nection with Ὑριεύς or οὐρεῖν. The city of Tpía belonged to the territory of Tanagra, and Tanagra was the home of Orion, who purged the land of wild beasts-a foretype of Tennyson's Arthur. Cf. Müller Orchomenus p. 100. ἑως direct reflexive: = o, with -s of the gen. Cf. Dor., Boiot. τεοὺς = Hom. τεοίο. The dat. is etv Kor. 36, Foî, Fû Boiot. inscr.-3. výμavev: aor. ὠνούμηνεν (MSs.) would be the form of the imperfect in the fourth century.-Metre: logaoedic. In v. 1 ò is lengthened under the ictus before μ; or μ is doubled as in éviμuéyapoio in Hom. Cf. on Alk. iv. 1. In v. 2 is shortened before a; cf. Ŏrion in Vergil.

II. Hephaist. 11. Staveкôs refuses to lengthen the initial vowel in the compound. Hom. has dɩŋvekńs, whence Empedokles derived ἠνεκέως, κεντρηνεκής etc. Cf. ἀνερίθευτος ἀνηρίθευτος, ἀνόλεθρος ἀνώλεθρος, εὐάνεμος εὐήνεμος, ἀνάριθμος ἀνήριθμος. Attic diaveкws (Philox. 2. 24) shows that we must derive the word from diá+-avekýs (from av(ev)eкηs accord. to Prellwitz). εὕδεις: εὕδῖς is possible. Hartung thought the poetess was addressed by a goddess. Hermann filled out the hexam. by ὑπναλέα.

III. Apollon. de pron. 65 A. ἱώνη: most editors read ιώνει οι ιώνει ( = ἐγώνη). ἡρωϊάς = ἡρωΐνη, ἡρωΐς. For the thought cf. Hymn 1. 160 μνησάμεναι (the κουραι Δηλιάδες) ἀνδρῶν τε παλαιῶν ἠδὲ γυναικῶν | ὕμνον ἀείδουσιν, Hes. Theogon. 100.Metre: logaoedic.

IV. Hephaist. 58. γεροί: γεροιά (or γέροια?) from γεροιός (cf. Boiot. Tarpoîos (-os) is an unexplained by-form of yepacós. Perhaps we should read yepal' here. Tepotá ('Tales of a Grandfather') was the title given to a collection of Korinna's poems (Hercher Hermes 12. 315). Ayuрок. cf. on Sim. xxxiii.Metre logaoedic with a tribrach as basis. In v. 2 note the 'Attic' correption in the thesis and cf. FOLK-SONGS XXvii. 24. Less striking is correption in the arsis e.g. Sim. xx.

V. Apollon. de pron. 65 A.-2. iúvya is used by the Boiotian in Aristoph. Acharn. 898.-3. ẞavá = yvvý. Cf. Aisch. Sept. 1038 yʊvý weρ ovoa, Soph. Antig. 61 yvvaîx' ÖTL Equμev.-4. IIɩvdápoɩ (Wilam.): the short dative form (=-w), as in the allied Thessalian dialect, is required by the syntax (τινὶ πρὸς ἔριν βαίνειν). Πινδάροιο, if correct, would be the only epic gen. in -oo in Boiotian and the only non-Boiotian form in Korinna. ποτ ̓ ἔριν : Theokr. 15. 10. Hartung, and L. Schmidt (Pindar's Leben 19) thought that the epis was emulation of Pindar's style, not an ȧywv. Reisch o. c. 56 suspects the tradition of the contests of Myrtis and Korinna with

Pindar, which is accepted by Welcker Kl. Schr. 2. 154.— Metre logaoedic. Most editors write in two lines regarding the first as a log. hexapody, the second as cretic (cf. Bacch. 52 = 23).

VI. Schol. B 498. Note the parallel form to Oéσreia. Thespia was a daughter of Asopos (cf. Bacch. iv. 39).Metre dact. -hexameter.

LAMPROKLES.

LAMPROKLES, an Athenian dithyrambic poet of the older style, was a scholar of Agathokles (the teacher of Pindar in musical technique) and the master of Damon, who in turn was the instructor of Perikles and Sokrates. Damon may have derived from his master the doctrine that simplicity is essential to the best music. It is possible that Lamprokles is identical with Lampros, Sophokles' instructor in music. Lamprokles' anthem to Athena began in the same way as the poem on that goddess by the tragic poet Phrynichos; and some ancient authorities mention Stesichoros as the composer of a song with a like exordium. Bergk thought the similarity was due to the fact that these poets adopted the words of an ancient poem. That Athena should be the subject of a dithyramb is singular; perhaps the poem is simply a hymn.

Aristoph. Nubes 967 and schol.; schol. Aristeid. 3. 537. This famous song, like the 'Loud Strain' by Kydides or Kekeides, was taught Athenian lads by their schoolmasters in the good old times, and was sung in a high pitch. With its heaping of epithets after the style of old hymns the fragment shows a panorama of the divine attributes. The use of the hexameter also recalls the ancient hymns.-1. Also cited without δεινὰν ἐγρ. Some read περσέπτολιν κλήζω πολ. ἁγν. ἐγρεκύδοιμον here and Hes. Theogon. 925 (with δεινήν) recalls ἐγρεμάχη of Pallas Hymn 5. 424. 2. ποτικλήζω προσκαλῶ advoco. Cf. ἐπικαλῶ Aristoph. Lysistr. 1280, θεὸν Tаракаλeiv deûpo Ran. 395, and Sa. i. 5. κλείζω = κλείω 'celebrate' has been confused with kλýw 'name' (Soph. O. T. 733). Toλeμаdóкov: as Alk. ii. ; for the formation, cf. EKатaßólos Terp. ii., IIvλapáxos Stes. 48.-Metre: dact.epitrite (?).

PRATINAS.

PRATINAS of Phlius was the first writer of satyr dramas, which he introduced into Athens. He is known to have written thirty-two such plays and eighteen tragedies, and to have won only a single victory. He was a rival of Aischylos and competed with that poet on his first appearance in 499, when the wooden seats used by the spectators in the theatre are said to have broken down. He died before 467. We have no proof that he was a lyric poet, for the first fragment may, like the rest, be taken from an hyporchematic song in one of his satyr plays. Pratinas' fragments are interesting because he is the first poet to protest against the encroachment of the musical accompaniment upon the words, an encroachment that marks the decline of the lyric in the fifth century. His invective is probably directed against the musical and metrical innovations of the dithyrambic poet Lasos, who had attached greater importance to the rôle of the musician than to that of the poet.

I. Athen. 14. 617 B: when some hired flute-players and choreutae were occupying the orchestra, Pratinas says that some people were angered because the flute-players did not play in tune with the choruses, as was the ancient fashion, but the choral singers kept time with the flute-players. His own opinion Pratinas sets forth in the following hyporcheme.' This poem, as well as the Dysmainai or Karyatides, is generally regarded as a separate lyric. Against this may be urged the fact that the references in 11. 3, 16, 17 are to a band of satyrs, the attendants of the god in whose honour the satyr play was composed, and not to a chorus that is connected with the cult of Apollo, the divinity proper to the hyporcheme. Cf. K. O. Müller Kl. Schr. 1. 519, Blass Jahrb. 1888, p. 663. On the other hand it may be urged that in the hyporchemes of Simonides (viii.-x.) and of Pindar (Frag. 112, 116) we find a similar tendency to touch upon the theory of music; and in de mus. 31 Plutarch expressly refers to Pratinas as a lyric poet. The poem probably dates between 479 and 467. Aristotle (Pol. 1341 A 30) says that, after the conclusion of the Persian wars, the flute was much in vogue; and other evidence (cf. Arch. Zeit.

1881, p. 303) shows that it had a place in the Panathenaic festivals at an earlier date.

1. θόρυβος ὅδε may refer to the turbulence of the previous performance, possibly a dithyramb. In Pratinas' time it is not certain that the satyr play regularly followed upon a trilogy. If it refers to the din raised by the present chorus, the poet is pointing his satire by an imitation of the art he castigates. uolev is indecisive, as the aorist may be the shorthand of the perfect. Note the heaping of dental sounds, and cf. Soph. Aias 528, O. T. 371. Soph. Phil. 202 has Tí Tóde in excited discourse with resolved long syllables as here. Cf. Eur. I. A. 317 τίς ποτ' ἐν πύλαισι θόρυβος καὶ λόγων ἀκοσμία; ὅδε is often contemptuous like οὗτος. Note the variation between rís (attracted to the gender of @op.) and Ti. -2. Ovμéλav: here the space about the altar, the orchestra (Haigh Attic Theatre 138 is in error). Aisch. Suppl. 668 uses the word in the unextended signification.-3. Bromios belongs to me, the poet. The avλnτns is not the chief worshipper of the god.-4. σúpevov: the better attested Oúpevov is defended by Curtius Verbum 1. 191 as an aorist like σύτο, σύμενος, κλύμενος. Hesych. has ἐκθύμενος ταχύς. Though w Oviw are voces propriae of the Oviádes, the in θύμενον cannot be explained. There is no trace of a θεύω parallel to σeuw. Naïádov: like the Nymphs (Anakr. ii.) and Mainads (Alkm. xi.), the Naiads are often represented as attendants of Dionysos. Cf. Roscher 2. 2245 ff. áv' őpea recalls Alkm. xi. 1.—5. oîá te: so г 73, Alkm. xi. 4. κύκνον : the swans that sing in Greek poetry (Hymn 21, Eur. I. T. 1103, Aristoph. Aves 769) are 'whistling' not ' common swans. Nor is their song the mark of approaching death. ἄγοντα: cf. ἄγω· μέλπω, ᾄδω Hesych., ἀναγνέω in Lasos; κύκνοι κινήσωσι μέλος Apoll. Rhod. 4. 1301. ποικιλόπτερον goes with μέλος not with κύκνον ; cf. πτεροποίκιλος Aristoph. Aves 248. Songs have wings: πTEρÓEVтα μvov Pind. Isthm. 5. 63.— 6. Song is the lord, the flute is the servant. Cf. ȧvağıpópmyes Pind. Ol. 2. 1 and the note on Bacch. iii. 10. Baoiλeav: cf. le chant du roi. Plut. de mus. 30 says Tò yàp Taλaιòv συμβεβήκει τοὺς αὐλητὰς παρὰ τῶν ποιητῶν λαμβάνειν τοὺς μισθοὺς πρωταγωνιστούσης δηλονότι τῆς ποιήσεως, τῶν δ' αὐλητῶν ὑπηρετούντων (cf. 1. 7) τοῖς διδασκάλοις.—7. With this verse the measure passes over to the Euripideum, a dance rhythm, as is indicated by xopevéтw; cf. Aristoph. Thesmoph. 968.8. Cf. Bacch. xiii. 5 and see on Anakr. x. Galen Hipp. et Plat. dogm. 9. 5 says Δάμων ὁ μουσικὸς αὐλητρίδι παραγενόμενος αὐλούσῃ τὸ Φρύγιον νεανίαις τισὶν οἰνωμένοις καὶ μανικὰ ἄττα διαπραττομένοις ἐκέλευσε αὐλῆσαι τὸ Δώριον,

Cicero de consiliis suis vol. 11 p. 75 (B.-K.) ut cum vinolenti adolescentes, tibiarum etiam cantu, ut fit, instincti, mulieris pudicae fores frangerent, admonuisse tibicinam, ut spondeum caneret, Pythagoras dicitur. Wilam. reads Kúμois and éλo. -10-11 are obscure. I follow Emperius' emendation. Taîe: cf. Aristoph. Vespae 456 παῖε (i.e. παίων ἀπέλαυνε) τοὺς σφῆκας ἀπὸ τῆς οἰκίας, Paus. 1. 24. 1 ̓Αθηνᾶ πεποίηται τὸν Σιληνὸν Μαρσύαν παίουσα. φρυνίου: comparatur tibiae sonitus cum voce rubetae, quibus sane aliqua similitudo intercedit. Intellegendum vero illud rubetae genus, cujus dorsum taenia diversi coloris variatum est, quam nunc Calamitam dicunt. Hoc enim genus et vocem mittit tibiis simillimam et in Graecia reperitur etiam nunc (Emperius). Bergk read τὸν Φρύγα τὸν ἀοιδοῦ ποικίλου Tроаxéοvта 'drive off the Phrygian, whose notes sound above those of the skilled singer of the chorus.' He thought 'the Phrygian' represents his native musical mode, which may have become popular with the writers of the dithyramb. Jacobs read πανε τον Φρύγα τὸν ποικίλου θροῦν προχέοντα. Schweighäuser suggested there might be a reference to the musician Phrynis.—12. ¿λeσtotaλokáλaμov: 'constructed of spittle-wasting reed.' The MS. oλootaλok. 'the reed which is all spittle' may be correct. With this vituperation, cf. the epigram cited on Melanippides.-13. 'iral: Wilam. 0ŵπα. 15. idoú: contemptuous or indignant; cf. Aristoph. Thesmoph. 206. Note the hiatus with the interjection. Look you, here we see their right hands and feet flung about.' By değiá is indicated the rapid chasing of the fingers on the stops of the detested flute, while the feet of the dancers are flung out in wild excitement as they keep time to the notes. Michelangeli maintains that with v. 15 the chorus proceeds to set forth the mimetic gestures and the dance that are appropriate to Dionysos. But σo may well be ironical. Bamberger's δεξιᾶς gives an easier constr. than δεξιά. -16. θριαμβοδιθ. : for the formation cf. Baxxéßaкxos, ióßaкxos.—17. Asyndeton in prayers Sim. xiii. 15; prayer at the end Pind. Ol. 1. 116, 6. 105. ἄκουε ... χορείαν : properly metonymy as in κτύπον dédopкa Aisch. Sept. 103, Tpойþάνη ктÚжоs Soph. Phil. 202, σάλπιγξ φαινέτω Aisch. Εum. 568, χεὶρ ὁρᾷ τὸ δράσιμον Sept. 554, canent quod visere par est Catull. 62. 9; idoú of sound Soph. Aias 870, O. K. 1477, El. 1410. See on Bacch. xiii. note at end. Δώριον: with two endings as Σκαμάνδριος Soph. Aias 418, Пapváσios Eur. I. T. 1244, Anλos Troad. 89. In melic poetry common, uncomp. adj. in -os lack adjectival motion very rarely (in Pind. five times, and in Arist. on 'Aperá 1. 13). In the elegiac fragments this phenomenon is found four times. Pratinas is the only purely Dorian poet of