[2] Cf. vs. 176; and for the musical instruments employed in the Bacchanalian rites, vs. 125 sqq.  Oppian, Cyn. iv. 243. [Greek:  nebrisi d’ amphebalonto, kai estepsanto korymbois, En spei, kai peri paida to mystikon orchesanto.  Tympana d’ ektypeon, kai kymbala chersi krotainon].  Compare Gorius, Monum.  Libert. et Serv. ad Tab. vii. p. 15 sq.

[3] Such is the sense of [Greek:  synapsomai], [Greek:  machen] being understood.  See Matthiae.

[4] Drums and cymbals were invented by the Goddess in order to drown the cries of the infant Jupiter.  Minutius Felix, xxi.  “Avido patri subtrahitur infans ne voretur, et Corybantum cymbalis, ne pater audiat, vagitus initus eliditur” (read audiat vagitus, tinnitus illi editur, from the vestigia of Cod.  Reg.).  Cf.  Lactant. i. 13.

[5] Cf.  Homer, Hymn. in Cerer. 485. [Greek:  olbios, hos tad’ opopen epichthonion anthropon:  Hos d’ ateles, hieron host’ ammoros, oupoth’ homoion Aisan echei, phthimenos per, hypo zophoi euroenti].  See Ruhnken’s note, and Valck. on Eur.  Hippol.

[6] This passage is extremely difficult. [Greek:  Plokamon] seems decidedly corrupt.  Reiske would read [Greek:  pokadon], Musgrave [Greek:  leukotrichon plokamois mallon].  Elmsley would substitute [Greek:  probaton], “si [Greek:  probaton] apud Euripidem exstaret.”  This seems the most probable view as yet expressed.  The [Greek:  eriosteptoi kladoi] are learnedly explained by Lobeck on Ag. p. 375 sq., quoted by Dindorf.  The [Greek:  mallosis] or insertion of spots of party-colored fur upon the plain skin of animals, was a favorite ornament of the wealthy.  The spots of ermine similarly used now are the clearest illustration to which I can point.  Lobeck also observes, “[Greek:  kata bakchiousthai] non bacchari significat, sed coronari.”

[7] These ladies seem to have been rather undomestic in character, as Agave makes this very fact a boast, vs. 1236.

[8] Cf.  Apollodor. l. i., Sec. 3, interpp. ad Virg.  G. iv. 152.  Compare Porphyr. de Nymph.  Antr. p. 262, ad.  Holst. [Greek:  spelaia toinyn kai antra ton palaiotaton prin kai naous epinoesai theois aphosiounton. kai en Kretei men koureton, Dii en Arkadiai de, selenei kai Pani Lykeioi:  kai en Naxoi Dionysoi. pantachou d’ hopou ton Mithran egnosan, dia spelaiou ton theon hileoumenon].  Cf.  Moll. ad Longi Past. i. 2. p. 22 sq. ed.  Boden.

[9] Cf.  Virg.  AEn. iv. 301, and Ritterh. on Oppian, Cyn. i, 24.

[10] Compare the epithet of Bacchus [Greek:  Omadios], Orph.  Hymn. xxx. 5; l. 7, which has been wrongly explained by Gesner and Hermann.  The true interpretation is given by Porphyr. de Abst. ii. 55, who states that human sacrifices were offered [Greek:  omadioi Dionysoi] the man being torn to pieces ([Greek:  diaapontes]).

[11] Persius i. 92. “et lynceus Maenas flexura corymbis Evion ingeminat, reparabilis assonat Echo.”  Euseb.  Pr.  Ev. ii. 3, derives the cry from Eve!