Classic Greek Drama_ 10 Plays by Euripides in a Single File [NOOK Book] - Euripides [111]
[12] Matthiae considers this as briefly expressed for [Greek: ti touto, to eran, ha legousi poiein anthropous]. Still I can not help thinking [Greek: anthropon] a better reading. B.
[13] Phaedra struggles between shame and uncertainty, before she can pronounce the name. It should be read as if [Greek: hostis poth'--houtos--ho tes Amazonos]. B.
[14] Matthiae takes [Greek: panamerios] as = [Greek: en teide tei hemerai], i.e. up to this very time. I think the passage is corrupt. B.
[15] This passage, like many others in the play, is admirably burlesqued by Aristoph., Ran. 962. B.
[16] _Or, this is a second favor thou mayst grant me_.
[17] On the numberless references to this impious sophism, see the learned notes of Valckenaer and Monk. Compare more particularly Aristoph. Ran. 102, 1471. Thesmoph. 275. Arist. Rhet. iii. 15. B.
[18] Literally, "spurious coined race." B.
[19] The MSS. reading, [Greek: phyton], is preferable. B.
[20] The syntax appears to be [Greek: dysekperaton biou], _such as my like can scarcely get over_. Musgrave has followed the other explanation of the Scholiast, which makes [Greek: biou] depend on [Greek: pathos]. TR. I have followed the Scholiast and Dindorf. B.
[21] [Greek: protrepousa, anti tou zetousa kai exereunosa]. Schol. Dindorf acknowledges the strangeness of the usage, and seems to prefer [Greek: proskopous'], with Monk. B.
[22] Cf. Soph. Ant. 751. [Greek: hed' oun thaneitai, kai thanous' olei tina]. B.
[23] For the meaning and derivation of [Greek: alibatois], see Monk's note.
[24] [Greek: haliktypon] seems to be an awkward epithet of [Greek: kyma], unless it mean "_dashed [against the shore] by the waves_." Perhaps [Greek: aliktypon] would be less forced. B.
[25] [Greek: Hyperantlos ousa symphorai], a metaphor taken from a ship which can no longer keep out water.
[26] See the note on my Translation of AEsch. Agam., p. 121, note 1. ed. Bonn. B.
[27] Read [Greek: omoi ego ponon: epathon o talas] with cod. Hav. See Dindorf. B.
[28] Cf. Matth. apud Dindorf. B.
[29] In the same manner the chorus in the Alcestis comforts Admetus. v.
[Greek: Ou gar ti protos, oude loisthios broton] [Greek: gynaikos esthles emplakes.]
[30] [Greek: Hyper] is here to be understood. VALK.
[31] [Greek: Sphendone], literally, the setting of the seal, which embraces the gem as a sling its stone.
[32] See a similar expression in AEsch. Eum. 254,
[Greek: Osme broteion haimaton me prosgelai.]
[33] The construction is, [Greek: eie an emoi abiotos tycha biou, hoste tychein autes.] MONK.
[34] [Greek: e], _which land, together with the present earth_.
[35] On the Orphic abstinence from animal food, see Matth. apud Dind. Compare Porphyr. de Abst. ii. 3 sqq. B.
[36] [Greek: Athiktos] appears here to have an active sense. So in Soph. Oed. c. 1521. [Greek: athiktos hegeteros]. It is used in its more frequent sense (a passive) in v. 648, of this play. TR. Compare my note on AEsch. Prom. 110, p. 6, n. I. B.
[37] Cf. Med. 169. [Greek: Zena th' hos orkon thnatois tamias nenomistai]. B.
[38] There are various interpretations of this passage. The Scholiast puts this sense upon it, _Phaedra was chaste (in your eyes), who had not the power of being chaste, I had the power, and is it likely that I did not exert it to good purpose?_ Others translate the former part of the passage with the Scholiast, but make [Greek: ou kalos echrometha] refer to the present time, _had it to no good purpose_, i.e. am not now able to persuade you of my innocence. Some translate [Greek: esophroesen], _acted like a chaste woman_. TR. There is evidently a double meaning, which is almost lost by translation. Theseus is not intended to understand this. B.
[39] Cf. vs. 3. B.
[40] [Greek: Kleroi] were the notes the augurs took of their observations, and wrote down on tablets. See Phoen. 852.
[41] [Greek: xynoikourous] appears to be metaphorically used, but I think the sense would be greatly improved by reading [Greek: kakous], and taking [Greek: xynoikourous] to mean "to