ἀεικελιᾶν εἰσι νόσων καὶ ἄνατοι, | οὐδὲν ἀνθρώποις ἔκελοι, and contrast Sim. xii.-': misplaced as Soph. Aias 654 πрÓS TE λουτρὰ καὶ παρακτίους.—Metre: logaoedic.

XXIII. Athen. 5. 191 F.-1. Tí: Bergk conj. 8 T. A comma is generally placed after eïnv. Note that only in indirect questions is rís used for öσris in classical Greek (einè tí σοι φίλον) ; cf. Soph. Ο. Τ. 71 ὡς πύθοιθ ̓ ὅ τι | δρῶν ἢ τί φωνῶν τήνδε ῥυσαίμην (=subj. in or. rec.) πόλιν. αἰτοῦ τί χρῄζεις ἕν Eur. Frag. 773. 2 is corrupt.-2. For the emphatic vocative after the pers. pron. cf. Pyth. 4. 89, 11. 62. Se after тe, Pyth. 4. 80, 11. 29, Hdt. 9. 57, Soph. Antig. 1096, Trach. 334. When antithesis is substituted for parallelism, it is usually more pronounced. Cf. Alkm. xxx.-3. Evevμía: only here in poetry and classical Greek. μέλων : usually μέλημα: Pyth. 10. 59, Frag. 95. With ein it forms the 'Chalkidian figure,' as λέγων ἐστί Eur. Hek. 1179, ἦτε πάσχοντες Kykl 381. ταῦτα ἦν γινόμενα Hdt. 1. 146 is more vivid than ταῦτα ἐγίνετο. eny potential optative (protasis pdwv): Goodwin M. T. 240, Hale Trans. Am. Phil. Assoc. 24. 197. Gildersleeve explains Ol. 3. 45, Pyth. 10. 21 as imper., and prefers dialλážavтo Ol. 11. 21. After μéλwv, av might have dropped out (Christ). -4. alrηuɩ: cf. Sim. ii. 14.—Metre: logaoedic.

=

So

XXIV. Dion. Hal. de orat. antiq. 2. Cf. Soph. O. T. 614 χρόνος δίκαιον ἄνδρα δείκνυσιν μόνος. Solon 36. 1 has ἐν δίκῃ Xpóvov.-Metre: dact. -epitrite.

XXV. Plato Gorgias 484B etc., èπel (1.5). . . schol. Aristeid. 3. 408 (in paraphrase); often referred to by other writers.— 1. Boeckh thought that Karà púow (in Plato) preceded vóμos. Cf. Hdt. 3. 38 καὶ ὀρθῶς μοι δοκεῖ Πίνδ. ποιῆσαι νόμον πάντων βασιλέα φήσας είναι, Eur. Hek. 799 ἀλλ ̓ οἱ θεοὶ σθένουσι χώ Kelvшv кρатŵν | vóμos, Herakleit. 91, Lysias 2. 19, Plato Laws 690 B, 714 D, Protag. 337 D.-3. ayeɩ χειρί : uses the hand of might, justifying its greatest act of violence.' Fatalis lex etiam vim maximam affert, eamque iustam effecit, quum humana ratione sit iniusta: quia quod summa lex imperavit, etsi iniustum nobis esse videatur, iustum sit necesse est (Boeckh). Milton Tetrachordon says "Men of the most renowned virtue have sometimes by transgressing most truly kept the law." In this passage of Pind. law takes the place of omnipotent fate.-5. Cf. on Stes. i.-7. Contrast Swρnтóv, OUк aiTnTov Soph. O. T. 384.-Metre: logaoedic; v. 4 may consist of cretics.

XXVI. Aristeid. 2. 509.-1. κρηπls is the substructure that is visible (кp. paevvá Frag. 77), not the underground

foundation ; κρ. σοφῶν ἐπέων Pyth. 4. 138, κρ. ἀοιδᾶν 7. 3; cf. Ol. 6. 1, Nem. 1. 8. 2. τειχίζωμεν : Pyth. 6. 7. ὕμνων θησαυρὸς τετείχισται, cf. “build the lofty rhyme.”—3. κόσμον ἁδυμελῆ Οι. 11. 14, κόσμον ἀοιδῆς Plato Phileb. 66 c; αὐδάεντα = avdαévтwv Nóywv, 'let us build a fair wall of manifold sounding song.' See Bacch. viii. 8.-4. Ońẞav: the city as Pyth. 4. 299; usually the nymph is meant, as in i. 3. ἐπασκήσει : ρ 266 ἐπήσκηται δέ οἱ αὐλή, Nem. 9. 10 ἐπασκήσω ἥρωα τιμαῖς. I see neither in this word nor in αὐδάεντα any trace of the dialect of the mysteries (Bury on Nem. 9. 10). Oev: per deorum et hominum vias; gen. after dyvás, which is postponed to the second part of the clause. Cf. on ii. 3, viii. 3.-Metre: dact. -epitrite.

Aglaia pre

XXVII. Plut. vita Lyc. 21. Cf. Terp. vi. sides over choruses with the other Graces Ol. 14. 13; cf. Nem. 1. 13. For the thought cf. Ol. 13. 50 ff. (Gild.). It is noteworthy that none of Pindar's triumphal odes is addressed to a Spartan.-Metre: dact. -epitrite. μév or kaí after eva would complete the first epitrite.

'word,'

σύνθεσιν : ἐπέων θέσιν Ο. 3. 8 This use of

XXVIII. Stob. Flor. 11. 3, etc. 'bond,' as Pyth. 4. 168; cf. 11. 41. scarcely supports Christ who supplies éréWV. συνθ. is late. Cf. Ol. 10. 3 f. ὦ Μοῖσ', ἀλλὰ σὺ καὶ θυγάτηρ Αλήθεια Διὸς . [ ἐρύκετον ψευδέων | ἐνιπάν. Pind. and Bacch. (?) are the only classical poets to personify truth. TOT: cum dat. is very rare in Pind. For the pregnant use, cf. e 415, Pyth. 9. 118. Other cases of πрós (πотi) Рyth. 1. 86, 4. 24. Falsehood is regarded as a stone. Cf. Aisch. Prom. 926 πταίσας δὲ τῷδε πρὸς κακῷ. Pind. is the only early writer who uses Tтalw as a transitive verb.-Metre: dact.-epitrite.

Hom.

XXIX. Plato Rep. 1. 331 A.—2. árádλoiσa: cf. Hom. epigr. 4. 2 νήπιον αἰδοίης ἐπὶ γούνασι μητρὸς ἀτάλλων. uses ȧTiтáλ cherish': Jebb on Soph. Aias 558 (véav ¥vxǹv ἀτάλλων). συνορεῖ : cf. Nem. 4. 5 εὐλογία φόρμιγγι συνάορος. 4. Cf. Ovμov waкоσтрópoυv Aisch. Pers. 767.-Metre: logaoedic or log. -paionic. Perhaps the frag. is from a paian (Christ).

XXX. Athen. 11. 782 D. A comparison with Bacch. xvii. shows that Pind. excels in elevation and in the imaginative quality, Bacch. in the elaboration of his pictures.-4. Ppévas: with daμévтes as Ol. 1. 41 though Bacch. 1. 24 has (πλοῦτος) ἐθέλει δ' αὔξειν φρένας ἀνδρός. τόξοις : cf. Βακχίου τοξεύματα Eur. Frag. 562 φιάλη ἀσπὶς Διονύσου Arist. Poet. 1457 B 22, percussit in Plaut. Cas. 3. 5. 15, icto capiti 'winestruck' Hor. Sat. 2. 1. 24, mero saucius Apul. Metam. 11. 601.

In Frag. 166 Pind. has avspodáμavтa þíπàv μeλiadéos olvov.— Metre: dact.-epitrite.

XXXI. Sext. Emp. Pyrrh. hyp. 1. 86. Cf. Archil. 36 ἀλλ ̓ ἄλλος ἄλλῳ καρδίην ἰαίνεται, Solon 13. 43 f. σπεύδει δ' ἄλλοθεν ἄλλος κ.τ.λ., Hor. 1. 1.3. δ' αὖ τις conj. Boeckh, ἔπι (i.e. EπITEρT.) ppaoìv oîdμ' éváλcov conj. Bergk.-Metre: dact.epitrite.

XXXII. Schol. Pyth. 4. 408, cf. Prokl. on Hes. W. D. 428. χρυσός : cf. Ol. 1. 1, κτεάνων δὲ χρυσὸς αἰδοιέστατον ΟΙ. 3. 42, μεγασθενὴς χρ. Isthm. 5. 3. Theogn. 451 τοῦ (χρυσοῦ) χροιῆς καθύπερθε μέλας οὐχ ἅπτεται ἰὸς | οὐδ ̓ εὐρώς, αἰεὶ δ ̓ ἄνθος exeι Kalaрóv, Pythermos.--Metre: dact.-epitrite.

BACCHYLIDES.

LAST in the Alexandrian canon of the lyric poets stands the name of Bacchylides of Keos, the last of the poets of the universal melic. In the almost total wreck of the melic poetry of Simonides, the greatest of the Ionians, his nephew Bacchylides becomes the chief representative of the choral song of a race, the poetical genius of which in the Posthomeric age was devoted to the cultivation of satirical and elegiac verse. In the early period choral lyric flourished better under the régime of the Dorians than in the Ionian democracies: it was written for aristocrats and aristocracies. Not until the agonistic festivals opened a new field of activity did the Ionians of the East undertake the composition of choral odes. Simonides was the first of the choral poets of genuine Ionic stock, and like Simonides, Bacchylides displays the humane qualities of his race, its love of pathos, its grace and polish, and its lack of intensity. He is too the only choral poet by whom we are able to estimate the racial characteristics of his older contemporary Pindar, who embodies the Dorian conception of life and art.

The Graces preside over both poetry and the great games, in which the beauty of physical and mental attainment found its fairest expression. Bacchylides might well have said Εγώ φαμι ἰοπλοκάμων Μοισᾶν εὖ λαχεῖν. From his mother, who was the sister of Simonides, he may have

inherited the gift of song. His grandfather, whose name he bore, was a distinguished athlete. His own name is derived from Βακχύλος, Βάκχος. His father's name is handed down in various forms: Medon (Meidon?), Meilon, and Meidylos. Of the life of the poet almost nothing is known. He was born in all probability in the last decennium of the sixth century. Simonides may have instructed him in the training of choruses and introduced him to the favour of Hieron. He is reported to have been exiled from Keos-perhaps on account of the oligarchical tendencies imbibed during his residence at the Syracusan court--and to have lived in the Peloponnese; but his works afford no sure evidence of his sojourn there. Probably his banishment took place between 468 and 459. Though his countrymen fought at Salamis on the side of the Greeks he makes no allusion to their struggle for freedom, nor does he refer at all to the Persian wars, which inspired the immortal elegies of his uncle and tried the soul of Pindar. The choral poets who wrote for all the Greeks have the gift of reticence; it was better taste, and better art, for the poet of the national games to draw on the legendary past than to allude to the events of contemporaneous history. Bacchylides gives exceedingly few hints as to the date of his poems, but he seems to have reached the acme of his fame in 468 (the year of Simonides' death), when he is known to have celebrated the most splendid of Hieron's victories at Olympia. The date of his death is unknown, but he may have lived till 431. Like Simonides and Pindar he wrote for pay and numbered among his patrons the most distinguished of the princes, aristocrats, and states of Greece.

With a single exception Bacchylides cultivated all the species of choral song. The omission of dirges under his name may indeed be accidental, but it is significant that his townsmen of Iulis restricted the performance of funeral rites (Aristotle Frag. p. 377 Rose, Ï. G. A. 395) and that the dirges of Simonides are all in memory of persons who were not natives of Keos. His 'kletic' and 'apopemptic' hymns to invoke the presence and salute the departure of the gods were regarded as the standard of their class by the rhetorician Menander (Rhet. Graec. 5. 336). His erotic songs and paroinia, or more properly

skolia, were, I venture to believe, more akin to the nature of the man and better adapted to display the virtues of his style than the more elaborate triumphal odes that have recently come to light. The hazardousness of fame is better illustrated only in the case of Herodas and Catullus. The chance preservation of a single Ms. has given reality to a poet who was before only a shadow.

The discovery in Egypt of a papyrus dating from the first century B.C. or slightly later, has added to the fragments, less than fifty in number, that were heretofore known by their citation in ancient writers, no less than fourteen triumphal odes and six other lyrics. Most of these poems are in a fragmentary condition and the alphabetical arrangement of the non-epinikian lyrics shows that we have only a selection from the editio princeps of the Alexandrians. The papyrus, consisting of about two hundred mutilated fragments, has been edited with masterly skill by Dr. F. G. Kenyon.

The subjects of the non-epinikian lyrics are as follows: Antenoridai, or the Demand for the Surrender of Helen, Herakles, The Youths and Theseus, Theseus, Io, and Idas. The essential feature of all these lyrics is that they contain a myth and nothing else. As in the modern ballad they present only episodes of the tale, some worked out in detail, others compressed to the briefest compass. To these poems the only general name that is applicable is 'dithyrambs,' at least in the terminology of the Alexandrians who edited the poems of Bacchylides. Now we know from Aristotle (Probl. 19. 5) that in the earliest period the dithyramb was antistrophic, but in the fifth century lost the responsive arrangement and became purely mimetic. The interesting question therefore arises whether these poems of Bacchylides, which are at once antistrophic and mimetic, do not form the intermediate stage between the primitive dithyramb, which is usually associated with the mythical name of Arion, and the mimetic, but non-antistrophic, dithyramb of the fifth century. If this is correct, we may conclude that in Bacchylides we have the early form of the operatic dithyramb that held Athens captive in the time of Timotheos. To some of the poems in question special names, such as paian (ix.), hymenaios (20), etc. may indeed