Οσία, πότνα θεῶν,
ὁσία δ', ἃ κατὰ γῆν
χρυσέαν πτέρυγα φέρεις
Point out the objections to Elmsley's reading and interpretation.
(b) Deduce from the original meaning of oσios the senses in which it is equivalent to ἅγιος and to βέβηλος. Explain the phrases ὁσίας ἕνεκα, and νομίζειν πολλὴν ὁσίαν πράγματος.
(c) What is the meaning of the substantive πότνια? What is the peculiarity of the adjective?
πατρίους παραδοχάς, ἅς θ ̓ ὁμήλικας χρόνῳ κεκτήμεθ', οὐδεὶς αὐτὰ καταβαλεῖ λόγος, οὐδ ̓ εἰ δι ̓ ἄκρων τὸ σοφὸν εὕρηται φρενών. Explain the construction of this passage.
(6) What is the mood and tense of εὕρηται? Why might not be used here instead of ei?
(c) What is Hermann's distinction between πάτριος, τρῷος, πατρικός
What difference does Elmsley lay down between où un with the future indicative and the subjunctive? Explain how far and why it is correct.
(6) Explain the difference between δέδοικα μή θέλεις and δέδοικα μὴ θέλης: between μὴ θέλων and μὴ οὐ θέλων: πρὶν ποιεῖν, πρὶν ποιῆσαι, and πρὶν πεποιηκέναι.
εὔθηρος εἴη, μητρὸς εἰκασθεὶς τρόποις,
ὅτ ̓ ἐν νεανίαισι Θηβαίοις ἅμα
θηρῶν ὀρι γνωτ'.
In what cases is őrav joined with an optative? Why would it be misplaced here?
Translate accurately and explain the peculiarities of construction that occur in the following passages:
(α) ἴθ ̓, ὦ Βάκχε, θηραγρέτα Βακχάν
προσώπῳ περίβαλε βρόχον ἐπὶ θανάσι-
μον ἀγέλαν πεσόντα τὴν Μαινάδων.
(6) οὐ μὴ προσοίσεις χεῖρα, βακχεύσεις δ' ἰών,
μηδ' ἐξομόρξει μωρίαν τὴν σὴν ἐμοί ;
(c) τῆς εὐσεβείας, ὦ ξέν, οὐκ αἰδῇ θεούς,
Κάδμον τε τὸν σπείραντα γηγενῆ στάχυν,
Εχίονος δ ̓ ὧν παῖς, καταισχύνειν γένος ;
(α) ξαν, πελείας ὠκύτητ ̓ οὐχ ἥσσονες
ποδῶν ἔχουσαι, συντόνοις δρομήμασιν.
(e) κυκλοῦτο δ', ὥστε τόξον, ἢ κυρτὸς τροχός,
τόρνῳ γραφόμενος περιφοράν, ἕλκη δρόμον.
ABSURDITIES how to be managed by the
poet, 187.
Accusativus de quo, 509, 510; rei vel
facti, 510, 511.
Achæus Eretriensis, the tragedian, 93.
Action, Unity of, 464–472.
Actors, one introduced by Thespis, 41;
another by Eschylus, 65; a third by
Sophocles, 79; only three allowed to
each dramatist, 136. 149; their gains
and character, 149, 150; not paid by the
choragi, 136; neglected by-play alto-
gether, 148; used bodily exercises, 149.
Actresses, unknown to the Grecian stage,
326.
Adjectiva composita in os, 490.
Admission money to the theatre, 148.
Adrastus, subject of lyrical tragedies at
Sicyon, 20; passage of Herodot. respect-
ing him explained, 260. 265.
Adverbia in ei et i, 489.
'Aei, quantity of, 569.
Eschylus, his life, 62-64; number of his
dramas, 65; improvements in tragedy,
65, 66; his Agamemnon, 347; Chö-
ephora, 384; Eumenides, 350; his po-
litical aims therein, 64. 353; Suppliants,
354; Seven against Thebes, 356; Per-
sians, ibid. Prometheus Bound, 357;
Prometheus Fire-bringing, 69, note 4;
his style, 359; his diction, 70, 71;
his plays allowed to be acted after his
death, 66, note 5; a Pythagorean, 67
note 1; his keλioμòs, 64, note 1
accused of plagiarism from Phrynichus
59, note 11; relation between his tragedy
and the plastic arts, 69, note 2; his
aristocratical spirit, 64. 67; his works
bear internal proof of his fondness for the
Dorians, 69; and of his military spirit,
70.
Afranius, 456.
"Ayav, quantity of, 569.
Agatharcus, the inventor of stage scenery,
Agathon, the tragedian, 93, 94. 405; first
inserted choruses foreign to the play,
94.
Αιώραι, 143.
Ακούετε λεως, 203.
Alexis, the comedian, 120.
Αλκηστις, no reason why Thespis never
wrote a play so named, 47.
Alphabet, Greek, not completed till after
Thespis's death, 227.
Ameipsias, the comedian, 104.
"Av, contingent, goes with the past tenses
only of the indicative, 496. 521.
with oo et similia, 497.
with indicative, subjunctive, and opta-
tive, 497.
Avayvopiois or Discovery, 167; different
kinds of, 173, 174.
Anapæsts, when they may form the first
foot in the senarius, 527, note.
Anapæstic Tetrameter Catalectic, 540.
Anapæstic verses, 536; why mostly used
in opening choral song, 146.
Αναπίεσμα, 145.
Anaxandrides, the comedian, 120.
Ancient Mythology symbolical, not alle-
gorical, 352.
Ἀνία, Ανήρ, quantity of, 568.
Antiphanes, the comedian, 119.
Apollodorus, the comedian, 124.
Araros, the son of Aristophanes, 115, 116.
Archilochus, fragments of, 199.
Archilochian verse, 215-217.
Aristias, son of Pratinas, 61.
Aristophanes, 105. 412; place of his birth,
106; time of his birth,. 107, 108; his
Banqueters, 108; Babylonians, ibid.
Acharnians, 109. 420, 421; Knights,
109, 110. 418, 419; Clouds, 110–112.
423; Wasps, 425; Peace, 419, 420;
Amphiaraus, 113; Birds, 113, 114. 425,
426; Lysistrata, 421; Thesmophoria-
zusæ, 422; Frogs, 115. 423, 424;
Ecclesiazusæ, 114, 115. 421, 422; Plu-
tus, 114, 115. 426, 427; Æolosicon,
115, note 2; Cocalus, ibid. 446; num-
ber of his plays, 116; his patriotism,
414; buffoonery and licentiousness, 116,
117. 414; excellencies, 416; passages
of, corrected by Bentley, 244-247.
Aristotle, his Poetics, 465; Rhetoric,
465, 466; his assertion that the early
drama was extemporaneous to be qua-
lified, 45, 46; his etymology of kμodia
incorrect, 50, 51; his definition of Tra-
gedy and Comedy, 53; compiled Didas-
caliæ, 137.
Articulus cum propriis nominibus, 514.
Arundel Marble, engraver of, falsely charged
with an omission, 232—237.
Asinius Pollio, 458, 459.
Atellane Fables, 453.
Αθάνατον ὀργὴν μὴ φύλαττε, θνητὸς ὤν,
whence taken, 197. 209–211.
'Alávatos primam producit, 197, note.
Attic Crases, 483, 484.
Audience, theatric, 148, 149; its number,
131; talents, 416, 417; behaviour, 149.
Augment, Attic, 486–489.
"Aios, its government, 511-513.
Bacchæ, examination paper on, 584.
Bacchic choruses three in number, 272,
273.
Bacchus, early worship of in Attica, 36.
Barthelemy's Anacharsis, 314.
Bentley's Dissertation upon Phalaris, ac-
count of, 198, note.
Βουλευτικόν, 139.
Brauronia, 37.
Βροντεῖον, 144. 322.
Bull, the prize of the Dithyramb, 272.
Buskin, introduced by Eschylus, 66.
Cæsura in the Senarius, 528, note.
Calf, prize of the harpers, 273.
Canones Dawesiani, 496-513.
Carcinus, the tragedian, 94.
Catastrophe, 169.
Characters, which best for tragedy, 169.
Charondas, age of, 286, 287; laws falsely
ascribed to him, 283-287.
Charonic ladder, 145. 321.
Chionides, the comedian, 99.
Chœrilus, the tragedian, 58.
Choragi, their office and how chosen, 135;
their rivalry, 136; successful honours
of, 137.
Choragic expenses, 136. 283-286.
Χορὸν διδόναι, 136, note 5.
Chorus, origin of, 7; etymology of the
word, 7, note 1; nature and use of, 334;
Dithyrambic or Cyclian, 272; Satyric,
49; Tragic, Comic, number of, 146;
one of the actors, 177; joined in the
dialogue by means of its coryphæus,
Chronology of the Greek Drama, 126–130.
Clepsydra, its use in scenic exhibitions,
138. 164.
Comedia Togata, 456.
Palliata, ibid.
Comedy, etymology of, 50, 51; originally
mythological, 97. 410, 411. 443; when
established at Athens, and why, 52;
Attic, aim of, 449.
Comedy, the Old, its origin, 51. 159; its
nature, 55-57; prize, 208; progress,
160; prohibited for a time, 99, 100;
extinction, 413; number of its plays,
199; antithesis and parody of Tragedy,
406, 407; its apparent want of aim, 408;
its political meaning, 410.
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