found in the same sentence, in a deliberation, as in Cho. 88, or in a final clause after drws, as in Cho. 264-5. The present case is different, because a future indicative does not usually stand alone with un, as it does after örws or in deliberation. Here the clause with the future may be an independent statement (the poet expressing as a future fact the mourning of the city of Cissa); which is loosely appended to the first clause containing a subjunctive verb, and followed by another containing a subjunctive verb, thus forming a parenthesis between them. But see Mr Paley's note on the grammatical point, and the instances there quoted.

121. τοῦτ' ἔπος—i.e. δ. The construction is in effect a nominative absolute, oλos being in loose apposition with πόλισμα.

125. For rent garments as a sign of Oriental mourning cp. 1. 199, 1. 537, 1. 835, and 1. 1060 of this play, also Choeph. 27, the Chorus of that play being probably Trojan captives. 126. For the connexion of thought see on 1. 109. 127. TedoσTIẞis-"travelling on foot". So Supp. 1000. But λoriß in Prom. 791, "travelled over by the sun".

129. The metaphor of bees swarming out and leaving the hive (i.e. Susa) empty seems to be as original as it is striking.

indorev-has gone forth and left the hive empty. So in Theb. 201, also in Herodotus VIII. 50 éμжрñσαι Ocσяiewν TH wóλw A&TŴY ¿Kλeλowbrwr. Cp. Soph. El. 19 and 1149.

130. "Having gone forth and crossed the spur jutting into the sea, common to either land, by which both shores are yoked." The bridge of boats which projected at its two ends from either land into the sea, and yet being one bridge was common to both shores is, by a harsh metaphor, thus designated. For dupieυKтov in this sense see on 1. 105. This is Blomfield's rendering, and is approved by Linwood, but the exact meaning of the words of the text cannot be certainly settled. The Scholiast takes pŵr' äλior of the Hellespont itself, the water thrust out between Asia and Europe as a proHermann undermontory of land is thrust out into the sea. stands by rpwva the shore on either side, quoting 1. 879. Cp. Agam. 307 as to the word wpwv.

185. For the construction Περσίδες—ἑκάστα-λείπεται, cp. Hom. Il. xvI. 261—

οἱ δ' ἄλκιμον ἦτορ ἔχοντες

¿xporevecîs. The alteration, which is a very slight one, since ẞ and are much alike both in uncial and cursive writing, and which is supported by the interpretation of the Scholiast, is due to Mr Paley. The word would be naturally used of the grief of Asiatic women (cp. åßpóуool, 1. 541). àкpowerbeîs would mean dκpal wévéos, i. e. in extreme grief.

ékáσra wóly piλávopi-repeated from 1. 133, only here the mourning of each woman for her own lord is par ticularised. Cp. Agum. 411, σrißa piλdropes, in a passage where the chilly sadness of the couch which the wife has left is pictured. Cp. also Agam. 856, τοὺς φιλάνορας τρόπους.

186. ευνατήρα—cp. 1. 157.

άwотeμуaμéva-is the better supported reading, though Tроreμyaμevn has MS. authority, and the MSS. cannot always be trusted as to the insertion or omission of p after consonants. The latter would perhaps suit the passage better; on the other hand, drowéμweobai is used (as in Herod. vi. 63) for "to divorce", an association which would give some force to this passage.

139. μovólv-A rare compound, which is really an oxymoron in itself: "in a single union ", i. e. in a loneliness more lonely because it replaces union. Cp.ubvos wv pedpos, Cho. 866.

140. Here, the Ode being finished, the leader addresses his fellows in a few anapaestic lines as he turns to the matter in hand.

aye-The singular as in Eum. 307.

Πέρσαι, ep. 1. 1, 1. 171.

141. réyos apxatov-i.e. the royal palace, in front of which the proscenium lies.

143. χρεία δὲ προσήκει—A prose writer would have used yap rather than dé. See on 1. 13.

144. apa-like Latin scilicet. The deliberation, which in the absence of news from the seat of war promises to be a barren one, is to be as to the probable success of Xerxes and the Persians. For the prominence given to the former see on 1. 12.

145. Δαρειογενής—cp. 1. 6. 146.

"Our own blood, as his forefather's name shows," i. e. true-born son of Perseus the eponymus of the Persians. See on 1. 80; the form warpúrvшor seems to be supported by ¿rwriμos, used by Pindar and Herodotus. yévos then is used for σvyyerns, and so the Scholiast explains it.

147. For the Persian bow opposed to the Greek spear cp.

150. Here Atossa enters, borne forth from her palace in a car or litter of state (cp. L. 607). The old men, following the Coryphaeus, rise and prostrate themselves.

150. "A light equal to the eyes of the gods." An Oriental hyperbole is intended. See on 1. 80. The Scholiast however interprets "who is a light to my eyes, equal to gods” and so most editors.

152. πрoolTV-This reading places a spondee before the last syllable of the paroemiac. See on 1. 32. Hermann gives προπίτνω, προπίτνω, Mr Paley προπίτνωμεν. Such prostration was necessary before addressing a Persian monarch. For a Greek's opinion on such ceremony see Agam. 919-925.

155. As directed, the old men address the queen in words of homage. The dialogue opens in the trochaic tetrameter, the ancient metre of tragedy, afterwards superseded by the more conversational trimeter iambic (τὸ μὲν γὰρ πρῶτον τετραμέτρῳ ἐχρῶντο διὰ τὸ σατυρικὴν καὶ ὀρχηστικωτέραν εἶναι τὴν ποίησιν, λέξεως δὲ γενομένης αὐτὴ ἡ φύσις τὸ οἰκεῖον μέτρον εὗρε μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν ἐστιν, Ar. Poet. c. 4). In the later period of the drama the old metre was reserved for passages full of movement and excitement, especially the todos or end of a play. Here it well suits the tumultuous and somewhat extravagant language and gestures exhibited.

155. Babulúvwv-an Homeric epithet often applied to Ionian women, also to goddesses. In Cho. 168 it is used as an epithet of any woman as distinguished from a man. It means deep-girdled, i.e. with girdle worn low on the body, so that the robes flowed in wide curves over it. See note on 1. 181.

ПepolSav-the genitive is governed, død kowoû, either by άνασσα, or by ὑπερτάτη.

157. Tapa-cp. 1. 136. It is best taken as a vocative, this line being a continuation of the last. Instead of ending kal beoû pîreр, the speaker varies the construction, as the thought arises that disaster may even already have proved Xerxes to be mortal enough, and that he is not to be called unconditionally "a god". For this title of Persian monarchs cp. 1. 80.

158. Salpav raλaiós-"The old fortune of the house", here personified as a supernatural power. The word occurs frequently in this play; see 1. 601, where it is used in a good, 11. 472, 911, 921, where in a bad sense.

στρατῷ Several MSS. have στρατοῦ. The dative gives the best sense, the daipur belonging to the house rather than to the army. "Unless in aught the ancient luck of the house have changed for (i.e. to the mischief of) the army.”

NOTES.

55 159-176. Atossa briefly unfolds the fear of her heart; which is lest Xerxes' great wealth may have led him on to folly and ruin. She sees two evils in the world; wealth may mis. lead, but poverty may enfeeble; and which is the worse? As for her own house, wealth there is, and plenty; but is her darling being ruined by it? On this she would confer with the old men; they promise ready and loyal counsel.

159. TAUTA 8-"Therefore." See on 1. 114.
χρυσεοστόλμους—See on l. 3.

161. kapslav-is governed by the verb, ue by the whole verbal action expressed by καρδίαν ἀμύσσει. me." So often in Homer: thus Il. xvIII. 73, "Care heart-rends

τέκνον τί κλαίεις; τί δέ σε φρένας ίκετο πένθος; For ἀμύσσει cp. 1. 116.

162. "Being in no sort free from fears caused by myself (i.e. not suggested by words of yours)." The genitive is attached to the adjective, and shows the source from which the terror might originate. So plλwv ákλavotos Soph. Ant. 847, i.e. "unwept by friends"; kaxŵv árpúμoves Aesch. Theb. 875. It is otherwise taken as equivalent to repl éμavrns (see on 1.692); but Atossa does not suggest fear for herself, being wholly wrapt up in thoughts of Xerxes. The source of the fear is further explained in 1. 165.

163. The fear of Atossa is lest the possession of vast wealth should urge Xerxes to a headlong course, in which he should overthrow his own inherited fair fortune. But the action is attributed to the wealth itself, not to its possessor. Cp. Agam, 1005:

καὶ πότμος εὐθυπορῶν

ἀνδρὸς ἔπαισεν ἄφαντον ἔρμα,

Kovlσas oidas-A familiar Homeric phrase, though used here somewhat harshly. Thus Il. xiv. 145 evpd koviovaw wédov. So Kóvel simply in Theb. 60, cp. Prom. 962. The participle is perhaps in the aorist because it is after wealth has taken its fling that the reverse is dreaded.

164. Darius himself uses similar language in 11. 751, 759. 165. Taura-"As to this, therefore." Cp. ll. 114, 159. διπλῆ μέριμν' ἀφραστος-The same as the φροντὶς in 1. 161, "A dilemma, or two-edged thought, which I cannot express clearly". This dilemma is given in the two following lines, "Neither men without wealth are perfect, nor wealth without men." μέριμνα (μέρις, μερίζω) is used strictly for an anxiety which draws the mind two ways. This is called døparros because, take it either way, the fond mother cannot bear to put