94 



THE POPULAE EDUCATOR. 



170. "E<ppaf e, so. Hercules, who had directed them on their way. 



171. Oi/Toiri. Another instance of the final (. And see, there is 

 Charon. 



172. Xcup' J Xapwi/, good morning, Charon; probably repeated louder 

 each successive time. 



173. TiV elr, who's for? Charon imitates the cries of the boatmen 

 plying for their hire. 



174. "Oi/ou n<iKar. Where asses liave fleeces i.e., the land of Nowliere. 



175. Els Kopanat. This phrase meant in ordinary Greek parlance 

 to go to perdition. 



176. Sx'JCTeii', to come to land. 



177. Sou / 6i'i/6Ka, as far as you, are concerned. 



178. AoDXov, etc. I don't carry the slave unless he has fought in the sea- 

 light of the carcases. The allusion is said to be to the battle of Argi- 

 nusa, where the dead bodies of the Athenian sailors slain were left 

 without any attempt to recover them. 



180. Ou 7<ip d\V. The fact was, I had sore eyes probably an allusion 

 to some one who had shirked fighting on this excuse. Literally, it 

 was not but t)iat I clianced, etc. 



181. OUKOUV TTcpiSptfei Ou with the fut indie, is equivalent to an 

 imperative, will you, not = do. 



182. Avaivou \i9ov. Soino say there was in Athens a stone so called ; 

 others that the name (der. from auaivia, to wither) is chosen as a natural 

 name for a place in the land of the dead. Mitchell translates it the 

 withering stone. 



181. ^(f ZvvfTvxov. An allusion to the Greek feeling of deriving good 

 or bad omens from the nature of the tliiiig that first met the eye on 

 leaving the house. 



185. Ku#i" l-iri, sit at tlie oar. This is addressed to Dionysus; then 

 Charon turns to the shore to ply for more passeugors. 



186. Oil-rot, you there (to Dionysus, who has taken his seat wj>on the 

 car) . Wliat are you about ? 



186. 'O n iroiia ; What am I doing ? Why . The relative is prefixed 

 to the interrogative when a question is repeated by the person to whom 

 it is addressed m term; u - 7io is it? oo-r/r; do yo u osfc u'7w>? 



188. QVKOVV KaOeSei, well, then, sit down there, you fat paunch. '\&ov, 

 there ; lit., see me obeying you. 



190. Ou /it; <p\vapti<reit f'xwc. Oj p.t] with fut. indie, is equivalent to 

 a prohibition. Don't keep mating a fool of yourself, but row stiulli/. 

 With Xyt understand ou: oil with future expressing a command, as 

 above. 



190. 'AvTi/3av, literally, putting the feet against the stretcher. 



192. 'AffaXa^uvior, no SaZamint'an i.e., not skilled in rowing, as the 

 natives of the isle of Salamis are. 



195. KuKvav. An illustration of the old belief of the melodious notes 

 of the swan. 



196. 'flon-, a boatswain's cry. 



197. BpeKeKCKff icoaf Koaf. Words coined by Aristophanes to imitate 

 the croaking of frogs. 



201. 'Ejuav aoiidv. According to the rule of the Greek drama, the 

 choruses are in the Doric dialect. 



205. AiMvau admits of a twofold interpretation (1) the marshes, 

 where the frogs were ; (2) the Limnse, a part of Athens, where one of 

 the Dionysiac festivals was kept. 



206. KpanraXoKu/uov. A compound word, expressing the headache 

 which follows intoxication, and revelry. 



207. \urpoiai. One of the days of the Dionysiac festival was so 

 called. 



The following amusing scene is taken from the "Acharnians." 

 Dicseopolis, an inhabitant of Acharna, has had his lands ravaged 

 by the Peloponnesians, and has consequently decided peace 

 proclivities, for which he is put on his trial. In order to excite 

 the commiseration of his judges, he determines to appear in as 

 wretched a guise as possible, and goes off to Euripides (whose 

 fondness for introducing miserably-clad wretches into his plays 

 is often ridiculed by Aristophanes) to borrow a few rags from 

 his theatrical wardrobe : 



ARISTOPHANES. " ACHAENENSES," 344 385. 

 AI. 8>pa 'ffnv &pa pot Kaprepav |/uxV AojSejV, 

 ;cai /xoi /3a5(CTTe" fff-rlv us 'EvpnriSrji'. 



i ytpov. 



E. TIS ovros ; AI. evSov tffr' 



E. OVK evSov fvftov effrlv, el yvia/jL-rjv e^fiy 

 AI. ircDs (vSov, fir' OVK evSov ; E. 6p9w 

 6 vovs jitej/ e|a> v\\4ycav liruAAia 

 OVK fv8ov, avrbs 8' fi/Sov ava^dS^f mm? 

 TpayioSiav. AI. 3i rpio~fj.a.Kdpt' EupnnSr;, 



W O Sot/AOS OVTUffl 0~O(p>S UTTO/CptVeTai. 



6KKd\fffoi> aw-roV 0E. aA,V ativvarov. AI. aAA' 

 oi ybp av avf \6oifj.' , aAAa KO'^CU TTJV Qvpav. 



350 



VTraKovffov, e'/Wp trtairuT' avdpttnTiov Tti/t' 



AiKcuOTroAis /caAet <re XoAAi857S, eyia. 

 ET. aAA' ou o~xoA77 



AI. aAA' eK/cu/cAi'/flrjT 1 . ET. aAA' aSwarof. AI. aAA' Sjuws. 

 ET. aAA' e/c/cu/cA^o-OjUar Kara/Baivtiv 5' ou o-)(oKri- 360 



AI. EvpnriSri. ET. TI AeAaica? ,- AI. a^a/SaSTjj/ Troiers, 



fl-ov KaTa/3a5Tjv OVK erbs x^Aoi/s Troiers. 



arap TJ ra pajct" 'K Tpa7ff>8ias x elj ' 



fffdrJT' \eivhv ; OVK erbs TTTCOXOUS TroieTs. 



aAA' avTL0o\ca Trpbj rcSj' yovdr<av ff', EupiirtSTj, 



8(^s /uoi pa.Ki6v TI TOV iraAaiou Spa/^aros. 



aurrj 8e Oai/arov, fy KaKus Ae|a), (ptpei. 

 ET. ra iroTa rpuxi ; M'*i' f ^ oTs OiVeus 581 



<5 8vo~iroT[j.os yepaibs riyiovifero ; 370 



AI. ou/c OiVecos ^i/, aAA' tr' b.0\itarepov. 

 ET. ra TOU rutpAou QO'LVIKOS ; AI. ou ^oii'i/cos, ou, 



aAA' frepos "fiv QoiviKos aO\iuTpos. 

 ET. iroias 7T00' ai-7/p AaKiSav aiTfiYai ireVAwv ; 



aAA' ^ 4>iAoKT?)Tou T TOU irrwxoC Ae'yeu ; 

 AI. ou.f, aA.\a TOUTOU iroAu iroAu irTtox'O'Tep' u. 

 ET. aAA' i) Ta SUO'TTIT'^ 6f\fis TreTrA^fiara 



ct BeAAfpocfoi'TTjs fix' ^ X 61 ^ 05 OUTOO~'I ; 

 AI. oy BeAAepocpoVrT/s' aAAa Ka.K / ti-os fjLfv ^v 



X<wAbs, TrpoffaLTcav, O~T(I)/J.V\OS, Scivbs Ae'yfic. 380 



T'JVTOV Sbs avrt^o\<a fff (J,OL TO. cnra.pya.vs.. 

 ET. ci :ra?, Sbj aurcp T7jAe<pou pa.KUfj.aTa.. 

 KsIYai 8' ^^coOei' TOJI/ uecTTetaii' paKUiy, 

 itera^y TtSi 1 'Ii/ous. 0E. j5ou rain/ \a3e. 



NOTES. 



Calling out to Euripides' servant. 

 , etc. He is at home, and /ic is not at Jiome, if you cart 



34G. FTa 

 317. OJ> 

 understand that. 



349. 'ETTiiXXta, small songs or verses, diminutive form of 4Vo?. 



350. 'Ai/a/3 \&>\v, up aloft. 



353. 'AX.V uiwaroi/. .Way, but I can't Nay, but you must. 



358. 'AXX' ou, no, I've no time. 



359. 'EKKUKXI/OFIT'. Lit., be rolled out. Exhibit yourself. To give the 

 idea of an interior, the Greeks employed on their stage a machine 

 called the eccyclema (fKK.vK\t^a), which moved upon wheels, and could 

 be pushed forward and drawn back again from an opening in the back 

 of the stage. 



362. OUK tTor, etc., you make lame characters without reason. 



369. T<i iroia. Tpi'-xn ; TF/wt sort of tatters ? Euripides now proceeds to 

 enumerate the most ragged specimens of his characters. The names 

 that follow are those of different heroes of Euripides' plays. 



TRANSLATION OF EXTRACT III. IN LAST READING. 



HERODOTUS, vi. 112. 



So when they had made their dispositions for battle, and the sacri- 

 fices wero favourable, the Athenians, directly they were let go, charged 

 the barbarians at a run. Now the space between the two armies was 

 about eight stadia, aud the Persians, when they saw them coming at 

 this pace, prepared to receive their charge ; and they construed it as 

 sheer madness on the part of the Athenians, and utterly ruinous, 

 looking at their small numbers and the speed at which they were 

 coming, unsupported by cavalry or archers. Well, this was the feel- 

 ing of the barbarians ; but the Athenians, when in close array they 

 came hand to hand with the barbariars, fought in a way that merits a 

 record, for they were the first of all the Greeks, as far as our expe- 

 rience goes, who ever charged their foe at a running pace, and they 

 were the first who dared to face the Median costume and its wearers. 

 Now up to that time the very name of the Medes had been to the 

 Greeks a sound of terror. 



KECREATIVE NATURAL HISTORY. 



SPONGE GOSSIP. 



THE explorer who launches his bark to seek for new and un- 

 discovered regions will, in the course of his -researches, travel 

 over tracks where the productions of -the mountain and the 

 plain, or the desert and the forest, become so blended, and A'erje 

 so imperceptibly towards the zone or range proper to each, that 

 he will not unfrequently be at a. loss to determine the exact line 

 which shall separate this border-land, and define its limits. So 

 it is with the searcher after Nature's admirable productions ; and 



