TretpvKa, 183. TO vkov. What is this equivalent to % 184. What is o^tiq equivalent to ? 186. Explain fully the usage of the article with the infinitive. 187. What does \6yov strictly mean here \ Explain the con- struction firj . , , dnioay (see 1. 145), and the form diztoay (see 1. 30). Why would dir watte be wrong, even if it would suit the metre ? 188. In what mood and tense is KparrjcTu), and why ? What mean- ings has £7ri rtpda 1 Explain the meanings and constructions of o^Aw. 189. irvsovTeQ. Mention the conditions under which dissyllables are contracted. Parse Kpucjoovq. Is kXa^vQ, the positive of IXda- G(i)v, ever found ? 191. aXioaofiai, Give other instances of a mid. form with a pass, meaning. Is the middle future ever used with any other significa- 195 200 205 210 ANAPOMAXH. 15 clV, (3 vtavi, Ti;^ cr' €X«77^^ ^^7^ , 7raiXTpov Si Kal ro'8'- oi; Tb icaXXog, o3 yvvai, aXX 'aoBTaX Tipirovm Tobg ^vvevvkag. rrh 8' vv rt KViaOr^g, n Aaicatva fxlv iroXig aiy IgtU rnv Se Sku^ov oiSa^ov jmQ, TrXovTHg 8' iv ov irXovTovm, MeveXewg 8^ cjol tion ? What peculiarities are there in the perf. and 2 aor. of this ""^loJ Whftt forms are used instead of the common genit. and dat. ofll^So^^^^^^^^ Derive Ix^rri^^. What word does is I'tL^it^^^^^^ fls there a'ny peculiarity m the augmentation 'Mr To what is .^pcyJvn equivalent 1 What varieties of con- struction has iTrriptievri ? voreoov. State the ino T?vT.i«in the derivation and usage 01 iroTtpuy, ►ji^^v means of utrum,an, and ne. tva tckw. Wtoy la lue j 'Too" wLt are the prtaary and derived meaning oUM I What is the proper meaning of rwparvoc, ana now 3 in the Tragedians ? „ ,. ^ AUn the meanins and construc- 200. Explain the use of u here. Also Uie meaning, ^'m wZtis ap*raiputfor,andwhy1 Give other examples of ^ m M^r' '«'"• E^cplain this construction, and illustrate it from ''iKxplain the use of oh and ^^ n negations, stating their prin- M\ 16 EYPiniAOY juidZiov ^A\iWewg. Tavra roi a ix^^^ iromq. \i^fi yap yvvaiKa, Kciv KaKt^ SoO^ iroau^ aripyeiVj afxiXXav t ovk ^';^£tv (ppovrifiaTog* el S* ajxtfi QprjKr\v Xiovi rfiv KaTappvrov Tvpavvov £pova', ^ AN. ovicobv If olc 7£ vvv Kaei(TTriicag\oyoLg. EP. 6 vovg 6 (Tog poi pri ^vvoLKoiti^yvvai. AN. via TTtipvKag, Kal XeyeLg aicrxpwv Trepi. EP. (TV 8' 01; XiyeLg ye, dp^g UpeLg o(tov 8vvr,. AN. OVK av (TKoiry KiirpLdog aXy^eLg nept ;^ 240 EP. Tl 8'; oi) yvvaL%\ ravra Trpwra iravraxovl AN. KaXwg ye xp(^pivaL(TLV' ei 81 pfi, ovKaXa. EP. ov Bap^aptov v6poL(TLV olKOvpev ttoA/v. AN. iciiceT m y alcrxpa KavO(i8' alaxvvrjv |X«- EP. (TO(^ri (TO^^ (TV' Kar0av£tv h opiog ae tei. 245 227. Explain carefully the use and force of o^^^, .^^^^ ^^^^^^^^^ 228! i^g. What is the mode of augmentation with this and other "'229.* {.v Ihrn. Would M^ Inryg be good Greek \ Distinguish ^Isrwtt^Te^hrtLe only cases in which a spondee is admis- Bibl^nThe fifth foot of an /ambic Tnmeterl On what possible Tirinciole is this line, in this respect, not taulty 5 . - ,, ^ ^TsTexWh, and illustrate from *¥/^*^' 2"^^^ foSf. relative and antecedent. Compare pifhoQ m aU its lorms, lomc, ^S t vSttml'n^w&rif -the force of ^. To what is ^ti^TSS kJnS£K^otr:?d o.«o... (See ,. 677-) Ceedianrr What is the Attic usage in prose and ,n the Tragic wrS respecting the 2nd pers. sing. pass, in the present and fut "'24Twh:ttn:Liably takes place, with respect to ,^ oi>, in Attic poetry 1 Also with iJl oi, 1 What is the meanmg of o.«.v 1 (See '■ 24V Kd«T, KMdSi. Explain these two instances of Crasis, and state the rule with respect to the i subscnptum. 18 AN. EP. AN. EP. AN. EP. AN. EP. AN. EP. AN. EP. AN. EP. AN. EP. EYPiniAOY 6/ootc ayaXfia OiriSog cc cr' aTropXeirov ; jULKTOvv ye TrarpiSa driv 'A^AAIwc ^ov(j». 'EXcvtj vlv toXea ovk eyw, fJ'VT'np ye ai]. 7] KCLi 7rpo(7(u yap riov ijJLwv ipavaeig KaKwv ; Idov aiwirC) icaTriXa^Vjuat arofxa. 250 Ikhvo Xe^ov, ovirep ovveK laraXrjv. Xcyo) o"' eyto vovv ovk i\Hv o(tov (re oeT. \d\peig ToS" ayvov rifxevoq IvaXiaq Oeov ; H jifj Oavovjiai y^* d El julyi, ov \d\p(i) ttotI, wc TOVT apape, kov fxevH) ttoglv fxoXeXv. 255 aXX ovS* eyio fxrjv TrpocrOev Ijc8(t>cra> jul crot. irvp (JOL TrpoQOiGh)^ KOV TO GOV TrpoGKi'\poixai. Gv S' ovv KCLTaide' Oeol yap UGOvraL raof. Ka\ XP^^^ Seiviov TpavfiaTwv aXytiCovag. G(j)nt^, alfxaTOv Oeag jSwjUov, fj fxireLGL gb. 260 (J j3ap/3apov GV Opifiiia koI GKXr}pov QpaGoq^ 246. What are the three meanings of dyaXfiai and its derivation ? d7ro(3\E7rov. Explain the peculiarity of the quantity here. 247. Explain the use and meanings of viv. 249. Explain the meaniugs of ^ and ^ KaL What force frequently has the particle yap? On what principle does ypavvj require a genitive ? What are the dialectic forms of Trpotrw ? 250. Distinguish between idov and i8ov. What are Xaju/xai and Xd^o/xat forms of ? 251. Explain the force and derivation of Trsp, Also the compo- sition, meanings, and compounds of ovveku. What is the peculiarity of 8(TTd\rjv, as to voice and meaning ? 253. Derive and explain TSfievog, What is the root of ayvog ? 254. What is the peculiar use of el de ^rj here ? What is its Latin equivalent ? 255. What is to be supplied before wq ? Note a similar instance in the " Medea,'' 1. 609. What are the reduplicated tenses of dpo), and their meanings respectively ? What is the present in use ? What is the present in use of fioXtiv ? 257. To what is to ubv equivalent? Give a similar instance (1. 235). What present supplies in Attic Greek the obsolete form TrpoaKSTTTOfxai 1 258. What force, as to signification, has the simple verb aWw ? And what its compound ? What is the force of Kara here ? 259. From what is dXyridthv formed? Give similar instances. What is the Ionic form of Tpavfjia ? 260. What is the formation of such verbs as oifiaTou} ? ^ Give the meaning of verbs in -ow. In what cases do verbs in -6w deviate from the ordinary rules of contraction ? What is the uniform mean- ing of fisTEKji in the tragic poets 1 Give accurately the primary and derived meanings of furd. 261. How is Op&n^a frequently used ? Give instances. What is 265 ANAPOMAXH. 19 ByKapTEpdg dri Odvarov ; aXX' eyd!) g* tcpag BK rfjcS' iKOVGav e^avaGTr]GU) ra^a" Toiovd' fc'xw GOV diXmp. dXXa yap Xoyovg Kpv'^u)^ TO 8' ipyov avTo Gvifxavet Td)(a* KaOr]G* iSpatV Ka\ ynp d irepL^ g exu Tr}KTog juoXu]38oc, l^avaGTriGW g eydj^ Trpiv, cj TriiroiQag^ TratS' ^ k\iiXXiwg jioXdv. AN. Triiroida* Euvov 8' ipTTBTCyv jilv dyptwv QKT} fipOTOlGL OeiSv KaTaGTTflGai TIVO, 270 a 8' BGT exidviig Kai irvpog irepaLTepw, ovdelg yvvaiKog (papjiaK i^evpr}Ki ntj KaKTig' TOGOVTov eGfjLev dvOpcjiroig Kaicov* XO. ?] jULsydXwv dx^(J^v ap' virrip^evy ot ^iSaiav Ig vdirav 275 ^XQ' 6 Mamc TS Kal Aiog tokoc, TpiTTioXov apjuia 8aijU0vwv dywv TO KaXXi^yyeg^ iptdi GTvyepa KSKopvOfiivov evfiop((>Lag the primary, and also the new Attic, form of 0pd(Toc 1 What is meant by " the abstract for the concrete ? " 262. What is the root of syKapTtptig ? What is the force of Crj ? 264. Explain the elliptical phrase dWd yap, ^ 266. Explain the etymology and meaning of ^juae. From what are the defective tenses supplied ? , 268. Would Tzplv dv fioXy be admissible here I Quote mstances of verbs which change -« into ot in the perf. mid. How is the second aor. of 7ra0(D always used in the Epic writers 1 ,„ t^. 269. What frequently is the syntax of Seivbg, strange ? Dis- tinguish between pporog and (BpoTog ; also between KaTaffTrjacu and 271. Compare Trtpatrlpw : has tit any other form I Distmguish between Trepa and irspav, . ^» - « -nn. j. - ^u r 272. What is the force and usage of oitdk tig ? What is the force of £^ in k^tvprjKS ? Distinguish between ttw and ttwc- What is the transition here 274. Give the force and usage of dpa, (See 1. 74.) With what limitations and construction are dpxio and vTrapx^ V^ed by the Attic writers ? Distinguish between on and 'ore. What is the quantity of the last syllable in on ? Is it ever elided ? _ 276. What is the proper meaning of rdKog ? How is it frequently used in the Tragedians ? What are its cognate nouns, and whence derived 277. iptJi'a. Explain this metaphor, and give a similar instance. Distinguish between dpfxa and dpfia ; also between ap^ia and ' 279.' What is always the force of Kopvaaofxai with the dative ? 20 EYPiniAOY (TTaOfXovQ t-m (5ovTa 280 (ioTripd T dfxcjn jUovorpoTTOv veaviav eprijULOv 6' e(TTLOv)(ov avXdv* Toi S* lirei vXokojulov vdirog i^XvOov ovpeidv TTiSa/cwv 285 VL\pav alyXdvTa awfxaT iv poaXg' ejiav Sc YlpLajuLiSav virep- jSoXaTc Xoyiov Su^^povwv 7ra^aj3aXXo/xfvai. Kvirpig uXe Xoy otcri SoXioigy 290 Tepirvotg fiiv aKOvcrai^ iriKpdv Si (Tvy^vcTLv j3iou ^pvyiSv ttoXh TaXalvq. TTzpydjioig re Tpoiag, uOe 8' virlp Ke(l)aXdv tjSaXcv kukov CLTtg TSKSv ttotI TldpiVj 295 irplv 'iSaTov KaroLKicrai Xiiragy ore viv irapd Oecnremci) Sa^vg 280. Give the plural forms of (TTaOfioQ, and those of similar words. With what limitation of meaning is the neut. plural always used ? Give its primary and derived meanings. jSoura. What is the oldest form of the genit. sing. masc. of the first declension 1 and of the gen. pi. masc. and fem. ? Give Doric forms of this case. What is to be observed of the derivatives of (3ovq ? Account for the accentuation of Eiri and dfKpL What idea is frequently conveyed by the latter ? 282. Explain hriovxoQ. What is the Latin, and the Ionic, form of *E(rr(a ? Explain fully the meaning of avXrj, 284. Of what are rot, rai, Doric forms ? What were 6 and oq in the old language ? vXok. Give a similar use of KOfirjy in Latin. Derive and explain vdirog, 285. What is ovpeiog put for ? 286. vi\pav» What present tense of this verb is in use 1 What is the common distinction between vixpaaOai, XoveaOai, and TrXurw ? How did the old Greek writers, and afterwards the Attic, contract adjectives in -rjnQ ? 287. How did the Dorians and Epic Poets form the 3rd pers. pi. of the imperf. and 2 aor. active ? What is the practice of the tragic writers in the Choral Odes ? 21)0. Explain the two meanings of which ilXe is here capable. 29L T6pir .... OK, Explain this construction, and illustrate it from the Latin. 292. What is meant by an anacolouthon ? 294. Explain fully how a wish is expressed in Greek. Explain the allusion in fidXXtiv virkp Kitp, 296-7. Why is the infinitive here required after irpiv ? (See 1. 101.) What is the usage of viv ? Explain what two allusions there pos* sibly may be in ^dpav, tIv OVK £7ri?X0€, TTOioV OUK iXicSGtTO ^aiioyipovTtjJv ^ptcjiog 0ov£V€iv ; OVT av £7r' 'iXmat ^uyov riXvOe SovXetov, ovre crv, yvvai^ rvpdvvwv icrx^g civ Sojuwv topac* irapiXvcje 8' dv 'EXXaSoc dXyuvovg irovovg, ovg ctju^t Tpotav SeKeTBig aXaXrjvro vioi Xoyx***^* XixT) T epr}fx av ovnor l^eXeiTTcro, icai T^Ktwv opcpavol yipovreg. MENEAAOS. riKd) Xa(5u)V GOV ttoTS', oi; elg dXXovg Sofiovg XdOpq, OvyaTpog rrig iiuirig vire^iOov. (re ijlIv yap tjvx^f^^ ^^ac (ip^Tag atjaat rooe, TOVTOv Se rove Kpv\pavTag' dXX £^€upt0Tjc fjaaov (ppovovaa TOvSe MsviXeu), yvvau Kel firj ToS* kXiTTOVcr' epYifxwaeig Tribov, o8' dvTL Tov aov awfiaTog (T(j>ayri(jeTai. 21 300 305 310 315 300. How is TToXog used here ? » , n j u 302. Explain the construction. (See 1. 215.) Is our av used here {romovTS av or ovTOidv'i What is the distinction ? 307. Explain and illustrate the form deKerriQ, Also the form dXdXrjvro. , , ^ . • - a 308. Explain the eff'ect here of the transition from the aorist to the imperf. {e^eXs'nr,) What is the distinction between the aor. and imperf. 1 (Seel. 11.) With what Latin word does 6p0av6e corre- spond ? How is it frequently used in Homer and Hesiod ? 310. With what verb is XdOpi^f, connected? Give its Epic and Ionic form. What government has it? and how does it, in th^ re- spect, correspond with the Latin « clam ? " Derive « clam. What is the force of the preposition in vnt^sOov 1 311. Ppkrag, Give the Ionic and Attic inflections of neuters m -ag, -aoQ, Distinguish between 9td and 9ea, ^ 312. What is the peculiar syntax of k(pevpse'ng ? Compare rjatrov. With what Homeric word is it probably connected ? What is the peculiar use of rovde here ? (See 1. 68.) , „ ,^ , _^^ v „,, . 314. kprjfi. What is the force of verbs m -ow ? (See 1. 2b0.) What restriction is there in the use of Trkdov and irediov \ , m • 315. (T^ay. What four forms of the future were used by the Tragic Poets ? What is the primary meaning of dvTi ] Deduce hence its secondary meanings. (See Matthise's Gr. Gr.) 22 EYPiniAOY V rovd oXecrUai fjfjg ajuLapriaQ vTrep, W dg iii^ ig re TralS' ejLLrjv a^apTaveig. AN. w So^a So^a, fivploiai Sfj PpoTwv ovUv yeywai /3/orov ^jKucrag fxiyav. 320 evKAeia h olg julv ear aXriOdag viro, evdaifxovl^u)' Tovg 8' vtto xf^evSwv exeiv OVK ajiwao) irXriv r^xp (ppovaTv SoKetv. (TV Sfj GTpaTTiyCiv Xoyamv 'EXXrivwv ttotI Jpoiav d(l>e(Xov nplajuov, S^Se ^aiXog &v ; 325 ogrig dvyarpbg avTiTraiSog ek Xoywv T0(t6vS' BTTvevaag, koX yvvaiKi SvgTvxel SovXy KaTi(TTrig dg aywv' ovk a'ldw our' oJv dl Tpoiag oiire gov Tpolav en. e^wOiv HGiv 01 SoKOvvreg ev ^povelv 330 Xa^xTrpoi, Ttt 8' ivSov iraaiv dvOpwiroig Uoi^ TrXrjv u TL TrXovTto' Todro 8' itrxvei fxiya. UeviXae, (pipe dri Siairepavvjfxev Xoyovc* 3 J 8. ^v «/*«Pf;--- Under what class of accusatives does this come ? (See 1. 134.) What peculiarities are there in the 2 aor Tf afiapraveiv, m Homer ? -^ *tui. ui ^^ril?;./''^''''?- '^'Jr^.':: ^^P^^^^ *^^ "s^ of what is called the partitive gemtive," with examples. What is the common distinc! tion of grammarians between fivpiot and //^ptoi ? What is the force of dr, m this connexion ? (See 1. 235.) ;.5^?* ^^""P^^^^ the formation of yeyaxri. What is the proper mean- lulmente f' ^^^^'^ ' "^"^^ ^^ ^'^^^ ^ subscriptum' un'der .,1 Simla';. u'^IgZ'^'' '"^" '"^ "^'^'^ '^'^'' ^^^^ --^ ^---S a 324. What is the syntax of fTrparnyelv ? and with what shade of difference ? Might arparriyuv be parsed differently, according to the accent ? Distmguish ttots and iroTe. ^ ^ J^i* ^^?* '^ *^? 1'^''''^ construction of ci^aepecdeai ? How also ?ol^"SS!^^? "'^ ^* • And Homer? Give examples. fj Why is the reading dvri iraidbg unnecessary ? What are the future forms of ttvsu, (and so of TTPiyio and fpEvyco)i the uts%l"/'' "'"'• ^^"'^'^ "''^^ '^'"^- ^^P^^^ -^ -^™P«^^ .%lf,?' Wk'?- '?u *^^ ."'? ""^ '1"^''' ^"^ ^'^P^^^' as opposed to '"^o^o rr^f ''.^^^ '*"^* ^^^^^ ^f ^^^ terminations 'Otv Jd -de 2 ^32. To what does tovto refer 333. What is Elmsley's remark respecting the use of the 1st pers. ANAPOMAXH. TeOvriKa ry ay OvyaTpl Kai fx ajrwAfo-c' fXiaL(f)6vov juiev ovKer av c^vyoi fxvcrog. ev ToTg Se iroXXolg kol gv tovS" dywvieX 0OVOV* TO (TVvdpCjv yap a dvayKaaei xpeog. rjv 8^ ovv eyu) fxlv firj ^avetv uTTCfcS/aa/xa), TOP TToidd jiov KTevelre ; K^Ta wiog TraTrjp reKvov davovTog pq^Slwg dve^erai ; ovx ^8' avav^pov avTov 17 Tpola fcaXet. dXX elmv ol X9^' IlrjXtwc yap d^ta iraTpog r ^ Ax^XXewg epya dpwv (^avrjaeTat. waei Se (rrjv TraXS* Ifc Sojulijjv' aif S* eK^tcovg aXXi^ TL Xe^eig ; woTepov wg kukov iromv (pevyei to TavTrjg cw^pov ; aXXa ipevaeTai. yafxet St Tig viv ; r} a^' dvav^pov ev Sofioig XVpc^v KaOi^eig ttoXlov ; w TXyjimtov dvep, KaKwv TOCTOvTwv OVX opqg eirtppodg ; 7r6(7ag S' av evvag QvyaTep r\^LKr\ixevr\v 23 335 340 345 350 sing, conjunct, in an imperative sense % How far may this be modi- fied? 334. Explain (with Greek and Latin examples) the way in which suppositions are sometimes expressed in Greek, 335. What is the force of ^t'^yoi av 1 336. Derive dyujvl^ofiaiy and explain its use here. Give its future. 337. To what Latin word is ol ttoWoI equivalent ? Give other (Homeric and Attic) forms of xp^o^. 338. Give accurately the three usages of /xi) with the infinitive (with examples). Give the principal tenses of Tpsx(i>* 340. How is dvsKerai used here ? Why is there i subscriptum in K^ra ? Distinguish between ttwc; and TTwg. 342. What force has a/xi « (See 1. 260.) 343. Distinguish between ^aivicOai with partic. and ^aivecrOai with infin. Scan this line. 344. Give the primary (see 1. 256) and secondary meanings of Udidovg. Is there any peculiarity of accentuation in the pres. part of verbs in -/it ? 346. What is the proper meaning of (T(o(j)po(Tvvrj, when applied to a woman? Explain the use of irorepov, (Seel. 199.) Show how the termination of this line may not be a violation of Person's canon, respecting the " Pes Creticus." 347. yaixtX. Give the principal tenses, and the proper meanings, of this verb. What are the usages of vlv and (j(pk ? (See 1. 19.) 348. How is TToXwQ always used in Homer ? and how in Attic ? What is the usage of x»?P« ^ Explain the construction of rXijfiiov dv6Q, 350. What future pass, has dhKtiaQai, % and to what principle of construction may tvviiv be referred ? 24 EYPiniAOY /SovXoi' av hvpHV rj iraOeiv a'^w Xiyto ; ov xpri Vi fULLKpoig jiejaXa Trop(TvvHv icaica, oi»8\ ft yuvaTicIc l(^l^^v aTripov Kaicov, avSpag jvvai^lv £^o/uodouVKa(7, dXKa KOiva xpya^^a- fiiV(i)V 81 rove aVovrac, si ]UiJ Onaonai rap: wc apiara, 0avXoc £»!"' kov ffo_^oc. aXX' i^avicTTO) Twv8' avoKTopwv ©aac'^ (Jc, ^v edv^c e{>yeipopov,^ ffov 8' ov OeXoian? KarOavelv, Tovhs kt£vw. guoiv 8' dvayKii 0aTlp(i) XtTTttv /3tov. ^ ^ AN. oipoi, iriKpav KXrjpwatv aipeaiv t£ ^ot 368. Mu Inflect oJ5a, according to the Attic "f^Sf • f 'J^^* are 8ro« and Sry forms, and how restricted ? G»ve the coire spending pluralforms. Explain the phrase rj;rx«v«X'-'- (§«« 1 76 ) In what cases cannot i be ehded m Attic Greek ? 37 Explain the meaning, formation, and government of ,rr^po,.at. 372. Comp^e and derive hirspos. Distinguish between «XX« "IhIp^.^.. Explain the formation of this word. (See 1.213.) On what principle does apx"" govern a genitive « 375 How is 7rp6£ used here ? Are any other prepositions used m ''ttcZlLfZl■.''ii^^n the use of .i^«.a. (See 1.237) ^S^t'pSlTufeT Ifhi'^tx";! the phrase .. or .«X.c ^' m Explain fully the use of the particles f C, o'fa.c ^, wi* the fiuoerlative Account for the accentuation of ra/i , and state tne Sfor the accenting of d,i throughout the P'-ent tev^e. 380 Of what is iKaviuTu) a shortened form 1 What meanings •"l^irTS" ^IxtSnTiUust^te th. - ^the p.sei. for the future! Why is the proposed readmg, iK7rXjj/ii) formed in composition? Is the rule observed indiscriminately in prose and verse ? 391. htTTToTaim. Give another instance, from this play, of the plural for the singular. Why is K^ra written with i subscriptum % (See 1. 218.) 393. What is (pk^u ? Give an account of the original form, and the progressive changes, of the 2nd pers. sing, in the present passive. 394. oijLiot KaKS}V T&vd'. Account for this genitive. Under what condition can the last syllable of ot/iot be elided in the Tragic Poets ? What is TrarpiQ in Homer, most frequently ? Analyse exprjv. (See 1. 113.) . . ^ 396. What is the peculiarity in the rules for the contraction in the multiple numeral adjectives ? What root of airXovg is assigned by Liddell and Scott ? 397. Is there any difference between Svpofiai and SSvpOfiai in the Tragic Poets ? What are the substantives of this word ? What is its syntax ? Distinguish between the use of drap and that of avrdp. What phrases correspond to rd kv iroaiv % Give examples. 399. Explain the meaning here of T/nc, and give similar instances of the use of ogtiq in this play. (See lines 8 and 592.) Derive TpoxnXdTOVQ, What is the difference between rpoxog and rpoxo'g ? What is remarkable in the gender of ''iXiov \ (See 1. 102.) 405 410 415 ANAPOMAXH. avrfi Sf SovXtj vovq iir ^Apydwv €/3?jv, KOfJLng iTTiGTraaQud' iirCi S' dt^iKOiiriv ^Oiavy (l>ovev(nv *'EKTOpog vvfX(^tvoixau TL ^riT Ifiol Zriv Ti^v ; irpog tl X9n ^XiirtLv ; TTjOoc Tag irapovaag r) TrapiXdovaag r^xac '-> dg irdig oS' r\v jhol XoLirbg 6(j>0aXfiog (iiov' TOVTOv KTaveiv iieXXov(7LV, olg doKU TaSe. OV SrjTa Toif 'juov 7' ovveK dOXiov piov' Iv Ti^de juilv yap iXirig, el (jiouricTeTaL' Ifxol 8' ovBL^og nii) Oavdv virip tUvov. iSoif TrpoXdTTii) (iwfJLOv r}§£ X^^P^" (T(j)d^HVj (j>oveveLVf Selv, dirapTxiGaL cipr]V. (5 TEKvov, ri TBKOvad (t\ wg gv jultj Oav\igy trrc/x^ Trpoc "AlStiv' rjv 8' vTreKSpdjULyg fiopov^ IULeiJ.vr](yo ixr\Tp6g^ ola tXckj a7rwAojui]v, icai Trarpt tc^ (ti^^ Sta ^iXrj/itarwv Itov SdKpvd Tf Xeifiwv icat irepLTTTvcTCTWv X^P^^j Xiy oV iirpata. irddL 8' dvOpdjiroig dp' ^v 401. Explain ImPalveiv as here used; and give the general meaning of tTrt with its three cases. 402. KOfirjQ. Explain the syntax of this genitive. What is the quantity of the a in all the tenses of (TTrdu) ? Explain the syntax of dcpiKonrjv, (See 1. 3.) ^ 403. Explain fully the use and meaning of vvfi(j)SVM. 404. What verbs take rj instead of a, in contraction ? Give the imperfect of Kdio ; also its imperative forms. What is the Homeric form of this word ? 406. Illustrate the phrase 600aX/i6e /3ioi;. 407. What is the strict meaning and the augmentation of /xgAAw ? Explain the usage of ovvsku. (See 1. 251.) 409. Of what two meanings is el (TijjOrjaerai susceptible ? 411. Distinguish between Idov and idov. What is the syntax of X^tpia ? What is the force of the preposition in irpoXdina ? 413. How is TtKovaa here used ? What frequently is its meaning ? What two futures has rtKrw ? 414. What are the Umitations in the use of aTeixoJ Explain the use and forms of A'idrjQ, What is the derivation of fiopog ? 415. Analyse and fully explain ^EfjivT)iJtai, What is rXdaa ? Which of its tenses are in use 1 416. Explain the use of did with a genitive. (See 1. 95^and 175.) What is the peculiarity of accent in the present participle Iwv ? In- flect the imperfect of tt/xi according to the Ionic and Attic usage. 417. Give the primary and derived meanings of Xa/3a>. What is its substantive ? What Latin form is taken from it ? What is the present of the 1 aor. eXei\pa ? 418. Explain fully the meaning of and formations from TrpaVcTw. c 2 4 7 28 EYPiniAOY 420 425 430 4>yX^ T€Kv'" ov Kvpy.^^ eg ^vjui^acnv dl X9^^ ^^ ^^^ ^^ ttqIS' ayeiv^ MeviXae, koX t/]v8', wg cnraWaxO^ irovwv. ME. Xaj3€(70€ juot Tr\gl\ afX(t>E\iE,avTeg x^pac, SjUWEC' X070VC 70^ oi (j)i\ovg aKOVcTiTai. tywy', iV ayvov jSwjuov kX/TTOic Oeag, TrpovTSLva irai^og Oavarov, w a vrrrtyayov eg X^^P^C eXOelv Tag ifiag etti G(^ayy]V. Ka\ rajuiipi (tov jutev wS' i'xovr' eTTidTaao' ra 8' a/i(^i TratSoc rovde iralg ejiri KpiveXf 7)v re KTaveXv viv rjv re fxri KTaveXv 0fX«. aXX epn eg oiKOvg TOvg^\ W elg eXevmpovg Distinguish between irpdffffHv and iroitXv ; also between oiog and oloQ, Explain the particle dpa, (See 1. 74.) ^ 420. Compare ^(T(tov. (See 1. 312.) How are Svcrrvxiiv and eirvxilv distinguishable from ev and KaKug irpdaaeiv ; and explam also evdaifiovtiv, _ 421. Distinguish between oifcrtipw and <^KT£ipa, as^ here used. What is the force of -rpog in the adj. oUrpog ? (See 1. 353.) ^ ^ 422. Explain the meanings of Ovpaiog, What peculiar transition is there in Kvpy ? (See arkpyovaiv 1. 180.) Distinguish between nag and dirag, ^ 424. How are the aorists cnrriKkdxQnv and a7rT?XAay?jv used . 425. Explain accurately the syntax of \dfii(jQe. How is /ioi fre- quently used by the Tragedians ? Trace the variations and deriva- tions of £\i(Tff(o, eXi^, fiXso). How is cXifftrw augmented? What forms has it of the perf. pass. % -, u r 426. Give the principal tenses of aicovw. What cases do verbs ot perceiving and hearing govern ? With what limiUtion \ How used frequentlv in prose ? i j- » * 427. What objection would there be to this proposed reading, tyw a\ W dyvov I What is the force of iyioyt I What is the objection to tKXlTryg ? .x. « -nri. X J.U 428. What is the force of virb in this composition ? What other technical sense has virdytiv I , 3 . . 'x' i 430. Explam in what sense tx^iv is frequently used intransitively. Give its substantive. Distinguish emaTafiai and l 47I-.5. What form is Ivl properly % How would it be accented, if put for ivi(TTi ? Derive and explain ^iitrvxoQ. What is the syntax of ax^oc \ (See 1. 396.) ANAPOMAXH. 31 TIKTOVOLV 9" VjJLVOV (TwepyaTaLv SvoLv epiv Moixrai (juXoifcri Kpaivuv' irvoai S' oTav (^iipiiym vavriXovg Ooaty Kara 7rr}daXio)v didvjuLa Trpawidwv yvtjjfia 480 (jo<^Q)v Tf irXriQog dQpoov dcrOevicFTEpov (pavXoHpag OavaTOV icaraiceicptjueyov. SiKTTavB yvvaiy TXrifiwv 8e av, Trat, 476. What is the syntax of (Tvvspydraiv ? Explain the meaning of Kpaivio, and give its Homeric form. Illustrate the use of ^tXe'w here from a similar use of ^amo' in Horace. 480. Explain Kara TTjj^aXtwv. What is TrpaTri^cc properly ? 481. What is the rule respecting the feminine of adjectives in 'oog ? What is the peculiarity of dOpSog, as to declension ? 484. What are dvvatng and dvvafiig formed from, respectively ? What is fjisXaOpov properly ? Give its derivation. In what Dialects is the open form TroXiag used ? 485. OeXioai : Why is the subjunctive here necessary ? Distinguish between orav and oiroTav, 486. In Greek syntax, what are the limitations in the use of Ellipses ? Explain the genit. MeveXa, (See on fiovra, 1. 280.) 488. Explain this phrase, by a similar one in the " Electra." What is the peculiar force of iT%pog here ? 489. How is Kopr] sometimes used ? 490. Give the force of vinp here, with examples of a similar usage. What prepos. is more common, in this sense ? 491. Give the other forms of dxapig, and compare it. How is woTvid used? What is sometimes the form in the Epic Poets I Does woTviog ever occur ? What is the quantity of the fern. adj. in -a, and how does it affect the accent ? 493. Explam fitTaTpoTrrj. What is the force of l7r£i/ii? (See 1. 260.) 494. Explain the force of the formula Kai ht}v. What is the force of firiv ? (See 1. 81.) Derive and explain avyKpdTog. In what measure are the concluding lines of the Chorus written, and what are its principal laws? Illustrate the use here of Z^vyog, (See 1. 277.) 500 505 510 515 32 EYPiniAOY ovd' airtoq wv (iacriXevaiv. AN. aS' iyu) X^P^^ alfxarr}' pac (ipoxoLCTi KticXpjLitva TrijULTTOfxaL Kara yaiag. M0A02S0S. MO. juarfjO, juartp, IjHj 8c (T^ TTTepvyt (TvyKaTapalvoj* AN. 0ujua Sttiov, w x^ovoc ^Otag KpavTOpeg. MO. cJ Trarcp, jUoXc (piXoLQ eTTlKOVpOQ. AN. icttcrei 817, rticyov, w ^tXoC) vtKpog VTTO x^ov^ ^^^ v£icp(^ r . MO. f^juoi juoi, Ti TTaOio ToXag 8f)r' lyo) dvsg OavaTOv julol AN. XetjSojuai SaKpvotg Kopagy ora^co, XiacrdSog wg irirpag XfjSac dvrjXiog a rdXaiv* MO. wjULOi fxou Tl 8' iyb) fcaicaiv 33 520 525 530 535 519. What is the derivation of ^Yiayy, Tt raura ; ttwc tc kcIk rivog \6yov vocraX Sojuoc ; rt 7rpa(7(y£r' aicptra jurjxavw^iEvoi ; McvlXa , cTTidX^C* fill Tcixi^v av£U Siictjc- i^you (7u 0a(T(TOv' ov yap wg i'oifcl /ioi axoXric ro8' epyov, aXV dvT/PrjTTjpiav ^ pwfiriv IX liraivh) Xaji^dvuv, aVep TTore. 540 545 550 537. What is the restricted use of TrpoQiriTvttQ « JSee '. 357.) 638. What is the quantity of the penult, in Xiraig ? (bee 1. 5Jy.) Explam the accentuation and usages of wq. }'^irevu»v. Explain the meaning and usage of verbs of -ew and -evo. Whence is iKsmg derived * 539 yeyova. Explain the formation of this verb ; and give the usage 'in Homer and the Tragedians. Distinguish between oi ^/ioi and rd tfid. (See 1. 235.) , , ^ , /c i ^kr \ 541 Explain the formation of ai/aAwtrac. (bee 1. 4&&.; 543. Does the simple form Xavio ever occur « Give its future ; and its use and derivation. n^ - t 544. What would be the construction of KaTaPrjau m prose ? ^ 545 What is the force of dedopKa ? How is it formed ? What is the force of Tovde ? Distinguish between odi, ovtoq, and eKtivog. Explain the quantity of a in Hr^Xefl. (See 1. 22.) 546 Give phrases similar to TiOhTa noda. Derive y^patoc- 547*. iuag koioTw. Explain this form of expression ; givmg similar examples. Explain the quantity of the am epanora, 548. \6yov. Trace the various meamngs of Xoyog. voaei. Illus- trate this metaphor from Virgil. 549. Explain and derive aKpira. ^ 550. Go through the moods of kirBcrxov. 551. Compare eaacroi/. How does Herodotus use its comparative ? Explain the origin of the Homeric and general form Oaaai^v. lotJc£. Give carefully all the formations and varieties of this word. 552. What is the force of adjectives in -ripiog \ What is the force of dvd in composition ? «.«..-> ' /c«^ 553. Explain the irregularity of mfiection m eTraivfiw. (bee ANAPOMAXH. So TTpWTOV jUEV OVV KttT OVpOV^ wgiTEp l(TTLOig, ppo)(oicFiv eKoriaavTeg oio ayovcn as Kal TratS'* virapvog yap rig wg diroXXvaai^ 7}fx(jjv dir6vT(s)v rov re Kvpiov aiOev, AN. oi8', fcJ yepaiEy (tvv tskvi^ Oavovfxivr}v ayovai fi ovriog wg opag, ri aoi \iy(i) ; ov yap fJLiag (re kXtjSovoc TrpoOv jjliijj, fjLETYiXOov, aXXa fxvpiwv in dyyi\(i)v. EpLv de TYjV Kar olkov olaOa ttov kXvwv Trig Tovde Ovyarpog, wv r aTToXXvjuai X^P^^* Ka\ vvv fULB j3a>/io0 GirtSocj V tov evyeviij iTLKTe (TOL 7rald\ rjv crif Oavfiacrrriv ai^ug, ayovcT airoGTrdaavreg, ovte tl^ Siicy KpivavTsg^ ovSc rovg dirovrag bk Sofxwv 555 560 565 1. 464.) What is the force of Trtp, when it stands alone 1 Also in composition, and in Latin I When does the enclitic Trore retain its accent ? 554. Explain the phrase kut ovpov. What forms of the future has efiTTveu) ? (See 1. 19.) 556. dyovffi. Explain the technical usages of this word. 557. What is the peculiarity of vTrapvog here? Distinguish between Kvpiog and detTTroTTig, Explain the use and origin of the paragogic Oev, 559. Oavovfisvriv : Point out any peculiarities in the future and perf. (especially the partic.) of 9vrjy. (See 1 34b.) ^98. W hat was the dress of the Spartan Vn:gms ? Explam this fully from the note. Conjugate ai/a/t£i^og. , ^, „,_,,, . ^0. What is the force of .Iral (See 1. 218.)^ Why is K^ra written with i subscriptum ? Explain the form XP«^<^v. (See 1. 374.) FxS the constructix)n 0at.M«^a> et\ (See 1. 409.) What is meant here by the '' defining use of the adjective ? . , , ^ , ^. ^ ,, 602. What is the peculiarity of accent in tpsaeail Give Butt- ^1 38 EYPiniAOY S! 605 610 615 TOV GOV \L7rOV(Ta (^iklOV E^eKiVfiaCTB veaviov fxer avSpbg dg aWrfv xdova, KaireiT eKeivrig ovvex 'EWrfviov 6\Xov TocTovS* ddpoiaag riyayeg irpbg ^iXiov' rjv XP^^ ^' aTroTTTiKTavTa fjLrj kivuv dopv, KaKrjv ecpevpovT^ dXX! lav avTov jxivuv^ fULidOov Ts SovTa jULYjiroT elg oUovg Xaj3av. ctAX' ovTL TavTTj (TOV (j>p6vr}/i eTrovpKTag* "^VYag Se iroWag KciyaOag cLTr^Xecrag, Tratcijjv T aTraidag ypavg Wr)Kag ev SojuLoigy TToXLOvg T a0£iAov Traripag evyevri TEKva. wv £ig f-yw ^vcTTTivog, avOevrrjv Se ai, fXLCKJTop^ wg Tiv\ egSeSopK ^AxiXXitjg. og ovSl rpioOeig ^Xdeg Ik Tpoiag fiovog, KaXXLcrra reixv S' ev KoXoicn adyfxadiv ojxoC eKuae Sevpo t riyayeg ttclXlv* mann's account of this verb. Explain the forms and variations of Xprjv, (See 1. 113.) 603. What is the ellipsis in tov (tov bv of e^v/Bptorac, (T(j>ataL KeXevaag dvyarep evY}Oe(jTaTa ; ovTtjg edeiaag jur) oi KaKrjv ^djULapr^ ^'XP^* eXtJv 8s Tpolav, eljuLi yap KdvTaitOd coi, ovK eKTaveg yvvaTKa X^^P^'^^ Xa(iu)V' dXX wg egeX^eg juaerrov, eK(5aXwv ^((pog (jiiXrifi e^i^u), irpodoTiv alKaXXwv Kvva, ijcTCTwv 7re(l)VKa^ 8'^ ^8' 'EKTopog. Koi TySe y elglpx^^ ^^ ravTov Ig (jriyogy Koi ^wtpcltteIov d^Lotg ^X^iv ^lov, ^^ tIkteiv 8' EV OLKOLg Trdidag IxQiarovg Eag ; 'aytj irpovolq, ry te ay Kafxy, yipov^ KTavElv OiXwv t/]v8^ k x^pwv apiraZofiai. KalroL (t>ip\ a^aaOat yap oiic alGXpovXoyov, Jjv iralg filv v V^ firi rUy, rai^rrig h airo BXd(TTU)(n 7raT8£C, rrigdE yrig mti^Tihog ^ ariidEig rvpdvvovg, (idp(iapoi 8 bvTEg yEvog "EXXriCTiv dplovG ; HT iyw filv ov (ppovio, fiL(Twv TCL fJLTi 8iKata, C701 8' EVEaTL vovg 651 What meanings may irapaKaXtlv have here ? How is it ""or^K^^nl^^'SU (see 1. 159): also the construc- tion of 'nLpanv, o5 ; illustrating it ^y.other 8xm.kr one^,^^^^^^^ and Latin Explain the phrase SopnriTri irtarniara, deriving tne words gWs the reason of the accent of the imperative ^.^r. ; also the formation of all the tenses. * * «*« ♦!,/* el^Txplain the formation of ^i^vov, l^efvov. . Accentuate the florist nartic. ■TTfdvwv. Give the Homeric perf. passive. , file Give ^oL account of f,v, the 3rd pers. imperf of «,*.. What' walthe original termmation of the pluperf. acUve and "" 657! What is the construction of 6 airbg, and upon what princ|pl« ? In this signification, how do the words often coalesce 2 What are thp two forms of the neuter ? , , . . i. ^« «f „ 660 1 Explain the syntax of this word, and give instances of a simfkr ellipse.^ kA^. Explain and exemplify this peculuu- use of ^eeTwhat is the syntax of ap^ra'JoM-- Explain the two cases under which an accusative follows the pass. verb m GreeL 662. Give the act. and mid. meanmgs of aTrro, with its syntax, T6r'&?a~ -r.... With what class of verbs beginning with two consonants is the augment, not the reduplication, used m *^66C.' Gwl the primary and secondary meanings of 5px"v, and its ^^wl'rA l^V SiKaca. On what principle is m4 used here, not oi- ? (See 1. 180.) 42 EYPiniAOY KUKHvo vvv a9pr}(T0v' el (tv TroiSa (rrjv covg Tilt) TToXiTwv, HT iiracFXE ToidSs, (JLyy KdOr}(T dv ; ov Sokw' ^ivrig S' vTrep Toiavra XaaKSig rovg dvayicatovg (jtlXovg ; KoX fjLTJv \(TOv y av{]p Ts KoX yvvrj (rOevei dSiKOvjuLivT) ir^og dvSpog' (og S* avrtog dvrjp yvvoLKa fJUjjpaivovGav Iv SojuLoig exwv. KoX T(^ fxiv eaTLv ev X^poTi; fxtya crOivogj Ty S* ev yovtvcjt koI (j>t}jotg rd TrpdyjuLara. ovKOvv SiKaiov Toig -y' Ifxolg jul l7r(i)(j)e\eLV ; yepwv yep(jt)v eC ttjv C efxr]v (TToarriyLav eyijjv eju cu^eAotc «v V (Ttyiov ttAcov. EXivT) S' eiu6)(^di](j ov\ tKOva, dXX Ik Oewv^ KOL TovTO TrXeiGTOv (L^lArjorEv ^EXXaSa* ottXi 670 675 680 >./. OTTAiov yap ovTsg fcat fxa\r]g aiaTopeg^ fjSrjrrav eg ravSpeXov' r) S* buiXia 668. What is the syntax of adpCiv ? Account for the accents and apostrophes of kclkhvo (vvv) ; also for the quantity of vvv, 669. Tif) TToXiruiv, What is the peculiarity of this genitive ? Ex- plain r^. (See 1. 192.) Distinguish between roidSe and rd roidde. 670. KaOria dv. What are the rules which regulate the structure of the two clauses of a conditional proposition ? (See 1. 215.) What is the peculiarity of KaOrjao, with respect to augmentation ? What is the peculiarity of the use of ^svog by the Tragedians ? Mention other words similarly used. Connect vwep with the Latin " super ;" giving other instances where v becomes su or sy, 671. Give the tenses of XdcKO), marking the quantities carefully ; also the Ionic and Doric forms. What are its various meanings ? What is its peculiar construction here? What the Latin for ot dvayKoioi ? 672. Explain the force of xai fir}v. (See 1.81.) What is the quantity of i in Iffog, in Attic, and in Homer ? 673. wQ d' avrwQ. How are these words used in Homer ? In Herodotus also, and in Attic Prose I 674. How are verbs in -aivcj formed, and in what sense used ? Explain the accentuation of fiatpog, 675. T(^ fikv * * » Ty de. Explain the use originally of the article 6, t], TO ; and its use subsequently, as here. Derive yovivg. What is the quantity of the first syllable in TTpdy/jLara, and why ? 677- Distinguish between ovkovv and ovkovv. What is the govern- ment of d)(pe\tlv ? (See 1. 49.) 680. Derive fioxOdv ; and distinguish between fioxOslv and TTOVtlV. 682. Trace the different significations of ottXov, in the singular and plural. Explain the ellipsis in 'EXXa^a, according to the principle in 1. 652 {'UTTeipwTiVf ov), 683. What tenses of jSaivo) are transitive, and what intransitive ? i 43 685 690 695 ANAPOMAXH. irdvTOJv PpOTOLGL yiyverai SfSatricaXoc* el 8' eg irpogoxpiv Trig efirig eXOwv eyto yvvaiKog e(T\ov jultj KTaveXv^ ecTW(t>p6vovv. oiS' dv (je ^OJKOV rjOeXov KaTaKTavelv. TaifT ev (j)povC)v cr' £7rr^X0ov, ovk opyrjc X"P'^' fjv S* o^vOvfULygy o-oi jmev 17 yXwaGoXyia juei^wv, ejuLOL de KepSog r} Trpofxr}Oia. XO. TravaacrOov t}8?), Xworra yap fiaKpt^ rd^e^ Xoywv jULaraitJVy fxrj 8uo a^aX^fl' dfia. nH. oijULOt, Kttfl' 'EXXaS' wg KaKuyg vofilZeraL. orav Tpoirata TToXepiwv aTriari (rrparog^ ov Twv iTOvovvTwv Tovoyov i^yovvTai rooe, aXX' 6 GTpaTiiybg rrjv ooktjo-iv apwrai, og elg fier dXXiov pvpiwv irdXXwv copv, ovdev irXeov SptJV evbg e^eL nXeiio Xoyov. (T£jUvoi 8' ev apx"^^ rip^evoL Kara tttoXlv What is the observation respecting the use of the 1st and 2nd aor. in the same verb ? TavdptTov, Quote a passage from Thucydides, in which this word is used as here. State the principal idiomatic uses of the neut. article. (See 1. 143. 186.) 686. t(Txov. What is there peculiar here, in this use of ex(o 1 687. Give the story of ^acus. What is there peculiar in the forms OeXo) and tOsXio ? (See 1. 156.) 686. What is the syntax of 87rr]X9ov ? Explain the form and use of x«pti^- (See 1. 204, and 222.) 691. What are the meanings of Travw, active and middle ? Give its tenses in use, and its syntax. Compare X(^(TTa ; which is its root ? What are the diff*erent forms of dvo ? (See 1. 516.) (T(pdXrie* cilia. Why not c kukioq vofx. Quote a similar use of vofii^erai from the « Alcestis." In what sense does Herodotus use the active vofxiKio ? , , . , . 694 TooTrdiov. What form is this? What would it be m common Greek? What in its Latin form? What its meaning? What is the expression for raising a trophy ? Is there any thmg unusual in the construction here ? 696. Of what is dpvvfiai a form ? In what tenses is it used ? 697. Distinguish between fiercL with the gen., dat., and accus. ; and connect it with fxtaog. Distinguish between fivpioi and /tvptoi. What is the 1st aor. of iraXXcj ? What is the Homeric 2nd aorist ? 698. What is defective in the rhythm of this line ? What are the two kinds of Caesura ? ,^ , ^^^ x tt . 699. Explain the formation of rjfiai. (See 1. 266.) How is tttoXiq used? 44 EYPiniAOY ^povovm Srjjuov fxuZov, ovtsq ovSeveg' 01 2' elalv avTLJV fivplt^ (TO(j)ioTepoi, el ToXjxa TrpogyivoLTo (dovXr^aig 9^ ajxa, wq KOI og Xa^ova apvvdOoiTo (re eSeiaag ; epire Sevp" vir ayKoXag^ /3p£^oc, ^vXXve deapa priTpog' Iv ^Oiq. (t eyo) dpe\p(o peyav Tolgd' exOpov. el 8' aTr^v Sopoc Tolg ^TrapTLCLTaig So^a kol pdx^g aytJVy TaXX ovTeg itrre priSevog fieXTioveg. XO. aveipivov ti X9W^ Trpecr^vTwv etpv Koi Svg(j)vXaKTOv o^vOvpiag vtto. ME. dyav Trpovwirrjg eg to XoiSopeiv (pepeC eyw 8f irpbg (ilav pev^ eg ^Oiav poXwvj ovT ovv Ti dpd(TO) (j)Xavpov ovTe ireicTopai. KOL vvv pevy ov yap d(j)Oovov (JXoXriv £X^* diretp eg oiKOvg' eom yap Tig ov wpocrw 45 720 725 730 700. Give the different meanings of drjfjLog, Distinguish between SrjfioQ and drifjiog. Give a similar use of ovdkveg from Hero- dotus. 701. Illustrate the phrase fivpitf) (TO(f>(jjTepoi» What is the Ionic of ToXfjid ? Does Euripides ever use roXfirj ? 704. Inflect the imperf. of Kd9rifiai, (See 1. 670.) Distinguish between fJioxOog and novog, (See 1. 680.) 706. Is there any peculiarity in the construction of the infinitive here ? Compare rjaaiM), (See 1. 31 2.) 708-9. ti ^rj y/ g^nit., dat., or accus (See Index.) Explain the peculiar use of devpo here. What is noticeable of the use of ayfcaXi? (singular)? Distmguish between VTTo with the genit, dat., and accusative. 749. Derive dvefiog. What is observable respectmg the quan- titv of the a in dvsaog ? . . - 1. xi 2. j.- ' 750. Scan the line. What is the Attic form of the optative m -oiut ? And to what verbs was this form restricted ? Are there any exceptions ? How did the Attics use the plural of this form 1 752. Distinguish between opa and op^ ; and note any peculiarity 755 760 765 TTTr^^avTeg oiSe irpog (ilav dyuyai juie, yipovra jiiv d opcSvrccj daQ^vri 8' Ijul, KCii iraiSa Tovde vyittlov' aKoirei raSe, fXYj vvv (jivyovTeg afl' aXc3/u€v vcTTtpov. DH. oi) fxri yvvatKiov SeiXov dgoL(Tug Xoyov; X^pet, Tig vuwv d\peTai ; icXaiwv dpa xpavarei, deCjv yap ovvex iinriKOv t oxXov TToXXwv 0' oTrXiTtJV dpxofJi^v ^Oiav KciTa' Tiiiug S' fV opOoi, Kov yipovTsgj wq doKelg, aXX eg ys toiovS* dvdp^ aTTojSXti/^ac jnovov, Tpoiralov avTOv aTrjcroiJLai, irpia^vg irsp wv- iroXXtJV viiov yap kclv yipwv ev\pvxog y KpeiacTtJV' rt yap Set SaXov ovt evdtjJiiaTHV ; XO. 7] firj yevoifiav, rj iraTEpwv ayaQCjv Ar\v woXv KTr}TO)v re dofiiov fxkoxog' ei Ti yap av irdaxoi rig afirtxc^vov, 770 dXKag ov (nrdvig evyeveTaig* Ktipvaaofxivoicn 8' air cdOXolv cwfxaTiov in the augmentation of this verb. What is the syntax of 753. What is the proper meaning of 7rr^(TvXaK£g SfivSeg, bk re Se^iag Ki(pr] KaOap7rd!!^ov(nv e^aipovjULevoi. ovTw fiiy aXyaT, kol rd wplv SeSpa/ilva eyvwKe Trpd^aa ov KaXwg* lyw plv ovv cidiroivav eipyova dy\6vr\g Kaiivw^ (piXaC VfieTg Se (iacrai TtJvSe SivjuidTiov ecrco uavdrov viv iKXiKraaOt' tCjv yap rjOddiDV ^(Xwv vioi juoXovTfc evTreiOicTTepoi, XO. Kal jirjv £V oiKOt^ TrpogiroXojv aKOvofxev 49 800 805 810 815 820 800. Give Buttmann's explanation of the place of the article in Kolvav TCLv iVKXtiav, with an example. Explain the construction of d^iKsaOai, (See Index.) 803. Explain the force of Siddoxov. (See 1. 743.) Also the con- struction of sprnicjOeXaa, (See 1. 314.) 806. Give the inflections of dpdoj, noting the quantities, and the verbal adjectives. Show that the aorist Kraveiv is here used in its strict sense. 807. Explam KarOaveXv. (See 1. 162.) Also OeXu and e9iX(u. (See 1. 156.) What German and English forms are deduced from tpyov ? 808. firj *vtI (see 1. 53.), ov 'ktIvh, Explain these erases. 810. Why is there probably some corrupt reading in this line? Explain the form xprjv. (See 1. 113. 607.) 812. Distinguish carefully between tlpyu and elpyvvfii. What is the construction of (pvXoKtQ ? 815. Explain the use of the partic. and inf. respectively, after verbs of * knowing.' 816. Explain, with examples, the three constructions of dpytiv. Explain the inflections of Kdfivu). 81 7. What is f (7(d, properly ? Give similar forms. 819. Explain the usages of tvTrsiOfig and dvaTrnOijc. 820. Explain the force of jcai fjLtjv, (See 1. 81.) Give the tenses, and especially the construction, of aKovta, 825 830 835 50 EYPiniAOY j3o//v, €0' oUlv ^XOeg ayyiXkovaa av. ^dt^LV c ioiK^v 7] Tokaiv oaov GTivu TTQa^aaa luvd' twiiarwv yap hwepq. (psvyovaa x^^pac irpo^iroXiov^ noOi^ Oavelv. EP. lu) fXOL fXOl' (TTrapayjua icojuac bvvx6vov pw^jaaa avyyafu^ (Tct/fv ; EP. Kara plv ovv arevio daiag ToXpag, av £jO£r ^ KUTapaTog 87 w, icarci- parog avdpacnv. ^ ^ TP. avyyv(ljur}v firj povov(Tav, wg Oayoig. EP. oV/xoi irorpov. irov pot irvpog ^iXa (j)\6^ ; TTOv 8' elg irirpag aep- Qh) Kara irovrov fj KaO' vXav opiwv^ 'iva Oavovcra veprepoLaLV peXu); TP. TL TavTU poxOelgj, avptpopat OeiiXaTOL iramv ^poTolmv rj tot ^XOov rj tote. EP. iXtireg tXiTrec^ (J iraTep^ fx iiraKTiav wgu povad' tpr^pov ovaav tvaXlov Kwirag. oXu p oXel pe [dr}Xadfi TTOGig]* OVkItL r^S' EVOLKTiCFiJJ vvp(j>idi(jJ crriy^* TLvog ayaXpuTwv UtTig oppaOw, rj dovXa SovXag yovvam irpogiriaw ; 0£a8oc £K yag fcuavoTTTtjOoc opvLg HU £il]V, rj irevKaev aica^ocj « Sm Kvaviag iirepaaev aKTag , ^ A / 8o5 Trp(i)TOTrAoog TrAara. ^ ^ ^ TP. w TToiy TO Xiav ovT Ikelv ETryvecra, 846. Explain the incomplete construction here, and supply the 't4toV^^^^^^^ Give the syntax of this genitive. (See 1. 113 'I48' What is observable of the adverbs ^oi; and jron When is ^nLl used after verbs of motion ? Explam the form aepOio. ^ 85rExplaixrthe formation, and the comparison of ^apr.po,. How's iidedined? ,sX.. How is this verb ~alyu^^^^^^^ 852. Give a parallel passage, containing tot n tots . also tote ''"^^^l^or IraXlov .^.ag. ^ Quote Horace, Od. i. 14. Decline epwoQ, and state its variations of accent. ^856 6\a. Inflect this verb. ^ (See note on s\^, 1. 710.) 857. What syntax f^^/g^^f 2l6Tlxpiain the form yo^ra.c, J^'l^JZ^rT^^^^^^^ i« the force in the o^^kI „ n„AfA fl similar thought from the 862. KvavoTTTigoQ ogviQ. Quote a simn^ii b Psalms. . , - -„. rcipp 1 286 "i What, according 863. Explain the form ir^vKatv. (^^^^• %^^-^. V ,j^ ^ to Buttmann, is the radical meaning of mvKtt \ Apply this. 864. Explain the allusions in this line. 866. What is the quantity of t m Xiai; \ (See 1. 4b4.; D 2 52 EYPiniAOY ANAPOMAXH. 53 870 875 880 or ig yvvaUa TpwaS' e^rnuLdpraveg, ovT av TO vvv (Tov StIiLi o SiifMatvetg ayav. ovx v TTopcvcrat. OPESTHS. ^tvat YvvatKecj ^ rdd' ear 'Ax^XXewc TraiSoc fxiXaOpa icai rvpavvticat artyat^ XO. eyvwc* ^^ap Sr) TruvOavei ric wv raos ; OP. 'AYajUE/xvovoc 7^ ^at KXvTaifxvhaTpag TOKog' ovofxa 8' 'OoldTTjc' f>W«| ^^ yP^^ ^*^^ ^^^ juavrtTa AwCwvaf. €7ra 8' atpiKOfxr^v 868-9. Explain the propriety of using ffov and crov here. Inflect ciuxJtTai, (See 1. 30.) , ,-« /.^n\ ' t?^ 870-1. Explain the word iSapiSapov. (See 1. 173. 649 ) rt. J!.x- plain the accentuation of this word, here and generally. Explam "' 873!^'Expiaii the force of Uva. (See 1. 2.) What is the force of tvdaiuijjv. Why is ov, and not /*i), used here ? 875. Give a passage containing iKntffilv in the same sense as it has here. Why does not this line violate the rule of the Pes Creticus ^" i, 878. How is 7rpo(T06v used? and how written? What are the successive meanings of jitXaOpov ? , , « x\tu * • 879. tKdijfJiog UvoQ. How is this not a tautology ? What is sometimes the syntax of hdrjuoQ ? .. /c i o^o \ 881. Explain the use of v in asking a question, (bee 1. J49.) 883. Explain the force of l^yvtjg here ; and give some account of the formation of this aorist. (See 1. 136.) Also of the form of arap. (See 1. 397.) What is the force of the particip. m the qyxes- tion TIC iov IT vvOdvei'l ^ ^ ^ , . xi.* x 884. Explain the form t6koq. (See 1. 276). Explain this syntax of a0iK£(Teai. What is the construction of the names of towns and small islands in Latin ? 890 895 $0iav5 Som jLtot ^vyyBvovg fiaOeXv iripi yvvaiKogy A ty KevTvxovaa Tvyxdvet r\ ^TrapTicLTig 'Epjuiovrj* rrjXoupa yap vaiovd a(f -hptov iredC ofxwg 1 'Tpoc Oewv r? j3porwv Trdcrx^tg Kaica ;^ ^ EP. Ttt jLt£V irpog ripwvy to. Se tt^oc avdpog, og p Ttt 8' tie 0€(iiv rov. Travraxv ^' oXwXa^ev. 900 888. Explain the peculiarities of the form Ky (see 1. 405) : le construction of evrvxovcra Tvyx^vn. (See 1. 76.) Give insta and the construction of evrvxoixra rvyx"*'" ' ^^^^ ^' ^^' * ^^^*^ instances of the crasis of Kai with a diphthong. ^ r •* 889. What is the peculiar structure of this line m respect ot- its prosody ? Explain this fuUy. Derive rriXovpog : how is it some- times accented ? What is its construction ? , , v 890. vaiu). Give the tenses, and the syntax, of this verb ; also its meanings in the active and middle. Is it ever used absolutely ? 89^^ irpoc (Te Twvde yovvdTu)v, Explain this form of entreaty. Give a similar Latin one. (See 1. 575.) What form is yovvdnuv properly? (See 1. 529.) , 894. Under what rule is the masc. form irpacrffovraQ here usea « Explain the meaning here of irpdaaeiv, (See 1. 418.) Explain and derive the word arkfifjiaTa. What Latin word is derived from 896.* Explain the idiomatic usages of xp^/^a. What is the force of the interrogative u&v ? What is its Latin form ? What mterro- gatives in Greek expect a negative answer ? When does icopi? mean "daughter?" (See L 489.) . ^r i 898. Explain fully the formation of patronymics of females. 900. Explain the name *oI/3oc. How does .Eschylus use the word? Explain the epithet aKEcrrwp. What other epithets had 903! Explain the form tov. (See 1. 192.) What is the force of adverbs in ot, ov, and rj, respectively ? Give examples. Explain the force of the middle forms o\w\a and wXofAriv, D 3 54 EYPiniAOY 65 , 905 910 915 920 OP. Tig ovv av eirj jut] Tre^vicorwv yi tto) Traidwv yvvaiKL (TVjj,(l)Opa ttXyIv eg Xexpc ; EP. TovT avTo Koi vodov/teV ev jul virriyayov. OP. aXXriv TLV evvriv avrl crou aripyei iromg ; EP. TTiv alx]^d\(jt)Tov ""EKTopog ^vvevveriv. OP. KaKOV y i\elag, avlpa Uaa Ixf^v Xixn* EP. ToiavTa Tavra. k^t lywy rifivvafir^v. OP. juiwv eg yvvdiK eppa\pag ola 817 T^vrj ; EP. (j)6vov y eKeivy koX tIkvc^ voOayeveX. OP. KaKTetvag^ r) Tig avficpopd (t a(t>ei\eTO ; EP. yspwi; ye YlrjiXevgj Tovg KaKiovag trc/Bwv. OP. aol S* rjt/ Tig ogTig tovS' eKOivujvei (povov ; EP. irarrip y Ik avTO tovt cnrb STraWr/C fioXwv. OP. KaireiTa tov yepovTog r)<^(yr}9r] X^P'^ I EP. atSoi ye' Kat fi epr^fiov oi\eTai Xnrwv. OP. ^vvriKa' Tap^elg Toig dedpafxevoig iromv. EP. eyvwg, 6\u yap fx evSiicwg. ri del Xeyeiv ; a\X dvTOfxal deipeL Xexog^ 7] 8' apirXaKOVGa avvvoaelv avTy OeXei, 928. What is the government, generally, of l^kairoZov ? Explain that form of Trpo tov. (See 1. 734.) 929. Explain the phrase wg tlnoL Tig» and another use of the particle tjg in this way. 930. Explain the accent of bSbg in and out of composition. 931. Derive and illustrate kxavvwtrav. . , , . 932. Derive alyrnXwrog and dovKog, and distmguish between these. (See 1. 30 and 583.) Explain the construction avex^oQai ''''934.''what iyntlx have fia and vri \ Explain the force of each. Explain the reference of dvaaaa. ,. , , , /c^^ 1 01 1^ \ 935. Explain the repetition of the particle av here, (bee 1. 215.) What is the meaning of (iXkireiv avydg ? , , ,, 936. Give an account of the Sirens ; and translate the passage from the Odyssey, given in the note. 937. Explain the meaning of Xa\»j/xa here accurately. 939. Explain the third person form Trapriv. (bee 1. b5b.) Un what principle does dvdaauv govern a genitive ? 942! rmidoiXovg. Explain the form vixi- m composition. 943. Explain the form kpw. What two meanings has eipw ? 947. What is the force of aw in avfKpeeipH ? When does aw become ava in composition ? ,,r, . » > - •*+«« 948. Explain the form a>7rXaK0i)(ra. When is a/i7rXa«tv written, and when dnXaKitv 1 D 4 66 EYPiniAOY TToXXat Se fxapyoTTiTU KavTevOev So/iot vo6v Ti xpriixa. Explain the force and meaning of ri in such connections as this. 958. Explain the form h^mq. (See 1. 9.) 961. Decline (pvXaKaq, and state the reasons. Explain the forma- tion of the verb /ii/xj/w : also the force and use of avrov, (See 1.608.) 963. Parse and explain the force of aTrriWaxQai, (See 1. 424.) 964. Distinguish accurately between ov akjioiv and firj aejiuv. (See 1. 566.) 965. Explain the phrase hdidovai \6yov : also the optative from kvdLdoirjQ. (See 1. 750.) 966. What is the accurate meaning here of tte/xttw? Give ex- amples. What is its substantive 1 967. Distinguish KaKrj and kukyj, 968. Explain the construction of irpiv, (See 1. 101.) Explain this peculiar use and construction of kgjiaXiiv, What is the corre- lative verb ? 970. Why should Tpwac be written without i subscriptum ? ANAPOMAXH. lirei 8' 'Ax'XXswc S^V '^y<^<^rr}aev yovog^ (7w juev (Tvviyvijjv Trarpi^ tov 8' lXi(T(TO/xijv yaixovg acpetvai aovg, Cjuac Xeywv t^X^^^ icai TOV irapovTa daifXOv\ wg ^iXwv ^ev av yrifiatfi air" avSpwv, SKToOev 8' ov pa8iwc, 0£U7(uv a7r' oikwv ag lyu) (pevyio (pvyag. 6 8' J\v vfiptaTTig eg t ifirig firjTpoQ (poyov Tag 6" mjuarcoTTOvc 0^o,g 6vet8i^wv Ifxoi Kciyu) Tairuvog wv Tvxaig Talg otVoOav ^ fiXyovv filv r}X70VV, ^vficpopalg S' nveixofin^^ atov 8£ (TTapYiOng u^X^firiv aictov yaji(i)v. viv ovvj lirudfi irepiireTeig ex^tg ruxac, icat KvfKpopav Triv8' IgTreaovcr' d^irixavng, a^w (T air" oticwv Ka\ irarpog 8oWw x^p'^i TO avyyevlg yap Seivov, ev re Tolg mKolg ovK i which are in use; also its con- struction and meaning, with examples. D 5 si^Ss*^--' 58 EYPiniAOY ANAPOMAXH. 17 iraidog olkovq jjl l^eprjibLovaav fxaQwv IlrjXeuc ji^riXOrj TTwXiKOtc didjjmamv, OP. Odpcret yipovTog X^lpa' tov 8' ^Axi\\i(i)Q jurjSev 0oj3r)0yc TTaiS\ 6(T elg ijUL ij^piae. Tola yap avTv^ jurixavrj TreTrXejjuLivr] 995 [5p6)(oig aKivriTOLGiv ccrrrjicev ([)6vov irpbg TYigde -veipog, 7]v irdpog filv ovic Iptj^ TtXovjuLevo)v 0£ AeXijng ela^raL irirpa. o /xr)Tpo(j)6vTr}g 8', fjv dopvt,iv(jJV IjunSv fjidvioaiv opKOL^llvdiKriv dva \Qova^ 1000 TTLKpiog Se iraTpbg cpoviov atr/jcret ciKrjv dvaKTa r)v Saifxwv didwai, kovk so, (j>povB'iV juLtya. XO. & oT/3' 6 TTvpyumag tov Iv 'lXi(^ eirei- 1010 ;)(fj Trayov, icat Ilovrtc, Kuavtatc itttto/c St^pcvcui; aXioi; TTtXayoCj rivoc ouvek aTifiov opya- 991. fc^6pj;/xou(Tai'. What are the first and secondary meanings of Iprjfjioo)'^, (See 1. 314.) fUTeXOiXv. Quote a similar usage from Medea, 1. 6. 993. Octptrei x«Tpa. Explain this construction, and the usual ones. What is Matthise's remark on such phrases I Give his examples. 994. Why is fxrjdtv accusative ? 997. Explain the form Ipw. (See 1. 943.) elatrai. Parse this word. (See 1. 9.) Give Buttmann*s remark on {tldw) and oJda, 999. What two meanings are given of dopH^vog ? Give examples. 1000. Derive and explain opKog fully. 1001. ixrjdsva. What is remarkable in this masculine form ? Distinguish between ovddg, firjdtigy and ovdk elg, fjLr}^^ tlg» Explain the form <70g. (See 1. 39.) 1002. iriKpwg. What is the proper and radical meaning of ^ifcpo'c? (See 1. 384.) Of what constructions does aiTeXv admit? Give examples. 1004. ovrjaei. Explain the inflections and form of dvivrjfjii. Give also its meanings, active and middle. 1007. Explain fully the phrase tig dvaffrpoiprjv didovai, with an example from Terence. How is the phrase fikya (ppovelv to be understood? What is its correlative phrase? Give examples of similar expressions. 1014. What is the syntax of di(ppevoj ? Give examples. What two distinct meanings has iiXiog ? What is the proper meaning of 59 1015 vav X^P^ TSKTOdwag 'EvvaXie^ 8op(/xT](TTopi irpogOevTeg TdXatvav TdXaivav juLeOnTe Tpolav ; irXeiaTOvg S' ctt' dKTOLCTiv Stjuoevrtcrtv eviTT- Tiovg oxovg l^ev^aTe koI ^oviovg dvcpiov afxtX- Xag 1020 War acrr8(/>avovc* dnb Se (^Qijxavoi ^e^amv ^iXiddat j3a(7iXr)Cj OvS* ItTL TTVp ETTtjSwjUtOV Iv TpOiq. OeoXdLV XiXajuLirev Kuirvt^ Ovw^h, 1025 (ie^aKS 8' 'ArpdSag aXo^ov TraXa/xatc* avTd T ivaXXd^atra (j)6vov OavaTtJ TTpog TtKVbJV dirrivpa' deov Oeov vtv KiXevcrfx tTreorpa^i? 1030 juavroauvov o t£ vvv ^ApyoOev TropevOng ^ Ay afx^fivov log iceXwp aSurwv Iwi^dg Kravsv, fiaTpog <^ov£uCj 1035 w SaTjuov, S) oT/3€5 iriog TrdOojUiaL ; TToXXai 8' av 'EXXavwv ayopovc (JTOvax^g jxiXirovTO dvcTTavwv r£K£WV aXoxoC TTEXayog? And of the corresponding Latin "pelagus?" Give ex- amples of both. 1015. Explain the form ovvsKa, (See 1. 251.) Explam the ex- pression dpydvav x^P« TiKToavvag, 1016. SopLfirj(TTopt, What is the Latin form of fifjcrrtap ? What is its genitive case ? fXiOHTe. Explain carefully the inflections and accents of ciy/it in the second aorist, active and middle. 1021. Give fully the inflections and forms of 00tVw : and the quantity of the i in (peivo), in the Epic and Attic poets. Explain the form Pe(3a(Tiv fully and accurately.^ PaaiXrjg. What is said of this form of the nom. pi. of nouns in -evgl 1025. Derive 6vLodr}g accurately. Give the Latin and English of TraXafxri. ^ 1027. Explain the construction of svaXXa^acra, 1028. Explain the meanings and inflection of diravpaut, 1030. kTTiaTpd^r). What is the peculiar usage of this word here ? Give a similar example. 1034. KsXwp. What is observable as to the use of this word ? 1035. ddvTLJV £7nj5dg. Explain the syntax which twiPag admits of. KTavev, Under what conditions does the omission of the aug- ment occur in the tragedians ? 3036. TTdg TTtiOofiaL ; Explain this peculiar construction accurately. 1037. dyopovg. How is the use of this word limited ? 1039. GTovaxdg reKeiov. Explain this genitive. Explain the allu- sion in fikXTTiffOai arovaxdg. D 6 60 EYPiniAOY iK. ^AeiTTOv oiKOvg 1040 Trpoc aXXov evvarop' ou^t aot juovot Svg(ppoveg eTrtirecrov, ov (j>iXoL(Ti, Xvirat' v6(T0v 'EAXac irXa voaov' Sti(3a Se ^pvywv irpOQ ^vKapirovQ yvag 1045 ri Xoyov wg SivfjiaT eKXiTTovGa MevlXew Koprj (l>povSr} raS'* rjicw 8' iKjuLadelv cnrovdriv s')((i)v 1050 ei ravT aXrjOri' tCjv yap t/cSrJjUwv (j)iXwv Set Tovg Kar oikov ovrag eKiroveiv Tv\ag. XO. riTjXev, tracpiog fjKOvaag' ou8' Ijuot icaXov KpvTTTSiv iv olgiTEp ovda Tvy\av(i) KaKoXg' [iaaiXeia yap tljvS* oi^^Tai (jivyag 8o/xa>v. 1055 IIH. TLvog 0oj3ou Tvxovaa^ CLairipaivi fxoi. XO. TTOCTIV TpifXOVaay lULTJ ^OjULWV viv £Kj3aXr;. riH. p.h)v avTi iraiSog OavacTijuLOJV ^ovXevfxaTwv ; XO. vai^ Kal yvvaiKog al)(juLaX(sJTidog 0oj3(^. IIH. ^vv irarpl S* oi'icovc, rj Tivog Xdiru pira ; 1060 XO. ^ Ayapipvovog viv iralg jSfjSrjic' ayojv ^Oovog. DH. TToiav Trepaiv(i)v cXtt/S' ; rj yripai OiXtvv ; XO. Ka\ (TOV ye Traidbg iraiSl iropGvvwv popov. 1040. How is this passage an example of what is called "con- structio prsegnans ?" 1041. Explain the form owx*- (See 1. 235.) 1046. Explain the first and the secondary meanings of CKriyTrroc;. Explain the breathing of A'iSa (see 1. 414), also this form of the genitive. (See 1. 280.) 1048. yaQofirjv. What is Buttmann's remark respecting verbs (of three syllables or more) in -aVw, and some in -aivu) ? What is the syntax of yaOSfirfv ? 1050. Derive (l>povdt]y and account for the 0. What is the force of &K in EKfiaOtiv ? £i tuvt' dXrjOrj, What is the force of ti in indirect questions ? How is its use analogous to that of " si " in Latin ? Give an example of the latter. Explain the word sKdrifiiiJv. (See 1. 879.) What is the Latin for kKirovuv ? 1054. Explain the phrase ovaa rvyxdvut. (See 1. 76.) 1058. Give the force and use of jjlCjv. (See 1. 896.) 1062. Derive Trepaivo). What is Buttmaim's remark upon this word in connection with TrnrpdaKU) and Trpaaig ? 1063. What is the force of Kal here ? ANAPOMAXH. 61 IIH. KpvTTTog KaracTTag, rj Kar opp sXflwv pax^\ XO. ayvolg Iv Upo-ig Koliov AeXi^r^v pera. 1065 OH. oipoL' Tod' fih Savov. ovx ocrov raxog X(i)pv(TeTai Tig UvOlkyiv npog lartav, Kal TavOa^' ovra ToTg iicct Xi^BL ^iXotc, wplv TratS' 'Ax^XXlwc icarOavav lxOpC)v viro ' ArrEAOS. WpOL pot. oiag 6 rXripiov aYyeXwv 7]kw rvxcjC (TOi t\ w yepati, Kai (j)iXoi(n detriroTOV. nH. alaV irpopavTig Ovpog, wg ti irpogdoKwv. AT. ovk: i(7Ti GOi iralg 7raiS6g,wg paOyg^ yipov rirjXeu- TOidgh (pacrydvwv irXriydg t'x" AsXfpCov viT ivSpwv fcat UvKT(]vaiOV livov. XO. a a Ti Ipdaug, w yepad ; prj whyg' tiraipe cravTov. IIH. oiStv dp' aTTwXojUTjv. (j)povdr) piv av^h, (t>povSa 8' apOpa pov icarw. AT. cLKOvaovy si icat (rolg (piXoig dpvvatieiv XpyZecg, to Trpax^tv, aov KaTOpOwaag dipag. IIH. S) polpa, y<]p(og icrxaToig irpog Tippamv 1070 1075 1080 1064. Explain some usages of 5/x/ia in combination with preposi- tions, as here : dfindriov airo, Trap* ofifAa, kK 6/x/iara)r, &c. To65. ispolQ, What is the peculiar usage here of this word and why « What does it denote ? Give the various explanations of the "^fmf'S^^ Explain this phrase. (See 1. 379, on oJ, "^1067: What is Buttmann's observation on the future of x<«Jp£<»>? . 1069. What is the construction of irpiv ? (See 1. 101.) HiXplain the form KarOavtiv. (See 1. 162.) tt i * 1072. How is Trpo/iai/ne used ? Quote from Shakspeare, Hamlet, ^' 1074. What is the quantity of the first syllable in roidgde, and ""^^75. What is the force of m with the subj. aorist ? Explain yspatoQ and yrjpawQ. (See 1. 546.) 1078. Derive 1079. What is the usual force, and the force here, of a nail ExDlain the formation and accent of dp.vva9tlv. , tt • 1080. How is dk^ag used in Homer and the Tragedians ? How is it dGclmed t» 1081. Explain the superlative Icrxaroc, according to Buttmann. 62 EYPiniAOY Oia jU£ TOV SvtTTYIVOV aiUL(j)l(ia(T €X^fC» Trdic 8' oi\^Tai fxoi iraig fiovov iraiSog juLovog^ ar^fiaiv' aKOvaat 8' ovk aKOvaO^ ofjLwg OiXu). AT. eTrei to KXeivov r}A0OjU€v Ootj3ov iriSov, 1085 rpug juev (j)a£vvag rikiov Sie^oSovg Oia SiSovTsg ojULfxaT £^€7r(jU7rXajU€v. Koi TOvO^ ifTTOTTTOv r]V agi*' eg Sf avaracTHg KVKXovg T i')((i)pH Xaog otfcrjrwp Oeov. ^ Ayafxiixvovog Sc Traig ^ia(jTd\wv TroXtv 1090 Ig ovg kKa(TT(j^ SvgfxevHg rjuSa Xoyovg, opaTE TOVTOv, og dia(TTeL\sL 6eov XpV(Tov yi/jLOVTa yvaXa, Orjaavpovg (ipoTwVy TO SevTepov irapovT i(j)* olai kol irapog Scujo' tiXOb) ot/3ou vabv eKTripcrai OiXiov ; 1095 icttfc rouS' exwpei poOiov iv ttoXh kukovj o.p\ai T lirXripovvT eg te (5ovXsvT{]pLa^ ISiq. d\ oaoL Oeov \pr}fxaTijt)v t^taracrav, iPpovpav ETa^avT iv TTspicFTvXoLg dofioig. How is the end of this line not a violation of the rule of the " Pes Creticus ?" Explain the phrase yrjpwg TspfjiaffLv. 1082. Explain the use of cxw in such connections as a/i0i/3a(T* ex^iQ, giving illustrations. 1083. What is the peculiar use of Trwg here ? Explain the forms 'TToXoQ and ottoioq. (See 1. 66.) 1084. dKovard, Explain the force and construction of verbals hi TOQ, (See 1. 89, and 769.) 1086. What is the construction of tu^ocovq ? What other form is there of (paivvog, and by what poets used ? What is the peculiar rule in the formation of the tenses (in composition) of TrifnrXrjfii ? 1088. Give (with examples) the use of VTroirrog. What is the force generally, and here, of dpa % 1089. What is the force here of kvkXoq ? What the similar Latin word ? oiKrjTOjp Oeov : explain and illustrate this phrase. Give the three different forms of oiVi^rcop. 1091. What are the Greek forms for "to whisper?" How is the Latin " auris," an ear, derived ? 1093. Give the tenses, and the usage, of ysftsiv. What is its Latin form, and how connected with it in meaning? Explain the phrase Orjaavpovg Pporwv, How is Orjaavpog said to be derived ? 1094. e(p* olfft. What is the force of tiri here? Explain the name ^oljSog. (See 1. 900.) 1096. Explain and derive the expressive word poOiov, 1097- Explain the construction. What is meant by the use of the " abstract for the concrete ?" Give examples. Explain the form £(pe(TTa(Tav, 1099. TTtpKTTvXoic. What is inferred, from this word, respecting the temple at Delphi ? Quote Herodotus, ii. 148. 63 1100 1105 1110 1115 ANAPOMAXH. riiJLttg St firiXa^ (j^vXXa^og Ilapvadiag TratSfUjuar', oiStv Twvdi 7ra> ireTTVGiiivot) XafiovTEg yfJieVy lo(j3(^, ru7X«^^^ ^' ^^ Efxirvpoig' rw St Kift^ripm ap' vcpELCTTi^KEi Xoxog dacjivy irvKadOEig' wv KXvTaifivrj(TTpag TOKog ELg J\v airavTwv TwvdE jmrix'^voppaipog. Xw IJ,EV KttT 6/ijua GTag irpogEyx^Tai Oei^' ol 8' o^vOmTOig (paGyavoig wTrXicr/xlvot KEVToifd aTEVxri TratS' 'Ax^XXcwc XaOpa. 1101. Give the principal tenses of irvvOdvofxai, 1102. Inflect elfii, "ibo," in the imperfect. 1103. Explain fully TrpoKevia and irpo^evog. 1104. Explain the formation of i^fartac fully. ^, 1105. What are the principal meanings of Kara m composition' Explain the form xapi»^- (See 1. 20, and 222.) ^^ 1 107. What is the construction of alniv ? Why is aifiarog in im What class of verbs take a participle after them instead of the mfinitive ? Explain fikya, (See 1. 210.) 1110 cjg \p6vdoiro. Explain this use of the optative. 1112. Explain Kprjirigy and give concisely and clearly the sub- stance of the note. . . „ t^ , i 1113 wg iv^aiTO. Account for this deviation from Dawes s rule. What is Person s remark respecting the use of wv with rvyxavu ? Is it universally true ? ■ -^. 1114. Tip. What is peculiar here in the use of this word ] Dis- tinguish between dpa and dpa. Give the force of the preposition m v(bH(TTr]K£i. (See 1. 69, on vTTtK^Oov.) 1116. Explain fully the use of elg here. What Latm word cor- responds to it. firjxavoppd(l>og. Derive this, and explain the accen- tuation of this class of words. , ,^^. x xxrr. ^ • a 1117. Explain the phrase Kar ofina. (See 1. 1064.) What is said respecting the posture of the ancients m prayer ? 64 EYPiniAOY X^peT 8c Trpvjuivav' ov yap Ig Kaipbv tvtthq hTvyyaVy i^i\KH Si^ Koi irapaaraSog KpejULaaTCL Ttv\ri TraaaaXtJv KaQapircKjaq^ itJTi) Vi j3wjuou, yopyog oTrXirijc iSav, (ioq, de AeX^wv TratSac, IcrropCjv raSe* Tivog fi cfcart KTaivtT\ ev(Te[5ug oSovg i]KOVTa ; TToiag oWv/ulqi irpog aiTtag ; TU)v 8' ov^ev oifStig fxvpiwv ovtwv iriXag ecpdiy^aTy aXX ejSaXXov ifc \upC)v Trerpotg* TTVKvy Sc vL(j)aSi iravToOev (nrodovjuievog, TrpovTHve Tev\r} KCKpvXaaaeT IjupoXagy iKttGa KaKtL(T a(T7riS* eKTeivwv X^P^' aXX ov^lv rjvev' aXXa ttoXX' bfxov jSAry, olcTToi, fxecjayKvX^ cicXvroi r aiJ,(j)U)^oXoi, (T(j>ayrig Ixiopovv (SovrropoL ttoowv ndpog' Seivag 8' av elSeg Trvppi\ag (^povpovjiivov ^eXefjLva watdog. tig 81 viv TrcptoraSov 1120 1125 1130 1135 «C 1120. Explain the word Tpvfiva fully, according to the note. Kaipov, Explain, and give similar usages of Kaipiog, 1 121. What are the various interpretations of LK^Xkh here ? 1 122. Give the syntax of irapaffrddog, with an example. 1123. Explain fSiofibg, KprjTrlgf kffxapig or l^xoipa. Explain the crasis etrrtj Vi. Explain the construction yopybg idtiv. (See 291, 824.) 1124. Give the Attic, and also the Ionic and Epic, futures of j3oaa/. 1125. Explain the form of eKaTi, giving similar forms in other words. Why is odovg accusative ? 1127. oi;dev ovdeig. What is the force of two or more negatives in Greek ? Give the force of ij3a\\ov accurately. 1129. TrdvToOev. Explain fully the original and successive uses of the termination Oev, Derive and explain aTroSovfievog, 1130. Explain sfjiPoXrj, tfiPo\og, TrpoajioXr], Translate the ex- tract from Thucydides, given in the note. 1132. Explain the form ^vev, 1133. Derive and give the Homeric form of ohroi Give the alleged meanings, and the derivation, of fieadyKvXov, Explain the form of dfi(pu)l5oXog, and derive it. 1134. Explain the form of (Tayrig (see 1. 1031, on paaiXrjg), and give its meanings. Explain the accentuation of Poviropog, (See 1. 1116.) 1135. What is the force and formation of dtivogl (See 1. 985.) TTvppixag. Give an account, from the note, of the Pyrrhic war- dance. What is the peculiar usage here of (ppovpovfisvog ? 1136. jSIXf/xva. What is peculiar in the use of this word by ANAPOMAXH. kvkX(j^ fcareixov, ov di^ovreg afiirvoagy (i(jjfjLOv KBvwaag dt^ifxriXov laxapav, TO TpwiKOv TTi^Sjijua TrrjSrjcTac ttoSoTv Ywpa TTpog avTovg' ol 8' oirwg TreXuaceg lipaK iSovaai irpbg (pvyrjv ivwriaav. TToXXol 8' eTTLTTTOv fiiyadeg £k re TpavfiaTwv avToi G* vir avTiov arevoTTopovg rear i^odovg, Kpavyri 8' Iv evchriuotcTL ^vg^rifiog dofxoLg iriTpaimv avreKXayc^tv* tvoLa o oirwg ecrrt} (baevvoig deGirorrig (ttiX/3(*>v oirXotg, wplv cri Ttg a2vT(jJV iic fiiaijjv ecj^Oiy^aTo 8ft vov re KOL (ppiKw^eg, tjpae 8e (TTparov aTpe\pag irpog oXkyiv. ivQ' 'Ax^XXIwc ttltvu irdig 6^v9r)Kr(jj) irXevpa (pacryavti) TVireig AeX^ou Trpoc av8poc, ocwep avTov wXeae ^ TToXXwv jusr' aXXwV wg dl Trpog yalav iriTvei, rig ov (Tidnpov irpogcjiipu ; Ttg ov Trirpov, jSaXXwv, dpa(ja(jjv ; Trav 8' dvaXtoTat difxag TO KaXXijUOjOc^ov TpavfxaTWV vir' aypiu)v. veKpov 8£ tr) vLV^ khix^vov ^wfxov TreXac, 65 1140 1145 1150 1155 Homer and by the Tragedians ? 'jrepiffradov. Explain the meanmg and accentuation of adverbs in -dbv and -rjdov. ^ 1137. ov didovreg. Why is the negative ov, and not /zi?, used here? What is a/i7rroj) put for ? , ,ino\ wi *•• 1138. Distinguish j36>/x6ff and Iffxcipa, (See 1. 1123.) Wliat is Kevuffag equivalent to ? (See 1. 314, on sprjfioio,) 1139. What is the allusion in this line? 1141. What is the usual construction, and that here, of j^wrt^w i Give examples. ^ « /a 1 «ift \ 1142. Derive and give the Ionic form of rpavfia ? (bee 1. did.; 1145. dvrUXayKev. What other verbs besides icXa^w are thus formed in their tenses ? Give an example of the use of icXaJw intrans- itively. Explain evdia, and the construction here ; also the quantity oi evSiog Sind ivdiog, . ,. ,. , /C2 i ini \ 1147. What is the force of irpiv with the mdicative ? (bee 1. lUi.) Give the English of 6v (see 1. 235), and the meaning ot advrov. (See 1. 1112.) , „ , 1148. Derive ^pi/cw^»?g, and give similar passages from Homer and Ovid. With what must (rrparbv be taken ? „„ . ^ , , 1152. Explain the form 7riri/«. (See 1. 357.) What is observable in the use of yaia and aZa ? , , ,, .« i >«kk\ aTo^ 1154. Explain the formation of dvaXurai. (See 1. 455.) Also dsfiag. (See 1. 1080.) KaXXi/iop^oi/. Derive this. What Latm form comes from fiopcprj ? . , 1156. Explain the form of Kii^ivov, (See 1. 510.) What is the syntax of TrkXag ? 66 EYPiniAOY i^lj3aXov Iktoq Ovo^oKtJV avaKTopiov* rj/xtiC 8' avapiradavTsg cJc ra^oc X^9^^^ KOiuiitioiuLiv viv gol icarofjuai^ai yooLQ tcXavaal r€, irpiafiv, yrig ts KOcrfiriaaL racjxf* TOiavO* 6 roTc aXXotcn flfcrTri^wv ava^, 6 Twv diKaiwv iramv dvOptviroig KpiTtjC, diKag didovTa TratS' iSpaor" ^AxiWiwQf €jUvr;jLiov£U(T€ S', wgnsp avOpoyTTog KaKog^ iraXaLa veiKT}* irwg av ovv eit} (to^oc ; XO. ical jArjv 68' ava^ r}8r) (j)opadriv AekipiSog Ik yrig doyfuia TreXdZ^i, rArJjUwv 6 7ra0wv, tXiJ/xwv 81^ yipoVy KOI Gv' Si\H yao tov 'AviXXeiov GKVjULVov ig oiKOvgy ovx wc 'v • • -x 1167. Explain the Attic use (as to meanmg), of TrcAa^w, givmg its cognate forms. 1170. ovx wc (fv Ok^iig. Give a similar passage from Herodotus. 1171. Kvpaag. Give the inflection (see 1. 206) and government of this verb ; with examples. 1172. What is tig 'iv fiolpag equivalent to ? Give other examples of this construction. 1 173. Explain the use of wfioi. (See 1. 1 13.) Would it be wrong to write u>/xot ? If so, why ? 1174. Explain the form dfiolg. (See 1. 581.) 1176. Explain dioXw^afisv (see 1. 902), and oixo/ieOa. (See 1. 981.) 1 178. XiiiTiTai. What is the rule about a neut. plural and a verb Jl 67 1180 1185 1190 1195 ANAPOMAXH. (S (T^lrXtoc iraBitjJV lyw» tig Tiva ^fi ^iXov avyag j3aXXwv Tip-^^ofiaL ; w (piXiov (TTOiJia Kot yivv koi X^P^^' eWe (T VTT 'lXicj> rivape 8ai/xwv 2tjU0£vri8a Trap' cticrav. XO. ovTog T av wg Ik twv8' kifxar av, yipov, Oavwvy TO (TOV T r> ai8' av evTVxi(^TSpov. IIH. * * * w ydfxog^ w yajmogy oc rade ^wjuLara kol ttoXlv dfxav ioXecjagi alaX alal, o) irai^ fjir}7roT£ aC)v X^x^iiyv to dvgivvvfiov iocpeX Ejuov yivog elg tUvu kol 80/xov d/x^tj3aX£(T0at ^Epfitovag dtSav iirl (rot, tekvov. dXXd KipavvM irpodOev oXiadai, jUTj8' Itti TO^OGVva (j>ovLo^ iraTpbg alima to hoyeveg ttots oT/3ov (ipoTog ng Oeov dydxpai. XO. OTOTOI OTOTOX. QavovTa ^BGiroTav yooig v6jj,o^ T(^ vepTtpiov Karap^o). IIH. ororoT ororoT. 8m'8oxa 8' w ra'Xac h^ yipwv Kai ^vgTVX^Q 8a»cpvw. ^ XO. Beox) yap aiaay Oebg eicpave cru/x^opav. singular 1 What is the limitation as to the elision of at final in the 1179. Explain the syntax of TraOsMV. (Seel. 847.) 1180. Explain the meaning of avy^. „ 1182. Explain this construction of eWe. (See 1. 294, 523.) vvcips. From what verb 1 How does Euripides use it ? Explam the ety- mology of kvaipu}. Is it used in prose ? 1184. (Jc U Twv8e, Give another passage contaming this ex- pression (Med. 458). Explain the use of the repetition ot av. (bee ' 1 185. Explain t6 oT/3oc. XO. (5 KaKCL iraOiov ldd)V re ^vgrvxri^ yipov^ TLV oICjv elg to Xolttov £?ac; ^^15 riH. ciTeKvoQj ipriiuLog, ovk extjv nipag KaKUJV diavrXtjaw irovovg eg qSav* XO. jddrrjv Si a* iv ydjULOLdiv wX/3torav ueoL IIH. dfiTTTdfjiBva ^pouSa iravra KelTat KOfJLTTlOV jJLBTapaiWV TTpOCTU). 1220 XO. novog jULovoKTLv iv SojiiOLg dvaarpitpEU Yin, ovTe fioi iroKig iroXig^ (TKriTTTpa raS' ippirb) Vi yavj av r', t5 KaT dvrpa vvxt-d Nrjplwg Kopr], TravtiXeOpov fx 6\peaL Trirvovra. 1225 XO. lu) 1(1), ri KZKivriTaL ; Tivog aiaiidvofxaL Odov ; Kovpaiy XevacrEr', aOprjaarc* 1206. Derive roer^i^w. How is it used by Homer? Give its meaning here. 1208. Explain the form xpfiv- (See 1. 607, and 113.) 1211. Explain »cap^. (Seel. 110.) 1212. How did Homer inflect aTepsu) I 1215. Explain to Xoittov, (See 1. 740.) 1217. iKavrXelv ttoVouc. Explain this phrase; and give the de- rivation of l^avrXiiv, What is the singular use of kg in kg q,dav I Give similar passages. 1219. Explain the form ainrTdniva. (See 1. 1137, on dfiTrvorf.) What forms of this verb are in use in Attic prose, and in the poets ? Derive and explain (ppoifda, (See L 73.) 1220. What is the derivation and meaning of /xeraperioc? What is its Doric form ? Explain irpoau), (See 1. 733, 922.) 1223. Explain tppkrio, (See 1. 830.) What peculiar form of crasis occurs here ? Why has Itti an accus. here 1 1225. Is the form 6\j/Eai, here, unusual ? Give all the tenses in use of this verb. Explain the form irirvovTa, (See 1. 357-) 1227. Explain aOpritraTe, (See 1. 668.) 69 I 1230 1235 1240 ANAPOMAXH. SatfKOv oSe Tig, XevKviv alOipa 7rOp0jU£UOjU€VOC3 TWV iTTirO^OTiOV ^Oiag ttbSlwv l7rt]3aiv£i. GETIS. TlviXev, X^P*^ ^^^ ^^^ Trapoc vvfi(j)evfiaTwv riKU) Oirig XtTTOvcFa '^r}pi(jjg Sojuouc- Kol irpwTa jjiiv croi Totg TrapecTTwcTLV KaKotg fxriSiv TL Xiav 'Svg(^opHv irapyvecra* KaytJ yap, rjv aicXauoT' ixp^^ TiKretv riKva, airwXea^ k crov Tratda tov ra^vi^ TroSag 'Ax^XXIa TeKOvaa, irptorov 'EXXaSoc- lov S* oifveK riXOovy ar]fiavC)^ f 1234. Explain Xiav. (See 1. 866, also 364, on ayav,) ^rjdsv ri Xiav, Why is rt introduced in such phrases as this ? What is the force of the aorist m irapyveffa ? . *. ^ 1235. cLKXavffTa. Give its syntax. What is the Epic form of aKXavffTOQ I And its force I Explain the use of kxpriv with the pres. iufin. (See 1. 607.) ,5 1236. raxvv irodag. Explain the principle of the accus. jrooag. 1237. Explain the quantity of the last syllable of 'AxtXXsa, (See 1. 22, on Ur}X£a.) , ,. j. 1238. Explain the form ouvfjca (see 1. 251, 759), and the future form arifiavCj, (See 1. 255, on fievo).) 1240. Distinguish between hxdpct and PiafxSg. (See 1. 1123, 1138.) ^ . r ' 1241. Give accurately the derivation and formation of ratpog. dirayykXXy : Why would dTrayysXy be probably incorrect ? Why would dirayyeXXoi certainly be so ? 70 EYPiniAOY 71 EXevci) ^vvaX\axO^'t(Tav evvatoig ydfxoig, Kal TToTga Tovde, riov air klaKOV novov ^ XeXajUjUtvov Sr?- (daaiXea 8' k rouge XP^ aXXov di aWov Siairepav^ MoXodGtav, evdaijULOVOvvTag' ov yap wS' avd(TTaTOv yivoQ yiviaQai hi to gov Kajxov, yepov^ Tpoiag rs" icai yap Osolm fca/ceivrjc f.ii\ei, Kaiwep 7r£(70U(7T)c riaXXaSoc TrpoOvfiia. (T£ 8\ WQ av dSyg tyiq sjufjc evvfjc X^P^^> 6ea yeytjcra Ka\ Oeov irarpog t^koq^ KttKWV diraXXd^ada raJv /Sporrjcricov, dOdvarov d(l>0iT6v ts Trofntjio 0eov. KaireiTa Nrjpswc £v 2o/UOiC '^f^ov ^ka TO XoiTTov nSt} Oeog (7VV0LKr}(Tug Oeq,' ivOev KOfii^wv ^Tjpov Ik ttovtov 7ro8a Tov (piXTaTOv (TOt TratS' tjuot r 'Ax^XXea oTp^L SojULOvg vaiovTa vnaiWTiKOvg AsVKl)v KttT dKTYiV ivTOg Ev^HVOV TTOpOV. dXX tpire AcXt^wv Ig OeoS/XTjrov TrdXtv, ^ v£Kpov KOjUt^wv rovSe, kqi Kpv\pag x^ovi, fX^wv TraXatac xo«P«^o^ koTXov /x^x^^ 1245 1250 1255 1260 1265 1245. KwaWaxOetcrav. Illustrate this use of the word from the Ajax, and the Hippolytus. . , n r u \ u^ i 1247. What is the force of ^ when joined (as here) with such adjectives as ftorov ? (See 1. 235.) 1248. What frequently is the force of dia with the genitive ? Give the usual meaning of Ciairepav. . .. x • 1249. Explain the " Anacolouthon" (inconsecutive construction) m MaiuovovvTag. (See 1. 202, and 186.) . '^ . 1251. Scan the line. What is the twofold construction ot fisXsi « 1253* H^vQ. Give a full account of this verb. (See 1. 9, and 998.) Explain the phrase x«pt'^ eldevau Give equivalent phrases, with Xapir. Explain the form x^^P't^ (s^e 1. 20), and tlie use of x«pti^ with the genitive. (See 1. 222.) 1254. Explain the form ycywcra. (See 1. 320.) ^ 1258. Explain to Xoittov. (See 1. 740.) What meanmgs has rjdrj ? How does it differ from vvv ? Scan the line. ^ 1260. Mention the different modes of comparing (^iXog. 1261. oleu State what tenses of this verb are in use, and also the verbs that supply the tenses that are wanting. What are the peculiarities of vaiovra % (See 1. 890.) , , . , , , n j » 1262. KiVKTiv KaT clktyiv. What was this island also called ? Where was it ? ,. . « , ^ x- 1265. t\9u}v nvxov. Explain the pecuhanty of the construction here, giving a similar one from Homer. 1270 1275 1280 ANAPOMAXH. 2ij7rm2oc ?SoV fiijJLVs 8', igT av l^ aXog Xa(5ov(ja TrevT{]KOVTa NTjpy8u)v X^P^^ iXOtO KOjULLCTTllV (JOV TO ydp TTCTrpW^ltVOV del a' iKKOjuiit^iV Zrjvt yap SokcT Tade. Travcrai 8f Xvirng twv TtOvijKorwi; vTrep* Tiaaiv ydp dvOpwiroKTiv riSe irpog Q^Cjv ^fjri which are also used both as substantives and adjec- tives. dtpiKOfiriv. This verb is construed in the Tragic Poets either with the accus. alone, as in this passage, or is followed by itg or kwL In Homer the former construction is most common. In prose the preposition is seldom omitted: ex. gr. 92, ot Se vtto- deKOfievoi 'EXX^vwr T))v U (psvKovnai ys Tovg 'Axapveag, and elsewhere in that writer. Cf. Trviyut (I choke), irviKofiai and Trri^ov/iat. ^ Trai^w (/ joke), TraiKo^ai and Trai^ovfiai, (pevK<^ is the fut.^ of 0£V^w (I cry (pev), viv. In Homer }iiv. Used for avTov — rriv — to, avrovg — TCLg—rd, It is here used for avrd, scil. rd irtdia. NOTES. 75 20 vapiv-used adverbially like the Ltii. gratiL x«P'C has two nociisatives yaptra and Yaptv, the latter is preferable, and the L;rr occurfo^Iy twice I ^Euripides. On the rules which regu- '^^'SS' 1* stond^^^^^ synizesis. The Attic poets always lengthen this a, except in 0o.sa, which is '^^^f^^l'^^^^^ Euripides. In the '' Etymologicum Magnum," it is stated that the Attics lengthened this a, because they formed the gen. with the long tT^oL!, that thus the accus. might be equal in time and cadence CaLovog) with the gen. dvdaauv yrjg, to be lord of the land : dSL being equivalent to elvai dval, hence it is followed by the genitrvT In Homer it is frequently followed by a dative, ex. gr. ^Aoyd dvdafftiv, to hold sway in Argos. . , , .t, „^^^'^ 24 Kdyio. The i is subscribed in a crasis only when the crasis takes place with the diphthong ei, as K^ra for icai dra, 25. 7rXa9e'iaa from 7reXd^u>. In the older language this verb has the causative meaning to bring near; whence the P^f ; 7^«f«^^'' k7reXd(T9rjv, takes the immediate sense to approach which the active his in the common language. The poetical aor. l7cXa9nv (from the cognate form 7r6Xaa>),tsed by the Attics, s usually supposed to be formed by syncope ; but the a is always long ; whence it is clear Shis I rather a transposition of sounds toge^-y;*»^ ^^.^^^^^^^^^ tion. like KUpdKa from /C6paa>, ^knpaKa from Tr.paoj, &«--^"*f ^""• 26. '6ai^g must be taken with the participle KHfievrjv. U. Aj. 6^6, Totads Ksi^evog KaKy r^xV^ On the form Ksiaat, cf. infra olO. A Sr use of BMa>/occurs infra 1085, a^ov<7ai d' ovk aK0va9 of^iog ^'27' dei. The penultima is common, and it is never to be written aU The same rule applies to dsrbg. .Xao,, KaV^Porson Tskvov must be pronounced J-kvov. a^9kvrog Hkvov is the genitive abso- ^"^ 28. kTrLKoipriaiv KaKu>v--'' Opem adversus mala "-Pflugk. 29 Adicaiva is the fem. form of AdKiov : cf. Ucov Xsaiva, 9spa- Jv 9.pd7aL. Some words ending in .v make the fem. m «pa, as TTiujv iriHoa : TSTnov ^BTreipa. yafiel, cf. note, mfra 347- ^ S^TrapJag. ^io has two forms of the fut .;>0^c7a, and c.«^^. All the other tenses are formed from aJOcu, and with the syllabic augment L^a &c. Ilap^9elv is 6onstantly applied to objects S are rejected with contempt : cf. Orest. 627, M<^'^ ^v^^rejing adj., like serrws in Latin; thus Horace, "O imitatores, servum ^Il'IkoTc IXaivofiat, I am assailed with reproaches ; cf. ago, agUo, in Latin-thus Horace, '* Diris agam vos. W wc receives its accent from the enchtic I'lv. , , ^ x 3I: alrlrefers to Andromache, who is speaking, and avrrig to ""r 'Tv^ put for a ly^, rb .pa)ro.-" statim ab initio.'^-Pflugk The accu^ used adverbially ; cf. dUnv, rpoVov, apxw, X^P^^; I* i^usuX explained by Kara understood, but is lather a pecuhanty of idSf UuL.a Id. oUa from eU. (obsolete), and loc.a from eifcbi. 3f elhlfj : cf. supra 9. The different modes of expressing a wish in Greek are explained infra 294 and 523. E 2 76 NOTES. 30. (T0g. The usage of this enclitic is similar to that of fxiv or viv : cf. supra 19. . , , . 41. dnb ^TTcipTYiQ. Observe that the last syllable in a-rro is lengthened before an in the following word. The same rule holds in Latin, ex. gr. Ferte citi ferrum, date tela, scandite muros, -^n. ix. 37. iar. The interrogative rt, the particles on and inpi are never elided, and the t of the dat. sing, is very seldom elided in Attic poetry. For an instance of the elision of the dat. sing. cf. Ale. 1118, Kai dn UpoTsivu), Topyov u}q KapaTOfini. But in writing Iambic verse this licence must not be imitated. 42. kir' avTo tovto^ scil. to KTavtlv, Buttmann thus distinguishes between tirl with a dative and accusative after a verb of motion : IXQhv sirl TovTti), to come to effect it ; iXOilv tni tovto, to coine to fetch it; but the distinction does not seem to hold good in^this case. ^ '43. The construction is : IXBovff elg t68' dvoKTopov GsTidog TrdpoiKov dofKovj Odaau) — ^ofjiiov irdpoiKov, lying near or adjoining to the mansion: TrdpoiKog in this sense is also followed by a dat. Herod, vii. 235, UapoiKov dh TroXsjjLOv G(pi lovrog oiKtfiov. ^ 44. r)v, contracted from kdv, which is strictly h dv, and in Homer hki or alKt. idv differs from ti, inasmuch as it expresses an actual contingency, a case that is likely to occur, whereas tt merely states a supposition^ which may or may not happen. Hence it points to something future, and always requires a subjunctive in the Att. writers, except when it is used in quoting the words of another in oratione obliqua, when it is found with an optative. The construc- tion r/v jLtt KujXvay is eUiptical, and Treipujfikvrj, or some similar word, must be supplied : cf. II. \|/', 40, avriKa KrjpviceacTi XiyvtpOoyyoiai KfXevaav, *A/i0i Trvpi (TTYJaai Tpinoda fisyav, ti irtiriBouv UriXudriv, " trying whether they could prevail upon Pelides." Cf. also infra 54. 46. tpufivivfjia primarily means an interpretation, Cf. Phoen. 470, V TTOiKiXajv del rdvdix (Td ivdcKa) tpurjvevudrwv. In this place it denotes a memorial. — Liddell and Scott. 47. Properly the construction of the pronoun relative requires that there should be with the first verb a noun, and with the second the pronoun relative, which refers to it, and each in the case which the proposition demands to which it belongs ; ex. gr. ovtoq Iotiv 6 dvrip. ov eldeg. But the subst of the first verb is often omitted, and added to the second part of the proposition with the pronoun relative in the same case ; ex. gr. ovrog iariv, ov dhg dv^pa. For a similar construction in Lat. cf. Hor. Sat. i. 4, 2, Atque alii, quorum comoe- dia piisca virorura est. On Xddpa cf. infra 310. As regards the force of the preposition in vTrtfCTrtjUTrw, cf. vin^kQov infra 69, and VTrrjXOfg, infra 435. 49. irdpa for irdptari — thus tin is used for linaTi, and the Ionic Ivi (instead of Iv) for tviCTi, with the accent thrown back on the penultiraa. Trpocw^tX^crat— the defining infinitive, which is usually explained by the ellipse of wgn. This verb also governs an accus., cf. Herod, ix. 68, avrt] U TOffayra TrpoguxpsXee rovg (ptvyovrag. The construction is, nam, pater ejus non adest, me ut juvet, et puero nihil prodest. Euripides uses ovdev in a similar manner in the fourth fragment of the Peleus : tov oXj3ov ovdkv ovdafiov Kpivut ^porolg : of. infra 80. 52. Hvdu). Observe, the accent of the accus. of words in d is KOV NOTES. 77 contrary to the general rule, which would require the circumflex. Those in tuc, however (and there are but two, »}wc and aidiag), are correctly accented, r^i; ii6a, ^io^aldoa, ai^oi. -Observe the double accus. after yrrjaB, , . , . 1 53 irarpog. The genitive of the cause, which is commonly ex- plained by the elHpse of evsKa. ov 'icrivsi for ov Urlvujor which he is sufering the full punishment. This is to be considered as a crasis, written with the apostrophus for the sake of distinctness. Observe the force of the preposition. „ . . , r 55. irapdaxoiTo. The following are the five principal usages of the middle verb :-l. Where a person performs an act upon him- self ; as, dTThylaro, he hanged himself 2. Where he performs it upon a third person, relatively to himself, or with a view to his own interest, as Kar^apk^aro tov Uri^ov, he subdued the Mede to^im- self. 3 Where a person causes an act to be done for himselt by another person, as hUlaaQai tov v\6v, to cause one's son to be in- structed. 4. Where a person performs an act upon himself, but an accus. or other case follows of another party, whom that action further affects, as, (pyXaKaaOai tov XkovTa, to be on one s guard aqainst a lion. 5. This is called the reciprocal use, where an act is done between two parties, as «'wg dv dia\v(Tu>fieea tov 7ro\e/xov, until we put an end to the war by negotiation.— e^aiTovfisvog is here used as equivalent to irapaiTOVfievog.-Vfiugk. ja TrpoaOs afaX- fiaTa. Cf. supra line 5. The phrase to Xoittov is explained mlra "^^56. Tovvoiia for Th ^vofxa. Observe the double accus. after KoXilV. , , ^ ^ . y~ 59 Ordo est ^v dk ivvovg icat ffoi Tif) re (T ai9Eig, having laid aside fear of me. 63 LxaKTka. Verbals in Tkog are of two kinds ; first, declined, which answer to the Lat. part, in dus, or the r.dj m bilis and agree with their subjects, as in this instance. Secondly, undechned (m Tsov), answering to the Lat. gerund in dum, and governmg the case of their verbs, ex. gr. kntev^vrsov Trjg dperrig. They may always be replaced by ^£t with the infinitive. ^ 65 Tvdf This demonstrative pronoun is constantly used to denote the 'person who is speaking in the first person ; ovrog refers to the second person, and Unvog or ^avoc to one more remote. Tvde may be translated to me here, to preserve its deictic force ^ 66. TToIoc is used to ask a question directly, o^oiogm^^^^tly, 1. e. dependently upon some verb preceding it, ex. gr. Od. ^ .188, oTTTroir,^ TLi vnbg dLeo, where dySpevcrov is to be supplied from line 186. The correlatives are noXog indef., Tolog demonstrat., otog relat. 69 vTreteOov, secretly put away. Observe the force of the prep. Cf supra 47, ^7r.K7rE^Va>. krtGnvat naXda, to expose a new-born infant generally with a view to its destruction Lat. exponere. But tCs^no allusion to this idea either in vneKkOov, or m hOeTov m the next line. £ 3 78 NOTES. 70 Translate : whence possibly has she learnt of my child being pvt out of the way ? Andromache here alludes to Hermione as the chief authoress of her misfortunes. TrvpddvoiJLai admits of the following constructions:-!. Trvvedveaeai ri tlvoq, to ask or hear something from a person.— 2. TrvpQdv ri diroy 8K, irapay irpog t'^o^--;^' The accus. of the thing only, as in the present instance.— 4. Ihe gen. only, to hear news of, as TTvOsaeai Trarpoc.— 5. irvBefTUai Tiva Tivocy to make enquiries about one person /row another. 71. irodtv iroT ; The addition of iroTk makes the question more indefinite : cf. (Ed. Tyr. 2, Tivaq ttoO' sdpag rdade fioLOod^tre ; 72 We have here an instance of the full construction after verbs of perception, viz. the gen. of the person and the accus. of the thing. When one of these objects only is expressed, it is commonly put in the gen. : cf. note on aicouw, infra 820. The form yaOonrjv is ex- plained infra 1048. , . . 73. As to the form of this word 0poi/xiov, and ^ppovpoq, it is rarely used but in the nom. sing, and plur. kir avTov, cf. supra 42 ^^74. doa (in Homer ap and pd) akin to apo>, I join, a particle of m- ievence,then, as it seems ; it is an enclitic, and therefore cannot begin a sentence, dpa-^n interrog. particle, which, like /luii/, expects a ne<^ative answer; both are equivalent to the Lat. num, which is denved from fiCjv ; cf. infra 82. The use of this pai^ticle is further explained infra 1088. ^i • x: -i* 76 The participle is used in Greek where we use the mhnitive, after* rvyxdvu), in the sense to chance to be. Also after verbs of knowing, hearing, seeing, remembering, submitting to, beginning and ceasing, to express a substantive fact, ex. gr. olda (Tov-wcr£ (t' w^Aar. The more usual mode of expressmg this would be y.patr^poe-^i ^QTS a a;0.Xur-" senior est, qu^mut tibi opem ferre valeat."-Pflugk. But the positive is very often substituted for the comparative, and in this case the iiifin. is used either with, or without, i^gn ; as, okiyovg yap Hvai arpariy ry Mndtuv (Tvuj3aX€£iv.— Herod, vi. 109. . ^ , 81. Kai ixnv. finv is used to give strength to an assertion, t) M^ (in Herod, r) fxkv) is a formula to introduce an oath, cf. Alcest. b4, NOTES. 79 ^ Uriv oij traiffH icatVfp (ofibg ^v dyav, I sicear you shall desist: dWd fir)v denotes strong opposition, nay but. ^^.n^rir..^ \^ 82 On the force of fiCjv, cf. supra ^4 and infra 896. ^povri^f iv is followed by a gen. or an accus., but with a distinction of meamng : ^povriKHv Ti means, to think over or consider a thing, as eya, cs knei re TrapkXapov rbv 0p6vor, tovto e^ppovriKov, Herod, vii. 8. iboovTiZHv Tivbg, to pay regard to or give heed to, as in this passage. ^^8rl7.V.poig av is joined to all tenses of the optative to render the verb more definite ; since by joining a wish to a contmgency we at once arrive at a probability. The optat. with ^^ .f ^^^^.^^f^ to express a modified future, ex. gr. Xsyot,.' av, « I would be g^ad to speak ;" and we find the future used in ^conjunction with it, Herod, iv 97. avToc llbvtoi srbouai roi, Kai ovk dv X£i00ai?v. 86 This is^he old Att. and Ion. form of pi^pog. Both are used by Euripides, with a predilection for afxiKpbg where it suits the verse. 87 dTravMio, to say no to, to be wanting towards. This meaning is very unusual; cf. however dirayopeijio, dTTHTrov and aTrsippKsvai —quorum omnium verborum hsec communis vis est, ut significent, impati^Mtid quddam Moris metuve imminentium penculorum animnm deipondere, viribus deficere, omare.-Pflugk. Opwg h »caK ^^ll'^J dApmi^g ^i\otg «.a>, Med 459, presents an exact P^^^^^^^^ ^tXotVi on the principle of the dativus commodu It is used ab- solutely, i. e. without a case, infra 579. :^r.ixr^nn. 88. ov dnra. This is merely a lengthened form of J^, implying an inference founded on conviction. bvecSiayg. In Prohibitions with arj, the imperative of the present is comnaonly used, but the sub- functive of the aorists. The derivation of bvecdog is uncertam- Lat. obncere aliqwid alicui. « i i mi. i, i «;i; ;« 89 iepiBXenrog-'kTrhrifiog, Ivdo^og: Schol. The verbal adj. in roc coSonds in meaning and form to the Lat. part, m ..., afL^ has also the same signification but not the «a«^e^«X^~' inasmuch as it is a mere adj. But when it conveys the idea ot Tssrhmfy or ability (Uke the Lat. adj. in bUis), it m.y be followed by a case^ ex. gr. Tolro ov prjrSv lari ^o. MXng, of. supra 30 91 Observe the quantity of the enclitic vvv. syKuiieae. The fir^t pers'rdu^^^ and plural pass. ^sOa, i^eOov, is w th the Dorians Taen'a9ov, with (T inserted ; and it has been adopted by the Attic poets for the sake of the long syllable by position. 92 ^dKpv, hence Lat. lacru-m^. A similar change of letter is observable in da^vg and Xdmog, which are connected m root. Cf. ^Vtpb7iS^h\ aie^9 denotes the upper air, the sky or firma- JX ab'ove the'd^p, wh|h is the lower -r^^hat we breathe^ C^^^^^ r 287 Et'c 'tXdrrjv dva^dg TrepifiVKeTOv, v tot iv UyMaKporarp t;(i "via ^c' nsQog aiOsp^'lKavsv. In this passage the distinction is rtricToterved. Hence drjp sometimes denotes mist or gloom The penultima is long m Homer, but sometimes short m the later ^""94: TrapecrrcOrcv. Instead of the regular perf. part, karm -ma -6c gen. -orof, is used a syncopated form, ,v, wliere inxS>v must be supplied with 3L from ijr^la. In these and similar instances the adjective seems to be added in the gen. to define more explicitly the previous ™ssion as tov kabv ^oV.r, and then she adds, "I mean the husband of me, the wretched one (^Asac)." . Cicero has the ex- nressions, nom^n meum absentis, and meas prcesentu preces. tov is here usef^ a relative, which is not uncommon in the Doric dialect. ThU Tccount, which is not found in Homer has been adopted b^ Virgil, « Ter circum Iliacos raptaverat Hectora muros. Alu. i. *^108. «.#«*<- is either used absolutely, as in this passage or with an accus.; cf. Eur. Supp. 991, tI ^kyyou r.v a.yXav .5c0p£V£ roS "^log! Observe thatciyoV^v is unaugmented This is very —0" in thP Eoic lancuage. flic, and in later Greek, e.V (so a^ric uktiv, SfX^.c tl2)ZITt Horn and most writers, but fern, in Sophocles, Ant. 69l! «S« fiv.a6B.v KeXa.v&v Blva. It denotes, 1. a heap m n^Jrnl • 2 a heap of sand, hence the sea-shore, ^"nt'HaHitkrL hdteful slavery around «« XPooc. XP«. XP?«- The aSm!x9V i«^«d merely in the expression ev xpV.-Butt- "* m Wi XsKrpwv eTriKoivov tovcrav may be equivalent to XiKTpojv dfx^i(T^r}TOV(jaPf but this solution of the I I 1^ NOTES. 83 difficulty though the best that has been offered, is hardly satisfac- tnrv The second .idl. Kara- spicula lucida tergunt , i. e. so a& ti^ x -^i^^ii on/^ ^pntt iTcik.,., \^ here eauivalent to jcararr^fcfiv.— Liddell and bcott. ffi'rfS"J";a;,Ktd from old pe.Ae.<,.«) denotes the labour of ^-^^f-^,::%::Z^-^^::^L cf. supra 76. Many the 2 aor., o^J-^^rvo" rptceJin u'is^wUh the exception ^f ends m v, and tne vowei pi & ^ thus it corresponds exactly ^«e*l rorofvtbsl'i: rt\tstoVds and L participle : rgr!%L::v,..a, ^^n£^^^ ?:z7i:r:rmt Spa^a, U^av-yiyvioOK^^, old and ^ttic toim 7 ^^ I_B„ttmann. T ';i:n;oUs ITb^e^oughf in the" V'«V; i.e. nuhes, the nupta: the root is _^. be s g ^^^^ ^ ^^ ^ P™P- °5!f ^J a wit Jin^late?poe\ Iter, hence Lat. l„M. See Liddell and Scott. ^ ^ . ^ „ t^e last syllable in yvvat dyu); but the singular and plural are irequenwy jit \f 84 NOTES, changed in Greek ; cf. Troad. 904, wg ov diKaitog, riv 9dvu}, Bavov- fjti9a. 143. TO aov. Buttmann observes that the neuter of the pronoun possessive often serves, with the article, for the pronoun personal; ex. gr. TO Ifibv for gyw, properly what concerns me, my person : cf. supra 13t3. Others understand by to abv tuam fortunam, 144. o\kt(^ (pspov(Ta, Observe the transition from the plur. to the sing. : it may be thus explained : the chorus, when speaking, gene- rally uses the sing., as the words are spoken by the Coryphaeus ; the actions are however referred to the whole fifteen, and are therefore expressed in the plural. On the construction (pspovcra Tvyxdt^(*>t cf. supra 76. The phrases 0i;/i<^ (pkpnv, Supp. 556, and opyy (pepovTeg Tov TToXejioVy Thucyd. v. 80, are parallel. 145. fit) , , , , sidy. The principle which regulates the construc- tion of verbs in dependent clauses after the final particles wg, 'iva, o(ppa, &c., is the same as that of ut in Latin, if we consider the optative as equivalent to the past tenses of the conjunctive. On eiSy, cf. supra 9. 147. It has been conjectured that some lines have been lost between the end of the chorus and the beginning of the speech of Hermione, which will account for its abruptness. a/x0£, connected with the Lat. amh-, as shown in aju0w, ambo ; ducpids^tog, ambidexter. Xpvffeag. Observe that this adj. wlien contracted transposes its accent, x9V(Teogy xpuffov^. On ^pwrog in the next line, cf. supra lil. 148. Observe that both these genitives depend upon oroX/iov. Matthise, 380, note I, has observed that a substantive sometimes governs two genitives in different relations, and explains this passage by XP^Q (TTsXXiTat TrsirXovQ. Cf. Supp. 55, ovre rdcpiov %a>)Liara yaiag egopio, from ^^oiwvrat TacpovQ and ^j^coj^riij/ai yalav. 149. The construction is : ovk dcpiKOfjirjV d(vpo ixov(T' aTrapxag tCjv 'A^^tXXlwg Sofiijjv ovS' diro TLrjXswg. The accent being drawn back on the first syllable, diro shows that it belongs to UrjXBiog. 'A^tX- Xsiug must be read as a word of three syllables. What figure is this called ? dTTapxciQ is here used metaphorically. 151. AaKaivTjg. On tins form, cf. supra 29. ^irapTiaTig, fern, from ^TrapriaTrjg : cf. supra 115. r)fuv in the following line is accented perispomenon when the last syllable is long ; but when a short syllable is required, it is accented oxyton, rifiiv. The same rule applies to v/ilv : if enclitic, they are written rjfiiv, vixiv, instead of throwing back the accent on the preceding word. 153. Upoig. On the meaning of this word, cf. supra 2. 154. dvTafji. . . . Middle voice, because it denotes an act between two parties, dfjuifiu} primarily means, 1. to exchange ; 2. to exchange one place for another, with the accus. either of the place approached, or the place left : cf. Lat. muto, with which the accus. is used only of the place to which you go. "Velox amoenum ssepe Lucretilem Mutat Lyceo Faunus." Hor. Odes, i. 17. 156. QkXug. lOsXio and 9iX(jj are the same in meaning, and differ only in form : 9'eXu) is not found in any Epic poet before the Alex- andrine sera ; ed'eXw, on the other hand, never occurs in the Iambic trimeter of Attic tragedy : tOtXa) is the regular form in Attic prose, although the former is occasionally met with in the best writers in such a combination as si OkXeig. — Buttmann. 158. aKVfuoVy barren, from a privative, and kvu) or Kvkb), to be XOTES. 85 pregnant. There are four different varieties of a in composition ; 1. a privative, which becomes dv before a vowel, as dvaiTiog : it is the same as i/iy, originally dvt], as vrivefiog and dvrjvsfiog, and appears in its full form in the prep. dvev. 2. a euphonioum without any signifi- cation, as in orepoTT?) and ddTipoTri] : cf. the in dSvpo/iai, dfxdp- yvvfii and 6keXXoj. 3. a collectivum, expressing the connexion between two objects, as in dXoxog, ddeX(l>6g. It appears in its full form in a/jia. 4. a intensive, strengthening the force of compounds. See Liddell and Scott. 159. rjirsLpioTig, fem. of riwsipijJTrjg, dwelling on the mainland, espe- cially applied to the mainland of Asia, hence Asiatic. The more usual form of expression would be riTrsipdJTiduJv ^f/vxv yvvaiKdv, Cf. Troad. 1110, iraTpiiidv re QdXafiov kaTiag, for Trarpt^ag kariag. 160. eTTKTxrj^^* -A. strengthened form of fiTre^w, formed from the 2nd aor. Bpeiv ivvBizijJV. 168. 'iv tl yrjg. The gen. after 'iva, an adverb of place : cf. Aj. 386, ovx «P^C tJ^' ^* KUKov, and so in Lat. ubi gentium^ &c. The principle is that of the partitive genitive, as adverbs of time and place govern the gen., considered as parts of a more extensive time or place. The construction of kg tovt dfia9iag two lines below is to be re- ferred to the same principle. We find in Ale. 9, tg rod* t)fispag — up to this day — Kai t6v8' tcw^ov olicov tg rod' r)fiepag — ov yap lad* "FjKTiop rdds. — " Non talis est hsec rerum conditio et fortuna, ut Hectoris Priam ive aut pristinarum opum deceat te meminisse." — Pfiugk. Cf. Thucyd. vi. 77> ^«t^«t avToXg, on ovk "Iwvsg Tdde ehiv. 169. EXXac irSXig. Matthise, 429, 4, quotes the following in- stances amongst others of the union of two substantives, where we should expect an adjective : "Eicrwp fiev QvriTog te, yvvalKa re 86 NOTES. emaro aalov, II. w. 58, for yvvaiKHOv. *E\\aEa yXuxT^av, Herod, iv. 78. SaViy, 'EXXdg ttoXlq, Id. vii. 22. Properly, both substantives should be in the same gender ; but a masc. is often ioined with a fern.: tvxtj Se (ra>r»/p, for (TuiTSipa, Agam. 675. Some editions read this line oij Upiafiog 6 Kaxpy<^og, m which case the 6 will be long by position before K, which is equivalent to ad : thus Zcvc is written in ^Eol. and Dor. UdevQ : Hom. violates this rule in two instances, a 174 For an illustration of these lines see the account of Cam- byses in Herodotus, who, in a fit of jealousy, both murdered his brother Smerdis and his sister, whom he had previously married.- Herod. iii. 30, 31. , ^ i> v. r^ no. did (bovov x^povai* There are three classes of verbs alter which the prep, did is used ; 1. dvai, yiyviadai, &c., where the state of feehng implied is expressed by the noun, ex.gr. di tx^pag nvai, to be at enmity ; 2. h^iv, Xafipdveiv, where some other person or thing is referred to, ex. gr. di oIktov \a/3av, to pity ; cf. supra 95.--d. Verbs of motion, epx^aOai, isvai, x^P"*^' &c., meaning, to enter into the state denoted by the verb, ex.gr. did iidxrjg I'^vai, to enter into a contest, Tov txcwi OeoXg di direxOdag IXQovra, Prom. Vmct. 121. ^££tpy(u, a later form of klkpyo), cf. Herod, passim. ^ 177. KaXov. In the Att. poets the penultima is short ; m Homer it is always long ; in Hesiod it is common. ., «» x- c 180. arkpyovaiv. This verb properly denotes the affection ot parents for their offspring. It also means to be content with, to acqui- esce in. It is either used absolutely, as in this mstance and (Ed. Tyr, 11, Tivi rpoTTq) KaQkarart, ^eicravregy rj arsp^avrsg ; or it is lol- lowed by an accus. or dat. case. Cf. Prom. 10, wg dv didaxOy rrjv Aibg Tvpavvida arkpyiiv. Isocr. de Pace 159, Tolg Tvapovaiy GTEpyeiv. '6(TTig fir], oh denies absolutely and independently : uri is altogether a mere dependent negative. Hence /x^ is used alter in- finitives and conjunctions, except after conjunctions which simply state a fact, as 'on, on, lird, ydp, &c. ; ex. gr. firj fie kthv etth ovx buoydarpiog "EKropoc £i>t, Horn.: where in prose we should expect NOTES. 87 afi KTdvyg, as the action expressed by the verb is momentary. After the relat. og, either oh or fii) may be used, accordingly as the sentence is considered altogether dependent, or partly mdependent ; ogrig always has fxrj. n ^ - " 181. The construction in full is to xP^/^« "^^^ erjXeiujv i(pv £7ri- tpQovov Ti XP»7M«- X9W^ i» frequently used in periphrases of this kind, to denote something extraordinary: cf. Arist. Nub. 2, a> Ztv (SacTiXev, TO XP*?/*" "^^^ vvktSjv oaov dirkpavTov : Orj^^f^^^^ is ^^^^ used as a substantive. £>u. Whenever any habitual occurrence is mentioned, without its being an express narrative, the Greeks fre- quently have, instead of the pres., the aorist, which then marks an indefinite time; Demosth. Olynth. 2, fiiKpov TTTalfffxa dvexairifft icai dikXvae irdvTa, a small mistake overthrows and destroys all. 183. We frequently find this exclamation, (pev ^(pev, standing by itself at the commencement of a speech ; so also ta : cf. Hec. 1116, ta' noXvfir](TTop w dvaTrjve, rig d dTTwXecre ; so also val, infra 586, in this play. They are not to be taken into account in scanning the line which they precede, to veov is here equivalent to veorng- On this use of the neut, cf. supra 133. ogng in the next line is equi- valent to sav Tig. . r. . . , 186. TO dovXeveiv. In Greek the article with the infinitive has the same force as a substantive, ex. gr. ijdofiai T(f TrepiiraTelv, I find pleasure in walking. But further the article is joined not only to a smgle infin., but also to entire propositions, which are then used in all constructions, of which a noun substant. is capable, to {xkv ovv kniopKOV KaXtlv Tivd dvEV tov rd TTtTrpayfikva duKvvvai, Xoidopia kariv, Demosth. When the infin. has a subject of its own, this subject is in the accus., as in the case before us. . t x 187. ^oyoc here means the opportunity of speaking, Lat. copia dicendi; hence the phrases Xoyov didovai, Xoyov Tvxf^v, to grant and obtain an audience. On the construction of /ii) airway, cf. supra 145, and on the form airway, cf. supra 30. ^ , , . , 188. KpaTr)au) must be considered 1 aor. conj., as rjv or tav is only used with the fut. indie, by quite the later writers. kTriTfde, in con- sequence of this ; it also frequently means, upon this condition. o0\a», from 6(bXiaKdvw, 1. to be guUty of a crime; 2. to incur pumshnwnt. It is often followed by a gen., as dtpXeXv Oavdrov, diKtiv being under- stood, which occurs in the full phrase. It is sometimes also iollowed by a dat. of the person, ax^^^^ '"' f^^PV fiwplav 6(pXiaKavw, Antig. 470. , ^ 189. 01 TTveovTsg nsydXa, the high-spirited, Lat. magna spirare. Cf. infra 327, Toaovd' iirvevaag. . . 191. dXaiaouai. This is a middle form with a passive significa- tion ; cf. XsKouai, artpnaonai, and Idtro/xai. Many verbs on the con- trary have their fut. with a middle form and an active signification, as Qaviidlw, aKovw, aiydw, aiwirdw, Qvr]aKw, tt'ltttw, ttXew, 7ri/6a>, &c., together with all verbs in dvw, except dvdavw, ^Xaaravw, and 192 The following forms are often used instead of the gen. and dat. of Tig interrog. and Tig indef. : tov, Ttf (in all genders) ortho- toned for Tivog, tivi, interrog., and encUtic for Tivog, tivi, as rt^ TtKuaipei TovTo ; how dost thou prom that ? yvvaiKog tov, of a certain woinan.—BMttm^nn. Exsyyhii^. Cf. rig yijv davXov Kai dofiovg kx^yyvovg Ikvog iraoaaxoip ; Med. 388. iEschylus uses tpepsyyvog 88 NOTES* in a similar sense. Tig Upolrov ttvXiov K\y9p voTif} xwpti. (Ed. Tyr. 1005, Kai fir)v fidXiffTU rovr* d^ticofiiyi/. Toi may be translated / tell thee. It is especially used by the Tra- gedians to introduce yvwfiai or general moral sentiments. ex9i*) is used only in the poets and in the pres., the pass. ex9ofiai is more common ; in prose d7rex9dvofiai. 213. xP^, imperson., oportet: optat. XP**^ • <^^^J* X9V' ^^^P* Xprjvai: part, {rb) xpewv: imperf. sxprjv, or in prose xP^^ iP^ this accent, cf. supra 113). The indie. xP») may be considered as the third per. sing, of xP«w with the accent shortened. It is commonly followed by the accus. and infin. ; also by the accus. of the person and gen. of the thing in Homer, as fjiv9riaeai, oTTeo as xp^j Od. a\ 124. But this usage is denied by Porson to the Attic poets ; cf. the use of ^£t in the sense of opus est, supra 164. 214. (TTepyeiv. Cf. supra 180. dfuXXav. Cf. supra 127. 215. £1 effxeg—tKTeivag dv ; Every conditional proposition con- tains two clauses ; the first of which, containing the supposition, is called the protasis ; the other, expressing the conclusion, is called the apodosis. If the supposition be impossible and in past time, as in this histance, it is expressed by the aor., and the aor. with dv is required in the apodosis ; cf. infra, 308. For a complete account of the 90 NOTES. NOTES. 91 r^i^;:w?0'-" -^^^ 705 C. supra m •. « Leg.un.us °t,6 1 XnSr''sCUer wl'the article cf. Orest. 452 : &S\Zx7kovJ^6vo>v iv TV f.ip". , We also fi"d -a mJO£. Phoen. 48b • »"".v o; [" , ,^ . „ jm i„ter sese magna vi brachia nuiMTum. Cf. G«' yS- •^- ";• t iV„e airale must be supplied with tollunU»««~; accoSg to Liddell and Scott, is here to be Koivovfitvoz, which, accoromf, koi^wgnv X^xet. considered as a passive ^^f • Jf- ^"P^^^^.,, t conclusion (cf. vi>v), 'hU '.Ulelr 'rvShlgtln^ ^it^Tthe aug. ,« is generally SpTir'^po. ^^P^^'^''. -^i PTi^^ SS'.'r::^-., to agree ir "oTth^:"f S a'^r.T/u^rlT/l." » interp^ts thjs rsage?«S<^A«cal«. KaKov Y dir^Uro. And in Homer fi uaoKevis made a dactyl. h elaoKev dfi^pi TriAyd' eij 'KOtnryai /lax^vrat, II. f- /^^ ; cf. infra 245. On the meaning of oUuv in the next line, cf mfra 581. 244. KdKU refers to jSap^apcov vo/ioicrt : KavQalt to Greece. On KaTQavCiv in the next line, cf. supra 162, and on hi, cf. supra 164. „, . t* 92 NOTES. KOTES. 93 246. dyaXixa, £0* (^ tiq dydXXsTai. 1. an ornament; cf. Eur. Elect. 870 : C ov Kpivovjiai tc3v Si (Toi rd TrXeiova, commencing a speech, dpcj has two reduplicated tenses, 2 aor. : rjpdpov, used transitively ^ and li \'A the perf. dpdpa (Ion. dpripa), intransitively. In the two following passages of Homer the 2 aor. is used intransitively :—U)g apdpov KopvOkg Tt Kai dtnrideg 6fiaX6e(T(Tai., II. tt'. 214. ^v9ov, o 6rj Kai irdaiv ivl (ppeaiv fjpapev rifxlv, Od. ^'. 776. The present in use is dpapicKio, fievu). The fut. was originally formed by adding taco to the root of the verb, as /i6j/a;,jLi£r-£(ra>, by rejecting the (t fievsuj, contracted /icvw. 257. TO abv, equivalent to (rk, cf. supra 235. irpoffKBypofiai, The pres. aKSTTTo^Aai is obsolete in Attic Greek, and its place is supplied by ffKOTTu) or aKowov^ai, (TKe\poiiaif l(TKt\l/dfirjv, i(TKifi^ai. This re- mark also applies to the compounds ; cf. Med. 460, to gov ye TTpOCTKOTrOVfltVOg, 258. The simple verb al9u) (used only in the pres. and imperf.) is both transitive and intransitive, like our English word to burn, though the latter signification is more rare. In the compound form it is transitive only, elaovrai : cf. supra 9. Oeol here forms one syll. by synizesis, * » r. » o 259. dXyrjdovag, formed from dXyog, as dx9r]Gu)v from ax^og : cf. Thucyd. ii. 37, Xvirrjpdg ck ry o;//6t dx9r]^6vag '7rpogTL9kfievou It is in the accus., depending on Trpogoiau), two lines above ; Her- mione continuing her speech, without noticmg the interruption of Andromache. On X9^''''h cf. supra 111. 260. aifxaTouj, formed from the gen. of al/xa, as dei^aToio from the gen. of delfia. Verbs in oa> denote, 1. making the object, to which they are applied, the thing expressed by the ncmn, ex. gr. SovXou), I make a man a dovXog : 2. imparting the quaUties of the 7ioun to a thing, as in this instance. fisTeiai. This verb constantly means m the Tragic Poets to take vengeance upon, with a future force, as in the uncompounded form ; cf. Soph. Elect. 478, nereiffiv (scil. diKrj), TSKvov, ov naKpov X90V0V. iiiTd means primarily between, from H'eaog : Lat. 7nedius. That fxer is the same as fistr, is shown by the interchanges ^tTaixfiicg and fisffaixf^iog, fikrayXog and ^epog Sitppa^ Kk\tv9og {rj) Ks\tv9a, KvicXog KVK\a, Seafibg ^efffidj ffXTog (nra. It denotes, I. ^ny standing place : 2. a dwelling-place for men, or for cattle ; hence stalls : 3. a military station ; hence it is used for a day^s inarch in Xenophon's Anabasis : 4. door-posts in Hom. and Herod.: 5. a balance or scales. In the sense of scales, the neut. form (TTa9fjid only is used in the plural, ^ovra. The oldest form of the gen. sing. masc. of the 1st declension is do, NOTES. 95 and the gen. plur. both masc. and fem. awv. Hence in Hom. we have 'Arpeidao, Movadcov, &c. (The first and second declension of the Eton Grammar are here considered as one declension with masc. and fem. terminations.) The Dorians contracted these genitives into a, as Tov 'Arpeidd, twv Movadv. This Dor. gen, has continued in use in a few words, especially in proper names. It is uncertain whether this word is a derivative of fiovg, or whether it is a length- ened form of PoTr)g, from j36(tkijj. The derivatives of Povg are long in the first part of the compound, as fSovKoXog. Those which come from f36(JK(o are short, as aiyij3oTog, (5ovf3oTog, which last word ex- emplifies both rules. There are, however, exceptions amongst the derivatives of /36(tkw, as (Jv^(l)Tr]g. dfi(pi, with the accus., frequently conveys the idea of moving towards. 282. tcTTiovxog, containing an tffria, always used actively ; cf. Antig. 1083, (pepujv dvoffwv off/ni^v tcmovxov kg ttoXiv. Sometimes it means " guarding the taria," followed by a gen. of the place ; cf. Eur. Supp. 1, AtjfirjTtp tariovx *l£Xtv(Ttvog x^^vog, 'Eoria, as a proper name, is the Lat. Vesta, avXri, a dwelling. It strictly means (in post-Homeric Greek) the court, open to the sky, round which the house was built, analogous to the Roman implurium, or a college quadrangle. In Homer it denotes a court-yard in front of the house, with offices round it. 284. The Dorians use rol, ral, for both ot, al, and 01, a'l. In the old language both 6 and og were nothing more than pronouns demon- stratixe, he or thisy of which many traces still remain ; ex. gr., ^ 5* oc, inquit autem ille ; the enclitic Tt was added to og to give it a relative force. vXoK. . . . Koyufi is frequently applied by a metaph. to foliage both in Greek and Latin ; cf. Od. i\/'. 196, feat tot tirtiT dirsKoypa ko- firjv TavvipvXXov tXairjg. Mn. xii. 208 : " Cum semel in silvis, imo de stirpe recisum, Matre caret, posuitque comas, et brachia ferro." vdirog, same as vdirr], supra 275 ; Lat. saltus : connected with raw, to flow, an old verb found only in the pres. and imperf. On this accus. cf. supra 3. 285. ovptiog, a lengthened Epic form of optiog. On this form of the gen. plur. cf. the note above on ^ovTa, 286. vixpav. The pres. in use of this verb is vijw, not viVrw, which never occurs in Homer, and is very rare in the later writers. Some editions read vi\jyavTo, and the sense seems to require the middle voice. alyX. . . a Doric contr. from aiyXdug, dg, &c. Adjec- tives in r]tig were contracted into jjc* riaaa, r)v, in the old Greek ; cf. II. a. 476, fcai xputToj/ TifxtjVTa. This was adopted by the Attic writers. 287. €/3av. The Dorians and Epic Poets cut off a syllable of the 3rd pers. plur. of the imperf. and 2 aor. act. in trav, and use merely the V with a shortened vowel before it ; ex. gr., tTi9tv for kTi9taaVy tdov for tdo(Tav, and here tj3av for iJBriffav. The Tragic writers either use or omit the augment indifferently, to suit the metre in the choral odes ; cf. vi^pav, TtKtv, pdaat, &c., in this chorus, tpav TLpi- afiidav, " Ad Priami profectae sunt filium." We have here another instance of an accus. without a preposition, after an intransit. verb of motion ; cf. note on dipiKOjjirjv, supra 3. 290. wapa/SaXXo^Evai. Musgrave translates this '* rlrantes,''^ and quotes II. t. 6, Trapa^Xrjdriv dyopevtiv, which rather means to speak in an underhand way, in opposition to open hostility. The Scholiast 96 NOTES. NOTES. 97 explains it, IpinnicoXQ Xoyoig diafxaxofjiBvaL irpoq aWr]\aQ, '^png icith one another. In the midd. it means usually to expose to danger, and is followed by an accus. ; cf. II. i. 322, aUi kfiriv \l/vxriv wapajSaWofiS' voQ TToXifii^eiv. It is here used absolutely. ilXs will bear two in- terpretations : 1. obtained the verdict, the full phrase being aipeXv S'lKTjv, or ypa(pr]v : it is used absolutely by Plato de Le fxaKapeg evtdpoiy aKfidtiei j^perevjv Ix^aQai, Qedg is here a monosyllable. 312. e(pevpedi}g. We have here an instance of another class of verbs requiring a part, after them instead of an infin. On the aug- mentation of evpiaKO), cf. supra 219. riffaov, used as irreg. compar. of KaKog, but connected with the Homeric adverb rJKa, softly, gently^ as shown by the superl. rjKiaTa, though the aspirate has been substi- tuted for the tenuis breathing. Cf. omg, eVo/xat. On this use of Tovde^ cf. supra 65. 314. iprifi, . , : lit. to make desolate; hence, in a secondary sense, to forsake or abandon, Cf. supra 260. iredov, restricted to poetry ; in prose, Trediov, strictly a diminutive, as shown by the accent. 315. (70ay. . . Monk observes that there are four forms of the future used by the Tragic Poets with a, passive signification. 1. rifin- ffofiai, Xe^ofiai, which belong to the midd. in form ; cf. supra 191. 2. ^epXtjao^ai, ytypdxpofiai, the paulo-post future. 3. (^XrjOrjGOfxai, d'7raXXax6ri<^ofiai, the reg. fut. pass. 4. aTraXXay r/ffo/iai, (pavqaofiaiy to which may be added a^ayrjaofiai, though not noticed by Buttmann in his List of Irreg. Verbs. This last form seldom occurs ; it is formed from the 2nd aor. pass. 316. On the peculiarities of usage in KarQaveiv, cf. supra 162. On QeXia and eO'eXit), cf. supra 156. 318. f)i/ diiapr Another instance of a neuter verb followed by an accus. of the cognate signification ; cf. supra 134, ^ox^ov ^oxOiiv. Phil. 1248, TTiv dp,apTiav aiaxp^^ dfxapTUJV dvaXajielv Treipdtrofiai, With the gen. it means to fail in obtaining, to lose, cf. infra 373, as Med. 498, eXiridiov S' rjfidpTOfiev, 319. fivpioKn PpoTuiv : the partitive gen. This is a much more common mode of expression in the Attic Poets than fivpioKTi (ipoTolg : cf. supra 82, riv dyyeXtJV ; and 100, ovdsv bXfiiov jSporwy. By the use of the part. gen. all ambiguity is avoided, as is strikingly seen in (Ed. Col. 38, Tov eeiJJv vofii^erat ; where rov Oeov would be ambigu- ous. Livy has " cum aliquo legatorum." F ^'t^'^^^*'- -4,^-»,_.«,-,^»,». iii i mm' '* iniM$u iim Jmm 98 NOTES. S20 v£vwv Hvy. .. AvT The Scholiast explains avrivaiSoQ, ova^e o/ioiac ira.ot. SomV editions read duri ^a.Joe, but without just reason, since the prep, is frequently used in this sense in compounded adjectives ix.er. dvTi9eoe,dvTiip- vov-Uiv v,.Ko> aoxll'hrav,Te KapSiav L,c, Med. 245. These examples will be sufficient to show that fS<- and Oipa?., on the one hand, and avOov, on the other, are used in reference to domestic affairs. „ . ,. . 332. Except if they are at all superior in wealth, as the Scholiast explains it, ^i fy «P« ^^ ^^"^''^ h.fxov^- But there is great difficulty in the construction, because 7c\r,v u requires to be followed by a verb ; cf. Philoct., ^X^v il UvjioX^v tX ^ore ro«a,v jrravo.c ,"oIe avucrm yacrrpi fop;3aV. This has led Brmick to enclose the NOTES. 99 line in brackets as spurious, tovto refers to to ttKovtCiv, which must be supplied from ttXovtoq. 333. Ehnsley has remarked that the Greeks do not use the 1st pers. sing. conj. in an imperative sense without some word to intro- duce it, as 0£p£, hiVQo^ &c. ; cf. Philoct. 1452, 0£p£ vvv ardx^^y Xoipav KaXkcTO), But the 1st pers. plur. of the conj. may be used in this sense alone. When ^soe is omitted, its place is supplied by another imperative, as bTr'KTx^T' avh]v tujv tcioOtv tKjxdOu), Hippol. 567. 334. Suppositions are sometimes expressed in the indie, in Greek, when something said is assumed as real. These suppositions are frequently introduced by Kai drj ; cf. Med. 386, ehv Kai dt} reOvaffi* TiQ fxe dsKerai iroXig ; Virgil has imitated this construction by using tlie indie, where we should expect the subjunctive, "etsi non alium late jactaret odorem, Laurus ^ra^." 336. dyiov. . . ^6v, . . You will fight against this charge of murder. This use of aywvt^o/xat is taken from the law courts : dyioviliaQai diKTiv, to contend in a law-suit Its primary meaning is, to contend in the public games. The fut. dywviovfxai is more Att. than dyujvitro' [lai. 337. The expression ot ttoXXoI is constantly used as equivalent to the Lat. vulgus, to (TVvdpCJv XP^^Q- " Culpa ineunda facinoris socie- tate contracta."— Pflugk. " The joint necessity."— Lidd. and Scott. Horn, uses the forms XP^^c and XP^^^^y ^^^^ *^^^® ^^ ^^^ ^^^^^ ^^^^ XpsioQ. 338. This use of fxtj with the infin., which we do not translate in English, is found after three classes of verbs:—!. Verbs of fear, apprehension, or doubt, as ^6/3oq d' rjv tuVrf firj Tkylai Troda, Iph. Taur. 1380, where we have the full construction, which is to be ex- plained by the ellipse of diffTS, 2. Verbs of denial, as deLvwg yap Kai 6 Uprj^dcnrrjQ e^apvog rjv ^r\ fikv dTroKrelvai ^fiepSiv, 3. Verbs of preventing and escaping, as avrbv t^sK\t\(^a fir] OaveXv, Eur. Elect. 540. vTTtKdpdfiu). Tpsx(o forms its fut., like rpf^w, Ops^ofiai, by throwing the aspirate back from the second to the first syllable. The reverse of this takes place in the declension of 9pi^, Tpixbg, &c. 9ps^ofiai is obsolete, but Hom. has the 1 aor. Wpe^a. The fut. in use is dpafiovfiai, from the theme dpsfiu), 2 aor. Upafiov, 340. dvkUrai is here used absolutely, tUvov OavovTog being the gen. absolute. On the different constructions and augmentation of this verb, cf. supra 201. 342. dXV H(nv ol xph* The Scholiast explains this, ^larrpdUTai & del Kai tXtvasTai sig a Trpswov l(TrL *' He will act as becomes him, or, proceed to that point which befits him." The future force of ilfii has been pointed out, supra 260. 343. The following distinction is drawn between (paivsaOai with the part, and the infin., by Liddell and Scott. With the infin. it denotes what appears or is likely, with the part, what is apparent or nmnifest, ex. gr. (paivsTai slvai, he appears or seems to be (like ^oksV), (ftaivsTai tov, he manifestly is. Cf. Prom. 216, Kpariara St] fioi twv TrapeaTMTiav tots lipaivtr elvai. Persae 786, ovk dv ^avitntv irrinaT ip^avTfg Tocra. On this fut. form, cf. supra 315. 344. USidovg is here in its secondary or technical sense "«o give in marriage,^^ It is followed by a dat., as in this instance, or by elg with the accus., ex. gr. iireLTa yafieXv onoOev dv (5ovXoito, Udidovai F 2 *•« 100 NOTES. eiQ ovQ av povXrjTai ^u^i/SaXXtiv, to give his daughters in marriage to all with whom he may choose to form a compact, Plato, Republ. 362, b. This verb occurs, supra 256, in its primary sense. w(T£i. On this verb, cf. supra 30. / i • i. i, 346. TO aCjcppov is here equivalent to ffuxppocrvvrj, which, when applied to a woman, constantly denotes chastity as well as discretion. r\^ _' «f o,1.^r.o loo AWn -^Jji^iifTfrni, the Scholiast sunnlies ]S'OTES. 101 This line is an apparent violation of Person's rule, that if the Sena- rius have a Cretic termination (""') the fifth foot must be an Iambus; but, as there is no pause whatever between dXKd and \ptv(TETai, it is in reality as much a quinque-syllahic termination, as if it ended with one word of five syllables. Cf. supra 230. 347. yafitX, Att. fut., 1 aor. tyrjfia : but in later writers we find yafiYjffiOy tydfirjffa. Hom. has a fut. midd. yafistTOfiai, with , It frequently also denotes the consequence of an act with the dat. : cf. supra 188. On the form (TfxiKpbg and fiiKpbg, cf. supra 86. TTopauvu), fut. iropavvw, from the defective poet. aor. iroptiv ; cf. Prom. 946, e(prjfispoig iropovra Tifidg. 353. d yvv. . , . safxev. In conditional propositions the indicat. is used, when the relation of the condition to the consequence is sup- posed as actual, without any expression of uncertainty. Thus, a kofitv, if we are, which I grant we are. But tt with the optat. would imply a doubt. In this the Greek coincides with the Lat. idiom, ex. gr. Si me amas, if you love me, as I am sure you do ; si me ames,-— which is uncertain, drnpbg, filled with drn, baneful ; the adj. termi- nations in p6c, epbg, rtpbg, mostly denote filled with : thus ^dovtpbg, filled with envy, voarjpbg and vocipbgy filled with disease. 355. Musgrave interprets el in this line in the sense of whether, and makes this and the following clauses dependent on diKr^v i>0€^- ofisv. This use of el in indirect questions (propositions depending upon another verb that has preceded) is not uncommon ; cf. II. e. 183, ad(pa d* ovk olt\ u Qtog saTiv. 356. vrjdvv. Barnes has laid it down as a rule that oxytons in vg always lengthen the last syllable in the nom. and accus. cases ; but vrjdvv occurs as an exception to this rule both in this passage and Cycl. 574, Tsy^ag ddiypov vrjdvv^ eig vwvov (BaXelg. In the tri- syllabic cases the v is short. Hom. has vridv'o*B^*Pn^^ ''X^x^^' 102 NOTES. xvhere there is no reduplication, as dyacQivvs, «y«X«roc, but dydv- "' 365 J££r6?6«^.v is here used intransitively, and the metaphor seems'to be taken from an arrow shot wide of the mark. Translate, l^rX:.^ of f^or.,^^lS^£^-£^l2Z f j4^^/rr/sT.4 • ^f =v- ^"^ 3^1^^ ''' - ^^' '' BkXea llmro^tvTo, K.T.\. to aw^pov, cf. supra 346. ^ 367. %M' i« the'only genuine instance of a d.ssyl abic veA in -^ fbeeinninK with a consonant) without the reduplication. The radical form s lao,. The indie, pres., with the exception of the second new sinrTs enclitic, i. e. throws back its accent on the precedmg word Thei'e^s no just ground for writing fye with an wto sub- ri» and he circumflex would be more in accordance with ZTo7Zn the acute accent, but both are supported by ancient custom oC driui is equivaleut to the Lat. Tugo. .!« ,?'T ^ sen ences we frequently find oi, followed by oiSi, as in this Ime and BUDra 353 o{,Sk\ used to disjoin whole sentences ; o«ra, clauses or Se words. They must not therefore be .^ed in P^ta-position ^R la9i (-which must not be confounded with .(tSi from h^.) is theTmpelV^^f olSa, from which it is formed after «iea„alog^^^^^^ KiKoavk from ickpaya, and arux^' from avioya. It is lormea irom the^ ftrsJ llTs vhxZ and the changes are as follows : otSa^tv, by the imperat. termination 0. for the ast syllable .^9. ; cf. Buttmann s iTreer Grammar, p. 219. orou, 8rv, are used for owrtvoc, y""'. but not for the fem!^ In the plur. we find arra, Ion. a<„ra, for «r.v«. 'l7\""<;4pr;;. aVoUm of .r^plo^a. .«p(«o,«., with the niodified meTning, to be in the BtaU of a person who j. depnved of any tiln^LbTwithoufu, Lat. carere. The poets have from .r.po^a. the 2nd aor. part. S' ..re ,io.pae rov '^"S. vittiiction is .ai ro«, vo«c (f;^^/'''^^});*:: UdLv {Sov\..). ^ph, is here used adverbmUy, *£ff ^^- J^f Ore^ andV-fa"r:'a!:: freqnentlyUd in this manner ^v ^ o -P*o^'| e.i.C v, Aj. 1288. For an m stance of fitra, cf. the note on line 305. Wi„;raroc • 376. Tlie comparison of Ictoj is "Teg., iStaiTipoi, iSiairaTOC . i :notes. 103 idiwregog, IdiwraTOQ, only occur in later writers. On the use of 7rs>j vp^i/at TrXijpovi/ vauf wg Svvavrai TrXuarag, Thucyd. vn. 21. Hence these particles came to be used alone with the superl., where SvvaTov Bavrj Trpofftjyero, So also rd f/XTTO- dwVf as a d' tfinodtov /xaXiffra, ravO' riKu) (ppdawv, tchat is 7nost obvious. But this latter phrase most frequently means, tchat hinders, opposite to rd kKTTollOV. 398. i^iKud^M {iKudg, moisture) means to draw out the moisture, which does not make any sense. Liddell and Scott pronounce the NOTES. 105 passage to be corrupt. Various emendations have been proposed, as k^iXvdKio, IfcXifc/xa^o). 399. ijTig, Translate, since I am one who. ogrig is here used in a definite sense, but at the same time there is always a general notion implied, inasmuch as it expresses the class to which a person belongs. For other instances in this play, cf. supra 8, and infra 592. On the gender of 'iXiov, in the next line, cf. supra 102. 401. Itt* 'Apyeibiv tprjv. By tmesis for iTrsf^rjv, siriPaiveiv is used in this phrase with a gen., dat., and accus. ; ex. gr., avrbg d' kiri vribg (poiviffarjg £7rij8ag, gfco/ii^fro eg tt)v 'Aairjv, Herod, viii. 118. Thucydides has knilSaiveiv vavtri, and we have an instance of the accus. in the passage before us. As a general rule, 67rt signifies upon, and is used with the gen. and dat., after verbs implying rest, in answer to the question where ? and witli the accus., after verbs of motion, in answer to the question whither ? 402. KOfifig is on the principle of the partitive gen., the hair being the part seized hold upon ; cf. Troad. 882, KOfMi^tr' avrifv, Trjg fjLiaKpovojTaTrjg KOfirjg kiritvuj is used both transitively and intransitively. L Trans- itively, to give in marriage, as ov yap ae firirrjp ovts vvfi(pev take after their contraction t] for a. This is particularly the case in the four following verbs : triv (to live), xpfJ(T0at (to use), TTsivrjv (to be hungry), dirpfiv (to thirst). So also Kvdijj (to rub), (Tfidio (to wipe), \pd(o (to cleanse) are thus contracted by the correct Attic writers. As regards the propriety of writing these words with the iota subscriptum, Buttniann observes that the omission was formerly general in the infin. of verbs in aw, but that correct orthography requires that it should be restored. This verb has two forms of the imperf. : eKtov, from ^dio, and i^rjv, as if from a form ^^/«. There are also two forms of the imperat. : Ky and ^fjOi, Homer always uses the lengthened Ion. form 406. o^SaXubg piov, the light, or joy of my life ; cf. Choeph. 934, TrvQ* ofxiog aipovfiiOa, 6(^0aX^bv otfcwv /z>) iravCiXtdpov neaeiv. In Persia, 6({>9a^fioi PaaiXstog, the Tcingh eyes, were confidential officers, through whom he beheld his kingdom and his subjects. Herod, i. 114. — Liddell and Scott. 407. fisXXu) denotes to be in the state of a person who intends to do a thing ; and fxsXXrjaig, which is formed from it, means constant threat- ening without execution. The Attics add the temporal augment to the syllabic in the imperf. rJntXXov, like i^dvvdfiriv, rf^ovXSfiriv. It very frequently (as in this case) takes the fut. infin, after it by a kind of pleonasm or redundancy ; but the present or aorist may be used. Hence some editions read Kravdv, On ovviKu, in the next line, cf, supra 251. 409. d (Tu)9rj(TtTai is susceptible of a two-fold interpretation, either if he shall be savedy or that he shall be saved ; since ti is frequently used lor oTi in Attic Greek., especially after verbs expressive of feeling or state of mind, ovk yaxvvOrj d toiovto kukov tTrayti ry, Demosth. F 5 V'imf!mai\ov, (Ed. Col. 1108. iJ.ijd' wgirtp avTuiv r) TiKovff aTToWviJLai, Ale. 167. t/ktw has two futures, ts^u) and TEKofiai, but the latter is mostly used. The forms TeKovjxai and TtKov^ai are suspicious. 414. (Treix(»» (connected in root with (rrixog, (TtoXxoq) is found in Herod., but never occurs in Attic Prose. *'Ai8rjg, when wTitten as a word of three syllables, has the tenuis breathing, *Atdrjg, In the Epic and Lyric Poets we find a gen., dat., and accus., "A'idogy "A'idij "A'ida, from an obsolete nom. ''A'ig. Horn, has also "A'idogds adver- bially, and also dv "A'idog, scil. oik:<^, Att. bv"Aidov. On virsKSpafiyg, cf. supra 338. 415. fisfivrifiat, perf. pass, from /xt/ir^fffcojuat, with the force of a pres., like Lat. memini, imper. fisixvTjcro, optat. nsfivyfiriv : cf. II. w'. 745, ovTs Kiv aid fiffivynriv vvKTag re Kai fj^ara SaKpvx'^ovffa, Attic fiffivoifirjv and fisfiv(^prtv : cf. CEd. Tyr. 49, apxrjQ ^^ Trjg arig ftrj- ^afiwg /Lt€/iv(^'/i€0a, conj. fxsfiviofiai : cf. KSKTtjjiaif I possesSy from Krdofiai, I acquire, optat. KtKnj^rjv and KEKTt^fxtjVy conj. KSKTWfiai. rXaaa is the aor. part, from trXijv. The pres. and imperf. of this verb are wanting. The fut. TXrjdOfiai, and perf. rerXfiKa, are also in use. 416. On this use of did, with the gen. after a verb, cf. supra 95 and 175. Some editions do not place a comma after Trarpt r

, in the phrase daKpva Xeipeiv, both by Homer and the Tragic Poets : cf. Od. e, 84, ttovtov sir' drpvyiTov StpKSffKtTo, SaKpva Xci/Swv. In the midd. voice it sig- nifies to flow, or trickle ; so infra 532, Xa'/3o/iat daKpvoig, I tnelt into tears : Liddell and Scott. For other instances in which X is occa- sionally dropped (especially in Ionic Greek) at the beginning of a word, cf. ai^ripbg and Xaixpripbgj dxvrj and Xdxvr\, dcpydau) and Xa(pv(7au), The 1 aor. Ikii-^a prop, belongs to Xei'^w, not Xcittw. 418. ot' eTrpa^a. The pres. form used by the Tragedians is 7rpa is thrown back in consequence of the particle yk being appended to it. 428. vTrrjyayov, The prep, vnb in this composition signifies by craft : cf. Herod, ix. 94, ravry virdyovreg avrbv, fallentes eum hac ratione, ubi dein l^aTraTriQdg dicitur is quem illi vn-qyayov, Schweig. Another technical sense of vndyeiv is to bring a person before a F 6 /" lOS NOTES. NOTES. 109 tribunal, vno to diKatrrijpiov : ex. gr. Qavarov vTrayayojv vtto tov Sfjfjiov MiXriddtaf Herod, vi. 136. 430. £X^^*' ^® frequently used intransitively in the sense of being in a state or condition, especially after adverbs of manner, as £v, KaXioQ wd' ex^iv, and is sometimes followed by a gen., as KaXwg (x^iv fisOifjgj to be in a tolerable state of drunkenness, Herod, v. 20. Hence s^lq, a habit. ETTiaTafiai is distinguished from kcpiaraixai, the proper com- pound of 'larafjiaL, by the temporal augment, and by the aor. ( ))7ri- (TTrjOrjv) retaining the /; of the formation before the 9. The usual form in the imperat. is tTTiVrw : ex. gr. Kal rovro sTriffTiOy t(pi}, w KDpg, Xen. Cyr. iii. 2 ; cf. the note on clv'kjtu} supra 380. 432. r]v TS. In the old language there were no relative pronouns, but the particle rk was added to demonstratives to give them a rela- tive force, as og re, ocjog re. The same thing was frequently done in the case of adverbs, as tvOa re, sirei re, &c. Remains of this usage may still be traced in Attic Greek in the phrases oUg Tt, k(p' yrf, ijfTre, and rjv re. 433. 'ipiru) (Lat. serpo and repo) is only used in the pres. and ira- perf., and is augmented with «. The 1 aor. is supplied by tpTru^w, as sXku), (iXicvaa. It is sometimes followed by a kind of cognate accus. : cf. Aj. 287, i^a'uT . . . klodovg spirnv Kevctg, On the form yeyuxra cf. supra 320. 434. vppil^Eiv tig kXsvQspovg. With equal propriety we might have v/3pi^ai/ tXtvSspovg, thin verb being both active, with the accus., and neuter followed by elg with the accus. In Attic Prose the usage with elg is more common. In the Athenian law vfipi^uv denoted all serious violence offered to the person : cf. Demosth. Meid. 60, lav Tig vPpitjy tig Tiva, i] iralda, ri yvvalKa, ij dvdpa, &c. 435. vTriiXOtg, to creep into a persouh good graces ; hence to entrap ; with an accus. of the person : cf. CEd. Tyr. 386, XaQi^a ft* virtXOuJv UfiaXilv intiptTai, On the force of vtto see above the note on v7n)yayoVy 428. 438. Tpotg, is the dat. depending upon wapd, which must be sup- plied from the preceding line. avTidpdv is here used absolutely, but it is sometimes followed by an accus. : cf. (Ed. Col. 1191, keXvov dpTidpdv KaKwg. 439. TO. Otlay jus dlvinum : cf. Phil. 452, orav tcl 6tV iiraivSiv Toijg 9tovg tvpuj KaKovg. The phrase txttv ^iKiqv usually means to hace one's punishment, as Plato, Repub. 529, c : ^iktjv, tcprj, fx^> opOCJg yap fiot t7rsTTXr]^ag. But here it seems to mean, to have the power of injiicting punishment. 440. OTav, compounded of ore av, whenever, indef. like og dv. Hence Wolf always writes it ot dv. It refers to a future contingency, and therefore requires the subjunctive, olaofitv, fut. of (pspu), which forms its tenses from three diff'erent stems or roots. There is an imperat. olat, olcrtTt, &c., with the force of a pres. or aor. used both by the Epic and Attic Poets : cf. Od. x'. 106, oTffs esu)v, tiujg /ioi dfivvtuOai Trap olaroL Aristoph. Bat. 482, dXX olae wpog ttiv Kaptiav tiov airoyyiav. Now, as it is contrary to all analogy to sup- pose an imperat. of the fut. tense, it is better to derive this imperat. from a new theme arising out of the future, cf. tdvatTO and t/iriatTo, which must be accounted for in a similar manner. 441. vioaabg (vsog) properly denotes the young of a bird ; cf. II. /3'. 311, IvQa i* laav (rrpovOoXo veoa)c, though this usage has not been noticed by Liddell and Scott. tvvaaTripiov, which means a bed-chamber, is similarly used for a icife in the Orest. 590, ^svtL d' kv olKOig vyitg evvaoTripiov, 447. A similar use of dva^, a master, occurs in the Persse, 378, wag dvrjp KOTrrjg dval kg vavv hx^P^h where Bp. Blomfield, in his Glossary, translates dvct^, curator, firjxavop. . . So Sophocles, (Ed. Tyr. 387, v(ptig fxdyov TOiovdt fiijx^voppdcpov. Observe that fxrjxavrf generally changes rj into o in composition, as jxrixavoTroibg^ ^rjxavovp- yog. As regards the peculiarity of accent cf. infra 1116. 448. TTspi^ is used (especially by Herod.) both as a preposition and an adverb, — 1. as a prep, with the gen. : ex. gr. irspi^ avrov foi- viKtg TTtcpvKaaif ii. 91 ; 2. with an accus., Trspi^ avToi' ddcpvai iardai, iv. 15 ; 3. as an adverb, Trspt^ viropvcjtJovTtg to Tt^xog, v. 115. It is here used metaphorically, in a round-about manner, or, as the Scho- liast explains it, fti) kut tvOelav (ppovovvTtg. 450. These charges are borne out by history. Thus, in Thucydides, iii, 68, we read of the Lacedaemonians massacreing 825 Athenians and 200 Platseans in cold blood ; and in iv. 80, we read of the mas- sacre of 2000 Helots. Aristophanes describes them as aicrxpoKtpdtlg, Pax, 622 : KavtirtiOov rwv AaKwviov Tovg fxtyiaTovg X9VH'^<^'^^' ol d' dr opTtg aiaxpoKtpbtlg Kal duipijjvo^evoi. dXXd fitv, dXXd dk is used like the Lat. alius — alius : other idiomatic uses are dXXog icai dXXog, one or tivo ; dXXog dXXo Xeyet, alius aliud dicit. It is some- times interchanged with 'irtpog, as Ipb. Taur. 962, tyd) jiiv OaTtpov XalSwv l3d9pov, TO d* dXXo TrpsalStip riirtp >/*' 'Epivvujv. 464. dkdoKTai. doKsut forms its tenses from AOKQ, as So^uj, eSoKa, but takes its perf. from the passive, as dt^oyp^ai, I have seemed. The reg. formation ^oic//cra>, kcoKriaa, belongs to the Poets. Thus we find SidoKTi^ai, Med. ^C)'^, kirii ytvvaXog dvrjpf Aiytif, nap ifioi dtdoKrjuai, «»*sa« i 110 NOTES. NOTES. Ill which must he carefully distinguished from the Epic dtcoKtjfikvoQ, expecting^ from deKOfiai, another form of dexofiai, aTrioXeaev. Porson observes that the old Attic writers never use a plural verb with a neuter plural nom. case, unless when speaking of living things. 456. dva\b)dri. The pres. in use of this verb is dva\i(TKii), imperf. dvijXKTKov, The older form dvaXou) is found in Thucyd. and the dramatic Poets, imperf. without aug. dvdXovv : Thucyd. viii. 45, rag ^ dXXag rrSXeiQ i 7rXr}yeig Ovyarpbg Trjg kfifjg vnip Kapa : and, in fact, the a priv. cannot determine the use of the gen. or any other case. But Matthise observes that the Tragedians especially use adjs. compounded with a priv., in which the idea is implied generally, which is more specifically expressed by the subjoined genitive, as daKtvog dtTTriSujv, i. e. dvev dcnriStjv, Soph. Elect. 36 : dvarog KaKutv, (Ed. Col. 786. Cf. the remarks on a in composition, supra 158. 461. irk^vKag : cf. supra 237. On the ellipse of the prep,, before Tpoi^ cf. supra 438, and on this use of irpdcrcrio cf. supra 418. 463. Do not at all (firjdkv) boast of this, avx^^v, akin to Kavxaojiai, though it frequently has no stronger meaning than to speak, to declare, as Agam. 1497» avx^^Q tlvai Todt rovpyov tfxov. It is generally used as a verb neut. without an accus. case ; cf. Hippol. 956, ?/5»/ vvv avx^*- Trpd^eiag. Observe that the Aoristus ^olicus is only used by the Attic writers in the 2nd and 3rd person sing., and in the 3rd pers. plur. Supply KaKiSg with irpd^uag. 464. inaivkait), aivtu), aiVsaw, yvioa, perf. yvLKa, perf. pass. vvniiai, yvsOriv. Also aiV^ffw, yvriffa, in the Epic Poets and Pmdar. So also dtu) (to blind), aipsu>, iroeku), and many others, inflect some of their tenses regularly with j?, but others with £. Passow observes that aivku) is seldom, if ever, found in good prose writers, but always kiraivkut. The fut. enaivBao^aL is more usual than knaivsaw m Attic Prose 465. diKpifJidTopeg denote brothers and sisters by different motJiers, as ducbindTopeg by different fathers, d/i^i, in composition, constantly has the sense of double, as dfipova, chaste, and m support of this construction dQdiiztVTOv yXojaarjg might be adduced ; ct. '^"47^__5.' Ivl is properly an Ionic form of sv, though used by the Attic poets. diTTTvxog from dig for obsol. dvtg {dvo), and irTvxVy TTTvfftTu) : cf. Lat. duplex from plico. The sentiment is a sneer at the form of government at Sparta, where the executive was divided between two kings, dfieiv. . . 0€p. . . On this construction cf. supra 291. dxOog is in the nom. in apposition with the precedmg sentence : cf. supra 396. . ^ , . ^ v 476. The construction and meaning of this passage seems to be, Movffai re 0tX. . . Kpaiv. . . ep. . . dvolv tsktovoiv Vfx, . . , avyepy. . . , to bring to pass, rivalry between two artists of son^, who are joined toge- ther in the same work, cwtpydraiv being in apposition with tsktovoiv. Pindar, Nem. 3, 7, has the expression rsKToveg kio^iov, craftsmen of festive odes, Kpaivu) is used both transitively, to bring to^ pass, as in this place, and intransitively, with a gen., as doKOvvr tfioi, doKovvra S' dg Koaivei (rrpaTov, Aj. 1050, in the sense of to govern, and also with a cognate accus., as Kai ffKrjTrrpa Kpaiveiv Kal Tvpavvevtiv yOovbg, CEd. Col. 449. Homer generally uses the lengthened form Koaiaivui, Kpimvov, &c. 0iXeai is here equivalent to uioQa : cf. the use of amo in Lat. : « Aurum .... perrumpere amat saxa potentms. Ictu fulmineo," Hor. Od. iii. 16. ^ 480. KaTd TrrjdaX'nov, Reiske proposes to read Kara irridaXiov or Trapa irridaXia}, because Kurd with the gen. denotes motion down- wards. But may not the expression have reference to the posture of the steersman stooping over the helm? 7rpa7ri^£C like 0p/?v (vvith which it is connected), properly denotes the midriff; hence the under- standing, that being thought the place where the understanding was situated. In the same way crirXdyxva is used ior compassion : cf. the use of prcecordia in Latin : " Aperit prsecordia Liber, Hor. 482. Adj. in cog make the fem. in r}, as oydoog, oydor}, oy^oov, eobg Oorj, But when p precedes they make the fem. m a, as dOpSog, dOpoa, It is used, though very rarely, as an adj. of two terminations, and in old Attic we find dOpovg, dOpovy, ^ 484. The verb hri must be supplied after a dvvaaig : a is the / m fi mKMig&^I Si a^^^ 112 NOTES. NOTES. 113 neut. plur. The sentiment is to avroKpaTrj slvai (ppsva Ivhq, Pflugk. Hvaaig is formed from the 2nd pers. dvvaaai, as dvvafjLig from dvvapiai : cf. Antig. 952, dW a fioipidia rig dvvacrig deivd, /jle- \a9pov properly means the ceiling of the roof, or a cross-beam supporting it : cf. Od. 9\ 279, TroXXd dk kuI KaOvirepOe fxtXaOpo^iv l^tnexwro, scil. dsa^ara. But in the tragic poets it is frequently used like the Lat. tecta. It is connected with fAsXag, as atrium with ater, iroXiag is the open form in the Doric and Ionic dialect, which is contracted iroXig, The Attic form would be TroXug, 485. QkXujffif men wish: cf. the use of ut perhibent SLudfertur in Lat. The SchoHast explains tvptiv Kaipbv by evrvxtag ^ai evKaipiag XafSsaQai. 486. After rj Aaicatra, Ovydrrjp must be supplied, if it be referred to Hermione, or yvvrj alluding to Helen. We may here observe that it is a principle of Greek syntax only to allow of an ellipse in cases where the words omitted are easily supplied from the nature of the proposition, or from the context. MtveXay Doric gen. from a form MevsXag : cf. note on povrat supra 280. 488. Liddeil and Scott translate this, ^' she braved all for an adtd- terous bed,''* and quote our colloquial expression " to go through fire and water " for a thing. A similar phrase occurs in Eur. Elect. 1 182, ^id TTvpog tfjLoXov d rdXaiva ixarpl Tg,ds, srepog, alter ; dXXogy alias: so adulter from alter, a second husband, snpog sometimes means strange, unnatural : cf. Agam. 151, CTrivCofitva Ovaiav Irspavy dvofioVf dCaiTov, 489. Koprj, which strictly means a young unmarried female^ is some- times used with the same latitude as puella in Latin. 490. tpidog vTTsp, by reason of because of For similar uses of vTrsp cf. Eur. Supp. 1125, /3dpog fiev ovk dl3pi9eg dXyeojv vnep. Hippol, 159, Xvirg, d' virep iraQkiov tvvaia ^E^trai ^v^dv. The prep, virb is more common in this sense. Homer has virtlp in the expression VTreip dXog, 491. dxapig is here used in the sense of thankless, ungrateful, like dxdpiTog or dxapLarog, In the compar. it makes dxapi(TTepog : cf. Plioen. 1757j X^'p''' dxdpiTov kg 9eovg diSovcra. iroTvid (in the Epic poets sometimes irorva) is used both as a substant. and adj., though the form iroTviog never occurs. Observe that the fem. m a of adj. is always long except in ^Td, ^id, iroTvid, and some adj. in tiog. In conformity with the quantity, the accent also is thrown back. 493. The substant. fitTaTponrj is not very common, but we fre- quently find the adj. fiSTdrpoTrog in this sense : cf. Eur. Elect. 1147, dfAoilSai KaKU)V' /ifrdrpo;roi irvkovaiv avpai doixwv, and Hesiod has fiiraTpoTra Epya TfXeixri, Theog. 88 ; Homer uses TraXii^nroj; — al kb 7ro0i Zsvg ^(fai iraXivTira Ipya ytvka9ai, Od. a\ 379. On the force of tTTSifJii cf. the note on fiereifii, supra 2f»0. 494. Kai ^rjv. This formula is constantly used to notice the entrance of a fresh person on the stage ; so infra 545, Kal jnyv ckSopKa Tovde UrjXka wsXag, avyKpdrog, from avyKEKpd(79ai, denotes united in the closest bonds of affection : cf. Xeu. Cyrop. i. 4, 1, rolg t/XiKLujTaig (rvveKSKpaTo* For an illustration of this use of ^tijyog, cf. note on dpfia, supra 277' 499. Xtx^ijjv, Observe that the Attic writers never neglect the contraction in words of this declension, except in the gen. plur. But they frequently use dv9EU)Vi Kipdeujv, Tpirjpku)v, &c., and in the gen. of 'Apijc, 'Xptog : cf. Eur. Elect. 950, rd yap tUv avTwv "Apsog iKKptfidvvvTai. 500. ovdtv, in no respect; the accus. of the indirect or more remote object, which is usually explained by the elUpse of Kara, HeTSxeiv admits of the following constructions : 1. the gen, only, which is the most common usage, as fitTe(TxV'^^'''^ rrig y/^piog, Herod, iii. 80 ; 2. the accus., as ixoXpav TifjLsujp jiiTexovreg, id. iv. 145 ; 3. the gen. of the thing and the dat. of the person, to share a thing with a person, as ttoviup nXeiffTOJV fierscrxov elg dvrjp *Hpa»c\g£t, Heracl. 8. Or the accus. of the thing may be substituted in this last construc- tion, according to the analogy of the second instance. It is here used absolutely, unless ovdtv be considered as the direct object. 501. air IOC, causing ill to a person^ hence guilty, or deserving blame, but sometimes used in a good sense. It is usually followed by a gen. of the thing and a dat. of the person ; but the infin. without rov is substituted by Herod, for the gen., ex. gr. Tovg sTricriag dvsnovg dvai airiovg 7rXrj9veiv rbv iroTayLov, ii. 20. 503. On the form KSKXyfisva cf. supra 122. Kord yaiag, Kara with the gen. denotes inotim downwards from above ; with the accus. motion over any space. From these primary or physical distinctions, all the metaphorical ones may be easily deduced. 505. TTTSpvyi, MeTaopiKu>g. dirb riov 6pvi9iav, dvrl rov vnb rifv ariv ^laaxaXriv, Schol. It is used for any thing that protects like wings. M'log. Ionic and Hom. Iri'wg, sometimes contracted by the Attic writers into dq,og, from dana, to hum, is divided in meaning between hostile and miserable ; but the latter sense is peculiar to the Attics ; and it may be further observed, that when it has this mean- ing they always employ the open form Idiog : cf. Aj. 784, a> data TsKurjcraa, dvaiiopov yevog. ^ 507. KpdvTu)p is derived from Kpaivio in its secondary and m- transitive sense : cf. supra 476, " Intelligendi sunt cives Phthice;' Pflugk. , 1.11 509. fJLoXe. This aor. comes from a pres. pXiocTKU), which, though not in use, is found in several old indices. This pres. again comes from a root jlioX-, according to a rule laid down by Buttmann, that Pp and PX frequently come from fi, followed by a vowel before p or X, as ppoTog from fiopog, of which CalUmachus uses a sister form tioproy, whence the Lat. mortuus. Similarly, fxaXaKog, soft, comes from /3Xd^, sluggish, and jSXirrtiv, to take honey, from /igXi. See Buttmann's Lexilogus, pp. 84, 189. 510. fca/xai, an old perf. with a pres. force, / have laid myself down, I lie, only occurs in the pres., imperf., and fut. The optat. is KioiurjVy and the conjunct. jc6a>/iat. Buttmann derives ic«/iat from KEUJ or Ktiu) ; but, as both these forms have a desiderative force, to wish to lie down, it would seem more according to analogy to consider them as derivatives and not as primitives. On the form kekth m the 2nd pers., cf. supra 393. 511. On /Lcacrroc, cf. supra 224. The dative is here used after du(pK because it follows a verb implying rest ; but it is very difficullt to draw a distinction between diiPA AQ), (ppdffu) : but when y is found in the root, the fut. is formed in ^a>, as Kpa^io (KPAFQ), Kpd^uj, Some few verlJs seem to waver between the two formations, as Trai^w has tiraKTa and eiraiKa in the 1 aor. Others again have yy as their characteristic in the pure thetne, as irXdZ^u), TrXdy^w. Xicradg, This is a peculiar fem. form of Xi(T(jbg, derived from the Epic Xig, and connected with Xiiog. Aig, however, is sometimes regarded as a shortened form of XitTcrrf, in the same way as dot is shortened from diofxa. It is observable that Xig, Xiffffrj, and Xifftrdg, are always found joined with irtrpa. 536. firJx^S ^^ ^^ °^^ poetic form, from which the later firjx^^n is derived, ^schylus uses a form firJx^^Pi as TriKpov xtt/iarof dXXo fiijxap, Agam. 199. We find fiijxog in Herod. : sttsL te KaKov ovdkv riv a0t firjxogt iv. 151. kKavvcriofiai. The subjunct. is again used as expressive of despair, like TrdOio and tupw noticed above. There are two forms of this verb, dvvi$} and avvru), of which dvvio is the older, and is found in the Epic poets ; dvvT(jj and the imperf. ijvvrov constantly occur in the older Attic writers, and are regarded by Buttmann as a sister form of dvvio, restricted to these tenses : cf. dpvdJ and dpvTio, to draw water. Passow observes that the a and v are always short. There is also a still older form, dvb), used only in the pres. and imperf. : cf. Od. y'. 496, evQa d* iTtuTa ijvov odov. 538. Xiralg. The root of this word Xir occurs in the old Epic verb XiTOfiai, as observed above 529. wg is accented ; 1. when it is used for ovrug, as Od. d'. 15, wg ol fxkv dahwro KaO' vxjjspt^kg jikya 116 NOTES. ^HJfxa : 2. when it is used to introduce a simile, and stands after the word which is the object of the comparison, as in this case. Gene- rally it is placed immediately after this word, as 11. y\ 2, Tpwec fihy KXayyy t hony t loav, oiwiOeg wq : but here another word is allowed to intervene. iKenvuyv. Verbs in eio and evw generally denote to be that which the radical noun signifies, as Ucreuw, I am an iickTTjg ; hence they are for the most part intransitive : cKtrfvw is more commonly transitive, and followed by an accus. It also governs a gen., as iKsrevffov Trarpbg ri^v (rrjv ah\(pr}v jxrf ^^'^}^* Iph. Aul. 1242, where iKkrtvcrov is equivalent to iKBrriQ laOiy which accounts for the gen. : cf. supra 22, yiK dvcKjanv, 539. y'iyova. The root of this verb was yiv (as seen in yivoq^ Lat. genus), from which was formed by reduplication ytytivw, by syncope ygyvw, changed into yiyvw (Lat. gigm), after the analogy of /x'lvw, ^e/i£vu>, /ii>i^a>, but only used in the midd., yiyvoixai. Observe that Homer and the Tragedians always use the older forms yiyvofiai and yiyvwaKu), not yivofiai and yirujcTKUJ. When the 2nd perf. ysyova has a pres. force, as in this passage, it conveys the idea of beim by birth. But it sometimes serves as a perfect to the verb £i/i£, simjply / have been : cf. note on yey tog, supra 320. 540. The meaning seems to be, / am not under the influence of any spell to cmciliate my loxe to thee. On avaXioaag in the next line, cf. supra 455. . , . i r 543. riQ «^oX This verb nowhere occurs m the simple torm Xavw. In good writers the fut. is aTroXavcrofiai, like afcovw, dKovao- uai. It is connected in root with Xa/x/3avw, Xa/3L(JTrjv, tov iriKpujQ vireprnKpov, TOV TTvpoQ KXknTrjv Xsyw. NOTES. 117 548 Ik Tivog Xoyov, qua de causa, voait. A common metaphor to express affliction : cf. infra 906 and 950 in this play. Virgil uses the same figure, "curisque ingentibus ceger, Spem vultu simulat, ^n. i. 208. „ T^n , o 549. dKpira. " Indicta causa supplicium sumentis.' —Pflugk. bo uKpLTov Tiva diroXXvvai, to put a person to death without trial. 550. ETTiax^g. This imperat. is anomalous, being formed after the analogy of the 2 aor. imperat. of verbs in /it. Some of the compounds of sx^ waver between this and the regular form. Thus some of the MSS. read irapdax^ ' Hec. 842, TriOov, Trapdtjx^g x"P« Ty Trpea- fivTih. This aor. gives rise to a new pres., l^x^^ siriax^i which are generally used with the stronger meaning, to hold firm, stop, or seize on. Buttmann. Cf. supra 160, 225. 551. These words are addressed to an attendant. Qdaaov. The neut. adj. used adverbially. Herod, is the only writer who uses the regular compar. Taxvrtpog : ex. gr., Taxvrepov (Tv^fihyoifiev av kg fidxiv, iv. 127. Taxiiov occurs only in later writers, and is suspi- cious. The Homeric and general usage was Qda(jujv. Hence we infer that the root of raxvQ was GAX, in the same manner as rps^w comes from 0PE4» : but it was a rule, that when two successive syl- lables commenced with an aspirate, one of them (and usually the first) was changed into the corresponding tenuis, and thus QaxvQ became TaxvQ- But, the second aspirate % being dropped in the compar., the first aspirate reappears. On the same principle, Tpi(pbi forms its fut. Qpk^io, and rpkxio, OpiKofiai. ioiKt. 2 perf., with a pres. force (like dkdopKa, ysyova, SsdoiKa, noticed above), from the obsolete sikuj. The Attic writers use a part. tUihg, which ^stands in the same relation to ioiKa as ddwg to olda. Herod, use^s oUa, oUibg. Buttmann observes that in the three perfects, toiKa, soXwa, eopya, the is the usual change from the radical vowel c (as depKOfxai, Ss- dopKa)y and the e at the beginning is the syllabic augment instead of the reduplication. 552. dvrjf5. . . . Adjectives in ripiog denote ability to do a thing : cf. drjXrjTrjpLog, dpaarijpiog, 553. Waii/fai, / undertake, or promise, which meaning is very un- usual : some writers interpret it by volo, but without adducing any authority. Observe that ttots, although an enclitic, here retains its accent. This occurs in two cases : 1. When a word, accented par- oxytan, has a dissyllabic enclitic after it ; 2. when the vowel, upon which the enclitic would have thrown its accent, is cut off by an apostrophus, as Xoyog d' kaTiv. 554—5. The Scholiast explains this, / will extricate her, as a fair wind blowing on a vessel extricates it, when impeded by contrary winds. Kar ovpov, lit. down the wind : hence, with good fortune, as we say of a person, he swims with the stream. According to Liddell and Scott, ovpog is connected with avpa (cf. the connexion existing between aTTOvpag and aTravpaw), or possibly with ovpd, cauda, as blowing astern, eixirvsto has three forms of the fut., efiirvsvffio, snirvsvao- fxai, and sfiTrvtvcrovfiai : cf. the note on tpsvyio, supra 19. 556. dyovcri. This word was sometimes used in the technical sense of rapere in jus, the full phrase being dyeiv elg diKriv,OT tig hKaffTTipiov. Thus Plato de Leg., 914, e, dysTio tov lavTov dovXov 6 PovXofjievog. But it may also have reference to the phrase, dyeiv kni OdvaTov : cf. Herod, iii. 14, dyovTo dh iroivi^v riGovTsg : and in 118 KOTES. NOTES. 119 the same chapter, aaOi^v rbv naXSa dyiSfisvov M ddvaroy ^yhere aVouX is^he same as dyS^.vov, according to Schwe.gh., but AT^fthif reads nyiouevov, leading the way to death. 557-8 Thlsfe the only instance in which S^apvoc is found in a v,ure writ;r 1 person wis termed Kvpw, in reference to his wife ^^d chUdren, ^rJ S.air6r„e in reference to his s aves. asOev. -Biv w^ the oriK nal termination of the gen. case, as is shown from Horn ITsim- ex gr. I? oi,oav69ev, 11.6'. 19. Hence it usually has a Sation of ^igin o^ motion fror,, a place. The Att.c poets retam this old form of the gen. in Ifjikeev, asOev, ei)ev, 56a \^; This is another instance of the subjunctive used in- terrosatively to exioress perplexity and despair, ,^ lei Ul I°^t«=^d "^f*'"' '"^'^'. Homer sometimes uses .a .r,c^ ex ST. oi, >ap TrdvTiov f,tv Aftic 9p6oe, oiS la ynp^S, \6 . 437. In th;fom the a is short, and also in the accus., but m the gen. it is ong wHh the drcumfl'ex, whilst the nom. and accus. are accented ZriX which is irregular. icXflWv. According to Liddell and S thbword ought to be written without the wta subscnp^um ; bu? thoughTxJa,, or rather .Xlo^a'.is the root, may not the substan- «ve be immediately derived in Attic Greek from KXnti., A^ic ^9^-, ^.XvS.v comes 'from .X^o.? Ite mean.ngs a^«-l- «» r^?' ^^ Od .,' 120 wc ao £0n- Yalpti' Si K\(t}Sovi Slog OBvaaivg, l^nvoQ rt Qo'o^ri i a ZiJrov tidings, or reputation, m the same way as we ^s^e the word%or« sometimes, as ri .Xq^ovoe KaXfis l^ar^v ptov.m laTaa yiiv^L ; 3. a mmmons,^. in this passage, or more strictly an invocation : in which sense it is used by iEschylus. 562 The preposition v^b here denotes the instrument ; so Gavuv iiTTo TLvoc to be put to death hy a person. "leri'Z The full foi-mLuld be o'Sa.9a, \,y syncope M and bv droppin" the S for the sake of euphony, oiaSa. In the oia Suage "^11.-1 syllable 9a was added by P-^^s pert^ w°as pers. act. ; or perhaps it is more correct to say that this Person was originally formed m aOa, and subsequently shortened In Homer and other Doets it is found in the conjunct, and optat. moods . ex. gr. m\v£ iTl 55I KXaio.a9a, II. i.'. 619. It. has been retained n the following forms of the indie, by the Attic writers : efn^Oa, f,Svi, and yua9a from Hfti. 565 liyivm refers to nobility of birth, yevvaiot to nob.hty of spirit or nltu^e : thus a peasant may be yavv«Toc,but he cannot be said to be eiytrilS. This distmction is drawn by Aristotle m his ^^^etlavaaarfiv, as worthy of admiratwn or respect. Ji^^^ sense is somewhat unusual but we find l;r.eav^a?»v with this meaning m soraewnai unus , iTn9avudltw n rbv SiSaaKoXov, Aristoph. JNUD. 114/, XP'','"f , a. '^ c. „_„(.„„„ ft»o Thfrp i<» which is spoken by Strepsiades a^ he offers Socrates a fee There ^ a necuUar Attic construction, OavfiacTTovoaov, hke the Lat. mirum ^u^^" wonderfully .nuch, .s/3ac, is not "'feO^Sr'^C. Verbs with the characteristic letters \, ^, r, p, present 'Ihe following peculiarities in the ^orm^tion «[,^^^^^^^^ 1 a(»r and 2 aor. :— 1. They have for the most part the 2n(l tut. n:;;Xfth'eTsHut.in.o,^ arsWu, aT,\(o, though we find some few msUnces to the contiarj, as KsWu) {I land), icIX/tw, tKikaa : Kvpto (/ ni^et with, used by the poets for Kvpsw), KVQCWj tKvptra, 2. They form the 1 aor. in a without c, either lengthening the penultima again, as afxvvuy dfivvutj rjfivvaf or changing the s of the fut. into £t, as fievui, tfieiva, or a into ?j, as -ipdWu), \j/a\vj, t\l>ri\a, 3. The 2 aor. retains the vowel as it stands in the fut., as ^aXio, ej3a\ov : except that in verbs of two syllables € is changed into a, as KTeiv(t), KTtvCjj tKTavov, 570. yvovTsg, For a full account of the 2 aor. form iyv(ov, cf. supra 136. alriog is used in a precisely similar manner, supra 501. 571. fxhWovai KTtveiv, Some editions read KravtXv : cf. supra 407. TaXaiTTOjpog, Liddell and Scott consider it akin to TaXansipioQ (tXciu) and iriipa), experienced in suffering, 573. TTiTvovaa. Some editions read iriTVovffa : cf. supra 357. ovK i^sari. Either because her hands were fettered, or because the privilege was denied to her as a barbarian, 674 For the principle of the gen. after XafisaQai, cf. supra 425. 575. pvaai. The act. hpvu) or ligvio, to draw, which is only used by the Epic and Ionic writers, has v in its inflexions : cf. II. «'. 836, X^tpt TrdXiv kpvaaa' 6 d' dp* efifxairsiog diropovae. The midd. kpvofiat means to draw to oneself, to save, to protect ; in which sense only there is a shortened form, pvofxai. In the Epic, when a long syllable is required, it should always be written vaa, as the long^ v was a later introduction of the Attic poets. — Buttmann. Trpog Oeuiv, The radical and physical meaning of npog is from, diff'ering from kx, inasmuch as the latter infers that a person has been in a place. In oaths and protestations it denotes bef(yre or in the presence of, with the idea of depending upon, as in this passage. The pronoun ere is fre- quently inserted between Trpbg and its case, when thus used, as Med. 324, /xi), Trpog (re yovdrwv Trjg re veoydjjLov Koprjgy where dvTidKo) or avTOfiai must be supplied. Virgil has imitated this con- struction, ^n. iv. 314 : "Per ego has lacrymas, dextramque tuam, te." So also Horace, Od. i. 8 : " Lydia, die, per omnes te deos oro." el dk /ii} should properly come after aflirmative sentences ; but it^ is also found after negatives, as Soph. Trach. 586, £i rt /lij) doKiS irpda- asiv naTaiov d dh nrj (but if I do), imravaerai, 577. -^aXdix) takes a in its inflexion, analogously to airdb) before noticed, ha^d, plur. of h^nog : for other instances of this pecu- liarity, cf. supra 280. So also in Lat. we find locus, loca, and coelum, pi. cceli, KXaiw, Attic KXdu) (cf. dtl and dtrbg), with a long, makes the fut. KXavaoyLai, KXavaovfxai, KXairjiJU), and KXari^it), So Ka('w, Attic icaw, Kavau), 578. diTTTvxog, folded together, alluding to her hands being fastened together by fetters ; cf. supra 471. dvisvai : cf. supra 531. 579_80. dirav^iS : cf. supra 87- rjaautv : supra 312. as9ev : supra 558. ysywg : supra 320 and 539. 581. V ' cf. supra 249. dfibg, »), bv, an old shorter form of the pronoun possessive rj^erepog (from »)/i«tc), ^sed by the Dorians and Epic poets, but the latter pronounce the first syllable with the spi- ritus lenis ; the Attic poets do the same, but only use it in the mean- ing of the sing, for kubg (from kfiov) : cf. Eur. Elect. 555, ovTog rbv djxbv Tarsp e9pe\p6v. oUriaeig. This verb is here used in its se- condary sense, to manage : cf. Eur. Elect. 386, 01 yap toXovtoi rdg TToXug oiKovaiv tv. It is here thus used by Homer. iioiKslv is more f 120 NOTES. common, especially in prose ; hence the English diocese, fjtoXiov : of. supra 509. 583. ai'x/xaXwroc, compounded of alxfirj and aXiorbg, the verb adj. from a\i(TKOfiai, perf. ka\u)Ka, 2 aor. kaXiov, infin. dXujvai : of. twpiov and kwpaKa from opatj, elXov, This aor., though nominally coming from aipeu), points to an old root, kXio, We even find a fut. eXoT in the compounds TrspieXoj and KaOeXui. 586. According to the distinction between ov and fir/, laid down supra 180, hri nmst be supplied after ov, the full construction being KUKUjg Ce dpav ouic l(Tri ffd. Buttmann observes that o{f, £i, wc» £V, ttg or sQj U or £^, appear commonly unaccented, because they coalesce with the subsequent word, and are on that account called atona, unaccented words. But as soon as such words are unconnected with the subsequent one, standing either alone or at the end or after the words which they govern, they obtain their accent, as ov, no ; ovdk 587. Some imperative, as iaGi or iTriaraao, must be supplied before i}Q : but the construction is so forcible in its present elliptical form, that the origin of it is at once apparent. See the remarks on ellipmy supra 486. 589. W eidyc. irsXag, though strictly an adverb, is here used as a prep, with ^ gen. For similar instances cf. the note on XdOpa, supra 310. 690. On til is forcible use of yap in questions, cf. supra 249. The prep. Ik here denotes origin, sprung from : cf. CEd. Tyr. 1397, vvv yap KUKog r lov kclk KaKujv evpitJKOfiai, 591. The construction is /xcrecrrt Xoyov (account or imputation) (Toi irov (enclitic, as shown by the accent) a>c sv dvSpdmv. When fisrsffri has this sense (to have a share of a thing), it is almost always used impersonally. 592. On this use of ocrrigy cf. supra 399. d-rraXXaffffeaOai usually means to remove, or depart from ; ex. gr. diraXX, . . . /3tot;, to depart from life. But here it seems to have the additional idea of being deprived of by force or fraud, as indicated by the words irpbg dvdpbg ^pvyog. Liddell and Scott explain it to he divorced. On the forms aTrrjXXdyrjv and dirrjXXdxOriv, cf. supra 424. 593. aKXyara, Attic for aKXtiara : cf. note on GvvsKXycTav, supra 122. The form ifrria belongs only to the Attic and later writers. In the old Ionic and Homer it is always iffTirj, with long penult., as iarir} t 'Odvarjog dfxvfjLovog, fjv d(piKdvu). In the so-called Homeric Hymns, Iffrtjj occurs with the penult, short, which furnishes one out of many internal proofs that they were not written by Homer. This word being formerly written with the digamma, furnishes us with the origin of the Latin Vesta. 595. Observe that the particle av must be construed with ysvoiro in the apodos'is of the sentence. This collocation is not unusual ; so in the well-known instance, ov yap old' dv si irthaifii (re, which must be construed ov yap oJda ei Treiaaiixi dv as, Ale. 48. On the meaning of (Tw(ppii)v here, cf. supra 346. 598. TreirXoig dvtifikvoig. The Spartan virgins only wore one gar- ment (xtTwv), and had no upper kind of clothing, whence it is some- times called IfidTiov (pallium) as well as xit'wv. Euripides incor- rectly calls this Doric dress TrsirXog, and speaks of a Doric virgin as HovoireirXog, They appeared m the company of men without any :notes. 121 further covering. This Doric xtTMv was made of woollen stuff; it was without sleeves, and was fastened over both shoulders w'ith clasps or buckles (TropTrat), which were often of considerable size. It was frequently so short as not to reach the knee. It was only joined together on one side, and on the other was left partly open or slit up, to allow a free motion of the limbs ; the two skirts (Trrepvyeg) thus frequently flew open, whence the Spartan virgins were some- times called 0ati/o/zj/pt^£g.— Smith's Dictionary of Antiquities. The epithet dveifikvog (perf. pass, of dvirjfii) alludes to this last circum- stance. 600. On the force of dra, cf. supra 218. On the form xptwi/, cf. supra 374. On the construction, eavfid^io d, cf. supra 499. We have here another instance of what may be called the defining use of the adj.: Traidevtre yvvalKag loars elvai crw^poimg, 602. spsaOai, 2 aor. (observe the accent), from rtpofirjv. The pres. tpo^ai has only a grammatical existence, and ipsffOai is very suspi.! cious. Buttmann considers the Ionic tipo^ai to be the true theme, and compares dyspeaOai, from dydpofiai, with kpeaOai, On the form' Xprjv, cf. supra 113. 603. Tov abv (piXiov, supply Aia, alluding to Zeus as the god of friendship. The passage may be paraphrased : having left the protec- tion of Jove, who presided over your love. A similar ellipse occurs in Aristoph. Acharn. 730, sttoQovv tv (Doric for (re) vai rbv tpiXiov q.7rep fiarfpa, i^eKwfiaffe, The simple verb Kwfid^nv denotes to dance to music at a festival, to indulge in revelry (Kwfxog, undo Lat. comis- sari). The prep. U gives the additional idea of departure : rushed off in a wild and riotous manner. 604. vsaviov fxer dvdpog. We have here another instance of two substantives being joined together in the relation of adj. and substant.: cf. 'E\Xaf TToXig, supra 169. 605. This use of sTreira has been noticed in note on tira, supra 218. On the form ovvtKa, cf. supra 251. 607. aTTOTTT, . , . TTTvut (to spit) is also written ypvtj, whence Lat. spuo. The pass, takes a, as perf. tirrv^iiai. The v is long in the pres. and imperf., but short in the fut. and aor. It is here used metaphorically, like the Lat. 'respuere.' firi KiveTv. According to the idiom of the English language we should have expected this infin. to have been in a past tense. But the Greek idiom is similar to the Latin, which is thus explained by Zumpt : '^ the words opor- tere, necesse esse, debere, convenire, posse ; par, cequiwi, consentaneum, justum est, et simUia, are put in the indicative of past time (xp»7v), to express that something should have been done, which in fact has not been done; ex.gr. debebas hoc facere (xpnv (ts tovto Trpdrreiv) * thou shouldest have done this.' And further, the dependent verb is commonly in the present infinitive." This remark appUes to the infinitives in the two following hues. 608. avrov is here used adverbially, " ^o {w ?oco." According to Liddell and Scott, the full expression would be Itt' avrov tov towov. In Herod, we find the phrase avrov ravry, " eo ipso in loco." tovq ovovg KaTsXiTTt avrov ravry sv t(} arpaTOTrkdii), iv. 135. Homer uses avT6io, rpw'jtc; but only once, and then in the general sense oi to huH or injure: oJvog ai roioH liAitidyg, ogre Kai aWoyg fSXa^TH. Od. vTai 8n 67rt ry fcarody {tov UHOKJTpdTov) Tzpnyixa evriehTaTov. Herod, also uses the ll NOTES, 123 substantive evriQirj (Ionic for evIjQsia) in the same sense. The neut. plur. is here used adverbially. 626. thiijag. The form 3u3u) is only found in Homer, and there only in the 1st pers. sing. The Attics use instead of it St^oiKa and deSia, cf . supra 362. According to Liddell and Scott ddjiap answers to the Latin conjux, one who is tamed or yoked, in opp. to a^jur/^, a maiden. tXV^- ^^^ subjunctive in this case is a violation of Dawes's rule, that, when there is a past tense in the principal clause of a sentence, the optat. is used in the dependent clause after oTrojg, tj/a, and similar final particles ; and, when there is a pres. or fut. in the principal clause, then the subjunctive is required in the de- pendent clause. But the fact is, that if the sense be st\\\ present to the speaker, although the principal verb be in a past tense, the de- pendent one may be put in the subjunctive, as in this case ; the fear w£Lspast to Menelaus, but the possession of his wife still remains ; cf. Hec. 27, yitdriXi tV avrbg xpvf^bv iv dofioig ixy- 1127, Jiovov 3e avv TSKvoiai ft* eigdyei, Aofiovg 'iv dXXog firj Tig eideirj TdoSy where we have a pres. in the principal clause, and an optat. in the dependent clause, because there is a sudden transition in the mind of the speaker from the present to the p)ast. 629. nacfTov : cf. supra 224. This word appears to have come into use about the time of the tragic poets, who never use the Homeric iia^og. It is used metaphorically to signify a /ti^^, espe- cially by Xenophon. 630. irpo^oTig, fem. of npo^oTrig, Nouns in r]g form the fern, in tg, when the penult is short ; but, if it be long, in pia, as TroirjTrjg, TToujTpia. Some grammarians have laid it down as^ a rule that all 61 'yu) TSKOvaa Tovd' b(fiv eOpfipdfXTjv. 631. r}(Taiov, cf. supra 312. TTKpvK^g, cf. supra 237- 633. TTopOsto is a kindred form of 7rsp9io, commonly used by Homer, which proves that it was not formed from 7rs7rop9a, a post- Homeric perf. of TTspOo). The accus. oUovg must be repeated after it. 635. KXaiovTa KaTaaTrjcrei, will bring you to tears. When KaO- KTTdvai is used like TiOsvai, in the sense of to render or 7nake, it is followed by a substant., adj., or particip. in the accus., but not by an infin. ; cf: Antig. 657, ypevdrj y iiiavTov oh KaTaaTiiau) ttoXh. 636. KH, by crasis for Kal ti, though the long syllable remains unchanged ; so kov for Kal ov, and Ktv for Kal ev, but a change takes place after 01, as Ktfvog for Kal olvog. Kal u means if even, suppose even, but d Kal although, and is construed with an indie, rplg voQog, The number 3 was used to signify excess both in Greek and I^atin, like our thrice. Thus Tpi(TixdKap€g Advaoi Kal rerpaKig, in Homer and Virgil's imitation, " terque quaterque beati." Observe the force of Toi ; cf. supra 212. 284. 637. Krjpbg, dry, parched. Homer has the form ^epbg, but it only occurs once, Od. i. 402, ttotI Upbv rjireipoio Aeivov epevyofievov (jusya fcv/ia), an idiomatic expression for ttotI ^ipdv rjirtipov. ^rjpd airopd here means seed sown in dry land, Liddell and Scott ; though (TTTopd more commonly denotes the act of sowing, or seed-time, kvi- Kr}(T6. Observe the habitual force of the aor., and the quantity of the final syllable before crir in the following word. G 2 124 NOTES. NOTES. 125 639 Ki'.^iov, a comparative formed from Kv^pof, the p being dropp;d as in a.Vxi-v from a.Vxpoc This adjective only occurs m poetry The comparative termination iu.u is always long m Att.c Greek; but short in Homer ; of. Ale. 960, ri Kvhov m". Znv, what *64;^Sr(used1oth as a substant. and an adj.) from .^vo- „a. d;no tes a person who labours for his daily subsistence, wi hout the idea of any thing disreputable. But ^ra>xos, from wTu.^«. f^^-^ ''«"g„'^''g' :Ji" that of the latter is short ; as airXayxy sTracravro. Horn, passim. The perf. of the latter differs by having the a, vnraciiai.—iinit- "" 642-3. .ith the article. Observe that in TiTvli^a., the perf. pass, of r^ix'o, the diphthong is .changed mo V, after analogy of ^tvyo,, Trk^vy/iai, <,evu,, £;7r«pa;rr,c, properly means a person ^^velling on the ma n- land, but especially an Asuttic, Asia being called ^ ^^^^r^'J^'^' I Herod, i, 171 ; cf. supra 159. The construction 'HTTfipwriv, ou, "a native of Asia, where" is very pecuHar, the adj. being made equi- valent to the substantive, or rather the substantive being suppUed from it, on the same principle that we have the possessive inter- changed with the personal pronoun, in the expression tov ifibv fxeXtag oIktov : cf. (Ed. Col. 344, crcpoj d' avr Ikelviov ra/xa dvarr^vov KaKCL vTrfpTTovsirov. And so Cicero has " nomen meum absentis." 653. dopiirtTfj Treffrffiara is merely a periphrasis to express death by the spear; so in Troad. 1003 we find the phrase topnriTrjQ dyiovia. Observe the alliteration of SopiTrerTJ iretrrinaTa TTETrrwfce. This perf. comes from ir'nrTia with the i naturally long, consequently the im- perative is accented properispomenonj TriTrre. The formation is from TTSTU) ; ex. gr. fut. Trecrovfjiai, Ion. TTEcrgojuai, aor. 2 iireaov. The part. perf. is shortened by the Epic poets to 7r€7rrfa>|^, by the Attic to imrriog. The latter carries us back to the regular 7re7rT(t)K(Jg : but 7r£7rr£a»c points to irsirTriKa (cf. tsOveioq), And this was the original form (ttstw, TrkwrriKay like dsfiuty dsdfirjKa) from which by the change of vowel came TrkirTUiKa. — Buttmann. 655. TTEipvov, t'ire(}>vov is a syncopated and reduplicated aorist of the obsolete (psvu) (whence ^ovog), like eKeKXonqv from KsXofxai, The aor. is accented contrary to analogy, irkfpviuv. The Homeric perf. pass. TTscpafiai is connected with (pkvu) in root, in the same way as rerafiai is connected with reivu), 656. riv, 3rd pers. imperf. of stfiL The original form of the imperf. appears to have been ta, ex. gr. tl Tore Kovpog ta, vvv avTe fie yijpag iKcivsi, II. ^.321. Hence came the Attic 1st pers. ?/ for iyi/. In the 2nd pers. the Attics used rjcrQa; cf. (Ed. Tyr. 1122, where we have an instance of each : Aatov ttot ijcrOa av ; ri dovXog oi)K djvrjTbg, dXX' olkoi Tpafpsig, The original termination of the pluperf. act. and midd. also was in sa, which occurs in Homer and Herod., ex. gr. TrcTrotOca, Od. i. 44 ; tTiQriirea, Od. T. 167 ; avvy- UaTty Herod, ix. 58. This ea is changed sometimes into i?, some- times into H with the addition of v, 657. Ty^E. 6 avrog takes a dative after it on the same principle as adjectives expressive of likeness and equality. When it has this signification, it frequently coalesces with the article, ravroVf TavTtf, for TOV avTov, &c., and the neuter is both in bv and 6 : TaifTo and ravTov, for to avro, 660. d, wherefore, supply did. For instances of a similar ellipse, cf. Trach. 138, d kuL as tclv dvaactav iXirimv Xgyw Tah' aikv iffxeiv. Pers. 114, TavTa /xoi fitXayx'iTiov (})prjv d^vaaerai ttoXltiov. Another instance of the predilection of the Attics for the partitive gen. 670. KdQija dv. For the rules which regulate the structure ot the two clauses of a conditional proposition, cf. supra 215. /ccfOr/co is the imperf. unaugmented; haQi^nnv or KneiifirjVy Uderjao and KdOijao, iKdOrjTo or KaOnffro, cf. supra 266. Ksvi]g. This is one of the few words of which the Ionic form {^tlvog) is used by the tra- gedians, when the metre requires a long penultima. They also used, under similar circumstances, fxovvog, yovvara, Kovpog, and dovpL 671. XdaKu), fut. XdKfjauj, aor. 2 eXaKov, perf. XkXdica, synony- mous with the present. That Xajc- is the root, is shown by the aor. 2 (in which we are always to seek for the root of a verb) ; the g, thus in Like manner, and attributes the usual form to a confusion with the well- known form avrujt;.— Liddell and Scott. 674. Verbs in au'w are formed both from adj. and substantives, NOTES. 127 and are used sometimes in act. sense, as XtvKaiva), to whiten, or in a neuter sense, as fiajpaivu) in this passage. In the New Test, we find a passive form of it, to he made insipid, sdv dk to dXag inopavBy, kv Tivi dXiaOrjaeTai ; Observe that fxwpbg is accented oxyton in common Greek, and properispomenon {fiojpog) in Attic Greek. 675 — 6. T(fi fikv — Ty OB. In the primitive language of Greece the article 6, r/, to, had the force of the demonstratives ovrog, Uelvog. This usage was afterwards restricted to some particular expressions, but it is constantly found, when the article is joined with the adver- sative particles fikv and ^6. In this case 6 fiiv comes first, and 6 Sk follows, once or several times, yovtvg is formed from perf. midd. ykyova, like (povivg from the obsolete irsipova. Observe that the first syllable of irpdyfiaTa is long by nature, as is shown by the accent of npayfia. Updaffu) (Ionic Trprjcrffu)) is derived from Trepdoj, wepaivu), and properly means to bring a thing to an end. 677. The foUowmg distinction must be observed between ovkovv and OVKOVV. 1. ovkovv is used both in positive and interrogative sentences, and means not therefore. 2. ovkovv, thus accented, ap- pears to lose its negative force, the stress lying upon the adv. ovv. According to the old grammarians, the accent showed upon which part of the compound the stress was to be laid. Elmsley proposed to write it ovk ovv, separately, in all cases. On the government of w^fXeiv cf. supra 49. It occurs with an accus. two lines below, and again in v. 682. 680. iyi6xQr](JE (from /uox^oc, Homer jnoyoc (cf. /ioytg), distress, while TTovog prop, denotes daily toil, from Trlvo/xai), was afflicted. It is frequently followed by a dative of the cause, ex. gr. (Ed. Col. 350, TToXXoTffi S' 6fij5poig r/Xtou te Kavfiaaiv fJLoxOovffa tXyiumv. The dis- tinction between ^ox^tiv and irovtlv will at once appear by com- paring this line with v. 695 infra. 682. ovTsg. "EXXrjvig must be supplied from 'EXXa'^a in the pre- ceding line. This is somewhat similar to ^HTreipCjTiv, ov supra 652. 683. tjiriaav. As regards form, this might be either the 1st or 2nd aor., but in signification the 1st aor. of /3aiVw is always causa- tive or transitive, the 2nd aor. is immediative or intransltite. We have examples of both in II. a. 309, Ig d* EKaTOfJLprjv Brjas (i. e. k(Ts[3rj, after having dropped the c, are contracted, and the same contraction takes place in the other persons, according to the general laws of contrac- tion, so that these futures are conjugated exactly like the pres. tense of the contracted verbs in aw and cw. No contraction of the vowels can take place in the fut, in laio, after the a has been dropped, but the circumflex is placed on the w, and they are then conjugated Hke contracted verbs in sw, w, ex.gr. KOfii^io, KOfiitru) (-tw), fut. Attic ico/itw, ulg, leT.— Buttmann's Gk. Gr. KOfirig smffTT. . . . , cf. supra 402, where the same expression occurs. 711. ariipog is used as an adj. both of two and three terminations. In the expression anXpav jSour, Od. V. 30, arupa must be regarded as a substantive (cf. /3oi;c, ravpof), because adj. in po^ in Homer make the fem. in ?/. /Lioffxoc. A similar metaphor is applied by Sampson to his wife, Judges xiv. 18, " If ye had not ploughed with my heifer, ye had not found out my riddle." 713. TO Ksivrjg, equivalent to kKtivrj, cf. to gov, supra 143. The exact meaning of the neut. art. joined with the possessive pro- noun, or the gen. of the pers. pron. is ' that which concerns a person.' 715. The expression (pOdpsaOe TrjtrSe has been explained supra 7O8. Ttigdf is in the gen., because this aor. of (pMptaQt involves tiie idea of "motion from." iag dv kKfidOu), Observe that the particle dv is either used or omitted indifterently after the final par- ticle iog : cf. Hippol. 1299, wg vir' evKXtiag Gdvy, ^ 716. The construction is elrig KwXvau ^e Xveiv x«P«C Trjadi. The penult of Xvio is long, but like dvu) and Ovio it shortens the v in the perf. act., and in the perf. and aor. pass. In the next line wg (since) must not be confounded with the final particle nig, which would require a subjunctive. 719. kXvixrjvu), aor. 1 midd. from Xv/uaij/w. Some few verbs m G 5 130 NOTES. aivu) take a in the aor. 1, as KoiXaivio tKoiKavaf K(pSaivu) sKspdava, and this a is always long. It is incorrect to write this rj with an i subscriptum, because it comes from the a in the fut., and not from ai in the present tense. 720. f3ovg is thus declined ; gen. /3o6g, dat. j3oi, accus. Povv, voc. Poif, pi. pSsQ povg, gen. /5oCJv, dat. jSovcriv, accus. pSag l5ovg. The Attic writers in the nom. pi. mostly use the open form f36eg. x^^Q {cong'ms) is similarly declined, ^ooc, xoi, xovv, plur. xo6C, X^^Q ' ^"^j as it is properly a contraction from xofv^, the better Attic forms are gen. xowCj ace. xoa, ace. plur. x^^^y which must not be confounded with x^^Qi libations in honour of the dead. — Buttmann. 721. 'AfivvaOov, afxvvddiiv, a^vva9oifJLr)v, are formed from a'juu- vdOuj, a lengthened form of dfivvio, like diajKciOeiv, dpydQuv. On these forms Elmsley was the first to observe that the pres. indie, in dOtiv never occurs ; but he was hasty in adding that they are always aorists, and must be therefore accented in the infin. -tiv. Plato has idicjKnOeg, for instance, cf. Gorg. page 483, a. — Buttmann. 722. On the verb spTroi, cf. supra 433. 724. Opsxpuj from Tps(piij. In this and similar words, the principle of the change is, that the aspirate mubt always be preserved. Here in the inflexion it is dropped in the sec(md syllable, and con- sequently it is thrown upon the first. In OplK, rpixbg the reverse is the case. 724. aTrrjv, This 3rd pers. sing, is explained supra 656. diriiv must here be considered as used absolutely (i.e. without a case), ToXg ^TragridTaig being in the dat. on the principle of the ^'dativus commodi,'* 726. Homer has a compar. psXTspog, and ^schylus a superl. PsXraTog. Eumen. 487, Kpivacra d' affTutv tCjv kfiiov rd piXrara 727. The construction of this line has been fully explained supra 181, where an exactly parallel expression occurs. dvtLfisvog, though properly aperf. pass, particip., is here used adjectively. It occurs in a similar sense Thucyd. i. 6, tv roXg irpatroi dk 'AOrjvaToi t6v re (Tidrjpov KaHOevTOj Kai dvsinsvy ry diairy eg to Tpv(l)6puiTtpov fieTS(TTrj(Tav. Cf. the use of ovXo^tvog in Homer. Observe, the penult of irpecrfSvTijg is long ; Trpiapivrrig (in prose) means an am- bassador. 729. The primary meaning of TrpovijjTrrig (from irpo and u)\^) is with the face forwards, from which the metaphorical meanmg of ^' eager ^^ in this passage is easily deduced ; as also the meaning in the two following lines of the Alcestis, rjdrj TrpovioTrrjg ic as being a contraction of e(jjg into vjg, ex. gr. tfxcpavrjg, gen. coc, contr. ovg, eficpavewg, contr. tfitpavwg. Herodotus always uses the open forms. 739. ya/ijSpotyc is another instance of the plural being used instead of the singular. diSd^ofxai, "I will teach myself," i.e. "I will learn ;" cf. Soph. Ant. 354, Kal ^Osy/ia Kai tjvepoev (ppovrifxa Kai d(TTVv6fiovg opydg kdiddKaro. The usual meaning of the midd. dtdaffKOnai is to cause to be taught, as xP») b' oviroO' oGTig dpTicppwv TTE^wfc' dvtjp TTatdag TrepicraCjg sKdibdcrKtoOai v ; Instead of the optat. act. m oifii, there was another form in oirjv, oirjg, oit), plur. oirjfisv, oirjTS, oirjcrav, called the Attic form, restricted to contracted verbs and verbs in fii : it is, however, found in the per/, of barytone verbs, as 7re(ptvyoirjv, iXTjXvOoiTjv, and the anomalous aor. 2 axoirjv from 6XW : but there are exceptions. The plur. of this Att. optat. was httle used on account of its length; and they always abbreviated the 3rd pers. plur., as iroioiev, dolev. 752. v(^v is the ^^datims incommodV^ 753. TTT-naaeiv, to cower down as a bird when frightened : hence to he m ambush : cf. Ran^, 315, ciXV iipkua TrTrjKavreg ^Kpoaaihueda. eig eptifiiav. Another instance of the '' sensus prcegnans,'' the prep iig being here used to denote motion to a place, together with the Idea of remaining at it. On irpbg [Siav, cf. supra 730. 755. vY^og, from vrj and eVoc, Lat. in-fans, vrj- being an insepa- rable prefix, with a privative force, but principally before adii.,beinff a strengthened form of dva, privat. (cf. dvaLrtog), with the first a dropped : cf. avtiXsrjg and vrjX'ng, dv^^vefiog and vrjveuog. Vide Blomf. Gloss. Prom. 248 : cf. supra 158, note on a privative. On (TKOTrei, cf. supra 257. 756. dXiaKoiiai (forming its tenses from a form dX6u)) has a pass, sense m the perf. and aor., with an act. form : cf. note on dXibaouau supra 191. The aor. 2 is iyXwr, Att. id'Xiov with a long : the other moods have a short as optat. dXoirjv, Ion. dX^nv (common in Homer) conj. a\a>, aX^g, &c. The long a in edXwv is to be ac counted for by a double augment, as Iwpiop from opdw. The termi- nation of this aor. has been explained supra 136. 757. oij ^t) is constructed with the>^. iwc/k., and the aor. subiunct. with a predilection for the aor. 2. Elmsley maintains that it may be used with the pres. subjunct., but the instances, even if not coi-- rupt, are rare With the subjunct. the full construction is oi; dkoc iCTTi ixn : cf. Ecclesiaz. 650, w, tog , cf. supra 407, where an instance occurs ; but in all these cases the object or act implied is strictly something future. Zumpt observes that the Latin language also is much more accurate in the use of the future than the English : as /aciam sipotero, " I will do it if / can.'' 824. 7r60 Oavslv. The infinitive is constantly used in Greek, where the Latin idiom would require the gerund, the particip. in dus, or a supine, and especially after adj. and siibst., as Xkysiv dnvbg, dicendi peritus, Soph. ; Xsysiv ts Kal Trpdrrativ dvvaruJTaTog, Thucyd. i. 139 ; Bopv(y9svr}g TriveaOaL rj^KTrog iariv, Herod, iv. 53. 826. andpayfjia. Nouns ending in fia, when they increase in the 136 NOTES. gen., properly denote a thing done, and so correspond to the part, perf, pass.y as Trpdyna, a thing done. Here, however, (nrdpayfia is used in an active sense, as if it were (nrapayfWQ : cf. Bacchse, 735, VfieXg fxtv ovv (ptvyovTSQ k^rjXv^afJiiv Ba^xwi^ (nrapay[i6v.^ The ex- pression airdpay^a Orjaofiat is simply equivalent to aTrapd^ofiai : so Sophocles, Antig. 151, has OsaGt XrjcTnotrvvav for XdOeaOs, On ddiog cf. supra 505. 830. ippo) (aldn to pku), Lat. ruo), to ^o,with the additional idea of coming to mischief : in the imperat. it is a common form of ij"^pre- cation ; Lat. abi in inalam partem : so Aristoph. Plut. 604, epp ig KopaKag Outtov acj)' rifiiuv, aiOspiov, equivalent to Ig aiOspa, An adjective, referred to a substantive, is frequently used in Greek, where the EngHsh idiom would require an adverb, or a preposition with its case : cf. II. a . 497, V^P^l d' dv£/3i? fikyav ovpavbvy for rypi, mane, 831. (pdpog. The penultima of this noun is always long in Homer, and it is therefore circumflexed, ^apog : but in the tragic poets the usage fluctuates. It corresponds to the Lsit. pallium, and denotes an upper garment, square or rectangular in shape, worn by both sexes, and usually fastened over the shoulders by a buckle. 834. a/x0i0arfj. The prep. dn V yap ttot iarlv tKntcniv '^PX^I^ ^^^ 5 Herod, i. 150, aKntaovrag Ik Trjg naTpidog. This line apparently violates Porson's rule for the Cretic ending, but it must be regarded as a quadrasyllabic termination. 878. TTpoadiv (connected with 7rp6 and irpbg^ is used both as an adverb, and as a preposition with the gen. case. In poetry it is frequently written TrpoaOe, without the v, as, ek dk ra> dt^avrt, TrvXdwp irpoaQi fMaxsGOrjv, 11. /x'. 145. ^kXaOpov (fJL^Xag), 1. the ceiling of a room, but especially the cross-beam which bears it ; cf. Od. 9\ 279, TToXXd Sk Kai KaOvnepQe fxtXaGpocpiv i^eKSxvvTo. 2. A roof or house, but in this signification usually in the plur., like Latin tecta : cf. Latin atrium from ater. — Liddell and Scott. 879. iicSrjfxog Ksvog might at first appear to be a tautology ; but Ksvog was generally used in opposition to (idpj^apog, which could not be applied to a Greek by birth. tKCrj/iog is sometimes followed by a gen., as Hippol. 281, tKdrjfiog wv yap rijade Tvyxdvn x^ovog. 883. lyviog here conveys an atfirmative answer to the previous question, and may remind us of our Lord's answer to Pilate : OvKovv fiaaiXtvg d av ; 'ATreKpiOri 6 Irjcrovg' 2u Xsyeig on pauiXtvg iifiL syio, St. John, xviii. 37. Observe how two sentences are con- densed into one by the use of the particip. in the question rig wv irvvOdvii ; 884 — 6. This is the third instance that has occurred of the accus. after dioQ, alludes to the purity and brightness of youth, in its primary use ; it was not con- nected with the idea of the god of hght ("HXtoc) till after the time of Homer. ^Eschylus uses it as an adj. of three endings, in the sense of bright, as (jraOevTog r)\iov dog, is constantly used in the sense of ^v ; cf. ^spKrjQ H'^v avTog l^y ts Kai , Attic fut. from the Epic apw : cf. Od. /3'. 163, ^vrjaTrjp'' aiv dt ^dXiara TrKpavaKofievog rddt tipw. This verb must be care- fully distinguished from dpuj, to fasten together^ Latin sero: uude sermo. 947. Observe the force of the prep, in composition in crvfi^Oeipei, ^'unites with others, or aids in corrupting." So avinrpdacio, Aj. 1396, Td d' dXXa Kai ^vfirpaacrt. Observe also that m comjjos. avv becomes orvfi- before tt, /3, 0, /x, \//. 948. dfiirXaKoixTa, aor. 2 from a late form dfiTrXaKiaKio : cf. evpov from tvpi(TK(jj. It is usual to write this verb dfnrXaKtlv when a long syllable is required by the metre (it is only found in poetry), and dirXaKflv when the first syllable is required to be short. Person and Elmsley were of opinion that it ought always to be written ctTrX. ; but the common practice is supported by the analogy of rifiPpoTov and fiedTjfiPpia, where (5 is inserted to strengthen the position. 949. fiapyorrjg here means lascivia, impudicitia ; cf. Eur. Elect. NOTES. 143 1027, vvv d\ ovrex '^Xsvrj [xdpyog ^i'. The primary sense of fidpyog is furious, and we find it applied to Cleomenes in this sense by Herodotus, vi. 75, KanXOovra Sk avrbv, avrUa vTrsXaj^e ^avirt vov(Tog, lovra Kai Trportpov vTToixapyoTtpov. Homer uses it as an epithet of yaarrjp. Od. a. 2, fxerd d' iTrpene yaarspi fidpyy. 951. " The fastenings of a door (claustra, obices) commonly con- sisted of a bolt (pessulus ; fxdvdaXog, Karox^vg, KXtlOpov, Attic KXy- Opov), placed at the base of each foris, or valve of the folding-doors, so as to admit of being pushed into a socket made in the sill to re- ceive it (TTvOiXTiv). The Pompeian door-ways show two holes corre- sponding to the bolts of the two /ores ; and they agree with numerous passages which mention in the plur. number 'the bolts,' or 'both the bolts' of a door. By night the front-door of the house was further secured by means of a wooden and sometimes an iron bar {sera, re- pagula, /ioxXoc), placed across it, and inserted into sockets on each side of the door-way. Hence it was necessary to remove the bar (tov fioxXbv irapacpspeiv) in order to open the door {reserare). Even chamber-doors were secured in the same manner, ' cublcuh obseratis foribusy' Apul. ; and here also the bar was sometimes employed as a further security, in addition to the two bolts : cf. KXyOpa av^-mpai- vovTtg iioxXolg, Orech. 1551."— Smith's Dictionary of Antiquities. 954. (jviKpvTog, planted together with ; hence me taph.,iwwa^e, ^w6om: ig TO (TvfKpvTov, according to your nature.— LiddeW and Scott. Cf. avyytvrtg and (Tvyyovog. iravpoig ydp dvdpwv kari. avyytvlq ToCi, Agam. 832. The preposition dg frequently signifies " with respect to," " quod attinet ad," which in English is often expressed by the more definite "on account of," "in consequence of:" cf. mfra 977. 957. (T066V TL XP»?M«- A colloquial expression : " It was a clever thing in him who," &c. The indefinite Tig is often put with adjec- tives of quality and quantity, especially when they stand alone, or in the predicate : ex. gr. relxoQ ov 7roXXi[i Tsii^ daOevEffTepov, Herod. 1. 181. Also with the adjective as an epithet : (ptv' tov OavovTog u)g raxeld ng ftpoTolg x^pec ^tappa, Aj. 1266. The neut. rt is used m a similar manner with adverbs, as axf^cov ri, iravv ri.— Matttiiae. 958. 01 kvavTioi usually means " enemies.'' Brunck, however, ex- plains it in this passage to mean, '* those who were present;' and cites (Ed. Col. 1002 : Toiavr oveiSi^iig fie Tuvd' tvavrlov. But this is not sufficient warrant, as it is here used adverbially with the gen., which usage is common in the sense of coram both in Homer and the Attic writers. It is also used adverbially without a case, as IvavTiov uaxBfJaaeai, Ivavriov pXsTniv, &c. ahxvvofiai as irpog- ftXeneiv IvavTiov, Hec. 968; yvvaiKag dvlpiov fiiij /3X£7rar tvavTiov, Ibid. 975. , ^ , .J. .»\ y 961. Observe that (pvXaKag comes from v e/iv, oOovvex vcrraTriv a e7rsfi\p' eyuj, Trach, 570. Hence irofXTTrj, a procession t and the phrase irojxirriv Trefineiv, 967. KQKTjy a substant. distinguished from the adj. KaKrj by the accent. It is found both in -^schylus and Euripides, but not in Sophocles : cf. Hippol. 1335^ rrjv de ariv afiapriav to [iij ddkvai fiev 968. On the construction of Trpiv, cf. supra 101. safiaXtlv is here used intransitively in the sense of to invade. Tiiis construction arose from the suppression of (TTparidv, which occurs in the full phrase, where £t(T/3aXXcti/ is used transitively: cf. Herod, i. 14, tcrsjiaXe fxev vvv (Trparirip Kai ovrog eg re MiXtjtop koi eg ^fxvpvrjv. It is usually followed by the prep, elg, more rarely by the accus. alone : cf. Hippol. 1198, iTTsi 5' eprjfiov x^P^^ eicrt(5d\\onev. The compound ejJiPdWHV is sometimes similarly used, perhaps from the same el- lipse : cf. Herod, ix. 13, Trpiv ri rovg fieTO. Uavaavieu) kg tov 'IcOfiov kfiPaXfXv, where there is a various reading, lafiaXtiv, 970. 'rpijjdg, being the fem. of Tpu)g, ought to be written without the iota subscriptum. The other mode of writing it would imply that it is formed from Tpoia, 972. The construction of avvByvojv in this passage differs from the usage which has been remarked upon supra 840. tov refers to Neoptolemus. 975. (jjg yrjfiaifi dv. Matthise observes, that when any thing that has been said or thought by another is quoted as such, not as an idea of the writer, and yet not in the words of the speaker, but in narration, i. e. in oratione ohliqua, the optat. is used, but without dv» But this rule requires some modification, for Orestes is here quoting his own words in the oratione ohliqua, and yet av is clearly required to impart the idea of contingency or bare possibility to y^/iai/xi. Translate, '* that I might possibly marry, ''^ 976. (ptvyijj, fut. (piv^ofxai and (pev^ovfiai (cf. Trviyw and Trai^w), to be banished, like L^tfugio : "nos patriam iugimus," Virg. Eel. 1. On which Heyne says, ^^fugit, : cf. supra 9. The connexion between the obsolete pres, udio and the perf. oUa is (according to Buttmann) as follows : a^w, / see into a thing; oJda, I have seen into it, i. e. / know it. But usage assigned permanently only one of these meanmgs to the diiferent tenses. ^ 999 There are two opinions as to the original meaning ot dopv- ^svog. (1 ) One who had become a friend on the field of battle, after having fought, as is said of Glaucus and Diomede, II. T. 232. (2) A spear-fnend, an ally offensive and defensive, Choeph. 562 : v\^ aw dvdpiriZd' U' kpKdovQ TTvXag UvXddy, Uvog re nai lopvUvog dofuoy. It is then used for a friend or ally in general. It is not found m ^1000*. opKog (from cTpyu), ?pya>, cf. spKog), properly that which re- strained or kept a person within the limits of his promise ; that by which a person swore : cf. II. o\ 38, ?(rrw vvv roce Fata Kai Oypavog ibpvg vTrepOev, Kai to KaTU^6n^vov ^rvybg Uwp, ogre jisyiarog "OoKog deivoTarSg ts TrlXei ^aKapetrai eeoTaiv. Hence, the deity who punished perjury; Lat. Orcus. In a secondary sense, the act of swearmg, and the oath sworn : cf. opKiov in Homer and Herod. ^ToOl* undsva. This instance of the Tmsc. being used in the sing. in reference to a female is very remarkable ; but it might possibly be the neut. plur., as we have oUsv^g supra 700, and (xrjdsvsg is used by Plato ; but we have not been able to meet with any authority for the neut. plur. Some editions read nrjdev. When ovdug, M^tig, are written oiSk tig, /iij^i tig (in which case they are never elided), they have an intensive signification, not exen one. Sometimes a par- ticle is inserted between them, as ovd' av tig. On the usage of (t0^, ^ 'l002^aiTt'iv. The general government of this verb is the double accus.,*like rogare in Latin. But it is sometimes followed by ^jen. of the person : cf. Med. 942, ci d' aWd arjv KtXtvaov aiTtwQai Trarpbg TvvaiKa iraXlag Trjvdt ^i) cptvytiv xOova. 1004. dvrtati, fut. from dvivrjfih which is formed by the reduplica- tion of the first syllable, like dpaphKu^, dKax'iW : ^only that m this case the vowel of the reduplication is i (as in yiyva>cr»ca», ^idw/xi, &c.;, and it is substituted for the vowel of the root {ov.) : thus ovaa>, 6viVwai, like draUo), driraXXw, and ^Trrcvw, 67ri7rr£i;w. Ihere is, however, no instance of dvdu), dvkcj, or oviy^i bemg used by any writer.— Buttmann. In the act. voice it is sometimes used absolutely, NOTES. 147 but more usually with the accas., as in this instance. In the 7nidd. it means to derive enjoyment or advantage, with the gen. : cf. Alcest. 335, GOV yap ovK wvrjixeOa, ^ 1007. ^k dva(TTpo(prjv didovai is simply equivalent to dvaffTps^tiv, which means to turn upside down, though the noun usually signifies a turning about, a return, as Soph. Antig. 226, odoXg kvkXCjv ifxavTOv tig dvar]v. A similar use of dare occurs in Terence, Heaut. iv. 6: "Me h»c deambulatio ad languorem dedit." The phrase fi'eya (j>povtXv is mostly used in a bad sense, in opposition to j^srpia j?v (for IcpOio^tiv), optat. (pQiiinv, J&io, (pOiTo, conj. d>eiu)uai, shortened to (pBiofiai, infin. 0OitT0at. icpOifiriv is also used as a pluperf from t(}>9ifiai. The quantity of the i (both in the pres. (beivu), and in the tenses formed from the Epic 00iw) is long in the Epic and short in the Attic poets. But the perf. pass., the syncop. aor., together with the derivatives (pOiaig and (pOiTogy have the i always s^o?'^.— Buttmann. Cf. the phrase Oaviov ^k^nKt, and the English, " to be dead and gone.'^ , -r. . r 1021. Stl^daiv, contracted from ^t^damv. The Epic forms /36/3aJ>ff, fii^avXa, and the 3rd plur. ^t^dam, are formed from the perf. by omitting the k, as in KtKacprjujg, Ttrirjutg^ Kexaprjuig,l5epapTjujg, H 2 148 NOTES. TiT\rju)Q, &c. This, therefore, must have been a rule in the Ionic language, as it is not done on account of the metre ; and, in the cases of psPrjKa, 'iarriKa, n^vKa, the vowel is also shortened. These and other abbreviated forms of this verb (fisfidfisv for l^sfid-afiiv, infin. pe^avai for ^ijSa-kvai, &c.) are seldom found except in the dialects and the poets. — Buttmann. 1022. (5aai\riQ. This is the old Attic nom. plur. of nouns in evg, which is constantly used by Thucydides and Aristophanes : it is in- correct to write it with the iota subscriptumt because it comes from the still older form l^aaiXijeQ, 1025. Oviodrjg is compounded of 9vog, Latin thus, and ddog, and is not connected with odioda, perf. of o^w, though the sound and ^sense might seem to point to such a derivation at first sight. iraXafxt] in the next Ime is the same word as the Latin palma, and English palm, 1027. IvaX. . . (pov, . . 6av. . . " csedem morte luens et tanquam coramutans."— Pflugk. The accus. and the dat. is the usual construc- tion; so also after ai/raXXaVcTw, cf. Troad. 351, daKpvd t dvTaX' XdacTETe roXg rijade [xsXe(Ti, Tp((>ddeg, yafiriXioig, 1028. diravpdu), to take away, to receive, both in a good and bad sense. Of this verb we only find the imperf. (with an aorist sense) aTTijvpwr, dirrjvpag, dnrivpa, and a 1 aor. midd. dirtivpaTo, Od. d\ 646, o0p' IV £iiw,*H (T£ jSty d^KovTog dirrivpaTO vrja fxsXaivaVy where there is a various reading dTrrjvpa. The participles dnovpag and dTTOvpdfitvog are also connected with this verb by a change of vowel, of which there is no other instance. The accus. (}>6vov must be re- peated with dirTjvpa. The root of this verb, according to Buttmann, is to be found in tvptXv, tvpiffKSiv. 1030. l7re^y a gem of the person, and an ace. of the thing, as supra 7?, eKS,vi.v d yaOoimv '^il 050^'bbserve the force of the prep, in the compound k^aOtTv, -l!L?Mlyr \l ravr dXnH, - whether these things are true ;'; a' LVtMs stn fication in indirect questions. Compare the Lat. si, ^M^h tSthough not by Cicero) by good authors^ ^^^^ .«, m indirect and dependent interrogations ; as. Nihil aliud locutum ferSuam qu Jsisse, si incolumis Lycortas evasisset." Liv. 39, oQ. ""S!" Pflugk explains this line, hd rfiv Kard rov ^acdbg Im- ^° W ' TTspaivio, from ir'spag, an end, a cognate form of rrspao), with 1U0-. ;rj«*^^';. A'ccording to Buttmann 7r(7rpaVfca> and the a distmct signification ^c^^^^ . -^ ^^e causative sense, to subst. TTOaaig are also aeriveu iium iicj^c* nonpars in carry over the sea or into another country for sale. The loot appears m *^lo^6? Vhe'n Kal is thus used in a dialogue, it implies an affirmative answer to the previous question. 1064. Kar' o^^a, face «^ /«^f^"^^J^J^'.^^^^^ the somewhat diff"erent sense of " m the snjht of all beveial pnrases arLTrom different combinations of this word with pi;eposition^ e^r Xd. 215, olU ydp TroXXovg Pporu^v ) TTSffyg, The subjunct. aor. with firj is equivalent to an imperative : cf. supra 88. Latin ^' Ne cadas.^^ 1079. When the particles ft cat occur in this connexion, they usually mean though. But in this passage the sense is quite different, and they must therefore be taken separately, el quaUfying XP^^^^C? and fcat belonging to dfivvaOtlv. Pflugk thus paraphrases it : " si non merti tantum dolori indulgere, sed opem etiam cupis afferre amicis tuis." Dindorf's accentuation of diivvaOtiv is retained in the text. 1080. Ufiag is indeclinable, and only occurs in Homer as an accus. case ; in the tragedians it is used both as a nominat. and an accus. ; Homer also uses it adverbially, like Latin iwsiar; Stg o\ ^kv fidgvavTo Ssfiag TTvpbg aiOofisvoio, II. X/ 596. 1081. i(Tx^Tog, a defective superlative, derived, according to Buttmann, from the prep, g^, which is preferable to the common derivation from i(Tx6^r)v, ix^nai, to he contiguous to, irpog rkpfiaaiv. The preposition and its case are so closely connected, as in reality to be equivalent to a single word ; hence the termination of this line is in fact quadrasyllabic, and there is no violation of Person's rule respecting the Cretic ending. The expression yripiog Tspfxae, Hec. 1135. «pa may be here Sated, as Lould Jem; it is frequently thus used to express the "ew of th^ speaker or writer, especially^iu the connexion " 2"',^ apa, if, as iJspossiMe: cf. Thuc. ii. 5, h n apa m "^P^^TZZd tU,l\v96au "if, a^ was possible, success should not attend ^'^ 1089 KiicXoc here denotes a group of persons : cf. Latin corona. oiS'p e"oT« populus habitans apud Deum." There is a parallel Txp're^sVu ill L'u, as groamug .s The "esu U of the heart being orer-JUled with emotion : cf. c jiporHv. From Herod. .. 50 and 51, S otSoTO we know th^t immense wealth was aceumuUted m ?he temple at Delphi, it being customary not only for 'ndividuals to ^ndrkh offerings to the god, but also for the tribes of the Donan 'r^e tL dedicated portio^ of the spoils taken in --- . M'tford con- siders these treasuries to have been, as it ^y«''«'.*'^"^^- , ^^^^'^ is said to be derived from eE (the root of T,9m), and the obsolete '"*i09/I?"^ivyu,svog, &c. , 1102. y^tv. The imperf. of £i/it, eo vel ibo, is thus inflected : sing. y£iv, Ionic ifia, Attic ya, yeig or yeiaOa, yei or ysiv : plur. yiiuev or y^tv, ytire or yrs, yeaav. Homer has contracted the 3rd per. sing. Ionic r)U to rje : he has also the 1st yev, plur. yonev, and 3rd per. plur. r/tov : cf. ydeiv, Attic y^rj, - , |. , 1103. The term irpolivia denoted the relationship of public hospi- tality, existing either between two states, or between a state on the one hand, and an individual on the other. The office of a irpo^vog was somewhat similar to that of a modern consul, and was sometimes hereditary. When a state appointed a irpoltvog, it either sent out one of its own citizens to reside in the other state, or it selected one of the citizens of this state, and conferred upon him the honour of Trpo^fcroc. The latter mode was the most common. His principal duties were to receive those persons, especially ambassadors, who came from the state he represented ; to procure for them admission to the assembly, and seats in the theatre ; to act as patron of the strangers, and to mediate between the two states, if any dispute arose. —See Smith's Diet, of Antiq., Art. Hospitium. 1104. viaviag,ivom vkog, vidv or vidv,vtavig,v(aviag, vsavicTKog, viaviKog. This word is not found in the Iliad, and in the Odyssey it is always joined with a noun ; as vtrjviy dvdpi got/cwg, Od. k, 278 ; and so TraXg vet)virig, Herod, vii. 99. But in the tragic and subse- quent writei^ it is used alone, or joined with another word, like an adjective, as vtaviag, Xoyovg pinrwv, Alcest. 679 : cf. supra 604. veaviov fitr dvdpog. . . 1105. KUTtvxoiJLai. The principal meanings of Kara m composition ii >50TES. 153 are : 1 . downwards, as KaraPalvo) ; 2. against,in a bad sense, as Kara- yiXav, KarayiyvihdKeiv ; 3. it strengthens the simple verb, as Kara- Laytiv Hence KaTevx^aOai sometimes means to pray earnestly, and, when followed by the indirect dative of the person, it must be ex- plained by the dativus commodi or incommodi, accordingly as good or evil is prayed for. As regards the use of the form KaTevKof^eaea, cf. note on kyKuiitaQa supra 91. On x^pn^, cf. supra 20 and 222. 1107. The construction is, yTr\aa yap irore avrov Covvai diKriv aluarog Trarpog, airtiv is construed with the accus. of the thing asked, and also an accus, of the person of whom it is asked ; also with a gen. of the person with Trapd or irpog : and, lastly, with the accM5. fol- lowed by an infin., as in this passage, ai^iarog may be explained as tlie gen, of the cause. t 1, +„i « 1109 ir,mi Otriaafievog Travra TOP kLvTov bXpov dTro makes the Attic fut. jSonffOfxai, which in the Ionic and Epic dialects is contracted into PaxTOfxai, Od. a. 378, «yw dk 1125. r^ari, properly Doric for k'lcijrt, which is never used by the Attics. So also they write dapbg, Kvvaybg^ tro^ayog, Xoxayog, l.vaybg, dnadbg. 'A9dva, not dvpbg^ &c. Yet they never wnte 'A0ai/aia,but 'A0i)vaia.— Porson. evaej^tlg odovg is the accus.of the counaie signification. 1 127 oifdev ovMg. It has been observed before that two or more negatives in Greek strengthen the negation, when they are of the same kind, and are attached to the same verb. Observe the force ot imperf. tjiaXXov, " continued to assail." . . , ^ . ^. » ,, ^ 1129. TrdvToStv. That Qtv was the original termmation of the een. case is shown from Homer passim, ex. gr. k^ ovpavoesv, 8fii9ev, asOev, which last form is retained by the Tragic poets, cf. supra 5o8 ; hence its signification of « origin." GTTodoviiivog vKpadt, Pflted by the storm :" cf. Hippol. 1238. Trpbg Trarpag <77rodovfxevog, dashed against the rocks," from aTroSkio, which means strictly to knock off alhes {aTTodog) :" hence to knock, smite, beat, common m Aristoph.— Liddell and Scott. , , , 1 i.t,^ 1130. kti3oX^ strictly denoted the attack made by a vessel on the side of another vessel : hence 6 6>^oXoc, the brazen beak ; TTpov de ev dXiyu^ TTOXXL vsi^iv, al fjikv l/jLJioXai did to iir^tivai^ rag avaKpovam KalliUirXovg bXiyat kyiyvovTo, ai de TrpoafioXai, wg tvxo^ vavg vni irpocnrsffovaa , irvKvoTtpai naav. *...,/ a 1132. rivBv, from dvio, an older form of avvia, Attic ai/vrw, used only inthe pros, and imperf. : cf. supra 535. ^ 1133. oiJroL This word is always written as a trisyllable m Homer, as in the well-known iriKpbg b'larog. The derivation is the verbal adj. oicTrbg, from cpspio. tieadyKvXov. There are two opinions on the mkning of this term. According to the first, the ay.uX^ was a thong of leather, Latin afMntum, affixed to the centre of a lance or javelin, in which the fingers were mserted to give it greater imnetus • cf. Ov. Met. 12,321, " Inserit amento digitos, nee plura locutus In juvenem torsit jaculum." According to others, the ayKvXn was a curved handle, fastened to the same part of the weapon ; and in this case the fjieadyKvXov would answer to the Ju^sta ansata. daLl3oXog (a,x0iand6/3oA6cor 6/3.X6c,,^vhich is ^sXoc with pre- Ztd cf. Ivpo'^a. and 6^r}po;.«t, «6XXa>, 6jcaXa,, &c.), some sort of missile, probably with a prong at each end. So nefiinoPoXov, a five- pronged fork, Od. y', 4*60. . 1134. (T(}>ayng. On this form cf. note on ^aortXrjc, supra 1021. It properly means a butcher, or murderer, but it is applied metapho- rically to a sword, or large knife: cf. Aj. 815, o fiev a9a\noTaiv 'AvSpog dpiffrrjoQ AioOev [i\a(p9svTa psXsfxva, ^schylus, A gam. 1496, uses it in the sing., dafislg sk Xfoog a/t^irojuy j8«XljLtvy. Trepiaradov. When ad- verbs ending in dbv and rjdbv are derived from subst., they denote resemblance to the noun, as fSorpvSbv, in clusters like grapes. When, however, they are derived from verbs, they express the manner of the action of the verb, like adverbs in lr]v : but they differ from them in accent, being always oxyton, while those in ^riv are paroxyton, as j3ddrjv, Kpv^driVy &c. 1137. oh didovreg. The nepf. ov is here used, because the dyyeXog is stating a fact ; cf. supra 180. Observe that the accentuation of the pres. part, of verbs in /it is peculiar. dfiTrvor) is formed by syncope from dvaTrvon), the v being changed into jjl before tt, ac- cording to the principle that v is always changed into /i before the labial consonants, tt, /3, (p, fi, as rrv/iTraV^^w, 1199. vofif^ T(p vsprspiov. When the article follows the noun, it defines or limits its meaning. In prose it would be t(^ vofK^ r^ vipTfptJv. Heath thinks that vofiog is here used in its technical sense of a musical strain (cf. vofxag 6p9iog, Herod, i. 24), and under- stands by vofiog vtpTspojv, " cantilena funebris, qua nuper mortuos prosequebantur." But this is unnecessary. 1201. ^id^oxa. The neut. plur. used adverbially, equivalent to 6*c diadoxvg' 1203. iKpdve, for eKprjve. Though this line is a Senarius, the Doric a is here introduced, because it is spoken by the Choregus ; the whole passage from v. 1165 to v. 1230, conforming to the laws of the choral ode. 1206. i/o(7<^t^a> (from v6(T(pi, Latin seorsum, only used by the Epic poets) is never used by Homer, except in the midd. voice. The sense it here bears, deserere, is somewhat rare : cf. Od. d\ 263, iraldd T k^rjv vodipKTaafisvrj, OdXafiov re, TToaiv t£. CEd. Tyr. 691, « o"« vo(T(pi^ofiai, " if I forsake thee." 1212. Homer seems to have inflected (TTspkio with e, for he has aor. 1 k(TT€pe(Ta : ovveKd ft£ (jTepkaai Trjg Xrjtdog ijOiXE Trdarig Tpu}'iddog. Od. v. 262. 1217. The phrase t^avrXtiv Trovovg is more usual than ^lavrXiiv : but did in composition frequently denotes to do a thing thoroughly, as ^ta/Aaxo/xat, " to fight out a quarrel." The metaphor is taken from pumping bilge-water out of the hold of a ship (avrXog), Latin exantlare^ exhaurire Mores, kg "Ai^ai/, 'Hill I reach the graveJ^ So Homer uses tg of time in the phrases eg rjCJ, sg rfkXiov KaTadvvra. 1219. As regards the syncopation of dinrTa^iva from dvairTaiitva, cf. supra note on duTrvorj, 1137. The forms of this verb in use m Attic prose are as follows : TrkTOfjLai, fut. TrrriaoiAai (syncopated from TTtTriffOfJiat), aor. eTTTOfjLtjv (infin. TrrktrOai), perf. ireTroTrifiai (from a pres. irordofiai). In the poets and later prose we have an aor. eiTTdfiriv, and act. sTTTrjv : the usage of the Attic poets fluctuates between tTrrofjirjv and kirTapLriv. The pres. i7rra/iat is very sus- picious, (ppovda, cf. supra 73. 1220. *' A superbis jactationibus longe distantia." ixirapmog (from fiETaiput) properly means, "raised aloft," La.tm, sublimis ; hence wavering, unsteady, opposed to jSejSaiog: Kai nvodg Ospiiag Trvsu), fitTapffi, ov ^kfiaia, 7rvevn6v(jjv dno, Here. Fur. 1093. And so m this passage, airy, empty. ^Eschylus only uses it in the Doric form, 'TreMpffiog.—Lidd. and Scott. Herodotus uses it synonymously with fierkajpog, out at sea; o(Tag de tHjv veutv [xtrapcriag iXafie, vii. 188. 1223. We have here another instance of crasis written with the apostrophus, Hke tVri; 'ttI Po)fxov, firj Vrt, &c. The accus. is here used after kiri because it follows a verb of motion. 1225. 6\peai. This Ionic form for the Attic o^sl is very uncommon in the tragedians, oypofiai is used as a fut. to opdu), which has no future of its own. The other tenses in use are aor. w^Giyv, perf. ujuuai, and 2 perf. oTnoTra in the poets. 1226. rt KiKivTjrai ; From this expression it would appear that the approach of a deity was indicated by some kind of motion. (See Introduction.) 1228. Observe that alQrjp is here used in the fem. gender. In Homer it is always fern., and the expression aiOspog arpuygroio, II. » 1 •♦ 160 NOTES. p. 425, is no exception, arpvyiTog being used in Homer as an adjective of two terminations. In Att. prose it is always masc, but in the tragic poets the usage fluctuates. 1229. TTopeuevoaevoQ. From TropOfJiog, a ferry, connected with TTHQio and irepduj : hinc Lat. porto. The accus. of the place after this class of verbs is not^ unusual : cf. Alcest. 443, yvvalK apiarav 1233. KaKolg dvg(popHv, After verbs of this class, dvgcpopuv, Svgxepa'iveiv, xaXtTraic <^€pav (Latin cegre or moleste ferre), we hnd Bometunes an accus. and sometimes a dat, case, but with this dis- tinction, when they are used transitively they take an accus. ; when intransitively, a dative case; ex.gr. fxr) eavixa^ere on xaXtTrwg 1234. undsv TL Xlav. In this and similar phrases, as ax^dov tl, Trdvv ri, &c., the indefinite rt is introduced to qualify the expression ^apyverra. The aor. is here used in the sense of the present : cf . Ai 536, knyvea tpyov Kai itpovoiav nv tOov : Soph. Elect. 668, IdtKdunv TO prjO^v. Matthise observes, that in these passages the aorist seems to retain a sense very nearly related to its proper one, of an action completely finished, in which no alteration can be made, every doubt as to its truth and unalterableness bemg removed, as m Latin hoc tlbi dictum volo, , , . „ vi 1235. dKXavara. The neut. plur. used adverbially, like npiora two lines above. The Epic form is aKXavrog. It is used both m an active and passive sense. On the use of kxprjv with the infin. pres., cf. supra 607. , . i . ^ 1236 Taxvv irodag. The defining accus., which is commonly explained by the ellipse of Kard : but it is better to consider it an idiomatic expression. It is frequently imitated by the Latin poets, as in the well-known " os humerosque Deo similis." 1237. The accus. must be repeated with dTrwXecra. 1241. rddog comes from 6)a7rru> through the aor. 2 tTaov, the aspirate being transferred to the last syllable, according to a well known principle ; ex. gr. OplK, rpixk, rpt^w, Op£;|/ui, &c. wg airay Y^Xo. Some editions read drrayykXy, 2 aor. pass. ; but there are doubts whether this tense really exists, as it depends on a smgle letter. 1245 ^vvaXXaxQi1(J0Lv, ''having been united:' This use of the word may be illustrated by two parallel passages : ivvng tb rm (Trig, i (TvvnXXdxOrjg i^ioi, Aj. 493 : Xkrpwv dOiKnov v^Otg eg avvaX- Xaydg, Hippol. 653. , 1247. Tlie particle ^i) should be taken with f^ovov.^ 1248. dXXov di' dXXov, i. e. dXXov aXX(^ dtadtxofievov,^ Pflugk. The preposition Sid with the gen. is frequently used to denote intervals of spL and tinu. Ex. gr. did dUa iirdXUioy, ''at intertals oi ten battlements," Thucyd. iii. 21. hd rpirng wmQ, every third day, Herod ii 37. haTrtpdv MoXoffmav, per Molossormn fines regnare, Pflugk There is, however, no authority for this translation to be found in any parallel passages. The usual meaning of the word is simply to pass over or to cross. . , , .v, 1249. ivdaiiiovovvrag. In this change of number we have another NOTES. 161 '}} instance of Anacoluthon (cf. supra 202), the converse of that which occurs supra 180. 1251. In this line Oeolai must be scanned as a dissyllable, by the figure Synizesis : cf. the note on vsprspoKTiv /isXw, supra 850. The construction of fisXei is twofold : 1. The object is put in the nom. and the person in the dat., as ftsXte /not TroXtfiog : Latin " bellum rnihi curce est.'' 2. When it is used as a strict impersonal, the object is in the gen. and the person in the dat., as in this instance. 1253. d^g. For a full account of this verb, cf. supra 9 and 998. The phrase x^9^'^ eldsvai tivi denotes to be grateful for a favour ; so Herod, iii. 21, Oeolai ddkvai x^P^'^- The phrases x^9^^ iirlaTaaQai, X^piv yiyvio(JKHv have the same meaning. For the form x«P*^«» ^^^ the use of xapii^ with the genitive, cf. supra 20 and 222. 1258. ri^ri here refers to future time, " henceforth ,•" sometimes it denotes j9as« time, ''already," thus diff'ering from vvv in the same manner 2LSJam differs from nunc. Oebg must be scanned as a mono- syllable. 1259. This circumstance is mentioned as a proof of supernatural power, and that Peleus therefore will be immortal. 1262. AtvKTJv Kar aKrrjv. This island was called also *AxiXr}og Apofiog, because Achilles once celebrated there the games of the foot- race : cf. Iph. Taur. 436, AiVKav aKrav, 'AxiXriog dpofiovg fcaXXi- (TTadiovg, Ev^slvov Kara ttovtov. Herodotus mentions it under both designations, vide iv. 55, and vii. 25. It was an island near the Tauric Chersonese, at the mouth of the river Hypacyris. 1265. kXQujv—fivxov. We have here an omission of the preposition after a verb of motion, similar to that which occurs supra 3. hriav a0iico/x»?v. This construction with tpxeffOai is unusual, but it is found once in Homer, II. a. 322, tpxi(TOov kXktItjv UriXri'lddeo) 'AxiXrjog. 1266. 'SrjTrMog. A promontory of Thessaly, north of Euboea, sacred to the Nereids. The origin of the term is given by the Scholiast on Apoll. Rhod. i. 582 : SijTrtac, dKpijjrrjpiov kv 'Iu}Xk(^, ovtu) KaXovfie- vov ^id TO TYiv esTiv IvTavea elg fftjiriav ^iTafiXriBriyat {transformed herself into a cuttle-fish) diuJKOfisvriv virb UrjXsiog. 'igr ay. Buttmann remarks that egrs should be written as one word, not tg ts, because it is used instead of Ig ots, Doric tars, in Homer aVojcs. As regards its construction, tgre (both in the sense of until, and in that of as long as) governs the conjunct, or optat., when there is any uncertainty, and when there is none the indicat. : ex. gr. wspiiievat, hr dv tXGy (until he comes), iroirjaov tovto, tgre In i^etrri (so long as it is allowed), dxpt- or n'sxPh ^"^ ^'^e follow the same construction. 1268. Buttmann derives the perf. pass. TreTrpw/xat (/ am allotted by fate, fated) from the stem or root iropiiv (in the sense of to impart) by the metathesis of irop- into irpo-, and supports this view by the analogy of OpcoVfcw, tOopov ; Ovrjfficto, eOavov, &c. The only ottier tense of this verb in use is 3rd per. sing, pluperf. TTETrpwro, Hes. Theog. 464. . . , , 1269. This sense of the verb kico/x/ ^£ii/ is not found elsewhere. 1270. iravcrai ok Xvnrjg. Horace has imitated this construction : <«Desine mollium tandem querelarum," Od. ii. 2, 21. Xrjyu) follows the same construction. 1272. KBKpavrai, 3rd pers. sing. perf. pass, from Kpaivb). In Fishlake's translation of Buttmann's Irregular Verbs, we find the following remark. "In Eurip. Hippol. 1255, KUpavTai is drd plur. 162 XOTES. verf. . Wit do I find any instance of it as Srd sing, also:' The Une alluded to is, alaV KSKpavrat avfiopa vsujv kgkwv : hence there is evidently some mistake, as it is sing, in both these mstances. Cf. the parallel form, Xi^^v nk 164 diroTTTve'-v, 607 dpa and apa, 74, 1088 apap£, 255 'doETal, 20 dptTYi, 776 ap/ia, 277 apwixai, 696 dpx^^v, 666 *Aaipti(T9ai, 325, 712 d0£X6(T0ai, 523 dtpLKsaOai, 3 «Xap*f> 491 /3api3apoc, 173, 649 PaaiXrii:, 1021 pel3d(nv, 1021 ^sXEfivov, 1136 psXriijJV, 724 pXdjiijv o^ei'Xw, 360 f^Xaardvoj, 664 ]3oaw, 1124 povXtvrrjpLov, 446 povXofiai, 350 |3ovc, 720 povTTjg, 280 /Spsraf, 311 f3wfiLog, 357 ^oi/xoe, 1123 INDEX. INDEX. 165 ya/i/3p( 36c, 359 ■yafia, 347 yap, 249 ysyova, 539 -ygyoio'i, 320 yefjLsiVf 1093 yrjpaiogj 546 yvutOi, 136 yopyoc, 458 yovvaai, 529 yvpai, 117 5. daijjLioV) 98 ^atog, 505 ddfiag, 626 ^a0r);, 297 SsdoLKay 362 ^l^opsa, 545 5£T, 164, 765 ^£11/0^, 985 dtLvog £1, 269 dtKSTrjg, 307 ^«/iac, 1080 dt^ifirjXog, 129 ^£(T7r6^f £v, 928 ^£vpo, 747 ^£urtpog, 372 ^i), 235 ^»)/xoe, 700 ^»}ra, 88 ^(d, 95, 175 ^id^oxog, 743 ^lavrXar, 1217 didd^onai, 739 ^ittXouc, 396 ^iTrrvxoc, 471 ^i(T(T6g, 516 dicppeveiVf 1014 di(l>ptviOy 108 5ol6i/, 750 docuv, 454 dopijjiriaTUjp, 1016 ^opu, 14, 194 ^opi'^fvot;, 999 ^ouXog, 30 Spdit), 806 dvvaaOaL, 239 dvvacTig, 484 ^uo, 516 dvatpoptiv, 1233 e. £^v, 228 li3av, 287, 683 EyKaprfpaj^, 262 syKHfxsffOa, 91, 784 8^1'a, 2 a', 215, 353, 355, 409, 1050 ft^€ /X/), 575 a^, 380 £^£XfC£tV, 1121 £^01/, 522 £^a>e£i/, 330 ioLKS, 551 £7rair£(Tw, 464, 553 ^7r£i8i;i/, 401 67r£Xe£Tr, 688 t7r£(Trpa'0iy, 1030 iTTt, 42, 188, 352, 927 eTTiPaiveiv, 1035 £7rippo>7, 349 £7ri(Tra<7o, 430 £7rt(Tx£C) 550 iTTtVxw, 160, 225 £p6i^w, 844 £p£(T0a(, 602 fprifiog, 854 sprj/JLoujf 314 ?pig, 362 fpTTw, 433 tppio, 830 ^p J, 943 IgjiaXtiv, 968 Ig ouc, 1091 Icr a J/, 1266 k(7Tiay 593 tOTiouxog, 282 tffxaroCt 1081 B(JX0Vf 686 «r£pog, 488 ivysvT^g, 565 evdaiiJLU)V, 873 tvdia, 1145 ev^e))^, 625 evTTSiOrjg^ 819 tvpeiv, 219 ecpkaraffav, 1097 l(poXKig, 200 €0U, 181 fcx^yyi^oc, 192 ex^i-t^) 430 £X£t»'> with particip., 1082 eX^^^Tog, 445 ^aTrXovroc, 1282 ^yi/, 405 ^,249 ^/tai, 699 y/Lt£r, 1102 rifiidovXog, 941 ^r, 44 ^v, 656 ^r r£, 432 ?/7r£ipairig, 159, 652 ytjOofiriv, 1048 rjaffov, 312 Tjvdiav, 619 OdiTTHv Td(pog, 1241 9dpffst X£tp«5 993 Odaaov, 551 9d(T(Tujf 117 0ar£pw, 383 ^av/iflffrof, 566 0£X(i>, £0£Xw, 156 0£(77r£(TlOg, 297 0»y(Tai;pd|^, 1093 0ic, 109 0pd(Toj;, 261 Opsfijia, 261 evpaloc, 422 6>vw^»;C, 1025 166 INDEX. INDEX. 167 i. UioQ, 376 idoi), 250 iKiTSvii)^ 538 'IXiw, 103 'iva, adv., 168 Infin., use of, 291, 1159 IviQ, 798 ipbv, 1065 l(j9i, 368 tffog, 672 iwi/, 416 KdOwai, 266, 670 KaOiGTcivai, 635 icai yap, 515 Kai ilf 636 Krat /xr/i', 494 Kciicrji 967 ica/ivw, 816 Kopa, 110 KaTaarsviiVj 838 KaraoTEJ^w, 443 jcargvxojLtat, 1105 KaTOavil, 162 icar' ojLi/xa, 1064 KHjJLai, 510 KSKpavTai, 1272 icIXftip, 1034 Kevwcag, 1138 icf^^oc, 620 Kr)QV(jat, 417 Aeufc?), dicr/), 1262 X^x^^J^j 499 Xiav, 866 Xtccd^, 532 Xiffcoftai, 529 Xoyoe, 187 ro XoiTTOv, 740 Ao^iaQf 1065 Xv^aivo), 719 Xt^CTTOQt 691 /Lid and v)}, 934 liapyoTtjg, 949 fiaarbg, 224 jLifiya, 210 HtQnre, 1016 fieivavTeg, 569 fikXaSpov, 484, 878 /xsXXw, 407 IXeXoc, 527 /igXo, 850, 1251 fiSfivrjfiaL, 415 fievCj, 255 /LtcerdyKvXov, 1133 jLisrdptTcog, 1220 fierarpOTrri, 493 fiSTii^i, 260 jLierfcri, 591 /x£r£xetv, 500 /Li^, with the infin., 338 fiT}deic, 1001 jLl^l/, 81 jLt?) ou, 244 firjTSpijJv, 230 firix<^'^oppd(pogf ^4iTf 1116 ft^JX^Cj 535 /iidc, 561 Middle verb, usages of, 55 fiifivu), 961 I ^oc, 425 ii:i I 01 jUoX«iv, 500 /ioT^og, 711 fjLox^og, 680 fioxXog, 951 fjLvpioi, 319 /iwv, 896 fiwpaivu), 674 vaiojf 890 i/aoe, v£wg, 162 vdwog, 284 Viaviagy 1104 vfofftroc, 441 v€pr£pof, 850 vrfdoVf 356 VYiTTiogt 755 i/(^6iv, 286 viv, (706, 19, 39 voOaysvrjg, 912 i/o/it^£(T0ai, 693 v6f.iog, 1199 voffeiv, 548 voatpiKeiVf 1206 vvfiipivu), 404 vvfiiprjy 140 viori^HVy 1141 ^cVoc, 670 ^7p6c:, 637, 784 ^vy^oproj:, 17 0. ^■> g^t, 65 ddvpofiaif 397 oifceiv, 581 OlKTJTtJJp, 1089 OIKTOC, 14 oi/ioi, 394 olaQay 563 olffofitVf 440 oiffTog, 1133 otx£(T0at, 981 oXjSiof, 100 6XwXa,903 o /i£v, 6 ^f, 675 dvivr}ixi, 1004 oTrXirai, 760 oTTOioc and ttoToc, 66 Optat. mood, 766 Bpfcoc, 1000 6pe, 94 waphrarai^ 232 Trdpoifcof, 43 Trapwcrag, 39 Trarptc? 394 TrarptJoc, 97 iravd), 691 TrgXayoc, 1014 7r£Xa^£tv, 1167 TTfiXag, 589 TrsfiweLVy 966 'Trkvrjgy 640 TTfiTrXoic, 598 7r£7rot0a, 268 TTtTrpwjjLsvog, 1268 Tre7rT(t)KS, 652 7r£7rV(T/l62'Of, 1101 7r£p, 251 7r£pair(iJ, 1062 TTEpl^, 448 TTtpiTTBTrigj 982 168 Trepiffra^bv, 1136 TTtpioTvXog, 1099 TTtvKaeif, 863 Trecpvov, 655 TTsipVKa, 237 TTiOov, 384 TTtfcpog, 384 irifiTrXrifii, 1086 TrifiTrprjfjLi, 390 Trirvio, 357 7rXa0£i(Ta, 25 7rXr)i/, 322 7rX/)v 61, 332 TrXrjpovfrOai, 1097 TTVSLJf 189 TToIo^, 300 TToXiof, 348 7roXvxP*'<^^Cj 2 TTop^tw, 633 TTopOfisvtaOaif 1229 TTOffig, 112 7ror5, 553 TTorfpor, 199 TTori, 119 TTOTvia, 491 TTpaTTt^cCj 480 7rgd(j(Juv, 418 TrpiV, 101 TTpo^onCj 630 TTpOfiaVTlQ, 1072 TrpovioirfjQy 729 TTpo^fvog, 1103 Trpog, adv., 375 TrpoaOev, 878 Trpog 0£tJv, 575, 892 wpoGTrtaeiv, 165 irpodTTivai, 221 7rp6flra>, 733, 922 7rpo(Tw0tXtTi/, 49 TTpO TOV, 734 TTpvfiva, 1120 TTvOo), 52 TTvvOdvtaOai, ^0 'jrvppixV) 1135 irrijffaHv, 7^3 ttoJXoCj 621 TTwc, 1083 INDEX. INDEX. 169 pdnTBiVf 836 p66ltov, 1096 pvaaiy 575 936 SryTTiag, l.?66 aKs-ij/ofjiai, 257 ffKYJITTOQ, 1047 (TfiiKpbg ami piicpoQ, 86 airdpayfia, 826 (Jirdii), 402 airo^oviitvoQ, 1129 ard^b), 532 (Traefibg, 280 crreipoCj 711 (Trfi%w, 414 arsfjLuaTaf 894 (TTSpyix), 180 OTspoixai, 371 (TTtppbg, 98 (TTparrjyHv, 324 avyy(Vix)(TKii), 84^. 972 GvyKoiixi)na, 1273 (TvyKparog^ 494 Sv/XTrXjjya'^fC) 795 (Tv^cpOeipio, 947 (7vfi(pvTog, 954 (T^aygvc, 1134 G?Ma, 1 aw(pp(*)v, 346 r. rd ev woffiv, 397 rd 0£Ta, 439 raXaiTToipog, 571 Tcifid, 235 rdc, verbals in, 89, 769 raura, 212 Tavry, 610 TavTov, 657 TfKoOcra, 413 reXgOw, 783 TtfiHv, 121 ; adj. used in a de- fining sense, 130 Tsutvog, 253 78 og, verbals in, construction, 63 TEp/ua, 1081 TipTTvbg, aKoTmai, 291, 824 rijXovpog, 889 ti ^1 ^.» il: « 1 r; .» ; rtOgvcfi 7r65«, 546 TO dovXiveiVj 186 roi, 212, 284 rot6ff^6, 1074 roKOC, 276 TO cov, 143 ror ij r6r€, 852 roi), r?o'''»?ptov, 1112 Xpip'TTTiOf 530 XpwCj 111 Xu^peii'j 1067 *. )|/au£iv, 249 a>. a>0£(ii, 30 (Lfioi, 113 wc, 79, 715, 929 (jig, 538 w^ apiora, 379 u)g d' avTiog, 673. w^ avTwg, b7o. w^, iva, o^pa, construct, of, 145 THE END. 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