If all or any of our MSS. dated from 800 or 900 B.C., it might be of importance to note θέλεις for the regular epic form ⋯θέλεις and even to print it so in the text, otherwise it is negligible. More worthyof attention is the punctuation after ⋯μo⋯μαι. The presence of ὑπίσχoμαι in the next line is held to justify the stop given above, otherwise the comma, as in Gemoll's edition, would be sufficient or more than sufficient. For in accordance (...) with Homeric usage we might read:πατρòς κεϕαλήν μέγαν ὃρκoν ⋯μo⋯μαιμή μέν ⋯γώ μητ' αὐτòς—ὑπίσχoμαι—αἴτιoς εἶναι. (shrink)

These lines conclude the account of Hermes inventing the primitive method of producing fire by friction, and it is evident that the writer had in mind σ 308: περ δ ξλα κγχανα θ;καν, αα πλαι περκηλα, νον κεκεασμνα χαλκ, cf. also ε 240. Gemoll accordingly in his edition read αα λαβν, and for so doing was rebuked by Messrs. S. and A. in their best dogmatic manner: ‘Gemoll's αα cannot be accepted; ολα is sound, though the meaning is not certain.’ (...) In other words: ‘Whether ολα makes sense or nonsense, it is right.’ Finally, they say that ολα probably means ‘whole’, and this translation is, I think, confirmed by l. 137; but then it follows that the hymn-writer was flatly contradicting the κεκεασμνα in Homer's line, and knew no more about fire-lighting than these trenchant editors. Ignition fuel has a character of its own, and from this point of view Gemoll has the advantage. (shrink)

Horace has told us that the author of a literary work, qui uariare cupit rem prodigialiter unam, falls into absurdities. Much more likely to meet this fate is the interpolator who has the same ambition. The above four lines are a case in point; for it is fairly certain that if this Hymn were presented to readers as it came from the hand of its author, the whole passage with its phenomenal bull and its four pacifist dogs which apparently had (...) agreed together not to bark and bite, ‘as is their nature to,’ would not be found in the text. Undoubtedly it is true, though it is by no means a marvel , that the bull which was somewhere else and the dogs which were following in his wake were not taken by the infant cattle-lifter who was satisfied, as he well might be, with a trifle of fifty cows. The veracity of the interpolater in this regard may, therefore, pass without question, and furthermore his knowledge of epic metre does not fail seriously till he reaches the fourth line, although ό δ ταρος is not really epic and λλων not λλων is required in the opening line, for he certainly did not mean, as he unwittingly says ‘other bulls,’ but ‘the others, the cows.’ After ο μνλειθεν it is quite out of the question that οĩ τε κύνες τε ταȗρος, two flagrant examples of the later article, should follow. (shrink)

Horace has told us that the author of a literary work, qui uariare cupit rem prodigialiter unam, falls into absurdities. Much more likely to meet this fate is the interpolator who has the same ambition. The above four lines are a case in point; for it is fairly certain that if this Hymn were presented to readers as it came from the hand of its author, the whole passage with its phenomenal bull and its four pacifist dogs which apparently had (...) agreed together not to bark and bite, ‘as is their nature to,’ would not be found in the text. Undoubtedly it is true, though it is by no means a marvel , that the bull which was somewhere else and the dogs which were following in his wake were not taken by the infant cattle-lifter who was satisfied, as he well might be, with a trifle of fifty cows. The veracity of the interpolater in this regard may, therefore, pass without question, and furthermore his knowledge of epic metre does not fail seriously till he reaches the fourth line, although ό δ ταρος is not really epic and λλων not λλων is required in the opening line, for he certainly did not mean, as he unwittingly says ‘other bulls,’ but ‘the others, the cows.’ After ο μνλειθεν it is quite out of the question that οĩ τε κύνες τε ταȗρος, two flagrant examples of the later article, should follow. (shrink)

As is well known, many editors, following Valckenaer, reject the bracketed line altogether; but the omission leaves the opening clause with a very unsatisfactory ending. μπρέποντας αίθέρι, heavily stressed by its position, seems to form little less than an anticlimax, unless we assume that the stars could hardly be expected to shine in the sky. On the other hand, when line 7 is added, έμπρέποντας αίθέρ στέρας brings out clearly the fact that only certain conspicuous stars or constellations are meant—those (...) which serve as guides to the operations of agriculture and navigation, such as the Pleiades, Arcturus, and Orion, as we may see from Hesiod, Op. 609 onwards. (shrink)

This passage has caused much discussion and much variety of opinion, and it still remains doubtful whether the later commentators in their efforts at exact interpretation have been more successful than the earlier ones. The general sense is sufficiently clear. Medea is making an apology to the Chorus of sympathizing Corinthian ladies for her delay in appearing before them. So far all are agreed. The difficulties, real or unreal, arise when we begin to inquire what form the apology actually takes. (...) First of all there are doubts as to the meaning of το ς μ μᾂπο. in the Scholia. we have a gloss μῂ όρώμνο είνα. and the explanation το Xωρίςεσθα καì ᾂτν ποθεν μμάτων είνα. Many scholars have taken exception to this view on two grounds, as stated by Verrall ad loc, because ‘the sense of motion is not there, and there is no reference to any eyes in particular.’ He requires either authority or analogy for this. As far as the absence of motion is concerned, it is sufficient to refer to Thuc. 1, 7 αί δ παλααί ᾀπθαλσσης μλλον ῲκίσθησαν id I, 99ναμῄ ᾀπ οκου σ,γ. Il. B 292 μένεν ᾀπ ᾑς ᾀλòΧοο. Then there is the analogous expression αί γàρ δῂ μοᾀπ οὒατος ώδε γένοτο . As to the second objection, why is it necessary that the eyes of anyone in particular should be referred to ? There is no more ambiguity here than there is in Il Ψ 53 θâσσον ᾀπ θαλμν, where the meaning is ‘so as to be out of sight, not of me or you, but of everybody.’ In fact, it could not be maintained with any show of reason that ᾀπθαλμνand ᾀποὒατς could not mean ‘out of sight’ and ‘out of hearing’. (shrink)