[46] Beck, by putting the stop after [Greek:  petron], makes [Greek:  hypodromon] to agree with [Greek:  kolon], “his limb diverted from its tread.”

[47] The construction is [Greek:  phonos krantheis phonoi]:  [Greek:  aimati] depends on [Greek:  en] understood.

[48] Most MSS. have [Greek:  xynetos].  Here then is a remarkable instance of the same word having both an active and a passive signification in the same sentence.

[49] [Greek:  makropnoun], not [Greek:  makropoun], is Porson’s reading, [Greek:  makropnous zoe] is explained “vita in qua longo tempore spiratur; ergo longa.”

[50] See note at Hecuba 65.

[51] The old reading was [Greek:  ti tlas; ti tlas;] making it the present tense.  Brunck first edited it as it stands in Porson.  Antigone repeats the last word of her father.

* * * *

ADDITIONAL NOTES.

* * * *

[A] “Signum interrogandi non post [Greek:  neanias], sed post [Greek:  lochagos] ponendum. [Greek:  lochagos] in libris pedagogo tribuitur:  quod correxit Hermannus.”  DINDORF.

[B] Porson and Dindorf (in his notes) favor Reiske’s conjecture, [Greek:  pyknoisi] for [Greek:  pyrgoisi].

[C] Dindorf rightly approves the explanation of Musgrave, who takes [Greek:  stephanoisi], like the Latin corona, to mean the assemblies.  He translates:  “nec in pulchros choros ducentibus circulis juventutis.”

[D] The full sense, as laid down by Schoefer and Dindorf, is, “for ever when an old man travels, whether in a carriage, or on foot, he requires help from others.” [Greek:  pasa apene pous te] is rather boldly used, but is not without example.

[E] i.e. “you ask a thing (i.e. your son’s safety) dangerous to the city, which you can not preserve.”  SCHOEFER.

[F] These three lines are condemned by Valck. and Dind.

[G] Matthiae attempts to explain these words as follows:  “[Greek:  empyroi akmai] may be put for [Greek:  ta empyra], in which the seers observed ([Greek:  enomon]) two things, viz. the divisions ([Greek:  rhexeis]) of the flame, which, if it slid round the altars, was of ill omen (hence [Greek:  hygrai], i.e. gliding gently around the altars with many curves, for which is put [Greek:  hygrotes enantia]); and 2dly, the upright shooting of the flame, [Greek:  akran lampada].”

[H] See Dindorf on Orest. 1691.  He fully condemns these lines as the work of an interpolator.  They are, however, as old as the days of Lucian.

* * * * * *

MEDEA.

* * * *

PERSONS REPRESENTED.

  NURSE. 
  TUTOR. 
  MEDEA. 
  CHORUS OF CORINTHIAN WOMEN. 
  CREON. 
  JASON. 
  AEGEUS
  MESSENGER. 
  SONS OF MEDEA.

The Scene lies in the vestibule of the palace of Jason at Corinth.