Ιςασθε, τέσδ' άραντες ἱκτῆρας κλάδες SCENA TERTIA. ΙΕΡΕΥΣ. ΙΑΜΒΟΙ. Ω παῖδες, ἱςώμεσθα· τῶνδε γὰρ χάριν 145 of any thing For the proto 147. Note ιςωμες θα—and χαριν, as shining (from χαίρω) and Φοιβος ςωτηρ. types in the moon, of the performers of the choruses, I beg to refer the reader back to the groupe of musicians in the play of Othello, drawn in fig. 102 ante, to which I would add on the present occasion Fig. 127. Καὶ δεῦρ ̓ ἔβημεν, ὧν ὅδ ̓ ἐξαγγέλλεται· SCENA QUART Α. ΜΟΝΟΣΤΡΟΦΙΚΑ. ΧΟΡΟΣ. Ω Διὸς ἁδυεπὴς Φάτι, τίς ποτε Τᾶς πολυχρύσω Πυθῶνος Αγλαὰς ἐβας Θήβας, Εκτέταμαι φοβεράν φρένα, 150 with his lyre as their leader, which figure has the same prototype as Polonius in Hamlet, or Crowdero in Hudibras, now raised into a more important musical character. The choruses have a very particular bearing upon my subject as regarding the moon, but as they involve a great deal of detail respecting matter, which, as repeatedly stated before, is reserved for a future occasion, I now make no remarks upon them. If however. in the mean time the reader will run his eye over the choruses en passant, he will not fail to find abundant proofs of their general reference to the moon. Ομαυλα ὧν ὑπερ, ὦ χρυσέα Θυγατερ Διὸς εὐῶπα, πέμψον Φλέγει με περιβόητα αντιάζων, Παλίσσυτον δράμημα νωτίσαι Πάτρας ἔπερον· εἶτ ̓ ἐς μέγαν Θάλαμον Αμφιτρίτας, Εἴτ ̓ ἐς τὸν ἀποξενον ὅρμον Θρηίκιον κλύδωνα. Τέλει γὰρ εἴ τι νὺξ ἀφῇ, Τότ ̓ ἐπ ̓ ἦμαρ ἔρχεται. Τὸν, ὦ πυρφόρων αςραπᾶν Κράτη νέμων, ὦ Ζευ πάτερ, Υπὸ σῶ φθίσον κεραυνῷ. Λύκει ̓ ἄναξ, τά τε σὰ χρυσοςρόφων Απ' αγκύλων βέλεα θέλοιμ ̓ ἂν Αδάμας ̓ ἐνδατεῖσθαι, Αρωγά προςαθέντα, Αἴγλας, ξὺν αἷς Λύκει ̓ ὄρεα 200 205 210 215 |