The Medea of Euripides

U ILLINO I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN

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THE UNIVERSITY

OF ILLINOIS LIBRARY 881 E8m.a 180

L I II IIII I I I THE

MEDEA OF EURIPIDES,

WITH NOTES AND AN INTRODUCTION,

FREDERIC D. ALLEN, PH. D., PROFESSOR IN THE UNIVERSITY OF CINCINNATI.

BOSTON: GINN AND HEATH. 1880. COPYRIGHT, 1876. BY GINN BROTHERS.

UNIVERSITY PRESS : JOHN WILSON & SON, CAMBRIDGE. PREFACE.

OF the conjectural emendations in the text of the Medea which have been, especially during the last few decades, proposed in great numbers, such and such only have been adopted in the present edition as seemed to me either quite certain or in the highest degree probable. For the rest the best manuscripts have been closely followed in the main. Anything like an incisive treatment of the text is, in my opinion, out of place in editions intended for learners. Only in a few hopelessly garbled passages the need of furnishing a readable text in decent metrical form has led me to admit bolder and more uncertain alterations. Here due warning is given the reader in the notes. In interpretation I have striven for correctness rather than for originality, and have of course derived much from others. Brevity had to be studied, but I have not know- ingly slurred over any real difficulty. The following editions have been used: Porson's; Elms- ley's (German reprint with Hermann's notes); Kirchhoff's editions of 1855 and 1867; Dindorf's (Oxford edition 1839, and Poetae Scenici 1868); Nauck's 3d edition, 1871, iv PREFACE. also his Euripideische Studien; Schoene's Medea, 1853; Pflugk and Klotz's 3d edition, 1867; Witschel's, 1858; Paley's 2d edition, 1872; Weil's, 1868; Hogan's Medea, 1873; Wecklein's Medea, 1874. This last-named excel- lent work has been of especial use. Corrections or suggestions from any quarter will be grate- fully received. F. D. A.

CINCINNATI, September, 1876. INTRODUCTION. ~-44---

I. EURIPIDES.

§ 1. Life. -What we know of Euripides' personal history, excluding what is plainly fabulous, is substantially this. He lived from 480, or a little earlier, to 406 B. c. The current belief was that he was born in Salamis on the day of the sea- fight, but this has the air of an invention. His father's name was Mnesarchus or Mnesarchides; his mother's, Clito. The latter at least was of humble origin. Euripides was of a studious and speculative turn, an ardent disciple of the philosophers and soph- ists of his day, Anaxagoras, Prodicus, Socrates, and others. His first play he exhibited at the age of twenty-five; thirteen years later he gained for the first time the first prize. Of a gloomy temperament, never personally popular with his countrymen, and not successful in his profession at first (he won only five dramatic victories), he seems to have suffered from a morbid sensi- tiveness, a consciousness of being misunderstood, a feeling sometimes reflected in his works. He lived aloof from the world, in the midst of his large collection of books. There was some trouble in his domestic relations; with neither his first nor his second wife did he live happily. His last years were spent abroad, first in Magnesia, then at the court of Archelaus, the Macedonian king, at Pella, where he died and was buried, a cenotaph being erected at Athens. He left three sons, the youngest of whom followed his father's profession. The popu- larity of his plays at the close of his life and throughout later antiquity was extraordinary. INTRODUCTION.

§ 2. Works. - Of Euripides' 75 (according to others 92) plays, there have come down to us 19, or excluding the 'P)o-os, which is almost universally thought to be spurious, 18. These

are : "AXK1-(TTL , 'Av8poid-qXr, B&IKXaL, cEKad3 y, cEXv Ev, 'HXEKTpa,

'HpaKXELcSa, 'HpaKj ^ 3 aLVO/EVosO , IKETtES, ITTdXvro;TO, '1 -0EcEL, - Ev Av'Xt L,'Ity VELa EV TapoLs, "Iwv, KvKXWo (a satyric drama), M ctELa, 'OpdCrTs, TppdBE;, doVLo-oatL. The dates of the following six are known with certainty: Alcestis, 438; Medea, 431; Hippolytus, 428; Troades, 415; Helena, 412; Orestes, 408. A few others can be approximately placed. The Bacchae and Iphigenia in Aulis were produced after the poet's death. § 3. Spirit and Tendency. - Though a contemporary of Sophocles, Euripides belongs in spirit to a different age. He is a representative of the new Athens of his time, of the new ideas, political, moral, and aesthetic, which were just coming into vogue, supplanting the sterner and simpler notions of the old-fashioned citizens. It is the Athens of Demosthenes and Praxiteles, rather than that of Pericles and Phidias, for which Euripides wrote. Rhetoric and philosophical speculation had much to do with this change. Euripides shares the artificial tastes and the sceptical spirit of the new school. To give vivid pictures of human passion is Euripides' chief aim, and in this his strength lies. He is in no sympathy with the mythical spirit; the myths he uses only as the vehicle of his own conceptions. The notion of an all-controlling Fate and of a hereditary family curse are much less prominent than with Aes- chylus and Sophocles. There is less lofty ideality in his conceptions; his characters are more like those of every-(day life, their passions less removed from common experience. This accords in general with modern taste; indeed, it has often been observed that Euripides stands nearer to the modern dramatists than do his predecessors. He excites often a livelier sympathy; hence Aristotle calls him "the most tragic of the poets." But Eurip- ides has sometimes gone too far in this direction, and introduced characters too commonplace and incidents altogether trivial. INTRODUCTION.

§ 4. Style. - Euripides is smooth and dexterous in the use of language; free from the turgidity of Aeschylus, but not free from rhetorical artifice. Even smaller verbal quibbles, paradoxi- cal expressions, alliterations, and the like, he does not disdain. Characteristic of him are the long arguments between his personages on questions of right and wrong, sometimes quite irrelevant to the matter in hand. Almost every play has one or more of these. The author delights, even when one side is manifestly in the wrong, to display his skill in making out a specious argument. He is fond of philosophizing through the mouths of his characters, and the abundance of maxims (yvJopat), reflections, and generalizations on social and religious topics - another effect of the rhetorical training of that day -went far to render Eurip- ides attractive in later times. The histrionic art had developed in his day, and this influenced composition; the actors had to be furnished with telling and pointed speeches and striking situ- ations. Scenery, too, had come to be a matter of importance, and some plays (Troad., Her. Fur.) must have depended largely on their scenic effects for success. § 5. Form. - The internal economy of his plays is often de- fective; his plots lack coherence and compactness. In general he relies on striking passages and thrilling scenes more than on unity and symmetry of the whole. But there is much difference among his plays in this respect. Two things have been especially blamed: 1. The so-called Och

Cod. Vaticanus (9 plays), Cod. Havaiensis (Copenhagen, 9 plays), Cod. Parisinus(6 plays). CLASS 2. Copies of a different and far rarer recension which embraced at least 19 pieces, but contained a text of less purity, which had been tampered with by would-be correctors. The authority of these Mss. is therefore inferior, and the plays found only in them are accordingly difficult of criticism and cannot be so nearly restored. The two most important Mss. of this class are Cod. Palatinus at Rome (13 plays) and Cod. Florentinus (18 plays). Scholia exist only to the nine plays found in Mss. of Class 1. Some of them are old and valuable. They are edited by W. Dindorf, Oxford, 1863, in 4 vols. § 9. Editions.-- I name only the most important and com- prehensive, omitting all of single plays -- R. Porson (4 plays), 1797- 1811. P. Elmsley (3 plays), 1813- 1821. G. Hermann (12 plays), 1800- 1841. A. M11atthiae, large edition, 10 vols., 1813-1837. Now antiquated. W. Dindorf, Oxford edition with notes, 4 vols., 1832-1840. Most recently in Poetae Scenici Graeci, Leipzig, 1870. Pflugk and Klotz (11 plays), Gotha and Leipzig, 1840 - 1867. Over- conservative. A. Kirchhoff, larger edition with critical notes only, 2 vols., Berlin, 1855. This edition marks a new epoch in the text-criticism. Smaller edition with chief variants, 3 vols., Berlin, 1868. A. Nauck, Text, 2 vols., Leipzig, 1871. Valuable emendations. F. A. Paley, English notes, 3 vols., London, 1858- 1860 (Vols. I. and II. now in second edition, 1872- 1875). H. Weil (7 plays), French notes, Paris, 1868. Of separate editions of the Medea the following deserve mention : Kirchhoff's, Berlin, 1852. Schoene's, Leipzig, 1853. Wecklein's, Leipzig, 1874. INTRODUCTION.

II. THE MEDEA.

§ 10. The Medea was produced B. c. 431, with the Philoc- tetes, Dictys, and Theristae, ahd took only the third rank. It is presumably the earliest of the preserved plays, except the Al- cestis. In merit it ranks at least as high as any. § 11. Outline of the Plot. - Medea is the daughter of Aeetes, king of Colchis, and like her father's sister, Circe, is endowed with knowledge of magic. Enamored of Jason, who comes with the Argonauts in quest of the Golden Fleece, she has enabled him by her arts to accomplish the tasks imposed on him by Aeetes, - the yoking of the fire-breathing bulls, the sowing of the dragon's teeth, the destruction of the crop of armed warriors, -- and finally to slay the dragon which guarded the fleece itself; she has killed her brother Apsyrtus to facilitate their escape by detaining the pursuers, and has fled with Jason to Greece. They arrive at Iolcus in Thessaly, where the crafty Pelias, Jason's uncle, is king. The throne is rightfully Jason's, for Pelias had seized it from Aeson, Jason's father, and between the usurper and the rightful claimant there is mutual fear and distrust. In Jason's behalf Medea compasses the death of Pe- lias; she persuades his own daughters to slay him and boil him in a kettle, in the belief that through her enchantments they will thus be able to renew his youth. From the consequences of this deed Jason and Medea seek refuge in flight, and make their abode in Corinth. Here they live peacefully as exiles for a time, but Jason presently tires of his barbarian spouse, devoted though she is, and longs for a connection which shall advance him in wealth and dignity in his new home; accordingly he deserts Medea, and receives in marriage the daughter of Creon, the king of the country. All the passion of Medea's wild and unbridled nature is roused by this indignity. Here the play opens. Prologue (1 - 130). - Medea's nurse in a soliloquy sets forth INTRODUCTION. the situation and describes her mistress's passionate grief, which she fears may lead her to some desperate deed. The rrataywy or slave-guardian of Medea's two children enters with his charge. He has heard a rumor that Medea and the children are banished by a royal edict. He is bidden to withhold this from Medea, and to keep the boys in close seclusion. Medea's voice is heard from within in outbursts of despair and rage. Parodus (131- 213). - The Chorus of Corinthian women, friends of Medea, approach to express their sympathy. Medea still speaks from within. , The nurse, at the request of the chorus, enters the house to persuade her mistress to appear. First Episode (214 - 409). - Medea comes forth in answer to the summons, in a calmer mood. She describes her forlorn condition feelingly, and exacts from the chortis a promise of silence in case she shall find means for requiting her enemies. Creon now enters to announce the decree of exile against her, on ground of threats uttered against the royal family. Medea feigns sub- mission and innocence, and by humble entreaty obtains a respite of one day. No sooner is Creon's back turned than her mien changes, and she declares her intention of accomplishing her revenge within the allotted day, - by her secret arts, should any refuge open to her where she may afterwards seek safety, otherwise openly, dagger in hand. She will meanwhile wait to see whether such means of safety shall present themselves. First Stasimon (410 - 445). - A choral ode. Second Episode (446 - 626).- A spirited scene between Jason and Medea. The former comes to offer Medea money for her journey. To her passionate invective Jason replies with what sophistry he may. The calm impudence with which he proffers his wretched excuses for his conduct, and even feigns to act the magnanimous toward the woman he has wronged, reveal him as a heartless villain. His offers of assistance are scornfully rejected. Second Stasimon (627- 662). - A choral song. Third Episode (663 - 823). - The hoped-for aid comes to Me- INTRODUCTION. dea in the person of Aegeus, who chances to be passing through Corinth on his way to consult Pittheus concerning an obscure oracle which has been given him at Delphi. He asks the cause of Medea's grief, and at her entreaty promises her protection if she will come to his court at Athens. When Aegeus is gone, Medea unfolds to the chorus the plan which she has dimly had in mind from the outset. She will send her children to the princess, Jason's bride, entreating her intercession in their behalf, and they shall take her as a present a poisoned robe, to put on which will be certain death. Having thus destroyed her rival, she will slay her own children as the bitterest retaliation she can inflict on Jason. In pursuance of this plan the nurse is despatched to summon Jason to a new interview. Third Stasimon (824 - 865). - Choral ode. Fourth Episode (866 - 975). - Jason reappears, and Medea in an altered tone pretends to have considered the matter anew, and to have laid aside her wrath. She asks forgiveness for her former language, expresses. approval of his course, and begs for his good offices with his bride in behalf of the children. Jason, thrown completely off his guard, promises this, and the boys are sent with the gifts. Remarkable in this scene is the mixture of real and pretended feeling on Medea's part; in the midst of her feigned contrition she is melted to real tears at the thought of what awaits the children. Fourth Stasimon (976 - 1001). - Choral ode. Fifth Episode (1002 -1250). - The paedagogus, returning with the children, announces that their mission has been successful, and that the boys are freed from the sentence of banishment. Medea bids him retire, and struggles long with herself; her heart fails her when she thinks of child-murder, but her evil passions nerve her to the deed. A pause ensues while they await further news, which is filled by a long anapaestic passage from the chorus. Then a messenger arrives in breathless haste to bring tidings of the catastrophe. The princess and Creon are killed by the poisoned robe. Their death is described at length. Medea enters the house to slay her children. INTRODUCTION.

Fifth Stasimon (1251 -1292). - The chorus implores the gods to prevent the unnatural crime. The cries of the ill-fated children are heard from within. Exodus (1293- 1419). - Jason comes hoping to save his children from the hands of the exasperated Corinthians. Learning what has just happened, he is overwhelmed with rage and sor- row. As he is trying to force his way into the dwelling, Medea, with the bodies of the children, appears aloft in a chariot drawn by winged dragons, which has suddenly been sent to her aid by Helios. After some further parley, Medea announces that she will bury the bodies in the temple of Hera Acraea, and institute a solemn feast in their honor; then predicting Jason's death, she departs exulting in the completeness of her revenge. § 12. Remarks. - The interest all centres in Medea and her all-absorbing passion. Her love and hate are terrible in their strength. The poet lays stress on her being a foreigner; he means to depict human nature in its wilder phase, with passions unmitigated by the restraining influences of laws and Hellenic civilization. Aside from this vehemence there is no grandeur in the character, no moral elevation. Our sympathy can only partly go with her; we cannot, even from a Greek point of view, approve her revenge, nor regard it as a deed necessary under the circumstances; yet there is a vivid reality in it. But how is it that the murder of his children is so terrible a punishment for Jason, worse than even his own death, which Medea is perfectly able to bring about ? Certainly it is not that Jason loves the children so extraordinarily. For although 562 fig., 914 fig. he affects great interest in their welfare, still this does not prevent his acquiescing quite unconcernedly in the decree which banishes them, nor does it occur to him to attempt to have this decree revoked until Medea, 940, proposes it; his indifference to his children is subject of remark, 76, and Medea taunts him with it, 1396, 1401. He first shows real solicitude in their behalf after the death of his bride. The real force of the punishment consists then in leaving him without children to 10 INTRODUCTION. perpetuate the family and to support him in old age, and is fully felt only in connection with the murder of his new wife, which cuts off all hope of future offspring. The bitterness of this lot to a Greek mind can be only imperfectly understood by us. To him the extinction of his race was a terrible misfortune. And that herein lies the weight of Medea's revenge is plain from 803 fig. and 1348. It is, however, to be noted that the poet ignores the obvious possibility that Jason may take yet a third wife and beget children. We might, indeed, understand the prediction of Jason's death, 1386, as intended to cut off this resource, if we supposed a speedy death to be meant; but that again is hardly consistent with the words uEVE Ka yqpas, 1396. There is, therefore, plainly, this weak point in the construction of the piece. The sending of the dragon-chariot is a sudden intervention on the part of the god, for otherwise Medea's excuse for her child- murder, that the boys must in any case die (1060, 1236), would not hold good, since there would be the possibility of her saving them as well as herself by flight. Aristotle blames this supernatural intervention at the close, but there is this to be said for it, that the winding-up of the action does not depend in any great measure on it, there being nothing to show that Medea herself could not escape without the chariot, as she has expected to do throughout. The most that the chariot does is to enable her to rescue and bury the bodies of the children, and to appear triumphant in the last colloquy with Jason, while it enhances, of course, the scenic effect of the close. With more justice one might find fault with the introduction of Aegeus, whose appearance just at the nick of time is purely accidental and not brought about by anything in the action itself. In fact this scene has little dramatic interest or import, and seems to be introduced mainly to bring on the stage an Athenian national hero. It is somewhat surprising to find Medea at the end imposing a festival in atonement for her own crime on the Corinthians, whom she has just made her bitter enemies. We must suppose INTRODUCTION. 11 that the authority of Hera is to effect this, who is the protectress of Medea as of all the Argonauts." The character of Jason is that of complete selfishness, a selfishness which has overrun and stifled his natural good impulses. Creon is imperious but well-meaning. Aegeus is a mere lay- figure. The servants, on the other hand, are well conceived; the nurse, with her bustling anxiety, is particularly good. § 13. Question of Double Recension. -- There seems to be some reason for thinking that the Medea has undergone a revision or alteration since its first production, and that we have not the play exactly in its original form. Porson, Boeckh, Her- mann, and others have thought this; Elmsley, Matthiae, Pflugk, have denied it. The chief considerations in favor are: 1. The dittography (passage written in two ways), 723, 724, 729, 730 = 725-728; see note. Hermann thinks 777= 778, 779, another such. 2. Words quoted from Medea, but not found in our play. Such are the words WOEpfdOvX ov crrkXyXvov, said by the Schol. Aristoph. Ach. 119 to be iv T2 MyEl EpL r ov. Aristophanes Pax 1012 quotes EKM Elas (whose Medea he does not say) 6X'- av, "X' av, not in our Medea (yet see 97), but found Iph. T. 152. Lastly in Ennius' Medea is a translation of the verse eo-wo-o c- -rTv o-r(t o X ari a-c-c , which Cicero (Fam. 13, 15) quotes from Euripides. None of these reasons are cogent; the dittography may be due to an interpolator, the Scholiast and Aris- tophanes might have quoted carelessly, and the Ennian verse is probably a case of contaminatio. Other things that have been urged as evidence of a double recension are altogether trifling. § 14. Relation to Neophron's Medea. - Neophron, a contemporary of Euripides, wrote a Medea which, according to Aristotle and Dicaearchus (see the first Hypothesis), served as a model for Euripides; nay, they seem to think the latter guilty of plagiarism in appropriating Neophron's work.

* Boeckh fancied that in the first edition of the piece it was Hera herself who commanded this in person. 12 INTRODUCTION.

And in truth Neophron's play, as is plain from the extant fragments (see Appendix), was very like Euripides'. Aegeus was introduced, but as coming expressly to consult Medea, about the oracle, not as on his way to Pittheus. There was likewise a scene corresponding to 1021 fig., in which Medea wavered between love for her children and desire for revenge. And at the end Jason's death was predicted by Medea as at 1386, not, however, the same manner of death, but suicide. If, as is implied in the above statement, Neophron's play was written before Euripides', the credit for the design must be due in large measure to the former; Euripides must have followed him closely in the plot and construction of the piece, though Sthat he borrowed his language is unlikely." But the peculiar power of the Euripidean play seems to have thrown its prede- cessor quite into the shade. § 15. Scenery, etc. -- The scene represents the front of Medea's house, the orchestra an open space before it. The palace and Jason's house are supposed to be on the right, the side whence personages coming from the city or harbor regularly entered. At the end of the piece Medea and her dragon-car appear aloft, either upon the jyXav4, a contrivance for sudden appari- tions situated at the top of the scene-wall, or on the aip tla, a swinging machine suspended with cords from above. The Protagonist had of course the part of Medea; the Deutera- gonist probably those of the nurse, Jason, and the messenger; the Tritagonist those of the paedagogus, Creon, and Aegeus. The few lines assigned the boys (outcries from behind the scene) would also be spoken by the Deuteragonist and Tritagonist.

* Wecklein contends that the notice in question is wrong, and that Eu- ripides' first Medea was older than Neophron's. But surely Aristotle and his pupil were in a situation to know from the original records to which play the priority belonged. INTRODUCTION. 13

III. ORIGIN AND DEVELOPMENT OF THE MYTH.

§ 16. Medea's adventures at Corinth seem at first view to be a sort of appendage or sequel to the story of the Argonautic expedition; in reality, however, they are a separate and indepen- dent legend which was only later brought into connection with the Argonauts. The Corinthian Medea is essentially a distinct personage from the Argonautic, although both are perhaps devel- opments of the same germinal idea. § 17. The Argonautic Story.- This legend was at home among the Minyae of Iolcus and Orchomenus; it was their national epic in the earliest times, later modified and enlarged beyond its original boundaries by the poets, so that it became common Hellenic property. Aea, the land where the Golden Fleece is kept, is a sunny enchanted island in the distant sea. Homer thinks of it as somewhere in the west, but the Minyans, whose sea-outlook was an easterly one, must naturally have sought it in the east, and there it became at last fixed. The Homeric Poems allude simply to the Argonaut myth as something well known, mention Jason as having passed the 7rXayKTa or clashing rocks, and as having visited Lemnos, know Aeetes as son of Helios and sister of Circe." Medea is not spoken of. Hesiod's Theogony, 960 fig., 992 fig. Here is the earliest mention of Medea. She is daughter of Aeetes and Idyia, helps Jason perform the o-roVOEVTEs aE0XOL laid on him by Pelias, returns with Jason to Iolcus, lives with him there and bears a son, who is reared by Chiron the centaur. Medea is here distinctly a goddess.

" Od. K137, 70; I1.q 468. 14 INTRODUCTION.

Pindar in the fourth Pythian ode gives a long and beautiful account of the sending of the expedition, and the adventures of the Argonauts, which closes with the return of Jason and Medea. Colchis is now for the first time fixed as the abode of Aeetes. Of other poets' treatment of this theme we know next to nothing. Only in its latest phase, with many embellishments, it reappears in the Argonautica of Apollonius. Medea's rl1e in this myth is a subordinate one. She is but the enchantress who helps Jason obtain the fleece. Preller thinks that the old fable closed with the death of Pelias through her wiles. § 18. The Corinthian Legend. - That this is not a mere amplification of the Argonautic story, but a primitive local myth, is clear from this, that it was bound up with very ancient religious rites. The Corinthians had, we know, the custom of performing yearly propitiatory sacrifices to atone for the murder of Medea's children; this rite was celebrated in connection with the worship of Hera iKpala, a national divinity of Corinth. Their sepulchre was shown at Corinth in Pau- sanias' time. The tale was variously told, and its earlier forms are quite unlike the tragic story. The germ is everywhere the killing of the children, either by Medea herself or by the Co- rinthians. Medea is a benefactress of Corinth ; she is said to have deliv- ered the city from a famine ; she appears at first as queen; indeed, she was conceived of as divine. t Eumelus, a Corinthian poet (about 750 B. c.) in his KopvOLaKa treated this subject at length.+ According to him Medea was queen of Corinth. The sovereignty belonged to her, since the throne had formerly been assigned her father Aeetes by Helios; and

* Schol. Med. 11; Schol. Pind. 01. xiii. 52. + Schol. Med. 10. $ Schol. Med. 10; Schol. Pind. 01. xiii. 52; Pausan. ii. 3, 8. INTRODUCTION. 15 the Corinthians, being without a ruler, had sent for her to Iolcus. Jason is joint ruler with her. As fast as her children are born she hides them in the temple of Hera,t hoping to make them immortal; failing in this she is discovered by Jason, who returns to Iolcus, and Medea departs also, leaving the throne to Sisy- phus. Doubtless the poem further described the institution of the expiatory sacrifice. Parmeniscus, an Alexandrine commentator, gives, we know not from what source, a different account.+ The Corinthians, uneasy under Medea's rule, plotted to kill her and her children, seven boys and seven girls. The latter fled to the temple of Hera Acraea, and the Corinthians slew them at the altar. For this desecration they were visited with a pest which raged until, directed by an oracle, they instituted yearly expiatory rites, which were observed up to his (Parmeniscus') time. Seven boys and seven girls, offspring of noble families, were every year shut up apart in the sacred enclosure and there offered sacrifices. A curious variation was that given in the NavrraKTLa Er, §T an obscure epic of the Hesiodean school, which narrated the Argonautic story. Here we learn that Jason (and of course Medea) went, not to Corinth, but to Corcyra, and that their son Mermerus was killed in hunting. Now as Cor- cyra was a Corinthian colony, this notice is interesting as showing that a legend very like the Corinthian was current there. The early epic poet, Creophylus, author of the OXaXas ikXw-

* KaraKpTrEV. Or buzries? Perhaps somewhat as Demeter (Hymn. Homrn. v. 239) buried (Kp6rTer7 e) Celeus' infant in fire to make him immortal. + The friendship of Hera for Medea is explained by Schol. Pind. 01. xiii. 52, thus: Zeus was enamored of Medea, but she rejected his suit, and in return Hera promised to make her children immortal. ? Schol. Med. 273. § Paus. ii. 3, 7. 16 INTRODUCTION.

rLs, had the story in a less primitive form." Medea is no longer queen; she kills the king Creon by drugs, and flees to Athens, leaving her children behind her on the altar of Hera, thinking that Jason will care for them. Here the relatives of Creon slay them, but give out that Medea has done the deed herself. Simonides seems somewhere to have touched on this theme (Bergk, frag. 48). Medea and Jason lie makes again rulers of Corinth, and expressly contradicts the older tale that Jason re- mained in Iolcus. Further than this we know nothing of his treatment. Yet a step nearer the tragic formn of the tale is that which Pausaniast gives as the current account in his time. Glauce the princess now appears; she meets her death through gifts brought her by Medea's sons, Mermerus and Pheres, who are stoned to death by the Corinthians. A pestilence then comes upon their children, to avert which the statue of Terror (ad/Ea) is set up, and the regular sacrifices are instituted, at which they wear black and shave their children's heads. These solemnities were observed, he says, down to the destruction of Corinth by Mummius. A fountain was moreover shown, into which Glauce cast herself when in the agonies of death. The tragedians were thought to have first hit upon the idea of making Medea kill her own children, and in this sense an absurd report 4 was current, which represented that Euripides was bribed by the Corinthians to lay the murder upon Medea. But we see traces of this same conception of Medea as the murderer in Cre- ophylus' account and the mystical narrative of Eumelus, so that it evidently existed long before, side by side with the commoner story. Nor can we doubt that Jason's unfaithfulness and Me- dea's revenge were elements ingrafted on the legend before it came into the tragedians' hands.

* Schol. Med. 273. t ii. 3, 6. $ Schol. Med. 10. INTRODUCTION. 17

The original elements of the Corinthian story are, we see, these: Medea is a wise and divine benefactress, who comes from afar and rules the state. She and her mortal offspring stand under the protection of Hera. The children are destroyed - how, was less clearly defined - and Medea departs as she came. Jason is clearly no part of this tale, and perhaps the connection of Medea with Sisyphus, hinted at by the Scholiast to Pindar on Theopompus' authority, points to the older local tradition as to the paternity of the children. After the fusion of the Corin- thian Medea with the Argonautic heroine, the poets were at great pains to connect the two legends, and Jason is introduced along with other new features. There can be little doubt that Medea was originally worshipped as a goddess, and that the sacrifices were intended for her, but that she sank in time to the level of a mortal, while the original ceremonial was still maintained, transferred to the patronage of Hera. § 19. Physical Significance of the Myth. - Medea is the Moon, one of the many mythical impersonations of that lumi- nary. The Moon, like the Sun, is all-wise because all-seeing, but to her belong especially occult wisdom and the mysterious arts of enchantment, such as flourish under the weird influences of her light. Hence her name M~scta ( -ecr--a), "wise woman," from i8os. She is the Sun's offspring (originally, no doubt, his daughter), for the new moon seems to emanate from the sun. She comes from the far west, deserting her Sun-father's house on the western horizon, for the new moon is first seen in the west. Or she is thought of (doubtless later) as coming from the east, where the full moon rises. She abides for a time with increasing splendor; then wanes and disappears. Her children are probably stars, in particular the short-lived morning and evening stars. This figure, which in Corinth took the shape of a preserver 18 INTRODUCTION. and divine ruler," became in the Thessalian myth rather an enchantress, and nothing was easier than for her to be incorporated into the story of the Argonauts, who sail into the same enchanted regions of the east or west in search of the Golden Fleece, which is nothing but the ruddy clouds of sunrise or sunset.

* Wecklein thinks Medea a Phoenician goddess, and that her worship was supplanted at Corinth by that of Hera, when she was transformed into a priestess of Hera. This seems very uncertain. More reasonable is his idea that the shutting ur. I the children stood instead of former human sacrifices. ETPIU-IIAOT MHAEIA. Y IIOOE: I: MHAEIA:$.

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NOTES.

REFERENCES. H., Hadley's Greek Grammar. G., Goodwin's Greek Grammar. GMT., Goodwin's Syntax of the Greek Moods and Tenses.

ON THE HYPOTHESES.

HYPOTHESIS FIRST. - Ascribed in one manuscript to Dicaearchus, who was a pupil of Aristotle, and whom we know, like his master, to have written such dramaturgical notes. A part is perhaps taken from him, but the last part is plainly written by some one else. - -yyv&aL : incorrect; the play represents the marriage as already over. - rIa iKv : Euripides does not mention her name ; later writers call her sometimes Glauce, sometimes Creusa. - I.iObv ris X&PLTos : again inaccurate; the gifts are sent in suing for a new favor. - IEpEKV8-lS, a native of Leros, who lived at Athens about the time of the Persian wars and made a collection of legends (ioropatc) in ten books. - IILwovt81s of Ceos, the famous poet (556 - 468 B. c.), who lived chiefly in Athens. - For s--7roLo-0EL we should regularly have roc-aa . - o ovs Ndo'rovs IroiJo-as, the author of the Nosti, one of the poems of the Epic Cyclus; it was commonly ascribed to Agias of Troezen. - YT&cvXos, an Egyptian Greek of uncertain age, who wrote, among other books, a work repl OerraXwcv. - SoKet, sc. 6 Edp~rlwti . - iwo- PakVo-Oa,falsely appropriated, palming it off as his own, as a woman another's child. - 'EXX&8os pCos, in three books, was Dicaearchus' chief work; it was an account of the customs, institutions, and topography of Greece. --rropVafl o-L: these were brief notes on various subjects. Those here referred to were in six books, attributed sometimes to Aristotle, sometimes to Theophrastus. - pipLovTaa, K. T. A.: an unjust criticism; see on v. 899. - rporeo-v, burst. - do-joXPo, opening verse. - drEtepyaao-ia, further development of the thought. - TcaXScts, a glossographer and commentator of uncertain time; his remark is wrong; see on v. 3. --"Opaglos: Odys. e, 264. 90 MEDEA.

HYPOTHESIS SECOND. - Aristophanes of Byzantium, the famous Alex- andrine scholar and librarian (about 200 n. c.), busied himself especially with the criticism of the poets. We possess many such brief notices of his on plays. The didascaliae, or statements as to date of representation, etc., were collected from the Athenian choregic inscriptions which commemno- rated the dramatic contests. - rap' otSETip(s, K. r. A.: that is, neither Aeschylus nor Sophocles composed a play on the same subject. - .rp.- Tos (iv), i. e. took the first prize. - EicopLov, son of Aeschylus. - oiv aci- fETaL, namely, the satyric play Theristae. It was not, he means, in the Alexandrine library.

ON THE PLAY.

The scene is in Corinth before Medea's house. The nurse, whose speech opens the play, is an old slave-woman, attached, according to Greek custom, to the person of her mistress for life, having been her attendant in childhood and her companion in flight from her father's house. She comes upon the stage from out the house. The prologue is better managed than most of Euripides'; the nurse's soliloquy is naturally brought about and discloses the situation to the hearers in an unconstrained way. 1, 2. Ee'OcWcjX': for this formula of wishing, see GMT. § 83, 2; H. 721, b (fine print). - SLacrr&o-OL : the ship is said to fly, as Hel. 147 and elsewhere its sails are called wings. - Xvpr . ly&sas is object of 8&arr. The Symplegades or rvv podcibes 7rdrpac (in Homer i7rayKral) are fabulous rocks believed to close together and crush ships which attempted to pass between them. Homer thinks of them as somewhere in the west, but later they were identified with two rocks at the mouth of the Bosporus, where it opens into the Euxine. Kvdaearis their standing epithet, so that they are even called al Kvdveat outright. 3. There is no hysteron proteron in this passage ; the nurse says, 'Would that the ship had never sailed, - nay, had never even been built.' 4. pe'rp^o-a : this verb occurs nowhere else in classic Greek. Hesy- chius explains it by KcbraLr pe6oaa. The subject is still 7remK. And would that it had never equipped with oars the hands of those noblest men. The pine is thought of as furnishing material for oars as well as for ship. 6 flg. IIfXa : (dat. of advantage, for Pelias. - 4S(rowv' h M1 AELa : these words make it clear to the spectators who the speaker is. - Irpyovs: the place whither ; H. 551 ; G. § 162. -Ovpov IKrXaayYtora, crazed in heart; K2rX'0-aa'of an overpowering passion such as deprives of self-control. 11 fig. A singular case of attraction. rrokXrcv (for rol-rats) takes thv NOTES. 91 case of Av. The reason is that ovy~ belongs not to avadvovoa but to d¢i- KETO, so that the relative clause really begins with €vy#, and 7roXrv is inside of it, and therefore has to take the case of the relative; H. 809; G. § 154. The regular order would be 5v 7roXLrGv vyn dliKECTO XOV6 a, 0 standing, of course, for rroXrats Jv #vy, d&. X ., pleasing the citizens to whose land she has come in her flight. Had the poet written 7roXlraLs, ovy$ would be referred to avadvovea, and the sentence so be misunderstood. -- v84avova pEv is answered by vv in 16, but there the expression is changed through the influence of the intervening parenthesis (14, 15); the idea is, 'pleasing to be sure (dziv) her adopted townsmen, and doing all she can to maintain friendly relations with her husband, but still (6) involved in strife from his nefarious conduct.' 13. aTi, on her part, in opposition to Jason's faithlessness. 14. ArEp by attraction for 'wrep; H. 513 c. 16. vou-E rd Xraa,( the tenderest ties are failing. 19. altvyv4* paa-Xe6eL, dIPXEc. Hesych. The verb is found only here. 8 25, 26. vvTrJlKovUa aKpivoLS, dissolving it (vcea) in tears. Others 6 construe oawrTKOuva Xp vov, justifying it by TrKE fLorv, 141, which, however, is hardly parallel. - 47re means here ever since. - iS LK ~v q : supplementary participle ; H. 799; GMT. § 113. 30. tv pi WrOTEmay be rendered except when. 33. ATLi-'as Xct, nearly = riLLaKEv, but with the idea of present con- tinuance more prominent. This use of EXw with aor. partic. (GMT. § 112, 2, Note 7 ; H. 797) is a favorite one with Sophocles and Euripides, but is probably not found in Aeschylus. 35. d rokXewr-ea is passive; to be bereft. p 47rok. joined by synizesis. 6 37. viov = KaK V, as often. 38. ~cape a, resentful. 40-43. The two first of these verses are plainly interpolated from 379 fig.; the others might be retained (reading f for ) but that rpavvov is awkward and obscure. If the princess is meant, there should be some designation of the gender. 45. KaXXCVLKOVmeans victory, or the honors of victory; so rb KaXMXVLKOV is used Pind. Nei. 3, 17. In the absence of the article it is better to take it as neuter, than as masc. with adpavo' understood, as some have done. 46. ot8E iratSs o-rEXovoL, here come the children. For this. use of 68e, very common in the drama, see H. 678 a. - The learner should note the difference between 7rpXo and rpoX6s. 49. The 7ratiaywybs, who now enters with the two boys, is an aged family-slave of Jason's. Wealthy Greeks, when their boys had outgrown the nursery, gave them into the charge of such trusty slaves, whose duty 92 MEDEA. it was to attend them wherever they went. - SaonroCvls limits of'KcWKT7/ja taken together. 50. ri1v8S should be translated thus. It is similarly used in 689 below. 52. rov may depend upon either p6v or XeireoOat. 57. The Greeks had a superstitious belief in the efficacy of confiding secret anxieties to the natural elements. Andromache (Andr. 91), Electra (Eur. El. 59, Soph. El. 89), and Creusa (Ion 885) do this. A disquieting dream is thus told to the air (Iph. Taur. 42) or the sun (Soph. El. 424). 58. poLoo-t, as if otL,not e, had gone before. Several such places are found; thus Iph. Aul. 491, iXXws r p Xeos...ei$XeOe avyylvetav wvvov- vcy. COp.below 744 and note. The comic poet Philemon (Athen. vii. p. 288) parodied this passage thus : A cook says,

w)00' il~epos ' Tv)XFe .yj3re Kopvpav X40L /tOAoVTLTo7IOV we eoiaEuaoa. 59. yap in questions expresses surprise. Transl. what ! 60. taX4 oe, Enviable simplicity ! - ttero' (schol. dKI eS), is at its height, or in the middle of its course. 61. pIJpos: nom. of exclamation rather than of address. Medea is meant, /c.^posbeing used here exceptionally as adj. of two endings. This is a common thing with Euripides; cp. 1197 S^Xos, 1375 A'&oo. 65. wrpbs yEvelov: see on 709. - o-v8ovXov, acc. of person (H. 553; G, § 164), the ace. of the thing being omitted. 8 67. oi OKwv KX1eLv, pretending not to be listening. Cp. Hipp. 119, u 6 86KEL TO TWV KXEL . oi OKw is used like oil O-u, deny, o0K eZ, forbid, etc. 68. wro-ois, the gaming-place. So ot ix00s, the fish-market, r& XCdava, the vegetable-market, and others. The game of reaooi resembled ours of draughts, in that it was played on a checkered board with men (#t#oe). There were several varieties of it. 69. All fountains were considered sacred. The famous Pirene, after first welling up near the top of the Acrocorinthus into a basin with no visible outlet,.: flowed :underground and reappeared in the lower town, near the street leading to the Lechaeum, where it was adorned with handsome stone- work, and was a favorite place of resort. See Curtius's Pelop. Vol. II. p. 528. 72. an s, true, correct. 73. ovK Eiv~ : a, very exceptional use of ob. The rule would require h. The expression seems to be analogous to xph' ov with infin., which is frequent in Eurip.; see 294, 574; Androm. 100, XPh s' odror' Elr obUp' bXPtov PporTw : Hipp. 645, Xpv Els yvraicacrp6~oroXov opvov 7repav : in cases, too, where it is impossible to say that ob forms with the infin. a simple idea. The usage arose probably thus : first the ob was put directly after the Xp4 for reasons of emphasis, still belonging to it (so Hipp. 507, and perhaps the NOTES. 93 above, passage of Androm.), then it gradually attached itself to the infin., and allowed itself to be separated from xp". 74, 75. zro'Xov'cs is supplementary partic.; cp. 38. See GMT. § 112, 1; H. 800. - de Kat because of the negative idea implied in the foregoing question: (surely he will not) even though he has, etc. 76. K18EvlaTwv : H. 581 ; G. § 175, 2. XeirraL expresses inferiority. 78, 79. a&rwAoXdeo- : for the tense see GMT. § 19, N. 6. The nurse speaks for her mistress and the household. - wrpooolotogev seems to mean receive in addition. A corrupt gloss of Hesychius, rpooolotacle" r~pooad- (ele, confirms this view, though we should have expected the middle. It is the idiom by which, roughly speaking, involuntary acts are spoken of as if they were voluntary. So Hipp. 831 avaK/coU'at, am receiving on myself; Heracl. 296, uvxiv & aKvai6a~ , lose his life. Wecklein aptly compares adropaiXXecv, lose. - Egiv'rXKVaL : the figure is that of a boat which ships a fresh wave before the sailors have bailed the first one out. Cp. Ion 927. 83. ~Xovro t.v pJ : the meaning is, I will not indeed wish that he may perish. So Soph. Phil. 961, 6Xoto Musrw, irpv tdaOoq i Kai raAXw yvo5avY /eTol cs. In both cases the curse is on the speaker's lips, but is revoked at the moment of utterance. 87. KpSovu1 XapLV, from motives of selfishness. This verse looks like an interpolation. 88. et-ye = drel, seeing that; hence o6, instead of A', is admissible. Jelf's Grammar, § 744, 1. The clause depends on AtprT yc'yvc voKELs,the idea being, 'Are you just beginning, in view of Jason's neglect, to recognize the self-love of men ? Did you never meet with an instance of it before ? ' 90, 91. ,o- a-as 'e, keep secluded. - rekd.at is transitive here and 760, but has its ordinary intrans. sense, 101. 93. Spaedovoav : a desiderative verb; H. 472, Rem. j. 94. 1rplv KTa'KQc t TrLv : '7piV with the infin. after negative sen- tences is rare in the Attic poets, but more frequent in the Attic prose." Goodwin, MT. § 106, 2, N. 2. KaraTK rT only here takes the accus. It probably means, strike down as with a thunderbolt (Schol. p~Xchaf...otov Kepavvwyxa) ; with dat. on the contrary, simply fall upon. 96, 97. Medea's voice is heard in soliloquy within the palace. The anapaests which she speaks are tinctured with Doric forms, while those of the nurse are free from them. Anapaestic systems admit Dorisms only exceptionally, to impart greater solemnity or pathos. - rrdvwv is causal genitive in exclamation (H. 592 a; G. § 173, 3) joined to an adjective, as often;

ep. 1028. - rcs av ~ko~av ; would that I might die. This form of wish (GMT. § 82, N. 5), not rare in tragedy, occurs again 173. 94 MEDEA.

98. r68' aKEEvo,There it is! literally, ' this is that' (spoken of before). A common colloquial formula. 106 fig. It is plain that the storm-cloud of wailing,just beginning to rise, will shortly dart upward with greater fury. I have given dva eL (from vavo'w = davatow), a suggestion of Elhnsley's, based on an old variant dcL e found in the Schol. and one Ms. The common reading, aEd /iet,is hard to explain. Some take it as active for middle, ' will blaze forth' (with lightning), but neither dirTrew nor its compounds ever use the active in this sense. Others supply Medea as subject, 'that she will light up,' but this accords ill with the opening of the sentence, which shows that vi&os is meant as subject. By reading 6Xv or 5-Xof we might retain cdd- /e'. aPX "S gaScadevov = alp6 evo' l dpX~js, rising from its starting- point. With v 4os ot pwys cp. arevypaGT',vpos, H. F. 1140. 112. w Kaa&parOL ratiSs : in spite of the nurse's caution, the children, who here enter the house with their attendant, are espied by Medea. 116. o-osmay be rendered pray. The exact sense is, ' What share do you fancy that,' etc. The nurse does not, of course, intend this for Me- dea's ears. 118. weLpaXky,as implying anxiety, takes the construction of a verb of fearing. birep-, exceedingly. 119. SeLv& rvpdvvwY Xiipaura: the nurse has Medea in mind, by no means Creon, as Paley thinks. Medea, as a king's daughter, may be

called a Trpavvos. For the sentiment the Schol. compares 11. a, 80 flg. 122, 123. y&p may be justified by supplying the thought, 'All this I disapprove,' implied in the tone of the preceding sentence. Meanwhile, one might translate, The fact is. See, however, on 573. - wr'ta'oLrwO, on a footing of equality with one's fellow-citizens, as in a democracy. To live thus, the nurse says, is better than to be a king. A like sentiment Ion 621, Iph. A. 16. - y&yXws : not to be understood of regal state, which is entirely deprecated, but of a less dangerous magnificence, the sense being, 'securely at least, even at the expense of all grandeur.' 125 - 130. Construe Toiivoa VLtK Eir v, the name is a better one to speak. Notice rpvra iv-T in correlation; so below, 232, 1101 (cp. 429).- X4'-a ({isC): subject is rd Arpa understood. - .r 8' rep~3dXov'ra, K. 7. X., what exceeds due bounds avails no wholesome thing to mortals. ' 6BFvt yav' is the mainspring of Grecian ethics. All excess is tbps, which the gods punish by sending Tr7. - &rrEi8KV : gnomic aorist; H. 707; GMT. § 30. Its subject is still Tr brepp fAXovra. 131. The chorus of Corinthian women now appears in the orchestra and sings the Parodos, which consists of four parts, - prodde, strophe, antistrophe, and epode, - separated from each other by anapaests of Medea and the nurse. NOTES. 95

134. a&'&FL rkXov, K. r. X.: the meaning of these words is doubtful. They are, I think, best taken thus, I heard a cry near the doorway within the house ; the chorus inferring Medea's nearness to the door from the dis- tinctness of her voice. rl as Heracl. 239, iq' oi. Other ways are possible : 1. Being near the porch (Medea's) I heard a cry within the house. But the chorus has just arrived and was not 'near the porch' when Medea last spoke, 111. 2. Being near (my own) doorway I heard a cry in (Medca's) house. So Wecklein. 3. Joining u 9./peXm0., being near the double-doored house, I heard a cry within. So Elmsley, Paley, Klotz. To this the same objection applies as to 1, and the position of 90wis, besides, unfavorable. 4. I heard a cry inside, in the double-doored house ; drl as in Edr' olKhaTror, etc., but this use belongs rather to later prose. da- iTrvXos occurs only here. Klotz and Paley, taking it adjectively, refer it to the outer and inner door (a'Xetlos and ervavXos), but the word as applied to a house can only mean having a door on both sides. But as a substantive rb ad irvhov can mean doorway or vestibule; cp. d/~iLopov, Theocr. xiv. 42, and Schol. I1. w, 323, "KrpoL U4 rao-rdSa dy0ivpov, ILKEXO U Tny' alketo 0' pav"; also rpbOvpov. - 'd-o, as often, is for dvr~, without any idea of motion. 136. -vvA18o0~a for rejoicing at misfortunes is rare, but Hippol. 1286, 71 TdXas TroWSeov'wC EL; cp. Rhes. 958. 138. irie. -KKpVvaL, since it (the household, especially Medea, see v. 11) has endeared itself to me. KeKpayTa (sing.) from KpalVW. 139. ,864Lo, house, i. e. family. - i&8e, all that. 142. o8v wrap. 4pva, nothing comforted at heart. 147. Lo-r&v, object of KaTaKX alUia. The same expression, frag. 984, KaTaXvo"advovgflov; the active Suppl. 1004, Kava dovia piorov. - irpo- XAwoora (auTrv). 149. &Xdv (= 4jXiv) is a correction of Nauck, after Elmsley. The Mss. have iaXav, but the tragedians, so far as can be made out, use the second syllable of iax' always long. 151-153. i-s o-o WroE, K. T. X.: What longing for that dread resting- place (the grave) would fain hasten for thee the final is32e of death? dr&i-ov is due to Elmsley, the Mss. having dr-ro-rov or dwXrhr'ov ; some retain the latter, understanding KOITra of the marriage-bed. The future o-nrevo-e expresses present intention or will : GMT. § 25, 1, N. 6; Kiihner, Ausf. Gramm. § 387, 4. Yet it is rather oddly used, and there is some probability in Weil's conjecture, who reads a re6aoe 0avarov rEXevrT, as a separate sentence : 'death will of itself come quickly enough.' On 0av0- rov TEvXEI&v see H. 561 ; G. § 167, Note. 154. p,18Ev = gySa~is. Not a common use. Androm. 88 and 463; Ar. Ran. 435 ;. Aesch. Ag. 1438. 96 MEDEA.

157. Be not exasperated with him for this. ar8e is properly the cognate accus., H. 547 c; G. § 159, N. 2. Elmisley takes it as thus, which, however, will not do in A'oc r&6e XwEo, Od. e 215, 213. See lexicon for the literal meaning of Xap'ao OcOt. 160 fig. Themis, as goddess of divine justice, is appealed to for redress of wrongs, as Soph. Elec. 1064. Hence she is called e6Kraia below, 169, and lKela, Aesch. Suppl. 360. Artemis is the special protectress of females, so naturally invoked by them, as Soph. Elec. 626, 1238; Aesch. Suppl.

1031 ; Eur. Phoen. 152, 191. - 6pKOLs AvSyro-apva , namely, when she con- sented to leave her home with him. 164, 165. a&rots J.X0poLs : H. 604 end; G. § 188, 5, Note. -rwp0-OE aSLKELv : " the Greek idea was, that to begin the wrong, brdPXewL d&Kis, involved the entire guilt, any retaliation being then lawful. Cf. 1372." (Paley.) rpbarev may be rendered unprovoked. 166, 167. a&rEvvirrlv : from &rovaiwo; aiaXpws goes with it. - K~aULV, Apsyrtus; see Introduction, § 11, and note on v. 1334. 169. Zfva: whereas Medea, 160, has not invoked Zeus. This has troubled many commentators, ancient and modern. But Zeus bpKLOs,the guardian of oaths, would be the first deity on whom Medea would naturally call; and we may suppose that in her previous outbursts (see v. 21) she has called upon him, and that the nurse forgets what particular divinities she has just appealed to. If an emendation is necessary, that of Nauck, Z-jv6s for Zrvc 0' (cp. 208, and note), is easy. 171. v rcvL ~.LKpw, with (the commission of) any trifling deed. 173. zr(s &v, K. r. X., as 97. 176. E wais, H. 830 at end; somewhat differently GMT. § 53, N. 2. - PapvOvplos is sullen, opposed to 6~t0vpos, quick-tempered, impetuous. 178. rb wrp6dOvov = irpolvia, G. § 139, 2; H. 496,. 6th ex. 181. +kxa Kal m&8'aAi, sc. Etvat. 7d6 = i~as, more exactly our party; so Aesch. Pers. 1. The meaning is, say too that we are her friends. 182. crrreo-ao-a is Wecklein's emendation (who, however, gives r( rpiv). - The subject of KKw0~iL, Medea, has to be understood. 184. et, as to whether; a simple indirect question after an expression of fearing; GMT. § 46, Note 6 (c). Here and Heracl. 791 it stands for ph ob, but Andr. 61 for ,ur. 8 186. ix0ouv XdptLv i4vs means the favor of this trouble, as it were . X.

T7086. - E,-rwSow, will grant freely, beyond my obligations. 187. Sepy.a : cognate ace. with droravpoorac, as if with 64pIefrat. 190 fig. The tenor of the following passage is that music might, if rightly employed, be made a comfort in grief, whereas it is only used to heighten needlessly the merriment of feasts. 192 fig. The correlative of piv is 81,195. - &KO& = dKpocdara. NOTES. 97

197. It Av refers to X67ras. - &vacTroL,violent deaths. 200-203. 'va, where. - 'rEvovo-L (utter in long-drawn strains) of the physical act of singing. - Tb wiapv rXilpcwp together. 7rX4pwpla, physical satisfaction. The sense: 'feasts are merry enough without the aid of song.' - The nurse here enters the house. 205 flg. Take XLyvpa adverbially (or rather as predicate adj. of effect, = ore XAyvp& etha). jpoyepi belongs with tea, and the phrase &Xea (o3, as containing a simple idea (= Oppevse), governs the accus. bV...hKaKOVv6UOoV. And loudly crying forth her grievous woes she complains of the false bride. groom, etc. Such constructions, in which a verb and accus., taken to. gether, govern a second accusative, are not infrequent in tragedy. Soph. Elec. 124, TCKEcS oi wy&v T ' 'Aya,e4dvova ; Bacch. 1289, r7 edXov Kapi1a

208. Tr&v Zlvbs 04LV, Zeus' own Themis; that is, his rdpepos (Pind. 01. 8, 27), and inseparable companion. So 0dUs AtOs KXapiov, Aesch. Suppl. 360. She is here said to have led Medea into Greece, the idea being that Medea went in reliance on Themis as guardian of the oaths of Jason. 211 fig. 8' tXa vb~rov, over the sea in the night. - iro'vou KX 8a: the strait of the Bosporus ; called &ripavros, impenetrable, because of the Sym- plegades which guard it. ad7pa ros has this meaning Aesch. Prom. 153 and 1078; elsewhere it means endless. Some give it the latter sense here, justifying it by Homer's 'EXX~crrovros weipwv, 11. w 545. Both meanings of drpavros arise naturally, since rrepaivw means either pass through or go through with. 214. Medea appears on the stage. 215 fig. A difficult passage. Probably the following interpretation (Seidler's) is the right one : I know many haughty men, some from personal acquaintance (,eid-rwuv &7ro), others who are strangers; and ihese (namely, both the above classes, all the oejvol) from their rescrved demeanor have got an evil name and a reputation for ind f erence. This use of d7' 0cdrTwv, with my eyes, from my own observation, is found Aesch. Ag. 987; nearly the same Aesch. Suppl. 207, Soph. O. C. 14. iv OvpCdois, among foreign- ers or strangers,the usual meaning of OvpaTos in Eurip. The io-voxr 7rov is one slow to make advances, not meeting one, as we say, half-way. (Some editors, with the Scholiast, explain robs ICAv...Ovpalots 'some in retirement, others in public life.') For KTraaOac = get the reputation of, cp. I. T. 676, 6clXav KECKT7jooac, and Soph. Ant. 924. 220. 8a-rLs after pporcav, H. 514 d, last part. 222- 224. Strangers especially, she says, should adapt themselves (7rpor- Xwpeiv) to their adopted land, though, to be sure, not even in citizens are stubbornness and ill-breeding (daeaOia) praiseworthy. Hermann sees in this last verse an allusion to the demagogue Cleon. The aorist ')'veo-a and 98 MED EA. some others are used to denote a feeling or resolution (or the expression of the same) which has already arisen in the speaker's mind, where we em- ploy the present. GMT. § 19, N. 5 H. 709. 226. V~IvyvSL OapKE, has broken my heart. 228. Avv... rCiv'ra, for he with whom my all rested. - yLyvo'KELS : the Mss. have yLyvw~TKELV, due, as the Schol. expressly says, to the actors, who misconceived the sense. y 'tyvW(K and y'VdjOKEL have also been conjectured. 231. vTrdv, like our creature, in a depreciatory sense. 232 fig. rp'ra pChvanswered by re: ('first buy the husband, then serve hint') unless, indeed, the correlative is 235 fig. - XP'l-'rv rweppoXf : rightly explained by Paley, " by outbidding others in the offer of a wealthy dower." Cp. Andr. 289, brepoka ts6ywzov &vop6vywv, vying with each other in hard words. birepX3iev means- outbid. Euripides has transferred the usage of his own time to the heroic age, in which the custom was quite the reverse, the suitor bidding for and buying, as it were, his wife. - vo9o, T b eaorbr)Yv XaPerv. For the expression ep. Soph. O. T. 1365, 7rpefp67repov IT KaKOU KaKbV, an 'evilworse than evil. 235 ftg. dcyv, risk. - By arrakXayat is meant the drbXEetLs or formal separation from the husband, attainable to a woman only through a difficult process at law, and looked upon at best as scandalous. The husband, on the contrary, might repudiate (daror'renv)his wife at pleasure. Here, again, Eurip. has Athenian institutions in mind. 238-240. The sense : 'a woman who has come by marriage into a foreign land has need (in order to live happily) of supernatural foresight, if she has learned nothing from her relatives as to the disposition of him who is to be her husband.' This is the best that can be made of the Mss. reading. i7-p is equivalent to oi. Not the difficulty of selecting a husband is meant (for that is not compatible with the tense of aty E'in v), but that of living agreeably with him afterwards. And to make this meaning plainer some alter the last line, reading ii0*wfor biry, or Xapicrerac for Xpterac. 241, 242. eZ goes with iKrovovudvatav. - pla, restively, like an intract- able horse. 245. arcwvre: gnomic aor. See on 130. 247. -rpbs tlav vXiV *rv ero dv"p6s, Schol. Athenian custom con- fined women strictly to their homes. RXEWeLv implies devotion; cp. Ion 614, Eis adfapra a'v PXEr s, and Andr. 179. 250. KKOJS poVOvVTEs : syntactically with Xiyovat, yet standing by itelf ; wrongly though. Just so Heracl. 55. 252. &XX' o' yp, but (enough said, for)...not; H. 870 d. - KEL, applies. NOTES. 99

258. p.eoppCo-o-eaL,, (with whom) to seek a haven of refige from, etc. Properly, to change moorings away from something. 259. Toc-v8e : observe the rather unusual accus. of the thing with rvy- XdCaew : cp. Phoen. 1666, oilyhp , rXOs rdTie. - POVX~yOopsL for PolXopaC: the idea of the future fulfilment of the wish is in the speaker's mind and tries so to find expression. Just so Soph. Aj. 680, 0. T. 1077, 0. C. 1289. 261. ro'wav8iKlv : the construction is unusual, but right; riveoOai rcva BiKrty strictly means cause a man to pay a penalty. 262. 4iT = KEiVIV7re ?. The Mss. have rv re, which cannot be satis- factorily explained. A man is said yaeirv Trva, a woman yagecro-Oal Tevt, bnt what can yagdeei'Oai Twa mean ? As a case of attraction, v re is not justifiable, for in such places the nom. is invariably retained; see v. 515, Alc. 338 orvyw tev 1Ep' eTtKTEV, Or. 1165, Ion 669. Of other explanations the only one at all tenable is lHerniann's, who thinks yageeaOat properly a causative middle, to get (one's self or another) married, and that yagoopaC r"v Ovyardpa can be said like t diKOpatLb cV aia. He would then render, 'and her whom he (Creon) has given him to wife.' But, as no similar example can be found except it be 11. t, 394 (and even this is not quite parallel) this use remains, for Attic, more than doubtful. Elmhnsley first gave rCe. 263, 264. The proper correlative of r IXXa p is bray d below. See on 413. - Es aXKv and oL8. eL-op&v, two separate modifiers of KaKq. 271, 272. Creon appears with attendants (d-aot, 335). - etrov, I com.n- macnd (finally, as something already resolved on), see on 'veoa, 223. 278, 279. K4Xt are reefing-ropes; so EtiEvaLKaXcoS = shake out reefs, set sail (= X0at ir66a, Hec. 1020), cp. Tro. 94, H. F. 837. The figure is that of one ship pursuing another. - e1trp6o'oLoe-os KPacrOS, accessible landing-place. rpo-oppeOat is used of putting in to shore, Xen. Cyr. 5, 4, 6. 284. o-v LdXXE a.....SELC.aros, many circumstances contribute to thisfear, literally, contribute (a part) of this fear. H. 574 e; G. § 170. In the next line explanatory asyndeton; H. 854. 288. bv S6vTa, K. 7. X. Medea's own words, as reported to Creon. 293. Soia, my reputation, for copia. 295. EKSLSO-KEcOaL, have instructed, causative middle ; H. 689 b; G. § 199, Note 2. --o oils : predicate adj. of effect, =- COJTEaogobs elvat : cp. Elec. 376, &8t6dKELt ' l3vpa...KaKdV. The thought of the following verses was suggested by the poet's own experience. See Introd. § 1. 296. Xwpcs...dpytas, for, aside from the charge of sloth which they have to bear besides. gXetv apyiav is said like KTcr ea vuiav, 217. This idio- matic use of tXXos, on the other hand, besides, is well known. H. 538 e (end). So Ion 161, aXXoS...KlKVoM, a swuan besides. 100 MEDEA.

.304. Interpolated from 808. 308. 6ori~...ap.. depends on ' XEI LO6. 314, 315. Ka ydp has not its usual force here, but Kal = Kairep and goes with 3LK7VetOL.V-BSLKiJ5GVOL : when a woman speaks of herself in the plural, she uses masculine, not feminine forms; H. 518 d. - Kpe t-o'vtwv : H. 581 end; G. § 175, 2. 316, 317. Ei'oo #pevwv with POovUXEvp.- (ovkXeds, lest you are devising. In strictness, the pres. subj. in such cases refers not to a present act, but 'the future disclosure of a present act ('lest it may turn out that you are now plotting'), so that the rule (GMT. §§ 12 and 20) that the subjunctive in final and object clauses refers to the future, still holds good. The Mss. here have Povue.o-7s, which could be retained only by translating, 'lest you may (prove to) have plotted.' This use of aor. subj. is Homeric (II. a 555, K 97), but I know of no Attic example. The correction is Elmsley's. 319, 320. ws a8'aXrs, andjust so. This adverb is often written ai-rws, but wrongly. It comes from ar6s, with changed accent, not from oros. ws arws (toa6rws) is simply the ablative of 6 ar6s. - vXao-rav, to keep) watch of, not quite the same as vX ~oacOat. 322. ipape: perf. of apapil-Kw. Do not confuse this perf. aprpa with the 2d aor. dp"pov, 'papov. The former is intrans., the latter transitive. 6 324. wpds ore yov&ivv, sc. 1KEE W. In adjurations, ce is commonly placed between rpbs and its genitive (so per te deos oro), and often the verb which governs it is left out. Cp. Ale. 275, n;7 rp6s oe OeCv rX~S e 7rpo6ova. H. 885. On yovdrwv see note on 709. Medea clings to Creon in the attitude of a suppliant here and again 336. 329. (Well do you speak of country) for to me at least 't is far the most precious thing I have, save only my children. Meaning that the safety of both requires Medea's banishment. - 'potye in opposition to Medea; he really loves his country, he means, and is not minded to betray it, as Medea has hers. 331. That, I fancy, is just as circumstances come about. Swccs is here a simple relative, and so takes fvy; GMT. § 62. - Kat emphasizes r Xa ('circumstances too influence the matter'). 334. (Your troubles forsooth !) 'T is I who am in trouble, and in trouble enough, too. For the two meanings of the perf. KEXpmat see lexicon, aii cp. 347. The last part of this verse is added simply for filness, according to the idiom of confirming a statement by denying its opposite, as Xvrpbv 6 OEa[La KOb0iov, Tro. 1157. Others explain, 'I have no need of other troubles, and so cannot relieve you of yours,' in answer to the words dri- Xaov ir6vzov, as if Creon had asked her to take his troubles on her own shoulders. This involves a sort of grim witticism, and seems rather trifling. NOTES. 101

336. XXk, nay rather. Cp. Hel. 939, ir 5^ira, rcapOy', dXXd a' iLKErTC~ r66e. 338. roi~ro : rb pt1ed ye}v. 341 - 343. cpov,r8', accus., not dative. -- , qua; in what direction and so whither. - &C'opj}v,resources, means, properly a starting-point. The meaning, place of safety (Lidd. & Scott), is wrong. - ov8v lrpoTL4, does not at all care or think it worth while. 346. etL jevgo Ea : GMT. § 56. 349. The perf. 8&40opa is always transitive (= 8&CO0apKa) in Attic poets. 350. ilapapTrvv see on ih6tK3l~p.dV,26. 356. 8pcaoaLs, the best Mss., which without av is, of course, a solecism. Others bpdoe-s. But these two verses are in all likelihood interpolated; the words AXexeKra... e mark the end of the speech. Creon here departs. 358. Ipe!a...Xcv : see on 96. 359 flg. I give with Kirchhoff the reading of the best Mss. Take -'va 0 with cwrqpa ; what savior through hospitality...? 86pov and xOva are appositives. wrphs ~vtav adverbially, like rpb piav, 7rpb btXiav, strictly conformably to, or in the way of hospitality; with wr^ pa as with a verb ('whom to save you in hosp.'), cp. on 479. It must be confessed, however, that this is hard, and that probably igevpo'ets is to be bracketed with Weckl., riva then going with ecvfav. The easier reading rpoevlav rests on slender authority. 361. KX1V8va Ka#Kiv: a frequent metaphor; Suppl. 824, H. F. 1087, Hipp. 822, Aesch. Pers. 599. 365. X' oiiT...rro, but things are not yet come to that pass, don't think it. That wrwbelongs not with ci bo0Keire, but the preceding, is seen from Arist. Eq. 843, Aesch. Prom. 511, where the same idiom occurs. The , confused order here heightens the intensity. 367. Tot7a K8EdO'ao'LV : Creon is meant. 370. o48E--o484, not even-nor. - xepotv, dative, with my hands. If genitive, the sing. Xep6s would have been used. See note on 709. 372, 373. iXetv, thwart. - A&qKv, has left me free to remain. 6&~iret is not often so used with infinitive (except it be of a verb of motion, Soph. Phil. 1349), but Plat. Legg. 7, 806 c, rb OgXv...d4te'ra rpyacivo ; and ibid. 2, 657 e. 382. brrepjavova-a, said of passing the threshold, here in entering (so birepfpadav w6has, Alec. 829), but Ion 514, in coming out. 384, 385. Kpa&TrLTa: H. 518 a. - Tiv evetav (686v), adverbial. - w 4. aoal, namely, we women, the sex in general. Elmsley conjectured oo oi, so as to mean Medea herself: see on 314. But poison was a recognized woman's weapon; see Ion 616, 845, and frag. 467. 386. KaA Sh re0v&"aL, suppose now they are dead. Cp. 1107. 102 MEDEA.

389. 'nirpyos : metaphorical. 391. But if a fate devoid of all resource decree my exile. 393. 'r6X0Asirb K ipTEpov, the height of daring. 396. Medea has an image of Hecate,: patroness of witchcraft, in her house. Such private shrines, 'EKaTLaa, were common at Athens. 398 fig. The y 4doc will be bitter to bride and bridegroom, the K^6OSand ovyal to Creon. 400. ,89jSvis, of course, adverbial. Cp. Soph. El. 716, elEoviroKVrpWv oi6Uv, also Aj. 115, Eur. Hec. 1044, H. F. 1400. 404. rots ELo-vcdoLs, K.7. X.: from the Sisypheans and from Jason's bride. The dative with &o(AKdvw denotes the person from whom or in whose mind anything is incurred. Zso1ELCor is a contemptuous name for the Corinthians, from Sisyphus, their ancient king, who was Kip&orO ds- 8pdv (II. P 153), and otherwise in ill repute. Creon especially is meant. Wedlock is put for the bride, as Andr. 103. (Others, joining Z. and 'yd/., explain 'from the marriage of Sisyphus's descendant and Jason,' as dat. of cause, I suppose. But the second ros forbids this; moreover, the con- text requires dat. of the person whose laughter is feared. Probably, however, we should read Tokio' for rots r': 'from this Sisyphean bride of Jason's.') 405. rarpds: Aeetes, son of Helios. Od. K 138, tiow (Aeetes and Circe) ' EKYEya7Tqv qCLEoLt4pLTOv'HlleXoco. 406. abrra -aa: referring back to 400. - rpbs Si Ka ir. yvvatKEs, and, besides, we (I and the rest of my sex) are women. 410. Medea remains on the stage during the choral song, the burden of which is: (1) The infidelity of men ; men will, the chorus says, hence- forth have that name for faithlessness which hitherto has been borne by women. (2) The forlorn condition of Medea. - dvw 'rorapn v, K. T. A.: "Rivers flowing backward " was a proverbial expression for whatever hap- pens contrary to the ordinary course of things. - lepov: all rivers are sacred. 8 413 fig. &v pdo-L pv is answered by rd 8' dvay, not ew^pvU. The first d is only continuative, or at most but slightly adversative. Just so 263 fig. It is a question whether we ought to read we in such cases. - SEw.v'ro~rLs, faith plighted in the sight of the gods. (Paley.) - r&v 8'... &aa,report will bring about a change to my (that is ours, women's) life, so that it shall have a good reputation. 421 fig. oea IrakGX.&oLS&v, the strains of ancient lays. - 4pvras = 5~vooaat. This kind of contraction is rare in tragedy: Hipp. 167 dijrvy, Iph. A. 789 vOaO5ca. zLvey has a bad sense here, as not unfrequently. Eurip. was thinking of passages in Homer and Hesiod, but especially of the iambi of Archilochus. NOTES. 103

424 fig. -oi y&p, K. T. X.: the sense is, 'we women have not the poetic gift, or we might ourselves sing a song in answer to men.' ydp is used in anticipation of the following sentence, the idea being, 'for a song might easily be sung, though I cannot myself sing it.' - AvTr&Xpl ' v, would (proceed to) sing. See on 1351. -dwWaE 04oE'rVL&oLSdv: Homeric; Odyss. 0 498.

428 fig. laKpbs 8' abv, K. T. X.: a long life (the experience of a: long life) has (i. e. can furnish) much to say about..., etc. - piv- : see on 125. - potpav, mutual relations, properly part or share in life in relation to one another. 431 fig. rp os shortens the penult often in Eurip., only, however, in lyrical passages or anapaests. Many critics distrust the Mss. and would 6 restore rcdrpcos everywhere. - piro-aa, parting, passing between. (Others, passing the limits of, as in Aesch. Suppl. 544, yalav pipet, but this sense seems natural only with yayiav, srbAv, and the like.) 436. KoLras XKTpov: a common pleonasm; Hipp. 154, Kolva AeXewv, Iph. T. 857, KXtTla gKrvpwv, Alc. 925, H. F. 798, Soph. Ant. 425, Aesch. Pers. 543. 439. xadps, reverence. 442 fig. eOoppc o-@Oa, as 258. - ardpa = rpecac. - rcv 8...4rCa- vEo'ra, but anotherprincess, more potent (to charm) than that couch of thine, has risen up against thy household. - ore;--Sc instead of o rve-re, by a slight anacoluthon; cp. H. 855 b: so Soph. Trach. 1151, olre uinryp... irabsow 8d, and elsewhere. 446. oi vtv, K. 7. .: ep. 292. 451, 452. KOp.OCpv, K. r. A.: for myself indeed I care not; go o for.- ever, if you choose, saying that..., etc. - 'Idcov outside its clause, yet retained in the nomin.; cp. Bacch. 173, freo rs, elodayyeXe Tetpeolas brT

453, 454. rvpivvovs, the royal family. - irawv KEpSos, clear gain. - pvyi, with exile only, and not rather with death. 456. acfjpovv: impf. of attempted action. 459, 460. KaK Twvvs, even after this. - Tb abv 8 TrpooK. in opposition to &rELp1iK&S : not having failed my friends, but, on the contrary, provid- ing for thy interests. drereiv (cbrayope6w, darav8w) is construed with the dative in two ways. (1) Dat. of disadv.; flag, or givd out in serving; as d rav8bav lXocs, deesse am icis, Andr. 87 ; and in this place. (2) Dat. of cause; sinkC under, give out iii; so adureriv KaKoi, a,'ye6, 7rvocs, Or. 91, Hec. 942, Ale. 487. In both these cases the verb has its meaning of tire, flag. Quite distinct is (3) its use with accus., meaning renounce, disown; CTrcEr. wzrSove, darlav, Suppl. 343, H. F. 1354, Alc. 737 ; and, furthermore, (4) the meaning forbid. 104 MEDEA.

463. Kil y&p L,for even if; Kat going with el,and ydp referring to i;KO above, the intermediate sentence being parenthetic. 465 fig. Tovro yp, K. T. .: for this (the term -raycdKOKLTre) is the bitterest reproachfor thy unmanliness which I can utter in language (ydcr ro), though I feel yet deeper scorn in my heart. 468. Interpolated from 1324. 469. Op&r-os in a good sense, = cipoos. 6 474. KKS goes with KX w as well as AEaaa. The student will remem- ber that KaK E KX~6EV (iKOdeLE)is passive of KaKw XSyELV. 476. A noteworthy example of Euripidean sigmatism, a trait ridiculed by the comic poets. Cp. 380, 404, 1217, and for other alliterations 323, 340. 479. tvyXkatc : dative of means with Einrd(i rv as if with a verb ( rc- ocrarouVra). - Oavao. y6iv : see Introd. § 11. 482. KTeCva-a : by proxy. She put the dragon to sleep by her enchantments, and so enabled Jason to kill it. Similarly just below, 486, dLrEK- TELVa. H. 686. - ~v oXov, K. T. X.: held up for you a torch of safety. (Wecklein, however: rose on you as a guiding star.) 485. irpdoOpos akXXov = rpolvordpa. For the second comparative o-oc oTEpa see H. 660 b. 490, 491. Childlessness of a wife was held to justify her divorce and the taking of another. - -vyyvoa-rT : see on KpdrLera, 384. The best Mss. avyyvwaTorby v, which some defend on the principle of Xpy, eiKE rv, etc. (GMT. § 49, 2, N. 3). But these imperfects are regularly used without & only when the necessity or propriety is not met by the facts. In the present case ovyyvwaorbv i v would mean, 'you would be justified in doing what you are now not doing,' but avyyvda-r' &IP v, 'you would be justified in doing what you are now not justified in doing.' Of course, the latter is the meaning here. Infractions of this usage are found, it is true, but they are rare. Moreover, avyyvdo' iv v is certain Elec. 1026 in an exactly similar passage. 493, 494. --i in indirect disjunctive questions, after Homeric fashion, occurs in a few passages of the tragic poets. Many discredit it, and sub- 4 stitute ei---. - OEo-J : heterogeneous plural of Oeoyp6s, only here and Soph. fra g. 90. 497. -rvS8e yov&rov : genitive instead of vocative, because the speaker has eXaucp3ov in her mind. - Keyapwv-p0j a refers to the clasping both of hands and knees when Jason was a suppliant for her favor. See on 709. 500. 8oKOcOa EV 'rC...... pwS 84, expecting what good ofice from you, forsooth? (None, of course.) Still I will do it. 503. OiS...KaI irr4Tpav : cp. 163. - &c'Ko'~plV, came hither. 506 fig. oL o'CKOeEV4cOL are kindred, friends by natural relationship. Cp. Andr. 979, rdxats aiS OsiKoOeY,domestic calamities; Pind. Pyth. 8. 72, NOTES. 105

76 ofkioOSv, his family ties; Troad. 963, E& ofEKoev KEiva, those natural en- dowments; Troad. 648, 371. - ois 84, Pelias's family. - ovK iXP4v, not ought not, but had no need, no motive. 509. 'orokat s.aKaptav, happy in the view of (H. 601 end) many women, i. e. envied by them. Said with bitter irony, in remembrance of former promises of Jason. 512. ei-yE as 88. 515. ~ E =Kac et i. 516 flg. 8s: Av is omitted; GMT. § 63, 1. (b). - TKEIiypLa : the touch- stone, 3ciavos, is meant. The same sentiment, Hipp. 925. 523. This verse is borrowed from Aesch. Theb. 62. - ioa-E = iicrep, not rare in tragedy, see 1200, 1213. 524. &KpoLar X e oLOVS Kpao-trE8oLS, i. e. with furled sails. Medea's yXAwra-aXyCa is likened to a sudden gale. 526. KaC emphasizes, not Xiav merely, but the whole clause: since, moreover (besides reviling me), you exaggerate the favors you have done me. Cp. Soph. Phil. 380, 0. T. 412. 529. 'rlt0ovos for Jason, because apparently boastful. The sense: 'You have intelligence enough to understand, though it is invidious for me to relate, that it was Love that,' etc. The antithesis (Jiv-XX) is 6 between vows and A yos. 532. &X' o, K. 7. X.: but I will not undertake to settle the point with over-nicety; the question, that is, to whom he owes his safety. 533 fig. yp ov, for really. - 's p.s or-To-pCas, in return for saving me, genit. of price with Xa~p3dovw (Orest. 502), as if it were dvrtXa~pfdvw. 538. .h 'zrpbs wXos X&pv, without giving way to violence, without allow- ing violence its sway. Cp. H. F. 779, dvoia xdp' &8co6ds. 542 fig. Xpvards and i~wvo-t-aL are parallel. - YEvOLTo : GMT. § 34, 1 (a). 546. LLXXav, K. 7. X. The same words Suppl. 428. 548 fig. yeyds: supplem. partic. - rpwv,c chaste, virtuous; the opposite of dKpa s, incontinent, lustful. His proof of rofia, 551 fig., of oawpob5, 555 fig., of txlia, 559 fig. - X' arvXos: Medea had made a gesture of impatience. 554. 4 rrat8a ycaLc : added after ro95e as explanatory of it. So Heracl 298. 555. i 'i- KWV(EL,the thing at which you are nettled. 557. AplLXa v IOXSTEIKVOV = a/uXXav roXvrEKVaS. A compound adjective used for the genit. of its derivative abstract substantive; a favorite 6 Euripidean figure. So ALXXa 5Xovros,tLX gpss A3pwXrovros, eb'60O0t 7t- .al, EuTEKVOLXpo lloli (I. T. 412, 1148, 776, Ion 423): see also 1010. 560. yyvrwov : parallel to dX0alppwv, rer., gXw;, above. 564. dAs rac'd, on the same footing, making no distinction, that is. be- 106- MEDEA. tween them and Medea's children; by this the latter would gain in con- sideration; cp. 596. - In the next line, Elmsley's conjecture, ebiaqtovoi- Aev, certainly improves the sense. 565, 566. 't 8Bt; implies oi bv bt, hence rE-re. - rcw8rv : i. e. 'any more children.' - Xie (sc. ~7~77) - AvoTreXE?, as below 1112, 1362, and frequently in tragedy. 573 fig. The same sentiment again, Hipp. 616 fig., at greater length. - XPiv : imperf. of unfulfilled necessity ; GMT. § 49, 2, Note 3; G. § 222, N. 2; H. 703. - ydp, the fact is. It may, like that in 122, be explained by assuming an ellipsis: 'Things are not as they ought to be, for...' But it must be borne in mind that y7p does not always mean for, and is not always a causal particle. Its original force (ye + dp) must have been intensive and consecutive, something like surely then, and the recognition of this accounts for many uses of ydp which otherwise can only be laboriously explained. So particularly the yadp of wishes, not only in the formula el ydp, but by itself (KaKw Syip l6 o0oCycl. 261 ; Orest. 1147 ; Hipp. 640), which might be roughly rendered would then indeed. And so it may be taken here, as Xpgv is nearly the same as 6d9eXov. On this matter consult Klotz ad Devar. p. 231 fig., Bliumlein's Untersuch. iib. d. gr. Partikeln, p. 68 fig.; Kiihner's Ausf. Gramm. II. p. 724. - oK JVUL : see on 73. - This speech of Jason's, 522- 575, is just equal in length to Medea's, 465- 519, each having 53 verses, excluding, of course, 468. This correspondence is common in the argumentative parts of Eurip. plays. 577. rap& yvdpiiv, contrary to your mind or wishes. 580. poC, to my mind : see on 404. 582 fig. yXbo-ra~- with lrep heXEv.- siXwv, presumptuously fancying. - o4K lyav o~ro s : Cp. Hec. 1192, where it is said that such men are aopol, but not e&TrXovs aool. 584 fig. &sKal wT,K. T. X. There is a slight turn in this sentence, from an assertion to a prohibition : As for instance you -- had best not undertake to be, etc.; the full thought being, 'as, for example, you are a person of this sort, but beware of attempting your sophistries with me.' For cjsKa 6 cp. Andr. 703 ; Hipp. 651.- ~K'Tvet : a wrestler's phrase. 588. - 4SEXdyp : this argument in favor of my marrying the princess. 591 fig. The thought is abridged; it is in full : It was not that (fear of my anger) that restrained you (from telling me) but the consciousness that your real motive in deserting me was a different one, namely that your marriage with a foreigner was likely to prove not reputable for your old age; i. e. if continued through life. 594, 595. yqpai : infin. after oiaa instead of participle. This occurs only with to-C, chiefly after the phrase eb rT6' to-L, seldom elsewhere (Soph. Ant. 473, Phil. 1329). - X4K'rpa aoLXECv, the royal bride. paroXi'o is NOTES. 107 generalizing plural; of a royal personage, of royalty. The Ms. reading X. p3aoXws could only mean a king's wife. The correction is Elmsley's. - Oeb v : as if 9yyce had preceded. 598, 599. Let me not have prosperity which shall be galling, nor wealtlh which shall vex my soul2; such as that must be which Jason claims to have provided for her. - KvC(OL: GMT. § 64, 1. 600. oto-0' cs... avet; equivalent to ola8' js aperevtaAdy aoocwrdpa /ave ; since /ereTEeL is in thought subordinate to ave. 606. yapoo-a, by taking another wife, as you did ? 608. 4pala, a curse, curse-bringing. A dark threat. apaios has this sense Hipp. 1415, Iph. T. 778, and elsewhere. 609. cs with future indic. at the beginning of a speech, expressive of firm resolution; an Euripidean idiom. Sometimes, as here, in opposition to the preceding, sometimes in vehement assent. Usually expllained ('o04s) ws, but perhaps rather the bs is causal" ' It is useless to talk, for-'; 'Have no fear about that, for-.'--KpLvovpaL, litigabo.- TrvSe: H. 577, Rem. c; G. § 173, 1, note. 613. a-6p3oka : in contracting serla, guest and host broke a small bone (doarpayahos), and retained each a half, to be used thereafter as a creden- tial either by themselves or others whom they might send ; an interesting usage of the heroic age. 617. 8(Sov, offer; GMT. § 11, N. 2; H. 702 end. 619. &AX' ov : well, at any rat e. 624. 8.rcrov igros: an expression peculiar to Eurip. (Ale. 546, Suppl. 1038), and ridiculed by Aristophanes, Thesm. 881. 625, 626. aov 04c 8' Edp (or-aL, with leave of Heaven be it said ; a formula to avoid the appearance of presumption and consequent divine dis- pleasure. - apveto-OaL, will be fain to disown. 627 fig. Jason having departed, the chorus (1) praises moderation and contentment in love and wedlock, and (2) bewails the lot of the homeless. Medea remains upon the stage. - rp-yav,plus nimio; as it were, 'in over-excess.' Sometimes joined iorepdyav. 629 fig. rapBoKav: gnomic aorist. The plural of aor. in -Ka, Heracl. 319; Ion, 1200; H. F. 590; Or. 1166, 1641. -- &vSpavy = dvOpcbrross, as 675. - & s, (just enough and no more) in moderation, as Ale. 907. - 'X0oL: GMT. § 54, 2, (a). 633 fig. Xptco'iv : Xpdoeos has U often in lyric passages, a license borrowed from the lyric poets. Pindar has even Xpurbs once. - 1~eEppXp.: as with a poison. - oo-'Odv: obj. of del~ys. Aphrodite appears here armed with Eros' bow. 635. ar- pyoL, lovingly watch over, as a parent over children. 639 fig. Ovjbv KXriAavOa : see on 8. - arT orXiov, K. r. X., bit favor- 108 1 EDEA. ing peaceful unions may she with keen judgment regulate the conjugal relations of women. 647. oLKTp6aTov aXcwv, pitiable from its woes; dXiwv genit. of cause, as with oIKTEilp. Cp. A.olpas E6SCia.oves, Iph. T. 1491. 648 fig. oav&rq...... iavi c-oa-a.: rather (than live an exile) may Iperish by death, whenever I have come to that day. This is, I think, the best understanding of this perplexing sentence. davo6w, dv6w often mean reach, arrive at, usually, it is true, with accus. of place ; but Tro. 595, vy& 5' evoe o6XAa, very much as here. (Others render having ended this life; but 4i'pa in this sense must have an adjective with it. Hermann's ex- planation, moriar potius quam hunc diem exegerim, according to which taveaara stands for s-pi, iav6oat, is untenable.) 654. itov : obj. of 9Xw. -6pdo-acatL, to receive into my mind, to recognize the truth of. 659. &Xapioros XoLTo, may he perish gracelessly or dismally ; without having any xipts, grace or favor, shown him. Jason, the author of all this unhappiness, occurs suddenly to mind. -5T 7rrpo-T'LV, who can find it in his heart. - Kaapiv (unless indeed KaOapav) poetically joined to' KAXgia instead of

aKcoi) 7ov 7rpovXovra r68a, uiya dprare a)cov, pt hdals rpiv yovvbv 'AO9rvaiwv a4uK'icra

(so, with slight variations, Plutarch and Apollodorus), and explains its meaning thus : &TKOUooiV TrS yCao-rpos, -r66a U 7 Z6p oV, rrapoov ovwis roGedv 700 d KOU mrpoEXE tXET 7e oO b'r Xp7ae' PrsOL p TUVeXCBEIV ETip& (7raips, Elmsl.) rpie drq3ae r~s rarptos. Medea attempts no solution of the mystery. 682. ws t XP1.yjov: GMT. § 109, Note 4, (a). Exactly, under the feeling of what need ? ws is not quite meaningless. 684. ws Xyovo-L refers to e~pie raToS. Of Pelops' other sons, Atreus and Thyestes at least were not ev eges at all. NOTES. 109

688. Medea turns away as if to end the interview abruptly. Aegeus' attention is thus drawn to her sorrowful appearance. 689. 88e, thus: see on 50. 690. Aegeus, I have, etc. 694. 44' W.tV, not simply besides me, but superseding me, in authority over me. yaely ftrl rvt or iRtyaguei reTv is used of taking a second wife 'over the head,' as we might say, of some one, either the first wife or the children. Alc. 305, 372, Orest. 589, Herod. IV. 154. 695. j wrov, if right, must mean, Is it possible that- ? (Really in any way-?) But it is not elsewhere used in questions implying surprise or incredulity as to a statement already made, but in those containining a suggestion of the speaker's, which he brings forward with more or less hesita- tion. Cp. 1308. Accordingly the conjecture p/"rov (Weil) has much in its favor. 696. rpb roG: H. 525 d; G. 143, 2. 698. p.lyav y' Upwra, namely, epaf9eis. The sense: 'Yes, 't is a new passion, and a mighty one, that made him desert me. Inconstancy is his nature.' She next explains that this passion is ambition for rank. 699. tTw = idaew. ' Never mind him.' Soph. O. T. 669, 6 8' o i'frw. 703. Av : GMT. § 11, Note 6. 707. irveo-ra: see on 223. 708. Xdyp hv oXC, K. r. . : he pretends not to, but he is willing to be patient under the affliction. This last with irony, as it were Jason's own hypocritical language. She means that he is secretly glad of it. So understood, the vulgate, which has caused some perplexity, seems to give good sense. 709. Suppliants clasped the knees, grasped the right hand, or stroked the beard of the person supplicated. 715. XLos 0BvoLs: that is, 'may you live happy till your death.' 717. Se, as often, where ycp would have been in place. 720. Ocev: the gods are the guardians of suppliants; Medea, in saying lKEaLa yPtyolat (710), had put herself under their protection. 722. 4po08ds etdI,am helpless, undone, have utterly fai led. Cp. Heracl. 703. (Others, am eager; but there is no example of such a use of

Nauck rejects 723, 724, and 729, and places 730 after 726. - oi a-e l p.eOi: GMT. § 89, 1 ; H. 845. - TLVL : dativus commodi. 729. &LraXX.o-ov 'irdSa: rv6ba (or KwXov, etc.) is often joined, for greater vividness, to intransitive verbs of motion (3paivew, repav, 4ro-o'ew, etc.) as a kind of cognate accusative (as it were, walk a footstep) ; especially common in Eurip.; Ale. 1153, Elec. 94, 1173, Hec. 53, 1071. 735 fig. Join TOVTOLS ayOVo-LV EKYLcaS sipi, at the bidding of these, should thcy attempt to carry me off out of the country. 444 cannot depend on Aee- 0eto, which would require a genit. The Mss. have yeLets, which, if right, would be for ueOei-s, a solitary instance of its kind; this shorter form (@ueereiev, etc.) is common enough in plural, but not in singular. yw of forcible abduction. 737 fig. are badly garbled in the Mss., which give Id&)oros...KdT7LKpUKEC6- aot ok Eavwroio : this makes the passage merely a repetition of the first part of the sentence. But plainly XOyoLs SEstands in opposition to opKoL(L Iv, and the meaning must have been, 'but if you make an agreement in words merely, and not with oaths, then you will be likely to yield to my enemies' demands.' A single hint of the original text, KUrK7pvKiu 6aRa, is furnished by a scholium. I have written the passage, nearly with Nauck, so as to give the needed sense, without feeling at all sure that the words are Euripides'. - CXos : namely of my enemies. 739. C'r&p: nearly equivalent to Eyc. Cp. Andr. 235. 741. kXEas = Bet asv X6yom. (Porson.) 744 flg. Construe SELKVUVaL ~XoVTa, to show that I have: cp. 548. 9Xovra (instead of 9XoTr) agreeing with the omitted subject of the inf.; cp. on avoLsa ra, 660. - b ordv,thy interests. - *gyo9 OEois, name (properly dictate, go over beforehand) the gods I am to swear by. So 9tapX' dpKOV,, Iph. T. 743, adcminister the oath. 747. oaVVTLOEls,together, comprehensively ; yivos belongs with bPau. Cp. Hec. 1184; fragm. 658. Verse 748 occurs again, Iph. T. 738. 750. atXos, on the other hand; Cp. on 296. 753. & for ro6Tot a. It might have been ois. 754. r&aots - E-IXe iraOez,. Opt. of wishing in a question. 758. 'vXoao' & povXopa L: a either for dKLvwV i, cp. 753; or like roobve 259. - Aegeus here departs towards the left, as going to foreign parts. 759. -irotrratos: Hermes, adept in cunning and subterfuge, guides persons through difficult enterprises and journeys: Rhes. 216; Soph. Elec. 1395; Phil. 133; Aesch. Eum. 90; 11. w, 182. 760 fig. The construction is 7rpeL'ciS TE (EKEvea) ov ErLvoL0a KaTE V orrirEses (abrd). " Idem est i'rvoLav KaTEXWV quod 'rvtLOUlaV gXw." (Elms- ley.) Cp. v60oo KCaTXWV, Phoen. 330. 763. SE68dKiG.'L : the dramatists use the tenses 0oK5ow, etc., freely, especially in choral passages. NOTES. 111

766. els 68bv pEiJKqLEV: that is, we are no longer wandering at ran- dom, see our course clearly before us. 768 fig. ro, where; Ka8' 68ydpos. Schol. In the very matter, she means, 6 which perplexed her most; see 386 fig. - p.voLev : as a ship in dis- tress: cp. Aesch. Theb. 210. - XLplv: so Andr. 891 Orestes is called a haven. v 770 fig. rpv.vlTl Ka&Aw: the ancients moored their ships with the stern towards the shore.- p okdvrs : see on 314. -- dorTv, the lower town; Ir6XLo-a,. the acropolis. 773. S Xov, expect. 778, 779. These two verses come in very awkwardly after 777. They were plainly written as a substitute for it, not to follow it. 781. XLwroo' Aiv, Wecklein after Elmsley ; the Mss. Xrovo-a. The participle represents the optative. - The next line is suspected by many; cp. 1060. 785. ph. eyev depends on the idea of entreaty implied in 84pa epov- ras. Cp. Suppl. 285, yovao-v...z'irvo...-rdoov IavaracoOaL, and Heracl. 345. This verse (lacking in a good Ms.) is also suspected. 790 fig. &rakkXoor-co, dismiss. - cipawg: aor. as 223. Medea has now given up her former plan (375) of causing Jason's death. The idea which has all along been dimly present to her mind has now taken definite shape ; she will take a more exquisite revenge by killing his children with his new wife, leaving him childless and without prospect of issue, to pass an old age of regret and remorse. - Trovre 0v : cf. on ro6v epBe, 1167. 795. cdvov d4yovo-a: the place of the murder was accursed for the murderer; he was obliged to flee and seek expiatory rites (KaOdpo-ca, ayvcOa) at the hands of some one at a distance, to be freed from blood-guiltiness ( laoya, acica). 798. The thought suddenly strikes her that her life must be rendered miserable by such a deed, but she dismisses it with Never mind; what rofitsme my lifein any case ? to: a formula of indifference or defiant resolution; cp. 819; Heracl. 455; Orest. 794; cp. also 699. 802. owv Oew, with Heaven's help ; ep. 625. 814 fig. oiK 9r0TLv, it cannot be. - rraoXovoav after a-ot : see on 660. 819. ovv (i. e. of iv) p.?o-c, intervening ; 'all that you can say meanwhile.' Cp. Hel. 630 ; Or. 16 ; H. F. 94. (Or perhaps between us; 'the present discussion'; cp. Hel. 944 ; Elec. 797.) 820 flg. Addressed to the nurse, who has come out from the house. - 11--, confidential cmatters. - Se

879. rt wrrdi- ; what am I thinking of? what possesses me to act as I do? Cp. 1049. 880. raiss : referring to 565. - XOdva 4e16yovras: their banishment from Iolcus is meant. - iq&ps: Jason and all the family ; see 551- 554. 884. ao4povetv refers to 549. 887. gvfwrepaEvELv and the following infinitives are brought in as if t}v... ,/erdXELYhad preceded, instead of the impersonal jy....EreTEac. Hence, too, the accus. K77J60UaV. - rapEo'rcvaL XiXEL: that is, assist at the bridal ceremonies, particularly in conducting the bride into the OdXaos. - v'~- ilv,K. r. X.: construe i6jcrOai re K60ovoU-aV (tending) vYirU7V 0-eEV. 889 fig. to-pc v o'd6v Eopev : a depreciatory expression. Cp. 1011. Said in reference to 573 fig. - yvvatKes is predicate nom., 'in short, we are women.' - KKotS : generalizing plulal ; you were not therefore bound to imitate a bad example like myself. She compliments him on his forbear- ance at their previous interview. - By v no~ashe means blind, senseless invective. 892. rapiega-Oea, I speak you fair, I crave your good-will. r7apieoat is used of one who by concessions and fair words tries to win over another. - #povey : infin. of the imperfect; GMT. § 15, 3. 896. SLaCLXX4 e 'rTs wp. ExOpas, make peace in renouncing your former enmity. Since &aXXdaoo"oa is strictly efect a change in my relations, it can, like any other compound of dXXdrow, take the genitive. - The children, in answer to this summons, appear from the house accompanied by their guardian. 899 fig. o';OL...KeKpv iLvOv : with admirable art the poet makes Me- dea's grief overcome her in spite of the part she is acting, so as almost to betray her. Her tears burst forth at sight of the children, and these words escape her almost involuntarily. But, recovering herself, she goes on dp' w -reKVa, K. T. X., so as to lead Jason to understand T& KEKpvUdj va of the hidden future, and refer her emotion to natural anxiety for the children's life. 904 fig. Xpdvw, at length. - Tr'vSe, as you see. 906 fig. Xkopov, fresh. Like our green (wood, fruit, etc.), it is opposed to dry, withered, without reference to color; so, finally, as applied to wine (Cycl. 67) or water (Phoen. 660) it can mean little else than sparkling. - rpopat eiiov = irpoalbl CSre tefov E vc. 908. !KEtva, your former conduct. 6 909 fig. pyds 7roL toe-aL : periphrasis for 6pylieo-Oat. - wrrpep.joXvros (airo0): genitive absolute, instead of the dative with vr6oet, simply for con- venience of the verse. H. 791 d. Cp. Soph. Trach. 803. 912. VLKWoav = Kpeiaa ow. - & A TX&4d Xpdvy, in time at any rate (if not at once). For this use of dXXd, H. 863 a. 114 MEDEA.

915. roXXhv 'O1KE 'wpoprlOtav, has taken measures of great prudence. - aov Oeots, as 802. 917. -rd wpwTa of persons of the highest rank, Or. 1248 and elsewhere. 920. 'Xkos, period. Just so Ale. 412, 7ypws rdhos.

922. a/Tr I as vocative; H. 680 a; G. § 148, N. 2. 926. e~ Boaac rept TVos is not Greek. The right expression (see Iph. T. 1003) is eb6O 'ac 7i Tcros. rrep has crept in from above, and before Trv8e two syllables (- ~), containing the article, have fallen out. 928. ~rrl SaKpIotLs 'v, is by nature prone to tears. 929. rdkatva, tenderly; poor woman. This verse comes in rather abruptly here. The coherence is improved by placing 929-931 between 925 and 926. 931. OIKTro et, a compassionate anxiety (ein wehmiithiges Gefithl, Klotz) as to whether. Cp. 184. 934. Etre, K. T. .: the apodosis is 938 fig. - &ror7retXaL: a mild term. 938 fig. iwrapopev: the present in a future sense, like eLt. H. 699 a; GMT. § 10, 1, Notes 6 and 7. - Srws av : H. 741; GMT. § 44, 1, N. 2. 942. A&XX as 912; at any rate. - ra~pds: the genitive with aiTreZoOa (as if eioOat) is surprising ; cp. 1154. 944 fig. rdo'ELv crae, that I shallpersuade her (not that she will persuade hih), as 946 shows. The following verse then means, ' if she is soft-hearted and susceptible to your blandishments like others of her sex.' Medea slyly flatters Jason's self-complacency ; he prides himself on his influence with women. The Mss. continue 945 to Jason; that it belonged to Medea is seen from the scholia. 949. From 786. Elmsley and Kirchhoff reject it there and admit it here. 950. 4NX in abrupt transition. - SCrov r&Xos = s Trcios = As -rXLra. 958. oTroL eL7r'e4, not to be despised, with a double meaning. The reader should not fail to note the covert irony of many of Medea's phrases, as 952, 957. 962. Ip&s, me. Jason's vanity is wounded at the thought that gifts can prevail more than his own influence. 965. ~i p.o a- 6: sc. X6youv X ye. - Xyos: this proverb, as quoted Plat. Rep. 390, runs:- 8topa O8obs riOee , 8&p' acSoiove Pautrt ac paraphrased, Ovid, Ars Amat. iii. 653, munera, crede mihi, capiunt homi- nesque deosque. 966 fig. The argument is : ''such finery beseems a fortunate princess rather than an outcast like myself, and as for its value, I would give even my life to keep my children from banishment.' - Saaov,B Fortuna, the luck. - IKetVa s & KEVl7. - VEQ TUpaVEdt, she is young-a princess. -= NOTES. 115

vydrys: that is, the remission of the penalty. AdXdo -oeat is receive in exchange for, purchase at the price of (less often give in exchange). 974. (robrwv) cv FppTvXEYV : purposely ambiguous. The omitted ante- cedent depends on edyyefoc. - The children here depart with their guardian-slave and Jason. 978 flg. AvaSeo-&v drav, the bane of the head-bands = the baneful head- bands. - rbv "ALa Ko'- oV, fuunestum ornatum. (Pflugk.) 985. vV4p OKOJ.o0"L : namely, as bride of Hades; the same idea Iph. Aul. 461, Or. 1109. 989. nrEp gEE'Era.L:as out of a snare in which the feet are entangled: cp. Aesch. Pers. 100. Three syllables (- - -) are lacking after this word. 992 fig. raLo-r--jLoT4: two datives, of the whole and part, instead of 7rait8w, P3co4. Cp. Hipp. 1274, parvo*,qV Kpa6f...10oppd'oy, H. F. 179; Bacch. 619; Heracl. 63. 995. poCpas WrapocxE, are at fault respecting your lot, fail to realize what awaits you; literally, have strayed beyond it. (Not, 'how art thou fallen from thy high estate.') 996. paraorvop.aL, I pass to bewailing, I bewail in turn (after having bewailed something else). Schol. peOiorayac 6 Kai 6'iriT av sdXyos. So fieTaKaoaLt, Hec. 211. In neither of these places can "ra-mean too late or afterward. Cp. p.erexopat, 600. 1000. 0-oL: dat. of disadvantage. 1002. The iratcaywyos, who has accompanied the boys to the palace, here returns with them, and addresses his mistress in breathless eagerness to tell the good tidings. Medea, assured of the success of her plans, and now brought face to face with her dreadful task, stands motionless with horror, and seems not to hear him. - &hAdevra.:cp. the construction of dle ac here with that at 1155. Creon's consent had not yet been obtained (1156 fig.), but as the bride has promised to intercede, the servant thinks the matter certain. 1004. rTKOEtv, so far as matters in that quarter are concerned. 1006 fig. From 923 fig. 1009 flg. pc.v...oaK ot8a, do I, without knowing it, announce some mis- chance ? 7t6X?in a bad sense, as 1203. - 840ga EriyyeXos is the credit of bringing good tidings; see on 557. 1011. Iyye Xas ot' gyyELXas: cp. 889... 1013 fig. 7roXkkXi ' avayK1q, sc. baKpvppoe. - T v.O yap, K. T. X. The idea is, 'my own perverseness, under influence of the gods, has brought this about.' She is thinking of the sending of the fatal gifts, but the old man understands her impending banishment, and answers accordingly. 1015 fig. KTE~L, shalt return from banishment. - rpbs iKvov, through 116 MEDEA.

thy children. -- KTadiw in double sense ; shall restorefrom banishment, and shall bring down to Hades. 1018. Ovr'bv v'ra, one who is mortal. 1020. The attendant enters the house; the children remain. In the remarkable scene which follows, Medea is swayed now this way, now that, by conflicting emotions. 1021 fig. IrkXLS and 8spa covertly allude to the lower world ; so oLK. &EC with significance. 1026 fig. KeKTpa, : not pleonastic, but - match, marriage.- XApw8rdas: to carry torches at the bridal festivities was the special duty of the mothers of the contracting parties. 1029. XXos, to no purpose. - 1030 also in Troad. 755. 6 1035. t'kwT v: feminine, or neuter referring to the infin. clause? Prob- ably the latter. 1039. RkkoXg IF pLov: ambiguous; the boys understand the splendid life in the palace ; she means the life below. 1046 flg. Toi~rv with emphasis ; 'by harming them,' not the guilty man himself. - 81s 6orvao: twice as great as I inflict on him. 1049. IC irc;crXo; as 879. - y~X ra : forgiveness of a wrong the Greeks considered no virtue, but a weakness. 1051. ~is EllS .KiaKIS, K. 7. .: genit. of exclamation, followed by the infinitive expressing astonishment; GMT. § 104. Shame on my cowardice ! To think that I should even have let slip soft words from, my heart. 1054 fig. OevpayLv : she speaks of the murder as of a sacrifice, and says, 'let him whose conscience forbids his presence, stay away.' The language is that of one warning the unholy away from a sacred act. - aa'rw peki oL, sc. rapetva. - Xepa 8' o SLa OEpc, manum, non corrumpam miseri- cordia. (Pflugk.) The idea is enfeeble, destroy the force of: so yv /urdv t&a0elpetpw, allow my resolution to waver, Aesch. Ag. 932. 1056 fig. Ove : Medea addresses her passion as it were another person. She falters again for an instant, but with a sudden revulsion of feeling bursts forth L&Tois, K. . X. -- KE : in Athens. 1059 fig. With these words Medea's frenzy culminates; hereafter her mood is one of calm and unflinching resolution. - rapijroo : she persuades herself, in spite of 1045 and 1058, that it is too late to save the boys by flight. - 1062, 1063, from 1240, 1241. 1064. wiErrpaKTaL : GMT. § 17, N. 6. 1069. wrpoo-sLrEv : this word means either to greet at meeting (895) or to bid farewell at parting; here the latter. The children are yet on the stage; Medea must have detained them at 1056. 1073. EKEt- O48~ : both with a double meaning. 1074. wpoo-pok4: embrace. 1v UA 7r repTroo cEOatLKal KaqLeV TRaLSra Xdvet. Schol. Cp. Suppl. 1139, TpoafoXal 7rpoa7rrwv. NOTES. 117

1077. oT'a = o'a re. So Kirchhoff. But the text is very uncertain. 1079. (ovXevp.dLwv, better judgment. This sentiment Euripid. has repeated several times ; as fragm. 838, aia, 766' 3q Oov dvOpc&vrot KaK', Tar rTmeimb 7TayaO6v, XpFT7at 6d /k7. Cp. the well-known words of Ovid's Medea (Met. 7, 20), video ,melioraproboque, deteriora sequor. 1081. The children have again entered the house; Medea remains anx- iously looking for further news. Meanwhile the chorus-leader recites the following verses, which are not a stasimon, but only an anapaestic passage separating the parts of the episode, like that at 357, but of unusual length. She prepares the way for the sentiments about children she expresses below (1090) by saying that she, in spite of her sex, has participated in philosophical speculations, since some women, though few, have intel- lectual culture (eokea). A similar exordium, Ale. 962. - 8L& XEwr. pljVO pokov, have engaged in subtler arguments; cp. 872. 1087 fig. 1ravpov yivos, a small class: supply EdTriv. piav was ingen- iously supplied by Elmsley, after Heracl. 327, rradpwv LerT'tXXwv* Eva y&p iv roXXois aws e potetts a rts, Kc.T. X. - To YUVaLKWV is added somewhat freely at the end ; of womankind namely, referring to yroVs. 1091. irecpoo, namely ratborot'as, as the next clause shows. A like sentiment, Ale. 880; the reverse, Ion 488. 1094 fig. SL' wrreLpoo-vwvv EtiE, through inexperience as to whether. -oirX vUXdVres, inasmuch as they have none (children). 1101 fig. zrpwTov piv-r : see on 126. - rcws OpwoL: G MT. § 45 and Note 8. - 6wd0e~v XcdovrL is an indirect cquestion partaking of the nature of an object clause after an expression of care or anxiety; ep. GMT. § 45 Remark, and foot-note. 1103. K, after. 1105. ib ir. Xoto-OLov KaKdV, the crowning evil of all. 1107. Kal 8SAas 386. 1109. e4 8 Kvpo-a"L So(awv OVTOs, si tamen cafortuna eveniat. (Elmsley.) 1112 fig. XCeL= XvUatre\d, as 566. - -r4vS1 Xrr-v is the grief of losing children by death, and the sense is: 'Why, for the sake of having children, should men incur such afflictions at the hands of the gods ?' 1117. &KE9iEVfor Tr& KE, from the influence of KapaSoKw. 1123. Xlroao-a(: that is, 'not leaving unused,' taking the first means of conveyance that offers. vatav adrivlv: a circumlocution for ship, like vioibs 6Xrta, Iph. T. 410. 1129. p v as in 676. - povews 6pe; are you in your right mind ? 1133. p t o-r-wpXov, don't be excited. - l(Xos : nomin. for vocative. 1140. or-Eto-OaL = rovas &taXeXVK Vat. 1141. 6 Iv 's: H. 525 a, fine print. Tcs shows that o 1v does not refer to any particular person. 118 MEDEA.

1143. Wriya yvvaLKv (accus. of place whither), the yvvacKWVTr5S or women's apartment. It was unusual for a man to enter this, but the joy of the moment excused this infraction. 1144. iav to.sv, look up to. (Elihnsley.) 1150. 6py2 s &d pEL: 456 and note. 1151 fig. o@ h 8vo-Sj.vi~s 9fctL... rao'EL 8...Kal OrpiteLs, K. r. X., be not wrathftl...but cease...cand turn, etc. GMT. § 89, 2 and Note 1, where similar examples. The futures express a command, and are probably inter- rogative, o going with all of them, ' only with feE . Otherwise Good- win, 1. c. Rem. 1. 1153. o$o-wsep tv, sc. vOIUi-. 1154 fig. wrapaLri o'EL :rapare7 fOaL rarpos is less anomalous than al- e 0at irarpos, 942, but both are singular. - i l XdpLv adverbial, for my sake. 1158 fig. &nrEvaL: the boys returning home with their attendant, Jason going elsewhere. -lqri'r'Xero: aor. (H. 438, 5); the form U'grlXero, with double augment, is very doubtful. 1162. dK g(gen.eiKOUS, Hel. 77), collateral form of eKC'Yv. 1165 fig. roXd&noTXXd.KLS, often and again.- r0vovi is 6pOdv : rdvo is certainly the foot (properly the sinew of the heel), as Bacch. 938, and 6p0' s seems to mean raised on tiptoe. She stands on tiptoe and looks over her shoulder to survey the fall of the robe. 1167. roivevse, deinde. Strictly an appositive; as the next thing in order. 1169 fig. 4 0dv.L with a participle as usual, but followed by L reo'Etv (instead of the more regular rpiv re6E), since it implies prevention, a negative idea. GMT. § 95, 2 (c) ; H. 838. Scarcely does she throw herself...in time to avoidfalling, etc. 1172. .Ilovbs 6pyds. Such a sudden and unaccountable feeling of terror as sometimes comes over one in deep forests and lonely mountain glades the Greeks believed to be sent by Pan, and thence any apparently cause- less fright or panic (avzKbv 6teiZa), even in battle, as well as sudden madness and epileptic fits, were thought to come from him. A like crazing influence over the mind was ascribed to other deities, Dionysus, Hecate, Cybele. In such cases it was proper that the divine presence be recognized by an 6XoXvyn or praye ful ejaculation, a peculiar cry of the women, expressive of religious fervor and joy, and used on divers sacred occa- sions. 1173 fig. rpv ye, till at length. -- dy.ro v &b KpaS o'p' ovo'av : i. e. dEro-rpd&eovo-av K pas dbL8cirwv. Tmnesis. 1176. &vrdpokrov, in a difJcreat strain from, governs XoXvyis. Cp. Ale. 922, 6nevaiz y7os dvriraos. NOTES. 119

1181 fig. I'8l... reo shows how long it was that the princess lay in her swoon. Already a swift walker, at a brisk pace (d'vlKwv KdXov), would have been reaching the goal of a course six plethra long (that is, would have walked a stadium), when she, etc. The transcribers strangely misunderstood and garbled this passage. The reading in the text is Porson's, after corrections of Reiske and Musgrave. But even this is hardly sound ; dvehK0v, in this connection, for dvaKouvt0WV, Raipwv, is odd, and as all the Mss. have the ace. KrXheOpov agreeing with KwXov, it seems likely that KXov (as Aesch. Again. 344) meant one side of a double race-course, and that duvhKwz has replaced some other participle, with the idea of passing over; perhaps dvdprwv or dveXOdv (Weil dveA-v). 1183. i as in the expressions -detps'ivs 7roXMeiv, EK baKpiwv y'Xav, etc. Transl. from this condition of, or after remaining with. - &vavsov with 6uaros by a kind of zeugma. Elmsl. compares rTvX V Xdpa, Ph. 1699, TCUXcJ 7ro6i, Hec. 1050. 1193. By o-rvSea-pj~ are meant clasps of some sort (cp. Bacch. 697), by which the head-dress was fastened on, and ' the gold held the clasps' means simply that the golden clasps would not give way. 1196. K pTa 8vo-aRoS 8ev, very hard to recognitC at sight. 1197. SiXos: see on 61. - KaTwr-a rLs, expression, strictly settled condition. 1200. ~rEKLVOV B&Kpv* rl oaa. Hesych. 1204. xri-xv...SL0 -Kakov : i. e. we learned caution from the recent calamity. 1209. yEpovwa is used adjectively. ylpwv -6Apos, of an old man ripe for the grave, occurs again Heracl. 166. 1216. 1 8' AvT Xciv'ro: of course only in appearance, by the adhesion of the robes ; it does not imply, as the Schol. thought, that she was still alive. - rpos P~av dyoL, struggled violently. 1218. a i r l, desisted. 1221. ro0vL 8a.Kpvo"rot: a misfortune welcome to tears is boldly put for one which calls for, or excites a desire for tears. (The meaning to be mourncdfor, which Liddell and Scott, 6th ed., assign to wrol7e6c here, it cannot possibly have.) 1222. The sense: ' your situation I will not speak of.' 1224 fig. The messenger closes with some rather gloomy reflections: there is, he thinks, no such thing as true happiness among men ; philosophers, who pretend to have found the key to ei66asovia, are guilty of most serious deceit. - oi viv rrpsTov : cp. 293, 446. 1227. lp.Cav: they deserve punishment, he means, for misguiding the multitude. Many write pswplav on conjecture. 1228 flg. He distinguishes between d6ascovia, complete happiness un- 120 MEDEA. alloyed with misery, and ebrvXia, mere good luck for the time being. - The messenger now departs. 1236 fig. oiipyov: subject of 6E4OKTCraand explained by the inf. &opp and EK6BovaL as appositives. - KavovO-~- yova-av: the nearer conforms itself to oo, the latter falls back into the accus. 1240. reos, in any case. Even if she spared them, they would be killed as instrumental in causing the death of the princess and Creon. 1243. p.I rpdoa-Eow: p; o (which Elmsley restored) would be in place here, but is not necessary; see GMT. § 95, 2, Note 2, last part. 1245. pax3t8a: the deed is to be the beginning of a long career of wretchedness, which she likens to a race. -Avrpdv goes in thought rather with flov; see note on Ka6apiv, 660. 1250. re-8E : H. 855 b. - Medea enters the house. 1251 fig. The text of this ode is corrupt in several places, though its tenor is plain. The chorus calls, as a last resort, on the gods to prevent the impending crime; on the Sun, Medea's and the children's ancestor, and the Earth, who will be polluted by the blood; deplores then the mur- derous frenzy which can bring nothing but evil in its train. 1252 fig. 'AEXLos has not often a, but a clear case seems to be Soph. Trach. 835. - KmcrSET' ' TE: as ir KOUOVovIKvOU-OP, Ale. 400, and several other examples. The preposition belongs equally to both verbs. 'Look on her before she does the deed' implies, of course, 'prevent her.' 1255 fig. The Mss. aas y&p drib against metre; dt6 has crowded out some trochaic word beginning with a consonant. - Xao-Lrev: who ? Me- dea, as it stands. But it is the boys' divine origin that the chorus is thinking of, not Medea's, who is referred to in the next line as dv'pes. So, too, the Scholiast; Peaorev d-vrl ro0 iPader "av, govoav. rne i M?56ea /h&v ~Ky'voo 'HhMov, or70o S EKMMyBias. It is likely that the lacuna contained a word designating the children. Wecklein writes or-ippa ; it might be a neut. plural. - OEOi,K. r. ., there is fear that a god's blood (in the boys' veins) be shed by human hands. The Mss. a'izarc, giving neither sense nor metre ; -rt is a trace of some lost word; Wecklein rSot. Per- haps at ' drl 7-4. 1259 fig. '9Ee'Ot'KOV, K. T. A., expel from the house the demnnon of ven- geance, bloodthirsty, driven hither and thither by the Furies. Not Medea herself, but rather her guiding genius is meant. I have written nearly with Weil; the Mss. reading violates the metre, and affords no dependence for the last two words. - 4Xor~opov : from nom. dcadoropo, another form for dXdarwp. 1261. piXeos vT4KVWV,the toil expended on the children. 1267. &aElPETaL as it stands must be rendered comes in turn, ensues. But the metre betrays a gap of two short syllables. NOTES. 121

1268 fig. Obscure and corrupt. The most that can be made of it is: grievous to mortals is the stain of kindred blood (61soyevJ /tLLU~L.)abroad in the land, recoilingfrom the divine hand (0e60ev 7i-rvouTa) as corresponding woes (ruvvpba t"i7) up)on the house of the murderers (abTrogvrats iwi 16pots). o-vvWS, sc. ros ade-oaow ; commensurate with the guilt. 1271. The voices of the boys are heard behind the scene. The two verses ot'o....6MXXi co-0a ydp come in the Mss. before 1273. But the antistrophe shows that two trimeters are wanting after 1274, and it seems best (as Seidler first proposed) to insert these, and supply their place above with some exclamation (as alai) standing extra mnetrum. The falling out of this word occasioned the transposition. 1275 fig. A&p'aL: adp-yt construed like ad/6ve, as Tro. 776, 7rati r' ob vvaiFle' yvOdvarov apmjat, and Heracl. 840. - SOKEt FOL, I have a mind. But, with a timidity characteristic of the chorus, they do not venture after all. So Aesch. Ag. 1346 the chorus, in a similar situation, talk of coming to the rescue, but do not do it. Cp. Hipp. 782. 1278. ApKoWVci ov s : a like figure, H. F. 729, pb6XoaL 6' apKc6owv... 17-

Here and Aesch. Eum. 177 it has the latter sense. Hence 0-~K&py, because their blood is upon Medea's head. 1374. o-r 'yet, abhor me it you will; referring to the word &rb6rrvarov above. -- dgLV here means conversation, society. 1375. ip LOL8' &raXaya. Medea wishes him to leave her (this is implied in 1374), that she may accomplish undisturbed the burial of her children before setting out for Athens. He says, riddance is easy, i. e. to be had on easy terms. She scornfully asks ' how ?' affecting to be anxious to comply. (Yet we fail to see how Jason's presence is any hindrance to Medea, for she is mistress of the situation, and can proceed in her dragon- car at any moment to bury the bodies. But to take draXXayal, with Paley, to mean divorce does not help the matter.) 1379. The most famous Corinthian temple of Hera Kicpaia (goddess of the heights) was at the end of the Heraean promontory in the Corinthian gulf, distant from the city several miles in a straight line across the bay. Elmsley and most others have supposed that temple to be meant here. But the local tradition represented the children as buried in the city itself; at least their monument (iv'ria) stood there, near the street leading toward Sicyon. And we know that in the same quarter, on a spur of the Acro- corinthus, there was a temple of Hera povaia. Now as povvaia and adpaia seem to be equivalent terms, it is altogether probable that this was the temple in which the rites relating to Medea were celebrated, and in the rTE7evos of which the children's graves were. This view is confirmed by the Schol. on this passage, who says that the temple here mentioned was situated on the Acrocorinthus. See E. Curtius, Peloponnesus, Vol. II. p. 533. 1380. &4lpi S, K. T. X. The sacredness of the place would insure this. -1382. aop'rjv Kai, T' ) 1 : see Introduction, § 18. 1386. Medea here appears endowed with the prophetic gift, to which she has a right as a sorceress and the grand-daughter of a god. As to fJason's death, see the first Hypothesis. The Schol. knows another account, according to which Jason had hung up the ship's gunwale in the temple of Hera, and this fell down and crushed him. See also Neophron, frag. 3, Appendix. 1389 fig. &XXd o- (not &XXd. e), with emphasis on the pronoun. - 'EpLV.iVFEKVwv : the Erinys of a particular person is often spoken of as avenging his death. -- ovta, i. e. requiting murder with murder. 1396. oiwo Opivets: the sense is, 'You do not yet know what grief is. Wait till you are old.' (Paley.) He will then feel what it is to be childless. - Ka y)pas, age in addition to your present afflictions. 1400. rpoarirgao-a. (here = kiss, cp. Phoen. 1671), infin. of purpose added epexegetically. NOTES. 125

1401. wrpoo-avSis: see on 1069. This verb is regularly used of farewell words spoken to the dead, - a Greek custom. - 4cr-rdL: of a parting salutation, as Tro. 1276. 1408. b7do-ov refers to the whole of the next line. 'I do at least what I can, I lament...' 1413. o-as: the participle contains the leading idea, as often. Would that I had never begotten them, to see them, etc. - 6'+Xov: augmentless also Aesch. Pers. 915. 1416 fig. These seem to have been stock verses of Euripides, for they conclude not only this play, but also the Alcestis, Andromache, Bacchae, and Helena. On this Hermann (Bacch. 1388) says: " Qui factum sit ut Euripides quinque fabulas iisdem versibus finierit, non memini me a quoquam interpretum indicatum legisse. Scilicet, ut fit in theatris, quum actorum partes ad finem deductae essent, tantus erat surgentium atque abeuntium strepitus, ut quae chorus in exitu fabulae recitare solebat, vix exaudiri possent. Eo factum, ut illis chori versibus paruni curae impen- deretur." Others have thought that such endings were added by the actors. Wecklein points out that 1417 fig. do not apply to the Medea. 126 MEDEA.

CHIEF DEVIATIONS

FROM THE BEST MANUSCRIPTS.

THE following list includes only cases in which the reading adopted in the text is found in no manuscript of the 1st class (see Intr. § 8). Before the colon stands the adopted reading, after it the reading of the 1st class Mss., minor variants neglected. Where the former is derived from Mss. of the 2d class it is marked 2; where from the scholia, S; otherwise it stands by conjecture only. Smaller corrections are omitted.

107 Adv'e 2 : dvdcite. -140 rbv : . - 149 dXciv : laxt . - 150 drXdrov : d drXcirov. - 159 6vpodva : dsupo.dva. - 182 are6oaaa : aoreina. - 228 "Lyvd0KELS : YY7Vr KELV.- 234 Tro0' 9 : Tror' (r70O' T' 2). - 253 v76Xs 8' i 8' 2 : 7r6L ij' and yd&p v6X19 ij'. - 259 rocbvYE 5'fK : roorov 58. - 261 iKYV: 8LKy. - 262 i r' : jv r'. - 273 aavti : adr. - 317 PovXe 6s : Pov- aXc5~a. - 323 pevr~s 2 : 1dAYs. - 415 orpde ovaL : TarpovSL. - 445 dera- vdra : drECrT and dvEdry. - 491 Uvywyvudr' av 2 : ovyyvwcTTbv. - 494 0dhep' : Od6ptl'.-- 550 1iqvXor2 : ?aoXws. - 594 PaoLXov : paoadXws. - 599 avi 'oc 2 : KViCEL.- 643 &d5ara: 8&Za. - 647 oiKTrp3Ta7ro O:KTpord7wv. - 654 EcOov : Ld6iw. - 656 4Sverw : CiKTEcpE. - 703 ovyy7vr' dYTav ap : av- yvworh yp. - 721 fv : Av '.-736 peOe' : ec0^s(pe0is). - 737 dv6poros : dvPItoroi. - 738 Kd7rLK?7pUKE6t1Aa7aS Kd 7rLK7plKElaL. - 739 7'X 8av7'Oo 'E :o6K &, ni0oo. - 752 -lXovO' dyvbv o-das marginal gloss : haurpv O' XAiov tdor.- 781 Xrovo' &v :Xrovcna. - 817 AXes : AXets. - 835 oda : foas. - 847 4 7rbXs J c oiXwv: 4iXwv i7 bXts. - 852 atpec : alp p. - 854 7dVTy o": 7rdvrTc. - 855 r va ovedovE7s : TEKVa 7 oYVE6o'7s. - 857 rKvov : rTKVwv. - 860 6uara 2 : 6pIpa. - 864 Xpa owlviav: XEpa goviav. - 867 ourdT : o0K t. - 905 rpewtvav : repedyvv. - 926 rcv2e f0tooat ript : rvS' dyco 0h co r 7r:p, rSvSe v v O-7ow 7i~pt.- 945 to Med. S : Mss. to Jas. - 978 dvaScozav : dvaCe'o-Awv. - 983 irerXo : nr'rXav. - 984 Xpv'brevrT v TE: XpvreTEUKTOr. - 992 S6ecpov fStorS : dXd0poY P or&v. - 1005 ga to Paed.: Mss. to Med. - 1012 8) : .- 1015 Kdare :KpacTErS. - 1054 05Laoctv S and 2 : 85,acw. - 1077 oi'a rpbs : oi'are 7rpb. - 1087 7rapov 86 yevos iay : 6 7rapov 86ai (06rs 2) yivor. - 1089 oic : KOOK.- 1099 copw 2 : pw.-1121 irapavAw elpyacqc-r i 2 : rapav3ws ' Eoyao'uhov. - 1130 Eoicav 2 : ol:iav. - 1139 ofcwv S : O&rw.- 1181 dK7rVLpOv : eKwXc0poV. - 1182 av jwrro : CHIEF DEVIATIONS. 127 iv'fr'reTo. -- 1189 XEUK71V: X677 " P. - 1205 irpoocrlTVEt 2 :7rp00 7rTEt. -- 1221 &LKp6oWLr S and 2 : &Kpiovio-. -- 1252 95otviav : 9oviav. - 1255'yap... Xp.: 'yap aira Xp. -- 1256 aia S :alt/.art. -1259 oovw^r' dXaivovT' 'Eptv6wv V7T dX6.oropov : oviav T~awdz'a T' EpPLvV ivw dXaorrpwv. - 1262 araj' &pa: d pa dav. -1280 6v : v. -1283 XE'pa :Xc~pa. -1295 Tdo-6'9T T&r - yoo '. -1333 rn'vv rov o4ov.- 1356 ou'-ov8' :oaOD'-ovO'. -- 1357 etL/c~ov S avarci. -13 71 tJo~ W',ot and oLGuot.-1374 or 6yet : TV yE6.- 1398 gKcwcs : EKTctvaS.-- 1409 a~r~~ Kv.7rL~odcw. - 1413 6ocXov : &95Xov. METRES OF THE LYRICAL PARTS.

FIVE kinds are used in this play. 1. Dactylo-epitritic (or Doric) strophes are composed of the following elements (series or cola) : (1) .. - - Dactylic tripody, with spondee in 3d place. (2) L...._ Second epitrite (trochee and spondee). Either of these may be catalectic; so arise : (3) " " (4) _.- These elements are combined in various ways, mostly two or three uniting to form a verse. Forms (1) and (2) may shorten the last syllable in caesura, even in the middle of a verse. An anacrusis may be prefixed to any verse. Sometimes, especially at the end of the strophe, other dactylic and trochaic series are employed. The movement is in common (-) time; the trochee being I ,\ 2. Logaoedic strophes ; see Hadl. 916. They unite dactyls and trochees in the same series (colon). Pure trochaic (or iambic) series may be used with the logaoedic. They move in triple (3) time; the dactyls being cyclic ( ) and the spondees irrational ( 1). 3. Dactylo-trochaic strophes consist of dactyls and trochees (or iambi) in separateseries. A dactylic and a trochaic series may, however, unite to form one verse (Hadl. 909 n. o. p.). A spondee standing for the last dactyl of a series may shorten its final syllable even in the middle of a verse. The movement is in triple time, with cyclic dactyls and irrational spondees. 4. Dactylic verse; H. 908. Common (i) time. 5. Dochmii; see H. 928. Their rhythm is broken, I alternating with ; I e e etc. In the following schemes the foot-ictus is marked with . , the first ictus of each series (colon) with I. The sign _ denotes a triseme long syllable ( ), a tetraseme( d). METRES OF THE LYRICAL PARTS. 129

PARODOS.

PnOODE (131 - 138).

Dactylic, with anapaestic introduction.

_- " . " These four cola form one long verse or S. j hypermeter.

,u . L . L. Iambic close; sync. tetrap. hypercat.

STROPHE AND ANTISTROPHE (148-1.59 = 173-184),

Logaoedic, with anapacstic introduction.

/ • • •

SL Brachycat. tetrapodies (Glyconics) with ana- J cruses. Only seemingly tripodies.

, . Brachycat. tripody with anacr. Troeh.

- Lv v v L"

- On the responsion cp. H,. 921 a.

-v v . Syncopated trochaic tetrap. - -. .: V- On the next to the last syll. see H. 916 c. 130 METRES OF THE LYRICAL PARTS.

EPODE (204-213). Dactylo-trochaic. 1'. L. . Iamb. sync.

. Troch. dipo d. w. anacr. - dact. tetrap. br achycat.

SDact. tetrap

" _ . " Dact. tetrap. .L brachycat.

FIRST STASIMON. 1ST STROPIIE AND ANTISTR. (410 -420 = 421- 431). Dactylo-epitritic.

I / . .". - -L L ....

S...... Tro.roch. tripod, as close.

2D STROPHE AND ANTISTR. (432-438 = 439-445). Logaoedic. S ...... Hexapody, sycop. before the dactyl.

- . .. .. Brachycat. tetrap. w. anacrus.

4 I '. . 4

. .. . " tripod. " " METRES OF THE LYRICAL PARTS. 131

SECOND STASIMON.

1ST STROPHE AND ANTISTROPHE (627-634 = 635- 642).

Dactylo-epitritic.

L' .

L . . - t I*.. L .. Troch. trip. as close.

2D STROPHE AND ANTISTROPIIE (643-652 = 653-662). Logaoedic.

•...._. . Two cola: pentap. I . . . . .j + tetrap. 64.7x S-- Y- and tral4E by .. synizesis.

- " . L: r ' . . Pentap. + tetrap.

THIRD STASIMON.

IST STROPHE AND ANTISTROPHE (824-834 = 835-845). Dactylo-epitritic.

S- "- , .. UL..L . Glyconic syclosez.

- ".L: : ... Glyconio as close. 132 METRES OF THE LYRICAL PARTS.

2D STROPHE AND ANTISTROPHE (846- 855 = 856- 865).

Logaoedic.

V.v . Tripodies and brachycat. tetrapodies, ending with a t dipody (Adonic).

S " .L. .-

. t*

FOURTH STASIMON.

1ST STROPHE AND ANTISTROPHE (976 - 982 = 983-989).

Dactylo-epitritic.

LL v • - "' .L - -

I - Spondee for dact. in 1st place; an unusual license. I. . . . 1 . t. Trochaic tripody as close.

2D STROPHE AND ANTISTROPHE (990-995 = 996-1001).

Dactylo-trochaic.

. . , Dact. trip. (w. anacr.) + troch. tetrap. brachycat.

S . . Dact. tetrap. double anacr. + dact. trip. cat. [cat. - I-amb. hexap. syncop. and METRES OF THE LYRICAL PARTS. 133

FIFTH STASIMON.

1ST STROPHE AND ANTISTROPHE (1251-1260 = 1261-1270).

Dochmii.

. . . Bacchic tripody catal. Hadl. 929 b. c-. • . Two dochmii.

v .

Dochmius and iamb. dipody.

STwo dochmii.

- Dochmius. I u -- ~vv - u Six dochmii; belong together as one V~n, -v~u r long verse. I 'Epw6'v with syniz. vvv - u c -- vv ;- v

2D STROPHE AND ANTISTROPiHE (1271-1281 = 1282-1292).

Dochmii, with iambic trimeters.

t .

Two iamb. trim.

Two iamb. trim. r - . . 2 dochm. + bacchic tripody cat. 134 MEDEA.

APPENDIX.

FRAGMENTS OF NEOPHRON'S MEDEA.

(See Nauck, Trag. Graec. Fragm., p. 565 fig. )

Kai a V'P av fiX vOov X vOLV/.aOELV aov flvIJlav yaip 'uo-av, rl F~g- pot 3 dI'o43ov 7rpVLavrtLs, uv1AL/ aXEiv aI.zxavw3

0lt8 ELE Xoyovs LoXcOuv 7' 1w 4X7rLt0Zi /.aOELP.

3 ELEVi Ti 8 paOELE,OVLE ; f3ovXEvo-at KaXC.)E irptz' 71Ea/aprEiV Kai Ta 7rpoo0tXErrara EXOcto-a OET8aL. 7roi 7rTT T~~~ TaXas; Karfax Cl-XE ua Ka CTOEVOSOcooTVyFS. 3 Kat 7rpov TL T(IOTa Vpojat +4v~y E/~v opwo& Ep?),lOV Kat 7rapy.LEX)/LVrv q 7T xPPWE qlKaa; /IaXOaKOL 8E TotavTa yL yv01.c TOa 7racTXovTEC KaKa ; 01) p'? lrpoa(i)OEct OvIIE, o-avrOw EV KclKOLS4. 3 oLt.oO, e 8OKTar 7r(LLOEE,EKTUO /i/aTCWV a7TEXOET - '3q yap /ALjowla pcyav 3 f EI.vKE Xv-ooa OvpaUV. W xc4ps xEPESI

irpos O~L' Epyov E4OwXLAt ,LEcOa pV 3 rdawata TOX/L7s, q 7roXvv e7-dvov I paXEL 8&ac/Epovh-a Tov F/iov Ep~o/.Lat Xpovw

j5OEpEZ TEXoE yap1 (ZvTo atcr

rotlCoe popa acyo KaKoVr EpyWv EVEL, 818a4Lts lXXot pvploL Efgb r ,po 3 C5OvvlTrEpOE I~L]ro7T a'lpEoOaL poTroVs.

II.

FRAGMENTS OF ENNIUS' MEDEA.

(Ribbeck, Trag. Lat. Reliq., p. 36 fig.)

1. (Eurip. v. 1.) Utintm ne in nemore P6lio secGribus caest cecidisset abiegna ad terrdm trabes, neve fnde navis fincohandae ex6rdium coepfsset, quae nunc n6minatur n6mine Arg6, qua vecti Argfvi delectf viri pet6bant illam pllem inauratam arietis Colchfs, imperio r6gis Peliae, per dolum. Nam nfimquam era errans m6a domo ecferr6t pedem Med6a, animo aegra, am6re saevo saicia.

2. (v. 49.) Antfqua erilis ffda custos c6rporis, quid sfc te extra aedis 6xanimata elfminas?

3. (v. 57.) Cupfdo cepit mfseram nunc me, pr6loqui caelo atque terrae Medeai mfserias.

4. (v. 181.) . ... fluctus v rborum aures aucupant.

5. (v 214.) Quad Corinthum arcem £1tam habetis, m&tronae opulentae, 6ptumates -

MGlti suam rem b6ne gessere et ptblicam patria procul, multi qui dopgi adtatem agerent, pr6pterea sunt fmprobati. 136 MEDEA.

6. (v. 250.) .... nam ter sub armis malim vitam cernere, quam semel modo .prere.

7. (v. 352.) Si t6 secundo limine hic off6ndero, moriere. 8. (v. 35.) Nequaquam istuc fstac ibit: magna inest certitio.

nam ut ego illis sipplicarem tanta blandiloquentia - ?

9. (v. 371.) Ille transversa m6nte mi hodie tradidit repagula, qufbus ego iram omnem recludam atque flli perniciem dabo, mfhi maerores, fili luctum, exftiumn illi, exilidm mihi.

10. (v. 502.) Quo nnc me vortam ? qu6d iter incipiam fngredi ? domim paternamne anne ad Peliae filias ?

11, (v. 530.) Ti me amoris magis quam honoris servavisti gr tia.

12. (v. 764.) Sol, quf candentem in caelo sublimes facem.

13. (v. 1069.) ...... sAlvete optima crpora, c4tte manus vestras measque accipite .. .

14. (v. 1251.) Jppiter tuque adeo summe S61, qui omnis res fuspicis, qufque lumind tuo maria terram caelum c6ntines, fnspice hoc facinis priusquam ffat: prohibessfs scelus.

15. (See Introd. § 13.) Qui fpse sibi sapiens prodesse n6n quit, nequiqutm sapit.

16. [Mdea, utinam ne imquam Colchis 'cpido corde pedem xtulisses.] APPENDIX. 137

In all probability the two following fragments belong here too:-

Inc. inc. fab. 94 (Eur. v. 476.) N6n commemoro qu6d draconis sa6vi sopivi impetum, n6n quod domui vim taurorum et sigetis armata6 manus.

Enn. inc. nom. 25 (Eur. v. 714.) Ut tibi Titanis Trivia diderit stirpem liberum. N 'N

a~ t s a, 'i r

P -r

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