My notes, however, had not proceeded further than the first 433 lines of the play, when they were laid aside for other editorial work, shortly after the publication in I87I of Mr Tyrrell's edition, which, together with Mr Paley's already existing commentary on all the plays, appeared likely, for some time to come, to meet the wants of English students. foundation for an edition of the play; and, finding from the Master of Trinity that there was no prospect of his editing it himself, I began under his kind encouragement to prepare to do so. cxlviii) are here figured and described for the first time. For placing in my hands the originals of both of these, I have the pleasure of thanking the Reverend S. As a matter of fact, few people take the trouble; and those who do, find themselves often discouraged by their experience from continuing to make the attempt.-It may be added that the short pieces of translation occasionally given in the notes are, in the case of the dialogue of the play, extracted from a rendering of that portion in blank verse, which I prepared for my use in the lecture-room. I have endeavoured throughout to devote particular attention to points of archaeological interest and especially to the illustration of the play with the help of monuments of ancient art. The remaining twentyone have been prepared expressly for this volume by Mr F. In the explanatory notes, a number of adversaria by R. Under the new scheme for the Classical Tripos, one of the special subjects in which students will be able henceforth to obtain distinction, after taking honours in pure scholarship, is Classical Archaeology, including ancient art and mythology, with certain prescribed portions of the wide province of topography and antiquities; and provision is already being made by Professorial and other teaching for the due instruction of students vi PREF v A CE. Thus any Cambridge scholar who in future years undertakes a work similar to the present will happily be able to start with the advantage of a systematic study of ancient art which has only to a limited extent fallen to the lot of the present editor. Anderson, the skilful artist and engraver engaged in the establishment of Messrs R. A full description has been given, not only of all the thirty-two illustrations here selected (with an indication in each instance of the source from which it is derived); but also of other works of art connected with the play, which though not included in this selection, nevertheless deserve particular attention for their archaeological interest. 87-238 CONSPECTUS OF CHORAL METRES 239 GREEK INDEX......... Formerly Z in I1r Tin Z's Cabinet 'Scenes from the tragedy of Pentheus.
ix cxvi xxxii cxvii xlii cxx lix cxx lxxii cxxi lxxxviii xciii cxlviii p. The composition of Messengers' Speeches is one of the points in which Euripides excels; and in the 1 This, as remarked by Hermann, is a characteristic of all his plays that belong to a later date than 01. The quiet passage in its earlier portion, telling of the king and his attendant and their mysterious guide, stealing in silence along the glades of Cithaeron, with the few following touches of description pleasantly representing to us the glen with its rocks and rivulets and overshadowing pine-trees, has, it will be observed, the dramatic effect of heightening by force of contrast the tumultuous excitement attending the deed of horror which is the subject of the latter part of the messenger's recital. Der Frihliing iwebt schon in den Birken, [Und selbst die Fichtefiihll ihn schon! Euripides, like others who have hesitated in accepting unreservedly the tenets of a popular creed, had in his earlier writings run the risk of being misunderstood by those who clung more tenaciously to the traditional beliefs. The weapon is to be seen resting against the altar. Nearly all of the latter, and a great part of the subsequent speech of Dionysus, have unfortunately been lost. The elaborate word-painting of Shelley, in Beatrice's description of the gloomy chasm appointed for her father's murder (Cczci III I, 243-265), impressive as it is to the reader who has time to linger over its details in the solitude of his room, would have been utterly out of place in any play intended for representation on the stage. In the present play, the occasional outbursts of admiration for the beauties of! But, as appears from passages in other plays, the poet had no great love for prophets and soothsayers; and, in the present instance, he allows the taunt of interested motives which is flung at Teiresias by Pentheus, to remain unanswered by the former (n. Accordingly, we cannot unreservedly accept the prophet as the spokesman of the poet's opinions; and we shall, here as elsewhere, look more naturally for these in the choral odes. with the sentiments which might naturally have been expected from a band of Asiatic women. M., where it is suggested that this type may have been 'derived from some composition by Scopas.') /2 cxl INTR OD UCTION. Next follows a young Satyr with a panther's skin flung over his left shoulder, playing the double flute, the bass notes being sounded by the tibia dextra or atv Xo aip8piios, and the treble by the tibia sinistra or av Xos yvvatrjios (Herod. The drapery with its sweeping folds is admirably suggestive of swift and energetic movement. in a pseudo-archaic design on a marble vase in the Louvre, inscribed 2QSIBIO2 AOHNAIO2 EIIOI (Miiller-Wieseler II 6021); and in Zoega's Bassirilievi II plates 1 The lettering there engraved has O and E instead of 0 and H; but the inscription as here given, rests on the authority of a facsimile in Frihner's Sculpture Antique du Louvre ed. Thus, the subject of our woodcut, though resembling the work of Scopas, so far as regards the dismembered kid held in the Maenad's hand, and also in its lively attitude of dancing, nevertheless differs from it in respect to the position of the head and the treatment of the hair. The balance of the composition requires the speech of Cadmus to be followed by a corresponding speech of Agave. As it is, a few touches suffice to give a clear and vivid impression of the kind of scene intended by him, and all more elaborate details would have been obviously out of place; for of this, as of all the master-pieces of Greek literature, the remark of Lessing holds good, 'that it is the privilege of the ancients never in any matter to do too much or too little' (Laokoon, preface). place nurse, who, reflecting perhaps the ordinary Athenian feeling in such matters, warns her mistress that it would be unsafe to express such longings as these in public, as they would at once be set down to a disordered imagination. \A.~ ~~~~~~~~~~~~' ) \o i: i' ONV Tf HE PURPOSE OF THE PLA Y. Among such indications it has been usual to quote one of the speeches of Teiresias, with its protest against rationalising and philosophising about the gods, and its declaration of acquiescence in the traditions of the popular faith (200 ff). 79, and Part II no 6 in the Official Guide to the Graeco-Roman Sculptures in the B. Foremost of the three figures, here represented as moving onwards in the dance, is a Maenad with her head thrown back and her hair streaming loosely from behind her head, partly clad in a talaric chiton, and beating with her right hand the tympfanum which she holds in her left. Behind her, a mantle flutters in the air, with its upper end caught by the hand that holds the knife. A similar design occurs again and again in ancient reliefs (e.g. 62, none of them exactly corresponds to the above description. Those who shared that advantage -r- ~ will long remember his happy renderings, and his brief and pointed criticisms, which had the rare merit, Ad of being sufficient for their immediate purpose, while at the same time they were calculated to stimulate the student to further investigation on his own account. FOR my earliest interest in the celebrated, though often far from easy, play, a new edition of which is here offered to the public, I am indebted to the fact that, some fifteen years ago, in common with many other students in this University, I had the advantage of attending a course of lectures upon it, by the Reverend W. Thompson, the present Master of Trinity College, who was at that time Regius Professor of Greek.