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In Lenæis, Mense Posideone. Archonte Callia.

v. 2. The feasts of Pan, of Venus Colias, and of Genetyllis, celebrated by the women with tympana, &c., like the Bacchanalian ceremonies.

58. Ουδε Παραλων, ουδ' εκ Σαλαμίνος. This alludes to the two ships so called, which were the fleetest sailors of all the Athenian navy.

64. Τα 'κατιον. qu. Τοὐκατειον ? i.e. το Εκατειον. The statue of Hecate, which was consulted by some persons about the success of any undertaking.

109. Ooẞos. A Milesian manufacture of leather. 150. Linen tunicks of Amorgos, transparent.

174. The thousand talents in the Acropolis, called το Αβυσσον.

229. Ta Пepσika. Persian slippers, worn by the Athenian women.

The double chorus in this play is remarkable, one of old men, the other of women.

598. Αλλ' όστις εστι, &c. There seems to be something wanting here.

633. Και φορησω το ξιφος. This alludes to the Scolion of Harmodius and Aristogeiton. Ev μνρтоν Kλadi To Epos popnow, &c., preserved by Athenæus, L. p. 695.


643. 'Hppipopovv. A double meaning, quasi dixisset, αρρενοφόρειν. 'Αλετρις also.

678. Ιππικωτατον γαρ, &c. This alludes to what they called Κελητιζειν.

736. Αμοργις, ἡ λινοκαλαμη, a fine kind of fax, ὑπερ την βυσσον, η την καρπασον. σχ.

760. Οφις οικουρος, The serpent which lived in Minerva's temple. Owls also roosted there.

801. Tηv oxunv. It appears that men wore no drawers or breeches under their tunick.

981. Conisalus, a deity of Athens, like Priapus.

1043. It is remarkable, that no one is abused by name here, except a very few infamous and low people. Pisander indeed is mentioned; so that this drama must have been either before or after the oligarchy of the Four Hundred.

1150. Apaтos κаι Kaλos. Αφατος καλος. ApaTоv, s kaλos: I do not

Perhaps this should be, understand this, as Pal

merius does. They excuse themselves upon the great beauty of Attica, which would tempt any man to enjoy it. The next verse, 'Yμas & apnoei, &c., no body explains.

1171. Τον Εχινοῦντα, και τον Μηλια κολπον. These places are named for the sake of the double meaning. The Scholiasts ad Vespas tell us, that Exîvos is used for the belly of an ox: Môλov for any round protuberance, like the breasts, or hinder parts of a woman.

1191. All this is very obscure, like the chorus, 1042, and upon the same subject. During this short interval the Spartans and Athenian plenipotentiaries have been

entertained by Lysistrata. It is the chorus of women,

and not she, who say all this from v. 1191 to 1218. Who the servant is chasing away, I do not perceive, unless it be the crowd of people who come to receive corn at the door.

The chorus in the end, and in several scenes of the play, are remarkable examples of the true Spartan Dorick.


Ol. 93. 3. In Lenæis, Mense Posidæone. Archonte Callia post Antigenem.

Spanheim, in his introduction to his notes, has shewn, contrary to what Palmerius, Petitus, and others. imagined, that there were comedies, as well as tragedies, performed four times in the year in the Panathenæa, the Lenæa, the Dionysia κar' aσTv, and the Anthesteria that during this last festival they were exhibited in the Piraeus, in the theatre built there; and that the Lenæa were kept as well in the city, as in the country, in a place called the Lenæum.

v. 14. Phrynichus, Ameipsias, and Lycis, comick writers, are here satirized for their low and commonplace jokes.

48. Clisthenes, the son of Symbirtius, if not τраTnyos, as the Scholiasts say, at Arginusa, was at least a Trierarch.

53. The Andromeda of Euripides. That poet was lately dead.

73. Iophon, the son of Sophocles and Nicostrata, wrote tragedy with applause in his father's life-time; he was suspected of exhibiting his father's dramas in his own name. The Eneus of Euripides parodied. Sophocles was dead not long since. The simplicity



and easiness of his nature opposed to the cunning of Euripides. Agatho was now at the court of Archelaus.

79. It is plain, that Sophocles was just dead, and that Iophon, his son, had not yet published anything since his death.

86. Xenocles, the son of Carcinus, and Pythangelus, tragick writers, are mentioned with contempt. That kind of poets were then very numerous at Athens. The Alcmena of Euripides, and his Alexandra, and Hippolytus, also the Melanippe of Sophocles are alluded to.

104. Read is kаι μoι doкel, instead of σou.

126. This is the usual effect of the cicuta, as Plato describes it in his Phædo.

131. The three Aаμаdηdроμia celebrated in the Ceramicus, to Minerva, to Vulcan, and to Prometheus.

141. It is sure from the Vespa, and from other plays, that in Cleon's time the Miσoos SiкασTIKOS was three oboli probably after his death, or when the republick began to decline, it might be again reduced to two oboli.

193. Περι των κρεῶν. The Scholia and the Commentators make out nothing here to one's satisfaction.

233. Schol. The strings of the lyre were made of the sinews of animals, and more anciently, as now, of their intestines; whence they were called Xopdai.

235. YоAUρioν. The bridge or some part of the lyre, made of a reed, afterwards of horn, as it seems. It is remarkable that the chorus of frogs does not appear, but is heard only, and that in a single scene, though the play takes its name from them. The true

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