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ut in ditione sua retineant corpus Polynicis.” Each of these explanations appears to me to be far fetched and unnatural. I understand, from the context, of x3-00sy 930: 3.3%aytal, they (the gods below) have violence done to their rights by these proceedings of yours.

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Here Ellendt takes pays intransitively: Wunder takes it transitively as governing zozouata: Hermann makes zozópata the nominative, taking of Maxpo’, ¥96V00 tp:3s parenthetically, and apparently, pavel intransitively. To me it seems that there should be no full stop between Xéso and pavel ; that pays has its proper transitive signification, having zozópata for a nominative in opposition with to 3%, and being connected with the preceding sentence, thus: zozópata pave. sc. ei zatmospposiévo; Aéso: And see whether I say this through bribes ; for the space of a little time will shew (whether such be the case, whether I have spoken truth or fiction,) even the wailings of men, &c. Such a case of apposition we have in Eurip. Orest. 802–5, Özöte Xpogeta; Špt: 3pwo; joute Tayta).{2a13, oiztpát at a t}oty &p at a zai a 'p &ft a sewatoy tszéoy. See Matth. Gr. Gr. 433, obs. 2. But if it be thought better to make oë paxpo, Yood parenthetic, pavei may equally well have the connection which it seems to me to require, in sense and construction, with the preceding clause.

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The meaning of the last line, misexplained by the Scholiast, has been overlooked by Brunck, whose version is, “nec ullus certus augur est fatorum mortalium;” by Ellendt, who interprets, “nemo ex praesentibus de futuris conjecturam fecerit;” and by Wunder and other commentators, who cite as parallel the concluding words of the Ajax :—

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The line, if such were its meaning, would be very much out of place just after Teiresias had been predicting the overthrow of all Creon's prosperity, and just before the chorus had reason to exclaim do uovo, tooto: Óg &g pàow jvodag. The passage from the Ajax is quite different from this: for that has reference to mankind in general, as such,-‘‘till he sees the end, no one (i. e. no ordinary person, no one who is not officially a prophet) can tell what is to be :” but here prophets, as such, are spoken of; and the meaning, in accordance with the context, is, Nor is there any prophet who does or can predict established things (i.e. unchanging good or unchanging evil) for mortals. Mr. Donaldson, I see, translates rightly:

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The Scholiast interprets, #233,0s, ti Asozi ağtic tapeg, and is followed by, I believe, all the commentators and translators. But this seems to me very needless and offensive. Could the poet have intended to present to our minds such a disgusting picture—such a loathsome particular as this interpretation gives? I think the construction, as well as the meaning, signifies the cheek of Haemon, and not Antigone’s: To suit better the received interpretation, Mitchel proposed to substitute éu£3}}.e. for £233}}s. The cheek of the dying man, dying from a sword-wound and loss of blood, would be pale and bleached, almost as much as that of the dead maiden. I translate, therefore, with pallid cheek, (Circumstantial or Modal Dative, Jelf Gr. Gr. 3 603,) he emits a rushing (śīay) breath of (i.e. fraught with) blood-drops : or, not quite so literally, he breathes out with pallid cheek a rushing shower of blood : or, if the construction of the Scholiast is to be preferred, over, crimsoning on, his (not her) whited cheek. With regard to ovoy . . . polytoo araX&Yuatoo, I have noticed the use of the genitive, in this and other passages, to connect one noun with another so as to form one notion from the two, (and, in consequence of which, other words forming part of the same sentence, are made to govern, or to agree with either of them, and sometimes with that one to which, taken by itself, they are not appropriate,) in a note on AEsch. Prom, 902, "Hga; 3) atsial: távoy. The line in the Agamemnon (1362) which has been compared with the present passage, for its likeness in other points, has a remarkable resemblance in such a use of the genitive:—xâxpoczów Śāsīay ažuato; a pas àv, the stab-drawn blood.

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To make out a complete construction for £3 táMy Yá00; o'o. 3:16cely, the commentators would go to the end of the next clause, and bring atévely, or take potēśva, from 1905%asy: both of which I think are out of reach, and can be dispensed with. It seems to me that 3:30) is here used transitively in the same

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174

XIV.
MISCELLANIES.

1. ON Two GREEK VASEs IN THE BRITISH MUSEUM.

VAse of EPIDROMos.-Fine Nolan cylix, with red figures, lately purchased of Mrs. Baddam, by the British Museum. Sh. Durand Catalogue, No. 109. Interior, a naked youth, crowned with laurel, kneeling upon the right knee, his chlamys doubled, and held up as a defence on the left arm. In his right hand, he holds a short and knotted stick. On it are two names, EIIIAPOMOX, 'Etiopouos, that of the figure represented; and another, IXIAS KAAOS, “Ichias is handsome.” No mythological personage is known of the name of Epidromos; but a similar name occurs on two other vases, Archaeologia, 1831, vol. xxiii. p. 220, accompanied by Kaxds, and in an Athenian inscription, Boeckh, Corpus Inscr. Graec. vol. 1. p. 298. col. 1. 41. The absence of Copayre or étoimaev prevents our supposing that the name is intended for that of an artist; and it is still more difficult to connect it with any heroical or other personage. The attitude of the figure resembles that of Theseus attacking the Crommyan sow.

WASE witH THE POTTER KERAMos—Cylix, purchased of S. Zitelli, with black figures on a red ground. On the exterior is Pallas-Athene, armed in the usual manner with helmet and aegis, and draped in a talaric tunic, piercing with her lance the giant Enkelados, who, armed as a Greek hoplite, has fallen mortally wounded on the ground; in the area are vine branches, and at each side is a large eye. In the interior is a potter, kepduevs, draped in a short tunic, seated on a low stool, having before him his lathe or wheel, resembling a circular table placed horizontally,–this the potter works with his knee while he shapes the vase with his hands. In the present instance, the vase is a kpatop to which the workman is adding handles. The vase is placed vertically in the centre of the wheel; above, on two rows of shelves, are vases already finished and awaiting their turn for the oven. This is undoubtedly the invention of the Ceramic art, which was claimed for the Athenians—by Kritias,

- tov će Tpoxoo Yaims Te Kaučvov 7'ékyovov et pe

k\euvoratov képauov Xpija pov oikovouov
# to kakov Mapabove kataatjaaga Tporatov.

Athenaeus, I. p. 28, B. this refers to the wheel; but according to Pliny, H. N. VIII. 57, figlinas Coroeibum Atheniensem invenisse, which applies rather to figures, in the same manner as Prometheus presided over the corporation of potters, in remembrance of the mythic making of man out of clay. In the same sense the invention of the

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