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out any comment; for instance, the mere reprinting the words πασι κλεινος may, without comment, lead the reader to observe that there is an allusion thereby intended to the moon's being an object well known to the whole world.

10. Προ τωνδε. The middlemost and foremost of the groupe of suppliants is the one who afterwards styles himself ιερευς Ζηνος: and he is, in fact, distinguished from the rest by a sort of zany's cap or cowl which he wears. 14. Κρατυνων χωρας εμης.

1.6. One of the petitioners has the same prototype as Voltimand in Hamlet, drawn in fig. 55, which prototype constitutes the hieroglyphic bird on the person of Ralph, now @dipus; and this explains the expression και μακραν πτεσθαι.

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50. This line, and the repetition in the next of an expression before used, and ισος, afterwards, regard the librations of the moon, or her restoration to equilibrium; as 16' or itw in 46 regards her motion or planetary wandering.

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55. Nota συν ανδρασιν, and the whole of the two following lines ; and note the frequent use of ανδρες, βροτοι, and ανθρωποι, with reference to the appearance of human figures in the moon.

69. Εις ενα Μονον, καδεν' αλλον.

65. Note this line, and the terms δακρυσαντα, και πολλας οδες πλαναις, ευ σκοπων, and μονην just following.

YOL. IV.

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70. Creon has the same prototype as Bacchus, drawn ante in fig. 116. He is stated in line 83 to be πολυςεφης παγκαρπε δαφνης, and s0 is he drawn in that figure (116) conformably to his prototype.

71. Επεμψα Φοιβο δωματα intimates that the moon is not to be considered but by a reference to her borrowing her light from the sun; and muôixa and πυθοιτo have regard to the resemblance of an hourglass, or oracle (by which the sun's course is observed), situate just before Creon, and often noticed in the former pieces.

77. Note the whole of this line, and ωναξ Απολλον, and particularly the expression λαμπρος ομματι, as

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