* * * *
[1] For illustrations of the fable of this play, compare Hyginus, Fab.
clxxxiv., who evidently has a view to Euripides. Ovid, Metam. iii. fab. v.
Oppian, Cyneg. iv. 241 sqq. Nonnus, 45, p. 765 sq. and 46, p. 783 sqq.,
some of whose imitations I shall mention in my notes. With the opening
speech of this play compare the similar one of Venus in the Hippolytus.
[2] Cf. vs. 176; and for the musical instruments employed in the
Bacchanalian rites, vs. 125 sqq. Oppian, Cyn. iv. 243. νεβρισι δ'
αμφεβαλοντο, και εστεψαντο κορυμβοις, Εν σπεϊ, και περι παιδα το μυστικον
ωρχησαντο. Τυμπανα δ' εκτυπεον, και κυμβαλα χερσι κροταινον. Compare
Gorius, Monum. Libert. et Serv. ad Tab. vii. p. 15 sq.
[3] Such is the sense of συναψομαι, μαχην being understood. See Matthiæ.
[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. ολβιος, ‛ος ταδ' οπωπεν επιχθονιων
ανθρωπων: ‛Ος δ' ατελης, ‛ιερων ‛οστ' αμμορος, ουποθ' ‛ομοιων Αισαν εχει,
φθιμενος περ, ‛υπο ζοφωι ευρωεντι. See Ruhnken's note, and Valck. on Eur.
Hippol.
[6] This passage is extremely difficult. Πλοκαμων seems decidedly corrupt.
Reiske would read ποκαδων, Musgrave λευκοτριχων πλοκαμοις μαλλων. Elmsley
would substitute προβατων, "si προβατον apud Euripidem exstaret." This
seems the most probable view as yet expressed. The εριοστεπτοι κλαδοι are
learnedly explained by Lobeck on Ag. p. 375 sq., quoted by Dindorf. The
μαλλωσις 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, "κατα βακχιουσθαι 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., § 3, interpp. ad Virg. G. iv. 152. Compare
Porphyr. de Nymph. Antr. p. 262, ad. Holst. σπηλαια τοινυν και αντρα των
παλαιοτατων πριν και ναους επινοησαι θεοις αφοσιουντων. και εν Κρητηι μεν
κουρητων, Διϊ εν Αρκαδιαι δε, σεληνηι και Πανι Λυκειωι: και εν Ναξωι
Διονυσωι. πανταχου δ' ‛οπου τον Μιθραν εγνωσαν, δια σπηλαιου τον θεον
‛ιλεουμενων. Cf. Moll. ad Longi Past. i. 2. p. 22 sq. ed. Boden.
[9] Cf. Virg. Æn. iv. 301, and Ritterh. on Oppian, Cyn. i, 24.
[10] Compare the epithet of Bacchus Ωμαδιος, 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 ωμαδιωι Διονυσωι the man being torn to pieces
(διααπωντες).
[11] Persius i. 92. "et lynceus Mænas flexura corymbis Evion ingeminat,
reparabilis assonat Echo." Euseb. Pr. Ev. ii. 3, derives the cry from Eve!
[12] I should read this line interrogatively, with Elmsley.
[13] Quoted by Gellius, xiii. 18.
[14] Elmsley would read μακρον το μελλον. Perhaps the true reading is
μελλειν ακαιρον = _it is no season for delay_.
[15] The construction is so completely akward, that I almost feel inclined
to consider this verse as an interpolation, with Dindorf.
[16] Compare Nonnus, 45. p. 765 4. Τειρεσιαν και Καδμον ατασθαλον ιαχε
Πενθευς. Καδμε, τι μαργαινεις, τινι δαιμονι κωμον εγειρεις; Καδμε,
μιαινομενης αποκατθεο κισσον εθειρης, Κατθεο και ναρθεκα νοοπλανεος
Διονυσου.... Νηπιε Τειρεσια στεφανηφορε ‛ριψον αηταις Σων πλοκαμων ταδε
φυλλα νοθον στεφος, κ.τ.λ.
[17] Compare the opinion of Perseus in Cicero de N.D. i. 15, with Minutius
Felix, xxi.
[18] Pseud-Orpheus Hymn. l. 6. παυσιπονον θνητοισι φανεις ακος.
[19] Dindorf truly says that this passage smacks rather of Proclus, than of
Euripides, and I agree with him that its spuriousness is more than
probable. Had Euripides designed an etymological quibble, he would probably
have made some allusion to Merus, a mountain of India, where Bacchus is
said to have been brought up. See Curtius, viii. 10. "Sita est sub
radicibus montis, quem Meron incolæ appellant. Inde Græci mentiendi traxere
licentiam, Jovis femine liberum patrem esse celatum." Cf. Eustath. on
Dionys. Perieg. 1159. Lucian. Dial. Deor. ix. and Hermann on Orph. Hymn.
lii. 3.
[20] The gift of μαντικη was supposed to follow initiation, and is often
joined with the rites of this deity. Philostratus, Heroic. p. 22, ed.
Boiss. ‛οτε δη και μαντικης σοφιας εμφορουνται, και το χρησμωδες αυταις
προσβακχευει.
[21] Cf. Hippol. 443. Κυπρις γαρ ου φορητον ην πολλη ‛ρυηι.
[22] I have followed Matthiæ's interpretation of this passage.
[23] See Hermann's note.
[24] The fate of Actæon is often joined with that of Pentheus.
[25] i.e. over-cunning in regard to religious matters. Cf. 200. ουδεν
σοφιζομεσθα τοισι δαιμοσιν.
[26] Probably a mere hyperbole to denote great fruitfulness. See Elmsley.
[27] Cf. Hor. Od. iii. 21, 20.
[28] I follow Dindorf in reading σοφα δ', but am scarcely satisfied.
[29] Hence his epithet of Bacchus Νυκτελιος. See Herm. on Orph. Hymn. xlix.
3.
[30] See my note on Æsch. Choeph. 7.
[31] Cf Person Advers. p. 265. Hor. Ep. i. 16. 73 "Vir bonus et sapiens
audebit dicere Pentheu, Rector Thebarum, quid me perferre patique Indignum
coges? Adima bona, nempe pecus, rem, Lectos, argentum: tollas licet. In
manicis et Compedibus sævo te sub custode tenebo. Ipse deus, simul atque
volam, me solvet. Opinor, Hoc sentit: moriar. Mors ultima linea rerum est."
[32] Punning on πενθος, _grief_. Cf. Arist. Rhet. ii. 23, 29.
[33] i.e. of Parnassus. Elmsley (after Stanl. on Æsch. Eum. 22.) remarks
that Κωρυκις πετρα means the Corycian cave in Parnassus, Κωρυκιαι κορυφαι,
the heights of Parnassus.
[34] Hermann and Dindorf correct Λοιδιαν from Herodot. vii. 127.
[35] The earth and buildings were supposed to shake at the presence of a
deity. Cf. Callimach. Hymn. Apol. sub init. Virg. Æn. iii. 90; vi. 255. For
the present instance Nonnus, 45. p. 751.
ηδη δ' αυτοελικτος εσειετο Πενθεος αυλη,
ακλινεων σφαιρηδον αναϊσσουσα θεμεθλων,
και πολεων δεδονητο θορων ενοσιχθονι παλμωι
πηματος εσσομενοιο προαγγελος.
[36] The madness of Ajax led to a similar delusion. Cf. Soph. Aj. 56 sqq.
[37] Compare a fragment of Didymus apud Macrob. Sat. v. 18, who states
Αχελωον παν ‛υδωρ Ευριπιδης φησιν εν ‛Υψιπυληι. See also comm. on Virg.
Georg. i. 9.
[38] The reader of Scott will call to mind the fine description of Ireton
lunging at the air, in a paroxysm of fanatic raving. See "Woodstock." So
also Orestes in Iph. Taur. 296 sqq.
[39] ανεισαν, _solvuntur, liquescunt._ BRODEUS.
[40] Cf. Soph Ant. 243 sqq.
[41] These two cities were in ruins in the time of Pausanias. See ix. 3. p.
714, ed. Kuhn.
[42] Cf. Athenæus, p. 40. B. Terent. Eun. iv. 5. "Sine Cerere et Libero
friget Venus." Apul Met. ii. p. 119, ed. Elm. "Ecce, inquam, Veneris
hortator et armiger Liber advenit ultro," where see Pricæus.
[43] More literally, perhaps, "keep it and be thankful."
[44] Theocrit. i. 40. μεγα δικτυον ες βολον ‛ελκει.
[45] But εκ των απειλων conveys a notion of change = _instead of_.
[46] Elmsley remarks that ανθρωποισι belongs to both members of the
sentence. I have therefore supplied. The sense may be illustrated from
Hippol. 5 sq.
[47] See Matthiæ.
[48] i.e. step. This is ridiculed by Aristoph. Ran. 100, where the
Scholiast quotes a similar example from our author's Alexandra.
[49] Compare Havercamp on Lucret. ii. sub init.
[50] Compare Virgil, Æn. iv. 469. "Et solem geminum, et duplices se
ostendere Thebas." In the second passage of Clemens Alexandrinus quoted by
Elmsley, γερων is probably a mistaken reference to Tiresias.
[51] An obscure hint at the impending fate of Pentheus. Nonnus has led the
way to the catastrophe by a graphic description of Agave's dream. Dionys.
45. p. 751.
[52] φερομενος may mean either "carried in a litter," or "carried to
burial." There is a somewhat similar play in the epigram of Ausonius,
xxiii. "Mater Lacæna clypeo obarmans filium, cum hoc, inquit, aut in hoc,
redi."
[53] Burges more rightly reads ματρος τε Γας. See Elmsley's note.
[54] As one must make some translation, I have done my best with this
passage, which is, however, utterly unintelligible in Dindorf's text. A
reference to his selection of notes will furnish some new readings, but, as
a whole, quite unsatisfactory.
[55] Compare the parallel account in Nonnus, 46. p. 784.
[56] Alluded to by Oppian, Cyn. iv. 300. απτε σελας φλογερον πατρωιον, αν
δ' ελεληξον Δαιαν, αταρτηρον δ' οπασον τισιν ωκα τυραννου. He then relates
that Pentheus was transformed into a bull, the Mænads into panthers, who
tore him to pieces.
[57] στοχος is either the aim itself, or the mark aimed at, as in this
passage, and Xenoph. Ages. 1. 25.
[58] I have done my best with this extraordinary expression, of which
Elmsley quotes another example from Archilochus Fragm. 36. Perhaps the
notion of excessive rapidity is intended to be expressed.
[59] θηρ seems metaphorically said, as in Æsch. Eum. 47. Nonnus, 45. p.
784, 23. above, 922.
[60] Compare Nonnus, 46. p. 784.
Και τοτε μιν λιπε λυσσα νοοσφαλεος Διονυσου,
και προτερας φρενας εσχε το δευτερον: αμφι δε γαιηι
γειτονα ποτμον εχων κενυρην εφθεγξατο φωνην.
* * * * * *
μητερ εμη δυσμητερ απηνεος ιοχεο λυσσης,
θηρα ποθεν καλεεις με τον ‛υιεα.
The whole passage is very elegant, and even pathetic.
[61] Alluding to the horns of Bacchus. Cf. Sidon. Apoll. Burg. Pontii
Leontii, vs. 26, "Caput ardua rumpunt Cornua, et indigenam jaculantur
fulminis ignem." See some whimsical reasons for this in Isidor. Origg viii.
2. Albricus de Deor. Nu. xix. But compare above, vs. 920. Και ταυρος ‛ημιν
προσθεν ‛ηγεισθαι δοκεις, και σωι κερατε κρατι προσπεφυκεναι.
[62] Elmsley has rightly shown that ‛ελικα could not of itself mean "a
bull" or "heifer," although Homer has ειλιποδας ‛ελικας βους. I have
therefore followed Hermann, who remarks, "‛ελιξ seems properly to be meant
for the clusters of ivy with which the thyrsus was entwined. Hence Agave
says that she adorns the thyrsus with a new-fashioned wreath, viz. the head
of her son." Such language is, however, more like the proverbial boldness
of Æschylus, than the even style of our poet.
[63] "κορυθα, ornamentum capitis, vix potest dubitari quin pro ipso capite
posuerit." HERMANN. There is considerable variation in the manner in which
the following lines are disposed.
[64] Or, "Bacchus-mad."
[65] I have marked a lacuna with Dindorf.
[66] See the commentators on Virg. Æn. i. 11. "Tantæne animis cœlestibus
iræ?"
[67] After τλημονες φυγαι supply μενουσιν. ELMSLEY.
[68] A word is wanting to complete the verse.
[69] See Musgrave. Cranes are chiefly celebrated for parental affection.
[70] These verses are found at the ends of no less than four others of our
author's plays, viz. Andromacha, Helen, Medea, and Alcestis.
* * * * * *